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“Trambolinden kucuk mavi eve yaptigim uzun yuruyusun ertesi gun babam geldi. Babaannemle dedem onu arayip beni almasini istemisti ama kimse bunu bana soylememisti. Ben hala annemle babamin beni verdiklerini sanýyordum ama babaannemle dedeme degil, onlar beni istemiyorlardi. Simdi nereye gidecektim? Beni kim sevecekti? Olabildigince kibar bir bicimde agladim, cunku babam aglamamdan hoslanmazdi ve ben hala umutluydum. Ama kimse benim kahramanca kibarlik gosterime aldiris etmedi ve babam gozyaslarimi fark etmis bile gorunmedi. Benden vazgectigi acikti.
Beni odadan cikardilar, alcak, ugursuz seslerle uzun uzun konustular, cantam toplandiktan, ben arabanin arka koltuguna oturtulduktan ve araba yola ciktiktan sonra bile, haia babamin beni eve mi goturdugunu bilmiyordum. Boylesi daha iyiydi, cunku babam beni eve goturmuyordu.
Cocukken, mutsuz olaylardan uyuyarak kacmayi seçerdim. O zaman da aynisini yaptim, uyandigim zaman yabanci bir odadaydim. Pek cok acidan, bu odadaki en tuhaf seyler, tuhaf olmayanlardi. Sifonyerim pencerenin dibindeydi. Yatak benim yatagimdi, uzerimdeki yorgan, babaannemin eskiden, henuz beni severken benim icin elleriyle diktidi, bastan ayaga aycicekleri islenmiþ yorgan, benimdi. Ama cekmecelerin hepsi bostu ve yorganin altinda, silte ciplakti.” Karen Joy Fowler, Hepimiz Tamamen Kendimizi Kaybettik
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“The day after my cross-capital trek from trampoline to little blue house, my father appeared. My grandparents had called him to come fetch me, but no one told me that part. I still thought I was being given away, only not to my grandparents, who’d turned out not to want me. Where next? Who would love me now? I sobbed in as decorous a manner as possible, because my father didn’t like it when I cried and I still had hopes. But no one admired my heroic restraint and my father didn’t even seem to notice my tears. He had obviously washed his hands of me.
I was sent out of the room, where a good deal of hushed and ominous talking happened, and even when my bag was packed and I was in the backseat and the car was moving, I still didn’t know I was being taken home. Which was just as well, because I wasn’t.
As a child, I chose to escape unhappy situations by sleeping through them. I did so now, and when I woke I was in a strange room. In many ways, the strangest things about this room were the bits that weren’t strange. My chest of drawers was by the window. The bed I was in was my bed, the quilt over me was my quilt—hand-sewn by Grandma Fredericka back when she’d loved me, appliquéd with sunflowers that stretched from the foot to the pillow. But the drawers were all empty and, under that quilt, the mattress was bare to the buttons.”
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“Gercek hayatta da solen sofralarindan olum yataklarina, yas karalarindan bayram kýyafetlerine gecis, sahnedekilerden hic de asagi kalmaz. Ne var ki gercek hayatta bizler, edilgin birer seyirci olacagimiz yerde, ugraslari olan birer oyuncuyuzdur ve bu da cok fark eder. Sahnede oynanan oyunlardaki siddetli duygu degisimleri yalnizca birer seyirci olarak gozlerimizin onune serildigi zaman bunlara hemen sacma damgasini vururuz. Beri yandan, sahnenin, zaman ve yerin ani degismeleri kitaplarda eskiden beri sadece hos gorulmekle kalmaz, bazilari tarafindan yazarligin en ince huneri sayilir. Boyle dusunen elestirmecilere gore, her bolumun sonunda kitabin kahramanlari ne denli cozolmez bir dugum icinde kalirsa yazar o denli usta demektir.” Charles Dickens, Oliver Twist
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“The transitions in real life from well-spread boards to death-beds, and from mourning weeds to holiday garments, are not a whit less startling; only, there, we are busy actors, instead of passive lookers-on, which makes a vast difference. The actors in the mimic life of the theatre, are blind to violent transitions and abrupt impulses of passion or feeling, which, presented before the eyes of mere spectators, are at once condemned as outrageous and preposterous. As sudden shiftings of the scene, and rapid changes of time and place, are not only sanctioned in books by long usage, but are by many considered as the great art of authorship: an author's skill in his craft being, by such critics, chiefly estimated with relation to the dilemmas in which he leaves his characters at the end of every chapter.”
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"Hayati yasanmaya deger kilan karsilastigimiz hayatlardir. / Sono gli incontri con persone che rendono la vita degna di essere vissuta. / It is the lives we encounter that make life worth living." Guy de Maupassant
https://youtu.be/f1JKT-sqhi4?t=1
Bir Kir Eglencesi (Partie De Campagne - A Day in the Country, 1936) Yonetmen: Jean Renoir
(Film, Guy de Maupassant'nin kisa oykusunden uyarlanmistir.)
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"Gecmis, bir anlamda,icinde yasanilan zamandan cok daha gercektir, en azindan cok daha dayanikli, cok daha sureklidir. Simdiki zaman akip gider, kaybolur, parmaklarimizin arasindan kum gibi kayar. Maddi agirligina ancak anilarda kavusur. / In a certain sense the past is far more real, or at any rate more stable, more resilient than the present. The present slips and vanishes like sand between the fingers, acquiring material weight, only in its recollection"
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Andrei Tarkovsky, Solaris (1972)
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Sana bakmami istemezsen golgene bakacagim. Golgemin oldugu yerde olmak istiyorum, eger gozlerin orada olacaksa. / Guarderò la tua ombra, se non vuoi che guardi te, gli disse, e lui rispose Voglio essere ovunque sia la mia ombra, se là saranno i tuoi occhi. / I'll look at your shadow if you don't wish me to look at you, she told him, and he replied, I wish to be wherever my shadow is if that is where your eyes are.“ José Saramago
http://3.bp.blogspot.com/-DyzgJ0stms...f0a47a1b21.jpg
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https://pbs.twimg.com/media/DVcZL4HX0AAnKkO.jpg
"Sevmeliyiz birbirimizi, ve anlatmaliyiz da birbirimize, yazmaliyiz bunu sonra, ve opmeliyiz dudaklarimizdan, gozlerimizden ve kalan yerlerden. / We must love, and tell, and then write each other about it, then we must kiss each other's mouth, and eyes, and elsewhere."
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"Biliyorsun, gokyuzum, sen benim uzerime yagiyorsun ve ben seni toprak gibi karsiliyorum. / Sai, cielo mio,tu sei come la pioggia ed io come la terra. Ti ricevo e accolgo. / You know, my sky, you rain on me and I, like the earth, receive you." Frida Kahlo
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Resim: Mark Arian
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Netflix, Marvel Jessica Jones'un 2.sezon fragmanini yayinladi.
https://youtu.be/hSvnepZS26s?t=1
