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In postmodern texts,
especially in stories and novels, the process of writing the text is one of the
main themes of the text. Thus, the fictional structure of the text becomes the
subject of the text. From the first line to the last line, the narration is the
narrative itself. The phrase “parody of narration” that Hilmi Yavuz
said for this narrative is the best explanation of this text. The narration is,
in fact, deprived of ‘a story to be told’. This ambiguity is often emphasized
in the text, and the reader is warned. Especially, it is emphasized that the
aim is to “narrate the narration of the narrative”.

            “Asl?nda, bu anlat? neyi anlat?r?
diye sorman?z da söz konusuysa, (çünkü, burada sadece    anlat?c?’lar? de?il, okurlar? da tasarlamak durumunday?m),
yan?t?m, bu anlat?, anlat?’y? anlat?r    olacakt?r.”(p.
122-123)

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            “Bu anlat? neyi anlat?r? sorusuna,
Bu anlat?, anlat?y?, yani, ben’i anlat?r, diye yan?t verece?im.             “(p.141)

Throughout the
narrative, it is transmitted to the reader that whom the narrator include or
how he include in the text the author has written. It is expressed in the text
that some of them are included because their turn has come or some of them are
not included just because the author does not desire it. Here, the fiction has
been shaken very heavily in the modern accounts, and the process of being
narrated has been passed through showing the permeability of the narrative
world. So the narration of the narrative is revealed.

One of the
characteristics of the postmodern texts is that it is a deception that the
narrative tries to identify itself with reality and that the narrative is
nothing more than a fiction. In the narration it is many times emphasized as a
motif that the narrative itself is a fiction rather than truth and reality. The
following lines in Fehmi K’n?n Acayip Serüvenleri support this idea;

            “Fehmi K.
ile Anette nas?l birer (kurmaca) anlat? kahraman?ysalar, bendeniz de, i?te
tastamam        öyle kurmaca bir anlat?
yazar?y?m” (p. 98)

In the narrative we
see many events hanging between reality and dream. Selim Ta??l’s statement that
there is a casebook belonging to Fehmi K. and the appearance of the picture of
the sitting of Müstehase Hanim, the symbol of the first sexual awakening in his
childhood from this casebook, leads the reader to think over reality, fiction
and dream again and again.

            “Bu bir dü? müydü,
yoksa gerçeklik mi? Bu foto?raf, kurmaca bir foto?raf m?yd?, yoksa       gerçekli?i imleyen bir foto?raf m??
Bilemiyorum.” (p. 154)

It is another point of
interest that Hilmi Yavuz, as the author of this narrative often resorts to the
game.. The narrator who changes position within the narrative turns it into a
play. Especially the interventions like interruptions in the text sometimes as
a reader, sometimes as a critic and sometimes as a writer, by the author, text
conveys a conversation atmosphere.

            “Çünkü bu anlat?n?n
yazar? olan hergele…”(p. 103)

            “Demek istedi?imiz ?udur ki, bundan
sonra okuyucu sadece dinleyici olarak var?z bu           anlat?da.
Sesimizi ç?kartm?yorsak, bu bizim burada bulunmad???m?z anlam?na gelmemeli. –Buraday?z ve seni dinliyoruz!”(p.
101)

In Fehmi K’n?n Acayip
Serüvenleri, as in many postmodern artifacts, there are intensely used symbols.
The reader has to be knowledgeable about these symbols. This is necessary in
order to understand the sentences that the author has made and to analyze the
functions loaded in the text of these sentences. The reader is no longer a
passive subject that must be taught. In Fehmi K’n?n Acayip Serüvenleri, there
are symbols of Tolstoy, Franz Kafka, Dostoyevski, T. S. Eliot, Freud, and Yahya
Kemal Beyatl? and sent to the works of these people.

Fehmi Kavk? is the fact of
a reference made in the narrative. Fehmi Kavki’s name suggests the name of
Franz Kafka. Both names start with the same letters and have the same number of
sounds. This similarity is not limited to just the name. There is also a
reference to the heroine of Franz Kafka’s “The Metamorphosis”. Gregor Samsa, the
evolutionary character of Kafka, who is a simple worker trapped under heavy work
and life routine and turning into an insect over time, presents a similar
appearance to Fehmi K. who looks like an overwhelmed civil servant. Also, .
According to the author, Marquis de Rollebun is actually Selim Ta??l and is
trying to write his own life story. Moreover, Roquentin here is Fehmi Kavk?
himself.

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