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Hayatım
- Narrated by: İsmet Numanoğlu
- Length: 3 hrs and 42 mins
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Hayatım
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Publisher's summary
Chekhov'un Tüy Kalemindeki Yolculuk
Anton; 19. yüzyılın sonlarının ünlü Rus oyun yazarı ve kısa hikâye yazarı, soğuk bir kış akşamında çalışma odasında oturmuştu. Kar, ağaçları kalın bir şekilde örtüyordu, ancak Anton soğuğa aldırmıyordu. Yazıyla meşguldü, eli ritmik bir uyumla sayfalar üzerinde dans ediyordu.
Birden, tuhaf bir şey oldu. Anton yeni hikâyesinin ilk birkaç satırını yazarken, tüy kaleminin mürekkebi parlak, eterik bir ışıkla parıldamaya başladı. Oda aydınlandı, antika mobilyaların üzerinde tuhaf gölgeler oluşturdu. Şaşkın ama meraklı olan Anton, parlayan kelimelere dokunmaya çalıştı. Parmakları hala ıslak olan mürekkebe değdiğinde başı dönmeye başladı. Gözlerini kapadı.
Anton gözlerini yeniden açtığında, güneşin altında kalan bir elma bahçesinde buldu kendini, olgunlaşan elmalardan gelen kokular havayı sarıyordu. Hemen tanımıştı – bu, ünlü oyunlarından "Vişne Bahçesi"ndeki bahçeydi. Sonra ‘Bozkır’a geçti, derken bir diğerine… Ona doğru yürüyen bir kadın gördü, gözlerinde acıtatlı bir hüzün ifadesi vardı. "Lyubov," diye fısıldadı Anton, kendi karakterini tanıyarak.
Her geçişle, Anton yarattığı dünyaları deneyimledi. Ivanov ile kahkahalar attı, "Üç Kız Kardeş"teki Olga'nın trajik umutsuzluğunu hissetti ve Ranevskaya'nın karmaşık aklına daldı. Sadece gözlemlemekle kalmadı, onların duygularını, zorluklarını ve sevinçlerini hissetti.
Sonunda, güneş batarken, Anton kendini tekrar çalışma odasında buldu, tüy kalem hala açık olan kitabın yanında sessizce yatıyordu. Onun üzerine derin bir anlayış dalgası çöktü. Sadece hikayeler yazmamış, hayatlar, kişilikler, umutlar ve rüyalar yaratmıştı. Sadece bir anlatıcı değil, dünyaların yaratıcısıydı.
Yeniden bir amaç hissiyle, Anton Chekhov tüy kalemini bir kez daha kaldırdı. Boş sayfa artık göz korkutucu değil, davetkar oldu, yeni karakterlerin, yeni hikayelerin ve yeni dünyaların doğuşunu heyecanla bekliyordu. Hikayeleri onun mirası olarak devam edecekti, ama şimdi onlar ayrıca yeni bulduğu anlayışın canlı bir kanıtıydı: her karakteri hayata geçirdiğinde, onlar kendi evrenlerinde gerçek, duygusal bir varlık oluyordu. Onlar sadece hikayeler değildi; onlar hayatın ta kendisiydi.
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