euphy
@Zedanur
part-time teacher, full-time reader
Şu anda okuduğu kitap
In Beyinde Ararken Bağırsakta Buldum, Serkan Karaismailoğlu invites the reader to rethink the human body by shifting the focus from the brain to an often underestimated organ: the gut. The book centers on the relationship between the brain, the intestines, and the trillions of microorganisms living inside us, showing that many things we attribute to “the mind” are deeply connected to the body, especially the digestive system.
What makes this book stand out is that it is not limited to anatomy or neuroscience alone. While Karaismailoğlu explains how the nervous system, hormones, and microbiota interact, he also enriches the narrative with etymology, historical anecdotes, and cultural references. Words, medical terms, and concepts are traced back to their linguistic roots, and scientific discoveries are placed within their historical context. This gives the reader the feeling that science is not isolated from language or history, but deeply intertwined with them.
Another strong aspect of the book is the author’s language and tone. Instead of sounding like a textbook, Karaismailoğlu writes in a conversational, humorous, and engaging way. The examples he uses, often drawn from daily life, make complex biological processes easier to understand and surprisingly enjoyable to read. Even when dealing with technical topics, the book never feels heavy or inaccessible.
Overall, Beyinde Ararken Bağırsakta Buldum is both informative and entertaining. It offers valuable knowledge about how our bodies work while also appealing to readers who enjoy learning about the origins of words and ideas. The book successfully combines science, history, and language, making it a rewarding read for anyone curious about the human body and the hidden connections that shape our behavior and
Her çiçeğin bir mevsimi, her kitabın bir zamanı vardır. Haziranın tadını yeni hikâyelerle çıkarın.
Selma ve Gölgesi is honestly one of the most interesting books Peyami Safa wrote under the name Server Bedi. At first it looks like a typical mystery or thriller, but once you get into it, you realize it’s not really about the events, it’s more about the characters’ inner worlds. Especially Selma. She’s both attractive and confusing, and you can never fully understand who she really is. That mystery is basically what creates the whole atmosphere of the book.
Safa doesn’t use Istanbul as a simple background either. The dark streets, ruined houses, dim lights… they all blend into the mood of the story. While reading, you always feel this light tension, like there’s fog in the air. Selma’s strange, unreadable attitude only makes that feeling stronger. She’s the kind of character that makes you stop and think, “What is going on with her?”
She might look like a typical femme fatale, but I don’t think Safa wrote her in a one-dimensional “dangerous woman” way. She actually feels like someone who is struggling with her own shadow, literally and metaphorically. Everything happening around her reflects how people can get pulled into their own darker sides. So the real suspense isn’t in the “mystery” parts of the plot; it’s inside the characters themselves.
The writing is smooth and easy to follow. Because it was originally published as a serial in the newspaper, every part leaves a little hook that keeps you reading. Still, it isn’t just a page-turner; there’s a bit of psychological depth, a bit of gothic vibe, and a bit of that specific melancholic tone Safa always has.
Overall, Selma and Her Shadow isn’t simply a “who did what” thriller. It feels more like a story about the unknown places inside people, the parts they fear, the parts they’re drawn to, and the parts they
Bu kitabı okurken üniversite yıllarında bir derste satirik edebiyattan okumalar ve analizler yaparken karşılaştığım Jeanette Winterson adında bir yazarı hatırladım.
Mine Söğüt’ün Ormandaki Kalpsiz Ceylan’ı ile Jeanette Winterson’ın masal-mit yeniden yazım geleneği, birbirinden farklı kültürel bağlamlardan çıksalar da aynı damar üzerinde buluşur: ikisi de çok iyi bildiğimiz bir hikâyeyi, dünyanın düzenini sorgulamak için yeniden kurarlar. Winterson, klasik anlatıların yapı taşlarını, kahraman, yolculuk, aşk, anne, baba, cinsiyet, kader, yerinden oynatarak toplumun “kaçınılmazmış gibi görünen” normlarını çözer. Söğüt ise masalı andıran ritmik dili, sembolik karakterleri ve karanlık orman metaforuyla benzer bir şeyi Türkçenin kültürel alanında yapar; ezeli bir masalı andıran bir hikâyeyi alır, içindeki güç ilişkilerini tersyüz ederek bugünün sistemini açığa çıkarır.
Winterson’ın yazım tarzı daha keskin, deneysel ve ironik bir zeminde ilerlerken; Söğüt’ün dili büyülü gerçekçiliğe, ritüel anlatımına ve masalsı imgelerin duygusal gücüne yaslanır. Ancak ikisinin de amacı aynıdır: okura “hep böyle gelmiş hep böyle gider” denilen yapıları görünür kılmak, masalların içine gizlenmiş toplum düzenini deşifre etmek. Winterson bunu çoğu zaman cinsel kimlik, aşkın anlamı, beden politikaları ve bireyin kendi hikâyesini seçme hakkı üzerinden yapar; Söğüt ise güç, şiddet, kalpsizlik, masumiyetin kaybı ve ataerkil dünyanın yarattığı görünmez yıkım üzerinden.
Her iki yazar da masalı bir kaçış alanı değil, bir teşhir alanı olarak kullanır. Masalın bildik motifleri, orman, mağara, kulübe, dönüşüm, yolculuk, yutulma, yeniden doğuş, artık çocukça bir dünyanın aksesuarı değil, gerçek dünyanın işleyişini çıplaklaştıran araçlara dönüşür. Winterson karakterlerini sürekli dönüştürerek kimliğin
