POLİSİYE ROMANDA YAKALAMA YA DA SONSUZ KAÇMA/KAYBOLMA: AGATHA CHRISTIE'NİN “AND THEN THERE WERE NONE” BAŞLIKLI ROMANI

Yıl 2017, Cilt: 57 Sayı: 2, 1127 - 1150, 01.01.2017

M. Ayça Vurmay

Öz

Roman türünün en popüler alt-türlerinden biri olan polisiye roman, suç ve yakalama kavramları üzerine kurulmuştur. Polisiye romanın yükselişini bu türü irdeleyen ve özellikle post modern yaklaşımlara dayanan kuramlara duyulan büyük ilgi takip etmiştir. "Polisiye türünün Kraliçesi" Agatha Christie, bu türün Altın Çağında başlıca kaidelerini, "oyun"un "kural"larını koymakla kalmamış, aynı zamanda türün kodlarını sorgulamış, tersyüz etmiştir. Bu nedenle Christie'nin romanları polisiye türünü deşifre edici ya da yapıbozucu yaklaşımlar olarak da incelenebilir. And Then There Were None romanında gerçeğin ya da suçluyu yakalamanın ikiyüzlü doğası, varlık/yokluk, suçlu kurban, yasa yapan/yasa çiğneyenin sonsuz ikililiğinde ve sürekli elden kaçmasında görülür. Romanın merkezinde bulunan çocuk şarkısı/tekerlemesi "Ten Little Indians" Niggers, soldiers [On Küçük Yerli/Zenci/Asker], anlamın içerde ve dışardaki başka anlamlara dağılmasını gerçekleştiren, merkezkaç ve merkezcil kuvvettir. Bu çocuk şarkısı, gerçeğin göstergelerinin akışkanlığını, masumiyet/suçluluk, çocukluk/yetişkinlik, korumacılık/kayıtsızlık, siyah/beyaz, ben/öteki, ilkel/uygar ve varlık/yokluk gibi ikili zıtlıkların yer değiştirmesi yoluyla sahneler. Tekerlemenin yanı sıra anlatının kendisi de ahlaki, psikolojik, sosyokültürel, ırksal ve sömürgesel/emperyal anlamlar yüklüdür. Dedektiften yoksun olan bu polisiye romanda gerçek kavramı, kaçma ya da kaybolma olarak temsil edilir. Bu makalenin amacı polisiye türünü, gerçeğin edimsel, kaygan ve oyuncu yönleri açısından ve And Then There Were None romanında anlamın dağılması, ötelenmesi ya da "çalınma"sını "teftiş etmek"tir.

Anahtar Kelimeler

Suç Romanı, Polisiye Roman, Agatha Christie, And Then There Were None, Yapıbozuculuk

DETECTION OR ENDLESS DEFERRAL/ABSENCE IN DETECTIVE FICTION: AGATHA CHRISTIE'S AND THEN THERE WERE NONE

Öz

Detective ction, one of the most popular genres of the novel, is grounded on the concepts of crime and detection. The rise in detective ction is followed by the surge of theories on this genre, particularly informed by post modern readings. Agatha Christie, "the Queen of Crime", not only contributed to the founding of the conventions of the genre, the "rules" of the "game", but she also deed and subverted the very codes of the genre during the Golden Age of Detective Fiction. Therefore, Christie's novels can be read as the decoding or deconstruction of the genre as well. Christie's And Then There Were None depicts the double-faced nature of truth or detection, as it reects the endless doubling and deferral of presence/absence, criminal/victim, and lawgiver/lawbreaker. The nursery rhyme "Ten Little Indians" "niggers"/"soldiers" , which is central to the novel, is a centripetal as well as a centrifugal force serving as the element through which meaning disseminates into others inside and outside. The rhyme enacts the uid nature of signiers of truth through the doubling of binaries such as innocence/guiltiness, childhood/adulthood, nurturing/indifference, white/black, self/other, primitive/civilized, and presence/absence. The rhyme, as well as the narrative is integral to moral, psychological, sociocultural, racial, and colonial/imperial implications. Even lacking a detective, this detective novel epitomizes detection as evasion or absence. The aim of this paper is to inspect the detective genre with a view to the performative, slippery, and ludic aspect of detection/truth as well as the dissemination, deferral or "purloining" of meaning through And Then There Were None.

Anahtar Kelimeler

Crime Fiction, Detective Fiction, Agatha Christie, And Then There Were None, Deconstruction

Kaynakça

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