19. yüzyılın en önemli Müslüman Türk kadın yazarlarından Fatma Aliye, Hayal ve Hakikat, Muhazarat, Refet, Udi, Levayih-i Hayat ve Enin olmak üzere kaleme aldığı altı romanında hep “kadın konusunu” irdelemiş”, ataerkil toplumda ve geleneksel aile yapısında kadının yaşadığı sorunları eserlerine taşımış ve bunlara zaman zaman çeşitli öneriler getirmiştir. Ancak Fatma Aliye’nin eserleri dikkatle incelendiğinde Ahmet Midhat ile birlikte yazdığı ilk romanı Hayal ve Hakikat’in diğerlerinden ayrı bir yerde durduğu dikkati çekmektedir. Ahmet Midhat, Fatma Aliye’nin bir yazar olarak ortaya çıktığı ilk yıllarda, onu desteklemiş, “kerime-i maneviye”si kabul etmiş, hatta kimi zaman sırf cinsiyetinden dolayı onun yazarlığına karşı çıkanlara karşı Fatma Aliye’yi savunmuştur. Ayrıca Fatma Aliye’nin yazdıklarını okuyup düzelterek hem kendi gazetesinde hem de diğer yayın organlarında yayımlanmasına aracılık etmiştir. Hiç şüphesiz dönemin en popüler, en çok okunan ve hâkim düzenle ilişkileri iyi olan Ahmet Midhat’ın desteği, Fatma Aliye’nin yazarlığının kamusal alanda kabulünde çok etkili olmuştur. Bir nevi Ahmet Midhat, Fatma Aliye’nin babası Ahmet Cevdet Paşa’dan sonra ikinci babası olmuş, iki yazar arasında “manevi baba-kız” ilişkisi kurulmuştur. Ancak Ahmet Midhat-Fatma Aliye arasında kurulan ilişkiye ataerkil düzendeki cinsiyet hiyerarşisi hâkim olmuş, özellikle Fatma Aliye’nin yazarlığının ilk yıllarında erkek yazar otoriteyi elinde bulunduran, kadın yazar ise onun otoritesine boyun eğen kişi olmuştur. Bu hiyerarşik ilişki iki yazarın birlikte kaleme aldığı Hayal ve Hakikat romanına da yansımış, böylece ortaya Fatma Aliye’nin diğer romanlarından oldukça farklı bir yazarlık tavrı, anlatıcı ses ve kadın karakter çıkmıştır. Bu çalışmanın temel çıkış noktası, Fatma Aliye’nin bir erkek yazarın otoritesi altında yazdığı, metin üzerinde hiçbir hâkimiyetinin bulunmadığı ve erkek yazarın ideolojisini benimsemek zorunda kaldığı ilk romanı Hayal ve Hakikat’teki kadın-erkek rollerini, toplumsal cinsiyet kodlarını, kadına biçilen olumsuz özellikleri; konu, kişilerin hayat hikâyeleri, olay örgüsü gibi birçok bakımdan Hayal ve Hakikat’e benzeyen son romanı Enin’de tam tersine çevirmiş olduğudur. Fatma Aliye, kadın yazar olarak kamusal alana müdahil olurken Ahmet Midhat’ın desteğine gereksinim duymuş, ancak yıllar içinde güçlenip edebiyat dünyasında yer edindikten sonra bu zorunluluktan azade olmuştur. Bu bağlamda, Hayal ve Hakikat’te kadın yazarın ve kadın karakterin eril iktidar karşısında ikincil konumda kalmalarının aksine Fatma Aliye’nin yıllar sonra yazdığı Enin’de hem “yazınsal otoritenin” hem de kadın otoritesinin güçlü bir şekilde kurulduğu görülür. Çalışmada Fatma Aliye’nin ilk romanı Hayal ve Hakikat ile son romanı Enin çeşitli açılardan karşılaştırılacak, Fatma Aliye’nin iki romanında kadın konusuna yaklaşımındaki farklılıklar ortaya konmaya çalışılacaktır.

Fatma Aliye, one of the most significant Ottoman-Muslim female writers of the 19th century, perpetually scrutinizes the “woman question” and sets forth the problems women have to go through in a patriarchal society and a traditional family structure as well as occasionally suggesting possible solutions to these problems in all of the six novels she penned over the course of her life, Hayal ve Hakikat, Muhadarat, Refet, Udi, Levayih-i Hayat and Enin. However, upon closer inspection, her first novel Hayal ve Hakikat, which she co-wrote with Ahmet Midhat, appears to stand out from the rest of her work. Ahmet Midhat, who supported Fatma Aliye during the early years of her career as an emerging writer, deemed her as his “honorary daughter” and even stood up for her against those who opposed her and her writership for no other reason than her being a woman. Furthermore, Ahmet Midhat read and edited her work in addition to playing a fundamental role in the publication of her work both in his own newspaper and other media. There is no doubt that the unwavering support of Ahmet Midhat, not only the most popular and most widely-read writer of the period, but also a writer who is in good terms with the prevailing order, was hugely influential in the public acknowledgement of Fatma Aliye’s authorship. In a way, Ahmet Midhat became a father figure to Fatma Aliye, who was born as the daughter of Ahmet Cevdet Pasha, resulting in the formation of a fatherdaughter relationship between the two writers. Neverthless, the same hierarchical relationship that was prevalent in the patriarchal structure applied to the relationship that developed between Ahmet Midhat and Fatma Aliye: While the male author was the one who possessed authority, the female writer was the one who was subjugated to that authority. This hierarchical relationship is mirrored in the novel the two co-wrote, Hayal ve Hakikat, hence the emergence of distinct author attitude, narrator voice, and a female character noticeably different than the ones found in her other novels. The main starting point of this study is that, in her last novel Enin, which bears many similarities to Hayal ve Hakikat in terms of its subject matter, plot and characters’ life stories, Fatma Aliye completely reverses the male-female roles, gender codes and the negative qualities traditionally projected on women that characterize her first novel Hayal ve Hakikat, in which she had to adopt the ideology of a male author as she was writing under the authority of a male author and had no control over the text whatsoever. Fatma Aliye was in need of the support she could get from Ahmet Midhat in order to be included in the public sphere as a woman writer, but she was ultimately set free from this need as she gradually gained power and secured her place as a writer in the literary circle of the period. In this vein, as opposed to the female author and the female character pushed into the background and overshadowed by the male authority in her first novel, we see Fatma Aliye’s powerful exertion of both literary and female authority in Enin, which she wrote many years after Hayal ve Hakikat. Comparing her first novel Hayal ve Hakikat and her last novel Enin, this article will attempt to reveal the differences in Fatma Aliye’s approach to the woman issue in these novels. Structured Abstract: Fatma Aliye, one of the most significant Ottoman-Muslim female writers of the 19th century, perpetually scrutinizes the “woman question” and sets forth the problems women have to go through in a patriarchal society and a traditional family structure as well as occasionally suggesting possible solutions to these problems in all of the six novels she penned over the course of her life, Dream and Truth, Useful Information, Refet, The Lute Player, Scenes from Life and Groaning. However, upon closer inspection, her first novel Dream and Truth (Hayal ve Hakikat), which she co-wrote with Ahmet Midhat, appears to stand out from the rest of her work. Ahmet Midhat, who supported Fatma Aliye during the early years of her career as an emerging writer, deemed her as his “honorary daughter” and even stood up for her against those who opposed her and her writership for no other reason than her being a woman. Furthermore, Ahmet Midhat read and edited her work in addition to playing a fundamental role in the publication of her work both in his own newspaper and other media. There is no doubt that the unwavering support of Ahmet Midhat, not only the most popular and most widely-read writer of the period, but also a writer who is in good terms with the prevailing order, was hugely influential in the public acknowledgement of Fatma Aliye’s authorship. In a way, Ahmet Midhat became a father figure to Fatma Aliye, who was born as the daughter of Ahmet Cevdet Pasha, resulting in the formation of a father-daughter relationship between the two writers. Neverthless, the same hierarchical rel