Issuu

‫ﮔﺮﻭﻩ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬

‫ﺗﺤﺮﻳﺮﻳﻪﻯ ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﺍﺯ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ‪ ،‬ﻣﺘﺮﺟﻤﺎﻥ ﻭ ﻣﺤﻘﻘﺎﻥ‬ ‫ﮔﻮﻧﻪﻯ ﺍﺩﺑﻰ ﮔﻤﺎﻧﻪﺯﻥ )ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﻓﺎﻧﺘﺰﻯ‪ ،‬ﻭﺣﺸﺖ ﻭ ﺯﻳﺮﺳﺒﻚﻫﺎﻯ ﺁﻥﻫﺎ(‬ ‫ﺩﻋﻮﺕ ﻣﻰﻛﻨﺪ ﺩﺍﺳﺘﺎﻥﻫﺎ‪ ،‬ﻣﻘﺎﻻﺕ ﻭ ﻣﻄﺎﻟﺐ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ ﺑﻪ ﻧﺸﺎﻧﻰ‬ ‫ﭘﺴﺖ ﺍﻟﻜﺘﺮﻭﻧﻴﻚ ﻣﺎﻫﻨﺎﻣﻪ )‪ (mag@fantasy.ir‬ﺍﺭﺳﺎﻝ ﻛﻨﻨﺪ‪.‬‬

‫ﺷﺮﺍﻳﻂ ﭘﺬﻳﺮﺵ ﺁﺛﺎﺭ‪:‬‬ ‫‪ -1‬ﺧﻮﺍﻫﺸﻤﻨﺪ ﺍﺳﺖ ﻣﻄﺎﻟﺐ ﺭﺍ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻧﺮﻡﺍﻓﺰﺍﺭﻫﺎﻯ ﻭﺍژﻩﭘﺮﺩﺍﺯ‪ ،‬ﺩﺭ ﺩﻭ ﻗﺎﻟﺐ ‪ MS Word‬ﻳﺎ‬ ‫‪ Open Office‬ﺍﺭﺳﺎﻝ ﻓﺮﻣﺎﻳﻴﺪ‪.‬‬ ‫‪ -2‬ﺩﺭ ﻛﻠﻴﻪﻯ ﻣﻄﺎﻟﺐ ﺍﺭﺳﺎﻟﻰ‪ ،‬ﻗﺎﻧﻮﻥ ﺣﻤﺎﻳﺖ ﺣﻘﻮﻕ ﻣﺆﻟﻔﺎﻥ ﻭ ﻣﻨﺼﻔﺎﻥ‪ ،‬ﻣﺼﻮﺏ ‪ ،1384‬ﺑﺎﻳﺪ‬ ‫ﺭﻋﺎﻳﺖ ﺷﺪﻩ ﺑﺎﺷﺪ‪.‬‬ ‫‪ -3‬ﻣﻄﺎﻟﺐ ﺗﺮﺟﻤﻪ ﺭﺍ ﻫﻤﺮﺍﻩ ﺑﺎ ﻧﺴﺨﻪﺍﻯ ﺍﺯ ﺍﺻﻞ ﻣﻄﻠﺐ )ﺩﺭ ﻗﺎﻟﺐﻫﺎﻯ ﺍﺳﺘﺎﻧﺪﺍﺭﺩ ‪، MS Word‬‬ ‫‪ PDF ،TXT‬ﻳﺎ ‪ (Open Office‬ﺍﺭﺳﺎﻝ ﻓﺮﻣﺎﻳﻴﺪ‪.‬‬ ‫‪ -4‬ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﺩﺭ ﻭﻳﺮﺍﻳﺶ ﻭ ﺍﺻﻼﺡ ﻣﻄﺎﻟﺐ ﺁﺯﺍﺩ ﺍﺳﺖ‪.‬‬ ‫‪ -5‬ﻣﺴﺆﻭﻟﻴﺖ ﻣﺤﺘﻮﺍﻯ ﻣﻄﺎﻟﺐ ﻣﻨﺪﺭﺝ ﺩﺭ ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‪ ،‬ﺑﺎ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻭ‬ ‫ﻣﺘﺮﺟﻤﺎﻥ ﺁﺛﺎﺭ ﺍﺳﺖ‪.‬‬ ‫‪ -6‬ﻛﻠﻴﻪﻯ ﻣﻄﺎﻟﺐ ﺍﺭﺳﺎﻟﻰ ﺩﺭ ﺗﺤﺮﻳﺮﻳﻪﻯ ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﻣﻮﺭﺩ ﺑﺮﺭﺳﻰ ﻗﺮﺍﺭ‬ ‫ﻣﻰﮔﻴﺮﻧﺪ ﻭ ﺗﻨﻬﺎ ﺩﺭ ﺻﻮﺭﺕ ﺗﺄﻳﻴﺪ ﻣﻨﺘﺸﺮ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫‪ -7‬ﺩﺭ ﺻﻮﺭﺕ ﺍﺭﺳﺎﻝ ﻣﻌﺮﻓﻰ ﻭ ﻳﺎ ﻧﻘﺪ ﻛﺘﺎﺏ ﻭ ﻓﻴﻠﻢ‪ ،‬ﺗﺼﺎﻭﻳﺮ ﻣﻨﺎﺳﺐ ﺭﺍ ﻧﻴﺰ ﻫﻤﺮﺍﻩ ﻓﺮﻣﺎﻳﻴﺪ‪.‬‬ ‫‪ -8‬ﺑﺎﺯﻧﺸﺮ ﺁﺛﺎﺭﻯ ﻛﻪ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺩﺭ ﺩﻳﮕﺮ ﺭﺳﺎﻧﻪﻫﺎ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺑﺎﺷﻨﺪ‪ ،‬ﭘﺲ ﺍﺯ ﺗﺄﻳﻴﺪ ﺗﺤﺮﻳﺮﻳﻪ‪،‬‬ ‫ﻣﻨﻮﻁ ﺑﻪ ﺍﺭﺍﺋﻪﻯ ﺍﺟﺎﺯﻩﻧﺎﻣﻪﻯ ﻛﺘﺒﻰ ﺍﺯ ﺁﻥ ﻧﺸﺮﻳﻪ ﺍﺳﺖ‪.‬‬ ‫ﺍ‬

‫»ﺧﺪﺍﺣﺎﻓﻆ ﮔﺎﻟﻴﻨﮕﺮ‪«.‬‬ ‫ﻋﺼﺮﮔﺎﻫﻰ ﺭﻭ ﺑﻪ ﺷﺐ ﺭﺍﻧﺪﻡ‪ .‬ﺑﺎﻝﻫﺎﻯ ﺍﻓﺮﺍﺷﺘﻪﻯ‬ ‫ﺍﺯ ﺩﺭ ﺑﻴﺮﻭﻥ ﺭﻓﺘﻢ‪ ،‬ﺳﻮﺍﺭ ﺟﻴﭙﺴﺘﺮ ﺷﺪﻡ ﻭ ﺩﺭ ﻫﻮﺍﻯ‬ ‫ِ‬ ‫ﺻﺤﺮﺍ ﭘﺸﺖ ﺳﺮﻡ ﺑﻪ ﻫﻢ ﻣﻰﺧﻮﺭﺩﻧﺪ‪.‬‬

‫‪1. Emory‬‬

‫‪ .2‬ﻭﺳﻴﻠﻪﺍﻯ ﺻﺤﺮﺍﻧﻮﺭﺩ‬

‫ﺳﻠﻴﻤﺎﻥ‪ ،‬ﭘﺴﺮ ﺩﺍﻭﻭﺩ ﺍﺳﺖ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﺩﺭ ﻃﻮﻝ ﺯﻣﺎﻥ‪،‬‬ ‫ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺩﻳﮕﺮ ﭼﻴﺰﻫﺎﻳﻰ ﺑﻪ ﻣﺘﻦ ﺍﺻﻠﻰ ﺍﻓﺰﻭﺩﻩ ﺑﺎﺷﻨﺪ‪.‬‬

‫‪3. Tirellian‬‬

‫‪13. Malann‬‬

‫‪ :Malebolge .4‬ﺑﻪ ﺍﻳﺘﺎﻟﻴﺎﻳﻰ ﻳﻌﻨﻰ »ﺧﻨﺪﻕ ﺷﻴﻄﺎﻥ«‪ .‬ﻧﺎﻡ‬ ‫ﻃﺒﻘﻪﻯ ﻫﺸﺘﻢ ﺩﻭﺯﺥ ﺩﺍﻧﺘﻪ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﻃﺒﻘﻪ ﺭﻳﺎﻛﺎﺭﺍﻥ ﻭ‬ ‫ﺣﻴﻠﻪﮔﺮﺍﻥ ﺳﺎﺩﻩ ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ؛ ﻳﻌﻨﻰ ﺍﻓﺮﺍﺩﻯ ﻛﻪ ﻟﺰﻭﻣﺎً ﺑﻪ ﻗﺼﺪﻯ‬ ‫ﺷﻴﻄﺎﻧﻰ ﺣﻴﻠﻪ ﻧﻜﺮﺩﻩﺍﻧﺪ‪ .‬ﺣﻴﻠﻪﮔﺮﺍﻧﻰ ﻛﻪ ﻋﻠﻴﻪ ﻋﺸﻖ‪ ،‬ﺷﺮﺍﻓﺖ‪،‬‬ ‫ﺍﻳﻤﺎﻥ ﻭ ‪ ...‬ﺣﻴﻠﻪ ﻛﺮﺩﻩﺍﻧﺪ‪ ،‬ﺩﺭ ﻃﺒﻘﻪﻯ ﻧﻬﻢ ﺟﺎﻯ ﺩﺍﺭﻧﺪ‪ .‬ﺩﺍﻧﺘﻪ‬ ‫ﺍﻭﻟﻴﺲ ﺭﺍ ﺑﻪ ﺩﻟﻴﻞ ﺯﻳﺮﻛﻰ ﺧﻮﺩﺵ ﻛﻪ ﺩﺭ ﻭﺍﻗﻊ ﻫﻤﺎﻥ ﺣﻴﻠﻪﮔﺮﻯ‬ ‫ﺑﻮﺩ‪ ،‬ﺩﺭ ﺍﻳﻦ ﻃﺒﻘﻪ ﺟﺎﻯ ﺩﺍﺩﻩ ﺍﺳﺖ‪.‬‬ ‫‪ :Treza Rima .5‬ﻧﻮﻋﻰ ﺳﺒﻚ ﺷﻌﺮﻯ ﻛﻪ ﻛﻤﺪﻯ ﺍﻟﻬﻰ ﺑﻪ ﺁﻥ‬ ‫ﺳﺮﻭﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫‪ :Mahabharata .6‬ﻳﻜﻰ ﺍﺯ ﺩﻭ ﻣﻨﻈﻮﻣﻪﻯ ﺣﻤﺎﺳﻰ ﻣﻬﻢ ﻫﻨﺪ‪.‬‬ ‫ﺩﻳﮕﺮﻯ ﺭﺍﻣﺎﻳﺎﻧﺎ ﺍﺳﺖ ﻭ ﻫﺮ ﺩﻭ ﺑﻪ ﺯﺑﺎﻥ ﺳﺎﻧﺴﻜﺮﻳﺖ ﻫﺴﺘﻨﺪ‪ .‬ﺍﻳﻦ‬ ‫ﻣﺘﻦ ﻋﻼﻭﻩ ﺑﺮ ﺁﻥ ﻛﻪ ﺣﻤﺎﺳﻰ ﺍﺳﺖ‪ ،‬ﺍﺯ ﻟﺤﺎﻅ ﻓﻠﺴﻔﻪﻯ ﺯﻧﺪﮔﻰ‬ ‫ﻫﻢ ﺑﺴﻴﺎﺭ ﻏﻨﻰ ﺍﺳﺖ‪.‬‬ ‫‪ .7‬ﺍﺷﺎﺭﻩ ﺑﻪ ﺩﺍﺳﺘﺎﻥ ﺳﺎﻣﺴﻮﻥ ﻛﻪ ﺩﺭ ﺗﻮﺭﺍﺕ ﻧﻘﻞ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫‪8. M’Cwyie‬‬ ‫‪ :Schliemann .9‬ﻳﻜﻰ ﺍﺯ ﻛﺎﻭﺷﮕﺮﺍﻥ ﻣﻌﺮﻭﻑ ﺗﺮﻭﺍ‪.‬‬

‫‪ .14‬ﺷﺎﻩ ﺟﻴﻤﺰ ﺍﻭﻝ ﻛﻪ ﺩﺳﺘﻮﺭ ﺍﻧﺘﺸﺎﺭ ﺍﻧﺠﻴﻞ ﺭﺍ ﺩﺍﺩ‪.‬‬ ‫‪ .15‬ﺍﺯ ﻧﻈﺮ ﺳﺎﺭﺗﺮ ﺭﺍﺑﻄﻪﻯ ﻣﻴﺎﻥ ﺍﻧﺴﺎﻥﻫﺎ ﺧﺼﻤﺎﻧﻪ ﻭ ﻋﺎﺭﻯ ﺍﺯ ﻫﺮ‬ ‫ﮔﻮﻧﻪ ﺣﺴﻦ ﻧﻴﺖ ﺍﺳﺖ‪ .‬ﺍﻭ ﺩﺭ ﺗﻮﺻﻴﻒ ﺍﻳﻦ ﺭﺍﺑﻄﻪ ﺍﺯ ﺍﺳﺘﻌﺎﺭﻩﻯ‬ ‫»ﻧﮕﺎﻩ« ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﺪ ﻭ ﻣﻰﮔﻮﻳﺪ‪» :‬ﺩﻳﮕﺮﻯ« ﺑﺎ ﻧﮕﺎﻩ ﺧﻮﺩ‬ ‫ﻣﻰﻛﻮﺷﺪ ﺁﺯﺍﺩﻯ ﻣﺮﺍ ﺳﻠﺐ ﻛﻨﺪ ﻭ ﺑﺎ ﺳﻠﻄﻪ ﭘﻴﺪﺍ ﻛﺮﺩﻥ ﺑﺮ ﻣﻦ‬ ‫ﻣﺮﺍ ﺑﺮﺩﻩﻯ ﺧﻮﺩ ﺳﺎﺯﺩ‪.‬‬ ‫‪ :M’narra .16‬ﻇﺎﻫﺮﺍ ً ﻳﻜﻰ ﺍﺯ ﺍﻟﻔﺎﻅ ﺍﺣﺘﺮﺍﻡﺁﻣﻴﺰ ﻣﺮﻳﺨﻰ ﺍﺳﺖ‪.‬‬ ‫‪ :Haylock Ellis .17‬ﺭﻭﺍﻧﺸﻨﺎﺱ ﺍﻧﮕﻠﻴﺴﻰ ﻛﻪ ﺩﺭﺑﺎﺭﻩﻯ‬ ‫ﺟﻨﺴﻴﺖ ﻭ ﻣﻄﺎﻟﺐ ﻣﺮﺗﺒﻂ ﺑﺎ ﺁﻥ ﺗﺤﻘﻴﻘﺎﺕ ﻓﺮﺍﻭﺍﻥ ﺍﻧﺠﺎﻡ ﺩﺍﺩ ﻭ‬ ‫ﮔﻮﻳﺎ ﻧﻈﺮ ﻣﺸﺎﺑﻬﻰ ﺩﺭ ﻣﻮﺭﺩ ﺭﻗﺺ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪.‬‬ ‫‪ :Samisen .18‬ﻧﻮﻋﻰ ﺳﺎﺯ ﺯﻫﻰ ژﺍﭘﻨﻰ ﺑﺎ ﺩﺳﺘﻪﺍﻯ ﺑﻠﻨﺪ ﻭ‬ ‫ﺑﺪﻧﻪﺍﻯ ﭼﻬﺎﺭ ﮔﻮﺵ ﻭ ﺳﻪ ﺗﺎﺭ‪.‬‬

‫‪10. Benzedrine‬‬

‫‪ :Auden .11‬ﺷﺎﻋﺮ ﻣﻌﺮﻭﻑ ﺍﻧﮕﻠﻴﺴﻰ‪-‬ﺁﻣﺮﻳﻜﺎﻳﻰ ﻛﻪ ﺩﺭ‬ ‫ﺍﻧﮕﻠﺴﺘﺎﻥ ﻣﺘﻮﻟﺪ ﺷﺪ ﻭ ﺑﻌﺪﻫﺎ ﺑﻪ ﺗﺒﻌﻴﺖ ﺁﻣﺮﻳﻜﺎ ﺩﺭ ﺁﻣﺪ ﻭ ﺑﺮﺧﻰ‬ ‫ﺍﻭ ﺭﺍ ﺍﺯ ﺑﺰﺭگﺗﺮﻳﻦ ﺷﻌﺮﺍﻯ ﻗﺮﻥ ﺑﻴﺴﺘﻢ ﻣﻰﺩﺍﻧﻨﺪ‪.‬‬ ‫‪ :Book of Ecclesiastes .12‬ﻛﺘﺎﺏ ﺟﺎﻣﻌﻪﻯ ﺍﺑﻦ ﺩﺍﻭﺩ‪ ،‬ﻛﻪ ﻧﺎﻡ‬ ‫ﻳﻜﻰ ﺍﺯ ﺑﺨﺶﻫﺎﻯ ﻋﻬﺪ ﻋﺘﻴﻖ ﻛﺘﺎﺏ ﻣﻘﺪﺱ ﺍﺳﺖ ﻭ ﺩﺭﺑﺎﺭﻩﻯ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪19. Braxa‬‬

‫‪ .20‬ﺣﺮﻛﺖ ﺍﺯ ﻳﻚ ﻧﺖ ﺑﻪ ﻧﺖ ﺩﻳﮕﺮ‪.‬‬ ‫‪ :Devadasis .21‬ﻣﺮﺍﻣﻰ ﻫﻨﺪﻯ ﻛﻪ ﺩﺭ ﺁﻥ ﺩﺧﺘﺮﻫﺎ ﺑﺎ ﻳﻚ ﺍﻳﺰﺩ‬ ‫ﺍﺯﺩﻭﺍﺝ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺭﻗﺺ ﻭ ﺁﻭﺍﺯ ﺟﺰء ﻻﻳﻨﻔﻚ ﺍﻳﻦ ﻣﺮﺍﻡ ﺍﺳﺖ‪.‬‬ ‫‪ :Sarasvati .22‬ﺍﻟﻬﻪﻯ ﺩﺍﻧﺶ‪ ،‬ﻣﻮﺳﻴﻘﻰ ﻭ ﻓﺮﺯﺍﻧﮕﻰ ﺩﺭ ﺍﺳﺎﻃﻴﺮ‬ ‫ﻫﻨﺪ‪.‬‬ ‫‪ :Arthur Rimbaud .23‬ﻳﻚ ﺷﺎﻋﺮ‪.‬‬ ‫‪ :Charles Baudelaire .24‬ﺷﺎﻋﺮ ﻭ ﻧﻮﻳﺴﻨﺪﻩﻯ ﻓﺮﺍﻧﺴﻮﻯ ﻭ ﺍﺯ‬ ‫ﭘﻴﺸﮕﺎﻣﺎﻥ ﺗﺮﺟﻤﻪﻯ ﺁﺛﺎﺭ ﭘﻮ ﺑﻪ ﻓﺮﺍﻧﺴﻪ‪.‬‬

‫‪102‬‬

‫‪25. De Quincy‬‬

‫ﭘﺎﻭﺭﻗﻰ‬

‫ﺑﻮﺩﻡ ﺑﺎ ﺣﺸﻴﺶ‪ ،‬ﺑﻮﺩﻟﺮ ]‪ [24‬ﺑﻮﺩﻡ ﺑﺎ ﺗﻨﺘﻮﺭ ﺍﻓﻴﻮﻥ‪ ،‬ﭘﻮ‪ ،‬ﺩﻯ ﻛﻮﻳﺴﻨﻰ ]‪ [25‬ﻭﺍﻳﻠﺪ‪ ،‬ﻣﺎﻻﺭﻡ ﻭ ﺁﻟﺴﺘﺮ‬ ‫ﻛﺮﺍﻭﻟﻰ ﺷﺪﻡ‪ .‬ﺣﺘﺎ ﻳﻚ ﻟﺤﻈﻪ ﭘﺪﺭﻡ ﺑﻮﺩﻡ ﭘﺸﺖ ﻣﻨﺒﺮ ﺗﻴﺮﻩ ﺩﺭ ﻟﺒﺎﺱ ﺗﻴﺮﻩﻯ ﺭﻫﺒﺎﻧﻴﺖ؛ ﺯﻣﺰﻣﻪﻯ‬ ‫ﺩﻋﺎﻫﺎ ﻭ ﺻﺪﺍﻯ ﺍﺭگ ﺑﻮﺩﻡ ﻛﻪ ﺑﻪ ﺑﺎﺩ ﺭﻭﺷﻦ ﺗﺒﺪﻳﻞ ﺷﺪ‪ .‬ﺑﺮﺍﻛﺴﺎ ﺑﺎﺩﻧﻤﺎﻯ ﭼﺮﺧﺎﻧﻰ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺻﻠﻴﺒﻰ‬ ‫ﺍﺯ ﭘﺮ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﻫﻮﺍ ﻣﻌﻠﻖ ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪ .‬ﻟﺒﻪﻯ ﺭﻭﺷﻦ ﻟﺒﺎﺱ ﺑﻪ ﺯﻣﻴﻦ ﻛﺸﻴﺪﻩ ﺷﺪ‪ .‬ﺣﺎﻻ ﺷﺎﻧﻪﻫﺎﻳﺶ‬ ‫ﺑﺮﻫﻨﻪ ﺑﻮﺩﻧﺪ ﻭ ﺳﻴﻨﻪﻯ ﺭﺍﺳﺘﺶ ﻣﺜﻞ ﻣﺎﻩ ﺩﺭ ﺁﺳﻤﺎﻥ ﺑﺎﻻ ﻭ ﭘﺎﻳﻴﻦ ﺣﺮﻛﺖ ﻣﻰﻛﺮﺩ‪ .‬ﻣﻮﺳﻴﻘﻰ ﻫﻤﭽﻮﻥ‬ ‫ﻣﻨﺎﻇﺮﻩﻯ ﺍﻳﻮﺏ ﺑﺎ ﺧﺪﺍﻭﻧﺪ ﺑﻮﺩ‪ .‬ﺭﻗﺼﺴﺶ ﭘﺎﺳﺦ ﺧﺪﺍ ﺑﻮﺩ‪ .‬ﻣﻮﺳﻴﻖ ﺁﺭﺍﻡ ﻭ ﻳﻜﻮﺍﺧﺖ ﺷﺪ‪ ،‬ﻣﻼﻗﺎﺕ ﺷﺪﻩ‪،‬‬ ‫ﭘﺴﻨﺪﻳﺪﻩ ﺷﺪﻩ ﻭ ﭘﺎﺳﺦ ﺩﺍﺩﻩ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻟﺒﺎﺱﻫﺎﻳﺶ ﮔﻮﻳﻰ ﻛﻪ ﺯﻧﺪﻩ ﺑﺎﺷﻨﺪ ﺑﻪ ﭼﻴﻦ ﻭ ﺷﻜﻦﻫﺎﻯ‬ ‫ﻣﻮﻗﺮ ﺍﻭﻟﻴﻪ ﺑﺎﺯﮔﺸﺘﻨﺪ‪ .‬ﭘﺎﻳﻴﻦ‪ ،‬ﭘﺎﻳﻴﻦ ﻭ ﭘﺎﻳﻴﻦﺗﺮ ﺁﻣﺪ ﻭ ﺑﻪ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩ‪ .‬ﺳﺮﺵ ﺭﻭﻯ ﺯﺍﻧﻮﺍﻧﺶ ﺍﻓﺘﺎﺩ‪.‬‬ ‫ﺗﻜﺎﻥ ﻧﺨﻮﺭﺩ‪.‬‬ ‫‪ ‬ﺳﻜﻮﺕ ﺷﺪ‪ .‬ﺍﺯ ﺧﺸﻜﻰ ﺷﺎﻧﻪﻫﺎﻳﻢ ﻓﻬﻤﻴﺪﻡ ﭼﻘﺪﺭ ﺷﻖ ﻭ ﺭﻕ ﻧﺸﺴﺘﻪ ﺑﻮﺩﻡ‪ .‬ﺯﻳﺮﺑﻐﻠﻢ ﺧﻴﺲ ﻋﺮﻕ‬ ‫ﺷﺪﻩ ﺑﻮﺩ ﻭ ﻋﺮﻕ ﺍﺯ ﭘﻬﻠﻮﻫﺎﻳﻢ ﺟﺎﺭﻯ ﺑﻮﺩ‪ .‬ﺣﺎﻻ ﺑﺎﻳﺪ ﭼﻪ ﻣﻰﻛﺮﺩﻳﻢ؟ ﻛﻒ ﺑﺰﻧﻴﻢ؟ ﺍﺯ ﮔﻮﺷﻪﻯ ﭼﺸﻤﻢ‬ ‫ﻧﮕﺎﻫﻰ ﺑﻪ ﻣﻚﻭﻯ ﺍﻧﺪﺍﺧﺘﻢ‪ .‬ﺩﺳﺖ ﺭﺍﺳﺘﺶ ﺭﺍ ﺑﻠﻨﺪ ﻛﺮﺩ ﻭ ﺩﺧﺘﺮﻙ ﮔﻮﻳﻰ ﺍﺯ ﺭﻭﻯ ﺗﻠﻪﭘﺎﺗﻰ ﻣﻔﻬﻮﻣﺶ‬ ‫ﺭﺍ ﺩﺭﻳﺎﻓﺖ‪ ،‬ﺳﺮﺍﭘﺎﻳﺶ ﻟﺮﺯﻳﺪ ﻭ ﺑﻌﺪ ﺑﺮﺧﺎﺳﺖ‪ .‬ﻧﻮﺍﺯﻧﺪﮔﺎﻥ ﻫﻢ ﺑﺮﺧﺎﺳﺘﻨﺪ‪ .‬ﻣﻚﻭﻯ ﻫﻢ ﺑﻠﻨﺪ ﺷﺪ‪ .‬ﻣﻦ‬ ‫ﻧﻴﺰ ﺭﻭﻯ ﭘﺎﻫﺎﻳﻢ ﺍﻳﺴﺘﺎﺩﻡ‪ ،‬ﭘﺎﻳﻢ ﭼﭙﻢ ﺧﻮﺍﺏ ﺭﻓﺘﻪ ﺑﻮﺩ‪ .‬ﺍﮔﺮﭼﻪ ﺍﺣﻤﻘﺎﻧﻪ ﺑﻮﺩ‪ ،‬ﻭﻟﻰ ﮔﻔﺘﻢ‪» :‬ﺯﻳﺒﺎ ﺑﻮﺩ‪ «.‬ﺑﺎ‬ ‫ﺳﻪ ﻓﺮﻡ ﻣﺘﻌﺎﻟﻰ »ﺧﻮﺍﻫﺶ ﻣﻰﻛﻨﻢ« ﭘﺎﺳﺨﻢ ﺩﺍﺩﻧﺪ‪ .‬ﻏﻮﻏﺎﻳﻰ ﺍﺯ ﺭﻧﮓﻫﺎ ﺑﻪ ﭘﺎ ﺷﺪ ﻭ ﺩﻭﺑﺎﺭﻩ ﺑﺎ ﻣﻚﻭﻯ‬ ‫ﺗﻨﻬﺎ ﺷﺪﻡ‪» .‬ﺍﻳﻦ ﺭﻗﺺ ﺻﺪ ﻭ ﻫﻔﺪﻫﻢ ﺍﺯ ﺩﻭ ﻫﺰﺍﺭ ﻭ ﺩﻭﻳﺴﺖ ﻭ ﺑﻴﺴﺖ ﻭ ﭼﻬﺎﺭ ﺭﻗﺺ ﻟﻮﻛﺎﺭ ﺑﻮﺩ‪«.‬‬ ‫ﻧﮕﺎﻫﺶ ﻛﺮﺩﻡ‪.‬‬ ‫»ﭼﻪ ﺣﻖ ﺑﺎ ﻟﻮﻛﺎﺭ ﺑﻮﺩﻩ ﺑﺎﺷﺪ ﭼﻪ ﻧﻪ‪ ،‬ﭘﺎﺳﺦ ﺧﻮﺑﻰ ﺑﻪ ﻣﺎﺩﻩﻯ ﺑﻰﺟﺎﻥ ﺩﺍﺩﻩ‪«.‬‬ ‫ﻟﺒﺨﻨﺪ ﺯﺩ‪.‬‬ ‫»ﺭﻗﺺﻫﺎﻯ ﺩﻧﻴﺎﻯ ﺷﻤﺎ ﺷﺒﺎﻫﺘﻰ ﺑﻪ ﺍﻳﻦ ﺩﺍﺷﺘﻨﺪ؟«‬ ‫»ﺑﺮﺧﻰﻫﺎﻳﺸﺎﻥ ﺑﻠﻪ‪ ،‬ﻭﻗﺘﻰ ﺩﺍﺷﺘﻢ ﺑﺮﺍﻛﺴﺎ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩﻡ ﻳﺎﺩ ﺑﻌﻀﻴﺸﺎﻥ ﺍﻓﺘﺎﺩﻡ‪ ،‬ﻭﻟﻰ ﻫﺮﮔﺰ ﭼﻴﺰﻯ‬ ‫ﺩﻗﻴﻘﺎً ﺷﺒﻴﻪ ﺑﻪ ﺍﻳﻦ ﻧﺪﻳﺪﻩ ﺑﻮﺩﻡ‪«.‬‬ ‫ﻣﻚﻭﻯ ﮔﻔﺖ‪» :‬ﺭﻗﺎﺹ ﺧﻮﺑﻰ ﺍﺳﺖ‪ ،‬ﻫﻤﻪﻯ ﺭﻗﺺﻫﺎ ﺭﺍ ﺑﻠﺪ ﺍﺳﺖ‪«.‬‬ ‫ﻳﻚ ﺁﻥ ﺍﺛﺮﻯ ﺍﺯ ﺣﺎﻟﺖ ﭘﻴﺸﻨﺶ ﻛﻪ ﻣﻌﺬﺑﻢ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺩﻳﺪﻡ‪ ...‬ﺩﻭﺑﺎﺭﻩ ﺩﺭ ﭼﺸﻢ ﺑﻪ ﻫﻢ ﺯﺩﻧﻰ ﻣﺤﻮ ﺷﺪ‪.‬‬ ‫ﺑﻪ ﻃﺮﻑ ﻣﻴﺰ ﺭﻓﺖ ﻭ ﻛﺘﺎﺏﻫﺎ ﺭﺍ ﺑﺴﺖ ﻭ ﮔﻔﺖ‪» :‬ﺣﺎﻻ ﺑﺎﻳﺪ ﺑﻪ ﻭﻇﺎﻳﻔﻢ ﺑﺮﺳﻢ‪ .‬ﻣﺎﺁﻧﺎﺭﺍ‪«.‬‬ ‫ﭼﻜﻤﻪﻫﺎﻳﻢ ﺭﺍ ﭘﻮﺷﻴﺪﻡ ﻭ ﮔﻔﺘﻢ‪» :‬ﺧﺪﺍﺣﺎﻓﻆ‪«.‬‬ ‫‪101‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﻛﻪ ﺁﻏﺎﺯ ﻛﻨﻴﺪ‪ .‬ﺻﺪﺍﻯ ﺳﺎﺯ ﻫﻤﭽﻮﻥ ﺿﺮﺑﺎﻥ ﺩﻧﺪﺍﻥﺩﺭﺩ ﻭ ﺗﻴﻚﺗﺎﻙ ﺍﺭﻭﺍﺡ ﺗﻤﺎﻡ ﺳﺎﻋﺖﻫﺎﻳﻰ ﻛﻪ ﻫﺮﮔﺰ‬ ‫ﺍﺧﺘﺮﺍﻉ ﻧﻜﺮﺩﻧﺪ‪ ،‬ﺍﺯ ﺁﻥ ﻧﻘﻄﻪ ﻣﻨﺘﺸﺮ ﺷﺪ‪.‬‬ ‫ﻣﻮﺳﻴﻘﻰ ﺍﺳﺘﻌﺎﺭﻩﺍﻯ ﺍﺯ ﺁﺗﺶ ﺑﻮﺩ‪ ،‬ﺗﺮﻕ ﺗﻮﺭﻭﻕ‪ ،‬ﺟﺮﻕ ﺟﺮﻕ‪ .‬ﺭﻗﺎﺹ ﺗﻜﺎﻥ ﻧﺨﻮﺭﺩ‪ .‬ﻫﻴﺲﻫﻴﺲ ﺟﺎﻳﺶ‬ ‫ﺭﺍ ﺑﻪ ﺗﺮﻛﻴﺪﻥ ﺩﺍﺩ‪ .‬ﺁﻫﻨﮓ ﺍﻓﻮﻝ ﻛﺮﺩ‪ .‬ﺣﺎﻻ ﻧﻤﺎﺩ ﺁﺏ‪ ،‬ﮔﺮﺍﻥﺑﻬﺎﺗﺮﻳﻦ ﻣﺎﺩﻩﻯ ﺍﻳﻦ ﺩﻧﻴﺎ ﺑﻮﺩ ﻛﻪ ﻣﻴﺎﻥ‬ ‫ﺻﺨﺮﻩﻫﺎﻯ ﺳﺒﺰ ﺍﺯ ﺧﺰﻩ‪ ،‬ﻗﻞﻗﻞ ﺻﺪﺍ ﻣﻰﻛﺮﺩ‪ .‬ﺭﻗﺎﺹ ﻫﻨﻮﺯ ﻫﻢ ﺑﻰﺣﺮﻛﺖ ﺑﻮﺩ‪ .‬ﻓﺮﺍﺯ ﻭ ﻓﺮﻭ ِﺩ ﺁﻫﻨﮓ‬ ‫]‪ [20‬ﻭ ﺑﻌﺪ ﻣﻜﺚ‪ .‬ﺑﻌﺪ ﻟﺮﺯﺵ ﺑﺎﺩﻫﺎ ﺷﺮﻭﻉ ﺷﺪ‪ ،‬ﺩﺭ ﺍﺑﺘﺪﺍ ﺁﻥ ﻗﺪﺭ ﻣﺤﻮ ﻭ ﺩﻭﺭ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﺳﺨﺘﻰ‬ ‫ﻣﻰﺷﻨﻴﺪﻣﺶ‪ .‬ﺁﺭﺍﻡ ﻭ ﻣﻼﻳﻢ ﺁﻩ ﻣﻰﻛﺸﻴﺪﻧﺪ ﻭ ﻧﺎﻣﻄﻤﺌﻦ ﻣﻰﺍﻳﺴﺘﺎﺩﻧﺪ‪ .‬ﻣﻜﺚ‪ ،‬ﻫﻖﻫﻖ ﻭ ﺑﻌﺪ ﺗﻜﺮﺍﺭ‬ ‫ﺑﺨﺶ ﺍﻭﻝ ﻓﻘﻂ ﺑﻠﻨﺪﺗﺮ‪ ،‬ﭼﺸﻢﻫﺎﻳﻢ ﺍﺯ ﻣﻄﺎﻟﻌﻪﻯ ﺯﻳﺎﺩ ﺧﺴﺘﻪ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻳﺎ ﺑﺮﻛﺴﺎ ﺳﺮ ﺗﺎ ﭘﺎ ﺩﺍﺷﺖ‬ ‫ﻣﻰﻟﺮﺯﻳﺪ؟ ﺩﺍﺷﺖ ﻣﻰﻟﺮﺯﻳﺪ‪ .‬ﺩﺭ ﺍﺑﺘﺪﺍ ﻳﻚ ﻟﺮﺯﺵ ﺑﺴﻴﺎﺭ ﺧﻔﻴﻒ ﺩﺍﺷﺖ‪ .‬ﻧﻴﻢ ﺳﺎﻧﺘﻰﻣﺘﺮ ﺑﻪ ﺭﺍﺳﺖ‪،‬‬ ‫ﻧﻴﻢﺳﺎﻧﺘﻰﻣﺘﺮ ﺑﻪ ﭼﭗ‪ .‬ﺍﻧﮕﺸﺖﻫﺎﻳﺶ ﻣﺜﻞ ﮔﻠﺒﺮگﻫﺎﻯ ﮔﻞ ﺍﺯ ﻫﻢ ﮔﺸﻮﺩﻩ ﺷﺪﻧﺪ ﻭ ﻣﻰﺗﻮﺍﻧﺴﺘﻢ‬ ‫ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ ﺑﺒﻴﻨﻢ ﻛﻪ ﺑﺴﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ ﮔﺸﻮﺩ‪ .‬ﻧﮕﺎﻫﺶ ﺑﻪ ﺩﻭﺭﺩﺳﺖ ﺩﻭﺧﺘﻪ ﺑﻮﺩ‪،‬‬ ‫ﭼﺸﻢﻫﺎﻳﺶ ﻣﺜﻞ ﺷﻴﺸﻪ ﺑﻮﺩﻧﺪ ﻭ ﺁﻥ ﺳﻮﻯ ﻣﻦ ﻭ ﺩﻳﻮﺍﺭﻫﺎ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺣﺮﻛﺘﺶ ﺑﻴﺸﺘﺮ ﻭ ﺑﻴﺸﺘﺮ‬ ‫ﻭ ﺑﺎ ﺿﺮﺑﺎﻫﻨﮓ ﻳﻜﻰ ﺷﺪ‪ .‬ﺑﺎﺩ ﺍﺯ ﺳﻮﻯ ﺻﺤﺮﺍ ﻣﻰﻭﺯﻳﺪ ﻭ ﻫﻤﭽﻮﻥ ﻣﻮﺝﻫﺎﻳﻰ ﻛﻪ ﺑﻪ ﺳﺎﺣﻞ ﺑﻨﺸﻴﻨﻨﺪ‪،‬‬ ‫ﺑﻪ ﺗﺮﻟﻴﺎﻥ ﻣﻰﻛﻮﺑﻴﺪ‪ .‬ﺍﻧﮕﺸﺖﻫﺎﻳﺶ ﺣﺮﻛﺖ ﻛﺮﺩﻧﺪ‪ .‬ﺗﻨﺪﺑﺎﺩ ﺷﺪ‪ .‬ﺑﺎﺯﻭﺍﻧﺶ ﻫﻤﭽﻮﻥ ﭘﺎﻧﺪﻭﻝﻫﺎﻯ ﺁﺭﺍﻡ‪،‬‬ ‫ﭘﺎﻳﻴﻦ ﺍﻓﺘﺎﺩﻧﺪ ﻭ ﺩﺭ ﺟﻬﺖ ﻋﻜﺲ ﻫﻢ ﺷﺮﻭﻉ ﺑﻪ ﺣﺮﻛﺖ ﻛﺮﺩﻧﺪ‪ .‬ﻃﻮﻓﺎﻥ ﺩﺭ ﺭﺍﻩ ﺑﻮﺩ‪ .‬ﺣﺮﻛﺘﻰ ﻣﺤﻮﺭﻯ ﺭﺍ‬ ‫ﺷﺮﻭﻉ ﻛﺮﺩ‪ ،‬ﺩﺳﺖﻫﺎﻳﺶ ﺑﻪ ﺑﺪﻧﺶ ﺑﺮﺧﻮﺭﺩ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﺣﺎﻻ ﺷﺎﻧﻪﻫﺎﻳﺶ ﺑﻪ ﺻﻮﺭﺕ ﺿﺮﺑﺪﺭﻯ ﺷﺮﻭﻉ‬ ‫ﺑﻪ ﻟﺮﺯﻳﺪﻥ ﻛﺮﺩﻧﺪ‪ .‬ﺑﺎﺩ! ﺑﻠﻪ ﺑﺎﺩ ﺑﻮﺩ! ﺁﻩ ﺑﺎﺩ! ﺑﺎﺩ ﻣﺮﻣﻮﺯ! ﺁﻩ ﻣﻴﻮ ِﺯ ﺳﻨﺖ ﺟﺎﻥ ﭘﺮﺱ! ﮔﺮﺩﺑﺎﺩ ﺩﻭﺭ ﺁﻥ‬ ‫ﭼﺸﻢ ﻃﻮﻓﺎﻥ ﺑﻮﺩﻧﺪ‪ .‬ﺳﺮﺵ ﻋﻘﺐ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﻣﻰﺩﺍﻧﺴﺘﻢ ﻣﻴﺎﻥ‬ ‫ﭼﺸﻢﻫﺎ ﻣﻰﭼﺮﺧﻴﺪ‪ ،‬ﭼﺸﻢﻫﺎﻳﺶ‪،‬‬ ‫ِ‬ ‫ﻧﮕﺎﻩ ﺧﻴﺮﻩﺍﺵ ﻛﻪ ﭼﻮﻥ ﻧﮕﺎﻩ ﺑﻮﺩﺍ ﺑﻮﺩ ﻭ ﺁﺳﻤﺎﻥ ﺁﺑﻰ‪ ،‬ﺳﻘﻔﻰ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺷﺎﻳﺪ ﺗﻨﻬﺎ ﺁﻥ ﺩﻭ ﻣﺎﻩ ﺁﺑﻰ‬ ‫ﻓﻴﺮﻭﺯﻩﺍﻯ ﺁﻥ ﻧﻴﺮﻭﺍﻧﺎ ﺭﺍ ﺑﺮ ﻫﻢ ﻣﻰﺯﺩﻧﺪ‪.‬‬ ‫ﺳﺎﻝﻫﺎ ﭘﻴﺶ ﺩﺭ ﻫﻨﺪ‪ ،‬ﺩﻭﺍﺩﺍﺳﻴﺲﻫﺎ ]‪ [21‬ﺭﺍ ﺩﺭ ﻫﻨﺪ ﺩﻳﺪﻩ ﺑﻮﺩﻡ‪ ،‬ﺭﻗﺎﺹﻫﺎﻯ ﺧﻴﺎﺑﺎﻧﻰ ﻛﻪ ﺭﺩﺍﻫﺎﻯ‬ ‫ﺭﻧﮕﻰﺷﺎﻥ ﺭﺍ ﺗﻜﺎﻥ ﻣﻰﺩﺍﺩﻧﺪ ﻭ ﺣﺸﺮﺍﺕ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﺟﻠﺐ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺍﻣﺎ ﺑﺮﻛﺴﺎ ﺑﻴﺶ ﺍﺯ ﺍﻳﻦ ﺣﺮﻑﻫﺎ‬ ‫ﺑﻮﺩ‪ ،‬ﺍﻭ ﻫﻤﭽﻮﻥ ﭘﺮﺳﺘﻨﺪﮔﺎﻥ ﺭﺍﻣﺎ ﺑﻮﺩ ﻭ ﻳﺎ ﺷﺎﻳﺪ ﻛﻪ ﺗﻨﺎﺳﺨﻰ ﺍﺯ ﻭﻳﺸﻨﻮ ﺑﻮﺩ‪ ،‬ﺍﻭ ﺑﻮﺩ ﻛﻪ ﺭﻗﺺ ﺭﺍ ﺑﻪ‬ ‫ﺍﻧﺴﺎﻥ ﻋﻄﺎ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﺭﻗﺎﺹﻫﺎﻯ ﻣﻘﺪﺱ ﺭﺍ‪.‬‬ ‫ﺣﺎﻻ ﺿﺮﺑﺎﻫﻨﮓ ﻳﻜﻨﻮﺍﺧﺖ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﻧﺎﻟﻪﻫﺎﻯ ﺗﺎﺭ ﺍﺷﻌﻪﻫﺎﻯ ﺧﻮﺭﺷﻴﺪ ﺭﺍ ﻳﺎﺩﻡ ﻣﻰﺍﻧﺪﺍﺧﺖ ﻛﻪ‬ ‫ﮔﺮﻣﺎﻳﺸﺎﻥ ﺭﺍ ﮔﺮﺩﺵ ﺑﺎﺩ ﺩﺯﺩﻳﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﺁﺑﻰ ﺳﺎﺭﺍﻭﺍﺗﻰ ]‪ [22‬ﺑﻮﺩ ﻭ ﻣﺮﻳﻢ ﺑﻮﺩ ﻭ ﺩﺧﺘﺮﻯ ﺑﻪ ﻧﺎﻡ ﻻﺭﺍ‪ .‬ﺍﺯ‬ ‫ﺟﺎﻳﻰ ﺻﺪﺍﻯ ﺳﻴﺘﺎﺭ ﺷﻨﻴﺪﻡ ﻭ ﻣﺠﺴﻤﻪ ﺯﻧﺪﻩ ﺷﺪ ﻭ ﻧﻔﺴﻰ ﺍﻟﻬﻰ ﻛﺸﻴﺪ‪ .‬ﺩﻭﺑﺎﺭﻩ ﺁﺭﺗﻮﺭ ﺭﻣﺒﻮ ]‪ [23‬ﺷﺪﻩ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪100‬‬

‫ﭘﺎﻭﺭﻗﻰ‬

‫ﻫﺮﮔﺰ ﺍﺯ ﺁﻥ ﻋﺒﻮﺭ ﻧﻜﺮﺩﻩ ﺑﻮﺩﻡ‪ ،‬ﺑﻴﺮﻭﻥ ﺭﻓﺖ‪ .‬ﺧﺐ ﺣﺎﻻ‪ ،‬ﻟﻮﻛﺎﺭ ﻫﻢ ﻣﺎﻧﻨﺪ ﻫﻮﻻﻙ ﺍﻟﻴﺲ ]‪ ،[17‬ﺭﻗﺺ‬ ‫ﻣﺘﻌﺎﻟﻰﺗﺮﻳﻦ ﻫﻨﺮﺷﺎﻥ ﺑﻮﺩ ﻭ ﺣﺎﻻ ﻣﻰﺩﻳﺪﻡ ﭼﻄﻮﺭ ﺑﺮ ﺍﺳﺎﺱ ﺗﻔﻜﺮﺍﺕ ﻓﻴﻠﺴﻮﻓﻰ ﻛﻪ ﻗﺮﻥﻫﺎ ﺍﺯ ﻣﺮﮔﺶ‬ ‫ﻣﻰﮔﺬﺷﺖ‪ ،‬ﺍﺟﺮﺍ ﻣﻰﺷﺪ‪ .‬ﭼﺸﻢﻫﺎﻳﻢ ﺭﺍ ﻣﺎﻟﻴﺪﻡ ﻭ ﭼﻨﺪ ﺑﺎﺭﻯ ﺑﻪ ﻫﻢ ﺯﺩﻡ‪ .‬ﭼﻨﺪ ﺑﺎﺭ ﻫﻢ ﺧﻢ ﻭ ﺭﺍﺳﺖ‬ ‫ﺷﺪﻡ‪.‬‬ ‫ﺧﻮﻥ ﺩﺭ ﺳﺮﻡ ﺑﻪ ﮔﺮﺩﺵ ﺩﺭﺁﻣﺪ‪ ،‬ﭼﻨﺪ ﻧﻔﺲ ﻋﻤﻴﻖ ﻛﺸﻴﺪﻡ‪ .‬ﺩﻭﺑﺎﺭﻩ ﺧﻢ ﺷﺪﻡ ﻭ ﺑﻌﺪ ﻣﻘﺎﺑﻞ ﺩﺭ ﺟﻨﺐ‬ ‫ﻭ ﺟﻮﺷﻰ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ‪.‬‬ ‫ﺁﻥﺟﻮﺭ ﻛﻪ ﻣﻦ ﺧﻢ ﺷﺪﻩ ﺑﻮﺩﻡ‪ ،‬ﺣﺘﻤﺎً ﺳﻪ ﻧﻔﺮﻯ ﻛﻪ ﻫﻤﺮﺍﻩ ﻣﻚﻭﻯ ﻭﺍﺭﺩ ﺷﺪﻧﺪ ﺧﻴﺎﻝ ﻛﺮﺩﻧﺪ ﺩﺍﺭﻡ‬ ‫ﺩﻧﺒﺎﻝ ﺗﻴﻠﻪﻫﺎﻳﻰ ﻛﻪ ﮔﻢ ﻛﺮﺩﻡ ﻣﻰﮔﺮﺩﻡ‪ .‬ﺑﻪ ﺳﺨﺘﻰ ﻟﺒﺨﻨﺪﻯ ﺯﺩﻡ ﻭ ﺭﺍﺳﺖ ﺍﻳﺴﺘﺎﺩﻡ‪ ،‬ﭼﻬﺮﻩﺍﻡ ﺍﺯ ﺧﻢ‬ ‫ﺷﺪﻥ ﺳﺮﺥ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻧﺘﻈﺎﺭ ﻧﺪﺍﺷﺘﻢ ﺑﻪ ﺍﻳﻦ ﺳﺮﻋﺖ ﻭﺍﺭﺩ ﺷﻮﻧﺪ‪ .‬ﻧﺎﮔﻬﺎﻥ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﻳﺎﺩ ﻫﻮﻻﻙ ﺍﻟﻴﺲ‬ ‫ﺩﺭ ﺩﻭﺭﺍﻥ ﻣﺤﺒﻮﺑﻴﺘﺶ ﺍﻓﺘﺎﺩﻡ‪.‬‬ ‫ِ‬ ‫ﺁﺳﻤﺎﻥ ﻣﺮﻳﺦ ﺑﻪ ﺗﻦ ﺩﺍﺷﺖ‪ ،‬ﺑﺎ ﺣﻴﺮﺕ‬ ‫ﺩﺧﺘﺮﻙ ﻣﻮ ﻗﺮﻣﺰ ﻛﻮﭼﻚ ﻛﻪ ﭼﻴﺰﻯ ﺷﺒﻴﻪ ﺑﻪ ﺳﺎﺭﻯ ﺑﻪ ﺭﻧﮓ‬ ‫ِ‬ ‫ﻧﮕﺎﻫﻢ ﻛﺮﺩ‪ ،‬ﺩﺭﺳﺖ ﻣﺜﻞ ﻛﻮﺩﻛﻰ ﻛﻪ ﺑﻪ ﻳﻚ ﭘﺮﭼﻢ ﺭﻧﮕﺎﺭﻧﮓ ﺑﺎﻻﻯ ﻣﻴﻠﻪﭘﺮﭼﻢ ﻧﮕﺎﻩ ﻛﻨﺪ‪.‬‬ ‫ﮔﻔﺘﻢ‪»:‬ﺳﻼﻡ‪ «.‬ﻳﺎ ﭼﻴﺰﻯ ﻣﻌﺎﺩﻝ ﺁﻥ‪.‬‬ ‫ﭘﻴﺶ ﺍﺯ ﺁﻥ ﻛﻪ ﭘﺎﺳﺦ ﺩﻫﺪ‪ ،‬ﺗﻌﻈﻴﻢ ﻛﺮﺩ‪ .‬ﻇﺎﻫﺮﺍ ً ﻣﻘﺎﻣﻢ ﺍﺭﺗﻘﺎ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫»ﺧﻮﺍﻫﻢ ﺭﻗﺼﻴﺪ‪ «.‬ﺷﻜﺎﻑ ﻗﺮﻣﺰ ﺭﻧﮓ ﺩﺭ ﺁﻥ ﺳﻔﻴﺪﻯِ ﺭﻧﮓ ﭘﺮﻳﺪﻩﻯ ﭼﻬﺮﻩﺍﺵ ﺍﻳﻦ ﺭﺍ ﮔﻔﺖ‪.‬‬ ‫ﭼﺸﻢﻫﺎﻳﺶ ﺑﻪ ﺭﻧﮓ ﺭﻭﻳﺎ ﺑﻮﺩﻧﺪ‪ ،‬ﭘﻴﺮﺍﻫﻨﺶ ﺍﺯ ﻣﻦ ﺩﻭﺭ ﺷﺪ‪.‬‬ ‫ﻭﺳﻂ ﺍﺗﺎﻕ ﺭﻓﺖ‪ .‬ﺁﻥﺟﺎ ﻣﺎﻧﻨﺪ ﭘﻴﻜﺮﻩﺍﻯ ﺭﻭﻯ ﻳﻚ ﻛﺘﻴﺒﻪ ﺍﻳﺴﺘﺎﺩ‪ .‬ﮔﻮﻳﻰ ﺩﺭ ﺣﺎﻝ ﻣﺮﺍﻗﺒﻪ ﺑﻮﺩ ﻭ ﻳﺎ‬ ‫ﻃﺮﺍﺣﻰ ﺯﻣﻴﻦ ﺭﺍ ﺑﺮﺭﺳﻰ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺁﻳﺎ ﻣﻮﺯﺍﻳﻴﻚﻫﺎ ﻧﻤﺎﺩ ﭼﻴﺰﻯ ﺑﻮﺩﻧﺪ؟ ﺑﺮﺭﺳﻰﺷﺎﻥ ﻛﺮﺩﻡ‪ .‬ﺍﮔﺮ ﻫﻢ ﺍﻳﻦ ﻃﻮﺭ ﺑﻮﺩ‪ ،‬ﺍﺯ ﻧﻈﺮﻡ ﭘﻨﻬﺎﻥ‬ ‫ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﺮﺍﻯ ﻛﻒ ﺣﻤﺎﻡ ﻳﺎ ﭘﺎﺳﻴﻮ ﻋﺎﻟﻰ ﺑﻮﺩ‪ ،‬ﻭﻟﻰ ﭼﻴﺰﻯ ﺑﻴﺶ ﺍﺯ ﺍﻳﻦ ﻧﻤﻰﺩﻳﺪﻡ‪ .‬ﺩﻭ ﻧﻔﺮ ﺩﻳﮕﺮ‬ ‫ﮔﻨﺠﺸﻚﻫﺎﻯ ﺭﻧﮓﺷﺪﻩﻯ ﻣﻴﺎﻧﺴﺎﻟﻰ ﺷﺒﻴﻪ ﺑﻪ ﻣﻚﻭﻯ ﺑﻮﺩﻧﺪ‪ .‬ﻳﻜﻰﺷﺎﻥ ﺑﺎ ﺳﺎﺯﻯ ﻛﻪ ﺳﻪ ﺗﺎﺭ ﺩﺍﺷﺖ‬ ‫ﺭﻭﻯ ﺯﻣﻴﻦ ﻧﺸﺴﺖ‪ ،‬ﺷﺒﺎﻫﺖ ﺩﻭﺭﻯ ﺑﻪ ﺳﺎﻣﻴﺴﻦ ]‪ [18‬ﺩﺍﺷﺖ‪ .‬ﺩﻳﮕﺮﻯ ﻳﻚ ﻃﺒﻞ ﭼﻮﺑﻰ ﻭ ﺩﻭ ﭼﻮﺏ‬ ‫ﻃﺒﻞ ﺑﻪ ﺩﺳﺖ ﮔﺮﻓﺖ‪.‬‬ ‫ﻣﺘﻮﺟﻪ ﻧﺸﺪﻡ ﻣﻚﻭﻯ ﺍﺯ ﺭﻭﻯ ﭼﻬﺎﺭﭘﺎﻳﻪ ﺑﻠﻨﺪ ﺷﺪﻩ ﻭ ﺭﻭﻯ ﺯﻣﻴﻦ ﻧﺸﺴﺘﻪ‪ .‬ﻣﻦ ﻫﻢ ﻫﻤﻴﻦ ﻛﺎﺭ ﺭﺍ ﻛﺮﺩﻡ‪.‬‬ ‫ﻧﻮﺍﺯﻧﺪﻩﻯ ﺳﻤﻴﺴﻦ ﻫﻨﻮﺯ ﺩﺭ ﺣﺎﻝ ﺗﻨﻈﻴﻤﺶ ﺑﻮﺩ‪ ،‬ﭘﺲ ﺑﻪ ﺳﻮﻯ ﻣﻚﻭﻯ ﺧﻢ ﺷﺪﻡ‪.‬‬ ‫»ﻧﺎﻡ ﺭﻗﺎﺹ ﭼﻴﺴﺖ؟«‬ ‫ﺑﻰ ﺁﻥﻛﻪ ﻧﮕﺎﻫﻢ ﻛﻨﺪ ﮔﻔﺖ‪» :‬ﺑﺮﺍﻛﺴﺎ ]‪ «.[19‬ﺩﺳﺖ ﭼﭙﺶ ﺭﺍ ﺑﻪ ﺁﺭﺍﻣﻰ ﺑﻠﻨﺪ ﻛﺮﺩ‪ ،‬ﻣﻌﻨﺎﻳﺶ ﺍﻳﻦ ﺑﻮﺩ‬ ‫‪99‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﭘﺎﻭﺭﻗﻰ‬

‫ﻣﻰﺷﺪ‪ .‬ﻣﺜﻞ ﺗﺮﺟﻤﻪﻯ ﭘﻮ ﺑﻪ ﻓﺮﺍﻧﺴﻪ ﺑﻮﺩ‪ .‬ﻣﻦ ﻫﺮﮔﺰ ﺑﻪ ﻃﺮﻳﻘﺖ ﻣﺎﻻﻥ ]‪ [13‬ﺩﺭ ﻧﺨﻮﺍﻫﻢ ﺁﻣﺪ‪ ،‬ﺍﻣﺎ ﺑﻪ ﺁﻥﻫﺎ‬ ‫ﻧﺸﺎﻥ ﻣﻰﺩﻫﻢ ﺯﻣﺎﻧﻰ ﻳﻚ ﻣﺮﺩ ﺯﻣﻴﻨﻰ ﺑﻪ ﭼﻴﺰﻫﺎﻯ ﻣﺸﺎﺑﻬﻰ ﻓﻜﺮ ﻛﺮﺩﻩ ﻭ ﺍﺣﺴﺎﺳﺎﺕ ﻣﺸﺎﺑﻬﻰ ﺩﺍﺷﺘﻪ‪.‬‬ ‫»ﭘﻮﭼﻰ‬ ‫ﭼﺮﺍﻍ ﺭﻭﻯ ﻣﻴﺰ ﺭﺍ ﺭﻭﺷﻦ ﻛﺮﺩﻡ ﻭ ﻣﻴﺎﻥ ﻛﺘﺎﺏﻫﺎ ﺩﻧﺒﺎﻝ »ﻛﻴﻨﮓ ﺟﻴﻤﺰ« ]‪ [14‬ﮔﺸﺘﻢ‪.‬‬ ‫ِ‬ ‫ﭘﻮﭼﻰ ﭘﻮﭼﻰﻫﺎ‪ ،‬ﺗﻤﺎﻣﺶ ﭘﻮﭼﻰ ﺍﺳﺖ‪ ،‬ﭼﻪ ﺣﺎﺻﻠﻰ ﺩﺍﺭﺩ ﻳﻚ‬ ‫ﭘﻮﭼﻰﻫﺎ‪ ،‬ﭼﻨﻴﻦ ﮔﻔﺖ ﻛﺸﻴﺶ‪،‬‬ ‫ِ‬ ‫ﻣﺮﺩ‪ «..‬ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ ﭘﻴﺸﺮﻓﺘﻢ ﻣﻚﻭﻯ ﺭﺍ ﺣﻴﺮﺕﺯﺩﻩ ﻛﺮﺩﻩ‪ .‬ﺍﺯ ﺑﺎﻻﻯ ﻣﻴﺰ ﻫﻤﭽﻮﻥ ﺁﻥ »ﺩﻳﮕﺮﻯ«‬ ‫ﺳﺎﺭﺗﺮ ]‪ [15‬ﺑﻪ ﻣﻦ ﺧﻴﺮﻩ ﺷﺪ‪ .‬ﻓﺼﻠﻰ ﺍﺯ ﻛﺘﺎﺏ ﻟﻮﻛﺎﺭ ﺭﺍ ﺁﻭﺭﺩﻡ‪ .‬ﻧﮕﺎﻫﺶ ﻧﻜﺮﺩﻡ‪ ،‬ﺍﻣﺎ ﻣﻰﺗﻮﺍﻧﺴﺘﻢ‬ ‫ﻧﮕﺎﻩ ﺧﻴﺮﻩﺍﺵ ﺭﺍ ﺣﺲ ﻛﻨﻢ‪ ،‬ﮔﻮﻳﻰ ﺗﺎﺭﻯ ﺑﻪ ﺩﻭﺭ ﺳﺮ‪ ،‬ﺷﺎﻧﻪﻫﺎ ﻭ ﺩﺳﺖﻫﺎﻳﻢ ﺗﻨﻴﺪﻩ ﻣﻰﺷﺪ‪ .‬ﺻﻔﺤﻪﻯ‬ ‫ﺩﻳﮕﺮﻯ ﺭﺍ ﻭﺭﻕ ﺯﺩﻡ‪.‬‬ ‫ﺁﻳﺎ ﺩﺍﺷﺖ ﺗﻮﺭﺵ ﺭﺍ ﻭﺯﻥ ﻣﻰﻛﺮﺩ ﻭ ﺣﺪﺱ ﻣﻰﺯﺩ ﭼﻪ ﭼﻴﺰﻯ ﺑﻪ ﺗﻮﺭ ﺍﻧﺪﺍﺧﺘﻪ؟ ﻭ ﺑﺮﺍﻯ ﭼﻪ؟ ﻛﺘﺎﺏﻫﺎ‬ ‫ﭼﻴﺰﻯ ﺍﺯ ﻣﺎﻫﻰﮔﻴﺮﻫﺎﻯ ﻣﺮﻳﺦ ﻧﻤﻰﮔﻔﺘﻨﺪ‪ .‬ﺑﻪ ﺧﺼﻮﺹ ﭼﻴﺰﻯ ﺍﺯ ﻣﺮﺩﻫﺎ ﻧﻤﻰﮔﻔﺘﻨﺪ‪ .‬ﻛﺘﺎﺏﻫﺎ‬ ‫ﻣﻰﮔﻔﺘﻨﺪ ﺧﺪﺍﻳﻰ ﺑﻪ ﻧﺎﻡ ﻣﺎﻻﻥ ﺗُﻒ ﻳﺎ ﻳﻚ ﻛﺎﺭ ﭼﻨﺪﺵﺁﻭﺭ ﻣﺸﺎﺑﻪ )ﺑﺴﺘﮕﻰ ﺑﻪ ﻧﺴﺨﻪﺍﻯ ﺩﺍﺷﺖ ﻛﻪ‬ ‫ﻣﻰﺧﻮﺍﻧﺪﻳﺪ( ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩ ﻭ ﺯﻧﺪﮔﻰ ﺩﺭ ﻣﺎﺩﻩﻯ ﺑﻰﺟﺎﻥ ﻫﻤﭽﻮﻥ ﻳﻚ ﺑﻴﻤﺎﺭﻯ ﺭﻳﺸﻪ ﺩﻭﺍﻧﺪﻩ‪ .‬ﻃﺒﻖ‬ ‫ﭘﺎﺳﺦ ﺑﺮ ﺣﻖ ﺑﻪ ﻣﺎﺩﻩﻯ ﺑﻰﺟﺎﻥ ﺑﻮﺩ‪.‬ﻛﻴﻔﻴﺘﻰ ﺩﺭ ﺭﻗﺺ‬ ‫ﻣﺘﻮﻥ‪ ،‬ﺣﺮﻛﺖ ﺍﻭﻟﻴﻦ ﻗﺎﻧﻮﻥ ﺑﻮﺩ ﻭ ﺭﻗﺺ ﺗﻨﻬﺎ‬ ‫ِ‬ ‫ﺍﺳﺖ ﻛﻪ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺷﺮﺡ ﻣﻰﺩﻫﺪ ﻭ ﻋﺸﻖ ﺑﻴﻤﺎﺭﻯ ﺩﺭ ﺟﺎﻥ ﻣﺎﺩﻩﻯ ﺯﻧﺪﻩ ﺑﻮﺩ‪ .‬ﻣﺎﺩﻩﻯ ﺑﻰﺟﺎﻥ؟‬ ‫ﺳﺮﻡ ﺭﺍ ﺗﻜﺎﻥ ﺩﺍﺩ‪ .‬ﺗﻘﺮﻳﺒﺎً ﺧﻮﺍﺑﻢ ﺑﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫»ﻣﺎﺁﻧﺎﺭﺍ ]‪«.[16‬‬ ‫ﺍﻳﺴﺘﺎﺩﻡ ﻭ ﺑﺪﻧﻢ ﺭﺍ ﻛﺸﻴﺪﻡ‪ .‬ﭼﺸﻢﻫﺎﻳﺶ ﺣﺎﻻ ﺑﺎ ﻧﻮﻋﻰ ﺁﺯ ﺑﻪ ﻣﻦ ﺧﻴﺮﻩ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﭘﺲ ﻧﮕﺎﻫﺶ ﺭﺍ‬ ‫ﭘﺎﺳﺦ ﺩﺍﺩﻡ ﻭ ﺍﻭ ﺑﻪ ﺯﻣﻴﻦ ﭼﺸﻢ ﺩﻭﺧﺖ‪.‬‬ ‫»ﺧﺴﺘﻪ ﺷﺪﻡ‪ ،‬ﻗﺼﺪ ﺩﺍﺭﻡ ﻗﺪﺭﻯ ﺍﺳﺘﺮﺍﺣﺖ ﻛﻨﻢ‪ .‬ﺷﺐ ﭘﻴﺶ ﻫﻢ ﻧﺨﻮﺍﺑﻴﺪﻡ‪«.‬‬ ‫ﺯﻣﻴﻨﻰ »ﺑﺎﺷﻪ« ﺑﻮﺩ‪ ،‬ﺍﻳﻦ ﺭﺍ ﺍﺯ ﻣﻦ ﻳﺎﺩ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﻣﻌﺎﺩﻝ‬ ‫ﺳﺮﻯ ﺗﻜﺎﻥ ﺩﺍﺩ‪،‬‬ ‫ِ‬ ‫ِ‬ ‫»ﻣﻰﺧﻮﺍﻫﻰ ﺍﺳﺘﺮﺍﺣﺖ ﻛﻨﻰ ﻭ ﻭﺿﻮﺡ ﺁﻣﻮﺯﻩﻫﺎﻯ ﻟﻮﻛﺎﺭ ﺭﺍ ﺑﻪ ﻃﻮﺭ ﻛﺎﻣﻞ ﺩﺭﻙ ﻛﻨﻰ؟«‬ ‫»ﺑﺒﺨﺸﻴﺪ؟«‬ ‫»ﺩﻭﺳﺖ ﺩﺍﺭﻯ ﻳﻚ ﺭﻗﺺ ﻟﻮﻛﺎﺭ ﺭﺍ ﺑﺒﻴﻨﻰ؟«‬ ‫»ﺁﻩ‪ُ «.‬ﻓﺮﻡ ﻭ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻋﺒﺎﺭﺍﺕ ﺯﺍﺋﺪ ﺩﺭ ﺯﺑﺎﻧﺸﺎﻥ ﺣﺘﺎ ﺍﺯ ُﻛﺮﻩﺍﻯ ﻫﻢ ﺑﺪﺗﺮ ﺑﻮﺩ‪» .‬ﺑﻠﻪ ﺣﺘﻤﺎً‪ ،‬ﻫﺮ ﺯﻣﺎﻥ‬ ‫ﻛﻪ ﺍﺟﺮﺍ ﺷﻮﺩ‪ ،‬ﺩﻭﺳﺖ ﺩﺍﺭﻡ ﺑﺒﻴﻨﻢ‪«.‬‬ ‫ﺍﺩﺍﻣﻪ ﺩﺍﺩﻡ ﻛﻪ‪» :‬ﺭﺍﺳﺘﻰ ﻣﻰﺧﻮﺍﺳﺘﻢ ﺍﺯ ﺷﻤﺎ ﺑﭙﺮﺳﻢ‪ ،‬ﺁﻳﺎ ﻣﻤﻜﻦ ﺍﺳﺖ ﭼﻨﺪ ﺗﺎﻳﻰ ﻋﻜﺲ ﺑﮕﻴﺮﻡ؟«‬ ‫»ﺣﺎﻻ ﺯﻣﺎﻧﺶ ﺍﺳﺖ‪ .‬ﺍﺳﺘﺮﺍﺣﺖ ﻛﻦ ﻭ ﻣﻦ ﻧﻮﺍﺯﻧﺪﻩﻫﺎ ﺭﺍ ﺍﺣﻀﺎﺭ ﻣﻰﻛﻨﻢ‪ «.‬ﺑﻪ ﺳﺮﻋﺖ ﺍﺯ ﺩﺭﻯ ﻛﻪ ﻣﻦ‬ ‫‪97‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﻣﺪﺭﻛﻢ ﺭﺍ ﮔﺮﻓﺘﻢ ﻭ ﻛﺎﺭ ﺩﺭ ﺯﻣﻴﻨﻪﻯ ﺯﺑﺎﻥﺷﻨﺎﺳﻰ ﺭﺍ ﺁﻏﺎﺯ ﻛﺮﺩﻡ ﻭ ﺟﺎﻳﺰﻩﻫﺎﻯ ﺑﻴﺸﺘﺮﻯ ﺑﺮﻧﺪﻩ ﺷﺪﻡ‪.‬‬ ‫ﺑﻌﺪ ﻳﻚ ﺭﻭﺯ ﺳﻔﻴﻨﻪﺍﻯ ﺑﻪ ﻣﺮﻳﺦ ﺭﻓﺖ‪ .‬ﺳﻔﻴﻨﻪﺍﻯ ﻛﻪ ﺩﺭ ﺁﺷﻴﺎﻧﻪﻯ ﺁﺗﻴﺸﻨﺶ ﺩﺭ ﻧﻴﻮﻣﻜﺰﻳﻜﻮ ﻓﺮﻭﺩ ﺁﻣﺪ‪،‬‬ ‫ﺯﺑﺎﻧﻰ ﺟﺪﻳﺪ ﺑﺎ ﺧﻮﺩ ﺁﻭﺭﺩﻩ ﺑﻮﺩ‪ .‬ﺯﺑﺎﻧﻰ ﺷﮕﻔﺖﺍﻧﮕﻴﺰ‪ ،‬ﻏﺮﻳﺐ ﻭ ﺑﻪ ﻟﺤﺎﻅ ﺯﻳﺒﺎﻳﻰﺷﻨﺎﺧﺘﻰ ﭘﺮﻗﺪﺭﺕ‪ .‬ﭘﺲ‬ ‫ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻫﺮ ﭼﻪ ﻣﻰﺷﺪ‪ ،‬ﻳﺎﺩ ﮔﺮﻓﺘﻢ ﻭ ﻛﺘﺎﺑﻢ ﺭﺍ ﻧﻮﺷﺘﻢ‪ ،‬ﺩﺭ ﻣﺤﺎﻓﻠﻰ ﺟﺪﻳﺪ ﻣﻌﺮﻭﻑ ﺷﺪﻡ‪.‬‬ ‫»ﺑﺮﻭ ﮔﺎﻟﻴﻨﮕﺮ‪ ،‬ﺳﻄﻠﺖ ﺭﺍ ﺑﻪ ﭼﺎﻩ ﺑﻴﺎﻧﺪﺍﺯ ﻭ ﺑﺮﺍﻳﻤﺎﻥ ﻧﻮﺷﻴﺪﻧﻰ ﻣﺮﻳﺨﻰ ﺑﻴﺎﻭﺭ‪ .‬ﺑﺮ ﻭ ﻳﻚ ﺩﻧﻴﺎﻯ ﺩﻳﮕﺮ‬ ‫ﺭﺍ ﺍﻛﺘﺸﺎﻑ ﻛﻦ‪ ،‬ﺍﻣﺎ ﻣﻨﺰﻭﻯ ﺑﻤﺎﻥ‪ ،‬ﻣﺜﻞ ﺍﻭﺩﻥ ]‪ [11‬ﺍﺯ ﻛﻨﺎﺭﺵ ﻋﺒﻮﺭ ﻛﻦ ﻭ ﺭﻭﺣﺶ ﺭﺍ ﺩﺭ ﻛﻠﻤﺎﺕ‬ ‫ﺗﻘﺪﻳﻢ ﻣﺎ ﻛﻦ‪«.‬‬ ‫ِ‬ ‫ﻭ ﺑﻪ ﺳﺮﺯﻣﻴﻨﻰ ﺁﻣﺪﻡ ﻛﻪ ﺩﺭ ﺁﻥ ﺧﻮﺭﺷﻴﺪ‪ ،‬ﺳﻜﻪﺍﻯ ﺗﻴﺮﻩ ﺍﺳﺖ ﻭ ﺑﺎﺩ ﺗﺎﺯﻳﺎﻧﻪ ﻣﻰﺯﻧﺪ ﻭ ﺩﻭ ﻣﺎﻩ ﺩﺭ‬ ‫ﺁﺳﻤﺎﻥ ﺑﺎﺯﻯ ﻣﻰﻛﻨﻨﺪ ﻭ ﺟﻬﻨﻤﻰ ﺷﻨﻰ ﺍﺳﺖ ﻛﻪ ﻫﺮ ﻭﻗﺖ ﻧﮕﺎﻫﺶ ﻛﻨﻰ‪ ،‬ﺧﺎﺭﺵ ﺑﻪ ﺟﺎﻧﺖ ﻣﻰﺍﻓﺘﺪ‪.‬‬ ‫ﺍﺯ ﻏﻠﻂ ﺯﺩﻥ ﺭﻭﻯ ﺭﺧﺘﺨﻮﺍﺏ ﺩﺳﺖ ﻛﺸﻴﺪﻡ ﻭ ﺑﺮﺧﺎﺳﺘﻢ‪ ،‬ﻋﺮﺽ ﺍﺗﺎﻕ ﺗﺎﺭﻳﻚ ﺭﺍ ﻃﻰ ﻛﺮﺩﻡ ﻭ ﭘﺸﺖ‬ ‫ﭘﻨﺠﺮﻩ ﺍﻳﺴﺘﺎﺩﻡ‪ .‬ﺻﺤﺮﺍ ﻓﺮﺷﻰ ﺑﻰﭘﺎﻳﺎﻥ ﺑﻪ ﺭﻧﮓ ﻧﺎﺭﻧﺠﻰ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﻋﺒﻮﺭ ﻗﺮﻥﻫﺎﻯ ﺑﻴﺸﻤﺎﺭ‪ ،‬ﺁﻣﺎﺱ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫»ﻣﻦ ﻏﺮﻳﺒﻪ ﻫﺴﺘﻢ ﻭ ﺑﺎﻛﻰ ﻧﺪﺍﺭﻡ‪ .‬ﺍﻳﻦ ﻫﻤﺎﻥ ﺳﺮﺯﻣﻴﻦ ﺍﺳﺖ ﻛﻪ ﺳﻔﺎﺭﺵ ﺩﺍﺩﻡ ﺑﺮﺍﻳﻢ ﺑﺴﺎﺯﻧﺪ‪«.‬‬ ‫ﺧﻨﺪﻳﺪﻡ‪.‬‬ ‫ﺣﺎﻻ ﺩﻳﮕﺮ ﺗﺎ ﺩﻡ ﺯﺑﺎﻥ ﻓﺎﺧﺮ ﺭﻓﺘﻪ ﺑﻮﺩﻡ‪ ،‬ﻳﺎ ﺍﮔﺮ ﻣﻰﺧﻮﺍﻫﻴﺪ َﻣﺜَﻠﻰ ﺑﺎ ﺭﻋﺎﻳﺖ ﺁﻧﺎﺗﻮﻣﻰ ﺑﺰﻧﻢ‪ ،‬ﺑﺎﻳﺪ ﺑﮕﻮﻳﻢ‬ ‫ﺗﺎ ﺭﻳﺸﻪﺍﺵ ﺭﻓﺘﻪ ﺑﻮﺩﻡ‪ .‬ﺯﺑﺎﻥ ﻓﺎﺧﺮ ﻭ ﺯﺑﺎﻥ ﻋﺎﻣﻴﺎﻧﻪﺷﺎﻥ ﺁﻥ ﻗﺪﺭﻯ ﻛﻪ ﺍﻭﻟﺶ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ ﻣﺘﻔﺎﻭﺕ‬ ‫ﻧﺒﻮﺩﻧﺪ‪ .‬ﺁﻥﻗﺪﺭﻯ ﺍﺯ ﺍﻭﻟﻰ ﻳﺎﺩ ﮔﺮﻓﺘﻪ ﺑﻮﺩﻡ ﺗﺎ ﺑﻪ ﻋﻤﻖ ﺁﻥ ﺩﻳﮕﺮﻯ ﺑﺮﺳﻢ‪ .‬ﮔﺮﺍﻣﺮ ﻭ ﺍﻓﻌﺎﻝ ﺑﻰﻗﺎﻋﺪﻩ ﺭﺍ‬ ‫ﻳﺎﺩ ﮔﺮﻓﺘﻪ ﺑﻮﺩﻡ ﻭ ﻓﺮﻫﻨﮓ ﻟﻐﺎﺗﻰ ﻛﻪ ﺩﺭ ﺣﺎﻝ ﺗﻬﻴﻪﺍﺵ ﺑﻮﺩﻡ‪ ،‬ﻫﺮ ﺭﻭﺯ ﺑﺰﺭگﺗﺮ ﻣﻰﺷﺪ‪ ،‬ﻣﺜﻞ ﻳﻚ‬ ‫ﻻﻟﻪ ﺑﻮﺩ ﻭ ﺑﻪ ﺯﻭﺩﻯ ﮔﻞ ﻣﻰﺩﺍﺩ‪ .‬ﻫﺮ ﺑﺎﺭ ﻛﻪ ﻧﻮﺍﺭﻫﺎ ﺭﺍ ﮔﻮﺵ ﻣﻰﻛﺮﺩﻡ‪ ،‬ﭘﺮﭼﻢﻫﺎﻯ ﮔﻞ ﺑﻠﻨﺪﺗﺮ ﻣﻰﺷﺪ‪.‬‬ ‫ﺣﺎﻻ ﻭﻗﺘﺶ ﺑﻮﺩ ﻛﻪ ﻣﺎﻟﻴﺎﺕ ﻧﺒﻮﻏﻢ ﺭﺍ ﺑﭙﺮﺩﺍﺯﻡ ﻭ ﺑﻪ ﺁﻣﻮﺧﺘﻪﻫﺎﻳﻢ ﺍﺩﺍﻯ ﺩِﻳﻦ ﻛﻨﻢ‪ .‬ﺑﻪ ﻋﻤﺪ ﺍﺯ ﺭﻓﺘﻦ‬ ‫ﺳﺮﺍ ِﻍ ﻣﺘﻦﻫﺎﻯ ﺍﺻﻠﻰ ﭘﺮﻫﻴﺰ ﻛﺮﺩﻩ ﺑﻮﺩﻡ ﺗﺎ ﺯﻣﺎﻧﻰ ﻛﻪ ﺑﺘﻮﺍﻧﻢ ﺑﻪ ﻃﻮﺭ ﻛﺎﻣﻞ ﺁﻥﻫﺎ ﺭﺍ ﺩﺭﻙ ﻛﻨﻢ‪ .‬ﺗﺎ ﺁﻥ‬ ‫ﻣﻮﻗﻊ‪ ،‬ﻧﻮﺷﺘﻪﻫﺎﻯ ﻛﻢ ﺍﻫﻤﻴﺖ‪ ،‬ﻗﻄﻌﺎﺗﻰ ﺷﻌﺮ‪ ،‬ﺗﻜﻪﻫﺎﻳﻰ ﺍﺯ ﺗﺎﺭﻳﺦ ﻭ ﭼﻴﺰﻫﺎﻳﻰ ﺍﺯ ﺍﻳﻦ ﺩﺳﺖ ﻣﻰﺧﻮﺍﻧﺪﻡ‪.‬‬ ‫ﻭ ﻳﻚ ﭼﻴﺰ ﺩﺭ ﺗﻤﺎﻡ ﻧﻮﺷﺘﻪﻫﺎﻳﻰ ﻛﻪ ﺧﻮﺍﻧﺪﻡ ﻋﻤﻴﻘﺎً ﻣﻦ ﺭﺍ ﺗﺤﺖ ﺗﺎﺛﻴﺮ ﻗﺮﺍﺭ ﺩﺍﺩ‪ .‬ﺁﻥﻫﺎ ﺩﺭﺑﺎﺭﻩﻯ ﺣﻘﺎﻳﻖ‬ ‫ُﺻﻠﺐ ﻣﻰﻧﻮﺷﺘﻨﺪ‪ ،‬ﺻﺨﺮﻩ‪ ،‬ﺷﻦ‪ ،‬ﺁﺏ‪ ،‬ﺑﺎﺩ ﻭ ﻣﺤﺘﻮﺍﻯ ﻧﻬﻔﺘﻪ ﺩﺭ ﺍﻳﻦ ﻋﻨﺎﺻﺮ ﺳﻤﺒﻠﻴﻚ ﺑﺴﻴﺎﺭ ﺑﺪﺑﻴﻨﺎﻧﻪ‬ ‫ﺑﻮﺩ‪ .‬ﻣﻦ ﺭﺍ ﻳﺎﺩ ﺑﺮﺧﻰ ﻣﺘﻮﻥ ﺑﻮﺩﺍﻳﻰ ﻣﻰﺍﻧﺪﺍﺧﺖ‪ ،‬ﺍﻣﺎ ﺑﻴﺸﺘﺮ ﺍﺯ ﺁﻥ‪ ،‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺗﺤﻘﻴﻘﺎﺕ ﺍﺧﻴﺮﻡ‪ ،‬ﺷﺒﻴﻪ‬ ‫ﺑﻪ ﻋﻬﺪ ﻋﺘﻴﻖ ﺑﻮﺩﻧﺪ‪ .‬ﺑﻪ ﺧﺼﻮﺹ ﻣﻦ ﺭﺍ ﻳﺎﺩ »ﻛﺘﺎﺏ ﺟﺎﻣﻌﻪ ﺍﺑﻦ ﺩﺍﻭﻭﺩ« ]‪ [12‬ﻣﻰﺍﻧﺪﺍﺧﺘﻨﺪ‪.‬‬ ‫ﭼﻨﻴﻦ ﺑﻮﺩ‪ .‬ﺳﺎﺧﺘﺎﺭ ﻭ ﻛﻠﻤﺎﺕ ﺑﻪ ﻛﺎﺭ ﺭﻓﺘﻪ ﺑﻪ ﻗﺪﺭﻯ ﺷﺒﻴﻪ ﺑﻮﺩﻧﺪ ﻛﻪ ﻳﻚ ﺗﻤﺮﻳﻦ ﺩﺭﺳﺖ ﻭ ﺣﺴﺎﺑﻰ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪96‬‬

‫ﭘﺎﻭﺭﻗﻰ‬

‫ِ‬ ‫ﭘﺴﺮﻙ ﮔﺮﻳﺰﺍﻥ ﮔﻔﺘﻪ ﺑﻮﺩ‪» :‬ﺁﻗﺎ‪ ،‬ﺩﻟﻢ ﻣﻰﺧﻮﺍﺩ ﻳﻜﻰ ﺩﻭ ﺳﺎﻟﻰ ﺑﻪ ﺭﻭﺵ ﺧﻮﺩﻡ ﻣﻄﺎﻟﻌﻪ ﻛﻨﻢ ﻭ‬ ‫ﭼﻄﻮﺭ‬ ‫ﺑﻌﺪ ﻛﻼﺱﻫﺎﻯ ﺁﻣﺎﺩﮔﻰ ﺍﻟﻬﻴﺎﺕ ﺭﺍ ﺩﺭ ﻳﻚ ﺩﺍﻧﺸﮕﺎﻩ ﻫﻨﺮﻫﺎﻯ ﺁﺯﺍﺩ ﻣﻄﺎﻟﻌﻪ ﻛﻨﻢ‪ .‬ﻫﻨﻮﺯ ﺑﺮﺍﻯ ﻭﺭﻭﺩ ﺑﻪ‬ ‫ﻣﺪﺭﺳﻪﻯ ﻋﻠﻮﻡ ﺩﻳﻨﻰ ﺧﻴﻠﻰ ﺟﻮﻭﻧﻢ‪«.‬‬ ‫ﺻﺪﺍﻯ ﺧﺪﺍ‪» :‬ﺗﻮ ﺍﺯ ﻣﻮﻫﺒﺖ ﺯﺑﺎﻥﻫﺎ ﺑﺮﺧﻮﺭﺩﺍﺭﻯ ﭘﺴﺮﻡ‪ .‬ﻣﻰﺗﻮﺍﻧﻰ ﺍﻧﺠﻴﻞ ﺭﺍ ﺩﺭ ﺗﻤﺎﻡ ﺳﺮﺯﻣﻴﻦﻫﺎﻯ‬ ‫ﺑﺎﺑﻞ ﻣﻮﻋﻈﻪ ﻛﻨﻰ‪ .‬ﺗﻮ ﺯﺍﺩﻩ ﺷﺪﻯ ﺗﺎ ﻳﻚ ﻣﻴﺴﻴﻮﻧﺮ ﺑﺎﺷﻰ‪ .‬ﻣﻰﮔﻮﻳﻰ ﺟﻮﺍﻥ ﻫﺴﺘﻰ‪ ،‬ﺍﻣﺎ ﺯﻣﺎﻥ ﻫﻤﭽﻮﻥ‬ ‫ﻳﻚ ﮔﺮﺩﺑﺎﺩ ﺍﺯ ﻛﻨﺎﺭﺕ ﺩﺭ ﮔﺬﺭ ﺍﺳﺖ‪ .‬ﺯﻭﺩ ﺷﺮﻭﻉ ﻛﻦ ﺗﺎ ﺍﺯ ﺳﺎﻝﻫﺎﻯ ﺍﺿﺎﻓﻪﻯ ﺧﺪﻣﺘﺖ ﻟﺬﺕ ﺑﺒﺮﻯ‪«.‬‬ ‫ﺳﺎﻝﻫﺎﻯ ﺍﺿﺎﻓﻪﻯ ﺧﺪﻣﺖ‪ ،‬ﻗﻮﺯ ﺑﺎﻻﻯ ﻗﻮﺯﻯ ﺑﻮﺩﻧﺪ ﻛﻪ ﺩﺍﺷﺘﻢ‪ .‬ﺣﺎﻻ ﭼﻬﺮﻩﺍﺵ ﺭﺍ ﻧﻤﻰﺑﻴﻨﻢ‪ .‬ﺩﻳﮕﺮ‬ ‫ﻫﺮﮔﺰ ﻧﺨﻮﺍﻫﻢ ﺩﻳﺪ‪.‬‬ ‫ﺷﺎﻳﺪ ﺑﻪ ﺍﻳﻦ ﺧﺎﻃﺮ ﺑﺎﺷﺪ ﻛﻪ ﻫﻤﻴﺸﻪ ﻭﺣﺸﺖ ﺩﺍﺷﺘﻢ ﺑﻪ ﺍﻭ ﻧﮕﺎﻩ ﻛﻨﻢ‪ .‬ﺳﺎﻝﻫﺎ ﺑﻌﺪ‪ ،‬ﻭﻗﺘﻰ ﻛﻪ ﺍﻭ ُﻣﺮﺩﻩ‬ ‫ﺑﻮﺩ ﻭ ﺑﺎ ﻟﺒﺎﺱ ﻣﺸﻜﻰ ﻣﻴﺎﻥ ﻋﺰﺍﺩﺍﺭﻥ ﮔﺮﻳﺎﻥ‪ُ ،‬ﮔﻞﻫﺎ‪ ،‬ﺩﻋﺎﻫﺎ‪ ،‬ﭼﻬﺮﻩﻫﺎﻯ ﻗﺮﻣﺰ‪ ،‬ﺩﺳﺘﻤﺎﻝﻛﺎﻏﺬﻯﻫﺎ‪،‬‬ ‫ﺩﺳﺖﻫﺎﻳﻰ ﻛﻪ ﺑﻪ ﺷﺎﻧﻪ ﻣﻰﺧﻮﺭﺩﻧﺪ‪ ،‬ﭼﻬﺮﻩﻫﺎﻯ ﻣﻮﻗﺮ ﺗﺴﻠﻰﺩﻫﻨﺪﮔﺎﻥ ﻭ‪ ...‬ﺁﺭﻣﻴﺪﻩ ﺑﻮﺩ‪ ،‬ﻧﮕﺎﻫﺶ ﻛﺮﺩﻡ‬ ‫ﻭ ﻧﺸﻨﺎﺧﺘﻤﺶ‪.‬‬ ‫ﻧ ُﻪ ﻣﺎﻩ ﻗﺒﻞ ﺍﺯ ﺗﻮﻟﺪﻡ ﺑﺎ ﺍﻳﻦ ﻏﺮﻳﺒﻪ ﻣﻼﻗﺎﺕ ﻛﺮﺩﻩ ﺑﻮﺩﻡ‪ .‬ﺍﻭ ﻫﺮﮔﺰ ﺑﻰﺭﺣﻢ ﻧﺒﻮﺩ‪ ،‬ﻛﻠﻪﺷﻖ ﻭ ﻣﺼﺮ ﺑﻮﺩ‬ ‫ﻭ ﻫﻤﻴﺸﻪ ﻣﻌﺘﺮﺽ ﺑﻪ ﻗﺼﻮﺭﺍﺕ ﺩﻳﮕﺮﺍﻥ‪ ،‬ﺍﻣﺎ ﻫﺮﮔﺰ ﺑﻰﺭﺣﻢ ﻧﺒﻮﺩ‪ .‬ﺍﺯ ﻃﺮﻓﻰ‪ ،‬ﻧﻘﺶ ﻣﺎﺩﺭﻡ ﺭﺍ ﻫﻢ ﺑﺎﺯﻯ‬ ‫ﻣﻰﻛﺮﺩ ﻭ ﺑﺮﺍﺩﺭ ﻭ ﺧﻮﺍﻫﺮ‪ .‬ﺳﻪ ﺳﺎﻝ ﺗﺤﺼﻴﻞ ﻣﻦ ﺩﺭ ﺳﻨﺖ ﺟﺎﻥ ﺭﺍ ﻫﻢ ﺗﺤﻤﻞ ﻛﺮﺩ‪ ،‬ﺍﺣﺘﻤﺎﻻً ﺑﻪ ﺧﺎﻃﺮ‬ ‫ﻧﺎﻡ ﺁﻥ ﻣﺤﻞ ﺑﻮﺩ ﻭ ﻫﻴﭻ ﺧﺒﺮ ﻧﺪﺍﺷﺖ ﭼﻪ ﺟﺎﻯ ﺁﺯﺍﺩ ﻭ ﻟﺬﺕﺑﺨﺸﻰ ﺍﺳﺖ‪.‬‬ ‫ﺍﻣﺎ ﻣﻦ ﻫﺮﮔﺰ ﻧﺸﻨﺎﺧﺘﻤﺶ‪ ،‬ﻭ ﻣﺮﺩﻯ ﻛﻪ ﺩﺭ ﺗﺎﺑﻮﺕ ﺧﻮﺍﺑﻴﺪﻩ ﺑﻮﺩ‪ ،‬ﺣﺎﻻ ﺩﻳﮕﺮ ﭼﻴﺰﻯ ﻧﻤﻰﺧﻮﺍﺳﺖ‪ ،‬ﺁﺯﺍﺩ‬ ‫ﺑﻮﺩﻡ ﻛﻪ ﺑﺮﺍﻯ ﺩﻧﻴﺎ ﻣﻮﻋﻈﻪ ﻧﻜﻨﻢ‪ .‬ﺍﻣﺎ ﺣﺎﻻ ﻣﻰﺧﻮﺍﺳﺘﻢ ﺑﻪ ﺭﻭﺷﻰ ﻣﺘﻔﺎﻭﺕ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﻫﻢ‪.‬‬ ‫ﻣﻰﺧﻮﺍﺳﺘﻢ ﺯﺑﺎﻧﻰ ﺭﺍ ﻛﻪ ﺩﺭ ﺯﻣﺎﻥ ﺯﻧﺪﮔﻰ ﺍﻭ ﻫﺮﮔﺰ ﺻﺤﺒﺖ ﻧﻜﺮﺩﻡ‪ ،‬ﻣﻮﻋﻈﻪ ﻛﻨﻢ‪.‬‬ ‫ﭘﺎﻳﻴﺰ ﺑﺮﺍﻯ ﺍﺩﺍﻣﻪﻯ ﺗﺤﺼﻴﻞ ﺑﺎﺯﻧﮕﺸﺘﻢ‪ .‬ﺍﺭﺛﻴﻪﻯ ﻣﺨﺘﺼﺮﻯ ﺩﺍﺷﺘﻢ ﻭ ﺍﺯ ﺁﻥﺟﺎ ﻛﻪ ﻫﻨﻮﺯ ﻫﺠﺪﻩ ﺳﺎﻟﻢ‬ ‫ﻧﺸﺪﻩ ﺑﻮﺩ‪ ،‬ﺩﺭﺩﺳﺮ ﺯﻳﺎﺩﻯ ﺑﺮﺍﻯ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﮔﺮﻓﺘﻨﺶ ﺩﺍﺷﺘﻢ‪ .‬ﺍﻣﺎ ﺑﺎﻻﺧﺮﻩ ﻣﻮﻓﻖ ﺷﺪﻡ ﻭ ﺩﺭ ﺭﻭﺳﺘﺎﻯ‬ ‫ﮔﺮﻳﻦﻭﻳﭻ ﺳﺎﻛﻦ ﺷﺪﻡ‪.‬‬ ‫ﺁﺩﺭﺱ ﺟﺪﻳﺪﻡ ﺭﺍ ﺑﻪ ﻣﻮﻋﻈﻪﺟﻮﻳﺎﻥ ﻧﮕﻔﺘﻢ ﻭ ﺯﻧﺪﮔﻰ ﺭﻭﺯﻣﺮﻩﺍﻡ ﺭﺍ ﺑﺎ ﻧﻮﺷﺘﻦ ﺷﻌﺮ ﻭ ﻳﺎﺩ ﮔﺮﻓﺘﻦ ژﺍﭘﻨﻰ‬ ‫ﻭ ﻫﻨﺪﻯ ﺁﻏﺎﺯ ﻛﺮﺩﻡ‪ .‬ﺭﻳﺸﻢ ﺭﺍ ﺑﻠﻨﺪ ﻛﺮﺩﻡ‪ ،‬ﺍﺳﭙﺮﺳﻮ ﻣﻰﻧﻮﺷﻴﺪﻡ ﻭ ﺷﻄﺮﻧﺞ ﻳﺎﺩ ﮔﺮﻓﺘﻢ‪ .‬ﻣﻰﺧﻮﺍﺳﺘﻢ‬ ‫ﭼﻨﺪ ﺭﺍﻩ ﺩﻳﮕﺮ ﺑﺮﺍﻯ ﺭﺳﺘﮕﺎﺭﻯ ﺭﺍ ﻫﻢ ﺍﻣﺘﺤﺎﻥ ﻛﻨﻢ‪.‬‬ ‫ﭘﺲ ﺍﺯ ﺁﻥ ﺩﻭ ﺳﺎﻝ ﺭﺍ ﺑﻪ ﻫﻤﺮﺍﻩ ﺳﭙﺎﻩ ﺻﻠﺢ ﺩﺭ ﻫﻨﺪ ﮔﺬﺭﺍﻧﺪﻡ‪ .‬ﺩﺭ ﺍﻳﻦ ﺩﻭ ﺳﺎﻝ ﺍﺯ ﺑﻮﺩﻳﺴﻢ ﺑﺮﻳﺪﻡ ﻭ‬ ‫ﺑﻪ ﻛﺮﻳﺸﻨﺎ ﺭﻭﻯ ﺁﻭﺭﺩﻡ ﻭ ﺍﺷﻌﺎﺭﻡ ﺟﺎﻳﺰﻩﻯ ﭘﻮﻟﻴﺘﺰﺭ ﺑﺮﺍﻳﻢ ﺑﻪ ﺍﺭﻣﻐﺎﻥ ﺁﻭﺭﺩ‪ .‬ﺑﻌﺪ ﺑﻪ ﺁﻣﺮﻳﻜﺎ ﺑﺎﺯﮔﺸﺘﻢ‪،‬‬ ‫‪95‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﮔﻔﺘﻢ‪» :‬ﻣﻰﺑﻴﻨﻢ‪ «.‬ﺍﻣﺎ ﻭﺍﻗﻌﺎً ﭼﻴﺰﻯ ﻧﻤﻰﺩﻳﺪﻡ‪.‬‬ ‫ﺍﻣﺎ ﻫﻨﻮﺯ ﻭﻗﺘﺶ ﻧﺒﻮﺩ ﻛﻪ ﺍﺯ ﺍﻭ ﺩﺭﺧﻮﺍﺳﺖ ﻳﻚ ﺗﻮﺭ ﺑﻜﻨﻢ‪ .‬ﺑﻪ ﻃﺮﻑ ﻳﻚ ﭼﻬﺎﺭﭘﺎﻳﻪﻯ ﻛﻮﭼﻚ ﻛﻨﺎﺭ‬ ‫ﻣﻴﺰ ﺭﻓﺖ‪.‬‬ ‫ﺯﺑﺎﻥ ﻓﺎﺧﺮ ﺁﺷﻨﺎ ﻣﻰﺷﻮﻯ؟«‬ ‫»ﺧﺐ ﺁﻳﺎ ﺣﺎﻻ ﺑﺎ ِ‬ ‫ﺩﺍﺷﺘﻢ ﺗﻼﺵ ﻣﻰﻛﺮﺩﻡ ﺑﺎ ﭼﺸﻢﻫﺎﻳﻢ ﺍﺯ ﺁﻥ ﺗﺎﻻﺭ ﻋﻜﺲ ﺑﮕﻴﺮﻡ‪ ،‬ﻣﻰﺩﺍﻧﺴﺘﻢ ﺩﻳﺮ ﻳﺎ ﺯﻭﺩ ﺑﺎﻳﺪ ﻫﺮ ﻃﻮﺭﻯ‬ ‫ﺷﺪﻩ ﻳﻚ ﺩﻭﺭﺑﻴﻦ ﺑﺎ ﺧﻮﺩﻡ ﺑﻴﺎﻭﺭﻡ‪ .‬ﺑﻪ ﺳﺨﺘﻰ ﻧﮕﺎﻫﻢ ﺭﺍ ﺍﺯ ﻳﻚ ﻣﺠﺴﻤﻪ ﺑﺮﺩﺍﺷﺘﻢ‪.‬‬ ‫»ﺑﻠﻪ‪ ،‬ﻣﻌﺮﻓﻰﺍﻡ ﻛﻦ‪«.‬‬ ‫ﻧﺸﺴﺘﻢ‪.‬‬ ‫‪ ‬ﺩﺭ ﻃﻮﻝ ﺳﻪ ﻫﻔﺘﻪﺍﻯ ﻛﻪ ﭘﺲ ﺍﺯ ﺁﻥ ﺭﻭﺯ ﺁﻣﺪ‪ ،‬ﻫﺮ ﻭﻗﺖ ﺗﻼﺵ ﻣﻰﻛﺮﺩﻡ ﺑﺨﻮﺍﺑﻢ‪ ،‬ﺧﺮﭼﻨﮓ‬ ‫ﻗﻮﺭﺑﺎﻏﻪﻫﺎﻯ ﺍﻟﻔﺒﺎ ﻫﻤﻴﻦﻃﻮﺭ ﭘﺸﺖ ﭘﻠﻚﻫﺎﻳﻢ ﺭژﻩ ﻣﻰﺭﻓﺘﻨﺪ‪ .‬ﻫﺮ ﮔﺎﻩ ﻧﮕﺎﻫﻢ ﺑﻪ ﺁﺳﻤﺎﻥ ﻣﻰﺍﻓﺘﺎﺩ‪،‬‬ ‫ﺍﺳﺘﺨﺮ ﻓﻴﺮﻭﺯﻩﺍﻯِ ﺑﺪﻭﻥ ﺍﺑﺮﻯ ﺑﻮﺩ ﻛﻪ ﺧﻄﺎﻃﻰﻫﺎ ﺩﺭ ﺁﻥ ﻣﻮﺝ ﻣﻰﺯﺩﻧﺪ‪ .‬ﻫﻨﮕﺎﻡ ﻛﺎﺭ ﻟﻴﺘﺮ ﻟﻴﺘﺮ ﻗﻬﻮﻩ‬ ‫ﻣﻰﺧﻮﺭﺩﻡ ﻭ ﻫﺮ ﻭﻗﺖ ﻗﻬﻮﻩ ﻧﻤﻰﺧﻮﺭﺩﻡ‪ ،‬ﻛﻮﻛﺘﻞ ﺑﻨﺰﺩﺭﻳﻦ ]‪ [10‬ﻭ ﺷﺎﻣﭙﺎﻳﻦ ﻣﻰﻧﻮﺷﻴﺪﻡ‪.‬‬ ‫ﻣﻚﻭﻯ ﻫﺮ ﺭﻭﺯ ﺻﺒﺢ ﺩﻭ ﺳﺎﻋﺖ ﺷﻜﻨﺠﻪﺍﻡ ﻣﻰﺩﺍﺩ ﻭ ﻫﺮ ﺍﺯ ﮔﺎﻫﻰ ﺩﻭ ﺳﺎﻋﺖ ﺷﻜﻨﺠﻪﻯ ﻋﺼﺮﮔﺎﻫﻰ‬ ‫ﻫﻢ ﺑﻪ ﺁﻥ ﺍﺿﺎﻓﻪ ﻣﻰﻛﺮﺩ‪ .‬ﭼﻬﺎﺭﺩﻩ ﺳﺎﻋﺖ ﺍﺿﺎﻓﻪ ﺩﺭ ﺭﻭﺯ ﻫﻢ ﺧﻮﺩﻡ ﻣﻄﺎﻟﻌﻪ ﻣﻰﻛﺮﺩﻡ ﺗﺎ ﺯﻣﺎﻧﻰ ﺑﺮﺳﺪ‬ ‫ﻛﻪ ﺑﺘﻮﺍﻧﻢ ﺑﻪ ﺗﻨﻬﺎﻳﻰ ﺍﺩﺍﻣﻪ ﺩﻫﻢ‪.‬‬ ‫ﻭ ﺷﺐﻫﻨﮕﺎﻡ‪ ،‬ﺁﺳﺎﻧﺴﻮﺭ ﺯﻣﺎﻥ ﻣﻦ ﺭﺍ ﺑﻪ ﻃﺒﻘﺎﺕِ ﭘﺎﻳﻴﻨﺶ ﻣﻰﺍﻓﻜﻨﺪ‪.‬‬ ‫ﺩﻭﺑﺎﺭﻩ ﺷﺶ ﺳﺎﻟﻪ ﻣﻰﺷﺪﻡ ﻭ ﺩﺍﺷﺘﻢ ﻋﺒﺮﻯ‪ ،‬ﻳﻮﻧﺎﻧﻰ‪ ،‬ﻻﺗﻴﻦ ﻭ ﺁﺭﺍﻣﻰ ﻳﺎﺩ ﻣﻰﮔﺮﻓﺘﻢ‪ .‬ﺩﻩ ﺳﺎﻟﻪ ﺑﻮﺩﻡ‬ ‫ﻭ ﺩﺯﺩﻛﻰ ﺍﻳﻠﻴﺎﺩ ﻣﻰﺧﻮﺍﻧﺪﻡ‪ .‬ﭘﺪﺭ ﻳﺎ ﻣﺸﻐﻮﻝ ﻣﻮﻋﻈﻪ ﺍﺯ ﺁﺗﺶﻫﺎﻯ ﮔﻮﮔﺮﺩﻯ ﺟﻬﻨﻢ ﻭ ﻋﺸﻖ ﺑﺮﺍﺩﺭﺍﻧﻪ‬ ‫ﺑﻮﺩ ﻳﺎ ﺩﺍﺷﺖ ﻣﺠﺒﻮﺭﻡ ﻣﻰﻛﺮﺩ ﺩﺭ ﺍﺻﻞ ﻣﻌﻨﺎﻯ ﺍﻧﺠﻴﻞ ﺗﻔﻜﺮ ﻛﻨﻢ‪ .‬ﺧﺪﺍﻳﺎ! ﭼﻘﺪﺭ ﺍﺻﻞ ﻭﺟﻮﺩ ﺩﺍﺷﺖ‬ ‫ﻭ ﭼﻘﺪﺭ ﻛﻠﻤﻪ‪ .‬ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﺩﻭﺍﺯﺩﻩ ﺳﺎﻟﻪ ﺑﻮﺩﻡ‪ ،‬ﺑﺎ ﺍﻭ ﺩﺭﺑﺎﺭﻩﻯ ﺗﻔﺎﻭﺕﻫﺎﻯ ﻣﻴﺎﻥ ﭼﻴﺰﻫﺎﻳﻰ ﻛﻪ‬ ‫ﻣﻰﺧﻮﺍﻧﺪﻡ ﻭ ﺍﻭ ﻣﻮﻋﻈﻪ ﻣﻰﻛﺮﺩ‪ ،‬ﮔﻔﺘﮕﻮ ﻛﺮﺩﻡ‪ .‬ﭘﺎﺳﺦﻫﺎﻯ ﺳﻔﺖ ﻭ ﺳﺨﺖ ﻓﺎﻧﺪﺍﻣﻨﺘﺎﻟﻴﺴﺘﻰﺍﺵ ﻫﻴﭻ‬ ‫ﺟﺎﻯ ﺑﺤﺜﻰ ﺑﺎﻗﻰ ﻧﻤﻰﮔﺬﺍﺷﺘﻨﺪ‪ .‬ﺍﺯ ﻫﺮ ﻛﺘﻚﺧﻮﺭﺩﻧﻰ ﺑﺪﺗﺮ ﺑﻮﺩ‪ .‬ﭘﺲ ﺍﺯ ﺁﻥ ﻳﺎﺩ ﮔﺮﻓﺘﻢ ﺩﻫﺎﻧﻢ ﺭﺍ ﺑﺴﺘﻪ‬ ‫ﻧﮕﺎﻩ ﺩﺍﺭﻡ ﻭ ﻋﻬﺪ ﻋﺘﻴﻖ ﺭﺍ ﺳﺘﺎﻳﺶ ﻛﻨﻢ‪.‬‬ ‫ﺧﺪﺍﻳﺎ‪ ،‬ﻣﺘﺎﺳﻔﻢ! ﭘﺪﺭ ﻣﺘﺎﺳﻔﻢ! ﻣﻦ ﺧﻴﻠﻰ ﻣﺘﺎﺳﻔﻢ! ﻧﻤﻰﺗﻮﻧﻢ! ﻧﻤﻰﺗﻮﻧﻢ‪ ...‬ﺭﻭﺯﻯ ﻛﻪ ﭘﺴﺮﻙ ﺑﺎ‬ ‫ﺗﻘﺪﻳﺮﻧﺎﻣﻪﻫﺎﻳﻰ ﺩﺭ ﺯﺑﺎﻥﻫﺎﻯ ﻓﺮﺍﻧﺴﻪ‪ ،‬ﺁﻟﻤﺎﻧﻰ‪ ،‬ﺍﺳﭙﺎﻧﻴﺎﻳﻰ ﻭ ﻻﺗﻴﻦ ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴﻞ ﺷﺪ‪ ،‬ﭘﺪﺭ ﮔﺎﻟﻴﻨﮕﺮ‬ ‫ﺑﻪ ﭘﺴﺮ ﭼﻬﺎﺭﺩﻩ ﺳﺎﻟﻪ ﻭ ﺩﻭ ﻣﺘﺮﻯﺍﺵ ﮔﻔﺖ ﻣﻰﺧﻮﺍﻫﺪ ﺍﻭ ﺑﻪ ﻣﺪﺭﺳﻪﻯ ﻋﻠﻮﻡ ﺩﻳﻨﻰ ﺑﺮﻭﺩ‪ .‬ﻳﺎﺩﻡ ﻫﺴﺖ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪94‬‬

‫ﭘﺎﻭﺭﻗﻰ‬

‫»ﺍﻋﺘﺮﺍﺿﻰ ﻛﻪ ﻧﺪﺍﺭﻳﺪ ﺍﺯ ﺁﻥﻫﺎ ﻧﺴﺨﻪﺑﺮﺩﺍﺭﻯ ﻛﻨﻢ؟«‬ ‫»ﻧﻪ‪ .‬ﻣﻰﺑﻴﻨﻢ ﺑﻪ ﺁﻥﻫﺎ ﺍﺣﺘﺮﺍﻡ ﻣﻰﮔﺬﺍﺭﻯ ﻭﮔﺮﻧﻪ ﺍﻳﻦ ﻗﺪﺭ ﻣﺸﺘﺎﻕ ﻧﺒﻮﺩﻯ‪«.‬‬ ‫»ﺑﺴﻴﺎﺭ ﻋﺎﻟﻰ‪«.‬‬ ‫ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ ﺍﺯ ﭼﻴﺰﻯ ﺧﻨﺪﻩﺍﺵ ﮔﺮﻓﺘﻪ‪ .‬ﺍﺯ ﺍﻭ ﭘﺮﺳﻴﺪﻡ ﻣﺎﺟﺮﺍ ﭼﻴﺴﺖ‪.‬‬ ‫ﺯﺑﺎﻥ ﻓﺎﺧﺮ ﺑﺮﺍﻯ ﻳﻚ ﺧﺎﺭﺟﻰ ﺁﻥﻗﺪﺭﻫﺎ ﻫﻢ ﺁﺳﺎﻥ ﻧﻴﺴﺖ‪«.‬‬ ‫»ﻳﺎﺩ‬ ‫ﮔﺮﻓﺘﻦ ِ‬ ‫ِ‬ ‫ﻣﻦ ﺧﻴﻠﻰ ﺳﺮﻳﻊ ﻭﺍﺭﺩ ﻣﺎﺟﺮﺍ ﺷﺪﻩ ﺑﻮﺩﻡ‪ .‬ﻫﻴﭻﻛﺲ ﺩﺭ ﺍﻭﻟﻴﻦ ﺍﻛﺘﺸﺎﻑ ﺍﻳﻦ ﻗﺪﺭ ﺑﻪ ﻛﺸﻒ ﺭﺍﺯ ﻧﺰﺩﻳﻚ‬ ‫ﻧﺸﺪﻩ ﺑﻮﺩ‪ .‬ﺍﺻ ً‬ ‫ﺯﺑﺎﻧﻰ ﺩﻭ ﺳﻮﻳﻪ ﺍﺳﺖ‪ ،‬ﺍﺯ ﻳﻚ ﻃﺮﻑ ﻛﻼﺳﻴﻚ ﺑﻮﺩ‬ ‫ﻼ ﺧﺒﺮ ﻧﺪﺍﺷﺘﻢ ﻛﻪ ﺍﻳﻦ ﻳﻚ ﭼﺎﻟﺶ‬ ‫ِ‬ ‫ﻭ ﺍﺯ ﺳﻮﻯ ﺩﻳﮕﺮ ﻋﺎﻣﻴﺎﻧﻪ‪ .‬ﻣﻦ ﻛﻤﻰ ﺍﺯ ﭘﺮﺍﻛﺮﻳﺖ ﺁﻥﻫﺎ ﺭﺍ ﻣﻰﺩﺍﻧﺴﺘﻢ ﻭ ﺣﺎﻻ ﺑﺎﻳﺪ ﺗﻤﺎﻡ ﺳﺎﻧﺴﻜﺮﻳﺘﺸﺎﻥ‬ ‫ﺭﺍ ﻫﻢ ﻳﺎﺩ ﻣﻰﮔﺮﻓﺘﻢ‪.‬‬ ‫»ﺍﻭﻩ‪ ،‬ﻟﻌﻨﺖ‪«.‬‬ ‫»ﺑﺒﺨﺸﻴﺪ؟«‬ ‫»ﻗﺎﺑﻞ ﺗﺮﺟﻤﻪ ﻧﻴﺴﺖ ﻣﻚﻭﻯ‪ .‬ﺍﻣﺎ ﺗﺼﻮﺭ ﻛﻦ ﻋﺠﻠﻪ ﺩﺍﺭﻯ ﻳﻚ ﺯﺑﺎﻥ ﻓﺎﺧﺮ ﺭﺍ ﻳﺎﺩ ﺑﮕﻴﺮﻯ ﻭ ﺁﻥﻭﻗﺖ‬ ‫ﻣﻰﻓﻬﻤﻰ ﭼﻪ ﮔﻔﺘﻢ‪«.‬‬ ‫ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ ﺩﻭﺑﺎﺭﻩ ﺧﻨﺪﻩﺍﺵ ﮔﺮﻓﺘﻪ‪ .‬ﺑﻪ ﻣﻦ ﮔﻔﺖ ﻛﻔﺶﻫﺎﻳﻢ ﺭﺍ ﺑﻴﺮﻭﻥ ﺑﻴﺎﻭﺭﻡ‪ .‬ﺩﺭ ﻳﻚ ﺷﺎﻩﻧﺸﻴﻦ‬ ‫ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ‪ ...‬ﻭ ﺑﻌﺪ ﺑﻪ ﺭﻭﺷﻨﺎﻳﻰ ﻳﻚ ﺗﺎﻻﺭ ﺭﻭﻣﻰ ﻭﺍﺭﺩ ﺷﺪ!‬ ‫ﺗﺎ ﺑﻪ ﺣﺎﻝ ﻫﻴﭻ ﺍﻧﺴﺎﻥ ﺯﻣﻴﻨﻰ ﺑﻪ ﺍﻳﻦ ﺍﺗﺎﻕ ﻭﺍﺭﺩ ﻧﺸﺪﻩ ﺍﺳﺖ‪ ،‬ﻭﮔﺮﻧﻪ ﺧﺒﺮﺵ ﺭﺍ ﻣﻰﺷﻨﻴﺪﻡ‪ .‬ﺁﻥ ﮔﺮﺍﻣﺮ‬ ‫ِ‬ ‫ﻣﻜﺘﺸﻒ ﺯﺑﺎﻥﺷﻨﺎﺱ ﺑﺎ ﻛﻤﻚ ﻣﺮﻯ ﺁﻟﻦ ﻳﺎﺩ ﮔﺮﻓﺘﻪ‬ ‫ﻭ ﻟﻐﺎﺗﻰ ﺭﺍ ﻛﻪ ﻣﻦ ﺣﺎﻻ ﺑﻠﺪ ﺑﻮﺩﻡ‪ ،‬ﻛﺎﺭﺗﺮ‪ ،‬ﺍﻭﻟﻴﻦ‬ ‫ﺑﻮﺩ‪ ،‬ﺁﻥ ﻫﻢ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺗﻤﺎﻡ ﻣﺪﺕ ﭼﻬﺎﺭ ﺯﺍﻧﻮ ﺩﺭ ﻳﻚ ﻛﻔﺶﻛﻦ ﻧﺸﺴﺘﻪ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﻫﻴﭻ ﺍﻳﺪﻩﺍﻯ ﻧﺪﺍﺷﺘﻴﻢ ﻛﻪ ﻫﻤﭽﻮﻥ ﺟﺎﻳﻰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺑﺎ ﺍﺷﺘﻴﺎﻕ ﺍﻃﺮﺍﻑ ﺭﺍ ﻧﮕﺎﻩ ﻛﺮﺩﻡ‪ .‬ﺗﺰﻳﻴﻨﺎﺕ ﺍﺗﺎﻕ‬ ‫ﺷﻨﺎﺧﺘﻰ ﭘﻴﭽﻴﺪﻩﺍﻯ ﺩﺍﺷﺘﻨﺪ‪ .‬ﺑﺎﻳﺪ ﺗﻤﺎﻡ ﮔﻤﺎﻧﻪﺯﻧﻰﻫﺎﻳﻤﺎﻥ ﺍﺯ ﻓﺮﻫﻨﮓ ﻣﺮﻳﺨﻰ ﺭﺍ‬ ‫ﺳﻴﺴﺘﻢ ﺯﻳﺒﺎﻳﻰ‬ ‫ِ‬ ‫ﺑﺎﺯﺑﻴﻨﻰ ﻣﻰﻛﺮﺩﻳﻢ‪ .‬ﺳﻘﻒ ﮔﻨﺒﺪﻯ ﺷﻜﻞ ﻭ ﺑﺮﺁﻣﺪﻩ ﺑﻮﺩ‪ ،‬ﺳﺘﻮﻥﻫﺎﻯ ﻛﻨﺎﺭﻯ ﺷﻴﺎﺭﺩﺍﺭﻯ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻨﺪ‬ ‫ﻭ ﺍﻭﻩ ﺧﺪﺍﻳﺎ‪ ،‬ﺍﻳﻦ ﻣﻜﺎﻥ ﺑﺰﺭگ ﺑﻮﺩ‪ .‬ﻫﺮﮔﺰ ﺍﺯ ﺁﻥ ﻇﺎﻫﺮ ﻣﺨﺮﻭﺑﻪﻯ ﺑﻴﺮﻭﻧﺶ ﻧﻤﻰﺷﺪ ﺣﺪﺱ ﺯﺩ‪.‬‬ ‫ﺧﻢ ﺷﺪﻡ ﻭ ﺗﺴﺒﻴﺢ ﻃﻼ ﺭﺍﻛﻪ ﺭﻭﻯ ﻣﻴﺰ ﻣﺮﺍﺳﻢ ﻗﺮﺍﺭ ﺩﺍﺷﺖ ﺑﺮﺭﺳﻰ ﻛﺮﺩﻡ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ ﻣﻚﻭﻯ‬ ‫ﺍﺯ ﺍﻳﻦ ﻫﻤﻪ ﺍﺷﺘﻴﺎﻕ ﻣﻦ ﻏﺮﻕ ﻏﺮﻭﺭ ﺷﺪﻩ‪ ،‬ﺍﻣﺎ ﻣﻦ ﻫﻨﻮﺯ ﻫﻢ ﺍﺯ ﻗﻤﺎﺭ ﻛﺮﺩﻥ ﺑﺎ ﺍﻭ ﺑﻴﺰﺍﺭ ﺑﻮﺩﻡ‪.‬‬ ‫ﺭﻭﻯ ﻣﻴﺰ ﭘﺮ ﺍﺯ ﻛﺘﺎﺏ ﺑﻮﺩ‪ .‬ﺑﺎ ﻧﻮﻙ ﺷﺴﺘﻢ‪ ،‬ﻳﻜﻰ ﺍﺯ ﻣﻮﺯﺍﻳﻴﻚﻫﺎﻯ ﺯﻣﻴﻦ ﺭﺍ ﺑﺮﺭﺳﻰ ﻛﺮﺩﻡ‪.‬‬ ‫»ﺗﻤﺎﻡ ﺷﻬﺮ ﺷﻤﺎ ﺩﺭ ﺍﻳﻦ ﺳﺎﺧﺘﻤﺎﻥ ﺍﺳﺖ؟«‬ ‫»ﺑﻠﻪ‪ ،‬ﺗﺎ ﺩﺍﺧﻞ ﻛﻮﻩﻫﺎ ﺍﺩﺍﻣﻪ ﺩﺍﺭﺩ‪«.‬‬ ‫‪93‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﭘﺎﻭﺭﻗﻰ‬

‫ﻧﻘﺺ ﻣﻦ ﺭﺍ ﺷﻨﻴﺪ‪ ،‬ﭘﻠﻚﻫﺎﻯ ﭼﺸﻢﻫﺎﻯ ﺳﻴﺎﻩ ﻭ ﺑﻰﺍﺣﺴﺎﺳﺶ ﺑﺎﻻ ﺟﻬﻴﺪﻧﺪ‪ .‬ﺩﺳﺘﮕﺎﻩ‬ ‫ﺑﻰﻋﻴﺐ ﻭ ِ‬ ‫ﺿﺒﻄﻰ ﻛﻪ ﺑﺘﻰ ﺩﺭ ﻣﺼﺎﺣﺒﻪﻫﺎ ﻫﻤﺮﺍﻩ ﺩﺍﺷﺖ‪ ،‬ﻣﻔﻴﺪ ﺍﺯ ﻛﺎﺭ ﺩﺭﺁﻣﺪﻩ ﺑﻮﺩ ﻭ ﻣﻦ ﮔﺰﺍﺭﺵﻫﺎﻯ ﻣﺮﺑﻮﻁ ﺑﻪ‬ ‫ﺯﺑﺎﻥ ﺍﺯ ﺩﻭ ﺍﻛﺘﺸﺎﻑ ﺍﻭﻟﻴﻪ ﺭﺍ ﺍﺯ ﺣﻔﻆ ﺑﻮﺩﻡ‪ .‬ﻣﻦ ﺩﺭ ﻳﺎﺩﮔﻴﺮﻯ ﻟﻬﺠﻪﻫﺎ ﻭﺣﺸﺘﻨﺎﻛﻢ!‬ ‫»ﺗﻮ ﻫﻤﺎﻥ ﺷﺎﻋﺮ ﻫﺴﺘﻰ؟«‬ ‫ﭘﺎﺳﺦ ﺩﺍﺩﻡ‪» .‬ﺑﻠﻪ‪«.‬‬ ‫»ﻟﻄﻔﺎً ﻳﻜﻰ ﺍﺯ ﺍﺷﻌﺎﺭﺕ ﺭﺍ ﺑﺨﻮﺍﻥ‪«.‬‬ ‫ﺯﺑﺎﻥ ﺷﻤﺎ ﺍﺩﺍ ﺷﻮﺩ‪ ،‬ﻳﻚ ﺗﺮﺟﻤﻪﻯ ﺗﻤﺎﻡ‬ ‫»ﻣﺘﺎﺳﻔﻢ‪ .‬ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﻪ ﺣﻖ ﻣﻄﻠﺐ ﺩﺭﺑﺎﺭﻩ ﻯ ﺍﺷﻌﺎ ِﺭ ﻣﻦ ﻭ ِ‬ ‫ﻭ ﻛﻤﺎﻝ ﻧﻴﺎﺯ ﺍﺳﺖ ﻭ ﻣﻦ ﻫﻨﻮﺯ ﺁﻥ ﻗﺪﺭﻯ ﺯﺑﺎﻥ ﺷﻤﺎ ﺭﺍ ﻧﻤﻰﺷﻨﺎﺳﻢ‪«.‬‬ ‫»ﻭﺍﻗﻌﺎً؟«‬ ‫ﺍﺩﺍﻣﻪ ﺩﺍﺩﻡ‪» .‬ﺍﻟﺒﺘﻪ ﻣﺤﺾ ﺳﺮﮔﺮﻣﻰ ﻭ ﺗﻤﺮﻳﻦ ﺩﺳﺘﻮ ِﺭ ﺯﺑﺎﻥ‪ ،‬ﺑﺮﺍﻯ ﺧﻮﺩﻡ ﺍﺷﻌﺎﺭﻡ ﺭﺍ ﺗﺮﺟﻤﻪ ﻣﻰﻛﻨﻢ؛‬ ‫ﺍﮔﺮ ﺍﺟﺎﺯﻩ ﺩﻫﻴﺪ ﭼﻨﺪ ﺗﺎﻳﻰ ﺍﺯ ﺁﻥﻫﺎ ﺭﺍ ﻳﻜﻰ ﺍﺯ ﺩﻓﻌﺎﺗﻰ ﻛﻪ ﻣﻰﺁﻳﻢ‪ ،‬ﺑﻪ ﻫﻤﺮﺍﻩ ﺑﻴﺎﻭﺭﻡ‪ .‬ﻣﺎﻳﻪﻯ ﺍﻓﺘﺨﺎﺭ‬ ‫ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪«.‬‬ ‫»ﺑﻠﻪ‪ ،‬ﺣﺘﻤﺎً ﭼﻨﻴﻦ ﻛﻦ‪«.‬‬ ‫ﻳﻜﻰ ﺑﻪ ﻧﻔﻊ ﻣﻦ!‬ ‫ﺑﻪ ﻃﺮﻑ ﺑﺘﻰ ﺑﺮﮔﺸﺖ‪.‬‬ ‫»ﻣﻰﺗﻮﺍﻧﻰ ﺑﺮﻭﻯ‪«.‬‬ ‫ﺭﺳﻤﻰ ﺧﺪﺍﺣﺎﻓﻈﻰ ﺭﺍ ﺑﻪ ﺟﺎﻯ ﺁﻭﺭﺩ‪ ،‬ﻧﮕﺎ ِﻩ ﻏﺮﻳﺒﻰ ﺍﺯ ﮔﻮﺷﻪﻯ ﭼﺸﻢ ﺑﻪ ﻣﻦ ﺍﻧﺪﺍﺧﺖ ﻭ‬ ‫ﺑﺘﻰ ﻣﻨﺎﺳﻚ‬ ‫ِ‬ ‫ﺭﻓﺖ‪ .‬ﻇﺎﻫﺮﺍ ً ﺍﻧﺘﻈﺎﺭ ﺩﺍﺷﺖ ﺑﻤﺎﻧﺪ ﻭ ﺑﻪ ﻣﻦ ﻛﻤﻚ ﻛﻨﺪ‪ .‬ﺍﻭ ﻫﻢ ﻣﺜﻞ ﺧﻴﻠﻰﻫﺎﻯ ﺩﻳﮕﺮ ﻣﻰﺧﻮﺍﺳﺖ ﺩﺭ‬ ‫ﺍﻓﺘﺨﺎﺭﻯ ﻛﻪ ﺑﻪ ﺩﺳﺖ ﻣﻰﺁﻳﺪ‪ ،‬ﺷﺮﻳﻚ ﺑﺎﺷﺪ‪ .‬ﺍﻣﺎ ﻣﻦ ﺷﻴﻠﻤﺎﻥ ]‪ [9‬ﺍﻳﻦ ﺗﺮﻭﺍ ﺑﻮﺩﻡ ﻭ ﺩﺭ ﮔﺰﺍﺭﺷﺎﺕِ‬ ‫ﺍﺗﺤﺎﺩﻳﻪ‪ ،‬ﺗﻨﻬﺎ ﻳﻚ ﻧﺎﻡ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﻣﻚﻭﻯ ﺑﺮﺧﺎﺳﺖ‪ ،‬ﻣﺘﻮﺟﻪ ﺷﺪﻡ ﺣﺘﺎ ﻭﻗﺘﻰ ﺍﻳﺴﺘﺎﺩﻩ ﻫﻢ ﻗﺪﺵ‬ ‫ﺑﺴﻴﺎﺭ ﻛﻮﺗﺎﻩ ﺍﺳﺖ‪ .‬ﺍﺯ ﻃﺮﻓﻰ ﻣﻦ ﻫﻢ ﻣﺜﻞ ﻳﻚ ﺩﺭﺧﺖ ﺗﺒﺮﻳﺰﻯ ﺩﺭ ﻣﺎﻩ ﺍﻛﺘﺒﺮ ﻻﻏﺮ ﻭ ﺩﺭﺍﺯﻡ‪ ،‬ﺳﺮﻡ ﻗﺮﻣﺰ‬ ‫ﺍﺳﺖ ﻭ ﺍﺯ ﻫﻤﻪ ﺑﻠﻨﺪﺗﺮﻡ‪ .‬ﺷﺮﻭﻉ ﺑﻪ ﺻﺤﺒﺖ ﻛﺮﺩ‪» :‬ﻧﻮﺷﺘﻪﻫﺎﻯ ﻣﺎ ﺑﺴﻴﺎﺭ ﺑﺴﻴﺎﺭ ﻛﻬﻦ ﻫﺴﺘﻨﺪ‪ .‬ﺑﺘﻰ‬ ‫ﻣﻰﮔﻮﻳﺪ ﻛﻠﻤﻪﺍﺵ ﺩﺭ ﺯﻣﺎﻥ ﺷﻤﺎ‪" ،‬ﻫﺰﺍﺭﻩ" ﺍﺳﺖ‪«.‬‬ ‫ﺍﺯ ﺳﺮ ﺗﺤﺴﻴﻦ ﺳﺮﻯ ﺗﻜﺎﻥ ﺩﺍﺩﻡ‪.‬‬ ‫»ﺑﺴﻴﺎﺭ ﻣﺸﺘﺎﻗﻢ ﻛﻪ ﺑﺒﻴﻨﻤﺸﺎﻥ‪«.‬‬ ‫»ﺍﻳﻦﺟﺎ ﻧﻴﺴﺘﻨﺪ‪ ،‬ﺑﺎﻳﺪ ﺑﻪ ﻣﻌﺒﺪ ﺑﺮﻭﻳﻢ‪ ،‬ﺍﻣﻜﺎﻥ ﺟﺎ ﺑﻪ ﺟﺎ ﻛﺮﺩﻧﺸﺎﻥ ﻧﻴﺴﺖ‪«.‬‬ ‫ﻧﺎﮔﻬﺎﻥ ﻣﺤﺘﺎﻁ ﺷﺪﻡ‪.‬‬ ‫‪91‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ِ‬ ‫ﺻﺤﺒﺖ ﺩﻗﻴﻖ‪ ،‬ﺯﻳﺒﺎ ﻭ ﻣﻄﻠﻌﺶ ﺭﺍ ﺳﺘﺎﻳﺶ ﻣﻰﻛﻨﻢ‪ .‬ﺑﻪ ﭼﺸﻢﻫﺎﻯ ﻗﻬﻮﻩﺍﻯ ﻭ ﺩﻧﺪﺍﻥﻫﺎﻯ‬ ‫ﻟﺤﻦ‬ ‫ِ‬ ‫ﺑﻰﻋﻴﺒﺶ ﻧﮕﺎﻩ ﻛﺮﺩﻡ ﻭ ﺳﭙﺲ ﺑﻪ ﻣﻮﻫﺎﻯ ﻃﻼﻳﻰ ﻭ ﻛﻮﺗﺎﻫﺶ )ﻣﻦ ﺍﺯ ﺑﻠﻮﻧﺪﻫﺎ ﺑﻴﺰﺍﺭﻡ!( ﻭ ﺑﻪ ﺍﻳﻦ ﻧﺘﻴﺠﻪ‬ ‫ﺭﺳﻴﺪﻡ ﻛﻪ ﺍﻭ ﻋﺎﺷﻖ ﻣﻦ ﺍﺳﺖ‪.‬‬ ‫»ﺁﻗﺎﻯ ﮔﺎﻟﻴﻨﮕﺮ‪ ،‬ﻣﺎﺩﺭ ﺧﺎﻧﻮﺍﺩﻩ ﺩﺍﺧﻞ ﻣﻨﺘﻈﺮ ﺷﻤﺎ ﺍﺳﺖ‪ .‬ﺍﻭ ﻣﻮﺍﻓﻘﺖ ﻛﺮﺩﻩ ﺑﺎﻳﮕﺎﻧﻰ ﻣﻌﺒﺪ ﺭﺍ ﺑﺮﺍﻯ‬ ‫ﻣﻄﺎﻟﻌﻪ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺷﻤﺎ ﻗﺮﺍﺭ ﺑﺪﻥ‪ «.‬ﻣﻜﺚ ﻛﺮﺩ ﺗﺎ ﻣﻮﻫﺎﻳﺶ ﺭﺍ ﻋﻘﺐ ﺑﺰﻧﺪ‪ ،‬ﺑﺎ ﺣﺎﻟﺘﻰ ﻣﻌﺬﺏ ﺟﺎﺑﻪﺟﺎ‬ ‫ﺷﺪ‪ .‬ﻧﻜﻨﺪ ﻧﮕﺎﻩ ﺧﻴﺮﻩﺍﻡ ﻧﺎﺭﺍﺣﺘﺶ ﻛﺮﺩﻩ؟‬ ‫ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺁﻥ ﻧﻮﺷﺘﻪﻫﺎ‪ ،‬ﻣﺘﻮﻥ ﻣﺬﻫﺒﻰ ﻭ ﺗﻨﻬﺎ ﺗﺎﺭﻳﺨﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺍﻳﻦ ﻣﺮﺩﻣﺎﻥ ﺩﺍﺭﻧﺪ‪ ،‬ﻳﻚ ﭼﻴﺰﻯ‬ ‫ﺷﺒﻴﻪ ﺑﻪ ﻣﺎﻫﺎﺑﻬﺎﺭﺍﺗﺎ ]‪ .[6‬ﺍﺯ ﺗﻮ ﺍﻧﺘﻈﺎﺭ ﺩﺍﺭﻩ ﻳﻚ ﺳﺮﻯ ﻣﻨﺎﺳﻚ ﺧﺎﺹ ﺭﻭ ﻣﻮﻗﻊ ﻛﺎﺭ ﻛﺮﺩﻥ ﺑﺎ ﺍﻭﻧﺎ‬ ‫ﺭﻋﺎﻳﺖ ﻛﻨﻰ‪ .‬ﺑﺮﺍﻯ ﻣﺜﺎﻝ ﻫﻨﮕﺎﻡ ﻭﺭﻕ ﺯﺩﻥ ﺻﻔﺤﺎﺕ ﻛﻠﻤﺎﺕِ ﻣﻘﺪﺳﻰ ﺭﻭ ﺗﻜﺮﺍﺭ ﻛﻨﻰ‪ .‬ﺧﻮﺩﺵ ﺑﻪ ﺷﻤﺎ‬ ‫ﺁﻣﻮﺯﺵ ﻣﻰﺩﻩ‪«.‬‬ ‫ﺑﻪ ﺳﺮﻋﺖ ﭼﻨﺪﻳﻦ ﺑﺎﺭ ﺳﺮ ﺗﻜﺎﻥ ﺩﺍﺩﻡ‪» .‬ﺑﺴﻴﺎﺭ ﺧﺐ‪ ،‬ﺑﺮﻳﻢ‪«.‬‬ ‫ﺩﻭﺑﺎﺭﻩ ﻣﻜﺚ ﻛﺮﺩ‪» :‬ﺍ ِﻣﻢ‪ ..‬ﻳﺎﺯﺩﻩ ﻓﺮﻡ ﺍﺩﺏ ﻭ ﺍﺣﺘﺮﺍﻣﺸﻮﻥ ﺭﻭ ﻓﺮﺍﻣﻮﺵ ﻧﻜﻨﻰ‪ .‬ﺍﻳﻦ ﺟﻮﺭ ﭼﻴﺰﻫﺎ ﺑﺮﺍﺷﻮﻥ‬ ‫ﺧﻴﻠﻰ ﻣﻬﻤﻪ ﻭ ﺩﺭﺑﺎﺭﻩﻯ ﺑﺮﺍﺑﺮﻯ ﺯﻥ ﻭ ﻣﺮﺩ ﻫﻢ ﺑﻪ ﻫﻴﭻ ﻋﻨﻮﺍﻥ ﺑﺤﺚ ﻧﻜﻦ‪«...‬‬ ‫ﺣﺮﻓﺶ ﺭﺍ ﻗﻄﻊ ﻛﺮﺩﻡ‪» .‬ﻣﻦ ﺍﺯ ﺗﺎﺑﻮﻫﺎﺷﻮﻥ ﺧﺒﺮ ﺩﺍﺭﻡ‪ .‬ﻧﮕﺮﺍﻥ ﻧﺒﺎﺵ‪ .‬ﺩﺭ ﺍﻭﺭﻳﻨﺖ ﺯﻧﺪﮔﻰ ﻛﺮﺩﻡ‪ ،‬ﻳﺎﺩﺕ‬ ‫ﻛﻪ ﻧﺮﻓﺘﻪ؟«‬ ‫ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ ﺑﻪ ﺯﻣﻴﻦ ﺩﻭﺧﺖ ﻭ ﺩﺳﺘﻢ ﺭﺍ ﮔﺮﻓﺖ‪ .‬ﭼﻴﺰﻯ ﻧﻤﺎﻧﺪﻩ ﺑﻮﺩ ﺩﺳﺘﻢ ﺭﺍ ﭘﺲ ﺑﻜﺸﻢ‪.‬‬ ‫»ﺍﮔﺮ ﻫﻨﮕﺎﻡ ﻭﺭﻭﺩ ﻣﻦ ﺭﺍﻫﻨﻤﺎﻳﻰﺍﺕ ﻛﻨﻢ‪ ،‬ﺑﻬﺘﺮ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻪ‪ «.‬ﺣﺮﻓﻢ ﺭﺍ ﻗﻮﺭﺕ ﺩﺍﺩﻡ ﻭ ﻣﺜﻞ‬ ‫ﺳﺎﻣﺴﻮﻥ ﺩﺭ ﻏﺰﻩ ]‪ [7‬ﺑﻪ ﺩﻧﺒﺎﻟﺶ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻡ‪.‬‬ ‫ﺩﺍﺧﻞ ﻛﻪ ﺷﺪﻡ‪ ،‬ﺑﺎ ﻣﻨﻈﺮﻩﺍﻯ ﻏﺮﻳﺐ ﺭﻭ ﺑﻪ ﺭﻭ ﺷﺪﻡ ﻭ ﺭﺷﺘﻪﻯ ﺍﻓﻜﺎﺭﻡ ﮔﺴﺴﺖ‪ .‬ﻣﺤﻞ ﺯﻧﺪﮔﻰ ﻣﺎﺩﺭ‬ ‫ﺧﺎﻧﻮﺍﺩﻩ‪ ،‬ﻧﺴﺨﻪﺍﻯ ﺍﻧﺘﺰﺍﻋﻰﺗﺮ ﺍﺯ ﭼﺎﺩﺭﻫﺎﻯ ﻗﺒﻠﻴﻪﻯ ﺑﻨﻰﺍﺳﺮﺍﺋﻴﻞ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ‪ .‬ﻣﻰﮔﻮﻳﻢ ﺍﻧﺘﺰﺍﻋﻰ‪،‬‬ ‫ﭼﻮﻥ ﺗﻤﺎﻣﺶ ﺍﺯ ﺁﺟﺮﻫﺎﻯ ﻣﻨﻘﺶ ﺳﺎﺧﺘﻪ ﻭ ﻣﺎﻧﻨﺪ ﻳﻚ ﭼﺎﺩﺭ ﺑﺮﺍﻓﺮﺍﺷﺘﻪ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺗﻜﻪﻫﺎﻳﻰ ﺍﺯ ﭘﻮﺳﺖ‬ ‫ﺣﻴﻮﺍﻧﺎﺕ ﻣﺜﻞ ﺯﺧﻢﻫﺎﻯ ﺧﺎﻛﺴﺘﺮﻯﺁﺑﻰ ﺟﺎﺑﻪﺟﺎﻯ ﺩﻳﻮﺍﺭ ﺑﻪ ﭼﺸﻢ ﻣﻰﺧﻮﺭﺩ‪ ،‬ﺍﻧﮕﺎﺭ ﻛﺴﻰ ﺑﺎ ﻛﺎﺭﺩﻙ‬ ‫ﻧﻘﺎﺷﻰ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﺩﻳﻮﺍﺭ ﺯﺩﻩ ﺑﺎﺷﺪ‪.‬‬ ‫ﻣﺎﺩﺭ ﺧﺎﻧﻮﺍﺩﻩ ﻛﻪ ﻣﻚﻭﻯ ]‪ [8‬ﻧﺎﻡ ﺩﺍﺷﺖ‪ ،‬ﻗﺪﻯ ﻛﻮﺗﺎﻩ ﻭ ﻣﻮﻫﺎﻯ ﺳﻔﻴﺪ ﺩﺍﺷﺖ‪ ،‬ﺩﺭ ﺩﻫﻪﻯ ﺷﺸﻢ‬ ‫ﺩﺍﻣﻦ ﭘﺮﭼﻴﻦ ﻭ ﺭﻧﮕﻴﻦﻛﻤﺎﻥ‬ ‫ﺯﻧﺪﮔﻰﺍﺵ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ ﻭ ﻣﺎﻧﻨﺪ ﻳﻚ ﻣﻠﻜﻪ ﻟﺒﺎﺱ ﭘﻮﺷﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺑﺎ‬ ‫ِ‬ ‫ﻣﺎﻧﻨﺪﺵ‪ ،‬ﺷﺒﻴﻪ ﺑﻪ ﻇﺮﻑ ﺁﺏﻣﻴﻮﻩﺍﻯ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﺻﻮﺭﺕ ﻭﺍﺭﻭﻧﻪ ﺭﻭﻯ ﻳﻚ ﻛﻮﺳﻦ ﮔﺬﺍﺷﺘﻪ ﺑﺎﺷﻰ‪.‬‬ ‫ُﻛﺮﻧﺶ ﻣﻦ ﺭﺍ ﭘﺬﻳﺮﻓﺖ ﻭ ﻧﮕﺎﻫﻰ ﺑﻪ ﻣﻦ ﺍﻧﺪﺍﺧﺖ ﻛﻪ ﺷﺒﻴﻪ ﻧﮕﺎﻩ ﺟﻐﺪ ﺑﻪ ﺧﺮﮔﻮﺵ ﺑﻮﺩ‪ .‬ﻭﻗﺘﻰ ﻟﻬﺠﻪﻯ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪90‬‬

‫ﭘﺎﻭﺭﻗﻰ‬

‫ﭼﻘﺪﺭ ﻣﺎﺟﺮﺍ ﻣﻬﻤﻪ‪ .‬ﺑﺎ ﺍﻭﻧﺎ ﻣﺜﻞ ﻣﺎ ﺭﻓﺘﺎﺭ ﻧﻜﻦ‪«.‬‬ ‫ﺩﺭ ﺭﺍ ﭘﺸﺖ ﺳﺮﻡ ﺑﺴﺘﻢ‪ .‬ﻳﺎﺩﻡ ﻧﻴﺴﺖ ﻧﺎﻫﺎﺭ ﭼﻪ ﺧﻮﺭﺩﻡ‪ .‬ﻋﺼﺒﻰ ﺑﻮﺩﻡ‪ ،‬ﺍﻣﺎ ﺣﺴﻰ ﺩﺭﻭﻧﻰ ﺑﻪ ﻣﻦ‬ ‫ﻣﻰﮔﻔﺖ ﺧﻴﻄﻰ ﺑﺎﻻ ﻧﺨﻮﺍﻫﻢ ﺁﻭﺭﺩ‪ .‬ﻧﺎﺷﺮﻫﺎﻳﻢ ﺩﺭ ﺑﻮﺳﺘﻮﻥ‪ ،‬ﻗﺼﻴﺪﻩﺍﻯ ﺍﺯ ﺯﻧﺪﮔﻰ ﺭﻭﺳﺘﺎﻳﻰ ﻣﺮﻳﺨﻰ ﻳﺎ‬ ‫ﻧﻮﺷﺘﻪﺍﻯ ﭼﻮﻥ ﺁﺛﺎﺭ ﺳﻨﺖ ﺍﮔﺰﻭﭘﺮﻯ ﺩﺭ ﻓﻀﺎ ﺭﺍ ﺍﻧﺘﻈﺎﺭ ﻣﻰﻛﺸﻴﺪﻧﺪ‪ .‬ﺍﺗﺤﺎﺩﻳﻪﻯ ﻣﻠﻰ ﻋﻠﻮﻡ‪ ،‬ﮔﺰﺍﺭﺷﻰ‬ ‫ﻛﺎﻣﻞ ﺍﺯ ﺍﻭﺝ ﻭ ﺳﻘﻮﻁ ﺍﻣﭙﺮﺍﻃﻮﺭﻯ ﻣﺮﻳﺦ ﻣﻰﺧﻮﺍﺳﺖ‪.‬‬ ‫ﻣﻰﺩﺍﻧﺴﺘﻢ ﻫﺮ ﺩﻭﻳﺸﺎﻥ ﺧﻮﺷﺤﺎﻝ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ ﻫﻤﻪ ﺣﺴﻮﺩﻯ ﻣﻰﻛﺮﺩﻧﺪ ﻭ ﺍﺯ ﻣﻦ ﺑﻴﺰﺍﺭ‬ ‫ﺑﻮﺩﻧﺪ‪ .‬ﻣﻦ ﻫﻤﻴﺸﻪ ﺑﻬﺘﺮ ﺍﺯ ﻫﺮ ﻛﺲ ﺩﻳﮕﺮﻯ ﻛﺎﺭ ﺭﺍ ﺑﻪ ﺍﻧﺠﺎﻡ ﻣﻰﺭﺳﺎﻧﺪﻡ‪.‬‬ ‫ﺍﺯ ﻳﻚ ﻣﻮﺭﺗﭙﻪﻯ ﺩﻳﮕﺮ ﮔﺬﺷﺘﻢ ﻭ ﺑﻪ ﻃﺮﻑ ﻣﺤﻞ ﻧﮕﺎﻩﺩﺍﺭﻯ ﻣﺎﺷﻴﻦﻫﺎ ﺭﻓﺘﻢ‪ .‬ﻳﻚ ﺟﻴﭙﺴﺘﺮ ﺑﺮﺩﺍﺷﺘﻢ‬ ‫ﻭ ﺑﻪ ﻃﺮﻑ ﺗﻴﺮﻟﻴﺎﻥ ]‪ [3‬ﺭﻓﺘﻢ‪.‬‬ ‫ﺟﺎﻥ ﺟﻴﭙﺴﺘﺮ ﺍﻧﺪﺍﺧﺘﻨﺪ‪.‬‬ ‫ﺷﻌﻠﻪﻫﺎﻯ ﺷﻦ ﻫﻤﺮﺍﻩ ﺑﺎ ﺍﻛﺴﻴﺪ ﺁﻫﻦ‪ ،‬ﺁﺗﺶ ﺑﻪ ِ‬ ‫ِ‬ ‫ﺳﻘﻒ ﺑﺎﺯ ﺟﻴﭙﺴﺘﺮ ﻫﺠﻮﻡ ﺁﻭﺭﺩ‪ ،‬ﺍﺯ ﭘﻮﺷﺶ ﺻﻮﺭﺗﻢ ﺑﻪ ﺩﺭﻭﻥ ﺭﺍﻩ ﻳﺎﻓﺖ ﻭ ﭘﺸﺖ‬ ‫ﺷﻦ ﺑﻪ ﺳﻤﺖ‬ ‫ﺷﻴﺸﻪﻯ ﻋﻴﻨﻜﻢ ﺟﻤﻊ ﺷﺪ‪ .‬ﺟﻴﭙﺴﺘﺮ ﻣﺜﻞ ﺍﻻﻏﻰ ﻛﻪ ﺯﻣﺎﻧﻰ ﺩﺭ ﻫﻴﻤﺎﻟﻴﺎ ﺳﻮﺍﺭﺵ ﺷﺪﻩ ﺑﻮﺩﻡ‪ ،‬ﻫﻦﻫﻦ‬ ‫ﻣﻰﻛﺮﺩ ﻭ ﻧﻔﺲﻧﻔﺲ ﻣﻰﺯﺩ ﻭ ﻣﻦ ﺭﺍ ﺩﺭ ﺻﻨﺪﻟﻰ ﺍﻳﻦ ﻃﺮﻑ ﻭ ﺁﻥ ﻃﺮﻑ ﭘﺮﺗﺎﺏ ﻣﻰﻛﺮﺩ‪ .‬ﻛﻮﻩﻫﺎﻯ‬ ‫ﺗﻴﺮﻟﻴﺎﻥ ﮔﺎﻡ ﺑﺮ ﻣﻰﺩﺍﺷﺖ ﻭ ﻳﻚﻭﺭﻯ ﺑﻪ ﻣﻦ ﻧﺰﺩﻳﻚ ﻣﻰﺷﺪ‪.‬‬ ‫ﻧﺎﮔﻬﺎﻥ ﻣﺎﺷﻴﻦ ﺷﺮﻭﻉ ﺑﻪ ﺑﺎﻻﺭﻓﺘﻦ ﺍﺯ ﺗﭙﻪ ﻛﺮﺩ‪ ،‬ﺩﻧﺪﻩ ﺭﺍ ﻋﻮﺽ ﻛﺮﺩﻡ ﺗﺎ ﺩﻭﺭ ﻣﻮﺗﻮﺭ ﺗﻨﻈﻴﻢ ﺷﻮﺩ‪ .‬ﺑﺎ‬ ‫ﺧﻮﺩﻡ ﺧﻴﺎﻝ ﻛﺮﺩﻡ‪ ،‬ﻫﻴﭻ ﺷﺒﺎﻫﺘﻰ ﺑﻪ ﺻﺤﺮﺍﻯ ُﮔﺒﻰ ﻳﺎ ﺻﺤﺮﺍﻯ ﺑﺰﺭگ ﺟﻨﻮﺏﻏﺮﺑﻰ ﻧﺪﺍﺭﺩ‪ .‬ﻓﻘﻂ ﻗﺮﻣﺰ‪،‬‬ ‫ﻓﻘﻂ ﻣﺮﺩﻩ‪...‬ﺣﺘﺎ ﻳﻚ ﻛﺎﻛﺘﻮﺱ ﻫﻢ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﺑﻪ ﻧﻮﻙ ﺗﭙﻪ ﺭﺳﻴﺪﻡ‪ ،‬ﺍﻣﺎ ﺁﻥﻗﺪﺭ ﮔﺮﺩ ﻭ ﺧﺎﻙ ﻛﺮﺩﻩ ﺑﻮﺩﻡ ﻛﻪ ﺩﻳﮕﺮ ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻢ ﻣﻘﺎﺑﻠﻢ ﺭﺍ ﺑﺒﻴﻨﻢ‪.‬‬ ‫ﻣﻬﻢ ﻫﻢ ﻧﺒﻮﺩ‪ ،‬ﺳﺮﻡ ﭘُﺮ ﺍﺯ ﻧﻘﺸﻪ ﺑﻮﺩ‪ .‬ﺑﻪ ﻃﺮﻑ ﭼﭗ ﻭ ﭘﺎﻳﻴﻦ ﺗﭙﻪ ﺭﻓﺘﻢ ﻭ ﺳﺎﺳﺎﺕ ﺭﺍ ﺗﻨﻈﻴﻢ ﻛﺮﺩﻡ‪.‬‬ ‫ﺯﻣﻴﻦ ﻣﺤﻜﻢ‪ ،‬ﺷﻌﻠﻪﻫﺎ ﺭﺍ ﺁﺭﺍﻡ ﻛﺮﺩ‪ .‬ﺍﺣﺴﺎﺱ ﺍﻭﻟﻴﺲ ﺩﺭ ﻣﺎﻟﺒﻼگ ]‪ [4‬ﺭﺍ ﺩﺍﺷﺘﻢ‪ ،‬ﻳﻚ‬ ‫ﺑﺎﺩ ﻣﺨﺎﻟﻒ ﻭ‬ ‫ِ‬ ‫ﭼﺸﻤﻢ ﺑﻪ ﺩﻧﺒﺎﻝ ﺩﺍﻧﺘﻪ ﺑﻮﺩ ﻭ ﺳﺨﻨﺮﺍﻧﻰ ﺑﻪ ﻧﻈﻢ ]‪ [5‬ﻫﻢ ﺁﻣﺎﺩﻩ ﺩﺍﺷﺘﻢ‪ .‬ﻳﻚ ﭘﺎﮔﻮﺩﺍﻯ ﺳﻨﮕﻰ ﺭﺍ ﺩﻭﺭ‬ ‫ﺯﺩﻡ ﻭ ﺑﻪ ﻣﻘﺼﺪ ﺭﺳﻴﺪﻡ‪ .‬ﺑﺘﻰ ﺩﺳﺖ ﺗﻜﺎﻥ ﺩﺍﺩ‪ ،‬ﻣﺎﺷﻴﻦ ﺭﺍ ﻣﺘﻮﻗﻒ ﻛﺮﺩﻡ ﻭ ﭘﺎﻳﻴﻦ ﭘﺮﻳﺪﻡ‪.‬‬ ‫ﭘﻮﺷﺶ ﺻﻮﺭﺗﻢ ﺭﺍ ﺑﺮﺩﺍﺷﺘﻢ‪ ،‬ﻳﻚ ﻛﻴﻠﻮ ﻭ ﻧﻴﻢ ﺷﻦ ﻭ ﺧﺎﻙ ﺭﺍ ﺍﺯ ﺁﻥ ﺗﻜﺎﻧﺪﻡ ﻭ ﮔﻔﺘﻢ‪» :‬ﺳﻼﻡ‪ ،‬ﺧﻮﺷﻢ‬ ‫ﺑﺎﺷﻪ‪ ،‬ﺣﺎﻻ ﻛﺠﺎ ﺑﺮﻡ ﻭ ﺑﺎ ﻛﻰ ﺻﺤﺒﺖ ﻛﻨﻢ؟«‬ ‫ﻧﺎﺭﺍﺣﺘﻰ ﻣﻦ ﺭﺑﻂ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪،‬‬ ‫ﺧﻨﺪﻩﺍﻯ ﻛﻮﺗﺎﻩ ﻭ ﺁﻟﻤﺎﻧﻰ ﺳﺮ ﺩﺍﺩ‪ .‬ﻋﻠﺖ ﺧﻨﺪﻩﺍﺵ ﺑﻴﺶ ﺍﺯ ﺁﻥﻛﻪ ﺑﻪ‬ ‫ِ‬ ‫ﺑﻪ ﺧﺎﻃﺮ ﺟﻤﻠﻪﺍﻯ ﺑﻮﺩ ﻛﻪ ﺑﺎ ﻛﻠﻤﻪﻯ »ﺧﻮﺷﻢ ﺑﺎﺷﻪ« ﺷﺮﻭﻉ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺑﻌﺪ ﺷﺮﻭﻉ ﺑﻪ ﺻﺤﺒﺖ ﻛﺮﺩ‪.‬‬ ‫)ﺍﻭ ﻳﻚ ﺯﺑﺎﻥﺷﻨﺎﺱ ﺑﺮﺟﺴﺘﻪ ﺍﺳﺖ ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﻛﻠﻤﻪﺍﻯ ﺍﺯ ﮔﻮﻳﺶ ﺩﻫﺎﺗﻰ ﺳﺮﺣﺎﻟﺶ ﻣﻰﺁﻭﺭﺩ‪(.‬‬ ‫‪89‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﺣﺮﻓﺶ ﺭﺍ ﻗﻄﻊ ﻛﺮﺩﻡ ﻭ ﮔﻔﺘﻢ‪» :‬ﻣﮕﺬﺍﺭ ﻛﻪ ﺟﺎﻩﻃﻠﺒﻰ ﻛﺎﺭ ﻭ ﻫﻤﺖﺍﺕ ﺭﺍ ﺯﻳﺮ ﺳﻮﺍﻝ ﺑﺮﺩ‪ «.‬ﭘﺲ‬ ‫ﺑﺎﻻﺧﺮﻩ ﻣﺮﻳﺨﻰﻫﺎ ﺗﺼﻤﻴﻤﺸﺎﻥ ﺭﺍ ﮔﺮﻓﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﺧﺎﻛﺴﺘﺮ ﺗﻪ ﺳﻴﮕﺎﺭﻡ ﺭﺍ ﻛﻪ ﺣﺎﻻ ﺑﻪ ﺍﺭﺗﻔﺎﻉ ﺩﻭ ﻭ ﻧﻴﻢ‬ ‫ﺳﺎﻧﺘﻰﻣﺘﺮ ﺭﺳﻴﺪﻩ ﺑﻮﺩ‪ ،‬ﺗﻜﺎﻧﺪﻡ ﻭ ﺑﺎﻻﺧﺮﻩ ﺍﻭﻟﻴﻦ ﭘﻚ ﺭﺍ ﺑﻬﺶ ﺯﺩﻡ‪ .‬ﻓﻜﺮ ﻭ ﺧﻴﺎﻝ ﺍﺗﻔﺎﻗﺎﺕ ﻳﻚ ﻣﺎﻩ‬ ‫ﺁﻳﻨﺪﻩ ﻫﻤﻪ ﺩﺭ ﺁﻥ ﻟﺤﻈﻪ ﺑﻪ ﺫﻫﻨﻢ ﻫﺠﻮﻡ ﺁﻭﺭﺩﻧﺪ‪ ،‬ﺍﻣﺎ ﻧﺸﺪ ﺑﻪ ﻫﻤﻪﺷﺎﻥ ﻓﻜﺮ ﻛﻨﻢ‪ .‬ﻃﻰ ﻛﺮﺩﻥ ﺁﻥ‬ ‫ﭼﻬﻞ ﻣﺘﺮ ﻭ ﺷﻨﻴﺪﻥ ﻛﻠﻤﺎﺗﻰ ﻛﻪ ﺍﻧﺘﻈﺎﺭﺷﺎﻥ ﺭﺍ ﺩﺍﺷﺘﻢ ﺍﺯ ﺩﻫﺎﻥ ﺍﻣﻮﺭﻯ ]‪ [1‬ﺧﻴﻠﻰ ﺗﺮﺳﻨﺎﻙ ﺑﻮﺩ‪،‬‬ ‫ﺍﺣﺴﺎﺱ ﺗﺮﺱ ﺟﺎﻳﺶ ﺭﺍ ﺑﻪ ﻓﻜﺮ ﻭ ﺧﻴﺎﻻﺕ ﺁﻳﻨﺪﻩ ﺩﺍﺩ‪.‬‬ ‫ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺑﻠﻨﺪ ﺷﻮﻡ‪ ،‬ﻗﻄﻌﻪ ﺷﻌﺮﻯ ﺭﺍ ﻛﻪ ﺗﺮﺟﻤﻪ ﻣﻰﻛﺮﺩﻡ‪ ،‬ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﺎﻧﺪﻡ‪ .‬ﻳﻚ ﺩﻗﻴﻘﻪ ﺑﻌﺪ‬ ‫ﺩﻡ ﺩﺭ ﻛﺎﺑﻴﻦ ﺍﻣﻮﺭﻯ ﺑﻮﺩﻡ‪ .‬ﺩﻭ ﺑﺎﺭ ﺩﺭ ﺯﺩﻡ ﻭ ﺩﺭﺳﺖ ﻟﺤﻈﻪﺍﻯ ﻛﻪ ﻏﺮﻳﺪ »ﺑﻴﺎ ﺗﻮ«‪ ،‬ﺩﺭ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩﻡ‪.‬‬ ‫ﺳﺮﻳﻊ ﻧﺸﺴﺘﻢ ﺗﺎ ﺍﺯ ﺩﺭﺩﺳﺮ ﺗﻌﺎﺭﻑ ﻛﺮﺩﻥ ﻧﺠﺎﺗﺶ ﺩﻫﻢ‪» .‬ﻣﻰﺧﻮﺍﺳﺘﻴﻦ ﻣﻦ ﺭﻭ ﺑﺒﻴﻨﻴﺪ؟«‬ ‫»ﭼﻪ ﺳﺮﻳﻊ! ﺩﻭﻳﺪﻯ؟«‬ ‫ﮔِﻠﻪﮔﻰ ﭘﺪﺭﺍﻧﻪﺍﺵ ﺭﺍ ﭘﺎﺳﺦ ﺩﺍﺩﻡ‪ ،‬ﺍﻧﮕﺎﺭ ﻛﻪ ﻫﻤﻠﺖ ﺑﺎﺷﻢ ﺩﺭ ﻣﻘﺎﺑﻞ ﻛﻼﺩﻳﻮﺱ‪» :‬ﺩﺍﺷﺘﻢ ﻛﺎﺭ ﻣﻰﻛﺮﺩﻡ‪«.‬‬ ‫ﭼﺸﻢﻫﺎﻯ ﺑﻰﺣﺎﻝ‪ ،‬ﺻﻮﺭﺕ ﭘﺮ ﻛﻚ ﻭ ﻣﻚ‪ ،‬ﻣﻮﻫﺎﻯ ﻛﻢﭘﺸﺖ‪ ،‬ﺑﻴﻨﻰ ﺍﻳﺮﻟﻨﺪﻯ ﻭ ﺻﺪﺍﻳﻰ ﺩﺍﺷﺖ ﻛﻪ ﻳﻚ‬ ‫ﺩﺳﻰﺑﻞ ﺍﺯ ﺻﺪﺍﻯ ﻫﻤﻪ ﺑﻠﻨﺪﺗﺮ ﺑﻮﺩ‪.‬‬ ‫ﺑﺎ ﻏﺮﻭﻟﻨﺪ ﮔﻔﺖ‪» :‬ﺑﻰﺧﻴﺎﻝ‪ ،‬ﺗﺎ ﺣﺎﻻ ﻛﺴﻰ ﻧﺪﻳﺪﻩ ﺗﻮ ﻛﺎﺭ ﻛﻨﻰ‪«.‬‬ ‫ﺷﺎﻧﻪﺍﻯ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺘﻢ ﻭ ﺑﺮﺧﺎﺳﺘﻢ‪» .‬ﺍﮔﻪ ﺑﻪ ﺧﺎﻃﺮ ﺍﻳﻦ ﺻﺪﺍﻡ ﻛﺮﺩﻯ‪«...‬‬ ‫»ﺑﻨﺸﻴﻦ!«‬ ‫ﺍﻳﺴﺘﺎﺩ‪ .‬ﺩﻭﺭ ﻣﻴﺰﺵ ﻗﺪﻡ ﺯﺩ‪ .‬ﺑﺎﻻﻯ ﺳﺮﻡ ﺍﻳﺴﺘﺎﺩ ﻭ ﺑﻪ ﻣﻦ ﭼﺸﻢﻏﺮﻩ ﺭﻓﺖ‪ .‬ﺣﻘﻪﻯ ﺑﻪ ﺩﺭﺩ ﻧﺨﻮﺭﻯ‬ ‫ﺍﺳﺖ‪ ،‬ﺣﺘﺎ ﺍﮔﺮ ﻣﻦ ﺩﺭ ﻳﻚ ﺻﻨﺪﻟﻰ ﻛﻮﺗﺎﻩ ﺑﺎﺷﻢ‪.‬‬ ‫ﻫﻤﭽﻮﻥ ﻳﻚ ﺑﻮﻓﺎﻟﻮﻯ ﺯﺧﻢ ﺧﻮﺭﺩﻩ ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﺑﺪﻭﻥ ﺷﻚ ﺗﻮ ﺧﻮﺩﺧﻮﺍﻩﺗﺮﻳﻦ ﺣﺮﻭﻡﺯﺍﺩﻩﺍﻯ ﻫﺴﺘﻰ‬ ‫ﻛﻪ ﺗﻮ ﻋﻤﺮﻡ ﺑﺎﻫﺎﺵ ﻛﺎﺭ ﻛﺮﺩﻡ‪ .‬ﺗﻮ ﺭﻭ ﺑﻪ ﺧﺪﺍ ﭼﺮﺍ ﮔﺎﻫﻰ ﺍﻭﻗﺎﺕ ﻣﺜﻞ ﺁﺩﻡ ﺭﻓﺘﺎﺭ ﻧﻤﻰﻛﻨﻰ ﻭ ﻫﻤﻪ ﺭﻭ‬ ‫ﺷﮕﻔﺖﺯﺩﻩ ﻧﻤﻰﻛﻨﻰ؟ ﺑﺎﺷﻪ ﻣﻦ ﻗﺒﻮﻝ ﺩﺍﺭﻡ ﺗﻮ ﺑﺎﻫﻮﺷﻰ‪ ،‬ﺣﺘﺎ ﮔﺎﻫﻰ ﺍﻭﻗﺎﺕ ﻧﺎﺑﻐﻪ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻰ‪...‬‬ ‫ﺁﻩ‪ ،‬ﻟﻌﻨﺖ!« ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ ﺑﻠﻨﺪ ﻛﺮﺩ ﻭ ﺍﻧﺪﺍﺧﺖ ﻭ ﺑﻌﺪ ﺑﻪ ﻃﺮﻑ ﺻﻨﺪﻟﻰﺍﺵ ﺭﻓﺖ‪.‬‬ ‫ﺻﺪﺍﻳﺶ ﺩﻭﺑﺎﺭﻩ ﻣﻌﻤﻮﻟﻰ ﺷﺪ‪» .‬ﺑ ِﺘﻰ ﻣﺘﻘﺎﻋﺪﺷﻮﻥ ﻛﺮﺩﻩ ﺑﺬﺍﺭﻥ ﺗﻮ ﺑﺮﻯ‪ .‬ﺍﻣﺮﻭﺯ ﺑﻌﺪﺍﺯﻇﻬﺮ ﺗﻮ ﺭﻭ‬ ‫ﻣﻰﭘﺬﻳﺮﻥ‪ .‬ﻋﺼﺮ ﻳﻜﻰ ﺍﺯ ﺟﻴﭙﺴﺘﺮﻫﺎ ]‪ [2‬ﺭﻭ ﺑﺮﺩﺍﺭ ﻭ ﺑﺮﻭ ﭘﺎﻳﻴﻦ‪«.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﺑﺴﻴﺎﺭ ﺧﺐ‪«.‬‬ ‫»ﻫﻤﻴﻦ‪ .‬ﺣﺮﻑ ﺩﻳﮕﻪﺍﻯ ﻧﺪﺍﺭﻡ‪«.‬‬ ‫ﺳﺮﻯ ﺗﻜﺎﻥ ﺩﺍﺩﻡ ﻭ ﺑﻠﻨﺪ ﺷﺪﻡ‪ .‬ﺩﺳﺘﻢ ﺭﻭﻯ ﺩﺳﺘﮕﻴﺮﻩ ﺑﻮﺩ ﻛﻪ ﮔﻔﺖ‪» :‬ﻓﻜﺮ ﻧﻜﻨﻢ ﻻﺯﻡ ﺑﺎﺷﻪ ﺑﻬﺖ ﺑﮕﻢ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪88‬‬

‫ﭘﺎﻭﺭﻗﻰ‬

‫ﺷﺎﺧﻪ ﮔﻠﻰ ﺑﺮﺍﻯ ﻛﺸﻴﺶ‬ ‫)ﺑﺨﺶ ﺍﻭﻝ(‬

‫ﺭﺍﺟﺮ ﺯﻻﺯﻧﻰ‬ ‫ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬

‫‪‬ﺻﺒﺢ ﺭﻭﺯﻯ ﻛﻪ ﺑﺎﻻﺧﺮﻩ ﻣﻦ ﺭﺍ ﭘﺬﻳﺮﻓﺘﻨﺪ‪ ،‬ﻳﻜﻰ ﺍﺯ ﺍﺷﻌﺎﺭ ﻫﺮﺍﺳﻨﺎﻛﻢ ﺭﺍ ﺑﻪ ﻣﺮﻳﺨﻰ ﺗﺮﺟﻤﻪ‬ ‫ﻣﻰﻛﺮﺩﻡ‪ .‬ﺩﺳﺘﮕﺎﻩ ﺍﺭﺗﺒﺎﻃﻰ ِ‬ ‫ﺯﻧﮓ ﻛﻮﺗﺎﻫﻰ ﺯﺩ‪ ،‬ﻣﺪﺍﺩﻡ ﺭﺍ ﺍﻧﺪﺍﺧﺘﻢ ﻭ ﺩﺭ ﻳﻚ ﺣﺮﻛﺖ ﺧﻮﺩﻡ‬ ‫ﺭﺍ ﺑﻪ ﺩﺳﺘﮕﺎﻩ ﺭﺳﺎﻧﺪﻡ‪.‬‬ ‫ﺻﺪﺍﻯ ﺟﻮﺍﻥ ﻭ ﺯﻳ ِﺮ ﻣﻮﺭﺗﻮﻥ ﺑﻪ ﮔﻮﺵ ﺭﺳﻴﺪ‪» :‬ﺁﻗﺎﻯ ﺟﻰ‪ ،‬ﭘﻴﺮﻣﺮﺩ ﻣﻰﮔﻪ "ﻳﻘﻪﻯ ﺍﻭﻥ ﻗﺎﻓﻴﻪ‬ ‫ﻛﻦ ﺍﺯ ﺩﻣﺎ ِﻍ ﻓﻴﻞ ﺍﻓﺘﺎﺩﻩ ﺭﻭ ﺑﮕﻴﺮﻡ ﻭ ﺑﺒﺮﻡ ﺑﻪ ﻛﺎﺑﻴﻨﺶ‪ ".‬ﺍﺯ ﺍﻭﻥﺟﺎ ﻛﻪ ﻓﻘﻂ ﻳﻚ‬ ‫ﺳ ِﺮ ﻫﻢ ِ‬ ‫ﻛﻦ ﺍﺯ ﺩﻣﺎ ِﻍ ﻓﻴﻞ ﺍﻓﺘﺎﺩﻩ ﺩﺍﺭﻳﻢ‪«...‬‬ ‫ﻗﺎﻓﻴﻪﺳﺮﻫﻢ ُ‬

‫ﻛﺘﺎﺏ‬

‫ﻗﻄﻌﻪﺍﻯ ﺍﺯ ﻣﺘﻦ ﻛﺘﺎﺏ‬

‫»ﻓﺎم ﺻﻮرﺗﯽ آﺳامن ﺟﺎی ﺧﻮد را ﺑﻪ آﺑﯽرﻧﮓ داده و ﴎاﻧﺠﺎم اﺑﺮﻫﺎی واﻗﻌﯽ ﺷﮑﻞ ﻣﯽﮔﺮﻓﺘﻨﺪ‪ ،‬دﯾﮕﺮ‬ ‫از ﻣﻪﻫﺎی رﻗﯿﻖ ﮐﻪ ﺑﺎ ﻃﻠﻮع ﺧﻮرﺷﯿﺪ ﭘﺮاﮐﻨﺪه ﻣﯽﺷﺪ‪ ،‬ﺧﱪی ﻧﺒﻮد‪ .‬در ﮐﻒ درهی ﻋﻤﯿﻖ ﻧﯿﺰ آنﺟﺎ‪،‬‬ ‫ﮐﻪ ﭘﯿﺶ از اﯾﻦ ﺗﻨﻬﺎ ﺳﻨﮓﻫﺎﯾﯽ ﻋﺮﯾﺎن دﯾﺪه ﻣﯽﺷﺪ‪ ،‬ﻟﮑﻪﻫﺎﯾﯽ ﺳﺒﺰرﻧﮓ در ﺣﺎل ﮔﺴﱰش ﺑﻮد‪ .‬ﻫﻨﻮز‬ ‫درﺧﺘﯽ دﯾﺪه منﯽﺷﺪ‪ ،‬وﻟﯽ ﮔﻠﺴﻨﮓﻫﺎ و ﺧﺰهﻫﺎ راه را ﻫﻤﻮار ﻣﯽﮐﺮدﻧﺪ‪.‬‬ ‫ﺑﻪ ﻧﺎﮔﺎه و اﻧﮕﺎر ﺑﺎ اﻓﺴﻮﻧﯽ‪ ،‬ﺣﻮﺿﭽﻪﻫﺎﯾﯽ از آب آرام و ﺑﯽﻣﻮج در زﯾﺮ ﻧﻮر آﻓﺘﺎب ﭘﯿﺪا ﺷﺪ ﮐﻪ ﺑﺮ‬ ‫ﺧﻼف ﺣﻮﺿﭽﻪﻫﺎی اﻣﺮزوﯾﻦ ﻣﺮﯾﺦ ﺑﯽدرﻧﮓ ﺗﺒﺨﯿﺮ منﯽﺷﺪ‪ .‬ﺑﺎ ﭘﯿﺪا ﺷﺪن ﺗﺼﻮﯾﺮ آﯾﻨﺪه‪ ،‬ﺣﻮﺿﭽﻪﻫﺎ‬ ‫ﺑﻪ درﯾﺎﭼﻪﻫﺎﯾﯽ ﺗﺒﺪﯾﻞ ﺷﺪﻧﺪ و در ﻗﺎﻟﺐ رودﺧﺎﻧﻪای ﺑﻪ ﯾﮑﺪﯾﮕﺮ ﭘﯿﻮﺳﺘﻨﺪ‪ .‬ﻧﺎﮔﻬﺎن درﺧﺖﻫﺎی در‬ ‫ﮐﻨﺎرهی رود ﴎﺑﺮآورده و اوج ﮔﺮﻓﺘﻨﺪ‪«...‬‬ ‫‪1. Arthur Charles Clarke‬‬ ‫‪2. Hammer of God‬‬ ‫‪3. Duncan Steel‬‬ ‫‪4. Coonabarabran‬‬ ‫‪5. Walter Alvarez‬‬ ‫‪6. Extraterrestrial Cause for the Cretaceous-Tertiary‬‬ ‫‪Extinction‬‬

‫‪ :Space Guard .7‬ﻧﺎﻡ ﺳﺎﻣﺎﻧﻪﺍﻯ ﺧﻴﺎﻟﻰ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﻣﻴﻌﺎﺩ ﺑﺎ‬ ‫ﺭﺍﻣﺎﻯ ﻛﻼﺭﻙ‪ ،‬ﻛﻪ ﺁﺳﻤﺎﻥ ﺭﺍ ﺑﻪ ﺩﻧﺒﺎﻝ ﺍﺟﺮﺍﻣﻰ ﻛﻪ ﺍﺣﺘﻤﺎﻝ‬ ‫ﺑﺮﺧﻮﺭﺩ ﺑﺎ ﺯﻣﻴﻦ ﺩﺍﺭﻧﺪ‪ ،‬ﭘﻮﻳﺶ ﻣﻰﻛﻨﺪ ﻭ ﺩﺭ ﺻﻮﺭﺕ ﻳﺎﻓﺘﻦ ﻳﻚ‬ ‫ﺟﺮﻡ‪ ،‬ﺯﻧﮓﻫﺎﻯ ﺧﻄﺮ ﺭﺍ ﺑﻪ ﺻﺪﺍ ﺩﺭﻣﻰﺁﻭﺭﺩ‪.‬‬ ‫‪ :FC .8‬ﻧﺎﻡ ﻳﻜﻰ ﺍﺯ ﺳﻴﺎﺭﻙﻫﺎ‪.‬‬ ‫‪9. JPL‬‬ ‫‪10. Pasadena‬‬

‫‪85‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﻣﺴﺎﺋﻠﻰ ﻛﻪ ﺫﻫﻦ ﺍﻧﺪﻳﺸﻤﻨﺪ ﻛﻼﺭﻙ ﺭﺍ ﻫﻤﻴﺸﻪ ﺩﺭﮔﻴﺮ ﺧﻮﺩ ﻣﻰﻛﺮﺩ‪ ،‬ﻋﻘﺎﻳﺪ ﻣﺬﻫﺒﻰ ﻭ‬ ‫ﺩﮔﺮﮔﻮﻧﻰ ﺁﻥﻫﺎ ﺩﺭ ﮔﺬﺭ ﺗﺎﺭﻳﺦ ﺑﻮﺩ‪ .‬ﺗﻘﺮﻳﺒﺎً ﺩﺭ ﺗﻤﺎﻡ ﺁﺛﺎﺭ ﻛﻼﺭﻙ ﺑﻪ ﻧﺤﻮﻯ ﺑﻪ ﺍﻳﻦ ﻣﺴﺎﺋﻞ ﭘﺮﺩﺍﺧﺘﻪ ﻭ‬ ‫ﻣﻰﺷﻮﺩ ﮔﻔﺖ ﻣﺬﻫﺒﻰﻫﺎ‪ ،‬ﻫﻤﻴﺸﻪ ﻧﻘﺸﻰ ﺩﺭ ﺁﺛﺎﺭ ﻛﻼﺭﻙ ﺑﺎﺯﻯ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﺁﺭﺗﻮﺭ ﺳﻰ‪ .‬ﻛﻼﺭﻙ‪ ،‬ﻧﻪ ﺗﻨﻬﺎ‬ ‫ﺿﺪﻣﺬﻫﺐ ﻧﺒﻮﺩﻩ‪ ،‬ﺑﻠﻜﻪ ﭼﻪ ﺩﺭ ﻣﺘﻦ ﺩﺍﺳﺘﺎﻥﻫﺎ ﻭ ﭼﻪ ﺩﺭ ﻣﻘﺎﻟﻪﻫﺎﻳﺶ‪ ،‬ﻫﻤﻴﺸﻪ ﺑﺎ ﺍﺣﺘﺮﺍﻡ ﺍﺯ ﭘﻴﺮﻭﺍﻥ‬ ‫ﻣﺬﺍﻫﺐ ﻣﺨﺘﻠﻒ ﻳﺎﺩ ﻛﺮﺩﻩ‪ ،‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ‪ ،‬ﺫﻫﻦ ﺩﺍﻧﺸﻤﻨﺪﺵ ﺩﺭ ﮔﻤﺎﻧﻪﺯﻧﻰ ﺩﺭ ﺣﻴﻄﻪﻫﺎﻯ ﻣﺨﺘﻠﻒ‪،‬‬ ‫ﺗﻔﺎﻭﺗﻰ ﻣﻴﺎﻥ ﻋﻘﺎﻳﺪ ﻭ ﻣﺴﺎﺋﻞ ﻋﻠﻤﻰ ﻧﻤﻰﺩﻳﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺏ ﺻﺤﺒﺖ ﺍﺯ ﻣﺬﻫﺒﻰ ﺧﻴﺎﻟﻰ ﺍﺳﺖ ﻛﻪ‬ ‫ﺗﺮﻛﻴﺒﻰ ﻣﻴﺎﻥ ﺍﺳﻼﻡ ﻭ ﻣﺴﻴﺤﻴﺖ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﺬﻫﺐ ﻫﻢ ﻣﺎﻧﻨﺪ ﺳﺎﻳﺮ ﻣﺬﺍﻫﺐ‪ ،‬ﻋﺪﻩﺍﻯ ﮔﻤﺮﺍﻩ ﻭﺟﻮﺩ‬ ‫ﺩﺍﺭﻧﺪ ﻛﻪ ﺩﺭ ﻭﺍﻗﻊ ﭘﻴﺮﻭ ﻫﻴﭻ ﻣﺬﻫﺒﻰ ﻧﻴﺴﺘﻨﺪ‪ ،‬ﻣﮕﺮ ﻋﻘﺎﻳﺪ ﺩﻳﻮﺍﻧﻪﻭﺍﺭ ﺧﻮﺩﺷﺎﻥ‪ .‬ﮔﻤﺮﺍﻫﺎﻥ ﺑﻪ ﻇﺎﻫﺮ‬ ‫ﻣﺬﻫﺒﻰ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﻫﻢ ﻧﻘﺶ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺧﻮﺏ ﺍﻳﻔﺎ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺍﺭﺯﺵ ﺍﺻﻠﻰ ﺩﺍﺳﺘﺎﻥ ﺍﺯ ﺩﻳﺪ ﻣﻦ‪ ،‬ﻣﺤﺘﻮﺍﻯ ﻋﻠﻤﻰ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻗﺎﻟﺐ ﺩﺍﺳﺘﺎﻧﻰ ﺭﺍﺣﺖﺧﻮﺍﻥ ﺍﺭﺍﺋﻪ‬ ‫ﺷﺪﻩ‪ .‬ﺑﻪ ﻫﺮﺣﺎﻝ‪ ،‬ﻫﻤﻴﺸﻪ ﻳﻜﻰ ﺍﺯ ﻧﻜﺎﺕ ﻣﺜﺒﺖ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺳﺨﺖ‪ ،‬ﻣﺤﺘﻮﺍﻯ ﻋﻠﻤﻰ‬ ‫ﺁﻥﻫﺎ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺑﺎ ﺧﻮﺍﻧﺪﻥ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺍﻃﻼﻋﺎﺕ ﺧﻮﺑﻰ ﺩﺭﺑﺎﺭﻩﻯ ﻣﻨﻈﻮﻣﻪﻯ ﺷﻤﺴﻰ ﻭ ﺑﻪ ﺧﺼﻮﺹ‬ ‫ﺧﻮﺩ ﺳﻴﺎﺭﻙﻫﺎ ﺑﻪ ﺩﺳﺖ ﻣﻰﺁﻭﺭﻳﺪ‪.‬‬ ‫ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﺍﻳﺪﻩﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ ﻛﻪ ﻣﻰﺷﻮﺩ ﮔﻔﺖ ﺍﺯ ﺁﻥ ﺩﻏﺪﻏﻪﻫﺎﻯ ﻛﻼﺭﻛﻰ ﺍﺳﺖ‪ ،‬ﺍﻣﻜﺎﻥ ﺍﻧﺘﻘﺎﻝ‬ ‫ﺗﻤﺎﻣﻰ ﺧﺎﻃﺮﺍﺕ‪ ،‬ﺩﺍﻧﺴﺘﻪﻫﺎ‪ ،‬ﺑﺎﻭﺭﻫﺎ‪ ،‬ﺍﺣﺴﺎﺳﺎﺕ ﻭ ﺩﺭ ﻳﻚ ﻛﻼﻡ ﻫﻮﻳﺖ ﻓﺮﺩ ﺑﻪ ﺭﺳﺎﻧﻪﺍﻯ ﻣﺠﺎﺯﻯ ﺍﺳﺖ‪.‬‬ ‫ﻫﻤﺎﻥﭼﻴﺰﻯ ﻛﻪ ﺍﻳﻦ ﺭﻭﺯﻫﺎ ﺑﺎ ﻋﻨﻮﺍﻥ‪ ،‬ﺑﺎﺭﮔﺰﺍﺭﻯ ﺍﻃﻼﻋﺎﺕ ﻣﻐﺰ ﺭﻭﻯ ﺣﺎﻓﻈﻪﻯ ﻛﺎﻣﭙﻴﻮﺗﺮﻯ ﺍﺯ ﺁﻥ ﻳﺎﺩ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﻛﻼﺭﻙ ﺩﺭ »ﺷﻬﺮ ﻭ ﺳﺘﺎﺭﮔﺎﻥ« ﺑﻪ ﻃﻮﺭ ﻣﻔﺼﻞ ﺑﻪ ﺍﻳﻦ ﺍﻳﺪﻩ ﭘﺮﺩﺍﺧﺘﻪ ﻭ ﺑﺮ ﺍﺳﺎﺱ ﺁﻥ ﺩﺍﺳﺘﺎﻧﻰ‬ ‫ﺯﻳﺒﺎ ﺧﻠﻖ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺩﺭ »ﭘﺘﻚ ﺁﺳﻤﺎﻥ« ﺍﻳﻦ ﻓﻦﺁﻭﺭﻯ ﻫﻨﻮﺯ ﺩﺭ ﻣﺮﺣﻠﻪﻯ ﮔﻤﺎﻧﻪﺯﻧﻰ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‬ ‫ﻭ ﺗﻨﻬﺎ ﻫﻤﺎﻥ ﻣﺬﻫﺒﻰﻫﺎ ﻣﺪﻋﻰ ﺩﺳﺖﻳﺎﺑﻰ ﺑﻪ ﺁﻥ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﻭ ﺍﻟﺒﺘﻪ ﺷﺎﻳﺪ ﺍﺭﺯﺵ ﺍﺻﻠﻰ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﻭ ﻣﺆﺧﺮﻩﺍﻯ ﻛﻪ ﻛﻼﺭﻙ ﺧﻮﺩ ﺑﺮ ﺁﻥ ﻧﻮﺷﺘﻪ‪ ،‬ﺣﺎﻻ ﻣﺸﺨﺺ‬ ‫ﻧﺸﻮﺩ‪ .‬ﺷﺎﻳﺪ ﺭﻭﺯﻯ ﻛﻪ ﻣﺎ ﻫﻢ ﻧﻴﺴﺘﻴﻢ‪ ،‬ﺑﺸﺮﻳﺖ ﺟﺎﻥ ﺧﻮﺩﺵ ﺭﺍ ﻣﺪﻳﻮﻥ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺷﻮﺩ‪.‬‬ ‫ﺩﺭ ﺍﺩﺍﻣﻪ ﻗﺴﻤﺘﻰ ﺍﺯ ﻣﺘﻦ ﻛﺘﺎﺏ ﺭﺍ ﻣﻰﺧﻮﺍﻧﻴﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻗﺴﻤﺖ‪ ،‬ﻛﻼﺭﻙ ﺗﺼﻮﻳﺮﻯ ﺧﻴﺎﻟﻰ ﺍﺯ ﺭﻭﻧﺪ‬ ‫ﺯﻣﻴﻦﮔﻮﻧﻪﺳﺎﺯﻯ ﻣﺮﻳﺦ ﺍﺭﺍﺋﻪ ﻣﻰﺩﻫﺪ‪ .‬ﺩﺭ ﺧﻮﺩ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﺍﻧﺴﺎﻥﻫﺎ ﺭﻭﻯ ﻣﺮﻳﺦ ﺯﻳﺮ ﻛﻼﻫﻚﻫﺎﻳﻰ ﺯﻧﺪﮔﻰ‬ ‫ﻣﻰﻛﻨﻨﺪ ﻭ ﺳﻄﺢ ﻣﺮﻳﺦ ﻫﻨﻮﺯ ﻫﻤﺎﻥ ﺍﺳﺖ ﻛﻪ ﻣﺎ ﺑﻪ ﻭﺍﺳﻄﻪﻯ ﺗﺼﺎﻭﻳﺮ ﺗﻠﻜﺴﻮﭘﻰ ﻭ ﭘﻮﻳﺶﮔﺮﻫﺎﻯ ﻣﺮﻳﺦ‬ ‫ﻣﻰﺑﻴﻨﻴﻢ‪ .‬ﺍﻣﺎ ﺩﺭ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﻃﺮﺣﻰ ﺑﺮﺍﻯ ﺯﻣﻴﻦﮔﻮﻧﻪﺳﺎﺯﻯ ﻣﺮﻳﺦ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻭ ﻳﻚ ﺷﺒﻴﻪﺳﺎﺯﻯ ﻛﺎﻣﭙﻴﻮﺗﺮﻯ‬ ‫ﺑﺮ ﻣﺒﻨﺎﻯ ﺁﻥ ﻃﺮﺡ ﺻﻮﺭﺕ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﻫﻤﻴﻦ ﭼﻨﺪ ﺟﻤﻠﻪﻯ ﺳﺎﺩﻩ ﻭ ﺧﺎﻟﻰ ﺍﺯ ﭘﻴﺮﺍﻳﻪﻫﺎﻯ ﺍﺩﺑﻰ‪ ،‬ﺗﺼﻮﻳﺮﻯ‬ ‫ﭼﻨﺎﻥ ﺯﻳﺒﺎ ﻭ ﻧﺎﺏ ﺑﻪ ﺩﺳﺖ ﻣﻰﺩﻫﺪ ﻛﻪ ﻣﻰﺷﻮﺩ ﻧﻮﻳﺴﻨﺪﻩ ﺭﺍ ﺑﺮﺍﻯ ﻧﺪﺍﺷﺘﻦ ﻧﺜﺮ ﻣﺴﺠﻊ ﺑﺨﺸﻴﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪84‬‬

‫ﻛﺘﺎﺏ‬ ‫ﻛﻼﺭﻙ ﺩﺭ ﻣﺆﺧﺮﻩﺍﻯ ﻛﻪ ﺑﺮ »ﭘﺘﻚ ﺁﺳﻤﺎﻥ« ﻧﻮﺷﺘﻪ‪ ،‬ﻣﻰﮔﻮﻳﺪ‪» :‬ﻭﻇﻴﻔﻪﻯ ﻣﻦ ﺑﻮﺩ ﻛﻪ ﻧﺸﺎﻥ ﺩﻫﻢ‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﺧﻄﺮ ﺳﻴﺎﺭﻙﻫﺎ ﭼﻪ ﻣﻰﺗﻮﺍﻥ ﻛﺮﺩ‪ .‬ﺣﺘﺎ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﺎ ﻳﻚ ﭘﻴﺸﮕﻮﻳﻰ ﺧﻮﺩﻛﺎﻣﺒﺨﺶ ﺩﻧﻴﺎ‬ ‫ﺭﺍ ﻧﺠﺎﺕ ﺩﻫﻢ‪ ،‬ﮔﻮ ﺍﻳﻦ ﻛﻪ ﻫﺮﮔﺰ ﻫﻢ ﻧﻔﻬﻤﻢ‪«.‬‬ ‫ﺣﺎﻝ ﻛﻪ »ﻧﮕﻬﺒﺎﻥ ﻓﻀﺎ« ﻭﺍﻗﻌﺎً ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﺷﺎﻳﺪ ﻫﻢ ﻭﺍﻗﻌﺎً ﺭﻭﺯﻯ ﺍﻳﺪﻩﻯ ﻛﻼﺭﻙ ﺑﺸﺮﻳﺖ ﺭﺍ ﻧﺠﺎﺕ‬ ‫ﺩﻫﺪ‪.‬‬ ‫ﺁﻣﺎﺭﻫﺎ ﻭ ﻣﻄﺎﻟﺐ ﻋﻠﻤﻰ ﻣﺮﺑﻮﻁ ﺑﻪ ﺳﻴﺎﺭﻙﻫﺎ ﻛﻪ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺍﺳﺘﻔﺎﺩﻩ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﺑﻪ ﮔﻔﺘﻪﻯ ﺧﻮﺩ‬ ‫ﻛﻼﺭﻙ ﺗﺎ ﺣﺪ ﺯﻳﺎﺩﻯ ﺑﺮ ﺍﺳﺎﺱ ﻫﻤﺎﻥ ﮔﺰﺍﺭﺵ ﻧﮕﻬﺒﺎﻥ ﻓﻀﺎﻯ ﻧﺎﺳﺎ ﻫﺴﺘﻨﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ‪ ،‬ﺳﻴﺎﺭﻩﻯ‬ ‫ﻛﺎﻟﻰ ﻛﻪ ﻫﻤﺎﻥ ﭘﺘﻚ ﺁﺳﻤﺎﻥ ﺍﺳﺖ‪ ،‬ﺧﻴﺎﻟﻰ ﺍﺳﺖ ﻭ ﻫﻨﻮﺯ ﭼﻨﺎﻥ ﺧﻄﺮﻯ ﺯﻣﻴﻦ ﺭﺍ ﺗﻬﺪﻳﺪ ﻧﻤﻰﻛﻨﺪ ﻳﺎ‬ ‫ﺍﮔﺮ ﻫﻢ ﺑﺎﺷﺪ‪ ،‬ﻫﻨﻮﺯ ﺍﺯ ﺁﻥ ﺑﻰﺧﺒﺮﻳﻢ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ‬ ‫ﺩﺍﺳﺘﺎﻥ‪ ،‬ﺭﻭﺍﻳﺘﻰ ﺧﻄﻰ ﻭ ﺳﺎﺩﻩ ﺩﺍﺭﺩ‪ .‬ﺳﺎﻝ ﺩﻭ ﻫﺰﺍﺭ ﻭ ﺻﺪ ﻭ ﺧﻮﺭﺩﻩﺍﻯ ﺍﺳﺖ‪ .‬ﺳﻴﺎﺭﻛﻰ ﺩﺭ ﺑﺨﺶ‬ ‫ﺑﻴﺮﻭﻧﻰ ﻣﻨﻈﻮﻣﻪﻯ ﺷﻤﺴﻰ ﻛﺸﻒ ﻣﻰﺷﻮﺩ ﻭ ﻣﺸﺨﺺ ﻣﻰﺷﻮﺩ ﺩﺭ ﻣﺴﻴﺮ ﺑﺮﺧﻮﺭﺩ ﺑﺎ ﺯﻣﻴﻦ ﺍﺳﺖ‪.‬‬ ‫ﻗﺪﺭﺕ ﺑﺮﺧﻮﺭﺩ ﻭ ﻋﻮﺍﻗﺐ ﭘﺲ ﺍﺯ ﺁﻥ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﺳﻴﺎﺭﻙ ﻣﺤﺎﺳﺒﻪ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺭ ﺻﻮﺭﺕ‬ ‫ﺑﺮﺧﻮﺭﺩ‪ ،‬ﻛﻞ ﺣﻴﺎﺕ ﺭﻭﻯ ﺳﻴﺎﺭﻩﻯ ﺯﻣﻴﻦ ﺩﺭ ﻣﻌﺮﺽ ﻧﺎﺑﻮﺩﻯ ﻗﺮﺍﺭ ﺧﻮﺍﻫﺪ ﮔﺮﻓﺖ‪ .‬ﭼﻴﺰﻯ ﺷﺒﻴﻪ ﺑﻪ‬ ‫ﻋﻈﻴﻢ ﺁﻥ ﺩﻭﺭﺍﻥ ﺍﻓﺘﺎﺩ‪ .‬ﺍﻧﺴﺎﻥﻫﺎ ﺩﺭ ﺍﻳﻦ ﺯﻣﺎﻥ ﺭﻭﻯ‬ ‫ﺍﺗﻔﺎﻗﻰ ﻛﻪ ﺩﺭ ﺩﻭﺭﺍﻥ ﻛﺮﺗﺎﺳﻪ ﺑﺮﺍﻯ ﺧﺰﻧﺪﮔﺎﻥ‬ ‫ِ‬ ‫ﻣﺎﻩ ﻭ ﻣﺮﻳﺦ ﻭ ﺑﺮﺧﻰ ﺍﻗﻤﺎﺭ ﻣﻨﻈﻮﻣﻪ ﺷﻤﺴﻰ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻧﮕﺮﺍﻧﻰ ﻣﻨﻘﺮﺽ ﺷﺪﻥ ﻧﺴﻞ‬ ‫ﺑﺸﺮ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ ،‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺳﻴﺎﺭﻩﻯ ﻋﺰﻳﺰ ﻣﺎﺩﺭ ﺍﺯ ﺩﺳﺖ ﺧﻮﺍﻫﺪ ﺭﻓﺖ‪ .‬ﺑﺮﺍﻯ ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﺍﻳﻦ ﺑﺤﺮﺍﻥ‪،‬‬ ‫ﺗﺪﺑﻴﺮﻫﺎﻳﻰ ﺍﺯ ﻗﺒﻞ ﺍﻧﺪﻳﺸﻴﺪﻩ ﺷﺪﻩ‪ ،‬ﻭﻟﻰ ﺑﺎﻻﺧﺮﻩ ﻫﻤﻴﺸﻪ ﺑﺎﻳﺪ ﻳﻚ ﺟﺎﻯ ﻛﺎﺭ ﺑﻠﻨﮕﺪ‪ .‬ﺣﺘﺎ ﺩﺭ ﻭﺍﻗﻌﻴﺖ‬ ‫ﻫﻢ ﻫﻤﻴﻦ ﻃﻮﺭ ﺍﺳﺖ‪ ،‬ﭼﻪ ﺑﺮﺳﺪ ﺑﻪ ﺩﺍﺳﺘﺎﻥ‪.‬‬ ‫ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﭘﻴﺶﺗﺮ ﮔﻔﺘﻢ‪ ،‬ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﻧﻤﻰﺗﻮﺍﻥ ﺟﺰﻭ ﺁﺛﺎﺭ ﻗﻮﻯ ﻛﻼﺭﻙ ﻗﺮﺍﺭ ﺩﺍﺩ‪ .‬ﺑﺮﺧﻰ ﻋﻨﺎﺻﺮ‬ ‫ﺗﺸﻜﻴﻞ ﺩﻫﻨﺪﻩﻯ ﺯﻣﻴﻨﻪﻯ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﻣﺎﻧﻨﺪ ﻓﻦﺁﻭﺭﻯﻫﺎﻯ ﺧﻴﺎﻟﻰ ﺁﻳﻨﺪﻩ‪ ،‬ﺩﺳﺘﻴﺎﺑﻰ ﺑﻪ ﺳﻮﺧﺖ ﺍﺗﻤﻰ ﭘﺎﻙ‬ ‫)ﻫﻢﺟﻮﺷﻰ(‪ ،‬ﻧﮕﻬﺒﺎﻥ ﻓﻀﺎ‪ ،‬ﺯﻣﻴﻦﮔﻮﻧﻪﺳﺎﺯﻯ ﺍﻗﻤﺎﺭ ﻣﻨﻈﻮﻣﻪﻯ ﺷﻤﺴﻰ‪ ،‬ﺍﻛﺘﺸﺎﻑ ﺍﺭﻭﭘﺎ )ﻗﻤﺮ ﻣﺸﺘﺮﻯ(‬ ‫ﻭ‪ ...‬ﺍﺯ ﺩﻝﻣﺸﻐﻮﻟﻰﻫﺎﻯ ﺑﺰﺭگ ﻛﻼﺭﻙ ﺑﻮﺩﻩﺍﻧﺪ ﻛﻪ ﺩﺭ ﺗﻤﺎﻡ ﺁﺛﺎﺭﺵ ﻛﻢ ﻭ ﺑﻴﺶ ﺧﻮﺩ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﻫﻨﺪ‪.‬‬ ‫ﻳﻜﻰ ﺍﺯ ﺳﻪ ﺁﺭﺯﻭﻯ ﻛﻼﺭﻙ ﺩﺭ ﺳﺎﻟﺮﻭﺯ ﺗﻮﻟﺪ ‪ 09‬ﺳﺎﻟﮕﻰﺍﺵ‪ ،‬ﺩﺳﺘﻴﺎﺑﻰ ﺑﺸﺮ ﺑﻪ ﺳﻮﺧﺖ ﭘﺎﻙ ﺟﺎﻳﮕﺰﻳﻦ‬ ‫ﺳﻮﺧﺖ ﻓﺴﻴﻠﻰ ﺑﻮﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻣﻰﺷﻮﺩ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺗﺤﻘﻖ ﺁﺭﺯﻭﻫﺎﻯ ﺩﻳﺮﻳﻨﻪﻯ ﻛﻼﺭﻙ ﺩﺍﻧﺴﺖ‪ ،‬ﮔﻮﻳﻰ‬ ‫ﺁﻥ ﺭﺍ ﺑﺮﺍﻯ ﺩﻝ ﺧﻮﺩﺵ ﻧﻮﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﻛﻪ ﺗﺼﻮﻳﺮﻯ ﺑﻪ ﺩﻟﺨﻮﺍﻩ ﻛﻼﺭﻙ ﺍﺯ ﺁﻳﻨﺪﻩ ﻧﺸﺎﻥ ﺩﻫﺪ‪.‬‬ ‫‪83‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﻛﺘﺎﺏ‬ ‫ﻣﺮﮔﺶ ﺍﺯ ﻛﻼﺭﻙ ﺧﻮﺍﺳﺖ ﺑﺮ ﺭﻭﻯ ﺟﻠﺪ ﻛﺘﺎﺏ ﺯﻧﺪﮔﻰﻧﺎﻣﻪﺍﺵ ﭼﻴﺰﻯ ﺑﻨﻮﻳﺴﺪ‪ ،‬ﭘﺴﺮﺵ ﺭﺍ ﺩﺭ ﻧﮕﺎﺭﺵ‬ ‫ﺭﺳﺎﻟﻪﺍﻯ ﻣﻌﺮﻭﻑ ﺑﻪ ﻧﺎﻡ »ﺩﻟﻴﻠﻰ ﻓﺮﺍﺯﻣﻴﻨﻰ ﺑﺮﺍﻯ ﺍﻧﻘﺮﺍﺽ ﺩﺭ ﻛﺮﺗﺎﺳﻪ« ]‪ [6‬ﻛﻪ ﺩﺭ ﻣﺠﻠﻪﻯ ﺳﺎﻳﻨﺲ‬ ‫ﺩﺭ ‪ 1980‬ﻣﻨﺘﺸﺮ ﺷﺪ‪ ،‬ﻳﺎﺭﻯ ﻛﺮﺩ‪ .‬ﺍﻳﻦ ﺭﺳﺎﻟﻪ ﻓﺮﺿﻴﻪﺍﻯ ﺑﺮﺍﻯ ﻧﺎﺑﻮﺩﻯ ﻧﺎﮔﻬﺎﻧﻰ ﺩﺍﻳﻨﺎﺳﻮﺭﻫﺎ ﺍﺯ ﺭﻭﻯ‬ ‫ﺯﻣﻴﻦ ﺍﺭﺍﺋﻪ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﻣﻰﺷﻮﺩ ﮔﻔﺖ ﺍﻳﻦ ﻋﻮﺍﻣﻞ ﺩﺭ ﻛﻨﺎﺭ ﻫﻢ ﺑﻪ ﻋﻼﻭﻩﻯ ﺫﻫﻦ ﻫﻤﻴﺸﻪ ﺟﺴﺖﻭﺟﻮﮔﺮ ﻭ ﺩﺍﻧﺸﻤﻨﺪ ﻛﻼﺭﻙ‪،‬‬ ‫ﺍﻭ ﺭﺍ ﺑﺮ ﺁﻥ ﺩﺍﺷﺘﻨﺪ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻫﺶ ﺭﺍ ﺑﻪ ﺩﺍﺳﺘﺎﻧﻰ ﺑﻠﻨﺪ ﺗﺒﺪﻳﻞ ﻛﻨﺪ‪ .‬ﺁﺛﺎﺭ ﻛﻼﺭﻙ ﺭﺍ ﻛﻪ ﺧﻮﺍﻧﺪﻩ‬ ‫ﺑﺎﺷﻴﺪ‪ ،‬ﻣﻰﺩﺍﻧﻴﺪ ﭼﻨﺪ ﺩﻏﺪﻏﻪﻯ ﺑﺰﺭگ ﻭ ﺍﺳﺎﺳﻰ ﺩﺍﺷﺖ‪ .‬ﻳﻜﻰ ﺍﺯ ﺁﻥﻫﺎ ﻫﻤﻴﻦ ﻣﺴﺄﻟﻪﻯ ﺑﺮﺧﻮﺭﺩ‬ ‫ﺍﺣﺘﻤﺎﻟﻰ ﻳﻚ ﺳﻴﺎﺭﻙ ﺑﺎ ﺯﻣﻴﻦ ﺑﻮﺩ‪ .‬ﮔﺸﺎﻳﺶ ﺩﺍﺳﺘﺎﻥ »ﻣﻴﻌﺎﺩ ﺑﺎ ﺭﺍﻣﺎ« ﻫﻢ ﺑﺮﺧﻮﺭﺩ ﻳﻚ ﺳﻴﺎﺭﻙ‬ ‫ﺑﺰﺭگ ﺑﻪ ﺯﻣﻴﻦ ﺍﺳﺖ‪ .‬ﺩﺭ »ﻣﻴﻌﺎﺩ ﺑﺎ ﺭﺍﻣﺎ« ﻛﻼﺭﻙ ﭘﻴﺸﻨﻬﺎﺩ ﻃﺮﺣﻰ ﺑﻪ ﻧﺎﻡ »ﻧﮕﻬﺒﺎﻥ ﻓﻀﺎ« ]‪ [7‬ﺭﺍ‬ ‫ﻣﻰﺩﻫﺪ‪ .‬ﺳﺎﻣﺎﻧﻪﺍﻯ ﻫﻮﺷﻤﻨﺪ ﻭ ﺑﺰﺭگ ﻛﻪ ﺭﺩ ﻫﻤﻪﻯ ﺍﺟﺮﺍﻡ ﺳﺮﮔﺮﺩﺍﻥ ﺩﺭ ﻣﻨﻈﻮﻣﻪﻯ ﺷﻤﺴﻰ ﺭﺍ‬ ‫ﺩﺍﺭﺩ ﻭ ﻣﺮﺗﺐ ﻫﻤﻪ ﺭﺍ ﺭﺻﺪ ﻣﻰﻛﻨﺪ ﻭ ﺩﺭ ﺻﻮﺭﺗﻰ ﻛﻪ ﺟﺮﻣﻰ ﺑﺰﺭگ ﻛﻪ ﺗﻬﺪﻳﺪﻯ ﻭﺍﻗﻌﻰ ﺑﺮﺍﻯ ﺯﻣﻴﻦ‬ ‫ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﺩ ﺩﺭ ﻣﺪﺍﺭ ﺑﺮﺧﻮﺭﺩ ﻗﺮﺍﺭ ﮔﻴﺮﺩ‪ ،‬ﺯﻧﮓ ﺧﻄﺮ ﺭﺍ ﺑﻪ ﺻﺪﺍ ﺩﺭﻣﻰﺁﻭﺭﺩ ﺗﺎ ﺍﻗﺪﺍﻣﺎﺕ ﺑﻌﺪﻯ‬ ‫ﺻﻮﺭﺕ ﮔﻴﺮﻧﺪ‪.‬‬ ‫ﺩﺭ ﺩﻫﻪﻯ ﻫﺸﺘﺎﺩ‪ ،‬ﺑﺤﺚ ﺍﺣﺘﻤﺎﻝ ﺑﺮﺧﻮﺭﺩ ﺳﻴﺎﺭﻛﻰ ﺑﺎ ﺯﻣﻴﻦ‪ ،‬ﺩﺭ ﻧﺘﻴﺠﻪﻯ ﮔﺬﺭ ﺳﻴﺎﺭﻙ ﺍﻑ‪ .‬ﺳﻰ ]‪،[8‬‬ ‫ﻣﺴﺄﻟﻪﻯ ﺳﻴﺎﺭﻙﻫﺎ ﺭﺍ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺑﺤﺚ ﺭﻭﺯ ﺗﺒﺪﻳﻞ ﻛﺮﺩ‪ .‬ﺩﺭ ﻧﺘﻴﺠﻪ ﻛﻤﻴﺴﻴﻮﻥ ﻋﻠﻮﻡ‪ ،‬ﻓﻀﺎ ﻭ ﻓﻦﺁﻭﺭﻯ‬ ‫ﻣﺠﻠﺲ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﺁﻣﺮﻳﻜﺎ ﺑﻨﺪﻯ ﺭﺍ ﺑﻪ ﻗﺎﻧﻮﻥ ﻧﺎﻇﺮ ﺑﺮ ﻣﺠﻮﺯ ﻓﻌﺎﻟﻴﺖ ﻧﺎﺳﺎ ﺍﻓﺰﻭﺩﻧﺪ‪ .‬ﺑﻪ ﻣﻮﺟﺐ ﺁﻥ‬ ‫ﺑﻨﺪ‪ ،‬ﻧﺎﺳﺎ ﻣﺄﻣﻮﺭﻳﺖ ﻳﺎﻓﺖ ﺩﻭ ﻛﺎﺭﮔﺎﻩ ﻣﻄﺎﻟﻌﺎﺗﻰ ﺗﺸﻜﻴﻞ ﺩﻫﺪ‪ .‬ﺩﺭ ﻛﺎﺭﮔﺎﻩ ﺍﻭﻝ ﺑﺮﻧﺎﻣﻪﺍﻯ ﺑﺮﺍﻯ ﺍﻓﺰﺍﻳﺶ‬ ‫ﻣﻴﺰﺍﻥ ﺁﺷﻜﺎﺭﺳﺎﺯﻯ ﺳﻴﺎﺭﻙﻫﺎﻯ ﻋﺒﻮﺭﻯ ﺍﺯ ﻣﺪﺍﺭ ﺯﻣﻴﻦ ﻃﺮﺡ ﺭﻳﺰﻯ ﻛﻨﺪ ﻭ ﺩﺭ ﻛﺎﺭﮔﺎﻩ ﺩﻭﻡ‪ ،‬ﺑﻪ ﺑﺮﺭﺳﻰ‬ ‫ﻭ ﺗﺸﺮﻳﺢ ﺳﺎﻣﺎﻧﻪﻫﺎ ﻭ ﻓﻨﺎﻭﺭﻯﻫﺎﻳﻰ ﺍﻗﺪﺍﻡ ﻛﻨﺪ ﻛﻪ ﻣﺪﺍﺭ ﭼﻨﻴﻦ ﺳﻴﺎﺭﻙﻫﺎﻳﻰ ﺭﺍ ﺩﺭ ﺻﻮﺭﺗﻰ ﻛﻪ ﺧﻄﺮﻯ‬ ‫ﺑﺮﺍﻯ ﺯﻣﻴﻦ ﺑﺎﺷﻨﺪ‪ ،‬ﺗﻐﻴﻴﺮ ﺩﻫﺪ ﻳﺎ ﺁﻥﻫﺎ ﺭﺍ ﻧﺎﺑﻮﺩ ﺳﺎﺯﺩ‪.‬‬ ‫ﻧﺎﺳﺎ ﺑﻨﺎ ﺑﺮ ﺍﻳﻦ ﻣﺄﻣﻮﺭﻳﺖ‪ ،‬ﺩﺭ ﺳﺎﻝ ‪ 1991‬ﻳﻚ ﻛﺎﺭﮔﺎﻩ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﺗﺸﻜﻴﻞ ﺩﺍﺩ ﻭ ﭼﻨﺪﻳﻦ ﺟﻠﺴﻪ‬ ‫ﺑﺮﮔﺰﺍﺭ ﻛﺮﺩ‪ .‬ﻧﺘﻴﺠﻪﻯ ﺟﻠﺴﺎﺕ ﺩﺭ ﮔﺰﺍﺭﺷﻰ ﺍﺯ ﺁﺯﻣﺎﻳﺸﮕﺎﻩ ﭘﻴﺸﺮﺍﻧﺶ ﺟﺖ ]‪ [9‬ﺩﺭ ﭘﺎﺳﺎﺩﻧﺎ ]‪ [10‬ﺑﺎ‬ ‫ﻋﻨﻮﺍﻥ »ﭘﻴﻤﺎﻳﺶ ﻧﮕﻬﺒﺎﻥ ﻓﻀﺎ« ﺩﺭ ﺳﺎﻝ ‪ 1992‬ﻣﻨﺘﺸﺮ ﺷﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﮔﺰﺍﺭﺵ ﺁﻣﺪﻩ ﺍﺳﺖ ﻛﻪ‪»:‬ﻧﺎﻡ ﺍﻳﻦ‬ ‫ﺑﺮﻧﺎﻣﻪﻯ ﭘﻴﻤﺎﻳﺸﻰ ﭘﻴﺸﻨﻬﺎﺩﻯ ﺭﺍ ﻧﮕﻬﺒﺎﻥ ﻓﻀﺎ ﮔﺬﺍﺷﺘﻪﺍﻳﻢ‪ .‬ﺍﻳﻦ ﻧﺎﻡ ﺭﺍ ﺍﺯ ﻃﺮﺣﻰ ﻣﺸﺎﺑﻪ ﻭ ﭘﻴﺸﻨﻬﺎﺩ‬ ‫ﺷﺪﻩ ﺗﻮﺳﻂ ﻧﻮﻳﺴﻨﺪﻩﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﺁﺭﺗﻮﺭ ﺳﻰ‪ .‬ﻛﻼﺭﻙ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺑﻠﻨﺪﺵ ﺑﻪ ﻧﺎﻡ ﻣﻴﻌﺎﺩ ﺑﺎ ﺭﺍﻣﺎ‬ ‫ﺩﺭ ﺣﺪﻭﺩ ‪ 20‬ﺳﺎﻝ ﭘﻴﺶ ﺑﻪ ﻋﺎﺭﻳﺖ ﮔﺮﻓﺘﻪﺍﻳﻢ‪«.‬‬ ‫‪81‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﻣﻘﺪﻣﻪ‬ ‫ﺁﺭﺗﻮﺭ ﺳﻰ‪ .‬ﻛﻼﺭﻙ ﻛﻪ ﺩﻳﮕﺮ ﻧﻴﺎﺯ ﺑﻪ ﻣﻌﺮﻓﻰ ﻧﺪﺍﺭﺩ‪ .‬ﺩﺍﻧﺸﻤﻨﺪ‪ ،‬ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﺍﻧﺪﻳﺸﻤﻨﺪ ﺑﺰﺭﮔﻰ ﺑﻮﺩ‪ .‬ﺍﻣﺎ‬ ‫ﺑﺮﺭﺳﻰ ﺁﺛﺎﺭ ﺍﻭ ﺍﺯ ﺁﻥ ﺯﺍﻭﻳﻪﻯ ﺩﻳﺪ ﺯﻳﺒﺎﻳﻰﺷﻨﺎﺧﺘﻰ ﻛﻪ ﺩﻳﮕﺮ ﺁﺛﺎﺭ ﺍﺩﺑﻰ ﺭﺍ ﻣﻰﺳﻨﺠﻨﺪ‪ ،‬ﺭﺍﻩ ﺑﻪ ﺟﺎﻳﻰ‬ ‫ﻧﺨﻮﺍﻫﺪ ﺑﺮﺩ‪ .‬ﺑﺮﺧﻰ ﻣﻨﺘﻘﺪﺍﻥ‪ ،‬ﺑﻪ ﻧﺜﺮ ﻛﻼﺭﻙ ﺧﺮﺩﻩ ﻣﻰﮔﻴﺮﻧﺪ ﻛﻪ ﭼﻮﻥ ﻧﻮﺷﺘﺎﺭ ﺭﻭﺯﻧﺎﻣﻪﻫﺎ ﺍﺳﺖ‪.‬‬ ‫ﺑﺴﻴﺎﺭ ﺧﺐ‪ ،‬ﺍﻳﻦ ﺍﻳﺮﺍﺩ ﺑﺮ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺁﺛﺎﺭ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻭﺍﺭﺩ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺑﻪ ﮔﻤﺎﻥ ﻣﻦ‪ ،‬ﺑﺮﺍﻯ ﺍﺭﺯﻳﺎﺑﻰ‬ ‫ﺍﻳﻦ ﺁﺛﺎﺭ‪ ،‬ﺑﻪ ﻣﻌﻴﺎﺭ ﺯﻳﺒﺎﻳﻰﺷﻨﺎﺧﺘﻰ ﺩﻳﮕﺮﻯ ﻧﻴﺎﺯ ﺍﺳﺖ‪» .‬ﻣﻴﻌﺎﺩ ﺑﺎ ﺭﺍﻣﺎ« ﻧﻮﺷﺘﻪﻯ ﻛﻼﺭﻙ ﺭﺍ ﺩﺭ ﻧﻈﺮ‬ ‫ﺑﮕﻴﺮﻳﺪ‪ ،‬ﺷﺎﻳﺪ ﻧﺸﻮﺩ ﻣﺘﻦ ﺁﻥ ﺭﺍ ﺍﺯ ﻧﻈﺮ ﺯﻳﺒﺎﻳﻰ ﻭ ﺻﻨﺎﻋﺎﺕ ﺍﺩﺑﻰ ﺑﺎ ﻧﻮﺷﺘﻪﻫﺎﻯ ﻛﺎﺯﺍﻧﺘﺰﺍﻛﻴﺲ ﻣﻘﺎﻳﺴﻪ‬ ‫ﻛﺮﺩ ﻭ ﺑﻪ ﻟﺤﺎﻅ ﻣﺤﺘﻮﺍ ﺷﺒﺎﻫﺘﻰ ﺑﺎ ﺁﺛﺎﺭ ﻫﻤﻴﻨﮕﻮﻯ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺍﻣﺎ ﺍﺯ ﺳﻮﻳﻰ ﺁﻥ ﺯﻳﺒﺎﻳﻰ ﻛﻪ ﺳﺮﺗﺎﺳﺮ‬ ‫ﻛﺘﺎﺏ ﺧﻮﺍﻧﻨﺪﻩ ﺭﺍ ﺑﻪ ﺗﻤﺎﺷﺎﻯ ﻳﻚ ﺳﺎﺯﻩﻯ ﺑﻴﮕﺎﻧﻪ ﻣﻰﺑﺮﺩ‪ ،‬ﺩﺭ ﺁﺛﺎﺭ ﺟﺮﻳﺎﻥ ﺍﺻﻠﻰ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﻣﻴﻌﺎﺩ‬ ‫ﺑﺎ ﺭﺍﻣﺎ‪ ،‬ﻳﻚ ﺷﺎﻫﻜﺎﺭ ﻣﻬﻨﺪﺳﻰ ﺍﺳﺖ؛ ﺗﻮﺻﻴﻒ ﻣﺴﺤﻮﺭﻛﻨﻨﺪﻩﻯ ﺳﺎﺯﻩﺍﻯ ﻛﻪ ﺳﺎﺧﺘﻪ ﻭ ﭘﺮﺩﺍﺧﺘﻪﻯ‬ ‫ﺫﻫﻨﻰ ﺑﻴﮕﺎﻧﻪ ﺍﺳﺖ‪ .‬ﺯﻳﺒﺎﻳﻰ ﺁﺛﺎﺭ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﺩﺭ ﺯﻳﺒﺎﻳﻰ ﺗﺨﻴﻠﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺗﺼﻮﻳﺮ ﻣﻰﻛﺸﻨﺪ‪ ،‬ﻭ‬ ‫ﺩﺭ ﺯﻳﺒﺎﻳﻰ ﻣﺤﺾ »ﺩﺍﻧﺶ«؛ ﺣﺘﺎ ﺍﮔﺮ ﺑﺎ ﻧﺜﺮﻯ ﺳﺎﺩﻩ ﻭ ﺭﻭﺯﻧﺎﻣﻪﻭﺍﺭ ﻧﮕﺎﺷﺘﻪ ﺷﺪﻩ ﺑﺎﺷﻨﺪ‪ .‬ﺩﺭ ﻧﻮﺷﺘﻦ‬ ‫ﻣﻘﺎﻟﻪﺍﻯ ﺩﺭﺑﺎﺭﻩﻯ ﻳﻚ ﺍﺛﺮ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺳﺨﺖ ﺁﻥ ﻫﻢ ﺑﻪ ﻗﻠﻢ ﻛﻼﺭﻙ ﻛﻪ ﺩﺭﺑﺎﺭﻩﻯ ﻣﻮﺿﻮﻋﺎﺕ‬ ‫ﻋﻠﻤﻰ ﺗﺎ ﺟﺰﻳﻰﺗﺮﻳﻦ ﻣﺴﺎﺋﻞ ﺩﻗﻴﻖ ﻣﻰﺷﺪ‪ ،‬ﻧﺎﮔﺰﻳﺮ ﺍﺯ ﻭﺍﺭﺩ ﺷﺪﻥ ﺑﻪ ﻭﺍﺩﻯ ﺩﺍﻧﺶ ﻫﺴﺘﻴﻢ‪ .‬ﺑﺎ ﺍﻳﻦﺣﺎﻝ‬ ‫ﺧﻮﺍﻧﻨﺪﻩﻯ ﺁﺛﺎﺭ ﻛﻼﺭﻙ‪ ،‬ﺍﮔﺮ ﻋﺸﻖ ﺑﻪ ﻋﻠﻢ ﻭ ﺩﺍﻧﺶ ﻧﻤﻰﺩﺍﺷﺖ‪ ،‬ﻛﺘﺎﺏ ﺭﺍ ﭘﺲ ﺍﺯ ﺧﻮﺍﻧﺪﻥ ﺻﻔﺤﺎﺕ‬ ‫ﺁﻏﺎﺯﻳﻦ ﺯﻣﻴﻦ ﻣﻰﮔﺬﺍﺷﺖ‪ ،‬ﭼﻪ ﺑﺮﺳﺪ ﺑﻪ ﺁﻥ ﻛﻪ ﺑﺨﻮﺍﻫﺪ ﻣﻘﺎﻟﻪﺍﻯ ﺩﺭﺑﺎﺭﻩﺍﺵ ﺑﺨﻮﺍﻧﺪ‪.‬‬ ‫ﺩﻳﺪﮔﺎﻩ ﻋﻠﻤﻰ ﻭ ﭘﻴﺶﺯﻣﻴﻨﻪﻯ ﻛﺘﺎﺏ‬ ‫ﺩﺍﺳﺘﺎﻥ »ﭘﺘﻚ ﺁﺳﻤﺎﻥ« ﺭﺍ ﻫﻢ ﺑﺎﻳﺪ ﺍﺯ ﻫﻤﺎﻥ ﺯﺍﻭﻳﻪﻯ ﻧﺎﻣﻜﺸﻮﻑ ﺯﻳﺒﺎﻳﻰﺷﻨﺎﺧﺘﻰ ﻧﮕﺎﻩ ﻛﺮﺩ‪ ،‬ﻫﺮ ﭼﻨﺪ‬ ‫ﻗﻄﻌﺎً ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﻧﻤﻰﺗﻮﺍﻥ ﺟﺰﻭ ﺁﺛﺎﺭ ﻗﻮﻯ ﻛﻼﺭﻙ ﻗﺮﺍﺭ ﺩﺍﺩ‪ .‬ﻣﺎﺟﺮﺍﻯ ﻧﮕﺎﺷﺘﻪ ﺷﺪﻥ ﺩﺍﺳﺘﺎﻥ ﺍﺯ‬ ‫ﺍﻳﻦ ﻗﺮﺍﺭ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪ ،1992‬ﺳﺮﺩﺑﻴﺮ ﻣﺠﻠﻪﻯ ﺗﺎﻳﻢ ﺍﺯ ﻛﻼﺭﻙ ﺩﺭﺧﻮﺍﺳﺖ ﻣﻰﻛﻨﺪ ﺩﺍﺳﺘﺎﻧﻰ‬ ‫ﭼﻬﺎﺭ ﻫﺰﺍﺭ ﻛﻠﻤﻪﺍﻯ ﺑﻨﻮﻳﺴﺪ ﻭ ﺩﺭ ﺁﻥ ﺗﺼﻮﻳﺮﻯ ﺍﺯ ﺯﻧﺪﮔﻰ ﺩﺭ ﺯﻣﻴﻦ‪ ،‬ﺩﺭ ﻫﺰﺍﺭﻩﻯ ﺑﻌﺪ ﺑﻪ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ‬ ‫ﺍﺭﺍﺋﻪ ﺩﻫﺪ‪ .‬ﻛﻼﺭﻙ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﻣﻰﻧﻮﻳﺴﻨﺪ ﻭ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ ﺩﺭ ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺷﻤﺎﺭﻩﻯ ﺳﭙﺘﺎﻣﺒﺮ ‪1992‬‬ ‫ﻣﺠﻠﻪ‪ ،‬ﺑﻪ ﻧﺎﻡ »ﻓﺮﺍﺳﻮﻯ ‪ «2000‬ﻣﻨﺘﺸﺮ ﻣﻰﺷﻮﺩ‪ .‬ﻛﻤﻰ ﺑﻌﺪ ﺩﺭ ﺟﺸﻦ ﺗﻮﻟﺪﺵ‪ ،‬ﺩﻛﺘﺮ ﺩﺍﻧﻜﻦ ﺍﺳﺘﻴﻞ‬ ‫]‪ ،[3‬ﻋﻀﻮ ﺭﺻﺪﺧﺎﻧﻪﻯ ﺍﻧﮕﻠﻴﺴﻰ‪-‬ﺍﺳﺘﺮﺍﻟﻴﺎﻳﻰ ﻛﻮﻧﺎﺑﺎﺭﺍﺑﺮﺍﻥ ]‪ ،[4‬ﻣﻘﺎﻟﻪﺍﻯ ﺍﺭﺍﺋﻪ ﻣﻰﺩﻫﺪ ﻭ ﺑﻪ ﻫﻤﺮﺍﻩ‬ ‫ﺍﺳﻼﻳﺪﻫﺎﻯ ﺭﻧﮕﻰ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﺩﺭ ﺻﻮﺭﺕ ﺑﺮﺧﻮﺭﺩ ﻳﻚ ﺳﻴﺎﺭﻙ ﺑﺰﺭگ ﺑﺎ ﺯﻣﻴﻦ ﭼﻪ ﺍﺗﻔﺎﻗﻰ ﺭﺥ‬ ‫ﺧﻮﺍﻫﺪ ﺩﺍﺩ‪ .‬ﺍﺯ ﺳﻮﻳﻰ ﺩﻛﺘﺮ ﻟﻮﻳﻰ ﺁﻟﻮﺍﺭﺯ ]‪ [5‬ﻛﻪ ﺍﺯ ﺩﻭﺳﺘﺎﻥ ﻛﻼﺭﻙ ﺑﻮﺩ ﻭ ﺣﺘﺎ ﻳﻚ ﺳﺎﻝ ﭘﻴﺶ ﺍﺯ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪80‬‬

‫ﻛﺘﺎﺏ‬

‫ﭘﺘﻚ ﺁﺳﻤﺎﻥ‬ ‫ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬

‫ﺷﻨﺎﺳﻨﺎﻣﻪ‬ ‫ﻧﺎﻡ ﻛﺘــﺎﺏ‪ :‬ﭘﺘﻚ ﺁﺳﻤــــﺎﻥ ]‪[1‬‬ ‫ﻧﻮﻳﺴﻨــﺪﻩ‪ :‬ﺁﺭﺗﻮﺭ ﺳﻰ‪ .‬ﻛﻼﺭﻙ ]‪[2‬‬ ‫ﻣﺘــﺮ ﺟـﻢ ‪ :‬ﭘﻴﻤـﺎﻥ ﺍﺳﻤﺎﻋﻴﻠﻴـﺎﻥ‬ ‫ﻧـﺎﺷــــﺮ‪ :‬ﻧـﺸــﺮ ﻗـﻄــــﺮﻩ‬ ‫ﻧﻮﺑﺖ ﭼـﺎپ‪ :‬ﺍﻭﻝ‬

‫‪-‬‬

‫‪1 3 8 9‬‬

‫ﺷﻤــﺎﺭﮔﺎﻥ‪ 1 1 0 0 :‬ﻧﺴﺨـــﻪ‬ ‫ﺑﻬــــــﺎ ‪ 6 0 0 0 :‬ﺗﻮﻣـــﺎﻥ‬

‫ﻛﺘﺎﺏ‬

‫ﯾﻪ ﻣﺎﺷﯿﻦ ﮐﻨﺎرش ﻣﯽزﻧﻪ رو ﺗﺮﻣﺰ و ﭼﻨﺪ ﺗﺎ ﻣﯽرﯾﺰن ﺑﯿﺮون و ﺑﻪ زور ﺳﻮارش ﻣﯽﮐﻨﻦ‪ .‬ﻗﻀﯿﻪ ﻣﺎل ﯾﻪ‬ ‫ﺳﺎل ﭘﯿﺸﻪ‪«.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﻣﻨﻢ ﺷﻨﯿﺪهام‪«.‬‬ ‫ﯾﮏ آن ﺣﺲ ﮐﺮدم ﮐﺴﯽ ﭘﺸﺖ ﴎﻣﺎن اﺳﺖ‪ ،‬در ﭼﻨﺪ ﻗﺪﻣﯽﻣﺎن‪ .‬داﺷﺘﻢ ﺧﯿﻠﯽ ﺧﻮب ﺻﺪای ﭘﺎﯾﺶ را‬ ‫ﻣﯽﺷﻨﯿﺪم‪ .‬زﯾﺮ ﭼﺸﻤﯽ ﺑﻪ آرش ﻧﮕﺎه ﮐﺮدم ﮐﻪ داﺷﺖ آﻫﺴﺘﻪ ﮐﻨﺎرم راه ﻣﯽرﻓﺖ‪ .‬ﯾﮏدﻓﻌﻪ ﺑﺮﮔﺸﺘﻢ‪.‬‬ ‫ﻫﯿﭻﮐﺲ آنﺟﺎ ﻧﺒﻮد‪ .‬ﺣﺘﺎ ﻓﮑﺮ ﮐﺮدم ﺷﺎﯾﺪ از ﺗﻮی ﭘﺎرک ﺑﻮده‪ ،‬اﻣﺎ آنﺟﺎ ﻫﻢ ﮐﺴﯽ ﻧﺒﻮد‪ .‬ﯾﻌﻨﯽ ﻣﻦ ﮐﻪ‬ ‫اﺻﻼً ﭼﯿﺰی منﯽدﯾﺪم‪ .‬ﺑﻪ آرش ﻧﮕﺎه ﮐﺮدم ﮐﻪ ﻣﺜﻞ ﻣﻦ ﺧﯿﺮه ﺷﺪه ﺑﻮد ﺑﻪ ﭘﺎرک‪ .‬منﯽداﻧﺴﺘﻢ او ﻫﻢ‬ ‫ﺻﺪای ﭘﺎ را ﺷﻨﯿﺪه ﯾﺎ ﻧﻪ‪.‬‬ ‫ﺑﺎز ﭘﺸﺖ ﴎم را ﻧﮕﺎه ﮐﺮدم و ﺑﺎ ﺧﻮدم ﭼﯿﺰی ﮔﻔﺘﻢ‪ ،‬ﭼﯿﺰی ﮐﻪ اﻧﮕﺎر ﺑﻪ ﻣﻦ اﻟﻬﺎم ﺷﺪه ﺑﻮد؛ ﺑﺎ ﺧﻮدم‬ ‫ﮔﻔﺘﻢ ﯾﮑﯽ آنﺟﺎﺳﺖ‪ ،‬ﯾﮑﯽ ﺗﻮی آن ﺗﺎرﯾﮑﯽ اﯾﺴﺘﺎده و ﺧﯿﺮه ﺷﺪه ﺑﻪ ﻣﺎ‪ .‬اﺷﺘﺒﺎه منﯽﮐﺮدم‪ .‬آنﺟﺎ ﺑﻮد‪.‬‬ ‫از ﻫامنﺟﺎ دﻧﺒﺎلﻣﺎن ﺑﻮدﻧﺪ‪ ،‬درﺳﺖ از زﻣﺎﻧﯽ ﮐﻪ ﭘﯿﭽﯿﺪه ﺑﻮدﯾﻢ ﺗﻮی ﺧﯿﺎﺑﺎنِ ﺗ ِﻪ ﮐﻮﭼﻪ‪ .‬داﺷﺘﻨﺪ‪ ،‬ﺑﯽ‬ ‫آن ﮐﻪ ﺑﺨﻮاﻫﯿﻢ‪ ،‬ﻣﯽﺑﺮدنﻣﺎن ﺑﻪ ﺳﻤﺖ ﻫامن ﮐﻮﭼﻪ‪.‬‬

‫ﻛﺘﺎﺏﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻣﻰ )ﺑﺨﺶ ﺩﻭﻡ(« ﺩﺭ ﻣﺎﻫﻨﺎﻣﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ‪،‬‬ ‫ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺍﺳﺖ ﻭ ﻫﺮﮔﻮﻧﻪ ﺗﺸﺎﺑﻪ ﺑﺎ ﻋﺒﺎﺭﺍﺕ‬ ‫ﺧﺎﺭﺟﻰ ﻳﺎ ﺩﺍﺧﻠﻰ ﺍﺣﺘﻤﺎﻟﻰ ﺗﺼﺎﺩﻓﻰ ﺍﺳﺖ‪.‬‬

‫‪ .1‬ﻳﻚ ﺩﻡ ﺁﺧﺮ ﺣﺠﺎﺏ ﻳﻚ ﺳﻮ ﻧﻪ ‪ /‬ﺗﺎ ﺑﺮﺁﺳﺎﻳﺪ ﺁﺭﺯﻭﻣﻨﺪﻯ‬ ‫ﺳﻌﺪﻯ‬ ‫‪ .2‬ﺍﻳﻦ ﻋﺒﺎﺭﺗﻰ ﺧﻮﺩﺳﺎﺧﺘﻪ ﻭ ﺍﻟﻬﺎﻡ ﮔﺮﻓﺘﻪ ﺍﺯ ﻧﻮﺷﺘﻪﻯ ﺧﺎﻧﻢ‬ ‫ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ ﺑﺎ ﻋﻨﻮﺍﻥ »ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﻛﺘﺎﺏﻫﺎ ﻳﺎ‬

‫‪77‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ‪ .‬ﮔﻔﺖ ﻫﻤﻪﺍﺵ ﺗﻮ ﻫﻤﻴﻦ ﻛﻴﻒ ﺍﺳﺖ ﻭ ﺍﺯ ﻣﺎﺷﻴﻦ ﭘﻴﺎﺩﻩ ﺷﺪ‪ .‬ﻫﻨﻮﺯ ﺩﺭ ﺭﺍ ﻧﺒﺴﺘﻪ ﺑﻮﺩ ﻛﻪ‬ ‫ﺳﺮﻡ ﺭﺍ ﺧﻢ ﻛﺮﺩﻡ ﻭ ﮔﻔﺘﻢ‪» :‬ﻣﻰﺗﻮﻧﻢ ﺍﺳﻤﺘﻮﻧﻮ ﺑﭙﺮﺳﻢ؟«‬ ‫ﺳﺮﺵ ﺭﺍ ﺧﻢ ﻛﺮﺩ ﻭ ﺧﻴﻠﻰ ﺁﻫﺴﺘﻪ ﮔﻔﺖ‪» :‬ﺩﺭﺍﻛﻮﻻ‪«.‬‬ ‫ﺍﻧﺘﻈﺎﺭ ﻣﻰﺭﻭﺩ ﺍﮔﺮ ﺍﻳﻦ ﻗﺪﺭ ﺩﺭﺍﻛﻮﻻ ﻭ ﺧﻮﻥﺁﺷﺎﻡ ﻗﺮﺍﺭ ﺍﺳﺖ ﺑﺮﺍﻯ ﻣﺨﺎﻃﺐ ﺟﺬﺍﺏ ﺑﺎﺷﺪ‪ ،‬ﺣﻘﺶ ﻫﻢ‬ ‫ﺍﺩﺍ ﺷﻮﺩ‪ .‬ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﺍﻣﺎ ﻫﻢ ﻣﺎﻧﻨﺪ ﺍﻣﺎﻯ ﻗﺒﻞ ﭼﺸﻢ ﺑﻪ ﺍﻧﺘﻈﺎﺭ ﻛﺘﺎﺏ ﺳﻮﻡ ﻣﺠﻤﻮﻋﻪ ﻣﻰﻣﺎﻧﺪ ﻭ ﻛﺪﻫﺎﻳﻰ‬ ‫ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﻛﺘﺎﺏ ﺩﻭﻡ ﻫﺴﺖ‪ ،‬ﻛﻪ ﻣﺎ ﺭﺍ ﺍﻣﻴﺪﻭﺍﺭ ﺑﻪ ﺗﺤﻘﻖ ﻣﺘﻌﻠﻖ ﺍﻳﻦ ﺍﻧﺘﻈﺎﺭ ﻣﻰﻛﻨﺪ‪ .‬ﺻﺪ ﺍﻟﺒﺘﻪ ﺣﻴﻒ‬ ‫ﺍﺳﺖ ﺍﮔﺮ ﻧﮕﻮﻳﻢ‪ ،‬ﺧﻮﻥﺁﺷﺎﻡ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺩﺭ ﻫﻤﻴﻦ ﺣﺪﺵ ﻫﻢ ﺑﺴﻴﺎﺭ ﺑﻴﺸﺘﺮ ﺍﺯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ‬ ‫ﭘﺮﻓﺮﻭﺵ ﭼﻨﺪ ﺳﺎﻝ ﮔﺬﺷﺘﻪ‪ ،‬ﻫﻤﺎﻥﻫﺎ ﻛﻪ ﺑﺎ ﻋﺒﺎﺭﺕ »ﺧﻮﺷﮕﻞﺧﻮﻥﺁﺷﺎﻡﻫﺎﻯ ﺭﺯ ﺑﻪ ﺩﺳﺖ« ]‪[2‬‬ ‫ﺍﺯ ﺁﻥﻫﺎ ﻳﺎﺩ ﻣﻰﻛﻨﻢ‪ ،‬ﻣﻮﺭﺩ ﭘﺴﻨﺪﻡ ﻭﺍﻗﻊ ﻣﻰﺷﻮﺩ ﻭ ﺑﻪ ﻧﻈﺮﻡ ﺍﻳﻦ ﻃﻮﺭ ﻭﺍﻗﻌﺎً ﺑﻬﺘﺮ ﺍﺳﺖ‪ .‬ﻓﻘﻂ ﺧﺪﺍ‬ ‫ﻛﻨﺪ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺗﺎﺯﻩﻛﺎﺭ ﺁﻣﺮﻳﻜﺎﻳﻰ )ﻛﻪ ﺷﺎﻳﺪ ﺑﺸﻮﺩ ﻧﺎﻧﻮﻳﺴﻨﺪﻩ ﻫﻢ ﻧﺎﻣﺸﺎﻥ ﻧﻬﺎﺩ( ﻭ ﻫﻤﻴﻦﻃﻮﺭ‬ ‫ﺍﺳﺘﻮﺩﻳﻮﻫﺎﻯ ﺛﺮﻭﺗﻤﻨﺪ ﻫﺎﻟﻴﻮﻭﺩﻯ ﻫﻢ ﺍﻳﻦ ﺭﺍ ﺑﻔﻬﻤﻨﺪ‪.‬‬ ‫‪ ‬ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﺩﻭﺑﺎﺭﻩ ﻫﻤﻪﻯ ﺷﻤﺎ ﺭﺍ ﺗﻮﺻﻴﻪ ﻣﻰﻛﻨﻢ‪ ،‬ﻫﺮ ﺳﻪ ﻛﺘﺎﺏ ﺭﺍ –ﻛﻪ ﻗﺮﺍﺭ ﺑﻮﺩ ﺟﻠﺪ ﺳﻮﻡ ﻫﻢ‬ ‫ﺩﺭ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻛﺘﺎﺏ ﻋﺮﺿﻪ ﺷﻮﺩ‪ -‬ﺗﻬﻴﻪ ﻛﺮﺩﻩ ﻭ ﻣﻄﺎﻟﻌﻪ ﻛﻨﻴﺪ‪ .‬ﺑﻴﺎﻳﻴﺪ ﺍﻣﻴﺪﻭﺍﺭﻡ ﺑﺎﺷﻴﻢ ﺩﻭ ﺍﻧﺘﻬﺎﻯ‬ ‫ﻟﺐﻫﺎﻳﻤﺎﻥ‪ ،‬ﺩﺭ ﻣﻮﺍﺭﺩﻯ ﺑﺎ ﻣﻮﺍﺟﻬﻪ ﺑﺎ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺭﻭ ﺑﻪ ﭘﺎﻳﻴﻦ ﻣﺘﻤﺎﻳﻞ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﻛﺘﺎﺏ‬ ‫ﺳﻮﻡ ﺭﻭ ﺑﻪ ﺻﻌﻮﺩ ﺑﮕﺬﺍﺭﻧﺪ‪ .‬ﺟﺪﺍ ً ﺣﻴﻒ ﺍﺳﺖ ﺍﮔﺮ ﺍﻳﻦ ﺗﻼﺵﻫﺎ ﺑﻪ ﻧﺘﻴﺠﻪ ﻧﺮﺳﻨﺪ‪ .‬ﺍﻣﻴﺪﻭﺍﺭﻡ ﻛﺘﺎﺑﻰ ﻛﻪ‬ ‫ﺑﺮﺍﻯ ﺑﻮﻣﻰ ﺑﻮﺩﻧﺶ ﻓﻘﻂ ﺑﻪ ﺍﺳﺎﻣﻰ ﺍﻛﺘﻔﺎ ﻧﻜﺮﺩﻩ )ﻫﺮﭼﻨﺪ ﺩﺭ ﺍﻳﻦﺟﺎ ﺑﻮﻡ ﭼﻨﺪﺍﻥ ﻧﻤﻮﺩﻯ ﻧﺪﺍﺭﺩ(‪ ،‬ﺩﺭ‬ ‫ﻧﻬﺎﻳﺖ ﺗﻼﺵ ﻓﻌﺎﻟﻰ ﺑﺮﺍﻯ ﻗﻬﺮﻣﺎﻥﺳﺎﺯﻯ ﻭ ﻫﻤﭽﻨﻴﻦ ﺑﺮﻗﺮﺍﺭ ﻛﺮﺩﻥ ﺭﻭﺍﺑﻂ ﺩﺭﺳﺖ ﻋﻠﺖ ﻭ ﻣﻌﻠﻮﻟﻰ ﺍﺯ‬ ‫ﺧﻮﺩ ﻧﺸﺎﻥ ﺩﻫﺪ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺍﻣﻴﺪﻭﺍﺭﻡ ﻧﻮﻳﺴﻨﺪﻩ ﻫﻢ ﺩﺭ ﺍﺩﺍﻣﻪﻯ ﻛﺎﺭﻫﺎﻳﺶ ﻣﻮﻓﻖ ﺑﺎﺷﺪ ﻭ ﺭﻭﻧﺪ ﻣﺜﺒﺘﻰ‬ ‫ﺭﺍ ﺩﺭ ﭘﻴﺶ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﻗﻄﻌﻪﺍﻯ ﺍﺯ ﻣﺘﻦ ﻛﺘﺎﺏ‬

‫آرش ﮔﻔﺖ‪» :‬ﭼﯿﺰی درﺑﺎرهاش ﺷﻨﯿﺪی؟«‬ ‫»درﺑﺎرهی ﭼﯽ؟«‬ ‫»ﻫﻤﻮن ﭘﴪه رو ﻣﯽﮔﻢ‪ ،‬ﻓﺮﯾﺪ رو‪ .‬ﻫﻤﻮن ﮐﻪ ﮔﻔنت دزدﯾﻨﺶ‪«.‬‬ ‫داﺷﺖ ﯾﮏ ﭼﯿﺰﻫﺎﯾﯽ ﯾﺎدم ﻣﯽآﻣﺪ‪ .‬از ﺑﭽﻪﻣﺤﻞﻫﺎی ﺧﻮدﻣﺎن ﺑﻮد‪ .‬ﻣﻦ ﻧﺪﯾﺪه ﺑﻮدﻣﺶ‪ ،‬وﻟﯽ ﭼﻨﺪﺗﺎ از‬ ‫ﺑﭽﻪﻫﺎی ﮐﻮﭼﻪی ﺧﻮدﻣﺎن ﻣﯽﮔﻔﺘﻨﺪ ﺑﺎ او دوﺳﺖ ﺑﻮدهاﻧﺪ‪ .‬ﮔﻔﺘﻢ‪» :‬ﯾﻪ ﭼﯿﺰﻫﺎﯾﯽ ﺷﻨﯿﺪهام‪«.‬‬ ‫»ﻣﻦ دﯾﺪه ﺑﻮدﻣﺶ‪ .‬ﻫﻢﺳﻦﻫﺎی ﺧﻮدﻣﻮن ﺑﻮد‪ .‬ﻣﯽﮔﻦ ﯾﻪ ﺷﺐ ﮐﻪ داﺷﺘﻪ دﯾﺮوﻗﺖ ﺑﺮﻣﯽﮔﺸﺘﻪ ﺧﻮﻧﻪ‪،‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪76‬‬

‫ﻛﺘﺎﺏ‬ ‫ﺣﺘﺎ ﺑﻰﺍﺧﺘﻴﺎﺭ ﺑﺎ ﺁﻥﻫﺎ ﻣﻮﺍﺟﻪ ﻣﻰﺷﻮﺩ ﻭ ﺗﺎ ﺁﺧﺮ ﺩﺍﺳﺘﺎﻥ ﻫﻢ ﺩﺭ ﻫﻤﻴﻦ ﺍﻧﻔﻌﺎﻝ ﻣﻰﻣﺎﻧﺪ‪ .‬ﺩﻗﺖ ﻛﻨﻴﺪ‪،‬‬ ‫ﻧﻤﻰﮔﻮﻳﻢ ﭼﺮﺍ ﺷﺨﺼﻴﺖ ﺍﻭﻝ ﺩﺍﺳﺘﺎﻥ )ﻛﻪ ﺳﻮﺭﺍ ً ﻋﺒﺎﺭﺕ ﺷﺨﺼﻴﺖ ﺭﺍ ﺑﺮﺍﻳﺶ ﺑﻪ ﻛﺎﺭ ﻣﻰﺑﺮﻡ( ﻣﺘﺤﻮﻝ‬ ‫ﻧﻤﻰﺷﻮﺩ‪ .‬ﺍﺻ ً‬ ‫ﻼ ﺗﺤﻮﻝ ﻣﺪ ﻧﻈﺮ ﻧﻴﺴﺖ ﻭ ﻫﻤﻴﺸﻪ ﻻﺯﻡ ﻫﻢ ﻧﻴﺴﺖ‪ .‬ﺍﻣﺎ ﻣﮕﺮ ﺗﺎ ﻛﻰ ﻣﻰﺷﻮﺩ ﻏﻠﺒﻪﻯ‬ ‫ﻣﻄﻠﻖ ﻓﻀﺎ ﺭﺍ ﺗﺤﻤﻞ ﻛﺮﺩ؟ ﺭﺍﻭﻯ ﻣﺎ ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﻛﺴﻰ ﺍﺳﺖ ﻛﻪ ﻣﻘﻬﻮﺭ ﻛﺎﻣﻞ ﺟﻮ ﺩﺍﺳﺘﺎﻥ ﺍﺳﺖ‪.‬‬ ‫ﻣﻰﭘﺬﻳﺮﻡ ﻛﻪ ﺍﻳﻦ ﺗﺴﻠﻂ ﻓﻀﺎﻯ ﻭﺣﺸﺖﺁﻭﺭ ﻭ ﺍﻧﻔﻌﺎﻟﻰ ﺗﺎ ﺍﻧﺪﺍﺯﻩﺍﻯ ﺧﻮﺏ ﻭ ﺣﺘﺎ ﻻﺯﻡ ﺍﺳﺖ‪ ،‬ﻣﺨﺼﻮﺻﺎً‬ ‫ﺩﺭ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻭﺣﺸﺖ ﻛﻪ ﺩﺭ ﻗﺪﺭ ﻣﻌﻴﻦ‪ ،‬ﺑﺎﻳﺪ ﺣﺲ ﺗﺮﺱ ﺭﺍ ﺑﻪ ﻣﺨﺎﻃﺐ ﺍﻧﺘﻘﺎﻝ ﺩﻫﻨﺪ‪ .‬ﺑﻪ ﻫﻤﻴﻦ‬ ‫ﺩﻟﻴﻞ ﻫﻢ ﻧﻴﻤﻪﻯ ﺍﻭﻝ ﺁﻥ ﺭﺍ ﺧﻮﺏ ﻣﻰﺩﺍﻧﻢ ﭼﻮﻥ ﺑﻪ ﻧﻈﺮﻡ ﺳﺒﺐ ﻣﻰﺷﻮﺩ ﻣﺨﺎﻃﺐ ﻛﻤﻰ ﺑﺘﺮﺳﺪ‪،‬‬ ‫ﺍﻣﺎ ﻭﻗﺘﻰ ﻛﻨﺸﻰ ﻓﻌﺎﻻﻧﻪ ﺍﺯ ﺳﻮﻯ ﺭﺍﻭﻯ ﻣﺎ ﺑﺮﺍﻯ ﻏﻠﺒﻪ ﺑﺮ ﻓﻀﺎ ﻭ ﺍﺟﺰﺍﻳﺶ ﺭﻭﻯ ﻧﻤﻰﺩﻫﺪ‪ ،‬ﭼﻨﺪ ﺍﺗﻔﺎﻕ‬ ‫ﻣﻰﺍﻓﺘﺪ ﻛﻪ ﺑﺮﺭﺳﻰ ﺁﻥﻫﺎ ﻣﺠﺎﻟﻰ ﺩﻳﮕﺮ ﻣﻰﻃﻠﺒﺪ ﻭ ﭼﻨﺪﺍﻥ ﺑﻪ ﺍﻧﺼﺎﻑ ﻧﺰﺩﻳﻚ ﻧﻴﺴﺖ‪ ،‬ﺍﮔﺮ ﺑﺨﻮﺍﻫﻢ‬ ‫ﺗﻤﺎﻡ ﺁﻥﻫﺎ ﺭﺍ ﺑﺮ ﺳﺮ ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﺸﻜﺎﻧﻢ‪ .‬ﺍﻣﺎ ﺁﻥﭼﻪ ﺩﺭ ﺍﻳﻦﺟﺎ ﮔﻔﺘﻦ ﺩﺍﺭﺩ‪ ،‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻋﻼﻭﻩ ﺑﺮ ﺍﺯ‬ ‫ﺩﺳﺖ ﺭﻓﺘﻦ ﺟﺬﺍﺑﻴﺖ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﺑﻪ ﻧﻈﺮﻡ ﺍﻧﻔﻌﺎﻝ ﺯﻳﺎﺩ ﻣﺨﺎﻃﺐ ﻧﻮﺟﻮﺍﻥ ﺭﺍ ﺁﺯﺍﺭ ﻣﻰﺩﻫﺪ! ﻣﺨﺼﻮﺻﺎً ﺑﻌﺪ‬ ‫ﺍﺯ ﺁﻥ ﻛﻪ ﺭﻳﺰﺗﻼﺵﻫﺎﻯ ﺑﻰﺍﺧﺘﻴﺎﺭ ﺭﺍﻭﻯ ﻣﺪﺍﻡ ﺷﻜﺴﺖ ﻣﻰﺧﻮﺭﻧﺪ ﻭ ﻓﻀﺎ ﻛﺎﺑﻮﺱﻭﺍﺭ ﻣﺤﺾ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻣﺨﺎﻃﺐ ﺑﺰﺭﮔﺴﺎﻝ ﻫﻢ ﺳﺨﺖ ﺑﺎ ﺍﻳﻦ ﺳﻴﺮ ﻛﻨﺎﺭ ﻣﻰﺁﻳﺪ ﻭ ﻣﻤﻜﻦ ﺍﺳﺖ ﺁﻥ ﺭﺍ ﭘﺲ ﺑﺰﻧﺪ‪ ،‬ﭼﻪ ﺑﺮﺳﺪ ﺑﻪ‬ ‫ﻣﺨﺎﻃﺐ ﻧﻮﺟﻮﺍﻥ ﻛﻪ ﻧﻤﻰﺩﺍﻧﻢ ﮔﻨﺎﻫﺶ ﭼﻴﺴﺖ‪ .‬ﺍﻳﻦ ﺍﻧﻔﻌﺎﻝ ﺗﺎ ﺍﻭﺍﺧﺮ ﻛﺘﺎﺏ ﺩﻭﻡ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﻫﻢ‬ ‫ﺍﺩﺍﻣﻪ ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ ﻭ ﺗﻨﻬﺎ ﺩﺭ ﭼﻨﺪ ﺻﻔﺤﻪﻯ ﺍﻧﺘﻬﺎﻳﻰ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﻧﻮﻳﺴﻨﺪﻩ ﺗﺎ ﺣﺪﻯ ﺩﺳﺖ ﺍﺯ ﺍﻳﻦ‬ ‫ﺍﻧﻔﻌﺎﻝ ﺑﺮ ﻣﻰﺩﺍﺭﺩ ﻳﺎ ﺣﺪﺍﻗﻞ ﻧﻮﻳﺪ ﺭﻭﻳﻜﺮﺩﻯ ﻓﻌﺎﻻﻧﻪﺗﺮ ﺭﺍ ﺑﺮﺍﻯ ﻛﺘﺎﺏ ﺳﻮﻡ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﻣﻦ ﻫﻨﻮﺯ ﻣﻮﻓﻖ ﻧﺸﺪﻡ ﺟﻠﺪ ﺳﻮﻡ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺭﺍ ﺑﺨﻮﺍﻧﻢ‪ ،‬ﺍﻣﺎ ﺟﺪﺍ ً ﺍﻣﻴﺪﻭﺍﺭﻡ ﻭﻋﺪﻩﻯ ﻧﻮﻳﺴﻨﺪﻩ‬ ‫ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﻛﺘﺎﺏ ﺩﻭﻡ‪ ،‬ﺩﺭ ﻛﺘﺎﺏ ﺳﻮﻡ ﺑﻪ ﺣﻘﻴﻘﺖ ﺑﭙﻴﻮﻧﺪﺩ‪ .‬ﺩﻟﻴﻞ ﻋﻤﺪﻩﻯ ﭘﻴﺸﻨﻬﺎﺩﻡ ﻣﺒﻨﻰ ﺑﺮ ﺗﻬﻴﻪﻯ‬ ‫ﻫﺮ ﺳﻪ ﻛﺘﺎﺏ ﻫﻢ ﻫﻤﻴﻦ ﺍﻣﻴﺪﻭﺍﺭﻯ ﺍﺳﺖ ﻛﻪ ﺧﺪﺍ ﻛﻨﺪ ﻣﺤﻘﻖ ﺷﻮﺩ‪.‬‬ ‫ﺍﻣﺎﻯ ﺑﺰﺭگ ﺩﻭﻣﻰ ﻛﻪ ﺑﺮ ﺍﻳﻦ ﻛﺘﺎﺏ ﻭﺍﺭﺩ ﻣﻰﺑﻴﻨﻢ‪ ،‬ﺩﺭﺍﻛﻮﻻﻯ ﺁﻥ ﺍﺳﺖ‪ .‬ﺩﺭﺍﻛﻮﻻ ﻭ ﺑﻪ ﻃﻮﺭ ﻛﻠﻰ‬ ‫ﺧﻮﻥﺁﺷﺎﻡ ﺗﻌﺮﻳﻒ ﺩﺍﺭﺩ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺏ ﻫﻢ ﻧﻮﻳﺴﻨﺪﻩ ﺗﻌﺮﻳﻒ ﺩﺭﺍﻛﻮﻻﻳﺶ ﺭﺍ ﺑﻪ‬ ‫ﻋﻬﺪﻩﻯ ﺩﺍﻧﺶ ﺧﻮﺍﻧﻨﺪﻩ ﻣﻰﮔﺬﺍﺭﺩ‪ .‬ﺍﻳﻦ ﺍﻧﺘﻈﺎﺭ ﻛﻪ ﻳﻚ ﻭﺍژﻩ –ﺩﺭ ﺍﻳﻦﺟﺎ ﺩﺭﺍﻛﻮﻻ‪ -‬ﻳﺎﺩﺁﻭﺭ ﺧﺼﻮﺻﻴﺎﺕ‬ ‫ﺷﺨﺼﻴﺘﻰ ﺑﺎﺷﺪ‪ ،‬ﻓﺎﺭﻍ ﺍﺯ ﺁﻥ ﻛﻪ ﺑﻪ ﻧﻈﺮﻡ ﺍﻧﺘﻈﺎﺭ ﭼﻨﺪﺍﻥ ﺩﺭﺳﺘﻰ ﻧﻴﺴﺖ‪ ،‬ﺯﻣﺎﻧﻰ ﺑﻴﺸﺘﺮ ﻣﻮﺟﺐ ﻋﺪﻡ‬ ‫ﺭﺿﺎﻳﺖﻣﻨﺪﻯ ﻣﻰﺷﻮﺩ ﻛﻪ ﺑﻴﺶ ﺍﺯ ﻧﺎﻡ ﻭ ﭼﻨﺪ ﺟﺰﻳﻴﺎﺕ ﺑﺴﻴﺎﺭ ﻣﺤﺪﻭﺩ ﻭ ﺍﻟﺒﺘﻪ ﺑﺪﻭﻥ ﻛﻠﻴﺎﺕ‪ ،‬ﭼﻴﺰﻯ‬ ‫ﺍﺯ ﺩﺭﺍﻛﻮﻻ ﻳﺎ ﺧﻮﻥﺁﺷﺎﻡ ﻧﻤﻰﺑﻴﻨﻴﻢ‪ .‬ﻓﺮﺍﻣﻮﺵ ﻧﻜﻨﻴﻢ ﻛﻪ ﺍﻳﻦ ﻧﺎﻡ ﺑﺮﺍﻯ ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻧﺎﺷﺮ ﺍﻫﻤﻴﺖ ﺩﺍﺷﺘﻪ‪،‬‬ ‫ﻭ ﺑﺮﺍﻯ ﭘﻰ ﺑﺮﺩﻥ ﺑﻪ ﺍﻳﻦ ﺍﻫﻤﻴﺖ ﺗﻨﻬﺎ ﻛﺎﻓﻰ ﺍﺳﺖ ﺭﻭﻯ ﺟﻠﺪ ﻭ ﭘﺸﺖ ﺟﻠﺪ ﻛﺘﺎﺏ ﺭﺍ ﺑﺒﻴﻨﻴﻢ‪ .‬ﺩﺭ ﭘﺸﺖ‬ ‫ﺟﻠﺪ‪ ،‬ﻗﻄﻌﻪﻣﺘﻨﻰ ﺟﺬﺍﺏ ﺍﺯ ﻣﻘﺪﻣﻪﻯ ﻛﺘﺎﺏ ﺁﻭﺭﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪:‬‬ ‫ﻛﻴﻒ ﺳﻴﺎﻩﺭﻧﮓ ﺭﺍ ﮔﺬﺍﺷﺖ ﺭﻭﻯ ﺯﺍﻧﻮﻳﻢ‪ .‬ﺑﻌﺪ ﺑﻰ ﺁﻥ ﻛﻪ ﻧﮕﺎﻫﻢ ﻛﻨﺪ‪ ،‬ﮔﻔﺖ ﺍﺗﻔﺎﻕ ﻭﺣﺸﺘﻨﺎﻛﻰ ﺑﺮﺍﻳﺶ‬

‫‪75‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﻛﺘﺎﺏ‬ ‫ﺻﺪﺍﻯ ﺟﻴﻎ ﺯﻧﻰ ﺍﺯ ﺩﺭﻭﻥ ﭘﺎﺭﻙ ﺷﻨﻴﺪﻩ ﻣﻰﺷﻮﺩ ﻭ ﻛﻮﭼﻪﺍﻯ ﺩﺭ ﻣﺴﻴﺮ ﺗﻘﺪﻳﺮ ﭘﺴﺮﻫﺎﺳﺖ ﻛﻪ ﻫﻤﺎﻥ‬ ‫ﻛﻮﭼﻪﻯ ﺍﺷﺒﺎﺡ ﺍﺳﺖ!‬ ‫ﻛﺘﺎﺏ ﻛﻮﺗﺎﻩ ﺍﺳﺖ‪ ،‬ﺑﺎﻗﻰ ﺭﺍ ﺧﻮﺩﺗﺎﻥ ﺑﺨﻮﺍﻧﻴﺪ‪.‬‬ ‫‪ ‬ﻟﺤﻦ ﻧﻮﺷﺘﻪ ﺧﻮﺏ ﺍﺳﺖ‪ .‬ﻟﺤﻦ ﭘﺴﺮﻯ ﻧﻮﺟﻮﺍﻥ‪ ،‬ﺑﺎ ﻫﻤﺎﻥ ﺗﻌﺮﺽﻫﺎ ﻭ ﻣﻮﺫﻯﮔﺮﻯﻫﺎﻯ ﻣﻌﻤﻮﻟﺶ‪،‬‬ ‫ﻛﻪ ﺣﺎﻻ ﺩﺭ ﻣﻮﻗﻌﻴﺘﻰ ﻭﺣﺸﺘﻨﺎﻙ ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ‪ .‬ﻫﺮ ﺍﺯ ﮔﺎﻫﻰ ﻫﻰ ﺧﻮﺩ ﺭﺍ ﻟﻌﻨﺖ ﻣﻰﻛﻨﺪ ﻛﻪ ﭼﺮﺍ ﺍﻳﻦ‬ ‫ﻛﺎﺭ ﺭﺍ ﻛﺮﺩﻡ ﻳﺎ ﺍﻯ ﻛﺎﺵ ﻫﻴﭻﻭﻗﺖ ﭼﻨﻴﻦ ﭼﻴﺰﻯ ﻧﮕﻔﺘﻪ ﺑﻮﺩﻡ ﻭ ﻧﻤﻮﻧﻪﻫﺎﻳﻰ ﺍﺯ ﺍﻳﻦ ﺩﺳﺖ ﻛﻪ ﻣﺪﺍﻡ‬ ‫ﺗﻜﺮﺍﺭ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﻭ ﺍﺗﻔﺎﻗﺎً ﺑﺪ ﻫﻢ ﻧﻴﺴﺖ ﻭ ﺑﺮﺍﻯ ﻣﺨﺎﻃﺐ ﻏﻴﺮﻧﻮﺟﻮﺍﻥ ﻫﻢ ﻃﺒﻴﻌﻰ ﻣﻰ ﻧﻤﺎﻳﺪ ﻭ ﺷﺎﻳﺪ ﺑﺎ‬ ‫ﻟﺒﺨﻨﺪﻯ‪ ،‬ﻳﺎﺩﺁﻭﺭ ﺗﺠﺎﺭﺏ ﮔﺬﺷﺘﻪﻯ ﺧﻮﺍﻧﻨﺪﻩ ﺑﺎﺷﺪ‪ .‬ﺍﻟﺒﺘﻪ ﻟﺤﻦ ﺷﺨﺼﻴﺖﺳﺎﺯﻯ ﻧﻴﺴﺖ‪ .‬ﻳﻌﻨﻰ ﺳﺒﻚ‬ ‫ﻧﮕﺎﺭﺵ ﻣﻌﺮﻑ ﺳﻦ ﻭ ﺳﺎﻝ ﻫﺴﺖ‪ ،‬ﺍﻣﺎ ﺷﺎﺧﺼﻪﺍﻯ ﺍﺯ ﭘﺴﺮﻯ ﺧﺎﺹ ﻛﻪ ﺷﺨﺼﻴﺖ ﻗﺼﻪﻯ ﻣﺎ ﺑﺎﺷﺪ‪،‬‬ ‫ﻧﻤﻰﺷﻮﺩ‪ .‬ﺩﺭ ﻛﻞ ﺩﺍﺳﺘﺎﻥ ﺍﺻ ً‬ ‫ﻼ ﺷﺨﺼﻴﺖﭘﺮﺩﺍﺯﻯ ﻧﺪﺍﺭﺩ ﻭ ﻣﻰﺗﻮﺍﻥ ﺍﺩﻋﺎ ﻛﺮﺩ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﺗﻤﺎﻣﺎً ﺑﺪﻭﻥ‬ ‫ﺷﺨﺼﻴﺖ ﺍﺳﺖ ﻭ ﺗﻨﻬﺎ ﺍﺯ ﺭﻭﻳﺪﺍﺩﻫﺎ ﺗﺸﻜﻴﻞ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﺗﺎ ﻣﻴﺎﻧﻪﻫﺎ ﺧﻮﺏ ﭘﻴﺶ ﻣﻰﺭﻭﺩ‪ .‬ﺍﺿﻄﺮﺍﺏ‪ ،‬ﺗﺮﺱ ﻭ ﻭﺣﺸﺖﻫﺎﻯ ﺍﻋﺼﺎﺏ ﺧﺮﺩ ﻛﻦ ﺑﻪ ﺧﻮﺑﻰ‬ ‫ﺗﺼﻮﻳﺮ ﻣﻰﺷﻮﺩ‪ .‬ﺷﺮﺍﻳﻂ ﻏﻴﺮﻋﺎﺩﻯ‪ ،‬ﻣﻠﺘﻬﺐ ﻭ ﻧﺤﺲ ﺧﻮﺑﻰ ﺑﺮ ﻓﻀﺎ ﺣﺎﻛﻢ ﺍﺳﺖ ﻭ ﺷﻤﺎ ﺭﺍ ﻭﺍﺩﺍﺭ ﻣﻰﻛﻨﺪ‬ ‫ﻣﻨﺘﻈﺮ ﺍﺗﻔﺎﻗﺎﺕ ﺑﺪﻯ ﺑﺎﺷﻴﺪ ﻭ ﺧﺐ‪ ،‬ﺍﻧﺘﻈﺎﺭﺍﺕ ﺷﻤﺎ ﻫﻢ ﺑﺮﺁﻭﺭﺩﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺷﺎﻳﺪ ﺍﺯ ﺁﻥﻫﺎﻳﻰ ﻛﻪ ﺑﺪﺗﺮ‬ ‫ﺍﺯ ﺁﻥ ﻣﻤﻜﻦ ﻧﻴﺴﺖ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﻓﻀﺎﻯ ﻧﺴﺒﺘﺎً ﺧﻮﺑﻰ ﺩﺍﺭﻳﻢ‪ ،‬ﭼﻮﻥ ﺍﺟﺰﺍﻯ ﺁﻥ ﻣﺘﻨﺎﺳﺐﺍﻧﺪ‪ .‬ﺍﺣﺘﻤﺎﻻً‬ ‫ﺗﺠﺮﺑﻴﺎﺕ ﮔﺬﺷﺘﻪﻯ ﻧﻮﻳﺴﻨﺪﻩ ﺩﺭ ﮔﻮﻧﻪﻯ ﺟﻨﺎﻳﻰ ﻭ ﻭﺣﺸﺖ ﻣﻨﺠﺮ ﺑﻪ ﻛﻴﻔﻴﺖ ﺧﻮﺏ ﺍﻳﻦ ﺧﺼﻴﺼﻪﻯ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻛﻮﭼﻪﻯ ﺧﺎﻟﻰ‪ ،‬ﺷﺐ‪ ،‬ﺻﺪﺍﻯ ﺟﻴﻎ ﺯﻥ‪ ،‬ﺣﺮﺽ ﺧﻮﺭﺩﻥﻫﺎﻯ ﺭﺍﻭﻯ ﺍﺯ ﺩﺳﺖ‬ ‫ﺁﺭﺵ ﻭ ﺳﻴﺮ ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﺳﻮﻯ ﻧﺤﺴﻰ‪ ،‬ﺗﺎ ﺍﻧﺪﺍﺯﻩﻯ ﺧﻮﺑﻰ ﻣﺘﻨﺎﺳﺐ ﻫﻢ ﻫﺴﺘﻨﺪ‪ .‬ﻣﺼﻨﻮﻋﻰ ﻧﻤﻰﺷﻮﻧﺪ‬ ‫ﻭ ﺍﺯ ﻓﻀﺎ ﺑﻴﺮﻭﻥ ﻧﻤﻰﺯﻧﻨﺪ‪ .‬ﻭ ﺍﺯ ﺍﻳﻦ ﻧﻈﺮ ﻛﺘﺎﺏ ﺟﺰﻭ ﺗﺠﺮﺑﻴﺎﺕ ﻣﻮﻓﻘﻰ ﺍﺳﺖ ﻛﻪ ﻣﻦ ﺩﺭ ﻣﻮﺍﺟﻬﻪ ﺑﺎ‬ ‫ﻧﮕﺎﺷﺘﻪﻫﺎﻯ ﻫﻢﻭﻃﻨﺎﻧﻤﺎﻥ‪ ،‬ﻛﻤﺘﺮ ﺩﻳﺪﻡ ﻳﺎ ﺣﺪﺍﻗﻞ ﺷﺎﻧﺲ ﻛﻤﻰ ﺩﺭ ﺗﺠﺮﺑﻪﻯ ﺁﻥﻫﺎ ﺩﺍﺷﺘﻢ‪.‬‬ ‫‪ ‬ﻭ ﺣﺎﻻ ﻣﻰﺭﺳﻴﻢ ﺑﻪ ﺍﻣﺎﻫﺎﻯ ﻧﮕﺎﺭﻧﺪﻩ‪ .‬ﺩﺭ ﺑﻨﺪ ﮔﺬﺷﺘﻪ‪ ،‬ﮔﻔﺘﻢ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﺗﺎ ﻣﻴﺎﻧﻪﻫﺎ ﺧﻮﺏ ﭘﻴﺶ‬ ‫ﻣﻰﺭﻭﺩ‪ .‬ﺷﺎﻳﺪ ﺑﺎﻳﺪ ﻛﻤﻰ ﺟﻤﻠﻪﺍﻡ ﺭﺍ ﺩﻗﻴﻖ ﻛﻨﻢ‪ .‬ﺩﺍﺳﺘﺎﻥ ﻛ ً‬ ‫ﻼ ﺗﺎ ﻣﻴﺎﻧﻪ ﭘﻴﺶ ﻣﻰﺭﻭﺩ‪ .‬ﺭﻭﻧﺪ ﻧﻴﻤﻪﻯ‬ ‫ﺩﻭﻡ ﺩﺍﺳﺘﺎﻥ ﻫﻢ ﻋﻴﻦ ﻧﻴﻤﻪﻯ ﺍﻭﻝ ﺁﻥ ﺍﺳﺖ‪ .‬ﻫﻤﺎﻥ ﺗﺮﺱ‪ ،‬ﻫﻤﺎﻥ ﺍﺿﻄﺮﺍﺏ‪ ،‬ﻫﻤﺎﻥ ﻓﻀﺎﻫﺎﻯ ﺗﺎﺭﻳﻚ‬ ‫ﻭ ﺭﻳﺰﺍﺗﻔﺎﻗﺎﺕ ﻣﺸﺎﺑﻪ ﺩﻳﮕﺮﻯ ﭼﻮﻥ ﻧﻮﺭ ﺑﺎﺭﻳﻚ ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﻣﻄﻠﻖ‪ ،‬ﺑﺮﺧﻮﺭﺩ ﺑﺎﺩ ﺳﺮﺩ ﺑﺎ ﺻﻮﺭﺕ ﺭﺍﻭﻯ‪،‬‬ ‫ﺟﻴﺮﺟﻴﺮ ﻛﺮﺩﻥ ﭘﻠﻪﻫﺎ ﻭ ﺍﺯ ﺍﻳﻦ ﻗﺒﻴﻞ‪ ،‬ﺟﺰﻳﻴﺎﺗﻰ ﺍﺳﺖ ﻛﻪ ﺗﻜﺮﺍﺭ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﺗﻜﺮﺍﺭ ﻓﻘﻂ ﺩﺭ‬ ‫ﺟﺰﻳﻴﺎﺕ ﻣﺤﺪﻭﺩ ﻧﻤﻰﻣﺎﻧﺪ‪ .‬ﺭﺍﻭﻯ ﻣﺎ ﺑﻪ ﻛﻠﻰ ﻣﻨﻔﻌﻞ ﺍﺳﺖ ﻭ ﻣﺪﺍﻡ ﺩﻧﺒﺎﻟﻪﺭﻭﻯ ﺍﺗﻔﺎﻗﺎﺗﻰ ﺍﺳﺖ ﻛﻪ‬

‫‪73‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪ ‬ﺍﻭﻟﻴﻦ ﭼﻴﺰﻯ ﻛﻪ ﺑﺎ ﺩﻳﺪﻥ ﻛﺘﺎﺏ ﺑﻪ ﭼﺸﻢ ﻣﻰﺁﻳﺪ‪ ،‬ﻧﺎﻡ ﻧﻮﻳﺴﻨﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻳﺪﻩﺍﻯ ﻛﻪ ﻧﻮﻳﺴﻨﺪﻩ )ﻧﺎﺷﺮ‬ ‫ﻳﺎ ‪ (...‬ﺑﻪ ﻛﺎﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ ،‬ﭼﻪ ﺍﺻﻞ ﺑﺎﺷﺪ ﻭ ﭼﻪ ﺗﻘﻠﻴﺪﻯ‪ ،‬ﻫﺮ ﭼﻨﺪ ﺧﻴﻠﻰ ﺭﻳﺰ ﺍﻣﺎ ﺟﺬﺍﺏ ﺍﺳﺖ ﻭ‬ ‫ﺑﺮﺍﻯ ﻃﺮﺡ ﺟﻠﺪ ﻛﺎﻓﻰ ﻭ ﻭﺍﻓﻰ‪ .‬ﺑﻪ ﺧﺼﻮﺹ ﺍﮔﺮ ﺍﺩﻋﺎﻯ ﻧﺎﺷﺮ ﻣﺒﻨﻰ ﺑﺮ ﺍﻧﺘﺸﺎﺭ ﻛﺘﺎﺏ ﺩﺭ ﺭﺳﺘﻪﻯ ﺭﻣﺎﻥ‬ ‫ﻧﻮﺟﻮﺍﻥ ﺭﺍ ﺑﭙﺬﻳﺮﻳﻢ‪ ،‬ﺍﻳﻦ ﻃﺮﺡ ﺑﻪ ﻧﻈﺮﻡ ﺧﻮﺏ ﻛﺎﺭ ﻣﻰﻛﻨﺪ‪ .‬ﺩﺭ ﻛﻞ ﻛﺘﺎﺏ ﺍﺯ ﻧﻈﺮ ﻧﺸﺮ‪ ،‬ﻧﻤﺮﻩﻯ ﺧﻮﺑﻰ‬ ‫ﻣﻰﮔﻴﺮﺩ‪ .‬ﭼﻪ ﻃﺮﺡ ﺁﻥ )ﻛﻪ ﺑﺪ ﻧﻴﺴﺖ(‪ ،‬ﭼﻪ ﻗﻄﻊ ﻛﻮﭼﻜﺶ‪ ،‬ﭼﻪ ﭼﺎپ‪ ،‬ﭼﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻗﻠﻢ )ﻛﻪ ﻧﺴﺒﺘﺎً‬ ‫ﺩﺭﺷﺖ ﺍﺳﺖ( ﻭ ﭼﻪ ﻗﻄﺮ ﻛﺘﺎﺏ‪ ،‬ﻫﻤﻪ ﻭ ﻫﻤﻪ ﺑﺮﺍﻯ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﺟﻤﻊ ﻭ ﺟﻮﺭ‪ ،‬ﺻﺎﻑ ﻭ ﺳﺎﺩﻩ ﻛﻪ‬ ‫ﺩﺭ ﭼﻨﺪ ﻧﺸﺴﺖ ﻛﻮﺗﺎﻩ )ﻭ ﺑﺮﺍﻯ ﺣﺮﻓﻪﺍﻯﺗﺮﻫﺎ ﻓﻘﻂ ﻳﻜﻰ ﺩﻭ ﺳﺎﻋﺖ( ﻗﺎﺑﻞ ﺧﻮﺍﻧﺪﻥ ﺍﺳﺖ‪ ،‬ﺧﻮﺏ ﻛﺎﺭ‬ ‫ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻗﺒﻞ ﺍﺯ ﻭﺭﻭﺩ ﺑﻪ ﺧﻮﺩ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﭼﻨﺪ ﻧﻜﺘﻪ ﮔﻔﺘﻦ ﺩﺍﺭﺩ‪ .‬ﺍﻭﻝ ﺁﻥ ﻛﻪ‪ ،‬ﻣﻘﺪﻣﻪ ﻫﻢ ﺟﺰﺋﻰ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﺍﺳﺖ‪.‬‬ ‫ﻫﺮ ﭼﻨﺪ ﺷﺎﻳﺪ ﺍﻟﺰﺍﻣﻰ ﺑﻪ ﺧﻮﺍﻧﺪﻥ ﺍﺑﺘﺪﺍﻳﻰ ﺁﻥ ﻧﺒﺎﺷﺪ‪ ،‬ﺍﻣﺎ ﺣﺘﻤﺎً ﺁﻥ ﺭﺍ ﺑﺨﻮﺍﻧﻴﺪ؛ ﺧﻮﺍﻩ ﺩﺭ ﺁﻏﺎﺯ‪ ،‬ﺧﻮﺍﻩ‬ ‫ﺩﺭ ﭘﺎﻳﺎﻥ ﻣﻄﺎﻟﻌﻪﻯ ﺩﺍﺳﺘﺎﻥ‪ .‬ﺩﻭﻡ ﺁﻥ ﻛﻪ‪ ،‬ﻛﺘﺎﺏ ﻣﺘﻌﻠﻖ ﺑﻪ ﻳﻚ ﻣﺠﻤﻮﻋﻪ ﺍﺳﺖ ﻭ ﺩﻭ ﺟﻠﺪ ﺩﻳﮕﺮ ﻧﻴﺰ‬ ‫ﺩﺭ ﭘﻰ ﺁﻥ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﻭ ﻫﺮ ﭼﻨﺪ ﺩﺍﺳﺘﺎﻥﻫﺎ ﻧﺴﺒﺘﺎً ﻣﺴﺘﻘﻞﺍﻧﺪ‪ ،‬ﺍﻣﺎ ﺗﻮﺻﻴﻪ ﻣﻰﻛﻨﻢ ﻫﺮ ﺳﻪ ﺟﻠﺪ ﺭﺍ‬ ‫ﺑﺎ ﻫﻢ ﺗﻬﻴﻪ ﻛﻨﻴﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﻳﺎﺩﺩﺍﺷﺖ ﺗﻨﻬﺎ ﺩﺭ ﻣﻮﺭﺩ ﺟﻠﺪ ﺍﻭﻝ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺑﻪ ﻧﻈﺮﻡ ﺑﺮﺍﻯ‬ ‫ﺗﻜﻰ ﺧﻮﺍﻧﺪﻥ ﻛﺘﺎﺏ ﺧﻮﺑﻰ ﻧﻴﺴﺖ‪.‬‬ ‫ﻭ ﺍﻣﺎ ﺧﻮﺩ ﺩﺍﺳﺘﺎﻥ! ﺑﻴﺶ ﺍﺯ ﺁﻥ ﻛﻪ ﻓﺎﻧﺘﺰﻯ ﺑﺎﺷﺪ‪ ،‬ﺗﺮﺳﻨﺎﻙ ﺍﺳﺖ‪ .‬ﻳﻌﻨﻰ ﻛﺘﺎﺏ ﺍﻭﻝ )ﻭ ﺣﺘﺎ ﻛﺘﺎﺏ‬ ‫ﺩﻭﻡ( ﻓﺎﻧﺘﺰﻯ ﻧﻴﺴﺖ‪ ،‬ﻭ ﺍﮔﺮ ﻫﻢ ﺑﺎﺷﺪ‪ ،‬ﻓﺎﻧﺘﺰﻯ ﺿﻌﻴﻔﻰ ﺍﺳﺖ‪ .‬ﻭﻟﻰ ﺑﮕﺬﺍﺭﻳﺪ ﻫﻤﺎﻥ ﻭﺣﺸﺖ ﺑﻤﺎﻧﺪ‪ ،‬ﺍﻳﻦ‬ ‫ﻃﻮﺭ ﺑﻬﺘﺮ ﺍﺳﺖ‪ .‬ﺩﺍﺳﺘﺎﻥ ﺷﺮﺡ ﻣﺎﺟﺮﺍﻳﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻳﻚ ﺷﺐ ﺗﺎ ﺻﺒﺢ‪ ،‬ﺑﺮ ﭘﺴﺮﻯ ﻧﻮﺟﻮﺍﻥ ﻣﻰﮔﺬﺭﺩ‬ ‫ﻭ ﺍﺯ ﺯﺑﺎﻥ ﺧﻮﺩﺵ ﻫﻢ ﺭﻭﺍﻳﺖ ﻣﻰﺷﻮﺩ‪ .‬ﻣﺎﺟﺮﺍ ﺍﺯ ﺯﻣﺎﻥ ﺗﻮﻟﺪ ﺩﻭﺳﺖ ﭘﺴﺮ‪ ،‬ﺁﺭﺵ‪ ،‬ﻛﻪ ﻫﻤﻪ ﺩﺭ ﻣﻴﻬﻤﺎﻧﻰ‬ ‫ﺗﻮﻟﺪﺵ ﺷﺮﻛﺖ ﺩﺍﺭﻧﺪ‪ ،‬ﺁﻏﺎﺯ ﻣﻰﺷﻮﺩ‪ .‬ﻳﻜﻰ ﺍﺯ ﻛﺎﺩﻭﻫﺎ‪ ،‬ﻛﻪ ﻳﻚ ﻫﻠﻰﻛﻮﭘﺘﺮ ﻛﻨﺘﺮﻝ ﺍﺯ ﺭﺍﻩ ﺩﻭﺭ ﺍﺳﺖ‪ ،‬ﺑﻪ‬ ‫ﺷﺪﺕ ﭼﺸﻢ ﺭﺍﻭﻯ ﺭﺍ ﻣﻰﮔﻴﺮﺩ ﻭ ﺑﻌﺪ ﺍﺯ ﭘﺎﻳﺎﻥ ﻣﻴﻬﻤﺎﻧﻰ‪ ,‬ﺭﺍﻭﻯ ﻧﻘﺸﻪ ﻣﻰﻛﺸﺪ ﺗﺎ ﺑﻪ ﺑﻬﺎﻧﻪﺍﻯ ﺁﺭﺵ ﺭﺍ‬ ‫ﺷﺐ ﺑﻪ ﺧﺎﻧﻪ ﺧﻮﺩﺷﺎﻥ ﺑﺒﺮﺩ ﻭ ﺑﺎ ﻫﻢ ﻫﻠﻰﻛﻮﭘﺘﺮ ﺭﺍ ﺳﺮ ﻫﻢ ﻛﻨﻨﺪ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ »ﺑﺮﺁﺳﺎﻳﺪ ﺁﺭﺯﻭﻣﻨﺪﻯ«‬ ‫]‪ .[1‬ﻭ ﺧﺐ ﭼﻪ ﺑﻬﺎﻧﻪﺍﻯ ﺑﻬﺘﺮ ﺍﺯ ﺩﺭﺱ ﺧﻮﺍﻧﺪﻥ؟! ﺑﻪ ﺧﺼﻮﺹ ﻛﻪ ﻓﺮﺩﺍﻳﺶ ﻫﻢ ﺍﻣﺘﺤﺎﻥ ﺗﺎﺭﻳﺦ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﻰ ﻭ ﺑﺎ ﺗﻮﺿﻴﺤﺎﺕ ﺷﻴﺮﻩﻣﺎﻻﻧﻪﻯ ﺍﺯ ﻫﻢﺩﻳﮕﻪ ﻣﻰﭘﺮﺳﻴﻢ ﺗﺎ ﺑﻬﺘﺮ ﻳﺎﺩ ﺑﮕﻴﺮﻳﻢ ﻭ ﺍﺯ ﺍﻳﻦ ﻗﺒﻴﻞ‪ ،‬ﺳﺮ‬ ‫ﺍﻭﻟﻴﺎ ﺭﺍ ﺷﻴﺮﻩ ﺑﻤﺎﻟﻰ ﻳﺎ ﺣﺪﺍﻗﻞ ﻓﻜﺮ ﻛﻨﻰ ﻛﻪ ﺷﻴﺮﻩ ﻣﺎﻟﻴﺪﻯ‪ .‬ﺑﺎﻻﺧﺮﻩ ﻭ ﺑﺎ ﺍﻧﻮﺍﻉ ﻟﻄﺎﻳﻒﺍﻟﺤﻴﻞ ﻛﻪ‬ ‫ﺧﻮﺍﻧﺪﻧﺸﺎﻥ ﺍﺯ ﺯﺑﺎﻥ ﭘﺴﺮﻙ ﺩﻟﭽﺴﺐ ﺍﺳﺖ‪ ،‬ﺭﺍﻭﻯ ﻭ ﺁﺭﺵ ﺍﺯ ﺧﺎﻧﻪﻯ ﺁﺭﺵ ﺟﻴﻢ ﻣﻰﺷﻮﻧﺪ ﺗﺎ ﺑﻪ ﺧﺎﻧﻪﻯ‬ ‫ﺭﺍﻭﻯ ﻛﻪ ﭼﻨﺪ ﻛﻮﭼﻪ ﺁﻥ ﻃﺮﻑﺗﺮ ﺍﺳﺖ ﺑﺮﻭﻧﺪ‪ ،‬ﺍﻣﺎ‪ ...‬ﻣﻌﻤﻮﻻً ﺩﺍﺳﺘﺎﻥﻫﺎ ﮔﻴﺮ ﻫﻤﻴﻦ »ﺍﻣﺎ« ﻫﺴﺘﻨﺪ‪،‬‬ ‫ﺑﻪ ﺧﺼﻮﺹ ﻭﺣﺸﺖﻫﺎﻳﺶ‪ .‬ﺗﺼﻮﺭ ﻛﻨﻴﺪ‪ :‬ﺷﺐ‪ ،‬ﻛﻮﭼﻪﻫﺎﻯ ﺧﺎﻟﻰ ﺍﺯ ﻋﺎﺑﺮ‪ ،‬ﺩﻭ ﭘﺴﺮ ﺗﻨﻬﺎ ﻛﻪ ﺁﺭﺍﻡ ﺩﺍﺭﻧﺪ‬ ‫ﻗﺪﻡ ﻣﻰﺯﻧﻨﺪ ﻭ ﻳﻚ ﭘﺎﺭﻙ ﺑﺎ ﭼﺮﺍﻍﻫﺎﻯ ﺧﺎﻣﻮﺵ ﻛﻪ ﭘﺴﺮﻫﺎ ﺩﺍﺭﻧﺪ ﺍﺯ ﻛﻨﺎﺭﺵ ﻋﺒﻮﺭ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻧﺎﮔﻬﺎﻥ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪72‬‬

‫ﻛﺘﺎﺏ‬

‫ﺗﻬـــــﺮ ﺍ ﻥ ‪،‬‬ ‫ﻛﻮﭼﻪﻯ ﺍﺷﺒﺎﺡ‬ ‫ﻣﺤﻤﺪﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‬

‫ﺷﻨﺎﺳﻨﺎﻣﻪ‬ ‫ﻧﺎﻡ ﻛﺘــﺎﺏ‪:‬‬ ‫ﻧﻮﻳﺴﻨــﺪﻩ‪:‬‬ ‫ﺑﺎ ﺯ ﮔــــﻮ ‪:‬‬ ‫ﻭ ﻳﺮ ﺍ ﺳﺘﺎ ﺭ ‪:‬‬ ‫ﻧـﺎﺷــــﺮ‪:‬‬ ‫ﻧﻮﺑﺖ ﭼـﺎپ‪:‬‬ ‫ﺷﻤــﺎﺭﮔﺎﻥ‪:‬‬

‫ﺗﻬـــــﺮﺍﻥ‪،‬‬ ‫ﻛﻮﭼﻪﻯ ﺍﺷﺒــﺎﺡ‬ ‫ﺩﺭﺍﻛـــــــﻮﻻ‬ ‫ﺳﻴﺎﻣﻚ ﮔﻠﺸﻴﺮﻯ‬ ‫ﻣـﮋﮔﺎﻥ ﻛﻠﻬـــﺮ‬ ‫ﻧﺸـــﺮ ﺍﻓـــﻖ‬ ‫ﺳﻮﻡ ‪1 3 9 0 -‬‬ ‫‪ 2 0 0 0‬ﻧﺴﺨـﻪ‬

‫ﻛﺘﺎﺏ‬ ‫ﻋﺎﻟﻰ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺍﻟﺒﺘﻪ ﻭﻳﮋﮔﻰﻫﺎﻳﻰ ﻛﻪ ﺩﺍﺭﺩ‪ ،‬ﺁﻥ ﺭﺍ ﺑﻪ ﻳﻜﻰ ﺍﺯ ﺑﻬﺘﺮﻳﻦ ﺭﻣﺎﻥﻫﺎﻯ ﺍﻳﻦ ﮔﻮﻧﻪ‬ ‫ﺗﺒﺪﻳﻞ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﺯ ﺍﻳﻦ ﺣﻴﺚ ﻃﺒﻴﻌﺘﺎً ﻧﺨﻮﺍﻧﺪﻥ ﺁﻥ ﺑﺮﺍﻯ ﻫﺮ ﻃﺮﻓﺪﺍﺭ ﺍﺩﺑﻴﺎﻥ ﮔﻤﺎﻧﻪﺯﻥ )ﺧﺼﻮﺻﺎً‬ ‫ﺩﻭﺳﺘﺪﺍﺭﺍﻥ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ( ﺿﺮﺭ ﺑﺰﺭﮔﻰ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﺩ!‬ ‫ﻗﻄﻌﻪﺍﻯ ﺍﺯ ﻣﺘﻦ ﻛﺘﺎﺏ‬

‫دﮐﱰ ﺳﺎﻧﺪرز ﭘﻬﻠﻮی ﻗﺎﯾﻖ ﭘﺎروﯾﯽ ﻣﮑﺚ ﮐﺮد و ﺑﻪ ﺑﻠﻮرﻫﺎی اﻃﺮاف ﺑﺪﻧﻪی آن دﺳﺖ ﮐﺸﯿﺪ‪ ،‬اﻣﺎ ﻧﺎﮔﻬﺎن‬ ‫ﻣﻮﺟﻮد ﭼﻬﺎر دﺳﺖ و ﭘﺎی ﻋﻈﯿﻤﯽ را دﯾﺪ ﮐﻪ ﺗﺎ ﻧﯿﻤﻪ‪ ،‬ﻻی ﺳﻄﺢ ﯾﺦﺑﺴﺘﻪی رود ﮔﯿﺮ ﮐﺮده ﺑﻮد‪ .‬اﯾﻦ‬ ‫ﻣﻮﺟﻮد ﻋﺠﯿﺐ از ﻻی ﭘﻮﺳﺘﻪی آب ﭼﺮﺧﺸﯽ ﻧﺎﮔﻬﺎﻧﯽ ﮐﺮد‪ ،‬ﻗﻄﻌﺎت ﺷﻞ ﺷﺪهی ﺷﺒﺎﮐﯽ ﮐﻪ ﺑﻪ ﭘﻮزه‬ ‫و ﺷﺎﻧﻪﻫﺎﯾﺶ ﭼﺴﺒﯿﺪه ﺑﻮد‪ ،‬ﻣﺜﻞ زره ﺑﯽآﺳﺘﯿﻦ ﺷﻔﺎﻓﯽ ﺗﮑﺎنﺗﮑﺎن ﻣﯽﺧﻮرد‪ .‬آروارهﻫﺎﯾﺶ ﻫﻮا را ﺑﯽ‬ ‫ﻫﯿﭻ ﺻﺪاﯾﯽ ﺑﻪ دﻫﺎن ﻣﯽﺑﺮد؛ ﺟﺎﻧﻮر روی ﭘﺎﻫﺎﯾﺶ ﮐﻪ ﮔﯿﺮ ﮐﺮده ﺑﻮدﻧﺪ‪ ،‬ﺑﻪ ﺗﻘﻼ اﻓﺘﺎده ﺑﻮد و ﻗﺪرت‬ ‫ﻧﺪاﺷﺖ ﺑﯿﺶ از ﭼﻨﺪ ﺳﺎﻧﺘﯽﻣﱰ از ﻓﺮورﻓﺘﮕﯽ ﺗﻮﺧﺎﻟﯽ اﻃﺮاف ﺑﺪن ﺧﻮد ﺑﺎﻻ ﺑﯿﺎﯾﺪ و اﯾﻦ ﻓﺮورﻓﺘﮕﯽ‬ ‫ﺗﻬﯽ اﮐﻨﻮن ﺑﺎ ﻧﺸﺖ ﭼﮑﻪﭼﮑﻪﻫﺎی آب ﭘﺮ ﻣﯽﺷﺪ‪ .‬متﺴﺎح ﮐﻪ ﺑﺎ ﻧﻮر ﺑﺮاﻗﯽ ﮐﻪ از ﺗﻦ او ﻣﯽﺗﺮواﯾﺪ‬ ‫آراﺳﺘﻪ ﺑﻮد‪ ،‬ﺷﺒﯿﻪ ﯾﮑﯽ از آن ﺟﺎﻧﻮران اﻓﺴﺎﻧﻪای ﺑﻮد ﮐﻪ ﺑﻪ ﻧﺸﺎن ﺳﻠﺤﺸﻮری ﺑﺮ ﺟﻮﺷﻦﻫﺎ ﻧﻘﺶ‬ ‫ﻣﯽﮐﺮدﻧﺪ‪ .‬ﭼﺸﻢﻫﺎی ﻧﺎﺑﯿﻨﺎی ﺟﺎﻧﻮر ﺑﻪ ﺻﻮرت ﯾﺎﻗﻮتﻫﺎی ﺑﻠﻮرﯾﻦ ﻋﻈﯿﻢ در آﻣﺪه ﺑﻮد‪ .‬ﺟﺎﻧﻮر ﮐﻪ ﺑﺎر‬ ‫دﯾﮕﺮ ﺑﻪ ﻃﺮف دﯾﮕﺮ ﺳﺎﻧﺪرز ﻫﺠﻮم ﺑﺮد و دﮐﱰ ﺳﺎﻧﺪرز ﺑﺎ ﻟﮕﺪ ﺑﻪ ﭘﻮزهی ﺟﺎﻧﻮر ﮐﻮﺑﯿﺪ؛ ﮔﻮﻫﺮﻫﺎی‬ ‫ﻣﺮﻃﻮﺑﯽ ﮐﻪ راه دﻫﺎن متﺴﺎح را ﺑﻨﺪ آورده ﺑﻮدﻧﺪ ﺑﻪ اﻃﺮف ﭘﺮاﮐﻨﺪه ﮔﺸﺖ‪.‬‬

‫‪1. The crystal world‬‬ ‫‪2. James Graham Ballard‬‬

‫ﻓﺮﻩ )ﻣﺠﺎﺯﺍﺕ(‬ ‫ﺩﺭ ﺑﻬﺸﺖ‪ ،‬ﻧﻴﻜﻰﻫﺎﻯ ﻧﻴﻜﻮﻛﺎﺭﺍﻥ ﻭ ﺩﺭ ﺩﻭﺯﺥ ﭘﺎﺩﺍ َ َ‬ ‫ﺑﺪﻛﺎﺭﺍﻥ ﺭﺍ ﻣﻰﺑﻴﻨﺪ ﻭ ﭘﺲ ﺍﺯ ﺑﻪ ﻫﻮﺵ ﺁﻣﺪﻥ‪ ،‬ﺁﻥ ﺩﺍﺳﺘﺎﻥﻫﺎ ﺭﺍ‬ ‫ﺑﺎﺯ ﻣﻰﮔﻮﻳﺪ‪.‬‬

‫‪ .3‬ﺍﺭﺩﺍﻭﻳﺮﺍﻑﻧﺎﻣﻪ ﻛﺘﺎﺑﻰ ﺍﺳﺖ ﻣﺘﻌﻠﻖ ﺑﻪ ﺩﻭﺭﻩﻯ ﭘﺎﺭﺳﻰ ﻣﻴﺎﻧﻪ‪.‬‬ ‫ﺷﺪﻥ‬ ‫ﺩﺍﺳﺘﺎﻥ ﻣﻮﺑﺪﻯ ﺭﺍ ﺭﻭﺍﻳﺖ ﻣﻰﻛﻨﺪ ﻛﻪ ﺑﺮﺍﻯ ﺑﻰﮔﻤﺎﻥ‬ ‫ِ‬ ‫ﻣﺮﺩﻣﺎﻥ ﺩﺭﺑﺎﺭﻩﻯ ﺩﻳﻦ ﻭ ﺭﺳﺘﺎﺧﻴﺰ ﻭ ﺑﻬﺸﺖ ﻭ ﺩﻭﺯﺥ‪ ،‬ﺧﻮﻳﺶ‬ ‫ﺭﺍ ﺑﻪ ﻳﺎﺭﻯ ﻣﻮﺑﺪﺍﻥ ﺩﻳﮕﺮ ﺑﻪ ﺧﻮﺍﺏ ﻫﻔﺖ ﺭﻭﺯﻩ ﻣﻰﺑﺮﺩ ﻭ ﺭﻭﺍﻥ ﺍﻭ‬

‫‪4. The Terminal Beach‬‬ ‫‪5. The Illuminated Man‬‬

‫‪69‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﻛﺘﺎﺏ‬ ‫ﺟﻠﻮﻩﺍﻯ ﺷﮕﻔﺖﺍﻧﮕﻴﺰ ﻭ ﺧﺎﺹ ﻣﻰﺩﻫﺪ ﻭ ﺍﻳﻦ ﺍﺳﺖ ﺟﺎﺩﻭﻯ ﺑﺎﻻﺭﺩ! ﺟﺎﺩﻭﻯ ﺑﺎﻻﺭﺩ ﺍﺯ ﺍﻳﻦ ﺟﻬﺖ‬ ‫ﻛﻪ ﺍﻳﻦ ﻓﺎﺟﻌﻪ ﻭ ﺭﺧﺪﺍﺩ ﺁﺧﺮﺍﻟﺰﻣﺎﻧﻰ ﺭﺍ ﺑﻪ ﺷﻜﻞ ﺑﻬﺸﺘﻰ ﺧﻮﺍﺳﺘﻨﻰ ﺗﺒﺪﻳﻞ ﻣﻰﻛﻨﺪ ﻛﻪ ﺑﺎﺭﻫﺎ ﻧﻴﺰ‬ ‫ﺷﺨﺼﻴﺖﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﺁﻥ ﺍﺷﺎﺭﻩ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺍﺷﺎﺭﻩﻯ ﻣﺘﺮﺟﻢ ﺍﺛﺮ ﻫﻢ ﺑﻪ ﺍﻳﻦ ﺑﻬﺸﺖ ﻣﺆ ّﻛﺪ ﺍﺳﺖ ﻭ‬ ‫ﺍﻳﻦ ﺑﻬﺸﺖ ﺑﺎﻻﺭﺩﻯ ﺭﺍ ﺑﻪ ﺑﻬﺸﺖ ﺍﺭﺩﺍﻭﻳﺮﺍﻑﻧﺎﻣﻪ ]‪ [3‬ﺷﺒﻴﻪ ﺩﺍﻧﺴﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺷﻴﻮﻩﻯ ﭘﺮﺩﺍﺧﺖ ﺑﺎﻻﺭﺩ ﺑﻪ ﺩﺍﺳﺘﺎﻥ ﻫﻢ ﺟﺎﻟﺐ ﺍﺳﺖ‪ .‬ﻛﺘﺎﺏ ﺩﻧﻴﺎﻯ ﺑﻠﻮﺭ ﻭ ﺩﺍﺳﺘﺎﻥ ﺁﻥ ﺑﻪ ﻧﻮﻋﻰ‬ ‫ﺩﺭ ﺯﻳﺮﮔﻮﻧﻪﻯ ﻓﺎﺟﻌﻪ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ ﻭ ﺍﻟﺒﺘﻪ ﺑﺎ ﻛﻤﻰ ﺩﻗﺖ ﺑﻴﺸﺘﺮ ﺩﺭﻣﻰﻳﺎﺑﻴﻢ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﺩﺍﺳﺘﺎﻧﻰ‬ ‫ﺁﺧﺮﺍﻟﺰﻣﺎﻧﻰ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺑﻪ ﻭﺿﻮﺡ ﺑﺎﻻﺭﺩ ﻓﺎﺻﻠﻪﻯ ﺯﻳﺎﺩﻯ ﺍﺯ ﮔﻮﻧﻪﻯ ﻓﺎﺟﻌﻪ ﻣﻰﮔﻴﺮﺩ )ﻣﻌﻤﻮﻻً ﺩﺭ‬ ‫ﮔﻮﻧﻪﻯ ﻓﺎﺟﻌﻪ ﺷﺎﻫﺪ ﻧﮕﺮﺍﻧﻰ ﺧﺎﻟﻖ ﺍﺛﺮ ﺩﺭ ﻣﻮﺭﺩ ﻧﺎﺑﻮﺩﻯ ﺗﻤﺪﻥﻫﺎ ﻭ ﻧﺎﺑﻮﺩﻯ ﻧﺴﻞ ﺑﺸﺮ ﻫﺴﺘﻴﻢ( ﻭ‬ ‫ﻓﻘﻂ ﺑﻪ ﺷﺨﺼﻴﺖﻫﺎ ﻭ ﻭﺍﻛﻨﺶﻫﺎﻯ ﺁﻥﻫﺎ ﺩﺭ ﻣﻘﺎﺑﻞ ﺍﻳﻦ ﻓﺎﺟﻌﻪ ﻣﻰﭘﺮﺩﺍﺯﺩ ﻭ ﺧﻮﺍﻧﻨﺪﻩ ﺭﺍ ﺩﺭ ﺧﻼﻝ‬ ‫ﻣﻮﻗﻌﻴﺖﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﺑﺎ ﺧﻮﺩ ﺑﻪ ﻋﻤﻖ ﺷﺨﺼﻴﺖﻫﺎ ﻣﻰﺑﺮﺩ ﻭ ﺑﻪ ﻛﺎﻭﻳﺪﻥ ﺯﻭﺍﻳﺎﻯ ﭘﻨﻬﺎﻥ ﺁﺩﻣﻰ‬ ‫ﻣﻰﭘﺮﺩﺍﺯﺩ ﻛﻪ ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﺍﻣﺮ ﺑﻪ ﺧﺎﻃﺮ ﺣﻀﻮﺭ ﺷﺨﺼﻴﺖﻫﺎﻯ ﻏﺮﻳﺐ‪ ،‬ﺑﺴﻴﺎﺭ ﻟﺬﺕﺑﺨﺶ ﺍﺳﺖ‪.‬‬ ‫ﺍﮔﺮ ﺍﺯ ﻃﺮﻓﺪﺍﺭﺍﻥ ﺑﺎﻻﺭﺩ ﺑﺎﺷﻴﺪ ﻭ ﻣﺠﻤﻮﻋﻪ ﺩﺍﺳﺘﺎﻥ ﺳﺎﺣﻞ ﭘﺎﻳﺎﻧﻰ ]‪ [4‬ﺑﺎﻻﺭﺩ ﺭﺍ )ﻧﺸﺮ ﭼﺸﻤﻪ‪،‬‬ ‫ﺗﺮﺟﻤﻪﻯ ﻋﻠﻰﺍﺻﻐﺮ ﺑﻬﺮﺍﻣﻰ( ﺧﻮﺍﻧﺪﻩ ﺑﺎﺷﻴﺪ‪ ،‬ﺣﺘﻤﺎً ﺗﺎ ﺍﻻﻥ ﻣﺘﻮﺟﻪ ﺷﺪﻩﺍﻳﺪ ﻛﻪ ﺍﻳﻦ ﻛﺘﺎﺏ ﺩﺭ ﺍﺻﻞ‬ ‫ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻫﻰ ﺍﺳﺖ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺮﺩ ﻧﻮﺭﺍﻧﻰ ]‪ [5‬ﻛﻪ ﺩﺭ ﻣﺠﻤﻮﻋﻪﻯ ﺳﺎﺣﻞ ﭘﺎﻳﺎﻧﻰ ﺩﺭ ﺳﺎﻝ ‪1964‬‬ ‫ﻣﻨﺘﺸﺮ ﺷﺪ‪ .‬ﮔﻮﻳﺎ ﺧﻮﺩ ﺑﺎﻻﺭﺩ ﻧﻴﺰ ﻣﺘﻮﺟﻪ ﺷﺪﻩ ﺑﻮﺩ )ﺍﮔﺮ ﺍﺯ ﻗﺒﻞ ﻓﻜﺮ ﻧﻮﺷﺘﻦ ﺩﻧﻴﺎﻯ ﺑﻠﻮﺭ ﺭﺍ ﻧﻜﺮﺩﻩ‬ ‫ﺑﺎﺷﺪ‪ ،‬ﭼﺮﺍﻛﻪ ﺍﻳﻦ ﺍﺣﺘﻤﺎﻝ ﻫﻢ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﻣﺮﺩ ﻧﻮﺭﺍﻧﻰ ﭘﻴﺶﺩﺭﺁﻣﺪﻯ ﺑﺮﺍﻯ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺑﻮﺩﻩ‬ ‫ﺑﺎﺷﺪ( ﻛﻪ ﻣﺮﺩ ﻧﻮﺭﺍﻧﻰ ﻭ ﻓﻀﺎﻯ ﺁﻥ‪ ،‬ﭼﻪ ﭘﺘﺎﻧﺴﻴﻞ ﺑﺎﻻﻳﻰ ﺑﺮﺍﻯ ﺑﻴﺸﺘﺮ ﭘﺮﺩﺍﺧﺘﻪ ﺷﺪﻥ ﻭ ﺑﻠﻨﺪﺗﺮ‬ ‫ﺷﺪﻥ ﺩﺍﺭﺩ‪ .‬ﺩﺍﺳﺘﺎﻥ ﻛﺘﺎﺏ ﺍﻟﺒﺘﻪ ﻣﺸﺎﺑﻬﺖﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺑﺎ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ ﺩﺍﺭﺩ ﻭ ﺩﺭ ﭘﺎﺭﻩﺍﻯ ﻣﻮﺍﺭﺩ‬ ‫ﺍﺗﻔﺎﻗﺎﺕ‪ ،‬ﺗﺼﺎﻭﻳﺮ )ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺜﺎﻝ ﻫﻤﻴﻦ ﻗﺴﻤﺘﻰ ﺍﺯ ﻣﺘﻦ ﻛﻪ ﺩﺭ ﭘﺎﻳﺎﻥ ﻣﻌﺮﻓﻰ ﺿﻤﻴﻤﻪ ﺷﺪﻩ ﺍﺳﺖ(‬ ‫ﻭ ﺩﻳﺎﻟﻮگﻫﺎ ﻭ ﺷﺨﺼﻴﺖﻫﺎ ﻋﻴﻨﺎً ﺗﻜﺮﺍﺭ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﻫﺮ ﭼﻨﺪ ﺗﻔﺎﻭﺕﻫﺎﻯ ﺯﻳﺎﺩﻯ ﻫﻢ ﺩﺍﺭﻧﺪ ﻭ ﻣﻄﻤﺌﻨﺎً‬ ‫ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ ﻓﻘﻂ ﺑﺨﺸﻰ ﺍﺯ ﻟﺬﺗﻰ ﺭﺍ ﻛﻪ ﺍﺯ ﺧﻮﺍﻧﺪﻥ ﻛﺘﺎﺏ ﻣﻰﺑﺮﻳﺪ‪ ،‬ﺑﻪ ﺷﻤﺎ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﻛﺘﺎﺏ ﻳﻚ ﻭﻳﮋﮔﻰ ﺟﺎﻟﺐ ﺩﻳﮕﺮ ﻫﻢ ﺩﺍﺭﺩ )ﺍﻟﺒﺘﻪ ﻧﺴﺨﻪﺍﻯ ﻛﻪ ﻧﺸﺮ ﭼﺸﻤﻪ ﺍﻣﺴﺎﻝ ﻣﻨﺘﺸﺮ ﻛﺮﺩﻩ ﺍﺳﺖ(‬ ‫ﻭ ﺁﻥ ﺯﻧﺪﮔﻴﻨﺎﻣﻪﻯ ﺟِ ﻰ‪.‬ﺟﻰ‪.‬ﺑﻰ ﺑﻪ ﺭﻭﺍﻳﺖ ﺧﻮﺩﺵ ﺍﺳﺖ‪ .‬ﺑﺎﻻﺭﺩ ﺧﻮﺩ ﺁﻥ ﺭﺍ ﻧﻮﺷﺘﻪ ﻭ ﭘﺲ ﺍﺯ ﻣﺮﮔﺶ‪،‬‬ ‫ﺩﺭ ﻳﺎﺯﺩﻩ ﻣﺎﻩ ﻣﻪ ﺩﺭ ﻣﺠﻠﻪﻯ ﻧﻴﻮﻳﻮﺭﻛﺮ ﭼﺎپ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻣﺘﻦ ﺩﻭ ﺳﻪ ﺻﻔﺤﻪﺍﻯ ﺑﺴﻴﺎﺭ ﺟﺎﻟﺐ ﻭ‬ ‫ﺧﻮﺍﻧﺪﻧﻰ ﺍﺳﺖ ﻛﻪ ﻣﺘﺮﺟﻢ ﺍﺛﺮ ﺁﻥ ﺭﺍ ﺩﺭ ﺍﺑﺘﺪﺍﻯ ﻛﺘﺎﺏ ﺑﻪ ﺟﺎﻯ ﻣﻌﺮﻓﻰﻫﺎﻯ ﻣﻌﻤﻮﻟﻰ ﻧﻮﻳﺴﻨﺪﻩ ﻗﺮﺍﺭ‬ ‫ﺩﺍﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﭘﺎﻳﺎﻥ ﺑﺎﻳﺪ ﮔﻔﺖ ﻛﻪ ﺩﻧﻴﺎﻯ ﺑﻠﻮﺭ ﺭﻣﺎﻧﻰ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ )ﺩﺭ ﺯﻳﺮﮔﻮﻧﻪﻯ ﺁﺧﺮﺍﻟﺰﻣﺎﻧﻰ( ﺍﺳﺖ ﻛﻪ ﺑﺴﻴﺎﺭ‬ ‫‪67‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﻟﺤﻈﻪﺍﻯ ﺍﻳﻦ ﺩﻧﻴﺎ ﺭﺍ ﺗﺼﻮﺭ ﻛﻨﻴﺪ‪ :‬ﻣﺜﻞ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺯﻧﺠﻴﺮﻩﺍﻯ ﺍﺯ ﺗﺼﺎﻭﻳﺮ ﺟﺎﺑﻪﺟﺎ ﺷﺪﻩ ﺍﻣﺎ ﻫﻤﺴﺎﻥ‬ ‫ﻳﻚ ﺷﻰء ﻣﻌﻴﻦ ﺑﺎ ﻋﺒﻮﺭ ﺍﺯ ﻳﻚ ﻣﻨﺸﻮﺭ ﻭ ﺍﻧﻜﺴﺎﺭ ﺁﻥ ﺑﻪ ﻭﺟﻮﺩ ﺁﻳﺪ‪ ،‬ﺍﻣﺎ ﻋﻨﺼﺮ ﺯﻣﺎﻥ ﺟﺎﻧﺸﻴﻦ ﻧﻘﺶ‬ ‫ﻧﻮﺭ ﺷﻮﺩ‪ .‬ﺟﻤﻠﻪﺍﻯ ﻛﻪ ﺑﻪ ﺁﻥ ﺍﺷﺎﺭﻩ ﺷﺪ‪ ،‬ﺍﺯ ﺯﺑﺎﻥ ﻳﻜﻰ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ ﺑﺮﺍﻯ ﺗﻮﺟﻴﻪ ﻓﺎﺟﻌﻪﻯ‬ ‫ﺑﻪ ﻭﺟﻮﺩ ﺁﻣﺪﻩ ﺑﻴﺎﻥ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺍﻳﻦ ﭘﺪﻳﺪﻩ ﻣﺤﻮﺭ ﺍﺻﻠﻰ ﺩﺍﺳﺘﺎﻥ ﺑﻰﻧﻈﻴﺮ ﺑﺎﻻﺭﺩ ﺍﺳﺖ ﻭ ﺑﺎﻻﺭﺩ ﭼﻘﺪﺭ‬ ‫ﺍﺩﺑﻰ )ﺍﻟﺒﺘﻪ ﺍﺯ ﻧﻮﻉ ﻣﺪﺭﻥ ﺁﻥ!( ﺍﻳﻦ ﭘﺪﻳﺪﻩﻯ ﻋﻠﻤﻰ ﺭﺍ ﺑﻴﺎﻥ ﻣﻰﻛﻨﺪ ﻭ ﺧﻮﺍﻧﻨﺪﻩ ﺭﺍ ﻣﺴﺤﻮﺭ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺑﺎﻻﺭﺩ ﺩﻳﮕﺮ ﻧﻮﻳﺴﻨﺪﻩﻯ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩﺍﻯ ﺩﺭ ﺍﻳﺮﺍﻥ ﺍﺳﺖ ﻭ ﺍﻟﺒﺘﻪ ﺑﻪ ﻫﻤﺖ ﻣﺘﺮﺟﻢ ﻓﻮﻕﺍﻟﻌﺎﺩﻩﻯ‬ ‫ﺁﺛﺎﺭﺵ‪ ،‬ﻋﻠﻰ ﺍﺻﻐﺮ ﺑﻬﺮﺍﻣﻰ )ﻣﺘﺮﺟﻢ ﺑﺮﮔﺰﻳﺪﻩﻯ ﺟﺎﻳﺰﻩ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﺩﺭ ﺑﺨﺶ ﻣﺘﺮﺟﻢ‬ ‫ﺑﺮﺗﺮ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻭ ﻓﺎﻧﺘﺰﻯ ﺳﺎﻝ ‪ (1387‬ﺟﺎﻳﮕﺎﻩ ﻭﻳﮋﻩ ﻭ ﻗﺎﺑﻞ ﺍﺣﺘﺮﺍﻣﻰ ﺭﺍ ﺩﺭ ﺍﻳﺮﺍﻥ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩﺍﻯ ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪ 1930‬ﺩﺭ ﺷﺎﻧﮕﻬﺎﻯ ﭼﻴﻦ ﻣﺘﻮﻟﺪ ﺷﺪ ﻭ ﺟﻨﮓ ﺟﻬﺎﻧﻰ ﺩﻭﻡ ﺭﺍ ﺍﺯ ﻧﺰﺩﻳﻚ‬ ‫ﻟﻤﺲ ﻛﺮﺩ ﻭ ﺩﺭ ﺍﺩﺍﻣﻪ ﺑﻪ ﻧﻮﻳﺴﻨﺪﻩﺍﻯ ﺧﺎﺹ ﺗﺒﺪﻳﻞ ﺷﺪ ﺗﺎ ﺩﺭ ﺳﺎﻝ ‪ 2009‬ﺩﺭ ﺍﻧﮕﻠﻴﺲ ﻭ ﺑﻪ ﻋﻠﺖ‬ ‫ﺳﺮﻃﺎﻥ ﭘﺮﻭﺳﺘﺎﺕ ﺩﻧﻴﺎ ﺭﺍ ﺗﺮﻙ ﮔﻮﻳﺪ‪.‬‬ ‫ﺍﻣﺎ ﺧﻂ ﺩﺍﺳﺘﺎﻧﻰ ﻛﺘﺎﺏ ﺍﻳﻦ ﮔﻮﻧﻪ ﺍﺳﺖ ﻛﻪ ﺟﺮﻳﺎﻥﻫﺎﻳﻰ ﺷﺒﻴﻪ ﺑﻪ ﮔﺮﺩﺑﺎﺩ ﻛﻪ ﺑﺴﻴﺎﺭ ﺳﺮﺩ ﻭ ﻣﺮگﺁﻭﺭ‬ ‫ﻫﺴﺘﻨﺪ‪ ،‬ﺑﻪ ﻃﻮﺭ ﻧﺎﮔﻬﺎﻧﻰ ﺩﺭ ﻳﻜﻰ ﺍﺯ ﺟﻨﮕﻞﻫﺎﻯ ﺁﻓﺮﻳﻘﺎ ﭘﺪﻳﺪ ﻣﻰﺁﻳﻨﺪ ﻭ ﻫﺮ ﺁﻥﭼﻪ ﺑﺮ ﺳﺮ ﺭﺍﻩ ﺧﻮﺩ‬ ‫ﻗﺮﺍﺭ ﺩﺍﺭﺩ ﺭﺍ ﺑﻪ ﺑﻠﻮﺭ ﻭ ﻳﺦ ﻭ ﺭﻧﮓ ﺗﺒﺪﻳﻞ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺑﺎﻟﺘﻮﺱ‪ ،‬ﻛﺸﻴﺸﻰ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﺳﻔﺮ ﺑﻪ ﺁﻥ ﻧﻘﻄﻪ‬ ‫ﻭ ﺑﺎ ﻣﺸﺎﻫﺪﻩﻯ ﺳﻮﺍﺳﺘﻔﺎﺩﻩﻯ ﺑﻮﻣﻰﻫﺎ ﻛﻪ ﻋﻴﺴﻰ ﻣﺴﻴﺢ ﻭ ﺗﺼﻠﻴﺐ ﺍﻭ ﺭﺍ ﺑﻪ ﻗﻄﻌﺎﺕ ﺑﻠﻮﺭﻯ ﺗﺒﺪﻳﻞ‬ ‫ﻣﻰﻛﻨﻨﺪ ﻭ ﺑﻪ ﻓﺮﻭﺵ ﻣﻰﮔﺬﺍﺭﻧﺪ‪ ،‬ﺍﻳﻦ ﭘﺪﻳﺪﻩ ﺭﺍ ﺑﻼﻳﻰ ﺁﺳﻤﺎﻧﻰ ﺑﻪ ﻣﺮﺩﻡ ﻣﻌﺮﻓﻰ ﻣﻰﻛﻨﺪ‪ .‬ﻋﻼﻭﻩ ﺑﺮ‬ ‫ﺟﻨﮕﻞﻫﺎﻯ ﺁﻓﺮﻳﻘﺎ‪ ،‬ﺩﺭ ﺟﺎﻫﺎﻯ ﺩﻳﮕﺮ ﺩﻧﻴﺎ ﺍﺯ ﺟﻤﻠﻪ ﻓﻠﻮﺭﻳﺪﺍ ﻭ ﺑﺎﺗﻼﻕﻫﺎﻯ ﭘﺮﭘﻴﺖ ﺷﻮﺭﻭﻯ ﻧﻴﺰ ﺍﻳﻦ‬ ‫ﭘﺪﻳﺪﻩ ﺩﺭ ﺣﺎﻝ ﭘﻴﺶﺭﻭﻯ ﺍﺳﺖ ﻭ ﻓﻜﺮ ﺗﻤﺎﻡ ﺩﺍﻧﺸﻤﻨﺪﺍﻥ ﺩﻧﻴﺎ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﻣﺸﻐﻮﻝ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻣﺎ‬ ‫ﺍﻧﮕﺎﺭ ﻓﻘﻂ ﻓﺮﺩﻯ ﻧﻴﻤﻪﺩﻳﻮﺍﻧﻪ ﻭ ﻣﺮﻣﻮﺯ ﺑﻪ ﻧﺎﻡ ﻭﺍﻧﺘﺮﺱ ﺍﺯ ﻣﺎﻫﻴﺖ ﺍﻳﻦ ﭘﺪﻳﺪﻩ ﺁﮔﺎﻩ ﺍﺳﺖ ﻭ ﺳﺮﻧﻮﺷﺖ‬ ‫ﺷﺨﺼﻴﺖ ﺍﺻﻠﻰ ﻳﻌﻨﻰ ﺳﺎﻧﺪﺭﺯ ﻛﻪ ﺑﺮﺍﻯ ﻣﻼﻗﺎﺕ ﺩﻭﺳﺘﺎﻧﺶ )ﻭ ﺑﻪ ﻧﻮﻋﻰ ﻋﺸﻖ ﺳﺎﺑﻘﺶ( ﺑﻪ ﺁﻓﺮﻳﻘﺎ‬ ‫ﺁﻣﺪﻩ‪ ،‬ﺩﺭﮔﻴﺮ ﻣﺎﺟﺮﺍﻫﺎﻯ ﻭﺍﻧﺘﺮﺱ ﻣﻰﺷﻮﺩ ﻭ ﺍﺗﻔﺎﻗﺎﺕ ﺗﻜﺎﻥ ﺩﻫﻨﺪﻩﺍﻯ ﺭﺍ ﺩﺭ ﺟﻨﮕﻞ ﺗﺠﺮﺑﻪ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺟﻨﮕﻠﻰ ﻛﻪ ﻛﻪ ﺩﺭ ﺍﺑﺘﺪﺍ ﺟﻮﻻﻧﮕﺎﻩ ﻣﺮگ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ‪ ،‬ﺍﻣﺎ ﺩﺭ ﺍﺩﺍﻣﻪ ﺑﻪ ﺑﻬﺸﺘﻰ ﻧﻮﺭﺍﻧﻰ ﺑﺮﺍﻯ‬ ‫ﺷﺨﺼﻴﺖﻫﺎﻯ ﭘﺮ ﺍﺯ ﺩﺭﺩ ﺩﺍﺳﺘﺎﻥ ﻭ ﺍﻓﺮﺍﺩ ﺟﺬﺍﻣﻰ ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺑﺎﻻﺭﺩ ﺩﺭ ﺭﻣﺎﻥ ﺩﻧﻴﺎﻯ ﺑﻠﻮﺭ ﻛﻪ ﺳﻮﻣﻴﻦ ﺭﻣﺎﻥ ﺍﻭﻥ ﻧﻴﺰ ﻫﺴﺖ‪ ،‬ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺍﺯ ﺧﻂ ﺩﺍﺳﺘﺎﻧﻰ ﻫﻢ‬ ‫ﭘﻴﺪﺍﺳﺖ‪ ،‬ﻣﻄﺎﺑﻖ ﻣﻌﻤﻮﻝ ﻓﻀﺎﻳﻰ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﻧﺎﺏ ﻭ ﺧﺎﺹ ﺑﻪ ﻭﺟﻮﺩ ﻣﻰﺁﻭﺭﺩ ﺗﺎ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺑﻪ‬ ‫ﺷﺪﺕ ﻏﺮﻳﺒﺶ ﺩﺭ ﺩﻝ ﺍﻳﻦ ﻓﻀﺎﻯ ﻭﻫﻤﻨﺎﻙ ﺍﻧﮕﻴﺰﻩﻫﺎﻯ ﺩﺭﻭﻧﻰ ﺧﻮﺩ ﺭﺍ ﺁﺷﻜﺎﺭ ﺳﺎﺯﻧﺪ ﻭ ﺍﻳﻦ ﺭﻭﻳﻪ‪،‬‬ ‫ﺧﻮﺍﻧﻨﺪﻩ ﺭﺍ ﺑﻪ ﺷﻜﻞ ﻋﺠﻴﺒﻰ ﺑﻪ ﻓﻜﺮ ﻓﺮﻭ ﻣﻰﺑﺮﺩ ﻭ ﺍﻟﺒﺘﻪ ﺷﻴﻮﻩﻯ ﺩﺍﺳﺘﺎﻥﮔﻮﻳﻰ ﻣﺪﺭﻥ ﺍﻭ ﺑﻪ ﺩﺍﺳﺘﺎﻥ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪66‬‬

‫ﻛﺘﺎﺏ‬

‫ﺩﻧﻴﺎﻯ ﺑﻠﻮﺭ‬ ‫ﺳﻴﻨﺎ ﻓﺮﺧﻰ‬

‫ﺷﻨﺎﺳﻨﺎﻣﻪ‬ ‫ﻧﺎﻡ ﻛﺘــﺎﺏ‪ :‬ﺩﻧﻴــﺎﻯ ﺑﻠــــﻮﺭ ]‪[1‬‬ ‫ﻧﻮﻳﺴﻨــﺪﻩ‪ :‬ﺟﻴﻤﺰ ﮔﺮﺍﻫﺎﻡ ﺑﺎﻻﺭﺩ ]‪[2‬‬ ‫ﻣﺘــﺮ ﺟـﻢ ‪ :‬ﻋﻠﻰ ﺍﺻﻐـــﺮ ﺑﻬﺮﺍﻣﻰ‬ ‫ﻧـﺎﺷــــﺮ‪ :‬ﻧﺸـــﺮ ﭼﺸﻤــــﻪ‬ ‫ﻧﻮﺑﺖ ﭼـﺎپ‪ :‬ﺍﻭﻝ ‪-‬‬

‫‪1 3 9 0‬‬

‫ﺷﻤــﺎﺭﮔﺎﻥ‪ 1 5 0 0 :‬ﻧﺴﺨـــﻪ‬ ‫ﺑﻬــــــﺎ ‪ 6 0 0 0 :‬ﺗﻮﻣـــﺎﻥ‬

‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬ ‫ﺍﻧﻴﻤﻪﺍﻯ ﺷﺒﻴﻪ ﺩﺍﺳﺘﺎﻥ ﻫﺮﻯ ﭘﺎﺗﺮ ﺩﺭ ﺫﻫﻦ ﺧﻮﺩ ﺗﺼﻮﺭ ﻛﻨﻴﺪ ﻛﻪ ﺍﻓﺮﺍﺩ ﺩﺭ ﻳﻚ ﺁﻛﺎﺩﻣﻰ ﺑﺎ ﮔﺮﺩﻫﺎﻯ‬ ‫ﺭﻧﮕﻰ ﺑﻪ ﻫﻢ ﺣﻤﻠﻪ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﺗﺼﻮﺭ ﺍﺷﺘﺒﺎﻩ ﺍﺳﺖ‪ .‬ﻓﻴﺮﻯ ﺗﻴﻞ ﮔﺮﻭﻫﻰ ﺟﺎﺩﻭﮔﺮ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﺎ‬ ‫ﺗﺮﻛﻴﺐ ﻫﻨﺮﻫﺎﻯ ﺭﺯﻣﻰ ﻭ ﺟﺎﺩﻭﻫﺎﻯ ﻣﺮگﺑﺎﺭ ﺑﺎ ﺩﺷﻤﻨﺎﻥ ﺧﻮﺩ ﻣﺒﺎﺭﺯﻩ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﻧﺎﺗﺴﻮ‪ ،‬ﺷﺨﺼﻴﺖ ﺍﺻﻠﻰ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﻣﺎﻧﻨﺪ ﺩﻳﮕﺮ ﺷﺨﺼﻴﺖﻫﺎ ﻧﻈﻴﺮ ﺍﻳﭽﻴﮕﻮ ﺩﺭ ﺑﻠﻴﭻ ﺩﭼﺎﺭ ﺁﺷﻔﺘﮕﻰ‬ ‫ﺩﺭﻭﻧﻰ ﻧﻴﺴﺖ ﻭ ﻗﺮﺍﺭ ﻧﻴﺴﺖ ﻣﺎﻧﻨﺪ ﻧﺎﺭﻭﺗﻮ ﺧﻮﺩﺵ ﺭﺍ ﺍﺛﺒﺎﺕ ﻛﻨﺪ‪ .‬ﺧﻴﻠﻰ ﺳﺎﺩﻩ ﻓﻘﻂ ﺩﻧﺒﺎﻝ ﺍژﺩﻫﺎﻯ‬ ‫ﺧﻮﺩﺵ ﻣﻰﮔﺮﺩﺩ ﻭ ﻣﺄﻣﻮﺭﻳﺖﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﺪ ﻭ ﺩﺭ ﻣﻮﺍﻗﻊ ﻟﺰﻭﻡ ﺑﺎ ﺩﻳﮕﺮ ﺍﻋﻀﺎ ﻫﻤﻜﺎﺭﻯ‬ ‫ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﺧﺼﻮﺻﻴﺎﺕ ﻣﺜﺒﺖ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ‪ ،‬ﺁﻥ ﺍﺳﺖ ﻛﻪ ﻫﻴﭻﻭﻗﺖ ﺧﻮﺩ ﺭﺍ ﺟﺪﻯ ﻧﻤﻰﮔﻴﺮﺩ‬ ‫ﺑﺮﺧﻼﻑ ﺑﻠﻴﭻ ﻭ ﻧﺎﺭﻭﺗﻮ ﻛﻪ ﺩﺭ ﺷﺮﺍﻳﻂ ﺯﻣﺎﻧﻰ ﺩﺭﮔﻴﺮ ﻫﺴﺘﻨﺪ‪ ،‬ﻓﻴﺮﻯ ﺗﻴﻞ ﺑﺎ ﺩﺍﺷﺘﻦ ﻟﺤﻈﻪﻫﺎﻯ ﺩﺭﺍﻡ ﻭ‬ ‫ﻃﻨﺰ ﺧﻮﺩ‪ ،‬ﻣﺎ ﺭﺍ ﺍﺯ ﺁﻥ ﺣﺎﻟﺖ ﺩﺭﮔﻴﺮﻯ ﺷﺪﻳﺪ ﺍﻧﻴﻤﻪﻫﺎﻯ ﻣﺒﺎﺭﺯﻩﺍﻯ ﺑﻴﺮﻭﻥ ﻣﻰﻛﺸﺪ‪.‬‬ ‫ﻓﻴﺮﻯ ﺗﻴﻞ ﺷﻤﺎ ﺭﺍ ﻭﺍﺩﺍﺭ ﻣﻰﻛﻨﺪ ﻛﻪ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺟﻬﺎﻥ ﺍﻃﺮﺍﻑ ﺧﻮﺩ ﺑﻨﮕﺮﻳﺪ ﻭ ﺍﺯ ﺯﺍﻭﻳﻪﺍﻯ ﺩﻳﮕﺮ ﺑﻪ‬ ‫ﺯﻧﺪﮔﻰ ﻧﮕﺎﻩ ﻛﻨﻴﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺩﺭ ﺩﺭﺟﻪﻯ ﺍﻭﻝ ﺑﻴﻦ ﺧﻨﺪﻩ ﻭ ﻣﺒﺎﺭﺯﻩ ﻋﺪﺍﻟﺖ ﺑﺮﻗﺮﺍﺭ ﺷﺪﻩ ﺍﺳﺖ‬ ‫ﻭ ﻫﻤﻴﺸﻪ ﺩﺭ ﻛﻨﺎﺭ ﻫﻢ ﭘﻴﺶ ﻣﻰﺭﻭﻧﺪ ﻭ ﺍﻳﻦ ﺍﻣﺘﻴﺎﺯ ﺧﻴﻠﻰ ﺧﻮﺑﻰ ﺑﺮﺍﻯ ﻧﻮﻳﺴﻨﺪﻩ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦ ﻛﻪ ﻫﻴﺮﻭ ﻣﺎﺷﻴﻤﺎ )ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ ﻓﻴﺮﻯ ﺗﻴﻞ( ﻭ ﺍﻳﭽﻴﺮﻭ ﺍﻭﺩﺍ )ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻃﺮﺍﺡ‬ ‫ﻭﺍﻥ ﭘﻴﺲ( ﻫﺮﮔﻮﻧﻪ ﻫﻤﻜﺎﺭﻯ ﺑﻴﻦ ﺧﻮﺩ ﺭﺍ ﺭﺩ ﻛﺮﺩﻩﺍﻧﺪ‪ ،‬ﺍﻣﺎ ﺷﺒﺎﻫﺖﻫﺎﻳﻰ ﺭﺍ ﺑﻴﻦ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺁﻥﻫﺎ‬ ‫ﻣﻰﺗﻮﺍﻥ ﻳﺎﻓﺖ ﻛﻪ ﺍﻟﺒﺘﻪ ﻧﻪ ﻓﻘﻂ ﺑﻴﻦ ﺍﻳﻦ ﺩﻭ ﺍﻧﻴﻤﻪ‪ ،‬ﺑﻠﻜﻪ ﺑﻴﻦ ﺍﻧﻴﻤﻪﻫﺎﻯ ﻣﻮﻓﻖ ﺳﺒﻚ ﺷﻮﻧﻦ ﻣﻰﺗﻮﺍﻥ‬ ‫ﺍﻣﺜﺎﻝ ﺁﻥ ﺭﺍ ﻳﺎﻓﺖ‪.‬‬ ‫ﺩﺭ ﭘﺎﻳﺎﻥ ﺑﺎﺭ ﺩﻳﮕﺮ ﺑﻪ ﺗﻤﺎﻣﻰ ﺩﻭﺳﺘﺪﺍﺭﺍﻥ ﺍﻧﻴﻤﻪﻫﺎﻯ ﻣﺒﺎﺭﺯﻩﺍﻯ‪ ،‬ﻣﺎﺟﺮﺍﺟﻮﻳﻰ ﻭ ﻃﻨﺰ‪ ،‬ﻃﺮﻓﺪﺍﺭﺍﻥ ﻭﺍﻥ‬ ‫ﭘﻴﺲ ﻭ ﻫﻤﻪ ﻛﺴﺎﻧﻰ ﻛﻪ ﺩﻭﺳﺖ ﺩﺍﺭﻧﺪ ﻣﺠﻤﻮﻋﻪﻯ ﺧﻮﺑﻰ ﺭﺍ ﺑﺒﻴﻨﻨﺪ‪ ،‬ﺣﺘﻤﺎً ﺗﻮﺻﻴﻪ ﻣﻰﻛﻨﻢ ﺍﻳﻦ ﺍﻧﻴﻤﻪ‬ ‫ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻧﺪﻫﻨﺪ!‬

‫‪1. Fairy Tale‬‬ ‫‪2. Hiro Mashima‬‬ ‫‪3. Funimation‬‬ ‫‪4. Fiore‬‬ ‫‪5. Lucy Heartfilia‬‬ ‫‪6. Natsu Doraguniru‬‬ ‫‪7. Erza Scarlet‬‬

‫‪8. Gray Fullbuster‬‬ ‫‪9. Happy‬‬ ‫‪10. Igneel‬‬ ‫‪11. Lissana‬‬ ‫‪12. Magic Council‬‬ ‫‪13. Guilds‬‬

‫‪63‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﺍﻳﻦ ﺷﻮﺭﺍ ﺍﺭﺗﺒﺎﻁ ﺧﻮﺑﻰ ﺑﺎ ﻓﻴﺮﻯ ﺗﻴﻞ ﻭ ﺍﺯ ﻫﻤﻪ ﻣﻬﻢﺗﺮ ﺑﺎ ﺩﺭﺩﺳﺎﺯﺗﺮﻳﻦ ﻋﻀﻮ ﺁﻥ‪ ،‬ﻧﺎﺗﺴﻮ‪ ،‬ﻧﺪﺍﺭﺩ ﻭ‬ ‫ﺩﺭﺩﺳﺮﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺑﺮﺍﻯ ﺁﻥﻫﺎ ﺍﻳﺠﺎﺩ ﻣﻰﻛﻨﺪ‪ .‬ﺷﺎﻳﺪ ﻫﻢ ﻧﺎﺗﺴﻮ ﺑﺮﺍﻯ ﺁﻥﻫﺎ ﺩﺭﺩﺳﺮ ﺯﻳﺎﺩﻯ ﺍﻳﺠﺎﺩ‬ ‫ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﮔﻴﻠﺪﻫﺎ ]‪[13‬‬ ‫ﺑﻪ ﺳﺎﺯﻣﺎﻥﻫﺎ ﻳﺎ ﮔﺮﻭﻫﺎﻯ ﺟﺎﺩﻭﮔﺮﻯ ﮔﻔﺘﻪ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻫﺪﺍﻑ ﻋﻤﺪﻩﻯ ﮔﺮﻭﻩﻫﺎ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺩﺭ ﺳﻪ ﻣﻮﺭﺩ‬ ‫ﺧﻼﺻﻪ ﻛﺮﺩ‪:‬‬ ‫‪ .1‬ﻓﺮﺍﻫﻢ ﺁﻭﺭﺩﻥ ﻣﻜﺎﻧﻰ ﺑﺮﺍﻯ ﺟﺎﺩﻭﮔﺮﻫﺎ ﻛﻪ ﻛﺎﺭﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺭﺍ ﻗﺒﻮﻝ ﻭ ﺩﺭﺁﻣﺪ ﻛﺴﺐ ﻛﻨﻨﺪ‪.‬‬ ‫‪ .2‬ﻣﻜﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺁﻥ ﺟﺎﺩﻭﮔﺮﻫﺎ ﭘﺮﻭﺭﺵ ﻣﻰﻳﺎﺑﻨﺪ ﻭ ﻗﺪﺭﺕﻫﺎﻯ ﺧﻮﺩ ﺭﺍ ﺍﻓﺰﺍﻳﺶ ﻣﻰﺩﻫﻨﺪ‪.‬‬ ‫‪ .3‬ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﮔﺮﻭﻩﻫﺎﻯ ﺳﻴﺎﻩ‪.‬‬ ‫ﮔﺮﻭﻩﻫﺎﻯ ﻏﻴﺮﻗﺎﻧﻮﻧﻰ ﺟﺎﺩﻭﻯ ﺳﻴﺎﻩ‬ ‫ﺍﻳﻦ ﮔﺮﻭﻩﻫﺎ ﺍﺯ ﺟﺎﺩﻭﻫﺎﻯ ﻣﻤﻨﻮﻋﻪ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﻨﺪ ﻭ ﺳﻌﻰ ﺩﺭ ﻧﺎﺑﻮﺩﻯ ﺍﻧﺴﺎﻥﻫﺎﻯ ﺿﻌﻴﻒ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﺟﺰﻭ ﮔﺮﻭﻩﻫﺎﻯ ﻣﺠﺮﻡ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﻧﺪ ﻭ ﮔﺮﻭﻩﻫﺎﻯ ﻗﺎﻧﻮﻧﻰ ﺑﺎ ﺁﻥﻫﺎ ﻣﺒﺎﺭﺯﻩ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺟﺎﺩﻭﻯ ﺳﻴﺎﻩ ﺑﻪ ﺩﻟﻴﻞ ﻣﺎﻫﻴﺘﻰ ﻛﻪ ﺩﺍﺭﺩ ﺑﻪ ﺍﻓﺮﺍﺩ ﺗﻮﺍﻧﺎﻳﻰﻫﺎﻯ ﺯﻳﺎﺩﻯ ﻣﻰﺩﻫﺪ ﻛﻪ ﺗﺎ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ‬ ‫ﻧﺪﺍﺷﺘﻨﺪ‪ .‬ﺑﻪ ﺧﺎﻃﺮ ﻫﻤﻴﻦ‪ ،‬ﮔﺮﻭﻩﻫﺎﻯ ﻏﻴﺮﻗﺎﻧﻮﻧﻰ ﺍﺯ ﻗﺪﺭﺕ ﻓﺮﺍﻭﺍﻧﻰ ﺑﺮﺧﻮﺭﺩﺍﺭ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺍﺯ ﻣﻌﺮﻭﻑ ﺗﺮﻳﻦ ﮔﺮﻭﻩﻫﺎﻯ ﺳﻴﺎﻩ ‪ Oración Seis‬ﻭ ‪ Grimoire Heart‬ﻭ ‪ Tartaros‬ﻫﺴﺘﻨﺪ‪.‬‬

‫ﺳﺨﻦ ﺁﺧﺮ‬ ‫ﺗﺎ ﺑﺪﻳﻦﺟﺎ ﺳﻌﻰ ﺷﺪﻩ ﺍﺳﺖ ﺗﺎ ﺳﺎﺧﺘﺎﺭ ﻛﻠﻰ ﻭ ﺩﺍﺳﺘﺎﻧﻰ ﻓﻴﺮﻯ ﺗﻴﻞ ﺑﺮﺍﻯ ﺷﻤﺎ ﺑﻴﺎﻥ ﺷﻮﺩ‪ .‬ﺍﻣﺎ‬ ‫ﻭﻳﮋﮔﻰﻫﺎﻯ ﺧﺎﺹ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﻧﺎﮔﻔﺘﻪ ﺑﺎﻗﻰ ﻣﺎﻧﺪ‪ .‬ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﻧﺴﺒﺖ ﺑﻪ ﺳﺎﻳﺮ ﺍﻧﻴﻤﻪﻫﺎﻯ ﻣﻮﺟﻮﺩ‪ ،‬ﺍﺯ‬ ‫ﺳﺮﻋﺖ ﺑﺴﻴﺎﺭ ﺧﻮﺑﻰ ﺑﺮﺧﻮﺩﺍﺭ ﺍﺳﺖ ﻭ ﺗﺎ ﺟﺎﻯ ﻣﻤﻜﻦ ﺑﻪ ﺩﻭﺭ ﺍﺯ ﻓﻴﻠﺮﻫﺎﻯ ﺍﺿﺎﻓﻰ ﻭ ﻧﺒﺮﺩﻫﺎﻯ ﻃﻮﻻﻧﻰ‬ ‫ﺍﺳﺖ‪ .‬ﺑﺮﺧﻼﻑ ﺩﻳﮕﺮ ﺍﻧﻴﻤﻪﻫﺎ‪ ،‬ﺷﻤﺎ ﻣﻤﻜﻦ ﺍﺳﺖ ﺩﺭ ﻳﻚ ﻗﺴﻤﺖ ﺷﺎﻫﺪ ﭼﻨﺪﻳﻦ ﻣﺒﺎﺭﺯﻩﻯ ﺯﻳﺒﺎ ﺑﺎﺷﻴﺪ‬ ‫ﻭ ﺟﺬﺍﺑﻴﺖ ﻭ ﻫﻴﺠﺎﻥ ﺯﻳﺎﺩﻯ ﺭﺍ ﺗﺠﺮﺑﻪ ﺧﻮﺍﻫﻴﺪ ﻛﺮﺩ‪ .‬ﺳﺒﻚ ﮔﺮﺍﻓﻴﻚ ﻃﺮﺍﺣﻰ ﺷﺪﻩﻯ ﺁﻥ ﺑﺴﻴﺎﺭ‬ ‫ﺩﻳﺪﻧﻰ ﺍﺳﺖ‪ .‬ﭘﻴﺸﻨﻬﺎﺩ ﻣﻰﻛﻨﻢ ﺣﺘﻤﺎً ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺭﺍ ﺑﺎ ﻛﻴﻔﻴﺖ ﺑﺎﻻ ﺗﻤﺎﺷﺎ ﻛﻨﻴﺪ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺑﻪ ﺩﻗﺖ ﺭﻭﻯ‬ ‫ﺟﺰﻳﻴﺎﺕ ﻛﺎﺭ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺍﺣﺴﺎﺳﺎﺕ ﺑﻪ ﺧﻮﺑﻰ ﺑﻪ ﺑﻴﻨﻨﺪﻩ ﻣﻨﺘﻘﻞ ﻣﻰﺷﻮﺩ‪ .‬ﻣﻮﺳﻴﻘﻰ ﺁﻥ ﺑﺴﻴﺎﺭ ﻋﺎﻟﻰ‬ ‫ﺍﺯ ﺁﺏ ﺩﺭ ﺁﻣﺪﻩ ﻭ ﺣﺲ ﺷﻮﺭ ﻭ ﻫﻴﺠﺎﻥ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺭﺍ ﺑﻪ ﺑﻴﻨﻨﺪﻩ ﺍﻧﺘﻘﺎﻝ ﻣﻰﺩﻫﺪ‪ .‬ﻻﺯﻡ ﺑﻪ ﺫﻛﺮ ﺍﺳﺖ‬ ‫ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺑﺮﺧﻼﻑ ﺁﻥ ﭼﻴﺰﻯ ﺍﺳﺖ ﻛﻪ ﺷﻤﺎ ﺍﺯ ﺍﻧﻴﻤﻪﻫﺎﻯ ﺟﺎﺩﻭﻳﻰ ﺍﻧﺘﻈﺎﺭ ﺩﺍﺭﻳﺪ‪ .‬ﻣﻤﻜﻦ ﺍﺳﺖ ﺷﻤﺎ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪62‬‬

‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﻫﭙﻰ‬ ‫ﻫﭙﻰ ﻳﻚ ﮔﺮﺑﻪﻯ ﺳﺨﻨﮕﻮ ﺍﺳﺖ ﻛﻪ ﻧﺎﺗﺴﻮ ﺍﻭ ﺭﺍ ﺩﺭ ﻛﻮﺩﻛﻰ ﺩﺭ ﺟﻨﮕﻞ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﻭ ﺑﺰﺭگ‬ ‫ﻭ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﺍﻭ ﺩﺭ ﺗﻤﺎﻡ ﻣﺎﻣﻮﺭﻳﺖﻫﺎﻯ ﻧﺎﺗﺴﻮ ﻫﻤﺮﺍﻫﺶ ﺍﺳﺖ‬ ‫ﺩﺭ ﻟﺤﻈﻪﻫﺎﻯ ﺧﻄﺮﻧﺎﻙ ﺑﻪ ﻛﻤﻚ ﺍﻭ ﻣﻰﺁﻳﺪ‪ .‬ﻫﭙﻰ ﺧﻴﻠﻰ‬ ‫ﺩﻭﺳﺖ ﺩﺍﺭﺩ ﺳﺮ ﺑﻪ ﺳﺮ ﻟﻮﺳﻰ ﺑﮕﺬﺍﺭﺩ ﻭ ﺍﻭ ﺭﺍ ﺍﺫﻳﺖ ﻛﻨﺪ‪.‬‬ ‫ﻏﺬﺍﻯ ﻣﻮﺭﺩ ﻋﻼﻗﻪﻯ ﺍﻭ ﻣﺎﻫﻰ ﺍﺳﺖ‪ .‬ﻗﺪﺭﺕ ﺍﺻﻠﻰ ﺍﻭ ﻳﻚ ﺖ‬ ‫ﺟﻔﺖ‬ ‫ﺑﺎﻝ ﺟﺎﺩﻭﻳﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻭﺳﻴﻠﻪﻯ ﺁﻥ ﻣﻰﺗﻮﺍﻧﺪ ﭘﺮﻭﺍﺯ ﻛﻨﺪ‪ .‬ﻭﺍﻭ ﻋﻀﻮ‬ ‫ﻓﻴﺮﻯ ﺗﻴﻞ ﻭ ﺗﻴﻢ ﻧﺎﺗﺴﻮ ﺍﺳﺖ‪.‬‬

‫ﻧﻘﺸﻪﻯ ﺟﻬﺎﻥ ﺩﺭ ﺩﻧﻴﺎﻯ ﻓﺮﻯ ﺗﻴﻞ ‪ -‬ﺯﻣﻴﻦ‬ ‫ﺟﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺍﻋﻀﺎﻯ ﮔﺮﻭﻩ ﻓﻴﺮﻯ ﺗﻴﻞ ﺩﺭ ﺁﻥ ﺯﻧﺪﮔﻰ‬ ‫ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺳﻴﺎﺭﻩﻯ ﺯﻣﻴﻦ ﺍﺯ ﺑﺨﺶ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩﺍﻯ ﺗﺸﻜﻴﻞ ﺷﺪﻩ‬ ‫ﻛﻪ ﺗﻮﺳﻂ ﻳﻚ ﺷﺒﻪ ﺟﺰﻳﺮﻩﻯ ﺑﺰﺭگ ﻭ ﺗﻌﺪﺍﺩﻯ ﺟﺰﻳﺮﻩ ﺑﺎ‬ ‫ﺍﻧﺪﺍﺯﻩﻫﺎﻯ ﻣﺨﺘﻠﻒ ﻣﺤﺎﺻﺮﻩ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﺳﺎﺧﺘﺎﺭ ﺳﻠﺴﻠﻪﻣﺮﺍﺗﺒﻰ ﺟﻬﺎﻥ ﻓﺮﻯ ﺗﻴﻞ‬ ‫ﺳﺎﺯﻣﺎﻥ‬ ‫ﺩﺭ ﺭﺃﺱ ﻗﺪﺭﺕ ﭘﺎﺩﺷﺎﻫﻰ ﺳﺮﺯﻣﻴﻦ ﻓﻴﻮﺭﻩ ﻗﺮﺍﺭ ﺩﺍﺭﺩ ﻭ ﺑﻌﺪ ﺍﺯ ﺁﻥ‪ ،‬ﺷﻮﺭﺍﻯ ﺟﺎﺩﻭﮔﺮﻯ ﺍﺳﺖ ﻛﻪ ﺑﺮ ﻛﺎﺭ‬ ‫ﮔﺮﻭﻩﻫﺎ ﻧﻈﺎﺭﺕ ﻣﻰﻛﻨﺪ ﻭ ﻗﻮﺍﻧﻴﻦ ﺭﺍ ﺍﺟﺮﺍ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺷﻮﺭﺍﻯ ﺳﺤﺮ ﻭ ﺟﺎﺩﻭ ]‪[12‬‬ ‫ﺑﻪ ﻋﻨﻮﺍﻥ ﻗﺎﻧﻮﻥﮔﺬﺍﺭ ﺍﺻﻠﻰ ﺩﻧﻴﺎﻯ ﺟﺎﺩﻭ ﻓﻌﺎﻟﻴﺖ ﻣﻰﻛﻨﺪ ﻭ ﻗﺪﺭﺕ ﻛﻨﺘﺮﻟﻰ ﺁﻥ ﺗﻘﺮﻳﺒﺎً ﺑﻰﻧﻬﺎﻳﺖ ﺍﺳﺖ‪.‬‬ ‫ﺍﻳﻦ ﺷﻮﺭﺍﻯ ﺑﺮ ﺭﻭﻯ ﻛﺎﺭ ﻛﻞ ﮔﺮﻭﻩﻫﺎﻯ ﻗﺎﻧﻮﻧﻰ ﺟﻬﺎﻥ ﻧﻈﺎﺭﺕ ﻣﻰﻛﻨﺪ ﻭ ﻗﺎﻧﻮﻥ ﺗﺼﻮﻳﺐ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺍﻳﻦ ﺷﻮﺭﺍ ﻣﺴﺌﻮﻝ ﺍﻋﻤﺎﻝ ﮔﺮﻭﻩﻫﺎﻯ ﺟﺎﺩﻭﮔﺮﻯ ﺍﺳﺖ ﻭ ﺩﺭ ﻣﻮﺍﻗﻊ ﻟﺰﻭﻡ‪ ،‬ﺧﻮﺩ ﻣﺠﺎﺯﺍﺕﻫﺎﻳﻰ ﺭﺍ ﺑﺮﺍﻯ‬ ‫ﺧﺎﻃﻴﺎﻥ ﺗﻌﻴﻴﻦ ﻣﻰﻛﻨﺪ‪ .‬ﻗﺪﺭﺕ ﺍﻳﻦ ﺷﻮﺭﺍ ﺑﻪ ﺣﺪﻯ ﺍﺳﺖ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺪ ﺑﻪ ﺭﺍﺣﺘﻰ ﻳﻚ ﺷﻬﺮ ﺭﺍ ﻧﺎﺑﻮﺩ‬ ‫ﻛﻨﺪ‪.‬‬

‫‪61‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﻧﺎﺗﺴﻮ ﺑﻰﭘﺮﻭﺍ ﻭ ﺑﻰﺧﻴﺎﻝ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺑﻪ ﺷﺪﺕ ﻭﻓﺎﺩﺍﺭ ﺑﻪ ﺩﻭﺳﺘﻰ ﻭ ﻗﺎﺑﻞ ﺍﻋﺘﻤﺎﺩ ﺍﺳﺖ‪ .‬ﻗﺪﺭﺕ ﻃﻠﺒﻰ‬ ‫ﺍﻭ ﺑﻪ ﺣﺪﻯ ﺍﺳﺖ ﻛﻪ ﻫﻤﻴﺸﻪ ﺩﻳﮕﺮﺍﻥ ﺭﺍ ﺑﻪ ﻣﺒﺎﺭﺯﻩ ﻃﻠﺐ ﻣﻰﻛﻨﺪ‪ .‬ﺭﻭﺣﻴﻪﻯ ﺍﻭ ﺧﺎﻟﻰ ﺍﺯ ﻛﻴﻨﻪﺗﻮﺯﻯ‬ ‫ﺍﺳﺖ ﻭ ﺩﺭ ﺑﻴﺸﺘﺮ ﻣﻮﺍﻗﻊ ﺑﺮﺍﻯ ﺩﺷﻤﻨﺎﻥ ﺧﻮﺩ ﺩﻟﺴﻮﺯﻯ ﻫﻢ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﮔﺬﺷﺘﻪﻯ ﺍﻭ ﻫﻤﺮﺍﻩ ﺑﺎ ﺩﺧﺘﺮﻯ ﺑﻪ ﻧﺎﻡ ﻟﻴﺴﻨﺎ ]‪ [11‬ﺍﺳﺖ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﻭﺍﻗﻌﻪﺍﻯ ﻧﺎﭘﺪﻳﺪ‬ ‫ﺷﺪﻩ ﻭ ﺑﺎ ﺷﻨﻴﺪﻥ ﻧﺎﻡ ﻟﻴﺴﺎﻧﺎ‪ ،‬ﻧﺎﺗﺴﻮ ﺑﺴﻴﺎﺭ ﻧﺎﺭﺍﺣﺖ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﮔﺮﻯ ﻓﻮﻝ ﺑﺎﺳﺘﺮ‬ ‫ﻛﻨﺪ ﻭ‬ ‫ﭘﺴﺮﻯ ﺑﺎ ﺟﺎﺩﻭﻯ ﻳﺦﺳﺎﺯ ﺍﺳﺖ ﻛﻪ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺑﻪ ﺩﻝﺧﻮﺍﻩ ﺧﻮﺩ ﻳﺦ ﺗﻮﻟﻴﺪ ﻨﺪ‬ ‫ﺍﺳﺖ‪.‬‬ ‫ﺍﺯ ﺁﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﺳﻼﺡ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﺪ‪ .‬ﺍﻭ ﻋﻀﻮ ﻓﻴﺮﻯ ﺗﻴﻞ ﻭ ﺗﻴﻢ ﻧﺎﺗﺴﻮ ﺖ‪.‬‬ ‫ﻛﻪ‬ ‫ﺍﻭ ﺩﻭﺳﺖ ﺻﻤﻴﻤﻰ ﻧﺎﺗﺴﻮ ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺭﻗﻴﺐ ﻫﻤﻴﺸﮕﻰ ﺍﻭ ﺍﺳﺖ ﻪ‬ ‫ﻧﺎﺗﺴﻮ‬ ‫ﻫﻤﻴﺸﻪ ﺩﺭ ﺣﺎﻝ ﺩﻋﻮﺍﻫﺎﻯ ﻟﻔﻈﻰ ﻭ ﻋﻤﻠﻰ ﺑﺎ ﺍﻭ ﺍﺳﺖ‪ .‬ﺍﻭ ﻧﺴﺒﺖ ﺑﻪ ﻮ‬ ‫ﻳﻚ‬ ‫ﻣﺤﺘﺎﻁﺗﺮ ﺍﺳﺖ ﻭ ﺳﻌﻰ ﻣﻰﻛﻨﺪ ﺩﺷﻤﻦ ﺭﺍ ﻗﺒﻞ ﺍﺯ ﺣﻤﻠﻪ‪ ،‬ﺁﻧﺎﻟﻴﺰ ﻛﻨﺪ‪ .‬ﻚ‬ ‫ﺁﻭﺭﺩ‪ .‬ﺍﻭ‬ ‫ﻋﺎﺩﺕ ﺑﺪ ﺍﻭ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻣﻮﺍﻗﻊ ﻧﺎﻣﻨﺎﺳﺐ ﻟﺒﺎﺱ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻣﻰ ‪.‬‬ ‫ﺟﺰﻭ ﺷﺨﺼﻴﺖﻫﺎﻯ ﻣﺮﺩ ﺍﺻﻠﻰ ﻓﻴﺮﻯ ﺗﻴﻞ ﺑﻪ ﺣﺴﺎﺏ ﻣﻰﺁﻳﺪ‪.‬‬ ‫ﺍﺭﺯﺍ ﺍﺳﻜﺎﺭﻟﺖ‬ ‫ﺯﻧﻰ ﺑﺎ ﻣﻮﻫﺎﻯ ﺑﻠﻨﺪ ﻗﺮﻣﺰ ﻛﻪ ﺁﻭﺍﺯﻩﻯ ﻣﻮﻫﺎﻳﺶ ﺩﺭ ﺗﻤﺎﻡ ﺩﻧﻴﺎ ﭘﻴﭽﻴﺪﻩ‬ ‫ﺍﺳﺖ‪ .‬ﻗﺪﺭﺕ ﺯﻳﺎﺩﻯ ﺩﺭ ﻣﺒﺎﺭﺯﻩﻯ ﺭﻭ ﺩﺭ ﺭﻭ ﺩﺍﺭﺩ‪ .‬ﻗﺪﺭﺕ ﺍﺻﻠﻰ ﺍﺭﺯﺍ‬ ‫ﺗﻌﻮﻳﺾ ﺳﺮﻳﻊ ﺑﻴﻦ ﻟﺒﺎﺱﻫﺎ ﻭ ﺳﻼﺡﻫﺎﻯ ﺟﻨﮕﻰﺍﺵ ﺍﺳﺖ ﻛﻪ ﻫﻤﺮﺍﻩ ﺑﺎ‬ ‫ﻋﻮﺽ ﻛﺮﺩﻥ ﺁﻥﻫﺎ‪ ،‬ﺳﺒﻚ ﻣﺒﺎﺭﺯﻩ ﻭ ﻗﺪﺭﺕ ﺟﺎﺩﻭﻳﻰ ﺍﻭ ﻫﻢ ﻋﻮﺽ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﺍﻭ ﻋﻀﻮ ﻓﻴﺮﻯ ﺗﻴﻞ ﻭ ﺗﻴﻢ ﻧﺎﺗﺴﻮ ﺍﺳﺖ‪.‬‬ ‫ﺍﺭﺯﺍ ﺷﺨﺼﻴﺖ ﺑﺴﻴﺎﺭ ﺳﺨﺘﻰ ﺩﺍﺭﺩ ﻭ ﺍﻏﻠﺐ ﺑﺎ ﺍﻧﺘﻘﺎﺩ ﺍﺯ ﻛﺎﺭﻫﺎﻯ ﺑﺪ‬ ‫ﺩﻳﮕﺮﺍﻥ‪ ،‬ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ ﻛﻪ ﺁﻥﻫﺎ ﺍﺯ ﺗﺮﺳﺸﺎﻥ ﺍﺯ ﺍﻭ ﻋﺬﺭﺧﻮﺍﻫﻰ ﻛﻨﻨﺪ‪.‬‬ ‫ﻛﻮﺩﻛﻰ‬ ‫ﺍﻭ ﻗﺪﺭﺕ ﻛﻨﺘﺮﻝ ﺧﺸﻢ ﺧﻮﺩ ﺭﺍ ﻧﺪﺍﺭﺩ ﻭ ﻫﻤﻪ ﺍﺯ ﺧﺸﻢ ﺍﻭ ﻣﻰﺗﺮﺳﻨﺪ‪.‬‬ ‫ﻰ‬ ‫ﺑﺴﻴﺎﺭ‬ ‫ﻭﻯ ﺑﺴﻴﺎﺭ ﭘﺮﺭﻧﺞ ﺑﻮﺩﻩ ﻭ ﻫﻤﻴﻦ ﺍﻣﺮ ﺑﺎﻋﺚ ﺷﺪﻩ ﺍﺳﺖ ﺗﺎ ﺷﺨﺼﻴﺘﻰ‬ ‫ﺭ‬ ‫ﻗﻮﻯ ﺍﺯ ﺍﻭ ﺳﺎﺧﺘﻪ ﺷﻮﺩ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪60‬‬

‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬ ‫ﺑﺎﺷﻴﺪ‪ .‬ﻳﻜﻰ ﺍﺯ ﺧﺼﻮﺻﻴﺎﺕ ﺑﺎﺭﺯ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﺍﻧﻴﻤﻪﻫﺎﻳﻰ ﻧﻈﻴﺮ ﻧﺎﺭﻭﺗﻮ ﻭ ﺑﻠﻴﭻ‪ ،‬ﻣﺸﺨﺺ‬ ‫ﻧﺒﻮﺩﻥ ﭘﺎﻳﺎﻥ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺍﺳﺖ‪ .‬ﻣﺎﺟﺮﺍﺟﻮﻳﻰﻫﺎ ﻭ ﮔﺴﺘﺮﺩﮔﻰ ﺩﻧﻴﺎﻯ ﻓﻴﺮﻯ ﺗﻴﻞ ﺑﺎﻋﺚ ﺷﺪﻩ ﺍﺳﺖ ﺗﺎ‬ ‫ﺣﺘﺎ ﺑﻌﺪ ﺍﺯ ﭘﺨﺶ ‪ 921‬ﻗﺴﻤﺖ ﺍﺯ ﺁﻥ‪ ،‬ﻫﻨﻮﺯ ﻫﻢ ﻧﺘﻮﺍﻥ ﭘﺎﻳﺎﻥ ﻛﺎﺭ ﺭﺍ ﺣﺪﺱ ﺯﺩ‪ .‬ﭘﻴﭽﻴﺪﮔﻰﻫﺎ ﻭ‬ ‫ﮔﺮﻩﻫﺎﻯ ﻓﺮﺍﻭﺍﻧﻰ ﺑﺮ ﺳﺮ ﺭﺍﻩ ﺍﺳﺖ ﻛﻪ ﺑﺎﻳﺪ ﻣﻨﺘﻈﺮ ﺑﺎﺷﻴﻢ ﺗﺎ ﺩﺭ ﻗﺴﻤﺖﻫﺎﻯ ﺁﻳﻨﺪﻩ ﺣﻞ ﺷﻮﺩ‪ .‬ﺑﻪ‬ ‫ﻫﻤﻪﻯ ﺍﻧﻴﻤﻪﺩﻭﺳﺘﺎﻥ ﻣﺎﺟﺮﺍﺟﻮ‪ ،‬ﺩﻳﺪﻥ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺭﺍ ﺑﻪ ﺷﺪﺕ ﺗﻮﺻﻴﻪ ﻣﻰﻛﻨﻢ‪ ،‬ﭼﻮﻥ ﻣﻰﺗﻮﺍﻧﺪ ﺣﺲ‬ ‫ﻣﺎﺟﺮﺍﺟﻮﻳﻰ ﻭ ﻫﻴﺠﺎﻥ ﺁﻥﻫﺎ ﺭﺍ ﺍﺭﺿﺎ ﻛﻨﺪ‪.‬‬ ‫ﺩﺭ ﺍﺩﺍﻣﻪ ﺑﻪ ﻣﻌﺮﻓﻰ ﺷﺨﺼﻴﺖﻫﺎﻯ ﻣﻬﻢ ﻭ ﺩﻧﻴﺎﻯ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﻣﻰﭘﺮﺩﺍﺯﻳﻢ‪.‬‬

‫ﺷﺨﺼﻴﺖﻫﺎ‬ ‫ﻟﻮﺳﻰ ﻫﺎﺭﺕ ﻓﻴﻼ‬ ‫ﺟﺎﺩﻭﮔﺮﻯ ﺑﺎ ﺟﺎﺩﻭﻯ ﺭﻭﺡ ﺁﺳﻤﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﺍﺣﻀﺎﺭ ﺍﺭﻭﺍﺣﻰ ﺍﺯ ﺟﻬﺎﻧﻰ ﺩﻳﮕﺮ ﻛﻪ‬ ‫ﺩﺭ ﺧﺪﻣﺘﺶ ﻫﺴﺘﻨﺪ‪ ،‬ﺑﻪ ﻣﺒﺎﺭﺯﻩ ﻣﻰﺭﻭﺩ‪ .‬ﺍﻭ ﻋﻀﻮ ﻓﻴﺮﻯ ﺗﻴﻞ ﻭ ﺗﻴﻢ ﻧﺎﺗﺴﻮ ﺍﺳﺖ ﻭ‬ ‫ﺷﺨﺼﻴﺖ ﺯﻥ ﺍﺻﻠﻰ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺍﺳﺖ‪.‬‬ ‫ﺍﻭ ﺩﺧﺘﺮﻯ ﺑﺎﻫﻮﺵ‪ ،‬ﻣﻬﺮﺑﺎﻥ ﻭ ﺩﻟﺴﻮﺯ ﺍﺳﺖ‪ .‬ﺩﺭ ﺣﺎﻝ ﻧﻮﺷﺘﻦ ﺭﻣﺎﻧﻰ ﺍﺯ‬ ‫ﻣﺎﺟﺮﺍﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻓﻴﺮﻯ ﺗﻴﻞ ﺑﺮﺍﻳﺶ ﺭﺥ ﻣﻰﺩﻫﺪ‪ .‬ﺧﺎﻧﻮﺍﺩﻩ ﺍﻭ ﺑﺴﻴﺎﺭ‬ ‫ﺛﺮﻭﺗﻤﻨﺪ ﻭ ﭘﺮﻧﻔﻮﺫ ﻫﺴﺘﻨﺪ‪ .‬ﺑﺎ ﺭﻭﺡﻫﺎﻯ ﺗﺤﺖ ﺍﻣﺮﺵ ﺑﺴﻴﺎﺭ ﻣﻬﺮﺑﺎﻥ ﺭﻓﺘﺎﺭ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﺩﺭ ﻣﺒﺎﺭﺯﻩﻫﺎﻯ ﻣﺨﺘﻠﻒ‪ ،‬ﻫﻤﺮﺍﻩ ﺑﺎ ﻧﺎﺗﺴﻮ ﻣﻰﺟﻨﮕﺪ‪ .‬ﺍﮔﺮﭼﻪ ﺧﻴﻠﻰ‬ ‫ﺯﻭﺩ ﺭﻭﺣﻴﻪﻯ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻣﻰﺩﻫﺪ‪ ،‬ﺍﻣﺎ ﺧﻴﻠﻰ ﺯﻭﺩ ﻫﻢ ﺭﻭﺣﻴﻪﻯ‬ ‫ﺟﻨﮕﺠﻮﻯ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﻣﻰﺁﻭﺭﺩ‪.‬‬ ‫ﻧﺎﺗﺴﻮ ﺩﻭﺭﺍﻧﮕﻮ ﻧﻴﺮﻭ‬ ‫ﭘﺴﺮﻯ ﺑﺎﻣﻮﻫﺎﻯ ﺻﻮﺭﺗﻰ ﻭ ﺷﺎﻟﻰ ﺳﻔﻴﺪ ﻛﻪ ﻫﻤﻴﺸﻪ ﻫﻤﺮﺍﻩ ﺍﻭﺳﺖ‪ .‬ﺍﻭ ﺩﺭ‬ ‫ﻛﻮﺩﻛﻰ ﺗﻮﺳﻂ ﻳﻚ ﺍژﺩﻫﺎ ﺑﻪ ﻧﺎﻡ ﺍﻳﮕﻨﻴﻞ]‪ [10‬ﺑﺰﺭگ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺑﺎ‬ ‫ﻧﺎﭘﺪﻳﺪ ﺷﺪﻥ ﺍﻳﮕﻨﻴﻞ‪ ،‬ﺯﻧﺪﮔﻰ ﻧﺎﺗﺴﻮ ﺑﺮﺍﻯ ﻳﺎﻓﺘﻦ ﺁﻥ ﺍژﺩﻫﺎ ﺗﻐﻴﻴﺮ ﺟﻬﺖ‬ ‫ﻣﻰﺩﻫﺪ‪ .‬ﺍﻭ ﺍﺯ ﻗﺪﺭﺕ ﺁﺗﺶ ﺍژﺩﻫﺎﻯ ﻗﺎﺗﻞ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﺪ ﻭ ﺿﻌﻒ ﺍﺻﻠﻰﺍﺵ‪،‬‬ ‫ﺳﻮﺍﺭ ﺷﺪﻥ ﺑﻪ ﻭﺳﺎﻳﻞ ﻧﻘﻠﻴﻪ ﻣﻰﺑﺎﺷﺪ‪ .‬ﻧﺎﺗﺴﻮ ﺷﺨﺼﻴﺖ ﺍﺻﻠﻰ ﻣﺮﺩ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺍﺳﺖ‪.‬‬ ‫ﺍﻭ ﻋﻀﻮ ﻓﻴﺮﻯ ﺗﻴﻞ ﻭ ﺭﻫﺒﺮ ﺗﻴﻢ ﺧﻮﺩﺵ ﻣﻰﺑﺎﺷﺪ‪.‬‬ ‫‪59‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﻓﻴﺮﻯ ﺗﻴﻞ ﻳﻚ ﻣﺎﻧﮕﺎ ﻭ ﺍﻧﻴﻤﻪﻯ ژﺍﭘﻨﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﻭ ﻧﻮﻳﺴﻨﺪﮔﻰ ﻫﻴﺮﻭ ﻣﺎﺷﻴﻤﺎ ﺳﺎﺧﺘﻪ‬ ‫ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ‪ 23‬ﺁﮔﻮﺳﺖ ‪ 2006‬ﺍﻭﻟﻴﻦ ﻣﺠﻤﻮﻋﻪ ﻣﺎﻧﮕﺎﻯ ﺁﻥ ﭼﺎپ ﺷﺪ ﻭ ﺩﺭ ‪ 12‬ﺍﻛﺘﺒﺮ ‪،2009‬‬ ‫ﺍﻧﻴﻤﻪﻯ ﺁﻥ ﺷﺮﻭﻉ ﺑﻪ ﭘﺨﺶ ﺷﺪ‪ .‬ﻫﻢﺍﻛﻨﻮﻥ ﻧﻴﺰ ﺩﺭ ﻛﺎﻧﺎﻝ ﻓﺎﻧﻴﻤﻴﺸﻦ ]‪ [3‬ﺁﻣﺮﻳﻜﺎ ﺩﺭ ﺣﺎﻝ ﭘﺨﺶ ﺍﺳﺖ‬ ‫ﻭ ﺗﺎﻛﻨﻮﻥ ‪ 123‬ﻗﺴﻤﺖ ﺍﺯ ﺁﻥ ﭘﺨﺶ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﺧﻼﺻﻪﻯ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺩﺭﺑﺎﺭﻩﻯ ﺟﺎﺩﻭ ﻭ ﮔﺮﻭﻩﻫﺎﻯ ﺟﺎﺩﻭﮔﺮﻯ ﻗﺪﺭﺗﻤﻨﺪ ﺍﺳﺖ‪ .‬ﺯﻣﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﺟﻬﺎﻥ‬ ‫ﺗﻮﺳﻂ ﮔﺮﻭﻩﻫﺎﻯ ﺟﺎﺩﻭﮔﺮﻯ ﻣﺨﺘﻠﻒ ﺗﻘﺴﻴﻢﺑﻨﺪﻯ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺑﻌﻀﻰ ﺍﺯ ﺍﻳﻦ ﮔﺮﻭﻩﻫﺎ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ‬ ‫ﺟﺎﺩﻭﻯ ﺳﻴﺎﻩ ﺳﻌﻰ ﺩﺭ ﻧﺎﺑﻮﺩﻯ ﺍﻧﺴﺎﻥﻫﺎﻯ ﺿﻌﻴﻒ ﻭ ﻗﺪﺭﺕ ﮔﺮﻓﺘﻦ ﻣﻰﻛﻨﻨﺪ ﻭ ﺑﻌﻀﻰ ﺩﻳﮕﺮ ﺑﺎ ﻛﻤﻚ‬ ‫ﺑﻪ ﻣﺮﺩﻡ ﻭ ﺍﻧﺠﺎﻡ ﻛﺎﺭﻫﺎﻯ ﺳﺨﺖ‪ ،‬ﺑﻪ ﺍﻣﺮﺍﺭ ﻣﻌﺎﺵ ﻣﻰﭘﺮﺩﺍﺯﻧﺪ‪.‬‬ ‫ﺗﻤﺮﻛﺰ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺑﺮ ﺭﻭﻯ ﮔﺮﻭﻫﻰ ﺍﺳﺖ ﺑﻪ ﻧﺎﻡ ﻓﻴﺮﻯ ﺗﻴﻞ ﻛﻪ ﺩﺭ ﻛﺸﻮﺭ ﻓﻴﻮﺭﻩ ]‪ [4‬ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ؛‬ ‫ﺟﺎﻳﻰ ﻛﻪ ﻣﺮﺩﻡ ﺑﺮﺍﻯ ﻛﺎﺭﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺍﺯ ﺟﺎﺩﻭ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﻨﺪ ﻭ ﺳﻌﻰ ﺩﺭ ﻧﺠﺎﺕ ﺩﻧﻴﺎ ﺩﺍﺭﻧﺪ‪ .‬ﺟﺎﺩﻭﻯ‬ ‫ﺣﺎﻛﻢ ﺑﺮ ﺍﻓﺮﺍﺩ ﺍﻳﻦ ﮔﺮﻭﻩ‪ ،‬ﻗﺪﺭﺗﻰ ﻓﺮﺍﺗﺮ ﺍﺯ ﺟﺎﺩﻭﻯ ﻣﻌﻤﻮﻟﻰ ﺍﺳﺖ‪ ،‬ﻗﺪﺭﺗﻰ ﻛﻪ ﻫﺮﮔﺰ ﺷﻜﺴﺖ ﻧﺨﻮﺍﻫﺪ‬ ‫ﺧﻮﺭﺩ‪ .‬ﺟﺎﺩﻭ ﺩﺭ ﺍﻳﻦ ﺩﻧﻴﺎ ﺍﺯ ﺭﻭﺡ ﻭ ﺯﻧﺪﮔﻰ ﺟﺎﺩﻭﮔﺮ ﻧﺸﺄﺕ ﻣﻰﮔﻴﺮﺩ ﻭ ﻭﺍﺑﺴﺘﻪ ﺑﻪ ﺁﻥ ﺍﺳﺖ‪ .‬ﺩﺍﺳﺘﺎﻥ‬ ‫ﺑﻴﺸﺘﺮ ﻣﺘﻤﺮﻛﺰ ﺑﺮ ﺭﻭﻯ ﺩﺧﺘﺮﻯ ﻣﺎﺟﺮﺍﺟﻮ ﺑﻪ ﻧﺎﻡ ﻟﻮﺳﻰ ]‪ [5‬ﻭ ﺩﻓﺘﺮﭼﻪﻯ ﺧﺎﻃﺮﺍﺕ ﺍﻭ ﺍﺳﺖ‪ .‬ﺍﺗﻔﺎﻗﺎﺗﻰ‬ ‫ﻛﻪ ﺩﺭ ﺳﻴﺮ ﺁﺷﻨﺎﻳﻰ ﻟﻮﺳﻰ ﺑﺎ ﮔﺮﻭﻩ ﻓﻴﺮﻯ ﺗﻴﻞ ﻣﻰﺍﻓﺘﺪ ﻭ ﺑﻪ ﺩﻧﺒﺎﻝ ﺁﻥ ﻣﺎﺟﺮﺍﺟﻮﻳﻰ ﻭ ﻣﺒﺎﺭﺯﻩﻫﺎﻳﻰ ﻛﻪ‬ ‫ﻟﻮﺳﻰ ﻭ ﺩﻭﺳﺘﺎﻧﺶ ﺑﺮﺍﻯ ﺭﺳﻴﺪﻥ ﺑﻪ ﺍﻫﺪﺍﻓﺸﺎﻥ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﻨﺪ‪ ،‬ﺑﺴﻴﺎﺭ ﺯﻳﺒﺎ ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪﻩ ﺷﺪﻩ‬ ‫ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺍﻧﻴﻤﻪ ‪ 4‬ﺷﺨﺼﻴﺖ ﺍﺻﻠﻰ ﺍﻧﺴﺎﻥ ﺑﻪ ﻫﻤﺮﺍﻩ ﻳﻚ ﺷﺨﺼﻴﺖ ﮔﺮﺑﻪ ﺩﺍﺭﺩ ﻛﻪ ﺗﺸﻜﻴﻞ ﻳﻚ ﺗﻴﻢ‬ ‫ﺑﺴﻴﺎﺭ ﻗﺪﺭﺗﻤﻨﺪ ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺑﻰﭘﺮﻭﺍ ﺭﺍ ﻣﻰﺩﻫﻨﺪ ﻭ ﺑﺎﻋﺚ ﺧﺮﺍﺑﻰﻫﺎﻯ ﺯﻳﺎﺩﻯ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺍﻳﻦ ﺗﻴﻢ‬ ‫ﺷﺎﻣﻞ ﻟﻮﺳﻰ‪ ،‬ﻧﺎﺗﺴﻮ ]‪ ،[6‬ﺍﺭﺯﺍ ]‪ ،[7‬ﮔﺮﻯ ]‪ [8‬ﻭ ﻫﭙﻰ ]‪ [9‬ﻣﻰﺑﺎﺷﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺷﺎﻫﺪ ﻣﺎﻣﻮﺭﻳﺖﻫﺎﻯ‬ ‫ﺧﻄﺮﻧﺎﻙ ﻭ ﻣﺒﺎﺭﺯﻩﻫﺎﻯ ﺑﻰﻧﻈﻴﺮ ﺍﻳﻦ ﮔﺮﻭﻩ ﺑﺎ ﺩﺷﻤﻨﺎﻥ ﻗﺪﺭﺗﻤﻨﺪﺷﺎﻥ ﺧﻮﺍﻫﻴﻢ ﺑﻮﺩ‪.‬‬ ‫ﺩﺭ ﻛﻨﺎﺭ ﺍﻳﻦ ﮔﺮﻭﻩﻫﺎ‪ ،‬ﺟﺎﺩﻭﮔﺮﺍﻧﻰ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ ﻛﻪ ﺩﺭ ﭘﻰ ﺭﺳﻴﺪﻥ ﺑﻪ ﻗﺪﺭﺕ ﺑﻰﻧﻬﺎﻳﺖ ﻭ ﺟﺎﺩﻭﻫﺎﻯ‬ ‫ﻣﻤﻨﻮﻋﻪ ﻫﺴﺘﻨﺪ ﻭ ﺳﻌﻰ ﺩﺍﺭﻧﺪ ﻧﺴﻞ ﺑﺸﺮ ﺭﺍ ﻧﺎﺑﻮﺩ ﻛﻨﻨﺪ‪ .‬ﺁﻥﻫﺎ ﺑﺮ ﺍﻳﻦ ﻋﻘﻴﺪﻩ ﻫﺴﺘﻨﺪ ﻛﻪ ﺍﻓﺮﺍﺩ ﺿﻌﻴﻒ‬ ‫ﻳﺎ ﻧﺎﺗﻮﺍﻥ ﺩﺭ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺟﺎﺩﻭ‪ ،‬ﺑﺎﻳﺪ ﻧﺎﺑﻮﺩ ﺷﻮﻧﺪ ﺗﺎ ﺩﻧﻴﺎ ﺑﻪ ﻣﻜﺎﻧﻰ ﻗﺪﺭﺗﻤﻨﺪ ﺗﺒﺪﻳﻞ ﺷﻮﺩ‪ .‬ﺭﺍﺯﻫﺎ ﻭ‬ ‫ﻗﺪﺭﺕﻫﺎﻯ ﺍﻳﻦ ﮔﺮﻭﻩ ﻛﺎﻣ ً‬ ‫ﻼ ﺳﺮﻯ ﻭ ﭘﻨﻬﺎﻥ ﺍﺳﺖ ﻭ ﺑﻪ ﺗﺪﺭﻳﺞ ﻭ ﺩﺭ ﻣﻮﺍﺟﻪ ﺑﺎ ﺍﻳﻦ ﻧﻴﺮﻭﻫﺎﻯ ﺳﻴﺎﻩ‪،‬‬ ‫ﺑﻴﺸﺘﺮ ﺩﺭ ﻣﻮﺭﺩ ﺁﻥﻫﺎ ﺁﮔﺎﻩ ﻣﻰﺷﻮﻳﻢ‪.‬‬ ‫ﻗﺪﺭﺕﻫﺎ‪ ،‬ﻧﻴﺮﻭﻫﺎﻯ ﺟﺎﺩﻭﻳﻰ ﻭ ﺳﺒﻚﻫﺎﻯ ﻣﺒﺎﺭﺯﻩﻯ ﻣﺨﺘﻠﻒ‪ ،‬ﺯﻳﺒﺎﻳﻰ ﺧﺎﺻﻰ ﺑﻪ ﺍﻳﻦ ﺍﻧﻴﻤﻪ ﺑﺨﺸﻴﺪﻩ‬ ‫ﺍﺳﺖ ﻛﻪ ﺑﻴﻨﻨﺪﻩ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﺟﺬﺏ ﻣﻰﻛﻨﺪ‪ .‬ﺩﺭ ﻫﺮ ﻣﺒﺎﺭﺯﻩ ﻣﻰﺗﻮﺍﻧﻴﺪ ﺷﺎﻫﺪ ﺧﻼﻗﻴﺖﻫﺎﻯ ﻧﻮﻳﺴﻨﺪﻩ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪58‬‬

‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫‪1‬‬

‫ﻓﻴﺮﻯ ﺗﻴــﻞ‬ ‫ﻋﻠﻰ ﻛﻤﺎﻟﻰ‬

‫ﺷﻨﺎﺳﻨﺎﻣﻪ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﻫﻴﺮﻭ ﻣﺎﺷﻴﻤﺎ ]‪[2‬‬ ‫ﺷﺮﻭﻉ ﺳﺎﺧﺖ‪2006 :‬‬

‫ﺩﺳﺘﻪ ﺑﻨﺪﻯ‪ :‬ﺷﻮﻧﻦ‬ ‫ژﺍﻧﺮ‪ :‬ﻓﺎﻧﺘﺰﻯ‪ ،‬ﺍﻛﺸﻦ‪ ،‬ﻣﺎﺟﺮﺍﻳﻰ‪ ،‬ﻛﻤﺪﻯ‪ ،‬ﺩﺭﺍﻡ‬

‫ﺳﻴﻨﻤﺎ‬

‫ﺩﺭﻙ ﻣﻰﻛﻨﺪ ﻭ ﺑﻪ ﮔﻮﻧﻪﺍﻯ ﭘﻴﺶ ﻣﻰﺭﻭﺩ ﻛﻪ ﮔﺎﻩ ﺗﻢ ﻓﻀﺎﻳﻰ ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﺳﺎﻳﻪ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ‬ ‫ﻭ ﺍﻳﻦ ﺭﻭﺍﺑﻂ ﺑﺮﺟﺴﺘﻪ ﻣﻰﺷﻮﻧﺪ ﻭ ﺍﻟﺒﺘﻪ ﻣﺎﻧﻨﺪ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﺍﻳﻦ ژﺍﻧﺮ ﺳﺎﺧﺘﻪ‬ ‫ﻣﻰﺷﻮﺩ‪ ،‬ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﻧﻴﺰ ﺭﻭﺍﻳﺖ ﺗﺤﻮﻝ ﻗﻬﺮﻣﺎﻥ ﺍﺳﺖ‪ .‬ﺍﻟﮕﻮﻯ ﺍﺳﻄﻮﺭﻩﺍﻯ ﻛﻪ ﺟﻮﺯﻑ ﻛﻤﺒﻞ‪،‬‬ ‫ﺍﺳﻄﻮﺭﻩﺷﻨﺎﺱ ﺑﺮﺟﺴﺘﻪ ﺁﻥ ﺭﺍ ﺩﺭ ﻛﺘﺎﺏ ﻣﻌﺮﻭﻑ ﺧﻮﺩ‪» ،‬ﻗﻬﺮﻣﺎﻥ ﻫﺰﺍﺭ ﭼﻬﺮﻩ« ﺭﻭﺍﻳﺖ ﻛﺮﺩﻩ‬ ‫ﻓﻀﺎﻳﻰ ﺟﻨﮓﻫﺎﻯ ﺳﺘﺎﺭﻩﺍﻯ ﺷﺪ‪ ،‬ﻫﻨﻮﺯ ﻫﻢ ﻛﺎﺭﻛﺮﺩ ﺩﺍﺭﺩ‪ .‬ﻓﻴﻠﻢ‬ ‫ﻭ ﺩﺳﺖﻣﺎﻳﻪﺍﻯ ﺑﺮﺍﻯ ﺍﭘﺮﺍﻯ‬ ‫ِ‬ ‫ﺩﺭ ﺍﻭﺝ ﺧﻮﺩ ﺭﻭﺍﻳﺖ ﻋﺒﻮﺭ ﻭ ﮔﺬﺭ ﻣﻴﺎﻥ ﺩﻭ ﻭﺍﺩﻯ ﺍﺳﺖ‪ .‬ﺷﺎﻳﺪ ﺑﺎ ﺍﻳﻦ ﻧﮕﺎﻩ ﺑﺸﻮﺩ ﮔﻔﺖ ﻳﻜﻰ ﺍﺯ‬ ‫ﺑﻪ ﻳﺎﺩ ﻣﺎﻧﺪﻧﻰﺗﺮﻳﻦ ﺻﺤﻨﻪﻫﺎﻯ ﻓﻴﻠﻢ ﺩﺭ ﭘﺎﻳﺎﻥ ﺁﻥ ﺍﺳﺖ‪ .‬ﺟﺎﻳﻰ ﻛﻪ ﻛﻮﺩﻙ ﻗﻬﺮﻣﺎﻥ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺑﺎﻳﺪ ﺍﺯ ﻳﺎﺩﮔﺎﺭﻯ ﻋﺰﻳﺰﺵ ﭼﺸﻢ ﺑﭙﻮﺷﺪ‪ .‬ﭼﺸﻢﭘﻮﺷﻰ ﺍﻭ ﻫﻢ ﺑﻴﮕﺎﻧﻪﻯ ﻏﺮﻳﺐ ﺭﺍ ﺑﻪ ﺧﺎﻧﻪﺍﺵ‬ ‫ﻣﻰﺭﺳﺎﻧﺪ ﻭ ﺟﻬﺎﻥ ﺭﺍ ﺗﺎﺯﻩ ﻣﻰﻛﻨﺪ ﻭ ﻫﻢ ﺟﺎﻥ ﻭ ﺭﻭﺍﻥ ﺧﻮﺩ ﺍﻭ ﺭﺍ ﺍﺯ ﺑﻨﺪ ﮔﺬﺷﺘﻪ ﻧﺠﺎﺕ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﺍﮔﺮ ﻛﺴﻰ ﺻﺮﻓﺎً ﺑﻪ‬ ‫ﺩﻧﺒﺎﻝ ﺟﺰﻳﻴﺎﺕ ﻓﻨﻰ ﻭ ﺗﻜﻨﻴﻜﻰ ﻭ ﺁﻳﻨﺪﻩﻧﮕﺮﻯ ﺩﺭ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‬ ‫ِ‬ ‫ﺑﺎﺷﺪ‪ ،‬ﺷﺎﻳﺪ ﺍﺯ ﺩﻳﺪﻥ ﺍﻳﻦ ﻓﻴﻠﻢ ﻟﺬﺕ ﭼﻨﺪﺍﻧﻰ ﻧﺒﺮﺩ‪ .‬ﭼﮕﻮﻧﻪ ﻣﻰﺷﻮﺩ ﻳﻚ ﺳﻔﻴﻨﻪﻯ ﻓﻀﺎﻳﻰ ﺭﺍ‬ ‫ﺍﺯ ﺧﺮﺩﻩﻫﺎﻯ ﻓﻠﺰﻯ ﻣﺘﻔﺮﻗﻪ ﻭ ﺍﻧﺒﻮﻫﻰ ﺍﺯ ﺗﻴﻠﻪﻫﺎﻯ ﻓﻠﺰﻯ ﺳﺎﺧﺖ؟ ﭼﺮﺍ ﺍﻳﻦ ﻣﻮﺟﻮﺩ ﺍﺯ ﺳﻮﻯ‬ ‫ﻫﻤﻮﻃﻨﺎﻧﺶ ﺭﻫﺎ ﺷﺪﻩ ﺍﺳﺖ؟ ﻣﺎﻫﻴﺖ ﺗﻴﻠﻪﻫﺎﻯ ﺳﺎﺯﻧﺪﻩ ﺳﻔﻴﻨﻪ ﭼﻴﺴﺖ؟ ﻭ ﺑﺴﻴﺎﺭﻯ ﺳﻮﺍﻝ‬ ‫ِ‬ ‫ﺩﺭﺳﺖ ﺩﻳﮕﺮ‪ .‬ﺍﻣﺎ ﻓﻴﻠﻢ ﺩﺍﺳﺘﺎﻧﻰ ﺩﻟﻨﺸﻴﻦ ﺭﺍ ﺩﺭ ﻗﺎﻟﺒﻰ ﺍﺯ ﺭﻭﻳﺪﺍﺩﻫﺎﻯ ﺷﻜﻞ ﮔﺮﻓﺘﻪ ﺩﺭ ﺍﻃﺮﺍﻑ‬ ‫ﻳﻚ ﻣﻮﺟﻮﺩ ﻓﻀﺎﻳﻰ ﺭﻭﺍﻳﺖ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻳﻦ ﺭﻭﺍﻳﺖ ﺟﺬﺍﺏ ﻭ ﺩﻳﺪﻧﻰ ﺍﺳﺖ ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ‬ ‫ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺍﻓﺮﺍﺩ ﻏﻴﺮﻋﻼﻗﻪﻣﻨﺪ ﺑﻪ ﻓﻴﻠﻢ ﻫﺎﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻧﻴﺰ ﺍﺯ ﺩﻳﺪﻥ ﺁﻥ ﻟﺬﺕ ﺧﻮﺍﻫﻨﺪ ﺑﺮﺩ‪.‬‬

‫‪55‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﻓﻴﻠﻢﺑﺮﺩﺍﺭﻯ ﺍﺯ ﻳﻜﻰ ﺍﺯ ﺻﺤﻨﻪﻫﺎﻯ ﻓﻴﻠﻤﺸﺎﻥ ﺭﺍ ﺩﺍﺭﻧﺪ‪ ،‬ﺷﺎﻫﺪ ﺑﺮﻭﺯ ﺣﺎﺩﺛﻪﺍﻯ ﺑﺮﺍﻯ ﻳﻚ ﻗﻄﺎﺭ‬ ‫ﺑﺎﺭﻯ ﻫﺴﺘﻨﺪ‪ .‬ﺩﻭﺭﺑﻴﻦ ﺳﻮﭘﺮ ‪ 8‬ﺁﻥﻫﺎ ﻛﻪ ﺍﺯ ﺗﺮﺱ ﺭﻫﺎ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺗﺼﺎﻭﻳﺮﻯ ﺍﺯ ﻭﺍﻗﻌﻴﺖ ﭘﺸﺖ‬ ‫ﭘﺮﺩﻩﻯ ﺍﻳﻦ ﺗﺼﺎﺩﻑ ﺭﺍ ﺁﺷﻜﺎﺭ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻳﻦ ﺁﻏﺎﺯ ﻭ ﺍﻳﻦ ﻓﺮﺁﻳﻨﺪ ﺍﻟﺒﺘﻪ ﻓﺮﺻﺘﻰ ﺍﺳﺘﺜﻨﺎﻳﻰ ﺑﺮﺍﻯ‬ ‫ﺁﺑﺮﺍﻣ ِﺰ ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ ﺑﻪ ﻭﺟﻮﺩ ﺁﻭﺭﺩﻩ ﺍﺳﺖ ﺗﺎ ﻳﻜﻰ ﺍﺯ ﻋﻼﻗﻪﻫﺎﻯ ﺍﺻﻠﻰ ﺧﻮﺩ ﺭﺍ ﻛﻪ‬ ‫ﺗﺪﺍﺭﻙ ﺩﻳﺪﻥ ﺻﺤﻨﻪﻫﺎﻯ ﺑﺰﺭگ ﺗﺼﺎﺩﻑ ﻭ ﺍﻧﻔﺠﺎﺭ ﺍﺳﺖ‪ ،‬ﺩﺭ ﻓﻴﻠﻤﺶ ﺑﮕﻨﺠﺎﻧﺪ‪ .‬ﺧﻮﺩ ﺩﺭ‬ ‫ﺳﺨﻨﺮﺍﻧﻰﺍﺵ ﺩﺭ ﻛﻨﻔﺮﺍﻧﺲ ﺗﺪ ﮔﻔﺘﻪ ﺑﻮﺩ ﻛﻪ ﻋﺎﺷﻖ ﭼﻨﻴﻦ ﺻﺤﻨﻪﻫﺎﻳﻰ ﺍﺳﺖ ﻭ ﺍﻭﺟﺶ ﺭﺍ ﺩﺭ‬ ‫»ﻣﺎﻣﻮﺭﻳﺖ ﻏﻴﺮﻣﻤﻜﻦ« ﺑﺎ ﺑﺎﺯﻯ ﺗﺎﻡ ﻛﺮﻭﺯ ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻓﻴﻠﻢ ﺩﺭﺑﺎﺭﻩﻯ ﻣﻮﺟﻮﺩﻯ ﻓﻀﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺯﻣﻴﻦ ﺁﻣﺪﻩ ﻭ ﺑﻪ ﺟﺎﻯ ﺣﺴﻦ ﻧﻴﺖ‪ ،‬ﺑﺎ ﺑﺪﺧﻮﺍﻫﻰ‬ ‫ﺯﻣﻴﻨﻰﻫﺎ ﻣﻮﺍﺟﻪ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺍﻳﻨﻚ ﺩﺳﺖ ﺑﻪ ﻫﺮ ﻛﺎﺭﻯ ﻣﻰﺯﻧﺪ ﺗﺎ ﺑﻪ ﺧﺎﻧﻪﻯ ﺧﻮﺩ ﺑﺮﮔﺮﺩﺩ‪.‬‬ ‫ﺗﻢ ﺩﺍﺳﺘﺎﻥ ﻭ ﺣﻀﻮﺭ ﺍﻳﻦ ﮔﺮﻭﻩ ﺍﺯ ﺑﭽﻪﻫﺎ ﻭ ﺣﺘﺎ ﺣﺎﻝ ﻭ ﻫﻮﺍﻯ ﻓﻴﻠﻢ ﻳﺎﺩﺁﻭﺭ ﺍﻯ‪.‬ﺗﻰ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ‬ ‫ﺍﻳﻦ ﺑﺎﺭ ﻣﻮﺟﻮﺩ ﻓﻀﺎﻳﻰ ﭼﻨﺪﺍﻥ ﺩﺳﺖ ﻭ ﭘﺎ ﺑﺴﺘﻪ ﻧﻴﺴﺖ ﻭ ﻭﻗﺘﻰ ﻻﺯﻡ ﺑﺎﺷﺪ‪ ،‬ﻣﻰ ﺗﻮﺍﻧﺪ ﭼﻬﺮﻩﻯ‬ ‫ﻣﻬﺎﺟﻤﻰ ﺧﺸﻦ ﺭﺍ ﻧﺸﺎﻥ ﺩﻫﺪ ﻭ ﺷﺎﻳﺪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺑﻰﺩﻟﻴﻞ ﻫﻢ ﻧﺒﺎﺷﺪ‪ .‬ﺩﺭ ﻣﺮﻭﺭ ﻓﻴﻠﻢﻫﺎﻳﻰ‬ ‫ﺑﺎ ﻣﻮﺿﻮﻉ ﻣﻮﺍﺟﻬﻪ ﺑﺎ ﻓﻀﺎﻳﻰﻫﺎ‪ ،‬ﻣﻌﻤﻮﻻً ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﺩﻭ ﺭﺩﻩ ﺗﻘﺴﻴﻢ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺭﺩﻩﺍﻯ ﻛﻪ ﺩﺭ‬ ‫ﺁﻥ ﻓﻀﺎﻳﻰﻫﺎ ﻣﻬﺮﺑﺎﻥ ﻭ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻨﻰ ﻭ ﺑﻰﺁﺯﺍﺭﻧﺪ ﻛﻪ ﺑﺮﺟﺴﺘﻪﺗﺮﻳﻦ ﻧﻤﻮﻧﻪﻫﺎﻯ ﺁﻥ ﺷﺎﻳﺪ‬ ‫ﺩﻟﻴﻞ‬ ‫ﺍﻯ‪.‬ﺗﻰ ﻭ ﺑﺮﺧﻮﺭﺩ ﻧﺰﺩﻳﻚ ﺑﺎﺷﺪ ﻭ ﮔﺮﻭﻫﻰ ﻛﻪ ﺩﺭ ﺁﻥﻫﺎ ﻓﻀﺎﻳﻰﻫﺎ ﺑﻪ ﺩﻟﻴﻞ ﻣﻨﺎﻓﻌﺸﺎﻥ‪ ،‬ﺑﻰ ِ‬ ‫ﺧﺎﺻﻰ ﻣﺘﺨﺎﺻﻢ ﻭ ﻣﻬﺎﺟﻤﻨﺪ‪ .‬ﺟﻨﮓ ﺩﻧﻴﺎﻫﺎﻯ ﺍﺳﭙﻴﻠﺒﺮگ ﻧﻤﻮﻧﻪﺍﻯ ﺍﺯ ﺍﻳﻦ ﮔﻮﻧﻪ ﺍﺳﺖ‪ .‬ﺑﺮﺧﻰ‬ ‫ﻣﻨﺘﻘﺪﺍﻥ ﺍﺷﺎﺭﻩ ﻣﻰﻛﻨﻨﺪ ﺁﻥ ﭼﻪ ﺍﺳﭙﻴﻠﺒﺮگ ﺭﺍ ﺍﺯ ﺍﻯ‪.‬ﺗﻰ ﺑﻪ ﺟﻨﮓ ﺩﻧﻴﺎﻫﺎ ﺭﺳﺎﻧﺪ‪ ،‬ﺭﻭﻳﺪﺍﺩﻫﺎﻯ‬ ‫ﺍﺟﺘﻤﺎﻋﻰ ﺩﻭﺭﺍﻥ ﻣﺎ ﻭ ﺑﻪ ﻭﻳﮋﻩ ﺗﺤﻮﻻﺕ ﻣﺮﺑﻮﻁ ﺑﻪ ﺣﻮﺍﺩﺙ ‪ 11‬ﺳﭙﺘﺎﻣﺒﺮ ﺑﻮﺩ‪ .‬ﺩﻭﺭﺍﻧﻰ ﻛﻪ ﭘﺲ‬ ‫ﺍﺯ ﺁﻥ ﻣﺮﺩﻡ ﺑﻪ ﻫﻢ ﺳﻮﻇﻦ ﺩﺍﺭﻧﺪ ﻭ ﺩﺷﻤﻦﻫﺎ ﻣﻰ ﺗﻮﺍﻧﻨﺪ ﺑﻰ ﻫﻴﭻ ﻫﺸﺪﺍﺭﻯ ﺩﺳﺖ ﺑﻪ ﻧﺎﺑﻮﺩﻯ‬ ‫ﺑﺰﻧﻨﺪ‪ .‬ﺳﻮﭘﺮ ‪ 8‬ﺍﻣﺎ ﺩﺭ ﻣﻴﺎﻧﻪﻯ ﺍﻳﻦ ﺩﻭ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪ .‬ﻣﻮﺟﻮﺩ ﻫﻴﻮﻻﻭﺍﺭﻯ ﻛﻪ ﺩﺭ ﻓﻴﻠﻢ ﻧﺸﺎﻥ ﺩﺍﺩﻩ‬ ‫ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﮔﻤﺸﺪﻩﺍﻯ ﺩﺭ ﺟﺴﺘﺠﻮﻯ ﺧﺎﻧﻪﻯ ﺧﻮﺩ ﺍﺳﺖ‪ ،‬ﺍﻭ ﻣﻬﺎﺟﻢ ﻭ ﺁﺷﻮﺑﮕﺮ ﻧﻴﺴﺖ‪ .‬ﺍﻣﺎ‬ ‫ﺑﺮﺧﻮﺭﺩ ﻣﺎ ﺑﺎ ﺍﻭ ﻭﻯ ﺭﺍ ﺗﺒﺪﻳﻞ ﺑﻪ ﭼﻨﺎﻥ ﺷﻜﺎﺭﭼﻰ ﻭﻳﺮﺍﻧﮕﺮﻯ ﻣﻰﻛﻨﺪ ﻭ ﺍﻟﺒﺘﻪ ﺯﻣﺎﻧﻰ ﻛﻪ ﺑﺎ‬ ‫ﺣﺴﻦ ﻧﻴﺖ ﻭ ﻣﻌﺼﻮﻣﻴﺖ ﻛﻮﺩﻛﺎﻧﻪ ﺭﻭﺑﻪﺭﻭ ﻣﻰﺷﻮﺩ‪ ،‬ﺍﻭ ﻧﻴﺰ ﺑﻪ ﺭﺍﻩ ﺧﻮﺩ ﻣﻰﺭﻭﺩ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﺩﻝ ﺧﻮﺩ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺩﻛﻰ ﺩﺭ ﺧﺎﻧﻮﺍﺩﻩ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻣﺸﻜﻼﺕ ﺩﻭﺭﻩﻯ ﻛﻮﺩﻛﻰ ﻭ‬ ‫ﮔﺬﺍﺭ ﺍﺯ ﺁﻥ ﻣﻮﺍﺟﻪ ﺍﺳﺖ‪ .‬ﭼﻨﻴﻦ ﺩﺳﺖﻣﺎﻳﻪﺍﻯ ﻓﻴﻠﻢ ﺭﺍ ﺑﺮﺍﻯ ﮔﺮﻭﻩ ﻭﺳﻴﻌﻰ ﺍﺯ ﻣﺨﺎﻃﺐﻫﺎ ﻗﺎﺑﻞ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪54‬‬

‫ﺳﻴﻨﻤﺎ‬

‫ﺍﺳﺘﻔﺎﺩﻩﻯ ﺗﺤﻘﻴﻘﺎﺗﻰ ﺍﺯ ﺣﻴﻮﺍﻧﺎﺕ ﺭﺍ ﻣﻄﺮﺡ ﻛﺮﺩ ﻭ ﺑﺎﻋﺚ ﺷﺪ ﮔﺮﻭﻩﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺩﺭﺑﺎﺭﻩﻯ ﺧﻂ‬ ‫ﻗﺮﻣﺰ ﺩﺳﺘﻜﺎﺭﻯﻫﺎﻯ ژﻧﺘﻴﻜﻰ ﻭ ﺩﺭﺑﺎﺭﻩﻯ ﺍﻳﻦ ﻛﻪ ﭼﻘﺪﺭ ﻣﺎ ﺍﺯ ﻧﻈﺮ ﺍﺧﻼﻗﻰ ﻣﺠﺎﺯ ﺑﻪ ﺍﺳﺘﻔﺎﺩﻩ‬ ‫ﺍﺯ ﺣﻴﻮﺍﻧﺎﺕ ﺑﺮﺍﻯ ﺍﻧﺠﺎﻡ ﺁﺯﻣﺎﻳﺶ ﻫﺎﻯ ﻋﻠﻤﻰ ﻭ ﺗﺤﻘﻴﻘﺎﺗﻰ ﺧﻮﺩ ﻫﺴﺘﻴﻢ‪ ،‬ﺑﻪ ﺑﺤﺚ ﺑﭙﺮﺩﺍﺯﻧﺪ‪.‬‬ ‫ﺗﺮﺍﻧﺴﻔﻮﺭﻣﺮﺯ ‪ ،3‬ﻧﺒﺮﺩ ﻓﻀﺎﻳﻰ ﺭﺍ ﺑﻪ ﺯﻣﻴﻦ ﺁﻭﺭﺩ ﻭ ﺩﺭ ﻳﻜﻰ ﺍﺯ ﺑﺎﺭﺯﺗﺮﻳﻦ ﻧﻤﺎﻳﺶﻫﺎﻯ ﺳﻴﻨﻤﺎﻳﻰ‬ ‫ﻣﺒﺘﻨﻰ ﺑﺮ ﺟﻠﻮﻩﻫﺎﻯ ﻭﻳﮋﻩ‪ ،‬ﺍﺯ ﺧﻴﺎﻧﺖ ﺍﻧﺴﺎﻥﻫﺎ ﺑﺮ ﻋﻠﻴﻪ ﺧﻮﺩ ﮔﺮﻓﺘﻪ‪ ،‬ﺗﺎ ﺗﺌﻮﺭﻯ ﺗﻮﻃﺌﻪ ﺩﺭ‬ ‫ﺑﺮﻧﺎﻣﻪﻯ ﻓﻀﺎﻳﻰ ﻣﺎﻩ ﻭ ﭘﺮﻭﺍﺯ ﺷﺎﺗﻞﻫﺎ ﻭ ﺣﺘﺎ ﺣﻤﻠﻪﻯ ﻓﻀﺎﻳﻰﻫﺎ ﺑﻪ ﺗﺎﺳﻴﺴﺎﺕ ﺍﺗﻤﻰ ﺍﻳﺮﺍﻥ ﺭﺍ‬ ‫ﺭﻭﻯ ﭘﺮﺩﻩ ﺑﻪ ﻧﻤﺎﻳﺶ ﮔﺬﺍﺷﺖ ﻭ ﺍﺯ ﺣﻀﻮﺭ ﭼﻬﺮﻩﺍﻯ ﻣﺎﻧﻨﺪ ﺑﺎﺯ ﺁﻟﺪﺭﻳﻦ‪ ،‬ﺩﻭﻣﻴﻦ ﺍﻧﺴﺎﻧﻰ ﻛﻪ ﻗﺪﻡ‬ ‫ﺑﺮ ﺳﻄﺢ ﻣﺎﻩ ﮔﺬﺍﺷﺖ ﻧﻴﺰ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩ‪ .‬ﺁﭘﻮﻟﻮ ‪ 81‬ﺳﻮﻯ ﺩﻳﮕﺮ ﺗﺌﻮﺭﻯ ﺗﻮﻃﺌﻪﻯ ﺭﺩ ﺳﻔﺮ ﺑﻪ‬ ‫ﻣﺎﻩ ﺭﺍ ﺩﻧﺒﺎﻝ ﻛﺮﺩ ﻭ ﺩﺭ ﺁﻥﺟﺎ ﺩﺭ ﺭﻭﺍﻳﺘﻰ ﺷﺒﻪ ﻣﺴﺘﻨﺪ ﺍﺩﻋﺎ ﻛﺮﺩ ﻧﺎﺑﻮﺩﮔﺮﻫﺎﻯ ﺍﻫﻞ ﻣﺎﻩ ﺩﺳﺖ‬ ‫ﺑﻪ ﻗﺘﻞ ﻋﺎﻡ ﻓﻀﺎﻳﻰ ﺯﺩﻩﺍﻧﺪ ﻭ ﺍﻟﺒﺘﻪ ﻛﻪ ﺑﺎ ﺑﺎﺯﺗﺎﺏ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻰ ﺑﻪ ﻭﻳﮋﻩ ﺩﺭ ﺍﻧﺠﻤﻦﻫﺎﻯ ﻃﺮﻓﺪﺍﺭ‬ ‫ﻧﻈﺮﻳﻪﻯ ﺗﻮﻃﺌﻪ ﺩﺭ ﺳﻔﺮ ﺑﻪ ﻣﺎﻩ ﺭﻭﺑﻪﺭﻭ ﺷﺪ‪ .‬ﺩﺭ ﻣﻴﺎﻥ ﺍﻳﻦ ﻫﻤﻪ ﺟﺎﺭ ﻭ ﺟﻨﺠﺎﻝ ﻭ ﻧﺒﺮﺩ ﺍﻣﺎ‪،‬‬ ‫ﺳﻮﭘﺮ ‪ 8‬ﺭﻭﺍﻳﺘﻰ ﺩﻟﻨﺸﻴﻦ ﺭﺍ ﺑﺎ ﻣﻀﻤﻮﻧﻰ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺑﻴﺎﻥ ﻛﺮﺩ ﻛﻪ ﻳﺎﺩﺁﻭﺭ ﻓﻴﻠﻢﻫﺎﻳﻰ ﻫﻤﭽﻮﻥ‬ ‫ﺍﻯ‪.‬ﺗﻰ‪ ،‬ﻣﻮﺟﻮﺩ ﻓﺮﺍﺯﻣﻴﻨﻰ ﻭ ﺑﺮﺧﻮﺭﺩ ﻧﺰﺩﻳﻚ ﺍﺯ ﻧﻮﻉ ﺳﻮﻡ ﺑﻮﺩ‪.‬‬ ‫ﺭﻭﺍﻳﺖ ﻭ ﺩﺭﻭﻥﻣﺎﻳﻪﻫﺎ‬ ‫ﺳﻮﭘﺮ ‪ 8‬ﺑﺎﺯﮔﺸﺖ ﺑﻪ ﺩﻭﺭﺍﻥ ﭘﺮﺷﻜﻮﻩ ﺍﻯ‪.‬ﺗﻰ ﻭ ﺑﺮﺧﻮﺭﺩ ﻧﺰﺩﻳﻚ ﺍﺯ ﻧﻮﻉ ﺳﻮﻡ ﺍﺳﺖ‪ .‬ﺩﻭﺭﺍﻧﻰ‬ ‫ﻛﻪ ﻣﻮﺍﺟﻬﻪ ﺑﺎ ﻣﻮﺟﻮﺩﺍﺕ ﻓﻀﺎﻳﻰ ﺑﺮ ﻣﺒﻨﺎﻯ ﻓﻀﺎﻯ ﺩﻫﻪ ‪ 70‬ﺁﻣﺮﻳﻜﺎ ﺷﻜﻞ ﻣﻰﮔﺮﻓﺖ‪ .‬ﻓﻀﺎﻳﻰ‬ ‫ﻛﻪ ﺧﺎﻧﻮﺍﺩﻩ ﻭ ﻣﺸﻜﻼﺕ ﺁﻥ ﻧﻘﺶ ﻛﻠﻴﺪﻯ ﺭﺍ ﺩﺭ ﺑﺴﺘﺮ ﺩﺍﺳﺘﺎﻥ ﺍﻳﻔﺎ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺯﻣﺎﻧﻰ ﺩﺭ ﻳﻚ‬ ‫ﺳﺨﻨﺮﺍﻧﻰ‪ ،‬ﺁﺑﺮﺍﻣﺰ ﺑﻪ ﻋﻼﻗﻤﻨﺪﺍﻧﺶ ﮔﻔﺘﻪ ﺑﻮﺩ ﺍﻛﺜﺮ ﺍﻭﻗﺎﺕ ﺩﺍﺳﺘﺎﻧﻰ ﻛﻪ ﺑﺮ ﭘﺮﺩﻩ ﻣﻰﺑﻴﻨﻴﺪ‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﭼﻴﺰﻯ ﺩﻳﮕﺮﻯ ﺍﺳﺖ‪ .‬ﺍﻭ ﺩﺭ ﺁﻥ ﺳﺨﻨﺮﺍﻧﻰ ﺑﻪ ﺍﻯ‪.‬ﺗﻰ ﺍﺷﺎﺭﻩ ﻛﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺑﻴﺶ ﺍﺯ ﺁﻥ ﻛﻪ ﺩﺭﺑﺎﺭﻩﻯ ﻣﻮﺟﻮﺩ ﻓﻀﺎﻳﻰ ﻣﻬﺮﺑﺎﻧﻰ ﺑﺎﺷﺪ‪ ،‬ﺩﺭﺑﺎﺭﻩﻯ ﺑﺤﺮﺍﻥ ﺟﺪﺍﻳﻰ ﭘﺪﺭ ﻭ ﻣﺎﺩﺭ‬ ‫ﺩﺭ ﻳﻚ ﺧﺎﻧﻮﺍﺩﻩ ﻭ ﺗﺎﺛﻴﺮ ﺁﻥ ﺑﺮ ﺯﻧﺪﮔﻰ ﻛﻮﺩﻛﺎﻥ ﺍﺳﺖ‪ .‬ﺩﺭ ﺳﻮﭘﺮ ‪ 8‬ﺧﻮﺩ ﺍﻭ ﻧﻴﺰ ﭼﻨﻴﻦ ﺩﺍﺳﺘﺎﻧﻰ‬ ‫ﺭﺍ ﺭﻭﺍﻳﺖ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺳﻮﭘﺮ ‪ 8‬ﺭﻭﺍﻳﺖ ﮔﺮﻭﻫﻰ ﺍﺯ ﺩﻭﺳﺘﺎﻥ ﻣﺪﺭﺳﻪﺍﻯ ﺭﺍ ﺩﺭ ﻳﻜﻰ ﺍﺯ ﺗﺎﺑﺴﺘﺎﻥﻫﺎﻯ ﺩﻫﻪﻯ ‪ 70‬ﺑﺎﺯﮔﻮ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﺍﻳﻦ ﻛﻮﺩﻛﺎﻥ ﻛﻪ ﻋﻼﻗﻤﻨﺪ ﺑﻪ ﺳﺎﺧﺘﻦ ﻓﻴﻠﻤﻰ ﺗﺮﺳﻨﺎﻙ ﻫﺴﺘﻨﺪ‪ ،‬ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﻗﺼﺪ‬

‫‪53‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﺧﻼﺻﻪﻯ ﺩﺍﺳﺘﺎﻥ‬ ‫ﭼﻨﺪ ﺑﭽﻪ ﻣﺪﺭﺳﻪﺍﻯ ﺩﺭ ﺣﺎﻝ ﺳﺎﺧﺖ ﻳﻚ ﻓﻴﻠﻢ ﺗﺮﺳﻨﺎﻙ ﺑﺎ ﻳﻚ ﺩﻭﺭﺑﻴﻦ ﺳﻮﭘﺮ ‪ 8‬ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﻣﺎﺟﺮﺍﻫﺎﻯ ﻣﻴﺎﻥ ﺑﭽﻪﻫﺎ‪ ،‬ﻫﻤﺎﻥ ﻣﺎﺟﺮﺍﻫﺎﻯ ﺁﺷﻨﺎ ﻫﺴﺘﻨﺪ‪ :‬ﻗﻬﺮ ﻭ ﺁﺷﺘﻰﻫﺎﻯ ﻛﻮﺩﻛﺎﻧﻪ ﻭ‬ ‫ﺩﻭﺳﺘﻰﻫﺎ ﻭ ﺭﻓﺎﻗﺖﻫﺎﻳﻰ ﻛﻪ ﮔﺎﻩ ﺗﺎ ﭘﺎﻯ ﺟﺎﻥ ﻣﻰﺭﻭﻧﺪ‪ .‬ﻳﻚ ﺷﺐ ﺑﭽﻪﻫﺎ ﺗﺼﻤﻴﻢ ﻣﻰﮔﻴﺮﻧﺪ‬ ‫ﺑﺮﺍﻯ ﻓﻴﻠﻢﺑﺮﺩﺍﺭﻯ ﺍﺯ ﻳﻜﻰ ﺍﺯ ﺳﻜﺎﻧﺲﻫﺎﻯ ﻓﻴﻠﻢ‪ ،‬ﺑﻪ ﻣﺤﻠﻰ ﺑﻴﺮﻭﻥ ﺍﺯ ﺷﻬﺮ ﺑﺮﻭﻧﺪ‪ .‬ﻛﻠﺒﻪﺍﻯ ﻛﻨﺎﺭ‬ ‫ﺭﻳﻞ ﺭﺍﻩﺁﻫﻦ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻣﻰﻛﻨﻨﺪ ﻭ ﻣﺸﻐﻮﻝ ﻓﻴﻠﻢﺑﺮﺩﺍﺭﻯ ﻫﺴﺘﻨﺪ ﻛﻪ ﻣﺎﺟﺮﺍﻳﻰ ﻏﺮﻳﺐ ُﺭﺥ‬ ‫ﻣﻰﺩﻫﺪ ﻭ ﺩﻭﺭﺑﻴﻨﺸﺎﻥ ﻣﺎﺟﺮﺍﻳﻰ ﺑﻪ ﺭﺍﺳﺘﻰ ﺗﺮﺳﻨﺎﻙ ﺭﺍ ﺿﺒﻂ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﭘﻴﺶﺯﻣﻴﻨﻪ‬ ‫ﻗﺮﺍﺭ ﮔﺮﻓﺘﻦ ﻧﺎﻡ ﺍﺳﺘﻴﻮﻥ ﺍﺳﭙﻴﻠﺒﺮگ ﺩﺭ ﻛﻨﺎﺭ ﺟﻰ‪ .‬ﺟﻰ‪ .‬ﺁﺑﺮﺍﻣﺰ‪ ،‬ﺑﻪ ﺗﻨﻬﺎﻳﻰ ﻣﻰﺗﻮﺍﻧﺪ ﺍﻧﮕﻴﺰﻩﻯ‬ ‫ﺧﺎﻟﻖ »ﺍﻯ‪.‬ﺗﻰ«‪» ،‬ﺑﺮﺧﻮﺭﺩ‬ ‫ﺑﺎﻻﻳﻰ ﺑﺮﺍﻯ ﺩﻳﺪﻥ ﻳﻚ ﺍﺛﺮ ﺳﻴﻨﻤﺎﻳﻰ ﺍﻳﺠﺎﺩ ﻛﻨﺪ‪ .‬ﺯﻣﺎﻧﻰ ﻛﻪ‬ ‫ِ‬ ‫ﻧﺰﺩﻳﻚ ﺍﺯ ﻧﻮﻉ ﺳﻮﻡ«‪» ،‬ﮔﺰﺍﺭﺵ ﺍﻗﻠﻴﺖ« ﻭ »ﺟﻨﮓ ﺩﻧﻴﺎﻫﺎ«‪ ،‬ﺩﺭ ﺟﺎﻳﮕﺎﻩ ﺗﻬﻴﻪ ﻛﻨﻨﺪﻩ ﻣﻰﻧﺸﻴﻨﺪ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﻓﻴﻠﻢﻫﺎﻳﻰ ﻫﻤﭽﻮﻥ »ﭘﻴﺸﺘﺎﺯﺍﻥ‬ ‫ﻭ ﺻﻨﺪﻟﻰ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﺭﺍ ﺑﻪ ﻛﺴﻰ ﻣﻰﺩﻫﺪ ﻛﻪ‬ ‫ِ‬ ‫ﻓﻀﺎ« ﻭ ﺧﻠﻖ ﺳﺮﻳﺎﻝﻫﺎﻯ ﺷﮕﻔﺖﺍﻧﮕﻴﺰﻯ ﭼﻮﻥ »ﻻﺳﺖ« ﻭ »ﻓﺮﻳﻨﺞ« ﺭﺍ ﺩﺭ ﻛﺎﺭﻧﺎﻣﻪﻯ ﺧﻮﺩ‬ ‫ﺩﺍﺭﺩ‪ ،‬ﺍﻧﺘﻈﺎﺭﻫﺎﻯ ﻓﺮﺍﻭﺍﻧﻰ ﺷﻜﻞ ﻣﻰﮔﻴﺮﺩ‪ .‬ﺑﻪ ﻧﻈﺮ ﺳﻮﭘﺮ ‪ 8‬ﺑﺎ ﭼﻨﻴﻦ ﺗﺮﻛﻴﺒﻰ ﺗﻮﺍﻧﺴﺘﻪ ﺍﺳﺖ‬ ‫ﺑﻪ ﻧﺘﻴﺠﻪ ﻣﻄﻠﻮﺑﻰ ﺑﺮﺳﺪ‪.‬‬ ‫ﺩﺭ ﺳﺎﻝ ‪ 2011‬ﻭ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻓﻴﻠﻢﻫﺎﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﭘﺮ ﻫﺰﻳﻨﻪﺍﻯ ﻫﻤﭽﻮﻥ »ﺗﺮﺍﻧﺴﻔﻮﺭﻣﺮﺯ‬ ‫‪» ،«3‬ﺁﭘﻮﻟﻮ ‪» ،«18‬ﺳﻮﺭﺱ ﻛﺪ« ﻭ »ﻇﻬﻮﺭ ﺳﻴﺎﺭﻩﻯ ﻣﻴﻤﻮﻥﻫﺎ« ﺑﺮ ﺭﻭﻯ ﭘﺮﺩﻩﻫﺎﻯ ﻧﻤﺎﻳﺶ‬ ‫ﻗﺮﺍﺭ ﮔﺮﻓﺘﻨﺪ‪ ،‬ﺳﻮﭘﺮ ‪ 8‬ﺟﺎﻳﮕﺎﻩ ﻭﻳﮋﻩﺍﻯ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﺍﺧﺘﺼﺎﺹ ﺩﺍﺩ‪.‬‬ ‫ﺳﻮﭘﺮ ‪ 8‬ﺭﺍ ﺷﺎﻳﺪ ﺑﺘﻮﺍﻥ ﻳﻜﻰ ﺍﺯ ﺑﻪ ﻳﺎﺩ ﻣﺎﻧﺪﻧﻰﺗﺮﻳﻦ ﻓﻴﻠﻢﻫﺎﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰﻫﺎﻯ ﺳﺎﻝ ‪2011‬‬ ‫ﺩﺍﻧﺴﺖ‪ .‬ﻧﻪ ﺑﻪ ﺍﻳﻦ ﻣﻌﻨﻰ ﻛﻪ ﺍﻟﺰﺍﻣﺎً ﻓﻴﻠﻤﻰ ﺑﻰﻧﻈﻴﺮ ﺩﺭ ﺣﻴﻄﻪﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺑﺎﺷﺪ ﻭ ﻧﻪ ﺣﺘﺎ‬ ‫ﺑﻪ ﺍﻳﻦ ﻣﻌﻨﻰ ﻛﻪ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺳﺎﻝ ﺑﻮﺩﻩ ﺑﺎﺷﺪ؛ ﺑﻠﻜﻪ ﺍﺯ ﺍﻳﻦ ﻧﻈﺮ ﻛﻪ ﻧﻮﻋﻰ‬ ‫ﻧﻮﺳﺘﺎﻟﮋﻯ ﻗﺪﻳﻤﻰ ﺭﺍ ﺑﺮﺍﻯ ﺑﻴﻨﻨﺪﮔﺎﻥ ﺧﻮﺩ ﺍﻳﺠﺎﺩ ﻛﺮﺩ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﺳﺎﻝ ﻓﻴﻠﻢﻫﺎﻳﻰ ﻫﻤﭽﻮﻥ ﻃﻠﻮﻉ ﺳﻴﺎﺭﻩﻯ ﻣﻴﻤﻮﻥﻫﺎ‪ ،‬ﺗﺮﺍﻧﺴﻔﻮﺭﻣﺮﺯ ‪ 3‬ﻭ ﺁﭘﻮﻟﻮ ‪18‬‬ ‫ﺑﺤﺚﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺭﺍ ﺍﻳﺠﺎﺩ ﻛﺮﺩﻧﺪ‪ .‬ﻃﻠﻮﻉ ﺳﻴﺎﺭﻩﻯ ﻣﻴﻤﻮﻥﻫﺎ ﺑﺤﺚ ﻣﺮﺯﻫﺎﻯ ﻓﻦﺁﻭﺭﻯ ژﻧﺘﻴﻚ ﻭ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪52‬‬

‫ﺳﻴﻨﻤﺎ‬

‫ﺳﻮﭘـــﺮ ‪8‬‬ ‫ﭘﻮﺭﻳﺎ ﻧﺎﻇﻤﻰ‬

‫ﺷﻨﺎﺳﻨﺎﻣﻪ‬ ‫ﺑﺎ ﺯ ﻳﮕـــﺮ ﺍ ﻥ ‪ :‬ﺍﻟﻪ ﻓﻴﻨﻴﻨﻚ‪ ،‬ﺁﻣﺎﻧﺪﺍ ﻣﻴﺸﺎﻟﻜﺎ ﻭ ﻛﺎﻳﻞ ﭼﻨﺪﻟﺮ‬ ‫ﻛﺎﺭﮔـــﺮﺩﺍﻥ‪:‬‬

‫ﺟﻰ‪ .‬ﺟﻰ‪ .‬ﺁﺑﺮﺍﻣﺰ‬

‫ﻓﻴﻠﻢﻧﺎﻣﻪﻧﻮﻳﺲ‪:‬‬

‫ﺟﻰ‪ .‬ﺟﻰ‪ .‬ﺁﺑﺮﺍﻣﺰ‬

‫ﺗﻬﻴــﻪ ﻛﻨﻨﺪﻩ‪:‬‬

‫ﺍﺳﺘﻴﻮﻥ ﺍﺳﭙﻴﻠﺒﺮگ‬

‫ﺭ ﺗﺒﻪ ‪:I M D B‬‬

‫‪ 7/3‬ﺍﺯ ‪10‬‬

‫ﺯﺑـــــــﺎﻥ‪:‬‬

‫ﺍﻧﮕﻠﻴﺴﻰ‬

‫ﺗـﻮ ﻟﻴـــــﺪ ‪:‬‬

‫ﺍﻳﺎﻻﺕ ﻣﺘﺤﺪﻩ ﺁﻣﺮﻳﻜﺎ‬

‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺍﻟﻮﺍﺕ ﻗﺪﻳﻢ ﺍﺳﺖ‪ .‬ﺣﺎﻻ ﺩﺳﺖﻛﻢ ﭘﻨﺠﺎﻩ ﺳﺎﻝ ﺍﺳﺖ ﻛﻪ ﻫﻴﭻ ﻳﺎﺭﻭﻯ ﺷﺮﻭﺭﻯ ﺑﻪ ﺷﻤﺎﻳﻞ ﺧﻔﺎﺵ ﺩﺭ‬ ‫ﺑﺎﻝ ﭘﻮﺷﻴﺪﻩ‬ ‫ﻧﻤﻰﺁﻳﺪ‪ .‬ﺑﻪ ﻣﻮﻧﺎ ﭘﺸﺖ ﻣﻰﻛﻨﺪ ﻭ ﺭﻭ ﺑﻪ ﺍﺳﻤﺎﻋﻴﻞ ﻣﻰﺍﻳﺴﺘﺪ‪ .‬ﺍﺯ ﭘﺸﺖ ﻛﺘﻒﻫﺎﻳﺶ ﺩﻭ ﺗﺎ ِ‬ ‫ﺍﺯ ﭘﺮ ﺑﻴﺮﻭﻥ ﺁﻣﺪﻩ‪ ،‬ﺩﻭﺩ ﮔﺮﻓﺘﻪ‪ ،‬ﺧﺎﻛﺴﺘﺮﻯﺷﺪﻩ‪ .‬ﺧﻢ ﻣﻰﺷﻮﺩ‪ ،‬ﺳﺮ ﺭﺍ ﺗﺎ ﭘﻴﺶ ﺩﻫﺎﻥ ﺍﻳﺘﺎ ﭘﺎﻳﻴﻦ ﻣﻰﺑﺮﺩ‬ ‫ﻭ ﺑﺎﻝﻫﺎﻳﺶ ﺩﻭ ﺑﺎﺭ ﻋﺼﺒﻰ ﺟﻬﺶ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﻛﻪ ﺩﻭ ﺗﺎ ﻭﺭﻭﺩﻯ ﺩﺍﺭﻯ ﻣﺤﺒﻮﺏ ﻣﻦ‪ .‬ﻧﮕﺮﺍﻧﻰ ﺑﻪ ﺧﻮﺩﺕ ﺭﺍﻩ ﻧﺪﻩ‪ .‬ﺑﻴﺎ ﺑﺮﻳﻢ ﺑﻪ ﻏﺎﺭ ﭘﻠﻨﮓﻫﺎ ﻋﺮﻭﺱ‬ ‫ﻛﻮﭼﻮﻟﻮ‪ .‬ﻧﻤﻰﺗﻮﺍﻧﻰ ﺭﺍﺟﻊ ﺑﻪ ﺟﻚ‪-‬ﺍﻳﻦ ﭼﻴﺰﻯ ﺑﮕﻮﻳﻰ‪ .‬ﻣﮕﺮ ﻧﻪ ﻋﺰﻳﺰﻡ؟ ﻗﺪﻏﻦ ﺷﺪﻩ‪ .‬ﺑﻴﺎ ﺑﺮﻳﻢ ﺍﺯ ﺍﻳﻦﺟﺎ‪.‬‬ ‫ﺣﻮﺻﻠﻪ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺵ‪ .‬ﺣﺘﻰ ﺣﺮﻑ ﻫﻢ ﻧﺰﻥ‪.‬‬ ‫ﻣﻮﻧﺎ ﺳﺎﻛﺖ ﺑﻮﺩ‪ .‬ﺑﻌﺪ ﺍﺳﻤﺎﻋﻴﻞ ﺩﻭﺑﺎﺭﻩ ﺭﺍﺳﺖ ﺍﻳﺴﺘﺎﺩ‪ .‬ﺳﺮ ﺗﻜﺎﻥ ﺩﺍﺩ‪ .‬ﺭﻭ ﺑﻪ ﻣﻮﻧﺎ ﺑﺮﮔﺸﺖ‪.‬‬ ‫»ﺩﻟﺒﻨﺪﻡ‪ .‬ﻓﺮﺯﻧﺪ‪ .‬ﻣﺘﺄﺳﻔﻢ‪ .‬ﻧﻤﻰﺷﻪ ﺷﻤﺎ ﺭﻭ ﺳﻮﺍﺭ ﻛﺮﺩ‪ .‬ﺣﻮﺻﻠﻪﻱ ﺩﺭﺩﺳﺮ ﺭﻭ ﺧﻮﺩ ﺷﻤﺎ ﺩﺍﺭﻯ؟‬ ‫ﺁﺭﺍﻳﺶﺗﻮﻥ ﺩﻟﺒﻨﺪ ﻭ ﺳﻮﺭﺍﺥﻫﺎﻯ ﻭﺭﻭﺩﻯﺗﻮﻥ ﺟﺰﻭ ﻣﻔﺎﺩ ﻧﺎﺟﻮﺭﻩ‪ .‬ﺗﻮﺟﻪ ﻣﻰﻛﻨﻴﻦ؟«‬ ‫»ﺍﺳﻤﺎﻋﻴﻞ ﺧﺎﻥ! ﭼﻄﻮ؟ ﺷﻤﺎﻡ؟ ﺍﺯ ﻛﻰ ﺗﺎ ﺣﺎﻻ؟ ﺑﺒﺮﻳﺪ ﺧﺎﻧﻮﻡ ﺭﻭ ﺁﻗﺎ ﺟﺎﻥ‪«.‬‬ ‫ِ‬ ‫ﭘﺸﺖ ﻣﻮﻧﺎ ﺟﻠﻮ ﻣﻰﺁﻣﺪ‪ .‬ﭘﺎﻫﺎﻳﺶ ﺭﺍ‬ ‫ﺻﺪﺍ ﺍﺯ ﻣﺮﺩ ﻓﺮﺑﻪ ﻧﺮﻣﻰ ﺑﻮﺩ ﻛﻪ ﻣﻰﺧﺮﺍﻣﻴﺪ ﻭ ﺍﺯ ﻣﻴﺎﻧﻪﻫﺎﻯ ﺻﻒ‬ ‫ﺗﻮ ﺩﻣﭙﺎﻳﻰﻫﺎﻯ ﺭﻭﻓﺮﺷﻰﺍﺵ ﻣﻰﺟﻨﺒﺎﻧﺪ ﻭ ﺭﻭﺑﺪﻭﺷﺎﻣﺒﺮ ﻧﺎﺑﻪﺟﺎﻳﻰ ﺑﻪ ﺗﻦ ﺩﺍﺷﺖ‪ .‬ﻛﻨﺎﺭ ﻣﻮﻧﺎ ﻛﻪ ﻣﻰﺭﺳﺪ‬ ‫ﺩﺳﺘﺶ ﺭﺍ ﺭﻭ ﺷﺎﻧﻪﻯ ﺩﺭﺩﺁﻟﻮﺩ ﺩﺧﺘﺮﻙ ﻣﻰﮔﺬﺍﺭﺩ‪ .‬ﻣﻮﻧﺎ ﺟﻨﺐ ﻧﻤﻰﺧﻮﺭﺩ‪ .‬ﺑﻪ ﺯﻣﻴﻦ ﺧﻴﺮﻩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫»ﺑﻪ ﺷﻤﺎ ﻗﻮﻝ ﻣﻰﺩﻡ ﻧﺎﺧﺪﺍ ﻛﻪ ﻛﺴﻰ ﺍﺯﺗﻮﻥ ﭘﺮﺱ ﻭ ﺟﻮ ﻧﻜﻨﻪ‪ .‬ﺑﺒﺮﻳﺪ ﺧﺎﻧﻮ ِﻡ ﻧﺎﺯﻧﻴﻦ ﺭﻭ‪ .‬ﺑﺎﺷﻪ؟«‬ ‫ﻣﻮﻧﺎ ﺳﺮ ﺑﺎﻻ ﻣﻰﺁﻭﺭﺩ‪ .‬ﺍﻳﺘﺎ ﺩﺳﺘﮕﺎﻩ ﻃﻼﻳﻰ ﺭﺍ ﺍﺯ ﭘﺸﺖ ﮔﻮﺵﺍﺵ ﺟﺪﺍ ﻣﻰﻛﻨﺪ ﻭ ﺍﺳﻤﺎﻋﻴﻞ ﺟﻮﻳﺪﻩ‬ ‫ﺟﻮﻳﺪﻩ ﭼﻴﺰﻯ ﻣﻰﮔﻮﻳﺪ ﻭ ﺑﺎ ﺩﺳﺖ ﺭﺍﻩ ﻗﺎﻳﻖ ﺭﺍ ﺑﻪ ﻣﻮﻧﺎ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪ .‬ﺩﻭ ﺳﺎﻋﺖ ﺍﺯ ﻇﻬﺮ ﮔﺬﺷﺘﻪ؛ ﺍﻣﺎ‬ ‫ﮔﺮﻣﺎ ﺑﻪ ﺩﺭﻳﺎﭼﻪﻯ ‪-72‬ﺁ ﺭﺍﻫﻰ ﻧﺪﺍﺭﺩ‪.‬‬

‫‪49‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﮔﺮﺩﻥ ﻣﻰﭘﭽﻴﺪ ﻭ ﺑﻪ ﻗﺴﻤﺖ ﺗﺤﺘﺎﻧﻰ ﻣﺎﺳﻚ ﺿﺪﮔﺎﺯﻯ ﺍﺯ ﺁﻫﻦ ﺳﻴﺎﻩ ﻣﺘﺼﻞ ﻣﻰﺷﺪ ﻛﻪ ﺣﺎﻻ ﻫﺰﺍﺭ‬ ‫ﺳﺎﻝ ﺑﻮﺩ ﺭﻭ ﺻﻮﺭﺕ ﭘﻴﺮﻣﺮﺩ ﺟﻮﺵ ﺧﻮﺭﺩﻩ ﺑﻮﺩ‪ .‬ﻣﺤﻔﻈﻪﻯ ﭼﺸﻢﻫﺎ ﺷﻴﺸﻪﺍﻯ ﺑﻮﺩ ﺑﻪ ﺩﺭﺧﺸﺸﻰ ﺳﺮﺥْ‬ ‫ﺭﻭﺷﻦ‪ .‬ﻛﺎﺑﻞﻫﺎﻯ ﺍﻃﻼﻋﺎﺕ ﺍﺯ ﻣﻨﺘﻬﻰﺍﻟﻴﻪ ﻧﺮﺩﻩﻫﺎ ﻣﻰﺁﻣﺪ ﻭ ﺑﻪ ﻛﻨﺎﺭﻩﻯ ﺍﻳﻦ ﻣﺎﺳﻚ ﺩﺍﺧﻞ ﻣﻰﺷﺪ‪ .‬ﺍﻳﺘﺎ‬ ‫ِ‬ ‫ﻫﻴﺘﻠﺮﺩﻭﺳﺖ ﭘﺮ ﺁﻭﺍﺯﻩﺍﻯ ﺑﻮﺩ ﻭ ﺩﺭ ﺭﻭﺯﻫﺎﻯ ﭘﻴﺶ ﺍﺯ ﺟﻨﮓ ﺑﻪ ﺩﻧﻴﺎ ﺁﻣﺪﻩ ﺑﻮﺩ‪ .‬ﺣﺎﻻ ﺩﺭ ﺭﻭﺯﻫﺎﻳﻰ ﻛﻪ‬ ‫ﻣﻰﺷﺪ ﺑﻪﻣﻔﺖ ﻋﻀﻮ ﺟﺎﻧﺸﻴﻦ ﺧﺮﻳﺪ‪ ،‬ﺑﻰﻳﻚﭘﺎ ﺑﻮﺩﻧﺶ ﺍﺷﺮﺍﻑﺯﺍﺩﮔﻰ ﺑﻪ ﺣﺴﺎﺏ ﻣﻰﺁﻣﺪ ﻭ ﺩﺍﺷﺖ ﺑﺎ‬ ‫ﻣﺎﺷﻴﻨﻰ ﺍُﻭﺭ‪-‬ﺩﺍﺏ ﺷﺪﻩﺍﺵ ﻣﻮﻧﺎ ﺭﺍ ﺧﻄﺎﺏ ﻗﺮﺍﺭ ﻣﻰﺩﺍﺩ‪.‬‬ ‫ﺻﺪﺍﻯ‬ ‫ِ‬ ‫»ﻛﺠﺎ؟«‬ ‫ﻣﻮﻧﺎ ﺑﻰﻣﻌﻄﻠﻰ ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﻣﻨﻄﻘﻪﻯ ﻫﺸﺖ‪«.‬‬ ‫»ﺍﻭﻫﻮ‪ .‬ﺩﺧﺘﺮ ﺟﻮﻥ ﺭﻭ ﺑﺒﻴﻦ‪ .‬ﭼﻪ ﺑﺎ ﺩﻝ ﻭ ﺟﺮﺃﺕ‪«.‬‬ ‫ِ‬ ‫ﻛﻴﻔﻴﺖ ﺳﺪﻳﻢ ﺳﻮﺯﺍﻥ ﺭﺍ ﺩﺍﺷﺖ‪ ،‬ﻏﻴﺮﻋﺎﺩﻯ‪،‬‬ ‫ﺧﻴﺮﻩ ﺑﻪ ﻣﻮﻧﺎ ﻣﻜﺚ ﻛﺮﺩ‪ .‬ﻧﻮﺭﻯ ﻛﻪ ﺍﺯ ﻣﺎﺳﻜﺶ ﺑﺮﻣﻰﺁﻣﺪ‬ ‫ﺷﻜﻨﺠﻪﻛﻨﻨﺪﻩ‪.‬‬

‫دارﻧﺪ ﮐﻮرت ﻣﯽﮐﻨﻨﺪ ﻋﺰﯾﺰم‪ .‬دﻧﺪانﻫﺎت را ﺑﻪﺷﺎن ﻧﺸﺎن ﺑﺪه‪ .‬دﻧﺪانﻫﺎت ﻣﺜﻞ ﮔﻠﻪی ﮔﻮﺳﻔﻨﺪﻫﺎ ﻣﻌﺼﻮم‬ ‫اﺳﺖ‪ .‬ﺑﻠﻪ؟‬ ‫ﺑﺎﻣﺒﻮﻝ ﻛﻮﭼﻮﻟﻮﻯ ﺍﻭﭘﺘﻴﻜﺎﻟﻰ‬ ‫ﻣﻮﻧﺎ ﺭﻭﺑﻪ ﭘﻴﺮﻣﺮﺩ ﻣﻰﺧﻨﺪﺩ‪ .‬ﺍﻳﺘﺎ ﺑﻰﻛﻪ ﭼﺸﻢ ﺍﺯ ﺍﻭ ﺑﺮﺩﺍﺭﺩ ﺍﺯ ﺗﻮ ﺑﺎﺭﺍﻧﻴﺶ‬ ‫ِ‬ ‫ِ‬ ‫ﮔﻮﺵ ﭼﭙﺶ ﺗﻨﻈﻴﻤﺶ‬ ‫ﭘﺸﺖ‬ ‫ﻃﻼﻳﻰ ﻛﺪﺭﻯ ﺩﺍﺭﺩ ﻭ ﭘﻴﺮﻣﺮﺩ ﺟﻮﺭﻯ‬ ‫ﺑﻴﺮﻭﻥ ﻣﻰﺁﻭﺭﺩ‪ .‬ﺩﺳﺘﮕﺎﻫﻪ ﻗﺎﺏ‬ ‫ِ‬ ‫ِ‬ ‫ﻣﻰﻛﻨﺪ ﻛﻪ ﻋﺪﺳﻰﺍﺵ ﻛﺎﻣ ً‬ ‫ﻼ ﺟﻠﻮﻯ ﭼﺸﻢﮔﺎﻩ ﭼﭗ ﺭﺍ ﺑﭙﻮﺷﺎﻧﺪ‪ .‬ﻣﻮﻧﺎ ﻣﻰﺑﻴﻨﺪ ﻛﻪ ﻋﺪﺳﻰ ﻫﻨﻮﺯ ﺳﻴﺎﻩ‬ ‫ﺍﺳﺖ‪ .‬ﺑﻌﺪ ﭼﺸﻤﻚ ﺯﺩﻧﺶ ﺭﺍ ﻣﻰﺑﻴﻨﻴﺪ ﻭ ﺑﺎﺯﺗﺎﺏ ﺳﺒ ِﺰ ﭼﻨﺪﺵ ﺁﻭﺭﺵ ﺭﺍ ﻛﻪ ﺭﻭﻯ ﺻﻮﺭﺗﺶ ﻣﻰﺍﻓﺘﺪ‬ ‫ﻭ ﻣﻰﺟﻮﺭﺩﺵ‪ .‬ﺍﻳﺘﺎ ﺑﻪ ﭘﻴﺸﺎﻧﻰ ﻣﻮﻧﺎ ﻧﮕﺎﻩ ﻣﻰﻛﻨﺪ ﻭ ﺑﻌﺪ ﺑﺎﺯ ﻋﺪﺳﻰ ﺗﻴﺮﻩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫»ﺍﺳﻤﺎﻋﻴﻞ ﺑﻴﺎ ﺍﻳﻦﺟﺎ ﺩﻳﻮﺙ‪ .‬ﻣﺴﺎﻓﺮ‪ «.‬ﺍﻳﺘﺎ ﺩﺍﺷﺖ ﺭﻭ ﺑﻪ ﺗﻮﺩﻩﻯ ﻗﺎﻳﻘﺮﺍﻥﻫﺎ ﺩﺍﺩ ﻣﻰﺯﺩ‪ .‬ﺑﻌﺪ ﺧﻄﺎﺏ‬ ‫ﺑﻪ ﻣﻮﻧﺎ ﮔﻔﺖ‪» :‬ﺩﺧﺘﺮ ﺟﻮﻥ ﺁﺭﺍﻳﺶ ﻧﺎﺟﻮﺭﻯ ﺩﺍﺭﻯ‪ .‬ﺧﻴﺎﻝ ﻧﻜﻦ ﻧﻔﻬﻤﻴﺪﻡ‪ .‬ﺍﻳﺘﺎ ﭼﺸﻢ ﺧﺪﺍﺳﺖ‪ .‬ﺍﻣﺎ‬ ‫ﻣﺎﻝ ﭼﻴﻪ ﻧﻤﻰﺩﻭﻧﻢ‪ .‬ﺣﺎﻻ ﺑﻪ ﻫﺮ ﺣﺎﻝ ﺑﺬﺍﺭ ﺑﺒﻴﻨﻴﻢ ﻛﻰ ﻣﻰﺑﺮﺩﺕ ﺟﻮﻧﻰ‪.‬‬ ‫ﺩﻭ ﺑﺎﺭ ﻫﻢ ﻭﺭﻭﺩﻯ ﺩﺍﺭﻯ‪ِ .‬‬ ‫اﺳﻤﺎﻋﻴﻞ!«‬ ‫ِ‬ ‫ﺳﻤﺖ ﭘﻨﻞ ﻣﺴﺎﻓﺮﮔﻴﺮﻯ‬ ‫ﺑﻌﺪ ﺍﺳﻤﺎﻋﻴﻞ ﻋﻴﻦ ﺣﺒﺎﺑﻰ ﺍﺯ ﺗﻮﺩﻩﻯ ﻗﺎﻳﻘﺮﺍﻥﻫﺎ ﺟﺪﺍ ﻣﻲﺷﻮﺩ ﻭ ﺷﻨﺎﻭﺭ ﺩﺭ ﻫﻮﺍ‬ ‫ﺑﻪ ﺭﺍﻩ ﻣﻰﺍﻓﺘﺪ‪ .‬ﻣﻬﻤﻴﺰﻯ ﺑﻪ ﭼﻜﻤﻪﻫﺎﻳﺶ ﺩﺍﺭﺩ ﻭ ﺯﻧﺠﻴﺮﻯ ﻣﻴﺦ ﺷﺪﻩ ﺑﻴﻦ ﻣﻨﺨﺮﻳﻦ ﻭ ﻻﻟﻪﻯ ﮔﻮﺵﺍﺵ‬ ‫ﻣﻮﻗﻊ ﺭﺍﻩ ﺭﻓﺘﻦ ﺻﺪﺍ ﻣﻰﻛﻨﺪ‪ .‬ﺑﺴﻴﺎﺭ ﺑﻠﻨﺪ ﻗﺎﻣﺖ ﺍﺳﺖ ﻭ ﻫﺮ ﭼﻪ ﭘﻮﺷﻴﺪﻩ ﺍﺯ ﭼﺮﻡ ﺳﺮﺥ ﻭ ﺳﻴﺎﻩ ﺍﺳﺖ‪.‬‬ ‫ﺳﻴﻪﭼﺮﺩﻩ‪ ،‬ﺳﻮﺧﺘﻪ ﺍﺯ ﺁﻓﺘﺎﺏ ﻃﻮﺭﻯ ﻛﻪ ﺍﻧﮕﺎﺭ ﻳﻚﻣﻴﻠﻴﻮﻥ ﺳﺎﻝ ﺩﺭ ﻋﻄﺎﺭﺩ ﺯﻧﺪﮔﻰ ﻛﺮﺩﻩ‪ ،‬ﭘﻴﺶ‬ ‫ِ‬ ‫ﭘﻼﺳﺘﻴﻚ‬ ‫ﺟﺮﺍﺣﻰ‬ ‫ﭘﻴﺮﻣﺮﺩ ﻣﻰﺭﺳﺪ‪ .‬ﻣﻮﻧﺎ ﺭﺍ ﻭﺍﺭﺳﻰ ﻣﻰﻛﻨﺪ‪ .‬ﮔﻮﺵ ﻭ ﺩﻣﺎ ِﻍ ﺧﻔﺎﺵ ﺭﺍ ﺩﺍﺭﺩ ﻭ ﺍﻳﻦ‬ ‫ِ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪48‬‬

‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﻗﺎﻳﻖﻫﺎ ﺍﺯ ﺁﻥ ﺑﻪ ﺭﺍﻩ ﻣﻰﺍﻓﺘﺎﺩﻧﺪ‪ ،‬ﺩﺭ ﺁﺏﺭﺍﻫﻪﻫﺎﻯ ﺭﻳﺸﻪﻯ ﺯﻣﻴﻦ ﻣﻰﺭﺍﻧﺪﻧﺪ ﻭ ﺑﻪ ﻫﺮﺟﺎﻯ ﺯﻳﺮﺯﻣﻴﻦ ِ‬ ‫ﺷﻬﺮ ﺗﺎﺭﻳﺨﻰ ﺳﺮﻙ ﻣﻰﻛﺸﻴﺪﻧﺪ‪.‬‬

‫ﺣﺎﻻ ﺑﺎﯾﺪ ﭘﺎﯾﯿﻦ ﺑﺮوی ﻣﺤﺒﻮﺑﻪی ﺟﺎنﮔﺪازم‪ .‬ﭘﯿﺎده‪ .‬ﺧﯿﻠﯽ ﻓﺮﺳﻮدهای و اﯾﻦ از ﺧﺴﺘﮕﯽ ﺑﺪﺗﺮ اﺳﺖ‪ .‬ﺑﻠﻪ‬ ‫ﻋﺰﯾﺰﮐﻢ ﮐﻪ ﻣﻮﻫﺎت ﮔﻠﻪی ﺑﺰﻫﺎ اﺳﺖ‪ .‬ﺣﺎﻻ دﻧﺒﺎل ﮔﻠﻪﻫﺎ ﭘﺎﯾﯿﻦ ﺑﺮو‪ .‬ﺑﺎﺗﺮی و ﺑﺎزو را از دﺳﺖ دادهای اﻣﺎ‬ ‫ﻋﯿﺐ ﻧﺪارد‪ .‬از زﺧﻢ ﺻﻮرت و از ﺑﺎزوﻫﺎت ﺑﻮی ﻟﺒﻨﺎن ﺑﻪ ﭘﺎ اﺳﺖ‪ .‬ﮔﻞﻫﺎی داروﯾﯽ ﺑﭽﯿﻦ و ﭘﺎﯾﯿﻦ ﺑﺮو‪.‬‬ ‫‪ ‬ﻣﻮﻧﺎ ﺑﺎﻻﻯ ﺳﺮﺵ ﺑﻬﺸﺖ ﺳﻴﺎﻩ ﻭ ﺩﺭ ﻣﻘﺎﺑﻠﺶ ﺩﺭﻳﺎﭼﻪ‪ ،‬ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦﺑﺎﺭ ﭘﺲ ﺍﺯ ﻓﺮﺍﺭ ﺍﺯ ﻭﺍﮔﻦ ﺑﻪ ﺍﻳﻦ‬ ‫ﻓﻜﺮ ﻣﻰﺍﻓﺘﺪ ﻛﻪ ﺑﺎﺯﻭ ﻭ ﺑﺎﺗﺮﻯ ﺭﺍ ﺑﺎ ﻫﻢ ﺍﺯ ﻛﻒ ﺩﺍﺩﻩ‪ .‬ﺣﺎﻻ ﺩﺭ ﺳﺎﺣﻞ ﺩﺭﻳﺎﭼﻪ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺭﻳﺸﻪﻯ‬ ‫ﮔﻠﺒﺮگﻫﺎ ﺑﺎ ﺳﺘﻮﻥﻫﺎ ﻭ ﻣﻬﺎﺭﻫﺎ ﻭ ﭘﺮچﻫﺎ ﻭ ﭘﻴﻮﻧﺪﻫﺎ ﻭ ﺗﻨﺶﮔﻴﺮﻫﺎﻳﺸﺎﻥ ﺍﻳﻦﺟﺎ ﻫﺴﺘﻨﺪ ﻭ ﺑﻮﻯ ﺭﻃﻮﺑﺖ‬ ‫ﻛﺸﻨﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦﺟﺎ ﺩﺭ ﻛﺮﺍﻧﻪ‪ ،‬ﺗﻮ ﺁﺧﺮﻳﻦ ﻃﺒﻘﻪ‪ ،‬ﺍﺯ ﻫﻤﻪﻯ ﺳﻮﺭﺍﺥ ﺳﻨﺒﻪﻫﺎ ﻧﻮﺭﺍﻓﻜﻨﻰ ﺭﻭ ﺑﻪ ﺩﺭﻳﺎﭼﻪ‬ ‫ِ‬ ‫ﻣﺘﺮﻭﻙ ﺑﻠﻴﻂﻓﺮﻭﺷﻰﻫﺎ‪ ،‬ﺻﻒ ﻗﺎﻳﻖﻫﺎ ﻛﻪ ﺑﻪ ﺷﻤﺎﻳﻞ‬ ‫ﺭﻭﺷﻦ ﺍﺳﺖ‪ .‬ﺍﺳﻜﻠﻪﻯ ﭼﻮﺑﻰ‪ ،‬ﻛﻴﻮﺳﻚﻫﺎﻯ ﺣﺎﻻ‬ ‫ﭼﺸﻢﻫﺎﻳﻰ ﺭﻭﻯ ﺁﺏﺍﻧﺪ‪ ،‬ﺗﻮﺩﻩﻯ ﻗﺎﻳﻘﺮﺍﻥﻫﺎ‪ ،‬ﻫﻤﺒﺮﮔﺮ ﺑﻪ ﺩﻫﺎﻥ ﻭ ﻣﺴﺖ‪ ،‬ﻫﻤﮕﻰ ﺩﺭ ﻧﻮﺭ ﺧﻴﺮﻩﻯ‬ ‫ﺑﻨﺪﺭﮔﺎﻩ ﺑﻪ ﺳﺮ ﻣﻮﻧﺎ ﻣﻰﻟﻐﺰﻧﺪ‪ .‬ﭼﻬﺎﺭ ﺻﻒ ﺍﺯ ﻣﺴﺎﻓﺮﺍﻥ‪ ،‬ﻣﺮﺗﺐﺷﺪﻩ ﻣﻴﺎﻥ ﻧﺮﺩﻩﻫﺎﻳﻰ ﺍﺯ ﺁﻟﻮﻣﻴﻨﻴﻮﻡ‬ ‫ﻛﻪ ﺑﻪ ﺍﺳﻜﻠﻪﻫﺎﻯ ﻛﺮﺍﻧﻪ ﻣﻨﺘﻬﻰ ﻣﻰﺷﺪﻧﺪ ﻭ ﻣﻮﻧﺎ ﺩﺭ ﻣﻴﺎﻥ ﺻﻒ ﺧﻠﻮﺕﺗﺮ‪ .‬ﻣﻨﺘﻈﺮ ﺩﺭ ﺍﻧﺘﻬﺎﻯ ِ‬ ‫ﺻﻒ‬ ‫ﺍﻭ‪ ،‬ﺭﻭﻯ ﺁﺏ‪ ،‬ﻗﺎﻳﻘﻰ ﺑﻮﺩ ﺑﻰﺑﺎﺩﺑﺎﻥ ﻭ ﻛﺎﻣﻼ ﭼﻮﺑﻰ‪ ،‬ﺑﺎ ﮔﻨﺠﺎﻳﺶ ﺍﺣﺘﻤﺎﻻً ﭘﻨﺠﺎﻩ ﻧﻔﺮ ﻳﺎ ﻫﻤﭽﻮ ﭼﻴﺰﻯ‪.‬‬ ‫ﭼﺸﻢﻫﺎﻳﻰ ﻟﻴﺰﺭﻯ ﺗﻌﺒﻴﻴﻪ ﺷﺪﻩ ﺭﻭﻯ ﻧﺮﺩﻩﻫﺎ ﺑﺎ ﺿﺮﺑﺎﻥ ﺑﻴﺴﺖ ﻭ ﭼﻬﺎﺭ ﺗﺎ ﺩﺭ ﺛﺎﻧﻴﻪ ﭼﺸﻤﻚ ﻣﻰﺯﺩﻧﺪ‬ ‫ﭼﺸﻢ ﻧﺎﺷﻰ ﻓﻘﻂ ﭼﺮﺍﻍﻫﺎﻯ ﺗﺰﻳﻴﻨﻰ ﺳﺮﺧﻰ ﻣﻰﺭﺳﻴﺪﻧﺪ ﻭ ﺻﻒﻧﮕﻪﺩﺍﺭﻫﺎ‪ ،‬ﻣﺎﻣﻮ ِﺭ ﺳﻮﺍﺭ ﻛﺮﺩﻥ‬ ‫ﻭ ﺑﻪ‬ ‫ِ‬ ‫ﻣﺴﺎﻓﺮﺍﻥ‪ ،‬ﺑﻴﻦ ﺻﻒ ﻭ ﻗﺎﻳﻖ ﻣﺮﺑﻮﻃﻪ ﻣﻰﻧﺸﺴﺘﻨﺪ‪ ،‬ﺑﺎ ﻣﺎﻧﻴﺘﻮ ِﺭ ﺍﺯ ﻣﺪ ﺍﻓﺘﺎﺩﻩﺍﻯ ﺟﻠﻮﻳﺸﺎﻥ ﻛﻪ ﺍﻃﻼﻋﺎﺕ‬ ‫ﺍﺳﻜﻦ ﺷﺪﻩ ﺭﺍ ﺍﺯ ﺷﺒﻜﻪﻯ ﭼﺸﻢﻫﺎﻯ ﻟﻴﺰﺭﻯ ﻣﻰﮔﺮﻓﺖ ﻭ ﻣﺴﺎﻓﺮﻫﺎ ﺭﺍ ﺗﻮ ﺑﺴﺘﻪﻫﺎﻯ ﻣﺨﺼﻮﺹﺷﺎﻥ‬ ‫ﺟﺎ ﻣﻰﺩﺍﺩ‪ .‬ﺩﺭ ﻣﻘﺎﺑﻞ ِ‬ ‫ﺻﻒ ﻣﻮﻧﺎ ﺍﻣﺎ ﭘﻴﺮﻣﺮ ْﺩ ﺍﻳﺘﺎ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ .‬ﻇﺮﻳﻒ‪ ،‬ﺑﺎ ﺭﻳﺶ ﻧﻮﻙﺗﻴﺰﻯ ﻛﻪ ﺍﺯ ﺯﻳﺮ‬ ‫ِ‬ ‫ﺁﻫﻦ ﺳﻴﺎﻫﺶ ﺑﻴﺮﻭﻥ ﺯﺩﻩ ﺑﻮﺩ‪ .‬ﺷﻠﻮﺍﺭ ﻭ ﺑﺎﺭﺍﻧﻰ ﺳﻴﺎﻩ ﺑﻪ ﺗﻦ‪ ،‬ﻧﺸﺴﺘﻪ ﺭﻭﻯ ﺻﻨﺪﻟﻰ ِ ﭼﺮﺥﺩﺍﺭﻯ‪،‬‬ ‫ﻣﺎﺳﻚ ِ‬ ‫ﺷﻜﻢ‬ ‫ﺑﻰﺁﻥﻛﻪ ﻣﺎﻧﻴﺘﻮﺭﻯ ﺩﺭ ﻣﻘﺎﺑﻠﺶ ﺑﺎﺷﺪ‪ .‬ﺯﻳﺮ ﺑﺎﺭﺍﻧﻰ ﭼﻴﺰﻯ ﻧﭙﻮﺷﻴﺪﻩ ﺑﻮﺩ ﻭ ﺩﺭ ﻧﻮﺭ ﺑﻨﺪﺭﻯ ﻣﻰﺷﺪ‬ ‫ِ‬ ‫ﭼﺮﻭﻛﻴﺪﻩﻯ ﺍﻧﺴﺎﻧﻰﺍﺵ ﺭﺍ ﺩﻳﺪ ﻛﻪ ﺑﺎﻻﺗﺮ ﺑﻪ ﻗﻔﺴﻪﻯ ﺳﻴﻨﻪﻯ ﺁﻛﺎﺭﺩﺋﻮﻧﻰﺍﻯ ﻭﺻﻞ ﻣﻰﺷﺪ‪ .‬ﻗﻔﺴﻪﻯ‬ ‫ﺳﻴﻨﻪﺍﺵ ﻣﺪﺍﻡ ﺳﻮﺕ ﻣﻰﻛﺸﻴﺪ‪ ،‬ﺩﺭ ﺩﻡﻫﺎ ﺯﻳﺮ ﻭ ﺑﺎ ﺑﺎﺯﺩﻡﻫﺎ ﺑﻢ‪ .‬ﭘﺮﻩﻫﺎﻯ ﻓﻠﺰﻯ‪ ،‬ﻣﺘﻘﺎﺭﻥ‪ ،‬ﺑﺎ ﺭﺷﺘﻪﻫﺎﻳﻰ‬ ‫ِ‬ ‫ﺳﺨﺖ ﭘﻴﺮﻣﺮﺩ‬ ‫ﻛﻪ ﺑﻪ ﻧﻈﺮ ﺑﺎﻓﺖ ﺯﻧﺪﻩ ﻭ ﮔﻮﮔﺮﺩﻯ ﺍﺑﻠﻴﺲ ﻣﻰﺭﺳﻴﺪ ﺑﻪ ﻫﻢ ﻣﺘﺼﻞ ﺑﻮﺩﻧﺪ ﻭ ﺩﺭ ﺗﻨﻔﺲ‬ ‫ﻋﻴﻦ ﺁﺑﺸﺶ ﺑﺎﺯ ﻭ ﺑﺴﺘﻪ ﻣﻰﺷﺪﻧﺪ ﻭ ﺑﺎﺭﺍﻧﻰ ﺭﺍ ﺑﺎ ﺧﻮﺩﺷﺎﻥ ﺑﺎﻻ ﻭ ﭘﺎﻳﻴﻦ ﻣﻰﺑﺮﺩﻧﺪ‪ .‬ﺑﺎﻻﺗﺮ‪ ،‬ﺟﺎﻳﻰ ﻛﻪ‬ ‫ﺑﺎﻳﺪ ﺗﺮﻗﻮﻩﻫﺎ ﺷﺮﻭﻉ ﻣﻰﺷﺪ ﻟﻮﻟﻪﻫﺎﻳﻰ ﺁﺳﻴﺐﭘﺬﻳﺮ‪ ،‬ﺑﺮﺍﻕ‪ ،‬ﺣﻠﻘﻮﻯ‪ ،‬ﺍﺯ ﺷﺶﻫﺎ ﺑﻴﺮﻭﻥ ﻣﻰﺁﻣﺪ ﻭ ﺭﻭﻯ‬ ‫‪47‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﺑﺎﺑﺖ ﻋﺸﻖ ﺍﺯ ﺩﺳﺖﺭﻓﺘﻪ ﺩﻳﻮﺍﻧﻪ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺑﻌﻀﻰﻫﺎﻳﺸﺎﻥ ﭼﻨﺎﻥ ﻗﺪﻳﻤﻰ ﺑﻮﺩﻧﺪ ﻛﻪ ﺣﺎﻝ ﻣﻮﻧﺎ ﺭﺍ‬ ‫ﺑﻪ ﻫﻢ ﻣﻰﺯﺩﻧﺪ‪ ،‬ﺳﻴﺎﻩ ﻭ ﺳﻔﻴﺪ‪ ،‬ﻣﻤﻠﻮ ﺍﺯ ﻧﻮﻳﺰ‪ .‬ﻻﺑﻪﻻﻯ ﻓﻴﻠﻢﻫﺎ ﺁﮔﻬﻰﻫﺎ ﭘﺨﺶ ﻣﻰﺷﺪ ﻭ ﺍﻳﻦ ﻭﻗﺘﻰ‬ ‫ﺑﻮﺩ ﻛﻪ ﻫﻤﻪ‪ ،‬ﺣﺘﻰ ﭘﺪﺭ ﻛﻪ ﺁﻥﻭﻗﺖﻫﺎ ﺭﺍﻧﻨﺪﻩﻯ ﻟﻮﺩﺭ ﺑﻮﺩ‪ ،‬ﻣﺤﻜﻢ ﭘﺎﻯ ﺻﻮﺭﺕ ﭘﻮﺷﻴﺪﻩ ﺩﺭ ﻛﺮﻙ‬ ‫ﺍﻟﻜﺘﺮﺳﻴﺘﻪﺳﺎﻛﻦ ﺗﻠﻮﻳﺰﻳﻮﻥ ﻣﻰﻧﺸﺴﺘﻨﺪ‪ ،‬ﻋﻴﻦ ﻣﺮﻍﻫﺎ ﺗﻮ ﻗﻔﺴﻪﻫﺎﻯ ﻣﺮﻍﺩﺍﺭﻯ‪ .‬ﺣﺎﻻ ﺑﻪ ﻭﺿﻮﺡ ﺁﮔﻬﻰ‬ ‫ﺷﺮﻛﺖ ﺷﻴﻼﺕ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﻣﻰﺁﻭﺭﺩ‪ .‬ﺍﻧﻴﻤﻴﺸﻦ ﻫﺰﺍﺭ ﺭﻧﮕﻰ ﺑﻮﺩ‪ .‬ﺷﺮﻭﻋﺶ ﺑﭽﻪﻫﺎﻳﻰ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩ ﺗﻮ‬ ‫ﺩﺍﻻﻧﻰ ﻛﻢﻧﻮﺭ‪ ،‬ﺑﻪ ﺻﻒ ﺍﻳﺴﺘﺎﺩﻩ‪ .‬ﺩﺭ ﺗﺎﺭﻳﻚﺭﻭﺷﻦ ﭘﺸﺖ ﺳﺮﺷﺎﻥ ﺁﻗﺎﻳﺎﻥﻫﺎﻯ ﻗﺼﺎﺏ‪ ،‬ﺭﻭﭘﻮﺵ ﺳﻔﻴﺪ‬ ‫ﺑﻪ ﺗﻦ‪ ،‬ﺩﺳﺖ ﺍﺯ ﻛﺎﺭ ﻛﺸﻴﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﺑﺎ ﻟﺒﺨﻨﺪﻯ ﺁﺭﺯﻭﻣﻨﺪ ﺑﭽﻪﻫﺎ ﺭﺍ ﺗﻤﺎﺷﺎ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺳﺮ ﺻﻒ ﺁﻗﺎﻯ‬ ‫ﺷﻴﻜﻰ‪ ،‬ﺳﻜﻪﺍﻯ ﺑﻪ ﺩﺳﺖ ﺑﭽﻪﻫﺎ ﻣﻰﺩﺍﺩ ﻭ ﺑﭽﻪﻫﺎ ﺑﻪ ﻧﻮﺑﺖ ﺍﺯ ﻓﻀﺎﻯ ﺩﺍﻻﻥ ﺑﻪ ﺑﻴﺸﻪﺍﻯ ﺳﺒﺰ ﺩﺭ‬ ‫ﺁﻥﺳﻮ ﻣﻰﺩﻭﻳﺪﻧﺪ‪ .‬ﺍﺯ ﻻﺑﻪﻻﻯ ﭼﻤﻦﻫﺎ ﻭ ﺳﻨﺠﺎﺏﻫﺎ ﻭ ﺗﻮﻟﻪ ﺧﺮﺱﻫﺎﻯ ﻣﺴﺖ ﻭ ﺗﭙﻪﺳﺎﺭﻫﺎ ﻭ ﺩﺭﺧﺘﺎﻥ‬ ‫ﻭ ﺍﻧﻮﺍﺭ ﻧﻮﺭ‪ ،‬ﺧﻨﺪﺍﻥ ﭘﻰ ﻫﻢ ﻣﻰ ﮔﺬﺍﺷﺘﻨﺪ‪ .‬ﺑﻌﺪ ﺑﻪ ﻣﻴﺰﻯ ﻣﻰﺭﺳﻴﺪﻧﺪ ﻛﻪ ﺗﻮ ﻣﺤﻮﻃﻪﻯ ﻣﺤﺼﻮﺭ ﺑﻴﻦ‬ ‫ﺩﺭﺧﺘﺎﻥ‪ ،‬ﻛﻨﺎﺭ ﺑﺮﻛﻪﺍﻯ ﭼﻴﺪﻩ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺣﻴﻮﺍﻧﺎﺕ ﺑﻴﺸﻪ ﺑﻪ ﺗﻤﺎﺷﺎ ﺁﻣﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺑﭽﻪﻫﺎ ﻣﻰﻧﺸﺴﺘﻨﺪ ﻭ‬ ‫ﺑﻌﺪ ﺧﻴﻞ ﻣﺎﻫﻰﻫﺎﻯ ﭘﺮﺩﺍﺭ ﺍﺯ ﺁﺏ ﺑﻴﺮﻭﻥ ﻣﻰﺁﻣﺪﻧﺪ‪ .‬ﺗﻮ ﺑﺸﻘﺎﺏ ﺑﭽﻪﻫﺎ ﺑﻪ ﭘﻬﻠﻮ ﻣﻰﺍﻓﺘﺎﺩﻧﺪ ﻭ ﺑﺎ ﻟﺒﺨﻨﺪ‬ ‫ﻧﺮﻣﻰ ﺍﺯ ﺭﺿﺎﻳﺖ ﺁﻭﺍﺯ ﻣﻰﺧﻮﺍﻧﺪﻧﺪ ﻭ ﺑﻪ ﺧﻮﺭﺍﻙ ﻣﺎﻫﻰ ﻛﺒﺎﺏ ﺷﺪﻩ ﺗﺒﺪﻳﻞ ﻣﻰﺷﺪﻧﺪ‪ .‬ﺩﻭﻟﺖ ﻭﺭﺷﻜﺴﺘﻪ‬ ‫ﺑﻮﺩ ﻭ ﻏﺬﺍﻯ ﮔﻮﺷﺖ ﻗﺮﻣﺰ ﻣﻨﻘﺮﺽ ﻣﻰﺷﺪ ﻭ ﺍﻳﻦ ﺗﺒﻠﻴﻐﻰ ﺑﻮﺩ ﺑﺮﺍﻯ ﺩﻋﻮﺕ ﻣﺮﺩﻡ ﺑﻪ ﺧﺮﻳﺪﻥ ﺳﻬﺎﻡ‬ ‫ﺷﺮﻛﺖ ﺷﻴﻼﺕ‪ .‬ﺳﺮﺁﺧﺮ ﺳﻜﻪﺍﻯ ﺍﺯ ﺩﺳﺖ ﺑﭽﻪﺍﻯ ﺑﻴﺮﻭﻥ ﻣﻰﺟﻬﻴﺪ ﻭ ﻫﻤﻪﻯ ﺻﻔﺤﻪﻯ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺭﺍ‬ ‫ﭘﺮ ﻣﻰﻛﺮﺩ‪ .‬ﺗﺼﻮﻳﺮ ﺣﻚ ﺷﺪﻩ ﺭﻭﺵ‪ ،‬ﺍﻧﺒﻮﻩ ﻣﺮﺩﻡ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩ ﻛﻪ ﻛﻨﺎﺭ ﻃﺮﺡ ﺳﺎﺩﻩﺍﻯ ﺍﺯ ﺧﺰﺭ‪ ،‬ﺑﺎﺯﻭ‬ ‫ﺑﻪ ﺑﺎﺯﻭﻯ ﻫﻢ‪ ،‬ﻣﺎﻫﻰ ﻣﻰﮔﺮﻓﺘﻨﺪ‪.‬‬ ‫ﻣﻮﻧﺎ ﺍﺯ ﺷﻴﻔﺘﮕﻰ ﺑﻴﺮﻭﻥ ﺁﻣﺪ‪ .‬ﺑﻪ ﭼﻮﺑﻚ ﺗﺴﺖ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺩﻗﻴﻖ ﺷﺪ‪ .‬ﺑﻌﺪ ﺩﻭﺭﺵ ﺍﻧﺪﺍﺧﺖ ﻭ ﺩﺳﺖ ﺑﻪ‬ ‫ﻛﺎﺭ ﺷﺪ‪ .‬ﻳﻚﻗﺪﺭﻯ ﻛﻮﻻ ﻭ ﻳﻚﻗﺪﺭﻯ ﺍﺯ ﭘﻮﺩﺭﻫﺎ ﺗﻮ ﺷﻴﺸﻪﻯ ﺩﻭﻏﻪ ﺭﻳﺨﺖ‪ .‬ﺑﻪﻫﻤﺶ ﺯﺩ ﻭ ﻣﻌﺠﻮﻥ‬ ‫ﻛﻮﻓﺘﻰ ﺭﺍ ﺳﺮ ﻛﺸﻴﺪ‪ .‬ﺗﻨﺪﺗﻨﺪ ﺍﺯ ﺗﻮﺍﻟﺖ ﺑﻴﺮﻭﻥ ﺁﻣﺪ‪ .‬ﺣﺎﻻ ﺩﻭﺑﺎﺭﻩ ﺭﻭ ﺩﻭ ﻃﺒﻘﻪﻯ ﺁﺧﺮ ﻣﻠﻜﻪ ﺑﻮﺩ‪،‬‬ ‫ﻻﺑﻪﻻﻯ ﻭﺳﺎﻳﻞ ﻧﻘﻠﻴﻪ ﺷﺨﺼﻰ‪ ،‬ﻣﺮﻛﺐﻫﺎ‪ ،‬ﻛﺎﻟﺴﻜﻪﻫﺎﻯ ﺑﺴﺘﻪ ﺑﻪ ﺑﺮﺩﻩ ﻭ ﻛﺎﻟﺴﻜﻪﻫﺎﻯ ﺑﺴﺘﻪ ﺑﻪ ﺣﻴﻮﺍﻥ‪،‬‬ ‫ﭼﺮﺥﺩﺍﺭ‪ ،‬ﺷﻨﺎﻭﺭ‪ ،‬ﻏﻠﺘﺎﻥ‪ .‬ﻻﺑﻪﻻﻯ ﺩﺳﺖﻓﺮﻭﺵﻫﺎ ﺑﺎ ﺷﻜﺎﺭﻫﺎﻯ ﺳﺮﺑﺮﻳﺪﻩ ﺁﻭﻳﺨﺘﻪ ﺑﻪ ﻧﺦﻫﺎﻳﺸﺎﻥ‪،‬‬ ‫ﺑﺮﻧﺞ ﺳﻮﺯﺍﻥ‪ .‬ﺍﻳﻦﺟﺎ ﺧﺮﺍﺏﺁﺑﺎﺩ‬ ‫ﻻﺑﻪﻻﻯ ﺣﺸﺎﺷﻴﻦ ﻭ ﻣﺴﺖﻫﺎ ﻭ ﺧﻤﺎﺭﻫﺎ‪ .‬ﻻﺑﻪﻻﻯ ﺑﻮﻯ ﻓﺴﺖﻓﻮﺩ‪ ،‬ﺑﻮﻯ ِ‬ ‫ﻣﺎﺳﻮﻧﻰ ﺑﻮﺩ ﺭﻭﺷﻦ ﺩﺭ ﻧﻮﺭ ﺳﻔﻴﺪﺵ‪ ،‬ﻣﺎﻟﻴﺨﻮﻟﻴﺎﻳﻰ‪ ،‬ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﺍﻧﮕﺎﺭ ﺑﻴﺮﻭﻥ ﺁﻣﺪﻩ ﺍﺯ ﺑﻰ‪-‬ﻣﻮﻭﻯﺍﻯ‬ ‫ﭘﺮﭼﻢ‬ ‫ﺑﻪ ﺗﻘﻠﻴﺪ ﺍﺯ ﻣﺤﻠﻪﻯﭼﻴﻨﻰﻫﺎ؛ ﻭ ﺍﺯ ﺍﻳﻦ ﺑﺎﺑﺖ‪ :‬ﺍﻃﻤﻴﻨﺎﻥﺑﺨﺶ‪ .‬ﺍﻣﺎ ﻣﻬﻢﺗﺮ ﺍﺯ ﻫﻤﻪ ﭼﻴﺰ ﺩﺭﻳﺎﭼﻪ‪.‬‬ ‫ِ‬ ‫ﺭﺯ ﺗﻴﺮﻩﻯ ﻻﻧﻪ ﺑﺎ ﺳﻄﺢ ﺭﺍﻛﺪ ﻗﻴﺮﻯﺍﺵ‪ ،‬ﭘﻮﺷﻴﺪﻩ ﺩﺭ ﺩﺳﺘﻤﺎﻝ ﻛﺎﻏﺬﻯ‪ ،‬ﺳﻴﻢ‪ ،‬ﺯﻧﮓ ﺁﻫﻦ‪ ،‬ﭘﻼﺳﺘﻴﻚ‬ ‫ﺷﺮﺣﻪ ﺷﺪﻩ‪ ،‬ﭼﻮﺏ‪ ،‬ﻇﺮﻑﻫﺎﻯ ﮔﻢﺷﺪﻩ‪ ،‬ﻛﺜﺎﻓﺖ‪ ،‬ﺍﻟﻜﻠﻞ‪ ،‬ﺳﻴﻠﻴﻜﻮﻥ‪ ،‬ﺍﻟﻮﺍﺡ ﻓﻮﻡ؛ ﺑﺎ ﺑﻨﺪﺭﮔﺎﻩﻫﺎﺵ ﻛﻪ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪46‬‬

‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﻛﻪ ﺣﺘﻤﺎ ﺳﻮﺍﺭ ﺑﺸﻮﺩ ﻭ ﺍﺯ ﻻﻧﻪ ﺑﻴﺮﻭﻥ ﺑﺮﻭﺩ‪ .‬ﺣﻮﺻﻠﻪ ﻧﻤﻰﻛﺮﺩ ﺟﺎﻯ ﺑﻬﺘﺮﻯ ﺑﺮﺍﻯ ﭘﺎﺩﺯﻫﺮ ﺳﺎﺧﺘﻦ ﭘﻴﺪﺍ‬ ‫ﺑﻜﻨﺪ‪ .‬ﻓﻜﺮ ﻛﺮﺩ ﺑﺒﻴﻨﻰ ﺣﺎﻻ ﺷﺎﻳﺪ ﺷﻠﻮﻏﻰ ﻛﻤﻜﺶ ﻫﻢ ﺑﻜﻨﺪ‪ .‬ﺑﻪ ﺳﻤﺖ ﺩﻳﻮﺍﺭ ﻣﻘﺎﺑﻞ ﺭﻓﺖ‪ .‬ﺩﺭ ﻓﺎﺻﻠﻪﻯ‬ ‫ِ‬ ‫ﺳﻴﻨﻚ ﻣﻘﺎﺑﻠﺶ ﺻﻨﺪﻟﻰﺍﻯ ﺭﻭ ﺑﻪ ﺳﻴﻨﻚ‪ ،‬ﺯﻳﺮ ﻳﻚ ﺧﺸﻚﻛﻦ ﺑﺮﻗﻰ ﺭﻫﺎ ﺑﻮﺩ‪ .‬ﺭﻭﻯ‬ ‫ﺑﻴﻦ ﻳﻚ ﻛﺎﺑﻴﻦ ﻭ‬ ‫ﺧﺸﻚﻛﻦ ﺗﺼﻮﻳ ِﺮ ﺩﻭ ﺩﺳﺖ ﺳﻴﺎﻩ ﺑﻮﺩ‪ ،‬ﺑﺮﻳﺪﻩ ﺍﺯ ﺳﺎﻋﺪ‪ ،‬ﺭﻭ ﺑﻪ ﺑﺎﻻ ﺟﺎﻳﻰ ﻛﻪ ﻟﻮﻟﻪﺍﻯ‪ ،‬ﻣﺜﻼ ﺩﻫﺎﻧﻪﻯ‬ ‫ﺧﺸﻚﻛﻦ‪ ،‬ﺭﺷﺘﻪﻫﺎﻳﻰ ﺍﺯ ﺑﺎﺩ ﺭﺍ ﻋﻴﻦ ﺑﺮﻛﺖ ﺑﺮﺍﻯ ﺩﺳﺖﻫﺎﻯ ﻣﻮﻣﻨﺎﻥ‪ ،‬ﺭﻭ ﺑﻪ ﭘﺎﻳﻴﻦ ﻣﻰﺭﻳﺨﺖ‪.‬‬ ‫ﻧﻴﺎﻛﺎﻥ ﻛﺎﺭﺁﻣﺪ ﺧﺸﻚﻛﻦ؛ ﺧﻮﺩ ﺧﺸﻚﻛﻦ‬ ‫ﻛﻮﺑﻰ ﻧﻮﺳﺘﺎﻟﮋﻳﻜﻰ ﺑﻮﺩ ﺍﺯ‬ ‫ِ‬ ‫ﺭﺍﻫﻨﻤﺎﻯ ﮔﺮﻭﺗﺴﻜﻰ ﺑﻮﺩ‪ ،‬ﺧﺎﻝ ِ‬ ‫ﺍﻣﺎ ﻋﻤﺮﻯ ﺑﻮﺩ ﻛﻪ ﻛﺎﺭ ﻧﻤﻰﻛﺮﺩ‪ .‬ﺭﻭﻯ ﺻﻨﺪﻟﻰ ﻧﺸﺴﺖ‪ .‬ﭘﺎﻛﺘﺶ ﺭﺍ ﺟﻮﺭﻳﺪ‪ .‬ﺳﺮﻧﮓ ﺭﺍ ﺑﻴﺮﻭﻥ ﺁﻭﺭﺩ‪ .‬ﺭگ‬ ‫ﺭﺍ ﺭﻭﻯ ﺩﺳﺖ ﭼﭙﺶ ﺟﺴﺖ‪ .‬ﺳﻮﺯﻥ ﺭﺍ ﻓﺮﻭ ﻛﺮﺩ‪ .‬ﺧﻮﻥ ﺭﺍ ﺑﻴﺮﻭﻥ ﻣﻜﻴﺪ‪ .‬ﺍﺯ ﻛﻢﺭﻧﮕﻰ ﺧﻮﻥ ﺟﺎ ﺧﻮﺭﺩ‪.‬‬ ‫ﭘﻴﺴﺘﻮﻝ ﺳﺮﻧﮓ ﺭﺍ ﺑﻪ ﺯﻭﺭ ﺩﺭ ﺁﻭﺭﺩ ﻭ ﻛﻨﺎﺭﻯ ﺍﻧﺪﺍﺧﺖ‪ .‬ﻣﺤﻔﻈﻪﻯ ﭘ ِﺮ ﺧﻮﻥ ﺭﺍ‬ ‫ﺳﻮﺯﻥ ﺭﺍ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪ‪.‬‬ ‫ِ‬ ‫ﻛﻪ ﺣﺎﻻ ﺳﺮﺑﺎﺯ ﺑﻮﺩ ﺑﻪ ﺩﻗﺖ ﺑﻪ ﻳﻚ ﺩﺳﺖ ﮔﺮﻓﺖ ﻭ ﺑﺎ ﺩﺳﺖ ﺩﻳﮕﺮ ﭼﻮﺑﻚ ﺗﺴﺖ ﺭﺍ ﺍﺯ ﺗﻮ ﭘﺎﻛﺖ ﺑﺎﻻ‬ ‫ﻛﺸﻴﺪ‪ .‬ﺟﻠﺪ ﺑﺴﺘﻪﺑﻨﺪﻯ ﺭﺍ ﺑﺎ ﺩﻧﺪﺍﻥ ﭘﺎﺭﻩ ﻛﺮﺩ‪ .‬ﭼﻮﺑﻚ ﺭﺍ ﺗﻮﻯ ﺧﻮﻥ ﻓﺮﻭ ﻛﺮﺩ‪ .‬ﻣﻨﺘﻈﺮ ﺷﺪ‪ .‬ﺧﻮﻥ ﺟﺬﺏ‬ ‫ﻣﻰﺷﺪ ﻭ ﺳﻄﺤﺶ ﺗﻮ ﻣﺤﻔﻈﻪﻯ ﺳﺮﻧﮓ ﭘﺎﻳﻴﻦ ﻣﻰﺭﻓﺖ‪ .‬ﭼﻮﺑﻚ ﺭﺍ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪ‪ .‬ﺧﻮﻥ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻩ‬ ‫ﺭﺍ ﺗﻮ ﺳﻴﻨﻚ ﻣﻘﺎﺑﻠﺶ ﺧﺎﻟﻰ ﻛﺮﺩ‪ .‬ﺑﺎﻳﺪ ﻣﻨﺘﻈﺮ ﻣﻰﺷﺪ ﺗﺎ ﭼﻮﺑﻚ ﺑﻪ ﺧﻮﻥ ﻋﻜﺲﺍﻟﻌﻤﻞ ﻧﺸﺎﻥ ﺑﺪﻫﺪ‪.‬‬ ‫ﺯﻧﻰ ﺍﺯ ﻳﻜﻰ ﺍﺯ ﺗﻮﺍﻟﺖﻫﺎ ﺑﻴﺮﻭﻥ ﺁﻣﺪ ﻭ ﺟﻠﻮﻯ ﺳﻴﻨﻜﻰ ﻛﻪ ﺗﻮ ﺣﻠﻖ ﻣﻮﻧﺎ ﺑﻮﺩ ﺑﻨﺎ ﻛﺮﺩ ﺑﻪ ﺩﺳﺖﻫﺎﻳﺶ‬ ‫ﺭﺍ ﺷﺴﺘﻦ‪ .‬ﺭﺍﻥﻫﺎﻯ ﭼﺎﻗﺶ ﻛﻪ ﺍﺯ ﺯﻳﺮ ﺩﺍﻣﻦ ﭼﺮﻣﻰ ﻛﻮﺗﺎﻫﻰ ﺑﻴﺮﻭﻥ ﺯﺩﻩ ﺑﻮﺩ‪ ،‬ﭘﻮﺷﻴﺪﻩ ﺩﺭ ﺟﻮﺭﺍﺏﻫﺎﻯ‬ ‫ﻣﺎﺷﻴﻦ ﻧﻮ ﻣﻰﺩﺍﺩ ﻭ ﻣﻮﻧﺎ ﺷﻴﺎﺭﻫﺎﻯ ﻭﺍﺭﻳﺲ ﺭﺍ‬ ‫ﻓﻴﺶﻧﺖ‪ ،‬ﺭﺍﺳﺖ ﺗﻮ ﺻﻮﺭﺕ ﻣﻮﻧﺎ ﺑﻮﺩ‪ .‬ﭘﻮﺳﺖ ﺯﻥ ﺑﻮﻯ‬ ‫ِ‬ ‫ﻻﺑﻪﻻﻯ ﺗﺮﻛﻴﺪﮔﻰﻫﺎﻯ ﭘﻮﺳﺖ ﺯﻧﻚ ﻣﻰﺩﻳﺪ‪ .‬ﺻﻨﺪﻟﻴﺶ ﺭﺍ ﻛﻤﻰ ﻋﻘﺐ ﻛﺸﻴﺪ‪ .‬ﻛﺎﺭ ﺯﻥ ﻛﻪ ﺗﻤﺎﻡ ﺷﺪ‬ ‫ﻛﻨﺎﺭ ﺭﻓﺖ‪ .‬ﺣﺎﻻ ﺯﻳﺮ ﺳﻴﻨﻚ‪ ،‬ﺩﺭ ﺭﻃﻮﺑﺖ ﺍﺑﺪﻯ‪ ،‬ﭘﻮﺳﺘﺮ ﺗﺒﻠﻴﻐﺎﺗﻰ ﺷﺮﻛﺖ ﺷﻴﻼﺕ ﺩﻳﺪﻩ ﻣﻰﺷﺪ‪ .‬ﺧﻴﻠﻰ‬ ‫ﻗﺪﻳﻤﻰ ﺑﻮﺩ ﻭ ﺩﺭ ﺷﺮﻩﻯ ﺁﺏ ﻭ ﺩﺭ ﺍﻳﻦ ﻫﻤﻪ ﺳﺎﻝ ﻛﭙﻚ ﺯﺩﻩ ﺑﻮﺩ؛ ﺍﻣﺎ ﻣﻮﻧﺎ ﺑﻼﻓﺎﺻﻠﻪ ﺑﺎﺯﺵ ﺷﻨﺎﺧﺖ‪.‬‬ ‫ﺭﻧﮓﻫﺎﻯ ﺷﺎﺩﺍﺑﺶ ﺯﻳﺮ ﭘﻮﺳﻴﺪﮔﻰ ﭘﻨﻬﺎﻥ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﭘﻮﺳﺘﺮ ﺑﺎ ﻗﻬﻮﻩﺍﻯِ ﺩﺭ ﺁﻣﻴﺨﺘﻪ ﺑﺎ ﺧﺎﻛﺴﺘﺮﻯِ‬ ‫ﻣﺎﻝ ﻭﻗﺘﻰ‬ ‫ﺗﻮﺍﻟﺖ ﻋﻤﻮﻣﻰ ﺍﺧﺖ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﭘﻮﺳﺘﺮ ﺍﺷﺎﺭﻩﺍﻯ ﺑﻮﺩ ﺑﻪ ﻳﻚ ﺁﮔﻬﻰ ﺑﺎﺯﺭﮔﺎﻧﻰ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ‪ِ ،‬‬ ‫ِ‬ ‫ﺑﺰﺭگ ﺑﻌﺪ ﺍﺯ ﺍﺳﺘﻘﻼﻝ ﺑﻮﺩ ﻭ ﺩﻭ ﺁﮔﻬﻰ ﺍﺯ ﻫﻤﻪ‬ ‫ﻛﻪ ﻣﻮﻧﺎ ﺧﻴﻠﻰ ﺑﭽﻪ ﺑﻮﺩ‪ .‬ﺁﻥﻭﻗﺖﻫﺎ ﺩﺭﻭﺍﻥ ﻗﺤﻄﻰ‬ ‫ﻭﻳﺘﺎﻣﻴﻦ ﺧﺎﻧﻢﻫﺎﻯ ﺧﺎﻧﻪﺩﺍﺭ‪ .‬ﺧﺎﻧﻢﻫﺎﻳﻰ‬ ‫ﺳﺮﮔﺮﻡﻛﻨﻨﺪﻩﺗﺮ ﺑﻮﺩﻧﺪ‪ .‬ﻳﻜﻰﺷﺎﻥ ﺁﮔﻬﻰﺍﻯ ﺑﻮﺩ ﺑﺮﺍﻯ ﻗﺮﺹ‬ ‫ِ‬ ‫ﺧﻨﺪﺍﻥ ﻗﺮﺹﻫﺎ ﺭﺍ ﺑﺎﻻ ﻣﻰﺍﻧﺪﺍﺧﺘﻨﺪ ﻭ ﺩﺭ ﻃﻮﻝ ﺭﻭﺯ ﺑﻰﻧﻴﺎﺯ ﺑﻪ ﻭﻋﺪﻩﻫﺎﻯ ﻏﺬﺍﻳﻰ ﺳﺮ ﻣﻰﻛﺮﺩﻧﺪ ﻭ‬ ‫ﺍﻳﻦ ﺟﻮﺭﻯ ﺩﺭ ﺟﻴﺮﻩﻯ ﻏﺬﺍﻳﻰ ﺻﺮﻓﻪﺟﻮﻳﻰ ﻣﻰﺷﺪ‪ .‬ﻣﻮﻧﺎ ﺍﺯ ﺍﻳﻦﺧﻮﺷﺶ ﻧﻤﻰﺁﻣﺪ‪ .‬ﺗﻮ ﺧﺎﻧﻪﺷﺎﻥ ﺧﺎﻧﻢ‬ ‫ﺧﺎﻧﻪﺩﺍﺭﻯ ﻫﻢ ﻧﺪﺍﺷﺘﻨﺪ‪ .‬ﻣﺤﺒﻮﺏ ﻣﻮﻧﺎ ﺁﻥ ﺩﻳﮕﺮﻯ ﺑﻮﺩ‪ ،‬ﺁﮔﻬﻰ ﺷﻴﻼﺕ‪ .‬ﺗﻠﻮﻳﺰﻳﻮﻥ ﻣﺪﺍﻡ ﻓﻴﻠﻢﻫﺎﻳﻰ‬ ‫ﭘﺨﺶ ﻣﻰﻛﺮﺩ ﻣﺎﻝ ﭼﻴﻨﻰﻫﺎ‪ ،‬ﺑﺪﻭﻥ ﺑﺮﻫﻨﮕﻰ‪ ،‬ﺩﺭ ﺑﺎﺏ ﮔﺮﺳﻨﮕﻰ‪ ،‬ﭘﺰﺷﻚﻫﺎﻯ ﻓﺪﺍﻛﺎﺭ ﻭ ﻣﺮﺩﺍﻧﻰ ﻛﻪ‬ ‫‪45‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﺣﺎﻝﺑﻪﻫﻢﺯﻥ‪ ،‬ﻳﺎﺩﺁﻭ ِﺭ ﺩﻣﭙﺎﻳﻰ ﺧﻴﺲ ﻭ ﺳﺒﺰ ﺷﺨﺺ ﻣﺴﻠﻮﻝ ﺑﻮﺩ ﻭ ﺑﻮﻯ ﻧﺎ ﻣﻰﺩﺍﺩ‪ .‬ﺁﺳﻔﺎﻟﺖ ﺍﻳﻦﺟﺎ ﻭ‬ ‫ﻣﺎﺷﻴﻦ ﺧﻮﺩﻛﺎ ِﺭ ﻣﻮﺍﺩ ﺍﻭﻟﻴﻪ ﭼﺸﻤﺶ ﺭﺍ‬ ‫ﺑﺮﻕ‬ ‫ﺁﻥﺟﺎ ﻋﻴﻦ ﻛﻬﻴﺮ ﺍﺯ ﻻﻯ ﻣﻮﺯﺍﻳﻴﻚﻫﺎ ﺑﻴﺮﻭﻥ ﺯﺩﻩ ﺑﻮﺩ‪ِ .‬‬ ‫ِ‬ ‫ﮔﺮﻓﺖ‪ .‬ﻋﻴﻦ ﻛﺎﺳﺐ ﭼﺎﻗﻰ ﻳﻠﻪ ﺑﻪ ﺩﻳﻮﺍﺭ ﮔﻮﺷﻪﺍﻯ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺟﻠﻮ ﺭﻓﺖ ﻭ ﻣﻘﺎﺑﻠﺶ ﺍﻳﺴﺘﺎﺩ‪ .‬ﻣﺎﺷﻴﻦ‬ ‫ﺩﻭ ﺑﺮﺍﺑﺮ ﻣﻮﻧﺎ ﻗﺪ ﻛﺸﻴﺪﻩ ﺑﻮﺩ ﻭ ﻭﻳﺘﺮﻳﻦ ﺷﻴﺸﻪﺍﻯﺍﺵ ﻫﻤﻪﺟﻮﺭ ﻣﻮﺍﺩ ﺍﻭﻟﻴﻪﻯ ﭘﺰﺷﻜﻰ‪ ،‬ﺧﻮﺭﺍﻛﻰ‪،‬‬ ‫ﺍﻣﻨﻴﺘﻰ ﺭﺍ ﭘﻴﺸﻨﻬﺎﺩ ﻣﻰﺩﺍﺩ‪ .‬ﺩﺭ ﺍﺭﺗﻔﺎﻉ ﺷﺎﻧﻪﻯ ﻣﻮﻧﺎ ﺍﺳﻼﺕِ ﺩﺍﺧﻞﻛﺮﺩﻥ ﭘﻮﻝ ﭼﺸﻤﻚ ﻣﻰﺯﺩ‪ .‬ﻛﻨﺎﺭ‬ ‫ﺍﺳﻼﺕ ﻛﻠﻴﺪ ﺍﺯ ﻣﺪ ﺍﻓﺘﺎﺩﻩﻯ ﻣﻐﻨﺎﻃﻴﺴﻰﺍﻯ ﺍﺯ ﭼﻨﺪ ﺭﺷﺘﻪ ﻧﺦ ﺁﻭﻳﺰﺍﻥ ﺑﻮﺩ‪ .‬ﻛﻠﻴﺪ ﻳﻚﺩﺳﺖ ﺳﻴﺎﻩ ﺑﻮﺩ ﺑﺎ‬ ‫ﺑﺮﺟﺴﺘﻪﻧﻮﺷﺘﻪﻫﺎﻳﻰ ﻧﻘﺮﻩﺍﻯ‪» :‬ﺑﻪﺷﻮﻥ ﭘﻮﻝ ﻧﻤﻰﺩﻳﻢ«‪ .‬ﺍﻟﺒﺘﻪ ﻛﻪ ﻧﻤﻰﺩﻳﻢ‪ .‬ﻛﻠﻴﺪ ﺭﺍ ﺩﺍﺧﻞ ﺍﺳﻼﺕ ﻛﺮﺩ‪.‬‬ ‫ﺍﺳﻼﺕ ﭼﺸﻤﻚ ﺯﺩﻥ ﺭﺍ ﻣﺘﻮﻗﻒ ﻛﺮﺩ‬ ‫ﺷﮕﻔﺘﺎ ﻛﻪ ﻫﻨﻮﺯ ﺍﻳﻦﺟﻮﺭ ﻛﻠﻴﺪﻫﺎﻯ ﺩﺯﺩﻯ ﺧﻮﺏ ﻛﺎﺭ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫ْ‬ ‫ﻭ ﺑﺎ ﻧﻮﺭ ﺍﻳﺴﺘﺎﻳﻰ ﺭﻭﺷﻦ ﺷﺪ‪ .‬ﻣﻮﻧﺎ ﺭﻭﻯ ﺻﻔﺤﻪ ﻛﻠﻴﺪ ﻛﺪ ﻳﻚ ﺳﺮﻧﮓ ﺭﺍ ﻭﺍﺭﺩ ﻛﺮﺩ ﻭ ﻛﺪ ﻳﻚ ﺗﺴﺖ‬ ‫ﺣﺎﻣﻠﮕﻰ ﺧﺎﻧﮕﻰ ﺭﺍ ﻭ ﻛﺪ ﻳﻚ ﺷﻴﺸﻪ ﺩﻭﻍ ﻭ ﻳﻚ ﺑﻄﺮﻯ ﻛﻮﻻ ﻭ ﺳﻪ ﺟﻮﺭ ﻣﺨﺘﻠﻒ ﭘﻮﺩﺭ ﺟﻮﺷﺎﻥ ﺭﺍ‪ .‬ﺍﺯ‬ ‫ﺩﺭﻳﭽﻪﺍﻯ ﭘﺎﻳﻴﻦ ﭘﺎﻯ ﻣﺎﺷﻴﻦ‪ ،‬ﻋﻴﻨﻬﻮ ﺳﻮﺭﺍﺧﻰ ﻛﻪ ﭘﻨﮕﻮﺋﻨﻰ ﻭﺳﻂ ﭘﺎﻫﺎﻳﺶ ﺩﺍﺭﺩ‪ ،‬ﺍﺟﻨﺎﺱ ﻣﻮﻧﺎ ﺑﻴﺮﻭﻥ‬ ‫ﺁﻣﺪﻧﺪ ﻭ ﭘﺸﺖﺑﻨﺪﺷﺎﻥ ﭘﺎﻛﺖ ﺑﺰﺭگ ﻛﺎﻏﺬﻯ ﺳﺮ ﺭﺳﻴﺪ‪ .‬ﺧﻢ ﻣﻰﺷﻮﺩ ﻛﻪ ﺧﺮﺕ ﻭ ﭘﺮﺕﻫﺎ ﺭﺍ ﺑﺮﺩﺍﺭﺩ‬ ‫ﻭ ﻭﻗﺖ ﺑﺎﻻ ﺁﻣﺪﻥ ﺷﺎﻧﻪﺍﺵ ﺑﻪ ﺑﺮﺁﻣﺪﮔﻰﺍﻯ ﺭﻭ ﻣﺎﺷﻴﻦ ﻣﻰﮔﻴﺮﺩ‪ .‬ﺩﺭﺩ ﻫﻮﺵ ﺍﺯ ﺳﺮﺵ ﻣﻰﺑﺮﺩ‪ .‬ﺻﺒﺢ‪،‬‬ ‫ﭘﻴﺶ ﺍﺯ ﻭﺭﻭﺩ ﺑﻪ ﻻﻧﻪ ﻭ ﭘﻴﺮﺯﻥ ﺍﻓﻠﻴﺞ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﻣﻰﺁﻭﺭﺩ‪ .‬ﺯﻣﺎﻥ ﭼﻨﺪﺍﻧﻰ ﻧﮕﺬﺷﺘﻪ‪ ،‬ﺍﻣﺎ ﻫﻤﭽﻨﺎﻥ ﻛﻪ‬ ‫ﺍﻳﻦﻃﻮﺭ ﻭﻗﺖﻫﺎ ﮔﻔﺘﻪﺍﻧﺪ‪ ،‬ﺧﺎﻃﺮﻩﻯ ﺁﺳﻴﺐﺩﻳﺪﮔﻰ ﺷﺎﻧﻪﺍﺵ ﺣﺎﻻ ﺑﺴﻴﺎﺭ ﺩﻭﺭ ﻭ ﻣﺤﻮ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ‪.‬‬ ‫ﺗﻤﺎﻡ ﺭﻭﺯﻯ ﻛﻪ ﭘﺸﺖ ﺳﺮ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ ﺩﺭ ﻧﻈﺮﺵ ﻋﻴﻦ ﺑﺎﻓﺘﻪﺍﻯ ﺍﺯ ﺗﺮﻣﺰﻫﺎ‪ ،‬ﺯﻥﻫﺎﻯ ﺩﻳﻮﺍﻧﻪ‪ ،‬ﺑﻤﺐﻫﺎ‪،‬‬ ‫ﻣﺘﺠﺎﻭﺯﺍﻥ ﭼﻨﺪﺻﺪﺍ‪ ،‬ﺧﻮﻥﺭﻳﺰﻯﻫﺎ‪ ،‬ﺍﺳﺘﺨﻮﺍﻥﺷﻜﺴﺘﻪﻫﺎ ﻭ ﻓﻠﺶ ﺩﻭﺭﺑﻴﻦ ﺑﻪ ﻫﻢ ﻣﻰﭘﻴﻮﻧﺪﺩ‪ .‬ﺩﻭﺑﺎﺭﻩ ﺭﺍﻩ‬ ‫ِ‬ ‫ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ‪ .‬ﺍﺯ ﻣﻘﺎﺑﻞ ﺗﻌﻤﻴﺮﮔﺎﻩ ﺗﺎﺯﻩﺗﺄﺳﻴﺴﻰ ﻣﻰﮔﺬﺭﺩ ﻭ ﺿﺮﺑﺎﻥ ﺩﺭﺩ ﺗﻮ ﺷﺎﻧﻪﺍﺵ ﺑﺎ ﺿﺮﺑﺎﺕ ﻓﻠﺰ ﺑﺮ ﻓﻠﺰ‬ ‫ﺩﺍﺧﻞ ﺗﻌﻤﻴﺮﮔﺎﻩ ﻳﻜﻰ ﻣﻰﺷﻮﺩ‪ .‬ﺟﻠﻮﺗﺮ ﺩﺍﺧﻞ ﺩﺳﺖﺷﻮﻳﻰ ﻋﻤﻮﻣﻰ ﻣﻰﭘﻴﭽﺪ ﻭ ﺁﻥﺗﻮ ﻭﺍﺭﺩ ﺑﺨﺶ ﺯﻧﺎﻧﻪ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﺗﻮﺍﻟﺖ ﺍﺗﺎﻗﻜﻰ ﺷﺎﻧﺰﺩﻩ ﻣﺘﺮﻯ ﺍﺳﺖ ﺑﺎ ﺳﻘﻒ ﻛﻮﺗﺎﻩ‪ ،‬ﺑﻪ ﺗﻤﺎﻣﻰ ﭘﻮﺷﻴﺪﻩ ﺍﺯ ﻛﺎﺷﻰﻫﺎﻯ ﭼﺮﻙ‪.‬‬ ‫ﺟﻨﺎﺡ ﺭﺍﺳﺖ ﺍﺗﺎﻕ ﺭﺍ ﺳﻪ ﻛﺎﺑﻴﻦ ﺗﻮﺍﻟﺖ ﺑﺎ ﺩﺭﻫﺎﻯ ﭼﻮﺑﻰﺷﺎﻥ ﺗﺴﺨﻴﺮ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﭼﻮﺏ ﺑﺴﻴﺎﺭ ﻗﺪﻳﻤﻰ‬ ‫ﺍﺳﺖ ﻭ ﺗﺤﻠﻴﻞ ﺭﻓﺘﻪ‪ ،‬ﻋﻴﻦ ﺁﺏﻧﺒﺎﺕ ﻣﺘﺮﻯ ﺭﺷﺘﻪﺭﺷﺘﻪ ﺷﺪﻩ‪ .‬ﺩﺭ ﺟﻨﺎﺡ ﭼﭗ ﺳﻪ ﺳﻴﻨﻚ ﺩﺳﺖﺷﻮﻳﻰ‬ ‫ﺳﺮﺍﻣﻴﻜﻰ ﺍﺳﺖ ﭼﺴﺒﻴﺪﻩ ﺗﻨﮓ ﻫﻢ‪ ،‬ﻛﺒﺮﻩ ﺑﺴﺘﻪ‪ .‬ﻣﻮﻧﺎ ﻏﺎﻓﻠﮕﻴﺮ ﺷﺪﻩ‪ .‬ﺍﻧﺘﻈﺎﺭ ﻧﺪﺍﺷﺖ ﺍﻳﻦﺟﺎ ﺭﺍ ﺍﻳﻦﻗﺪﺭ‬ ‫ﺷﻠﻮﻍ ﺑﻴﺎﺑﺪ‪ .‬ﺯﻥﻫﺎ ﻣﺪﺍﻡ ﺩﺭ ﺭﻓﺖ ﻭ ﺁﻣﺪ ﺑﻮﺩﻧﺪ‪ ،‬ﺑﺎ ﻣﻮﻫﺎﻯ ﻫﺰﺍﺭ ﺟﻮﺭﺷﺎﻥ ﻛﻪ ﻣﺜﻞ ﺍﻧﻮﺍﻉ ﭘﺮﻧﺪﻩﻫﺎ ﺭﻭ‬ ‫ﺳﺮﻫﺎﻳﺸﺎﻥ ﻻﻧﻪ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﻭ ﻣﻮﻧﺎ ﺟﺎﻯ ﺧﻠﻮﺗﻰ ﻻﺯﻡ ﺩﺍﺷﺖ‪ .‬ﺑﻨﺎ ﺩﺍﺷﺖ ﺩﺯ ﻧﻴﺘﺮﻭﻛﺴﻴﻦ ﺗﻮ ﺧﻮﻧﺶ‬ ‫ﺭﺍ ﺑﺴﻨﺠﺪ ﻭ ﻣﻌﺠﻮﻥ ﭘﺎﺩﺯﻫﺮ ﺩﺭﺳﺖ ﺑﻜﻨﺪ‪ .‬ﻗﺎﻳﻘﺮﺍﻥﻫﺎﻯ ﺩﺭﻳﺎﭼﻪ ﺑﻴﺸﺘﺮﺷﺎﻥ ﻣﺴﻠﻤﺎﻥ ﺑﻮﺩﻧﺪ ﻭ ﺗﻮ ﻣﺎﻩ‬ ‫ﺣﺮﺍﻡ ﻳﺎﺭﻭﻳﻰ ﺭﺍ ﻛﻪ ﻧﻴﺘﺮﻭﻛﺴﻴﻦ ﻣﺼﺮﻑ ﻛﺮﺩﻩ ﺑﺎﺷﺪ ﺳﻮﺍﺭ ﻧﻤﻰﻛﺮﺩﻧﺪ ﻭ ﻣﻮﻧﺎ ﺣﺎﻻ ﺧﻴﻠﻰ ﻧﻴﺎﺯ ﺩﺍﺷﺖ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪44‬‬

‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﻛﺘﻚﺯﺩﻥ ﻛﺴﻰ‪ ،‬ﺑﻪ ﺩﻣﺎﻍ ﻛﺴﻰ ﻛﻮﺑﻴﺪﻥ‪ ،‬ﺑﻪ ﺗﻒ ﻛﺮﺩﻥ ﺗﻮ ﺩﻫﻦ ﻳﺎﺭﻭﻫﺎ‪ ،‬ﺣﻮﺍﺱ ﻣﻮﻧﺎ ﺭﺍ ﺑﻪ ﺗﺪﺭﻳﺞ‬ ‫ﻣﺼﺮﻑ ﻣﻰﻛﺮﺩ‪ .‬ﺑﻌﺪ ﺭﺩ ﺳﻮﺯﺍﻧﻰ ﺭﻭﻯ ﮔﻮﻧﻪﺍﺵ‪ ،‬ﻋﻴﻦ ﺩﻡ ﺩﺍﻍ ﻧﻬﻨﮓ‪ ،‬ﺍﻭ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﺁﻭﺭﺩ‪ .‬ﻫﻤﺎﻥﺟﺎ‬ ‫ِ‬ ‫ﺗﻦ ﭘﻮﺷﻴﺪﻩ ﺍﺯ ﻋﺮﻕﺍﺵ ﻣﻰﻭﺯﻳﺪ ﻭ ﺧﻨﻜﻰ‬ ‫ﻛﻪ ﺑﻮﺩ ﺍﻳﺴﺘﺎﺩ‪ .‬ﺟﺮﻳﺎﻥ‬ ‫ﺍﻧﺪﻙ ﻫﻮﺍ ﺑﻪ ﺗﻮ ﺭﻓﺘﮕﻰﻫﺎﻯ ِ‬ ‫ﺳﻮﺭﺍﺥ‬ ‫ﭼﻨﺪﺵﺁﻭﺭﻯ ﺗﻮﻟﻴﺪ ﻣﻰﻛﺮﺩ‪ .‬ﺳﻮﺯﺷﻰ ﺗﻮ ﺩﺳﺘﺶ ﺣﺲ ﻛﺮﺩ‪ .‬ﻧﮕﺎﻫﺶ ﻛﺮﺩ‪ .‬ﺭﺩ ﺧﻮﻥ ﻛﻪ ﺍﺯ‬ ‫ِ‬ ‫ﺳﻮﺯﻥﻫﺎ ﺑﻴﺮﻭﻥ ﺭﻳﺨﺘﻪ ﺑﻮﺩ ﻣﺘﻌﺠﺒﺶ ﻛﺮﺩ‪ .‬ﺳﺮ ﺑﺎﻻ ﺁﻭﺭﺩ‪ .‬ﺁﻣﺒﻮﻻﻧﺴﻰ ﺭﺍ ﺩﻳﺪ ﻛﻪ ﺍﺯ ﻣﻴﺎﻥ ﺟﻤﻌﻴﺖ‬ ‫ﺁژﻳﺮ ﻣﻰﻛﺸﻴﺪ‪ .‬ﺭﺍﻧﻨﺪﻩ ﺳﺮ ﺑﻴﺮﻭﻥ ﺁﻭﺭﺩﻩ ﺑﻮﺩ‪ .‬ﺷﻼﻗﻰ ﺑﻪ ﺩﺳﺖ ﺩﺍﺷﺖ ﻭ ﺟﻤﻌﻴﺘﻰ ﺭﺍ ﻣﻰﺯﺩ ﻛﻪ ﺭﺍﻩ‬ ‫ﺭﺍ ﺳﺪ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫»ﺧﺎﻧﻢ ﺧﻮﺑﻴﺪ؟ ﻣﺎﺩﺭﺟﻨﺪﻩ ﺯﺩﻩﺗﻮﻥ‪ .‬ﻧﻪ؟ ﻣﻨﻢ ﺯﺩ! ﺧﻮﺑﻴﺪ ﺷﻤﺎ؟«‬ ‫ﺳﻤﺖ ﺻﺪﺍ ﺑﺮﮔﺸﺖ‪ .‬ﺩﺧﺘﺮ ﻧﻮﺟﻮﺍﻧﻰ ﺑﻮﺩ ﺑﺎ ﺻﻮﺭﺗﻰ ﺳﺮﺥ ﻭ ﺍﺳﺘﺨﻮﺍﻧﻰ ﻭ ﻻﺷﻪﻯ ﻣﺮﺩ ﺑﺮﻫﻨﻪﺍﻯ‪ ،‬ﭘﺎﺭﻩ‬ ‫ﺷﺪﻩ‪ ،‬ﺑﻪ ﭘﺸﺖ‪ .‬ﻣﻮﻧﺎ ﺟﺎ ﺧﻮﺭﺩ‪ .‬ﺟﻮﺍﺑﻰ ﻧﺪﺍﺩ‪ .‬ﺩﺧﺘﺮﻙ ﺧﻴﺮﻩ ﻧﮕﺎﻫﺶ ﻛﺮﺩ‪ .‬ﺑﻌﺪ ﺭﺍﻫﺶ ﺭﺍ ﮔﺮﻓﺖ‪ .‬ﺩﻭﺭ‬ ‫ﻛﻪ ﻣﻰﺷﺪ ﻣﻮﻧﺎ ﺗﺎﺯﻩ ﻣﻰﺗﻮﺍﻧﺴﺖ ﻻﺷﻪﻯ ﻣﺎﻧﻜﻦ ﭘﻼﺳﺘﻴﻜﻰ ِ ﺑﺪﺭﻧﮕﻰ ﺭﺍ ﺭﻭﻯ ﺩﻭﺵﺍﺵ ﺗﺸﺨﻴﺺ‬ ‫ﺑﺪﻫﺪ ﻛﻪ ﺍﻳﻦﺟﺎ ﻭ ﺁﻥﺟﺎ ﺳﻮﺧﺘﻪ ﻭ ﺁﺏ ﻭ ﺳﻮﺭﺍﺥ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻓﻬﻤﻴﺪ ﻛﻪ ﺑﺎﻳﺪ ﺧﻴﻠﻰ ﭘﺎﻳﻴﻦ ﺁﻣﺪﻩ ﺑﺎﺷﺪ‪،‬‬ ‫ﺑﻪ ﺁﺧﺮﻳﻦ ﻃﺒﻘﻪﻫﺎﻯ ﮔﻠﺒﺮگ »ﻣﻠﻜﻪ« ﺍﺣﺘﻤﺎﻻً‪ .‬ﺭﻓﺖ ﻛﻨﺎﺭ ﺩﻳﻮﺍﺭﻩ‪ .‬ﭼﻨﺪ ﻣﺘﺮﻯ ﭘﺎﻳﻴﻦﺗﺮ ﺭﻭﺷﻨﺎﻳﻰﻫﺎﻯ‬ ‫ﻛﻨﺎﺭ ﺩﺭﻳﺎﭼﻪ ﺭﺍ ﺩﺭ ﻋﻤﻴﻖﺗﺮﻳﻦ ﺟﺎﻯ ﻻﻧﻪ ﻣﻰﺩﻳﺪ ﻭ ﺑﻮﻯ ﺁﺏ ﺭﺍ ﺣﺲ ﻣﻰﻛﺮﺩ ﻭ ﺻﺪﺍﻯ ﻗﺎﻳﻖﻫﺎ ﺭﺍ‬

‫ﻣﻰﺷﻨﻴﺪ‪ .‬ﺗﻤﻨﺎﻯ ﺍﻳﻦ ﺭﺍ ﺩﺍﺷﺖ ﻛﻪ ﺯﻭﺩﺗﺮ ﺧﺎﺭﺝ ﺑﺸﻮﺩ‪ .‬ﺑﺮو ﻋﺰﯾﺰم‪ .‬ﺑﺮو ﮐﻪ ﭼﺸﻢﻫﺎت ﻣﺜﻞ ﭼﺸﻢﻫﺎی‬ ‫ﮐﺒﻮﺗﺮ اﺳﺖ‪ .‬زودﺗﺮ ﺧﺎرج ﺷﻮ!‬ ‫ﺯﻳﺮ ﺁﺳﻤﺎﻥ ِ ﺁﻧﺘﻴﻚ‪ ،‬ﺍﺳﻴﺪﻯ‪ ،‬ﺳﻠﺐ‪ ،‬ﺯﻣﻴﻦﺷﻨﺎﺧﺘﻰ‪ ،‬ﻛﻪ ﺑﻠﻨﺪﺍﻯ ﮔﻠﺒﺮگﻫﺎ ﻭ ﺗﺎﺭﻳﻜﻰ ﻭ ﺷﺒﻜﻪﻯ‬ ‫ﺗﻮﻧﻞﻫﺎﻯ ﺣﻤﻞ ﻭ ﻧﻘﻞ ﺍﺯ ﺩﻳﺪ ﭘﻨﻬﺎﻧﺶ ﻣﻰﻛﺮﺩ‪ ،‬ﻣﻮﻧﺎ ﺑﺎﻳﺪ ﭘﻴﺎﺩﻩ ﭘﺎﻳﻴﻦﺗﺮ ﻣﻰﺭﻓﺖ ﺗﺎ ﺑﻪ ﺑﻨﺪﺭﮔﺎﻩﻫﺎ ﺑﺮﺳﺪ‪.‬‬ ‫ﺭﺍﻩ ﺍﻓﺘﺎﺩ؛ ﺍﻣﺎ ﭼﻨﺪ ﻗﺪﻣﻰ ﺟﻠﻮﺗﺮ ﺑﺎﺯ ﺍﻳﺴﺘﺎﺩ‪ .‬ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩ ﻛﻪ ﻣﺎﻩ ﺣﺮﺍﻡ ﺍﺳﺖ ﻭ ﺧﻮﺩﺵ ﺭﺍ ﺷﮕﻔﺖﺯﺩﻩ‬ ‫ﻛﺮﺩ‪ .‬ﻣﺴﻴﺮﺵ ﺭﺍ ﺗﻐﻴﻴﺮ ﺩﺍﺩ‪ .‬ﺍﮔﺮ ﺩﺭﺳﺖ ﺣﺪﺱ ﺯﺩﻩ ﺑﺎﺷﺪ ﻭ ﺍﮔﺮ ﺍﻳﻦﺟﺎ ﻭﺍﻗﻌﺎً ﺁﺧﺮﻳﻦ ﻃﺒﻘﻪﻫﺎﻯ‬ ‫»ﻣﻠﻜﻪ« ﺑﻮﺩ‪ ،‬ﻫﻤﻴﻦﺟﺎﻫﺎ ﺑﺎﻳﺪ ﻣﺎﺷﻴﻦ ﺧﻮﺩﻛﺎﺭ ﻣﻮﺍﺩ ﺍﻭﻟﻴﻪﺍﻯ ﺑﻪ ﭼﺸﻤﺶ ﻣﻰﺧﻮﺭﺩ‪ .‬ﺗﺎ ﺩﻳﻮﺍﺭﻩﻯ‬ ‫ﻣﻘﺎﺑﻞ ﺟﺪﺍﺭﻩ‪ ،‬ﺍﺯ ﻣﻴﺎﻥ ﺟﻤﻌﻴﺖ ﭘﻴﺶ ﺭﻓﺖ ﻭ ﭼﺸﻢ ﺗﻴﺰ ﻛﺮﺩ‪ .‬ﺍﻳﻦﺟﺎ ﺩﻭ ﻃﺒﻘﻪﻯ ﺁﺧﺮ ﺑﻮﺩ‪ ،‬ﺟﺎﻳﻰ‬ ‫ﻛﻪ ﻻﻧﻪ ﺑﻪ ﻫﻢ ﻣﻰﺭﺳﻴﺪ‪ .‬ﺩﻳﺮﺯﻣﺎﻧﻰ ﭘﻴﺶ ﺍﺯ ﺑﺎﻗﻰ ﻃﺒﻘﺎﺕ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺗﻮ ﻳﻚﺟﺎﻫﺎﻳﻰ ﻫﻨﻮﺯ‬ ‫ﻣﺴﻜﻮﻧﻰ ﺑﻮﺩ‪ .‬ﺟﻨﮕﻞ ﭘﺎﺳﺘﻮﺭﺍﻟﻰ ﺩﺍﺷﺖ ﺍﺯ ﺑﻴﻠﺒﻮﺭﺩﻫﺎﻯ ﻗﺪﻳﻤﻰ ﻫﻨﻮﺯ ﺳﺮﭘﺎ‪ ،‬ﻧﺌﻮﻥﻫﺎ ﻭ ﺗﻠﻮﻳﺰﻳﻮﻥﻫﺎﻯ‬ ‫ﺭﻭ ﺑﻪ ﻛﻮﭼﻪ ﻛﻪ ﺑﻰﺟﻬﺖ ﻣﺪﺍﻡ ﺭﻭﺷﻦﺍﻧﺪ‪ .‬ﺩﺳﺖ ﻫﻴﭻﭼﻴﺰ ﺑﻪ ﺍﻳﻦﺟﺎ ﻧﻤﻰﺭﺳﻴﺪ؛ ﻧﻪ ﻧﻮﺭ‪ ،‬ﻧﻪ ﻗﺎﻧﻮﻥ ﻭ ﻧﻪ‬ ‫ﺣﺘﻰ ﺷﺒﻜﻪﻯ ﺣﻤﻞ ﻭ ﻧﻘﻞ ﺗﻮﻧﻞ‪ .‬ﭼﻜﻤﻪﻫﺎﻳﺶ ﺭﻭﻯ ﻛﻒﭘﻮﺵ ﺍﻳﻦﺟﺎ ﻳﻚﺟﻮﺭ ﭼﺴﺒﻨﺪﮔﻰ ﻧﺎﻣﻌﻤﻮﻝ‬ ‫ﺩﺍﺷﺖ‪ .‬ﻛﻒﭘﻮﺵ ﻣﻮﺯﺍﻳﻴﻚﻫﺎﻳﻰ ﺑﻮﺩ‪ ،‬ﺧﺎﻛﺴﺘﺮﻯ‪ ،‬ﺑﻴﻤﺎﺭﺳﺘﺎﻧﻰ ﺑﺎ ﺭﻳﺰﻩﺳﻨﮓﻫﺎﻳﻰ ﺗﻴﺮﻩ ﺗﻮ ﻣﻼﺗﺶ‪،‬‬ ‫‪43‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﻣﻮﻧﺎ ﺑﻪ ﺧﻮﺍﺏ ﻣﻰﺭﻭﺩ‪ .‬ﺑﻌﺪ ﺍﺯ ﺧﻮﺍﺏ ﻣﻰﭘﺮﺩ‪ .‬ﺭﻭﺷﻨﺎﻳﻰ ﺳﻬﻤﮕﻴﻨﻰ ﺑﻪ ﺭﻧﮓ ﺧﻮﻥ‪ ،‬ﮔﺬﺭﺭﺍﻥ ﺍﺯ‬ ‫ﻣﻮﻯﺭگﻫﺎﻯ ِ‬ ‫ﭘﻠﻚ ﻓﻜﺴﺘﻨﻰﺍﺵ‪ ،‬ﺑﻪ ﻣﻐﺰﺵ ﻣﻰﺩﻣﺪ‪ .‬ﭼﺸﻢ ﺑﺎﺯ ﻣﻰﻛﻨﺪ‪ .‬ﻧﻮﺭ‪ ،‬ﻋﻴﻦ ﺩﻣﺎﻏﻪﻯ ﻋﻤﻮﺩﻯِ‬ ‫ﻛﺸﺘﻰﺍﻯ ﻣﻐﺮﻭﻕ‪ ،‬ﺍﺯ ﻓﺮﻕ ﻣﻬﻨﺪﺱ ﻛﻮﭼﻮﻟﻮﻫﻪ ﻧﺸﺖ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻃﺮﺍﻑ ﺳﺮ ﻣﺮﺩ ﺭﺍ ﻫﺮﻣﻰ ﺩﻳﺪﻧﻰ‬ ‫ﭘﻮﺷﺎﻧﺪﻩ‪ .‬ﻣﻮﻧﺎ ﺣﺲ ﻣﻰﻛﻨﺪ ﻫﻤﻴﻦ ﺣﺎﻻ ﺟﺎﻧﺶ ﺍﺯ ﻣﺤﻞ ﺍﺗﺼﺎﻝ ﺑﺎﺯﻭﻯ ﻓﻮﻻﺩﻳﺶ ﻭ ﺳﺎﻋﺪﺵ ﺩﺭ‬ ‫ﺧﻮﺍﻫﺪ ﺭﻓﺖ‪ .‬ﺳﻮﺍﺭ ﺳﻮﺭﺗﻤﻪﺍﻯ ﺭﻭﻯ ﺑﺮﻑ ﻣﻰﺭﻓﺘﻨﺪ ﻭ ﺧﻴﻠﻰ ﺗﺮﺳﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺯﻳﺮ ﮔﻮﺵﺍﺵ ﻣﻰﮔﻔﺘﻨﺪ‬ ‫»ﻣﻮﻧﺎ ﻣﻮﻧﺎ‪ .‬ﻫﻴﭻ ﻧﺘﺮﺱ ﻋﺰﻳﺰﻡ‪ .«.‬ﻛﻨﺎﺭ ﻣﺮﺩﺍﺏ ﻳﻚ ﮔﻮﺵﻣﺎﻫﻰ ﭘﻴﺪﺍ ﻣﻰﻛﺮﺩ ﻭ ﻳﻚ ﺫﺭﻩ ﺁﺑﻰ ﻛﻪ‬ ‫ﺗﻮﺵ ﺑﻮﺩ ﺭﺍ ﺳﺮ ﻣﻰﻛﺸﻴﺪ ﻭ ﻣﻰﺗﺮﺳﻴﺪ ﻛﻪ ﻣﺒﺎﺩﺍ ﻣﺮﻳﺾ ﺑﺸﻮﺩ‪ .‬ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﭘﺮﻳﻮﺩ ﻣﻰﺷﺪ‪ ،‬ﺧﻴﻠﻰ‬ ‫ﻣﻰﺗﺮﺳﻴﺪ‪ .‬ﻭ ﺑﻌﺪ ﻛﻪ ﺑﻪ ﻫﻮﺵ ﺁﻣﺪ ﻣﻬﻨﺪﺱ ﻛﻮﭼﻮﻟﻮﻫﻪ ﺭﻭ ﺯﻣﻴﻦ ﻭﺍﮔﻦ ﻣﺮﺩﻩ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﭼﺸﻢﻫﺎﻳﺶ‬ ‫ﺟﺰﻏﺎﻟﻪ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻭﺍﮔﻦ ﻛﻨﺎﺭ ﺩﺭﻳﭽﻪﺍﻯ ﺍﻳﺴﺘﺎﺩﻩ‪ ،‬ﺩﺭ ﺑﺎﺯ ﺍﺳﺖ‪ ،‬ﻳﺎﺭﻭﻫﺎ ﻣﻨﺘﻈﺮﻧﺪ ﻛﻪ ﺍﻓﺮﺍﺩ ﺟﻤﻊﺁﻭﺭﻯ‬ ‫ﻣﻬﻨﺪﺱ ﺑﺎ‬ ‫ﺑﻴﺎﻳﺪ ﻭ ﻻﺷﻪ ﺭﺍ ﺑﺒﺮﻧﺪ‪ .‬ﺩﺭ ﺑﻠﻮﺭﻯ ﻛﻪ ﺭﻭﻯ ﭼﺸﻢﻫﺎﻳﺶ ﺭﻭﻳﻴﺪﻩ‪ ،‬ﻣﺤﻮ ﺍﺯ ﮔﻮﺷﻪﻯ ﭼﺸﻢ‬ ‫ْ‬ ‫ﮔﺮﺩﻥ ﻛﺮﮔﺪﻥ ﺭﺍ ﻣﻰﺑﻴﻨﺪ ﻛﻪ ﺩﻭ ﺍﻟﻜﺘﺮﻭﺩ ﻛﺮﺑﻨﻰ ﺭﺍ ﺑﻪ ﺳﻮﺯﻥﻫﺎﻯ ﺭﻭﻯ ﺳﺎﻋﺪ ﺍﻭ ﻭﺻﻞ ﻣﻰﻛﻨﺪ ﻭ‬ ‫ِ‬ ‫ﺑﺎ ﺻﺪﺍﻯ ﻗﻤﺮﻳﻚ ﺑﻴﭽﺎﺭﻩﺍﻯ ﻣﻰﮔﻮﻳﺪ‪» :‬ﺍﻻﻥ ﺟﺪﺍﺗﻮﻥ ﻣﻰﻛﻨﻢ ﺧﺎﻧﻢ‪ .‬ﺷﺮﻣﻨﺪﻩﺍﻡ‪ .‬ﺣﺎﻻ ﺧﻮﺑﻴﺪ؟ ﺑﻪ‬ ‫ﻫﻮﺷﻴﺪ؟ ﭼﻴﺰﻳﺘﻮﻥ ﻛﻪ ﻧﺸﺪﻩ؟« ﻭ ﺩﺭ ﺗﻤﺎﻡ ﺍﻳﻦ ﻣﺪﺕ ﺍﻟﻜﺘﺮﻭﺩﻫﺎﻯ ﺩﻳﮕﺮﻯ ﺭﺍ ﺩﺭ ﺁﻥ ﺳﺮ ﺩﻳﮕﺮ ﺳﻴﻢﻫﺎ‪،‬‬ ‫ﺑﻪ ﺟﻌﺒﻪ ﺗﻘﺴﻴﻤﻰ ﻛﻪ ﺭﻭ ﺷﻜﻤﺶ ﺩﺍﺭﺩ ﻭﺻﻞ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻣﻮﻧﺎ ﺭﺍ ﻫﻮﻝ ﻧﺎﺟﻮﺭﻯ ﺑﺮﺩﺍﺷﺘﻪ‪ .‬ﺍﺯ ﻃﺮﻑ ﺗﺎ ﺳﺮ ﺣﺪ ﻣﺮگ ﻣﻰﺗﺮﺳﺪ‪ .‬ﺍﺯ ﺻﺪﺍﻳﺶ‪ ،‬ﺍﺯ ﺭﻳﺶ ﺑﻠﻨﺪﺵ ﻭ‬ ‫ﺍﺯ ﺑﺮﻳﺪﮔﻰﻫﺎﻯ ﺑﺘﻮﻧﻪﻛﺎﺭﻯ ﺷﺪﻩ ﺭﻭ ﮔﺮﺩﻧﺶ‪ .‬ﻟﻤﻴﺪﻩ ﺭﻭ ﻧﻴﻤﻜﺖ ﻭﺍﮔﻦ‪ ،‬ﻫﻨﻮﺯ ﺑﻰﺟﺎﻥ‪ ،‬ﺩﺳﺘﺶ ﺭﺍ ﺑﻪ‬ ‫ﺷﺪﺕ ﭘﺲ ﻣﻰﻛﺸﺪ‪ .‬ﺳﻮﺯﻥﻫﺎ ﺍﺯ ﺳﺎﻋﺪﺵ ﺑﻴﺮﻭﻥ ﻣﻰﺁﻳﻨﺪ ﻭ ﺧﻮﻥ ﺍﺯ ﺳﻮﺭﺍﺥﻫﺎﻯ ﺭﻳﺰ ﺁﺭﺍﻡ ﺑﻴﺮﻭﻥ‬ ‫ﻣﻰﺭﻳﺰﺩ‪ .‬ﻣﻮﻧﺎ ﺭﻭﻯ ﭘﺎﻫﺎﻳﺶ ﺑﻨﺪ ﻣﻰﺷﻮﺩ‪ .‬ﻫﻞ ﻣﻰﺩﻫﺪ‪ ،‬ﻫﻞ ﻣﻰﺩﻫﺪ‪ ،‬ﻫﻞ ﻣﻰﺩﻫﺪ ﻭ ﺍﺯ ﺩ ِﺭ ﺑﺎﺯ ﻭﺍﮔﻦ‬ ‫ﺑﻴﺮﻭﻥ ﻣﻰﺭﻭﺩ‪ .‬ﻭ ﺑﺎﺯﻭﻳﺶ ﺁﻭﻳﺨﺘﻪ ﺑﻪ ﻣﻴﻠﻪﻯ ﺳﻘﻔﻰ ﺁﻥﺟﺎ ﻣﺎﻧﺪ‪ ،‬ﺳﻨﮕﻴﻦ ﺗﺎﺑﻰ ﺧﻮﺭﺩ ﻭ ﻧﺎﻟﻴﺪ ﻭ‬ ‫ﻳﻚﻗﺪﺭﻯ ﺧﻮﻥ ﺍﺯ ﺳﺮ ﺁﺯﺍﺩ ﺳﻮﺯﻥﻫﺎ ﺭﻭﻯ ﺭﺍﻫﺮﻭﻯ ﻭﺍﮔﻦ ﺭﻳﺨﺖ‪ .‬ﺍﻳﻦﻃﻮﺭﻯ ﻣﻮﻧﺎ ﺍﺯ ﺩﺍﻣﻰ ﻛﻪ ﺑﻌﺪﻫﺎ‬ ‫ﺧﻮﺩ ﺭﺍ ﺁﺷﻜﺎﺭ ﻣﻰﻛﺮﺩ ﮔﺮﻳﺨﺖ؛ ﺍﻣﺎ ﻳﻚﻗﺪﺭﻯ ﺩﻳﺮ‪.‬‬ ‫ﺑﻴﺮﻭﻥ ﻧﺸﺌﻪﻯ ﺑﻰﻫﻮﺷﻰ‪ ،‬ﺍﺯ ﻣﻴﺎﻥ ﺍﻧﺒﻮﻩﺍﻧﺒﻮ ِﻩ ﺣﺮﺍﻡﺯﺍﺩﻩﻫﺎ ﺑﻪ ﺳﺮﻋﺖ ﻣﻰﮔﺬﺷﺖ‪ .‬ﻧﻤﻰﺩﺍﻧﺴﺖ ﺭﻭ ﭼﻪ‬ ‫ِ‬ ‫ﺷﻠﻴﻚ ﺗﻞﻫﺎﻯ ﮔﻮﺷﺖ‪ ،‬ﺩﺭ ﺳﻤﺖ‬ ‫ﮔﻠﺒﺮﮔﻰ ﭘﻴﺎﺩﻩ ﺷﺪﻩ‪ .‬ﺑﻮﻯ ﻋﻄﺮ ﻭ ﻋﺮﻕ ﺷﻴﺮﻳﻦ ﺁﺯﺍﺭﺵ ﻣﻰﺩﺍﺩ‪.‬‬ ‫ﻣﺨﺎﻟﻒ ﺍﻭ‪ ،‬ﺗﺮﺳﻴﺪﻩ‪ ،‬ﺑﺎ ﻋﺠﻠﻪ‪ ،‬ﻧﻴﺎﺯﻣﻨﺪ‪ ،‬ﺭﻭﺍﻥ ﺭﻭﻯ ﺍﻣﻮﺍﺝ ﻋﺪﻡ ﺍﻣﻨﻴﺖ‪ ،‬ﮔﺮﺳﻨﮕﻰ‪ ،‬ﻫﻮﻝ‪ ،‬ﺑﻪ ﺳﺮﻋﺖ‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻧﻰ‬ ‫ﺣﺮﻛﺖ ﻣﻰﻛﺮﺩ‪ .‬ﺑﻪ ﺧﻮﺩﺵ ﻓﺸﺎﺭ ﺁﻭﺭﺩ ﻛﻪ ﺗﻨﺪﺗﺮ ﺑﺮﻭﺩ؛ ﺍﻣﺎ ﻣﻤﻜﻦ ﻧﺒﻮﺩ‪ .‬ﺻﻮﺭﺕﻫﺎ ﺩﺭ ﻧﻮﺭ‬ ‫ِ‬ ‫ﺩﻳﻜﻨﺰﻧﻴﻦ ﻛﺮﻳﻪﺍﻯ‪،‬‬ ‫ﻻﻧﻪ ﻇﺎﻫﺮ ﻣﻰﺷﺪﻧﺪ ﻭ ﻣﺤﻮ ﻣﻰﺷﺪﻧﺪ‪ .‬ﭘﺴﺮ ﺑﭽﻪﺍﻯ ﺑﺎ ﭼﺸﻢﻫﺎﻯ ﮔﺎﻭﻯ‪ ،‬ﻣﺮﺩ‬ ‫ِ‬ ‫ﻫﻴﺠﺎﻥ ﺳﺎﻟﺨﻮﺭﺩﻩﻫﺎ‪ .‬ﻣﻴﻞ ﺷﺪﻳﺪ ﺑﻪ‬ ‫ﻓﻠﺶ ﺩﻭﺭﺑﻴﻦﻫﺎﻯ ﺍﻣﻨﻴﺘﻰ ﭘﺸﺖ ﺳﺮﺵ‪ ،‬ﭼﺸﻢﻫﺎﻯ ﮔﺸﺎﺩ ﺍﺯ‬ ‫ِ‬ ‫‪41‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﻣﻰﻛﺮﺩ‪ .‬ﺑﺎ ﺻﺪﺍﻯ ﺑﻮﻕ ﺁﺯﺍﺩ ﺗﻠﻔﻦ‪ ،‬ﺑﺎ ﺻﺪﺍﻯ ﺍﺭﻩ‪ ،‬ﺑﺎ ﺻﺪﺍﻯ ﮔﻮﺯﻥ‪ ،‬ﺑﺎ ﺻﺪﺍﻯ ﭘﻴﺮﺯﻧﻰ ﺑﻪ ﺣﺎﻝ ﺍﺣﺘﻀﺎﺭ‪،‬‬ ‫ﻣﻬﻨﺪﺳﻪ ﻧﺎﻟﻪ ﻣﻰﻛﺮﺩ‪ .‬ﻣﻮﻧﺎ ﺍﺯ ﭼﻨﺪ ﺣﻨﺠﺮﻩﺍﻯﻫﺎ ﻣﻨﺰﺟﺮ ﺑﻮﺩ‪ .‬ﻣﺮﺩ ﻳﻚ ﺁﻥ »ﺵ«ﻫﺎﻯ ﺧﺎﻧﻢﻫﺎﻯ‬ ‫ﺍﭘﺮﺍﺗﻮﺭ ﺷﺮﻛﺖ ﺗﻠﻔﻦ ﺭﺍ ﺩﺍﺷﺖ ﻭ ﻳﻚ ﺁﻥ ﺻﺪﺍﻯ ﻧﺮﻳﻨﻪﻯ ﻧﺎﺧﺪﺍﻯ ﺯﻳﺮﺩﺭﻳﺎﻳﻰ ﺭﺍ‪.‬‬ ‫ﻣﻮﻧﺎ ﺑﺎ ﺑﺎﺯﻭﺵ ﭼﻔﺖ ﺷﺪﻩ ﺑﻪ ﻣﻴﻠﻪ ﺳﻘﻔﻰ‪ ،‬ﺑﺎ ﺩﺭﺩ ﺗﺐ‪ ،‬ﺗﻮ ﺧﺎﻟﻰ ﻭ ﻛﻨﺠﻜﺎﻭﻯﺑﺮﺍﻧﮕﻴﺰ ﺩﺭ ﻣﻔﺼﻞﻫﺎﺵ‪،‬‬ ‫ﺩﻭﺑﺎﺭﻩ ﺳﻮﺍﺭ ﻭﺍﮔﻨﻰ ﺍﺳﺖ ﺑﻪ ﺳﻤﺖ ﺳﻄﺢ‪ .‬ﻧﺸﺴﺘﻪ ﺟﻤﻌﻴﺖ ﺭﺍ ﺗﻤﺎﺷﺎ ﻣﻰﻛﻨﺪ‪ :‬ﻣﺮﺩﻡ ﺳﺘﻮﻥﭼﻪﻫﺎﻯ‬ ‫ﺳﺎﺧﺘﻤﺎﻥﻫﺎﻯ ﻧﻴﻤﻪﻛﺎﺭﻩﺍﻧﺪ‪ .‬ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺪﺭﺷﺎﻥ ﻏﺒﻄﻪ ﻣﻰﺧﻮﺭﺩ‪ :‬ﮔﺮﻩ ﺧﻮﺭﺩﻩ ﺩﺭ ﻫﻢ‪ ،‬ﺍﺯ ﺍﻳﻦ ﺳﺮ‬ ‫ﺗﺎ ﺁﻥ ﺳﺮ ﺭﺍﻫﺮﻭ ﻋﻴﻦ ﻋﻠﻒﻫﺎﻳﻰ‪ ،‬ﺑﺎ ﺗﻜﺎﻥﻫﺎﻯ ﻭﺍﮔﻦ ﻫﻤﺎﻫﻨﮓ ﻣﻰﺟﻨﺒﻨﺪ؛ ﺑﺎ ﻫﻤﺎﻥ ﺣﻴﺎﺕ ﻧﺒﺎﺗﻰ‪،‬‬ ‫ﻣﺎﻝ ﻣﻮﻧﺎ‪ .‬ﺑﺨﺎﺭ ﻋﺮﻕ ﻫﻤﻪ ﺟﺎ ﻭ ﻣﻬﻨﺪﺱﻫﺎ ﻧﺸﺴﺘﻪ ﻛﻒ ﺭﺍﻫﺮﻭ ﻫﻤﺪﻳﮕﺮ ﺭﺍ‬ ‫ﺑﻰﻣﺸﻐﻠﻪﺍﻯ ﺍﺯ ﺟﻨﺲ ِ‬ ‫ﻃﻮﺳﻰ‬ ‫ﺗﺮﻣﻴﻢ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻧﻴﻢﺗﻨﻪﻫﺎﻳﺸﺎﻥ ﺑﺮﻫﻨﻪ ﺍﺳﺖ‪ .‬ﺳﺮﻫﺎﻯ ﺑﻪ ﻛﻞ ﺗﺮﺍﺷﻴﺪﻩﺷﺎﻥ ﺭﺍ ﺩﻭ ﺭﺷﺘﻪ ﻛﺎﺑﻞ‬ ‫ِ‬ ‫ﺿﺨﻴﻢ ﺑﻪ ﻫﻢ ﻣﺘﺼﻞ ﻣﻰﻛﻨﺪ‪ .‬ﻳﻜﻰﺷﺎﻥ ﺟﺜﻪﻯ ﻧﺎﭼﻴﺰﻯ ﺩﺍﺭﺩ‪ ،‬ﺧﻴﻠﻰ ﺑﺪﺣﺎﻝﺗﺮ ﺍﺯ ﺩﻳﮕﺮﻯ ﺍﺳﺖ‬ ‫ﻭ ﻣﺪﺍﻡ ﭼﺸﻢﻫﺎﻳﺶ ﭘﺲ ﻣﻰﺭﻭﺩ ﻭ ﺩﻫﻨﺶ ﺑﺎﺯ ﻣﻰﻣﺎﻧﺪ‪ ،‬ﻋﻀﻠﻪﻫﺎﺵ ﺁﻧﻰ ﻓﻠﺞ ﻣﻰﺷﻮﻧﺪ ﻭ ﺑﻌﺪ ﻛﻪ‬ ‫‪ 400‬ﻣﻴﻠﻰﮔﺮﻡ ﺍﻧﺪﻭﻟﻴﻦ ﺭﻭ ﺩﺭﺩﺵ ﭘﺘﻮﻳﻰ ﻣﻰﺍﻧﺪﺍﺯﺩ ﻭ ﺧﻔﻪﺍﺵ ﻣﻰﻛﻨﺪ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﭼﺸﻢ ﺑﺎﺯ ﻣﻰﻛﻨﺪ‬ ‫ﻭ ﺑﻪ ﻋﻤﻠﻴﺎﺕ ﺗﺮﻣﻴﻢ ﺑﺎﺯ ﻣﻰﮔﺮﺩﺩ‪ .‬ﺩﻳﮕﺮﻯ ﺭﻳﺶ ﺑﻠﻨﺪ ﻭ ﭘﻬﻨﻰ ﺩﺍﺭﺩ ﻛﻪ ﺑﻨﺎ ﺍﺳﺖ ﺭﺩﻫﺎﻯ ﺟﺮﺍﺣﻰ ﺭﺍ‬ ‫ﺭﻭﻯ ﮔﺮﺩﻥ ﺑﭙﻮﺷﺎﻧﺪ‪ .‬ﺗﻮ ﮔﺮﺩﻥ ﺳﺘﺒﺮﺵ‪ ،‬ﻋﻴﻦ ﻣﺎﻩ ﻣﻴﺎﻥ ﺩﻭ ﻧﺨﻞ‪ ،‬ﺍﺟﺘﻤﺎﻋﻰ ﺍﺯ ﺣﻨﺠﺮﻩﻫﺎ ﺩﺍﺭﺩ ﻛﻪ‬ ‫ﭼﻨﺪﺗﺎﭼﻨﺪﺗﺎ‪ ،‬ﻃﻰ ﻫﻔﺪﻩ ﺟﺮﺍﺣﻰ‪ ،‬ﺁﻥ ﺗﻮ ﻛﺎﺷﺘﻪ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺭﺩﻫﺎﻯ ﺟﺮﺍﺣﻰ ﺑﺴﻴﺎﺭﻧﺪ ﻭ ﻣﺪﺍﻡ ﺍﺯ ﺯﻳﺮ‬ ‫ﺭﻳﺶ ﻣﺠﻌﺪ ﺑﻴﺮﻭﻥ ﻣﻰﺍﻓﺘﻨﺪ‪ .‬ﻣﻮﻧﺎ ﻳﻮﻧﻴﻔﺮﻡ ﺁﺑﻰﺍﻯ ﺭﺍ ﺑﻪﻳﺎﺩ ﻣﻰﺁﻭﺭﺩ ﻛﻪ ﻭﻗﺘﻰ ﻣﺮﺩﻙ ﺭﺍ ﺑﻴﺮﻭﻥ ﺩﻳﺪﻩ‬ ‫ﺑﻮﺩ‪ ،‬ﺑﻪ ﺗﻦ ﺩﺍﺷﺖ‪ .‬ﺁﺑﻰ ِ ﭼﻨﺪﺭﻧﮕﻰ ﺑﻮﺩ ﻋﻴﻦ ﺁﻥ ﻧﻘﺸﻪﻫﺎ ﻛﻪ ﻣﻴﺰﺍﻥ ﺑﺎﺭﻧﺪﮔﻰ ﺗﻮ ﻣﻨﺎﻃﻖ ﻣﺨﺘﻠﻒ ﺭﺍ‬ ‫ﻧﺸﺎﻥ ﻣﻰﺩﻫﻨﺪ‪ .‬ﺣﺎﻻ ﻣﺮﺩ ﺯﻳﭙﺶ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩﻩ ﻭ ﺑﺮﻫﻨﻪ ﺍﺯ ﺗﻮ ﻧﻴﻢﺗﻨﻪﻯ ﺑﺎﻻﻳﻰﺍﺵ ﺑﻴﺮﻭﻥ ﺁﻣﺪﻩ‪ .‬ﻧﻴﻢﺗﻨﻪ‬ ‫ﻋﻴﻦ ﭘﻮﺳﺖ ﻣﺎﺭ ﻛﻨﺎﺭ ﻛﻤﺮ ﻣﻬﻨﺪﺱ ﺭﻭ ﻛﻒ ﻭﺍﮔﻦ ﺍﺳﺖ ﻭ ﺩﺭ ﻧﻮﺭ ﻛﻢ ﺭﻧﮓ ﺩﺭﺧﺸﺎﻧﺶ ﭘﻴﺪﺍ ﻧﻴﺴﺖ‪.‬‬ ‫ﻣﻬﻨﺪﺱﻫﺎ ﺳﻴﻨﻪ ﺑﻪ ﺳﻴﻨﻪ ﺭﻭ ﺑﻪ ﻫﻢ ﻧﺸﺴﺘﻪﺍﻧﺪ‪ ،‬ﺳﺮﻫﺎ ﺑﻪ ﻫﻢ ﻧﺰﺩﻳﻚ‪ ،‬ﺩﺳﺖ ﻫﺮ ﻳﻚ ﺭﻭﻯ ﻛﻤﺮ‬ ‫ﺩﻳﮕﺮﻯ ﻣﺸﻐﻮﻝ‪ .‬ﺭﻭﻯ ﻫﺮ ﻣﻬﺮﻩﻯ ﭘﺸﺖ‪ ،‬ﭘﻴﭻ ﻭ ﮔﻮﺩﻯِ ﺩﺭﺧﺸﺎﻧﻰ ﺍﺯ ﻧﻘﺮﻩﻯ ﺳﻴﺎﻩﺷﺪﻩ ﺩﺍﺭﻧﺪ ﻭ ﺗﻮ‬ ‫ﺩﺳﺖﻫﺎﺷﺎﻥ ﻗﻠﻤﻰ ﺍﺳﺖ ﺑﺎ ﺳ ِﺮ ﺗﺨﺖ ﻛﻪ ﺗﻮ ﺣﻔﺮﻩﻯ ﻣﻬﺮﻩ ﻓﺮﻭ ﻣﻰﺭﻭﺩ ﻭ ﭘﻴﭻ ﺭﺍ ﻣﻰﭼﺮﺧﺎﻧﺪ ﻭ ﺑﺎ‬ ‫ﭘﺎﻟﺲ ﻛﻮﭼﻜﻰ ﺭﻭﺍﻧﻪﻯ ﺣﻮﺍﺱ ﻣﺮﻛﺰﻯ ﻣﻰﻛﻨﺪ‪ .‬ﻏﻴﺮﻗﺎﻧﻮﻧﻰ ﺍﺳﺖ ﻛﻪ ﺗﻮ ﻣﻜﺎﻥﻫﺎﻯ‬ ‫ﺍﺷﺎﺭﻩﻯ ﺷﺴﺖ‬ ‫ِ‬ ‫ﻋﻤﻮﻣﻰ ﻫﻤﺪﻳﮕﺮ ﺭﺍ ﺗﺮﻣﻴﻢ ﺑﻜﻨﻨﺪ‪ ،‬ﺑﺎ ﺍﻳﻦﺣﺎﻝ ﻛﺴﻰ ﺍﻋﺘﺮﺍﺿﻰ ﻧﻤﻰﻛﻨﺪ ﻭﻛﺴﻰ ﺗﻤﺎﺷﺎﻳﺸﺎﻥ ﻧﻤﻰﻛﻨﺪ‪.‬‬ ‫ﺑﻐﻞ ﻧﻴﻤﻪﻛﺎﺭﻩ‪ ،‬ﺑﻴﺸﺘﺮ ﺷﺒﻴﻪ ﻳﻌﻘﻮﺏ ﻛﻪ ﺑﺎ ﻓﺮﺷﺘﻪ ﻛﺸﺘﻰ ﻣﻰﮔﻴﺮﺩ‪ ،‬ﻏﺶ‬ ‫ﺑﺎﺯﻭﻫﺎ ﺩﻭﺭ ﻛﻤﺮﻫﺎﻯ ﺑﺮﻫﻨﻪ‪ِ ،‬‬ ‫ﻛﺮﺩﻥ ﻭ ﺿﻌﻒ ﻛﺮﺩﻥ ﺣﻴﻦ ﺍﺭﺳﺎﻝ ﭘﺎﻟﺲﻫﺎ‪ ،‬ﻋﺮﻕ ﺭﻳﺨﺘﻦ‪ ،‬ﺗﻦﻫﺎﻯ ﻋﻀﻼﻧﻰ‪ ،‬ﻟﺮﺯﻳﺪﻥﻫﺎ‪ ،‬ﭘﺎﻫﺎ ﺍﻳﻦﺟﺎ‬ ‫ﻭ ﺁﻥﺟﺎ ﺭﻭﻯ ﻫﻢ ﺍﻓﺘﺎﺩﻩ‪ :‬ﺣﺴﺎﺑﻰ ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻴﻚﺍﻧﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪40‬‬

‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺩﺭ ﻫﻤﻴﻦ ﺍﺛﻨﺎ ﺑﻮﺩ ﻛﻪ ﻣﻮﻧﺎ ﺑﺎ ﺑﺎﺗﺮﻯﺍﺵ ﺳﺮ ﺭﺳﻴﺪ‪ .‬ﺷﻠﻮﻏﻰ ﺳﺎﻋﺖﻫﺎﻯ ﺑﻌﺪ ﺍﺯ ﺑﻤﺐﺑﺎﺭﺍﻥ ﻻﻧﻪ ﺭﺍ‬ ‫ﺑﺮﺩﺍﺷﺘﻪ ﺑﻮﺩ ﻭ ﻛﻠﻰ ﻃﻮﻝ ﻛﺸﻴﺪﻩ ﺑﻮﺩ ﺗﺎ ﻣﻮﻧﺎ ﺍﻳﻦﺟﺎ ﺑﺮﺳﺪ‪ .‬ﺑﺴﻴﺎﺭ ﺑﻪ ﺯﺣﻤﺖ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ ،‬ﺍﺯ ﭘﻞ ﻭﺍﺻﻞ‬ ‫ﻣﻴﺎﻥ ﺍﻳﻦ ﻳﻜﻰ ﮔﻠﺒﺮگ ﻭ ﺁﻧﻰ ﻛﻪ ﺗﻮﺵ ﭘﻴﺎﺩﻩ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﻻﺑﻪﻻﻯ ﻭﺯ ﻭ ِﺯ ﻣﺮﺩﻡ‪ ،‬ﺑﻪ ﺁﺭﺍﻣﻰ ﮔﺬﺷﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺑﺴﻴﺎﺭ ﺑﻪ ﺯﺣﻤﺖ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﺑﺴﻴﺎﺭ ﺧﺴﺘﻪ ﺑﻮﺩ‪ .‬ﺍﺣﺴﺎﺱ ﺟﺪﻳﺖ ﺳﺎﺧﺘﮕﻰﺍﻯ ﻣﻰﻛﺮﺩ ﻛﻪ ﻧﺎﺷﻰ ﺍﺯ‬ ‫ﺧﻮﺍﺑﻰ ﻛﻬﻨﻪﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺑﺎﺗﺮﻯ ﺭﺍ ﻓﺮﺯ ﻭ ﺑﺎ ﺗﺒﺤﺮ ﺗﻮ ﺻﻒ ﺗﺤﻮﻳﻞ ﮔﺬﺍﺷﺖ‪ .‬ﺭﻭﻯ ﻳﻜﻰ ﺍﺯ ﻧﻴﻤﻜﺖﻫﺎﻯ‬ ‫ﺑﻰ‬ ‫ِ‬ ‫ﺁﺯﺍﺩ‪ ،‬ﻛﻨﺎﺭ ﺩﻭ ﺑﻮﺗﻪﻯ ﻓﺮﺩﻭﮔﺎﻫﻰ ﻧﺸﺴﺖ‪ .‬ﻫﻤﻪﭼﻴﺰ ﺑﻪ ﺁﺭﺍﻣﻰ ﺍﻭ ﺭﺍ ﻣﻰﻛﺸﺖ ﻭ ﻛﺒﻮﺩﻯﻫﺎﻳﻰ ﺩﺍﺷﺖ‬ ‫ﻛﻪ ﻫﺮﮔﺰ ﺧﻮﺏ ﻧﻤﻰﺷﺪ ﻭ ﻛﺴﻰ ﺑﺎ ﺍﻭ ﺣﺮﻑ ﻧﻤﻰﺯﺩ ﻭ ﺍﺯ ﺁﻭﺍﺯ ﭼﺮﻧﺪ ﺯﻥﻫﺎ ﺑﺪﺵ ﻣﻰﺁﻣﺪ ﻭ ﺍﮔﺮ ﺑﺎ‬ ‫ﻛﺴﻰ ﺩﺳﺖ ﻣﻰﺩﺍﺩ‪ ،‬ﺍﺯ ﺯﻳﺮ ﻧﺎﺧﻦﻫﺎﻳﺶ ﻣﻮﻧﻮﻛﺴﻴﺪ ﻛﺮﺑﻦ ﺑﻴﺮﻭﻥ ﻣﻰﺁﻣﺪ‪ .‬ﺗﻮ ﺩﻟﺶ ﺁﺭﺯﻭ ﻛﺮﺩ ﻛﻪ‬ ‫ﺗﺎ ﺍﻳﻦﺟﺎ ﻧﺸﺴﺘﻪ ﺍﺗﻔﺎﻗﻰ‪ ،‬ﺑﻤﺐﺑﺎﺭﺍﻧﻰ‪ ،‬ﺧﻮﺩ‪-‬ﺩﺍﺭﺯﺩﻥﺍﻯ ﭼﻴﺰﻯ ﺩﺭ ﻛﺎﺭ ﻧﺒﺎﺷﺪ‪ .‬ﻫﻤﻴﻦﻃﻮﺭ ﻫﻢ ﺑﻮﺩ‪.‬‬ ‫ﺣﺎﺩﺛﻪﺍﻯ ﺩﺭ ﻛﺎﺭ ﻧﺒﻮﺩ‪ ،‬ﻣﮕﺮ ﺍﻳﻦﻛﻪ ﺯﻧﻰ ﺭﺍ ﻛﻪ ﺍﺯ ﺭﺍﻩ ﺭﺳﻴﺪ ﻭ ﻣﺰﺍﺣﻤﺶ ﺷﺪ ﺣﺎﺩﺛﻪ ﺑﻪ ﺣﺴﺎﺏ‬ ‫ﺑﻴﺎﻭﺭﻳﻢ‪ .‬ﭘﻰ ﺧﻮﺍﻫﺮﺵ ﻣﻰﮔﺸﺖ ﻛﻪ ﺍﺯ ﺧﺎﻧﻪ ﺑﻴﺮﻭﻥ ﺁﻣﺪﻩ ﺑﻮﺩ ﺗﺎ ﺑﺎﺗﺮﻯﺍﺵ ﺭﺍ ﺍﻳﻦﺟﺎ ﺷﺎﺭژ ﺑﻜﻨﺪ؛ ﺍﻣﺎ‬ ‫ﺣﺎﻻ ﺍﻳﻦ ﻣﺎﺩﺭﻗﺤﺒﻪﻫﺎ ﺑﺎﺯ ﺑﺴﺎﻁ ﺩﻧﮓ ﻭ ﺩﻭﻧﮓ ﺭﺍﻩ ﺍﻧﺪﺍﺧﺘﻪ ﺑﻮﺩﻧﺪ‪ ،‬ﺍﻧﮕﺎﺭ ﻫﻨﻮﺯ ﭼﻴﺰﻯ ﺑﺮﺍﻯ ﺗﺮﻛﻴﺪﻥ‬ ‫ﺑﺎﻗﻰﻣﺎﻧﺪﻩ‪ ،‬ﻭ ﺣﺎﻻ ﺍﺯ ﺧﻮﺍﻫﺮﻩ ﺧﺒﺮﻯ ﻧﺒﻮﺩ‪ .‬ﻋﻜﺴﻰ ﺭﺍ ﺑﻪ ﻣﻮﻧﺎ ﻧﺸﺎﻥ ﺩﺍﺩ ﻛﻪ ﺗﻮﺵ ﺧﻮﺍﻫﺮﺵ ﺭﻭ ﻣﺒﻞ‬ ‫ﺯﻥ ﺯﺷﺘﻰ ﺑﻮﺩ‪ .‬ﻣﻮﻧﺎ ﺑﻪ ﻛﻨﺎﺭﻩﻯ ﻋﻜﺲ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺩﺳﺘﻰ ﻣﺮﺩﺍﻧﻪ ﺭﻭﻯ ﻛﻮﺳﻨﻰ ﺍﻓﺘﺎﺩﻩ‬ ‫ﺗﭙﻠﻰ ﻣﻰﺧﻨﺪﻳﺪ‪ِ .‬‬ ‫ِ‬ ‫ﻗﻴﭽﻰ ﻣﮋﻩ‪،‬‬ ‫ﺩﺳﺖ ﺗﻚﺍﻓﺘﺎﺩﻩ‪ ،‬ﺑﺮﻳﺪﻩ‪ ،‬ﻣﺜﻠﻪ ﺷﺪﻩ ﺑﺎ‬ ‫ﺑﻮﺩ ﻭ ﭘﻴﺪﺍ ﺑﻮﺩ ﻛﻪ ﻋﻜﺲ ﺭﺍ ﺍﺯ ﺁﻥﺟﺎ ﺑﺮﻳﺪﻩﺍﻧﺪ‪ .‬ﻳﻚ‬ ‫ِ‬ ‫ﺑﺎ ﺍﻳﻦﺣﺎﻝ ﺑﻰ ﺗﻔﺎﻭﺕ ﻟﻢﺩﺍﺩﻩ ﺭﻭﻯ ﻛﻮﺳﻦ‪ ،‬ﺗﻮ ﻧﻮﺭ ﺩﻟﺒﺎﺯ‪ ،‬ﺍﺳﺘﺮﺍﺣﺖ ﻛﻨﺎﻥ‪ .‬ﻣﻮﻧﺎ ﺩﻭﺳﺖ ﺩﺍﺷﺖ ﺟﺎﻯ‬ ‫ﺩﺳﺖﻫﻪ ﺑﺎﺷﺪ‪ .‬ﺍﺳﺘﺮﺍﺣﺘﻰ ﺑﻜﻨﺪ‪ .‬ﺭﻭﻯ ﻛﻮﺳﻦ ﺑﻴﻔﺘﺪ‪ .‬ﻧﻮﺭ ﻧﺮﻣﻰ ﺑﻬﺶ ﺑﺘﺎﺑﺪ‪ .‬ﻫﻴﭻﻛﺲ ﺍﺯ ﻳﺎﺭﻭﻫﺎﻯ‬ ‫ﻣﺬﻫﺒﻰ ﺳﺮﺑﻰﺍﻯ ﻛﻪ ﺑﻪ ﻛﻤﺮ‬ ‫ﻣﻨﺘﻈﺮ ﺧﻮﺍﻫﺮﻩ ﺭﺍ ﻧﺪﻳﺪﻩ ﺑﻮﺩ ﻭ ﺯﻧﻚ ﻛﻪ ﺩﺍﺷﺖ ﻣﻰﺭﻓﺖ ﺍﺯ ﻗﻤﻘﻤﻪﻯ‬ ‫ِ‬ ‫ﺩﺍﺷﺖ‪ ،‬ﻳﻚﻛﻤﻰ ﺁﺏ ﺷﻔﺎ ﺗﻮ ﺣﻠﻖ ﭘﻴﻨﻮﻙ ﺧﺎﻟﻰ ﻛﺮﺩ ﻭ ﻫﻤﻪ ﺭﺍ ﻋﺼﺒﻰ ﻛﺮﺩ‪ .‬ﺧﻮﺍﻫﺮﻫﺎ ﺁﻭﺍﺯﺷﺎﻥ ﺭﺍ‬ ‫ﺑﺮﻳﺪﻧﺪ ﺗﺎ ﺧﻴﺮﻩﺧﻴﺮﻩ ﺑﻪ ﺯﻥ ﻧﮕﺎﻩ ﻛﻨﻨﺪ ﻭ ﺻﺪﺍﻯ ﺩﺧﺘﺮﻙ ﭘﺎ ﻛﻮﺗﺎﻩ ﻧﻴﻤﻜﺖ ﻛﻨﺎﺭﻯ ﺑﻪ ﻓﺤﺶ ﻛﻠﻔﺘﻰ‬ ‫ﺩﺭ ﺁﻣﺪ ﻭ ﺍﻳﻦ ﺍﻟﺒﺘﻪ ﺗﻨﻬﺎ ﺍﺗﻔﺎﻗﻰ ﺑﻮﺩ ﻛﻪ ﭘﻴﺸﺎﻣﺪ ﻛﺮﺩ‪.‬‬ ‫‪ ‬ﻣﻮﻧﺎ ﺣﺘﻢ ﺩﺍﺷﺖ ﺩﻭ ﺗﺎ ﻣﻬﻨﺪﺳﻰ ﺭﺍ ﻛﻪ ﺣﺎﻻ ﺩﺍﺷﺘﻨﺪ ﺟﻠﻮﺵ ﻫﻤﺪﻳﮕﺮ ﺭﺍ ﺗﺮﻣﻴﻢ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﺑﻴﺮﻭﻥ‬ ‫ﺩﻳﺪﻩ‪ .‬ﺑﻪﺧﺼﻮﺹ ﺁﻧﻰ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﻣﻰﺁﻭﺭﺩ ﻛﻪ ﮔﺮﺩﻥ ﻛﺮﮔﺪﻥ ﺭﺍ ﺩﺍﺷﺖ‪ .‬ﺟﺎﻳﻰ‪ ،‬ﺩﺭﺳﺖ ﺑﻪﺧﺎﻃﺮ‬ ‫ﻧﻤﻰﺁﻭﺭﺩ ﻛﺠﺎ‪ ،‬ﺍﻭ ﺭﺍ ﺩﻳﺪﻩ ﺑﻮﺩ ﻛﻪ ﺭﻭ ﺯﻣﻴﻦ‪ ،‬ﻻﺑﻪﻻﻯ ﺳﻴﻞ ﺟﻤﻌﻴﺖ‪ ،‬ﺍﻓﺘﺎﺩﻩ ﻭ ﺍﺯ ﺩﺭﺩ ﺗﻮ ﺷﻜﻢﺍﺵ ﻧﺎﻟﻪ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﺳﻪ ﺗﺎ ﺍﻣﺪﺍﺩﮔﺮ ﺩﻭﺭﻩﺍﺵ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﻭ ﺍﻭﺿﺎﻋﺶ ﺑﻪ ﻧﻈﺮ ﻣﻮﻧﺎ ﻭﺧﻴﻢ ﺭﺳﻴﺪﻩ ﺑﻮﺩ؛ ﺍﻣﺎ ﭼﻴﺰﻯ‬ ‫ﻛﻪ ﻃﺮﻑ ﺭﺍ ﺗﻮ ﺳﺮ ﻣﻮﻧﺎ ﺛﺒﺖ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﻛﻴﻔﻴﺖ ﻧﺎﻟﻪﺍﺵ ﺑﻮﺩ‪ .‬ﺻﺪﺍﻯ ﻣﺮﺩ‪ ،‬ﺑﻰﺍﺭﺍﺩﻩ ﺟﻨﺲ ﻋﻮﺽ‬ ‫‪39‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﭘﻴﭻ ﻭ ﺗﺎﺏ ﻣﻰﺧﻮﺭﺩ‪» .‬ﺧﺐ ﻣﻦ ﺩﻭﺳﺖ ﺩﺍﺭﻡ ﺑﺮﻡ ﻳﻪ ﺟﺎﻳﻰ ﻛﻪ ﻫﻤﻪ ﭼﻴﺰﻭ ﺧﺰﻩ ﮔﺮﻓﺘﻪ ﺑﺎﺷﻪ‪ .‬ﻣﺜﻪ‬ ‫ﺍﻭﻥ ﻋﻜﺴﻪ‪ .‬ﺩﻳﻮﻭﻧﻪ!« ﺩﺍﻣﻦ ﻛﻪ ﺑﺎﻻ ﻣﻰﺭﻭﺩ ﭘﻴﺪﺍ ﻣﻰﺷﻮﺩ ﻛﻪ ﭘﺎﻫﺎﻯ ﺩﺧﺘﺮﻙ ﺑﻪ ﺯﻣﻴﻦ ﻧﻤﻰﺭﺳﺪ‪،‬‬ ‫ﺩﺭ ﻫﻮﺍ ﺁﻭﻳﺰﺍﻥ ﺍﺳﺖ‪ .‬ﺗﺎﺑﺸﺎﻥ ﻣﻰﺩﻫﺪ‪ .‬ﺩﺭ ﺍﺩﺍﻣﻪﻯ ﻣﭻﻫﺎﺵ ﭼﻴﺰﻯ ﻧﻴﺴﺖ‪ .‬ﺳﻄﺢ ﻣﻘﻄﻌﻰ ﺩﺍﻳﺮﻩﺍﻯ‪،‬‬ ‫ﺗﻴﺮﻩ‪ ،‬ﻓﻠﺰﻯ‪ ،‬ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﻣﭻﻫﺎ ﻋﻴﻦ ﺩﻭ ﺗﺎ ﺳﻢ ﺍﺯ ﺯﻳﺮ ﺩﺍﻣﻦ ﻫﻮﻳﺪﺍ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﺩﺭ ﻧﻮﺭ ﺍﻧﺪﻙ ﻧﻴﻢﻛﻮﭼﻪ‬ ‫ﭼﺸﻤﻚ ﻣﻰﺯﻧﻨﺪ ﻭ ﺑﻌﺪ ﺑﺎﺯ ﺯﻳﺮ ﺩﺍﻣﻦ ﭘﻨﻬﺎﻥ ﻣﻰﻣﺎﻧﻨﺪ‪ .‬ﻛﻤﻰ ﺁﻥﻃﺮﻑﺗﺮ ﭘﺎﻫﺎﻯ ﺯﻥ‪ ،‬ﻇﺮﻳﻒ‪ ،‬ﺑﺎ ﻳﻚ‬ ‫ﻣﺴﻰ ﻋﺼﺐ ﻛﻪ ﺍﺯ ﺍﻧﺘﻬﺎﺷﺎﻥ ﺑﻴﺮﻭﻥ ﺯﺩﻩ‪،‬‬ ‫ﻣﻴﻠﻴﻮﻥ ﺍﺳﺘﺨﻮﺍﻥ ﭘﻼﺗﻴﻨﻰ ﺯﻳﺒﺎ‪ ،‬ﺑﺎ ﻳﻚ ﻣﻴﻠﻴﻮﻥ ﺭﺷﺘﻪﻫﺎﻯ‬ ‫ِ‬ ‫ﻣﻨﻔﻚ ﺍﺯ ﺗﻦ ﺍﻭ ﺍﻣﺎ ﻫﻨﻮﺯ ﺑﺎ ﺩﻭ ﺳﻴﻢ ﺍﺻﻠﻰ ﻭﺻﻞ ﺑﻪ ﻣﭻﻫﺎﺵ‪ ،‬ﻋﻴﻦ ﺳﮓﻫﺎﻳﻰ ﻛﻮﭼﻮﻟﻮ ﭘﻴﺶ ﭘﺎﻯ‬ ‫ﺯﻭﺝ ﺟﻮﺍﻥ ﻛﺰ ﻛﺮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﻧﻪ‪ .‬ﻣﺮﺩ ﺑﻪ ﻋﻼﻣﺖ ﻧﻪ ﺳﺮ ﺗﻜﺎﻥ ﻣﻰﺩﻫﺪ‪ .‬ﺍﺯ ﺧﻮﺩﺵ ﺩﻟﺨﻮﺭ ﺷﺪﻩ‪» .‬ﺍﻳﻦ ﺭﻭ ﻣﻰﺩﻭﻧﻢ ﺩﻭﺳﺖ ﺩﺍﺭﻯ‪.‬‬ ‫ﻣﻰﺑﺮﻣﺖ ﻗﻠﻌﻪ ﺑﺒﻴﻨﻰ‪ .‬ﺑﺎﺷﻪ؟«‬ ‫»ﻧﻤﻰﺩﻭﻧﻢ‪ .‬ﻫﺮ ﭼﻰ ﺣﺎﻻ!« ﺩﺧﺘﺮﻙ ﻧﺎﺷﻴﺎﻧﻪ ﺗﻈﺎﻫﺮ ﻣﻰﻛﻨﺪ ﻛﻪ ﺣﻮﺻﻠﻪﺍﺵ ﺳﺮ ﺭﻓﺘﻪ‪.‬‬ ‫»ﻣﻰﺗﻮﻧﻰ ﺳﻮﺍﺭ ﺷﻰ‪ .‬ﺳﻮﺍﺭ ﻣﻮﺗﻮﺭ ﺑﺸﻰ‪«.‬‬ ‫»ﻧﻤﻰﻣﻴﺮﻡ؟ ﻳﻪ ﺳﻴﮕﺎﺭ ﺩﺍﺭﻯ؟«‬ ‫»ﻧﻪ‪ .‬ﺑﺎﻻ ﺍﻧﺪﺍﺧﺘﻤﺶ ﺩﻭﺭ‪ .‬ﺗﺮﻙ ﻣﻰﺧﻮﺍﻡ ﺑﻜﻨﻢ‪«.‬‬ ‫»ﺑﺎﻻ ﺍﻧﺪﺍﺧﺘﻰﺍﺵ ﺩﻭﺭ؟ ﺳﻴﮕﺎﺭﺗﻮ؟ ﺩﻳﮕﻪ ﭼﻰ؟ ﻣﻰﺧﻮﺍﻯ ﻗﺪﻳﺲ ﺑﺸﻰ؟«‬ ‫»ﻧﻪ!«‬ ‫‪ ‬ﺍﻳﺴﺘﺎﺩﻩ‪ ،‬ﺗﻴﻜﻪ ﺩﺍﺩﻩ ﺑﻪ ﺩﻳﻮﺍﺭ‪ ،‬ﻛﻤﻰ ﺩﻭﺭﺗﺮ ﺍﺯ ﺍﻳﻦ ﮔﺮﻭﻩ‪ ،‬ﺩﺭ ﺩﻝ ﻛﻮﭼﻪ ﭘﻴﻨﻮﻛﻰ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺳﺎﺑﻘﺎً‬ ‫ِ‬ ‫ﺟﻤﺎﻋﺖ ﭘﻴﻨﻮﻙ‪ ،‬ﺗﻨﻬﺎ ﺗﺠﺴﻢ ﺯﻧﺪﻩﻯ‬ ‫ﺍﻫﻞ ﮔﺘﻮﻳﻰ ﺗﻮ ﺟﻨﻮﺏ ﺑﻮﺩﻩ ﻭ ﺣﺎﻻ ﺩﺍﺷﺖ ﻋﺮﻕ ﻣﻰﺭﻳﺨﺖ‪.‬‬ ‫ﺭژﻳﻢ ﻣﺮﻛﺰﻯِ ﻗﻠﻤﺮﻭﻯ ﺷﻤﺎﻟﻰ ﻛﻪ ﺗﻮ ﺷﻬﺮ ﻣﻰﺷﺪ ﺩﻳﺪ‪ ،‬ﻣﺮﺩﻫﺎﻯ ﻣﻴﺎﻥﺳﺎﻟﻰ ﺑﻮﺩﻧﺪ ﺑﺎ ﺳﺨﻨﺮﺍﻧﻰﻫﺎﻳﻰ‬ ‫ﺭژﻳﻢ ﻏﻴﺮﻭﺍﺑﺴﺘﻪ‪ ،‬ﺑﺎ ﺣﺮﻛﺎﺕ ﺧﻄﺎﺑﻪﻭﺍﺭ ﺩﺳﺖﻫﺎ ﻭ ﺧﻮﺭﺍﻙ‬ ‫ﻃﻮﻻﻧﻰ ﺩﺭ ﮔﻠﻮﻫﺎﻳﺸﺎﻥ ﺩﺭ ﺑﺎﺏ ﺧﺪﻣﺎﺕ‬ ‫ِ‬ ‫ﻛﻮﺳﻪ ﻭ ﺧﺎﻣﻪ ﺗﻮ ﻣﻌﺪﻩﻫﺎﻳﺸﺎﻥ‪ .‬ﺍﻳﻦ ﻳﻜﻰ ﻓﺮﺑﻪ ﺑﻮﺩ‪ ،‬ﺗﺮﻙﻫﺎﻯ ﭘﻮﺳﺘﻰ ﺯﻳﺎﺩﻯ ﺩﺍﺷﺖ‪ ،‬ﺯﺭﺩﺭﻭ ﺑﻮﺩ ﺑﺎ‬ ‫ﻓﻜﻰ ﺭﻭﺑﺴﭙﻴﺮﻯ ﻛﻪ ﮔﻠﻮﻟﻪ ﺳﻮﺭﺍﺧﺶ ﻛﺮﺩﻩ ﺑﻮﺩ؛ ﺍﻣﺎ ﺑﻪ ﺧﺎﻃﺮ ﺧﺪﻣﺎﺕ ﺁﺗﻰ ﺑﺮﺍﻳﺶ ﺧﻮﺏ ﺳﺮﻫﻢﺍﺵ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺻﻮﺭﺗﺶ‪ ،‬ﺩﺭ ﻛﻞ‪ ،‬ﻋﻴﻦ ﻳﻚﺟﻮﺭ ﺧﺎﻧﻪ ﻛﻪ ﺑﺪ ﻟﻮﻟﻪﻛﺸﻰ ﺷﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﺑﻰﻧﻈﻢ ﺑﺎﺩ ﻛﺮﺩﻩ‬ ‫ﺑﻮﺩ ﻭ ﻓﺮﻭ ﺭﻓﺘﻪ ﺑﻮﺩ‪ .‬ﭘﻴﻨﻮﻙ ﺑﻮﺩ‪ ،‬ﺍﻳﻦ ﺑﻪ ﺟﺎﻯ ﺧﻮﺩ‪ ،‬ﺍﻣﺎ ﺧﺴﺘﻪ ﺑﻮﺩ ﻭ ﺩﺭ ﻫﻤﺎﻥ ﺣﻴﻦ ﻛﻪ ﺩﺳﺖﻫﺎﻳﺶ‬ ‫ﺭﺍ ﺑﻪ ﺳﻮﻯ ﺟﻤﻌﻴﺖ ﻣﺤﻮﻃﻪﻯ ﺍﻧﺘﻈﺎﺭ ﺷﺎﺭژﮔﺎﻩ ﺗﻜﺎﻥ ﻣﻰﺩﺍﺩ‪ ،‬ﮔﺮﺩﻧﺶ ﺭﺍ ﭘﺎﻳﻴﻦ ﺍﻧﺪﺍﺧﺘﻪ ﺑﻮﺩ ﻭ ﻗﻮﻟﻨﺞ‬ ‫ﻣﻰﺷﻜﺴﺖ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪38‬‬

‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺑﺴﻴﺎﺭ ﮔﺬﺷﺘﻪ ﻛﻪ ﺩﺭ ﻛﻨﺎﺭﻩﻯ ﺁﺏﻫﺎ ﺑﻪ ﺷﺴﺖﻭﺷﻮ ﻣﻰﺭﻓﺘﻨﺪ‪ ،‬ﺩﺳﺘﻪﺟﻤﻌﻰ ﺁﻭﺍﺯﻯ ﻣﻰﺧﻮﺍﻧﻨﺪ ﺗﺎ‬ ‫ﺣﻀﻮﺭﺷﺎﻥ ﻣﻴﺎﻥ ﻣﺮﺩﻡ ﻫﻤﭽﻨﺎﻥ ﺷﻜﻞ ﺍﺟﺮﺍﻯ ﺑﺮﻧﺎﻣﻪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺩﺭ ﺩﺳﺖ ﻳﻜﻰﺷﺎﻥ ﺍﺳﺘﻮﺍﻧﻪﺍﻯ‬ ‫ﺍﺳﺖ ﻃﻼﻛﺎﺭﻯ ﺷﺪﻩ ﺑﺎ ﺍﻫﺮﻣﻰ ﺩﺭ ﻳﻚ ﺍﻧﺘﻬﺎ ﻭ ﺑﻠﻨﺪﮔﻮﻳﻰ ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﺩﻳﮕﺮﺵ‪ .‬ﺳﺎﺯ ﻣﻜﺎﻧﻴﻜﻰ ﻇﺮﻳﻔﻰ‬ ‫ﺍﺳﺖ ﻫﻢﺩﻭﺭﻩﻱ ﺳﺒﻚ ﻟﺒﺎﺱﻫﺎﻳﺸﺎﻥ ﻭ ﺧﻮﺍﻫ ِﺮ ﻧﻮﺍﺯﻧﺪﻩ ﺑﺎ ﺩﺳﺘﻰ ﺷﻜﻨﻨﺪﻩ‪ ،‬ﺍﻫﺮﻣﺶ ﺭﺍ ﻣﻰﭼﺮﺧﺎﻧﺪ ﻭ‬ ‫ﺍﺯ ﺑﻠﻨﺪﮔﻮ ﺁﻛﻮﺭﺩﻫﺎ ﺑﻴﺮﻭﻥ ﻣﻰﺭﻳﺰﻧﺪ‪ .‬ﺁﻭﺍﺯﻯ ﻛﻪ ﻣﻰﺧﻮﺍﻧﻨﺪ ﺑﻪ ﮔﻴﻠﻜﻰ ﻋﺘﻴﻖ ﺍﺳﺖ ﺍﻣﺎ ﺩﻭﺳﺖ ﻋﺰﻳﺰ‪،‬‬ ‫ﺍﮔﺮ ﭼﻪ ﻟﺰﻭﻣﻰ ﻧﺪﺍﺭﺩ ﻭ ﻫﻴﭻ ﺣﺮﻓﻪﺍﻯ ﻧﻴﺴﺖ‪ ،‬ﺑﮕﺬﺍﺭﻳﺪ ﺗﺮﺟﻤﻪﻯ ﻧﺎﻗﺎﺑﻠﻢ ﺭﺍ ﺍﺯ ﺁﻥ ﺍﻳﻦﺟﺎ ﺑﺮﺍﻯﺗﺎﻥ‬ ‫ﺫﻛﺮ ﻛﺮﺩﻩ ﺑﺎﺷﻢ‪ ،‬ﭼﻪ ﺁﻭﺍﺯ ﺑﺴﻴﺎﺭ ﺯﻳﺒﺎ ﺍﺳﺖ ﻭ ﺣﺘﻢ ﺩﺍﺭﻡ ﻛﻪ ﺷﻤﺎ ﺭﺍ ﭘﺲ ﺍﺯ ﺍﻳﻦﻫﻤﻪ ﻧﺎﺧﻮﺷﻰ ﺳﺮ‬ ‫ﺫﻭﻕ ﺧﻮﺍﻫﺪ ﺁﻭﺭﺩ‪:‬‬ ‫ﺍﻯ ﻣﺎﻩ ﻣﻌﺸﻮﻕ ﻣﺮﺍ ﻧﺪﻳﺪﻩﺍﻯ؟‬ ‫ﺍﺯ ﺗﭙﻪﻫﺎ ﺭﺍﻳﺤﻪﻯ ﺍﻭ ﺭﺍ ﻣﻰﺷﻨﻮﻡ‬ ‫ﻭ ﮔﻠﻪﻫﺎﻯ ﮔﻢﮔﺸﺘﻪ ﺩﺭ ﺁﺗﺶﻓﺸﺎﻥﻫﺎ‬ ‫ﺍﻭ ﺭﺍ ﻣﻰﺧﻮﺍﻧﻨﺪ‪.‬‬ ‫ﺍﻣﺎ ﺁﻳﺎ ﺍﻭ ﺭﺍ ﻧﺪﻳﺪﻩﺍﻯ؟‬ ‫ﺍﻯ ﻣﺎﻩ! ﺍﻯ ﻣﺎﻩ!‬ ‫ﺩﺭ ﺯﻧﺪﺍﻥﻫﺎﻯ ﺷﻨﺎﻭﺭ‬ ‫ﻛﻤﺮﮔﺎﻫﺶ ﺑﻪ ﺧﻮﻥ ﻧﺸﺴﺘﻪ‪،‬‬ ‫ﺗﻔﻨﮕﺶ ﺭﺍ ﻧﺪﻳﺪﻩﺍﻯ؟‬ ‫‪ ‬ﺭﻭﻯ ﺩﻭ ﻧﺸﻴﻤﻦ ﺗﻚﻧﻔﺮﻩ ﺯﻥ ﻭ ﻣﺮﺩ ﺟﻮﺍﻧﻰ ﻭﻟﻮ ﺷﺪﻩﺍﻧﺪ‪ .‬ﻣﺮﺩ ﺑﻪ ﺭﻧﮓﭘﺮﻳﺪﮔﻰ ﺧﺮﮔﻮﺵ ﺍﺳﺖ‪،‬‬ ‫ﺗﻰﺷﺮﺕ ﺯﺭﺩﻯ ﺑﻪ ﺗﻦ ﺩﺍﺭﺩ ﻭ ﺍﺯ ﺯﻳﺮ ﺁﺳﺘﻴﻦﻫﺎﻯ ﺗﺎ ﺯﺩﻩﺍﺵ ﺩﻭ ﺗﺎ ﺳﺎﻋﺪ ﺭﺧﺸﻨﺪﻩ ﺭﻭﻳﻴﺪﻩ‪ .‬ﺯﻥ ﺳﻴﺎﻩ‬ ‫ﭼﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺑﻠﻮﺯ ﺁﺑﻰ ﻛﻢﺭﻧﮕﻰ ﺑﻪ ﺗﻦ ﺩﺍﺭﺩ ﻭ ﺩﺍﻣﻦ ﻧﺎﺯﻛﺶ ﺭﺍ ﺍﺯ ﺯﻭﺭ ﮔﺮﻣﺎ ﺗﻮ ﻫﻮﺍ ﻣﻰﺟﻨﺒﺎﻧﺪ‪.‬‬ ‫»ﻣﻰﺗﻮﻧﻢ ﺑﺒﺮﻣﺖ ﻳﻪ ﺟﺎﻳﻰ ﺭﻭ ﺑﺒﻴﻨﻰ‪ «.‬ﻣﺮﺩ ﺁﺭﺍﻡ ﺯﻣﺰﻣﻪ ﻣﻰﻛﻨﺪ‪.‬‬ ‫»ﻳﻌﻨﻰ ﻣﻰﮔﻰ ﻳﻪ ﺟﺎﻳﻰ ﻛﻪ ﺗﺎ ﺣﺎﻻ ﻧﺪﻳﺪﻩ ﺑﺎﺷﻢ؟«‬ ‫»ﺟﺎﻳﻰ ﻛﻪ ﻧﺪﻳﺪﻩ ﺑﺎﺷﻰ ﭼﻴﻪ؟ ﻫﻤﻴﺸﻪ ﺑﺎﻳﺪ ﻫﻤﻴﻦﻃﻮﺭﻯ ﺑﺎﺷﻰ؟«‬ ‫»ﻭﺍ! ﭼﻄﻮﺭﻯ ﺑﺎﺷﻢ؟ ﺩﻳﻮﻭﻧﻪ!« ﺩﺧﺘﺮ ﺭﻳﺰ ﻣﻰﺧﻨﺪﺩ‪ .‬ﺗﻮ ﺧﻨﺪﻩ ﺩﺍﻣﻨﺶ ﺭﺍ ﻫﻴﺠﺎﻥﺯﺩﻩﺗﺮ ﻣﻰﺟﻨﺒﺎﻧﺪ ﻭ‬ ‫ﺩﺍﻣﻦ ﻋﻴﻦ ﺟﻮﻫﺮﻯ ﻛﻪ ﺣﻞ ﻧﻤﻰﺷﻮﺩ‪ ،‬ﺍﻧﮕﺎﺭ ﺩﺭ ﺑﺎﺩﻯ ﻛﻪ ﺑﺮ ﭼﻤﻦﺯﺍﺭﻫﺎﻯ ﭘﻴﻚﻧﻴﻚ ﻋﺼﺮﺍﻧﻪ ﻣﻰﺩﻣﺪ‪،‬‬ ‫‪37‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪ ‬ﺟﺎﻯ ﻣﻮﺭﺩ ﻋﻼﻗﻪﻱ ﻣﻮﻧﺎ ﺑﺮﺍﻯ ﺷﺎﺭژ‪ ،‬ﺗﻮ ﮔﻠﺒﺮﮔﻰ ﺑﻮﺩ ﻛﻤﺘﺮ ﻣﺮﺗﻔﻊ ﻭ ﺑﻪ ﻏﺎﻳﺖ ﭘﺮ ﺭﻓﺖ ﻭ ﺁﻣﺪ‪ ،‬ﺩﺭ‬ ‫ﺍﻧﺘﻬﺎﻯ ﻧﻴﻢﻛﻮﭼﻪﺍﻯ ﺩﺭ ﻃﺒﻘﻪﻱ ﻣﻨﻔﻰ ﭼﻬﻞ ﻭ ﺳﻪ‪ ،‬ﺑﺎ ﭼﻨﺪ ﺩﺭ ﻫﻤﻴﺸﻪ ﻗﻔﻞ‪ ،‬ﻧﻮﺭ ﻛﻢ ﻭ ﭼﻨﺪﺗﺎﻳﻰ‬ ‫ﺩﻛﺎﻥ ﺑﻪ ﺳﺒﻚ ﻗﺪﻳﻤﻰ ﺑﺎ ﻭﻳﺘﺮﻳﻦﻫﺎﻯ ﺷﻴﺸﻪﺍﻯ ﻭ ﭼﺮﺍﻍﻫﺎﻯ ﻓﻠﻮﺭﺳﻨﺘﺸﺎﻥ‪ .‬ﺩﺭ ﺑﺮﺍﺑﺮ ﻳﻜﻰ ﺍﺯ ﺩﻛﺎﻥﻫﺎ‬ ‫ﺣﺎﻻ ﺁﻗﺎﻯ ﺯﺍﻫﺪ‪ ،‬ﺻﺎﺣﺐ ﻣﻐﺎﺯﻩ‪ ،‬ﺧﻮﺩﺵ ﺭﺍ ﺑﺎ ﻛﺎﺑﻞ ﻟﺨﺖ ﻛﻠﻔﺘﻰ ﺍﺯ ﺳﻘﻒ ﻧﻴﻢﻛﻮﭼﻪ ﺁﻭﻳﺨﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺟﻤﻌﻴﺖ ﻛﻪ ﺍﺯ ﻛﻨﺎﺭﺵ ﻣﻰﮔﺬﺷﺖ ﺑﻪ ﺁﺭﺍﻣﻰ ﺗﺎﺏ ﻣﻰﺧﻮﺭﺩ‪ .‬ﺧﺒﺮﺩﺍﺭ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﺧﺎﻧﻪﺍﺵ ﺭﺍ ﻭ‬ ‫ﺳﮕﺶ ﺭﺍ ﺩﺭ ﺑﻤﺐﺑﺎﺭﺍﻥ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩ‪ .‬ﺍﻧﮕﺎﺭ ﺍﺯ ﭘﻴﺶ ﺑﺎ ﺧﻮﺩﺵ ﻫﻤﭽﻪ ﻗﺮﺍﺭﻯ ﮔﺬﺍﺷﺘﻪ ﺑﺎﺷﺪ‪،‬‬ ‫ﺑﻼﻓﺎﺻﻠﻪ ﺩﺳﺖ ﺑﻪ ﻛﺎﺭ ﻟﺨﺖ ﻛﺮﺩﻥ ﻛﺎﺑﻞ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺧﻴﻠﻰ ﺯﻭﺩ ﻳﺎﺭﻭﻫﺎﻯ ﺟﻤﻊﺁﻭﺭﻯ ﺑﺮﺍﻯ ﺑﺮﺩﻧﺶ‬ ‫ﭘﻴﺪﺍﺷﺎﻥ ﻣﻰﺷﺪ‪ .‬ﺍﻣﺎ ﺗﺎ ﺁﻥ ﻭﻗﺖ ﺑﻮﻯ ﻧﺎﻣﻄﺒﻮ ِﻉ ﻛﺜﺎﻓﺖ‪ ،‬ﺍﺯ ﭘﺎﭼﻪﻫﺎﻯ ﺧﻴﺲ ﺁﻗﺎﻯ ﺯﺍﻫﺪ ﺑﻪ ﺗﻤﺎﻡ‬ ‫ﻧﻴﻢﻛﻮﭼﻪ ﺗﺴﺮﻯ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺩﺭﺳﺖ ﺟﺎﻳﻰ ﻛﻪ ﻧﻴﻢﻛﻮﭼﻪ ﺑﻪ ﻟﺒﻪﻯ ﮔﺒﺮگ ﻣﻰﺭﺳﻴﺪ ﻭ ﺍﺯ ﻓﻀﺎﻯ ﻣﻴﺎﻥ ﺳﺘﻮﻫﺎﻯ ﺍﺳﺘﺨﻮﺍﻥﺑﻨﺪﻯ‬ ‫ﻣﻰﺷﺪ ﺭﻭﺷﻨﺎﻳﻰﻫﺎﻯ ﻻﻧﻪ ﺭﺍ ﺩﻳﺪ‪ ،‬ﺑﺮﻛﻪﺍﻯ ﺍﺯ ﻛﺮﻭﻡ ﻣﺬﺍﺏ ﻗﺮﺍﺭ ﺩﺍﺷﺖ‪ .‬ﺑﺮ ﻓﺮﺍﺯ ﺳﻄﺢ ﻛﺮﻭﻣﻰ ﺑﺮﻛﻪ‪،‬‬ ‫ﺍﻟﻜﺘﺮﻳﺴﻴﺘﻪﻯ ﻓﻠﺰ ﻣﺬﺍﺏ‪ ،‬ﺍﻧﮕﺎﺭ ﻣﻪﺍﻯ ﺭﻭﻯ ﺁﺏﻫﺎﻯ ﺭﺍﻛﺪ‪ ،‬ﺧﻮﺍﺑﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺩﻭ ﻛﺎﺭﮔﺮ‪ ،‬ﭘﻮﺷﻴﺪﻩ ﺩﺭ‬ ‫ﻧﺎﺭﺳﻨﺎﻳﻰ ﺷﻔﺎﻓﺸﺎﻥ‪ ،‬ﺑﺎ ﺍﻫﺮﻡﻫﺎ ﻭ ﺑﺎﺯﻭﻫﺎ ﻭ ﺩﺍﺱﻫﺎﻳﺸﺎﻥ‪ ،‬ﺑﺎﺗﺮﻯﻫﺎ ﺭﺍ ﻋﻴﻦ ﺭﺍﺳﺘﻪﻫﺎﻯ ﮔﻮﺷﺖ‪،‬‬ ‫ﭘﻮﺷﺶ‬ ‫ِ‬ ‫ﺑﻪ ﭼﻨﮕﻚﻫﺎﻳﻰ ﻣﻰﺁﻭﻳﺨﺘﻨﺪ ﻛﻪ ﺑﺎﻻﻯ ﺑﺮﻛﻪ ﺍﺯ ﺳﻘﻒ ﻧﻴﻢﻛﻮﭼﻪ ﺁﻭﻳﺰﺍﻥ ﺑﻮﺩ‪ .‬ﻭ ﺑﺎﺗﺮﻯﻫﺎ ﺑﺎ ﭼﻪ ﺷﺘﺎﺑﻰ‪،‬‬ ‫ﻫﺰﺍﺭ ﺑﺎﺭ ﺳﺮﻳﻊﺗﺮ ﺍﺯ ﻣﺘﺼﻞ ﺷﺪﻥ ﺑﻪ ﺟﺮﻳﺎﻥ ﺷﻬﺮﻯ‪ ،‬ﺗﻐﺬﻳﻪ ﻣﻰﺷﺪﻧﺪ‪ .‬ﺳﺎﺣﻞ ﺑﺮﻛﻪ ﺭﺍ ﻟﻮﻟﻪﻫﺎﻳﻰ‬ ‫ﻛﻪ ﺩﺭﺷﺎﻥ ﻧﻴﺘﺮﻭژﻥ ﻣﺎﻳﻊ ﻣﻰﺳﺮﻳﺪ ﺧﻨﻚ ﻣﻰﻛﺮﺩ ﻭ ﭘﺮﺩﻩﻯ ﺳﺮﺗﺎﺳﺮﻯ ِﻣﺸﻤﻌﻰ ﺍﺯ ﻧﻴﻢﻛﻮﭼﻪ‬ ‫ﺟﺪﺍ ﻧﮕﻬﺶ ﻣﻰ ﺩﺍﺷﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﺳﻤﺖ‪ ،‬ﺍﻳﻦﺟﺎ ﻛﻪ ﺑﺎﺗﺮﻯﺁﻭﺭﺍﻥ ﻋﻴﻦ ﻣﻮﻣﻨﺎﻧﻰ ﺗﻮ ﺯﻳﺎﺭﺗﮕﺎﻫﻰ ﺟﺎﻳﻰ‬ ‫ﻧﻮﺑﺘﺸﺎﻥ ﺭﺍ ﺍﻧﺘﻈﺎﺭ ﻣﻰﻛﺸﻨﺪ‪ ،‬ﺑﺎ ﭼﻨﺪﺗﺎﻳﻰ ﻧﻴﻤﻜﺖ ﻭ ﭼﻨﺪﺗﺎﻳﻰ ﮔﻴﺎﻩ ﺧﺎﻧﮕﻰ‪ ،‬ﻳﻚﺟﻮﺭ ﺍﺳﺘﺮﺍﺣﺖﮔﺎﻩ‬ ‫ﺑﺮﭘﺎ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺩﻭ ﺳﺎﻋﺖ ﭘﺲ ﺍﺯ ﺑﻤﺐﺑﺎﺭﺍﻥ‪ ،‬ﺩﺭ ﺁﻥ ﻧﻴﻢﺭﻭﺯ ﺯﻣﺴﺘﺎﻧﻰ‪ ،‬ﻳﺎﺭﻭﻫﺎﻳﻰ ﻛﻪ ﺑﺎ ﺑﺎﺗﺮﻯﻫﺎﺷﺎﻥ ﺑﻪ ﭘﻴﻚ ِ‬ ‫ﻧﻴﻚ‬ ‫ﻛﻨﺎﺭ ﺑﺮﻛﻪ ﺁﻣﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺍﺯ ﺧﻼﻝ ﭘﺮﺩﻩﻯ ﭘﻼﺳﺘﻴﻜﻰ ﺩﻭ ﻛﺎﻫﻦ ﻛﺮﻭﻡ ﺭﺍ ﻣﻰﺩﻳﺪﻧﺪ ﺑﺎ ﺍﺷﻜﺎﻝ ﺳﻴﺎﻟﺸﺎﻥ‪،‬‬ ‫ﺑﺎ ﺩﮔﺮﺩﻳﺴﻰ ﺗﻦﻫﺎﻳﺸﺎﻥ ﺩﺭ ﭘﺴﺘﻰﺑﻠﻨﺪﻯﻫﺎﻯ ﭘﺮﺩﻩ‪ ،‬ﺷﻔﺎﺩﻫﻨﺪﮔﺎﻥ ﻓﺮﻭﺗﻦ ﺑﺎﺗﺮﻯﻫﺎ‪ ،‬ﺗﺎﺱ‪ ،‬ﻋﺮﻕﺭﻳﺰﺍﻥ‪.‬‬ ‫ﺭﻭﻯ ﺳﻪ ﻧﻴﻤﻜﺖ ِﺟﻔﺖ ﻫﻢ‪ ،‬ﺯﻧﺎﻧﻰ ﻧﺸﺴﺘﻪ ﺑﻮﺩﻧﺪ ﺑﺎ ﺩﺍﻣﻦﻫﺎﻯ ﺑﺴﻴﺎﺭ ﻋﻈﻴﻢ ﺳﻴﺎﻩ‪ ،‬ﺩﺍﻣﻦﻫﺎﻳﻰ ﮔﺸﺎﺩﻩ‪،‬‬ ‫ﻻﻳﻪﻻﻳﻪ‪ ،‬ﻭﻳﻜﺘﻮﺭﻳﺎﻳﻰ‪ ،‬ﺑﺎ ﻳﻚ ﻣﻴﻠﻴﻮﻥ ژﻭﭘﻦ ﻭ ﭘﺎﺭﻩﻫﺎﻯ ﺗﻮﺭ‪ .‬ﻭ ﺯﻳﺮ ﺁﻥﻫﺎ ﭼﻜﻤﻪﻫﺎﻳﻰ ﺳﻴﺎﻩ ﻭ ﺑﺮﺍﻕ ﻭ‬ ‫ﺑﻠﻨﺪﭘﺎﺷﻨﻪ ﻭ ﻧﻮﻙﺗﻴﺰ‪ ،‬ﻛﻪ ﻋﻴﻦ ﭘﻠﻴﻜﺎﻥﻫﺎ ﺁﻥﺟﺎ ﻛﻨﺎﺭ ﻫﻢ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺧﻮﺍﻫﺮﺍﻥ ﺩﻭﺭﻩﮔﺮﺩ ﻛﻪ ﻫﺮﮔﺰ‬ ‫ﺷﻮﻫﺮ ﻧﻤﻰﻛﻨﻨﺪ‪ ،‬ﻛﻪ ﺗﻨﻬﺎ ﺑﺎﺑﺖ ﺍﺟﺮﺍﻯ ﺑﺮﻧﺎﻣﻪ ﻭ ﻓﻘﻂ ﺑﻪ ﺟﻤﺎﻋﺖ ﺩﺭ ﻣﻨﻈﺮ ﻋﻤﻮﻡ ﻇﺎﻫﺮ ﻣﻰﺷﻮﻧﺪ‪،‬‬ ‫ﺭﻭﺯﮔﺎﺭﺍﻥ ﺣﺎﻻ‬ ‫ﺑﻪ ﺍﺟﺒﺎﺭ ﺑﺮﺍﻯ ﺷﺎﺭژ ﺍﺯ ﺧﺎﻧﻪ ﺧﺎﺭﺝ ﺷﺪﻩﺍﻧﺪ ﻭ ﺍﻣﺎ ﺍﻳﻦﺟﺎ ﻛﻨﺎﺭ ﺑﺮﻛﻪ‪ ،‬ﻣﺜﻞ ﺯﻧﺎﻧﻰ ﺍﺯ‬ ‫ِ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪36‬‬

‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﻣﻮﻧــــﺎ‬ ‫)‪(٢‬‬ ‫ﺁﺭﻣﺎﻥ ﺳﻼﺡ ﻭﺭﺯﻯ‬

‫»ﻣﻮﻧﺎ« ﻓﺼﻞ دوم رﻣﺎﻧﯽ از آرﻣﺎن ﺳﻼحورزی اﺳﺖ ﮐﻪ ﻫﻨﻮز ﻧﺎﻣﯽ ﻧﮕﺮﻓﺘﻪ‪ .‬ﻓﺼﻞ اول اﯾﻦ رﻣﺎن‪ ،‬ﻣﺎ‬ ‫را ﺑﻪ اﻧﺰﻟﯽ ﻣﯽﺑﺮد ﮐﻪ ﺟﺎی زﺧﻢﻫﺎی ﻧﺎﺷﯽ از ﭘﺎﯾﯿﺪن ﺟﻨﮓ ﺟﻬﺎﻧﯽ دوم ﺗﺎ ﺑﯿﺶ از ﯾﮏ ﻗﺮن آن را از‬ ‫ﺷﮑﻞ اﻧﺪاﺧﺘﻪ اﺳﺖ‪ .‬ﺗﺎرﯾﺦ اﻧﺰﻟﯽ اﯾﻦ داﺳﺘﺎن ﭘﺴﺎآﺧﺮاﻟﺰﻣﺎﻧﯽ‪ ،‬ﺑﺎ اﻧﺰﻟﯽ دﻧﯿﺎی ﻣﺎ ﻣﻮازی اﺳﺖ‪ .‬ﺳﭙﺮ‬ ‫اﻧﺮژی ﻣﺤﺎﻓﻆ ﺷﻬﺮ ﻣﺮﺗﺐ زﯾﺮ مبﺒﺎران »ﻗﺸﻮن درﯾﺎﯾﯽ روس« اﺳﺖ و در ﺳﺎﻋﺖﻫﺎی ﺻﺒﺤﮕﺎﻫﯽ‪،‬‬ ‫ﺑﺎﺟﻪﻫﺎی ﺷﺎرژ ﭘﺮوﺗﺰﻫﺎی ﺑﺮﻗﯽ دﺳﺖ و ﭘﺎ ﻧﺎﻣﺘﻌﺎدل ﻣﯽﺷﻮﻧﺪ و آﻗﺎی ﺷﻬﺒﺎ ﻧﺎﻣﯽ در ﻣﺤﻞ متﺎس‬ ‫ﺑﺨﺶ ﮔﻮﺷﺘﯽ دﺳﺘﺶ ﺑﺎ ﺑﺨﺶ ﻓﻠﺰی‪ ،‬زﺧﻤﯽ ﺑﺮ ﻣﯽدارد‪ .‬ﺷﻬﺮ ﯾﮏ ﺟﻮر دﻧﯿﺎی ﺑﺴﺘﻪ اﺳﺖ ﮐﻪ راﻫﯽ‬ ‫ﺑﻪ ﺑﯿﺮون ﻧﺪارد و ﮔﺎﻫﯽ آدمﻫﺎﯾﯽ واردش ﻣﯽﺷﻮﻧﺪ‪.‬‬ ‫ﻣﻮﻧﺎ ﮐﻠﻮﻧﯽ اﺳﺖ از ﭘﺪرش ﮐﻪ ﺑﺎ او‪ ،‬ﯾﮑﯽ از راﻫﻨامﯾﺎن ﮐﻼهﺑﺮدار ﺷﻬﺮی‪ ،‬زﻧﺪﮔﯽ ﻣﯽﮐﻨﺪ‪ .‬در ﻓﺼﻞ‬ ‫اول وﻗﺘﯽ ﺑﺎ ﻣﻮﻧﺎ آﺷﻨﺎ ﻣﯽﺷﻮﯾﻢ ﮐﻪ ﺗﺎزه از ﺧﻮاب ﺑﯿﺪار ﺷﺪه و دﯾﺪار روز ﻗﺒﻠﺶ را ﺑﻪ ﯾﺎد ﻣﯽآورد‪.‬‬ ‫ﻣﻮﻧﺎ ﺻﻮرﺗﺶ را ﺑﺎ آراﯾﺶ ﻣﺨﺼﻮص ﭘﻨﻬﺎن ﮐﺮدن ﻫﻮﯾﺖ از دورﺑﯿﻦﻫﺎی ﺷﻬﺮی ﻣﯽﭘﻮﺷﺎﻧﺪ‪ ،‬دﺳﺖ‬ ‫ﻋﻈﯿﻤﯽ ﻓﻠﺰی را روی دﺳﺖ ﺧﻮدش ﻣﯽﭘﻮﺷﺪ و ﺑﺎﺗﺮی ﻋﻈﯿﻢ ﺧﺎﻧﻪ را ﮐﻪ ﺧﺎﻟﯽ ﺷﺪه‪ ،‬از ﺟﺎ در‬ ‫ﻣﯽآورد ﺗﺎ ﺑﺮای ﺷﺎرژ ﺑﱪد‪.‬‬ ‫در ﺷامرهی ﻓﺮوردﯾﻦ ﻓﺼﻞ ﻧﺨﺴﺖ و اردﯾﺒﻬﺸﺖ ﻣﺎه ﺑﺨﺶ اول از ﻓﺼﻞ دوم »ﻣﻮﻧﺎ« را ﺧﻮاﻧﺪﯾﺪ‪.‬‬ ‫اﮐﻨﻮن اداﻣﻪی ﻓﺼﻞ دوم را ﺑﺮای ﺷام آوردهاﯾﻢ‪.‬‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫‪ ‬ﺣﺎﻻ ﻣﻦ ﻣﻰﻧﻮﻳﺴﻢ ﻭ ﺩﺍﻙ ﻣﻰﺧﻮﺍﻧﺪ ﻭ ﭘﺎﺭﻩ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﻧﻮﺷﺘﻪ ﺭﺍ ﻫﺮﮔﺰ ﻧﺨﻮﺍﻫﺪ ﺧﻮﺍﻧﺪ‪.‬‬ ‫ﺍﺣﺘﻤﺎﻻً ﺑﻪ ﺧﺎﻃﺮﺵ ﻣﻐﺰﻡ ﺭﺍ ﺩﺍﻏﺎﻥ ﻣﻰﻛﻨﺪ‪ ،‬ﻭﻟﻰ ﺑﻪ ﺟﻬﻨﻢ‪ .‬ﺩﺭ ﻫﺮ ﺣﺎﻝ ﺍﻳﻦ ﻧﻮﺷﺘﻪ ﻫﺮﮔﺰ ﭼﺎپ‬ ‫ﻧﺨﻮﺍﻫﺪ ﺷﺪ‪ .‬ﻧﻪ‪ ،‬ﭼﺮﺍ ﻣﺰﺧﺮﻑ ﻣﻰﮔﻮﻳﻢ‪ .‬ﺷﻤﺎ ﺩﺍﺭﻳﺪ ﺍﻳﻦ ﺭﺍ ﻣﻰﺧﻮﺍﻧﻴﺪ‪ ،‬ﻣﮕﺮ ﻧﻪ؟ ﻣﻰﺑﻴﻨﻴﺪ ﻛﻪ ﭼﻄﻮﺭﻯ‬ ‫ﺩﺍﺭﻡ ﺑﺎ ﺁﺑﺮﻭﻯ ﺧﻮﺩﻡ ﺑﺎﺯﻯ ﻣﻰﻛﻨﻢ؟ ﺍﮔﺮ ﻭﺍﻗﻌﺎً ﻧﻮﻳﺴﻨﺪﻩﻯ ﺧﻮﺑﻰ ﺑﺎﺷﻢ‪ ،‬ﺍﮔﺮ ﻧﻮﺷﺘﻪﻫﺎﻳﻢ ﺗﻐﻴﻴﺮﻯ‬ ‫ﺩﺭ ﺳﺮﻧﻮﺷﺖ ﺑﺸﺮ ﺍﻳﺠﺎﺩ ﻛﻨﺪ‪ ،‬ﻳﻚ ﺭﻭﺯ ﺑﺎﻻﺧﺮﻩ ﺩﻭ ﻧﻔﺮ ﺩﺭ ﻟﺒﺎﺱ ﻓﺮﻡ ﺳﻴﺎﻩ ﺑﻪ ﺳﺮﺍﻏﻢ ﻣﻰﺁﻳﻨﺪ ﻭ‬ ‫ﭘﻴﺸﻨﻬﺎﺩﻯ ﺑﺮﺍﻳﻢ ﻣﻄﺮﺡ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺁﻥﻭﻗﺖ ﻣﻦ ﻣﺠﺒﻮﺭﻡ ﭘﻴﺸﻨﻬﺎﺩﺷﺎﻥ ﺭﺍ ﺑﭙﺬﻳﺮﻡ ﻭ ﺷﻤﺎ ﻫﺮﮔﺰ ﺍﻳﻦ‬ ‫ﻧﻮﺷﺘﻪ ﺭﺍ ﻧﺨﻮﺍﻫﻴﺪ ﺧﻮﺍﻧﺪ‪ .‬ﺍﻣﺎ ﺩﺍﺭﻳﺪ ﻣﻰﺧﻮﺍﻧﻴﺪﺵ‪ ،‬ﻧﻪ؟ ﭼﺮﺍ ﻣﻦ ﺩﺍﺭﻡ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺑﺎ ﺧﻮﺩﻡ ﻣﻰﻛﻨﻢ؟‬ ‫ﺷﺎﻳﺪ ﺍﻣﻴﺪﻭﺍﺭﻡ ﺑﻪ ﺳﺮﺍﻏﻢ ﺑﻴﺎﻳﻨﺪ ﻭ ﻣﺠﺒﻮﺭﻡ ﻛﻨﻨﺪ ﺩﺳﺖ ﺍﺯ ﻧﻮﺷﺘﻦ ﺑﺮﺩﺍﺭﻡ‪ .‬ﭼﻮﻥ ﺗﺮﺟﻴﺢ ﻣﻰ ﺩﻫﻢ‬ ‫ﺑﺎﻭﺭ ﻧﻜﻨﻢ ﻛﻪ ﻫﺮﮔﺰ ﺍﺯ ﺍﻳﻦ ﺑﻬﺘﺮ ﻧﺨﻮﺍﻫﻢ ﻧﻮﺷﺖ‪ .‬ﻣﻦ ﺑﺎ ﺯﺑﺎﻥ ﺑﻴﺮﻭﻥ ﺯﺩﻩ‪ ،‬ﻣﻨﺘﻈﺮ ﺍﻳﻦ ﻣﻨﺘﻘﺪﺍﻥ ﺟﻬﺎﻥ‬ ‫ﺁﻳﻨﺪﻩ ﻧﺸﺴﺘﻪﺍﻡ ﻭ ﻟﻌﻨﺘﻰﻫﺎ ﺑﺮﺍﻳﻢ ﺣﺘﺎ ﺗﺮﻩ ﻫﻢ ﺧﺮﺩ ﻧﻤﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺷﺎﻳﺪﻡ ﻫﻢ ﻧﻪ‪ .‬ﺷﺎﻳﺪ ﻛﺎﺭ ﻣﻦ ﺧﻴﻠﻰ ﻫﻢ ﺧﻮﺏ ﺍﺳﺖ‪ .‬ﻣﻨﺘﻬﺎ ﺗﺎﺛﻴﺮ ﺑﺪﻯ ﺭﻭﻯ ﺁﻳﻨﺪﮔﺎﻥ ﻧﺪﺍﺭﺩ‪ .‬ﺗﺄﺛﻴﺮﺵ‬ ‫ﻣﺜﺒﺖ ﺍﺳﺖ‪ .‬ﺷﺎﻳﺪ ﻣﻦ ﻳﻜﻰ ﺍﺯ ﺁﻥ ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻯ ﺧﻮﺵﺷﺎﻧﺴﻰ ﻫﺴﺘﻢ ﻛﻪ ﻣﺤﺼﻮﻝ ﺗﻼﺵﺍﺵ‪ ،‬ﺑﻪ‬ ‫ﻧﺤﻮﻯ ﺍﺳﺖ ﻛﻪ ﻧﻴﺎﺯﻯ ﺑﻪ ﺳﺎﻧﺴﻮﺭ ﻛﺮﺩﻧﺶ ﺑﺮﺍﻯ ﻧﺠﺎﺕ ﺁﻳﻨﺪﻩ ﻧﻴﺴﺖ‪.‬‬ ‫ﺷﺎﻳﺪ ﺍﺻ ً‬ ‫ﻼ ﺧﻮﻙﻫﺎ ﺑﺎﻝ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﻛﻰ ﻣﻰﺩﻭﻧﻪ؟‬

‫‪1. Doc Murphy‬‬ ‫‪2. Utah, Salt Lake City‬‬ ‫‪3. Armand‬‬ ‫‪4. Denae‬‬ ‫‪5. Swamp Morris‬‬ ‫‪6. Davis County‬‬

‫‪7. Emigration Canyon‬‬ ‫‪8. Nevada‬‬ ‫‪9. Wendover‬‬ ‫‪10. Oregon‬‬ ‫‪11. Portland‬‬

‫‪33‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫»ﻣﺎ ﺍﺣﺴﺎﺱ ﺗﻌﻬﺪ ﻣﻰﻛﻨﻴﻢ‪ .‬ﺍﮔﺮ ﺷﻤﺎ ﺧﻮﺩﺗﻮﻥ ﻣﺴﺌﻮﻟﻴﺖ ﺍﻋﻤﺎﻟﺘﻮﻥ ﻭ ﻧﺘﺎﻳﺠﺶ ﺭﻭ ﺑﺮ ﻋﻬﺪﻩ ﻧﮕﻴﺮﻳﻦ‪،‬‬ ‫ﻣﺠﺒﻮﺭ ﻣﻰﺷﻴﻢ ﺍﻳﻦ ﻣﺴﺌﻮﻟﻴﺖ ﺭﻭ ﺑﻪ ﻋﻬﺪﻩﻯ ﺷﺨﺺ ﺩﻳﮕﻪﺍﻯ ﺑﮕﺬﺍﺭﻳﻢ‪«.‬‬ ‫ﺑﻌﺪ ﭘﺮﺳﻴﺪﻡ ﭼﺮﺍ ﺍﺻ ً‬ ‫ﻼ ﺑﻪ ﺧﻮﺩﺷﻮﻥ ﺯﺣﻤﺖ ﺣﺮﻑ ﺯﺩﻥ ﺑﺎ ﻣﻦ ﺭﻭ ﺩﺍﺩﻥ ﻭ ﺑﻼﻓﺎﺻﻠﻪ ﻣﻨﻮ ﻧﻜﺸﺘﻦ‪.‬‬ ‫ﺩﺭﺧﺘﻪ ﺟﻮﺍﺏ ﺩﺍﺩ‪ .‬ﺣﺮﻭﻣﺰﺍﺩﻩ ﺩﺍﺷﺖ ﮔﺮﻳﻪ ﻣﻰﻛﺮﺩ‪» .‬ﭼﻮﻥ ﻣﺎ ﺷﻤﺎ ﺭﻭ ﺩﻭﺳﺖ ﺩﺍﺭﻳﻢ‪ .‬ﻣﺎ ﻋﺎﺷﻖ‬ ‫ﻧﻮﺷﺘﻪﻫﺎﻯ ﺷﻤﺎ ﻫﺴﺘﻴﻢ‪ .‬ﻣﺎ ﻫﺮ ﭼﻴﺰﻯ ﺭﻭ ﻛﻪ ﺍﺯ ﻧﻮﻳﺴﻨﺪﮔﻰ ﻳﺎﺩ ﮔﺮﻓﺘﻴﻢ‪ ،‬ﻣﺪﻳﻮﻥ ﺷﻤﺎ ﻫﺴﺘﻴﻢ‪ .‬ﻭ ﺍﮔﺮ‬ ‫ﺷﻤﺎ ﺑﻤﻴﺮﻳﺪ‪ ،‬ﻣﺎ ﻧﺎﺑﻮﺩ ﻣﻰﺷﻴﻢ‪«.‬‬ ‫ﺑﻌﺪ ﺳﻌﻰ ﻛﺮﺩﻥ ﺩﻟﺪﺍﺭﻳﻢ ﺑﺪﻥ‪ .‬ﺑﺮﺍﻡ ﺗﻌﺮﻳﻒ ﻛﺮﺩﻥ ﻛﻪ ﺗﻮﻣﺎﺱ ﻫﺎﺭﺩﻯ ﻫﻢ ﻣﺠﺒﻮﺭ ﺷﺪﻩ ﻧﻮﻳﺴﻨﺪﮔﻰ‬ ‫ﺭﻭ ﺑﺬﺍﺭﻩ ﻛﻨﺎﺭ ﻭ ﺷﻌﺮﻫﺎﻳﻰ ﺑﻨﻮﻳﺴﻪ ﻛﻪ ﻫﻴﭻﻛﺲ ﺣﺎﺿﺮ ﻧﻴﺴﺖ ﺑﺨﻮﻧﺪﺷﻮﻥ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﺍﻳﻦﺟﻮﺭﻯ‬ ‫ﺑﻰﺧﻄﺮﺵ ﻛﺮﺩﻥ‪ .‬ﺑﻌﺪ ﺩﺭﺧﺖ ﮔﻔﺖ‪» :‬ﻫﻤﻴﻨﮕﻮﻯ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺖ ﺧﻮﺩﺵ ﺧﻮﺩﺵ ﺭﻭ ﺑﻜﺸﻪ ﺗﺎ ﺍﻳﻦ‬ ‫ﻛﻪ ﻣﻨﺘﻈﺮ ﺑﻤﻮﻧﻪ ﻣﺎ ﻛﺎﺭﺵ ﺭﻭ ﺗﻤﻮﻡ ﻛﻨﻴﻢ‪ .‬ﻭ ﺑﻌﻀﻰﻫﺎ ﻫﻢ ﻫﺴﺘﻦ ﻛﻪ ﺗﻨﻬﺎ ﻧﻮﺷﺘﻦ ﻳﻚ ﻛﺘﺎﺏ ﺭﻭ‬ ‫ﺑﺎﻳﺪ ﻛﻨﺎﺭ ﻣﻰﺫﺍﺷﺘﻦ‪ .‬ﻣﺜ ً‬ ‫ﻼ ﻓﻴﺘﺰﺟﺮﺍﻟﺪ ﻣﻰﺗﻮﻧﺴﺖ ﺑﻌﺪ ﺍﺯ ﮔﺘﺴﺒﻰ ﻛﺎﺭﺍﻯ ﺑﻬﺘﺮﻯ ﻫﻢ ﺑﻨﻮﻳﺴﻪ‪ .‬ﻭﻟﻰ‬ ‫ﺍﺟﺎﺯﻩ ﻧﺪﺍﺷﺖ‪ .‬ﻣﺎ ﻓﻘﻂ ﺗﻮﻯ ﻛﺎﺭ ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻯ ﺑﺰﺭگ ﺩﺧﺎﻟﺖ ﻣﻰﻛﻨﻴﻢ‪ .‬ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻯ ﺧﺮﺩﻩﭘﺎ ﺯﻧﺪﮔﻰ‬ ‫ﻛﺴﻰ ﺭﻭ ﺗﻬﺪﻳﺪ ﻧﻤﻰﻛﻨﻦ‪«.‬‬ ‫ﺑﻪ ﻳﻪ ﺟﻮﺭ ﺗﻮﺍﻓﻖ ﺿﻤﻨﻰ ﺭﺳﻴﺪﻳﻢ‪ .‬ﻣﻦ ﻣﻰﺗﻮﻧﺴﺘﻢ ﺑﻪ ﻧﻮﺷﺘﻦ ﺍﺩﺍﻣﻪ ﺑﺪﻡ‪ .‬ﻭﻟﻰ ﺑﻌﺪ ﺍﺯ ﺍﺗﻤﺎﻡ ﻫﺮ ﻛﺎﺭ‪،‬‬ ‫ﺑﺎﻳﺪ ﻣﻰﺳﻮﺯﻭﻧﺪﻣﺶ‪ .‬ﻫﻤﻪﺍﺵ ﺭﻭ ﻏﻴﺮ ﺍﺯ ﺳﻪ ﺻﻔﺤﻪﻯ ﺍﻭﻝ‪ .‬ﺩﺭﺧﺖ ﮔﻔﺖ‪» :‬ﻫﺮ ﻛﺎﺭﻯ ﺭﻭ ﻛﻪ ﺗﻤﻮﻡ‬ ‫ﻛﻨﻴﺪ‪ ،‬ﻳﻚ ﻧﺴﺨﺶ ﻭﺍﺭﺩ ﺍﻳﻦ ﻛﺘﺎﺑﺨﻮﻧﻪ ﻣﻰﺷﻪ‪ .‬ﻳﻚ ﺟﻮﺭ ﻓﻀﺎﻯ ﻣﺠﺎﺯﻳﻪ ﻛﻪ ﺩﺭ ﺧﺎﺭﺝ ﺍﺯ ﺯﻣﺎﻥ ﻗﺮﺍﺭ‬ ‫ﮔﺮﻓﺘﻪ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺷﻤﺎ ﺩﺭ ﻭﺍﻗﻊ ﻳﻚ ﺟﻮﺭﺍﻳﻰ ﻛﺎﺭﻫﺎﺗﻮﻥ ﺭﻭ ﭼﺎپ ﻣﻰﻛﻨﻴﺪ‪ .‬ﺍﻟﺒﺘﻪ ﻧﻪ ﺑﺮﺍﻯ ﻣﺮﺩﻡ ﻋﺼﺮ‬ ‫ﺧﻮﺩﺗﻮﻥ‪ .‬ﺗﺎ ﻫﺸﺘﺼﺪ ﺳﺎﻝ ﺍﺟﺎﺯﻩﻯ ﭼﺎپ ﻧﺨﻮﺍﻫﻴﺪ ﺩﺍﺷﺖ‪ .‬ﺣﺪﺍﻗﻞ ﻣﻰﺗﻮﻧﻴﺪ ﺑﻨﻮﻳﺴﻴﺪ‪ .‬ﻛﺴﺎﻧﻰ ﻫﺴﺘﻦ‬ ‫ﻛﻪ ﻣﺠﺒﻮﺭ ﺷﺪﻥ ﻧﻮﺷﺘﻦ ﺭﻭ ﺑﻪ ﻃﻮﺭ ﻛﺎﻣﻞ ﻛﻨﺎﺭ ﺑﺬﺍﺭﻥ‪ .‬ﻭﺍﻗﻌﺎً ﻣﺎﻳﻪﻯ ﺗﺄﺳﻒ ﻣﺎﺳﺖ‪ .‬ﺑﺎﻭﺭ ﻛﻨﻴﺪ‪«.‬‬ ‫ﺗﺄﺳﻒ ﺭﻭ ﺧﻴﻠﻰ ﺧﻮﺏ ﻣﻰﻓﻬﻤﻴﺪﻡ‪ .‬ﺑﻌﻠﻪ ﺭﻓﻴﻖ‪ .‬ﭼﻮﻥ ﺗﻤﻮﻡ ﺍﻳﻦ ﺳﺎﻝﻫﺎ ﻣﺠﺒﻮﺭ ﺑﻮﺩﻡ ﻫﻤﻪﻯ‬ ‫ﻧﻮﺷﺘﻪﻫﺎﻡ ﺭﻭ ﺑﺴﻮﺯﻭﻧﻢ‪ .‬ﺍﻟﺒﺘﻪ ﺟﺰ ﺳﻪ ﺻﻔﺤﻪﻯ ﺍﻭﻟﺸﻮﻥ ﺭﻭ‪.‬‬ ‫ﻓﻘﻂ ﻳﻪ ﺩﻟﻴﻞ ﺑﺮﺍﻯ ﺗﻮﻗﻒ ﻧﻮﻳﺴﻨﺪﮔﻰ ﻭﺟﻮﺩ ﺩﺍﺭﻩ‪ .‬ﺍﻭﻧﻢ ﻭﻗﺘﻴﻪ ﻛﻪ ﻫﻴﺄﺕ ﺳﺎﻧﺴﻮﺭ ﺳﺮﺍﻏﺖ ﺑﻴﺎﻥ‪.‬‬ ‫ﻫﺮﻛﺲ ﺩﻳﮕﻪﺍﻯ ﻛﻪ ﻧﻮﻳﺴﻨﺪﮔﻰ ﺭﻭ ﻭﻝ ﻣﻰﻛﻨﻪ‪ ،‬ﻳﻪ ﻋﻮﺿﻰ ﮔﺸﺎﺩﻩ‪ .‬ﺍﻭﻥ ﻣﻮﺭﻳﺲ ﻛﻠﻪﺧﺮﺍﺏ ﻫﻢ‬ ‫ﻧﻤﻰﺩﻭﻧﻪ ﺳﺎﻧﺴﻮﺭ ﺭﻭ ﺑﺎ ﭼﻪ ﺱﺍﻯ ﻣﻰﻧﻮﻳﺴﻦ‪ .‬ﺳﺎﻧﺴﻮﺭ ﺗﻮﻯ ﻛﺘﺎﺑﺨﻮﻧﻪﻫﺎ ﺍﺗﻔﺎﻕ ﻧﻤﻰﺍﻓﺘﻪ‪ .‬ﺭﻭﻯ ﺳﻘﻒ‬ ‫ﻣﺎﺷﻴﻨﺎ ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﻪ‪ .‬ﺣﺎﻻ ﻣﻰﺗﻮﻧﻰ ﺑﺮﻯ ﺩﻻﻝ ﺑﻮﺭﺱ ﺑﺸﻰ‪ ،‬ﻳﺎ ﻓﺮﻭﺷﻨﺪﻩﻯ ﺑﻴﻤﻪ‪ .‬ﻳﺎ ﺍﺻ ً‬ ‫ﻼ ﺩﻧﺒﺎﻝ‬ ‫ﺑﺎﺑﺎﻧﻮﺋﻞ ﺭﺍﻩ ﺑﻴﻔﺘﻰ ﻭ ﻛﺜﺎﻓﺖ ﮔﻮﺯﻧﺎﻯ ﭘﺮﻧﺪﻩﺍﺵ ﺭﻭ ﺟﻤﻊ ﻛﻨﻰ‪ .‬ﻭﺍﺳﻪ ﻣﻦ ﺍﻫﻤﻴﺘﻰ ﻧﺪﺍﺭﻩ‪ .‬ﻭﻟﻰ ﺍﮔﺮ‬ ‫ﻣﻰﺧﻮﺍﻯ ﻛﺎﺭﻯ ﺭﻭ ﻭﻝ ﻛﻨﻰ ﻛﻪ ﻣﻦ ﻫﺮﮔﺰ ﻧﻤﻰﺗﻮﻧﻢ ﺍﻧﺠﺎﻣﺶ ﺑﺪﻡ‪ ،‬ﺑﻬﺘﺮﻩ ﮔﻮﺭﺕ ﺭﻭ ﮔﻢ ﻛﻨﻰ‪ .‬ﭼﻮﻥ‬ ‫ﻣﻦ ﺩﻳﮕﻪ ﺑﺎﻫﺎﺕ ﻛﺎﺭﻯ ﻧﺪﺍﺭﻡ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪32‬‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻫﻢ ﺳﻬﻤﮕﻴﻦ ﻧﻴﺴﺖ‪ .‬ﺩﺭ ﻋﻮﺽ ﺟﻮﻥ ﻫﻔﺖ ﻣﻴﻠﻴﻮﻥ ﻧﻔﺮ ﺭﻭ ﻧﺠﺎﺕ ﺩﺍﺩﻳﺪ‪ .‬ﻧﺒﺎﻳﺪ ﺧﻴﻠﻰ ﺧﻮﺩﺗﻮﻥ ﺭﻭ‬ ‫ﻧﺎﺭﺍﺣﺖ ﻛﻨﻴﺪ‪«.‬‬ ‫ﻳﺎﺩ ﭼﻴﺰﻫﺎﻳﻰ ﺍﻓﺘﺎﺩﻡ ﻛﻪ ﺩﺭﺑﺎﺭﻩﻯ ﻣﻦ ﻣﻰﺩﻭﻧﺴﺘﻦ‪ .‬ﭼﻴﺰﺍﻳﻰ ﻛﻪ ﻫﻴﭻ ﻛﺲ ﻧﻤﻰﺗﻮﻧﺴﺖ ﺑﻬﺸﻮﻥ ﮔﻔﺘﻪ‬ ‫ﺑﺎﺷﻪ ﺟﺰ ﺧﻮﺩ ﻣﻦ‪ .‬ﺍﺣﺴﺎﺱ ﺣﻤﺎﻗﺖ ﻛﺮﺩﻡ‪ ،‬ﭼﻮﻥ ﻛﻢﻛﻢ ﺩﺍﺷﺖ ﺣﺮﻓﺎﺷﻮﻥ ﺑﺎﻭﺭﻡ ﻣﻰﺷﺪ‪ .‬ﺧﻴﻠﻰ‬ ‫ﺗﺮﺳﻴﺪﻩ ﺑﻮﺩﻡ‪ ،‬ﭼﻮﻥ ﻭﻗﺘﻰ ﺍﺯ ﻣﺮگ ﭘﺴﺮﻩ ﺣﺮﻑ ﻣﻰﺯﺩﻥ ﭼﻬﺮﻩﺷﻮﻥ ﺧﻴﻠﻰ ﺑﻰﺧﻴﺎﻝ ﺑﻮﺩ‪ .‬ﭘﺮﺳﻴﺪﻡ‪:‬‬ ‫»ﺣﺎﻻ ﻛﻞ ﺍﻳﻦ ﻣﺎﺟﺮﺍﻫﺎ ﭼﻪ ﺭﺑﻄﻰ ﺑﻪ ﻣﻦ ﺩﺍﺭﻩ؟«‬ ‫»ﺭﺑﻄﺶ ﺧﻴﻠﻰ ﺳﺎﺩﻩ ﺍﺳﺖ‪ .‬ﺷﻤﺎ ﻧﻮﻳﺴﻨﺪﻩﻯ ﺑﺰﺭﮔﻰ ﻫﺴﺘﻴﻦ‪ .‬ﻗﺮﺍﺭﻩ ﺑﺰﺭگﺗﺮﻳﻦ ﻧﻮﻳﺴﻨﺪﻩﻯ ﻋﺼﺮ‬ ‫ﺧﻮﺩﺗﻮﻥ ﺑﺸﻴﻦ‪ .‬ﺑﻬﺘﺮﻳﻦ ﻧﻮﻳﺴﻨﺪﻩﻯ ژﺍﻧﺮﻯ‪ .‬ﻭ ﺍﻳﻦ ﻧﻤﺎﻳﺶﻧﺎﻣﻪ‪ ...‬ﺳﻴﺼﺪ ﺳﺎﻝ ﺩﻳﮕﻪ ﺷﻤﺎ ﺭﻭ ﺑﺎ‬ ‫ﺷﻜﺴﭙﻴﺮ ﻣﻘﺎﻳﺴﻪ ﺧﻮﺍﻫﻨﺪ ﻛﺮﺩ ﻭ ﺷﻤﺎ ﭘﻴﺮﻭﺯ ﻣﻴﺪﻭﻥ ﺧﻮﺍﻫﻴﺪ ﺑﻮﺩ‪ .‬ﻓﻘﻂ ﻣﺸﻜﻞ ﺍﻳﻦﺟﺎﺳﺖ ﻛﻪ ﺷﻤﺎ‬ ‫ﺯﻳﺎﺩﻯ ﻣﻨﻔﻰﮔﺮﺍ ﻭ ﺑﺪﺑﻴﻦ ﻫﺴﺘﻴﺪ‪ .‬ﻭ ﺍﮔﺮ ﻣﺎ ﻧﺬﺍﺭﻳﻢ ﺷﻤﺎ ﻛﺎﺭﻯ ﻣﻨﺘﺸﺮ ﺑﻜﻨﻴﺪ‪ ،‬ﺣﺎﻝ ﻭ ﻫﻮﺍﻯ ﺍﺩﺑﻴﺎﺕ ﺑﻪ‬ ‫ﻣﺪﺕ ﺩﻭ ﻗﺮﻥ ﻣﺜﺒﺖ ﺑﺎﻗﻰ ﻣﻰﻣﻮﻧﻪ‪ .‬ﺍﺯ ﻳﻪ ﺧﺸﻚﺳﺎﻟﻰ ﺩﺭ ﻫﻔﺘﺎﺩ ﺳﺎﻝ ﺁﻳﻨﺪﻩ ﻫﻢ ﺟﻠﻮﮔﻴﺮﻯ ﻣﻰﺷﻪ‪.‬‬ ‫ﺗﺎﺭﻳﺦ ﭘﻴﭻ ﻭ ﺗﺎﺏﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺩﺍﺭﻩ ﻣﻮﺭﻓﻰ‪ .‬ﻭ ﺗﻮ ﺩﺭ ﻣﺮﻛﺰ ﺑﺪﺑﺨﺘﻰﻫﺎﻯ ﺯﻳﺎﺩﻯ ﻗﺮﺍﺭ ﺩﺍﺭﻯ‪ .‬ﺍﮔﺮ ﻫﺮﮔﺰ‬ ‫ﻛﺎﺭﻯ ﺍﺯ ﺷﻤﺎ ﭼﺎپ ﻧﺸﻪ‪ ،‬ﺩﻧﻴﺎ ﺟﺎﻯ ﺷﺎﺩﺗﺮﻯ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪«.‬‬ ‫ﺗﻮ ﺍﻭﻥﺟﺎ ﻧﺒﻮﺩﻯ‪ .‬ﻧﻤﻰﺗﻮﻧﻰ ﺩﺭﻙ ﻛﻨﻰ‪ .‬ﻧﺪﻳﺪﻯ ﻛﻪ ﭼﻄﻮﺭ ﺭﻭﻯ ﻣﺒﻞ ﻣﻦ ﻧﺸﺴﺘﻪ ﺑﻮﺩﻥ ﻭ ﺑﺎ ﭘﺎﻫﺎﻯ‬ ‫ﺭﻭﻯ ﻫﻢ‪ ،‬ﺍﻧﮕﺎﺭ ﻛﻪ ﻋﺎﺩﻯﺗﺮﻳﻦ ﭼﻴﺰ ﺭﻭﻯ ﺯﻣﻴﻦ ﺧﺪﺍ ﺭﻭ ﺑﮕﻦ‪ ،‬ﺩﺍﺷﺘﻦ ﺳﺮ ﺗﻜﻮﻥ ﻣﻰﺩﺍﺩﻥ‪ .‬ﺍﺯ ﻧﮕﺎﻩ‬ ‫ﻛﺮﺩﻥ ﺑﻪ ﺍﻭﻧﺎ ﺑﻮﺩ ﻛﻪ ﻳﺎﺩ ﮔﺮﻓﺘﻢ ﭼﻄﻮﺭ ﺟﻨﻮﻥ ﺣﻘﻴﻘﻰ ﺭﻭ ﺑﻨﻮﻳﺴﻢ‪ .‬ﺩﻭ ﺗﺎ ﻣﺄﻣﻮﺭ ﺩﻭﻟﺖ ﻋﻮﺿﻰ‬ ‫ﻧﺒﻮﺩﻥ‪ .‬ﺩﻭ ﺗﺎ ﺩﻭﺳﺖ ﺑﻮﺩﻥ ﻛﻪ ﺩﺍﺷﺘﻦ ﻭﺣﺸﺘﻨﺎﻙﺗﺮﻳﻦ ﭼﻴﺰﺍﻯ ﺩﻧﻴﺎ ﺭﻭ ﻣﻰﮔﻔﺘﻦ‪ .‬ﺣﺘﺎ ﻣﻰﺧﻨﺪﻳﻦ‬ ‫ﻭ ﻫﻴﺠﺎﻥﺯﺩﻩ ﻣﻰﺷﺪﻥ‪ .‬ﻧﻤﻰﺗﻮﻧﻰ ﺗﺼﻮﺭ ﻛﻨﻰ‪ .‬ﺩﻳﮕﻪ ﺩﺍﺷﺖ ﻛﻞ ﺣﺮﻓﺎﺷﻮﻥ ﺑﺎﻭﺭﻡ ﻣﻰﺷﺪ‪ .‬ﭼﻴﺰﺍﻳﻰ‬ ‫ﻣﻰﺩﻭﻧﺴﺘﻦ ﻛﻪ ﻧﻤﻰﺗﻮﻧﻰ ﺑﺎﻭﺭ ﻛﻨﻰ‪ .‬ﻭ ﺩﻳﻮﻭﻧﻪ ﺑﻮﺩﻥ‪ .‬ﻭﻟﻰ ﺣﺘﺎ ﻳﻪ ﺩﻳﻮﻭﻧﻪ ﻫﻢ ﻣﻰﺗﻮﻧﻪ ﺩﻻﻳﻞ ﺑﻬﺘﺮﻯ‬ ‫ﺑﺮﺍﻯ ﺩﺭﻭﻏﺎﺵ ﺩﺳﺖ ﻭ ﭘﺎ ﻛﻨﻪ‪ .‬ﻭ ﺩﺍﺭﻡ ﺟﻮﺭﻯ ﺣﺮﻑ ﻣﻰﺯﻧﻢ ﻛﻪ ﺍﻧﮕﺎﺭ ﺣﺮﻓﺸﻮﻥ ﺭﻭ ﻗﺒﻮﻝ ﻛﺮﺩﻡ‪ .‬ﻭﻟﻰ‬ ‫ﻧﻜﺮﺩﻡ‪ .‬ﺍﻻﻧﻢ ﻧﻤﻰﺗﻮﻧﻢ ﺗﻮ ﺭﻭ ﻣﺘﻘﺎﻋﺪ ﻛﻨﻢ‪ .‬ﭼﻮﻥ ﺍﺯ ﻧﻈﺮ ﻣﻨﻄﻘﻰ‪ ،‬ﻫﻤﻪ ﭼﻴﺰﺷﻮﻥ ﺑﺎ ﻫﻢ ﻣﻰﺧﻮﻧﺪ‪ .‬ﻭ‬ ‫ﭼﺎﺧﺎﻥ ﻫﻢ ﻧﻤﻰﻛﺮﺩﻥ‪ .‬ﭼﻮﻥ ﻣﻦ ﺧﻴﻠﻰ ﺧﻮﺏ ﻣﻰﺗﻮﻧﻢ ﺩﺭﻭﻍﮔﻮﻫﺎ ﺭﻭ ﺗﺸﺨﻴﺺ ﺑﺪﻡ‪ .‬ﺍﻳﻨﺎ ﺩﺍﺷﺘﻦ‬ ‫ﻋﻴﻦ ﻭﺍﻗﻌﻴﺖ ﺭﻭ ﻣﻰﮔﻔﺘﻦ‪ .‬ﻳﻪ ﺑﭽﻪ ﻣﺮﺩﻩ ﺑﻮﺩ ﻭ ﺍﻳﻨﺎ ﻣﻰﺩﻭﻧﺴﺘﻦ ﻣﻦ ﭼﻨﺪ ﺑﺎﺭ ﺳﻮﺋﻴﭻ ﺭﻭ ﭼﺮﺧﻮﻧﺪﻩ‬ ‫ﺑﻮﺩﻡ‪ .‬ﻭ ﻭﻗﺘﻰ ﻣﻮ ﻣﺸﻜﻰ ﺷﺮﻭﻉ ﻛﺮﺩ ﺑﻪ ﺣﺮﻑ ﺯﺩﻥ‪ ،‬ﺣﻘﻴﻘﺖ ﺗﻮﻯ ﺻﺪﺍﺵ ﻣﻮﺝ ﻣﻰﺯﺩ‪.‬‬ ‫ﮔﻔﺖ‪» :‬ﺍﮔﺮ ﻗﻮﻝ ﺑﺪﻳﻦ ﻛﻪ ﭼﻴﺰﻯ ﭼﺎپ ﻧﻜﻨﻴﻦ‪ ،‬ﻣﻰﺫﺍﺭﻳﻢ ﺯﻧﺪﻩ ﺑﻤﻮﻧﻴﺪ‪ .‬ﺩﺭ ﻏﻴﺮ ﺍﻳﻦ ﺻﻮﺭﺕ ﺗﺎ ﺳﻪ‬ ‫ﺭﻭﺯ ﺩﻳﮕﻪ ﻛﺸﺘﻪ ﺧﻮﺍﻫﻴﺪ ﺷﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺑﻪ ﺻﻮﺭﺕ ﺧﻴﻠﻰ ﺗﺼﺎﺩﻓﻰ‪ .‬ﺗﻮﺳﻂ ﻳﻪ ﻧﻮﻳﺴﻨﺪﻩﻯ ﺩﻳﮕﻪ‪ .‬ﭼﻮﻥ ﻣﺎ‬ ‫ﻓﻘﻂ ﺑﺎ ﻧﻮﻳﺴﻨﺪﻩﻫﺎ ﻛﺎﺭ ﻣﻰﻛﻨﻴﻢ‪«.‬‬ ‫ﭘﺮﺳﻴﺪﻡ ﭼﺮﺍ‪ .‬ﺟﻮﺍﺑﺸﻮﻥ ﺑﺎﻋﺚ ﺧﻨﺪﻩﺍﻡ ﺷﺪ‪ .‬ﮔﻔﺘﻦ ﻋﻀﻮ ﻳﻪ ﺟﻮﺭ ﺳﻨﺪﻳﻜﺎﻯ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻫﺴﺘﻦ‪.‬‬

‫‪31‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺭﺳﻴﺪ‪ ،‬ﻓﻘﻂ ﺑﻪ ﺧﺎﻃﺮ ﺍﻳﻦ ﻣﻨﻮ ﻧﻜﺸﺖ ﻛﻪ ﺩﺍﺷﺘﻢ ﻣﺜﻞ ﺩﻳﻮﻭﻧﻪﻫﺎ ﺿﺠﻪ ﻣﻰﺯﺩﻡ‪ .‬ﻗﻀﻴﻪ ﺑﻪ ﺩﺍﺩﮔﺎﻩ‬ ‫ﻛﺸﻴﺪﻩ ﻧﺸﺪ‪ ،‬ﭼﻮﻥ ﻫﻤﺴﺎﻳﻪﻫﺎ ﺷﻬﺎﺩﺕ ﺩﺍﺩﻥ ﻛﻪ ﻣﻦ ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﺷﺎﻧﺲ ﺗﺮﻣﺰ ﮔﺮﻓﺘﻦ ﻧﺪﺍﺷﺘﻢ‪.‬‬ ‫ﭘﻠﻴﺲ ﻫﻢ ﺗﺸﺨﻴﺺ ﺩﺍﺩ ﻛﻪ ﻣﻦ ﺳﺮﻋﺖ ﻧﻤﻰﺭﻓﺘﻢ‪ .‬ﺗﻮﻯ ﭘﺮﻭﻧﺪﻩﺍﻡ ﺣﺘﺎ ﺣﻮﺍﺱﭘﺮﺗﻰ ﻫﻢ ﺩﺭﺝ ﻧﻜﺮﺩﻥ‪.‬‬ ‫ﻫﻤﻪﺍﺵ ﻳﻪ ﺣﺎﺩﺛﻪ ﺑﻮﺩ‪.‬‬ ‫ﺗﻮﻯ ﺭﻭﺯﻧﺎﻣﻪ ﻣﻘﺎﻟﻪﺍﺵ ﺭﻭ ﺧﻮﻧﺪﻡ‪ .‬ﭘﺴﺮﻩ ﻓﻘﻂ ﻧﻪ ﺳﺎﻟﺶ ﺑﻮﺩ‪ ،‬ﻭﻟﻰ ﻛﻼﺱﻫﺎﻯ ﻓﻮﻕﺑﺮﻧﺎﻣﻪ ﺗﻮﻯ‬ ‫ﻣﺪﺭﺳﻪ ﺑﺮﻣﻰﺩﺍﺷﺖ‪ .‬ﺧﻴﻠﻰ ﺑﺎﻫﻮﺵ ﺑﻮﺩ‪ .‬ﻳﻪ ﺭﻭﺯﻧﺎﻣﻪﻯ ﺩﺍﻧﺶﺁﻣﻮﺯﻯ ﭼﺎپ ﻣﻰﻛﺮﺩ ﻭ ﻫﻤﻴﺸﻪ ﻫﻢ‬ ‫ﻣﻮﺍﻇﺐ ﺧﻮﺍﻫﺮ ﺑﺮﺍﺩﺭﺵ ﺑﻮﺩ‪ .‬ﻭﺍﻗﻌﺎً ﺍﺷﻚ ﺁﺩﻡ ﺭﻭ ﺩﺭ ﻣﻰﺁﻭﺭﺩ‪ .‬ﺑﻪ ﺧﻮﺩﻛﺸﻰ ﻓﻜﺮ ﻛﺮﺩﻡ‪ .‬ﺍﻭﻥﻭﻗﺖ ﺑﻮﺩ‬ ‫ﻛﻪ ﺍﻭﻥ ﻣﺮﺩﺍﻯ ﻟﺒﺎﺱﻓﺮﻡﭘﻮﺵ ﺑﺮﮔﺸﺘﻦ‪ .‬ﭼﻬﺎﺭ ﺗﺎ ﺍﺯ ﻛﭙﻰﻫﺎﻯ ﻧﻤﺎﻳﺶﻧﺎﻣﻪ ﺑﺎﻫﺎﺷﻮﻥ ﺑﻮﺩ‪ .‬ﻫﻤﺎﻥ ﭼﻬﺎﺭ‬ ‫ﻧﺴﺨﻪﻯ ﻛﭙﻰ ﻛﻪ ﺩﺭﺳﺖ ﻛﺮﺩﻩ ﺑﻮﺩﻡ‪ .‬ﻧﺴﺨﻪﻯ ﺍﺻﻠﻰ ﺗﻮﻯ ﻛﻤﺪﻡ ﺑﻮﺩ‪.‬‬ ‫»ﻣﻰﺑﻴﻨﻴﺪ ﺁﻗﺎﻯ ﻣﻮﺭﻓﻰ؟ ﻣﺎ ﻫﻤﻪﻯ ﻧﺴﺨﻪﻫﺎﻯ ﻛﭙﻰ ﺭﻭ ﺩﺍﺭﻳﻢ‪ .‬ﺣﺎﻻ ﻧﺴﺨﻪﻯ ﺍﺻﻠﻰ ﺭﻭ ﺗﺤﻮﻳﻞ ﻣﺎ‬ ‫ﺑﺪﻳﻦ‪«.‬‬ ‫ﺣﻮﺻﻠﻪﺷﻮﻥ ﺭﻭ ﻧﺪﺍﺷﺘﻢ‪ .‬ﺩﺍﺷﺘﻢ ﺩﺭ ﺭﻭ ﻣﻰﺑﺴﺘﻢ‪.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﺧﻮﺵ ﺑﻪ ﺣﺎﻟﺖ‪ «.‬ﺍﻭﻥ ﻣﻮﻗﻊ ﻭﺍﺳﻢ ﻣﻬﻢ ﻧﺒﻮﺩ ﻛﻪ ﭼﻄﻮﺭ ﻛﭙﻰﻫﺎ ﺭﻭ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩﻩ‪ .‬ﻓﻘﻂ‬ ‫ﺩﻭﺳﺖ ﺩﺍﺷﺘﻢ ﺑﺨﻮﺍﺑﻢ ﻭ ﻓﺮﺩﺍﺵ ﺑﻴﺪﺍﺭ ﺷﻢ ﻭ ﺑﺒﻴﻨﻢ ﻛﻪ ﭘﺴﺮﻩ ﻫﻨﻮﺯ ﺯﻧﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﻭﻧﺎ ﺩﺭ ﺭﻭ ﻫﻞ ﺩﺍﺩﻥ ﻭ ﺍﻭﻣﺪﻥ ﺗﻮﻯ ﺧﻮﻧﻪ‪» .‬ﺁﻗﺎﻯ ﻣﻮﺭﻓﻰ‪ ،‬ﺗﺎ ﺯﻣﺎﻧﻰ ﻛﻪ ﻣﺎ ﻣﺎﺷﻴﻦ ﺷﻤﺎ ﺭﻭ ﺩﺳﺘﻜﺎﺭﻯ‬ ‫ﻧﻜﺮﺩﻩ ﺑﻮﺩﻳﻢ‪ ،‬ﺷﻤﺎ ﻭ ﭘﺴﺮﻙ ﻫﺮﮔﺰ ﻣﻤﻜﻦ ﻧﺒﻮﺩ ﺑﻪ ﻫﻢ ﺑﺮ ﺑﺨﻮﺭﻳﺪ‪ .‬ﺑﺎﺭﻫﺎ ﺳﻌﻰ ﻛﺮﺩﻳﻢ ﺗﺎ ﻣﻮﻗﻌﻴﺖ‬ ‫ﻣﻨﺎﺳﺐ ﺭﻭ ﺑﺎﻻﺧﺮﻩ ﺍﻳﺠﺎﺩ ﻛﺮﺩﻳﻢ‪ .‬ﺧﻮﺑﻰ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ ﺍﻳﻨﻪ ﻛﻪ ﺍﮔﺮ ﺑﺎﺭ ﺍﻭﻝ ﺍﻭﺿﺎﻉ ﺭﻭ ﺑﻬﻢ ﺭﻳﺨﺘﻰ‪،‬‬ ‫ﻫﻤﻴﺸﻪ ﻣﻰﺗﻮﻧﻰ ﺑﺮﮔﺮﺩﻯ ﻭ ﺩﻭﺑﺎﺭﻩ ﻫﻤﻪ ﭼﻴﺰ ﺭﻭ ﺗﺼﺤﻴﺢ ﻛﻨﻰ‪«.‬‬ ‫ﺑﺎﻭﺭﻡ ﻧﻤﻰﺷﺪ ﻛﻪ ﻛﺴﻰ ﺑﺨﻮﺍﻫﺪ ﮔﻨﺎﻩ ﻣﺮگ ﭘﺴﺮﻙ ﺭﺍ ﺑﻪ ﻋﻬﺪﻩ ﺑﮕﻴﺮﺩ‪ .‬ﭘﺮﺳﻴﺪﻡ‪» :‬ﺁﺧﻪ ﭼﺮﺍ؟«‬ ‫ﺑﺮﺍﻡ ﺗﻮﺿﻴﺢ ﺩﺍﺩﻥ‪ .‬ﭘﺴﺮﻩ ﺍﺯ ﭼﻴﺰﻯ ﻛﻪ ﻫﻤﻪ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻥ ﺑﺎﻫﻮﺵﺗﺮ ﺑﻮﺩ‪ .‬ﻗﺮﺍﺭ ﺑﻮﺩ ﻭﻗﺘﻰ ﺑﺰﺭگ ﺷﺪ‪،‬‬ ‫ﻳﻪ ﻧﻮﻳﺴﻨﺪﻩﻯ ﻣﻌﺮﻭﻑ ﺑﺸﻪ‪ .‬ﻳﻚ ﺭﻭﺯﻧﺎﻣﻪﻧﮕﺎﺭ ﻭ ﻣﻨﺘﻘﺪ‪ .‬ﻭ ﻗﺮﺍﺭ ﺑﻮﺩ ﭼﻬﻞ ﺳﺎﻝ ﺩﻳﮕﻪ ﺑﺮﺍﻯ ﻳﻪ ﺩﻭﻟﺘﻰ‬ ‫ﻣﺸﻜﻼﺕ ﺯﻳﺎﺩﻯ ﺍﻳﺠﺎﺩ ﻛﻨﻪ‪ .‬ﻣﺨﺼﻮﺻﺎً ﻗﺮﺍﺭ ﺑﻮﺩ ﺳﻪ ﺗﺎ ﻛﺘﺎﺏ ﺑﻨﻮﻳﺴﻪ ﻛﻪ ﻃﺮﺯ ﻓﻜﺮ ﻳﻪ ﻋﺪﻩﻯ ﺧﻴﻠﻰ‬ ‫ﺯﻳﺎﺩﻯ ﺭﻭ ﺗﻐﻴﻴﺮ ﻣﻰﺩﺍﺩ‪.‬‬ ‫ﺩﺭﺧﺘﻪ ﺑﻬﻢ ﮔﻔﺖ‪» :‬ﻣﺎ ﺧﻮﺩﻣﻮﻥ ﻫﻢ ﻧﻮﻳﺴﻨﺪﻩ ﻫﺴﺘﻴﻢ‪ .‬ﺑﺮﺍﻯ ﻣﺎ ﻧﻮﻳﺴﻨﺪﮔﻰ ﻭ ﻧﻮﺷﺘﻪﻫﺎ ﺧﻴﻠﻰ ﺧﻴﻠﻰ‬ ‫ﺍﻫﻤﻴﺖ ﺩﺍﺭﻥ‪ .‬ﭼﻮﻥ ﺍﺭﺯﺵ ﺣﻘﻴﻘﻰﺷﻮﻥ ﺭﻭ ﺩﺭﻙ ﻣﻰﻛﻨﻴﻢ‪ .‬ﻭ ﺗﺄﺛﻴﺮﺷﻮﻥ ﺭﻭ‪ .‬ﺧﻴﻠﻰ ﻋﻤﻴﻖﺗﺮ ﺍﺯ‬ ‫ﺷﻤﺎﻫﺎ‪ .‬ﻧﻮﻳﺴﻨﺪﻩﻫﺎ‪ ،‬ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻯ ﺧﻮﺏ‪ ،‬ﻣﻰﺗﻮﻧﻦ ﺍﻧﺴﺎﻥﻫﺎ ﺭﻭ ﺗﻐﻴﻴﺮ ﺑﺪﻥ‪ .‬ﻭ ﺑﻌﻀﻰ ﺗﻐﻴﻴﺮﺍﺕ ﺧﻴﻠﻰ‬ ‫ﻣﻨﺎﺳﺐ ﻧﻴﺴﺘﻦ‪ .‬ﺑﺎ ﻛﺸﺘﻦ ﺍﻭﻥ ﭘﺴﺮ‪ ،‬ﺷﻤﺎ ﺍﺯ ﻳﻪ ﺟﻨﮓ ﺩﺍﺧﻠﻰ ﺧﻮﻧﻴﻦ ﻛﻪ ﺷﺼﺖ ﺳﺎﻝ ﺩﻳﮕﻪ ﺍﺗﻔﺎﻕ‬ ‫ﺧﻮﺍﻫﺪ ﺍﻓﺘﺎﺩ‪ ،‬ﺟﻠﻮﮔﻴﺮﻯ ﻛﺮﺩﻳﺪ‪ .‬ﻣﺎ ﺑﺮﺭﺳﻰ ﻛﺮﺩﻳﻢ ﻭ ﺩﻳﺪﻳﻢ ﭘﻰﺁﻣﺪ ﻛﺸﺘﻪ ﺷﺪﻥ ﭘﺴﺮﻙ ﭼﻨﺪﺍﻥ‬

‫‪29‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﺩﺭﺧﺘﻪ ﮔﻔﺖ‪» :‬ﻧﻴﺎﺯﻯ ﻧﻴﺴﺖ‪ .‬ﺁﻗﺎﻯ ﻣﻮﺭﻓﻰ‪ ،‬ﺷﻤﺎ ﺍﻧﺴﺎﻥ ﺧﻄﺮﻧﺎﻛﻰ ﻫﺴﺘﻴﺪ‪ .‬ﺷﻤﺎ ﺑﺎ ﺍﻭﻥ ﺩﺳﺘﮕﺎﻩ‬ ‫ﺗﺎﻳﭗ ﻣﺪﻝ ﺁﻯﺑﻰﺍﻡ ﺳﻠﻜﺘﺮﻳﻚ ﺩﻭ ﻛﻪ ﻳﻪ ﻛﻢ ﻣﻮﻗﻊ ﺑﺮﮔﺸﺘﻦ ﮔﻴﺮ ﻣﻰﻛﻨﻪ ﻭ ﺑﺎﻋﺚ ﻣﻰﺷﻪ ﭼﻨﺪ ﻛﻠﻤﻪ‬ ‫ﺍﺯ ﺳﻄﺮ ﺑﻌﺪ ﺭﻭ ﺗﻪ ﺧﻂ ﺑﻌﺪ ﺑﻨﻮﻳﺴﻴﺪ‪ ،‬ﺧﻴﻠﻰ ﺧﻄﺮﻧﺎﻛﻴﺪ‪ .‬ﻭ ﺍﻟﺒﺘﻪ ﭘﺪﺭﺗﻮﻥ ﻳﻪ ﺭﻭﺯ ﺑﻬﺘﻮﻥ ﮔﻔﺖ‪ :‬ﺑﻴﻞ‬ ‫ﻣﻦ ﺍﺻ ً‬ ‫ﻼ ﻧﻤﻰﺩﻭﻧﻢ ﺗﻮﻯ ﺣﺮﻭﻡﺯﺍﺩﻩ ﭘﺴﺮ ﻣﻨﻰ ﻳﺎ ﻧﻪ‪ .‬ﭼﻮﻥ ﺍﻭﻥ ﻣﻮﻗﻊ ﻛﻪ ﺑﺎ ﻣﺎﺩﺭ ﭘﺘﻴﺎﺭﻩﺍﺕ ﺍﺯﺩﻭﺍﺝ‬ ‫ﻣﻰﻛﺮﺩﻡ‪ ،‬ﺑﺎ ﺧﻴﻠﻴﺎ ﺑﺮﻭ ﻭ ﺑﻴﺎ ﺩﺍﺷﺖ‪ .‬ﭘﺲ ﺍﮔﻪ ﻧﻔﻠﻪ ﻫﻢ ﺑﺸﻰ‪ ،‬ﻛﻜﻢ ﻫﻢ ﻧﻤﻰﮔﺰﻩ‪«.‬‬ ‫ﻋﻴﻦ ﻛﻠﻤﺎﺕ ﭘﺪﺭﻡ ﺑﻮﺩ‪ .‬ﺩﻗﻴﻘﺎً ﻫﻤﺎﻥ ﻛﻠﻤﺎﺗﻰ ﺑﻮﺩ ﻛﻪ ﭘﺪﺭﻡ ﻭﻗﺘﻰ ﭼﻬﺎﺭ ﺳﺎﻟﻢ ﺑﻮﺩ‪ ،‬ﺑﻬﻢ ﮔﻔﺘﻪ ﺑﻮﺩ‪ .‬ﺗﺎ‬ ‫ﺍﻭﻥ ﺭﻭﺯ ﺑﻪ ﻛﺴﻰ ﺩﺭ ﺍﻳﻦ ﺑﺎﺭﻩ ﺣﺮﻓﻰ ﻧﺰﺩﻩ ﺑﻮﺩﻡ‪ .‬ﺍﻭﻥ ﻭﻗﺖ ﺍﻳﻦ ﻣﺮﺩﻙ ﻫﻤﻪﺍﺵ ﺭﻭ ﺍﺯ ﺑﺮ ﺑﻮﺩ‪.‬‬ ‫ﻳﻌﻨﻰ ﻣﺎﻣﻮﺭ ﺳﻰﺁﻯﺍﻯ ﺑﻮﺩﻥ؟ ﻟﻌﻨﺖ ﺑﻪ ﺍﻳﻦ ﺷﺎﻧﺲ ﮔﻨﺪ‪.‬‬ ‫ﻧﻪ ﺳﻰﺁﻯﺍﻯ ﻧﺒﻮﺩﻥ‪ .‬ﻓﻘﻂ ﻣﻰﺧﻮﺍﺳﺘﻦ ﻣﻄﻤﺌﻦ ﺑﺸﻦ ﻣﻦ ﺩﻳﮕﻪ ﭼﻴﺰﻯ ﻧﻤﻰﻧﻮﻳﺴﻢ‪ .‬ﻳﺎ ﺩﺭ ﻭﺍﻗﻊ‬ ‫ﭼﻴﺰﻯ ﭼﺎپ ﻧﻤﻰﻛﻨﻢ‪.‬‬ ‫ﻣﻦ ﺑﻬﺸﻮﻥ ﮔﻔﺘﻢ ﻛﻪ ﻣﻰﺗﻮﻧﻦ ﮔﻮﺭﺷﻮﻥ ﺭﻭ ﮔﻢ ﻛﻨﻦ‪ .‬ﻭ ﺣﻖ ﺑﺎ ﻣﻦ ﺑﻮﺩ‪ .‬ﺑﺰﻥ ﺑﻬﺎﺩﺭ ﻧﺒﻮﺩﻥ‪ .‬ﺭﺍﻫﺸﻮﻥ‬ ‫ﺭﻭ ﻛﺸﻴﺪﻥ ﻭ ﺭﻓﺘﻦ‪.‬‬ ‫ﺭﻭﺯ ﺑﻌﺪ ﻛﻪ ﺩﺍﺷﺘﻢ ﺑﺎ ﮔﻠﻜﺴﻰ ﻗﺪﻳﻤﻴﻢ ﺯﻳﺮ ﺳﺮﻋﺖ ﻗﺎﻧﻮﻧﻰ ﺗﻮﻯ ﺟﺎﺩﻩ ﻣﻰ ﺭﻓﺘﻢ‪ ،‬ﻳﻪ ﭘﺴﺮ ﺩﻭﭼﺮﺧﻪﺳﻮﺍﺭ‬ ‫ﭘﻴﭽﻴﺪ ﺟﻠﻮﻡ‪ .‬ﺣﺘﺎ ﻓﺮﺻﺖ ﻧﻜﺮﺩﻡ ﺗﺮﻣﺰ ﻛﻨﻢ‪ .‬ﻳﻪ ﺛﺎﻧﻴﻪ ﺍﻭﻥﺟﺎ ﻧﺒﻮﺩ ﻭ ﻳﻪ ﺛﺎﻧﻴﻪﻯ ﺑﻌﺪ ﺟﻠﻮﻡ ﺑﻮﺩ‪ .‬ﭘﺎﺵ‬ ‫ﺗﻮﻯ ﺳﭙﺮ ﻣﺎﺷﻴﻦ ﮔﻴﺮ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺩﻭﭼﺮﺧﻪ ﺯﻳﺮ ﻣﺎﺷﻴﻦ ﻟﻪ ﺷﺪ‪ .‬ﻳﻚ ﭘﺎﻯ ﭘﺴﺮ ﭘﺎﻳﻴﻦ ﻣﺎﻧﺪﻩ ﺑﻮﺩ ﻭ‬ ‫ﺑﻘﻴﻪﻯ ﺑﺪﻧﺶ ﺑﺎﻻ ﺭﻓﺘﻪ ﺑﻮﺩ‪ .‬ﺑﺎﺳﻨﺶ ﺷﻜﺎﻓﺖ ﻭ ﻛﻤﺮﺵ ﺍﺯ ﺳﻪ ﺟﺎ ﭘﺎﺭﻩ ﺷﺪ‪ .‬ﺑﺮﺁﻣﺪﮔﻰ ﺭﻭﻯ ﺳﻘﻒ‬ ‫ﺍﺯ ﺗﻮﻯ ﺑﺪﻧﺶ ﺑﻴﺮﻭﻥ ﺯﺩ ﻭ ﺧﻮﻥ ﺑﻮﺩ ﻛﻪ ﻫﻤﻪ ﺟﺎ ﺭﻭ ﮔﺮﻓﺖ‪ .‬ﺧﻮﻥ ﻣﺜﻞ ﺑﺎﺭﻭﻥ ﺭﻭﻯ ﺷﻴﺸﻪﻯ ﺟﻠﻮﻯ‬ ‫ﻣﺎﺷﻴﻦ ﭘﺎﺷﻴﺪ‪ .‬ﻫﻴﭻ ﭼﻴﺰﻯ ﺩﻳﺪﻩ ﻧﻤﻰﺷﺪ ﺟﺰ ﺻﻮﺭﺕ ﭘﺴﺮ ﻛﻪ ﭼﺴﺒﻴﺪﻩ ﺑﻮﺩ ﺑﻪ ﺷﻴﺸﻪ‪ .‬ﭼﺸﺎﺵ‬ ‫ﻛﺎﻣ ً‬ ‫ﻼ ﮔﺸﺎﺩ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻫﻤﻮﻥﺟﺎ ﻛﺎﺭﺵ ﺗﻤﻮﻡ ﺷﺪ‪ .‬ﺧﻮﺩ ﻣﻨﻢ ﺩﺍﺷﺘﻢ ﺁﺭﺯﻭﻯ ﻣﺮگ ﻣﻰﻛﺮﺩﻡ‪.‬‬ ‫ﺩﺍﺷﺖ ﺑﺎ ﺑﺮﺩﺍﺭﺵ ﻣﺮﻳﺨﻰﺑﺎﺯﻯ ﻣﻰﻛﺮﺩ‪ .‬ﺑﺮﺍﺩﺭﻩ ﺑﺎ ﻳﻪ ﺗﻔﻨﮓ ﻟﻴﺰﺭﻯ ﭘﻼﺳﺘﻴﻜﻰ ﻛﻨﺎﺭ ﺧﻴﺎﺑﻮﻥ ﺍﻳﺴﺘﺎﺩﻩ‬ ‫ﺑﻮﺩ ﻭ ﻗﻴﺎﻓﻪﺍﺵ ﻣﺜﻞ ﻋﻘﺐﺍﻓﺘﺎﺩﻩﻫﺎ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻣﺎﺩﺭﺵ ﺑﺎ ﺟﻴﻎ ﻭ ﺩﺍﺩ ﺍﺯ ﺧﻮﻧﺸﻮﻥ ﺍﻭﻣﺪ ﺑﻴﺮﻭﻥ‪.‬‬ ‫ﺧﻮﺩﻣﻢ ﺩﺍﺷﺘﻢ ﺟﻴﻎ ﻣﻰﻛﺸﻴﺪﻡ‪ .‬ﺩﻭ ﺗﺎ ﺍﺯ ﻫﻤﺴﺎﻳﻪﻫﺎ ﻛﻞ ﻣﺎﺟﺮﺍ ﺭﻭ ﺩﻳﺪﻩ ﺑﻮﺩﻥ‪ .‬ﻳﻜﻴﺸﻮﻥ ﺯﻧﮓ ﺯﺩ‬ ‫ﺑﻪ ﺁﻣﺒﻮﻻﻧﺲ‪ .‬ﺍﻭﻥ ﻳﻜﻰ ﺳﻌﻰ ﻛﺮﺩ ﺟﻠﻮﻯ ﻣﺎﺩﺭﻩ ﺭﻭ ﺑﮕﻴﺮﻩ‪ ،‬ﻭﮔﺮﻧﻪ ﻫﻤﻮﻥﺟﺎ ﻣﻦ ﺭﻭ ﻛﺸﺘﻪ ﺑﻮﺩ‪ .‬ﻳﺎﺩﻡ‬ ‫ﻧﻴﺴﺖ ﺩﺍﺷﺘﻢ ﻛﺠﺎ ﻣﻰﺭﻓﺘﻢ‪ .‬ﻓﻘﻂ ﻳﺎﺩﻡ ﻣﻴﺎﺩ ﻛﻪ ﻣﺎﺷﻴﻨﻢ ﺍﻭﻥ ﺭﻭﺯ ﺭﻭﺷﻦ ﻧﻤﻰﺷﺪ‪ .‬ﺷﺎﻳﺪ ﻳﻚ ﺩﻗﻴﻘﻪ‬ ‫ﻭ ﺧﻮﺭﺩﻩﺍﻯ ﻃﻮﻝ ﻛﺸﻴﺪ ﺗﺎ ﺭﻭﺷﻨﺶ ﻛﻨﻢ‪ .‬ﺍﮔﺮ ﻃﺒﻖ ﺭﻭﺍﻝ ﺭﻭﺷﻦ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﻫﻴﭻ ﻭﻗﺖ ﺍﻭﻥ ﺗﺼﺎﺩﻑ‬ ‫ﺍﺗﻔﺎﻕ ﻧﻤﻰﺍﻓﺘﺎﺩ‪ .‬ﻫﻤﻪﺍﺵ ﺑﺎ ﺧﻮﺩﻡ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻡ ﻋﺠﺐ ﺗﺼﺎﺩﻓﻰ ﻛﻪ ﻣﻦ ﺩﻗﻴﻘﺎً ﻫﻤﻮﻥ ﻣﻮﻗﻊ ﺑﺎﻳﺪ ﺍﺯ‬ ‫ﺟﻠﻮﻯ ﺧﻮﻧﻪﻯ ﺍﻳﻨﺎ ﺭﺩ ﻣﻰﺷﺪﻡ‪ .‬ﻳﻚ ﺛﺎﻧﻴﻪ ﺯﻭﺩﺗﺮ ﺍﻭﻥ ﻣﻨﻮ ﻣﻰﺩﻳﺪ ﻭ ﺍﺯ ﺟﺎﺩﻩ ﻛﻨﺎﺭ ﻣﻰﻛﺸﻴﺪ‪ .‬ﻳﻚ‬ ‫ﺛﺎﻧﻴﻪ ﺩﻳﺮﺗﺮ ﻣﻦ ﻣﻰﺗﻮﻧﺴﺘﻢ ﺑﺒﻴﻨﻤﺶ ﻭ ﺗﺮﻣﺰ ﻛﻨﻢ‪ .‬ﻓﻘﻂ ﻳﻪ ﺍﺗﻔﺎﻕ ﺑﻮﺩ‪ .‬ﺩﻩ ﺩﻗﻴﻘﻪ ﺑﻌﺪ ﻛﻪ ﭘﺪﺭﺵ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪28‬‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻣﻰﺧﻮﺍﻯ ﺑﮕﻰ‪ .‬ﻋﺠﺐ ﻭﺭﻭﺩ ﺳﻴﻨﻤﺎﻳﻰﺍﻯ‪ .‬ﻟﺒﺎﺱ ﻓﺮﻡ ﭘﻮﺷﻴﺪﻩ ﺑﻮﺩﻥ‪ .‬ﻣﻦ ﻫﻢ ﻛﻪ ﺍﺯ ﻟﺒﺎﺱ ﻓﺮﻡﭘﻮﺵﻫﺎ‬ ‫ﻣﺘﻨﻔﺮﻡ‪ .‬ﻳﻜﻰ ﺍﺯ ﻣﺮﺩﻫﺎ ﺩﺳﺘﺶ ﺭﻭ ﺟﻠﻮ ﮔﺮﻓﺖ ﻭ ﻓﻘﻂ ﮔﻔﺖ‪» :‬ﺑﺪﺵ ﺑﻪ ﻣﻦ ﻭ ﻫﻤﻴﻦ ﺟﺎ ﺧﻮﺩﺕﺍﺕ‬ ‫ﺭﻭ ﺍﺯ ﻳﻚ ﻋﺎﻟﻢ ﺩﺭﺩﺳﺮ ﺧﻼﺹ ﻛﻦ‪ «.‬ﺑﺪﻣﺶ ﺑﻪ ﺍﻭﻥ؟ ﻣﻦ ﻫﻢ ﺑﺮﺍﺵ ﺭﻭﺷﻦ ﻛﺮﺩﻡ ﻛﻪ ﺣﺴﻢ ﻧﺴﺒﺖ‬ ‫ﺑﻪ ﭘﻴﺸﻨﻬﺎﺩﺵ ﭼﻴﻪ‪ .‬ﺷﺒﻴﻪ ﺍﻓﺮﺍﺩ ﻣﺎﻓﻴﺎ ﺑﻮﺩﻥ‪ .‬ﻳﺎ ﺩﺭ ﻭﺍﻗﻊ ﺷﺒﻴﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﻣﺎﻓﻴﺎ ﺑﻮﺩﻥ‪.‬‬ ‫ﻫﻢﻗﺪ ﺑﻮﺩﻥ ﻭ ﺑﻪ ﺣﺪﻯ ﺷﺒﻴﻪ ﻫﻢ ﺑﻮﺩﻥ ﻛﻪ ﺍﻭﻝ ﻓﻜﺮ ﻛﺮﺩﻡ ﺩﻭﻗﻠﻮﻯ ﻫﻤﺴﺎﻥ ﻫﺴﺘﻦ‪ .‬ﺣﺘﺎ ﻧﮕﺎﻫﺸﻮﻥ‬ ‫ﻫﻢ ﺷﺒﻴﻪ ﻫﻢ ﺑﻮﺩ‪ .‬ﻭﻟﻰ ﺧﻴﻠﻰ ﺯﻭﺩ ﻣﺘﻮﺟﻪ ﺷﺪﻡ ﻛﻪ ﺍﺷﺘﺒﺎﻩ ﻣﻰﻛﻨﻢ‪ .‬ﻳﻜﻰﺷﺎﻥ ﺑﻠﻮﻧﺪ ﺑﻮﺩ ﻭ ﺩﻳﮕﺮﻯ‬ ‫ﻣﻮ ﻣﺸﻜﻰ‪ .‬ﻣﺮﺩ ﺳﻴﺎﻩ ﻣﻮ‪ ،‬ﻣﺸﻜﻞ ﭘﻮﺳﺘﻰ ﺷﺪﻳﺪﻯ ﺭﻭﻯ ﮔﺮﺩﻧﺶ ﺩﺍﺷﺖ‪ .‬ﻋﻴﻦ ﻳﻪ ﺩﺭﺧﺖ ﻛﻠﻔﺖ ﺑﻮﺩ‬ ‫ﻭ ﻫﻤﻴﻦ ﺑﺎﻋﺚ ﻣﻰﺷﺪ ﺧﻴﻠﻰ ﻛﻮﺩﻥ ﺑﻪ ﻧﻈﺮ ﺑﺮﺳﻪ‪ .‬ﺻﻮﺭﺗﺶ ﺍﻧﮕﺎﺭ ﺁﮔﻬﻰ ﺳﮓ ﮔﻤﺸﺪﻩﺍﻯ ﺑﻮﺩ ﻛﻪ ﺑﺎ‬ ‫ﻣﻴﺦ ﺭﻭﻯ ﺩﺭﺧﺖ ﻛﻮﺑﻴﺪﻩ ﺑﺎﺷﻦ‪ .‬ﻣﺎﻓﻴﺎ ﻧﺒﻮﺩ‪ .‬ﺁﺩﻡ ﻋﺎﺩﻯ ﺑﻮﺩ‪.‬‬ ‫ﺟﺰ ﺍﻟﺒﺘﻪ ﺑﺮﻕ ﭼﺸﻤﺎﺵ‪ .‬ﻫﻤﻴﻦ ﺑﺮﻕ ﺑﻮﺩ ﻛﻪ ﺑﺎﻋﺚ ﺷﺪ ﺍﻭﻟﺶ ﺑﻪ ﺍﺷﺘﺒﺎﻩ ﺑﻴﻔﺘﻢ‪ .‬ﺑﺮﻕ ﭼﺸﺎﺷﻮﻥ‬ ‫ﺷﻮﺧﻰ ﻧﺒﻮﺩ‪ .‬ﺍﻳﻨﺎ ﭼﺸﻤﺎﻯ ﻛﺴﺎﻳﻰ ﺑﻮﺩ ﻛﻪ ﻣﺮﺩﻣﻰ ﺭﻭ ﻛﻪ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻦ‪ ،‬ﺷﻜﻨﺠﻪ ﺩﺍﺩﻩ ﺑﻮﺩﻥ‪ .‬ﭼﺸﺎ‬ ‫ﺍﺻ ً‬ ‫ﻼ ﻣﻨﺎﺳﺐ ﺍﻧﺴﺎﻥ ﻧﺒﻮﺩ‪.‬‬ ‫ﻣﻦ ﮔﻔﺘﻢ‪» :‬ﻓﻘﻂ ﻳﻪ ﻗﺮﺍﺭﺩﺍﺩ ﺳﺎﺩﻩ ﺍﺳﺖ‪ «.‬ﻭﻟﻰ ﺳﻴﺎﻫﻪ ﻛﻪ ﻣﺸﻜﻞ ﭘﻮﺳﺘﻰ ﺩﺍﺷﺖ‪ ،‬ﻓﻘﻂ ﺣﺮﻓﺶ ﺭﻭ‬ ‫ﺗﻜﺮﺍﺭ ﻛﺮﺩ‪.‬‬ ‫ﺗﺎ ﺁﻥ ﻭﻗﺖ ﻧﮕﺮﺍﻧﻰ ﺍﻭﻟﻴﻪﺍﻡ ﺍﺯ ﺑﻴﻦ ﺭﻓﺘﻪ ﺑﻮﺩ‪ .‬ﻣﺴﻠﺢ ﻧﺒﻮﺩﻥ‪ .‬ﻣﻰﺷﺪ ﺑﺪﻭﻥ ﺧﺸﻮﻧﺖ ﺍﻭﺿﺎﻉ ﺭﻭ ﻓﻴﺼﻠﻪ‬ ‫ﺩﺍﺩ‪ .‬ﺑﻪ ﺳﻤﺖ ﺧﺎﻧﻪﺍﻡ ﺭﻓﺘﻢ‪ .‬ﺩﻧﺒﺎﻟﻢ ﻛﺮﺩﻥ‪.‬‬ ‫ﭘﺮﺳﻴﺪﻡ‪» :‬ﻗﺮﺍﺭﺩﺍﺩ ﻣﻦ ﺑﻪ ﭼﻪ ﺩﺭﺩ ﺷﻤﺎ ﻣﻰﺧﻮﺭﻩ؟«‬ ‫ﺳﻴﺎﻫﻪ ﻛﻪ ﭼﺎﻧﻪ ﻧﺪﺍﺷﺖ ﮔﻔﺖ‪» :‬ﺍﻭﻥ ﻓﻴﻠﻢ ﻫﺮﮔﺰ ﺳﺎﺧﺘﻪ ﻧﻤﻰﺷﻪ‪ .‬ﻳﻌﻨﻰ ﻣﺎ ﻧﻤﻰﺫﺍﺭﻳﻢ ﻛﻪ ﺳﺎﺧﺖ‬ ‫ﺑﺸﻪ‪«.‬‬ ‫ﻣﻦ ﺗﻮﻯ ﺍﻳﻦ ﻓﻜﺮ ﺑﻮﺩﻡ ﻛﻪ ﺍﻳﻦ ﺩﻳﺎﻟﻮگﻫﺎﻯ ﻣﺴﺨﺮﻩﺷﻮﻥ ﺭﻭ ﻛﻰ ﻭﺍﺳﻪﺷﻮﻥ ﻣﻰﻧﻮﻳﺴﻪ؟ ﻣﺜ ً‬ ‫ﻼ ﻓﻨﻴﻤﻮﺭ ﻛﻮﭘﺮ؟‬ ‫»ﺍﻳﻦﺟﺎ ﻧﻮﺷﺘﻪ ﺣﺎﺿﺮﻥ ﻭﺍﺳﺶ ﺻﺪ ﻫﺰﺍﺭ ﺩﻻﺭ ﺑﺪﻥ‪ .‬ﻣﻨﻢ ﺑﺪﻡ ﻧﻤﻴﺎﺩ ﻛﻪ ﻓﻴﻠﻢ ﺭﻭ ﺑﺴﺎﺯﻥ‪«.‬‬ ‫»ﺷﻤﺎ ﻫﻴﭻﻭﻗﺖ ﺍﻳﻦ ﭘﻮﻝ ﺭﻭ ﺩﺭﻳﺎﻓﺖ ﻧﺨﻮﺍﻫﻰ ﻛﺮﺩ‪ ،‬ﺁﻗﺎﻯ ﻣﻮﺭﻓﻰ‪ .‬ﻭ ﺗﺎ ﭼﻬﺎﺭ ﺭﻭﺯ ﺩﻳﮕﻪ ﻫﻢ ﻗﺮﺍﺭﺩﺍﺩ ﻭ‬ ‫ﻓﻴﻠﻢﻧﺎﻣﻪ‪ ،‬ﺍﺯ ﺑﻴﻦ ﺧﻮﺍﻫﻨﺪ ﺭﻓﺖ‪ .‬ﺑﻬﺘﻮﻥ ﻗﻮﻝ ﻣﻰﺩﻡ‪«.‬‬ ‫»ﺗﻮ ﺩﻳﮕﻪ ﻛﻰ ﻫﺴﺘﻰ؟ ﻣﻨﺘﻘﺪﻯ؟«‬ ‫»ﺗﻘﺮﻳﺒﺎً‪«.‬‬ ‫ﺣﺎﻻ ﺩﻳﮕﻪ ﺭﺳﻴﺪﻩ ﺑﻮﺩﻡ ﺑﻪ ﭼﺎﺭﭼﻮﺏ ﺩﺭ ﻭ ﺍﻭﻧﺎ ﻫﻢ ﭘﺸﺖ ﺩﺭ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩﻥ‪ .‬ﺷﺎﻳﺪ ﺑﻬﺘﺮ ﺑﻮﺩ ﻛﻪ ﺩﺭ‬ ‫ﺭﻭ ﻣﻰﺑﺴﺘﻢ‪ .‬ﻭﻟﻰ ﻣﻦ ﻳﻪ ﻗﻤﺎﺭﺑﺎﺯﻡ‪ .‬ﺑﺎﻳﺪ ﺍﺩﺍﻣﻪ ﻣﻰﺩﺍﺩﻡ‪ .‬ﺑﺎﻳﺪ ﺩﺳﺘﺸﻮﻥ ﺭﻭ ﻣﻰﺧﻮﻧﺪﻡ‪ .‬ﭘﺮﺳﻴﺪﻡ‪» :‬ﺍﮔﺮ‬ ‫ﭘﺎﺵ ﺑﻴﻔﺘﻪ‪ ،‬ﺑﻪ ﺯﻭﺭ ﻫﻢ ﻣﺘﻮﺳﻞ ﻣﻰﺷﻴﺪ؟«‬

‫‪27‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫»ﺍﻻﻥ ﻻﺑﺪ ﻣﻰﺧﻮﺍﻯ ﺑﮕﻰ ﻛﻪ ﺩﭼﺎﺭ ﺑﻰﺍﻧﮕﻴﺰﮔﻰ ﺍﻧﺘﺨﺎﺑﻰ ﺩﺭ ﺑﺮﺍﺑﺮ ﭘﺎﻳﺎﻥ ﺑﻨﺪﻯ ﺷﺪﻯ‪«.‬‬ ‫»ﺑﻰﺍﻧﮕﻴﺰﮔﻰ؟ ﻳﺎ ﺷﻠﻐﻢ ﻣﻘﺪﺱ‪ ،‬ﻣﻦ ﺩﺭ ﺗﻤﺎﻡ ﻋﻤﺮﻡ ﺣﺘﺎ ﻳﻪ ﺑﺎﺭ ﻫﻢ ﺑﻰﺍﻧﮕﻴﺰﻩ ﻧﺸﺪﻡ‪ .‬ﺑﻰﺍﻧﮕﻴﺰﮔﻰ‬ ‫ﻭﻗﺘﻰ ﺑﻪ ﺁﺩﻡ ﺩﺳﺖ ﻣﻰﺩﻩ ﻛﻪ ﺣﺎﻝ ﻧﺪﺍﺭﻩ ﻛﺎﺭﻯ ﺭﻭ ﻛﻪ ﻣﻰﺩﻭﻧﻪ ﺑﺎﻳﺪ ﺗﻤﻮﻡ ﻛﻨﻪ‪ ،‬ﺗﻤﻮﻡ ﻛﻨﻪ‪«.‬‬ ‫ﺩﻳﮕﺮ ﺩﺍﺷﺘﻢ ﺍﺯ ﻛﻮﺭﻩ ﺩﺭ ﻣﻰﺭﻓﺘﻢ‪» :‬ﻭ ﺧﺐ ﺷﻤﺎ ﻫﻢ ﻛﻪ ﻛﺎﺭﺕ ﺧﻴﻠﻰ ﺩﺭﺳﺘﻪ‪«.‬‬ ‫ﺍﻭ ﺑﻪ ﺟﻠﻮ ﺧﻢ ﺷﺪ ﻭ ﺩﺭ ﭼﺸﻤﺎﻧﻢ ﺧﻴﺮﻩ ﺷﺪ‪» :‬ﻣﻦ ﺑﻬﺘﺮﻳﻦ ﻧﻮﻳﺴﻨﺪﻩﻯ ﺍﻧﮕﻠﻴﺴﻰ ﺯﺑﻮﻥ ﻫﺴﺘﻢ‪«.‬‬ ‫»ﻧﺨﻴﺮ‪ .‬ﺗﻮ ﺑﻬﺘﺮﻳﻦ ﺑﻴﻦ ﻛﺴﺎﻳﻰ ﻫﺴﺘﻰ ﻛﻪ ﻫﻴﭻﻭﻗﺖ ﻫﻴﭽﻰ ﺭﻭ ﺗﺎ ﺗﻬﺶ ﻧﻤﻰﻧﻮﻳﺴﻦ‪«.‬‬ ‫ﮔﻔﺖ‪» :‬ﻣﻦ ﻫﻤﻪ ﭼﻴﺰﻭ ﺗﺎ ﺗﻬﺶ ﻣﻰﻧﻮﻳﺴﻢ‪ .‬ﻣﻦ ﻫﻤﻪ ﺭﻭ ﺗﺎ ﺁﺧﺮ ﻣﻰﻧﻮﻳﺴﻢ ﺩﻭﺳﺖ ﻋﺰﻳﺰ‪ ،‬ﻭ ﺑﻌﺪ‬ ‫ﻫﻤﻪﺍﺵ ﺭﻭ ﻣﻰﺳﻮﺯﻭﻧﻢ‪ .‬ﺍﻟﺒﺘﻪ ﺟﺰ ﺳﻪ ﺻﻔﺤﻪﻯ ﺍﻭﻝ ﺭﻭ‪ .‬ﮔﺎﻫﻰ ﺩﺭ ﻋﺮﺽ ﻳﻪ ﻫﻔﺘﻪ ﻳﻪ ﺩﺍﺳﺘﺎﻥ ﻛﺎﻣﻞ‬ ‫ﻣﻰﻧﻮﻳﺴﻢ‪ .‬ﺗﺎ ﺣﺎﻻ ﺳﻪ ﺗﺎ ﻛﺘﺎﺏ ﻭ ﭼﻬﺎﺭ ﺗﺎ ﻧﻤﺎﻳﺶﻧﺎﻣﻪ ﻧﻮﺷﺘﻪﺍﻡ‪ .‬ﺣﺘﺎ ﻳﻪ ﻓﻴﻠﻢﻧﺎﻣﻪ ﻫﻢ ﻧﻮﺷﺘﻢ‪ .‬ﺍﮔﻪ‬ ‫ﺳﺎﺧﺘﻪ ﻣﻰﺷﺪﻥ‪ ،‬ﻣﻦ ﻣﻴﻠﻴﻮﻧﺮ ﺷﺪﻩ ﺑﻮﺩﻡ‪ .‬ﺗﻮﻯ ﺗﺎﺭﻳﺦ ﺟﺎﻭﻳﺪ ﻣﻰﺷﺪﻥ‪«.‬‬ ‫ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻢ ﺣﺮﻓﺶ ﺭﺍ ﺑﺎﻭﺭ ﻛﻨﻢ‪» .‬ﺩﺍﺭﻯ ﺟﻮﻙ ﻣﻰﮔﻰ‪«.‬‬ ‫»ﺟﻮﻛﻰ ﺩﺭ ﻛﺎﺭ ﻧﻴﺴﺖ‪ .‬ﻫﻤﻪﺍﺵ ﻋﻴﻦ ﺣﻘﻴﻘﺘﻪ‪«.‬‬ ‫ﺗﺎ ﺁﻥ ﺭﻭﺯ ﭼﻬﺮﻩﺍﺵ ﺭﺍ ﺁﻥ ﻗﺪﺭ ﺗﻠﺦ ﻭ ﺩﺭﺩﻧﺎﻙ ﻧﺪﻳﺪﻩ ﺑﻮﺩﻡ‪ .‬ﺍﮔﺮ ﺣﺘﺎ ﺫﺭﻩﺍﻯ ﺩﺍﻙ ﻣﻮﺭﻓﻰ ﺭﺍ‬ ‫ﻣﻰﺷﻨﺎﺧﺘﻢ‪ ،‬ﻭ ﺑﺎﻳﺪ ﺑﮕﻮﻳﻢ ﻛﻪ ﺧﻮﺏ ﻣﻰﺷﻨﺎﺧﺘﻤﺶ‪ ،‬ﺑﺎﻳﺪ ﻣﻰﻓﻬﻤﻴﺪﻡ ﻛﻪ ﺩﺭﻭﻍ ﻧﻤﻰﮔﻮﻳﺪ‪ .‬ﭘﺮﺳﻴﺪﻡ‪:‬‬ ‫»ﭘﺲ ﺁﺧﻪ ﭼﺮﺍ؟«‬ ‫»ﻫﻴﺄﺕ ﺳﺎﻧﺴﻮﺭ‪«.‬‬ ‫»ﭼﻰ؟ ﻣﺎ ﺗﻮ ﺁﻣﺮﻳﻜﺎ ﻳﻪ ﻫﻤﭽﻴﻦ ﭼﻴﺰﻯ ﻧﺪﺍﺭﻳﻢ‪«.‬‬ ‫ﺧﻨﺪﻳﺪ‪» :‬ﺩﺍﺋﻤﻴﺶ ﺭﻭ ﻧﺪﺍﺭﻳﻢ‪«.‬‬ ‫»ﻫﻴﺄﺕ ﺳﺎﻧﺴﻮﺭ ﺩﻳﮕﻪ ﭼﻪ ﮔﻨﺪﻳﻪ؟«‬ ‫ﺩﺍﻙ ﺑﺮﺍﻳﻢ ﺗﻌﺮﻳﻒ ﻛﺮﺩ‪.‬‬ ‫‪ ‬ﺑﻴﺴﺖ ﻭ ﺩﻭ ﺳﺎﻟﻢ ﻛﻪ ﺑﻮﺩ ﺗﻮﻯ ﺍﻭﺭﮔﺎﻥ ]‪ ،[10‬ﺗﻮﻯ ﻳﻪ ﺧﻮﻧﻪﻯ ﻭﻳﻼﻳﻰ ﺧﺎﺭﺝ ﺍﺯ ﭘﻮﺭﺗﻠﻨﺪ ]‪،[11‬‬ ‫ﺑ ِﺮ ﺟﺎﺩﻩ ﺯﻧﺪﮔﻰ ﻣﻰﻛﺮﺩﻡ‪ .‬ﺍﺯ ﺁﻥ ﺧﻮﻧﻪﻫﺎﻳﻰ ﻛﻪ ﻳﻪ ﺻﻨﺪﻭﻕ ﭘﺴﺘﻰ ﺩﻡ ﺩﺭﺷﻮﻥ ﺩﺍﺭﻥ‪ .‬ﻧﻤﺎﻳﺶﻧﺎﻣﻪ‬ ‫ﻣﻰﻧﻮﺷﺘﻢ‪ .‬ﻓﻜﺮ ﻣﻰﻛﺮﺩﻡ ﻣﻰﺷﻪ ﺍﺯ ﺍﻳﻦ ﺭﺍﻩ ﻧﻮﻥ ﺩﺭ ﺁﻭﺭﺩ‪ .‬ﺍﻭﺍﻳﻞ ﺩﻭﺭﺍﻧﻰ ﺑﻮﺩ ﻛﻪ ﺭﻓﺘﻪ ﺑﻮﺩﻡ ﺳﺮﺍﻍ‬ ‫ژﺍﻧﺮﻯ ﻧﻮﺷﺘﻦ‪ .‬ﻳﻚ ﺭﻭﺯ ﺻﺒﺢ ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﭘﺴﺘﭽﻰ ﺍﺯ ﻛﻨﺎﺭ ﺧﻮﻧﻢ ﺭﺩ ﺷﺪ‪ ،‬ﺭﻓﺘﻢ ﺳﺮﺍﻍ ﺻﻨﺪﻭﻕ‪.‬‬ ‫ﻧﻢ ﺑﺎﺭﻭﻥ ﻣﻰﺯﺩ‪ .‬ﻭﻟﻰ ﻣﻦ ﺑﺮﺍﻡ ﻣﻬﻢ ﻧﺒﻮﺩ‪ .‬ﺗﻮﻯ ﺻﻨﺪﻭﻕ ﻳﻪ ﻗﺮﺍﺭﺩﺍﺩ ﺍﺯ ﻃﺮﻑ ﺍﻳﺠﻨﺖ ﻫﺎﻟﻴﻮﻭﺩﻡ ﺑﻮﺩ‪.‬‬ ‫ﭘﻴﺸﻨﻬﺎﺩ ﻧﺒﻮﺩ‪ .‬ﻗﺮﺍﺭﺩﺍﺩ ﺳﺮﺭﺍﺳﺖ ﻓﺮﻭﺵ ﺑﻮﺩ‪ .‬ﺻﺪ ﻫﺰﺍﺭ ﺩﻻﺭ‪ .‬ﺩﺍﺷﺘﻢ ﻛﻢﻛﻢ ﺧﻴﺲ ﻣﻰﺷﺪﻡ ﻭ‬ ‫ﻣﻰﺧﻮﺍﺳﺘﻢ ﺑﺮﮔﺮﺩﻡ ﺗﻮ‪ ،‬ﻛﻪ ﺳﺮ ﻭ ﻛﻠﻪﻯ ﺩﻭ ﺗﺎ ﻫﻴﻜﻞ ﺍﺯ ﺑﻴﻦ ﺑﻮﺗﻪﻫﺎ ﭘﻴﺪﺍ ﺷﺪ‪ .‬ﺁﺭﻩ‪ ،‬ﻣﻰﺩﻭﻧﻢ ﭼﻰ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪26‬‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻭﻟﻰ ﻫﺮ ﺍﺯ ﭼﻨﺪ ﮔﺎﻫﻰ ﻳﻚ ﺗﻜﻪ ﻧﻮﺷﺘﻪﻯ ﺩﻳﮕﺮ ﺩﺳﺘﻢ ﻣﻰﺩﺍﺩ‪ .‬ﻫﺮ ﺑﺎﺭ ﺑﻬﺘﺮ ﺍﺯ ﺑﺎﺭ ﻗﺒﻞ‪ .‬ﺍﻳﻦ ﻭﺳﻂ ﻛﻠﻰ‬ ‫ﻫﻢ ﺑﺎ ﻫﻢ ﺭﻓﻴﻖ ﺷﺪﻳﻢ‪ .‬ﻧﻪ ﺻﺮﻓﺎً ﭼﻮﻥ ﻧﻮﻳﺴﻨﺪﻩﻯ ﺧﻴﻠﻰ ﺧﻮﺑﻰ ﺑﻮﺩ‪ .‬ﺍﻟﺒﺘﻪ ﮔﻨﺎﻩ ﺧﻮﺩﻡ ﺭﺍ ﻧﻤﻰﺷﻮﺭﻡ‪.‬‬ ‫ﻣﻦ ﻛ ً‬ ‫ﻼ ﺍﺯ ﺩﻡﺧﻮﺭ ﺷﺪﻥ ﺑﺎ ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻯ ﺩﺭﺳﺖ ﻭ ﺣﺴﺎﺑﻰ ﻟﺬﺕ ﻣﻰﺑﺮﻡ‪ .‬ﻭﻟﻰ ﺩﻟﻴﻞ ﺍﺻﻠﻰﺍﺵ ﺍﻳﻦ‬ ‫ﺑﻮﺩ ﻛﻪ ﺍﻭ ﺩﺍﻙ ﻣﻮﺭﻓﻰ ﺑﻮﺩ‪ .‬ﺑﺎ ﻫﻢ ﺑﻪ ﻫﺮ ﻣﺸﺮﻭﺏﻓﺮﻭﺷﻰ ﺩﺭﺳﺖ ﻭ ﺩﺭﻣﺎﻥ ﺳﺎﻟﺖﻟﻴﻚ ﺳﻴﺘﻰ ﺳﺮ‬ ‫ﺯﺩﻳﻢ‪ .‬ﻗﺒﻮﻝ ﺩﺍﺭﻡ ﻛﻪ ﻭﻗﺖ ﺗﻠﻒ ﻛﺮﺩﻥ ﺑﻮﺩ‪ .‬ﺑﺎ ﻫﻢ ﺳﻴﻨﻤﺎ ﺭﻓﺘﻴﻢ‪ .‬ﺳﻪ ﺗﺎ ﻓﻴﻠﻢ ﺧﻮﺏ ﺩﻳﺪﻳﻢ ﻭ ﺩﻩ‬ ‫ﺩﻭﺍﺯﺩﻩ ﺗﺎ ﻓﻴﻠﻢ ﺑﺪ ﻛﻪ ﺁﻥﻗﺪﺭ ﺑﺪ ﺑﻮﺩﻧﺪ ﻛﻪ ﺑﺸﻮﺩ ﺑﺮﺍﻯ ﺗﻔﺮﻳﺢ ﺗﻤﺎﺷﺎﻳﺸﺎﻥ ﻛﺮﺩ‪ .‬ﭘﻮﻛﺮ ﻳﺎﺩﻡ ﺩﺍﺩ ﻭ‬ ‫ﺁﻥﻗﺪﺭﻯ ﻣﺎﻫﺮ ﺷﺪﻡ ﻛﻪ ﻫﺮ ﺁﺧﺮ ﻫﻔﺘﻪ ﺳﺮﻯ ﺑﻪ ﻣﺤﻞ ﻛﺎﺭﺵ ﺑﺰﻧﻢ‪ .‬ﺍﻭ ﺷﺎﻫﺪ ﺭﻭﺍﺑﻂ ﻣﺘﻌﺪﺩﻡ ﺑﻮﺩ ﻭ‬ ‫ﺣﺘﺎ ﭘﻴﺸﮕﻮﻳﻰ ﻫﻢ ﻛﺮﺩ ﻛﻪ ﺑﺎﻻﺧﺮﻩ ﺩﻭﺑﺎﺭﻩ ﺍﺯﺩﻭﺍﺝ ﺧﻮﺍﻫﻢ ﻛﺮﺩ‪» .‬ﺯﻳﺎﺩﻯ ﺍﺭﺍﺩﻩﺍﺕ ﺿﻌﻴﻔﻪ‪ .‬ﺧﻴﻠﻰ ﺯﻭﺩ‬ ‫ﺑﺎﺯ ﺑﻨﺪ ﺭﻭ ﺁﺏ ﻣﻰﺩﻯ‪«.‬‬ ‫ﺑﺎﻻﺧﺮﻩ ﻣﺪﺕﻫﺎ ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺑﻰﺧﻴﺎﻝ ﻧﻮﺷﺘﻪﻫﺎﻯ ﻧﺎﺗﻤﺎﻣﺶ ﺷﺪﻩ ﺑﻮﺩﻡ‪ ،‬ﺩﻟﻴﻞ ﺍﻳﻦ ﻣﺎﺟﺮﺍ ﺭﺍ ﺑﺮﺍﻳﻢ‬ ‫ﺗﻌﺮﻳﻒ ﻛﺮﺩ‪.‬‬ ‫ﻣﻦ ﺩﻭﻣﻴﻦ ﺁﺑﺠﻮﻳﻢ ﺭﺍ ﻓﺮﻭ ﻣﻰﺩﺍﺩﻡ ﻭ ﺍﻭ ﻫﻢ ﺩﺍﺷﺖ ﮔﻨﺪﻯ ﺭﺍ ﻛﻪ ﻣﺨﻠﻮﻃﻰ ﺍﺯ ﺁﺏ ﮔﻮﺟﻪﻓﺮﻧﮕﻰ ﻭ‬ ‫ﺁﺏ ﺷﻴﺮ ﺑﻮﺩ‪ ،‬ﺳﺮ ﻣﻰﻛﺸﻴﺪ‪ .‬ﻳﻚ ﭼﻴﺰﻯ ﺑﻮﺩ ﻛﻪ ﻫﺮ ﻭﻗﺖ ﻣﻰﺧﻮﺍﺳﺖ ﺑﻪ ﺧﺎﻃﺮ ﮔﻨﺎﻫﺎﻧﺶ ﺧﻮﺩﺵ ﺭﺍ‬ ‫ﺗﻨﺒﻴﻪ ﻛﻨﺪ‪ ،‬ﺳﺮ ﻣﻰﻛﺸﻴﺪ‪ .‬ﭼﻮﻥ ﺍﺯ ﻧﻈﺮ ﺧﻮﺩﺵ ﺧﻴﻠﻰ ﻗﺎﻃﻌﺎﻧﻪﺗﺮ ﺍﺯ ﺗﻜﻨﻴﻚ ﻫﻨﺪﻭﻯ ﻧﻮﺷﻴﺪﻥ ﺷﺎﺵ‬ ‫ﺑﻮﺩ‪ .‬ﺁﻥ ﺭﻭﺯ ﺍﺯ ﻃﺮﻑ ﻣﺠﻠﻪﺍﻯ ﻛﻪ ﺑﺮﺍﻳﺸﺎﻥ ﺩﺍﺳﺘﺎﻥ ﻓﺮﺳﺘﺎﺩﻩ ﺑﻮﺩﻡ‪ ،‬ﺟﻮﺍﺏ ﻣﺜﺒﺖ ﮔﺮﻓﺘﻪ ﺑﻮﺩﻡ‪ .‬ﻭﻟﻰ‬ ‫ﺑﺮﺍﻯ ﺗﻤﺎﻡ ﻛﺮﺩﻥ ﺩﺍﺳﺘﺎﻥ ﻣﺜﻞ ﺧﺮ ﺗﻮﻯ ﮔﻞ ﻣﺎﻧﺪﻩ ﺑﻮﺩﻡ‪ .‬ﺩﺍﺷﺘﻢ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻡ ﻛ ً‬ ‫ﻼ ﻧﻮﻳﺴﻨﺪﮔﻰ ﺭﺍ‬ ‫ﺑﺒﻮﺳﻢ ﻭ ﺑﮕﺬﺍﺭﻡ ﻛﻨﺎﺭ‪ .‬ﺩﺍﻙ ﻛﻠﻰ ﻣﺴﺨﺮﻩﺍﻡ ﻛﺮﺩ‪.‬‬ ‫ﻣﻦ ﮔﻔﺘﻢ‪» :‬ﺑﻪ ﺧﺪﺍ ﺩﺍﺭﻡ ﺟﺪﻯ ﻣﻰﮔﻢ!«‬ ‫»ﻧﻮﻳﺴﻨﺪﻩﺍﻯ ﻛﻪ ﺳﺮﺵ ﺑﻪ ﺗﻨﺶ ﻣﻰ ﻟﺮﺯﻩ‪ ،‬ﻏﻠﻂ ﻣﻰﻛﻨﻪ ﻛﻪ ﻧﻮﺷﺘﻦ ﺭﻭ ﻭﻝ ﻛﻨﻪ!«‬ ‫»ﻧﻪ ﺑﺎﺑﺎ؟ ﺍﺯ ﻛﻰ ﺗﺎ ﺣﺎﻻ ﺗﻮ ﺭﺋﻴﺲ ﺍﺗﺤﺎﺩﻳﻪ ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻯ ﻣﺼﻤﻢ ﺷﺪﻯ؟«‬ ‫ﻋﺼﺒﺎﻧﻰ ﺷﺪ‪» .‬ﺗﻮﻯ ﻛﻮﺭ ﺩﺍﺭﻯ ﻣﻦ ﻳﻪ ﭼﺸﻢ ﺭﻭ ﻣﺴﺨﺮﻩ ﻣﻰﻛﻨﻰ؟«‬ ‫»ﺍﻩ‪ ،‬ﺧﻔﻪ ﺷﻮ ﺑﺎﺑﺎ!«‬ ‫»ﺑﻪ ﺟﻬﻨﻢ‪ .‬ﻫﺮ ﻏﻠﻄﻰ ﻣﻰﺧﻮﺍﻯ ﺑﻜﻦ‪ .‬ﺍﺻ ً‬ ‫ﻼ ﺑﺮﻭ ﻭ ﻣﻴﺪﻭﻥ ﺭﻭ ﻭﺍﺳﻪ ﺯﺭﺩﻧﻮﻳﺴﺎ ﺑﺎﺯ ﻛﻦ‪ .‬ﻫﺮﭼﻨﺪ ﺗﻮ‬ ‫ﺧﻮﺩﺗﻢ ﺯﺭﺩﻧﻮﻳﺴﻰ ﺑﺎﺑﺎ‪«.‬‬ ‫ﻣﻄﻤﺌﻦ ﺑﻮﺩﻡ ﻛﻪ ﭼﻴﺰﻯ ﻧﻨﻮﺷﻴﺪﻩ ﺍﺳﺖ‪ .‬ﭘﺲ ﺳﺮ ﺩﺭ ﻧﻤﻰﺁﻭﺭﺩﻡ ﭼﺮﺍ ﺑﻪ ﻣﺨﺶ ﺯﺩﻩ‪» .‬ﺩﺍﻙ ﻣﻦ ﺩﺍﺭﻡ‬ ‫ﺍﺯﺕ ﻣﻰﺧﻮﺍﻡ ﻛﻪ ﺑﻬﻢ ﺩﻟﮕﺮﻣﻰ ﺑﺪﻯ‪ ،‬ﺭﻓﻴﻖ!«‬ ‫»ﺍﮔﺮ ﺩﻟﮕﺮﻣﻰ ﻣﻰﺧﻮﺍﻯ‪ ،‬ﺑﻬﺘﺮﻩ ﻛ ً‬ ‫ﻼ ﺑﻰﺧﻴﺎﻝ ﻧﻮﻳﺴﻨﺪﮔﻰ ﺑﺸﻰ‪ .‬ﻓﻘﻂ ﻳﻪ ﺭﺍﻩ ﺑﺮﺍﻯ ﻣﺘﻮﻗﻒ ﻛﺮﺩﻥ ﻳﻪ‬ ‫ﻧﻮﻳﺴﻨﺪﻩﻯ ﻭﺍﻗﻌﻰ ﻭﺟﻮﺩ ﺩﺍﺭﻩ‪«.‬‬

‫‪25‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻧﻤﺮﻩﻯ ﺗﻮ ﻫﻤﻴﺸﻪ ﻋﺎﻟﻴﻪ‪ .‬ﺧﺪﺍ ﻣﻰﺩﻭﻧﻪ ﭼﺮﺍ‪ ،‬ﭼﻮﻥ ﺍﺯ ﻧﻈﺮ ﻣﻦ ﻛﻪ ﺍﺳﺘﻌﺪﺍﺩ ﺧﺎﺻﻰ ﻧﺪﺍﺭﻯ‪«.‬‬ ‫»ﭘﺲ ﭼﺮﺍ ﻧﻮﺷﺘﻪﻫﺎﺵ ﺭﻭ ﺳﺮ ﻛﻼﺱ ﺑﺮﺍﻣﻮﻥ ﻧﻤﻰﺧﻮﻧﻪ؟«‬ ‫ﺁﺭﻣﺎﻧﺪ ﺷﺎﻧﻪ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺖ‪» :‬ﭼﺮﺍ ﺑﺎﻳﺪ ﺑﺨﻮﻧﻪ؟ ﺯﻋﻔﺮﻭﻥ ﺭﻳﺨﺘﻦ ﺟﻠﻮﻯ ﺧﺮﻩ‪«.‬‬ ‫ﺍﻣﺎ ﻣﻦ ﻗﺎﻧﻊ ﻧﺸﺪﻡ‪ .‬ﺍﻧﺼﺎﻑ ﻧﺒﻮﺩ ﻛﻪ ﺍﻭ ﻫﻤﻪﻯ ﻣﺎ ﺭﺍ ﺳﺮ ﻛﻼﺱ ﻣﺴﺨﺮﻩ ﻣﻰﻛﺮﺩ ﻭ ﻛﺎﺭﻫﺎﻯ ﺧﻮﺩﺵ‬ ‫ﻫﺮﮔﺰ ﻣﻮﺭﺩ ﻧﻘﺪ ﻗﺮﺍﺭ ﻧﻤﻰﮔﺮﻓﺖ‪.‬‬ ‫ﺑﺎﺭ ﺑﻌﺪﻯ ﻛﻪ ﺩﻳﺪﻣﺶ‪ ،‬ﺳﺮ ﻣﺮﺍﺳﻢ ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴﻠﻰ ﺑﻮﺩ‪ .‬ﺍﺯﺵ ﺳﻮﺍﻝ ﻛﺮﺩﻡ‪ .‬ﺍﻭ ﺧﻨﺪﻳﺪ ﻭ ﮔﻔﺖ‬ ‫ﻓﺮﺍﻣﻮﺵﺍﺵ ﻛﻨﻢ‪ .‬ﻣﻦ ﻫﻢ ﺧﻨﺪﻳﺪﻡ ﻭ ﮔﻔﺘﻢ ﺍﺻ ً‬ ‫ﻼ ﺍﮔﺮ ﻧﻮﺷﺘﻪﻫﺎﻳﺖ ﺭﺍ ﺗﻘﺪﻳﻢﺍﻡ ﻫﻢ ﻣﻰﻛﺮﺩﻯ‪،‬‬ ‫ﻧﻤﻰﺧﻮﺍﻧﺪﻣﺸﺎﻥ‪ .‬ﺍﻟﺒﺘﻪ ﺧﻴﻠﻰ ﻫﻢ ﺩﻟﻢ ﻣﻰﺧﻮﺍﺳﺖ ﻧﻮﺷﺘﻪﻫﺎﻳﺶ ﺭﺍ ﺑﺨﻮﺍﻧﻢ‪ .‬ﻫﻔﺘﻪﻯ ﺑﻌﺪ ﺍﻭ ﻧﻮﺷﺘﻪﺍﻯ‬ ‫ﺳﻪ ﺻﻔﺤﻪﺍﻯ ﺑﻪ ﻣﻦ ﺩﺍﺩ‪ .‬ﻳﻚ ﻧﻮﺷﺘﻪﻯ ﻧﺎﻗﺺ ﺑﻮﺩ ﺩﺭﺑﺎﺭﻩﻯ ﻣﺮﺩﻯ ﻛﻪ ﻓﻜﺮ ﻣﻰﻛﺮﺩ ﺯﻧﺶ ﺗﺮﻛﺶ‬ ‫ﻛﺮﺩﻩ‪ ،‬ﺍﻣﺎ ﻫﺮ ﺷﺐ ﻛﻪ ﺑﻪ ﺧﺎﻧﻪ ﺑﺮﻣﻰﮔﺸﺖ ﺯﻧﺶ ﺁﻥﺟﺎ ﺑﻮﺩ‪ .‬ﺟﺰء ﺑﻬﺘﺮﻳﻦ ﻧﻮﺷﺘﻪﻫﺎﻳﻰ ﺑﻮﺩ ﻛﻪ ﺗﺎ‬ ‫ﺁﻥ ﺭﻭﺯ ﺩﺭ ﻋﻤﺮﻡ ﺧﻮﺍﻧﺪﻩ ﺑﻮﺩﻡ‪ .‬ﻫﺮ ﺟﻮﺭ ﻛﻪ ﺣﺴﺎﺑﺶ ﻣﻰﻛﺮﺩﻡ‪ ،‬ﻓﺮﻗﻰ ﻧﻤﻰﻛﺮﺩ‪ .‬ﻧﻮﺷﺘﻪ ﺑﻪ ﻗﺪﺭﻯ‬ ‫ﺳﺮﺭﺍﺳﺖ ﻭ ﻫﻴﺠﺎﻥﺍﻧﮕﻴﺰ ﺑﻮﺩ ﻛﻪ ﺣﺘﺎ ﺧﻮﺍﻧﻨﺪﻩﻫﺎﻯ ﻫﺎﺭﻭﻟﺪ ﺭﺍﺑﻴﻨﺰ ﻫﻢ ﻣﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﺍﺯ ﺧﻮﺍﻧﺪﻧﺶ ﻟﺬﺕ‬ ‫ﺑﺒﺮﻧﺪ‪ .‬ﻭﻟﻰ ﺍﺳﺘﺎﻳﻞ ﻧﻮﺷﺘﻨﺶ ﺑﻪ ﻗﺪﺭﻯ ﭘﺮ ﺑﻮﺩ ﻭ ﻣﻮﺿﻮﻋﺶ ﺑﻪ ﺣﺪﻯ ﻋﻤﻴﻖ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﺁﻥ‬ ‫ﭼﻨﺪ ﺻﻔﺤﻪ‪ ،‬ﺧﻴﻠﻰ ﺍﺯ ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻯ ﻣﺜ ً‬ ‫ﻼ ﺑﺰﺭگ‪ ،‬ﺳﻮﺳﻚ ﺑﻮﺩﻧﺪ‪ .‬ﻧﻮﺷﺘﻪ ﺭﺍ ﺩﺳﺖ ﻛﻢ ﭘﻨﺞ ﺑﺎﺭ ﺍﺯ ﺍﻭﻝ‬ ‫ﺗﺎ ﺁﺧﺮ ﺧﻮﺍﻧﺪﻡ ﻛﻪ ﻣﺒﺎﺩﺍ ﭼﻴﺰﻯ ﺭﺍ ﺍﺯ ﻗﻠﻢ ﺍﻧﺪﺍﺧﺘﻪ ﺑﺎﺷﻢ‪ .‬ﺩﻓﻌﻪﻯ ﺍﻭﻝ ﻓﻜﺮ ﻛﺮﺩﻡ ﺩﺍﺳﺘﺎﻥ ﺍﺳﺘﻌﺎﺭﻩﺍﻯ‬ ‫ﺍﺯ ﺯﻧﺪﮔﻰ ﺧﻮﺩ ﻣﻦ ﺍﺳﺖ‪ .‬ﺑﺎﺭ ﺳﻮﻡ ﻣﻄﻤﺌﻦ ﺑﻮﺩﻡ ﻛﻪ ﺩﺭﺑﺎﺭﻩﻯ ﺧﺪﺍﺳﺖ‪ .‬ﺑﺎﺭ ﭘﻨﺠﻢ ﻣﺘﻮﺟﻪ ﺷﺪﻡ ﻛﻪ‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﻫﻤﻪﻯ ﭼﻴﺰﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺗﻮﻯ ﺍﻳﻦ ﺯﻧﺪﮔﻰ ﺍﻫﻤﻴﺖ ﺩﺍﺭﺩ‪ .‬ﺑﺎﻳﺪ ﺑﻘﻴﻪﺍﺵ ﺭﺍ ﻫﻢ ﻣﻰﺧﻮﺍﻧﺪﻡ‪.‬‬ ‫ﺍﺯ ﺩﺍﻙ ﭘﺮﺳﻴﺪﻡ‪» :‬ﺑﻘﻴﻪﺍﺵ ﻛﺠﺎﺳﺖ؟«‬ ‫ﺷﺎﻧﻪ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺖ‪» :‬ﻫﻤﺶ ﻫﻤﻴﻨﻪ‪«.‬‬ ‫»ﻭﻟﻰ ﺗﻤﻮﻡ ﻧﺸﺪﻩ‪«.‬‬ ‫»ﻧﻪ ﻧﺸﺪﻩ‪«.‬‬ ‫»ﺧﺐ ﺗﻤﻮﻣﺶ ﻛﻦ ﺩﺍﻙ! ﺧﻴﻠﻰ ﺧﻮﺑﻪ‪ .‬ﺣﺘﺎ ﻣﻰﺗﻮﻧﻰ ﺑﻔﺮﺳﺘﻴﺶ ﺑﺮﺍﻯ ﻧﻴﻮﻳﻮﺭﻛﺮ! ﻳﻌﻨﻰ ﺩﺭ ﺍﻳﻦ ﺣﺪ‬ ‫ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﺍﺳﺖ!«‬ ‫»ﻫﻪ‪ .‬ﻧﻴﻮﻳﻮﺭﻛﺮ‪«.‬‬ ‫»ﺑﺎﻭﺭﻡ ﻧﻤﻰﺷﻪ ﻛﻪ ﺩﺍﺭﻯ ﻣﻰﮔﻰ ﺍﺭﺯﺵ ﻧﻮﺷﺘﻪﻫﺎﺕ ﺑﻴﺸﺘﺮ ﺍﺯ ﭼﺎپ ﺷﺪﻥ ﺗﻮ ﻧﻴﻮﻳﻮﺭﻛﺮﻩ‪ .‬ﺑﻪ ﺧﺎﻃﺮ ﻣﻦ‬ ‫ﺗﻤﻮﻣﺶ ﻛﻦ ﺩﺍﻙ‪ .‬ﻣﻰﺧﻮﺍﻡ ﺑﺒﻴﻨﻢ ﺗﻬﺶ ﭼﻰ ﻣﻰﺷﻪ‪«.‬‬ ‫ﺳﺮﺵ ﺭﺍ ﺗﻜﺎﻥ ﺩﺍﺩ‪» :‬ﺗﻬﺶ ﻫﻤﻴﻨﻪ ﻛﻪ ﻣﻰﺑﻴﻨﻰ‪ .‬ﻗﺮﺍﺭ ﻫﻢ ﻧﻴﺴﺖ ﺑﻬﺶ ﭼﻴﺰﻯ ﺍﺿﺎﻓﻪ ﺑﺸﻪ‪«.‬‬ ‫ﻭ ﺍﻳﻦ ﭘﺎﻳﺎﻥ ﻣﻜﺎﻟﻤﻪﻣﺎﻥ ﺑﻮﺩ‪.‬‬

‫‪23‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﮔﺎﻟﻦ ﺷﺮﺍﺏ ﻧﻴﺎﺯﻩ ﺗﺎ ﺁﺩﻡ ﺑﻌﺪ ﺍﺯ ﻳﻪ ﺳﺎﻋﺖ ﻧﺸﺴﺖ ﻭ ﺑﺮﺧﺎﺳﺖ ﺑﺎ ﺗﻮ‪ ،‬ﺗﺎﺯﻩ ﺑﻪ ﺣﺎﻟﺖ ﻋﺎﺩﻯ ﺑﺮﮔﺮﺩﻩ‪.‬‬ ‫ﺑﺲ ﻛﻪ ﺿﺪﺣﺎﻟﻰ‪«.‬‬ ‫ﻳﻚ ﺑﺎﺭ ﺁﺧﺮ ﻫﻔﺘﻪ ﺣﺘﺎ ﺑﺎ ﻫﻢ ﺑﻪ ﻣﺤﻞ ﻛﺎﺭﺵ ﺭﻓﺘﻴﻢ‪.‬‬ ‫ﺩﺍﻙ ﺧﺮﺟﺶ ﺭﺍ ﺩﺭ ﻧﻮﺍﺩﺍ ]‪ [8‬ﺩﺭ ﻣﻰﺁﻭﺭﺩ‪ .‬ﺟﻤﻌﻪ ﺑﻌﺪﺍﺯﻇﻬﺮ ﺍﺯ ﺳﺎﻟﺖﻟﻴﻚ ﺳﻴﺘﻰ ﺑﻴﺮﻭﻥ ﺭﺍﻧﺪﻳﻢ ﻭ ﺗﺎ‬ ‫ﻭﻧﺪﻭﺭ ]‪ [9‬ﺭﻓﺘﻴﻢ‪ .‬ﺍﻭﻟﻴﻦ ﺷﻬﺮ ﺁﻥ ﻭﺭ ﻣﺮﺯ ﻳﻮﺗﺎ ﻭ ﻧﻮﺍﺩﺍ‪ .‬ﻓﻜﺮ ﻛﺮﺩﻡ ﺷﺎﻳﺪ ﻛﺎﺭﻣﻨﺪ ﻛﺎﺯﻳﻨﻮﻳﻰ ﺍﺳﺖ ﻛﻪ‬ ‫ﻭﺍﺭﺩﺵ ﺷﺪﻳﻢ‪ .‬ﻭﻟﻰ ﻧﺪﻳﺪﻡ ﻛﺎﺭﺕ ﻭﺭﻭﺩ ﺑﺰﻧﺪ‪ .‬ﻓﻘﻂ ﺍﺳﻤﺶ ﺭﺍ ﺑﻪ ﻳﻚ ﻳﺎﺭﻭﻳﻰ ﺩﺍﺩ ﻭ ﺑﻌﺪ ﺁﻣﺪ ﻭ ﺳﺮ‬ ‫ﻣﻴﺰ ﻧﺸﺴﺖ‪.‬‬ ‫ﭘﺮﺳﻴﺪﻡ‪» :‬ﻗﺮﺍﺭ ﻧﻴﺴﺖ ﻛﺎﺭ ﻛﻨﻰ؟«‬ ‫ﮔﻔﺖ‪» :‬ﺧﺐ ﺩﺍﺭﻡ ﻛﺎﺭ ﻣﻰﻛﻨﻢ ﺩﻳﮕﻪ‪«.‬‬ ‫»ﺍﺗﻔﺎﻗﺎً ﻣﻨﻢ ﻣﺜﻞ ﺗﻮ ﻛﺎﺭ ﻣﻰﻛﺮﺩﻡ‪ .‬ﺁﺧﺮ ﺳﺮ ﺍﺧﺮﺍﺟﻢ ﻛﺮﺩﻥ‪«.‬‬ ‫»ﺑﺎﻳﺪ ﻣﻨﺘﻈﺮ ﻧﻮﺑﺘﻢ ﺑﻤﻮﻧﻢ‪ .‬ﺑﻬﺖ ﮔﻔﺘﻢ ﻛﻪ ﻣﻦ ﺧﺮﺟﻢ ﺭﻭ ﺍﺯ ﺭﺍﻩ ﭘﻮﻛﺮ ﺩﺭ ﻣﻴﺎﺭﻡ‪«.‬‬ ‫ﻭ ﺗﺎﺯﻩ ﺁﻥﺟﺎ ﻓﻬﻤﻴﺪﻡ ﻛﻪ ﺩﺍﻙ ﻳﻚ ﺑﺎﺯﻳﻜﻦ ﺣﺮﻓﻪﺍﻯ ﺍﺳﺖ‪ .‬ﻳﻚ ﭘﻮﻛﺮﺑﺎﺯ ﺣﺮﻓﻪﺍﻯ‪ .‬ﻳﻜﻰ ﺍﺯ ﺁﻥﻫﺎ ﻛﻪ‬ ‫ﻣﺮﺩﻡ ﺭﺍ ﺩﺭﺳﺖ ﻭ ﺣﺴﺎﺑﻰ ﺳﺮ ﭘﻮﻛﺮ ﺗﻴﻎ ﻣﻰﺯﻧﻨﺪ‪.‬‬ ‫ﺁﻥ ﺷﺐ ﭼﻬﺎﺭ ﺗﺎ ﺩﺍﻙ ﺁﻥﺟﺎ ﺑﻮﺩﻧﺪ ﻭ ﺩﺍﻙ ﻣﻮﺭﻓﻰ ﻧﻔﺮ ﺳﻮﻣﻰ ﺑﻮﺩ ﻛﻪ ﻧﻮﺑﺘﺶ ﺷﺪ‪ .‬ﺍﻭ ﺩﻭ ﺳﺎﻋﺖ ﺍﻭﻝ‬ ‫ﺭﺍ ﺧﻴﻠﻰ ﺳﺒﻚ ﺑﺎﺯﻯ ﻛﺮﺩ ﻭ ﺍﺯ ﻗﺼﺪ ﺑﺎﺧﺖ‪ .‬ﺑﻌﺪ ﺩﺭ ﻋﺮﺽ ﭼﻬﺎﺭ ﺩﺳﺖ‪ ،‬ﻫﻤﻪ ﺭﺍ ﺑﺮﻧﺪﻩ ﺷﺪ ﻭ ﭘﺎﻧﺼﺪ‬ ‫ﺩﻻﺭ ﻫﻢ ﺭﻭﻳﺶ‪ .‬ﺑﻌﺪ ﭼﻨﺪ ﺩﺳﺘﻰ ﺑﺎﺧﺖ ﻛﻪ ﻛﺴﻰ ﻣﺸﻜﻮﻙ ﻧﺸﻮﺩ‪ .‬ﺑﻌﺪ ﻫﻢ ﻋﺬﺭﺧﻮﺍﻫﻰ ﻛﺮﺩ ﻭ ﺍﺯ ﺳﺮ‬ ‫ﻣﻴﺰ ﺑﻠﻨﺪ ﺷﺪ ﻭ ﺑﺎ ﻫﻢ ﺑﻪ ﺳﺎﻟﺖﻟﻴﻚ ﺳﻴﺘﻰ ﺑﺮﮔﺸﺘﻴﻢ‪.‬‬ ‫ﺑﺮﺍﻳﻢ ﺗﻮﻯ ﻣﺎﺷﻴﻦ ﺗﻮﺿﻴﺢ ﺩﺍﺩ‪» :‬ﻣﻌﻤﻮﻻً ﻣﺠﺒﻮﺭﻡ ﻳﻚﺷﻨﺒﻪ ﺷﺐ ﻫﻢ ﺑﺮﮔﺮﺩﻡ‪ «.‬ﺑﻌﺪ ﺑﺎ ﻟﺒﺨﻨﺪﻯ‬ ‫ﺍﺿﺎﻓﻪ ﻛﺮﺩ‪» :‬ﻭﻟﻰ ﺍﻣﺸﺐ ﺧﻴﻠﻰ ﺷﺎﻧﺲ ﺁﻭﺭﺩﻡ‪ .‬ﻳﻪ ﺑﺎﺑﺎﻳﻰ ﺳﺮ ﻣﻴﺰ ﺑﻮﺩ ﻛﻪ ﻓﻜﺮ ﻣﻰﻛﺮﺩ ﺧﻴﻠﻰ ﭘﻮﻛﺮ‬ ‫ﺑﺎﺭﺷﻪ‪«.‬‬ ‫ﻣﻦ ﺿﺮﺏﺍﻟﻤﺜﻠﻰ ﻗﺪﻳﻤﻰ ﺑﻪ ﺧﺎﻃﺮﻡ ﺁﻣﺪ‪ .‬ﻫﻴﭻ ﻭﻗﺖ ﺩﺭ ﻏﺬﺍﻓﺮﻭﺷﻰﺍﻯ ﻛﻪ ﺍﺳﻤﺶ ﺑﺎ ﻣﺎﻣﺎﻥ ﺷﺮﻭﻉ‬ ‫ﻣﻰﺷﻮﺩ‪ ،‬ﻏﺬﺍ ﻧﺨﻮﺭ‪ .‬ﻫﺮﮔﺰ ﺑﺎ ﻣﺮﺩﻯ ﻛﻪ ﺍﺳﻤﺶ ﺩﺍﻙ ﺍﺳﺖ‪ ،‬ﭘﻮﻛﺮ ﺑﺎﺯﻯ ﻧﻜﻦ‪ .‬ﻫﺮﮔﺰ ﺑﺎ ﺯﻧﻰ ﻛﻪ ﺑﻴﺸﺘﺮ‬ ‫ﺍﺯ ﺗﻮ ﻣﺸﻜﻼﺕ ﺩﺍﺭﺩ‪ ،‬ﻧﺒﺎﺵ‪ .‬ﻫﻤﻪﺍﺵ ﻋﻴﻦ ﺣﻘﻴﻘﺖ ﺑﻮﺩ‪ .‬ﺩﺍﻙ ﻛﻞ ﻣﻴﺰ ﺭﺍ ﺩﺭ ﺫﻫﻨﺶ ﺣﻔﻆ ﻣﻰﻛﺮﺩ ﻭ‬ ‫ﻫﻤﻪﻯ ﺩﺳﺖﻫﺎ ﺭﺍ ﭘﻴﺶﺑﻴﻨﻰ ﻣﻰﻛﺮﺩ ﻭ ﻛﻤﺘﺮ ﻛﺴﻰ ﺑﻮﺩ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺴﺖ ﻓﺮﻳﺒﺶ ﺑﺪﻫﺪ‪.‬‬ ‫ﻣﺪﺗﻰ ﻛﻪ ﮔﺬﺷﺖ‪ ،‬ﻣﺘﻮﺟﻪ ﺷﺪﻡ ﻛﻪ ﻫﻴﭻﻭﻗﺖ ﻧﻮﺷﺘﻪﻫﺎﻳﺶ ﺭﺍ ﺑﻪ ﻛﻼﺱ ﻧﻤﻰﺁﻭﺭﺩ‪ .‬ﺍﻭ ﺍﺻ ً‬ ‫ﻼ ﻫﻴﭻ ﭼﻴﺰ‬ ‫ﻧﻤﻰﻧﻮﺷﺖ‪ ،‬ﺍﻣﺎ ﻧﻤﺮﻩﺍﺵ ﺭﻭﻯ ﺗﺨﺘﻪ ﻫﻤﻴﺸﻪ ‪ A--‬ﺑﻮﺩ‪.‬‬ ‫ﺑﺎ ﺁﺭﻣﺎﻧﺪ ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﺻﺤﺒﺖ ﻛﺮﺩﻡ‪.‬‬ ‫ﺍﻭ ﺑﻪ ﻣﻦ ﺍﻃﻤﻴﻨﺎﻥ ﺩﺍﺩ‪» :‬ﺩﺍﻙ ﻣﻰﻧﻮﻳﺴﻪ‪ .‬ﺧﻴﻠﻰ ﻫﻢ ﺧﻮﺏ ﻣﻰﻧﻮﻳﺴﻪ‪ .‬ﺍﺯ ﺗﻮ ﺧﻴﻠﻰ ﺑﻬﺘﺮ ﻣﻰﻧﻮﻳﺴﻪ‪ .‬ﺍﻣﺎ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪22‬‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻣﻰﻛﻮﺑﻰ ﺗﻮﻯ ﺳﺮﺵ ﻭ ﺧﺮ ُﻛﺶﺍﺵ ﻣﻰﻛﻨﻰ‪«.‬‬ ‫ﺣﺮﻑﻫﺎﻳﺶ ﺁﺯﺍﺭﺩﻫﻨﺪﻩ ﺑﻮﺩ‪ .‬ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻣﺮﺩﻡ ﺩﺭﺑﺎﺭﻩﻯ ﻫﻤﺴﺮﻡ ﺻﺤﺒﺖ ﻛﻨﻨﺪ‪ ،‬ﺧﻮﺷﻢ ﻧﻤﻰﺁﻣﺪ‪ .‬ﺳﻪ‬ ‫ﺳﺎﻝ ﺑﺎ ﻫﻢ ﺍﺯﺩﻭﺍﺝ ﻛﺮﺩﻩ ﺑﻮﺩﻳﻢ ﻭ ﺍﻳﻦ ﻣﺪﺕ ﻫﻢ ﺯﻧﺪﮔﻰ ﻣﺸﺘﺮﻙ ﺧﻮﺑﻰ ﻧﺪﺍﺷﺘﻴﻢ‪ .‬ﻭﻟﻰ ﻣﻦ ﺧﻴﻠﻰ‬ ‫ﺩﻭﺳﺘﺶ ﺩﺍﺷﺘﻢ ﻭ ﺩﻭﺳﺖ ﻫﻢ ﻧﺪﺍﺷﺘﻢ ﻛﻪ ﺗﺮﻛﻢ ﻛﻨﺪ‪ .‬ﺩﺭ ﻫﺮ ﺣﺎﻝ ﺧﻮﺵ ﻧﺪﺍﺷﺘﻢ ﻛﻪ ﻛﺴﻰ ﺍﻳﻦ‬ ‫ﻣﻮﺿﻮﻉ ﺭﺍ ﺑﻪ ﺭﺧﻢ ﺑﻜﺸﺪ‪.‬‬ ‫»ﻛﺴﻰ ﺑﺎ ﭼﻤﺎﻕ ﺗﻮ ﻛﻠﻪﻯ ﺗﻮ ﻳﻜﻰ ﻧﻜﻮﺑﻴﺪﻩ‪«.‬‬ ‫ﺍﻭ ﻟﺒﺨﻨﺪ ﺯﺩ‪ .‬ﺫﻫﻦ ﻣﻦ ﺑﻼﻓﺎﺻﻠﻪ ﺷﺮﻭﻉ ﺑﻪ ﺗﺤﻠﻴﻞ ﻣﻜﺎﻟﻤﻪﻣﺎﻥ ﻛﺮﺩ‪ .‬ﺣﻖ ﺑﺎ ﺍﻭ ﺑﻮﺩ‪ .‬ﺍﺯ ﻟﺒﺨﻨﺪ ﻟﻌﻨﺘﻰﺍﺵ‬ ‫ﻧﻔﺮﺕ ﺩﺍﺷﺘﻢ‪.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﺧﺐ‪ ،‬ﺗﻮ ﻛﻪ ﺍﺯ ﺁﺧﺮﻳﻦ ﺑﺎﺯﻣﺎﻧﺪﻩﻫﺎﻯ ﺑﺎﺯﻧﺸﺴﺘﮕﻰ ﺍﺟﺒﺎﺭﻯ ﻫﺴﺘﻰ ﺑﮕﻮ ﺑﺒﻴﻨﻢ ﭼﺮﺍ ﺍﺯ ﻣﻮﺭﻳﺲ‬ ‫ﻛﻠﻪﺧﺮﺍﺏ ]‪ [5‬ﺧﻮﺷﺖ ﻣﻴﺎﺩ؟«‬ ‫»ﻛﻰ ﮔﻔﺘﻪ ﻣﻦ ﺍﺯ ﻣﻮﺭﻳﺲ ﺧﻮﺷﻢ ﻣﻴﺎﺩ؟ ﻣﻮﺭﻳﺲ ﻳﻪ ﻋﻮﭘﻰ ﭘﺘﻴﺎﺭﻩ ﺍﺳﺖ ﻛﻪ ﺩﺍﺭﻩ ﺑﻪ ﺧﺎﻃﺮ ﭼﺎﺭﺗﺎ ﺭﺃﻯ‬ ‫ﺍﺿﺎﻓﻰ‪ ،‬ﺁﺯﺍﺩﻯ ﻳﻪ ﻋﺪﻩﻯ ﺩﻳﮕﻪ ﺭﻭ ﻣﻰﻓﺮﻭﺷﻪ‪«.‬‬ ‫ﻭ ﻣﻦ ﺩﺭ ﺁﻥ ﻟﺤﻈﻪ ﻛﻤﻰ ﮔﻴﺞ ﺷﺪﻡ‪ .‬ﺗﻤﺎﻡ ﺑﻌﺪﺍﺯﻇﻬﺮ ﺭﺍ ﺩﺍﺷﺘﻢ ﺑﻪ ﻣﻮﺭﻳﺲ ﺑﺪ ﻭ ﺑﻴﺮﺍﻩ ﻣﻰﮔﻔﺘﻢ‪.‬‬ ‫ﺍﻭ ﻧﻤﺎﻳﻨﺪﻩﻯ ﺩﻳﻮﻳﺲ ﻛﺎﻧﺘﻰ ]‪ [6‬ﺑﻮﺩ‪ .‬ﻳﻚ ﻳﺎﺭﻭﻯ ﺑﻰﺳﺮ ﻭ ﭘﺎﻯ ﺑﻰﺳﻮﺍﺩ ﻓﺎﺷﻴﺴﺖ ﻭ ﺣﺴﺎﺑﻰ ﻫﻢ‬ ‫ﭘﺮﻃﺮﻓﺪﺍﺭ‪ .‬ﺍﻳﻦ ﺑﺎﺭ ﻗﺼﺪ ﺩﺍﺷﺖ ﺳﺮﻛﺘﺎﺑﺪﺍﺭ ﺷﻬﺮ ﺭﺍ ﺑﻪ ﺧﺎﻃﺮ ﺍﻳﻦ ﻛﻪ ﻛﺘﺎﺏﻫﺎﻯ ﭘﻮﺭﻧﻮﮔﺮﺍﻓﻰ ﺩﺭ‬ ‫ﻛﺘﺎﺑﺨﺎﻧﻪ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺑﻮﺩ‪ ،‬ﺍﺧﺮﺍﺝ ﻛﻨﺪ‪ .‬ﻣﻦ ﺷﺨﺼﺎً ﺑﺪﻭﻥ ﺷﻚ ﺑﺮﺍﻯ ﻣﺮﺍﺳﻢ ﮔﺮﺩﻥﺯﻧﻰﺍﺵ ﺑﻠﻴﺖ ﺭﺩﻳﻒ‬ ‫ﺍﻭﻝ ﺗﻬﻴﻪ ﻣﻰﻛﺮﺩﻡ‪ .‬ﻭﻟﻰ ﺑﻪ ﺩﻻﻳﻠﻰ‪ ،‬ﺩﺍﻙ ﻧﺴﺒﺖ ﺑﻪ ﺣﺮﻑﻫﺎﻯ ﻣﻦ ﺍﻋﺘﺮﺍﺽ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫»ﺧﺐ ﺗﻮ ﻫﻢ ﻛﻪ ﺍﺯ ﻣﻮﺭﻳﺲ ﺑﺪﺕ ﻣﻴﺎﺩ‪ .‬ﭘﺲ ﭼﺮﺍ ﺍﺯﺵ ﺩﻓﺎﻉ ﻣﻰﻛﺮﺩﻯ؟«‬ ‫»ﺍﺯ ﻣﻮﺭﻳﺲ ﺩﻓﺎﻉ ﻧﻜﺮﺩﻡ‪ .‬ﺗﻮ ﮔﻔﺘﻰ ﺳﺎﻧﺴﻮﺭ ﻛﺮﺩﻥ ﺩﺭ ﻫﺮ ﺷﺮﺍﻳﻄﻰ ﻏﻠﻄﻪ‪«.‬‬ ‫»ﻧﻜﻨﻪ ﻃﺮﻓﺪﺍﺭ ﺳﺎﻧﺴﻮﺭ ﻛﺮﺩﻧﻰ؟«‬ ‫ﻫﻤﺎﻥ ﻟﺤﻈﻪ ﺍﺯ ﺣﺎﻟﺖ ﻧﻴﻤﻪﺟﺪﻯ ﺑﻪ ﺣﺎﻟﺘﻰ ﻛﺎﻣ ً‬ ‫ﻼ ﻣﺘﻔﺎﻭﺕ ﺗﻐﻴﻴﺮ ﻛﺮﺩ‪ .‬ﺩﻳﮕﺮ ﺣﺎﺿﺮ ﻧﺒﻮﺩ ﺑﻪ ﺻﻮﺭﺗﻢ‬ ‫ﻧﮕﺎﻩ ﻛﻨﺪ‪ .‬ﻓﻘﻂ ﺑﻪ ﺁﺗﺶ ﻛﻪ ﺩﺭ ﺷﻮﻣﻴﻨﻪ ﻣﻰﺭﻗﺼﻴﺪ ﺧﻴﺮﻩ ﺷﺪ ﻭ ﺍﺷﻚ ﺩﺭ ﭘﻠﻚﻫﺎﻯ ﭘﺎﻳﻴﻨﻰﺍﺵ‬ ‫ﺳﻨﮕﻴﻨﻰ ﻣﻰﻛﺮﺩ‪ .‬ﺍﻳﻦﺟﺎ ﺑﻮﺩ ﻛﻪ ﻳﻚ ﺑﺎﺭ ﺩﻳﮕﺮ ﻓﻬﻤﻴﺪﻡ ﭼﻘﺪﺭ ﺍﺯ ﺩﺍﻙ ﻫﻴﭽﻰ ﻧﻤﻰﺩﺍﻧﻢ‪.‬‬ ‫ﺩﺳﺖ ﺁﺧﺮ ﮔﻔﺖ‪» :‬ﻧﻪ‪ ...‬ﻧﻪ ﺧﻮﺷﻢ ﻧﻤﻴﺎﺩ‪«.‬‬ ‫ﻭ ﺑﻌﺪ ﺣﺘﺎ ﻳﻚ ﻛﻠﻤﻪﻯ ﺩﻳﮕﺮ ﻫﻢ ﻧﮕﻔﺖ‪ .‬ﺳﻜﻮﺕ ﺁﺯﺍﺭﺩﻫﻨﺪﻩﺍﻯ ﺁﻏﺎﺯ ﺷﺪ ﻛﻪ ﻃﻰ ﺁﻥ ﺩﺍﻙ ﻟﻴﻮﺍﻥ‬ ‫ﺷﺮﺍﺑﺶ ﺭﺍ ﺗﺎ ﺗﻪ ﺳﺮ ﻛﺸﻴﺪ‪ .‬ﺑﻌﺪ ﺑﻠﻨﺪ ﺷﺪ ﻭ ﺳﻮﺍﺭ ﻣﺎﺷﻴﻨﺶ ﺷﺪ ﺗﺎ ﺑﻪ ﺧﺎﻧﻪﺍﺵ ﺑﺮﮔﺮﺩﺩ‪ .‬ﺍﻭ ﺩﺭ ﺟﺎﺩﻩﺍﻯ‬ ‫ﭘﺮﺑﺎﺩ ﻭ ﺗﻨﮓ‪ ،‬ﺁﺧﺮﻫﺎﻯ ﺍﻣﻴﮕﺮﻳﺸﻦ ﻛﺎﻧﻴﻮﻥ ]‪ [7‬ﺯﻧﺪﮔﻰ ﻣﻰﻛﺮﺩ ﻭ ﻣﻦ ﺗﺮﺳﻴﺪﻡ ﻛﻪ ﻧﻜﻨﺪ ﺯﻳﺎﺩﻯ‬ ‫ﺧﻮﺭﺩﻩ ﺑﺎﺷﺪ ﻭ ﻧﺘﻮﺍﻧﺪ ﺗﺎ ﺧﺎﻧﻪﺍﺵ ﺭﺍﻧﻨﺪﮔﻰ ﻛﻨﺪ‪ .‬ﻭﻟﻰ ﺩﻡ ﺩﺭ ﺑﻬﻢ ﮔﻔﺖ‪» :‬ﻧﺘﺮﺱ‪ ،‬ﻣﺴﺖ ﻧﻴﺴﺘﻢ‪ .‬ﻧﻴﻢ‬

‫‪21‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪ ‬ﻳﻚ ﺭﻭﺯ ﺩﺍﻙ ﺟﻠﻮﻯ ﻛﻼﺱ ﺍﻳﺴﺘﺎﺩ ﻭ ﻧﻮﺷﺘﻪﻯ ﻣﻦ ﺭﺍ ﺩﺭ ﺩﺳﺖ ﮔﺮﻓﺖ ﻭ ﮔﻔﺖ‪» :‬ﻧﻮﺷﺘﻪﻯ ﺯﺭﺩ‬ ‫ﺧﻮﺑﻴﻪ‪ .‬ﺍﺭﺯﺵ ﺗﺠﺎﺭﻯ ﺩﺍﺭﻩ‪ .‬ﺑﻔﺮﻭﺷﻴﺶ ﭘﻮﻝ ﺩﺭﺳﺖ ﻭ ﺩﺭﻣﻮﻧﻰ ﺍﺯﺵ ﺩﺭ ﻣﻴﺎﺭﻯ‪ .‬ﺗﻬﺶ ﺍﻳﻦ ﻛﻪ ﺑﻪ ﺩﺭﺩ‬ ‫ﻋﻤﻪﺍﺕ ﻣﻰﺧﻮﺭﻩ‪«.‬‬ ‫ﺁﺭﻣﺎﻧﺪ ]‪ ،[3‬ﻣﻌﻠﻢﻣﺎﻥ‪ ،‬ﻛﻪ ﻟﻬﺠﻪﻯ ﺑﻮﺳﺘﻮﻧﻰﺍﺵ ﺭﻭﻯ ﺗﻪﻟﻬﺠﻪﻯ ﻓﺮﺍﻧﺴﻮﻯﺍﺵ ﭘﺸﺘﻚ ﻭ ﻭﺍﺭﻭ ﻣﻰﺯﺩ‪،‬‬ ‫ﺍﺯ ﺗﻌﺠﺐ ﻧﺘﻮﺍﻧﺴﺖ ﺍﻇﻬﺎﺭ ﻧﻈﺮ ﺧﺎﺻﻰ ﻛﻨﺪ‪.‬‬ ‫ﺩﺍﻙ ﻣﻮﺭﻓﻰ ﺁﻥ ﺭﻭﺯ‪ ،‬ﭘﺘﻚ ﺩﺭ ﻳﻚ ﺩﺳﺖ ﻭ ﻣﻴﺦ ﺩﺭ ﺩﺳﺖ ﺩﻳﮕﺮ‪ ،‬ﻣﻦ ﻭ ﺩﺍﺳﺘﺎﻧﻢ ﺭﺍ ﺟﻠﻮﻯ ﻛﻼﺱ ﺑﻪ‬ ‫ﺻﻠﻴﺐ ﻛﺸﻴﺪ‪ .‬ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦ ﻛﻪ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺘﻪ ﺑﻮﺩﻡ ﺑﻬﺶ ﻣﺤﻞ ﻧﮕﺬﺍﺭﻡ ﻭ ﺩﺭ ﺿﻤﻦ ﺗﻨﻬﺎ ﻛﺴﻰ ﺩﺭ‬ ‫ﺁﻥ ﻛﻼﺱ ﺑﻮﺩﻡ ﻛﻪ ﻛﺘﺎﺑﻰ ﺍﺯ ﺍﻭ ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪﻩ ﺑﻮﺩ‪ ،‬ﻣﺘﻌﺠﺒﻢ ﻛﻪ ﭼﺮﺍ ﻧﺘﻮﺍﻧﺴﺘﻢ ﺩﺭ ﺑﺮﺍﺑﺮ ﺣﺮﻑﻫﺎﻳﺶ‬ ‫ﻣﻘﺎﻭﻣﺖ ﻛﻨﻢ‪ .‬ﺍﻣﺎ ﺩﺭ ﻛﻨﺎﺭ ﺣﻤﻠﻪﺍﻯ ﻛﻪ ﺑﻪ ﻛﺎﺭ ﻣﻦ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﭼﻴﺰ ﺩﻳﮕﺮﻯ ﻫﻢ ﺩﺭ ﻫﻮﺍ ﻣﻮﺝ ﻣﻰﺯﺩ‪.‬‬ ‫ﺩﺍﻙ ﺑﻪ ﺣﻘﻴﻘﺖ ﻧﻮﻳﺴﻨﺪﮔﻰ ﺍﺣﺘﺮﺍﻡ ﺧﺎﺻﻰ ﻣﻰﮔﺬﺍﺷﺖ‪ .‬ﻭ ﺍﻳﻦ ﻛﻪ ﺷﺎﻳﺪ ﺣﺲ ﻣﻰﻛﺮﺩ ﺟﺎﻳﻰ ﺩﺭ‬ ‫ﭘﺲ ﻧﻮﺷﺘﻪﻯ ﻣﺰﺧﺮﻑ ﻣﻦ‪ ،‬ﺑﺎﻻﺧﺮﻩ ﻳﻚ ﻧﻮﻳﺴﻨﺪﻩﻯ ﻧﺴﺒﺘﺎ ً ﺧﻮﺏ ﭘﻨﻬﺎﻥ ﺷﺪﻩ‪.‬‬ ‫ﭘﺲ ﺑﻪ ﺍﻭ ﮔﻮﺵ ﺩﺍﺩﻡ ﻭ ﺧﻴﻠﻰ ﭼﻴﺰﻫﺎ ﻫﻢ ﻳﺎﺩ ﮔﺮﻓﺘﻢ‪ .‬ﻫﺮ ﭼﻘﺪﺭ ﻛﻪ ﻛﻼﺱﻫﺎﻯ ﺁﺭﻣﺎﻧﺪ ﺩﻳﻮﺍﻧﻪﻭﺍﺭﺗﺮ‬ ‫ﻣﻰﺷﺪ‪ ،‬ﻣﻦ ﺑﻴﺸﺘﺮ ﻭ ﺑﻴﺸﺘﺮ ﺑﻪ ﺩﺍﻙ ﻭ ﺁﻣﻮﺯﻩﻫﺎﻳﺶ ﺭﺟﻮﻉ ﻣﻰﻛﺮﺩﻡ‪ .‬ﻫﺮ ﭼﻨﺪ ﺳﺮ ﻭ ﻗﻴﺎﻓﻪﻯ ﻗﺎﺑﻞ‬ ‫ﺍﻋﺘﻤﺎﺩﻯ ﻧﺪﺍﺷﺖ‪ ،‬ﺍﻣﺎ ﺍﺯ ﺧﻴﻠﻰ ﺍﺯ ﺁﺩﻡﻫﺎﻯ ﺍﺗﻮ ﻛﺸﻴﺪﻩﺍﻯ ﻛﻪ ﺩﺭ ﺯﻧﺪﮔﻰﺍﻡ ﺩﻳﺪﻩ ﺑﻮﺩﻡ‪ ،‬ﺑﻴﺸﺘﺮ‬ ‫ﺣﺎﻟﻰﺍﺵ ﺑﻮﺩ‪.‬‬ ‫ﺷﺮﻭﻉ ﻛﺮﺩﻳﻢ ﺑﻪ ﻭﻟﮕﺮﺩﻯ ﺑﺎ ﻫﻢ‪ .‬ﺯﻧﻢ ﺩﻭ ﺳﺎﻝ ﺑﻮﺩ ﻛﻪ ﺗﺮﻛﻢ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﻭﻗﺖ ﺁﺯﺍﺩ ﺯﻳﺎﺩ‬ ‫ﺩﺍﺷﺘﻢ‪ .‬ﻳﻚ ﺧﺎﻧﻪﻯ ﺍﺟﺎﺭﻩﺍﻯ ﺩﺭﻧﺪﺷﺖ ﻫﻢ ﺩﺍﺷﺘﻢ ﻛﻪ ﻣﻰﺷﺪ ﺭﺍﺣﺖ ﺩﺍﺧﻠﺶ ﭼﺮﺥ ﺧﻮﺭﺩ‪ .‬ﺷﺮﺍﺏ‬ ‫ﻣﻰﻧﻮﺷﻴﺪﻳﻢ ﻭ ﮔﭗ ﻣﻰﺯﺩﻳﻢ ﻭ ﮔﻪﮔﺎﻩ ﭼﻴﺰﻯ ﻣﻰﺧﻮﺍﻧﺪﻳﻢ‪ .‬ﮔﺎﻫﻰ ﺟﻠﻮﻯ ﺁﺗﺶ ﺷﻮﻣﻴﻨﻪ ﺩﺭ ﻧﺸﻴﻤﻦ‪،‬‬ ‫ﮔﺎﻫﻰ ﻫﻢ ﺳﺮ ﻣﻴﺰ ﺷﺎﻡ )ﺩﺍﻙ ﻏﺬﺍﻫﺎﻯ ﺍﻳﺘﺎﻟﻴﺎﻳﻰ ﻧﻪ ﭼﻨﺪﺍﻥ ﺑﺪﻯ ﺩﺭﺳﺖ ﻣﻰﻛﺮﺩ(‪ .‬ﻭ ﺑﻌﻀﻰ ﻭﻗﺖﻫﺎ‬ ‫ﻫﻢ ﺩﺭ ﺣﺎﻝ ﻫﺮﺱ ﻛﺮﺩﻥ ﻋﻠﻒﻫﺎﻯ ﻫﺮﺯﻯ ﻛﻪ ﻗﺼﺪ ﺗﺼﺮﻑ ﺟﻬﺎﻥ ﺭﺍ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻧﻘﻄﻪﻯ ﺷﺮﻭﻉ‬ ‫ﻣﺄﻣﻮﺭﻳﺖﺷﺎﻥ ﻫﻢ ﺣﻴﺎﻁ ﭘﺸﺘﻰ ﺧﺎﻧﻪﻯ ﻣﻦ ﺑﻮﺩ‪ .‬ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﭘﺲ ﺍﺯ ﺭﻓﺘﻦ ﺩﻳﻨﺎ ]‪ ،[4‬ﺩﺭ ﺧﺎﻧﻪﻯ‬ ‫ﺧﻮﺩﻡ ﺍﺣﺴﺎﺱ ﺭﺍﺣﺘﻰ ﻣﻰﻛﺮﺩﻡ‪ .‬ﺩﺍﻙ ﺧﻴﻠﻰ ﺯﻭﺩ ﻳﺎﺩ ﮔﺮﻓﺖ ﻛﻪ ﻛﺪﺍﻡ ﻗﺴﻤﺖﻫﺎﻯ ﺧﺎﻧﻪ ﺑﺮﺍﻯ ﻣﻦ‬ ‫ﺣﺎﻭﻯ ﺧﺎﻃﺮﺍﺕ ﺗﻠﺨﻰ ﻫﺴﺘﻨﺪ ﻭ ﺳﻌﻰ ﻛﺮﺩ ﺑﺎ ﺍﻳﺠﺎﺩ ﺧﺎﻃﺮﺍﺕ ﺗﺎﺯﻩ‪ ،‬ﺫﻫﻨﻢ ﺭﺍ ﻣﺘﻌﺎﺩﻝ ﻛﻨﺪ‪.‬‬ ‫ﮔﺎﻫﻰ ﻫﻢ ﻧﺎﺭﺍﺣﺘﻢ ﻣﻰﻛﺮﺩ‪ .‬ﺩﺍﻙ ﺍﺻﻮﻻً ﺁﺩﻡ ﺭﻛﻰ ﺑﻮﺩ‪.‬‬ ‫ﻳﻚ ﺑﺎﺭ ﺩﺭ ﺁﻣﺪ ﻛﻪ‪» :‬ﺣﺎﻻ ﻣﺘﻮﺟﻪ ﺷﺪﻡ ﭼﺮﺍ ﺯﻧﺖ ﻭﻟﺖ ﻛﺮﺩﻩ‪«.‬‬ ‫»ﺩﺍﺭﻯ ﺩﻟﻢ ﺭﻭ ﻣﻰﺷﻜﻨﻰ‪ .‬ﻳﻌﻨﻰ ﺩﻳﺸﺐ ﺑﻬﺖ ﺧﻮﺵ ﻧﮕﺬﺷﺖ؟« )ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﺣﺮﻑﻫﺎ ﻫﻤﮕﻰ ﺷﻮﺧﻰ‬ ‫ﺑﻮﺩ‪ .‬ﻧﻪ ﻣﻦ ﻭ ﻧﻪ ﺩﺍﻙ‪ ،‬ﻫﻴﭻﮔﻮﻧﻪ ﺍﻧﺤﺮﺍﻑ ﺟﻨﺴﻰﺍﻯ ﻧﺪﺍﺷﺘﻴﻢ(‬ ‫»ﺗﻮ ﺗﻮﺍﻧﺎﻳﻰ ﺍﻳﺠﺎﺩ ﺍﺭﺗﺒﺎﻃﺎﺕﺍﺕ ﺩﺭ ﺣﺪ ﻳﻪ ﻧﺌﺎﻧﺪﺭﺗﺎﻟﻪ‪ .‬ﻭﻗﺘﻰ ﻛﺴﻰ ﺑﺎﻫﺎﺕ ﻣﺨﺎﻟﻒ ﺑﺎﺷﻪ‪ ،‬ﺑﺎ ﭼﻤﺎﻕ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪20‬‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻋﻼﺝ ﺣﺎﺩﺛﻪ ﭘﻴﺶ ﺍﺯ‪...‬‬ ‫ﺍﻭﺭﺳﻮﻥ ﺍﺳﻜﺎﺕ ﻛﺎﺭﺩ‬ ‫ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

‫‪ ‬ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺩﺍﻙ ﻣﻮﺭﻓﻰ ]‪ [1‬ﺭﺍ ﺳﺮ ﻛﻼﺱ ﻧﻮﻳﺴﻨﺪﮔﻰ ﻳﻚ ﻓﺮﺍﻧﺴﻮﻯ ﺩﻳﻮﺍﻧﻪ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩ‬ ‫ﻳﻮﺗﺎﻯ ﺳﺎﻟﺖﻟﻴﻚ ﺳﻴﺘﻰ ]‪ [2‬ﺩﻳﺪﻡ‪ .‬ﺗﺎﺯﮔﻰﻫﺎ ﺷﻐﻞ ﻭﻳﺮﺍﺳﺘﺎﺭﻯ ﺭﺍ ﺩﺭ ﻳﻚ ﻣﺠﻠﻪﻯ ﺧﺎﻧﻮﺍﺩﮔﻰ‬ ‫ﺑﻮﺩﻥ ﺩﻭﺑﺎﺭﻩ ﻋﺎﺩﺕ‬ ‫ﺟﻨﺎﺡ ﺭﺍﺳﺘﻰ ﺭﻫﺎ ﻛﺮﺩﻩ ﺑﻮﺩﻡ ﻭ ﻃﻮﻝ ﻣﻰﻛﺸﻴﺪ ﻛﻪ ﺑﻪ ﺑﭽﻪ ﺩﺍﻧﺸﺠﻮ‬ ‫ِ‬ ‫ﻛﻨﻢ‪ .‬ﺩﺍﻙ ﺍﺯ ﺁﻥ ﻫﻔﺖﺧﻂﻫﺎﻯ ﺭﻭﺯﮔﺎﺭ ﺑﻮﺩ‪ .‬ﺍﺯ ﺁﻥ ﺁﺩﻡﻫﺎﻯ ﭘﺮﻃﻤﻄﺮﺍﻗﻰ ﻛﻪ ﻫﺮ ﺟﺎ ﻣﻰﺭﻭﻧﺪ‪،‬‬ ‫ﻧﻈﺮﺷﺎﻥ ﺭﺍ ﺗﻮﻯ ﺳﺮ ﻭ ﺻﻮﺭﺕ ﻣﺮﺩﻡ ﻣﻰﻛﻮﺑﺎﻧﻨﺪ‪ .‬ﺍﻭﻟﺶ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻡ ﻣﻰﺗﻮﺍﻧﻢ ﺑﻰﺧﻴﺎﻟﺶ‬ ‫ﺷﻮﻡ‪ .‬ﺍﻣﺎ ﺍﻭ ﻛﺴﻰ ﻧﺒﻮﺩ ﻛﻪ ﺑﺸﻮﺩ ﺑﻪ ﺳﺎﺩﮔﻰ ﻧﺎﺩﻳﺪﻩﺍﺵ ﮔﺮﻓﺖ‪ .‬ﺍﻭﻻً ﺑﻪ ﺧﺎﻃﺮ ﻛﺎﺭﻯ ﻛﻪ ﺑﺎ ﻣﻦ‬ ‫ﻛﺮﺩ‪ .‬ﻭ ﺷﺎﻳﺪ ﺩﺭ ﻭﻫﻠﻪﻯ ﺩﻭﻡ‪ ،‬ﺑﻪ ﺧﺎﻃﺮ ﺑﻼﻳﻰ ﻛﻪ ﺳﺮﺵ ﺁﻭﺭﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺁﻥﭼﻪ ﺑﺮ ﺍﻭ ﮔﺬﺷﺘﻪ‪،‬‬ ‫ﺭﻭﻯ ﻣﻦ ﺗﺄﺛﻴﺮ ﻋﻤﻴﻘﻰ ﮔﺬﺍﺷﺖ؛ ﺑﻪ ﻃﺮﺯﻯ ﻛﻪ ﻫﺮ ﻭﻗﺖ ﺳﻌﻰ ﻣﻰﻛﻨﻢ ﭼﻴﺰﻯ ﺑﻨﻮﻳﺴﻢ‪ ،‬ﻛﻞ‬ ‫ﻣﺎﺟﺮﺍ ﺑﻪ ﺳﺮﺍﻏﻢ ﻣﻰﺁﻳﺪ‪.‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫‪1. Cumbria‬‬ ‫‪2. Blakeman‬‬ ‫‪3. John Uskglass‬‬ ‫‪4. Raven King‬‬ ‫‪5. Furness Abbey‬‬ ‫‪6. Almoner‬‬

‫‪ :Saint Bridget .11‬ﻗﺪﻳﺲ ﺍﻳﺮﻟﻨﺪﻯ ﻗﺮﻥ ‪ 5‬ﻣﻴﻼﺩﻯ ﺍﺳﺖ‪.‬‬ ‫ﻧﻘﻞ ﺍﺳﺖ ﻳﻚ ﺑﺎﺭ ﭘﻴﺮﺯﻧﻰ ﺑﻪ ﺩﺭ ﺧﺎﻧﻪﻯ ﺭﻓﺘﻪ ﻭ ﺗﻘﺎﺿﺎﻯ ﻏﺬﺍ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺍﻭ ﺩﺭ ﺟﻮﺍﺏ ﻣﻰﮔﻮﻳﺪ ﻛﻪ ﺗﻨﻬﺎ ﻳﻚ ﻇﺮﻑ ﻛﺮﻩ ﺩﺭ ﺧﺎﻧﻪ‬ ‫ﺩﺍﺭﺩ‪ .‬ﺍﻣﺎ ﭘﻴﺮﺯﻥ ﺑﻪ ﻫﻤﺎﻥ ﻫﻢ ﺭﺍﺿﻰ ﺑﻮﺩ‪ .‬ﺑﺮﻳﺠﺖ ﺑﻌﺪ ﺍﺯ ﺁﻥ ﻛﻪ‬ ‫ﻇﺮﻑ ﻛﺮﻩ ﺭﺍ ﺑﻪ ﭘﻴﺮﺯﻥ ﻣﻰﺩﻫﺪ‪ ،‬ﺩﺭ ﺧﺎﻧﻪ ﺳﻪ ﻇﺮﻑ ﻛﺮﻩ ﻣﻰﺑﻴﻨﺪ‪.‬‬ ‫‪12. Beckermert‬‬ ‫‪13. Saint Nicolas‬‬

‫‪ :Kentigern .7‬ﻛﻨﺘﻴﮕﺮﻥ‪ ،‬ﻳﻜﻰ ﺍﺯﺯ ﻗﺪﻳﺴﺎﻥ ﺍﺳﻜﺎﺗﻠﻨﺪ ﺩﺭ ﻗﺮﻥ‬ ‫‪ 6‬ﻣﻴﻼﺩﻯ ﺍﺳﺖ‪ .‬ﺍﺭﺗﺒﺎﻁ ﻗﺪﻳﺲ ﻛﻨﺘﻴﮕﺮﻥ ﺑﺎ ﻣﺎﻫﻰ ﺑﻪ ﻣﻌﺠﺰﻩﺍﻯ‬ ‫ﻣﺮﺑﻮﻁ ﺍﺳﺖ ﻛﻪ ﻣﻨﺘﺴﺐ ﺑﻪ ﺍﻭﺳﺖ‪ .‬ﻧﻘﻞ ﺍﺳﺖ ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ‬ ‫ﭘﺎﺩﺷﺎﻩ ﻣﻠﻜﻪ ﺭﺍ ﺑﻪ ﺧﻴﺎﻧﺖ ﻣﺘﻬﻢ ﻛﺮﺩ ﻭ ﺍﺯ ﻣﻠﻜﻪﻯ ﺣﻠﻘﻪﻯ‬ ‫ﺍﺯﺩﻭﺍﺟﺶ ﺭﺍ ﻃﻠﺐ ﻛﺮﺩ ﻛﻪ ﺍﺩﻋﺎ ﻣﻰﻛﺮﺩ ﻣﻠﻜﻪ ﺑﻪ ﻣﻌﺸﻮﻗﺶ‬ ‫ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﭼﻨﻴﻦ ﺑﻮﺩ ﻛﻪ ﭘﺎﺩﺷﺎﻩ ﺣﻠﻘﻪ ﺭﺍ ﺩﺭ ﺁﺏ‬ ‫ﺍﻧﺪﺍﺧﺘﻪ ﺑﻮﺩ‪ .‬ﻣﻠﻜﻪ ﻫﻢ ﻛﻪ ﺑﺎ ﻣﺠﺎﺯﺍﺕ ﺍﻋﺪﺍﻡ ﺭﻭﺑﺮﻭ ﻣﻰﺷﺪ‪ ،‬ﺍﺯ‬ ‫ﻛﻨﺘﻴﮕﺮﻥ ﺗﻘﺎﺿﺎﻯ ﻛﻤﻚ ﻛﺮﺩ ﻭ ﺑﻪ ﻓﺮﻣﺎﻥ ﻛﻨﺘﻴﮕﺮﻥ ﻳﻚ ﻣﺎﻫﻰ‬ ‫ﺍﺯ ﺭﻭﺩﺧﺎﻧﻪ ﮔﺮﻓﺘﻨﺪ‪ .‬ﺑﻪ ﻃﺮﺯ ﻣﻌﺠﺰﻩﺁﺳﺎﻳﻰ ﺣﻠﻘﻪﻯ ﻣﻠﻜﻪ ﺍﺯ ﺷﻜﻢ‬ ‫ﻣﺎﻫﻰ ﺧﺎﺭﺝ ﺷﺪ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﻣﻠﻜﻪ ﺍﺯ ﮔﻨﺎﻩ ﻣﺒﺮﺍ ﺷﺪ‪.‬‬

‫‪ :Saint Alexander of Camana .14‬ﻗﺪﻳﺲ ﻗﺮﻥ ‪ 3‬ﻣﻴﻼﺩﻯ‪.‬‬ ‫ﺍﻭ ﺑﻪ ﺧﺎﻃﺮ ﺩﻭﺭﻯ ﺍﺯ ﺗﻔﺎﺧﺮﻫﺎﻯ ﺩﻧﻴﻮﻯ‪ ،‬ﺷﻐﻞ ﺯﻏﺎﻝﺳﻮﺯﻯ ﺭﺍ‬ ‫ﺑﺮﮔﺰﻳﺪ‪ .‬ﻧﻘﻞ ﺍﺳﺖ ﻛﻪ ﺍﻭ ﻫﻤﻴﺸﻪ ﺑﺴﻴﺎﺭ ﻛﺜﻴﻒ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫‪ :Saint Oswald .15‬ﻗﺪﻳﺲ ﻗﺮﻥ ‪ 7‬ﻣﻴﻼﺩﻯ‪ .‬ﺍﻭ ﻫﻤﭽﻨﻴﻦ‬ ‫ﭘﺎﺩﺷﺎﻩ ﺷﻤﺎﻝ ﺍﻧﮕﻠﺴﺘﺎﻥ ﻧﻴﺰ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻧﻘﻞ ﺍﺳﺖ ﻛﻪ ﺑﻌﺪ ﺍﺯ‬ ‫ﻣﺮﮔﺶ‪ ،‬ﭘﺮﻧﺪﻩﺍﻯ )ﻛﻪ ﻇﺎﻫﺮﺍ ً ﻛﻼﻍ ﻫﻢ ﺑﻮﺩﻩ( ﺩﺳﺖ ﺭﺍﺳﺘﺶ‬ ‫ﺭﺍ ﻣﻰﻛﻨﺪ ﻭ ﭘﺎﻯ ﺩﺭﺧﺘﻰ ﻣﻰﺍﻧﺪﺍﺯﺩ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﺩﺭﺧﺖ ﺩﺍﺭﺍﻯ‬ ‫ﻣﻮﺍﻫﺐ ﺑﻰﻣﻨﺘﻬﺎ ﻣﻰﺷﻮﺩ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﺁﻥ ﻛﻪ ﻗﺪﺭﺕ ﺷﻔﺎﺩﻫﻨﺪﮔﻰ‬ ‫ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ‪.‬‬

‫‪8. Griezdale‬‬ ‫‪9. Blencathra‬‬ ‫‪10. William of Lanchaster‬‬

‫‪16. Grasmere‬‬ ‫‪17. Thomas of Dundale‬‬

‫‪17‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﺩﻭ ﺭﻭﺯ ﺑﻌﺪ‪ ،‬ﭘﺎﺩﺷﺎﻩ ﺑﻪ ﺑﻴﺸﻪﻯ ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﺭﻓﺖ‪ .‬ﺍﺯ ﺁﻥﭼﻪ ﻣﻰﺩﻳﺪ ﺑﺴﻴﺎﺭ ﺁﺷﻔﺘﻪ ﺷﺪ‪ .‬ﺯﻏﺎﻝﺳﻮﺯ‬ ‫ﺍﻣﻴﺪ ﺑﺴﻴﺎﺭ ﺩﺍﺷﺖ ﻛﻪ ﭘﺪﺭ ﻣﻘﺪﺱ ﺍﺯﻭﺍﻟﺪ ﺗﺮﺣﻢ ﺑﻪ ﺧﺮﺝ ﺩﺍﺩﻩ ﻭ ﺑﻠﻨﻜﺜﺮﺍ ﺭﺍ ﺑﺮ ﺳﺮ ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ‬ ‫ﻛﻮﺑﻴﺪﻩ ﺑﺎﺷﺪ‪.‬‬ ‫ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﻣﺤﺘﺎﻃﺎﻧﻪ ﭘﺮﺳﻴﺪ‪» :‬ﺍﺯ ﻣﻦ ﭼﻰ ﻣﻰﺧﻮﺍﻯ؟«‬ ‫ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﻫﻢ ﺑﺎﭼﻬﺮﻩﺍﻯ ﻣﺸﻌﻮﻑ ﺍﺯ ﻓﺘﺢ ﮔﻔﺖ‪» :‬ﺁﻫﺎ! ﺣﺎﻻ ﺑﻪ ﺧﺎﻃﺮ ﺍﻳﻦ ﻛﻪ ﺑﻠﻴﻚﻣﻦ ﺑﻴﻨﻮﺍﻯ ﻣﻦ‬ ‫ﺭﻭ ﺑﻪ ﻣﺎﻫﻰ ﺗﺒﺪﻳﻞ ﻛﺮﺩﻯ‪ ،‬ﺍﺯ ﻣﻦ ﻋﺬﺭﺧﻮﺍﻫﻰ ﻛﻦ‪«.‬‬ ‫ﺳﻜﻮﺗﻰ ﻃﻮﻻﻧﻰ ﺑﺮﻗﺮﺍﺭ ﺷﺪ‪.‬‬ ‫ﻭ ﺑﻌﺪ‪ ،‬ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﺩﺭ ﺣﺎﻟﻰ ﺑﺎ ﺣﺮﺹ ﺩﻧﺪﺍﻥﻫﺎﻳﺶ ﺭﺍ ﺭﻭﻯ ﻫﻢ ﻣﻰﺳﺎﻳﻴﺪ‪ ،‬ﺍﺯ ﺯﻏﺎﻝﺳﻮﺯ‬ ‫ﻋﺬﺭﺧﻮﺍﻫﻰ ﻛﺮﺩ ﻭ ﺑﻌﺪ ﭘﺮﺳﻴﺪ‪» :‬ﭼﻴﺰ ﺩﻳﮕﻪﺍﻯ ﻫﻢ ﻫﺴﺖ ﻛﻪ ﺑﺨﻮﺍﻯ؟«‬ ‫»ﺗﻤﺎﻡ ﺁﺳﻴﺒﻰ ﻛﻪ ﺑﻪ ﻣﻦ ﺯﺩﻯ ﺭﻭ ﺗﻌﻤﻴﺮ ﻛﻦ‪«.‬‬ ‫ﭘﺸﺘﻪﻫﺎ ﻭ ﻛﻠﺒﻪﻯ ﺯﻏﺎﻝﺳﻮﺯ ﻣﺜﻞ ﺭﻭﺯ ﺍﻭﻟﺸﺎﻥ ﻓﻮﺭﺍ ً ﻇﺎﻫﺮ ﺷﺪ؛ ﺩﺭﺧﺖﻫﺎ ﻫﻤﻪ ﺩﻭﺑﺎﺭﻩ ﺳﺮﺟﺎﻳﺸﺎﻥ‬ ‫ﺑﺮﮔﺸﺘﻨﺪ؛ ﺑﺮگﻫﺎﻯ ﺳﺒﺰ ﻭ ﺑﺎﻃﺮﺍﻭﺕ ﺩﺭﺧﺘﺎﻥ ﺑﺮ ﺷﺎﺧﻪﻫﺎﻳﺸﺎﻥ ﻧﺸﺴﺘﻨﺪ؛ ﻭ ﻻﻳﻪﺍﻯ ﻣﻌﻄﺮ ﺍﺯ ﺳﺒﺰﻩ‬ ‫ﻭ ﭼﻤﻦ ﺑﺮ ﺳﻄﺢ ﺑﻴﺸﻪ ﮔﺴﺘﺮﺩﻩ ﺷﺪ‪.‬‬ ‫»ﻭ ﺩﻳﮕﻪ؟«‬ ‫ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﭼﺸﻤﺎﻧﺶ ﺭﺍ ﺑﺴﺖ ﻭ ﺛﺮﻭﺗﻰ ﻏﻴﺮﻗﺎﺑﻞ ﺗﺼﻮﺭ ﺭﺍ ﺩﺭ ﺫﻫﻨﺶ ﻓﺮﺍ ﺧﻮﺍﻧﺪ ﻭ ﮔﻔﺖ‪» :‬ﻳﻪ ﺧﻮﻙ‬ ‫ﺩﻳﮕﻪ!«‬ ‫ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﺗﺎﺯﻩ ﺗﺎﺯﻩ ﺩﺍﺷﺖ ﻣﺸﻜﻮﻙ ﻣﻰﺷﺪ ﻛﻪ ﻧﻜﻨﺪ ﺟﺎﻳﻰ ﺩﺭ ﻣﺤﺎﺳﺒﺎﺗﺶ ﺍﺷﺘﺒﺎﻩ ﻛﺮﺩﻩ‬ ‫ﺑﺎﺷﺪ ﻛﻪ ﺍﻟﺒﺘﻪ ﺍﺯ ﺗﺮﺱ ﺟﺎﻧﺶ ﻫﻢ ﻛﻪ ﺷﺪﻩ‪ ،‬ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺑﮕﻮﻳﺪ ﻛﺠﺎ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺑﺎ ﺍﻋﺘﻤﺎﺩ ﺑﻪ ﻧﻔﺲ‬ ‫ﮔﻔﺖ‪» :‬ﻣﻦ ﺑﻪ ﺗﻮ ﻳﻪ ﺧﻮﻙ ﺍﻋﻄﺎ ﻣﻰﻛﻨﻢ ﺍﮔﺮ ﺑﻪ ﻣﻦ ﻗﻮﻝ ﺑﺪﻯ ﺑﻪ ﻛﺴﻰ ﻧﮕﻰ ﺧﻮﻙ ﺭﻭ ﻛﻰ ﺑﻬﺖ‬ ‫ﺩﺍﺩﻩ ﻭ ﭼﺮﺍ‪«.‬‬ ‫»ﭼﻄﻮﺭ ﻣﻰﺗﻮﻧﻢ؟ ﺍﺻ ً‬ ‫ﻼ ﻣﻦ ﻧﻤﻰﺩﻭﻧﻢ ﺗﻮ ﻛﻰ ﻫﺴﺘﻰ‪ .‬ﭼﻄﻮﺭ؟« ﻭ ﭼﺸﻤﺎﻧﺶ ﺭﺍ ﻧﺎﺯﻙ ﻛﺮﺩ ﻭ ﭘﺮﺳﻴﺪ‪:‬‬ ‫»ﺭﺍﺳﺘﻰ ﺭﺍﺳﺘﻰ ﺗﻮ ﻛﻰ ﻫﺴﺘﻰ؟«‬ ‫ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﺑﻪ ﺳﺮﻋﺖ ﮔﻔﺖ‪» :‬ﻫﻴﭻﻛﺲ‪«.‬‬ ‫ﺧﻮﻙ ﺩﻳﮕﺮﻯ‪ ،‬ﺩﺭﺳﺖ ﻫﻤﺘﺎﻯ ﺑﻠﻴﻚﻣﻦ ﻇﺎﻫﺮ ﺷﺪ ﻭ ﻫﻤﻴﻦ ﻃﻮﺭ ﻛﻪ ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﺍﺯ ﺭﻭﻯ ﺫﻭﻕ ﻭ‬ ‫ﺷﻮﻕ ﻓﺮﻳﺎﺩ ﻣﻰﻛﺸﻴﺪ‪ ،‬ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﺳﻮﺍﺭ ﺍﺳﺒﺶ ﺷﺪ ﻭ ﺑﺎ ﺭﺿﺎﻳﺖ ﻛﺎﻣﻞ ﺁﻥﺟﺎ ﺭﺍ ﺗﺮﻙ ﻛﺮﺩ‪.‬‬ ‫ﺑﻌﺪ ﺍﺯ ﻣﺪﺕ ﻛﻮﺗﺎﻫﻰ ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﺑﻪ ﭘﺎﻳﺘﺨﺘﺶ ﺩﺭ ﻧﻴﻮﻛﺎﺳﻞ ﺑﺮﮔﺸﺖ‪ .‬ﺩﺭ ﭘﻨﺠﺎﻩ ﺷﺼﺖ ﺳﺎﻝ‬ ‫ﺑﻌﺪ ﺍﺯ ﺁﻥ‪ ،‬ﺧﺪﻡ ﻭ ﺣﺸﻤﺶ ﻫﺮ ﺍﺯ ﮔﺎﻫﻰ ﺷﻜﺎﺭ ﻓﻮﻕﺍﻟﻌﺎﺩﻩﺍﺵ ﺩﺭ ﻛﺎﻣﺒﺮﻳﺎ ﺭﺍ ﺑﻪ ﻳﺎﺩﺵ ﻣﻰﺁﻭﺭﺩﻧﺪ‪،‬‬ ‫ﺍﻣﺎ ﺍﻭ ﻣﺮﺍﻗﺐ ﺑﻮﺩ ﻛﻪ ﻫﺮﮔﺰ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺁﻥﺟﺎ ﻧﺮﻭﺩ ﺗﺎ ﻭﻗﺘﻰ ﻣﻄﻤﺌﻦ ﺷﺪ ﻛﻪ ﺯﻏﺎﻝﺳﻮﺯ ﻣﺮﺩﻩ ﺍﺳﺖ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪16‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﺑﺮﺍﻯ ﭘﺪﺭ ﻣﻘﺪﺱ ﺍﺯﻭﺍﻟﺪ ﺷﺮﺡ ﺩﺍﺩ ﭼﮕﻮﻧﻪ ﻣﻮﺭﺩ ﺍﺫﻳﺖ ﻭ ﺁﺯﺍﺭ ﺁﻥ ﻣﺮﺩ ﺳﺎﻛﺖ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﭘﺪﺭ ﻣﻘﺪﺱ ﺍﺯﻭﺍﻟﺪ ﺑﺎ ﻃﻌﻨﻪ ﮔﻔﺖ‪» :‬ﺧﺐ ﺷﺎﻳﺪ ﺩﻟﻴﻠﻰ ﺑﺮﺍﻯ ﺭﻓﺘﺎﺭﺵ ﺩﺍﺷﺘﻪ‪ .‬ﻣﺜ ً‬ ‫ﻼ ﺗﺎ ﺣﺎﻻ ﺷﻤﻌﺪﻭﻧﺎﻯ‬ ‫ﮔﺮﻭﻧﺶ ﺭﻭ ﺑﻪ ﺍﻳﻦﻭﺭ ﻭ ﺍﻭﻥﻭﺭ ﻧﻜﻮﺑﻴﺪﻯ؟«‬ ‫ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﻫﻢ ﺍﺭﺗﻜﺎﺏ ﻫﺮﮔﻮﻧﻪ ﺁﺯﺍﺭ ﻭ ﺍﺫﻳﺖ ﺩﺭ ﻗﺒﺎﻝ ﻣﺮﺩ ﺳﺎﻛﺖ ﺭﺍ ﻣﻄﻠﻘﺎً ﺭﺩ ﻛﺮﺩ‪.‬‬ ‫ﭘﺪﺭ ﻣﻘﺪﺱ ﺍﺯﻭﺍﻟﺪ ﻣﺘﻔﻜﺮﺍﻧﻪ ﮔﻔﺖ‪» :‬ﻫﻤﻤﻤﻤﻢ‪ ،‬ﻣﻰﺩﻭﻧﻰ‪ ،‬ﻓﻘﻂ ﭘﺎﺩﺷﺎﻫﺎ ﻣﻰﺗﻮﻧﻦ ﺑﺮﻥ ﺷﻜﺎﺭ ﺁﻫﻮ‪«.‬‬ ‫ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﻫﻢ ﻓﻘﻂ ﻫﻤﻴﻦ ﻃﻮﺭ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‪.‬‬ ‫»ﺑﺬﺍﺭ ﺑﺒﻴﻨﻢ‪ ،‬ﻣﺮﺩﻯ ﺑﺎ ﻟﺒﺎﺳﺎﻯ ﺳﻴﺎﻩ‪ ،‬ﺩﺭ ﺟﺎﺩﻭﮔﺮﻯ ﻗﺪﺭﺗﻤﻨﺪ ﻭ ﺑﺎ ﻛﻠﻰ ﻛﻼﻍ ﺑﻪ ﻓﺮﻣﺎﻧﺶ‪ ،‬ﺑﻪ ﺍﺿﺎﻓﻪﻯ‬ ‫ﺣﻖ ﺷﻜﺎﺭ ﺷﺎﻫﺎﻧﻪ‪ .‬ﺍﻳﻦ ﺟﺪﻯ ﻫﻴﭽﻰ ﺑﻪ ﺫﻫﻦ ﺗﻮ ﻧﻤﻰﺭﺳﻮﻧﻪ؟ ﻧﺨﻴﺮ‪ ،‬ﻣﺜﻞ ﺍﻳﻦ ﻛﻪ ﻧﻤﻰﺭﺳﻮﻧﻪ‪ .‬ﺧﺐ‪،‬‬ ‫ﺍﻳﻦﺟﻮﺭ ﻛﻪ ﭘﻴﺪﺍﺳﺖ ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﺑﺪﻭﻧﻢ ﺍﻳﻦ ﻣﺮﺩﻯ ﻛﻪ ﺗﻮ ﻣﻰﮔﻰ ﻛﻴﻪ‪ .‬ﻭﺍﻗﻌﺎً ﻛﻪ ﻣﺮﺩ ﻣﻐﺮﻭﺭﻳﻪ ﻭ‬ ‫ﺷﺎﻳﺪ ﻭﻗﺘﺶ ﺭﺳﻴﺪﻩ ﻳﻪ ﻛﻤﻰ ﮔﻮﺵﺍﺵ ﺭﻭ ﺑﭙﻴﭽﻮﻧﻴﻢ‪ .‬ﺍﮔﺮ ﺩﺭﺳﺖ ﻣﻨﻈﻮﺭﺕ ﺭﻭ ﻓﻬﻤﻴﺪﻩ ﺑﺎﺷﻢ‪ ،‬ﺗﻮ ﺑﻪ‬ ‫ﺧﺎﻃﺮ ﺳﻜﻮﺗﺶ ﺍﺯ ﺩﺳﺘﺶ ﻋﺼﺒﺎﻧﻰ ﻫﺴﺘﻰ ﺩﺭﺳﺘﻪ؟«‬ ‫»ﺑﻠﻪ‪«.‬‬ ‫»ﺧﻴﻞ ﺧﺐ‪ .‬ﺑﻪ ﻧﻈﺮﻡ ﺑﺎﻳﺪ ﻳﻪ ﻛﻤﻰ ﺯﺑﻮﻧﺶ ﺭﻭ ﺑﻪ ﻛﺎﺭ ﺑﻨﺪﺍﺯﻡ‪«.‬‬ ‫»ﺍﻳﻦ ﺩﻳﮕﻪ ﭼﻪ ﺟﻮﺭ ﺗﻨﺒﻴﻬﻪ؟ ﺍﺯﺕ ﻣﻰﺧﻮﺍﻡ ﺑﻠﻨﻜﺜﺮﺍ ﺭﻭ ﺭﻭ ﺳﺮﺵ ﺧﺮﺍﺏ ﻛﻨﻰ!«‬ ‫ﭘﺪﺭ ﻣﻘﺪﺱ ﺍﺯﻭﺍﻟﺪ ﺑﺎ ﺁﺯﺭﺩﮔﻰ ﮔﻔﺖ‪» :‬ﺁﺧﻪ ﺗﻮ ﺍﺯ ﺍﻳﻦ ﻛﺎﺭﺍ ﭼﻰ ﻣﻰﺩﻭﻧﻰ؟ ﺑﺎﻭﺭ ﻛﻦ‪ ،‬ﻣﻦ ﺧﻴﻠﻰ ﺑﻬﺘﺮ‬ ‫ﺍﺯ ﺗﻮ ﻣﻰﺩﻭﻧﻢ ﭼﻄﻮﺭ ﺑﺎﻳﺪ ﺍﻳﻦ ﻣﺮﺩ ﺭﻭ ﺍﺩﺏ ﻛﺮﺩ‪«.‬‬ ‫ﻫﻤﻴﻦ ﻛﻪ ﺍﻳﻦ ﻛﻠﻤﺎﺕ ﺍﺯ ﺩﻫﺎﻥ ﭘﺪﺭ ﻣﻘﺪﺱ ﺍﺯﻭﺍﻟﺪ ﺑﻴﺮﻭﻥ ﺁﻣﺪ‪ ،‬ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﺗﻨﺪ ﻭ ﺗﻨﺪ ﺷﺮﻭﻉ‬ ‫ﺑﻪ ﺻﺤﺒﺖ ﻛﺮﺩ‪ .‬ﺍﺗﻔﺎﻗﻰ ﻏﻴﺮ ﻣﻌﻤﻮﻝ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﺍﻭﻝ ﺧﻴﻠﻰ ﺑﻪ ﭼﺸﻢ ﻧﻴﺎﻣﺪ‪ .‬ﺗﻤﺎﻡ ﺩﺭﺑﺎﺭ ﻭ ﺧﺪﻣﻪ ﻣﻮﺩﺑﺎﻧﻪ‬ ‫ﮔﻮﺵ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺍﻣﺎ ﺩﻗﻴﻘﻪﻫﺎ ﻭ ﺑﻌﺪ ﺳﺎﻋﺖﻫﺎ ﻫﻤﻴﻦﻃﻮﺭ ﮔﺬﺷﺖ ﻭ ﺣﺮﻑ ﺯﺩﻥﻫﺎﻯ ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ‬ ‫ﺗﻤﺎﻡ ﻧﺸﺪ‪ .‬ﺍﺯ ﺷﺎﻡ ﮔﻔﺖ‪ ،‬ﺍﺯ ﻋﺸﺎﻯ ﺭﺑﺎﻧﻰ ﻭ ﺍﺯ ﺷﺐ‪ .‬ﭘﻴﺸﮕﻮﻳﻰ ﻛﺮﺩ‪ ،‬ﻗﻄﻌﺎﺗﻰ ﺍﺯ ﺍﻧﺠﻴﻞ ﺭﺍ ﺍﺯ ﺑﺮ ﺧﻮﺍﻧﺪ‬ ‫ﻭ ﺗﺎﺭﻳﺨﭽﻪﻯ ﺳﺮﺯﻣﻴﻦﻫﺎﻯ ﭘﺮﻳﺎﻥ ﺭﺍ ﺑﺎﺯﮔﻮ ﻛﺮﺩ‪ .‬ﺳﻔﺎﺭﺵ ﭼﻨﺪ ﭘﺎﻯ ﻣﻴﻮﻩ ﺩﺍﺩ‪ .‬ﺍﺳﺮﺍﺭ ﺳﻴﺎﺳﻰ ﺭﺍ ﻟﻮ‬ ‫ﺩﺍﺩ‪ ،‬ﺍﺳﺮﺍﺭ ﺟﺎﺩﻭﻳﻰ‪ ،‬ﺍﺳﺮﺍﺭ ﺩﻭﺯﺥ‪ ،‬ﺍﺳﺮﺍﺭ ﺑﻬﺸﺖ‪ .‬ﺭﺳﻮﺍﻳﻰﻫﺎﻳﻰ ﺭﺍ ﺭﻭ ﻛﺮﺩ ﻛﻪ ﺩﺭ ﻧﺘﻴﺠﻪﻯ ﺁﻥﻫﺎ ﭼﻨﺪ‬ ‫ﻗﻠﻤﺮﻭ ﺍﺯ ﺷﻤﺎﻝ ﺍﻧﮕﻠﺴﺘﺎﻥ ﺑﻪ ﻭﺭﻃﻪﻯ ﺑﺤﺮﺍﻧﻰ ﺳﻴﺎﺳﻰ ﻭ ﻛﻼﻣﻰ ﺍﻓﺘﺎﺩﻧﺪ‪ .‬ﺗﻮﻣﺎﺱ ﺩﺍﻧﺪﻳﻞ ]‪ [17‬ﻭ‬ ‫ﻭﻳﻠﻴﺎﻡ ﻟﻨﻜﺴﺘﺮ ﺍﻟﺘﻤﺎﺱ ﻛﺮﺩﻧﺪ‪ ،‬ﺭﻭ ﺑﻪ ﺗﻬﺪﻳﺪ ﻭ ﺍﺭﻋﺎﺏ ﺁﻭﺭﺩﻧﺪ ﺗﺎ ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﺭﺍ ﺍﺯ ﺑﺎﺯﮔﻮ ﻛﺮﺩﻥ‬ ‫ﺍﻳﻦ ﺭﺍﺯﻫﺎ ﺑﺎﺯﺩﺍﺭﻧﺪ‪ ،‬ﺍﻣﺎ ﻫﻴﭻ ﻳﻚ ﺍﺯ ﮔﻔﺘﻪﻫﺎﻳﺸﺎﻥ ﭘﺎﺩﺷﺎﻩ ﺭﺍ ﺍﺯ ﺳﺨﻦ ﮔﻔﺘﻦ ﺑﺎﺯ ﻧﺪﺍﺷﺖ‪ .‬ﺩﺭ ﻧﻬﺎﻳﺖ‬ ‫ﻣﺠﺒﻮﺭ ﺷﺪﻧﺪ ﭘﺎﺩﺷﺎﻩ ﺭﺍ ﺩﺭ ﺍﺗﺎﻕ ﻛﻮﭼﻚ ﺑﺎﻻﻯ ﻗﺼﺮ ﺯﻧﺪﺍﻧﻰ ﻛﻨﻨﺪ ﺗﺎ ﻛﺴﻰ ﺻﺪﺍﻳﺶ ﺭﺍ ﻧﺸﻨﻮﺩ‪ .‬ﻭ ﺍﺯ‬ ‫ﺁﻥﺟﺎ ﻛﻪ ﻧﻤﻰﺷﻮﺩ ﻳﻚ ﭘﺎﺩﺷﺎﻩ ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﺻﺤﺒﺖ ﻛﻨﺪ ﻭ ﻛﺴﻰ ﮔﻮﺵ ﻧﻜﻨﺪ‪ ،‬ﻣﺠﺒﻮﺭ ﺷﺪﻧﺪ ﺑﺎ ﺍﻭ‬ ‫ﺑﻤﺎﻧﻨﺪ‪ .‬ﭼﻨﺪ ﺭﻭﺯ ﭘﺸﺖ ﻫﻢ‪ .‬ﺑﺎﻻﺧﺮﻩ ﺩﻗﻴﻘﺎً ﺑﻌﺪ ﺍﺯ ﺳﻪ ﺭﻭﺯ ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﺳﺎﻛﺖ ﺷﺪ‪.‬‬

‫‪15‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﻭﻗﺘﻰ ﻣﺮﺩﻧﺪ‪ ،‬ﺩﺭ ﺁﻥ ﺩﻧﻴﺎ ﭼﻪ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻭ ﺩﺭ ﻃﻮﻝ ﺍﻳﻦ ﻣﺴﻴﺮ ﺫﺭﻩﺍﻯ ﺟﺎﺩﻭ ﺩﺭ ﻫﻴﭻﺟﺎ ﭘﻴﺪﺍ ﻧﻜﺮﺩﻧﺪ‪.‬‬ ‫ﻭﻗﺘﻰ ﺑﺎﻻﺧﺮﻩ ﺩﺳﺖ ﺍﺯ ﺳﺮﺷﺎﻥ ﺑﺮﺩﺍﺷﺘﻨﺪ‪ ،‬ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﺩﺳﺖ ﺑﻪ ﺳﻴﻨﻪ ﻭ ﺍﺧﻢ ﺑﺮ ﺍﺑﺮﻭ ﺑﻪ ﺑﻴﺸﻪ‬ ‫ﻗﺪﻡ ﮔﺬﺍﺷﺖ‪ .‬ﺍﺯ ﻧﺎﻛﺎﻣﻰ ﻛﻼﻍﻫﺎ ﻫﻢ ﺧﻴﻠﻰ ﻧﺎﺭﺍﺣﺖ ﺑﻮﺩ‪.‬‬ ‫ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﺑﻪ ﺁﻫﺴﺘﮕﻰ ﺍﺯ ﺯﻣﻴﻦ ﺑﻠﻨﺪ ﺷﺪ ﻭ ﺑﺎ ﺣﻴﺮﺕ ﺑﻪ ﺍﻃﺮﺍﻓﺶ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺍﮔﺮ ﺁﺗﺶ ﺑﻪ ﺟﺎﻥ‬ ‫ﺟﻨﮕﻞ ﻣﻰﺍﻓﺘﺎﺩ ﻫﻢ ﻭﻳﺮﺍﻧﻰ ﺗﺎ ﺍﻳﻦ ﺣﺪ ﺗﻤﺎﻡ ﻭ ﻛﻤﺎﻝ ﻧﻤﻰﺷﺪ‪ .‬ﺷﺎﺧﻪﻯ ﺩﺭﺧﺘﺎﻥ ﺷﻜﺴﺘﻪ ﺑﻮﺩ ﻭ‬ ‫ﻻﻳﻪﺍﻯ ﺳﻴﺎﻩ ﻭ ﺿﺨﻴﻢ ﺍﺯ ﭘﺮ ﻛﻼﻏﺎﻥ ﺭﻭﻯ ﻫﻤﻪﭼﻴﺰ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ .‬ﺯﻏﺎﻝﺳﻮﺯ ﺑﺎ ﺣﺎﻟﺘﻰ ﻣﻠﺘﻬﺐ ﻭ ﻣﻤﻠﻮ‬ ‫ﺍﺯ ﺧﺸﻢ ﻓﺮﻳﺎﺩ ﺯﺩ‪ِ » :‬ﺩ ﺁﺧﻪ ﺑﮕﻮ ﺑﺒﻴﻨﻢ ﺍﺯ ﺟﻮﻥ ﻣﻦ ﭼﻰ ﻣﻰﺧﻮﺍﻯ؟!«‬ ‫ﺍﻣﺎ ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﺣﺮﻓﻰ ﺑﻪ ﺯﺑﺎﻥ ﻧﻴﺎﻭﺭﺩ‪.‬‬ ‫ﺯﻏﺎﻝﺳﻮﺯ ﺑﺎ ﺍﻧﮕﺸﺖ ﺳﺒﺎﺑﻪ ﺑﻪ ﺻﻮﺭﺕ ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﺯﺩ ﻭ ﮔﻔﺖ‪» :‬ﻛﺎﺭﻯ ﻣﻰﻛﻨﻢ ﺑﻠﻨﻜﺜﺮﺍ ﺭﻭ ﺳﺮﺕ‬ ‫ﺧﺮﺍﺏ ﺷﻪ! ﺍﻳﻦ ﻛﺎﺭ ﻭ ﻣﻰﻛﻨﻢ ﻭ ﺗﻮ ﻫﻢ ﻣﻰﺩﻭﻧﻰ ﻛﻪ ﻣﻰﺗﻮﻧﻢ!«‬ ‫ﻓﺮﺩﺍﻯ ﺁﻥ ﺭﻭﺯ‪ ،‬ﻗﺒﻞ ﺍﺯ ﻃﻠﻮﻉ ﺁﻓﺘﺎﺏ ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﺑﻪ ﻓﺮﻧﺲ ﺍﺑﻰ ﺭﻓﺖ ﻭ ﺍﻟﻤﻮﻧﺮ ﺭﺍ ﺩﺭ ﺭﺍﻩ ﺩﻳﺪ ﻭ ﮔﻔﺖ‪:‬‬ ‫»ﺍﻭﻥ ﺩﻭﺑﺎﺭﻩ ﺑﺮﮔﺸﺖ ﻭ ﺟﻨﮕﻞ ﻣﻦ ﺭﻭ ﺩﺍﻏﻮﻥ ﻛﺮﺩ‪ .‬ﻫﻤﻪﺟﺎ ﺭﻭ ﺳﻴﺎﻩ ﻭ ﺯﺷﺖ ﻛﺮﺩﻩ‪«.‬‬ ‫ﺍﻟﻤﻮﻧﺮ ﻫﻢ ﺑﺎ ﻫﻤﺪﺭﺩﻯ ﮔﻔﺖ‪» :‬ﭼﻪ ﻣﺮﺩ ﺑﺪﻯ!«‬ ‫ﺯﻏﺎﻝﺳﻮﺯ ﭘﺮﺳﻴﺪ‪» :‬ﻛﺪﻭﻡ ﻗﺪﻳﺲ ﺗﻮ ﻛﺎﺭ ﻛﻼﻏﺎﺱ؟«‬ ‫»ﻛﻼﻏﺎ؟ ﻫﻴﭻﻛﺪﻭﻡ ﺍﺯ ﺍﻭﻧﺎﻳﻰ ﻛﻪ ﻣﻦ ﻣﻰﺷﻨﺎﺳﻢ ﺍﻳﻦﻛﺎﺭﻩ ﻧﻴﺴﺘﻦ‪ «.‬ﻟﺤﻈﻪﺍﻯ ﻓﻜﺮ ﻛﺮﺩ ﻭ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪:‬‬ ‫»ﭘﺪﺭ ﻣﻘﺪﺱ ﺍﺯﻭﺍﻟﺪ]‪ [15‬ﻳﻪ ﻛﻼﻍ ﺩﺳﺖﭘﺮﻭﺭﺩﻩ ﺩﺍﺷﺖ ﻛﻪ ﺧﻴــــــــــﻠﻰ ﻫﻢ ﺩﻭﺳﺘﺶ ﺩﺍﺷﺖ‪«.‬‬ ‫»ﻭ ﻛﺠﺎ ﺑﺎﻳﺪ ﺍﻳﺸﻮﻥ ﺭﻭ ﭘﻴﺪﺍ ﻛﻨﻢ؟«‬ ‫»ﻳﻪ ﻛﻠﻴﺴﺎﻯ ﺟﺪﻳﺪ ﺗﻮ ﮔﺮﺳﻤﻴﺮ ]‪ [16‬ﺯﺩﻩ‪«.‬‬ ‫ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﺑﻪ ﮔﺮﺳﻤﻴﺮ ﺭﻓﺖ ﻭ ﻭﻗﺘﻰ ﺑﻪ ﺁﻥﺟﺎ ﺭﺳﻴﺪ‪ ،‬ﻛﻠﻰ ﺩﺍﺩ ﻭ ﻓﺮﻳﺎﺩ ﻛﺮﺩ ﻭ ﺑﺎ‬ ‫ﺷﻤﻌﺪﺍﻥ ﺑﻪ ﺩﺭ ﻭ ﺩﻳﻮﺍﺭ ﻛﻮﺑﻴﺪ‪.‬‬ ‫ﭘﺪﺭ ﻣﻘﺪﺱ ﺍﺯﻭﺍﻟﺪ ﺳﺮﺵ ﺭﺍ ﺍﺯ ﻋﺮﺵ ﺑﻴﺮﻭﻥ ﺁﻭﺭﺩ ﻭ ﺑﺎ ﻓﺮﻳﺎﺩ ﮔﻔﺖ‪» :‬ﻣﺠﺒﻮﺭﻯ ﺍﻳﻦﻗﺪﺭ ﺩﺍﺩ ﻭ ﺑﻰﺩﺍﺩ‬ ‫ﻛﻨﻰ؟ ﻛﺮ ﻛﻪ ﻧﻴﺴﺘﻢ! ﺣﺎﻻ ﭼﻰ ﻣﻰﺧﻮﺍﻯ؟ ﻭ ﺍﻭﻥ ﺷﻤﻌﺪﻭﻥ ﺭﻭ ﻫﻢ ﺑﺬﺍﺭ ﺯﻣﻴﻦ! ﻛﻠﻰ ﻗﻴﻤﺘﺶ ﺑﻮﺩ!«‬ ‫ﭘﺪﺭ ﻣﻘﺪﺱ ﻛﻨﺘﻴﮕﺮﻥ ﻭ ﻣﺎﺩﺭ ﻣﻘﺪﺱ ﺑﺮﻳﺠﺖ ﺩﺭ ﻃﻮﻝ ﻋﻤﺮ ﭘﺮﺑﺮﻛﺖﺷﺎﻥ ﺭﺍﻫﺐ ﻭ ﺭﺍﻫﺒﻪ ﺑﻮﺩﻧﺪ‪،‬‬ ‫ﺳﺮﺷﺎﺭ ﺍﺯ ﻣﻬﺮﺑﺎﻧﻰ ﻭ ﺻﺒﺮ‪ .‬ﺍﻣﺎ ﭘﺪﺭ ﻣﻘﺪﺱ ﺍﺯﻭﺍﻟﺪ ﺯﻣﺎﻧﻰ ﻳﻚ ﺳﺮﺑﺎﺯ ﺑﻮﺩ ﻭ ﺑﻌﺪ ﻫﻢ ﭘﺎﺩﺷﺎﻩ ﻭ ﺑﺎ‬ ‫ﺑﺎﻗﻰﺷﺎﻥ ﺧﻴﻠﻰ ﻣﺘﻔﺎﻭﺕ ﺑﻮﺩ‪.‬‬ ‫ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﻫﻢ ﺑﺮﺍﻳﺶ ﺗﻮﺿﻴﺢ ﺩﺍﺩ‪» :‬ﺍﻟﻤﻮﻧﺮ ﻓﺮﻧﺲ ﺍﺑﻰ ﮔﻔﺖ ﺗﻮ ﻛﻼﻏﺎ ﺭﻭ ﺩﻭﺳﺖ ﺩﺍﺭﻯ‪«.‬‬ ‫»"ﺩﻭﺳﺖ ﺩﺍﺷﺘﻦ" ﻳﻮﺧﺪﻩ ﺯﻳﺎﺩﻳﺸﻪ‪ .‬ﻳﻪ ﭘﺮﻧﺪﻩ ﺗﻮ ﻗﺮﻥ ﻫﻔﺘﻢ ﺑﻮﺩ ﻛﻪ ﻫﻰ ﺭﻭ ﺷﻮﻧﻪﻯ ﻣﻦ ﻣﻰﻧﺸﺴﺖ‪.‬‬ ‫ﻫﻰ ﮔﻮﺷﺎﻡ ﺭﻭ ﻧﻮﻙ ﻣﻰﺯﺩ ﻭ ﺧﻮﻥ ﻣﻴﻨﺪﺍﺧﺘﺸﻮﻥ‪«.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪14‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺑﺎﻳﺪ ﺑﻪ ﺁﻥﭼﻪ ﮔﺎﻭ ﮔﻔﺖ ﺧﻮﺏ ﺗﻮﺟﻪ ﻛﻨﺪ‪.‬‬ ‫ﺗﻤﺎﻡ ﺩﺭﺑﺎﺭ ﻭ ﺍﺻﻄﺒﻞﺩﺍﺭﺍﻥ ﺳﺎﻛﺖ ﺍﻳﺴﺘﺎﺩﻩ ﻭ ﻧﻈﺎﺭﻩﮔﺮ ﺍﻳﻦ ﺻﺤﻨﻪ ﺑﻮﺩﻧﺪ‪ .‬ﺗﺎ ﺑﻪ ﺣﺎﻻ ﭼﻴﺰﻯ ﺷﺒﻴﻪ ﺑﻪ‬ ‫ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﻧﻴﻔﺘﺎﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﻭﻳﻠﻴﺎﻡ ﻟﻨﻜﺴﺘﺮ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﺟﺎﺩﻭﺳﺖ‪ .‬ﺍﻣﺎ ﻛﻰ ﺟﺮﺃﺕ ﻣﻰﻛﻨﻪ ﺩﺭ ﺣﻀﻮﺭ ﺷﻤﺎ ﺟﺎﺩﻭ‪«...‬‬ ‫ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﺑﻪ ﺳﺮﻋﺖ ﮔﻔﺖ‪» :‬ﻛﺎﺭ ﺧﻮﺩﻡ ﺑﻮﺩ‪«.‬‬ ‫»ﺟﺪﺍً؟ ﭼﺮﺍ؟«‬ ‫ﺳﻜﻮﺗﻰ ﺑﺮﻗﺮﺍﺭ ﺷﺪ ﻭ ﺩﺭ ﺁﺧﺮ ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﮔﻔﺖ‪» :‬ﺗﺎ ﻛﻤﻜﻢ ﻛﻨﻪ ﺑﻠﻜﻪ ﮔﻨﺎﻫﺎﻥ ﻭ ﺭﺫﺍﻳﻠﻢ ﺭﻭ ﺑﺒﻴﻨﻢ‪.‬‬ ‫ﻛﺎﺭﻯ ﻛﻪ ﻫﺮ ﻣﺴﻴﺤﻰ ﺑﺎﻳﺪ ﻫﺮ ﺍﺯ ﮔﺎﻫﻰ ﺍﻧﺠﺎﻡ ﺑﺪﻩ‪«.‬‬ ‫»ﺍﻣﺎ ﺷﻤﺎ ﻛﻪ ﺩﺯﺩﻯ ﻧﻜﺮﺩﻳﺪ! ﭘﺲ ﭼﺮﺍ‪«...‬‬ ‫ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﺩﺭ ﺟﻮﺍﺏ ﺑﺎ ﻓﺮﻳﺎﺩ ﮔﻔﺖ‪» :‬ﺁﻩ ﺧﺪﺍﻳﺎ‪ ،‬ﻭﻳﻠﻴﺎﻡ ﺑﺲ ﻛﻦ! ﻣﺠﺒﻮﺭﻯ ﺍﻳﻦ ﻗﺪﺭ ﺳﻮﺍﻝ‬ ‫ﺑﭙﺮﺳﻰ؟ ﻣﻦ ﺍﻣﺮﻭﺯ ﻧﺒﺎﻳﺪ ﺑﺮﻡ ﺷﻜﺎﺭ‪ ،‬ﻫﻤﻴﻦ ﻭ ﺑﺲ!«‬ ‫ﻭ ﺑﻪ ﺳﺮﻋﺖ ﺑﻪ ﺑﺎﻍ ﺭﺯﻫﺎﻳﺶ ﺭﻓﺖ ﺗﺎ ﺍﺯ ﺩﺳﺖ ﺍﺳﺐ ﻭ ﮔﺎﻭ ﻓﺮﺍﺭ ﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺭﺯﻫﺎ ﻫﻢ ﺁﻥ ﺻﻮﺭﺕﻫﺎﻯ‬ ‫ﻗﺮﻣﺰ ﻭ ﺳﻔﻴﺪﺷﺎﻥ ﺭﺍ ﺑﻪ ﺍﻭ ﻛﺮﺩﻧﺪ ﻭ ﺧﻄﺎﺑﻪﺍﻯ ﻃﻮﻳﻞ ﺩﺭ ﻣﻮﺭﺩ ﻭﻇﻴﻔﻪﻯ ﻫﺮ ﺍﻧﺴﺎﻥ ﺩﺭ ﺑﺮﺍﺑﺮ ﻓﻘﺮﺍ ﻭ‬ ‫ﺑﻴﭽﺎﺭﮔﺎﻥ ﺧﻮﺍﻧﺪﻧﺪ‪ .‬ﻭ ﺣﺘﺎ ﭼﻨﺪ ﺗﺎ ﺍﺯ ﺑﺪﺳﺮﺷﺖﺗﺮﻫﺎﻳﺸﺎﻥ ﻫﻢ ﺑﺎ »ﺩﺯﺩ! ﺩﺯﺩ!« ﻛﺮﺩﻥ‪ ،‬ﻫﻮﻳﺶ ﻛﺮﺩﻧﺪ‪.‬‬ ‫ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ ﺑﺴﺖ ﻭ ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ ﻫﻢ ﺩﺭ ﮔﻮﺵﻫﺎﻳﺶ ﻛﺮﺩ‪ ،‬ﺍﻣﺎ ﺳﮓﻫﺎﻳﺶ ﺍﻭ ﺭﺍ ﭘﻴﺪﺍ ﻛﺮﺩﻧﺪ ﻭ‬ ‫ﭘﻮﺯﻩﺷﺎﻥ ﺭﺍ ﺑﻪ ﺻﻮﺭﺗﺶ ﺯﺩﻧﺪ ﻭ ﮔﻔﺘﻨﺪ ﺧﻴﻠﻰ ﺧﻴﻠﻰ ﺍﺯ ﺩﺳﺖ ﺍﻭ ﻧﺎﺭﺍﺣﺖ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺩﺭ ﻧﺘﻴﺠﻪ ﺟﺎﻥ‬ ‫ﺁﺳﻚﮔﻠﺲ ﺑﻪ ﺍﺗﺎﻕ ﺧﺎﻟﻰ ﺑﺎﻻﻯ ﺑﺮﺝ ﻗﺼﺮﺵ ﭘﻨﺎﻩ ﺑﺮﺩ‪ .‬ﺍﻣﺎ ﺣﺎﻻ ﻧﻮﺑﺖ ﺳﻨﮓﻫﺎ ﺑﻮﺩ ﻛﻪ ﺗﻤﺎﻡ ﻣﺪﺕ‬ ‫ﺭﻭﺯ‪ ،‬ﺑﻠﻨﺪ ﺑﻠﻨﺪ ﻗﻄﻌﺎﺗﻰ ﺍﺯ ﺍﻧﺠﻴﻞ ﺭﺍ ﺑﻪ ﻣﺒﺎﺣﺜﻪ ﺑﮕﺬﺍﺭﻧﺪ ﻛﻪ ﺩﺯﺩﻯ ﺭﺍ ﻧﻜﻮﻫﺶ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﻧﻴﺎﺯﻯ ﻧﺒﻮﺩ ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﺩﺭﺑﺎﺭﻩﻯ ﻣﺴﺒﺐ ﺗﻤﺎﻡ ﺍﻳﻦ ﺍﺗﻔﺎﻗﺎﺕ ﺗﺤﻘﻴﻖ ﻭ ﺗﻌﻤﻖ ﺧﺎﺻﻰ ﺑﻪ ﺧﺮﺝ‬ ‫ﺩﻫﺪ )ﺍﺳﺐ‪ ،‬ﮔﺎﻭ‪ ،‬ﺳﮓﻫﺎ‪ ،‬ﺳﻨﮓﻫﺎ ﻭ ﺭﺯﻫﺎ ﻫﻤﻪ ﺑﻪ ﻧﺤﻮﻯ ﺑﻪ ﻧﺎﻥ ﻭ ﭘﻨﻴﺮ ﺍﺷﺎﺭﻩ ﺩﺍﺷﺘﻨﺪ(؛ ﻭ ﻣﺼﺮ ﺑﻮﺩ‬ ‫ﺗﺮﻳﻦ ﻣﺨﻠﻮﻗﺎﺕ‪ ،‬ﻳﻌﻨﻰ‬ ‫ﺑﻔﻬﻤﺪ ﺍﻳﻦ ﺟﺎﺩﻭﮔﺮ ﻏﺮﻳﺒﻪ ﻛﻴﺴﺖ ﻭ ﭼﻪ ﻣﻰﺧﻮﺍﻫﺪ‪ .‬ﺗﺼﻤﻴﻢ ﮔﺮﻓﺖ ﺟﺎﺩﻭﻳﻰ ِ‬ ‫ﻛﻼﻏﺎﻥ ﺭﺍ ﺑﻪ ﻛﺎﺭ ﺑﮕﻴﺮﺩ‪ .‬ﺳﺎﻋﺘﻰ ﺑﻌﺪ ﺍﺯﺩﺣﺎﻡ ﻣﺘﺮﺍﻛﻤﻰ ﺍﺯ ﺣﺪﻭﺩ ﻫﺰﺍﺭ ﻛﻼﻍ ﺍﺯ ﺑﺮﺝ ﻗﺼﺮ ﮔﺴﻴﻞ‬ ‫ﺷﺪﻧﺪ‪ .‬ﺣﺮﻛﺘﺸﺎﻥ ﻣﺜﻞ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﻛﻮﻩ ﺳﻴﺎﻫﻰ ﺩﺭ ﺁﺳﻤﺎﻥ ﺗﺎﺑﺴﺘﺎﻧﻰ ﺑﻪ ﺣﺮﻛﺖ ﺩﺭﺁﻣﺪﻩ ﺑﺎﺷﺪ‪.‬‬ ‫ﻭﻗﺘﻰ ﺑﻪ ﺑﻴﺸﻪﻯ ﺯﻏﺎﻝﺳﻮﺯ ﺭﺳﻴﺪﻧﺪ‪ ،‬ﺑﺎ ﻗﺎﺭﻗﺎﺭ ﻛﺮﺩﻥﻫﺎ ﻭ ﺑﺎﻝﺑﺎﻝﺯﺩﻥﻫﺎﻳﺸﺎﻥ‪ ،‬ﺫﺭﻩ ﺫﺭﻩﻯ ﺑﻴﺸﻪ ﺭﺍ‬ ‫ﭘﺮ ﻛﺮﺩﻧﺪ‪ .‬ﺑﺮگ ﺩﺭﺧﺘﺎﻥ ﻣﻰﺭﻳﺨﺖ ﻭ ﻛﻼﻏﺎﻥ ﺑﻪ ﺳﺮ ﻭ ﺭﻭﻯ ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﻭ ﺑﻠﻴﻚﻣﻦ ﺭﻳﺨﺘﻨﺪ ﻭ ﺗﺎ‬ ‫ﻣﻰﺷﺪ ﻧﻮﻛﺸﺎﻥ ﺯﺩﻧﺪ‪ .‬ﻛﻼﻏﺎﻥ ﺧﺎﻃﺮﺍﺕ ﺯﻏﺎﻝﺳﻮﺯ ﺭﺍ ﮔﺸﺘﻨﺪ ﺗﺎ ﺑﻠﻜﻪ ﺍﺛﺮﻯ ﺍﺯ ﺟﺎﺩﻭ ﭘﻴﺪﺍ ﻛﻨﻨﺪ‪ .‬ﻣﺤﺾ‬ ‫ﺍﺣﺘﻴﺎﻁ ﻭ ﺍﻃﻤﻴﻨﺎﻥ‪ ،‬ﺧﺎﻃﺮﺍﺕ ﺑﻠﻴﻚﻣﻦ ﺭﺍ ﻫﻢ ﺟﺴﺘﺠﻮ ﻛﺮﺩﻧﺪ‪ .‬ﺍﺯ ﻃﺮﻓﻰ ﺗﻤﺎﻡ ﺍﻓﻜﺎﺭﺷﺎﻥ ﺭﺍ ﺗﺎ ﺯﻣﺎﻧﻰ‬ ‫ﻛﻪ ﺩﺭ ﺭﺣﻢ ﻣﺎﺩﺭﻫﺎﻳﺸﺎﻥ ﺑﻮﺩﻧﺪ‪ ،‬ﺧﻮﺍﻧﺪﻧﺪ ﻭ ﺍﺯ ﺁﻥ ﻃﺮﻑ ﻫﻢ ﺑﻪ ﺑﻌﺪ ﺍﺯ ﻣﺮﮔﺸﺎﻥ ﻧﮕﺎﻩ ﻛﺮﺩﻧﺪ ﺗﺎ ﺑﺒﻴﻨﻨﺪ‬

‫‪13‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﺷﺎﻳﺪ ﻫﻢ ﻛﻤﻰ ﻧﻮﻥ ﻛﻪ ﺑﺎﻫﺎﺵ ﺑﺨﻮﺭﻯ‪ .‬ﻣﻰﺧﻮﺍﻯ؟«‬ ‫»ﻛﺪﻭﻡ ﻗﺪﻳﺴﻪ ﻛﻪ ﺗﻮ ﻛﺎﺭ ﻣﺮﺍﻗﺒﺖ ﺍﺯ ﭘﻨﻴﺮﻫﺎﺳﺖ؟«‬ ‫ﺍﻟﻤﻮﻧﺮ ﻟﺤﻈﻪﺍﻯ ﻓﻜﺮ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﻣﺎﺩﺭ ﻣﻘﺪﺱ ﺑﺮﻳﺠﺖ ]‪«.[11‬‬ ‫ﻭ ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﻫﻢ ﺑﺎ ﺍﺷﺘﻴﺎﻕ ﭘﺮﺳﻴﺪ‪» :‬ﻭ ﻛﺠﺎ ﻣﻰﺗﻮﻧﻢ ﻋﻠﻴﺎﺣﻀﺮﺕ ﺭﻭ ﭘﻴﺪﺍ ﻛﻨﻢ؟«‬ ‫»ﻛﻠﻴﺴﺎﻳﻰ ﺗﻮ ﺑﻜﺮﻣﺖ ]‪ [12‬ﺩﺍﺭﻩ‪ «.‬ﻭ ﺟﺎﺩﻩﺍﻯ ﺭﺍ ﻧﺸﺎﻥ ﺩﺍﺩ ﻛﻪ ﺯﻏﺎﻝﺳﻮﺯ ﺑﺎﻳﺪ ﭘﻰ ﻣﻰﮔﺮﻓﺖ‪.‬‬ ‫ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﺑﻪ ﺑﻜﺮﻣﺖ ﺭﻓﺖ ﻭ ﻭﻗﺘﻰ ﺑﻪ ﺁﻥﺟﺎ ﺭﺳﻴﺪ‪ ،‬ﺁﻥ ﻗﺪﺭ ﻇﺮﻭﻑ ﭘﻨﺞﭘﺮ ﺭﺍ ﺑﻪ ﻫﻢ‬ ‫ﻛﻮﺑﻴﺪ ﻭ ﺳﺮ ﻭ ﺻﺪﺍ ﻛﺮﺩ ﺗﺎ ﻣﺎﺩﺭ ﻣﻘﺪﺱ ﺑﺮﻳﺠﺖ ﺑﺎ ﺍﺿﻄﺮﺍﺏ ﺍﺯ ﻋﺮﺵ ﺑﻪ ﭘﺎﻳﻴﻦ ﻧﮕﺮﻳﺴﺖ ﻭ ﭘﺮﺳﻴﺪ‬ ‫ﭼﻪ ﻛﺎﺭﻯ ﺍﺯ ﺩﺳﺘﺶ ﺑﺮ ﻣﻰﺁﻳﺪ‪.‬‬ ‫ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﻫﻢ ﺭﻭﺿﻪﺍﻯ ﺑﻠﻨﺪ ﺩﺭ ﻭﺻﻒ ﺟﺮﺍﺣﺎﺗﻰ ﻛﻪ ﺩﺷﻤﻦ ﺻﺎﻣﺘﺶ ﺑﺮ ﺍﻭ ﻭﺍﺭﺩ ﺁﻭﺭﺩﻩﺑﻮﺩ‪ ،‬ﺑﺮﺍﻯ‬ ‫ﻣﺎﺩﺭ ﻣﻘﺪﺱ ﺧﻮﺍﻧﺪ‪.‬‬ ‫ﻣﺎﺩﺭ ﻣﻘﺪﺱ ﺑﺮﻳﺠﺖ ﮔﻔﺖ ﺍﺯ ﺷﻨﻴﺪﻥ ﺍﻳﻦ ﻭﻗﺎﻳﻊ ﻣﺘﺄﺳﻒ ﺍﺳﺖ‪» :‬ﺍﻣﺎ ﺑﻪ ﻧﻈﺮﻡ‪ ،‬ﻣﻦ ﺁﺩﻡ ﻣﻨﺎﺳﺐ ﺑﺮﺍﻯ‬ ‫ﻛﻤﻚ ﻛﺮﺩﻥ ﺑﻪ ﺗﻮ ﻧﻴﺴﺘﻢ‪ .‬ﻣﻦ ﺗﻮ ﻛﺎﺭ ﺁﻣﺎﺭ ﺩﺧﺘﺮﺍﻥ ﺷﻴﺮﺩﻭﺵ ﻭ ﻣﺎﺳﺖﺑﻨﺪﻫﺎ ﻫﺴﺘﻢ‪ .‬ﻛﺮﻩ ﻭ ﭘﻨﻴﺮ ﺭﻭ‬ ‫ﺗﺸﻮﻳﻖ ﻣﻰﻛﻨﻢ ﺗﺎ ﻋﻤﻞ ﺑﻴﺎﻥ‪ .‬ﺑﺎ ﭘﻨﻴﺮﻯ ﻛﻪ ﺗﻮﺳﻂ ﺁﺩﻡ ﺍﺷﺘﺒﺎﻫﻰ ﺧﻮﺭﺩﻩ ﺷﺪﻩ ﺍﺭﺗﺒﺎﻃﻰ ﻧﺪﺍﺭﻡ‪ .‬ﭘﺪﺭ‬ ‫ﻣﻘﺪﺱ ﻧﻴﻜﻼﺱ ]‪ [13‬ﺑﻪ ﺩﺯﺩﻫﺎ ﻭ ﺍﺷﻴﺎء ﺩﺯﺩﻳﺪﻩ ﺷﺪﻩ ﺭﺳﻴﺪﮔﻰ ﻣﻰﻛﻨﻪ‪ .‬ﻳﺎ ﭘﺪﺭ ﻣﻘﺪﺱ ﺍﻟﻜﺴﺎﻧﺪﺭ‬ ‫ﻛﺎﻣﺎﻧﺎﻳﻰ ]‪ [14‬ﻫﻢ ﻫﺴﺖ ﻛﻪ ﻋﺎﺍﺍﺍﺷﻖ ﺯﻏﺎﻝﺳﻮﺯﻫﺎﺳﺖ‪ .‬ﻣﻰﺧﻮﺍﻯ ﺩﺭﺧﻮﺍﺳﺘﺘﻮ ﺑﺒﺮﻯ ﭘﻴﺶ ﺍﻭﻧﺎ؟«‬ ‫ﺯﻏﺎﻝﺳﻮﺯ ﺍﺯ ﺍﺑﺮﺍﺯ ﻋﻼﻗﻪ ﺑﻪ ﺍﻓﺮﺍﺩﻯ ﻛﻪ ﺍﻭ ﻧﺎﻣﺸﺎﻥ ﺭﺍ ﺑﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺧﻮﺩﺩﺍﺭﻯ ﻛﺮﺩ ﻭ ﺑﺎ ﺍﺻﺮﺍﺭ ﮔﻔﺖ‪:‬‬ ‫»ﺁﺩﻣﺎﻯ ﺑﻴﭽﺎﺭﻩﻯ ﺑﺪﺑﺨﺘﻰ ﻣﺜﻞ ﻣﻦ ﺗﺤﺖ ﺣﻤﺎﻳﺖ ﺧﺎﺹ ﺷﻤﺎﻥ! ﻳﻪ ﻣﻌﺠﺰﻩﺍﻯ ﭼﻴﺰﻯ ﺑﻜﻦ!«‬ ‫»ﺷﺎﻳﺪﻡ ﺍﻳﻦ ﺁﺩﻡ ﺑﺎ ﺳﻜﻮﺗﺶ ﻗﺼﺪ ﺍﻫﺎﻧﺖ ﺑﻪ ﺗﻮ ﺭﻭ ﻧﺪﺍﺷﺘﻪ ﻫﺎ‪ .‬ﺑﻪ ﺍﻳﻦ ﻓﻜﺮ ﻛﺮﺩﻯ ﻛﻪ ﺷﺎﻳﺪ ﻻﻝ‬ ‫ﺑﻮﺩﻩ ﺑﺎﺷﻪ؟«‬ ‫»ﻧﻪ ﺑﺎﺑﺎ! ﺧﻮﺩﻡ ﺩﻳﺪﻡ ﺑﺎ ﺳﮕﺎﺵ ﺣﺮﻑ ﺯﺩ‪ .‬ﺍﻭﻧﺎ ﻫﻢ ﺍﺯ ﺷﻨﻴﺪﻥ ﺻﺪﺍﺵ ﺑﺎ ﺧﻮﺷﺤﺎﻟﻰ ﺩﻣﺎﺷﻮﻥ ﺭﻭ ﺗﻜﻮﻥ‬ ‫ﻣﻰﺩﺍﺩﻥ‪ .‬ﻣﺎﺩﺭ ﻣﻘﺪﺱ‪ ،‬ﻭﻇﻴﻔﻪﺍﺕ ﺭﻭ ﺍﻧﺠﺎﻡ ﺑﺪﻩ! ﺑﻠﻨﻜﺜﺮﺍ ﺭﻭ ﺭﻭ ﺳﺮﺵ ﺧﺮﺍﺏ ﻛﻦ!«‬ ‫ﻣﺎﺩﺭ ﻣﻘﺪﺱ ﺑﺮﻳﺠﺖ ﻫﻢ ﺁﻫﻰ ﻛﺸﻴﺪ ﻭ ﮔﻔﺖ‪» :‬ﻧﻪ ﻧﻪ‪ ،‬ﻣﺎ ﻧﻤﻰﺗﻮﻧﻴﻢ ﭼﻨﻮﻥ ﻛﺎﺭﻯ ﺑﻜﻨﻴﻢ‪ .‬ﺍﻣﺎ ﻗﻄﻌﺎً‬ ‫ﺍﻭ ﻛﺎﺭ ﻏﻠﻄﻰ ﻛﺮﺩﻩ ﻛﻪ ﺷﺎﻡ ﺗﻮ ﺭﻭ ﺩﺯﺩﻳﺪﻩ‪ .‬ﺷﺎﻳﺪ ﺧﻮﺏ ﺑﺎﺷﻪ ﻳﻪ ﺩﺭﺳﻰ ﺑﻬﺶ ﺑﺪﻳﻢ‪ .‬ﻳﻪ ﺩﺭﺱ ﺧﻴﻠﻰ‬ ‫ﻛﻮﭼﻴﻚ‪«.‬‬ ‫ﺩﺭ ﻫﻤﻴﻦ ﻟﺤﻈﻪ ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﻭ ﺩﺭﺑﺎﺭﺵ ﺩﺭ ﺣﺎﻝ ﺁﻣﺎﺩﻩﺳﺎﺯﻯ ﺑﺮﺍﻯ ﺭﻓﺘﻦ ﺑﻪ ﺷﻜﺎﺭ ﺑﻮﺩﻧﺪ‪ .‬ﮔﺎﻭﻯ‬ ‫ﺳﺮﺵ ﺭﺍ ﭘﺎﻳﻴﻦ ﺍﻧﺪﺍﺧﺖ ﻭ ﺩﺍﺧﻞ ﺍﺻﻄﺒﻞ ﺭﻓﺖ‪ .‬ﺑﻪ ﺳﻤﺖ ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﺭﻓﺖ ﻛﻪ ﻛﻨﺎﺭ ﺍﺳﺒﺶ‬ ‫ﻏﺮﺍ ﺑﻪ ﺯﺑﺎﻥ ﻻﺗﻴﻦ ﺩﺭ ﻣﺬﻣﺖ ﺩﺯﺩﻯ‪ .‬ﺳﭙﺲ ﺍﺳﺐ‬ ‫ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﺑﻌﺪ ﺷﺮﻭﻉ ﻛﺮﺩ ﺑﻪ ﺍﻳﺮﺍﺩ ﺧﻄﺒﻪﺍﻯ ّ‬ ‫ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﻫﻢ ﺳﺮﺵ ﺭﺍ ﺑﺎﻻ ﺁﻭﺭﺩ ﻭ ﻣﻮﻗﺮﺍﻧﻪ ﮔﻔﺖ ﺑﺎ ﺣﺮﻑﻫﺎﻯ ﮔﺎﻭ ﻛﺎﻣ ً‬ ‫ﻼ ﻣﻮﺍﻓﻖ ﺍﺳﺖ ﻭ ﺍﻭ ﻫﻢ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪12‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻭﻳﻠﻴﺎﻡ ﻟﻨﻜﺴﺘﺮ ﺑﺴﻴﺎﺭ ﺣﻴﺮﺕ ﻛﺮﺩ‪» :‬ﻓﺮﺍﻧﺴﻪ؟! ﻭ ﺷﻤﺎ ﭘﺎﺩﺷﺎﻩ ﻓﺮﺍﻧﺴﻪ ﺭﻭ ﺩﻳﺪﻳﺪ؟ ﺧﺐ ﭼﻰ ﮔﻔﺖ؟ ﺁﻳﺎ‬ ‫ﺟﻨﮓﻫﺎﻯ ﺟﺪﻳﺪﻯ ﺩﺭ ﺳﺮ ﺩﺍﺭﻩ؟«‬ ‫ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﺟﻮﺍﺑﻰ ﻣﺒﻬﻢ ﻭ ﻣﺮﻣﻮﺯ ﺩﺍﺩ‪ .‬ﺍﺯ ﻫﻤﺎﻥﻫﺎﻳﻰ ﻛﻪ ﺟﺎﺩﻭﮔﺮﻫﺎ ﺩﻭﺳﺖ ﺩﺍﺭﻧﺪ‪ .‬ﺳﭙﺲ ﺑﻪ‬ ‫ﻃﺒﻘﻪﻯ ﺑﺎﻻ ﻭ ﺍﺗﺎﻗﺶ ﺭﻓﺖ ﻭ ﺟﻠﻮﻯ ﻇﺮﻑ ﻧﻘﺮﻩﺍﻯ ﭘﺮ ﺍﺯ ﺁﺑﺶ ﺭﻭﻯ ﺯﻣﻴﻦ ﻧﺸﺴﺖ‪ .‬ﺑﻌﺪ ﺍﻓﺮﺍﺩ ﺑﺴﻴﺎﺭ‬ ‫ﻣﻬﻤﻰ ﺭﺍ ﺻﺪﺍ ﺯﺩ )ﺍﺯ ﺟﻤﻠﻪ ﺑﺎﺩ ﻏﺮﺑﻰ ﻳﺎ ﺳﺘﺎﺭﮔﺎﻥ( ﻭ ﺍﺯ ﺁﻥﻫﺎ ﺧﻮﺍﺳﺖ ﻛﺴﻰ ﺭﺍ ﻛﻪ ﺑﺎﻋﺚ ﺷﺪ ﺩﺭ‬ ‫ﺷﻜﺎﻑ ﮔﻴﺮ ﺑﻴﻔﺘﺪ‪ ،‬ﻧﺸﺎﻧﺶ ﺩﻫﻨﺪ‪ .‬ﻭ ﺩﺭ ﻇﺮﻓﺶ ﺗﺼﻮﻳﺮﻯ ﺍﺯ ﺯﻏﺎﻝﺳﻮﺯ ﻇﺎﻫﺮ ﺷﺪ‪.‬‬ ‫ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﻓﺮﻣﺎﻥ ﺩﺍﺩ ﺍﺳﺐ ﻭ ﺳﮓﻫﺎﻳﺶ ﺭﺍ ﺑﻴﺎﻭﺭﻧﺪ ﻭ ﺑﻌﺪ ﺑﻪ ﺳﻤﺖ ﺑﻴﺸﻪﻯ ﺩﺭﻭﻥ ﺟﻨﮕﻞ‬ ‫ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ‪.‬‬ ‫ﺩﺭ ﻫﻤﻴﻦ ﺣﻴﻦ ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﻣﺸﻐﻮﻝ ﻧﺎﻥ ﻭ ﭘﻨﻴﺮ ﺧﻮﺭﺩﻥ ﺑﺎ ﻧﺎﻥ ﺗﺴﺖ ﻭ ﭘﻨﻴﺮﻯ ﺑﻮﺩ ﻛﻪ ﺍﻟﻤﻮﻧﺮ ﺑﻪ ﺍﻭ‬ ‫ﺩﺍﺩﻩ ﺑﻮﺩ‪ .‬ﺳﭙﺲ ﺩﻧﺒﺎﻝ ﺑﻠﻴﻚﻣﻦ ﺭﻓﺖ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻧﺎﻥ ﻭ ﭘﻨﻴﺮ ﺍﺯ ﻣﻌﺪﻭﺩ ﺧﻮﺭﺩﻧﻰﻫﺎﻳﻰ ﺑﻮﺩ ﻛﻪ ﺑﻠﻴﻚﻣﻦ‬ ‫ﺩﻭﺳﺖ ﻣﻰﺩﺍﺷﺖ‪.‬‬ ‫ﺩﺭ ﻣﺪﺗﻰ ﻛﻪ ﺍﻭ ﺩﺭ ﺑﻴﺸﻪ ﺩﻧﺒﺎﻝ ﺑﻠﻴﻚﻣﻦ ﻣﻰﮔﺸﺖ‪ ،‬ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﺑﺎ ﺳﮓﻫﺎﻳﺶ ﺍﺯ ﺭﺍﻩ ﺭﺳﻴﺪ‪.‬‬ ‫ﺩﻭﺭ ﻭ ﺍﻃﺮﺍﻑ ﺑﻴﺸﻪ ﺭﺍ ﮔﺸﺖ ﺑﻠﻜﻪ ﻣﺪﺭﻛﻰ ﺩﺭ ﻣﻮﺭﺩ ﺁﻥﭼﻪ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ ﺑﻴﺎﺑﺪ‪ .‬ﺩﺭ ﻋﺠﺐ ﺑﻮﺩ ﻛﻪ‬ ‫ﭼﺮﺍ ﻳﻚ ﺟﺎﺩﻭﮔﺮ ﻗﻮﻯ ﻭ ﺧﻄﺮﻧﺎﻙ ﺑﻴﺸﻪ ﺭﺍ ﺑﺮﺍﻯ ﺯﻧﺪﮔﻰ ﺍﻧﺘﺨﺎﺏ ﻣﻰﻛﻨﺪ ﻭ ﺍﺯ ﺭﺍﻩ ﺯﻏﺎﻝﺳﻮﺯﻯ ﺍﻣﺮﺍﺭ‬ ‫ﻣﻌﺎﺵ ﻣﻰﻛﻨﺪ‪ .‬ﭼﺸﻤﺶ ﺑﻪ ﻧﺎﻥ ﻭ ﭘﻨﻴﺮ ﺍﻓﺘﺎﺩ‪.‬‬ ‫ﻧﺎﻥ ﻭ ﭘﻨﻴﺮ ﻭﺳﻮﺳﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ﺁﺩﻡﻫﺎﻯ ﺍﻧﮕﺸﺖﺷﻤﺎﺭﻯ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺩﺭ ﺑﺮﺍﺑﺮ ﺁﻥ ﻣﻘﺎﻭﻣﺖ ﻛﻨﻨﺪ‪ ،‬ﭼﻪ‬ ‫ﺷﺎﻩ ﺑﺎﺷﻨﺪ ﻭ ﭼﻪ ﺯﻏﺎﻝﺳﻮﺯ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﺍﻳﻦﺟﻮﺭ ﺍﺳﺘﺪﻻﻝ ﻛﺮﺩ‪ :‬ﺗﻤﺎﻡ ﻛﺎﻣﺒﺮﻳﺎ ﻣﺘﻌﻠﻖ‬ ‫ﺑﻪ ﺍﻭ ﺍﺳﺖ‪ ،‬ﭘﺲ ﺍﻳﻦ ﺟﻨﮕﻞ ﻫﻢ ﻣﺘﻌﻠﻖ ﺑﻪ ﺍﻭ ﺍﺳﺖ‪ ،‬ﭘﺲ ﺍﻳﻦ ﻧﺎﻥ ﻭ ﭘﻨﻴﺮ ﻫﻢ ﺑﻪ ﺍﻭ ﺗﻌﻠﻖ ﺩﺍﺭﺩ‪ .‬ﺩﺭ‬ ‫ﻧﺘﻴﺠﻪ ﻧﺸﺴﺖ ﻭ ﻧﺎﻥ ﻭ ﭘﻨﻴﺮ ﺭﺍ ﺗﻤﺎﻡ ﻭ ﻛﻤﺎﻝ ﺧﻮﺭﺩ ﻭ ﺑﻌﺪ ﺍﺯ ﺁﻥ ﺍﻧﮕﺸﺖﻫﺎﻳﺶ ﺭﺍ ﺩﺍﺩ ﺗﺎ ﺳﮓﻫﺎﻳﺶ‬ ‫ﻟﻴﺲ ﺑﺰﻧﻨﺪ‪.‬‬ ‫ﺩﺭ ﻫﻤﻴﻦ ﻟﺤﻈﻪ ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﻫﻢ ﺍﺯ ﺭﺍﻩ ﺭﺳﻴﺪ‪ .‬ﺑﻪ ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﻭ ﺑﺮگﻫﺎﻯ ﺧﺎﻟﻰ ﻛﻪ ﻧﺎﻥ ﻭ‬ ‫ﭘﻨﻴﺮﺵ ﺭﺍ ﺭﻭﻯ ﺁﻥ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ ﺧﻴﺮﻩ ﺷﺪ‪» :‬ﺗﻮ! ﺑﺎﺯﻡ ﺗﻮ! ﺷﺎﻡ ﻣﻦ ﺭﻭ ﺧﻮﺭﺩﻯ!«‬ ‫ﻭ ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﺭﺍ ﮔﺮﻓﺖ ﺑﻪ ﺷﺪﺕ ﺗﻜﺎﻧﺪ‪» :‬ﭼﺮﺍ؟! ﺁﺧﻪ ﭼﺮﺍ ﺍﻳﻦ ﻛﺎﺭﺍ ﺭﻭ ﻣﻰﻛﻨﻰ؟!«‬ ‫ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﻫﻴﭻ ﻧﮕﻔﺖ )ﺣﺲ ﻛﺮﺩ ﺩﺭ ﻣﻮﺿﻊ ﺿﻌﻒ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪ (.‬ﺧﻮﺩ ﺭﺍ ﺍﺯ ﭼﻨﮕﺎﻝ ﺯﻏﺎﻝﺳﻮﺯ‬ ‫ﺭﻫﺎﻧﻴﺪ ﻭ ﺑﺮ ﺍﺳﺒﺶ ﻧﺸﺴﺖ ﻭ ﺍﺯ ﺑﻴﺸﻪ ﺧﺎﺭﺝ ﺷﺪ‪.‬‬ ‫ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﻫﻢ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﻓﺮﻧﺲ ﺍﺑﻰ ﺭﻓﺖ ﻭ ﺑﻪ ﺍﻟﻤﻮﻧﺮ ﮔﻔﺖ‪» :‬ﺍﻭﻥ ﻣﺮﺩ ﺑﺪﺟﻨﺲ ﺩﻭﺑﺎﺭﻩ ﺍﻭﻣﺪ ﻭ ﻧﻮﻥ‬ ‫ﻭ ﭘﻨﻴﺮ ﻣﻦ ﺭﻭ ﺧﻮﺭﺩ!«‬ ‫ﺍﻟﻤﻮﻧﺮ ﺑﺎ ﺍﻧﺪﻭﻩ ﻭ ﺍﺯ ﺭﻭﻯ ﺗﺄﺳﻒ ﺑﺮ ﭘﻠﻴﺪﻯ ﺩﻧﻴﺎ ﺳﺮﻯ ﺗﻜﺎﻥ ﺩﺍﺩ ﻭ ﮔﻔﺖ‪» :‬ﻳﻪ ﻛﻤﻰ ﺩﻳﮕﻪ ﭘﻨﻴﺮ ﺩﺍﺭﻡ‪.‬‬

‫‪11‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﺳﭙﺲ ﻗﺪﻳﺲ ﻛﻨﺘﻴﮕﺮﻥ ﺩﺳﺘﺶ ﺭﺍ ﺍﺯ ﻋﺮﺵ ﭘﺎﻳﻴﻦ ﺁﻭﺭﺩ ﻭ ﻛﺮﺩ ﺗﻮﻯ ﺣﻮﺽ ﻏﺴﻞ ﺗﻌﻤﻴﺪ ﻛﻠﻴﺴﺎ‬ ‫ﻭ ﻳﻚ ﻗﺰﻝﺁﻻ ﺑﻴﺮﻭﻥ ﺁﻭﺭﺩ‪ .‬ﻛﻤﻰ ﺁﻥ ﺭﺍ ﺗﻜﺎﻥ ﺩﺍﺩ ﻭ ﻟﺤﻈﻪﺍﻯ ﺑﻌﺪ‪ ،‬ﻗﺰﻝﺁﻻ ﺑﻪ ﺑﻠﻴﻚﻣﻦ ﺗﺒﺪﻳﻞ ﺷﺪ‪.‬‬ ‫ﺩﺭﺳﺖ ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﺜﻴﻒ ﻭ ﺷﻴﻄﺎﻥ ﻣﺜﻞ ﻫﻤﻴﺸﻪ‪.‬‬ ‫ﺯﻏﺎﻝﺳﻮﺯ ﺑﺎ ﺷﻮﻕ ﻓﺮﺍﻭﺍﻥ ﺧﻨﺪﻳﺪ ﻭ ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ ﺑﺮ ﻫﻢ ﺯﺩ‪ .‬ﺗﻼﺵ ﻛﺮﺩ ﺗﺎ ﺑﻠﻴﻚﻣﻦ ﺭﺍ ﺩﺭ ﺁﻏﻮﺵ‬ ‫ﺑﻜﺸﺪ‪ ،‬ﺍﻣﺎ ﺑﻠﻴﻚﻣﻦ ﺳﺮﻳﻊ ﺟﻴﻎﺟﻴﻎﻛﻨﺎﻥ ﺑﺎ ﻫﻤﺎﻥ ﺍﻧﺮژﻯ ﻫﻤﻴﺸﮕﻰﺍﺵ ﺩﺭ ﺭﻓﺖ‪.‬‬ ‫ﻗﺪﻳﺲ ﻛﻨﺘﻴﮕﺮﻥ ﻫﻢ ﺑﺎ ﺁﺳﻮﺩﮔﻰ ﻭ ﺧﺸﻨﻮﺩﻯ ﺍﺯ ﺩﻳﺪﻥ ﺍﻳﻦ ﺻﺤﻨﻪﻯ ﺧﻮﺷﺎﻳﻨﺪ ﮔﻔﺖ‪» :‬ﺑﻴﺎ‪ ،‬ﺍﻳﻦ ﻫﻢ‬ ‫ﺍﺯ ﺑﻠﻴﻚﻣﻦ‪ .‬ﺧﻴﻠﻰ ﺧﻮﺷﺤﺎﻟﻢ ﻛﻪ ﺗﻮﻧﺴﺘﻢ ﺩﺭﺧﻮﺍﺳﺖ ﺗﻮ ﺭﻭ ﻣﺴﺘﺠﺎﺏ ﻛﻨﻢ‪«.‬‬ ‫»ﺭﺍﺳﺘﻰ‪ ،‬ﺗﻮ ﻛﻪ ﺍﻳﻦ ﻛﺎﺭ ﺭﻭ ﻧﻜﺮﺩﻯ! ﺑﺎﻳﺪ ﺩﺷﻤﻦ ﺑﺪﺟﻨﺲ ﻣﻦ ﺭﻭ ﻫﻢ ﺗﻨﺒﻴﻪ ﻛﻨﻰ‪«.‬‬ ‫ﻗﺪﻳﺲ ﻛﻨﺘﻴﮕﺮﻥ ﻛﻤﻰ ﺍﺧﻢ ﻛﺮﺩ ﻭ ﺑﺮﺍﻯ ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﺗﻮﺿﻴﺢ ﺩﺍﺩ ﻛﻪ ﭼﮕﻮﻧﻪ ﻳﻚ ﻧﻔﺮ ﺑﺎﻳﺪ ﺩﺷﻤﻨﺎﻧﺶ‬ ‫ﺭﺍ ﺑﺒﺨﺸﺪ‪ .‬ﺍﻣﺎ ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﺗﺎ ﺑﻪ ﺁﻥ ﻣﻮﻗﻊ ﻫﻴﭻﻭﻗﺖ ﺑﺨﺸﻮﺩﻥ ﻣﺴﻴﺤﻰ ﺭﺍ ﺗﻤﺮﻳﻦ ﻧﻜﺮﺩﻩ ﺑﻮﺩ ﻭ ﺣﺎﻻ‬ ‫ﻫﻢ ﺣﺎﻝ ﻧﺪﺍﺷﺖ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺷﺮﻭﻉ ﻛﻨﺪ‪ .‬ﭘﺲ ﺑﺎ ﭼﺸﻤﺎﻧﻰ ﺷﻌﻠﻪﻛﺶ ﺍﺯ ﺧﺸﻢ ﻭ ﺍﻧﮕﺸﺘﻰ ﺩﺭ ﻫﻮﺍ‬ ‫ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﺑﻠﻨﻜﺜﺮﺍ ]‪ [9‬ﺭﻭ ﺭﻭ ﺳﺮﺵ ﺧﺮﺍﺏ ﻛﻦ!« )ﺑﻠﻨﻜﺎﺛﺮﺍ ﺗﭙﻪﻯ ﺑﻠﻨﺪﻯ ﭼﻨﺪ ﻣﺎﻳﻞ ﺁﻥ ﻃﺮﻑﺗﺮ ﺍﺯ‬ ‫ﮔﺮﻳﺰﺩﻳﻞ ﺍﺳﺖ(‬ ‫ﻗﺪﻳﺲ ﻛﻨﺘﻴﮕﺮﻥ ﻫﻢ ﺳﻴﺎﺳﺘﻤﺪﺍﺭﺍﻧﻪ ﮔﻔﺖ‪» :‬ﻧﻪ ﺩﻳﮕﻪ‪ .‬ﻣﻦ ﺟﺪﺍ ً ﻧﻤﻰﺗﻮﻧﻢ ﭼﻨﻴﻦ ﻛﺎﺭﻯ ﺑﻜﻨﻢ‪ .‬ﻭﻟﻰ‬ ‫ﻓﻜﺮ ﻛﻨﻢ ﮔﻔﺘﻰ ﻃﺮﻑ ﻳﻪ ﺷﻜﺎﺭﭼﻰ ﺑﻮﺩ‪ ،‬ﺩﺭﺳﺘﻪ؟ ﺷﺎﻳﺪ ﻳﻪ ﺭﻭﺯ ﺑﺪﻭﻥ ﻭﺭﺯﺵ ﺑﺮﺍﺵ ﺩﺭﺳﻰ ﺑﺎﺷﻪ ﺗﺎ ﺑﺎ‬ ‫ﻫﻤﺴﺎﻳﻪﻫﺎﺵ ﻣﺤﺘﺮﻣﺎﻧﻪﺗﺮ ﺭﻓﺘﺎﺭ ﻛﻨﻪ‪«.‬‬ ‫ﻟﺤﻈﻪﺍﻯ ﻛﻪ ﻗﺪﻳﺲ ﻛﻨﺘﻴﮕﺮﻥ ﺍﻳﻦ ﺣﺮﻑﻫﺎ ﺭﺍ ﺯﺩ‪ ،‬ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ )ﻛﻪ ﻫﻨﻮﺯ ﻣﺸﻐﻮﻝ ﺷﻜﺎﺭ ﺑﻮﺩ(‪،‬‬ ‫ﺍﺯ ﺭﻭﻯ ﺍﺳﺒﺶ ﭘﺎﻳﻴﻦ ﭘﺮﺕ ﺷﺪ ﻭ ﺩﺭ ﺷﻜﺎﻑ ﺑﻴﻦ ﭼﻨﺪ ﺻﺨﺮﻩ ﺍﻓﺘﺎﺩ‪ .‬ﺳﻌﻰ ﻛﺮﺩ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺁﻥﺟﺎ ﺩﺭ‬ ‫ﺁﻭﺭﺩ‪ ،‬ﺍﻣﺎ ﻣﺘﻮﺟﻪ ﺷﺪ ﺑﺎ ﻧﻴﺮﻭﻳﻰ ﻣﺮﻣﻮﺯ ﺁﻥﺟﺎ ﻧﮕﻪﺩﺍﺷﺘﻪ ﺷﺪﻩ‪ .‬ﺳﻌﻰ ﻛﺮﺩ ﺑﺎ ﭼﻨﺪ ﺟﺎﺩﻭ ﺑﺎ ﺁﻥ ﻣﻘﺎﺑﻠﻪ‬ ‫ﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﺟﺎﺩﻭﻳﺶ ﻛﺎﺭﺳﺎﺯ ﻧﺸﺪ‪ .‬ﺻﺨﺮﻩﻫﺎ ﻭ ﺯﻣﻴﻦ ﺍﻧﮕﻠﺴﺘﺎﻥ ﺧﻴﻠﻰ ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﺭﺍ ﺩﻭﺳﺖ‬ ‫ﺩﺍﺷﺘﻨﺪ‪ .‬ﺁﻥﻫﺎ ﻫﻤﻴﺸﻪ ﻭﻗﺘﻰ ﻣﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﺑﻪ ﺍﻭ ﻛﻤﻚ ﻣﻰﻛﺮﺩﻧﺪ؛ ﺍﻣﺎ ﺍﻳﻦ ﻧﻴﺮﻭﻯ ﻣﺮﻣﻮﺯ‪ ،‬ﻫﺮ ﭼﻪ‬ ‫ﺑﻮﺩ‪ ،‬ﺑﺮﺍﻳﺸﺎﻥ ﻣﺤﺘﺮﻡﺗﺮ ﺑﻮﺩ‪.‬‬ ‫ﺗﻤﺎﻡ ﻣﺪﺕ ﺭﻭﺯ ﻭ ﺷﺐ ﺭﺍ ﻫﻤﺎﻥﺟﺎ ﮔﻴﺮ ﻛﺮﺩ‪ .‬ﺳﺮﺩﺵ ﺷﺪ‪ .‬ﺧﻴﺲ ﻋﺮﻕ ﺷﺪ ﻭ ﺑﺪﺑﺨﺖ‪ .‬ﺩﺭ ﻫﻨﮕﺎﻡ‬ ‫ﺳﺤﺮ ﺁﻥ ﻧﻴﺮﻭﻯ ﻣﺮﻣﻮﺯ ﺭﻫﺎﻳﺶ ﻛﺮﺩ‪ .‬ﭼﺮﺍ؟ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺑﮕﻮﻳﺪ‪ .‬ﺧﻮﺩ ﺭﺍ ﺑﺎﻻ ﻛﺸﻴﺪ ﻭ ﺍﺳﺒﺶ ﺭﺍ ﭘﻴﺪﺍ‬ ‫ﻛﺮﺩ ﻭ ﺑﻪ ﺳﻮﻯ ﻗﺼﺮﺵ ﺩﺭ ﻛﺎﺭﻻﻳﻞ ﺗﺎﺧﺖ‪.‬‬ ‫ﻭﻳﻠﻴﺎﻡ ﻟﻨﻜﺴﺘﺮ ]‪ [10‬ﭘﺮﺳﻴﺪ‪»:‬ﺗﺎ ﺣﺎﻻ ﻛﺠﺎ ﺑﻮﺩﻳﺪ؟ ﻣﺎ ﺩﻳﺮﻭﺯ ﻣﻨﺘﻈﺮ ﺷﻤﺎ ﺑﻮﺩﻳﻢ‪«.‬‬ ‫ﻭ ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﻛﻪ ﻧﻤﻰﺧﻮﺍﺳﺖ ﻫﻴﭻﻛﺲ ﺑﺪﺍﻧﺪ ﻳﺤﺘﻤﻞ ﺟﺎﺩﻭﮔﺮ ﻗﻮﻯﺗﺮﻯ ﺍﺯ ﺍﻭ ﺩﺭ ﺍﻧﮕﻠﺴﺘﺎﻥ‬ ‫ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﻟﺤﻈﻪﺍﻯ ﻓﻜﺮ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﻓﺮﺍﻧﺴﻪ‪«.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪10‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻗﺼﺎﺑﻰ ﺷﺪﻩ ﻭ ﺩﺭ ﻫﻢ ﺷﻜﺴﺘﻪ‪ ،‬ﺩﻝ ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﺭﺍ ﺁﺯﺭﺩ‪.‬‬ ‫ﺍﻭ ﺑﻪ ﻓﺮﻧﺲ ﺍﺑﻰ ]‪ [5‬ﺭﻓﺖ ﺗﺎ ﺍﺯ ﺭﺍﻫﺒﻪﻫﺎ‪ ،‬ﺷﺎﻣﻰ ﻃﻠﺐ ﻛﻨﺪ‪ .‬ﭼﺮﺍ ﻛﻪ ﺷﺎﻡ ﺧﻮﺩﺵ ﮔﻞﻣﺎﻝ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﻭﻗﺘﻰ ﺑﻪ ﺻﻮﻣﻌﻪ ﺭﺳﻴﺪ‪ ،‬ﺳﺮﺍﻍ ﺍﻟﻤﻮﻧﺮ ]‪ [6‬ﺭﺍ ﮔﺮﻓﺖ ﻛﻪ ﻛﺎﺭﺵ ﻏﺬﺍ ﺩﺍﺩﻥ ﻭ ﻟﺒﺎﺱ ﭘﻮﺷﺎﻧﺪﻥ ﺑﻪ ﻓﻘﺮﺍ‬ ‫ﺑﻮﺩ‪ .‬ﺍﻟﻤﻮﻧﺮ ﺑﺎ ﻣﻬﺮﺑﺎﻧﻰ ﺑﻪ ﺍﻭ ﺧﻮﺵﺁﻣﺪ ﮔﻔﺖ ﻭ ﻳﻚ ﭘﻨﻴﺮ ﮔﺮﺩ ﺧﻮﺷﮕﻞ ﻭ ﭘﺘﻮﻳﻰ ﮔﺮﻡ ﺑﻪ ﺍﻭ ﺩﺍﺩ ﻭ ﺍﺯ‬ ‫ﺣﺎﺩﺛﻪﺍﻯ ﭘﺮﺳﻴﺪ ﻛﻪ ﺳﻴﻤﺎﻯ ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﺭﺍ ﺍﻳﻦﻗﺪﺭ ﻭﺍﺭﻓﺘﻪ ﻭ ﻣﻐﻤﻮﻡ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ِ‬ ‫ﺗﻌﺮﻳﻒ ﺑﺎ‬ ‫ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺯﻏﺎﻝﺳﻮﺯ ﻫﻢ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺑﺮﺍﻳﺶ ﺗﻌﺮﻳﻒ ﻛﺮﺩ‪ .‬ﻭﺍﻧﮕﻬﻰ ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﺩﺭ‬ ‫ﺟﺰﻳﻴﺎﺕ ﻛﺎﻣﻞ ﻭ ﺩﺍﺩﻥ ﺁﻣﺎﺭ ﺷﻔﺎﻑ ﺍﺯ ﺣﻮﺍﺩﺙ ﭘﻴﭽﻴﺪﻩﺍﻯ ﻛﻪ ﺑﺮ ﺍﻭ ﮔﺬﺷﺘﻪ ﺑﻮﺩ‪ ،‬ﻣﻬﺎﺭﺗﻰ ﻧﺪﺍﺷﺖ‪.‬‬ ‫ﻣﺜ ً‬ ‫ﻼ ﺍﻭ ﺩﺭ ﻣﻮﺭﺩ ﺁﻥ ﺷﻜﺎﺭﭼﻰ ﻛﻪ ﺗﻨﻬﺎ ﻣﺎﻧﺪ‪ ،‬ﻣﻔﺼﻞ ﺻﺤﺒﺖ ﻛﺮﺩ ﺍﻣﺎ ﺍﺯ ﻟﺒﺎﺱﻫﺎﻯ ﺷﻴﻚ ﻭ ﻣﺮﺗﺐ ﻳﺎ‬ ‫ﺟﻮﺍﻫﺮﺍﺕ ﺍﻧﮕﺸﺘﺮﻫﺎﻳﺶ ﺳﺨﻨﻰ ﺑﻪ ﻣﻴﺎﻥ ﻧﻴﺎﻭﺭﺩ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﺍﻟﻤﻮﻧﺮ ﻫﻢ ﺍﺻ ً‬ ‫ﻼ ﺑﻪ ﻓﻜﺮﺵ ﻧﺮﺳﻴﺪ ﻛﻪ‬ ‫ﺁﻥ ﺷﻜﺎﺭﭼﻰ ﻳﺤﺘﻤﻞ ﭘﺎﺩﺷﺎﻩ ﺑﻮﺩﻩ‪ .‬ﻓﻰﺍﻟﻮﺍﻗﻊ ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﺷﻜﺎﺭﭼﻰ ﺭﺍ ﺑﺎ ﻋﺒﺎﺭﺕ »ﻳﻪ ﻣﺮﺩ ﺳﻴﺎﻩ«‬ ‫ﻳﺎﺩ ﻣﻰﻛﺮﺩ ﻛﻪ ﺍﻟﻤﻮﻧﺮ ﻫﻢ ﻓﻜﺮ ﻛﺮﺩ ﻻﺑﺪ ﻣﻨﻈﻮﺭﺵ ﻣﺮﺩﻯ ﻛﺜﻴﻒ ﺍﺳﺖ‪ ،‬ﻳﻜﻰ ﺩﺭﺳﺖ ﻣﺜﻞ ﺧﻮﺩ‬ ‫ﺯﻏﺎﻝﺳﻮﺯ‪.‬‬ ‫ﺍﻟﻤﻮﻧﺮ ﺑﺎ ﻫﻤﺪﻟﻰ ﺗﻤﺎﻡ ﮔﻔﺖ‪» :‬ﻛﻪ ﺍﻳﻦ ﻃﻮﺭ‪ .‬ﭘﺲ ﺑﻠﻴﻚﻣﻦ ﺍﻻﻥ ﻳﻪ ﻗﺰﻝﺁﻻﺳﺖ؟ ﺍﮔﺮ ﻣﻦ ﺟﺎﻯ ﺗﻮ‬ ‫ﺑﻮﺩﻡ ﻣﻰﺭﻓﺘﻢ ﻭ ﺑﺎ ﭘﺪﺭ ﻣﻘﺪﺱ ﻛﻨﺘﻴﮕﺮﻥ ]‪ [7‬ﻳﻪ ﺻﺤﺒﺘﻰ ﻣﻰﻛﺮﺩﻡ‪ .‬ﻣﻄﻤﺌﻨﻢ ﻛﻪ ﻛﻤﻜﺖ ﻣﻰﻛﻨﻪ‪.‬‬ ‫ﺍﻭﻥ ﻫﻤﻪﭼﻴﺰﻭ ﺩﺭ ﻣﻮﺭﺩ ﻗﺰﻝﺁﻻﻫﺎ ﻣﻰﺩﻭﻧﻪ‪«.‬‬ ‫ﺯﻏﺎﻝﺳﻮﺯ ﻫﻢ ﺑﺎ ﺍﺷﺘﻴﺎﻕ ﭘﺮﺳﻴﺪ‪» :‬ﮔﻔﺘﻰ ﭘﺪﺭ ﻣﻘﺪﺱ ﻛﻨﺘﻴﮕﺮﻥ؟ ﺣﺎﻻ ﻣﻦ ﻛﺠﺎ ﻫﻤﭽﻴﻦ ﺁﺩﻡ ﺑﻪ ﺩﺭﺩ‬ ‫ﺑﺨﻮﺭﻯ ﺭﻭ ﭘﻴﺪﺍ ﻣﻰﻛﻨﻢ؟«‬ ‫»ﻳﻪ ﻛﻠﻴﺴﺎ ﺩﺭ ﮔﺮﻳﺰﺩﻳﻞ ]‪ [8‬ﺩﺍﺭﻩ‪ .‬ﺍﻳﻦ ﺭﺍﻫﻴﻪ ﻛﻪ ﻣﻰﺭﻩ ﺍﻭﻥﺟﺎ‪«.‬‬ ‫ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﺑﻪ ﮔﺮﻳﺰﺩﻳﻞ ﺭﻓﺖ ﻭ ﻭﻗﺘﻰ ﺑﻪ ﻛﻠﻴﺴﺎ ﺭﺳﻴﺪ‪ ،‬ﺩﺍﺧﻞ ﺷﺪ ﻭ ﺁﻥ ﻗﺪﺭ ﺑﻪ ﺩﺭﻫﺎ‬ ‫ﻛﻮﺑﻴﺪ ﻭ ﻧﺎﻡ ﻗﺪﻳﺲ ﻛﻨﺘﻴﮕﺮﻥ ﺭﺍ ﻓﺮﻳﺎﺩ ﻛﺮﺩ ﺗﺎ ﺑﺎﻻﺧﺮﻩ ﻗﺪﻳﺲ ﻛﻨﺘﻴﮕﺮﻥ ﺳﺮﺵ ﺭﺍ ﺍﺯ ﻋﺮﺵ ﺑﻴﺮﻭﻥ‬ ‫ﺁﻭﺭﺩ ﻭ ﺍﺯ ﻣﺸﻜﻞ ﺯﻏﺎﻝﺳﻮﺯ ﭘﺮﺳﻴﺪ‪.‬‬ ‫ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﻫﻢ ﺳﺮﻳﻊ ﺭﻭﺿﻪﺍﻯ ﺑﻠﻨﺪ ﻭ ﺳﻮﺯﻧﺎﻙ ﺁﻏﺎﺯ ﻛﺮﺩ ﻛﻪ ﭼﻪ ﻣﺼﻴﺒﺖﻫﺎ ﺑﺮ ﺍﻭ ﺭﻓﺘﻪ‪ .‬ﻣﺨﺼﻮﺻﺎً‬ ‫ﺁﻥ ﻗﺴﻤﺘﻰ ﺭﺍ ﻛﻪ ﺁﻥ ﻳﻚ ﺷﻜﺎﺭﭼﻰ ﺍﻳﻔﺎﻯ ﻧﻘﺶ ﻣﻰﻛﺮﺩ‪ ،‬ﻛﻠﻰ ﺁﺏ ﻭ ﺗﺎﺏ ﺩﺍﺩ‪.‬‬ ‫ﻗﺪﻳﺲ ﻛﻨﺘﻴﮕﺮﻥ ﺑﺎ ﺧﻮﺵﺭﻭﻳﻰ ﮔﻔﺖ‪» :‬ﻛﻪ ﺍﻳﻦ ﻃﻮﺭ‪ .‬ﺑﺬﺍﺭ ﺑﺒﻴﻨﻢ ﭼﻰ ﻛﺎﺭ ﻣﻰﺗﻮﻧﻢ ﺑﻜﻨﻢ‪ .‬ﻗﺪﻳﺲﻫﺎﻳﻰ‬ ‫ﻣﺜﻞ ﻣﻦ‪ ،‬ﺑﺎﻳﺪ ﻫﻤﻴﺸﻪ ﺑﺎ ﺩﻗﺖ ﺑﻪ ﻣﻨﺎﺟﺎﺕ ﺑﻴﻨﻮﺍﻫﺎﻯ ژﻭﻟﻴﺪﻩﻯ ژﻧﺪﻩﭘﻮﺷﻰ ﭼﻮﻥ ﺗﻮ ﮔﻮﺵ ﺑﺪﻥ‪ .‬ﺍﺻ ً‬ ‫ﻼ‬ ‫ﻫﻢ ﻣﻬﻢ ﻧﻴﺴﺖ ﺍﻳﻦ ﻧﺠﻮﺍﻫﺎ ﭼﻘﺪﺭ ﺑﺎ ﻟﺤﻦ ﻧﺎﺷﺎﻳﺴﺖ ﻭ ﺍﻫﺎﻧﺖﺁﻣﻴﺰﻯ ﺍﺩﺍ ﺑﺸﻦ‪ .‬ﺗﻮ ﺗﺤﺖ ﺣﻤﺎﻳﺖ‬ ‫ﺧﺎﺹ ﻣﺎﻳﻰ‪«.‬‬ ‫ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﻫﻢ ﻛﻪ ﺍﺯ ﺷﻨﻴﺪﻥ ﺍﻳﻦ ﺣﺮﻑ ﻛﻠﻰ ﺣﺎﻝ ﻛﺮﺩﻩ ﺑﻮﺩ ﮔﻔﺖ‪» :‬ﺭﺍﺱ ﻣﻰﮔﻰ؟«‬

‫‪9‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﺻﺒﺤﻰ ﺍﺯ ﺻﺒﺢﻫﺎﻯ ﺩﺭﺧﺸﺎﻥ ﺗﺎﺑﺴﺘﺎﻥ‪ ،‬ﮔﻮﺯﻧﻰ ﺩﻭﺍﻥ ﺩﻭﺍﻥ ﻭﺍﺭﺩ ﺑﻴﺸﻪ ﺷﺪ‪ .‬ﻭ ﺩﺭ ﭘِﻰﺍﺵ ﻫﻢ ﺩﺳﺘﻪﻯ‬ ‫ﺑﺰﺭﮔﻰ ﺍﺯ ﺳﮓﻫﺎﻯ ﺷﻜﺎﺭﻯ ﺁﻣﺪﻧﺪ ﻭ ﺑﻌﺪ ﺍﺯ ﺳﮓﻫﺎ ﻫﻢ ﺧﻴﻞ ﻋﻈﻴﻤﻰ ﺍﺯ ﺳﻮﺍﺭﺍﻧﻰ ﻧﻴﺰﻩ ﻭ ﻛﻤﺎﻥ‬ ‫ﺑﻪ ﺩﺳﺖ ﺍﺯ ﺭﺍﻩ ﺭﺳﻴﺪﻧﺪ‪ .‬ﺑﺮﺍﻯ ﭼﻨﺪ ﻟﺤﻈﻪ ﺗﻨﻬﺎ ﺗﺼﻮﻳﺮﻯ ﻛﻪ ﺗﻤﺎﻡ ﻓﻀﺎﻯ ﭼﺸﻤﺶ ﺭﺍ ﭘﺮ ﻣﻰﻛﺮﺩ‪،‬‬ ‫ﺻﺤﻨﻪﻯ ﮔﻴﺞﻛﻨﻨﺪﻩﺍﻯ ﺑﻮﺩ ﺍﺯ ﻣﺸﺘﻰ ﺳﮓ ﻛﻪ ﺯﻭﺯﻩ ﻣﻰﻛﺸﻴﺪﻧﺪ‪ ،‬ﺷﻴﭙﻮﺭﻫﺎﻳﻰ ﻛﻪ ﻣﻰﺩﻣﻴﺪﻧﺪ ﻭ‬ ‫ﺳﻢﻫﺎﻳﻰ ﻛﻪ ﺭﻋﺪﺁﺳﺎ ﺑﺮ ﺯﻣﻴﻦ ﻣﻰﻛﻮﻓﺘﻨﺪ‪ .‬ﻭ ﺑﻌﺪ ﺑﻪ ﻫﻤﺎﻥ ﺳﺮﻋﺘﻰ ﻛﻪ ﺁﻣﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻣﺮﺩﺍﻥ ﺷﻜﺎﺭﻯ‬ ‫ﺩﺭ ﻣﻴﺎﻥ ﺩﺭﺧﺘﺎﻥ ﺍﻧﺘﻬﺎﻳﻰ ﺑﻴﺸﻪ ﻧﺎﭘﺪﻳﺪ ﺷﺪﻧﺪ ﻭ ﻓﻘﻂ ﻳﻚ ﻣﺮﺩ ﺑﺎﻗﻰ ﻣﺎﻧﺪ‪.‬‬ ‫ﺯﻏﺎﻝﺳﻮﺯ ﻣﺎ ﺑﻪ ﺍﻃﺮﺍﻓﺶ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﭼﻤﻦﻫﺎﻳﺶ ﻟﻴﭻ ﮔﻞ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﺣﺘﺎ ﻳﻚ ﺗﺮﻛﻪ ﺍﺯ ﻛﻠﺒﻪﺍﺵ ﻫﻢ‬ ‫ﺳﺮ ﭘﺎ ﻧﻤﺎﻧﺪﻩ ﺑﻮﺩ ﻭ ﭘﺸﺘﻪﻫﺎﻯ ﺯﻏﺎﻝﺳﻨﮕﻰ ﻛﻪ ﺑﺎ ﺩﻗﺖ ﻭ ﻇﺮﺍﻓﺖ ﺭﻭﻯ ﻫﻢ ﺍﻧﺒﺎﺷﺘﻪ ﺑﻮﺩ‪ ،‬ﺗﻘﺮﻳﺒﺎً ﺍﺯ ﻫﻢ‬ ‫ﭘﺎﺷﻴﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﺁﺗﺶ ﺍﺯ ﺁﻥﻫﺎ ﺯﺑﺎﻧﻪ ﻣﻰﻛﺸﻴﺪ‪ .‬ﺧﺸﻤﺶ ﺷﻌﻠﻪﻭﺭ ﺷﺪ ﻭ ﺭﻭ ﺑﻪ ﺁﺧﺮﻳﻦ ﺷﻜﺎﺭﭼﻰ ﻛﺮﺩ‬ ‫ﻭ ﺑﺪﺗﺮﻳﻦ ﻓﺤﺶﻫﺎﻳﻰ ﺭﺍ ﻛﻪ ﺑﻠﺪ ﺑﻮﺩ ﭘﺸﺖ ﺳﺮ ﻫﻢ ﺭﺩﻳﻒ ﻭ ﻧﺜﺎﺭ ﻣﺮﺩ ﺷﻜﺎﺭﭼﻰ ﻛﺮﺩ‪.‬‬ ‫ﺍﻣﺎ ﺷﻜﺎﺭﭼﻰ ﻫﻢ ﻣﺸﻜﻼﺕ ﺧﻮﺩﺵ ﺭﺍ ﺩﺍﺷﺖ‪ .‬ﺩﻟﻴﻞ ﻧﺮﻓﺘﻨﺶ ﺑﺎ ﺑﻘﻴﻪ ﻫﻢ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺑﻠﻴﻚﻣﻦ ﺯﻳﺮ‬ ‫ﺳﻢﻫﺎﻯ ﺍﺳﺒﺶ ﻫﻰ ﺍﻳﻦ ﻭﺭ ﻭ ﺁﻥ ﻭﺭ ﻣﻰﺩﻭﻳﺪ ﻭ ﻣﺪﺍﻡ ﺟﻴﻎ ﻣﻰﻛﺸﻴﺪ‪ .‬ﺗﺎ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺗﻼﺵ ﻛﺮﺩ‪،‬‬ ‫ﺍﻣﺎ ﻧﺘﻮﺍﻧﺴﺖ ﺍﺯ ﺷﺮ ﺑﻠﻴﻚﻣﻦ ﺧﻼﺹ ﺷﻮﺩ‪ .‬ﻣﺮﺩ ﺷﻜﺎﺭﭼﻰ ﻟﺒﺎﺳﻰ ﺧﻴﻠﻰ ﺷﻴﻚ ﻭ ﻣﺮﺗﺐ ﺑﻪ ﺗﻦ ﻭ‬ ‫ﭼﻜﻤﻪﻫﺎﻳﻰ ﺍﺯ ﭼﺮﻡ ﻧﺮﻡ ﻭ ﺩﺭ ﻛﻨﺎﺭﻩﻫﺎ ﺯﻳﻮﺭﺩﻭﺯﻯ ﺷﺪﻩ ﺑﻪ ﭘﺎ ﺩﺍﺷﺖ ﻛﻪ ﻫﻤﻪ ﻳﻚ ﺩﺳﺖ ﺳﻴﺎﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﻓﻰﺍﻟﻮﺍﻗﻊ ﺍﻭ ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ]‪) [3‬ﻳﺎ ﻫﻤﺎﻥ ﺭﻳﻮﻥ ﻛﻴﻨﮓ ]‪ ،([4‬ﭘﺎﺩﺷﺎﻩ ﺷﻤﺎﻝ ﺍﻧﮕﻠﺴﺘﺎﻥ ﻭ ﺑﺨﺶﻫﺎﻳﻰ‬ ‫ﺍﺯ ﺳﺮﺯﻣﻴﻦ ﭘﺮﻳﺎﻥ ﻭ ﻫﻤﭽﻨﻴﻦ ﺑﺰﺭگﺗﺮﻳﻦ ﺟﺎﺩﻭﮔﺮ ﺗﺎﺭﻳﺦ ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﺯﻏﺎﻝﺳﻮﺯ )ﻛﻪ ﺍﻃﻼﻋﺎﺗﺶ ﺍﺯ ﺁﻥﭼﻪ‬ ‫ﺩﺭ ﺑﻴﺮﻭﻥ ﺍﺯ ﺑﻴﺸﻪﺍﺵ ﻣﻰﮔﺬﺷﺖ‪ ،‬ﺑﺴﻴﺎﺭ ﻧﺎﻗﺺ ﺑﻮﺩ( ﻫﻴﭻ ﻳﻚ ﺍﺯ ﺍﻳﻦ ﻣﻘﺎﻡﻫﺎ ﺭﺍ ﺗﺸﺨﻴﺺ ﻧﺪﺍﺩ‪ .‬ﺍﻭ‬ ‫ﻓﻘﻂ ﻫﻤﻴﻦ ﺭﺍ ﻣﻰﺩﺍﻧﺴﺖ ﻛﻪ ﺷﻜﺎﺭﭼﻰ ﺟﻮﺍﺑﺶ ﺭﺍ ﻧﻤﻰﺩﻫﺪ ﻭ ﻫﻤﻴﻦ ﺟﺮﻯﺗﺮﺵ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺯﻏﺎﻝﺳﻮﺯ ﻓﺮﻳﺎﺩ ﺯﺩ‪ِ » :‬ﺩ ﺁﺧﻪ ﻳﻪ ﭼﻴﺰﻯ ﺑﮕﻮ!«‬ ‫ﺟﺮﻳﺎﻧﻰ ﺍﺯ ﺁﺏ ﺑﻪ ﺑﻴﺸﻪ ﺳﺮﺍﺯﻳﺮ ﺷﺪ‪ .‬ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﺍﺯ ﮔﻮﺷﻪﻯ ﭼﺸﻢ ﺁﻥ ﺭﺍ ﺩﻳﺪ ﻭ ﺑﻌﺪ ﻧﮕﺎﻫﻰ ﺑﻪ‬ ‫ﺑﻠﻴﻚﻣﻦ ﺍﻧﺪﺍﺧﺖ ﻛﻪ ﺯﻳﺮ ﺳﻢ ﺍﺳﺒﺶ ﻫﻰ ﻭﻭﻝ ﻣﻰﺧﻮﺭﺩ‪ .‬ﺩﺳﺘﺶ ﺭﺍ ﺑﻪ ﺳﻮﻯ ﺑﻠﻴﻚﻣﻦ ﻧﺸﺎﻧﻪ ﮔﺮﻓﺖ‬ ‫ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﺑﻠﻴﻚﻣﻦ ﺑﻪ ﻳﻚ ﻗﺰﻝﺁﻻ ﺗﺒﺪﻳﻞ ﺷﺪ ﻭ ﺍﺯ ﻫﻮﺍ ﺑﻪ ﺩﺭﻭﻥ ﻧﻬﺮ ﺷﻴﺮﺟﻪ ﺭﻓﺖ ﻭ ﺷﻨﺎﻛﻨﺎﻥ ﺍﺯ‬ ‫ﺁﻥﺟﺎ ﺧﺎﺭﺝ ﺷﺪ‪ .‬ﻭ ﺑﻌﺪ ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﻫﻢ ﺍﺳﺒﺶ ﺭﺍ ﺑﻪ ﺧﺎﺭﺝ ﺍﺯ ﺑﻴﺸﻪ ﻫﺪﺍﻳﺖ ﻛﺮﺩ‪.‬‬ ‫ﺯﻏﺎﻝﺳﻮﺯ ﻫﻢ ﻛﻪ ﻫﻤﻴﻦ ﻃﻮﺭ ﺑﻪ ﺭﻓﺘﻦ ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ ﮔﻔﺖ‪» :‬ﺧﺐ ﭘﺲ ﺣﺎﻻ ﻣﻦ‬ ‫ﭼﻰ ﻛﺎﺭ ﻛﻨﻢ؟«‬ ‫ﺁﺗﺶﻫﺎﻯ ﮔﻮﺷﻪ ﻭ ﻛﻨﺎﺭ ﺑﻴﺸﻪ ﺭﺍ ﺧﺎﻣﻮﺵ ﻛﺮﺩ ﻭ ﭘﺸﺘﻪﻫﺎﻯ ﺯﻏﺎﻝﺳﻨﮕﺶ ﺭﺍ ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺴﺖ‬ ‫ﻣﺮ ّﻣﺖ ﻛﺮﺩ‪ .‬ﺍﻣﺎ ﺑﻪ ﻫﺮ ﺣﺎﻝ ﭘﺸﺘﻪﻯ ﺯﻏﺎﻝﺳﻨﮕﻰ ﻛﻪ ﺯﻳﺮ ﺩﺳﺖ ﻭ ﭘﺎ ﻭ ﺳﻢ ﺍﺳﺐﻫﺎ ﻭ ﺗﺎﺯﻯﻫﺎ ﻟﮕﺪﻛﻮﺏ‬ ‫ﺷﺪﻩ‪ ،‬ﻫﻴﭻﮔﺎﻩ ﻣﺜﻞ ﭘﺸﺘﻪﻫﺎﻳﻰ ﻛﻪ ﭼﻨﻴﻦ ﺟﺮﺍﺣﺎﺗﻰ ﺑﺮﻧﺪﺍﺷﺘﻪ ﻧﻤﻰﺷﻮﺩ ﻭ ﺩﻳﺪﻥ ﺍﻳﻦ ﺳﺎﺧﺘﻪﻯ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪8‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﻭ‬ ‫ﺯﻏﺎﻝﺳﻮﺯ ﻛﺎﻣﺒﺮﻳﺎﻳﻰ‬ ‫ﺳﻮﺯﺍﻧﺎ ﻛﻼﺭﻙ‬ ‫ﻣﺤﻤﺪ ﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‬

‫ﺳﺎﻝﻫﺎ ﭘﻴﺶ ﺩﺭ ﻳﻚ ﺑﻴﺸﻪﻯ ﺩﺭ ﺟﻨﮕﻠﻰ ﺩﺭ ﻛﺎﻣﺒﺮﻳﺎ ]‪ ،[1‬ﺯﻏﺎﻝﺳﻮﺯﻯ ﺯﻧﺪﮔﻰ ﻣﻰﻛﺮﺩ‪ .‬ﺍﻭ‬ ‫ﻣﺮﺩ ﺑﺴﻴﺎﺭ ﻓﻘﻴﺮﻯ ﺑﻮﺩ‪ .‬ﻟﺒﺎﺱﻫﺎﻳﺶ ﭘﺎﺭﻩ ﭘﺎﺭﻩ ﺑﻮﺩ ﻭ ﻛ ً‬ ‫ﻼ ﺁﺩﻡ ﺩﻭﺩﮔﺮﻓﺘﻪ ﻭ ﻛﺜﻴﻔﻰ ﺑﻮﺩ‪ .‬ﺯﻥ‬ ‫ﻭ ﺑﭽﻪﺍﻯ ﻧﺪﺍﺷﺖ ﻭ ﺗﻨﻬﺎ ﻫﻢﻧﺸﻴﻨﺶ ﺧﻮﻙ ﻛﻮﭼﻜﻰ ﺑﻪ ﻧﺎﻡ ﺑﻠﻴﻚﻣﻦ ]‪ [2‬ﺑﻮﺩ‪ .‬ﺍﻛﺜﺮ ﺍﻭﻗﺎﺕ‬ ‫ﺍﻭ ﺩﺭ ﻫﻤﺎﻥ ﺑﻴﺸﻪ ﻣﻰﻣﺎﻧﺪ ﻛﻪ ﻓﻘﻂ ﺩﻭ ﭼﻴﺰ ﺩﺍﺷﺖ‪ .‬ﻳﻜﻰ ﺯﻣﻴﻨﻰ ﭘﻮﺷﻴﺪﻩ ﺍﺯ ﭘﺸﺘﻪﻫﺎﻯ‬ ‫ﺯﻏﺎﻝﺳﻨﮕﻰ ﻛﻪ ﺩﻭﺩ ﻣﻰﻛﺮﺩﻧﺪ ﻭ ﺩﻳﮕﺮﻯ ﻛﻠﺒﻪﺍﻯ ﺳﺎﺧﺘﻪ ﺍﺯ ﺧﺸﺖ ﻭ ﺗﺮﻛﻪﻫﺎﻯ ﭼﻮﺏ‪ .‬ﺍﻣﺎ ﺑﺎ‬ ‫ﺗﻤﺎﻡ ﺍﻳﻦﻫﺎ ﺍﻭ ﺍﻧﺴﺎﻥ ﺧﻮﺵﻣﺸﺮﺑﻰ ﺑﻮﺩ‪ ،‬ﺍﻟﺒﺘﻪ ﺍﮔﺮ ﻛﺴﻰ ﺳﺮ ﺑﻪ ﺳﺮﺵ ﻧﻤﻰﮔﺬﺍﺷﺖ‪.‬‬

‫ﺩﺍﺳﺘﺎﻧﻰ ﺑﻨﻮﻳﺴﻴﺪ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ‪:‬‬ ‫»ﺳﻔﻴﻨﻪﺍﻯ ﻏﻮﻝﺁﺳﺎ ﻭ ﮔﻢﺷﺪﻩ ﺑﻪ ﻧﺎﻡ "ﺷﮕﻔﺖ" ﺩﺭ ﻓﻀﺎ ﺑﻪ ﺳﻮﻯ ﻫﺪﻓﻰ ﻧﺎﺷﻨﺎﺧﺘﻪ ﭘﻴﺶ‬ ‫ﻣﻰﺭﻭﺩ‪ .‬ﺳﻔﻴﻨﻪ ﺍﺯ ﻃﺒﻘﺎﺕ ﻭ ﻻﻳﻪﻫﺎﻯ ﺑﻰﺷﻤﺎﺭﻯ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺍﺳﺖ ﻭ ﺗﻘﺮﻳﺒﺎً ﻫﻴﭻ ﻛﺪﺍﻡ ﺍﺯ‬ ‫ﺳﺮﻧﺸﻴﻨﺎﻥ ﺍﻳﻦ ﺳﻔﻴﻨﻪ ﺍﺯ ﺗﻤﺎﻣﻰ ﺯﻳﺮ ﻭ ﺑﻢﻫﺎﻯ ﺁﻥ ﺧﺒﺮ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺷﻤﺎ ﻫﻢ ﺳﻮﺍﺭ ﺑﺮ ﺍﻳﻦ‬ ‫ﺳﻔﻴﻨﻪ ﻫﺴﺘﻴﺪ ﻭ ﺑﻪ ﺩﻟﻴﻠﻰ‪ ،‬ﻭﺍﺭﺩ ﻳﻜﻰ ﺍﺯ ﺑﺨﺶﻫﺎﻯ ﻧﺎﺷﻨﺎﺧﺘﻪﻯ ﺁﻥ ﻣﻰﺷﻮﻳﺪ‪ .‬ﺍﻳﻦ ﺑﺨﺶ‪،‬‬ ‫ﺷﮕﻔﺘﻰﻫﺎﻯ ﺁﻥ ﻭ ﺗﺠﺮﺑﻴﺎﺕ ﺧﻮﺩ ﺩﺭ ﺍﻳﻦﺟﺎ ﺭﺍ ﺗﻮﺻﻴﻒ ﻛﻨﻴﺪ‪ .‬ﺁﻥﺟﺎ ﭼﻪ ﻣﻰﺑﻴﻨﻴﺪ؟ ﺑﺎ ﭼﻪ‬ ‫ﻛﺴﻰ ﺭﻭﺑﻪﺭﻭ ﻣﻰﺷﻮﻳﺪ؟ ﺁﻳﺎ ﺍﻓﺮﺍﺩ ﺣﺎﺿﺮ ﺩﺭ ﺁﻥ ﺑﺨﺶ ﺑﺮﺍﻳﺘﺎﻥ ﺁﺷﻨﺎ ﻫﺴﺘﻨﺪ؟ ﭼﻄﻮﺭ؟!«‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎ ﺑﻬﺘﺮ ﺍﺳﺖ ﻛﻮﺗﺎ ِﻩ ﻛﻮﺗﺎﻩ ﺑﺎﺷﻨﺪ ﺗﺎ ﺑﺘﻮﺍﻥ ﺍﺯ ﻫﺮ ﭼﻪ ﺑﻴﺸﺘ ِﺮ ﺁﻥﻫﺎ ﺩﺭ ﺷﮕﻔﺖﺯﺍﺭ‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩ؛ ﻓﻀﺎ ﻣﺤﺪﻭﺩ ﺍﺳﺖ ﻭ ﻋﻼﻗﻪ ﺑﻪ ﻧﻤﺎﻳﺶ ﺗﻮﺍﻧﻤﻨﺪﻯ ﻫﻤﻪ‪ ،‬ﺯﻳﺎﺩ‪ .‬ﺗﺎ ﺑﻴﺴﺘﻢ ﺧﺮﺩﺍﺩ‬ ‫ﻓﺮﺻﺖ ﺩﺍﺭﻳﺪ ﺩﺭ ﺍﻳﻦ ﻭﺍﻗﻌﻪﻯ ﻫﻴﺠﺎﻥﺍﻧﮕﻴﺰ ﻭ ﺑﻪ ﻳﺎﺩ ﻣﺎﻧﺪﻧﻰ ﺷﺮﻛﺖ ﻛﻨﻴﺪ ﻭ ﻧﺎﻡ ﺧﻮﺩ ﺭﺍ ﺩﺭ‬ ‫ﻓﺴﺘﻴﻮﺍﻝ ﺗﺎﺑﺴﺘﺎﻧﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ ﺟﺎﻭﺩﺍﻧﻪ ﺳﺎﺯﻳﺪ‪.‬‬ ‫ﻣﻨﺘﻈﺮ ﺩﺭﻳﺎﻓﺖ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺧﺎﺭﻕﺍﻟﻌﺎﺩﻩﻯ ﺷﻤﺎ ﺩﺭ ﻣﻮﺭﺩ ﺍﻳﻦ ﺳﻔﻴﻨﻪﻯ ﺍﺳﺮﺍﺭﺁﻣﻴﺰ ﻫﺴﺘﻴﻢ‪.‬‬ ‫ﺑﺎ ﺗﺸﻜﺮ ﻓﺮﺍﻭﺍﻥ‬ ‫ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

‫‪5‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﺳﺨﻦ ﻣﺎﻩ‬ ‫ﻧﻤﺎﻳﺸﮕﺎﻩ ﻛﺘﺎﺏ ﻣﺜﻞ ﻳﻚ ﺳﻨﮓﺑﻨﺎ ﺩﺭ ﺗﻘﻮﻳﻢ ﺳﺎﻟﻴﺎﻧﻪﻯ ﺻﻨﻌﺖ ﭼﺎپ ﻭ ﺍﻧﺘﺸﺎﺭ ﻣﻰﻣﺎﻧﺪ‪.‬‬ ‫ﺍﺗﻔﺎﻗﺎﺕ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺩﻭ ﺩﺳﺘﻪﻯ ﭘﻴﺶ ﺍﺯ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻭ ﭘﺲ ﺍﺯ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺗﻘﺴﻴﻢ ﻛﺮﺩ‪ .‬ﺣﻮﻝ‬ ‫ﻭ ﺣﻮﺵ ﺑﺮﮔﺰﺍﺭﻯ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻫﻢ ﺍﻧﮕﺎﺭ ﻫﻤﻪ ﭼﻴﺰ ﻣﺘﻮﻗﻒ ﺷﺪﻩ ﻭ ﺭﻭﻧﺪ ﺯﻣﺎﻥ ﻛﻨﺪ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺷﺎﻳﺪ ﻣﺜﺎﻝ ﺧﻮﺑﻰ ﺑﺎﺷﺪ ﺑﺮﺍﻯ ﺗﺎﺑﺴﺘﺎﻥ ﺩﺭ ﺗﻘﻮﻳﻢ ﺳﺎﻟﻴﺎﻧﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ‪.‬‬ ‫ﺷﮕﻔﺖﺯﺍﺭ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺑﻪ ﺻﻮﺭﺕ ﺁﺯﻣﺎﻳﺸﻰ ﺩﺭ ﻳﻚ ﺗﺎﺑﺴﺘﺎﻥ ﮔﺮﻡ ﻭ ﺩﺍﻍ ﺍﺟﺮﺍﻳﻰ ﺷﺪ ﻭ ﺧﻮﺩﺵ‬ ‫ﺩﺍﻍ ﺩﺍﻍ ﺑﻮﺩ‪ .‬ﺷﺮﻭﻉ ﺭﺳﻤﻰﺍﺵ ﺭﺍ ﺑﻪ ﭘﺎﻳﻴﺰ ﻭ ﻓﺼﻞ ﺑﺮﮔﺮﻳﺰﺍﻥ ﻧﺴﺒﺖ ﻣﻰﺩﻫﻨﺪ‪ ،‬ﺍﻣﺎ ﺑﺎﻳﺪ ﺷﺮﻭﻉ‬ ‫ﺟﻤﻊ ﺟﻤﻊ ﻭ ﺍﺷﺘﻴﺎﻕﻫﺎ ﺁﺗﺸﻴﻦﺗﺮ‬ ‫ﻏﻴﺮﺭﺳﻤﻰﺍﺵ ﺭﺍ ﺭﺳﻤﻰﺗﺮ ﺩﺍﻧﺴﺖ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻫﻤﺖﻫﺎ‬ ‫ِ‬ ‫ﺑﻮﺩﻧﺪ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﻣﻨﺎﺳﺒﺖ‪ ،‬ﺗﺎﺑﺴﺘﺎﻥﻫﺎﻯ ﺷﮕﻔﺖﺯﺍﺭﻯ ﺍﺯ ﺣﺲ ﻭ ﺣﺎﻝ ﻣﺘﻔﺎﻭﺗﻰ ﺑﺮﺧﻮﺭﺩﺍﺭ‬ ‫ﻫﺴﺘﻨﺪ ﻭ ﺍﺻﻮﻻً ﺗﻼﺵ ﻣﻰﺷﻮﺩ ﻛﻪ ﺣﺲ ﻭ ﺣﺎﻝ ﻣﺘﻔﺎﻭﺗﺸﺎﻥ ﭼﻨﺪ ﺑﺮﺍﺑﺮ ﻭ ﺳﻨﮕﻴﻦﺗﺮ ﻫﻢ‬ ‫ﺑﺸﻮﺩ‪.‬‬ ‫ﺍﻣﺴﺎﻝ ﺗﻼﺵ ﺑﺮ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﺍﺷﺘﺮﺍﻛﻰ ﺑﻪ ﻗﻠﻢ ﺩﺳﺖﺍﻧﺪﺭﻛﺎﺭﺍﻥ ﺷﮕﻔﺖﺯﺍﺭ‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﺷﻮﺩ؛ ﻭ ﺷﻤﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﺧﻮﺍﻧﻨﺪﻩ ﻳﺎ ﺍﺭﺳﺎﻝ ﻛﻨﻨﺪﻩﻯ ﻣﻄﻠﺐ ﺑﻪ ﺍﻳﻦ ﻣﺠﻠﻪﻯ ﺑﺮﺧﻂ‪،‬‬ ‫ﺟﺰء ﺑﻼﻓﺼﻞ ﺩﺳﺖﺍﻧﺪﺭﻛﺎﺭﺍﻥ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﻳﺪ‪ .‬ﭘﺲ ﺳﺨﻦ ﻣﺎﻩ ﺍﻳﻦ ﺷﻤﺎﺭﻩ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺑﻪ‬ ‫ﻋﻨﻮﺍﻥ ﺩﻋﻮﺗﻰ ﺑﺮﺍﻯ ﺷﺮﻛﺖ ﺩﺭ ﺍﻳﻦ ﻣﻬﻢ ﺗﻠﻘﻰ ﻛﺮﺩ‪ .‬ﺷﻤﺎ ﺩﻋﻮﺗﻴﺪ ﺗﺎ ﺩﺭ ﻓﻌﺎﻟﻴﺖ ﻫﻴﺠﺎﻥﺍﻧﮕﻴﺰ‬ ‫ﺍﻣﺴﺎﻝ ﺑﻪ ﻣﻨﺎﺳﺒﺖ ﺷﺮﻭﻉ ﻏﻴﺮﺭﺳﻤﻰ ﺷﮕﻔﺖﺯﺍﺭ ﺷﺮﻛﺖ ﻛﻨﻴﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫‪4‬‬

‫ﻓﻬﺮﺳﺖ‬ ‫ﺳﺨﻦ ﻣﺎﻩ‬

‫‪4‬‬

‫ﺑﺨﺶ ﺍﻭﻝ‪ :‬ﺩﺍﺳﺘﺎﻥ‬ ‫ﻓﺎﻧﺘﺰﻯ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﺟﺎﻥ ﺁﺳﻚﮔﻠﺲ ﻭ ﺯﻏﺎﻝﺳﻮﺯ ﻛﺎﻣﺒﺮﻳﺎﻳﻰ‬

‫‪6‬‬

‫ﺳﻮﺯﺍﻧﺎ ﻛﻼﺭﻙ ‪ /‬ﻣﺤﻤﺪﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﻋﻼﺝ ﺣﺎﺩﺛﻪ ﭘﻴﺶ ﺍﺯ‪...‬‬

‫‪18‬‬

‫ﺍﻭﺭﺳﻮﻥ ﺍﺳﻜﺎﺕ ﻛﺎﺭﺩ ‪ /‬ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﻧﮕﺎﺭﺵ‪ :‬ﻣﻮﻧﺎ )‪(2‬‬

‫‪34‬‬

‫ﺁﺭﻣﺎﻥ ﺳﻼﺡ ﻭﺭﺯﻯ‬

‫ﺑﺨﺶ ﺩﻭﻡ‪ :‬ﭘﺮﻭﻧﺪﻩ‬ ‫ﺳﻴﻨﻤﺎ‪ :‬ﺳﻮﭘﺮ ‪8‬‬

‫‪50‬‬

‫ﭘﻮﺭﻳﺎ ﻧﺎﻇﻤﻰ‬

‫ﺗﻠﻮﻳﺰﻳﻮﻥ‪ :‬ﻓﻴﺮﻯ ﺗﻴﻞ‬

‫‪56‬‬

‫ﻋﻠﻰ ﻛﻤﺎﻟﻰ‬

‫ﻛﺘﺎﺏ‪ :‬ﺩﻧﻴﺎﻯ ﺑﻠﻮﺭ‬

‫‪64‬‬

‫ﺳﻴﻨﺎ ﻓﺮﺧﻰ‬

‫ﻛﺘﺎﺏ‪ :‬ﺗﻬﺮﺍﻥ‪ ،‬ﻛﻮﭼﻪﻯ ﺍﺷﺒﺎﺡ‬

‫‪70‬‬

‫ﻣﺤﻤﺪﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‬

‫ﻛﺘﺎﺏ‪ :‬ﭘﺘﻚ ﺁﺳﻤﺎﻥ‬

‫‪78‬‬

‫ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬

‫ﺑﺨﺶ ﺳﻮﻡ‪ :‬ﭘﺎﻭﺭﻗﻰ‬ ‫ﺩﺳﺘﻪ ﮔﻠﻰ ﺑﺮﺍﻯ ﻛﺸﻴﺶ )ﺑﺨﺶ ﺍﻭﻝ(‬ ‫ﺭﺍﺟﺮ ﺯﻻﺯﻧﻰ ‪ /‬ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬

‫‪86‬‬

‫ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬ ‫ﺳﺎﻝ ﺩﻭﻡ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ، 18‬ﺧﺮﺩﺍﺩ ‪1391‬‬

‫ﮔﺮﻭﻩ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬

‫ﺩﺑﻴﺮ ﺷﻮﺭﺍﻯ ﺳﻴﺎﺳﺖﮔﺬﺍﺭﻯ‪ :‬ﻣﻬﺪﻯ ﺑﻨﻮﺍﺭﻯ‬ ‫ﺳﺮﺩﺑﻴـــــﺮ ﻣﺠﻠـــــﻪ‪ :‬ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬ ‫ﻫﻴــــﺄﺕ ﺗﺤﺮﻳﺮﻳـــــﻪ‪ :‬ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‪ ،‬ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‪ ،‬ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬ ‫ﻫﻤﻜــﺎﺭﺍﻥ ﺍﻳـﻦ ﺷــﻤﺎﺭﻩ‪ :‬ﺁﺭﻣﺎﻥ ﺳﻼﺡ ﻭﺭﺯﻯ‪ ،‬ﻣﺤﻤﺪﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‪ ،‬ﺳﻴﻨﺎ ﻓﺮﺧﻰ‪،‬‬ ‫ﻋﻠﻰ ﻛﻤﺎﻟﻰ‪ ،‬ﭘﻮﺭﻳﺎ ﻧﺎﻇﻤﻰ‬ ‫ﺻﻔﺤــــــﻪ ﺁ ﺭ ﺍ ﻳـــــﻰ ‪ :‬ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‬ ‫ﻧﺸـــــــﺎﻧﻰ ﻭﺑــــﮕﺎﻩ‪:‬‬

‫‪www.fantasy.ir‬‬

‫ﭘـــﺴﺖ ﺍﻟﻜﺘﺮﻭﻧﻴــــﻚ‪:‬‬

‫‪mag@fantasy.ir‬‬

‫ﻃــــــﺮﺡ‬

‫ﺟﻠــــــﺪ‪:‬‬

‫ﺍﺳﺘﻔﺎﻧﻮ ﺍﻳﻮﺍﻧﻠﻰ )‪ ،(Stefano Iovannelli‬ﻛﺘﺎﺏ ﻳﻚ ﺟﺎﺩﻭﮔﺮ‬

‫»ﻋﻼﺝ ﺣﺎﺩﺛﻪ ﭘﻴﺶ ﺍﺯ‪«...‬‬

‫ﺗﻜﺬﻳﺐﻧﺎﻣﻪ‪ :‬ﻛﻠﻴﻪﻯ ﻣﻄﺎﻟﺐ ﻣﺠﻠﻪ ﺩﺭ ﻗﺎﻟﺐ ﺗﺤﻘﻴﻘﺎﺗﻰ ﻭ ﺑﺮﺍﻯ ﺁﺷﻨﺎﻳﻰ ﻣﺨﺎﻃﺐ ﻋﻼﻗﻤﻨﺪ ﺑﺎ ﻣﺒﺎﺣﺚ‬ ‫ﻣﻮﺟﻮﺩ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﻭ ﺁﺛﺎﺭ ﺷﺎﺧﺺ ﺍﻳﻦ ژﺍﻧﺮ ﻣﻨﺘﺸﺮ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻭﻳﮋﮔﻰﻫﺎﻯ ژﺍﻧﺮ‪،‬‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﻫﻤﮕﻰ ﺧﻴﺎﻝﭘﺮﺩﺍﺯﺍﻧﻪ ﺑﻮﺩﻩ ﻭ ﻣﺒﻠﻎ ﺍﻋﺘﻘﺎﺩ ﺧﺎﺻﻰ ﻧﻴﺴﺘﻨﺪ‪.‬‬ ‫ﺣﻖ ﻧﺸﺮ‪ :‬ﻛﻠﻴﻪﻯ ﺣﻘﻮﻕ ﻧﺸﺮ ﻣﻄﺎﻟﺐ ﻣﺠﻠﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ ﻣﺤﻔﻮﻅ ﺑﻮﺩﻩ ﻭ ﻧﺸﺮ ﻣﺠﺪﺩ ﻣﺤﺘﻮﺍﻯ ﻧﮕﺎﺭﺵ‬ ‫ﻭ ﺑﺮﮔﺮﺩﺍﻥ‪ ،‬ﺗﻨﻬﺎ ﺑﺎ ﺍﺟﺎﺯﻩﻯ ﻛﺘﺒﻰ ﻭ ﻳﺎ ﺑﺮ ﺍﺳﺎﺱ ﺍﺟﺎﺯﻩﻧﺎﻣﻪﻫﺎ ﻭ ﻣﺠﻮﺯﻫﺎﻯ ﻣﺬﻛﻮﺭ ﺩﺭ ﻭﺏﮔﺎﻩ ﺁﻛﺎﺩﻣﻰ‬ ‫ﻓﺎﻧﺘﺰﻯ ﻣﺠﺎﺯ ﺍﺳﺖ‪ .‬ﻧﺎﺩﻳﺪﻩ ﮔﺮﻓﺘﻦ ﺍﻳﻦ ﺣﻘﻮﻕ ﻣﺎﻟﻜﻴﺖ ﻣﻌﻨﻮﻯ ﺑﺮ ﺍﺳﺎﺱ ﻗﻮﺍﻧﻴﻦ ﻣﺆﻟﻔﻴﻦ ﻭ ﻣﺼﻨﻔﻴﻦ‬ ‫ﻗﺎﺑﻞ ﭘﻴﮕﺮﺩ ﻗﺎﻧﻮﻧﻰ ﺍﺳﺖ‪.‬‬ ‫ﭘﺨﺶ‪ :‬ﺍﻧﺘﺸﺎﺭ ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻰ‪ ،‬ﺑﺎﺭﮔﺬﺍﺭﻯ ﻣﺠﺪﺩ‪ ،‬ﺍﺭﺳﺎﻝ ﺑﺮﺍﻯ ﺩﻳﮕﺮﺍﻥ‪ ،‬ﭼﺎپ ﺑﺮﺍﻯ ﺍﺳﺘﻔﺎﺩﻩﻯ ﺷﺨﺼﻰ ﻭ‬ ‫ﻳﺎ ﻋﻤﻮﻣﻰ ﺑﻪ ﺻﻮﺭﺕ ﻏﻴﺮ ﺍﻧﺘﻔﺎﻋﻰ؛ ﻣﻮﺭﺩ ﺗﺸﻮﻳﻖ ﻭ ﺗﺄﻳﻴﺪ ﮔﺮﻭﻩ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﺍﺳﺖ‪.‬‬

‫ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬ ‫ﺳﺎﻝ ﺩﻭﻡ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ، 18‬ﺧﺮﺩﺍﺩ ‪1391‬‬