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‫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


‫ﺭﻭﻯ ﭘﺎﺷﻨﻪ ﭼﺮﺧﻴﺪﻡ ﻭ ﺁﻥ ﺳﻮﻯ ﻧﺮﺩﻩﻫﺎ ﺭﺍ ﻧﮕﺎﻩ ﻛﺮﺩﻡ‪.‬‬ ‫»ﻛِﻴﻦ!«‬ ‫ﺩﺭ ﻋﺮﺷﻪ ﭘﺸﺖ ﺑﻪ ﻧﻮﺭ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﭼﻬﺮﻩﺍﺵ ﺗﺎﺭﻳﻚ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﺻﺪﺍﻯ ﻓﻴﻦﻓﻴﻨﺶ ﺭﺍ ﺷﻨﻴﺪﻡ‪.‬‬ ‫ﭼﻨﺪ ﻗﺪﻡ ﺑﻪ ﻋﻘﺐ ﺑﺎﺯﮔﺸﺘﻢ‪.‬‬ ‫»ﭼﻰ ﭼﻰ ﺁﻥﺟﺎﺳﺖ؟«‬ ‫»ﮔﻞ ُﺭﺯﺕ‪«.‬‬ ‫‪1. Yeats‬‬ ‫‪2. Pound‬‬ ‫‪3. Eliot‬‬ ‫‪4. Crane‬‬ ‫‪5. Stevens‬‬ ‫‪6. Pipes of Krishna‬‬ ‫‪7. Madrigals‬‬ ‫‪8. Jonathan Swift‬‬ ‫‪9. Bernard Shaw‬‬ ‫‪10. Petronius Arbiter‬‬ ‫‪11. Trimalchi‬‬ ‫‪12. Sick Rose, by William Blake‬‬ ‫‪O Rose, thou art sick.‬‬ ‫‪The invisible worm,‬‬ ‫‪That flies in the night,‬‬ ‫‪In the howling storm:‬‬ ‫‪Has found out thy bed‬‬ ‫‪Of crimson joy:‬‬ ‫‪And his dark secret love‬‬ ‫‪Does thy life destroy.‬‬ ‫‪13. Isaias‬‬ ‫‪14. Tamur‬‬ ‫‪15. Process‬‬

‫‪17. Ersatz‬‬ ‫‪18. Rilke‬‬

‫‪Ode to the West Wing .19‬؛ ﺍﺣﺘﻤﺎﻻً ﺍﺷﺎﺭﻩ ﺑﻪ ﺷﻌﺮﻯ ﺍﺯ‬ ‫ﭘﺮﺳﻰ ﺷﻠﻰ‬ ‫‪20. Dactylic Hexameter‬‬

‫‪ :Caste duino .21‬ﻗﻠﻌﻪﺍﻯ ﺩﺭ ﻧﺰﺩﻳﻜﻰ ﺧﻠﻴﺞ ﺗﺮﻳﺴﺘﻪﻯ ﺍﻳﺘﺎﻟﻴﺎ‪.‬‬ ‫ﺭﻳﻠﻜﻪ‪ ،‬ﺷﺎﻋﺮ ﻣﻌﺮﻭﻑ ﺩﺭ ﺳﺎﻝ ‪ 1912‬ﺑﺮﺍﻯ ﺩﻳﺪﻥ ﺷﺎﻫﺰﺍﺩﻩ‬ ‫»ﻣﺎﺭﻯ ﻓﻦﺗﻮﺭﻥ ﺁﻧﺪ ﺗﺎﻛﺴﻴﺰ« ﺑﻪ ﺁﻥ ﻗﻠﻌﻪ ﺭﻓﺘﻪ ﺑﻮﺩ‪ .‬ﻃﺒﻖ‬ ‫ﺧﺎﻃﺮﺍﺗﺶ ﻳﻚ ﺭﻭﺯ ﺻﺒﺢ ﺑﺮﺍﻯ ﻗﺪﻡ ﺯﺩﻥ ﺑﻪ ﻧﺰﺩﻳﻚ ﺻﺨﺮﻩﻫﺎﻳﻰ‬ ‫ﺭﻓﺘﻪ ﺑﻮﺩ ﻛﻪ ﻛﻨﺎﺭ ﺩﺭﻳﺎ ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ‪ ،‬ﺩﺭ ﺁﻥﺟﺎ ﺻﺪﺍﻳﻰ ﺷﻨﻴﺪﻩ‬ ‫ﻛﻪ ﺍﻭ ﺭﺍ ﺻﺪﺍ ﻣﻰﺯﻧﺪ‪ .‬ﺍﻭ ﺍﺯ ﺁﻥ ﻛﻠﻤﺎﺗﻰ ﻛﻪ ﺻﺪﺍ ﺑﻪ ﺍﻭ ﮔﻔﺘﻪ‬ ‫ﺑﺮﺍﻯ ﮔﺸﺎﻳﺶ ﻣﺮﺛﻴﻪﻫﺎﻯ ﻣﻌﺮﻭﻓﺶ ﻛﻪ ﺑﺮﺧﻰ ﺁﻥﻫﺎ ﺭﺍ ﻣﻬﻢﺗﺮﻳﻦ‬ ‫ﻛﺎﺭﻫﺎﻯ ﺍﺩﺑﻰ ﺍﻭ ﻣﻰﺩﺍﻧﻨﺪ‪ ،‬ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻧﻮﻋﻰ ﻓﺮﻡ ﺷﻌﺮ ﻛﻪ ﺑﻪ ﺻﻮﺭﺕ ﺳﻮﮔﻮﺍﺭﻯ ﺩﺭ ﺭﺛﺎﻯ ‪22. Elegy:‬‬ ‫‪.‬ﻣﺮﺩﮔﺎﻥ ﺍﺳﺖ ﻳﺎ ﺑﻪ ﻃﻮﺭ ﻛﻠﻰ ﻓﻀﺎﻳﻰ ﻏﻤﮕﻴﻦ ﻭ ﺳﻮﮔﻮﺍﺭ ﺩﺍﺭﺩ‬ ‫‪ .23‬ﺍﺩﺍﻯ ﺍﺣﺘﺮﺍﻡ ﺑﻪ ﺯﺑﺎﻥ ﻣﺮﻳﺨﻰ‪.‬‬ ‫‪24. Aspic‬‬ ‫‪ .25‬ﺍﺷﺎﺭﻩ ﺑﻪ ﭘﺮﺩﻩﻯ ﭘﻨﺠﻢ ﻧﻤﺎﻳﺸﻨﺎﻣﻪﻯ ﻫﻤﻠﺖ‪ .‬ﺩﺭ ﺍﻳﻦﺟﺎ‬ ‫ﻫﻤﻠﺖ ﺑﺎ ﺧﻮﻧﺴﺮﺩﻯ ﺑﺮﺍﻯ ﻫﻮﺭﺍﺷﻴﻮ ﺗﻌﺮﻳﻒ ﻣﻰﻛﻨﺪ ﻛﻪ ﺩﺭ‬ ‫ﺳﻔﺮﺵ ﺑﻪ ﺍﻧﮕﻠﺴﺘﺎﻥ ﭼﻪ ﺍﺗﻔﺎﻗﻰ ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ‪ .‬ﺯﻣﺎﻧﻰ ﻛﻪ‬ ‫ﺭﺯﻭﻧﻜﺮﺍﻧﺘﺰ ﻭ ﮔﻴﻠﺪﻧﺴﺘﺮﻥ ﺧﻮﺍﺏ ﺑﻮﺩﻧﺪ‪ ،‬ﺍﻭ ﻛﻴﻒ ﺁﻥﻫﺎ ﺭﺍ ﮔﺸﺘﻪ‬ ‫ﻭ ﺩﻳﺪﻩ ﻧﺎﻣﻪﺍﻯ ﺑﺮﺍﻯ ﺷﺎﻩ ﺍﻧﮕﻠﺴﺘﺎﻥ ﻣﻰﺑﺮﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻧﺎﻣﻪ‬ ‫ﻛﻼﺩﻳﻮﺱ ﺍﺯ ﭘﺎﺩﺷﺎﻩ ﺍﻧﮕﻠﺴﺘﺎﻥ ﺩﺭﺧﻮﺍﺳﺖ ﻛﺮﺩﻩ ﻛﻪ ﺳﺮ ﻫﻤﻠﺖ‬ ‫ﺭﺍ ﻗﻄﻊ ﻛﻨﺪ ﻭ ‪...‬‬

‫‪ .16‬ﻣﻨﺠﻤﻰ ﻛﻪ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﻛﺎﻧﺎﻝﻫﺎﻯ ﻣﺮﻳﺦ ﺭﺍ ﺩﻳﺪ ﻭ ﺑﻪ‬ ‫ﺍﺷﺘﺒﺎﻩ ﺁﻥﻫﺎ ﺭﺍ ﺭﻭﺩﺧﺎﻧﻪ ﻓﺮﺽ ﻛﺮﺩ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﭘﺎﻭﺭﻗﻰ‬

‫ﺳﺮﻡ ﺭﺍ ﺧﻢ ﻛﺮﺩﻡ‪.‬‬ ‫»ﺑﻪ ﺧﺎﻃﺮ ﺍﻭ ﺑﻴﺎﺑﺎﻥ ﺭﺍ ﺯﻳﺮ ﻭ ﺭﻭ ﻣﻰﻛﺮﺩﻯ؟«‬ ‫ﺳﺮﻡ ﺭﺍ ﺗﻜﺎﻥ ﺩﺍﺩﻡ‪.‬‬ ‫»ﭼﺮﺍ؟«‬ ‫ﺑﺎﻻ ﺭﺍ ﻧﮕﺎﻩ ﻛﺮﺩﻡ‪» .‬ﭼﻮﻥ ﻳﻚ ﺟﺎﻳﻰ ﺁﻥ ﺑﻴﺮﻭﻥ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﻧﻤﻰﺩﺍﻧﻢ ﻛﺠﺎ ﻭ ﻧﻤﻰﺩﺍﻧﻢ ﭼﺮﺍ ﺭﻓﺘﻪ ﻭ ﺑﺎﻳﺪ‬ ‫ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺑﺮﻭﻳﻢ‪ ،‬ﭘﻴﺪﺍﻳﺶ ﻛﻨﻢ‪«.‬‬ ‫ﺩﻭﺑﺎﺭﻩ ﮔﻔﺖ‪» :‬ﺍﻭﻩ‪«.‬‬ ‫ﺑﻌﺪ ﺑﻪ ﻋﻘﺐ ﺗﻜﻴﻪ ﺩﺍﺩ‪ ،‬ﻛﺸﻮﻳﻰ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩ ﻭ ﭼﻴﺰﻯ ﭘﻴﭽﻴﺪﻩ ﺩﺭ ﻳﻚ ﭘﺎﺭﭼﻪ ﺑﻴﺮﻭﻥ ﺁﻭﺭﺩ‪ .‬ﭘﺎﺭﭼﻪ ﺭﺍ‬ ‫ﺑﺎﺯ ﻛﺮﺩ‪ .‬ﻋﻜﺴﻰ ﻗﺎﺏ ﺷﺪﻩ ﺍﺯ ﻳﻚ ﺯﻥ ﺭﺍ ﺭﻭﻯ ﻣﻴﺰ ﮔﺬﺍﺷﺖ‪.‬‬ ‫ﮔﻔﺖ‪»:‬ﻫﻤﺴﺮﻡ‪«.‬‬ ‫ﭼﺸﻤﺎﻥ ﺑﺰﺭگ ﺑﺎﺩﺍﻣﻰ ﺩﺍﺷﺖ‪.‬‬ ‫ﭼﻬﺮﻩﺍﻯ ﺟﺬﺍﺏ ﺑﺎ‬ ‫ِ‬ ‫ﮔﻔﺖ‪» :‬ﻣﻦ ﻳﻚ ﻧﻈﺎﻣﻰ ﻫﺴﺘﻢ‪ ،‬ﻣﻰﺩﺍﻧﻰ ﺩﻳﮕﺮ‪ .‬ﻳﻚ ﺯﻣﺎﻧﻰ ﺍﻓﺴﺮ ﺟﻮﺍﻧﻰ ﺑﻮﺩﻡ‪ .‬ﺩﺭ ژﺍﭘﻦ ﻣﻼﻗﺎﺗﺶ‬ ‫ﻛﺮﺩﻡ‪ .‬ﻣﻦ ﺍﻫﻞ ﺟﺎﻳﻰ ﻫﺴﺘﻢ ﻛﻪ ﺍﺯﺩﻭﺍﺝ ﺑﺎ ﻳﻚ ﻗﻮﻡ ﺩﻳﮕﺮ ﺭﺍ ﺻﺤﻴﺢ ﻧﻤﻰﺩﺍﻧﻨﺪ‪ ،‬ﭘﺲ ﻫﻴﭻﻭﻗﺖ ﺍﺯﺩﻭﺍﺝ‬ ‫ﻧﻜﺮﺩﻳﻢ‪ .‬ﺍﻣﺎ ﺍﻭ ﻫﻤﺴﺮﻡ ﺑﻮﺩ‪ .‬ﻭﻗﺘﻰ ﻛﻪ ﺩﺭﮔﺬﺷﺖ ﻣﻦ ﺁﻥ ﺳﻮﻯ ﺩﻧﻴﺎ ﺑﻮﺩﻡ‪ .‬ﻓﺮﺯﻧﺪﺍﻧﻢ ﺭﺍ ﺍﺯ ﻣﻦ ﮔﺮﻓﺘﻨﺪ‬ ‫ﻭ ﺩﻳﮕﺮ ﻫﺮﮔﺰ ﻧﺪﻳﺪﻣﺸﺎﻥ‪ .‬ﺣﺘﺎ ﻧﻔﻬﻤﻴﺪﻡ ﺑﻪ ﻛﺪﺍﻡ ﻳﺘﻴﻢﺧﺎﻧﻪ ﻳﺎ ﺧﺎﻧﻪ ﻓﺮﺳﺘﺎﺩﻩ ﺷﺪﻧﺪ‪ .‬ﻣﺎﻝ ﺧﻴﻠﻰ ﻭﻗﺖ‬ ‫ﭘﻴﺶ ﺍﺳﺖ‪ .‬ﻋﺪﻩﻯ ﻛﻤﻰ ﺍﺯ ﺍﻳﻦ ﻣﺎﺟﺮﺍ ﺧﺒﺮ ﺩﺍﺭﻧﺪ‪«.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﻣﺘﺎﺳﻔﻢ‪«.‬‬ ‫ﺩﺭ ﺻﻨﺪﻟﻰ ﺟﺎ ﺑﻪ ﺟﺎ ﺷﺪ ﻭ ﺑﻪ ﻣﻦ ﻧﮕﺎﻩ ﻛﺮﺩ‪» :‬ﻧﺒﺎﺵ‪ .‬ﻓﺮﺍﻣﻮﺷﺶ ﻛﻦ‪ .‬ﺍﮔﺮ ﻣﻰﺧﻮﺍﻫﻰ ﺑﺎ ﺧﻮﺩﺕ ﺑﻪ‬ ‫ﺯﻣﻴﻦ ﺑﺮﺵ ﮔﺮﺩﺍﻧﻰ‪ ،‬ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺑﻜﻦ‪ .‬ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﻪ ﻗﻴﻤﺖ ﺟﺎﻧﻢ ﺗﻤﺎﻡ ﺷﻮﺩ‪ ،‬ﺍﻣﺎ ﻣﻦ ﭘﻴﺮﺗﺮ ﺍﺯ ﺁﻧﻢ‬ ‫ﻛﻪ ﺩﻳﮕﺮ ﺑﻪ ﻳﻚ ﺳﻔﺮ ﺍﻛﺘﺸﺎﻓﻰ ﻣﺜﻞ ﺍﻳﻦ ﺑﻴﺎﻳﻢ‪ .‬ﭘﺲ ﻳﺎﻻ ﺯﻭﺩ ﺑﺎﺵ‪«.‬‬ ‫ﻗﻬﻮﻩﺍﺵ ﺭﺍ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺖ‪.‬‬ ‫»ﺟﻴﭗﺍﺳﺘﺮﺕ ﺭﺍ ﺑﺒﺮ‪«.‬‬ ‫ﺻﻨﺪﻟﻰﺍﺵ ﺭﺍ ﺑﻪ ﺳﻮﻯ ﺩﻳﮕﺮ ﭼﺮﺧﺎﻧﺪ‪.‬‬ ‫ﺩﻭ ﺑﺎﺭ ﺗﻼﺵ ﻛﺮﺩﻡ ﺑﮕﻮﻳﻢ‪» :‬ﻣﺘﺸﻜﺮﻡ‪ «.‬ﺍﻣﺎ ﻧﺸﺪ‪ .‬ﺑﻠﻨﺪ ﺷﺪﻡ ﻭ ﺑﻴﺮﻭﻥ ﺭﻓﺘﻢ‪.‬‬ ‫ﭘﺸﺖ ﺳﺮﻡ ﮔﻔﺖ‪» :‬ﺳﺎﻳﻮﻧﺎﺭﺍ ﻭ ﺍﺯ ﺍﻳﻦ ﺣﺮﻑﻫﺎ‪«.‬‬ ‫ﺻﺪﺍﻯ ﻓﺮﻳﺎﺩﻯ ﺷﻨﻴﺪﻡ‪» :‬ﺍﻳﻦﺟﺎﺳﺖ ﮔﺎﻟﻴﻨﮕﺮ!«‬ ‫‪101‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﺩﻭﺳﺖ ﺷﺪﻯ‪«.‬‬ ‫ﻋﻼﻣﺖ ﺳﻮﺍﻟﻰ ﺩﺭ ﻛﺎﺭ ﻧﺒﻮﺩ‪ .‬ﻳﻚ ﺟﻤﻠﻪﻯ ﺧﺒﺮﻯ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﻫﻮﺍ ﻣﻌﻠﻖ ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪ .‬ﻣﻨﺘﻈﺮ ﺷﺪﻡ‪.‬‬ ‫ﺑﺘﻰ‪ ،‬ﺗﻮ ﻳﻚ ﭘﺎﭼﻪﻭﺭﻣﺎﻟﻴﺪﻩﺍﻯ‪ .‬ﺗﻮ ﻳﻚ ﮔﺎﻭ ﭘﺎﭼﻪﻭﺭﻣﺎﻟﻴﺪﻩﺍﻯ‪ .‬ﻳﻚ ﭘﺎﭼﻪﻭﺭﻣﺎﻟﻴﺪﻩﻯ ﺣﺴﻮﺩ‪ .‬ﭼﺮﺍ ﺳﺮﺕ‬ ‫ﺑﻪ ﻛﺎﺭ ﺧﻮﺩﺕ ﻧﺒﻮﺩ؟ ﭼﺮﺍ ﭼﺸﻢﻫﺎ ﻭ ﺯﺑﺎﻧﺖ ﺭﺍ ﻧﺒﺴﺘﻰ؟‬ ‫ﮔﻔﺘﻢ‪»:‬ﺧﺐ؟« ﺍﻳﻦ ﻳﻜﻰ ﺟﻤﻠﻪﻯ ﺧﺒﺮﻯ ﻧﺒﻮﺩ‪ ،‬ﻋﻼﻣﺖ ﺳﻮﺍﻝ ﺩﺍﺷﺖ‪.‬‬ ‫ﭘﺎﺳﺦ ﺩﺍﺩ‪» :‬ﺩﺭ ﻧﻘﺶ ﻣﺪﻳﺮ ﺍﻳﻦ ﻋﻤﻠﻴﺎﺕ ﺍﻛﺘﺸﺎﻓﻰ‪ ،‬ﻭﻇﻴﻔﻪﻯ ﻣﻦ ﺍﺳﺖ ﻛﻪ ﻣﻄﻤﺌﻦ ﺷﻮﻡ ﺭﺍﺑﻄﻪﻯ ﻣﺎ‬ ‫ﺑﺎ ﻣﺤﻠﻰﻫﺎ ﺩﻭﺳﺘﺎﻧﻪ ﻭ ﺩﻳﭙﻠﻤﺎﺗﻴﻚ ﺍﺳﺖ‪«.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﺟﻮﺭﻯ ﺩﺭﺑﺎﺭﻩﻯ ﺁﻥﻫﺎ ﺻﺤﺒﺖ ﻣﻰﻛﻨﻰ ﺍﻧﮕﺎﺭ ﻛﻪ ﺑﺪﻭﻯ ﻫﺴﺘﻨﺪ‪ .‬ﺍﻳﻦ ﺑﺎ ﻭﺍﻗﻌﻴﺖ ﻓﺎﺻﻠﻪﻯ‬ ‫ﺯﻳﺎﺩﻯ ﺩﺍﺭﺩ‪«.‬‬ ‫ﺑﺮﺧﺎﺳﺘﻢ‪.‬‬ ‫»ﻭﻗﺘﻰ ﻣﻘﺎﻻﺗﻢ ﻣﻨﺘﺸﺮ ﺷﺪﻧﺪ‪ ،‬ﺭﻭﻯ ﺯﻣﻴﻦ ﻫﻤﻪ ﺍﺯ ﺣﻘﻴﻘﺖ ﺑﺎ ﺧﺒﺮ ﻣﻰﺷﻮﻧﺪ‪ .‬ﭼﻴﺰﻫﺎﻳﻰ ﺭﺍ ﺑﻪ ﻣﺮﺩﻡ‬ ‫ﺧﻮﺍﻫﻢ ﮔﻔﺘﻢ ﻛﻪ ﺩﻛﺘﺮ ﻣﻮﺭ ﺣﺘﺎ ﻓﻜﺮﺵ ﺭﺍ ﻫﻢ ﻧﻜﺮﺩﻩ‪ .‬ﻣﻦ ﺗﺮﺍژﺩﻯ ﻧﮋﺍﺩ ﻧﻔﺮﻳﻦ ﺷﺪﻩ ﺭﺍ ﻛﻪ ﻋﻘﺐ‬ ‫ﻧﺸﺴﺘﻪ ﻭ ﺑﻰﺗﻔﺎﻭﺕ ﺩﺭ ﺍﻧﺘﻈﺎﺭ ﻣﺮگ ﺍﺳﺖ‪ ،‬ﺑﺎﺯ ﺧﻮﺍﻫﻢ ﮔﻔﺖ‪ .‬ﺩﺭﺑﺎﺭﻩﺍﺵ ﺧﻮﺍﻫﻢ ﻧﻮﺷﺖ ﻭ ﺟﺎﻳﺰﻩ‬ ‫ﺧﻮﺍﻫﻢ ﺑﺮﺩ ﻭ ﺍﻳﻦ ﺑﺎﺭ ﺟﺎﻳﺰﻩﻫﺎ ﺭﺍ ﻧﻤﻰﺧﻮﺍﻫﻢ‪«.‬‬ ‫ﻧﻴﺎﻛﺎﻥ ﻣﺎ ﺩﺍﺷﺘﻨﺪ ﺑﺒﺮ ﺩﻧﺪﺍﻥﺧﻨﺠﺮﻯ ﺭﺍ ﭘﻮﺳﺖ ﻣﻰﻛﻨﻨﺪ ﻭ‬ ‫ﺑﺎ ﺻﺪﺍﻯ ﺑﻠﻨﺪ ﮔﻔﺘﻢ‪» :‬ﺧﺪﺍﻯ ﻣﻦ! ﻭﻗﺘﻰ‬ ‫ِ‬ ‫ﺟﺎﻥ ﻣﻰﻛﻨﺪﻧﺪ ﺁﺗﺶ ﺩﺭﺳﺖ ﻛﻨﻨﺪ‪ ،‬ﺍﻳﻦﻫﺎ ﺗﻤﺪﻥ ﺩﺍﺷﺘﻨﺪ!«‬ ‫»ﺗﻮ ﺁﻥ ﭘﺎﻳﻴﻦ ﻳﻚ ﺩﻭﺳﺖ ﺩﺧﺘﺮ ﺩﺍﺭﻯ ﻳﺎ ﻧﻪ؟«‬ ‫ﮔﻔﺘﻢ‪»:‬ﺑﻠﻪ!« ﺑﻠﻪ ﻛﻼﺩﻳﻮﺱ! ﺑﻠﻪ ﭘﺪﺭ! ﺑﻠﻪ ﺍﻣﻮﺭﻯ‪» .‬ﺑﻠﻪ ﺩﺍﺭﻡ‪ .‬ﺍﻣﺎ ﺑﮕﺬﺍﺭ ﻳﻚ ﺣﻘﻴﻘﺖ ﺩﺍﻧﺸﮕﺎﻫﻰ ﺭﺍ‬ ‫ﺑﺮﺍﻳﺖ ﻓﺎﺵ ﻛﻨﻢ‪ .‬ﺁﻥﻫﺎ ﻫﻤﻴﻦ ﺣﺎﻻﺵ ﻫﻢ ُﻣﺮﺩﻩﺍﻧﺪ‪ .‬ﻫﻤﻪﺷﺎﻥ ﻋﻘﻴﻢ ﺷﺪﻧﺪ‪ .‬ﻳﻚ ﻧﺴﻞ ﺑﻌﺪ ﺩﻳﮕﺮ‬ ‫ﻣﺮﻳﺨﻰﺍﻯ ﺩﺭ ﻛﺎﺭ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪«.‬‬ ‫ﻣﻜﺚ ﻛﺮﺩﻡ ﻭ ﺑﻌﺪ ﺍﺩﺍﻣﻪ ﺩﺍﺩﻡ‪» :‬ﻓﻘﻂ ﻣﮕﺮ ﺩﺭ ﻧﻮﺷﺘﻪﻫﺎﻯ ﻣﻦ‪ ،‬ﻣﮕﺮ ﺩﺭ ﭼﻨﺪ ﻣﻴﻜﺮﻭﻓﻴﻠﻢ ﻭ ﻓﺎﻳﻞ ﺻﻮﺗﻰ‬ ‫ﻭ ﺷﺎﻳﺪ ﺩﺭ ﺑﺮﺧﻰ ﺍﺷﻌﺎﺭ ﺩﺭﺑﺎﺭﻩﻯ ﺩﺧﺘﺮﻯ ﻛﻪ ﺍﻫﻤﻴﺖ ﻣﻰﺩﺍﺩ ﻭ ﺗﻨﻬﺎ ﻛﺎﺭﻯ ﻛﻪ ﺍﺯﺵ ﺳﺎﺧﺘﻪ ﺑﻮﺩ‪ ،‬ﺍﻳﻦ‬ ‫ﺑﻮﺩ ﻛﻪ ﺑﺎ ﺭﻗﺼﻴﺪﻥ ﺍﺯ ﺍﻳﻦ ﻫﻤﻪ ﺑﻰﺍﻧﺼﺎﻓﻰ ﺑﮕﻮﻳﺪ‪«.‬‬ ‫ﺍﻣﻮﺭﻯ ﮔﻔﺖ‪» :‬ﺍﻭﻩ‪ .‬ﺍﻳﻦ ﭼﻨﺪ ﻣﺎﻩ ﺁﺧﺮ ﺭﻓﺘﺎﺭﺕ ﻋﻮﺽ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﮔﺎﻫﻰ ﺍﻭﻗﺎﺕ ﺣﺘﺎ ﻣﺤﺘﺮﻣﺎﻧﻪ ﺭﻓﺘﺎﺭ‬ ‫ﻣﻰﻛﺮﺩﻯ‪ .‬ﺩﺭ ﻓﻜﺮ ﺑﻮﺩﻡ ﻛﻪ ﭼﻪ ﺍﺗﻔﺎﻗﻰ ﺍﻓﺘﺎﺩﻩ‪ ،‬ﻧﻤﻰﺩﺍﻧﺴﺘﻢ ﻣﻤﻜﻦ ﺍﺳﺖ ﭼﻴﺰﻯ ﺍﻳﻦ ﻗﺪﺭ ﺑﺮﺍﻳﺖ‬ ‫ﻣﻬﻢ ﺑﺎﺷﺪ‪«.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﭘﺎﻭﺭﻗﻰ‬

‫ﺑﻪ ﻛﻨﺪﻯ ﮔﻔﺘﻢ‪» :‬ﻣﻰﺗﻮﺍﻧﻢ ﺍﻧﻌﻜﺎﺱ ﻧﻮﺭ ﺍﺯ ﺭﻭﻯ ﺳﻄﺤﺶ ﺭﺍ ﺑﺒﻴﻨﻢ‪«.‬‬ ‫ﻧﮕﺎﻫﻰ ﺑﻪ ﻫﻮﺍ ﺍﻧﺪﺍﺧﺖ ﻭ ﮔﻔﺖ‪» :‬ﺧﺐ ﻫﻮﺍ ﻛﻪ ﺩﺍﺭﺩ ﺗﺎﺭﻳﻚ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻣﺮﻭﺯ ﺩﻳﮕﺮ ﻓﺎﻳﺪﻩ ﻧﺪﺍﺭﺩ ﺑﮕﺮﺩﻯ‪«.‬‬ ‫ﺑﻪ ﻳﻚ ﻣﻜﺎﻧﻴﻚ ﺩﺳﺘﻮﺭ ﺩﺍﺩ ﻛﻪ‪» :‬ﻳﻚ ﻣﺤﺎﻓﻆ ﺷﻦ ﺭﻭﻯ ﺟﻴﭗﺍﺳﺘﺮ ﺑﻴﻨﺪﺍﺯ‪«.‬‬ ‫ﺑﻪ ﺑﺎﺯﻭﻳﻢ ﺿﺮﺑﻪ ﺯﺩ‪.‬‬ ‫»ﺑﻴﺎ ﺗﻮ ﻭ ﺩﻭﺵ ﺑﮕﻴﺮ ﻭ ﭼﻴﺰﻯ ﻫﻢ ﺑﺨﻮﺭ‪ .‬ﺍﺯ ﻗﻴﺎﻓﻪﺍﺕ ﻣﻌﻠﻮﻣﻪ ﻛﻪ ﺑﻪ ﻫﺮ ﺩﻭ ﺗﺎﺵ ﺍﺣﺘﻴﺎﺝ ﺩﺍﺭﻯ‪«.‬‬ ‫ﺯﻳﺮ ﭼﺸﻢﻫﺎﻯ ﺑﻰﻓﺮﻭﻏﺶ ﻛﻚ ﻭ ﻣﻚﻫﺎﻯ ﺭﻳﺰﻯ ﺩﺍﺷﺖ‪ ،‬ﻣﻮﻫﺎﻯ ﺗُ ُﻨﻚ ﻭ ﺑﻴﻨﻰ ﺍﻳﺮﻟﻨﺪﻯ ﻭ ﺻﺪﺍﻳﻰ ﻛﻪ‬ ‫ِ‬ ‫ﻣﻨﺎﺳﺐ ﺍﻭ ﺑﺮﺍﻯ ﺭﻳﺎﺳﺖ ﺑﻮﺩ‪ .‬ﺁﻥﺟﺎ‬ ‫ﺧﺼﻮﺻﻴﺖ‬ ‫ﻳﻚ ﺩﺳﻰﺑﻞ ﺍ��� ﺻﺪﺍﻯ ﺑﻘﻴﻪ ﺑﻠﻨﺪﺗﺮ ﺑﻮﺩ‪ .‬ﻭ ﺍﻳﻦ ﺗﻨﻬﺎ‬ ‫ِ‬ ‫ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩﻡ ﻭ ﺍﺯ ﺍﻭ ﺑﻴﺰﺍﺭ ﺑﻮﺩﻡ‪ .‬ﻛﻼﺩﻳﻮﺱ! ﻛﺎﺵ ﻛﻪ ﺍﻳﻦ ﭘﻨﺠﻤﻴﻦ ﭘﺮﺩﻩ ]‪ [25‬ﺑﻮﺩ‪.‬‬ ‫ﺍﻣﺎ ﻧﺎﮔﻬﺎﻥ ﻓﻜﺮ ﺩﻭﺵ ﻭ ﻏﺬﺍ ﺫﻫﻨﻢ ﺭﺍ ﺩﺭﮔﻴﺮ ﻛﺮﺩ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﺑﻪ ﻫﺮ ﺩﻭﻳﺸﺎﻥ ﺑﺪﺟﻮﺭﻯ ﺍﺣﺘﻴﺎﺝ ﺩﺍﺷﺘﻢ‪.‬‬ ‫ﺍﮔﺮ ﺍﺻﺮﺍﺭ ﻣﻰﻛﺮﺩﻡ ﻛﻪ ﻫﻤﺎﻥﻣﻮﻗﻊ ﺑﺎﺯﮔﺮﺩﻡ‪ ،‬ﻣﻤﻜﻦ ﺑﻮﺩ ﺑﻬﻢ ﻣﺸﻜﻮﻙ ﺷﻮﻧﺪ‪.‬‬ ‫ﭘﺲ ﺷﻦ ﺭﺍ ﺍﺯ ﺭﻭﻯ ﺧﻮﺩﻡ ﺗﻜﺎﻧﺪﻡ‪.‬‬ ‫»ﺣﻖ ﺑﺎ ﺗﻮ ﺍﺳﺖ‪ .‬ﺑﻪ ﻧﻈﺮ ﺧﻴﻠﻰ ﺧﻮﺏ ﻣﻰﺁﻳﺪ‪«.‬‬ ‫»ﺑﻴﺎ‪ ،‬ﺗﻮ ﺍﺗﺎﻕ ﻣﻦ ﻏﺬﺍ ﻣﻰﺧﻮﺭﻳﻢ‪«.‬‬ ‫ﺩﻭﺵ ﻳﻚ ﻣﻮﻫﺒﺖ ﺑﻮﺩ‪ ،‬ﻟﺒﺎﺱﻫﺎﻯ ﺗﻤﻴﺰ ﺭﺣﻤﺖ ﺍﻟﻬﻰ ﻭ ﻏﺬﺍ ﺭﺍﻳﺤﻪﻯ ﺑﻬﺸﺖ ﻣﻰﺩﺍﺩ‪.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﭼﻪ ﺑﻮﻯ ﺧﻮﺑﻰ ﺩﺍﺭﺩ‪«.‬‬ ‫ﺩﺭ ﺳﻜﻮﺕ ﺍﺳﺘﻴﻚﻫﺎﻳﻤﺎﻥ ﺭﺍ ﺧﻮﺭﺩﻳﻢ‪ .‬ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﺑﻪ ﺩﺳﺮ ﻭ ﻗﻬﻮﻩ ﺭﺳﻴﺪﻳﻢ‪ ،‬ﭘﺮﺳﻴﺪ‪» :‬ﭼﺮﺍ ﺍﻣﺸﺐ‬ ‫ﺭﺍ ﻣﺮﺧﺼﻰ ﻧﻤﻰﮔﻴﺮﻯ؟ ﻫﻤﻴﻦﺟﺎ ﺑﻤﺎﻥ ﻭ ﺑﺨﻮﺍﺏ‪«.‬‬ ‫ﺳﺮﻡ ﺭﺍ ﺗﻜﺎﻥ ﺩﺍﺩﻡ‪.‬‬ ‫»ﺧﻴﻠﻰ ﺳﺮﻡ ﺷﻠﻮﻍ ﺍﺳﺖ‪ .‬ﺑﺎﻳﺪ ﻛﺎﺭﻡ ﺭﺍ ﺗﻤﺎﻡ ﻛﻨﻢ‪ .‬ﺯﻣﺎﻥ ﺯﻳﺎﺩﻯ ﻧﻤﺎﻧﺪﻩ‪«.‬‬ ‫»ﭼﻨﺪ ﺭﻭﺯ ﭘﻴﺶ ﮔﻔﺘﻰ ﺗﻘﺮﻳﺒﺎً ﻛﺎﺭﺕ ﺗﻤﺎﻡ ﺷﺪﻩ‪«.‬‬ ‫»ﺗﻘﺮﻳﺒﺎً ﺩﻳﮕﺮ‪ ،‬ﻧﮕﻔﺘﻢ ﻛﺎﻣﻞ ﺗﻤﺎﻡ ﺷﺪﻩ ﻛﻪ‪«.‬‬ ‫»ﺩﺭ ﺿﻤﻦ ﮔﻔﺘﻰ ﺍﻣﺸﺐ ﺗﻮﻯ ﻣﻌﺒﺪ ﻣﺮﺍﺳﻤﻰ ﺩﺍﺭﻧﺪ‪«.‬‬ ‫»ﺩﺭﺳﺖ ﺍﺳﺖ‪ .‬ﻣﻦ ﺩﺭ ﺍﺗﺎﻗﻢ ﻛﺎﺭ ﻣﻰﻛﻨﻢ‪«.‬‬ ‫ﺷﺎﻧﻪﻫﺎﻳﺶ ﺭﺍ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺖ‪.‬‬ ‫ﺑﺎﻻﺧﺮﻩ ﮔﻔﺖ‪» :‬ﮔﺎﻟﻴﻨﮕﺮ‪ «.‬ﻭ ﻣﻦ ﺣﻮﺍﺳﻢ ﺟﻤﻊ ﺷﺪ‪ ،‬ﺯﻳﺮﺍ ﮔﻔﺘﻦ ﺍﺳﻤﻢ ﺑﻪ ﻣﻌﻨﺎﻯ ﺩﺭﺩﺳﺮ ﺑﻮﺩ‪.‬‬ ‫ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺍﻟﺒﺘﻪ ﺑﻪ ﻣﻦ ﻣﺮﺑﻮﻁ ﻧﻴﺴﺖﻫﺎ‪ ،‬ﺍﻣﺎ ﺩﺭ ﻭﺍﻗﻊ ﻫﺴﺖ‪ .‬ﺑﺘﻰ ﻣﻰﮔﻮﻳﺪ ﺁﻥ ﭘﺎﻳﻴﻦ ﺑﺎ ﻳﻚ ﺩﺧﺘﺮ‬ ‫‪99‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫»ﺧﻴﻠﻰ ﺧﺐ‪ .‬ﺧﻮﺩﺕ ﺭﺍ ﺧﻮﺏ ﺟﻠﻮﻩ ﺑﺪﻩ‪ .‬ﺍﻻﻥ ﺷﺒﻴﻪ ﺑﻪ ﻣﺮﺩ ﺷﻨﻰ ﻧﻔﺮﻳﻦﺷﺪﻩ ﻫﺴﺘﻰ‪ .‬ﭼﺮﺍ ﺍﻳﻦ ﻫﻤﻪ‬ ‫ﭼﺮﺥ ﻣﻰﺯﻧﻰ؟«‬ ‫»ﻣﻦ‪ ،‬ﺁﻩ‪ ،‬ﻳﻚ ﭼﻴﺰﻯ ﺭﺍ ﮔﻢ ﻛﺮﺩﻩﺍﻡ‪«.‬‬ ‫»ﺩﺭﺳﺖ ﻭﺳﻂ ﺻﺤﺮﺍ؟ ﻳﻜﻰ ﺍﺯ ﻏﺰﻝﻫﺎﻳﺖ ﺭﺍ؟ ﺗﻨﻬﺎ ﭼﻴﺰﻯ ﻛﻪ ﻣﻰﺗﻮﺍﻧﻢ ﻓﻜﺮﺵ ﺭﺍ ﺑﻜﻨﻢ ﺗﻮ ﺍﻳﻦ ﻃﻮﺭﻯ‬ ‫ﺩﻧﺒﺎﻟﺶ ﺑﮕﺮﺩﻯ‪ ،‬ﻫﻤﺎﻥﻫﺎ ﻫﺴﺘﻨﺪ‪«.‬‬ ‫»ﻧﻪ ﻟﻌﻨﺘﻰ! ﻳﻚ ﭼﻴﺰ ﺷﺨﺼﻰ ﺭﺍ‪«.‬‬ ‫ﺟﺮﺝ ﻣﺨﺰﻥ ﻣﺎﺷﻴﻦ ﺭﺍ ﭘﺮ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﻣﻦ ﺩﻭﺑﺎﺭﻩ ﺳﻮﺍﺭ ﺟﻴﭗﺍﺳﺘﺮ ﺷﺪﻡ‪.‬‬ ‫ﺑﺎﺯﻭﻳﻢ ﺭﺍ ﮔﺮﻓﺖ ﻭ ﮔﻔﺖ‪» :‬ﻫﻤﻴﻦﺟﺎ ﺑﻤﻮﻥ‪ .‬ﺍﺟﺎﺯﻩ ﻧﻤﻰﺩﻫﻢ ﺑﺮﻭﻯ‪ ،‬ﻣﮕﺮ ﺍﻳﻦ ﻛﻪ ﺑﻪ ﻣﻦ ﺑﮕﻮﻳﻰ ﻣﺎﺟﺮﺍ‬ ‫ﺍﺯ ﭼﻪ ﻗﺮﺍﺭ ﺍﺳﺖ‪«.‬‬ ‫ﻣﻰﺗﻮﺍﻧﺴﺘﻢ ﮔﻠﻮﻳﺶ ﺭﺍ ﻓﺸﺎﺭ ﺩﻫﻢ‪ ،‬ﺍﻣﺎ ﺁﻥﻭﻗﺖ ﺍﻭ ﺩﺳﺘﻮﺭ ﻣﻰﺩﺍﺩ ﺍﺯ ﭘﺎ ﺭﻭﻯ ﺯﻣﻴﻦ ﺑِﻜِﺸﻨﺪﻡ ﻭ ﻛﻢ ﭘﻴﺶ‬ ‫ﻣﻰﺁﻳﺪ ﻛﺴﻰ ﺍﺯ ﻛﺸﻴﺪﻩ ﺷﺪﻥ ﺭﻭﻯ ﺯﻣﻴﻦ ﻟﺬﺕ ﺑﺒﺮﺩ‪ .‬ﭘﺲ ﺧﻮﺩﻡ ﺭﺍ ﻣﺠﺒﻮﺭ ﻛﺮﺩﻡ ﺁﺭﺍﻡ ﺻﺤﺒﺖ ﻛﻨﻢ‪:‬‬ ‫»ﺧﻴﻠﻰ ﺳﺎﺩﻩ ﺍﺳﺖ‪ .‬ﺳﺎﻋﺘﻢ ﺭﺍ ﮔﻢ ﻛﺮﺩﻡ‪ .‬ﻣﺎﺩﺭﻡ ﺁﻥ ﺭﺍ ﺑﻪ ﻣﻦ ﺩﺍﺩﻩ ﺑﻮﺩ ﻭ ﺍﺭﺛﻴﻪﻱ ﺧﺎﻧﻮﺍﺩﮔﻰ ﺍﺳﺖ‪.‬‬ ‫ﻣﻰﺧﻮﺍﻫﻢ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺑﺮﻭﻳﻢ ﭘﻴﺪﺍﻳﺶ ﻛﻨﻢ‪«.‬‬ ‫»ﻣﻄﻤﺌﻨﻰ ﺗﻮﻯ ﺍﺗﺎﻗﺖ ﻳﺎ ﺗﻮﻯ ﺗﻴﺮﻟﻴﺎﻥ ﻧﻴﺴﺖ؟«‬ ‫»ﺁﻥﺟﺎﻫﺎ ﺭﺍ ﮔﺸﺘﻢ‪«.‬‬ ‫»ﺷﺎﻳﺪ ﻛﺴﻰ ﭘﻨﻬﺎﻧﺶ ﻛﺮﺩﻩ ﻛﻪ ﺳﺮ ﺑﻪ ﺳﺮﺕ ﺑﮕﺬﺍﺭﺩ‪ .‬ﻣﻰﺩﺍﻧﻰ ﻛﻪ ﻣﺤﺒﻮﺏﺗﺮﻳﻦ ﺁﺩﻡ ﺍﻳﻦ ﺍﻃﺮﺍﻑ‬ ‫ﻧﻴﺴﺘﻰ‪«.‬‬ ‫ﺳﺮﻡ ﺭﺍ ﺗﻜﺎﻥ ﺩﺍﺩﻡ‪.‬‬ ‫»ﺑﻪ ﺁﻥ ﻫﻢ ﻓﻜﺮ ﻛﺮﺩﻡ‪ .‬ﺍﻣﺎ ﻫﻤﻴﺸﻪ ﺗﻮﻯ ﺟﻴﺐ ﺭﺍﺳﺖ ﻛﺘﻢ ﻫﻤﺮﺍﻫﻢ ﺩﺍﺭﻣﺶ‪ .‬ﻓﻜﺮ ﻛﻨﻢ ﻭﻗﺘﻰ ﺭﻭﻯ‬ ‫ﺗﻠﻤﺎﺳﻪﻫﺎ ﺑﻮﺩﻡ ﺍﺯ ﺟﻴﺒﻢ ﺑﻴﺮﻭﻥ ﺍﻓﺘﺎﺩﻩ‪«.‬‬ ‫ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ ﺑﺎﺭﻳﻚ ﻛﺮﺩ‪.‬‬ ‫»ﻳﺎﺩﻡ ﻫﺴﺖ ﺭﻭﻯ ﺟﻠﺪ ﻳﻚ ﻛﺘﺎﺏ ﺧﻮﺍﻧﺪﻡ ﻣﺎﺩﺭﺕ ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﺗﻮ ﺑﻪ ﺩﻧﻴﺎ ﺁﻣﺪﻯ ﺍﺯ ﺩﻧﻴﺎ ﺭﻓﺖ‪«.‬‬ ‫ﺯﺑﺎﻧﻢ ﺭﺍ ﮔﺎﺯ ﮔﺮﻓﺘﻢ ﻭ ﮔﻔﺘﻢ‪» :‬ﺩﺭﺳﺖ ﺍﺳﺖ‪ .‬ﺳﺎﻋﺖ ﻣﺎﻝ ﭘﺪﺭﺵ ﺑﻮﺩ ﻭ ﺍﻭ ﺩﻟﺶ ﻣﻰﺧﻮﺍﺳﺖ ﻣﺎﻝ ﻣﻦ‬ ‫ﺷﻮﺩ‪ .‬ﭘﺪﺭﻡ ﺑﺮﺍﻳﻢ ﻧﮕﺎﻫﺶ ﺩﺍﺷﺘﻪ ﺑﻮﺩ‪«.‬‬ ‫ﻏﺮﺷﻰ ﻛﺮﺩ‪» :‬ﭘﻮﻭﻭﻑ! ﺭﻭﺵ ﻏﺮﻳﺒﻰ ﺑﺮﺍﻯ ﺟﺴﺖ ﻭ ﺟﻮﻯ ﻳﻚ ﺳﺎﻋﺖ ﺩﺍﺭﻯ‪ ،‬ﺑﺎ ﻳﻚ ﺟﻴﭗﺍﺳﺘﺮ ﻫﻰ‬ ‫ﺍﺯ ﺗﭙﻪﻫﺎ ﺑﺎﻻ ﻭ ﭘﺎﻳﻴﻦ ﻣﻰﺭﻭﻯ‪«.‬‬

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‫ﭘﺎﻭﺭﻗﻰ‬

‫ﺭﻭﺯﻫﺎﻯ ﭘﺎﻳﺎﻧﻰ ﭘﻴﺶﺭﻭﻳﻤﺎﻥ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﻳﻚ ﺭﻭﺯ ﮔﺬﺷﺖ ﻭ ﺑﺮﺍﻛﺴﺎ ﺭﺍ ﻧﺪﻳﺪﻡ‪ .‬ﺑﻌﺪ ﻳﻚ ﺷﺐ‪ .‬ﺭﻭﺯ ﺩﻭﻡ ﻫﻢ ﮔﺬﺷﺖ ﻭ ﺭﻭﺯ ﺳﻮﻡ‪.‬‬ ‫ﭼﻴﺰﻯ ﻧﻤﺎﻧﺪﻩ ﺑﻮﺩ ﺩﻳﻮﺍﻧﻪ ﺷﻮﻡ‪ .‬ﻫﻴﭻ ﻧﻔﻬﻤﻴﺪﻩ ﺑﻮﺩﻡ ﭼﻘﺪﺭ ﺑﻪ ﻫﻢ ﻧﺰﺩﻳﻚ ﺷﺪﻩﺍﻳﻢ ﻭ ﭼﻘﺪﺭ ﺑﺮﺍﻳﻢ‬ ‫ﻣﻬﻢ ﺷﺪﻩ‪ .‬ﺧﻴﻠﻰ ﺑﺎ ﺧﻮﺩﻡ ﺟﻨﮕﻴﺪﻡ ﻛﻪ ﻧﺮﻭﻡ ﻭ ﺩﺭﺑﺎﺭﻩﻯ ﺍﻭ ﺍﺯ ُﺭﺯﻫﺎ ﺳﻮﺍﻝ ﻧﻜﻨﻢ‪ .‬ﺍﻣﺎ ﻣﺠﺒﻮﺭ ﺑﻮﺩﻡ‪.‬‬ ‫ﻧﻤﻰﺧﻮﺍﺳﺘﻢ‪ ،‬ﺍﻣﺎ ﭼﺎﺭﻩﻯ ﺩﻳﮕﺮﻯ ﻧﺪﺍﺷﺘﻢ‪.‬‬ ‫»ﻣﻚﻭﻯ ﺍﻭ ﻛﺠﺎﺳﺖ؟ ﺑﺮﺍﻛﺴﺎ ﺭﺍ ﻣﻰﮔﻮﻳﻢ‪«.‬‬ ‫ﮔﻔﺖ‪» :‬ﺍﻭ ﺭﻓﺘﻪ‪«.‬‬ ‫»ﻛﺠﺎ؟«‬ ‫»ﻧﻤﻰﺩﺍﻧﻢ‪«.‬‬ ‫ﺑﻪ ﺁﻥ ﭼﺸﻢﻫﺎﻯ ﺷﻴﻄﺎﻧﻰﺍﺵ ﻧﮕﺎﻩ ﻛﺮﺩﻡ‪ .‬ﻧﻔﺮﻳﻨﻰ ﺷﻮﻡ ﺑﺮ ﻟﺐﻫﺎﻳﻢ ﺑﻮﺩ‪.‬‬ ‫»ﺑﺎﻳﺪ ﺑﺪﺍﻧﻢ‪«.‬‬ ‫ﻫﻤﻴﻦﻃﻮﺭ ﺑﻰﺣﺎﻟﺖ ﻧﮕﺎﻫﻢ ﻛﺮﺩ‪.‬‬ ‫»ﻣﺎ ﺭﺍ ﺗﺮﻙ ﻛﺮﺩﻩ‪ .‬ﺭﻓﺘﻪ‪ .‬ﮔﻤﺎﻧﻢ ﺑﻪ ﺗﭙﻪﻫﺎ ﺭﻓﺘﻪ ﻳﺎ ﺷﺎﻳﺪ ﺑﻴﺎﺑﺎﻥ‪ .‬ﻣﻬﻢ ﻧﻴﺴﺖ‪ .‬ﭼﻪ ﺍﻫﻤﻴﺘﻰ ﺩﺍﺭﺩ؟ ﺭﻗﺺ‬ ‫ﺑﻪ ﭘﺎﻳﺎﻧﺶ ﻧﺰﺩﻳﻚ ﻣﻰﺷﻮﺩ‪ .‬ﻣﻌﺒﺪ ﺑﻪ ﺯﻭﺩﻯ ﺗﻬﻰ ﻣﻰﺷﻮﺩ‪«.‬‬ ‫»ﭼﺮﺍ؟ ﭼﺮﺍ ﺍﻭ ﺷﻤﺎﺭﺍ ﺗﺮﻙ ﻛﺮﺩﻩ؟«‬ ‫»ﻧﻤﻰﺩﺍﻧﻢ‪«.‬‬ ‫»ﺑﺎﻳﺪ ﺩﻭﺑﺎﺭﻩ ﺑﺒﻴﻨﻤﺶ‪ .‬ﻣﺎ ﭼﻨﺪ ﺭﻭﺯ ﺩﻳﮕﺮ ﺍﺯ ﺍﻳﻦﺟﺎ ﻣﻰﺭﻭﻳﻢ‪«.‬‬ ‫»ﻣﺘﺎﺳﻔﻢ ﮔﺎﻟﻴﻨﮕﺮ‪«.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﻣﻦ ﻫﻢ ﻫﻤﻴﻦ ﻃﻮﺭ‪ «.‬ﻭ ﻛﺘﺎﺑﻰ ﻛﻪ ﺩﺭ ﺩﺳﺖ ﺩﺍﺷﺘﻢ ﺭﺍ ﺑﺪﻭﻥ ﮔﻔﺘﻦ »ﻣﺎ ﺭﺍﻧﺎ« ]‪ [23‬ﻣﺤﻜﻢ‬ ‫ﺑﺴﺘﻢ‪.‬‬ ‫ﺑﺮﺧﺎﺳﺘﻢ ﻭ ﮔﻔﺘﻢ‪» :‬ﭘﻴﺪﺍﻳﺶ ﻣﻰﻛﻨﻢ‪«.‬‬ ‫ﻣﻌﺒﺪ ﺭﺍ ﺗﺮﻙ ﮔﻔﺘﻢ‪ .‬ﻣﻚﻭﻯ ﻣﺜﻞ ﻳﻚ ﻣﺠﺴﻤﻪﻯ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ .‬ﭼﻜﻤﻪﻫﺎﻳﻢ ﻫﻨﻮﺯ ﻫﻤﺎﻥﺟﺎ ﺑﻮﺩﻧﺪ‬ ‫ﻛﻪ ﺭﻫﺎﻳﺸﺎﻥ ﻛﺮﺩﻩ ﺑﻮﺩﻡ‪ .‬ﺗﻤﺎﻡ ﺭﻭﺯ ﻣﻴﺎﻥ ﺗﻠﻤﺎﺳﻪﻫﺎ ﺳﺮﮔﺮﺩﺍﻥ ﺑﻮﺩﻡ ﻭ ﺑﻰﻫﺪﻑ ﺍﻳﻦ ﺳﻮ ﻭ ﺁﻥ ﺳﻮ‬ ‫ﻣﻰﺭﻓﺘﻢ‪ .‬ﻻﺑﺪ ﺍﺯ ﻧﻈﺮ ﺧﺪﻣﻪﻯ ﺁﺳﭙﻴﻚ ]‪ ،[24‬ﺷﺨﺺ ﻣﻦ ﻣﺜﻞ ﻳﻚ ﻃﻮﻓﺎﻥ ﺷﻦ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ‪.‬‬ ‫ﺑﺎﻻﺧﺮﻩ ﻣﺠﺒﻮﺭ ﺑﻮﺩﻡ ﺑﺮﺍﻯ ﺳﻮﺧﺖ ﺯﺩﻥ ﺑﺎﺯﮔﺮﺩﻡ‪.‬‬ ‫ﺍﻣﻮﺭﻯ ﺁﻣﺪ ﺑﻴﺮﻭﻥ ﻛﻪ ﻓﻀﻮﻟﻰ ﻛﻨﺪ‪.‬‬ ‫‪97‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﮔﻔﺖ‪» :‬ﺑﺴﻴﺎﺭ ﺧﺐ‪«.‬‬ ‫ﺑﻮﺳﻴﺪﻣﺶ ﻭ ﻓﺮﻭ ﺍﻓﺘﺎﺩﻥ ﻟﺒﺎﺱﻫﺎ‪ ،‬ﺷﻌﻠﻪﻯ ﺷﻤﻊ ﺭﺍ ﺧﺎﻣﻮﺵ ﻛﺮﺩ‪.‬‬

‫‪۳‬‬ ‫ﺭﻭﺯﻫﺎ ﻫﻤﭽﻮﻥ ﺑﺮگﻫﺎﻯ ﺷِ ﻠﻰ ]‪ [19‬ﺑﻮﺩﻧﺪ ﺑﻪ ﺭﻧﮓﻫﺎﻯ ﺯﺭﺩ‪ ،‬ﻗﺮﻣﺰ‪ ،‬ﻗﻬﻮﻩﺍﻯ ﻭ ﺑﺎﺩﻫﺎﻯ ﻣﻼﻳﻢ ﻏﺮﺏ‬ ‫ﻣﻰﺑُﺮﺩﺷﺎﻥ‪ .‬ﺑﺎ ﺳﺮ ﻭ ﺻﺪﺍﻯ ﻣﻴﻜﺮﻭﻓﻴﻠﻢ ﺍﺯ ﻛﻨﺎﺭﻡ ﻣﻰﮔﺬﺷﺘﻨﺪ‪ .‬ﺣﺎﻻ ﺗﻘﺮﻳﺒﺎً ﺗﻤﺎﻡ ﻛﺘﺎﺏﻫﺎ ﺭﺍ ﺿﺒﻂ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩﻡ‪ .‬ﺳﺎﻝﻫﺎ ﻃﻮﻝ ﻣﻰﻛﺸﻴﺪ ﺗﺎ ﻣﺤﻘﻖﻫﺎ ﻫﻤﻪﻯ ﺁﻥﻫﺎ ﺭﺍ ﺑﺨﻮﺍﻧﻨﺪ ﻭ ﺑﻪ ﺍﺭﺯﺵ ﻭﺍﻗﻌﻰﺷﺎﻥ ﭘﻰ‬ ‫ﺑﺒﺮﻧﺪ‪ .‬ﻣﺮﻳﺦ ﺩﺭ ﻣﻴﺰ ﻣﻦ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﻛﺘﺎﺏ ﻣﻘﺪﺱ ﻛﻪ ﭼﻨﺪﻳﻦ ﺑﺎﺭ ﻛﻨﺎﺭ ﮔﺬﺍﺷﺘﻪ ﻭ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺁﻥ ﺑﺎﺯﮔﺸﺘﻪ ﺑﻮﺩﻡ‪ ،‬ﺁﻣﺎﺩﻩ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﺯﺑﺎﻥ‬ ‫ﻓﺎﺧﺮ ﺳﺨﻦ ﺑﮕﻮﻳﺪ‪ .‬ﻭﻗﺖﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﻣﻌﺒﺪ ﻧﺒﻮﺩﻡ‪ ،‬ﺳﻮﺕ ﻣﻰﺯﺩﻡ‪ .‬ﺷﻌﺮﻫﺎﻳﻰ ﻧﻮﺷﺘﻢ ﻛﻪ ﭘﻴﺶﺗﺮ ﺍﺯ‬ ‫ﻧﻮﺷﺘﻨﺸﺎﻥ ﺷﺮﻣﻨﺪﻩ ﻣﻰﺷﺪﻡ‪ .‬ﻋﺼﺮﻫﺎ ﺭﻭﻯ ﺗﻠﻤﺎﺳﻪﻫﺎ ﻳﺎ ﺑﻪ ﺳﻮﻯ ﻛﻮﻩﻫﺎ ﺑﺎ ﺑﺮﺍﻛﺴﺎ ﻗﺪﻡ ﻣﻰﺯﺩﻡ‪.‬‬ ‫ﺑﺮﺧﻰ ﺍﻭﻗﺎﺕ ﺑﺮﺍﻯ ﻣﻦ ﻣﻰﺭﻗﺼﻴﺪ ﻭ ﻣﻦ ﻫﻢ ﺑﺮﺍﻳﺶ ﺷﻌﺮﻫﺎﻯ ﺑﻠﻨﺪ ﺷﺶ ﻭﺯﻧﻰ ]‪ [20‬ﻣﻰﺧﻮﺍﻧﺪﻡ‪.‬‬ ‫ﺍﻭ ﻫﻨﻮﺯ ﮔﻤﺎﻥ ﻣﻰﻛﺮﺩ ﻣﻦ ﺭﻳﻠﻜﻪ ﻫﺴﺘﻢ ﻭ ﻣﻦ ﻫﻢ ﺳﺮﺧﻮﺩﻡ ﺭﺍ ﻛﻼﻩ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩﻡ ﻛﻪ ﺑﺎﻭﺭ ﻛﻨﻢ‪ .‬ﭘﺲ‬ ‫ﻣﻦ ﺍﻳﻦﺟﺎ ﺑﻮﺩﻡ‪ ،‬ﺩﺭ ﻛﺴﻞ ﺩﻭﻳﻨﻮ ]‪ [21‬ﻭ ﻣﺮﺛﻴﻪﻫﺎﻯ ]‪ [22‬ﺍﻭ ﺭﺍ ﻣﻰﺳﺮﺍﻳﻴﺪﻡ‪.‬‬ ‫ﭼﻘﺪﺭ ﻋﺠﻴﺐ ﺑﻮﺩ ﻛﻪ ﺩﻳﮕﺮ ﺳﺎﻛﻦ ﺯﻣﻴﻦ ﻭ ﻣﻘﻴﺪ ﺑﻪ ﺭﺳﻮﻡ ﺩﺳﺖ ﻭ ﭘﺎﮔﻴﺮ ﻧﺒﻮﺩﻡ‪ .‬ﺩﻳﮕﺮ ﻧﻴﺎﺯﻯ ﺑﻪ‬ ‫ﺭﺯﻫﺎﻯ ﺭﺍﺯﮔﻮ ﻧﺒﻮﺩ‪...‬‬ ‫ﻧﻪ! ﻫﻴﭻﻭﻗﺖ ُﺭﺯﻫﺎ ﺭﺍ ﺗﻔﺴﻴﺮ ﻧﻜﻨﻴﺪ‪ .‬ﺁﻥﻫﺎ ﺭﺍ ﻓﻘﻂ ﺑﻮ ﻛﻨﻴﺪ )ﻓﻴﻦ ﻓﻴﻠﻦ ﻛِﻴﻦ!(‪ُ .‬ﺭﺯﻫﺎ ﺭﺍ ﺑﭽﻴﻨﻴﺪ‪ ،‬ﺍﺯ‬ ‫ﺁﻥﻫﺎ ﻟﺬﺕ ﺑﺒﺮﻳﺪ‪ .‬ﺩﺭ ﻟﺤﻈﻪ ﺯﻧﺪﮔﻰ ﻛﻨﻴﺪ‪ .‬ﻣﺤﻜﻢ ﻧﮕﺎﻫﺸﺎﻥ ﺩﺍﺭﻳﺪ‪ .‬ﺍﻣﺎ ﺍﺯ ﺧﺪﺍﻳﺎﻥ ﻧﺨﻮﺍﻫﻴﺪ ﻛﻪ ﭼﻴﺰﻯ‬ ‫ﺭﺍ ﺑﺮﺍﻳﺘﺎﻥ ﺷﺮﺡ ﺩﻫﻨﺪ‪ .‬ﺑﺮگﻫﺎ ﭼﻪ ﺑﻪ ﺳﺮﻋﺖ ﻣﻰﺭﻳﺰﻧﺪ‪.‬‬ ‫ﻫﻴﭻﻭﻗﺖ ﻫﻢ ﻛﺴﻰ ﺣﻮﺍﺳﺶ ﺑﻪ ﻣﺎ ﻧﺒﻮﺩ‪ ،‬ﻳﺎ ﺍﻫﻤﻴﺘﻰ ﻧﻤﻰﺩﺍﺩ‪ .‬ﻻﺭﺍ ﻭ ﺑﺮﺍﻛﺴﺎ ﺑﺎ ﻫﻢ ﺟﻮﺭ ﺩﺭ ﻣﻰﺁﻣﺪﻧﺪ‪،‬‬ ‫ﺍﻟﺒﺘﻪ ﻗﺪﺭﻯ ﻫﻢ ﺗﻀﺎﺩ ﺩﺍﺷﺘﻨﺪ‪ .‬ﻗﺪ ﺑﻠﻨﺪ‪ ،‬ﻳﺦ ﻭ ﻣﻮﻃﻼﻳﻰ )ﻣﻦ ﺍﺯ ﻣﻮﻃﻼﻳﻰﻫﺎ ﺑﻴﺰﺍﺭﻡ( ﻭ ﭘﺪﺭﻡ ﻣﻦ ﺭﺍ‬ ‫ﻣﺜﻞ ﻳﻚ ﺟﻴﺐ‪ ،‬ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺑﻪ ﺁﻥ ﺭﻭ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﻣﻦ ﺧﻴﺎﻝ ﻣﻰﻛﺮﺩﻡ ﺍﻭ ﻣﻰﺗﻮﺍﻧﺪ ﺩﻭﺑﺎﺭﻩ ﭘُﺮﻡ ﻛﻨﺪ‪.‬‬ ‫ﺍﻣﺎ ﺁﻥ ﺭﺳﻦﭘﺮﺗﺎﺏﻛﻦ ﺑﺎ ﺭﻳﺶ ﻳﻬﻮﺩﺍﻳﻰ ﻭ ﺍﻋﺘﻤﺎﺩﻯ ﺳﮓﻭﺍﺭ ﺩﺭ ﭼﺸﻢﻫﺎﻳﺶ‪ ،‬ﻳﻚ ﻭﺳﻴﻠﻪﻱ ﺗﺰﻳﻴﻨﻰ‬ ‫ﺯﻳﺒﺎ ﺩﺭ ﻣﻴﻬﻤﺎﻧﻰﻫﺎﻯ ﺑﺮﺍﻛﺴﺎ ﻣﻰﺷﺪ‪ .‬ﻫﻤﻪﺍﺵ ﻫﻤﻴﻦ ﺑﻮﺩ‪ .‬ﻣﺎﺷﻴﻦ ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﻣﻦ ﺭﺍ ﺩﺭ ﻣﻌﺒﺪ‬ ‫ﻧﻔﺮﻳﻦ ﻛﺮﺩ! ﻣﺎﻻﻥ ﻭ ﮔﺎﻟﻴﻨﮕﺮ ﺭﺍ ﻣﻮﺭﺩ ﻟﻌﻨﺖ ﻗﺮﺍﺭ ﺩﺍﺩ! ﻭ ﺑﺎﺩ ﻭﺣﺸﻰ ﻏﺮﺏ ﻣﻰﻭﺯﻳﺪ ﻭ ﭼﻴﺰﻯ ﭘﺸﺖ‬ ‫ﺳﺮ ﻧﺰﺩﻳﻜﻤﺎﻥ ﺑﻮﺩ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﭘﺎﻭﺭﻗﻰ‬

‫ﮔﻔﺘﻢ‪» :‬ﺍﻳﻦﻫﺎ ﺳﻪ ﻓﺼﻞ ﺍﻭﻝ ﻛﺘﺎﺏِ ﻣﻘﺪﺱ ﻫﺴﺘﻨﺪ‪ .‬ﺧﻴﻠﻰ ﺷﺒﻴﻪ ﺑﻪ ﻛﺘﺎﺏ ﻣﻘﺪﺱ ﺧﻮﺩ ﺷﻤﺎ ﺍﺳﺖ‪«.‬‬ ‫ﺷﺮﻭﻉ ﻛﺮﺩﻡ ﺑﻪ ﺧﻮﻧﺪﻥ ﺍﺯ ﺭﻭﻳﺶ‪ .‬ﻳﺎﺯﺩﻩ ﺁﻳﻪ ﺧﻮﺍﻧﺪﻩ ﺑﻮﺩﻡ ﻛﻪ ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﻟﻄﻔﺎً ﺁﻥ ﺭﺍ ﻧﺨﻮﺍﻥ! ﻳﻜﻰ ﺍﺯ‬ ‫ﺷﻌﺮﻫﺎﻯ ﺧﻮﺩﺕ ﺭﺍ ﺑﺨﻮﺍﻥ!« ﺩﺳﺖ ﺍﺯ ﺧﻮﺍﻧﺪﻥ ﻛﺸﻴﺪﻡ‪ .‬ﺩﻓﺘﺮﭼﻪ ﺭﺍ ﺑﻪ ﺳﻮﻯ ﻳﻚ ﻣﻴﺰ ﭘﺮﺗﺎﺏ ﻛﺮﺩﻡ‪.‬‬ ‫ﺩﺍﺷﺖ ﻣﻰﻟﺮﺯﻳﺪ‪ ،‬ﻧﻪ ﻣﺜﻞ ﺁﻥ ﺭﻭﺯﻯ ﻛﻪ ﻫﻤﭽﻮﻥ ﺑﺎﺩ ﺭﻗﺼﻴﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﻠﻜﻪ ﺑﺎ ﺍﺷﻚﻫﺎﻯ ﻧﺮﻳﺨﺘﻪ ﺩﺭ‬ ‫ﭼﺸﻤﺎﻧﺶ ﻣﻰﻟﺮﺯﻳﺪ‪ .‬ﺳﻴﮕﺎﺭ ﺭﺍ ﻣﺜﻞ ﻳﻚ ﻣﺪﺍﺩ ﺑﻪ ﻃﺮﺯ ﻧﺎﻓﺮﻣﻰ ﺩﺭ ﺩﺳﺖ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ .‬ﺑﺎ ﺍﺣﺘﻴﺎﻁ ﺩﺳﺘﻢ‬ ‫ﺭﺍ ﺭﻭﻯ ﺷﺎﻧﻪﻫﺎﻳﺶ ﮔﺬﺍﺷﺘﻢ‪.‬‬ ‫ﮔﻔﺖ‪» :‬ﺧﻴﻠﻰ ﻏﻤﮕﻴﻦ ﺍﺳﺖ‪ .‬ﺩﺭﺳﺖ ﻣﺜﻞ ﺑﻘﻴﻪﺷﺎﻥ‪«.‬‬ ‫ﺫﻫﻨﻢ ﺭﺍ ﻫﻤﭽﻮﻥ ﻳﻚ ﺭﻭﺑﺎﻥ ﺭﻭﺷﻦ ﭘﻴﭽﺎﻧﺪﻡ‪ ،‬ﺗﺎ ﻛﺮﺩﻡ ﻭ ﻳﻜﻰ ﺍﺯ ﺁﻥ ﮔﺮﻩﻫﺎﻯ ﻏﺮﻳﺐ ﻛﺮﻳﺴﻤﺲ ﺭﺍ‬ ‫ﻛﻪ ﺧﻴﻠﻰ ﺩﻭﺳﺖ ﺩﺍﺭﻡ ﺯﺩﻡ‪ .‬ﻓﻰﺍﻟﺒﺪﺍﻫﻪ ﺷﻌﺮﻯ ﺩﺭﺑﺎﺭﻩﻯ ﻳﻚ ﺭﻗﺎﺹ ﺍﺳﭙﺎﻧﻴﺎﻳﻰ ﺭﺍ ﺍﺯ ﺁﻟﻤﺎﻧﻰ ﺑﻪ ﺯﺑﺎﻥ‬ ‫ﻣﺮﻳﺨﻰ ﺑﺎﺯ ﮔﺮﺩﺍﻧﺪﻡ‪ .‬ﻓﻜﺮ ﻛﺮﺩﻡ ﺧﻮﺷﺶ ﺑﻴﺎﻳﺪ‪ .‬ﻫﻤﻴﻦ ﻃﻮﺭ ﻫﻢ ﺑﻮﺩ‪.‬‬ ‫ﮔﻔﺖ‪» :‬ﺍﻭﻩ‪ .‬ﺍﻳﻦ ﺭﺍ ﺧﻮﺩﺕ ﮔﻔﺘﻰ؟«‬ ‫»ﻧﻪ‪ ،‬ﻛﺴﻰ ﺑﻬﺘﺮ ﺍﺯ ﻣﻦ ﺁﻥ ﺭﺍ ﺳﺮﻭﺩﻩ‪«.‬‬ ‫»ﻓﻜﺮ ﻧﻜﻨﻢ‪ .‬ﺑﻪ ﻧﻈﺮﻡ ﺧﻮﺩﺕ ﺳﺮﻭﺩﻯﺍﺵ‪«.‬‬ ‫»ﻧﻪ‪ ،‬ﻣﺮﺩﻯ ﺑﻪ ﻧﺎﻡ ﺭﻳﻠﻜﻪ ]‪ [18‬ﺁﻥ ﺭﺍ ﺳﺮﻭﺩﻩ‪«.‬‬ ‫»ﺍﻣﺎ ﺗﻮ ﺁﻥ ﺭﺍ ﺑﻪ ﺯﺑﺎﻥ ﻣﻦ ﮔﻔﺘﻰ‪ .‬ﻛﺒﺮﻳﺘﻰ ﺩﻳﮕﺮ ﺁﺗﺶ ﺑﺰﻥ ﺗﺎ ﺑﺒﻴﻨﻢ ﭼﮕﻮﻧﻪ ﺭﻗﺼﻴﺪﻩ‪«.‬‬ ‫ﻫﻤﻴﻦ ﻛﺎﺭ ﺭﺍ ﻛﺮﺩﻡ‪.‬‬ ‫ﺑﺎ ﺧﻮﺩﺵ ﮔﻔﺖ‪» :‬ﺁﺗﺶﻫﺎﻯ ﺍﺑﺪﻯ ﻭ ﺍﻭ ﺑﺎ ﮔﺎﻡﻫﺎﻯ ﻧﺮﻡ ﻭ ﻣﺤﻜﻢ ﺧﺎﻣﻮﺷﺸﺎﻥ ﻛﺮﺩ‪ .‬ﻛﺎﺵ ﻣﻦ ﻫﻢ‬ ‫ﻣﻰﺗﻮﺍﻧﺴﺘﻢ ﺁﻥ ﮔﻮﻧﻪ ﺑﺮﻗﺼﻢ‪«.‬‬ ‫ﺧﻨﺪﻳﺪﻡ ﻭ ﻛﺒﺮﻳﺖ ﺷﻌﻠﻪﻭﺭ ﺭﺍ ﻓﻮﺕ ﻛﺮﺩﻡ‪» .‬ﺗﻮ ﺑﻬﺘﺮ ﺍﺯ ﻫﺮ ﺩﺧﺘﺮ ﻛﻮﻟﻰ ﻫﺴﺘﻰ‪«.‬‬ ‫»ﻧﻪ ﻧﻴﺴﺘﻢ‪ ،‬ﻧﻤﻰﺗﻮﺍﻧﻢ ﺑﺎﺷﻢ‪ .‬ﻣﻰﺧﻮﺍﻫﻰ ﺑﺮﺍﻯ ﺗﻮ ﺑﺮﻗﺼﻢ؟«‬ ‫ﺳﻴﮕﺎﺭﺵ ﺩﺍﺷﺖ ﺑﻪ ﺍﻧﺘﻬﺎ ﻣﻰﺭﺳﻴﺪ‪ .‬ﺁﻥ ﺭﺍ ﺍﺯ ﺍﻧﮕﺸﺘﺎﻧﺶ ﮔﺮﻓﺘﻢ ﻭ ﻫﻤﺮﺍﻩ ﺑﺎ ﺳﻴﮕﺎﺭ ﺧﻮﺩﻡ ﻛﻨﺎﺭ‬ ‫ﮔﺬﺍﺷﺘﻢ‪.‬‬ ‫ﮔﻔﺘﻢ‪»:‬ﻧﻪ‪ ،‬ﺑﻪ ﺗﺨﺖ ﺑﺮﻭ‪«.‬‬ ‫ﻟﺒﺨﻨﺪﻯ ﺯﺩ ﻭ ﭘﻴﺶ ﺍﺯ ﺁﻥ ﻛﻪ ﺑﻪ ﺧﻮﺩﻡ ﺑﻴﺎﻳﻴﻢ‪ ،‬ﭼﻴﻦ ﻭ ﺷﻜﻦﻫﺎﻯ ﺳﺮﺥ ﺭﻭﻯ ﺷﺎﻧﻪﻫﺎﻳﺶ ﺑﻮﺩﻧﺪ‪ .‬ﻭ‬ ‫ﺑﻌﺪ ﻫﻤﻪ ﭼﻴﺰ ﻓﺮﻭ ﺍﻓﺘﺎﺩ‪.‬‬ ‫ﺑﻪ ﺳﺨﺘﻰ ﺁﺏ ﺩﻫﺎﻧﻢ ﺭﺍ ﻗﻮﺭﺕ ﺩﺍﺩﻡ‪.‬‬ ‫‪95‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﭘﺎﻭﺭﻗﻰ‬

‫ﺭﺍﺩﻳﻮﺍﻛﺘﻴﻮ ﺍﺯ ﻧﺎﻛﺠﺎﺁﺑﺎﺩ ﺑﻪ ﺍﺗﻤﺴﻔﺮ ﺿﻌﻴﻔﺸﺎﻥ ﺭﺳﻮﺥ ﻛﺮﺩﻩ ﺑﺎﺷﺪ؟ ﺑﺎﻳﺪ ﺭﻭﺯﻯ ﺑﺴﻴﺎﺭ ﻗﺒﻞ ﺍﺯ ﺁﻥ‬ ‫ﺑﺎﺷﺪ ﻛﻪ ﺷﻴﺎﭘﺎﺭﻟﻰ ]‪ [16‬ﻛﺎﻧﺎﻝﻫﺎﻯ ﻣﺮﻳﺦ ﺭﺍ ﺩﻳﺪ‪ ،‬ﻛﺎﻧﺎﻝﻫﺎﻳﻰ ﻛﻪ ﻫﻤﭽﻮﻥ ﺍژﺩﻫﺎﻯ ﺭﻭﻯ ﻟﺒﺎﺱ ﻣﻦ‬ ‫ﺍﺳﺮﺍﺭﺁﻣﻴﺰ ﺑﻮﺩﻧﺪ‪ .‬ﺁﻳﺎ ﺑﺮﺍﻛﺴﺎ ﭘﻴﺶ ﺍﺯ ﺁﻥ ﻛﻪ »ﻛﺎﻧﺎﻝﻫﺎ« ﺣﺪﺱﻫﺎﻳﻰ ﺩﺭﺳﺖ ﺑﻪ ﻭﺍﺳﻄﻪﻯ ﺩﻻﻳﻞ‬ ‫ِ‬ ‫ﺑﻬﺸﺖ‬ ‫ﻧﺎﺩﺭﺳﺖ ﺭﺍ ﺑﺎﻋﺚ ﺷﻮﻧﺪ‪ ،‬ﺯﻧﺪﻩ ﺑﻮﺩ ﻭ ﺍﻳﻦﺟﺎ ﻣﻰﺭﻗﺼﻴﺪ‪ ،‬ﺁﻳﺎ ﺍﺯ ﻫﻤﺎﻥ ﺯﻣﺎﻥ ﻛﻪ ﻣﻴﻠﺘﻮﻥ ﺍﺯ‬ ‫ﮔﻢﺷﺪﻩﻯ ﺩﻳﮕﺮﻯ ﺳﺮﻭﺩﻩ ﺑﻮﺩ‪ ،‬ﺍﻭ ﻫﻢ ﺩﺭ ﺯﻫﺪﺍﻥ ﻧﻔﺮﻳﻦ ﺷﺪﻩ ﺑﻮﺩ؟ ﺳﻴﮕﺎﺭﻯ ﭘﻴﺪﺍ ﻛﺮﺩﻡ‪ .‬ﺧﻮﺏ ﺷﺪ‬ ‫ﻛﻪ ﺑﺎ ﺧﻮﺩﻡ ﺯﻳﺮﺳﻴﮕﺎﺭﻯ ﺁﻭﺭﺩﻩ ﺑﻮﺩﻡ‪.‬‬ ‫ﻣﺮﻳﺦ ﻫﻴﭻﻭﻗﺖ ﻛﺎﺭﺧﺎﻧﻪﻯ ﺗﻨﺒﺎﻛﻮ ﻳﺎ ﻣﺸﺮﻭﺏ ﻧﺪﺍﺷﺘﻪ‪ .‬ﺭﺍﻫﺐﻫﺎﻯ ﻫﻨﺪﻯ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﺍﻳﻦﻫﺎ‬ ‫ﺷﺮﺍﺏﺧﻮﺍﺭ ﺑﻮﺩﻧﺪ‪.‬‬ ‫»ﺍﻳﻦ ﻧﻮﺍﺭ ﺁﺗﺸﻴﻦ ﭼﻴﺴﺖ؟«‬ ‫»ﺳﻴﮕﺎﺭ‪ ،‬ﻳﻜﻰ ﻣﻰﺧﻮﺍﻫﻰ؟«‬ ‫»ﺑﻠﻪ ﻟﻄﻔﺎً‪«.‬‬ ‫ﻛﻨﺎﺭ ﻣﻦ ﻧﺸﺴﺖ ﻭ ﻳﻜﻰ ﺑﺮﺍﻳﺶ ﺁﺗﺶ ﺯﺩﻡ‪.‬‬ ‫»ﺑﻴﻨﻰ ﺭﺍ ﺍﺫﻳﺖ ﻣﻰﻛﻨﺪ‪«.‬‬ ‫»ﺑﻠﻪ‪ ،‬ﺁﻥ ﺭﺍ ﺗﻮﻯ ﺭﻳﻪﻫﺎﻳﺖ ﺑﺪﻩ ﻭ ﻫﻤﺎﻥﺟﺎ ﻧﮕﻪ ﺩﺍﺭ‪ ،‬ﺑﻌﺪ ﺑﻴﺮﻭﻥ ﺑﺪﻩ‪«.‬‬ ‫ﻳﻚ ﻟﺤﻈﻪ ﮔﺬﺷﺖ‪.‬‬ ‫ﮔﻔﺖ‪» :‬ﺍﻭﻩ‪«.‬‬ ‫ﻣﻜﺜﻰ ﻛﺮﺩ ﻭ ﺑﻌﺪ ﭘﺮﺳﻴﺪ‪» :‬ﻣﻘﺪﺱ ﺍﺳﺖ؟«‬ ‫»ﺧﻴﺮ‪ ،‬ﻧﻴﻜﻮﺗﻴﻦ ﺍﺳﺖ‪ .‬ﻳﻚ ﺍﻟﻮﻫﻴﺖ ﺑﺴﻴﺎﺭ ﺑﻰﺩﻭﺍﻡ ]‪«.[17‬‬ ‫ﻣﻜﺜﻰ ﺩﻳﮕﺮ‪.‬‬ ‫»ﻟﻄﻔﺎً ﺍﺯ ﻣﻦ ﻧﺨﻮﺍﻩ »ﺩﻭﻥﻣﺎﻳﻪ« ﺭﺍ ﺗﺮﺟﻤﻪ ﻛﻨﻢ‪«.‬‬ ‫»ﻧﻪ ﻧﻤﻰﺧﻮﺍﻫﺪ‪ .‬ﮔﺎﻫﻰ ﻭﻗﺖﻫﺎ ﻛﻪ ﻣﻰﺭﻗﺼﻢ‪ ،‬ﺍﺣﺴﺎﺳﻰ ﺷﺒﻴﻪ ﺑﻪ ﻛﺸﻴﺪﻥ ﺍﻳﻦ ﺩﺍﺭﻡ‪«.‬‬ ‫»ﭼﻨﺪ ﻟﺤﻈﻪ ﺑﻌﺪ ﺣﺴﺶ ﺍﺯ ﺑﻴﻦ ﻣﻰﺭﻭﺩ‪«.‬‬ ‫»ﺣﺎﻻ ﺷﻌﺮﺕ ﺭﺍ ﺑﺮﺍﻳﻢ ﺑﺨﻮﺍﻥ‪«.‬‬ ‫ﺍﻳﺪﻩﺍﻯ ﺑﻪ ﺫﻫﻨﻢ ﺭﺳﻴﺪ‪.‬‬ ‫ﮔﻔﺘﻢ‪»:‬ﻳﻚ ﺩﻗﻴﻘﻪ ﺻﺒﺮ ﻛﻦ‪ .‬ﭼﻴﺰ ﺑﻬﺘﺮﻯ ﺩﺍﺭﻡ‪«.‬‬ ‫ﺑﻠﻨﺪ ﺷﺪﻡ ﻭ ﺩﺍﺧﻞ ﻛﻴﻒ ﺩﻓﺘﺮﻳﺎﺩﺩﺍﺷﺖﻫﺎﻳﻢ ﮔﺸﺘﻢ‪ ،‬ﺑﻌﺪ ﺑﺎﺯﮔﺸﺘﻢ ﻭ ﻛﻨﺎﺭ ﺍﻭ ﺭﻭﻯ ﺗﺨﺖ ﻧﺸﺴﺘﻢ‪.‬‬ ‫‪93‬‬

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‫»ﺑﻠﻪ‪ ،‬ﺩﻗﻴﻘﺎً ﺧﻮﺩﺵ ﺍﺳﺖ‪«.‬‬ ‫ﺧﻨﺪﻳﺪ‪ .‬ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺑﻮﺩ ﻛﻪ ﺻﺪﺍﻯ ﺧﻨﺪﻩﺍﻯ ﺭﺍ ﺩﺭ ﺗﻴﺮﻟﻴﺎﻥ ﻣﻰﺷﻨﻴﺪﻡ‪ .‬ﮔﻮﻳﻰ ﻳﻚ ﻧﻮﺍﺯﻧﺪﻩﻯ ﻭﻳﻮﻟﻮﻥ‬ ‫ﺳﻴﻢﻫﺎ ﺑﺎﻻﻳﻰ ﺭﺍ ﺑﺎ ﺿﺮﺑﺎﺕِ ﻛﻮﺗﺎ ِﻩ ﺁﺭﺷﻪ ﺑﻨﻮﺍﺯﺩ‪ .‬ﭼﻴﺰ ﺟﺎﻟﺒﻰ ﻧﺒﻮﺩ ﻛﻪ ﺁﺩﻡ ﺩﻟﺶ ﺑﺨﻮﺍﻫﺪ ﺑﺸﻨﻮﺩ‪.‬‬ ‫ﺧﺼﻮﺻﺎً ﻛﻪ ﻣﺪﺗﻰ ﻃﻮﻻﻧﻰ ﺧﻨﺪﻳﺪ‪.‬‬ ‫ﻭﻗﺘﻰ ﺧﻨﺪﻩﺍﺵ ﺗﻤﺎﻡ ﺷﺪ‪ ،‬ﺟﻠﻮﺗﺮ ﺁﻣﺪ‪.‬‬ ‫ﮔﻔﺖ‪» :‬ﺣﺎﻻ ﻳﺎﺩﻡ ﺁﻣﺪ‪ .‬ﻣﺎ ﻫﻢ ﻫﻤﭽﻮﻥ ﻗﻮﺍﻧﻴﻨﻰ ﺩﺍﺷﺘﻴﻢ‪ .‬ﻧﻴﻢ ﭘﺮﻭﺳﻪ ]‪ [15‬ﻗﺒﻞ ﺑﻮﺩ‪ .‬ﺁﻥ ﻣﻮﻗﻊ ﻣﻦ‬ ‫ﺑﭽﻪ ﺑﻮﺩﻡ ﻭ ﻣﺎ ﺍﺯ ﺍﻳﻦ ﻗﻮﺍﻧﻴﻦ ﺩﺍﺷﺘﻴﻢ‪ ،‬ﺍﻣﺎ‪ «...‬ﻗﻴﺎﻓﻪﺍﺵ ﻃﻮﺭﻯ ﺑﻮﺩ ﺍﻧﮕﺎﺭ ﺩﻭﺑﺎﺭﻩ ﺑﺨﻮﺍﻫﺪ ﺑﺨﻨﺪﺩ‪ .‬ﺍﺩﺍﻣﻪ‬ ‫ﺩﺍﺩ‪» :‬ﺍﻣﺎ ﺣﺎﻻ ﺩﻳﮕﺮ ﻧﻴﺎﺯﻯ ﺑﻬﺸﺎﻥ ﻧﻴﺴﺖ‪«.‬‬ ‫ﺫﻫﻨﻢ ﺩﺍﺷﺖ ﻣﺜﻞ ﻳﻚ ﺿﺒﻂﺻﻮﺕِ ﺭﻭﻯ ﺩﻭﺭ ﺗﻨﺪ ﻛﺎﺭ ﻣﻰﻛﺮﺩ‪ .‬ﻧﻴﻢ ﭘﺮﻭﺳﻪ‪ .‬ﻧﻴﻢ ﭘﺮﻭﺳﻪ‪ ...‬ﻧﻴﻢﭘﺮﻭﺳﻪ‪...‬‬ ‫ﻧﻪ! ﺑﻠﻪ! ﻧﻴﻢ ﭘﺮﻭﺳﻪ ﺩﻭﻳﺴﺖ ﻭ ﭼﻬﻞ ﻭ ﺳﻪ ﺳﺎﻝ ﻣﻰﺷﺪ! ﺯﻣﺎﻥ ﻛﺎﻓﻰ ﺑﺮﺍﻯ ﻳﺎﺩ ﮔﺮﻓﺘﻦ ‪ 2224‬ﺭﻗﺺ‬ ‫ﻟﻮﻛﺎﺭ‪ .‬ﺯﻣﺎﻥ ﻛﺎﻓﻰ ﺑﺮﺍﻯ ﭘﻴﺮ ﺷﺪﻥ‪ .‬ﻣﻨﻈﻮﺭﻡ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﮔﺮ ﻳﻚ ﺍﻧﺴﺎﻥ ﺯﻣﻴﻨﻰ ﺑﺎﺷﻰ‪ ،‬ﺩﺭ ﺍﻳﻦ ﻣﺪﺕ‬ ‫ﭘﻴﺮ ﻣﻰﺷﻮﻯ‪ .‬ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺍﻭ ﻧﮕﺎﻩ ﻛﺮﺩﻡ ﻛﻪ ﭼﻮﻥ ﻣﻠﻜﻪﻯ ﻋﺎﺝ ﻣﻬﺮﻩﻫﺎﻯ ﺷﻄﺮﻧﺞ‪ ،‬ﺭﻧﮓﭘﺮﻳﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺳﺮ ﺭﻭﺣﻢ ﺷﺮﻁ ﻣﻰﺑﻨﺪﻡ ﺍﻭ ﻳﻚ ﺍﻧﺴﺎﻥ ﻣﻌﻤﻮﻟﻰ ﻭ ﺳﺎﻟﻢ ﺑﻮﺩ ﻭ ﺳﺮ ﺯﻧﺪﮔﻰﺍﻡ ﺷﺮﻁ ﻣﻰﺑﻨﺪﻡ ﻳﻚ ﺯﻥ‬ ‫ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﺩﻭ ﻗﺮﻥ ﻭ ﻧﻴﻢ ﻋﻤﺮ ﺩﺍﺷﺖ ﻛﻪ ﺑﺎ ﺍﻳﻦ ﺗﻔﺎﺳﻴﺮ‪ ،‬ﻣﻚﻭﻯِ ﻣﺘﻮﺷﺎﻟﺢ ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﻳﻚ ﻣﺎﺩﺭﺑﺰﺭگ‬ ‫ﺑﻮﺩ‪ .‬ﺑﺎ ﺧﻮﺩﻡ ﻓﻜﺮ ﻛﺮﺩﻡ ﺍﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ ﺑﺮﺗﺮ ﭼﻪ ﻗﺪﺭ ﺑﻰﺧﻮﺩﻯ ﺍﺯ ﻣﻬﺎﺭﺕﻫﺎﻯ ﻣﻦ ﺑﻪ ﻋﻨﻮﺍﻥ ﺷﺎﻋﺮ‬ ‫ﻭ ﺯﺑﺎﻥﺷﻨﺎﺱ ﺗﻌﺮﻳﻒ ﻛﺮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﺍﻣﺎ ﻣﻨﻈﻮﺭﺵ ﺍﺯ ﺍﻳﻦ ﻛﻪ »ﺩﻳﮕﺮ ﻧﻴﺎﺯﻯ ﺑﻪ ﺁﻥ ﻗﻮﺍﻧﻴﻦ ﻧﻴﺴﺖ« ﭼﻪ ﺑﻮﺩ؟ ﺁﻥ ﺧﻨﺪﻩﻯ ﻫﻴﺴﺘﺮﻳﻚ ﭼﻪ‬ ‫ﺩﻟﻴﻠﻰ ﺩﺍﺷﺖ؟ ﺁﻥ ﻫﻤﻪ ﻧﮕﺎﻩﻫﺎﻯ ﺍﺳﺘﻬﺰﺍﺁﻣﻴﺰ ﻛﻪ ﻣﻚﻭﻯ ﺑﻪ ﻣﻦ ﻣﻰﺍﻧﺪﺍﺧﺖ ﺑﺮﺍﻯ ﭼﻪ ﺑﻮﺩﻧﺪ؟‬ ‫ﻧﺎﮔﻬﺎﻥ ﻓﻬﻤﻴﺪﻡ ﻋﻼﻭﻩ ﺑﺮ ﻳﻚ ﺩﺧﺘﺮ ﺯﻳﺒﺎ‪ ،‬ﻧﺰﺩﻳﻚ ﺑﻪ ﭼﻴﺰﻯ ﺑﺴﻴﺎﺭ ﻣﻬﻢ ﻫﺴﺘﻢ‪.‬‬ ‫ﺑﺎ ﻟﺤﻨﻰ ﻣﻌﻤﻮﻟﻰ ﭘﺮﺳﻴﺪﻡ‪» :‬ﺑﮕﻮ ﺑﺒﻴﻨﻢ‪ .‬ﺁﻳﺎ ﺭﺑﻄﻰ ﺑﻪ »ﻃﺎﻋﻮﻧﻰ ﻛﻪ ﻧﻤﻰ ُﻛﺸﺖ« ﺩﺍﺭﺩ ﻛﻪ ﺗﻤﻮﺭ ﺷﻤﺎ‬ ‫ﺍﺯ ﺁﻥ ﻧﻮﺷﺘﻪ‪«.‬‬ ‫ﭘﺎﺳﺦ ﺩﺍﺩ‪» :‬ﺑﻠﻪ‪ .‬ﺑﭽﻪﻫﺎﻳﻰ ﻛﻪ ﭘﺲ ﺍﺯ ﺑﺎﺭﺍﻥ ﻣﺘﻮﻟﺪ ﺷﺪﻧﺪ‪ ،‬ﺩﻳﮕﺮ ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﺑﭽﻪﺩﺍﺭ ﺷﻮﻧﺪ ﻭ‪«...‬‬ ‫ﺑﻪ ﺟﻠﻮ ﺧﻢ ﺷﺪﻡ‪ ،‬ﺫﻫﻨﻢ ﺭﺍ ﺭﻭﻯ ﺣﺎﻟﺖ »ﺿﺒﻂ« ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩﻡ‪» :‬ﺑﻌﺪ ﭼﻪ؟«‬ ‫»‪...‬ﻣﺮﺩﻫﺎ ﻫﻢ ﺩﻳﮕﺮ ﺗﻤﺎﻳﻠﻰ ﺑﻬﺶ ﻧﺪﺍﺷﺘﻨﺪ‪«.‬‬ ‫ﻋﻘﺐ ﺭﻓﺘﻢ ﻭ ﺑﻪ ﺳﺘﻮﻥ ﺗﺨﺖ ﺗﻜﻴﻪ ﺩﺍﺩﻡ‪ .‬ﻧﺎﺑﺎﺭﻭﺭﻯ ﻧﮋﺍﺩﻯ‪ ،‬ﻧﺎﺗﻮﺍﻧﻰ ﺟﻨﺴﻰ ﻣﺮﺩﻫﺎ ﻛﻪ ﺑﻪ ﺩﻧﺒﺎﻝ‬ ‫ﺗﻐﻴﻴﺮﺍﺕ ﺷﺪﻳﺪ ﺁﺏ ﻭ ﻫﻮﺍﻳﻰ ُﺭﺥ ﻣﻰﺩﻫﺪ‪ .‬ﻣﻤﻜﻦ ﺍﺳﺖ ﺭﻭﺯﻯ ﺍﺯ ﺭﻭﺯﻫﺎ‪ ،‬ﺍﺑﺮﻯ ﺁﻟﻮﺩﻩ ﺑﻪ ﺯﺑﺎﻟﻪﻯ‬

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‫ﭘﺎﻭﺭﻗﻰ‬

‫»ﺳﻼﻡ‪«.‬‬ ‫ﮔﻔﺖ‪» :‬ﺁﻣﺪﻩﺍﻡ ﻛﻪ ﺷﻌﺮ ﺭﺍ ﺑﺸﻨﻮﻡ‪«.‬‬ ‫»ﻛﺪﺍﻡ ﺷﻌﺮ؟«‬ ‫»ﺷﻌﺮ ﺷﻤﺎ‪«.‬‬ ‫»ﺁﻩ!«‬ ‫ﺧﻤﻴﺎﺯﻩ ﻛﺸﻴﺪﻡ‪ ،‬ﻧﺸﺴﺘﻢ ﻭ ﻛﺎﺭﻫﺎﻳﻰ ﺭﺍ ﻛﺮﺩﻡ ﻛﻪ ﻭﻗﺘﻰ ﻣﻠﺖ ﺭﺍ ﻧﺼﻔﻪ ﺷﺐ ﺑﻴﺪﺍﺭ ﻣﻰﻛﻨﻨﺪ ﺷﻌﺮ‬ ‫ﺑﺨﻮﺍﻧﻨﺪ‪ ،‬ﺍﺯﺷﺎﻥ ﺳﺮ ﻣﻰﺯﻧﺪ‪.‬‬ ‫»ﺧﻴﻠﻰ ﻟﻄﻒ ﺩﺍﺭﻳﺪ‪ ،‬ﻭﻟﻰ ﺑﻪ ﻧﻈﺮﺗﻮﻥ ﺧﻴﻠﻰ ﻭﻗﺖ ﺑﺪﻯ ﻧﻴﺴﺖ؟«‬ ‫ﮔﻔﺖ‪» :‬ﻧﻪ‪ ،‬ﺑﺮﺍﻯ ﻣﻦ ﻣﻬﻢ ﻧﻴﺴﺖ‪ «.‬ﻳﻚ ﺭﻭﺯ ﺑﺎﻳﺪ ﻣﻘﺎﻟﻪﺍﻯ ﺑﺮﺍﻯ ﻣﺠﻠﻪﻯ ﻣﻌﻨﺎﺷﻨﺎﺳﻰ ﺑﻨﻮﻳﺴﻢ ﺑﺎ ﺍﻳﻦ‬ ‫ﻋﻨﻮﺍﻥ‪» :‬ﻟﺤﻦ ﺻﺪﺍ‪ :‬ﺑﺴﻴﺎﺭ ﻧﺎﻛﺎﺭﺁﻣﺪ ﺑﺮﺍﻯ ﺍﻧﺘﻘﺎﻝ ﻛﻨﺎﻳﻪ‪ «.‬ﺑﻪ ﻫﺮ ﺣﺎﻝ ﻣﻦ ﻛﻪ ﺑﻴﺪﺍﺭ ﺷﺪﻩ ﺑﻮﺩﻡ‪ ،‬ﭘﺲ‬ ‫ﭘﻴﺮﺍﻫﻨﻢ ﺭﺍ ﭘﻮﺷﻴﺪﻡ‪.‬‬ ‫ﺑﻪ ﺍژﺩﻫﺎﻯ ﺭﻭﻯ ﻟﺒﺎﺳﻢ ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻭ ﭘﺮﺳﻴﺪ‪» :‬ﺁﻥ ﭼﻪ ﻧﻮﻉ ﺟﺎﻧﻮﺭﻯ ﺍﺳﺖ؟«‬ ‫ﭘﺎﺳﺦ ﺩﺍﺩﻡ‪» :‬ﺍﺳﺮﺍﺭﺁﻣﻴﺰ‪ .‬ﺣﺎﻻ ﺑﺒﻴﻦ‪ ،‬ﺧﻴﻠﻰ ﺩﻳﺮ ﺍﺳﺖ‪ .‬ﻣﻦ ﻫﻢ ﺧﺴﺘﻪﺍﻡ‪ .‬ﻓﺮﺩﺍ ﺻﺒﺢ ﻫﻢ ﻛﻠﻰ ﻛﺎﺭ‬ ‫ﺩﺍﺭﻡ‪ .‬ﻭ ﺍﮔﺮ ﻣﻚﻭﻯ ﻣﺘﻮﺟﻪ ﺷﻮﺩ ﺍﻳﻦ ﻭﻗﺖ ﺷﺐ ﺍﻳﻦﺟﺎ ﺑﻮﺩﻯ‪ ،‬ﻣﻤﻜﻦ ﺍﺳﺖ ﻓﻜﺮﻫﺎﻯ ﺑﺪ ﺑﻜﻨﺪ‪«.‬‬ ‫»ﭼﻪ ﻓﻜﺮﻫﺎﻯ ﺑﺪﻯ؟«‬ ‫ﻟﻌﻨﺘﻰ ﻣﻦ ﭼﻴﻪ‪ «.‬ﺩﻓﻌﻪﻯ ﺍﻭﻝ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﻛﻠﻤﺎﺕ ﻣﺮﻳﺨﻰ ﺑﺮﺍﻯ ﺩﺷﻨﺎﻡ ﺩﺍﺩﻥ‬ ‫»ﺧﻮﺏ ﻣﻰﺩﻭﻧﻰ ﻣﻨﻈﻮﺭ‬ ‫ِ‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﺮﺩﻡ ﻭ ﺍﻟﺒﺘﻪ ﺷﻜﺴﺖ ﻫﻢ ﺧﻮﺭﺩﻡ‪.‬‬ ‫ﭘﺎﺳﺦ ﺩﺍﺩ‪» :‬ﻧﻪ‪ ،‬ﻧﻤﻰﺩﻭﻧﻢ‪«.‬‬ ‫ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ ﺗﺮﺳﻴﺪﻩ‪ ،‬ﻣﺜﻞ ﻳﻚ ﺳﮓ ﻛﻮﭼﻮﻟﻮ ﻛﻪ ﻧﻤﻰﺩﺍﻧﺪ ﺑﺮﺍﻯ ﭼﻪ ﻛﺎﺭ ﺍﺷﺘﺒﺎﻫﻰ ﺗﻨﺒﻴﻬﺶ‬ ‫ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﺁﺭﺍﻡ ﺷﺪﻡ‪ .‬ﺷﻨﻞ ﻗﺮﻣﺰﺵ ﺑﺎ ﻣﻮﻫﺎ ﻭ ﻟﺐﻫﺎﻳﺶ ﻫﻢﺧﻮﺍﻧﻰ ﺩﺍﺷﺖ ﻭ ﻟﺐﻫﺎﻳﺶ ﻟﺮﺯﺍﻥ ﺑﻮﺩﻧﺪ‪.‬‬ ‫»ﺑﺒﻴﻨﺮﻳﺎﻝ ﻧﻤﻰﺧﻮﺍﺳﺘﻢ ﻧﺎﺭﺍﺣﺘﺖ ﻛﻨﻢ‪ .‬ﺩﺭ ﺩﻧﻴﺎﻯ ﻣﻦ ﺩﺭﺑﺎﺭﻩﻯ ﺣﻀﻮﺭ ﺁﺩﻡﻫﺎﻯِ ﺍﺯ ﺟﻨﺲ ﻣﺨﺎﻟﻒ‬ ‫ﺩﺭ ﺍﺗﺎﻕﺧﻮﺍﺏ ﻛﻪ ﺯﻥ ﻭ ﺷﻮﻫﺮ ﻫﻢ ﻧﻴﺴﺘﻨﺪ‪ ،‬ﺁﺩﺍﺏ ﻭ ﺭﺳﻮﻣﻰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﻣﺘﻮﺟﻬﻰ ﭼﻪ ﻣﻰﮔﻮﻳﻢ‬ ‫ﺩﻳﮕﺮ‪ ،‬ﻧﻪ؟«‬ ‫ﭼﺸﻢﻫﺎﻳﺶ ﺳﺒﺰ ﺑﻮﺩﻧﺪ‪.‬‬ ‫»ﺧﺐ‪ ...‬ﻣﺎﺟﺮﺍ ﻣﺮﺑﻮﻁ ﺑﻪ ﺭﻭﺍﺑﻂ ﺟﻨﺴﻰ ﺍﺳﺖ‪ «.‬ﻧﻮﺭﻯ ﺩﺭ ﭼﺸﻢﻫﺎﻯ ﺳﺒﺰﺵ ﺩﺭﺧﺸﻴﺪ‪.‬‬ ‫»ﺁﻩ‪ ،‬ﻣﻨﻈﻮﺭﺕ ﺑﭽﻪﺩﺍﺭ ﺷﺪﻥ ﺍﺳﺖ‪«.‬‬ ‫‪91‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﻛﻪ ﻣﻦ ﺩﺭ ﺁﻥ ﺟﺎ ﺷﻮﻡ‪ .‬ﭘﺲ ﻭﺳﺎﻳﻠﻢ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩﻡ ﻭ ﺷﺎﻧﺰﺩﻩ ﻋﻜﺲ ‪ 35‬ﻣﻴﻠﻴﻤﺘﺮﻯ ﺍﺯ ﻣﻌﺒﺪ ﮔﺮﻓﺘﻢ ﺗﺎ‬ ‫ﺑﻌﺪ ﺳﺮﺍﻍ ﻛﺘﺎﺏﻫﺎ ﺑﺮﻭﻡ‪.‬‬ ‫ﺯﺩﻥ ﻛﺘﺎﺏﻫﺎ ﺑﻰ ﺁﻥ ﻛﻪ ﺑﻔﻬﻤﻢ ﺩﺍﺧﻠﺸﺎﻥ ﭼﻪ ﻧﻮﺷﺘﻪ‪،‬‬ ‫‪ ‬ﺁﻥﻗﺪﺭ ﻋﻜﺲ ﮔﺮﻓﺘﻢ ﺗﺎ ﺍﻳﻦ ﻛﻪ ﺍﺯ ﻭﺭﻕ ِ‬ ‫ﺣﺎﻟﻢ ﺑﺪ ﺷﺪ‪ .‬ﭘﺲ ﺗﺮﺟﻤﻪﻯ ﻳﻚ ﺍﺛﺮ ﺗﺎﺭﻳﺨﻰ ﺭﺍ ﺷﺮﻭﻉ ﻛﺮﺩﻡ‪» .‬ﻟﻮ‪ .‬ﺩﺭ ﺳﻰ ﻭ ﻫﻔﺘﻤﻴﻦ ﺳﺎﻝ ﺍﺯ‬ ‫ﭘﺮﻭﺳﻪﻯ ﺳﻴﻠﻦ‪ ،‬ﺑﺎﺭﺍﻥﻫﺎ ﻓﺮﻭ ﺭﻳﺨﺘﻨﺪ ﻭ ﺷﺎﺩﻣﺎﻧﻰ ﺁﻭﺭﺩﻧﺪ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻭﺍﻗﻌﻪﺍﻯ ﻧﺎﺩﺭ ﻭ ﻏﺮﻳﺐ ﺑﻮﺩ ﻭ‬ ‫ﺑﺨﺶ ﻣﺎﻻﻥ ﻧﺒﻮﺩ ﻛﻪ ﺍﺯ ﺁﺳﻤﺎﻥﻫﺎ ﻓﺮﻭ‬ ‫ﻣﻌﻤﻮﻻً ﺗﻔﺴﻴﺮ ﺑﻪ ﺭﺣﻤﺖ ﻣﻰﺷﺪ ‪ -‬ﺍﻣﺎ ﺍﻳﻦ ﻋﺼﺎﺭﻩﻯ ﺣﻴﺎﺕ ِ‬ ‫ﺧﻮﻥ ﺟﻬﺎﻥ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﺷﺎﻫﺮگ ﺑﺮﻳﺪﻩﺍﺵ ﻓﻮﺭﺍﻥ ﻣﻰﻛﺮﺩ‪ .‬ﻭ ﺁﺧﺮﺍﻟﺰﻣﺎﻥ ﺑﺮ ﻣﺎ ﻧﺎﺯﻝ ﺷﺪ‪.‬‬ ‫ﻣﻰﺭﻳﺨﺖ‪،‬‬ ‫ِ‬ ‫ﺁﺧﺮﻳﻦ ﺭﻗﺺ ﺑﺎﻳﺪ ﻛﻪ ﺷﺮﻭﻉ ﻣﻰﺷﺪ‪ .‬ﺑﺎﺭﺍﻥﻫﺎ ﻃﺎﻋﻮﻧﻰ ﺭﺍ ﺁﻭﺭﺩﻧﺪ ﻛﻪ ﻧﻤﻰ ُﻛﺸﺖ ﻭ ﺁﺧﺮﻳﻦ ﮔﺬﺍﺭﻫﺎﻯ‬ ‫ﻟﻮﻛﺎﺭ ﺑﺎ ﻃﺒﻞ ﺑﺎﺭﺍﻥ ﺁﻏﺎﺯ ﺷﺪ‪«...‬‬ ‫ﺍﺯ ﺧﻮﺩﻡ ﭘﺮﺳﻴﺪﻡ ﻣﻨﻈﻮﺭ ﺗﻤﻮﺭ ]‪ [14‬ﭼﻪ ﻣﻰﺗﻮﺍﻧﺪ ﺑﻮﺩﻩ ﺑﺎﺷﺪ؟ ﺍﻭ ﻳﻚ ﺗﺎﺭﻳﺦﺩﺍﻥ ﺑﻮﺩ ﻭ ﺑﻨﺎ ﺑﻮﺩ ﻓﻘﻂ‬ ‫ﺍﺯ ﺣﻘﺎﻳﻖ ﺑﮕﻮﻳﺪ‪ .‬ﺍﻳﻦ ﻫﻢ ﻛﻪ ﺁﺧﺮﺍﻟﺰﻣﺎﻥ ﺁﻥﻫﺎ ﻧﺒﻮﺩ‪ ،‬ﻣﮕﺮ ﺍﻳﻦ ﻛﻪ ﺍﻳﻦ ﻫﻤﺎﻥ ﺑﺎﺷﺪ ﻛﻪ‪...‬؟‬ ‫ﺍﻫﺎﻟﻰ ﺗﻴﺮﻟﻴﺎﻥ ﺑﺎﺯﻣﺎﻧﺪﮔﺎﻥ ﭼﻴﺰﻯ ﺑﻮﺩﻧﺪ ﻛﻪ ﺯﻣﺎﻧﻰ ﻳﻚ ﻓﺮﻫﻨﮓ ﻭ‬ ‫ﺑﺎ ﺧﻮﺩﻡ ﻓﻜﺮ ﻛﺮﺩﻡ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻧﻪ؟‬ ‫ِ‬ ‫ﺗﻤﺪﻥ ﺑﺴﻴﺎﺭ ﭘﻴﺸﺮﻓﺘﻪ ﺑﻮﺩﻩ‪ .‬ﺁﻥﻫﺎ ﺟﻨﮓﻫﺎﻳﻰ ﺩﺍﺷﺘﻪﺍﻧﺪ‪ ،‬ﺍﻣﺎ ﻛﺸﺘﺎﺭ ﻫﻤﮕﺎﻧﻰ ﺧﻴﺮ؛ ﺩﺍﻧﺶ ﺩﺍﺷﺘﻪﺍﻧﺪ‪،‬‬ ‫ﺍﻣﺎ ﻓﻨﺎﻭﺭﻳﺸﺎﻥ ﻛﻢ ﺑﻮﺩﻩ‪ .‬ﻃﺎﻋﻮﻥ‪ ،‬ﻃﺎﻋﻮﻧﻰ ﻛﻪ ﻧﻤﻰ ُﻛﺸﺖ؟‪...‬ﻳﻌﻨﻰ ﻫﻤﺎﻥ ﺑﺎﻋﺜﺶ ﺷﺪﻩ؟ ﺍﮔﺮ ﻣﺮﮔﺒﺎﺭ‬ ‫ﻧﺒﻮﺩﻩ‪ ،‬ﭘﺲ ﭼﻄﻮﺭ؟ ﺑﻴﺸﺘﺮ ﺧﻮﺍﻧﺪﻡ‪ ،‬ﺍﻣﺎ ﺍﺯ ﻣﺎﻫﻴﺖ ﻃﺎﻋﻮﻥ ﺑﻴﺸﺘﺮ ﻧﮕﻔﺘﻪ ﺑﻮﺩ‪ .‬ﺻﻔﺤﺎﺕ ﺭﺍ ﻭﺭﻕ ﺯﺩﻡ‪،‬‬ ‫ﭘﻴﺶ ﺭﻓﺘﻢ ﻭ ﻳﻚ ﺻﻔﺤﻪﻯ ﺧﺎﻟﻰ ﺑﺮﺩﺍﺷﺘﻢ‪.‬‬ ‫ﻣﻚﻭﻯ! ﻣﻚﻭﻯ! ﻭﻗﺘﻰ ﺑﻴﺶ ﺍﺯ ﻫﻤﻴﺸﻪ ﺳﻮﺍﻝ ﺑﺮﺍﻯ ﭘﺮﺳﻴﺪﻥ ﺩﺍﺭﻡ‪ ،‬ﻧﻴﺴﺘﻰ‪ .‬ﺍﮔﺮ ﺑﺮﻭﻡ ﺩﻧﺒﺎﻟﺶ‬ ‫ﺑﮕﺮﺩﻡ‪ ،‬ﺍﺷﺘﺒﺎﻩ ﺑﺰﺭﮔﻰ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﺩ؟ ﮔﻤﺎﻧﻢ ﻛﻪ ﺑﻠﻪ‪ .‬ﻣﻦ ﺑﺎﻳﺪ ﺩﺭ ﺍﺗﺎﻕﻫﺎﻳﻰ ﻛﻪ ﺑﻪ ﻣﻦ ﺍﺧﺘﺼﺎﺹ‬ ‫ﺩﺍﺩﻩ ﺑﻮﺩﻧﺪ ﻣﻰﻣﺎﻧﺪﻡ‪ ،‬ﻏﻴﺮﻣﺴﺘﻘﻴﻢ ﺑﻪ ﻣﻦ ﺍﻳﻦ ﻃﻮﺭ ﻓﻬﻤﺎﻧﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺑﺎﻳﺪ ﺻﺒﺮ ﻣﻰﻛﺮﺩﻡ‪ .‬ﭘﺲ ﻣﺪﺗﻰ‬ ‫ﻣﻘﺪﺱ ﻣﺎﻻﻥ ﺭﺍ ﺩﺭ ﻣﻌﺒﺪﺵ‬ ‫ﻃﻮﻻﻧﻰ ﺑﻪ ﺯﺑﺎﻥﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺩﺷﻨﺎﻡ ﺩﺍﺩﻡ ﻛﻪ ﺑﺪﻭﻥ ﺷﻚ ﮔﻮﺵﻫﺎﻯ‬ ‫ِ‬ ‫ﺑﻪ ﺩﺭﺩ ﺁﻭﺭﺩ‪.‬‬ ‫ﻧﻈﺮ ﻭﻯ ﺑﺮ ﺍﻳﻦ ﻧﺒﻮﺩ ﻛﻪ ﻣﻦ ﺭﺍ ﺑﺎ ﺻﺎﻋﻘﻪﺍﻯ ﺧﺸﻚ ﻛﻨﺪ‪ ،‬ﭘﺲ ﺑﻪ ﺍﻳﻦ ﻧﺘﻴﺠﻪ ﺭﺳﻴﺪﻡ ﻛﻪ ﺑﺮﺍﻯ ﺍﻣﺮﻭﺯ‬ ‫ﺑﺲ ﺍﺳﺖ ﻭ ﻭﺳﺎﻳﻠﻢ ﺭﺍ ﺟﻤﻊ ﻛﺮﺩﻡ‪ .‬ﻭﻗﺘﻰ ﺑﺮﺍﻛﺴﺎ ﺑﺎ ﻳﻚ ﭼﺮﺍﻍ ﻛﻮﭼﻚ ﻭﺍﺭﺩ ﺍﺗﺎﻗﻢ ﺷﺪ‪ ،‬ﭼﻨﺪﻳﻦ ﺳﺎﻋﺖ‬ ‫ﺧﻮﺍﺑﻴﺪﻩ ﺑﻮﺩﻡ‪ .‬ﺑﺎ ﻛﺸﻴﺪﻥ ﺁﺳﺘﻴﻦ ﻟﺒﺎﺱ ﺧﻮﺍﺑﻢ‪ ،‬ﺑﻴﺪﺍﺭﻡ ﻛﺮﺩ‪.‬‬ ‫ﮔﻔﺘﻢ ﺳﻼﻡ‪ .‬ﺣﺎﻻ ﻛﻪ ﻓﻜﺮﺵ ﺭﺍ ﻣﻰﻛﻨﻢ‪ ،‬ﻣﻰﺑﻴﻨﻢ ﭼﻴﺰ ﺩﻳﮕﺮﻯ ﻫﻢ ﻧﻤﻰﺷﺪﻩ ﻛﻪ ﺑﮕﻮﻳﻢ‪.‬‬

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‫ﭘﺎﻭﺭﻗﻰ‬

‫ﻣﻰﻛﺸﺪ ﺗﺎ ﮔﻞ ﺑﺪﻫﺪ‪«.‬‬ ‫»ﺧﺐ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻣﻰﻛﻨﻰ؟«‬ ‫»ﺍﻟﺒﺘﻪ‪ .‬ﺍﮔﺮ ﺑﺮﺍﻳﺖ ﻣﻨﺘﻈﺮ ﺷﺪﻥ ﻣﺴﺄﻟﻪﺍﻯ ﻧﺒﺎﺷﺪ‪ ،‬ﺣﺘﻤﺎً‪«.‬‬ ‫»ﻣﺴﺄﻟﻪﺍﻯ ﻧﻴﺴﺖ‪ .‬ﺳﻪ ﻣﺎﻩ ﺩﻳﮕﺮ ﻣﻰﺷﻮﺩ ﺯﻣﺎﻥ ﺭﻓﺘﻨﻤﺎﻥ‪ «.‬ﺑﻪ ﻇﺮﻑﻫﺎﻯ ﭘﺮ ﺍﺯ ﺷﺎﺧﻪﻫﺎﻯ ﺭﻭﻧﺪﻩ ﻭ‬ ‫ﺳﻴﻨﻰﻫﺎﻯ ﺟﻮﺍﻧﻪﻫﺎ ﻧﮕﺎﻩ ﻛﺮﺩﻡ ﻭ ﮔﻔﺘﻢ‪» :‬ﺍﻣﺮﻭﺯ ﺑﻪ ﺗﻴﺮﻟﻴﺎﻥ ﻣﻰﺭﻭﻡ ﻛﻪ ﺑﻤﺎﻧﻢ‪ ،‬ﺍﻣﺎ ﺩﺍﺋﻢ ﻣﻰﺭﻭﻡ ﻭ‬ ‫ﻣﻰﺁﻳﻢ‪ .‬ﻭﻗﺘﻰ ﺷﻜﻮﻓﻪ ﺩﺍﺩ ﺍﻳﻦﺟﺎ ﺧﻮﺍﻫﻢ ﺑﻮﺩ‪«.‬‬ ‫»ﻣﻰﺭﻭﻯ ﺁﻥﺟﺎ؟ ﺷﻨﻴﺪﻡ ﻛﺴﻰ ﺭﺍ ﺗﻮﻯ "ﺧﻮﺩﺷﺎﻥ" ﺭﺍﻩ ﻧﻤﻰﺩﻫﻨﺪ‪«.‬‬ ‫»ﮔﻤﺎﻧﻢ ﺣﺎﻻ ﺍﺯ "ﺧﻮﺩﺷﺎﻥ" ﺑﺎﺷﻢ‪«.‬‬ ‫»ﺍﻳﻦ ﻃﻮﺭ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ‪ .‬ﻣﻦ ﻫﻨﻮﺯ ﻫﻢ ﻧﻤﻰﻓﻬﻤﻢ ﺗﻮ ﭼﻄﻮﺭ ﺯﺑﺎﻧﺸﺎﻥ ﺭﺍ ﻳﺎﺩ ﮔﺮﻓﺘﻰ‪ .‬ﺍﻟﺒﺘﻪ ﻣﻦ ﺑﺮﺍﻯ‬ ‫ﻳﺎﺩ ﮔﺮﻓﺘﻦ ﻓﺮﺍﻧﺴﻪ ﻭ ﺁﻟﻤﺎﻧﻰ ﺩﺭ ﺩﻭﺭﻩﻯ ﺩﻛﺘﺮﺍ ﻫﻢ ﻣﺸﻜﻞ ﺩﺍﺷﺘﻢ‪ ،‬ﺍﻣﺎ ﻫﻔﺘﻪﻯ ﭘﻴﺶ ﻛﻪ ﺑﺘﻰ ﺳﺮ ﻧﺎﻫﺎﺭ‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﺍﻳﻦ ﺯﺑﺎﻥ ﺻﺤﺒﺖ ﻛﺮﺩ‪ ،‬ﺑﻪ ﻧﻈﺮﻡ ﻓﻘﻂ ﻳﻚ ﻣﺸﺖ ﺳﺮ ﻭ ﺻﺪﺍﻯ ﻋﺠﻴﺐ ﻭ ﻏﺮﻳﺐ ﺭﺳﻴﺪ‪ .‬ﺑﺘﻰ‬ ‫ﻣﻰﮔﻔﺖ ﺣﺮﻑ ﺯﺩﻥ ﺑﻪ ﺍﻳﻦ ﺯﺑﺎﻥ ﻣﺜﻞ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻫﻢﺯﻣﺎﻥ ﺑﺨﻮﺍﻫﻰ ﻳﻚ ﺟﺪﻭﻝ ﻛﻠﻤﺎﺕ ﻣﺘﻘﺎﻃﻊ‬ ‫ﺭﺍ ﺣﻞ ﻛﻨﻰ ﻭ ﺻﺪﺍﻯ ﭘﺮﻧﺪﻩ ﺍﺯ ﺧﻮﺩﺕ ﺩﺭ ﺑﻴﺎﻭﺭﻯ‪«.‬‬ ‫ﺧﻨﺪﻳﺪﻡ ﻭ ﺳﻴﮕﺎﺭﻯ ﺭﺍ ﻛﻪ ﺑﻬﻢ ﺗﻌﺎﺭﻑ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﻗﺒﻮﻝ ﻛﺮﺩﻡ‪.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﺳﺨﺖ ﺍﺳﺖ‪ .‬ﺍﻣﺎ‪ ،‬ﺧﺐ‪ ،‬ﻓﺮﺽ ﻛﻦ ﻳﻚ ﺭﻭﺯ ﻧﺎﮔﻬﺎﻥ ﻳﻚ ﺭﺩﻩﻯ ﺟﺪﻳﺪ ﺍﺯ ﻗﺎﺭچﻫﺎ ﻛﺸﻒ ﻛﻨﻰ‪،‬‬ ‫ﺷﺐﻫﺎ ﺧﻮﺍﺑﺶ ﺭﺍ ﻣﻰﺑﻴﻨﻰ‪«.‬‬ ‫ﭼﺸﻢﻫﺎﻳﺶ ﺑﺮﻕ ﺯﺩﻧﺪ‪.‬‬ ‫»ﺍﻳﻦ ﺷﺪ ﻳﻚ ﭼﻴﺰﻯ‪ ،‬ﺭﺍﺳﺖ ﻣﻰﮔﻮﻳﻰ‪ ،‬ﺍﺣﺘﻤﺎﻻً ﺧﻮﺍﺑﺶ ﺭﺍ ﻣﻰﺩﻳﺪﻡ‪«.‬‬ ‫»ﺁﺭﻩ ﻫﻤﻴﻦ ﻃﻮﺭ ﺍﺳﺖ‪«.‬‬ ‫ﺑﻪ ﻃﺮﻑ ﺩﺭ ﻛﻪ ﻣﻰﺭﻓﺘﻴﻢ‪ ،‬ﺗﻮﺩﻫﻨﻰ ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﻣﻰﺧﻨﺪﻳﺪ‪.‬‬ ‫»ﺍﻣﺸﺐ ﻛﺎﺭ ﺭﺯﻫﺎﻯ ﺗﻮ ﺭﺍ ﺷﺮﻭﻉ ﻣﻰﻛﻨﻢ‪ .‬ﺁﻥ ﭘﺎﻳﻴﻦ ﻣﺮﺍﻗﺐ ﺧﻮﺩﺕ ﺑﺎﺵ‪«.‬‬ ‫»ﺣﺘﻤﺎً‪ .‬ﻣﺘﺸﻜﺮﻡ‪«.‬‬ ‫ﻋﺸﻖﻗﺎﺭچ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﺁﺩﻡ ﺟﺎﻟﺒﻰ ﻫﻢ ﺑﻮﺩ‪ .‬ﻣﺤﻞ ﺍﻗﺎﻣﺘﻢ ﺩﺭ ﺩژ ﺗﻴﺮﻟﻴﺎﻥ‪،‬‬ ‫ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﮔﻔﺘﻢ‪ ،‬ﻳﻚ‬ ‫ِ‬ ‫ﺩﺭﺳﺖ ﻛﻨﺎﺭ ﻣﻌﺒﺪ‪ ،‬ﺩﺭ ﺑﺨﺶ ﺩﺍﺧﻠﻰ ﻭ ﺳﻤﺖ ﭼﭗ ﺁﻥ ﺑﻮﺩ‪ .‬ﺁﻥﺟﺎ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﺍﺗﺎﻗﻚ ﺩﺭﻫﻢﺭﻳﺨﺘﻪﺍﻡ‬ ‫ﺧﻴﻠﻰ ﻋﺎﻟﻰ ﺑﻮﺩ ﻭ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻣﻰﺩﻳﺪﻡ ﻓﺮﻫﻨﮓ ﻣﺮﻳﺨﻰ ﺁﻥﻗﺪﺭﻯ ﭘﻴﺸﺮﻓﺖ ﻛﺮﺩﻩ ﻛﻪ ﻟﺬﺕِ ﺗﺸﻚ ﺭﻭﻯ‬ ‫ﺗﺨﺖﭼﻮﺑﻰ ﺭﺍ ﺩﺭﻙ ﻛﻨﺪ‪ ،‬ﺧﻮﺷﺤﺎﻝ ﺑﻮﺩﻡ‪ .‬ﻭ ﺩﺭ ﻛﻤﺎﻝ ﺣﻴﺮﺕ ﺩﺭﻳﺎﻓﺘﻢ ﺗﺨﺖ ﺑﻪ ﻗﺪﺭﻯ ﺑﻠﻨﺪ ﺍﺳﺖ‬ ‫‪89‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﭘﺎﻭﺭﻗﻰ‬

‫»ﺍﻣﺮﻭﺯ ﻋﺼﺮ ﺧﻮﺏ ﺍﺳﺖ؟«‬ ‫»ﺑﻠﻪ‪«.‬‬ ‫»ﭘﺲ ﺑﺮﻭﻡ ﺗﺎ ﻭﺳﺎﻳﻠﻢ ﺭﺍ ﺟﻤﻊ ﻛﻨﻢ‪ .‬ﻋﺼﺮ ﻣﻰﺑﻴﻨﻤﺘﺎﻥ‪«.‬‬ ‫»ﺭﻭﺯ ﺑﻪ ﺧﻴﺮ‪«.‬‬ ‫ﺍﻧﺘﻈﺎﺭ ﺩﺍﺷﺘﻢ ﺍﻣﻮﺭﻯ ﻛﻤﻰ ﻣﺸﻜﻞﺗﺮﺍﺷﻰ ﻛﻨﺪ‪ .‬ﺩﺭ ﺳﻔﻴﻨﻪ ﻫﻤﻪ ﻣﺸﺘﺎﻕ ﺑﻮﺩﻧﺪ ﻣﺮﻳﺨﻰﻫﺎ ﺭﺍ ﺑﺒﻴﻨﻨﺪ‪،‬‬ ‫ﺳﻮﺯﻥ ﺑﻬﺸﺎﻥ ﻓﺮﻭ ﻛﻨﻨﺪ‪ ،‬ﺍﺯﺷﺎﻥ ﺩﺭﺑﺎﺭﻩﻯ ﺁﺏ ﻭ ﻫﻮﺍ‪ ،‬ﺗﺮﻛﻴﺒﺎﺕ ﺧﺎﻙ‪ ،‬ﺳﻴﺎﺳﺖ ﻭ ﻗﺎﺭچﻫﺎ )ﮔﻴﺎﻩﺷﻨﺎﺱ‬ ‫ﺳﻔﻴﻨﻪ ﻋﺸﻖ ﻗﺎﺭچ ﺩﺍﺷﺖ‪ ،‬ﺍﻣﺎ ﺁﺩﻡ ﺧﻮﺑﻰ ﺑﻮﺩ( ﻭ ﭼﻴﺰﻫﺎﻯ ﺩﻳﮕﺮ ﺳﻮﺍﻝ ﻛﻨﻨﺪ ﻭ ﺗﺎ ﺣﺎﻻ ﻓﻘﻂ ﭼﻬﺎﺭ ﻳﺎ‬ ‫ﭘﻨﺞ ﻧﻔﺮ ﻣﻮﻓﻖ ﺑﻪ ﺩﻳﺪﺍﺭﺷﺎﻥ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺧﺪﻣﻪ ﺑﻴﺸﺘﺮ ﻭﻗﺘﺸﺎﻥ ﺭﺍ ﺻﺮﻑ ﻛﺎﻭﺵ ﺷﻬﺮﻫﺎﻯ ﺑﻰﺳﻜﻨﻪ‬ ‫ﻭ ﺑﺎﺳﺘﺎﻧﻰ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺑﺎﻳﺪ ﻣﻄﺎﺑﻖ ﻗﻮﺍﻧﻴﻦ ﺑﺎﺯﻯ ﻣﻰﻛﺮﺩﻳﻢ‪ ،‬ﻣﺤﻠﻰﻫﺎﻯ ﺩﺭﺳﺖ ﻣﺜﻞ ژﺍﭘﻨﻰﻫﺎﻯ ﻗﺮﻥ‬ ‫ﻧﻮﺯﺩﻫﻢ ﺩﺭﻭﻥﮔﺮﺍ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻧﺘﻈﺎﺭ ﺩﺍﺷﺘﻢ ﻋﺪﻩﻯ ﺧﻴﻠﻰ ﻛﻤﻰ ﺑﺎ ﺭﻓﺘﻨﻢ ﻣﺨﺎﻟﻔﺖ ﻛﻨﻨﺪ‪ ،‬ﺩﺭﺳﺖ ﻫﻢ ﻓﻜﺮ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩﻡ‪.‬‬ ‫ﺩﺭ ﻭﺍﻗﻊ ﺑﻪ ﻧﻈﺮﻡ ﺭﺳﻴﺪ ﺑﻴﺸﺘﺮﺷﺎﻥ ﺍﺯ ﺭﻓﺘﻦ ﻣﻦ ﺧﻮﺷﺤﺎﻝ ﻫﺴﺘﻨﺪ‪ .‬ﺩﺭ ﺍﺗﺎﻕ ﺁﺏﻛﺸﺖ ﺍﻳﺴﺘﺎﺩﻡ ﺗﺎ ﺑﺎ‬ ‫ﺍﺳﺘﺎﺩ ﻗﺎﺭﭼﻤﺎﻥ ﺻﺤﺒﺖ ﻛﻨﻢ‪.‬‬ ‫»ﺳﻼﻡ ﻛِﻴﻦ‪ .‬ﻗﺎﺭچ ﺳﻤﻰ ﭼﻴﺰﻯ ﭘﺮﻭﺭﺵ ﺩﺍﺩﻯ؟«‬ ‫ﺑﻴﻨﻰﺍﺵ ﺭﺍ ﺑﺎﻻ ﻛﺸﻴﺪ‪ .‬ﻫﻤﻴﺸﻪ ﻫﻤﻴﻦ ﻛﺎﺭ ﺭﺍ ﻣﻰﻛﺮﺩ‪ .‬ﺷﺎﻳﺪ ﻫﻢ ﺑﻪ ﮔﻴﺎﻫﺎﻥ ﺣﺴﺎﺳﻴﺖ ﺩﺍﺷﺖ‪.‬‬ ‫»ﺳﻼﻡ ﮔﺎﻟﻴﻨﮕﺮ‪ .‬ﻧﻪ‪ ،‬ﺑﺎ ﻗﺎﺭچﻫﺎﻯ ﺳﻤﻰ ﺑﻪ ﺟﺎﻳﻰ ﻧﺮﺳﻴﺪﻡ‪ ،‬ﺍﻣﺎ ﺩﻓﻌﻪ ﺑﻌﺪ ﭘﺸﺖ ﭘﺎﺭﻛﻴﻨﮓ ﻣﺎﺷﻴﻦﻫﺎ ﺭﺍ‬ ‫ﻧﮕﺎﻩ ﻛﻦ‪ ،‬ﭼﻨﺪ ﺗﺎﻳﻰ ﻛﺎﻛﺘﻮﺱ ﻛﺎﺷﺘﻢ‪«.‬‬ ‫ﮔﻔﺘﻢ‪» .‬ﺧﻴﻠﻰ ﻋﺎﻟﻰ‪ «.‬ﺑﻌﺪ ﺍﺯ ﺑﺘﻰ‪ ،‬ﺩﻛﺘﺮ ﻛِﻴﻦ ﺗﻨﻬﺎ ﺩﻭﺳﺖ ﻣﻦ ﺩﺭ ﺳﻔﻴﻨﻪ ﺑﻮﺩ‪.‬‬ ‫»ﺭﺍﺳﺘﻰ‪ ،‬ﺁﻣﺪﻡ ﺍﺯﺕ ﻳﻚ ﺩﺭﺧﻮﺍﺳﺘﻰ ﺑﻜﻨﻢ‪«.‬‬ ‫»ﺑﮕﻮ‪«.‬‬ ‫»ﻳﻚ ﺭﺯ ﻣﻰﺧﻮﺍﻫﻢ‪«.‬‬ ‫»ﭼﻰ ﭼﻰ ﻣﻰﺧﻮﺍﻫﻰ؟«‬ ‫»ﺭﺯ‪ .‬ﻣﻰﺩﺍﻧﻰ ﻛﻪ‪ ،‬ﻳﻚ ﺩﺍﻧﻪ ﺍﺯ ﺁﻣﺮﻳﻜﺎﻳﻰﻫﺎﻳﻰ ﺧﻮﺷﮕﻠﺶ‪ ،‬ﭘﺮ ﺍﺯ ﺧﺎﺭ ﻭ ﺧﻮﺵﺑﻮ ﻭ ﺯﻳﺒﺎ‪«...‬‬ ‫»ﻓﻜﺮ ﻧﻜﻨﻢ ﺗﻮﻯ ﺍﻳﻦ ﺧﺎﻙ ﺑﺎﺭ ﺑﻴﺎﻳﻴﺪ‪...‬ﻓﻴﻦ‪...‬ﻓﻴﻦ‪«...‬‬ ‫»ﻧﻪ ﻧﻪ‪ .‬ﻧﻤﻰﺧﻮﺍﻫﻢ ﻛﻪ ﺑﻜﺎﺭﻯﺍﺵ‪ .‬ﻓﻘﻂ ﻳﻚ ُﮔﻞ ﻣﻰﺧﻮﺍﻫﻢ‪«.‬‬ ‫ﺳﺮ ﺑﻰﻣﻮﻳﺶ ﺭﺍ ﺧﺎﺭﺍﻧﺪ‪» .‬ﺑﺎﻳﺪ ﺍﺯ ﻣﺤﻔﻈﻪﻫﺎ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻢ‪ .‬ﺣﺘﺎ ﺑﺎ ﺍﻓﺰﺍﻳﺶ ﺳﺮﻋﺖ ُﺭﺷﺪ ﺳﻪ ﻣﺎﻩ ﻃﻮﻝ‬ ‫‪87‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﻛﻨﺎﺭ ﮔﺬﺍﺷﺘﻤﺶ ﻭ ﻳﻚ ﻓﻨﻮﺑﺎﺭﺑﻴﺘﺎﻝ ﺧﻮﺭﺩﻡ‪ .‬ﻧﺎﮔﻬﺎﻥ ﺧﺴﺘﻪ ﺷﺪﻩ ﺑﻮﺩﻡ‪.‬‬ ‫‪‬ﺭﻭﺯ ﺑﻌﺪ ﺷﻌﺮﻡ ﺭﺍ ﺑﻪ ﻣﻚﻭﻯ ﻧﺸﺎﻥ ﺩﺍﺩﻡ ﻭ ﺍﻭ ﺑﻪ ﺁﺭﺍﻣﻰ ﭼﻨﺪﻳﻦ ﺑﺎﺭ ﺧﻮﺍﻧﺪﺵ‪ .‬ﮔﻔﺖ‪» :‬ﺯﻳﺒﺎﺳﺖ‪،‬‬ ‫ﻭﻟﻰ ﺳﻪ ﻛﻠﻤﻪ ﺍﺯ ﺯﺑﺎﻥ ﺧﻮﺩﺕ ﺭﺍ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻯ‪ .‬ﺳﮓ ﻭ ﮔﺮﺑﻪ ﻛﻪ ﮔﻤﺎﻧﻢ ﺩﻭ ﺣﻴﻮﺍﻥ ﻛﻮﭼﻚ ﺑﺎﺷﻨﺪ‬ ‫ﻛﻪ ﺑﺎ ﻫﻤﺪﻳﮕﺮ ﺩﺷﻤﻨﻰ ﺫﺍﺗﻰ ﺩﺍﺭﻧﺪ‪ .‬ﺍﻣﺎ »ﮔﻞ« ﺩﻳﮕﺮ ﭼﻴﺴﺖ؟«‬ ‫ﺯﺑﺎﻥ ﺷﻤﺎ ﺭﺍ ﻧﻤﻰﺩﺍﻧﻢ‪ ،‬ﺍﻣﺎ ﺩﺭ ﻭﺍﻗﻊ ﺩﺍﺷﺘﻢ ﺑﻪ ﻳﻚ ُﮔﻞ‬ ‫ﮔﻔﺘﻢ‪» :‬ﺁﻩ‪ .‬ﺭﺍﺳﺘﺶ ﻛﻠﻤﻪﻯ ﻣﻌﺎﺩﻝ ُﮔﻞ ﺩﺭ ِ‬ ‫ﺯﻣﻴﻨﻰ‪ ،‬ﻳﻌﻨﻰ ُﺭﺯ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻡ‪«.‬‬ ‫»ﭼﻪ ﺷﻜﻠﻰ ﺍﺳﺖ؟«‬ ‫ﺩﺭﺧﺸﺎﻥ ﻗﺮﻣﺰ ﺭﻧﮓ ﺩﺍﺭﺩ‪ .‬ﺍﺯ ﻳﻚ ﺟﻬﺖ‪ ،‬ﻣﻨﻈﻮﺭﻡ ﺍﺯ »ﺳﺮﻫﺎﻯ ﺩﺭﺧﺸﺎﻥ«‬ ‫»ﺧﺐ‪ ،‬ﮔﻠﺒﺮگﻫﺎﻯ ﺑﺰﺭگ ﻭ‬ ‫ِ‬ ‫ﻫﻤﺎﻥ ﺑﻮﺩﻩ‪ .‬ﺍﺯ ﻃﺮﻓﻰ ﻣﻰﺧﻮﺍﺳﺘﻢ ﻣﻔﻬﻮﻡ ﺗﺐ ﺭﺍ ﻫﻢ ﺑﺮﺳﺎﻧﺪ‪ ،‬ﻭ ﺍﺯ ﺳﻮﻳﻰ ﻣﻮﻯ ﻗﺮﻣﺰ ﻭ ﺁﺗﺶ ﺯﻧﺪﮔﻰ‬ ‫ﺭﺍ‪ .‬ﺧﻮ ِﺩ ﺭﺯ ﺷﺎﺧﻪﺍﻯ ﭘﺮ ﺍﺯ ﺧﺎﺭ ﺩﺍﺭﺩ‪ ،‬ﺑﺮگﻫﺎﻯ ﺳﺒﺰ ﻭ ﺭﺍﻳﺤﻪﺍﻯ ﺩﻟﻨﺸﻴﻦ‪«.‬‬ ‫»ﻛﺎﺵ ﻣﻰﺷﺪ ﻳﻜﻰﺍﺵ ﺭﺍ ﺑﺒﻴﻨﻢ‪«.‬‬ ‫»ﻓﻜﺮ ﻛﻨﻢ ﺑﺸﻮﺩ ﺗﺮﺗﻴﺒﺶ ﺭﺍ ﺩﺍﺩ‪ .‬ﻣﻰﭘﺮﺳﻢ‪«.‬‬ ‫»ﻟﻄﻔﺎً ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺑﻜﻦ‪ ،‬ﺗﻮ ﻳﻚ‪) ...‬ﻛﻠﻤﻪﺍﻯ ﻛﻪ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩ ﭼﻴﺰﻯ ﻣﻌﺎﺩﻝ »ﭘﻴﺎﻣﺒﺮ« ﻳﺎ ﺷﺎﻋﺮ ﻣﺬﻫﺒﻰ‬ ‫ﺑﻮﺩ‪ ،‬ﻣﺎﻧﻨﺪ ﺍﻳﺴﺎﻳﻴﺲ ]‪ [13‬ﻳﺎ ﻟﻮﻛﺎﺭ( ﻫﺴﺘﻰ‪ .‬ﻭ ﺷﻌﺮﺕ ﺑﻪ ﺗﻮ ﺍﻟﻬﺎﻡ ﺷﺪﻩ‪ .‬ﺩﺭﺑﺎﺭﻩﺍﺵ ﺑﺎ ﺑﺮﻛﺴﺎ ﺻﺤﺒﺖ‬ ‫ﻣﻰﻛﻨﻢ‪«.‬‬ ‫ﺗﻌﺮﻳﻒ ﻭ ﺗﻤﺠﻴﺪﺵ ﺭﺍ ﻧﺎﺩﻳﺪﻩ ﮔﺮﻓﺘﻢ‪ ،‬ﺑﻪ ﻧﻈﺮﻡ ﺭﺳﻴﺪ ﺩﺍﺭﺩ ﭼﺎﭘﻠﻮﺳﻰ ﻣﻰﻛﻨﺪ‪ .‬ﺑﻌﺪ ﺑﻪ ﻧﻈﺮﻡ ﺭﺳﻴﺪ‪،‬‬ ‫ﺍﻣﺮﻭﺯ ﻫﻤﺎﻥ ﺭﻭﺯ ﺳﺮﻧﻮﺷﺖﺳﺎﺯ ﺍﺳﺖ ﻛﻪ ﻣﻰﺗﻮﺍﻧﻢ ﺑﭙﺮﺳﻢ ﺁﻳﺎ ﺍﻣﻜﺎﻧﺶ ﻫﺴﺖ ﻣﺎﺷﻴﻦ ﻣﻴﻜﺮﻭﻓﻴﻠﻢ ﻭ‬ ‫ﺩﻭﺭﺑﻴﻦ ﺭﺍ ﺑﻴﺎﻭﺭﻡ ﻳﺎ ﺧﻴﺮ‪ .‬ﺑﻪ ﺁﻥﻫﺎ ﺷﺮﺡ ﺩﺍﺩﻡ ﻣﻰﺧﻮﺍﻫﻢ ﺗﻤﺎﻡ ﻣﺘﻮﻧﺸﺎﻥ ﺭﺍ ﻛﭙﻰ ﻛﻨﻢ ﻭ ﺍﻣﻜﺎﻥ ﻧﺪﺍﺭﺩ‬ ‫ﺑﺘﻮﺍﻧﻢ ﻫﻤﻪ ﺭﺍ ﺑﻨﻮﻳﺴﻢ‪ .‬ﺑﻼﻓﺎﺻﻠﻪ ﻣﻮﺍﻓﻘﺖ ﻛﺮﺩ ﻭ ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﻏﺎﻓﻠﮕﻴﺮ ﺷﺪﻡ‪.‬‬ ‫ﺍﺯ ﻃﺮﻓﻰ ﭘﺲ ﺍﺯ ﺁﻥ ﺑﻪ ﭼﻴﺰﻯ ﺩﻋﻮﺗﻢ ﻛﺮﺩ ﻛﻪ ﺣﻴﺮﺕ ﻛﺮﺩﻡ‪...‬‬ ‫»ﺩﻭﺳﺖ ﺩﺍﺭﻯ ﺩﺭ ﺍﻳﻦ ﻣﺪﺕ ﺑﻴﺎﻳﻰ ﻭ ﻫﻤﻴﻦﺟﺎ ﺑﻤﺎﻧﻰ؟ ﺍﻳﻦ ﻃﻮﺭﻯ ﻣﻰﺗﻮﺍﻧﻰ ﺗﺎ ﻫﺮ ﺯﻣﺎﻧﻰ ﻛﻪ ﺩﻟﺖ‬ ‫ﺑﺨﻮﺍﻫﺪ‪ ،‬ﺭﻭﺯ ﻭ ﺷﺐ ﻛﺎﺭ ﻛﻨﻰ‪ .‬ﺍﻟﺒﺘﻪ ﺑﻪ ﺟﺰ ﺯﻣﺎﻥﻫﺎﻳﻰ ﻛﻪ ﺑﺎ ﻣﻌﺒﺪ ﻛﺎﺭ ﺩﺍﺭﻧﺪ‪«.‬‬ ‫ﺗﻌﻈﻴﻢ ﻛﺮﺩﻡ‪.‬‬ ‫»ﺑﺎﻋﺚ ﺍﻓﺘﺨﺎﺭ ﻣﻦ ﺍﺳﺖ‪«.‬‬ ‫»ﺧﻮﺏ ﺍﺳﺖ‪ .‬ﺩﺳﺘﮕﺎﻩﻫﺎﻳﺖ ﺭﺍ ﻫﺮ ﺯﻣﺎﻥ ﺧﻮﺍﺳﺘﻰ ﺑﻴﺎﻭﺭ ﻭ ﺍﺗﺎﻗﺖ ﺭﺍ ﺑﻪ ﺗﻮ ﻧﺸﺎﻥ ﻣﻰﺩﻫﻢ‪«.‬‬

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‫ﭘﺎﻭﺭﻗﻰ‬

‫ﺍﻣﻮﺭﻯ ﺑﺎ ﺩﻫﺎﻥ ﺑﺴﺘﻪ ﺧﻨﺪﻳﺪ‪» :‬ﺣﺴﺎﺱ؟ ﺧﻮﺩﺁﮔﺎﻩ؟ ﻣﺮﺩﻙ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﺧﻮﺩ ﺷﻴﻄﺎﻥ ﺧﻮﺩﺧﻮﺍﻩ ﺍﺳﺖ‬ ‫ﻣﺎﺷﻴﻦ ﻣﺘﺤﺮﻙ ﺗﻮﻫﻴﻦ ﺍﺳﺖ‪ .‬ﺩﻛﻤﻪﻯ »ﺳﻼﻡ« ﻳﺎ »ﺭﻭﺯ ﺑﻪ ﺧﻴﺮ« ﺭﺍ ﻓﺸﺎﺭ ﺑﺪﻫﻰ‪ ،‬ﺭﻭﻳﺖ ﺗُﻒ‬ ‫ﻭ ﻳﻚ‬ ‫ِ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﻳﻚ ﺟﻮﺭ ﻭﺍﻛﻨﺶ ﻏﻴﺮﺍﺭﺍﺩﻯﺍﺵ ﺍﺳﺖ‪«.‬‬ ‫ﺩﻟﻨﺸﻴﻦ ﺩﻳﮕﺮ ﺍﺯ ﺍﻳﻦ ﺩﺳﺖ ﺭﺩ ﻭ ﺑﺪﻝ ﻛﺮﺩﻧﺪ ﻭ ﺭﻓﺘﻨﺪ‪ .‬ﺧﻴﻠﻰ ﺧﻮﺏ‪ ،‬ﺧﺪﺍ ﺧﻴﺮﺕ‬ ‫ﭼﻨﺪ ﺟﻤﻠﻪﻯ‬ ‫ِ‬ ‫ِ‬ ‫ﺟﻮﺷﻰ ﻛﺞ ﻭ ﻛﻮﻟﻪ! ﺧﻮﺩﻡ ﻛﻪ ﻫﻴﭻﻭﻗﺖ ﺩﻭﺭﻩﻯ ﺍﺷﻌﺎﺭ ﺧﻮﺩﻡ ﺭ���‬ ‫ﻣﺮﺩﻙ ﺻﻮﺭﺕ ﺟﻮﺵ‬ ‫ﺑﺪﻫﺪ ﻣﻮﺭﺗﻮﻥ‪.‬‬ ‫ِ‬ ‫ﻧﮕﺬﺭﺍﻧﺪﻩﺍﻡ‪ ،‬ﺍﻣﺎ ﺧﻮﺷﺤﺎﻟﻢ ﻛﺴﻰ ﻫﻤﭽﻮﻥ ﺣﺮﻓﻰ ﺑﺰﻧﺪ‪ .‬ﺩﺭﻭﺍﺯﻩﻫﺎﻯ ﺟﻬﻨﻢ‪ .‬ﺧﺐ ﺣﺎﻻ‪ ،‬ﺷﺎﻳﺪ ﺩﻋﺎﻫﺎﻯ‬ ‫ﺑﺎﺑﺎﻡ ﺑﻪ ﺟﺎﻳﻰ ﺭﺳﻴﺪﻩ ﺑﺎﺷﻨﺪ ﻭ ﻣﻦ ﻫﻴﭽﻰ ﻧﺒﺎﺷﺪ ﻳﻚ ﺟﻮﺭ ﻣﺒﻠﻎ ﻣﺬﻫﺒﻰ ﺷﺪﻩﺍﻡ‪ .‬ﻓﻘﻂ‪...‬‬ ‫ﻣﺸﻜﻞ ﺍﻳﻦﺟﺎﺳﺖ ﻛﻪ ﻣﺒﻠﻎ ﺑﺎﻳﺪ ﭼﻴﺰﻯ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻛﻪ ﻣﺮﺩﻡ ﺭﺍ ﺑﺪﺍﻥ ﺩﻋﻮﺕ ﻛﻨﺪ‪ .‬ﻣﻦ ﻧﻈﺮﻳﺎﺕ‬ ‫ﺷﺨﺼﻰﺍﻡ ﺩﺭﺑﺎﺭﻩﻯ ﺯﻳﺒﺎﻳﻰﺷﻨﺎﺳﻰ ﺭﺍ ﺩﺍﺭﻡ ﻭ ﮔﻤﺎﻧﻢ ﻳﻚ ﻣﺤﺼﻮﻝ ﻓﺮﻋﻰ ﺍﺧﻼﻗﻰ ﺍﺯ ﺁﻥ ﻧﺸﺖ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺣﺘﺎ ﺍﮔﺮ ﻫﻢ ﻭﺍﻗﻌﺎً ﭼﻴﺰﻯ ﺑﺮﺍﻯ ﻣﻮﻋﻈﻪ ﻛﺮﺩﻥ ﺩﺍﺷﺘﻢ‪ ،‬ﺣﺘﺎ ﺍﮔﺮ ﻛﻪ ﺩﺭ ﺷﻌﺮﻫﺎﻳﻢ ﺑﻮﺩ‪،‬‬ ‫ﮔﻤﺎﻥ ﻧﻜﻨﻢ ﺁﻥ ﺭﺍ ﺑﺮﺍﻯ ﻣﻮﺟﻮﺩﺍﺕ ﺩﻭﻥﻣﺎﻳﻪﺍﻯ ﻣﺜﻞ ﺷﻤﺎ ﺗﻌﺮﻳﻒ ﻣﻰﻛﺮﺩﻡ‪ .‬ﺍﮔﺮ ﺷﻤﺎ ﺧﻴﺎﻝ ﻣﻰﻛﻨﻴﺪ‬ ‫ﻣﻦ ﻋﻮﺿﻰ ﻫﺴﺘﻢ‪ ،‬ﺑﺎﻳﺪ ﺑﮕﻮﻳﻢ ﻳﻚ ﺁﺩﻡ ﺍﻓﺎﺩﻩﺍﻯ ﻫﻢ ﻫﺴﺘﻢ ﻭ ﺩﺭ ﺑﻬﺸﺖ ﻣﻦ ﺟﺎﻳﻰ ﺑﺮﺍﻯ ﺷﻤﺎ ﻧﻴﺴﺖ‪.‬‬ ‫ﺁﻥﺟﺎ ﻳﻚ ﻣﻜﺎﻥ ﺧﺼﻮﺻﻰ ﺍﺳﺖ ﻛﻪ ﺳﻮﻳﻴﻔﺖ ]‪ [8‬ﻭ ﺷﺎﻭ ]‪ [9‬ﻭ ﭘﺘﺮﻭﻧﻴﻮﺱ ﺁﺭﺑﻴﺘﺮ ]‪ [10‬ﺑﺮﺍﻯ ﺷﺎﻡ‬ ‫ﻣﻬﻤﺎﻧﻢ ﻫﺴﺘﻨﺪ‪ .‬ﺁﻩ ﺭﺍﺳﺘﻰ‪ ،‬ﭼﻪ ﻏﺬﺍﻫﺎﻳﻰ ﺑﺨﻮﺭﻳﻢ‪ .‬ﺗﺮﻳﻤﺎﻟﭽﻴﻮ ]‪ [11‬ﻭ ﺍﻣﻮﺭﻯﻫﺎﻳﻰ ﺭﺍ ﺑﺮﺍﻯ ﺷﺎﻡ‬ ‫ﻣﻰﺧﻮﺭﻳﻢ ﻭ ﻣﻮﺭﺗﻮﻥ ﺭﺍ ﻫﻤﺮﺍﻩ ﺑﺎ ﺳﻮپ‪.‬‬ ‫ﺑﺮﮔﺸﺘﻢ ﻭ ﭘﺸﺖ ﻣﻴﺰﻡ ﻧﺸﺴﺘﻢ‪ .‬ﻣﻰﺧﻮﺍﺳﺘﻢ ﭼﻴﺰﻯ ﺑﻨﻮﻳﺴﻢ‪ .‬ﻛﺘﺎﺏ ﻣﻘﺪﺱ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺍﻣﺸﺐ ﺭﺍ‬ ‫ﺭﻗﺺ ﻟﻮﻛﺎﺭ‪ ،‬ﺩﺭﺑﺎﺭﻩﻯ‬ ‫ﺍﺳﺘﺮﺍﺣﺖ ﻛﻨﺪ‪ .‬ﻣﻰﺧﻮﺍﺳﺘﻢ ﺷﻌﺮ ﺑﮕﻮﻳﻢ‪ ،‬ﺷﻌﺮﻯ ﺩﺭﺑﺎﺭﻩﻯ ﺻﺪ ﻭ ﻫﻔﺪﻫﻤﻴﻦ ِ‬ ‫ﺭﺯﻯ ﻛﻪ ﻧﻮﺭ ﺭﺍ ﺩﻧﺒﺎﻝ ﻣﻰﻛﻨﺪ‪ ،‬ﺑﺎﺩ ﺍﺯ ﭘﺸﺖ ﺳﺮﺵ ﻣﻰﻭﺯﺩ‪ ،‬ﻭ ﭼﻮﻥ ُﺭﺯ ﺑِﻠ ِﻴﻚ ]‪ [12‬ﺑﻴﻤﺎﺭ ﺍﺳﺖ‪...‬‬ ‫ﻣﺪﺍﺩﻯ ﭘﻴﺪﺍ ﻛﺮﺩﻡ ﻭ ﺷﺮﻭﻉ ﺑﻪ ﻧﻮﺷﺘﻦ ﻛﺮﺩﻡ‪ .‬ﻭﻗﺘﻰ ﺗﻤﺎﻡ ﺷﺪ‪ ،‬ﺍﺯ ﻧﺘﻴﺠﻪ ﺭﺍﺿﻰ ﺑﻮﺩﻡ‪ .‬ﻋﺎﻟﻰ ﻧﺸﺪﻩ‬ ‫ﺯﺑﺎﻥ ﻓﺎﺧ ِﺮ ﻣﺮﻳﺨﻰ ﺯﺑﺎﻥ ﺍﺻﻠﻰﺍﻡ ﻧﻴﺴﺖ ﻛﻪ‪ .‬ﺗﻼﺵ ﻛﺮﺩﻡ ﺑﺎ‬ ‫ﺑﻮﺩ‪ ،‬ﺍﻟﺒﺘﻪ ﺑﻪ ﻗﺪﺭ ﻛﻔﺎﻳﺖ ﺧﻮﺏ ﺑﻮﺩ؛ ِ‬ ‫ﺭﻳﺘﻢﻫﺎﻯ ﺟﺰﻳﻰ‪ ،‬ﺑﻪ ﺍﻧﮕﻠﻴﺴﻰ ﺗﺮﺟﻤﻪﺍﺵ ﻛﻨﻢ‪ .‬ﺷﺎﻳﺪ ﺩﺭ ﺩﻓﺘﺮ ﻳﺎﺩﺩﺍﺷﺘﻢ ﭼﺴﺒﺎﻧﺪﻣﺶ‪ .‬ﺍﺳﻤﺶ ﺭﺍ‬ ‫ﮔﺬﺍﺷﺘﻢ‪» :‬ﺑﺮﺍﻛﺴﺎ‪«.‬‬ ‫ﺩﺭ ﺳﺮﺯﻣﻴﻦ ﺑﺎﺩﻫﺎﻯ ﺳﺮﺥ‪ ،‬ﺁﻥﺟﺎ ﻛﻪ ﻏﺮﻭﺏﻫﺎﻯ ﻳﺦﺑﺴﺘﻪﻯ ﺯﻣﺎﻥ ﺷﻴﺮ ﺭﺍ ﺩﺭ ﺳﻴﻨﻪﻫﺎﻯ ﺯﻧﺪﮔﻰ‬ ‫ﻣﻨﺠﻤﺪ ﻣﻰﻛﻨﺪ‪ ،‬ﺩﻭ ﻣﺎ ِﻩ ﺑﺎﻻﻯ ﺳﺮ ﺗﺎ ﺍﻧﺘﻬﺎﻯ ﺯﻣﺎﻥ ﻣﻰﺩﻭﻧﺪ ﻭ ﺁﺳﻤﺎﻥ ﺭﺍ ﻣﻰﺧﺮﺍﺷﻨﺪ‪ .‬ﺩﺭ ﺭﺍﻫﺮﻭﻫﺎﻯ‬ ‫ﺭﻭﻳﺎ‪ ،‬ﻳﻜﻰ ﭼﻮﻥ ﮔﺮﺑﻪ ﻭ ﺩﻳﮕﺮﻯ ﺳﮓ ﺍﺳﺖ‪..‬‬ ‫ﺍﻳﻦ ُﮔﻞ ﺁﺧﺮﻯ ﺳﺮ ﺳﻮﺯﺍﻧﺶ ﺭﺍ ﻣﻰﭼﺮﺧﺎﻧﺪ‪...‬‬ ‫‪85‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫‪۲‬‬ ‫‪‬ﺗﺎﺯﻩ ﺍﺯ ﻳﻚ ﺟﻠﺴﻪﻯ ﻛﻮﺗﺎﻩ ﮔﺮﺍﻣﺮ ﺑﺎ ﺑﺘﻰ ﺑﻴﺮﻭﻥ ﺁﻣﺪﻩ ﻭ ﺩﺭ ﺭﺍ ﺑﺴﺘﻪ ﺑﻮﺩﻡ ﻛﻪ ﺻﺪﺍﻫﺎﻳﻰ ﺩﺭ ﺭﺍﻫﺮﻭ‬ ‫ﺷﻨﻴﺪﻡ‪ .‬ﻻﻯ ﺩﺭ ﻗﺪﺭﻯ ﺑﺎﺯ ﺑﻮﺩ‪ ،‬ﭘﺲ ﻫﻤﺎﻥﺟﺎ ﮔﻮﺵ ﺍﻳﺴﺘﺎﺩﻡ‪ .‬ﺻﺪﺍﻯ ﺯﻳﺮ ﻣﻮﺭﺗﻮﻥ ﺭﺍ ﺷﻨﻴﺪﻡ‪» .‬ﺣﺪﺱ‬ ‫ﺑﺰﻥ ﻛﻪ ﭼﻰ ﺷﺪﻩ‪ ،‬ﻫﻤﻴﻦ ﭼﻨﺪ ﻟﺤﻈﻪ ﻗﺒﻞ ﺑﻪ ﻣﻦ ﮔﻔﺖ ”ﺳﻼﻡ“!«‬ ‫ﺍﻣﻮﺭﻯ ﺑﺎ ﺁﻥ ﺻﺪﺍﻯ ﻏﺮﺍﻧﺶ ﮔﻔﺖ‪» :‬ﭘﻮﻭﻭﻑ! ﻳﺎ ﺍﺯ ﺩﻫﻨﺶ ﺩﺭ ﺭﻓﺘﻪ‪ ،‬ﻳﺎ ﺳﺮ ﺭﺍﻫﺶ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩﻯ ﻭ‬ ‫ﻣﻰﺧﻮﺍﺳﺘﻪ ﻛﻨﺎﺭ ﺑﺮﻭﻯ‪«.‬‬ ‫ﻧﮕﻬﺒﺎﻧﻰ ﻣﻦ‬ ‫»ﮔﻤﺎﻧﻢ ﻣﻦ ﺭﺍ ﻧﺸﻨﺎﺧﺖ‪ .‬ﺣﺎﻻ ﺍﺳﺒﺎﺏﺑﺎﺯﻯﺍﺵ ﺁﻥ ﺯﺑﺎﻥ ﺍﺳﺖ‪ .‬ﻫﻔﺘﻪﻯ ﭘﻴﺶ ﻧﻮﺑﺖ‬ ‫ِ‬ ‫ﺑﻮﺩ‪ .‬ﻫﺮ ﺷﺐ ﺳﺎﻋﺖ ﺳﻪ ﺻﺒﺢ ﺍﺯ ﺟﻠﻮﻯ ﺩﺭ ﺍﺗﺎﻗﺶ ﻣﻰﮔﺬﺷﺘﻢ‪ .‬ﻫﻤﻴﺸﻪ ﺻﺪﺍﻯ ﺩﺳﺘﮕﺎﻩ ﺿﺒﻂ ﺭﺍ‬ ‫ﻣﻰﺷﻨﻴﺪﻡ‪ .‬ﺳﺎﻋﺖ ﭘﻨﺞ ﺷﻴﻔﺘﻢ ﺗﻤﺎﻡ ﻣﻰﺷﺪ ﻭ ﺍﻭ ﻫﻨﻮﺯ ﺑﻴﺪﺍﺭ ﺑﻮﺩ‪«.‬‬ ‫ﺍﻣﻮﺭﻯ ﺑﺎ ﺑﻰﻣﻴﻠﻰ ﮔﻔﺖ‪» :‬ﺑﻠﻪ‪ ،‬ﺍﻭ ﺩﺍﺭﺩ ﺳﺨﺖ ﻛﺎﺭ ﻣﻰﻛﻨﺪ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﮔﻤﺎﻥ ﻛﻨﻢ ﺩﺍﺭﻭﻳﻰ ﻣﺼﺮﻑ‬ ‫ﻣﻰﻛﻨﺪ ﻛﻪ ﺑﻴﺪﺍﺭ ﻧﮕﺎﻫﺶ ﺩﺍﺭﺩ‪ .‬ﺍﻳﻦ ﺭﻭﺯﻫﺎ ﭼﺸﻢﻫﺎﻳﺶ ﻣﺜﻞ ﺷﻴﺸﻪ ﺑﻰﺣﺎﻟﺖ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻨﺪ‪ .‬ﺷﺎﻳﺪ‬ ‫ﻫﻢ ﺑﺮﺍﻯ ﻳﻚ ﺷﺎﻋﺮ ﺍﻳﻦ ﭼﻴﺰﻫﺎ ﻃﺒﻴﻌﻰ ﺑﺎﺷﺪ‪«.‬‬ ‫ﺑﺘﻰ ﻫﻢ ﻫﻤﺎﻥﺟﺎ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ ،‬ﭼﻮﻥ ﻭﺍﺭﺩ ﺻﺤﺒﺖ ﺷﺪ‪» .‬ﺷﻤﺎ ﻣﻰﺗﻮﺍﻧﻴﺪ ﻫﺮ ﺟﻮﺭ ﺩﻟﺘﺎﻥ ﻣﻰﺧﻮﺍﻫﺪ‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﺍﻭ ﻓﻜﺮ ﻛﻨﻴﺪ‪ ،‬ﻭﻟﻰ ﻳﻚ ﺳﺎﻝ ﻃﻮﻝ ﻣﻰﻛﺸﺪ ﻣﻦ ﭼﻴﺰﻫﺎﻳﻰ ﻛﻪ ﺍﻭ ﺩﺭ ﻋﺮﺽ ﻳﻚ ﻫﻔﺘﻪ ﻳﺎﺩ‬ ‫ﮔﺮﻓﺘﻪ‪ ،‬ﻳﺎﺩ ﺑﮕﻴﺮﻡ‪ .‬ﻭ ﻣﻦ ﻓﻘﻂ ﻳﻚ ﺯﺑﺎﻥﺷﻨﺎﺳﻢ‪ ،‬ﻧﻪ ﺷﺎﻋﺮ‪«.‬‬ ‫ﻣﻮﺭﺗﻮﻥ ﺣﺘﻤﺎً ﺑﺪﺟﻮﺭﻯ ﺗﻮﻯ ﺩﺍﻡ ﺍﻓﺴﻮﻥﻫﺎﻯ ﺑﺘﻰ ﺍﻓﺘﺎﺩﻩ‪ ،‬ﻭﮔﺮﻧﻪ ﺍﻣﻜﺎﻥ ﻧﺪﺍﺷﺖ ﻛﻮﺗﺎﻩ ﺑﻴﺎﻳﻴﺪ ﻭ ﺑﮕﻮﻳﺪ‪:‬‬ ‫»ﻭﻗﺘﻰ ﺩﺍﻧﺸﮕﺎﻩ ﺑﻮﺩﻡ‪ ،‬ﻳﻚ ﺩﻭﺭﻩ ﺷﻌﺮ ﻣﺪﺭﻥ ﺑﺮﺩﺍﺷﺘﻢ‪ .‬ﺷﺶ ﺗﺎ ﺷﺎﻋﺮ ﺭﺍ ﺑﺮﺭﺳﻰ ﻛﺮﺩﻳﻢ‪ .‬ﻳﺘﺲ ]‪،[1‬‬ ‫ﭘﺎﻧﺪ ]‪ ،[2‬ﺍﻟﻴﻮﺕ ]‪ ،[3‬ﻛ ِﺮﻳﻦ ]‪ ،[4‬ﺍﺳﺘﻮﻳﻨﺰ ]‪ [5‬ﻭ ﮔﺎﻟﻴﻨﮕﺮ ﻭ ﺁﺧﺮﻳﻦ ﺭﻭﺯ ﺗﺮﻡ‪ ،‬ﭘﺮﻭﻓﺴﻮﺭ ﻛﻪ ﻧﻄﻘﺶ‬ ‫ُﮔﻞ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﮔﻔﺖ‪" :‬ﺍﻳﻦ ﺷﺶ ﻧﺎﻡ ﺑﺮ ﺳﺮ ﺩﺭ ﻗﺮﻥ ﻧﻮﺷﺘﻪ ﺷﺪﻩﺍﻧﺪ ﻭ ﺩﺭﻭﺍﺯﻫﺎﻯ ﻧﻘﺪ ﻭ ﺟﻬﻨﻢ ﺑﺮ‬ ‫ﺁﻥﻫﺎ ﺗﺎ ﺍﺑﺪ ﺑﺴﺘﻪ ﺍﺳﺖ‪«.‬‬ ‫ﺣﺮﻓﺶ ﺭﺍ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺧﻮ ِﺩ ﻣﻦ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻦ ﻛﻪ »ﻟﻮﻟﻪﻫﺎﻯ ﻛﺮﻳﺸﻨﺎ« ]‪ [6‬ﻭ »ﻣﺎﺩﺭﻳﮕﺎﻝﻫﺎﻳﺶ« ]‪[7‬‬ ‫ﻋﺎﻟﻰ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻓﺘﺨﺎﺭ ﻣﻦ ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﻯ ﻫﻤﺮﺍﻫﻰ ﺍﻭ ﺩﺭ ﺍﻳﻦ ﺳﻔﺮ ﺍﻛﺘﺸﺎﻓﻰ ﺑﺮﮔﺰﻳﺪﻩ ﺷﺪﻡ‪«.‬‬ ‫ﻭ ﺑﺎﻻﺧﺮﻩ ﺣﺮﻓﺶ ﺭﺍ ﺑﺎ ﺍﻳﻦ ﺟﻤﻠﻪ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﺎﻧﺪ‪» :‬ﮔﻤﺎﻧﻢ ﺍﺯ ﻭﻗﺘﻰ ﺩﻳﺪﻣﺶ‪ ،‬ﺩﻭ ﺳﻪ ﺗﺎ ﺟﻤﻠﻪﺍﻯ ﺑﺎ‬ ‫ﻣﻦ ﺻﺤﺒﺖ ﻛﺮﺩﻩ ﺍﺳﺖ‪«.‬‬ ‫ﺑﺘﻰ ﺩﺭ ﺩﻓﺎﻉ ﮔﻔﺖ‪» :‬ﺗﺎ ﺣﺎﻻ ﺑﻪ ﺫﻫﻨﺖ ﺭﺳﻴﺪﻩ ﻛﻪ ﺷﺎﻳﺪ ﺍﻭ ﺭﻭﻯ ﻇﺎﻫﺮﺵ ﺧﻴﻠﻰ ﺣﺴﺎﺱ ﺍﺳﺖ؟‬ ‫ﺍﻭ ﻛﻮﺩﻙ ﺗﻨﻬﺎﻳﻰ ﺑﻮﺩﻩ ﻭ ﺣﺘﺎ ﺩﺭ ﻣﺪﺭﺳﻪ ﻫﻢ ﺩﻭﺳﺘﻰ ﻧﺪﺍﺷﺘﻪ‪ .‬ﺧﻴﻠﻰ ﺣﺴﺎﺱ ﻭ ﺩﺭﻭﻥﮔﺮﺍ ﺍﺳﺖ‪«.‬‬

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‫ﭘﺎﻭﺭﻗﻰ‬

‫ﺷﺎﺧﻪ ﺭﺯﻯ ﺑﺮﺍﻯ ﻛﺸﻴﺶ‬ ‫)ﺑﺨﺶ ﺩﻭﻡ(‬

‫ﺭﺍﺟﺮ ﺯﻻﺯﻧﻰ‬ ‫ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬

‫ﺗﻮﺿﯿﺢ‪ :‬ﻧﺎم اﺻﻠﯽ اﯾﻦ داﺳﺘﺎن ‪ Rose for Ecclesiastes‬اﺳﺖ‪ .‬از آنﺟﺎ ﮐﻪ اوﻟﯿﻦ ﺑﺎر ﺑﺨﺸﯽ‬ ‫از داﺳﺘﺎن ﺑﻪ ﻗﺼﺪ آﺷﻨﺎﯾﯽ ﺑﺎ ﺳﺒﮏ و ﻓﻀﺎی آن ﺑﺮای ﯾﮑﯽ از ﺟﻠﺴﺎت آﮐﺎدﻣﯽ ﺗﺮﺟﻤﻪ ﺷﺪ‪،‬‬ ‫درﺑﺎرهی ﺗﺮﺟﻤﻪی ﺻﺤﯿﺢ ﻋﻨﻮان ﺷﮏ و ﺷﺒﻬﻪ وﺟﻮد داﺷﺖ‪ .‬ﭘﺲ از اﯾﻦ ﮐﻪ داﺳﺘﺎن ﺑﻪ‬ ‫ﻃﻮر ﮐﺎﻣﻞ ﺗﺮﺟﻤﻪ ﺷﺪ‪ ،‬ﻣﺸﺨﺺ ﺷﺪ ﮐﻪ ﻧﺎم داﺳﺘﺎن ﺑﺎﯾﺪ »ﺷﺎﺧﻪ ُرزی ﺑﺮای ﮐﺸﯿﺶ« ﺑﺎﺷﺪ‪.‬‬ ‫در ﺷامرهی ﭘﯿﺶ‪ ،‬ﻧﺎم داﺳﺘﺎن »ﺷﺎﺧﻪ ﮔﻠﯽ ﺑﺮای ﮐﺸﯿﺶ« ﻗﺮار داده ﺷﺪ‪ ،‬وﻟﯽ ﺑﺎ راﯾﺰﻧﯽ و‬ ‫ﮔﻔﺘﮕﻮ ﺑﺎ ﴎدﺑﯿﺮ ﺑﻪ اﯾﻦ ﻧﺘﯿﺠﻪ رﺳﯿﺪﯾﻢ ﮐﻪ ﺗﺮﺟﻤﻪی ﻧﺎم اﺻﻠﯽ ﺑﻪ اﯾﻦ ﺻﻮرت‪ ،‬دﻗﯿﻖﺗﺮ ﺑﻮده‬ ‫و ﻣﻨﺎﺳﺐ داﺳﺘﺎن اﺳﺖ‪.‬‬


‫ﻛﺘﺎﺏ‬

‫ﺗﺠﺴﻢ ﮐﺮد ﮐﻪ ﭼﻮن ﻣﯿﺨﯽ از دﯾﻮار ﺟﺎﻧﺒﯽ ﺑﯿﺮون زده ﺑﻮد‪ .‬ﮔﺮاﻧﺶ ﻣﻤﮑﻦ ﺑﻮد از ﻫﺮ ﺟﻬﺘﯽ اﻋامل‬ ‫ﺷﻮد‪ .‬ﺑﺎ اﯾﻦ ﺣﺎل وﺟﻮدش ﻣﻐﺘﻨﻢ ﺑﻮد‪ .‬ﺣﺘﺎ ﻣﯽﺗﻮاﻧﺴﺖ ﮔﺮاف را ﻣﺠﺴﻢ ﮐﻨﺪ ﮐﻪ روی ﴎش اﯾﺴﺘﺎده‬ ‫ﺑﻮد ﺑﯽ آن ﮐﻪ ﺧﻮد ﮔﺮاف ﺑﺪاﻧﺪ‪.‬‬ ‫»وﯾﮕﻦ‪ ،‬ﮐﺠﺎش اﯾﻦ ﻗﺪر ﺑﺎﻣﺰه اﺳﺖ؟«‬ ‫ﭘﺮﺳﺶ ﮔﺮاف ﺑﺴﯿﺎر ﺗﻨﺪ و ﺧﺸامﮔﯿﻦ ﺑﻮد‪ .‬اﻧﺪر اﻧﺪﯾﺸﯿﺪ‪ ،‬ﻣﮕﺮ ﭼﻪ ﺧﻄﺎﯾﯽ ﮐﺮدم؟ ﯾﻌﻨﯽ ﺑﻪ ﺻﺪای‬ ‫ﺑﻠﻨﺪ ﺧﻨﺪﯾﺪم؟‬ ‫ﮔﺮاف ﺑﺎ ﺗﴩ ﮔﻔﺖ‪» :‬ازت ﺳﻮال ﮐﺮدم‪ ،‬ﴎﺑﺎز!«‬ ‫‪1. Orson Scott Card‬‬ ‫‪2. Ender’s Game‬‬ ‫‪3. Andrew “Ender” Wiggin‬‬ ‫‪4. Valentine‬‬ ‫‪5. Peter‬‬ ‫‪6. Speaker for the Dead‬‬ ‫‪7. Xenocide‬‬ ‫‪8. Children of the Mind‬‬

‫‪9. Ender in Exile‬‬ ‫‪10. A War of Gifts‬‬ ‫‪11. Ender’s Shadow‬‬ ‫‪12. Bean‬‬ ‫‪13. Gavin Hood‬‬ ‫‪14. Asa Butterfield‬‬ ‫‪15. Hyrum Graff‬‬ ‫‪16. Ender Saga‬‬

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‫ﮔﻔﺘﻨﺶ ﺧﺎﻟﻰ ﺍﺯ ﻟﻄﻒ ﻧﻴﺴﺖ ﻛﻪ ﻫﻤﻴﻦ ﻣﻮﺿﻮﻉ ﺑﺎﻋﺚ ﺷﺪ ﻛﻪ ﺍﻳﻦ ﻛﺘﺎﺏ ﺩﺭ ﺑﺮﺧﻰ ﺗﺸﻜﻴﻼﺕ‬ ‫ﻧﻈﺎﻣﻰ‪ ،‬ﺍﺯ ﻛﺘﺎﺏﻫﺎﻯ ﭘﻴﺸﻨﻬﺎﺩ ﺷﺪﻩ ﺑﺎﺷﺪ‪.‬‬ ‫ﺷﺎﻳﺎﻥ ﺫﻛﺮ ﺍﺳﺖ ﻛﻪ ﻛﺘﺎﺏ »ﺑﺎﺯﻯ ﺍﻧﺪﺭ«‪ ،‬ﺩﺭ ﺳﺎﻝ ‪ 1985‬ﺑﺮﻧﺪﻩﻯ ﺟﺎﻳﺰﻩﻯ ﻧﺒﻴﻮﻻ ﻭ ﺩﺭ ﺳﺎﻝ ‪1986‬‬ ‫ﺑﺮﻧﺪﻩﻯ ﺟﺎﻳﺰﻩﻯ ﻫﻮﮔﻮ ﺩﺭ ﻗﺴﻤﺖ ﺩﺍﺳﺘﺎﻥ ﺑﻠﻨﺪ ﺷﺪ ﻭ ﻫﻤﻴﻦ ﺍﺭﺯﺵ ﻭ ﺟﺬﺍﺑﻴﺖ ﺍﻳﻦ ﻛﺘﺎﺏ ﺭﺍ ﺗﺎﻳﻴﺪ‬ ‫ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺳﺎﻳﺮ ﺭﺳﺎﻧﻪﻫﺎ‬ ‫ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺩﺭ ﺍﺑﺘﺪﺍﻯ ﺍﻳﻦ ﻣﻌﺮﻓﻰ ﺍﺷﺎﺭﻩ ﻛﺮﺩﻡ‪ ،‬ﭘﺮﻭژﻩﻯ ﺍﻗﺘﺒﺎﺱ ﺳﻴﻨﻤﺎﻳﻰ ﺍﻳﻦ ﻛﺘﺎﺏ ﺷﺮﻭﻉ‬ ‫ﺷﺪﻩ ﻭ ﺩﺭ ﺳﺎﻝ ‪ 2013‬ﺍﻛﺮﺍﻥ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﻛﺎﺭﮔﺮﺩﺍﻥ ﺍﻳﻦ ﻓﻴﻠﻢ ﮔﻴﻮﻳﻦ ﻫﻮﺩ ]‪ [13‬ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﻯ‬ ‫ﻃﺮﻓﺪﺍﺭﺍﻥ ﻓﻴﻠﻢﻫﺎﻯ »ﻣﺮﺩﺍﻥ ﺍﻳﻜﺲ« ﻧﺎﻣﻰ ﺁﺷﻨﺎ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﺁﺳﺎ ﺑﺎﺗﺮﻓﻴﻠﺪ ]‪ ،[14‬ﺑﺎﺯﻳﮕﺮ‬ ‫ﺟﻮﺍﻥ ﻭ ﺧﻮﺵﺁﺗﻴﻪﻯ ﺳﻴﻨﻤﺎ ﻛﻪ ﺩﺭ ﻓﻴﻠﻢ ﻫﻮﮔﻮ ﻧﻴﺰ ﺧﻮﺵ ﺩﺭﺧﺸﻴﺪﻩ‪ ،‬ﻧﻘﺶ ﺍﻧﺪﺭ ﺭﺍ ﺑﺎﺯﻯ ﺧﻮﺍﻫﺪ‬ ‫ﻛﺮﺩ‪ .‬ﻫﺮﻳﺴﻮﻥ ﻓﻮﺭﺩ ﺑﺎﺯﻳﮕﺮ ﻧﺎﻡ ﺁﺷﻨﺎﻯ ﻓﻴﻠﻢ ﻫﺎﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ –ﺍﺯ ﺟﻤﻠﻪ ﺑﻠﻴﺪ ﺭﺍﻧﺮ ﻭ ﺟﻨﮓ‬ ‫ﺳﺘﺎﺭﮔﺎﻥ‪ -‬ﻧﻴﺰ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﻧﻘﺶ ﻣﻬﻢ ﺳﺮﻫﻨﮓ ﻫﺎﻳﺮﺍﻡ ﮔﺮﺍﻑ ]‪ [15‬ﺭﺍ ﺍﻳﻔﺎ ﺧﻮﺍﻫﺪ ﻛﺮﺩ‪.‬‬ ‫ﺩﺭ ﺳﺎﻝ ‪ 2008‬ﺷﺮﻛﺖ ﻣﺎﺭﻭﻝ ﻣﺠﻤﻮﻋﻪﻯ ﻛﻤﻴﻜﻰ ‪ 74‬ﻗﺴﻤﺘﻰ ﺑﺎ ﻧﺎﻡ ﻛﻠﻰ »ﺣﻤﺎﺳﻪﻯ ﺍﻧﺪﺭ« ]‪[16‬‬ ‫ﺭﻭﺍﻧﻪﻯ ﺑﺎﺯﺍﺭ ﻛﺮﺩ ﻛﻪ ﺗﻤﺎﻡ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻣﺠﻤﻮﻋﻪﻯ ﺑﺎﺯﻯ ﺍﻧﺪﺭ ﺭﺍ ﭘﻮﺷﺶ ﻣﻰﺩﻫﺪ‪ .‬ﺍﻳﻦ ﻛﻤﻴﻚﻫﺎ ﺩﺭ‬ ‫ﺳﺎﻳﺖﻫﺎﻯ ﺗﺨﺼﺼﻰ ﻛﻤﻴﻚ ﺍﻣﺘﻴﺎﺯ ﻧﺴﺒﺘﺎً ﺑﺎﻻﻳﻰ ﻛﺴﺐ ﻛﺮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﻫﻤﭽﻨﻴﻦ ﻗﺮﺍﺭ ﺑﻮﺩ ﺷﺮﻛﺖ ﭼﻴﺮ ﺍﻳﻨﺘﺮﺗﻴﻤﻨﺖ ]‪ [17‬ﺑﺮ ﺍﺳﺎﺱ ﺍﻳﻦ ﻛﺘﺎﺏ ﻳﻚ ﺑﺎﺯﻯ ﻭﻳﺪﺋﻮﻳﻰ ﺑﺴﺎﺯﺩ‬ ‫ﻛﻪ ﺩﺭ ﻣﻮﺭﺩ ﺯﺩ ﻭ ﺧﻮﺭﺩﻫﺎﻯ ﺍﺗﺎﻕ ﻧﺒﺮﺩ ﺑﺎﺷﺪ‪ .‬ﺍﻣﺎ ﺩﺭ ﺩﺳﺎﻣﺒﺮ ﺳﺎﻝ ‪ ،2010‬ﺍﻳﻦ ﺷﺮﻛﺖ ﺍﻋﻼﻡ ﻛﺮﺩ ﻛﻪ‬ ‫ﺍﻳﻦ ﭘﺮﻭژﻩ ﺗﺎ ﺍﻃﻼﻉ ﺛﺎﻧﻮﻯ ﺗﻌﻄﻴﻞ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺧﻼﺻﻪ ﻧﻮﻳﺴﻨﺪﻩ ﻛﻪ ﺑﺰﺭگ ﺍﺳﺖ‪ ،‬ﺩﺍﺳﺘﺎﻧﺶ ﻫﻢ ﺟﺬﺍﺏ ﺍﺳﺖ‪ .‬ﻣﺘﺮﺟﻤﺶ ﻗﺎﺑﻞ ﺍﺳﺖ ﻭ ﻧﺎﺷﺮ ﺧﻮﺑﻰ‬ ‫ﻫﻢ ﺩﺍﺭﺩ‪ .‬ﭘﺲ ﺑﺮﺍﻯ ﺧﻮﺍﻧﺪﻥ ﺍﻳﻦ ﻛﺘﺎﺏ ﺩﻳﮕﺮ ﺩﻧﺒﺎﻝ ﭼﻪ ﻫﺴﺘﻴﺪ؟!‬ ‫ﻗﻄﻌﻪﺍﻯ ﺍﺯ ﻣﺘﻦ ﻛﺘﺎﺏ‬

‫ﯾﮑﯽ از ﭘﴪﻫﺎ ﻋﻖ زد؛ اِﻧﺪر ﻫامن دم ﻓﻬﻤﯿﺪ ﮐﻪ ﭼﺮا از ﺑﯿﺴﺖ ﺳﺎﻋﺖ ﭘﯿﺶ از ﭘﺮﺗﺎب دﯾﮕﺮ اﺟﺎزه‬ ‫ﻧﺪادﻧﺪ ﭼﯿﺰی ﺑﺨﻮرﻧﺪ‪ .‬اﺳﺘﻔﺮاغ در ﮔﺮاﻧﺶ ﺻﻔﺮ ﭼﻨﺪان ﻣﻄﺒﻮع ﻧﯿﺴﺖ‪.‬‬ ‫وﻟﯽ ﺑﺮای اﻧﺪر‪ ،‬ﺑﺎزی ﮔﺮاﻧﺸﯽ ﮔﺮاف ﺑﺎﻣﺰه ﺑﻮد‪ ،‬اﻧﺪر ﺑﺎز ﻫﻢ ﺑﻪ ﺑﺎزﯾﺶ اداﻣﻪ داد و ﮔﺮاف را واﻗﻌﺎً‬ ‫ﭼﻨﺎن ﺗﺼﻮر ﮐﺮد ﮐﻪ ﺑﻪ ﺷﮑﻞ ﴎ و ﺗﻪ از راﻫﺮوی ﻣﯿﺎﻧ��� ﺷﺎﺗﻞ آوﯾﺰان ﻣﺎﻧﺪه ﺑﻮد و ﺑﻌﺪ او را ﭼﻨﺎن‬

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‫ﻛﺘﺎﺏ ﺩﺭ ﻳﻚ ﻧﮕﺎﻩ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺗﻘﺮﻳﺒﺎً ﻫﻤﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﭘﺸﺖ ﺟﻠﺪ ﻛﺘﺎﺏ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻧﺪﺭ ﭘﺴﺮﻯ ﺍﺳﺖ ﺷﺶ ﺳﺎﻟﻪ‬ ‫ﻛﻪ ﺍﺯ ﻫﻮﺵ ﺳﺮﺷﺎﺭﻯ ﻧﻴﺰ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺍﺳﺖ‪ .‬ﺍﻭ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻣﻰﻛﻨﻨﺪ ﺗﺎ ﺭﻫﺒﺮ ﻧﺒﺮﺩ ﻋﻠﻴﻪ ﻓﻀﺎﻳﻰﻫﺎ ﺷﻮﺩ‪.‬‬ ‫ﺍﻣﺎ ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﻪ ﻓﺮﺩﻯ ﺭﻭﺣﻴﻪﻯ ﺭﻫﺒﺮﻯ ﭘﻴﺪﺍ ﻛﻨﺪ‪ ،‬ﺑﺎﻳﺪ ﺷﺮﺍﻳﻂ ﺳﺨﺘﻰ ﺭﺍ ﺗﺤﻤﻞ ﻛﻨﺪ‪ .‬ﺷﺮﺍﻳﻄﻰ‬ ‫ﻛﻪ ﻛﻤﺘﺮ ﻛﺴﻰ ﻗﺎﺩﺭ ﺍﺳﺖ ﺁﻥﻫﺎ ﺭﺍ ﺍﺯ ﺳﺮ ﺑﮕﺬﺭﺍﻧﺪ‪.‬‬ ‫ﻣﻘﺪﺍﺭ ﺯﻳﺎﺩﻯ ﺍﺯ ﺣﺠﻢ ﻛﺘﺎﺏ ﺩﺭ ﻣﻮﺭﺩ ﺑﺎﺯﻯﻫﺎﻯ ﺁﻣﻮﺯﺷﻰ ﺩﺭ ﺟﺎﺫﺑﻪﻯ ﺻﻔﺮ ﺍﺳﺖ ﻭ ﺍﻳﻦﺟﺎﺳﺖ ﻛﻪ‬ ‫ﻧﺒﻮﻍ ﺍﺳﺘﺮﺍﺗﮋﻳﻚ ﺍﻧﺪﺭ ﺁﺷﻜﺎﺭ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻳﻜﻰ ﺍﺯ ﭘﺮﻃﺮﻓﺪﺍﺭﺗﺮﻳﻦ ﺑﺨﺶﻫﺎﻯ ﻛﺘﺎﺏ‪ ،‬ﻧﺒﺮﺩﻫﺎ ﻭ ﻣﺒﺎﺭﺯﺍﺕ ﺍﻧﺪﺭ ﺩﺭ ﻣﺪﺭﺳﻪﻯ ﻧﺒﺮﺩ ﺍﺳﺖ؛ ﺍﻣﺎ ﺷﺎﻳﺪ‬ ‫ﺑﺘﻮﺍﻥ ﮔﻔﺖ ﺑﻬﺘﺮﻳﻦ ﻗﺴﻤﺖ ﺍﻳﻦ ﻛﺘﺎﺏ ﭘﺎﻳﺎﻧﺶ ﺑﺎﺷﺪ‪ .‬ﻧﺒﺮﺩﻫﺎﻳﻰ ﻧﻔﺲﮔﻴﺮ ﻭ ﺳﺨﺖ ﻭ ﺩﻭ ﮔﺮﻩﮔﺸﺎﻳﻰ‬ ‫ﭘﺸﺖ ﺳﺮ ﻫﻢ ﻛﻪ ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ ﺧﻮﺍﻧﻨﺪﻩ ﻛﺘﺎﺏ ﺭﺍ ﺑﺎ ﻟﺬﺗﻰ ﺩﻭﭼﻨﺪﺍﻥ ﻭ ﺧﺎﻃﺮﺍﺗﻰ ﺧﻮﺵ‪ ،‬ﺯﻣﻴﻦ‬ ‫ﺑﮕﺬﺍﺭﺩ‪.‬‬ ‫ﺍﻳﺪﻩﻯ ﺍﻳﻦ ﻛﺘﺎﺏ ﺍﺑﺘﺪﺍ ﺑﻪ ﺻﻮﺭﺕ ﺩﺍﺳﺘﺎﻧﻰ ﻛﻮﺗﺎﻩ ﺩﺭ ﻣﺠﻠﻪﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺁﻧﺎﻟﻮگ ﺍﻧﺘﺸﺎﺭ ﻳﺎﻓﺖ‪.‬‬ ‫ﺍﻭﺭﺳﻮﻥ ﺍﺳﻜﺎﺕ ﻛﺎﺭﺩ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎ ﻭ ﻓﻀﺎﻯ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺑﺮﺍﻯ ﻧﻮﺷﺘﻦ ﻣﺠﻤﻮﻋﻪﺍﻯ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩ‬ ‫ﻛﻪ ﺟﻠﺪ ﺍﻭﻝ ﺁﻥ ﻛﻪ ﻫﻤﻴﻦ ﻛﺘﺎﺏ »ﺑﺎﺯﻯ ﺍﻧﺪﺭ« ﺍﺳﺖ‪» .‬ﺑﺎﺯﻯ ﺍﻧﺪﺭ« ﺩﺭ ﻛﺘﺎﺏﻫﺎﻯ »ﺳﺨﻨﮕﻮﻯ‬ ‫ﻣﺮﺩﮔﺎﻥ« ]‪» ،[6‬ﺑﻴﮕﺎﻧﻪﻛﺶ« ]‪» ،[7‬ﻓﺮﺯﻧﺪﺍﻥ ﺫﻫﻦ« ]‪ [8‬ﻭ »ﺍﻧﺪﺭ ﺩﺭ ﺗﺒﻌﻴﺪ« ]‪ [9‬ﺍﺩﺍﻣﻪ ﻣﻰﻳﺎﺑﺪ ﻭ‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺍﻧﺪﺭ ﺩﺭ ﺳﻴﺎﺭﺍﺕ ﻭ ﻛﻬﻜﺸﺎﻥﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺭﺍ ﺭﻭﺍﻳﺖ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻋﻼﻭﻩ ﺑﺮ ﺍﻳﻦ ﻛﺘﺎﺏﻫﺎ‪ ،‬ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ »ﺟﻨﮓ ﻫﺪﻳﻪﻫﺎ« ]‪ [10‬ﻭ ﺭﻣﺎﻥ »ﺳﺎﻳﻪﻯ ﺍﻧﺪﺭ« ]‪ [11‬ﻧﻴﺰ ﺩﺭ‬ ‫ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ ﻛﻪ ﺩﺭ ﻫﻤﺎﻥ ﺑﺎﺯﻩﻯ ﺯﻣﺎﻧﻰ ﻛﺘﺎﺏ ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﻨﺪ‪ .‬ﻻﺯﻡ ﺑﻪ ﺫﻛﺮ ﺍﺳﺖ ﻛﻪ‬ ‫ﻛﺘﺎﺏ ﺳﺎﻳﻪﻯ ﺍﻧﺪﺭ ﻛﺘﺎﺑﻰ ﺑﺴﻴﺎﺭ ﭘﺮﻃﺮﻓﺪﺍﺭ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺯﺑﺎﻥ ﻳﻜﻰ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺩﻭﺳﺖﺩﺍﺷﺘﻨﻰ‬ ‫ﻛﺘﺎﺏ ﺣﺎﺿﺮ ﺑﻪ ﻧﺎﻡ ﺑﻴﻦ ]‪ [12‬ﺭﻭﺍﻳﺖ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺣﻮﺍﺷﻰ‬ ‫ﺍﻳﻦ ﻛﺘﺎﺏ ﺩﺭ ﻣﺠﻤﻮﻉ ﻃﺮﻓﺪﺍﺭﺍﻥ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩﻯ ﭘﻴﺪﺍ ﻛﺮﺩ‪ .‬ﺍﻣﺎ ﺑﻌﻀﻰ ﻣﻮﺿﻮﻋﺎﺕ ﺍﺧﻼﻗﻰ ﻣﻄﺮﺡ ﺷﺪﻩ‬ ‫ﺩﺭ ﺁﻥ‪ ،‬ﺍﻋﺘﺮﺍﺽ ﻳﻜﻰ ﺍﺯ ﻣﻨﺘﻘﺪﺍﻥ ﺭﺍ ﺑﺮﺍﻧﮕﻴﺨﺖ‪ .‬ﻣﻬﻢﺗﺮﻳﻦ ﺍﻳﻦ ﻣﻮﺿﻮﻋﺎﺕ ﻧﮕﺎﻩ ﺳﻬﻞﺍﻧﮕﺎﺭﺍﻧﻪ ﻛﺎﺭﺩ ﺑﻪ‬ ‫ﺧﺸﻮﻧﺖ ﺷﺨﺼﻴﺖﻫﺎ ﻭ ﺗﻮﺟﻴﻪ ﻛﺎﺭﻫﺎﻯ ﺁﻥﻫﺎﺳﺖ‪ .‬ﻛﺎﺭﺩ ﻧﻴﺰ ﺩﺭ ﺩﻓﺎﻉ ﺍﺯ ﺧﻮﺩﺵ ﺩﺭ ﻣﻘﺎﺑﻞ ﺍﻳﻦ ﻣﻨﺘﻘﺪ‪،‬‬ ‫ﺟﻮﺍﺑﻴﻪﺍﻯ ﻣﻨﺘﺸﺮ ﻛﺮﺩ ﻛﻪ ﻣﻮﺭﺩ ﻗﺒﻮﻝ ﺍﻛﺜﺮﻳﺖ ﻭﺍﻗﻊ ﺷﺪ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﺑﻬﺘﺮ ﺍﺳﺖ ﺍﻳﻦ ﻣﻮﺿﻮﻋﺎﺕ ﺭﺍ ﺑﻪ ﺧﻮﺍﻧﻨﺪﻩﻯ ﻛﺘﺎﺏ ﻭﺍﮔﺬﺍﺭ ﻛﺮﺩ ﻭ ﻭﺍﺭﺩ ﺍﻳﻦ ﺑﺤﺚﻫﺎﻯ ﺑﻰﭘﺎﻳﺎﻥ‬ ‫ﺍﺧﻼﻗﻰ ﻧﺸﺪ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻫﺮ ﻛﺴﻰ ﻛﺎﺭﺩ ﺭﺍ ﺑﺮ ﺍﺳﺎﺱ ﺑﺎﻭﺭ ﺧﻮﺩ ﺗﺒﺮﺋﻪ ﻳﺎ ﻣﺤﻜﻮﻡ ﺧﻮﺍﻫﺪ ﻛﺮﺩ‪.‬‬

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‫ﺍﮔﺮ ﺗﺎ ﺣﺎﻻ ﻛﺘﺎﺏ »ﺑﺎﺯﻯ ﺍﻧﺪﺭ« ]‪ [2‬ﺭﺍ ﻧﺨﻮﺍﻧﺪﻩﺍﻳﺪ‪ ،‬ﺩﻳﮕﺮ ﻓﺮﺻﺖ ﺧﻴﻠﻰ ﺯﻳﺎﺩﻯ ﻧﺪﺍﺭﻳﺪ‪ .‬ﭘﻴﺸﻨﻬﺎﺩ‬ ‫ﻣﻰﻛﻨﻢ ﻛﻪ ﺣﺪﺍﻛﺜﺮ ﺗﺎ ﻳﻚ ﺳﺎﻝ ﻭ ﻧﻴﻢ ﺩﻳﮕﺮ ﺁﻥ ﺭﺍ ﺑﺨﻮﺍﻧﻴﺪ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺩﺭ ﻧﻮﺍﻣﺒﺮ ﺳﺎﻝ ‪ 2013‬ﻓﻴﻠﻤﺶ‬ ‫ﺭﻭﻯ ﭘﺮﺩﻩﻫﺎ ﻣﻰﺭﻭﺩ‪ .‬ﻓﻴﻠﻢ ﺧﻮﺑﻰ ﻫﻢ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﺩﺍﺳﺘﺎﻥ ﻛﻪ ﻣﻌﺮﻛﻪ ﺍﺳﺖ‪ .‬ﻛﺎﺭﮔﺮﺩﺍﻥ ﻭ ﺑﺎﺯﻳﮕﺮﺍﻥ‬ ‫ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩﺍﻯ ﻫﻢ ﺩﺍﺭﺩ‪ .‬ﻭ ﺍﻳﻦﻫﺎ ﻭﻗﺘﻰ ﺑﺎ ﺟﻠﻮﻩﻫﺎﻯ ﻭﻳﮋﻩﻯ ﻫﺎﻟﻴﻮﻭﺩﻯ ﺗﺮﻛﻴﺐ ﺷﻮﻧﺪ‪ ،‬ﻧﺘﻴﺠﻪ‬ ‫ﻓﻴﻠﻤﻰ ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﻛﻪ ﭼﻨﺪ ﻫﻔﺘﻪ ﺩﺭ ﺻﺪﺭ ﻓﻬﺮﺳﺖ ﭘﺮﻓﺮﻭﺵﻫﺎ ﻗﺮﺍﺭ ﺑﮕﻴﺮﺩ‪.‬‬ ‫ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﺧﻴﻠﻰ ﻫﻢ ﺧﻮﺏ ﺍﺳﺖ ﻭ ﺩﻭﺭﺍﻧﺪﻳﺸﻰ ﻣﺴﺌﻮﻻﻥ ﻧﺸﺮ ﻗﻄﺮﻩ ﻧﻴﺰ ﻗﺎﺑﻞ ﺳﺘﺎﻳﺶ ﺍﺳﺖ؛ ﭼﺮﺍ‬ ‫ﻛﻪ ﺍﻳﻦ ﻛﺘﺎﺏ‪ ،‬ﻳﻚ ﺳﺎﻝ ﻭ ﻧﻴﻢ ﺑﻌﺪ ﻧ ُﻘﻞ ﻣﺤﺎﻓﻞ ﻭ ﻣﺠﺎﻟﺲ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﭘﻴﻤﺎﻥ ﺍﺳﻤﺎﻋﻴﻠﻴﺎﻥ ﻫﻢ‬ ‫ﻛﻪ ﺑﺮﺍﻯ ﻣﺎ ﻧﺎﻡﺁﺷﻨﺎﺳﺖ ﻭ ﺍﻳﻦ ﻛﺘﺎﺏ )ﻭ ﺍﻣﻴﺪﻭﺍﺭﻡ ﻛﻞ ﻣﺠﻤﻮﻋﻪ( ﺭﺍ ﻫﻢ ﺑﺎﻳﺪ ﺑﻪ ﺍﻧﺘﺨﺎﺏﻫﺎﻯ ﺧﻮﺏ‬ ‫ﻗﺒﻠﻰﺍﺵ ﺑﺮﺍﻯ ﺗﺮﺟﻤﻪ ﺍﺿﺎﻓﻪ ﻛﺮﺩ‪ .‬ﺗﻨﻬﺎ ﺳﻮﺍﻟﻰ ﻛﻪ ﺑﺎﻗﻰ ﻣﻰﻣﺎﻧﺪ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﭼﺮﺍ ﺷﻤﺎﺭﮔﺎﻥ ﻛﺘﺎﺏ‬ ‫ﺍﻳﻦ ﻗﺪﺭ ﭘﺎﻳﻴﻦ ﺍﺳﺖ‪.‬‬ ‫ﺍﻣﺎ ﺳﺨﻨﻢ ﺭﻭ ﺑﻪ ﺁﻥﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﻭﻗﺘﻰ ﻓﻴﻠﻤﻰ ﺭﺍ ﺑﺒﻴﻨﻨﺪ‪ ،‬ﺩﻳﮕﺮ ﺳﺮﺍﻍ ﻛﺘﺎﺑﺶ ﻧﻤﻰﺭﻭﻧﺪ‪ .‬ﺍﺷﺘﺒﺎﻩ‬ ‫ﻣﻰﻛﻨﻴﺪ! ﻫﻴﭻﻭﻗﺖ ﻫﻴﭻ ﻓﻴﻠﻤﻰ ﻣﺎﻧﻨﺪ ﻛﺘﺎﺏ ﻧﻤﻰﺷﻮﺩ ﻭ ﺍﻳﻦ ﺩﺭ ﻣﻮﺭﺩ »ﺑﺎﺯﻯ ﺍﻧﺪﺭ« ﺑﻴﺸﺘﺮ ﺻﺪﻕ‬ ‫ﻣﻰﻛﻨﺪ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺍﻳﻦ ﻛﺘﺎﺏ ﭘﺮ ﺍﺳﺖ ﺍﺯ ﺩﻭﺩﻟﻰﻫﺎ‪ ،‬ﺗﺮﺩﻳﺪﻫﺎ ﻭ ﺑﺎﺯﻯﻫﺎﻯ ﺭﻭﺍﻧﻰ ﻛﻪ ﻗﺎﺑﻠﻴﺖ ﺑﻪ ﺗﺼﻮﻳﺮ‬ ‫ﻛﺸﻴﺪﻩ ﺷﺪﻥ ﻧﺪﺍﺭﻧﺪ‪.‬‬ ‫»ﺑﺎﺯﻯ ﺍﻧﺪﺭ« ﻛﺘﺎﺑﻰ ﺍﺳﺖ ﻛﻪ ﺍﺭﺯﺵ ﺧﻮﺍﻧﺪﻩ ﺷﺪﻥ ﺩﺍﺭﺩ‪ .‬ﭘﺲ ﺩﺳﺖ ﺑﺠﻨﺒﺎﻧﻴﺪ!‬ ‫ﺧﻼﺻﻪﻯ ﺩﺍﺳﺘﺎﻥ‬ ‫ﭘﺸﺖ ﻛﺘﺎﺏ ﺍﻳﻦ ﻃﻮﺭ ﺧﻼﺻﻪﻯ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺗﻌﺮﻳﻒ ﻛﺮﺩﻩ ﺍﺳﺖ‪:‬‬ ‫ﭘﺲ ﺍﺯ ﺩﻭ ﺑﺎﺭ ﺣﻤﻠﻪﻱ ﺑﻴﮕﺎﻧﮕﺎﻥ ﺑﻪ ﻛﺮﻩﻱ ﺯﻣﻴﻦ ﻛﻪ ﻧﮋﺍﺩ ﺑﺸﺮ ﺭﺍ ﺗﺎ ﺁﺳﺘﺎﻧﻪﻱ ﺍﻧﻘﺮﺍﺽ ﭘﻴﺶ‬ ‫ﻣﻲﺑﺮﺩ‪ ،‬ﺣﻜﻮﻣﺖ ﺟﻬﺎﻧﻲ ﺑﺮﺍﻱ ﺗﻀﻤﻴﻦ ﭘﻴﺮﻭﺯﻱ ﻧﻮﻉ ﺑﺸﺮ ﺩﺭ ﺟﻨﮓ ﺑﻌﺪﻱ ﻭ ﺣﻔﻆ ﻳﻜﭙﺎﺭﭼﮕﻲ‬ ‫ﺳﻴﺎﺭﻩ‪ ،‬ﺩﺳﺖ ﺑﻪ ﮔﺰﻳﻨﺶ ﻭ ﭘﺮﻭﺭﺵ ﻧﻮﺍﺑﻎ ﻧﻈﺎﻣﻲ ﻣﻲﺯﻧﺪ ﻭ ﺳﭙﺲ ﺁﻥﻫﺎ ﺭﺍ ﺩﺭ ﻧﺒﺮﺩﻫﺎﻳﻲ‬ ‫ﺷﺒﻴﻪﺳﺎﺯﻱ ﺷﺪﻩ ﺁﻣﻮﺯﺵ ﻣﻲﺩﻫﺪ ﺗﺎ ﻫﻨﺮ ﺟﻨﮓ ﺭﺍ ﺩﺭ ﺫﻫﻦﻫﺎﻱ ﻧﻮﭘﺎ ﻭ ﺗﺸﻨﻪﻱ ﺩﺍﻧﺎﻳﻲﺷﺎﻥ‬ ‫ﻧﻬﺎﺩﻳﻨﻪ ﻛﻨﺪ‪ .‬ﭘﺲ ﻃﺒﻴﻌﻲ ﺍﺳﺖ ﻛﻪ ﻧﺨﺴﺘﻴﻦ ﺁﻣﻮﺯﺵﻫﺎ ﺟﻨﺒﻪﻱ »ﺑﺎﺯﻱ« ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪...‬‬ ‫ﺍﻧﺪﺭﻭ ـ ﺍﻧﺪﺭ ـ ﻭﻳﮕﻦ ]‪ [3‬ﺣﺘﺎ ﺩﺭ ﻣﻴﺎﻥ ﻧﻮﺍﺑﻎ ﺩﺳﺖﭼﻴﻦ ﺷﺪﻩ ﻧﻴﺰ ﮔﻞ ﺳﺮﺳﺒﺪ ﻭ ﺑﺮﺗ ِﺮ ﺑﺮﺗﺮﻳﻦﻫﺎ‬ ‫ﺍﺳﺖ؛ ﺍﻭ ﺑﺮﻧﺪﻩﻱ ﻫﻤﻪﻯ ﺑﺎﺯﻱﻫﺎ ﻭ ﺑﺮﺧﻼﻑ ﺧﻮﺍﻫﺮ ﻋﺎﻃﻔﻲﺍﺵ ﻭﻟﻨﺘﺎﻳﻦ ]‪ ،[4‬ﻭ ﺑﺮﺍﺩﺭ ﺩﮔﺮﺁﺯﺍﺭﺵ‬ ‫ﭘﻴﺘﺮ ]‪ ،[5‬ﺩﺍﺭﺍﻱ ﺗﻤﺎﻣﻲ ﺷﺮﺍﻳﻂ ﻻﺯﻡ ﻭ ﻛﺎﻓﻲ ﺑﺮﺍﻱ ﺍﻧﺠﺎﻡ ﻣﺄﻣﻮﺭﻳﺖ ﻣﻮﺭﺩ ﻧﻈﺮ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺍﻭ ﭼﻨﺎﻥ ﺑﺎﻫﻮﺵ ﺍﺳﺖ ﻛﻪ ﻣﻲﺩﺍﻧﺪ ﻭﻗﺖ ﺭﻭ ﺑﻪ ﭘﺎﻳﺎﻥ ﺍﺳﺖ‪ .‬ﻭﻟﻲ ﺁﻳﺎ ﺑﻪ ﻗﺪﺭ ﻛﺎﻓﻲ‬ ‫ﺑﺎﻫﻮﺵ ﺍﺳﺖ ﻛﻪ ﺯﻣﻴﻦ ﺭﺍ ﻧﺠﺎﺕ ﺩﻫﺪ؟‬

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‫ﻛﺘﺎﺏ‬

‫ﺑﺎﺯﻯ ﺍﻧﺪﺭ‬ ‫ﭘﻮﺭﻳﺎ ﺗﻘﻮﻯ ﻣﻘﺪﻡ‬

‫ﺷﻨﺎﺳﻨﺎﻣﻪ‬ ‫ﻧﺎﻡ ﻛﺘــﺎﺏ‪ :‬ﺑــــــﺎﺯﻯ ﺍﻧــــﺪﺭ‬

‫ﻧﻮﻳﺴﻨــﺪﻩ‪:‬‬

‫ﺍﻭﺭﺳﻮﻥ ﺍﺳﻜﺎﺕ ﻛﺎﺭﺩ ]‪[1‬‬

‫ﻣﺘــﺮ ﺟـﻢ ‪ :‬ﭘﻴﻤـــﺎﻥ ﺍﺳﻤﺎﻋﻴﻠﻴﺎﻥ‬ ‫ﻧـﺎﺷــــﺮ‪ :‬ﻧﺸـــﺮ ﻗﻄــــــﺮﻩ‬ ‫‪-‬‬

‫‪1 3 9 0‬‬

‫ﻧﻮﺑﺖ ﭼـﺎپ‪ :‬ﺍﻭﻝ‬

‫ﺷﻤــﺎﺭﮔﺎﻥ‪5 5 0 :‬‬

‫ﻧﺴﺨـــﻪ‬

‫ﺑﻬــــــﺎ ‪ 1 1 5 0 0 :‬ﺗﻮﻣـــﺎﻥ‬


‫ﻛﺘﺎﺏ‬

‫ﻗﻄﻌﻪﺍﻯ ﺍﺯ ﻣﺘﻦ ﻛﺘﺎﺏ‬

‫ﻣﻌﯿﺎر ﻣﻮﺗﻮرﻫﺎی ﻓﻀﺎﯾﯽ‬ ‫ﻣﻌﯿﺎر ﻣﻮﺟﻮد ﺑﺮای ﻣﺤﺎﺳﺒﻪی ﮐﺎراﯾﯽ ﻣﻮﺗﻮرﻫﺎی ﻓﻀﺎﯾﯽ ﻣﻌﯿﺎری ﺑﻪ ﻧﺎم ﴐﺑﻪی ﻣﺨﺼﻮص ]‪[۱۳‬‬ ‫)‪ (SI‬اﺳﺖ ﮐﻪ ﺑﺎ ﻣﺤﺎﺳﺒﻪی آن ﻣﯽﺗﻮان ﻗﺪرت ﻣﻮﺗﻮرﻫﺎی ﻣﺨﺘﻠﻒ را ﻣﻘﺎﯾﺴﻪ ﮐﺮد‪ .‬ﺗﻌﺮﯾﻒ اﯾﻦ ﻣﻌﯿﺎر‬ ‫ﺗﻐﯿﯿﺮات ﻣﻮﻣﯿﻨﺘﻢ ]‪ [۱۴‬ﻧﺴﺒﺖ ﺑﻪ واﺣﺪ ﺳﻮﺧﺖ ﻣﯽﺑﺎﺷﺪ و ﻣﻮﻣﯿﻨﺘﻢ ﻫﻢ ﺣﺎﺻﻞ ﴐب ﻧﯿﺮو در ﻃﻮل‬ ‫زﻣﺎن اﺳﺖ‪.‬‬ ‫راﮐﺖﻫﺎی ﺷﯿﻤﯿﺎﯾﯽ ﺑﺎ اﯾﻦ ﮐﻪ ﺑﺎ ﻧﯿﺮوی ﺑﺴﯿﺎر زﯾﺎدی ﴍوع ﻣﯽﮐﻨﻨﺪ‪ ،‬وﻟﯽ ﭼﻨﺪ دﻗﯿﻘﻪ ﺑﯿﺸﱰ اداﻣﻪ‬ ‫ﻧﺪارﻧﺪ و دارای ‪ SI‬ﭘﺎﯾﯿﻨﯽ ﻫﺴﺘﻨﺪ‪ ،‬در ﺻﻮرﺗﯽ ﮐﻪ ﻣﻮﺗﻮرﻫﺎی ﯾﻮﻧﯽ ﺑﺎ ﻧﯿﺮوی ﻧﺎﭼﯿﺰ ﺑﺮای ﻣﺪت زﯾﺎدی‪،‬‬ ‫‪ SI‬ﺑﺎﻻﺗﺮی دارﻧﺪ‪.‬‬ ‫واﺣﺪ اﯾﻦ ﻣﻌﯿﺎر ﺛﺎﻧﯿﻪ اﺳﺖ‪ .‬ﯾﮏ راﮐﺖ ﺷﯿﻤﯿﺎﯾﯽ‪ SI ،‬ﺑﯿﻦ ‪ ۴۰۰‬ﺗﺎ ‪ ۵۰۰‬ﺛﺎﻧﯿﻪ دارد‪ .‬ﻣﺜﻼً ﺷﺎﺗﻞ ﻓﻀﺎﯾﯽ‬ ‫دارای ‪ SI‬ﺑﺮاﺑﺮ ‪ ۴۵۳‬ﺛﺎﻧﯿﻪ اﺳﺖ‪ .‬ﺑﺎﻻﺗﺮﯾﻦ ‪ SI‬ﮐﻪ ﺗﺎﮐﻨﻮن ﺑﻪ وﺳﯿﻠﻪی ﯾﮏ راﮐﺖ ﺷﯿﻤﯿﺎﯾﯽ ﺑﻪ وﺟﻮد‬ ‫آﻣﺪه‪ ۵۴۲ ،‬ﺛﺎﻧﯿﻪ‪ ،‬ﺑﺎ ﺳﻮﺧﺘﯽ از ﻣﺨﻠﻮط ﻫﯿﺪروژن‪ ،‬ﻟﯿﺘﯿﻮم و ‪ Fluorine‬ﺑﻮده اﺳﺖ‪ .‬ﺣﺪاﮐرث ‪،SI‬‬ ‫ﻣﺮﺑﻮط ﺑﻪ راﮐﺘﯽ اﺳﺖ ﮐﻪ ﺑﺘﻮاﻧﺪ ﺑﻪ ﴎﻋﺖ ﻧﻮر ﺑﺮﺳﺪ و ﻣﻘﺪار آن ﺑﺮاﺑﺮ ‪ ۳۰‬ﻣﯿﻠﯿﻮن ﺛﺎﻧﯿﻪ اﺳﺖ‪.‬‬

‫‪1. Physics of the Impossible: A Scientific‬‬ ‫‪Exploration Into the World of Phasers, Force Fields,‬‬ ‫‪Teleportation, and Time Travel‬‬ ‫‪2. Michio Kaku‬‬ ‫‪3. TARDIS‬‬ ‫‪4. Dr. Who‬‬ ‫‪5. Teleportation‬‬ ‫‪6. Schwarzchild‬‬

‫‪7. Tsiolkovsky‬‬ ‫‪8. Einstein‬‬ ‫‪9. Heisenberg uncertainty principle‬‬ ‫‪10. Fusion‬‬ ‫‪11. Fission‬‬ ‫‪12. The Physics of Star Trek by Lawrence M. Krauss‬‬ ‫‪13. Specific Impulse‬‬ ‫‪14. Momentum‬‬

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‫ﭼﻨﺪ ﻧﻤﻮﻧﻪ ﻋﺮﺽ ﻛﻨﻢ‪ .‬ﺩﺭ ﺍﺩﺍﻣﻪ ﻣﻮﺿﻮﻉ ﺍﺳﺎﻣﻰ ﺍﻧﮕﻠﻴﺴﻰ‪ ،‬ﻣﺘﺮﺟﻢ ﺍﺳﺎﻣﻰ ﺁﻟﻤﺎﻧﻰ ﻭ ﻓﺮﺍﻧﺴﻮﻯ ﺭﺍ ﻫﻢ‬ ‫ﺑﺎ ﺗﻠﻔﻆ ﺍﻧﮕﻠﻴﺴﻰ ﻧﻮﺷﺘﻪ ﺍﺳﺖ ﻛﻪ ﺟﺎﻯ ﺗﻌﺠﺐ ﺩﺍﺭﺩ! ﻣﺜ ً‬ ‫ﻼ ﺷﻮﺍﺭﺗﺰﺷﻴﻠﺪ ]‪ [6‬ﻣﻌﺮﻭﻑ ﺭﺍ ﺷﻮﺍﺭﺯﭼﺎﻳﻠﺪ‬ ‫ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪ ،‬ﻛﻪ ﻣﺤﺪﻭﺩ ﺑﻪ ﻳﻚ ﻣﻮﺭﺩ ﻭ ﺩﻭ ﻣﻮﺭﺩ ﻫﻢ ﻧﻴﺴﺖ‪ .‬ﺗﺎﻳﭙﻴﺴﺖ ﻫﻢ ﺩﺭ ﻧﻮﺷﺘﻦ ﺍﺳﺎﻣﻰ ﺁﻟﻤﺎﻧﻰ‬ ‫ﻭ ﺭﻭﺳﻰ ﺗﻨﺒﻞ ﺑﻮﺩﻩ ﻭ ﻫﺮ ﺗﻌﺪﺍﺩ ﺍﺯ ﺣﺮﻭﻑ ﻛﻪ ﺑﻪ ﻧﻈﺮﺵ ﺯﺍﺋﺪ ﻣﻰﺁﻣﺪﻩ ﺣﺬﻑ ﻧﻤﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻣﺜ ً‬ ‫ﻼ‬ ‫ﺗﺴﻴﻮﻟﻜﻮﻓﺴﻜﻰ ]‪ [7‬ﭘﺪﺭ ﻋﻠﻢ ﺭﺍﻛﺖ ﺭﺍ ﺗﺴﻴﻮﻓﺴﻜﻰ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺍﺯ ﻫﻤﻪ ﺑﺪﺗﺮ ﺍﻳﻨﺸﺘﻴﻦ ]‪ [8‬ﺍﺳﺖ‬ ‫ﻛﻪ ﺍﻧﻴﺸﺘﻦ ﺷﺪﻩ ﺍﺳﺖ!‬ ‫ﺻﺪﺍﻟﺒﺘﻪ ﺍﺳﺎﻣﻰ ﺧﺎﺹ ﻣﺸﻜﻞ ﺧﺎﺻﻰ ﺩﺭ ﻣﺘﻦ ﺍﻳﺠﺎﺩ ﻧﻤﻰﻛﻨﻨﺪ‪ ،‬ﻏﻴﺮ ﺍﺯ ﻗﺪﺭﻯ ﺗﻔﺮﻳﺢ ﺑﺎﺑﺖ ﻛﺸﻒ‬ ‫ﺩﻻﺋﻞ ﺍﺷﺘﺒﺎﻫﺎﺕ‪ .‬ﺍﻣﺎ ﻭﻗﺘﻰ ﻭﺍﺭﺩ ﺍﺻﻄﻼﺣﺎﺕ ﻋﻠﻤﻰ ﻣﻰﺷﻮﻳﻢ‪ ،‬ﻣﻮﺿﻮﻉ ﻋﺠﻴﺐﺗﺮ ﻣﻰﺷﻮﺩ‪ .‬ﻇﺎﻫﺮﺍ ً‬ ‫ﺍﺻﻞ ﻋﺪﻡ ﻗﻄﻌﻴﺖ ﻫﺎﻳﺰﻧﺒﺮگ ]‪ [9‬ﺑﻪ ﮔﻮﺵ ﻣﺘﺮﺟﻢ ﻧﺨﻮﺭﺩﻩ ﺍﺳﺖ ﻭ ﺁﻥ ﺭﺍ ﺍﺻﻞ ﺑﻼﺗﻜﻠﻴﻔﻰ ﻫﻴﺰﻧﺒﺮگ‬ ‫ﺗﺮﺟﻤﻪ ﻛﺮﺩﻩ ﺍﺳﺖ! ﻓﻴﻮژﻥ ]‪ [10‬ﺭﺍ ﻫﻤﺠﻮﺷﻰ ﻫﺴﺘﻪﺍﻯ ﺗﺮﺟﻤﻪ ﻧﻜﺮﺩﻩ ﻭ ﺍﺋﺘﻼﻑ ﺍﺗﻤﻰ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺣﺎﻻ ﻓﺮﺽ ﻛﻨﻴﺪ ﺩﺍﺭﻳﺪ ﺑﻨﺪﻯ ﺩﺭ ﻣﻮﺭﺩ ﺑﻤﺐﻫﺎﻯ ﺍﺋﺘﻼﻓﻰ ﻣﻰﺧﻮﺍﻧﻴﺪ! ﻭ ﻓﻴﺸﻦ ]‪ [11‬ﻳﺎ ﺷﻜﺴﺖ‬ ‫ﻫﺴﺘﻪﺍﻯ ﺭﺍ ﻓﻴﮋﻥ ﻧﻮﺷﺘﻪ ﻭ ﻫﻴﭻ ﺗﺮﺟﻤﻪﺍﻯ ﺍﺭﺍﺋﻪ ﻧﻜﺮﺩﻩ ﺍﺳﺖ )ﺗﺸﻜﺮ ﻣﻰﻛﻨﻴﻢ( ﻭ ﺣﺘﺎ ﻣﺘﺮﺟﻢ ﺑﻪ‬ ‫ﺟﺎﻯ ﺟﺎﺫﺑﻪ ﻳﺎ ﮔﺮﺍﻧﺶ ﻧﻮﺷﺘﻪ ﺍﺳﺖ ﮔﺮﺍﻭﺗﻰ‪.‬‬ ‫ﻧﻜﺘﻪﻯ ﻋﺠﻴﺐ ﺩﻳﮕﺮ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻣﺘﺮﺟﻢ ﺑﻪ ﺍﺻﺮﺍﺭ ﺑﺮﺍﻯ ﻛﻠﻤﻪﻯ ﻓﻴﻮژﻥ ﻣﻌﺎﺩﻝ ﺍﺋﺘﻼﻑ ﺭﺍ ﻗﺮﺍﺭ ﺩﺍﺩﻩ‬ ‫ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺩﺭ ﺟﺎﻯ ﺩﻳﮕﺮ ﻇﺎﻫﺮﺍ ً ﻓﺮﺻﺖ ﻧﺪﺍﺷﺘﻪ ﻛﺸﻒ ﻛﻨﺪ ‪ Fluorine‬ﭼﻴﺴﺖ ﻭ ﻫﻤﻴﻦ ﻛﻠﻤﻪ ﺭﺍ ﺑﻪ‬ ‫ﺍﻧﮕﻠﻴﺴﻰ ﻭﺳﻂ ﻣﺘﻦ ﺁﻭﺭﺩﻩ ﺍﺳﺖ‪ .‬ﺍﺯ ﺍﻳﻦ ﻗﺒﻴﻞ ﻛﻠﻤﺎﺕ ﺗﺮﺟﻤﻪ ﻧﺸﺪﻩ ﻫﻢ ﺩﺭ ﻣﺘﻦ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩ ﺍﺳﺖ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﻧﺒﺎﻳﺪ ﺍﺯ ﺣﻖ ﮔﺬﺷﺖ‪ .‬ﺑﻪ ﺩﻟﻴﻞ ﺭﻭﺍﻧﻰ ﺟﻤﻼﺕ ﻭ ﺩﻗﺖ ﺗﺮﺟﻤﻪ‪ ،‬ﻣﻄﺎﻟﻌﻪﻯ ﻛﺘﺎﺏ ﺁﻥ ﻗﺪﺭ ﻛﻪ ﺍﺯ‬ ‫ﺗﻮﺿﻴﺤﺎﺕ ﻓﻮﻕ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﺁﺯﺍﺭﺩﻫﻨﺪﻩ ﻧﻴﺴﺖ ﻭ ﻓﻘﻂ ﺑﺎﻳﺪ ﺗﻮﺟﻪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﺪ ﻛﻪ ﺑﻪ ﺟﺎﻯ ﻛﻠﻤﻪ‬ ‫ﺍﺋﺘﻼﻑ ﺑﺨﻮﺍﻧﻴﺪ ﻫﻤﺠﻮﺷﻰ!‬ ‫ﻛﺘﺎﺏ ﻓﻴﺰﻳﻚ ﻏﻴﺮﻣﻤﻜﻦﻫﺎ ﺍﻭﻟﻴﻦ ﻛﺘﺎﺑﻰ ﻧﻴﺴﺖ ﻛﻪ ﺩﺭ ﺁﻥ ﻣﻮﺿﻮﻋﺎﺕ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺑﻪ ﺻﻮﺭﺕ ﻋﻠﻤﻰ‬ ‫ﺑﺮﺭﺳﻰ ﻣﻰﺷﻮﻧﺪ‪ .‬ﻛﺘﺎﺏ ﺩﻳﮕﺮﻯ ﺩﺭ ﺳﺎﻝ ‪ 1995‬ﺑﻪ ﻧﺎﻡ ﻓﻴﺰﻳﻚ ﺍﺳﺘﺎﺭﺗﺮﻙ ]‪ [12‬ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‬ ‫ﻛﻪ ﺑﺮ ﻣﻮﺿﻮﻋﺎﺕ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻣﺠﻤﻮﻋﻪﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺍﺳﺘﺎﺭﺗﺮﻙ ﺗﻤﺮﻛﺰ ﺩﺍﺭﺩ ﻭ ﺍﻟﺒﺘﻪ ﺩﺭ ﺳﻄﺢ ﻋﻠﻮﻡ‬ ‫ﭘﺎﻧﺰﺩﻩ ﺳﺎﻝ ﭘﻴﺶ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﺯ ﺍﻳﻦ ﻛﺘﺎﺏ ﻛﻪ ﺑﺎ ﻣﻘﺪﻣﻪﺍﻯ ﺍﺯ ﺍﺳﺘﻴﻔﻦ ﻫﺎﻭﻛﻴﻨﮓ ﻣﻨﺘﺸﺮ‬ ‫ﺷﺪﻩ ﺑﻮﺩ ﺑﻴﺶ ﺍﺯ ‪ 200‬ﻫﺰﺍﺭ ﻧﺴﺨﻪ ﻓﻘﻂ ﺩﺭ ﺍﻣﺮﻳﻜﺎ ﺑﻪ ﻓﺮﻭﺵ ﺭﺳﻴﺪ ﻭ ﺑﻪ ‪ 13‬ﺯﺑﺎﻥ ﺗﺮﺟﻤﻪ ﺷﺪ‪ .‬ﺍﺯ‬ ‫ﺍﻳﻦ ﺩﺳﺖ ﻛﺘﺎﺏﻫﺎ‪ ،‬ﻣﻮﺍﺭﺩ ﺩﻳﮕﺮﻯ ﻫﻢ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺑﻪ ﺭﻭﺯ ﺑﻮﺩﻥ ﻭ ﺗﺴﻠﻂ ﻧﻮﻳﺴﻨﺪﻩ‪ ،‬ﺍﻳﻦ‬ ‫ﻛﺘﺎﺏ ﺭﺍ ﻣﺘﻤﺎﻳﺰ ﻣﻰﻧﻤﺎﻳﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﻛﺘﺎﺏ‬ ‫ﭘﻴﺸﺮﻓﺖ ﻧﻤﺎﻳﺪ‪ .‬ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﻏﻴﺮﻣﻤﻜﻦﻫﺎ )ﻋﻠﻮﻡ ﺗﺨﻴﻠﻰ( ﺭﺍ ﺑﻪ ﺳﻪ ﮔﺮﻭﻩ ﺗﻘﺴﻴﻢﺑﻨﺪﻯ ﻛﺮﺩﻩ ﺍﺳﺖ‬ ‫ﻭ ﺍﺯ ﺁﻥﺟﺎ ﻛﻪ ﻛﺘﺎﺏ ﻛﺎﻣ ً‬ ‫ﻼ ﺑﻪ ﺭﻭﺯ ﺑﻮﺩﻩ ﻭ ﻧﻮﻳﺴﻨﺪﻩ ﺷﺨﺼﺎً ﺩﺭ ﻣﺘﻦ ﻣﻮﺿﻮﻉ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪ ،‬ﻣﻰﺗﻮﺍﻥ ﺑﻪ‬ ‫ﺍﻳﻦ ﺗﻘﺴﻴﻢﺑﻨﺪﻯ ﺍﻋﺘﻤﺎﺩ ﻧﻤﻮﺩ!‬ ‫ﮔﺮﻭﻩ ﺍﻭﻝ‪ :‬ﻓﻦﺁﻭﺭﻯﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ ﻏﻴﺮﻣﻤﻜﻦ ﻫﺴﺘﻨﺪ ﻭﻟﻰ ﺑﺎ ﻗﻮﺍﻧﻴﻦ ﻓﻴﺰﻳﻚ ﻫﻴﭻ ﻣﻐﺎﻳﺮﺗﻰ‬ ‫ﻧﺪﺍﺭﻧﺪ ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺭﻭﺯﻯ ﺑﻪ ﻭﺟﻮﺩ ﺧﻮﺍﻫﻨﺪ ﺁﻣﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺑﺴﺘﻪ ﺑﻪ ﺟﺰﺋﻴﺎﺕ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﺮﺍﻯ‬ ‫ﺩﺳﺘﺮﺳﻰ ﺑﻪ ﺁﻥﻫﺎ ﺣﺘﺎ ﻳﻚ ﻗﺮﻥ ﺯﻣﺎﻥ ﻻﺯﻡ ﺑﺎﺷﺪ‪ .‬ﺍﻳﻦ ﻓﻦﺁﻭﺭﻯﻫﺎ ﻋﺒﺎﺭﺗﻨﺪ ﺍﺯ ﻧﺎﭘﺪﻳﺪ ﺷﺪﻥ‪ ،‬ﻣﻴﺪﺍﻥ‬ ‫ﻧﻴﺮﻭ‪ ،‬ﺟﺎﺑﺠﺎﺋﻰ ]‪ ،[5‬ﺭﺍﻛﺖﻫﺎﻯ ﺿﺪ ﻣﺎﺩﻩ‪ ،‬ﺗﻠﻪﭘﺎﺗﻰ ﻭ ﻗﺪﺭﺕﻫﺎﻯ ﻣﺎﻭﺭﺍءﺍﻟﻄﺒﻴﻌﻪ‪.‬‬ ‫ﮔﺮﻭﻩ ﺩﻭﻡ‪ :‬ﻓﻦﺁﻭﺭﻯﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﻣﺮﺯ ﺩﺍﻧﺶ ﺍﻣﺮﻭﺯ ﻫﺴﺘﻨﺪ ﻭ ﺍﮔﺮ ﻣﻤﻜﻦ ﺑﺎﺷﻨﺪ ﺩﺳﺘﺮﺳﻰ ﺑﻪ ﺁﻥﻫﺎ‬ ‫ﺑﻴﺶ ﺍﺯ ﭼﻨﺪ ﻗﺮﻥ ﻭ ﺷﺎﻳﺪ ﻫﺰﺍﺭﺍﻥ ﺳﺎﻝ ﻃﻮﻝ ﺧﻮﺍﻫﺪ ﻛﺸﻴﺪ‪ .‬ﻣﺜﻞ ﺳﻔﺮ ﺑﻪ ﮔﺬﺷﺘﻪ ﻭ ﺩﻧﻴﺎﻫﺎﻯ ﺩﻳﮕﺮ‪.‬‬ ‫ﮔﺮﻭﻩ ﺳﻮﻡ‪ :‬ﻓﻦﺁﻭﺭﻯﻫﺎﻳﻰ ﻛﻪ ﺑﺎ ﻗﻮﺍﻧﻴﻦ ﻓﻴﺰﻳﻚ ﺍﻣﺮﻭﺯ ﻣﻐﺎﻳﺮﺕ ﺩﺍﺭﻧﺪ ﻭ ﺟﺎﻟﺐ ﺍﺳﺖ ﻛﻪ ﺗﻌﺪﺍﺩ ﺁﻥﻫﺎ‬ ‫ﺑﺴﻴﺎﺭ ﻣﺤﺪﻭﺩ ﺍﺳﺖ‪ .‬ﺩﺳﺘﺮﺳﻰ ﺑﻪ ﺍﻳﻦ ﮔﺮﻭﻩ ﺑﺎ ﺗﻐﻴﻴﺮﺍﺕ ﺍﺳﺎﺳﻰ ﺩﺭ ﻗﻮﺍﻧﻴﻦ ﻓﻌﻠﻰ ﻓﻴﺰﻳﻚ ﻣﻴﺴﺮ‬ ‫ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﻣﺎﻧﻨﺪ ﻣﺎﺷﻴﻦﻫﺎﻯ ﺧﻮﺩﻛﺎﺭ ﻭ ﭘﻴﺶﮔﻮﻳﻰ‪.‬‬ ‫ﻣﻄﺎﻟﻌﻪﻯ ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﺮﺍﻯ ﻛﻠﻴﻪﻯ ﻋﻼﻗﻪﻣﻨﺪﺍﻥ ﺑﻪ ﮔﻮﻧﻪﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻣﻰﺗﻮﺍﻧﺪ ﺟﺎﻟﺐ ﺑﺎﺷﺪ‪ .‬ﺍﻟﺒﺘﻪ‬ ‫ﻣﻄﺎﻟﻌﻪﻯ ﻛﺘﺎﺏ ﻧﻴﺎﺯﻣﻨﺪ ﭘﻴﺶﺯﻣﻴﻨﻪﻫﺎﻯ ﻓﻴﺰﻳﻚ ﺍﺳﺖ‪ .‬ﺧﻮﺍﻧﻨﺪﻩ ﺣﺪﺍﻗﻞ ﻣﻰﺑﺎﻳﺴﺖ ﻛﺘﺎﺏﻫﺎﻯ ﻗﺒﻠﻰ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻣﺎﻧﻨﺪ »ﺟﻬﺎﻥﻫﺎﻯ ﻣﻮﺍﺯﻯ« ﻳﺎ ﻛﺘﺎﺏﻫﺎﻯ ﺍﺳﺘﻴﻔﻦ ﻫﺎﻭﻛﻴﻨﮓ ﻣﺎﻧﻨﺪ »ﺟﻬﺎﻥ ﺩﺭ ﭘﻮﺳﺖ‬ ‫ﮔﺮﺩﻭ« ﺭﺍ ﺧﻮﺍﻧﺪﻩ ﺑﺎﺷﺪ ﺗﺎ ﺩﺭ ﻣﻴﺎﻥ ﻧﻈﺮﻳﺎﺕ ﺭﻳﺴﻤﺎﻥﻫﺎ ﻭ ﻣﺸﻜﻼﺕ ﻓﻴﺰﻳﻜﻰ ﻣﻨﻄﻘﻰ ﻛﺮﻣﭽﺎﻟﻪﻫﺎ ﮔﻢ‬ ‫ﻧﺸﻮﺩ‪ .‬ﺍﻟﺒﺘﻪ ﺑﺎ ﻧﺒﻮﺩ ﺍﻳﻦ ﺩﺍﻧﺶ ﭘﻴﺶﻧﻴﺎﺯ ﻫﻢ ﻣﻰﺗﻮﺍﻥ ﺍﺯ ﻛﺘﺎﺏ ﻟﺬﺕ ﺑﺮﺩ‪.‬‬ ‫ﺍﻣﺎ ﺗﺮﺟﻤﻪﻯ ﻛﺘﺎﺏ‪ ...‬ﻣﺘﺄﺳﻔﺎﻧﻪ ﻣﻄﺎﻟﻌﻪﻯ ﺗﺮﺟﻤﻪﻯ ﻛﺘﺎﺏ ﻧﻴﺎﺯﻣﻨﺪ ﺍﻋﺼﺎﺏ ﻓﻮﻻﺩﻳﻦ ﺍﺳﺖ ﻭ ﺑﻪ ﺍﻓﺮﺍﺩ‬ ‫ﻭﺳﻮﺍﺳﻰ ﭘﻴﺸﻨﻬﺎﺩ ﻧﻤﻰﺷﻮﺩ‪ .‬ﺍﻟﺒﺘﻪ ﺗﺮﺟﻤﻪ ﺑﺴﻴﺎﺭ ﺭﻭﺍﻥ ﻭ ﺟﻤﻼﺕ ﻛﺎﻣ ً‬ ‫ﻼ ﻭﺍﺿﺢ ﻫﺴﺘﻨﺪ ﻭ ﺗﺴﻠﻂ‬ ‫ﻣﺘﺮﺟﻢ ﺑﺮ ﺯﺑﺎﻥ ﺍﻧﮕﻠﻴﺴﻰ ﻭ ﻓﺎﺭﺳﻰ ﻭﺍﻗﻌﺎً ﺟﺎﻯ ﺗﻘﺪﻳﺮ ﺩﺍﺭﺩ ﻭ ﺑﻪ ﺟﺰ ﻣﻮﺍﺭﺩ ﻣﺤﺪﻭﺩﻯ ﻛﻪ ﺍﺻﺮﺍﺭ ﺑﺮ‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﺻﻄﻼﺣﺎﺕ ﻧﺎﻣﺄﻧﻮﺱ ﺩﺍﺭﺩ )ﻣﺎﻧﻨﺪ ﻣﻤﻜﻨﺎً ﺑﻪ ﺟﺎﻯ ﺍﺣﺘﻤﺎﻻً( ﻣﺸﻜﻞ ﺩﻳﮕﺮﻯ ﻧﺪﺍﺭﺩ‪ .‬ﺿﻤﻨﺎً‬ ‫ﻣﺘﺮﺟﻢ ﺑﺎ ﻭﻓﺎﺩﺍﺭﻯ ﻛﺎﻣﻞ ﺑﻪ ﺯﺑﺎﻥ ﺍﻧﮕﻠﻴﺴﻰ ﺳﻌﻰ ﻛﺮﺩﻩ ﻛﻪ ﺗﻤﺎﻡ ﻟﻐﺎﺕ ﻭ ﺍﺳﺎﻣﻰ ﺭﺍ ﺑﺎ ﺗﻠﻔﻆ ﺻﺤﻴﺢ‬ ‫ﺍﻧﮕﻠﻴﺴﻰ ﺑﻨﻮﻳﺴﺪ ﻛﻪ ﺑﻌﻀﻰ ﻣﻮﺍﻗﻊ ﻣﻮﺟﺐ ﻧﺎﺁﺷﻨﺎﻳﻰ ﻟﻐﺖ ﻣﻰﺷﻮﺩ )ﻣﺜﻞ ﻧﺎﻡ ﺁﻳﺰﻙ ﺍﺯﻳﻤﻮﻑ ﻳﺎ‬ ‫ﻧﻮﺭﺍﻥﻫﺎﻯ ﻋﺼﺒﻰ ﻣﻐﺰ( ﻛﻪ ﺁﻥ ﻫﻢ ﻣﺸﻜﻞ ﺧﺎﺻﻰ ﻧﻴﺴﺖ‪.‬‬ ‫ﺍﻣﺎ ﺟﺎﻯ ﺳﺆﺍﻝ ﺩﺍﺭﺩ ﭼﺮﺍ ﻣﺘﺮﺟﻤﻰ ﻛﻪ ﻫﻴﭻ ﺍﻃﻼﻋﻰ ﺍﺯ ﻋﻠﻢ ﻭ ﺍﺻﻄﻼﺣﺎﺕ ﻋﻠﻤﻰ ﻧﺪﺍﺭﺩ ﻭ ﻧﺎﺷﺮﻯ ﻛﻪ‬ ‫ﻛﻠﻤﻪﻯ ﭘﺮﻭﺗﻮﻥ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺑﻪ ﮔﻮﺵ ﺗﺎﻳﭙﻴﺴﺖﻫﺎ ﻭ ﻭﻳﺮﺍﺳﺘﺎﺭﻫﺎﻳﺶ ﻧﺨﻮﺭﺩﻩ‪ ،‬ﺑﺎﻳﺪ ﺑﻪ ﺩﻧﺒﺎﻝ ﺗﺮﺟﻤﻪ ﻭ‬ ‫ﭼﺎپ ﭼﻨﻴﻦ ﻛﺘﺎﺑﻰ ﺑﺮﻭﻧﺪ؟‬ ‫‪73‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﻣﻴﭽﻴﻮ ﻛﺎﻛﻮ ﻓﻴﺰﻳﻚﺩﺍﻥ ﻣﺸﻬﻮﺭ ﺁﻣﺮﻳﻜﺎﻳﻰ– ژﺍﭘﻨﻰ ﻣﺘﻮﻟﺪ ‪ 1947‬ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺧﺎﻃﺮ ﻧﮕﺎﺭﺵ‬ ‫ﻛﺘﺎﺏﻫﺎﻯ ﻣﺘﻌﺪﺩ ﺩﺭ ﻋﻠﻮﻡ ﻫﻤﮕﺎﻧﻰ ﺷﻬﺮﺕ ﺩﺍﺭﺩ‪ .‬ﺍﻭ ﺍﺯ ﺑﻨﻴﺎﻥﮔﺬﺍﺭﺍﻥ ﻧﻈﺮﻳﻪﻯ ﺭﻳﺴﻤﺎﻥﻫﺎ ﺩﺭ ﻓﻴﺰﻳﻚ‬ ‫ﺑﻨﻴﺎﺩﻯ ﺍﺳﺖ ﻭ ﻛﺘﺎﺏﻫﺎﻯ ﺩﺭﺳﻰ ﻣﺘﻌﺪﺩﻯ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ ﺗﺄﻟﻴﻒ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻛﺘﺎﺏﻫﺎﻯ ﻋﻠﻤﻰ‬ ‫ﻫﻤﮕﺎﻧﻰ ﺍﻭ ﺑﺴﻴﺎﺭ ﻣﺸﻬﻮﺭ ﺑﻮﺩﻩ ﻭ ﺍﻛﺜﺮ ﺁﻥﻫﺎ ﺑﻪ ﻓﺎﺭﺳﻰ ﺗﺮﺟﻤﻪ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺍﺯ ﺟﻤﻠﻪﻯ ﺁﻥﻫﺎ ﻣﻰﺗﻮﺍﻥ ﺑﻪ‬ ‫ﻛﺘﺎﺏﻫﺎﻯ ﺯﻳﺮ ﺍﺷﺎﺭﻩ ﻧﻤﻮﺩ‪:‬‬ ‫• ﺍﺑﺮﻓﻀﺎ‪ .‬ﺗﺮﺟﻤﻪﻯ ﻧﺎﺩﺭ ﺟﻮﺍﻧﻰ‪ ،‬ﻧﺸﺮ ﺍﺷﺮﺍﻗﻴﻪ‪ ،‬ﭼﺎپ ‪1382‬‬ ‫• ﺟﻬﺎﻥﻫﺎﻯ ﻣﻮﺍﺯﻯ‪ .‬ﺗﺮﺟﻤﻪﻯ ﻋﻠﻰ ﻫﺎﺩﻳﺎﻥ‪ ،‬ﻧﺸﺮ ﻣﺎﺯﻳﺎﺭ‪ ،‬ﭼﺎپ ‪1389‬‬ ‫• ﭼﺸﻢﺍﻧﺪﺍﺯﻫﺎ‪ ،‬ﺍﻧﻘﻼﺏﻫﺎﻯ ﻋﻠﻢ ﺩﺭ ﻗﺮﻥ ﺑﻴﺴﺖ ﻭ ﻳﻜﻢ‪ .‬ﺗﺮﺟﻤﻪﻯ ﻳﻮﺳﻒ ﺍﺭﺩﺑﻴﻠﻰ‪ ،‬ﻗﻘﻨﻮﺱ‪،‬‬ ‫ﭼﺎپ ‪1381‬‬ ‫• ﻓﺮﺍﺳﻮﻯ ﺍﻳﻨﺸﺘﻴﻦ‬ ‫• ﻓﻴﺰﻳﻚ ﺁﻳﻨﺪﻩ‬ ‫ﻛﺘﺎﺏ ﻓﻴﺰﻳﻚ ﻏﻴﺮﻣﻤﻜﻦﻫﺎ ﺍﺯ ﺁﺧﺮﻳﻦ ﻛﺘﺎﺏﻫﺎﻯ ﺍﻭﺳﺖ ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪ 2008‬ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﻭ ﺣﺎﻭﻯ‬ ‫ﺍﻃﻼﻋﺎﺕ ﻋﻠﻤﻰ ﺑﻪ ﺭﻭﺯﻯ ﺍﺳﺖ‪ .‬ﺍﺯ ﺍﻳﻦ ﻛﺘﺎﺏ ﺩﻭ ﺗﺮﺟﻤﻪ ﺩﺭ ﺑﺎﺯﺍﺭ ﻣﻮﺟﻮﺩ ﺍﺳﺖ‪ ،‬ﺗﺮﺟﻤﻪﻯ ﺁﻗﺎﻯ‬ ‫ﺭﺍﻣﻴﻦ ﺭﺍﻣﺒﺪ )ﺑﺎ ﻧﺎﻡ ﻓﻴﺰﻳﻚ ﻧﺎﻣﻤﻜﻦﻫﺎ( ﻭ ﺗﺮﺟﻤﻪﻯ ﺁﻗﺎﻯ ﺣﻤﻴﺪ ﺟﻨﺎﺏﺯﺍﺩﻩ ﻛﻪ ﺗﺮﺟﻤﻪﻯ ﺍﺧﻴﺮ ﺩﺭ‬ ‫ﺩﺳﺘﺮﺱ ﻣﺎ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﻣﻮﺭﺩ ﻣﺘﺮﺟﻢ ﻛﺘﺎﺏ‪ ،‬ﺁﻗﺎﻯ ﺣﻤﻴﺪ ﺟﻨﺎﺏﺯﺍﺩﻩ ﺍﻃﻼﻋﺎﺗﻰ ﻳﺎﻓﺖ ﻧﻜﺮﺩﻡ ﻭ ﻇﺎﻫﺮﺍ ً ﺍﻭﻟﻴﻦ ﺗﺮﺟﻤﻪﻯ‬ ‫ﺍﻳﺸﺎﻥ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﺍﺯ ﺷﻴﻮﻩ ﻭ ﻛﻴﻔﻴﺖ ﺗﺮﺟﻤﻪﻯ ﻣﻰﺗﻮﺍﻥ ﺑﺮﺩﺍﺷﺖ ﻧﻤﻮﺩ‪ ،‬ﻓﺮﺩﻯ‬ ‫ﻫﺴﺘﻨﺪ ﻛﺎﻣ ً‬ ‫ﻼ ﻣﺴﻠﻂ ﺑﻪ ﺗﺮﺟﻤﻪﻯ ﻋﻤﻮﻣﻰ ﺍﻣﺎ ﺑﻰﺍﻃﻼﻉ ﺍﺯ ﻋﻠﻮﻡ ﻭ ﺍﺻﻄﻼﺣﺎﺕ ﻋﻠﻤﻰ‪ .‬ﺑﻪ ﻣﻮﺿﻮﻉ‬ ‫ﻣﺸﻜﻼﺕ ﺗﺮﺟﻤﻪ ﺟﻠﻮﺗﺮ ﺧﻮﺍﻫﻢ ﭘﺮﺩﺍﺧﺖ‪.‬‬ ‫ﻛﺘﺎﺏ ﻓﻴﺰﻳﻚ ﻏﻴﺮﻣﻤﻜﻦﻫﺎ ﺩﺭ ﺳﺎﻝ ‪ 2008‬ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﻭ ﺑﻪ ﮔﺰﺍﺭﺵ ﻧﻴﻮﻳﻮﺭﻙ ﺗﺎﻳﻤﺰ ﺑﺎ ﺑﻴﺶ ﺍﺯ‬ ‫ﻳﻚ ﺻﺪ ﻫﺰﺍﺭ ﻧﺴﺨﻪ ﻓﺮﻭﺵ ﺍﺯ ﭘﺮﻓﺮﻭﺵﺗﺮﻳﻦ ﻛﺘﺎﺏﻫﺎﻯ ﻋﻠﻤﻰ ﺳﺎﻝ ‪ 2009‬ﺩﺭ ﺁﻣﺮﻳﻜﺎ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻣﻮﺿﻮﻉ ﺍﺻﻠﻰ ﻛﺘﺎﺏ ﺗﻮﺟﻴﻪ ﻋﻠﻮﻡ ﻭ ﻓﻦﺁﻭﺭﻯﻫﺎﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺍﺳﺖ‪ .‬ﻳﻌﻨﻰ ﻣﺜ ً‬ ‫ﻼ ﺁﻳﺎ ﻓﻼﻥ ﻓﻦﺁﻭﺭﻯ‬ ‫ﻛﻪ ﺩﺭ ﻓﻴﻠﻢ ﺟﻨﮓ ﺳﺘﺎﺭﮔﺎﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻣﻰﺗﻮﺍﻧﺪ ﺣﻘﻴﻘﺖ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻳﺎ ﺧﻴﺮ‪ .‬ﻃﺮﺡ ﺟﻠﺪ ﻧﺴﺨﻪﻯ‬ ‫ﺍﺻﻠﻰ ﻫﻢ ﻣﺆﻳﺪ ﻣﻮﺿﻮﻉ ﻛﺘﺎﺏ ﺍﺳﺖ ﻛﻪ ﺗﺼﻮﻳﺮﻯ ﺍﺯ ﺗﺎﺭﺩﻳﺲ ]‪ [3‬ﺑﺮ ﺁﻥ ﺍﺳﺖ‪ ،‬ﺍﺑﺰﺍﺭﻯ ﻛﻪ ﺩﺭ‬ ‫ﻣﺠﻤﻮﻋﻪﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺩﻛﺘﺮ ﻫﻮ ]‪ [4‬ﺑﺮﺍﻯ ﺳﻔﺮ ﺩﺭ ﻓﻀﺎ‪-‬ﺯﻣﺎﻥ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺏ ﺟﺬﺍﺏ‪ ،‬ﻏﻴﺮﻣﻤﻜﻦ ﻣﻄﻠﻖ ﺭﺍ ﻣﺮﺩﻭﺩ ﻣﻰﺷﻤﺎﺭﺩ ﻭ ﻋﻘﻴﺪﻩ ﺩﺍﺭﺩ ﻏﻴﺮﻣﻤﻜﻦ‬ ‫ﻧﺎﺷﻰ ﺍﺯ ﺷﺮﺍﻳﻂ ﻋﻠﻤﻰ ﺍﻣﺮﻭﺯ ﺍﺳﺖ‪ ،‬ﭘﺲ ﻫﺮ ﭼﻴﺰﻯ ﻣﻰﺗﻮﺍﻧﺪ ﻣﻤﻜﻦ ﺷﻮﺩ‪ ،‬ﺍﮔﺮ ﻋﻠﻢ ﺗﺎ ﺳﻄﺢ ﻻﺯﻡ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

‫‪72‬‬


‫ﻛﺘﺎﺏ‬

‫ﺗﺨﻴﻞ ﻋﻠﻤﻰ ﻳﺎ‬ ‫ﻋﻠﻮﻡ ﺗﺨﻴﻠﻰ؟‬ ‫ﺩﺍﻭﺩ ﺍﺑﺮﺍﻫﻴﻤﻰ‬

‫ﺷﻨﺎﺳﻨﺎﻣﻪ‬ ‫ﻧﺎﻡ ﻛﺘــﺎﺏ‪ :‬ﻓﻴﺰﻳﻚ ﻏﻴﺮﻣﻤﻜﻦﻫﺎ ]‪[1‬‬ ‫ﻧﻮﻳﺴﻨــﺪﻩ‪ :‬ﻣﻴﭽﻴـــــﻮ ﻛﺎﻛﻮ ]‪[2‬‬ ‫ﻣﺘــﺮ ﺟـﻢ ‪ :‬ﺣﻤﻴـــﺪ ﺟﻨـﺎﺏ ﺯﺍﺩﻩ‬

‫ﻧـﺎﺷــــﺮ‪:‬‬

‫ﺭﻭﺷﻨﮕﺮﺍﻥ ﻭ ﻣﻄﺎﻟﻌﺎﺕ ﺯﻧﺎﻥ‬

‫ﻧﻮﺑﺖ ﭼـﺎپ‪ :‬ﺍﻭﻝ ‪-‬‬

‫‪1 3 8 9‬‬

‫ﺷﻤــﺎﺭﮔﺎﻥ‪ 2 0 0 0 :‬ﻧﺴﺨـــﻪ‬ ‫ﺑﻬــــــﺎ ‪ 7 0 0 0 :‬ﺗﻮﻣـــﺎﻥ‬


‫ﺩﻳﺪﮔﺎﻩ‬ ‫ﺑﻬﺘﺮ ﺍﺳﺖ ﺑﮕﺬﺍﺭﺩ ﺍﻳﺪﻩﻫﺎﻳﺶ ﻛﻤﻰ ﺧﻴﺲ ﺑﺨﻮﺭﻧﺪ‪ .‬ﻣﺪﺗﻰ ﺁﻥﻫﺎ ﺭﺍ ﺩﺭ ﮔﻮﺷﻪﻯ ﺫﻫﻨﺶ ﻧﮕﻪ ﺩﺍﺭﺩ‬ ‫ﻭ ﻫﺮ ﺍﺯ ﮔﺎﻫﻰ ﺳﺮﻯ ﺑﻬﺸﺎﻥ ﺑﺰﻧﺪ ﻭ ﺍﺣﻮﺍﻟﻰ ﺑﭙﺮﺳﺪ‪ .‬ﺑﻪ ﻋﺒﺎﺭﺗﻰ ﻛﻤﻰ ﺑﺎ ﺁﻥﻫﺎ ﺯﻧﺪﮔﻰ ﻛﻨﺪ‪ .‬ﺑﻪ ﺍﻳﻦ‬ ‫ﺻﻮﺭﺕ ﺑﻌﺪ ﺍﺯ ﻣﺪﺗﻰ ﺷﻮﻕ ﻭ ﺫﻭﻕ ﺍﻭﻟﻴﻪﺍﺵ ﻛﻪ ﻣﻮﺟﺐ ﻋﻈﻤﺖ ﻛﺎﺫﺏ ﺍﻳﺪﻩﻫﺎﻳﺶ ﻣﻰﺷﺪ‪ ،‬ﻛﻤﻰ ﺭﻧﮓ‬ ‫ﻣﻰﺑﺎﺯﺩ ﻭ ﺩﺭ ﻣﻮﺍﺟﻬﻪﻯ ﺫﻫﻨﻰ ﺑﺎ ﺍﻳﺪﻩﻫﺎﻳﺶ ﺭﺍﺣﺖﺗﺮ ﺑﺎ ﺁﻥﻫﺎ ﻛﻨﺎﺭ ﻣﻰﺁﻳﺪ‪ .‬ﺁﻥﻫﺎ ﺑﺨﺸﻰ ﺍﺯ ﺯﻧﺪﮔﻰ‬ ‫ﺭﻭﺯﻣﺮﻩﺍﺵ ﻣﻰﺷﻮﻧﺪ ﻭ ﺣﺎﻻ ﺧﻴﻠﻰ ﺧﻮﺏ ﻣﻰﺗﻮﺍﻧﺪ ﺩﺭ ﭼﻨﮕﺸﺎﻥ ﺑﮕﻴﺮﺩ‪ ،‬ﻭﺭﺯﺷﺎﻥ ﺑﺪﻫﺪ‪ ،‬ﺍﺯ ﺟﻬﺎﺕ‬ ‫ﮔﻮﻧﺎﮔﻮﻥ ﺑﻪ ﻣﺼﺎﻓﺸﺎﻥ ﺑﺮﻭﺩ‪ .‬ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﺍﺟﺰﺍﻳﺸﺎﻥ ﻣﻰﺷﻜﻨﺪ ﻭ ﺑﺎ ﻣﻘﺪﺍﺭﻯ ﺁﺯﻣﻮﻥ ﻭ ﺧﻄﺎ ﺍﻟﻮﻳﺖﻫﺎﻯ‬ ‫ﺭﺗﺒﻰ ﻭ ﺯﻣﺎﻧﻰ ﺭﺍ ﺩﺭ ﭘﺮﺩﺍﺧﺖ ﺍﺟﺰﺍ ﺩﺭ ﻣﻰﻳﺎﺑﺪ‪ .‬ﺩﺭ ﺍﻳﻦﺟﺎ ﺁﻥﭼﻪ ﺩﺭ ﺫﻫﻦ ﺩﺍﺷﺘﻪ ﺭﺍ ﺑﺎﻭﺭ ﻣﻰﻛﻨﺪ ﻭ‬ ‫ﺍﻳﻦ ﺗﺎﺯﻩ ﺳﺮﺁﻏﺎﺯ ﺭﺍﻫﻰ ﭘﺮ ﭘﻴﭻ ﻭ ﺧﻢ ﺑﺎ ﭘﺴﺘﻰ ﻭ ﺑﻠﻨﺪﻯﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺍﺳﺖ ﺗﺎ ﺑﺒﻴﻨﺪ ﭼﮕﻮﻧﻪ ﺑﺎﻳﺪ‬ ‫ﺍﻳﺪﻩﻫﺎﻳﺶ ﺭﺍ ﭘﺮﺩﺍﺧﺖ ﻛﻨﺪ ﻭ ﭼﮕﻮﻧﻪ ﻣﻰﺗﻮﺍﻧﺪ ﻫﺮﭼﻪ ﺑﻴﺸﺘﺮ ﺩﺍﺳﺘﺎﻥ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺧﻮﺍﻧﻨﺪﻩ ﻫﻢ ﺑﺒﺎﻭﺭﺍﻧﺪ‬ ‫ﻭ ﺗﺠﺮﺑﻪﺍﻯ ﺭﺍ ﺑﺎ ﺍﻭ ﺑﻪ ﺍﺷﺘﺮﺍﻙ ﺑﮕﺬﺍﺭﺩ‪.‬‬ ‫ﺩﺭ ﺍﻧﺘﻬﺎ ﺑﺪ ﻧﻴﺴﺖ ﺍﮔﺮ ﭼﻨﺪ ﻧﻜﺘﻪ ﺭﺍ ﻳﺎﺩﺁﻭﺭ ﺷﻮﻡ‪:‬‬ ‫ﻧﺨﺴﺖ ﺁﻥ ﻛﻪ ﺩﺭ ﺍﺑﺘﺪﺍﻯ ﻳﺎﺩﺩﺍﺷﺖ ﻫﻢ ﺍﺷﺎﺭﻩ ﻛﺮﺩﻡ‪ .‬ﮔﺮﻳﺒﺎﻥﮔﻴﺮ ﺷﺪﻥ ﻣﺨﺎﻃﺮﻩﺍﻯ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻧﻮﺷﺘﻪ‬ ‫ﺩﺭ ﺣﺪ ﻭﺳﻌﻢ ﺑﻪ ﺁﻥ ﭘﺮﺩﺍﺧﺘﻢ‪ ،‬ﺑﺮﺍﻯ ﻧ���ﻳﺴﻨﺪﮔﺎﻧﻰ ﻛﻪ ﺑﻪ ﺗﺎﺯﮔﻰ ﺟﺮﺍﺕ ﻧﻮﺷﺘﻦ ﺩﺭ ﮔﻮﻧﻪﻯ ﮔﻤﺎﻧﻪﺯﻥ‬ ‫)ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻭ ﻓﺎﻧﺘﺰﻯ( ﺑﻪ ﺧﻮﺩ ﺩﺍﺩﻩﺍﻧﺪ‪ ،‬ﺍﺻ ً‬ ‫ﻼ ﺩﻭﺭ ﺍﺯ ﺫﻫﻦ ﻧﻴﺴﺖ‪ .‬ﭼﻪ ﺁﻥ ﻛﻪ ﺍﻳﻦ ﺁﻓﺖ ﻳﻘﻪﻯ‬ ‫ﺁﺩﻡﻫﺎﻳﻰ ﺭﺍ ﻛﻪ ﺩﺭﺳﺖ ﻳﺎ ﻧﺎﺩﺭﺳﺖ ﺑﻌﻀﺎً ﺑﻪ ﺍﺳﻢﺷﺎﻥ ﻗﺴﻢ ﻣﻰﺧﻮﺭﻳﻢ‪ ،‬ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ ،‬ﻫﻢ ﺩﺭ ﺍﺑﺘﺪﺍﻯ‬ ‫ﺭﺍﻫﺸﺎﻥ ﻭ ﺑﻌﻀﺎً ﺣﺘﺎ ﺩﺭ ﺩﻭﺭﺍﻥ ﺷﻬﺮﺗﺸﺎﻥ‪ .‬ﺍﻳﻦ ﺁﻓﺖ ﺭﺍ ﻫﻢ ﺑﺎﻳﺪ ﺍﺯ ﺳﺮ ﮔﺬﺭﺍﻧﺪ‪ .‬ﻧﻮﺷﺘﻦ ﺍﻳﻦ ﻳﺎﺩﺩﺍﺷﺖ‬ ‫ﺑﻴﺸﺘﺮ ﺍﺯ ﺁﻥ ﺟﻬﺖ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻧﻈﺮﻡ ﻣﻰﺗﻮﺍﻧﺪ ﺩﺭ ﺳﺮﻋﺖ ﺑﺨﺸﻴﺪﻥ ﺑﻪ ﮔﺬﺭ ﺍﺯ ﺍﻳﻦ ﺁﻓﺖ‪ ،‬ﻛﻮﭼﻜﺘﺮﻳﻦ‬ ‫ﺗﺄﺛﻴﺮﻯ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﻳﺎ ﺣﺪﺍﻗﻞ‪ ،‬ﻛﺎﺭﻯ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺩﺳﺖ ﻣﻦ ﺑﺮﻣﻰﺁﻳﺪ‪.‬‬ ‫ﺩﻭﻡ‪ .‬ﺍﮔﺮ ﺩﺭ ﺍﻳﻦ ﻳﺎﺩﺩﺍﺷﺖ ﺗﻤﺎﻣﺎً ﺩﺭ ﻣﻮﺭﺩ ﻣﺎﺟﺮﺍ ﺻﺤﺒﺖ ﺑﻪ ﻣﻴﺎﻥ ﺁﻣﺪ‪ ،‬ﺑﺪﺍﻥ ﻣﻌﻨﺎ ﻧﻴﺴﺖ ﻛﻪ ﻣﻌﺎﺩﻝ‬ ‫ﺍﻳﻦ ﺁﻓﺖ ﺑﺮﺍﻯ ﺷﺨﺼﻴﺖﻫﺎ ﺍﺗﻔﺎﻕ ﻧﻤﻰﺍﻓﺘﺪ‪ .‬ﺍﻣﺎ ﺍﺯ ﺁﻥﺟﺎ ﻛﻪ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻣﺎ ﻋﻤﻮﻣﺎً ﻣﺎﺟﺮﺍﻣﺤﻮﺭﻧﺪ ﺗﺎ‬ ‫ﺷﺨﺼﻴﺖﻣﺤﻮﺭ‪ ،‬ﻣﻐﻠﻮﺏ ﺷﺨﺼﻴﺖﻫﺎ ﺷﺪﻥ ﻣﺴﺄﻟﻪﻯ ﺍﻳﻦ ﻳﺎﺩﺩﺍﺷﺖ ﻧﺒﻮﺩ‪.‬‬ ‫ﺳﻮﻡ‪ .‬ﺩﺳﺖ ﺑﻪ ﻗﻠﻢ ﺷﺪﻥ ﺑﺮﺍﻯ ﻧﻮﺷﺘﻦ ﺍﻳﻦ ﻳﺎﺩﺩﺍﺷﺖ‪ ،‬ﺍﺻ ً‬ ‫ﻼ ﻭ ﺍﺑﺪﺍ ً ﺩﻻﻟﺖ ﺑﺮ ﻛﻴﻔﻴﺖ ﻧﻮﻳﺴﻨﺪﮔﻰ‬ ‫ﺍﻳﻦﺟﺎﻧﺐ ﻧﺪﺍﺭﺩ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﺍﺻ ً‬ ‫ﻼ ﭼﻨﺪﺍﻥ ﻧﻮﻳﺴﻨﺪﻩ ﻧﻴﺴﺘﻢ‪ ،‬ﺗﺎﺯﻩﻛﺎﺭﻯ ﻳﺎ ﻛﻬﻨﻪﻛﺎﺭﻳﺶ ﻛﻪ ﺑﺎﺷﺪ ﭘﻴﺸﻜﺶ‪.‬‬ ‫ﺍﮔﺮ ﻫﻢ ﺁﻥ ﭼﻪ ﺩﺭ ﺑﺎﻻ ﺁﻣﺪ‪ ،‬ﻣﻮﺟﺐ ﻧﺎﺭﺍﺣﺘﻰ ﻛﺴﻰ ﻣﻰﺷﻮﺩ‪ ،‬ﺧﻴﻠﻰ ﺑﻪ ﺩﻝ ﻧﮕﻴﺮﻳﺪ ﻭ ﺁﻥ ﺭﺍ ﺑﻪ ﺣﺴﺎﺏ‬ ‫ﻗﺒﻮﻝ ﻭﺳﻮﺳﻪﻯ ﻧﻮﺷﻴﺪﻥ ﺁﺏ ﺳﺮﺩ ﺩﺭ ﺑﻴﺎﺑﺎﻥ ]‪ [2‬ﺑﮕﺬﺍﺭﻳﺪ‪.‬‬ ‫‪ .1‬ﺑﻪ ﺩﻳﺪﻥ ﺗﻮ ﭼﻨﺎﻥ ﺧﻴﺮﻩﺍﻡ ﻛﻪ ﻧﺸﻨﺎﺳﻢ‬

‫ﺗﻔﺎﻭﺕ ﺍﺳﺖ ﺍﮔﺮ ﺭﺍﻩ ﻭ ﭼﺎﻩ ﺭﺍ ﺣﺘﺎ‬

‫‪ .2‬ﺑﻪ ﺣﺮﺹ ﺍﺭ ﺷﺮﺑﺘﻰ ﺧﻮﺭﺩﻡ‪ ،‬ﻣﮕﻴﺮ ﺍﺯ ﻣﻦ ﻛﻪ ﺑﺪ ﻛﺮﺩﻡ‬

‫ﺑﻴﺎﺑﺎﻥ ﺑﻮﺩ ﻭ ﺗﺎﺑﺴﺘﺎﻥ ﻭ ﺁﺏ ﺳﺮﺩ ﻭ ﺍﺳﺘﺴﻘﺎء‬

‫ﻣﺤﻤﺪﻋﻠﻰ ﺑﻬﻤﻨﻰ‬ ‫ﺳﻨﺎﻳﻰ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﺩﻳﮕﺮﻯ ﻣﻰﭘﺮﺩ ﻭ ﺩﻭﺑﺎﺭﻩ ﻫﻤﻴﻦ ﺭﻭﻧﺪ ﺗﻜﺮﺍﺭ ﻣﻰﺷﻮﺩ‪ .‬ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺁﻥ ﭼﻪ ﺩﺭ ﺫﻫﻦ ﻧﻮﻳﺴﻨﺪﻩ ﺧﻴﻠﻰ‬ ‫ﺧﻮﺏ ﻭ ﺑﺰﺭگ ﻭ ﺍﺭﺯﻧﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﻴﺸﺘﺮ ﺑﻪ ﻫﻤﺎﻥ ﺷﻴﺮﻯ ﺷﺒﻴﻪ ﻣﻰﺷﻮﺩ ﻛﻪ ﭘﻬﻠﻮﺍﻥﭘﻨﺒﻪﺍﻯ ﺧﻮﺍﺳﺖ ﺑﺮ‬ ‫ﺑﺎﺯﻭﻳﺶ ﺣﻚ ﻛﻨﻨﺪ ﺍﻣﺎ ﻫﺮﺑﺎﺭ ﻛﻪ ﺧﺎﻟﻜﻮﺏ ﻣﻰﺧﻮﺍﺳﺖ ﮔﻮﺷﻪﺍﻯ ﺍﺯ ﺷﻴﺮ ﺭﺍ ﺑﺮ ﺑﺎﺯﻭﻯ ﭘﻬﻠﻮﺍﻥ ﻣﺎ ﺣﻚ‬ ‫ﻛﻨﺪ‪ ،‬ﭘﻬﻠﻮﺍﻥ ﺗﺎﺏ ﺩﺭﺩ ﺭﺍ ﻧﻤﻰﺁﻭﺭﺩ ﻭ ﻣﻰﮔﻔﺖ ﮔﻮﺷﻪﻯ ﺩﻳﮕﺮﻯ ﺭﺍ ﺧﺎﻟﻜﻮﺑﻰ ﻛﻨﻨﺪ‪ .‬ﺷﻴﺮﻯ ﻛﻪ ﺩﺭ ﺁﺧﺮ‬ ‫ﻧﻪ ﭘﻨﺠﻪﻫﺎﻯ ﺩﺭﺳﺖ ﻭ ﺣﺴﺎﺑﻰ ﺩﺍﺷﺖ‪ ،‬ﻧﻪ ﺳﺮ ﻭ ﺻﻮﺭﺕ‪ ،‬ﻧﻪ ﻳﺎﻝ ﻭ ﻧﻪ ﺩﻡ! ﺩﺭ ﺍﻳﻦﺟﺎ ﻫﻢ ﺍﺯ ﺍﻫﻢ ﺩﻻﻳﻞ‬ ‫ﺁﻥ ﺍﺳﺖ ﻛﻪ ﻧﻮﻳﺴﻨﺪﻩ ﻧﺘﻮﺍﻧﺴﺘﻪ ﺍﻳﺪﻩﺍﺵ ﺭﺍ ﺑﺎﻭﺭ ﻛﻨﺪ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﺍﺻ ً‬ ‫ﻼ ﻧﺘﻮﺍﻧﺴﺘﻪ ﺁﻥ ﺭﺍ ﺩﺭ ﻣﺨﻴﻠﻪﺍﺵ‬ ‫ﺑﮕﻨﺠﺎﻧﺪ‪ ،‬ﺑﺎﻭﺭ ﻛﺮﺩﻧﺶ ﻛﻪ ﺑﺎﺷﺪ ﭘﻴﺸﻜﺶ‪ .‬ﻭ ﺑﺎﺯ ﻫﻢ ﺍﮔﺮ ﺧﻮﺍﻧﻨﺪﻩﻯ ﻧﻮﻋﻰ ﻧﺘﻴﺠﻪﻯ ﻛﺎﺭ ﺭﺍ ﭘﺲ ﺯﺩ ﻳﺎ‬ ‫ﻧﺘﻮﺍﻧﺴﺖ ﺑﺎ ﺁﻥ ﻫﻤﺮﺍﻩ ﺷﻮﺩ‪ ،‬ﻛﻮﺗﺎﻫﻰ ﺩﺭ ﺩﺭﺟﻪﻯ ﺍﻭﻝ ﻣﺘﻮﺟﻪ ﻧﻮﻳﺴﻨﺪﻩ ﺍﺳﺖ‪ ،‬ﻭﮔﺮﻧﻪ ﺍﻳﻦ ﻛﻪ ﺩﺭ ﺍﻳﻦ‬ ‫ﻭﻫﻠﻪ ﺑﮕﻮﻳﻴﻢ ﺑﺮﺍﻯ ﻫﻤﺮﺍﻩ ﺷﺪﻥ ﺑﺎ ﭼﻨﻴﻦ ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻰ ﺑﺎﻳﺪ ﺩﻧﺒﺎﻝ ﭼﻴﺰﻫﺎﻳﻰ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺁﺛﺎﺭ ﻣﺜ ً‬ ‫ﻼ‬ ‫ﺟﺮﻳﺎﻥ ﺍﺻﻠﻰ ﺍﺩﺑﻴﺎﺕ ﻳﺎﻓﺖ ﻧﻤﻰﺷﻮﺩ‪ ،‬ﺑﻪ ﻧﻈﺮ ﻣﻦ ﺑﻴﺸﺘﺮ ﺑﻪ ﻳﻚ ﺷﻮﺧﻰﻫﺎﻳﻰ ﺷﺒﻴﻪ ﺍﺳﺖ ﻛﻪ ﺍﺗﻔﺎﻗﺎً‬ ‫ﺩﺭ ﻓﺼﻞ ﮔﺮﻣﺎ ﻣﻰﭼﺴﺒﻨﺪ‪.‬‬ ‫ﻫﺮﮔﺎﻩ ﻗﺒﻞ ﺍﺯ ﺁﻥ ﻛﻪ ﺩﺍﺳﺘﺎﻧﻰ ﺭﺍ ﺑﺨﻮﺍﻧﻢ ﻣﻰﺷﻨﻮﻡ ﻛﻪ ﻣﻰﮔﻮﻳﻨﺪ ﺍﻳﺪﻩﺵ ﺧﻮﺏ ﺑﻮﺩ ﻭﻟﻰ ﻧﺘﻮﻧﺴﺖ‬ ‫ﺧﻮﺏ ﭘﺮﺩﺍﺧﺘﺶ ﻛﻨﻪ ﻳﺎ ﺩﺍﺳﺘﺎﻧﺶ ﺩﺭ ﺣﺪ ﻳﻚ ﺧﻂ ﺍﻳﺪﻩ ﻣﻮﻧﺪ‪ ،‬ﺣﺪﺱ ﻣﻰﺯﻧﻢ ﻛﻪ ﺑﺎ ﭼﻪ ﭼﻴﺰﻯ‬ ‫ﻃﺮﻑ ﻫﺴﺘﻢ‪ .‬ﺍﺣﺘﻤﺎﻻً ﺷﻴﺮﻯ ﺍﺳﺖ ﻛﻪ ﻧﻪ ﭘﻨﺠﻪ ﺩﺍﺭﺩ‪ ،‬ﻧﻪ ﺗﻦ‪ ،‬ﻧﻪ ﺳﺮ‪ ،‬ﻧﻪ ﻳﺎﻝ ﻭ ﻧﻪ ﺩﻡ‪ .‬ﭘﺲ ﺑﺴﺘﻪ ﺑﻪ‬ ‫ﻣﻴﺰﺍﻥ ﺷﺒﺎﻫﺘﺶ ﺑﻪ ﺍﻳﻦ ﺷﻴﺮ‪ ،‬ﺑﻌﻴﺪ ﻧﻴﺴﺖ ﻛﻪ ﺍﺻ ً‬ ‫ﻼ ﺷﻴﺮ ﻫﻢ ﻧﺒﺎﺷﺪ‪ ،‬ﺷﺎﻳﺪ ﺑﺎ ﻳﻚ ﺑﺰ ﻃﺮﻑ ﺑﺎﺷﻴﻢ‪،‬‬ ‫ﺣﺘﺎ ﻳﻚ ﻣﻮﺵ ﻭ ﺑﻌﻀﺎً ﻳﻚ ﺳﻮﺳﻚ! ﺍﮔﺮ ﻭﺍﻗﻌﺎً ﺣﺪﺳﻢ ﺩﺭﺳﺖ ﺑﺎﺷﺪ‪ ،‬ﻧﺘﻴﺠﻪﻯ ﺩﻳﮕﺮﻯ ﻫﻢ ﻣﻰﺗﻮﺍﻧﻢ‬ ‫ﺑﮕﻴﺮﻡ ﻭ ﺁﻥ ﺍﻳﻦ ﻛﻪ ﺑﻪ ﻫﺮ ﺍﻧﺪﺍﺯﻩ ﺷﻴﺮ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﺷﺒﻴﻪ ﺷﻴﺮ ﭘﻬﻠﻮﺍﻥ ﻣﺎ ﺑﺎﺷﺪ‪ ،‬ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﺑﺎﻫﻮﺷﻰ‬ ‫ﻫﻢ ﺍﺛﺮ ﺭﺍ ﺧﻮﺍﻧﺪﻩﺍﻧﺪ ﻛﻪ ﺧﻮﺩﺷﺎﻥ ﭘﺎ ﻭﺭﺍﻯ ﻭﻇﺎﻳﻒ ﺧﻮﺍﻧﻨﺪﮔﻰ ﮔﺬﺍﺷﺘﻪﺍﻧﺪ ﻭ ﻋﻮﺽ ﻧﻮﻳﺴﻨﺪﻩ‪ ،‬ﺍﻳﺪﻩ ﺭﺍ‬ ‫ﺑﺴﻂ ﺩﺍﺩﻩﺍﻧﺪ ﻭ ﺗﺎ ﺍﻧﺪﺍﺯﻩﺍﻯ ﺑﻪ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﺑﺪﻝ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﺁﻥ ﮔﺎﻩ ﺍﺣﺘﻤﺎﻻً ﺑﻪ ﺗﻌﺪﺍﺩ ﺍﻳﻦ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ‬ ‫ﺑﺎﻫﻮﺷﻤﺎﻥ‪ ،‬ﺷﻴﺮﻫﺎﻯ ﻣﺨﺘﻠﻔﻰ ﻫﻢ ﺩﺍﺭﻳﻢ ﻛﻪ ﺑﻌﻀﻰﻫﺎﺷﺎﻥ ﻫﻨﻮﺯ ﺩﺭ ﻧﻈﺎﻡ ﺧﻠﻘﺖ ﺣﺘﺎ ﺩﻳﺪﻩ ﻧﺸﺪﻩﺍﻧﺪ!‬ ‫ﺍﻳﻦ ﻧﺘﻴﺠﻪ ﻣﻰﺩﻫﺪ ﻳﻚ ﺁﺵ ﺷﻠﻢﺷﻮﺭﺑﺎﻯ ﺣﺴﺎﺑﻰ ﺭﺍ ﻛﻪ ﺁﺷﭙﺰﻫﺎﻳﺶ ﻫﻢ ﺑﻴﺶ ﺍﺯ ‪ 2‬ﻧﻔﺮ ﺑﻮﺩﻩﺍﻧﺪ!‬ ‫ﺑﺮﺍﻯ ﻋﺒﻮﺭ ﺍﺯ ﭼﻨﻴﻦ ﻣﺨﺎﻃﺮﺍﺗﻰ ﺭﺍﻩﻫﺎﻳﻰ ﻣﺨﺘﻠﻔﻰ ﭘﻴﺸﻨﻬﺎﺩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺷﺎﻳﺪ ﻳﻜﻰ ﺍﺯ ﺩﻻﻳﻠﻰ ﻛﻪ‬ ‫ﺗﻮﺻﻴﻪ ﻣﻰﻛﻨﻨﺪ ﺯﻳﺎﺩ ﻣﻄﺎﻟﻌﻪ ﻛﻨﻴﻢ ﻫﻤﻴﻦ ﺑﺎﺷﺪ ﻛﻪ ﻣﺜ ً‬ ‫ﻼ ﻧﻮﻳﺴﻨﺪﻩﻯ ﻣﺎ ﻣﻰﺑﻴﻨﺪ ﻛﺴﻰ ﻣﺸﺎﺑﻪ‬ ‫ﺍﻳﺪﻩﻫﺎﻯ ﺍﻭ ﺭﺍ ﺩﺭ ﺟﺎﻳﻰ ﺑﺴﻂ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﻣﻰﺗﻮﺍﻧﺪ ﻧﻤﻮﻧﻪﺍﻯ ﻣﺸﺎﺑﻪ ﻛﺎﺭﺵ ﺭﺍ ﺩﺭﻳﺎﺑﺪ‪ ،‬ﺑﺎ‬ ‫ﺩﻗﺖ ﺁﻥ ﺭﺍ ﺗﺤﻠﻴﻞ ﻛﻨﺪ ﻭ ﺑﺎ ﻣﻘﺎﻳﺴﻪﻯ ﺁﻥﻫﺎﻳﻰ ﻛﻪ ﺧﻮﺍﻧﺪﻩ ﺑﺎ ﺁﻥ ﭼﻴﺰﻯ ﻛﻪ ﺩﺭ ﺫﻫﻦ ﺩﺍﺭﺩ‪ ،‬ﻛﻤﻰ ﺍﺯ‬ ‫ﺍﺑﻬﺎﻡ ﺍﻳﺪﻩﻫﺎﻳﺶ ﻛﻢ ﻛﻨﺪ ﻭ ﺗﺼﻮﻳﺮ ﺑﻬﺘﺮﻯ ﺍﺯ ﺁﻥﻫﺎ ﺩﺭ ﺫﻫﻨﺶ ﺗﺮﺳﻴﻢ ﻛﻨﺪ‪ .‬ﺑﺪﻳﻦ ﺻﻮﺭﺕ ﺍﺟﺰﺍﻳﺸﺎﻥ‬ ‫ﺭﺍ ﺑﻬﺘﺮ ﻣﻰﺷﻨﺎﺳﺪ ﻭ ﺑﺎﻭﺭﺷﺎﻥ ﻣﻰﻛﻨﺪ‪ .‬ﺳﭙﺲ ﻃﺮﺡﻫﺎﻳﻰ ﺑﺮﺍﻯ ﺑﻪ ﺭﺷﺘﻪﻯ ﺗﺤﺮﻳﺮ ﺩﺭﺁﻭﺭﺩﻧﺸﺎﻥ ﺑﻪ‬ ‫ﺩﺳﺖ ﻣﻰﺁﻭﺭﺩ ﻭ ﺭﺍﻩ ﺭﺍ ﺑﺮﺍﻯ ﺑﺎﻭﺭﭘﺬﻳﺮ ﻛﺮﺩﻧﺸﺎﻥ ﻫﻤﻮﺍﺭﺗﺮ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻭﺍﻧﮕﻬﻰ ﺍﮔﺮ ﻫﻢ ﻧﺘﻮﺍﻧﺴﺖ ﻣﺸﺎﺑﻪ ﻛﺎﺭﺵ ﺭﺍ ﺩﺭ ﻧﻮﺷﺘﻪﻫﺎﻯ ﺩﻳﮕﺮﺍﻥ ﺑﻴﺎﺑﺪ )ﻛﻪ ﺍﺣﺘﻤﺎﻟﺶ ﻛﻢ ﺍﺳﺖ(‪،‬‬

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‫ﺩﻳﺪﮔﺎﻩ‬ ‫ﺷﺪ؟ ﺍﺣﺘﻤﺎﻻً ﺩﺭ ﺟﻮﺍﺏ ﻣﻰﮔﻮﻳﺪ ﺁﻥ ﻛﻪ ﻣﻌﻠﻮﻡ ﺍﺳﺖ ﺩﻳﮕﺮ‪ ،‬ﺍﻳﻦﺟﺎ ﺍﻳﻦ ﻃﻮﺭ ﻣﻰﺷﻮﺩ ﻭ ﺁﻥﺟﺎ ﺁﻥ ﻃﻮﺭ‬ ‫ﻭ ﺍﻟﺦ‪ .‬ﻓﺎﺭﻍ ﺍﺯ ﺁﻥ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﻓﻘﻂ ﻣﺎﺟﺮﺍ ﻧﻴﺴﺖ‪ ،‬ﺍﻣﺎ ﺑﺎﺯ ﺍﮔﺮ »ﺍﻳﻦﺟﺎ ﺍﻳﻦ ﻃﻮﺭ ﻣﻰﺷﻮﺩ ﻭ ﺁﻥﺟﺎ ﺁﻥ‬ ‫ﻃﻮﺭ« ﺩﺭ ﻧﺘﻴﺠﻪﻯ ﻛﺎﺭ ﺑﺎﺷﺪ‪ ،‬ﻛﻪ ﺟﺎﻯ ﺷﻜﺮﺵ ﺑﺎﻗﻰ ﺍﺳﺖ‪ ،‬ﻫﺮ ﭼﻨﺪ ﺑﻪ ﺍﺣﺘﻤﺎﻝ ﺯﻳﺎﺩ ﻫﻢ »ﺍﻳﻦﺟﺎ«‬ ‫ﻭ ﻫﻢ »ﺁﻥﺟﺎ« ﺳﺮ ﻫﻢ ﺑﺴﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻭﻟﻰ ﻣﻌﻤﻮﻻً ﺍﻳﻦ ﮔﻮﻧﻪ ﺍﺳﺖ ﻛﻪ ﻫﻢ ﺑﺮﺍﻯ »ﺍﻳﻦﺟﺎ« ﻭ ﻫﻢ‬ ‫ﺑﺮﺍﻯ »ﺁﻥﺟﺎ« ﺑﺎﻳﺪ ﺧﻮﺩ ﺧﻮﺍﻧﻨﺪﻩ ﺁﻥ ﻗﺪﺭ ﺑﺎﻫﻮﺵ ﺑﺎﺷﺪ‪ ،‬ﺗﺎ ﺣﺪﺱ ﺑﺰﻧﺪ ﻛﻪ ﭼﻄﻮﺭ ﻣﻰﺷﻮﺩ! ﺩﻟﻴﻠﺶ ﺭﺍ‬ ‫ﺑﺎﻳﺪ ﺁﻥﺟﺎ ﺟﺴﺘﺠﻮ ﻛﺮﺩ ﻛﻪ ﻧﻮﻳﺴﻨﺪﻩ ﺍﺯ ﭘﺲ ﻫﻤﻴﻦ ﺭﻳﺰﺍﻳﺪﻩﺍﺵ ﻫﻢ ﺑﺮﻧﻴﺎﻣﺪﻩ ﺍﺳﺖ‪ ،‬ﺩﺭ ﻧﺘﻴﺠﻪ ﺑﻴﺶ‬ ‫ﺍﺯ ﺣﺪ ﺗﺄﺛﻴﺮﺵ ﺩﺭ ﺭﻭﻧﺪ ﺩﺍﺳﺘﺎﻥ ﻭ ﺁﻥ ﮔﻮﻧﻪ ﺑﻪ ﺁﻥ ﭘﺮﺩﺍﺧﺘﻪ ﻛﻪ ﮔﻮﻳﻰ ﺍﻳﻦ ﺭﻳﺰﺍﻳﺪﻩﻯ ﻏﻴﺮﻭﺍﻗﻊ ﻫﻨﻮﺯ‬ ‫ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﻫﻢ ﻏﻴﺮﻭﺍﻗﻊ ﺍﺳﺖ ﻭ ﻧﺘﻮﺍﻧﺴﺘﻪ ﺁﻥ ﺭﺍ ﺑﺎﻭﺭ ﻛﻨﺪ ﺗﺎ ﻣﻨﺎﺳﺒﺎﺕ ﻭﺍﻗﻌﻰﻧﻤﺎﻳﺎﻧﻪ ﺑﺎ ﺁﻥ ﺑﺮﻗﺮﺍﺭ‬ ‫ﻛﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻦﺟﺎ ﺍﮔﺮ ﺧﻮﺍﻧﻨﺪﻩﻯ ﻧﻮﻋﻰ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﭘﺲ ﺯﺩ ﻳﺎ ﺑﺎ ﺁﻥ ﻫﻤﺮﺍﻩ ﻧﺸﺪ‪ ،‬ﺟﺪﺍ ً ﺗﻘﺼﻴﺮﻯ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﻧﻮﺷﺘﻪﻫﺎﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺳﺨﺖ ﺑﻴﺸﺘﺮ ﺩﺭ ﻣﻌﺮﺽ ﭼﻨﻴﻦ ﺩﺍﻣﻰ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﻧﺪ‪ .‬ﺷﺮﺡ ﻭ ﺑﺴﻂ ﺑﻴﺶ‬ ‫ﺍﺯ ﺍﻧﺪﺍﺯﻩ ﻭ ﻋﻤﻮﻣﺎً ﻳﻚﺟﺎﻯ ﺭﻳﺰﺗﻜﻨﻮﻟﻮژﻯﻫﺎﻳﻰ ﻛﻪ ﺧﻴﻠﻰ ﻫﻢ ﺩﺭ ﺭﻭﻧﺪ ﺩﺍﺳﺘﺎﻥ ﺗﺄﺛﻴﺮﮔﺬﺍﺭ ﻧﻴﺴﺘﻨﺪ ﻭ‬ ‫ﺟﺎﻳﮕﺎﻩ ﻣﻬﻤﻰ ﺩﺭ ﻣﺎﺟﺮﺍﻯ ﺍﺻﻠﻰ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﺍﺯ ﻧﻤﻮﻧﻪﻫﺎﻯ ﺑﺮﻭﺯ ﭼﻨﻴﻦ ﺩﺭﺩﻯ ﺍﺳﺖ‪.‬‬ ‫ﻣﻐﻠﻮﺏ ﺷﺪﻥ ﺩﺭ ﻣﻮﺍﺟﻬﻪ ﺑﺎ ﺍﻳﺪﻩﻫﺎﻯ ﺍﺻﻠﻰ‪ ،‬ﻣﻌﻤﻮﻻً ﺑﻪ ﻟﻜﻨﺖ ﺍﻓﺘﺎﺩﻥ ﺯﺑﺎﻥ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺑﻪ ﺍﺭﻣﻐﺎﻥ‬ ‫ﻣﻰﺁﻭﺭﺩ‪ .‬ﻭ ﭼﻪ ﺍﺭﻣﻐﺎﻥ ﺑﺪﻯ! ﺩﺭ ﺍﻳﻦﺟﺎ ﺍﺑﺘﺪﺍ ﻓﺮﺽ ﻣﻰﻛﻨﻴﻢ ﺍﻳﺪﻩﻫﺎﻯ ﺍﺻﻠﻰ ﻧﻮﻳﺴﻨﺪﻩ ﺁﻥ ﻗﺪﺭ ﺟﺎﻯ‬ ‫ﻛﺎﺭ ﺩﺍﺭﻧﺪ ﻭ ﺍﺯ ﺍﻧﺮژﻯ ﺩﺍﺳﺘﺎﻧﻰ ﻛﺎﻓﻰ ﺑﻬﺮﻩﻣﻨﺪﻧﺪ ﻛﻪ ﺑﺎ ﺭﻳﺰﺍﻳﺪﻩﻫﺎﻯ ﻣﺨﺘﻠﻒ ﻭ ﭘﻴﭽﺶﻫﺎﻯ ﮔﻮﻧﺎﮔﻮﻥ‬ ‫ﺑﺸﻮﺩ ﺑﺴﻄﺸﺎﻥ ﺩﺍﺩ ﻭ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﺍﺯ ﺩﻝ ﺁﻥﻫﺎ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪ‪ .‬ﺍﻣﺎ ﺍﺗﻔﺎﻗﻰ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻣﻮﺍﺭﺩ ﻣﻰﺍﻓﺘﺪ‬ ‫ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺩﻟﻴﻞ ﺍﻫﻤﻴﺖ ﻭ ﺟﺎﻳﮕﺎﻩ ﺍﻳﻦ ﺍﻳﺪﻩﻫﺎ ﺩﺭ ﻧﻈﺎﻡ ﻣﺎﺟﺮﺍﻳﻰ ﺍﺛﺮ‪ ،‬ﻏﻠﺒﻪﻯ ﺁﻥﻫﺎ ﺑﺮ ﺫﻫﻦ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﭼﻨﺎﻥ ﺯﻳﺎﺩ ﺍﺳﺖ ﻛﻪ ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ ﻧﻮﻳﺴﻨﺪﻩ ﻣﺮﻋﻮﺏ ﺍﻳﺪﻩﺵ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻓﻀﺎﻯ ﺩﻳﺪﺵ ﺑﻪ‬ ‫ﺗﻤﺎﻣﻰ ﭘﺮ ﻣﻰﺷﻮﺩ ﻭ ﺫﻫﻨﺶ ﺩﺭ ﻣﻮﺍﺟﻬﻪ ﺑﺎ ﺁﻥ ﮔﺮﻳﭙﺎچ ﻣﻰﻛﻨﺪ‪ .‬ﺗﺤﻴﺮﺵ ﺑﻪ ﺣﺪﻯ ﺍﺳﺖ ﻛﻪ ﻭﻗﺘﻰ‬ ‫ﻣﻰﺧﻮﺍﻫﺪ ﭘﻴﺮﺍﻣﻮﻥ ﺁﻥ ﺗﻮﺿﻴﺤﻰ ﺑﺪﻫﺪ‪ ،‬ﻟﻜﻨﺖ ﺭﺍ ﺩﺭ ﭘﺲ ﻧﺜﺮﺵ ﺣﺲ ﻣﻰﻛﻨﻴﺪ ﻭ ﺑﻼﺗﺸﺒﻴﻪ‪ ،‬ﺁﻥ‬ ‫ﮔﺎﻩ ﺭﺍﻩ ﻭ ﭼﺎﻩ ﺭﺍ ﺍﺯ ﻫﻢ ﺗﺸﺨﻴﺺ ﻧﻤﻰﺩﻫﺪ ]‪ .[1‬ﺍﻳﻦ ﺗﺤﻴﺮﻫﺎ ﺩﺭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻣﻮﺍﻗﻊ ﻭﺍﻗﻌﺎً ﺑﻰﺟﺎﺳﺖ‬ ‫ﻭ ﺑﻴﺸﺘﺮ ﻧﺎﺷﻰ ﺍﺯ ﺭﺍﻫﺒﺮﺩ ﻏﻠﻄﻰ ﺍﺳﺖ ﻛﻪ ﻧﻮﻳﺴﻨﺪﻩ ﺩﺭ ﻣﻮﺍﺟﻬﻪ )ﻳﺎ ﻣﺒﺎﺭﺯﻩ( ﺑﺎ ﺍﻳﺪﻩ ﺩﺭ ﭘﻰ ﻣﻰﮔﻴﺮﺩ‬ ‫ﻭﮔﺮﻧﻪ ﺷﺎﻳﺪ ﻣﻰﺩﻳﺪ ﻛﻪ ﺍﻳﺪﻩﺍﺵ ﭼﻨﺪﺍﻥ ﺗﻜﺎﻥﺩﻫﻨﺪﻩ ﻫﻢ ﻧﻴﺴﺖ‪ ،‬ﻳﺎ ﺣﺪﺍﻗﻞ ﺁﻥ ﻗﺪﺭﻯ ﻧﻴﺴﺖ ﻛﻪ‬ ‫ﺩﺭ ﺍﺑﺘﺪﺍ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﭼﻮﻥ ﻧﻮﻳﺴﻨﺪﻩ ﺭﺍﻫﺒﺮﺩ ﻣﺸﺨﺼﻰ ﻧﺪﺍﺭﺩ ﻭ ﺑﻰﺑﺮﻧﺎﻣﻪ ﻭ ﺗﻨﻬﺎ ﺍﺯ ﺳﺮ‬ ‫ﺷﻮﻕ ﻭ ﺫﻭﻕ ﺑﺎ ﺍﻳﺪﻩﻫﺎﻳﺶ ﺩﺳﺖ ﻭ ﭘﻨﺠﻪ ﻧﺮﻡ ﻣﻰﻛﻨﺪ‪ ،‬ﺩﺭ ﻧﻬﺎﻳﺖ ﺗﺼﻮﻳﺮ ﻣﺸﺨﺼﻰ ﻫﻢ ﺍﺯ ﻣﺠﻤﻮﻋﻪﻯ‬ ‫ﺁﻥﻫﺎ ﺩﺭ ﺫﻫﻦ ﺧﻮﺩ ﻧﻤﻰﺳﺎﺯﺩ ﻭ ﺍﻳﻦ ﻋﺪﻡ ﺷﻨﺎﺧﺖ ﻛﺎﻓﻰ‪ ،‬ﻣﻮﺟﺐ ﺍﺑﻬﺎﻡ ﻣﻰﺷﻮﺩ‪ .‬ﺍﺑﻬﺎﻣﻰ ﻛﻪ ﺍﻳﺪﻩ ﺭﺍ‬ ‫ﺩﺭ ﺫﻫﻦ ﻧﻮﻳﺴﻨﺪﻩ ﺑﻪ ﺻﻮﺭﺕ ﻛﺎﺫﺏ ﺑﺰﺭگ ﻭ ﻣﻬﻴﺐ ﻣﻰﻛﻨﺪ‪ .‬ﻧﺘﻴﺠﻪ ﺁﻥ ﻣﻰﺷﻮﺩ ﻛﻪ ﻧﺤﻮﻩﻯ ﻭﺭﻭﺩ ﻭ‬ ‫ﺧﺮﻭﺝ ﻭ ﭘﺮﺩﺍﺧﺖ ﺍﻳﺪﻩﺵ ﺭﺍ ﻧﻤﻰﺩﺍﻧﺪ ﻭ ﻫﺮﮔﺎﻩ ﻣﻰﺧﻮﺍﻫﺪ ﮔﻮﺷﻪﺍﻯ ﺍﺯ ﺁﻥ ﺭﺍ ﺑﭙﺮﺩﺍﺯﺩ ﻭ ﺑﺮﺍﻯ ﺧﻮﺍﻧﻨﺪﻩ‬ ‫ﺑﺎﺯ ﻛﻨﺪ‪ ،‬ﺩﺍﻣﻨﺶ ﺍﺯ ﺩﺳﺖ ﻣﻰﺭﻭﺩ ﻭ ﻗﺒﻞ ﺍﺯ ﺁﻥ ﻛﻪ ﻫﻤﺎﻥ ﻗﺴﻤﺖ ﺭﺍ ﻫﻢ ﻛﺎﻣﻞ ﻛﻨﺪ ﺑﻪ ﮔﻮﺷﻪﻯ‬ ‫‪67‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﻣﻰﺩﺍﻧﻴﻢ ﺩﺍﺳﺘﺎﻥ ﮔﻤﺎﻧﻪﺯﻥ ﻣﺎ ﺑﺎﻳﺪ ﺑﻪ ﮔﻮﻧﻪﺍﻯ ﺑﺎﺷﺪ ﻛﻪ ﺍﻣﺮ ﻏﻴﺮﻭﺍﻗﻊ ﺩﺭﻭﻥ ﺁﻥ‪ ،‬ﺑﺮﺍﻯ ﻣﺨﺎﻃﺐ ﺑﻴﺮﻭﻧﻰ‬ ‫ﻭ ﺣﺎﺿﺮ ﺩﺭ ﺩﻧﻴﺎﻯ ﻭﺍﻗﻊ‪ ،‬ﺩﺭ ﺣﻴﻄﻪﻯ ﺩﺍﺳﺘﺎﻥ ﺑﺎﻭﺭﭘﺬﻳﺮ ﺷﻮﺩ‪ .‬ﻳﻌﻨﻰ ﻣﺨﺎﻃﺐ ﻫﺮﭼﻨﺪ ﻣﻰﺩﺍﻧﺪ ﻛﻪ‬ ‫ﺁﻥﭼﻪ ﺩﺭﻭﻥ ﺩﺍﺳﺘﺎﻥ ﻣﻰﮔﺬﺭﺩ ﻏﻴﺮﻭﺍﻗﻌﻰ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺑﻪ ﻣﺤﺾ ﻭﺭﻭﺩ ﺑﻪ ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﺭﺍﺣﺘﻰ ﺑﺘﻮﺍﻧﺪ ﺁﻥ‬ ‫ﺭﺍ ﻭﺍﻗﻌﻰ ﻓﺮﺽ ﻛﻨﺪ‪ .‬ﺍﻣﺎ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﮔﻤﺎﻧﻪﺯﻥ )ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻳﺎ ﻓﺎﻧﺘﺰﻯ( ﺑﺎ ﺗﻤﺎﻡ ﺍﺟﺰﺍﻳﺶ – ﺍﻋﻢ ﺍﺯ‬ ‫ﺷﺨﺼﻴﺖﻫﺎ‪ ،‬ﺍﺗﻤﺴﻔﺮ ﻭ ﻣﺎﺟﺮﺍﻫﺎ‪ -‬ﺑﺎﻳﺪ ﺍﺯ ﺑﻴﺮﻭﻥ‪ ،‬ﻳﻌﻨﻰ ﺑﺮﺍﻯ ﺧﻮﺍﻧﻨﺪﻩﺍﻯ ﻛﻪ ﺩﺭ ﺩﻧﻴﺎﻯ ﻭﺍﻗﻊ ﺍﺳﺖ‪،‬‬ ‫ﻏﻴﺮﻭﺍﻗﻊ ﺑﺮﺍﻯ ﻣﺨﺎﻃﺐ ﺑﻴﺮﻭﻥ ﺍﺯ ﺩﺍﺳﺘﺎﻥ )ﻛﻪ ﻫﻨﻮﺯ ﻭﺍﺭﺩ‬ ‫ﮔﻤﺎﻧﻪﺯﻥ ﺑﻨﻤﺎﻳﺪ ﻭ ﻧﻪ ﺍﺯ ﺩﺭﻭﻥ! ﻳﻌﻨﻰ ﺍﻣﺮ‬ ‫ِ‬ ‫ﺣﻴﻄﻪﻯ ﺩﺍﺳﺘﺎﻥ ﻧﺸﺪﻩ(‪ ،‬ﺑﺮﺍﻯ ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺩﺭﻭﻥ ﺩﺍﺳﺘﺎﻧﺶ ﺍﻣﺮ ﻭﺍﻗﻊ ﺗﻠﻘﻰ ﻣﻰﺷﻮﺩ‪،‬‬ ‫ﺩﺭ ﻧﺘﻴﺠﻪ ﻣﻨﺎﺳﺒﺎﺕ ﺍﺟﺰﺍﻯ ﺩﺍﺳﺘﺎﻥ ﺑﺎ ﺍﻳﻦ ﺍﻣﺮ ﻫﻢ ﻻﺟﺮﻡ ﺑﺎﻳﺪ ﻭﺍﻗﻌﻰ ﺑﻨﻤﺎﻳﺪ‪ .‬ﻣﺠﻤﻮﻋﻪﻯ ﺍﻳﻦ‬ ‫ﻣﻨﺎﺳﺒﺎﺕ ﻭﺍﻗﻌﻰﻧﻤﺎﻯ ﺩﺭﻭﻥ ﺩﺍﺳﺘﺎﻥ ﻳﻜﻰ ﺍﺯ ﻋﻮﺍﻣﻠﻰ ﺍﺳﺖ ﻛﻪ ﻣﻮﺟﺐ ﺑﺎﻭﺭﭘﺬﻳﺮ ﺷﺪﻥ ﺩﺍﺳﺘﺎﻥ ﻭ‬ ‫ﻣﺤﺘﻮﺍﻳﺶ ﺑﺮﺍﻯ ﺧﻮﺍﻧﻨﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺍﮔﺮ ﭼﻨﻴﻦ ﻧﺸﻮﺩ ﻭ ﭘﺲ ﺍﺯ ﻭﺭﻭﺩ ﺧﻮﺍﻧﻨﺪﻩ ﺑﻪ ﺣﻴﻄﻪﻯ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺍﻣﻮﺭ ﻏﻴﺮﻭﺍﻗﻊ ﺩﺭﻭﻥ ﺁﻥ ﻫﻤﭽﻨﺎﻥ ﺑﺮﺍﻳﺶ ﻏﻴﺮﻗﺎﺑﻞ ﺑﺎﻭﺭ ﺑﺎﺷﻨﺪ‪ ،‬ﻧﻮﻳﺴﻨﺪﻩ ﻋﻤ ً‬ ‫ﻼ ﻗﺎﻓﻴﻪ ﺭﺍ ﺑﺎﺧﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﻭ ﻭﻗﺘﻰ ﺍﻳﻦ ﻧﺦ ﺭﺍ ﺟﻬﺖ ﻛﺸﻒ ﺩﻟﻴﻞ ﺍﻳﻦ ﺑﺎﺧﺖ ﺩﻧﺒﺎﻝ ﻣﻰﻛﻨﻴﻢ ﺑﻪ ﺁﻥﺟﺎ ﻣﻰﺭﺳﻴﻢ ﻛﻪ ﻣﻰﺑﻴﻨﻴﻢ‬ ‫ﺍﻣﺮ ﻏﻴﺮﻭﺍﻗﻊ ﻧﻮﻳﺴﻨﺪﻩ‪ ،‬ﺑﺮﺍﻯ ﺷﺨﺼﻴﺖ ﺩﺭﻭﻥ ﺩﺍﺳﺘﺎﻥ ﻭ ﺍﺯ ﺁﻥ ﻣﻬﻢﺗﺮ ﺑﺮﺍﻯ ﺧﻮﺩ ﻧﻮﻳﺴﻨﺪﻩ ﻫﻢ ﺑﻪ ﺑﺎﻭﺭ‬ ‫ﺑﺪﻝ ﻧﺸﺪﻩ ﺍﺳﺖ‪ ،‬ﭘﺲ ﭼﻄﻮﺭ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﺮﺍﻯ ﻣﺨﺎﻃﺐ ﺩﺭ ﺣﺎﻝ ﺧﻮﺍﻧﺪﻥ ﺩﺍﺳﺘﺎﻥ )ﻛﻪ ﺣﺎﻻ ﻭﺍﺭﺩ‬ ‫ﺣﻴﻄﻪﻯ ﺩﺍﺳﺘﺎﻥ ﺷﺪﻩ ﺍﺳﺖ( ﺑﺎﻭﺭﭘﺬﻳﺮ ﺷﻮﺩ؟ ﺟﻮﺍﺑﺶ ﺳﺎﺩﻩ ﺍﺳﺖ‪ ،‬ﻫﻴﭻﻃﻮﺭ! ﻳﺎ ﺩﺭ ﺑﻬﺘﺮﻳﻦ ﺣﺎﻟﺖ‪،‬‬ ‫ﻓﺎﺻﻠﻪﻯ ﺯﻳﺎﺩﻯ ﺑﻴﻦ ﺧﻮﺍﻧﻨﺪﻩ ﻭ ﺩﺍﺳﺘﺎﻥ ﻣﻰﺍﻧﺪﺍﺯﺩ‪ .‬ﻭﺍﻧﮕﻬﻰ‪ ،‬ﻧﻜﺘﻪﻯ ﻛﻠﻴﺪﻯ ﺍﻳﻦﺟﺎ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺩﺭ‬ ‫ﻧﻬﺎﻳﺖ ﺁﻥ ﭼﻪ ﻣﻬﻢ ﺍﺳﺖ ﻭ ﻣﻮﺭﺩ ﺍﺭﺯﻳﺎﺑﻰ ﻣﺨﺎﻃﺐ ﻋﺎﻡ ﻭﺍﻗﻊ ﻣﻰﺷﻮﺩ ﻛﻠﻴﺘﻰ ﺑﻪ ﻧﺎﻡ ﺩﺍﺳﺘﺎﻥ ﺍﺳﺖ‪.‬‬ ‫ﺍﺯ ﺍﻳﺪﻩﻫﺎﻯ ﺧﻮﺏ ﺗﺎ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺧﻮﺏ ﺟﺎﺩﻩﺍﻯ ﻧﺴﺒﺘﺎً ﻃﻮﻻﻧﻰ ﺑﻪ ﻧﺎﻡ ﭘﺮﺩﺍﺧﺖ ﺧﻮﺏ ﻗﺮﺍﺭ ﺩﺍﺭﺩ ﻛﻪ‬ ‫ﺑﺎﻳﺪ ﺁﻥ ﺭﺍ ﺑﻪ ﺍﻧﺘﻬﺎ ﺭﺳﺎﻧﺪ‪ .‬ﻭﻗﺘﻰ ﺧﻮﺩ ﻧﻮﻳﺴﻨﺪﻩ ﺁﻥ ﭼﻪ ﺩﺭ ﺫﻫﻦ ﺩﺍﺭﺩ ﺭﺍ ﺩﺭﺳﺖ ﻧﻤﻰﺷﻨﺎﺳﺪ‪ ،‬ﭼﻄﻮﺭ‬ ‫ﻣﻰﺗﻮﺍﻧﺪ ﺁﻥ ﺭﺍ ﺧﻮﺏ ﭘﺮﺩﺍﺧﺖ ﻛﻨﺪ؟ ﺑﺎﺯ ﻫﻢ ﺟﻮﺍﺑﺶ ﺳﺎﺩﻩ ﺍﺳﺖ‪ ،‬ﻫﻴﭻﻃﻮﺭ‪ .‬ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﺣﺘﺎ ﺑﺎ‬ ‫ﻓﺮﺽ ﻣﺘﻌﺎﻟﻰ ﺑﻮﺩﻥ ﺫﻫﻨﻴﺖ ﻧﻮﻳﺴﻨﺪﻩ‪ ،‬ﺧﺮﻭﺟﻰ ﻛﺎﺭ ﺩﺭﺳﺖ ﻧﻴﺴﺖ‪ .‬ﻭ ﺍﮔﺮ ﻣﻰﺑﻴﻨﻴﺪ ﺩﺭ ﺍﻳﻦ ﻳﺎﺩﺩﺍﺷﺖ‬ ‫ﺍﺯ ﻭﺍژﻩﻯ »ﺩﺍﺳﺘﺎﻥ« ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻩﺍﻡ‪ ،‬ﺩﺭ ﻏﺎﻟﺐ ﻣﻮﺍﺭﺩ ﺍﺯ ﺭﻭﻯ ﺗﺴﺎﻣﺢ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﻳﺪﻩﻫﺎﻯ ﺭﻳﺰ ﻭ ﺩﺭﺷﺘﻰ ﻛﻪ ﺑﺮﺍﻯ ﻧﻮﻳﺴﻨﺪﻩ ﺟﺪﻳﺪ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻨﺪ‪ ،‬ﻋﻤﻮﻣﺎً ﻧﻮﻳﺴﻨﺪﻩ ﺭﺍ ﺑﻪ ﭼﻨﻴﻦ‬ ‫ﺩﺍﻣﻰ ﻣﻰﺍﻧﺪﺍﺯﻧﺪ‪ .‬ﻳﻌﻨﻰ ﻧﻮﻳﺴﻨﺪﻩ ﻧﺴﺒﺖ ﺑﻪ ﺍﻳﺪﻩﺍﺵ ﻛﻮﭼﻚ ﻣﻰﺷﻮﺩ ﻭ ﻣﻐﻠﻮﺏ ﺁﻥ ﺑﺎﻗﻰ ﻣﻰﻣﺎﻧﺪ‪ .‬ﻭ‬ ‫ﻭﻗﺘﻰ ﻧﻮﻳﺴﻨﺪﻩ ﺣﺪ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻗﺒﺎﻝ ﺁﻥ ﭼﻪ ﺑﻪ ﺫﻫﻨﺶ ﺧﻄﻮﺭ ﻛﺮﺩﻩ ﻧﻤﻰﺩﺍﻧﺪ‪ ،‬ﺑﻴﺶ ﺍﺯ ﺣﺪ ﺗﻮﺍﻧﺶ‬ ‫ﭼﻨﮓ ﺩﺭ ﭼﻨﮓ ﺍﻳﺪﻩﺍﺵ ﻣﻰﺍﻧﺪﺍﺯﺩ ﻭ ﻃﺒﻴﻌﺘﺎً ﺷﻜﺴﺖ ﻣﻰﺧﻮﺭﺩ‪ .‬ﻣﻐﻠﻮﺏ ﺭﻳﺰﺍﻳﺪﻩﻫﺎ ﺷﺪﻥ ﻣﻌﻤﻮﻻً ﺑﻪ‬ ‫ﺣﺎﺷﻴﻪ ﺭﻓﺘﻦ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺩﺭ ﭘﻰ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﺟﻮﺭ ﻣﻮﺍﻗﻊ ﻣﻌﻤﻮﻻً ﺷﺎﻫﺪﻳﻢ ﻛﻪ ﺍﻧﮕﺎﺭ ﺍﺻ ً‬ ‫ﻼ ﻧﻮﻳﺴﻨﺪﻩ‬ ‫ﻳﺎﺩﺵ ﺭﻓﺘﻪ ﻗﺮﺍﺭ ﺍﺳﺖ ﺑﺮﺍﻯ ﻣﺎ ﺩﺍﺳﺘﺎﻧﻰ ﻫﻢ ﺗﻌﺮﻳﻒ ﻛﻨﺪ ﻭ ﭼﻨﺎﻥ ﺩﺭ ﮔﻴﺮ ﻭ ﺩﺍﺭ ﻫﻤﺎﻥ ﺭﻳﺰﻧﻮﺁﻭﺭﻳﺶ‬ ‫ﺷﺪﻩ ﻛﻪ ﻭﻗﺘﻰ ﺍﺯ ﺍﻭ ﻣﻰﭘﺮﺳﻴﻢ‪ ،‬ﻫﻤﻪﻯ ﺍﻳﻦﻫﺎ ﻛﻪ ﮔﻔﺘﻰ ﺧﻴﻠﻰ ﻫﻢ ﺟﺬﺍﺏ ﻭ ﺧﻮﺏ‪ ،‬ﻭﻟﻰ ﺩﺍﺳﺘﺎﻥ ﭼﻪ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﺩﻳﺪﮔﺎﻩ‬

‫ﻣﺮﻋﻮﺏ ﻳﻚ ﺧﻂ ﺍﻳﺪﻩﻯ‬ ‫ﺧﻮﺵ ﺧﻂ ﻭ ﺧﺎﻝ ﻧﺸﻮﻳﻢ‬ ‫ﻣﺤﻤﺪﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‬

‫ﺍﻳﺪﻩﺍﻯ ﻛﻪ ﺟﺮﻗﻪﻯ ﺷﻜﻞﮔﻴﺮﻯ ﻫﺴﺘﻪﻯ ﻣﺎﺟﺮﺍﻳﻰ ﻳﻚ ﻗﺼﻪ ﺩﺭ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﮔﻤﺎﻧﻪﺯﻥ‬ ‫ﺧﻮﺏ ﻣﻰﺷﻮﺩ‪ ،‬ﻣﻌﻤﻮﻻً ﻣﺤﻴﺮﺍﻟﻌﻘﻮﻝ ﺍﺳﺖ‪ .‬ﻳﺎ ﺣﺪﺍﻗﻞ ﻏﻴﺮ ﺍﺯ ﺍﻣﻮﺭ ﺩﻧﻴﺎﻯ ﻭﺍﻗﻊ ﺍﺳﺖ‪ ،‬ﭼﺮﺍ ﻛﻪ‬ ‫ﺩﺭ ﻏﻴﺮ ﺍﻳﻦ ﺻﻮﺭﺕ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺳﺎﺩﮔﻰ ﺁﻥ ﺭﺍ ﺑﻴﺮﻭﻥ ﺍﺯ ﺣﻴﻄﻪﻯ ﮔﻤﺎﻧﻪﺯﻥ – ﻳﻌﻨﻰ ﺑﻪ ﻃﻮﺭ‬ ‫ﺧﺎﺹ ﺩﺭ ﺟﺮﻳﺎﻥ ﺍﺻﻠﻰ ﺍﺩﺑﻴﺎﺕ‪ -‬ﭘﻴﺎﺩﻩﺳﺎﺯﻯ ﻛﺮﺩ ﻭ ﺁﻥ ﻭﻗﺖ ﺑﺎ ﺩﺍﺳﺘﺎﻥ ﮔﻤﺎﻧﻪﺯﻥ ﺧﻮﺑﻰ‬ ‫ﺭﻭﺑﺮﻭ ﻧﻴﺴﺘﻴﻢ‪ .‬ﺷﺎﻳﺪ ﺍﺯ ﻫﻤﻴﻦ ﺭﻭ ﺑﺎﺷﺪ ﻛﻪ ﭘﺮﺩﺍﺧﺖ ﻛﻨﺶﻫﺎ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﺳﻬﻢ‬ ‫ﻣﻌﻴﻦ ﻭ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻰ ﺩﺍﺭﺩ‪ .‬ﻳﻌﻨﻰ ﺩﺭ ﻭﻫﻠﻪﻯ ﺍﻭﻝ ﻭﺍﻗﻌﻰ ﺟﻠﻮﻩ ﺩﺍﺩﻥ ﺍﻣﺮﻯ ﻏﻴﺮﻭﺍﻗﻊ –ﻛﻪ‬ ‫ﺩﺭ ﺍﻳﻦﺟﺎ ﻣﻨﻈﻮﺭ ﻫﻤﺎﻥ ﺍﻳﺪﻩﻯ ﺍﺻﻠﻰ ﺍﺳﺖ‪ -‬ﺑﺮﺍﻯ ﺧﻮﺍﻧﻨﺪﻩ‪ ،‬ﺧﻮﺩ ﺯﺣﻤﺘﻰ ﺭﺍ ﺑﺮ ﺩﻭﺵ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﺍﺿﺎﻓﻪ ﻣﻰﻛﻨﺪ ﻛﻪ ﺩﺭ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻏﻴﺮﮔﻤﺎﻧﻪﺯﻥ ﺳﺒﻚﺗﺮ ﻣﻰﻧﻤﺎﻳﺪ‪ .‬ﻣﺴﺄﻟﻪﻯ ﻣﺎ ﺩﺭ‬ ‫ﺍﻳﻦ ﻳﺎﺩﺩﺍﺷﺖ ﻣﺨﺎﻃﺮﻩﺍﻯ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻭﻫﻠﻪﻯ ﺑﻪﺧﺼﻮﺹ‪ ،‬ﺯﻳﺎﺩ ﮔﺮﻳﺒﺎﻥﮔﻴﺮ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ‬ ‫ﻋﻤﻮﻣﺎً ﺗﺎﺯﻩﻛﺎﺭ ﻣﻰﺷﻮﺩ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﻛﻠﻴﺖ ﻛﺎﺭ ﺭﺍ ﻫﻢ ﻣﺒﺘﻼ ﻣﻰﻛﻨﺪ ﻭ ﺑﻪ ﺩﺍﺳﺘﺎﻥ ﻧﻤﻰﺭﺳﻴﻢ‪.‬‬ ‫ﺍﻳﻦ ﻣﻮﺭﺩ ﺩﺭ ﺍﺑﺘﺪﺍﻯ ﻛﺎﺭ ﺑﺎ ﺍﺣﺘﺴﺎﺏ ﺗﺎﺯﻩﻛﺎﺭ ﺑﻮﺩﻥ ﻧﻮﻳﺴﻨﺪﻩ‪ ،‬ﻗﺎﺑﻞ ﻗﺒﻮﻝ ﺍﺳﺖ ﺑﻪ ﺷﺮﻃﻰ ﻛﻪ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﺑﻪ ﻣﺮﻭﺭ ﺑﺮ ﺁﻥ ﻏﻠﺒﻪ ﻛﻨﺪ‪.‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﻣﺮاﻗﺒﺖ ﻣﯽﮐﺮدم‪ .‬مبﺐﺑﺎران ﭘﻞﺷﺎن را دو ﮐﯿﻠﻮﻣﺮ دورﺗﺮ از ﻣﺮزﻫﺎی ﻣﺤﻠﻪ ﻓﺮو رﯾﺨﺘﻪ ﺑﻮد و ﻣﻦ‬ ‫ﺗﻮ ﻫﺎورﮐﺮاﻓﺖ ﺳﯿﺎه ﺗﯿﺮهی رﺳﺘﻪی اﻣﻨﯿﺘﯽ‪ ،‬آن روز ﺗﻨﻬﺎ ﺑﻮدم‪.‬‬ ‫زن ﺑﺎرﯾﮑﯽ را دﯾﺪم ﮐﻪ ﻣﯽرﻓﺖ ﺳﻤﺖ ﮔﺘﻮ‪ .‬اﺳﮑرن ﻫﺎورﮐﺮاﻓﺘﻪ منﯽﺗﻮاﻧﺴﺖ ﻫﻮﯾﺘﺶ را ﺗﺸﺨﯿﺺ‬ ‫ﺑﺪﻫﺪ و ﺣﺪس زدم ﮐﻪ آراﯾﺶ ﻣﻤﻨﻮﻋﻪ دارد‪ .‬ﺑﻌﺪ ﭘﻮﺳﺘﺶ را دﻧﺒﺎل ﺳﻠﻮلﻫﺎی زﯾﺴﺖﻫﻮﯾﺘﯽ وارﺳﯽ‬ ‫ﮐﺮدم‪ .‬ﻋﺼﺒﯽ ﺑﻮدم و آﻣﺎده ﮐﻪ دﺳﺘﮕﯿﺮش ﮐﻨﻢ‪ .‬ﭘﺎﯾﯿﻦﺗﺮ رﻓﺘﻢ و ﺑﻌﺪ ﯾﮏﻫﻮ ﺧﱪ دار ﺷﺪم ﮐﻪ‬ ‫اوﺳﺖ؛ اﻣﺎ ﺑﯿﺶ از اﯾﻦ ﺑﺎ رﻗﺖاﻧﮕﯿﺰی ﺧﻮدم ﺣﻮﺻﻠﻪﺗﺎن را ﴎ ﻧﺨﻮاﻫﻢ ﺑﺮد‪ .‬اﺟﺎزه ﻣﯽﺧﻮاﻫﻢ ﮐﻪ‬ ‫ﺑﺎﻗﯽ ﻗﺼﻪ را ﺑﻪ ﻫامن ﺷﯿﻮهی ﺳﻮمﺷﺨﺺ ﻣﻌﻤﻮل ﺧﻮدﻣﺎن ﺑﺮاﯾﺘﺎن ﺑﺎز ﮔﻮ ﮐﻨﻢ؛ اﻣﺎ ﺣﺎﻻ ﺧﱪ دارﯾﺪ‬ ‫ﮐﻪ آن ﺑﺎﻻ‪ ،‬ﺗﻮ ﻏﻮل رﺳﺘﻪی اﻣﻨﯿﺘﯽ‪ ،‬در آن ﻋﴫﮔﺎه اﺳﻔﻨﺪ‪ ،‬ﻣﻦ ﻧﺸﺴﺘﻪ ﺑﻮدم‪ ،‬ﺑﺎ اﯾﮕﻮاﻧﺎی ﺟﻮاﻧﯽ ﮐﻪ‬ ‫در ﺳﺎﻋﺖﻫﺎی ِ‬ ‫ﮔﺸﺖ ﺗﮏ ﻧﻔﺮه ﻫﻤﯿﺸﻪ ﻫﻤﺮاه ﻣﯽﺑﺮدم‪.‬‬ ‫وﻟﯽ ﭘﯿﺶ از ﻫﻤﻪﭼﯿﺰ‪ ،‬آن ﺗﮑﻪی ﻗﺪﯾﻤﯽ ﮐﻪ در ﺑﺎب او اﺳﺖ‪:‬‬ ‫ﻳﻚﻭﻗﺘﻰ ﺩﺧﺘﺮﻯ ﺭﺍ ﻣﻰﺷﻨﺎﺧﺘﻢ‪ .‬ﺣﺎﻻ ﻫﻤﻪﻯ ﭼﻴﺰﻯ ﻛﻪ ﺍﺯ ﺍﻭ ﺑﺮﺍﻳﻢ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻩ ﻳﻚ‬ ‫ﭼﺸﻢﺑﻨﺪ ﺧﻮﺍﺏ ﺍﺳﺖ‪ .‬ﺗﻮﻯ ﭼﺸﻢﺑﻨﺪ ﺑﺮﺍﻕ ﺍﺳﺖ ﻣﺜﻞ ﺁﺳﺘﺮ ﻛﺖ‪ .‬ﻫﻤﻪﺟﺎﻯ ﻻﻳﻪﻯ‬ ‫ﺑﻴﺮﻭﻧﻰ ﺭﺍ ﻛﺮﻙ ﻭ ﺧﺎﻙ ﺑﺮﺩﺍﺷﺘﻪ‪ .‬ﺧﻴﻠﻰ ﻛﻬﻨﻪ ﺍﺳﺖ ﻭ ﻣﻰﺷﻮﺩ ﺑﺎ ﺧﻔﺎﺵ ﻣﺮﺩﻩ ﺍﺷﺘﺒﺎﻫﺶ‬ ‫ﮔﺮﻓﺖ‪ .‬ﭼﺸﻢﺑﻨﺪﻯ ﺍﺳﺖ ﻛﻪ ﻣﺪﺕﻫﺎ ﺯﻳﺮ ﺗﺨﺖ ﮔﻤﺶ ﻛﺮﺩﻩ ﺑﻮﺩﻡ‪ .‬ﺑﻪ ﻳﺎﺩ ﻧﻤﻰﺁﻭﺭﻡ؛ ﺍﻣﺎ‬ ‫ﻻﺑﺪ ﻭﻗﺘﻰ ﺑﺎ ﺩﺧﺘﺮﻙ ﺻﻤﻴﻤﻰ ﺑﻮﺩﻩﺍﻳﻢ ﻫﻢ ﻋﻴﻦ ﺣﺎﻻ ﺑﻰﺧﻮﺍﺏ ﺑﻮﺩﻩﺍﻡ‪ ،‬ﺍﻭ ﭼﺸﻢﺑﻨﺪﻯ‬ ‫ﺑﻬﻢ ﺩﺍﺩﻩ ﺗﺎ ﺭﺍﺣﺖ ﺑﺎﺷﻢ ﻭ ﺑﻴﺸﺘﺮ ﺑﺨﻮﺍﺑﻢ ﻭ ﺣﺎﻻ ﭼﺸﻢﺑﻨﺪﻩ ﺭﺍ ﺧﺎﻙ ﺑﺮﺩﺍﺷﺘﻪ ﺟﻮﺭﻯ‬ ‫ﻛﻪ ﺁﺩﻡ ﺩﻟﺶ ﻧﻤﻰﺁﻳﺪ ﺭﻭﻯ ﭼﺸﻢ ﺑﮕﺬﺍﺭﺩﺵ‪ .‬ﺍﺣﺴﺎﺳﺎﺗﻰ ﺷﺪﻡ ﻭ ﻓﻜﺮ ﻛﺮﺩﻡ ﻛﻪ ﺩﺳﺖ ﺑﺮ‬ ‫ﻗﻀﺎ ﺍﻳﻦ ﻧﻤﻮﻧﻪﻯ ﻛﺎﻣﻞ ﺭﺍﺑﻄﻪﻣﺎﻥ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺷﺪ ﻛﻪ ﺣﺎﻻ ﺩﺍﺭﻡ ﺑﻪ ﺩﺧﺘﺮﻙ ﻓﻜﺮ ﻣﻰﻛﻨﻢ‪.‬‬ ‫ﺩﺧﺘﺮﻙ ﻧﺎﺯﻧﻴﻦ‪ .‬ﻭﻗﺘﻰ ﺍﻧﮕﺸﺘﻰ ﺍﺯ ﻧﻮﺭ ﺗﻮﻯ ﺗﺨﺖ ﺁﺩﻡ ﻣﻰﺍﻓﺘﺪ‪ ،‬ﺁﻥ ﻭﻗﺖ ﺑﺎﻳﺪ ﺑﻪ ﺩﺧﺘﺮﻙ‬ ‫ﻓﻜﺮ ﻛﺮﺩ ﻭ ﺑﻪ ﻧﺰﺩﻳﻜﻰ ﺑﻰﺍﻧﺪﺍﺯﻩﻣﺎﻥ ﻛﻪ ﺣﺎﻻ ﻏﻴﺮ ﻣﻤﻜﻦ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ‪ .‬ﺩﺳﺖﻫﺎﻳﻢ ﻋﻴﻦ‬ ‫ﺩﺳﺖ ﺁﺩﻡﻫﺎﻯ ﻣﻴﺎﻥ ﺳﺎﻝ ﺷﺪﻩ ﻭ ﻫﻨﻮﺯ ﻣﺸﻜﻞ ﺧﻮﺍﺑﻴﺪﻥ ﺩﺍﺭﻡ ﻭ ﺑﻪ ﻧﻈﺮﻡ ﭼﻘﺪﺭ ﺑﻌﻴﺪ‬ ‫ﻣﻰﺁﻳﺪ ﻛﻪ ﻳﻚﻭﻗﺘﻰ ﺑﺎ ﺩﺧﺘﺮﻙ ﺁﻥﻗﺪﺭ ﻧﺰﺩﻳﻚ ﺑﻮﺩﻩﺍﻡ‪.‬‬ ‫*‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫آنﻗﺪر ﺗﺎ ﺧﺮﺧﺮه ﻣﺴﻤﻮم ﺑﻮد ﮐﻪ اﮔﺮ زﻧﺒﻮری ﭼﯿﺰی ﻧﯿﺶاش ﻣﯽزد از او‪-‬دی ﭘﺲ ﻣﯽاﻓﺘﺎد‪ .‬ﺣﺘامً‬ ‫ﻣﯽﻣﺮد‪ .‬ﻣﻦ را ﺑﻬﺶ ﻣﻌﺮﻓﯽ ﮐﺮده ﺑﻮدﻧﺪ‪ .‬ﻫﺮﮔﺰ ﻧﻔﻤﻬﯿﺪم ﮐﯽ‪،‬؛ اﻣﺎ ﺣﺪس ﻣﯽزدم رﻓﻘﺎی ﻗﺪﯾﻤﯽﺗﺮ‬ ‫ﮐﻪ ﻣﯽداﻧﺴﺘﻨﺪ ﺣﺎﻻ ﺑﯽﮐﺎرم ﻫﻤﭽﻮ ﻣﺤﺒﺘﯽ در ﺣﻘﻢ ﮐﺮده ﺑﻮدﻧﺪ‪ .‬ﭘﯿﺶ ﻣﻦ ﻣﯽآﻣﺪ ﺗﺎ ﺑﺮای زاﯾامن‬ ‫ﭘﺎﮐﺶ ﺑﮑﻨﻢ‪ .‬دوﺳﺖ ﻧﺪاﺷﺖ ﺑﭽﻪﻫﻪ ﺑﻼﯾﯽ ﴎش ﺑﯿﺎﯾﺪ‪ ،‬اﯾﻦﻃﻮر ﻣﺪﻋﯽ ﺑﻮد‪ .‬ﺗﺎﺑﺴﺘﺎن ﺟﻬﻨﻢ ﺑﻮد‪.‬‬ ‫آﺳامن ذﻏﺎل ﺧﺎﮐﺴﱰی ﺑﻮد و ﺧﺎﻟﯽ ﺑﻮد و ﻣﻦ ﻫﻤﯿﺸﻪ ﺑﺎ ﻟﺒﺎس زﯾﺮ و دﻣﭙﺎﯾﯽ ﻫﻤﻪﺟﺎ ﻣﯽﮔﺸﺘﻢ‬ ‫و منﯽﺗﻮاﻧﺴﺘﻢ ﺑﺨﻮاﺑﻢ‪ .‬او داﻣﻦ ﺗﻨﮕﯽ ﻣﯽﭘﻮﺷﯿﺪ ﮐﻪ ﮐﺘﺎن ﺑﻮد و ﺷﮑﻤﺶ را ﻫﻤﻪ ﺟﺎ ﺑﻪ منﺎﯾﺶ‬ ‫ﻣﯽﮔﺬاﺷﺖ و ﻣﻦ ﺷﮏ ﻧﺪاﺷﺘﻢ ﮐﻪ ﺑﭽﻪی ﺑﯿﭽﺎره اوﺿﺎﻋﺶ ﺧﺮاب ﺧﻮاﻫﺪ ﺑﻮد‪ .‬دﺧﱰک زﯾﺎدهروی‬ ‫ﮐﺮده ﺑﻮد‪ .‬ﭘﺪر ﺑﭽﻪ وﻟﺶ ﮐﺮده ﺑﻮد و او ﺑﺮای ﻧﺸﺎن دادن ﻣﻈﻠﻮﻣﯿﺘﺶ ﮐﺒﻮدیﻫﺎی ﻣﻦدرآوردی روی‬ ‫ﺗﻨﺶ ﺳﻮار ﻣﯽﮐﺮد‪ .‬ﺗﺎ ﻓﺮق ﴎ ﻣﻌﺘﺎد ﺑﻮد‪ .‬ﻣﻬﯿﺞﻫﺎی دﺳﺘﮕﺎه ﻣﺮﮐﺰی اﻋﺼﺎب از راه ﺑﻮ ﮐﺸﯿﺪن‪.‬‬ ‫روی دﻣﺎﻏﺶ ﭘﻮﮐﻪی ﺑﺮﻧﺠﯽای ﻣﯽﭘﻮﺷﯿﺪ ﺑﺎ ﺗﺒﺪﯾﻞﮐﻨﻨﺪهﻫﺎی ﺧﯿﻠﯽ ﻗﺪﯾﻤﯽ‪ .‬ﺟﺰ او‪ ،‬ﭘﯿﺶ ﻫﯿﭻﮐﺲ‬ ‫ﻫﻤﭽﻮ ﺑﺴﺎط ﺳﻨﮕﯿﻨﯽ ﻧﺪﯾﺪه ﺑﻮدم‪ ،‬ﻧﻪ ﺣﺘﺎ ﭘﯿﺶ ﺑﺎرﺑﺮﻫﺎ ﺗﻮ ﺑﺎزارﻫﺎی آﺳﺘﺎرا‪ .‬ﭼﯿﺰ ﻣﻨﺤﻮﺳﯽ اﺳﺖ‬ ‫دوﺳﺖ ﻋﺰﯾﺰ‪ .‬ﻫﺮ وﻗﺖ اراده ﺑﮑﻨﯿﺪ ﭘﻮﮐﻪﻫﻪ ﻫﺮ راﯾﺤﻪای را ﺑﺮاﯾﺘﺎن ﺑﻪ ﻣﻬﯿﺞﻫﺎی ﺣﺴﺎﺑﯽ ﺑﺪل‬ ‫ﻣﯽﮐﻨﺪ‪ .‬در آن روزﻫﺎ ﮐﻪ ﻣﻦ ﺷﻨﺎﺧﺘﻤﺶ دﺳﺘﮕﺎﻫﻪ ﻗﻤﺼﻮر ﺷﺪه ﺑﻮد‪ .‬ﺧﯿﻠﯽ ﮐﺎر ﮐﺮده ﺑﻮد و‬ ‫اﺣﺘامﻻً ﭘﯿﺶ از آنﮐﻪ دﺳﺖ دﺧﱰه ﺑﯿﻔﺘﺪ ﻋﻤﺮش متﺎم ﺷﺪه ﺑﻮد‪ .‬ﯾﮏوﻗﺖﻫﺎﯾﯽ ﭘﺎراﻧﻮﯾﯿﺪش ﻣﯽﮐﺮد‪،‬‬ ‫از درد ﺗﻮ ﺻﻮرﺗﺶ ﺟﯿﻎ ﻣﯽﮐﺸﯿﺪ و ﺟﯿﻎ ﻣﯽﮐﺸﯿﺪ ﮐﻪ دﻣﺎﻏﺶ را ﺑﱪم‪ .‬ﻫﻤﻪ ﮐﺎر ﺑﺎ ﺗﻨﺶ ﮐﺮده ﺑﻮد‪.‬‬ ‫ﺳﯿﺮک ﮐﺎﻣﻠﯽ ﴎ ﻫﻢ ﮐﺮده ﺑﻮد‪ .‬ﺗﻮی رانﻫﺎﯾﺶ ﯾﮏﺟﻮر ﮐﻮﻓﺖ ارﺗﻮﭘﺪﯾﮏ ﻣﯽﭘﻮﺷﯿﺪ ﮐﻪ ﺷﺒﯿﻪ‬ ‫ﭘﺎروﻫﺎی ﻣﯿﻨﯿﺎﺗﻮری ﺑﻮد و ﻫﯿﭻوﻗﺖ ﻧﻔﻬﻤﯿﺪم ﺑﻪ ﭼﻪ ﮐﺎرش ﻣﯽآﯾﺪ‪.‬‬ ‫ﺗﺨﺖ ﯾﮏﻧﻔﺮهای داﺷﺘﻢ‪ ،‬ﺗﻮ اﺗﺎﻗﻢ ﮐﻪ ﭘﻨﺠﺮهاش رو ﺑﻪ ﻓﻀﺎی ﻣﺎﺑﯿﻦِ دو ﻟﺘﻪی ﺳﺎﺧﺘامن ﺑﺎز ﻣﯽﺷﺪ‪.‬‬ ‫ﺻﺪای ﺑﭽﻪﻫﺎ از آن ﭘﺎﯾﯿﻦ ﻣﯽآﻣﺪ و ﻣﺎ ﺑﺎ ﻫﻢ ﻣﯽﺧﻮاﺑﯿﺪﯾﻢ‪ .‬او ﻣﺪام ﻋﺮق داﺷﺖ و ﭼﺴﺒﻨﺎک ﺑﻮد و‬ ‫ورمﻫﺎی ﺗﻨﺶ ﻋﯿﻦ ﺣﻠﺰون درش آورده ﺑﻮدﻧﺪ‪ .‬ﺑﺎ ﮐﻔﺶﻫﺎی ﻧﺎﯾﻠﻮﻧﯽ رﻧﮕﺎﻧﮕﯽ ﮐﻪ ﻫﺮﮔﺰ از ﭘﺎ درﺷﺎن‬ ‫منﯽآورد آدم را ﯾﺎد ﻣﯿﻮهی آﻓﺮﯾﻘﺎﯾﯽ ﻣﯽاﻧﺪاﺧﺖ ﮐﻪ ﮐﺴﯽ ﻫﺮﮔﺰ ﻧﺪﯾﺪه‪ ،‬ﻋﯿﻦ ﺳﻮاﺣﻞ ﻓﻠﻮرﯾﺪا ﺑﻮد‪،‬‬ ‫ﻋﯿﻦ ﻋﻄﺶ دﯾﻮاﻧﻪوار ﺑﻮد ﺑﻪ ﻣﻮجﺳﻮاری‪ .‬ﻣﻮﺟﻮدﯾﺘﯽ ﺑﻮد ﯾﮏﴎه ﺑﯿﺮون از آنﭼﻪ ﻣﻦ ﻣﯽﺷﻨﺎﺧﺘﻢ‪،‬‬ ‫ﯾﮏ ﺑﯿﻠﺒﻮرد ﺑﺰرگ آﻣﺮﯾﮑﺎﯾﯽ ﺑﻮد‪ ،‬ﮐﯿﺴﻪی ﻫﻮای ﺷﺨﺼﯽ ﻣﻦ ﺑﻮد ﻣﻮﻗﻊ ﺗﺼﺎدف‪ .‬آنﻃﻮر ﮐﻪ ﺗﻘﻼ‬ ‫ﻣﯽﮐﺮد ﺗﺎ ﴎش را ﺑﺎﻻ ﺑﯿﺎورد و از ورای ﺷﮑﻢ ﺑﺮآﻣﺪهاش‪ ،‬ﺑﺎ ﭼﺸﻢﻫﺎی ﻧﯿﻢﺑﺴﺘﻪ‪ ،‬ﺑﺮاق‪ ،‬ﺗﺐآﻟﻮد‪،‬‬ ‫ﺣﯿﻮاﻧﯽ‪ ،‬ﺑﺒﯿﻨﺪ ﮐﻪ ﻣﻦ دارم ﺑﺎﻫﺎش ﭼﻪ ﮐﺎر ﻣﯽﮐﻨﻢ‪ ،‬آنﻃﻮر ﮐﻪ ﻣﻨﻈﻮﻣﻪی اﺳﺘﺨﻮانﻫﺎﯾﺶ را روی‬ ‫ﻫﻢ ﻣﯽﻟﻐﺰاﻧﺪ و ﺗﻬﺪﯾﺪ ﮐﻨﻨﺪهﺗﺮ ﻣﯽﺷﺪ‪ ،‬ﻣﻌﺎدل زﯾﺴﺖﺷﻨﺎﺧﺘﯽ ﺗﯿﺮﺑﺎر ﻣﯽﺷﺪ‪ ،‬آنﻃﻮر دﯾﻮاﻧﻪام‬ ‫ﻣﯽﮐﺮد دوﺳﺖ ﻋﺰﯾﺰ‪ .‬ﭼﻪ ﺑﺴﯿﺎر ﮐﻪ دوﺳﺘﺶ ﻣﯽداﺷﺘﻢ‪.‬‬ ‫ﺑﭽﻪ را ﮐﻪ ﺑﻪ دﻧﯿﺎ آوردﯾﻢ دﯾﮕﺮ ﻫﺮﮔﺰ ﻧﺪﯾﺪﻣﺶ و ﯾﮑﯽ از ﻧﺨﺴﺘﯿﻦ ﭼﯿﺰﻫﺎﯾﯽ ﮐﻪ ﻧﻮﺷﺘﻢ در ﺑﺎب او‬ ‫ﺑﻮد‪ .‬و اﻣﺎ در آن روز اواﺧﺮ زﻣﺴﺘﺎن ﺑﺎز آنﺟﺎ ﺑﻮد‪ .‬ﻣﻦ ﺗﻮ ﴎﺣﺪ ﺷﻬﺮ ﺗﺎرﯾﺨﯽ از ﻣﺤﻠﻪی ﺑﻬﺎﯾﯽﻫﺎ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﴍﮐﺖﻫﺎی ﮔﻨﺪهی واﺑﺴﺘﻪ ﺑﻪ ﻧﻈﺎﻣﯿﺎن و ﴎﻫﻨﮓﻫﺎی ﻣﻌامر را ﻣﯽﺷﻨﻮم‪ ،‬از ﺧﻼل دﯾﻮارﻫﺎ‪،‬‬ ‫ﻫﯿﺲﮐﺸﺎن‪ ،‬ﺷﺸﺸﺶﮐﻨﺎن‪ ،‬ﮐﻪ ﻫﻨﻮز‪ ،‬ﺳﺎلﻫﺎ ﭘﺲ از ﺗﺨﻠﯿﻪی ﺷﻬﺮ ﺗﺎزه‪ ،‬آدم را ﻣﺨﻔﯿﺎﻧﻪ و ﺑﻪ‬ ‫ﻧﻔﻊ دوﻟﺖ ﻣﺴﺘﻘﻞ ﺳﺎﮐﺖ ﻣﯽﮐﻨﻨﺪ‪ .‬ﻣﺘﻮﺟﻪ ﻫﺴﺘﯿﺪ؟ آدم دﯾﻮاﻧﻪی ﺑﯽﭘﻮل واﻫﻤﻪ دارد‪ .‬ﺣﺮﻓﻪای‬ ‫ﮐﻪ ﺑﻪ ﮐﺎری ﺑﯿﺎﯾﺪ منﯽداﻧﺴﺘﻢ و آژاﻧﺲﻫﺎی اﺳﺒﺎبﮐﺸﯽ آزﻣﻮن ﺑﺪﻧﯽای داﺷﺘﻨﺪ ﮐﻪ از ﭘﺲاش ﺑﺮ‬ ‫منﯽآﻣﺪم‪ .‬ﮐﻤﯽ اﮔﺮ ﺑﯿﺶ از آنﭼﻪ ﮔﺮﺳﻨﮕﯽ ﮐﺸﯿﺪم‪ ،‬ﮔﺮﺳﻨﮕﯽ ﻣﯽﮐﺸﯿﺪم‪ ،‬ﺑﻪ ﮐﻠﯽ ﭘﺮهﭘﺮه ﻣﯽﺷﺪم‪.‬‬ ‫در ﻧﻮﺟﻮاﻧﯽام وﻗﺘﯽ ﺳﯿﺰدهﭼﻬﺎردهﺳﺎﻟﻪ ﺑﻮدم ﺗﻮ ﮐﺮﻣﺎﻧﺸﺎه در رﯾﻨﮓﻫﺎی ﻏﯿﺮﻗﺎﻧﻮﻧﯽ ﭘﻨﺞﺷﻨﺒﻪ‬ ‫ﺷﺐﻫﺎ‪ ،‬در ﮐﻮﭼﻪﻫﺎی ﻗﺮﻧﻄﯿﻨﻪ‪ ،‬ﺑﺮای ﴍطﺑﻨﺪﻫﺎ ﮐﺘﮏ ﻣﯽﺧﻮردم‪ .‬ﮐﻠﯿﻪ ﺑﺮاﯾﻢ ﺑﺎﻗﯽ منﺎﻧﺪه ﺑﻮد‪،‬‬ ‫دو ﻣﺎه متﺎم ﺗﺐ داﺷﺘﻢ‪ .‬ارﺗﺶ ﻣﺴﺘﻘﻞ در ﮐﺮﻣﺎﻧﺸﺎه اﻋﻼم وﺟﻮد ﮐﺮده ﺑﻮد و ﺑﻨﺎﺑﺮاﯾﻦ ﮐﻤﮏﻫﺎی‬ ‫ﭘﺰﺷﮑﯽ دوﻟﺘﯽ ﺑﻪ ﺷﻬﺮ منﯽرﺳﯿﺪ‪ .‬ﺑﯽﭘﻮل در ﺑﺎزرﮔﺎن و در ﮐﺮدﺳﺘﺎن ﺑﻮدهام‪ ،‬در ﺑﺎراﻧﺪازﻫﺎی‬ ‫ﻋﻔﻦ آﺳﺘﺎرا ﺑﻮدهام‪ .‬ﺷﺎﻧﺰده ﺳﺎﻋﺖ ﮐﺎر ﻣﺪاوم در ازای درﻣﺎن ﻣﺠﺎﻧﯽ‪ ،‬ﻣﯿﺎن ﻫﯿﻮﻻﻫﺎی اوﮐﺮاﯾﻨﯽ‬ ‫ﺟﻬﯿﺪه‪ ،‬ﺑﯿﻦ ﺑﭽﻪﻫﺎی منﮏﺳﻮز ﺷﺪه‪ ،‬وﺳﻂ ﺑﺎزارﻫﺎی از ﭘﯿﺶآﻣﺎدهی ﺣﻠﺒﯽ‪ ،‬زﯾﺮ آﺳامن ﻣﺼﻨﻮﻋﯽ ﺑﺎ‬ ‫ﺷﺒﯿﻪﺳﺎز ده ﻫﺰار ﻧﺴﺨﻪایِ آب و ﻫﻮا‪ ،‬ﺳﻪ ﺳﺎل متﺎم‪ ،‬و ﺳﺎل آﺧﺮ را ﺑﻪ ﯾﺎد منﯽآورم ﺑﺲ ﮐﻪ ﻣﺘﺼﻞ‬ ‫»ﺑﺎﻻ« ﺑﻮدم‪ .‬در ازای ﭘﻮل ﺳﯿﺎه ﺟامﻋﺖ ﭘﻨﺎﻫﺠﻮ را ﺳﻮار ﮐﺸﺘﯽ ﺑﺎری ﻣﯽﮐﺮدﯾﻢ ﺑﻪ ﻣﻘﺼﺪ اﻧﺰﻟﯽ‪،‬‬ ‫ﺑﺮای دورهﻫﺎی آزﻣﺎﯾﺶ داروﯾﯽ ارﺗﺶ و ﺑﺮای آزﻣﺎﯾﺶﻫﺎی ﴍاﯾﻂ ﺑﯽوزﻧﯽ‪ ،‬از ﯾﮏ ﮐﻠﯿﻨﯿﮏ ﭼﯿﻨﯽ‬ ‫ﭘﻮل ﻣﯽﮔﺮﻓﺘﯿﻢ و ﺗﺼﺎدفﻫﺎی درﯾﺎﯾﯽ را ﺷﺒﯿﻪﺳﺎزی ﻣﯽﮐﺮدﯾﻢ و زﺧﻤﯽ ﻣﯽﺷﺪﯾﻢ‪ .‬ﺑﯽوﻗﻔﻪ ﻣﻼﻧﯿﻦ‬ ‫ﻣﴫف ﻣﯽﮐﺮدم و ﺗﮑﻪﺗﮑﻪی ﮐﺒﺪم »ﺗﻘﻮﯾﺖ« ﺷﺪه ﺑﻮد ﺗﺎ ﻫﻨﻮز ﭘﺬﯾﺮش داﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺑﻌﺪ در اﻧﺰﻟﯽ‬ ‫اوﺿﺎع ﺑﻬﱰ ﺑﻮد‪ .‬ﺑﺮای ﺟﺎﺑﻪﺟﺎﮐﻨﻨﺪهﻫﺎی ﮔﻨﺪه ﮐﺎر ﻣﯽﮐﺮدم‪ .‬آدمﭘﺮان ﺧﺮدهﭘﺎ ﺑﻮدم و ﭘﻮل ﺧﻮب‬ ‫ﺑﻮد؛ اﻣﺎ ﺑﻌﺪ ﻧﻘﺐﻫﺎ را ﺑﺴﺘﻨﺪ‪ .‬ﻫﻤﻪی ﺗﻮﻧﻞﻫﺎ را‪ ،‬ﻫﻤﻪی ﻣﺮزﻫﺎی آﺑﯽ را‪ ،‬ﻫﻤﻪی ﻓﺮودﮔﺎهﻫﺎی‬ ‫ﻣﱰوک ﻣﺎﻧﺪه را‪ .‬در ﺧﺎﻧﻪای زﻧﺪﮔﯽ ﻣﯽﮐﺮدم ﮐﻪ ﴍﮐﺖ ﺳﺎزﻧﺪه ﺗﻮﯾﺶ‪ ،‬در راﺳﺘﺎی ﻃﺒﯿﻌﯽﺳﺎزی‬ ‫اﻟﺰاﻣﯽ ﻣﮑﺎنﻫﺎی ﻣﺴﮑﻮﻧﯽ‪ ،‬ﻻﻧﻪی زﻧﺒﻮر ﮐﺎر ﮔﺬاﺷﺘﻪ ﺑﻮد‪ .‬دوﺳﺖ ﻋﺰﯾﺰ از زﻧﺒﻮر وﺣﺸﺖ دارم و‬ ‫ﻫﻤﻪی ﭘﻮﻟﯽ را ﮐﻪ داﺷﺘﻢ ﺑﺎ وﺳﻮاس ﺧﺮج ﮐﺮدم و ﺑﯽﺧﺎﻧﻪ ﺷﺪم‪ .‬ﮔﺮﺳﻨﻪ ﺑﻮدم و ﺑﺎز ﺑﯿامر‪ .‬ﺣﺘﻢ‬ ‫دارم ﮐﻪ ﺣﺮﻓﻢ را ﻣﯽﻓﻬﻤﯿﺪ‪.‬‬ ‫اﯾﻦﻃﻮر ﺑﻮد ﮐﻪ ﺑﻪ رﺳﺘﻪی اﻣﻨﯿﺘﯽ ﭘﯿﻮﺳﺘﻢ؛ اﻣﺎ ﺑﺪﺑﺨﺘﺎﻧﻪ اﯾﻦ ﻫﻤﻪی ﻣﺎﺟﺮا ﻧﯿﺴﺖ آﻗﺎی ﻧﺎزﻧﯿﻦ‪.‬‬ ‫آنﭼﻪ ﮐﻪ ﺣﺎﻻ در ﴍﻓﻢ ﺗﺎ ﺑﻬﺶ اﻋﱰاف ﮐﻨﻢ ﻣﺎﺟﺮاﯾﯽ اﺳﺖ ﮐﻪ زﻧﺪﮔﯽام را ﺗﻐﯿﯿﺮ داده‪ .‬ﭼﯿﺰی اﺳﺖ‬ ‫ﮐﻪ از ﺷام ﭘﻨﻬﺎن ﻧﮕﻪاش داﺷﺘﻪام؛ اﻣﺎ ﺣﺎﻻ ﻧﻮﺑﺖ آن رﺳﯿﺪه ﺗﺎ رازم را ﺑﺎﻫﺎﺗﺎن در ﻣﯿﺎن ﺑﮕﺬارم‪.‬‬ ‫در آﺧﺮﯾﻦ ﺗﺎﺑﺴﺘﺎﻧﯽ ﮐﻪ ﺗﻮ ﺧﺎﻧﻪی زﻧﺒﻮردارﻫﺎ ﺳﺎﮐﻦ ﺑﻮدم‪ ،‬و اﯾﻦ ﺧﺎﻧﻪای ﺑﻮد ﺑﺎ ﻣﺤﻮﻃﻪی ﭼﻤﻦ‬ ‫ﻗﺪﯾﻤﯽای روی ﺑﺎماش و راهﭘﻠﻪﻫﺎﯾﯽ ﮐﻪ در ﻋﯿﻦ ﻏﺎﻓﻠﮕﯿﺮی ﺑﻮی ﻏﺬا منﯽدادﻧﺪ و ﯾﻌﻨﯽ ﮐﻪ ﺧﺎﻧﻪی‬ ‫ﺧﻮﺑﯽ ﺑﻮد‪ ،‬در آﺧﺮﯾﻦ ﺗﺎﺑﺴﺘﺎﻧﻢ آنﺟﺎ ﺑﺎ ﻣﻮﻧﺎ ﻣﯽﺧﻮاﺑﯿﺪم‪ .‬ﺑﺎر اول ﮐﻪ دﯾﺪﻣﺶ ﭘﻨﺞﻣﺎﻫﻪ ﺣﺎﻣﻠﻪ‬ ‫ﺑﻮد و ﺑﻪ ]…[ ﺳﮓ ﺑﻮد و ﻣﺤﺘﻮﯾﺎت ﺗﻨﺶ‪ ،‬آن آزﻣﺎﯾﺸﮕﺎه ﺑﺪﺑﻮی ﺑﯿﻮﺷﯿﻤﯽ ﮐﻪ زﯾﺮ ﭘﻮﺳﺘﺶ داﺷﺖ‪،‬‬ ‫‪61‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﻛﻤﺎﻧﭽﻪ ﺭﻭﻯ ﭘﺎﻯ ﻣﺮﺩ ﺳﻴﺦ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺳﻼﺡ ﺁﻥ ﭘﺎﻳﻴﻦ ﺗﻤﺎﺷﺎﺵ ﻣﻰﻛﺮﺩ‪ ،‬ﺑﻪ ﭘﻬﻠﻮ ﺍﻓﺘﺎﺩﻩ‪ .‬ﻭ ﺳﺎﺯ‬ ‫ﺍﻓﻠﻴﺞ‪ ،‬ﻫﻤﺴﺮ ﭘﻴﺮﺗﺮ ﺟﻨﮕﺠﻮ‪ ،‬ﭘﺮ ﺍﺯ ﺳﻴﺎﺗﻴﻚ‪ ،‬ﻧﺎﺯﺍ ﺑﺎ ﺩﻧﺪﺍﻥﻫﺎﻳﻰ ﻛﻪ ﺍﺯ ﻫﻢ ﻓﺎﺻﻠﻪ ﺩﺍﺷﺘﻨﺪ‪ .‬ﻣﺮﺩ ﺑﻨﺎ‬ ‫ﻛﺮﺩ ﺑﻪ ﺁﺭﺷﻪ ﻛﺸﻴﺪﻥ‪ .‬ﻣﻮﻧﺎ ﺑﺎ ﻃﻌﻢ ﮔﻼﺑﻰ ﺭﻭ ﺯﺑﺎﻧﺶ‪ ،‬ﻧﺮﻣﻰﺍﺵ ﺗﻮ ﺩﻫﺎﻧﺶ‪ ،‬ﺁﻥﺟﺎ ﺍﻳﺴﺘﺎﺩ ﻭ ﮔﻮﺵ‬ ‫ﻛﺮﺩ‪ .‬ﻳﺎﺭﻭ ﺁﺭﺍﻡ ﻣﻰﻧﻮﺍﺧﺖ‪ ،‬ﻧﺎﺷﻴﺎﻧﻪ‪ ،‬ﺑﺎ ﺍﺣﺘﻴﺎﻁ‪ ،‬ﺑﻴﺮﻭﻥ ﻣﻘﺎﻡ‪ ،‬ﮔﻮﺵﺧﺮﺍﺵ‪ ،‬ﻏﻤﻨﺎﻙ‪ .‬ﺩﺭﺍﺯ ﻣﺪﺗﻰ ﻣﻮﻧﺎ‬ ‫ﮔﻮﺵﺍﺵ ﺑﺎ ﺍﻭ ﺑﻮﺩ ﻭ ﺩﻫﺎﻧﺶ ﺑﻪ ﺍﺧﺘﻴﺎﺭ ﺧﻮﺩﺵ ﻧﺒﻮﺩ ﻭ ﺁﺏ ﺭﺍ ﺭﻭﻯ ﺗﻨﺶ ﺣﺲ ﻣﻰﻛﺮﺩ‪ .‬ﻳﺎﺭﻭ ﺑﻠﻨﺪ‬ ‫ﺷﺪ ﻛﻪ ﺁﻣﺎﺩﻩﻯ ﺭﻓﺘﻦ ﺑﺸﻮﺩ‪ .‬ﻣﻮﻧﺎ ﻫﻤﺎﻥﺟﺎ ﻛﻪ ﺑﻮﺩ ﻧﺸﺴﺖ‪ .‬ﻣﺮﺩ ﺭﺍ ﺗﻤﺎﺷﺎ ﻛﺮﺩ ﻛﻪ ﺍﺯ ﻣﻴﺎﻥ ﻧﺨﺎﻟﻪﻫﺎ‬ ‫ﺗﺎﺑﻠﻮﻯ ﺳﻪﮔﻮﺵ ﻋﻼﻣﺖ ﺭﺍﻧﻨﺪﮔﻰﺍﻯ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪ‪ .‬ﺩﻭ ﺧﻂ ﻣﻮﺍﺯﻯ ﻛﻪ ﺑﻌﺪﺗﺮ ﻣﻰﺷﻜﺴﺘﻨﺪ ﻭ ﻋﻴﻦ‬ ‫ﺭﺍﻩ ﺑﺎﺭﻳﻚ ﻣﻰﺷﺪﻧﺪ‪ .‬ﺑﻌﺪ ﺗﻮ ﺳﺘﻮﻥ ﻓﻘﺮﺍﺗﺶ ﺩﺭﺩ ﻛﺸﻨﺪﻩﺍﻯ ﭘﻴﭽﻴﺪ ﻭ ﻣﻮﻧﺎ ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩ‪.‬‬ ‫ﺗﻮ ﻣﻄﺐ ﺑﻮﺩ‪ .‬ﺟﻠﻮﻳﺶ ﻛﻨﺴﺮﻭﻫﺎ ﻋﻴﻦ ﺗﻠﻔﺎﺕ ﺍﺯ ﻫﻢ ﺑﺎﺯ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﻛﻒﻫﺎ ﺗﻮ ﻭﺍﻥ ﺗﻨﻚ ﺷﺪﻩ ﺑﻮﺩ‬ ‫ﻭ ﺩﻛﺘﺮ ﻧﺸﺴﺘﻪ ﻛﻨﺎﺭﺵ‪ ،‬ﺩﺳﺖ ﭘﺸﺖ ﮔﺮﺩﻧﺶ ﺑﺮﺩﻩ ﺑﻮﺩ ﺗﺎ ﭼﺴﺒﻪ ﺭﺍ ﺍﺯ ﺳﺮﺵ ﺟﺪﺍ ﺑﻜﻨﺪ‪ .‬ﺗﻮ ﺻﻮﺭﺕ‬ ‫ﺩﺭﺩﺁﻟﻮﺩ ﻣﻮﻧﺎ ﻟﺒﺨﻨﺪ ﻣﻰﺯﺩ‪ .‬ﭼﺴﺐ ﺭﺍ ﻧﺎﮔﻬﺎﻥ ﺟﺪﺍ ﻛﺮﺩ ﻭ ﻣﻮﻧﺎ ﺑﺎﺯ ﻳﻚﻗﺪﺭﻯ ﺧﺠﺎﻟﺖ ﻛﺸﻴﺪ‪.‬‬ ‫»ﺧﻮﺏ ﺑﻮﺩ‪ .‬ﻫﺎ؟ ﭼﻰ ﺑﻬﺘﺮ ﺍﺯ ﻛﺸﺘﻦ ﻳﻪ ﻣﺎﺩﺭ ﺳﮓ ﺁﻟﻤﺎﻧﻰ‪ .‬ﻫﺎ؟ ﻭ ﻳﻪ ﺫﺭﻩ ﻣﻮﺳﻴﻘﻰ؟ ﺧﻴﻠﻰ ﺍﻳﻨﺎ‬ ‫ﻗﺪﻳﻤﻰﺍﻥ ﻋﻤﻮ ﺟﻮﻥ‪«.‬‬ ‫*‬

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‫آﻗﺎی ﺑﺴﯿﺎر ﻋﺰﯾﺰ‬ ‫ﻓﮑﺮ ﻣﯽﮐﻨﻢ دﯾﮕﺮ ﻫﺮﮔﺰ در ﻃﻮل ﻧﺎﻣﻪﻧﮕﺎریﻫﺎﯾامن ﻓﺮﺻﺘﯽ ﺑﻬﱰ از اﯾﻦ دﺳﺖ ﻧﺨﻮاﻫﺪ داد ﺗﺎ ﺑﻪ‬ ‫دو ﭼﯿﺰ اﻋﱰاف ﮐﻨﻢ‪ .‬ﻣﻄﺎﻟﺒﯽ ﻫﺴﺖ ﮐﻪ ﺑﺎﯾﺪ ﺑﺎﻫﺎﺗﺎن در ﻣﯿﺎن ﺑﮕﺬارم و ﺧﻮاﻫﺶ ﮐﻨﻢ در ﻧﻈﺮ‬ ‫داﺷﺘﻪ ﺑﺎﺷﯿﺪ ﮐﻪ ﺑﺮاﯾﻢ اﯾﻦ ﺗﻦ دادن ﺑﻪ اﻋﱰاف‪ ،‬ﺑﺴﯿﺎر دردﻧﺎک اﺳﺖ‪ .‬دو ﮔﻨﺎﻫﯽ اﺳﺖ ﮐﻪ ﻣﺮﺗﮑﺐ‬ ‫ﺷﺪهام و اﻣﺎ اﻃﻤﯿﻨﺎن دارم آﻗﺎی داﻧﺎﯾﯽ ﮐﻪ ﺷام ﺑﺎﺷﯿﺪ‪ ،‬در اﻣﺮ داوریﺷﺎن ﻗﻮهی اﻏامﺿﺘﺎن را ﺑﻪ‬ ‫ﮐﺎر ﺧﻮاﻫﯿﺪ ﮔﺮﻓﺖ‪.‬‬ ‫ﻗﻀﺎﯾﺎ از اﯾﻦ ﻗﺮارﻧﺪ ﮐﻪ در روزﮔﺎر ﺟﻮاﻧﯽام‪ ،‬دوراﻧﯽ ﮐﻪ ﻣﺼﺎدف اﺳﺖ ﺑﺎ ﺣﻮادث اﯾﻦ داﺳﺘﺎن‪،‬‬ ‫ﻣﺪﺗﯽ در رﺳﺘﻪی اﻣﻨﯿﺘﯽ‪/‬ﭘﯿﺸﻪوریِ ﻧﯿﺮوی ﺷﻬﺮی ﺧﺪﻣﺖ ﮐﺮدهام‪ .‬در ﺷﻬﺮ ﺟﺪﯾﺪ ﺗﺎزه ﺳﺎﮐﻦ ﺷﺪه‬ ‫ﺑﻮدم و ﺑﺴﯿﺎر ﮔﺮﺳﻨﻪ ﺑﻮدم‪ ،‬ﺑﺎ ﺷﮑﻢ ﭼﺴﺒﯿﺪه ﺑﻪ ﭘﺸﺖ‪ ،‬ﻋﯿﻦ ﺳﮓ‪ ،‬ﻣﺪام ﺗﻮ ﺧﯿﺎﺑﺎن‪ .‬از ﺑﯿﮑﺎرﮔﯽ‬ ‫ﺑﻪ ﺣﺎل ﺟﻨﻮن اﻓﺘﺎده‪ ،‬ﻋﺎرف ﺧﯿﺎﺑﺎﻧﯽ ﺷﺪه ﺑﻮدم؛ ﻣﻮﺗﻮر ﺳﯿﮑﻠﺖ ﻟﮑﻨﺘﻪای داﺷﺘﻢ ﮐﻪ دﺳﺘﻢ ﺑﺮای‬ ‫ﻓﺮﻣﺎﻧﺶ ﻣﯽﺧﺎرﯾﺪ؛ اﻣﺎ ﺑﻪ ﻣﻔﺖ ﻓﺮوﺧﺘﻤﺶ ﭼﻮن در ﺗﻮﻧﻞﻫﺎی ﺣﻤﻞ و ﻧﻘﻞ ﺳﻄﺤﯽ ﮐﻪ ﻣﯽراﻧﺪم‬ ‫ﺑﻪ ﻫﻮاﯾﯽ ﮐﻪ ﺗﻮ ﮔﻮﺷﻢ ﻣﯽﭘﯿﭽﯿﺪ ﮔﻮش ﻣﯽدادم و ﺑﻪ ﻧﻈﺮم ﻣﯽآﻣﺪ ﺻﺪای ﺳﺎزﻧﺪهﻫﺎی ﻫﻤﭽﻮ‬ ‫ﺳﺎزهﻫﺎﯾﯽ را‪ ،‬اﯾﻦ راهﻫﺎی ﻟﺠﺴﺘﯿﮑﯽِ ﭘﯿﺶ از اﺳﺘﻘﻼل را‪ ،‬ﺻﺪای ﻣﺘﺨﺼﺼﯿﻦ ارﺗﺸﯽ ﺑﺘﻮن را‪،‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﭘﻴﺶﻛﺶ ﻣﻰﻛﺮﺩ ﻭ ﻧﺎﭘﺪﻳﺪ ﻣﻰﺷﺪ ﻭ ﺟﺎﻳﺶ ﺭﺍ ﺣﺮﻭﻑ ﺳﺮﺥ‪ ،‬ﺑﺮﺍﻓﺮﻭﺧﺘﻪ‪ ،‬ﻣﻬﺮﺑﺎﻥ ُﻛﺪﺍﻙ ﻣﻰﮔﺮﻓﺖ‪.‬‬ ‫ﻏﺎﻓﻠﮕﻴﺮﻯ ﺩﻳﮕﺮ ﺑﻪ ﺳﺮﺑﺎﺯﻩ ﻣﺮﺑﻮﻁ ﺑﻮﺩ‪ .‬ﺳﺮﺑﺎﺯ ﺍﺯ ﺳﺘﻮﻥ ﺁﺗﺶ ﺟﻠﻮﻯ ﭘﺎﻯ ﻣﻮﻧﺎ ﭘﺮﺗﺎﺏ ﺷﺪ‪ .‬ﻣﺘﻼﺷﻰ‬ ‫ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻳﻚ ﭘﺎ‪ ،‬ﺧﻢﺷﺪﻩ ﺍﺯ ﺯﺍﻧﻮ‪ ،‬ﻗﻄﻊﺷﺪﻩ ﺍﺯ ﻟﮕﻦ‪ ،‬ﺭﻭﻯ ﺩﻳﮕﺮﻯ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﻧﻮﺭ ﺳﺮﺥ ﺭﻭﻯ‬ ‫ﻳﻮﻧﻴﻔﺮﻡ ﺑﺮﺍﻕ ﻭ ﺳﻴﺎﻫﺶ ﻣﻰﺭﻗﺼﻴﺪ‪ .‬ﺍﻧﮕﺎﺭ ﺟﺎﻳﻰ ﺭﻭﻯ ﺷﻦ‪ ،‬ﺩﺭ ﺁﻓﺘﺎﺏ‪ ،‬ﺑﻰﺩﻏﺪﻏﻪﺍﻯ ﺩﺍﺭﺯ ﻛﺸﻴﺪﻩ ﺑﻪ‬ ‫ﺧﻮﺍﺏ ﺭﻓﺘﻪ ﺑﻮﺩ‪ .‬ﻻﻯ ﺑﺎﻓﺖ ﻛﺮﺑﻨﻰ ﺑﺎﻻﭘﻮﺷﺶ ﮔﻮﺷﺖ ﻣﻰﺳﻮﺧﺖ ﻭ ﺍﻳﻤﭙﻠﻨﺖﻫﺎﻯ ﺳﻄﺤﻰﺍﺵ ﺟﺮﻗﻪ‬ ‫ﻣﻰﺯﺩﻧﺪ ﻭ ﺷﻌﻠﻪﻫﺎﻯ ﻛﻮﭼﻚ‪ ،‬ﻋﻴﻦ ﺭﻭﺷﻨﺎﻳﻰ ﺷﻤﻊ ﺍﺯ ﺗﻨﺶ ﺍﻳﻦﺟﺎ ﻭ ﺁﻥﺟﺎ ﺯﺑﺎﻧﻪ ﻣﻰﻛﺸﻴﺪ‪ .‬ﻳﺎﺭﻭ‬ ‫ﺻﺤﻨﻪﻯ ﺁﺗﺶﺑﺎﺯﻯ ﺣﺴﺎﺑﻰﺍﻯ ﺑﻮﺩ‪.‬‬ ‫ﻣﻮﻧﺎ ﻣﻰﺷﻨﻴﺪ ﻛﻪ ﺳﮓﻫﺎ ﺩﻭﺭﺗﺮ ﺯﻭﺯﻩ ﻣﻰﻛﺸﻨﺪ‪ .‬ﺁﻫﺴﺘﻪ ﺭﻓﺖ ﺑﻪ ﻃﺮﻑ ﺳﺮﺑﺎﺯ‪ .‬ﮔﺮﻣﺎﻳﻰ ﻛﻪ ﺍﺯ ﺁﺗﺶ‬ ‫ﻣﺎﺷﻴﻦ ﺯﺭﻫﻰ ﻭ ﺍﺯ ﺯﺧﻢﻫﺎﻯ ﺳﺮﺑﺎﺯ ﺑﻪ ﺍﻭ ﻣﻰﺭﺳﻴﺪ ﺁﺭﺍﻣﺶ ﻣﻰﻛﺮﺩ‪ .‬ﺑﺎﻻﻯ ﺳﺮﺵ ﺭﺳﻴﺪ‪ .‬ﻧﻮﺭﻫﺎﻯ‬ ‫ﺳﺮﺥ ﺗﻮ ﻋﻴﻨﻚ ﺣﺎﻻ ﻣﺤﻮ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻛﻼﻩﺧﻮﺩ ﻳﻚﺳﺮﻩ ﺳﺎﻟﻢ ﺑﻮﺩ‪ .‬ﺧﻮﺍﺳﺖ ﺑﺮﻭﺩ‪ .‬ﺁژﻳﺮ ﺣﻤﻠﻪﻯ‬ ‫ﻫﻮﺍﻳﻰ ﺧﻴﻠﻰ ﺩﻭﺭﺗﺮ ﺍﺯ ﺍﻳﻦﺟﺎ ﺑﻠﻨﺪ ﺷﺪ‪ .‬ﺻﺪ ﻣﺘﺮ ﺩﻭﺭﺗﺮ ﻣﺮﺩﻯ ﺍﺯ ﺩﺭﮔﺎﻩ ﺑﻪ ﺟﺎﻯ ﻣ���ﻧﺪﻩﻯ ﺳﺎﺧﺘﻤﺎﻧﻰ‬ ‫ﺑﻴﺮﻭﻥ ﺁﻣﺪ ﻛﻪ ﮔﻴﺲ ﺑﻠﻨﺪ ﺑﻰﺍﻧﺘﻬﺎﻳﻰ ﺩﺍﺷﺖ ﺑﻪ ﺭﻧﮓ ﺧﺮﻣﺎ ﻭ ﻛﺎﭘﺸﻦ ﻛﻮﺗﺎﻩ ﺣﺠﻢﺩﻫﻨﺪﻩﺍﻯ ﭘﻮﺷﻴﺪﻩ‬ ‫ﺑﻮﺩ ﻭ ﺷﻠﻮﺍﺭ ﺧﺎﻝﻣﺨﺎﻟﻰ ﻧﻴﺮﻭﻯ ﭘﻴﺎﺩﻩ ﺷﻬﺮﻯ ﺭﺍ ﺑﻪ ﭘﺎ ﺩﺍﺷﺖ‪ .‬ﺧﺎﻙﺁﻟﻮﺩﻩ ﺑﻮﺩ ﻭ ﺍﺭﺗﺸﻰ ﻧﺒﻮﺩ ﻭ ﺍﺯ‬ ‫ﻻﻯ ﺩﻧﺪﻩﻫﺎﻯ ﺯﻳﭗ ﻛﺎﭘﺸﻨﺶ ﭘﻴﺮﺍﻫﻦ ﺳﻔﻴﺪ ﺑﻰﻳﻘﻪﺍﻯ ﭘﻴﺪﺍ ﺑﻮﺩ‪ .‬ﻣﻮﻧﺎ ﺭﺍ ﺩﻭﺑﺎﺭﻩ ﺗﺮﺱ ﺑﺮﺩﺍﺷﺘﻪ‬ ‫ﺑﻮﺩ‪ .‬ﺗﻮ ﻳﻜﻰ ﺍﺯ ﺩﺳﺖﻫﺎﻯ ﻣﺮﺩ ﺍﺳﻠﺤﻪﻯ ﺧﻮﺩﻛﺎﺭ ﺿﺪﺯﺭﻫﻰﺍﻯ ﺑﻮﺩ ﺑﻪ ﺭﻧﮓ ﺯﻳﺘﻮﻥ ﻛﻪ ﺑﻰﺧﻴﺎﻝ ﺍﺯ‬ ‫ﭘﻨﺠﻪﺍﺵ ﺁﻭﻳﺨﺘﻪ ﺑﻮﺩ ﻭ ﺗﻜﺎﻥ ﻣﻰﺧﻮﺭﺩ‪ .‬ﺗﻬﺪﻳﺪ ﻛﻨﻨﺪﻩ‪ ،‬ﺗﺒﻬﻜﺎﺭ‪ .‬ﺗﻮﻯ ﺩﺳﺖ ﺩﻳﮕﺮ‪ ،‬ﻣﺮﺩ ﺟﻌﺒﻪﻯ ﺳﻴﺎﻩ‬ ‫ﻧﻴﻢﻣﺘﺮﻯﺍﻯ ﺩﺍﺷﺖ‪ .‬ﭼﺸﻢ ﺗﻮ ﭼﺸﻢ ﻣﻮﻧﺎ ﺍﻧﺪﺍﺧﺖ‪ .‬ﻣﻮﻧﺎ ﻣﺰﻩﻯ ﻣﺎﻫﻰ ﺩﺭ ﺩﻫﺎﻧﺶ ﺭﺍ ﺑﺎﺯ ﺷﻨﺎﺧﺖ‪ .‬ﺑﻪ‬ ‫ﺯﺑﺎﻥ ﻏﺮﻳﺒﻪﺍﻯ ﻛﻪ ﻣﻮﻧﺎ ﻣﻰﻓﻬﻤﻴﺪﺵ ﭘﺮﺳﻴﺪ ﻛﻪ ﻛﺠﺎ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﺪ‪ .‬ﺗﻮ ﻟﻪ ﻛﻮﻯ ﺩﻩژﻳﺖ؟ ﻣﻮﻧﺎ ﺑﻪ‬ ‫ﺭﻭﺑﻪﺭﻭ‪ ،‬ﺑﻪ ﻋﻘﺐﺳﺮ ﻣﺮﺩ ﺍﺷﺎﺭﻩ ﻛﺮﺩ‪ ،‬ﺟﺎ ﻛﻪ ﺑﺎﻗﻰﻣﺎﻧﺪﻩﻯ ﮔﺬﺭ ﺗﻨﮕﻰ ﻫﻨﻮﺯ ﭘﻴﺪﺍ ﺑﻮﺩ‪ .‬ﺧﺎﻧﻪﻫﺎﻯ ﺩﻭ‬ ‫ﻃﺒﻘﻪ‪ ،‬ﻧﻴﻢﺯﻧﺪﻩ‪ ،‬ﻗﻬﻮﻩﺍﻯ‪ ،‬ﺑﺎﺩﮔﻴﺮﺍﻥ‪ .‬ﻟﺒﺎﺱﻫﺎ‪ ،‬ﺭﻧﮕﻰ ﻭ ﺍﺯ ﺷﻜﻞ ﺍﻓﺘﺎﺩﻩ‪ ،‬ﻛﻪ ﺍﺯ ﺍﻳﻮﺍﻥﻫﺎﺷﺎﻥ ﺁﻭﻳﺨﺘﻪ‬ ‫ﺑﻮﺩ‪ ،‬ﺣﺎﻻ ﻋﻴﻦ ﭘﻮﻟﻚ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩﻧﺪ ﺍﻳﻦﺟﺎ ﻭ ﺁﻥﺟﺎ ﺩﺍﺧﻞ ﺁﻭﺍﺭ‪ .‬ﻳﺎﺭﻭ ﺍﺯ ﻣﻮﻧﺎ ﺭﻭ ﺑﺮﮔﺮﺩﺍﻧﺪ‪ .‬ﺭﻓﺖ ﻭ ﺍﺯ‬ ‫ﺩﺭﮔﺎﻩ ﺧﺎﻧﻪﺍﻯ ﺑﻪ ﺗﻮ ﺳﺮﻙ ﻛﺸﻴﺪ‪ .‬ﻣﻮﻧﺎ ﺻﺪﺍﻳﺶ ﺭﺍ ﻣﻰﺷﻨﻴﺪ ﻛﻪ ﻣﺆﺩﺑﺎﻧﻪ ﺻﻨﺪﻟﻰ ﻃﻠﺐ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻛﻤﻰ ﻣﻨﺘﻈﺮ ﺷﺪ ﻭ ﺑﻌﺪ ﺑﺎ ﺻﻨﺪﻟﻰ ﻃﺮﻑ ﻣﻮﻧﺎ ﺁﻣﺪ‪ .‬ﻧﺰﺩﻳﻚ ﺁﻟﻤﺎﻧﻰ ﺳﻮﺧﺘﻪ ﻧﺸﺴﺖ‪ .‬ﺣﺎﻻ ﺳﺮﺑﺎﺯﻩ ﺗﻤﺎﻡ‬ ‫ﺁﺏﻫﺎ ﺭﺍ ﺑﺨﺎﺭ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﺩﺍﺷﺖ ﺧﺸﻚ ﻣﻰﺷﺪ‪ .‬ﺳﺎﻳﻪﻯ ﺟﻨﺒﺎﻧﻰ ﺍﺯ ﺳﺮﻳﻦ ﻣﺎﺷﻴﻦ ﺯﺭﻫﻰ ﺭﻭ ﻻﺷﻪﻫﻪ‬ ‫ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﻣﺮﺩﻙ ﺩﻳﮕﺮ‪ ،‬ﺳﻼﺣﺶ ﺭﺍ ﺍﺯ ﺷﺎﻧﻪ ﺁﺯﺍﺩ ﻛﺮﺩ ﻭ ﺯﻣﻴﻦ ﮔﺬﺍﺷﺖ‪ ،‬ﻛﻨﺎﺭ ﭘﺎﻳﺶ‪ ،‬ﺭﻭﻯ ﺁﻭﺍﺭ‪ .‬ﺍﺯ‬ ‫ﺟﻌﺒﻪﺍﻯ ﻛﻪ ﺩﺍﺷﺖ‪ ،‬ﻧﺨﺴﺖ ﺁﺭﺷﻪﺍﻯ ﺑﻴﺮﻭﻥ ﺁﻭﺭﺩ‪ ،‬ﺑﻌﺪ ﺳﺎﺯ ﺷﻜﻼﺗﻰﺭﻧﮕﻰ‪ ،‬ﺩﻟﺒﺮ‪ ،‬ﻋﻴﻦ ﺑﺴﺘﻪﻫﺎﻯ‬ ‫ﺗﻮﻟﻴﺪ ﺳﻮﺋﻴﺲ‪ .‬ﺳﻴﺦ ﺍﻧﺘﻬﺎﻯ ﺳﺎﺯ ﺭﺍ ﺭﻭﻯ ﺭﺍﻧﺶ ﮔﺬﺍﺷﺖ ﻭ ﺑﻪ ﻣﺮﺩ ﻣﺮﺩﻩ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﻣﻮﻧﺎ ﻫﻢ ﺁﻟﻤﺎﻧﻴﻪ ﺭﺍ‬ ‫ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﻛﻤﺮﺑﻨﺪﻯ ﺩﺍﺷﺖ ﺑﺎ ﺳﮕﻚ ﻧﻘﺮﻩﺍﻯ‪ .‬ﻫﻨﻮﺯ ﻣﻰﺷﺪ ﻻﻯ ﭼﺮﻭﻛﻴﺪﮔﻰﻫﺎﻯ ﺑﻰﺷﻤﺎﺭ ﺳﻮﺧﺘﮕﻰ‬ ‫ﻧﻮﺷﺘﻪﻯ ﺭﻭﻯ ﺳﮕﻚ ﺭﺍ ﺧﻮﺍﻧﺪ‪.Gott Mit Uns .‬‬ ‫‪59‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﺭﺍ ﻣﻰﻣﺎﻟﻴﺪﻧﺪ ﺑﻪ ﭘﺎﻫﺎﻳﺶ ﻭ ﺍﻭ ﮔﺮﻣﺎﻳﺸﺎﻥ ﺭﺍ ﺣﺲ ﻣﻰﻛﺮﺩ ﻭ ﺳﻔﺘﻰ ﻧﺎﻣﻨﺘﻈﺮ ﮔﻮﺷﺘﺸﺎﻥ ﺣﺎﻟﺶ ﺭﺍ ﺑﻪ‬ ‫ﻫﻢ ﻣﻰﺯﺩ‪ .‬ﺍﺯ ﻭﻳﺮﺍﻧﻪﻯ ﺳﺎﺧﺘﻤﺎﻥﻫﺎ ﺑﻮﻯ ﺳﻮﺧﺘﻦ ﭘﻼﺳﺘﻴﻚ ﻭ ﮔﻮﺷﺖ ﻣﻰﺁﻣﺪ ﻭ ﺳﺘﻮﻥﻫﺎﻯ ﻓﻠﺰﻯ‪،‬‬ ‫ﺁﺏﺷﺪﻩ‪ ،‬ﻋﻴﻦ ﺍﻧﺪﺍﻡ ﺣﺸﺮﻩ ﻫﻤﻪﺟﺎ ﺑﻴﺮﻭﻥ ﺯﺩﻩ ﺑﻮﺩ‪ .‬ﺩﺭ ﺩﻭﺭ ﺩﺳﺖﻫﺎ ﺩﺭ ﻣﺮﺯ ﻛﻮﻩﭘﺎﻳﻪﻫﺎ ﻧﺌﻮﻥﻫﺎﻯ‬ ‫ﻫﺸﺪﺍﺭﺩﻫﻨﺪﻩ ﺭﺍ ﺩﺭ ﺑﺎﻗﻰﻣﺎﻧﺪﻩﻯ ﻧﻮﺭ ﺭﻭﺯ ﻣﻰﺩﻳﺪ‪ ،‬ﺑﺎﻻﻯ ﺯﻣﻴﻦﻫﺎﻯ ﻣﺘﺮﻭﻙ ﻣﻴﻦ‪ ،‬ﺑﺎﻻﻯ ﻭﻳﺮﺍﻧﻪﻫﺎﻯ‬ ‫ﻣﺸﻌﺸﻊ‪ .‬ﺍﺯ ﺧﻼﻝ ﺳﺘﻮﻥﻫﺎﻯ ﺩﻭﺩ‪ ،‬ﺑﺎﻗﻰﻣﺎﻧﺪﻩﻯ ﻣﻮﺝ ﺑﺮﺩﺍﺷﺘﻪﻯ ﺁﺯﺍﺩﺭﺍﻩﺍﻯ‪ ،‬ﺯﭘﺮﺗﻰﺍﻯ‪ ،‬ﺧﺎﻛﺴﺘﺮﻯ‪،‬‬ ‫ﺧﺮﺱ ﻭﻛﻴﻮﻡ ﺷﺪﻩ‪ ،‬ﭘﻴﺪﺍ ﺍﺳﺖ‪ .‬ﺍﺷﺒﺎﺡ ﻣﺎﺷﻴﻦﻫﺎ ﻭ ﺗﺎﻛﺴﻰﺭﺍﻥﻫﺎ ﻛﻪ ﺭﻭﻳﺶ ﻣﻨﺘﻈﺮﻧﺪ‪ ،‬ﺻﺪﺍﻯ ﺧﻔﻪﻯ‬ ‫ِ‬ ‫ﺗﻮﭘﺨﺎﻧﻪ ﺩﺭ ﺩﻭﺭﺩﺳﺖ‪ ،‬ﺻﺪﺍﻯ ﺍﻭﺭﺍﺩﺧﻮﺍﻥ ﺩﺳﺘﻪﻯ ﻣﺴﻠﺢ ﻋﺰﺍﺩﺍﺭﺍﻥ ﻛﻪ ﺁﻭﺍﺭﻫﺎ ﺭﺍ ﻣﻰﺟﻮﺭﻧﺪ‪ ،‬ﺻﺪﺍﻯ‬ ‫ﻫﺎﻭﺭﻛﺮﺍﻓﺖ ﺍﺭﺗﺶ ﺩﺭ ﺁﺳﻤﺎﻥ ﻛﻪ ﺳﺮﺑﺎﺯﻫﺎﻳﺶ ﺭﺍ ﺻﺪﺍ ﻣﻰﺯﻧﺪ‪ ،‬ﻫﻤﻪﺷﺎﻥ ﺭﺍ ﺻﺪﺍﻯ ﻏﮋﻏﮋ ﭼﺮﺥﻫﺎﻯ‬ ‫ﻣﺎﺷﻴﻦ ﺯﺭﻫﻰﺍﻯ ﺑﻠﻌﻴﺪ ﻛﻪ ﺑﻪ ﺳﻤﺘﺎﺵ ﻣﻰﺁﻣﺪ؛ ﻛﺶﺩﺍﺭ‪ ،‬ﺭﻭﻏﻨﻰ‪ .‬ﻣﻮﻧﺎ ﻣﻰﺩﺍﻧﺴﺖ ﻛﻪ ﻳﻚ ﻭﺭﻧﺮ‬ ‫ﻓﻮﻥ ﺑﺮﺍﻭﻥ ﻣﺪﻝ ‪ 387‬ﺍﺳﺖ‪ ،‬ﻧﺎﻫﻮﺷﻴﺎﺭ‪ ،‬ﻧﻴﻤﻪ ﻣﺴﺖ‪ ،‬ﺷﻜﻢﮔﻨﺪﻩ‪،‬؛ ﺍﻣﺎ ﺩﺳﺖﻫﺎﻳﺶ ﺗﺎ ﺁﺭﻧﺞ ﺑﺎ ﮔﺮﻳﺲ‬ ‫ﺭﻧﮓﺷﺪﻩ‪ ،‬ﻧﻤﻮﻧﻪﻯ ﻳﻚ ﻧﻔﺮ ﺍﻫﻞ ﺑﺎﻭﺍﺭﻳﺎ‪ .‬ﻣﺎﺷﻴﻨﻪ ﺩﺍﺷﺖ ﭘﻴﺶ ﻣﻰﺁﻣﺪ‪ ،‬ﺑﺎ ﺯﻭﺍﺋﺪﺵ‪ ،‬ﻟﻮﻟﻪﻯ ﺑﻠﻨﺪﺵ ﻛﻪ‬ ‫ﺭﻭ ﺑﻪ ﻛﺎﺑﻞﻫﺎﻯ ﻓﺸﺎﺭ ﻗﻮﻯ ﺍﺷﺎﺭﻩ ﻣﻰﻛﺮﺩ‪ ،‬ﺑﺎ ﺁﻧﺘﻦ ﺑﻠﻨﺪ ﺭﺍﺩﻳﻮﻳﻰﺍﺵ ﻛﻪ ﺻﺪﺍﻯ ﺧﻔﺎﺵ ﺭﺍ ﻣﻰﺷﻨﻴﺪ‪.‬‬ ‫ﺑﺴﻴﺎﺭ ﺗﺮﺳﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺳﮓﻫﺎ ﺭﻭ ﺑﻪ ﻣﺎﺷﻴﻦ ﭘﺎﺭﺱ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﻣﻰﺧﻮﺍﺳﺖ ﻓﺮﺍﺭ ﻛﻨﺪ‪ .‬ﺁﺏ ﺭﻭﻯ ﺑﺪﻧﺶ‬ ‫ﺑﻮﺩ‪ .‬ﺍﺯ ﺩﺭﻳﭽﻪﺍﻯ ﺗﻮ ﺳﻘﻒ ﻛﻢ ﺍﺭﺗﻔﺎﻉ ﻣﺎﺷﻴﻦ‪ ،‬ﺗﻮ ﺣﺎﻝ ﺣﺮﻛﺖ‪ ،‬ﻣﺮﺩﻯ ﺗﺎ ﻛﻤﺮ ﺑﻴﺮﻭﻥ ﺁﻣﺪ‪ .‬ﺭﻭﻯ ﺳﺮﺵ‬ ‫ﻛﻼﻩﺧﻮﺩ ﻣﺸﻜﻰ ﺑﺮﺍﻗﻰ ﺑﻮﺩ ﻛﻪ ﺗﺎ ﺩﻫﺎﻥ ﺳﺮﺑﺎﺯ ﭘﺎﻳﻴﻦ ﻣﻰﺁﻣﺪ ﻭ ﺍﺯ ﭘﺸﺖ ﻋﻴﻦ ﺳﺮ ﺁﺏﺩﺯﺩﻙ ﺍﻣﺘﺪﺍﺩ‬ ‫ﻣﻰﻳﺎﻓﺖ‪ .‬ﺭﻭﻯ ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ ﻋﻴﻨﻚ ﻳﻚﺩﺳﺖ ﺗﻴﺮﻩﺍﻯ ﻋﻴﻦ ﻣﺎﻝ ﺟﺖﺳﻮﺍﺭﻫﺎ ﭘﻮﺷﺎﻧﺪﻩ ﺑﻮﺩ ﻭ ﺍﺯ‬ ‫ﭘﺸﺖ ﺗﻴﺮﮔﻰ ﭘﻼﺳﺘﻴﻚ‪ ،‬ﺩﻭ ﻧﻘﻄﻪﻯ ﻛﻢﺳﻮﻯ ﺳﺮﺥ ﭘﻴﺪﺍ ﺑﻮﺩﻧﺪ‪ .‬ﺑﺎﻻﭘﻮﺵ ﭼﺴﺒﺎﻧﻰ ﺑﻪ ﺗﻦ ﺩﺍﺷﺖ ﻛﻪ‬ ‫ﻋﻀﻼﺗﺶ ﺩﺭ ﺁﻥ ﻫﻮﻳﺪﺍ ﺑﻮﺩ ﻭ ﺑﻪ ﺩﺳﺖﻫﺎﻳﺶ ﻛﻪ ﺭﻭ ﻟﺒﻪﻯ ﺩﺭﻳﭽﻪ ﺗﻘﻼ ﻣﻰﻛﺮﺩﻧﺪ ﺗﺎ ﺍﺯ ﺗﻦ ﻣﺎﺷﻴﻦ‬ ‫ﺑﻴﺮﻭﻧﺶ ﺑﻜﺸﻨﺪ‪ ،‬ﺩﺳﺘﻜﺶﻫﺎﻯ ﻓﻠﺰﻯ ﺳﺮﺥ ﭘﻮﺷﺎﻧﺪﻩ ﺑﻮﺩ‪ .‬ﻣﻮﻧﺎ ﺧﺸﻜﺶ ﺯﺩ‪ .‬ﻫﻴﭻﻛﺎﺭﻯ ﺍﺯ ﻣﻐﺰﺵ‬ ‫ﺑﺮ ﻧﻤﻰﺁﻣﺪ‪ .‬ﭼﺮﺧﺶ ﺁﺭﺍﻡ ﻭ ﻃﻮﺳﻰ ﭼﺮﺍﻍﻫﺎ ﺭﺍ ﺗﻤﺎﺷﺎ ﻣﻰﻛﺮﺩ‪ ،‬ﻭ ﺩﻧﺪﺍﻥﻫﺎﻯ ﺳﺮﺑﺎﺯ ﻛﻪ ﭼﻔﺖ ﺷﺪﻩ‬ ‫ﺑﻮﺩﻧﺪ ﺍﺯ ﺯﻳﺮ ﻛﻼﻩ ﻣﻰﺩﺭﺧﺸﻴﺪ‪ .‬ﺑﻌﺪ ﻧﺎﮔﻬﺎﻥ ﺟﺎ ﺧﻮﺭﺩ‪ .‬ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﻣﺤﻮ ﺻﺤﻨﻪﻯ ﻣﻘﺎﺑﻠﺶ ﺷﺪﻩ‬ ‫ﺑﻮﺩ‪ ،‬ﺗﻮ ﺩﻫﺎﻧﺶ ﺑﻰﻫﻮﺍ‪ ،‬ﻋﻴﻦ ﺷﻴﺮﻩﺍﻯ ﻛﻪ ﺍﺯ ﺩﺭﺧﺖ ﻧﺸﺖ ﻣﻰﻛﻨﺪ‪ ،‬ﺳﺮ ﺧﻮﺭﺩﻥ ﺷﻬﺪ ﺷﻴﺮﻳﻨﻰ ﺭﺍ‬ ‫ﺣﺲ ﻛﺮﺩ‪ .‬ﻓﻜﺮ ﻛﺮﺩ ﭘﻴﺶﺁﮔﺎﻫﻰ ﻣﺮگ ﺍﺳﺖ‪ .‬ﺑﻌﺪ ﻣﺰﻩﻯ ﻣﺎﻫﻰ‪ .‬ﻣﺎﻫﻰ‪ ،‬ﺭﺷﺘﻪﺭﺷﺘﻪ ﺭﻭﻯ ﺯﺑﺎﻧﺶ‬ ‫ﻣﻰﻟﻐﺰﻳﺪ‪ ،‬ﻧﻤﻚﺳﻮﺩ ﺷﺪﻩ‪ ،‬ﺧﻔﻪ ﺩﺭ ﺍﺩﻭﻳﻪﻯ ﻧﮕﻪﺩﺍﺭﻧﺪﻩ‪ ،‬ﺑﺎﺳﺘﺎﻧﻰ‪ .‬ﺩﻫﺎﻧﺶ ﺑﻰﺍﺧﺘﻴﺎﺭ ﺍﻭ ﻣﻰﺟﻨﺒﻴﺪ‪.‬‬ ‫ﺳﭙﺲ ﻣﺎﺷﻴﻦ ﺯﺭﻫﻰ ﻣﻨﻔﺠﺮ ﺷﺪ ﻭ ﺳﮓﻫﺎ ﭼﻪ ﻓﺮﺍﺭﻯ ﻛﺮﺩﻧﺪ‪ .‬ﻣﺎﺷﻴﻨﻪ ﺍﺯ ﺣﻠﻘﺶ ﺁﺗﺸﻰ ﺑﻴﺮﻭﻥ ﺩﺍﺩ‬ ‫ﻭ ﺷﻌﻠﻪﻭﺭ ﺷﺪ ﻭ ﻣﻮﻧﺎ ﺭﺍ ﺩﻭ ﺑﺎﺭ ﻣﻀﺎﻋﻔﺎً ﺗﺮﺳﺎﻧﺪ‪ .‬ﻳﻜﻰ ﺍﺯ ﺍﻳﻦ ﺑﺎﺑﺖ ﻛﻪ ﺑﻪ ﻣﺤﺾ ﺍﻧﻔﺠﺎﺭ‪ ،‬ﺩﺧﺘﺮﺑﭽﻪﺍﻯ‬ ‫ﭘﻴﺪﺍ ﺷﺪ‪ ،‬ﻣﻌﻠﻖ ﺗﻮ ﻫﻮﺍ‪ .‬ﻫﻮﻟﻮﮔﺮﺍﻣﻰ ﺑﻮﺩ ﻛﻪ ﺑﺎ ﻣﻮﺝ ﺍﻧﻔﺠﺎﺭ ﺍﺯ ﻧﻮ ﺑﻪ ﻛﺎﺭ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﻛﻤﻰﺩﻭﺭﺗﺮ ﺍﺯ‬ ‫ﻣﺤﻞ ﻣﺎﺷﻴﻦ‪ ،‬ﺭﻭﻯ ﭘﻴﺎﺩﻩﺭﻭﻳﻰ ﻗﺪﻳﻤﻰ‪ ،‬ﺟﺴﻢ ﺩﺧﺘﺮﻩ ﻧﻮﻳﺰﻯ ﺑﻮﺩ ﻭ ﭘﺖﭘﺖ ﻣﻰﻛﺮﺩ‪ .‬ﺑﻪ ژﺍﭘﻨﻰ ﭼﻴﺰﻯ‬ ‫ﺑﻪ ﻣﻮﻧﺎ ﻣﻰﮔﻔﺖ‪ ،‬ﻟﺒﺨﻨﺪ ﻣﻰﺯﺩ‪ ،‬ﺍﺯ ﻣﻮﻧﺎ ﻋﻜﺲ ﻣﻰﮔﺮﻓﺖ ﻭ ﺑﻌﺪ ﺟﻌﺒﻪﻯ ﺳﻴﺎﻩ ﺩﻭﺭﺑﻴﻨﺶ ﺭﺍ ﺑﻪ ﻣﻮﻧﺎ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﻋﻨﻜﺒﻮﺕ ﻣﻰﺗﻮﺍﻧﺴﺖ ﻫﻤﻪﻯ ﭘﺎﻟﺲﻫﺎﻯ ﺿﺒﻂﺷﺪﻩﺍﺵ ﺭﺍ ﺑﻪ ﻣﻴﻬﻤﺎﻧﺶ ﻣﻨﺘﻘﻞ ﻛﻨﺪ‪ .‬ﻫﻤﺎﻥ ﺗﺠﺮﺑﻪﻯ‬ ‫ﺛﺒﺖ ﺷﺪﻩ ﺭﺍ ﺑﻰﺗﻐﻴﻴﺮﻯ ﺑﻪ ﻣﻐﺰ ﺁﺩﻡ ﺗﺎﺯﻩ ﺑﺮﻭﺯ ﻣﻰﺩﺍﺩ‪ .‬ﺩﻳﺪﻩ ﺑﻮﺩ ﻛﻪ ﺩﺍﺭ ﻭ ﺩﺳﺘﻪﻯ ﭘﺪﺭ ﺑﺮﺍﻯ‬ ‫ﺷﻜﻨﺠﻪﻯ ﺑﺪﻭﻥ ﺁﺳﻴﺐ ﺟﺴﻤﻰ ﺍﺯﺵ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺧﺎﻧﻢ ﻛﺎﻧﺮ ﺭﺍ ﺑﻪ ﺧﺎﻃﺮﻩﻯ ﺷﻜﻨﺠﻪﻯ‬ ‫ﻗﺪﻳﻤﻰﺍﻯ ﻭﺻﻞ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺩﻭ ﺑﺎﺭ‪ .‬ﻫﺮ ﺑﺎﺭ ﭼﻬﻞ ﺩﻗﻴﻘﻪﻯ ﻛﺎﻣﻞ‪ .‬ﻭ ﺯﻧﻚ ﺳﺮ ﺑﻪ ﺭﺍﻩ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺩﺭ‬ ‫ﺳﻼﻣﺖ ﻛﺎﻣﻞ ﺗﻦ‪ ،‬ﺩﻳﻮﺍﻧﻪﺗﺮ‪ .‬ﻫﻴﭻ ﭼﻴﺰ ﺑﻴﺸﺘﺮ ﺍﺯ ﺍﻳﻦ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﻧﺎﺁﺭﺍﻣﺶ ﻛﻨﺪ ﻭ ﻫﻤﻴﻦ ﺭﺍ ﻫﻢ ﺑﻪ‬ ‫ﺩﻛﺘﺮ ﮔﻔﺖ‪ .‬ﺩﻛﺘﺮ ﺍﻃﻤﻴﻨﺎﻥ ﺩﺍﺩ ﻛﻪ ﺑﺎ ﻋﻨﻜﺒﻮﺕ ﻫﻢﭼﻪ ﻛﺎﺭﻯ ﻧﺨﻮﺍﻫﻨﺪ ﻛﺮﺩ‪.‬‬ ‫»ﺍﻳﻦ ﻳﻪ ﺟﻮﺭ ﭼﺴﺒﻪ‪ .‬ﺑﻪ ﻛﺎﻣﻠﻰ ﺍﻭﻥ ﻧﻴﺴﺖ‪ .‬ﻳﻪ ﺫﺭﻩ ﺳﺒﻚﺗﺮﻩ‪ .‬ﺧﻮﺷﺖ ﻣﻴﺎﺩ‪ .‬ﺁﺭﻭﻣﺖ ﻣﻰﻛﻨﻪ‪ .‬ﻗﻮﻝ!«‬ ‫ﺩﻛﺘﺮ ﻫﻴﺠﺎﻥ ﺯﺩﻩ ﺑﻮﺩ ﻭ ﺑﺎﺯ ﺑﻴﺮﻭﻥ ﺭﻓﺖ ﻭ ﻣﻮﻧﺎ ﻛﻤﺮ ﭘﻬﻨﺶ ﺭﺍ ﺗﻮ ﻛﺖ ﺳﻴﺎﻫﺶ ﺗﻤﺎﺷﺎ ﻛﺮﺩ‪ ،‬ﻛﻤﺮﺑﻨﺪﺵ‬ ‫ﺭﺍ ﺗﻤﺎﺷﺎ ﻛﺮﺩ ﺍﺯ ﭘﻮﺳﺖ ﻣﺎﺭﻣﺎﻫﻰ ﻛﻪ ﻣﺪ ﺳﺎﻝﻫﺎﻯ ﻧﻮﺟﻮﺍﻧﻰ ﻣﻮﻧﺎ ﺑﻮﺩ‪ ،‬ﺑﺎ ﺁﺭﻡ ﺷﺮﻛﺖ ﻓﻴﻠﻢﺳﺎﺯﻯ‬ ‫ﻛﺮﻩﺍﻯ ﺭﻭﻳﺶ‪ .‬ﺍﻳﻦ ﺑﺎﺭ ﺑﺎ ﺟﻌﺒﻪﻯ ﺩﺭﺍﺯﻯ ﺑﺮﮔﺸﺖ ﻋﻴﻦ ﺟﻌﺒﻪﻯ ﻛﻔﺶ‪ .‬ﺩﺍﺧﻠﺶ ﺑﻴﻦ ﻭﺭﻗﻪﻫﺎﻳﻰ ﺑﺎ‬ ‫ﻗﻄﻊ ﻣﺮﺑﻊ ﻛﺎﻣﻞ‪ ،‬ﺩﻧﺒﺎﻝ ﺧﺎﻃﺮﻩﺍﻯ ﮔﺸﺖ ﻛﻪ ﻣﻰﺧﻮﺍﺳﺖ ﻣﻮﻧﺎ ﺑﺒﻴﻨﺪ‪ .‬ﮔﺮﺩﻧﺶ ﻋﻴﻦ ﮔﺮﺩﻥ ﮔﺎﻭ ﻛﻮﺗﺎﻩ‬ ‫ﻭ ﺟﺴﻴﻢ ﺑﻮﺩ ﻭ ﺑﺎﻻﺧﺮﻩ ﭼﺴﺒﻰ ﺭﺍ ﺍﺯ ﻣﻴﺎﻥ ﺑﺎﻗﻰ ﭼﺴﺐﻫﺎ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪ‪ .‬ﺑﻪ ﻣﻮﻧﺎ ﻧﺸﺎﻧﺶ ﺩﺍﺩ‪ .‬ﺭﻭﺵ‬ ‫ﭼﻴﺰﻯ ﻧﻮﺷﺘﻪ ﺑﻮﺩﻧﺪ ﻛﻪ ﻣﻮﻧﺎ ﻧﺘﻮﺍﻧﺴﺖ ﺑﺨﻮﺍﻧﺪ‪ .‬ﻳﻚ ﻻﻳﻪﻯ ﭘﻼﺳﺘﻴﻚ ﻣﺤﺎﻓﻆ ﺭﻭﺵ ﺑﻮﺩ ﻭ ﺁﻥ ﺯﻳﺮ‬ ‫ﺳﻔﻴﺪ ﺑﻮﺩ‪ ،‬ﺑﺮﺍﻕ‪ ،‬ﺑﺎ ﮔﻮﺷﻪﻫﺎﻯ ﮔﺮﺩ ﭼﻴﺪﻩ ﺷﺪﻩ‪ .‬ﻣﻮﻧﺎ ﺑﺎﺯﺷﻨﺎﺧﺘﺶ‪ .‬ﺑﺮﭼﺴﺒﻰ ﺑﻮﺩ ﻛﻪ ﺗﻮ ﻓﺮﻭﺷﮕﺎﻩﻫﺎﻯ‬ ‫ﻫﻴﻮﻻ ﺭﻭ ﺧﺮﺕ ﻭ ﭘﺮﺕﻫﺎﺷﺎﻥ ﻣﻰﭼﺴﺒﺎﻧﺪﻧﺪ ﺗﺎ ﺍﮔﺮ ﭼﻴﺰﻯ ﺑﻠﻨﺪ ﻛﺮﺩﻳﺪ ﺍﺳﻜﻨﺮﻫﺎﻯ ﺟﻠﻮﻯ ﺩﺭ ﻣﭻﺗﺎﻥ‬ ‫ﺭﺍ ﺑﮕﻴﺮﺩ‪ .‬ﺭﺩﻳﻒ ﻣﻘﺎﻭﻣﺖﻫﺎ ﺗﻮ ﺷﺎﻧﻪﺍﺵ ﺯﻳﺮ ﺁﺏ ﺩﺍﻍ ﺑﻮﺩﻧﺪ ﻭ ﻭﺯﻭﺯ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺩﻛﺘﺮ ﭘﻼﺳﺘﻴﻚ ﺭﺍ‬ ‫ﺟﺪﺍ ﻛﺮﺩ‪ .‬ﺑﻌﺪ ﻳﻚ ﻻﻳﻪﻯ ﻛﺎﻏﺬ ﺭﻭﻏﻨﻰ ﺳﻔﻴﺪ ﺭﺍ ﻛﺸﻴﺪ ﻭ ﻛﻨﺪ ﻭ ﺁﻥ ﺯﻳﺮ ﻳﻚ ﺻﻔﺤﻪﻯ ﺳﺒﺰ ﻟﺠﻨﻰ‬ ‫ﻇﺎﻫﺮ ﺷﺪ ﺑﺎ ﻣﺪﺍﺭﻫﺎﻳﻰ ﻣﺴﻰﺭﻧﮓ‪ ،‬ﭘﺨﺘﻪ‪ ،‬ﻫﺰﺍﺭ ﺑﺎﺭ ﭘﻴﭽﻴﺪﻩﺗﺮ ﺷﺪﻩ ﺍﺯ ﺑﺮﭼﺴﺐﻫﺎﻯ ﺩﺯﺩﮔﻴﺮ‪ ،‬ﺩﺭ ﻫﻢ‬ ‫ﺗﻨﻴﺪﻩ ﺁﻥ ﻭﺳﻂ‪ .‬ﺩﻛﺘﺮ ﭘﺸﺖ ﺳﺮ ﻣﻮﻧﺎ ﺭﻓﺖ‪ .‬ﮔﺮﺩﻧﺶ ﺭﺍ ﺭﻭ ﺑﻪ ﺟﻠﻮ ﺧﻢ ﻛﺮﺩ‪ .‬ﭼﺴﺐ ﺭﺍ ﭘﺸﺖ ﺳﺮ‬ ‫ﻳﺦ ﺑﻰﺍﺳﺘﻔﺎﺩﻩﻣﺎﻧﺪﻩﻯ ﺳﻴﻢﻫﺎ ﺭﺍ ﺭﻭ ﭘﻮﺳﺖ ﺳﺮﺵ‬ ‫ﻣﻮﻧﺎ‪ ،‬ﺯﻳﺮ ﺑﺮﺟﺴﺘﮕﻰ ﺟﻤﺠﻤﻪ ﭼﺴﺒﺎﻧﺪ‪ .‬ﺳﻄﺢ ِ‬ ‫ﺣﺲ ﻣﻰﻛﺮﺩ‪ ،‬ﺍﺳﺘﺨﻮﺍﻥ ﺳﺮﺵ ﺣﺲ ﻓﻠﺰ ﺑﻬﺶ ﻣﻰﺩﺍﺩ ﻭ ﺗﻮ ﺳﺮ ﻣﻮﻧﺎ ﻣﺨﭽﻪﺍﺵ‪ ،‬ﻋﻴﻦ ﻛﻴﺲ ﺑﻮﻛﺴﻰ‬ ‫ﺁﻭﻳﺰﺍﻥ ﺑﻮﺩ ﻭ ﭼﺴﺒﻪ ﭘﺎﻟﺲﻫﺎ ﺭﺍ ﺭﻭ ﺑﻪﺍﺵ ﭘﺮﺗﺎﺏ ﻣﻰﻛﺮﺩ‪.‬‬ ‫»ﭼﺸﻢﻫﺎﺕ ﺭﻭ ﻣﻰﺑﻨﺪﻯ ﻟﻄﻔﺎً؟ ﺑﺒﻨﺪ‪«.‬‬ ‫ﻣﻮﻧﺎ ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ ﺑﺴﺖ‪.‬‬ ‫ﻭﻟﺮﻣﻰ ﺁﺏ ﺟﺎﻳﺶ ﺭﺍ ﺑﻪ ﺳﺮﻣﺎ ﺩﺍﺩ‪ .‬ﻫﻨﻮﺯ ﺣﻀﻮﺭ ﺁﺏ ﺭﺍ ﺭﻭﻯ ﺧﻮﺩﺵ ﺣﺲ ﻣﻰﻛﺮﺩ؛ ﺍﻣﺎ ﻫﻤﭽﻨﻴﻦ‬ ‫ﺳﺮﻣﺎ ﺭﺍ‪ ،‬ﺑﺎ ﺗﻤﺎﻡ ﭘﻮﺳﺘﺶ‪ .‬ﮔﻮﺵﻫﺎﻳﺶ ﺍﺯ ﺳﻮﺯ ﻋﻴﻦ ﻛﺎﻟﺒﺎﺱ ﻣﻰﺳﻮﺧﺖ ﻭ ﻣﻰﺩﻳﺪ ﻛﻪ ﺭﻭﻯ ﺳﻴﻨﻪﺍﺵ‬ ‫ﻳﻚ ﺧﺎﻟﻜﻮﺑﻰ ﻗﺪﻳﻤﻰ ﺳﺒﺰ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﭘﺮﺗﻮ ﺿﺮﺑﺪﺭﻯ ﻧﻮﺭﺍﻓﻜﻦﻫﺎﻯ ﺳﻔﻴﺪ ﻛﻪ ﻣﺘﺼﻞ ���ﻰﺟﻨﺒﻴﺪﻧﺪ‪،‬‬ ‫ﺗﻮ ﺧﺮﺍﺑﻪﺍﻯ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺗﻮ ﺍﻓﻖ ﻛﻮﻩﻫﺎ ﺭﺍ ﻣﻰﺩﻳﺪ ﺑﺎ ﭼﺮﺍﻍﻫﺎﻯ ﭘﺮ ﺯﻭﺭ ﭼﺸﻤﻚﺯﻥ ﺭﻭ ﻗﻠﻪﻯ‬ ‫ﺑﻌﻀﻰﻫﺎﻳﺸﺎﻥ‪ .‬ﻛﻨﺎﺭ ﭘﺎﻳﺶ ﺩﻭ ﺗﺎ ﺳﮓ ﻣﻰﻟﻮﻟﻴﺪﻧﺪ‪ ،‬ﺑﺴﻴﺎﺭ ﺍﺳﺘﺨﻮﺍﻧﻰ‪ ،‬ﻋﻴﻦ ﺑﺎﺩﺑﺎﻥ ﺭﻭﻯ ﺩﻛﻞ‪ .‬ﺧﻮﺩﺷﺎﻥ‬ ‫‪57‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺩﻛﺘﺮ ﻛﻪ ﺗﻮ ﺁﻣﺪ ﺳﻴﻨﻰ ﺗﺨﺘﻰ ﺑﻪ ﺩﺳﺖ ﺩﺍﺷﺖ ﺑﺎ ﺩﻭ ﺗﺎ ﻛﻨﺴﺮﻭ ﺩﺭ ﻗﻮﺍﺭﻩﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺭﻭﺵ‪ .‬ﺟﻠﻮ‬ ‫ﺁﻣﺪ‪ .‬ﭘﺲ ﻭﺍﻥ‪ ،‬ﻛﻨﺎﺭ ﻣﻮﻧﺎ ﺯﺍﻧﻮ ﺯﺩ‪ .‬ﻭﺍﻥ ﺗﻮﺳﻴﻊ ﻓﻠﺰﻯ ﻛﻒ ﺑﻮﺩ‪ ،‬ﺍﻧﺘﻬﺎﻯ ﺭﺷﺘﻪﻫﺎﻯ ﺑﺘﻮﻥ ﻭ ﻛﺎﺑﻞ‪ ،‬ﺑﻴﺮﻭﻥ‬ ‫ﺍﻓﺘﺎﺩﻩ‪ .‬ﺳﻴﻨﻰ ﺭﺍ ﻃﻮﺭﻯ ﺟﻠﻮﻯ ﺩﺧﺘﺮﻙ ﮔﺬﺍﺷﺖ ﻛﻪ ﺩﻭ ﺳﺮﺵ ﺑﻪ ﺩﻭ ﻟﺒﻪﻯ ﻭﺍﻥ ﮔﻴﺮ ﻛﻨﺪ‪ .‬ﻣﻮﻧﺎ‬ ‫ﺑﻰﺍﺧﺘﻴﺎﺭ ﺑﺎﺯﻭﻫﺎﻳﺶ ﺭﺍ ﺭﻭﻯ ﺳﻴﻨﻪ ﺑﻪ ﻫﻢ ﺑﺴﺖ‪.‬‬ ‫»ﮔﻼﺑﻰ ﺑﺎ ﻣﺎﻫﻰ‪«.‬‬ ‫»ﻣﻤﻨﻮﻥ‪«.‬‬ ‫»ﻻﺯﻡ ﻧﻴﺴﺖ ﺍﺯ ﻣﻦ ﻗﺎﻳﻢ ﺷﻰ ﺩﺧﺘﺮﻡ‪ .‬ﺯﻳﺮ ﻛﻒ ﻣﻌﻠﻮﻡ ﻧﻴﺴﺘﻰ‪ .‬ﺑﻌﺪﻡ ﺳﻴﻨﻪﻯ ﺯﻧﺎ ﻫﻤﻪﻯ ﺟﺬﺍﺑﻴﺘﺶ‬ ‫ﺭﻭ ﭘﻨﺠﺎﻩ ﺳﺎﻝ ﭘﻴﺶ ﻭﺍﺳﻪ ﻣﻦ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩ‪«.‬‬ ‫ﻣﻮﻧﺎ ﺧﻨﺪﻳﺪ‪ .‬ﺧﻨﺪﻩﺍﺵ ﻋﻴﻦ ﭘﺮﺕﻛﺮﺩﻥ ﻏﺬﺍ ﺑﻮﺩ ﺑﻪ ﺩﻫﻦ ﺣﻴﻮﺍﻥ ﺗﻮ ﺑﺎﻍﻭﺣﺶ‪.‬‬ ‫»ﻣﻰﺧﻮﺍﻯ ﻳﻪﺫﺭﻩ ﺁﺭﻭﻡﺷﻰ ﻋﻤﻮ ﺟﺎﻥ؟«‬ ‫»ﻫﺎ؟«‬ ‫ﺣﺎﻻ ﻛﻪ ﺩﺭﺍﺯ ﻛﺸﻴﺪﻩ ﺑﻮﺩ‪ ،‬ﺩﻳﻮﺍﺭﻫﺎﻯ ﻳﻮﻧﻮﻟﻴﺘﻰ ﺭﺍ ﻣﻰﺩﻳﺪ ﻛﻪ ﺑﺴﻴﺎﺭ ﺑﻠﻨﺪ ﺑﻮﺩﻧﺪ‪ .‬ﺳﻘﻒ ﻣﻄﺐ ﻣﺮﺗﻔﻊ‬ ‫ﺑﻮﺩ‪.‬‬ ‫»ﻫﻪ! ﺑﻪ ﺑﺎﺑﺎ ﻧﮕﻮ‪ .‬ﺧﺐ؟ ﻣﻰﺫﺍﺭﻡ ﻳﻪﺫﺭﻩ ﺧﺎﻃﺮﻩ ﺑﺒﻴﻨﻰ‪«.‬‬ ‫ﻳﻚﻗﺪﺭﻯ ﻣﻜﺚ ﻛﺮﺩ‪ .‬ﻣﻮﻧﺎ ﺭﺍ ﻛﻮﺗﺎﻩ ﺗﻤﺎﺷﺎ ﻛﺮﺩ‪ .‬ﺑﻌﺪ ﺍﺩﺍﻣﻪ ﺩﺍﺩ ﻛﻪ ﺗﻮ ﻫﻤﻴﻦ ﺣﻴﻦ ﺧﻮﺩﺵ ﺑﻪ ﻣﻮﻧﺎ‬ ‫ﻏﺬﺍ ﻣﻰﺩﻫﺪ ﻭ ﺍﮔﺮ ﺩﺧﺘﺮ ﺑﺨﻮﺍﻫﺪ ﻣﻰﺗﻮﺍﻧﺪ ﺁﻣﻔﺘﺎﻣﻴﻦ ﺑﺎ ُﺩﺯ ﻣﺨﺘﺼﺮ ﺑﻬﺶ ﺑﺮﺳﺎﻧﺪ‪.‬‬ ‫ﻣﻮﻧﺎ ﺩﺍﺷﺖ ﺑﻪ ﺧﺎﻃﺮﻩﺑﻴﻨﻰ ﻓﻜﺮ ﻣﻰﻛﺮﺩ‪ .‬ﺩﺳﺘﮕﺎﻩ ﺭﺍ ﭘﻴﺶ ﭘﺪﺭﺵ ﺩﻳﺪﻩ ﺑﻮﺩ‪ .‬ﺻﺪﺍﻳﺶ ﻣﻰﻛﺮﺩﻧﺪ‬ ‫ﻋﻨﻜﺒﻮﺕ ﭼﻮﻥ ﻫﺸﺖ ﺷﺎﺧﻚ ﻣﺘﺼﻞ ﺑﻪ ﻫﻢ ﺩﺍﺷﺖ ﺍﺯ ﻣﺲ ﺗﻘﻮﻳﺖ ﺷﺪﻩ‪ .‬ﻫﻢ ﺩﺳﺘﮕﺎﻩ ﭘﺨﺶ ﺑﻮﺩ ﻭ‬ ‫ﻫﻢ ﺿﺒﻂ‪ .‬ﺍﺯ ﺭﺳﺘﻨﮕﺎﻩ ﻣﻮ ﺟﻠﻮﻯ ﺳﺮ ﺗﺎ ﻣﻬﺮﻩﻯ ﺳﻮﻡ ﮔﺮﺩﻥ‪ ،‬ﺭﻭﻯ ﺳﺮ ﻭﻟﻮ ﻣﻰﺷﺪ‪ .‬ﺑﺎ ﺑﺎﻓﺖ ﻇﺮﻳﻒ‬ ‫ﻃﻼﻳﻰ ﺩﺭ ﻓﺎﺻﻠﻪﻯ ﻣﻴﺎﻥ ﺷﺎﺧﻚﻫﺎ ﻋﻴﻦ ﻋﺮﻭﺱ ﺩﺭﻳﺎﻳﻰ ﺑﻮﺩ‪ .‬ﻫﻤﻪﻯ ﭘﺎﻟﺲﻫﺎﻯ ﻣﻴﺰﺑﺎﻧﺶ ﺭﺍ ﻣﻮﻗﻊ‬ ‫ﺍﺯ ﺳﺮ ﮔﺬﺍﺭﻧﺪﻥ ﻫﺮ ﺟﻮﺭ ﺗﺠﺮﺑﻪ‪ ،‬ﻣﻰﻣﻜﻴﺪ ﻭ ﺭﻭ ِ‬ ‫ﻛﻴﺖ ﻟﻴﺰﺭﻯ ﺿﺒﻂ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺑﻪ ﻳﺎﺩ ﺑﻴﺎﻭﺭ‪ .‬ﺑﻪ ﻳﺎﺩ ﺑﻴﺎﻭﺭ‪ .‬ﺳﺎﺭﺍ ﻛﺎﻧﺮ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﺑﻴﺎﻭﺭ ﻭ ﻗﺼﻪﺍﺵ ﺭﺍ‪ .‬ﺯﻥ ﺭﻧﮓﭘﺮﻳﺪﻩﺍﻯ ﺑﻮﺩ‪ ،‬ﻳﻚ ﻣﺴﺘﺸﺮﻕ‬ ‫ﺁﻣﺮﻳﻜﺎﻳﻰ ﻛﻪ ﺩﺍﺭ ﻭ ﺩﺳﺘﻪﻯ ﺑﺎﺑﺎ ﭘﻴﺶﺗﺮ ﺍﺯ ﺍﻳﻦﻫﺎ ﺷﻜﺎﺭﺵ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺗﻮ ﻗﻠﻤﺮﻭﻯ ﺷﻤﺎﻟﻰ ﺳﻔﺮ‬ ‫ﻣﻰﻛﺮﺩ ﻭ ﺑﺎﺯﻣﺎﻧﺪﻩﻯ ﻗﻠﻌﻪﻫﺎﻯ ﻗﺪﻳﻤﻰ ﺭﺍ ﻣﻰﺟﻮﺭﻳﺪ ﻭ ﭼﺸﻢﻫﺎﻯ ﺁﺑﻰﺍﻯ ﺩﺍﺷﺖ ﺑﺎ ﮔﻮﺵﻫﺎﻯ ﻓﺮﻭ‬ ‫ﺍﻓﺘﺎﺩﻩ ﻭ ﺩﻳﻮﺍﻧﻪ ﺑﻮﺩ‪ .‬ﺑﻪ ﻳﺎﺩ ﺁﺭ‪ .‬ﻓﻜﺮ ﻣﻰﻛﺮﺩ ﻛﺴﻰ ﺍﺯ ﺁﻳﻨﺪﻩ ﺑﻬﺶ ﻧﺎﺯﻝ ﺷﺪﻩ‪ ،‬ﺣﺎﻣﻠﻪﺍﺵ ﻛﺮﺩﻩ ﻭ‬ ‫ﺟﻨﮕﻰ ﺍﺭﺗﺶ ﻣﺘﻔﻘﻴﻦ ﺧﺒﺮ ﺩﺍﺩﻩ‪ .‬ﻳﻚ ﺭﻯﺑﻦ ﺩﻭﺩﻯ‬ ‫ﺑﻬﺶ ﺍﺯ ﺷﺒﻜﻪﻯ ﻣﺠﺎﺯﻯ ﻛﻨﺘﺮﻝ ﻣﺎﺷﻴﻦﻫﺎﻯ‬ ‫ِ‬ ‫ﺧﻮﺷﮕﻞ ﺩﺍﺷﺖ ﺑﺎ ﻳﻚ ﺳﺮﺑﻨﺪﻯ ﺳﻔﻴﺪ ﻭ ﺳﺮﺥ ﻭ ﻣﻮﻫﺎﻯ ﺑﻮﺭ ﻭ ﺑﺎﺯﻭﻫﺎﻯ ﺑﻪ ﺧﺎﻃﺮﻣﺎﻧﺪﻧﻰ ﻭ ﺩﻳﻮﺍﻧﻪ‬ ‫ﺑﻮﺩ‪ .‬ﭘﻴﺶﮔﻮﻳﻰ ﻣﻰﻛﺮﺩ‪ ،‬ﻓﻜﺮ ﻣﻰﻛﺮﺩ ﻫﺮ ﻭﻗﺖ ﺣﺸﺮﻯ ﺑﺸﻮﺩ ﻣﻮﻋﺪ ﺑﻤﺐﺑﺎﺭﺍﻥ ﺭﻭﺱﻫﺎ ﺍﺳﺖ‪.‬‬ ‫ﺻﺎﺣﺐﻛﺎﺭﻫﺎ ﺗﻮ ﺷﻬﺮ ﺟﺪﻳﺪ ﺍﺯﺵ ﻣﻰﻧﺎﻟﻴﺪﻧﺪ‪ .‬ﭘﺲ ﺑﺎﺑﺎ ﺍﻳﻦﻫﺎ ﺑﺴﺘﻨﺪﺵ ﺑﻪ ﻋﻨﻜﺒﻮﺕ‪.‬‬ ‫‪55‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﺭﻭﻯ ﺑﺎﺯﻭﻳﺶ ﻣﻰﺗﭙﻴﺪﻧﺪ‪ .‬ﺩﻛﺘﺮ ﺭﻭﻯ ﺟﺎﻯ ﺍﺳﭙﺮﻯ ﻓﻮﺕ ﻛﺮﺩ‪ .‬ﻣﻮﻧﺎ ﺩﻭﺑﺎﺭﻩ ﭼﺸﻢﻫﺎ ﺭﺍ ﺑﺴﺖ‪ .‬ﺁﺏ ﺯﻳﺮ‬ ‫ﭘﺎﻫﺎﻳﺶ ﺗﻮ ﺣﻔﺮﻩ ﮔﺮﻡ ﻣﻰﺷﺪ‪ .‬ﻃﺎﻭﻭﺱ ﺍﺯ ﮔﺮﻣﺎ ﺁﻥ ﺑﻴﺮﻭﻥ ﻣﻰﺧﻮﺍﻧﺪ‪.‬‬ ‫ﻣﻘﺎﻭﻣﺖﻫﺎ ﺳﺎﺧﺖ ژﺍﭘﻦ ﺑﻮﺩﻧﺪ ﺑﺎ ﺧﻮﺭﺷﻴﺪ ﻣﻴﻜﺮﻭﺳﻜﻮﭘﻰ ﺗﺎﺑﺎﻧﻰ ﺣﻜﺎﻛﻰ ﺷﺪﻩ ﺭﻭﺷﺎﻥ ﺑﻪ ﺍﺣﺘﺮﺍﻡ‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭﻯ ﺩﺭ ﺩﻭﺭﺩﺳﺖ ﺷﺮﻕ‪ ،‬ﻗﺎﭼﺎﻗﻰ‪ ،‬ﻣﻤﻨﻮﻋﻪ‪ ،‬ﻣﺨﺮﺏ ﻭ ﺯﻳﺮ ﺍﻧﺤﻨﺎﻯ ﺍﺳﺘﺨﻮﺍﻥﻫﺎﻯ ﻣﻮﻧﺎ‬ ‫ﻧﻤﺎﺯﺧﺎﻧﻪﻫﺎ ﺑﻮﺩﻧﺪ ﻭ ﺩﺧﺘﺮﻙ ﺑﺎ ﭼﺸﻢ ﺑﺴﺘﻪ ﺍﺣﺴﺎﺱ ﺑﻴﭽﺎﺭﮔﻰ ﻣﻰﻛﺮﺩ‪ .‬ﮔﻮﺷﻪﻯ ﺳﺮﺵ ﻓﻜﺮ ﻛﺮﺩ‬ ‫ﻛﺎﺵ ﺯﻧﺪﻩ ﺑﻤﺎﻧﺪ‪ .‬ﺯﺧﻢ ﺭﻭﻯ ﮔﻮﻧﻪﺍﺵ ﺳﻮﺧﺖ‪ .‬ﭼﺸﻢ ﺑﺎﺯ ﻛﺮﺩ‪ .‬ﺩﻛﺘﺮ ﺧﻴﻠﻰ ﻧﺰﺩﻳﻚ ﺑﻬﺶ ﺍﻳﺴﺘﺎﺩﻩ‬ ‫ﺑﻮﺩ‪ .‬ﺧﻢ ﺷﺪﻩ ﺑﻮﺩ ﺭﻭﻯ ﺻﻮﺭﺗﺶ‪ ،‬ﺗﻪ ﺭﻳﺶ ﻣﺮﺩﻩﺍﺵ ﭘﻴﺪﺍ ﺑﻮﺩ‪ .‬ﺩﺳﺘﻜﺶﻫﺎﻯ ﻻﺳﺘﻴﻜﻰ ﺳﻔﻴﺪ‬ ‫ﺑﻪ ﺩﺳﺖ ﺩﺍﺷﺖ ﻭ ﺭﻧﮓ ﺩﺳﺖﻫﺎﻳﺶ ﭘﻴﺪﺍ ﺑﻮﺩ‪ .‬ﺩﺍﺷﺖ ﺯﺧﻢ ﻣﻮﻧﺎ ﺭﺍ ﺑﺎ ﭘﻨﺒﻪﺍﻯ ﺭﻭ ﻧﻮﻙ ﭘﻨﺲﺍﺵ‬ ‫ﻣﻰﺷﺴﺖ‪.‬‬ ‫»ﻣﻰﺑﺨﺸﻰ‪ .‬ﻓﻜﺮ ﻧﻤﻰﻛﺮﺩﻡ ﺧﻮﺍﺏ ﺑﺎﺷﻰ ﺩﺧﺘﺮﻡ‪«.‬‬ ‫»ﻧﺒﻮﺩﻡ!«‬ ‫»ﭼﺮﺍ ﺑﻮﺩﻯ‪ .‬ﺍﻳﻦ ﺑﺨﻴﻪﻫﺎﻯ ﭘﻬﻠﻮﺕ ﭼﻰ ﺑﻮﺩ ﻋﺰﻳﺰﻡ؟ ﺑﺎﺯ ﺑﻮﺩﻥ‪ .‬ﭼﻴﺰﻯ ﻧﮕﻔﺘﻰ؛ ﻭﻟﻰ ﻣﻦ ﺭﺩﻳﻔﺶ‬ ‫ﻛﺮﺩﻡ ﺑﺮﺍﺕ‪«.‬‬ ‫ﻣﻤﻜﻦ ﻧﺒﻮﺩ ﻫﻮﺍ ﺭﻭ ﺑﻪ ﺧﻨﻜﻰ ﺑﺮﻭﺩ ﻭ ﺳﺮﻧﮓﻫﺎﻯ ﻓﻠﺰﻯ ﺗﻮ ﺁﺏﺟﻮﺵ ﺿﺪﻋﻔﻮﻧﻰ ﻣﻰﺷﺪﻧﺪ ﻭ ﮔﻮﺷﺖ‬ ‫ﻓﺎﺳﺪ ﻻﻯ ﭘﺎﺭﭼﻪ ﭘﻴﭽﻴﺪﻩ ﺑﻮﺩ ﻭ ﺍﺯ ﺩﻭﺭﺩﺳﺖﻫﺎ ﺻﺪﺍﻯ ﻋﺮﻭﺳﻰ ﻣﻰﺁﻣﺪ ﻭ ﺳﭙﺮ ﺑﺎﺯ ﺗﺮﻣﻴﻢ ﻣﻰﺷﺪ ﻭ‬ ‫ﺁﺳﻤﺎﻥ ﺧﺎﻛﺴﺘﺮﻯ ﺟﺮﻗﻪﻯ ﻣﺬﺍﺏ ﺳﺮﺥ ﭘﺎﻳﻴﻦ ﻣﻰﺭﻳﺨﺖ ﻭ ﻛﺎﺭ ﺩﻛﺘﺮ ﻛﻪ ﺑﺎﻫﺎﺵ ﺗﻤﺎﻡ ﺷﺪ‬ ‫ﮔﺎﻫﻰ‬ ‫ِ‬ ‫ﺑﻠﻨﺪ ﺷﺪ ﻛﻪ ﺑﺮﻭﺩ ﻛﻔﺶﻫﺎﻳﺶ ﺭﺍ ﺑﭙﻮﺷﺪ ﻭ ﺩﻛﺘﺮ ﻣﭻﺑﻨﺪﻫﺎ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺁﺏ ﺯﻳﺮ ﭘﺎﻳﺶ ﺍﺯ ﺣﺮﺍﺭﺕ ﺻﻨﺪﻟﻰ ﮔﺮﻡ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻛﻔﺶﻫﺎﻳﺶ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﮔﺮﻓﺖ ﻭ ﺩﻛﺘﺮ ﭘﺮﺳﻴﺪ‬ ‫ﻧﻤﻰﺧﻮﺍﻫﺪ ﺣﻤﺎﻡ ﻛﻨﺪ؟ ﻭ ﺍﻳﻦﻛﻪ ﺩﺭ ﻣﻮﺭﺩ ﺁﻣﻔﺘﺎﻣﻴﻦ ﭼﻪ ﻛﻨﻨﺪ؟ ﮔﻔﺖ ﻣﻰﺗﻮﺍﻧﺪ ﻫﻤﻴﻦ ﺣﺎﻻ ﺣﻤﺎﻡ‬ ‫ﺭﺍ ﺑﺮﺍﻳﺶ ﺁﻣﺎﺩﻩ ﻛﻨﺪ ﻭ ﻳﻚ ﭼﻴﺰﻫﺎﻳﻰ ﻫﻢ ﺑﺮﺍﻯ ﺧﻮﺭﺩﻥ ﺩﺍﺭﺩ ﻭ ﻳﻚ ﺫﺭﻩ ﺗﻔﺮﻳﺢ ﻫﻢ ﺑﺮﺍﻳﺶ ﻓﺮﺍﻫﻢ‬ ‫ﺧﻮﺍﻫﺪ ﻛﺮﺩ‪.‬ﻛﻔﺶﻫﺎﻳﺶ ﺭﺍ ﺑﺎﺯ ﻫﻤﺎﻥﺟﺎ ﻛﻪ ﺑﻮﺩﻧﺪ ﻭﻝ ﻛﺮﺩ‪.‬‬ ‫ﺩﻛﺘﺮ ﺑﻨﺎ ﻛﺮﺩ ﺑﻪ ﭘﺮ ﻛﺮﺩﻥ ﻭﺍﻥ‪ .‬ﺍﺯ ﻗﻔﺴﻪﻯ ﺩﺍﺭﻭﻫﺎ ﻗﻮﻃﻰ ﺳﻔﻴﺪﻯ ﺁﻭﺭﺩ ﻛﻪ ﻛﺎﻏﺬ ﻣﺎﺭﻙ ﺭﻭﺵ ﻧﺒﻮﺩ‬ ‫ﻭ ﺍﺯﺵ ﭘﻮﺩﺭ ﺻﺎﺑﻮﻥ ﻭ ﻧﻤﻚ ﻃﺒﻰ ﺗﻮ ﺁﺏ ﻭﺍﻥ ﺭﻳﺨﺖ‪ .‬ﭘﺮﺩﻩﻫﺎﻯ ﺩﻭﺭ ﻭﺍﻥ ﺭﺍ ﻛﺎﻣﻞ ﻛﺸﻴﺪ‪ ،‬ﺟﺰ ﭼﺎﻛﻰ‬ ‫ﻛﻪ ﺑﺎﺯﺵ ﮔﺬﺍﺷﺖ ﻭ ﻣﻮﻧﺎ ﺭﺍ ﺍﺯ ﺗﻮﺵ ﺭﺍﻫﻨﻤﺎﻳﻰ ﻛﺮﺩ ﭘﺸﺖ ﭘﺮﺩﻩ‪ .‬ﺧﻮﺩﺵ ﺑﻴﺮﻭﻥ ﭘﺮﺩﻩ ﻣﺎﻧﺪ‪ .‬ﺑﻪ ﻧﻈﺮ‬ ‫ﻣﻮﻧﺎ ﻋﺼﺒﻰ ﻣﻰﺁﻣﺪ‪ .‬ﺩﺭ ﭘﻨﺎﻩ ﭘﺮﺩﻩ ﻟﺨﺖ ﺷﺪ‪ .‬ﭘﺎﺭﭼﻪﻯ ﺩﻭﺭ ﺳﻴﻨﻪﻫﺎﻳﺶ ﺍﺯ ﻋﺮﻕ ﻧﻤﻮﺭ ﺑﻮﺩ‪ .‬ﺑﻪ ﺷﻜﻢ‬ ‫ﭘﺎﻳﻴﻨﺶ ﻛﺸﻴﺪ ﻭ ﺁﻥﺟﺎ ﺑﺎﺯﺵ ﻛﺮﺩ‪ .‬ﻧﻮﺭﻯ ﻛﻪ ﺍﺯ ﺩﺭ ﺷﻴﺸﻪﺍﻯ ﺗﻮ ﻣﻰﺁﻣﺪ ﺭﺍﺣﺖ ﺍﺯ ﭘﺮﺩﻩ ﻣﻰﮔﺬﺷﺖ‬ ‫ﻭ ﺑﺎﺩﻯ ﻛﻪ ﺍﺯ ﺑﻴﺮﻭﻥ ﺗﻮ ﻣﻰﺁﻣﺪ ﺭﺍﺣﺖ ﺍﺯ ﭘﺮﺩﻩ ﻣﻰﮔﺬﺷﺖ‪ .‬ﻛﺮﻙﻫﺎﻯ ﺭﻭﻯ ﺗﻨﺶ ﺑﻮﺭ ﺍﺯ ﻧﻮﺭ‪ ،‬ﺭﺍﺳﺖ‬ ‫ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻋﻴﻦ ﻓﻮﺍﺭﻩﻫﺎﻯ ﻛﻮﭼﻜﻰ ﺍﺯ ﺁﺏﺟﻮ‪ ،‬ﺍﺯ ﻋﺴﻞ‪ ،‬ﺍﺯ ﻫﻤﻪﺟﺎﻯ ﺗﻨﺶ ﺑﻴﺮﻭﻥ ﻣﻰﭘﺎﺷﻴﺪﻧﺪ‪.‬‬ ‫ﺩﺍﺧﻞ ﻭﺍﻥ ﺷﺪ‪ .‬ﺁﺏ ﻭﻟﺮﻡ ﺑﻮﺩ ﻭ ﺗﻦ ﺩﺧﺘﺮ ﺯﻳﺮ ﻻﻳﻪﻯ ﻛﻒ ﻧﺎﭘﺪﻳﺪ ﺷﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫»ﺳﻌﻰ ﻛﻦ ﺗﻜﻮﻥ ﻧﺨﻮﺭﻯ ﻋﺰﻳﺰﻡ‪ .‬ﺯﻭﺩ ﺗﻤﻮﻡ ﻣﻰﺷﻪ‪«.‬‬ ‫ﻛﻴﻠﻮﻳﻰ ﺁﺷﻨﺎﻳﻰ ﺗﻮ‬ ‫ﻻﻳﻦ ﺳﻪ ﻫﺰﺍﺭ‬ ‫ﺳﺮﺵ ﺭﺍ ﺗﻜﻴﻪ ﺩﺍﺩ ﻭ ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ ﺑﺴﺖ‪ .‬ﺑﺎ ﺿﺮﺑﺎﻧﺶ‪ ،‬ﺑﻴﺲ ِ‬ ‫ِ‬ ‫ﺳﺮﺵ ﻣﻰﭼﺮﺧﻴﺪ‪ .‬ﺑﻌﺪ ﺻﺤﻨﻪ ﺩﺭ ﻧﻈﺮﺵ ﻛﺎﻣﻞ ﺷﺪ‪ .‬ﺁﻣﭙﻠﻰﻓﺎﻳﺮﻫﺎﻳﻰ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﻣﻰﺁﻭﺭﺩ ﻛﻪ ﺭﻭﺩ‬ ‫ﺑﻴﺲ ﺍﺯﺷﺎﻥ ﻣﻰﺭﻳﺨﺖ ﺑﻴﺮﻭﻥ‪ ،‬ﺳﻮﺯﺍﻥ‪ ،‬ﺣﺠﺮﻩﻫﺎﻯ ﻓﺮﻭ ﺭﻓﺘﻪ‪ ،‬ﺯﻳﺮﺯﻣﻴﻦ‪ ،‬ﺩﺭ ﻣﺴﻴﺮﻫﺎﻯ ﻣﺘﺮﻭ‪ ،‬ﺩﺭ ﺷﺐ‬ ‫ﺗﻬﺮﺍﻥ‪ .‬ﺁﺭﻣﺎﻥ ﺭﺍ ﻣﻰﺩﻳﺪ ﺩﺭ ﻧﻮﺟﻮﺍﻧﻰﺍﺵ ﻧﺸﺴﺘﻪ ﺭﻭﻯ ﻣﺒﻞ ﭼﺮﻡ ﻣﺼﻨﻮﻋﻰ ﻣﻘﺎﺑﻞ ﺍﻭ‪ ،‬ﺗﻮ ﺩﺧﻤﻪﺍﻯ‬ ‫ﺯﻳﺮ ﻗﻴﻄﺮﻳﻪ ﺗﻮ ﺗﻮﻧﻞ ﻣﺘﺮﻭ‪ .‬ﺍﻃﺮﺍﻓﺸﺎﻥ ﻫﻴﺎﻛﻞ ﻣﺤﻮ ﻳﻚ ﻋﺎﻟﻢ ﺯﻭﺝ ﺭﻗﺼﺎﻥ‪ ،‬ﺑﺎﻻﻯ ﺳﺮﺷﺎﻥ ﻻﻣﭗ‬ ‫ﺩﻭﻳﺴﺖ ﻭﺍﺕ ﻟﺨﺘﻰ ﺭﻭﺷﻦ ﺑﻮﺩ‪ .‬ﺑﺎﻻ ﺭﻭﻯ ﺣﺸﻴﺶ ﻳﺎ ﻫﻤﭽﻮ ﭼﻴﺰﻯ‪ ،‬ﭘﺴﺮ ﺁﺭﺍﻡ ﺗﻮ ﮔﻮﺵﺍﺵ ﻣﻰﮔﻔﺖ‬ ‫ﺳﻌﻰ ﻛﻦ ﺗﻜﻮﻥ ﻧﺨﻮﺭﻯ ﻋﺰﻳﺰﻡ‪ .‬ﺯﻭﺩ ﺗﻤﻮﻡ ﻣﻰﺷﻪ‪ .‬ﻳﻚ ﻻﻳﻪ ﭘﺮﻭﺗﺰ ﻧﺎﺯﻙ ﺭﻭﻯ ﭘﻮﺳﺖ ﺑﺮﻫﻨﻪﻯ ﺍﻭ‬ ‫ﭘﻴﺴﺘﻮﻝ‬ ‫ﻣﻰﮔﺬﺍﺷﺖ‪ .‬ﭘﺮﻭﺗﺰﻫﺎ ﺭﺍ ﺍﺯ ﺑﺎﻗﻰﻣﺎﻧﺪﻩﻯ ﻛﻠﻴﻨﻴﻚﻫﺎ ﻣﻰﺩﺯﺩﻳﺪﻧﺪ ﻭ ﻋﻴﻦ ﭼﻴﭙﺲ ﻣﻰﺑﺮﻳﺪﻧﺪ‪.‬‬ ‫ِ‬ ‫ﺳﻴﺎﻩﺁﺑﻰﺍﺵ ﺭﺍ ﺍﺯ ﺗﻮ ﺟﻴﺐ ﻛﺎﭘﺸﻨﺶ ﺑﻴﺮﻭﻥ ﻣﻰﺁﻭﺭﺩ‪ .‬ﺗﺎﺑﺶ ﭘﻮﺳﺖ ﻛﻮﺳﻪ‪ .‬ﻓﺸﻨﮓﻫﺎﻳﺶ‪ ،‬ﺑﻰ ﮔﻠﻮﻟﻪ‪،‬‬ ‫ﺗﺎ ﺧﺮﺧﺮﻩ ﭘﺮ ﺍﺯ ﺧﺮﺝ‪ .‬ﻟﻮﻟﻪ ﺭﺍ ﺭﻭﻯ ﭘﺮﻭﺗﺰ ﻣﻰﭼﺴﺒﺎﻧﺪ ﻭ ﺷﻠﻴﻚ ﻣﻰﻛﺮﺩ‪ .‬ﺑﺮﻗﻰ ﻛﻪ ﺍﺯ ﻟﻮﻟﻪ ﻣﻰﭘﺮﻳﺪ‪،‬‬ ‫ﺩﺍﻏﻰ ﺑﺎﺭﻭﺕ‪ ،‬ﻫﻮﺍﻯ ﻓﺸﺮﺩﻩ ﺷﺪﻩ ﻛﻪ ﺷﻠﻴﻚ ﻣﻰﺷﺪ‪ ،‬ﻫﻤﻪﺷﺎﻥ ﻣﻮﻧﺎ ﺭﺍ ﺑﺴﻴﺎﺭ ﺧﻮﺵ ﻣﻰﺁﻣﺪ‪ .‬ﭘﺮﻭﺗﺰ‬ ‫ﻧﻤﻰﮔﺬﺍﺷﺖ ﻛﻪ ﭘﻮﺳﺖ ﻭﺍﻗﻌﺎ ﺑﺴﻮﺯﺩ؛ ﺍﻣﺎ ﺩﺍﻏﻰ ﻏﻴﺮ ﻣﺴﺘﻘﻴﻢ ﻫﻢ ﻛﺸﻨﺪﻩ ﺑﻮﺩ‪ .‬ﺑﻴﺴﺖ ﻭ ﭼﻨﺪ ﺑﺎﺭ ﺍﺯ‬ ‫ﻫﻤﭽﻮ ﺷﻠﻴﻜﻰ‪ ،‬ﻭ ﺑﻌﺪ ﺩﺳﺘﮕﺎﻩ ﻋﺼﺒﻰ ﺁﺩﻡ ﺩﺍﺧﻞ ﺑﻬﺸﺖ ﻣﻰﺷﺪ‪.‬‬ ‫ﺩﺍﻏﻰ ﺻﻔﺤﻪﻫﺎﻯ ﻓﻠﺰ ﺭﺍ ﺭﻭﻯ ﻛﻤﺮﺵ‪ ،‬ﺗﻮ ﺻﻨﺪﻟﻰ ﻣﻄﺐ ﺩﻛﺘﺮ ﺣﺲ ﻣﻰﻛﺮﺩ‪ .‬ﭼﺸﻢﻫﺎ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩ‪.‬‬ ‫ﺗﻬﻰ‬ ‫ﻣﺮﺩﻙ ﺩﻭ ﺗﺎ ﺍﻟﻜﺘﺮﻭﺩ ﭼﺴﺒﻰ ﺑﻪ ﺩﻭ ﺑﺎﺯﻭﻳﺶ ﮔﺬﺍﺷﺖ‪ .‬ﻓﻜﺮ ﻛﺮﺩ ﺟﺮﻳﺎﻥ ﺑﺮﻕ ﺭﺍ ﺗﻮ ﻟﻮﻟﻪﻫﺎﻯ ِ‬ ‫ﺍﺳﺘﺨﻮﺍﻥﻫﺎﻳﺶ ﺣﺲ ﻣﻰﻛﻨﺪ‪ .‬ﺩﻛﺘﺮ ﭘﺎ ﻛﺸﻴﺪ ﻭ ﺭﻓﺖ ﻭ ﻃﺎﻭﻭﺱ ﺑﻴﺮﻭﻥ ﺻﺪﺍﻯ ﺟﻴﻎﻃﻮﺭﺵ ﺭﺍ ﺑﻠﻨﺪ‬ ‫ﻛﺮﺩ‪ .‬ﺳﻪ ﺑﺎﺭ‪ .‬ﺑﺎﻻﻯ ﺳﺮ ﻣﻮﻧﺎ ﭼﺮﺍﻏﻰ ﺭﻭﺷﻦ ﺷﺪ‪ .‬ﺩﻛﺘﺮ ﭘﺎ ﻛﺸﻴﺪ ﻭ ﺑﺮﮔﺸﺖ ﻭ ﺑﺎ ﺧﻮﺩﺵ ﻳﻚ ﺟﻌﺒﻪ‬ ‫ﻛﻮﭼﻚ ﻫﻤﺮﺍﻩ ﺩﺍﺷﺖ‪ .‬ﻣﻮﻧﺎ ﺯﺍﻧﻮﻫﺎﻳﺶ ﺭﺍ ﺑﻪ ﻫﻢ ﭼﺴﺒﺎﻧﺪﻩ ﺑﻮﺩ‪ .‬ﺍﺯ ﺗﻮ ﺟﻌﺒﻪﻫﻪ ﺩﻛﺘﺮ ﺍﺳﭙﺮﻯﺍﻯ‬ ‫ﺑﻴﺮﻭﻥ ﺁﻭﺭﺩ‪ .‬ﺍﺳﭙﺮﻯ ﺩﺭﺍﺯ ﺑﻮﺩ‪ ،‬ﺻﻮﺭﺗﻰ‪ ،‬ﻋﻴﻦ ﺁﻥ ﺩﺧﺘﺮﻫﺎ ﺑﺎ ﻛﺒﻮﺩﻯﻫﺎﻯ ﺩﻭﺭ ﭼﺸﻤﺸﺎﻥ ﻛﻪ ﺗﻮ‬ ‫ﻫﻤﺒﺮﮔﺮﻓﺮﻭﺷﻰﻫﺎﻯ ﺯﻧﺠﻴﺮﻩﺍﻯ ﺟﻤﻠﻪﻫﺎﻯ ﺧﻮﺵﺁﻣﺪﮔﻮﻳﻰ ﺭﺍ ﺣﻔﻆ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻳﻚ ﭼﻴﺰﻯ ﺑﻪ ﺷﺎﻧﻪﻯ‬ ‫ﺩﺭﺩﺁﻟﻮﺩ ﻣﻮﻧﺎ ﺍﺳﭙﺮﻯ ﻛﺮﺩ‪ .‬ﺍﺯ ﺟﻌﺒﻪﻫﻪ ﺩﻭﺑﺎﺭﻩ ﭼﻴﺰﻯ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪ‪ .‬ﻣﺴﻜﻦ ﻣﻐﻨﺎﻃﻴﺴﻰﺍﻯ ﺑﻮﺩ ﺷﺒﻴﻪ‬ ‫ﻳﻚ ﻣﻘﺎﻭﻣﺖ ﻛﻮﭼﻚ‪ ،‬ﺭﻧﮓ ﻟﻮﺑﻴﺎ‪ .‬ﻧﻮﻙ ﭘﺎﻳﻪﻫﺎﻯ ﻛﺸﻴﺪﻩﻯ ﻣﻘﺎﻭﻣﺘﻪ ﺭﺍ ﺭﻭ ﭘﻮﺳﺖ ﻣﻮﻧﺎ ﮔﺬﺍﺷﺖ‪،‬‬ ‫ﻧﺰﺩ���ﻚ ﺷﺎﻧﻪ‪ .‬ﺑﺎ ﺩﺳﺖ ﺩﻳﮕﺮ ﺁﺭﺍﻡ ﺭﻭﻯ ﺩﺳﺖ ﺩﺧﺘﺮﻙ ﺯﺩ‪.‬‬ ‫»ﻫﺮ ﻭﻗﺖ ﻓﻜﺮ ﻛﺮﺩﻯ ﺍﻻﻥ ﭼﺸﻤﺖ ﺳﻴﺎﻫﻰ ﻣﻰﺭﻩ ﺩﺳﺖ ﻋﻤﻮ ﺭﻭ ﻓﺸﺎﺭ ﺑﺪﻩ ﺩﺧﺘﺮﻡ‪ .‬ﺁﺭﻭﻡ ﻫﻢ ﺑﺎﺵ‪.‬‬ ‫ﻳﻪ ﺫﺭﻩ ﺩﺭﺩ ﺩﺍﺭﻩ‪«.‬‬ ‫ﻣﺴﻜﻦ ﺭﺍ ﻓﺸﺎﺭ ﺩﺍﺩ‪ .‬ﭘﺎﻳﻪﻫﺎ ﺩﺍﺧﻞ ﺷﺪﻧﺪ‪ .‬ﻣﻮﻧﺎ ﺩﺳﺖ ﺩﻛﺘﺮ ﺭﺍ ﮔﺮﻓﺖ‪ .‬ﻣﻘﺎﻭﻣﺖ ﺑﻌﺪﻯ ﺩﻭﺑﺎﺭﻩ ﻋﻴﻦ‬ ‫ﻟﻮﺑﻴﺎ ﺑﻮﺩ‪ .‬ﺩﻛﺘﺮ ﺭﻭﻯ ﻣﻮﻧﺎ ﻛﺎﺷﺘﺶ‪ .‬ﻣﻮﻧﺎ ﺩﺳﺘﺶ ﺭﺍ ﻓﺸﺮﺩ‪ .‬ﺑﻌﺪﻯ ﻭ ﺑﻌﺪﻯ‪ .‬ﻫﺠﺪﻩ ﻣﺴﻜﻦ ﺑﻪ ﺻﻒ‪،‬‬ ‫ﻋﻴﻦ ﺩﺳﺘﻪﻯ ﻣﻮﺭﭼﻪﻫﺎ ﺩﺭ ﺁﺭﺍﻳﺶ ﻧﻴﻢﺩﺍﻳﺮﻩﺍﻯ ﺩﻭﺭ ﺷﺎﻧﻪﻯ ﺩﺧﺘﺮﻙ‪ .‬ﺑﻌﺪ ﺩﻭﺑﺎﺭﻩ ﺍﺳﭙﺮﻯ‪ .‬ﺍﻟﻜﺘﺮﻭﺩﻫﺎ‬ ‫‪53‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﺭﻓﺖ ﻭ ﺗﻮ ﺳﺎﻳﻪﺍﻯ ﮔﻢ ﺷﺪ ﻛﻪ ﻣﻮﻧﺎ ﺍﺯﺵ ﺻﺪﺍﻫﻪ ﺭﺍ ﻣﻰﺷﻨﻴﺪ‪ .‬ﭼﺸﻤﺶ ﺑﻪ ﻧﻮﺭ ﺷﺪﻳﺪﻯ ﻛﻪ ﺍﺯ ﺩﺭ‬ ‫ﺗﻮ ﻣﻰﺭﻳﺨﺖ ﺧﻮ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻫﻴﭻﻃﻮﺭ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺩﻛﺘﺮ ﺭﺍ ﺗﻮ ﺳﺎﻳﻪ ﺑﺒﻴﻨﺪ‪ .‬ﺩﻛﺘﺮ ﺗﻮ ﮔﻮﺷﻪﺍﻯ ﻻﻣﭗ‬ ‫ﺳﻔﻴﺪﻯ ﺭﺍ ﺭﻭﺷﻦ ﻛﺮﺩ ﻭ ﺳﺎﻳﻪ ﭘﺮﻳﺪ‪ .‬ﻣﻮﻧﺎ ﻓﻜﺮ ﻛﺮﺩ ﺩﻟﺶ ﺷﻮﺭ ﻣﻰﺯﻧﺪ‪ .‬ﺑﻠﺒﺮﻳﻨﮕﻰ ﺗﻮ ﻣﻌﺪﻩﺍﺵ ﺩﺍﺷﺖ‪.‬‬ ‫ﻻﻣﭗ‪ ،‬ﺑﺎﻻﻯ ﺳﺮ ﻳﻚ ﺩﺳﺘﮕﺎﻩ ﭘﺖ ﺍﺳﻜﻦ ﺧﺎﻛﻰ ﺭﻧﮓ ﺑﻮﺩ‪ .‬ﺑﺮ ﭘﻬﻠﻮﻳﺶ ﺭﻭ ﺩﻳﻮﺍﺭﻩﻫﺎﻯ ﭘﻼﺳﺘﻴﻜﻰ‬ ‫ﺩﺭﺧﺸﺎﻧﺶ ﺣﺮﻭﻑ ﻣﺨﻔﻔﻰ ﺑﻮﺩ ﻛﻪ ﻣﻮﻧﺎ ﺍﺯﺷﺎﻥ ﺳﺮ ﺩﺭ ﻧﻤﻰﺁﻭﺭﺩ‪ :‬ﺱ‪.‬ﺍ‪.‬ﺍ‪.‬ﺝ‪.‬ﺍ‪.‬ﺍ‬ ‫ﺁﻥﺟﺎ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﺍﺯ ﺳﻮﺭﺍﺥ ﮔﺮﺩﺵ ﻭﺳﻂ ﺷﻜﻢ ﺻﺪﺍ ﻣﻰﺩﺍﺩ‪ .‬ﻋﻴﻦ ﻛﺮﮔﺪﻥ ﺷﻜﺎﺭ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﻟَﺨﺖ‬ ‫ﺑﻮﺩ‪ ،‬ﺯﺧﻤﻰ ﺑﻮﺩ؛ ﺍﻣﺎ ﻣﻰﺧﻨﺪﻳﺪ‪ .‬ﺩﻛﺘﺮ ﻛﻨﺎﺭ ﭘﺖ ﺍﺳﻨﻜﻪ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﻣﻐﺮﻭﺭ ﺭﻭ ﺟﺪﺍﺭﻩﻯ ﭘﻼﺳﺘﻴﻜﻰ‬ ‫ﺯﺩ‪ ،‬ﺗﻖﺗﻖ‪ ،‬ﺻﺪﺍﻯ ﺩﺳﺘﮕﺎﻩ ﺩﻭﺑﺎﺭﻩ ﺑﺎﻻ ﻭ ﭘﺎﻳﻴﻦ ﺷﺪ‪.‬‬ ‫»ﺍﻳﻦ ﺭﺧﺶ ﻣﻨﻪ‪ .‬ﻣﮕﻪ ﻧﻪ؟ ﺑﻴﺎ ﺍﻳﻦﺟﺎ ﺩﺧﺘﺮﻡ‪ .‬ﺑﻴﺎ ﺑﺨﻮﺍﺏ ﺍﻳﻦﺟﺎ‪«.‬‬ ‫ﻣﻮﻧﺎ ﺭﺍ ﺭﻭﻯ ﺗﺨﺘﻰ ﺧﻮﺍﺑﺎﻧﺪ ﻛﻪ ﺟﻠﻮﻯ ﺩﻫﺎﻧﻪﻯ ﻛﭙﺴﻮﻝ ﺑﻮﺩ‪ ،‬ﺑﻬﺶ ﺗﺰﺭﻳﻖ ﻛﺮﺩ ﻭ ﻓﺮﻭﺵ ﻛﺮﺩ ﺩﺍﺧﻞ‪.‬‬ ‫ﻣﻮﻧﺎ ﻋﻴﻦ ﻓﺮﻧﻰ ﺗﻮ ﭘﻴﺮﺍﺷﻜﻰ ﺑﻮﺩ‪ .‬ﺳﺮﺵ ﺗﻨﮓ ﺗﻮ ﺣﻔﺮﻩ ﺑﻮﺩ‪ .‬ﺣﺲ ﻛﺮﺩ ﺩﻛﺘﺮ ﻛﻔﺶﻫﺎﻳﺶ ﺭﺍ ﺍﺯ‬ ‫ﭘﺎﻳﺶ ﻣﻰﻛﻨﺪ‪ .‬ﭘﺎﻫﺎﻳﺶ ﻋﺮﻕ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﺑﺎﺩ ﺧﻨﻜﺸﺎﻥ ﻣﻰﻛﺮﺩ‪ .‬ﺧﺠﺎﻟﺖ ﻛﺸﻴﺪ ﻣﺒﺎﺩﺍ ﭘﺎﻫﺎﻳﺶ ﺑﻮ‬ ‫ﺑﺪﻫﻨﺪ‪ .‬ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ ﻣﺤﻜﻢ ﺑﺴﺖ‪ .‬ﺍﺯ ﺍﻳﻦ ﺗﻮ ﻭ ﺣﺎﻻ‪ ،‬ﻧﺎﻟﻪﻯ ﺩﺳﺘﮕﺎﻩ ﻣﺘﻐﻴﺮ ﺑﻮﺩ‪ .‬ﺑﻌﺪ ﺩﻛﺘﺮ ﺩﺍﺷﺖ‬ ‫ﻣﻰﻛﺸﻴﺪﺵ ﺑﻴﺮﻭﻥ‪ .‬ﺭﻭﻯ ﺗﺨﺖ ﻧﺸﺴﺖ‪ .‬ﻛﻔﺶﻫﺎﻳﺶ ﭘﺎﻳﻴﻦ ﭘﺎﻳﺶ ﺑﻮﺩﻧﺪ‪ .‬ﭘﺎﻫﺎﻳﺶ ﺭﺍ ﻋﻴﻦ ﺩﺳﺘﻪﻯ‬ ‫ﻣﻠﻮﺍﻥﻫﺎ ﻛﻪ ﻣﻰﺭﻭﻧﺪ ﺗﻮ ﻛﺸﺘﻰ‪ ،‬ﻛﺮﺩ ﺗﻮ ﻛﻔﺶ‪.‬‬ ‫»ﭼﻪ ﭘﺎﻫﺎﻯ ﻧﺎﺯ ﻛﻮﭼﻮﻟﻮﻳﻰ ﺩﺍﺭﻩ ﻋﻤﻮ ﺟﺎﻥ‪«.‬‬ ‫ﺩﻛﺘﺮ ﺭﺍ ﻣﻰﺩﻳﺪ ﻛﻪ ﭘﺸﺖ ﻣﺎﻧﻴﺘﻮﺭﻯ ﻋﻘﺐ ﻛﭙﺴﻮﻝ ﺧﻢ ﺷﺪﻩ‪ .‬ﻻﻣﭙﻪ ﺧﺎﻣﻮﺵ ﺷﺪ‪ .‬ﺑﺎﻻﻯ ﺳﺮ‪ ،‬ﺟﺮﻗﻪﻯ‬ ‫ﺁﺑﻰ ﺍﻟﻜﺘﺮﻳﺴﻴﺘﻪ ﺳﻘﻒ ﺭﺍ ﻟﺤﻈﻪﺍﻯ ﺭﻭﺷﻦ ﻛﺮﺩ‪ .‬ﻣﻮﻧﺎ ﭘﺘﻮﻳﻰ ﺭﺍ ﻣﻰﺩﻳﺪ ﻛﻪ ﻛﺎﺑﻞﻫﺎ ﺭﻭ ﺳﻘﻒ ﺑﺎﻓﺘﻪ‬ ‫ﺑﻮﺩﻧﺪ‪ .‬ﻳﺎﺭﻭ ﺍﺯ ﭘﺸﺖ ﻣﺎﻧﻴﺘﻮﺭ ﺑﻴﺮﻭﻥ ﺁﻣﺪ‪ .‬ﻣﻮﻧﺎ ﺭﺍ ﺑﻪ ﺩﻗﺖ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﻫﺮ ﺩﻭ ﺗﺎﻳﺸﺎﻥ ﺗﻮ ﺳﺎﻳﻪ ﺍﻳﺴﺘﺎﺩﻩ‬ ‫ﺑﻮﺩﻧﺪ‪ .‬ﺩﻛﺘﺮ ﺭﻓﺖ ﻃﺮﻑ ﻭﺍﻥ‪.‬‬ ‫»ﭼﻴﺰ ﺧﺎﺻﻰ ﻧﻴﺴﺖ‪ .‬ﺷﻮﻧﻪﺍﺕ ﺭﻭ ﻣﻰﮔﻢ‪ .‬ﭼﻴﺰﻯ ﻧﻴﺴﺖ ﻛﻪ ﻧﺸﻪ ﺭﺍﺳﺘﺶ ﻛﺮﺩ؛ ﺍﻣﺎ ﭼﻨﺪ ﺭﻭﺯﻯ ﺑﺎﻳﺪ‬ ‫ﺑﺨﻮﺍﺑﻰ‪ .‬ﻫﺎﻥ؟ ﺍﻻﻥ ﻛﻪ ﺑﻌﻴﺪﻩ ﺑﺘﻮﻧﻰ‪«.‬‬ ‫ﮔﻔﺖ ﺑﺒﺨﺸﻴﺪ ﻭ ﺷﻴﺮﻓﻠﻜﻪﻯ ﺯﻭﻟﺒﻴﺎﺷﻜﻠﻰ ﺭﺍ ﻛﻨﺎﺭ ﻭﺍﻥ ﺑﺎﺯ ﻛﺮﺩ‪ .‬ﮔﻔﺖ ﻛﻔﺸﺎﺕ ﺭﻭ ﺩﺭ ﺑﻴﺎﺭ ﺑﺬﺍﺭﺷﻮﻥ‬ ‫ﺑﺎﻻ ﻛﻪ ﺧﻴﺲ ﻧﺸﻦ‪.‬‬ ‫ﻣﻮﻧﺎ ﺁﺏ ﺭﺍ ﻣﻰﺩﻳﺪ ﻛﻪ ﺍﺯ ﺣﻔﺮﻩﻫﺎﻳﻰ ﺭﻳﺰ ﺭﻭﻯ ﻛﻒ ﺳﺮﺍﻣﻴﻜﻰ‪ ،‬ﺁﺭﺍﻡ ﺍﻧﮕﺎﺭ ﺍﺯ ﺯﻳﺮ ﺗﺎﻭﻝ‪ ،‬ﺑﻴﺮﻭﻥ ﻣﻰﺁﻣﺪ‪.‬‬ ‫ﺻﻨﺪﻟﻰ ﻭﺳﻂ ﻣﻄﺐ ﺍﻳﺴﺘﺎﺩ‪ .‬ﺟﺎﻳﻰ ﺑﻮﺩ‬ ‫ﺳﺮﺧﻰ ﮔِﻞ ﻭ ﺯﻧﮓ ﺁﻫﻦ ﺗﻮ ﺁﺏ ﺑﻮﺩ ﻭ ﺩﻛﺘﺮ ﺭﻓﺖ ﻛﻨﺎﺭ‬ ‫ِ‬ ‫ﻛﻪ ﻛﻒ ﺍﺯ ﻫﻤﻪ ﻃﺮﻑ ﺑﻪ ﺳﻤﺘﺶ ﮔﻮﺩ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺯﻳﺮ ﭘﺎﻳﻪﻫﺎﻯ ﺻﻨﺪﻟﻴﻪ ﺣﻔﺮﻩﺍﻯ ﺑﻮﺩ ﻛﻪ ﺣﺎﻻ ﺁﺏ‬ ‫ﺑﻬﺶ ﻣﻰﺭﻳﺨﺖ‪ .‬ﺁﺏ ﻣﻰﺳﺮﻳﺪ ﻭ ﺗﻮ ﺣﻔﺮﻩﻯ ﭘﺎﻯ ﺻﻨﺪﻟﻰ ﻣﻰﺭﻳﺨﺖ‪ .‬ﺭﻭﻯ ﺻﻨﺪﻟﻰ ﻧﺸﺴﺖ‪ .‬ﺩﻛﺘﺮ‬ ‫ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ ﺑﺎ ﺗﺴﻤﻪﻫﺎﻯ ﭼﺮﻣﻰ ﺑﺴﺖ ﻭ ﺳﺮﺵ ﺭﺍ ﺗﻮ ﺩﻝ ﺑﺴﺘﻰ ﮔﺬﺍﺷﺖ ﻛﻪ ﭘﺸﺖ ﮔﺮﺩﻧﺶ ﺑﻮﺩ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺑﻮﺩ ﺑﻪ ﺭﻏﻢ ﮔﺮﻣﺎ‪ .‬ﺩﻫﺎﻧﺶ‪ ،‬ﮔﺸﺎﺩ‪ ،‬ﺑﺪ ﺭﻧﮓ‪ ،‬ﺑﺎﺯ‪ ،‬ﻣﻤﻠﻮ ﺍﺯ ﺩﻧﺪﺍﻥﻫﺎ ﺑﺎ ﺳﻴﻢ ﺍﺭﺗﻮﺩﻧﺴﻰﺷﺎﻥ‪ ،‬ﻣﻨﻈﺮﻩﻯ‬ ‫ﭘﺎﺭﻛﻴﻨﮓ ﻃﺒﻘﺎﺗﻰ ﮔﻨﺪﻩﺍﻯ ﺩﺍﺷﺖ ﻭ ﭘﻴﺶﺑﻨﺪ ﺳﻮﺭﻣﻪﺍﻯ ﭼﺮﻛﻰ ﺑﺴﺘﻪ ﺑﻮﺩ‪ .‬ﻋﻴﻨﻜﺶ ﮔﺮﺩ ﻭ ﻛﻮﭼﻚ‬ ‫ﺑﻮﺩ ﻭ ﺗﻨﺶ ﮔﻨﺠﺸﻚﻭﺍﺭ‪ ،‬ﺩﺭ ﻫﻢ ﺭﻓﺘﻪ‪ .‬ﻣﻮﻧﺎ ﻓﻬﻤﻴﺪ ﻛﻪ ﺑﻪ ﺟﺎﻳﺶ ﻧﻴﺎﻭﺭﺩﻩ‪ .‬ﺩﺳﺖ ﺭﻭﻯ ﺟﻨﺎﻕ‬ ‫ﺳﻴﻨﻪﺍﺵ ﮔﺬﺍﺷﺖ‪ .‬ﺩﺳﺘﺶ ﺍﺯ ﺗﻨﺶ ﺧﻨﻚﺗﺮ ﺑﻮﺩ‪.‬‬ ‫»ﻣﻮﻧﺎﻡ ﺁﻗﺎﻯ ﺩﻛﺘﺮ‪ .‬ﺩﺧﺘﺮ ﻧﺎﺩﺭ‪ .‬ﻳﺎﺩﺗﻮﻧﻪ؟«‬ ‫ﺩﻛﺘﺮ ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ ﻋﻴﻦ ﺩﻭ ﺗﺎ ﺑﭽﻪﻯ ﺭﻳﻘﻮ ﺑﺎﻻ ﺁﻭﺭﺩ ﻭ ﺧﻨﺪﻳﺪ ﻭ ﮔﻔﺖ ﻛﻪ ﺍﻟﺒﺘﻪ ﺍﻟﺒﺘﻪ‪ .‬ﺑﻪ ﻧﻈﺮﻡ ﺍﻭﻣﺪ‬ ‫ﻛﻪ ﺁﺷﻨﺎﻳﻰ ﻋﺰﻳﺰﻡ‪ .‬ﻭ ﮔﻔﺖ ﻛﻪ ﺣﺎﻻ ﭼﻪ ﻛﺎﺭﻯ ﺍﺯ ﺩﺳﺘﺶ ﺑﺮ ﻣﻰﺁﻳﺪ؟ ﻧﻜﻨﺪ ﭘﺪﺭ ﻃﻮﺭﻯﺷﺎﻥ ﺷﺪﻩ‪.‬‬ ‫»ﻧﻪ ﺁﻗﺎ‪ .‬ﺑﺎﻳﺪ ﺑﺮﻡ ﻳﻪ ﻛﺴﻰ ﺭﻭ ﺑﺒﻴﻨﻢ‪ .‬ﺗﻮ ﺣﺮﺍ‪ .‬ﺁﻫﺎﻥ؟؛ ﺍﻣﺎ ﺷﻮﻧﻪﺍﻡ ﺧﻴﻠﻰ ﺩﺭﺩ ﻣﻰﻛﻨﻪ‪«.‬‬ ‫ﺩﻛﺘﺮ ﻭﺳﻂﻫﺎﻯ ﺣﺮﻓﺶ‪» :‬ﭼﻄﻮ؟«‬ ‫»ﺍﻳﻦ ﺯﺧﻢ ﺭﻭ ﺻﻮﺭﺗﻢ ﻫﻢ ﺁﻗﺎﻯ ﺩﻛﺘﺮ ﻓﻚ ﻛﻨﻢ ﻛﺜﻴﻒ ﺷﺪﻩ‪ .‬ﭼﻴﺰﻯ ﻧﻴﺴﺖﻫﺎ؛ ﺍﻣﺎ ﻣﻰﺧﺎﺭﻩ ﺧﻴﻠﻰ‪.‬‬ ‫ﺩﻭﺷﺒﻪ ﻛﻪ ﻧﺨﻮﺍﺑﻴﺪﻡ‪«.‬‬ ‫ﺩﻛﺘﺮ ﻭﺳﻂﻫﺎﻯ ﺣﺮﻓﺶ‪» :‬ﺑﺎﺑﺖ ﺯﺧﻢ؟ ﺍﻯ ﺑﺎﺑﺎ ﺩﺧﺘﺮ ﺟﻮﻧﻢ‪«.‬‬ ‫ﺯﺧﻢ ﺷﻼﻗﻪ ﺭﻭﻯ ﮔﻮﻧﻪﺍﺵ ﺣﺴﺎﺑﻰ ﺧﺎﺭﺵ ﺩﺍﺷﺖ‪ .‬ﻋﻴﻦ ﻛﺮﻓﺲ ﺳﺮﺧﻰ ﺩﺭﺁﻣﺪﻩ ﺑﻮﺩ‪ ،‬ﺭﺷﺘﻪﺭﺷﺘﻪ ﻭ‬ ‫ﺩﻭﺭﺵ ﻫﻤﻪﭼﻴﺰ ﻭﺭﻡ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻣﻰﺗﺮﺳﻴﺪ ﺑﺨﺎﺭﺍﻧﺪﺵ‪ .‬ﺩﻛﺘﺮ ﻃﺮﻓﺶ ﺁﻣﺪ‪ .‬ﺑﺎ ﺑﻮﻯ ﺗﻮ ﻣﺨﺶ‪ .‬ﺻﻮﺭﺗﺶ‬ ‫ﺭﺍ ﻃﺮﻑ ﻧﻮﺭ ﮔﺮﻓﺖ‪ .‬ﺑﻪ ﻛﻨﺎﺭﻩﻫﺎﻯ ﺯﺧﻢ ﺩﺳﺖ ﻛﺸﻴﺪ‪ .‬ﺍﻧﮕﺸﺖﻫﺎﻳﺶ ﻳﻚﻗﺪﺭﻯ ﺧﻴﺲ ﺑﻮﺩﻧﺪ ﻭ ﻣﻮﻧﺎ‬ ‫ﺧﻮﺵﺍﺵ ﻣﻰﺁﻣﺪ‪ .‬ﺯﻳﺮ ﭼﺸﻤﻰ ﺑﺎﺯ ﺑﻪ ﻃﺎﻭﻭﺳﻪ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﺑﻪ ﻣﮕﺲﻫﺎ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺩﻛﺘﺮ ﮔﻔﺖ ﻛﻪ ﺯﺧﻢ‬ ‫ﺭﺍ ﺑﺮﺍﻳﺶ ﺧﻮﺍﻫﺪ ﺷﺴﺖ ﻭ ﻳﻚ ﻧﮕﺎﻫﻰ ﺑﻪ ﺷﺎﻧﻪﺍﺵ ﺧﻮﺍﻫﺪ ﺍﻧﺪﺍﺧﺖ؛ ﻭﻟﻰ ﺑﺮﺍﻯ ﻛﺸﺘﻦ ﺑﻰﺧﻮﺍﺑﻰ ﻓﻘﻂ‬ ‫ﺁﻣﻔﺘﺎﻣﻴﻦ ﺩﺍﺭﺩ‪ .‬ﮔﻔﺖ ﺍﮔﺮ ﺗﺎ ﺣﺎﻻ ﺁﻣﻔﺘﺎﻣﻴﻦ ﺑﺮﻧﺪﺍﺷﺘﻪ‪ ،‬ﺑﻪ ﺧﻮﺩﺵ ﺍﺟﺎﺯﻩ ﻧﻤﻰﺩﻫﺪ ﻛﻪ ﺑﻪ ﺩﺧﺘﺮﻙ‬ ‫ﺁﻣﻔﺘﺎﻣﻴﻦ ﺑﺪﻫﺪ‪ .‬ﺑﻌﺪ ﺍﻭ ﻫﻢ ﺑﻪ ﻃﺎﻭﻭﺳﻪ ﻧﮕﺎﻩ ﻛﺮﺩ‪.‬‬ ‫»ﺧﻮﺑﻪ‪ .‬ﻫﺎ؟ ﺑﻬﺘﺮ ﺍﺯ ﺗﺎﺑﻠﻮﺋﻪ‪ .‬ﻫﺮ ﻧﺎﻛﺴﻰ ﺑﺒﻴﻨﻪ ﻛﻪ ﻣﻦ ﺍﻳﻦﺟﺎ ﭼﻰ ﻣﻰﺗﻮﻧﻢ ﺳﺮ ﻫﻢ ﻛﻨﻢ‪ ،‬ﺑﺪﻭ ﻣﻴﺎﺩ‬ ‫ﺍﻳﻦﺟﺎ‪ .‬ﺩﻳﮕﻪ ﭘﺎ ﻧﻤﻰﺷﻪ ﺑﺮﻩ ﺗﻮ ﺯﻳﺮﺯﻣﻴﻦ ﭘﻴﺶ ﺍﻭﻥ ﭘﺪﺭﺳﻮﺧﺘﻪﻫﺎ‪ .‬ﻧﻪ؟ ﻣﻦ ﻛﻪ ﻧﻤﻰﺭﻡ ﭘﻴﺶ ﺍﻭﻧﺎ‪ .‬ﺗﻮ‬ ‫ﻫﻢ ﻧﻤﻰﺭﻯ‪«.‬‬ ‫ﻃﺎﻭﻭﺳﻪ ﺭﻭﻯ ﻭﻳﺘﺮﻳﻦ ﻓﻠﺰﻳﺶ ﺟﻴﻐﻰ ﻛﺸﻴﺪ‪.‬‬ ‫»ﺑﻠﻪ‪«.‬‬ ‫»ﺍﻩ ﺩﺧﺘﺮ ﺟﻮﻥ‪ .‬ﺧﻴﺎﻝ ﻧﻜﻦ ﻧﻤﻰﺩﻭﻧﻢ ﺗﻮ ﭼﻪ ﻓﻜﺮﻯ ﻫﺴﺘﻰ‪ .‬ﺗﻮ ﻓﻜﺮ ﺯﺧﻤﻪﺍﻯ‪ .‬ﻫﻤﻪ ﻫﻤﻴﻦ ﺭﻭ‬ ‫ﻣﻰﮔﻦ‪ .‬ﻣﻦ ﺑﺎﻳﺪ ﺑﮕﻢ ﻛﻪ ﭼﻰ ﺑﻬﺘﺮ ﺍﺯ ﺯﺧﻢ ﻧﺸﻮﻥ ﻣﻰﺩﻩ ﺣﻴﻮﻭﻥ ﭼﻘﺪﺭ ﻭﺍﻗﻌﻴﻪ؟ ﻧﻪ؟«‬ ‫»ﺑﻠﻪ‪«.‬‬ ‫»ﺍﻩ ﺩﺧﺘﺮ ﺟﻮﻥ‪ .‬ﺧﻴﺎﻝ ﻧﻜﻦ‪ .‬ﻣﻰﺩﻭﻧﻢ؛ ﺍﻣﺎ ﺣﻴﻮﻭﻥ ﻫﻴﭽﻰ ﺣﺲ ﻧﻤﻰﻛﻨﻪ‪ .‬ﺣﺎﻻ ﺑﻴﺎ‪ .‬ﺑﻴﺎ ﺍﻳﻦﺟﺎ ﻋﻤﻮ‬ ‫ﺟﺎﻥ‪«.‬‬ ‫‪51‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﺩﺍﺭﻭ ﺩﺭ ﻃﺒﻘﻪﻃﺒﻘﻪﻯ ﺩﻳﻮﺍﺭ ﺭﻭﺑﻪﺭﻭ‪ ،‬ﺭﻭ ﺳﻔﻴﺪﻯِ ﻳﻮﻧﻮﻟﻴﺖ‪ ،‬ﻛﺮﺧﺖ‪ ،‬ﺗﺎﺑﺴﺘﺎﻧﻰ‪ ،‬ﺳﺎﻛﺖ‪ ،‬ﺳﺮﮔﻴﺠﻪﺁﻭﺭ‪.‬‬ ‫ﺩﺭ ﺫﻭﺯﻧﻘﻪﻯ ﺑﺰﺭگ ﺳﻴﺎﻫﻰ ﻛﻪ ﺳﺎﻳﻪﻯ ﭼﻬﺎﺭﭼﻮﺏ ﺩﺭ‪ ،‬ﺗﻮ ﺍﺗﺎﻕ ﻭﻟﻮ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﭼﻨﺪﺗﺎﻳﻰ ﺍﻝﺍﻯﺩﻯ‬ ‫ﻛﻮﭼﻮﻟﻮ ﻣﻰﺩﻳﺪ ﻛﻪ ﺳﻮ ﻣﻰﺯﻧﻨﺪ‪ .‬ﺍﺯ ﺗﺎﺭﻳﻜﻰ ﺻﺪﺍﻯ ﻣﺪﺍﻭﻣﻰ ﻣﻰﺁﻣﺪ‪ .‬ﭼﻴﺰﻯ ﺁﻥﺟﺎ ﺑﻮﺩ‪ ،‬ﺧﻴﻠﻰ‬ ‫ﻣﺤﻴﻄﻰ ﻳﻚ ﻧﻜﺒﺘﻰ ﺭﺍ ﻧﺸﺴﺘﻪ ﺗﻮ ﺳﺎﻳﻪ ﻣﻰﺩﻳﺪ؛ ﺍﻣﺎ ﺻﺪﺍﻳﺶ‪ ،‬ﻭﺍﺿﺢ‪ ،‬ﻫﻤﻪﻯ ﻧﻮﺳﺎﻥ‬ ‫ﻣﺤﻮ ﺧﻄﻮﻁ‬ ‫ِ‬ ‫ﻋﺼﺐﻫﺎﻳﺶ ﺭﺍ ﺗﺸﺪﻳﺪ ﻣﻰﻛﺮﺩ‪ .‬ﺗﺪﺍﻭﻡ ﺟﺎﺩﻭﻛﻨﻨﺪﻩﻯ ﺻﺪﺍﻯ ﺑﻢ‪ ،‬ﻋﻴﻦ ﺍﻣﻮﺍﺝ ﺿﺒﻂﺷﺪﻩﻯ ﻓﺮﺷﺘﻪﺍﻯ‬ ‫ﺭﻭﻯ ﻛﺎﺳﺖ ﻣﻐﻨﺎﻃﻴﺴﻰ‪ ،‬ﺭﻭﻯ ﺩﻭﺭ ﻛﻨﺪ‪ ،‬ﻣﺎﺷﻴﻨﻰ ﻭ ﺗﻮﺃﻣﺎﻥ ﺍﺯ ﺟﻬﺎﻥ ﺍﺭﻭﺍﺡ‪ .‬ﻳﻚ ﺑﺎﺭ ﺩﻳﮕﺮ ﺻﺪﺍ ﻛﺮﺩ‪.‬‬ ‫ﺷﻞ ﺷﺪ‪ .‬ﻓﻜﺮ ﻛﺮﺩ ﺣﺎﻻ ﺧﻮﺍﻫﺪ ﺍﻓﺘﺎﺩ‪ .‬ﻛﻨﺎﺭ ﺩﺭ‪ ،‬ﺭﻭ ﺑﻪ ﺑﻴﺮﻭﻥ‪ ،‬ﺑﻪ ﭼﻬﺎﺭﭼﻮﺏ ﺗﻜﻴﻪ ﺩﺍﺩ ﻭ ﭘﺮﻧﺪﻩﻫﻪ ﺭﺍ‬ ‫ﺗﻤﺎﺷﺎ ﻛﺮﺩ‪ .‬ﻳﻚ ﻛﻤﻰ ﺑﻌﺪ ﺍﺯ ﭘﺸﺖ ﺍﺗﺎﻗﻚ ﭘﻴﺮﻣﺮﺩ ﻓﺮﺑﻬﻰ ﻇﺎﻫﺮ ﺷﺪ‪ .‬ﺯﻧﺒﻴﻞ ﺧﺮﻳﺪ ﺗﺨﻤﻰﺍﻯ ﺩﺍﺷﺖ‪،‬‬ ‫ﺧﺎﻟﻰ‪ ،‬ﻛﻪ ﺗﻮﻳﺶ ﺧﻨﻜﻰ ﺟﻤﻊ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺑﺎﻻﭘﻮﺵ ﺑﺎﻓﺘﻨﻰ ﺳﻮﺭﻣﻪﺍﻯ ﭘﻮﺷﻴﺪﻩ ﺑﻮﺩ ﻭ ﺩﻛﻤﻪﻫﺎﻳﺶ‬ ‫ﺭﺍ ﻧﻨﺪﺍﺧﺘﻪ ﺑﻮﺩ ﻭ ﺳﺮ ﺯﺍﻧﻮﻫﺎ ﺷﻠﻮﺍﺭﺵ ﺑﺮﻕ ﻣﻰﺯﺩ‪ .‬ﻣﻰﺧﻮﺍﺳﺖ ﺩﺍﺧﻞ ﺑﺸﻮﺩ ﭼﻮﻥ ﺩﻛﺘﺮ ﺗﻮ ﻣﻄﺒﺶ‬ ‫ﺟﻴﺮﻩﻯ ﻛﺮﻩ ﺗﻮﺿﻴﻊ ﻣﻰﻛﺮﺩ؛ ﺍﻣﺎ ﺩﺭ ﻋﻮﺽ ﺍﻳﺴﺘﺎﺩ ﻭ ﺧﻴﺮﻩ ﺑﻪ ﻣﻮﻧﺎ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺻﻮﺭﺗﺶ ﺭﺍ ﺗﺎﺯﻩ ﺍﺻﻼﺡ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻣﻮﻳﺮگﻫﺎﻳﺶ ﺗﺤﺮﻳﻚ ﺷﺪﻩ‪ ،‬ﻋﻴﻦ ﺷﻠﻨﮕﻰ ﻛﻪ ﺗﻮﺵ ﺧﻴﻠﻰ ﺁﺏ ﻫﺴﺖ ﺁﻣﺎﺩﻩ ﺑﻮﺩﻧﺪ ﺍﺯ ﺟﺎ‬ ‫ﺩﺭ ﺑﺮﻭﻧﺪ‪ .‬ﺳﺮﻯ ﺗﻜﺎﻥ ﺩﺍﺩ‪.‬‬ ‫»ﻫﻤﻪﺗﻮﻥ ﺧﻮﺩﺗﻮﻥ ﺭﻭ ﻣﻰﻛﺸﻴﻦ‪ .‬ﺍﻳﻦﺟﺎ ﺩﻳﮕﻪ ﻛﺠﺎﺱ ﻳﺎ ﺁﻗﺎﻳﻮﻥ ﻣﻘﺪﺳﻴﻦ‪ .‬ﭼﻰ ﻛﺎﺭ ﻛﺮﺩﻥ ﺑﺎ ﺍﻳﻨﺎ؟«‬ ‫ﺩﻭﺑﺎﺭﻩ ﺳﺮ ﺗﻜﺎﻥ ﺩﺍﺩ‪ .‬ﺣﺮﻑ ﻛﻪ ﻣﻰﺯﺩ ﻣﻮﻧﺎ ﺩﺭﺧﺸﺶ ﻛﺎﺷﺖﻫﺎﻯ ﻃﻼﻳﻰ ﺭﺍ ﺗﻮ ﺩﻧﺪﺍﻥﻫﺎﻳﺶ ﻣﻰﺩﻳﺪ‪.‬‬ ‫ﺩﻭ ﺗﺎ ﭼﻴﭗ ﻣﺨﺘﻠﻒ ﺩﺭ ﺩﻭ ﻃﺮﻑ‪ .‬ﻳﻜﻰ ﻭﺿﻌﻴﺖ ﺳﻼﻣﺘﺶ ﺭﺍ ﻣﻰﺳﻨﺠﻴﺪ ﻭ ﺩﻳﮕﺮﻯ ﻣﺴﺌﻮﻝ ﺍﻭﺗﺎﻧﺎﺯﻯ‬ ‫ﺑﻮﺩ‪ .‬ﻓﻜﺮ ﻛﺮﺩ ﻻﺑﺪ ﺩﻛﺘﺮ ﺑﺮﺍﻳﺶ ﺗﻬﻴﻪ ﺩﻳﺪﻩ‪ .‬ﻛﺮﻩ ﺭﺍ ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺭﺍﻫﺶ ﺭﺍ ﻛﺸﻴﺪ ﻛﻪ ﺑﺮﻭﺩ‪.‬‬ ‫ﻣﻮﻧﺎ ﺑﺎﺯ ﻣﺘﻮﺟﻪ ﻃﺎﻭﻭﺱ ﺷﺪ‪ .‬ﺗﻮ ﺳﺮ ﺩﺭ ﺍﺗﺎﻗﻚ‪ ،‬ﺟﺎﻯ ﺗﺎﺑﻠﻮﻯ ﻣﻄﺐ‪ ،‬ﺑﺎ ﺩﺍﺭﺑﺴﺖﻫﺎ ﺍﻳﻮﺍﻧﻜﻰ ﺩﺭﺳﺖ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺑﺮ ﺍﻳﻮﺍﻥ ﭘﺮﻧﺪﻩﻫﻪ ﺟﻮﻻﻥ ﻣﻰﺩﺍﺩ‪ .‬ﺧﻮﺩﺵ ﺭﺍ ﻋﻴﻦ ﺁﭼﺎﺭ ﺑﺎﺯ ﻭ ﺑﺴﺘﻪ ﻣﻰﻛﺮﺩ ﻭ ﺑﺴﻴﺎﺭ‬ ‫ﭼﻨﺪﺭﻧﮓ ﺑﻮﺩ ﻭ ﺭﻭﻯ ﺷﻤﻜﺶ‪ ،‬ﻃﺮﻑ ﭼﭗ‪ ،‬ﺯﺧﻢ ﺳﻄﺤﻰ ﺑﺰﺭﮔﻰ ﺩﺍﺷﺖ‪ .‬ﺯﺧﻢ ﺗﺎﺯﻩ ﺑﻮﺩ‪ .‬ﻣﻮﺣﺶ‪،‬‬ ‫ﻋﻴﻦ ﻛﻮﺭﻩ ﻣﻰﺳﻮﺧﺖ‪ ،‬ﻋﻴﻦ ﻣﻴﺰ ﻗﻤﺎﺭ ﺻﺎﻑ ﻭ ﺟﮕﺮﻯ ﺑﻮﺩ ﻭ ﺩﻭﺭﺵ ﺩﺳﺘﻪﻯ ﻣﮕﺲﻫﺎ ﻣﻰﭼﺮﺧﻴﺪﻧﺪ‪.‬‬ ‫ﺧﻮﺍﺏِ ﺧﻮﺍﺏ ﺑﻮﺩ ﻭ ﭘﺮﻧﺪﻩ ﺭﻭﻳﺎﮔﻮﻧﻪ‪ .‬ﻫﻤﻴﻦ ﻭﻗﺖ ﺑﻮﺩ ﻛﻪ ﺑﻮﻯ ﺷﺪﻳﺪ ﺳﻮﭘﺮﻣﺎﺭﻛﺖ ﺗﻮ ﺳﺮﺵ ﺩﻭﻳﺪ‪.‬‬ ‫ﺑﺨﺶ ﻣﺨﺼﻮﺹ ﻣﻮﺍﺩ ﺷﻮﻳﻨﺪﻩﻯ ﻭ ﺍﺳﺎﻧﺲ ﺳﻴﺐ‪ .‬ﺍﺯ ﺁﻥ ﺑﻮ ﻣﺘﻨﻔﺮ ﺑﻮﺩ‪ .‬ﺍﺯ ﺧﻮﺍﺏ ﭘﺮﺍﻧﺪﺵ‪ .‬ﺍﺯ‬ ‫ﺑﻮﻯ‬ ‫ِ‬ ‫ﭘﺸﺖ ﺳﺮﺵ ﺳﺮﺁﺧﺮ ﺻﺪﺍﻯ ﺩﻛﺘﺮ ﺭﺍ ﺷﻨﻴﺪ‪ .‬ﺧﻴﻠﻰ ﻣﻌﻄﻠﺶ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫»ﺩﺭ ﺧﺪﻣﺘﻢ ﺩﺧﺘﺮﻡ‪«.‬‬ ‫ﺑﻮ ﺍﺯ ﺩﻛﺘﺮ ﺑﻠﻨﺪ ﺑﻮﺩ‪.‬‬ ‫»ﺳﻼﻡ‪ .‬ﺑﺒﺨﺸﻴﻦ‪ .‬ﺑﺪ ﻣﻮﻗﻌﻴﻪ؟«‬ ‫»ﻧﻪ ﺩﺧﺘﺮﺟﺎﻥ ﻫﺴﺘﻢ ﺩﺭ ﺧﺪﻣﺖﺍﺕ‪«.‬‬ ‫ﺑﻴﺮﻭﻥ ﺑﺮﻫﻮﺕ ﺩﺭ ﺍﻳﻦ ﻧﺎﺣﻴﻪ ﺍﺯ ﺷﻬﺮ ﺑﻪ ﺭﻧﮓ ﻛﺒﻮﺗﺮ ﺑﻮﺩ ﻭ ﺩﻛﺘﺮ ﻛﺖ ﻭ ﺟﻠﻴﻘﻪﻯ ﻛﻠﻔﺘﻰ ﭘﻮﺷﻴﺪﻩ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺍﻃﺮﺍﻓﺶ ﺗﻮ ﺯﻳﺮﺯﻣﻴﻦ ﭘﺮ ﺑﻮﺩ ﺍﺯ ﭼﻴﺰﻫﺎﻯ ﻧﻮﻙ ﺗﻴﺰ؛ ﻗﺎﻟﺐﻫﺎﻯ ﻳﺦ‪ ،‬ﻗﻼﺏﻫﺎ‪ ،‬ﮔﻮﺷﻪﻯ ﻛﺘﺎﺏﻫﺎﻯ‬ ‫ﺑﺰﺭگ‪ ،‬ﺑﻠﻮﻙﻫﺎ‪ .‬ﺑﺮﺍﻯ ﻟﺤﻈﻪﺍﻯ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺖ ﭘﻴﺸﺎﻧﻰ ﻣﺮﺩﻙ ﺭﺍ ﺗﻮ ﻳﻜﻰ ﺍﺯ ﺍﻳﻦﻫﺎ ﻓﺮﻭ ﺑﻜﻮﺑﺪ‪.‬‬ ‫ﻧﻤﻰﺧﻮﺍﺳﺖ ﻣﺸﺘﺮﻯ ﺁﻥ ﺑﺎﻻ ﺻﺪﺍﻯ ﺗﻘﻼ ﻛﺮﺩﻥ ﺑﺸﻨﻮﺩ‪ .‬ﺑﻌﺪ ﺑﻪ ﺻﺪﺍﻯ ﺷﻜﺴﺘﻦ ﺍﺳﺘﺨﻮﺍﻥ ﻭ ﺻﺪﺍﻯ‬ ‫ﻧﺎﻟﻪﻯ ﻃﺮﻑ ﻓﻜﺮ ﻛﺮﺩ ﻭ ﭘﺸﻴﻤﺎﻥ ﺷﺪ‪.‬‬ ‫»ﺩﻛﺘﺮ!«‬ ‫ﻣﺮﺩ ﺯﻳﺮ ﺩﺳﺘﺶ ﻫﻨﻮﺯ ﺯﻭﺯﻩ ﻣﻰﻛﺸﻴﺪ‪ .‬ﺁﻧﻰ ﺑﻪ ﻧﻈﺮﺵ ﺭﺳﻴﺪ ﻛﻪ ﻣﺸﺘﺮﻯ ﻫﻤﻴﻦ ﺣﺎﻻ ﺻﺪﺍ ﺭﺍ ﺧﻮﺍﻫﺪ‬ ‫ﺷﻨﻴﺪ‪ .‬ﺍﺯ ﺯﻳﺮ ﺩﺭﻳﭽﻪ ﺩﻭﺭ ﺷﺪ‪ .‬ﻗﺮﺑﺎﻧﻰﺍﺵ ﺭﺍ ﺑﺎ ﺧﻮﺩﺵ ﻃﺮﻑ ﻳﻜﻰ ﺍﺯ ﺩﻳﻮﺍﺭﻫﺎ ﻣﻰﻛﺸﻴﺪ‪ .‬ﻣﻮﺍﻇﺐ ﺑﻮﺩ‪.‬‬ ‫ﺑﻪ ﺩﻳﻮﺍﺭ ﻛﻪ ﺭﺳﻴﺪ ﺯﺍﻧﻮ ﺯﺩ‪ .‬ﻗﺮﺑﺎﻧﻰ ﻫﻢ ﺯﺍﻧﻮ ﺯﺩ‪ .‬ﭘﻴﺶ ﭘﺎﻳﺸﺎﻥ ﭘﺎﻯ ﺩﻳﻮﺍﺭ ﺗﻮ ﺗﺸﺘﻰ ﺑﺮﻧﺠﻰ‪ ،‬ﺁﺏ ﺑﻮﺩ‪.‬‬ ‫ﻭﺯﻧﺶ ﺭﺍ ﺭﻭ ﻳﺎﺭﻭ ﺍﻧﺪﺍﺧﺖ‪ .‬ﻣﻘﺎﻭﻣﺖ ﻣﻰﻛﺮﺩ؛ ﺍﻣﺎ ﺁﺭﺍﻡ ﺯﻳﺮ ﺩﻛﺘﺮ ﺭﻭ ﺑﻪ ﭘﺎﻳﻴﻦ ﺧﻢ ﻣﻰﺷﺪ‪ .‬ﻋﻴﻦ ﺩﻭ ﺗﺎ‬ ‫ﻭﺟﻮﺩ ﻛﻮﻓﺘﻰ ﺑﻴﻮﻣﻮﺭﻓﻴﻚ ﺭﻭﻯ ﻫﻢ ﺑﻮﺩﻧﺪ؛ ﺩﻛﺘﺮ ﻧﺮﻳﻨﻪ‪ ،‬ﻳﺎﺭﻭ ﻣﺎﺩﻳﻨﻪ‪ .‬ﺳﺮ ﻃﺮﻑ ﺭﺍ ﺑﺎ ﺍﺣﺘﻴﺎﻁ ﺗﻮ ﺁﺏ‬ ‫ﻓﺮﻭ ﻛﺮﺩ ﻭ ﺑﻼﻓﺎﺻﻠﻪ ﺣﺒﺎﺏﻫﺎ‪ .‬ﺍﺑﻠﻪ ﺍﺑﻠﻪ‪ .‬ﺑﻪ ﺣﺒﺎﺏﻫﺎ ﻓﻜﺮ ﻧﻜﺮﺩﻩ ﺑﻮﺩ‪ .‬ﮔﻠﻪﮔﻠﻪﮔﻠﻪﮔﻠﻪ ﺣﺒﺎﺏﻫﺎ ﺑﻴﺮﻭﻥ‬ ‫ﻣﻰﺁﻣﺪﻧﺪ‪ .‬ﻧﺎﺁﺭﺍﻡ ﺑﻰﻛﻪ ﺩﻟﻴﻞ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﺑﺮﮔﺸﺖ ﺑﻪ ﺭﻭﺷﻨﺎﻳﻰ ﻓﻴﻠﻢﻧﻮﺍﺭﻯِ ﺩﺭﻳﭽﻪ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺍﻧﮕﺎﺭ‬ ‫ﻣﻰﺗﺮﺳﻴﺪ ﻣﺸﺘﺮﻯ ﺁﻥ ﺑﺎﻻ ﺳﺮﺵ ﺭﺍ ﺍﺯ ﺩﺭﻳﭽﻪ ﺩﺍﺧﻞ ﺑﻜﻨﺪ‪ .‬ﺍﺑﻠﻪ ﺍﺑﻠﻪ‪ .‬ﺗﺮﺳﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺧﻮﺷﻰ ﺩﺍﺷﺖ‬ ‫ﺣﺴﺎﺑﻰ ﻓﺮﺍﻣﻮﺵﺍﺵ ﻣﻰﺷﺪ‪ .‬ﺩﻳﻮﺍﻧﻪﻭﺍﺭ ﻓﺸﺎﺭ ﺭﺍ ﺑﻴﺸﺘﺮ ﻛﺮﺩ‪ .‬ﺁﺏ ﺗﻮ ﻧﻮﺭ ﻛﻢﺟﺎﻥ ﺗﻴﺮﻩ ﺷﺪﻩ‪ .‬ﺑﻨﺪ‬ ‫ﺍﻧﮕﺸﺖﻫﺎﻯ ﻣﺮﺩﻙ‪ ،‬ﻫﺸﺖﺗﺎ‪ ،‬ﻋﻴﻦ ﺳﻤﻮﺭ ﺗﻮ ﺁﺏ ﺭﻳﺨﺘﻨﺪ ﻭ ﺣﺒﺎﺏﻫﺎ ﺳﺮ ﺁﻣﺪﻧﺪ‪ .‬ﺑﻠﻨﺪ ﺷﺪ‪ .‬ﺧﻮﺩﺵ ﺭﺍ‬ ‫ﻣﺮﺗﺐ ﻛﺮﺩ‪ .‬ﭘﻴﺶﺑﻨﺪﺵ ﺭﺍ ﺍﺯ ﺟﺎﻳﻰ ﺗﻮ ﺗﺎﺭﻳﻜﻰ ﻗﺎﭘﻴﺪ ﻭ ﺍﺯ ﭘﻠﻜﺎﻧﻰ‪ ،‬ﺑﻪ ﺳﻄﺢ ﻣﻄﺐ ﺑﺎﻻ ﺭﻓﺖ‪.‬‬ ‫ﻣﻄﺐ ﺍﺗﺎﻗﻚ ﭘﻴﺶﺳﺎﺧﺘﻪﺍﻯ ﺑﻮﺩ ﻭﺳﻂ ﺑﺮﻫﻮﺕ ﻣﻨﻄﻘﻪﻯ ﻫﺸﺖ‪ ،‬ﺑﺎ ﺳﻪ ﺩﻳﻮﺍﺭ ﻭ ﺳﻘﻒ ﻳﻮﻧﻮﻟﻴﺘﻰ ﻛﻪ‬ ‫ﺗﻮﺷﺎﻥ ﺭﺷﺘﻪﻫﺎﻯ ﺑﺘﻮﻥ ﺗﺰﺭﻳﻖ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻋﻤﺪﻩﻯ ﺩﻳﻮﺍﺭ ﭼﻬﺎﺭﻡ ﺭﺍ ﺑﺮﺩﺍﺷﺘﻪ ﺑﻮﺩﻧﺪ ﺗﺎ ﺩﺭ ﺑﺰﺭﮔﻰ‬ ‫ﺍﺯ ﺷﻴﺸﻪﻯ ﺷﻔﺎﻑ ﺑﻪ ﺍﺗﺎﻗﻚ ﺍﺿﺎﻓﻪ ﻛﻨﻨﺪ ﻭ ﺣﺎﻻ ﻛﻪ ﺑﺎﺭﺍﻥ ﺑﻨﺪ ﺁﻣﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﺎﺩﻯ ﻛﻪ ﺍﺯ ﺩﺭﻳﺎ ﻣﻰﺁﻣﺪ‬ ‫ﺭﻭﻯ ﻗﻔﺴﻪﻯ ﺩﺍﺭﻭﻫﺎ‪ ،‬ﻭﺍﻥ ﺷﺴﺖ ﻭ ﺷﻮ‪ ،‬ﺻﻨﺪﻟﻰ ﻣﺮﻳﺾ‪ ،‬ﺗﺨﺖ ﻣﺨﺘﺼﺮ ﺟﺮﺍﺣﻰ ﻭ ﻣﺸﺘﺮﻯ ﺩﻛﺘﺮ‬ ‫ﻣﻰﻭﺯﻳﺪ‪ .‬ﻣﺸﺘﺮﻯ ﻋﺒﺎﺭﺕ ﺑﻮﺩ ﺍﺯ ﺩﺧﺘﺮ ﻛﻢ ﺳﻦ ﻭ ﺳﺎﻟﻰ ﻛﻪ ﺁﻥﺟﺎ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﭘﺸﺘﺶ ﺑﻪ ﺩﻛﺘﺮ ﺑﻮﺩ‬ ‫ﻭ ﻓﻴﻠﻪﻫﺎﻯ ﻛﻤﺮﺵ ﺭﻭﻯ ﭘﻮﺳﺖ ﮔﻨﺪﻡﮔﻮﻧﺶ ﺳﺎﻳﻪ ﻣﻰﺍﻧﺪﺍﺧﺘﻨﺪ‪ .‬ﺩﺍﺷﺖ ﻃﺎﻭﻭﺳﻰ ﺭﺍ ﺗﻤﺎﺷﺎ ﻣﻰﻛﺮﺩ‬ ‫ﻛﻪ ﺳﺮﺩﺭ ﻣﻄﺐ ﺑﻮﺩ‪ .‬ﺑﻪ ﻧﻈﺮ ﺩﻛﺘﺮ ﺩﺧﺘﺮﻩ ﺁﺷﻨﺎ ﻣﻰﺭﺳﻴﺪ؛ ﺍﻣﺎ ﺑﻪ ﺟﺎﻳﺶ ﻧﻤﻰﺁﻭﺭﺩ‪ .‬ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ‬ ‫ﺑﺎ ﺟﻠﻮﻯ ﭘﻴﺶﺑﻨﺪﺵ ﭘﺎﻙ ﻛﺮﺩ‪.‬‬ ‫»ﺩﺭ ﺧﺪﻣﺘﻢ ﺩﺧﺘﺮﻡ‪«.‬‬ ‫ﻣﻮﻧﺎ ﺩﺍﺷﺖ ﭘﺮﻧﺪﻩﻫﻪ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‪ .‬ﻳﻚﺟﻮﺭﺵ ﺍﺳﺖ ﻛﻪ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﻧﺪﻳﺪﻩ‪ .‬ﺍﻳﻦﺟﺎ ﻛﻪ ﺭﺳﻴﺪ‬ ‫ﻣﻄﺐ ﺧﺎﻟﻰ ﺑﻮﺩ‪ .‬ﺧﻔﮕﻰ ﺩﻫﻠﻴﺰﻫﺎﻯ ﻗﺎﻳﻖﺭﺍﻧﻰ ﺑﻴﺸﺘﺮ ﺧﻮﺍﺑﺶ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﺑﻪ ﺣﺎﻝ ﺍﻭﻫﺎﻡ ﺍﻓﺘﺎﺩﻩ‬ ‫ﺑﻮﺩ‪ .‬ﺩﻛﺘﺮ ﺭﺍ ﺻﺪﺍ ﻛﺮﺩ ﻭ ﺟﻮﺍﺑﻰ ﻧﺸﻨﻴﺪ‪ .‬ﻧﻮﺭ ﺷﺪﻳﺪ ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ ﺑﻪ ﺧﺎﺭﺵ ﺍﻧﺪﺍﺧﺘﻪ ﺑﻮﺩ‪ .‬ﻧﻮ ِﺭ‬ ‫ﺁﻫﻜﻰ ﺭﻭ ﺻﻨﺪﻟﻰ ﺩﻧﺪﺍﻥﭘﺰﺷﻜﻰﻃﻮ ِﺭ ﻭﺳﻂ ﻣﻄﺐ ﻣﻨﻌﻜﺲ ﻣﻰﺷﺪ‪ ،‬ﺭﻭﻯ ﺷﻴﺸﻪﻫﺎﻯ ﻓﺘﻮﻛﺮﻭﻣﻴﻚ‬ ‫‪49‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﯾﮑﯽ از ﺷﺨﺼﯿﺖﻫﺎی ﮔﻮﻧﺎﮔﻮن رﻣﺎن ﺑﻪ »ﺳﺎﯾﱪ‪-‬اﺳﭙﯿﺲ« ﺟﻬﺎنِ ﻗﺼﻪ »ﺟﮏاﯾﻦ« ﻣﯽﮐﻨﺪ‪ .‬از آنﭼﻪ ﮐﻪ ﻣﻮﻧﺎ‬ ‫ﺗﺠﺮﺑﻪ ﻣﯽﮐﻨﺪ‪ ،‬داﻧﺴﺘﻨﯽای ﮐﻪ ﻣﻤﮑﻦ اﺳﺖ ﺑﻪ ﮐﺎر ﺧﻮاﻧﻨﺪهی اﯾﻦ ﻓﺼﻮل ﺑﯿﺎﯾﺪ اﯾﻦ اﺳﺖ ﮐﻪ ﻫﻤﻪی ﭘﻮﯾﺶ‬ ‫ﻣﻮﻧﺎ ﺑﻪ ﺟﻬﺖ ﺧﺎرج ﮐﺮدن ﻓﺮزﻧﺪش از ﻣﺮزﻫﺎی اﻧﺰﻟﯽ اﺳﺖ‪ .‬ﻣﻌﺸﻮق ﺳﺎﺑﻖ ﻣﻮﻧﺎ ﺑﻪ منﺎﯾﻨﺪﮔﯽ از ﺟﺮﯾﺎنِ‬ ‫ﺿﺪﺟﻨﮕﯽ ﮐﻪ در ﻗﺼﻪ از آن ﺑﺎ ﻋﻨﻮان »ﻧﻬﻀﺖ« ﯾﺎد ﺷﺪه‪ ،‬از ﻣﻮﻧﺎ ﻣﯽﺧﻮاﻫﺪ ﮐﻪ ﺑﺮای ﮐﻤﮏ ﺑﻪ ﻧﻬﻀﺖ‪،‬‬ ‫ﻓﺮزﻧﺪش را از اﻧﺰﻟﯽ ﺧﺎرج ﮐﺮده‪ ،‬ﺑﻪ آنﻫﺎ ﺑﺴﭙﺎرد‪.‬‬ ‫و اﻣﺎ ﭘﯿﺶ از آنﮐﻪ ﺑﻪ ﴎاغ ﻓﺼﻞ ﭼﻬﺎرم ﺑﺮوﯾﻢ‪ ،‬ﺑﮕﺬارﯾﺪ ﺑﻪ دو ﭼﯿﺰ اﺷﺎره ﮐﻨﻢ‪ :‬ﻧﺨﺴﺖ اﯾﻦﮐﻪ ﻫﻤﻪی‬ ‫رﻣﺎن در ﻗﺎﻟﺐ ﻧﺎﻣﻪﻧﮕﺎریﻫﺎی ﻃﻮﻻﻧﯽ ﻣﺎﺑﯿﻦ ﻣﻮﻟﻒ ﻗﺼﻪی ﻣﻮﻧﺎ و ﮐﻠﯿﮕﻮر ﺗﺮوات‪ ،‬ﻧﻮﯾﺴﻨﺪهی ﮐﻬﻨﻪﮐﺎر‬ ‫داﺳﺘﺎنﻫﺎی ﻋﻠﻤﯽﺗﺨﯿﻠﯽ‪ ،‬اﺗﻔﺎق ﻣﯽاﻓﺘﺪ )ﭘﺲ »آﻗﺎی ﺑﺴﯿﺎر ﻋﺰﯾﺰ«ﻫﺎ در ﻣنت‪ ،‬ﺧﻄﺎب ﺑﻪ ﺗﺮاوت اﺳﺖ( و‬ ‫ﺑﻌﺪ اﯾﻦﮐﻪ ﻣﯽﺗﻮاﻧﯿﺪ ﺑﻪ ﻣﻦ ‪-‬آرﻣﺎن ﺳﻼحورزی‪ -‬اﻋﺘامد ﮐﻨﯿﺪ و اﮔﺮ در ﺑﺎب اﯾﻦ ﻓﺼﻮل ﭼﯿﺰی ﺑﺮای ﮔﻔنت‬ ‫ﺑﻪ ﻣﻮﻟﻒ ﻗﺼﻪی ﻣﻮﻧﺎ دارﯾﺪ‪ ،‬ﺑﺎ ﻣﻦ در ﻣﯿﺎﻧﺸﺎن ﺑﮕﺬارﯾﺪ و ﻣﻄﻤﱧ ﺑﺎﺷﯿﺪ ﮐﻪ در ﮐامل اﻣﺎﻧﺖداری‪ ،‬اﯾﻦ‬ ‫ﮔﻔﺘﻪﻫﺎ را‪ ،‬ﺑﻪ دﺳﺖ او ﺧﻮاﻫﻢ رﺳﺎﻧﺪ‪.‬‬ ‫‪arman.selahvarzi@gmail.com‬‬ ‫‪ ‬ﻧﻮﺭﻯ ﻛﻪ ﺍﺯ ﻻﻯ ﻣﻴﻠﻪﻫﺎﻯ ﺩﺭﻳﭽﻪﻯ ﺑﺎﻻﻯ ﺳﺮ ﺗﻮ ﺯﻳﺮ ﺯﻣﻴﻦ ﻣﻰﺭﻳﺨﺖ‪ ،‬ﻫﻤﭽﻨﺎﻧﻪ ﻛﻪ ﺩﻛﺘﺮ ﻭ ﻣﺮﺩ‬ ‫ﭼﺴﺒﻴﺪﻩ ﺑﻬﺶ ﺍﺯ ﺯﻳﺮﺵ ﺭﺩ ﺷﺪﻧﺪ ﺭﻭﻳﺸﺎﻥ ﺍﻓﺘﺎﺩ ﻭ ﺑﻪ ﺷﻜﻞ ﺭﺍﻩﺭﺍﻩ ﻛﺸﻤﻴﺮﻃﻮﺭﻯ ﺩﺭﺷﺎﻥ ﺁﻭﺭﺩ‪.‬‬ ‫ﺻﺪﺍﻯ ﻫﻠﻴﻜﻮﭘﺘﺮ ﺍﺩﺍﺭﻩﻯ ﺟﻤﻊﺁﻭﺭﻯ ﻛﻪ ﺑﻴﺮﻭﻥ‪ ،‬ﺍﺯ ﺑﺎﻻﻯ ﺳﺮﺷﺎﻥ ﮔﺬﺷﺖ ﻻﻳﻪﻯ ﻧﺎﺯﻙ ﭼﺮﺑﻰ ﺭﺍ‬ ‫ﺗﻮﺷﺎﻥ ﻟﺮﺯﺍﻧﺪ‪ .‬ﺩﺭ ﺩﻭﺭ ﺩﺳﺖﻫﺎ‪ ،‬ﺑﻴﺮﻭﻥ‪ ،‬ﺍﻭﺑﺎﺵ ﻛﻪ ﺑﺎ ﻣﺎﺳﻚﻫﺎﻳﺸﺎﻥ ﺭﻭﻯ ﺻﻮﺭﺕ‪ ،‬ﺍﺯ ﻣﻴﺎﻥ ﻭﻳﺮﺍﻧﻪﻫﺎﻯ‬ ‫ﺑﺎﺭﺍﻥ ﺗﺎﺯﻩ ﻏﻨﻴﻤﺖ ﻣﻰﻗﺎﭘﻴﺪﻧﺪ‪ ،‬ﺯﻳﺮ ﭼﺸﻢ ﻫﻠﻴﻜﻮﭘﺘﺮ ﺭﻭﻯ ﺯﻣﻴﻦ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺑﻪ ﻣﺮﺩﻥ ﺯﺩﻧﺪ‪.‬‬ ‫ﺑﻤﺐ ِ‬ ‫ِ‬ ‫ﺧﻨﻚ ﺁﻟﻮﻣﻴﻨﻴﻮﻣﻰ‪ ،‬ﺧﺎﻛﻰ ﺭﻧﮓ‪ .‬ﺩﻛﺘﺮ ﺗﻮ ﺯﻳﺮﺯﻣﻴﻦ ﻣﻄﺒﺶ ﺩﺍﺷﺖ ﻳﻚ ﻳﺎﺭﻭﻳﻰ ﺭﺍ ﺑﺎ ﻛﺎﺑﻞ‬ ‫ﻣﺮﺩﻣﻚ‬ ‫ﺧﻔﻪ ﻣﻰﻛﺮﺩ ﻭ ﺍﺯ ﺍﻳﻦ ﺑﺎﺑﺖ ﺳﺮﺧﻮﺵ ﺑﻮﺩ‪ .‬ﻋﻴﻦ ﻛﻨﺪﻭﻳﻰ ﺑﻪ ﭘﺸﺖ ﻣﺮﺩ ﭼﺴﺒﻴﺪﻩ ﺑﻮﺩ‪ .‬ﻛﺎﺑﻞ ﺭﺍ ﺩﻭﺭ‬ ‫ﭘﻨﺠﻪﻫﺎﻯ ﺧﻮﺩﺵ ﻭ ﺩﻭﺭ ﮔﺮﺩﻥ ﻣﺮﺩ ﺣﻠﻘﻪ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺳﺮ ﻗﺮﺑﺎﻧﻰﺋﻪ ﺳﻨﮕﻴﻦ ﻭ ﻋﺮﻕ ﻛﺮﺩﻩ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‬ ‫ﻋﻘﺐ ﻭ ﺍﻧﮕﺸﺖﻫﺎﻯ ﺩﻭ ﺩﺳﺘﺶ ﺭﺍ ﺑﻴﻦ ﻛﺎﺑﻞ ﻭ ﮔﺮﺩﻧﺶ ﮔﻴﺮﺍﻧﺪﻩ ﺑﻮﺩ‪ .‬ﻛﺎﺭﻯ ﺍﺯﺵ ﺑﺮ ﻧﻤﻰﺁﻣﺪ‪ .‬ﻣﻰﺷﺪ‬ ‫ﺍﺯ ﺣﻠﻘﻮﻡ ﺗﻨﮓ ﺷﺪﻩﺍﺵ ﺻﺪﺍﻯ ﻋﺒﻮﺭ ﻫﻮﺍﻳﻰ ﺭﺍ ﻛﻪ ﻣﻰﻣﻜﻴﺪ ﻭ ﺑﻴﺮﻭﻥ ﻣﻰﺩﺍﺩ ﺷﻨﻴﺪ‪ .‬ﺻﺪﺍﻯ ﻣﺪﻭﺍﻡ‬ ‫ﺍﺭﻩﺑﺮﻗﻰﺍﻯ ﺩﺭ ﺁﻥ ﺩﻭﺭﻫﺎ ﺑﻴﻜﺎﺭ ﻣﺎﻧﺪﻩ‪ ،‬ﺻﺪﺍﻯ ﺳﻤﺒﺎﺩﻩ ﻛﺮﺩﻥ ﺗﻴﻎ‪.‬‬ ‫ﻣﺮﺩﻯ ﻛﻪ ﺧﻔﻪ ﻣﻰﺷﺪ ﺷﺪﺕ ﺑﻮﻯ ﺍﺳﻴﺪ ﻓﺮﻣﻴﻚ ﺭﺍ ﺑﻪ ﺗﻤﺎﻣﻰ ﺣﺲ ﻣﻰﻛﺮﺩ‪ .‬ﺩﻛﺘﺮ ﺻﺪﺍﻯ ﻛﺴﻰ‬ ‫ﺭﺍ ﺍﺯ ﺑﺎﻻ ﺗﻮ ﻣﻄﺐ ﺷﻨﻴﺪﻩ ﺑﻮﺩ‪ .‬ﻳﺎﺭﻭ ﺭﺍ ﺯﻳﺮ ﺩﺭﻳﭽﻪ ﻛﺸﻴﺪ ﻭ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﻣﻰﺗﻮﺍﻧﺴﺖ ﺍﺯ ﺧﻼﻝ ﻓﻮﺍﺻﻞ‬ ‫ﺁﻫﻦ‪ ،‬ﺑﺮﻳﺪﻩﺑﺮﻳﺪﻩﻯ ﺣﺮﻛﺎﺕ ﻳﻚ ﻧﻔﺮ ﺭﺍ ﺁﻥ ﺑﺎﻻ ﺗﺸﺨﻴﺺ ﺑﺪﻫﺪ‪ .‬ﺧﻄﻮﻁ ﺗﻨﺶ ﺭﺍ ﻣﻰﺩﻳﺪ‪ ،‬ﺳﻴﺎﻩﺗﺮ‬ ‫ﺩﺭ ﺳﺎﻳﻪﻯ ﻛﺎﻣﻞ‪ ،‬ﺧﺎﻛﺴﺘﺮﻯ ﺩﺭ ﻧﻴﻢﺳﺎﻳﻪﻫﺎ‪ ،‬ﺳﻴﺎﻝ‪ ،‬ﻋﻴﻦ ﺑﻄﻦ ﻣﻌﺪﻥ‪ ،‬ﺑﺎﻻﻯ ﺳﺮﺵ‪ .‬ﺻﺪﺍﻳﻰ ﺯﻧﺎﻧﻪ‬ ‫ﺩﻭﺑﺎﺭﻩ ﺻﺪﺍ ﺯﺩ‪:‬‬ ‫»ﺩﻛﺘﺮ!«‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﻣﻮﻧـــــﺎ‬ ‫ﻓﺼﻞ ﭼﻬﺎرم ‪ -‬ﻗﺴﻤﺖ اول‬

‫ﺁﺭﻣﺎﻥ ﺳﻼﺡ ﻭﺭﺯﻯ‬

‫آنﭼﻪ ﮐﻪ در اﯾﻦ ﻓﺼﻮ ِل ﻣﻨﺘﴩ ﺷﺪه ﺑﺮ ﺷﮕﻔﺖزار ﺗﺠﺮﺑﻪ ﻣﯽﮐﻨﯿﺪ ﺑﺨﺸﯽ از ﯾﮏ »ﭘﻼت« ﮔﺴﱰدهﺗﺮ‬ ‫و ﭼﻨﺪﭘﺎره اﺳﺖ ﺑﺎ رﯾﺨﺖﻫﺎی ﻣﺘﻔﺎوت‪» ،‬ﻣﮑﺎن‪-‬زﻣﺎن«ﻫﺎی ﭘﺮتاﻓﺘﺎده از ﻫﻢ و ﺷﺨﺼﯿﺖﻫﺎی‬ ‫ﺑﺴﯿﺎر ﮐﻪ ﮐﻠﯿﺖ ﺑﺰرگﺗﺮ رﻣﺎن را ﺗﺸﮑﯿﻞ ﻣﯽدﻫﻨﺪ‪ ،‬ﺑﺎ اﯾﻦﻫﻤﻪ اﻣﺎ ﻫﻤﻪی آن رﯾﺨﺖ‪/‬ﭘﺎرﻩﻫﺎی‬ ‫دﯾﮕﺮ ﺣﻮل ﻫﻤﯿﻦ ﻗﺼﻪی اﺻﻠﯽ ‪-‬ﻣﺎﺟﺮای ﺳﻪروزهي ﻣﻮﻧﺎ‪ -‬ﺷﮑﻞ ﮔﺮﻓﺘﻪ و از دل آن ﺑﯿﺮون آﻣﺪهاﻧﺪ‪.‬‬ ‫از آنﺟﺎ ﮐﻪ ﻧﺎﭼﺎر ﺧﻮاﻧﺪن ﻣﺘﻨﯽ از آن دﺳﺖ‪ ،‬ﻣﺎهﺑﻪﻣﺎه و ﺗﮑﻪﺑﻪﺗﮑﻪ‪ ،‬از ﺣﻮﺻﻠﻪی ﺧﻮاﻧﻨﺪهی وب‬ ‫ﺧﺎرج اﺳﺖ و ﻫﻤﭽﻨﯿﻦ از اﯾﻦرو ﮐﻪ ﺑﺨﺸﯽ از آن ﻟﺖﻫﺎی ﯾﺎد ﺷﺪه ﻫﻨﻮز ﻧﻮﺷﺘﻪ ﻧﺸﺪهاﻧﺪ‪ ،‬ﺗﺼﻤﯿﻢ‬ ‫ﺑﺮ اﯾﻦ ﺷﺪ ﮐﻪ اﯾﻦﺟﺎ از ﻓﺼﻮل ﻣﺮﺑﻮط ﺑﻪ ﻣﻮﻧﺎ‪ ،‬ﺗﻨﻬﺎ آنﻫﺎ را ﮐﻪ در ﯾﮏ ﺧﻂ ﺳﯿﺮ زﻣﺎﻧﯽ ﻗﺮار دارﻧﺪ‬ ‫آﺷﮑﺎر ﮐﻨﯿﻢ ﺗﺎ ﺗﺠﺮﺑﻪی ﺷام دﺳﺖﯾﺎﻓﺘﻨﯽﺗﺮ ﺑﺎﺷﺪ‪.‬‬ ‫ﭘﺲ اﯾﻦﮔﻮﻧﻪ از ﻣﻮﻧﺎ ‪ ٢‬ﺑﻪ ﻣﻮﻧﺎ ‪ ٤‬ﺟﻬﯿﺪهاﯾﻢ و ﯾﮏ ﻓﺼﻞِ ﻓﻼشﺑﮏ ﻃﻮﻻﻧﯽ را اﯾﻦ ﻣﯿﺎن از ﻗﺼﻪی‬ ‫ﻣﻮﻧﺎ ﺣﺬف ﮐﺮدهاﯾﻢ‪ .‬از ﻧﻈﺮ زﻣﺎﻧﯽ‪ ،‬اﯾﻦ دو ﻓﺼﻞ ﺑﻼﻓﺼﻞ ﻫﺴﺘﻨﺪ و اﺑﺘﺪای ﻓﺼﻞ ﭼﻬﺎر را ﺑﻌﺪ از‬ ‫ﺳﻔﺮ ﻣﻮﻧﺎ در ﺳﻔﺮهﻫﺎی آب زﯾﺮزﻣﯿﻨﯽ ﭘﯽ ﻣﯽﮔﯿﺮم‪ .‬اﻣﺎ ﺗﻮﺿﯿﺤﯽ ﮐﻪ در ﺑﺎب ﻓﺼﻞ ﺣﺬف ﺷﺪه‬ ‫ﻣﻤﮑﻦ اﺳﺖ ﻻزم ﺑﺎﺷﺪ‪:‬‬ ‫ﻓﺼﻞ ﺳﻮم‪ ،‬در دوم ﺷﺨﺺ ﻣﻔﺮد‪ ،‬ﺣﮑﺎﯾﺖ ﺗﺠﺮﺑﻪی »ﺟﮏاﯾﻦ« ﻣﻮﻧﺎ اﺳﺖ ﮐﻪ در دو ﻓﺼﻞ ﻗﺒﻠﯽ ﺑﻪ‬ ‫آن اﺷﺎره ﺷﺪ‪ .‬اﯾﻦ ﻓﺮمِ ﺗﮑﺮار ﺷﻮﻧﺪهي دوم ﺷﺨﺺ ﻣﻔﺮد‪ ،‬ﺑﺮای متﺎم ﻓﺼﻮﻟﯽ رﻋﺎﯾﺖ ﺷﺪه ﮐﻪ در آنﻫﺎ‬


‫ﺍﻣﺸﺐ ﺑﺎﺯﻯ ﺭﺩﺳﺎﻛﺲ ﺩﺍﺭﺩ ﺍﺯ ﺗﻠﻮﻳﺰﻳﻮﻥ ﭘﺨﺶ ﻣﻰﺷﻮﺩ‪ .‬ﺩﻭﻧﺎ ﻣﻰﺁﻳﺪ ﻭ ﻛﻨﺎﺭ ﻣﻦ ﺩﺭ ﺻﻨﺪﻟﻰ‬ ‫ﮔﻬﻮﺍﺭﻩﺍﻯ ﻛﻪ ﺭﻭﺯ ﺑﺎﺯﻧﺸﺴﺘﮕﻰﺍﻡ ﺑﺮﺍﻳﺶ ﺩﺭﺳﺖ ﻛﺮﺩﻡ‪ ،‬ﻓﺮﻭ ﻣﻰﺭﻭﺩ‪ .‬ﭘﺸﺖ ﮔﺮﺩﻧﻢ ﺭﺍ ﻟﻤﺲ ﻣﻰﻛﻨﺪ‬ ‫ﻭ ﺑﻌﺪ ﺩﺭ ﻧﻮﺭ ﻋﺼﺮﮔﺎﻫﻰ ﻛﺘﺎﺑﺶ ﺭﺍ ﻣﻰﺧﻮﺍﻧﺪ‪.‬‬ ���ﺑﻪ ﺳﺎﻳﻪﻯ ﺷﻴﺮﻭﺍﻧﻰﺍﻡ ﺧﻴﺮﻩ ﻣﻰﺷﻮﻡ ﻛﻪ ﺭﻭﻯ ﺷﻴﺐ ﭼﻤﻨﻰ ﺣﻴﺎﻁ ﭘﺎﻳﻴﻦ ﻣﻰﺧﺰﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﻟﺤﻈﻪﻯ‬ ‫ﻛﻮﺗﺎﻩ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻣﻰﺩﺍﻧﻢ ﻛﺠﺎ ﻫﺴﺘﻢ ﺧﻮﺷﺤﺎﻟﻢ‪ .‬ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻣﻰﺩﺍﻧﻢ ﭼﻪ ﺣﻮﺍﺩﺛﻰ ﺑﺮ ﻣﻦ ﮔﺬﺷﺘﻪ‪.‬‬ ‫ﻧﻘﻄﻪﻯ ﺛﺎﺑﺖ ﺟﻬﺎﻥ‪ .‬ﺍﻣﻮﺍﺝ ﻣﺎﻧﻨﺪ ﺣﻠﻘﻪﻫﺎﻳﻰ ﺍﺯ ﺩﺭﻭﻥ ﺩﺍﻳﺮﻩﻫﺎﻯ ﺍﻣﻮﺍﺝ ﺑﺰﺭگﺗﺮ ﻣﺘﻮﻟﺪ ﻣﻰﺷﻮﻧﺪ ﻭ‬ ‫ﻣﺎﻩ ﺑﻪ ﺩﻭﺭ ﺯﻣﻴﻦ ﺑﻪ ﺩﻭﺭ ﺧﻮﺩﺵ ﻣﻰﭼﺮﺧﺪ ﻭ ﺯﻣﻴﻦ ﺑﻪ ﺩﻭﺭ ﺧﻮﺭﺷﻴﺪ‪.‬‬ ‫ﺳﻜﻪ ﺩﺭ ﺣﺎﻝ ﮔﺮﺩﺵ ﺍﺳﺖ ﻭ ﻣﻨﺘﻈﺮ‪.‬‬ ‫ﺷﻴﺮ؟ ﻳﺎ ﺧﻂ؟‬ ‫‪1. Briggs‬‬ ‫‪2. General Motors‬‬ ‫‪3. Woodward‬‬ ‫‪4. Schoolboy Rowe‬‬ ‫‪5. Boston Red Sox‬‬ ‫‪6. Moe Berg‬‬

‫‪15. Spalding‬‬ ‫‪16. Hank Greenberg‬‬ ‫‪17. Jimmie Foxx‬‬ ‫‪18. Milford Michigan‬‬ ‫‪19. Seal Harbor Maine‬‬ ‫‪20. Mookie Wilson‬‬ ‫‪21. Bill Buckner‬‬ ‫‪22. T. S. Eliot‬‬ ‫‪23. Acadia‬‬ ‫‪24. Donna‬‬ ‫‪25. Astounding‬‬ ‫‪26. H. G. Wells‬‬ ‫‪27. Traverse City‬‬ ‫‪28. Bobby Doerr‬‬ ‫‪29. Neil Armstrong‬‬ ‫‪30. Yevgeny‬‬ ‫‪31. Sergei‬‬ ‫‪32. Yuri‬‬ ‫‪33.. Farmington Hills‬‬

‫‪ :Home run 7.‬ﺿﺮﺑﻪﻯ ﻧﺎﺩﺭﻯ ﺩﺭ ﺑﺎﺯﻯ ﺑﻴﺲﺑﺎﻝ ﻛﻪ ﻃﻰ ﺁﻥ‬ ‫ﺑﺎﺯﻳﻜﻨﻰ ﻛﻪ ﺿﺮﺑﻪ ﺭﺍ ﻣﻰﺯﻧﺪ‪ ،‬ﺗﻮپ ﺭﺍ ﺍﺯ ﺯﻣﻴﻦ ﺑﺎﺯﻯ ﺑﻪ ﺧﺎﺭﺝ‬ ‫ﭘﺮﺗﺎﺏ ﻣﻰﻛﻨﺪ ﻭ ﻣﻮﻓﻖ ﻣﻰﺷﻮﺩ ﻛﻞ ﻣﺴﻴﺮ ﻣﺮﺑﻌﻰ ﺩﻭﺭ ﺯﻣﻴﻦ ﺭﺍ‬ ‫ﺑﺪﻭﺩ ﻭ ﺳﺮ ﺟﺎﻳﺶ ﭘﻴﺶ ﮔﻴﺮﻧﺪﻩ ﺑﺮﮔﺮﺩﺩ‪.‬‬ ‫‪ .O.S.S 8.‬ﯾﺎ ‪ :office of strategic service‬ﻛﻪ ﺩﺭ ﺯﻣﺎﻥ ﺟﻨﮓ‬ ‫ﺍﻓﺮﺍﺩﻯ ﺭﺍ ﺑﺮﺍﻯ ﻣﺄﻣﻮﺭﻳﺖﻫﺎﻯ ﺍﺳﺘﺮﺍﺗﮋﻳﻚ ﻛﻪ ﻣﻌﻤﻮﻻً ﺑﻪ ﺗﺮﻭﺭ‬ ‫ﺍﻓﺮﺍﺩ ﺧﺘﻢ ﻣﻰﺷﺪﻧﺪ‪ ،‬ﺍﺭﺳﺎﻝ ﻣﻰﻛﺮﺩ‪.‬‬ ‫‪9 . Jimmy Doolittle‬‬ ‫‪10. Werner Heisenberg‬‬ ‫‪11. Tiger‬‬ ‫‪12. Ted Williams‬‬ ‫‪13. Estabrrok‬‬ ‫‪14. Avery‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﺳﺮﮔﺌﻰ ]‪ [31‬ﻳﺎ ﻳﻮﺭﻯ ]‪ [32‬ﻧﺎﻣﻰ ﺭﻭﻯ ﻣﺎﻩ ﻓﺮﻭﺩ ﻣﻰﺁﻳﺪ‪.‬‬ ‫ﭘﺪﺭﻡ ﻫﻢ ‪ 11‬ﺩﺳﺎﻣﺒﺮ ﺳﺎﻝ ‪ 1944‬ﺩﺭ ﺟﻨﮓ ﺟﻬﺎﻧﻰ ﺩﻭﻡ ﻛﺸﺘﻪ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻭ ﺳﻮﺍﺭ ﻫﻮﺍﭘﻴﻤﺎﻳﻰ ﺑﻮﺩ ﻛﻪ‬ ‫ﻣﺪﺗﻰ ﻗﺒﻞ ﻣﻮ ﺑﺮگ ﺭﺍ ﺩﺭ ﺧﺎﻙ ﻓﺮﺍﻧﺴﻪ ﭘﻴﺎﺩﻩ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫‪ ‬ﻭﻗﺘﻰ ﺻﺪﺍﻯ ﻧﻴﻞ ﺁﺭﻣﺴﺘﺮﺍﻧﮓ ﺍﺯ ﻣﺎﻩ ﭘﺨﺶ ﻣﻰﺷﺪ‪ ،‬ﭼﻬﻞ ﻭ ﻳﻚ ﺳﺎﻟﻪ ﺑﻮﺩﻡ ﻭ ﺗﻮﻯ ﻣﻨﺰﻝ ﺟﺪﻳﺪﻡ‬ ‫ﺩﺭ ﻓﺎﺭﻣﻴﻨﮕﺘﻮﻥ ﻫﻴﻠﺰ ]‪ [33‬ﻧﺸﺴﺘﻪ ﺑﻮﺩﻡ‪ .‬ﺗﺎﻳﮕﺮﻫﺎ ﺳﺎﻝ ﭘﻴﺶ ﻗﻬﺮﻣﺎﻥ ﺟﺎﻡ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻣﺮﻫﻤﻰ‬ ‫ﺑﺮﺍﻯ ﺯﺧﻢ ﺷﻮﺭﺵﻫﺎﻯ ﺳﺎﻝ ‪ 67‬ﻛﻪ ﺑﺎﻋﺚ ﺷﺪ ﺧﻴﻠﻰ ﺍﺯ ﺳﻔﻴﺪﭘﻮﺳﺖﻫﺎ ﻣﺜﻞ ﻣﻦ ﺑﻪ ﺣﻮﻣﻪﻯ ﺷﻬﺮ‬ ‫ﭘﻨﺎﻩ ﺑﺒﺮﻧﺪ‪ .‬ﺧﻴﻠﻰ ﻭﻗﺖ ﺑﻮﺩ ﻛﻪ ﺩﻳﮕﺮ ﺑﻰﺧﻴﺎﻝ ﻓﻀﺎﻧﻮﺭﺩ ﺷﺪﻥ ﺷﺪﻩ ﺑﻮﺩﻡ‪.‬‬ ‫ﭘﺪﺭﻡ ﺑﻴﺴﺖ ﻭ ﭘﻨﺞ ﺳﺎﻝ ﻣﻰﺷﺪ ﻛﻪ ﻣﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺍﻣﻮﺍﺝ‪ .‬ﺍﻣﻮﺍﺝ ﺗﺎ ﻭﻗﺘﻰ ﻛﻪ ﺑﻪ ﭼﻴﺰﻯ ﺑﺮﺧﻮﺭﺩ ﻛﻨﻨﺪ ﺑﻪ ﺣﺮﻛﺖﺷﺎﻥ ﺍﺩﺍﻣﻪ ﻣﻰﺩﻫﻨﺪ‪ .‬ﻳﺎ ﺗﺎ ﻭﻗﺘﻰ ﻛﻪ‬ ‫ﺁﻧﺘﺮﻭﭘﻰ ﺑﺎﻋﺚ ﺷﻮﺩ ﺍﻧﺮژﻯﺷﺎﻥ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﻫﻨﺪ ﻭ ﺑﻪ ﺳﻄﺢ ﺻﺎﻑ ﺁﺏ ﺗﺒﺪﻳﻞ ﺷﻮﻧﺪ‪ .‬ﺳﺎﻝ ‪ 40‬ﺗﻮﻯ‬ ‫ﺍﺳﺘﺎﺩﻳﻮﻡ ﺑﺮﻳﮕﺰ ﻳﻚ ﺗﻮپ ﮔﺮﻓﺘﻢ ﻭ ﭘﺪﺭﻡ ﺑﻠﻨﺪﻡ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﻧﮕﺎﺵ ﻛﻦ ﺍﻳﻦ ﺑﭽﻪ ﺭﻭ! ﺍﻭﺭﻯ‪«...‬‬ ‫ﺁﺭﻩ ﺑﺎﺑﺎ‪ .‬ﻧﮕﺎﻩ ﻛﻦ‪ .‬ﺍﻻﻥ ﺳﻰ ﻭ ﭘﻨﺞ ﺳﺎﻝ ﺍﺳﺖ ﻛﻪ ﺍﺳﺘﺎﺩﻳﻮﻡ ﺑﺮﻳﮕﺰ ﺍﺳﻤﺶ ﺍﺳﺘﺎﺩﻳﻮﻡ ﺗﺎﻳﮕﺮ ﺍﺳﺖ‪ .‬ﭘﺴﺮ‬ ‫ﺟﻮﺵﻛﺎﺭ ﺳﺎﻛﻦ ﻏﺮﺏ ﺩﻳﺘﺮﻭﻳﺖ ﺍﻻﻥ ﻳﻚ ﻣﺪﻳﺮ ﺍﺟﺮﺍﻳﻰ ﺷﺪﻩ ﺑﺎ ﻳﻚ ﺧﺎﻧﻪﻯ ﻭﻳﻼﻳﻰ ﺩﺭ ﺣﻮﻣﻪﻯ ﺷﻬﺮ‪.‬‬ ‫ﺗﺎﺯﻩ ﻣﻦ ﺟﺎﻥ ﻫﺎﻳﺰﻧﺒﺮگ ﺭﺍ ﻫﻢ ﻧﺠﺎﺕ ﺩﺍﺩﻡ ﻭ ﻓﻜﺮ ﻛﻨﻢ ﺑﺎﻋﺚ ﺷﺪﻡ ﻛﻪ ﺗﻮ ﺟﺎﻧﺖ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺑﺪﻫﻰ‪.‬‬ ‫ﺭﻭﻯ ﻫﺸﺘﻰ ﺧﺎﻧﻪﺍﻡ ﺩﺭ ﻣﻴﻦ ﻣﻰﻧﺸﻴﻨﻢ ﻭ ﺑﻪ ﻣﻮﺝﻫﺎ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻢ ﻭ ﺍﺯ ﺧﻮﺩﻡ ﻣﻰﭘﺮﺳﻢ ﻣﺒﺪﺍ‬ ‫ﺣﺮﻛﺖﺷﺎﻥ ﻛﺠﺎ ﺑﻮﺩﻩ‪ .‬ﺍﺯ ﺧﻮﺩﻡ ﻣﻰﭘﺮﺳﻢ ﺁﻥ ﻧﻘﻄﻪﻯ ﺳﺎﻛﻦ ﻛﺠﺎﺳﺖ‪ .‬ﺁﻥﺟﺎ ﻛﻪ ﻣﻮﺝﻫﺎ ﺑﻪ ﺩﻧﻴﺎ‬ ‫ﻣﻰﺁﻳﻨﺪ ﻭ ﺗﺼﻤﻴﻢﮔﻴﺮﻯﻫﺎ ﺑﻪ ﺷﻴﺮ ﻳﺎ ﺧﻂ ﺑﻨﺪ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﮔﺎﻫﻰ ﺑﺎ ﺧﻮﺩﻡ ﺣﺮﻑ ﻣﻰﺯﻧﻢ ﻭ ﮔﺎﻫﻰ ﻫﻢ ﺧﻮﺍﺑﻢ ﻣﻰﺑﺮﺩ ﻭ ﻧﻔﺲ ﺳﺮﺩ ﺩﺭﻳﺎ ﺭﻭﻳﺎﻯ ﺁﻥ ﻣﺮﺩ ﺭﺍ ﺩﺭ ﻣﻦ‬ ‫ﺯﻧﺪﻩ ﻣﻰﻛﻨﺪ ﻛﻪ ﺷﺒﻴﻪ ﭘﺪﺭﻡ ﺑﻮﺩ‪.‬‬ ‫ﻭﻗﺘﻰ ﺑﺎ ﺧﻮﺩﻡ ﺣﺮﻑ ﻣﻰﺯﻧﻢ‪ ،‬ﺍﺯ ﺧﻮﺩﻡ ﻣﻰﭘﺮﺳﻢ‪ :‬ﺍﮔﺮ ﺷﻴﺮ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩﻩ ﺑﻮﺩﻯ‪ ،‬ﻳﻌﻨﻰ ﺍﻻﻥ ﭘﺪﺭﺕ‬ ‫ﺯﻧﺪﻩ ﺑﻮﺩ؟ ﻳﻌﻨﻰ ﺍﮔﺮ ﻣﻮ ﺑﺮگ ﻛﻪ ﻣﺮگ ﻭ ﺯﻧﺪﮔﻰ ﻭﺭﻧﺮ ﻫﺎﻳﺰﻧﺒﺮگ ﺗﻮﻯ ﺩﺳﺘﺶ ﺑﻮﺩ ﺁﻥ ﺭﻭﺯ ﺑﻪ ﻓﺮﺍﻧﺴﻪ‬ ‫ﻧﺮﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﻫﻮﺍﭘﻴﻤﺎﻯ ﺩﻳﮕﺮﻯ ﺑﺮﺍﻯ ﺳﻮﺍﺭ ﻛﺮﺩﻥ ﭘﺪﺭﻡ ﺩﺭ ﻓﺮﻭﺩﮔﺎﻩ ﻟﻴﻮﻥ ﺍﻋﺰﺍﻡ ﻣﻰﺷﺪ؟‬ ‫ﻳﻌﻨﻰ ﺁﻥ ﻫﻮﺍﭘﻴﻤﺎﻯ ﺩﻳﮕﺮ ﻫﻢ ﺳﻘﻮﻁ ﻣﻰﻛﺮﺩ؟‬ ‫ﺩﻭﺍﺯﺩﻩ ﺳﺎﻟﻢ ﻛﻪ ﺑﻴﺶﺗﺮ ﻧﺒﻮﺩ‪ .‬ﻓﻜﺮ ﻣﻰﻛﺮﺩﻡ ﻛﺎﺭ ﺩﺭﺳﺖ ﺭﺍ ﻛﺮﺩﻩﺍﻡ‪.‬‬ ‫ﻳﻌﻨﻰ ﻣﻤﻜﻦ ﺑﻮﺩ ﻫﻮﻡﺭﺍﻥ ﻫﻔﺘﻢ ﻣﻮ ﺑﺮگ‪ ،‬ﻫﻮﺍﭘﻴﻤﺎﻯ ﺩﻳﮕﺮﻯ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﭘﺪﺭﻡ ﺭﻫﺴﭙﺎﺭ ﻛﻨﺪ؟‬ ‫ﮔﺮﺑﻪ ﺯﻧﺪﻩ ﺍﺳﺖ‪ .‬ﮔﺮﺑﻪ ﻣﺮﺩﻩ‪.‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫»ﻭﻟﻰ ﺁﺧﻪ ﺍﻳﻦ ﻛﻪ ﺍﻧﺘﺨﺎﺏ ﻧﻴﺴﺖ‪ .‬ﺍﻳﻦ ﻓﻘﻂ ﺳﻜﻪ ﺍﻧﺪﺍﺧﺘﻨﻪ‪ .‬ﻫﻤﺶ ﺑﻪ ﺷﺎﻧﺲ ﺑﺮ ﻣﻰﮔﺮﺩﻩ‪ .‬ﺩﺍﺩﻥ‬ ‫ﺗﻮپ ﺑﻪ ﺗﻮ ﺍﻧﺘﺨﺎﺏ ﺑﻮﺩ‪ .‬ﺳﻜﻪ ﺍﻧﺪﺍﺧﺘﻦ ﻛﻪ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩﻥ ﻧﻴﺴﺖ‪«.‬‬ ‫»ﺩﺭﺳﺘﻪ‪ .‬ﻭﻟﻰ ﺭﺍﻫﻰ ﺟﺰ ﺍﻳﻦ ﻧﺪﺍﺭﻳﻢ‪ .‬ﺣﻔﻆ ﺍﻃﻼﻋﺎﺕ‪ .‬ﻭﻗﺘﻰ ﻧﺘﻴﺠﻪﻯ ﺍﻧﺘﺨﺎﺏ ﻗﺒﻠﻴﺖ ﺭﻭ ﺑﻬﺖ ﮔﻔﺘﻢ‪،‬‬ ‫ﺩﺭ ﻭﺍﻗﻊ ﺍﺯ ﻗﻮﺍﻧﻴﻦ ﻋﻠﺖ ﻭ ﻣﻌﻠﻮﻟﻰ ﺗﺨﻄﻰ ﻛﺮﺩﻡ‪ .‬ﺣﺎﻻ ﺑﺎﻳﺪ ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﺑﺪﻭﻧﻰ ﺍﻧﺘﺨﺎﺏ ﻛﻨﻰ‪ .‬ﺍﻳﻦ‬ ‫ﺟﻮﺭﻯ ﻣﻰﺗﻮﻧﻴﻢ ﺑﮕﻴﻢ ﺍﻳﻦ ﺑﻪ ﺍﻭﻥ ﺩﺭ‪ «.‬ﺣﺎﻟﺘﻰ ﺑﻪ ﭼﻬﺮﻩﺍﺵ ﻣﻰﺩﻭﺩ ﻛﻪ ﺍﻭﺭﻯ ﻣﻰﺷﻨﺎﺳﺪﺵ‪ .‬ﺣﺲ‬ ‫ﮔﻨﺎﻩ ﺍﺳﺖ‪.‬‬ ‫»ﭼﻪ ﭼﻴﺰﻯ ﺭﻭ ﺑﺎﻳﺪ ﻣﺸﺨﺺ ﻛﻨﻢ؟«‬ ‫»ﺍﻳﻦ ﻛﻪ ﻣﻮ ﺑﺮگ ﻫﺎﻳﺰﻧﺒﺮگ ﺭﻭ ﺧﻮﺍﻫﺪ ﻛﺸﺖ ﻳﺎ ﻧﻪ‪«.‬‬ ‫»ﻣﻨﺼﻔﺎﻧﻪ ﻧﻴﺴﺖ‪ .‬ﻣﻦ ﺗﻮپ ﺭﻭ ﺑﻬﺖ ﺩﺍﺩﻡ ﻛﻪ ﻣﻮ ﺑﺮگ ﻛﺸﺘﻪ ﻧﺸﻪ‪ .‬ﻫﻤﻪﺍﺵ ﺑﻪ ﺧﺎﻃﺮ ﺍﻳﻦ ﺁﻟﻤﺎﻧﻰ‬ ‫ﺍﺣﻤﻘﻪ‪ .‬ﺑﺎﻳﺪ ﺗﻮپ ﺭﻭ ﻧﮕﻪ ﻣﻰﺩﺍﺷﺘﻢ‪ .‬ﭼﺮﺍ ﻧﻤﻰﺷﺪ ﻫﻢ ﺗﻮپ ﺭﻭ ﻧﮕﻪ ﺩﺍﺭﻡ ﻫﻢ ﺳﻜﻪ ﺭﻭ ﺑﻨﺪﺍﺯﻡ؟«‬ ‫»ﻣﻦ ﻛﻪ ﺑﺮﺍﺕ ﺗﻮﺿﻴﺢ ﺩﺍﺩﻡ ﺍﻭﺭﻯ‪ .‬ﺣﺎﻻ ﺗﺼﻤﻴﻢ ﺑﮕﻴﺮ‪ .‬ﺭﻳﺰﺵ ﻣﻮﺝ ﺭﻭ ﺁﻏﺎﺯ ﻛﻦ‪ .‬ﭘﻨﺠﺎﻩ ﭘﻨﺠﺎﻩ ﺍﻭﺭﻯ‪«.‬‬ ‫»ﺧﻂ‪«.‬‬ ‫ﺧﻂ ﺍﻓﺘﺎﺩ‪.‬‬ ‫‪ ‬ﻣﻦ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺍﺳﺘﺎﺩﻳﻮﻡ ﺑﺮﻳﮕﺰ ﺑﺮﻣﻰﮔﺮﺩﻡ‪ .‬ﺑﺎﺑﻰ ﺩﻭﺋﺮ ]‪ [28‬ﺭﺍﻧﺪ ﭼﻬﺮﺍﻡ ﺭﺍ ﺷﺮﻭﻉ ﻛﺮﺩﻩ‪ .‬ﺑﺎﺑﺎﻡ ﻣﺮﺍ ﺑﺎ‬ ‫ﺩﺳﺘﺎﻥ ﺯﺧﻢ ﻭ ﺯﻳﻠﻰﺍﺵ ﮔﺮﻓﺘﻪ ﻭ ﻣﻰﮔﻮﻳﺪ‪» :‬ﺍﻭﺭﻯ ﺧﻮﺑﻰ؟«‬ ‫ﻣﻰﮔﻮﻳﻢ‪» :‬ﺧﻮﺑﻢ ﺑﺎﺑﺎ‪ «.‬ﺑﻪ ﭘﺎﺭﭼﻪﻫﺎﻯ ﺯﻫﻮﺍﺭ ﺩﺭﺭﻓﺘﻪﻯ ﺳﻘﻒ ﺍﺳﺘﺎﺩﻳﻮﻡ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻢ ﻭ ﺑﻪ ﭘﻴﭻﻫﺎﻯ‬ ‫ﺯﻧﮓﺯﺩﻩﺍﻯ ﻛﻪ ﻧﻴﻤﻜﺖﻫﺎﻯ ﺍﺳﺘﺎﺩﻳﻮﻡ ﺭﺍ ﺳﺮ ﺟﺎﻳﺸﺎﻥ ﺩﺭ ﺑﺘﻦ ﻣﺤﻜﻢ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﻣﻦ ﻳﻚ ﻛﺎﺭﻯ‬ ‫ﻛﺮﺩﻩﺍﻡ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﻫﻤﺎﻥ ﺍﺳﺖ ﻛﻪ ﻗﺒﻼ ً ﺑﻮﺩﻩ‪ .‬ﻭﻟﻰ ﺗﻐﻴﻴﺮ ﺍﺯ ﻫﻤﻴﻦ ﺣﺎﻻ ﺣﺲ ﻣﻰﺷﺪ‪.‬‬ ‫ﺑﺎﺑﺎ ﺑﺎ ﭼﺸﻤﺎﻧﻰ ﻧﮕﺮﺍﻥ ﺑﻪ ﻣﻦ ﺧﻴﺮﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺑﺎ ﺍﺻﺮﺍﺭ ﺗﻜﺮﺍﺭ ﻣﻰﻛﻨﻢ‪» :‬ﻣﻦ ﺧﻮﺑﻢ‪ .‬ﺑﺎﻭﺭ ﻛﻦ!«‬ ‫»ﺑﺎﺷﻪ ﺭﻓﻴﻖ‪ ،‬ﻭﻟﻰ ﺩﻳﮕﻪ ﺍﺯ ﻫﺎﺕﺩﺍگ ﺧﺒﺮﻯ ﻧﻴﺲ‪«.‬‬ ‫ﺑﻪ ﭘﺲ ﺳﺮﻡ ﺩﺳﺖ ﻣﻰﻛﺸﻢ‪ .‬ﻧﻪ ﺟﺎﻯ ﺟﺮﺍﺣﺘﻰ ﻫﺴﺖ‪ ،‬ﻧﻪ ﺑﺮﺁﻣﺪﮔﻰﺍﻯ‪ .‬ﻫﻴﭽﻰ‪ .‬ﺗﻴﻢ ﺭﺩﺳﺎﻛﺲ ﺑﺎﺯﻯ‬ ‫ﺭﺍ ﻣﻰﺑﺎﺯﺩ‪ .‬ﻫﻴﭻ ﻫﻮﻡﺭﺍﻧﻰ ﺑﻪ ﮔﻮﺷﻪﻯ ﭼﭗ ﺩﺭ ﻛﺎﺭ ﻧﻴﺴﺖ‪ .‬ﺑﺎﺭ ﺑﻌﺪﻯ ﻛﻪ ﺩﺭﺑﺎﺭﻩﻯ ﻣﻮ ﺑﺮگ ﺩﺭ ﺭﻭﺯﻧﺎﻣﻪ‬ ‫ﻣﻄﻠﺒﻰ ﻣﻰﺧﻮﺍﻧﻢ‪ ،‬ﺩﺭﺑﺎﺭﻩﺍﺵ ﻧﻮﺷﺘﻪﺍﻧﺪ ﻛﻪ ﺷﺶ ﺗﺎ ﻫﻮﻡﺭﺍﻥ ﺩﺭ ﻃﻮﻝ ﺯﻧﺪﮔﻰ ﺣﺮﻓﻪﺍﻯﺍﺵ ﺩﺍﺷﺘﻪ‪.‬‬ ‫ﺯﻧﺪﮔﻰﺍﻯ ﺣﺮﻓﻪﺍﻯ ﻛﻪ ‪ 1939‬ﺑﻪ ﭘﺎﻳﺎﻥ ﻣﻰﺭﺳﺪ‪.‬‬ ‫ﻭﺭﻧﺮ ﻫﺎﻳﺰﻧﺒﺮگ ﻫﻢ ﺩﺭ ﻫﻔﺘﺎﺩ ﻭ ﭘﻨﺞ ﺳﺎﻟﮕﻰ ﺩﺭ ﻣﻮﻧﻴﺦ ﻣﻰﻣﻴﺮﺩ ﻭ ﺑﻤﺐﻫﺎﻯ ﺍﺗﻤﻰ ﻫﻢ ﺩﺭ ﻫﻴﺮﻭﺷﻴﻤﺎ‬ ‫ﻭ ﻧﺎﻛﺎﺯﺍﻛﻰ ﻓﺮﻭﺩ ﻣﻰﺁﻳﻨﺪ ﻭ ﻧﻴﻞ ﺁﺭﻣﺴﺘﺮﺍﻧﮓ ]‪ [29‬ﺑﻪ ﺟﺎﻯ ﻳﻚ ﻳﺎﺭﻭﻯ ﺭﻭﺳﻰ ﺍﻭﮔﻨﻰ ]‪ [30‬ﻳﺎ‬ ‫‪43‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﻣﻮﺝﻫﺎ ﺭﻭ ﺩﺭ ﻧﻈﺮ ﺑﮕﻴﺮ‪ .‬ﻭﻗﺘﻰ ﻳﻪ ﺳﻨﮓ ﺗﻮﻯ ﺁﺏ ﻣﻰﺍﻓﺘﻪ‪ ،‬ﺍﻣﻮﺍﺟﺶ ﺗﺎ ﻛﺠﺎ ﻣﻰﺭﺳﻦ؟«‬ ‫ﺍﻭﺭﻯ ﻣﻰﮔﻮﻳﺪ‪» :‬ﺗﺎ ﻭﻗﺘﻰ ﺑﻪ ﻳﻪ ﭼﻴﺰﻯ ﺑﺮﺧﻮﺭﺩ ﻛﻨﻦ‪ «.‬ﺑﻪ ﻛﻠﺒﻪﻯ ﭘﺪﺭﺑﺰﺭﮔﺶ ﺩﺭ ﺷﻤﺎﻝ ﺩﺭ ﻧﺰﺩﻳﻜﻰ‬ ‫ﺗﺮﻭﺭﺱ ﺳﻴﺘﻰ ]‪ [27‬ﻓﻜﺮ ﻣﻰﻛﻨﺪ‪ .‬ﺑﺮﻛﻪﺍﻯ ﺩﺭ ﺟﻨﮕﻞ ﻧﺰﺩﻳﻜﻰ ﻛﻠﺒﻪ ﻫﺴﺖ‪ .‬ﺍﻭﺭﻯ ﺁﻥﺟﺎ ﻗﻮﺭﺑﺎﻏﻪ‬ ‫ﺷﻜﺎﺭ ﻣﻰﻛﻨﺪ‪ .‬ﺩﺭ ﺫﻫﻨﺶ ﺍﻣﻮﺍﺝ ﺣﺎﺻﻞ ﺍﺯ ﭘﺮﻳﺪﻥ ﻗﻮﺭﺑﺎﻏﻪﻫﺎ ﺩﺭ ﺁﺏﻫﺎﻯ ﻗﻬﻮﻩﺍﻯ ﺭﻧﮓ ﺑﺮﻛﻪ ﺭﺍ ﺗﺼﻮﺭ‬ ‫ﻣﻰﻛﻨﺪ‪.‬‬ ‫»ﺗﻮﭘﻰ ﻛﻪ ﺗﻮ ﮔﺮﻓﺘﻰ ﻣﺜﻞ ﻗﻮﺭﺑﺎﻏﻪﺍﻯ ﻣﻰﻣﻮﻧﻪ ﻛﻪ ﺗﻮﻯ ﺑﺮﻛﻪﻯ ﺗﺎﺭﻳﺦ ﭘﺮﻳﺪﻩ ﺑﺎﺷﻪ‪ .‬ﺍﻟﺒﺘﻪ ﺑﻪ ﺧﺎﻃﺮ‬ ‫ﻭﺭﻭﺩ ﺑﻰﺍﺟﺎﺯﻩ ﺑﻪ ﺗﺼﺎﻭﻳﺮ ﺫﻫﻨﻴﺖ ﻋﺬﺭﺧﻮﺍﻫﻰ ﻣﻰﻛﻨﻢ‪ .‬ﺍﻣﻮﺍﺝ ﺣﺎﺻﻞ ﺍﺯ ﺍﻓﺘﺎﺩﻥ ﺍﻳﻦ ﺗﻮپ ﻫﻢ ﺍﺯ ﺍﻳﻦ‬ ‫ﻗﺎﻋﺪﻩ ﻣﺴﺘﺜﻨﺎ ﻧﻴﺴﺘﻦ‪«.‬‬ ‫»ﭼﻄﻮﺭ ﻣﻰﺗﻮﻧﻰ ﺫﻫﻦ ﻣﻨﻮ ﺑﺨﻮﻧﻰ؟«‬ ‫»ﺑﻪ ﺗﻌﺒﻴﺮﻯ‪ ،‬ﻣﻦ ﻫﻤﻮﻥ ﭼﻴﺰﻯ ﻫﺴﺘﻢ ﻛﻪ ﺗﻮ ﻓﻜﺮ ﻣﻰﻛﻨﻰ‪ .‬ﻳﺎ ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﻪ ﺍﮔﺮ ﺍﻃﻼﻋﺎﺕ ﻛﺎﻓﻰ‬ ‫ﺩﺍﺷﺘﻰ‪ ،‬ﻓﻜﺮ ﻣﻰﻛﺮﺩﻯ‪«.‬‬ ‫ﺍﻭﺭﻯ ﻣﺪﺗﻰ ﻣﺪﻳﺪ ﺑﻪ ﭼﺮﺧﺶ ﺳﻜﻪ ﺧﻴﺮﻩ ﻣﻰﻣﺎﻧﺪ ﻭ ﺩﺭ ﺍﻓﻜﺎﺭﺵ ﻏﺮﻕ ﻣﻰﺷﻮﺩ‪» .‬ﻳﻌﻨﻰ ﺗﻮ ﻣﻨﻰ؟«‬ ‫»ﻣﺘﺎﺳﻔﻢ ﺍﻭﺭﻯ‪ ،‬ﺍﻣﺎ ﺟﻮﺍﺏ ﺍﻳﻦ ﺳﻮﺍﻝ ﺭﻭ ﻧﻤﻰﺩﻭﻧﻢ‪ «.‬ﺣﺎﻟﺖ ﺻﻮﺭﺗﺶ ﻣﺜﻞ ﻭﻗﺘﻰ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﭘﺪﺭﺵ‬ ‫ﭘﺮﺳﻴﺪﻩ ﺑﻮﺩ ﻣﮋﻩﻫﺎ ﺍﺯ ﻛﺠﺎ ﻣﺘﻮﺟﻪ ﻣﻰﺷﻮﻧﺪ ﺩﻳﮕﺮ ﻧﺒﺎﻳﺪ ﺭﺷﺪ ﻛﻨﻨﺪ‪.‬‬ ‫ﺍﻭﺭﻯ ﺍﻋﺘﺮﺍﺽ ﻛﺮﺩ‪» :‬ﻭﻟﻰ ﺗﻮ ﻛﻪ ﺍﺯ ﺟﻨﮕﻰ ﻛﻪ ﻫﻨﻮﺯ ﺍﺗﻔﺎﻕ ﻧﻴﻔﺘﺎﺩﻩ ﻭ ﺑﻤﺒﺎﻯ ﺍﺗﻤﻰ ﻭ ﺳﻔﺮ ﺑﻪ ﻣﺎﻩ ﺍﻃﻼﻉ‬ ‫ﺩﺍﺭﻯ‪ .‬ﭼﻄﻮﺭ ﺍﻳﻦ ﺭﻭ ﻧﻤﻰﺩﻭﻧﻰ؟«‬ ‫»ﭼﻮﻥ ﻫﻨﻮﺯ ﺳﺮﻧﻮﺷﺖ ﺧﻴﻠﻰ ﭼﻴﺰﺍ ﻣﺸﺨﺺ ﻧﺸﺪﻩ‪ .‬ﺍﻧﺘﺨﺎﺏ ﻛﻦ ﺍﻭﺭﻯ‪ .‬ﺷﻴﺮ ﻳﺎ ﺧﻂ؟«‬ ‫»ﺍﻭﻝ ﺑﺎﻳﺪ ﺑﻬﻢ ﺑﮕﻰ ﻛﺠﺎﻳﻴﻢ‪«.‬‬ ‫»ﻣﺎ ﻫﻴﭻ ﺟﺎ ﻧﻴﺴﺘﻴﻢ‪ .‬ﭼﻮﻥ ﻫﻨﻮﺯ ﺗﺼﻤﻴﻤﻰ ﻧﮕﺮﻓﺘﻰ‪ .‬ﻭﻗﺘﻰ ﻫﻢ ﻛﻪ ﺗﺼﻤﻴﻤﺖ ﺭﻭ ﺑﮕﻴﺮﻯ‪ ،‬ﻣﻦ ﺩﻳﮕﻪ‬ ‫ﺍﻳﻦﺟﺎ ﻧﻴﺴﺘﻢ‪ .‬ﻳﻌﻨﻰ ﻫﻴﭻﺟﺎ ﻧﻴﺴﺘﻢ‪ .‬ﻣﻦ ﻓﻘﻂ ﺩﺭ ﻋﺪﻡ ﻗﻄﻌﻴﺖ ﺗﻮ ﻭﺟﻮﺩ ﺩﺍﺭﻡ‪«.‬‬ ‫»ﭘﺲ ﺁﺧﻪ ﺗﻮ ﻛﻰ ﻫﺴﺘﻰ؟ ﺧﺪﺍﻳﻰ؟«‬ ‫ﻣﺮﺩ ﺳﺮﺵ ﺭﺍ ﺑﻪ ﻋﻼﻣﺖ ﺑﻰﺍﻃﻼﻋﻰ ﺗﻜﺎﻥ ﻣﻰﺩﻫﺪ‪.‬‬ ‫»ﺧﺪﺍ ﺗﻮ ﺭﻭ ﻓﺮﺳﺘﺎﺩﻩ؟ ﺍﺻ ً‬ ‫ﻼ ﺧﺪﺍ ﻭﺟﻮﺩ ﺩﺍﺭﻩ؟ ﭼﺮﺍ ﺑﻪ ﺟﺎﻯ ﺍﻳﻦ ﻛﻪ ﺧﻮﺩﺵ ﺗﺼﻤﻴﻢ ﺑﮕﻴﺮﻩ ﺍﻧﺪﺍﺧﺘﻪ‬ ‫ﮔﺮﺩﻥ ﻣﻦ؟«‬ ‫ﻣﺮﺩ ﻫﻢﭼﻨﺎﻥ ﺳﺮﺵ ﺭﺍ ﺗﻜﺎﻥ ﻣﻰﺩﻫﺪ‪» .‬ﻧﻤﻰﺗﻮﻧﻢ ﺟﻮﺍﺏ ﻫﻴﭻ ﻛﺪﻭﻡ ﺍﺯ ﺳﻮﺍﻻﺗﺖ ﺭﻭ ﺑﺪﻡ‪ .‬ﻫﺮ‬ ‫ﭼﻴﺰﻯ ﺭﻭ ���ﻪ ﻣﻰﺩﻭﻧﺴﺘﻢ ﺑﻬﺖ ﮔﻔﺘﻢ‪ .‬ﺗﻮ ﻫﻤﻴﻦ ﺣﺎﻻﺵ ﻫﻢ ﻣﺸﺨﺺ ﻛﺮﺩﻯ ﻛﻪ ﻣﻮ ﺑﺮگ ﺗﻮﻯ ﺍﻭﻥ‬ ‫ﺳﺨﻨﺮﺍﻧﻰ ﺷﺮﻛﺖ ﻣﻰﻛﻨﻪ‪ .‬ﺣﺎﻻ ﺑﺎﻳﺪ ﻣﺸﺨﺺ ﻛﻨﻰ ﻛﻪ ﺑﻌﺪﺵ ﭼﻪ ﺍﺗﻔﺎﻗﻰ ﻣﻰﺍﻓﺘﻪ‪«.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺷﻴﺮ ﻳﺎ ﺧﻂ‪ .‬ﺍﺣﺘﻤﺎﻟﺶ ﭘﻨﺠﺎﻩ ﭘﻨﺠﺎﻩ ﺍﺳﺖ‪ .‬ﻣﻮﻗﻌﻴﺖ ﻳﺎ ﺳﺮﻋﺖ‪ .‬ﮔﺮﺑﻪ ﺯﻧﺪﻩ ﺍﺳﺖ‪ .‬ﮔﺮﺑﻪ ﻣﺮﺩﻩ‪ .‬ﻭﻟﻰ‬ ‫ﺍﮔﺮ ﻳﻚ ﺳﻜﻪ ﺭﺍ ﺩﻩ ﺑﺎﺭ ﺑﺎﻻ ﺑﻴﻨﺪﺍﺯﻯ‪ ،‬ﺍﺯ ﻫﺮ ﻛﺪﺍﻡ ﭘﻨﺞ ﺗﺎ ﻧﺼﻴﺒﺖ ﻧﻤﻰﺷﻮﺩ‪ .‬ﻣﻦ ﺳﻜﻪ ﺯﻳﺎﺩ ﻣﻰﺍﻧﺪﺍﺯﻡ‪.‬‬ ‫ﻣﺨﺼﻮﺻﺎً ﻭﻗﺘﻰ ﺷﺐﻫﺎﻯ ﺗﺎﺑﺴﺘﺎﻥ ﺍﺳﺖ ﻭ ﻣﺎﻩ ﻫﻼﻟﻰ ﺍﺳﺖ ﻭ ﺩﻳﺮ ﻛﺮﺩﻩﺍﻡ‪.‬‬ ‫ﻭﺭﻧﺮ ﻫﺎﻳﺰﻧﺒﺮگ‪ .‬ﻧﺎﺯﻯ ﺑﻮﺩ ﻳﺎ ﻳﻚ ﺷﻬﺮﻭﻧﺪ ﺧﻮﺏ ﻛﻪ ﻓﻜﺮ ﻣﻰﻛﺮﺩ ﺩﺍﺭﺩ ﺍﻧﺠﺎﻡ ﻭﻇﻴﻔﻪ ﻣﻰﻛﻨﺪ‪ .‬ﭘﻨﺠﺎﻩ‬ ‫ﭘﻨﺠﺎﻩ‪ .‬ﺑﻴﺶﺗﺮ ﺯﻧﺪﮔﻴﻨﺎﻣﻪﻧﻮﻳﺲﻫﺎ ﻭ ﺩﻭﺳﺘﺎﻧﺶ ﻣﻰﮔﻔﺘﻨﺪ ﺍﻭ ﺻﺮﻓﺎً ﻳﻚ ﺁﻟﻤﺎﻧﻰ ﺑﻮﺩﻩ ﻛﻪ ﺩﺭ ﺯﻣﺎﻥ‬ ‫ﺟﻨﮓ‪ ،‬ﺑﻪ ﺣﻜﻢ ﻭﻇﻴﻔﻪ ﺩﺍﺷﺘﻪ ﺑﺮﺍﻯ ﻛﺸﻮﺭﺵ ﺑﻤﺐ ﺍﺗﻤﻰ ﺩﺭﺳﺖ ﻣﻰﻛﺮﺩﻩ‪ .‬ﻧﻤﻰﺩﺍﻧﻢ ﺍﺻ ً‬ ‫ﻼ ﺑﻪ ﺍﻳﻦ‬ ‫ﻣﻮﺿﻮﻉ ﻓﻜﺮ ﻛﺮﺩﻩ ﺑﻮﺩﻩ ﻛﻪ ﻫﻴﺘﻠﺮ ﺑﺎ ﻳﻚ ﺑﻤﺐ ﺍﺗﻤﻰ ﭼﻪ ﻛﺎﺭﻫﺎ ﻛﻪ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺑﻜﻨﺪ‪.‬‬ ‫ﭘﺎﻧﺰﺩﻫﻢ ﺩﺳﺎﻣﺒﺮ ‪ 1944‬ﻫﺎﻳﺰﻧﺒﺮگ ﺩﺭ ﺍﻯ‪.‬ﺗﻰ‪.‬ﺍچ ﺯﻭﺭﻳﺦ ﺳﺨﻨﺮﺍﻧﻰﺍﻯ ﺩﺭﺑﺎﺭﻩﻯ ﻧﻈﺮﻳﻪﻯ‬ ‫ﺍﺱ‪-‬ﻣﺎﺗﺮﻳﻜﺲ ﺍﻧﺠﺎﻡ ﺩﺍﺩ‪ .‬ﻣﻮ ﺑﺮگ ﺩﺭ ﺳﺨﻦﺭﺍﻧﻰ ﺣﺎﺿﺮ ﺑﻮﺩ‪ .‬ﺑﻌﻀﻰﻫﺎ ﮔﻔﺘﻪﺍﻧﺪ ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ﺟﺎﻯ‬ ‫ﻳﻚ ﺩﺍﻧﺸﺠﻮﻯ ﺳﻮﺋﻴﺴﻰ ﺟﺎ ﺯﺩﻩ ﺑﻮﺩ‪ .‬ﺑﻌﻀﻰﻫﺎ ﻫﻢ ﻣﻰﮔﻮﻳﻨﺪ ﺟﺎﻯ ﻳﻚ ﺗﺎﺟﺮ ﻋﺮﺏ ﻳﺎ ﻓﺮﻭﺷﻨﺪﻩﻯ‬ ‫ﻓﺮﺍﻧﺴﻮﻯ‪ .‬ﺧﺐ ﺍﻳﻦ ﺧﻮﺩﺵ ﻳﻚ ﺟﻮﺭ ﻋﺪﻡ ﻗﻄﻌﻴﺖ ﺍﺳﺖ‪ .‬ﻣﻮ ﺑﺮگ ﺁﻥﺟﺎ ﺑﻮﺩ‪ ،‬ﻭﻟﻰ ﻛﺴﻰ ﻧﻤﻰﺩﺍﻧﺪ‬ ‫ﺑﻪ ﭼﻪ ﺻﻮﺭﺗﻰ‪ .‬ﻣﻌﻠﻮﻡ ﻧﻴﺴﺖ ﻛﻪ ﺗﺎﺟﺮ ﻋﺮﺏ ﻳﺎ ﻓﺮﻭﺷﻨﺪﻩﻯ ﻓﺮﺍﻧﺴﻮﻯ ﺁﻥﺟﺎ ﺑﻮﺩﻩ ﺑﺎﺷﺪ‪ ،‬ﻭﻟﻰ ﻫﻤﻪ‬ ‫ﻣﻰﺩﺍﻧﻨﺪ ﻛﻪ ﺳﺎﻟﻦ ﭘﺮ ﺍﺯ ﺩﺍﻧﺸﺠﻮﻯ ﺳﻮﺋﻴﺴﻰ ﺑﻮﺩﻩ‪ .‬ﻭ ﺍﻟﺒﺘﻪ ﻳﻚ ﻣﺄﻣﻮﺭ ﻣﺨﻔﻰ ﻛﻪ ﻫﻤﺎﻥ ﺑﺮگ ﺑﺎﺷﺪ‪.‬‬ ‫ِ‬ ‫ﻫﺎﻳﺰﻧﺒﺮگ ﻣﻮﻗﺮﻣﺰ ﻛﻮﺗﻮﻟﻪ ﺑﺎ ﺳﺮﻯ ﮔﺮ ﮔﺮﻓﺘﻪ ﻭ ﭼﻬﺮﻩﺍﻯ ﻛﻪ ﺍﻭ ﺭﺍ‬ ‫ﻣﻰﺗﻮﺍﻧﻢ ﺻﺤﻨﻪ ﺭﺍ ﺗﺼﻮﺭ ﻛﻨﻢ‪.‬‬ ‫ﭘﻴﺮﺗﺮ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪ ،‬ﺟﻠﻮﻯ ﺗﺨﺘﻪ ﺳﻴﺎﻩ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ‪ .‬ﺩﺳﺖ ﭼﭙﺶ ﺭﺍ ﻫﺮﮔﺰ ﺍﺯ ﺗﻮﻯ ﻛﺘﺶ ﺑﻴﺮﻭﻥ‬ ‫ﻧﻤﻰﺁﻭﺭﺩ‪ .‬ﺑﻴﻦ ﺟﻤﻌﻴﺖ ﺑﺮگ ﻧﺸﺴﺘﻪ ﻛﻪ ﺩﺍﺭﺩ ﺑﺎ ﺩﻗﺖ ﮔﻮﺵ ﻣﻰﻛﻨﺪ ﻭ ﻳﺎﺩﺩﺍﺷﺖ ﺑﺮ ﻣﻰﺩﺍﺭﺩ‪ .‬ﺑﺮگ‬ ‫ﺩﺍﺭﺩ ﭼﻴﺰﻫﺎﻳﻰ ﻣﻰﻧﻮﻳﺴﺪ‪ .‬ﺷﺎﻳﺪ ﺩﺍﺭﺩ ﻣﻰﻧﻮﻳﺴﺪ‪ :‬ﻧﻈﺮﻳﻪﻯ ﻋﺪﻡ ﻗﻄﻌﻴﺖ ﻫﺎﻳﺰﻧﺒﺮگ‪ .‬ﺑﺎ ﻫﺎﻳﺰﻧﺒﺮگ‬ ‫ﭼﻪ ﺑﺎﻳﺪ ﻛﺮﺩ‪ .‬ﺩﺍﺭﺩ ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﻟﻄﻴﻔﻪ ﻣﻰﺳﺎﺯﺩ‪ :‬ﻣﻰﺗﻮﺍﻧﻴﻢ ﺑﺎ ﻫﻢ ﺩﺭﺑﺎﺭﻩﻯ ﺭﻳﺎﺿﻴﺎﺕ ﺑﺤﺚ ﻛﻨﻴﻢ ﻭ‬ ‫ﺑﮕﺬﺍﺭﻳﻢ ﺭﻭﻡ ﺩﺭ ﺁﺗﺶ ﺑﺴﻮﺯﺩ‪ .‬ﭘﻴﺴﺘﻮﻟﻰ ﺩﺭ ﺟﻴﺐ ﻛﺘﺶ ﺳﻨﮕﻴﻨﻰ ﻣﻰﻛﻨﺪ‪ .‬ﺑﺎ ﻫﺮﺑﺎﺭ ﺟﺎﺑﻪﺟﺎ ﻛﺮﺩﻥ‬ ‫ﺑﺪﻧﺶ‪ ،‬ﻛﭙﺴﻮﻝ ﺳﻴﺎﻧﻮﺭﻯ ﺩﺭ ﺩﺭﻭﻥ ﺳﺎﻋﺖ ﺟﻴﺒﻰﺍﺵ ﺟﺎﺑﻪﺟﺎ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻫﺎﻳﺰﻧﺒﺮگ ﺣﺮﻑ ﻣﻰﺯﻧﺪ ﻭ ﺑﺮگ ﮔﻮﺵ ﻣﻰﺩﻫﺪ ﻭ ﺩﺭ ﺗﻤﺎﻡ ﺍﻳﻦ ﻣﺪﺕ ﺳﻜﻪﺍﻯ ﺩﺭ ﻣﻴﺎﻥ ﺯﻣﻴﻦ ﻭ ﻫﻮﺍ‬ ‫ﺩﺭ ﺣﺎﻝ ﭼﺮﺧﻴﺪﻥ ﺍﺳﺖ‪.‬‬ ‫‪» ‬ﺍﮔﺮ ﺗﻮپ ﺭﻭ ﭘﺲ ﺑﺪﻡ‪ ،‬ﺟﻨﮓ ﻣﺘﻮﻗﻒ ﻣﻰﺷﻪ؟«‬ ‫»ﻧﻪ‪ .‬ﺟﻨﮓ ﺩﺭ ﻫﺮ ﺻﻮﺭﺕ ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﻪ‪ .‬ﻭﻟﻰ ﻛﺎﺭ ﺗﻮ ﻧﺘﻴﺠﻪﻯ ﺟﻨﮓ ﺭﻭ ﺗﻐﻴﻴﺮ ﻣﻰﺩﻩ‪«.‬‬ ‫ﺍﻭﺭﻯ ﺩﺭ ﺍﻳﻦ ﻣﺪﺕ ﻛﻠﻰ ﻓﻜﺮ ﻣﻰﻛﻨﺪ‪» :‬ﻳﻌﻨﻰ ﻓﻘﻂ ﭼﻮﻥ ﻣﻦ ﺗﻮپ ﺭﻭ ﮔﺮﻓﺘﻢ؟«‬ ‫ﻣﺮﺩ ﻛﻤﻰ ﺧﻢ ﻣﻰﺷﻮﺩ ﻭ ﺳﻜﻪ ﻫﻢﺭﺍﺳﺘﺎﻯ ﭼﺸﻢ ﺭﺍﺳﺘﺶ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ‪» :‬ﺗﺎ ﺣﺪﻭﺩﻯ ﺑﻠﻪ‪ .‬ﻣﺜ ً‬ ‫ﻼ‬ ‫‪41‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫»ﺑﺮﻧﺎﻣﻪﻯ ﻓﻀﺎﻳﻰ؟« ﻧﻈﺮ ﺍﻭﺭﻯ ﺟﻠﺐ ﻣﻰﺷﻮﺩ‪ .‬ﻳﻚ ﻣﺎﻩ ﺍﺯ ﻭﻗﺘﻰ ﻛﺘﺎﺏ ﺍﻭﻟﻴﻦ ﻣﺮﺩ ﺭﻭﻯ ﻣﺎﻩ ﺍچ‪ .‬ﺟﻰ‪.‬‬ ‫ﻭﻟﺰ ]‪ [26‬ﺭﺍ ﺧﻮﺍﻧﺪﻩ ﻧﻤﻰﮔﺬﺭﺩ‪ .‬ﻭ ﺧﻮﺏ ﺍﮔﺮ ﺑﻤﺐﻫﺎﻯ ﺍﺗﻤﻰ ﻣﻤﻜﻦ ﺑﺎﺷﻨﺪ‪ ،‬ﭘﺲ ﭼﺮﺍ ﺳﻔﺮ ﺑﻪ ﻣﺎﻩ‬ ‫ﻣﻤﻜﻦ ﻧﺒﺎﺷﺪ‪» .‬ﻗﺮﺍﺭﻩ ﺑﻪ ﻣﺎﻩ ﺳﻔﺮ ﻛﻨﻴﻢ؟« ﺫﻫﻨﺶ ﺍﺯ ﺗﺼﺎﻭﻳﺮ ﻫﻴﺠﺎﻥﺍﻧﮕﻴﺰ ﻣﻮﺷﻚﻫﺎﻯ ﺻﺎﻑ ﻭ ﺑﺮﺍﻕ‬ ‫ﻧﻘﺮﻩﺍﻯ ﻛﻪ ﺑﻪ ﻓﻀﺎ ﭘﺮﺗﺎﺏ ﻣﻰﺷﻮﻧﺪ ﭘﺮ ﺷﺪ‪ .‬ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ﺷﻜﻞ ﻳﻚ ﻓﻀﺎﻧﻮﺭﺩ ﺗﺼﻮﺭ ﻛﺮﺩ‪.‬‬ ‫»ﺑﺴﺘﮕﻰ ﺩﺍﺭﻩ ﺍﻭﺭﻯ‪ .‬ﺍﺣﺘﻤﺎﻻﺕ ﺯﻳﺎﺩﻯ ﻭﺟﻮﺩ ﺩﺍﺭﻩ‪ .‬ﻭﻟﻰ ﻳﻚ ﭼﻴﺰ ﻣﺴﻠﻤﻪ‪ .‬ﺍﮔﺮ ﻫﺎﻳﺰﻧﺒﺮگ ﻛﺸﺘﻪ ﺑﺸﻪ‪،‬‬ ‫ﺍﻭﻟﻴﻦ ﻛﺴﺎﻳﻰ ﻛﻪ ﺭﻭﻯ ﻣﺎﻩ ﻗﺪﻡ ﻣﻰﮔﺬﺍﺭﻥ ﺁﻣﺮﻳﻜﺎﻳﻰ ﻧﺨﻮﺍﻫﻨﺪ ﺑﻮﺩ‪ .‬ﻳﺎ ﺍﺻ ً‬ ‫ﻼ ﭼﻨﻴﻦ ﺍﺗﻔﺎﻗﻰ ﻧﻤﻰﺍﻓﺘﻪ‪«.‬‬ ‫ﺍﻭﺭﻯ ﺳﻜﻮﺕ ﻣﻰﻛﻨﺪ ﻭ ﺑﻪ ﻛﻒ ﺍﺗﺎﻕ ﺧﻴﺮﻩ ﻣﻰﺷﻮﺩ ﻛﻪ ﻭﺍﻗﻌﺎً ﻛﻒ ﺍﺗﺎﻕ ﻧﻴﺴﺖ‪ .‬ﺗﺮﻛﻴﺐ ﭼﻨﺪﻳﻦ ﻛﻒ‬ ‫ﺍﺗﺎﻕ ﻣﺨﺘﻠﻒ ﺍﺳﺖ ﻛﻪ ﻫﺮ ﻳﻚ ﺑﻪ ﻧﻈﺮ ﻣﻰ ﺭﺳﺪ ﺁﻥﺟﺎ ﻫﺴﺘﻨﺪ‪ .‬ﻭﻟﻰ ﻫﻴﭻ ﻳﻚ ﺑﻴﺶﺗﺮ ﺍﺯ ﭼﻨﺪ ﺛﺎﻧﻴﻪ‬ ‫ﺛﺎﺑﺖ ﻧﻤﻰﻣﺎﻧﻨﺪ‪.‬‬ ‫»ﺗﻮ ﻫﻤﻪﻯ ﺍﻳﻦ ﭼﻴﺰﺍ ﺭﻭ ﺍﺯ ﻛﺠﺎ ﻣﻰﺩﻭﻧﻰ؟«‬ ‫»ﻧﻤﻰﺩﻭﻧﻢ‪ .‬ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺗﻮ ﺑﻴﺎﻯ ﺍﻳﻦﺟﺎ ﻣﻦ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺘﻢ‪ .‬ﻭﻗﺘﻰ ﻫﻢ ﺑﺮﻯ ﻣﻦ ﺍﺯ ﺑﻴﻦ ﻣﻰﺭﻡ‪ .‬ﻭﻟﻰ‬ ‫ﺗﺎ ﺯﻣﺎﻧﻰ ﻛﻪ ﺍﻳﻦ ﻋﺪﻡ ﻗﻄﻌﻴﺖ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻪ‪ ،‬ﻣﻦ ﻫﻢ ﻭﺟﻮﺩ ﺧﻮﺍﻫﻢ ﺩﺍﺷﺖ‪«.‬‬ ‫»ﻭﺍﻗﻌﺎً ﺧﻴﻠﻰ ﻣﻬﻤﻪ ﻛﻪ ﻛﻰ ﺍﻭﻝ ﺭﻭﻯ ﻣﺎﻩ ﻗﺪﻡ ﺑﺬﺍﺭﻩ؟«‬ ‫»ﺷﺎﻳﺪ ﻧﻪ‪ .‬ﻭﻟﻰ ﺍﻳﻦ ﻛﻪ ﺍﻭﻟﻴﻦ ﺑﻤﺐ ﺍﺗﻢ ﺩﺳﺖ ﻛﻰ ﺑﺎﺷﻪ ﺧﻴﻠﻰ ﻣﻬﻤﻪ‪«.‬‬ ‫ﺍﻭﺭﻯ ﺑﻪ ﺳﻜﻪﻯ ﺩﺭ ﺣﺎﻝ ﭼﺮﺧﻴﺪﻥ ﻧﮕﺎﻩ ﻣﻰﻛﻨﺪ‪ .‬ﺍﮔﺮ ﻛﻤﻰ ﺑﻪ ﭼﭗ ﻳﺎ ﺭﺍﺳﺖ ﻣﻨﺤﺮﻑ ﺷﻮﺩ‪ ،‬ﻣﻰﺗﻮﺍﻧﺪ‬ ‫ﺍﻳﻦ ﻃﻮﺭ ﺑﻪ ﻧﻈﺮ ﺑﺮﺳﺪ ﻛﻪ ﺟﺎﻯ ﭼﺸﻢﻫﺎﻯ ﻣﺮﺩ ﺭﺍ ﮔﺮﻓﺘﻪ‪ .‬ﺗﻮپ ﻫﻮﻡﺭﺍﻥ ﻣﻮ ﺑﺮگ‪ .‬ﭼﻘﺪﺭ ﻣﻰﺗﻮﺍﻧﺴﺖ‬ ‫ﺟﻠﻮﻯ ﺭﻓﻘﺎﻳﺶ ﭘﺰ ﺑﺪﻫﺪ‪.‬‬ ‫ﻓﻜﺮ ﻣﻰﻛﻨﺪ‪.‬‬ ‫»ﺑﺎﺷﻪ‪ ...‬ﺗﻮپ ﻭﺍﺳﻪ ﺧﻮﺩﺕ‪«.‬‬ ‫‪ ‬ﮔﺎﻫﻰ ﻣﺎﻩ ﺷﺒﻴﻪ ﻳﻚ ﺳﻜﻪ ﻣﻰﺷﻮﺩ ﻛﻪ ﺍﻣﻮﺍﺝ ﻣﻬﺘﺎﺑﺶ ﻣﺜﻞ ﻋﻘﺎﺑﻰ ﺩﺭ ﻣﻨﻈﺮﻩ ﺑﺎﻝ ﻣﻰﮔﺴﺘﺮﺍﻧﺪ‪.‬‬ ‫ﺷﺐﻫﺎﻯ ﺗﺎﺑﺴﺘﺎﻥ ﺭﺍ ﺑﻴﺪﺍﺭ ﻣﻰﻣﺎﻧﻢ ﻭ ﻣﻨﺘﻈﺮ ﻣﺎﻩ ﻣﻰﺷﻮﻡ ﺗﺎ ﺍﺯ ﺍﻓﻖ ﻧﺎﻣﺘﻨﺎﺟﺲ ﻃﻠﻮﻉ ﻛﻨﺪ‪ .‬ﻫﻤﺎﻥﺟﻮﺭ‬ ‫ﺗﻮﻯ ﺗﺨﺘﻢ ﻣﻰﻣﺎﻧﻢ ﻭ ﺑﺎ ﺧﻮﺩﻡ ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﻛﻪ ﻣﺎﻩ ﻫﻢ ﻣﺜﻞ ﺁﻥ ﺳﻜﻪ ﺩﺭ ﺣﺎﻝ ﭼﺮﺧﻴﺪﻥ ﺍﺳﺖ‪.‬‬ ‫ﻗﺮﺹ ﻛﺎﻣﻞ‪ ،‬ﺑﻌﺪ ﻫﻼﻝ‪ ،‬ﺑﻌﺪ ﻣﺎﻩ ﻧﻮ ﻭ ﺑﺎﺯ ﻫﻤﻴﻦ ﭼﺮﺧﻪ ﺗﻜﺮﺍﺭ ﻣﻰﺷﻮﺩ‪ .‬ﺑﻌﺪ ﺍﺯ ﻳﻚ ﺗﺎﺑﺴﺘﺎﻥ‬ ‫ﺑﻰﺧﻮﺍﺑﻰ‪ ،‬ﺗﺼﺎﻭﻳﺮ ﭼﺮﺧﺶ ﻣﺎﻩ ﺗﻮﻯ ﺫﻫﻨﻢ ﺑﺎ ﺩﻭﺭ ﺑﺎﻻ ﭘﺨﺶ ﻣﻰﺷﻮﻧﺪ ﻭ ﮔﺎﻫﻰ ﻛﻪ ﺧﻮﺍﺏ ﻣﻰﺑﻴﻨﻢ‪،‬‬ ‫ﻣﺮﺩ ﺑﺎ ﭼﻬﺮﻩﻯ ﭘﺪﺭﻡ ﺭﺍ ﻣﻰﺑﻴﻨﻢ ﻛﻪ ﺑﻪ ﺟﺎﻯ ﭼﺸﻢ ﺗﻮﻯ ﺻﻮﺭﺗﺶ ﻣﺎﻩ ﺩﺍﺭﺩ‪ .‬ﻣﺜﻞ ﭘﺮﺩﻩﺍﻯ ﻧﺎﺯﻙ ﺩﺭ‬ ‫ﺩﺭﺧﺸﺶ ﻫﺴﺘﻨﺪ‪ .‬ﻭﻟﻰ ﻧﻪ ﺁﻥﻗﺪﺭ ﺳﺮﻳﻊ ﻛﻪ ﺑﻪ ﭼﺸﻢ ﻧﻴﺎﻳﻨﺪ‪.‬‬ ‫‪39‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﻣﻮ ﺑﺮگ ﺳﺎﻝ ‪ 1972‬ﺩﺭ ﻧﻴﻮﻳﻮﺭﻙ ﻣﺮﺩ‪ .‬ﺑﻴﺴﺖ ﻭ ﻫﺸﺖ ﺳﺎﻝ ﺑﻴﺶﺗﺮ ﺍﺯ ﭘﺪﺭﻡ ﺯﻧﺪﮔﻰ ﻛﺮﺩ‪ .‬ﻭﻗﺘﻰ‬ ‫ﻣﺮﺩ‪ ،‬ﻣﻦ ﻭ ﺩﻭﻧﺎ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺑﻪ ﻧﻴﻮﻳﻮﺭﻙ ﺭﻓﺘﻴﻢ‪.‬‬ ‫‪ ‬ﻣﺮﺩ ﻛﻪ ﺻﻮﺭﺕ ﭘﺪﺭ ﺍﻭﺭﻯ ﺭﺍ ﭘﻮﺷﻴﺪﻩ ﺑﻮﺩ‪ ،‬ﮔﻔﺖ‪» :‬ﺩﺍﻧﺸﻤﻨﺪﻯ ﻫﺴﺖ ﺑﻪ ﻧﺎﻡ ﻭﺭﻧﺮ ﻫﺎﻳﺰﻧﺒﺮگ‪«.‬‬ ‫ﺍﻭﺭﻯ ﭘﺮﺳﻴﺪ‪» :‬ﺁﻟﻤﺎﻧﻴﻪ؟« ﻣﺮﺩ ﺳﺮﻯ ﺗﻜﺎﻥ ﺩﺍﺩ‪» .‬ﭘﺲ ﺩﺷﻤﻦ ﻣﺎﺳﺖ‪«.‬‬ ‫»ﺑﻠﻪ‪ .‬ﻫﺎﻳﺰﻧﺒﺮگ ﻫﻤﻴﻦ ﺣﺎﻻ ﻫﻢ ﺩﺍﻧﺸﻤﻨﺪ ﻣﻌﺮﻭﻓﻴﻪ‪ .‬ﻭﻗﺘﻰ ﺟﻨﮓ ﺷﺮﻭﻉ ﺑﺸﻪ‪ ،‬ﺍﻭﻥ ﺳﻌﻰ ﺧﻮﺍﻫﺪ ﻛﺮﺩ‬ ‫ﻛﻪ ﺍﺗﻢ ﺭﻭ ﺑﺸﻜﺎﻓﻪ ﻭ ﺑﺮﺍﻯ ﻧﺎﺯﻯﻫﺎ ﺑﻤﺐ ﺍﺗﻢ ﺩﺭﺳﺖ ﻛﻨﻪ‪ .‬ﺍﻧﺘﺨﺎﺑﻰ ﻛﻪ ﺗﻮ ﺑﺎﻳﺪ ﺑﻜﻨﻰ ﺍﻳﻨﻪ‪ .‬ﺁﻳﺎ ﻣﻮ ﺑﺮگ‬ ‫ﻫﺎﻳﺰﻧﺒﺮگ ﺭﻭ ﻣﻰﻛﺸﻪ ﻳﺎ ﻧﻪ؟«‬ ‫»ﻣﻮ ﺑﺮگ ﭼﺮﺍ ﺑﺎﻳﺪ ﻛﺴﻰ ﺭﻭ ﺑﻜﺸﻪ؟ ﺍﻭﻥ ﻛﻪ ﺑﺎﺯﻳﻜﻦ ﺑﻴﺲﺑﺎﻟﻪ‪«.‬‬ ‫»ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ ﺑﻠﻪ‪ ،‬ﻭﻟﻰ ﻭﻗﺘﻰ ﺟﻨﮓ ﺷﺮﻭﻉ ﺑﺸﻪ ﺑﻪ ﺳﺎﺯﻣﺎﻥ ﺍﻭ‪.‬ﺍﺱ‪.‬ﺍﺱ ﻣﻰﭘﻴﻮﻧﺪﻩ ﻭ ﻣﺄﻣﻮﺭ ﻣﺨﻔﻰ‬ ‫ﺩﻭﻟﺖ ﺍﻳﺎﻻﺕ ﻣﺘﺤﺪﻩ ﻣﻰﺷﻪ‪ .‬ﻳﻜﻰ ﺍﺯ ﻣﺄﻣﻮﺭﻳﺖﻫﺎﺵ ﺩﺭ ‪ 1944‬ﺍﻳﻦ ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﻳﻜﻰ ﺍﺯ‬ ‫ﺳﺨﻦﺭﺍﻧﻰﻫﺎﻯ ﻫﺎﻳﺰﻧﺒﺮگ ﺣﺎﺿﺮ ﺑﺸﻪ ﻭ ﺍﮔﺮ ﺣﺲ ﻛﺮﺩ ﻛﻪ ﺁﻟﻤﺎﻥﻫﺎ ﻭﺍﻗﻌﺎً ﺑﻪ ﺳﺎﺧﺘﻦ ﺑﻤﺐ ﺍﺗﻤﻰ‬ ‫ﻧﺰﺩﻳﻚ ﺷﺪﻥ‪ ،‬ﻫﺎﻳﺰﻧﺒﺮگ ﺭﻭ ﺗﺮﻭﺭ ﻛﻨﻪ‪«.‬‬ ‫»ﺗﻮ ﺩﻳﻮﻭﻧﻪﺍﻯ‪ .‬ﻣﻦ ﺩﺭﺑﺎﺭﻩﻯ ﺑﻤﺒﺎﻯ ﺍﺗﻤﻰ ﺗﻮﻯ ﻣﺠﻠﻪﻯ ﺍﺳﺘﺎﻧﺪﻳﻨﮓ ]‪ [25‬ﺧﻮﻧﺪﻡ‪ .‬ﺍﻭﻥﺟﺎ ﻧﻮﺷﺘﻪ ﺑﻮﺩ‬ ‫ﻛﻪ ﭼﻨﻴﻦ ﭼﻴﺰﻯ ﻭﺟﻮﺩ ﻧﺪﺍﺭﻩ‪«.‬‬ ‫»ﺩﺭ ﺁﻳﻨﺪﻩ ﻭﺟﻮﺩ ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ‪«.‬‬ ‫ﺍﻭﺭﻯ ﻛﻪ ﻫﻨﻮﺯ ﻫﻢ ﻣﺸﻜﻮﻙ ﺍﺳﺖ‪ ،‬ﻣﻰﭘﺮﺳﺪ‪» :‬ﺣﺘﺎ ﺍﮔﺮ ﻓﺮﺽ ﻛﻨﻴﻢ ﭼﻨﻴﻦ ﭼﻴﺰﻯ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﻪ‪ ،‬ﺍﻳﻨﺎ ﭼﻪ ﺭﺑﻄﻰ ﺑﻪ ﺗﻮپ ﻣﻦ ﺩﺍﺭﻩ؟«‬ ‫»ﺍﮔﺮ ﻣﻮ ﺑﺮگ ﺍﻳﻦ ﻫﻮﻡﺭﺍﻥ ﺭﻭ ﺍﻧﺠﺎﻡ ﺑﺪﻩ‪ ،‬ﺗﻮﻯ ﺍﻳﻦ ﻓﺼﻞ ﺑﻴﺶﺗﺮ ﺑﺎﺯﻯ ﻣﻰﻛﻨﻪ‪ .‬ﺑﻌﺪ ﻫﻢ ﺗﻮﻯ ﻓﺼﻞ‬ ‫ﺑﻌﺪ ﺑﺎﺯﻯ ﻣﻰﻛﻨﻪ ﻭ ﭼﻮﻥ ﺩﻳﮕﻪ ﭘﻴﺮ ﺷﺪﻩ‪ ،‬ﺍﻭ‪.‬ﺍﺱ‪.‬ﺍﺱ ﻳﻪ ﻧﻔﺮ ﺩﻳﮕﻪ ﺭﻭ ﺑﻪ ﺟﺎﺵ ﺍﺳﺘﺨﺪﺍﻡ ﻣﻰﻛﻨﻪ‪ .‬ﺍﻭﻥ‬ ‫ﻛﺴﻰ ﻛﻪ ﺑﻪ ﺟﺎﻯ ﺑﺮگ ﺍﺳﺘﺨﺪﺍﻡ ﻣﻰﻛﻨﻦ‪ ،‬ﺣﺘﻤﺎً ﻫﺎﻳﺰﻧﺒﺮگ ﺭﻭ ﻣﻰﻛﺸﻪ‪«.‬‬ ‫»ﭼﻪ ﺑﻬﺘﺮ‪ .‬ﺍﮔﺮ ﺑﻤﺐ ﺍﺗﻤﻰ ﻭﺟﻮﺩ ﺩﺍﺭﻩ‪ ،‬ﻣﻦ ﻳﻜﻰ ﻛﻪ ﺗﺮﺟﻴﺢ ﻣﻰﺩﻡ ﺩﺳﺖ ﻫﻴﺘﻠﺮ ﻧﻴﻔﺘﻪ‪«.‬‬ ‫»ﻭﻟﻰ ﺍﮔﺮ ﺗﻮﺍﻧﺎﻳﻰﻫﺎ ﻫﺎﻳﺰﻧﺒﺮگ ﺩﺭ ﺣﺪﻯ ﻧﺒﺎﺷﻪ ﻛﻪ ﻗﺒﻞ ﺍﺯ ﺍﻳﺎﻻﺕ ﻣﺘﺤﺪﻩ ﺑﺘﻮﻧﻪ ﺑﻤﺐ ﺍﺗﻢ ﺭﻭ ﺑﺴﺎﺯﻩ‬ ‫ﭼﻰ؟ ﺍﻭﻥﻭﻗﺖ ﻳﻚ ﻧﺎﺑﻐﻪ ﺑﻰﻫﻴﭻ ﺩﻟﻴﻠﻰ ﻛﺸﺘﻪ ﺷﺪﻩ‪«.‬‬ ‫ﺍﻭﺭﻯ ﺣﺮﻓﻰ ﻧﻤﻰﺯﻧﺪ‪ .‬ﻣﺮﺩ ﺍﺩﺍﻣﻪ ﻣﻰﺩﻫﺪ‪» :‬ﺍﮔﺮ ﺗﺮﻭﺭ ﻫﺎﻳﺰﻧﺒﺮگ ﻣﻮﻓﻘﻴﺖﺁﻣﻴﺰ ﺑﺎﺷﻪ‪ ،‬ﺑﻌﺪﺵ ﻧﻮﺑﺖ‬ ‫ﺑﻘﻴﻪﻯ ﺩﺍﻧﺸﻤﻨﺪﻫﺎﻯ ﺁﻟﻤﺎﻧﻴﻪ‪ .‬ﺍﻳﻦ ﻳﻌﻨﻰ ﻣﺮﺩﻯ ﻛﻪ ﻗﺮﺍﺭﻩ ﭘﺮﻭژﻩﻯ ﻓﻀﺎﻳﻰ ﺁﻣﺮﻳﻜﺎ ﺭﻭ ﻃﺮﺍﺣﻰ ﻛﻨﻪ‪ ،‬ﻳﺎ‬ ‫ﻣﻰﻣﻴﺮﻩ ﻳﺎ ﺑﻌﺪ ﺍﺯ ﺟﻨﮓ ﺑﻪ ﺭﻭﺳﻴﻪ ﭘﻨﺎﻫﻨﺪﻩ ﻣﻰﺷﻪ‪«.‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫»ﺑﻪ ﻫﻤﻴﻦ ﺳﺎﺩﮔﻰ؟« ﻣﺮﺩ ﺳﺮﺵ ﺭﺍ ﺑﻪ ﻧﺸﺎﻧﻪﻯ ﻣﻮﺍﻓﻘﺖ ﺗﻜﺎﻥ ﻣﻰﺩﻫﺪ‪ .‬ﺍﻭﺭﻯ ﻣﻰﮔﻮﻳﺪ‪» :‬ﺑﺎﺷﻪ‪ «.‬ﻭ‬ ‫ﺻﻮﺭﺕ ﭘﺪﺭﺵ ﺭﺍ ﺭﻭﻯ ﭼﻬﺮﻩﻯ ﻣﺮﺩ ﻣﻰﮔﺬﺍﺭﺩ‪.‬‬ ‫»ﺧﺐ ﺣﺎﻻ ﺭﺍﺣﺖﺗﺮﻯ؟«‬ ‫»ﺑﺮﺍﻡ ﺗﻮﺿﻴﺢ ﺑﺪﻩ ﻣﻨﻈﻮﺭﺕ ﭼﻴﻪ ﻛﻪ ﻫﻤﻪ ﭼﻴﺰﻭ ﻣﻰﺩﻭﻧﻰ؟«‬ ‫»ﻳﻌﻨﻰ ﺗﺎ ﻭﻗﺘﻰ ﻛﻪ ﭼﻴﺰ ﺧﺎﺻﻰ ﻧﻴﺎﺯ ﺑﻪ ﺩﺍﻧﺴﺘﻪ ﺷﺪﻥ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻪ‪ ،‬ﻣﻦ ﻭﺟﻮﺩ ﺩﺍﺭﻡ‪ .‬ﻭﻗﺘﻰ ﻧﻴﺎﺯ ﺑﻪ‬ ‫ﺩﻭﻧﺴﺘﻦ ﺍﻭﻥ ﭼﻴﺰ ﺭﻓﻊ ﺑﺸﻪ‪ ،‬ﻣﻦ ﻫﻢ ﺍﺯ ﺑﻴﻦ ﻣﻰ���ﻡ‪«.‬‬ ‫ﺣﺮﻑﻫﺎﻯ ﻣﺮﺩ ﺩﺍﺷﺖ ﻛﻢﻛﻢ ﺩﺭ ﺫﻫﻦ ﺍﻭﺭﻯ ﻣﻰﻧﺸﺴﺖ‪» .‬ﭘﺲ ﻳﻌﻨﻰ ﺗﻮ ﻓﻘﻂ ﺗﺎ ﻭﻗﺘﻰ ﻭﺟﻮﺩ ﺩﺍﺭﻯ‬ ‫ﻛﻪ ﭼﻴﺰﻯ ﺭﻭ ﻛﻪ ﻣﻰﺧﻮﺍﻯ ﺑﺪﻭﻧﻰ‪ ،‬ﻧﻤﻰﺩﻭﻧﻰ‪ .‬ﺩﺭﺳﺘﻪ؟«‬ ‫ﻣﺮﺩ ﺑﺎﺯ ﺳﺮ ﺗﻜﺎﻥ ﻣﻰﺩﻫﺪ‪.‬‬ ‫»ﭘﺲ ﺩﺍﺳﺘﺎﻧﻮ ﺑﺮﺍﻡ ﺗﻌﺮﻳﻒ ﻛﻦ‪«.‬‬ ‫‪ ‬ﺑﺎﺯﻧﺸﺴﺘﻪ ﺑﻮﺩﻥ ﺗﻮﻯ ﺩﻫﻪﻯ ﻧﻮﺩ ﺧﻴﻠﻰ ﺁﺳﺎﻥ ﺑﻮﺩ‪ .‬ﻣﺨﺼﻮﺻﺎً ﺍﮔﺮ ﺷﻐﻞ ﻣﺮﺍ ﻣﻰﺩﺍﺷﺘﻴﺪ‪ .‬ﻓﻘﻂ ﻛﺎﻓﻰ‬ ‫ﺑﻮﺩ ﺑﻪ ﭘﺸﺖ ﻟﻢ ﺑﺪﻫﻢ ﻭ ﭘﻮﻝ ﺑﻴﻤﻪ ﻭ ﻣﻮﺍﺟﺐ ﺑﺎﺯﻧﺸﺴﺘﮕﻰﺍﻡ ﺭﺍ ﺩﺭﻳﺎﻓﺖ ﻛﻨﻢ‪ .‬ﺩﺭ ﺳﺎﺣﻞ ﻣﻴﻦ‪ ،‬ﮔﻞ‬ ‫ﻣﻴﻨﺎ ﭘﺮﻭﺭﺵ ﺩﻫﻢ ﻭ ﺻﺒﺢﻫﺎ ﺑﺎ ﺯﻧﻢ ﺑﺮﺍﻯ ﻗﺪﻡ ﺯﺩﻥ ﺩﺭ ﭘﺎﺭﻙ ﻣﻠﻰ ﺁﻛﺎﺩﻳﺎ ]‪ [23‬ﺑﺮﻭﻡ ﻭ ﺣﻮﺻﻠﻪﺍﻡ ﻛﻪ‬ ‫ﺳﺮ ﻣﻰﺭﻓﺖ‪ ،‬ﺑﻪ ﻣﺮﺩﻡ ﺩﺭ ﺯﻣﻴﻨﻪﻯ ﺍﺗﻮﻣﻮﺑﻴﻞ ﻣﺸﺎﻭﺭﻩ ﺑﺪﻫﻢ‪.‬‬ ‫ﺭﺍﺳﺘﺶ ﺗﺮﺟﻴﺢ ﻣﻰﺩﻫﻢ ﺣﻮﺻﻠﻪﺍﻡ ﺳﺮ ﻧﺮﻭﺩ‪ ،‬ﭼﻮﻥ ﻭﻗﺘﻰ ﺣﻮﺻﻠﻪﺍﻡ ﺳﺮ ﺑﺮﻭﺩ ﻳﺎﺩ ﻣﻮ ﺑﺮگ ﻭ ﺳﻜﻪ ﻭ‬ ‫ﺑﻌﺪﺍﺯﻇﻬﺮﻫﺎﻯ ﻣﺎﻩ ﺟﻮﻻﻯ ﻣﻰﺍﻓﺘﻢ ﻛﻪ ﭘﺪﺭﻡ ﺍﺯ ﺟﻮﺍﺯ ﻣﺮﺧﺼﻰ ﭘﺰﺷﻜﻰ ﻗﻼﺑﻰ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﺮﺩ ﻭ ﻣﺮﺍ‬ ‫ﺑﻪ ﺑﺎﺯﻯ ﺑﻴﺲﺑﺎﻝ ﻣﻰﺑﺮﺩ‪.‬‬ ‫ﺍﺯ ﻛﺎﺭ ﻣﺸﺎﻭﺭﻩ ﻛﻠﻰ ﭘﻮﻝ ﺩﺭﺁﻭﺭﺩﻩﺍﻡ‪.‬‬ ‫ﺍﺳﻢ ﺯﻧﻢ ﺩﻭﻧﺎ ]‪ [24‬ﺍﺳﺖ‪ .‬ﻛﻤﻰ ﺍﺯ ﻣﻦ ﻗﺪﺵ ﺑﻠﻨﺪﺗﺮ ﺍﺳﺖ ﻭ ﺧﻴﻠﻰ ﻫﻢ ﺍﺯ ﻣﻦ ﻻﻏﺮﺗﺮ ﺍﺳﺖ ﻭ ﺭﻧﮓ‬ ‫ﻣﻮﻫﺎﻳﺶ ﺩﺭﺳﺖ ﻣﺜﻞ ﻣﺎﻩ ﻛﺎﻣﻞ ﺷﺐﻫﺎﻯ ﺯﻣﺴﺘﺎﻥ ﺍﺳﺖ‪ .‬ﺳﻰ ﻭ ﻫﻔﺖ ﺳﺎﻝ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻫﻢ ﺍﺯﺩﻭﺍﺝ‬ ‫ﻛﺮﺩﻩﺍﻳﻢ ﻭ ﻓﻜﺮ ﻧﻜﻨﻢ ﺩﻳﮕﺮ ﺑﺘﻮﺍﻧﻢ ﻫﻴﭻ ﺯﻧﻰ ﺟﺰ ﺍﻭ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻢ‪ .‬ﺯﻧﻢ ﺩﻭﺳﺖ ﺩﺍﺭﺩ ﻛﻪ ﺍﻳﻦ‬ ‫ﺳﺎﻝﻫﺎﻯ ﻃﻼﻳﻰ ﺍﺯﺩﻭﺍﺝﻣﺎﻥ ﺭﺍ ﺧﻮﺵ ﺑﮕﺬﺭﺍﻧﻴﻢ‪ .‬ﺩﻭﺳﺖ ﺩﺍﺭﺩ ﺑﺎ ﻫﻢ ﺑﻪ ﺍﺭﻭﭘﺎ ﺑﺮﻭﻳﻢ‪ .‬ﻭﻟﻰ ﻣﻦ ﻣﻮﺍﻓﻖ‬ ‫ﻧﻴﺴﺘﻢ‪ .‬ﺧﻮﺷﺒﺨﺖ ﻫﺴﺘﻴﻢ ﻭ ﺑﭽﻪﻫﺎﻯ ﺧﻮﺑﻰ ﻫﻢ ﺩﺍﺭﻳﻢ‪ .‬ﻫﻴﭻ ﻛﺪﺍﻡﺷﺎﻥ ﻫﻢ ﺗﻮﻯ ﺗﻠﻮﻳﺰﻳﻮﻥ ﻏﻔﻠﺘﺎ ً ﺍﺯ‬ ‫ﺗﺮﺑﻴﺖ ﺑﺪ ﻭ ﺑﻰﺗﻮﺟﻬﻰ ﭘﺪﺭ ﻭ ﻣﺎﺩﺭﺷﺎﻥ ﻧﻨﺎﻟﻴﺪﻩﺍﻧﺪ‪.‬‬ ‫ﺧﻴﻠﻰ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻢ ﺑﻪ ﺩﻭﻧﺎ ﺑﮕﻮﻳﻢ ﭼﺮﺍ ﻧﻤﻰﺧﻮﺍﻫﻢ ﺑﻪ ﺍﺭﻭﭘﺎ ﺑﺮﻭﻡ‪ .‬ﺍﻣﺎ ﻣﻦ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﺑﻪ ﻣﺜﺎﺑﻪ‬ ‫ﺍﻣﻀﺎﻯ ﻳﻚ ﺩﺷﻤﻦ ﺯﻳﺮ ﻛﻼﻩ ﻟﻚ ﻋﺮﻕ ﮔﺮﻓﺘﻪﻯ ﺗﺎﻳﮕﺮﻡ‪ ،‬ﻣﺨﻔﻰ ﻛﺮﺩﻩﺍﻡ‪.‬‬ ‫‪37‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﺳﻤﺘﻢ ﻣﻰﺁﻳﻨﺪ‪ ،‬ﺑﻪ ﺑﺎﺯﻯ ﺭﺩﺳﺎﻛﺲ ﮔﻮﺵ ﻣﻰﺩﻫﻢ‪ .‬ﻣﻮﺝﻫﺎ ﺑﻪ ﻫﻤﻪﻯ ﺳﺎﺣﻞﻫﺎﻯ ﻋﺎﻟﻢ ﺑﺮﺧﻮﺭﺩ‬ ‫ﻣﻰﻛﻨﻨﺪ‪ .‬ﺑﻌﺪ ﺑﺎ ﺧﻮﺩﻡ ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﻳﻌﻨﻰ ﻧﻘﻄﻪﺍﻯ ﻫﺴﺖ ﻛﻪ ﻣﻮﺝﻫﺎ ﺍﺯ ﺁﻥﺟﺎ ﺩﺭ ﻫﻤﻪ ﺟﻬﺖ‬ ‫ﭘﺨﺶ ﺷﻮﻧﺪ ﻳﺎ ﻧﻪ‪.‬ﻳﺎ ﺑﻪ ﻗﻮﻝ ﺍﻟﻴﻮﺕ ]‪ ،[22‬ﻧﻘﻄﻪﻯ ﺛﺎﺑﺖ ﺟﻬﺎﻥ‪ .‬ﺁﻥﺟﺎ ﻛﻪ ﺍﻧﺘﺨﺎﺏﻫﺎ ﺑﻪ ﻗﻄﻌﻴﺖﻫﺎ‬ ‫ﺑﺪﻝ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﺍﮔﺮ ﭼﻨﻴﻦ ﺟﺎﻳﻰ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺧﻴﻠﻰ ﻣﺸﺘﺎﻕ ﺩﻳﺪﻧﺶ ﻫﺴﺘﻢ‪ .‬ﻳﺎ ﺍﻳﻦ ﻛﻪ ﺣﺪﺍﻗﻞ ﺍﺯ ﻭﺟﻮﺩﺵ‬ ‫ﻣﻄﻠﻊ ﺑﺎﺷﻢ‪ .‬ﭼﻮﻥ ﺧﻴﻠﻰ ﺩﻭﺳﺖ ﺩﺍﺭﻡ ﺑﺪﺍﻧﻢ ﺁﻳﺎ ﺍﻳﻦ ﺍﻧﺘﺨﺎﺏ ﻣﻦ ﺑﻮﺩ ﻛﻪ ﺑﺎﻋﺚ ﻣﺮگ ﭘﺪﺭﻡ ﺷﺪ؟‬ ‫‪» ‬ﻣﮕﻪ ﭼﻜﺎﺭ ﻛﺮﺩﻡ؟«‬ ‫»ﺳﻜﻪ ﺗﻮﻯ ﻫﻮﺍﺳﺖ‪ .‬ﺣﺎﻻ ﺑﺎﻳﺪ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺑﻴﺎﺩ ﭘﺎﻳﻴﻦ ﻳﻪ ﺷﺮﻁ ﺑﺒﻨﺪﻯ‪«.‬‬ ‫ﺍﻭﺭﻯ ﺍﺯ ﻣﺮﺩ ﻛﻪ ﺣﺎﻻ ﺭﻭﻯ ﺻﻨﺪﻟﻰ ﻧﺸﺴﺘﻪ ﻛﻪ ﺗﺎ ﭼﻨﺪ ﻟﺤﻈﻪﻯ ﭘﻴﺶ ﺁﻥﺟﺎ ﻧﺒﻮﺩ‪ ،‬ﻣﻰﭘﺮﺳﺪ‪» :‬ﭼﺮﺍ؟«‬ ‫ﺳﻜﻪ ﻫﻢﺳﻄﺢ ﭼﺸﻤﺎﻧﺶ ﺩﺭ ﺣﺎﻝ ﮔﺮﺩﺵ ﺍﺳﺖ‪.‬‬ ‫»ﺑﺮﺍﻯ ﺍﻳﻦﻛﻪ ﺗﺼﻤﻴﻢ ﺑﮕﻴﺮﻯ ﻗﺮﺍﺭﻩ ﭼﻪ ﺍﺗﻔﺎﻗﻰ ﺑﻴﻔﺘﻪ‪«.‬‬ ‫»ﺩﺭﺑﺎﺭﻩﻯ ﭼﻰ ﺩﻗﻴﻘﺎً ﺑﺎﻳﺪ ﺗﺼﻤﻴﻢﮔﻴﺮﻯ ﻛﻨﻢ؟«‬ ‫»ﺑﺎﻳﺪ ﺩﻭ ﺗﺎ ﺍﻧﺘﺨﺎﺏ ﺑﻜﻨﻰ ﻛﻪ ﻓﻘﻂ ﻳﻜﻴﺶ ﺑﻪ ﺳﻜﻪ ﺭﺑﻂ ﺩﺍﺭﻩ‪ .‬ﭘﺲ ﺑﺬﺍﺭ ﺍﻭﻝ ﺑﺮﻳﻢ ﺳﺮﺍﻍ ﺍﻭﻧﻰ ﻛﻪ‬ ‫ﺑﻪ ﺳﻜﻪ ﺭﺑﻄﻰ ﻧﺪﺍﺭﻩ‪ .‬ﺑﺬﺍﺭ ﺩﺍﺳﺘﺎﻧﺶ ﺭﻭ ﺑﺮﺍﺕ ﺗﻌﺮﻳﻒ ﻛﻨﻢ‪ «.‬ﺧﻮﺩﺵ ﺭﺍ ﺭﻭﻯ ﺻﻨﺪﻟﻰ ﺻﺎﻑ ﻭ ﺻﻮﻑ‬ ‫ﻣﻰﻛﻨﺪ‪» .‬ﺗﺎ ﻳﻚ ﺳﺎﻝ ﻭ ﻧﻴﻢ ﺩﻳﮕﻪ ﺁﻣﺮﻳﻜﺎ ﺑﺎ ژﺍﭘﻦ ﻭ ﺁﻟﻤﺎﻥ ﻭﺍﺭﺩ ﺟﻨﮓ ﻣﻰﺷﻪ‪«.‬‬ ‫»ﻧﺨﻴﺮﻡ! ﺭﻭﺯﻭﻟﺖ ﮔﻔﺘﻪ ﺟﻨﮓ ﺑﻪ ﻣﺎ ﺭﺑﻄﻰ ﻧﺪﺍﺭﻩ!«‬ ‫»ﺩﺭﺳﺘﻪ‪ .‬ﺍﻳﻦ ﺣﺮﻓﻮ ﺯﺩﻩ‪ .‬ﻭﻟﻰ ﺩﺭ ﻫﺮ ﺣﺎﻝ ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﻪ‪«.‬‬ ‫»ﺗﻮ ﺍﺯ ﻛﺠﺎ ﻣﻰﺩﻭﻧﻰ؟«‬ ‫»ﭼﻮﻥ ﺍﻳﻦ ﻛﺎﺭ ﻣﻨﻪ‪ .‬ﺩﻭﻧﺴﺘﻦ‪ .‬ﻳﺎ ﺍﺻ ً‬ ‫ﻼ ﺑﺬﺍﺭ ﺍﻳﻦ ﺟﻮﺭﻯ ﻭﺍﺳﺖ ﺑﮕﻢ‪ .‬ﻣﻦ ﺍﻭﻥ ﺁﻗﺎﻫﻢ ﻛﻪ ﻫﻤﻪ ﭼﻴﺰﻭ‬ ‫ﻣﻰﺩﻭﻧﻪ‪«.‬‬ ‫ﺍﻭﺭﻯ ﺑﻪ ﭼﺸﻤﺎﻧﺶ ﻓﺸﺎﺭ ﺁﻭﺭﺩ ﻭ ﭼﭙﻜﻰ ﺑﻪ ﻣﺮﺩ ﻧﮕﺎﻩ ﻛﺮﺩ ﺑﻠﻜﻪ ﺑﺘﻮﺍﻧﺪ ﺩﺭ ﺻﻮﺭﺗﺶ ﺩﻗﻴﻖ ﺷﻮﺩ‪.‬‬ ‫»ﭘﺲ ﮔﻔﺘﻰ ﻛﻪ ﻫﻤﻪ ﭼﻴﺰﻭ ﻣﻰﺩﻭﻧﻰ‪ ،‬ﻫﺎ؟ ﺑﺒﻴﻨﻢ‪ ،‬ﻣﻰﺩﻭﻧﻰ ﺻﻮﺭﺗﺖ ﭼﻪ ﺷﻜﻠﻴﻪ؟«‬ ‫»ﺍﻳﻦ ﺷﻜﻞ ﻭﺍﻗﻌﻰ ﻣﻦ ﻧﻴﺴﺖ ﺍﻭﺭﻯ‪ .‬ﻣﻦ ﻓﻘﻂ ﺑﻪ ﺍﻳﻦ ﺧﺎﻃﺮ ﺑﻪ ﺍﻳﻦ ﺻﻮﺭﺕ ﺩﺭ ﺍﻭﻣﺪﻡ ﻛﻪ ﺗﻮ ﺭﺍﺣﺖﺗﺮ‬ ‫ﺑﺎﺷﻰ‪«.‬‬ ‫»ﻭﻟﻰ ﺍﮔﺮ ﺻﻮﺭﺕ ﺩﺍﺷﺘﻰ ﺭﺍﺣﺖﺗﺮ ﺑﻮﺩ‪«.‬‬ ‫»ﺧﺐ ﭘﺲ ﺑﻬﻢ ﻳﻪ ﺻﻮﺭﺕ ﺑﺪﻩ‪«.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺍﻭﺭﻯ ﺑﺎ ﻟﺤﻨﻰ ﺗﻤﺴﺨﺮﺁﻣﻴﺰ ﻣﻰﮔﻮﻳﺪ‪» :‬ﺑﻰﺧﻴﺎﻝ! ﺗﺪ ﻭﻳﻠﻴﺎﻣﺰ ﻫﻢ ﻧﻤﻰﺗﻮﻧﻪ ﻳﻪ ﺳﻜﻪ ﺭﻭ ﺑﻔﺮﺳﺘﻪ ﺧﺎﺭﺝ‬ ‫ﺯﻣﻴﻦ! ﻫﻨﻚ ﮔﺮﻳﻦﺑﺮگ ]‪ [16‬ﻫﻢ ﻧﻤﻰﺗﻮﻧﻪ! ﺟﻴﻤﻰ ﻓﺎﻛﺲ ]‪ [17‬ﻫﻢ ﻧﻤﻰﺗﻮﻧﻪ‪ .‬ﻣﻮ ﺑﺮگ ﻛﻪ ﺍﺻ ً‬ ‫ﻼ‬ ‫ﺣﺮﻓﺸﻢ ﻧﺰﻥ!«‬ ‫»ﺗﻮﻯ ﺩﺳﺖﺍﺕ ﭼﻰ ﺩﺍﺭﻯ؟«‬ ‫»ﻳﻪ ﺳﻜﻪ‪«.‬‬ ‫»ﭘﺲ ﺣﺮﻑ ﺣﺴﺎﺑﺖ ﭼﻴﻪ؟«‬ ‫»ﻣﻤﻜﻦ ﻧﻴﺴﺖ! ﺩﺯﺩﻳﺪﻳﺶ ﻧﻪ؟ ﺗﻮﭘﻤﻮ ﺩﺯﺩﻳﺪﻯ!«‬ ‫»ﺍﻭﺭﻯ ﮔﻮﺵ ﻛﻦ‪ .‬ﺍﻳﻦ ﭼﻴﺰﻯ ﻛﻪ ﺗﻮﻯ ﻣﺸﺘﺘﻪ ﺑﻪ ﻳﻪ ﺩﻟﻴﻞ ﺧﺎﺻﻰ ﻳﻪ ﺳﻜﻪ ﺍﺳﺖ‪«.‬‬ ‫»ﺑﻌﻠﻪ ﻛﻪ ﺑﻪ ﻳﻪ ﺩﻟﻴﻞ ﺧﺎﺻﻰ ﻳﻪ ﺳﻜﻪ ﺍﺳﺖ‪ .‬ﺗﻮ ﺗﻮﭘﻤﻮ ﺩﺯﺩﻳﺪﻯ ﻭ ﺟﺎﺵ ﻳﻪ ﺳﻜﻪ ﮔﺬﺍﺷﺘﻰ ﺗﻮﻯ‬ ‫ﻣﺸﺘﻢ!« ﺍﻭﺭﻯ ﺳﻜﻪ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﻣﺮﺩ ﭘﺮﺗﺎﺏ ﻣﻰﻛﻨﺪ‪ .‬ﻭﻟﻰ ﺳﻜﻪ ﺑﻴﻦ ﺍﻭ ﻭ ﻣﺮﺩ ﻣﺘﻮﻗﻒ ﻣﻰﺷﻮﺩ ﻭ‬ ‫ﺷﺮﻭﻉ ﻣﻰﻛﻨﺪ ﺑﻪ ﭼﺮﺧﻴﺪﻥ‪ .‬ﺩﺭﺳﺖ ﻣﺜﻞ ﻭﻗﺘﻰ ﭘﺪﺭﺵ ﺁﻥ ﺭﺍ ﺩﺭ ﺁﺳﻤﺎﻥ ﺻﺎﻑ ﺗﺎﺑﺴﺘﺎﻧﻰ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺘﻪ‬ ‫ﺑﻮ‪.‬ﺩ‪.‬‬ ‫»ﻧﺒﺎﻳﺪ ﺍﻳﻦ ﻛﺎﺭ ﺭﻭ ﻣﻰﻛﺮﺩﻯ‪«.‬‬ ‫ﺍﻳﻦﻫﺎ ﺭﺍ ﺑﻪ ﻃﻮﺭ ﻫﻢﺯﻣﺎﻥ ﺗﺠﺮﺑﻪ ﻣﻰﻛﻨﻢ؟ ﻣﻦ ﻫﻔﺘﺎﺩ‬ ‫‪ ‬ﺩﺍﺭﻡ ﻛﺠﺎ ﻣﻰﺭﻭﻡ؟ ﻛﺠﺎ ﺑﻮﺩﻡ؟ ﭼﺮﺍ ﻫﺮ ﺩﻭﻯ ِ‬ ‫ﻭ ﺩﻭ ﺳﺎﻟﻢ ﺍﺳﺖ‪ .‬ﺑﺎﺯﻧﺸﺴﺘﻪﻯ ﺷﺮﻛﺖ ﺟﻨﺮﺍﻝ ﻣﻮﺗﻮﺭﺯ ﻣﻴﻠﻔﻮﺭﺩ ﻣﻴﺸﻴﮕﺎﻥ ]‪ .[18‬ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ‬ ‫ﺳﺎﻛﻦ ﻛﻠﺒﻪﺍﻯ ﺩﺭ ﻛﻨﺎﺭ ﺩﺭﻳﺎ ﺩﺭ ﺳﻴﻞ ﻫﺎﺭﺑﻮﺭ ﻣﻴﻦ ]‪ .[19‬ﺍﺯ ﺭﻭﺯﻯ ﻛﻪ ﻣﻦ ﺷﺎﻫﺪ ﻫﻮﻡﺭﺍﻥ ﻣﻮ ﺑﺮگ‬ ‫ﺑﻮﺩﻡ )ﻳﺎ ﺷﺎﻳﺪ ﻫﻢ ﻧﺒﻮﺩﻡ(‪ ،‬ﺗﺎﻳﮕﺮﺯ ﺳﻪ ﺩﻭﺭ ﺑﺮﻧﺪﻩﻯ ﺟﺎﻡ ﺟﻬﺎﻧﻰ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺳﺎﻝﻫﺎﻯ ‪ 45‬ﻭ ‪ 68‬ﻭ ‪.84‬‬ ‫ﺭﺩﺳﺎﻛﺲ ﻫﺮﮔﺰ ﺑﺮﻧﺪﻩ ﻧﺸﺪ‪ .‬ﻫﺮ ﺑﺎﺭ ﻛﻪ ﺻﻌﻮﺩ ﻛﺮﺩﻧﺪ‪ ،‬ﻋﺪﻝ ﺑﺎﺯﻯ ﻫﻔﺘﻢ ﺭﺍ ﺑﺎﺧﺘﻨﺪ‪ .‬ﺩﻓﻌﻪﻯ ﺁﺧﺮﻯ‬ ‫ﺳﺎﻝ ‪ 1986‬ﺑﻮﺩ ﻛﻪ ﻃﺮﻓﺪﺍﺭﺍﻧﺶ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻧﺪ ﻧﻔﺮﻳﻦ ﺍﺯ ﺭﻭﻯ ﺗﻴﻢﺷﺎﻥ ﺑﺮﺩﺍﺷﺘﻪ ﺷﺪﻩ‪ .‬ﻭﻟﻰ ﺑﻌﺪ ﺍﺯ‬ ‫ﺍﻳﻦ ﻛﻪ ﭘﺮﺗﺎﺏ ﻛﻢ ﺍﺭﺗﻔﺎﻉ ﻣﻮﻛﻰ ﻭﻳﻠﺴﻮﻥ ]‪ [20‬ﺍﺯ ﻻﻯ ﭘﺎﻫﺎﻯ ﺑﻴﻞ ﺑﺎﻛﻨﺮ ]‪ [21‬ﺭﺩ ﺷﺪ‪ ،‬ﻫﻤﻪ ﺁﺭﺯﻭ‬ ‫ﻛﺮﺩﻧﺪ ﻛﻪ ﻛﺎﺵ ﺁﻧﺠﻠﺰ ﺩﺭ ﻫﻤﺎﻥ ﺑﺎﺯﻯﻫﺎﻯ ﻣﻘﺪﻣﺎﺗﻰ ﻛﺎﺭ ﺭﺩﺳﺎﻛﺲ ﺭﺍ ﺳﺎﺧﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﺣﺪﺍﻗﻞ ﺩﺭ‬ ‫ﺁﻥ ﺻﻮﺭﺕ‪ ...‬ﺍﮔﺮ‪ ،‬ﺍﮔﺮ‪ ،‬ﺍﮔﺮ‪ ...‬ﺑﺎﺑﺎﻡ ﻫﻤﻴﺸﻪ ﻣﻰﮔﻔﺖ ﺍﮔﺮ ﺟﻮﺟﻪ ﻟﺐ ﺩﺍﺷﺖ ﻛﻪ ﺧﻮﺏ ﺳﻮﺕ ﻣﻰﺯﺩ‪.‬‬ ‫ﺭﻭﻯ ﺍﻣﺎ ﻭ ﺍﮔﺮ ﺩﻭﺭ ﺯﺩﻥ ﻛﻪ ﻓﺎﻳﺪﻩ ﻧﺪﺍﺭﺩ‪ .‬ﻃﺮﻓﺪﺍﺭ ﺭﺩﺳﺎﻛﺲ ﺑﻮﺩﻥ ﺗﻮﻯ ﺷﻬﺮﻯ ﻣﺜﻞ ﺩﻳﺘﺮﻭﻳﺖ ﻛﺎﺭ‬ ‫ﺁﺳﺎﻧﻰ ﻧﺒﻮﺩ‪ .‬ﻭﻟﻰ ﻣﻦ ﻭﻓﺎﺩﺍﺭﻯ ﻭﺍﻗﻌﻰﺍﻡ ﺭﺍ ﺑﺎ ﻣﺨﻔﻰ ﻛﺮﺩﻥ ﺍﻣﻀﺎﻯ ﻣﻮ ﺑﺮگ ﺯﻳﺮ ﻛﻼﻩ ﺗﺎﻳﮕﺮﻡ‪ ،‬ﺧﻮﺏ‬ ‫ﺍﺯ ﻧﻈﺮﻫﺎ ﭘﻨﻬﺎﻥ ﻛﺮﺩﻩ ﺑﻮﺩﻡ‪.‬‬ ‫ﺗﺎﺑﺴﺘﺎﻥﻫﺎ ﺑﺎ ﺭﺍﺩﻳﻮﻳﻢ ﺗﻮﻯ ﻫﺸﺘﻰ ﺧﺎﻧﻪﺍﻡ ﻣﻰﻧﺸﻴﻨﻢ ﻭ ﺣﻴﻦ ﺗﻤﺎﺷﺎﻯ ﺍﻣﻮﺍﺟﻰ ﻛﻪ ﺍﺯ ﺍﻃﻠﺲ ﺑﻪ‬ ‫‪35‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫»ﺩﺭﻳﺎﻓﺖ ﺧﻮﺑﻰ ﺑﻮﺩ ﭘﺴﺮ‪«.‬‬ ‫ﺑﺎﺑﺎ ﻣﻰﮔﻮﻳﺪ‪» :‬ﻧﮕﺎﺵ ﻛﻦ ﺍﻳﻦ ﺑﭽﻪ ﺭﻭ‪ .‬ﺍﻭﺭﻯ ]‪ .[14‬ﻫﻤﻪﻯ ﺳﺎﻧﺪﻭﻳﭽﺎﻯ ﻣﻨﻮ ﻣﻰﺧﻮﺭﻯ ﻭ ﻳﻪ ﻫﻮﻡﺭﺍﻥ‬ ‫ﻫﻢ ﺩﺭﻳﺎﻓﺖ ﻣﻰﻛﻨﻰ! ﺑﺎﺑﺎ ﺩﺱ ﻣﺮﻳﺰﺍﺩ‪«.‬‬ ‫»ﺍﻭﻧﻢ ﻫﻮﻡﺭﺍﻥ ﻣﻮ ﺑﺮگ ﺭﻭ‪ «.‬ﺑﻪ ﺗﻮپ ﻧﮕﺎﻩ ﻣﻰ ِﻛﻨﻢ‪ .‬ﻓﺮﻭﺭﻓﺘﮕﻰ ﺑﻴﻀﻮﻯ‪ ،‬ﺑﺨﺸﻰ ﺍﺯ ﻟﻮﮔﻮﻯ ﺍﺳﭙﺎﻟﺪﻳﻨﮓ‬ ‫]‪ [15‬ﺭﺍ ﺩﺭ ﺑﺮ ﮔﺮﻓﺘﻪ‪ .‬ﭼﻮﺏ ﻣﻮ ﺑﻪ ﺍﻳﻦﺟﺎ ﺍﺻﺎﺑﺖ ﻛﺮﺩﻩ‪ .‬ﺑﺮﺍﻯ ﻣﻦ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻥ ﺑﺎﻫﺎﺵ ﭼﻴﺰﻯ ﻛﻢ‬ ‫ﻧﺪﺍﺷﺖ‪ .‬ﻧﮕﺎﻫﺶ ﻣﻰﻛﻨﻢ ﻛﻪ ﺩﺍﺭﺩ ﺩﻭﺭ ﺳﻮﻡ ﺭﺍ ﻣﻰﺯﻧﺪ‪ .‬ﺩﻭ ﺗﺎ ﺷﺪﻩ‪ .‬ﺟﻔﺖ ﻣﻮﻫﺎ ﺩﺍﺭﻧﺪ ﺑﺎ ﺩﻭ ﺗﺎ ﺩﺍﻭﺭ‬ ‫ﺩﻭﺭ ﺳﻮﻡ ﺧﻨﺪﺍﻥ ﺩﺳﺖ ﻣﻰﺩﻫﻨﺪ‪.‬‬ ‫ﻫﻤﻪ ﭼﻴﺰ ﻣﺜﻞ ﻳﻚ ﺭﻭﻳﺎﺳﺖ‪ .‬ﺑﺮگ ﻣﺤﻮ ﻣﻰﺷﻮﺩ ﻭ ﺻﺪﺍﻯ ﻏﺮﺷﻰ ﺩﺭ ﮔﻮﺷﻢ ﻣﻰﭘﻴﭽﺪ ﻭ ﭘﺪﺭﻡ ﭼﻴﺰ‬ ‫ﺩﻳﮕﺮﻯ ﻣﻰﮔﻮﻳﺪ‪ .‬ﻭﻟﻰ ﻣﻦ ﻛﻪ ﺩﺍﺭﻡ ﺑﻪ ﻗﻠﻤﺮﻭ ﻧﺎﻫﻮﺷﻴﺎﺭﻯ ﺳﻘﻮﻁ ﻣﻰﻛﻨﻢ‪ ،‬ﺣﺮﻓﺶ ﺭﺍ ﻧﻤﻰﺷﻨﻮﻡ‪.‬‬ ‫‪ ‬ﻭ ﺑﻌﺪ ﻫﻤﻪ ﭼﻴﺰ ﻭﺍﻗﻌﺎً ﺑﻪ ﻳﻚ ﺭﻭﻳﺎ ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺳﺖﻛﻢ ﺍﻳﻦ ﻛﻪ ﻫﻤﻪ ﭼﻴﺰ ﺗﻐﻴﻴﺮ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻭﺭﻯ‬ ‫ﺩﻳﮕﺮ ﺗﻮﻯ ﺯﻣﻴﻦ ﺑﻴﺲﺑﺎﻝ ﻧﻴﺴﺖ‪ .‬ﭘﺪﺭﺵ ﻫﻢ ﺩﻳﮕﺮ ﻛﻨﺎﺭﺵ ﻧﻴﺴﺖ‪ .‬ﺍﺻ ً‬ ‫ﻼ ﻫﻴﭻﻛﺲ ﺁﻥﺟﺎ ﻧﻴﺴﺖ‪.‬‬ ‫ﺍﻭ ﺗﻨﻬﺎﻯ ﺗﻨﻬﺎ ﺗﻮﻯ ﺍﺗﺎﻗﻴﺴﺖ ﻛﻪ ﻳﻚ ﺳﻘﻒ ﺩﺍﺭﺩ ﻭ ﻳﻚ ﺯﻣﻴﻦ ﻭ ﭼﻨﺪ ﺗﺎ ﺩﻳﻮﺍﺭ‪ .‬ﻭﻟﻰ ﻭﻗﺘﻰ ﺭﻭﻳﺸﺎﻥ‬ ‫ﺩﻗﻴﻖ ﻣﻰﺷﻮﺩ‪ ،‬ﻣﻄﻤﺌﻦ ﻧﻴﺴﺖ ﺁﻥﺟﺎ ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﻧﻪ‪ .‬ﺗﻨﻬﺎ ﻧﻴﺴﺖ‪ .‬ﻣﺮﺩﻯ ﺩﺍﺧﻞ ﺍﺗﺎﻕ ﺍﺳﺖ‪ .‬ﻣﺜﻞ ﺩﻳﻮﺍﺭﻫﺎ ﺻﻮﺭﺕ ﺍﻭ ﻫﻢ ﻛﺎﻣ ً‬ ‫ﻼ ﻗﺎﺑﻞ ﺗﺸﺨﻴﺺ ﻧﻴﺴﺖ‪.‬‬ ‫ﺍﻣﺎ ﺍﻟﻴﻮﺕ ﺣﺲ ﻣﻰﻛﻨﺪ ﻛﻪ ﻣﺮﺩ ﺗﺎﻛﺴﻴﺪﻭﻳﻰ ﺑﻪ ﺗﻦ ﺩﺍﺭﺩ‪ .‬ﺩﺭﺳﺖ ﻣﺜﻞ ﺁﻧﻰ ﻛﻪ ﺩﺭ ﻋﻜﺲ ﻋﺮﻭﺳﻰ‬ ‫ﭘﺪﺭ ﻭ ﻣﺎﺩﺭﺵ ﺩﻳﺪﻩ‪.‬‬ ‫»ﺍﺗﻔﺎﻗﻰ ﻛﻪ ﺍﻻﻥ ﺍﻓﺘﺎﺩ ﻭﺍﻗﻌﺎً ﺍﺗﻔﺎﻕ ﻧﻴﻔﺘﺎﺩ‪«.‬‬ ‫ﺍﻭﺭﻯ ﺩﻭﺍﺯﺩﻩ ﺳﺎﻟﺶ ﺍﺳﺖ‪» .‬ﻣﻌﻠﻮﻣﻪ ﻛﻪ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩ‪ .‬ﻣﻦ ﺧﻮﺩﻡ ﺩﻳﺪﻡ‪ .‬ﻣﻦ ﺍﻭﻥﺟﺎ ﺑﻮﺩﻡ‪«.‬‬ ‫»ﺍﻭﻥﺟﺎ ﻳﻌﻨﻰ ﻛﺠﺎ؟«‬ ‫»ﺍﺳﺘﺎﺩﻳﻮﻡ ﺑﺮﻳﮕﺰ‪ .‬ﺑﺎﺯﻯ ﺑﻴﺲﺑﺎﻝ‪ .‬ﺍﻳﻦ ﺗﻮپ ﺭﻭ ﺍﻭﻥ ﺟﺎ ﮔﺮﻓﺘﻢ‪ «.‬ﻭ ﻣﺸﺘﺶ ﺭﺍ ﺑﺎﻻ ﻣﻰﮔﻴﺮﺩ‪ ،‬ﭼﻮﻥ‬ ‫ﺗﻮپ ﺭﺍ ﻫﻨﻮﺯ ﺗﻮﻯ ﻣﺸﺘﺶ ﻣﻰ ﻓﺸﺎﺭﺩ ﻭ ﺍﮔﺮ ﺗﻮپ ﻫﻨﻮﺯ ﺗﻮﻯ ﻣﺸﺘﺶ ﺍﺳﺖ ﭘﺲ ﻳﻌﻨﻰ ﻫﻮﻡﺭﺍﻥ ﻫﻢ‬ ‫ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻭﻟﻰ ﺗﻮﻯ ﻣﺸﺘﺶ ﻳﻚ ﺳﻜﻪ ﺍﺳﺖ‪ .‬ﺩﺭﺳﺖ ﻣﺜﻞ ﺳﻜﻪﺍﻯ ﻛﻪ ﭘﺪﺭﺵ ﺑﺮﺍﻯ ﺷﻴﺮ ﻳﺎ ﺧﻂ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻩ‬ ‫ﺑﻮﺩ‪ .‬ﺳﺎﻝ ﺿﺮﺑﺶ ‪ 1935‬ﺑﻮﺩ ﻭ ﺳﻪ ﺷﻜﺎﻑ ﻣﻮﺍﺯﻯ ﺭﻭﻯ ﺑﺎﻝ ﺭﺍﺳﺖ ﻋﻘﺎﺏ ﺭﻭﻳﺶ ﺍﻓﺘﺎﺩﻩ ﺑ���ﺩ‪.‬‬ ‫»ﺗﻮپ ﻣﻦ ﻛﻮ؟« ﻭ ﺩﺭ ﺟﺴﺖﻭﺟﻮﻯ ﺗﻮپ ﺳﺮﺗﺎﺳﺮ ﺍﺗﺎﻕ ﺭﺍ ﺑﺎ ﻧﮕﺎﻫﺶ ﻣﻰﻛﺎﻭﺩ‪.‬‬ ‫»ﺗﻮﭘﻰ ﺩﺭ ﻛﺎﺭ ﻧﻴﺴﺖ‪ .‬ﺍﺯ ﺍﻭﻟﺶ ﻫﻢ ﻫﻤﻴﻦ ﺭﻭ ﺗﻮﻯ ﺩﺳﺘﺖ ﮔﺮﻓﺘﻪ ﺑﻮﺩﻯ‪«.‬‬ ‫‪33‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﺑﻪ ﺍﻳﻦ ﻟﺤﻈﺎﺕ ﺧﺎﺹ ﻭ ﺗﺎﺭﻳﺦﺳﺎﺯ ﺟﻤﻊ ﺍﺳﺖ‪.‬‬ ‫ﭘﻴﺪﺍ ﺷﺪﻥ ﺳﺮ ﻭ ﻛﻠﻪﻯ ﺑﺮگ ﺑﺮﺍﻯ ﻣﻦ ﺍﺯ ﺑﻠﻴﻂ ﺟﺎﻡﺟﻬﺎﻧﻰ ﻫﻢ ﺍﺭﺯﺷﻤﻨﺪﺗﺮ ﺍﺳﺖ‪ .‬ﻛﻼﻩ ﺗﺎﻳﮕﺮﻡ ﺭﺍ ﺍﺯ‬ ‫ﺳﺮ ﺑﺮ ﻣﻰﺩﺍﺭﻡ ﻭ ﺩﺍﺧﻠﺶ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻢ ﻛﻪ ﺍﻣﻀﺎﻯ ﻛﺞ ﻭ ﻣﻌﻮﺝ ﻣﻮ ﺑﺮگ ﺍﺯ ﺁﮔﻮﺳﺖ ﭘﻴﺶ ﺭﻭﻳﺶ‬ ‫ﺍﻓﺘﺎﺩﻩ‪ .‬ﺑﺎﻳﺪ ﺧﻮﺩﻡ ﺭﺍ ﺑﻪ ﺿﺮﺏ ﻭ ﺯﻭﺭ ﺍﺯ ﻣﻴﺎﻥ ﺟﻤﻌﻴﺘﻰ ﻛﻪ ﺩﻭﺭ ﺗﺪ ﻭﻳﻠﻴﺎﻣﺰ ]‪ [12‬ﺭﺍ ﮔﺮﻓﺘﻪ ﺑﻮﺩﻧﺪ ﺭﺩ‬ ‫ﻣﻰﻛﺮﺩﻡ ﺗﺎ ﺑﻪ ﻣﻮ ﺑﺮﺳﻢ ﻛﻪ ﺭﻭﻯ ﭘﻠﻪﻫﺎﻯ ﺧﺮﻭﺟﻰ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻭ ﺳﻜﻪﺍﻯ ﺭﺍ ﺍﺯ ﭘﺸﺖ ﺍﻧﮕﺸﺘﺎﻧﺶ ﺭﺩ‬ ‫ﻣﻰﻛﺮﺩ ﻭ ﺟﻤﻌﻴﺖ ﺭﺍ ﺑﺮﺍﻯ ﭘﻴﺪﺍ ﻛﺮﺩﻥ ﺩﺍﻑﻫﺎﻯ ﺩﺭﺳﺖ ﻭ ﺣﺴﺎﺑﻰ ﺩﻳﺪ ﻣﻰﺯﺩ‪ .‬ﻭﻗﺘﻰ ﺍﺯ ﭘﺸﺖ ﻣﻴﻠﻪﻫﺎ‬ ‫ﺧﻢ ﺷﺪﻡ ﻛﻪ ﻛﻼﻫﻢ ﺭﺍ ﺑﺮﺍﻳﺶ ﭘﺮﺕ ﻛﻨﻢ‪ ،‬ﻧﻴﺸﺶ ﺗﺎ ﺑﻨﺎﮔﻮﺵ ﺑﺎﺯ ﺷﺪ‪» .‬ﺑﺒﻴﻨﻢ ﺁﻕ ﭘﺴﺮ‪ ،‬ﻣﻰﺩﻭﻧﻰ‬ ‫ﻣﺄﻣﻮﺭ ﻣﺨﻔﻰ ﭼﻴﻪ؟«‬ ‫»ﻧﻪ! ﻭﻟﻰ ﻫﻤﻴﻦ ﻛﻪ ﺑﺮﺳﻢ ﺧﻮﻧﻪ ﻣﻰﺭﻡ ﺑﺒﻴﻨﻢ ﭼﻴﻪ‪«.‬‬ ‫ﺧﻨﺪﻩﺍﺵ ﻛﻤﻰ ﻋﺮﻳﺾﺗﺮ ﺷﺪ‪ .‬ﺍﺳﻤﺶ ﺭﺍ ﺭﻭﻯ ﻛﻼﻫﻢ ﻧﻮﺷﺖ ﻭ ﻛﻼﻩ ﺭﺍ ﺑﺮﺍﻳﻢ ﭘﺮﺗﺎﺏ ﻛﺮﺩ‪.‬‬ ‫ﺣﺎﻻ ﺍﻭ ﺗﻮﻯ ﺟﺎﻳﮕﺎﻩ ﺍﻳﺴﺘﺎﺩﻩ ﻭ ﺭﻭﻳﻰ ﻳﻜﻰ ﺍﺯ ﺁﻥ ﺿﺮﺑﻪﻫﺎﻯ ﻛﻢ ﺍﺭﺗﻔﺎﻋﺶ ﺭﺍ ﭘﺮﺗﺎﺏ ﻣﻰﻛﻨﺪ‪ .‬ﺑﺮگ‬ ‫ﺑﻰﺧﻴﺎﻟﺶ ﻣﻰﺷﻮﺩ‪ .‬ﺳﺮﺵ ﺭﺍ ﺗﻜﺎﻥ ﻣﻰﺩﻫﺪ ﻭ ﻣﻨﺘﻈﺮ ﺑﻌﺪﻯ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺑﻌﺪﻯ ﺭﺍ ﺍﺯ ﮔﻮﺷﻪﻯ ﭼﭗ ﺷﻮﺕ ﻣﻰﻛﻨﺪ ﺁﺳﻤﺎﻥ ﻫﻔﺘﻢ‪.‬‬ ‫ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺣﺘﺎ ﺑﻪ ﺫﻫﻨﻢ ﺧﻄﻮﺭ ﻛﻨﺪ ﻛﻪ ﻫﻮﻡﺭﺍﻥ ﺷﺪﻩ‪ ،‬ﻣﺜﻞ ﺩﻳﻮﺍﻧﻪﻫﺎ ﺷﺮﻭﻉ ﻣﻰﻛﻨﻢ ﺑﻪ ﺑﺎﻻ ﻭ‬ ‫ﭘﺎﻳﻴﻦ ﭘﺮﻳﺪﻥ‪ .‬ﺗﻮپ ﺑﻪ ﺍﻭﺝ ﺧﻮﺩﺵ ﻣﻰﺭﺳﺪ ﻭ ﺑﺎﺯﻳﻜﻦﻫﺎﻯ ﮔﻴﺮﻧﺪﻩﻯ ﺗﻪ ﺯﻣﻴﻦ ﺗﺎﻳﮕﺮ ﻣﻰﻓﻬﻤﻨﺪ ﻛﻪ‬ ‫ﻣﻤﻜﻦ ﻧﻴﺴﺖ ﺩﺳﺘﺸﺎﻥ ﺑﻪ ﺗﻮپ ﺑﺮﺳﺪ‪ .‬ﺗﻮپ ﺩﺍﺭﺩ ﺑﻪ ﺳﻤﺖ ﻓﻨﺲ ﻣﻰﺭﻭﺩ‪ .‬ﺩﺍﺭﺩ ﻣﻰﺁﻳﺪ ﺑﻪ ﺳﻤﺖ ﻣﻦ‪.‬‬ ‫ﻗﺸﻨﮓ ﻳﺎﺩﻡ ﺍﺳﺖ ﻛﻪ ﺩﺍﺷﺘﻢ ﺑﻪ ﺧﻮﺩﻡ ﻣﻰﮔﻔﺘﻢ ﺗﻮپ ﺑﺮﺍﻯ ﻣﻦ ﺍﺳﺖ‪ .‬ﺩﺳﺖﻫﺎﻳﻢ ﺭﺍ ﺑﺎﻻ ﻣﻰﮔﻴﺮﻡ‪.‬‬ ‫ﺗﻮپ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻢ ﻛﻪ ﺣﻴﻦ ﭘﺎﻳﻴﻦ ﺁﻣﺪﻥ ﻛﻤﻰ ﺍﻧﺤﺮﺍﻑ ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ ﻭ ﻣﻰﺗﺮﺳﻢ ﻛﻪ ﻧﻜﻨﺪ ﺍﺯ ﺑﺎﻻﻯ‬ ‫ﺳﺮﻡ ﺭﺩ ﺷﻮﺩ‪ .‬ﺩﺳﺘﻜﺶﻫﺎﻳﻢ ﻫﻤﺮﺍﻫﻢ ﻧﻴﺴﺖ‪ .‬ﻭﻟﻰ ﺛﺎﻧﻴﻪ ﻛﺶ ﻣﻰﺁﻳﺪ ﻭ ﺍﻧﮕﺎﺭ ﺗﻮﻯ ﺯﻣﻴﻦ ﺑﻴﺲﺑﺎﻝ‬ ‫ﻟﻌﻨﺘﻰ ﻣﺪﺭﺳﻪﻯ ﺍﺳﺘﺎﺑﺮﻭﻙ ]‪ [13‬ﺑﺎﺷﻢ‪ ،‬ﺻﺪﺍﻯ ﭘﺪﺭﻡ ﺭﺍ ﻣﻰﺷﻨﻮﻡ ﻛﻪ ﻓﺮﻳﺎﺩ ﻣﻰﺯﻧﺪ‪ :‬ﭼﺸﺖ ﺭﻭ ﺍﺯﺵ‬ ‫ﺑﺮﻧﺪﺍﺭ ﭘﺴﺮ! ﺟﻒ ﺩﺳﺎﺗﻮ ﺑﺎﻻ ﺑﻴﮕﻴﺮ ﭘﺴﺮ!‬ ‫ﺻﺪﺍﻯ ﺑﺮﺧﻮﺭﺩ ﺗﻮپ ﺑﺎ ﺩﺳﺘﻢ ﺩﻗﻴﻘﺎً ﻋﻴﻦ ﺻﺪﺍﻯ ﻛﻮﺑﻴﺪﻥ ﺳﻜﻪ ﺭﻭﻯ ﺩﺳﺖ ﭼﭗ ﭘﺪﺭﻡ ﺍﺳﺖ‪ .‬ﻳﻜﻰ‬ ‫ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ﻣﻦ ﻣﻰﻛﻮﺑﺪ ﻭ ﻣﻦ ﺍﺯ ﻭﺳﻂ ﺻﻨﺪﻟﻰﻫﺎ ﻣﻰﺍﻓﺘﻢ ﺯﻣﻴﻦ‪ .‬ﺣﻴﻦ ﺳﻘﻮﻃﻢ ﺳﺮﻡ ﺑﻪ ﻟﺒﻪﻯ‬ ‫ﺻﻨﺪﻟﻰﺍﻯ‪ ،‬ﺯﺍﻧﻮﻯ ﻛﺴﻰ ﻛﻮﺑﻴﺪﻩ ﻣﻰﺷﻮﺩ ﻭ ﻣﺜﻞ ﻣﻜﺲ ﺍﺷﻤﻠﻴﻨﮓ ﺗﻮﻯ ﺧﻮﺩﻡ ﺟﻤﻊ ﻣﻰﺷﻮﻡ‪ .‬ﻭﻟﻰ‬ ‫ﺑﻴﻬﻮﺵ ﻧﻤﻰﺷﻮﻡ‪ .‬ﻫﻨﻮﺯ ﺗﻮپ ﻋﻴﻦ ﺗﺨﻢﻣﺮﻏﻰ ﻛﻪ ﺩﺧﺘﺮﻫﺎ ﺑﺎﻳﺪ ﺑﺮﺍﻯ ﻛﻼﺱ ﺧﺎﻧﻪﺩﺍﺭﻯﺷﺎﻥ ﺑﺎ‬ ‫ﺧﻮﺩﺷﺎﻥ ﺧﺮﻛﺶ ﻛﻨﻨﺪ‪ ،‬ﺗﻮﻯ ﻣﺸﺘﻢ ﺍﺳﺖ‪ .‬ﭘﺪﺭﻡ ﻣﻦ ﺭﺍ ﺳﺮ ﭘﺎ ﻣﻰﻛﻨﺪ ﻭ ﺟﻤﻌﻴﺖ ﺩﻭﺭﻡ ﺑﻪ ﻫﻤﺎﻥ‬ ‫ﺳﺮﻋﺘﻰ ﻛﻪ ﺟﻤﻊ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺑﺎﺯ ﭘﺨﺶ ﻣﻰﺷﻮﻧﺪ‪ .‬ﭼﻨﺪ ﻧﻔﺮﻯ ﺑﻪ ﭘﺸﺘﻢ ﻣﻰﺯﻧﻨﺪ ﻭ ﻣﻰﮔﻮﻳﻨﺪ‪:‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺩﺍﺩﻩ ﺑﻮﺩ‪ .‬ﻣﺜﻞ ﺍﻭ ﻣﻦ ﻫﻢ ﻋﺎﺷﻖ ﺑﻴﺲﺑﺎﻝ ﺑﻮﺩﻡ ﻭ ﻣﻄﺎﻟﻌﻪ ﺭﺍ ﻫﻢ ﺧﻴﻠﻰ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻢ‪ .‬ﺗﺮﻛﻴﺒﻰ‬ ‫ﻏﻴﺮﻣﻌﻤﻮﻝ ﺑﺮﺍﻯ ﻳﻚ ﻃﺮﻓﺪﺍﺭ ﺑﻴﺲﺑﺎﻝ ﺩﻭﺍﺯﺩﻩ ﺳﺎﻟﻪ ﺩﺭ ﺁﻥ ﺩﻭﺭﻩ ﻭ ﺯﻣﺎﻧﻪ‪ .‬ﺣﺘﺎ ﺑﻌﻀﻰ ﺍﺯ ﻋﺎﺩﺕﻫﺎﻯ‬ ‫ﻋﺠﻴﺐ ﻭ ﻏﺮﻳﺒﺶ ﺭﺍ ﻫﻢ ﺑﻪ ﺧﻮﺩﻡ ﮔﺮﻓﺘﻪ ﺑﻮﺩﻡ‪ .‬ﻭﻗﺘﻰ ﺷﻨﻴﺪﻡ ﻛﻪ ﺣﺎﺿﺮ ﻧﻴﺴﺖ ﺭﻭﺯﻧﺎﻣﻪﺍﻯ ﺭﺍ ﻛﻪ‬ ‫ﻛﺲ ﺩﻳﮕﺮﻯ ﺑﺎﺯ ﻛﺮﺩﻩ ﺑﺎﺷﺪ ﺑﺨﻮﺍﻧﺪ‪ ،‬ﺍﺯ ﭘﺪﺭ ﻭ ﻣﺎﺩﺭﻡ ﺧﻮﺍﺳﺘﻢ ﻛﻪ ﺩﺭ ﺧﺎﻧﻪ ﺧﻮﺩﻡ ﻧﻔﺮ ﺍﻭﻟﻰ ﺑﺎﺷﻢ ﻛﻪ‬ ‫ﺭﻭﺯﻧﺎﻣﻪﻯ ﻣﺠﺎﻧﻰ ﺷﺮﻛﺖ ﻓﻮﺭﺩ ﺭﺍ ﻣﻰﺧﻮﺍﻧﺪ‪ .‬ﻫﻴﭻ ﻛﺲ ﺩﻳﮕﺮ ﺣﻖ ﻧﺪﺍﺷﺖ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻣﻦ ﺟﺪﻭﻝ‬ ‫ﻣﻦ ﻃﺮﻓﺪﺍﺭ ﭘﺮ ﻭ ﭘﺎ‬ ‫ﺍﻣﺘﻴﺎﺯﺍﺕ ﺭﺍ ﺑﺮﺭﺳﻰ ﻛﺮﺩﻩ ﺑﺎﺷﻢ ﺑﻪ ﺑﺨﺶ ﻭﺭﺯﺷﻰ ﺩﺳﺖ ﺑﺰﻧﺪ‪ .‬ﺧﻼﺻﻪ ﻛﻪ ﺑﺮﺍﻯ ِ‬ ‫ﻗﺮﺹ ﺑﻴﺲﺑﺎﻝ‪ ،‬ﻓﻘﻂ ﺭﻭﺯﻧﺎﻣﻪﻯ ﺑﺎﺯ ﻧﺸﺪﻩ ﺟﻮﺍﺏ ﻣﻰﺩﺍﺩ‪.‬‬ ‫ﻣﻮ ﺑﻪ ﻋﻨﻮﺍﻥ ﮔﻴﺮﻧﺪﻩﻯ ﺫﺧﻴﺮﻩ ﻭ ﭘﺪﺭ ﻣﻌﻨﻮﻯ ﺗﻴﻢ ﺗﻮﻯ ﺭﺩﺳﺎﻛﺲ ﺑﺎﻗﻰ ﻣﺎﻧﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺑﻌﺪ ﺍﺯ ‪1939‬‬ ‫ﺗﻮﻯ ﻫﻴﭻ ﺑﺎﺯﻯﺍﻯ ﺷﺮﻛﺖ ﻧﻜﺮﺩ‪ .‬ﺑﻌﺪﺵ ﻫﻢ ﻛﻪ ﺟﻨﮓ ﺷﺮﻭﻉ ﺷﺪ ﻭ ﺍﻭ ﺷﺪ ﻣﺄﻣﻮﺭ ﺍﻭ‪.‬ﺍﺱ‪.‬ﺍﺱ ]‪.[8‬‬ ‫ﻋﻜﺲﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﻳﻚ ﺗﻮﺭ ﺻﻠﺢ ﻭ ﺩﻭﺳﺘﻰ ﺑﻴﺲﺑﺎﻝ ﺩﺭ ﺗﻮﻛﻴﻮ ﮔﺮﻓﺖ‪ ،‬ﺭﺍﻫﻨﻤﺎﻯ ﻫﻮﺍﭘﻴﻤﺎﻫﺎﻯ‬ ‫ﺑﻤﺐﺍﻓﻜﻦ ﺟﻴﻤﻰ ﺩﻭﻟﻴﺘﻞ ]‪ [9‬ﺷﺪ ﻭ ﺷﻌﻮﺭ ﻭ ﻗﻀﺎﻭﺕ ﺻﺤﻴﺤﺶ ﺟﺎﻥ ﻭﺭﻧﺮ ﻫﺎﻳﺰﻧﺒﺮگ ]‪ [10‬ﺭﺍ‬ ‫ﻧﺠﺎﺕ ﺩﺍﺩ‪.‬‬ ‫ﺍﻳﻦﻫﺎ ﭼﻴﺰﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻛﺘﺎﺏﻫﺎﻯ ﺗﺎﺭﻳﺦ ﺩﺭﺑﺎﺭﻩﺍﺵ ﻧﻮﺷﺘﻪﺍﻧﺪ‪ .‬ﻭﻟﻰ ﻣﻦ ﺧﺎﻃﺮﺍﺗﻢ ﺍﺯ ﺍﻭ ﻛﻤﻰ‬ ‫ﻓﺮﻕ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻣﺜ ً‬ ‫ﻼ ﻣﻦ ﺷﺨﺼﺎً ﺷﺎﻫﺪ ﻫﻔﺘﻤﻴﻦ ﻫﻮﻡﺭﺍﻧﺶ ﻫﻢ ﺑﻮﺩﻡ‪.‬‬ ‫‪ ‬ﺧﻂ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻣﻰﻛﻨﻢ‪ .‬ﺳﻜﻪ ﺑﺎﻻﻯ ﺩﺳﺖ ﭘﺪﺭﻡ ﺷﺮﻭﻉ ﺑﻪ ﭼﺮﺧﻴﺪﻥ ﻣﻰﻛﻨﺪ ﻭ ﻣﻰﺩﺭﺧﺸﺪ‪.‬‬ ‫ﺩﺭﺳﺖ ﻣﺜﻞ ﻫﻤﻪﻯ ﺳﻜﻪ ﺍﻧﺪﺍﺧﺘﻦﻫﺎﻳﻰ ﻛﻪ ﺑﺎ ﺣﺮﻛﺖ ﺁﻫﺴﺘﻪ ﺩﺭ ﻓﻴﻠﻢﻫﺎﻯ ﭘﻨﺠﺎﻩ ﺳﺎﻝ ﺍﺧﻴﺮ‬ ‫ﺯﻧﺪﮔﻰﺍﻡ ﺩﻳﺪﻩﺍﻡ‪ .‬ﺑﺎﺑﺎﻡ ﺑﺎ ﺩﺳﺖ ﺭﺍﺳﺘﺶ ﺳﻜﻪ ﺭﺍ ﻣﻰﮔﻴﺮﺩ ﻭ ﺭﻭﻯ ﺩﺳﺖ ﭼﭙﺶ ﻣﻰﻛﻮﺑﺪ‪» .‬ﻣﻄﻤﺌﻨﻰ‬ ‫ﭘﺴﺮ؟«‬ ‫ﺳﺮ ﺗﻜﺎﻥ ﻣﻰﺩﻫﻢ‪ .‬ﺩﺳﺘﺶ ﺭﺍ ﺑﺮ ﻣﻰﺩﺍﺭﺩ‪ .‬ﺧﻂ ﺍﺳﺖ‪.‬‬ ‫»ﺑﻔﺮﻣﺎ‪ «.‬ﻫﺎﺕﺩﺍگ ﺳﻮﻡ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺭﻭﻳﻰ ﻫﺸﺘﻤﻴﻦ ﺩﺳﺖﮔﺮﻣﻰﺍﺵ ﺭﺍ ﺑﻴﻨﺪﺍﺯﺩ‪ ،‬ﺗﻤﺎﻡ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻭ ﺑﻌﺪ‪ ،‬ﺑﺎﻭﺭﺗﺎﻥ ﻧﻤﻰﺷﻮﺩ‪ ،‬ﻭﻟﻰ ﻣﻮ ﺑﺮگ ﻭﺍﺭﺩ ﺯﻣﻴﻦ ﻣﻰﺷﻮﺩ‪ .‬ﮔﻮﻳﻨﺪﻩﻯ ﺗﺎﻳﮕﺮﺯ ]‪ [11‬ﻫﻢ ﺍﻧﮕﺎﺭ‬ ‫ﺳﺮﺩﺭﮔﻢ ﺷﺪﻩ ﻭ ﻧﻤﻰﺩﺍﻧﺪ ﭼﻪ ﺑﺎﻳﺪ ﺑﮕﻮﻳﺪ‪ .‬ﻣﻜﺚ ﻣﻰﻛﻨﺪ ﻭ ﺻﺪﺍﻳﺶ ﺍﻧﮕﺎﺭ ﺑﺎ ﭘﮋﻭﺍﻙ ﺁﺧﺮﻳﻦ ﻛﻠﻤﻪﺍﺵ‬ ‫ﻣﺤﻮ ﻣﻰﺷﻮﺩ‪» .‬ﺳﺎﻛﺲ‪ ،‬ﺍﻭﻛﺲ‪ ،‬ﺍﻭﻛﺲ‪ ،‬ﺍﻭﻛﺲ‪ «.‬ﻣﺮﺩﻡ ﻫﻴﺠﺎﻥﺯﺩﻩ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺍﺯ ﭘﺲ ﻛﺎﺭﺕﻫﺎﻯ‬ ‫ﺍﻣﺘﻴﺎﺯﺷﺎﻥ ﺳﺮﻙ ﻣﻰﻛﺸﻨﺪ ﺗﺎ ﻣﻄﻤﺌﻦ ﺷﻮﻧﺪ ﻛﻪ ﺧﻮﺩ ﻣﻮ ﺑﺮگ ﺍﺳﺖ ﻛﻪ ﻣﻰﺧﻮﺍﻫﺪ ﺍﻳﻦ ﺁﺧﺮﻳﻦ‬ ‫ﺿﺮﺑﻪﺍﺵ ﺭﺍ ﻫﻢ ﺑﺰﻧﺪ ﻭ ﺍﺯ ﭼﻮﺏ ﺑﻴﺲﺑﺎﻟﺶ ﺧﺎﻙﮔﻴﺮﻯ ﻛﻨﺪ‪ .‬ﻃﺮﻓﺪﺍﺭﺍﻥ ﺑﻴﺲﺑﺎﻝ ﻫﻤﻴﺸﻪ ﺣﻮﺍﺳﺸﺎﻥ‬ ‫‪31‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﺳﺎﻳﻪﻯ ﭘﺪﺭﻡ ﺭﻭﻳﻢ ﻣﻰﺍﻓﺘﺪ‪ .‬ﺳﻤﺖ ﺭﺍﺳﺘﻢ ﻣﻰﻧﺸﻴﻨﺪ ﻭ ﺳﻪ ﺗﺎ ﻫﺎﺕﺩﺍگ ﺭﺍ ﻛﻪ ﺗﺎ ﺧﺮﺧﺮﻩ ﺧﺮﺩﻝ ﺗﻮﻯ‬ ‫ﺟﺎﻥﺷﺎﻥ ﻓﺮﻭ ﺭﻓﺘﻪ‪ ،‬ﺭﻭﻯ ﭘﺎﻫﺎﻳﺶ ﻣﻰﮔﺬﺭﺩ‪ .‬ﺑﻪ ﺩﺳﺖﻫﺎﻳﺶ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻢ ﻭ ﺳﻌﻰ ﻣﻰﻛﻨﻢ ﺟﺎﻯ‬ ‫ﺯﺧﻢﻫﺎﻯ ﮔﺮﺩ ﻭ ﻣﺤﻮ ﺭﻭﻯ ﺩﺳﺖﻫﺎ ﻭ ﺑﺎﺯﻭﻳﺶ ﺭﺍ ﺑﺸﻤﺎﺭﻡ‪ .‬ﭘﺪﺭﻡ ﺟﻮﺵﻛﺎﺭ ﺍﺳﺖ ﻭ ﺑﺮﺍﻯ ﺷﺮﻛﺖ‬ ‫ﭼﺸﻢ ﻣﻦ ﺩﻭﺍﺯﺩﻩ ﺳﺎﻟﻪ‪ ،‬ﺳﻠﻄﺎﻥ ﻋﺎﻟﻢ ﺍﺳﺖ‪.‬‬ ‫ﺍﺗﻮﻣﻮﺑﻴﻞ ﻓﻮﺭﺩ ﻛﺎﺭ ﻣﻰﻛﻨﺪ‪ .‬ﺳﻰ ﻭ ﻳﻚ ﺳﺎﻟﺶ ﺍﺳﺖ ﻭ ﺑﻪ‬ ‫ِ‬ ‫ﻫﻤﻪﻯ ﺟﻮﺍﺏﻫﺎ ﭘﻴﺶ ﺍﻭﺳﺖ‪.‬‬ ‫ﻳﻚ ﻫﺎﺕﺩﺍگ ﺑﺮ ﻣﻰﺩﺍﺭﻡ ﻭ ﺑﺎ ﺳﻪ ﻟﻘﻤﻪ ﻛﺎﺭﺵ ﺭﺍ ﻣﻰﺳﺎﺯﻡ‪ .‬ﺑﻌﺪ ﺩﺳﺖ ﺩﺭﺍﺯ ﻣﻰﻛﻨﻢ ﺗﺎ ﻳﻜﻰ ﺩﻳﮕﺮ‬ ‫ﺑﺮﺩﺍﺭﻡ‪ .‬ﺑﺎﺑﺎﻡ ﺑﺎ ﺩﻫﻦ ﭘﺮ ﻣﻰﮔﻮﻳﺪ‪» :‬ﺍﻭﻫﻮ ﭘﺴﺮ‪ ،‬ﭼﻪ ﺧﺒﺮﺗﻪ؟ ﺍﺷﺘﻬﺎﻯ ﺗﻮ ﺳﺮ ﺑﻴﺲﺑﺎﻝ ﺑﺎﻻﺧﺮﻩ ﻣﻨﻮ‬ ‫ﻭﺭﺷﻜﺴﺖ ﻣﻰﻛﻨﻪﻫﺎ! ﺳﺮ ﺍﻳﻦ ﻳﻜﻰ ﺷﻴﺮ ﻭ ﺧﻂ ﻣﻰﻧﺪﺍﺯﻳﻢ ﺑﻌﺪ ﺭﺍﻧﺪ ﻫﻔﺘﻢ ﻛﻪ ﺷﺪ‪ ،‬ﻣﻰﺭﻡ ﺑﺎﺯﻡ‬ ‫ﻣﻰﺧﺮﻡ‪ .‬ﻗﺒﻮﻝ؟«‬ ‫ﺗﻮﻯ ﺯﻣﻴﻦ ﺭﻭﻳﻰ ﺧﻮﺷﮕﻠﻪ ]‪ [4‬ﺩﺍﺭﺩ ﺧﻮﺩﺵ ﺭﺍ ﻗﺒﻞ ﺍﺯ ﺭﺍﻧﺪ ﭼﻬﺎﺭﻡ ﻛﺶ ﻭ ﻗﻮﺱ ﻣﻰﺩﻫﺪ ﻭ ﺍﻋﻀﺎﻯ‬ ‫ﺭﺩﺳﺎﻛﺲ ﺑﻮﺳﺘﻮﻥ ]‪ [5‬ﻫﻢ ﺩﺍﺭﻧﺪ ﺩﻭﺭ ﻭ ﺑﺮ ﻭﺭﻭﺩﻯﺷﺎﻥ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﮔﺮﻡ ﻣﻰﻛﻨﻨﺪ‪ .‬ﭘﺮﺗﺎﺏﻫﺎﻯ‬ ‫ﺭﻭﻳﻰ ﺗﺎ ﺣﺎﻻ ﺧﻮﺏ ﺑﻮﺩﻩﺍﻧﺪ ﻭ ﺑﻮﺳﻮﻛﺴﻰﻫﺎ ﻫﻢ ﺁﻥ ﻃﻮﺭﻯ ﻛﻪ ﺑﺎﻳﺪ ﺑﺎﺯﻯ ﻧﻤﻰﻛﻨﻨﺪ‪ .‬ﻭﻟﻰ ﺁﺧﺮ ﺳﻪ‬ ‫ﺭﺍﻧﺪ ﺷﺎﻳﺪ ﭼﻬﻞ ﺩﻗﻴﻘﻪ ﻃﻮﻝ ﺑﻜﺸﺪ‪ .‬ﻣﻦ ﺩﻭﺍﺯﺩﻩ ﺳﺎﻟﻢ ﺍﺳﺖ‪ .‬ﺗﺎ ﭼﻬﻞ ﺩﻗﻴﻘﻪﻯ ﺩﻳﮕﺮ ﻣﻤﻜﻦ ﺍﺳﺖ‬ ‫ﺍﺯ ﮔﺮﺳﻨﮕﻰ ﺑﻤﻴﺮﻡ‪.‬‬ ‫»ﻗﺒﻮﻝ‪«.‬‬ ‫ﺑﺎﺑﺎﻡ ﺳﻜﻪ ﺭﺍ ﻣﻰﺍﻧﺪﺍﺯﺩ‪.‬‬ ‫‪ ‬ﺍﺻﻞ ﻋﺪﻡ ﻗﻄﻌﻴﺖ ﻫﺎﻳﺰﻧﺒﺮگ ﺑﻴﺎﻥ ﻣﻰﻛﻨﺪ ﻛﻪ ﻭﺟﻮﺩ ﻧﺎﻇﺮ ﺧﺎﺭﺟﻰ ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ ﺗﻌﻴﻴﻦ ﻣﻮﻗﻌﻴﺖ‬ ‫ﻭ ﺟﻬﺖ ﻳﻚ ﺷﺌﻰ ﺩﺭ ﻳﻚ ﻟﺤﻈﻪ ﻏﻴﺮﻣﻤﻜﻦ ﺑﺎﺷﺪ‪ .‬ﺍﻳﻦ ﭼﻴﺰﻯ ﺑﻮﺩ ﻛﻪ ﺗﻮﻯ ﺩﺑﻴﺮﺳﺘﺎﻥ ﻳﺎﺩﻣﺎﻥ ﺩﺍﺩﻧﺪ‪.‬‬ ‫ﺗﻮﻯ ﺩﺍﻧﺸﻨﺎﻣﻪﻯ ﺑﻴﺲﺑﺎﻝ ﻧﻮﺷﺘﻪﺍﻧﺪ ﻛﻪ ﻣﻮ ﺑﺮگ ]‪ [6‬ﺷﺶ ﺗﺎ ﻫﻮﻡﺭﺍﻥ ]‪ [7‬ﻃﻰ ﺳﻴﺰﺩﻩ ﻓﺼﻞ ﺩﺍﺷﺘﻪ‪.‬‬ ‫ﺑﺮﺍﻯ ﭼﻬﺎﺭ ﺗﺎ ﺗﻴﻢ ﻫﻢ ﺑﺎﺯﻯ ﻛﺮﺩﻩ‪ .‬ﺩﺭﺑﺎﺭﻩﺍﺵ ﮔﻔﺘﻪﺍﻧﺪ ﻛﻪ ﺑﻪ ﺳﻴﺰﺩﻩ ﺯﺑﺎﻥ ﻣﺴﻠﻂ ﺑﻮﺩﻩ‪ ،‬ﻭﻟﻰ ﺑﻪ ﻫﻴﭻ‬ ‫ﻛﺪﺍﻡﺷﺎﻥ ﺑﻠﺪ ﻧﺒﻮﺩﻩ ﺩﺭﺳﺖ ﻭ ﺣﺴﺎﺑﻰ ﻻﺱ ﺑﺰﻧﺪ‪ .‬ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺑﺎﺯﻳﻜﻦ ﺑﻴﺲﺑﺎﻝ‪ ،‬ﺯﻳﺎﺩﻯ ﺍﻫﻞ‬ ‫ﻣﻄﺎﻟﻌﻪ ﻭ ﺗﺤﻘﻴﻖ ﺑﻮﺩﻩ‪ .‬ﻭﻗﺘﻰ ﺗﻮﻯ ﺟﻨﮓ ﺟﻬﺎﻧﻰ ﺩﻭﻡ ﭘﺎﻯ ﺳﺨﻦﺭﺍﻧﻰ ﻫﺎﻳﺰﻧﺒﺮگ ﻣﻰﻧﺸﺴﺘﻪ‪ ،‬ﻛﻠﻰ‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺟﻮﻙ ﺩﺭﺳﺖ ﻛﺮﺩﻩ ﻛﻪ ﺑﺎﻻﺧﺮﻩ ﻣﻦ ﺍﮔﺮ ﺷﻤﺎ ﺭﻭ ﺑﻜﺸﻢ ﺷﻤﺎ ﻗﻄﻌﺎً ﻣﻰﻣﻴﺮﻯ ﻳﺎ‬ ‫ﻧﻪ‪ .‬ﻓﻜﺮ ﻛﻨﻢ ﺍﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺍﻧﺴﺎﻥ ﺗﺤﺼﻴﻞﻛﺮﺩﻩ ﺍﮔﺮ ﺍﻳﻦﺟﺎ ﺑﻮﺩ ﺩﺭﻙ ﻣﻰﻛﺮﺩ ﻛﻪ ﺍﻳﻦ ﺣﺎﻓﻈﻪﻯ‬ ‫ﻫﻔﺘﺎﺩ ﺳﺎﻟﻪﻯ ﻟﺠﻦ ﮔﺮﻓﺘﻪﻯ ﻣﻦ ﭼﺮﺍ ﺍﻳﻦﻗﺪﺭ ﺳﻮﺭﺍﺥ ﺳﻤﺒﻪ ﺩﺍﺭﺩ‪.‬‬ ‫ﺳﺎﻝ ‪ 1940‬ﻣﻦ ﺑﺰﺭگﺗﺮﻳﻦ ﻃﺮﻑﺩﺍﺭ ﻣﻮ ﺑﺮگ ﺑﻮﺩﻡ‪ .‬ﻫﺮﭼﻨﺪ ﻛﻪ ﺍﻭ ﺑﻌﺪ ﺍﺯ ﻓﺼﻞ ﺳﻰ ﻭ ﻧﻬﻢ ﺍﺳﺘﻌﻔﺎ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻣﺄﻣﻮﺭ ﻣﺨﻔﻰ‬ ‫ﺍﻟﻜﺴﺎﻧﺪﺭ ﺍﻳﺮﻭﻳﻦ‬ ‫ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

‫‪ ‬ﺳﻪﺷﻨﺒﻪ ﺑﻌﺪﺍﺯﻇﻬﺮ ﻣﺎﻩ ﺟﻮﻻﻯ ‪ 1940‬ﺩﺭ ﺩﻳﺘﺮﻭﻳﺖ ﺍﺳﺖ‪ .‬ﺩﻭﺍﺯﺩﻩ ﺳﺎﻟﻢ ﺍﺳﺖ‪ .‬ﺍﺯ‬ ‫ﺍﻳﻦﺟﺎﻳﻰ ﻛﻪ ﻧﺸﺴﺘﻪﺍﻡ‪ ،‬ﻳﻌﻨﻰ ﺗﺮﺍﺱ ﺑﺎﻻﻳﻰ ﺯﻣﻴﻦ ﺳﻤﺖ ﭼﭗ ﺍﺳﺘﺎﺩﻳﻮﻡ ﺑﺮﻳﮕﺰ ]‪ [1‬ﻣﻰﺗﻮﺍﻧﻢ‬ ‫ﺳﺎﺧﺘﻤﺎﻥ ﺟﻨﺮﺍﻝ ﻣﻮﺗﻮﺭﺯ ]‪ [2‬ﺭﺍ ﺑﺒﻴﻨﻢ ﻛﻪ ﺭﻭﻯ ﺧﻴﺎﺑﺎﻥ ﻭﻭﺩﻭﺍﺭﺩ ]‪ [3‬ﺳﺎﻳﻪ ﺍﻧﺪﺍﺧﺘﻪ‪.‬‬ ‫ﻣﺎﺷﻴﻦﻫﺎ ﺧﻴﺎﺑﺎﻥ ﻣﻴﺸﻴﮕﺎﻥ ﺭﺍ ﺑﺎﻻ ﻭ ﭘﺎﻳﻴﻦ ﻣﻰﻛﻨﻨﺪ‪ .���ﻓﻮﺭﺩ‪ ،‬ﺷﻮﺭﻟﺖ‪ ،‬ﺑﻴﻮﻙ ﻭ ﻫﺮ ﺍﺯ ﭼﻨﺪ‬ ‫ﮔﺎﻫﻰ ﺣﺘﺎ ﻳﻚ ﻧ َﺶ‪ .‬ﭘﺸﺖ ﻓﺮﻣﺎﻥ ﺧﻴﻠﻰﻫﺎﺷﺎﻥ‪ ،‬ﻫﻤﺎﻥ ﻛﺴﺎﻧﻰ ﻧﺸﺴﺘﻪﺍﻧﺪ ﻛﻪ ﻣﺎﺷﻴﻦﻫﺎ ﺭﺍ‬ ‫ﺳﺎﺧﺘﻪﺍﻧﺪ‪ .‬ﺑﻪ ﺩﺳﺖﻫﺎﻳﻢ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻢ ﻭ ﺗﻮﻯ ﺫﻫﻨﻢ ﺗﺼﻮﺭﺷﺎﻥ ﻣﻰﻛﻨﻢ ﻛﻪ ﻣﺜﻞ ﺩﺳﺖﻫﺎﻯ‬ ‫ﻳﻚ ﻛﺎﺭﮔﺮ ﺍﺗﻮﻣﻮﺑﻴﻞﺳﺎﺯﻯ‪ ،‬ﺑﺰﺭگ ﻭ ﭘﻴﻨﻪﺑﺴﺘﻪ ﻭ ﺯﺧﻢ ﻭ ﺯﻳﻠﻰ ﺷﺪﻩﺍﻧﺪ ﻭ ﮔﺮﻳﺲ ﭼﻨﺎﻥ ﺑﻪ‬ ‫ﺧﻮﺭﺩ ﭼﺮﻭﻙﻫﺎﺷﺎﻥ ﺭﻓﺘﻪ ﻛﻪ ﺩﻳﮕﺮ ﺣﺘﺎ ﺑﺎ ﺻﺎﺑﻮﻥ ﻻﻭﺍ ﻫﻢ ﻧﻤﻰﺷﻮﺩ ﭘﺎﻛﺶ ﻛﺮﺩ‪.‬‬


‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺭﺍ ﺷﻜﺴﺖ‪ ،‬ﺗﻮﺭﺟﺎﻥ ﺭﺍ ﺑﻪ ﺁﺭﺍﻣﻰ ﺑﻠﻨﺪ ﻛﺮﺩ ﻭ ﺑﺮ ﺯﻣﻴﻦ ﮔﺬﺍﺷﺖ‪.‬‬ ‫ﻭﻗﺘﻰ ﺗﻮﺭﺟﺎﻥ ﺣﺮﺯ ﺑﺴﺘﻪ ﺷﺪﻩ ﺑﺮ ﻣﭻ ﺳﺎﻳﻴﻦ ﺭﺍ ﻟﻤﺲ ﻛﺮﺩ‪ ،‬ﻃﻠﺴﻢ ﺷﻜﺴﺘﻪ ﺷﺪ‪ .‬ﺗﻮﺭﺟﺎﻥ ﺩﻭﺑﺎﺭﻩ ﺑﻪ‬ ‫ﻳﻚ ﻣﺮﺩ ﺗﺒﺪﻳﻞ ﺷﺪ‪ ،‬ﻭ ﺑﻪ ﺳﺎﻳﻴﻦ ﻛﻪ ﺩﻳﮕﺮ ﺷﻨﺎﺧﺘﻪ ﻧﻤﻰﺷﺪ ﺑﻬﺖﺯﺩﻩ ﻧﮕﺮﻳﺴﺖ‪.‬‬ ‫ﺳﺎﻳﻴﻦ ﻛﻮﺷﻴﺪ ﺗﺎ ﺑﺮ ﺍﻭ ﺗﺒﺴﻢ ﻛﻨﺪ‪.‬‬ ‫»ﺗﻮﺭﺟﺎﻥ‪ ...‬ﺗﻮ ﺁﺯﺍﺩﻯ‪«...‬‬ ‫»ﻣﺎﺯﻳﺮﻳﻦ ﭼﻪ ﺷﺪ؟«‬ ‫»ﺍﻭ ﻣﺮﺩﻩ‪«.‬‬ ‫ﺳﺎﻳﻴﻦ ﺍﺯ ﻓﺮﻁ ﺧﺴﺘﮕﻰ ﻧﻘﺶ ﺑﺮ ﺯﻣﻴﻦ ﺷﺪ ﻭ ﺳﺴﺖ ﻭ ﺑﻰﺣﺮﻛﺖ ﻣﺎﻧﺪ‪ .‬ﺗﻮﺭﺟﺎﻥ ﺑﺎ ﺣﺴﻰ ﻏﺮﻳﺐ‬ ‫ﺩﺭ ﭼﺸﻢﻫﺎﻳﺶ ﺍﻭ ﺭﺍ ﻧﻈﺎﺭﻩ ﻛﺮﺩ ﻭ ﺁﻫﺴﺘﻪ ﮔﻔﺖ‪» :‬ﺳﺎﻳﻴﻦ‪ ،‬ﻣﺨﻠﻮﻕ ﻋﺰﻳﺰ ﺫﻫﻦ ﻣﻦ‪ .‬ﺗﻮ ﺍﺯ ﻣﻦ ﺑﺴﻴﺎﺭ‬ ‫ﺑﺰﺭگﻭﺍﺭﺗﺮﻯ‪ ،‬ﺗﻮ ﻛﻪ ﺗﻨﻬﺎ ﺟﺎﻧﻰ ﺭﺍ ﻛﻪ ﻣﻰﺷﻨﺎﺧﺘﻰ ﺑﺮﺍﻯ ﺁﺯﺍﺩﻯ ﻣﻦ ﻓﺪﺍ ﻛﺮﺩﻯ‪«.‬‬ ‫ﺗﻮﺭﺟﺎﻥ ﺑﺪﻥ ﺳﺎﻳﻴﻦ ﺭﺍ ﺍﺯ ﺯﻣﻴﻦ ﺑﺮﺩﺍﺷﺖ ﻭ ﺩﺭ ﺁﻏﻮﺵ ﮔﺮﻓﺖ‪.‬‬ ‫»ﺍﻣﺎ ﺑﺎﻳﺪ ﺗﻮ ﺭﺍ ﺑﻪ ﺧﻤﺮﻩ ﺑﺎﺯﮔﺮﺩﺍﻧﻢ‪ .‬ﺑﺎ ﻣﻐﺰ ﺗﻮ ﺳﺎﻳﻴﻦ ﺩﻳﮕﺮﻯ ﺧﻮﺍﻫﻢ ﺳﺎﺧﺖ‪ ،‬ﺑﻪ ﺯﻳﺒﺎﻳﻰ ﻭ ﺩﻟﭙﺬﻳﺮﻯ‬ ‫ﺗﻮ‪ .‬ﺍﻳﻨﻚ ﺑﺮﻭﻳﻢ‪«.‬‬ ‫ﺍﻭ ﺳﺎﻳﻴﻦ ﺭﺍ ﺩﺭ ﺁﻏﻮﺵ ﮔﺮﻓﺖ ﻭ ﺍﺯ ﭘﻠﻪﻫﺎ ﺑﺎﻻ ﺭﻓﺖ‪.‬‬ ‫‪13. Almery‬‬ ‫‪14. Arch-Necromancer Phandaal‬‬ ‫‪15. Potecilla the Pious‬‬ ‫‪16. Twk‬‬ ‫‪17. Lian the Wayfarer‬‬ ‫‪18. Dandanflores‬‬ ‫‪19. Telanxis‬‬ ‫‪20. Deodand‬‬ ‫‪21. Pelgrane‬‬ ‫‪22. Thial‬‬ ‫‪23. Kraan‬‬ ‫‪24. Thrang‬‬ ‫‪25. Sanra Water‬‬ ‫‪26. T’sain‬‬

‫* ﻭﻳﺮﺍﺳﺖ ﺗﺮﺟﻤﻪ ﺍﺯ ﺯﻫﺮﺍ ﺟﺎﻥ ﻧﺜﺎﺭﻯ ﻻﺩﺍﻧﻰ ﺍﺳﺖ‪.‬‬ ‫‪1. Mazirian‬‬ ‫‪2. Kandive‬‬ ‫‪3. Kaiin‬‬ ‫‪4. Azvan‬‬ ‫‪5. Turjan‬‬ ‫‪6. Miir‬‬ ‫‪7. Derna‬‬ ‫‪8. Felojun‬‬ ‫‪9. Maram-Or‬‬ ‫‪10. Gran Motholam‬‬ ‫‪11. Ascolais‬‬ ‫‪12. Ide Kauchique‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﺳﺎﻳﻴﻦ ﺭﻭﺑﺮﮔﺮﺩﺍﻧﺪ ﻭ ﺍﺯ ﺩﻳﺪﻥ ﻋﻄﺶ ﻣﺎﺯﻳﺮﻳﻦ ﺑﺮﺍﻯ ﺣﻴﺎﺕ ﺣﻴﺮﺕﺯﺩﻩ ﺷﺪ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﺩﺭ ﻣﻴﺎﻥ ﺍﺑﺮﻯ ﺍﺯ‬ ‫ﺗﺎﺯﻳﺎﻧﻪ ﺗﻠﻮﺗﻠﻮ ﻣﻰﺧﻮﺭﺩ‪ ،‬ﻭ ﺳﺎﻳﻪﻧﻤﺎﻯ ﻣﺒﻬﻢ ﻫﻴﺒﺖ ﺧﺸﻤﮕﻴﻦ ﻭ ﻟﺠﻮﺟﺶ ﺍﺯ ﻭﺭﺍﻯ ﺁﺷﻮﺏ ﺷﺎﺧﻪﻫﺎ ﺑﻪ‬ ‫ﭼﺸﻢ ﻣﻰﺁﻣﺪ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﻛﻪ ﺿﻌﻴﻒ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﻣﻰﻛﻮﺷﻴﺪ ﺑﮕﺮﻳﺰﺩ‪ ،‬ﺍﻣﺎ ﺑﺎﺯ ﻫﻢ ﺑﺮ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩ‪ .‬ﺿﺮﺑﻪﻫﺎ‬ ‫ﺑﻰﺍﻣﺎﻥ ﺑﺮ ﺳﺮ‪ ،‬ﺷﺎﻧﻪﻫﺎ‪ ،‬ﻭ ﭘﺎﻫﺎﻯ ﺑﻠﻨﺪﺵ ﻓﺮﻭ ﻣﻰﺑﺎﺭﻳﺪﻧﺪ‪ ...‬ﻣﺎﺯﻳﺮﻳﻦ ﺧﻮﺍﺳﺖ ﺍﺯ ﺟﺎ ﺑﺮﺧﻴﺰﺩ‪ ،‬ﺍﻣﺎ ﺑﺎﺯ ﺍﻓﺘﺎﺩ‪.‬‬ ‫ﺳﺎﻳﻴﻦ ﺳﺴﺖ ﻭ ﺑﻰﺭﻣﻖ‪ ،‬ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ ﺑﺴﺖ‪ .‬ﺧﻮﻧﻰ ﺭﺍ ﻛﻪ ﺍﺯ ﭘﻮﺳﺖ ﺩﺭﻳﺪﻩﺍﺵ ﺑﻴﺮﻭﻥ ﻣﻰﺯﺩ ﺣﺲ‬ ‫ﻣﻰﻛﺮﺩ‪ .‬ﺍﻣﺎ ﻣﺄﻣﻮﺭﻳﺖ ﺣﻴﺎﺗﻰﺍﺵ ﻫﻨﻮﺯ ﺑﺎﻗﻰ ﺑﻮﺩ‪ .‬ﺑﺮ ﭘﺎ ﺍﻳﺴﺘﺎﺩ ﻭ ﺗﻠﻮﺗﻠﻮﺧﻮﺭﺍﻥ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ‪ .‬ﺑﻪ ﺭﻏﻢ‬ ‫ﮔﺬﺷﺖ ﺯﻣﺎﻧﻰ ﺩﺭﺍﺯ‪ ،‬ﺗﻮﻓﺎﻥ ﺻﺪﺍﻯ ﺿﺮﺑﻪﻫﺎﻯ ﭘﻴﺎﭘﻰ ﻫﻤﭽﻨﺎﻥ ﺑﻪ ﮔﻮﺷﺶ ﻣﻰﺭﺳﻴﺪ‪.‬‬ ‫ﺑﺎﻍ ﻣﺎﺯﻳﺮﻳﻦ ﺷﺐﻫﺎ ﺑﻪ ﻃﺮﺯ ﺧﺎﺭﻕﺍﻟﻌﺎﺩﻩﺍﻯ ﺯﻳﺒﺎ ﺑﻮﺩ‪ .‬ﮔﻞﻫﺎﻯ ﺳﺘﺎﺭﻩﺍﻯ ﺩﺭ ﺗﻤﺎﻡ ﺑﺎﻍ ﭘﺨﺶ ﻭ ﻫﺮ ﻳﻚ‬ ‫ﺍﺯ ﻛﻤﺎﻟﻰ ﺟﺎﺩﻭﻳﻰ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺑﻮﺩ‪ .‬ﺷﺐﭘﺮﻩﻫﺎﻯ ﻧﻴﻤﻪﻧﺒﺎﺗﻰ ﺍﺳﻴﺮ ﺩﺭ ﺑﻴﻦ ﺍﻳﻦ ﮔﻞﻫﺎ ﭘﺮﻭﺍﺯ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺁﺑﻰ ﺷﺐﺗﺎﺏ ﻫﻤﭽﻮﻥ ﭼﻬﺮﻩﻫﺎﻳﻰ ﻃﻨﺎﺯ ﺭﻭﻯ ﺁﺏ ﺑﺮﻛﻪ ﺷﻨﺎﻭﺭ ﺑﻮﺩﻧﺪ ﻭ ﺑﻮﺗﻪﺍﻯ ﻛﻪ‬ ‫ﻧﻴﻠﻮﻓﺮﻫﺎﻯ ِ‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺍﺯ ﺭﺍﻩ ﺑﺴﻴﺎﺭ ﺩﻭﺭ ﺍﺯ ﺁﻟﻤﺮﻯ ﺩﺭ ﺟﻨﻮﺏ ﺁﻭﺭﺩﻩ ﺑﻮﺩ‪ ،‬ﻓﻀﺎ ﺭﺍ ﺑﺎ ﺑﻮﻯ ﺩﻟﭙﺬﻳﺮ ﻣﻴﻮﻩﺍﺵ ﻋﻄﺮﺁﮔﻴﻦ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺳﺎﻳﻴﻦ ﺣﺎﻻ ﭘﻴﭻ ﻭ ﺗﺎﺏﺧﻮﺭﺍﻥ ﻭ ﻧﻔﺲﺯﻧﺎﻥ ﺍﺯ ﻣﻴﺎﻥ ﺑﺎﻍ ﻛﻮﺭﻣﺎﻝﻛﻮﺭﻣﺎﻝ ﻣﻰﺭﻓﺖ‪ .‬ﺑﺮﺧﻰ ﺍﺯ ﮔﻞﻫﺎ‬ ‫ﺑﻴﺪﺍﺭ ﺷﺪﻧﺪ ﻭ ﺍﻭ ﺭﺍ ﻛﻨﺠﻜﺎﻭﺍﻧﻪ ﻧﮕﺮﻳﺴﺘﻨﺪ‪ .‬ﮔﻴﺎﻩ‪-‬ﺣﻴﻮﺍﻥ ﻛﻪ ﻣﻰﭘﻨﺪﺍﺷﺖ ﺻﺪﺍﻯ ﭘﺎﻯ ﻣﺎﺯﻳﺮﻳﻦ ﺭﺍ‬ ‫ﺷﻨﻴﺪﻩ ﺍﺳﺖ‪ ،‬ﺑﺎ ﺧﻮﺍﺏﺁﻟﻮﺩﮔﻰ ﺑﻪ ﮔﻔﺘﮕﻮ ﺑﺎ ﺳﺎﻳﻴﻦ ﻣﺸﻐﻮﻝ ﺷﺪ‪ .‬ﺁﻭﺍﺯ ﺧﻔﻴﻒ ﻭ ﺣﺴﺮﺕﺯﺩﻩﻯ ﮔﻞﻫﺎﻯ‬ ‫ﺷﻴﭙﻮﺭﻯ ﺁﺑﻰ ﺑﻪ ﮔﻮﺵ ﻣﻰﺭﺳﻴﺪ ﻛﻪ ﺍﺯ ﺷﺐﻫﺎﻯ ﻛﻬﻨﻰ ﻣﻰﺧﻮﺍﻧﺪﻧﺪ ﻛﻪ ﻣﺎﻩ ﺳﭙﻴﺪ ﻫﻨﻮﺯ ﺩﺭ ﺁﺳﻤﺎﻥ‬ ‫ﺷﻨﺎﻭﺭ ﺑﻮﺩ‪ ،‬ﻭ ﻃﻮﻓﺎﻥﻫﺎﻯ ﺳﻬﻤﮕﻴﻦ ﻭ ﺍﺑﺮﻫﺎ ﻭ ﺻﺎﻋﻘﻪ ﻫﻨﻮﺯ ﺑﺮ ﻓﺼﻮﻝ ﻓﺮﻣﺎﻥ ﻣﻰﺭﺍﻧﺪﻧﺪ‪.‬‬ ‫ﺳﺎﻳﻴﻦ ﺑﻰﺍﻋﺘﻨﺎ ﺍﺯ ﻛﻨﺎﺭ ﻫﻤﻪﻯ ﺍﻳﻦﻫﺎ ﮔﺬﺷﺖ‪ .‬ﺑﻪ ﺧﺎﻧﻪ ﻣﺎﺯﻳﺮﻳﻦ ﻭﺍﺭﺩ ﺷﺪ ﻭ ﻛﺎﺭﮔﺎﻩ ﺭﺍ ﻳﺎﻓﺖ‪ ،‬ﺟﺎﻳﻰ‬ ‫ﻛﻪ ﭼﺮﺍﻍﻫﺎﻯ ﺯﺭﺩ ﻫﻤﻴﺸﻪ ﺗﺎﺑﻨﺪﻩ ﺁﻥ ﺭﺍ ﺭﻭﺷﻦ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﻣﺨﻠﻮﻕ ﮔﻴﺴﻮﻃﻼﻳﻰ ﻣﺎﺯﻳﺮﻳﻦ ﻧﺎﮔﻬﺎﻥ ﺩﺭ‬ ‫ﺧﻤﺮﻩ ﻧﺸﺴﺖ ﻭ ﺑﺎ ﭼﺸﻢﻫﺎﻯ ﺯﻳﺒﺎﻯ ﻣﺒﻬﻮﺗﺶ ﺑﻪ ﺳﺎﻳﻴﻦ ﺧﻴﺮﻩ ﺷﺪ‪.‬‬ ‫ﺳﺎﻳﻴﻦ ﻛﻠﻴﺪﻫﺎﻯ ﻣﺎﺯﻳﺮﻳﻦ ﺭﺍ ﺩﺭ ﻗﻔﺴﻪ ﻳﺎﻓﺖ ﻭ ﺩﺭﻳﭽﻪﻯ ﻛﻒ ﺭﺍ ﺑﻪ ﺯﺣﻤﺖ ﺑﺎﺯ ﻛﺮﺩ‪ .‬ﺍﻭ ﻫﻤﺎﻥ ﺟﺎ ﻧﻘﺶ‬ ‫ﺑﺮ ﺯﻣﻴﻦ ﺷﺪ ﺗﺎ ﺑﻴﺎﺳﺎﻳﺪ ﻭ ﻫﺎﻟﻪﻯ ﻓﺴﺮﺩﻩ ﺻﻮﺭﺗﻰ ﺍﺯ ﺟﻠﻮﻯ ﭼﺸﻤﺎﻧﺶ ﻛﻨﺎﺭ ﺭﻭﺩ‪ .‬ﺍﻭﻫﺎﻡ ﺑﻪ ﺳﺮﺍﻏﺶ‬ ‫ﺁﻣﺪ‪ :‬ﻣﺎﺯﻳﺮﻳﻦ‪ ،‬ﺑﻠﻨﺪﺑﺎﻻ ﻭ ﻣﺘﻜﺒﺮ‪ ،‬ﻛﻪ ﻣﻰﺁﻣﺪ ﺗﺎ ﺛﺮﻧﮓ ﺭﺍ ﺑﻜﺸﺪ‪ ،‬ﮔﻞﻫﺎﻯ ﺯﻳﺮ ﺩﺭﻳﺎﭼﻪ ﺑﺎ ﺭﻧﮓﻫﺎﻯ‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺟﺎﺩﻭ ﺍﺯ ﻛﻒ ﺩﺍﺩﻩ ﻛﻪ ﺑﺎ ﺷﺎﺧﻪﻫﺎ ﻣﻰﺟﻨﮕﻴﺪ‪ ...‬ﺳﺎﻳﻴﻦ‪ ،‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻣﺨﻠﻮﻕ ﺧﻤﺮﻩﻯ‬ ‫ﻏﺮﻳﺐ‪،‬‬ ‫ِ‬ ‫ﻣﺎﺯﻳﺮﻳﻦ‪ ،‬ﺑﺰﺩﻻﻧﻪ ﺑﺎ ﮔﻴﺴﻮﺍﻧﺶ ﺑﺎﺯﻯ ﻣﻰﻛﺮﺩ‪ ،‬ﺍﺯ ﺣﺎﻟﺖ ﻧﻴﻤﻪﺧﻠﺴﻪ ﺑﻪ ﻫﻮﺵ ﺁﻣﺪ‪.‬‬ ‫ﺳﺎﻳﻴﻦ ﺑﻪ ﺧﻮﺩ ﺗﻜﺎﻧﻰ ﺩﺍﺩ‪ ،‬ﺑﻪ ﺯﺣﻤﺖ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ‪ ،‬ﻭ ﻛﻢ ﻣﺎﻧﺪﻩ ﺑﻮﺩ ﺍﺯ ﭘﻠﻪﻫﺎ ﺳﻘﻮﻁ ﻛﻨﺪ‪ .‬ﻫﺮ ﺳﻪ ﻗﻔﻞ‬ ‫ﺭﺍ ﺍﺯ ﺩﺭﺏ ﮔﺸﻮﺩ ﻭ ﺁﻥ ﺭﺍ ﺑﺎ ﺁﺧﺮﻳﻦ ﺗﻮﺍﻥ ﺑﺎﻗﻰﻣﺎﻧﺪﻩ ﺩﺭ ﺑﺪﻧﺶ ﻫﻞ ﺩﺍﺩ‪ .‬ﺳﺎﻳﻴﻦ ﺩﺭ ﺍﺗﺎﻕ ﭘﻴﭻ ﻭ ﺗﺎﺏ‬ ‫ﻣﻰﺧﻮﺭﺩ ﺗﺎ ﺍﻳﻦ ﻛﻪ ﺳﺮﺍﻧﺠﺎﻡ ﺑﺮ ﺳﻜﻮﻯ ﻣﻴﺎﻥ ﺗﺎﻻﺭ ﻭ ﺟﻌﺒﻪ ﺭﻭﻯ ﺁﻥ ﭼﻨﮓ ﺯﺩ‪ ،‬ﺟﻌﺒﻪﺍﻯ ﻛﻪ ﺗﻮﺭﺟﺎﻥ‬ ‫ﻭ ﺍژﺩﻫﺎ ﺩﺭ ﺁﻥ ﺑﻪ ﺑﺎﺯﻯ ﻣﺮگﺑﺎﺭ ﺧﻮﺩ ﻣﺸﻐﻮﻝ ﺑﻮﺩﻧﺪ‪ .‬ﺳﺎﻳﻴﻦ ﺷﻴﺸﻪ ﺭﺍ ﺑﻪ ﺭﻭﻯ ﺯﻣﻴﻦ ﺍﻧﺪﺍﺧﺖ ﻭ ﺁﻥ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺍﻓﺴﻮﻥ ﺩﻭﻡ ﺭﺍ ﺑﺮﺍﻯ ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﺛﺮﻧﮓ ﻭ ﻓﺮﻭ ﺭﻳﺨﺘﻦ ﻣﻌﺒﺪ ﺑﺮ ﺳﺮ ﻣﺎﺯﻳﺮﻳﻦ ﺑﻪ ﻛﺎﺭ ﺑﺴﺘﻪ ﺑﻮﺩ‪ .‬ﺍﻛﻨﻮﻥ‬ ‫ﻫﺮ ﺩﻭ ﺍﻓﺴﻮﻥ ﺑﻰﺍﺛﺮ ﺷﺪﻩ ﻭ ﺩﻳﮕﺮ ﭼﺎﺭﻩﺍﻯ ﺑﺮﺍﻳﺶ ﻧﻤﺎﻧﺪﻩ ﺑﻮﺩ؛ ﺍﻣﺎ ﺍﺯ ﺁﻥ ﺳﻮ‪ ،‬ﺑﺮﺍﻯ ﻣﺎﺯﻳﺮﻳﻦ ﻫﻢ‬ ‫ﻧﻤﻰﺑﺎﻳﺴﺖ ﺍﻓﺴﻮﻧﻰ ﻣﺎﻧﺪﻩ ﺑﺎﺷﺪ‪.‬‬ ‫ﺩﺧﺘﺮ ﺑﺎ ﺧﻮﺩ ﺍﻧﺪﻳﺸﻴﺪ ﺷﺎﻳﺪ ﻣﺎﺯﻳﺮﻳﻦ ﮔﻴﺎﻩ ﺧﻮﻥﺁﺷﺎﻡ ﺭﺍ ﻧﺸﻨﺎﺳﺪ‪ .‬ﺍﺯ ﺳﺮﺍﺷﻴﺒﻰ ﺑﺎﻻ ﺭﻓﺖ ﻭ ﺩﺭ ﭘﺲ‬ ‫ﻋﻠﻒﺯﺍﺭﻯ ﻛﻮﭼﻚ‪ ،‬ﺭﻧﮓﺑﺎﺧﺘﻪ‪ ،‬ﻭ ﺑﺎﺩﺧﻮﺭﺩﻩ ﺍﻳﺴﺘﺎﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﻫﻨﮕﺎﻡ‪ ،‬ﻣﺎﺯﻳﺮﻳﻦ ﻛﻪ ﺩﺭ ﺑﺮﺍﺑﺮ ﺩﺭﺧﺸﺶ‬ ‫ﺁﺏ ﺑﻪ ﺷﺒﺤﻰ ﻧﺤﻴﻒ ﻣﻰﻣﺎﻧﺴﺖ ﺍﺯ ﺩﺭﻳﺎﭼﻪ ﺑﻴﺮﻭﻥ ﺁﻣﺪ‪.‬‬ ‫ﭘﻮﺵ ﺑﻰﻃﺮﻑ ﺭﺍ ﻣﻴﺎﻥ ﺧﻮﺩ ﻭ ﻣﺎﺯﻳﺮﻳﻦ ﺣﺎﺋﻞ ﻗﺮﺍﺭ ﺩﺍﺩ‪ .‬ﺍﮔﺮ ﮔﻴﺎﻩ‬ ‫ﺳﺎﻳﻴﻦ ﻋﻘﺐ ﻧﺸﺴﺖ ﻭ ﺯﻣﻴﻦ ﻋﻠﻒ ِ‬ ‫ﺧﻮﻥﺁﺷﺎﻡ ﻫﻢ ﺷﻜﺴﺖ ﻣﻰﺧﻮﺭﺩ‪ ...‬ﺩﻝ ﺳﺎﻳﻴﻦ ﺍﺯ ﺍﻳﻦ ﺍﻧﺪﻳﺸﻪ ﻛﻪ ﺩﻳﮕﺮ ﻛﺎﺭﻯ ﺍﺯ ﺩﺳﺘﺶ ﺑﺮ ﻧﻤﻰﺁﻣﺪ‪،‬‬ ‫ﻓﺮﻭ ﺭﻳﺨﺖ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺑﻪ ﻣﻴﺎﻥ ﻋﻠﻒﻫﺎ ﭘﺎ ﮔﺬﺍﺷﺖ‪ .‬ﺗﻴﻐﻪﻫﺎﻯ ﺑﻰﺭﻣﻖ ﻋﻠﻒﻫﺎ ﺑﻪ ﺍﻧﮕﺸﺘﺎﻧﻰ ﻧﻴﺮﻭﻣﻨﺪ ﺑﺪﻝ ﺷﺪﻧﺪ‪ ،‬ﺑﻪ‬ ‫ﺩﻭﺭ ﻗﻮﺯﻙﻫﺎﻳﺶ ﭘﻴﭽﻴﺪﻧﺪ‪ ،‬ﻭ ﺍﻭ ﺭﺍ ﺍﺯ ﺣﺮﻛﺖ ﺑﺎﺯ ﺩﺍﺷﺘﻨﺪ‪ .‬ﺑﺎﻗﻰ ﻋﻠﻒﻫﺎ ﺩﺭ ﺗﻜﺎﭘﻮ ﺑﺮﺍﻯ ﺟﺴﺘﺠﻮﻯ‬ ‫ﭘﻮﺳﺖ ﺑﺪﻧﺶ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﭘﺲ ﻣﺎﺯﻳﺮﻳﻦ ﺁﺧﺮﻳﻦ ﺍﻓﺴﻮﻧﺶ‪ ،‬ﻳﻌﻨﻰ ﻭﺭﺩ ﻓﻠﺞ‪ ،‬ﺭﺍ ﻫﻢ ﺯﻣﺰﻣﻪ ﻛﺮﺩ‪ .‬ﭼﻤﻦ ﺧﻮﻥﺁﺷﺎﻡ ﻟﺨﺖ ﺷﺪ ﻭ‬ ‫ﺳﺴﺖ ﺑﺮ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩ‪ .‬ﺍﻣﻴﺪ ﺳﺎﻳﻴﻦ ﻧﺎﺍﻣﻴﺪ ﺷﺪ‪ .‬ﺣﺎﻻ ﺩﻳﮕﺮ ﻣﺎﺯﻳﺮﻳﻦ ﺧﻴﻠﻰ ﺑﻪ ﺍﻭ ﻧﺰﺩﻳﻚ ﺷﺪﻩ ﺑﻮﺩ‬ ‫ﻭ ﺷﻨﻠﺶ ﺩﺭ ﭘﺲ ﺳﺮﺵ ﻣﻮﺝ ﻣﻰﺯﺩ‪ .‬ﻳﻌﻨﻰ ﻣﺎﺯﻳﺮﻳﻦ ﻫﻴﭻ ﻧﻘﻄﻪﻯ ﺿﻌﻔﻰ ﻧﺪﺍﺷﺖ؟ ﺁﻳﺎ ﺩﺭﺩﻯ ﺩﺭ‬ ‫ﺍﻋﻀﺎء ﻭ ﺟﻮﺍﺭﺣﺶ ﺣﺲ ﻧﻤﻰﻛﺮﺩ؟ ﺁﻳﺎ ﻧﻔﺴﺶ ﺗﻨﮓ ﻧﻤﻰﺷﺪ؟ ﺳﺎﻳﻴﻦ ﭼﺮﺧﻴﺪ ﻭ ﺩﺭ ﻣﻴﺎﻥ ﻣﺮﻏﺰﺍﺭ ﺑﻪ‬ ‫ﺳﻮﻯ ﺑﻴﺸﻪ‪-‬ﺍﻯ ﺍﺯ ﺩﺭﺧﺘﺎﻥ ﺳﻴﺎﻩ ﮔﺮﻳﺨﺖ‪ .‬ﻭﻗﺘﻰ ﺑﻪ ﺳﺎﻳﻪﻫﺎﻯ ﻇﻠﻤﺎﻧﻰ ﻭ ﻫﻴﺄﺕﻫﺎﻯ ﻋﺒﻮﺱ ﺭﺳﻴﺪ‪،‬‬ ‫ﻣﻮ ﺑﺮ ﺗﻨﺶ ﺍﻳﺴﺘﺎﺩ‪ .‬ﺍﻣﺎ ﺻﺪﺍﻯ ﭘﺎﻯ ﺟﺎﺩﻭﮔﺮ ﺑﻠﻨﺪ ﺑﻮﺩ‪ .‬ﺳﺎﻳﻴﻦ ﺑﻪ ﻣﻴﺎﻥ ﻇﻠﻤﺖ ﻫﺮﺍﺱﺍﻧﮕﻴﺰ ﺟﻬﻴﺪ‪.‬‬ ‫ﺑﺎﻳﺪ ﭘﻴﺶ ﺍﺯ ﺁﻥﻛﻪ ﻫﻤﻪ ﺟﻨﺒﻨﺪﮔﺎﻥ ﺩﺭﻭﻥ ﺑﻴﺸﻪ ﺑﻴﺪﺍﺭ ﺷﻮﻧﺪ‪ ،‬ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﻣﻤﻜﻦ ﺑﻮﺩ ﺩﻭﺭ ﺷﻮﺩ‪.‬‬ ‫ﺷﺘﺮﻕ! ﺷﺎﺧﻪﺍﻯ ﻫﻤﭽﻮﻥ ﺗﺎﺯﻳﺎﻧﻪ ﺑﺮ ﺳﺎﻳﻴﻦ ﻓﺮﻭﺩ ﺁﻣﺪ‪ .‬ﺳﺎﻳﻴﻦ ﺑﻪ ﺩﻭﻳﺪﻥ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪ .‬ﺗﺎﺯﻳﺎﻧﻪ ﺍﺯ ﭘﺲ‬ ‫ﺗﺎﺯﻳﺎﻧﻪ ﺑﺎﺭﻳﺪﻥ ﮔﺮﻓﺖ‪ ...‬ﺳﺎﻳﻴﻦ ﺍﻓﺘﺎﺩ‪ .‬ﺳﭙﺲ ﺷﻼﻗﻰ ﺩﻳﮕﺮ ﻭ ﺿﺮﺑﺘﻰ ﺩﻳﮕﺮ‪ .‬ﺳﺎﻳﻴﻦ ﺗﻠﻮﺗﻠﻮﺧﻮﺭﺍﻥ ﺍﺯ‬ ‫ﺟﺎ ﺑﺮﺧﺎﺳﺖ‪ ،‬ﻭ ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺳﻜﻨﺪﺭﻯ ﻣﻰﺧﻮﺭﺩ‪ ،‬ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ ﺩﺭ ﺑﺮﺍﺑﺮ ﺻﻮﺭﺗﺶ ﺳﭙﺮ ﻛﺮﺩ‪.‬‬ ‫ﺷﺘﺮﻕ! ﺻﻔﻴﺮ ﺷﺎﺧﻪﻫﺎ ﻫﻮﺍ ﺭﺍ ﻣﻰﺷﻜﺎﻓﺖ‪ ،‬ﻭ ﺳﺎﻳﻴﻦ ﺑﺎ ﺁﺧﺮﻳﻦ ﺿﺮﺑﻪ ﺗﺎﺏ ﺧﻮﺭﺩ‪ .‬ﺍﻭ ﺍﻛﻨﻮﻥ ﺭﻭ ﺩﺭ ﺭﻭﻯ‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﻗﺮﺍﺭ ﺩﺍﺷﺖ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﻣﺸﻐﻮﻝ ﻧﺒﺮﺩ ﺑﻮﺩ‪ .‬ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺿﺮﺑﻪﻫﺎ ﺑﺮ ﺍﻭ ﻣﻰﺑﺎﺭﻳﺪﻧﺪ‪ ،‬ﺗﻼﺵ ﻣﻰﻛﺮﺩ ﺗﺎ ﺗﺎﺯﻳﺎﻧﻪﻫﺎ ﺭﺍ‬ ‫ﺑﮕﻴﺮﺩ ﻭ ﺁﻥﻫﺎ ﺭﺍ ﺑﺸﻜﻨﺪ‪ .‬ﺍﻣﺎ ﺍﺯ ﺁﻥﺟﺎ ﻛﻪ ﻧﺮﻣﻰ ﻭ ﭼﺎﻻﻛﻰ ﺷﺎﺧﻪﻫﺎ ﺑﺮ ﻧﻴﺮﻭﻫﺎﻯ ﻣﺎﺯﻳﺮﻳﻦ ﻣﻰﭼﺮﺑﻴﺪ‪،‬‬ ‫ﺍﺯ ﺟﺎ ﻣﻰﺟﻬﻴﺪﻧﺪ ﺗﺎ ﺩﻭﺑﺎﺭﻩ ﺑﺮ ﺳﺮ ﻭ ﺭﻭﻳﺶ ﻓﺮﻭﺩ ﺁﻳﻨﺪ‪ .‬ﺷﺎﺧﻪﻫﺎ ﻛﻪ ﺍﺯ ﻣﻘﺎﻭﻣﺖ ﻣﺎﺯﻳﺮﻳﻦ ﺑﻪ ﺧﺸﻢ‬ ‫ﺁﻣﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺑﺮ ﺟﺎﺩﻭﮔﺮ ﺑﻴﻨﻮﺍ ﻛﻪ ﻛﻒ ﺑﻪ ﻟﺐ ﺁﻭﺭﺩﻩ ﻭ ﺑﺎ ﺧﺸﻤﻰ ﻓﺮﺍﺑﺸﺮﻯ ﺑﺎ ﺁﻥﻫﺎ ﺩﺭ ﻣﺼﺎﻑ ﺑﻮﺩ‪،‬‬ ‫ﻳﻮﺭﺵ ﺑﺮﺩﻧﺪ ﻭ ﺳﺎﻳﻴﻦ ﺭﺍ ﺭﻫﺎ ﻛﺮﺩﻧﺪ ﺗﺎ ﺟﺎﻥ ﺩﺭ ﻛﻒ ﮔﻴﺮﺩ ﻭ ﺁﺭﺍﻡ ﺗﺎ ﺣﺎﺷﻴﻪ ﺑﻴﺸﻪ ﺑﺨﺰﺩ‪.‬‬ ‫‪25‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﻣﮕﺲ ﭘﺮ ﺳﺮ ﻭ ﺻﺪﺍ ﺯﻧﺪﺍﻧﻰ ﻛﺮﺩﻩ ﺑﻮﺩ‪...‬‬ ‫ﻭﻳﺮﺍﻧﻪﻯ ﻣﻌﺒﺪﻯ ﺳﻔﻴﺪ ﺍﺯ ﻣﻴﺎﻥ ﺳﺒﺰﻯ ﺁﺏ ﻫﻮﻳﺪﺍ ���ﺪ‪ .‬ﺳﺘﻮﻥﻫﺎﻯ ﺑﺴﻴﺎﺭﻯ ﺩﺍﺷﺖ‪ ،‬ﻛﻪ ﺑﺮﺧﻰ‬ ‫ﻓﺮﻭﺍﻓﺘﺎﺩﻩ ﻭ ﺑﺮﺧﻰ ﻫﻨﻮﺯ ﺗﻜﻴﻪﮔﺎﻫﻰ ﺑﺮﺍﻯ ﺁﺫﻳﻦﻫﺎﻯ ﺳﺮﺳﺘﻮﻥ ﺑﻮﺩ‪ .‬ﺯﻥ ﺍﺯ ﺯﻳﺮ ﺳﺎﻳﻪ ﺗﺎﻕ ﻣﺪﺧﻞ‪،‬‬ ‫ﺑﻪ ﺍﻳﻮﺍﻧﻰ ﺑﺰﺭگ ﻭﺍﺭﺩ ﺷﺪ‪ .‬ﺷﺎﻳﺪ ﺯﻥ ﺩﺍﺷﺖ ﻣﻰﻛﻮﺷﻴﺪ ﺗﺎ ﻣﺎﺯﻳﺮﻳﻦ ﺭﺍ ﺑﻔﺮﻳﺒﺪ؛ ﻣﺎﺯﻳﺮﻳﻦ ﺑﺎﻳﺪ ﺍﻭ ﺭﺍ ﺍﺯ‬ ‫ﻧﺰﺩﻳﻚ ﺩﻧﺒﺎﻝ ﻣﻰﻛﺮﺩ‪ .‬ﺍﻧﺪﺍﻡ ﺳﭙﻴﺪ ﻛﻪ ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﺷﺒﺴﺘﺎﻥ ﻣﻰﺩﺭﺧﺸﻴﺪ‪ ،‬ﺍﻳﻨﻚ ﺷﻨﺎﻛﻨﺎﻥ ﺍﺯ ﻓﺮﺍﺯ‬ ‫ﺳﻜﻮﻯ ﺧﻄﺎﺑﻪ ﮔﺬﺷﺖ ﻭ ﺑﻪ ﺷﺎﻩﻧﺸﻴﻦ ﻫﻼﻟﻰ ﺩﺭ ﭘﺲ ﺳﻜﻮ ﻭﺍﺭﺩ ﺷﺪ‪.‬‬ ‫ﺗﺎﺭﻳﻜﻰ ﻋﺒﻮﺱ‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺑﺎ ﺑﻴﺸﺘﺮﻳﻦ ﺳﺮﻋﺖ ﻣﻤﻜﻦ ﺍﻭ ﺭﺍ ﺩﻧﺒﺎﻝ ﻛﺮﺩ‪ ،‬ﮔﺎﻩ ﺷﻨﺎ ﻣﻰﻛﺮﺩ ﻭ ﮔﺎﻩ ﺩﺭ ﺩﻝ‬ ‫ِ‬ ‫ﺑﻪ ﭘﻴﺶ ﻣﻰﺭﻓﺖ‪ .‬ﺑﻪ ﺩﻗﺖ ﺑﻪ ﺩﺭﻭﻥ ﻇﻠﻤﺖ ﻣﻰﻧﮕﺮﻳﺴﺖ‪ .‬ﺩﺭ ﺍﻳﻦﺟﺎ‪ ،‬ﺳﺘﻮﻥﻫﺎﻯ ﻛﻮﭼﻚﺗﺮ ﺑﻪ ﻧﺤﻮﻯ‬ ‫ﻧﺎﻣﻄﻤﺌﻦ ﮔﻨﺒﺪﻯ ﺭﺍ ﻧﮕﺎﻩ ﺩﺍﺷﺘﻪ ﺑﻮﺩﻧﺪ ﻛﻪ ﺳﻨﮓ ﺗﺎﺝ ﺁﻥ ﻓﺮﻭ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺗﺮﺳﻰ ﻧﺎﮔﻬﺎﻧﻰ ﺑﻪ ﺟﺎﻧﺶ‬ ‫ﺍﻓﺘﺎﺩ‪ .‬ﺳﭙﺲ ﻧﺎﮔﻬﺎﻥ ﺑﺮﻕ ﺣﺮﻛﺘﻰ ﺭﺍ ﺍﺯ ﺑﺎﻻﻯ ﺳﺮﺵ ﺩﺭﻳﺎﻓﺖ‪ .‬ﺳﺘﻮﻥﻫﺎ ﺍﺯ ﻫﻤﻪ ﺳﻮ ﻓﺮﻭ ﺍﻓﺘﺎﺩﻧﺪ ﻭ‬ ‫ﺁﻭﺍﺭﻯ ﺍﺯ ﺗﺨﺘﻪﺳﻨﮓﻫﺎﻯ ﻣﺮﻣﺮ ﺑﺮ ﺳﺮﺵ ﺭﻳﺨﺖ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﺳﺮﺍﺳﻴﻤﻪ ﺑﻪ ﻋﻘﺐ ﺟﺴﺖ‪.‬‬ ‫ﺁﺷﻮﺏ ﻓﺮﻭ ﻧﺸﺴﺖ ﻭ ﺁﺏ ﮔﺮﺩ ﺳﻔﻴﺪ ﻣﻼﺗﻰ ﻛﻬﻦ ﺭﺍ ﺑﺎ ﺧﻮﺩ ﺑﺮﺩ‪ .‬ﺯﻥ ﺑﺮ ﺳﺘﻮﻥ ﻣﻌﺒﺪ ﺍﺻﻠﻰ ﺭﻭﻯ‬ ‫ﺯﺍﻧﻮﺍﻥ ﺑﺎﺭﻳﻜﺶ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻭ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺑﻪ ﭘﺎﻳﻴﻦ ﺧﻴﺮﻩ ﻣﻰﻧﮕﺮﻳﺴﺖ‪ ،‬ﻣﻰﺧﻮﺍﺳﺖ ﺑﺪﺍﻧﺪ ﻣﺎﺯﻳﺮﻳﻦ‬ ‫ﺭﺍ ﭼﮕﻮﻧﻪ ﻛﺸﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺍﻣﺎ ﺯﻥ ﻧﺎﻛﺎﻡ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺍﺯ ﺑﺨﺖ ﻧﻴﻚ‪ ،‬ﻳﻚ ﺳﺘﻮﻥ ﺩﺭ ﻫﺮ ﺳﻮﻯ ﻣﺎﺯﻳﺮﻳﻦ ﻓﺮﻭ ﺷﻜﺴﺘﻪ ﻭ ﺗﺨﺘﻪﺳﻨﮕﻰ‬ ‫ﻣﺎﻧﻊ ﺭﻳﺨﺘﻦ ﺁﻭﺍﺭ ﺑﺮ ﺑﺪﻧﺶ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﺳﺮﺵ ﺭﺍ ﺑﻪ ﺳﺨﺘﻰ ﺗﻜﺎﻥ ﺩﺍﺩ‪ .‬ﺍﻭ ﺍﺯ ﺷﻜﺎﻑ ﻣﻴﺎﻥ ﺁﻭﺍﺭ‬ ‫ﻣﺮﻣﺮ ﺯﻥ ﺭﺍ ﻣﻰﺩﻳﺪ ﻛﻪ ﺧﻢ ﺷﺪﻩ ﺑﻮﺩ ﺗﺎ ﺟﻨﺎﺯﻩﺍﺵ ﺭﺍ ﺑﺎﺯ ﺷﻨﺎﺳﺪ‪ .‬ﭘﺲ ﺍﻳﻦ ﺯﻥ ﺁﻣﺪﻩ ﺑﻮﺩ ﺗﺎ ﻣﺎﺯﻳﺮﻳﻦ‬ ‫ﺭﺍ ﺑﻜﺸﺪ؟ ﻣﺎﺯﻳﺮﻳﻨﻰ ﻛﻪ ﺗﺎ ﻫﻤﻴﻦ ﻟﺤﻈﻪ ﻧﻴﺰ ﻋﻤﺮﻯ ﭼﻨﺎﻥ ﻃﻮﻻﻧﻰ ﺩﺍﺷﺖ ﻛﻪ ﺷﻤﺎﺭ ﺳﺎﻟﻴﺎﻧﺶ ﺭﺍ ﺍﺯ‬ ‫ﺩﺳﺖ ﺩﺍﺩﻩ ﺑﻮﺩ؟ ﺩﺭ ﺍﻳﻦ ﺻﻮﺭﺕ‪ ،‬ﺗﺮﺱ ﻭ ﻧﻔﺮﺕ ﺩﺧﺘﺮ ﺍﺯ ﻣﺎﺯﻳﺮﻳﻦ ﺩﺭ ﺁﻳﻨﺪﻩ ﺑﻰﺣﺪ ﻭ ﺣﺼﺮ ﺧﻮﺍﻫﺪ‬ ‫ﺑﻮﺩ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﺍﻓﺴﻮﻥ ُﻛﺮﻩﻯ ﻧﻔﻮﺫﻧﺎﭘﺬﻳﺮ ﺭﺍ ﻓﺮﺍ ﺧﻮﺍﻧﺪ‪ .‬ﻫﺎﻟﻪﺍﻯ ﺍﺯ ﻧﻴﺮﻭ ﮔﺮﺩﺍﮔﺮﺩ ﺑﺪﻧﺶ ﺭﺍ ﻓﺮﺍ ﮔﺮﻓﺖ ﻭ‬ ‫ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﮔﺴﺘﺮﺩﻩ ﻣﻰﺷﺪ‪ ،‬ﺁﻧﭽﻪ ﺑﺮ ﺳﺮ ﺭﺍﻫﺶ ﺑﻮﺩ ﻛﻨﺎﺭ ﻣﻰ‪-‬ﺯﺩ‪ .‬ﻭﻗﺘﻰ ﻣﺎﺯﻳﺮﻳﻦ ﺁﻭﺍﺭ ﻣﺮﻣﺮ ﺭﺍ ﺍﺯ‬ ‫ﺧﻮﺩ ﺑﻪ ﻛﻨﺎﺭﻯ ﺯﺩ‪ُ ،‬ﻛﺮﻩ ﺭﺍ ﻧﺎﺑﻮﺩ ﻛﺮﺩ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﺑﺮ ﺭﻭﻯ ﭘﺎﻫﺎﻳﺶ ﺍﻳﺴﺘﺎﺩ ﻭ ﺑﻪ ﺩﻧﺒﺎﻝ ﺯﻥ ﭼﺸﻢ ﮔﺮﺩﺍﻧﺪ‪.‬‬ ‫ﺳﺮﺍﺷﻴﺒﻰ ﺭﻭ ﺑﻪ ﺳﺎﺣﻞ‬ ‫ﺯﻥ ﺗﻘﺮﻳﺒﺎً ﺍﺯ ﺩﻳﺪﺭﺱ ﺧﺎﺭﺝ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﻭ ﺩﺭ ﭘﺲ ﺑﻮﺗﻪﻫﺎﻯ ﺟﻠﺒﻚ ﺍﺭﻏﻮﺍﻧﻰ‪،‬‬ ‫ِ‬ ‫ﺭﺍ ﺩﺭ ﭘﻴﺶ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﺑﺎ ﺗﻤﺎﻡ ﻧﻴﺮﻭ ﺑﻪ ﺗﻌﻘﻴﺐ ﻭﻯ ﭘﺮﺩﺍﺧﺖ‪.‬‬ ‫ﺳﺎﻳﻴﻦ ]‪ [26‬ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ﺭﻭﻯ ﺳﺎﺣﻞ ﻛﺸﻴﺪ‪ .‬ﺍﻣﺎ ﻣﺎﺯﻳﺮﻳﻦ ﺟﺎﺩﻭﮔﺮ ﻛﻪ ﺑﻪ ﻟﻄﻒ ﻗﺪﺭﺗﺶ ﻫﻤﻪﻯ‬ ‫ﻧﻘﺸﻪﻫﺎﻯ ﺩﺧﺘﺮ ﺭﺍ ﻧﻘﺶ ﺑﺮ ﺁﺏ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﻫﻤﭽﻨﺎﻥ ﺧﺴﺘﮕﻰﻧﺎﭘﺬﻳﺮ ﺩﺭ ﭘﺲ ﺍﻭ ﻣﻰﺁﻣﺪ‪ .‬ﺧﺎﻃﺮﻩ‬ ‫ﭼﻬﺮﻩﺍﺵ ﺍﺯ ﺫﻫﻦ ﺳﺎﻳﻴﻦ ﮔﺬﺷﺖ ﻭ ﺳﺎﻳﻴﻦ ﺑﺮ ﺧﻮﺩ ﻟﺮﺯﻳﺪ‪ .‬ﺣﺎﻻ ﻫﻢ ﻧﺒﺎﻳﺪ ﺩﺳﺘﺶ ﺑﻪ ﺩﺧﺘﺮ ﻣﻰﺭﺳﻴﺪ‪.‬‬ ‫ﺧﺴﺘﮕﻰ ﻭ ﻧﺎﺍﻣﻴﺪﻯ ﭘﺎﻫﺎﻳﺶ ﺭﺍ ﺳﺴﺖ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺩﺧﺘﺮ ﺩﺭ ﺁﻏﺎﺯ ﺗﻨﻬﺎ ﺑﺎ ﺩﻭ ﺍﻓﺴﻮﻥ ﺩﺳﺖ ﺑﻪ ﻛﺎﺭ‬ ‫ﺷﺪﻩ ﺑﻮﺩ‪ :‬ﺍﻓﺴﻮﻥ ﭘﺮﻭﺭﻧﺪﻩﻯ ﺑﻰﭘﺎﻳﺎﻥ ﻭ ﺍﻓﺴﻮﻧﻰ ﺩﻳﮕﺮ ﺑﺮﺍﻯ ﻗﺪﺭﺕ ﺑﺨﺸﻴﺪﻥ ﺑﻪ ﺑﺎﺯﻭﺍﻧﺶ‪ .‬ﺩﺧﺘﺮ ﺍﻳﻦ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫»ﺍﺯ ﻫﻤﻴﻦ ﻓﺎﺻﻠﻪ ﻫﻢ ﺻﺪﺍﻳﺖ ﺭﺍ ﺑﻪ ﺧﻮﺑﻰ ﻣﻰﺷﻨﻮﻡ‪ ،‬ﺟﺎﺩﻭﮔﺮ‪ .‬ﻫﺮ ﭼﻘﺪﺭ ﻧﺰﺩﻳﻚﺗﺮ ﺷﻮﻡ ﺑﺎﻳﺪ ﺑﻴﺸﺘﺮ ﺑﮕﺮﻳﺰﻡ‪«.‬‬ ‫»ﭘﺲ ﭼﺮﺍ ﻓﺮﺍﺭ ﻣﻰﻛﻨﻰ؟ ﺑﺎ ﻣﻦ ﺑﺎﺯﮔﺮﺩ ﺗﺎ ﺑﺎﻧﻮﻯ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺭﺍﺯﻫﺎ ﻭ ﺻﺎﺣﺐ ﻗﺪﺭﺕ ﻓﺮﺍﻭﺍﻥ ﺷﻮﻯ‪«.‬‬ ‫ﺩﺧﺘﺮ ﺧﻨﺪﻳﺪ ﻭ ﮔﻔﺖ‪» :‬ﺍﮔﺮ ﺍﻳﻦﻫﺎ ﺭﺍ ﻣﻰﺧﻮﺍﺳﺘﻢ ﻣﺎﺯﻳﺮﻳﻦ‪ ،‬ﺁﻳﺎ ﺗﺎ ﺑﻪ ﺍﻳﻦﺟﺎ ﻓﺮﺍﺭ ﻣﻰﻛﺮﺩﻡ؟«‬ ‫»ﻣﮕﺮ ﺗﻮ ﻛﻪ ﻫﺴﺘﻰ ﻛﻪ ﺁﺭﺯﻭﻣﻨﺪ ﺭﺍﺯﻫﺎﻯ ﺟﺎﺩﻭ ﻧﻴﺴﺘﻰ؟«‬ ‫»ﺑﺮﺍﻯ ﺗﻮ ﻣﺎﺯﻳﺮﻳﻦ‪ ،‬ﻣﻦ ﺑﺎﻳﺪ ﮔﻤﻨﺎﻡ ﺑﺎﻗﻰ ﺑﻤﺎﻧﻢ‪ ،‬ﻣﺒﺎﺩﺍ ﻛﻪ ﺍﻓﺴﻮﻧﻢ ﻛﻨﻰ‪ .‬ﺣﺎﻝ ﺑﻪ ﺟﺎﻳﻰ ﻣﻰﺭﻭﻡ ﻛﻪ ﺗﻮ‬ ‫ﻧﻤﻰﺗﻮﺍﻧﻰ ﺑﺮﻭﻯ‪ «.‬ﺳﭙﺲ ﺩﺧﺘﺮ ﺩﺭ ﺳﺎﺣﻞ ﺩﻭﻳﺪ ﺗﺎ ﺑﻪ ﺩﺭﻳﺎﭼﻪ ﺭﺳﻴﺪ‪ ،‬ﺑﻪ ﺁﺏ ﺯﺩ‪ ،‬ﻭ ﺁﺭﺍﻡ ﺁﺭﺍﻡ ﭘﻴﺶ‬ ‫ﺭﻓﺖ ﺗﺎ ﺁﺏ ﺑﻪ ﻛﻤﺮﺵ ﺭﺳﻴﺪ‪ ،‬ﺑﻌﺪ ﭘﺎﻳﻴﻦ ﺭﻓﺖ ﻭ ﺩﻳﮕﺮ ﺑﻴﺮﻭﻥ ﻧﻴﺎﻣﺪ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺩﻭﺩﻝ ﺑﻮﺩ‪ .‬ﻛﻤﻰ ﺩﺭﻧﮓ ﻛﺮﺩ‪ .‬ﺩﺭﺳﺖ ﻧﺒﻮﺩ ﻛﻪ ﺍﻳﻦ ﻫﻤﻪ ﺍﻓﺴﻮﻥ ﺑﻪ ﻛﺎﺭ ﺑﺮﺩ‪ ،‬ﻭ ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ‪،‬‬ ‫ﺧﻮﺩ ﺭﺍ ﺧﻠﻊ ﺳﻼﺡ ﻛﻨﺪ‪ .‬ﻳﻌﻨﻰ ﺯﻳﺮ ﺩﺭﻳﺎﭼﻪ ﭼﻪ ﭼﻴﺰﻯ ﺩﺭ ﺍﻧﺘﻈﺎﺭﺵ ﺑﻮﺩ؟ ﺟﺎﺩﻭﻳﻰ ﺧﻔﺘﻪ ﻭ ﺧﺎﻣﻮﺵ‬ ‫ﺩﺭ ﻓﻀﺎ ﻣﻮﺝ ﻣﻰﺯﺩ ﻭ ﺑﺎ ﺍﻳﻦ ﻛﻪ ﻣﺎﺯﻳﺮﻳﻦ ﺑﺎ ﺍﺭﺑﺎﺏ ﺩﺭﻳﺎﭼﻪ ﺩﺷﻤﻨﻰ ﻧﺪﺍﺷﺖ‪ ،‬ﺷﺎﻳﺪ ﻣﻮﺟﻮﺩﺍﺕ ﺩﻳﮕﺮ‬ ‫ﻭﺭﻭﺩﺵ ﺭﺍ ﺗﺠﺎﻭﺯ ﺑﻪ ﺣﺮﻳﻢ ﺧﻮﺩ ﻣﻰﺷﻤﺮﺩﻧﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ‪ ،‬ﻭﻗﺘﻰ ﺩﺧﺘﺮ ﺍﺯ ﺁﺏ ﺑﻴﺮﻭﻥ ﻧﻴﺎﻣﺪ‪ ،‬ﻣﺎﺯﻳﺮﻳﻦ‬ ‫ﺍﻓﺴﻮﻥ ﭘﺮﻭﺭﻧﺪﻩﻯ ﺑﻰﭘﺎﻳﺎﻥ ﺭﺍ ﺍﺩﺍ ﻛﺮﺩ ﻭ ﻭﺍﺭﺩ ﺁﺏﻫﺎﻯ ﺳﺮﺩ ﺷﺪ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺑﻪ ﻋﻤﻖ ﺁﺏ ﺩﺭﻳﺎﭼﻪ ﺭﺅﻳﺎﻫﺎ ﻓﺮﻭ ﺭﻓﺖ ﻭ ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺑﺮ ﺑﺴﺘﺮ ﺩﺭﻳﺎﭼﻪ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﺑﻪ‬ ‫ﻟﻄﻒ ﺍﻓﺴﻮﻥ‪ ،‬ﻧﻔﺴﺶ ﺑﻪ ﺻﺤﺖ ﻭ ﺳﻼﻣﺖ ﺑﺮ ﻣﻰﺁﻣﺪ‪ ،‬ﺍﺯ ﺁﻥ ﻣﻜﺎﻥ ﺟﺎﺩﻭﺯﺩﻩ ﺩﺭ ﺷﮕﻔﺖ ﺷﺪ‪ .‬ﺑﻪ ﺟﺎﻯ‬ ‫ﺗﺎﺭﻳﻜﻰ‪ ،‬ﻧﻮﺭﻯ ﺳﺒﺰ ﻫﻤﻪ ﺟﺎ ﺭﺍ ﺭﻭﺷﻦ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﺯﻻﻟﻰ ﺁﺏ ﺗﻨﻬﺎ ﺫﺭﻩﺍﻯ ﺍﺯ ﺷﻔﺎﻓﻴﺖ ﻫﻮﺍ ﻛﻢ ﺩﺍﺷﺖ‪.‬‬ ‫ﮔﻴﺎﻫﺎﻥ‪ ،‬ﻭ ﺑﻪ ﺗﺒﻊ ﺁﻥ‪ ،‬ﮔﻞﻫﺎﻯ ﺩﺭﻳﺎﭼﻪ ﺑﺎ ﺟﺮﻳﺎﻥ ﺁﺏ ﻣﻮﺝ ﺑﺮ ﻣﻰﺩﺍﺷﺘﻨﺪ‪ ،‬ﮔﻞﻫﺎﻯ ﺳﺮﺥ ﻭ ﺁﺑﻰ ﻭ ﺯﺭﺩ‬ ‫ﺩﺭ ﭘﻴﭻ ﻭ ﺗﺎﺑﻰ ﻣﻼﻳﻢ‪ .‬ﺁﺏ ﭘﺮ ﺑﻮﺩ ﺍﺯ ﻣﺎﻫﻰﻫﺎﻯ ﺑﺰﺭگﭼﺸﻢ ﺩﺭ ﺍﺷﻜﺎﻝ ﮔﻮﻧﻪﮔﻮﻥ‪.‬‬ ‫ﺑﺴﺘﺮ ﺩﺭﻳﺎﭼﻪ ﺑﺎ ﭘﻠﻪﻫﺎﻯ ﺳﻨﮕﻰ ﺷﻴﺐﺩﺍﺭ ﺑﻪ ﺩﺷﺘﻰ ﭘﻬﻨﺎﻭﺭ ﻣﻰﺭﺳﻴﺪ‪ ،‬ﺟﺎﻳﻰ ﻛﻪ ﺩﺭﺧﺘﺎﻥ ﺩﺭﻳﺎﻳﻰ‬ ‫ﻏﻮﻃﻪﻭﺭ ﺑﻮﺩﻧﺪ‪ ،‬ﺍﺯ ﺳﺎﻗﻪﻫﺎﻯ ﻇﺮﻳﻒ ﮔﺮﻓﺘﻪ ﺗﺎ ﺳﺮﺧﺲﻫﺎﻯ ﺩﺭ ﻫﻢ ﭘﻴﭽﻴﺪﻩ ﻭ ﻣﻴﻮﻩﻫﺎﻯ ﺩﺭﻳﺎﻳﻰ‬ ‫ﺍﺭﻏﻮﺍﻧﻰ‪ .‬ﻫﻤﻪ ﺟﺎ ﺑﺮ ﻫﻤﻴﻦ ﻣﻨﻮﺍﻝ ﺑﻮﺩ ﺗﺎ ﺁﻧﺠﺎ ﻛﻪ ﺩﻳﮕﺮ ﺳﺮﺍﺑﻰ ﻣﻪﺁﻟﻮﺩ ﻭ ﺗَﺮ ﺑﺮ ﻫﻤﻪ ﭼﻴﺰ ﭘﺮﺩﻩ‬ ‫ﺁﺑﻰ ﺳﭙﻴﺪﻯ ﺷﺪﻩ ﺑﻮﺩ ﺑﺎ ﮔﻴﺴﻮﺍﻧﻰ ﭼﻮﻥ ﻣﻪ ﺗﻴﺮﻩ‪.‬‬ ‫ﻣﻰﺍﻓﻜﻨﺪ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﺯﻥ ﺭﺍ ﺩﻳﺪ ﻛﻪ ﺍﻛﻨﻮﻥ ﭘﺮﻯ ِ‬ ‫ﭘﺮﻯ ﺁﺑﻰ ﻫﻤﺰﻣﺎﻥ ﺷﻨﺎ ﻣﻰﻛﺮﺩ ﻭ ﺑﺮ ﺑﺴﺘﺮ ﻣﺎﺳﻪﺍﻯ ﺍﻳﻦ ﺩﻧﻴﺎﻯ ﺯﻳﺮﺁﺑﻰ ﮔﺎﻡ ﺑﺮ ﻣﻰﺩﺍﺷﺖ‪ .‬ﻫﺮ ﺍﺯ ﮔﺎﻫﻰ‬ ‫ﻫﻢ ﺳﺮ ﺑﺮ ﻣﻰﮔﺮﺩﺍﻧﺪ ﻭ ﺑﻪ ﻋﻘﺐ ﻣﻰﻧﮕﺮﻳﺴﺖ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﺍﻭ ﺭﺍ ﺗﻌﻘﻴﺐ ﻣﻰﻛﺮﺩ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺷﻨﻠﺶ ﺍﺯ‬ ‫ﭘﺸﺖ ﺳﺮ ﻣﻮﺝ ﻣﻰﺑﺮﺩﺍﺷﺖ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺷﺎﺩﻣﺎﻧﻪ ﺑﻪ ﺯﻥ ﻧﺰﺩﻳﻚﺗﺮ ﻣﻰﺷﺪ‪ .‬ﻣﻰﺑﺎﻳﺴﺖ ﺍﻭ ﺭﺍ ﺑﻪ ﺧﺎﻃﺮ ﻛﺸﺎﻧﺪﻧﺶ ﺗﺎ ﺑﻪ ﺍﻳﻦﺟﺎ ﺗﻨﺒﻴﻪ‬ ‫ﻣﻰﻛﺮﺩ‪ ...‬ﭘﻠﻪﻫﺎﻯ ﺳﻨﮕﻰ ﻛﻬﻦ ﺩﺭ ﺯﻳﺮ ﻛﺎﺭﮔﺎﻫﺶ ﺗﺎ ﺑﻪ ﺍﻋﻤﺎﻕ ﺯﻣﻴﻦ ﺍﺩﺍﻣﻪ ﺩﺍﺷﺖ ﻭ ﺳﺮﺍﻧﺠﺎﻡ ﺑﻪ‬ ‫ﺗﺎﻻﺭﻫﺎﻳﻰ ﻣﻰﺭﺳﻴﺪ ﻛﻪ ﻫﺮ ﭼﻪ ﺩﺭ ﺁﻥ ﭘﻴﺶ ﻣﻰﺭﻓﺘﻰ‪ ،‬ﮔﺴﺘﺮﺩﻩﺗﺮ ﻣﻰﺷﺪ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﺩﺭ ﻳﻜﻰ ﺍﺯ ﺍﻳﻦ‬ ‫ﺗﺎﻻﺭﻫﺎ ﻗﻔﺴﻰ ﺯﻧﮓ ﺯﺩﻩ ﻳﺎﻓﺘﻪ ﺑﻮﺩ‪ .‬ﻳﻚ ﻳﺎ ﺩﻭ ﻫﻔﺘﻪ ﺍﺳﺎﺭﺕ ﺩﺭ ﺗﺎﺭﻳﻜﻰ‪ ،‬ﺧﻮﺩﺳﺮﻯ ﺩﺧﺘﺮ ﺭﺍ ﺩﺭﻣﺎﻥ‬ ‫ﻣﻰﻛﺮﺩ‪ .‬ﻳﻚ ﺑﺎﺭ‪ ،‬ﺯﻧﻰ ﺭﺍ ﺑﻪ ﺍﻧﺪﺍﺯﺓ ﺍﻧﮕﺸﺘﺶ ﻛﻮﭼﻚ ﻭ ﺍﻭ ﺭﺍ ﺩﺭﻭﻥ ﺑﻄﺮﻯ ﺷﻴﺸﻪﺍﻯ ﻛﻮﭼﻜﻰ ﺑﺎ ﺩﻭ‬ ‫‪23‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻛﻪ ﺻﻮﺭﺕ ﮔﺮﺩ ﻭ ﺧﺎﻛﺴﺘﺮﻯ ﺍﻧﺴﺎﻥﻭﺍﺭﻩﺍﺵ ﺭﺍ ﺩﺭ ﻫﻢ ﻛﺸﻴﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﺎ ﺩﺳﺖﻫﺎﻯ ﻣﺮﺩﺍﻧﻪﺍﺵ ﺟﻠﻴﻘﻪ‬ ‫ﭼﺴﺒﺎﻥ ﺯﻥ ﺭﺍ ﺩﺭﻳﺪ‪ .‬ﺍﻣﺎ ﺯﻥ ﺑﺎ ﭼﺎﻻﻛﻰ ﺣﻴﺮﺕﺍﻧﮕﻴﺰﻯ ﻫﻴﻜﻞ ﺩﺭﺷﺖ ﻭ ﻋﺮﻕﺁﻟﻮﺩ ﻫﻴﻮﻻ ﺭﺍ ﺑﻪ ﻋﻘﺐ‬ ‫ﺭﺍﻧﺪ‪ .‬ﭼﺸﻢﻫﺎﻯ ﻣﺎﺯﻳﺮﻳﻦ ﺑﺎﺭﻳﻚ ﺷﺪ‪ .‬ﺟﺎﺩﻭ‪ ،‬ﺟﺎﺩﻭ!‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺩﺭ ﻫﻤﺎﻥ ﺣﺎﻝ ﻛﻪ ﺑﻪ ﺗﻤﺎﺷﺎ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ ،‬ﺑﺎ ﺧﻮﺩ ﻣﻰﺍﻧﺪﻳﺸﻴﺪ ﻛﻪ ﭼﮕﻮﻧﻪ ﺛﺮﻧﮓ ﺭﺍ ﺑﺪﻭﻥ‬ ‫ﺁﺳﻴﺐ ﺭﺳﺎﻧﺪﻥ ﺑﻪ ﺯﻥ ﻧﺎﺑﻮﺩ ﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺯﻥ ﺍﻭ ﺭﺍ ﺍﺯ ﻓﺮﺍﺯ ﺷﺎﻧﻪ ﺛﺮﻧﮓ ﺩﻳﺪ ﻭ ﻧﻔﺲﺯﻧﺎﻥ ﮔﻔﺖ‪» :‬ﺑﺒﻴﻦ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺁﻣﺪﻩ ﺗﺎ ﺗﻮ ﺭﺍ ﺑﻜﺸﺪ‪«.‬‬ ‫ﺛﺮﻧﮓ ﺭﻭﻯ ﺑﺮﮔﺮﺩﺍﻧﺪ‪ ،‬ﻣﺎﺯﻳﺮﻳﻦ ﺭﺍ ﺩﻳﺪ‪ ،‬ﻭ ﭼﻬﺎﺭ ﺩﺳﺖ ﻭ ﭘﺎ‪ ،‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺍﺯ ﺳﺮ ﺧﺸﻢ ﻧﻌﺮﻩﻫﺎﻳﻰ‬ ‫ﻭﺣﺸﻴﺎﻧﻪ ﺳﺮ ﻣﻰﺩﺍﺩ‪ ،‬ﺑﻪ ﺳﻮﻯ ﺍﻭ ﻫﺠﻮﻡ ﺁﻭﺭﺩ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﺑﻌﺪﻫﺎ ﺍﺯ ﺧﻮﺩ ﭘﺮﺳﻴﺪ ﻛﻪ ﺁﻳﺎ ﻏﻮﻝ ﻃﻠﺴﻢﺑﻨﺪﺵ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺯﻳﺮﺍ ﻟﻤﺴﻰ ﻏﺮﻳﺐ ﻣﻰﺭﻓﺖ ﻛﻪ ﻣﻐﺰﺵ ﺭﺍ ﻗﻔﻞ ﻛﻨﺪ‪ .‬ﺷﺎﻳﺪ ﻫﻢ ﻃﻠﺴﻢ ﺩﺭ ﺩﻳﺪﻥ ﺻﻮﺭﺕ‬ ‫ﺧﺎﻛﺴﺘﺮﻯ ﻭ ﺳﻔﻴﺪ ﺛﺮﻧﮓ ﻧﻬﻔﺘﻪ ﺑﻮﺩ ﻛﻪ ﺑﺎ ﺁﻥ ﺩﺳﺖﻫﺎﻯ ﻋﻈﻴﻢ ﺑﺮﺍﻯ ﺑﻪ ﭼﻨﮓ ﺁﻭﺭﺩﻥ ﻣﺎﺯﻳﺮﻳﻦ ﺑﻪ‬ ‫ﺳﻮﻯ ﺍﻭ ﻳﻮﺭﺵ ﻣﻰﺑﺮﺩ‪.‬‬ ‫ﮔﻴﺮﻳﻢ ﻛﻪ ﻃﻠﺴﻤﻰ ﺩﺭ ﻛﺎﺭ ﺑﻮﺩ‪ ،‬ﻣﺎﺯﻳﺮﻳﻦ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺁﻥ ﺭﻫﺎﻧﻴﺪ ﻭ ﻃﻠﺴﻤﻰ ﺍﺯ ﺟﺎﻧﺐ ﺧﻮﺩ ﺑﺮ ﺯﺑﺎﻥ ﺭﺍﻧﺪ‪.‬‬ ‫ﻧﺎﮔﻬﺎﻥ ﺍﺯ ﻫﻤﻪ ﺳﻮ‪ ،‬ﺧﺪﻧﮓﻫﺎﻳﻰ ﺍﺯ ﺁﺗﺶ ﺑﺮ ﺳﺮﺗﺎﺳﺮ ﺩﺭﻩ ﺳﺮﺍﺯﻳﺮ ﺷﺪ ﺗﺎ ﻫﺰﺍﺭ ﺟﺎﻯ ﻫﻴﻜﻞ ﭘﺮﻟﻐﺰﺵ‬ ‫ﺛﺮﻧﮓ ﺭﺍ ﺑﺪﺭﻧﺪ‪ .‬ﺁﻥ ﺧﻄﻮﻁ ﺧﻨﺠﺮﺁﺳﺎﻯ ﺭﻧﮕﺎﺭﻧﮓ ﺣﺎﺻﻞ ﺍﻓﺴﻮﻥ ﺍﻓﺸﺎﻧﻪ ﻣﻨﺸﻮﺭﻯ ﻋﺎﻟﻰ ﺑﻮﺩ‪ .‬ﺛﺮﻧﮓ‬ ‫ﺩﺭ ﺟﺎ ﻫﻼﻙ ﻭ ﺧﻮﻥ ﺍﺭﻏﻮﺍﻧﻰﺍﺵ ﺍﺯ ﺳﻮﺭﺍﺥﻫﺎﻯ ﺑﻰﺷﻤﺎﺭ ﺑﺮ ﺟﺎ ﻣﺎﻧﺪﻩ ﺍﺯ ﺑﺎﺭﺍﻥ ﺧﺪﻧﮓﻫﺎﻯ ﻧﻮﺭﺍﻧﻰ‬ ‫ﺟﺎﺭﻯ ﺷﺪ‪.‬‬ ‫ﺍﻣﺎ ﻣﺎﺯﻳﺮﻳﻦ ﺑﻪ ﺍﻳﻦ ﻫﻤﻪ ﺑﻰﺍﻋﺘﻨﺎ ﺑﻮﺩ‪ .‬ﺩﺧﺘﺮ ﻓﺮﺍﺭ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﺍﻧﺪﺍﻡ ﺳﭙﻴﺪ ﺍﻭ ﺭﺍ ﻣﻰﺩﻳﺪ ﻛﻪ‬ ‫ﺩﺭ ﺍﻣﺘﺪﺍﺩ ﺭﻭﺩ ﺑﻪ ﺳﻤﺖ ﺩﺭﻳﺎﭼﻪ ﻣﻰﺩﻭﻳﺪ‪ ،‬ﻭ ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ‪ ،‬ﺑﺪﻭﻥ ﺍﻋﺘﻨﺎ ﺑﻪ ﻧﺎﻟﻪﻫﺎﻯ ﺟﮕﺮﺳﻮﺯ ﺯﻧﺎﻥ‬ ‫ﺍﺳﻴﺮ ﺩﺭ ﺁﻏﻞ ﺑﻪ ﺗﻌﻘﻴﺐ ﺩﺧﺘﺮ ﭘﺮﺩﺍﺧﺖ‪.‬‬ ‫ﺑﻪ ﺯﻭﺩﻯ‪ ،‬ﻣﺎﺯﻳﺮﻳﻦ ﺩﺭﻳﺎﭼﻪ ﺭﺍ ﺩﺭ ﭘﻴﺶ ﺭﻭﻯ ﺧﻮﺩ ﻳﺎﻓﺖ؛ ﮔﺴﺘﺮﻩﻯ ﭘﻬﻨﺎﻭﺭﻯ ﺍﺯ ﺁﺏ ﻛﻪ ﻛﺮﺍﻧﻪ‬ ‫ﺩﻭﺭﺩﺳﺘﺶ ﺑﻪ ﺯﺣﻤﺖ ﺑﻪ ﭼﺸﻢ ﻣﻰﺁﻣﺪ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﺑﻪ ﺳﺎﺣﻞ ﺷﻨﻰ ﺭﺳﻴﺪ ﻭ ﺍﻳﺴﺘﺎﺩ ﺗﺎ ﻧﮕﺎﻫﻰ‬ ‫ﻛﺎﻭﺷﮕ���ﺍﻧﻪ ﺑﻪ ﺁﺏﻫﺎﻯ ﺗﺎﺭﻳﻚ ﺳﺎﻧﺮﺍ ﻭﺍﺗﺮ‪ ،‬ﻳﺎ ﺩﺭﻳﺎﭼﻪ ﺭﺅﻳﺎﻫﺎ‪ ،‬ﺑﻴﺎﻧﺪﺍﺯﺩ‪ .‬ﺷﺒﻰ ﺗﺎﺭﻳﻚ ﻭ ﻣﺰﻳﻦ ﺑﻪ ﺷﻴﺎ ِﺭ‬ ‫ﺷﻔﻖ ﭘﺲ ﺍﺯ ﻏﺮﻭﺏ ﺑﺮ ﺁﺳﻤﺎﻥ ﺣﺎﻛﻢ ﺑﻮﺩ ﻭ ﺳﺘﺎﺭﻩﻫﺎ ﺑﺮ ﺳﻄﺢ ﺻﺎﻑ ﺩﺭﻳﺎﭼﻪ ﻣﻰﺩﺭﺧﺸﻴﺪﻧﺪ‪ .‬ﺁﺏ ﺳﺮﺩ‬ ‫ِ‬ ‫ﻭ ﺳﺎﻛﻦ ﺑﻮﺩ‪ ،‬ﺑﻰﻣﻮﺝ ﻫﻤﺎﻧﻨﺪ ﻫﻤﻪ ﺁﺏﻫﺎﻯ ﺯﻣﻴﻦ ﺍﺯ ﺯﻣﺎﻥ ﻫﺠﺮﺕ ﻣﺎﻩ ﺍﺯ ﺁﺳﻤﺎﻥ‪.‬‬ ‫ﺯﻥ ﻛﺠﺎ ﺭﻓﺘﻪ ﺑﻮﺩ؟ ﺁﻥﺟﺎ‪ ،‬ﺍﻧﺪﺍﻡ ﺳﭙﻴﺪ ﺭﻧﮓﺑﺎﺧﺘﻪﺍﻯ ﺑﻰﺣﺮﻛﺖ ﺩﺭ ﺳﺎﻳﻪﻫﺎﻯ ﺁﻥ ﺳﻮﻯ ﺭﻭﺩﺧﺎﻧﻪ‬ ‫ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﺑﺮ ﺳﺎﺣﻞ ﺭﻭﺩ ﺍﻳﺴﺘﺎﺩ‪ ،‬ﺑﺎ ﻗﺎﻣﺘﻰ ﺑﻠﻨﺪ ﻭ ﻣﺴﻠﻂ‪ ،‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻧﺴﻴﻤﻰ ﺁﺭﺍﻡ‬ ‫ﺷﻨﻠﺶ ﺭﺍ ﺑﺮ ﮔﺮﺩ ﭘﺎﻫﺎﻳﺶ ﺑﻪ ﺗﻼﻃﻢ ﺩﺭ ﻣﻰﺁﻭﺭﺩ‪.‬‬ ‫ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﻫﺎﻯ ﺩﺧﺘﺮ‪ ،‬ﻣﻨﻢ‪ ،‬ﻫﻤﺎﻥ ﻣﺎﺯﻳﺮﻳﻨﻰ ﻛﻪ ﺗﻮ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺛﺮﻧﮓ ﻧﺠﺎﺕ ﺩﺍﺩ‪ .‬ﻧﺰﺩﻳﻚ ﺑﻴﺎ ﺗﺎ ﺑﺎ‬ ‫ﺗﻮ ﺳﺨﻦ ﺑﮕﻮﻳﻢ‪«.‬‬ ‫‪21‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﻓﺮﻳﺎﺩ ﺑﻰﺟﺎﻥ ﺑﻪ ﮔﻮﺵ ﺟﺎﺩﻭﮔﺮ ﺭﺳﻴﺪ‪» :‬ﻣﺮﺍ ﭘﺎﻳﻴﻦ ﺑﻴﺎﻭﺭ ﻣﺎﺯﻳﺮﻳﻦ! ﻫﺮ ﭼﻪ ﻣﻰﺩﺍﻧﻢ ﺑﻪ ﺗﻮ ﺧﻮﺍﻫﻢ ﮔﻔﺖ!«‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺩﺋﻮﺩﻧﺪ ﺭﺍ ﺗﺎ ﻧﺰﺩﻳﻚ ﺯﻣﻴﻦ ﭘﺎﻳﻴﻦ ﺁﻭﺭﺩ‪.‬‬ ‫»ﺯﻥ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺑﻴﺎﻳﻰ‪ ،‬ﺗﻨﻬﺎ ﺍﺯ ﺍﻳﻦﺟﺎ ﮔﺬﺷﺖ‪ .‬ﺧﻮﺍﺳﺘﻢ ﺑﻪ ﺍﻭ ﺣﻤﻠﻪ ﻛﻨﻢ‪ ،‬ﺍﻣﺎ ﺍﻭ ﻣﺸﺘﻰ ﮔﺮﺩ ﺗﺎﻳﻞ‬ ‫ﺑﻪ ﺳﻮﻳﻢ ﭘﺎﺷﻴﺪ ﻭ ﻣﺮﺍ ﻋﻘﺐ ﺭﺍﻧﺪ‪ .‬ﺍﻭ ﺑﻪ ﺣﺎﺷﻴﻪ ﭼﻤﻨﺰﺍﺭ ﻭ ﺑﻪ ﺳﻤﺖ ﺭﻭﺩﺧﺎﻧﻪ ﺭﻓﺖ‪ .‬ﺍﻳﻦ ﺭﺍﻩ ﺍﺯ ﻛﻨﺎﻡ‬ ‫ﺛﺮﻧﮓ ]‪ [24‬ﻫﻢ ﻣﻰﮔﺬﺭﺩ‪ .‬ﺩﻳﮕﺮ ﺑﻪ ﺍﻭ ﺩﺳﺖ ﻧﺨﻮﺍﻫﻰ ﻳﺎﻓﺖ‪ .‬ﭼﻮﻥ ﺛﺮﻧﮓ ﺁﻥ ﻗﺪﺭ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﺍﻭ ﺍﺭﺿﺎ‬ ‫ﻣﻰﻛﻨﺪ ﻛﻪ ﺯﻥ ﺧﻮﺍﻫﺪ ﻣﺮﺩ‪«.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﭼﺎﻧﻪﺍﺵ ﺭﺍ ﻣﺎﻟﻴﺪ ﻭ ﮔﻔﺖ‪» :‬ﺁﻳﺎ ﺍﻓﺴﻮﻧﻰ ﺑﺎ ﺧﻮﺩﺵ ﺩﺍﺷﺖ؟«‬ ‫ِ‬ ‫»ﻧﻤﻰﺩﺍﻧﻢ‪ .‬ﺍﮔﺮ ﺍﻭ ﺑﺨﻮﺍﻫﺪ ﺍﺯ ﭼﻨﮕﺎﻝ‬ ‫ﺛﺮﻧﮓ ﺩﻳﻮ ﺑﮕﺮﻳﺰﺩ ﺑﻪ ﺟﺎﺩﻭﻯ ﻧﻴﺮﻭﻣﻨﺪﻯ ﻧﻴﺎﺯ ﺩﺍﺭﺩ‪«.‬‬ ‫»ﭼﻴﺰ ﺩﻳﮕﺮﻯ ﻫﻢ ﺑﺮﺍﻯ ﮔﻔﺘﻦ ﺩﺍﺭﻯ؟«‬ ‫»ﻧﻪ‪«.‬‬ ‫»ﭘﺲ ﺑﻤﻴﺮ‪ «.‬ﻭ ﻣﺎﺯﻳﺮﻳﻦ ﭼﻨﺎﻥ ﻛﺮﺩ ﻛﻪ ﻣﻮﺟﻮﺩ ﺑﺎ ﺳﺮﻋﺘﻰ ﻓﺰﺍﻳﻨﺪﻩ ﺑﭽﺮﺧﺪ‪ ،‬ﺳﺮﻳﻊﺗﺮ ﻭ ﺳﺮﻳﻊﺗﺮ‪ ،‬ﺗﺎ‬ ‫ﺟﺎﻳﻰ ﻛﻪ ﺍﺯ ﺍﻭ ﺷﺒﺤﻰ ﺑﻴﺶ ﺑﺮ ﺟﺎﻯ ﻧﻤﺎﻧﺪ‪ .‬ﻧﺎﻟﻪﺍﻯ ﺧﻔﻴﻒ ﺑﻪ ﮔﻮﺵ ﺭﺳﻴﺪ ﻭ ﺑﻪ ﺯﻭﺩﻯ ﭘﻴﻜﺮ ﺩﺋﻮﺩﻧﺪ‬ ‫ﺍﺯ ﻫﻢ ﮔﺴﻴﺨﺖ‪ .‬ﺳﺮﺵ ﻣﺎﻧﻨﺪ ﮔﻠﻮﻟﻪﺍﻯ ﺑﻪ ﭘﺎﻳﻴﻦ ﭼﻤﻦﺯﺍﺭ ﺷﻠﻴﻚ ﺷﺪ؛ ﺩﺳﺖﻫﺎ‪ ،‬ﭘﺎﻫﺎ‪ ،‬ﺍﻧﺪﺭﻭﻧﻪ ﻭ‬ ‫ﺍﺣﺸﺎءﺵ ﺑﻪ ﻫﻤﻪ ﺳﻮ ﭘﺮﺗﺎﺏ ﺷﺪﻧﺪ‪.‬‬ ‫ﺳﻨﮕﻰ ﺳﺒ ِﺰ ﺭﻭ ِﺩ‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺑﻪ ﺭﺍﻩ ﺧﻮﺩ ﺭﻓﺖ‪ .‬ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﭼﻤﻨﺰﺍﺭ‪ ،‬ﺭﺍﻩ ﺑﺎ ﺷﻴﺒﻰ ﺗﻨﺪ ﺑﻪ ﺳﻤﺖ ﻛﺮﺍﻧﻪﻫﺎﻯ‬ ‫ِ‬ ‫ﺩﺭﻩ ﭘﻮﺷﻴﺪﻩ ﺍﺯ ﺳﺎﻳﻪﺭﻭﺷﻦ‬ ‫ﺩﺭﻧﺎ ﻣﻰﺭﻓﺖ‪ .‬ﻭﻗﺘﻰ ﻣﺎﺯﻳﺮﻳﻦ ﺑﻪ ﻛﻨﺎﺭ ﺭﻭﺩ ﺭﺳﻴﺪ‪ ،‬ﺧﻮﺭﺷﻴﺪ ﻏﺮﻭﺏ ﻛﺮﺩﻩ ﻭ ّ‬ ‫ﺑﻮﺩ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﺑﻪ ﺳﻤﺖ ﭘﺎﻳﻴﻦ ﺭﻭﺩ‪ ،‬ﺑﻪ ﺳﻮﻯ ﺩﺭﺧﺸﺸﻰ ﺩﺭ ﺩﻭﺭﺩﺳﺖ‪ ،‬ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ ﻛﻪ ﺑﻪ ﺳﺎﻧﺮﺍ ﻭﺍﺗﺮ‬ ‫]‪ [25‬ﻳﺎ ﺩﺭﻳﺎﭼﻪﻯ ﺭﺅﻳﺎﻫﺎ ﻣﻌﺮﻭﻑ ﺑﻮﺩ‪.‬‬ ‫ﺑﻮﻯ ﺗﻌﻔﻦ ﺩﺭ ﻫﻮﺍ ﭘﺮﺍﻛﻨﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﻮﻯ ﮔﻨﺪﻳﮕﻰ ﻭ ﻛﺜﺎﻓﺖ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﻣﺤﻄﺎﺗﺎﻧﻪﺗﺮ ﺑﻪ ﭘﻴﺶ ﻣﻰﺭﻓﺖ‪ .‬ﺯﻳﺮﺍ‬ ‫ِ‬ ‫ﺛﺮﻧﮓ ﻏﻮﻝﺧﺮﺱ ﺩﺭ ﻫﻤﺎﻥ ﻧﺰﺩﻳﻜﻰ ﺑﻮﺩ‪ .‬ﻫﻤﻪ ﺟﺎ ﺁﻛﻨﺪﻩ ﺍﺯ ﺣﺎﻝ ﻭ ﻫﻮﺍﻯ ﺟﺎﺩﻭ ﺑﻮﺩ‪ ،‬ﺟﺎﺩﻭﻳﻰ‬ ‫ﻛﻨﺎﻡ‬ ‫ﺩﺩﻣﻨﺶ ﻭ ﻧﻴﺮﻭﻣﻨﺪ ﻛﻪ ﻣﻤﻜﻦ ﺑﻮﺩ ﺍﻓﺴﻮﻥﻫﺎﻯ ﻟﻄﻴﻒﺗﺮ ﻣﺎﺯﻳﺮﻳﻦ ﻳﺎﺭﺍﻯ ﻋﻘﺐ ﺭﺍﻧﺪﻧﺶ ﺭﺍ ﻧﺪﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﺪ‪.‬‬ ‫ﺻﺪﺍﻫﺎﻳﻰ ﺑﻪ ﮔﻮﺵ ﻣﺎﺯﻳﺮﻳﻦ ﺭﺳﻴﺪ‪ ،‬ﺻﺪﺍﻯ ﺯﻣﺨﺖ ﻭ ﺑﻢ ﺛﺮﻧﮓ ﻭ ﻓﺮﻳﺎﺩﻫﺎﻯ ﻧﻔﺲﮔﻴﺮﻯ ﻛﻪ ﺍﺯ ﺳﺮ‬ ‫ﻭﺣﺸﺖ ﺑﻠﻨﺪ ﻣﻰﺷﺪ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ُﻛﭙﻪﺍﻯ ﺳﻨﮕﻰ ﺭﺍ ﺩﻭﺭ ﺯﺩ ﻭ ﺑﻪ ﺩﻧﺒﺎﻝ ﻣﻨﺸﺄ ﺻﺪﺍ ﮔﺸﺖ‪.‬‬ ‫ﻛﻨﺎﻡ ﺛﺮﻧﮓ ﺣﻔﺮﻩﺍﻯ ﺑﻮﺩ ﺩﺭ ﺩﻝ ﺻﺨﺮﻩﻫﺎ ﻛﻪ ﺩﺭ ﻣﻴﺎﻧﻪﺍﺵ ﭘﺸﺘﻪ ﻣﺘﻌﻔﻨﻰ ﺍﺯ ﻋﻠﻒ ﻭ ﭘﻮﺳﺖ ﺑﺮﺍﻳﺶ‬ ‫ﻧﺸﻴﻤﻦﮔﺎﻫﻰ ﺳﺎﺧﺘﻪ ﺑﻮﺩ‪ .‬ﺛﺮﻧﮓ ﺳﻪ ﺯﻥ ﺭﺍ ﺩﺭ ﺁﻏﻠﻰ ﺑﺪﺭﻳﺨﺖ ﺯﻧﺪﺍﻧﻰ ﻛﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﺑﺪﻥﻫﺎﻳﺸﺎﻥ‬ ‫ﭘﺮ ﺍﺯ ﻛﺒﻮﺩﻯ ﻭ ﺳﻴﺎﻫﻰ ﺑﻮﺩ ﻭ ﺁﺛﺎﺭ ﻭﺣﺸﺖ ﺍﺯ ﭼﻬﺮﻩﻫﺎﻳﺸﺎﻥ ﻫﻮﻳﺪﺍ‪ .‬ﺛﺮﻧﮓ ﺍﻳﻦ ﺯﻥﻫﺎ ﺭﺍ ﺍﺯ ﻗﺒﻴﻠﻪﺍﻯ‬ ‫ﺭﺑﻮﺩﻩ ﺑﻮﺩ ﻛﻪ ﺑﺮ ﻛﺮﺟﻰﻫﺎﻳﻰ ﺑﺎ ﺑﺎﺩﺑﺎﻥﻫﺎﻯ ﺍﺑﺮﻳﺸﻤﻰ ﺑﻪ ﻣﻮﺍﺯﺍﺕ ﺳﺎﺣﻞ ﺩﺭﻳﺎﭼﻪ ﻣﺄﻭﺍ ﺩﺍﺷﺘﻨﺪ‪ .‬ﺍﻛﻨﻮﻥ‬ ‫ﺍﻳﻦ ﺯﻧﺎﻥ ﺻﺤﻨﻪ ﺗﻘﻼﻯ ﺛﺮﻧﮓ ﺑﺮﺍﻯ ﻣﻘﻬﻮﺭ ﻛﺮﺩﻥ ﺯﻥ ﺗﺎﺯﻩ ﺍﺳﻴﺮ ﺭﺍ ﺗﻤﺎﺷﺎ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺛﺮﻧﮓ ﺩﺭ ﺣﺎﻟﻰ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﭘﻮﺳﺘﻰ ﺳﻴﺎﻩ‪ ،‬ﻛﺪﺭ‪ ،‬ﻭ ﻣﺮﺩﻩ‪ ،‬ﻭ ﭼﺸﻢﻫﺎﻯ ﻛﺸﻴﺪﻩﻯ ﮔﺮﺑﻪﻣﺎﻧﻨﺪ‪.‬‬ ‫ﺻﺪﺍﻯ ﻣﻼﻳﻢ ﺍﻳﻦ ﻫﻴﻮﻻﻯ ﺳﻴﺎﻩ ﺍﺯ ﻣﻴﺎﻥ ﭼﻤﻨﺰﺍﺭ ﮔﻔﺖ‪» :‬ﻫﺎ‪ ،‬ﻣﺎﺯﻳﺮﻳﻦ‪ ،‬ﺩﻭﺭ ﺍﺯ ﺧﺎﻧﻪﺍﺕ ﺩﺭ ﺟﻨﮕﻞ‬ ‫ﭘﺮﺳﻪ ﻣﻰﺯﻧﻰ‪«.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﻣﻰﺩﺍﻧﺴﺖ ﻛﻪ ﺩﺋﻮﺩﻧﺪ ﻣﺸﺘﺎﻕ ﮔﻮﺷﺖ ﺑﺪﻧﺶ ﺍﺳﺖ‪ .‬ﭘﺲ ﺩﺧﺘﺮ ﭼﮕﻮﻧﻪ ﻓﺮﺍﺭ ﻛﺮﺩﻩ ﺑﻮﺩ؟ ﺭﺩ‬ ‫ﭘﺎﻳﺶ ﺩﺭﺳﺖ ﺍﺯ ﻫﻤﻴﻦ ﺟﺎ ﻣﻰﮔﺬﺷﺖ‪.‬‬ ‫»ﻣﻦ ﺑﻪ ﺩﻧﺒﺎﻝ ﭼﻴﺰﻯ ﻣﻰﮔﺮﺩﻡ‪ ،‬ﺩﺋﻮﺩﻧﺪ‪ .‬ﺍﮔﺮ ﺑﻪ ﭘﺮﺳﺸﻢ ﭘﺎﺳﺦ ﺩﻫﻰ‪ ،‬ﺗﻀﻤﻴﻦ ﻣﻰﻛﻨﻢ ﺗﺎ ﺑﻪ ﺗﻮ‬ ‫ﮔﻮﺷﺖ ﻓﺮﺍﻭﺍﻥ ﺑﺨﻮﺭﺍﻧﻢ‪«.‬‬ ‫ﭼﺸﻢﻫﺎﻯ ﺩﺋﻮﺩﻧﺪ ﺩﺭﺧﺸﻴﺪ ﻭ ﺑﻪ ﺁﻥ ﺳﻮﻯ ﺑﺪﻥ ﻣﺎﺯﻳﺮﻳﻦ ﺟﺴﺖ‪.‬‬ ‫»ﻣﺎﺯﻳﺮﻳﻦ‪ ،‬ﺗﻮ ﺩﺭ ﻫﺮ ﺻﻮﺭﺕ ﭼﻨﻴﻦ ﺧﻮﺍﻫﻰ ﻛﺮﺩ‪ .‬ﺁﻳﺎ ﺍﻣﺮﻭﺯ ﺑﻪ ﺍﻓﺴﻮﻥﻫﺎﻯ ﻗﺪﺭﺗﻤﻨﺪﻯ ﻣﺴﻠّﺤﻰ؟«‬ ‫»ﺑﻠﻪ‪ ،‬ﻣﺴﻠّﺤﻢ‪ .‬ﺑﮕﻮ ﺑﺒﻴﻨﻢ‪ ،‬ﺩﺧﺘﺮ ﻛﻰ ﺍﺯ ﺍﻳﻦﺟﺎ ﮔﺬﺷﺖ؟ ﺳﺮﻳﻊ ﻣﻰﺭﻓﺖ ﻳﺎ ﺁﻫﺴﺘﻪ؟ ﺗﻨﻬﺎ ﺑﻮﺩ ﻳﺎ ﺑﺎ‬ ‫ﺩﻳﮕﺮﻯ؟ ﺑﮕﻮ ﺗﺎ ﻫﺮ ﮔﺎﻩ ﺧﻮﺍﺳﺘﻰ ﺑﺮﺍﻳﺖ ﮔﻮﺷﺖ ﺑﻴﺎﻭﺭﻡ‪«.‬‬ ‫ﺩﺋﻮﺩﻧﺪ ﻟﺐﻫﺎﻳﺶ ﺭﺍ ﺑﺎ ﺗﻤﺴﺨﺮ ﺑﻪ ﻫﻢ ﻛﺸﻴﺪ ﻭ ﮔﻔﺖ‪» :‬ﺟﺎﺩﻭﮔﺮ ﻛﻮﺭ! ﺍﻭ ﺍﺯ ﭼﻤﻨﺰﺍﺭ ﺧﺎﺭﺝ ﻧﺸﺪﻩ‪ «.‬ﻭ‬ ‫ﺑﺎ ﺩﺳﺖ ﺑﻪ ﺟﺎﻳﻰ ﺍﺷﺎﺭﻩ ﻛﺮﺩ‪ .‬ﺟﺎﺩﻭﮔﺮ ﺟﻬﺖ ﺩﺳﺖ ﺳﻴﺎﻩ ﻣﺮﺩﻩ ﺭﺍ ﺩﻧﺒﺎﻝ ﻛﺮﺩ‪ ،‬ﺍﻣﺎ ﻭﻗﺘﻰ ﺩﺋﻮﺩﻧﺪ ﺧﻴﺰ‬ ‫ﺑﺮﺩﺍﺷﺖ‪ ،‬ﻣﺎﺯﻳﺮﻳﻦ ﺍﺯ ﺟﺎ ﭘﺮﻳﺪ‪ .‬ﻫﺠﺎﻫﺎﻯ ﺍﻓﺴﻮﻥ ﭼﺮﺧﺎﻧﻨﺪﻩ ﻓﻨﺪﺍﻝ ﺍﺯ ﺩﻫﺎﻧﺶ ﺑﻴﺮﻭﻥ ﺭﻳﺨﺖ‪ .‬ﺩﺋﻮﺩﻧﺪ‬ ‫ﺍﺯ ﺯﻣﻴﻦ ﺑﺮﻛﻨﺪﻩ ﻭ ﺑﻪ ﻫﻮﺍ ﭘﺮﺗﺎﺏ ﺷﺪ ﻭ ﻫﻤﺎﻥ ﺟﺎ ﻣﻌﻠﻖ ﻣﺎﻧﻨﺪ‪ .‬ﻣﻰﭼﺮﺧﻴﺪ‪ ،‬ﮔﺎﻩ ﺑﻪ ﺑﺎﻻ ﻭ ﮔﺎﻩ ﺑﻪ ﭘﺎﻳﻴﻦ‪،‬‬ ‫ﮔﻬﻰ ﺗﻨﺪ ﻭ ﮔﻬﻰ ﻛﻨﺪ‪ ،‬ﮔﺎﻩ ﺗﺎ ﺑﻠﻨﺪﺍﻯ ﻧﻮﻙ ﺩﺭﺧﺘﺎﻥ ﻭ ﮔﺎﻩ ﺗﺎ ﻧﺰﺩﻳﻜﻰ ﺯﻣﻴﻦ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﭘﻮﺯﺧﻨﺪﺯﻧﺎﻥ‬ ‫ﺍﻳﻦ ﺻﺤﻨﻪ ﺭﺍ ﺗﻤﺎﺷﺎ ﻣﻰﻛﺮﺩ‪ .‬ﭘﺲ ﺍﺯ ﭼﻨﺪﻯ ﺩﺋﻮﺩﻧﺪ ﺭﺍ ﭘﺎﻳﻴﻦ ﺁﻭﺭﺩ ﻭ ﭼﺮﺧﺶﻫﺎ ﺭﺍ ﺁﺭﺍﻡ ﻛﺮﺩ‪.‬‬ ‫»ﺁﻳﺎ ﻣﻰﺧﻮﺍﻫﻰ ﺳﺮﻳﻊ ﺑﻤﻴﺮﻯ ﻳﺎ ﺁﻫﺴﺘﻪ؟ ﺑﮕﻮ ﺗﺎ ﺗﻮ ﺭﺍ ﺩﺭ ﻳﻚ ﭼﺸﻢ ﺑﺮ ﻫﻢ ﺯﺩﻥ ﺑﻜﺸﻢ‪ .‬ﻭﮔﺮﻧﻪ ﺗﻮ ﺭﺍ‬ ‫ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﭘﻠﮕﺮﻳﻦﻫﺎ ]‪ [21‬ﭘﺮﻭﺍﺯ ﻣﻰﻛﻨﻨﺪ ﺑﺎﻻ ﻣﻰﺑﺮﻡ‪«.‬‬ ‫ﺧﺸﻢ ﻭ ﺗﺮﺱ ﺩﺍﺷﺖ ﺩﺋﻮﺩﻧﺪ ﺭﺍ ﺧﻔﻪ ﻣﻰﻛﺮﺩ‪.‬‬ ‫»ﺑﺎﺷﺪ ﻛﻪ ﺛﻴﺎﻝ ]‪ [22‬ﻣﻴﺦ ﺑﻪ ﭼﺸﻤﺎﻧﺖ ﻓﺮﻭ ﻛﻨﺪ! ﺑﺎﺷﺪ ﻛﻪ ﻛﺮﺍﻥ ]‪ [23‬ﻣﻐﺰﺕ ﺭﺍ ﺯﻧﺪﻩﺯﻧﺪﻩ ﺩﺭ ﺍﺳﻴﺪ‬ ‫ﺑﺠﻮﺷﺎﻧﺪ!« ﻭ ﺩﺭ ﺍﺩﺍﻣﻪ ﺁﻥﭼﻨﺎﻥ ﻧﻔﺮﻳﻦ ﻛﺮﺩ ﻛﻪ ﻣﺎﺯﻳﺮﻳﻦ ﻣﺠﺒﻮﺭ ﺑﻪ ﻧﺠﻮﺍ ﻛﺮﺩﻥ ﻧﻔﺮﻳﻦﻫﺎﻳﻰ ﺑﺮ ﺿﺪ‬ ‫ﺍﻭ ﺷﺪ‪.‬‬ ‫ﺳﺮﺍﻧﺠﺎﻡ ﻣﺎﺯﻳﺮﻳﻦ ﺩﺳﺘﻰ ﺗﻜﺎﻥ ﺩﺍﺩ ﻭ ﮔﻔﺖ‪» :‬ﭘﺲ ﺑﻪ ﺑﺎﻻ ﺑﺮﻭ‪«.‬‬ ‫ﺑﺪﻥ ﭘﺨﺶ ﻭ ﭘﻼﻯ ﺳﻴﺎﻩ ﺩﺋﻮﺩﻧﺪ ﺑﻪ ﺑﺎﻻ ﭘﺮﺗﺎﺏ ﺷﺪ‪ ،‬ﺑﺎﻻﺗﺮ ﺍﺯ ﻧﻮﻙ ﺩﺭﺧﺘﺎﻥ‪ ،‬ﻭ ﺩﺭ ﮔﺮﻣﺎﻯ ﺳﺮﺥ‬ ‫ﻏﺮﻭﺏ ﺁﻓﺘﺎﺏ ﺁﻫﺴﺘﻪ ﺷﺮﻭﻉ ﺑﻪ ﭼﺮﺧﻴﺪﻥ ﻛﺮﺩ‪ .‬ﺩﺭ ﻋﺮﺽ ﻳﻚ ﺩﻗﻴﻘﻪ‪ ،‬ﻫﻴﺄﺕ ﺭﻧﮕﺎﺭﻧﮓ ﺧﻔﺎﺵﻭﺍﺭﻩﺍﻯ‬ ‫ﺑﺎ ﭘﻮﺯﻩﺍﻯ ﻗﻼﺏﺷﻜﻞ ﺑﻪ ﻧﺰﺩﻳﻚ ﺩﺋﻮﺩﻧﺪ ُﺳﺮﻳﺪ ﻭ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺩﺋﻮﺩﻧﺪ ﻧﺎﻻﻥ ﺑﺘﻮﺍﻧﺪ ﺍﻭ ﺭﺍ ﺑﺎ ﻟﮕﺪﻯ ﺍﺯ‬ ‫ﺧﻮﺩ ﺑﺮﺍﻧﺪ‪ ،‬ﭘﺎﻯ ﺳﻴﺎﻩ ﺍﻭ ﺭﺍ ﺍﺯ ﻫﻢ ﺩﺭﺍﻧﺪ‪ .‬ﻫﺮ ﻟﺤﻈﻪ‪ ،‬ﺗﻌﺪﺍﺩ ﺑﻴﺸﺘﺮﻯ ﺍﺯ ﺍﻳﻦ ﻫﻴﺄﺕﻫﺎ ﺟﺴﺖ ﻭ ﺧﻴﺰﻛﻨﺎﻥ‬ ‫ﺩﺭ ﻗﺮﺹ ﺁﻓﺘﺎﺏ ﭘﺪﻳﺪﺍﺭ ﻣﻰﺷﺪﻧﺪ‪.‬‬ ‫‪19‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﺍﻧﺴﺎﻥﻭﺍﺭﻩﺍﻯ ﺭﻳﺰ ﺭﺍ ﺳﻮﺍﺭ ﺑﺮ ﺳﻨﺠﺎﻗﻜﻰ ﺩﻳﺪ‪ .‬ﭘﻮﺳﺘﺶ ﺑﻪ ﺳﺒﺰﻯ ﻣﻰﺯﺩ‪ .‬ﺟﺎﻣﻪ ﮔﺸﺎﺩ ﻧﺎﺯﻛﻰ ﺑﻪ ﺗﻦ‬ ‫ﺩﺍﺷﺖ ﻭ ﻧﻴﺰﻩﺍﻯ ﺩﻭ ﺑﺮﺍﺑﺮ ﻗﺪﺵ ﺑﺎ ﺧﻮﺩ ﺣﻤﻞ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺍﻳﺴﺘﺎﺩ‪ .‬ﻣﺮ ِﺩ ﺗﻮﻙ ]‪ [16‬ﺑﺎ ﻧﮕﺎﻫﻰ ﺳﺮﺩ ﺑﻪ ﺍﻭ ﻧﮕﺮﻳﺴﺖ‪.‬‬ ‫»ﺍﻯ ﺗﻮﻙﻣﺮﺩ‪ ،‬ﺁﻳﺎ ﺯﻧﻰ ﺍﺯ ﻫﻤﻨﻮﻋﺎﻥ ﻣﺮﺍ ﻧﺪﻳﺪﻯ ﻛﻪ ﺍﺯ ﺍﻳﻦﺟﺎ ﺑﮕﺬﺭﺩ؟«‬ ‫ﺗﻮﻙﻣﺮﺩ ﭘﺲ ﺍﺯ ﻟﺤﻈﻪﺍﻯ ﺗﺄﻣﻞ ﮔﻔﺖ‪» :‬ﭼﻨﻴﻦ ﺯﻧﻰ ﺭﺍ ﺩﻳﺪﻩﺍﻡ‪«.‬‬ ‫»ﻛﺠﺎ ﻣﻰﺗﻮﺍﻥ ﺍﻭ ﺭﺍ ﭘﻴﺪﺍ ﻛﺮﺩ؟«‬ ‫»ﺩﺭ ﻣﻘﺎﺑﻞ ﺍﻃﻼﻋﺎﺕ ﺑﻪ ﻣﻦ ﭼﻪ ﻣﻰﺭﺳﺪ؟«‬ ‫»ﻧﻤﻚ‪ ،‬ﻫﺮ ﻗﺪﺭ ﺑﺘﻮﺍﻧﻰ ﺑﺎ ﺧﻮﺩﺕ ﺣﻤﻞ ﻛﻨﻰ‪«.‬‬ ‫ﺗﻮﻙﻣﺮﺩ ﻧﻴﺰﻩﺍﺵ ﺭﺍ ﺩﺭ ﻫﻮﺍ ﺗﻜﺎﻥ ﺩﺍﺩ ﻭ ﮔﻔﺖ‪» :‬ﻧﻤﻚ؟ ﻧﻪ‪ .‬ﻟﻴﺎﻥ ﺳﺎﻟﻚ ]‪ [17‬ﻧﻤﻚ ﻫﻤﻪﻯ ﻗﺒﻴﻠﻪ ﺭﺍ‬ ‫ﺑﻪ ﺭﺋﻴﺲ ﺩﺍﻥﺩﺍﻥﻓﻠﻮﺭﺱ ]‪ [18‬ﻣﻰﺭﺳﺎﻧﺪ‪«.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺑﻪ ﺣﺪﺱ ﻭ ﮔﻤﺎﻥ ﻣﻰﺩﺍﻧﺴﺖ ﻛﻪ ﺁﻥ ﺩﻭﺭﻩﮔﺮﺩ ﺭﺍﻫﺰﻥ ﺑﺮﺍﻯ ﭼﻪ ﺧﺪﻣﺘﻰ ﻧﻤﻚ ﻣﻰﭘﺮﺩﺍﺯﺩ‪.‬‬ ‫ﺗﻮﻙﻣﺮﺩﺍﻥ ﻛﻪ ﺳﻮﺍﺭ ﺑﺮ ﺳﻨﺠﺎﻗﻚﻫﺎﻳﺸﺎﻥ ﺳﺮﻳﻊ ﭘﺮﻭﺍﺯ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﻫﻤﻪ ﺍﺗﻔﺎﻗﺎﺗﻰ ﺭﺍ ﻛﻪ ﺩﺭ ﺟﻨﮕﻞ‬ ‫ﺭﺥ ﻣﻰﺩﺍﺩ ﻣﻰﺩﻳﺪﻧﺪ‪.‬‬ ‫»ﻳﻚ ﺷﻴﺸﻪ ﺭﻭﻏﻦ ُﮔﻞﻫﺎﻯ ﺗ ِﻼﻧﺨﻴﺲ ]‪ [19‬ﻣﺤﺼﻮﻝ ﺩﺳﺖ ﺧﻮﺩﻡ ﭼﻄﻮﺭ ﺍﺳﺖ؟«‬ ‫ﺗﻮﻙﻣﺮﺩ ﮔﻔﺖ‪» :‬ﺧﻮﺏ ﺍﺳﺖ‪ .‬ﺑﻄﺮﻯ ﺭﺍ ﻧﺸﺎﻥ ﺑﺪﻩ‪«.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﭼﻨﻴﻦ ﻛﺮﺩ‪.‬‬ ‫»ﻛﻤﻰ ﺟﻠﻮﺗﺮ ﺩﺭﺧﺖ ﺑﻠﻮﻃﻰ ﻫﺴﺖ ﺻﺎﻋﻘﻪﺯﺩﻩ‪ ،‬ﺯﻥ ﻫﻤﺎﻥ ﺟﺎ ﺍﺯ ﺭﺍﻩ ﺑﻴﺮﻭﻥ ﺯﺩ ﻭ ﻣﺴﺘﻘﻴﻤﺎَ ﺑﻪ ﺳﻤﺖ‬ ‫ﺩﺭﻩﻯ ﺭﻭﺩﺧﺎﻧﻪ ﺭﻓﺖ‪ .‬ﺍﻳﻦ ﻛﻮﺗﺎﻩﺗﺮﻳﻦ ﻣﺴﻴﺮ ﺑﺮﺍﻯ ﺭﺳﻴﺪﻥ ﺑﻪ ﺩﺭﻳﺎﭼﻪ ﺍﺳﺖ‪«.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺑﻄﺮﻯ ﺭﺍ ﺩﺭ ﻛﻨﺎﺭ ﺳﻨﺠﺎﻗﻚ ﮔﺬﺍﺷﺖ ﻭ ﺑﻪ ﺳﻤﺖ ﺑﻠﻮﻁ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ‪ .‬ﺗﻮﻙﻣﺮﺩ ﺻﺒﺮ ﻛﺮﺩ ﺗﺎ‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺩﻭﺭ ﺷﻮﺩ‪ ،‬ﺑﻌﺪ ﭘﻴﺎﺩﻩ ﺷﺪ ﻭ ﺷﻴﺸﻪ ﺭﺍ ﺑﻪ ﺯﻳﺮ ﺷﻜﻢ ﺳﻨﺠﺎﻗﻚ ﺩﺭ ﻛﻨﺎﺭ ﮔﻠﻮﻟﻪ ﻣﻮﻯ ﻇﺮﻳﻔﻰ‬ ‫ﺑﺴﺖ ﻛﻪ ﺯﻥ ﺑﻪ ﺍﻭ ﺩﺍﺩﻩ ﺑﻮﺩ ﺗﺎ ﻣﺎﺯﻳﺮﻳﻦ ﺭﺍ ﺍﻳﻦ ﮔﻮﻧﻪ ﺭﺍﻫﻨﻤﺎﻳﻰ ﻛﻨﺪ‪.‬‬ ‫ﺟﺎﺩﻭﮔﺮ ﺩﺭ ﻛﻨﺎﺭ ﺩﺭﺧﺖ ﺑﻠﻮﻁ ﺍﺯ ﺭﺍﻩ ﺑﻴﺮﻭﻥ ﺭﻓﺖ ﻭ ﺧﻴﻠﻰ ﺯﻭﺩ ﺭﺩﭘﺎﻯ ﺯﻥ ﺭﺍ ﺑﺮ ﺭﻭﻯ ﺑﺮگﻫﺎﻯ ﺧﺸﻚ‬ ‫ﭘﻴﺪﺍ ﻛﺮﺩ‪ .‬ﺩﺭ ﭘﻴﺶ ﺭﻭﻳﺶ ﭼﻤﻦﺯﺍﺭ ﮔﺴﺘﺮﺩﻩﺍﻯ ﻭﺍﻗﻊ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﺑﺎ ﺷﻴﺒﻰ ﻣﻼﻳﻢ ﺑﻪ ﺭﻭﺩﺧﺎﻧﻪ‬ ‫ﻣﻰﺭﺳﻴﺪ‪ .‬ﺩﺭﺧﺘﺎﻥ ﺍﺯ ﻫﺮ ﺳﻮ ﻗﺪ ﺑﺮﺍﻓﺮﺍﺷﺘ��� ﺑﻮﺩﻧﺪ ﻭ ﭘﺮﺗﻮﻫﺎﻯ ﺑﻠﻨﺪ ﺁﻓﺘﺎﺏ ﻏﺮﻭﺏ ﻳﻚ ﻃﺮﻑ ﺭﺍ ﺧﻮﻥ‬ ‫ﺭﻧﮓ ﻛﺮﺩﻩ ﻭ ﺁﻥ ﺳﻮﻯ ﺩﻳﮕﺮ ﺭﺍ ﺩﺭ ﺳﺎﻳﻪﺍﻯ ﺳﻴﺎﻩ ﻭ ژﺭﻑ ﺑﺎﻗﻰ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﺳﻴﺎﻫﻰ ﺳﺎﻳﻪﻫﺎ ﺁﻥ‬ ‫ﻗﺪﺭ ژﺭﻑ ﺑﻮﺩ ﻛﻪ ﻣﺎﺯﻳﺮﻳﻦ ﻧﺘﻮﺍﻧﺴﺖ ﻣﻮﺟﻮﺩﻯ ﺭﺍ ﻛﻪ ﺑﺮ ﺩﺭﺧﺘﻰ ﺍﻓﺘﺎﺩﻩ ﺩﺭ ﻛﻤﻴﻦ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ ،‬ﺑﺒﻴﻨﺪ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺗﻨﻬﺎ ﺯﻣﺎﻧﻰ ﺣﻀﻮﺭ ﺍﻭ ﺭﺍ ﺍﺣﺴﺎﺱ ﻛﺮﺩ ﻛﻪ ﺁﻥ ﻣﻮﺟﻮﺩ ﺑﻨﺎ ﺩﺍﺷﺖ ﺑﺮ ُﮔﺮﺩﻩﺍﺵ ﺑﺠﻬﺪ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺍﺯ ﺟﺎ ﭘﺮﻳﺪ ﻭ ﭼﺮﺧﻴﺪ ﺗﺎ ﺑﺎ ﻣﻮﺟﻮﺩ ﺭﻭ ﺩﺭ ﺭﻭ ﺷﻮﺩ‪ .‬ﻣﻮﺟﻮﺩ ﻛﻪ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺣﺎﻟﺖ ﻧﺸﺴﺘﻪ‬ ‫ﺑﺮﮔﺸﺘﻪ ﺑﻮﺩ‪ ،‬ﻳﻚ ﺩﺋﻮﺩﻧﺪ ]‪ [20‬ﺑﻮﺩ ﺩﺭ ﭘﻴﻜﺮﻩ ﻭ ﭼﻬﺮﻩﺏ ﻣﺮﺩﻯ ﺧﻮﺵﺳﻴﻤﺎ ﺑﺎ ﻋﻀﻼﺗﻰ ﻧﻴﺮﻭﻣﻨﺪ‪ ،‬ﺍﻣﺎ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻣﺎﺯﻳﺮﻳﻦ ﺭﺯﻯ ﺭﺍ ﺍﺯ ﺑﻮﺗﻪ ﻟﺮﺯﺍﻥ ﭼﻴﺪ ﻭ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺑﺎ ﻧﻴﺮﻭﻯ ﻳﻮﺭﺷﮕﺮ »ﭼﻜﻤﻪﻫﺎﻯ ﺯﻧﺪﻩ« ﻣﺒﺎﺭﺯﻩ‬ ‫ﻣﻰﻛﺮﺩ‪ ،‬ﺁﺭﺍﻡ ﺑﻪ ﺳﻤﺖ ﺩﺧﺘﺮ ﺭﻓﺖ‪ .‬ﻫﻨﻮﺯ ﭼﻬﺎﺭ ﻗﺪﻡ ﺑﻪ ﺳﻤﺖ ﺯﻥ ﺑﺮﻧﺪﺍﺷﺘﻪ ﺑﻮﺩ ﻛﻪ ﺯﻥ ﺯﺍﻧﻮﺍﻧﺶ ﺭﺍ‬ ‫ﺑﻪ ﭘﻬﻠﻮﻯ ﺍﺳﺐ ﻛﻮﺑﻴﺪ ﻭ ﺑﻪ ﻗﻠﺐ ﺟﻨﮕﻞ ﺟﻬﻴﺪ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﻣﻴﺪﺍﻥ ﺭﺍ ﺑﻪ ﭼﻜﻤﻪﻫﺎ ﺩﺍﺩ‪ .‬ﭼﻜﻤﻪﻫﺎ ﭘﺮﺵ ﺑﻠﻨﺪﻯ ﻛﺮﺩﻧﺪ‪ ،‬ﺳﭙﺲ ﭘﺮﺷﻰ ﺩﻭﺑﺎﺭﻩ‪ ،‬ﻭ ﺑﺎﺯ ﻫﻢ‬ ‫ﭘﺮﺷﻰ ﺩﻳﮕﺮ‪ ،‬ﻭ ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ‪ ،‬ﻣﺎﺯﻳﺮﻳﻦ ﺑﺎ ﺗﻤﺎﻡ ﺳﺮﻋﺖ ﺩﺭ ﺗﻌﻘﻴﺐ ﺯﻥ ﺑﻮﺩ‪.‬‬ ‫ﭘﺲ ﻣﺎﺯﻳﺮﻳﻦ ﻭﺍﺭﺩ ﺟﻨﮕﻞ ﺍﻓﺴﺎﻧﻪﻫﺎ ﺷﺪ‪ .‬ﺗﻨﻪﻫﺎﻯ ﺧﺰﻩﺑﺴﺘﻪ ﺩﺭ ﻫﻤﻪ ﻃﺮﻑ ﺑﻪ ﺑﺎﻻ ﺗﺎﺏ ﺑﺮﺩﺍﺷﺘﻪ ﺑﻮﺩﻧﺪ‬ ‫ﺗﺎ ﺗﻜﻴﻪﮔﺎﻫﻰ ﺑﺮﺍﻯ ﺣﺼﺎﺭ ﺑﺮﮔﻰ ﻣﺮﺗﻔﻊ ﺑﺎﺷﻨﺪ‪ .‬ﻫﺮ ﺍﺯ ﮔﺎﻫﻰ‪ ،‬ﺟﺎﺑﺠﺎ ﺷﺪﻥ ﭘﺮﺗﻮﻫﺎﻯ ﺁﻓﺘﺎﺏ‪ ،‬ﻟﻜﻪﻫﺎﻯ‬ ‫ﺳﺮﺥ ﺗﻴﺮﻩﺍﻯ ﺑﺮ ﭼﻤﻦ ﻣﻰﺍﻧﺪﺍﺧﺖ‪ .‬ﺩﺭ ﺳﺎﻳﻪﺳﺎﺭﻫﺎ‪ ،‬ﮔﻞﻫﺎﻯ ﺳﺎﻗﻪﺑﻠﻨﺪ ﻭ ﻗﺎﺭچﻫﺎﻯ ﺗﺮﺩ ﺩﺭ ﻻﺑﻼﻯ‬ ‫ﺑﺮگﻫﺎﻯ ﻣﺮﺩﻩ ﺭﻭﻳﻴﺪﻩ ﺑﻮﺩ‪ .‬ﻃﺒﻴﻌﺖ ﺩﺭ ﺍﻳﻦ ﺳﺎﻋﺖ ﺯﻭﺍﻝ ﺯﻣﻴﻦ ﺁﺭﺍﻡ ﺑﻮﺩ ﻭ ﺧﺴﺘﻪ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺑﺎ »ﭼﻜﻤﻪﻫﺎﻯ ﺯﻧﺪﻩ«ﺍﻯ ﻛﻪ ﺑﻪ ﭘﺎ ﺩﺍﺷﺖ ﺑﻪ ﺳﺮﻋﺖ ﺩﺭ ﻣﻴﺎﻥ ﺟﻨﮕﻞ ﻣﻰﺟﻬﻴﺪ ﻭ ﻣﻰﺟﻬﻴﺪ‪.‬‬ ‫ﺍﻣﺎ ﺍﺳﺐ ﺳﻴﺎﻩ ﻫﻤﭽﻨﺎﻥ ﺧﺴﺘﮕﻰﻧﺎﭘﺬﻳﺮ ﻣﻰﺗﺎﺧﺖ ﻭ ﺍﺯ ﺩﺳﺘﺮﺱ ﻣﺎﺯﻳﺮﻳﻦ ﺩﻭﺭ ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺯﻥ ﻓﺮﺳﻨﮓﻫﺎ ﺗﺎﺧﺖ ﻭ ﻣﻮﻫﺎﻳﺶ ﭼﻮﻥ ﻳﺎﻟﻰ ﭘﺸﺖ ﺳﺮﺵ ﺩﺭ ﭘﺮﻭﺍﺯ ﺑﻮﺩ‪ .‬ﺯﻥ ﺑﻪ ﭘﺸﺖ ﺳﺮ ﻧﮕﺎﻩ ﻛﺮﺩ‬ ‫ﻭ ﻣﺎﺯﻳﺮﻳﻦ ﭼﻬﺮﻩﻯ ﺍﻭ ﺭﺍ ﭼﻨﺎﻥ ﺩﻳﺪ ﻛﻪ ﺍﻧﮕﺎﺭ ﭼﻬﺮﻩﺍﻯ ﺑﺎﺷﺪ ﺑﻴﺮﻭﻥ ﺁﻣﺪﻩ ﺍﺯ ﺭﺅﻳﺎ‪ .‬ﺳﭙﺲ ﺯﻥ ﺑﻪ ﺟﻠﻮ‬ ‫ﺯﺭﻳﻦﭼﺸﻢ ﺗﻨﺪﺭﻭﺍﺭ ﺗﺎﺧﺘﻦ ﮔﺮﻓﺖ ﻭ ﺩﺭ ﺍﻧﺪﻙ ﺯﻣﺎﻧﻰ ﺍﺯ ﭼﺸﻢ ﻣﺎﺯﻳﺮﻳﻦ ﭘﻨﻬﺎﻥ ﺷﺪ‪.‬‬ ‫ﺧﻢ ﺷﺪ‪ ،‬ﺗﻮﺳﻦ ّ‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﭼﺎﺭﻩﺍﻯ ﻧﺪﺍﺷﺖ ﺟﺰ ﺍﻳﻦ ﻛﻪ ﺭﺩ ﭘﺎﻯ ﺍﺳﺐ ﺭﺍ ﺑﺮ ﺧﺎﻙ ﺗﻌﻘﻴﺐ ﻛﻨﺪ‪.‬‬ ‫ﺁﺭﺍﻡ ﺁﺭﺍﻡ ﺍﺯ ﻧﻴﺮﻭﻯ ﺧﻴﺰﺵ ﻭ ﺣﺮﻛﺖ »ﭼﻜﻤﻪﻫﺎﻯ ﺯﻧﺪﻩ« ﻛﺎﺳﺘﻪ ﻣﻰﺷﺪ‪ ،‬ﺯﻳﺮﺍ ﺭﺍﻫﻰ ﻃﻮﻻﻧﻰ ﺭﺍ ﺑﺎ‬ ‫ﺳﺮﻋﺘﻰ ﭼﺸﻤﮕﻴﺮ ﺁﻣﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺟﻬﺶﻫﺎﻯ ﻋﻈﻴﻢ‪ ،‬ﻛﻮﺗﺎﻩﺗﺮ ﻭ ﺳﻨﮕﻴﻦﺗﺮ ﻣﻰﺷﺪﻧﺪ‪ ،‬ﺍﻣﺎ ﺁﻥ ﻃﻮﺭ ﻛﻪ‬ ‫ﺍﺯ ﺭﺩ ﭘﺎﻯ ﺍﺳﺐ ﺑﺮ ﻣﻰﺁﻣﺪ‪ ،‬ﺍﺳﺐ ﻫﻢ ﺁﻫﺴﺘﻪﺗﺮ ﺗﺎﺧﺘﻪ ﺑﻮﺩ‪ .‬ﺑﻪ ﺯﻭﺩﻯ ﻣﺎﺯﻳﺮﻳﻦ ﺑﻪ ﻋﻠﻒﺯﺍﺭﻯ ﺭﺳﻴﺪ‬ ‫ﻭ ﺍﺳﺐ ﺭﺍ ﺩﻳﺪ ﻛﻪ ﺑﺪﻭﻥ ﺳﻮﺍﺭﺵ ﺩﺭ ﺣﺎﻝ ﭼﺮﺍﺳﺖ‪ .‬ﺍﻳﺴﺘﺎﺩ‪ .‬ﺗﻤﺎﻡ ﭘﻬﻨﻪ ﻋﻠﻒﺯﺍﺭ ﺗﺮ ﻭ ﺗﺮﺩ ﺩﺭ ﺑﺮﺍﺑﺮ‬ ‫ﭼﺸﻤﺎﻧﺶ ﻗﺮﺍﺭ ﺩﺍﺷﺖ‪ .‬ﺭﺩ ﭘﺎﻯ ﺍﺳﺐ ﺩﺭ ﭼﻤﻦﺯﺍﺭ ﻣﻴﺎﻥ ﺟﻨﮕﻞ ﺑﻪ ﻭﺿﻮﺡ ﺩﻳﺪﻩ ﻣﻰﺷﺪ‪ .‬ﺍﻣﺎ ﺭﺩ ﭘﺎﻳﻰ‬ ‫ﻣﺒﻨﻰ ﺑﺮ ﺑﻴﺮﻭﻥ ﺭﻓﺘﻦ ﺍﺳﺐ ﺍﺯ ﭼﻤﻦﺯﺍﺭ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ‪ .‬ﭘﺲ ﺯﻥ ﺣﺘﻤﺎً ﺟﺎﻳﻰ ﭘﻴﺶﺗﺮ ﺍﺯ ﺍﻳﻦﺟﺎ ﭘﻴﺎﺩﻩ‬ ‫ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﺩﺭ ﻛﺠﺎ ﻭ ﭼﻘﺪﺭ ﻋﻘﺐﺗﺮ‪ ،‬ﻣﺎﺯﻳﺮﻳﻦ ﻫﻢ ﻧﻤﻰﺩﺍﻧﺴﺖ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﺑﻪ ﺳﻮﻯ ﺍﺳﺐ ﺭﻓﺖ‪ ،‬ﺍﻣﺎ‬ ‫ﺣﻴﻮﺍﻥ ﺭﻣﻴﺪ ﻭ ﺷﺘﺎﺑﺎﻥ ﺍﺯ ﻣﻴﺎﻥ ﺩﺭﺧﺘﺎﻥ ﮔﺮﻳﺨﺖ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﻛﻮﺷﻴﺪ ﻛﻪ ﺍﺳﺐ ﺭﺍ ﺗﻌﻘﻴﺐ ﻛﻨﺪ‪ ،‬ﺍﻣﺎ‬ ‫ﺩﺭﻳﺎﻓﺖ ﻛﻪ »ﭼﻜﻤﻪﻫﺎ«ﻳﺶ ﺑﻰﺟﺎﻥ ﻭ ﺳﺴﺖ ﺍﺯ ﭘﺎﻳﺶ ﺁﻭﻳﺰﺍﻥ ﻣﺎﻧﺪﻩﺍﻧﺪ‪.‬‬ ‫ﻧﻔﺮﻳﻦﻛﻨﺎﻥ ﭼﻜﻤﻪﻫﺎ ﺭﺍ ﺑﻪ ﻛﻨﺎﺭﻯ ﭘﺮﺗﺎﺏ ﻛﺮﺩ ﻭ ﺑﺮ ﺯﻣﻴﻦ ﻭ ﺯﻣﺎﻥ ﻭ ﺍﻗﺒﺎﻝ ﺷﻮﻣﺶ ﻟﻌﻨﺖ ﻓﺮﺳﺘﺎﺩ‪.‬‬ ‫ﺷﻨﻠﺶ ﺭﺍ ﺍﺯ ﭘﺸﺖ ﺳﺮ ﺭﻫﺎ ﻛﺮﺩ ﻭ ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺗﻨﺸﻰ ﻛﻴﻨﻪﺗﻮﺯﺍﻧﻪ ﺍﺯ ﭼﻬﺮﻩﺍﺵ ﻣﻰﺑﺎﺭﻳﺪ‪ ،‬ﺍﺯ ﻫﻤﺎﻥ‬ ‫ﻣﺴﻴﺮﻯ ﻛﻪ ﺁﻣﺪﻩ ﺑﻮﺩ ﺑﺎﺯﮔﺸﺖ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﺑﺨﺶ ﺍﺯ ﺟﻨﮕﻞ‪ ،‬ﺍﻏﻠﺐ ﺑﺮﺁﻣﺪﮔﻰﻫﺎﻳﻰ ﺍﺯ ﺳﻨﮓﻫﺎﻯ ﺳﻴﺎﻩ ﻭ ﺳﺒﺰ‪ ،‬ﻣﺮﻣﺮ ﻭ ﺧﺎﺭﺍ ﺑﻪ ﭼﺸﻢ‬ ‫ﻣﻰﺧﻮﺭﺩ ﻛﻪ ﺟﻠﻮﺩﺍﺭﺍﻥ ﺳﻮﺍﺣﻞ ﺻﺨﺮﻩﺍﻯ ﺭﻭﺩ ﺩﺭﻧﺎ ﺑﻮﺩﻧﺪ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ‪ ،‬ﺭﻭﻯ ﻳﻜﻰ ﺍﺯ ﺍﻳﻦ ﺳﻨﮓﻫﺎ‪،‬‬ ‫‪17‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﻣﺎﺯﻳﺮﻳﻦ ﺩﺳﺘﻰ ﺑﻪ ﭼﺎﻧﻪﺍﺵ ﻛﺸﻴﺪ ﻭ ﺑﺎ ﻟﺒﺨﻨﺪﻯ ﻛﻪ ﺩﻧﺪﺍﻥﻫﺎﻯ ﺳﻔﻴﺪ ﻧﻴﻜﻮﻳﺶ ﺭﺍ ﻧﻤﺎﻳﺎﻥ ﻣﻰﻛﺮﺩ‬ ‫ﮔﻔﺖ‪» :‬ﺍﮔﺮ ﺑﻪ ﺧﺎﻃﺮ ﺭﺍﺯ ﻣﻨﺤﻮﺱ ﺗﻮ ﻧﺒﻮﺩ‪ ،‬ﺍژﺩﻫﺎ ﻣﻰﺗﻮﺍﻧﺴﺖ ﻫﻤﻴﻦ ﺍﻻﻥ ﺗﻮ ﺭﺍ ﺑﺨﻮﺭﺩ‪«.‬‬ ‫ﺟﺎﺩﻭﮔﺮ ﺍﺯ ﭘﻠﻪﻫﺎ ﺑﺎﻻ ﺭﻓﺖ ﻭ ﺗﺎ ﻧﻴﻤﻪﺷﺐ ﺩﺭ ﻛﺘﺎﺑﺨﺎﻧﻪﺍﺵ ﻣﺸﻐﻮﻝ ﻏﻮﺭ ﺩﺭ ﻛﺘﺎﺏﻫﺎﻯ ﻗﻄﻮﺭ ﺟﻠﺪ‬ ‫ﭼﺮﻣﻰ ﻭ ﻧﻮﺷﺘﻪﻫﺎﻯ ﭘﺮﺍﻛﻨﺪﻩ ﺑﻮﺩ‪ .‬ﺭﻭﺯﻯ ﺭﻭﺯﮔﺎﺭﻯ ﺑﻴﺶ ﺍﺯ ﻫﺰﺍﺭ ﺣﺮﺯ‪ ،‬ﻃﻠﺴﻢ‪ ،‬ﺍﻓﺴﻮﻥ‪ ،‬ﻧﻔﺮﻳﻦ‪ ،‬ﻭ‬ ‫ﺟﺎﺩﻭ ﺭﺍ ﻣﻰﺷﻨﺎﺧﺘﻨﺪ‪ .‬ﺩﺭ ﭘﻬﻨﻪ ﻣﻮﺛﻮﻟﻢ ﺑﺰﺭگ ]‪ ،[10‬ﻛﻪ ﺍﺳﻜﻮﻻﻳﻴﺲ ]‪ ،[11‬ﺁﻳﺪ ﻛﺎﭼﻴﻚ ]‪،[12‬‬ ‫ﺁﻟﻤﺮﻯ ]‪ [13‬ﺩﺭ ﺟﻨﻮﺏ‪ ،‬ﻭ ﺳﺮﺯﻣﻴﻦ ﻓﺎﻟﻴﻨﮓ ﻭﺍﻝ ﺩﺭ ﺷﺮﻕ ﺭﺍ ﺩﺭ ﺑﺮ ﻣﻰﮔﻴﺮﺩ‪ ،‬ﺟﻤﻊ ﻛﺜﻴﺮﻯ ﺟﺎﺩﻭﮔﺮ‬ ‫ﻭ ﺳﺎﺣﺮ ﺍﺯ ﻫﺮ ﺭﺳﺘﻪﺍﻯ ﻭﺟﻮﺩ ﺩﺍﺷﺖ ﻛﻪ ﻓﻨﺪﺍﻝ ﻛﺒﻴﺮ‪ ،‬ﻳﺎ ﺳﺎﺣﺮﺍﻻﻣﻮﺍﺕ ]‪ ،[14‬ﺑﺰﺭگﺗﺮﻳﻦ ﺍﻳﺸﺎﻥ ﺑﻮﺩ‪.‬‬ ‫ﺧﻮﺩ ﻓﻨﺪﺍﻝ ﺑﻴﺶ ﺍﺯ ﺻﺪ ﺍﻓﺴﻮﻥ ﺳﺎﺧﺘﻪ ﺑﻮﺩ‪ .‬ﻫﺮ ﭼﻨﺪ ﺷﺎﻳﻌﺎﺕ ﻣﺒﻨﻰ ﺑﺮ ﺁﻥ ﺑﻮﺩ ﻛﻪ ﻭﻯ ﻭﻗﺘﻰ ﺟﺎﺩﻭ‬ ‫ﻣﻰﻛﺮﺩﻩ‪ ،‬ﺍﻫﺮﻳﻤﻨﺎﻥ ﺩﺭ ﮔﻮﺷﺶ ﺯﻣﺰﻣﻪ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﭘﻮﻧﺘﺴﻴﻼﻯ ﭘﺎﻙﺩﻳﻦ ]‪ ،[15‬ﺣﺎﻛﻢ ﻭﻗﺖ ﻣﻮﺛﻮﻟﻢ‬ ‫ﺑﺰﺭگ‪ ،‬ﻓﻨﺪﺍﻝ ﺭﺍ ﺯﻳﺮ ﺷﻜﻨﺠﻪ ﮔﺮﻓﺖ‪ ،‬ﭘﺲ ﺍﺯ ﮔﺬﺷﺖ ﺷﺒﻰ ﺩﻫﺸﺘﻨﺎﻙ ﺍﻭ ﺭﺍ ﻛﺸﺖ‪ ،‬ﻭ ﺟﺎﺩﻭﮔﺮﻯ‬ ‫ﺭﺍ ﺩﺭ ﺗﻤﺎﻡ ﺁﻥ ﺳﺮﺯﻣﻴﻦ ﻣﻤﻨﻮﻉ ﻛﺮﺩ‪ .‬ﺟﺎﺩﻭﮔﺮﺍﻥ ﺳﺮﺯﻣﻴﻦ ﻣﻮﺛﻮﻟﻢ ﺑﺰﺭگ ﮔﺮﻳﺨﺘﻨﺪ‪ ،‬ﺩﺭﺳﺖ ﻣﺎﻧﻨﺪ‬ ‫ﺳﻮﺳﻚﻫﺎﻳﻰ ﻛﻪ ﺍﺯ ﻣﻘﺎﺑﻞ ﻧﻮﺭ ﺷﺪﻳﺪ ﻣﻰﮔﺮﻳﺰﻧﺪ؛ ﺩﺍﻧﺶ ﺟﺎﺩﻭﮔﺮﻯ ﭘﺮﺍﻛﻨﺪﻩ ﻭ ﻓﺮﺍﻣﻮﺵ ﺷﺪ‪ ،‬ﺗﺎ ﺑﻪ‬ ‫ﺍﻣﺮﻭﺯ ﺩﺭ ﺍﻳﻦ ﺯﻣﺎﻧﻪﻯ ﻓﺴﺮﺩﻩ‪ ،‬ﻛﻪ ﺧﻮﺭﺷﻴﺪ ﺳﺮﺩ ﺷﺪﻩ‪ ،‬ﺍﺳﻜﻮﻻﻳﻴﺲ ﺩﺭ ﺑﻴﺎﺑﺎﻥ ﺑﺮﻫﻮﺕ ﮔﻢ ﺷﺪﻩ‪،‬‬ ‫ﻧﻴﻤﻰ ﺍﺯ ﺷﻬﺮ ﺳﻔﻴﺪ ﻛﺎﻳﻴﻦ ﻭﻳﺮﺍﻥ ﺷﺪﻩ‪ ،‬ﻭ ﺗﻨﻬﺎ ﻳﻚ ﺻﺪ ﻭ ﺍﻧﺪﻯ ﺍﻓﺴﻮﻥ ﺩﺭ ﺣﻮﺯﻩﻯ ﺩﺍﻧﺶ ﺑﺸﺮ ﺑﺎﻗﻰ‬ ‫ﻣﺎﻧﺪﻩ ﺍﺳﺖ‪ .‬ﺍﺯ ﻣﻴﺎﻥ ﺍﻳﻦﻫﺎ‪ ،‬ﻣﺎﺯﻳﺮﻳﻦ ﻫﻔﺘﺎﺩ ﻭ ﺳﻪ ﺍﻓﺴﻮﻥ ﺭﺍ ﮔﺮﺩ ﺁﻭﺭﺩﻩ ﺑﻮﺩ ﻭ ﺁﺭﺍﻡ ﺁﺭﺍﻡ‪ ،‬ﺑﺎ ﻧﻴﺮﻧﮓ ﻭ‬ ‫ﻣﺬﺍﻛﺮﻩ ﺯﻣﻴﻨﻪ ﺭﺍ ﺑﺮﺍﻯ ﺣﺼﻮﻝ ﺑﺎﻗﻰ ﺍﻓﺴﻮﻥﻫﺎ ﻓﺮﺍﻫﻢ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﭼﻨﺪ ﻣﺠﻠﺪ ﺍﺯ ﻛﺘﺎﺏﻫﺎﻳﺶ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩ ﻭ ﺑﺎ ﺗﻼﺵ ﻭ ﺟﻬﺪ ﻓﺮﺍﻭﺍﻥ ﭘﻨﺞ ﺍﻓﺴﻮﻥ ﺭﺍ ﺩﺭﻭﻥ‬ ‫ﺫﻫﻨﺶ ﺟﺎﻯ ﺩﺍﺩ‪ :‬ﻗﻮﻩﻯ ﭼﺮﺧﺎﻧﻨﺪﻩﻯ ﻓﻨﺪﺍﻝ‪ ،‬ﻃﻠﺴﻢ ﺩﻭﻡ ﻫﻴﭙﻨﻮﺗﻴﺰﻡ ﻓﻠﻮﻳﻮﻥ‪ ،‬ﺍﻓﺸﺎﻧﻪﻯ ﻣﻨﺸﻮﺭﻯ‬ ‫ﻋﺎﻟﻰ‪ ،‬ﺍﻓﺴﻮﻥ ﭘﺮﻭﺭﻧﺪﻩﻯ ﺑﻰﭘﺎﻳﺎﻥ‪ ،‬ﻭ ﺍﻓﺴﻮﻥ ُﻛﺮﻩﻯ ﻧﻔﻮﺫﻧﺎﭘﺬﻳﺮ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﻭﻗﺘﻰ ﺍﺯ ﺍﻳﻦ ﻛﺎﺭ ﻓﺎﺭﻍ ﺷﺪ‪،‬‬ ‫ﺷﺮﺍﺏ ﻧﻮﺷﻴﺪ ﻭ ﺑﺮ ﺗﺨﺖ ﻏﻨﻮﺩ‪.‬‬ ‫ﺭﻭﺯ ﺑﻌﺪ‪ ،‬ﺣﻮﺍﻟﻰ ﻏﺮﻭﺏ‪ ،‬ﻣﺎﺯﻳﺮﻳﻦ ﺭﻓﺖ ﺗﺎ ﺩﺭ ﺑﺎﻏﺶ ﻗﺪﻡ ﺑﺰﻧﺪ‪ .‬ﻻﺯﻡ ﻧﺒﻮﺩ ﺯﻳﺎﺩ ﻣﻨﺘﻈﺮ ﺑﻤﺎﻧﺪ‪ .‬ﻭﻗﺘﻰ‬ ‫ِ‬ ‫ﺧﺎﻙ ﺩﻭﺭ ﻭ ﺑﺮ ﺭﻳﺸﻪﻯ ﺷﻤﻌﺪﺍﻧﻰﻫﺎﻯ َﻗ َﻤﺮﻯﺍﺵ ﺭﺍ ﺷﺨﻢ ﻣﻰﺯﺩ‪ ،‬ﺧﺶﺧﺶ ﻧﺮﻡ ﺑﺮگﻫﺎ ﻭ‬ ‫ﺩﺍﺷﺖ‬ ‫ﺻﺪﺍﻯ ﺁﺭﺍﻡ ُﺳﻢﻫﺎ ﺑﻪ ﺍﻭ ﻓﻬﻤﺎﻧﺪ ﻛﻪ ﻣﻄﻠﻮﺑﺶ ﺭﺥ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺯﻧﻰ ﺟﻮﺍﻥ ﺑﺎ ﺗﺮﻛﻴﺒﻰ ﺩﻟﭙﺬﻳﺮ ﻭ ﺭﺧﺴﺎﺭﻩﺍﻯ ﻓﺮﻳﺒﺎ‪ ،‬ﺷﻖ ﻭ ﺭﻕ ﺑﺮ ﺯﻳﻦ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﺑﻪ‬ ‫ﺁﻫﺴﺘﮕﻰ ﺧﻢ ﺷﺪ ﺗﺎ ﻣﺒﺎﺩﺍ ﺯﻥ ﺭﺍ ﺑ َِﺮﻣﺎﻧﺪ‪ .‬ﺁﺭﺍﻡ »ﭼﻜﻤﻪﻫﺎﻯ ﺯﻧﺪﻩ« ﺭﺍ ﺑﻪ ﭘﺎ ﻛﺮﺩ ﻭ ﺁﻥﻫﺎ ﺭﺍ ﺑﺎﻻﻯ‬ ‫ﺯﺍﻧﻮﻫﺎﻳﺶ ﻣﺤﻜﻢ ﺑﺴﺖ‪.‬‬ ‫ﻗﺪ ﺭﺍﺳﺖ ﻛﺮﺩ ﻭ ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﺁﻫﺎﻯ ﺩﺧﺘﺮ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﺁﻣﺪﻯ‪ .‬ﭼﺮﺍ ﻫﺮ ﻏﺮﻭﺏ ﺑﻪ ﺍﻳﻦﺟﺎ ﻣﻰﺁﻳﻰ؟ ﮔﻞﻫﺎﻯ ﺭﺯ‬ ‫ﺭﺍ ﺗﻤﺎﺷﺎ ﻣﻰﻛﻨﻰ؟ ﺳﺮﺧﻰ ﺧﻮﻥﺭﻧﮓ ﺁﻥﻫﺎ ﺑﻪ ﺧﺎﻃﺮ ﺧﻮﻥ ﺳﺮﺥ ﺯﻧﺪﻩﺍﻯ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﮔﻞﺑﺮگﻫﺎﻳﺸﺎﻥ‬ ‫ﺟﺮﻳﺎﻥ ﺩﺍﺭﺩ‪ .‬ﺍﮔﺮ ﺍﻣﺮﻭﺯ ﻓﺮﺍﺭ ﻧﻜﻨﻰ‪ ،‬ﻳﻜﻰ ﺍﺯ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﺗﻮ ﻫﺪﻳﻪ ﺧﻮﺍﻫﻢ ﺩﺍﺩ‪«.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻛﺮﺩﻥ ﻣﺴﻴﺮ ﭘﻨﺞﮔﻮﺵ ﺑﺎﺷﻰ‪«.‬‬ ‫ﺗﻮﺭﺟﺎﻥ ﻣﻜﺜﻰ ﻛﺮﺩ‪ ،‬ﺍﺯ ﺯﻳﺮ ﺩﺭﭘﻮﺵ ﺷﻴﺸﻪﺍﻯ ﺑﻪ ﺩﺷﻤﻨﺶ ﻧﮕﺮﻳﺴﺖ‪ ،‬ﻭ ﺑﻌﺪ ﺁﺏ ﺭﺍ ﺟﺮﻋﻪ ﺟﺮﻋﻪ‬ ‫ﻧﻮﺷﻴﺪ‪ .‬ﺑﺎ ﭘﻨﺞ ﮔﻮﺷﻪ ﺷﺪﻥ ﺭﺍﻫﺮﻭ‪ ،‬ﺯﻣﺎﻥ ﮔﺮﻳﺨﺘﻦ ﺍﺯ ﻫﺠﻮﻡﻫﺎﻯ ﻫﻴﻮﻻ ﻛﺎﺳﺘﻪ ﻣﻰﺷﺪ‪ ،‬ﻭ ﺍﺯ ﻫﺮ ﺯﺍﻭﻳﻪ‬ ‫ﺑﺨﺶ ﻛﻮﭼﻚﺗﺮﻯ ﺍﺯ ﺭﺍﻫﺮﻭ ﺩﺭ ﻣﻴﺪﺍﻥ ﺩﻳﺪ ﻗﺮﺍﺭ ﻣﻰﮔﺮﻓﺖ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﮔﻔﺖ‪» :‬ﻓﺮﺩﺍ ﺑﺎﻳﺪ ﺗﻤﺎﻡ ﭼﺎﺑﻜﻰﺍﺕ ﺭﺍ ﺑﻪ ﻛﺎﺭ ﺑﮕﻴﺮﻯ‪ «.‬ﺍﻣﺎ ﭼﻴﺰ ﺩﻳﮕﺮﻯ ﺑﻪ ﺫﻫﻨﺶ ﺭﺳﻴﺪ‪.‬‬ ‫ﻧﮕﺎﻫﻰ ﭘﺮﺳﺸﮕﺮﺍﻧﻪ ﺑﻪ ﺗﻮﺭﺟﺎﻥ ﺍﻧﺪﺍﺧﺖ ﻭ ﮔﻔﺖ‪» :‬ﺍﻣﺎ ﺍﮔﺮ ﺩﺭ ﻣﻮﺭﺩ ﺩﻳﮕﺮﻯ ﺑﻪ ﻣﻦ ﻛﻤﻚ ﻛﻨﻰ ﺑﻪ ﺗﻮ‬ ‫ﺗﺨﻔﻴﻒ ﺧﻮﺍﻫﻢ ﺩﺍﺩ‪«.‬‬ ‫»ﻣﺸﻜﻠﺖ ﭼﻴﺴﺖ‪ ،‬ﺟﺎﺩﻭﮔﺮ ﺑﻴﻨﻮﺍ؟«‬ ‫»ﺍﻧﮕﺎﺭﻩﻯ ﻣﺨﻠﻮﻕ ﺯﻧﻰ ﻭﻫﻢﺯﺩﻩﺍﻡ ﻛﺮﺩ ﻭ ﻣﻦ ﺍﻭ ﺭﺍ ﺑﻪ ﺩﺍﻡ ﺧﻮﺍﻫﻢ ﺍﻧﺪﺍﺧﺖ‪ «.‬ﻣﺎﺯﻳﺮﻳﻦ ﻛﻪ ﭼﺸﻢﻫﺎﻳﺶ‬ ‫ﺑﺎ ﺍﻳﻦ ﺍﻧﺪﻳﺸﻪ ﺗﻴﺮﻩ ﻭ ﺗﺎﺭ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺣﻮﺍﻟﻰ ﻏﺮﻭﺏ ﻣﻰﺁﻳﺪ ﻭ ﺩﺭ ﺣﺎﺷﻴﻪﻯ ﺑﺎﻍ ﻣﻦ‬ ‫ﻣﻰﺍﻳﺴﺘﺪ‪ ،‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺑﺮ ﺍﺳﺐ ﺳﻴﺎﻩ ﺑﺰﺭﮔﻰ ﺳﻮﺍﺭ ﺍﺳﺖ‪ ...‬ﺍﻭ ﺭﺍ ﻣﻰﺷﻨﺎﺳﻰ‪ ،‬ﺗﻮﺭﺟﺎﻥ؟«‬ ‫ﺗﻮﺭﺟﺎﻥ ﻛﻤﻰ ﺁﺏ ﻧﻮﺷﻴﺪ ﻭ ﮔﻔﺖ‪» :‬ﻧﻪ ﻣﺎﺯﻳﺮﻳﻦ‪«.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﮔﻔﺖ‪» :‬ﺟﺎﺩﻭﻳﺶ ﺍﻳﻦ ﻗﺪﺭ ﻗﻮﻯ ﺑﻮﺩ ﻛﻪ ﺗﻮﺍﻧﺴﺖ ﻃﻠﺴﻢ ﺩﻭﻡ ﻫﻴﭙﻨﻮﺗﻴﺰﻡ ﻓﻠﻮﻳﻮﻥ ]‪ [8‬ﺭﺍ ﺩﻓﻊ‬ ‫ﻛﻨﺪ‪ ...‬ﺷﺎﻳﺪ ﻫﻢ ﻧﻮﻋﻰ ﺣﺮﺯ ﺑﻼﮔﺮﺩﺍﻥ ﺩﺍﺭﺩ‪ .‬ﻭﻗﺘﻰ ﺑﻪ ﺍﻭ ﻧﺰﺩﻳﻚ ﻣﻰﺷﻮﻡ ﺑﻪ ﺩﺭﻭﻥ ﺟﻨﮕﻞ ﻣﻰﮔﺮﻳﺰﺩ‪«.‬‬ ‫ﺗﻮﺭﺟﺎﻥ ﻛﻪ ﻣﺸﻐﻮﻝ ﮔﺎﺯ ﺯﺩﻥ ﺑﺮ ﮔﻮﺷﺖ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﮔﻔﺖ‪» :‬ﺧﺐ ﺑﻌﺪ؟«‬ ‫ﻣﺎﺯﻳ���ﻳﻦ ﺍﺯ ﺑﺎﻻﻯ ﺑﻴﻨﻰ ﺩﺭﺍﺯﺵ ﺑﻪ ﺯﻧﺪﺍﻧﻰ ﻛﻮﭼﻚ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﺯﻥ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺪ ﺑﺎﺷﺪ؟«‬ ‫»ﻣﻦ ﺍﺯ ﻛﺠﺎ ﺑﺪﺍﻧﻢ؟«‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺑﺎ ﺣﻮﺍﺱﭘﺮﺗﻰ ﮔﻔﺖ‪» :‬ﺑﺎﻳﺪ ﺑﮕﻴﺮﻣﺶ‪ .‬ﭼﻪ ﺍﻓﺴﻮﻧﻰ‪ ،‬ﭼﻪ ﻃﻠﺴﻤﻰ ﺑﻪ ﻛﺎﺭ ﺑﺒﺮﻡ؟«‬ ‫ﺗﻮﺭﺟﺎﻥ ﺑﻪ ﺑﺎﻻ ﻧﮕﺎﻩ ﻛﺮﺩ‪ ،‬ﻫﺮ ﭼﻨﺪ ﺍﺯ ﭘﺸﺖ ﺷﻴﺸﻪ ﺩﺭﭘﻮﺵ‪ ،‬ﺟﺎﺩﻭﮔﺮ ﺭﺍ ﺑﻪ ﺳﺨﺘﻰ ﻣﻰﺩﻳﺪ‪.‬‬ ‫»ﻣﺎﺯﻳﺮﻳﻦ‪ ،‬ﻣﺮﺍ ﺁﺯﺍﺩ ﻛﻦ‪ .‬ﺑﻪ ﺟﺎﻥ ﺧﻮﺩﻡ ﻛﻪ ﺣﺎﻛﻢ ﺑﺮﮔﺰﻳﺪﻩ ﻣﺎﺭﺍﻡ‪-‬ﺍﻭﺭ ]‪ [9‬ﺑﺎﺷﻢ‪ ،‬ﺯﻥ ﺭﺍ ﺑﻪ ﺗﻮ ﺗﺤﻮﻳﻞ‬ ‫ﺧﻮﺍﻫﻢ ﺩﺍﺩ‪«.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﻣﻈﻨﻮﻧﺎﻧﻪ ﭘﺮﺳﻴﺪ‪» :‬ﭼﻄﻮﺭ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻣﻰﻛﻨﻰ؟«‬ ‫»ﺩﺭ ﺟﻨﮕﻞ ﺗﻌﻘﻴﺒﺶ ﻣﻰﻛﻨﻢ‪ ،‬ﺑﺎ ﺑﻬﺘﺮﻳﻦ »ﭼﻜﻤﻪﻫﺎﻯ ﺯﻧﺪﻩ« ﻭ ﺳﺮﻯ ﭘﺮ ﺍﺯ ﺍﻓﺴﻮﻥ‪«.‬‬ ‫ﭘﺎﺳﺦ ﺩﻧﺪﺍﻥﺷﻜﻦ ﻣﺎﺯﻳﺮﻳﻦ ﭼﻨﻴﻦ ﺑﻮﺩ‪» :‬ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺧﻮﺩ ﺍﻧﺠﺎﻡ ﺧﻮﺍﻫﻢ ﺩﺍﺩ‪ .‬ﺷﺎﻧﺲ ﺗﻮ ﺍﺯ ﻣﻦ ﺑﻴﺸﺘﺮ‬ ‫ﻧﻴﺴﺖ‪ .‬ﻭﻗﺘﻰ ﺁﺯﺍﺩﺕ ﻣﻰﻛﻨﻢ ﻛﻪ ﺭﺍﺯ ﺗﺮﻛﻴﺐ ﺁﻓﺮﻳﺪﻩﻫﺎﻯ ﺩﺭﻭﻥ ﺧﻤﺮﻩﺍﺕ ﺭﺍ ﺑﺪﺍﻧﻢ‪«.‬‬ ‫ﺗﻮﺭﺟﺎﻥ ﺳﺮﺵ ﺭﺍ ﭘﺎﻳﻴﻦ ﺁﻭﺭﺩ ﺗﺎ ﺟﺎﺩﻭﮔﺮ ﻧﺘﻮﺍﻧﺪ ﺍﺯ ﭼﺸﻤﺎﻧﺶ ﭼﻴﺰﻯ ﺑﺨﻮﺍﻧﺪ ﻭ ﭘﺲ ﺍﺯ ﻣﻜﺚ ﻛﻮﺗﺎﻫﻰ‬ ‫ﭘﺮﺳﻴﺪ‪» :‬ﺗﻜﻠﻴﻒ ﻣﻦ ﭼﻴﺴﺖ‪ ،‬ﻣﺎﺯﻳﺮﻳﻦ؟«‬ ‫»ﻭﻗﺘﻰ ﺑﺎﺯﮔﺸﺘﻢ ﺧﺪﻣﺘﺖ ﺧﻮﺍﻫﻢ ﺭﺳﻴﺪ‪«.‬‬ ‫»ﻭ ﺍﮔﺮ ﺑﺮﻧﮕﺸﺘﻰ؟«‬ ‫‪15‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺷﺎﻳﺪ ﻣﺮﺩ ﺟﺎﻧﺐ ﺍﺣﺘﻴﺎﻁ ﺭﺍ ﻓﺮﺍﻣﻮﺵ ﻛﻨﺪ ﻭ ﺑﻪ ﺩﺍﻡ ﺑﻴﻔﺘﺪ‪ .‬ﺍﻣﺎ ﻣﺮﺩ ﺑﺎ ﺯﻳﺮﻛﻰ ﺗﻤﺎﻡ ﺗﻮﺍﻧﺴﺘﻪ ﺑﻮﺩ ﺍﺯ‬ ‫ﭼﻨﮓ ﻭ ﺩﻧﺪﺍﻥ ﺍژﺩﻫﺎ ﺩﻭﺭ ﺑﻤﺎﻧﺪ‪ .‬ﺍﻳﻦ ﻣﺮﺩ‪ ،‬ﻫﻤﺎﻥ ﺗﻮﺭﺟﺎﻥ ﺑﻮﺩ ﻛﻪ ﻣﺎﺯﻳﺮﻳﻦ ﭼﻨﺪ ﻫﻔﺘﻪ ﭘﻴﺶ ﺑﺎ ﻧﻴﺮﻧﮓ‬ ‫ﺑﻪ ﺩﺍﻡ ﺍﻧﺪﺍﺧﺘﻪ‪ ،‬ﻛﻮﭼﻚ ﻛﺮﺩﻩ‪ ،‬ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ‪ ،‬ﺩﺭ ﺟﻌﺒﻪ ﺍﺳﻴﺮ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺑﺎ ﻟﺬﺕ ﺑﻪ ﺗﻤﺎﺷﺎﻯ ﻟﺤﻈﻪﺍﻯ ﻧﺸﺴﺖ ﻛﻪ ﺧﺰﻧﺪﻩ ﻫﻤﺎﻥ ﺩﻡ ﻛﻪ ﻣﺮﺩ ﻗﺼﺪ ﺩﺍﺷﺖ ﻧﻔﺴﻰ ﺗﺎﺯﻩ‬ ‫ﻛﻨﺪ ﺑﺮ ﺍﻭ ﺟﻬﻴﺪ‪ ،‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻣﺮﺩ ﻧﺎﮔﻬﺎﻥ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻛﻨﺎﺭﻯ ﭘﺮﺗﺎﺏ ﻛﺮﺩ ﻭ ﺑﻪ ﻣﻮﻳﻰ ﺍﺯ ﺧﻄﺮ ﺟﺴﺖ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺍﻧﺪﻳﺸﻴﺪ ﻛﻪ ﺩﻳﮕﺮ ﻭﻗﺖ ﺁﻥ ﻓﺮﺍ ﺭﺳﻴﺪﻩ ﻛﻪ ﺑﻪ ﻫﺮ ﺩﻭ ﻓﺮﺍﻏﺖ ﺩﻫﺪ ﻭ ﻗﻮﺗﻰ ﺑﺮﺍﻳﺸﺎﻥ ﻓﺮﺍﻫﻢ‬ ‫ﻛﻨﺪ‪ .‬ﭘﺲ ﺩﺭﻳﭽﻪﻫﺎﻯ ﺩﺭﻭﻥ ﺭﺍﻫﺮﻭ ﺭﺍ ﺑﺴﺖ‪ ،‬ﺁﻥ ﺭﺍ ﺑﻪ ﺩﻭ ﻧﻴﻢ ﺗﻘﺴﻴﻢ ﻛﺮﺩ‪ ،‬ﻭ ﻣﺮﺩ ﻭ ﻫﻴﻮﻻ ﺭﺍ ﺍﺯ ﻫﻢ‬ ‫ﺟﺪﺍ ﺳﺎﺧﺖ‪ .‬ﺑﻪ ﻫﺮ ﺩﻭ ﮔﻮﺷﺖ ﻭ ﭘﻴﺎﻟﻪﺍﻯ ﺁﺏ ﺩﺍﺩ‪.‬‬ ‫ﺗﻮﺭﺟﺎﻥ ﺩﺭ ﺭﺍﻫﺮﻭ ﻧﻘﺶ ﺑﺮ ﺯﻣﻴﻦ ﺷﺪ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﮔﻔﺖ‪» :‬ﻫﻮﻡ‪ .‬ﺧﺴﺘﻪﺍﻯ‪ .‬ﻣﻰﺧﻮﺍﻫﻰ ﺍﺳﺘﺮﺍﺣﺖ ﻛﻨﻰ؟«‬ ‫ﺗﻮﺭﺟﺎﻥ ﺳﺎﻛﺖ ﻣﺎﻧﺪ‪ .‬ﭼﺸﻢﻫﺎﻳﺶ ﺑﺴﺘﻪ ﺑﻮﺩ‪ .‬ﺑﺮﺍﻯ ﺍﻭ ﺩﻳﮕﺮ ﺯﻣﺎﻥ ﻭ ﺟﻬﺎﻥ ﻣﻌﻨﺎﻳﻰ ﻧﺪﺍﺷﺖ‪ .‬ﺗﻨﻬﺎ‬ ‫ﻭﺍﻗﻌﻴﺖ ﻣﻮﺟﻮﺩ‪ ،‬ﺭﺍﻫﺮﻭ ﺧﺎﻛﺴﺘﺮﻯ ﺑﻮﺩ ﻭ ﮔﺮﻳﺰ ﺑﻰﭘﺎﻳﺎﻥ‪ .‬ﻫﺮ ﺍﺯ ﮔﺎﻫﻰ ﻫﻢ ﺧﻮﺭﺍﻛﻰ ﻣﻰﺭﺳﻴﺪ ﻭ ﭼﻨﺪ‬ ‫ﺳﺎﻋﺘﻰ ﺍﺳﺘﺮﺍﺣﺖ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﮔﻔﺖ‪» :‬ﺑﻪ ﺁﺳﻤﺎﻥ ﺁﺑﻰ ﻓﻜﺮ ﻛﻦ‪ .‬ﺑﻪ ﺳﺘﺎﺭﻩﻫﺎﻯ ﺳﻔﻴﺪ‪ ،‬ﺩژﺕ‪ ،‬ﻣﻴﺮ‪ ،‬ﻛﻨﺎﺭ ﺭﻭﺩ ﺩﺭﻧﺎ ]‪[7‬؛ ﺑﻪ‬ ‫ﮔﺸﺖ ﻭ ﮔﺬﺍﺭ ﺁﺯﺍﺩﺍﻧﻪ ﺩﺭ ﻣﺮﻏﺰﺍﺭﻫﺎ ﻓﻜﺮ ﻛﻦ‪«.‬‬ ‫ﭼﺎﻧﻪﻯ ﺗﻮﺭﺟﺎﻥ ﻟﺮﺯﻳﺪ‪.‬‬ ‫»ﺑﻪ ﺍﻳﻦ ﻓﻜﺮ ﻛﻦ ﻛﻪ ﻣﻰﺗﻮﺍﻧﻰ ﺍژﺩﻫﺎﻯ ﻛﻮﭼﻚ ﺭﺍ ﺯﻳﺮ ﭘﺎ ﻟﻪ ﻛﻨﻰ‪«.‬‬ ‫ﺗﻮﺭﺟﺎﻥ ﺑﻪ ﺑﺎﻻ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﺑﻴﺸﺘﺮ ﺩﻭﺳﺖ ﺩﺍﺭﻡ ﻛﻪ ﮔﺮﺩﻥ ﺗﻮ ﺭﺍ ُﺧﺮﺩ ﻛﻨﻢ‪ ،‬ﻣﺎﺯﻳﺮﻳﻦ‪«.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺑﻪ ﺭﻭﻯ ﺧﻮﺩ ﻧﻴﺎﻭﺭﺩ ﻭ ﮔﻔﺖ‪» :‬ﺑﮕﻮ ﺑﺒﻴﻨﻢ‪ ،‬ﭼﻄﻮﺭ ﺑﻪ ﻣﺨﻠﻮﻗﺎﺕ ﺩﺭﻭﻥ ﺧﻤﺮﻩ ﺩﺭﻙ ﻭ ﻫﻮﺵ‬ ‫ﻣﻰﺩﻫﻰ؟ ﺑﮕﻮ ﺗﺎ ﺭﻫﺎﻳﺖ ﻛﻨﻢ‪«.‬‬ ‫ﺗﻮﺭﺟﺎﻥ ﺧﻨﺪﻳﺪ ﻭ ﺧﻨﺪﻩﺍﺵ ﺩﻳﻮﺍﻧﻪﻭﺍﺭ ﺑﻮﺩ‪.‬‬ ‫»ﺑﮕﻮﻳﻢ؟ ﻭ ﺑﻌﺪ؟ ﻓﺎﺵ ﻛﺮﺩﻥ ﺭﺍﺯ ﻫﻤﺎﻧﺎ ﻭ ﻣﺮﺩﻥ ﺩﺭ ﺭﻭﻏﻦ ﺩﺍﻍ ﻫﻤﺎﻧﺎ‪«.‬‬ ‫ﻟﺐﻫﺎﻯ ﺑﺎﺭﻳﻚ ﻣﺎﺯﻳﺮﻳﻦ ﺍﺯ ﻧﺎﺭﺍﺣﺘﻰ ﺁﻭﻳﺰﺍﻥ ﺷﺪ‪.‬‬ ‫»ﺑﺪﺑﺨﺖ ﻣﻔﻠﻮﻙ‪ ،‬ﻣﻰﺩﺍﻧﻢ ﺗﻮ ﺭﺍ ﭼﻄﻮﺭ ﺑﻪ ﺣﺮﻑ ﺑﻴﺎﻭﺭﻡ‪ .‬ﺣﺘﺎ ﺍﮔﺮ ﺩﻫﺎﻧﺖ ﻣﻬﺮ ﻭ ﻣﻮﻡ ﺷﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﻛﺎﺭﻯ‬ ‫ﻣﻰﻛﻨﻢ ﻛﻪ ﻣﺜﻞ ﺑﻠﺒﻞ ﺣﺮﻑ ﺑﺰﻧﻰ! ﻓﺮﺩﺍ ﻳﻜﻰ ﺍﺯ ﺍﻋﺼﺎﺏ ﺑﺎﺯﻭﻳﺖ ﺭﺍ ﺑﻴﺮﻭﻥ ﺧﻮﺍﻫﻢ ﻛﺸﻴﺪ ﻭ ﺍﺯ ﺑﺎﻻ ﺗﺎ‬ ‫ﭘﺎﻳﻴﻦ ﺑﺮ ﺁﻥ ﭘﺎﺭﭼﻪﺍﻯ ﺧﺸﻦ ﺧﻮﺍﻫﻢ ﻣﺎﻟﻴﺪ‪«.‬‬ ‫ﺗﻮﺭﺟﺎﻥ ﻛﻮﭼﻚ ﻛﻪ ﭘﺎﻫﺎﻳﺶ ﺭﺍ ﺩﺭ ﻋﺮﺽ ﺭﺍﻫﺮﻭ ﺩﺭﺍﺯ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﻣﺸﻐﻮﻝ ﻧﻮﺷﻴﺪﻥ ﺁﺏ ﺷﺪ ﻭ ﻫﻴﭻ‬ ‫ﻧﮕﻔﺖ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺑﺪﺳﮕﺎﻻﻧﻪ ﮔﻔﺖ‪» :‬ﺍﻣﺸﺐ‪ ،‬ﻳﻚ ﮔﻮﺷﻪﻯ ﺩﻳﮕﺮ ﺑﻪ ﺭﺍﻫﺮﻭ ﺧﻮﺍﻫﻢ ﺍﻓﺰﻭﺩ ﺗﺎ ﻧﺎﮔﺰﻳﺮ ﺍﺯ ﻃﻰ‬ ‫‪13‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﺩﻳﮕﺮﻯ ﻫﻢ ﺩﺭ ﺫﻫﻦ ﻧﺪﺍﺷﺖ‪ .‬ﺍﮔﺮ ﻫﻢ ﺩﺍﺷﺖ‪ ،‬ﺍﻛﻨﻮﻥ ﻛﻪ ﮔﻠﻮﻳﺶ ﺍﻳﻦ ﭼﻨﻴﻦ ﺩﻳﻮﺍﻧﻪﻭﺍﺭ ﻓﺸﺮﺩﻩ ﻣﻰﺷﺪ‬ ‫ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﻫﺠﺎﻫﺎﻯ ﮔﺮﺩﺑﺎﺩﺁﺳﺎ ﺭﺍ ﺍﺩﺍ ﻛﻨﺪ‪.‬‬ ‫ﺩﺳﺖ ﺑﺮﺩ ﻭ ﺑﺮ ﺩﻫﺎﻧﻪﻯ ﻗﺮﺍﺑﻪﺍﻯ ﺳﺮﺑﻰ ﭼﻨﮓ ﺯﺩ‪ ،‬ﭼﺮﺧﻰ ﺯﺩ‪ ،‬ﻭ ﺁﻥ ﺭﺍ ﺑﺎ ﻗﺪﺭﺕ ﺑﺮ ﺳﺮ ﻣﺨﻠﻮﻕ ﺧﻮﺩ‬ ‫ﻛﻮﺑﻴﺪ‪ .‬ﻣﺨﻠﻮﻕ ﺑﺮ ﺯﻣﻴﻦ ﺗﭙﻴﺪ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﻛﻪ ﺍﺯ ﺍﻳﻦ ﻭﺿﻌﻴﺖ ﻧﺎﺭﺍﺿﻰ ﻧﺒﻮﺩ‪ ،‬ﺑﻪ ﺑﺮﺭﺳﻰ ﭘﻴﻜﺮ ﭘﺮﺗﻸﻟﻮﻳﻰ ﭘﺮﺩﺍﺧﺖ ﻛﻪ ﺩﺭ ﺑﺮﺍﺑﺮ ﭘﺎﻳﺶ‬ ‫ﺁﺭﻣﻴﺪﻩ ﺑﻮﺩ‪ .‬ﻋﻤﻠﻜﺮﺩ ﺳﺘﻮﻥ ﻣﻬﺮﻩﻫﺎ ﻣﺘﻨﺎﺳﺐ ﺑﻮﺩ‪ .‬ﺩﺭ ﻛﻨﺎﺭ ﻣﻴﺰ‪ ،‬ﻣﻌﺠﻮﻧﻰ ﺳﻔﻴﺪ ﺳﺎﺧﺖ ﻭ ﺳﺮ ﻃﻼﻳﻰ‬ ‫ﻣﺨﻠﻮﻕ ﺭﺍ ﺑﺎﻻ ﺁﻭﺭﺩ ﻭ ﻣﻌﺠﻮﻥ ﺭﺍ ﺩﺭ ﺩﻫﺎﻥ ﺳﺴﺖ ﺍﻭ ﺭﻳﺨﺖ‪ .‬ﻣﺨﻠﻮﻕ ﺗﻜﺎﻧﻰ ﺧﻮﺭﺩ‪ ،‬ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ‬ ‫ﮔﺸﻮﺩ‪ ،‬ﻭ ﺑﺮ ﺁﺭﻧﺞﻫﺎﻳﺶ ﺗﻜﻴﻪ ﻛﺮﺩ‪ .‬ﺩﻳﻮﺍﻧﮕﻰ ﺍﺯ ﭼﻬﺮﻩﺍﺵ ﺭﺧﺖ ﺑﺮ ﺑﺴﺘﻪ ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﺗﻼﺵ ﻣﺎﺯﻳﺮﻳﻦ ﺑﺮﺍﻯ‬ ‫ﺟﺴﺘﺠﻮﻯ ﺑﺮﻕ ﻫﻮﺷﻤﻨﺪﻯ ﺩﺭ ﭼﺸﻢﻫﺎﻯ ﻣﺨﻠﻮﻕ ﺑﻴﻬﻮﺩﻩ ﺑﻮﺩ‪ .‬ﭼﺸﻢﻫﺎ ﻫﻤﭽﻮﻥ ﭼﺸﻢ ﻣﺎﺭﻣﻮﻟﻚ‬ ‫ﺗﻬﻰ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺑﺎ ﻧﺎﺭﺍﺣﺘﻰ ﺳﺮﺵ ﺭﺍ ﺗﻜﺎﻥ ﺩﺍﺩ‪ .‬ﻛﻨﺎﺭ ﭘﻨﺠﺮﻩ ﺍﻳﺴﺘﺎﺩ‪ .‬ﻧﻴﻢﺭﺥ ﻣﺘﻔﻜﺮﺵ ﺩﺭ ﻣﻘﺎﺑﻞ ﭘﻨﺠﺮﻩﻫﺎﻯ‬ ‫ﺑﻴﻀﻮﻯ ﺑﻪ ﺳﻴﺎﻫﻰ ﻣﻰﺯﺩ‪ .‬ﺁﻳﺎ ﺑﺎﺯ ﻫﻢ ﺑﺎﻳﺪ ﺑﻪ ﺳﺮﺍﻍ ﺗﻮﺭﺟﺎﻥ ﻣﻰﺭﻓﺖ؟ ﺗﻮﺭﺟﺎﻥ ﺣﺘﺎ ﺩﺭ ﻣﻘﺎﺑﻞ‬ ‫ﺷﺪﻳﺪﺗﺮﻳﻦ ﺑﺎﺯﺟﻮﻳﻰﻫﺎ ﻟﺐ ﺍﺯ ﻟﺐ ﻧﮕﺸﻮﺩﻩ ﺑﻮﺩ‪ .‬ﺩﻫﺎﻥ ﺑﺎﺭﻳﻚ ﻣﺎﺯﻳﺮﻳﻦ ﺩﺭ ﻫﻢ ﭘﻴﭽﻴﺪ‪ .‬ﺷﺎﻳﺪ ﺍﮔﺮ‬ ‫ﺯﺍﻭﻳﻪﺍﻯ ﺩﻳﮕﺮ ﺑﻪ ﺭﺍﻫﺮﻭ ﻣﻰﺍﻓﺰﻭﺩ‪...‬‬ ‫ﺧﻮﺭﺷﻴﺪ ﺩﻳﮕﺮ ﺩﺭ ﺁﺳﻤﺎﻥ ﻧﺒﻮﺩ ﻭ ﺑﺎﻍ ﻣﺎﺯﻳﺮﻳﻦ ﺗﺎﺭﻳﻚ ﺑﻮﺩ‪ .‬ﺷﺐﺑﻮﻫﺎﻯ ﺳﻔﻴﺪ ﺑﺎﺯ ﺷﺪﻧﺪ ﻭ ﺷﺐﭘﺮﻩﻫﺎﻯ‬ ‫ﺍﺳﻴﺮ ﺩﺭ ﻣﻴﺎﻥ ﺁﻥﻫﺎ ﺍﺯ ﮔﻠﻰ ﺑﻪ ﮔﻞ ﺩﻳﮕﺮ ﭘﺮ ﻣﻰﺯﺩﻧﺪ ﻭ ﺑﺎﺯ ﻣﻰﮔﺸﺘﻨﺪ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﺩﺭﻳﭽﻪ ﻛﻒ ﺭﺍ ﮔﺸﻮﺩ‬ ‫ﻭ ﺍﺯ ﭘﻠﻪﻫﺎﻯ ﺳﻨﮕﻰ ﭘﺎﻳﻴﻦ ﺭﻓﺖ‪ ،‬ﭘﺎﻳﻴﻦ‪ ،‬ﭘﺎﻳﻴﻦ‪ ،‬ﻭ ﭘﺎﻳﻴﻦﺗﺮ‪ ،‬ﺗﺎ ﺑﺎﻻﺧﺮﻩ ﺑﻪ ﺭﺍﻫﺮﻭﻳﻰ ﺑﺎ ﺩﻳﻮﺍﺭﻫﺎﻯ ﻗﺎﺋﻢ‬ ‫ﺭﺳﻴﺪ ﻛﻪ ﺑﺎ ﻧﻮﺭ ﺯﺭﺩ ﭼﺮﺍﻍﻫﺎﻯ ﻫﻤﻴﺸﻪ ﺗﺎﺑﻨﺪﻩ ﺭﻭﺷﻦ ﺑﻮﺩ‪ .‬ﺩﺭ ﺳﻤﺖ ﭼﭗ‪ ،‬ﺑﺴﺘﺮﻫﺎﻯ ﻛﺸﺖ ﻗﺎﺭچ‬ ‫ﻗﺮﺍﺭ ﺩﺍﺷﺖ‪ ،‬ﻭ ﺩﺭ ﺳﻤﺖ ﺭﺍﺳﺖ‪ ،‬ﺩﺭﻯ ﻣﺴﺘﺤﻜﻢ ﺍﺯ ﭼﻮﺏ ﺑﻠﻮﻁ ﻭ ﺁﻫﻦ ﻛﻪ ﺑﺎ ﺳﻪ ﻗﻔﻞ ﺑﺴﺘﻪ ﺷﺪﻩ‬ ‫ﺑﻮﺩ‪ .‬ﭘﺎﻳﻴﻦﺗﺮ ﻭ ﭘﻴﺶﺗﺮ‪ ،‬ﭘﻠﻪﻫﺎﻯ ﺳﻨﮕﻰ ﺩﺭ ﺩﻝ ﺗﺎﺭﻳﻜﻰ ﺍﺩﺍﻣﻪ ﻣﻰﻳﺎﻓﺖ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﻫﺮ ﺳﻪ ﻗﻔﻞ ﺭﺍ‬ ‫ﺑﺎﺯ ﻛﺮﺩ ﻭ ﺩﺭ ﺭﺍ ﺷﺘﺎﺑﺰﺩﻩ ﮔﺸﻮﺩ‪ .‬ﺍﺗﺎﻕ ﭘﺸﺖ ﺩﺭ ﺧﺎﻟﻰ ﺑﻮﺩ‪ ،‬ﺗﻨﻬﺎ ﭘﺎﻳﻪﺍﻯ ﺳﻨﮕﻰ ﻭ ﺟﻌﺒﻪﺍﻯ ﺑﺎ ﺩﺭﺑﻰ‬ ‫ﺷﻴﺸﻪﺍﻯ ﺑﺮ ﺭﻭﻯ ﺁﻥ ﺑﻪ ﭼﺸﻢ ﻣﻰﺧﻮﺭﺩ‪ .‬ﺟﻌﺒﻪ ﻳﻚ ﮔﺰ ﻃﻮﻝ ﻭ ﻳﻚ ﮔﺰ ﻋﺮﺽ ﺩﺍﺷﺖ ﻭ ﻳﻚ ﻭﺟﺐ‬ ‫ﺍﺭﺗﻔﺎﻉ‪ .‬ﺟﻌﺒﻪ ﺩﺭ ﻭﺍﻗﻊ ﺭﺍﻫﺮﻭﻳﻰ ﻣﺮﺑﻊ ﺷﻜﻞ ﺑﻮﺩ‪ ،‬ﻣﺴﻴﺮﻯ ﺑﺎ ﭼﻬﺎﺭ ﺯﺍﻭﻳﻪﻯ ﺭﺍﺳﺖ‪ .‬ﺩﺭﻭﻥ ﺭﺍﻫﺮﻭ ﺩﻭ‬ ‫ﻣﻮﺟﻮﺩ ﻛﻮﭼﻚ ﺑﻮﺩﻧﺪ‪ ،‬ﻳﻜﻰ ﺗﻌﻘﻴﺐ ﻣﻰﻛﺮﺩ ﻭ ﺩﻳﮕﺮﻯ ﻣﻰﮔﺮﻳﺨﺖ‪ .‬ﺷﻜﺎﺭﭼﻰ ﺍژﺩﻫﺎﻳﻰ ﺑﻮﺩ ﻛﻮﭼﻚ ﺑﺎ‬ ‫ﭼﺸﻢﻫﺎﻳﻰ ﺳﺮﺥ ﻭ ﺧﺸﻢﻧﺎﻙ ﻭ ﺩﻫﺎﻧﻰ ﭘﺮ ﺍﺯ ﺩﻧﺪﺍﻥﻫﺎﻯ ﻋﻈﻴﻢ‪ .‬ﺍژﺩﻫﺎ ﺑﺮ ﺷﺶ ﭘﺎﻯ ﮔﺸﺎﺩﻩ‪ ،‬ﺍﺭﺩﻙﻭﺍﺭ‬ ‫ﺩﺭ ﺭﺍﻫﺮﻭ ﻣﻰﺗﺎﺧﺖ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺩﻣﺶ ﭘﻴﭻ ﻭ ﺗﺎﺏ ﻣﻰﺧﻮﺭﺩ‪ .‬ﺁﻥ ﺩﻳﮕﺮﻯ ﻧﺼﻒﺍژﺩﻫﺎ ﺑﻮﺩ‪ ،‬ﻣﺮﺩﻯ‬ ‫ﺑﺮﺯ ﻭ ﺑﺮﻫﻨﻪ ﻛﻪ ﻣﻮﻫﺎﻯ ﺳﻴﺎﻩ ﺑﻠﻨﺪﺵ ﺭﺍ ﺑﺎ ﻧﻮﺍﺭﻯ ﻣﺴﻰﺭﻧﮓ ﺑﺴﺘﻪ ﺑﻮﺩ‪ .‬ﺧﻮﺍﺳﺘﻪ ﺍﺯ ﺧﻮﺍﻫﺎﻥ ﺍﻧﺪﻛﻰ‬ ‫ﺳﺮﻳﻊﺗﺮ ﻣﻰﺭﻓﺖ‪ ،‬ﺍﻣﺎ ﺷﻜﺎﺭﭼﻰ ﻫﻨﻮﺯ ﺑﻰﺭﺣﻤﺎﻧﻪ‪ ،‬ﺣﻴﻠﻪﮔﺮﺍﻧﻪ‪ ،‬ﻭ ﺧﺴﺘﮕﻰﻧﺎﭘﺬﻳﺮ ﺍﻭ ﺭﺍ ﺩﻧﺒﺎﻝ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﮔﺎﻩ ﺷﺘﺎﺑﺎﻥ ﻣﻰﺭﻓﺖ‪ ،‬ﮔﺎﻩ ﺑﻪ ﻋﻘﺐ ﺑﺎﺯ ﻣﻰﮔﺸﺖ‪ ،‬ﻭ ﮔﺎﻫﻰ ﻫﻢ ﺩﺭ ﺯﺍﻭﻳﻪﺍﻯ ﺑﻪ ﻛﻤﻴﻦ ﻣﻰﻧﺸﺴﺖ ﺗﺎ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺭﺍ ﺑﻪ ﺟﺎﻳﺶ ﺑﺎﺯﮔﺮﺩﺍﻧﺪ‪ .‬ﭼﻬﺮﻩ ﺁﺯﻭﺍﻥ ﺑﻪ ﺁﻫﺴﺘﮕﻰ ﻣﺤﻮ‪ ،‬ﻭ ﺑﻠﻮﺭ ﺑﺎﺯ ﻫﻢ ﺧﺎﻟﻰ ﻭ ﺷﻔﺎﻑ ﺷﺪ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﭼﺎﻧﻪﺍﺵ ﺭﺍ ﻣﺎﻟﻴﺪ‪ .‬ﺍﻧﮕﺎﺭ ﺑﺎﻳﺪ ﺧﻮﺩﺵ ﺩﺧﺘﺮ ﺭﺍ ﺩﺳﺘﮕﻴﺮ ﻣﻰﻛﺮﺩ‪ .‬ﺳﭙﺲ‪ ،‬ﻭﻗﺘﻰ ﺗﺎﺭﻳﻜﻰ ﺑﻪ‬ ‫ﺭﻭﻯ ﺟﻨﮕﻞ ﻣﻰﻟﻤﻴﺪ‪ ،‬ﺑﺎﻳﺪ ﺍﺯ ﻛﺘﺎﺏﻫﺎﻳﺶ ﺍﻓﺴﻮﻧﻰ ﭼﻨﺪ ﻣﻰﺟﺴﺖ ﺗﺎ ﺩﺭ ﮔﺬﺭ ﺍﺯ ﻣﻴﺎﻥ ﺟﻨﮕﻞ ﻧﺎﺍﻣﻦ‬ ‫ﻣﺤﺎﻓﻈﺶ ﺑﺎﺷﻨﺪ؛ ﺍﻓﺴﻮﻥﻫﺎﻳﻰ ﺧﻮﺭﻧﺪﻩ ﻭ ﺳﻮﺯﺍﻥ‪ ،‬ﺑﻪ ﻧﺤﻮﻯ ﻛﻪ ﻳﻚ ﻃﻠﺴﻢ ﺍﺯ ﺁﻥ ﻣﻐﺰ ﺭﺍ ﻣﺸﻮﺵ ﻭ‬ ‫ﺩﻭ ﺗﺎﻯ ﺁﻥ ﺁﺩﻣﻰ ﺭﺍ ﺩﻳﻮﺍﻧﻪ ﻣﻰﺳﺎﺧﺖ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﺑﺎ ﺗﻼﺵ ﺯﻳﺎﺩ ﻭ ﻣﻤﺎﺭﺳﺖ ﺑﻰﻭﻗﻔﻪ ﺗﻮﺍﻧﺴﺘﻪ ﺑﻮﺩ ﭼﻬﺎﺭ‬ ‫ﻧﻮﻉ ﺍﺯ ﺩﺷﻮﺍﺭﺗﺮﻳﻦ ﺍﻓﺴﻮﻥﻫﺎ ﻭ ﺷﺶ ﻃﻠﺴﻢ ﭘﻴﺶ ﻭ ﭘﺎ ﺍﻓﺘﺎﺩﻩﺗﺮ ﺭﺍ ﻓﺮﺍ ﮔﻴﺮﺩ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺍﻳﻦ ﻣﺸﻐﻠﻪ ﺭﺍ ﺍﺯ ﺫﻫﻦ ﻛﻨﺎﺭ ﺯﺩ ﻭ ﺑﻪ ﺳﻮﻯ ﺧﻤﺮﻩﺍﻯ ﻛﺸﻴﺪﻩ ﺭﻓﺖ ﻛﻪ ﺩﺭ ﺩﺭﻳﺎﻳﻰ ﺍﺯ ﻧﻮﺭ‬ ‫ﺳﺒﺰ ﻏﻮﻃﻪﻭﺭ ﺑﻮﺩ‪ .‬ﺩﺭ ﺯﻳﺮ ﻻﻳﻪﺍﻯ ﻧﺎﺯﻙ ﺍﺯ ﻣﺎﻳﻌﻰ ﺷﻔﺎﻑ‪ ،‬ﺟﺴﻢ ﻣﺮﺩﻯ ﻏﻨﻮﺩﻩ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺗﺎﺑﺶ‬ ‫ﺧﻴﺮﻩﻛﻨﻨﺪﻩ ﻧﻮﺭ ﺳﺒﺰ‪ ،‬ﺑﻴﻤﺎﺭﮔﻮﻥ ﻭ ﺳﻬﻤﻨﺎﻙ ﻣﻰﻧﻤﻮﺩ‪ ،‬ﺍﻣﺎ ﺯﻳﺒﺎﻳﻰﺍﺵ ﺍﻧﻜﺎﺭﻧﺎﭘﺬﻳﺮ ﺑﻮﺩ‪ .‬ﺑﺎﻻﺗﻨﻪﺍﺵ‬ ‫ﻫﻤﭽﻮﻥ ﺩﻭﻛﻰ ﺍﺯ ﺷﺎﻧﻪﻫﺎﻯ ﭘﻬﻦ ﺑﻪ ﭘﻬﻠﻮﻫﺎﻳﻰ ﻻﻏﺮ‪ ،‬ﺭﺍﻥ ﻭ ﺳﺎﻕﻫﺎﻳﻰ ﺑﻠﻨﺪ ﻭ ﻧﻴﺮﻭﻣﻨﺪ‪ ،‬ﻭ ﭘﺎﻫﺎﻳﻰ‬ ‫ﻫﻼﻟﻰ ﻣﻰﺭﺳﻴﺪ‪ .‬ﺻﻮﺭﺗﺶ ﭘﺎﻙ ﻭ ﺳﺮﺩ ﻭ ﺧﻄﻮﻁ ﭼﻬﺮﻩﺍﺵ ﻳﻜﻨﻮﺍﺧﺖ ﻭ ﺧﺸﻦ ﺑﻮﺩ‪ .‬ﻣﻮﻫﺎﻯ ﺯﺭﻳﻦ‬ ‫ﺧﺎﻛﻰ ﺍﺯ ﺳﺮﺵ ﺁﻭﻳﺨﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺑﻪ ﺍﻳﻦ ﻣﻮﺟﻮﺩ ﺧﻴﺮﻩ ﺷﺪ‪ ،‬ﻣﻮﺟﻮﺩﻯ ﻛﻪ ﺧﻮﺩﺵ ﺍﺯ ﻳﻚ ﻭ ﺗﻨﻬﺎ ﻳﻚ ﺳﻠﻮﻝ ﻛﺸﺖ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺍﻳﻦ ﻣﻮﺟﻮﺩ ﺗﻨﻬﺎ ﻧﻴﺎﺯﻣﻨﺪ ﻫﻮﺵ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﻣﺎﺯﻳﺮﻳﻦ ﻧﻤﻰﺩﺍﻧﺴﺖ ﭼﮕﻮﻧﻪ ﺑﺎﻳﺪ ﺁﻥ ﺭﺍ ﻓ���ﺍﻫﻢ ﻛﻨﺪ‪ .‬ﺗﻨﻬﺎ‬ ‫ﺗﻮﺭﺟﺎﻥ‪ ،‬ﺍﺯ ﺍﻫﺎﻟﻰ ﻣﻴﺮ ]‪ ،[6‬ﺩﺍﻧﺶ ﺁﻥ ﺭﺍ ﺩﺍﺷﺖ ﻭﻟﻰ ﻣﺎﺯﻳﺮﻳﻦ ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ ﺑﺎ ﺗﻠﺨﻜﺎﻣﻰ ﺑﺎﺭﻳﻚ ﻛﺮﺩ‬ ‫ﻭ ﺑﻪ ﺩﺭﻳﭽﻪ ﻛﻒ ﺯﻣﻴﻦ ﻧﮕﺮﻳﺴﺖ – ﺗﻮﺭﺟﺎﻥ ﻫﻢ ﺍﺯ ﻓﺎﺵ ﮔﻔﺘﻦ ﺍﻳﻦ ﺭﺍﺯ ﺍﻣﺘﻨﺎﻉ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺩﺭﺑﺎﺭﻩﻯ ﻣﺨﻠﻮﻕ ﺩﺭﻭﻥ ﺧﻤﺮﻩ ﻏﻮﺭ ﻛﺮﺩ‪ .‬ﭘﻴﻜﺮﺵ ﺑﻰﻧﻘﺺ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﺁﻳﺎ ﻧﺒﺎﻳﺪ ﺩﺭ ﺍﻳﻦ ﺻﻮﺭﺕ‬ ‫ﻣﻐﺰﺵ ﻫﻢ ﺳﺎﺯﮔﺎﺭ ﻣﻰﺑﻮﺩ ﻭ ﺑﺮ ﺭﻭﺍﻝ؟ ﻣﺎﺯﻳﺮﻳﻦ ﺑﺎﻻﺧﺮﻩ ﺍﻳﻦ ﺭﺍﺯ ﺭﺍ ﻛﺸﻒ ﻣﻰﻛﺮﺩ‪ .‬ﺍﻭ ﺩﺳﺘﮕﺎﻫﻰ ﺭﺍ ﺑﻪ‬ ‫ﻛﺎﺭ ﺍﻧﺪﺍﺧﺖ ﺗﺎ ﺳﻴﺎﻝ ﺭﺍ ﺧﺎﺭﺝ ﻛﻨﺪ‪ .‬ﺩﺭ ﺍﻧﺪﻙ ﺯﻣﺎﻧﻰ‪ ،‬ﭘﻴﻜﺮ ﺳﺮﺩ ﻭ ﺑﻰﺭﻭﺡ ﻣﺨﻠﻮﻕ ﺩﺭ ﺑﺮﺍﺑﺮ ﭘﺮﺗﻮﻫﺎﻯ‬ ‫ﻣﺴﺘﻘﻴﻢ ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﺍﻧﺪﻛﻰ ﺩﺍﺭﻭ ﺑﻪ ﮔﺮﺩﻥ ﻣﺨﻠﻮﻕ ﺗﺰﺭﻳﻖ ﻛﺮﺩ‪ .‬ﭘﻴﻜﺮ ﺟﻨﺒﻴﺪ‪ .‬ﭼﺸﻢﻫﺎﻳﺶ‬ ‫ﺭﺍ ﮔﺸﻮﺩ ﻭ ﺩﺭ ﺑﺮﺍﺑﺮ ﻧﻮﺭ ﭼﻬﺮﻩ ﺩﺭ ﻫﻢ ﻛﺸﻴﺪ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﻧﻮﺭﺍﻓﻜﻦ ﺭﺍ ﺑﻪ ﻛﻨﺎﺭﻯ ﻛﺸﻴﺪ‪.‬‬ ‫ﻣﺨﻠﻮﻕ ﺩﺭﻭﻥ ﺧﻤﺮﻩ ﺑﻪ ﺳﺴﺘﻰ ﺩﺳﺖﻫﺎ ﻭ ﭘﺎﻫﺎﻳﺶ ﺭﺍ ﺗﻜﺎﻥ ﺩﺍﺩ‪ ،‬ﮔﻮﻳﻰ ﻧﻤﻰﺩﺍﻧﺪ ﺁﻥﻫﺎ ﺑﻪ ﭼﻪ ﻛﺎﺭ‬ ‫ﻣﻰﺁﻳﻨﺪ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﻣﺸﺘﺎﻗﺎﻧﻪ ﺗﻤﺎﺷﺎ ﻣﻰﻛﺮﺩ‪ ،‬ﺷﺎﻳﺪ ﺍﻳﻦ ﺑﺎﺭ ﺩﺳﺖ ﺑﺮ ﻗﻀﺎ ﺁﻣﺎﻳﺶ ﺩﺭﺳﺖ ﺩﺍﺭﻭ ﺑﺮﺍﻯ‬ ‫ﻣﻐﺰ ﺭﺍ ﻳﺎﻓﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺟﺎﺩﻭﮔﺮ ﻓﺮﻣﺎﻥ ﺩﺍﺩ‪» :‬ﺑﻨﺸﻴﻦ‪«.‬‬ ‫ﻣﺨﻠﻮﻕ ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ ﺑﻪ ﺍﻭ ﺩﻭﺧﺖ‪ ،‬ﻭ ﻭﺍﻛﻨﺶﻫﺎﻯ ﻏﻴﺮﺍﺭﺍﺩﻯ‪ ،‬ﻣﺎﻫﻴﭽﻪﻫﺎﻳﺶ ﺭﺍ ﺑﻪ ﻫﻢ ﭘﻴﻮﻧﺪ ﺩﺍﺩ‪.‬‬ ‫ﺳﭙﺲ ﻧﻌﺮﻩﺍﻯ ﺧﺸﻦ ﺳﺮ ﺩﺍﺩ ﻭ ﺍﺯ ﺩﺭﻭﻥ ﺧﻤﺮﻩ ﺑﻪ ﮔﻠﻮﻯ ﻣﺎﺯﻳﺮﻳﻦ ﺟﻬﻴﺪ‪ .‬ﺍﮔﺮ ﭼﻪ ﻣﺎﺯﻳﺮﻳﻦ ﻧﻴﺮﻭﻣﻨﺪ‬ ‫ﺑﻮﺩ‪ ،‬ﻣﺨﻠﻮﻕ ﺍﻭ ﺭﺍ ﮔﺮﻓﺖ ﻭ ﭼﻮﻥ ﻋﺮﻭﺳﻜﻰ ﺗﻜﺎﻥ ﺩﺍﺩ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺑﻪ ﺭﻏﻢ ﻫﻤﻪ ﻧﻴﺮﻭﻯ ﺳﺤﺮ ﻭ ﺟﺎﺩﻭﻳﺶ ﻧﺎﺗﻮﺍﻥ ﺑﻮﺩ‪ .‬ﺍﻓﺴﻮﻥ ﺳﻜﻮﻥ ﺭﺍ ﺑﻪ ﻛﺎﺭ ﺑﺮﺩﻩ ﺑﻮﺩ ﻭ ﺍﻓﺴﻮﻥ‬ ‫‪11‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﻣﺎﺯﻳﺮﻳﻦ ﻓﺮﺍﺭ ﻧﻜﺮﺩ‪ .‬ﭼﺸﻢﻫﺎﻯ ﭘﻴﺮ‪-‬ﺟﻮﺍﻥ ﻣﺎﺯﻳﺮﻳﻦ ﺑﺮﻕ ﻣﻰﺯﺩ‪ .‬ﺑﺎ ﺧﻮﺩ ﺍﻧﺪﻳﺸﻴﺪ‪» :‬ﺯﻥ ﺭﺍ ﺑﻪ ﻋﻤﺎﺭﺕ‬ ‫ﻣﻰﺑﺮﻡ ﻭ ﺩﺭ ﺯﻧﺪﺍﻧﻰ ﺍﺯ ﺷﻴﺸﻪ ﺳﺒﺰ ﺣﺒﺲ ﺧﻮﺍﻫﻢ ﻛﺮﺩ‪ .‬ﻣﻐﺰﺵ ﺭﺍ ﺑﺎ ﺁﺗﺶ ﻭ ﺳﺮﻣﺎ ﻭ ﻏﻢ ﻭ ﺷﺎﺩﻯ‬ ‫ﺧﻮﺍﻫﻢ ﺁﺯﻣﻮﺩ‪ «.‬ﻭ ﺩﺭ ﺍﺩﺍﻣﻪ‪ ،‬ﺩﺧﺘﺮ ﺭﺍ ﺩﺭ ﺣﺎﻟﻰ ﺗﺼﻮﺭ ﻛﺮﺩ ﻛﻪ ﺑﻪ ﺍﻭ ﺷﺮﺍﺏ ﻣﻰﻧﻮﺷﺎﻧﺪ ﻭ ﺩﺭ ﻧﻮﺭ ﺯﺭﺩ‬ ‫ﭼﺮﺍﻍ ﺑﺎ ﻫﺠﺪﻩ ﻓﻦ ﻣﻮﺯﻭﻥ ﺑﺮﺍﻳﺶ ﺩﻟﺒﺮﻯ ﻣﻰﻛﻨﺪ‪ .‬ﺷﺎﻳﺪ ﺯﻥ ﺩﺍﺷﺖ ﺟﺎﺳﻮﺳﻰ ﻣﺎﺯﻳﺮﻳﻦ ﺭﺍ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺍﮔﺮ ﭼﻨﻴﻦ ﺑﻮﺩ‪ ،‬ﻣﺎﺯﻳﺮﻳﻦ ﻓﻰﺍﻟﻔﻮﺭ ﻣﻰﻓﻬﻤﻴﺪ‪ ،‬ﺯﻳﺮﺍ ﻫﻴﭻ ﺁﺩﻣﻴﺰﺍﺩﻩﺍﻯ ﺭﺍ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺩﻭﺳﺖ ﺑﺪﺍﻧﺪ ﻭ‬ ‫ﻧﺎﭼﺎﺭ ﺑﻮﺩ ﻛﻪ ﺗﺎ ﺍﺑﺪ ﻧﮕﻬﺒﺎﻥ ﺑﺎﻏﺶ ﺑﺎﺷﺪ‪.‬‬ ‫ﻛﻤﺘﺮ ﺍﺯ ﺑﻴﺴﺖ ﮔﺎﻡ ﻣﺎﻧﺪﻩ ﺑﻮﺩ ﺗﺎ ﺑﻪ ﺯﻥ ﺑﺮﺳﺪ ﻛﻪ ﻧﺎﮔﻬﺎﻥ ﺯﻥ ﺍﻓﺴﺎﺭ ﻣﺮﻛﺒﺶ ﺭﺍ ﺗﻜﺎﻥ ﺩﺍﺩ ﻭ ﺍﺳﺐ‬ ‫ﺳﻢﻫﺎﻯ ﺳﻴﺎﻫﺶ ﺭﺍ ﺑﺮ ﺯﻣﻴﻦ ﻛﻮﺑﻴﺪ ﻭ ﺑﺮﮔﺸﺖ ﻭ ﺑﻪ ﺩﺭﻭﻥ ﺟﻨﮕﻞ ﮔﺮﻳﺨﺖ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺭﺩﺍﻳﺶ ﺭﺍ ﺑﺎ ﺧﺸﻢ ﺑﻪ ﭘﺸﺖ ﺳﺮ ﺍﻧﺪﺍﺧﺖ‪ .‬ﺯﻥ ﺑﻼﮔﺮﺩﺍﻧﻰ ﺑﻪ ﻫﻤﺮﺍﻩ ﺩﺍﺷﺖ‪ ،‬ﻃﻠﺴﻢ ﺑﺎﻃﻞﺍﻟﺴﺤﺮ‬ ‫ﻳﺎ ﺣﺮﺯﻯ ﺑﺮﺍﻯ ﺣﻔﺎﻇﺖ ﺧﻮﺩ‪ ،‬ﻭ ﻫﺮ ﮔﺎﻩ ﻣﻰﺁﻣﺪ‪ ،‬ﻣﺎﺯﻳﺮﻳﻦ ﺍﺯ ﻗﻀﺎ ﺑﺮﺍﻯ ﺗﻌﻘﻴﺐ ﺍﻭ ﺁﻣﺎﺩﻩ ﻧﺒﻮﺩ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ‬ ‫ﺑﻪ ﺍﻋﻤﺎﻕ ﺗﺎﺭﻳﻚ ﺟﻨﮕﻞ ﻧﻈﺮ ﺩﻭﺧﺖ ﻭ ﺳﭙﻴﺪﻯ ﺑﺪﻥ ﺍﻭ ﺭﺍ ﺩﻳﺪ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺍﺯ ﻣﻴﺎﻥ ﺳﺘﻮﻧﻰ ﺍﺯ ﻧﻮﺭ‬ ‫ﺳﺮﺥ ﮔﺬﺷﺖ ﻭ ﺑﻌﺪ ﺩﺭ ﺳﺎﻳﻪﻫﺎﻯ ﺳﻴﺎﻩ ﮔﻢ ﺷﺪ‪ ...‬ﻳﻌﻨﻰ ﺍﻭ ﻳﻚ ﺳﺎﺣﺮﻩ ﺑﻮﺩ؟ ﺁﻳﺎ ﺑﻪ ﺍﺭﺍﺩﻩﻯ ﺧﻮﺩ ﺁﻣﺪﻩ‬ ‫ﺑﻮﺩ ﻳﺎ –ﺑﻪ ﺍﺣﺘﻤﺎﻝ ﺑﻴﺸﺘﺮ‪ -‬ﺍﺟﻴﺮ ﻭ ﻣﺰﺩﻭﺭ ﻳﻜﻰ ﺍﺯ ﺩﺷﻤﻨﺎﻥ ﺑﻰﺷﻤﺎﺭ ﻣﺎﺯﻳﺮﻳﻦ ﺑﻮﺩ ﻛﻪ ﻣﻰﺧﻮﺍﺳﺖ‬ ‫ﺭﺩﻯ ﺍﺯ ﺧﻮﺩ ﺑﺮ ﺟﺎﻯ ﻧﮕﺬﺍﺭﺩ؟‬ ‫ﺟﻮﺍﻧﻰ‬ ‫ﺯﺭﻳﻦ‪ ،‬ﭘﺎﺩﺷﺎﻩ ﺷﻬﺮ ﻛﺎﻳﻴﻦ ]‪ ،[3‬ﺑﻮﺩ ﻛﻪ ﻣﺎﺯﻳﺮﻳﻦ ﺳِ ّﺮ‬ ‫ِ‬ ‫ﺩﺷﻤﻦ ﭘﻨﻬﺎﻥ ﺷﺎﻳﺪ ﺷﺎﻫﺰﺍﺩﻩ ﻛﻨﺪﻳﻮ ]‪ّ [2‬‬ ‫ﺟﺎﻭﺩﺍﻧﻪ ﺭﺍ ﺍﺯ ﭼﻨﮕﺶ ﺑﻪ ﺩﺭ ﺁﻭﺭﺩﻩ ﺑﻮﺩ‪ .‬ﺷﺎﻳﺪ ﻫﻢ ﺁﺯﻭﺍﻥ ]‪ [4‬ﺳﺘﺎﺭﻩﺷﻨﺎﺱ‪ ،‬ﺷﺎﻳﺪ ﻫﻢ ﺗﻮﺭﺟﺎﻥ ]‪...[5‬‬ ‫ﻧﻪ‪ ،‬ﺗﻮﺭﺟﺎﻥ ﻧﺒﻮﺩ‪ .‬ﺳﮕﺮﻣﻪﻫﺎﻯ ﻣﺎﺯﻳﺮﻳﻦ ﺑﺎ ﻣﺮﻭﺭ ﺧﺎﻃﺮﻩﺍﻯ ﺧﻮﺷﺎﻳﻨﺪ ﺍﺯ ﻫﻢ ﺑﺎﺯ ﺷﺪ‪ .‬ﺍﻣﺎ ﺍﺯ ﻗﻀﺎﻭﺕ ﺩﺭ‬ ‫ﺍﻳﻦ ﺑﺎﺭﻩ ﻣﻨﺼﺮﻑ ﺷﺪ‪ .‬ﺩﺭ ﺑﺎﺏ ﺁﺯﻭﺍﻥ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺁﺯﻣﺎﻳﺸﻰ ﺍﻧﺠﺎﻡ ﺩﻫﺪ‪ .‬ﺑﻪ ﺳﻮﻯ ﻛﺎﺭﮔﺎﻫﺶ ﺑﺎﺯﮔﺸﺖ‪.‬‬ ‫ﻛﻨﺎﺭ ﻣﻴﺰﻯ ﺍﻳﺴﺘﺎﺩ ﻛﻪ ﺭﻭﻳﺶ ﻣﻜﻌﺒﻰ ﺍﺯ ﺑﻠﻮﺭ ﺷﻔﺎﻑ ﺑﻮﺩ ﻛﻪ ﺑﺎ ﺗﺸﻌﺸﻊ ﺳﺮﺥ ﻭ ﺁﺑﻰ ﻣﻰﺩﺭﺧﺸﻴﺪ‪.‬‬ ‫ﺍﺯ ﻳﻚ ﮔﻨﺠﻪ ﺳﻨﺠﻰ ﺑﺮﻧﺠﻰ ﻭ ﭼﻜﺸﻰ ﻧﻘﺮﻩﺍﻯ ﺑﻴﺮﻭﻥ ﺁﻭﺭﺩ‪ .‬ﺿﺮﺑﻪﺍﻯ ﺑﻪ ﺳﻨﺞ ﺯﺩ ﻭ ﺻﺪﺍﻳﻰ ﺁﺭﺍﻡ ﺩﺭ‬ ‫ﺍﺗﺎﻕ ﻭ ﺑﻴﺮﻭﻥ ﭘﻴﭽﻴﺪ ﻭ ﺑﺎﺯ ﻛﻮﺑﻴﺪ ﻭ ﻛﻮﺑﻴﺪ‪ .‬ﻧﺎﮔﻬﺎﻥ ﭼﻬﺮﻩﻯ ﺁﺯﻭﺍﻥ ﺩﺭﻭﻥ ﺑﻠﻮﺭ ﻇﺎﻫﺮ ﺷﺪ‪ ،‬ﭼﻬﺮﻩﺍﻯ ﻛﻪ‬ ‫ﺩﺭﺩ ﻭ ﺗﺮﺳﻰ ﻋﻈﻴﻢ ﺑﺮ ﺁﻥ ﻋﺮﻕ ﻧﺸﺎﻧﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺁﺯﻭﺍﻥ ﻧﺎﻟﻴﺪ‪» :‬ﻧﺰﻥ ﻣﺎﺯﻳﺮﻳﻦ‪ .‬ﺑﻴﺶ ﺍﺯ ﺍﻳﻦ ﺑﺮ ﺳﻨﺞ ﻋﻤﺮ ﻣﻦ ﻣﻜﻮﺏ‪«.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﻣﻜﺜﻰ ﻛﺮﺩ‪ .‬ﺩﺳﺘﺶ ﻫﻨﻮﺯ ﻧﺰﺩﻳﻚ ﺳﻨﺞ ﺑﻮﺩ‪.‬‬ ‫»ﺁﻳﺎ ﺟﺎﺳﻮﺳﻰ ﻣﺮﺍ ﻣﻰﻛﻨﻰ‪ ،‬ﺁﺯﻭﺍﻥ؟ ﺯﻧﻰ ﺭﺍ ﻣﻰﻓﺮﺳﺘﻰ ﺗﺎ ﺳﻨﺞ ﺭﺍ ﺑﺎﺯ ﭘﺲ ﺳﺘﺎﻧﻰ؟«‬ ‫»ﻧﻪ ﺳﺮﻭﺭﻡ‪ .‬ﻣﻦ ﻧﺒﻮﺩﻩﺍﻡ‪ .‬ﺁﻥﭼﻨﺎﻥ ﺍﺯ ﺗﻮ ﺑﻴﻤﻨﺎﻛﻢ ﻛﻪ ﭼﻨﻴﻦ ﻧﺨﻮﺍﻫﻢ ﻛﺮﺩ‪«.‬‬ ‫»ﺑﺎﻳﺪ ﺯﻥ ﺭﺍ ﺑﻪ ﻣﻦ ﺗﺴﻠﻴﻢ ﻛﻨﻰ ﺁﺯﻭﺍﻥ‪ .‬ﺑﺎﻳﺪ ﭼﻨﻴﻦ ﻛﻨﻰ‪«.‬‬ ‫»ﻧﺎﺷﺪﻧﻰ ﺍﺳﺖ ﺳﺮﻭﺭﻡ! ﻧﻪ ﻣﻰﺩﺍﻧﻢ ﻛﻴﺴﺖ ﻭ ﻧﻪ ﻣﻰﺩﺍﻧﻢ ﭼﻴﺴﺖ!« ﻣﺎﺯﻳﺮﻳﻦ ﭼﻨﻴﻦ ﻧﻤﻮﺩ ﻛﻪ ﺑﺎﺯ ﻣﻰﺧﻮﺍﻫﺪ‬ ‫ﺑﺮ ﺳﻨﺞ ﺑﻜﻮﺑﺪ‪ .‬ﺁﺯﻭﺍﻥ ﭼﻨﺎﻥ ﻋﺠﺰ ﻭ ﻻﺑﻪ ﻛﺮﺩ ﻛﻪ ﻣﺎﺯﻳﺮﻳﻦ ﭼﻜﺶ ﺭﺍ ﺑﺎ ﺍﻧﺰﺟﺎﺭ ﺑﺮ ﺯﻣﻴﻦ ﺍﻧﺪﺍﺧﺖ ﻭ ﺳﻨﺞ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺗﻨﻪﻫﺎﻯ ﺷﻔﺎﻑ ﻣﻤﻠﻮ ﺍﺯ ﺭگﻫﺎﻯ ﺳﺮﺥ ﻭ ﺯﺭﺩ ﺩﺍﺷﺘﻨﺪ‪ ،‬ﻭ ﺑﺮﺧﻰ ﻫﻢ ﭘﻮﺷﻴﺪﻩ ﺩﺭ ﺑﺮگﻫﺎﻳﻰ ﻫﻤﺎﻧﻨﺪ‬ ‫ﺳﻴﻢﻟﻮﻟﻪﻫﺎﻯ ﻓﻠﺰﻯ‪ ،‬ﻫﺮ ﺑﺮﮔﻰ ﺍﺯ ﺟﻨﺴﻰ ﻣﺘﻔﺎﻭﺕ؛ ﻣﺲ‪ ،‬ﻧﻘﺮﻩ‪ ،‬ﺗﺎﻧﺘﺎﻝ ﺁﺑﻰ‪ ،‬ﺑﺮﻧﺞ‪ ،‬ﺍﻳﻨﺪﻳﻮﻡ ﺳﺒﺰ‪.‬‬ ‫ﺍﻳﻦﺟﺎ ﻏﻨﭽﻪﻫﺎﻯ ﺣﺒﺎﺏﮔﻮﻥ ﺩﺭ ﻣﻴﺎﻥ ﺑﺮگﻫﺎﻯ ﺳﺒﺰ ﺑﺮﺍﻕ ﺷﻜﻔﺘﻪﺍﻧﺪ‪ ،‬ﺁﻥﺟﺎ ﺑﻮﺗﻪﺍﻯ ﻫﺰﺍﺭﺍﻥ ﮔﻞ‬ ‫ﻧﻰﻟﺒﻚﻣﺎﻧﻨﺪ ﺭﻭﻳﺎﻧﺪﻩ ﻛﻪ ﺻﻔﻴﺮ ﻟﻄﻴﻒﺷﺎﻥ ﻣﻮﺳﻴﻘﻰ ﺯﻣﻴﻦ ﻛﻬﻦ ﺭﺍ ﻣﻰﻧﻮﺍﺯﺩ؛ ﻣﻮﺳﻴﻘﻰ ﺁﻓﺘﺎﺏ ﺳﺮﺥ‬ ‫ﻳﺎﻗﻮﺗﻰ‪ ،‬ﻣﻮﺳﻴﻘﻰ ﺁﺑﻰ ﻛﻪ ﺑﻪ ﺧﺎﻙ ﺗﻴﺮﻩ ﻧﻔﻮﺫ ﻣﻰﻛﻨﺪ‪ ،‬ﻭ ﻣﻮﺳﻴﻘﻰ ﻧﺴﻴﻢﻫﺎﻯ ﺁﺭﺍﻡ‪ .‬ﻭ ﺁﻥ ﺳﻮﻯ ﺍﻳﻦ‬ ‫ﭘﺮﭼﻴﻦ ﺣﻴﻮﺍﻧﻰ ﺩﺭﺧﺘﺎﻥ ﺟﻨﮕﻞ‪ ،‬ﺩﻳﻮﺍﺭﻯ ﺑﺮﺁﻭﺭﺩﻩﺍﻧﺪ ﺍﺯ ﺭﻣﺰ ﻭ ﺭﺍﺯ‪ .‬ﺩﺭ ﺍﻳﻦ ﺳﺎﻋﺖ ﺍﻓﻮﻝ ﻋﻤﺮ ﺯﻣﻴﻦ‪،‬‬ ‫ﻫﻴﭻ ﻛﺲ ﻧﺒﻮﺩ ﻛﻪ ﻣﺪﻋﻰ ﺑﺎﺷﺪ ﺑﺎ ﻫﻤﻪ ﭼﻴﺰ ﺁﺷﻨﺎﺳﺖ‪ ،‬ﺑﺎ ﺩﺭﻩﻫﺎ ﻭ ﻧﻴﺰﺍﺭﻫﺎ ﻭ ﺭﺍﻩﻫﺎ ﻭ ﮔﻮﺩﻯﻫﺎ ﻭ‬ ‫ﻓﻼﺕﻫﺎ ﻭ ﻋﺮﺻﻪﻫﺎ ﻭ ﺍﺭﺗﻔﺎﻋﺎﺕ ﻭ ﺧﻠﻴﺞﻫﺎ ﻭ ﻋﻤﺎﺭﺕﻫﺎﻯ ﻓﺮﻭ ﺭﻳﺨﺘﻪ ﻭ ﺗﻔﺮﺝﮔﺎﻩﻫﺎﻯ ﺁﻓﺘﺎﺏﺯﺩﻩ ﻭ‬ ‫ﻫﻤﻪﻯ ﻧﻬﺮﻫﺎ ﻭ ﺟﻮﻯﻫﺎ ﻭ ﺑﺮﻛﻪﻫﺎ ﻭ ﻣﺮﻏﺰﺍﺭﻫﺎ ﻭ ﺑﻴﺸﻪﻫﺎ ﻭ ﻋﺮﺻﻪﻫﺎﻯ ﺳﻨﮕﻰ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ‪ ،‬ﺩژﻡ ﻭ ﻏﺮﻗﻪ ﺩﺭ ﺍﻧﺪﻳﺸﻪ‪ ،‬ﺩﺭ ﺑﺎﻏﺶ ﻗﺪﻡ ﻣﻰﺯﺩ‪ .‬ﺁﺭﺍﻡ ﮔﺎﻡ ﺑﺮ ﻣﻰﺩﺍﺷﺖ ﻭ ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ ﺍﺯ‬ ‫ﭘﺸﺖ ﺩﺭ ﻫﻢ ﮔﺮﻩ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺩﺭ ﺟﻨﮕﻞ ﻧﺰﺩﻳﻚ ﺑﺎﻍ ﻛﺴﻰ ﺑﻮﺩ ﻛﻪ ﻣﺎﺯﻳﺮﻳﻦ ﺭﺍ ﺁﺷﻔﺘﻪ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺁﺷﻔﺘﻪ‬ ‫ﻭ ﻣﺒﻬﻮﺕ ﻭ ﻣﺮﺩﺩ ﻭ ﺳﺨﺖ ﺁﺭﺯﻭﻣﻨ ِﺪ ﺯﻥ ُﺻﻨﻌﺘﻰ ﺩﻝﺍﻧﮕﻴﺰ ﻛﻪ ﺩﺭ ﺟﻨﮕﻞ ﻧﻬﺎﻥ ﺑﻮﺩ‪ .‬ﺯﻥ ﺑﺎ ﺧﻨﺪﻩ ﻭ‬ ‫ﺑﻰﺧﻨﺪﻩ ﻭ ﻫﻤﻴﺸﻪ ﻣﺤﺘﺎﻁ ﺑﻪ ﺑﺎﻍ ﺷﺒﻴﺨﻮﻥ ﻣﻰﺯﺩ‪ ،‬ﺳﻮﺍﺭ ﺑﺮ ﺍﺳﺒﻰ ﺳﻴﺎﻩ ﺑﺎ ﭼﺸﻤﺎﻧﻰ ﭼﻮﻥ ﺑﻠﻮﺭﻫﺎﻯ‬ ‫ﻃﻼﻳﻰ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﺑﺎﺭﻫﺎ ﻛﻮﺷﻴﺪﻩ ﺑﻮﺩ ﺍﻭ ﺭﺍ ﺑﮕﻴﺮﺩ‪ ،‬ﺍﻣﺎ ﺍﺳﺐ ﻫﻤﻴﺸﻪ ﺯﻥ ﺭﺍ ﻣﺼﻮﻥ ﺍﺯ ﻫﺮ ﺗﺮﻓﻨﺪ ﻭ ﺣﻴﻠﺖ‬ ‫ﻭ ﺩﺳﻴﺴﻪ ﻭ ﻭﺳﻮﺳﻪﻯ ﻣﺎﺯﻳﺮﻳﻦ‪ ،‬ﺍﺯ ﺑﺎﻍ ﺩﻭﺭ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺟﻴﻐﻰ ﺩﺭﺩﻧﺎﻙ ﺑﺎﻍ ﺭﺍ ﺷﻜﺎﻓﺖ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﻗﺪﻡ ﺗﻨﺪ ﻛﺮﺩ ﻭ ﻣﻮﺷﻰ ﺭﺍ ﺩﻳﺪ ﻛﻪ ﺳﺎﻗﻪ ﻳﻜﻰ ﺍﺯ‬ ‫ﺣﻴﻮﺍﻥﮔﻴﺎﻫﺎﻧﺶ ﺭﺍ ﻣﻰﺟﻮﺩ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﻣﺘﺠﺎﻭﺯ ﺭﺍ ﻛﺸﺖ ﻭ ﺻﺪﺍﻯ ﺟﻴﻎ ﻧﻔﺲﺯﻧﺎﻥ ﻓﺮﻭ ﻧﺸﺴﺖ‪.‬‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ﺑﺮﮔﻰ ﻛﺮﻙﭘﻮﺵ ﺍﺯ ﺍﻳﻦ ﻋﺠﻴﺐﺍﻟﺨﻠﻘﻪ ﮔﻴﺎﻩ ﻭ ﺣﻴﻮﺍﻥ ﺭﺍ ﻧﻮﺍﺯﺵ ﻛﺮﺩ ﻭ ﺍﻭ ﻫﻢ ﺍﺯ ﺭﻭﻯ ﻟﺬﺕ‪،‬‬ ‫ﻫﻴﺴﻰ ﺍﺯ ﺩﻫﺎﻥ ﺳﺮﺧﺶ ﺑﻴﺮﻭﻥ ﺩﺍﺩ‪.‬‬ ‫ﺳﭙﺲ ﮔﻴﺎﻩ ﺳﺨﻦ ﮔﻔﺖ‪» :‬ﻙﻙﻙﻙﻙ«‪ ،‬ﻣﺎﺯﻳﺮﻳﻦ ﺧﻢ ﺷﺪ ﻭ ﺟﻮﻧﺪﻩﻯ ﻣﺮﺩﻩ ﺭﺍ ﺭﻭﺑﻪﺭﻭﻯ ﺩﻫﺎﻥ‬ ‫ﺳﺮﺥ ﮔﺮﻓﺖ‪ .‬ﺩﻫﺎﻥ ﺳﺮﺥ ﺟﺴﺪ ﺭﺍ ﺑﻪ ﺩﺭﻭﻥ ﻣﻜﻴﺪ ﻭ ﺑﻪ ﺣﻔﺮﻩ ﺷﻜﻤﺶ ﺩﺭ ﺯﻳﺮ ﺯﻣﻴﻦ ﻓﺮﺳﺘﺎﺩ‪ .‬ﮔﻴﺎﻩ‬ ‫ﻏﺮﻏﺮﻯ ﻛﺮﺩ‪ ،‬ﺁﺭﻭﻏﻰ ﺯﺩ ﻭ ﻣﺎﺯﻳﺮﻳﻦ ﻫﻤﻪ ﺍﻳﻦﻫﺎ ﺭﺍ ﺑﺎ ﺧﺮﺳﻨﺪﻯ ﺗﻤﺎﺷﺎ ﻛﺮﺩ‪.‬‬ ‫ﺧﻮﺭﺷﻴﺪ ﺩﺭ ﺁﺳﻤﺎﻥ ﭘﺎﻳﻴﻦ ﺁﻣﺪﻩ ﺑﻮﺩ‪ .‬ﺁﻥ ﻗﺪﺭ ﻛﻢ ﻧﻮﺭ ﻭ ﺳﺮﺥ ﺑﻮﺩ ﻛﻪ ﺳﺘﺎﺭﻩﻫﺎ ﺩﻳﺪﻩ ﻣﻰﺷﺪﻧﺪ‪ .‬ﻫﻤﺎﻥ‬ ‫ﻣﻮﻗﻊ ﺑﻮﺩ ﻛﻪ ﻣﺎﺯﻳﺮﻳﻦ ﺣﺲ ﻛﺮﺩ ﻛﺴﻰ ﻧﮕﺎﻫﺶ ﻣﻰﻛﻨﺪ‪ .‬ﺣﺘﻤﺎً ﺯﻥ ﺟﻨﮕﻠﻰ ﺑﻮﺩ ﻛﻪ ﻗﺒ ً‬ ‫ﻼ ﻫﻢ ﺑﻪ‬ ‫ﻫﻤﻴﻦ ﺷﻴﻮﻩ ﺁﺭﺍﻣﺶ ﺍﻭ ﺭﺍ ﺑﺮ ﻫﻢ ﺯﺩﻩ ﺑﻮﺩ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﺍﺯ ﻗﺪﻡ ﺯﺩﻥ ﺩﺳﺖ ﺑﺮﺩﺍﺷﺖ ﻭ ﻛﻮﺷﻴﺪ ﺗﺎ ﺩﺭﻳﺎﺑﺪ‬ ‫ﻧﮕﺎﻩ ﺧﻴﺮﻩ ﺍﺯ ﻛﺪﺍﻡ ﺳﻮ ﺑﻪ ﺍﻭ ﺩﻭﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺟﺎﺩﻭﮔﺮ ﻳﻜﻰ ﺍﺯ ﻃﻠﺴﻢﻫﺎﻯ ﺳﻜﻮﻥ ﺭﺍ ﺑﻪ ﻓﺮﻳﺎﺩ ﺍﺩﺍ ﻛﺮﺩ‪ .‬ﭘﺸﺖ ﺳﺮﺵ ﻳﻜﻰ ﺍﺯ ﮔﻴﺎﻩﺣﻴﻮﺍﻥﻫﺎ ﺩﺭ ﺟﺎ‬ ‫ﺧﺸﻜﻴﺪ ﻭ ﺷﺐﭘﺮﻩﺍﻯ ﺑﺰﺭگ ﺑﻪ ﺁﺭﺍﻣﻰ ﺩﺭ ﻫﻮﺍ ﻟﻐﺰﻳﺪ ﺗﺎ ﺑﻪ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩ‪ .‬ﻣﺎﺯﻳﺮﻳﻦ ﭼﺮﺧﻴﺪ‪ .‬ﺩﺧﺘﺮﻙ‬ ‫ﺁﻥﺟﺎ ﺑﻮﺩ‪ .‬ﺩﺭﺳﺖ ﺩﺭ ﻟﺒﻪﻯ ﺟﻨﮕﻞ‪ .‬ﺍﺯ ﻫﻤﻴﺸﻪ ﻧﺰﺩﻳﻚﺗﺮ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺑﺮﺧﻼﻑ ﻫﻤﻴﺸﻪ ﺑﺎ ﻧﺰﺩﻳﻚ ﺷﺪﻥ‬ ‫‪9‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﻣﺎﯾﮑﻞ ﮐﯿنب ﮐﻪ ﺷﻬﺮت ادﺑﯽ ﻫﻤﻪﮔﯿﺮش او را ﻗﺎدر ﮐﺮده ﺗﺎ ﮐﻠﯿﺸﻪﻫﺎ را ﺑﺪون ﺧﻮردن ﺑﺮﭼﺴﺐ ﻧﻮﯾﺴﻨﺪهی‬ ‫ژاﻧﺮی ﺑﻪ ﮐﺎر ﺑﮕﯿﺮد ﻣﯽﮔﻮﯾﺪ‪» :‬ﺟﮏ وﻧﺲ ﯾﮑﯽ از دردﻧﺎکﺗﺮﯾﻦ ﻣﻮاردی اﺳﺖ ﮐﻪ ﻧﻮﯾﺴﻨﺪهای اﻋﺘﺒﺎری ﮐﻪ‬ ‫ﺑﺎﯾﺪ را منﯽﻳﺎﺑﺪ‪ .‬اﮔﺮ روی ﺟﻠﺪ "آﺧﺮﯾﻦ ﻗﻠﻌﻪ" ﯾﺎ "اژدرﺳﺎﻻران" اﺳﻢ اﯾﺘﺎﻟﻮ ﮐﺎﻟﻮﯾﻨﻮ ﭼﺎپ ﺷﺪه ﺑﻮد‪ ،‬ﯾﺎ ﻫﺮ‬ ‫اﺳﻢ ﺧﺎرﺟﯽ دﯾﮕﺮی‪ ،‬ﻫﻤﻪ آنﻫﺎ را ﴍح ﻣﺮاﻗﺒﻪای ﻋﻤﯿﻖ ﺑﻪ ﺷامر ﻣﯽآورﻧﺪ‪ .‬اﻣﺎ ﭼﻮن ﺟﮏ وﻧﺲ اﺳﺖ و‬ ‫در ﻣﺠﻠﻪی ﻓﻼن و ﺑﻬامن ﺷﮕﻔﺖ ﭼﺎپ ﺷﺪه اﺳﺖ‪ ،‬ﺑﺎ اﯾﻦ ﺳﺪ ﻧﻔﻮذﻧﺎﭘﺬﯾﺮ روﺑﻪرو ﻣﯽﺷﻮد‪«.‬‬ ‫ﺑﺮﺧﯽ آﺛﺎر وﻧﺲ ﻋﻼوه ﺑﺮ آﺧﺮﯾﻦ ﻗﻠﻌﻪ و اژدرﺳﺎﻻران‪ ،‬ﻋﺒﺎرﺗﻨﺪ از ﺳﻪﮔﺎﻧﻪی ﻻﯾﻮﻧﺲ‪ ،‬زﻣﯿﻦ ﻣﺤﺘﴬ‪،‬‬ ‫ﭼﺸﻢﻫﺎی اﺑﺮﺟﻬﺎن و ﺗﻌﺪاد ﺑﺴﯿﺎر زﯾﺎد ﮐﺘﺎبﻫﺎی ارزﺷﻤﻨﺪ دﯾﮕﺮی ﮐﻪ ﺧﻮاﻧﺪﻧﺸﺎن ﺑﻪ ﻫﺮ ﮐﺴﯽ ﺗﻮﺻﯿﻪ‬ ‫ﻣﯽﺷﻮد‪ .‬آﺛﺎر وﻧﺲ ﺑﺮﺧﻼف روﻧﺪ راﯾﺞ دوران ﻧﻮﺷﺘﻪ ﺷﺪن ﻫﺮ ﯾﮏ‪ ،‬ﻫﻤﻮاره رﮔﻪای از ﺗﺎزﮔﯽ و اﺑﺘﮑﺎر ﺑﻪ‬ ‫ﻫﻤﺮاه ﺧﻮد داﺷﺘﻪاﻧﺪ‪ .‬ﻧﻮﯾﺴﻨﺪﮔﺎن زﯾﺎدی ﺗﺤﺖ ﺗﺄﺛﯿﺮ وﻧﺲ ﺑﻮدهاﻧﺪ ﮐﻪ از ﻣﯿﺎن آنﻫﺎ ﻣﯽﺗﻮان ﺑﻪ ﻣﺎﯾﮑﻞ‬ ‫ﺷﯿﺎ‪ ،‬ﻫﯿﻔﻮرد ﭘﯿﺮس‪ ،‬دﯾﻮﯾﺪ اﻟﮑﺴﺎﻧﺪر‪ ،‬ﺟﯿﻦ وﻟﻒ‪ ،‬ری آﻟﺪرﯾﺞ‪ ،‬دن ﺳﯿﻤﻮﻧﺰ و ﺗﯿﻢ اﺳﱰﺗﻮن اﺷﺎره ﮐﺮد‪.‬‬ ‫ﮐﻞ دﻧﯿﺎی ﺑﺎزی »دﺧﻤﻪ و اژدﻫﺎ« )‪ (D&D‬ﻫﻢ از زﻣﯿﻦ ﻣﺤﺘﴬ وﻧﺲ اﻟﻬﺎم ﮔﺮﻓﺘﻪ اﺳﺖ‪ .‬ﻗﺼﻪﻫﺎی زﻣﯿﻦ‬ ‫ﻣﺤﺘﴬ ﻣﺠﻤﻮﻋﻪ داﺳﺘﺎنﻫﺎﯾﯽ اﺳﺖ ﮐﻪ ﯾﮑﯽ از ﺷﮕﺮفﺗﺮﯾﻦ دﻧﯿﺎﻫﺎی ﮐﺎردﺳﺖ وﻧﺲ ﻣﯽﮔﺬرﻧﺪ‪ .‬زﻣﯿﻦ‬ ‫ﻣﯿﻠﯿﻮنﻫﺎ ﺳﺎل آﯾﻨﺪه‪ ،‬زﯾﺮ ﺧﻮرﺷﯿﺪی ﺗﺎرﯾﮏ و در دﻧﯿﺎﯾﯽ آن ﻗﺪر ﭘﯿﺮ ﮐﻪ ﻋﻠﻢ دوﺑﺎره ﺑﻪ ﺟﺎدو دﮔﺮدﯾﺴﯽ‬ ‫ﯾﺎﻓﺘﻪ اﺳﺖ‪ .‬وﻧﺲ اﯾﻦ دﻧﯿﺎ را روی ﯾﮏ ﺗﺨﺘﻪﺷﺴﺘﯽ‪ ،‬در ﺣﺎل ﮐﺸﺘﯽراﻧﯽ در ﺟﻨﻮب اﻗﯿﺎﻧﻮس آرام در زﻣﺎن‬ ‫ﺟﻨﮓ دوم ﺟﻬﺎﻧﯽ آﻓﺮﯾﺪ‪.‬‬ ‫در ﺳﺎل ‪ ،۲۰۰۹‬ﻣﺠﻤﻮﻋﻪای ﺑﻪ ﻧﺎم »ﻧﻐﻤﻪﻫﺎی زﻣﯿﻦ ﻣﺤﺘﴬ‪ :‬داﺳﺘﺎنﻫﺎﯾﯽ در ﺑﺰرﮔﺪاﺷﺖ ﺟﮏ وﻧﺲ«‬ ‫ﻣﻨﺘﴩ ﺷﺪ‪ .‬اﯾﻦ ﻣﺠﻤﻮﻋﻪ ﺣﺎوی داﺳﺘﺎنﻫﺎﯾﯽ ﮐﻮﺗﺎه در دﻧﯿﺎی وﻧﺲ و ﻣﻘﺎﻟﻪﻫﺎﯾﯽ درﺑﺎرهی ﮐﺎرﻧﺎﻣﻪی وﻧﺲ‬ ‫و داﺳﺘﺎنﻫﺎﯾﺶ اﺳﺖ‪ .‬در ﻣﺠﻤﻮع ﺑﯿﺴﺖ و دو ﻧﻮﯾﺴﻨﺪه از ﺟﻤﻠﻪ دن ﺳﯿﻤﻮﻧﺰ‪ ،‬ﻧﯿﻞ ﮔﯿﻤﻦ‪ ،‬ﺗﺮی دوﻟﯿﻨﮓ‪،‬‬ ‫ﺗﻨﯿﺚ ﻟﯽ‪ ،‬ﺟﺮج آر آر ﻣﺎرﺗﯿﻦ و دﯾﻦ ﮐﻮﻧﺘﺰ در اﯾﻦ ﻣﺠﻤﻮﻋﻪ ﻣﺸﺎرﮐﺖ ﮐﺮدهاﻧﺪ‪ .‬ﺟﻤﻊآوری ﻣﺠﻤﻮﻋﻪ ﺑﺎ‬ ‫ﺟﺮج آر آر ﻣﺎرﺗﯿﻦ و ﮔﺎردﻧﺮ دوزوس ﺑﻮده اﺳﺖ‪.‬‬ ‫ﺟﮏ وﻧﺲ اﮐﻨﻮن ﭘﺲ از ﻧﻮﺷنت زﻧﺪﮔﯽﻧﺎﻣﻪاش دﺳﺖ از ﻧﻮﯾﺴﻨﺪﮔﯽ ﮐﺸﯿﺪه اﺳﺖ‪.‬‬ ‫ﺩﺭﺧﺘﺎﻥ ﭘﺮﺑﺎﺭ ﺍﺯ ﻣﻴﻮﻩﻫﺎﻯ‬ ‫ﻣﺎﺯﻳﺮﻳﻦ ]‪ [1‬ﺟﺎﺩﻭﮔﺮ ﻏﺮﻕ ﺩﺭ ﺍﻧﺪﻳﺸﻪ ﺩﺭ ﺑﺎﻏﺶ ﮔﺎﻡ ﺑﺮ ﻣﻰﺩﺍﺷﺖ‪.‬‬ ‫ِ‬ ‫ﺯﻫﺮﺁﮔﻴﻦ ﺑﺮ ﻓﺮﺍﺯ ﺳﺮﺵ ﺳﺎﻳﻪ ﺍﻓﻜﻨﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﮔﻞﻫﺎ ﺑﻪ ﻋﺒﻮﺩﻳﺖ ﺧﺎﻛﺴﺎﺭﺍﻧﻪ ﭘﻴﺶ ﭘﺎﻳﺶ ﺳﺮ ﺑﻪ‬ ‫ﺧﺎﻙ ﻣﻰﺳﺎﻳﻴﺪﻧﺪ‪ .‬ﭼﺸﻢﻫﺎﻯ ﻋﻘﻴﻖﻭﺍﺭ ﺑﻮﺗﻪﻫﺎﻯ ﻣﻬﺮﮔﻴﺎﻩ ﻣﺴﻴﺮ ﭘﺎﻫﺎﻳﺶ ﺭﺍ ﻛﻪ ﺩﺭ ﺳﺮﭘﺎﻳﻰﻫﺎﻯ‬ ‫ﺳﻴﺎﻩ ﭘﻮﺷﻴﺪﻩ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺩﻧﺒﺎﻝ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺍﻳﻦ ﭼﻨﻴﻦ ﺑﻮﺩ ﺑﺎﻍ ﻣﺎﺯﻳﺮﻳﻦ؛ ﺳﻪ ﺍﻳﻮﺍﻥ ﭘﻮﺷﻴﺪﻩ ﺍﺯ‬ ‫ﮔﻴﺎﻫﺎﻥ ﻏﺮﻳﺐ ﻭ ﺷﮕﺮﻑ‪ .‬ﺭﻧﮓﻫﺎﻯ ﻧﻮﺭﺍﻧﻰ ﺭﻭﻯ ﺑﺮﺧﻰ ﮔﻴﺎﻫﺎﻥ ﻣﻰﺩﺭﺧﺸﻴﺪﻧﺪ ﻭ ﻫﻤﭽﻮﻥ ﻗﻮﺱﻗﺰﺡ‬ ‫ﺑﻪ ﭼﺸﻢ ﻣﻰﺁﻣﺪﻧﺪ‪ .‬ﺷﻜﻮﻓﻪﻫﺎﻯ ﺑﻌﻀﻰ ﺩﻳﮕﺮ ﭼﻮﻥ ﺷﻘﺎﻳﻖ ﺩﺭﻳﺎﻳﻰ ﺑﻪ ﺭﻧﮓﻫﺎﻯ ﺑﻨﻔﺶ ﻭ ﺳﺒﺰ ﻭ‬ ‫ﻳﺎﺳﻰ ﻭ ﺻﻮﺭﺗﻰ ﻭ ﺯﺭﺩ ﻣﻰﺗﭙﻴﺪﻧﺪ‪ .‬ﺑﺮﺧﻰ ﺩﺭﺧﺘﺎﻥ ﭼﻮﻥ ﺳﺎﻳﻪﺑﺎﻥﻫﺎﻯ ﭘﺮ ﻃﺎﻭﻭﺱ ﺑﻮﺩﻧﺪ‪ ،‬ﺑﺮﺧﻰ‬ ‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻣﺎﺯﻳﺮﻳﻦ ﺟﺎﺩﻭﮔﺮ‬ ‫ﺟﻚ ﻭﻧﺲ‬ ‫ﻣﻬﺪﻯ ﺑﻨﻮﺍﺭﻯ‬

‫ﺟﮏ وﻧﺲ )‪ (Jack Vance‬را ﻫﻤﭙﺎﻟﮑﯽﻫﺎﯾﺶ »ﻧﺎﺑﻐﻪای ﻧﺎدر« و »ﺑﺰرگﺗﺮﯾﻦ ﻧﻮﯾﺴﻨﺪهی ﻋﻠﻤﯽﺗﺨﯿﻠﯽ و‬ ‫ﻓﺎﻧﺘﺰی زﻧﺪه« ﻣﯽﺷامرﻧﺪ‪ .‬وﻧﺲ ﻣﺪتﻫﺎی ﻃﻮﻻﻧﯽ‪ ،‬ﺑﻪ اﻧﺪازهی ﻃﻮل ﺳﺎﺑﻘﻪی ﻧﻮﯾﺴﻨﺪﮔﯽاش‪ ،‬از دﯾﺪهﻫﺎ‬ ‫ﭘﻨﻬﺎن ﺑﻮده ﮐﻪ ﺗﺎ ﺑﻪ ﺣﺎل ﻣﯽﺷﻮد ﺷﺶ دﻫﻪ و ﺧﻮردهای‪ .‬ﺑﻠﻪ‪ ،‬ﻫﻢ »ﻫﻮﮔﻮ« ﺑﺮده‪ ،‬ﻫﻢ »ﻧﺒﯿﻮﻻ« و ﻫﻢ‬ ‫»ﺟﻬﺎن ﻓﺎﻧﺘﺰی« و ﻫﻢ ‪ SFWA‬او را »اﺳﺘﺎد ﺑﺰرگ« ﺧﻮاﻧﺪه اﺳﺖ‪ .‬ﺟﺎﯾﺰهی »ادﮔﺎر« ‪ MWA‬را ﻫﻢ ﺟﺎ‬ ‫ﻧﯿﺎﻧﺪازﯾﻢ! اﻣﺎ ﻫﻤﻪی اﯾﻦ ﺟﻮاﯾﺰ و اﻓﺘﺨﺎرات او را ﺑﯿﺶ از ﭘﯿﺶ اﺳﺘﺘﺎر ﮐﺮدهاﻧﺪ‪ .‬ﯾﻌﻨﯽ ﺟﮏ وﻧﺲ ﺑﻪ‬ ‫ﻋﻨﻮان ﯾﮑﯽ دﯾﮕﺮ ﻧﻮﯾﺴﻨﺪهی ﺑﺰرگ ﻋﻠﻤﯽﺗﺨﯿﻠﯽ و ﻓﺎﻧﺘﺰی ﺷﻨﺎﺧﺘﻪ ﺷﺪ و ﺑﯿﻦ آنﻫﺎ ﮔﻢ ﺷﺪ‪.‬‬ ‫اﻣﺎ رﺳﻢ روزﮔﺎر ﭼﻨﯿﻦ اﺳﺖ ﮐﻪ ﺑﺴﯿﺎری از ﻃﺮﻓﺪاران ﺳﺎﺑﻖ وﻧﺲ‪ ،‬اﻣﺮوز ﻧﻮﯾﺴﻨﺪﮔﺎن ﻣﺸﻬﻮری ﺑﻪ ﺷامر‬ ‫ﻣﯽآﯾﻨﺪ‪ .‬دن ﺳﯿﻤﻮﻧﺰ )ﺧﺎﻟﻖ »ﻫﺎﯾﭙﺮﯾﻮن«( ﮐﺸﻒ وﻧﺲ را ﭼﻨﯿﻦ ﺑﺎزﮔﻮ ﻣﯽﮐﻨﺪ‪:‬‬ ‫»‪ ...‬ﻣﮑﺎﺷﻔﻪوار ﺑﻮد‪ .‬ﻣﺜﻞ ﮐﺸﻒ ﭘﺮوﺳﺖ ﯾﺎ ﻫرنی ﺟﯿﻤﺰ‪ .‬اﻧﮕﺎر ﯾﮏ دﻓﻌﻪ درون ژرﻓﺎ ﺷﯿﺮﺟﻪ زده ﺑﺎﺷﯽ‪.‬‬ ‫وﻧﺲ ﺑﺎ آن زﺑﺎن ﺑﯽﻧﻘﺼﺶ ﺟﻠﻮهﻫﺎﯾﯽ از ﺟﻬﺎنﻫﺎﯾﯽ ﺗﺎم و متﺎم ﻧﺸﺎﻧﺖ ﻣﯽدﻫﺪ‪ .‬اﮔﺮ وﻧﺲ در آﻣﺮﯾﮑﺎی‬ ‫ﺟﻨﻮﺑﯽ ﻣﺘﻮﻟﺪ ﺷﺪه ﺑﻮد‪ ،‬ﺗﺎ ﺑﻪ ﺣﺎل ﻧﻮﺑﻞ ادﺑﯽ ﮔﺮﻓﺘﻪ ﺑﻮد‪«.‬‬


‫ﻫﻢ ﻭﺍﺭﺙ ﻭ ﺻﺎﺣﺐ ﻭ ﻣﻌﺮﻓﺶ ﺩﺭ ﺍﻳﺮﺍﻥ ﺷﺪﻩ ﺑﺎﺷﺪ‪ .‬ﻭﻟﻰ ﻛﺴﻰ ﺑﻪ ﺗﺄﺛﻴﺮ ﺍﻳﻦ ﻣﺮﺩ ﺑﺰﺭگ ﺩﺭ‬ ‫ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﻭ ﺟﺮﻳﺎﻥﻫﺎﻳﻰ ﻛﻪ ﺳﺎﺧﺘﻪ ﺍﺷﺎﺭﻩ ﻧﺨﻮﺍﻫﺪ ﻛﺮﺩ‪ .‬ﻛﺴﻰ ﺑﻪ ﺭﻭﺷﻦﺑﻴﻨﻰﺍﺵ‬ ‫ﺍﺷﺎﺭﻩ ﻧﻤﻰﻛﻨﺪ‪ .‬ﺍﺣﺘﻤﺎﻻً ﺑﻌﻀﻰ ﻛﻪ ﻣﻄﻠﻊﺗﺮﻧﺪ ﺑﻪ ﺑﺮﺧﻰ ﺍﺯ ﻛﻠﻴﺸﻪﻫﺎﻯ ﭘﺮﺍﺳﺘﻔﺎﺩﻩﺍﺵ ﺍﺷﺎﺭﻩ‬ ‫ﻛﻨﻨﺪ ﻭ ﻣﻮﺿﻊﮔﻴﺮﻯ ﺳﻴﺎﺳﻰ ﻧﺎﺷﻰ ﺍﺯ ﺗﺮﺑﻴﺘﺶ ﺭﺍ ﭘﻴﺮﺍﻫﻦ ﻋﺜﻤﺎﻥ ﻛﻨﻨﺪ‪ .‬ﺗﺎ ﺍﻻﻥ ﻛﻪ ﺍﻳﻦ ﭼﻨﺪ‬ ‫ﺳﻄﺮ ﻧﻮﺷﺘﻪ ﻣﻰﺷﻮﺩ‪ ،‬ﻳﻚ ﺑﻪ ﺍﺻﻄﻼﺡ ﺧﺒﺮﮔﺰﺍﺭﻯ ﻫﻢ ﻛﻪ ﻓﺮﻕ ﻃﻨﺰ ﻭ ﮔﺰﺍﺭﺵ ﺭﺍ ﻧﻤﻰﻓﻬﻤﺪ‪،‬‬ ‫ﭘﺴﺖ ﻳﻚ ﻭﺑﻼگ ﺭﺍ ﺗﺮﺟﻤﻪ ﻛﺮﺩﻩ ﻭ ﺟﺎﻯ ﺧﺒﺮ ‪ USA Today‬ﻗﺎﻟﺐ ﻛﺮﺩﻩ‪...‬‬ ‫ﭼﻴﺰﻯ ﻛﻪ ﺑﺮﺩﺑﺮﻯ ﺑﻪ ﻣﺎ ﺩﺍﺩ ﻭ ﭼﻴﺰﻯ ﻛﻪ ﻫﻤﻴﺸﻪ ﺳﻨﮕﺶ ﺭﺍ ﺑﻪ ﺳﻴﻨﻪ ﻣﻰﺯﺩ‪ ،‬ﺩﺭﺳﺖ ﺩﻳﺪﻥ‬ ‫ﺩﻧﻴﺎ ﻭ ﺷﻨﺎﺧﺘﻦ ﺑﻪ ﻣﻮﻗﻊ ﭼﻴﺰﻫﺎﻳﻰ ﺑﻮﺩ ﻛﻪ ﻭﺍﻗﻌﺎً ﺍﻫﻤﻴﺖ ﺩﺍﺭﻧﺪ‪ .‬ﻧﻘﻞﻗﻮﻝﻫﺎﻯ ﻣﻮﺟﻮﺩ ﺑﺮﺩﺑﺮﻯ‬ ‫ﺩﺭ ﻓﺎﺭﺳﻰ ﻫﻤﻴﻦ ﺭﺍ ﺑﻪ ﻣﺎ ﻣﻰﮔﻮﻳﻨﺪ‪:‬‬

‫»ﻫﺮﮔﺰ ﻧﺒﺎﯾﺪ ﺑﺮ ﻓﺎﺻﻠﻪای ﺑﯿﺎﻓﺰاﯾﯿﺪ ﮐﻪ ﺷام را از ﮐﻮدﮐﯽﺗﺎن ﺟﺪا ﻣﯽﮐﻨﺪ‪ .‬ﯾﻌﻨﯽ ﭼﻪ‬ ‫ﮐﻪ ﻫﻤﻪ ﻣﺪام ﻣﯽﮔﻮﯾﻨﺪ‪" :‬ﺑﺰرگ ﺷﻮ! ﺑﺰرگ ﺷﻮ!" ﯾﻌﻨﯽ ﺑﺎﯾﺪ اﺻﻞ زﻧﺪﮔﯽ را ﮐﻨﺎر‬ ‫ﺑﮕﺬارﯾﻢ؟ ﻣﻦ ﺗﺎ ﺑﻪ اﻣﺮوز ﺑﻪ اﺳﺒﺎبﺑﺎزیﻓﺮوﺷﯽﻫﺎ ﴎ ﻣﯽزﻧﻢ‪ ،‬در واﻗﻊ داﺳﺘﺎنﻫﺎﯾﻢ‬ ‫ﺑﺮای ﻣﻦ ﺣﮑﻢ اﺳﺒﺎبﺑﺎزی را دارﻧﺪ‪«.‬‬ ‫ﻳﺎ‬

‫»ﯾﺎدم ﻣﯽآﯾﺪ در ﻧﻮزده ﺳﺎﻟﮕﯽ ﺧﻮدم را وادار ﻣﯽﮐﺮدم ﺑﻪ ﻣﯿﻬامﻧﯽﻫﺎی رﻗﺺ ﺑﺮوم‪،‬‬ ‫وﻟﯽ ﺑﺴﯿﺎر ﮐﺴﻞ ﻣﯽﺷﺪم‪ .‬ﺷﺒﯽ ﺑﺎ اﺣﺘﯿﺎط از ﺳﺎﻟﻦ ﺑﯿﺮون آﻣﺪم و ﺑﻪ اﺗﺎق دﯾﮕﺮی‬ ‫رﻓﺘﻢ‪ .‬در آنﺟﺎ ﻣﺎﺷﯿﻦ ﺗﺤﺮﯾﺮی ﺑﻮد و ﻣﻦ ﭘﺸﺖ ﻣﯿﺰ ﻧﺸﺴﺘﻢ و داﺳﺘﺎﻧﯽ را ﻣﺎﺷﯿﻦ‬ ‫ﮐﺮدم‪ ،‬در ﺣﺎﻟﯽ ﮐﻪ دﯾﮕﺮان ﺧﻮشﮔﺬراﻧﯽ ﻣﯽﮐﺮدﻧﺪ‪ .‬اﯾﻦ اﺳﺖ آن ﭼﻪ ﻣﯽﺧﻮاﻫﻢ‬ ‫ﺑﮕﻮﯾﻢ! ﻧﺒﺎﯾﺪ اﺟﺎزه ﺑﺪﻫﯿﻢ ﮐﻪ دﯾﮕﺮان ﻣﺎ را از ﻣﺴﯿﺮ ﻣﻨﺤﺮف ﮐﻨﻨﺪ‪ .‬ﺑﺴﯿﺎری از ﭼﯿﺰﻫﺎ‬ ‫ﻣﯽﺗﻮاﻧﻨﺪ ﻣﺎ را از ﻣﺴﯿﺮ زﻧﺪﮔﯽ ﺧﺎرج ﮐﻨﻨﺪ‪ .‬زنﻫﺎ‪ ،‬ﺟﻨﻮن‪ ،‬ﻣﻮاد ﻣﺨﺪر‪ ،‬ﴎﻋﺖ و‬ ‫ﻏﯿﺮه‪ .‬ﻣﻬﻢﺗﺮﯾﻦ ﮐﺎر اﯾﻦ اﺳﺖ ﮐﻪ اوﻗﺎت ﺧﻮد را ﴏف آن ﮐﻨﯿﻢ ﮐﻪ ﺧﻮدﻣﺎن ﺑﺸﻮﯾﻢ!«‬ ‫ﻭ ﻫﻤﻴﻦ‪.‬‬ ‫ﻣﻬﺪﻯ ﺑﻨﻮﺍﺭﻯ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬


‫ﺳﺨﻦ ﻣﺎﻩ‬ ‫ﻣﺜﻞ ﺧﻴﻠﻰﻫﺎﻯ ﺩﻳﮕﺮ‪ ،‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ ﻣﻦ ﺭﺍ ﻫﻢ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺑﺎ »ﻣﺮﺩ ﻣﺼﻮﺭ« ﻣﺘﻌﺠﺐ ﻛﺮﺩ‪.‬‬ ‫ﺷﮕﻔﺘﻰ ﺑﻮﺩ ﭘﺸﺖ ﺷﮕﻔﺘﻰ ﭘﺸﺖ ﺷﮕﻔﺘﻰ‪ .‬ﻛﺘﺎﺏ ﺟﺎﺩﻭ ﺑﻮﺩ‪ .‬ﺩﻧﻴﺎﻯ ﺟﻮﺍﻥ ﻭ ﺷﻨﺎﺧﺖ ﺗﺎﺯﻩﺍﻡ‬ ‫ﺭﺍ ﺷﻜﺎﻓﺖ ﻭ ﮔﺴﺘﺮﺵ ﺩﺍﺩ ﻭ ﺯﻭﺍﻳﺎﻯ ﻋﺠﻴﺒﻰ ﺭﺍ ﺑﻪ ﻣﻦ ﻧﺸﺎﻥ ﺩﺍﺩ ﻛﻪ ﻗﺒ ً‬ ‫ﻼ ﻫﻴﭻ ﺟﺎ ﻧﺪﻳﺪﻩ‬ ‫ﺑﻮﺩﻡ‪ .‬ﺑﻌﺪﺍ ً ﺗﺮﺟﻤﻪﻯ ﻗﺪﻳﻤﻰ »‪ 451‬ﺩﺭﺟﻪﻯ ﻓﺎﺭﻧﻬﺎﻳﺖ« ﺭﺍ ﻫﻢ ﺗﻮﻯ ﻳﻚ ﺩﺳﺖ ﺩﻭﻡ ﻓﺮﻭﺷﻰ‬ ‫ﭘﻴﺪﺍ ﻛﺮﺩﻡ ﻭ ﺩﻳﺪﻡ ﺁﻗﺎﻯ ﺑﺮﺩﺑﺮﻯ ﻫﻨﻮﺯ ﻫﻢ ﺷﮕﻔﺘﻰﻫﺎﻯ ﺑﺴﻴﺎﺭ ﺩﺍﺭﺩ‪...‬‬ ‫‪ 16‬ﺧﺮﺩﺍﺩ ‪ 5 ،1391‬ژﻭﺋﻦ ‪ ،2012‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ ﺩﺭﮔﺬﺷﺖ‪ .‬ﺁﻗﺎﻯ ﻧﻮﻳﺴﻨﺪﻩﺍﻯ ﻛﻪ ﺑﺎ‬ ‫ﺍﺳﺒﺎﺏﺑﺎﺯﻯ ﻗﻬﺮ ﻧﻜﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺷﺎﻋﺮ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ .‬ﻣﺮﺩ ﺭﺅﻳﺎﻫﺎ‪ .‬ﻫﻮﻣﺮ ﻣﺮﻳﺦ‪ ...‬ﻭ ﺩﻳﮕﺮ ﻛﺴﻰ‬ ‫ﻧﻴﺴﺖ ﻛﻪ ﺑﺘﻮﺍﻧﺪ ﺑﮕﻮﻳﺪ‪» :‬ﺑﺎﻝﻫﺎﻳﺖ ﺭﺍ ﻭﻗﺖ ﺳﻘﻮﻁ ﺑﺴﺎﺯ!«‬ ‫ﻧﻮﺷﺘﻦ ﺍﺯ ﺑﺮﺩﺑﺮﻯ ﺑﺮﺍﻯ ﺧﻮﺩﻣﺎﻥ ﻛﺎﺭ ﺳﺨﺖﺗﺮﻯ ﺍﺳﺖ‪ .‬ﺑﺮﺍﻯ ﺑﻘﻴﻪ‪ ،‬ﺑﺮﺩﺑﺮﻯ ﻧﻮﻳﺴﻨﺪﻩﺍﻯ‬ ‫ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺩﻧﻴﺎ ﺷﻬﺮﺗﻰ ﺩﺍﺷﺘﻪ ﻭ ﻓﻼﻥ ﻭ ﺑﻬﻤﺎﻥ ﺭﺍ ﻧﻮﺷﺘﻪ ﻭ ﺗﺮﻭﻓﻮ ﻫﻢ ﻛﺘﺎﺑﺶ ﺭﺍ ﻓﻴﻠﻢ‬ ‫ﻛﺮﺩﻩ ﻭ ﺑﺎ ﻫﻴﻮﺳﺘﻮﻥ ﻫﻢ ﻫﻤﻜﺎﺭﻯ ﺩﺍﺷﺘﻪ ﻭ ﺍﺯ ﺍﻳﻦ ﻗﺒﻴﻞ ﺟﺰﻳﻴﺎﺕ ﻭﻳﻜﻰﭘﺪﻳﺎﻳﻰ‪ .‬ﺑﺮﺍﻯ ﻣﺎ‪،‬‬ ‫ﺑﺮﺩﺑﺮﻯ‪» ،‬ﻳﻚ ﻧﻮﻳﺴﻨﺪﻩ« ﻧﻴﺴﺖ‪ .‬ﺑﺮﺩﺑﺮﻯ ﻧﻮﻳﺴﻨﺪﻩﻯ ژﺍﻧﺮ ﺍﺳﺖ‪.‬‬ ‫ﺗﺎ ﻭﻗﺘﻰ ﺷﮕﻔﺖﺯﺍﺭ ﺷﻤﺎﺭﻩ ‪ 19‬ﺩﺭ ﺑﻴﺎﻳﺪ‪ ،‬ﺩﻳﮕﺮ ﻫﻤﻪ ﻧﻮﺷﺘﻪﺍﻧﺪ ﻛﻪ ﺑﺮﺩﺑﺮﻯ ﻛﺠﺎ ﺑﻪ ﺩﻧﻴﺎ ﺁﻣﺪ‬ ‫ﻭ ﺍﺯ ﻛﺠﺎ ﺍﻟﻬﺎﻡ ﮔﺮﻓﺖ ﻭ ﻛﻪ ﺑﻪ ﺍﻭ ﻛﻤﻚ ﻛﺮﺩ ﻭ ﺑﺎ ﻛﻪ ﻫﻤﻜﺎﺭﻯ ﻛﺮﺩ ﻭ ﻛﻪ ﺍﺯ ﺭﻭﻯ ﻛﺎﺭﻫﺎﻳﺶ‬ ‫ﻓﻴﻠﻢ ﺳﺎﺧﺖ ﻭ ﻛﺪﺍﻡ ﻛﺘﺎﺏﻫﺎﻳﺶ ﺩﺭ ﺍﻳﺮﺍﻥ ﻣﻨﺘﺸﺮ ﺷﺪﻩﺍﻧﺪ ﻭ ﺍﻟﺦ‪ .‬ﺍﺣﺘﻤﺎﻻً ﺗﺎ ﺁﻥ ﻣﻮﻗﻊ ﺑﺮﺧﻰ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،19‬ﺗﻴﺮ ‪1391‬‬

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‫ﻓﻬﺮﺳﺖ‬ ‫ﺳﺨﻦ ﻣﺎﻩ‬

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‫ﺑﺨﺶ ﺍﻭﻝ‪ :‬ﺩﺍﺳﺘﺎﻥ‬ ‫ﻓﺎﻧﺘﺰﻯ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﻣﺎﺯﻳﺮﻳﻦ ﺟﺎﺩﻭﮔﺮ‬

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‫ﺟﻚ ﻭﻧﺲ ‪ /‬ﻣﻬﺪﻯ ﺑﻨﻮﺍﺭﻯ‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﻣﺄﻣﻮﺭ ﻣﺨﻔﻰ‬

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‫ﺍﻟﻜﺴﺎﻧﺪﺭ ﺍﻳﺮﻭﻳﻦ ‪ /‬ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﻧﮕﺎﺭﺵ‪ :‬ﻣﻮﻧﺎ )ﻓﺼﻞ ﭼﻬﺎﺭﻡ ‪ -‬ﺑﺨﺶ ﺍﻭﻝ(‬

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‫ﺁﺭﻣﺎﻥ ﺳﻼﺡ ﻭﺭﺯﻯ‬

‫ﺑﺨﺶ ﺩﻭﻡ‪ :‬ﺩﻳﺪﮔﺎﻩ‬ ‫ﻣﺮﻋﻮﺏ ﻳﻚ ﺧﻂ ﺍﻳﺪﻩﻯ ﺧﻮﺵ ﺧﻂ ﻭ ﺧﺎﻝ ﻧﺸﻮﻳﻢ‬

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‫ﻣﺤﻤﺪﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‬

‫ﺑﺨﺶ ﺳﻮﻡ‪ :‬ﭘﺮﻭﻧﺪﻩ‬ ‫ﻛﺘﺎﺏ‪ :‬ﺗﺨﻴﻞ ﻋﻠﻤﻰ ﻳﺎ ﻋﻠﻮﻡ ﺗﺨﻴﻠﻰ؟‬

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‫)ﺩﺭﺑﺎﺭﻩﻯ ﻛﺘﺎﺏ ﻓﻴﺰﻳﻚ ﻏﻴﺮﻣﻤﻜﻦﻫﺎ(‬ ‫ﺩﺍﻭﺩ ﺍﺑﺮﺍﻫﻴﻤﻰ‬

‫ﻛﺘﺎﺏ‪ :‬ﺑﺎﺯﻯ ﺍﻧﺪﺭ‬

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‫ﭘﻮﺭﻳﺎ ﺗﻘﻮﻯ ﻣﻘﺪﻡ‬

‫ﺑﺨﺶ ﭼﻬﺎﺭﻡ‪ :‬ﭘﺎﻭﺭﻗﻰ‬ ‫ﺷﺎﺧﻪ ﺭﺯﻯ ﺑﺮﺍﻯ ﻛﺸﻴﺶ )ﺑﺨﺶ ﺩﻭﻡ(‬ ‫ﺭﺍﺟﺮ ﺯﻻﺯﻧﻰ ‪ /‬ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬

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‫ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬ ‫ﺳﺎﻝ ﺩﻭﻡ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ، 19‬ﺗﻴﺮ ‪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 ،‬ﺩﺍﻭﺩ ﺍﺑﺮﺍﻫﻴﻤﻰ‪ ،‬ﭘﻮﺭﻳﺎ ﺗﻘﻮﻯ ﻣﻘﺪﻡ‬ ‫ﺯﻫﺮﺍ ﺟﺎﻥ ﻧﺜﺎﺭﻯ ﻻﺩﺍﻧﻰ‪ ،‬ﻣﺤﻤﺪﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‬ ‫ﺻﻔﺤــــــﻪ ﺁ ﺭ ﺍ ﻳـــــﻰ ‪ :‬ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‬ ‫ﻧﺸـــــــﺎﻧﻰ ﻭﺑــــﮕﺎﻩ‪:‬‬

‫‪www.fantasy.ir‬‬

‫ﭘـــﺴﺖ ﺍﻟﻜﺘﺮﻭﻧﻴــــﻚ‪:‬‬

‫‪mag@fantasy.ir‬‬

‫ﻃــــــﺮﺡ‬

‫ﺟﻠــــــﺪ‪:‬‬

‫ﺑﺮﺩ ﻣﻚ ﻟﺌﻮﺩ )‪ ،(Brad McLeod‬ﺗﻮﻓﺎﻥ ﺯﻣﺴﺘﺎﻧﻰ‬

‫ﻣﺎﺯﻳﺮﻳﻦ ﺟﺎﺩﻭﮔﺮ‬

‫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 ‪ ، 19‬ﺗﻴﺮ ‪1391‬‬


issue 19