wonderland-vol01-Issue11-Aban90-fantasy-ir

‫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

‫ﭘﻰﻧﻮﺷﺖﻫﺎ‪:‬‬ ‫* ﺍﻳﻦ ﺗﺮﺟﻤﻪ ﺍﺯ ﺭﻭﻯ ﻧﺴﺨﻪﻯ ﺁﻟﻤﺎﻧﻰ ﺩﺍﺳﺘﺎﻥ ﺻﻮﺭﺕ ﮔﺮﻓﺘﻪ‬ ‫ﺍﺳﺖ‪ .‬ﻋﻨﻮﺍﻥ ﺍﺻﻠﻰ ﺩﺍﺳﺘﺎﻥ »‪Enter a soldier. Later:‬‬ ‫‪ «enter another‬ﺍﺳﺖ ﻛﻪ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺩﺭ ژﻭﺋﻦ ‪ 1989‬ﺩﺭ‬ ‫ﻣﺠﻠﻪﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺁﺳﻴﻤﻮﻑ ﻣﻨﺘﺸﺮ ﺷﺪ‪.‬‬ ‫‪[1] Gonzalo‬‬ ‫‪[2] Hernando‬‬ ‫‪[3] De Soto‬‬ ‫‪[4] Fray Marcos‬‬ ‫‪[5] Fray Vicente‬‬ ‫‪[6] Estremadura‬‬ ‫‪[7] New Castile‬‬ ‫‪[8] Adelantado Alquaacil Mayor Marques de la‬‬ ‫‪Conquista‬‬ ‫‪[9] Francisco Pizarro‬‬ ‫‪[10] Gallo‬‬ ‫‪[11] Rio Brio‬‬ ‫]‪ :Santigo [12‬ﻭﺍژﻩﺍﻯ ﺍﺳﭙﺎﻧﻴﺎﻳﻰ ﺑﻪ ﻣﻌﻨﺎﻯ ﻗﺪﻳﺲ‪.‬‬ ‫‪[13] Tanner‬‬ ‫‪[14] Lew Richardson‬‬ ‫‪[15] Centre Mondial de la Computation‬‬ ‫‪[16] Lyon‬‬ ‫]‪ :son et reelumi [17‬ﺑﻪ ﻓﺮﺍﻧﺴﻪ ﻳﻌﻨﻰ ﻧﻮﺭ ﻭ ﺻﺪﺍ‪.‬‬ ‫]‪ :Disneyland [18‬ﭘﺎﺭﻙ ﺗﻔﺮﻳﺤﻰ ﻛﻤﭙﺎﻧﻰ ﻭﺍﻟﺖ ﺩﻳﺰﻧﻰ‪.‬‬ ‫]‪ :Louis XIV of France [19‬ﭘﺎﺩﺷﺎﻩ ﻓﺮﺍﻧﺴﻪ ﺩﺭ ﻗﺮﻥ‬

‫ﻫﻔﺪﻫﻢ ﻣﻴﻼﺩﻯ‪.‬‬ ‫]‪ :Versailles [20‬ﻛﺎﺥ ﻭﺭﺳﺎﻯ ﺩﺭ ﭘﺎﺭﻳﺲ ﺑﺎ ﻣﻌﻤﺎﺭﻯ ﺑﺎﺭﻭﻙ‬ ‫ﻛﻪ ﻓﻮﺍﺭﻩﻫﺎﻯ ﺁﻥ ﺑﺴﻴﺎﺭ ﻣﻌﺮﻭﻓﻨﺪ‪.‬‬ ‫]‪ :Pablo Ruiz Picasso [21‬ﻧﻘﺎﺵ ﻭ ﻣﺠﺴﻤﻪﺳﺎﺯ ﺍﺳﭙﺎﻧﻴﺎﻳﻰ‪،‬‬ ‫ﺑﻨﻴﺎﻥﮔﺬﺍﺭ ﺳﺒﻚ ﻛﻮﺑﻴﺴﻢ ﻭ ﻳﻜﻰ ﺍﺯ ﻣﺸﻬﻮﺭﺗﺮﻳﻦ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻗﺮﻥ‬ ‫ﺑﻴﺴﺘﻢ‪.‬‬ ‫‪[22] Jean Paul Sartre:‬ﻓﻴﻠﺴﻮﻑ ﻭ ﻧﻮﻳﺴﻨﺪﻩﻯ ﻣﻌﺮﻭﻑ‬ ‫ﻓﺮﺍﻧﺴﻮﻯ‪.‬‬

‫]‪[25‬‬

‫‪[23] Left Bank Café‬‬ ‫‪[24] Existentialism‬‬ ‫ﺩﺭ ﻣﺘﻦ ﺍﺻﻠﻰ ﺻﺤﺒﺖ ﺍﺯ ﺭﺩ ﻭ ﺑﺪﻝ ﻛﺮﺩﻥ ‪Bonmont‬‬

‫ﺍﺳﺖ؛ ﺗﻜﻪﻫﺎﻯ ﭘﺮﻛﻨﺎﻳﻪ ﻭ ﻃﻨﺰ ﻭ ﺣﺎﻛﻰ ﺍﺯ ﺣﺎﺿﺮﺟﻮﺍﺑﻰ ﺷﺨﺺ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﻛﻪ ﺭﻳﺸﻪ ﺩﺭ ﻓﺮﻫﻨﮓ ﻓﺮﺍﻧﺴﻮﻯ ﺩﺍﺭﺩ‪.‬‬ ‫]‪ :Et aVoil [26‬ﻭ ﺍﻳﻨﺠﺎﺳﺖ – ﺍﺻﻄﻼﺣﻰ ﻓﺮﺍﻧﺴﻮﻯ‪.‬‬ ‫]‪ :Le style l’homme meme [27‬ﺍﺻﻄﻼﺣﻰ ﻓﺮﺍﻧﺴﻮﻯ‪.‬‬ ‫]‪ :Don Quixote [28‬ﻗﻬﺮﻣﺎﻥ ﺭﻣﺎﻧﻰ ﺑﻪ ﻫﻤﻴﻦ ﻧﺎﻡ ﻛﻪ‬ ‫ﻣﺎﺟﺮﺍﻫﺎﻯ ﻃﻨﺰﺁﻟﻮﺩ ﻳﻚ ﻛﺮﺩ ﺳﺎﻟﺨﻮﺭﺩﻩ ﻭ ﺩﺳﺘﺨﻮﺵ ﺧﻴﺎﻟﺒﺎﻓﻰ‬ ‫ﻭ ﺗﻮﻫﻢ ﺭﺍ ﺷﺮﺡ ﻣﻰﺩﻫﺪ‪.‬‬ ‫]‪ :Miguel de Cervantes [29‬ﺍﺩﻳﺐ ﻣﺸﻬﻮﺭ ﺍﺳﭙﺎﻧﻴﺎﻳﻰ‬ ‫ﺩﺭ ﻗﺮﻭﻥ ﺷﺎﻧﺰﺩﻫﻢ ﻭ ﻫﻔﺪﻫﻢ ﻣﻴﻼﺩﻯ ﻭ ﻧﻮﻳﺴﻨﺪﻩﻯ ﺭﻣﺎﻥ ﺩﻥ‬ ‫ﻛﻴﺸﻮﺕ‪.‬‬ ‫]‪ :Moliere [30‬ﻧﻮﻳﺴﻨﺪﻩ‪ ،‬ﻫﻨﺮﭘﻴﺸﻪ ﻭ ﻣﺪﻳﺮ ﺗﺌﺎﺗﺮﻯ ﻣﻌﺮﻭﻑ‬ ‫ﺩﺭ ﻓﺮﺍﻧﺴﻪ ﺩﺭ ﻗﺮﻥ ﻫﻔﺪﻫﻢ ﻣﻴﻼﺩﻯ‪.‬‬

‫]‪[31‬‬

‫‪:Armand Jean de Plessis, duc de Richelieu‬‬

‫ﻣﻌﺮﻭﻑ ﺑﻪ ﻋﺎﻟﻴﺠﻨﺎﺏ ﺳﺮﺥﭘﻮﺵ؛ ﺍﺳﻘﻒ ﺍﻋﻈﻢ ﻭ ﺳﻴﺎﺳﺘﻤﺪﺍﺭ‬ ‫ﻓﺮﺍﻧﺴﻮﻯ ﺩﺭ ﻗﺮﻥ ﺷﺎﻧﺰﺩﻫﻢ ﻭ ﻫﻔﺪﻫﻢ‪.‬‬ ‫‪[32] La Mancha‬‬ ‫]‪ [33‬ﺷﺨﺼﻴﺘﻰ ﺩﺭ ﺍﺳﺎﻃﻴﺮ ﻳﻮﻧﺎﻥ؛ ﺷﺎﻫﺰﺍﺩﻩﺍﻯ ﻛﻪ ﻃﺒﻖ‬ ‫ﻧﻔﺮﻳﻨﻰ ﭘﻴﺶﺑﻴﻨﻰ ﺷﺪﻩ‪ ،‬ﻧﺪﺍﻧﺴﺘﻪ ﭘﺪﺭﺵ ﺭﺍ ﻣﻰﻛﺸﺪ ﻭ ﺑﺎ‬ ‫ﻣﺎﺩﺭﺵ ﺍﺯﺩﻭﺍﺝ ﻣﻰﻛﻨﺪ‪.‬‬ ‫]‪ [34‬ﺷﺨﺼﻴﺘﻰ ﺩﺭ ﺣﻤﺎﺳﻪﻯ ﺍﺩﻳﺴﻪ‪ ،‬ﺍﺛﺮ ﻫﻮﻣﺮ ﻳﻮﻧﺎﻧﻰ؛‬ ‫ﻓﺮﻣﺎﻧﺮﻭﺍﻯ ﺍﻳﺘﺎﻛﺎ ﻛﻪ ﺑﻪ ﺳﻔﺮ ﺩﻭﺭ ﻭ ﺩﺭﺍﺯ ﺑﻴﺴﺖ ﺳﺎﻟﻪ ﻣﻰﺭﻭﺩ‪.‬‬ ‫]‪ :David Copperfield [35‬ﻗﻬﺮﻣﺎﻥ ﺭﻣﺎﻧﻰ ﺑﻪ ﻫﻤﻴﻦ ﻧﺎﻡ‪ ،‬ﺍﺛﺮ‬ ‫ﭼﺎﺭﻟﺰ ﺩﻳﻜﻨﺰ ﺑﺮﻳﺘﺎﻧﻴﺎﻳﻰ؛ ﻣﺎﺟﺮﺍﻫﺎﻯ ﭘﺴﺮﺑﭽﻪﺍﻯ ﻳﺘﻴﻢ ﻛﻪ ﺑﺎ ﻓﻘﺮ‬ ‫ﻭ ﺑﻰﻛﺴﻰ ﺩﺳﺖ ﻭ ﭘﻨﺠﻪ ﻧﺮﻡ ﻣﻰﻛﻨﺪ‪.‬‬ ‫]‪ :Dulcina [36‬ﺷﺨﺼﻴﺘﻰ ﺩﺭ ﺭﻣﺎﻥ ﺩﻥ ﻛﻴﺸﻮﺕ؛ ﻳﻚ ﺁﺷﭙﺰ‬ ‫ﻭ ﺭﻭﺳﭙﻰ ﺑﻪ ﻧﺎﻡ ﺁﻟﺪﻧﺰﺍ ﻛﻪ ﺩﺭ ﻣﺴﺎﻓﺮﺧﺎﻧﻪﺍﻯ ﻣﺤﻘﺮ ﻭ ﻛﺜﻴﻒ ﻛﺎﺭ‬ ‫ﻣﻰﻛﻨﺪ ﻭ ﺩﻥ ﻛﻴﺸﻮﺕ ﺩﺭ ﺗﻮﻫﻢ ﺧﻮﺩ ﺍﻭ ﺭﺍ ﺑﺎﻧﻮﻳﻰ ﻣﺘﺸﺨﺺ ﻭ‬ ‫ﺯﻳﺒﺎ ﻣﻰﺑﻴﻨﺪ ﻭ ﺩﻭﻟﭽﻴﻨﺎ ﺧﻄﺎﺑﺶ ﻣﻰﻛﻨﺪ‪.‬‬ ‫]‪ :Rosinante [37‬ﺍﺳﺐ ﻭﻓﺎﺩﺍﺭ ﻭ ﻛﻬﻨﺴﺎﻝ ﺩﻥ ﻛﻴﺸﻮﺕ‪.‬‬ ‫]‪ :Mambrino [38‬ﻛﻼﻫﺨﻮﺩﻯ ﺍﻓﺴﺎﻧﻪﺍﻯ ﻛﻪ ﺑﺮ ﺳﺮ ﮔﺬﺍﺷﺘﻦ‬ ‫ﺁﻥ‪ ،‬ﻓﺮﺩ ﺭﺍ ﺭﻭﺋﻴﻦﺗﻦ ﻣﻰﻛﻨﺪ‪ .‬ﺩﻥ ﻛﻴﺸﻮﺕ ﻛﺎﺳﻪﻯ ﺁﻫﻨﻰ ﻳﻚ‬ ‫ﺳﻠﻤﺎﻧﻰ ﺩﻭﺭﻩﮔﺮﺩ ﺭﺍ ﺩﻳﺪﻩ ﻭ ﺍﺩﻋﺎ ﻣﻰﻛﻨﺪ ﻛﻪ ﻛﻼﻫﺨﻮﺩ ﻃﻼﻳﻰ‬ ‫ﻣﺎﻣﺒﺮﻳﻨﻮ ﺭﺍ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫]‪ :Sherlock Holmes [39‬ﻛﺎﺭﺍﮔﺎﻩ ﺧﺼﻮﺻﻰ ﻣﻌﺮﻭﻑ‪،‬‬ ‫ﻗﻬﺮﻣﺎﻥ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺳﺮ ﺁﺭﺗﻮﺭ ﻛﺎﻧﻦ ﺩﻭﻳﻞ‪.‬‬ ‫]‪ :Frankenstein [37‬ﻧﺎﻡ ﺭﻣﺎﻧﻰ ﺍﺯ ﻣﺎﺭﻯ ﺷﻠﻰ ﻛﻪ ﺩﺭ ﺁﻥ‬ ‫ﺩﺍﻧﺸﻤﻨﺪﻯ ﺑﺎ ﻫﻤﻴﻦ ﻧﺎﻡ‪ ،‬ﻣﻮﺟﻮﺩﻯ ﺗﺮﺳﻨﺎﻙ ﺧﻠﻖ ﻣﻰﻛﻨﺪ‪.‬‬

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‫ﭘﺎﻭﺭﻗﻰ‬

‫»ﺗﻮ ﺍﻳﻦﺟﺎ ﻳﻪ ﻧﻮﻉ ﺣﻴﺎﺕ ﺧﻠﻖ ﻛﺮﺩﻩﺍﻯ‪ .‬ﻭﻟﻰ ﺑﻬﺶ ﺍﺭﺍﺩﻩ ﻫﻢ ﺩﺍﺩﻩﺍﻯ‪ .‬ﺍﻳﻦ ﻧﻘﻄﻪﻯ ﺣﺴﺎﺱ ﺁﺯﻣﺎﻳﺸﻪ‪،‬‬ ‫ﻣﮕﻪ ﻧﻪ؟ ﻫﻤﻪﻯ ﺍﻭﻥ ﺣﺮﻓﺎﺕ ﺩﺭ ﻣﻮﺭﺩ ﻗﺪﺭﺕ ﺍﻧﺘﺨﺎﺏ ﻭ ﺧﻮﺩﻣﺨﺘﺎﺭﻯ ﺭﻭ ﻣﻰﮔﻢ‪ .‬ﺗﻮ ﻣﻰﺧﻮﺍﻯ ﺭﻭﺡ‬ ‫ﺍﻧﺴﺎﻥ ﺭﻭ ﺍﺯ ﺍﻭﻝ ﺧﻠﻖ ﻛﻨﻰ – ﺭﻭﺣﻰ ﻛﻪ ﺩﺭ ﺣﺪ ﺧﻮﺩﺵ ﻣﻰﺗﻮﻧﻪ ﻓﻜﺮ ﻛﻨﻪ ﻭ ﺑﺎ ﺭﻭﺵ ﺧﺎﺹ ﺧﻮﺩﺵ‬ ‫ﺩﺭ ﺑﺮﺍﺑﺮ ﺷﺮﺍﻳﻂ ﻭﺍﻛﻨﺶ ﻧﺸﻮﻥ ﺑﺪﻩ‪ .‬ﺷﺎﻳﺪ ﺍﻭﻥ ﻃﻮﺭ ﻛﻪ ﺑﺮﻧﺎﻣﻪﻧﻮﻳﺲﻫﺎ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻥ ﻧﺸﺪﻩ ﻭ‬ ‫ﻭﺍﻛﻨﺶﻫﺎﺵ ﺧﻴﻠﻰ ﻣﻄﻠﻮﺏ ﻭ ﺑﻪﺻﺮﻓﻪ ﻧﻴﺴﺘﻦ‪ ،‬ﺍﻣﺎ ﺗﻮ ﺭﻳﺴﻚ ﺍﻳﻦ ﻛﺎﺭ ﺭﻭ ﺑﻪ ﺟﻮﻥ ﺧﺮﻳﺪﻯ‪ .‬ﺩﺭﺳﺖ‬ ‫ﻣﺜﻞ ﺧﺪﺍ ﻛﻪ ﻭﻗﺘﻰ ﺑﻪ ﺁﺩﻡ ﺍﺭﺍﺩﻩ ﺩﺍﺩ‪ ،‬ﺧﻮﺏ ﻣﻰﺩﻭﻧﺴﺖ ﻣﺨﻠﻮﻗﺎﺗﺶ ﺑﺎ ﺍﻳﻦ ﺍﺭﺍﺩﻩ ﻫﻤﻪ ﺟﻮﺭ ﺧﻼﻓﻰ‬ ‫ﻣﻰﻛﻨﻦ ‪«...‬‬ ‫»ﻫﺮﻯ‪ ،‬ﺧﻮﺍﻫﺶ ﻣﻰﻛﻨﻢ ‪«...‬‬ ‫»ﺑﺒﻴﻨﻢ‪ ،‬ﻣﻰﺷﻪ ﺑﺎ ﭘﻴﺰﺍﺭﻭ ﺣﺮﻑ ﺑﺰﻧﻢ؟«‬ ‫»ﭼﺮﺍ؟«‬ ‫»ﻛﻪ ﺑﻔﻬﻤﻢ ﭼﻰ ﺧﻠﻖ ﻛﺮﺩﻯ‪ .‬ﻛﻪ ﺩﺳﺖ ﺍﻭﻝ ﺑﻔﻬﻤﻢ ﭼﻰﻫﺎ ﺍﺯﺵ ﺑﺮ ﻣﻰﺁﺩ‪ .‬ﻣﻰﺗﻮﻧﻰ ﺑﮕﻰ ﻛﻪ‬ ‫ﻣﻰﺧﻮﺍﻡ ﻛﻴﻔﻴﺖ ﺍﻳﻦ ﺷﺒﻴﻪﺳﺎﺯﻳﺖ ﺭﻭ ﺁﺯﻣﺎﻳﺶ ﻛﻨﻢ؛ ﻳﺎ ﻫﺮ ﭼﻰ‪ .‬ﺍﮔﻪ ﺑﺎ ﺍﻳﻦ ﻳﺎﺭﻭ ﺍﺭﺗﺒﺎﻁ ﻣﺴﺘﻘﻴﻢ‬ ‫ﺑﺮﻗﺮﺍﺭ ﻛﻨﻢ‪ ،‬ﺑﻴﺸﺘﺮ ﺑﻬﺶ ﺍﺣﺴﺎﺱ ﻧﺰﺩﻳﻜﻰ ﻣﻰﻛﻨﻢ ﻭ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﺍﺗﻔﺎﻗﺎﺕ ﺍﻭﻥ ﺗﻮ‪ ،‬ﺭﺍﺑﻄﻪ ﺑﺮﻗﺮﺍﺭ‬ ‫ﻣﻰﻛﻨﻢ‪ .‬ﻣﻮﺍﻓﻘﻰ؟«‬ ‫»ﺁﺭﻩ‪ ،‬ﻣﻌﻠﻮﻣﻪ‪«.‬‬ ‫»ﺑﺎﻳﺪ ﺑﺎﻫﺎﺵ ﺑﻪ ﺍﺳﭙﺎﻧﻴﺎﻳﻰ ﺣﺮﻑ ﺑﺰﻧﻢ؟«‬ ‫»ﻧﻪ‪ ،‬ﺑﻪ ﻫﺮ ﺯﺑﻮﻧﻰ ﻛﻪ ﺧﻮﺩﺕ ﻣﻰﺧﻮﺍﻯ‪ .‬ﻭﻟﻰ ﺍﻭﻥ ﻫﻤﻴﺸﻪ ﺯﺑﻮﻥ ﺧﻮﺩﺵ‪ ،‬ﺍﺳﭙﺎﻧﻴﺎﻳﻰ ﻗﺮﻥ ﺷﻮﻧﺰﺩﻫﻢ‬ ‫ﺭﻭ ﻣﻰﺷﻨﻮﻩ ﻭ ﻣﻬﻢ ﻧﻴﺴﺖ ﺗﻮ ﻛﺠﺎﻳﻰ ﺣﺮﻑ ﺑﺰﻧﻰ‪ .‬ﺍﻭﻥ ﻫﻢ ﺍﺳﭙﺎﻧﻴﺎﻳﻰ ﺣﺮﻑ ﻣﻰﺯﻧﻪ‪ ،‬ﻭﻟﻰ ﺗﻮ ﺍﻧﮕﻠﻴﺴﻰ‬ ‫ﻣﻰﺷﻨﻮﻯ‪«.‬‬ ‫»ﻣﻄﻤﺌﻨﻰ؟«‬ ‫»ﺍﻟﺒﺘﻪ‪«.‬‬ ‫»ﻭ ﺗﻮ ﻣﺸﻜﻠﻰ ﻧﺪﺍﺭﻯ ﻛﻪ ﻣﻦ ﺑﺎﻫﺎﺵ ﺣﺮﻑ ﺑﺰﻧﻢ؟«‬ ‫»ﻧﻪ‪ .‬ﻫﺮ ﻛﺎﺭﻯ ﺩﻭﺳﺖ ﺩﺍﺭﻯ ﺑﻜﻦ‪«.‬‬ ‫»ﻧﻜﻨﻪ ﺗﻌﺎﺩﻟﺶ ﻳﺎ ﻫﻤﭽﻴﻦ ﭼﻴﺰﻳﺶ ﺻﺪﻣﻪ ﺑﺨﻮﺭﻩ؟«‬ ‫»ﺍﻭﻥ ﻫﻴﭻ ﺻﺪﻣﻪﺍﻯ ﻧﻤﻰﺑﻴﻨﻪ‪ ،‬ﻫﺮﻯ‪«.‬‬ ‫»ﺧﻮﺏ‪ ،‬ﭘﺲ ﺑﺬﺍﺭ ﺑﺎﻫﺎﺵ ﺣﺮﻑ ﺑﺰﻧﻢ‪«.‬‬ ‫ﺍﺩﺍﻣﻪ ﺩﺍﺭﺩ‪...‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫»ﺍﻳﻦﻫﺎﻳﻰ ﻛﻪ ﻣﻰﺑﻴﻨﻰ‪ ،‬ﭼﺸﻤﺎﻯ ﻭﺍﻗﻌﻰ ﻧﻴﺴﺘﻨﺪ‪ .‬ﺍﻳﻦ ﭼﻴﺰﻯ ﻧﻴﺴﺖ ﺟﺰ ﻳﻪ ﺑﺮﻧﺎﻣﻪﻯ ﮔﺮﺍﻓﻴﻜﻰ ﺗﻮﻯ‬ ‫ﻫﻮﻟﻮﺗﺎﻧﻚ‪ .‬ﻭﻗﺘﻰ ﻃﺮﺡ ﻛﻠﻰ ﺭﻭ ﺩﺭﻙ ﻛﻨﻰ‪ ،‬ﻣﻰﻓﻬﻤﻰ ﻛﻪ ﻫﻤﭽﻴﻦ ﺗﻮﺍﻧﺎﻳﻰ ﻧﺪﺍﺭﻩ‪ .‬ﭼﺸﻤﺎﺵ ﻓﻘﻂ‬ ‫ﻭﻗﺘﻰ ﻣﻰﺑﻴﻨﻨﺪ ﻛﻪ ﻣﻦ ﺩﺳﺘﻮﺭ ﺑﺪﻡ‪ .‬ﻭ ﺍﻻﻥ ﻧﻤﻰﺗﻮﻧﻦ ﺗﻮ ﺭﻭ ﺑﺒﻴﻨﻨﺪ‪«.‬‬ ‫»ﺍﻣﺎ ﺗﻮ ﻣﻰﺗﻮﻧﻰ ﻛﺎﺭﻯ ﻛﻨﻰ ﻛﻪ ﺑﺒﻴﻨﻪ؟«‬ ‫»ﻣﻰﺗﻮﻧﻢ ﻫﺮ ﭼﻰ ﺩﻟﻢ ﻣﻰﺧﻮﺍﺩ ﺑﺪﻡ ﺑﺒﻴﻨﻪ‪ .‬ﻣﻦ ﺧﻠﻘﺶ ﻛﺮﺩﻩﺍﻡ‪ ،‬ﻫﺮﻯ‪«.‬‬ ‫»ﺍﻭﻥ ﻫﻢ ﺑﺎ ﺍﺭﺍﺩﻩﻯ ﻣﺴﺘﻘﻞ‪ ،‬ﺑﺎ ﺧﻮﺩﻣﺨﺘﺎﺭﻯ‪«.‬‬ ‫»ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻫﻤﻪ ﻣﺪﺕ ﺗﺎﺯﻩ ﻳﺎﺩﺕ ﺍﻓﺘﺎﺩﻩ ﻧﮕﺮﺍﻥ ﺍﻳﻦ ﻣﺴﺎﺋﻞ ﺑﺸﻰ؟«‬ ‫»ﺍﮔﺮ ﺷﻤﺎﻫﺎ ﭼﻴﺰﻯ ﺩﺭﺳﺖ ﻛﻨﻴﺪ ﻛﻪ ﺑﻪ ﺳﺮﺵ ﺑﺰﻧﻪ‪ ،‬ﮔﺮﺩﻥ ﻣﻨﻪ ﻛﻪ ﻣﻰﺭﻩ ﺯﻳﺮ ﺗﻴﻎ‪ .‬ﺍﻳﻦ ﺧﻮﺩﻣﺨﺘﺎﺭﻳﺶ‬ ‫ﻳﻬﻮ ﻣﻦ ﺭﻭ ﻧﮕﺮﺍﻥ ﻛﺮﺩﻩ‪«.‬‬ ‫ﺭﻳﭽﺎﺭﺩﺳﻦ ﮔﻔﺖ‪» :‬ﻓﻌ ً‬ ‫ﻼ ﻛﻪ ﺩﺳﺘﻜﺶ ﺍﻃﻼﻋﺎﺗﻰ ﺩﺳﺖ ﻣﻨﻪ‪ .‬ﻣﻦ ﻣﻰﺯﻧﻢ ﻭ ﺍﻭﻥ ﻣﻰﺭﻗﺼﻪ‪ .‬ﻳﺎﺩﺕ ﻧﺮﻩ‬ ‫ﻛﻪ ﺍﻳﻦ ﭘﻴﺰﺍﺭﻭﻯ ﻭﺍﻗﻌﻰ ﻧﻴﺴﺖ‪ .‬ﻫﻴﻮﻻﻯ ﻓﺮﺍﻧﻜﻦﺍﺷﺘﺎﻳﻦ ]‪ [40‬ﻫﻢ ﻧﻴﺴﺖ‪ .‬ﻓﻘﻂ ﻳﻪ ﺷﺒﻴﻪﺳﺎﺯﻳﻪ‪ .‬ﻓﻘﻂ‬ ‫ﺍﻃﻼﻋﺎﺗﻪ؛ ﻳﻪ ﻣﺸﺖ ﻣﺤﺮﻙ ﺍﻟﻜﺘﺮﻭﻣﻐﻨﺎﻃﻴﺴﻰ ﻛﻪ ﻣﻰﺗﻮﻧﻢ ﺑﺎ ﺗﻜﻮﻥ ﺍﻧﮕﺸﺖ ﻛﻮﭼﻴﻜﻪﺍﻡ ﺧﺎﻣﻮﺷﺶ‬ ‫ﻛﻨﻢ‪«.‬‬ ‫»ﭘﺲ ﺍﻳﻦ ﻛﺎﺭ ﺭﻭ ﺑﻜﻦ!«‬ ‫»ﻳﻌﻨﻰ ﻣﻰﮔﻰ ﺧﺎﻣﻮﺷﺶ ﻛﻨﻢ؟ ﻣﻦ ﻛﻪ ﻫﻨﻮﺯ ﺣﺘﺎ ﻧﺸﻮﻧﺖ ﻧﺪﺍﺩﻩﺍﻡ ‪«...‬‬ ‫»ﺧﺎﻣﻮﺵ ﻛﻦ ﻭ ﺩﻭﺑﺎﺭﻩ ﺭﻭﺷﻨﺶ ﻛﻦ‪«.‬‬ ‫ﺭﻳﭽﺎﺭﺩﺳﻦ ﻛﻪ ﻛﻤﻰ ﺷﺮﻡﺯﺩﻩ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ‪ ،‬ﮔﻔﺖ‪» :‬ﻫﺮ ﭼﻰ ﺗﻮ ﺑﮕﻰ‪ ،‬ﻫﺮﻯ‪«.‬‬ ‫ﻳﻜﻰ ﺍﺯ ﺍﻧﮕﺸﺘﺎﻧﺶ ﺭﺍ ﺗﻜﺎﻥ ﺩﺍﺩ‪ .‬ﺗﺼﻮﻳﺮ ﭘﻴﺰﺍﺭﻭ ﺩﺭ ﻫﻮﻟﻮﺗﺎﻧﻚ ﻣﺤﻮ ﺷﺪ‪ .‬ﻣﻪ ﭼﺮﺧﺎﻥ ﺧﺎﻛﺴﺘﺮﻯ ﻫﻨﻮﺯ‬ ‫ﺗﺎ ﻣﺪﺗﻰ ﺣﺮﻛﺖ ﻣﻰﻛﺮﺩ ﻭ ﺑﻌﺪ ﻫﻤﻪ ﭼﻴﺰ ﻣﺎﻧﻨﺪ ﭘﺸﻢ ﺳﭙﻴﺪ ﺷﺪ‪ .‬ﻧﺎﮔﻬﺎﻥ ﺗﺎﻧﺮ ﺍﺣﺴﺎﺱ ﻋﺬﺍﺏ ﻭﺟﺪﺍﻥ‬ ‫ﻛﺮﺩ؛ ﺍﻧﮕﺎﺭ ﺩﺳﺘﻮﺭ ﺍﻋﺪﺍﻡ ﺍﻳﻦ ﻣﺮﺩ ﻣﻠﺒﺲ ﺑﻪ ﺯﺭﻩ ﻗﺮﻭﻥ ﻭﺳﻄﺎﻳﻰ ﺭﺍ ﺩﺍﺩﻩ ﺑﺎﺷﺪ‪ .‬ﺭﻳﭽﺎﺭﺩﺳﻦ ﺣﺮﻛﺖ‬ ‫ﺩﻳﮕﺮﻯ ﻛﺮﺩ‪ ،‬ﺭﻧﮓﻫﺎ ﺩﺭ ﻫﻮﻟﻮﺗﺎﻧﻚ ﺩﺭﺧﺸﻴﺪﻧﺪ ﻭ ﭘﻴﺰﺍﺭﻭ ﺩﻭﺑﺎﺭﻩ ﻇﺎﻫﺮ ﺷﺪ‪.‬‬ ‫ﺗﺎﻧﺮ ﮔﻔﺖ‪» :‬ﻓﻘﻂ ﺧﻮﺍﺳﺘﻢ ﺑﺒﻴﻨﻢ ﺍﻳﻦ ﺭﻓﻴﻘﺖ ﭼﻘﺪﺭ ﺍﺳﺘﻘﻼﻝ ﺩﺍﺭﻩ‪ .‬ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻛﺎﻓﻰ ﻓﺮﺯ ﻫﺴﺖ ﻛﻪ‬ ‫ﻗﺒﻞ ﺍﺯ ﺧﺎﻣﻮﺵ ﻛﺮﺩﻧﺶ‪ ،‬ﻛﻠﻪﺍﺕ ﺭﻭ ﺑﻜﻨﻪ ﻭ ﺗﻮﻯ ﻳﻪ ﻟﻮﻟﻪ ﮔﻢ ﻭ ﮔﻮﺭ ﺑﺸﻪ ﻳﺎ ﻧﻪ‪«.‬‬ ‫»ﺍﻧﮕﺎﺭ ﻭﺍﻗﻌﺎً ﻧﻤﻰﺩﻭﻧﻰ ﺍﻳﻨﺎ ﭼﻄﻮﺭﻯ ﻛﺎﺭ ﻣﻲﻛﻨﻦ‪ ،‬ﻧﻪ؟«‬ ‫ﺗﺎﻧﺮ ﺑﺎ ﺩﻟﺨﻮﺭﻯ ﺗﻜﺮﺍﺭ ﻛﺮﺩ‪» :‬ﻓﻘﻂ ﺧﻮﺍﺳﺘﻢ ﺑﺒﻴﻨﻢ‪ «.‬ﺑﻌﺪ ﺍﺯ ﻟﺤﻈﻪﺍﻯ ﺳﻜﻮﺕ ﮔﻔﺖ‪« :‬ﺭﺍﺳﺘﻰ‪ ،‬ﺑﻌﻀﻰ‬ ‫ﻣﻮﻗﻊﻫﺎ ﺍﺣﺴﺎﺱ ﺧﺪﺍ ﺑﻮﺩﻥ ﺑﻬﺖ ﺩﺳﺖ ﻧﻤﻰﺩﻩ؟«‬ ‫»ﺧﺪﺍ ﺑﻮﺩﻥ؟«‬

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‫ﭘﺎﻭﺭﻗﻰ‬

‫ﺟﻤﻌﻴﺖ ﭼﻨﺪ ﻣﻴﻠﻴﻮﻧﻰ ﻭ ﻋﺮﺿﻰ ﻛﻪ ﻫﺰﺍﺭﻫﺎ ﻫﺰﺍﺭ ﻓﺮﺳﺦ ﮔﺴﺘﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﻓﺘﺢ ﻛﻨﺪ‪ .‬ﺗﺎﻧﺮ ﺍﺯ ﺧﻮﺩ ﭘﺮﺳﻴﺪ‬ ‫ﭼﻄﻮﺭ ﺁﺩﻣﻰ ﻣﻰﺗﻮﺍﻧﺪ ﺍﻳﻦ ﻛﺎﺭﻫﺎ ﺭﺍ ﺑﻜﻨﺪ‪ .‬ﭼﺸﻤﺎﻥ ﻣﺮﺩ ﺑﻪ ﺍﻭ ﺧﻴﺮﻩ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﺗﺎﻧﺮ ﺑﺮﺍﻯ ﻣﻘﺎﺑﻠﻪ ﺑﺎ‬ ‫ﺍﻳﻦ ﻧﮕﺎﻩ ﺁﺷﺘﻰﻧﺎﭘﺬﻳﺮ‪ ،‬ﺑﻪ ﺗﻤﺎﻡ ﺗﻮﺍﻥ ﺧﻮﺩ ﺍﺣﺘﻴﺎﺝ ﺩﺍﺷﺖ‪.‬‬ ‫ﺑﻌﺪ ﺍﺯ ﻣﺪﺗﻰ ﻧﮕﺎﻩ ﺧﻮﺩ ﺭﺍ ﺑﺮﮔﺮﺩﺍﻧﺪ‪ .‬ﭘﺎﻯ ﭼﭙﺶ ﻣﻰﻟﺮﺯﻳﺪ‪ .‬ﺑﺎ ﺍﺿﻄﺮﺍﺏ ﻧﮕﺎﻫﻰ ﺑﻪ ﺭﻳﭽﺎﺭﺩﺳﻦ ﺍﻧﺪﺍﺧﺖ‪.‬‬ ‫»ﺑﻪ ﭼﺸﻤﺎﺵ ﻧﮕﺎﻩ ﻛﻦ ﻟﻮ! ﻳﺎ ﻣﺴﻴﺢ‪ ،‬ﺁﺩﻡ ﺭﻭ ﻣﻰﺗﺮﺳﻮﻧﻦ!«‬ ‫»ﻣﻰﺩﻧﻢ‪ .‬ﺧﻮﺩﻡ ﺍﺯ ﺭﻭﻯ ﺗﺼﺎﻭﻳﺮ ﻗﺪﻳﻤﻰ ﻃﺮﺍﺣﻰﺷﻮﻥ ﻛﺮﺩﻡ‪«.‬‬ ‫»ﻓﻜﺮ ﻣﻰﻛﻨﻰ ﺍﻻﻥ‪ ،‬ﺗﻮﻯ ﻫﻤﻴﻦ ﺛﺎﻧﻴﻪ ﻣﻰﺗﻮﻧﻪ ﻣﺎ ﺭﻭ ﺑﺒﻴﻨﻪ؟ ﻭﺍﻗﻌﺎً ﻣﻰﺗﻮﻧﻪ؟«‬ ‫»ﺍﻳﻦ ﻓﻘﻂ ﻳﻪ ﻧﺮﻡﺍﻓﺰﺍﺭﻩ ﻫﺮﻯ‪«.‬‬ ‫»ﻭﻟﻰ ﺍﻧﮕﺎﺭ ﻓﻬﻤﻴﺪ ﻛﻪ ﺍﻧﺪﺍﺯﻩﺍﺵ ﺭﻭ ﺗﻐﻴﻴﺮ ﺩﺍﺩﻯ‪«.‬‬ ‫ﺭﻳﭽﺎﺭﺩﺳﻦ ﺷﺎﻧﻪﺍﻯ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺖ ﻭ ﮔﻔﺖ‪» :‬ﺧﻮﺏ ﻧﺮﻡﺍﻓﺰﺍﺭ ﺧﻴﻠﻰ ﺧﻴﻠﻰ ﺧﻮﺑﻴﻪ‪ .‬ﮔﻔﺘﻢ ﻛﻪ‪ ،‬ﺯﻧﺪﮔﻰ‬ ‫ﻣﺴﺘﻘﻞ ﻭ ﺍﺭﺍﺩﻩﻯ ﻣﺴﺘﻘﻞ ﺩﺍﺭﻩ‪ .‬ﻭﻟﻰ ﺁﺭﻩ‪ ،‬ﻣﻄﻤﺌﻨﻢ ﻛﻪ ﻋﻘﻞ ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻰ ﺩﺍﺭﻩ‪ .‬ﺷﺎﻳﺪ ﻳﻪ ﺷﻮﻙ ﻛﻮﺗﺎﻩ‬ ‫ﺑﺮﻗﻰ ﺑﻬﺶ ﻭﺍﺭﺩ ﺷﺪﻩ‪ .‬ﺑﻪ ﻫﺮ ﺣﺎﻝ ﺣﺪﺳﻴﺎﺕ ﻣﺎ ﻣﺤﺪﻭﺩﻥ‪ .‬ﻓﻜﺮ ﻧﻜﻨﻢ ﺑﺘﻮﻧﻪ ﭼﻴﺰﻯ ﺧﺎﺭﺝ ﺍﺯ ﻫﻮﻟﻮﺗﺎﻧﻚ‬ ‫ﺭﻭ ﺑﺒﻴﻨﻪ؛ ﻣﮕﻪ ﺍﻳﻦ ﻛﻪ ﺍﻭﻥ ﺭﻭ ﺑﻪ ﺷﻜﻞ ﺍﻃﻼﻋﺎﺕ ﺑﻬﺶ ﺑﺪﻳﻢ ﻭ ﻓﻌ ً‬ ‫ﻼ ﺍﻳﻦ ﻛﺎﺭ ﺭﻭ ﻧﻜﺮﺩﻩﺍﻳﻢ‪«.‬‬ ‫»ﻓﻜﺮ ﻧﻜﻨﻰ؟ ﻳﻌﻨﻰ ﻣﻄﻤﺌﻦ ﻧﻴﺴﺘﻰ؟«‬ ‫»ﻫﺮﻯ‪ ،‬ﺧﻮﺍﻫﺶ ﻣﻰﻛﻨﻢ!«‬ ‫»ﺍﻳﻦ ﻣﺮﺩ ﺳﺮﺯﻣﻴﻦ ﺍﻳﻨﻜﺎﻫﺎ ﺭﻭ ﺑﺎ ﭘﻨﺠﺎﻩ ﺗﺎ ﺳﺮﺑﺎﺯ ﻓﺘﺢ ﻛﺮﺩﻩ ﻳﺎ ﻧﻪ؟«‬ ‫»ﻓﻜﺮ ﻛﻨﻢ ﺩﺭ ﻭﺍﻗﻊ ﺻﺪ ﻭ ﭘﻨﺠﺎﻩ ﺗﺎ ﺍﻳﻦ ﺣﺪﻭﺩﻫﺎ ﺑﻮﺩﻥ‪«.‬‬ ‫»ﭘﻨﺠﺎﻩ ﻳﺎ ﺻﺪ ﻭ ﭘﻨﺠﺎﻩ‪ ،‬ﻓﺮﻗﻰ ﻧﻤﻰﻛﻨﻪ! ﻛﻰ ﻣﻰﺩﻭﻧﻪ ﺳﺮ ﻭ ﻛﺎﺭﻣﻮﻥ ﺑﺎ ﭼﻴﻪ‪ .‬ﺍﮔﺮ ﻛﺎﺭﺕ ﺑﻬﺘﺮ ﺍﺯ ﺍﻭﻧﻰ‬ ‫ﻛﻪ ﻓﻜﺮﺵ ﺭﻭ ﻣﻰﻛﻨﻰ ﺑﺎﺷﻪ‪ ،‬ﭼﻰ؟«‬ ‫»ﻳﻌﻨﻰ ﭼﻰ؟«‬ ‫»ﻳﻌﻨﻰ ﻳﻬﻮ ﺩﻟﻮﺍﭘﺲ ﺷﺪﻡ‪ .‬ﻣﺪﺕﻫﺎ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻡ ﺍﻳﻦ ﭘﺮﻭژﻩ ﻫﻴﭻﻭﻗﺖ ﺑﻪ ﻫﻴﭻ ﺟﺎ ﻧﻤﻰﺭﺳﻪ‪ .‬ﺍﻣﺎ ﺣﺎﻻ‬ ‫ﺩﺍﺭﻡ ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﺍﻳﻦ ﻣﺎﺟﺮﺍ ﺑﻴﺸﺘﺮ ﺍﺯ ﺣﺪ ﻣﻨﻪ‪ .‬ﻧﻤﻰﺧﻮﺍﻡ ﻳﻜﻰ ﺍﺯ ﺍﻳﻦ ﻛﭙﻰﻫﺎ ﻟﻌﻨﺘﻰ ﺍﺯ ﻫﻮﻟﻮﺗﺎﻧﻚ‬ ‫ﺩﺭ ﺑﻴﺎﺩ ﻭ ﻣﺎﻫﺎ ﺭﻭ ﻓﺘﺢ ﻛﻨﻪ‪«.‬‬ ‫ﺭﻳﭽﺎﺭﺩﺳﻦ ﺑﻪ ﺳﻮﻯ ﺍﻭ ﭼﺮﺧﻴﺪ‪ .‬ﺻﻮﺭﺗﺶ ﺳﺮﺥ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﻧﻴﺸﺶ ﺗﺎ ﺑﻨﺎﮔﻮﺵ ﺑﺎﺯ ﺑﻮﺩ‪» .‬ﻫﺮﻯ‪ ،‬ﻫﺮﻯ!‬ ‫ﻣﺤﺾ ﺭﺿﺎﻯ ﺧﺪﺍ! ﭘﻨﺞ ﺩﻗﻴﻘﻪ ﭘﻴﺶ ﺣﺘﺎ ﺑﺎﻭﺭ ﻧﻤﻰﻛﺮﺩﻯ ﭼﻴﺰﻯ ﺑﻴﺸﺘﺮ ﺍﺯ ﻳﻪ ﺁﺩﻡ ﻛﻮﭼﻮﻟﻮﻯ ﻣﺤﻮ‬ ‫ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ‪ .‬ﺣﺎﻻ ﺍﻭﻥﻗﺪﺭ ﺗﻨﺪ ﻣﻰﺭﻯ ﻛﻪ ﺩﺍﺭﻯ ﺑﺪﺗﺮﻳﻦ ﺣﺎﻟﺖ ﺭﻭ ﺗﺼﻮﺭ ﻣﻰﻛﻨﻰ ‪«...‬‬ ‫»ﻣﻦ ﺩﺍﺭﻡ ﭼﺸﻤﺎﺵ ﺭﻭ ﻣﻰﺑﻴﻨﻢ‪ ،‬ﻟﻮ‪ .‬ﻣﻰﺗﺮﺳﻢ ﭼﺸﻢﻫﺎﻯ ﺍﻭﻥ ﻫﻢ ﻣﻨﻮ ﺑﺒﻴﻨﻨﺪ‪«.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﺩﺭ ﻫﻮﻟﻮﺗﺎﻧﻚ ﺯﻝ ﺯﺩﻩ ﺑﻮﺩ ﻭ ﺍﻃﻤﻴﻨﺎﻥ ﺩﺍﺷﺖ ﻛﻪ ﺭﻳﭽﺎﺭﺩﺳﻦ ﺑﻼﺧﺮﻩ ﻓﻬﻤﻴﺪﻩ ﭼﻄﻮﺭ ﺍﺯ ﺑﺮﻧﺎﻣﻪﻯ‬ ‫ﺷﺒﻴﻪﺳﺎﺯ ﺩﺭﺳﺖ ﺍﺳﺘﻔﺎﻩ ﻛﻨﺪ‪.‬‬ ‫»ﭘﺲ ﻭﺍﻗﻌﺎً ﻓﻜﺮ ﻣﻰﻛﻨﻰ ﺩﻭﺑﺎﺭﻩ ﺯﻧﺪﻩﺍﺵ ﻛﺮﺩﻯ؟ ﻛﺴﻰ ﻛﻪ ‪ ...‬ﺑﮕﻰ ﻧﮕﻰ ﭘﻮﻧﺼﺪ ﺳﺎﻝ ﭘﻴﺶ ﺯﻧﺪﮔﻰ‬ ‫ﻣﻰﻛﺮﺩﻩ؟«‬ ‫»ﺳﺎﻝ ‪ 1541‬ﻣﺮﺩﻩ‪«.‬‬ ‫»ﭘﺲ ﻧﺰﺩﻳﻚ ﺷﻴﺸﺼﺪ ﺳﺎﻝ ﻣﻰﺷﻪ‪«.‬‬ ‫»ﻭ ﺑﺎ ﺑﻘﻴﻪ ﻫﻢ ﻓﺮﻕ ﺩﺍﺭﻩ‪ .‬ﺍﻳﻦ ﻳﻪ ﺗﻮﻟﺪ ﻣﻌﻤﻮﻯ ﺍﺯ ﻳﻪ ﺷﺨﺼﻴﺖ ﻗﺪﻳﻤﻰ ﻧﻴﺴﺖ ﻛﻪ ﻓﻘﻂ ﺑﻪ ﺩﺭﺩ‬ ‫ﺳﺨﻨﺮﺍﻧﻰ ﺑﺨﻮﺭﻩ‪ .‬ﺍﮔﺮ ﺣﻖ ﺑﺎ ﻣﻦ ﺑﺎﺷﻪ‪ ،‬ﺍﻳﻦ ﭼﻴﺰﻯ ﻛﻪ ﺩﺍﺭﻯ ﻣﻰﺑﻴﻨﻰ‪ ،‬ﻳﻪ ﺟﻮﺭ ﻫﻮﺵ ﻣﺼﻨﻮﻋﻴﻪ‬ ‫ﻛﻪ ﻣﻰﺗﻮﻧﻪ ﺗﻮ ﺧﻂ ﺳﻴﺮ ﺩﻟﺨﻮﺍﻩ ﺧﻮﺩﺵ‪ ،‬ﺟﺪﺍ ﺍﺯ ﻃﺮﺍﺣﻰ ﺑﺮﻧﺎﻣﻪﻧﻮﻳﺲﻫﺎ ﻓﻜﺮ ﻛﻨﻪ‪ .‬ﺍﻳﻦ ﻫﻮﺷﻴﻪ ﻛﻪ‬ ‫ﺍﻃﻼﻋﺎﺕ ﺑﻨﻴﺎﺩﻯ – ﻳﻌﻨﻰ ﻫﻤﻮﻥﻫﺎﻳﻰ ﻛﻪ ﻣﺎ ﺑﻬﺶ ﺩﺍﺩﻳﻢ ‪ -‬ﺭﻭ ﺩﺍﺭﻩ‪ .‬ﺍﻳﻦ ﻳﻪ ﭘﻴﺮﻭﺯﻯ ﻭﺍﻗﻌﻴﻪ‪ .‬ﻫﻤﻮﻥ‬ ‫ﺟﻬﺶ ﻓﻠﺴﻔﻰ ﻭ ﺑﻨﻴﺎﺩﻳﻦ ﻛﻪ ﺍﺯ ﺍﻭﻝ ﭘﺮﻭژﻩ ﻫﺪﻓﻤﻮﻥ ﺑﻮﺩ‪ .‬ﻣﻰﺗﻮﻧﻴﻢ ﺍﺯ ﺑﺮﻧﺎﻣﻪ ﻃﻮﺭﻯ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻴﻢ‬ ‫ﻛﻪ ﺑﺮﺍﻣﻮﻥ ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﺟﺪﻳﺪﻯ ﻛﻪ ﺗﻮﺍﻧﺎﻳﻰ ﺍﻓﻜﺎﺭ ﻭﺍﻗﻌﻰ ﻭ ﻣﺴﺘﻘﻞ ﺭﻭ ﺩﺍﺭﻧﺪ‪ ،‬ﺗﻮﻟﻴﺪ ﻛﻨﻪ – ﺑﺮﻧﺎﻣﻪﺍﻯ‬ ‫ﻛﻪ ﺑﻪ ﺟﺎﻯ ﺍﻳﻦ ﻛﻪ ﺑﺎﺯﺗﺎﺑﻰ ﺍﺯ ﺗﺼﻮﺭﺍﺕ ﻟﻮ ﺭﻳﭽﺎﺭﺩﺳﻦ ﺍﺯ ﭘﻴﺰﺍﺭﻭ ﺑﺎﺷﻪ‪ ،‬ﻣﺜﻞ ﺧﻮ ِﺩ ﺷﺨﺺ ﭘﻴﺰﺍﺭﻭ ﻓﻜﺮ‬ ‫ﻣﻰﻛﻨﻪ‪«.‬‬ ‫ﺗﺎﻧﺮ ﮔﻔﺖ‪» :‬ﺁﺭﻩ‪«.‬‬ ‫»ﺍﻟﺒﺘﻪ ﻣﻌﻨﻰﺍﺵ ﺍﻳﻦ ﻫﻢ ﻫﺴﺖ ﻛﻪ ﻧﻤﻰﺗﻮﻧﻴﻢ ﻧﺘﺎﻳﺞ ﻗﺎﺑﻞﺍﻧﺘﻈﺎﺭ ﻭ ﭘﻴﺸﮕﻮﻳﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ‪ .‬ﺣﺎﻻ‬ ‫ﻏﺎﻓﻠﮕﻴﺮ ﻣﻰﺷﻴﻢ‪ .‬ﻣﻰﺩﻭﻧﻰ‪ ،‬ﺑﻪ ﺟﺰ ﻏﺎﻓﻠﮕﻴﺮﻯ ﻫﻴﭻ ﺭﺍﻩ ﺩﻳﮕﻪﺍﻯ ﺑﺮﺍﻯ ﻳﺎﺩﮔﻴﺮﻯ ﻭﺟﻮﺩ ﻧﺪﺍﺭﻩ‪ .‬ﻳﻌﻨﻰ‬ ‫ﻫﻤﻮﻥ ﺗﺮﻛﻴﺐ ﻧﺎﮔﻬﺎﻧﻰ ﺍﺟﺰﺍﻯ ﺁﺷﻨﺎ ﺑﺎ ﻳﻪ ﻋﻨﺼﺮ ﺍﺗﻔﺎﻗﻰ ﻭ ﺟﺪﻳﺪ‪ .‬ﻭ ﺣﺎﻻ ﻣﺎ ﺑﺎ ﺍﻳﻦ ﺑﺮﻧﺎﻣﻪ ﻫﻤﻮﻥ‬ ‫ﺭﻭ ﺧﻠﻖ ﻛﺮﺩﻩﺍﻳﻢ‪ .‬ﻫﺮﻯ‪ ،‬ﺍﻳﻦ ﻣﻰﺗﻮﻧﻪ ﺑﺰﺭﮔﺘﺮﻳﻦ ﭘﻴﺸﺮﻓﺖ ﻫﻮﺵ ﻣﺼﻨﻮﻋﻰ ﺑﺎﺷﻪ ﻛﻪ ﺗﺎ ﺣﺎﻻ ﺩﺳﺖ‬ ‫ﻛﺴﻰ ﺑﻬﺶ ﺭﺳﻴﺪﻩ‪«.‬‬ ‫ﺗﺎﻧﺮ ﻛﻤﻰ ﻓﻜﺮ ﻛﺮﺩ‪ .‬ﻳﻌﻨﻰ ﻫﻤﻴﻦﻃﻮﺭ ﺑﻮﺩ؟ ﻭﺍﻗﻌﺎً ﻣﻮﻓﻖ ﺷﺪﻩ ﺑﻮﺩﻧﺪ؟‬ ‫ﻭ ﺍﮔﺮ ﻣﻮﻓﻖ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ‪...‬‬ ‫ﻓﻜﺮﻯ ﺗﺎﺯﻩ ﻭ ﻧﮕﺮﺍﻥﻛﻨﻨﺪﻩ ﺩﺭ ﺫﻫﻨﺶ ﺷﻜﻞ ﮔﺮﻓﺖ‪ .‬ﺑﻪ ﻧﻈﺮﺵ ﺭﺳﻴﺪ ﻛﻪ ﺩﻳﮕﺮ ﺑﺮﺍﻯ ﺍﻳﻦ ﻓﻜﺮﻫﺎ‬ ‫ﺩﻳﺮ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺑﻪ ﭘﻴﻜﺮ ﺩﺭﻭﻥ ﻫﻮﻟﻮﺗﺎﻧﻚ ﭼﺸﻢ ﺩﻭﺧﺖ‪ :‬ﻣﺮﺩﻯ ﻛﻬﻨﺴﺎﻝ ﻭ ﻧﻴﺮﻭﻣﻨﺪ ﺑﺎ ﭼﻬﺮﻩﻯ‬ ‫ﺳﺨﺘﮕﻴﺮﺍﻧﻪ ﻭ ﭼﺸﻤﺎﻥ ﺳﺮﺩ ﻭ ﺑﻰﺭﺣﻢ‪ .‬ﺑﺎ ﺧﻮﺩ ﻓﻜﺮ ﻛﺮﺩ ﻛﺴﻰ ﻛﻪ ﺍﻟﮕﻮ ﺍﺯ ﺭﻭﻯ ﺷﺨﺼﻴﺖ ﺍﻭ ﺑﺮﺩﺍﺷﺘﻪ‬ ‫ﺷﺪﻩ‪ ،‬ﭼﻄﻮﺭ ﺁﺩﻣﻰ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻣﺮﺩﻯ ﻛﻪ ﺣﺎﺿﺮ ﺑﻮﺩ ﺩﺭ ﭘﻨﺠﺎﻩ ﻳﺎ ﺷﺼﺖ ﻳﺎ ﻫﺮ ﺳﻦ ﺩﻳﮕﺮﻯ ﺑﻪ‬ ‫ﺁﻣﺮﻳﻜﺎﻯ ﺟﻨﻮﺑﻰ ﺑﺮﻭﺩ؛ ﻳﻚ ﺩﻫﺎﺗﻰ ﺍﺳﭙﺎﻧﻴﺎﻳﻰ ﺑﺪﻭﻥ ﻫﻴﭻ ﻧﻮﻉ ﺗﺮﺑﻴﺖ ﻭ ﺳﻮﺍﺩﻯ ﻛﻪ ﺯﺭﻩ ﻗﻨﺎﺳﻰ ﺑﻪ ﺗﻦ‬ ‫ﺩﺍﺷﺖ ﻭ ﺷﻤﺸﻴﺮ ﺯﻧﮓﺯﺩﻩﺍﺵ ﺭﺍ ﺑﻰﻫﺪﻑ ﺩﺭ ﻫﻮﺍ ﺗﻜﺎﻡ ﻣﻰﺩﺍﺩ ﻭ ﻗﺼﺪ ﺩﺍﺷﺖ ﺍﻣﭙﺮﺍﺗﻮﺭﻯ ﻋﻈﻴﻤﻰ ﺑﺎ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﭘﺎﻭﺭﻗﻰ‬

‫‪‬ﺗﺎﻧﺮ ﮔﻔﺖ‪» :‬ﺍﻧﮕﺎﺭ ﺍﻳﻦ ﺑﺎﺭ ﻭﺍﻗﻌﺎً ﻣﻮﻓﻖ ﺷﺪﻩﺍﻯ‪«.‬‬ ‫»ﺁﺭﻩ‪ ،‬ﺧﻮﺩﻡ ﻫﻢ ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﺍﻳﻦ ﺩﻓﻌﻪ ﺩﻳﮕﻪ ﻛﺎﺭ ﻛﻨﻪ‪ .‬ﺍﻭﻥ ﻫﻢ ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻫﻤﻪ ﺷﻜﺴﺖ!«‬ ‫ﺗﺎﻧﺮ ﺳﺮﻯ ﺑﻪ ﻧﺸﺎﻧﻪﻯ ﺗﺄﻳﻴﺪ ﺗﻜﺎﻥ ﺍﺩ‪ .‬ﺑﺎﺭﻫﺎ ﺑﺎ ﺍﻧﺘﻈﺎﺭﺍﺗﻰ ﺑﺰﺭگ ﺑﻪ ﺍﻳﻦ ﺍﺗﺎﻕ ﺁﻣﺪﻩ ﺑﻮﺩ ﺗﺎ ﺗﻨﻬﺎ‬ ‫ﺷﺎﻫﺪ ﺧﺮﺍﺑﻜﺎﺭﻯ‪ ،‬ﺩﻳﻮﺍﻧﮕﻰ ﻭ ﺳﻨﺒﻞﻛﺎﺭﻯ ﺑﺎﺷﺪ‪ .‬ﺭﻳﭽﺎﺭﺩﺳﻦ ﻫﻤﻴﺸﻪ ﺗﻮﺿﻴﺤﻰ ﺩﻡ ﺩﺳﺖ ﺩﺍﺷﺖ؛‬ ‫ﺷﺮﻟﻮﻙ ﻫﻠﻤﺰ ]‪ [39‬ﺟﻮﺍﺏ ﻧﺪﺍﺩﻩ ﺑﻮﺩ‪ ،‬ﭼﻮﻥ ﺧﻴﺎﻟﻰ ﺑﻮﺩ‪ :‬ﺍﻳﻦ ﻛﺎﺭ ﺗﻜﺮﺍﺭ ﻫﻤﺎﻥ ﺁﺯﻣﺎﻳﺶ ﺩﻥ ﻛﻴﺸﻮﺕ‬ ‫ﻓﺮﺍﻧﺴﻮﻯﻫﺎ ﺑﻮﺩ ﻭ ﺛﺎﺑﺖ ﻣﻰﻛﺮﺩ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺍﺑﺪﺍﻉ ﺷﺪﻩ ﺳﺎﺧﺘﺎﺭ ﺣﻘﻴﻘﻰ ﻭ ﻗﺪﺭﺕ ﻻﺯﻡ ﺑﺮﺍﻯ‬ ‫ﺯﻧﺪﮔﻰ ﻭ ﺗﻮﺍﻧﺎﻳﻰ ﺭﻭﻳﺎﺭﻭﻳﻰ ﺑﺎ ﺁﻥ ﺭﺍ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺁﺭﺗﻮﺭ ﺷﺎﻩ ﻫﻢ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺑﻪ ﺧﻄﺎ ﺭﻓﺘﻪ ﺑﻮﺩ‪ .‬ژﻭﻝ‬ ‫ﺳﺰﺍﺭ؟ ﺷﺎﻳﺪ ﺯﻳﺎﺩﻯ ﻗﺪﻳﻤﻰ ﺑﻮﺩ‪ :‬ﺍﻃﻼﻋﺎﺕ ﭘﻴﺮﺍﻣﻮﻥ ﺍﻭ ﻏﻴﺮﻗﺎﺑﻞ ﺍﻋﺘﻤﺎﺩ ﺑﻮﺩﻧﺪ ﻭ ﮔﺬﺷﺘﻪ ﺍﺯ ﺁﻥ‪ ،‬ﺑﺎ‬ ‫ﺍﻓﺴﺎﻧﻪ ﺩﺭ ﺁﻣﻴﺨﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﻣﻮﺳﻰ؟ ﺑﺎﺯ ﻫﻢ ﻫﻤﺎﻥ ﻣﺴﺄﻟﻪ‪ .‬ﺍﻧﻴﺸﺘﻴﻦ؟ ﺷﺎﻳﺪ ﺑﺮﺍﻯ ﺍﻳﻦ ﭘﺮﻭژﻩ ﺩﺭ ﻭﺿﻌﻴﺖ‬ ‫ﻓﻌﻠﻰ ﺯﻳﺎﺩﻯ ﭘﻴﭽﻴﺪﻩ ﺑﻮﺩ ﻭ ﻫﻨﻮﺯ ﺑﻪ ﺍﻃﻼﻋﺎﺕ ﺑﻴﺸﺘﺮﻯ ﻧﻴﺎﺯ ﺩﺍﺷﺘﻨﺪ‪ .‬ﻣﻠﻜﻪ ﺍﻟﻴﺰﺍﺑﺖ ﺍﻭﻝ؟ ﺟﻮﺭﺝ‬ ‫ﻭﺍﺷﻴﻨﮕﺘﻦ؟ ﻣﻮﺗﺰﺍﺭﺕ؟ ﺭﻳﭽﺎﺭﺩﺳﻦ ﻣﻰﮔﻔﺖ ﺑﺎ ﻫﺮ ﺑﺎﺭ ﺷﻜﺴﺖ ﭼﻴﺰﻫﺎﻯ ﺑﻴﺸﺘﺮﻯ ﻳﺎﺩ ﻣﻰﮔﻴﺮﻳﻢ ﻭ‬ ‫ﻛﺎﺭﻯ ﻛﻪ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﺪ‪ ،‬ﺟﺎﺩﻭ ﻭ ﺟﻨﺒﻞ ﻧﻴﺴﺖ‪ .‬ﻛﻪ ﺍﻭ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺭﻭﺡ ﺍﺣﻀﺎﺭ ﻛﻨﺪ‪ ،‬ﺑﻠﻜﻪ ﻓﻘﻂ ﻳﻚ‬ ‫ﺑﺮﻧﺎﻣﻪﻧﻮﻳﺲ ﺍﺳﺖ ﻛﻪ ﺑﺎﻳﺪ ﺑﻔﻬﻤﺪ ﭼﻪ ﭼﻴﺰﻯ ﺟﻮﺍﺏ ﻣﻰ ﺩﻫﺪ‪.‬‬ ‫ﻭ ﺣﺎﻻ ﭘﻴﺰﺍﺭﻭ ﻭﺟﻮﺩ ﺩﺍﺷﺖ‪.‬‬ ‫ﺗﺎﻧﺮ ﭘﻨﺞ ﺷﺶ ﻣﺎﻩ ﭘﻴﺶ ﭘﺮﺳﻴﺪﻩ ﺑﻮﺩ‪» :‬ﺣﺎﻻ ﭼﺮﺍ ﻣﻰﺧﻮﺍﻯ ﻋﺪﻝ ﺑﺎ ﺍﻭﻥ ﻛﺎﺭ ﻛﻨﻰ؟ ﻳﻪ ﺍﻣﭙﺮﻳﺎﻟﻴﺴﺖ‬ ‫ﺑﻰﻭﺟﺪﺍﻥ ﻗﺮﻭﻥ ﻭﺳﻄﺎﻳﻰ‪ .‬ﺩﺳﺖ ﻛﻢ ﺗﺎ ﺍﻭﻥﺟﺎﻳﻰ ﻛﻪ ﺍﺯ ﺯﻣﻮﻥ ﻣﺪﺭﺳﻪ ﻳﺎﺩﻡ ﻣﻮﻧﺪﻩ ﺍﻳﻦﻃﻮﺭﻯ ﺑﺪﻭ‪.‬‬ ‫ﻧﺎﺑﻮﺩ ﻛﻨﻨﺪﻩﻯ ﺗﺸﻨﻪ ﺑﻪ ﺧﻮﻥ ﻳﻚ ﺗﻤﺪﻥ ﻭﺍﻻ‪ .‬ﻣﺮﺩﻯ ﺑﺪﻭﻥ ﺍﺧﻼﻕ ﻭ ﺣﻴﺜﻴﺖ ﻭ ﺍﻳﻤﺎﻥ‪«.‬‬ ‫ﺭﻳﭽﺎﺭﺩﺳﻦ ﮔﻔﺖ‪» :‬ﺩﺍﺭﻯ ﺩﺭ ﺣﻘﺶ ﺑﻰﺍﻧﺼﺎﻓﻰ ﻣﻰﻛﻨﻰ‪ .‬ﻗﺮﻥﻫﺎﺳﺖ ﻫﻤﻪ ﺩﺭ ﻣﻮﺭﺩﺵ ﺑﺪ ﻣﻰﮔﻦ‪.‬‬ ‫ﻭﻟﻰ ﭼﻴﺰﻫﺎﻳﻰ ﻫﺴﺖ ﻛﻪ ﻣﻦ ﺭﻭ ﺑﻬﺶ ﺟﺬﺏ ﻣﻰﻛﻨﻦ‪«.‬‬ ‫»ﻣﺜ ً‬ ‫ﻼ ﭼﻰ؟«‬ ‫»ﺍﺷﺘﻴﺎﻗﺶ ﺑﻪ ﻓﻌﺎﻟﻴﺖ‪ .‬ﺷﺠﺎﻋﺘﺶ‪ .‬ﺍﻳﻤﺎﻥ ﺑﻰ ﺣﺪ ﻭ ﻣﺮﺯﺵ‪ .‬ﺟﻨﺒﻪﻯ ﻣﺜﺒﺘﺶ ﻛﻪ ﻃﺮﻑ ﺩﻳﮕﻪﻯ‬ ‫ﺑﻰﺭﺣﻤﻴﻪ‪ ،‬ﺗﻤﺮﻛﺰ ﻛﺎﻣﻠﺶ ﺭﻭﻯ ﻫﺪﻓﻪ؛ ﺍﻳﻦ ﻛﻪ ﺑﻪ ﺍﺣﺪﻯ ﺍﺟﺎﺯﻩ ﻧﻤﻰﺩﺍﺩ ﺟﻠﻮﺵ ﺭﻭ ﺑﮕﻴﺮﻩ؛ ﺣﺎﻻ‬ ‫ﻣﺎﻧﻊ ﻫﺮ ﭼﻰ ﻛﻪ ﻣﻰﺧﻮﺍﺳﺖ ﺑﺎﺷﻪ‪ .‬ﻛﺎﺭﻫﺎﺵ ﺭﻭ ﺗﺄﻳﻴﺪ ﻛﻨﻰ ﻳﺎ ﻧﻪ‪ ،‬ﺑﺎﻳﺪ ﭼﻨﻴﻦ ﻣﺮﺩﻯ ﺭﻭ ﺑﺎﺑﺖ ﺍﻳﻦ‬ ‫ﺧﺼﻮﺻﻴﺖ ﺗﺤﺴﻴﻦ ﻛﻨﻰ ‪«...‬‬ ‫ﺗﺎﻧﺮ ﮔﻔﺖ‪» :‬ﺑﺎﺷﻪ‪ «.‬ﻭ ﺑﻌﺪ ﺣﺲ ﻛﺮﺩ ﺍﻳﻦ ﻣﺎﺟﺮﺍ ﺩﺍﺭﺩ ﺧﺴﺘﻪﺍﺵ ﻣﻰﻛﻨﺪ ﻭ ﮔﻔﺖ‪» :‬ﭘﻴﺰﺍﺭﻭ ﺭﻭ ﺑﺴﺎﺯ‪.‬‬ ‫ﺍﺻ ً‬ ‫ﻼ ﻫﺮ ﻛﺎﺭﻯ ﻣﻰﺧﻮﺍﻯ ﺑﻜﻦ‪«.‬‬ ‫ﻣﺎﻩﻫﺎ ﺍﺯ ﺁﻥ ﺯﻣﺎﻥ ﮔﺬﺷﺘﻪ ﺑﻮﺩ‪ .‬ﺭﻳﭽﺎﺭﺩﺳﻦ ﻫﺮ ﺍﺯ ﮔﺎﻫﻰ ﮔﺰﺍﺭﺵﻫﺎﻯ ﻣﺒﻬﻤﻰ ﺍﺯ ﭘﻴﺸﺮﻓﺖﻫﺎﻳﺶ‬ ‫ﺍﺭﺍﺋﻪ ﻣﻰﺩﺍﺩ‪ ،‬ﺍﻣﺎ ﻫﻴﭻ ﻛﺪﺍﻡ ﭼﻨﺪﺍﻥ ﺍﻣﻴﺪﺑﺨﺶ ﻧﺒﻮﺩﻧﺪ‪ .‬ﻭﻟﻰ ﺣﺎﻻ ﺗﺎﻧﺮ ﺑﻪ ﭘﻴﻜﺮ ﻛﻮﭼﻚ ﺧﺮﺍﻣﺎﻥ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﻛﺮﺩﻩ ﺑﻮﺩ – ﺩﺭﺳﺖ ﻣﺎﻧﻨﺪ ﺍﻭﺩﻳﭗ ]‪ ،[33‬ﺍﻭﺩﻳﺴﻪ ]‪ [34‬ﻭ ﺩﻳﻮﻳﺪ ﻛﺎﭘﺮﻓﻴﻠﺪ ]‪ – [35‬ﻭ ﺷﺨﺼﻴﺖ‬ ‫ﺍﻭ ﺑﺴﻴﺎﺭ ﺭﻳﺸﻪﺍﻯﺗﺮ ﻭ ﻣﻠﻤﻮﺱﺗﺮ ﺍﺯ ﺍﻏﻠﺐ ﻛﺴﺎﻧﻰ ﻛﻪ ﻭﺍﻗﻌﺎً ﺯﻧﺪﮔﻰ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺣﻘﻴﻘﻰ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺍﻳﻦ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺧﻴﺎﻟﻰ ﺑﺮﺍﻯ ﺧﻮﺩ ﻧﻮﻋﻰ ﺯﻧﺪﮔﻰ ﺩﺳﺖ ﻭ ﭘﺎ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﻛﻪ ﺍﺯ ﻃﺮﺡ ﺍﻭﻟﻴﻪﺷﺎﻥ‬ ‫ﺑﺴﻴﺎﺭ ﻓﺮﺍﺗﺮ ﻣﻰﺭﻓﺖ‪ .‬ﻓﻘﻂ ﺑﺪﺑﻴﺎﺭﻯ ﺩﺭ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﻛﺎﻣﭙﻴﻮﺗﺮ ﺩﺭ ﺍﻳﻦ ﻗﺴﻤﺖ ﻗﺼﺪ ﻫﻤﻜﺎﺭﻯ ﻧﺪﺍﺷﺖ‪.‬‬ ‫ﻛﺎﻣﭙﻴﻮﺗﺮ ﻣﻰﺗﻮﺍﻧﺴﺖ ﻛﭙﻰ ﻣﺘﻘﺎﻋﺪ ﻛﻨﻨﺪﻩﺍﻯ ﺍﺯ ﺩﻥ ﻛﻴﺸﻮﺕ ﺩﺭﺳﺖ ﻛﻨﺪ؛ ﻳﻌﻨﻰ ﻫﻮﻟﻮﮔﺮﺍﻣﻰ ﺍﺯ ﻳﻚ‬ ‫ﭘﻴﻜﺮ ﻻﻏﺮ ﻭ ﻋﺠﻴﺐ ﻭ ﻏﺮﻳﺐ ﻛﻪ ﺗﻤﺎﻣﻰ ﺻﻔﺖﻫﺎﻯ ﺷﺎﺧﺺ ﺭﺍ ﺩﺍﺭﺍ ﺑﻮﺩ؛ ﺷﺨﺼﻴﺘﻰ ﻛﻪ ﺭﻓﺘﺎﺭ ﻗﺎﺑﻞ‬ ‫ﺍﻧﺘﻈﺎﺭﻯ ﺍﺯ ﺧﻮﺩ ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩ‪ ،‬ﺑﻪ ﺧﺼﻮﺹ ﺩﺭ ﻣﻘﺎﺑﻞ ﺩﻭﻟﭽﻴﻨﺎ ]‪ ،[36‬ﺭﺯﻳﻨﺎﻧﺘﻪ ]‪ [37‬ﻭ ﻛﻼﻫﺨﻮﺩ‬ ‫ﻣﺎﻣﺒﺮﻳﻨﻮ ]‪ .[38‬ﻧﻤﺎﻳﺶ ﻣﺎﻳﻪﻯ ﺗﻔﺮﻳﺢ ﭘﺎﺩﺷﺎﻩ ﺍﺳﭙﺎﻧﻴﺎ ﺷﺪ ﻭ ﺍﻭ ﺭﺍ ﺗﺤﺖ ﺗﺄﺛﻴﺮ ﻗﺮﺍﺭ ﺩﺍﺩ‪ .‬ﺍﻣﺎ ﺑﺮﺍﻯ‬ ‫ﻓﺮﺍﻧﺴﻮﻯﻫﺎ ﻣﺎﺟﺮﺍ ﻣﺴﺎﻭﻯ ﺑﺎ ﺷﻜﺴﺖ ﺑﻮﺩ‪ .‬ﺁﻥﻫﺎ ﺩﻥ ﻛﻴﺸﻮﺗﻰ ﺳﺎﺧﺘﻪ ﺑﻮﺩﻧﺪ ﻛﻪ ﺑﻪ ﻃﺮﺯ ﻧﺎﺍﻣﻴﺪ‬ ‫ﻛﻨﻨﺪﻩﺍﻯ ﺑﻪ ﺍﺳﭙﺎﻧﻴﺎﻯ ﺍﻭﺍﺧﺮ ﻗﺮﻥ ﺷﺎﻧﺰﺩﻫﻢ ﻭ ﻛﺘﺎﺑﻰ ﻛﻪ ﺍﺯ ﺁﻥ ﺑﺮﺧﺎﺳﺘﻪ ﺑﻮﺩ‪ ،‬ﻣﺤﺪﻭﺩ ﺑﻮﺩ‪ .‬ﺍﻭ‬ ‫ﻛﻮﭼﻜﺘﺮﻳﻦ ﺗﻮﺍﻧﺎﻳﻰ ﺑﺮﺍﻯ ﺯﻧﺪﮔﻰ ﻳﺎ ﺍﻓﻜﺎﺭ ﻣﺴﺘﻘﻞ ﺍﺯ ﺧﻮﺩ ﻧﺸﺎﻥ ﻧﻤﻰﺩﺍﺩ – ﺍﺻ ً‬ ‫ﻼ ﻧﻤﻰﺷﺪ ﺣﺮﻓﺶ‬ ‫ﺭﺍ ﻫﻢ ﺯﺩ ﻛﻪ ﺩﻧﻴﺎﻯ ﺟﺪﻳﺪ ﺭﺍ ﺩﺭﻙ ﻛﺮﺩﻩ‪ ،‬ﺩﺭﺑﺎﺭﻩﻯ ﺁﻥ ﺑﻴﻨﺪﻳﺸﺪ ﻳﺎ ﺍﺻ ً‬ ‫ﻼ ﺗﻤﺎﺳﻰ ﺑﺎ ﺁﻥ ﺑﺮﻗﺮﺍﺭ ﻛﻨﺪ‪.‬‬ ‫ﺣﻀﻮﺭ ﺍﻭ ﺧﻴﻠﻰ ﺳﺎﺩﻩ‪ ،‬ﭘﻴﺶﭘﺎﺍﻓﺘﺎﺩﻩ ﻭ ﺗﻜﺮﺍﺭﻯ ﺑﻮﺩ‪ .‬ﻫﺮ ﻫﻨﺮﭘﻴﺸﻪﺍﻯ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺯﺭﻫﻰ ﺑﻪ ﺗﻦ ﻛﺮﺩﻩ‪،‬‬ ‫ﻳﻚ ﺭﻳﺶ ﻭﺯﻭﺯﻯ ﺑﻪ ﭼﺎﻧﻪ ﺑﭽﺴﺒﺎﻧﺪ ﻭ ﻓﺮﺍﺯﻫﺎﻳﻰ ﺍﺯ ﺳﺮﻭﺍﻧﺘﺲ ﺭﺍ ﻧﻘﻞ ﻛﻨﺪ‪ .‬ﺁﻥ ﭼﻪ ﻛﺎﻣﭙﻴﻮﺗﺮ ﭘﺲ‬ ‫ﺍﺯ ﺳﻪ ﺳﺎﻝ ﺯﺣﻤﺖ ﺷﺒﺎﻧﻪﺭﻭﺯﻯ ﺑﻪ ﺩﺳﺖ ﺩﺍﺩ‪ ،‬ﭼﻴﺰﻯ ﻧﺒﻮﺩ ﺟﺰ ﭘﺲ ﺩﺍﺩﻥ ﻗﺎﺑﻞ ﭘﻴﺶﺑﻴﻨﻰ ﻫﻤﺎﻥ‬ ‫ﺍﻃﻼﻋﺎﺕ ﻛﻬﻨﻪ ﻭ ﺳﺘﺮﻭﻧﻰ ﻛﻪ ﻗﺒ ً‬ ‫ﻼ ﺑﻪ ﺧﻮﺭﺩﺵ ﺩﺍﺩﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﻫﻤﻴﻦ ﻣﺮﻛﺰ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﻣﺤﺎﺳﺒﺎﺕ ﺭﺍ ﺑﻪ ﺳﻮﻯ ﻗﺪﻡ ﻣﻬﻠﻚ ﺑﻌﺪﻯ ﻛﺸﺎﻧﺪ‪ :‬ﺩﺳﺖ ﻛﺸﻴﺪﻥ ﺍﺯ ﭘﺮﻭژﻩ‪.‬‬ ‫ﺩﻳﮕﺮ ﺑﺲ ﺑﻮﺩ! ﻭ ﺁﻥﻭﻗﺖ ﺗﻤﺎﻣﻰ ﭘﺮﻭژﻩ ﺑﻪ ﺑﺎﻳﮕﺎﻧﻰ ﺳﭙﺮﺩﻩ ﺷﺪ؛ ﺁﻥ ﻫﻢ ﺑﺪﻭﻥ ﺍﻣﻜﺎﻥ ﺍﺯ ﺳﺮ ﮔﺮﻓﺘﻦ‬ ‫ﺗﻼﺵ‪ .‬ﺩﻳﮕﺮ ﻧﻪ ﺭﻭﻧﻮﺷﺘﻰ ﺍﺯ ﭘﻴﻜﺎﺳﻮ‪ ،‬ﻳﺎ ﻧﺎﭘﻠﺌﻮﻥ ﻭ ژﺍﻥ ﺩﺍﺭﻙ ﺩﺭ ﻛﺎﺭ ﻧﺒﻮﺩ‪ .‬ﻗﻀﻴﻪﻯ ﺩﻥ ﻛﻴﺸﻮﺕ ﻫﻤﻪ‬ ‫ﺭﺍ ﻋﺼﺒﺎﻧﻰ ﻛﺮﺩﻩ ﺑﻮﺩ ﺩﻳﮕﺮ ﻛﺴﻰ ﺩﻟﺶ ﺭﺍ ﻧﺪﺍﺷﺖ ﻛﻪ ﻣﺎﺟﺮﺍ ﺭﺍ ﺍﺩﺍﻣﻪ ﺩﻫﺪ‪ .‬ﺣﺎﻻ ﻟﻜﻪﻯ ﺷﻜﺴﺖ ﺑﻪ‬ ‫ﺩﺍﻣﻦ ﭘﺮﻭژﻩ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﻓﺮﺍﻧﺴﻪ – ﻣﺜﻞ ﺁﻟﻤﺎﻥ‪ ،‬ﺍﺳﺘﺮﺍﻟﻴﺎ‪ ،‬ﻛﺸﻮﺭ ﺗﺠﺎﺭﻯ ﻫﺎﻥ‪ ،‬ﺑﺮﺯﻳﻞ ﻭ ﺗﻤﺎﻡ ﻣﺮﺍﻛﺰ‬ ‫ﺳﺮﺷﺎﺭ ﺍﺯ ﺟﻨﺐ ﻭ ﺟﻮﺵ ﺩﻧﻴﺎﻯ ﻣﺪﺭﻥ – ﺑﻪ ﺳﺎﺩﮔﻰ ﺍﺯ ﻧﺎﻛﺎﻣﻰ ﻭ ﺷﻜﺴﺖ ﻭﺣﺸﺖ ﺩﺍﺷﺖ‪ .‬ﺷﻜﺴﺖ‬ ‫ﭼﻴﺰﻯ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﺩﺭﺩ ﻣﻠﺖﻫﺎﻯ ﻋﻘﺐ ﺍﻓﺘﺎﺩﻩ ﻣﻰﺧﻮﺭﺩ‪ ،‬ﻳﺎ ﺁﻧﻬﺎﻳﻰ ﻛﻪ ﺩﺳﺘﺨﻮﺵ ﺯﻭﺍﻝ ﺑﻮﺩﻧﺪ – ﻣﺜ ً‬ ‫ﻼ‬ ‫ﺍﺗﺤﺎﺩ ﺳﻮﺳﻴﺎﻟﻴﺴﺘﻰ ﺍﺳﻼﻣﻰ ﻳﺎ ﺟﻤﻬﻮﺭﻯ ﺧﻠﻖ ﺷﻮﺭﻭﻯ‪ ،‬ﻳﺎ ﺁﻥ ﻏﻮﻝ ﺧﻔﺘﻪﺍﻯ ﻛﻪ ﺍﻳﺎﻻﺕ ﻣﺘﺤﺪﻩ ﻧﺎﻡ‬ ‫ﺩﺍﺷﺖ‪ .‬ﺗﻤﺎﻡ ﺍﻳﻦ ﻃﺮﺡ »ﺑﻴﺎﻳﻴﺪ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺗﺎﺭﻳﺨﻰ ﺭﺍ ﺯﻧﺪﻩ ﻛﻨﻴﻢ« ﻛﻨﺎﺭ ﮔﺬﺍﺷﺘﻪ ﺷﺪ‪.‬‬ ‫ﺩﺭ ﻭﺍﻗﻊ ﻓﺮﺍﻧﺴﻮﻳﺎﻥ ﻣﺴﺄﻟﻪ ﺭﺍ ﭼﻨﺎﻥ ﺧﻮﺍﺭ ﻣﻰﺷﻤﺎﺭﺩﻧﺪ ﻛﻪ ﺗﻤﺎﻡ ﭘﺮﻭژﻩ ﺭﺍ ﺑﻌﺪ ﺍﺯ ﭼﻨﺪ ﺳﺎﻝ ﺧﺎﻙ‬ ‫ﺧﻮﺭﺩﻥ ﺑﻪ ﮔﺮﻭﻫﻰ ﺍﺯ ﺁﻣﺮﻳﻜﺎﻳﻰﻫﺎ ﻭﺍﮔﺬﺍﺭ ﻛﺮﺩﻧﺪ؛ ﻇﺎﻫﺮﺍ ﺁﻣﺮﻳﻜﺎﻳﻰﻫﺎ ﺍﺯ ﺟﺎﻳﻰ ﻣﺎﺟﺮﺍ ﺭﺍ ﺷﻨﻴﺪﻩ ﺑﻮﺩﻧﺪ‬ ‫ﻭ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻧﺪ ﺍﻧﮕﻮﻟﻚ ﻛﺮﺩﻥ ﺑﺮﻧﺎﻣﻪ ﺟﺎﻟﺐ ﺑﺎﺷﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﭘﺎﻭﺭﻗﻰ‬

‫ﻭ ﻧﺎﺳﺎﺯﮔﺎﺭﻯﻫﺎﻳﻰ ﻛﻪ ﻣﺸﺨﺼﻪﻯ ﻃﺒﻴﻌﺖ ﺍﻧﺴﺎﻥ ﻫﺴﺘﻨﺪ‪ ،‬ﺷﻜﻞ ﺩﻫﻴﺪ‪ .‬ﺳﭙﺲ ﺟﺰﺋﻴﺎﺕ ﺩﺍﺩﻩﻫﺎﻯ‬ ‫ﻓﺮﻫﻨﮓ ﻋﻤﻮﻣﻰ ﺍﻳﻦ ﺩﻭﺭﻩﻯ ﺯﻣﺎﻧﻰ ﺭﺍ ﻧﻴﺰ ﺍﺿﺎﻓﻪ ﻣﻰﻛﻨﻴﺪ ﺗﺎ ﺷﺨﺺ ﻣﻮﺭﺩ ﻧﻈﺮ ﻗﺎﺩﺭ ﺑﻪ ﺍﻧﺘﺨﺎﺏ ﺍﺯ‬ ‫ﺑﺎﻳﮕﺎﻧﻰ ﺭﻭﺍﺑﻂ ﻣﺘﻘﺎﺑﻞ ﻭ ﮔﻨﺠﻴﻨﻪﻯ ﻟﻐﻮﻯ ﺑﺎﺷﺪ ﻭ ﺑﺘﻮﺍﻧﺪ ﺍﻓﻜﺎﺭﻯ ﺭﺍ ﺩﺭ ﺫﻫﻦ ﺧﻮﺩ ﭘﺮﻭﺭﺵ ﺩﻫﺪ ﻛﻪ ﺑﺎ‬ ‫ﺯﻣﻴﻨﻪﻯ ﺗﺎﺭﻳﺨﻰﺍﺵ ﺗﻨﺎﺳﺐ ﺩﺍﺭﻧﺪ‪ .‬ﻫﻤﻪ ﺭﺍ ﺑﺎ ﻫﻢ ﺧﻮﺏ ﻣﺨﻠﻮﻁ ﻛﻨﻴﺪ‪ .‬ﻭ ﺑﻔﺮﻣﺎ ]‪ ![27‬ﻛﻤﻰ ﺗﻜﻨﻴﻚ‬ ‫ﺗﻜﺎﻣﻞﻳﺎﻓﺘﻪﻯ ﭘﻨﺪﺍﺭﺳﺎﺯﻯ ﻛﺎﻓﻰ ﺍﺳﺖ ﻭ ﺷﻤﺎ ﺻﺎﺣﺐ ﺭﻭﻧﻮﺷﺘﻰ ﻫﺴﺘﻴﺪ ﻛﻪ ﻗﺎﺩﺭ ﺍﺳﺖ ﺑﻴﻨﺪﻳﺸﺪ ﻭ‬ ‫ﮔﻔﺘﮕﻮ ﻛﻨﺪ ﻭ ﺭﻓﺘﺎﺭﺵ ﻛﺎﻣ ً‬ ‫ﻼ ﻫﻤﺎﻧﻨﺪ ﺷﺨﺼﻴﺘﻰ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻫﻤﺎﻥ ﺍﺑﺘﺪﺍ ﻣﻰﺧﻮﺍﺳﺘﻴﺪ‪.‬‬ ‫ﻃﺒﻴﻌﻰ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﻛﺎﺭ ﺑﻪ ﮔﻨﺠﺎﻳﺶ ﺑﺴﻴﺎﺭ ﺑﺰﺭﮔﻰ ﺩﺭ ﻛﺎﻣﭙﻴﻮﺗﺮ ﻧﻴﺎﺯ ﺩﺍﺷﺖ‪ .‬ﺍﻣﺎ ﻣﺎﺟﺮﺍ ﻣﺸﻜﻞ‬ ‫ﺑﺰﺭﮔﻰ ﻧﺒﻮﺩ‪ ،‬ﺁﻥ ﻫﻢ ﺩﺭ ﺩﻧﻴﺎﻳﻰ ﻛﻪ ﺷﺒﻜﻪﻫﺎﻯ ‪ 150‬ﮔﻴﮕﺎﻓﻼﭘﻰ ﺟﺰء ﺗﺠﻬﻴﺰﺍﺕ ﺍﺳﺘﺎﻧﺪﺍﺭﺩ‬ ‫ﺁﺯﻣﺎﻳﺸﮕﺎﻩﻫﺎ ﺑﻮﺩﻧﺪ ﻭ ﺣﺘﺎ ﺑﭽﻪﻫﺎﻯ ﺩﻩ ﺳﺎﻟﻪ ﻛﺎﻣﭙﻴﻮﺗﺮﻫﺎﻳﻰ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻣﺪﺍﺩ ﺩﺍﺷﺘﻨﺪ ﻛﻪ ﮔﻨﺠﺎﻳﺶ‬ ‫ﺁﻥ ﺑﺮ ﺳﺨﺖﺍﻓﺰﺍﺭ ﻛﻨﺪﺫﻫﻦ ﭘﺪﺭﻫﺎﻯ ﭘﺪﺭ ﺟﺪﺷﺎﻥ ﭼﻨﺪ ﺑﺮﺍﺑﺮ ﺑﺮﺗﺮﻯ ﺩﺍﺷﺖ‪ .‬ﻧﻪ‪ ،‬ﺍﺯ ﻧﻈﺮ ﻓﺮﺽ ﺩﻟﻴﻠﻰ‬ ‫ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ ﻛﻪ ﭘﺮﻭژﻩﻯ ﻓﺮﺍﻧﺴﻮﻯﻫﺎ ﻧﺘﻮﺍﻧﺪ ﻣﻮﻓﻖ ﺷﻮﺩ‪ .‬ﻫﻤﻴﻦ ﻛﻪ ﺑﺮﻧﺎﻣﻪﻧﻮﻳﺴﺎﻥ ﻟﻴﻮﻧﻰ ﺳﻴﺴﺘﻢ‬ ‫ﭘﺎﻳﻪ ﺭﺍ ﻛﻪ ﺑﺮﺍﻯ ﺍﺩﺍﻣﻪﻯ ﻛﺎﺭ ﺿﺮﻭﺭﻯ ﺑﻮﺩ ﺳﺎﺧﺘﻨﺪ‪ ،‬ﺑﺎﻳﺪ ﺑﺎﻗﻰ ﻣﺎﺟﺮﺍ ﺧﻮﺩﺑﺨﻮﺩ ﺣﻞ ﻣﻰﺷﺪ‪.‬‬ ‫ﺍﻣﺎ ﺩﻭ ﻣﺴﺄﻟﻪ ﺑﻪ ﺧﻄﺎ ﺭﻓﺘﻨﺪ‪ :‬ﻣﻰﺷﺪ ﮔﻔﺖ ﻳﻜﻰ ﺑﻪ ﺩﻟﻴﻞ ﺟﺎﻩﻃﻠﺒﻰ ﺑﻴﺶ ﺍﺯ ﺍﻧﺪﺍﺯﻩﻯ ﺑﺮﻧﺎﻣﻪﻧﻮﻳﺴﺎﻥ‬ ‫ﺍﺻﻠﻰ – ﻛﻪ ﺷﺎﻳﺪ ﺑﻪ ﺩﻟﻴﻞ ﺳﺎﺧﺘﺎﺭ ﺷﺨﺼﻴﺘﻰ ﺧﺎﺹ ﻓﺮﺍﻧﺴﻮﻯﻫﺎ ﺍﺳﺖ – ﻭ ﺩﻳﮕﺮﻯ ﺍﻳﻦ ﻛﻪ ﻗﺪﺭﺕ‬ ‫ﺗﺤﻤﻞ ﺷﻜﺴﺖ ﺭﺍ ﻧﺪﺍﺷﺘﻨﺪ؛ ﻫﻤﺎﻥ ﺻﻔﺖ ﺷﺎﺧﺼﻪﻯ ﻣﻠﺖﻫﺎﻯ ﺑﺰﺭگ ﻧﻴﻤﻪﻯ ﻗﺮﻥ ﺑﻴﺴﺖ ﻭ ﺩﻭﻡ ﻛﻪ‬ ‫ﻓﺮﺍﻧﺴﻪ ﻧﻴﺰ ﺟﺰء ﺁﻥﻫﺎ ﻣﺤﺴﻮﺏ ﻣﻰﺷﺪ‪.‬‬ ‫ﺩﺭ ﻫﻤﺎﻥ ﺁﻏﺎﺯ‪ ،‬ﺩﺭ ﻫﻤﺎﻥ ﻣﺮﺍﺣﻞ ﻧﺨﺴﺘﻴﻦ‪ ،‬ﺗﻐﻴﻴﺮ ﻧﺎﻓﺮﺧﻨﺪﻩﺍﻯ ﺩﺭ ﭘﺮﻭژﻩ ﭘﻴﺶ ﺁﻣﺪ‪ .‬ﻗﺮﺍﺭ ﺑﻮﺩ ﭘﺎﺩﺷﺎﻩ‬ ‫ﺍﺳﭙﺎﻧﻴﺎ ﺑﺮﺍﻯ ﻣﻼﻗﺎﺗﻰ ﺭﺳﻤﻰ ﺩﺭ ﭘﺎﺭﻳﺲ ﺣﻀﻮﺭ ﭘﻴﺪﺍ ﻛﻨﺪ‪ .‬ﺑﺮﻧﺎﻣﻪﻧﻮﻳﺴﺎﻥ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺘﻨﺪ ﺑﻪ ﺍﻓﺘﺨﺎﺭ‬ ‫ﺍﻭ ﺩﻥ ﻛﻴﺸﻮﺕ ]‪ [28‬ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻭﻟﻴﻦ ﺁﺯﻣﺎﻳﺶ ﺟﺎﻥ ﺑﺒﺨﺸﻨﺪ‪ .‬ﻫﺮ ﭼﻨﺪ ﺑﺮﻧﺎﻣﻪ ﺑﺮﺍﻯ ﺷﺒﻴﻪﺳﺎﺯﻯ‬ ‫ﺍﻓﺮﺍﺩﻯ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﻭﺍﻗﻌﻰ ﺑﻮﺩﻧﺪ‪ ،‬ﻭﻟﻰ ﺩﻟﻴﻠﻰ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ ﻛﻪ ﻧﺘﻮﺍﻥ ﺷﺨﺼﻴﺖﻫﺎﻯ‬ ‫ﺧﻴﺎﻟﻰ – ﺁﻥ ﻫﻢ ﻣﺜﻞ ﺩﻥ ﻛﻴﺸﻮﺕ ﻛﻪ ﭼﻨﻴﻦ ﺑﻪ ﺗﻔﺼﻴﻞ ﺗﻮﺻﻴﻒ ﺷﺪﻩ ﺑﻮﺩ – ﺭﺍ ﻧﻤﺎﻳﺶ ﺩﺍﺩ‪ .‬ﺭﻣﺎﻥ‬ ‫ﺑﻠﻨﺪ ﺳﺮﻭﺍﻧﺘﺲ ]‪ [29‬ﻭﺟﻮﺩ ﺩﺍﺷﺖ ﻭ ﻋﻼﻭﻩ ﺑﺮ ﺁﻥ ﻛﺘﺎﺏﻫﺎﻯ ﻗﻄﻮﺭ ﺑﺴﻴﺎﺭﻯ ﺣﺎﻭﻯ ﺗﺠﺰﻳﻪ ﻭ ﺗﺤﻠﻴﻞ‬ ‫ﺍﻧﺘﻘﺎﺩﻯ ﺭﻣﺎﻥ ﺳﺮﻭﺍﻧﺘﺲ ﺩﺭﺑﺎﺭﻩﻯ ﺷﺨﺼﻴﺖ ﻣﺘﻤﺎﻳﺰ ﻭ ﺧﺎﺭﻕﺍﻟﻌﺎﺩﻩﻯ ﺩﻥ ﻛﻴﺸﻮﺕ ﻧﻮﺷﺘﻪ ﺷﻪ ﺑﻮﺩ‪.‬‬ ‫ﭼﻪ ﻓﺮﻗﻰ ﻣﻰﻛﺮﺩ ﻛﻪ ﺩﻥ ﻛﻴﺸﻮﺕ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﻛﺎﻣﭙﻴﻮﺗﺮ ﺑﻪ ﺯﻧﺪﮔﻰ ﺑﺮﮔﺮﺩﺍﻧﻨﺪ ﻳﺎ ﻟﻮﻳﻰ ﭼﻬﺎﺭﺩﻫﻢ‬ ‫ﺭﺍ‪ ،‬ﻳﺎ ﺷﺎﻳﺪ ﻣﻮﻟﻴﺮ ]‪ ،[30‬ﻳﺎ ﻛﺎﺭﺩﻳﻨﺎﻝ ﺭﻳﺸﻴﻠﻴﻮ ]‪[31‬؟ ﺑﻠﻪ‪ ،‬ﺩﺭﺳﺖ ﻛﻪ ﺗﻤﺎﻣﻰ ﺍﻳﻦ ﺷﺨﺼﻴﺖﻫﺎ ﻭﺍﻗﻌﺎً‬ ‫ﺯﻧﺪﮔﻰ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﻭ ﺷﻮﺍﻟﻴﻪﻯ ﻻ ﻣﺎﻧﭽﺎ ]‪ [32‬ﺗﻤﺎﻣﺎً ﺧﻴﺎﻟﻰ ﺑﻮﺩ؛ ﺍﻣﺎ ﻣﮕﺮ ﺳﺮﻭﺍﻧﺘﺲ ﺟﺰﺋﻴﺎﺕ ﺑﺴﻴﺎﺭ‬ ‫ﺑﻴﺸﺘﺮﻯ ﺩﺭﺑﺎﺭﻩﻯ ﺷﻴﻮﻩﻯ ﻋﻤﻠﻜﺮﺩ ﺭﻭﺡ ﻭ ﺷﻌﻮﺭ ﺩﻥ ﻛﻴﺸﻮﺕ ﺑﻪ ﺩﺳﺖ ﻧﺪﺍﺩﻩ ﺑﻮﺩ؟ ﭼﻴﺰﻯ ﺑﻴﺸﺘﺮ‬ ‫ﺍﺯ ﺁﻥ ﭼﻪ ﺩﺭﺑﺎﺭﻩﻯ ﺭﻳﺸﻴﻠﻴﻮ‪ ،‬ﻣﻮﻟﻴﺮ ﻳﺎ ﻟﻮﻳﻰ ﭼﻬﺎﺭﺩﻫﻢ ﺑﻪ ﺟﺎ ﻣﺎﻧﺪﻩ ﺑﻮﺩ؟ ﺑﻠﻪ‪ ،‬ﺍﻭ ﻭﺍﻗﻌﺎً ﭼﻨﻴﻦ ﻛﺎﺭﻯ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﭘﺎﻭﺭﻗﻰ‬

‫‪‬ﺩﺭ ﺁﻏﺎﺯ ﺑﺮﻧﺎﻣﻪﺍﻯ ﺑﻮﺩ ﻓﺮﺍﻧﺴﻮﻯ‪ ،‬ﻛﻪ ﺣﻮﻝ ﻭ ﺣﻮﺵ ﺳﺎﻝ ‪ 2119‬ﺗﻮﺳﻂ ﻣﺮﻛﺰ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﻣﺤﺎﺳﺒﺎﺕ‬ ‫]‪ [15‬ﺩﺭ ﻟﻴﻮﻥ ]‪[16‬ﺳﺎﺧﺘﻪ ﺷﺪ‪ .‬ﻓﺮﺍﻧﺴﻮﻯﻫﺎ ﺁﻥ ﺭﻭﺯﻫﺎ ﭼﻨﺪ ﻧﺎﺑﻐﻪﻯ ﺣﺴﺎﺑﻰ ﺩﺍﺷﺘﻨﺪ ﻛﻪ ﺑﻪ ﻫﺪﻑ‬ ‫ﺗﻜﺎﻣﻞ ﻧﺮﻡﺍﻓﺰﺍﺭﻫﺎﻯ ﺟﺪﻳﺪ ﻛﺎﺭ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﻫﻤﮕﻰ ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﺷﮕﻔﺖﺍﻧﮕﻴﺰﻯ ﺭﻭ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﺍﻣﺎ ﺑﻌﺪ‬ ‫ﺩﻳﮕﺮ ﻛﺴﻰ ﺑﺎ ﺁﻥ ﺑﺮﻧﺎﻣﻪﻫﺎ ﻛﺎﺭﻯ ﻧﺪﺍﺷﺖ‪ .‬ﺍﻳﻦ ﺗﻌﺮﻳﻒ ﺁﻥﻫﺎ ﺍﺯ ﻣﺸﻜﻞ ﻗﺮﻥ ﺑﻴﺴﺖ ﻭ ﺩﻭﻡ ﺑﻮﺩ‪.‬‬ ‫ﺍﻳﺪﻩﻯ ﺑﺮﻧﺎﻣﻪﺭﻳﺰﺍﻥ ﻓﺮﺍﻧﺴﻮﻯ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﻫﻮﻟﻮﮔﺮﺍﻡ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺗﺎﺭﻳﺨﻰ ﻭﺍﻗﻌﻰ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻨﺪ‬ ‫ﺗﺎ ﺑﻪ ﺳﻮﻧﻪ ﻟﻮﻣﻴﺮ ]‪ – [17‬ﺑﺮﻧﺎﻣﻪﺍﻯ ﺗﻔﺮﻳﺤﻰ ﻭ ﺗﻮﺭﻳﺴﺘﻰ ﻛﻪ ﻛﻨﺎﺭ ﺑﻨﺎﻫﺎﻯ ﻳﺎﺩﺑﻮﺩ ﻣﺨﺘﻠﻒ ﺍﺟﺮﺍ‬ ‫ﻣﻰﺷﺪ – ﺟﺎﻥ ﺑﺒﺨﺸﻨﺪ‪ .‬ﻣﺴﻠﻤﺎً ﻣﻨﻈﻮﺭﺷﺎﻥ ﺁﻥ ﺭﻭﺑﻮﺕﻫﺎﻯ ﺍﺯ ﭘﻴﺶ ﺑﺮﻧﺎﻣﻪﺭﻳﺰﻯ ﺷﺪﻩﺍﻯ ﻧﺒﻮﺩ ﻛﻪ‬ ‫ﺑﻪ ﺳﻨﺖ ﻗﺪﻳﻤﻰ ﺩﻧﻴﺎﻯ ﺩﻳﺴﻨﻰ ]‪ [18‬ﺳﺮﻫﻢ ﺑﻨﺪﻯ ﻣﻰﺷﺪﻧﺪ ﺗﺎ ﺟﻠﻮﻯ ﻧﺘﺮﺩﺍﻡ ﻳﺎ ﺍﻳﻔﻞ ﺑﺎﻳﺴﺘﻨﺪ ﻭ‬ ‫ﭼﺮﺕ ﻭ ﭘﺮﺕﻫﺎﻯ ﺍﺯ ﭘﻴﺶ ﺟﻮﻳﺪﻩ ﺷﺪﻩ ﺗﺤﻮﻳﻞ ﺑﺪﻫﻨﺪ؛ ﺑﻠﻜﻪ ﻣﻨﻈﻮﺭ ﺁﺷﻜﺎﺭﺍ ﺗﻮﻟﺪ ﺩﻭﺑﺎﺭﻩﻯ ﺑﺰﺭﮔﺎﻥ‬ ‫ﻭﺍﻗﻌﻰ ﺑﻮﺩ ﻛﻪ ﺁﺯﺍﺩﺍﻧﻪ ﭘﺮﺳﻪ ﺑﺰﻧﻨﺪ‪ ،‬ﺻﺤﺒﺖ ﻛﻨﻨﺪ ﻭ ﺑﻪ ﭘﺮﺳﺶﻫﺎ ﭘﺎﺳﺦ ﺩﺍﺩﻩ ﻭ ﻛﻠﻤﺎﺕ ﻗﺼﺎﺭ ﺻﺎﺩﺭ‬ ‫ﻛﻨﻨﺪ‪ .‬ﻣﻰﮔﻔﺘﻨﺪ ﺗﺼﻮﺭ ﻛﻨﻴﺪ ﻟﻮﻳﻰ ﭼﻬﺎﺭﺩﻫﻢ ]‪ [19‬ﻓﻮﺍﺭﻩﻫﺎﻯ ﻭﺭﺳﺎﻯ ]‪ [20‬ﺭﺍ ﺑﻪ ﺷﻤﺎ ﻧﺸﺎﻥ ﺩﻫﺪ؛ ﻳﺎ‬ ‫ﭘﻴﻜﺎﺳﻮ ]‪ [21‬ﺭﺍﻫﻨﻤﺎﻳﻰ ﺷﻤﺎ ﺭﺍ ﺩﺭ ﻣﻮﺯﻩﻫﺎﻯ ﭘﺎﺭﻳﺲ ﺑﺮ ﻋﻬﺪﻩ ﺑﮕﻴﺮﺩ؛ ﻳﺎ ﺳﺎﺭﺗﺮ ]‪ [22‬ﻛﻪ ﺩﺭ ﻛﺎﻓﻪﻯ‬ ‫ﺳﺎﺣﻞ ﻏﺮﺑﻰﺍﺵ ]‪ [23‬ﻧﺸﺴﺘﻪ ﻭ ﺑﺎ ﺭﻫﮕﺬﺭﺍﻥ ﺩﺭﺑﺎﺭﻩﻯ ﺍﻧﺪﻳﺸﻪﻣﺪﺍﺭﻯ ]‪ [24‬ﻣﺰﻩﭘﺮﺍﻧﻰ ]‪ [25‬ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻧﺎﭘﻠﺌﻮﻥ! ژﺍﻥ ﺩﺍﺭﻙ! ﺁﻟﻜﺴﺎﻧﺪﺭ ﺩﻭﻣﺎ! ﺷﺎﻳﺪ ﺷﺒﻴﻪﺳﺎﺯﻯﻫﺎ ﻣﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﺑﻴﺸﺘﺮ ﺍﺯ ﺍﻳﻦﻫﺎ ﻋﻤﻞ ﻛﻨﻨﺪ؛‬ ‫ﺷﺎﻳﺪ ﻣﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﭼﻨﺎﻥ ﻃﺮﺍﺣﻰ ﺷﻮﻧﺪ ﻛﻪ ﺯﻧﺪﮔﻰ ﺍﺻﻴﻞ ﺧﻮﺩ ﺭﺍ ﮔﺴﺘﺮﺵ ﺩﺍﺩﻩ ﻭ ﺟﻨﺒﻪﻫﺎﻯ ﺗﺎﺯﻩﺍﻯ‬ ‫ﺑﻪ ﺁﻥ ﺑﻴﻔﺰﺍﻳﻨﺪ؛ ﻳﻌﻨﻰ ﻻﻳﻪﺍﻯ ﺭﻧﮓ ﺗﺎﺯﻩ ﻭ ﺗﺎﺭﻳﺨﭽﻪﺍﻯ ﺟﺪﻳﺪ‪ ،‬ﺑﻪ ﺿﻤﻴﻤﻪﻯ ﺁﺛﺎﺭ ﻓﻠﺴﻔﻰ ﺟﺪﻳﺪ ﻭ‬ ‫ﭼﺸﻢﺍﻧﺪﺍﺯﻫﺎﻯ ﻣﻌﻤﺎﺭﻯ ﺧﻴﺮﻩ ﻛﻨﻨﺪﻩ ﺍﺯ ﺍﺳﺘﺎﺩﺍﻧﻰ ﻛﻪ ﻣﺪﺕﻫﺎ ﭘﻴﺶ ﭼﺸﻢ ﺍﺯ ﺟﻬﺎﻥ ﻓﺮﻭ ﺑﺴﺘﻪ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺧﻮﺩ ِ ﻃﺮﺡ ﻛﻠﻰ ﺩﺭ ﺳﺎﺧﺘﺎﺭ ﺍﺻﻠﻰ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻛﺎﻓﻰ ﺳﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺑﺮﻧﺎﻣﻪﺍﻯ ﻫﻮﺷﻤﻨﺪ ﻧﻮﺷﺘﻪ ﻣﻰﺷﺪ‬ ‫ﻛﻪ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺍﻃﻼﻋﺎﺕ ﺭﺍ ﺟﺬﺏ‪ ،‬ﻫﻀﻢ ﻭ ﻣﻘﺎﻳﺴﻪ ﻛﻨﺪ ﻭ ﺑﺮﻧﺎﻣﻪﻫﺎﻳﻰ ﺟﺪﻳﺪ ﺑﻴﺮﻭﻥ ﺩﻫﺪ ﻛﻪ ﺑﺮ‬ ‫ﭘﺎﻳﻪﻯ ﺍﻃﻼﻋﺎﺕ ﻗﺒﻠﻰ ﺑﻮﺩﻧﺪ‪ .‬ﺗﺎ ﺍﻳﻦﺟﺎ ﻣﺸﻜﻞ ﺑﺰﺭﮔﻰ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ‪ .‬ﺩﺭ ﻗﺪﻡ ﺑﻌﺪ ﺑﺎﻳﺪ ﺑﺮﻧﺎﻣﻪﺗﺎﻥ‬ ‫ﺭﺍ ﺑﺎ ﻫﺮ ﭼﻴﺰﻯ ﺗﻐﺬﻳﻪ ﻣﻰﻛﺮﺩﻳﺪ ﻛﻪ ﺷﺨﺺ ﻫﺪﻑ ﺩﺭ ﺷﺒﻴﻪﺳﺎﺯﻯ‪ ،‬ﺩﺭ ﻃﻮﻝ ﻋﻤﺮﺵ ﻧﻮﺷﺘﻪ ﺍﺳﺖ؛‬ ‫ﺑﻪ ﺷﺮﻃﻰ ﻛﻪ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻛﺮﺩﻩ ﺑﺎﺷﺪ‪ .‬ﺍﻳﻦ ﻛﺎﺭ ﻧﻪ ﺗﻨﻬﺎ ﺯﻣﻴﻨﻪﺍﻯ ﻛﻠﻰ ﺍﺯ ﺍﻳﺪﻩﻫﺎ ﻭ ﻧﻈﺮﻳﺎﺕ ﺷﺨﺺ‬ ‫ﻣﻮﺭﺩ ﻧﻈﺮ‪ ،‬ﺑﻠﻜﻪ ﺍﻟﮕﻮﻯ ﭘﺎﻳﻪﻯ ﺍﻫﺪﺍﻑ ﺍﻭ ﺩﺭ ﺭﻭﻳﺎﺭﻭﻳﻰ ﺑﺎ ﻭﺿﻌﻴﺖﻫﺎﻯ ﮔﻮﻧﺎﮔﻮﻥ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﻣﻰﺩﻫﺪ؛‬ ‫ﺭﻭﺵ ﺗﻔﻜﺮﺵ – ﭼﺮﺍ ﻛﻪ ﺁﺩﻣﻰ ﻫﻨﻮﺯ ﻫﻢ ﺩﺭ ﺭﻭﺵ ﺧﻮﻳﺶ ﺍﺳﺖ ]‪ .[26‬ﺍﮔﺮ ﻧﻮﺷﺘﻪﺍﻯ ﻭﺟﻮﺩ‬ ‫ﻧﺪﺍﺷﺖ‪ ،‬ﺑﺎﻳﺪ ﺁﺛﺎﺭ ﺍﻓﺮﺍﺩ ﻫﻢﺩﻭﺭﻩ ﺩﺭﺑﺎﺭﻩﻯ ﺍﻳﻦ ﺷﺨﺺ ﻳﺎﻓﺖ ﺷﺪﻩ ﻭ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻗﺮﺍﺭ ﻣﻰﮔﺮﻓﺘﻨﺪ‪.‬‬ ‫ﺑﻌﺪ ﻫﻤﻪﻯ ﭘﻴﺸﻴﻨﻪﻯ ﺗﺎﺭﻳﺨﻰ ﻓﺮﺩ ﺭﺍ‪ ،‬ﺑﻪ ﻫﻤﺮﺍﻩ ﺩﻓﺘﺮ ﺍﻋﻤﺎﻟﺶ ﺑﻪ ﺑﺮﻧﺎﻣﻪ ﺍﺿﺎﻓﻪ ﻣﻰﻛﻨﻴﺪ؛ ﺁﻥ ﻫﻢ‬ ‫ﺑﺎ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻦ ﺗﻤﺎﻡ ﺗﺤﻠﻴﻞﻫﺎﻯ ﻋﻠﻤﻰ ﻣﺘﺄﺧﺮ ﻭ ﺑﺪﻭﻥ ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩﻥ ﺗﻔﺴﻴﺮ ﻣﺘﻨﺎﻗﺾ – ﻳﻌﻨﻰ‬ ‫ﺍﺳﺘﻔﺎﺩﻩﻯ ﻫﻤﻪﺟﺎﻧﺒﻪ ﻭ ﺳﻮﺩﻣﻨﺪ ﺍﺯ ﭼﻨﻴﻦ ﻣﻨﺎﻗﺸﻪﻫﺎﻳﻰ – ﺗﺎ ﺗﺼﻮﻳﺮﻯ ﺟﺎﻣﻊ‪ ،‬ﺳﺮﺷﺎﺭ ﺍﺯ ﺗﻨﺎﻗﻀﺎﺕ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﻣﻴﻜﺮﻭﻓﻦ ﻣﺘﺼﻞ ﺑﻪ ﻛﺘﺶ ﮔﻔﺖ‪» :‬ﺑﺒﺮﺵ ﺑﺎﻻ‪ ،‬ﺁﺭﻩ‪ «.‬ﻭ ﺗﻜﺎﻧﻰ ﺑﻪ ﺍﻧﮕﺸﺖ ﻣﻴﺎﻧﻰﺍﺵ ﺩﺍﺩ ﺗﺎ ﺩﺭﺟﻪﻯ‬ ‫ﺑﻠﻨﺪﻯ ﺻﺪﺍ ﺭﺍ ﺗﻨﻈﻴﻢ ﻛﻨﺪ‪.‬‬ ‫ﭘﻴﻜﺮ ﻛﻮﭼﻚ ﺑﺎ ﺯﺭﻩ ﻗﻠﻤﺰﻧﻰ ﻭ ﭼﻜﻤﻪﻫﺎﻯ ﻧﻮﻙﺗﻴﺰ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﻭﺿﻮﺡ ﺩﺭ ﻫﻮﻟﻮﺗﺎﻧﻚ ﻇﺎﻫﺮ ﺷﺪ‪ .‬ﺗﺎﻧﺮ‬ ‫ﺣﺘﺎ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺟﺰﺋﻴﺎﺕ ﺭﻳﺰ ﺯﺭﻩ ﺭﺍ ﺑﺒﻴﻨﺪ؛ ﻛﻼﻫﺨﻮﺩ ﺑﻪ ﭘﺮ ﺁﺭﺍﺳﺘﻪ‪ ،‬ﭘﺮﺷﺶ ﺳﺮ ﺷﺎﻧﻪﻫﺎ ﻛﻪ ﺩﺭ ﺑﺎﻻ‬ ‫ﺗﻴﺰ ﻣﻰﺷﺪ‪ ،‬ﻣﻔﺎﺻﻞ ﺁﺭﻧﺞ ﻭ ﺩﺳﺘﻪﻯ ﭘﺮﺗﺠﻤﻞ ﻭ ﺯﻳﻨﺘﻰ ﺷﻤﺸﻴﺮ‪ .‬ﭘﻴﻜﺮ ﺍﺯ ﺳﻤﺖ ﭼﭗ ﺗﺼﻮﻳﺮ ﺑﻪ ﺭﺍﺳﺖ‬ ‫ﻣﻰﺭﻓﺖ ﻭ ﺑﺎ ﺗﺎﺏ ﺑﻪ ﻛﻤﺮ‪ ،‬ﻣﺜﻞ ﻣﺮﺩﻯ ﻗﺪﻡ ﺑﺮ ﻣﻰﺩﺍﺷﺖ ﻛﻪ ﻣﻰﺧﻮﺍﻫﺪ ﺑﻪ ﺑﻠﻨﺪﺗﺮﻳﻦ ﻗﻠﻪﻫﺎ ﺩﺳﺖ ﻳﺎﺑﺪ‬ ‫ﻭ ﺗﺎ ﺁﻥﺟﺎ ﺑﻪ ﻗﺪﻡﻫﺎﻯ ﻣﺒﺎﺭﺯﻩﻃﻠﺒﺎﻧﻪﺍﺵ ﺍﺩﺍﻣﻪ ﺩﻫﺪ‪ .‬ﺑﻪ ﻧﻈﺮ ﺍﻳﻦ ﻭﺍﻗﻌﻴﺖ ﻛﻪ ﺭﻭﻯ ﻫﻮﺍ ﺭﺍﻩ ﻣﻰﺭﻭﺩ‪،‬‬ ‫ﭼﻨﺪﺍﻥ ﻧﮕﺮﺍﻧﺶ ﻧﻤﻰﻛﺮﺩ‪.‬‬ ‫ﺭﻳﭽﺎﺭﺩﺳﻦ ﺑﺎ ﺁﺏ ﻭ ﺗﺎﺏ ﮔﻔﺖ‪» :‬ﺍﻭﻥﺟﺎ‪ .‬ﺩﻳﺪﻯ ﺑﺮﮔﺸﺖ ﭘﻴﺸﻤﻮﻥ؟ ﻓﺎﺗﺢ ﭘﺮﻭ‪ ،‬ﺩﺭﺳﺖ ﺟﻠﻮﻯ‬ ‫ﭼﺸﻢﻣﻮﻥ‪ .‬ﺣﺘﺎ ﻣﻰﺷﻪ ﮔﻔﺖ ﺍﺯ ﮔﻮﺷﺖ ﻭ ﺧﻮﻥ‪«.‬‬ ‫ﺗﺎﻧﺮ ﺳﺮﺵ ﺭﺍ ﺑﻪ ﻧﺸﺎﻧﻪﻯ ﺗﺄﻳﻴﺪ ﺗﻜﺎﻥ ﺩﺍﺩ‪ .‬ﺑﻠﻪ؛ ﭘﻴﺰﺍﺭﻭ ﺩﺭﺳﺖ ﺟﻠﻮﻯ ﭼﺸﻤﺎﻧﺸﺎﻥ‪ .‬ﺑﺎﻳﺪ ﺍﻗﺮﺍﺭ ﻣﻰﻛﺮﺩ‬ ‫ﺁﻥ ﭼﻪ ﻛﻪ ﻣﻰﺩﻳﺪ‪ ،‬ﻭﺍﻗﻌﺎً ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﺑﻮﺩ ﻭ ﺣﺘﺎ ﺍﻭ ﺭﺍ ﺗﺤﺖ ﺗﺄﺛﻴﺮ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺑﻮﺩ‪ .‬ﭼﻴﺰﻯ ﺩﺭ ﺣﺮﻛﺖ‬ ‫ﻣﺼﻤﻢ ﭘﻴﻜﺮ ﻛﻮﭼﻚ ﺯﺭﻩﭘﻮﺵ ﺩﺭ ﻣﻴﺪﺍﻥ ﻣﺮﻭﺍﺭﻳﺪﮔﻮﻥ ﻫﻮﻟﻮﺗﺎﻧﻚ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺍﻭ ﻧﻮﻋﻰ ﻫﻤﺪﻟﻰ ﺍﻳﺠﺎﺩ‬ ‫ﻣﻰﻛﺮﺩ‪ .‬ﻣﺮﺩ ﺑﺎﺯ ﻧﻤﻰﺍﻳﺴﺘﺎﺩ‪ ،‬ﺍﻧﮕﺎﺭ ﻭﺍﻗﻌﺎ ً ﺗﺼﻤﻴﻢ ﺩﺍﺷﺖ ﺑﻪ ﺟﺎﻳﻰ ﺑﺮﺳﺪ‪ .‬ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺗﺎﻧﺮ ﺗﻤﺎﺷﺎ‬ ‫ﻣﻰﻛﺮﺩ ﻭ ﺑﻪ ﻃﺮﺯ ﻋﺠﻴﺒﻰ ﺟﺬﺏ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﺎ ﺗﻌﺠﺐ ﻓﻬﻤﻴﺪ ﻛﻪ ﺩﻭﺑﺎﺭﻩ ﻧﺴﺒﺖ ﺑﻪ ﭘﺮﻭژﻩ ﻋﻼﻗﻤﻨﺪ‬ ‫ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﭘﺮﺳﻴﺪ‪» :‬ﻣﻰﺗﻮﻧﻰ ﺑﺰﺭﮔﺘﺮﺵ ﻛﻨﻰ؟ ﻣﻰﺧﻮﺍﻫﻢ ﺻﻮﺭﺗﺶ ﺭﻭ ﺑﺒﻴﻨﻢ‪«.‬‬ ‫ﺭﻳﭽﺎﺭﺩﺳﻦ ﮔﻔﺖ‪» :‬ﺣﺘﺎ ﻣﻰﺷﻪ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻭﺍﻗﻌﻰ ﺩﺭ ﺑﻴﺎﺭﻣﺶ‪ .‬ﻳﺎ ﺑﺰﺭﮔﺘﺮ‪ .‬ﻫﺮ ﺍﻧﺪﺍﺯﻩ ﻛﻪ ﺑﺨﻮﺍﻯ‪.‬‬ ‫ﺑﺒﻴﻦ!«‬ ‫ﺗﺎﻧﺮ ﺍﻧﺪﻳﺸﻴﺪ‪ :‬ﻣﺤﺎﻝ ﺍﺳﺖ‪ .‬ﺁﻥﭼﻪ ﻛﻪ ﻣﻰﺩﻳﺪ‪ ،‬ﺑﻪ ﻭﺍﻗﻊ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺿﻤﻴﺮ ﻧﺎﺧﻮﺩﺁﮔﺎﻫﻰ ﺯﻧﺪﻩ ﺑﺎﺷﺪ‪.‬‬ ‫ﻳﻌﻨﻰ ﻣﻤﻜﻦ ﺑﻮﺩ؟‬ ‫ﭘﻴﺰﺍﺭﻭ ﺁﻥﺟﺎ ﺁﺳﻮﺩﻩ ﺩﺭ ﻣﻴﺎﻥ ﻫﻮﺍ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺍﺧﻢ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﺩﺳﺘﺶ ﺭﺍ ﻃﻮﺭﻯ ﺟﻠﻮﻯ ﭼﺸﻤﺶ‬ ‫ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﻛﻪ ﻧﻮﺭ ﭼﺸﻤﺶ ﺭﺍ ﻧﺰﻧﺪ؛ ﺍﻧﮕﺎﺭ ﺑﻪ ﭼﻴﺰ ﺩﺭﺧﺸﺎﻧﻰ ﭼﺸﻢ ﺩﻭﺧﺘﻪ ﺑﻮﺩ‪ .‬ﺩﺭ ﻓﻀﺎﻯ ﺍﻃﺮﺍﻓﺶ‬ ‫ﺍﺷﻌﻪﻫﺎﻯ ﺭﻧﮕﻴﻦ ﻭ ﺩﺭﺧﺸﺎﻧﻰ ﻣﺜﻞ ﺳﭙﻴﺪﻩﺩﻡ ﺑﻪ ﭼﺸﻢ ﻣﻰﺁﻣﺪﻧﺪ‪ .‬ﻣﺮﺩﻯ ﺑﻮﺩ ﺑﻠﻨﺪﻗﺎﻣﺖ ﻭ ﻻﻏﺮ‪ ،‬ﺑﺎ‬ ‫ﺭﻳﺶ ﺧﺎﻛﺴﺘﺮﻯ ﻭ ﭼﻬﺮﻩﺍﻯ ﺳﺮﺳﺨﺖ ﻭ ﺍﺳﺘﺨﻮﺍﻥﻫﺎﻯ ﺑﺮﺟﺴﺘﻪ‪ .‬ﻟﺒﺎﻧﺶ ﻧﺎﺯﻙ ﺑﻮﺩ‪ ،‬ﺑﻴﻨﻰﺍﺵ ﻋﻘﺎﺑﻰ‪،‬‬ ‫ﭼﺸﻤﺎﻧﺶ ﺳﺮﺩ ﻭ ﻧﺎﻓﺬ ﻭ ﺑﺮﻧﺪﻩ‪ .‬ﺑﻪ ﻧﻈﺮ ﺗﺎﻧﺮ ﺭﺳﻴﺪ ﻛﻪ ﭼﺸﻤﺎﻥ ﻣﺮﺩ ﺑﻪ ﺍﻭ ﻣﻰﻧﮕﺮﻧﺪ ﻭ ﺣﺲ ﻛﺮﺩ‬ ‫ﺭﻋﺸﻪﺍﻯ ﺳﺮﺩ ﺍﺯ ﭘﺸﺘﺶ ﺑﻪ ﭘﺎﻳﻴﻦ ﺩﻭﻳﺪ‪.‬‬ ‫ﺗﺎﻧﺮ ﺑﺎ ﺧﻮﺩ ﺍﻧﺪﻳﺸﻴﺪ‪ :‬ﺧﺪﺍﻯ ﻣﻦ! ﻭﺍﻗﻌﻰ ﺍﺳﺖ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﭘﺎﻭﺭﻗﻰ‬

‫ﺩﺭﻭﻥ ﻫﻮﻟﻮﺗﺎﻧﻚ ﺍﺣﺴﺎﺱ ﻏﻮﻝ ﺑﻮﺩﻥ ﺭﺍ ﺩﺍﺷﺖ؛ ﻣﺜﻞ ﻓﻴﻠﻰ ﻛﻪ ﮔﻨﺪﻣﺰﺍﺭ ﺭﺍ ﻟﮕﺪﻣﺎﻝ ﻣﻰﻛﻨﺪ‪ .‬ﺍﺯ ﻧﻈﺮ‬ ‫ﻓﺮﺿﻰ‪ ،‬ﺗﺎﻧﺮ ﻣﺪﻳﻴﺖ ﭘﺮﻭژﻩﻫﺎﻯ ﺗﺤﻘﻴﻘﺎﺗﻰ ﺭﻳﭽﺎﺭﺩﺳﻦ ﺭﺍ ﺑﻪ ﻋﻬﺪﻩ ﺩﺍﺷﺖ؛ ﺍﻣﺎ ﺩﺭ ﺣﻘﻴﻘﺖ ﻫﻤﻴﺸﻪ‬ ‫ﻣﻮﺍﻓﻘﺖ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﻫﺮ ﭼﻪ ﻛﻪ ﺭﻳﭽﺎﺭﺩﺳﻦ ﻣﻰﺧﻮﺍﺳﺖ‪ ،‬ﺍﻋﻼﻡ ﻣﻰﻛﺮﺩ‪ .‬ﺍﻳﻦ ﺑﺎﺭ ﺍﻣﺎ ﺷﺎﻳﺪ ﻻﺯﻡ ﺑﻮﺩ ﻛﻪ‬ ‫ﺗﺎ ﺣﺪﻯ ﺍﻓﺴﺎﺭ ﺍﻭ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﺑﮕﻴﺮﺩ‪.‬‬ ‫ﺍﺯ ﻭﻗﺘﻰ ﻛﻪ ﺭﻳﭽﺎﺭﺩﺳﻦ ﺑﺎﺯﻯ ﺑﺎ ﺍﻳﻦ ﻳﺎﺭﻭﻯ ﺷﺒﻴﻪﺳﺎﺯ ﺗﺎﺭﻳﺨﻰ ﺭﺍ ﺁﻏﺎﺯ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺍﻳﻦ ﺩﻭﺍﺯﺩﻫﻤﻴﻦ‬ ‫ﻳﺎ ﺳﻴﺰﺩﻫﻤﻴﻦ ﺑﺎﺭﻯ ﺑﻮﺩ ﻛﻪ ﺍﻭ ﺭﺍ ﺑﻪ ﭼﻨﻴﻦ ﻧﻤﺎﻳﺸﻰ ﺩﻋﻮﺕ ﻣﻰﻛﺮﺩ‪ .‬ﺗﻤﺎﻡ ﺁﺯﻣﺎﻳﺶﻫﺎﻯ ﭘﻴﺸﻴﻦ ﺑﻪ‬ ‫ﻃﺮﻳﻘﻰ ﺷﻜﺴﺖ ﺧﻮﺭﺩﻩ ﺑﻮﺩﻧﺪ ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺗﺎﻧﺮ ﺣﺪﺱ ﻣﻰﺯﺩ ﺍﻳﻦ ﻳﻜﻰ ﻫﻢ ﺳﺮﻧﻮﺷﺘﻰ ﻣﺸﺎﺑﻪ‬ ‫ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ‪ .‬ﻭ ﻭﺍﻗﻌﺎً ﻫﻢ‪ ،‬ﺗﺎﻧﺮ ﻧﺴﺒﺖ ﺑﻪ ﺍﻳﻦ ﭘﺮﻭژﻩ ﻛﻪ ﻣﺪﺕﻫﺎ ﭘﻴﺶ ﺗﺄﻳﻴﺪ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺑﻴﺸﺘﺮ ﻭ‬ ‫ﺑﻴﺸﺘﺮ ﺍﺣﺴﺎﺱ ﻧﮕﺮﺍﻧﻰ ﻣﻰﻛﺮﺩ‪ .‬ﺑﺎﻭﺭ ﺑﻪ ﺍﻳﻦ ﻛﻪ ﺗﻤﺎﻡ ﺍﻳﻦ ﺯﺣﻤﺎﺕ ﺩﺭ ﺧﺪﻣﺖ ﻫﺪﻓﻰ ﺳﻮﺩﻣﻨﺪ‬ ‫ﻫﺴﺘﻨﺪ‪ ،‬ﺭﻭﺯ ﺑﻪ ﺭﻭﺯ ﺩﺷﻮﺍﺭﺗﺮ ﻣﻰﺷﺪ‪ .‬ﺍﺻ ً‬ ‫ﻼ ﭼﺮﺍ ﻣﻮﺍﻓﻘﺖ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﻛﻪ ﺍﻳﻦ ﭘﺮﻭژﻩ ﻣﺎﻩﻫﺎﻯ ﻣﺘﻤﺎﺩﻯ‪،‬‬ ‫ﺍﻳﻦ ﻫﻤﻪ ﺍﺯ ﻭﻗﺖ ﮔﺮﻭﻩ ﺭﻳﭽﺎﺭﺩﺳﻦ ﻭ ﺍﻳﻦ ﻣﻘﺪﺍﺭ ﺍﺯ ﺑﻮﺩﺟﻪﺍﻯ ﺭﺍ ﻣﺼﺮﻑ ﻛﻨﺪ ﻛﻪ ﺑﻪ ﺗﺤﻘﻴﻘﺎﺕ‬ ‫ﺁﺯﻣﺎﻳﺸﮕﺎﻩ ﺗﺨﺼﻴﺺ ﺩﺍﺩﻩ ﺷﺪﻩ ﺑﻮﺩ؟‬ ‫ﺗﺎﻧﺮ ﺑﺎ ﺧﻮﺩ ﺍﻧﺪﻳﺸﻴﺪ‪ :‬ﺍﻳﻦ ﭼﻴﺰﻯ ﺟﺰ ﻳﻚ ﺑﺎﺯﻯ ﻧﻴﺴﺖ‪ .‬ﺗﻼﺷﻰ ﺗﻜﻨﻴﻜﻰ‪ ،‬ﻣﺄﻳﻮﺳﺎﻧﻪ ﻭ ﺑﻰ ﻧﺘﻴﺠﻪ‪،‬‬ ‫ﭼﺮﺧﺶ ﺑﻰﻫﺪﻑ ﺩﻳﮕﺮﻯ ﺩﺭ ﺭﻗﺺ ﺑﺎﻟﻪﺍﻯ ﺑﻰﻣﻌﻨﻰ‪ .‬ﻫﺰﻳﻨﻪﺍﻯ ﺍﺯ ﻣﻨﺎﺑﻊ ﻋﻈﻴﻢ‪ ،‬ﺧﺮﺝ ﺷﺪﻩ ﺑﺮﺍﻯ ﺑﻪ‬ ‫ﻧﻤﺎﻳﺶ ﮔﺬﺍﺷﺘﻦ ﻧﺒﻮﻍ‪ ،‬ﻣﺤﺾ ﺧﺎﻃﺮ ﻧﺒﻮﻍ ﻭ ﺑﺲ؛ ﺧﻮﺏ‪ ،‬ﺍﻳﻦ ﺗﺠﻤﻞ ﺭﻭﺯﻯ ﺑﻪ ﺁﺧﺮ ﻣﻰﺭﺳﻴﺪ‪.‬‬ ‫ﭘﻴﻜﺮ ﺭﻳﺰ ﺩﺭﻭﻥ ﻫﻮﻟﻮﺗﺎﻧﻚ ﻧﺎﮔﻬﺎﻥ ﺭﻧﮓ ﻭ ﺭﻭﻯ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩ‪.‬‬ ‫ﺗﺎﻧﺮ ﮔﻔﺖ‪» :‬ﺁﺥ ﺁﺥ‪ ،‬ﺩﺍﺭﻩ ﻣﺤﻮ ﻣﻰﺷﻪ؛ ﺩﺭﺳﺖ ﻣﺜﻞ ﻫﻤﻪﻯ ﻗﺒﻠﻰﻫﺎ‪«.‬‬ ‫ﺍﻣﺎ ﺭﻳﭽﺎﺭﺩﺳﻦ ﺳﺮﺵ ﺭﺍ ﺑﻪ ﻋﻼﻣﺖ ﻣﻨﻔﻰ ﺗﻜﺎﻥ ﺩﺍﺩ ﻭ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﺑﺎﺭ ﻓﺮﻕ ﻣﻰﻛﻨﻪ‪ ،‬ﻫﺮﻯ‪«.‬‬ ‫»ﻭﺍﻗﻌﺎً ﺍﻳﻦﻃﻮﺭ ﻓﻜﺮ ﻣﻰﻛﻨﻰ؟«‬ ‫»ﺍﻳﻦ ﺩﻓﻌﻪ ﺍﺯ ﺩﺳﺖ ﻧﻤﻰﺩﻳﻤﺶ‪ .‬ﻓﻘﻂ ﺩﺍﺭﻩ ﺑﻪ ﺩﻟﺨﻮﺍﻩ ﺧﻮﺩﺵ ﺍﻭﻥ ﺗﻮ ﺣﺮﻛﺖ ﻣﻰﻛﻨﻪ ﻭ ﮔﺎﻫﻰ ﺍﺯ‬ ‫ﻣﺮﺯ ﭘﺎﺭﺍﻣﺘﺮﻫﺎﻳﻰ ﻛﻪ ﺛﺒﺖ ﻣﻰﻛﻨﻴﻢ‪ ،‬ﺧﺎﺭﺝ ﻣﻰﺷﻪ‪ .‬ﻣﻌﻨﻰﺍﺵ ﺍﻳﻨﻪ ﻛﻪ ﺑﻪ ﺍﻭﻥ ﺳﻄﺤﻰ ﻛﻪ ﺍﺯ ﺍﻭﻝ‬ ‫ﻫﺪﻓﻤﻮﻥ ﺑﻮﺩ‪ ،‬ﺭﺳﻴﺪﻩﺍﻳﻢ‪«.‬‬ ‫»ﺍﺭﺍﺩﻩﻯ ﻓﺮﺩﻯ‪ ،‬ﻟﻮ؟ ﺧﻮﺩﻣﺨﺘﺎﺭﻯ؟«‬ ‫»ﺧﻮﺩﺕ ﻣﻰﺩﻭﻧﻰ ﻛﻪ ﻫﺪﻓﻤﻮﻥ ﻫﻤﻴﻦ ﺑﻮﺩ‪«.‬‬ ‫ﺗﺎﻧﺮ ﺑﺎ ﻛﻤﻰ ﻋﺼﺒﺎﻧﻴﺖ ﮔﻔﺖ‪» :‬ﺑﻠﻪ‪ ،‬ﻣﻰﺩﻭﻧﻢ ﻫﺪﻓﻤﻮﻥ ﭼﻰ ﺑﻮﺩ‪ .‬ﻓﻘﻂ ﻫﻨﻮﺯ ﻣﺘﻘﺎﻋﺪ ﻧﺸﺪﻩﺍﻡ ﻛﻪ ﻣﺤﻮ‬ ‫ﺷﺪﻧﺶ ﺑﻪ ﻣﻌﻨﻰ ﺍﺭﺍﺩﻩ ﺩﺍﺷﺘﻨﺶ ﺑﺎﺷﻪ‪«.‬‬ ‫ﺭﻳﭽﺎﺭﺩﺳﻦ ﮔﻔﺖ‪» :‬ﻫﻤﻴﻦ ﺍﻻﻥ ﺑﺎ ﺩﻗﺖ ﻧﮕﺎﻩ ﻛﻦ‪ .‬ﺍﻻﻥ ﺑﺮﻧﺎﻣﻪﻯ ﺟﺴﺘﺠﻮﻯ ﺗﺼﺎﺩﻓﻰ ﺭﻭ ﺭﺍﻩ ﻣﻰﺍﻧﺪﺍﺯﻡ‪.‬‬ ‫ﺍﻭﻥ ﺩﺍﺭﻩ ﺁﺯﺍﺩﺍﻧﻪ ﺣﺮﻛﺖ ﻣﻰﻛﻨﻪ ﻭ ﻣﺎ ﻫﻢ ﻫﻤﻮﻥ ﻗﺪﺭ ﺁﺯﺍﺩﺍﻧﻪ ﺗﻌﻘﻴﺒﺶ ﻣﻰﻛﻨﻴﻢ‪ «.‬ﺩﺭ ﺩﻛﻤﻪﻱ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﺑﺮ ﺯﺑﺎﻧﺶ ﺧﻨﺪﻳﺪ‪» .‬ﺳﺎﻧﺘﻴﺎﮔﻮ ]‪ ![12‬ﺩﺭ ﻓﻀﺎﻯ ﺧﺎﻟﻰ ﮔﺎﻡ ﺑﺮﺩﺍﺷﺘﻦ! ﭼﺮﺍ ﻛﻪ ﻧﻪ؟ ﻣﻦ ﭘﻴﺰﺍﺭﻭ ﻫﺴﺘﻢ!«‬ ‫ﺑﺎ ﺗﻤﺎﻡ ﻗﺪﺭﺕ ﻓﺮﻳﺎﺩ ﻛﺸﻴﺪ‪» :‬ﭘﻴﺰﺍﺭﻭ! ﭘﻴﺰﺍﺭﻭ!« ﻭ ﻣﻨﺘﻈﺮ ﭘﮋﻭﺍﻙ ﻣﺎﻧﺪ‪.‬‬ ‫ﭘﻴﺰﺍﺭﻭ‪ .‬ﭘﻴﺰﺍﺭﻭ‪.‬‬ ‫ﺧﻨﺪﻳﺪ ﻭ ﺑﻪ ﺭﺍﻫﺶ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪.‬‬ ‫‪‬ﺗﺎﻧﺮ ]‪ [13‬ﺧﻤﻴﺪﻩ ﺟﻠﻮﻯ ﻛﺮﻩﻯ ﺑﺰﺭگ ﻭ ﺑﺮﺍﻗﻰ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﻃﺒﻘﻪﻯ ﻧﻬﻢ ﺍﺯ ﺁﻥ ﺑﺎ ﻋﻨﻮﺍﻥ‬ ‫ﺁﺯﻣﺎﻳﺸﮕﺎﻩ ﭘﻨﺪﺍﺭﺳﺎﺯﻯ ﻳﺎﺩ ﻣﻰﺷﺪ ﻭ ﭘﻴﻜﺮ ﻛﻮﭼﻜﻰ ﺭﺍ ﻣﻰﭘﺎﻳﻴﺪ ﻛﻪ ﺩﺭ ﻣﺮﻛﺰ ﺩﻭﺭﺩﺳﺖ ﻣﺨﺰﻥ ﺍﻳﺠﺎﺩ‬ ‫ﺗﺼﺎﻭﻳﺮ ﺳﻪﺑﻌﺪﻯ – ﻫﻮﻟﻮﺗﺎﻧﻚ – ﺑﺎﺩ ﺑﻪ ﻏﺒﻐﺐ ﺍﻧﺪﺍﺧﺘﻪ ﺑﻮﺩ ﻭ ﻣﻰﺧﺮﺍﻣﻴﺪ‪ .‬ﻟﻮ ﺭﻳﭽﺎﺭﺩﺳﻦ ]‪[14‬‬ ‫ﻛﻨﺎﺭﺵ ﻧﺸﺴﺘﻪ ﻭ ﻫﺮ ﺩﻭ ﺩﺳﺖ ﺭﺍ ﺩﺭ ﺩﺳﺘﻜﺶ ﺍﻃﻼﻋﺎﺗﻰ ﻓﺮﻭ ﻛﺮﺩﻩ ﺑﻮﺩ ﺗﺎ ﺑﺘﻮﺍﻧﺪ ﻫﺮ ﻟﺤﻈﻪ ﻓﺮﻣﺎﻧﻰ‬ ‫ﺑﻪ ﺷﺒﻜﻪﻯ ﺗﺮﺍﺩﻳﺴﻰ ﺑﻔﺮﺳﺘﺪ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ ﻛﻪ ﻧﻔﺲ ﻧﻤﻰﻛﺸﺪ ﻭ ﺩﻳﮕﺮ ﺟﺰﺋﻰ ﺍﺯ ﺍﻳﻦ ﺷﺒﻜﻪ‬ ‫ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺗﺎﻧﺮ ﺑﺎ ﺧﻮﺩ ﺍﻧﺪﻳﺸﻴﺪ‪ :‬ﺧﻮﺏ‪ ،‬ﺍﻳﻦ ﺧﻠﻖ ﻭ ﺧﻮﻯ ﺭﻳﭽﺎﺭﺩﺳﻦ ﺍﺳﺖ؛ ﺍﻳﻦ ﺍﺯ ﺧﻮﺩﮔﺬﺷﺘﮕﻰ ﻣﺤﺾ‬ ‫ﺑﺮﺍﻯ ﭘﺮﻭژﻩﻯ ﺟﺎﺭﻯ‪ .‬ﺗﺎﻧﺮ ﺑﻪ ﺍﻳﻦ ﻭﻳﮋﮔﻰ ﺍﻭ ﻏﺒﻄﻪ ﻣﻰﺧﻮﺭﺩ‪ .‬ﺁﻥ ﺩﻭ ﺣﻘﻴﻘﺘﺎً ﺑﺴﻴﺎﺭ ﻣﺘﻔﺎﻭﺕ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺭﻳﭽﺎﺩﺭﺳﻦ ﺑﺮﺍﻯ ﺑﺮﻧﺎﻣﻪﺭﻳﺰﻯ ﻛﺎﻣﭙﻴﻮﺗﺮﻯ ﺯﻧﺪﮔﻰ ﻣﻰﻛﺮﺩ ﻭ ﻧﻪ ﺑﺮﺍﻯ ﻫﻴﭻ ﭼﻴﺰ ﺩﻳﮕﺮ‪ .‬ﻫﻤﻪﻯ ﺷﻮﺭ ﻭ‬ ‫ﺍﺷﺘﻴﺎﻗﺶ ﺑﻪ ﺑﺮﻧﺎﻣﻪﺭﻳﺰﻯ ﺑﻮﺩ‪ .‬ﺗﺎﻧﺮ ﻫﺮﮔﺰ ﻧﺘﻮﺍﻧﺴﺘﻪ ﺑﻮﺩ ﺍﻧﺴﺎﻥﻫﺎﻳﻰ ﺭﺍ ﺩﺭﻙ ﻛﻨﺪ ﻛﻪ ﻋﺎﻣﻞ ﻣﺤﺮﻛﺸﺎﻥ‬ ‫ﭼﻨﻴﻦ ﺍﺷﺘﻴﺎﻕ ﻭ ﺗﺐ ﻭ ﺗﺎﺑﻰ ﺍﺳﺖ‪ .‬ﺭﻳﭽﺎﺭﺩﺳﻦ ﻧﻮﻋﻰ ﺑﺎﺯﮔﺸﺖ ﺑﻪ ﻋﺼﺮ ﮔﺬﺷﺘﻪ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺁﻥ ﻫﻨﻮﺯ‬ ‫ﻫﻤﻪ ﭼﻴﺰ ﻣﻌﻨﺎ ﺩﺍﺷﺖ؛ ﻋﺼﺮﻯ ﻛﻪ ﺩﺭ ﺁﻥ ﻫﻨﻮﺯ ﻣﻰﺷﺪ ﺑﻪ ﺗﻼﺵﻫﺎﻯ ﺧﻮﺩ ﺍﻋﺘﻤﺎﺩ ﺩﺍﺷﺖ‪.‬‬ ‫ﺭﻳﭽﺎﺭﺩﺳﻦ ﭘﺮﺳﻴﺪ‪» :‬ﺯﺭﻫﺶ ﭼﻄﻮﺭﻩ؟ ﻓﻜﺮ ﻛﻨﻢ ﻭﺍﻗﻌﺎً ﺧﻮﺏ ﺑﺎﺷﻪ‪ .‬ﺍﺯ ﺭﻭﻯ ﻣﺠﺴﻤﻪﻫﺎﻯ ﻳﺎﺩﺑﻮﺩ‬ ‫ﻗﺪﻳﻤﻰ ﻛﭙﻰ ﻛﺮﺩﻳﻢ‪ .‬ﺭﺍﺳﺘﻰ ﻛﻪ ﺧﻴﻠﻰ ﺧﻮﺏ ﺍﺯ ﺁﺏ ﺩﺭ ﺍﻭﻣﺪﻩ‪«.‬‬ ‫ﺗﺎﻧﺮ ﮔﻔﺖ‪» :‬ﺩﻗﻴﻘﺎً ﻫﻤﻮﻥ ﭼﻴﺰﻯ ﻛﻪ ﺁﺩﻡ ﺗﻮﻯ ﺁﺏ ﻭ ﻫﻮﺍﻯ ﺍﺳﺘﻮﺍﻳﻰ ﺑﻬﺶ ﺍﺣﺘﻴﺎﺝ ﺩﺍﺭﻩ! ﺯﺭﻩ ﻗﻠﻊ ﺑﺎ‬ ‫ﻛﻼﻫﺨﻮﺩﻯ ﻛﻪ ﺑﻬﺶ ﺑﻴﺎﺩ‪«.‬‬ ‫ﺳﺮﻓﻪﺍﻯ ﻛﺮﺩ ﻭ ﺑﺎ ﺩﻟﻮﺍﭘﺴﻰ ﺩﺭ ﺻﻨﺪﻟﻰﺍﺵ ﺟﺎﺑﻪﺟﺎ ﺷﺪ‪ .‬ﻧﻤﺎﻳﺶ ﺍﻛﻨﻮﻥ ﺑﻴﺶ ﺍﺯ ﻧﻴﻢ ﺳﺎﻋﺖ ﻃﻮﻝ‬ ‫ﻛﺸﻴﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﻭﺍﻗﻌﺎً ﺍﺗﻔﺎﻗﻰ ﺍﻓﺘﺎﺩﻩ ﺑﺎﺷﺪ – ﺗﻨﻬﺎ ﺗﺼﻮﻳﺮ ﻛﻮﭼﻚ ﻣﺮﺩﻯ ﺭﻳﺸﻮ ﺩﺭ ﺯﺭﻩ‬ ‫ﺍﺳﭙﺎﻧﻴﺎﻳﻰ ﻛﻪ ﺩﺭ ﺯﻣﻴﻨﻪﺍﻯ ﻧﻮﺭﺍﻧﻰ ﺟﻠﻮ ﻭ ﻋﻘﺐ ﻣﻰﺭﻓﺖ – ﻛﻢﻛﻢ ﺩﺍﺷﺖ ﺻﺒﺮ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺩﺳﺖ‬ ‫ﻣﻰﺩﺍﺩ‪.‬‬ ‫ﺍﺯ ﻗﺮﺍﺭ ﻣﻌﻠﻮﻡ ﺭﻳﭽﺎﺭﺩﺳﻦ ﻧﻪ ﺗﻨﺪﻯ ﭘﻨﻬﺎﻥ ﺩﺭ ﺻﺪﺍﻯ ﺗﺎﻧﺮ ﺭﺍ ﺩﺭﻳﺎﻓﺘﻪ ﺑﻮﺩ ﻭ ﻧﻪ ﺣﺮﻛﺎﺕ ﺑﻰﻗﺮﺍﺭﺵ‬ ‫ﺭﺍ‪ .‬ﻫﻤﻴﻦﻃﻮﺭ ﺑﻪ ﺍﺟﺮﺍﻯ ﺗﻐﻴﻴﺮﺍﺕ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪ .‬ﺧﻮﺩﺵ ﻣﺮﺩ ﻛﻮﺗﺎﻩﻗﺪﻯ ﺑﻮﺩ ﺑﺎ ﺟﺎﻣﻪ ﻭ ﻇﺎﻫﺮ ﻣﺮﺗﺐ ﻭ‬ ‫ﻣﻄﻠﻮﺏ‪ ،‬ﻣﻮﻫﺎﻯ ﺑﻠﻮﻧﺪ ﺧﺎﻛﺴﺘﺮﻯ‪ ،‬ﭼﺸﻤﺎﻥ ﺁﺑﻰ ﺭﻭﺷﻦ ﻭ ﻟﺒﺎﻧﻰ ﻧﺎﺯﻙ ﻭ ﺻﺎﻑ‪ .‬ﺗﺎﻧﺮ ﻧﺴﺒﺖ ﺑﻪ ﭘﻴﻜﺮ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﭘﺎﻭﺭﻗﻰ‬

‫ﺭﻭﺵ ﻋﺠﻴﺒﻰ ﻛﻪ ﺍﻛﻨﻮﻥ ﺑﺎ ﺁﻥ ﺳﺨﻦ ﻣﻰﮔﻔﺖ‪ ،‬ﻟﻘﺒﺶ ﺭﺍ ﺑﻪ ﺳﺨﺮﻩ ﻣﻰﮔﺮﻓﺖ‪ .‬ﺍﻧﮕﺎﺭ ﻛﻪ ﺯﺑﺎﻧﺶ ﺑﺴﺘﻪ‬ ‫ﺑﺎﺷﺪ‪ .‬ﺍﺣﺴﺎﺱ ﻛﺮﺩ ﻛﻪ ﺩﺭ ﺣﻴﻦ ﺗﻼﺵ ﺑﺮﺍﻯ ﺩﺍﺩﻥ ﺷﻜﻞ ﻣﻨﺎﺳﺐ ﺑﻪ ﻭﺍژﻩﻫﺎ‪ ،‬ﺧﻴﺲ ﻋﺮﻕ ﻣﻰﺷﻮﺩ؛‬ ‫ﺍﻣﺎ ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﺩﺳﺖ ﺑﻪ ﭘﻴﺸﺎﻧﻰ ﺑﺮﺩ ﺗﺎ ﻋﺮﻕ ﺭﺍ ﻗﺒﻞ ﺍﺯ ﺭﻳﺨﺘﻦ ﺩﺭ ﭼﺸﻤﺶ ﭘﺎﻙ ﻛﻨﺪ‪ ،‬ﻫﻤﻪ ﭼﻴﺰ ﺑﻪ‬ ‫ﻧﻈﺮ ﺧﺸﻚ ﻣﻰﺁﻣﺪ‪ .‬ﺣﺘﺎ ﻣﻄﻤﺌﻦ ﻧﺒﻮﺩ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺪ ﺧﻮﺩ ﺭﺍ ﻟﻤﺲ ﻛﻨﺪ‪.‬‬ ‫ﻧﻔﺲ ﻋﻤﻴﻘﻰ ﻛﺸﻴﺪ ﻭ ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﻣﻦ ﻓﺮﺍﻧﺴﻴﺴﻜﻮ ﭘﻴﺰﺍﺭﻭ ]‪ [9‬ﻫﺴﺘﻢ!« ﻭ ﮔﺬﺍﺷﺖ ﻛﻪ ﻧﺎﻡ ﺑﺎ ﺍﺳﺘﻴﺼﺎﻝ‬ ‫ﺍﺯ ﺍﻭ ﺑﻴﺮﻭﻥ ﺑﺮﻳﺰﺩ‪ ،‬ﻣﺜﻞ ﺁﺏ ﻛﻪ ﺍﺯ ﺳﺪﻯ ﺳﻮﺭﺍﺥﺳﻮﺭﺍﺥ ﺑﻴﺮﻭﻥ ﻣﻰﺟﻬﺪ‪.‬‬ ‫ﭘﮋﻭﺍﻙ ﺑﺎﺯﮔﺸﺖ؛ ﺑﻢ‪ ،‬ﻏﺮﺍﻥ‪ ،‬ﻭ ﺗﻘﻠﻴﺪﻛﻨﺎﻥ‪ .‬ﻓﺮﺍﻧﺴﻴﺴﻜﻮ ﭘﻴﺰﺍﺭﻭ‪.‬‬

‫ﺣﺘﺎ ﻧﺎﻣﺶ ﻫﻢ ﺑﻪ ﻃﺮﺯ ﺍﺣﻤﻘﺎﻧﻪﺍﻯ ﺍﺯ ﺷﻜﻞ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﻓﺮﻳﺎﺩ ﻛﺸﻴﺪ‪» :‬ﺍﻯ ﺧﺪﺍﻯ ﺑﺰﺭگ! ﻗﺪﻳﺴﺎﻥ‪ ،‬ﻓﺮﺷﺘﮕﺎﻥ!«‬ ‫ﺑﺎﺯ ﻫﻢ ﺻﺪﺍﻫﺎﻳﻰ ﺗﺤﺮﻳﻒ ﺷﺪﻩ‪ .‬ﻫﻴﭻ ﭼﻴﺰ ﺁﻥﻃﻮﺭ ﻛﻪ ﺑﺎﻳﺪ ﺑﺮ ﻧﻤﻰﺧﻮﺍﺳﺖ‪ .‬ﺍﻭ ﻫﺮﮔﺰ ﻫﻨﺮ ﺧﻮﺍﻧﺪﻥ ﻭ‬ ‫ﻧﻮﺷﺘﻦ ﺭﺍ ﻧﻴﺎﻣﻮﺧﺘﻪ ﺑﻮﺩ‪ .‬ﻭ ﺍﺯ ﻗﺮﺍﺭ ﻣﻌﻠﻮﻡ ﺍﻛﻨﻮﻥ ﺣﺘﺎ ﺳﺨﻦ ﮔﻔﺘﻦ ﻧﻴﺰ ﺍﺯ ﺍﻭ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺍﺯ ﺧﻮﺩ‬ ‫ﭘﺮﺳﻴﺪ ﻛﻪ ﺁﻳﺎ ﺣﻖ ﺩﺍﺷﺘﻪ ﻭ ﺍﻳﻦ ﺑﻬﺸﺖ ﺍﺳﺖ؟ ﻛﻪ ﺍﻳﻦ ﻧﻮﺭ ﻓﺮﺍﻃﺒﻴﻌﻰ ﺍﺳﺖ ﻳﺎ ﻧﻪ‪ .‬ﻧﻔﺮﻳﻨﻰ ﺑﺮ ﺯﺑﺎﻧﺶ‬ ‫ﺑﻮﺩ ﻭ ﺷﺎﻳﺪ ﺷﻴﻄﺎﻧﻰ ﺑﻮﺩ ﻛﻪ ﻗﺪﺭﺕ ﺑﻴﺎﻥ ﺍﻭ ﺭﺍ ﺩﺭ ﭼﻨﮓ ﮔﺮﻓﺘﻪ؟ ﻳﺎ ﺷﺎﻳﺪ ﺟﻬﻨﻢ ﺑﻮﺩ؟ ﻣﻜﺎﻧﻰ ﺯﻳﺒﺎ‪،‬‬ ‫ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺟﻬﻨﻢ؟‬ ‫ﺷﺎﻧﻪﺍﻯ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺖ‪ .‬ﺑﻬﺸﺖ ﻳﺎ ﺟﻬﻨﻢ‪ ،‬ﻭﺍﻗﻌﺎً ﻓﺮﻗﻰ ﻧﻤﻰﻛﺮﺩ‪ .‬ﺁﺭﺍﻡﺗﺮ ﺷﺪ ﻭ ﺷﺮﻭﻉ ﺑﻪ ﺣﺴﺎﺏ ﻭ ﻛﺘﺎﺏ‬ ‫ﻛﺮﺩ‪ .‬ﻣﻰﺩﺍﻧﺴﺖ – ﻭ ﺍﻳﻦ ﺭﺍ ﺑﺴﻴﺎﺭ ﭘﻴﺸﺘﺮ ﺩﺭﻳﺎﻓﺘﻪ ﺑﻮﺩ – ﻛﻪ ﺑﺎ ﺩﺍﺩ ﻭ ﺑﻴﺪﺍﺩ ﻋﻠﻴﻪ ﻭﺿﻌﻰ ﻛﻪ ﺗﻐﻴﻴﺮ‬ ‫ﻧﻤﻰﻛﺮﺩ‪ ،‬ﺳﻮﺩﻯ ﻧﻤﻰﺑﺮﺩ؛ ﻭ ﮔﻢ ﻛﺮﺩﻥ ﺩﺳﺖ ﻭ ﭘﺎ ﺩﺭ ﺭﻭﻳﺎﺭﻭﻳﻰ ﺑﺎ ﻧﺎﺷﻨﺎﺧﺘﻪﻫﺎ ﺳﻮﺩ ﺑﺴﻴﺎﺭ ﻛﻤﺘﺮﻯ‬ ‫ﺩﺍﺷﺖ‪ .‬ﺍﻭ ﺍﻳﻦ ﺟﺎ ﺑﻮﺩ – ﻫﺮ ﺟﺎ ﻛﻪ ﻣﻰﺧﻮﺍﺳﺖ ﺑﺎﺷﺪ – ﻭ ﺍﻳﻦ ﻭﺍﻗﻌﻴﺘﻰ ﻣﺴﻠﻢ ﺑﻮﺩ؛ ﺑﺎﻳﺪ ﺟﺎﻳﻰ‬ ‫ﭘﻴﺪﺍ ﻣﻰﻛﺮﺩ؛ ﺟﺎﻳﻰ ﻛﻪ ﺍﻳﻦﺟﺎ‪ ،‬ﻣﻌﻠﻖ ﺑﻴﻦ ﻫﻴﭻ ﻭ ﻫﻴﭻ ﻧﺒﻮﺩ‪ .‬ﻗﺒ ً‬ ‫ﻼ ﺩﺭ ﺟﻬﻨﻢ ﺑﻪ ﺳﺮ ﺑﺮﺩﻩ ﺑﻮﺩ؛ ﺩﺭ‬ ‫ﺟﻬﻨﻢﻫﺎﻳﻰ ﻛﻮﭼﻚ‪ ،‬ﺟﻬﻨﻢﻫﺎﻳﻰ ﺑﺮ ﺭﻭﻯ ﺯﻣﻴﻦ‪ .‬ﺁﻥ ﺟﺰﻳﺮﻩﻯ ﺑﺎﻳﺮ‪ ،‬ﮔﺎﻟﻮ ]‪ ،[10‬ﺟﺎﻳﻰ ﻛﻪ ﺧﻮﺭﺷﻴﺪ‬ ‫ﺩﺭ ﺁﻥ ﺍﻧﺴﺎﻥ ﺭﺍ ﺯﻧﺪﻩﺯﻧﺪﻩ ﻛﺒﺎﺏ ﻣﻰﻛﺮﺩ ﻭ ﻫﻴﭻ ﭼﻴﺰ ﺑﺮﺍﻯ ﺧﻮﺭﺩﻥ ﻧﺒﻮﺩ‪ ،‬ﺟﺰ ﺧﺮﭼﻨﮓﻫﺎﻳﻰ ﻛﻪ‬ ‫ﻃﻌﻢ ﮔﻪ ﺳﮓ ﺩﺍﺷﺘﻨﺪ‪ .‬ﻭ ﺁﻥ ﻣﺮﺩﺍﺏ ﺣﺰﻳﻦ ﺩﺭ ﺩﻫﺎﻧﻪﻯ ﺭﻳﻮ ﺑﺮﻳﻮ ]‪ ،[11‬ﺟﺎﻳﻰ ﻛﻪ ﺑﺎﺭﺍﻥ ﺳﻴﻞﺁﺳﺎ‬ ‫ﻣﻰﺑﺎﺭﻳﺪ ﻭ ﺩﺭﺧﺘﺎﻥ ﺩﺭ ﭼﻨﺎﻥ ﺍﺭﺗﻔﺎﻉ ﻛﻮﺗﺎﻫﻰ ﺁﻭﻳﺰﺍﻥ ﺑﻮﺩﻧﺪ ﻛﻪ ﺍﻧﺴﺎﻥ ﺭﺍ ﻣﺜﻞ ﺷﻤﺸﻴﺮ ﻣﻰﺩﺭﻳﺪﻧﺪ‪ .‬ﻭ‬ ‫ﻛﻮﻩﻫﺎﻳﻰ ﻛﻪ ﺑﺎ ﻟﺸﻜﺮﺵ ﺩﺭ ﻧﻮﺭﺩﻳﺪﻩ ﺑﻮﺩ‪ ،‬ﺟﺎﻳﻰ ﻛﻪ ﺑﺮﻑ ﺍﺯ ﺷﺪﺕ ﺳﺮﻣﺎ ﻣﻰﺳﻮﺯﺍﻧﺪ ﻭ ﻫﻮﺍ ﺑﺎ ﻫﺮ ﺩﻡ‪،‬‬ ‫ﻣﺜﻞ ﺧﻨﺠﺮﻯ ﺩﺭ ﺣﻠﻖ ﻓﺮﻭ ﻣﻰﺭﻓﺖ‪ .‬ﺍﺯ ﻫﻤﻪﻯ ﺍﻳﻦﻫﺎ ﺟﺎﻥ ﺳﺎﻟﻢ ﺑﻪ ﺩﺭ ﺑﺮﺩﻩ ﺑﻮﺩ ﻭ ﻫﻤﮕﻰ ﺍﺯ ﻭﺿﻌﻴﺖ‬ ‫ﻓﻌﻠﻰ ﺑﺪﺗﺮ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻳﻦﺟﺎ ﺩﺳﺖ ﻛﻢ ﺩﺭﺩ ﻭ ﺧﻄﺮﻯ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ‪ .‬ﺍﻳﻦﺟﺎ ﻓﻘﻂ ﺍﻳﻦ ﻧﻮﺭ ﻧﮕﺮﺍﻥﻛﻨﻨﺪﻩ‬ ‫ﺑﻮﺩ ﻭ ﻧﺒﻮﺩ ﻫﺮ ﮔﻮﻧﻪ ﺭﻧﺞ‪ .‬ﺑﻪ ﺟﻠﻮ ﺣﺮﻛﺖ ﻛﺮﺩ‪ .‬ﺭﻭﻯ ﻫﻮﺍ ﮔﺎﻡ ﺑﺮ ﻣﻰﺩﺍﺷﺖ‪ .‬ﺑﺎ ﺧﻮﺩ ﺍﻧﺪﻳﺸﻴﺪ‪ :‬ﻧﮕﺎﻩ ﻛﻦ‪،‬‬ ‫ﻧﮕﺎﻩ ﻛﻦ‪ ،‬ﺭﻭﻯ ﻫﻮﺍ ﻣﻰﺭﻭﻡ! ﺳﭙﺲ ﺑﻠﻨﺪ ﮔﻔﺖ‪» :‬ﺭﻭﻯ ﻫﻮﺍ ﻣﻰﺭﻭﻡ!« ﺑﻪ ﻧﺤﻮﻩﻯ ﺟﺎﺭﻯ ﺷﺪﻥ ﻛﻠﻤﺎﺕ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﭘﮋﻭﺍﻙﻫﺎﻳﻰ ﻣﺤﻮ ﺭﻭﻳﺎﻣﺎﻧﻨﺪ ﺑﻪ ﺍﻭ ﭘﺎﺳﺦ ﺩﺍﺩﻧﺪ‪ .‬ﺑﻌﺪ ﺳﻜﻮﺕ ﺣﻜﻤﻔﺮﻣﺎ ﺷﺪ‪.‬‬ ‫»ﻣﺮﻳﻢ ﻣﻘﺪﺱ‪ ،‬ﺁﻳﺎ ﻣﺮﺩﻩﺍﻡ؟«‬ ‫ﻧﻪ‪ .‬ﻧﻪ‪ .‬ﻫﺮﮔﺰ ﻧﺘﻮﺍﻧﺴﺘﻪ ﺑﻮﺩ ﻣﺮگ ﺭﺍ ﺗﺼﻮﺭ ﻛﻨﺪ‪ .‬ﻫﺮ ﭼﻪ ﺟﻨﮓ ﺍﺳﺖ‪ ،‬ﭘﺎﻳﺎﻥ ﻳﺎﺑﺪ؟ ﻣﻜﺎﻧﻰ ﻛﻪ ﺩﺭ ﺁﻥ‬ ‫ﻫﻴﭻ ﭼﻴﺰ ﺣﺮﻛﺖ ﻧﻤﻰﻛﺮﺩ؟ ﺧﻼﺋﻰ ﻋﻈﻴﻢ‪ ،‬ﺧﻨﺪﻗﻰ ﺑﻰﭘﺎﻳﺎﻥ؟ ﭘﺲ ﺩﺭ ﺁﺧﺮ ﺍﻳﻦ ﻣﻜﺎﻥ‪ ،‬ﻣﻜﺎﻥ ﻣﺮگ‬ ‫ﺑﻮﺩ؟ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺑﺪﺍﻧﺪ‪ .‬ﺑﺎﻳﺪ ﺍﺯ ﺭﻭﺣﺎﻧﻴﺎﻥ ﻣﻰﭘﺮﺳﻴﺪ‪.‬‬ ‫»ﭘﺴﺮ‪ ،‬ﻛﺸﻴﺶﻫﺎﻳﻢ ﻛﺠﺎﻳﻨﺪ؟ ﭘﺴﺮ؟«‬ ‫ﺩﺭ ﭘﻰ ﭘﺎﺩﻭﻯ ﺧﻮﺩ ﻧﮕﺎﻫﻰ ﺑﻪ ﺍﻃﺮﺍﻑ ﺍﻧﺪﺍﺧﺖ‪ .‬ﺍﻣﺎ ﺗﻨﻬﺎ ﭼﻴﺰﻯ ﻛﻪ ﻣﻰﺩﻳﺪ‪ ،‬ﮔﺮﺩﺍﺏﻫﺎﻯ ﻛﻮﺭ ﻛﻨﻨﺪﻩﻯ‬ ‫ﻧﻮﺭ ﺑﻮﺩﻧﺪ ﻛﻪ ﺑﻪ ﻧﻈﺮ ﻣﻰﺁﻣﺪ ﺩﺭ ﺗﻤﺎﻡ ﺟﻬﺖﻫﺎ ﺗﺎ ﺑﻰﻧﻬﺎﻳﺖ ﺑﺎﺯ ﻣﻰﺷﻮﻧﺪ‪ .‬ﻣﻨﻈﺮﻩﺍﻯ ﺯﻳﺒﺎ ﻭ ﺩﺭ ﻋﻴﻦ‬ ‫ﺣﺎﻝ ﻣﻀﻄﺮﺏﻛﻨﻨﺪﻩ ﺑﻮﺩ‪ .‬ﺣﺎﻻ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺍﻳﻦ ﺳﺮﺯﻣﻴﻦ ﭘﺮ ﺍﺯ ﻫﻮﺍ ﻭ ﻧﻮﺭ ﻣﻌﻠﻖ ﻣﻰﺩﻳﺪ‪ ،‬ﺑﺮﺍﻳﺶ‬ ‫ﺍﻧﻜﺎﺭ ﻣﺮگ ﺩﺷﻮﺍﺭ ﻣﻰﻧﻤﻮﺩ‪ .‬ﻣﺮﺩﻩ‪ ،‬ﻭ ﺍﻛﻨﻮﻥ ﺩﺭ ﺁﺳﻤﺎﻥ‪ .‬ﺍﻳﻦ ﻣﻠﻜﻮﺕ ﺁﺳﻤﺎﻥ ﺍﺳﺖ‪ .‬ﺑﻠﻪ‪ ،‬ﺣﺘﻤﺎً‪ .‬ﻣﮕﺮ‬ ‫ﭼﻪ ﺟﺎﻯ ﺩﻳﮕﺮﻯ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺑﺎﺷﺪ؟‬ ‫ﭘﺲ ﺭﺍﺳﺖ ﺑﻮﺩ ﻛﻪ ﺍﮔﺮ ﺍﻧﺴﺎﻥ ﺑﺎ ﺍﻳﻤﺎﻥ ﺑﻪ ﻣﺮﺍﺳﻢ ﻧﻴﺎﻳﺶ ﺑﺮﻭﺩ ﻭ ﺁﻳﻴﻦ ﻋﺸﺎﻯ ﺭﺑﺎﻧﻰ ﺭﺍ ﺑﻪ ﺟﺎﻯ‬ ‫ﺁﻭﺭﺩ ﻭ ﺑﻪ ﺍﻭ ﺍﺯ ﻫﻤﻪ ﻧﻈﺮ‪ ،‬ﺩﺭ ﺣﺪ ﺗﻮﺍﻥ ﺧﻮﺩ‪ ،‬ﺧﺪﻣﺖ ﻛﻨﺪ‪ ،‬ﺍﺯ ﻫﻤﻪﻯ ﮔﻨﺎﻫﺎﻥ ﭘﺎﻙ ﻣﻰﺷﻮﺩ ﻭ ﻣﻮﺭﺩ‬ ‫ﺑﺨﺸﺶ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ ﻭ ﻣﻨﺰﻩ ﺍﺳﺖ‪ .‬ﻫﻤﻴﺸﻪ ﺩﺭﺑﺎﺭﻩﻯ ﺍﻳﻦ ﻣﺴﺄﻟﻪ ﻏﻮﺭ ﻭ ﺗﻌﻤﻖ ﻛﺮﻩ ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﺑﺎ ﺍﻳﻦ‬ ‫ﺣﺎﻝ‪ ،‬ﻫﻨﻮﺯ ﺁﻣﺎﺩﻩﻯ ﻣﺮگ ﻧﺒﻮﺩ‪ .‬ﻓﻜﺮﺵ ﺍﻭ ﺭﺍ ﻧﺎﺧﻮﺵ ﻭ ﺧﺸﻤﮕﻴﻦ ﻣﻰﻛﺮﺩ‪ .‬ﻫﻨﻮﺯ ﻛﺎﺭﻫﺎﻯ ﺑﺴﻴﺎﺭﻯ‬ ‫ﺯﻣﻴﻦ ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪ .‬ﻭ ﺣﺘﺎ ﺑﻪ ﻳﺎﺩ ﻧﻤﻰﺁﻭﺭﺩ ﻛﻪ ﺑﻴﻤﺎﺭ ﺑﻮﺩﻩ ﺑﺎﺷﺪ‪ .‬ﺑﺪﻧﺶ ﺭﺍ ﺩﺭ ﺟﺴﺘﺠﻮﻯ ﺟﺮﺍﺣﺖ ﻣﻌﺎﻳﻨﻪ‬ ‫ﻛﺮﺩ‪ .‬ﻧﻪ‪ ،‬ﺟﺮﺍﺣﺘﻰ ﺩﺭ ﻛﺎﺭ ﻧﺒﻮﺩ‪ .‬ﻫﻴﭻ ﺟﺎ‪ .‬ﭼﻪ ﻋﺠﻴﺐ‪ .‬ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺍﻃﺮﺍﻑ ﻧﮕﺎﻫﻰ ﺍﻧﺪﺍﺧﺖ‪ .‬ﺍﻳﻦﺟﺎ ﺗﻨﻬﺎ‬ ‫ﺑﻮﺩ‪ .‬ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﻛﺴﻰ ﺭﺍ ﺑﺒﻴﻨﺪ؛ ﻧﻪ ﭘﺎﺩﻭﻯ ﺭﺍ‪ ،‬ﻧﻪ ﺑﺮﺍﺩﺭﺵ ﺭﺍ‪ ،‬ﻭ ﻧﻪ ﺩﺳﻮﺗﻮ ]‪ [3‬ﻳﺎ ﻛﺲ ﺩﻳﮕﺮﻯ ﺭﺍ‪.‬‬ ‫»ﻓﺮﺍﻯ ﻣﺎﺭﻛﻮﺱ ]‪ ![4‬ﻓﺮﺍﻯ ﻭﻳﭽﻨﺘﻪ ]‪ ![5‬ﻧﻤﻰﺗﻮﺍﻧﺪ ﺻﺪﺍﻳﻢ ﺭﺍ ﺑﺸﻨﻮﻳﺪ؟ ﻟﻌﻨﺖ‪ ،‬ﻛﺠﺎﻳﻴﺪ؟ ﻳﺎ ﻣﺮﻳﻢ‬ ‫ﻣﻘﺪﺱ! ﺍﻯ ﻣﺎﺩﺭ ﻣﻘﺪﺱ ﻛﻪ ﺩﺭ ﻣﻴﺎﻥ ﺯﻧﺎﻥ ﺗﺒﺮﻙ ﺷﺪﻩﺍﻯ! ﻟﻌﻨﺖ‪ ،‬ﻓﺮﺍﻯ ﻭﻳﭽﻨﺘﻪ‪ ،‬ﺑﮕﻮ ‪ ...‬ﺑﮕﻮ ‪«...‬‬ ‫ﺻﺪﺍﻳﺶ ﺑﻪ ﻧﻈﺮ ﻏﻠﻂ ﻣﻰﺁﻣﺪ‪ :‬ﺯﻳﺎﺩﻯ ﻗﻮﻯ‪ ،‬ﺯﻳﺎﺩﻯ ﺑﻢ ﺑﻮﺩ؛ ﺻﺪﺍﻯ ﻓﺮﺩﻯ ﺑﻴﮕﺎﻧﻪ‪ .‬ﻭﺍژﻩﻫﺎ ﺑﻪ ﺳﺨﺘﻰ‬ ‫ﺍﺯ ﺩﻫﺎﻧﺶ ﺑﻴﺮﻭﻥ ﻣﻰﺁﻣﺪﻧﺪ؛ ﺑﺎ ﺳﺎﺧﺘﺎﺭﻯ ﻧﺎﺷﻴﺎﻧﻪ ﺑﺮ ﻟﺒﺎﻧﺶ ﺟﺎﺭﻯ ﻣﻰﺷﺪﻧﺪ؛ ﺑﻪ ﻧﻮﻋﻰ ﻧﺎﺗﻮﺍﻥ‪ ،‬ﻧﻪ ﺁﻥ‬ ‫ﺍﺳﭙﺎﻧﻴﺎﻳﻰ ﺧﻮﺏ ﻭ ﺷﺎﺩﺍﺏ ﺍﺳﺘﺮﻣﺎﺩﻭﺭﺍ ]‪ ،[6‬ﺑﻠﻜﻪ ﺑﻪ ﻃﺮﺯﻯ ﻧﻨﮓﺁﻭﺭ ﻭ ﻋﺠﻴﺐ‪ .‬ﺁﻥ ﭼﻪ ﻛﻪ ﻣﻰﺷﻨﻴﺪ‪،‬‬ ‫ﻣﻦﻣﻦ ﻓﺶﻓﺸﻮﻯ ﻣﺎﺩﺭﻳﺪﻯ ﻳﺎ ﺣﺘﺎ ﻏﺎﺭﻏﺎﺭ ﻧﺎﻣﻔﻬﻮﻣﻰ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺑﺎﺭﺳﻠﻮﻧﺎ ﺑﺎ ﺁﻥ ﺳﺨﻦ ﻣﻰﮔﻮﻳﻨﺪ‪.‬‬ ‫ﺍﻧﮕﺎﺭ ﭘﺮﺗﻐﺎﻟﻰ ﺑﺎﺷﺪ! ﮔﻮﻳﺸﺶ ﺗﺎ ﺍﻳﻦ ﺣﺪ ﻧﺨﺮﺍﺷﻴﺪﻩ ﻭ ﺍﺣﻤﻘﺎﻧﻪ ﺑﻮﺩ‪.‬‬ ‫ﺑﺎ ﺩﻗﺖ ﻭ ﺁﻫﺴﺘﻪ ﮔﻔﺖ‪» :‬ﻣﻦ ﻓﺮﻣﺎﻧﺪﺍﺭ ﻭ ﻓﺮﻣﺎﻧﺪﻩﻯ ﻧﻴﻮ ﻛﺴﺘﻴﻞ ]‪ [7‬ﻫﺴﺘﻢ‪«.‬‬ ‫ﺍﻳﻦ ﻫﻢ ﺑﻬﺘﺮ ﺑﻪ ﮔﻮﺵ ﻧﺮﺳﻴﺪ؛ ﺻﺪﺍﻳﻰ ﻣﺴﺨﺮﻩ ﺑﻮﺩ‪.‬‬ ‫»ﺁﺩﻻﻧﺘﺎﺩﻭ ‪ ...‬ﺁﻟﮕﻮﺁﭼﻴﻞ ﻣﺎﻳﻮﺭ ‪ ...‬ﻣﺎﺭﻛﺰ ﺩﻻ ﻛﻨﻜﻮﺍﻳﺴﺘﺎ ]‪«... [8‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﭘﺎﻭﺭﻗﻰ‬

‫ﻓﺎﺗﺢ ﻭ ﻓﻴﻠﺴﻮﻑ‬ ‫)ﺑﺨﺶ ﺍﻭﻝ(‬

‫ﺭﺍﺑﺮﺕ ﺳﻴﻠﻮﺭﺑﺮگ‬ ‫ﭘﺎﻧﺘﻪﺁ ﻛﻴﺎﻧﻰ‬

‫ﻣﻤﻜﻦ ﺑﻮﺩ ﻣﻠﻜﻮﺕ ﺁﺳﻤﺎﻥ ﺑﺎﺷﺪ‪ .‬ﻣﻄﻤﺌﻨﺎً ﺍﺳﭙﺎﻧﻴﺎ ﻧﺒﻮﺩ‪ ،‬ﻭ ﺷﻚ ﺩﺍﺷﺖ ﻛﻪ ﭘﺮﻭ ﺑﺎﺷﺪ‪ .‬ﺑﻪ ﻧﻈﺮ‬ ‫ﻣﻰﺭﺳﻴﺪ ﻛﻪ ﺩﺭ ﻫﻮﺍ ﻣﻰﻟﻐﺰﺩ؛ ﺁﻭﻳﺰﺍﻥ ﺩﺭ ﺧﻼء ﻛﺎﻣﻞ‪ .‬ﺩﺭ ﺍﺭﺗﻔﺎﻉ ﺯﻳﺎﺩﻯ ﺑﺎﻻﻯ ﺳﺮﺵ ﺁﺳﻤﺎﻧﻰ‬ ‫ﺑﻪ ﺭﻧﮓ ﻃﻼﻳﻰ ﻣﻰﺩﺭﺧﺸﻴﺪ ﻭ ﺩﺭ ﻋﻤﻖ ﺯﻳﺮ ﭘﺎ‪ ،‬ﺩﺭﻳﺎﻳﻰ ﻣﻪﺁﻟﻮﺩ ﻭ ﭼﺮﺧﺎﻥ ﺍﺯ ﺍﺑﺮﻫﺎﻯ ﺳﭙﻴﺪ‬ ‫ﻣﺘﻼﻃﻢ ﺑﻮﺩ‪ .‬ﻭﻗﺘﻰ ﺑﻪ ﭘﺎﻳﻴﻦ ﻣﻰﻧﮕﺮﻳﺴﺖ‪ ،‬ﭘﺎﻫﺎﻯ ﺧﻮﺩ ﺭﺍ ﻣﻰﺩﻳﺪ ﻛﻪ ﻣﺎﻧﻨﺪ ﺍﺳﺒﺎﺏﺑﺎﺯﻯ ﺭﻭﻯ‬ ‫ﭘﺮﺗﮕﺎﻫﻰ ﻣﺮﻣﻮﺯ ﺗﺎﺏ ﻣﻰﺧﻮﺭﺩﻧﺪ ﻭ ﺍﻳﻦ ﺻﺤﻨﻪ ﺩﺭ ﺍﻭ ﺣﺎﻟﺖ ﺗﻬﻮﻉ ﺑﻪ ﻭﺟﻮﺩ ﻣﻰﺁﻭﺭﺩ؛ ﺍﻣﺎ ﺩﺭ‬ ‫ﺑﺪﻧﺶ ﭼﻴﺰﻯ ﻧﺒﻮﺩ ﻛﻪ ﺑﺘﻮﺍﻧﺪ ﺑﺎﻻ ﺑﻴﺎﻭﺭﺩ‪ .‬ﺧﺎﻟﻰ ﺑﻮﺩ‪ .‬ﺍﺯ ﻫﻮﺍ ﺗﺸﻜﻴﻞ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺣﺘﺎ ﺁﻥ ﺩﺭﺩ‬ ‫ﻛﻬﻨﻪﻯ ﺯﺍﻧﻮﻳﺶ ﻧﺎﭘﺪﻳﺪ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺩﺭﺳﺖ ﻣﺜﻞ ﺳﻮﺯﺵ ﻫﻤﻴﺸﮕﻰ ﻗﺴﻤﺖ ﮔﻮﺷﺖﺁﻟﻮﺩﺗﺮ‬ ‫ﺑﺎﺯﻭﻳﺶ‪ ،‬ﻫﻤﺎﻥﺟﺎ ﻛﻪ ﻣﺪﺕﻫﺎ ﭘﻴﺶ ﺩﺭ ﺳﺎﺣﻞ ﺁﻥ ﺟﺰﺍﻳﺮ ﻣﺮﻭﺍﺭﻳﺪ‪ ،‬ﺟﺎﻳﻰ ﺩﺭ ﻧﺰﺩﻳﻜﻰ ﭘﺎﻧﺎﻣﺎ‪،‬‬ ‫ﺗﻴﺮ ﻛﻮﭼﻚ ﺳﺮﺧﭙﻮﺳﺘﻰ ﺑﻪ ﺁﻥ ﺍﺻﺎﺑﺖ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺍﻧﮕﺎﺭ ﻛﻪ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺩﻧﻴﺎ ﺁﻣﺪﻩ ﺑﺎﺷﺪ؛ ﺷﺼﺖ ﺳﺎﻟﻪ‪ ،‬ﺍﻣﺎ ﺭﻫﺎ ﺍﺯ ﺗﻤﺎﻡ ﺯﺧﻢﻫﺎ ﻭ ﻫﺰﺍﺭﻫﺎ ﻫﺰﺍﺭ‬ ‫ﺟﺮﺍﺣﺖ ﻛﻪ ﺑﻪ ﺑﺪﻧﺶ ﻭﺍﺭﺩ ﺁﻣﺪﻩ ﺑﻮﺩ‪ .‬ﺗﻘﺮﻳﺒﺎً ﻣﻰﺷﺪ ﮔﻔﺖ ﻛﻪ ﺍﺯ ﺧﻮﺩ ﭘﻴﻜﺮﺵ ﺭﻫﺎ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺻﺪﺍ ﺯﺩ‪» :‬ﮔﻮﻧﺰﺍﻟﻮ ]‪[1‬؟ ﻫﺮﻧﺎﻧﺪﻭ ]‪[2‬؟«‬

‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺑﻴﮕﺎﻧﻪﺍﻯ ﻫﺴﺘﻨﺪ ﻛﻪ ﻋﻀﻮ ﻓﺪﺭﺍﺳﻴﻮﻥ ﻛﻬﻜﺸﺎﻧﻰ ﻧﺸﺪﻩﺍﻧﺪ ﻭ ﺩﺍﺋﻢ ﺩﺭ ﻧﺒﺮﺩ ﺑﺎ ﺁﻥ ﺑﻪ ﺳﺮ ﻣﻰﺑﺮﻧﺪ‪.‬‬ ‫ﻣﻰﺷﻮﺩ ﮔﻔﺖ ﺑﻪ ﻧﻮﻋﻰ ﻧﻤﺎﻳﻨﺪﻩﻯ ﺩﺷﻤﻨﺎﻥ ﺳﺮﺳﺨﺖ ﺍﻳﺎﻻﺕ ﻣﺘﺤﺪﻩﻯ ﺁﻥ ﺩﻭﺭﺍﻥ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺩﺭ ﺑﻴﺸﺘﺮ ﻣﻮﺍﻗﻊ‪ ،‬ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﺍﻳﻨﺘﺮﭘﺮﺍﻳﺰ ﺩﺭ ﻣﻮﺍﺟﻬﻪ ﺑﺎ ﻳﻚ ﺗﻤﺪﻥ ﻫﻮﺷﻤﻨﺪ ﺑﻪ ﻣﺸﻜﻞ ﺑﺮﻣﻰﺧﻮﺭﺩ‪،‬‬ ‫ﻛﺎﭘﻴﺘﺎﻥ ﻛﺮﻙ ﻭ ﺩﻳﮕﺮ ﺧﺪﻣﻪ ﺗﻼﺵ ﻣﻰﻛﻨﻨﺪ ﻣﺸﻜﻞ ﺭﺍ ﺑﻪ ﻃﺮﻳﻘﻪﻯ ﻣﺴﺎﻟﻤﺖﺁﻣﻴﺰ ﻭ ﺑﺪﻭﻥ ﺩﺭﮔﻴﺮﻯ‬ ‫ﺣﻞ ﻛﻨﻨﺪ‪ .‬ﺩﺭ ﺣﻘﻴﻘﺖ ﺩﺭ ﻛﻞ ﻣﺠﻤﻮﻋﻪ ﺧﻴﻠﻰ ﻛﻢ ﭘﻴﺶ ﻣﻰﺁﻳﺪ ﻛﻪ ﺻﺤﻨﻪﻯ ﺁﺗﺶ ﻛﺮﺩﻥ ﺍﻳﻨﺘﺮﭘﺮﺍﻳﺰ‬ ‫ﺭﺍ ﺑﺒﻴﻨﻴﻢ‪.‬‬ ‫ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﻣﺠﻤﻮﻋﻪﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﻛﻪ ﺑﻪ ﻇﺎﻫﺮ ﻳﻚ ﻭﺳﺘﺮﻥ ﻓﻀﺎﻳﻰ ﺍﺳﺖ ﻭ ﭼﻨﺪﺍﻥ ﺣﺮﻓﻰ ﺑﺮﺍﻯ‬ ‫ﮔﻔﺘﻦ ﻧﺪﺍﺭﺩ‪ ،‬ﺍﮔﺮ ﺑﺎ ﺩﻳﺪﻯ ﻣﻮﺷﻜﺎﻓﺎﻧﻪﺗﺮ ﺑﺮﺭﺳﻰ ﺷﻮﺩ‪ ،‬ﺩﻳﮕﺮ ﺁﻥﻗﺪﺭﻫﺎ ﻫﻢ ﺳﺎﺩﻩ ﺑﻪ ﻧﻈﺮ ﻧﻤﻰﺭﺳﺪ‪.‬‬ ‫ﺑﺎ ﺗﻤﺎﻡ ﺍﻳﻦ ﺗﻔﺎﺳﻴﺮ‪ ،‬ﺳﻔﺮﻫﺎﻯ ﺳﺘﺎﺭﻩﺍﻯ ﺑﻪ ﻳﻜﻰ ﺍﺯ ﻣﻬﻢﺗﺮﻳﻦ ﺍﺗﻔﺎﻗﺎﺕ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺩﺭ ﺩﻧﻴﺎﻯ‬ ‫ﺭﺳﺎﻧﻪﻫﺎﻯ ﺗﺼﻮﻳﺮﻯ ﺗﺒﺪﻳﻞ ﺷﺪ‪ .‬ﺳﺮﻯﻫﺎﻯ ﺑﻌﺪﻯ ﻛﻪ ﺳﺎﺧﺘﻪ ﺷﺪﻧﺪ‪ ،‬ﺩﻳﮕﺮ ﭼﻨﺪﺍﻥ ﺷﺒﺎﻫﺘﻰ ﺑﻪ ﺍﻳﻦ‬ ‫ﻣﺠﻤﻮﻋﻪﻯ ﺍﻭﻟﻴﻪ ﻧﺪﺍﺷﺘﻨﺪ؛ ﺑﻴﮕﺎﻧﻪﻫﺎﻯ ﺭﻧﮓ ﻭ ﻭﺍﺭﻧﮓ ﻭ ﺟﻠﻮﻩﻫﺎﻯ ﻭﻳﮋﻩﻯ ﺍﺳﺘﺎﺩﺍﻧﻪﺗﺮ ﻭﺍﺭﺩ ﻣﺠﻤﻮﻋﻪ‬ ‫ﺷﺪﻧﺪ‪ .‬ﺑﺎ ﺍﻳﻦﺣﺎﻝ ﺗ ِ ِﺮﻛﻰﻫﺎ ﻛﻤﺎﻛﺎﻥ ﻫﺮ ﺳﺎﻝ ﺩﻭﺭ ﻫﻢ ﺟﻤﻊ ﻣﻰﺷﻮﻧﺪ ﻭ ﺑﻌﻀﺎً ﻟﺒﺎﺱﻫﺎﻯ ﺧﺪﻣﻪﻯ‬ ‫ﺍﻳﻨﺘﺮﭘﺮﺍﻳﺰ ﺩﻫﻪﻯ ﺷﺼﺖ ﺭﺍ ﻣﻰﭘﻮﺷﻨﺪ‪.‬‬ ‫ﭘﻰﻧﻮﺷﺖﻫﺎ‪:‬‬ ‫‪[9] Solo‬‬ ‫‪[10] Chekov‬‬ ‫‪[11] Spock‬‬ ‫‪[12] Vulcan‬‬ ‫‪[13] David Gerald‬‬ ‫‪[14] Klingan‬‬ ‫‪[15] Romulus‬‬

‫‪[1] Gene Rodenberry‬‬ ‫‪[2] The original series‬‬ ‫‪[3] Lost‬‬ ‫‪[4] Friends‬‬

‫]‪ [5‬ﺍﻳﻦ ﻣﺘﻦ ﺁﻏﺎﺯﻳﻦ ﻫﺮ ﻗﺴﻤﺖ ﺍﺯ ﻣﺠﻤﻮﻋﻪ ﺍﺳﺖ‪.‬‬ ‫‪[6] Battlestar Galactica‬‬ ‫‪[7] Captain Kirk‬‬ ‫‪[8] William Shutner‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﺍﻳﻨﺘﺮﭘﺮﺍﻳﺰ )ﺳﻮﻟﻮ ]‪ ([9‬ژﺍﭘﻨﻰ ﺍﺳﺖ‪ ،‬ﺩﻳﮕﺮ ﺍﻓﺴﺮ ﺭﻫﻴﺎﺏ ﺳﻔﻴﻨﻪ ﻳﻌﻨﻰ ﺁﻗﺎﻯ ﭼﺨﻮﻑ ]‪ [10‬ﺭﻭﺳﻰ‬ ‫ﺍﺳﺖ‪ ،‬ﺍﻓﺴﺮ ﺍﺭﺷﺪ ﻣﺨﺎﺑﺮﺍﺗﻰ ﺳﻔﻴﻨﻪ ﻛﻪ ﺩﺳﺖ ﺑﺮ ﻗﻀﺎ ﺯﻥ ﻫﻢ ﻫﺴﺖ‪ ،‬ﺳﻴﺎﻩﭘﻮﺳﺖ ﺍﺳﺖ ﻭ ﺍﻓﺴﺮ‬ ‫ﺷﻤﺎﺭﻩﻯ ﻳﻚ ﺳﻔﻴﻨﻪ ﻳﻌﻨﻰ ﺁﻗﺎﻯ ﺍﺳﭙﺎﻙ ]‪ [11‬ﻣﻌﺮﻭﻑ‪ ،‬ﺍﺻ ً‬ ‫ﻼ ﺍﻧﺴﺎﻥ ﻧﻴﺴﺖ ﻭ ﺍﺯ ﻧﮋﺍﺩﻯ ﺑﻴﮕﺎﻧﻪ ﺑﻪ ﻧﺎﻡ‬ ‫ﻭﻟﻜﺎﻥ ]‪ [12‬ﺍﺳﺖ‪ .‬ﻗﺮﺍﺭ ﺩﺍﺩﻥ ﻳﻚ ژﺍﭘﻨﻰ ﻭ ﻳﻚ ﺭﻭﺱ‪ ،‬ﺁﻥ ﻫﻢ ﺩﺭ ﺩﻭﺭﺍﻥ ﭘﺲ ﺍﺯ ﺟﻨﮓ ﺟﻬﺎﻧﻰ ﺩﻭﻡ‬ ‫ﻭ ﺩﺭ ﺩﻫﻪﻯ ﺷﺼﺖ‪ ،‬ﺣﺮﻛﺘﻰ ﺑﺴﻴﺎﺭ ﺟﺴﻮﺭﺍﻧﻪ ﻭ ﭘﻴﺸﺮﻭ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﺩ‪ .‬ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﺍﻳﻨﺘﺮﭘﺮﺍﻳﺰ‬ ‫ﻣﻴﻌﺎﺩﮔﺎﻩ ﺗﻤﺎﻡ ﻧﮋﺍﺩﻫﺎ ﻭ ﮔﻮﻧﻪﻫﺎﻯ ﻫﻮﺷﻤﻨﺪ ﺍﺳﺖ‪.‬‬ ‫‪ -2‬ﻣﻮﺿﻊ ﻣﺠﻤﻮﻋﻪ ﺩﺭ ﻣﻮﺭﺩ ﺯﻥﻫﺎ‪ :‬ﺩﻫﻪﻯ ﺷﺼﺖ ﺁﻣﺮﻳﻜﺎ ﺩﻭﺭﺍﻥ ﭘﺮ ﺳﺮ ﻭ ﺻﺪﺍﻯ ﺟﻨﺒﺶﻫﺎﻯ ﺩﻓﺎﻉ‬ ‫ﺍﺯ ﺣﻘﻮﻕ ﺯﻧﺎﻥ ﺑﻮﺩ‪ .‬ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﺯﻥﻫﺎ ﺩﺭ ﻣﺠﻤﻮﻋﻪﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﻧﻘﺶﻫﺎﻯ ﺟﺰﻳﻰ ﻭ ﻏﻴﺮﻛﻠﻴﺪﻯ‬ ‫ﺩﺍﺷﺘﻨﺪ ﻭ ﻧﮕﺮﺵ ﻧﺴﺒﺖ ﺑﻪ ﺯﻥﻫﺎ‪ ،‬ﻧﮕﺮﺵ ﺍﺑﺰﺍﺭﻯ ﺑﻮﺩ‪ .‬ﺯﻥﻫﺎ ﺩﺭ ﻓﻴﻠﻢﻫﺎ ﻧﻘﺶ ﻛﻼﺳﻴﻚ ﺑﻠﻮﻧﺪ ﻛﻢ‬ ‫ﺍﻫﻤﻴﺖ ﺭﺍ ﺑﺎﺯﻯ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺣﺎﻝ ﺩﺭ ﺍﻳﻨﺘﺮﭘﺮﺍﻳﺰ ﻳﻜﻰ ﺍﺯ ﻧﻘﺶﻫﺎﻯ ﻛﻠﻴﺪﻯ ﺑﻪ ﻋﻬﺪﻩﻯ ﻳﻚ ﺯﻥ ﮔﺬﺍﺷﺘﻪ‬ ‫ﺷﺪﻩ ﻭ ﺍﻳﻦ ﺯﻥ ﻧﻘﺸﻰ ﻣﻘﺘﺪﺭ ﺭﺍ ﺑﺎﺯﻯ ﻣﻰﻛﻨﺪ ﻭ ﺍﺯ ﺍﻳﻦ ﻧﻈﺮ‪ ،‬ﺍﻳﻔﺎﻯ ﻧﻘﺸﺶ ﺗﻔﺎﻭﺗﻰ ﺑﺎ ﺍﻓﺴﺮﺍﻥ ﻣﺮﺩ‬ ‫ﻧﺪﺍﺭﺩ‪ .‬ﺩﺭ ﺩﺳﺘﻨﻮﻳﺲ ﺍﻭﻟﻴﻪﻯ ﺳﺮﻳﺎﻝ ﻗﺮﺍﺭ ﺑﻮﺩ ﻛﻪ ﺍﻓﺴﺮ ﺷﻤﺎﺭﻩﻯ ﻳﻚ ﺳﻔﻴﻨﻪ ﺯﻥ ﺑﻮﺩﻩ ﻭ ﺣﺘﺎ ﻟﺒﺎﺳﺶ‬ ‫ﻫﻢ ﺗﻘﺮﻳﺒﺎً ﻣﺸﺎﺑﻪ ﺍﻓﺴﺮﺍﻥ ﻣﺮﺩ ﺑﺎﺷﺪ‪ ،‬ﺍﻣﺎ ﻣﺴﺌﻮﻟﻴﻦ ﺷﺒﻜﻪﻯ ‪ NBC‬ﺁﻥ ﺭﺍ ﺭﺩ ﻛﺮﺩﻧﺪ ﻭ ﮔﻔﺘﻨﺪ ﻛﻪ‬ ‫ﺟﺎﻣﻌﻪ ﺁﻣﺎﺩﮔﻰ ﭘﺬﻳﺮﺵ ﻳﻚ ﺯﻥ ﺩﺭ ﻧﻔﺶ ﺍﻓﺴﺮ ﺍﻭﻝ ﺭﺍ ﻧﺪﺍﺭﺩ‪.‬‬ ‫‪ -3‬ﺩﻳﺪﮔﺎﻩ ﻣﺠﻤﻮﻋﻪ ﺩﺭﺑﺎﺭﻩﻯ ﻧﺰﺍﻉﻫﺎﻯ ﺑﺸﺮﻯ‪ ،‬ﺟﻨﮓ ﻭ ﺻﻠﺢ‪ :‬ﻣﺎﺟﺮﺍﻫﺎﻯ ﺳﻔﺮﻫﺎﻯ ﺳﺘﺎﺭﻩﺍﻯ ﺩﺭ‬ ‫ﻗﺮﻥ ﺑﻴﺴﺖ ﻭ ﺳﻮﻡ ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﻨﺪ‪ .‬ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﺣﻜﻮﻣﺖ ﺯﻣﻴﻦ ﻭ ﺗﻌﺪﺍﺩﻯ ﺍﺯ ﺳﻴﺎﺭﺍﺕ ﻣﺴﻜﻮﻧﻰ‬ ‫ﺩﻳﮕﺮ ﻓﺪﺭﺍﺳﻴﻮﻥ ﺷﺪﻩﺍﻧﺪ؛ ﻓﺪﺭﺍﺳﻴﻮﻥ ﺯﻣﻴﻦ ﻣﺘﺤﺪ‪ .‬ﺩﻳﻮﻳﺪ ﺟﺮﺍﻟﺪ ]‪ ،[13‬ﺍﺯ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻣﺠﻤﻮﻋﻪ‪ ،‬ﺍﻳﻦ‬ ‫ﻓﺪﺭﺍﺳﻴﻮﻥ ﺭﺍ ﻧﻤﺎﻳﻨﺪﻩﻯ ﺁﻣﺮﻳﻜﺎ ﻭ ﺣﻜﻮﻣﺖﻫﺎﻯ ﻏﺮﺑﻰ ﻣﻰﺩﺍﻧﺪ ﻭ ﻣﻌﺘﻘﺪ ﺍﺳﺖ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺁﻣﺮﻳﻜﺎ‬ ‫ﺩﺭ ﺁﻥ ﺭﻭﺯﮔﺎﺭ ﻗﺼﺪ ﺩﺍﺷﺘﻪ ﻧﻘﺶ ﭘﻠﻴﺲ ﻛﺮﻩﻯ ﺯﻣﻴﻦ ﺭﺍ ﺑﺎﺯﻯ ﻛﻨﺪ‪ ،‬ﺩﺭ ﺍﺳﺘﺎﺭﺗﺮﻙ ﻫﻢ ﻓﺪﺭﺍﺳﻴﻮﻥ‬ ‫ﻧﻘﺶ ﭘﻠﻴﺲ ﻛﻬﻜﺸﺎﻥ ﺭﺍ ﺩﺍﺭﺩ ﻭ ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﻫﺪﻑ ﺍﻭﻟﻴﻪﻯ ﻣﺄﻣﻮﺭﻳﺖ ﻛﻪ ﻋﻠﻤﻰ ﺑﻮﺩﻩ‪ ،‬ﺑﻪ ﺗﺒﻠﻴﻎ ﻭ‬ ‫ﮔﺴﺘﺮﺵ ﺣﻘﻴﻘﺖ‪ ،‬ﻋﺪﺍﻟﺖ ﻭ ﺷﻴﻮﻩﻯ ﺯﻧﺪﮔﻰ ﺁﻣﺮﻳﻜﺎﻳﻰ ﺩﺭ ﮔﻮﺷﻪ ﻭ ﻛﻨﺎﺭ ﻛﺎﺋﻨﺎﺕ ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺍﺯ ﺗﻤﺎﻡ ﻣﺴﺎﺋﻠﻰ ﻛﻪ ﮔﻔﺘﻪ ﺷﺪ‪ ،‬ﻣﺴﺎﺋﻞ ﻣﺮﺗﺒﻂ ﺑﺎ ﺟﻨﮓ ﻭ ﺻﻠﺢ ﺩﺭ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺑﻴﺶ ﺍﺯ ﻫﻤﻪ ﻧﻤﻮﺩ‬ ‫ﺩﺍﺭﻧﺪ ﻭ ﺩﺭ ﻛﻞ ﻣﻰﺷﻮﺩ ﮔﻔﺖ ﺑﺮ ﺍﻫﻤﻴﺖ ﺑﺮﻗﺮﺍﺭﻯ ﺻﻠﺢ ﻭ ﻋﺪﻡ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻗﺪﺭﺕ ﺑﺮﺍﻯ ﺣﻞ ﺗﻤﺎﻡ‬ ‫ﻣﺸﻜﻼﺕ ﺗﺄﻛﻴﺪ ﻣﻰﺷﻮﺩ‪ .‬ﻳﻜﻰ ﺍﺯ ﻣﺎﺟﺮﺍﻫﺎﻯ ﺯﻣﻴﻨﻪ ﺩﺭ ﺳﻔﺮﻫﺎﻯ ﺳﺘﺎﺭﻩﺍﻯ ﻧﺒﺮﺩ ﻣﻴﺎﻥ ﻓﺪﺭﺍﺳﻴﻮﻥ ﻭ‬ ‫ﻛﻠﻴﻨﮕﺎﻥﻫﺎ ]‪ [14‬ﻭ ﺭﻭﻣﻮﻟﻮﺱﻫﺎ ]‪ [15‬ﺍﺳﺖ‪ .‬ﻛﻠﻴﻨﮕﺎﻥﻫﺎ ﻭ ﺭﻭﻣﻮﻟﻮﺱﻫﺎ ﻫﺮ ﺩﻭ ﻧﮋﺍﺩﻫﺎﻯ ﻫﻮﺷﻤﻨﺪ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺯﻣﺎﻥ ﺣﺎﻝ ﻣﺎ ﺭﺍ ﺗﺼﻮﻳﺮ ﻣﻰﻛﻨﺪ ﻭ ﺁﻥﭼﻪ ﻛﻪ ﺑﺎﻳﺪ ﺩﺭﺑﺎﺭﻩﻯ ﺧﻮﺩ ﻭ ﺍﻛﻨﻮﻥ ﺑﺪﺍﻧﻴﻢ‪ «.‬ﺩﻳﻮﻳﺪ ﺟﺮﺍﻟﺪ ﻳﻜﻰ‬ ‫ﺍﺯ ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻯ ﻣﺠﻤﻮﻋﻪ ﻧﻴﺰ ﭼﻨﻴﻦ ﮔﻔﺘﻪ‪» :‬ﺩﺍﺳﺘﺎﻥﻫﺎ ﺩﺭﺑﺎﺭﻩﻯ ﺧﻠﻖ ﻭ ﺧﻮﻯ ﺍﻧﺴﺎﻥ ﻗﺮﻥ ﺑﻴﺴﺘﻢ‬ ‫ﺍﺳﺖ ﺩﺭ ﺩﻧﻴﺎﻯ ﺁﻳﻨﺪﻩ‪ .‬ﺩﺍﺳﺘﺎﻥﻫﺎ ﺩﺭﺑﺎﺭﻩﻯ ﻣﺎ ﻫﺴﺘﻨﺪ‪«.‬‬ ‫ﻫﺮ ﻛﺪﺍﻡ ﺍﺯ ﻗﺴﻤﺖﻫﺎﻯ ﻣﺠﻤﻮﻋﻪ ﺩﺍﺳﺘﺎﻥ ﻣﺴﺘﻘﻞ ﺧﻮﺩﺵ ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﻣﻌﻤﻮﻻً ﺩﺭ ﻫﺮ ﻗﺴﻤﺖ ﺍﻳﻨﺘﺮﭘﺮﺍﻳﺰ‬ ‫ﺑﻪ ﻳﻚ ﺳﻴﺎﺭﻩﻯ ﺟﺪﻳﺪ ﺳﻔﺮ ﻣﻰﻛﻨﺪ ﻭ ﺑﺎ ﺳﺎﻛﻨﺎﻧﺶ ﻛﻪ ﻏﺎﻟﺒﺎً ﻫﻮﺷﻤﻨﺪ ﻫﺴﺘﻨﺪ‪ ،‬ﻣﻼﻗﺎﺕ ﻣﻰﻛﻨﺪ‪ .‬ﮔﺎﻩ‬ ‫ﻫﻢ ﭘﻴﺶ ﻣﻰﺁﻳﺪ ﻛﻪ ﺑﺎ ﻭﻳﺮﺍﻧﻪﻫﺎﻯ ﻳﻚ ﺗﻤﺪﻥ ﺭﻭ ﺑﻪ ﺭﻭ ﻣﻰﺷﻮﻧﺪ ﻳﺎ ﺑﺎ ﻣﻮﺟﻮﺩﺍﺗﻰ ﻛﻪ ﻫﻨﻮﺯ ﺭﺍﻫﻰ ﺩﺭﺍﺯ‬ ‫ﺗﺎ ﻫﻮﺷﻤﻨﺪ ﺷﺪﻥ ﭘﻴﺶ ﺭﻭ ﺩﺍﺭﻧﺪ‪ .‬ﺑﻪ ﻫﻨﮕﺎﻡ ﺭﻭﻳﺎﺭﻭﻳﻰ ﺑﺎ ﻣﻮﺟﻮﺩﺍﺕ ﻫﻮﺷﻤﻨﺪ‪ ،‬ﺑﺎ ﭼﺎﻟﺶﻫﺎﻳﻰ ﺭﻭ ﺑﻪ‬ ‫ﺭﻭ ﻣﻰﺷﻮﻧﺪ ﻛﻪ ﺍﻳﻦ ﭼﺎﻟﺶﻫﺎ ﻣﺴﺎﺋﻞ ﺍﺧﻼﻗﻰ‪ ،‬ﺍﺟﺘﻤﺎﻋﻰ‪ ،‬ﺳﻴﺎﺳﻰ ﻭ ﻣﺬﻫﺒﻰ ﺭﺍ ﻛﻪ ﺧﻮﺩ ﺩﻏﺪﻏﻪﻯ‬ ‫ﺩﻭﺭ ﻭ ﺩﺭﺍﺯ ﺑﺸﺮﻳﺖ ﻫﺴﺘﻨﺪ‪ ،‬ﭘﻮﺷﺶ ﻣﻰﺩﻫﻨﺪ‪ .‬ﺩﺭ ﻳﻚ ﺟﺎ ﺑﺎ ﻣﺴﺌﻠﻪﻯ ﺧﻠﻖ ﻫﻮﺵﻣﺼﻨﻮﻋﻰ ﻭ ﻣﺴﺎﺋﻞ‬ ‫ﺍﺧﻼﻗﻰ ﺣﺎﺷﻴﻪﻯ ﺁﻥ ﻃﺮﻑ ﻫﺴﺘﻨﺪ ﻭ ﺩﺭ ﺩﻧﻴﺎﻳﻰ ﺩﻳﮕﺮ ﺑﺎ ﻣﺴﺌﻠﻪﻯ ﻧﮋﺍﺩﭘﺮﺳﺘﻰ ﻭ ﺑﺮﺩﻩﺩﺍﺭﻯ ﺭﻭ ﺑﻪ‬ ‫ﺭﻭ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﻭﺍﻛﻨﺶ ﻛﺎﭘﻴﺘﺎﻥ ﻛﺮﻙ ﻭ ﺑﻪ ﻃﺒﻊ ﺍﻭ‪ ،‬ﺩﻳﮕﺮ ﺧﺪﻣﻪﻯ ﺍﻳﻨﺘﺮﭘﺮﺍﻳﺰ ﺑﺎ ﻣﺴﺎﺋﻞ ﺍﺧﻼﻗﻰ ﻭ ﺍﺟﺘﻤﺎﻋﻰ‪ ،‬ﻣﻌﻤﻮﻻً‬ ‫ﺑﺮ ﻣﺤﻮﺭ ﺍﺧﻼﻗﻴﺎﺕ ﭘﺬﻳﺮﻓﺘﻪ ﺷﺪﻩﻯ ﺁﻥ ﺭﻭﺯﮔﺎﺭ ﺍﺳﺘﻮﺍﺭ ﺍﺳﺖ‪.‬‬ ‫ﺣﺎﻝ ﻛﻪ ﺻﺤﺒﺖ ﺑﻪ ﺍﻳﻦﺟﺎ ﻛﺸﻴﺪ‪ ،‬ﻣﻰﺗﻮﺍﻥ ﺧﻮﺩ ﻣﺠﻤﻮﻋﻪ ﺭﺍ ﺩﺭ ﻳﻚ ﻧﮕﺎﻩ ﻛﻠﻰ ﺍﺯ ﻧﻈﺮ ﻣﻮﺿﻊﮔﻴﺮﻯ‬ ‫ﻧﺴﺒﺖ ﺑﻪ ﻣﺴﺎﺋﻞ ﺩﺍﻍ ﺁﻥ ﺭﻭﺯﮔﺎﺭ ﻣﻮﺭﺩ ﺑﺮﺭﺳﻰ ﻗﺮﺍﺭ ﺩﺍﺩ‪ .‬ﺍﺯ ﺍﻳﻦ ﻧﻈﺮ ﭼﻨﺪ ﻣﺆﻟﻔﻪﻯ ﺑﺮﺟﺴﺘﻪ ﺩﺭ ﺍﻳﻦ‬ ‫ﻣﺠﻤﻮﻋﻪ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪.‬‬ ‫‪ -1‬ﻣﻮﺿﻊ ﻣﺠﻤﻮﻋﻪ ﻧﺴﺒﺖ ﺑﻪ ﻣﺴﺌﻠﻪﻯ ﻧﮋﺍﺩﭘﺮﺳﺘﻰ‪ :‬ﺳﻔﻴﻨﻪﻯ ﺍﻳﻨﺘﺮﭘﺮﺍﻳﺰ ﻧﻤﺎﻳﻨﺪﻩﻯ ﮔﻮﻧﻪﻯ ﺑﺸﺮ‬ ‫ﺩﺭ ﻛﻬﻜﺸﺎﻥ ﺍﺳﺖ؛ ﺑﺸﺮﻯ ﻛﻪ ﻣﻰﺧﻮﺍﻫﺪ ﺑﻪ ﺩﻳﺪﺍﺭ ﺩﻳﮕﺮ ﺗﻤﺪﻥﻫﺎ ﺑﺮﻭﺩ‪ ،‬ﺍﮔﺮ ﺑﺎ ﺧﻮﺩﺵ ﺻﻠﺢ ﻧﻜﺮﺩﻩ‬ ‫ﺑﺎﺷﺪ‪ ،‬ﭼﻪ ﭘﻴﺎﻣﻰ ﺩﺍﺭﺩ ﻛﻪ ﺑﻪ ﻫﻮﺷﻤﻨﺪﺍﻥ ﻛﻬﻜﺸﺎﻥ ﺑﺮﺳﺎﻧﺪ؟ ﺳﻔﺮﻫﺎﻯ ﺳﺘﺎﺭﻩﺍﻯ ﺗﻼﺵ ﺩﺍﺭﺩ ﺍﺛﺒﺎﺕ‬ ‫ﻛﻨﺪ ﻛﻪ ﺑﻪ ﺑﺮﺍﺑﺮﻯ ﺍﻧﺴﺎﻥﻫﺎ ﻣﻌﺘﻘﺪ ﺍﺳﺖ ﻭ ﺍﺯ ﻣﺴﺌﻠﻪﻯ ﺩﻋﻮﺍﻫﺎﻯ ﻧﮋﺍﺩﻯ ﻭ ﻗﻮﻣﻰ ﻓﺮﺍﺗﺮ ﺭﻓﺘﻪ‪ .‬ﺍﻣﺮﻭﺯﻩ‬ ‫ﺩﻳﺪﻥ ﭼﻬﺮﻩﻯ ﻧﮋﺍﺩﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺩﺭ ﻳﻚ ﻣﺠﻤﻮﻋﻪﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺑﺴﻴﺎﺭ ﻋﺎﺩﻯ ﺷﺪﻩ‪ .‬ﺩﺭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ‬ ‫ﻣﺠﻤﻮﻋﻪﻫﺎ‪ ،‬ﺣﺘﻤﺎً ﻳﻚ ﻧﻘﺶ ﻛﻠﻴﺪﻯ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﻳﻚ ﺳﻴﺎﻩﭘﻮﺳﺖ‪ ،‬ﻳﻜﻰ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺍﻫﺎﻟﻰ ﺷﺮﻕ ﺩﻭﺭ‪،‬‬ ‫ﻳﻜﻰ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﻛﺴﻰ ﺍﺯ ﺧﺎﻭﺭﻣﻴﺎﻧﻪ )ﻫﺮ ﭼﻨﺪ ﻛﻪ ﻣﻌﻤﻮﻻً ﺳﺎﻛﻨﻴﻦ ﺧﺎﻭﺭﻣﻴﺎﻧﻪ ﺁﺩﻡ ﺑﺪﻩﻯ ﻣﺎﺟﺮﺍ‬ ‫ﻫﺴﺘﻨﺪ!!( ﻭ‪ ..‬ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺩﺭ ﺭﻭﺯﮔﺎﺭﻯ ﻛﻪ ﺳﻔﺮﻫﺎﻯ ﺳﺘﺎﺭﻩﺍﻯ ﺭﻭﻯ ﺁﻧﺘﻦ ﻣﻰﺭﻓﺖ‪ ،‬ﻣﺎﺟﺮﺍ ﺑﻪ ﺍﻳﻦ ﺷﻜﻞ‬ ‫ﻧﺒﻮﺩ ﻭ ﺍﺯ ﺍﻳﻦ ﻧﻈﺮ ﺍﻳﻦ ﺳﺮﻳﺎﻝ‪ ،‬ﺩﺭ ﺯﻣﺎﻥ ﺧﻮﺩ ﭘﻴﺸﺮﻭ ﻣﺤﺴﻮﺏ ﻣﻰﺷﺪ‪ .‬ﻳﻜﻰ ﺍﺯ ﺭﻫﻴﺎﺏﻫﺎﻯ ﺍﺻﻠﻰ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﺁﺩﻡ ﺭﺍ ﻳﺎﺩ ﻛﺎﺑﻮﻯ ﻓﻴﻠﻢﻫﺎﻯ ﻳﻚ ﺩﻫﻪﻯ ﻗﺒﻞ ﻣﻰﺍﻧﺪﺍﺯﺩ‪ ،‬ﺭﻭﻯ ﺁﻥ ﺻﻨﺪﻟﻰ ﻣﻰﻧﺸﺴﺖ ﻭ ﺑﻪ ﻣﻨﻈﺮﻩﻯ‬ ‫ﺳﺘﺎﺭﻩﻯ ﺁﻥ ﺑﻴﺮﻭﻥ ﺧﻴﺮﻩ ﻣﻰﺷﺪ‪ .‬ﭘﺸﺖ ﺳﺮﺵ ﺗﺠﻬﻴﺰﺍﺕ ﺍﺭﺗﺒﺎﻃﻰ ﻭ ﺭﺍﻫﺒﺮﻯ ﺳﻔﻴﻨﻪ ﻗﺮﺍﺭ ﺩﺍﺷﺖ ﻛﻪ‬ ‫ﭼﻴﺰﻯ ﺷﺒﻴﻪ ﺑﻪ ﺳﻮﻳﻴﭻﻫﺎﻯ ﻣﺨﺎﺑﺮﺍﺕ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪﻧﺪ‪ .‬ﺍﻳﻦ ﻃﻮﺭﻯ ﺳﻔﺮ ﻣﻰﻛﺮﺩﻧﺪ ﻭ ﻫﻨﻮﺯ ﻫﻢ‬ ‫ﺩﺭ ﻓﻴﻠﻢﻫﺎ ﻭ ﺳﺮﻳﺎﻝﻫﺎﻯ ﺩﻳﮕﺮﻯ ﻛﻪ ﺑﺮ ﺍﺳﺎﺱ ﺁﻥ ﺳﺎﺧﺘﻪ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﺷﻜﻞ ﻭ ﺷﻤﺎﻳﻞ ﻛﻠﻰ ﺍﺗﺎﻕ ﻓﺮﻣﺎﻥ‬ ‫ﺳﻔﻴﻨﻪ ﻫﻤﺎﻥ ﺍﺳﺖ؛ ﻭ ﺍﮔﺮﭼﻪ ﻭﻳﻠﻴﺎﻡ ﺷﺎﺗﻨﺮ ]‪ [8‬ﺳﺎﻟﺨﻮﺭﺩﻩ ﻭ ﭼﺎﻕ ﺷﺪﻩ‪ ،‬ﺍﻣﺎ ﻫﻨﻮﺯ ﺷﺒﺢ ﺧﺎﻃﺮﻩﺍﺵ‬ ‫ﺩﺭ ﺍﺗﺎﻕ ﻓﺮﻣﺎﻥ ﺍﻳﻨﺘﺮﭘﺮﺍﻳﺰ ‪ -‬ﻛﻪ ﭼﻮﻥ ﻧﻮﺳﺘﺎﻟﮋﻯ ﻧﺴﻞﻫﺎ ﺍﺳﺖ ﻗﺮﺍﺭ ﻧﻴﺴﺖ ﻫﻴﭻ ﺗﻐﻴﻴﺮﻯ ﺑﻜﻨﺪ ‪ -‬ﭘﺮﺳﻪ‬ ‫ﻣﻰﺯﻧﺪ‪ .‬ﺳﺎﻛﻨﺎﻥ ﺩﻭﺭﺗﺮﻳﻦ ﺳﻴﺎﺭﺍﺕ ﻛﻬﻜﺸﺎﻥ ﺩﺭ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ‪ ،‬ﺑﻪ ﺯﺑﺎﻥ ﺍﻧﮕﻠﻴﺴﻰ‪ ،‬ﺁﻥ ﻫﻢ ﺑﺎ ﻟﻬﺠﻪﻯ‬ ‫ﺁﻣﺮﻳﻜﺎﻳﻰ ﺻﺤﺒﺖ ﻣﻰﻛﻨﻨﺪ ﻭ ﺑﻴﺸﺘﺮ ﺳﻴﺎﺭﺍﺗﻰ ﻛﻪ ﺑﺮﺍﻯ ﻛﺎﻭﺵ ﺍﻧﺘﺨﺎﺏ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺟﻮ ﻣﻨﺎﺳﺐ ﺑﺮﺍﻯ‬ ‫ﺗﻨﻔﺲ ﺩﺍﺭﻧﺪ‪ .‬ﻫﻤﻪﻯ ﺍﻳﻦﻫﺎ ﺭﺍ ﺍﮔﺮ ﺍﺯ ﺯﺍﻭﻳﻪﻯ ﺩﻳﺪ ﻳﻚ ﻫﻮﺍﺩﺍﺭ ﻣﺸﻜﻞ ﭘﺴﻨﺪ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﻧﮕﺎﻩ ﻛﻨﻰ‪،‬‬ ‫ﻣﻰﺑﻴﻨﻰ ﻛﻪ ﻧﺘﻴﺠﻪﻯ ﻛﺎﺭ ﺍﺻ ً‬ ‫ﻼ ﻧﺒﺎﻳﺪ ﻃﺮﻓﺪﺍﺭ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﭼﻪ ﺑﺮﺳﺪ ﺑﻪ ﺍﻳﻦ ﻛﻪ ﺗﺒﺪﻳﻞ ﺷﻮﺩ ﺑﻪ ﻳﻜﻰ‬ ‫ﺍﺯ ﭘﺮﺑﻴﻨﻨﺪﻩﺗﺮﻳﻦ ﻣﺠﻤﻮﻋﻪﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ‪.‬‬ ‫ﺍﻣﺎ »ﺳﻔﺮﻫﺎﻯ ﺳﺘﺎﺭﻩﺍﻯ« ﻋﻠﻰﺭﻏﻢ ﺗﻤﺎﻡ ﺍﻳﻦ ﺿﻌﻒﻫﺎﻯ ﻋﻠﻤﻰ‪ ،‬ﻣﺤﺒﻮﺏ ﻭ ﻣﺎﻧﺪﮔﺎﺭ ﻣﻰﺷﻮﺩ ﻭ‬ ‫ﺑﺘﻞﺍﺳﺘﺎﺭﮔﺎﻻﻛﺘﻴﻜﺎ ﺣﺘﺎ ﭘﺲ ﺍﺯ ﭘﺨﺶ ﻣﺠﻤﻮﻋﻪﻯ ﺑﺎﺯﺳﺎﺯﻯ ﺷﺪﻩﺍﺵ ﻛﻪ ﭘﺎﻳﺶ ﺑﻪ ﻣﺠﻤﻊ ﺳﺎﺯﻣﺎﻥ‬ ‫ﻣﻠﻞ ﻫﻢ ﺑﺎﺯ ﺷﺪ‪ ،‬ﺑﻪ ﮔﺮﺩﺵ ﻫﻢ ﻧﻤﻰﺭﺳﺪ‪.‬‬ ‫ﺩﻟﻴﻠﺶ ﺩﺭ ﻳﻚ ﻛﻼﻡ ﺧﻴﻠﻰ ﺳﺎﺩﻩ ﻣﻰﺷﻮﺩ »ﺧﻼﻗﻴﺖ«‪ .‬ﺩﻳﺪ ﺧﻮﺏ ﻭ ﺍﻳﺪﻩﻯ ﻧﺎﺏ ﺧﺎﻟﻘﺶ ‪ -‬ﺟﻴﻦ‬ ‫ﺭﺍﺩﻧﺒﺮﻯ ‪ -‬ﻛﻪ ﻋﻠﻰﺭﻏﻢ ﻣﺤﺪﻭﺩﻳﺖﻫﺎﻯ ﻓﻨﺎﻭﺭﻯ ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﻭ ﺍﺯ ﺁﻥ ﻣﻬﻢﺗﺮ ﻣﺤﺪﻭﺩﻳﺖﻫﺎﻯ ﺑﻮﺩﺟﻪﻯ‬ ‫ﺳﺮﻳﺎﻝﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ‪ ،‬ﺗﻮﺍﻧﺴﺖ ﭼﻴﺰﻯ ﺧﻠﻖ ﻛﻨﺪ ﻛﻪ ﻓﺮﺍﺗﺮ ﺍﺯ ﺩﺭﺍﻡﻫﺎﻯ ﻣﺘﺪﺍﻭﻝ ﺁﻥ ﺭﻭﺯﮔﺎﺭ ﻭ ﺍﻳﻦ‬ ‫ﺭﻭﺯﮔﺎﺭ ﺑﻮﺩ‪ .‬ﺻﺪﻫﺎ ﻣﺪﻝ ﺗﻠﻔﻦ ﻫﻤﺮﺍﻩ ﺩﺭ ﺑﺎﺯﺍﺭ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﺍﻣﺎ ﺧﻼﻗﻴﺖ ﻳﻚ ﻧﻔﺮ ﻣﻰﺗﻮﺍﻧﺪ »ﺁﻳﻔﻮﻥ« ﺭﺍ‬ ‫ﺑﻪ ﻣﺤﺒﻮﺏﺗﺮﻳﻦ ﺗﻠﻔﻦ ﻫﻤﺮﺍﻩ ﺗﺒﺪﻳﻞ ﻛﻨﺪ‪ .‬ﻗﻴﺎﺱ ﻧﺎﻣﺮﺑﻮﻃﻰ ﻧﻴﺴﺖ ﺍﮔﺮ ﺑﮕﻮﻳﻴﻢ ﺧﻼﻗﻴﺖ ﺭﺍﺩﻧﺒﺮﻯ ﺩﺭ‬ ‫ﺁﻥ ﺭﻭﺯﮔﺎﺭ ﺗﻮﺍﻧﺴﺖ »ﺳﻔﺮﻫﺎﻯ ﺳﺘﺎﺭﻩﺍﻯ« ﺭﺍ ﺍﺯ ﺗﻤﺎﻡ ﻣﺠﻤﻮﻋﻪﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﻣﺘﻤﺎﻳﺰ ﻛﻨﺪ‪.‬‬ ‫ﺍﮔﺮ ﭼﻪ ﺗﻢ ﺳﺮﻳﺎﻝ ﺳﻔﺮﻫﺎﻯ ﻓﻀﺎﻳﻰ ﻭ ﺍﻛﺘﺸﺎﻑ ﺗﻤﺪﻥﻫﺎﻯ ﻧﺎﺷﻨﺎﺧﺘﻪ ﻭ ﺩﻭﺭﺩﺳﺖ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ‬ ‫ﺩﻏﺪﻏﻪﻫﺎﻯ ﺳﺮﻳﺎﻝ ﻭ ﻣﺎﺟﺮﺍﻫﺎﻳﺶ‪ ،‬ﺩﻏﺪﻏﻪﻫﺎﻯ ﺁﻣﺮﻳﻜﺎﻯ ﺩﻫﻪﻯ ﺷﺼﺖ ﺑﻮﺩ ﻭ ﺣﺘﺎ ﺣﺎﻝ ﻭ ﻫﻮﺍﻯ‬ ‫ﺩﺭﺍﻣﺶ ﻫﻢ ﻫﻤﺎﻧﻨﺪ ﺩﻳﮕﺮ ﻣﺠﻤﻮﻋﻪﻫﺎﻯ ﺩﺭ ﺣﺎﻝ ﭘﺨﺶ ﺑﻮﺩ‪ .‬ﺗﻔﺎﻭﺕ ﻣﺠﻤﻮﻋﻪ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺭﺍﻫﻰ ﭘﻴﺪﺍ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩ ﺗﺎ ﻛﻠﻴﺸﻪﻫﺎﻯ ﻫﻤﻴﺸﮕﻰ ﺭﺍ ﺩﺭ ﻓﻀﺎﻳﻰ ﻧﻮﻳﻦ ﻭ ﺟﺬﺍﺏ ﺑﺎﺯﮔﻮ ﻛﻨﺪ‪» .‬ﺟﻴﻦ ﺭﺍﺩﻧﺒﺮﻯ« ﺧﻮﺩ‬ ‫ﺩﺭ ﺍﻳﻦ ﺑﺎﺭﻩ ﻣﻰﮔﻮﻳﺪ‪» :‬ﻣﻦ ﻛﻪ ﻓﻜﺮ ﻧﻤﻰﻛﻨﻢ ﺳﻔﺮﻫﺎﻯ ﺳﺘﺎﺭﻩﺍﻯ ﻭﺍﻗﻌﺎً ﺁﻳﻨﺪﻩ ﺭﺍ ﺑﻪ ﺗﺼﻮﻳﺮ ﺑﻜﺸﺪ‪ ،‬ﺑﻠﻜﻪ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺑﻮﺩ ﻛﻪ ﺍﺫﻫﺎﻥ ﻣﺮﺩﻡ ﺍﺯ ﻣﺼﺎﻳﺐ ﺟﻨﮓﻫﺎﻯ ﺟﻬﺎﻧﻰ ﺁﻥ ﻗﺪﺭ ﺩﻭﺭ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﻓﻜﺮ ﻓﻀﺎ ﻭ ﺳﻔﺮ ﺑﻪ‬ ‫ﺩﻭﺭﺩﺳﺖﻫﺎ ﺑﻴﻔﺘﺪ‪» .‬ﺳﻔﺮﻫﺎﻯ ﺳﺘﺎﺭﻩﺍﻯ« ﺧﻴﻠﻰ ﺯﻭﺩ ﺑﻪ ﻳﻜﻰ ﺍﺯ ُﺧﺮﺩﻩﻓﺮﻫﻨﮓﻫﺎﻯ ﺩﻫﻪﻯ ﻫﻔﺘﺎﺩ‬ ‫ﺗﺒﺪﻳﻞ ﺷﺪ ﻭ ﺁﻥ ﻗﺪﺭ ﻃﺮﻓﺪﺍﺭ ﻭ ﻫﻮﺍﺩﺍﺭ ﭘﻴﺪﺍ ﻛﺮﺩ ﻛﻪ ﭼﻨﺪ ﻣﺠﻤﻮﻋﻪﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺩﻳﮕﺮ ﻭ ﭼﻨﺪﻳﻦ‬ ‫ﻓﻴﻠﻢ ﺳﻴﻨﻤﺎﻳﻰ ﺑﺮ ﺍﺳﺎﺱ ﺷﺨﺼﻴﺖﻫﺎ ﻭ ﺩﻧﻴﺎﻯ ﺁﻥ ﺳﺎﺧﺘﻪ ﺷﺪ‪ .‬ﻫﻮﺍﺩﺍﺭﻥ ﻣﺠﻤﻮﻋﻪ ﺧﻮﺩ ﺭﺍ ‪Trekkie‬‬

‫ﻧﺎﻣﻴﺪﻧﺪ ﻭ ﺍﺯ ﺁﻥ ﺯﻣﺎﻥ ﮔﺮﺩﻫﻤﺎﻳﻰﻫﺎﻯ ﺳﺎﻟﻴﺎﻧﻪﺍﻯ ﺑﺮﺍﻯ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺑﺮﮔﺰﺍﺭ ﻣﻰﺷﻮﺩ ﻛﻪ ﺩﺭ ﺁﻥﻫﺎ‪،‬‬ ‫ﻃﺮﻓﺪﺍﺭﺍﻥ ﻟﺒﺎﺱ ﺷﺨﺼﻴﺖﻫﺎﻯ ﻣﺤﺒﻮﺏ ﺧﻮﺩ ﺭﺍ ﻣﻰﭘﻮﺷﻨﺪ ﻭ ﺩﻭﺭ ﻫﻢ ﺟﻤﻊ ﻣﻰﺷﻮﻧﺪ ﻭ ﺑﻪ ﮔﭗ ﻭ‬ ‫ﮔﻔﺖ ﺩﺭﺑﺎﺭﻩﻯ ﻣﺠﻤﻮﻋﻪﻯ‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﻣﻮﺭﺩ ﻋﻼﻗﻪﺷﺎﻥ ﻣﻰﭘﺮﺩﺍﺯﻧﺪ‪.‬‬ ‫ِ‬ ‫ﻧﮕﺎﻫﻰ ﻋﻤﻴﻖﺗﺮ ﺑﻪ ﺩﺭﻭﻥﻣﺎﻳﻪﻫﺎ‬ ‫ﻓﻀﺎ‬ ‫آﺧﺮﯾﻦ ﻣﺮز‬ ‫و اﯾﻨﮏ ﻣﺎﺟﺮاﻫﺎی ﺳﻔﯿﻨﻪی ﻓﻀﺎﯾﯽ اﯾﻨﱰﭘﺮاﯾﺰ‬ ‫ﺳﻔﺮ اﮐﺘﺸﺎﻓﯽ ﭘﻨﺞﺳﺎﻟﻪی ﺳﻔﯿﻨﻪ ﭼﻨﯿﻦ اﺳﺖ‪:‬‬ ‫ﺟﺴﺖ و ﺟﻮی دﻧﯿﺎﻫﺎی ﻏﺮﯾﺐ و ﺷﮕﺮف‬ ‫ﺟﺴﺘﺠﻮی اﺷﮑﺎل ﺟﺪﯾﺪ ﺣﯿﺎت و متﺪنﻫﺎی ﺑﯿﮕﺎﻧﻪ‬ ‫و ﺳﻔﺮ ﺑﺪان ﺟﺎﯾﯽ ﮐﻪ ﺗﺎ ﮐﻨﻮن ﻫﯿﭻ اﻧﺴﺎﻧﯽ ﻧﺮﻓﺘﻪ ]‪[۵‬‬ ‫»ﺳﻔﺮﻫﺎﻯ ﺳﺘﺎﺭﻩﺍﻯ« ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﺩﻳﮕﺮ ﻣﺠﻤﻮﻋﻪﻫﺎﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ‪ ،‬ﭼﻨﺪﺍﻥ ﺣﺮﻓﻰ ﺑﺮﺍﻯ‬ ‫ﮔﻔﺘﻦ ﻧﺪﺍﺭﺩ؛ ﻣﺠﻤﻮﻋﻪﻫﺎﻳﻰ ﻧﻈﻴﺮ ﺳﺮﻯ ﺍﻭﻟﻴﻪﻯ »ﺑﺘﻞﺍﺳﺘﺎﺭ ﮔﺎﻻﻛﺘﻴﻜﺎ« ]‪ [6‬ﻭ ﻳﺎ »ﻓﻀﺎ‪« 1999:‬‬ ‫ﻛﻪ ﺩﺭ ﺯﻣﺎﻥ ﭘﺨﺶ »ﺳﻔﺮﻫﺎﻯ ﺳﺘﺎﺭﻩﺍﻯ« ﺍﺯ ﺷﺒﻜﻪﻫﺎﻯ ﻣﺨﺘﻠﻒ‪ ،‬ﺩﺭ ﺣﺎﻝ ﭘﺨﺶ ﺑﻮﺩ‪ ،‬ﺍﺯ ﺯﺍﻭﻳﻪﻯ‬ ‫ﺩﻳﺪ ﻧﻘﺎﺩﺍﻧﻪ ﺑﻪ ﺍﻟﻤﺎﻥﻫﺎﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰﺷﺎﻥ‪ ،‬ﺑﺎﻭﺭﭘﺬﻳﺮﺗﺮ ﻭ ﻧﺰﺩﻳﻚﺗﺮ ﺑﻪ ﻣﻔﻬﻮﻡ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺟﻠﻮﻩﻫﺎﻯ ﻭﻳﮋﻩﻯ ﻣﺠﻤﻮﻋﻪ ﺍﺻ ً‬ ‫ﻼ ﭼﻨﮕﻰ ﺑﻪ ﺩﻝ ﻧﻤﻰﺯﺩ‪ .‬ﺍﺗﺎﻕ ﻓﺮﻣﺎﻥ ﺳﻔﻴﻨﻪ‪ ،‬ﻳﻚ ﺍﺗﺎﻕ ﺳﺎﺩﻩ ﺍﺳﺖ‪ .‬ﺩﻭ‬ ‫ﺻﻨﺪﻟﻰ ﺩﺭ ﻗﺴﻤﺖ ﺟﻠﻮ ﻣﻘﺎﺑﻞ ﭘﻨﺠﺮﻩﻯ ﺑﺰﺭگ ﺍﺗﺎﻕ ﻓﺮﻣﺎﻥ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪ .‬ﺍﻧﮕﺎﺭ ﻗﺮﺍﺭ ﺑﺎﺷﺪ ﺭﻫﻴﺎﺏﻫﺎ ﺍﺯ‬ ‫ﻣﻴﺎﻥ ﺳﺘﺎﺭﻩﻫﺎ ﻭﻳﺮﺍژ ﺑﺪﻫﻨﺪ‪ .‬ﭘﺸﺖ ﺳﺮ ﺁﻥﻫﺎ ﺻﻨﺪﻟﻰ ﻣﺤﻘﺮ ﻧﺎﺧﺪﺍﻯ ﺳﻔﻴﻨﻪ ﻗﺮﺍﺭ ﺩﺍﺭﺩ ﻛﻪ ﺣﺘﺎ ﻛﻤﺮﺑﻨﺪ‬ ‫ﺳﺎﺩﻩﻯ ﺍﺗﻮﻣﻮﺑﻴﻞﻫﺎﻯ ﻣﻌﻤﻮﻟﻰ ﺭﺍ ﻫﻢ ﻧﺪﺍﺭﺩ‪ .‬ﻛﺎﭘﻴﺘﺎﻥ ﻛِﺮﻙ ]‪ [7‬ﺑﺎ ﺷﻠﻮﺍﺭ ﻛﻮﺗﺎﻩ ﻭ ﭼﻜﻤﻪﻫﺎﻳﻰ ﻛﻪ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﺍﮔﺮ ﺩﺍﺭﻳﺪ ﺍﻳﻦ ﻣﺘﻦ ﺭﺍ ﻣﻰﺧﻮﺍﻧﻴﺪ‪ ،‬ﺑﻪ ﺍﺣﺘﻤﺎﻝ ﺯﻳﺎﺩ ﻣﻰﺩﺍﻧﻴﺪ ﺧﺎﻟﻖ ﺍﻭﻟﻴﻪﻯ ﺍﻳﺪﻩ »ﺟﻴﻦ ﺭﺍﺩﻧﺒﺮﻯ«‬ ‫]‪ ،[1‬ﻧﻮﻳﺴﻨﺪﻩﻯ ﺍﺩﺑﻴﺎﺕ ﻋﻠﻤﻰ ﻭ ﺗﻮﻟﻴﺪ ﻛﻨﻨﺪﻩﻯ ﺳﺮﻳﺎﻝﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺩﺭ ﺳﺎﻝ‬ ‫‪ 1966‬ﺑﺎ ﭘﺨﺶ ﺍﻭﻟﻴﻦ ﻗﺴﻤﺖ ﺍﺯ ﺷﺒﻜﻪﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ‪ NBC‬ﻣﺘﻮﻟﺪ ﺷﺪ ﻭ ﺍﺯ ﺁﻥ ﺯﻣﺎﻥ ﺗﺎ ﺑﻪ ﺣﺎﻝ‪،‬‬ ‫ﺷﺶ ﻣﺠﻤﻮﻋﻪﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﻭ ﻳﺎﺯﺩﻩ ﻓﻴﻠﻢ ﺑﺮ ﺍﺳﺎﺱ ﺍﻳﺪﻩﻯ ﺍﻭﻟﻴﻪﺍﺵ ﺳﺎﺧﺘﻪ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺳﺮﻯ ﺍﻭﻟﻴﻪﻯ‬ ‫ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﻛﻪ ﺑﻪ ﻧﺎﻡ »ﺍﺻﻠﻰ« ]‪ [2‬ﺷﻨﺎﺧﺘﻪ ﻣﻰﺷﻮﺩ‪ ،‬ﺳﻪ ﻓﺼﻞ ﺩﺍﺷﺖ ﻛﻪ ﺩﺭ ﻓﺎﺻﻠﻪﻯ ﺳﺎﻝﻫﺎﻯ‬ ‫‪ 1966‬ﺗﺎ ‪ 1969‬ﭘﺨﺶ ﻣﻰﺷﺪ‪ .‬ﺑﻌﺪﻫﺎ ﭘﻨﺞ ﻣﺠﻤﻮﻋﻪﻯ ﺩﻳﮕﺮ ﺑﺮ ﺍﺳﺎﺱ ﺁﻥ ﺳﺎﺧﺘﻪ ﺷﺪﻧﺪ ﻭ ﺗﻌﺪﺍﺩ‬ ‫ﻛﺘﺎﺏﻫﺎ ﻭ ﻓﻦﻓﻴﻜﺸﻦﻫﺎﻳﻰ ﻫﻢ ﻛﻪ ﺩﺭﺑﺎﺭﻩﺍﺵ ﻧﻮﺷﺘﻪ ﺷﺪﻩﺍﻧﺪ ﺁﻥﻗﺪﺭ ﺯﻳﺎﺩ ﺍﺳﺖ ﻛﻪ ﺟﻤﻊﻛﺮﺩﻥ‬ ‫ﺁﻣﺎﺭﺵ ﮔﻤﺎﻥ ﻧﻜﻨﻢ ﺑﻪ ﺩﺭﺩ ﻛﺴﻰ ﺑﺨﻮﺭﺩ‪.‬‬ ‫ﻫﻤﺎﻥ ﻣﻮﻗﻊﻫﺎ ﻛﻪ ﻋﺸﻖ ﺑﻪ ﻓﻀﺎ ﻭ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺩﺭ ﺩﻟﻢ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ ،‬ﻓﻬﻤﻴﺪﻡ ﻛﻪ ﺍﻳﻦ‬ ‫ﺳﺮﻳﺎﻝ ﺯﻣﺎﻧﻰ ﻫﻢ ﺍﺯ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺍﻳﺮﺍﻥ ﭘﺨﺶ ﻣﻰﺷﺪﻩ ﻭ ﻧﻮﺳﺘﺎﻟﮋﻯ ﺁﻥ ﻧﺴﻞﻫﺎﻯ ﺩﻭﺭ ﻭ ﺩﺭﺍﺯ ﮔﺬﺷﺘﻪ‬ ‫ﺍﺳﺖ‪ .‬ﺑﺮﺍﻳﻢ ﺧﻴﻠﻰ ﻋﺠﻴﺐ ﺑﻮﺩ ﻭ ﻛﻠﻰ ﺣﻴﺮﺕ ﻛﺮﺩﻡ‪ ،‬ﺑﺎﻭﺭ ﻧﻤﻰﻛﺮﺩﻡ ﺗﻠﻮﻳﺰﻳﻮﻥ ﻣﺎ ﭼﻴﺰﻯ ﺑﻪ ﺑﺎﺷﻜﻮﻫﻰ‬ ‫ﻳﻚ ﺳﺮﻳﺎﻝ ﻓﻀﺎﻳﻰ ﭘﺨﺶ ﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺧﺐ ﺣﻘﻴﻘﺖ ﺩﺍﺷﺖ‪ .‬ﺷﻬﺮﺕ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺑﻪ ﺣﺪﻯ‬ ‫ﺭﺳﻴﺪﻩ ﺑﻮﺩ ﻛﻪ ﺣﺘﺎ ﺍﺯ ﺗﻠﻮﻳﺰﻳﻮﻥ ﻣﻠﻰ ﺍﻳﺮﺍﻥ ﺁﻥ ﺯﻣﺎﻥ ﻫﻢ ﭘﺨﺶ ﺷﺪ‪.‬‬ ‫ﺷﻬﺮﺕ ﺟﻬﺎﻧﻰ »ﺳﻔﺮﻫﺎﻯ ﺳﺘﺎﺭﻩﺍﻯ« ﻭ ﻃﺮﻓﺪﺍﺭﺍﻥ ﺟﻨﺠﺎﻟﻰﺍﺵ ﻣﺮﺑﻮﻁ ﺑﻪ ﺯﻣﺎﻥ ﭘﺨﺶ ﺧﻮﺩ ﺳﺮﻳﺎﻝ‬ ‫ﻧﻴﺴﺖ‪ .‬ﻛﻤﻰ ﭘﺲ ﺍﺯ ﺍﺗﻤﺎﻡ ﭘﺨﺶ ﻓﺼﻞ ﺳﻮﻡ ﺁﻥ ﺍﺯ ‪ ،NBC‬ﺍﻳﻦ ﺷﺒﻜﻪﻯ ﺗﻠﻮﻳﺰﻳﻮﻥ ﻛﻪ ﺍﺯ ﺍﺑﺘﺪﺍ‬ ‫ﻫﻢ ﭼﻨﺪﺍﻥ ﺭﻏﺒﺘﻰ ﺑﻪ ﺳﺮﻳﺎﻝ ﻧﺪﺍﺷﺖ ﻭ ﺩﺭ ﭼﻨﺪﻳﻦ ﺟﺎﻯ ﺧﻂ ﺩﺍﺳﺘﺎﻥ ﺍﺻﻠﻰﺍﺵ ﺩﺳﺖ ﺑﺮﺩﻩ ﺑﻮﺩ‪،‬‬ ‫ﺑﺎﻻﺧﺮﻩ ﻛﺎﺭ ﺧﻮﺩﺵ ﺭﺍ ﻛﺮﺩﻩ ﻭ ﻣﺠﻤﻮﻋﻪ ﺭﺍ ﻛﻨﺴﻞ ﻛﺮﺩ‪ .‬ﮔﻔﺘﻪ ﻣﻰﺷﻮﺩ ﻫﻤﻴﻦ ﻛﻪ ﭘﺨﺶ ﺳﺮﻳﺎﻝ‬ ‫ﺑﻪ ﺳﻪ ﻓﺼﻞ ﺭﺳﻴﺪ‪ ،‬ﻣﺪﻳﻮﻥ ﻃﺮﻓﺪﺍﺭﺍﻧﺶ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﺩﺭﺧﻮﺍﺳﺖ ﻭ ﺗﻘﺎﺿﺎ ﺧﻮﺍﺳﺘﺎﺭ ﺍﺩﺍﻣﻪﺍﺵ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﭘﺲ ﺍﺯ ﻛﻨﺴﻞ ﺷﺪﻥ ﺳﺮﻳﺎﻝ ﺍﻣﺘﻴﺎﺯ ﭘﺨﺶ ﺁﻥ ﺍﺯ ﺍﻳﺴﺘﮕﺎﻩﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻥ ﻣﺤﻠﻰ ﺑﻪ ﺷﺮﻛﺘﻰ ﻓﺮﻭﺧﺘﻪ‬ ‫ﺷﺪ ﻭ ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﺩﻩﻫﺎ ﺍﻳﺴﺘﮕﺎﻩ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﻛﻮﭼﻚ ﻭ ﺑﺰﺭگ ﺩﺭ ﺁﻣﺮﻳﻜﺎ ﻭ ﺑﻌﺪ ﺩﺭ ﺗﻤﺎﻡ ﺩﻧﻴﺎ‬ ‫ﺷﺮﻭﻉ ﺑﻪ ﭘﺨﺶ ﻣﺠﻤﻮﻋﻪ ﻛﺮﺩﻧﺪ ﻭ ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺍﻳﻦ ﺳﺮﻳﺎﻝ ﺑﻪ ﻳﻜﻰ ﺍﺯ ﻣﺤﺒﻮﺏﺗﺮﻳﻦ ﻣﺠﻤﻮﻋﻪﻫﺎﻳﻰ‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺩﺭ ﺗﻤﺎﻡ ﺩﻧﻴﺎ ﺗﺒﺪﻳﻞ ﺷﺪ؛ ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﺩﺭ ﺳﺎﻝﻫﺎﻯ ﺍﺧﻴﺮ ﺭﻛﻮﺭﺩ ﺑﻴﻨﻨﺪﻩﻫﺎﻯ ﻣﺠﻤﻮﻋﻪﻫﺎﻯ‬ ‫ﭘﺮﻃﺮﻓﺪﺍﺭ )ﻧﻈﻴﺮ »ﮔﻤﺸﺪﮔﺎﻥ« ]‪ [3‬ﻳﺎ »ﺩﻭﺳﺘﺎﻥ« ]‪ ([4‬ﺭﺍ ﺑﺎ ﻣﺠﻤﻮﻋﻪﻯ »ﺳﻔﺮﻫﺎﻯ ﺳﺘﺎﺭﻩﺍﻯ«‬ ‫ﻣﻘﺎﻳﺴﻪ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﭘﺨﺶ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺩﺭ ﺳﺎﻝﻫﺎﻯ ﭘﻴﺶ ﺍﺯ ﺍﻭﻟﻴﻦ ﺳﻔﺮ ﻓﻀﺎﻳﻰ ﺍﻧﺴﺎﻥ ﺑﻪ ﻣﺎﻩ ﺷﺮﻭﻉ ﺷﺪ‪ .‬ﺍﻣﺎ ﺯﻣﺎﻧﻰ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﻣﺮﻭﺭﻯ ﺑﺮ ﺳﻔﺮﻫﺎﻯ ﺳﺘﺎﺭﻩﺍﻯ‬ ‫ﺑﻪ ﻣﻨﺎﺳﺒﺖ ﭼﻬﻠﻤﻴﻦ ﺳﺎﻟﮕﺮﺩ ﺧﻠﻖ ﺁﻥ‬ ‫ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬

‫ﻣﻘﺪﻣﻪ‬ ‫»ﭘﻴﺸﺘﺎﺯﺍﻥ ﻓﻀﺎ« ﻛﻪ ﺗﺮﺟﻤﻪﻯ ﺩﺭﺳﺖ ﻧﺎﻣﺶ ﻣﻰﺷﻮﺩ »ﺳﻔﺮﻫﺎﻯ ﺳﺘﺎﺭﻩﺍﻯ«‬ ‫)‪ ،(Star Trek‬ﻧﻮﺳﺘﺎﻟﻮژﻯ ﻧﺴﻞ ﻣﻦ ﻫﻢ ﻧﻴﺴﺖ‪ ،‬ﭼﻪ ﺑﺮﺳﺪ ﺑﻪ ﺟﻮﺍﻥﻫﺎﻳﻰ ﻛﻪ ﺁﻥﻗﺪﺭ ﺑﻪ‬ ‫ﺍﺩﺑﻴﺎﺕ ﻋﻠﻤﻰ ﻭ ﻓﺎﻧﺘﺰﻯ ﺍﺭﺍﺩﺕ ﺩﺍﺭﻧﺪ ﻛﻪ ﺭﻧﺞ ﺧﻮﺍﻧﺪﻥ ﻳﻚ ﻣﺠﻠﻪﻯ ﺍﻟﻜﺘﺮﻭﻧﻴﻚ ﺭﺍ ﺑﺮ‬ ‫ﺧﻮﺩ ﻫﻤﻮﺍﺭ ﻛﻨﻨﺪ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﺍﻇﻬﺎﺭ ﻧﻈﺮ ﭼﻨﺪﺍﻥ ﻫﻢ ﺩﺭﺳﺖ ﻧﻴﺴﺖ‪» .‬ﺳﻔﺮﻫﺎﻯ ﺳﺘﺎﺭﻩﺍﻯ«‬ ‫)ﺑﮕﺬﺍﺭﻳﺪ ﺑﻪ ﺍﺳﻢ ﺩﺭﺳﺘﺶ ﺍﺯ ﺁﻥ ﻳﺎﺩ ﻛﻨﻴﻢ‪ ،‬ﻣﻬﻢ ﻧﻴﺴﺖ ﻛﻪ ﺩﺭ ﺍﻳﺮﺍﻥ ﭼﻬﻞ ﺳﺎﻝ ﺍﺳﺖ‬ ‫ﭘﻴﺸﺘﺎﺯﺍﻥ ﻓﻀﺎ ﺻﺪﺍﻳﺶ ﻣﻰﺯﻧﻨﺪ( ﻧﻮﺳﺘﺎﻟﻮژﻯ ﺗﻤﺎﻡ ﻋﻼﻗﻪﻣﻨﺪﺍﻥ ﺍﺩﺑﻴﺎﺕ ﻋﻤﻠﻰ ﺍﺯ‬ ‫ﮔﺬﺷﺘﻪ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺍﺳﺖ ﻭ ﺧﺪﺍ ﻣﻰﺩﺍﻧﺪ ﺗﺎ ﻛﻰ ﻫﻤﻴﻦﻃﻮﺭ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﻣﻰﺷﻮﺩ ﮔﻔﺖ‬ ‫ﺧﻠﻖ ﺳﻔﺮﻫﺎﻯ ﺳﺘﺎﺭﻩﺍﻯ ﻳﻚ ﺟﻮﺭ ﺍﺑﺮﻧﻮﺍﺧﺘﺮ ﺩﺭ ﺁﺳﻤﺎﻥ ﺭﺳﺎﻧﻪﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺑﻮﺩ ﻛﻪ‬ ‫ﺣﺎﻻ ﺣﺎﻻﻫﺎ ﻧﻮﺭﺵ ﺩﺭ ﺁﺳﻤﺎﻥ ﺧﻮﺍﻫﺪ ﻣﺎﻧﺪ‪.‬‬

‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺩﺭ ﺩﺳﺖ ﺩﺍﺭﺩ‪ ،‬ﺍﺭﺯﺍﻧﻰ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺍﻳﻦ ﺭﻭﺍﻥ ﺩﺭ ﺩﻧﻴﺎﻯ ﺩﺭﻭﻧﻰ ﺧﺪﺍﻯ ﻣﺮگ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﺪ ﻭ ﺧﺪﺍﻯ ﻣﺮگ ﻣﻰﺗﻮﺍﻧﺪ ﺑﺎ ﻣﺪﻳﺘﻴﺸﻦ ﻭﺍﺭﺩ‬ ‫ﺁﻥ ﺩﻧﻴﺎ ﺷﺪﻩ ﻭ ﺑﺎ ﺷﻤﺸﻴﺮﺵ ﺍﺭﺗﺒﺎﻁ ﺑﺮﻗﺮﺍﺭ ﻛﻨﺪ‪ .‬ﺑﺴﺘﻪ ﺑﻪ ﻧﻮﻉ ﺷﺨﺼﻴﺖ ﻭ ﻭﻳﮋﮔﻰﻫﺎﻯ ﻓﺮﺩﻯ‪،‬‬ ‫ﻗﺎﺑﻠﻴﺖ ﺯﺍﻧﭙﺎﻛﺘﻮﻫﺎ ﻫﻢ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ‪ .‬ﻫﺮ ﺯﺍﻧﭙﺎﻛﺘﻮ ﺑﻪ ﺻﻮﺭﺕ ﺑﺎﻟﻘﻮﻩ ﻣﻰﺗﻮﺍﻧﺪ ﺳﻪ ﻓﺮﻡ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪:‬‬ ‫ﺣﺎﻟﺖ ﻋﺎﺩﻯ ﻛﻪ ﻣﺎﻧﻨﺪ ﻳﻚ ﺷﻤﺸﻴﺮ ﺳﺎﺩﻩ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ‪ .‬ﺷﻴﻜﺎﻯ ﻛﻪ ﻳﻚ ﺳﻄﺢ ﺑﺎﻻﺗﺮ ﺍﺳﺖ ﻭ‬ ‫ﺧﺪﺍﻯ ﻣﺮگ ﻣﻰﺗﻮﺍﻧﺪ ﺍﺯ ﻗﺪﺭﺕﻫﺎﻯ ﺧﺎﺹ ﺷﻤﺸﻴﺮﺵ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﺪ ﻭ ﻣﻌﻤﻮﻻً ﺩﺭ ﺍﻳﻦ ﺣﺎﻟﺖ ﺷﻜﻞ‬ ‫ﺷﻤﺸﻴﺮ ﻧﻴﺰ ﺗﻐﻴﻴﺮ ﻣﻰﻛﻨﺪ‪ .‬ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﺎﻧﻜﺎﻯ‪ ،‬ﺑﺎﻻﺗﺮﻳﻦ ﺳﻄﺤﻰ ﻛﻪ ﻳﻚ ﺧﺪﺍﻯ ﻣﺮگ ﻣﻰﺗﻮﺍﻧﺪ‬ ‫ﺑﻪ ﺁﻥ ﺩﺳﺖ ﭘﻴﺪﺍ ﻛﻨﺪ ﻭ ﻓﻘﻂ ﺍﻓﺮﺍﺩ ﺍﻧﮕﺸﺖﺷﻤﺎﺭﻯ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺑﻪ ﺍﻳﻦ ﻣﺮﺣﻠﻪ ﺑﺮﺳﻨﺪ‪ .‬ﺍﻳﻦ ﺳﻄﺢ‬ ‫ﺑﺎﻻﺗﺮﻳﻦ ﺳﻄﺢ ﻗﺪﺭﺕ ﺍﺳﺖ ﻭ ﻋﻤﻮﻣﺎً ﺻﺎﺣﺐ ﺷﻤﺸﻴﺮ ﺩﺭ ﺍﻳﻦ ﺣﺎﻟﺖ ﺑﻪ ﻗﺪﺭﺗﻰ ﺧﺎﺭﻕﺍﻟﻌﺎﺩﻩ ﺩﺳﺖ‬ ‫ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻟﺒﺘﻪ ﮔﻔﺘﻨﺶ ﺧﺎﻟﻰ ﺍﺯ ﻟﻄﻒ ﻧﻴﺴﺖ ﻛﻪ ﺗﺎﻳﺘﻮ ﻛﻮﺑﻪ ﺑﺴﻴﺎﺭ ﺯﻳﺒﺎﺗﺮ ﺍﺯ ﻣﻦ ﺑﻪ ﺍﻳﻦ ﻣﺴﺌﻠﻪ‬ ‫ﭘﺮﺩﺍﺧﺘﻪ‪ .‬ﻫﻤﻴﻦ ﻣﺴﺌﻠﻪﻯ ﺯﺍﻧﭙﺎﻛﺘﻮﻫﺎ ﻭ ﺗﻨﻮﻉ ﺟﻨﮓﻫﺎ ﺭﺍ ﺑﺴﻴﺎﺭ ﺯﻳﺒﺎ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻧﻜﺘﻪﻯ ﺩﻳﮕﺮ ﺩﻳﺎﻟﻮگﻫﺎﻯ ﺯﻳﺒﺎﻯ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺍﺳﺖ‪ .‬ﺩﻳﺎﻟﻮگﻫﺎ ﺑﺴﻴﺎﺭ ﺭﻭﺍﻥ ﻭ ﻃﺒﻴﻌﻰ ﻫﺴﺘﻨﺪ ﻭ‬ ‫ﺑﻪ ﻣﻮﻗﻊ ﺍﺯ ﺷﻮﺧﻰ ﺑﻪ ﺟﺪﻯ ﻭ ﺍﺯ ﻏﻤﮕﻴﻦ ﺑﻪ ﺷﺎﺩ ﺗﻐﻴﻴﺮ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺩﻳﺎﻟﻮگﻫﺎﻯ ﺑﺎﻋﺚ ﺷﺪﻩ ﺩﺍﺳﺘﺎﻥ‬ ‫ﻋﻤﻴﻖﺗﺮ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺷﻮﻧﻦ ﺳﺎﺩﻩ ﺑﺎﺷﺪ‪.‬‬ ‫ﺩﺭ ﺣﺎﻟﺖ ﻛﻠﻰ ﺍﮔﺮ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺷﻮﻧﻦ ﻭ ﭘﺮﻫﻴﺠﺎﻥ ﺧﻮﺷﺘﺎﻥ ﻣﻰﺁﻳﺪ‪ ،‬ﺍﮔﺮ ﺑﻪ ﻓﺎﻧﺘﺰﻯ ﻭ ﺟﻨﮓ ﺑﺎ‬ ‫ﺷﻤﺸﻴﺮ ﻋﻼﻗﻪ ﺩﺍﺭﻳﺪ‪ ،‬ﺍﮔﺮ ﻣﺎﻳﻠﻴﺪ ﻳﻜﻰ ﺍﺯ ﭘﺮﻃﺮﻓﺪﺍﺭﺗﺮﻳﻦ ﺍﻧﻴﻤﻪﻫﺎﻯ ﺭﻭﺯ ﺭﺍ ﺑﺒﻴﻨﻴﺪ ﻭ ﻟﺬﺕ ﺑﺒﺮﻳﺪ‪ ،‬ﺍﻳﻦ‬ ‫ﺍﻧﻴﻤﻪ ﻭ ﻣﺎﻧﮕﺎﻯ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﺑﻪ ﺷﻤﺎ ﭘﻴﺸﻨﻬﺎﺩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻣﻨﺎﺑﻊ‪:‬‬

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‫ﭘﻰﻧﻮﺷﺖﻫﺎ‪:‬‬ ‫‪[1] Tite Kubo‬‬ ‫‪[2] Abe Noriyuki‬‬ ‫‪[3] Ichigo Kurosaki‬‬ ‫‪[4] Rukia Kuchiki‬‬ ‫‪[5] Shinigami‬‬ ‫‪[6] Karakura‬‬ ‫‪[7] Soul Society‬‬ ‫‪[8] Hallows‬‬ ‫‪[9] Kenpachi Zaraki‬‬

‫‪[10] Arrancar‬‬ ‫‪[11] Naruto‬‬ ‫‪[12] Byakuya Kuchiki‬‬ ‫‪[13] Kisuke Urahara‬‬ ‫‪[14] Shikai‬‬ ‫‪[15] Zanpakuto‬‬ ‫‪[16] Uryu Ishida‬‬ ‫‪[17] Quincy‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﭼﻪ ﺍﺯ ﻧﻈﺮ ﺷﺨﺼﻴﺖ‪ -‬ﺩﺍﺭﺩ‪ .‬ﺳﺒﻚ ﻧﻘﺎﺷﻰ ﻭ ﻗﺎﺏﺑﻨﺪﻯ ﺍﻭ ﺑﺴﻴﺎﺭ ﺧﻮﺏ ﻭ ﺗﺄﺛﻴﺮﮔﺬﺍﺭ ﺍﺳﺖ‪ .‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ‬ ‫ﺍﻳﻨﻜﻪ ﺩﺍﺳﺘﺎﻥ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﺍﻛﺸﻦ ﻭ ﺣﺎﺩﺛﻪﺍﻯ ﺍﺳﺖ‪ ،‬ﺍﻳﻦ ﻛﻪ ﻗﺎﺏﺑﻨﺪﻯ ﻭ ﺩﻛﻮﭘﺎژ ﺗﺼﺎﻭﻳﺮ ﺑﻪ ﮔﻮﻧﻪﺍﻯ‬ ‫ﺑﺎﺷﺪ ﻛﻪ ﺷﻴﻮﻩﻯ ﺣﺮﻛﺖ ﻭ ﻫﻴﺠﺎﻥ ﻣﻮﺟﻮﺩ ﺩﺭ ﺻﺤﻨﻪﻯ ﻧﺒﺮﺩ ﺑﻪ ﺧﻮﺍﻧﻨﺪﻩ ﻣﻨﺘﻘﻞ ﺷﻮﺩ‪ ،‬ﺧﻴﻠﻰ ﻣﻬﻢ‬ ‫ﺍﺳﺖ ﻭ ﺗﺎﻳﺘﻮ ﻛﻮﺑﻪ ﺗﻮﺍﻧﺴﺘﻪ ﺑﻪ ﺧﻮﺑﻰ ﺍﺯ ﭘﺲ ﺍﻳﻦ ﻛﺎﺭ ﺑﺮﺑﻴﺎﻳﺪ‪ .‬ﺍﻭ ﺍﺯ ﺧﻄﻮﻁ ﺻﺎﻑ ﺯﻳﺎﺩ ﺍﺳﺘﻔﺎﺩﻩ‬ ‫ﻣﻰﻛﻨﺪ ﻭ ﺍﻳﻦﻛﺎﺭ ﻳﻚ ﻧﻈﻢ ﺧﻮﺏ ﺑﻪ ﺗﺼﺎﻭﻳﺮ ﻣﻰﺩﻫﺪ‪ .‬ﺧﻮﺩﺵ ﺭﺍ ﺑﻰﺩﻟﻴﻞ ﺩﺭﮔﻴﺮ ﺗﺼﺎﻭﻳﺮ ﭘﺲﺯﻣﻴﻨﻪ‬ ‫ﻭ ﺟﺰﺋﻴﺎﺕ ﺁﻥ ﻧﻤﻰﻛﻨﺪ ﻭ ﭼﻴﺰﻯ ﻛﻪ ﺑﺮﺍﻳﺶ ﻣﻬﻢ ﺍﺳﺖ‪ ،‬ﺷﺨﺼﻴﺖﻫﺎﺳﺖ‪ .‬ﺑﺮﺍﻯ ﻣﺜﺎﻝ‪ ،‬ﺍﮔﺮ ﻣﺎﻧﮕﺎﻯ‬ ‫ﻧﺎﺭﻭﺗﻮ ﺭﺍ ﺧﻮﺍﻧﺪﻩ ﺑﺎﺷﻴﺪ ﻭ ﻧﮕﺎﻫﻰ ﺟﺰﻳﻰ ﺑﻪ ﻣﺎﻧﮕﺎﻯ ﺑﻠﻴﭻ ﺑﻴﻨﺪﺍﺯﻳﺪ‪ ،‬ﻣﻰﺗﻮﺍﻧﻴﺪ ﺗﻔﺎﻭﺗﻰ ﺭﺍ ﻛﻪ ﻣﻰﮔﻮﻳﻢ‬ ‫ﺑﻪ ﺧﻮﺑﻰ ﺍﺣﺴﺎﺱ ﻛﻨﻴﺪ‪ .‬ﻣﻦ ﺑﻪ ﺷﺨﺼﻪ ﺷﻴﻮﻩﻯ ﺗﺎﻳﺘﻮ ﻛﻮﺑﻪ ﺭﺍ ﺑﻴﺸﺘﺮ ﻣﻰﭘﺴﻨﺪﻡ‪.‬‬ ‫ﺍﻧﻴﻤﻪ ﺑﺴﻴﺎﺭ ﺑﻪ ﻣﺎﻧﮕﺎ ﻭﻓﺎﺩﺍﺭ ﺍﺳﺖ ﻭ ﻣﻰﺗﻮﺍﻥ ﺩﻳﺪ ﻛﻪ ﺟﻨﮓﻫﺎ ﺗﺎ ﺁﻥﺟﺎ ﻛﻪ ﻣﻤﻜﻦ ﺑﻮﺩﻩ ﺑﻪ ﻓﻀﺎﻯ‬ ‫ﻣﺎﻧﮕﺎ ﻧﺰﺩﻳﻚ ﺍﺳﺖ‪ .‬ﺻﺪﺍﮔﺬﺍﺭﻯﻫﺎ ﻭ ﻣﻮﺳﻴﻘﻰ ﻛﺎﺭ ﻫﻢ ﺑﺴﻴﺎﺭ ﺧﻮﺏ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﻣﻦ ﻣﻮﺳﻴﻘﻰ ﻣﺘﻦ ﺭﺍ‬ ‫ﺑﻪ ﻣﻮﺳﻴﻘﻰﻫﺎﻯ ﺗﻴﺘﺮﺍژﻫﺎ ﺗﺮﺟﻴﺢ ﻣﻰﺩﻫﻢ ﮔﺮﭼﻪ ﺁﻥﻫﺎ ﻫﻢ ﻃﺮﻓﺪﺍﺭﺍﻥ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﺍﻧﻴﻤﻪ ﻋﻤﻮﻣﺎً ﺑﻌﺪ ﺍﺯ ﺗﻤﺎﻡ ﺷﺪﻥ ﻫﺮ ﺁﺭﻙ‪ ،‬ﻳﻚ ﻓﻴﻠﺮ ﺩﺍﺭﺩ ﻛﻪ ﻣﻌﻤﻮﻻً ‪ 50‬ﻗﺴﻤﺖ ﺑﻪ ﺑﺎﻻ ﻫﺴﺘﻨﺪ ﻭ ﺩﺭ‬ ‫ﺍﻳﻦ ﻓﻴﻠﺮﻫﺎ ﺧﻮﺍﻧﻨﺪﻩ ﺍﺭﺗﺒﺎﻁ ﺑﻴﺸﺘﺮﻯ ﺑﺎ ﺷﺨﺼﻴﺖﻫﺎ ﺑﺮﻗﺮﺍﺭ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻟﺒﺘﻪ ﮔﻔﺘﻨﻰ ﺍﺳﺖ ﻛﻪ ﺑﻌﻀﻰ ﺍﺯ‬ ‫ﻗﺴﻤﺖﻫﺎﻯ ﺍﻳﻦ ﻓﻴﻠﺮﻫﺎ ﭼﻨﺪﺍﻥ ﺟﺬﺍﺏ ﻧﻴﺴﺘﻨﺪ‪ .‬ﺍﻧﻴﻤﻪ ﺑﻴﺸﺘﺮ ﺍﺯ ﻣﺎﻧﮕﺎ ﻛﻤﺪﻯ ﺍﺳﺖ ﻭ ﺑﻪ ﻃﻮﺭ ﺧﺎﺹ‬ ‫ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﻫﺮ ﻗﺴﻤﺖ ﻳﻚ ﺑﺨﺶ ‪ 30‬ﺛﺎﻧﻴﻪﺍﻯ ﺩﺍﺭﺩ ﻛﻪ ﺑﺴﻴﺎﺭ ﺑﺴﻴﺎﺭ ﺑﺴﻴﺎﺭ ﺧﻨﺪﻩﺩﺍﺭ ﺍﺳﺖ ﻭ ﺗﻤﺎﻡ‬ ‫ﺍﺑﻬﺖ ﺷﺨﺼﻴﺖﻫﺎ ﺭﺍ ﺑﺮﺍﻯ ﺷﻤﺎ ﺯﻳﺮ ﺳﺆﺍﻝ ﻣﻰﺑﺮﺩ‪.‬‬ ‫ﻋﻼﻭﻩ ﺑﺮ ﺷﺨﺼﻴﺖﭘﺮﺩﺍﺯﻯ ﺑﺴﻴﺎﺭ ﺧﻮﺏ‪ ،‬ﺧﻼﻗﻴﺖ ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﺍﺻﻴﻞ ﺑﻮﺩﻥ ﺣﻮﺍﺩﺙ ﺁﻥ‪ ،‬ﻧﻘﻄﻪﻯ ﻗﻮﺕ‬ ‫ﺩﻳﮕﺮ ﺑﻠﻴﭻ ﺍﺳﺖ‪ .‬ﺑﺮﺍﻯ ﻣﺜﺎﻝ‪ ،‬ﻫﻤﻪﻯ ﻣﺎ ﺩﺭ ﺍﻧﻴﻤﻪﻫﺎ ﻳﺎ ﻣﺎﻧﮕﺎﻫﺎﻯ ﺩﻳﮕﺮ ﺩﻳﺪﻩﺍﻳﻢ ﻛﻪ ﺍﻓﺮﺍﺩﻯ ﻫﺴﺘﻨﺪ‬ ‫ﻛﻪ ﺑﺎ ﺷﻤﺸﻴﺮﺷﺎﻥ‪ ،‬ﻣﺜ ً‬ ‫ﻼ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺁﺗﺶ ﺭﺍ ﻓﺮﺍ ﺑﺨﻮﺍﻧﻨﺪ ﻭ ﺑﺎ ﭼﺮﺧﺶ ﺷﻤﺸﻴﺮ ﺧﻮﺩ‪ ،‬ﺟﺎﻳﻰ ﺭﺍ ﺑﻪ ﺁﺗﺶ‬ ‫ﺑﻜﺸﻨﺪ ﻭ ﻳﺎ ﺍﺯ ﺍژﺩﻫﺎﻯ ﻳﺨﻰ ﻳﺎ ﺁﺑﻰ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻨﺪ‪ .‬ﺍﻳﻦ ﺗﻤﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ‬ ‫ﺍﻛﺸﻦ ژﺍﭘﻨﻰ ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ ﻭ ﺑﻪ ﻇﺎﻫﺮ ﺩﺭ ﺑﻠﻴﭻ ﻫﻢ ﭼﻨﻴﻦ ﺍﺗﻔﺎﻗﻰ ﺩﺭ ﺣﺎﻝ ﺭﺥ ﺩﺍﺩﻥ ﺍﺳﺖ‪ .‬ﻧﺒﻮﻍ‬ ‫ﺗﺎﻳﺘﻮ ﻛﻮﺑﻪ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺍﻳﻦ ﺗﻢ ﺗﻜﺮﺍﺭﻯ ﺑﺮﺍﻯ ﺭﺳﻴﺪﻥ ﺑﻪ ﭼﻴﺰﻯ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﺪ‬ ‫ﻭ ﺁﻥ ﻓﻠﺴﻔﻪﻯ ﺯﺍﻧﭙﺎﻛﺘﻮ ﺍﺳﺖ‪ .‬ﺷﻤﺸﻴﺮﻯ ﻛﻪ ﺗﻨﻬﺎ ﺧﺪﺍﻳﺎﻥ ﻣﺮگ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺩﺍﺭﻧﺪ‪ ...‬ﻳﺎ ﺣﺪﺍﻗﻞ ﻗﺮﺍﺭ‬ ‫ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﮔﻮﻧﻪ ﺑﺎﺷﺪ!‬ ‫ﻫﺮ ﺧﺪﺍﻯ ﻣﺮگ ﻳﻚ ﺯﺍﻧﭙﺎﻛﺘﻮﻯ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺭﻭﺡ ﺧﺪﺍﻯ ﻣﺮگ‪ ،‬ﭘﺎﻳﻪﻯ ﻗﺪﺭﺕ ﻭ ﻧﻮﻉ ﺁﻥ‬ ‫ﺍﺳﺖ‪ .‬ﻳﻚ ﺧﺪﺍﻯ ﻣﺮگ ﺯﻣﺎﻧﻰ ﻛﻪ ﻧﺎﻡ ﺯﺍﻧﭙﺎﻛﺘﻮﻯ ﺧﻮﺩ ﺭﺍ ﻳﺎﺩ ﻣﻰﮔﻴﺮﺩ‪ ،‬ﺍﻳﻦ ﺗﻮﺍﻥ ﺭﺍ ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ‬ ‫ﻛﻪ ﺑﺎ ﺁﻥ ﺍﺭﺗﺒﺎﻁ ﺑﺮﻗﺮﺍﺭ ﻛﻨﺪ ﻭ ﭘﺲ ﺍﺯ ﺁﻥ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺑﻪ ﻳﺎﺭﻯ ﻳﻜﺪﻳﮕﺮ ﻗﻮﻯﺗﺮ ﻭ ﻗﻮﻯﺗﺮ ﺷﻮﻧﺪ‪ .‬ﺍﺳﻢ‬ ‫ﺯﺍﻧﭙﺎﻛﺘﻮ ﻧﺎﻡ ﺭﻭﺍﻥ ﺯﻧﺪﻩﺍﻳﺴﺖ ﻛﻪ ﺑﻪ ﺷﻤﺸﻴﺮ ﺗﻮﺍﻥ ﻣﻰﺩﻫﺪ ﻭ ﻧﻴﺮﻭﻳﺶ ﺭﺍ ﺑﻪ ﺧﺪﺍﻯ ﻣﺮﮔﻰ ﻛﻪ ﺁﻥ ﺭﺍ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺿﺪ ﻗﻬﺮﻣﺎﻥ‬ ‫»ﺍﻋﺘﻤﺎﺩ ﻛﺮﺩﻥ ﺑﻪ ﺩﻳﮕﺮﺍﻥ‪ ،‬ﻣﺎﻧﻨﺪ ﺗﻜﻴﻪ ﻛﺮﺩﻥ ﺑﻪ ﺁﻥﻫﺎﺳﺖ‪ .‬ﻛﺎﺭﻯ ﻛﻪ ﺍﻓﺮﺍﺩ ﺿﻌﻴﻒ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﻨﺪ‪ .‬ﻣﺎ ﺑﻪ‬ ‫ﺁﻥ ﺍﺣﺘﻴﺎﺟﻰ ﻧﺪﺍﺭﻳﻢ«‬

‫»ﻣﻦ ﺟﺎﻥ ﺷﻤﺎ ﺭﺍ ﻧﻤﻰﮔﻴﺮﻡ‪ .‬ﺑﺎ ﻧﻴﺮﻭﻳﻰ ﻛﻪ ﺩﺍﺭﻳﺪ‪ ،‬ﺣﺘﺎ ﺑﻪ ﺳﺨﺘﻰ ﻣﻰﺗﻮﺍﻧﻴﺪ ﺑﺎ ﺍﻳﻦ ﺯﺧﻢﻫﺎ ﻫﺸﻴﺎﺭﻳﺘﺎﻥ‬ ‫ﺭﺍ ﺣﻔﻆ ﻛﻨﻴﺪ‪ .‬ﻫﻤﻴﻦﺟﺎ ﺑﻤﺎﻧﻴﺪ‪ .‬ﻋﺎﺟﺰ ﻭ ﺷﻜﺴﺖﺧﻮﺭﺩﻩ ﻭ ﺧﻮﺏ ﻧﮕﺎﻩ ﻛﻨﻴﺪ ﻛﻪ ﭼﮕﻮﻧﻪ ﺍﻳﻦ ﺟﻨﮓ‬ ‫ﺑﻪ ﭘﺎﻳﺎﻥ ﺧﻮﺩ ﻧﺰﺩﻳﻚ ﻣﻰﺷﻮﺩ‪«.‬‬ ‫ﺍﺯ ﺁﻥﺟﺎﻳﻰ ﻛﻪ ﺑﺮﺩﻥ ﻧﺎﻡ ﺍﻳﻦ ﺷﺨﺼﻴﺖ ﻟﺬﺕ ‪ 90-80‬ﻗﺴﻤﺖ ﺍﻭﻝ ﻣﺠﻤﻮﻋﻪ ﺭﺍ ﺿﺎﻳﻊ ﻣﻰﻛﻨﺪ‪ ،‬ﺍﺯ‬ ‫ﺍﻳﻦ ﺷﺨﺼﻴﺖ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﺑﺎ ﻧﺎﻡ ﻣﺴﺘﻌﺎﺭ ‪ Badman‬ﻳﺎﺩ ﻣﻰﻛﻨﻴﻢ‪ .‬ﺍﻳﻦ ﺷﺨﺼﻴﺖ ﻳﻜﻰ ﺍﺯ ﺑﻬﺘﺮﻳﻦ ﻭ‬ ‫ﻗﻮﻯﺗﺮﻳﻦ ﺿﺪﻗﻬﺮﻣﺎﻥﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺩﻳﺪﻩﺍﻡ‪ .‬ﺍﻭ ﺑﺴﻴﺎﺭ ﺑﺎﻫﻮﺵ‪ ،‬ﻧﻴﺮﻭﻣﻨﺪ‪ ،‬ﺧﻮﺩﺩﺍﺭ ﻭ ﺩﻗﻴﻖ‬ ‫ﺍﺳﺖ‪ .‬ﻣﺆﺩﺏ ﺍﺳﺖ ﻭ ﺍﻓﺮﺍﺩ ﺭﺍ ﺑﻪ ﮔﻮﻧﻪﺍﻯ ﻣﻨﺎﺳﺐ ﻣﺨﺎﻃﺐ ﻗﺮﺍﺭ ﻣﻰﺩﻫﺪ‪ .‬ﻣﺜﻞ ﺷﺨﺼﻴﺖﻫﺎﻯ ﻣﻨﻔﻰ‬ ‫ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻗﻬﺮﻣﺎﻥﻣﺤﻮﺭ‪ ،‬ﻣﻮﺟﻮﺩﻯ ﺭﻭﺍﻧﻰ‪ ،‬ﺁﺩﻣﻜﺶ ﻭ ﺑﻰﻣﻨﻄﻖ ﻭ‪ ...‬ﻧﻴﺴﺖ‪ .‬ﺍﻭ ﮔﺮﭼﻪ ﺍﺯ‬ ‫ﻛﺸﺘﻦ ﺍﺑﺎﻳﻰ ﻧﺪﺍﺭﺩ ﻭ ﺑﺎ ﺧﻮﻧﺴﺮﺩﻯ ﻫﺮ ﻛﺴﻰ ﺭﺍ ﻛﻪ ﻣﺎﻧﻌﺶ ﺷﻮﺩ ﻣﻰﻛﺸﺪ‪ ،‬ﺍﻣﺎ ﺑﺮﺍﻯ ﺷﻤﺸﻴﺮ ﻭ ﺷﺄﻧﺶ‬ ‫ﺍﺣﺘﺮﺍﻡ ﺯﻳﺎﺩﻯ ﻗﺎﺋﻞ ﺍﺳﺖ‪ .‬ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻓﺮﺩﻯ ﺑﺎﻫﻮﺵ ﻳﺎ ﻗﺪﺭﺗﻤﻨﺪ ﺑﺮﺍﺑﺮﺵ ﻇﺎﻫﺮ ﺷﻮﺩ‪ ،‬ﻟﺬﺕ ﻣﻰﺑﺮﺩ ﻭ‬ ‫ﺑﺎ ﺍﻭ ﺑﻪ ﺷﻴﻮﻩﻯ ﺧﻮﺩ‪ ،‬ﻣﺒﺎﺭﺯﻩ ﻣﻰﻛﻨﺪ ﻭ ﻋﻤﻮﻣﺎً ﺩﺷﻤﻨﺶ ﺭﺍ ﺩﺭ ﻫﻢ ﻣﻰﺷﻜﻨﺪ‪.‬‬ ‫ﺍﻳﻦ ﺷﺨﺼﻴﺖ ﺑﺴﻴﺎﺭ ﻛﺎﺭﻳﺰﻣﺎﺗﻴﻚ ﺍﺳﺖ‪ .‬ﺿﻌﻒﻫﺎﻯ ﺍﻧﺴﺎﻥﻫﺎ ﺭﺍ ﺑﻪ ﺧﻮﺑﻰ ﻣﻰﺷﻨﺎﺳﺪ ﻭ ﺍﺯ ﻧﻘﻄﻪﺿﻌﻒ‬ ‫ﺁﻥﻫﺎ ﺑﺮﺿﺪﺷﺎﻥ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻭ ﻣﻰﺗﻮﺍﻧﺪ ﻧﻴﺮﻭﻣﻨﺪﺗﺮﻳﻦ ﺁﺭﺍﻧﻜﺎﺭﻫﺎ ﺭﺍ ﺭﺍﻡ ﺧﻮﺩ ﻛﻨﺪ ﻭ ﻓﺮﻣﺎﻧﺪﻩﺍﻯ‬ ‫ﺍﺳﺖ ﻛﻪ ﺯﻳﺮﺩﺳﺘﺎﻧﺶ ﻣﻘﻬﻮﺭ ﻗﺪﺭﺗﺶ ﻫﺴﺘﻨﺪ‪ .‬ﺍﻭ ﺑﺮﺍﻯ ﺩﻭﺳﺘﻰ ﻭ ﺍﻋﺘﻤﺎﺩ ﻭ‪ ...‬ﺍﺭﺯﺷﻰ ﻗﺎﺋﻞ ﻧﻴﺴﺖ‪ .‬ﺑﻪ‬ ‫ﺭﺍﺣﺘﻰ ﻣﺘﺤﺪﺍﻧﺶ ﺭﺍ ﺍﺯ ﺩﻡ ﺗﻴﻎ ﻣﻰﮔﺬﺍﺭﻧﺪ ﻳﺎ ﺑﻪ ﻣﻮﻗﻌﻴﺖﻫﺎﻯ ﺧﻄﺮﻧﺎﻙ ﻣﻰﻓﺮﺳﺘﺪ‪.‬‬ ‫ﺍﻳﻦ ﻓﺮﺩ‪ ،‬ﺗﻮﺍﻧﻰ ﺩﻭ ﺑﺮﺍﺑﺮ ﺗﻮﺍﻥ ﻳﻚ ﻛﺎﭘﻴﺘﺎﻥ ﺩﺍﺭﺩ ﻭ ﻗﺪﺭﺕ ﺯﺍﻧﭙﺎﻛﺘﻮﻯ ﺍﻭ ﺍﻳﺠﺎﺩ ﻫﻴﭙﻨﻮﺗﻴﺰﻡ ﻛﺎﻣﻞ ﺍﺳﺖ‪.‬‬ ‫ﺍﻭ ﻛﻪ ﺗﻮﺍﻧﺴﺘﻪ ﻃﻰ ﺩﻩﻫﺎ ﺳﺎﻝ ﺯﻧﺪﮔﻰ ﺑﻪ ﻋﻨﻮﺍﻥ ﻓﺮﺩﻯ ﻣﻬﻢ ﺩﺭ ﺟﺎﻣﻌﻪﻯ ﺍﺭﻭﺍﺡ‪ ،‬ﺍﻋﺘﻤﺎﺩ ﻫﻤﻪ ﺭﺍ ﺑﻪ‬ ‫ﺧﻮﺩ ﺟﻠﺐ ﻛﻨﺪ‪ ،‬ﺑﻪ ﺳﺎﺩﮔﻰ ﻭ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻗﺪﺭﺕ ﺷﻤﺸﻴﺮﺵ ﻫﻤﻪ ﺭﺍ ﻓﺮﻳﺐ ﻣﻰﺩﻫﺪ ﻭ ﺑﻪ ﻣﺴﻴﺮﻯ‬ ‫ﻛﻪ ﻣﺎﻳﻞ ﺍﺳﺖ ﻣﻰﻛﺸﺎﻧﺪ‪ .‬ﺑﻪ ﻃﻮﺭ ﺧﺎﺹ‪ ،‬ﺍﻳﻦ ﻓﺮﺩ ﻋﻼﻗﻪﻯ ﺯﻳﺎﺩﻯ ﺑﻪ ﺍﻳﭽﻴﮕﻮ ﺩﺍﺭﺩ ﻭ ﻣﺎﻳﻞ ﺍﺳﺖ‬ ‫ﻣﻴﺰﺍﻥ ﭘﻴﺸﺮﻓﺖ ﺍﻭ ﺭﺍ ﺑﺒﻴﻨﺪ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ‬ ‫ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﺩﺭ ﻫﺮ ﺩﻭ ﻗﺎﻟﺐ ﺍﻧﻴﻤﻪ ﻭ ﻣﺎﻧﮕﺎ‪ ،‬ﺑﻪ ﻧﻈﺮ ﻣﻦ ﺩﺭ ﺣﺪ ﺧﻮﺩ ﺑﻰﻧﻈﻴﺮ ﺍﺳﺖ‪.‬‬ ‫ﺗﺎﻳﺘﻮ ﻛﻮﺑﻪ‪ ،‬ﻣﻬﺎﺭﺕ ﻓﻮﻕﺍﻟﻌﺎﺩﻩﺍﻯ ﺩﺭ ﺗﻴﭗﺳﺎﺯﻯ ﻭ ﺧﻠﻖ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺟﺬﺍﺏ ‪ -‬ﭼﻪ ﺍﺯ ﻟﺤﺎﻅ ﻗﻴﺎﻓﻪ ﻭ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﻛﻴﺴﻮﻛﻪ ﺍﻭﺭﺍﻫﺎﺭﺍ‬ ‫ﺩﺭ ﺟﺎﻳﻰ ﺧﻄﺎﺏ ﺑﻪ ﺍﻳﭽﻴﮕﻮ ﻣﻰﮔﻮﻳﺪ‪:‬‬

‫»ﺗﻨﻬﺎ ﭼﻴﺰﻯ ﻛﻪ ﺩﺭ ﺷﻤﺸﻴﺮﺕ ﻣﻨﻌﻜﺲ ﺷﺪﻩ‪ ،‬ﺗﺮﺱ ﺍﺳﺖ‪ .‬ﻭﻗﺘﻰ‬

‫ﺿﺮﺑﻪﺍﻯ ﺭﺍ ﺩﻓﻊ ﻣﻰﻛﻨﻰ‪ ،‬ﻣﻰﺗﺮﺳﻰ ﻛﺸﺘﻪ ﺑﺸﻮﻯ‪ .‬ﺯﻣﺎﻧﻰ ﻛﻪ ﺣﻤﻠﻪ ﻣﻰﻛﻨﻰ‪ ،‬ﻣﻰﺗﺮﺳﻰ ﻛﻪ ﻛﺴﻰ ﺭﺍ ﺑﻜﺸﻰ‪.‬‬ ‫ﺣﺘﺎ ﺯﻣﺎﻧﻰ ﻛﻪ ﺍﺯ ﻛﺴﻰ ﻣﺤﺎﻓﻈﺖ ﻣﻰﻛﻨﻰ‪ ،‬ﻣﻰﺗﺮﺳﻰ ﻛﻪ ﺁﻥﻫﺎ ﺑﻤﻴﺮﻧﺪ‪ .‬ﺑﻠﻪ‪ ،‬ﺷﻤﺸﻴﺮ ﺗﻮ ﻓﻘﻂ ﺍﺯ ﺗﺮﺱ ﻣﻄﻠﻖ‬ ‫ﺣﺮﻑ ﻣﻰﺯﻧﺪ‪ .‬ﭼﻴﺰﻯ ﻛﻪ ﺩﺭ ﺟﻨﮓ ﺑﻪ ﺁﻥ ﺍﺣﺘﻴﺎﺝ ﺍﺳﺖ‪ ،‬ﺗﺮﺱ ﻧﻴﺴﺖ‪ .‬ﺍﺯ ﺗﺮﺱ ﻫﻴﭻﭼﻴﺰ ﺑﻪ ﺩﺳﺖ ﻧﻤﻰﺁﻳﺪ‪.‬‬ ‫ﻭﻗﺘﻰ ﻛﻪ ﺿﺮﺑﻪﺍﻯ ﺭﺍ ﺩﻓﻊ ﻣﻰﻛﻨﻰ‪» :‬ﻧﻤﻰﮔﺬﺍﺭﻡ ﺁﻥﻫﺎ ﺑﻪ ﻣﻦ ﺁﺳﻴﺐ ﺑﺮﺳﺎﻧﻨﺪ‪ «.‬ﺍﮔﺮ ﺍﺯ ﻛﺴﻰ ﺩﻓﺎﻉ ﻣﻰﻛﻨﻰ‪:‬‬ ‫»ﻧﻤﻰﮔﺬﺍﺭﻡ ﺁﻥﻫﺎ ﺑﻤﻴﺮﻧﺪ‪ «.‬ﻭﻗﺘﻰ ﺣﻤﻠﻪ ﻣﻰﻛﻨﻰ‪» :‬ﺗﻮ ﺭﺍ ﻣﻰﻛﺸﻢ«‪«...‬‬

‫ﺑﺎﺯ ﻫﻢ ﻳﻜﻰ ﺍﺯ ﻗﻮﻯﺗﺮﻳﻦ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺑﻠﻴﭻ ﻛﻪ ﺑﻪ ﻇﺎﻫﺮ‪ ،‬ﻣﻐﺎﺯﻩﺩﺍﺭﻯ ﺳﻮﺩﺟﻮ ﻭ ﻧﻪﭼﻨﺪﺍﻥ‬ ‫ﺧﻮﺵﺟﻨﺲ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻫﺮ ﺷﺮﺍﻳﻄﻰ ﺑﺮﺍﻯ ﻧﻔﻊ ﺷﺨﺼﻰ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻭ ﻋﻤﻮﻣﺎً ﺷﻮﺥ ﻭ‬ ‫ﺳﻬﻞﺍﻧﮕﺎﺭ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ‪ ،‬ﺍﻣﺎ ﺩﺭ ﭘﺸﺖ ﺍﻳﻦ ﭼﻬﺮﻩ ﻣﺮﺩﻯ ﻣﺮﻣﻮﺯ‪ ،‬ﺟﺪﻯ ﻭ ﺑﺎﻫﻮﺵ‪ ،‬ﺩﺭ ﻭﺍﻗﻊ ﺑﺴﻴﺎﺭ‬ ‫ﺑﺴﻴﺎﺭ ﺑﺎﻫﻮﺵ ﭘﻨﻬﺎﻥ ﺷﺪﻩ ﻛﻪ ﺟﺎﻣﻌﻪﻯ ﺍﺭﻭﺍﺡ ﻭﺟﻮﺩﺵ ﺭﺍ ﺧﻮﺵ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﻣﺸﺘﺮﻳﺎﻥ ﺍﺻﻠﻰ ﺍﻭ ﺧﺪﺍﻳﺎﻥ ﻣﺮﮔﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﺮﺍﻯ ﺭﻓﺖ ﻭ ﺁﻣﺪ ﺩﺭ ﺩﻧﻴﺎﻯ ﺍﻧﺴﺎﻥﻫﺎ ﻭ ﺑﺮﻗﺮﺍﺭﻯ ﺍﺭﺗﺒﺎﻁ‬ ‫ﺑﺎ ﺁﻥﻫﺎ ﺑﻪ ﻣﺤﺼﻮﻻﺕ ﻓﺮﻭﺷﮕﺎﻩ ﺍﻭ ﻧﻴﺎﺯ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﺍﻭ ﻛﺴﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺍﻳﭽﻴﮕﻮ ﻛﻤﻚ ﻣﻰﻛﻨﺪ ﺗﺎ ﻗﺪﺭﺗﺶ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﺑﻴﺎﻭﺭﺩ ﻭ ﻫﻤﭽﻨﻴﻦ ﺭﻭﺯﻫﺎ ﺑﺎ ﺍﻭ‬ ‫ﻣﺒﺎﺭﺯﻩ ﻣﻰﻛﻨﺪ ﺗﺎ ﺍﻳﭽﻴﮕﻮ ﺑﺘﻮﺍﻧﺪ ﺷﻴﻮﻩﻯ ﺟﻨﮓ ﺭﺍ ﻳﺎﺩ ﺑﮕﻴﺮﺩ ﻭ ﺑﺎ ﺯﺍﻧﭙﺎﻛﺘﻮﻳﺶ ﺍﺭﺗﺒﺎﻁ ﺑﺮﻗﺮﺍﺭ ﻛﻨﺪ‪.‬‬ ‫ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﻧﻮﻋﻰ ﺍﻭ ﺭﺍ ﺍﺳﺘﺎﺩ ﺍﻳﭽﻴﮕﻮ ﺧﻮﺍﻧﺪ‪.‬‬ ‫ﻛﻴﺴﻮﻛﻪ ﺍﻭﺭﺍﻫﺎ ﻣﺮﺩﻯ ﺍﺳﺖ ﺑﺎ ﮔﺬﺷﺘﻪﺍﻯ ﻧﺎﻣﻌﻠﻮﻡ ﻛﻪ ﻣﺎﻧﻨﺪ ﺧﺪﺍﻳﺎﻥ ﻣﺮگ ﺍﺯ ﺯﺍﻧﭙﺎﻛﺘﻮ ﺍﺳﺘﻔﺎﺩﻩ‬ ‫ﻣﻰﻛﻨﺪ؛ ﺍﻣﺎ ﺑﺮﺧﻼﻑ ﺁﻥﻫﺎ ﻛﻪ ﻛﻴﻤﻮﻧﻮﻳﻰ ﺳﻴﺎﻩ ﺑﺮﺗﻦ ﺩﺍﺭﻧﺪ‪ ،‬ﺗﻮﻧﻴﻚ ﺷﻠﻮﺍﺭﻯ ﺳﺒﺰ ﺑﻪ ﺗﻦ ﺩﺍﺭﺩ ﺑﺎ‬ ‫ﺭﺩﺍﻳﻰ ﻛﻪ ﺭﻧﮕﻰ ﻣﺘﻀﺎﺩ ﺑﺎ ﺭﺩﺍﻯ ﻛﺎﭘﻴﺘﺎﻥﻫﺎ ﺩﺍﺭﺩ‪ .‬ﺍﻭ ﮔﺮﭼﻪ ﺩﺭ ﺩﻧﻴﺎﻯ ﺍﻧﺴﺎﻥﻫﺎ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﺪ‪ ،‬ﺍﻣﺎ‬ ‫ﺍﻃﻼﻋﺎﺕ ﺩﻗﻴﻘﻰ ﺍﺯ ﻭﻗﺎﻳﻊ ﺟﺎﻣﻌﻪﻯ ﺍﺭﻭﺍﺡ ﺩﺍﺭﺩ ﻭ ﮔﺬﺷﺘﻪ ﺍﻭ ﺭﺍ ﺑﺎ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺍﻋﻀﺎﻯ ﺁﻥ ﭘﻴﻮﻧﺪ ﻣﻰﺯﻧﺪ‪.‬‬ ‫ﭘﻴﻮﻧﺪﻯ ﻛﻪ ﺑﺮﺍﻯ ﺧﻴﻠﻰ ﺍﺯ ﺁﻥﻫﺎ ﺷﺎﻳﺪ ﺧﻮﺷﺎﻳﻨﺪ ﻧﺒﺎﺷﺪ‪.‬‬ ‫ﺍﻭ ﺑﺴﻴﺎﺭ ﻣﺆﺩﺑﺎﻧﻪ ﺻﺤﺒﺖ ﻣﻰﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﻣﻰﺗﻮﺍﻧﺪ ﺑﻌﻀﺎً ﺑﺎ ﻫﻤﺎﻥ ﻟﺤﻦ ﻣﺆﺩﺑﺎﻧﻪ ﻛﻨﺎﻳﻪﺁﻣﻴﺰ ﺣﺮﻑ ﺑﺰﻧﺪ‪.‬‬ ‫ﻫﺮ ﺯﻣﺎﻥ ﻛﻪ ﺣﺎﺩﺛﻪﻯ ﻣﻬﻤﻰ ﺩﺭ ﺣﺎﻝ ﺭﺥ ﺩﺍﺩﻥ ﺍﺳﺖ‪ ،‬ﻣﻰﺗﻮﺍﻥ ﺍﻭ ﺭﺍ ﺩﻳﺪ ﻛﻪ ﻛﻨﺎﺭﻯ ﺍﻳﺴﺘﺎﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻛﻴﺴﻮﻛﻪ ﺍﻭﺭﺍﻫﺎﺭﺍ ﻛﻤﺘﺮ ﺩﺭ ﻣﺴﺎﺋﻞ ﺩﺧﺎﻟﺖ ﻣﻰﻛﻨﺪ ﻭ ﻫﻤﻴﺸﻪ ﻛﻤﺘﺮ ﺍﺯ ﺁﻥ ﭼﻪ ﻣﻰﺩﺍﻧﺪ ﺍﻃﻼﻋﺎﺕ‬ ‫ﻣﻰﺩﻫﺪ؛ ﻭ ﮔﺮﭼﻪ ﻫﻤﻴﺸﻪ ﻧﻘﺶ ﻣﻬﻤﻰ ﺍﻳﻔﺎ ﻣﻰﻛﻨﺪ‪ ،‬ﻛﻤﺘﺮ ﺩﺳﺖ ﺑﻪ ﻋﻤﻞ ﻣﻰﺯﻧﺪ ﻭ ﻧﻘﺶ ﻛﺎﺗﺎﻟﻴﺰﻭﺭ‬ ‫ﺭﺍ ﺩﺍﺭﺩ ﻭ ﺩﻳﮕﺮﺍﻥ ﺭﺍ ﻭﺍ ﻣﻰﺩﺍﺭﺩ ﻛﻪ ﺁﮔﺎﻫﺎﻧﻪ ﻳﺎ ﻧﺎﺁﮔﺎﻫﺎﻧﻪ ﻛﺎﺭﻯ ﺭﺍ ﻛﻪ ﺍﻭ ﻣﻰﺧﻮﺍﻫﺪ ﺍﻧﺠﺎﻡ ﺩﻫﻨﺪ‪ .‬ﻫﻤﻴﻦ‬ ‫ﻭﻳﮋﮔﻰ ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ ﺑﺎﺭﻫﺎ ﻭ ﺑﺎﺭﻫﺎ ﻫﻤﻪ ﺑﻪ ﺍﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﻓﺮﺩﻯ ﻗﺎﺑﻞ ﺍﻋﺘﻤﺎﺩ ﺷﻚ ﻛﻨﻨﺪ‪.‬‬ ‫‪77‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﭘﺮﻣﻐﺰ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﺪ‪ .‬ﺭﻭﻛﻴﺎ ﺩﺧﺘﺮﻯ ﺷﺎﺩ‪ ،‬ﺟﺪﻯ ﻭ ﻛﻢﺣﺮﻑ ﺍﺳﺖ ﻭ ﻋﺎﺩﺕ ﺩﺍﺭﺩ ﺑﺮﺍﻯ ﺑﻬﺘﺮ ﺗﻮﺿﻴﺢ‬ ‫ﺩﺍﺩﻥ ﻳﻚ ﻣﻮﺿﻮﻉ ﺍﺯ ﻧﻘﺎﺷﻰ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﺪ‪ .‬ﻧﻘﺎﺷﻰﻫﺎﻳﻰ ﻛﻪ ﺧﻮﺏ ﻧﻴﺴﺖ ﻭ ﺍﻳﭽﻴﮕﻮ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ‬ ‫ﻣﺴﺨﺮﻩﺍﺵ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺍﻭ ﺑﺮﺍﻯ ﻗﻮﺍﻧﻴﻦ ﻭ ﺁﺩﺍﺏ ﻭ ﺭﺳﻮﻡ ﺍﺣﺘﺮﺍﻡ ﺯﻳﺎﺩﻯ ﻗﺎﺋﻞ ﺍﺳﺖ ﻭ ﻭﻇﺎﻳﻔﺶ ﺭﺍ ﺑﻪ ﺧﻮﺑﻰ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﺪ‪،‬‬ ‫ﺍﻣﺎ ﻧﻤﻰﮔﺬﺍﺭﺩ ﻗﻮﺍﻧﻴﻦ ﻣﺎﻧﻊ ﺁﻥ ﺑﺸﻮﺩ ﻛﻪ ﻛﺎﺭﻯ ﺭﺍ ﻛﻪ ﺑﺎﻳﺪ‪ ،‬ﺍﻧﺠﺎﻡ ﻧﺪﻫﺪ‪ .‬ﺍﻭ ﻛﻪ ﻗﺎﺑﻠﻴﺖ ﻣﻌﺎﻭﻥ ﺷﺪﻥ‬ ‫ﺩﺭ ﺟﻮﺧﻪﻯ ﺧﻮﺩ ﺭﺍ ﺩﺍﺭﺩ‪ ،‬ﺑﻪ ﺩﻟﻴﻞ ﺍﻋﻤﺎﻝ ﻧﻔﻮﺫ ﺑﺮﺍﺩﺭﺵ ‪-‬ﻛﻪ ﻧﻤﻰﺧﻮﺍﻫﺪ ﺟﺎﻥ ﺭﻭﻛﻴﺎ ﺑﻪ ﺧﻄﺮ‬ ‫ﺑﻴﻔﺘﺪ‪ -‬ﻳﻚ ﺍﻓﺴﺮ ﺳﺎﺩﻩ ﺍﺳﺖ ﻭ ﺑﺠﺰ ﺍﺷﺮﺍﻑﺯﺍﺩﮔﻴﺶ ﻣﻘﺎﻡ ﺧﺎﺻﻰ ﻧﺪﺍﺭﺩ‪ .‬ﮔﺮﭼﻪ ﺑﺎ ﭘﻴﺸﺮﻓﺖ ﺩﺍﺳﺘﺎﻥ‪،‬‬ ‫ﺍﻳﻦ ﻣﺴﺌﻠﻪ ﺗﻐﻴﻴﺮ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺍﻭﺭﻳﻮ ﺍﻳﺸﻴﺪﺍ ]‪[16‬‬ ‫»ﻣﻦ ﺑﻪ ﺍﻳﻦ ﺩﻟﻴﻞ ﺗﻮ ﺭﺍ ﻧﻜﺸﺘﻢ ﻛﻪ ﭘﻴﻐﺎﻣﻰ ﺑﺮﺍﻯ ﺭﺋﻴﺴﺖ ﺑﺒﺮﻯ‪ .‬ﺑﻪ ﺍﻭ ﺑﮕﻮ ﻛﻮﻳﻨﭽﻰ ]‪ [17‬ﺍﻳﻦﺟﺎﺳﺖ‪ ،‬ﻭ‬ ‫ﻭﺍﻗﻌﻴﺖ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺟﺎﻯ ﺗﺮﺳﻴﺪﻥ ﺍﺯ ﺧﺪﺍﻳﺎﻥ ﻣﺮگ‪ ،‬ﺑﺎﻳﺪ ﺍﺯ ﻛﻮﻳﻨﭽﻰﻫﺎ ﺑﺘﺮﺳﺪ‪«.‬‬

‫ﺍﻭﺭﻳﻮ ﺍﻳﺸﻴﺪﺍ ﻣﺎﻧﻨﺪ ﺍﻳﭽﻴﮕﻮ ﭘﺴﺮﻯ ‪ 15‬ﺳﺎﻟﻪ ﺍﺳﺖ ﻭ ﺑﺎ ﺍﻭ ﻫﻢﻣﺪﺭﺳﻪﺍﻯ ﺍﺳﺖ‪ .‬ﻧﺴﺒﺘﺎً ﺑﻠﻨﺪﻗﺪ ﻭ ﺑﺎ‬ ‫ﻣﻮﻫﺎﻯ ﻣﺸﻜﻰ‪ .‬ﻋﻴﻨﻜﻰ ﻫﻢ ﺑﺮ ﭼﺸﻢ ﺩﺍﺭﺩ‪ .‬ﺍﻭ ﺟﻮﺍﻧﻰ ﺑﺎﻫﻮﺵ‪ ،‬ﻛﻢﺣﺮﻑ ﻭ ﻣﻨﺰﻭﻯ ﺍﺳﺖ ﻛﻪ ﺩﺭ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﺁﺧﺮﻳﻦ ﻛﻮﺋﻴﻨﭽﻰ ﻣﻌﺮﻓﻰ ﻣﻰﺷﻮﺩ‪ .‬ﻛﻮﺋﻴﻨﭽﻰﻫﺎ ﺍﻧﺴﺎﻥﻫﺎﻳﻰ ﺑﺎ ﺗﻮﺍﻧﺎﻳﻰ ﺧﺎﺹ‬ ‫ﻫﺴﺘﻨﺪ ﻛﻪ ﻣﺎﻧﻨﺪ ﺧﺪﺍﻳﺎﻥ ﻣﺮگ ﺑﺎ ﻫﺎﻟﻮﻫﺎ ﻣﺒﺎﺭﺯﻩ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺳﻼﺡ ﺍﻭ ﺑﺮﺧﻼﻑ ﺧﺪﺍﻳﺎﻥ ﻣﺮگ ﻛﻪ ﺍﺯ‬ ‫ﺷﻤﺸﻴﺮ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺗﻴﺮ ﻭ ﻛﻤﺎﻥ ﺍﺳﺖ‪ .‬ﻛﻤﺎﻧﻰ ﻛﻪ ﺗﻴﺮﻫﺎﻳﺶ ﺍﻧﺮژﻯ ﺧﺎﺻﻰ ﺩﺍﺭﻧﺪ‪ .‬ﻛﻮﻳﻨﭽﻰﻫﺎ‬ ‫ﺑﻪ ﺩﻟﻴﻞ ﺗﺎﺭﻳﺦ ﺗﻠﺦ ﻭ ﺩﺭﺩﻧﺎﻛﻰ ﻛﻪ ﺩﺍﺷﺘﻨﺪ‪ ،‬ﺍﺯ ﺧﺪﺍﻳﺎﻥ ﻣﺮگ ﻣﺘﻨﻔﺮ ﻫﺴﺘﻨﺪ ﻭ ﺍﻳﺸﻴﺪﺍ ﻛﻪ ﺁﺧﺮﻳﻦ‬ ‫ﺑﺎﺯﻣﺎﻧﺪﻩﻯ ﺁﻧﺎﻥ ﺍﺳﺖ‪ ،‬ﺯﻣﺎﻧﻰ ﻛﻪ ﻣﺘﻮﺟﻪ ﻗﺪﺭﺕ ﺟﺪﻳﺪ ﺍﻳﭽﻴﮕﻮ ﻣﻰﺷﻮﺩ‪ ،‬ﻫﻤﻴﻦ ﻛﻴﻨﻪ ﺭﺍ ﺩﺭ ﺩﻝ ﺩﺍﺭﺩ‪.‬‬ ‫ﺍﻳﺸﻴﺪﺍ ﻳﻚ ﺍﻧﺴﺎﻥ ﺗﻴﺰﺑﻴﻦ ﺍﺳﺖ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺪ ﺑﻪ ﺳﺮﻋﺖ ﺷﺮﺍﻳﻂ ﺍﻃﺮﺍﻑ ﺭﺍ ﺗﺤﻠﻴﻞ ﻛﻨﺪ ﻭ ﻣﻄﺎﺑﻖ ﺑﺎ‬ ‫ﺁﻥ ﺑﻪ ﺧﻮﺑﻰ ﺗﺼﻤﻴﻢ ﺑﮕﻴﺮﺩ‪ .‬ﺍﻭ ﺍﺳﺘﺮﺍﺗﮋﻳﺴﺖ ﻧﺴﺒﺘﺎً ﺧﻮﺑﻰ ﺍﺳﺖ ﻭ ﺑﺮ ﺗﻮﺍﻧﺎﻳﻰﻫﺎﻳﺶ ﺗﺴﻠﻂ ﺑﺴﻴﺎﺭ‬ ‫ﻣﻨﺎﺳﺒﻰ ﺩﺍﺭﺩ‪ .‬ﺩﻗﺘﺶ ﺑﺎﻻﺳﺖ ﻭ ﺟﻨﮕﺠﻮﻳﻰ ﻣﻐﺮﻭﺭ ﻭ ﺗﻮﺍﻧﺎﺳﺖ‪ .‬ﻫﻤﭽﻨﻴﻦ ﻋﻀﻮ ﻛﻠﻮپ ﻛﺎﺭﺩﺳﺘﻰ ﺑﻮﺩﻩ‬ ‫ﻭ ﺩﺭ ﺩﻭﺧﺖ ﻭ ﺩﻭﺯ ﺍﺳﺘﻌﺪﺍﺩ ﻭﻳﮋﻩﺍﻯ ﺩﺍﺭﺩ‪ .‬ﺳﻠﻴﻘﻪﻯ ﺧﺎﺻﺶ ﺩﺭ ﻃﺮﺍﺣﻰ ﻟﺒﺎﺱ ﻳﻜﻰ ﺍﺯ ﻣﻮﺿﻮﻋﺎﺕ‬ ‫ﻃﻨﺰ ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﺷﻤﺎﺭ ﻣﻰﺁﻳﺪ‪.‬‬ ‫ﺍﻳﭽﻴﮕﻮ ﺑﺎ ﺻﺪﺍﻗﺖ ﺫﺍﺗﻰﺍﺵ ﻣﻰﺗﻮﺍﻧﺪ ﺍﻳﺸﻴﺪﺍ ﺭﺍ ﺍﺯ ﻳﻚ ﺩﺷﻤﻦ ﺑﻪ ﻳﻚ ﻣﺘﺤﺪ ﻗﺎﺑﻞ ﺍﻋﺘﻤﺎﺩ ﺗﺒﺪﻳﻞ ﻛﻨﺪ‬ ‫ﻭ ﮔﺮﭼﻪ ﺍﻳﺸﻴﺪﺍ ﺑﻪ ﺩﻟﻴﻞ ﻏﺮﻭﺭ ﻭ ﺗﻌﺼﺒﺶ ﻫﺮﮔﺰ ﺳﺨﻨﻰ ﺍﺯ ﺩﻭﺳﺘﻰ ﺑﺮ ﺯﺑﺎﻥ ﻧﻤﻰﺁﻭﺭﺩ‪ ،‬ﺍﻣﺎ ﺍﻳﭽﻴﮕﻮ ﻭ‬ ‫ﺩﻳﮕﺮﺍﻥ ﻣﻰﺩﺍﻧﻨﺪ ﻫﺮﮔﺎﻩ ﻣﺸﻜﻠﻰ ﺑﻮﺟﻮﺩ ﺑﻴﺎﻳﺪ‪ ،‬ﻣﻰﺗﻮﺍﻧﻨﺪ ﺭﻭﻯ ﻛﻤﻚ ﺍﻳﺸﻴﺪﺍ ﺣﺴﺎﺏ ﻛﻨﻨﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺑﺮﺧﻼﻑ ﺩﻳﮕﺮ ﺟﻨﮕﺠﻮﻳﺎﻥ ﻛﻪ ﺑﺎ ﺭﻧﺞ ﺳﺎﻝﻫﺎ ﺗﻤﺮﻳﻦ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺑﻪ ﺑﺎﻻﺗﺮﻳﻦ ﺣﺪ ﻗﺪﺭﺕ ﻳﻚ ﺧﺪﺍﻯ‬ ‫ﻣﺮگ‪ ،‬ﻳﻌﻨﻰ ﺑﺎﻧﻜﺎﻯ ﺑﺮﺳﻨﺪ‪ ،‬ﺩﺭ ﺳﻪ ﺭﻭﺯ ﺍﻳﻦ ﻗﺪﺭﺕ ﺭﺍ ﻛﺴﺐ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺗﻴﺰﻫﻮﺷﻰ ﻭ ﻗﺪﺭﺕ ﺭﻭﺣﻰ ﺑﺎﻻ ﺑﻪ ﻫﻤﺮﺍﻩ ﺍﺭﺍﺩﻩﻯ ﻋﻤﻮﻣﺎً ﺗﺰﻟﺰﻝ ﻧﺎﭘﺬﻳﺮﺵ ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ ﻫﻤﻪ ﺑﻪ ﺍﻭ‬ ‫ﺍﻳﻤﺎﻥ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ .‬ﮔﺮﭼﻪ ﺍﻭ ﻧﻴﺰ ﺿﻌﻒﻫﺎﻳﻰ ﺩﺍﺭﺩ‪ .‬ﭼﻴﺰﻯ ﺍﺯ ﺍﺳﺘﺮﺍﺗﮋﻯ ﻧﻤﻰﻓﻬﻤﺪ ﻭ ﻫﻤﻴﺸﻪ ﭘﻴﺶ‬ ‫ﺍﺯ ﻓﻜﺮ ﻛﺮﺩﻥ ﻋﻤﻞ ﻣﻰﻛﻨﺪ ﻭ ﺑﺮﺍﻯ ﻣﺤﺎﻓﻈﺖ ﺍﺯ ﺩﻳﮕﺮﺍﻥ‪ ،‬ﺟﺎﻧﺶ ﺭﺍ ﺩﺍﺋﻤﺎً ﺑﻪ ﺧﻄﺮ ﻣﻰﺍﻧﺪﺍﺯﺩ ﻭ ﭘﺮ‬ ‫ﻭﺍﺿﺢ ﺍﺳﺖ ﻛﻪ ﺍﻳﭽﻴﮕﻮ ﻳﻜﻰ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎﻯ ﻣﺤﺒﻮﺏ ﻣﻦ ﺍﺳﺖ‪.‬‬ ‫ﺭﻭﻛﻴﺎ ﻛﻮﭼﻴﻜﻰ‬ ‫»ﺩﺭ ﺟﻨﮓ‪ ،‬ﻛﺴﺎﻧﻰ ﻛﻪ ﺩﺳﺖ ﻭ ﭘﺎ ﮔﻴﺮﻧﺪ‪ ،‬ﺁﺩﻡﻫﺎﻳﻰ ﻧﻴﺴﺘﻨﺪ ﻛﻪ ﻗﺪﺭﺕ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﻛﺴﺎﻧﻰﺍﻧﺪ ﻛﻪ ﺍﺭﺍﺩﻩ ﻭ‬ ‫ﺍﻧﮕﻴﺰﻩﻯ ﻛﺎﻓﻰ ﻧﺪﺍﺭﻧﺪ‪«.‬‬

‫ﺍﻭﻟﻴﻦ ﺧﺪﺍﻯ ﻣﺮﮔﻰ ﻛﻪ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﻣﻌﺮﻓﻰ ﻣﻰﺷﻮﺩ‪ ،‬ﺩﺧﺘﺮﻯ ﻛﻮﺗﺎﻩﻗﺪ ﺑﺎ ﻣﻮﻫﺎﻯ ﻣﺸﻜﻰ ﻭ ﭼﺸﻤﺎﻥ‬ ‫ﺑﻨﻔﺶ‪-‬ﺁﺑﻰ‪ ،‬ﻛﻪ ﻳﻚ ﻛﻴﻤﻮﻧﻮﻯ ﻣﺸﻜﻰ ﺳﺎﺩﻩ ﺑﺮ ﺗﻦ ﺩﺍﺭﺩ ﻭ ﺷﻤﺸﻴﺮﻯ ﺑﻪ ﻛﻤﺮ ﺣﻤﺎﻳﻞ ﻛﺮﺩﻩ‪ .‬ﺍﻳﻦ‬ ‫ﺷﺨﺼﻴﺖ‪ ،‬ﺭﻭﻛﻴﺎ ﻛﻮﭼﻴﻜﻰ‪ ،‬ﻳﻜﻰ ﺍﺯ ﻗﻮﻯﺗﺮﻳﻦ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ ﻭ ﺍﺯ ﻗﻬﺮﻣﺎﻧﺎﻥ ﺁﻥ ﺑﻪ ﺷﻤﺎﺭ‬ ‫ﻣﻰﺁﻳﺪ‪.‬‬ ‫ﺭﻭﻛﻴﺎ ﻛﻮﭼﻴﻜﻰ ﺧﺪﺍﻯ ﻣﺮﮔﻰ ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﻯ ﻣﺤﺎﻓﻈﺖ ﺍﺯ ﺷﻬﺮ ﻛﺎﺭﺍﻛﻮﺭﺍ ‪-‬ﺯﺍﺩﮔﺎﻩ ﺍﻳﭽﻴﮕﻮ‪ -‬ﺍﻧﺘﺨﺎﺏ‬ ‫ﺷﺪﻩ ﻭ ﻛﺴﻰ ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﻯ ﻧﺨﺴﺘﻴﻦ ﺑﺎﺭ ﺑﻪ ﺍﻳﭽﻴﮕﻮ ﻗﺪﺭﺕ ﻳﻚ ﺧﺪﺍﻯ ﻣﺮگ ﺭﺍ ﻣﻰﺩﻫﺪ‪ .‬ﺍﻭ ﺩﺧﺘﺮﻯ‬ ‫ﺟﺪﻯ ﻭ ﻣﻐﺮﻭﺭ ﻭ ﻳﻚ ﺟﻨﮕﺠﻮﻯ ﺗﻤﺎﻡﻋﻴﺎﺭ ﺍﺳﺖ‪ .‬ﮔﺮﭼﻪ ﻳﻜﻰ ﺍﺯ ﺁﺭﻙﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﻧﺠﺎﺕ ﺍﻭ‬ ‫ﺍﺧﺘﺼﺎﺹ ﻳﺎﻓﺘﻪ‪ ،‬ﺍﺯ ﺁﻥ ﻧﻮﻉ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺩﺧﺘﺮﻯ ﻛﻪ ﻫﻤﻴﺸﻪ ﺑﺎﻳﺪ ﻧﺠﺎﺗﺸﺎﻥ ﺩﺍﺩ ﻧﻴﺴﺖ‪ .‬ﺍﻭ ﺑﻪ ﺧﻮﺑﻰ‬ ‫ﻣﺒﺎﺭﺯﻩ ﻣﻰﻛﻨﺪ ﻭ ﺩﺭ ﺑﻪ ﻛﺎﺭﺑﺮﺩﻥ ﻛﻴﺪﻭ ﻭ ﺷﻤﺸﻴﺮ ﻣﻬﺎﺭﺕ ﺑﺴﻴﺎﺭ ﺩﺍﺭﺩ‪.‬‬ ‫ﺷﻤﺸﻴﺮ ﺍﻭ ﭘﺲ ﺍﺯ ﺍﺭﺗﻘﺎ ﺑﻪ ﺳﻄﺢ ﺷﻴﻜﺎﻯ‪ ،‬ﺗﻐﻴﻴﺮ ﺷﻜﻞ ﺩﺍﺩﻩ ﻭ ﺑﻪ ﻳﻜﻰ ﺍﺯ ﺯﻳﺒﺎﺗﺮﻳﻦ ﺯﺍﻧﭙﺎﻛﺘﻮﻫﺎﻯ‬ ‫ﺟﺎﻣﻌﻪﻯ ﺍﺭﻭﺍﺡ ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﺩ‪ .‬ﺯﺍﻧﭙﺎﻛﺘﻮﻳﻰ ﺑﺎ ﻗﺪﺭﺕ ﻛﻨﺘﺮﻝ ﻳﺦ‪.‬‬ ‫ﺭﻭﻛﻴﺎ ﺩﺧﺘﺮﻯ ﺗﻮﺍﻧﺎﺳﺖ ﻛﻪ ﺧﺎﻧﻮﺍﺩﻩﻯ ﻛﻮﭼﻴﻜﻰ‪ ،‬ﻳﻜﻰ ﺍﺯ ﭼﻬﺎﺭ ﺧﺎﻧﻮﺍﺩﻩﻯ ﺑﺰﺭگ ﻭ ﻧﺠﻴﺐﺯﺍﺩﻩ ﺩﺭ‬ ‫ﺟﺎﻣﻌﻪﻯ ﺍﺭﻭﺍﺡ‪ ،‬ﺍﻭ ﺭﺍ ﺑﻪ ﻋﻀﻮﻳﺖ ﻣﻰﭘﺬﻳﺮﺩ ﻭ ﭘﺲ ﺍﺯ ﺁﻥ ﺭﻭﻛﻴﺎ ﺧﻮﺍﻫﺮ ﺧﻮﺍﻧﺪﻩﻯ ﺑﻴﺎﻛﻮﻳﺎ ﻛﻮﭼﻴﻜﻰ‪،‬‬ ‫ﺭﺋﻴﺲ ﺍﻳﻦ ﺧﺎﻧﺪﺍﻥ ﻭ ﻓﺮﻣﺎﻧﺪﻩﻯ ﺟﻮﺧﻪﻯ ﺷﺸﻢ ﻣﻰﺷﻮﺩ‪ .‬ﺩﻟﻴﻞ ﺍﻳﻦ ﻛﺎﺭ ﺑﺎ ﭘﻴﺸﺮﻓﺖ ﺩﺍﺳﺘﺎﻥ ﻣﺸﺨﺺ‬ ‫ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺑﺎ ﭘﻴﺸﺮﻓﺖ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﺭﻭﻛﻴﺎ ﺑﻪ ﻳﻜﻰ ﺍﺯ ﺑﻬﺘﺮﻳﻦ ﺩﻭﺳﺘﺎﻥ ﺍﻳﭽﻴﮕﻮ ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﺩ‪ .‬ﻛﺴﻰ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺪ‬ ‫ﺑﻪ ﺭﺍﺣﺘﻰ ﺗﺮﺩﻳﺪﻫﺎﻯ ﺩﺭﻭﻧﻰ ﺍﻭ ﺭﺍ ﺑﻔﻬﻤﺪ ﻭ ﺯﻣﺎﻧﻰ ﻛﻪ ﻫﻴﭻﻛﺲ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺁﺭﺍﻣﺶ ﻛﻨﺪ‪ ،‬ﺑﻪ ﺳﺎﺩﮔﻰ‬ ‫ﺍﻣﻴﺪ ﺍﻭ ﺭﺍ ﺑﺎﺯﮔﺮﺩﺍﻧﺪ‪ .‬ﻭ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻋﻤﻮﻣﺎً ﺑﺎ ﻛﺘﻚ ﺯﺩﻥ ﺍﻳﭽﻴﮕﻮ ﻭ ﮔﻔﺘﻦ ﺳﺨﻨﺎﻧﻰ ﻛﻮﺗﺎﻩ‪ ،‬ﺧﺸﻦ ﻭ‬ ‫‪75‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺩﺧﺘﺮﻯ ﺭﺍ ﻛﻨﺎﺭ ﺭﻭﺩﺧﺎﻧﻪ ﻣﻰﺑﻴﻨﺪ ﻛﻪ ﺩﺭ ﻧﻈﺮ ﺍﻭ ﻗﺼﺪ ﺧﻮﺩﻛﺸﻰ ﺩﺍﺭﺩ‪ .‬ﭘﺲ ﺍﻳﭽﻴﮕﻮ ﺑﻰﺗﻮﺟﻪ ﺑﻪ‬ ‫ﺣﺮﻑ ﻣﺎﺩﺭﺵ‪ ،‬ﻣﻰﺭﻭﺩ ﺗﺎ ﺩﺧﺘﺮ ﺭﺍ ﻣﻨﺼﺮﻑ ﻛﻨﺪ‪ ،‬ﻏﺎﻓﻞ ﺍﺯ ﺁﻥ ﻛﻪ ﺩﺧﺘﺮ ﺗﻠﻪﺍﻯ ﺍﺳﺖ ﺍﺯ ﺳﻮﻯ ﻳﻚ‬ ‫ﻫﺎﻟﻮ‪ .‬ﻧﺎﺗﻮﺍﻥ ﺍﺯ ﮔﺮﻓﺘﻦ ﺩﺧﺘﺮ‪ ،‬ﺍﻳﭽﻴﮕﻮ ﺑﻰﻫﻮﺵ ﺑﺮ ﺯﻣﻴﻦ ﻣﻰﺍﻓﺘﺪ ﻭ ﺯﻣﺎﻧﻰ ﻛﻪ ﺑﻪ ﻫﻮﺵ ﻣﻰﺁﻳﺪ‪،‬‬ ‫ﺟﻨﺎﺯﻩﻯ ﻣﺎﺩﺭﺵ ﺭﺍ ﻣﻰﺑﻴﻨﺪ ﻛﻪ ﺭﻭﻯ ﺍﻭ ﺍﻓﺘﺎﺩﻩ ﻭ ﻏﺮﻕ ﺧﻮﻥ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺣﺎﺩﺛﻪ ﻧﻘﻄﻪﻯ ﻋﻄﻒ ﺯﻧﺪﮔﻰ‬ ‫ﺍﻳﭽﻴﮕﻮﺳﺖ ﻭ ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ‪ ،‬ﻣﻴﻞ ﺑﻪ ﺣﻔﺎﻇﺖ ﺍﺯ ﺩﻳﮕﺮﺍﻥ ﻭ ﺗﻮﺟﻪ ﺑﻪ ﺁﻥﻫﺎ ﺩﺭ ﻭﺟﻮﺩﺵ ﺭﺷﺪ ﻛﻨﺪ ﻭ‬ ‫ﺑﻪ ﻣﻬﻢﺗﺮﻳﻦ ﻭﻳﮋﮔﻰ ﺷﺨﺼﻴﺘﻰﺍﺵ ﺗﺒﺪﻳﻞ ﺷﻮﺩ‪.‬‬ ‫ﭘﺲ ﺍﺯ ﺁﻥ ﻛﻪ ﻗﺪﺭﺕ ﺭﻭﻛﻴﺎ ﺑﻪ ﺍﻳﭽﻴﮕﻮ ﻣﻨﺘﻘﻞ ﻣﻰﺷﻮﺩ‪ ،‬ﺍﻳﭽﻴﮕﻮ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺩﺭ ﺯﻧﺪﮔﻴﺶ ﺍﺣﺴﺎﺱ‬ ‫ﻣﻰﻛﻨﺪ ﻛﻪ ﺑﺎﻻﺧﺮﻩ ﻗﺪﺭﺕ ﻻﺯﻡ ﺑﺮﺍﻯ ﻣﺤﺎﻓﻈﺖ ﺍﺯ ﺩﻳﮕﺮﺍﻥ ﺭﺍ ﺑﺪﺳﺖ ﺁﻭﺭﺩﻩ ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ ﺧﻮﺩ‬ ‫ﺭﺍ ﻭﺍﻡﺩﺍﺭ ﺭﻭﻛﻴﺎ ﻣﻰﺩﺍﻧﺪ ﻭ ﺑﻪ ﺳﺒﺐ ﻫﻤﻴﻦ ﺩﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﻯ ﻧﺠﺎﺕ ﺍﻭ‪ ،‬ﺑﻪ ﺟﺎﻣﻌﻪﻯ ﺍﺭﻭﺍﺡ ﻣﻰﺭﻭﺩ‬ ‫ﻭ ﻧﻈﻢ ﺣﺎﻛﻢ ﺑﺮ ﺁﻥ ﻭ ﻓﺮﻣﺎﻧﺪﻫﺎﻧﺶ ﺭﺍ ﺑﻪ ﭼﺎﻟﺶ ﻣﻰﻛﺸﺪ‪.‬‬ ‫ﺍﻳﭽﻴﮕﻮ ﻛﻪ ﻗﺪﺭﺗﺶ )ﺗﻮﺍﻧﻰ ﻛﻪ ﺑﺎ ﺷﻤﺸﻴﺮ ﺭﻭﻛﻴﺎ ﺑﻪ ﺍﻭ ﻣﻨﺘﻘﻞ ﺷﺪﻩ( ﺭﺍ ﺑﺎ ﺿﺮﺑﻪﻯ ﺷﻤﺸﻴﺮ ﺑﻴﺎﻛﻮﻳﺎ‬ ‫ﻛﻮﭼﻴﻜﻰ ]‪ [12‬ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩ‪ ،‬ﺑﺎ ﻛﻤﻚ ﻛﻴﺴﻮﻛﻪ ﺍﻭﺭﺍﻫﺎﺭﺍ ]‪ [13‬ﺑﺎ ﮔﺬﺭﺍﻧﺪﻥ ﻣﺮﺍﺣﻠﻰ ﺳﺨﺖ ﻭ‬ ‫ﺧﻄﺮﻧﺎﻙ‪ ،‬ﻣﻮﻓﻖ ﻣﻰﺷﻮﺩ ﻗﺪﺭﺕ ﺧﺎﺹ ﺧﺪﺍﻯ ﻣﺮﮔﻰ ﺧﻮﺩ ﺭﺍ ﺑﻴﺪﺍﺭ ﻛﻨﺪ‪ .‬ﺍﻣﺎ ﻫﻤﻪﭼﻴﺰ ﺑﻰﻣﺸﻜﻞ‬ ‫ﭘﻴﺶ ﻧﻤﻰﺭﻭﺩ‪ .‬ﺩﺭ ﻃﻰ ﮔﺬﺭﺍﻧﺪﻥ ﺍﻳﻦ ﻣﺮﺍﺣﻞ‪ ،‬ﺑﺨﺸﻰ ﺍﺯ ﺭﻭﺡ ﺍﻳﭽﻴﮕﻮ ﺷﻜﻞ ﻫﺎﻟﻮ ﺑﻪ ﺧﻮﺩ ﻣﻰﮔﻴﺮﺩ ﻭ‬ ‫ﺩﺭ ﺯﻣﺎﻥﻫﺎﻳﻰ ﻛﻪ ﺍﻳﭽﻴﮕﻮ ﻗﺪﺭﺕ ﻻﺯﻡ ﺭﺍ ﻧﺪﺍﺭﺩ‪ ،‬ﺑﺮ ﺟﺴﻢ ﻭ ﺟﺎﻧﺶ ﻣﺴﺘﻮﻟﻰ ﺷﺪﻩ ﻭ ﺩﻳﻮﺍﻧﻪ ﻭﺍﺭ‪ ،‬ﺩﺳﺖ‬ ‫ﺑﻪ ﻛﺸﺘﺎﺭ ﻭ ﻣﺒﺎﺭﺯﻩ ﻣﻰﺯﻧﺪ‪.‬‬ ‫ﻫﻤﻴﻦ ﺑﻴﺪﺍﺭ ﺷﺪﻥ ﻫﺎﻟﻮﻯ ﺩﺭﻭﻥ ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ ﺍﻳﭽﻴﮕﻮ ﻫﻤﻴﺸﻪ ﺩﺭ ﺩﻭ ﻣﻴﺪﺍﻥ ﻣﺒﺎﺭﺯﻩ ﻛﻨﺪ‪-1 :‬ﺩﺭ‬ ‫ﺩﻧﻴﺎﻯ ﺑﻴﺮﻭﻥ ﻭ ﺑﺮﺍﻯ ﺩﻓﺎﻉ ﻭ ﻣﺤﺎﻓﻈﺖ ﺍﺯ ﻋﺰﻳﺰﺍﻧﺶ ‪ -2‬ﺩﺭ ﺩﻧﻴﺎﻯ ﺩﺭﻭﻥ ﺑﺮﺍﻯ ﺣﻔﻆ ﻗﺪﺭﺕ ﺗﻔﻜﺮ ﻭ‬ ‫ﺍﺭﺍﺩﻩﺍﺵ‪.‬‬ ‫ﺟﻨﮓﻫﺎﻯ ﺩﺭﻭﻧﻰ ﺍﻳﭽﻴﮕﻮ ﺟﻨﮓﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﻫﺮ ﺍﻧﺴﺎﻧﻰ ﺁﻥﻫﺎ ﺭﺍ ﺗﺠﺮﺑﻪ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻧﺒﺮﺩﻯ ﻛﻪ‬ ‫ﭘﺎﻳﺎﻧﻰ ﻧﺪﺍﺭﺩ‪ ،‬ﺩﺷﻤﻨﻰ ﻛﻪ ﺑﺎ ﺩﻳﺪﻥ ﻛﻮﭼﻚﺗﺮﻳﻦ ﻧﻘﻄﻪﺿﻌﻔﻰ ﺣﻤﻠﻪ ﻣﻰﻛﻨﺪ‪ .‬ﻧﺒﺮﺩ ﺑﺮﺍﻯ ﻣﺎﻟﻜﻴﺖ ﻭ‬ ‫ﻓﺮﻣﺎﻧﺮﻭﺍﻳﻰ ﺳﺮﺯﻣﻴﻨﻰ ﺑﻪ ﻧﺎﻡ ﺑﺪﻥ‪.‬‬ ‫ﺍﻳﭽﻴﮕﻮ ﺑﺎ ﭘﻴﺸﺮﻓﺖ ﺩﺍﺳﺘﺎﻥ ﻗﻮﻯﺗﺮ ﻭ ﻗﻮﻯﺗﺮ ﺷﺪﻩ ﻭ ﻫﻤﭽﻨﻴﻦ ﺷﻨﺎﺧﺘﺶ ﺍﺯ ﺧﻮﺩ ﻭ ﺩﻳﮕﺮﺍﻥ ﺑﻬﺘﺮ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﺍﻳﭽﻴﮕﻮ ﻗﻬﺮﻣﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﺩﻳﺪﻩﻯ ﺗﺮﺩﻳﺪ ﺑﻪ ﺧﻮﺩﺵ ﻧﮕﺎﻩ ﻣﻰﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﺩﺭ ﺍﻧﺠﺎﻡ ﺁﻥ ﭼﻪ‬ ‫ﺑﺎﻳﺪ ﺍﻧﺠﺎﻡ ﺷﻮﺩ ﻛﻮﭼﻚﺗﺮﻳﻦ ﺗﺮﺩﻳﺪﻯ ﻧﻤﻰﻛﻨﺪ ﻭ ﺣﺎﺿﺮ ﺍﺳﺖ ﺑﻬﺎﻯ ﺁﻥ ﺭﺍ‪ ،‬ﻫﺮ ﭼﻪ ﻛﻪ ﺑﺎﺷﺪ‪ ،‬ﺑﭙﺮﺩﺍﺯﺩ‪.‬‬ ‫ﺍﻭ ﻳﻚ ﺟﻨﮕﺠﻮﻯ ﺑﺎﻟﻔﻄﺮﻩ ﺍﺳﺖ ﻭ ﻋﻤﻮﻣﺎً ﺭﺍﻩ ﺻﺪﺳﺎﻟﻪ ﺭﺍ ﻳﻚﺷﺒﻪ ﻃﻰ ﻣﻰﻛﻨﺪ‪ .‬ﺷﻤﺸﻴﺮ ﺍﻭ ﺧﻮﺩ‬ ‫ﺑﻪ ﺧﻮﺩ ﻭ ﺑﻪ ﺩﻟﻴﻞ ﻗﺪﺭﺕ ﺭﻭﺣﻰ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩﺵ ﻫﻤﻴﺸﻪ ﺩﺭ ﻣﺮﺣﻠﻪﻯ ﺷﻴﻜﺎﻯ ]‪ [14‬ﺍﺳﺖ‪ .‬ﺍﻭ ﻳﺎﺩ‬ ‫ﻣﻰﮔﻴﺮﺩ ﺑﻪ ﺧﻮﺑﻰ ﺑﺎ ﺯﺍﻧﭙﺎﻛﺘﻮﻳﺶ ]‪) [15‬ﺷﻤﺸﻴﺮ ﺧﺎﺹ ﺧﺪﺍﻳﺎﻥ ﻣﺮگ( ﺍﺭﺗﺒﺎﻁ ﺑﺮﻗﺮﺍﺭ ﻛﻨﺪ ﻭ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﺑﺎ ﻳﻚ ﺷﺨﺼﻴﺖ ﺻﺪ ﺩﺭ ﺻﺪ ﺳﻴﺎﻩ ﺭﻭﺑﺮﻭ ﻧﻴﺴﺘﻴﺪ‪ .‬ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﻗﻬﺮﻣﺎﻧﺎﻥ ﺩﺍﺳﺘﺎﻥ ﻫﻢ ﺑﺪﻭﻥ ﺍﻳﺮﺍﺩ‬ ‫ﻧﻴﺴﺘﻨﺪ‪ .‬ﺷﻤﺎ ﻧﻤﻰﺗﻮﺍﻧﻴﺪ ﺍﺯ ﺿﺪﻗﻬﺮﻣﺎﻧﺎﻥ ﻣﺘﻨﻔﺮ ﺑﺎﺷﻴﺪ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﻧﻪ ﺗﻨﻬﺎ ﻧﻤﻰﺗﻮﺍﻧﻴﺪ ﻣﺘﻨﻔﺮ ﺑﺎﺷﻴﺪ‬ ‫ﺑﻠﻜﻪ‪ ،‬ﺷﺨﺼﻴﺖ ﺁﻥﻫﺎ ﺑﻪ ﮔﻮﻧﻪﺍﻯ ﺗﻌﺮﻳﻒ ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﻳﺸﺎﻥ ﺍﺣﺘﺮﺍﻡ ﺯﻳﺎﺩﻯ ﻧﻴﺰ ﻗﺎﺋﻞ ﻣﻰﺷﻮﻳﺪ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﭘﻴﺸﺮﻓﺖ ﺩﺍﺳﺘﺎﻥ ﻧﻘﺶ ﻣﻬﻤﻰ ﺩﺭ ﺍﻳﻦ ﺷﻨﺎﺧﺖ ﺩﺍﺭﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﺭﺍﻭﻯ ﺷﻤﺎ ﺭﺍ ﺁﻥ ﻗﺪﺭ ﺩﺭﮔﻴﺮ‬ ‫ﺿﺪﻗﻬﺮﻣﺎﻧﺎﻥ ﻧﻤﻰﻛﻨﺪ ﻛﻪ ﻧﺨﻮﺍﻫﻴﺪ ﺷﻜﺴﺖ ﺑﺨﻮﺭﻧﺪ‪.‬‬ ‫ﺿﺪﻗﻬﺮﻣﺎﻧﺎﻥ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﺟﻨﮕﺠﻮﻳﺎﻧﻰ ﻣﻐﺮﻭﺭ ﻭ ﻗﺪﺭﺗﻤﻨﺪﻧﺪ ﻛﻪ ﺑﻪ ﺩﻻﻳﻞ ﺧﺎﺹ ﺧﻮﺩ ﭘﺎ ﺑﻪ ﻣﻴﺪﺍﻥ‬ ‫ﻧﺒﺮﺩ ﻣﻰﮔﺬﺍﺭﻧﺪ ﻭ ﺧﻮﺩﺧﻮﺍﺳﺘﻪ ﻣﻰﺟﻨﮕﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺗﺄﻛﻴﺪ ﺯﻳﺎﺩﻯ ﺑﺮ ﺍﺭﺍﺩﻩﻯ ﻓﺮﺩﻯ ﻭ‬ ‫ﺗﺼﻤﻴﻤﺎﺕ ﺁﻥﻫﺎ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺑﺮﺧﻼﻑ ﻧﺎﺭﻭﺗﻮ ]‪ [11‬ﻛﻪ ﺗﻘﺪﻳﺮ ﻭ ﺳﺮﻧﻮﺷﺖ ﻧﻘﺶ ﻣﻬﻤﻰ ﺩﺭ ﺯﻧﺪﮔﻰ‬ ‫ﺩﺍﺭﺩ‪ ،‬ﺷﺨﺼﻴﺖﻫﺎﻯ ﺑﻠﻴﭻ ﺩﺳﺖﺑﺴﺘﻪ ﻧﻴﺴﺘﻨﺪ ﻭ ﺣﺘﺎ ﺯﻣﺎﻧﻰ ﻛﻪ ﺗﻘﺪﻳﺮ‪ ،‬ﺳﺮﻧﻮﺷﺘﻰ ﺍﺟﺘﻨﺎﺏﻧﺎﭘﺬﻳﺮ‬ ‫ﺑﺮﺍﻳﺸﺎﻥ ﺭﻗﻢ ﻣﻰﺯﻧﺪ‪ ،‬ﺑﺎ ﺳﺮﻯ ﺍﻓﺮﺍﺷﺘﻪ ﺑﺎ ﺁﻥ ﺭﻭﺑﺮﻭ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﺗﺎﻳﺘﻮ ﻛﻮﺑﻪ ﺑﻪ ﺧﻮﺑﻰ ﺷﺨﺼﻴﺖﻫﺎ ﺭﺍ ﺑﺎ ﻧﺦ ﺣﻮﺍﺩﺙ ﺑﻪ ﻫﻢ ﻣﺘﺼﻞ ﻣﻰﻛﻨﺪ‪ .‬ﺑﻪ ﺟﺎ ﺍﺯ ﻓﻠﺶﺑﻚ ﺍﺳﺘﻔﺎﺩﻩ‬ ‫ﻣﻰﻛﻨﺪ ﻭ ﺧﺎﻃﺮﺍﺗﻰ ﺭﺍ ﺑﻴﺎﻥ ﻣﻰﻛﻨﺪ ﻛﻪ ﺩﺭﻯ ﺟﺪﻳﺪ ﺭﻭﻯ ﺷﻨﺎﺧﺖ ﺷﺨﺼﻴﺖ ﺑﺮ ﻣﺨﺎﻃﺐ ﻣﻰﮔﺸﺎﻳﺪ‪.‬‬ ‫ﻫﻤﭽﻨﻴﻦ ﺗﺨﺼﺺ ﺍﻭ ﺩﺭ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺷﺨﺼﻴﺖﻫﺎﻳﺶ ﺭﺍ ﺑﻪ ﺳﺨﺮﻩ ﺑﮕﻴﺮﺩ‪ .‬ﺍﻳﻦ ﻣﻮﺭﺩ ﺑﻴﺸﺘﺮ ﺩﺭ‬ ‫ﺍﻧﻴﻤﻪ ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺷﺨﺼﻴﺖﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺑﺴﻴﺎﺭ ﻗﺎﺑﻞ ﺍﺣﺘﺮﺍﻡ‪ ،‬ﻛﺎﺭﻳﺰﻣﺎﺗﻴﻚ ﻭ ﺳﺘﻮﺩﻧﻰ‬ ‫ﻫﺴﺘﻨﺪ‪ ،‬ﺑﻌﻀﺎً ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﻭ ﻋﻤﻮﻣﺎً ﺩﺭ ﻗﺴﻤﺖ ﻃﻨﺰ ﭘﺎﻳﺎﻧﻰ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﺩﺳﺖ ﺑﻪ ﺍﻗﺪﺍﻣﺎﺗﻰ ﻣﻰﺯﻧﻨﺪ ﻛﻪ‬ ‫ﻣﺨﺎﻃﺐ ﺭﺍ ﺑﻪ ﺧﻨﺪﻩ ﻣﻰﺍﻧﺪﺍﺯﺩ ﻭ ﻳﺎﺩﺁﻭﺭﻯ ﻣﻰﻛﻨﺪ ﺁﻥﻫﺎ ﻫﺮﭼﻨﺪ ﺑﺴﻴﺎﺭ ﺑﺰﺭﮔﻨﺪ ﺍﻣﺎ ﻋﻼﻳﻖ‪ ،‬ﺿﻌﻒﻫﺎ‬ ‫ﻭ ﻋﺎﺩﺍﺕ ﺧﺎﺹ ﺧﻮﺩ ﺭﺍ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﻗﻬﺮﻣﺎﻧﺎﻥ‬ ‫ﺍﺯ ﺁﻥﺟﺎ ﻛﻪ ﻗﻬﺮﻣﺎﻧﺎﻥ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩ ﻭ ﻫﻤﭽﻨﻴﻦ ﺟﺬﺍﺏ ﻫﺴﺘﻨﺪ‪ ،‬ﻓﺮﺻﺖ ﻧﻴﺴﺖ ﻛﻪ‬ ‫ﺑﻪ ﻫﻤﻪﻯ ﺁﻥﻫﺎ ﺍﺷﺎﺭﻩ ﻛﻨﻴﻢ ﻭ ﺑﻪ ﭼﻨﺪ ﺷﺨﺼﻴﺖ ﺑﺴﻨﺪﻩ ﻣﻰﻛﻨﻴﻢ‪ .‬ﺍﻣﻴﺪﻭﺍﺭﻡ ﺧﻮﺩﺗﺎﻥ ﺑﺎ ﺩﻳﺪﻥ‬ ‫ﻣﺠﻤﻮﻋﻪ ﺑﺎ ﺑﻘﻴﻪﺷﺎﻥ ﺁﺷﻨﺎ ﺷﻮﻳﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻗﺴﻤﺖ ﺗﻼﺵ ﺷﺪﻩ ﺷﺨﺼﻴﺖﻫﺎﻳﻰ ﺍﺯ ﻧﮋﺍﺩﻫﺎﻯ ﺧﺎﺹ ﻭ ﺑﺎ‬ ‫ﻭﻳﮋﮔﻰﻫﺎﻯ ﻣﺘﻔﺎﻭﺕ ﻭ ﻣﻄﺎﺑﻖ ﺳﻠﻴﻘﻪﻯ ﻧﮕﺎﺭﻧﺪﻩ ﻣﻌﺮﻓﻰ ﺷﻮﻧﺪ‪.‬‬ ‫ﺍﻳﭽﻴﮕﻮ ﻛﻮﺭﻭﺳﺎﻛﻰ‬ ‫»ﺍﻳﻦﻛﻪ ﻓﻘﻂ ﺯﻧﺪﻩ ﺑﺎﺷﻰ‪ ،‬ﺑﻰﻣﻌﻨﻴﻪ‪ .‬ﺍﻳﻦﻛﻪ ﻓﻘﻂ ﺑﺠﻨﮕﻰ‪ ،‬ﺑﻰﻣﻌﻨﻴﻪ‪ .‬ﻣﻦ ﻣﻰﺧﻮﺍﻡ ﭘﻴﺮﻭﺯ ﺷﻢ‪«.‬‬

‫ﻗﻬﺮﻣﺎﻥ ﺍﺻﻠﻰ ﺩﺍﺳﺘﺎﻥ ﺟﻮﺍﻧﻰ ﺍﺳﺖ ‪ 15‬ﺳﺎﻟﻪ ﺑﺎ ﻣﻮﻫﺎﻯ ﻧﺎﺭﻧﺠﻰ‪ .‬ﺍﻭ ﻛﻪ ﺍﺯ ﻛﻮﺩﻛﻰ ﺗﻮﺍﻧﺎﻯ ﺩﻳﺪﻥ‬ ‫ﺍﺭﻭﺍﺡ ﺭﺍ ﺩﺍﺭﺩ‪ ،‬ﺍﺯ ﺩﻳﺪ ﺩﻳﮕﺮﺍﻥ ﻓﺮﺩﻯ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻓﻀﺎﻯ ﺧﺎﻟﻰ ﺧﻴﺮﻩ ﻣﻰﺷﻮﺩ ﻭ ﮔﻪﮔﺎﻩ ﺑﺎ ﺧﻮﺩﺵ‬ ‫ﺻﺤﺒﺖ ﻣﻰﻛﻨﺪ‪ .‬ﺩﺭ ﻧﻪ ﺳﺎﻟﮕﻰ‪ ،‬ﺍﻳﭽﻴﮕﻮ ﻛﻪ ﻫﻨﻮﺯ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺍﺭﻭﺍﺡ ﺭﺍ ﺍﺯ ﺍﻧﺴﺎﻥﻫﺎﻯ ﻋﺎﺩﻯ ﺗﻤﻴﺰ ﺩﻫﺪ‪،‬‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺗﻮﺻﻴﻒ ﺩﻗﻴﻘﻰ ﺑﺎﺷﺪ ﺍﺯ ﺭﺍﻫﻰ ﻛﻪ ﺍﻳﻦ ﻗﻬﺮﻣﺎﻥ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻨﻰ ﻗﺪﻡ ﺑﻪ ﺁﻥ ﻣﻰﮔﺬﺍﺭﺩ‪:‬‬ ‫»ﺗﻮ ﺑﻪ ﺩﻧﺒﺎﻝ ﺩﻟﻴﻠﻰ ﺑﺮﺍﻯ ﺟﻨﮕﻴﺪﻥ ﻣﻰﮔﺮﺩﻯ؟ ﭼﺮﺍ ﺍﻳﻦ ﻣﺴﺌﻠﻪ ﺭﺍ ﻧﻤﻰﭘﺬﻳﺮﻯ ﻛﻪ ﺗﻮ ﺟﻮﻳﺎﻯ ﺟﻨﮕﻰ؟‬ ‫ﺗﻮ ﺧﻮﺍﻫﺎﻥ ﻗﺪﺭﺗﻰ‪ .‬ﺍﻳﻦﻃﻮﺭ ﻧﻴﺴﺖ ﺍﻳﭽﻴﮕﻮ؟ ﻫﺮ ﻛﺴﻰ ﻛﻪ ﺩﺭ ﺟﺴﺘﺠﻮﻯ ﻗﺪﺭﺕ ﺍﺳﺖ‪ ،‬ﺑﺪﻭﻥ ﺍﺳﺘﺜﻨﺎ‬ ‫ﻃﺎﻟﺐ ﺟﻨﮓ ﺍﺳﺖ‪ .‬ﺗﻮ ﻣﻰﺟﻨﮕﻰ ﻛﻪ ﻗﻮﻯﺗﺮ ﺑﺸﻮﻯ؟ ﻳﺎ ﺍﻳﻦ ﻛﻪ ﻗﺪﺭﺕ ﺑﻴﺸﺘﺮ ﻣﻰﺧﻮﺍﻫﻰ ﺗﺎ ﺑﺘﻮﺍﻧﻰ‬ ‫ﺑﺠﻨﮕﻰ؟ ﻣﻦ ﻧﻤﻰﺗﻮﺍﻧﻢ ﺍﻳﻦ ﺭﺍ ﺑﺮﺍﻳﺖ ﺑﮕﻮﻳﻢ‪ .‬ﺗﻨﻬﺎ ﭼﻴﺰﻯ ﻛﻪ ﺍﺯ ﺁﻥ ﺑﻪ ﺧﻮﺑﻰ ﻣﻄﻠﻌﻢ‪ ،‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ‬ ‫ﺍﻓﺮﺍﺩﻯ ﻣﺜﻞ ﻣﺎ ﺍﻳﻦ ﮔﻮﻧﻪ ﺑﻪ ﺩﻧﻴﺎ ﺁﻣﺪﻩﺍﻧﺪ‪ .‬ﻣﺎ ﺑﺮﺍﻯ ﺟﻨﮕﻴﺪﻥ ﺑﻪ ﺩﻧﻴﺎ ﺁﻣﺪﻩﺍﻳﻢ‪ .‬ﻏﺮﻳﺰﻩﺍﺕ‪ ،‬ﺗﻮ ﺭﺍ ﺑﻪ ﺳﻮﻯ‬ ‫ﺟﻨﮓﻫﺎﻯ ﺟﺪﻳﺪ ﺧﻮﺍﻫﺪ ﻛﺸﺎﻧﺪ ﻭ ﺍﻳﻦ ﺗﻨﻬﺎ ﺭﺍﻫﻰ ﺍﺳﺖ ﻛﻪ ﺗﻮ ﺩﺍﺭﻯ‪ .‬ﺗﻨﻬﺎ ﺭﺍﻩ ﺑﺮﺍﻯ ﻗﻮﻯﺗﺮ ﺷﺪﻥ‪.‬‬ ‫ﺑﺠﻨﮓ ﺍﻳﭽﻴﮕﻮ! ﺍﮔﺮ ﺗﻮ ﻗﺪﺭﺗﻰ ﻣﻰﺧﻮﺍﻫﻰ ﻛﻪ ﺑﺘﻮﺍﻧﻰ ﺑﺎ ﺁﻥ ﺩﺷﻤﻨﺖ ﺭﺍ ﻛﻨﺘﺮﻝ ﻛﻨﻰ‪ ،‬ﺷﻤﺸﻴﺮﻯ ﻛﻪ‬ ‫ﺩﺭ ﺩﺳﺖ ﺩﺍﺭﻯ ﺭﺍ ﺑﻴﺮﻭﻥ ﺑﻜﺶ ﻭ ﺍﻭ ﺭﺍ ﺑﻜﺶ‪ .‬ﺍﻳﻦ ﺗﻨﻬﺎ ﮔﺰﻳﻨﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ﺩﺍﺭﻯ‪ .‬ﺍﻳﻦ ﻣﺴﻴﺮﻯ ﺍﺳﺖ‬ ‫ﻛﻪ ﭘﻴﺶ ﺭﻭ ﺩﺍﺭﻯ ﻭ ﺁﻥ ﺭﺍ ﭘﺸﺖ ﺳﺮ ﮔﺬﺍﺷﺘﻪﺍﻯ‪«.‬‬ ‫ﺷﺨﺼﻴﺖﻫﺎ‬ ‫ﺍﮔﺮ ﺑﺨﻮﺍﻫﻴﻢ ﺑﻪ ﻳﻜﻰ ﺍﺯ ﻧﻘﺎﻁ ﻗﻮﺕ ﺑﻠﻴﭻ‪ ،‬ﻛﻪ ﺁﻥ ﺭﺍ ﺍﺯ ﺳﺎﻳﺮ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺷﻮﻧﻦ ﻣﺘﻔﺎﻭﺕ ﻛﺮﺩﻩ ﺍﺷﺎﺭﻩ‬ ‫ﻛﻨﻴﻢ‪ ،‬ﻧﺎﮔﺰﻳﺮ ﺑﺎﻳﺪ ﺍﺯ ﺷﺨﺼﻴﺖﭘﺮﺩﺍﺯﻯ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﻗﺪﺭﺗﻤﻨﺪ ﺁﻥ ﺻﺤﺒﺖ ﻛﻨﻴﻢ‪ .‬ﺩﺍﺳﺘﺎﻥ ﺳﺮﺷﺎﺭ ﺍﺯ‬ ‫ﺷﺨﺼﻴﺖﻫﺎﻯ ﻗﻮﻯ‪ ،‬ﻣﺘﻔﺎﻭﺕ ﻭ ﻗﺎﺑﻞ ﺍﺣﺘﺮﺍﻡ ﺍﺳﺖ‪.‬‬ ‫ﺷﺎﻳﺪ ﺑﺘﻮﺍﻥ ﻛﺎﺭﺍﻛﺘﺮﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺑﻪ ﺳﻪ ﮔﺮﻭﻩ ﺩﺳﺘﻪﺑﻨﺪﻯ ﻛﺮﺩ‪ :‬ﺍﻧﺴﺎﻥﻫﺎ‪ ،‬ﺧﺪﺍﻳﺎﻥ ﻣﺮگ‪ ،‬ﻫﺎﻟﻮﻫﺎ‪/‬‬ ‫ﺁﺭﺍﻧﻜﺎﺭﻫﺎ ]‪ .[10‬ﺍﻟﺒﺘﻪ ﻫﺮﭼﻪ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺑﻴﺸﺘﺮ ﭘﻴﺶ ﺑﺮﻭﻳﻢ‪ ،‬ﻣﻰﺑﻴﻨﻴﻢ ﺷﺨﺼﻴﺖﻫﺎﻳﻰ ﻫﺴﺘﻨﺪ ﻛﻪ‬ ‫ﺍﻳﻦ ﻣﺮﺯﻫﺎ ﺭﺍ ﻣﻰﺷﻜﻨﻨﺪ‪ .‬ﺑﻬﺘﺮﻳﻦ ﻧﻤﻮﻧﻪﺍﺵ ﺧﻮﺩ ﺍﻳﭽﻴﮕﻮ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺍﺑﺘﺪﺍﻯ ﺩﺍﺳﺘﺎﻥ ﻳﻚ ﺍﻧﺴﺎﻥ‪-‬‬ ‫ﺧﺪﺍﻯ ﻣﺮگ ﺑﻪ ﺣﺴﺎﺏ ﻣﻰﺁﻳﺪ‪.‬‬ ‫ﻧﻜﺘﻪﺍﻯ ﻛﻪ ﺑﺮﺍﻯ ﻣﻦ ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺑﺴﻴﺎﺭ ﺟﺬﺍﺏ ﺍﺳﺖ‪ ،‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﺮﺧﻼﻑ ﺑﻴﺸﺘﺮ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ‬ ‫ﺷﻮﻧﻦ ﻭ ﺣﺘﺎ ﻓﻴﻠﻢﻫﺎﻯ ﺍﻛﺸﻦ‪/‬ﺣﺎﺩﺛﻪﺍﻯ ﻛﻪ ﻛﺎﺭﺍﻛﺘﺮﻫﺎ –ﺑﻪ ﺟﺰ ﻛﺎﺭﺍﻛﺘﺮﻫﺎﻯ ﺍﺻﻠﻰ‪ -‬ﺑﻴﺸﺘﺮ‬ ‫»ﺗﻴﭗ« ﻫﺴﺘﻨﺪ ﺗﺎ ﺷﺨﺼﻴﺖ‪ ،‬ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﻛﻤﺘﺮ ﺍﺯ ﺗﻴﭗ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻩ ﻭ ﻣﺨﺎﻃﺐ ﺭﺍ ﺑﻪ ﺧﻮﺑﻰ‬ ‫ﺑﺎ ﺷﺨﺼﻴﺖﻫﺎﻳﺶ‪ ،‬ﻧﻘﺎﻁ ﺿﻌﻒ ﻭ ﻗﺪﺭﺗﺸﺎﻥ‪ ،‬ﮔﺬﺷﺘﻪ ﻭ ﺍﻧﮕﻴﺰﻩﻫﺎﻳﺸﺎﻥ ﺁﺷﻨﺎ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺑﺎﻳﺪ ﺑﻪ‬ ‫ﺍﻳﻦ ﻣﺴﺌﻠﻪ ﻫﻢ ﺗﻮﺟﻪ ﻛﺮﺩ ﻛﻪ ﺗﺎﻳﺘﻮ ﻛﻮﺑﻪ ﻳﻚ ﺭﺍﻭﻯ ﺑﺴﻴﺎﺭ ﺧﺴﻴﺲ ﻭ ﺑﺎﺣﻮﺻﻠﻪ ﺍﺳﺖ‪ .‬ﻫﻴﭻﻭﻗﺖ‬ ‫ﺑﻪ ﻣﺨﺎﻃﺐ ﺍﻃﻼﻋﺎﺕ ﺍﺿﺎﻓﻰ ﻧﻤﻰﺩﻫﺪ‪ .‬ﻫﻴﭻﻭﻗﺖ ﻧﻤﻰﮔﺬﺍﺭﺩ ﻓﻜﺮ ﻛﻨﻴﺪ ﻳﻚ ﺷﺨﺼﻴﺖ ﺭﺍ ﺑﻪ ﺗﻤﺎﻣﻰ‬ ‫ﻣﻰﺷﻨﺎﺳﻴﺪ‪ .‬ﻫﻤﻴﺸﻪ ﻣﻌﻤﺎﻫﺎﻯ ﻛﻮﭼﻚ ﻭ ﺑﺰﺭﮔﻰ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ ﻛﻪ ﺫﻫﻦ ﺑﻴﻨﻨﺪﻩ ﻳﺎ ﺧﻮﺍﻧﻨﺪﻩ ﺭﺍ ﺩﺭﮔﻴﺮ‬ ‫ﺷﺨﺼﻴﺖ ﻣﻰﻛﻨﺪ ﻭ ﺍﻭ ﺭﺍ ﻣﺸﺘﺎﻕ ﻣﻰﻛﻨﺪ ﺑﻴﺸﺘﺮ ﻭ ﺑﻴﺸﺘﺮ ﺑﺎ ﺩﺍﺳﺘﺎﻥ ﻫﻤﮕﺎﻡ ﺷﻮﺩ‪.‬‬ ‫ﺩﻳﺪ ﺗﺎﻳﺘﻮ ﻛﻮﺑﻪ ﺑﻪ ﺍﻧﺴﺎﻥﻫﺎ ﻭ ﺿﻌﻒﻫﺎﻳﺸﺎﻥ ﻳﻚ ﺩﻳﺪ ﺻﻔﺮ ﻭ ﻳﻜﻰ ﻧﻴﺴﺖ‪ .‬ﻫﻴﭻﮔﺎﻩ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺷﻤﺎ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺍﻳﭽﻴﮕﻮ ﻛﻮﺭﻭﺳﺎﻛﻰ ]‪ [3‬ﭘﺴﺮ ﺟﻮﺍﻧﻰ ﺍﺳﺖ ﻛﻪ ﺗﻮﺍﻧﺎﻳﻰ ﺩﻳﺪﻥ ﺍﺭﻭﺍﺡ ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﻫﻤﻴﻦ ﻭﻳﮋﮔﻰ ﺑﻪ ﺍﻭ ﺍﻳﻦ‬ ‫ﺍﻣﻜﺎﻥ ﺭﺍ ﻣﻰﺩﻫﺪ ﻛﻪ ﺭﻭﻛﻴﺎ ﻛﻮﭼﻴﻜﻰ ]‪ ،[4‬ﻳﻚ ﺧﺪﺍﻯ ﻣﺮگ ]‪) [5‬ﺷﻴﻨﻴﮕﺎﻣﻰ(‪ ،‬ﺭﺍ ﺑﺒﻴﻨﺪ‪ .‬ﺭﻭﻛﻴﺎ‬ ‫ﺧﺪﺍﻯ ﻣﺮﮔﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺷﻬﺮ ﻛﺎﺭﺍﻛﻮﺭﺍ ]‪ [6‬ﺍﻧﺠﺎﻡ ﻭﻇﻴﻔﻪ ﻣﻰﻛﻨﺪ ﻭ ﺭﻭﺍﻥﻫﺎﻯ ﭘﺎﻙ ﺭﺍ ﺑﻪ ﺟﺎﻣﻌﻪﻯ‬ ‫ﺍﺭﻭﺍﺡ ]‪ [7‬ﻭ ﺍﺭﻭﺍﺡ ﺧﺒﻴﺚ ‪ -‬ﻳﺎ ﺁﻥ ﻃﻮﺭ ﻛﻪ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﺁﻥﻫﺎ ﺍﺷﺎﺭﻩ ﺷﺪﻩ‪ ،‬ﻫﺎﻟﻮﻫﺎ ]‪ - [8‬ﺭﺍ‬ ‫ﭘﺎﻙﺳﺎﺯﻯ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺍﻳﻦ ﺩﻳﺪﺍﺭ ﺍﻓﺘﺎﺩﻥ ﺁﻫﺴﺘﻪﻯ ﺳﻨﮕﻰ ﻛﻮﭼﻚ ﺍﺳﺖ ﻛﻪ ﻣﻮﺟﺐ ﺭﻳﺰﺵ ﺑﻬﻤﻨﻰ ﺑﺰﺭگ ﻣﻰﺷﻮﺩ‪ :‬ﺍﻳﭽﻴﮕﻮ‬ ‫ﺭﻭﻛﻴﺎ ﺭﺍ ﻣﻰﺑﻴﻨﺪ‪ .‬ﺭﻭﻛﻴﺎ ﺗﻼﺵ ﻣﻰﻛﻨﺪ ﻫﺎﻟﻮﻳﻰ ﺭﺍ ﻛﻪ ﺑﻪ ﺧﺎﻧﻮﺍﺩﻩﻯ ﺍﻳﭽﻴﮕﻮ ﺣﻤﻠﻪ ﻛﺮﺩﻩ‪ ،‬ﺍﺯ ﺑﻴﻦ‬ ‫ﺑﺒﺮﺩ‪ .‬ﺭﻭﻛﻴﺎ ﺯﺧﻤﻰ ﻣﻰﺷﻮﺩ ﻭ ﻫﺎﻟﻮ ﺑﻪ ﺧﻮﺍﻫﺮﺍﻥ ﺍﻳﭽﻴﮕﻮ ﺩﺳﺖ ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ؛ ﺍﻳﭽﻴﮕﻮ ﺑﻰﺛﻤﺮ ﺗﻼﺵ‬ ‫ﻣﻰﻛﻨﺪ ﺗﺎ ﺁﻥﻫﺎ ﺭﺍ ﻧﺠﺎﺕ ﺩﻫﺪ‪ .‬ﺭﻭﻛﻴﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﺁﺧﺮﻳﻦ ﮔﺰﻳﻨﻪﻯ ﻣﻮﺟﻮﺩ ﺑﻪ ﺍﻳﭽﻴﮕﻮ ﻣﻰﮔﻮﻳﺪ ﻛﻪ ﺑﻪ‬ ‫ﺍﻭ ﺍﻋﺘﻤﺎﺩ ﻛﻨﺪ ﻭ ﺷﻤﺸﻴﺮﺵ ﺭﺍ ﺑﻪ ﺑﺪﻥ ﺍﻳﭽﻴﮕﻮ ﻓﺮﻭ ﻣﻰﻛﻨﺪ‪ .‬ﻧﺘﻴﺠﻪ‪ ،‬ﺍﻧﺘﻘﺎﻝ ﺗﻤﺎﻣﻰ ﻗﺪﺭﺕ ﺭﻭﻛﻴﺎ ﺑﻪ‬ ‫ﺍﻳﭽﻴﮕﻮ ﺍﺳﺖ‪ :‬ﺍﻳﭽﻴﮕﻮ ﺩﻳﮕﺮ ﻳﻚ ﺍﻧﺴﺎﻥ‪-‬ﺧﺪﺍﻯ ﻣﺮگ ﺍﺳﺖ‪.‬‬ ‫ﺑﺎ ﮔﺬﺭ ﺯﻣﺎﻥ ﺭﻭﻛﻴﺎ ﺭﻭﺯ ﺑﻪ ﺭﻭﺯ ﻗﺪﺭﺗﺶ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻣﻰﺩﻫﺪ ﻭ ﺩﺭ ﻧﻘﻄﻪﻯ ﻣﻘﺎﺑﻞ‪ ،‬ﺍﻳﭽﻴﮕﻮ ﺭﻭﺯﺍﻧﻪ‬ ‫ﻗﻮﻯﺗﺮ ﻭ ﻗﻮﻯﺗﺮ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻭ ﺑﻪ ﺗﺪﺭﻳﺞ ﺟﺎﻯ ﺭﻭﻛﻴﺎ ﺭﺍ ﭘﺮ ﻣﻰﻛﻨﺪ ﻭ ﺑﺎﺭ ﻭﻇﺎﻳﻒ ﺍﻭ ﺭﺍ ﺑﻪ ﺩﻭﺵ ﻣﻰﻛﺸﺪ‬ ‫ﻭ ﺩﻗﻴﻘﺎً ﺯﻣﺎﻧﻰ ﻛﻪ ﺁﻥﻫﺎ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﺷﺮﺍﻳﻂ ﺗﻄﺒﻴﻖ ﺩﺍﺩﻩﺍﻧﺪ‪ ،‬ﺩﻭ ﺧﺪﺍﻯ ﻣﺮگ ﺑﻪ ﺷﻬﺮ ﻛﺎﺭﺍﻛﻮﺭﺍ ﻣﻰﺁﻳﻨﺪ‬ ‫ﺗﺎ ﺭﻭﻛﻴﺎ ﺭﺍ ﺩﺳﺘﮕﻴﺮ ﻛﺮﺩﻩ ﻭ ﺑﻪ ﺟﺎﻣﻌﻪﻯ ﺍﺭﻭﺍﺡ ﺑﺒﺮﻧﺪ ﺗﺎ ﺍﻋﺪﺍﻡ ﺷﻮﺩ؛ ﭼﻮﻥ ﺭﻭﻛﻴﺎ ﺑﺎ ﺍﻧﺘﻘﺎﻝ ﻗﺪﺭﺗﺶ ﺑﻪ‬ ‫ﻳﻚ ﺍﻧﺴﺎﻥ‪ ،‬ﮔﻨﺎﻫﻰ ﺑﺰﺭگ ﻣﺮﺗﻜﺐ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻫﻤﻴﻦ ﺩﻭ ﻧﻔﺮ ﻫﺴﺘﻨﺪ ﻛﻪ ﻗﺪﺭﺕ ﺑﺨﺸﻴﺪﻩ ﺷﺪﻩ ﺍﺯ ﺳﻮﻯ ﺭﻭﻛﻴﺎ ﺑﻪ ﺍﻳﭽﻴﮕﻮ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﺑﺮﺩﻩ ﻭ ﺍﻭ ﺭﺍ ﺑﻪ‬ ‫ﺻﻮﺭﺕ ﻳﻚ ﺍﻧﺴﺎﻥ ﻧﺎﺗﻮﺍﻥ ﻭ ﺯﺧﻢﺧﻮﺭﺩﻩ ﺑﺮ ﺯﻣﻴﻦ ﺗﻨﻬﺎ ﻣﻰﮔﺬﺍﺭﻧﺪ ﻭ ﺑﻪ ﺑﻌﺪﻯ ﺩﻳﮕﺮ ﻣﻰﺭﻭﻧﺪ‪.‬‬ ‫ﻳﻜﻰ ﺍﺯ ﺍﻳﻦ ﺩﻭ ﻧﻔﺮ‪ ،‬ﭘﺲ ﺍﺯ ﺁﻥ ﻛﻪ ﺩﺭ ﻧﺒﺮﺩ ﺍﻳﭽﻴﮕﻮ ﺭﺍ ﺷﻜﺴﺖ ﺩﺍﺩﻩ ﻭ ﺍﻭ ﺭﺍ ﺯﺧﻤﻰ ﻛﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺑﻪ‬ ‫ﺍﻭ ﻣﻰﮔﻮﻳﺪ‪» :‬ﺗﻮ ﻛﻨﺪﻯ‪ ،‬ﺣﺘﺎ ﺩﺭ ﺯﻣﻴﻦ ﺧﻮﺭﺩﻧﺖ ﻫﻢ ﻛﻨﺪﻯ‪ «.‬ﻭ ﺍﻭ ﺭﺍ ﻧﺎﺗﻮﺍﻥ ﻭ ﺑﺎ ﻏﺮﻭﺭﻯ ﺟﺮﻳﺤﻪﺩﺍﺭ‬ ‫ﺷﺪﻩ‪ ،‬ﺭﻫﺎ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺍﻳﭽﻴﮕﻮ ﺑﺮﺍﻯ ﺟﺒﺮﺍﻥ ﻣﻬﺮﺑﺎﻧﻰ ﺭﻭﻛﻴﺎ‪ ،‬ﻋﻠﻰﺭﻏﻢ ﺗﻮﺍﻧﺎﻳﻰ ﻧﺪﺍﺷﺘﻪﺍﺵ ﺳﻮﮔﻨﺪ ﻣﻰﺧﻮﺭﺩ ﻛﻪ ﺟﺎﻥ ﺍﻭ ﺭﺍ‬ ‫ﻧﺠﺎﺕ ﺩﻫﺪ‪ .‬ﺣﺘﺎ ﺍﮔﺮ ﻻﺯﻡ ﺑﺎﺷﺪ ﻧﻈﻢ ﺟﺎﻣﻌﻪﻯ ﺍﺭﻭﺍﺡ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﺑﺒﺮﺩ‪ .‬ﺣﺘﺎ ﺍﮔﺮ ﻻﺯﻡ ﺑﺎﺷﺪ ﺑﺎ ﺗﻤﺎﻡ‬ ‫ﻓﺮﻣﺎﻧﺪﻫﺎﻥ ﺑﺠﻨﮕﺪ‪ .‬ﺣﺘﺎ ﺍﮔﺮ ﺩﺭ ﺭﺍﻩ ﺑﺪﺳﺖ ﺁﻭﺭﺩﻥ ﻗﺪﺭﺕ ﻧﺒﺮﺩ‪ ،‬ﺗﺎ ﭘﺎﻯ ﻣﺮگ ﭘﻴﺶ ﺑﺮﻭﺩ‪ ...‬ﺣﺘﺎ ﺍﮔﺮ‬ ‫ﺗﺒﺪﻳﻞ ﺷﺪﻥ ﺑﻪ ﻳﻚ ﻫﺎﻟﻮ‪ ،‬ﻛﻤﺘﺮﻳﻦ ﺧﻄﺮﻯ ﺑﺎﺷﺪ ﻛﻪ ﺗﻬﺪﻳﺪﺵ ﻣﻰﻛﻨﺪ‪ .‬ﻭ ﺍﻳﻦ ﺁﻏﺎﺯ ﺭﺍﻫﻰ ﺍﺳﺖ‬ ‫ﻃﻮﻻﻧﻰ ﻛﻪ ﻭﻯ ﺩﺭ ﭘﻴﺶ ﺭﻭ ﺩﺍﺭﺩ‪.‬‬ ‫ﺷﺎﻳﺪ ﺟﻤﻼﺕ ﻛﻨﭙﺎﭼﻰ ﺯﺍﺭﺍﻛﻰ ]‪ ،[9‬ﻳﻜﻰ ﺍﺯ ﻗﻮﻳﺘﺮﻳﻦ ﻓﺮﻣﺎﻧﺪﻫﺎﻥ ﺟﺎﻣﻌﻪﻯ ﺍﺭﻭﺍﺡ‪ ،‬ﺧﻄﺎﺏ ﺑﻪ ﺍﻳﭽﻴﮕﻮ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺩﺭ ﺑﻠﻴﭻ ﭼﻪ ﻣﻰﮔﺬﺭﺩ!‬ ‫ﻫﺎﻧﻴﻪ ﺳﺎﺩﺍﺕ ﺳﺮﻛﻰ‬

‫ﺷﻨﺎﺳﻨﺎﻣﻪ‬ ‫ﻣﺎﻧﮕﺎ‬

‫ﺍﻧﻴﻤﻪ‬

‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ :‬ﺁﺑﻪ ﻧﻮﺭﻳﻮﻛﻰ ]‪[2‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ‪ :‬ﺗﺎﻳﺘﻮ ﻛﻮﺑﻪ]‪[1‬‬ ‫ﻭﺿﻌﻴﺖ‪ :‬ﺍﺩﺍﻣﻪﺩﺍﺭ‬ ‫ﻭﺿﻌﻴﺖ‪ :‬ﺍﺩﺍﻣﻪﺩﺍﺭ‬ ‫ﺗﻌﺪﺍﺩ ﻗﺴﻤﺖﻫﺎ‪ 51 :‬ﺟﻠﺪ‪ 462 ،‬ﻗﺴﻤﺖ ﺗﻌﺪﺍﺩ ﻗﺴﻤﺖﻫﺎ‪ 338 :‬ﻗﺴﻤﺖ‬ ‫ژﺍﻧﺮ‪ :‬ﺍﻛﺸﻦ‪ ،‬ﺍﻛﺸﻦ‪ ،‬ﻣﺎﺟﺮﺍﺟﻮﻳﻰ‪ ،‬ﺩﺍﺭﻡ‪ ،‬ژﺍﻧﺮ‪ :‬ﺍﻛﺸﻦ‪ ،‬ﺍﻛﺸﻦ‪ ،‬ﻛﻤﺪﻯ‪ ،‬ﺩﺭﺍﻡ‪،‬‬ ‫ﻣﺎﻭﺭﺍء ﺍﻟﻄﺒﻴﻌﻪ‬ ‫ﺷﻮﻧﻦ‪ ،‬ﻣﺎﻭﺭﺍء ﺍﻟﻄﺒﻴﻌﻪ‬

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‫ﻻﺯﻡ ﺍﺳﺖ‪ ،‬ﺗﻨﻬﺎ ﺩﺭ ﻛﻮﺩﻛﺎﻥ ﺩﺍﺳﺘﺎﻥ ﺷﻜﻞ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﺳﺘﺎﻳﺶ ﮔﺮﺩﻧﺒﻨﺪ ﺟﻮ‬ ‫ﺑﺎﺭﻫﺎ ﺩﺭ ﻓﻴﻠﻢﻫﺎﻯ ﻣﺨﺘﻠﻒ ﻣﻮﺟﻮﺩﺍﺕ ﻏﻴﺮﺍﻧﺴﺎﻧﻰ ﻣﺜﻞ ﺣﻴﻮﺍﻧﺎﺕ ﻭ ﻣﻮﺟﻮﺩﺍﺕ ﻓﻀﺎﻳﻰ ﻳﺎ ﻓﺎﻧﺘﺰﻯ‬ ‫ﺟﺎﻳﮕﺰﻳﻦ ﺷﺨﺼﻴﺖ ﺍﺻﻠﻰ ﺩﺍﺳﺘﺎﻥ ﺑﻮﺩﻩﺍﻧﺪ‪ ،‬ﺍﻣﺎ ﺩﺭ ﺳﻮﭘﺮ‪ 8‬ﮔﺮﺩﻧﺒﻨﺪ ﺟﻮ ﻛﻪ ﻳﺎﺩﮔﺎﺭﻯ ﺍﺯ ﻣﺎﺩﺭ ﺍﻭﺳﺖ‬ ‫ﺑﻪ ﺷﻜﻞ ﺧﺎﺭﻕﺍﻟﻌﺎﺩﻩ ﻭ ﺯﻳﺒﺎﻳﻰ ﺟﺎﻳﮕﺰﻳﻦ ﻳﻚ ﺷﺨﺼﻴﺖ ﺍﺻﻠﻰ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻣﺎﺩﺭ ﺟﻮ ﺩﺭ‬ ‫ﺣﺎﺩﺛﻪﺍﻯ ﻓﻮﺕ ﻛﺮﺩﻩ ﻭ ﺧﻸ ﻧﺒﻮﺩ ﺍﻭ ﺑﺮﺍﻯ ﺟﻮ ﻛﻪ ﺭﺍﺑﻄﻪ ﻋﻤﻴﻘﻰ ﺑﺎ ﺍﻭ ﺩﺍﺷﺘﻪ‪ ،‬ﻫﻤﻮﺍﺭﻩ ﺣﺲ ﻣﻰﺷﻮﺩ؛‬ ‫ﻭﻟﻰ ﺗﻤﺎﻡ ﻧﻘﻄﻪﻯ ﺍﺗﻜﺎ ﻭ ﻗﺪﺭﺕﺩﻫﻨﺪﻩ ﺑﻪ ﺍﻭ ﺩﺭ ﺷﺮﺍﻳﻂ ﺳﺨﺖ ﻭ ﻟﺤﻈﺎﺗﻰ ﻛﻪ ﺗﺮﺳﻴﺪﻩ‪ ،‬ﮔﺮﺩﻧﺒﻨﺪﻯ‬ ‫ﺍﺳﺖ ﻛﻪ ﻋﻜﺲ ﻣﺎﺩﺭﺵ ﺩﺭ ﺁﻥ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪ .‬ﺯﻣﺎﻧﻰ ﻛﻪ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺑﺎ ﻣﻮﺟﻮﺩ ﻋﺠﻴﺐ ﺩﺭ ﻣﺤﻞ‬ ‫ﺣﺎﺩﺛﻪ ﺭﻭﺑﺮﻭ ﻣﻰﺷﻮﺩ ﻳﺎ ﺯﻣﺎﻧﻰ ﻛﻪ ﻧﮕﺮﺍﻥ ﺣﺎﻝ ﺁﻟﻴﺲ ﺑﻌﺪ ﺍﺯ ﺣﺎﺩﺛﻪ ﺍﺳﺖ‪ ،‬ﺗﻨﻬﺎ ﺑﻪ ﮔﺮﺩﻧﺒﻨﺪ ﻣﺘﻮﺳﻞ‬ ‫ﻣﻰﺷﻮﺩ ﻭ ﺣﺲ ﺁﺭﺍﻣﺶﺩﻫﻨﺪﻩ ﻭ ﻳﺎﺭﻯﻛﻨﻨﺪﻩﻯ ﺟﻮ ﻛﻪ ﺑﻪ ﺧﺎﻃﺮ ﻋﺪﻡ ﺣﻀﻮﺭ ﻣﺎﺩﺭﺵ ﺍﺯ ﺩﺳﺖ ﺭﻓﺘﻪ‪،‬‬ ‫ﺗﻤﺎﻣﺎً ﺑﻪ ﻋﻬﺪﻩﻯ ﮔﺮﺩﻧﺒﻨﺪ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﺗﻌﻠﻖ ﺧﺎﻃﺮ ﺑﺎﻋﺚ ﺿﻌﻒ ﺟﻮ ﺷﺪﻩ ﻭ ﺍﻭ ﺭﺍ ﺗﺮﺳﻮ ﻭ ﻭﺍﺑﺴﺘﻪ‬ ‫ﻣﻰﻛﻨﺪ ﻭ ﺍﺟﺎﺯﻩ ﺩﻳﺪﻩ ﺷﺪﻥ ﺭﺍ ﺑﻪ ﺍﻭ ﻧﻤﻰﺩﻫﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺟﻮ ﺩﺭ ﻣﻮﺍﺟﻪ ﺑﺎ ﻫﻴﻮﻻ ﻭ ﻃﻰ ﻣﺴﻴﺮ ﻧﺠﺎﺕ‬ ‫ﺁﻟﻴﺲ ﺷﺠﺎﻋﺖ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩﻩ ﻭ ﺑﻪ ﭘﺎﻻﻳﺸﻰ ﺭﻭﺣﻰ ﺩﺳﺖ ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ ﻭ ﺑﺪﻭﻥ ﻛﻤﻚ‬ ‫ﮔﺮﻓﺘﻦ ﺍﺯ ﮔﺮﺩﻧﺒﻨﺪ‪ ،‬ﺑﺎ ﻫﻴﻮﻻ ﺭﻭﺑﺮﻭ ﻣﻰﺷﻮﺩ ﻭ ﻫﻴﻮﻻ ﻛﻪ ﺗﻮﺍﻧﺎﻳﻰ ﺍﺭﺗﺒﺎﻁ ﺑﺮﻗﺮﺍﺭ ﻛﺮﺩﻥ ﺑﺎ ﺍﻧﺴﺎﻥﻫﺎ ﺭﺍ ﺍﺯ‬ ‫ﻟﺤﺎﻅ ﺣﺴﻰ ﺩﺍﺭﺩ‪ ،‬ﺷﻨﺎﺧﺖ ﻛﺎﻣﻠﻰ ﺍﺯ ﺟﻮ ﺑﻪ ﺩﺳﺖ ﻣﻰﺁﻭﺭﺩ ﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﺁﺧﺮﻳﻦ ﻗﻄﻌﻪﻯ ﻣﻮﺭﺩ ﻧﻴﺎﺯ‬ ‫ﺧﻮﺩ‪ ،‬ﮔﺮﺩﻧﺒﻨﺪ ﺭﺍ ﺍﺯ ﺟﻮ ﻣﻰﮔﻴﺮﺩ ﻭ ﺍﻳﻦ ﻋﻤﻞ ﺍﻭ ﻧﻮﻋﻰ ﺍﺩﺍﻯ ﺍﺣﺘﺮﺍﻡ ﻣﺘﻘﺎﺑﻞ ﻭ ﭘﺬﻳﺮﺵ ﻧﻴﺎﺯ ﻣﺘﻘﺎﺑﻞ‬ ‫ﺩﺭ ﻭﺍﻛﻨﺶ ﺑﻪ ﺟﻤﻠﻪﻯ ﺟﻮ ﺍﺳﺖ ﻛﻪ ﻣﻰﮔﻮﻳﺪ‪»:‬ﺍﺗﻔﺎﻕ ﻫﺎﻯ ﺑﺪﻯ ﺍﻓﺘﺎﺩﻥ‪ ،‬ﺍﻣﺎ ﻫﻨﻮﺯ ﺯﻧﺪﮔﻰ ﺍﺩﺍﻣﻪ‬ ‫ﺩﺍﺭﻩ«‪ .‬ﺍﻳﻦ ﺣﺮﻑ‪ ،‬ﺩﺭﺩ ﻣﺸﺘﺮﻙ ﻫﺮ ﺩﻭﻯ ﺁﻥﻫﺎ ﺍﺳﺖ ﻭ ﻟﺤﻈﻪﻯ ﺟﺪﺍﻳﻰ ﮔﺮﺩﻧﺒﻨﺪ ﻭ ﺟﻮ‪ ،‬ﺍﻭﺝ ﺗﻜﺎﻣﻞ‬ ‫ﺷﺨﺼﻴﺖ ﺍﻭﻝ ﻓﻴﻠﻢ ﺭﺍ ﻧﻤﺎﻳﺎﻥ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﭘﻰﻧﻮﺷﺖﻫﺎ‪:‬‬ ‫‪[1] Super 8‬‬ ‫‪[2] J. J. Abrams‬‬ ‫‪[3] Steven Speilberg‬‬ ‫‪[4] Larry Fong‬‬ ‫‪[5] Michael Giacchinoc‬‬ ‫‪[6] Joel Courtney‬‬ ‫‪[7] Elle Fanning‬‬

‫‪[8] Kyle Chandler‬‬ ‫‪[9] Joe Lamb‬‬ ‫‪[10] Charles‬‬ ‫‪[11] Alice Dainard‬‬ ‫‪[12] Dr. Woodward‬‬ ‫‪[13] Louis Dainard‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﺳﻴﻨﻤﺎ‬

‫ﺍﺯ ﺷﺮﺍﻳﻂ ﻓﻌﻠﻰ ﻫﺴﺘﻨﺪ ﻭ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻟﻮﻛﻴﺸﻦﻫﺎﻯ ﺍﻳﺠﺎﺩ ﺷﺪﻩ‪ ،‬ﺳﻄﺢ ﻛﻴﻔﻰ ﻓﻴﻠﻢ ﺭﺍ ﺑﺎﻻ ﻣﻰﺑﺮﻧﺪ‪.‬‬ ‫ﻭﻟﻰ ﮔﻢ ﺷﺪﻥ ﺁﻟﻴﺲ ﻭ ﺗﺨﻠﻴﻪﻯ ﺷﻬﺮ‪ ،‬ﺟﻮ ﺭﺍ ﺑﻪ ﻭﺍﻛﻨﺶ ﻭﺍ ﻣﻰﺩﺍﺭﺩ ﻭ ﺩﻧﻴﺎﻯ ﻛﻮﺩﻛﺎﻧﻪﻯ ﺍﻭ ﺑﺎ ﺍﺗﻔﺎﻗﺎﺕ‬ ‫ﻋﺠﻴﺐ ﻭ ﺗﺮﺳﻨﺎﻙ ﭘﻴﺮﺍﻣﻮﻧﺶ ﺩﺭﻫﻢ ﺗﻨﻴﺪﻩ ﻣﻰﺷﻮﺩ ﻭ ﺟﻮ ﺑﺮﺍﻯ ﻛﻤﻚ ﺑﻪ ﺁﻟﻴﺲ ﺑﻪ ﺷﻬﺮ ﺑﺎﺯ ﻣﻰﮔﺮﺩﺩ‪.‬‬ ‫ﻧﻴﻤﻪﻯ ﺩﻭﻡ ﻓﻴﻠﻢ ﻧﻴﻤﻪﻯ ﺁﺑﺮﺍﻣﺰ ﺍﺳﺖ‪ .‬ﻫﺮ ﭼﻪ ﺩﺭ ﻧﻴﻤﻪﻯ ﻧﺨﺴﺖ ﺑﻪ ﻳﺎﺩ ﺍﺳﭙﻴﻠﺒﺮگ ﻭ ﺣﺎﻝ ﻭ ﻫﻮﺍﻯ‬ ‫ﺑﭽﻪﻫﺎﻯ ﻣﺎﺟﺮﺍﺟﻮﻯ ﻓﻴﻠﻢ ‪ E.T‬ﻣﻰﺍﻓﺘﻴﻢ‪ ،‬ﺩﺭ ﻧﻴﻤﻪﻯ ﺩﻭﻡ ﻓﻀﺎﻯ ﺩﺭﮔﻴﺮ ﻛﻨﻨﺪﻩ ﻭ ﺳﺆﺍﻝﺑﺮﺍﻧﮕﻴﺰ ﺁﺑﺮﺍﻣﺰ‬ ‫ﺩﺭ ﻻﺳﺖ ﻭ ﻓﺮﻳﻨﺞ ﺑﺮﺍﻳﻤﺎﻥ ﺗﺪﺍﻋﻰ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻳﻦ ﺣﺲ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺩﺭ ﺻﺪﺍﻯ ﻫﻴﻮﻻﻯ ﺩﺍﺳﺘﺎﻥ ﻛﻪ ﺍﺯ‬ ‫ﺩﻭﺭ ﺷﻨﻴﺪﻩ ﻣﻰﺷﻮﺩ ﻭ ﺣﻤﻼﺕ ﻫﻴﻮﻻ ﻛﻪ ﻣﺎ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﺩﻭﺩ ﺳﺮﻳﺎﻝ ﻻﺳﺖ ﻣﻰﺍﻧﺪﺍﺯﺩ‪ ،‬ﻟﺮﺯﺵﻫﺎﻯ ﻣﻜﻌﺐ‬ ‫ﺟﻮ ﻭ ﺣﺘﺎ ﻧﺒﺾ ﻣﻮﺳﻴﻘﻰ ﻣﺘﻦ ﻓﻴﻠﻢ ﻭ ﻣﺨﺼﻮﺻﺎً ﺳﻜﺎﻧﺲ ﭘﺎﻳﺎﻧﻰ ﺭﺩﮔﻴﺮﻯ ﻛﺮﺩ‪ .‬ﺍﻣﺎ ﺳﺆﺍﻝ ﻣﻬﻢ ﺍﻳﻦﺟﺎ‬ ‫ﺍﺳﺖ‪ :‬ﺁﺑﺮﺍﻣﺰ ﻳﺎ ﺍﺳﭙﻴﻠﺒﺮگ؟ ﺍﻳﻦ ﻓﻴﻠﻢ ﻣﺘﻌﻠﻖ ﺑﻪ ﺳﺒﻚ ﻓﻴﻠﻢﺳﺎﺯﻯ ﻛﺪﺍﻡ ﻳﻚ ﺍﺳﺖ؟ ﺩﺭ ﺣﻘﻴﻘﺖ‬ ‫ﺍﻓﻜﺎﺭ ﻭ ﺍﻧﺪﻳﺸﻪﻫﺎﻯ ﻫﺮ ﺩﻭ ﺩﺭ ﺭﻭﺡ ﻓﻴﻠﻢ ﺟﺮﻳﺎﻥ ﺩﺍﺭﺩ‪ ،‬ﻭﻟﻰ ﺍﻧﺪﻳﺸﻪﻫﺎﻯ ﺁﺑﺮﺍﻣﺰ ﺩﺭ ﭘﺎﺭﻩﺍﻯ ﺍﺯ ﺍﻭﻗﺎﺕ‬ ‫ﺧﻮﺩﻧﻤﺎﻳﻰ ﺑﻴﺸﺘﺮﻯ ﺩﺍﺭﺩ ﻭ ﻓﻴﻠﻢ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﻭ ﺳﻮﻯ ﺩﻧﻴﺎﻯ ﺩﻟﻬﺮﻩﺁﻭﺭﻯ ﺑﻪ ﺳﺒﻚ ﺍﻭ ﻣﻰﻛﺸﺎﻧﺪ‪ .‬ﺩﺭ‬ ‫ﻫﺮ ﺣﺎﻝ ﺳﺎﺧﺘﻦ ﻓﻴﻠﻤﻰ ﺑﺎ ﻣﺤﻮﺭﻳﺖ ﺩﻭﺭﺑﻴﻦ ﺳﻮﭘﺮ‪ 8‬ﺩﻏﺪﻏﻪﻯ ﻫﺮ ﺩﻭﻯ ﺁﻥﻫﺎ )ﺁﺑﺮﺍﻣﺰ ﻭ ﺍﺳﭙﻴﻠﺒﺮگ(‬ ‫ﺑﻮﺩﻩ ﻭ ﺗﻠﻔﻴﻖ ﺳﺒﻚ ﻭﻳﮋﻩﻯ ﺍﻳﻦ ﺩﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ ﺑﺎﻋﺚ ﺟﺬﺍﺑﻴﺖ ﺑﻴﺶ ﺍﺯ ﭘﻴﺶ ﺩﺍﺳﺘﺎﻥ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻓﻴﻠﻢ ﺍﺯ ﻟﺤﺎﻅ ﺩﺍﺳﺘﺎﻧﻰ ﺩﺍﺭﺍ ﻧﻘﺎﻁ ﻗﻮﺕ ﺑﺴﻴﺎﺭﻯ ﺍﺳﺖ ﻭ ﭼﻴﻨﺶ ﺍﺭﻛﺎﻥ ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﻛﻨﺎﺭ ﻫﻢ ﺑﻪ ﻧﺤﻮ‬ ‫ﺍﺣﺴﻨﺖ ﺍﻧﺠﺎﻡ ﺷﺪﻩ‪ ،‬ﻭﻟﻰ ﺑﺮﺧﻰ ﻣﺴﺎﺋﻞ ﺩﺭ ﺁﻥ ﺁﺯﺍﺭﺩﻫﻨﺪﻩ ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻣﺨﺎﻃﺐ‬ ‫ﻫﻴﭻ ﭘﻴﺸﻴﻨﻪﺍﻯ ﺍﺯ ﻣﻮﺟﻮﺩ ﻫﻴﻮﻻﻣﺎﻧﻨﺪ ﻧﺪﺍﺭﺩ ﻭ ﺣﺲ ﺗﺮﺣﻤﻰ ﻛﻪ ﺩﻛﺘﺮ ﻭﻭﺩﻭﺍﺭﺩ ﻗﺼﺪ ﺩﺍﺭﺩ ﺑﺮﺍﻯ ﺍﻭ‬ ‫ﺩﺭ ﺫﻫﻦ ﻣﺎ ﺑﺴﺎﺯﺩ‪ ،‬ﺑﻪ ﻫﻴﭻ ﻧﺤﻮ ﺑﻪ ﺑﻴﻨﻨﺪﻩ ﺗﺰﺭﻳﻖ ﻧﻤﻰﺷﻮﺩ ﻭ ﻣﺎ ﺍﺯ ﺍﻳﻦ ﻣﻮﺟﻮﺩ ﻛﻪ ﺍﺣﺘﻤﺎﻻً ﻓﻀﺎﻳﻰ‬ ‫ﻫﻢ ﻫﺴﺖ – ﭼﻮﻥ ﻧﻴﺮﻭﻯ ﻫﻮﺍﻳﻰ ﺍﻳﺎﻻﺕ ﻣﺘﺤﺪﻩ ﺭﺍ ﺩﺭﮔﻴﺮ ﺧﻮﺩ ﻛﺮﺩﻩ‪ -‬ﺑﻪ ﻧﻈﺮ ﻫﻴﭻ ﺍﻃﻼﻋﺎﺕ‬ ‫ﻭﺍﺿﺤﻰ ﻧﺪﺍﺭﻳﻢ ﻭ ﻫﻴﻮﻻ ﺻﺮﻓﺎً ﻳﻚ ﻧﻴﺮﻭﻯ ﺑﺮ ﻫﻢ ﺯﻧﻨﺪﻩﻯ ﺍﻭﺿﺎﻉ ﺍﺳﺖ ﻭ ﺑﺎﺭ ﺷﺨﺼﻴﺘﻰ ﺧﺎﺻﻰ‬ ‫ﺭﺍ ﺑﻪ ﺩﻭﺵ ﻧﻤﻰﻛﺸﺪ‪ .‬ﻧﻜﺘﻪﻯ ﺩﻳﮕﺮ ﺑﺎﺯ ﻫﻢ ﺩﺭ ﻣﻮﺭﺩ ﺩﻛﺘﺮ ﻭﻭﺩﻭﺍﺭﺩ ﻭ ﻧﻮﻉ ﻋﻤﻠﻴﺎﺗﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ‬ ‫ﺑﺮﺧﻮﺭﺩ ﺑﺎ ﻗﻄﺎﺭ ﺑﺮﻧﺎﻣﻪﺭﻳﺰﻯ ﻛﺮﺩﻩ‪ .‬ﺑﻪ ﻃﻮﺭ ﻛﻠﻰ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺑﺰﺭﮔﺴﺎﻝ ﺩﺍﺳﺘﺎﻥ ﺩﺍﺭﺍﻯ ﺭﻓﺘﺎﺭﻫﺎﻯ‬ ‫ﻣﺘﻨﺎﺳﺐ ﻭ ﻣﻨﻄﻘﻰ ﻧﻴﺴﺘﻨﺪ ﻭ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﺍﻋﻤﺎﻝ ﺁﻥﻫﺎ ﺑﻴﺸﺘﺮ ﺑﺮﺍﻯ ﭘﻴﺶ ﺑﺮﺩﻥ ﺩﺍﺳﺘﺎﻥ ﺻﻮﺭﺕ‬ ‫ﻣﻰﮔﻴﺮﺩ‪ .‬ﻣﺎﻧﻨﺪ ﺩﻋﻮﺍﻯ ﭘﺪﺭ ﺁﻟﻴﺲ ﺑﺎ ﻓﺮﺯﻧﺪﺍﻧﺶ ﻛﻪ ﻣﻨﺠﺮ ﺑﻪ ﺍﺗﻔﺎﻕ ﻫﺪﺍﻳﺖﻛﻨﻨﺪﻩﻯ ﺩﺍﺳﺘﺎﻥ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻳﺎ ﺍﺧﺘﻼﻑ ﭘﺪﺭﻫﺎﻯ ﺟﻮ ﻭ ﺁﻟﻴﺲ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻟﻮﺋﻴﺰ ﺩﻳﻨﺎﺭﺩ ]‪) [13‬ﭘﺪﺭ ﺁﻟﻴﺲ( ﻫﻴﭻ ﻧﻘﺸﻰ ﺩﺭ ﻣﺮگ‬ ‫ﻣﺎﺩﺭ ﺟﻮ ﻧﺪﺍﺷﺘﻪ ﻭ ﻓﻘﻂ ﺩﺭ ﺁﻥ ﺭﻭﺯ ﺑﻪ ﻣﺤﻞ ﻛﺎﺭ ﻧﺮﻓﺘﻪ ﻭ ﺍﻳﻦ ﻛﺸﺎﻛﺶ ﺑﻴﻦ ﭘﺪﺭ ﺁﻟﻴﺲ ﻭ ﭘﺪﺭ ﺟﻮ‪،‬‬ ‫ﻓﻘﻂ ﻋﺎﻣﻠﻰ ﺑﺎﺯﺩﺍﺭﻧﺪﻩ ﺑﺮﺍﻯ ﺟﺪﺍ ﻛﺮﺩﻥ ﺟﻮ ﻭ ﺁﻟﻴﺲ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﺍﻭﺻﺎﻑ ﺑﭽﻪﻫﺎ ﺗﻤﺎﻡ ﺑﺎﺭ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺍﺯ ﻟﺤﺎﻅ ﻣﻨﻄﻖ ﺑﻪ ﺩﻭﺵ ﻣﻰﻛﺸﻨﺪ ﻭ ﻣﻮﺍﺩ ﻭ ﺍﻃﻼﻋﺎﺗﻰ ﻛﻪ ﺑﺮﺍﻯ ﺑﻨﺎ ﻛﺮﺩﻥ ﻳﻚ ﺷﺨﺼﻴﺖ‬ ‫‪65‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﺁﻏﺎﺯ‬ ‫ﺁﺭﺍﻣﺸﻰ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺍﻧﮕﺎﺭ ﻫﻤﻪ ﭼﻴﺰ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﻴﺪﻩ‪ ،‬ﺣﺘﺎ ﺭﻭﺯﺷﻤﺎﺭ ﻛﺎﺭﺧﺎﻧﻪ ﻧﻴﺰ ﻧﺰﺩﻳﻚﺗﺮﻳﻦ ﻋﺪﺩ‬ ‫ﺑﻪ ﺻﻔﺮ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪ .‬ﻫﻤﻪ ﺑﺮﺍﻯ ﺍﻭ ﻭ ﻣﺴﻴﺮ ﭘﻴﺶ ﺭﻭﻳﺶ ﻧﮕﺮﺍﻥ ﻫﺴﺘﻨﺪ‪ .‬ﺟﻮ ﻟﻤﺐ ]‪ [9‬ﻛﻮﺩﻙ‬ ‫ﺗﻨﻬﺎﻳﻰ ﻧﻴﺴﺖ‪ ،‬ﺍﻣﺎ ﻣﺮگ ﻣﺎﺩﺭ ﻣﺴﺄﻟﻪ ﺭﺍ ﻣﺘﻔﺎﻭﺕ ﻛﺮﺩﻩ ﻭ ﺍﻭ ﺭﺍ ﺍﺯ ﺑﻘﻴﻪ ﺟﺪﺍ ﺳﺎﺧﺘﻪ ﺍﺳﺖ‪ .‬ﭘﺪﺭ ﺟﻮ‬ ‫ﺑﺮﻧﺎﻣﻪﻯ ﺳﻔﺮ ﺭﺍ ﺁﻣﺎﺩﻩ ﻣﻰﻛﻨﺪ ﺗﺎ ﻓﻀﺎﻯ ﺭﻭﺣﻰ ﺟﻮ ﺭﺍ ﺗﻐﻴﻴﺮ ﺩﻫﺪ‪ ،‬ﺍﻣﺎ ﻫﻨﻮﺯ ﺩﻏﺪﻏﻪﻫﺎ ﻭ ﺭﺅﻳﺎﻫﺎﻯ‬ ‫ﻛﻮﺩﻛﺎﻧﻪ ﺑﺮﺍﻯ ﺳﺎﺧﺘﻦ ﻓﻴﻠﻢ ﺑﺎ ﺩﻭﺭﺑﻴﻦ ﺳﻮﭘﺮ‪ 8‬ﺩﺭ ﺍﻭ ﻭ ﺩﻭﺳﺘﺎﻧﺶ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻫﻨﻮﺯ ﺭﻭﺡ ﻛﻮﺩﻛﻰ ﺩﺭ‬ ‫ﺍﻭ ﺟﺮﻳﺎﻥ ﺩﺍﺭﺩ‪ .‬ﻫﻨﻮﺯ ﺍﺗﻔﺎﻗﺎﺕ ﺑﺴﻴﺎﺭﻯ ﺩﺭ ﭘﻴﺶ ﺍﺳﺖ‪ .‬ﺟﻮ ﻣﻰﺧﻮﺍﻫﺪ ﺑﻤﺎﻧﺪ ﻭ ﺍﺯ ﺑﺎﺯﻯ ﻛﻮﺩﻛﺎﻧﻪﺍﺵ‬ ‫ﻟﺬﺕ ﺑﺒﺮﺩ‪» .‬ﺩﺭﺳﺖ ﺍﺳﺖ ﻛﻪ ﺍﺗﻔﺎﻗﺎﺕ ﺑﺪﻯ ﺍﻓﺘﺎﺩﻩ‪ ،‬ﺍﻣﺎ ﺯﻧﺪﮔﻰ ﻫﻨﻮﺯ ﺍﺩﺍﻣﻪ ﺩﺍﺭﺩ‪«.‬‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﻓﻴﻠﻢ‬ ‫ﺳﻮﭘﺮ‪ 8‬ﻳﻚ ﻓﻴﻠﻢ ﺍﺯ ﻳﻚ ﻛﺎﺭﮔﺮﺩﺍﻥ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﺍﺛﺮﻯ ﺍﺳﺖ ﺑﺎ ﺩﻭ ﺧﻂ ﺩﺍﺳﺘﺎﻧﻰ ﻣﺘﻔﺎﻭﺕ ﻛﻪ ﺩﻭ ﺫﻫﻦ‬ ‫ﻣﺘﻔﻜﺮ )ﺁﺑﺮﺍﻣﺰ ﻭ ﺍﺳﭙﻴﻠﺒﺮگ(‪ ،‬ﺑﻪ ﻧﺤﻮ ﺯﻳﺒﺎﻳﻰ ﺩﺭ ﻛﻨﺎﺭ ﻫﻢ ﻗﺮﺍﺭ ﺩﺍﺩﻩﺍﻧﺪ ﻭ ﻳﻚ ﻓﻴﻠﻢ ﺳﺎﺩﻩ ﺭﺍ ﺑﻪ ﻓﻴﻠﻤﻰ‬ ‫ﻟﺬﺕﺑﺨﺶ ﺗﺒﺪﻳﻞ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﻧﻴﻤﻪ ﺍﺑﺘﺪﺍﻳﻰ ﻓﻴﻠﻢ ﺭﻭﺍﻳﺘﻰ ﺍﺳﺖ ﺍﺯ ﭼﻨﺪ ﻛﻮﺩﻙ ﻛﻪ ﺑﻪ ﺩﻧﺒﺎﻝ ﺳﺮﮔﺮﻣﻰ‬ ‫ﻣﺘﻔﺎﻭﺗﻰ ﺭﻓﺘﻪﺍﻧﺪ ﻭ ﺑﺎ ﻭﺟﻮﺩ ﺳﻦ ﻛﻤﺸﺎﻥ‪ ،‬ﺑﻪ ﺩﻧﺒﺎﻝ ﺧﻠﻖ ﻳﻚ ﻓﻴﻠﻢ ﺩﺭﺳﺖ ﻭ ﺣﺴﺎﺑﻰ ﺑﺎ ﺩﻭﺭﺑﻴﻦ‬ ‫ﺳﻮﭘﺮ‪ 8‬ﻫﺴﺘﻨﺪ‪ .‬ﭼﺎﺭﻟﺰ ]‪ [10‬ﻛﻪ ﻛﺎﺭﮔﺮﺩﺍﻥ ﻓﻴﻠﻢ ﺍﺳﺖ‪ ،‬ﺩﺭ ﻛﻨﺎﺭ ﺟﻮ ﻟﻤﺐ ﻭ ﺩﻳﮕﺮ ﺩﻭﺳﺘﺎﻧﺸﺎﻥ ﺗﻤﺎﻡ‬ ‫ﺗﻼﺵ ﺧﻮﺩ ﺭﺍ ﻣﻰﻛﻨﻨﺪ ﺗﺎ ﻓﻴﻠﻤﻰ ﻣﺘﻔﺎﻭﺕ ﺑﺴﺎﺯﻧﺪ ﻭ ﺑﺮﻧﺪﻩﻯ ﻣﺴﺎﺑﻘﺎﺕ ﺷﻮﻧﺪ؛ ﭘﺲ ﺁﻟﻴﺲ ﺩﻳﻨﺎﺭﺩ‬ ‫]‪ [11‬ﺭﺍ ﻭﺍﺭﺩ ﻓﻴﻠﻢ ﻣﻰﻛﻨﻨﺪ ﺗﺎ ﻓﻴﻠﻢ ﺭﺍ ﺑﺎ ﺩﺍﺷﺘﻦ ﻳﻚ ﺑﺎﺯﻳﮕﺮ ﺯﻥ ﺍﺯ ﻟﺤﺎﻅ ﺍﺭﺯﺵﮔﺬﺍﺭﻯ ﻗﻮﻯﺗﺮ ﻛﻨﻨﺪ‪.‬‬ ‫ﻭﺭﻭﺩ ﺁﻟﻴﺲ ﻭ ﻋﻼﻗﻪﺍﻯ ﻛﻪ ﺟﻮ ﺑﻪ ﺍﻭ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪ ،‬ﻣﺴﻴﺮ ﺭﺍ ﺑﺮﺍﻯ ﺁﻏﺎﺯ ﻧﻴﻤﻪﻯ ﺩﻭﻡ ﻓﻴﻠﻢ ﺁﻣﺎﺩﻩ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﻧﻴﻤﻪﻯ ﺍﻭﻝ ﺧﻮﺩ ﺑﻪ ﺗﻨﻬﺎﻳﻰ ﻣﻰﺗﻮﺍﻧﺪ ﻳﻚ ﻓﻴﻠﻢ ﺳﺎﺩﻩ ﻭ ﺟﺪﺍ ﺑﺎﺷﺪ‪ ،‬ﻭﻟﻰ ﺁﺑﺮﺍﻣﺰ ﻭ ﺍﺳﭙﻴﻠﺒﺮگ‬ ‫ﺍﺩﺍﻣﻪ ﻭ ﻧﺘﻴﺠﻪﻯ ﺁﻥ ﺭﺍ ﺑﻪ ﻧﻴﻤﻪﻯ ﺩﻭﻡ ﻓﻴﻠﻢ ﻣﻮﻛﻮﻝ ﻣﻰﻛﻨﻨﺪ ﻭ ﺩﺭ ﻣﻴﺎﻥ ﺩﺍﺳﺘﺎﻥ ﺍﺻﻠﻰ ﻧﻴﻤﻪﻯ ﺩﻭﻡ‪،‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﺍﻭﻟﻴﻪﻯ ﺧﻮﺩ ﺭﺍ ﻧﻴﺰ ﺗﻜﻤﻴﻞ ﻭ ﺗﻌﺮﻳﻒ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﺩﻭﻡ ﺍﺯ ﺟﺎﻳﻰ ﺷﺮﻭﻉ ﻣﻰﺷﻮﺩ ﻛﻪ ﺳﺎﻧﺤﻪﻯ ﻗﻄﺎﺭ ﺩﺭ ﺣﻴﻦ ﻓﻴﻠﻢﺑﺮﺩﺍﺭﻯ ﺭﺥ ﻣﻰﺩﻫﺪ‪ .‬ﺍﺑﺘﺪﺍ‬ ‫ﻫﻤﻪ ﭼﻴﺰ ﺷﺒﻴﻪ ﻳﻚ ﺍﺗﻔﺎﻕ ﺳﺎﺩﻩ ﺟﻠﻮﻩ ﻣﻰﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﺟﻮ ﻛﻪ ﻣﺤﻮﺭﻳﺖ ﺩﺍﺳﺘﺎﻥ ﺍﺳﺖ ﻧﻈﺎﺭﻩﮔﺮ ﺍﺗﻔﺎﻗﺎﺕ‬ ‫ﻋﺠﻴﺒﻰ ﺩﺭ ﺻﺤﻨﻪ ﺣﺎﺩﺛﻪ ﺍﺳﺖ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺗﺼﺎﺩﻑ ﻭﺍﻧﺖ ﺩﻛﺘﺮ ﻭﻭﺩﻭﺍﺭﺩ ]‪ [12‬ﻣﻌﻠﻢ ﻣﺪﺭﺳﻪ ﺗﻌﻤﺪﻯ‬ ‫ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﻭ ﺗﻬﺪﻳﺪ ﺑﭽﻪﻫﺎ ﺗﻮﺳﻂ ﺩﻛﺘﺮ ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ ﻛﻪ ﻣﺴﺄﻟﻪ ﺭﺍ ﺑﺎ ﻛﺴﻰ ﺩﺭ ﻣﻴﺎﻥ ﻧﮕﺬﺍﺭﻧﺪ‪.‬‬ ‫ﺍﻣﺎ ﺍﺗﻔﺎﻗﺎﺕ ﻋﺠﻴﺐ ﺍﺩﺍﻣﻪ ﺩﺍﺭﺩ؛ ﮔﺮﻭﻫﻰ ﻃﻰ ﺣﻤﻼﺗﻰ ﻣﺸﻜﻮﻙ ﻧﺎﭘﺪﻳﺪ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﺍﺭﺗﺶ ﺩﺭ ﺷﻬﺮ ﺭژﻩ‬ ‫ﻣﻰﺭﻭﺩ ﻭ ﺍﻭﺿﺎﻉ ﺑﺤﺮﺍﻧﻰ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ‪ .‬ﺍﻣﺎ ﺟﻮ ﻭ ﺩﻭﺳﺘﺎﻧﺶ ﻓﺎﺭﻍ ﺍﺯ ﺍﻳﻦ ﻣﺴﺎﺋﻞ ﺩﺭ ﺻﺪﺩ ﺑﻬﺮﻩ ﺑﺮﺩﻥ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﺳﻮﭘـــﺮ ‪8‬‬ ‫ﻣﺤﻤﺪ ﻣﻬﺪﻯ ﺟﻬﺎﻧﻰ‬

‫ﺷﻨﺎﺳﻨﺎﻣﻪ‬ ‫ﺟﻰ‪ .‬ﺟﻰ‪ .‬ﺁﺑﺮﺍﻣﺰ ]‪[2‬‬

‫ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‪:‬‬ ‫ﺍﺳﺘﻴﻮﻥ ﺍﺳﭙﻴﻠﺒﺮگ ]‪[3‬‬ ‫ﺗﻬﻴـــﻪ ﻛـﻨـﻨـﺪﻩ‪:‬‬ ‫ﻟﺮﻯ ﻓﺎﻧﮓ ]‪[4‬‬ ‫ﻣﺪﻳــﺮ ﻓﻴﻠﻢﺑﺮﺩﺍﺭﻯ‪:‬‬ ‫ﻣﺎﻳﻜﻞ ﺟﻴﺎﭼﻴﻨﻮ ]‪[5‬‬ ‫ﻣـﻮﺳﻴـﻘــــــﻰ‪:‬‬ ‫ﺑـﺎﺯﻳـﮕــــــﺮﺍﻥ‪ :‬ﺟﻮﺋﻞ ﻛﻮﺭﺗﻨﻰ ]‪ ،[6‬ﺍﻝ ﻓﺎﻧﻴﻨﮓ]‪ ، [7‬ﻛﺎﻳﻞ ﭼﻨﺪﻟﺮ ]‪[8‬‬ ‫‪ 112‬ﺩﻗﻴﻘﻪ‬ ‫ﺯ ﻣــــــــــﺎ ﻥ ‪:‬‬ ‫‪ 2011‬ﺍﻣﺮﻳﻜﺎ‬ ‫ﻣﺤﺼــــــــﻮ ﻝ ‪:‬‬

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‫ﺍﻳﻦ ﻗﺴﻤﺖ ﺍﺯ ﻧﻈﺮ ﺯﻣﺎﻧﻰ ﻛﻢﻛﻢ ﺩﺍﺭﻳﻢ ﺑﻪ ﻛﺘﺎﺏ ﻧﺨﺴﺖ ﻣﺠﻤﻮﻋﻪ ﻳﻌﻨﻰ »ﻫﻔﺖﺗﻴﺮﻛﺶ«‬ ‫ﻧﺰﺩﻳﻚ ﻣﻰﺷﻮﻳﻢ‪ ،‬ﺍﻣﺎ ﻫﻨﻮﺯ ﺩﻧﻴﺎ ﺑﻪ ﺷﺪﺕ ﻧﺎﻛﺠﺎﺁﺑﺎﺩﻯ ﻛﺘﺎﺏﻫﺎ ﻧﺸﺪﻩ ﺍﺳﺖ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﻫﺪﻑ‬ ‫ﺭﻭﻟﻨﺪ ﺍﺯ ﺍﻳﻦﺟﺎ ﺑﻪ ﺑﻌﺪ ﺩﻳﮕﺮ ﺭﺳﻴﺪﻥ ﺑﻪ ﺑﺮﺝ ﺗﺎﺭﻳﻚ ﺍﺳﺖ‪ .‬ﻧﻘﺸﻪﻫﺎﻳﻰ ﻣﻰﻛﺸﺪ ﻭ ﺑﺎ ﻛﻤﻚ‬ ‫ﺩﻳﮕﺮﺍﻥ ﺳﻌﻰ ﺩﺭ ﺗﺤﻘﻖ ﺍﻫﺪﺍﻓﺶ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺑﺎﻳﺪ ﺑﻔﻬﻤﻴﻢ ﭼﻄﻮﺭ ﺩﺭ ﺁﻏﺎﺯ ﻛﺘﺎﺏﻫﺎﻯ‬ ‫ﻣﺠﻤﻮﻋﻪ‪ ،‬ﺭﻭﻟﻨﺪ ﺁﺧﺮﻳﻦ ﺑﺎﺯﻣﺎﻧﺪﻩﻯ ﻫﻔﺖﺗﻴﺮﻛﺶﻫﺎﺳﺖ‪.‬‬ ‫ﺑﺎ ﭘﺎﻳﺎﻥ ﺟﻠﺪ ﭘﻨﺠﻢ‪ ،‬ﺑﺨﺶ ﻧﺨﺴﺖ ﭘﺎﻳﺎﻥ ﻣﻰﻳﺎﺑﺪ ﻭ ﺑﺨﺶ ﺩﻭﻡ ﺁﻥ ﺑﺎ ﻋﻨﻮﺍﻥ »ﺑﺮﺝ ﺗﺎﺭﻳﻚ‪:‬‬ ‫ﻫﻔﺖﺗﻴﺮﻛﺶ« ﺁﻏﺎﺯ ﻣﻰﺷﻮﺩ‪ .‬ﺣﻮﺍﺩﺙ ﺑﺨﺶ ﺩﻭﻡ ﺑﻴﺸﺘﺮ ﺑﺮ ﺍﺳﺎﺱ ﻛﺘﺎﺏ ﺍﻭﻝ ﻣﺠﻤﻮﻋﻪ‬ ‫ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﺳﺎﻝﻫﺎ ﺍﺯ ﺣﻮﺍﺩﺙ ﺑﺨﺶ ﺍﻭﻝ ﮔﺬﺷﺘﻪ ﺍﺳﺖ ﻭ ﺍﻛﻨﻮﻥ ﺭﻭﻟﻨﺪ‪ ،‬ﺗﻨﻬﺎ ﻫﻔﺖﺗﻴﺮﻛﺶ ﺩﺭ‬ ‫ﺟﺴﺘﺠﻮﻯ ﺑﺮﺝ ﺗﺎﺭﻳﻚ ﺍﺳﺖ‪ .‬ﺳﻪ ﺟﻠﺪ ﻧﺨﺴﺖ ﺑﺨﺶ ﺩﻭﻡ ﻛﻪ »ﻣﺎﺟﺮﺍ ﺁﻏﺎﺯ ﻣﻰﺷﻮﺩ« ]‪،[17‬‬ ‫»ﺧﻮﺍﻫﺮﺍﻥ ﻛﻮﭼﻚ ﺍﻳﻠﻮﺭﻳﺎ« ]‪ [18‬ﻭ »ﻧﺒﺮﺩ ﺗﻮﻝ« ]‪ [19‬ﻧﺎﻡ ﺩﺍﺭﺩ‪ ،‬ﺗﺎﻛﻨﻮﻥ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺷﺮﻛﺖ ﻣﺎﺭﻭﻝ ﺗﻮﺍﻧﺴﺘﻪ ﺩﺭ ﻃﻮﻝ ﺍﻳﻦ ﺳﺎﻝﻫﺎ ﺍﻗﺘﺒﺎﺳﻰ ﺯﻳﺒﺎ ﺍﺯ ﺟﻬﺎﻥ ﻭﺳﻴﻊ ﺍﺳﺘﻴﻮﻥ ﻛﻴﻨﮓ‬ ‫ﺍﻳﺠﺎﺩ ﻛﻨﺪ‪ .‬ﻛﻤﻴﻚﻫﺎﻯ ﺑﺮﺝ ﺗﺎﺭﻳﻚ ﺗﺠﺮﺑﻪﻯ ﺷﻴﺮﻳﻦ ﺑﺮﺍﻯ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﺧﻮﺍﻫﻨﺪ ﺑﻮﺩ‪ .‬ﺑﺎ ﺍﻳﻦ‬ ‫ﺣﺎﻝ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﺮﺍﻯ ﺍﻓﺮﺍﺩﻯ ﻛﻪ ﺑﺎ ﻛﺘﺎﺏﻫﺎ ﺁﺷﻨﺎﻳﻰ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﻗﺪﺭﻯ ﺳﺮﺩﺭﮔﻢ ﻛﻨﻨﺪﻩ ﺑﻪ‬ ‫ﻧﻈﺮ ﺑﺮﺳﻨﺪ‪ .‬ﺍﻣﺎ ﺑﺮﺍﻯ ﻃﺮﻓﺪﺍﺭﺍﻥ ﻛﺘﺎﺏ ﻓﺮﺻﺘﻰ ﺍﺳﺖ ﺑﺮﺍﻯ ﻣﺮﻭﺭ ﺣﻮﺍﺩﺙ ﺭﺥ ﺩﺍﺩﻩ ﻭ ﻫﻤﭽﻨﻴﻦ‬ ‫ﺧﻮﺍﻧﺪﻥ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺑﺴﻴﺎﺭﻯ ﻛﻪ ﺍﺳﺘﻴﻮﻥ ﻛﻴﻨﮓ ﻓﺮﺻﺖ ﻧﻜﺮﺩﻩ ﺗﺎ ﺁﻥﻫﺎ ﺭﺍ ﻭﺍﺭﺩ ﻛﺘﺎﺏﻫﺎ‬ ‫ﻛﻨﺪ‪.‬‬ ‫ﭘﻰﻧﻮﺷﺖﻫﺎ‪:‬‬ ‫‪1. Marvel Comics‬‬ ‫‪2. The Dark Tower‬‬ ‫‪3. Stephen King‬‬ ‫‪4. Robin Furth‬‬ ‫‪5. Peter David‬‬ ‫‪6. Young Justice‬‬ ‫‪7. Fallen Angel‬‬ ‫‪8. The Incredible Hulk‬‬ ‫‪9. Jae Lee‬‬ ‫‪10. Richard Isanoye‬‬

‫‪11. Roland Deschain‬‬ ‫‪12. The Gunslinger Born‬‬ ‫‪13. The Long Road Home‬‬ ‫‪14. Treachery‬‬ ‫‪15. The Fall of Gilead‬‬ ‫‪16. The Battle of Jericho Hill‬‬ ‫‪17. The Journey Begins‬‬ ‫‪18. The Little Sisters of Eluria‬‬ ‫‪19. The Battle of Tull‬‬

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‫ﺟﻠﺪ ﺩﻭﻡ ﺑﻪ ﮔﻴﺮﺍﻳﻰ ﺟﻠﺪ ﺍﻭﻝ ﻧﻴﺴﺖ‪ .‬ﭼﻮﻥ ﺩﺍﺳﺘﺎﻥ ﻫﻢ ﻛﻮﺗﺎﻩﺗﺮ ﺍﺳﺖ‬ ‫ﻭ ﻫﻢ ﺳﺎﺩﻩﺗﺮ‪ .‬ﺍﻣﺎ ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﻃﺮﺍﺣﻰﻫﺎ ﺑﻪ ﺩﺍﺳﺘﺎﻥ ﺟﺎﻥ ﻣﻰﺩﻫﻨﺪ‬ ‫ﻭ ﺯﻳﺒﺎﻳﻰ ﻛﺎﺭ ﺭﺍ ﺑﻴﺸﺘﺮ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺩﻧﻴﺎﻳﻰ ﻛﻪ ﻣﻬﻰ ﺑﻪ ﺳﺮﺧﻰ ﺧﻮﻥ ﻭ‬ ‫ﺷﻔﻘﻰ ﭘﺎﻳﻴﺰﻯ ﺁﻥ ﺭﺍ ﺑﻪ ﺩﻭ ﻧﻴﻢ ﻛﺮﺩﻩ ﻭ ﻫﻤﻪﺟﺎ ﭘﺮ ﺍﺳﺖ ﺍﺯ ﭼﻬﺮﻩﻫﺎﻳﻰ‬ ‫ﺳﺎﻳﻪ ﻣﺎﻧﻨﺪ‪ ،‬ﺳﺮﺯﻣﻴﻦﻫﺎﻯ ﻟﻢﻳﺰﺭﻉ ﻭ ﻣﻮﺟﻮﺩﺍﺗﻰ ﻫﻮﻟﻨﺎﻙ‪.‬‬ ‫ﺟﻠﺪ ﺳﻮﻡ ﻛﻤﻴﻚ »ﺧﻴﺎﻧﺖ« ]‪ [14‬ﻧﺎﻡ ﺩﺍﺭﺩ‪ .‬ﺭﻭﻟﻨﺪ ﺩﺭ ﺩﻭ ﺟﻠﺪ‬ ‫ﻧﺨﺴﺘﻴﻦ ﺑﺎ ﺳﺨﺘﻰﻫﺎﻯ ﺑﺴﻴﺎﺭﻯ ﺭﻭﺑﺮﻭ ﺷﺪﻩ‪ ،‬ﺍﻣﺎ ﺑﺎﺯﮔﺸﺖ ﺑﻪ ﺧﺎﻧﻪ ﺍﺯ‬ ‫ﺩﺭﺩﻫﺎﻯ ﺍﻭ ﻧﻤﻰﻛﺎﻫﺪ ﻭ ﺩﺍﺳﺘﺎﻥ ﺑﺮ ﺑﺴﺘﺮ ﻃﺮﺍﺣﻰﻫﺎﻯ ﺭﻧﮕﺎﺭﻧﮓ ﺟﺎﺋﻪ‬ ‫ﻟﻰ ﻭ ﺗﺮﺍژﺩﻯﻫﺎﻯ ﺷﻜﺴﭙﻴﺮﮔﻮﻥ ﻛﻴﻨﮓ ﺭﻭﺍﻳﺖ ﻣﻰﺷﻮﺩ ﻛﻪ ﻣﻮﺟﺐ‬ ‫ﺍﻳﺠﺎﺩ ﺍﺛﺮﻯ ﺯﻳﺒﺎ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺑﺨﺶ ﺯﻳﺎﺩﻯ ﺍﺯ ﻛﺘﺎﺏ ﻫﻤﺎﻧﻨﺪ ﺁﺭﺍﻣﺶ‬ ‫ﻗﺒﻞ ﺍﺯ ﻃﻮﻓﺎﻥ ﺍﺳﺖ‪ .‬ﺍﻧﮕﺎﺭ ﻧﻴﺮﻭﻫﺎﻯ ﺷﻴﻄﺎﻧﻰ ﻫﻤﻴﻦﻃﻮﺭ ﺩﺍﺭﻧﺪ ﺑﻪ‬ ‫ﻗﻬﺮﻣﺎﻧﺎﻥ ﻣﺎ ﻧﺰﺩﻳﻚﺗﺮ ﻣﻰﺷﻮﻧﺪ ﻭ ﺣﻮﺍﺩﺙ ﻣﺨﻮﻓﻰ ﺩﺭ ﺍﻧﺘﻈﺎﺭ ﺭﻭﻟﻨﺪ ﻭ‬ ‫ﺍﻃﺮﺍﻓﻴﺎﻧﺶ ﻟﺤﻈﻪﺷﻤﺎﺭﻯ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﻫﻢ ﻣﺎﻧﻨﺪ ﻫﻤﻪﻯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻛﻴﻨﮓ‪ ،‬ﭘﺮ ﺍﺯ ﻫﺮﺍﺱ ﻭ‬ ‫ﺻﺤﻨﻪﻫﺎﻯ ﻛﺎﺑﻮﺱﻣﺎﻧﻨﺪ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻃﺮﺍﺣﻰﻫﺎﻯ ﺧﺎﺹ ﺟﺎﺋﻪ ﻟﻰ‬ ‫ﺧﻮﻑﻧﺎﻙﺗﺮ ﺍﺯ ﻫﻤﻴﺸﻪﺍﻧﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺍﻳﻦ ﻛﻤﻴﻚ‪ ،‬ﺩﺍﺳﺘﺎﻥ ﭘﻴﻮﺳﺘﻪ‬ ‫ﻭ ﻣﻨﺴﺠﻤﻰ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﺑﺎ ﺷﺮﻭﻉ ﺟﻠﺪ ﭼﻬﺎﺭﻡ‪» ،‬ﺳﻘﻮﻁ ﮔﻴﻠﻴﺪ« ]‪[15‬ﺩﺍﺳﺘﺎﻥ ﻣﺠﻤﻮﻋﻪ ﺑﻪ‬ ‫ﺳﺮﺟﺎﻡ ﻧﺎﮔﺰﻳﺮﺵ ﻧﺰﺩﻳﻚ ﻣﻰﺷﻮﺩ‪ ...‬ﺍﺯ ﻧﺎﻣﺶ ﭘﻴﺪﺍﺳﺖ ﻛﻪ ﭼﻪ ﺩﺭ‬ ‫ﭘﻴﺶ ﺍﺳﺖ‪ .‬ﺑﻮﻯ ﺧﻮﻥ ﻣﻰﺩﻫﺪ‪ .‬ﺑﻮﻯ ﻣﺮگ‪ .‬ﺑﻮﻯ ﺟﺎﺩﻭﻯ ﺷﻴﻄﺎﻧﻰ‬ ‫ﻭ ﺿﺮﺑﺎﺕ ﻫﻮﻟﻨﺎﻙ‪ .‬ﻭ ﺣﻘﻴﻘﺘﺎً ﺩﺍﺳﺘﺎﻥ ﺟﺎﻟﺒﻰ ﺍﺳﺖ‪ .‬ﺩﻳﻮﻳﺪ ﻭ ﻓﻮﺭﺙ‬ ‫ﺣﻤﺎﺳﻪﻫﺎﻯ ﺗﺮﺍژﻳﻚ ﻳﻚ ﺳﻘﻮﻁ ﺭﺍ ﺑﺎ ﻛﻤﺎﻝ ﻣﻬﺎﺭﺕ ﺑﻴﺎﻥ ﻣﻰﻛﻨﻨﺪ‬ ‫ﻭ ﺧﻮﺍﻧﻨﺪﻩ ﻛﻪ ﺗﺤﺖ ﺗﺄﺛﻴﺮ ﻧﺎﻡ ﺍﺛﺮ ﻫﻤﻴﺸﻪ ﻣﻨﺘﻈﺮ ﺭﻭﻳﺪﺍﺩﻫﺎﻯ ﻧﺎﮔﻮﺍﺭ‬ ‫ﺍﺳﺖ ﻭ ﺍﻟﺘﻬﺎﺏ ﺍﺯ ﺍﺑﺘﺪﺍ ﺑﺎ ﺍﻭﺳﺖ‪ ،‬ﺑﻪ ﻣﻴﺰﺍﻥ ﺯﻳﺎﺩﻯ ﺗﺤﺖ ﺗﺄﺛﻴﺮ ﻗﻮﺕ‬ ‫ﻃﺮﺍﺣﻰﻫﺎ ﻭﺍﻗﻊ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺁﻥﭼﻪ ﭘﻴﺶ ﺭﻭ ﺩﺍﺭﺩ‪ ،‬ﻏﻴﺮﻗﺎﺑﻞ ﺑﺎﻭﺭ ﺍﺳﺖ‪.‬‬ ‫ﺟﻠﺪ ﭘﻨﺠﻢ ﻛﻪ »ﻧﺒﺮﺩ ﺗﭙﻪ ﺟﺮﻳﻜﻮ« ]‪ [16‬ﻧﺎﻡ ﺩﺍﺭﺩ‪ ،‬ﺑﻪ ﺷﺮﺡ ﺣﻮﺍﺩﺙ‬ ‫ﭘﺲ ﺍﺯ ﻗﺴﻤﺖ ﭘﻴﺸﻴﻦ ﺍﺧﺘﺼﺎﺹ ﺩﺍﺭﺩ‪ .‬ﺩﻧﻴﺎ ﺭﻭ ﺑﻪ ﻓﺴﺎﺩ ﺍﺳﺖ‪ .‬ﺩﺭ‬ ‫‪59‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﺑﺮﺧﻼﻑ‬ ‫ﻛﺘﺎﺏﻫﺎﻯ‬ ‫ﺣﺠﻴﻢ‬ ‫ﻛﻴﻨﮓ ﻛﻪ‬ ‫ﺧﻮﺍﻧﺪﻧﺸﺎﻥ‬ ‫ﺭﻭﺯﻫﺎ ﺑﻪ ﻃﻮﻝ‬ ‫ﻣﻰﺍﻧﺠﺎﻣﺪ‪ ،‬ﻫﺮ‬ ‫ﺟﻠﺪ ﺍﺯ ﻛﻤﻴﻚ‬ ‫ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺩﺭ‬ ‫ﻋﺮﺽ ﺳﺎﻋﺘﻰ‬ ‫ﻣﻄﺎﻟﻌﻪ ﻛﺮﺩ‪.‬‬

‫ﺍﻣﺎ ﺩﻳﻮﻳﺪ ﺑﻴﺸﺘﺮ ﺑﻪ ﺧﺎﻃﺮ ﺑﻪ ﺧﺎﻃﺮ ‪ 12‬ﺳﺎﻝ ﻧﻮﻳﺴﻨﺪﮔﻰﺍﺵ ﺑﺮﺍﻯ ﻛﻤﻴﻚ »ﻫﺎﻟﻚ‬ ‫ﺷﮕﻔﺖﺍﻧﮕﻴﺰ« ]‪ [8‬ﻣﺸﻬﻮﺭ ﺍﺳﺖ‪ .‬ﻃﺮﺍﺣﻰ ﻛﻤﻴﻚ ﻧﻴﺰ ﺑﺮ ﻋﻬﺪﻩﻯ ﺟﺎﺋﻪ ﻟﻰ ]‪ [9‬ﻭ ﺭﻳﭽﺎﺭﺩ‬ ‫ﺍﻳﺰﺍﻧﻮ ]‪ [10‬ﺍﺳﺖ‪ .‬ﺑﻴﺸﺘﺮ ﻃﺮﺍﺣﻰﻫﺎﻯ ﺩﺍﺧﻠﻰ ﺑﺮ ﻋﻬﺪﻩ ﺟﺎﺋﻪ ﻟﻰ ﺍﺳﺖ‪ .‬ﺍﺯ ﺁﺛﺎﺭ ﻣﻌﺮﻭﻑ ﺍﻭ‬ ‫ﻣﻰﺗﻮﺍﻥ ﺑﻪ »ﺳﻨﺘﺮﻯ« ﻭ »ﻧﺎﺍﻧﺴﺎﻥﻫﺎ« ﺍﺷﺎﺭﻩ ﻛﺮﺩ‪ .‬ﺍﻳﻦ ﭼﻬﺎﺭ ﺗﻦ ﺑﻪ ﻛﻤﻚ ﻋﺪﻩﻯ ﻛﺜﻴﺮﻯ‪،‬‬ ‫ﺍﻗﺘﺒﺎﺳﻰ ﺭﺍ ﺁﻏﺎﺭ ﻛﺮﺩﻧﺪ ﻛﻪ ﺑﺮﺍﻯ ﺳﺎﻝﻫﺎ ﺍﺩﺍﻣﻪ ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ‪ .‬ﺍﻗﺘﺒﺎﺳﻰ ﺑﻰﭘﺎﻳﺎﻥ ﺍﺯ ﺩﺍﺳﺘﺎﻧﻰ‬ ‫ﺑﻰﭘﺎﻳﺎﻥ‪.‬‬ ‫ﺑﺮﺧﻼﻑ ﻛﺘﺎﺏﻫﺎﻯ ﺣﺠﻴﻢ ﻛﻴﻨﮓ ﻛﻪ ﺧﻮﺍﻧﺪﻧﺸﺎﻥ ﺭﻭﺯﻫﺎ ﺑﻪ ﻃﻮﻝ ﻣﻰﺍﻧﺠﺎﻣﺪ‪ ،‬ﻫﺮ ﺟﻠﺪ ﺍﺯ‬ ‫ﻛﻤﻴﻚ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺩﺭ ﻋﺮﺽ ﺳﺎﻋﺘﻰ ﻣﻄﺎﻟﻌﻪ ﻛﺮﺩ‪ .‬ﺍﻣﺎ ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﻧﻮﺷﺘﻪﻫﺎﻯ ﻛﻤﻴﻚ ﺷﺒﻴﻪ‬ ‫ﻧﺜﺮ ﻛﻴﻨﮓ ﺍﺳﺖ ﻭ ﺗﺼﺎﻭﻳﺮ ﺯﻳﺒﺎﻳﻰ ﻛﻠﻤﺎﺕ ﺭﺍ ﻫﻤﺮﺍﻫﻰ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻋﻼﻭﻩ ﺑﺮ ﺩﺍﺳﺘﺎﻥ ﺍﺻﻠﻰ‪،‬‬ ‫ﺩﺭ ﺁﺧﺮ ﻫﺮ ﻓﺼﻞ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻛﻮﺗﺎﻫﻰ ﻧﻮﺷﺘﻪﻯ ﺭﺍﺑﻴﻦ ﻓﻮﺭﺙ ﻧﻴﺰ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ ﻛﻪ ﺍﻃﻼﻋﺎﺕ‬ ‫ﺑﻴﺸﺘﺮﻯ ﺩﺭ ﻣﻮﺭﺩ ﺩﻧﻴﺎﻯ ﺑﺮﺝ ﺗﺎﺭﻳﻚ ﻣﻰﺩﻫﻨﺪ ﻭ ﺑﺎﻋﺚ ﺍﻓﺰﺍﻳﺶ ﺟﺬﺍﺑﻴﺖ ﻛﻞ ﻣﺠﻤﻮﻋﻪ‬ ‫ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﻧﺨﺴﺘﻴﻦ ﺑﺨﺶ ﻛﻤﻴﻚ‪ ،‬ﺑﺮﺝ ﺗﺎﺭﻳﻚ ﻧﺎﻡ ﺩﺍﺭﺩ‪ .‬ﺍﻳﻦ ﺑﺨﺶ ﺍﺯ ﭘﻨﺞ ﺭﻣﺎﻥ ﮔﺮﺍﻓﻴﻜﻰ ﻭ ﭼﻨﺪ‬ ‫ﻛﻤﻴﻚ ﻳﻚ ﻗﺴﻤﺘﻰ ﺗﺸﻜﻴﻞ ﺷﺪﻩ ﻭ ﺩﺭﺣﻘﻴﻘﺖ ﺣﻜﺎﻳﺖ ﺩﻭﺭﺍﻥ ﺟﻮﺍﻧﻰ ﻗﻬﺮﻣﺎﻥ ﺩﺍﺳﺘﺎﻥ‪،‬‬ ‫»ﺭﻭﻟﻨﺪ ﺩﺳﭽﻴﻦ« ]‪ ،[11‬ﺍﺳﺖ‪ .‬ﺍﻭﺍﻳﻞ ﺍﻳﻦ ﺑﺨﺶ ﺑﺮ ﺍﺳﺎﺱ ﻓﻠﺶﺑﻚﻫﺎﻯ ﻛﺘﺎﺏ ﺍﻭﻝ ﻭ ﺑﺨﺸﻰ‬ ‫ﺍﺯ ﺁﻥ ﺑﺮ ﺍﺳﺎﺱ ﻛﺘﺎﺏ ﭼﻬﺎﺭ ﺍﺳﺖ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺍﺯ ﺍﻃﻼﻋﺎﺕ ﺩﺍﺩﻩ ﺷﺪﻩ ﺩﺭ ﻛﺘﺎﺏﻫﺎﻯ ﭘﻨﺞ ﻭ‬ ‫ﻫﻔﺖ ﻧﻴﺰ ﺍﺳﺘﻔﺎﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺍﻛﺜﺮ ﺣﻮﺍﺩﺛﻰ ﻛﻪ ﺩﺭ ﻛﻤﻴﻚ ﺭﺥ ﻣﻰﺩﻫﻨﺪ‪ ،‬ﺟﺪﻳﺪ‬ ‫ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﺍﻭﻟﻴﻦ ﺭﻣﺎﻥ ﮔﺮﺍﻓﻴﻜﻰ ﻛﻪ »ﺗﻮﻟﺪ ﻫﻔﺖﺗﻴﺮﻛﺶ« ]‪ [12‬ﻧﺎﻡ ﺩﺍﺭﺩ‪ ،‬ﺑﺎ ﺁﺯﻣﻮﻥ‬ ‫ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴﻠﻰ ﺭﻭﻟﻨﺪ ﺟﻮﺍﻥ ﺁﻏﺎﺯ ﻣﻰﺷﻮﺩ؛ ﺳﭙﺲ ﺑﺎ ﻣﺎﺟﺮﺍﻫﺎ ﻭ ﻣﺄﻣﻮﺭﻳﺖﻫﺎﻯ ﺭﻭﻟﻨﺪ ﻭ‬ ‫ﺩﻭﺳﺘﺎﻧﺶ ﺍﺩﺍﻣﻪ ﻣﻰﻳﺎﺑﺪ‪ .‬ﺍﻭﺍﻳﻞ ﻛﻤﻴﻚ ﺑﺮ ﺍﺳﺎﺱ ﻓﻠﺶﺑﻚﻫﺎﻯ ﻛﺘﺎﺏ ﺍﻭﻝ‪ ،‬ﺍﻣﺎ ﺍﺩﺍﻣﻪﻯ ﺁﻥ ﺑﺮ‬ ‫ﺍﺳﺎﺱ ﺟﻠﺪ ﭼﻬﺎﺭﻡ ﻣﺠﻤﻮﻋﻪ ﺍﺳﺖ‪.‬‬ ‫ﺑﺎ ﺁﻏﺎﺯ ﺟﻠﺪ ﺩﻭﻡ ﻛﻤﻴﻚ ﻛﻪ »ﺭﺍﻩ ﻃﻮﻻﻧﻰ ﺧﺎﻧﻪ« ]‪ [13‬ﻧﺎﻡ ﺩﺍﺭﺩ‪ ،‬ﻧﻮﻳﺴﻨﺪﻩﻫﺎ ﺍﺑﺘﻜﺎﺭ ﻋﻤﻞ ﺭﺍ‬ ‫ﺑﻪ ﺩﺳﺖ ﻣﻰﮔﻴﺮﻧﺪ ﻭ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻧﺎﮔﻔﺘﻪﻯ ﺟﺪﻳﺪﻯ ﺭﺍ ﻭﺍﺭﺩ ﻛﻤﻴﻚ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺍﻣﺎ ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ‬ ‫ﺑﺮﺍﻯ ﺩﺭﻙ ﺩﺍﺳﺘﺎﻥﻫﺎ‪ ،‬ﺑﻬﺘﺮ ﺍﺳﺖ ﻗﺒ ً‬ ‫ﻼ ﻛﺘﺎﺏﻫﺎﻯ ﺍﺻﻠﻰ ﺧﻮﺍﻧﺪﻩ ﺑﺎﺷﻴﺪ‪ .‬ﺩﺭ ﺟﻠﺪ ﺩﻭﻡ ﻛﻤﻴﻚ‬ ‫ﺑﻪ ﺭﻭﻟﻨﺪ ﺑﻴﺸﺘﺮ ﭘﺮﺩﺍﺧﺘﻪ ﻣﻰﺷﻮﺩ ﻭ ﺑﺎ ﺣﻮﺍﺩﺙ ﺳﺨﺖ ﺑﺴﻴﺎﺭﻯ ﺭﻭﺑﺮﻭ ﻣﻰﺷﻮﻳﻢ ﻛﻪ ﺑﺎﻋﺚ‬ ‫ﻣﻰﺷﻮﻧﺪ ﺭﻭﻟﻨﺪ ﺑﻪ ﻫﻔﺖﺗﻴﺮﻛﺶ ﻗﻬﺮﻣﺎﻧﻰ ﻛﻪ ﻣﻰﺷﻨﺎﺳﻴﻢ ﻭ ﺩﻭﺳﺘﺶ ﺩﺍﺭﻳﻢ‪ ،‬ﺗﺒﺪﻳﻞ ﺷﻮﺩ‪.‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﻛﻤﻴﻚ ﺑﺮﺝ ﺗﺎﺭﻳﻚ‬ ‫ﺍﻣﻴﺮ ﺑﺎﺑﺎﻳﻰ‬

‫ﺩﺭ ﺳﺎﻝ ‪ 2007‬ﺷﺮﻛﺖ ﻛﻤﻴﻚ ﻣﺎﺭﻭﻝ ]‪ [1‬ﺗﺼﻤﻴﻢ ﺑﺮ ﺗﻮﻟﻴﺪ ﺍﻗﺘﺒﺎﺳﻰ ﺍﺯ ﻣﺠﻤﻮﻋﻪ‬ ‫ﻛﺘﺎﺏﻫﺎﻯ ﺑﺮﺝ ﺗﺎﺭﻳﻚ ]‪ [2‬ﻧﻮﺷﺘﻪﻯ ﺍﺳﺘﻴﻮﻥ ﻛﻴﻨﮓ ]‪ [3‬ﮔﺮﻓﺖ‪ .‬ﻗﺒﻞ ﺍﺯ ﺁﻥ ﻧﻴﺰ‬ ‫ﻣﺎﺭﻭﻝ ﺍﻗﺘﺒﺎﺱﻫﺎﻳﻰ ﺍﺯ ﻣﺠﻤﻮﻋﻪﻫﺎﻯ ﻣﺸﻬﻮﺭ ﻣﻨﺘﺸﺮ ﻣﻰﻛﺮﺩ‪ ،‬ﺍﻣﺎ ﺍﻳﻦ ﻧﺨﺴﺘﻴﻦ‬ ‫ﻛﻤﻴﻜﻰ ﺍﺳﺖ ﻛﻪ ﻣﺎﺭﻭﻝ ﺩﺭ ﺁﻥ ﺍﺯ ﺧﺎﻟﻘﺎﻥ ﻣﺸﻬﻮﺭﺵ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﺪ‪ .‬ﺷﺨﺺ‬ ‫ﻛﻴﻨﮓ ﺩﺭ ﻃﻮﻝ ﺍﻳﻦ ﭘﺮﻭژﻩ ﺑﺎ ﻣﺎﺭﻭﻝ ﻫﻤﻜﺎﺭﻯ ﻧﺰﺩﻳﻜﻰ ﺩﺍﺭﺩ‪ .‬ﺭﺍﺑﻴﻦ ﻓﻮﺭﺙ ]‪ [4‬ﺩﺳﺘﻴﺎﺭ‬ ‫ﺷﺨﺼﻰ ﻛﻴﻨﮓ ﻛﻪ ﺳﺎﻝﻫﺎ ﺑﺎ ﺍﻭ ﻛﺎﺭ ﻛﺮﺩﻩ ﻭ ﺑﻪ ﺍﻧﺪﺍﺯﻩ ﺍﻭ ﺑﺎ ﺩﻧﻴﺎﻯ ﺑﺮﺝ ﺗﺎﺭﻳﻚ ﺁﺷﻨﺎﻳﻰ‬ ‫ﺩﺍﺭﺩ‪ ،‬ﻭﻇﻴﻔﻪ ﻧﻮﺷﺘﻦ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺑﺮ ﻋﻬﺪﻩ ﺩﺍﺭﺩ‪ .‬ﻧﻮﺷﺘﻦ ﻣﺘﻦ ﻛﻤﻴﻚ ﺑﺮ ﻋﻬﺪﻩﻯ‬ ‫ﭘﻴﺘﺮ ﺩﻳﻮﻳﺪ ]‪ ،[5‬ﺍﺯ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻣﺸﻬﻮﺭ ﻛﻤﻴﻚ ﺍﺳﺖ‪ .‬ﭘﻴﺘﺮ ﺩﻳﻮﻳﺪ ﺍﺯ ﺳﺎﻝ ‪1985‬‬ ‫ﺑﻪ ﻧﻮﻳﺴﻨﺪﮔﻰ ﻛﻤﻴﻚ ﻣﺸﻐﻮﻝ ﺑﻮﺩﻩ ﻭ ﺩﺭ ﻃﻮﻝ ﺍﻳﻦ ﻣﺪﺕ ﺁﺛﺎﺭ ﻣﺸﻬﻮﺭ ﺯﻳﺎﺩﻯ ﺩﺭ‬ ‫ﺯﻣﻴﻨﻪﻯ ﻛﻤﻴﻚﻫﺎﻯ ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ‪ ،‬ﻓﺎﻧﺘﺰﻯ ﻭ ﺍﺑﺮﻗﻬﺮﻣﺎﻧﻰ ﺧﻠﻖ ﻛﺮﺩﻩ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺁﻥ‬ ‫ﺟﻤﻠﻪ ﻣﻰﺗﻮﺍﻥ ﺑﻪ »ﻋﺪﺍﻟﺖ ﺟﻮﺍﻥ« ]‪ [6‬ﻭ »ﻓﺮﺷﺘﻪﻯ ﺳﻘﻮﻁ ﻛﺮﺩﻩ« ]‪ [7‬ﺍﺷﺎﺭﻩ ﻛﺮﺩ‪.‬‬

‫ﻛﺘﺎﺏ‬

:‫ﭘﻰﻧﻮﺷﺖﻫﺎ‬ 1. The Dark Tower 2. Stephen King 3. Grant 4. Stanley Kubrick 5. Frank Darabont 6. Rob Reiner 7. J. R. R. Tolkien 8. Sergio Leone 9. The Good, the Bad and the Ugly 10. The Dark Tower: The Gunslinger 11. The magazine of fantasy and science fiction 12. The way station 13. The Oracle and the Mountains 14. The slow Mutants 15. The Gunslinger and the Dark Man 16. Robert Browning

1390 ‫ ﺁﺑﺎﻥ‬،11 ‫ﺷﻤﺎﺭﻩﻯ‬

17. Childe Roland to the Dark Tower Came 18. The Dark Tower: The wind through the keyhole 19. The Dark Tower II: The Drawing of the Three 20. The Dark Tower III: The Waste Lands 21. The Dark Tower IV: Wizard and Glass 22. The Dark Tower V: Wolves of the Calla 23. The Dark Tower VI: Song of Susannah 24. The Dark Tower VII: The Dark Tower 25. Michael Whelan 26. Phil Hale 27. Ned Dameron 28. Dave McKean 29. MirrorMask 30. Universal Pictures 31. Ron Howard 32. Akiva Goldsman

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‫ﺩﻭ ﻗﻄﻌﻪ ﺍﺯ ﻣﺘﻦ ﻛﺘﺎﺏ‬ ‫‪ ‬ﻣﺮﺩ ﺳﻴﺎﻩﭘﻮﺵ ﺑﻪ ﺑﻴﺎﺑﺎﻥ ﮔﺮﻳﺨﺖ ﻭ ﻫﻔﺖﺗﻴﺮﻛﺶ ﺗﻌﻘﻴﺒﺶ ﻛﺮﺩ‪ .‬ﺑﻴﺎﺑﺎﻥ‪ ،‬ﭘﻬﻨﻪﺍﻯ‬ ‫ﻭﺳﻴﻊ‪ ،‬ﺳﺮﺁﻣﺪ ﺗﻤﺎﻡ ﺑﻴﺎﺑﺎﻥﻫﺎ ﺑﻮﺩ ﻭ ﺍﺯ ﻫﺮ ﺳﻮ‪ ،‬ﺁﺳﻤﺎﻥ ﺑﺮ ﻓﺮﺍﺯ ﺁﻥ ﺧﻮﺩﻧﻤﺎﻳﻰ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺳﻔﻴﺪ‪ ،‬ﺧﻴﺮﻩﻛﻨﻨﺪﻩ‪ ،‬ﺧﺸﻚ ﻭ ﺑﻰﺁﺏ؛ ﺑﻰ ﺁﻥ ﻛﻪ ﺩﺭ ﺁﻥ ﺳﺮﭘﻨﺎﻫﻰ ﻳﺎﻓﺖ ﺷﻮﺩ‪ .‬ﺩﺭ ﺍﻓﻖ‬ ‫ﻛﻮﻩﻫﺎﻯ ﻣﻪﺁﻟﻮﺩ ﺭﺥ ﻣﻰﻧﻤﻮﺩ ﻭ ﻋﻠﻒ ﺍﻓﻴﻮﻧﻰ‪ ،‬ﺭﺅﻳﺎﻳﻰ ﺷﻴﺮﻳﻦ ﻭ ﺗﺮﺳﻨﺎﻙ ﻭ ﻣﺮگ ﺭﺍ ﺑﻪ‬ ‫ﺍﺭﻣﻐﺎﻥ ﻣﻰ ﺁﻭﺭﺩ‪ .‬ﺭﺩﻳﻒ ﺳﻨﮓﻫﺎﻳﻰ ﻛﻪ ﻧﺎﻣﻨﻈﻢ ﺑﺮ ﻫﻢ ﺍﻧﺒﺎﺷﺘﻪ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻣﺴﻴﺮ ﺭﺍ‬ ‫ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩﻧﺪ؛ ﮔﻮﻳﻰ ﺍﻳﻦ ﻣﺴﻴﺮ ﺗﺎ ﭘﺎﻳﺎﻥ ﺩﻧﻴﺎ ﺍﻣﺘﺪﺍﺩ ﺩﺍﺷﺖ؛ ﺩﻧﻴﺎﻳﻰ ﺗﻬﻰ ﺍﺯ ﻫﺮ ﭼﻴﺰ‪.‬‬ ‫‪‬ﻣﺮﺩ ﺳﻴﺎﻩﭘﻮﺵ ﺳﻴﮕﺎﺭﺵ ﺭﺍ ﺩﺭ ﺁﺗﺶ ﺍﻓﻜﻨﺪ ﻭ ﮔﻔﺖ‪» :‬ﺍﻣﺎ ﻫﻤﻪﺍﺵ ﺍﻳﻦ ﻧﻴﺴﺖ‪ .‬ﻫﻴﭻﻛﺲ‬ ‫ﻗﺪﺭﺕ ﺧﺎﺻﻰ ﺭﻭ ﺩﺭ ﺗﻮ ﺑﻪ ﻭﺟﻮﺩ ﻧﻤﻰﺁﺭﻩ‪ .‬ﺍﻳﻦ ﻗﺪﺭﺕ ﺩﺭ ﺗﻮ ﻭﺟﻮﺩ ﺩﺍﺭﻩ ﻭ ﻣﻦ ﻣﻮﻇﻔﻢ‬ ‫ﺗﻮ ﺭﻭ ﺍﺯ ﻭﺟﻮﺩﺵ ﻣﻄﻠﻊ ﻛﻨﻢ‪ .‬ﺍﻳﻦ ﻳﻪ ﻗﺎﻧﻮﻧﻪ‪ .‬ﻳﻪ ﻗﺎﻧﻮﻥ ﻃﺒﻴﻌﻰ‪ .‬ﻫﻤﻮﻥﻃﻮﺭ ﻛﻪ ﺁﺏ ﺍﺯ‬ ‫ﺳﺮﺍﺯﻳﺮﻯ ﺗﭙﻪ ﺟﺎﺭﻯ ﻣﻰﺷﻪ‪ ،‬ﺗﻮ ﻫﻢ ﺑﺎﻳﺪ ﺍﻳﻦ ﺣﻘﻴﻘﺖ ﺭﻭ ﺑﺪﻭﻧﻰ‪ .‬ﺗﻮ ﺳﻪ ﻛﺎﺭﺕ ﺗﺎﺭﻭﺕ‬ ‫ﺍﻧﺘﺨﺎﺏ ﻣﻰﻛﻨﻰ‪ ...‬ﻣﻦ ﻣﻌﻨﺎﻯ ﻛﺎﺭﺕﻫﺎﻯ ﺗﺎﺭﻭﺕ ﺭﻭ ﻣﻰﺩﻭﻧﻢ‪ .‬ﺍﻟﺒﺘﻪ ﻣﻔﻬﻮﻡ ﺍﻭﻥﻫﺎ ﺑﺮﺍﻡ‬ ‫ﺍﻫﻤﻴﺘﻰ ﻧﺪﺍﺭﻩ ﻭ ﻭﺍﻗﻌﺎً ﻫﻢ ﻧﻤﻰﺧﻮﺍﻡ ﺑﺪﻭﻧﻢ ﻛﺎﺭﺕﻫﺎﻯ ﺗﻮ ﭼﻪ ﻣﻌﻨﺎﻳﻰ ﺩﺍﺭﻥ‪«.‬‬ ‫ﻫﻔﺖﺗﻴﺮﻛﺶ ﻛﻪ ﻳﺎﺩ ﭘﻴﺸﮕﻮﻳﻰ ﺍﻓﺘﺎﺩ‪ ،‬ﮔﻔﺖ‪» :‬ﺳﻪ«‬ ‫»ﺑﺎﺯﻯ ﺍﺯ ﺍﻳﻦﺟﺎ ﺷﺮﻭﻉ ﻣﻰﺷﻪ‪ .‬ﻣﻦ ﺩﻳﮕﻪ ﺑﺎﻳﺪ ﺑﺮﻡ‪ .‬ﺧﺪﺍﺣﺎﻓﻆ ﻫﻔﺖﺗﻴﺮﻛﺶ‪ .‬ﻣﻦ‬ ‫ﻭﻇﻴﻔﻪﺍﻡ ﺭﻭ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻡ‪«.‬‬ ‫ﺭﻭﻟﻨﺪ ﮔﻔﺖ‪» :‬ﻫﻨﻮﺯ ﻳﻚ ﭼﻴﺰ ﺩﻳﮕﻪ ﻫﺴﺖ ﻛﻪ ﺑﺎﻳﺪ ﺑﻪ ﻣﻦ ﺑﮕﻰ‪ ،‬ﺩﺭﺳﺘﻪ؟«‬ ‫»ﺑﻠﻪ« ﻣﺮﺩ ﺳﻴﺎﻩﭘﻮﺵ ﺍﻳﻦ ﺭﺍ ﮔﻔﺖ ﻭ ﺑﺎ ﭼﺸﻤﺎﻥ ﻛﻢﻋﻤﻘﺶ ﺑﻪ ﻫﻔﺖﺗﻴﺮﻛﺶ ﻧﮕﺮﻳﺴﺖ ﻭ‬ ‫ﻟﺒﺨﻨﺪ ﺯﺩ‪ .‬ﺑﻌﺪ ﻳﻜﻰ ﺍﺯ ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ ﺑﻪ ﺳﻮﻯ ﺍﻭ ﺩﺭﺍﺯ ﻛﺮﺩ‪» .‬ﺍﻳﻦ ﺁﺗﺶ ﺭﻭ ﺑﮕﻴﺮ«‬ ‫ﺁﺗﺸﻰ ﺩﺭ ﺩﺳﺘﺎﻧﺶ ﺷﻜﻞ ﮔﺮﻓﺖ‪.‬‬ ‫ﺁﺗﺶ ﻛﻪ ﺑﻪ ﺧﺎﻛﺴﺘﺮ ﻧﺸﺴﺖ‪ ،‬ﺭﻭﻟﻨﺪ ﺑﻴﺪﺍﺭ ﺷﺪ ﻭ ﺧﻮﺩ ﺭﺍ ﺩﻩ ﺳﺎﻝ ﭘﻴﺮﺗﺮ ﻳﺎﻓﺖ؛ ﻣﻮﻫﺎﻯ‬ ‫ﻛﻨﺎﺭ ﺷﻘﻴﻘﻪﺍﺵ ﻛﻢﭘﺸﺖﺗﺮ ﻭ ﺧﺎﻛﺴﺘﺮﻯ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﻣﺎﻧﻨﺪ ﺗﺎﺭ ﻋﻨﻜﺒﻮﺕﻫﺎﻯ ﺍﻭﺍﺧﺮ ﭘﺎﻳﻴﺰ‪.‬‬ ‫ﺧﻄﻮﻁ ﺭﻭﻯ ﭼﻬﺮﻩﺍﺵ ﻋﻤﻴﻖﺗﺮ ﻭ ﭘﻮﺳﺘﺶ ﺯﺑﺮﺗﺮ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺑﺎﻗﻰﻣﺎﻧﺪﻩﻯ ﭼﻮﺏﻫﺎﻳﻰ ﻛﻪ ﻫﻔﺖﺗﻴﺮﻛﺶ ﮔﺮﺩ ﺁﻭﺭﺩﻩ ﺑﻮﺩ‪ ،‬ﺗﺒﺪﻳﻞ ﺑﻪ ﭼﻮﺏ ﺩﺭﺧﺖ ﺁﻫﻦ‬ ‫ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻛﻨﻮﻥ ﺩﺭ ﺁﻥ ﻣﻜﺎ ِﻥ ﭘﺮ ﺍﺯ ﺟﻤﺠﻤﻪ ﻭ ﺍﺳﺘﺨﻮﺍﻥ‪ ،‬ﺍﺯ ﻣﺮﺩ ﺳﻴﺎﻩﭘﻮﺵ ﺟﺰ ﺍﺳﻜﻠﺘﻰ‬ ‫ﺧﻨﺪﺍﻥ ﺩﺭ ﺭﺩﺍﻳﻰ ﺳﻴﺎﻩ ﻭ ﭘﻮﺳﻴﺪﻩ‪ ،‬ﭼﻴﺰﻯ ﺑﺎﻗﻰ ﻧﻤﺎﻧﺪﻩ ﺑﻮﺩ‪.‬‬

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‫ﻛﺘﺎﺏ‬

‫ﻓﻀﺎﻯ ﻭﺳﺘﺮﻥ ﺩﺍﺳﺘﺎﻥ ﻛﺎﻣﻼ ﻣﺨﺎﻃﺐ ﺭﺍ ﻳﺎﺩ ﻓﻴﻠﻢ »ﺧﻮﺏ‪،‬‬ ‫ﺑﺪ‪ ،‬ﺯﺷﺖ« ﻣﻰﺍﻧﺪﺍﺯﺩ‪ .‬ﻫﻤﺎﻥ ﺭﺍﻛﺪ ﺑﻮﺩﻥ ﻓﻀﺎ‪ ،‬ﺳﻜﻮﺕﻫﺎ ﻭ‬ ‫ﻟﺤﻈﺎﺕ ﺳﺎﻛﻦ‪ .‬ﭘﻬﻨﻪﻫﺎﻯ ﻭﺳﻴﻊ ﺑﻰﺳﻜﻨﻪ ﻛﻪ ﻳﻚ ﺁﺩﻡ ﺩﺭ‬ ‫ﺁﻥ ﭘﺮﺳﻪ ﻣﻰﺯﻧﺪ ﻭ ﻫﻤﺎﻥ ﺣﺲ ﻧﺎﻛﺠﺎﺁﺑﺎﺩﻯ ﻛﻪ ﻛﻴﻨﮓ ﺍﺯ‬ ‫ﺁﻥ ﺳﺨﻦ ﻣﻰﮔﻮﻳﺪ‪ .‬ﺍﻳﻦ ﺩﻭ ﻭﺟﻪ ﺍﺳﺎﺳﻰ ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﺍﻭﻟﻴﻦ‬ ‫ﭘﺎﺭﺍﮔﺮﺍﻑ ﻛﺘﺎﺏ ﻣﺸﻬﻮﺩ ﺍﺳﺖ ﻭ ﺩﺭ ﺁﻏﺎ ِﺯ ﻋﺎﻟﻰ ﻭ ﻭﻫﻤﻨﺎﻙ‬ ‫ﺩﺍﺳﺘﺎﻥ ﻫﻮﻳﺪﺍ ﻣﻰﺷﻮﺩ‪ .‬ﺍﺯ ﻃﺮﻓﻰ ﻧﺒﺎﻳﺪ ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩ ﻛﻪ‬ ‫ﻛﻴﻨﮓ ﻭﺣﺸﺖﻧﻮﻳﺴﻰ ﻣﺎﻫﺮ ﻭ ﻣﺸﻬﻮﺭ ﺍﺳﺖ ﻭ ﺑﻪ ﺧﻮﺑﻰ‬ ‫ﺍﺯ ﭘﺘﺎﻧﺴﻴﻞ ﺩﻭ ﻭﺟﻪ ﺍﺻﻠﻰ ﺩﺍﺳﺘﺎﻥ )ﻓﻀﺎﻯ ﻭﺳﺘﺮﻥ ﻭ‬ ‫ﻓﺎﻧﺘﺰﻯِ ﻧﺎﺷﻨﺎﺧﺘﻪﻯ ﺁﻥ( ﺑﺮﺍﻯ ﺧﻠﻖ ﺍﺗﻔﺎﻗﺎﺕ ﻭﺣﺸﺖﺍﻧﮕﻴﺰ‬ ‫ﻭ ﺗﺮﺳﻨﺎﻙ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻩ ﻭ ﺑﺴﻴﺎﺭ ﻋﺎﻟﻰ ﻋﻤﻞ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻃﻮﺭﻯ ﻛﻪ ﻣﻰﺗﻮﺍﻥ ﺩﺭ ﺟﺎﻯﺟﺎﻯ ﺩﺍﺳﺘﺎﻥ ﺗﺮﺱ ﻭ ﻧﺎﺍﻣﻨﻰ ﺭﺍ ﻛﻪ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﺁﻥ ﮔﺮﻓﺘﺎﺭ‬ ‫ﻣﻰﺷﻮﻧﺪ‪ ،‬ﺣﺲ ﻛﺮﺩ‪.‬‬ ‫ﺩﺭ ﻣﺠﻤﻮﻉ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺍﻳﻦ ﻧﺘﻴﺠﻪ ﺭﺳﻴﺪ ﻛﻪ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﻣﻌﺠﻮﻧﻰ ﺍﺳﺖ ﺍﺯ ﻓﺎﻧﺘﺰﻯ‪ ،‬ﻭﺳﺘﺮﻥ ﻭ‬ ‫ﻭﺣﺸﺖ ﻛﻪ ﺩﻧﻴﺎﻳﻰ ﺟﺪﻳﺪ ﻭ ﻓﻮﻕ ﺍﻟﻌﺎﺩﻩ ﺭﺍ ﺧﻠﻖ ﻣﻰﻛﻨﺪ ﻭ ﻫﻤﻴﻦ ﺗﺮﻛﻴﺐ‪ ،‬ﺁﺵ ﺧﻮﺷﻤﺰﻩﺍﻯ ﺑﻪ ﻧﻈﺮ‬ ‫ﻣﻰﺭﺳﺪ‪.‬‬ ‫ﺁﻟﻦ ﺟﺎﻧﺴﻮﻥ ﺍﺯ ﻧﻴﻮﻳﻮﺭﻙ‬ ‫ﺗﺎﻳﻤﺰ ﭘﻴﺸﺮﻓﺖ ﺩﺍﺳﺘﺎﻥ ﺩﺭ‬ ‫ﻃﻮﻝ ﻣﺠﻤﻮﻋﻪ ﺭﺍ ﻣﺄﻳﻮﺱ‬ ‫ﻛﻨﻨﺪﻩ ﺩﺍﻧﺴﺖ ﻭ ﺩﺭ ﻋﻴﻦ‬ ‫ﺣﺎﻝ »ﻋﺒﺚﻧﻤﺎﻳﻰ ﺳﺮﻧﻮﺷﺖ‬ ‫ﺩﺍﺳﺘﺎﻥ« ﺭﺍ ﺷﮕﻔﺖﺍﻧﮕﻴﺰ ﺧﻮﺍﻧﺪ‪.‬‬ ‫ﺑﻪ ﻋﻘﻴﺪﻩﻯ ﺍﻭ ﻛﻤﻰ ﺁﻣﺎﺩﻩﺳﺎﺯﻯ‬ ‫ﻣﺠﻤﻮﻋﻪ ﺭﺍ ﺑﻬﺒﻮﺩ ﻣﻰﺑﺨﺸﻴﺪ‬ ‫ﻭ ﺩﺭ ﻫﻤﻴﻦ ﺑﺎﺭﻩ ﻣﻰﻧﻮﻳﺴﺪ‪:‬‬ ‫»ﻛﻴﻨﮓ ﻇﺮﻓﻴﺖ ﻧﻮﻳﺴﻨﺪﮔﻰ‬ ‫ﻻﺯﻡ ﺑﺮﺍﻯ ﺍﻳﻦ ﺑﺎﺯﻯﻫﺎ ﺭﺍ ﻧﺪﺍﺭﺩ‪«.‬‬

‫ﻣﺆﺧﺮﻩ‬ ‫ﺑﻪ ﻧﻈﺮ ﻣﻦ ﻣﺠﻤﻮﻋﻪﻯ ﺑﺮﺝ ﺗﺎﺭﻳﻚ‪ ،‬ﻣﺠﻤﻮﻋﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ﻫﺮ ﻓﺎﻧﺘﺰﻯﺧﻮﺍﻥ ﻭ ﻫﺮ ﻧﻮﻳﺴﻨﺪﻩﺍﻯ ﻛﻪ ﺩﺭ‬ ‫ژﺍﻧﺮ ﮔﻤﺎﻧﻪﺯﻥ ﻓﻌﺎﻟﻴﺖ ﻣﻰﻛﻨﺪ‪ ،‬ﺑﺎﻳﺪ ﺁﻥ ﺭﺍ ﺑﺨﻮﺍﻧﺪ؛ ﭼﺮﺍ ﻛﻪ ﺑﺮﺍﻯ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﺗﺠﺮﺑﻪﺍﻯ ﻟﺬﺕﺑﺨﺶ‪،‬‬ ‫ﺑﺮﺍﻯ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺗﺎﺯﻩﻛﺎﺭ ﻧﻮﻋﻰ ﺩﺭﺱ ﻭ ﺑﺮﺍﻯ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺣﺮﻓﻪﺍﻯ ﺁﺷﻨﺎﻳﻰ ﺑﺎ ﺗﻠﻔﻴﻘﻰ ﻫﻮﺷﻤﻨﺪﺍﻧﻪ‬ ‫ﻭ ﺗﺄﺛﻴﺮﮔﺬﺍﺭ ﺍﺳﺖ ﻛﻪ ﺩﺍﻧﺴﺘﻦ ﺁﻥ ﺑﺴﻴﺎﺭ ﺍﻟﻬﺎﻡﺑﺨﺶ ﻣﻰﻧﻤﺎﻳﺪ‪ .‬ﻛﻴﻨﮓ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺑﻪ ﺷﻴﻮﻩﻯ‬ ‫ﺧﻮﺩ ﻧﻮﺷﺘﻪ ﺍﺳﺖ ﻭ ﺳﻌﻰ ﻛﺮﺩﻩ ﺩﻧﻴﺎﻯ ﺍﺳﺮﺍﺭﺁﻣﻴ ِﺰ ﺗﺎﻟﻜﻴﻦﮔﻮﻧﻪﺍﻯ ﺭﺍ ﺑﺎ ﺷﻜﻮﻩ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻭﺳﺘﺮﻥ‬ ‫ﻭ ﻓﻀﺎﻯ ﺗﺮﺳﻨﺎﻙ ﺩﺭ ﻫﻢ ﺑﻴﺎﻣﻴﺰﺩ ﻭ ﻳﻚ ﻣﺠﻤﻮﻋﻪﻯ ﻓﺎﻧﺘﺰﻯ ﻭﺳﺘﺮﻥ ﺑﺎ ﺩﺍﺳﺘﺎﻧﻰ ﺧﻮﺏ ﻭ ﺑﺎ ﻋﻈﻤﺘﻰ‬ ‫ﺗﺤﺴﻴﻦﺑﺮﺍﻧﮕﻴﺰ ﺧﻠﻖ ﻛﻨﺪ‪.‬‬ ‫ﺍﻧﺘﺸﺎﺭﺍﺕ ﺍﻓﺮﺍﺯ ﻛﻪ ﺗﺎ ﺑﻪ ﺣﺎﻝ »ﺑﻠﻴﺰ«‪» ،‬ﻣﺴﻴﺮ ﺳﺒﺰ«‪» ،‬ﺧﻮﺍﻫﺮﺍﻥ ﻛﻮﭼﻚ ﺍﻳﻠﻮﺭﻳﺎ ﻭ ﻣﺮﺩ ﻛﺖ ﺷﻠﻮﺍﺭ‬ ‫ﻣﺸﻜﻰ«‪» ،‬ﻫﺮ ﺁﻥ ﭼﻪ ﺩﻭﺳﺖ ﺩﺍﺭﻯ ﺍﺯ ﺩﺳﺖ ﺧﻮﺍﻫﻰ ﺩﺍﺩ« ﻭ »ﺗﻠﻔﻦ ﻫﻤﺮﺍﻩ« ﺭﺍ ﻣﻨﺘﺸﺮ ﻛﺮﺩﻩ ﺍﺳﺖ‬ ‫ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﻫﻢ ﺳﺘﻮﺩﻧﻰ ﺍﺳﺖ‪ ،‬ﻗﻮﻝ ﺩﺍﺩﻩ ﻛﻞ ﻣﺠﻤﻮﻋﻪﻯ »ﺑﺮﺝ ﺗﺎﺭﻳﻚ«‪» ،‬ﺯﻳﺮ ﮔﻨﺒﺪ«‪» ،‬ﺍﺗﺎﻕ‬ ‫ﺷﻤﺎﺭﻩﻯ ‪ 4‬ﻛﺎﻟﺒﺪﺷﻜﺎﻓﻰ«‪ »،‬ﻓﺼﻮﻝ ﮔﻮﻧﺎﮔﻮﻥ« )ﻛﻪ ﻳﻚ ﻣﺠﻤﻮﻋﻪﻯ ‪ 4‬ﺟﻠﺪﻯ ﺍﺳﺖ( ﻭ »ﭘﻨﺠﺮﻩﻯ‬ ‫ﻣﺨﻔﻰ‪ ،‬ﺑﺎﻍ ﻣﺨﻔﻰ« ﺍﺯ ﺍﺳﺘﻴﻮﻥ ﻛﻴﻨﮓ ﺭﺍ ﻫﻢ ﻣﻨﺘﺸﺮ ﻛﻨﺪ‪.‬‬ ‫‪53‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫)ﻃﺮﺍﺣﻰﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﺑﻴﻦ ﻓﺼﻮﻝ ﻣﺨﺘﻠﻒ ﻭ ﻳﺎ ﺩﺭ ﺳﺮ ﻓﺼﻞﻫﺎﻯ‬ ‫ﻛﺘﺎﺏﻫﺎ ﺩﻳﺪﻩ ﻣﻰﺷﻮﻧﺪ( ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺑﺮﺍﻯ ﻛﺘﺎﺏ ﺳﻮﻡ ﻧﻴﺰ ﻧﻴﺪ ﺩﺍﻣﻮﻥ ]‪ ،[27‬ﻃﺮﺍﺡ ﺧﻮﺵﺫﻭﻕ ﻭ ﻣﺎﻫﺮ‬ ‫ﻃﺮﺍﺣﻰ ﺟﻠﺪ ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﺑﺮﺍﻯ ﻛﺘﺎﺏ ﭼﻬﺎﺭﻡ‪ ،‬ﺩﻳﻮ ﻣﻜﻴﻦ‬ ‫]‪ ،[28‬ﻃﺮﺍﺣﻰ ﻛﻪ ﺑﺎ ﺗﺼﻮﻳﺮﮔﺮﻯﻫﺎﻯ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩﺵ ﺩﺭ‬

‫ﺩﻳﻮ ﻣﻜﻴﻦ‬

‫ﺭﻣﺎﻥﻫﺎﻯ ﻧﻴﻞ ﮔﻴﻤﻦ ﻭ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻣﺼﻮﺭ »ﺳﻨﺪﻣﻦ« )ﻧﻮﺷﺘﻪﻯ‬ ‫ﻧﻴﻞ ﮔﻴﻤﻦ( ﻭ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﺍﻧﻴﻤﻴﺸﻦ »ﻣﻴﺮﻭﺭ ﻣﺎﺳﻚ« )‪(2005‬‬ ‫]‪ [29‬ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻃﺮﺍﺡ ﺑﺮﺟﺴﺘﻪ ﻣﻌﺮﻓﻰ ﻛﺮﺩﻩ‪ ،‬ﻋﻼﻭﻩ ﺑﺮ‬

‫ﻃﺮﺍﺣﻰ ﺟﻠﺪ‪ ،‬ﺗﺼﻮﻳﺮﮔﺮﻯﻫﺎﻯ ﻛﺘﺎﺏ ﭼﻬﺎﺭﻡ ﺭﺍ ﻧﻴﺰ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﻗﺘﺒﺎﺱ ﺳﻴﻨﻤﺎﻳﻰ‬ ‫ﺳﻴﻨﻤﺎﮔﺮﺍﻥ ﻫﺎﻟﻴﻮﻭﺩﻯ ﻫﻢ ﻣﺠﺬﻭﺏ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪﻯ ﻣﻮﻓﻖ ﺷﺪﻩﺍﻧﺪ؛ ﻗﺮﺍﺭ ﺍﺳﺖ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﻛﻤﭙﺎﻧﻰ‬ ‫ﻳﻮﻧﻮﺭﺳﺎﻝ ]‪ [30‬ﺑﻪ ﺻﻮﺭﺕ ﻳﻚ ﺳﻪﮔﺎﻧﻪﻯ ﺳﻴﻨﻤﺎﻳﻰ ﻭ ﺩﻭ ﻣﻴﻨﻰﺳﺮﻳﺎﻝ ﺑﺴﺎﺯﺩ ﻭ ﻣﻴﻨﻰﺳﺮﻳﺎﻝﻫﺎﻯ‬ ‫ﺁﻥ ﻧﻴﺰ ﺍﺯ ﺷﺒﻜﻪﻯ ﺍﻥﺑﻰﺳﻰ ﭘﺨﺶ ﺷﻮﺩ‪ .‬ﻫﺮﭼﻨﺪ ﻫﻨﻮﺯ ﻫﻴﭻﭼﻴﺰ ﺩﺭﺑﺎﺭﻩﻯ ﺳﺎﺧﺖ ﺍﻳﻦ ﻓﻴﻠﻢ ﻗﻄﻌﻰ‬ ‫ﻧﻴﺴﺖ‪.‬‬ ‫ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﺭﺍﻥ ﻫﺎﻭﺍﺭﺩ ]‪ ،[31‬ﻛﺎﺭﮔﺮﺩﺍﻥ ﻓﻴﻠﻢﻫﺎﻳﻰ ﻣﻮﻓﻘﻰ ﭼﻮﻥ »ﺫﻫﻦ ﺯﻳﺒﺎ« )‪(2001‬‬ ‫ﺑﺎ ﻓﻴﻠﻤﻨﺎﻣﻪﻯ ﺁﻛﻴﻮﺍ ﮔﻠﺪﺯﻣﻦ ]‪ ،[32‬ﻓﻴﻠﻤﻨﺎﻣﻪﻧﻮﻳﺲ ﻓﻴﻠﻢﻫﺎﻳﻰ ﭼﻮﻥ »ﻣﻦ ﺭﺑﺎﺕ ﻫﺴﺘﻢ« )‪،(2004‬‬ ‫»ﺭﺍﺯ ﺩﺍﻭﻳﻨﭽﻰ« ﻭ »ﺫﻫﻦ ﺯﻳﺒﺎ« )‪ ،(2001‬ﺩﺭ ‪ 3‬ﻓﻴﻠﻢ ﺑﻠﻨﺪ ﻭ ‪ 2‬ﻣﻴﻨﻰ ﺳﺮﻳﺎﻝ ﺳﺎﺧﺘﻪ ﻣﻰﺷﻮﺩ ﺗﺎ ﺑﺪﻳﻦ‬ ‫ﺗﺮﺗﻴﺐ ﺩﺍﺳﺘﺎﻥ ﺑﻠﻨﺪ ﺑﺮﺝ ﺗﺎﺭﻳﻚ ﺩﺭ ﺳﻴﻨﻤﺎ ﻭ ﺗﻠﻮﻳﺰﻳﻮﻥ ﻫﻢ ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪﻩ ﺷﻮﺩ‪.‬‬ ‫ﻛﻤﻴﻚﻫﺎ‬ ‫ﻣﺠﻤﻮﻋﻪ ﻛﻤﻴﻜﻰ ﻧﺴﺒﺘﺎً ﻃﻮﻻﻧﻰ ﺍﺯ ﺭﻭﻯ ﻣﺠﻤﻮﻋﻪﻯ ﺑﺮﺝ ﺗﺎﺭﻳﻚ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﻛﻪ ﺑﻪ ﻃﻮﺭ ﻣﻔﺼﻞ‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﺁﻥ ﺩﺭ ﺍﻳﻦ ﺷﻤﺎﺭﻩ ﻣﻰﺧﻮﺍﻧﻴﺪ!‬ ‫ﺑﺎ ﭼﻪ ﻧﻮﻉ ﻣﺠﻤﻮﻋﻪﺍﻯ ﻃﺮﻑ ﻫﺴﺘﻴﻢ؟!‬ ‫ﻧﻤﻰﺷﻮﺩ ﺍﻳﻦ ﻛﺘﺎﺏ ﺭﺍ ﻳﻚ ﻓﺎﻧﺘﺰﻯ ﺣﻤﺎﺳﻰ ﺧﺎﻟﺺ ﺩﺍﻧﺴﺖ‪ ،‬ﺩﺭ ﺻﻮﺭﺗﻰ ﻛﻪ ﺧﻮﺩ ﻛﻴﻨﮓ ﺍﺳﺮﺍﺭ ﺩﺍﺭﺩ‬ ‫ﺍﻳﻦ ﻛﺘﺎﺏ ﻭﺟﻪ ﺣﻤﺎﺳﻰ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺗﺎﻟﻜﻴﻦ ﺍﻟﻬﺎﻡ ﮔﺮﻓﺘﻪ ﺍﺳﺖ )ﻛﻪ ﺍﻟﺒﺘﻪ ﺗﺎ ﺣﺪﻭﺩﻯ ﻫﻢ ﺩﺭﺳﺖ‬ ‫ﻏﺮﻳﺐ‬ ‫ﻣﻰﮔﻮﻳﺪ!( ﻭﻟﻰ ﺟﺎﻯ ﭘﺎﻯ ﺍﻓﺴﺎﻧﻪﭘﺮﺩﺍﺯﻯ ﻭ ﺍﺳﻄﻮﺭﻩﺳﺎﺯﻯ ﻭ ﺁﻥ ﺟﺎﺩﻭﻯ ﻣﺮﻣﻮﺯ ﻭ ﻣﺒﻬﻢ ﻭ‬ ‫ِ‬ ‫ﺩﻧﻴﺎﻯ ﺗﺎﻟﻜﻴﻦ )ﻛﻪ ﺩﺭ ﺁﺛﺎﺭ ﺧﻮﺩ ﺗﺎﻟﻜﻴﻦ ﻧﺎﺏ ﻭ ﺑﻜﺮ ﻫﻢ ﺑﻮﺩ( ﺩﺭ ﺁﻥ ﺑﻴﺸﺘﺮ ﺑﻪ ﭼﺸﻢ ﻣﻰﺧﻮﺭﺩ‪.‬‬

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‫ﻛﺘﺎﺏ‬

‫ﻭﺳﺘﺮﻥ‬ ‫ﻛﺘﺎﺏ ﺍﺩﺍﻣﻪ ﭘﻴﺪﺍ ﻛﺮﺩ ﻭ ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﻣﺠﻤﻮﻋﻪﻯ ﺑﺮﺝ ﺗﺎﺭﻳﻚ ﺑﻪ ﻳﻚ ﻫﻔﺖﮔﺎﻧﻪﻯ ﻓﺎﻧﺘﺰﻯ‬ ‫ِ‬ ‫ﻣﻮﻓﻖ ﺗﺒﺪﻳﻞ ﺷﺪ‪ .‬ﻗﺮﺍﺭ ﺑﻮﺩ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﻫﻔﺖ ﺟﻠﺪﻯ ﺑﺎﺷﺪ ﻭ ﺑﻌﺪ ﺍﺯ ﺍﻧﺘﺸﺎﺭ ﻛﺘﺎﺏ ﻫﻔﺘﻢ‪ ،‬ﺩﺍﺳﺘﺎﻥ‬ ‫ﻣﺠﻤﻮﻋﻪﻯ ﺑﺮﺝ ﺗﺎﺭﻳﻚ ﺗﻤﺎﻡ ﺷﺪﻩ ﺑﻪ ﺣﺴﺎﺏ ﺑﻴﺎﻳﺪ؛ ﺍﻣﺎ ﻛﻴﻨﮓ ﻃﻰ ﻣﺼﺎﺣﺒﻪﺍﻯ ﺩﺭ ﻣﺎﺭﺱ ‪ 2009‬ﺍﺯ‬ ‫ﺍﻳﺪﻩﻫﺎﻳﻰ ﺑﺮﺍﻯ ﻧﻮﺷﺘﻦ ﻳﻚ ﻛﺘﺎﺏ ﺩﻳﮕﺮ ﺑﺮﺍﻯ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺻﺤﺒﺖ ﻛﺮﺩ ﻭ ﺳﭙﺲ ﺩﺭ ﺳﺎﻳﺖ ﺧﻮﺩ‬ ‫ﺑﻪ ﻃﻮﺭ ﺭﺳﻤﻰ ﺍﻋﻼﻡ ﻛﺮﺩ ﻛﻪ ﺩﺭ ﺁﻳﻨﺪﻩ ﺁﻥ ﺭﺍ ﺧﻮﺍﻫﺪ ﻧﻮﺷﺖ‪ .‬ﻓﻌ ً‬ ‫ﻼ ﻋﻨﻮﺍﻥ ﻛﺘﺎﺏ ﻫﺸﺘﻢ »ﻧﺴﻴﻤﻰ ﺍﺯ‬ ‫ﻣﻴﺎﻥ ﺳﻮﺭﺍﺥ ﻛﻠﻴﺪ« ]‪ [18‬ﺍﺳﺖ ﻛﻪ ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﻋﻨﻮﺍﻥ ﻗﻄﻌﻰ ﻧﻴﺴﺖ‪ .‬ﻗﺮﺍﺭ ﺍﺳﺖ ﺩﺭ ﺳﺎﻝ ‪ 2012‬ﺍﻳﻦ‬ ‫ﻛﺘﺎﺏ ﻣﻨﺘﺸﺮ ﺷﻮﺩ‪ .‬ﻛﺘﺎﺏﻫﺎﻯ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺑﻪ ﺗﺮﺗﻴﺐ ﻋﺒﺎﺭﺗﻨﺪ ﺍﺯ ‪:‬‬ ‫‪ -1‬ﻫﻔﺖﺗﻴﺮﻛﺶ )‪(1982‬‬ ‫‪ -2‬ﺍﻧﺘﺨﺎﺏ ﺳﻮﻡ )‪[19] (1987‬‬ ‫‪ -3‬ﺳﺮﺯﻣﻴﻦﻫﺎﻯ ﻣﺘﺮﻭﻙ )‪[20] (1991‬‬ ‫‪ -4‬ﺟﺎﺩﻭﮔﺮ ﻭ ﺟﺎﻡ )‪ / [21] (1997‬ﻧﺎﻣﺰﺩ ﺑﻬﺘﺮﻳﻦ ﺭﻣﺎﻥ ﻓﺎﻧﺘﺰﻯ ﺟﺎﻳﺰﻩﻯ ﺍﺩﺑﻰ ﻟﻮﻛﺎﺱ ﺳﺎﻝ ‪1998‬‬ ‫‪ -5‬ﮔﺮگﻫﺎﻯ ﻛﺎﻻ )ﻛﺎﻻ=ﮔﻞ ﺷﻴﭙﻮﺭﻯ( )‪/[22] (2003‬ﻧﺎﻣﺰﺩ ﺑﻬﺘﺮﻳﻦ ﺭﻣﺎﻥ ﻓﺎﻧﺘﺰﻯ ﺟﺎﻳﺰﻩﻯ ﺍﺩﺑﻰ‬ ‫ﻟﻮﻛﺎﺱ ‪2004‬‬ ‫‪ -6‬ﺗﺮﺍﻧﻪﻯ ﺳﻮﺯﺍﻧﺎ )‪/[23] (2004‬ﻧﺎﻣﺰﺩ ﺑﻬﺘﺮﻳﻦ ﺭﻣﺎﻥ ﻓﺎﻧﺘﺰﻯ ﺟﺎﻳﺰﻩﻯ ﺍﺩﺑﻰ ﻟﻮﻛﺎﺱ ‪2005‬‬ ‫‪ -7‬ﺑﺮﺝ ﺗﺎﺭﻳﻚ )‪/[24](2004‬ﺑﺮﻧﺪﻩ ﻯ ﺑﻬﺘﺮﻳﻦ ﺭﻣﺎﻥ ﻓﺎﻧﺘﺰﻯ ﺟﺎﻳﺰﻩﻯ ﺍﺩﺑﻰ ﻟﻮﻛﺎﺱ ‪2005‬‬ ‫‪ -8‬ﻧﺴﻴﻤﻰ ﺍﺯ ﻣﻴﺎﻥ ﺳﻮﺭﺍﺥ ﻛﻠﻴﺪ )‪(2012‬‬ ‫ﺗﺼﻮﻳﺮﮔﺮﺍﻥ ﻣﺠﻤﻮﻋﻪ‬ ‫ﺑﺮﺍﻯ ﺗﺼﻮﻳﺮﮔﺮﻯﻫﺎﻯ ﻣﺠﻤﻮﻋﻪﻯ ﺑﺮﺝ ﺗﺎﺭﻳﻚ‪ ،‬ﻫﻨﺮﻣﻨﺪﺍﻥ ﻭ ﻃﺮﺍﺣﺎﻥ ﺻﺎﺣﺐ ﻧﺎﻡ ﻭ ﺧﻮﺑﻰ ﺑﺎ ﺍﺳﺘﻴﻮﻥ‬ ‫ﻛﻴﻨﮓ ﻫﻤﻜﺎﺭﻯ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﻣﺎﻳﻜﻞ ﻭﻳﻠﻦ ]‪ [25‬ﻛﻪ ﻃﺮﺍﺡ ﺟﻠﺪ ﻛﺘﺎﺏِ ﻓﺎﻧﺘﺰﻯ ﺣﻤﺎﺳﻰ »ﺭﺍﻩ ﭘﺎﺩﺷﺎﻫﺎﻥ‪،‬‬ ‫ﻃﻠﻮﻉ ﺁﻓﺘﺎﺏ ﺳﻴﺎﻩ« )‪ (1991‬ﻭ ﻛﺘﺎﺏﻫﺎﻯ »‪ : 2010‬ﺍﺩﻳﺴﻪﻯ ﺩﻭ« ﻭ »‪ : 2061‬ﺍﺩﻳﺴﻪﻯ ﺳﻪ« ﻭ‬ ‫ﻫﻤﭽﻨﻴﻦ ﻃﺮﺍﺡ ﺟﻠﺪ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻛﺎﺭﻫﺎﻯ ﺭﺍﺑﺮﺕ ﻫﺎﻥﻻﻳﻦ ﻫﻢ ﺑﻮﺩﻩ ﺍﺳﺖ ﻭ ﺟﺎﻳﺰﻩﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺑﺮﺍﻯ‬ ‫ﻧﻘﺎﺷﻰﻫﺎﻯ ﻓﺎﻧﺘﺰﻯ ﻭ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺧﻮﺩ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻭ ﻋﻼﻭﻩ ﺑﺮ‬ ‫ﻃﺮﺍﺣﻰ ﺟﻠﺪ ﻛﺘﺎﺏ ﺍﻭﻝ ﻭ ﻫﻔﺘﻢ‪ ،‬ﻃﺮﺍﺣﻰﻫﺎﻳﻰ ﺍﺯ ﻭﻗﺎﻳﻊ ﻣﺨﺘﻠﻒ ﻣﺠﻤﻮﻋﻪ‬ ‫ﻧﻴﺰ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩ ﺍﺳﺖ ﻛﻪ ﭼﻨﺪ ﺗﺎ ﺍﺯ ﺁﻥﻫﺎ ﺩﺭ ﺍﻳﻦ ﻣﻘﺎﻟﻪ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ ﻭ‬ ‫ﭘﻴﺶﻧﻤﺎﻳﺶ ﺑﺎﻗﻰ ﺁﻥﻫﺎ ﻧﻴﺰ ﺩﺭ ﺳﺎﻳﺖ ﺭﺳﻤﻰ ﻭﻯ ﻣﻮﺟﻮﺩ ﺍﺳﺖ‪.‬‬ ‫ﻫﻤﭽﻨﻴﻦ ﻫﻴﻞ ﻓﻴﻞ ]‪ [26‬ﻛﻪ ﺑﺮﺍﻯ ﻛﺘﺎﺏﻫﺎﻯ ﺩﻳﮕﺮ ﺍﺳﺘﻴﻮﻥ ﻛﻴﻨﮓ ﻧﻴﺰ‬ ‫ﻃﺮﺍﺣﻰ ﻛﺮﺩﻩ‪ ،‬ﻃﺮﺍﺣﻰ ﺟﻠﺪ ﻛﺘﺎﺏ ﺩﻭﻡ ﻭ ﺗﺼﻮﻳﺮﮔﺮﻯﻫﺎﻯ ﻛﻞ ﻣﺠﻤﻮﻋﻪ‬ ‫ﻣﺎﻳﻜﻞ ﻭﻳﻠﻦ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﺩﺍﺳﺘﺎﻥ ﺑﺎ ﺗﻌﻘﻴﺐ ﻭ ﮔﺮﻳﺰ ﻫﻔﺖﺗﻴﺮﻛﺶ ﻭ ﻣﺮﺩ ﺳﻴﺎﻩﭘﻮﺵ ﺷﺮﻭﻉ ﻣﻰﺷﻮﺩ‪ .‬ﺭﻭﻟﻨﺪ )ﻫﻔﺖﺗﻴﺮﻛﺶ(‪،‬‬ ‫ﺁﺧﺮﻳﻦ ﺑﺎﺯﻣﺎﻧﺪﻩ ﺍﺯ ﻧﺴﻞ ﻫﻔﺖﺗﻴﺮﻛﺶﻫﺎ‪ ،‬ﺑﺮﺍﻯ ﺍﻧﺘﻘﺎﻡ ﻭ ﭘﻰ ﺑﺮﺩﻥ ﺑﻪ ﻣﺎﻫﻴﺖ ﺑﺮﺝ ﺗﺎﺭﻳﻚ ﺑﻪ ﺩﻧﺒﺎﻝ‬ ‫ﻣﺮﺩﻯ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﮔﺬﺷﺘﻪ ﻭ ﺣﺎﻝ ﻭ ﺁﻳﻨﺪﻩﺍﺵ ﺭﺧﻨﻪ ﻛﺮﺩﻩ ﺍﺳﺖ‪ :‬ﻣﺮﺩ ﺳﻴﺎﻩﭘﻮﺵ‪ .‬ﻣﺮﺩﻯ ﻣﺮﻣﻮﺯ ﻭ‬ ‫ﺷﻴﻄﺎﻧﻰ ﻭ ﺍﺯ ﺧﺎﺩﻣﺎﻥ ﺑﺮﺝ ﺗﺎﺭﻳﻚ ﻛﻪ ﺑﺮ ﺳﺮ ﺭﺍﻩ ﺧﻮﺩ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺑﻪ ﻫﻼﻛﺖ ﻣﻰﺭﺳﺎﻧﺪ ﻭ ﺗﻤﺎﻡ ﺍﻳﻦﻫﺎ‬ ‫ﺑﻪ ﺧﺎﻃﺮ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺭﻭﻟﻨﺪ ﺭﺍ ﻃﻰ ﺳﻔﺮﻯ ﻃﺎﻗﺖﻓﺮﺳﺎ ﺑﻪ ﺩﻧﺒﺎﻝ ﺧﻮﺩ ﺑﻜﺸﺎﻧﺪ‪ .‬ﻳﺎ ﺷﺎﻳﺪ ﺭﻭﻟﻨﺪ ﺭﺍ‬ ‫ﺑﻪ ﺑﺮﺝ ﺗﺎﺭﻳﻚ ﺑﻜﺸﺎﻧﺪ‪ .‬ﺑﺮﺝ ﺗﺎﺭﻳﻚ‪ :‬ﻣﺮﻛﺰ ﺟﻬﺎﻥ‪ ،‬ﺩﺳﺘﮕﺎﻫﻰ ﺑﺮﺍﻯ ﺍﺩﺍﺭﻩﻯ ﻫﺴﺘﻰ ﻭ ﻧﻴﺴﺘﻰ‪ .‬ﺑﺮﺟﻰ‬ ‫ﻣﺴﻠﻂ ﺑﺮ ﻫﺮ ﭼﻴﺰ‪ .‬ﺑﺮﺟﻰ ﻛﻪ ﺩﺭ ﺳﺮﻧﻮﺷﺖ ﺭﻭﻟﻨﺪ ﻣﺎﻧﻨﺪ ﻫﻴﻮﻻﻳﻰ ﻣﺘﺠﺎﻭﺯ ﺭﺧﻨﻪ ﻛﺮﺩﻩ‪.‬‬ ‫ﻭ ﺭﻭﻟﻨﺪ ﺑﻪ ﺩﻧﺒﺎﻝ ﻏﺮﻭﺑﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺑﺮﺝ ﺗﺎﺭﻳﻚ ﺑﺮﺳﺪ ﻭ ﻓﺮﺟﺎﻣﻰ ﻏﻴﺮ ﻗﺎﺑﻞ ﺗﺼﻮﺭ ﺑﺮﺍﻯ ﺍﻳﻦ ﻧﺒﺮﺩ‬ ‫ﺭﻗﻢ ﺑﺰﻧﺪ‪.‬‬ ‫ﻛﺘﺎﺏ ﺷﻨﺎﺳﻰ‬ ‫ﻛﺘﺎﺏ ﺍﻭﻝ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﻫﻔﺖﺗﻴﺮﻛﺶ ]‪ [10‬ﻧﺎﻡ ﺩﺍﺭﺩ ﻛﻪ ﻛﻴﻨﮓ ﺍﺩﻋﺎ ﻛﺮﺩﻩ ﻧﻮﺷﺘﻦ ﺁﻥ ‪ 12‬ﺳﺎﻝ‬ ‫ﻃﻮﻝ ﻛﺸﻴﺪﻩ ﺍﺳﺖ! ﺍﻳﻦ ﻛﺘﺎﺏ ﺷﺎﻣﻞ ‪ 5‬ﺑﺨﺶ ﺍﺳﺖ ﻛﻪ ﺍﺑﺘﺪﺍ ﺩﺭ ﻣﺠﻠﻪﻯ »ﻓﺎﻧﺘﺰﻯ ﻭ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ«‬ ‫]‪ [11‬ﺩﺭ ﺑﺎﺯﻩﻯ ﺯﻣﺎﻧﻰ ﺳﺎﻝﻫﺎﻯ ‪ 1981-1978‬ﻣﻨﺘﺸﺮ ﺷﺪ‪ .‬ﺍﻳﻦ ‪ 5‬ﺑﺨﺶ ﻋﺒﺎﺭﺗﻨﺪ ﺍﺯ ‪ :‬ﻫﻔﺖﺗﻴﺮﻛﺶ‬ ‫)‪ ،(1978‬ﺍﻳﺴﺘﮕﺎﻩ ﻓﺮﻋﻰ ﻗﻄﺎﺭ ]‪ ، (1980) [12‬ﭘﻴﺸﮕﻮ ﻭ ﻛﻮﻫﺴﺘﺎﻥ ]‪ ،(1981) [13‬ﺟﻬﺶﻳﺎﻓﺘﻪﻫﺎﻯ‬ ‫ﻛﻨﺪ]‪) [14‬ﻳﺎ ﺁﻥﻃﻮﺭ ﻛﻪ ﻣﺘﺮﺟﻢ ﺁﻭﺭﺩﻩ‪ :‬ﻋﺠﻴﺐﺍﻟﺨﻠﻘﻪﻫﺎ( )‪ ، (1981‬ﻫﻔﺖﺗﻴﺮﻛﺶ ﻭ ﻣﺮﺩ ﺗﺎﺭﻳﻚ]‪[15‬‬ ‫)ﻳﺎ ﺁﻥﻃﻮﺭ ﻛﻪ ﻣﺘﺮﺟﻢ ﺁﻭﺭﺩﻩ‪ :‬ﻫﻔﺖﺗﻴﺮﻛﺶ ﻭ ﻣﺮﺩ ﺳﻴﺎﻩﭘﻮﺵ( )‪.(1981‬‬ ‫ﻛﻴﻨﮓ ﺍﺑﺘﺪﺍﻯ ﺍﻳﻦ ﺭﻣﺎﻥ ﻭ ﺍﺳﻢ ﻭ ﺷﺨﺼﻴﺖ ﺭﻭﻟﻨﺪ ﺭﺍ ﺗﺤﺖ ﺗﺄﺛﻴﺮ ﺷﻌﺮﻯ ﺍﺯ ﺭﺍﺑﺮﺕ ﺑﺮﺍﻭﻧﻴﻨﮓ ]‪ [16‬ﺑﺎ‬ ‫ﻋﻨﻮﺍﻥ‪» :‬ﺭﻭﻟﻨ ِﺪ ﺳﻠﺤﺸﻮﺭ ﺑﻪ ﺑﺮﺝ ﺗﺎﺭﻳﻚ ﺁﻣﺪ« ]‪ [17‬ﻧﻮﺷﺖ‪ .‬ﺳﭙﺲ ﺩﺭ ﺳﺎﻝ ‪ 1982‬ﺟﻠﺪ ﺍﻭﻝ ﺗﻮﺳﻂ‬ ‫ﺍﻧﺘﺸﺎﺭﺍﺕ »ﮔﺮﻧﺖ« ﻣﻨﺘﺸﺮ ﺷﺪ )ﺑﻪ ﺗﺮﺗﻴﺐ ﻭ ﺑﺎ ﻧﺎﻡ ﻫﻤﺎﻥ ﺑﺨﺶﻫﺎﻳﻰ ﻛﻪ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺩﺭ ﻧﺸﺮﻳﺎﺕ‬ ‫ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺑﻮﺩ( ﻭ ﺩﺭ ﺳﺎﻝ ‪ 2003‬ﺑﺮﺍﻯ ﺍﺻﻼﺣﺎﺕ ﺟﺰﺋﻰ‬ ‫ﻳﻞ ﺷﻴﻬﺎﻥ ﺍﺯ ﻭﺍﺷﻨﻴﮕﺘﻦ‬ ‫ﻭ ﺗﻐﻴﻴﺮﺍﺗﻰ ﺑﺮﺍﻯ ﺣﻞ ﻭ ﻓﺼﻞ ﻣﻐﺎﻳﺮﺍﺕ ﻛﺘﺎﺏ ﺍﻭﻝ ﺑﺎ ﺍﺩﺍﻣﻪﻯ ﭘﺴﺖ ﺩﺭ ﻣﻮﺭﺩ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ‬ ‫ﻣﺠﻤﻮﻋﻪ‪ ،‬ﻧﺴﺨﻪﻯ ﺟﺪﻳﺪ ﭼﺎپ ﺷﺪ‪ .‬ﺍﻳﻦ ﻛﺘﺎﺏ‪ ،‬ﻛﻮﺗﺎﻩﺗﺮﻳﻦ ﺍﻳﻦ ﻃﻮﺭ ﻣﻰﻧﻮﻳﺴﺪ‪:‬‬ ‫ﻳﻚ ﺣﻤﺎﺳﻰ ﺍﻧﺴﺎﻧﻰ‪ ،‬ﺧﻴﺎﻟﻰ ﻭ‬ ‫ﻛﺘﺎﺏ ﺍﻳﻦ ﻣﺠﻤﻮﻉ ﻭ ﺑﻪ ﻧﻮﻋﻰ ﻣﻘﺪﻣﻪﺍﻯ ﺑﺮ ﺩﺍﺳﺘﺎﻥ ﻓﺎﻧﺘﺰﻯِ‬ ‫ﻳﻚ ﺷﺎﻫﻜﺎﺭ ﺍﺩﺑﻰ ﺑﻪ ﺗﻤﺎﻡ ﻣﻌﻨﺎ‪.‬‬ ‫ﺟﺬﺍﺏ ﻭ ﻓﻀﺎﻯ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﻭﻫﻤﻨﺎﻙ ﻭ ﻭﺳﺘﺮﻥ ﺩﺍﺳﺘﺎﻥ ﻣﺜﺎﻟﻰ ﭘﺮﺍﺑﻬﺖ ﺍﺯ ﺩﺍﺳﺘﺎﻥﺳﺮﺍﻳﻰ‬ ‫ﺍﺳﺖ‪ .‬ﻛﺘﺎﺏﻫﺎﻯ ﺑﻌﺪﻯ ﺑﺎ ﺻﻔﺤﺎﺕ ﺑﻴﺸﺘﺮ ﻭ ﺳﻴﺮ ﻃﻮﻻﻧﻰ ﺗﺎﻡ‪ ،‬ﻣﻤﻠﻮ ﺍﺯ ﻗﺴﻤﺖﻫﺎﻳﻰ ﻛﻪ‬ ‫ﻛﻪ ﺍﺩﺍﻣﻪﻯ ﺩﺍﺳﺘﺎﻥ ﺑﺮﺝ ﺗﺎﺭﻳﻚ ﺭﺍ ﺑﺎﺯﮔﻮ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﻃﻰ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﺗﺼﻮﻳﺮ ﺷﺪﻩﺍﻧﺪ‪...‬‬ ‫ﺍﺗﻔﺎﻗﺎﺗﻰ ﻋﻈﻴﻢ ﻭ ﻟﺤﻈﺎﺗﻰ ﺍﺯ‬ ‫ﻓﺎﺻﻠﻪﻫﺎﻯ ﺯﻣﺎﻧﻰ ﻣﺨﺘﻠﻒ ﻣﻨﺘﺸﺮ ﺷﺪﻧﺪ ﻭ ﺍﻳﻦ ﺳﻠﺴﻠﻪ ﺗﺎ ‪ 6‬ﺗﺮﺍژﺩﻯ ﻭﻳﺮﺍﻧﮕﺮ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﻛﺘﺎﺏ‬

‫ﻳﻌﻨﻰ ﺳﻪﮔﺎﻧﻪﻯ ﺍﺭﺑﺎﺏ ﺣﻠﻘﻪﻫﺎ ﻭ ﻫﻤﻴﻦﻃﻮﺭ ﻫﺎﺑﻴﺖ‪ ،‬ﺗﺼﻤﻴﻢ ﮔﺮﻓﺖ ﺣﺘﻤﺎً‬ ‫ﻳﻚ ﻛﺘﺎﺏ ﻓﺎﻧﺘﺰﻯ ﺣﻤﺎﺳﻰ ﺑﺰﺭگ ﻭ ﺍﺳﺮﺍﺭﺁﻣﻴﺰ ﻛﻪ ﻗﺎﺑﻞ ﻗﻴﺎﺱ ﺑﺎ ﺍﺭﺑﺎﺏ‬ ‫ﺣﻠﻘﻪﻫﺎ ﺑﺎﺷﺪ‪ ،‬ﺑﻨﻮﻳﺴﺪ‪ .‬ﺍﻟﺒﺘﻪ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺧﻮﺩ ﻧﻴﺰ ﺍﻋﺘﺮﺍﻑ ﻣﻰﻛﻨﺪ‬ ‫ﻣﻮﻓﻖ ﻧﻤﻰﺷﻮﺩ ﻣﺠﻤﻮﻋﻪﺍﻯ ﻫﻢﺳﻄﺢ ﺍﺭﺑﺎﺏ ﺣﻠﻘﻪﻫﺎ ﺧﻠﻖ ﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﺗﻤﺎﻡ‬ ‫ﺗﻼﺵ ﺧﻮﺩ ﺭﺍ ﻛﺮﺩﻩ ﻭ ﺍﻧﺼﺎﻓﺎً ﻣﺠﻤﻮﻋﻪﺍﻯ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﺧﻠﻖ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺟﻰ‪ .‬ﺁﺭ‪ .‬ﺁﺭ‪ .‬ﺗﺎﻟﻜﻴﻦ‬

‫ﻛﻴﻨﮓ ﺑﺮﺍﻯ ﻧﻮﺷﺘﻦ ﺩﺍﺳﺘﺎﻥ ﺳﺎﻝﻫﺎ ﺻﺒﺮ ﻣﻰﻛﻨﺪ ﻭ ﺁﻥ ﺭﺍ ﺑﻪ ﺗﻌﻮﻳﻖ‬ ‫ﻣﻰﺍﻧﺪﺍﺯﺩ ﺗﺎ ﺍﻳﻦ ﻛﻪ ﺭﻭﺯﻯ ﻓﻴﻠﻢ ﻭﺳﺘﺮﻥ ﺳﺮﺟﻴﻮ ﻟﺌﻮﻧﻪ ]‪» ،[8‬ﺧﻮﺏ‪،‬‬

‫ﺑﺪ‪ ،‬ﺯﺷﺖ« ]‪ [9‬ﺭﺍ ﻣﻰﺑﻴﻨﺪ‪ .‬ﺗﺤﺖ ﺗﺄﺛﻴﺮ ﺷﻜﻮﻩ ﻭ ﻧﺎﻛﺠﺎﺁﺑﺎﺩﻯ ﻓﻴﻠﻢ )ﺍﻳﻦ ﺻﻔﺖ ﺭﺍ ﺧﻮﺩ ﻛﻴﻨﮓ‬ ‫ﺑﺮﺍﻯ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﻪ ﻛﺎﺭ ﻣﻰﺑﺮﺩ( ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﻭ ﺍﻳﺪﻩﻯ ﻳﻚ ﺩﺍﺳﺘﺎﻥ‬ ‫ﻓﺎﻧﺘﺰﻯ ﻭﺳﺘﺮﻥ ﺩﺭ ﺫﻫﻨﺶ ﺷﻜﻞ ﻣﻰﮔﻴﺮﺩ؛ ﻳﺎ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺧﻮﺩ‬ ‫ﺍﻭ ﻣﻰﮔﻮﻳﺪ‪:‬‬ ‫»‪...‬ﻫﻨﻮﺯ ﻧﻴﻤﻰ ﺍﺯ ﻓﻴﻠﻢ ﻧﮕﺬﺷﺘﻪ ﺑﻮﺩ ﻛﻪ ﻓﻬﻤﻴﺪﻡ ﻣﻰﺧﻮﺍﻫﻢ ﺭﻣﺎﻧﻰ‬ ‫ﺩﺭ ﺍﺩﺍﻣﻪﻯ ﺟﺴﺘﺠﻮﮔﺮﻯﻫﺎ ﻭ ﺳﺤﺮ ﻭ ﺟﺎﺩﻭﻫﺎﻯ ﺗﺎﻟﻜﻴﻦ ﺑﻨﻮﻳﺴﻢ ﻛﻪ‬

‫ﺳﺮﺟﻴﻮ ﻟﺌﻮﻧﻪ‬

‫ﺷﻜﻮﻩ ﻓﻴﻠﻢﻫﺎﻯ ﻭﺳﺘﺮﻥ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪«.‬‬ ‫ﺑﺎﻻﺧﺮﻩ ﺷﺮﻭﻉ ﺑﻪ ﻧﮕﺎﺭﺵ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﻣﻰﻛﻨﺪ ﻭ ﻳﻜﻰ ﺍﺯ ﺣﺠﻴﻢﺗﺮﻳﻦ ﻭ ﻭﺳﻴﻊﺗﺮﻳﻦ ﻓﺎﻧﺘﺰﻯﻫﺎﻯ‬ ‫ﻣﻌﺎﺻﺮ ﺭﺍ ﺧﻠﻖ ﻣﻰﻛﻨﺪ ‪ :‬ﻣﺠﻤﻮﻋﻪﻯ ﺑﺮﺝ ﺗﺎﺭﻳﻚ‪ .‬ﺑﻪ ﻃﻮﺭﻯ ﻛﻪ ﭼﻬﺎﺭ ﺟﻠﺪ ﺍﻭﻝ ﺑﻴﺶ ﺍﺯ ‪ 2000‬ﺻﻔﺤﻪ‬ ‫ﻭ ﺩﺳﺖﻧﻮﻳﺲ ﺳﻪ ﺟﻠﺪ ﺁﺧﺮ ﺑﻪ ﺑﻴﺶ ﺍﺯ ‪ 2500‬ﺻﻔﺤﻪ ﻣﻰﺭﺳﺪ‪ .‬ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺍﻗﺒﺎﻝ ﺯﻳﺎﺩﻯ ﺩﺍﺷﺖ‬ ‫ﻭ ﺗﻮﺍﻧﺴﺖ ﻃﺮﻓﺪﺍﺭﺍﻥ ﺑﺴﻴﺎﺭﻯ ﭘﻴﺪﺍ ﻛﻨﺪ ﻭ ﻣﺤﺒﻮﺑﻴﺖ ﺯﻳﺎﺩﻯ ﺑﻴﻦ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﻓﺎﻧﺘﺰﻯ ﭘﻴﺪﺍ ﻛﺮﺩ؛ ﺑﻪ‬ ‫ﻃﻮﺭﻯ ﻛﻪ ﺑﻌﻀﻰ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﻛﻪ ﺍﺯ ﻣﺮگ ﺧﻮﺩ ﻗﺒﻞ ﺍﺯ ﺑﻪ ﺍﺗﻤﺎﻡ ﺭﺳﻴﺪﻥ ﻣﺠﻤﻮﻋﻪ ﻣﻰﺗﺮﺳﻴﺪﻧﺪ‪ ،‬ﻃﻰ‬ ‫ﻧﺎﻣﻪﻫﺎﻳﻰ ﺍﺯ ﻛﻴﻨﮓ ﻣﻰﺧﻮﺍﺳﺘﻨﺪ ﻛﻪ ﺳﺮﺍﻧﺠﺎﻡ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺑﺮﺍﻯ ﺁﻥﻫﺎ ﺗﻌﺮﻳﻒ ﻛﻨﺪ!‬ ‫ﺧﻼﺻﻪﻯ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺑﻪ ﺟﻬﺖ ﺍﺟﻨﺘﺎﺏ ﺍﺯ ﻫﺪﺭ ﺭﻓﺘﻦ ﺣﺘﺎ ﻛﻮﭼﻚﺗﺮﻳﻦ ﻟﺬﺕ ﺧﻮﺍﻧﺪﻥ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﻣﻴﻠﻰ ﺑﻪ ﻧﻮﺷﺘﻦ ﺧﻼﺻﻪﻯ‬ ‫ﺩﺍﺳﺘﺎﻥ ﻧﺪﺍﺭﻡ؛ ﺍﻣﺎ ﻋﻠﻰﺭﻏﻢ ﻣﻴﻞ ﺑﺎﻃﻨﻰ ﻭ ﺍﺯ ﺁﻥﺟﺎ ﻛﻪ ﺭﺳﻢ ﺑﺮ ﺍﻳﻦ ﺍﺳﺖ ﺑﺮﺍﻯ ﻣﻌﺮﻓﻰ ﻳﻚ ﻛﺘﺎﺏ‬ ‫ﻳﺎ ﻣﺠﻤﻮﻋﻪ ﺧﻼﺻﻪﺍﻯ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﻭ ﭘﻮﺳﺘﻪﻯ ﺩﺍﺳﺘﺎﻧﻰ ﻧﻮﺷﺘﻪ ﺷﻮﺩ ﺗﺎ ﺧﻮﺍﻧﻨﺪﻩ ﺑﺮ ﺍﺳﺎﺱ ﺩﺍﺳﺘﺎﻥ‬ ‫ﻛﺘﺎﺏ ﻣﻮﺭﺩ ﻋﻼﻗﻪﻯ ﺧﻮﺩ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻛﻨﺪ‪ ،‬ﭼﻨﺪ ﺧﻄﻰ ﻫﻢ ﺩﺭ ﻣﻮﺭﺩ ﺧﻼﺻﻪﻯ ﺩﺍﺳﺘﺎﻥ ﻣﻰﻧﻮﻳﺴﻢ‪:‬‬ ‫‪49‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﻣﺠﻤﻮﻋﻪﻯ ﺑﺮﺝ ﺗﺎﺭﻳﻚ ﺑﺮﻋﻜﺲ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻣﺠﻤﻮﻋﻪﻫﺎﻯ ﺑﻠﻨﺪ ﻓﺎﻧﺘﺰﻯ‪ ،‬ﻣﺠﻤﻮﻋﻪﺍﻯ ﻧﻴﺴﺖ ﻛﻪ ﻫﺮ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﺧﺼﻮﺹ ﻭ ﺟﺪﺍﻳﻰ ﺍﺯ ﺳﻴﺮ ﺩﺍﺳﺘﺎﻥ ﻛﻠﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ؛ ﺑﻠﻜﻪ ﻛﻞ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪﻯ‬ ‫ﺟﻠﺪ ﺁﻥ‬ ‫ِ‬ ‫ﺩﺍﺳﺘﺎﻥ ﻭﺍﺣﺪ ﺩﺍﺭﺩ‪ ،‬ﭘﺲ ﻧﻤﻰﺗﻮﺍﻥ ﻛﺘﺎﺏ ﺍﻭﻝ ﺭﺍ ﺑﻪ ﺗﻨﻬﺎﻳﻰ ﻣﻌﺮﻓﻰ ﻛﺮﺩ؛ ﭼﺮﺍ ﻛﻪ‬ ‫‪ 7‬ﺟﻠﺪﻯ ﻳﻚ‬ ‫ِ‬ ‫ﻣﺴﺘﻘﻞ ﻧﻴﺴﺖ‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭ ﻛﺘﺎﺏ ﺍﻭﻝ ﻳﻌﻨﻰ »ﻫﻔﺖ ﺗﻴﺮﻛﺶ« ﺭﺍ ﺑﻬﺎﻧﻪﺍﻯ ﺑﺮﺍﻯ ﻣﻌﺮﻓﻰ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ‬ ‫ﻗﺮﺍﺭ ﻣﻰﺩﻫﻴﻢ‪.‬‬ ‫ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ ﻣﻌﺮﻓﻰ ﺑﺮﺝ ﺗﺎﺭﻳﻚ – ﻣﺠﻤﻮﻋﻪﺍﻯ ﻛﻪ ﺧﻮﺩ ﻧﻮﻳﺴﻨﺪﻩ ﺁﻥ ﺭﺍ ﻣﻬﻢﺗﺮﻳﻦ ﻛﺎﺭ ﻫﻨﺮﻯ‬ ‫ﺧﻮﺩ ﻣﻰﺩﺍﻧﺪ‪ -‬ﺗﺎ ﺣﺪﻭﺩﻯ ﺁﺳﺎﻥ ﺍﺳﺖ‪ .‬ﺁﺳﺎﻥ ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﻪ ﻛﺎﻓﻰ ﺍﺳﺖ ﺑﻪ ﺷﻤﺎ ﺑﮕﻮﻳﻴﻢ‪ ،‬ﺑﻪ ﺩﺍﺧﻞ‬ ‫ﻛﺘﺎﺑﻔﺮﻭﺷﻰ ﺑﺮﻭﻳﺪ ﻭ ﻣﻘﺪﻣﻪﻯ ﻛﺘﺎﺏ ﻫﻔﺖ ﺗﻴﺮﻛﺶ ﺭﺍ ﺑﻪ ﻗﻠﻢ ﺧﻮﺩ ﺍﺳﺘﻴﻮﻥ ﻛﻴﻨﮓ ﺑﺨﻮﺍﻧﻴﺪ‪ .‬ﻣﻄﻤﺌﻨﺎً‬ ‫ﺑﺮﺍﻯ ﺷﻨﺎﺧﺖ ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﻪ ﭼﻴﺰ ﺑﻴﺸﺘﺮﻯ ﺍﺣﺘﻴﺎﺝ ﻧﺨﻮﺍﻫﻴﺪ ﺩﺍﺷﺖ‪ .‬ﺍﻣﺎ ﺳﻌﻰ ﻣﻰﻛﻨﻢ ﺩﺭ ﺍﻳﻦ ﻣﻌﺮﻓﻰ‪،‬‬ ‫ﺩﻻﻳﻠﻰ ﺑﻴﺎﻭﺭﻡ ﻛﻪ ﺷﻤﺎ ﺭﺍ ﺗﻮﺟﻴﻪ ﻛﻨﺪ ﺍﻳﻦ ﻛﺘﺎﺏ ﺭﺍ ﺣﺘﻤﺎً ﺑﺨﻮﺍﻧﻴﺪ‪.‬‬ ‫ﭼﺮﺍ ﺑﺮﺝ ﺗﺎﺭﻳﻚ ﺭﺍ ﺣﺘﻤ ًﺎ ﺑﺎﻳﺪ ﺧﻮﺍﻧﺪ؟‬ ‫ﺁﻣﺮﻳﻜﺎﻳﻰ ‪ 64‬ﺳﺎﻟﻪﺍﻯ ﻛﻪ ﺍﻭ‬ ‫ﺍﻭﻝ ﺍﺯ ﻫﻤﻪ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺭﺍ ﺍﺳﺘﻴﻮﻥ ﻛﻴﻨﮓ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪ ،‬ﻧﻮﻳﺴﻨﺪﻩﻯ‬ ‫ِ‬ ‫ﺭﺍ ﻳﻜﻰ ﺍﺯ ﺳﻪ ﻧﻮﻳﺴﻨﺪﻩﻯ ﺑﺰﺭگ ﻭﺣﺸﺖ ﻣﻰﺩﺍﻧﻨﺪ؛ ﻛﺴﻰ ﻛﻪ ﺗﻌﺪﺍﺩ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩﻯ ﻛﺘﺎﺏ ﻭ ﻣﺠﻤﻮﻋﻪ‬ ‫ﻧﻮﺷﺘﻪ‪ ،‬ﺷﺎﻫﻜﺎﺭﻫﺎﻯ ﺑﻰﻧﻈﻴﺮﻯ ﺩﺭ ژﺍﻧﺮ ﮔﻤﺎﻧﻪﺯﻥ ﺧﻠﻖ ﻛﺮﺩﻩ‪ ،‬ﺑﻴﺶ ﺍﺯ ‪ 350‬ﻣﻴﻠﻴﻮﻥ ﻧﺴﺨﻪ ﺍﺯ ﺁﺛﺎﺭ ﺍﻭ‬ ‫ﺩﺭ ﺟﻬﺎﻥ ﺑﻪ ﻓﺮﻭﺵ ﺭﺳﻴﺪﻩ ﻭ ﺍﺯ ﺯﻣﺮﻩﻯ ﻧﻮﻳﺴﻨﺪﮔﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻃﻮﺭ ﻣﺘﻌﺪﺩ ﺑﺮﻧﺪﻩﻯ ﺟﺎﻳﺰﻩﻯ ﺍﺩﺑﻰ‬ ‫ﺑﺮﺍﻡ ﺍﺳﺘﻮﻛﺮ )ﺟﺎﻳﺰﻩﻯ ﺍﺩﺑﻴﺎﺕ ﻭﺣﺸﺖ( ﺷﺪﻩ ﺍﺳﺖ ﻭ ﻣﻴﺰﺍﻥ ﺍﻗﺘﺒﺎﺱﻫﺎﻯ ﺳﻴﻨﻤﺎﻳﻰ ﺍﺯ ﻛﺘﺎﺏﻫﺎﻯ ﺍﻭ‬ ‫ﺩﺭ ﺑﻴﻦ ﻓﺎﻧﺘﺰﻯﻧﻮﻳﺴﺎﻥ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩ ﺍﺳﺖ‪ .‬ﺧﻮﺷﺒﺨﺘﺎﻧﻪ ﺍﻛﺜﺮ ﺍﻗﺘﺒﺎﺱﻫﺎﻯ‬ ‫ﺳﻴﻨﻤﺎﻳﻰ ﺍﺯ ﺭﻣﺎﻥﻫﺎﻳﺶ ﺑﺴﻴﺎﺭ ﻣﻮﻓﻖ ﺑﻮﺩﻩﺍﻧﺪ‪ .‬ﻣﺜﻞ ﻓﻴﻠﻢ ﻓﻮﻕﺍﻟﻌﺎﺩﻩﻯ‬ ‫»ﺩﺭﺧﺸﺶ« )‪ (1980‬ﺑﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﺍﺳﺘﻨﻠﻰ ﻛﻮﺑﺮﻳﻚ ]‪ [4‬ﻭ »ﺭﻫﺎﻳﻰ‬ ‫ﺍﺯ ﺷﺎﺋﻮﺷﻨﮓ« ﻭ ﻫﻤﻴﻦﻃﻮﺭ ﻓﻴﻠﻢ ﺯﻳﺒﺎﻯ »ﻣﺴﻴﺮ ﺳﺒﺰ« )‪(1999‬‬ ‫ﻭ »ﻣﻪ« )‪ (2007‬ﺑﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﻓﺮﺍﻧﻚ ﺩﺍﺭﺍﺑﻮﻧﺖ ]‪ [5‬ﻭ »ﻣﻴﺰﺭﻯ«‬ ‫)‪ (1990‬ﺑﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﺭﺍﺏ ﺭﺍﻳﻨﺮ ]‪ [6‬ﻭ »‪ .(2007) «1408‬ﻣﺤﺒﻮﺑﻴﺖ‬ ‫ﺍﻳﻦ ﺭﻣﺎﻥﻫﺎ ﻭ ﻓﻴﻠﻢﻫﺎ ﻭ ﻣﻮﻓﻘﻴﺖ ﺁﻥﻫﺎ ﺩﺭ ﻣﻴﺎﻥ ﺍﻛﺜﺮ ﻣﺨﺎﻃﺒﺎﻥ ژﺍﻧﺮ ﺍﺳﺘﻨﻠﻰ ﻛﻮﺑﺮﻳﻚ‪ ،‬ﻧﺎﺑﻐﻪﻯ ﺳﻴﻨﻤﺎﻳﻰ ﻛﻪ‬ ‫ﻓﻴﻠﻤﻰ ﻋﺎﻟﻰ ﺍﺯ ﺭﻣﺎﻥ ﺩﺭﺧﺸﺶ ﺳﺎﺧﺖ‪.‬‬ ‫ﮔﻤﺎﻧﻪﺯﻥ ﻧﺸﺎﻧﮕﺮ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﻧﻮﻳﺴﻨﺪﻩﻯ ﺁﻣﺮﻳﻜﺎﻳﻰ ﺩﺍﺳﺘﺎﻥﭘﺮﺩﺍﺯ‪،‬‬ ‫ﺑﺴﻴﺎﺭ ﺧﻮﺏ ﻭ ﺗﺄﺛﻴﺮﮔﺬﺍﺭ ﺍﺳﺖ ﻭ ﺷﺎﻳﺴﺘﻪﻯ ﺍﺣﺘﺮﺍﻡ‪.‬‬ ‫ﺩﻟﻴﻞ ﺩﻭﻡ ﺷﺎﻳﺪ ﺩﺍﺳﺘﺎﻥ ﺧﻠﻖ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺍﺳﺖ‪.‬‬ ‫ﺍﺳﺘﻴﻮﻥ ﻛﻴﻨﮓ ﺩﺭ ﺩﻭﺭﺍﻥ ﻧﻮﺟﻮﺍﻧﻰ ﺗﺤﺖ ﺗﺄﺛﻴﺮ ﺷﺎﻫﻜﺎﺭ ﻓﺎﻧﺘﺰﻯ ﺣﻤﺎﺳﻰ ﺟﻰ‪ .‬ﺁﺭ‪ .‬ﺁﺭ‪ .‬ﺗﺎﻟﻜﻴﻦ ]‪،[7‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫‪48‬‬

‫ﻛﺘﺎﺏ‬

‫ﺑﺮﺝ ﺗﺎﺭﻳﻚ‬ ‫ﺳﻴﻨﺎ ﻓﺮﺧﻰ‬

‫ﺷﻨﺎﺳﻨﺎﻣﻪ‬ ‫ﻧﺎﻡ ﻛﺘــﺎﺏ‪ :‬ﺑﺮﺝ ﺗﺎﺭﻳﻚ ]‪[1‬‬ ‫ﻧﻮ ﻳﺴﻨــﺪ ﻩ ‪ :‬ﺍﺳﺘﻴﻮﻥ ﻛﻴﻨﮓ ]‪[2‬‬ ‫ﻣﺘــﺮ ﺟـﻢ ‪ :‬ﻧـﺪﺍ ﺷـﺎﺩﻧـﻈــﺮ‬ ‫ﻧـﺎ ﺷــــﺮ ‪ :‬ﺍﻧﺘﺸـﺎﺭﺍﺕ ﺍﻓـﺮﺍﺯ‬ ‫ﻧﻮﺑﺖ ﭼـﺎپ‪ :‬ﺍﻭﻝ ‪1 3 8 9 -‬‬ ‫ﻧﺎﺷﺮ ﻧﺴﺨﻪﻯ ﺍﺻﻠﻰ‪:‬‬

‫ﺍﻧﺘﺸﺎﺭﺍﺕ ﮔﺮﻧﺖ ]‪[3‬‬

‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﺑﻪ ﻣﻌﻴﺎﺭ ﺟﻨﻮﺏ ﻛﻪ ﺷﻬﺮﻫﺎﻯ ﻧﺰﺩﻳﻜﺶ ﺻﺪ ﻛﻴﻠﻮﻣﺘﺮ ﺑﺎ ﻫﻢ ﻓﺎﺻﻠﻪ ﺩﺍﺷﺘﻨﺪ‪ .‬ﭘﺎﻳﺎﻥ ﺍﺻﻠﻰ ﺷﻬﺮ ﺁﻥ‬ ‫ﺯﻣﺎﻥ ﺳﻪ ﺭﺍﻩ ﺳﻮﺳﻨﮕﺮﺩ ﺑﻮﺩ ﻭ ﺑﻌﺪﺵ ﺩﻩ ﻛﻴﻠﻮﻣﺘﺮ ﺑﻴﺎﺑﺎﻥ ﺑﺮﻫﻮﺕ ﻛﻪ ﻗﺒ ً‬ ‫ﻼ ﻛﺸﺖﺯﺍﺭ ﻧﻴﺸﻜﺮ ﺻﻨﻌﺘﻰ‬ ‫ﺑﻮﺩ ﻭ ﭘﻴﺶﺗﺮﺵ ﻫﻢ ﭼﻨﺪ ﺭﻭﺳﺘﺎﻯ ﺑﻪ ﻫﻢ ﭼﺴﺒﻴﺪﻩ ﻭ ﺍﻻﻥ ﻫﻢ ﺗﻚ ﻭ ﺗﻮﻙ ﻣﺠﺘﻤﻊﻫﺎﻯ ﺑﺰﺭﮔﻰ‬ ‫ﻛﻪ ﻣﺜﻞ ﻭﺍﺣﻪﻫﺎﻳﻰ ﻭﺳﻂ ﺑﻴﺎﺑﺎﻥ ﺳﺮ ﺑﺮﺁﻭﺭﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺁﻥﻫﺎﻳﻰ ﻛﻪ ﺍﺯ ﺷﻬﺮ ﺩﻭﺭﺗﺮ ﺑﻮﺩﻧﺪ‪ ،‬ﻣﻰﺗﻮﺍﻧﺴﺘﻨﺪ‬ ‫ﺑﺮﻕ ﻫﻢ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ ﻭ ﺩﻭﺭﺷﺎﻥ ﭘﺮ ﺑﻮﺩ ﺍﺯ ﻣﺰﺭﻋﻪﻫﺎﻯ ﺑﺮﻕ ﺧﻮﺭﺷﻴﺪﻯ ﻭ ﺑﻌﻀﻰﻫﺎ ﺧﻮﺩﺭﻭﻯ ﺑﺮﻗﻰ‬ ‫ﻫﻢ ﺩﺍﺷﺘﻨﺪ‪.‬‬ ‫ﺑﺎﺩ ﭘﺎﻳﻴﺰﻯ ﻛﻪ ﻫﻨﻮﺯ ﺑﻮﻯ ﺗﺎﺑﺴﺘﺎﻥ ﻣﻰﺩﺍﺩ ﺩﺭﻭﻧﻪﻯ ﺑﻴﻨﻰﺍﺵ ﺭﺍ ﻣﻰﺳﻮﺯﺍﻧﺪ‪ .‬ﮔﺮﻣﺎ ﻧﺒﻮﺩ‪ .‬ﺩﺭﺩ ﭘﺎﻳﻴﺰ ﺑﻮﺩ‪.‬‬ ‫ﺣﺮﺍﻣﺰﺍﺩﻩﻯ ﺗﺎﺑﺴﺘﺎﻥ ﺑﻮﺩ ﺍﺯ ﺗﺠﺎﻭﺯ ﺑﻪ ﭘﺎﻳﻴﺰ ﻛﻪ ﺳﻮﺍﺭ ﺑﺮ ﺑﺎﺩ ﻻﻯ ﺑﺎﺯﻣﺎﻧﺪﻩﻯ ﺍﺳﻜﻠﺖ ﺩﻧﺪﺍﻥﺧﻮﺭﺩﻩﻯ‬ ‫ﺳﺎﺧﺘﻤﺎﻧﻰ ﻣﻰﺗﺎﺧﺖ ﻛﻪ ﺩﺭ ﻧﻮﺯﺍﺩﻯ ﻣﺮﺩ‪ .‬ﺳﻮﺯﺵ ﺑﻴﻨﻰ ﻭ ﻋﻤﻖ ﺣﻔﺮﻩﻫﺎﻯ ﮔﻴﺠﮕﺎﻫﻰ ﺍﻭ ﺭﺍ ﺑﻪ ﺧﻮﺩ‬ ‫ﺁﻭﺭﺩ‪ .‬ﻫﻨﻮﺯ ﻫﻢ ﻛﻪ ﻫﻨﻮﺯ ﺑﺎﺩ ﭘﺎﻳﻴﺰ ﺑﻮﻯ ﺳﺎﻗﻪﻫﺎﻯ ﻧﻴﻢﺳﻮﺯ ﻧﻴﺸﻜﺮ ﺭﺍ ﺩﺍﺷﺖ‪ .‬ﺣﺘﺎ ﺍﮔﺮ ﺳﺎﻝﻫﺎ ﭘﻴﺶ‬ ‫ﺩﻳﮕﺮ ﻧﻴﺸﻜﺮ ﺻﻨﻌﺘﻰ ﻧﺒﻮﺩ‪.‬‬ ‫ﺑﻪ ﺍﻧﮕﻴﺰﺷﻰ ﻧﺎﮔﻬﺎﻧﻰ ﻭ ﻣﺒﻬﻢ‪ ،‬ﺩﺳﺘﺶ ﺭﺍ ﺯﻳﺮ ﭼﺎﻧﻪﻯ ﺳﮓ ﮔﺬﺍﺷﺖ ﻭ ﺳﺮﺵ ﺭﺍ ﺑﺎﻻ ﺁﻭﺭﺩ‪ .‬ﺑﺎﻻ ﺁﻭﺭﺩ‬ ‫ﻭ ﺑﺎﻻ ﺁﻭﺭﺩ‪ .‬ﺍﻳﻦ ﻗﺪﺭ ﻛﻪ ﺭﻭﻯ ﺩﻭ ﭘﺎ ﺍﻳﺴﺘﺎﺩ ﻭ ﻫﻤﻴﻦ ﻃﻮﺭ ﻛﻪ ﺑﺎﻻﺗﺮ ﻣﻰﺭﻓﺖ‪ ،‬ﻫﻴﺒﺖ ﺳﮓ ﻣﻰﺭﻳﺨﺖ‬ ‫ﻭ ﺍﻧﺪﺍﻣﻰ ﺍﻧﺴﺎﻧﻰ ﺯﻳﺮ ﭘﻮﺳﺖ ﺳﮓ ﺧﻮﺩﺵ ﺭﺍ ﻧﺸﺎﻥ ﺩﺍﺩ‪ .‬ﺻﻮﺭﺕ ﺩﻳﮕﺮ ﻛﺎﻣ ً‬ ‫ﻼ ﺍﻧﺴﺎﻧﻰ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ‬ ‫ﺩﺳﺘﺶ ﺭﺍ ﺑﺮﺩﺍﺷﺖ ﻭ ﺍﻟﻬﺎﻡ ﺩﻭﺑﺎﺭﻩ ﺭﻭﻯ ﭼﻬﺎﺭ ﭘﺎ ﺍﻳﺴﺘﺎﺩ ﻭ ﺳﮓ ﺳﻴﺎﻩ ﺑﺎ ﻧﮕﺎﻫﻰ ﻭﺣﺸﻰ ﺑﺎﺯﮔﺸﺖ‪.‬‬ ‫ﺑﻘﻴﻪﻯ ﺳﮓﻫﺎ ﻧﺎﮔﻬﺎﻥ ﺷﺮﻭﻉ ﺑﻪ ﻏﺮﻳﺪﻥ ﻛﺮﺩﻧﺪ ﻭ ﺩﻧﺪﺍﻥ ﻧﺸﺎﻧﺶ ﻣﻰﺩﺍﺩﻧﺪ ﻛﻪ ﻳﺎﺩ ﭘﻴﺮﺯﻥ ﺍﻓﺘﺎﺩ‪.‬‬ ‫ﭘﻴﺮﺯﻥ ﻫﻤﺎﻥ ﻭﻗﺖﻫﺎ ﻫﻢ ﭘﻴﺮ ﺑﻮﺩ‪ .‬ﺣﺎﻻ ﺩﻳﮕﺮ ﺣﺘﻤﺎً ﻣﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﻣﻰﺷﺪ ﭘﻴﺪﺍﻳﺶ ﻛﺮﺩ ﻭ ﻭﺍﺩﺍﺭﺵ‬ ‫ﻛﺮﺩ ﺑﺎﻃﻞ ﻛﻨﺪ ﺳﺤﺮ ﻃﻠﺴﻤﺶ ﺭﺍ‪ .‬ﻣﻰﺩﺍﻧﺴﺖ ﭼﻄﻮﺭ ﺑﺎﻳﺪ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺑﻜﻨﺪ‪ .‬ﺑﺎﻳﺪ ﺑﻪ ﺷﻬﺮ ﻣﻰﺭﻓﺖ‪.‬‬ ‫ﻧﺰﺩﻳﻚ ﺷﻬﺮ‪ ،‬ﻫﻨﻮﺯ ﺟﺎﻫﺎﻳﻰ ﺷﺒﻜﻪ ﺑﻮﺩ‪ .‬ﻣﺎﻫﻮﺍﺭﻩﻫﺎ ﻫﻨﻮﺯ ﺑﻮﺩﻧﺪ ﻭ ﺩﻭﺭ ﺷﻬﺮ‪ ،‬ﺑﻴﻦ ﺁﻥﺟﺎﻳﻰ ﻛﻪ‬ ‫ﺁﺗﺶﻫﺎﻯ ﻗﺪﺭﺕ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﻛﻮﺭ ﻣﻰﻛﺮﺩ ﺗﺎ ﺁﻥﺟﺎ ﻛﻪ ﺩﻳﮕﺮ ﺑﺮﻗﻰ ﺩﺭ ﻫﻮﺍ ﻧﺒﻮﺩ ﻛﻪ ﭼﻴﺰﻯ ﺭﺍ ﺑﻪ‬ ‫ﻛﺎﺭ ﺑﻴﺎﻧﺪﺍﺯﺩ‪ ،‬ﻫﻨﻮﺯ ﺗﺎﺭﻫﺎﻯ ﺷﺒﻜﻪ ﻣﻮﺝ ﻣﻰﺯﺩ‪ .‬ﺣﻠﻘﻪﺍﻯ ﺑﻮﺩ ﺩﻭﺭ ﺷﻬﺮ ﻛﻪ ﺍﺯ ﻳﻚ ﻃﺮﻑ ﺁﺗﺶﻫﺎﻯ‬ ‫ﭘﺮ ﺳﺮ ﻭ ﺻﺪﺍ ﺩﺭ ﻫﻮﺍ ﺟﺮﻗﻪ ﻣﻰﺯﺩﻧﺪ ﻭ ﭘﺮ ﺑﻮﺩ ﺍﺯ ﻋﺠﻴﺐﺍﻟﺨﻠﻘﻪﻫﺎﻳﻰ ﻛﻪ ﺑﺮﻕ ﻭ ﻣﻴﺪﺍﻥﻫﺎﻯ ﺑﺮﻕ ﻭ‬ ‫ﻣﻐﻨﺎﻃﻴﺲ ﺗﺒﺪﻳﻠﺸﺎﻥ ﻛﺮﺩﻩ ﺑﻮﺩ ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺎﺑﻮﺱ ﺭﻭﺯ ﺭﻭﻳﺎﻯ ﺁﺩﻣﻰ ﻛﻪ ﺩﻩ ﺭﻭﺯ ﺍﺳﺖ ﻧﺨﻮﺍﺑﻴﺪﻩ‪ .‬ﭘﺮ‬ ‫ﺑﻮﺩ ﺍﺯ ﭼﻴﺰﻫﺎﻳﻰ ﻛﻪ ﺍﻧﮕﺎﺭ ﺧﻮﺩﺷﺎﻥ ﺍﺯ ﻫﻤﺎﻥ ﺟﺮﻗﻪﻫﺎﻯ ﺁﺑﻰ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﭼﻴﺰﻫﺎﻳﻰ ﻛﻪ‬ ‫ﺍﮔﺮ ﺍﺯ ﺩﻳﻮﺍﺭ ﺷﻬﺮ ﻓﺎﺻﻠﻪ ﻣﻰﮔﺮﻓﺘﻨﺪ‪ ،‬ﻧﻴﺴﺖ ﻣﻰﺷﺪﻧﺪ‪ .‬ﺁﻥﻫﺎﻳﻰ ﻛﻪ ﺍﺯ ﺩﺭﻭﻥ ﺷﺒﻜﻪ ﺁﻣﺪﻩ ﺑﻮﺩﻧﺪ ﻭ‬ ‫ﺁﻥﻫﺎﻳﻰ ﻛﻪ ﺑﺮﺍﻯ ﺷﺒﻜﻪ ﺁﻣﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻫﻤﻪ ﻫﻤﺎﻥ ﺟﺎ ﺑﻮﺩﻧﺪ‪ .‬ﻫﻢ ﺁﺩﻡﻫﺎﻯ ﺑﺮﻗﻰ ﻭ ﻫﻢ ﺯﻥﻫﺎﻳﻰ ﻛﻪ‬ ‫ﻣﻰﺧﻮﺍﺳﺘﻨﺪ ﻣﻌﺠﺰﻩ ﻛﻨﻨﺪ‪.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﺍﺳﺖ ﻭ ﻫﻢ ﻭﻗﺖ ﺭﻓﺘﻦ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﮔﻮﺷﻰ ﻣﻮﺑﺎﻳﻠﺶ ﻛﻪ ﺁﻥ ﺭﻭﺯﻫﺎ ﻣﺪ ﺑﻮﺩ ﻫﻤﻪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ ،‬ﺯﻧﮓ‬ ‫ﺯﺩﻩ ﺑﻮﺩ ﻭ ﻓﻜﺮﺵ ﻫﻢ ﺭﻓﺘﻪ ﺑﻮﺩ ﺳﺮﺍﻍ ﺍﻳﻦ ﻛﻪ ﺑﺎ ﺍﻳﻦ ﺍﻓﺰﻭﻧﻪﻯ ﺷﺒﻜﻪﻯ ﻫﻮﻳﺖ ﺩﻳﺠﻴﺘﺎﻝ ﺭﻭﻯ ﻣﭽﻢ‬ ‫ﻭ ﺍﻳﻦ ﻣﻮﺑﺎﻳﻞ ﻫﻤﻪﻛﺎﺭﻩﻯ ﺁﻭﻳﺨﺘﻪ ﺑﻪ ﮔﺮﺩﻧﻢ ﻭ ﻫﺪﻓﻮﻥ ﺭﻣﺰﻛﻨﻨﺪﻩﻯ ﺩﺭﻭﻥ ﮔﻮﺷﻢ‪ ،‬ﺳﺎﻳﺒﻮﺭﮔﻰ ﻫﺴﺘﻢ‬ ‫ﺩﺭ ﺍﻳﻦ ﺩﻧﻴﺎ ﻭ ﺍﺯ ﺍﻳﻦ ﻓﻜﺮﻫﺎ ﻛﻪ ﺑﺎ ﺟﻮﺍﺏ ﺩﺍﺩﻥ ﮔﻮﺷﻰ ﺗﻤﺎﻡ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﻫﻴﭻ ﻓﻜﺮﺵ ﺭﺍ ﻫﻢ ﻧﻤﻰﻛﺮﺩ‬ ‫ﻛﻪ ﺭﻭﺯﻯ ﺗﻮﻯ ﻣﻐﺰﺵ ﺗﺮﺍﺷﻪﺍﻯ ﺑﻜﺎﺭﻧﺪ ﻭ ﺭﻭﺯﻯ ﻫﻢ ﺑﺮﺳﺪ ﻛﻪ ﺧﻮﺩﺵ ﺑﺨﻮﺍﻫﺪ ﻫﻤﻪﻯ ﺗﺮﺍﺑﺸﺮﻳﺖ ﺭﺍ‬ ‫ﻧﺎﺑﻮﺩ ﻛﻨﺪ ﻭ ﺑﻤﺐ ﭘﺎﻟﺴﻰ ﻫﻢ ﺑﺎﺷﺪ ﻛﻪ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺑﺴﻮﺯﺍﻧﺪ ﻳﺎ ﻧﻴﻢﺳﻮﺯ ﻛﻨﺪ‪ .‬ﺗﺮﺍﺷﻪﺍﺵ ﺩﻳﮕﺮ ﺑﻪ ﻛﺎﺭ‬ ‫ﺧﺎﺻﻰ ﻧﻤﻰﺁﻣﺪ‪ .‬ﻫﻤﻴﻦ ﻗﺪﺭﺵ ﻫﻢ ﺯﻳﺎﺩ ﺑﻮﺩ‪ .‬ﺍﮔﺮ ﺗﺮﺍﺷﻪ ﺑﻴﺸﺘﺮ ﺍﺯ ﺍﻳﻦ ﻣﻰﺳﻮﺧﺖ‪ ،‬ﻳﻌﻨﻰ ﭘﺎﻟﺲ ﺍﻳﻦ‬ ‫ﻗﺪﺭ ﻗﺪﺭﺕ ﺩﺍﺷﺖ ﻛﻪ ﺟﺮﻳﺎﻥﻫﺎﻯ ﺍﻟﻜﺘﺮﻳﻜﻰ ﻣﻐﺰﺵ ﺭﺍ ﻫﻢ ﻣﺨﺘﻞ ﻛﻨﺪ‪.‬‬ ‫ﺣﻮﺯﻩﻯ ﺷﻨﻮﺍﻳﻰﺍﺵ ﺭﺍ ﺁﺯﺍﺩ ﻛﺮﺩ ﻭ ﮔﺬﺍﺷﺖ ﻣﻮﺳﻴﻘﻰ ﺗﻮﻯ ﺫﻫﻨﺶ ﺭﻭﻯ ﻃﻴﻔﻰ ﻓﺮﺍﻯ ﭘﻨﺠﺮﻩﻯ‬ ‫ﺷﻨﻮﺍﻳﻰ ﮔﻮﺵ ﻧﻮﺍﺧﺘﻪ ﺷﻮﺩ ﻛﻪ ﺍﺩﺍﻣﻪﻯ ﻣﻨﻄﻘﻰ ﺻﺪﺍﻯ ﺳﺎﺯﻫﺎﻯ ﻓﻴﺰﻳﻜﻰ ﺑﻮﺩ ﻭ ﺧﺎﺭﺝ ﺍﺯ ﺣﻮﺯﻩﻯ‬ ‫ﺷﻨﻮﺍﻳﻰ ﺻﻮﺗﻰ ﺍﻧﺴﺎﻥ‪ .‬ﺭﻭﻯ ﺯﻣﻴﻦ ﻧﺸﺴﺖ ﻭ ﺑﻘﻴﻪﻯ ﻧﺎﻥﻫﺎ ﺭﺍ ﺗﻜﻪﺗﻜﻪ ﻛﺮﺩ ﻭ ﺟﻠﻮﻯ ﺳﮓﻫﺎ ﺭﻳﺨﺖ‪.‬‬ ‫ﺳﮓﻫﺎ ﻧﺰﺩﻳﻚ ﺷﺪﻧﺪ ﻭ ﻧﮕﺎﻩ ﺍﺣﺴﺎﻥ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺳﻤﺖ ﺳﮓ ﺳﻴﺎﻩ ﺑﺮﮔﺸﺖ ﻭ ﻃﻴﻒ ﻣﻜﻤﻞ ﻛﻨﺴﺮﺕ‬ ‫ﺷﻤﺎﺭﻩ ‪ 3‬ﻣﺜﻞ ﻫﻤﻴﺸﻪ ﺩﺭ ﺣﺎﺷﻴﻪﻯ ﻣﻴﺪﺍﻥ ﺑﻴﻨﺎﻳﻰﺍﺵ ﻧﻘﺶﻫﺎﻳﻰ ﻧﻮﺭﺍﻧﻰ ﺗﺮﺳﻴﻢ ﻣﻰﻛﺮﺩ ﻭ ﺍﺣﺴﺎﻥ‬ ‫ﺑﻪ ﻧﺎﻥ ﺧﻮﺭﺩﻥ ﺳﮓﻫﺎ ﺍﺯ ﻻﺑﻪﻻﻯ ﺩﺭﺧﺖﻫﺎﻯ ﭘﺮﻧﻘﺶ ﻭ ﻧﮕﺎﺭ ﻧﻘﺮﻩﻓﺎﻡ ﺭﻭﻯ ﭼﺸﻢﻫﺎﻳﺶ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺻﺤﻨﻪ ﺑﻪ ﻃﺮﺯﻯ ﺗﻮﺿﻴﺢﻧﺎﭘﺬﻳﺮ ﺑﻪ ﺍﻭ ﺁﺭﺍﻣﺶ ﻣﻰﺩﺍﺩ‪ .‬ﺍﻧﮕﺎﺭ ﺩﺭ ﺟﻤﻌﻰ ﺁﺷﻨﺎ ﻧﺸﺴﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﻧﻘﺶﻫﺎ ﺩﻭﺭ ﺗﺼﻮﻳﺮ ﺳﺮ ﺳﮓ ﺳﻴﺎﻩ ﺣﻠﻘﻪ ﺯﺩﻧﺪ‪ ،‬ﻃﻨﺎﺏ ﭘﻮﺳﻴﺪﻩﻯ ﺳﻴﺎﻩ ﺩﻭﺭ ﮔﺮﺩﻧﺶ ﺭﺍ ﺗﺰﻳﻴﻦ ﻛﺮﺩﻧﺪ‬ ‫ﻭ ﻫﻤﻴﻦ ﻃﻮﺭ ﻛﻪ ﺍﺣﺴﺎﻥ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‪ ،‬ﺻﻮﺭﺕ ﺳﮓ ﻟﺮﺯﻳﺪ ﻭ ﻟﺮﺯﻳﺪ‪ .‬ﺳﻴﻢﻫﺎﻯ ﻧﻘﺮﻩﺍﻯ ﺩﺭﺧﺸﺎﻥ‬ ‫ﭼﺮﺧﻴﺪﻧﺪ ﻭ ﺗﺼﻮﻳﺮ ﻟﺮﺯﻳﺪ ﻭ ﺍﺣﺴﺎﻥ ﺗﻨﻬﺎ ﺑﺮﺍﻯ ﻳﻚ ﻟﺤﻈﻪ ﭼﻴﺰﻯ ﺩﻳﺪ ﻛﻪ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﺗﻤﺎﻡ ﺍﻋﺠﺎﺯﻫﺎﻯ‬ ‫ﺟﻤﻬﻮﺭﻯ ﻛﺒﻴﺮ ﻣﺮﻳﺦ ﺑﺮﺍﻯ ﺯﻣﻴﻦ ﺳﻮﺧﺘﻪ ﺍﺯ ﺁﺗﺶ ﺷﻨﺎﻭﺭ ﺩﺭ ﻫﻮﺍ‪ ،‬ﺑﻬﺖﺁﻭﺭ ﺑﻮﺩ‪ .‬ﺗﺼﻮﻳﺮ ﺳﮓ ﺩﺭﻭﻥ‬ ‫ﭼﺸﻢﻫﺎﻯ ﺍﺣﺴﺎﻥ ﺍﺯ ﻻﺑﻪﻻﻯ ﻧﻘﺶ ﻭ ﻧﮕﺎﺭ ﺍﻛﻮﻻﻳﺰﺭ ﻣﺤﻴﻄﻰ ﻟﺮﺯﻳﺪ ﻭ ﻧﺎﮔﻬﺎﻥ ﺑﺮﺍﻯ ﻟﺤﻈﻪﺍﻯ‪ ،‬ﺑﻪ‬ ‫ﺍﺧﺘﺼﺎﺭﻯ ﺩﺭﻙﻧﺎﭘﺬﻳﺮ‪ ،‬ﺻﻮﺭﺕ ﺍﻟﻬﺎﻡ ﺟﺎﻯ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﮔﺮﻓﺖ‪ .‬ﺻﺤﻨﻪ ﺁﻥ ﻗﺪﺭ ﻭﺍﻗﻌﻰ ﺑﻮﺩ ﻛﻪ ﺍﺣﺴﺎﻥ‬ ‫ﺣﺘﺎ ﺑﺮﻕ ﮔﺮﺩﻥﺑﻨﺪ ﺍﻟﻬﺎﻡ ﺭﺍ ﻫﻢ ﺩﻳﺪ‪.‬‬ ‫ﺁﻥ ﺯﻣﺎﻥ‪ ،‬ﻋﺼﺮﻫﺎ ﻫﻤﻴﺸﻪ ﺑﺎﺩ ﻣﻰﻭﺯﻳﺪ‪ .‬ﺑﺎﺩ ﻏﺮﺏ‪ ،‬ﺗﺎ ﺳﺎﻋﺘﻰ ﻣﺎﻧﺪﻩ ﺑﻪ ﻏﺮﻭﺏ ﻣﻰﺗﺎﺧﺖ ﻭ ﺁﺳﻤﺎﻥ‬ ‫ﺭﺍ ﺍﺯ ﺧﺎﻙ ﺳﻔﻴﺪ ﻣﻰﻛﺮﺩ ﻭ ﺩﻭﺭ ﺧﻮﺭﺷﻴﺪ ﺭﺍ ﻫﺎﻟﻪﺍﻯ ﺭﻧﮕﻴﻦﻛﻤﺎﻧﻰ ﻣﻰﮔﺮﻓﺖ ﻭ ﺧﻮﺭﺷﻴﺪ ﻣﻰﺷﺪ‬ ‫ﺯﺭﺩ ﺯﺭﺩ ﺯﺭﺩ‪ .‬ﺧﺮﺍﺑﻪﻫﺎﻯ ﺷﻬﺮﻯ ﻛﻪ ﺯﻣﺎﻧﻰ ﺟﻠﻮﻯ ﺑﺎﺩ ﺑﻴﺎﺑﺎﻥ ﺭﺍ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﺩﻳﮕﺮ ﺁﻥ ﻗﺪﺭﻯ ﺗﻮﺳﺮﻯ‬ ‫ﺧﻮﺭﺩﻩ ﺑﻮﺩﻧﺪ ﻛﻪ ﺑﺎﺩ ﺑﺎﺯ ﻫﻢ ﺷﻮﻻﻯ ﺧﺎﻙ ﺭﺍ ﺑﻪ ﺳﺮ ﻣﻰﻛﺮﺩ ﻭ ﺑﺬﺭ ﺷﻦﻫﺎﻯ ﺑﻴﺎﺑﺎﻥ ﺁﻥ ﺳﻮﻯ ﺧﻠﻴﺞ ﺭﺍ‬ ‫ﺭﻭﻯ ﺯﻣﻴﻦﻫﺎﻯ ﺟﻠﮕﻪ ﻣﻰﭘﺎﺷﻴﺪ‪ .‬ﺍﻳﻦﺟﺎ ﭘﺎﻳﻴﺰ ﻫﻴﭻ ﺑﺮﮔﻰ ﺭﺍ ﺯﺭﺩ ﻧﻤﻰﻛﺮﺩ‪ .‬ﻓﻘﻂ ﺳﺎﻋﺖ ﺑﺎﺩ ﺭﺍ ﻋﻮﺽ‬ ‫ﻣﻰﻛﺮﺩ‪ .‬ﺷﻬﺮﻙ ﺁﻥ ﺯﻣﺎﻥﻫﺎ‪ ،‬ﻗﺒﻞ ﺍﺯ ﻇﻬﻮﺭ ﻭ ﺳﻘﻮﻁ ﺍﻣﭙﺮﺍﻃﻮﺭﻯ ﺷﺒﻜﻪ‪ ،‬ﻧﺰﺩﻳﻚ ﺷﻬﺮ ﺑﻮﺩ‪ .‬ﻧﺰﺩﻳﻚ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﻓﺮﺍﺭ ﻧﻜﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺯﻭﺯﻩﻯ ﺳﮓ ﺩﻟﺶ ﺭﺍ ﺧﺮﺍﺵ ﺩﺍﺩﻩ ﺑﻮﺩ‪ .‬ﺣﺎﻟﺖ ﺳﮓ ﺩﺭﺳﺖ ﻫﻤﺎﻥ ﻃﻮﺭﻯ ﺑﻮﺩ ﻛﻪ‬ ‫ﺑﺎﻳﺪ ﺩﻝ ﺭﺍ ﺑﻪ ﺭﺣﻢ ﻣﻰﺁﻭﺭﺩ‪ .‬ﮔﻮﺵﻫﺎﻯ ﺍﻓﺘﺎﺩﻩ ﺑﺎ ﺩﻡ ﺁﻭﻳﺰﺍﻥ ﻭ ﺧﻤﻴﺪﮔﻰ ﻛﻤﺮ ﺣﻴﻮﺍﻥ ﻃﻮﺭﻯ ﺑﻮﺩ‪،‬‬ ‫ﺍﻧﮕﺎﺭ ﺿﻌﻔﻰ ﺭﺍ ﻓﺮﻳﺎﺩ ﻣﻰﺯﻧﺪ ﻛﻪ ﺣﻖ ﺍﻳﺠﺎﺩ ﻣﻰﻛﻨﺪ‪ .‬ﺍﺯ ﺁﻥﻫﺎﻳﻰ ﻛﻪ ﺑﻌﻀﻰ ﺩﺍﺭﻧﺪ ﻭ ﺑﺎ ﺁﻥ ﻫﻤﻪﻯ ﺩﻭﺭ‬ ‫ﻭ ﺑﺮﺷﺎﻥ ﺭﺍ ﻣﻰﻣﻜﻨﺪ ﺗﻮﻯ ﻭﺟﻮﺩ ﺧﻮﺩﺷﺎﻥ ﻭ ﺧﻮﺩﺷﺎﻥ ﻭ ﺑﻴﺮﻭﻥ ﻫﻤﺎﻥ ﻃﻮﺭ ﺧﺸﻚ ﻣﻰﻣﺎﻧﺪ‪.‬‬ ‫ﺍﺣﺴﺎﻥ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺍﺯ ﻧﺎﻥ ﺗﻜﻪﺍﻯ ﺑﺮﻳﺪ ﻭ ﺟﻠﻮﻯ ﺳﮓ ﭘﺮﺕ ﻛﺮﺩ‪ .‬ﺳﮓﻫﺎ ﺁﺭﺍﻡ ﻧﺰﺩﻳﻚ ﺷﺪﻧﺪ ﻭ ﺑﺮﺧﻼﻑ‬ ‫ﺍﻧﺘﻈﺎﺭﺵ ﺑﻪ ﻧﺎﻥ ﺣﻤﻠﻪﻭﺭ ﻧﺸﺪﻧﺪ‪ .‬ﻛﻮﭼﻚﺗﺮﻳﻦ ﺳﮓ ﻛﻪ ﺍﻧﮕﺎﺭ ﺗﻮﻟﻪﺍﻯ ﻧﺎﺑﺎﻟﻎ ﺑﻮﺩ‪ ،‬ﺟﻠﻮ ﺁﻣﺪ ﻭ ﻧﮕﺎﻫﺶ‬ ‫ﺭﺍ ﺑﻪ ﻧﺎﻥ ﺩﻭﺧﺖ‪ .‬ﺳﮓ ﺳﻴﺎﻩ ﻛﻪ ﻃﻨﺎﺑﻰ ﺳﻔﻴﺪ ﺩﻭﺭ ﮔﺮﺩﻧﺶ ﺩﺍﺷﺖ ﻭ ﻏﺮﻳﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﺎ ﭘﻨﺠﻪ ﺍﻭ ﺭﺍ ﺑﻪ‬ ‫ﺳﻤﺖ ﻧﺎﻥ ﻫﻞ ﺩﺍﺩ‪ .‬ﺳﮓ ﻛﻮﭼﻚ ﭘﻨﺠﻪﺍﺵ ﺭﺍ ﺭﻭﻯ ﻧﺎﻥ ﮔﺬﺍﺷﺖ ﻭ ﮔﻮﺷﻪﺍﻯ ﺭﺍ ﺑﻪ ﻧﻴﺶ ﻛﺸﻴﺪ‪،‬‬ ‫ﺗﻜﻪﺍﻯ ﺍﺯ ﺁﻥ ﺭﺍ ﻛﻨﺪ ﻭ ﻋﻘﺐ ﺭﻓﺖ‪.‬‬ ‫ﺳﮓ ﺳﻔﻴﺪ ﺩﻭﺑﺎﺭﻩ ﺗﻮﻟﻪ ﺭﺍ ﻫﻞ ﺩﺍﺩ‪ .‬ﺍﻣﺎ ﺗﻮﻟﻪ ﺍﻭﻝ ﻣﻘﺎﻭﻣﺖ ﻛﺮﺩ ﻭ ﺑﻌﺪ ﺩﻭﺭﻯ ﺯﺩ ﻭ ﺑﻪ ﮔﻮﺷﻪﺍﻯ ﻓﺮﺍﺭ‬ ‫ﻛﺮﺩ‪ .‬ﺍﺣﺴﺎﻥ ﺗﻜﺎﻧﻰ ﺧﻮﺭﺩ ﻭ ﺍﺯ ﺑﻬﺖ ﺑﻴﺮﻭﻥ ﺁﻣﺪ‪ .‬ﻳﻜﻰ ﺍﺯ ﻧﺎﻥﻫﺎ ﺭﺍ ﺑﺮﺩﺍﺷﺖ ﻭ ﭼﻨﺪ ﺗﻜﻪ ﻛﺮﺩ ﻭ ﺑﺮﺍﻯ‬ ‫ﺳﮓﻫﺎ ﺍﻧﺪﺍﺧﺖ‪.‬‬ ‫ﻳﺎﺩ ﺧﺎﻃﺮﻩﺍﻯ ﺍﻓﺘﺎﺩ ﻛﻪ ﻣﺤﻤﺪﺭﺿﺎ ﺑﺮﺍﻳﺶ ﺗﻌﺮﻳﻒ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺷﺎﻳﺪ ﻫﻢ ﺧﺎﻃﺮﻩﻯ ﺧﻮﺩﺵ ﺑﺎ ﻣﺤﻤﺪﺭﺿﺎ‬ ‫ﺑﻮﺩ‪ .‬ﺍﺯ ﻭﻗﺘﻰ ﺯﻳﺴﺘﺮﺍﺷﻪﺍﺵ ﻧﻴﻢﺳﻮﺯ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺩﻳﮕﺮ ﻧﻤﺎﻳﻪﺍﺵ ﺩﺭﺳﺖ ﻛﺎﺭ ﻧﻤﻰﻛﺮﺩ ﻭ ﮔﺎﻫﻰ ﻣﻌﻠﻮﻡ‬ ‫ﻧﻤﻰﻛﺮﺩ ﻣﺮﺟﻊ ﻫﺮ ﺭﺷﺘﻪﻯ ﻓﻜﺮﻯ ﻛﺪﺍﻡ ﻣﻨﺒﻊ ﺍﺳﺖ‪ .‬ﺧﻴﻠﻰ ﺧﺎﻃﺮﻩﻫﺎﻯ ﻣﺤﻤﺪﺭﺿﺎ ﺍﺯ ﺳﮓﻫﺎ ﺑﻮﺩ‪.‬‬ ‫ﭼﻪ ﺧﺎﻃﺮﻩﻫﺎﻳﻰ ﻛﻪ ﺧﻮﺩﺵ ﮔﻔﺘﻪ ﺑﻮﺩ ﻭ ﭼﻪ ﺧﺎﻃﺮﻩﻫﺎﻳﻰ ﻛﻪ ﺩﺭﺑﺎﺭﻩﺍﺵ ﮔﻔﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﺍﺯ ﺳﮓﻫﺎﻳﻰ‬ ‫ﻛﻪ ﺩﺭ ﻛﻮﭼﻪ ﻭ ﺧﻴﺎﺑﺎﻥ ﺩﻳﺪﻩ ﺑﻮﺩ ﻭ ﺍﺯ ﺳﮓﻫﺎﻳﻰ ﻛﻪ ﺍﺯ ﭼﻨﮕﺎﻝ ﻇﺎﻟﻢ ﺁﺩﻡﻫﺎ ﻧﺠﺎﺕ ﺩﺍﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺍﻳﻦ ﻗﺪﺭ ﺳﮓﻫﺎ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺷﺖ ﻛﻪ ﭼﻨﺪ ﺧﺎﻧﻮﺍﺩﻩﻯ ﺳﮓﺩﻭﺳﺖ ﺩﻳﮕﺮ ﺭﺍ ﺩﺭ ﺩﻫﻪﻯ ﺍﻭﻝ ﺑﻌﺪ ﺍﺯ‬ ‫ﺟﻨﮓ ﺩﻭﻡ ﺧﻠﻴﺞ ﺩﻭﺭ ﻫﻢ ﺟﻤﻊ ﻛﺮﺩ ﻭ ﺑﺎ ﻫﻢ ﻳﻚ ﻣﺰﺭﻋﻪﻯ ﺳﮓﻫﺎ ﺩﺭﺳﺖ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻧﮕﺎﺭ ﺍﻭﺍﺧﺮ‬ ‫ﺩﻫﻪﻯ ‪ 80‬ﻳﺎ ﺍﻭﺍﻳﻞ ﺩﻫﻪﻯ ‪ 90‬ﻗﺮﻥ ﮔﺬﺷﺘﻪ ﺑﻮﺩ‪ .‬ﻗﺮﻥ ﮔﺬﺷﺘﻪ ﺗﻮﻯ ﺫﻫﻨﺶ ﻣﺰﻩﻯ ﻏﺮﻳﺒﻰ ﺩﺍﺷﺖ‪.‬‬ ‫ﻣﺰﻩﺍﺵ ﺑﺎ ﻣﺰﻩﻯ ﻏﻨﻰ ﻭ ﮔﻮﺷﺘﻰ ﻃﻴﻒ ﻛﺎﻣﻞ ﻧﻮﺍﻯ ﺳﻴﻨﻰﺳﺎﻳﺰﺭﻯ ﺑﺎﺥ ﻣﺨﻠﻮﻁ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﻛﺴﻰ‬ ‫ﻫﻤﺎﻥ ﺍﻭﺍﺧﺮ ﻗﺮﻥ ﮔﺬﺷﺘﻪ ﻛﺎﻭﺭ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺟﺎﻳﻰ ﺑﻮﺩ ﻧﺰﺩﻳﻚ ﻓﺮﺩﻳﺲ‪ ،‬ﺷﺎﻳﺪ ﻫﻢ ﭘﺮﺩﻳﺲ‪ .‬ﺑﺎﻍ ﺧﺸﻜﻰ ﺑﻮﺩ ﻛﻪ ﺳﮓﻫﺎ ﺭﺍ ﺁﻥﺟﺎ ﺟﻤﻊ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺻﺤﻨﻪﺍﻯ ﻛﻪ ﺗﻮﻯ ﺫﻫﻨﺶ ﺑﺎﺯﻯ ﻣﻰﻛﺮﺩ‪ ،‬ﺍﺯ ﻣﺤﻤﺪﺭﺿﺎ ﺑﻮﺩ ﻛﻪ ﺑﺎ ﺳﮓ ﺧﺮﺱﺍﻧﺪﺍﻣﻰ ﺑﺎﺯﻯ ﻣﻰﻛﺮﺩ‬ ‫ﻭ ﺑﻘﻴﻪﻯ ﺳﮓﻫﺎ ﺩﻭﺭﺵ ﺟﻤﻊ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﻣﺸﺘﺎﻗﺎﻧﻪ ﺑﻪ ﺗﻤﺎﺷﺎﻯ ﺍﻳﻦ ﺑﺎﺯﻯ ﻧﺸﺴﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻳﻦ‬ ‫ﻗﺪﺭ ﻣﺸﺘﺎﻗﺎﻧﻪ ﻛﻪ ﺍﺣﺴﺎﻥ ﺣﺲ ﻛﺮﺩ ﺷﺨﺼﻴﺘﻰ ﺍﻧﺴﺎﻧﻰ ﭘﻴﺪﺍ ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﺍﻻﻥ ﺍﺳﺖ ﺯﺑﺎﻥ ﺑﺎﺯ ﻛﻨﻨﺪ‪.‬‬ ‫ﻧﻤﻰﺩﺍﻧﺴﺖ ﭼﻪ ﺣﺮﻓﻰ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﮕﻮﻳﻨﺪ؛ ﺗﺼﻮﺭﺵ‪ ،‬ﻣﻜﺎﺷﻔﻪﺍﺵ ﻫﻤﻴﻦ ﻗﺪﺭ ﺑﻴﺸﺘﺮ ﻧﺒﻮﺩ‪ .‬ﭼﻮﻥ ﺁﻥ‬ ‫ﺯﻣﺎﻥﻫﺎ ﻋﺎﺩﺕ ﺩﺍﺷﺖ ﻣﻜﺎﺷﻔﻪﻫﺎ ﺭﺍ ﻣﺰﻣﺰﻩ ﻛﻨﺪ ﻭ ﺗﻜﺮﺍﺭ ﻛﻨﺪ ﻭ ﻟﺬﺕ ﺑﺒﺮﺩ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻣﻜﺎﺷﻔﻪﺍﻯ ﻛﺮﺩﻩ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﻣﻰﻛﺮﺩ‪ .‬ﺁﺗﻴﺸﺎ‪ ،‬ﻣﻴﺪﺍﻥ ﻧﻮﺭ ﻣﺸﻌﻞﻫﺎ‪ ،‬ﻣﺤﻞ ﺟﻤﻊﺷﺪﻥ ﺷﺒﺎﻧﻪﻯ ﺧﺎﻧﻮﺍﺩﻩﻫﺎ ﺑﻮﺩ‪ .‬ﺍﻻﻥ ﺍﻣﺎ ﻧﻮﺭ ﺁﺑﻰ‬ ‫ﺳﻔﻴﺪ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﺑﻠﻌﻴﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﻫﻴﭻ ﻭﻗﺖ ﭘﺎﻳﺶ ﺭﺍ ﺳﻤﺖ ﺟﻨﻮﺏ ﺷﻬﺮﻙ ﻧﻤﻰﮔﺬﺍﺷﺖ‪ .‬ﺍﻻﻥ ﺁﻥﺟﺎ ﺯﻣﻴﻦﻫﺎﻯ ﻛﺎﺭﺧﺎﻧﻪﻯ ﺍﺯ ﻛﺎﺭ‬ ‫ﺍﻓﺘﺎﺩﻩﻯ ﻓﻮﻻﺩ ﺑﻮﺩ ﻭ ﺍﻧﺒﺎﺭ ﺗﻴﺮﺁﻫﻦ ﻭ ﺷﻤﺶ ﺁﻫﻦ ﻭ ﻗﺮﺍﺿﻪﻯ ﺁﻫﻦ ﻭ ﮔﻨﺪﻟﻪ ﻭ ﺩﻳﮕﺮ ﺑﭽﻪ ﻫﻢ ﻧﺒﻮﺩ ﺗﺎ‬ ‫ﺍﺯ ﻻﻯ ﻧﺮﺩﻩﻫﺎﻯ ﺯﻧﮓﺯﺩﻩﻯ ﺁﻫﻨﻰ ﺭﺩ ﺷﻮﺩ ﻭ ﺍﺯ ﺁﻥ ﻃﺮﻑ ﻫﻴﭻ ﻫﻢ ﺩﻟﺶ ﻧﻤﻰﺧﻮﺍﺳﺖ ﺩﻭﺑﺎﺭﻩ ﺁﻥﺟﺎ‬ ‫ﺭﺍ ﺑﺒﻴﻨﺪ‪ .‬ﺩﺭ ﭼﺸﻢ ﺫﻫﻨﺶ ﺁﻥﺟﺎ ﭘﺮ ﺑﻮﺩ ﺍﺯ ﻟﻜﻪﻫﺎﻯ ﺧﻮﻥ ﻭ ﭘﺎﺭﻩﻫﺎﻯ ﺑﺪﻥ ﻛﻪ ﺍﺯ ﺧﺎﻃﺮﺍﺕ ﻛﻮﺩﻛﻰ‬ ‫ﺩﻭﺭﺩﺳﺘﺶ ﺩﺭ ﺯﻣﺎﻥ ﺟﻨﮓ ﺗﻪﻧﺸﻴﻦ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻫﻤﺎﻥ ﺟﺎ ﻫﻢ ﺯﻧﺠﻴ ِﺮ ﻧﺸﺴﺘﻪ ﺗﻮﻯ ﺻﻮﺭﺗﺶ ﺿﺮﺑﻪﻯ‬ ‫ﻣﻐﺰﻯﺍﺵ ﻛﺮﺩﻩ ﻭ ﺗﻨﻬﺎ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺩﻳﮕﺮ ﺁﻥﺟﺎ ﺭﺍ ﺭﻫﺎ ﻛﺮﺩﻩ ﻭ ﺭﻓﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﻧﻤﻰﺧﻮﺍﺳﺖ ﭘﺎﻳﺶ ﺭﺍ ﺳﻤﺖ ﺟﻨﻮﺏ ﺷﻬﺮﻙ ﺑﮕﺬﺍﺭﺩ‪ .‬ﭼﻴﺰﻯ ﻛﻪ ﺑﻴﺸﺘﺮ ﺍﺯ ﻫﻤﻪ ﺟﻠﻮﻳﺶ ﺭﺍ ﻣﻰﮔﺮﻓﺖ‪،‬‬ ‫ﺧﺎﻃﺮﻩﻯ ﭼﺸﻢﻫﺎﻳﻰ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﺁﺳﻤﺎﻥ ﻧﮕﺎﻫﺶ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﻓﻜﺮﺵ ﺭﺍ ﻧﻜﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﻣﻄﻤﺌﻦ ﻫﻢ‬ ‫ﻧﺒﻮﺩ ﭼﺸﻢﻫﺎ ﺭﺍ ﻛﻰ ﺩﻳﺪﻩ ﺍﺳﺖ‪ .‬ﻣﺎﻝ ﻭﻗﺘﻰ ﺭﻭﻯ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩﻩ ﻭ ﻫﺸﻴﺎﺭﻯﺍﺵ ﺭﺍ ﭼﻨﮓ ﺯﺩﻩ ﺑﻮﺩ ﺗﺎ ﺑﻪ‬ ‫ﺗﺎﺭﻳﻜﻰ ﻧﻠﻐﺰﺩ‪ ،‬ﻳﺎ ﺍﻳﻦ ﻛﻪ ﻣﺎﻝ ﻓﻴﻠﻤﻰ ﭼﻴﺰﻯ ﺑﻮﺩ‪.‬‬ ‫ﻭﻗﺘﻰ ﺯﻳﺴﺘﺮﺍﺷﻪﺍﻯ ﺳﺎﻟﻢ ﺩﺍﺷﺖ‪ ،‬ﺍﺯ ﺁﻥ ﺑﺮﺍﻯ ﻓﺮﺍﻣﻮﺷﻰ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﺮﺩ‪ .‬ﺁﻥ ﻣﻮﻗﻊ ﻫﻤﻴﺸﻪ ﻫﺸﺘﺸﺎﻥ‬ ‫ﮔﺮﻭ ﻧﻬﺸﺎﻥ ﺑﻮﺩ‪ .‬ﭘﻮﻟﻰ ﻧﻤﻰﻣﺎﻧﺪ ﻛﻪ ﺑﻪ ﻛﺎﺭ ﺩﻳﮕﺮ ﺑﺮﺳﺪ‪ .‬ﺍﻻﻥ ﻫﻢ ﺍﮔﺮ ﻣﻰﺧﻮﺍﺳﺖ‪ ،‬ﺷﺒﻜﻪﺍﻯ ﻫﻢ ﻧﺒﻮﺩ‬ ‫ﺗﺎ ﺧﻮﺩﺵ ﺭﺍ ﺟﺰﻭ ﺍﺑﺮ ﺍﺭﺗﺒﺎﻃﻰ ﻛﻨﺪ ﻭ ﺑﺪﻫﺪ ﺫﻫﻨﺶ ﺭﺍ ﺑﺎ ﺳﻪ ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ ﺑﻜﺎﻭﻧﺪ ﻭ ﻧﻤﺎﻳﻪﺑﻨﺪﻯ‬ ‫ﻛﻨﻨﺪ ﺗﺎ ﺳﺮ ﺩﺭ ﺑﻴﺎﻭﺭﺩ ﭼﻰ ﺑﻪ ﭼﻴﺴﺖ‪.‬‬ ‫ﺍﻳﻦﺟﺎﻯ ﻳﺎﺩﺁﻭﺭﻯﺍﺵ ﻗﺪﻳﻢﻫﺎ ﺑﻪ ﺍﻳﻦﺟﺎ ﻣﻰﺭﺳﻴﺪ ﻛﻪ ﺧﻮﺩﺵ ﺭﺍ ﺗﻮﻯ ﺫﻫﻨﺶ ﺷﻼﻕ ﺑﺰﻧﺪ ﻛﻪ ﭼﺮﺍ ﺗﻮ‬ ‫ﺍﻳﻦ ﻗﺪﺭ ﺑﻰﺍﺣﺴﺎﺳﻰ ﻭ ﺷﻼﻕ ﻛﻪ ﭼﺮﺍ ﺗﻜﺎﻥ ﻧﻤﻰﺧﻮﺭﻯ ﻭ ﺷﻼﻕ ﻛﻪ ﭼﺮﺍ ﺣﺎﻟﺖ ﺑﺎ ﻳﺎﺩﺁﻭﺭﻯ ﻫﻴﭻ ﭼﻴﺰ‬ ‫ﻋﻮﺽ ﻧﻤﻰﺷﻮﺩ‪ .‬ﺷﻼﻕ ﻭ ﺑﺎﺯ ﻫﻢ ﺷﻼﻕ ﻭ ﺩﻛﺘﺮﺵ ﮔﻔﺘﻪ ﺑﻮﺩ ﻧﺰﻥ! ﺍﻭﺍﻳﻞ ﺍﺯ ﻓﻜﺮﺵ ﻓﺮﺍﺭ ﻣﻰﻛﺮﺩ‪ .‬ﺑﺎ‬ ‫ﺗﺮﺱ‪ ،‬ﺩﺭﮔﻮﺷﻰ‪ ،‬ﺑﻪ ﺧﻮﺩﺵ ﻣﻰﮔﻔﺖ ﻣﻦ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻦ ﺑﻠﺪ ﻧﻴﺴﺘﻢ‪ ،‬ﺑﻠﺪ ﻧﺸﺪﻡ ﺑﻪ ﻛﺴﻰ ﺩﻟﺒﺴﺘﮕﻰ‬ ‫ﺩﺍﺷﺘﻪ ﺑﺎﺷﻢ‪ .‬ﻳﺎﺩ ﻧﮕﺮﻓﺘﻢ ﺑﻪ ﻛﺴﻰ ﻓﻜﺮ ﻛﻨﻢ‪ .‬ﺑﻌﺪ ﻫﻤﺰﻣﺎﻥ ﺩﺭﺩﺵ ﻣﻰﮔﺮﻓﺖ ﻛﻪ ﭼﺮﺍ ﺭﻓﺘﺎﺭﺵ ﺍﺯ ﺁﻥ‬ ‫ﻃﺮﻑ ﺑﺎﻣﻰ ﺍﻓﺘﺎﺩﻩ ﻛﻪ ﺍﻓﻜﺎﺭﺵ ﺍﻳﺴﺘﺎﺩﻩﺍﻧﺪ‪ .‬ﺑﻌﺪ ﺑﻪ ﺍﻳﻦﺟﺎ ﻣﻰﺭﺳﻴﺪ ﻛﻪ ﺧﻮﺩﻡ ﺭﺍ ﻫﻢ ﻧﻤﻰﺩﺍﻧﻢ ﭼﻄﻮﺭ‬ ‫ﺩﻭﺳﺖ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻢ‪ .‬ﻧﻤﻰﺩﺍﻧﻢ ﻳﻌﻨﻰ ﭼﻪ ﻭ ﺩﺭ ﻫﺮﺍﺱ ﺧﺎﻟﻰ ﺑﻮﺩﻥ‪ ،‬ﺭﺷﺘﻪﻯ ﺧﻮﺩﺵ ﺭﺍ ﮔﻢ ﻣﻰﻛﺮﺩ ﻭ‬ ‫ﺍﻳﻦ ﻗﺪﺭ ﺑﻪ ﻗﻌﺮ ﺩﻟﻤﺮﺩﮔﻰ ﻓﺮﻭ ﻣﻰﺭﻓﺖ ﻛﻪ ﺑﺮﺍﻯ ﺑﻴﺮﻭﻥ ﺁﻣﺪﻥ ﻣﺠﺒﻮﺭ ﺑﻮﺩ ﺁﻥ ﻗﺪﺭ ﺑﻠﻨﺪﺑﻠﻨﺪ ﺑﺎ ﺧﻮﺩﺵ‬ ‫ﺣﺮﻑ ﺑﺰﻧﺪ ﺗﺎ ﻛﻠﻤﺎﺕ ﻭ ﺍﻓﻜﺎﺭ ﻣﻌﻨﻰﺷﺎﻥ ﺯﺍﻳﻞ ﺷﻮﺩ‪.‬‬ ‫ﺍﺻ ً‬ ‫ﻼ ﻫﻤﻴﻦ ﻃﻮﺭﻯ ﺍﺯﺩﻭﺍﺝ ﻛﺮﺩ‪ .‬ﺑﺎ ﻫﻤﻴﻦ ﺍﺳﺘﺪﻻﻝ ﺧﺘﻢ ﻣﻰﺷﺪ‪ .‬ﺑﻪ ﺧﻮﺩﺵ ﻣﻰﮔﻔﺖ ﺍﻻﻥ ﺑﻠﺪ‬ ‫ﻧﻴﺴﺘﻢ‪ .‬ﺍﻣﺎ ﻳﺎﺩ ﻣﻰﮔﻴﺮﻡ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻪﺑﺎﺷﻢ ﻭ ﺍﻳﻦ ﻗﺪﺭ ﮔﻔﺖ ﻛﻪ ﻫﻢ ﺧﻮﺩﺵ ﻭ ﻫﻢ ﻫﻤﺴﺮﺵ‬ ‫ﺑﺎﻭﺭﺷﺎﻥ ﺷﺪ‪ .‬ﻫﺮ ﭼﻨﺪ ﻛﻪ ﺯﻳﺎﺩ ﻃﻮﻝ ﻧﻜﺸﻴﺪ‪.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﻛﻪ ﺳﺮﺁﺳﻴﻤﻪ ﻣﻰﺩﻭﻳﺪ‪ .‬ﭘﺸﺖ ﺳﺮﺵ ﺑﺎ ﻛﻤﻰ ﻓﺎﺻﻠﻪ ﺑﻘﻴﻪﻯ ﺧﺎﻧﻮﺍﺩﻩﺍﺵ ﻫﻴﻜﻞﻫﺎﻯ ﺗﻴﺮﻩﺍﻯ ﺑﻮﺩﻧﺪ‬ ‫ﻛﻪ ﺧﻮﺭﺷﻴﺪ ﺍﺯ ﭘﺸﺖﺷﺎﻥ ﺩﻳﺪﻩ ﻣﻰﺷﺪ ﻭ ﺑﻌﺪ ﻫﻢ ﺗﺼﻮﻳﺮ ﺿﺪ ﻧﻮﺭ ﻣﺮﺩﻣﻰ ﻛﻪ ﺗﻴﺮ ﻭ ﺗﺨﺘﻪ ﺑﻪ ﺩﺳﺖ‪،‬‬ ‫ﺩﻧﺒﺎﻝ ﺧﻮﺍﻫﺮﺵ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺁﺧﺮ ﺍﺯ ﻫﻤﻪ ﻫﻢ ﺳﺎﻳﻪﻯ ﺧﻤﻴﺪﻩﻯ ﻇﻠﻤﺖ ﺁﻥ ﺯﻥ ﺑﻮﺩ ﻛﻪ ﺍﻟﻬﺎﻡ ﮔﻔﺘﻪ‬ ‫ﺑﻮﺩ ﺩﺭﻭﻏﮕﻮﺳﺖ ﻛﻪ ﻣﻰﮔﻮﻳﺪ ﻫﺮ ﺷﺐ ﺑﺰﺭﮔﻰ ﺑﻪ ﺧﻮﺍﺑﺶ ﻣﻰﺁﻳﺪ ﻭ ﻣﺮﻳﺪﺍﻧﺶ ﻛﻪ ﻣﻰﮔﻔﺘﻨﺪ ﺩﺭ ﺧﻮﺍﺏ‬ ‫ﺣﺮﻑ ﻣﻰﺯﻧﺪ ﻭ ﻭﻗﺘﻰ ﺣﺮﻑ ﻣﻰﺯﻧﺪ ﻋﻄﺮ ﮔﻞ ﻣﺤﻤﺪﻯ ﺩﺭ ﻫﻮﺍ ﻣﻰﭘﻴﭽﺪ‪ ،‬ﻫﻤﻪ ﺗﻮﻫﻢ ﺑﺮﺷﺎﻥ ﺩﺍﺷﺘﻪ‪.‬‬ ‫ﺧﺎﻃﺮﻩﺍﺵ ﺑﻪ ﻛﻨﺎﺭ‪ ،‬ﺗﺠﺮﺑﻪﻯ ﻳﺎﺩﺁﻭﺭﻯ ﺧﺎﻃﺮﻩ ﺍﻧﮕﺎﺭ ﺍﺯ ﻛﺎﺑﻮﺱﻫﺎﻯ ﻫﺮ ﺷﺐ ﺷﻜﻞ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ .‬ﺗﺼﻮﻳﺮ‬ ‫ﺭﺍ ﺍﺯ ﻛﻨﺎﺭ ﻣﻰﺩﻳﺪ‪ .‬ﻣﺜﻞ ﺻﺤﻨﻪﻯ ﺁﺧﺮ ﻓﻴﻠﻤﻰ ﻛﻪ ﺁﺧﺮﺵ ﺑﺎﻻﻯ ﺳﺮ ﻫﻤﻪﻯ ﺁﻥﻫﺎﻳﻰ ﻛﻪ ﻣﻰﺩﻭﻳﺪﻧﺪ‬ ‫ﺩﻭ ﭼﺸﻢ ﺩﺭ ﺁﺳﻤﺎﻥ ﻇﺎﻫﺮ ﺷﺪ ﻭ ﺩﺍﺷﺖ ﺁﻥﻫﺎ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‪ .‬ﺩﻭﭼﺸﻤﻰ ﻛﻪ ﻫﺮ ﭼﻨﺪ ﻣﻌﻨﻰﺍﺵ ﺍﻳﻦ‬ ‫ﺑﻮﺩ ﻛﻪ ﺻﺎﺣﺒﺶ ﻫﻮﺍﻯ ﺁﻥﻫﺎﻳﻰ ﺭﺍ ﻛﻪ ﺭﻭﻯ ﺯﻣﻴﻦ ﻫﺴﺘﻨﺪ ﺩﺍﺭﺩ‪ ،‬ﺍﻣﺎ ﻛﺎﺑﻮﺱﻭﺍﺭ ﺑﻮﺩ ﻭ ﻳﺎﺩﺁﻭﺭﻯﺍﺵ‬ ‫ﺗﻨﺶ ﺭﺍ ﺳﺴﺖ ﻣﻰﻛﺮﺩ‪ .‬ﺗﺠﺮﺑﻪﻯ ﺧﺎﻃﺮﻩ ﻫﻤﻴﺸﻪ ﺍﺯ ﻭﺳﻂﻫﺎﻳﺶ ﺗﺒﺪﻳﻞ ﻣﻰﺷﺪ ﺑﻪ ﻳﻚ ﺟﻮﺭ ﻛﺎﺑﻮﻛﻰ‬ ‫ﺳﺮﺥ ﻭ ﺳﻴﺎﻩ ﻛﻪ ﻣﻰﺩﺍﻧﺴﺖ ﺳﺮﺧﻰﺍﺵ ﻣﺎﻝ ﺧﻮﻥ ﺍﺳﺖ‪.‬‬ ‫ﻳﻜﻰ ﺍﺯ ﺳﺎﻳﻪﻫﺎﻯ ﮔﺮﻭﻩ ﻭﺳﻄﻰ‪ ،‬ﻛﻪ ﺧﻮﺩ ﺍﺣﺴﺎﻥ ﺑﻮﺩ‪ ،‬ﻋﻘﺐ ﻣﻰﺍﻓﺘﺎﺩ ﻛﻪ ﺳﻴﺎﻫﻰﻫﺎﻯ ﺗﻴﺮ ﻭ ﺗﺨﺘﻪ‬ ‫ﺑﻪ ﺩﺳﺖ ﺭﺍ ﻛﻤﻰ ﻋﻘﺐ ﺑﻴﺎﻧﺪﺍﺯﺩ ﻭ ﻓﺮﺻﺘﻰ ﻓﺮﺍﻫﻢ ﻛﻨﺪ ﺷﺎﻳﺪ ﺑﻘﻴﻪ ﺑﺘﻮﺍﻧﻨﺪ ﻛﺎﺭﻯ ﻛﻨﻨﺪ‪ ،‬ﻳﺎ ﺷﺎﻳﺪ‬ ‫ﻣﻴﺎﻧﺠﻰﺍﻯ ﺑﺮﺳﺪ ﻭ ﺷﺎﻳﺪ ﻫﻢ ﺳﺮ ﻭ ﻛﻠﻪﻯ ﺣﺮﺍﺳﺖ ﺷﻬﺮﻙ ﭘﻴﺪﺍ ﺷﻮﺩ‪ .‬ﺑﻌﺪ ﻳﻜﻰ ﺍﺯ ﺳﺎﻳﻪﻫﺎ ﺗﻚ‬ ‫ﺳﻴﻠﻮﺋﺘﻰ ﺭﺍ ﻛﻪ ﺭﻭﻯ ﺑﺮﮔﺮﺩﺍﻧﺪﻩ ﻭ ﺟﻠﻮﻳﺸﺎﻥ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ ،‬ﺑﺎ ﺳﺎﻳﻪﻯ ﺯﻧﺠﻴﺮ ﻣﻰﺯﺩ ﻭ ﺍﻭ ﻫﻢ ﭘﺮﺕ‬ ‫ﻣﻰﺷﺪ ﻭ ﺑﻌﺪﺵ ﻫﻢ ﺳﻴﺎﻫﻰ ﺳﺎﻳﻪﻯ ﻇﻠﻤﺎﻧﻰ ﭘﻴﺮﺯﻥ ﺳﻰ ﻭ ﻫﻔﺖ ﻫﺸﺖ ﺳﺎﻟﻪ ﻣﺜﻞ ﺳﺎﻳﻪﻯ ﻋﺮﻭﺳﻚ‬ ‫ﻧﻤﺎﻳﺸﻰ ﻛﻪ ﺁﻥ ﺭﺍ ﺑﻪ ﻣﻨﺒﻊ ﻧﻮﺭ ﻧﺰﺩﻳﻚ ﻛﻨﻨﺪ‪ ،‬ﺑﺰﺭگ ﻣﻰﺷﺪ ﻭ ﻟﺒﻪﻫﺎﻳﺶ ﻟﺮﺯ ﻣﻰﮔﺮﻓﺘﻨﺪ ﻭ ﺑﻪ ﺑﻘﻴﻪﻯ‬ ‫ﻧﻮﺭﻫﺎﻯ ﻣﺎﻧﺪﻩ ﺭﻭﻯ ﭘﺮﺩﻩ ﻛﻪ ﺍﻻﻥ ﺩﻳﮕﺮ ﺯﺭﺩ ﻭ ﺳﺮﺥ ﺑﻮﺩ‪ ،‬ﭼﻨﮓ ﻣﻰﺍﻧﺪﺍﺧﺘﻨﺪ ﻭ ﺑﻌﺪ ﻫﻢ ﻧﻤﺎﻳﺶ ﺗﻤﺎﻡ‬ ‫ﻣﻰﺷﺪ‪.‬‬ ‫ﺍﻭﺍﻳﻞ ﺍﺯ ﺧﻮﺍﺏ ﻣﻰﭘﺮﻳﺪ ﻭ ﻣﺘﻜﺎﻯ ﺧﻴﺲ ﻋﺮﻗﺶ ﺭﺍ ﻛﻨﺎﺭ ﻣﻰﺍﻧﺪﺍﺧﺖ‪ .‬ﺑﻌﻀﻰ ﻭﻗﺖﻫﺎ ﻫﻢ ﻳﻚ ﺩﻝ ﺳﻴﺮ‬ ‫ﮔﺮﻳﻪ ﻣﻰﻛﺮﺩ‪ .‬ﺍﻭﺍﻳﻞ ﺯﻧﺶ ﻫﻢ ﺑﻴﺪﺍﺭ ﻣﻰﺷﺪ ﻭ ﻗﺼﺪ ﻣﻰﻛﺮﺩ ﺣﺎﻟﺶ ﺭﺍ ﺧﻮﺏ ﻛﻨﺪ ﻭ ﺑﻌﺪ ﺳﺮﺧﻮﺭﺩﻩ‬ ‫ﻣﻰﺷﺪ ﻭ ﻣﻨﺘﻈﺮ ﻣﻰﻧﺸﺴﺖ ﺗﺎ ﺍﺣﺴﺎﻥ ﺩﺭﺍﺯ ﺑﻜﺸﺪ ﻭ ﺍﻭ ﻫﻢ ﺑﺨﻮﺍﺑﺪ‪ .‬ﺑﻌﺪﺗﺮ ﺯﻧﺶ ﺑﻴﺪﺍﺭ ﻣﻰﺷﺪ ﻭ‬ ‫ﻣﻰﮔﻔﺖ ﺑﮕﻴﺮ ﺧﻮﺍﺏ ﻭ ﺑﻌﺪﺗﺮ ﺩﻳﮕﺮ ﺑﻴﺪﺍﺭ ﻧﻤﻰﺷﺪ ﻭ ﮔﺎﻫﻰ ﻓﻘﻂ ﺑﺎ ﭼﺸﻢﻫﺎﻯ ﻣﺎﺕ ﻧﮕﺎﻫﺶ ﻣﻰﻛﺮﺩ‬ ‫ﺗﺎ ﺩﻭﺑﺎﺭﻩ ﺑﺨﻮﺍﺑﺪ ﻭ ﺑﻌﺪﺵ ﻫﻢ ﻛﻪ ﺩﻳﮕﺮ ﺟﺪﺍ ﻣﻰﺧﻮﺍﺑﻴﺪﻧﺪ ﻭ ﺍﻻﻥ ﻫﻢ ﻛﻪ ﺑﺮﮔﺸﺘﻪ ﺑﻮﺩ ﻣﺤﻞ ﻗﺪﻳﻤﻰ‬ ‫ﺧﻮﺩﺷﺎﻥ ﻛﻪ ﻭﻗﺘﻰ ﺑﻪ ﺁﻥﺟﺎ ﺍﺛﺎﺙ ﻛﺸﻴﺪﻧﺪ‪ ،‬ﺷﻬﺮﻛﻰ ﺑﻮﺩ ﻭ ﻛﻨﺎﺭﺵ ﺟﻨﮕﻞ ﻣﺼﻨﻮﻋﻰ ﻭ ﺗﺎﺑﺴﺘﺎﻥﻫﺎ‬ ‫ﻣﺮﻃﻮﺏ ﺍﺯ ﻣﺮﺩﺍﺏ ﻓﺼﻠﻰ ﻭ ﭘﺮ ﺍﺯ ﺧﺎﻙ ﻭ ﺧﻞ ﻭ ﺍﻻﻥ ﻫﻢ ﺗﻘﺮﻳﺒﺎً ﻫﻤﺎﻥ ﻃﻮﺭ ﺑﻮﺩ‪ .‬ﺗﻨﻬﺎ ﺷﺐﻫﺎ ﭘﺮﺗﻮ‬ ‫ﻧﻮﺭ ﺁﺑﻰ ﺩﻳﻮﺍﺭﻫﺎﻯ ﺷﻬﺮ ﺩﻭﺭﺩﺳﺖ ﺍﺯ ﺷﻤﺎﻝ ﺑﻪ ﺁﻥ ﻣﻰﺗﺎﺑﻴﺪ‪ .‬ﻓﺮﻗﺶ ﺑﺎ ﺷﻬﺮﻙ ﻗﺪﻳﻢ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺁﻥ‬ ‫ﻭﻗﺖﻫﺎ ﻧﻮﺭ ﺳﺮﺥ ﺷﻌﻠﻪﻫﺎﻯ ﮔﺎﺯ ﺗُﺮﺵ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﺷﻤﺎﻝ‪ ،‬ﺁﻥ ﺳﻮﻯ ﺷﻬﺮ‪ ،‬ﺷﺐﻫﺎ ﺁﺳﻤﺎﻥ ﺭﺍ ﺭﻭﺷﻦ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﺳﮓﻫﺎ ﺭﺍ ﻧﻤﻰﺩﻳﺪ‪ .‬ﺷﺎﻳﺪ ﻣﺨﻔﻰ ﻣﻰﺷﺪﻧﺪ‪ ،‬ﺷﺎﻳﺪ ﻫﻢ ﻣﺜﻞ ﻫﻤﻪﻯ ﺍﺭﺗﺶ ﺟﺎﻧﻮﺭﺍﻥ ﺑﻪ ﺩﻧﺒﺎﻝ ﺧﻮﺭﺩ‬ ‫ﻭ ﺧﻮﺭﺍﻙ ﻭ ﻧﺸﺎﻧﻪﮔﺬﺍﺭﻯ ﻗﻠﻤﺮﻭ ﺑﻮﺩﻧﺪ‪ .‬ﺳﺎﻝﻫﺎ ﺑﺎﺭﺍﻥ ﻭ ﺑﺎﺩ ﻟﺒﻪﻫﺎﻯ ﺗﻴﺰ ﮔﻮﺩﻯ ﺣﻔﺎﺭﻯ ﺷﺪﻩ ﺭﺍ ﺑﺮﺩﻩ‬ ‫ﺑﻮﺩ ﻭ ﺍﻻﻥ ﮔﻮﺩﺍﻟﻰ ﺑﻮﺩ ﭘﺮ ﺍﺯ ﭘﺎﺭﻩﻫﺎﻯ ﺑﺰﺭگ ﺑﺘﻮﻥ ﺁﺭﻣﻪ ﻭ ﺁﺭﻣﺎﺗﻮﺭﻫﺎﻯ ﺯﻧﮓﺯﺩﻩﺍﻯ ﻛﻪ ﺟﺎ ﺑﻪ ﺟﺎ ﺍﺯ‬ ‫ﺯﻣﻴﻦ ﺑﻴﺮﻭﻥ ﺯﺩﻩ ﺑﻮﺩﻧﺪ ﻭ ﺍﺣﺴﺎﻥ ﻫﻤﻴﺸﻪ ﺭﻭﺯﻫﺎ ﺍﺯ ﻫﻤﺎﻥ ﺟﺎ‪ ،‬ﺍﺯ ﻣﻴﺎﻥ ﺍﺳﺘﺨﻮﺍﻥﻫﺎﻯ ﻫﻴﻮﻻﻯ ﺑﺘﻨﻰ‪،‬‬ ‫ﻣﻴﺎﻥﺑﺮ ﻣﻰﺯﺩ‪ .‬ﺍﺳﺘﺨﻮﺍﻥﻫﺎ ﺭﺍ ﺑﺎﺩ ﻭ ﺧﺎﻙ ﻭ ﺑﺎﺭﺍﻥ ﻭﺣﺸﻰ ﺩﻧﺪﺍﻥ ﺩﻧﺪﺍﻥ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺭﻭﻯ ﺍﺳﺘﺨﻮﺍﻥﻫﺎ‬ ‫ﻭ ﮔﻮﺷﺖ ﻓﺎﺳﺪ ﺑﺘﻮﻧﻰ ﺟﺎﻯ ﺭﻧﮓﻫﺎﻯ ﺍﺳﭙﺮﻯ ﺷﺪﻩ ﻫﻨﻮﺯ ﻣﻌﻠﻮﻡ ﺑﻮﺩ‪ .‬ﻣﺸﺖ ﮔﺮﻩ ﻛﺮﺩﻩﺍﻯ ﻛﻪ ﺩﻭﺭﺵ‬ ‫ﻫﻢ ﭼﻴﺰﻯ ﻧﻮﺷﺘﻪ ﺑﻮﺩﻧﺪ ﻛﻪ ﺑﺎﺩ ﻭ ﺑﺎﺭﺍﻥ ﻭ ﺧﻮﺭﺷﻴﺪ ﺭﻧﮓ ﻭ ﺭﻭﻳﺶ ﺭﺍ ﺑﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺍﺯ ﺍﺗﻮﺑﻮﺱ ﻛﻪ ﭘﻴﺎﺩﻩ ﻣﻰﺷﺪ ﺑﻪ ﺟﺎﻯ ﺍﻳﻦﻛﻪ ﻧﺮﺩﻩﻫﺎﻯ ﺑﻠﻨﺪ ﭘﺎﺭﻙ ﺭﺍ ﺩﻭﺭ ﺑﺰﻧﺪ‪ ،‬ﺍﺯ ﻭﺳﻂ ﺧﺮﺍﺑﻪ ﻣﻰﺭﻓﺖ‬ ‫ﻭ ﺍﺯ ﺭﻭﻯ ﺻﺎﻓﻰ ﺟﺎﻫﺎﻯ ﺑﺎﻗﻰﻣﺎﻧﺪﻩ ﺍﺯ ﺑﺘﻮﻥ ﻣِﮕﺮ ﻛﻒ ﻋﺒﻮﺭ ﻣﻰﻛﺮﺩ ﻭ ﺍﺯ ﺩﺭﻭﻥ ﻛﻮﭼﻪ ﺩﺭﺧﺘﻰ ﺳﺮ ﺩﺭ‬ ‫ﻣﻰﺁﻭﺭﺩ ﻛﻪ ﻣﺮﺯ ﺑﻴﻦ ﺑﺨﺶ ﻛﺎﺭﻣﻨﺪﻯ ﻭ ﻛﺎﺭﮔﺮﻯ ﺑﺎ ﺗﻘﺴﻴﻢ ﻗﺪﻳﻢ ﺷﻬﺮﻙ ﺑﻮﺩ‪ .‬ﺍﻻﻥ‪ ،‬ﺍﺯ ﻭﻗﺘﻰ ﺷﻬﺮﻙ‬ ‫ﭘﺎﺭﻩﻯ ﺷﻬﺮ ﺑﻮﺩ‪ ،‬ﺩﻳﮕﺮ ﺍﺯ ﺍﻳﻦ ﺣﺮﻑﻫﺎ ﻧﺒﻮﺩ ﻭ ﻫﺮﻛﺴﻰ ﻣﻤﻜﻦ ﺑﻮﺩ ﻫﺮ ﺟﺎﻳﻰ ﺧﺎﻧﻪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﺩﻟﺶ ﺭﺍ ﺑﻪ ﺩﺭﻳﺎ ﺯﺩ‪ .‬ﻧﺎﻥﻫﺎ ﺭﺍ ﺩﺭ ﺩﺳﺘﺶ ﻣﺮﺗﺐ ﻛﺮﺩ‪ .‬ﻧﮕﺎﻫﺶ ﺭﺍ ﺑﻪ ﺭﻭﺑﻪﺭﻭ ﺩﻭﺧﺖ‪- ،‬ﻧﺪﻭ ﻧﺪﻭ ﻧﺪﻭ‬ ‫ﻧﺪﻭ!‪ -‬ﺑﻪ ﻫﻤﺎﻥ ﺟﺎﻳﻰ ﻛﻪ ﻣﻰﺑﺎﻳﺴﺖ ﺭﺍﻫﺶ ﺭﺍ ﻛﺞ ﻣﻰﻛﺮﺩ ﻭ ﺍﺯ ﻭﺭﻭﺩﻯ ﺟﻨﻮﺑﻰ ﺑﻪ ﺧﻴﺎﺑﺎﻥ ﺩﺭﺧﺘﻰ‪،‬‬ ‫ﺩﺭﺳﺖ ﻛﻨﺎﺭ ﺩﺭﻣﺎﻧﮕﺎﻩ‪ ،‬ﻭﺍﺭﺩ ﻣﻰﺷﺪ‪ .‬ﺑﺮﺧﻼﻑ ﺍﻧﺘﻈﺎﺭﺵ ‪-‬ﺍﻧﺘﻈﺎﺭﻯ ﻛﻪ ﻧﻤﻰﺩﺍﻧﺴﺖ ﺍﺯ ﻛﺠﺎ ﻧﺸﺄﺕ‬ ‫ﻣﻰﮔﻴﺮﺩ‪ -.‬ﺳﮓﻫﺎ ﻧﻐﺮﻳﺪﻧﺪ‪ .‬ﭘﺎﻫﺎﻳﺶ ﻣﻰﺧﻮﺍﺳﺘﻨﺪ ﺯﻧﺠﻴﺮ ﺍﺭﺍﺩﻩ ﺭﺍ ﭘﺎﺭﻩ ﻛﻨﻨﺪ ﻭ ﺑﺘﺎﺯﻧﺪ ﻭ ﺍﺯ ﻻﻯ‬ ‫ﺟﻮﺷﺶ ﺳﻴﺮ ﻭ ﺳﺮﻛﻪﻯ ﺩﻟﺶ ﺧﻮﺩ ﺭﺍ ﻭﺍﺩﺍﺭ ﻛﺮﺩ ﺗﺎ ﻗﺪﻡﻫﺎﻳﻰ ﺷﻤﺮﺩﻩ ﺑﺮﺩﺍﺭﺩ‪ .‬ﻭﻗﺘﻰ ﺑﻪ ﭘﻴﭻ ﺭﺳﻴﺪ‪،‬‬ ‫ﺻﺪﺍﻯ ﺯﻭﺯﻩ ﺭﺍ ﺷﻨﻴﺪ‪ .‬ﺑﺮﮔﺸﺖ ﻭ ﭼﺸﻢ ﺩﺭ ﭼﺸﻢ ﺳﮓ ﺳﻴﺎﻫﻰ ﺷﺪ ﻛﻪ ﺍﻧﮕﺎﺭ ﻃﻨﺎﺑﻰ ﺩﻭﺭ ﮔﺮﺩﻧﺶ‬ ‫ﺩﺍﺷﺖ‪.‬‬ ‫ﺗﺮﺱ ﺑﻪ ﺩﻟﺶ ﺭﻳﺨﺖ‪ .‬ﺍﻣﺎ ﺫﻫﻨﺶ ﺩﺍﺷﺖ ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﺑﻪ ﺭﺍﻩ ﺩﻳﮕﺮﻯ ﻣﻰﺭﻓﺖ ﻭ ﻧﻤﻰﺷﺪ ﺟﻠﻮﻳﺶ‬ ‫ﺭﺍ ﻫﻢ ﮔﺮﻓﺖ‪ .‬ﺩﺭﺳﺖ ﻣﺜﻞ ﻭﻗﺘﻰ ﺑﻮﺩ ﻛﻪ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﻓﻴﺶ ﻫﺪﻓﻮﻥﻫﺎﻯ ﻗﺪﻳﻤﻰ ﺩﺭﺳﺖ ﻭﺳﻂ ﺟﻤﻌﻰ‬ ‫ﻧﺎﺟﻮﺭ‪ ،‬ﻣﺜ ً‬ ‫ﻼ ﺩﺍﺧﻞ ﺟﻠﺴﻪﺍﻯ‪ ،‬ﺍﺯ ﺩﺳﺘﮕﺎﻩ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪﻩ ﻣﻰﺷﺪ ﻭ ﺻﺪﺍﻯ ﺑﻠﻨﺪ ﻣﻮﺳﻴﻘﻰ ﺳﻜﻮﺕ ﺭﺍ‬ ‫ﭘﺎﺭﻩ ﻣﻰﻛﺮﺩ ﻭ ﺍﻥ ﻣﻮﻗﻊ ﻫﺮ ﭼﻘﺪﺭ ﺩﻧﺒﺎﻝ ﻛﻠﻴﺪﺵ ﻣﻰﮔﺸﺘﻰ ﭘﻴﺪﺍﻳﺶ ﻧﻤﻰﻛﺮﺩﻯ ﻭ ﺍﮔﺮ ﻫﻢ ﭘﻴﺪﺍﻳﺶ‬ ‫ﻣﻰﻛﺮﺩﻯ‪ ،‬ﻛﺎﺭ ﻧﻤﻰﻛﺮﺩ‪.‬‬ ‫ﺷﺎﻳﺪ ﺍﮔﺮ ﭘﺎﻯ ﺟﺎﻥ ﺧﻮﺍﻫﺮﺵ ﻭﺳﻂ ﻧﺒﻮﺩ‪ ،‬ﺧﻨﺪﻩﺍﺵ ﻣﻰﮔﺮﻓﺖ‪ .‬ﺭﻭﻯ ﺻﺤﻨﻪ ﺳﻪ ﮔﺮﻭﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺳﺎﻝﻫﺎ ﭘﻴﺶ ﺍﺯ ﻣﺎﺟﺮﺍﻯ ﺑﻤﺐ ﭘﺎﻟﺲ ﻭ ﺁﺗﺶﻫﺎﻯ ﺁﺑﻰ ﺑﻮﺩ‪ .‬ﺍﻟﻬﺎﻡ ﺟﻠﻮﻯ ﺟﻠﻮ ﺑﻮﺩ ﻛﻪ ﺩﺍﺷﺖ ﺍﺯ ﺩﺳﺖ‬ ‫ﺟﻤﻌﻴﺘﻰ ﺩﻳﻮﺍﻧﻪﺳﺮ ﻓﺮﺍﺭ ﻣﻰﻛﺮﺩ‪ .‬ﺑﻌﺪ ﺍﻭ ﺑﻮﺩ ﻭ ﺩﻭ ﺑﺮﺍﺩﺭ ﻭ ﺩﻭ ﺧﻮﺍﻫﺮ ﺩﻳﮕﺮﺵ ﻛﻪ ﺩﺍﺷﺘﻨﺪ ﺩﻧﺒﺎﻝ ﺍﻟﻬﺎﻡ‬ ‫ﻣﻰﺩﻭﻳﺪﻧﺪ ﺗﺎ ﺑﻪ ﺍﻭ ﺑﺮﺳﻨﺪ ﻭ ﺍﻭ ﺭﺍ ﺍﺯ ﮔﺮﻭﻩ ﺳﻮﻡ ﻣﺤﺎﻓﻈﺖ ﻛﻨﻨﺪ‪ .‬ﻫﺮ ﺑﺎﺭ ﻣﺎﺟﺮﺍ ﺩﺭ ﺫﻫﻨﺶ ﺍﺯ ﻳﻚ‬ ‫ﺗﺼﻮﻳﺮ ﺷﺮﻭﻉ ﻣﻰﺷﺪ‪ .‬ﺗﺼﻮﻳﺮ ﺳﺎﻳﻪﻫﺎﻯ ﺁﺩﻡﻫﺎﻳﻰ ﻛﻪ ﺩﺍﺷﺘﻨﺪ ﻣﻰﺩﻭﻳﺪﻧﺪ‪ .‬ﺟﻠﻮﻯ ﻫﻤﻪ ﺳﺎﻳﻪﻯ ﺍﻟﻬﺎﻡ‬ ‫‪39‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﻭ ﺟﺎﻥﺩﺍﺭﺗﻮﻯ ﺫﻫﻨﺶ ﻧﺸﻮ ﻭ ﻧﻤﺎ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﻭﻗﺘﻰ ﺑﻪ ﺁﻥ ﻓﻜﺮ ﻣﻰﻛﺮﺩ‪ ،‬ﻋﻀﻼﺕ ﺑﺪﻧﺶ ﺍﻧﮕﺎﺭ ﺩﺭﺩ‬ ‫ﻣﻰﮔﺮﻓﺘﻨﺪ‪ .‬ﺣﺘﺎ ﺑﻪ ﺁﻥ ﻓﻜﺮ ﻧﻤﻰﻛﺮﺩ‪ .‬ﺑﻴﺸﺘﺮ ﻳﻚ ﻫﻢﻧﻮﺍﻳﻰ ﺍﺣﺴﺎﺳﻰ ﺑﻮﺩ ﻛﻪ ﻫﻤﺮﺍﻩ ﭼﻴﺰﻫﺎﻯ ﺩﻳﮕﺮ‬ ‫ﻣﻰﺁﻣﺪ‪ .‬ﻳﻚ ﺟﻮﺭ ﺩﺭﺩ ﺑﻮﺩ ﻛﻪ ﻓﻘﻂ ﺑﺎ ﺩﺭ ﺁﻏﻮﺵ ﻓﺸﺮﺩﻥ ﭼﻴﺰﻯ ﻳﺎ ﻛﺴﻰ ﺩﺭﻣﺎﻥ ﻣﻰﺷﺪ‪ .‬ﺗﺼﻮﻳﺮ‬ ‫ﺍﺯ ﻗﺼﻪﻫﺎﻯ ﺩﻭﺳﺘﻰ ﻗﺪﻳﻤﻰ ﺑﻮﺩ ﻛﻪ ﺍﻧﮕﺎﺭ ﻫﻤﻪﻯ ﺳﮓﻫﺎ ﺑﺮﺍﺩﺭﺵ ﺑﻮﺩﻧﺪ ﻭ ﺩﻭﺳﺘﻰ ﻛﻪ ﺍﻧﮕﺎﺭ ﻫﻨﻮﺯ‬ ‫ﻫﻤﺎﻥ ﺟﺎ ﺑﻮﺩ ﻭ ﺩﺍﺷﺖ ﻣﺎﺟﺮﺍﻯ ﺩﻳﮕﺮﻯ ﺍﺯ ﺳﮓﻫﺎ ﺭﺍ ﺗﻌﺮﻳﻒ ﻣﻰﻛﺮﺩ‪ .‬ﻫﺮ ﺑﺎﺭ ﻛﻪ ﺳﮓ ﻣﻰﺩﻳﺪ‪،‬‬ ‫ﺳﻮﺯﺵ ﺟﺎﻯ ﺩﻧﺪﺍﻥﻫﺎ ﺑﺎ ﺁﺷﻨﺎﭘﺮﻭﺭﻯ ﻳﺎﺩ ﻣﺤﻤﺪﺭﺿﺎﻯ ﺳﻔﺮ ﻛﺮﺩﻩ ﺗﺮﻛﻴﺐ ﻋﺠﻴﺒﻰ ﻣﻰﺳﺎﺧﺖ ﻭ‬ ‫ﮔﻴﺠﺶ ﻣﻰﻛﺮﺩ‪ .‬ﺧﺎﻃﺮﺍﺕ ﺩﻳﮕﺮﻯ ﻫﻢ ﻛﻪ ﻛﻨﺎﺭﺵ ﺯﻧﺪﻩ ﻣﻰﺷﺪ‪ ،‬ﻛﺎﺭ ﺭﺍ ﺧﺮﺍﺏﺗﺮ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﭼﺮﺍ ﺍﻻﻥ ﺍﺯ ﺍﻳﻦ ﺭﺍﻩ ﺁﻣﺪﻩ ﺑﻮﺩ؟ ﻳﻚ ﻭﺭ ﺫﻫﻨﺶ ﻟﻌﻨﺖ ﻣﻰﻓﺮﺳﺘﺎﺩ ﻛﻪ ﺍﻳﻦ ﭼﻪ ﻛﺎﺭﻯ ﺑﻮﺩ ﻛﻪ ﻛﺮﺩﻯ‬ ‫ﻭ ﺁﻥ ﻃﺮﻓﺶ ﺩﺍﺷﺖ ﺗﻮﺟﻴﻪ ﻣﻰﻛﺮﺩ ﻛﻪ ﺧﺮﺍﺑﻪﻯ ﺳﮓﻫﺎ ﻫﻤﻴﺸﻪ ﺭﻭﺯﻫﺎ ﺧﺎﻟﻰ ﺑﻮﺩﻩ‪ .‬ﺗﻘﺮﻳﺒﺎً ﺍﺯ ﺧﺮﺍﺑﻪ‬ ‫ﺭﺩ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﺣﺲ ﻛﺮﺩ ﻛﺴﻰ ﻧﮕﺎﻫﺶ ﻣﻰﻛﻨﺪ‪ .‬ﺑﺮﮔﺸﺖ ﻭ ﺳﮓ ﺳﻔﻴﺪ ﺑﺰﺭﮔﻰ ﺭﺍ ﺩﻳﺪ ﻛﻪ ﻃﻨﺎﺏ‬ ‫ﭘﻮﺳﻴﺪﻩﻯ ﺳﻴﺎﻫﻰ ﺑﻪ ﮔﺮﺩﻥ ﺩﺍﺷﺖ‪.‬‬ ‫ﺧﺮﺍﺑﻪﻯ ﺳﮓﻫﺎ ﻛﻨﺎﺭ ﻣﻴﺪﺍﻥ ﺍﺻﻠﻰ ﺷﻬﺮﻙ ﺑﻮﺩ‪ .‬ﺷﻬﺮﻙ ﻫﻢ ﺩﻳﮕﺮ ﻭﺳﻂ ﺷﻬﺮ ﺣﺴﺎﺏ ﻣﻰﺷﺪ‪.‬‬ ‫ﺷﻬﺮ ﺷﻬﺮﻙ ﺭﺍ ﻭ ﺷﻬﺮﻙﻫﺎ ﻭ ﺣﻮﻣﻪﻫﺎﻯ ﺩﻳﮕﺮ ﺭﺍ ﻫﻢ ﺑﻠﻌﻴﺪﻩ ﺑﻮﺩ ﻭ ﺷﻬﺮﻙﻫﺎ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﺟﺎﻯ‬ ‫ﺍﻋﻴﺎﻥﻧﺸﻴﻦ ﻭ ﺷﻬﺮ ﺍﻻﻥ ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﻫﻴﻮﻻﻳﻰ ﺑﻮﺩ‪ .‬ﻫﺮ ﭼﻪ ﻫﻢ ﺩﻭﺭ ﺍﺯ ﺩﺳﺘﺮﺱ ﻭ ﻣﺤﺼﻮﺭ ﺩﺭ‬ ‫ﺁﺗﺶﻫﺎﻯ ﺁﺑﻰ ﭘﺮ ﺳﺮ ﻭ ﺻﺪﺍ‪ .‬ﺭﺍﻩﻫﺎ ﺍﻣﺎ ﻫﻤﺎﻥ ﺑﻮﺩ‪ .‬ﺷﻬﺮﻙ ﻭﺍﻟﻔﺠﺮ ﺗﺎ ﭼﻬﺎﺭ ﺭﺍﻩ ﻭ ﺍﺯ ﭼﻬﺎﺭ ﺭﺍﻩ ﺗﺎ ﺷﻬﺮﻙ‬ ‫ﺑﻴﺖﺍﻟﻤﻘﺪﺱ‪ .‬ﺷﻬﺮﻙ ﺩﻭ ﺗﺎ ﻣﻴﺪﺍﻥ ﺩﺍﺷﺖ ﻛﻪ ﺩﻭﻣﻰ ﺑﺰﺭگﺗﺮ ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﺍﻭﻟﻰ ﺍﺻﻠﻰ ﺑﻮﺩ‪ .‬ﺷﻬﺮﺩﺍﺭﻯ‬ ‫ﻣﻨﻄﻘﻪ‪ ،‬ﻣﺪﺭﺳﻪﻫﺎ‪ ،‬ﻣﺴﺠﺪ‪ ،‬ﻧﺎﻧﻮﺍﻳﻰﻫﺎ ﻭ ﺍﺗﺎﻗﻚ ﺣﺮﺍﺳﺖ ﻛﻪ ﺍﻻﻥ ﺩﻳﮕﺮ ﺩﻓﺘﺮ ﻧﻴﺮﻭﻯ ﺍﻧﺘﻈﺎﻣﻰ ﺑﻮﺩ ﻭ‬ ‫ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﺑﺮﻭ ﻭ ﺑﻴﺎﻳﻰ ﺩﺍﺷﺖ؛ ﻫﻤﻪ ﻭ ﻫﻤﻪ ﻫﻤﺎﻥ ﺟﺎ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺷﻬﺮﻙ ﻫﺮ ﭼﻘﺪﺭ ﺷﻬﺮ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﻫﻨﻮﺯ ﻫﻢ ﻧﻪ ﺳﮓﻫﺎ‪ ،‬ﻧﻪ ﮔﺮﺑﻪﻫﺎ ﻭ ﻧﻪ ﺣﺘﺎ ﺭﻭﺑﺎﻩﻫﺎ ﻭ ﺷﻐﺎﻝﻫﺎ ﻫﻢ‬ ‫ﺁﻥ ﺭﺍ ﺑﻪ ﺭﺳﻤﻴﺖ ﻧﻤﻰﺷﻨﺎﺧﺘﻨﺪ‪ .‬ﻫﻨﻮﺯ ﻫﻢ ﺑﺮ ﺳﺮ ﻗﻠﻤﺮﻭﻫﺎﻯ ﻗﺪﻳﻤﻰ ﺑﺎ ﻫﻢ ﻣﻰﺟﻨﮕﻴﺪﻧﺪ‪ .‬ﺍﻧﮕﺎﺭ ﻧﻪ‬ ‫ﺍﻧﮕﺎﺭ ﺁﺩﻣﻰ ﻫﻢ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻭ ﺟﻨﮕﻞ ﻣﺼﻨﻮﻋﻰ ﻛﻨﺎﺭ ﺷﻬﺮﻙ ﺩﻳﮕﺮ ﺑﻪ ﻣﺮﺩﺍﺏ ﻓﺼﻠﻰ ﻭ ﺻﺤﺮﺍ ﺧﺘﻢ‬ ‫ﻧﻤﻰﺷﻮﺩ‪ .‬ﺁﻥﻫﺎ ﺣﺘﻰ ﻓﻨﺲﻫﺎ ﺭﺍ ﻫﻢ ﻗﺒﻮﻝ ﻧﺪﺷﺘﻨﺪ ﻭ ﺑﻴﻦ ﺗﻘﺴﻴﻢﺑﻨﺪﻯﻫﺎﻯ ﺁﺩﻡﻫﺎ ﻣﻰﺟﻨﮕﻴﺪﻧﺪ ﻭ‬ ‫ﺟﻔﺖﮔﻴﺮﻯ ﻣﻰﻛﺮﺩﻧﺪ ﻭ ﺑﻪ ﺷﻜﺎﺭ ﻣﻰﺭﻓﺘﻨﺪ‪ .‬ﺍﻧﮕﺎﺭ ﻧﻪ ﺍﻧﮕﺎﺭ ﭼﻨﺪ ﻛﻴﻠﻮﻣﺘﺮ ﺁﻥ ﺳﻮﺗﺮ ﺁﺗﺶ ﺍﻟﻜﺘﺮﻳﻜﻰ‬ ‫ﺩﺍﺷﺖ ﺯﻣﻴﻦ ﺭﺍ ﺗﺒﺨﻴﺮ ﻣﻰﻛﺮﺩ ﻭ ﺩﺭﻳﺎﭼﻪﺍﻯ ﻧﻴﻤﻪﻣﺬﺍﺏ ﺩﻭﺭ ﺷﻬﺮ ﻗﺪﻳﻢ ﺳﺎﺧﺘﻪ ﺑﻮﺩ‪ .‬ﻓﻘﻂ ﻛﻔﺘﺎﺭﻫﺎ‬ ‫ﺑﻮﺩﻧﺪ ﻛﻪ ﭼﻨﻴﻦ ﺍﺣﺘﺮﺍﻣﻰ ﺑﺮﺍﻯ ﺁﺩﻡﻫﺎ ﻗﺎﻳﻞ ﺑﻮﺩﻧﺪ ﻛﻪ ﺍﻟﺒﺘﻪ ﺍﺣﺘﺮﺍﻣﻰ ﻣﺘﻘﺎﺑﻞ ﺑﻮﺩ‪ .‬ﻫﺮ ﻛﺪﺍﻡ ﺩﺭ ﻗﻠﻤﺮﻭ‬ ‫ﺧﻮﺩﺵ ﻣﻰﻣﺎﻧﺪ‪.‬‬ ‫ﺧﺮﺍﺑﻪﻯ ﺳﮓﻫﺎ ﻛﻨﺎﺭ ﭘﺎﺭﻙ ﻛﻮﭼﻚ ﻧﺰﺩﻳﻚ ﻣﻴﺪﺍﻥ ﺍﺻﻠﻰ ﺑﻮﺩ‪ .‬ﻫﻤﻴﺸﻪ ﺑﻪ ﭼﺸﻢ ﺍﺣﺴﺎﻥ ﻣﺜﻞ‬ ‫ﻗﻠﻤﺮﻭﻳﻰ ﺍﺷﻐﺎﻟﻰ ﺑﻮﺩ ﻛﻪ ﺟﻨﮕﻞ ﻣﺼﻨﻮﻋﻰ ﻛﻨﺎﺭ ﺷﻬﺮﻙ ﺁﻥ ﺭﺍ ﭘﺲ ﮔﺮﻓﺘﻪ ﺑﺎﺷﺪ‪ .‬ﻣﻌﻤﻮﻻً ﺭﻭﺯﻫﺎ ﻛﺴﻰ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﭘﺎﻳﻴـــﺰ‬ ‫ﻣﻬﺪﻯ ﺑﻨﻮﺍﺭﻯ‬

‫ﻣﺎﻧﺪﻩ ﺑﻮﺩ ﺑﺮﻭﺩ ﻳﺎ ﺑﺮﮔﺮﺩﺩ‪ .‬ﻫﻤﺎﻥ ﺭﺍﻩ ﺭﺍ ﺁﻫﺴﺘﻪﺁﻫﺴﺘﻪ ﺑﺪﻭﻥ ﻧﮕﺎﻩ ﻛﺮﺩﻥ ﺑﻪ ﭼﺸﻢ ﺳﮓﻫﺎ‬ ‫ﺑﺮﻭﺩ‪ .‬ﻳﺎ ﺑﺮﻭﺩ ﻭ ﺑﻪ ﻳﻜﻰﺷﺎﻥ ﺑﮕﻮﻳﺪ ﭼﻄﻮﺭﻯ ﭘﺴﺮ ﻭ ﺳﻌﻰ ﻛﻨﺪ ﺷﻜﻢ ﺳﮓﻫﺎﻯ ﺍﻳﺴﺘﺎﺩﻩ ﺭﺍ‬ ‫ﻧﻮﺍﺯﺵ ﻛﻨﺪ ﺗﺎ ﺑﻪ ﭘﺸﺖ ﺑﻴﻔﺘﻨﺪ ﺯﻣﻴﻦ ﻭ ﻛﻴﻔﻮﺭ ﺷﻮﻧﺪ ﻭ ﺑﮕﺬﺍﺭﻧﺪ ﺭﺩ ﺷﻮﺩ‪ .‬ﺯﻫﻰ ﺧﻴﺎﻝ ﺑﺎﻃﻞ‬ ‫ﺭﺍ ﺧﻮﺩﺵ ﺑﻪ ﺧﻮﺩﺵ ﻣﻰﮔﻔﺖ‪ .‬ﻳﺎ ﺷﺎﻳﺪ ﻫﻢ ﺑﺎﻳﺪ ﺑﺮﮔﺮﺩﺩ ﻭ ﺑﻪ ﺩﻭ ﻓﺮﺍﺭ ﻛﻨﺪ‪.‬‬ ‫ﺍﺣﺴﺎﻥ ﻫﻤﻴﺸﻪ ﺑﺎ ﺳﮓﻫﺎ ﺭﺍﺑﻄﻪﻯ ﺩﻭﮔﺎﻧﻪﺍﻯ ﺩﺍﺷﺖ‪ .‬ﻳﻚ ﺳﻤﺖ ﺭﺍﺑﻄﻪ ﺑﺮﻣﻰﮔﺸﺖ ﺑﻪ ﺟﺎﻯ‬ ‫ﺩﻧﺪﺍﻥﻫﺎﻳﻰ ﻛﻪ ﺭﻭﻯ ﭘﺎﻳﺶ ﺑﻮﺩ‪ .‬ﺭﺩﻳﻒ ﮔﻮﺩﻯﻫﺎﻯ ﺭﻭﻯ ﮔﻮﺷﺖ ﭘﺎ ﻫﺮ ﺑﺎﺭ ﻛﻪ ﺣﻤﺎﻡ ﻣﻰﺭﻓﺖ‬ ‫ﺧﻮﺩﺵ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩ‪ .‬ﻫﺮ ﺑﺎﺭ ﺳﮕﻰ ﻣﻰﺩﻳﺪ ﺍﻧﮕﺎﺭ ﺩﺭﺳﺖ ﺑﻪ ﻟﺤﻈﻪﺍﻯ ﺑﺮ ﻣﻰﮔﺸﺖ ﻛﻪ ﺑﺮﻕ‬ ‫ﺩﻧﺪﺍﻥﻫﺎﻯ ﺑﺰﺍﻕﺁﻟﻮﺩﻩﻯ ﺳﮓ ﺭﺍ ﺍﺯ ﻣﻴﺎﻥ ﺁﺭﻭﺍﺭﻩﻫﺎﻯ ﺑﺎﺯ ﺷﺪﻩﻯ ﺣﻴﻮﺍﻥ ﻣﻰﺩﻳﺪ ﻭ ﺩﻧﺪﺍﻥﻫﺎ‬ ‫ﻛﻤﺘﺮ ﺍﺯ ﻳﻚ ﺛﺎﻧﻴﻪﻯ ﺩﻳﮕﺮ ﻳﺎﺩﮔﺎﺭﻯ ﺍﺑﺪﻯﺷﺎﻥ ﺭﺍ ﺭﻭﻯ ﺳﺎﻕ ﭘﺎﻳﺶ ﻣﻰﮔﺬﺍﺷﺘﻨﺪ ﻭ ﺩﺷﻤﻨﻰ‬ ‫ﺍﺑﺪﻯﺍﺵ ﻧﺴﺒﺖ ﺑﻪ ﺳﮓﻫﺎ ﺭﺍ ﻣﻰﺧﺮﻳﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺑﺮﺍﻯ ﻭﻗﺖﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﺍﺗﻮﻣﺒﻴﻞ ﺑﻮﺩ ﻭ ﺧﻴﺎﻟﺶ‬ ‫ﺭﺍﺣﺖ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺩﻧﺪﺍﻥﻫﺎﻳﺸﺎﻥ ﺑﻪ ﺍﻭ ﻧﻤﻰﺭﺳﺪ‪.‬‬ ‫ﺁﻥ ﺳﻤﺖ ﺩﻳﮕﺮ ﻓﻘﻂ ﻳﻚ ﺗﺼﻮﻳﺮ ﺑﻮﺩ‪ .‬ﺗﺼﻮﻳﺮﻯ ﻛﻪ ﺑﺮﺍﻳﺶ ﺗﻌﺮﻳﻒ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻣﺎ ﺯﻧﺪﻩ‬

‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻧﮋﺍﺩﻯ ﻛﻪ ﻣﻤﻜﻦ ﺑﻮﺩ ﻣﻨﻘﺮﺽ ﺷﻮﺩ‪ ،‬ﻧﻮﺷﻴﺪﻧﻰ ﺳﺮ ﻛﺸﻴﺪﻳﻢ‪ .‬ﮔﺮﭼﻪ ﺍﻧﮕﺎﺭ ﺍﺩ ﺭﻳﺲ ﺑﺎﻳﺪ ﻗﺒﻞ ﺍﺯ ﻓﺮﻭ‬ ‫ﺩﺍﺩﻥ ﻧﻮﺷﻴﺪﻧﻰ‪ ،‬ﻛﻤﻰ ﺍﺑﺮﺍﺯ ﻧﮕﺮﺍﻧﻰ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺍﻭ ﺑﺎ ﻧﮕﺮﺍﻧﻰ ﭘﺮﺳﻴﺪ‪» :‬ﺍﮔﺮ ﺍﺯ ﻫﻤﺪﻳﮕﻪ ﺧﻮﺷﺸﻮﻥ ﻧﻴﻮﻣﺪ ﭼﻰ؟«‬ ‫ﻛﺎﭘﻴﺘﺎﻥ ﻓﻠﺪﻣﻦ ﻣﺜﻞ ﻫﻤﻴﺸﻪ ﻧﻘﺶ ﺭﺋﺎﻟﻴﺴﺖ ﮔﺮﻭﻩ ﺭﺍ ﺑﺎﺯﻯ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﺁﻥﻫﺎ ﻛﻪ ﺍﻧﺘﺨﺎﺏ ﭼﻨﺪﺍﻧﻰ‬ ‫ﻧﺪﺍﺭﻥ‪ .‬ﻓﻜﺮ ﻛﺮﺩﻯ ﭼﺮﺍ ﺯﻥﻫﺎﻯ ﺳﻴﺎﺭﻩﻣﻮﻥ ﻫﻤﻴﺸﻪ ﺑﺮﺍﻯ ﻛﺎﺭ ﺗﻮﻯ ﺩﻭﺭ ﺍﻓﺘﺎﺩﻩﺗﺮﻳﻦ ﭘﺎﻳﮕﺎﻩﻫﺎﻯ ﻓﻀﺎﻳﻰ‬ ‫ﺩﻋﻮﺍ ﺩﺍﺭﻥ؟«‬ ‫ﺭﻳﺲ ﺧﻨﺪﻳﺪ ﻭ ﮔﻔﺖ‪» :‬ﻫﻤﻴﻦﻃﻮﺭﻩ‪ .‬ﭼﻮﻥ ﺑﻌﺪ ﺍﺯ ﻳﻜﻰ ﺩﻭ ﺳﺎﻝ ﺗﻮﻯ ﻓﻀﺎ ﻗﻴﺎﻓﻪﺷﻮﻥ ﺧﻴﻠﻰ ﺧﻮﺏ‬ ‫ﻣﻰﺷﻪ‪«.‬‬ ‫ﺟﻮ ﻫﺎﺭﮔﺮﻳﻮﺯ ﮔﻔﺖ‪» :‬ﺍﻭﺿﺎﻉ ﺭﻭ ﺑﻴﺴﺖ ﻭ ﭘﻨﺞ ﺳﺎﻝ ﺑﻪ ﺍﺳﺘﺎﻧﺪﺍﺭﺩ ﺫﻥﻫﺎ ﻭ ﺳﻪ ﻫﺰﺍﺭ ﺳﺎﻝ ﺑﻪ ﺍﺳﺘﺎﻧﺪﺍﺭﺩ‬ ‫ﻣﺎ ﺩﺭ ﻧﻈﺮ ﺑﮕﻴﺮﻳﺪ‪ ،‬ﺍﻭﻥ ﻭﻗﺖ ﺷﺮﻁ ﻣﻰﺑﻨﺪﻡ ﺟﻔﺖﺷﻮﻥ ﺑﻪ ﻧﻈﺮ ﻫﻢ ﺧﻮﺷﮕﻞ ﺑﺮﺳﻨﺪ‪«.‬‬ ‫ﺗﺼﻤﻴﻢ ﮔﺮﻓﺘﻴﻢ ﻣﺄﻣﻮﺭﻳﺖﻣﺎﻥ ﺑﺮ ﺭﻭﻯ ﻭﺳﺘﺎ ﺭﺍ ﻣﻮﻗﺘﺎً ﺗﻤﺎﻡ ﻛﺮﺩﻩ ﻭ ﺑﻌﺪ ﺍﺯ ﺍﺗﻤﺎﻡ ﻣﺎﻩ ﻋﺴﻞ ﺑﺮﮔﺮﺩﻳﻢ‪.‬‬ ‫ﺷﺶ ﻣﺎﻩ ﺑﻌﺪ ﻭﻗﺘﻰ ﺑﺮﮔﺸﺘﻴﻢ‪ ،‬ﻫﺰﺍﺭ ﻭ ﺩﻭﻳﺴﺖ ﺫﻥ ﺭﻭﻯ ﻭﺳﺘﺎ ﺯﻧﺪﮔﻰ ﻣﻰﻛﺮﺩ!‬ ‫ﻛﺎﭘﻴﺘﺎﻥ ﻓﻠﺪﻣﻦ ﺭﺋﺎﻟﻴﺴﺖ ﺑﻮﺩ‪ ،‬ﻭﻟﻰ ﻣﺮﺩﻯ ﺷﺪﻳﺪﺍ ً ﺍﺧﻼﻕﮔﺮﺍ ﻫﻢ ﺑﻮﺩ‪ .‬ﺍﻭ ﺳﺮﺍﻍ ﻳﻮﺭﺕ ﺭﻓﺖ ﻭ ﮔﻔﺖ‪:‬‬ ‫»ﺷﺮﻡﺁﻭﺭﻩ! ﺷﻤﺎ ﺩﻭ ﺗﺎ ﻧﻤﻰﺗﻮﻧﺴﺘﻴﺪ ﻳﻪ ﻛﻢ ﺟﻠﻮﻯ ﺧﻮﺩﺗﻮﻥ ﺭﻭ ﺑﮕﻴﺮﻳﺪ؟ ﻫﺰﺍﺭ ﻭ ﺩﻭﻳﺴﺖ ﺗﺎ ﺑﭽﻪ؟!«‬ ‫ﻳﻮﺭﺕ ﺑﺎ ﻣﻬﺮﺑﺎﻧﻰ ﮔﻔﺖ‪» :‬ﺧﻮﺩﻣﻮﻥ ﻫﻢ ﺷﮕﻔﺖﺯﺩﻩ ﺷﺪﻩ ﺑﻮﺩﻳﻢ‪ .‬ﻭﻟﻰ ﻇﺎﻫﺮﺍ ً ﺫﻥﻫﺎ ﺍﻳﻦﻃﻮﺭﻯ ﺗﻮﻟﻴﺪ‬ ‫ﻣﺜﻞ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻣﮕﻪ ﻣﻰﺷﻮﺩ ﻓﻘﻂ ﻳﻚ ﻧﺼﻔﻪ ﺑﭽﻪ ﺩﺍﺷﺖ؟«‬ ‫ﻃﺒﻴﻌﺘﺎً ﻓﻠﺪﻣﻦ ﺑﺎﻻﺩﺳﺘﻰﻫﺎ ﺭﺍ ﻭﺍﺩﺍﺭ ﻛﺮﺩ ﻭﺳﺘﺎ ﺭﺍ ﻗﺮﻧﻄﻴﻨﻪ ﻛﻨﻨﺪ‪ .‬ﺧﺪﺍﻳﺎ‪ ،‬ﺫﻥﻫﺎ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺗﺎ ﭼﻨﺪ‬ ‫ﻧﺴﻞ ﺩﻳﮕﺮ ﻣﺎ ﺭﺍ ﺍﺯ ﻣﻨﻈﻮﻣﻪﻯ ﺷﻤﺴﻰ ﺑﻴﺮﻭﻥ ﺑﻴﻨﺪﺍﺯﻧﺪ!‬ ‫ﻓﻜﺮ ﻧﻜﻨﻢ ﻫﻤﭽﻴﻦ ﻛﺎﺭﻯ ﺑﻜﻨﻨﺪ‪ ،‬ﻭﻟﻰ ﺁﺩﻣﻴﺰﺍﺩ ﻛﻪ ﻧﺒﺎﻳﺪ ﺧﻄﺮ ﻛﻨﺪ‪ .‬ﻣﮕﺮ ﻧﻪ؟‬ ‫ﭘﻰﻧﻮﺷﺖﻫﺎ‪:‬‬ ‫‪1. Lucky Pierre‬‬ ‫‪2. David Kuntz‬‬ ‫‪3. Joe Hargraves‬‬ ‫‪4. Ed Reiss‬‬ ‫‪5. Vesta‬‬

‫‪6. Sorn‬‬ ‫‪7. Captain Feldman‬‬ ‫‪8. Yurt‬‬ ‫‪9. Eros‬‬ ‫‪10. L’hrai‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﺧﻮﺏ‪ ،‬ﺧﺪﺍ ﺑﻪ ﻓﺮﻳﺎﺩﻡ ﺑﺮﺳﺪ!«‬ ‫ﮔﻔﺘﻢ‪» :‬ﻳﻮﺭﺕ‪ ،‬ﻣﻄﻤﺌﻨﻰ ﻛﻪ ﻣﻰﺧﻮﺍﻫﻰ ﻣﺎ ﺩﺧﺎﻟﺘﻰ ﻧﻜﻨﻴﻢ‪ ...‬ﻓﻘﻂ ﺑﺮﻳﻢ ﻭ ﺷﻤﺎﻫﺎ ﺭﻭ ﺗﻨﻬﺎ ﺑﺬﺍﺭﻳﻢ؟«‬ ‫»ﺑﻠﻪ ﻟﻄﻔﺎً‪«.‬‬ ‫ﻓﻠﺪﻣﻦ ﮔﻔﺖ‪» :‬ﺧﺪﺍ ﺑﻪ ﻓﺮﻳﺎﺩﻡ ﺑﺮﺳﺪ!«‬ ‫ﻳﻮﺭﺕ ﻛﻪ ﺍﻧﮕﻠﻴﺴﻰ ﺭﺍ ﺧﻴﻠﻰ ﺧﻮﺏ ﺣﺮﻑ ﻣﻰﺯﺩ ﮔﻔﺖ‪» :‬ﺧﺪﺍ ﺑﻪ ﻫﻤﮕﻰﺗﺎﻥ ﻛﻤﻚ ﻛﻨﺪ‪«.‬‬ ‫ﺍﻭ ﺭﺍ ﻫﻤﺎﻥﺟﺎﻳﻰ ﺑﺮﺩﻡ ﻛﻪ ﺫﻥ ﻣﺆﻧﺚ ﺍﻧﺘﻈﺎﺭ ﻣﻰﻛﺸﻴﺪ‪ .‬ﻣﻰﺩﺍﻧﺴﺘﻢ ﻛﻪ ﺍﺯ ﺳﺮ ﺑﺮﺁﻣﺪﮔﻰ ﺳﻴﺎﺭﻙ‪،‬‬ ‫ﻫﻤﻪﻯ ﺍﻋﻀﺎﻯ ﺳﻔﻴﻨﻪ ﺩﻭﺭﺑﻴﻦ ﺑﻪ ﺩﺳﺖ‪ ،‬ﺑﻪ ﻣﺎﺟﺮﺍ ﭼﺸﻢ ﺩﻭﺧﺘﻪﺍﻧﺪ‪ .‬ﻳﻮﺭﺕ ﺭﺍ ﺯﻣﻴﻦ ﮔﺬﺍﺷﺘﻢ ﻭ ﺍﻭ‬ ‫ﻣﺸﻐﻮﻝ ﺑﺮﺭﺳﻰ ﺫﻥ ﻣﺆﻧﺚ ﺷﺪ‪.‬‬ ‫ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﻪ ﺑﻘﻴﻪﻯ ﺍﻋﻀﺎ ﺧﻮﺏ ﺑﺒﻴﻨﻨﺪ‪ ،‬ﻧﻮﺭ ﭼﺮﺍﻍ ﻗﻮﻩﺍﻡ ﺭﺍ ﺑﺎ ﺩﺭﺧﺸﻨﺪﮔﻰ ﻛﺎﻣﻞ ﺭﻭﻯ ﺫﻥ ﻣﺆﻧﺚ‬ ‫ﺍﻧﺪﺍﺧﺘﻢ ﻭ ﮔﻔﺘﻢ‪» :‬ﻣﻦ ﺫﻥ ﻧﻴﺴﺘﻢ‪ ،‬ﻭﻟﻰ ﻳﻮﺭﺕ ﻫﺴﺖ‪ .‬ﺗﻮ ﻣﻰﺗﻮﻧﻰ‪ ...‬ﻳﻌﻨﻰ‪ ،‬ﺧﻮﺩﺕ ﻣﻰﺩﻭﻧﻰ ﻗﻴﺎﻓﻪﺍﺕ‬ ‫ﭼﻪ ﺷﻜﻠﻴﻪ؟«‬ ‫ﮔﻔﺖ‪» :‬ﻣﻘﺪﺍﺭ ﻛﺎﻓﻰ ﺍﺯ ﺑﺪﻥ ﺧﻮﺩﻡ ﺭﺍ ﻣﻰﺑﻴﻨﻢ ﻭ‪ ...‬ﺑﻠﻪ‪«...‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﻳﻮﺭﺕ‪ ،‬ﺍﻳﻦ ﻫﻤﺎﻥ ﻣﺆﻧﺜﻰ ﺍﺳﺖ ﻛﻪ ﺍﺣﺘﻤﺎﻝ ﻣﻰﺩﺍﺩﻳﻢ ﭘﻴﺪﺍﺵ ﻛﻨﻴﻢ‪ .‬ﺑﻘﻴﻪﺍﺵ ﺑﻪ ﻋﻬﺪﻩﻯ‬ ‫ﺧﻮﺩﺕ‪«.‬‬ ‫ﭼﺸﻤﺎﻥ ﻳﻮﺭﺕ ﺑﻪ ﺩﺧﺘﺮ ﺯﻝ ﺯﺩﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺩﺧﺘﺮ ﺑﺎ ﻧﮕﺮﺍﻧﻰ ﺯﻣﺰﻣﻪ ﻛﺮﺩ‪» :‬ﺣﺎﻻ‪ ...‬ﭼﻰ ﻛﺎﺭ ﺑﺎﻳﺪ ﺑﻜﻨﻢ؟«‬ ‫ﺗﻮﻯ ﻛﻼﻫﺨﻮﺩﻡ ﻟﺒﺨﻨﺪﻯ ﺯﺩﻡ ﻭ ﮔﻔﺘﻢ‪» :‬ﻣﺘﺄﺳﻔﺎﻧﻪ ﺍﻳﻦ ﭼﻴﺰﻯ ﺍﺳﺖ ﻛﻪ ﻓﻘﻂ ﻳﻚ ﺫﻥ ﺍﺯ ﺁﻥ ﺧﺒﺮ‬ ‫ﺩﺍﺭﺩ‪ .‬ﻣﻦ ﺫﻥ ﻧﻴﺴﺘﻢ‪ .‬ﻳﻮﺭﺕ ﻫﺴﺖ‪«.‬‬ ‫ﺩﺧﺘﺮ ﺑﻪ ﺳﻤﺖ ﻳﻮﺭﺕ ﺑﺮﮔﺸﺖ ﻭ ﮔﻔﺖ‪» :‬ﺗﻮ ﺑﺮﺍﻳﻢ ﺗﻌﺮﻳﻒ ﻣﻰﻛﻨﻰ؟«‬ ‫»ﺍﮔﺮ ﻻﺯﻡ ﺑﺎﺷﺪ‪«.‬‬ ‫ﻳﻮﺭﺕ ﺑﻪ ﻣﺆﻧﺚ ﻧﺰﺩﻳﻚﺗﺮ ﺷﺪ ﻭ ﻣﻮﻗﻊ ﺣﺮﻑ ﺯﺩﻥ ﺑﺎ ﻣﻦ‪ ،‬ﺣﺘﺎ ﺳﺮﺵ ﺭﺍ ﺑﺮﻧﮕﺮﺩﺍﻧﺪ‪» .‬ﺑﻪ ﻣﺎ ﻭﻗﺖ ﺑﺪﻩ‬ ‫ﺗﺎ ﺑﺎ ﻫﻢ ﺁﺷﻨﺎ ﺑﺸﻮﻳﻢ‪ ،‬ﺑﺎﺷﺪ ﺩﻳﻮ؟ ﻭ ﻭﻗﺘﻰ ﺩﺍﺷﺘﻴﺪ ﻣﻰﺭﻓﺘﻴﺪ‪ ،‬ﺷﺎﻳﺪ ﺑﺪ ﻧﺒﺎﺷﺪ ﺑﺮﺍﻯ ﺩﻟﭙﺬﻳﺮﺗﺮ ﻛﺮﺩﻥ‬ ‫ﺷﺮﺍﻳﻂ‪ ،‬ﻛﻤﻰ ﺗﺪﺍﺭﻛﺎﺕ ﻭ ﻳﻚ ﺣﺒﺎﺏ ﺩﺭ ﻛﻤﭗ ﺑﺎﻗﻰ ﺑﮕﺬﺍﺭﻳﺪ‪«.‬‬ ‫ﻭﻗﺘﻰ ﺣﺮﻓﺶ ﺗﻤﺎﻡ ﺷﺪ‪ ،‬ﺩﻳﮕﺮ ﺟﻠﻮﻯ ﺩﺧﺘﺮ ﺭﺳﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺁﻥ ﺩﻭ ﻣﺜﻞ ﻓﻀﺎ ﺳﺎﻛﻦ ﻭ ﺑﻰﺣﺮﻛﺖ ﺑﻮﺩﻧﺪ؛‬ ‫ﻧﻪ ﺻﺪﺍﻳﻰ‪ ،‬ﻧﻪ ﺣﺮﻛﺘﻰ‪ .‬ﺩﻟﻢ ﻣﻰﺧﻮﺍﺳﺖ ﺁﻥ ﺍﻃﺮﺍﻑ ﺑﻤﺎﻧﻢ‪ ،‬ﻭﻟﻰ ﺧﻮﺏ ﻣﻰﺩﺍﻧﺴﺘﻢ ﭼﻪ ﺣﺴﻰ ﺩﺍﺭﺩ ﺍﮔﺮ‬ ‫ﺧﻮﺩﻡ ﺁﺧﺮﻳﻦ ﻣﺮﺩ ﺯﻧﺪﻩﺍﻯ ﺑﻮﺩﻡ ﻛﻪ ﺗﺎﺯﻩ ﺁﺧﺮﻳﻦ ﺯﻥ ﺯﻧﺪﻩ ﺭﺍ ﺩﻳﺪﻩﺍﻡ‪ ،‬ﻭ ﺁﻥﻭﻗﺖ ﻳﻚ ﺫﻥ ﺗﻨﻬﺎﻳﻤﺎﻥ‬ ‫ﻧﻤﻰﮔﺬﺍﺷﺖ‪.‬‬ ‫ﻧﻮﺭ ﭼﺮﺍﻍ ﻗﻮﻩﺍﻡ ﺭﺍ ﺍﺯ ﺭﻭﻯ ﺁﻥﻫﺎ ﺑﺮﺩﺍﺷﺘﻢ ﻭ ﺑﻪ ﺳﻤﺖ ﻻﻛﻰ ﭘﻴﺮ ﺑﺮﮔﺸﺘﻢ‪ .‬ﻣﺎ ﻫﻤﻪ ﺑﻪ ﺍﻓﺘﺨﺎﺭ ﻧﺠﺎﺕ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺍﺯ ﺧﻮﺍﺏ ﺑﻴﺪﺍﺭ ﺷﻮﻯ ﻭ ﺑﺒﻴﻨﻰ ﺳﮓ ﻛﻮﭼﻮﻟﻮﻳﺖ ﺭﻭﻯ ﺳﻴﻨﻪﺍﺕ ﻧﺸﺴﺘﻪ ﻭ‬ ‫ﺑﺎ ﭼﺸﻤﺎﻧﻰ ﻫﻮﺷﻤﻨﺪ‪ ،‬ﺑﻪ ﺗﻮ ﺯﻝ ﺯﺩﻩ ﻭ ﺩﻧﺪﺍﻥﻫﺎﻯ ﺗﻴﺰ ﺳﻔﻴﺪﺵ ﻧﻤﺎﻳﺎﻥ‬ ‫ﺍﺳﺖ‪...‬‬ ‫ﺑﻌﺪ ﺑﻪ ﻳﻮﺭﺕ ﻓﻜﺮ ﻛﺮﺩﻡ‪ .‬ﻳﻮﺭﺕ ﺑﺎﻫﻮﺵ ﻭ ﻣﻬﺮﺑﺎﻥ‪ ،‬ﻛﻪ ﺧﻨﺪﻳﺪﻥ ﻭ ﺷﻮﺧﻰ‬ ‫ﻛﺮﺩﻥ ﺭﺍ ﻳﺎﺩ ﮔﺮﻓﺘﻪ ﺑﻮﺩ؛ ﺑﻨﺎﺑﺮﺍﻳﻦ ﻓﻜﺮ ﻭ ﺧﻴﺎﻝ ﺭﺍ ﻛﻨﺎﺭ ﮔﺬﺍﺷﺘﻢ‪ .‬ﻣﺘﻮﺟﻪ‬ ‫ﺷﺪﻡ ﻣﻮﺟﻮﺩ ﺭﻭﺑﻪﺭﻭﻳﻢ ﻓﻘﻂ ﻳﻚ ﺩﺧﺘﺮ ﺑﻴﻤﺎﺭ ﺍﺳﺖ‪ ،‬ﻧﻪ ﻳﻚ ﻫﻴﻮﻻﻯ‬ ‫ﻛﻮﭼﻚ‪ .‬ﻭ ﺍﮔﺮ ﺍﻭ ﻫﻢ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻳﻮﺭﺕ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺧﻮﺩﺵ‬ ‫ﺑﻴﺎﻳﺪ‪ ...‬ﺧﻮﺏ‪ ،‬ﺍﻳﻦ ﺩﻳﮕﺮ ﻣﺸﻜﻞ ﺧﻮﺩ ﻳﻮﺭﺕ ﺑﻮﺩ‪ .‬ﺍﺣﺘﻤﺎﻻً ﺍﻭ ﻣﻰﺗﻮﺍﻧﺴﺖ‬ ‫ﺍﻳﻦ ﺫﻥ ﺭﺍ ﻧﺠﺎﺕ ﺩﻫﺪ‪.‬‬ ‫ﻭﻟﻰ ﺫﻥ ﺭﺍ ﺍﺯ ﺯﻣﻴﻦ ﺑﻠﻨﺪ ﻧﻜﺮﺩﻡ ﻭ ﺗﻼﺷﻰ ﺑﺮﺍﻯ ﺑﺮﺩﻥ ﺍﻭ ﺑﻪ ﺳﻔﻴﻨﻪ‬ ‫ﺍﻧﺠﺎﻡ ﻧﺪﺍﺩﻡ‪ .‬ﺩﻧﺪﺍﻥﻫﺎﻯ ﺳﻔﻴﺪ ﻛﻮﭼﻚ ﻭ ﭘﻨﺠﻪﻫﺎﻯ ﺯﺭﺩ ﻭ ﻛﻮﭼﻚ ﺍﻭ‬ ‫ﺳﺨﺖﺗﺮ ﺍﺯ ﺁﻫﻦ ﺑﻮﺩﻧﺪ‪ .‬ﻭ ﻣﻰﺩﺍﻧﺴﺘﻢ ﻛﻪ ﺑﻪ ﻃﺮﺯ ﻏﻴﺮﻗﺎﺑﻞ ﺑﺎﻭﺭﻯ ﻧﺴﺒﺖ ﺑﻪ‬ ‫ﺟﺜﻪﺍﺵ ﻗﻮﻯ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﻣﺸﻜﻮﻙ ﻣﻰﺷﺪ ﻳﺎ ﺗﺼﻤﻴﻢ ﻣﻰﮔﺮﻓﺖ ﻳﻚ ﺷﻮﻙ‬ ‫ﺳﺮﮔﻴﺠﻪﺁﻭﺭ ﺑﻪ ﺳﻮﻳﻢ ﭘﺮﺗﺎﺏ ﻛﻨﺪ‪ ،‬ﺑﻪ ﺭﺍﺣﺘﻰ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺩﺭ ﻣﺪﺕ ﺯﻣﺎﻧﻰ‬ ‫ﻛﻮﺗﺎﻩﺗﺮ ﺍﺯ ﺁﻥﻛﻪ ﺻﺪﺍﻯ ﻓﺮﻳﺎﺩﻡ ﺑﻠﻨﺪ ﺷﻮﺩ‪ ،‬ﺗﻜﻪﺗﻜﻪﻫﺎﻳﻢ ﺭﺍ ﺩﺭ ﻣﺤﻮﻃﻪﺍﻯ‬ ‫ﺑﻪ ﻭﺳﻌﺖ ﻳﻚ ﻫﻜﺘﺎﺭ ﻣﺮﺑﻊ ﺍﺯ ﻭﺳﺘﺎ ﭘﺨﺶ ﻛﻨﺪ‪.‬‬ ‫ﺩﻭﺑﺎﺭﻩ ﮔﻔﺖ‪» :‬ﺗﻮ ﻣﻦ ﺭﺍ ﻣﻰ‪«...‬‬ ‫ﺑﺎ ﻟﺤﻨﻰ ﻟﺮﺯﺍﻥ ﮔﻔﺘﻢ‪» :‬ﻣﺤﺾ ﺧﺎﻃﺮ ﺟﻬﻨﻢ‪ ،‬ﻧﻪ! ﻫﻤﻴﻦﺟﺎ ﺑﻤﻮﻥ‪«.‬‬ ‫ﻭ ﺑﻌﺪ ﻣﺠﺒﻮﺭ ﺷﺪﻡ ﺣﺮﻓﻢ ﺭﺍ ﺑﺮﺍﻳﺶ ﺗﺮﺟﻤﻪ ﻛﻨﻢ‪.‬‬ ‫‪ ‬ﺑﻪ ﻻﻛﻰ ﭘﻴﺮ ﺑﺮﮔﺸﺘﻢ ﻭ ﻳﻮﺭﺕ ﺭﺍ ﺑﺮﺩﺍﺷﺘﻢ‪ .‬ﮔﺮﭼﻪ ﺍﻭ ﺑﺮﺍﻳﻤﺎﻥ ﻛﻤﻚ‬ ‫ﺑﺰﺭﮔﻰ ﻣﺤﺴﻮﺏ ﻣﻰﺷﺪ‪ ،‬ﻭﻟﻰ ﺑﺪﻭﻥ ﺍﻭ ﻫﻢ ﺍﺯ ﭘﺲ ﻛﺎﺭﻫﺎ ﺑﺮ ﻣﻰﺁﻣﺪﻳﻢ‪.‬‬ ‫ﭼﻴﺰﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺑﻪ ﺍﻭ ﻳﺎﺩ ﺩﺍﺩﻩ ﺑﻮﺩﻳﻢ –ﺍﻭ ﻫﻢ ﺩﺭ ﺯﻣﺎﻥ ﺍﻧﻔﺠﺎﺭ ﺳﻮﺭﻥ ﻓﻘﻂ‬ ‫ﻳﻚ ﺑﭽﻪ ﺑﻮﺩﻩ–؛ ﺍﻭ ﻫﻢ ﭼﻴﺰﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺑﻪ ﻣﺎ ﺁﻣﻮﺧﺘﻪ ﺑﻮﺩ‪ .‬ﻭﻟﻰ ﺍﻳﻦ ﻣﺎﺟﺮﺍ‬ ‫ﻣﻬﻢﺗﺮ ﺍﺯ ﻫﺮ ﭼﻴﺰ ﺩﻳﮕﺮﻯ ﺑﻮﺩ‪.‬‬ ‫ﻭﻗﺘﻰ ﺑﺮﺍﻳﺶ ﺗﻌﺮﻳﻒ ﻛﺮﺩﻡ ﻛﻪ ﭼﻪ ﺍﺗﻔﺎﻗﻰ ﺍﻓﺘﺎﺩﻩ‪ ،‬ﺧﻴﻠﻰ ﺁﺭﺍﻡ ﺑﻮﺩ؛ ﺷﺎﻳﺪ‬ ‫ﺩﺍﺷﺖ ﻣﺜﻞ ﺁﺩﻡﻫﺎ‪ ،‬ﺍﺯ ﺷﺪﺕ ﺧﻮﺷﺤﺎﻟﻰ ﮔﺮﻳﻪ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﻛﺎﭘﻴﺘﺎﻥ ﻓﻠﺪﻣﻦ ﺍﺯ ﻣﻦ ﭘﺮﺳﻴﺪ ﻣﻮﺿﻮﻉ ﭼﻴﺴﺖ‪ ،‬ﻭ ﻣﻦ ﺑﺮﺍﻳﺶ ﮔﻔﺘﻢ‪ ،‬ﻭ ﺍﻭ‬ ‫‪33‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﺷﺎﻳﺪ ﺷﺒﻰ ﺍﺯ‬ ‫ﺧﻮﺍﺏ ﺑﻴﺪﺍﺭ‬ ‫ﺷﻮﻯ ﻭ ﺑﺒﻴﻨﻰ‬ ‫ﺳﮓ ﻛﻮﭼﻮﻟﻮﻳﺖ‬ ‫ﺭﻭﻯ ﺳﻴﻨﻪﺍﺕ‬ ‫ﻧﺸﺴﺘﻪ ﻭ‬ ‫ﺑﺎ ﭼﺸﻤﺎﻧﻰ‬ ‫ﻫﻮﺷﻤﻨﺪ‪ ،‬ﺑﻪ‬ ‫ﺗﻮ ﺯﻝ ﺯﺩﻩ ﻭ‬ ‫ﺩﻧﺪﺍﻥﻫﺎﻯ ﺗﻴﺰ‬ ‫ﺳﻔﻴﺪﺵ ﻧﻤﺎﻳﺎﻥ‬ ‫ﺍﺳﺖ‪...‬‬

‫ﻳﻚ ﻛﻮﺭﻩ ﺑﺎﺷﺪ‪ ،‬ﭘﺲ ﺑﺪﻥ ﻳﻚ ﺫﻥ ﺧﻮﺩﺵ ﻳﻚ ﺗﻮﺩﻩ ﺳﻮﺧﺖ ﺍﺳﺖ‪ .‬ﺑﺎ ﺧﻮﺩﻡ ﻓﻜﺮ ﻛﺮﺩﻡ‪ ،‬ﺷﺎﻳﺪ‬ ‫ﺗﻜﺎﻣﻞ ﻫﻤﻴﺸﻪ ﺑﻪ ﻫﻤﻴﻦ ﺳﻮ ﺩﺭ ﺣﺮﻛﺖ ﺍﺳﺖ‪.‬‬ ‫ﺫﻥ ﮔﻔﺖ‪» :‬ﺑﺒﺨﺸﻴﺪ‪ ،‬ﻣﻰﺷﻮﺩ ﻣﻦ ﺭﺍ ﺑﻜﺸﻰ؟«‬ ‫‪‬ﺍﻧﺘﻈﺎﺭ ﺍﻳﻦ ﺣﺮﻓﺶ ﺭﺍ ﺩﺍﺷﺘﻢ‪ .‬ﺩﻭ ﺳﺎﻝ ﻗﺒﻞ‪ ،‬ﺭﻭﻯ ﺳﻄﺢ ﺑﻰ ﺁﺏ ﻭ ﻋﻠﻒ ﺍﺭﻭﺱ‪ ،‬ﻳﻮﺭﺕ ﺍﺯ ﺍﻧﮕﺴﺘﺮﻭﻡ‬ ‫ﻫﻤﻴﻦ ﺭﺍ ﺧﻮﺍﺳﺘﻪ ﺑﻮﺩ‪ .‬ﻭﻟﻰ ﻣﻦ ﺑﺎ ﺍﻳﻦ ﻛﻪ ﺟﻮﺍﺑﺶ ﺭﺍ ﻣﻰﺩﺍﻧﺴﺘﻢ‪ ،‬ﭘﺮﺳﻴﺪﻡ‪» :‬ﭼﺮﺍ؟«‬ ‫ﺫﻥ ﺳﺮﺵ ﺭﺍ ﺑﺎﻻ ﺁﻭﺭﺩ ﻭ ﺑﻪ ﻣﻦ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺩﺍﺷﺖ ﺗﺎ ﺁﺧﺮﻳﻦ ﺫﺭﻩ ﺍﺣﺴﺎﺳﺎﺗﻰ ﻛﻪ ﺍﺯ ﺩﺳﺖ ﻳﻚ ﺫﻥ ﺑﺮ‬ ‫ﻣﻰﺁﻳﺪ –ﻭ ﻧﺴﺒﺘﺎً ﻫﻢ ﻣﻘﺪﺍﺭ ﺯﻳﺎﺩﻯ ﺩﺍﺭﺩ‪ -‬ﻧﻤﺎﻳﺶ ﻣﻰﺩﺍﺩ؛ ﻭ ﻣﻦ ﻫﻢ ﻣﻰﺗﻮﺍﻧﺴﺘﻢ ﻣﻮﻗﻌﻴﺖ ﺭﺍ ﺩﺭﻙ‬ ‫ﻛﻨﻢ‪ ،‬ﻭﻟﻰ ﺑﺮﺍﻳﻢ ﺁﺳﺎﻥ ﻧﺒﻮﺩ‪ .‬ﻳﻚ ﺗﻜﺎﻥ ﻛﻮﭼﻚ ﺍﻳﻦﺟﺎ‪ ،‬ﻳﻚ ﻟﺮﺯﺵ ﺁﻥﺟﺎ‪ ...‬ﻭﻟﻰ ﺑﻴﺸﺘﺮ ﺳﺎﻛﺖ ﻭ‬ ‫ﺳﺎﻛﻦ ﺑﻮﺩﻥ‪ .‬ﻭ ﺍﻳﻦ –ﻫﻤﻴﻦ ﺧﻮﺩﺩﺍﺭﻯ‪ -‬ﻗﻴﺎﻓﻪﻯ ﺧﺸﻨﺶ ﺑﻮﺩ‪ .‬ﻳﻮﺭﺕ‪ ،‬ﺑﻌﺪ ﺍﺯ ﺩﻭ ﺳﺎﻝ ﺯﻧﺪﮔﻰ ﻛﺮﺩﻥ‬ ‫ﺑﺎ ﻣﺎ‪ ،‬ﻫﻨﻮﺯ ﻧﻤﻰﻓﻬﻤﻴﺪ ﭼﺮﺍ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺑﺮﺍﻯ ﻣﺎ ﮔﻴﺞﻛﻨﻨﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺑﻴﮕﺎﻧﻪﻫﺎ؛ ﻳﺎ ﺑﻴﮕﺎﻧﻪ ﺑﻮﺩﻥ ﻣﺴﺄﻟﻪﻯ ﺧﻴﻠﻰ ﭘﻴﭽﻴﺪﻩﺍﻯ ﺍﺳﺖ‪.‬‬ ‫ﺫﻥ ﺑﻪ ﺁﺭﺍﻣﻰ ﮔﻔﺖ‪» :‬ﺧﻴﻠﻰ ﺳﻌﻰ ﻛﺮﺩﻩﺍﻡ ﺧﻮﺩﻡ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺑﻜﻨﻢ‪ .‬ﻭﻟﻰ ﻧﻤﻰﺗﻮﺍﻧﻢ‪ .‬ﺣﺘﺎ ﻧﻤﻰﺗﻮﺍﻧﻢ ﺑﻪ‬ ‫ﺧﻮﺩﻡ ﺻﺪﻣﻪ ﺑﺰﻧﻢ‪ .‬ﭼﺮﺍ ﺍﺯ ﺗﻮ ﻣﻰﺧﻮﺍﻫﻢ ﻣﻦ ﺭﺍ ﺑﻜﺸﻰ؟«‬ ‫ﺁﺭﺍﻡﺗﺮ ﺍﺯ ﻗﺒﻞ ﺑﻮﺩ‪ .‬ﺷﺎﻳﺪ ﺩﺍﺷﺖ ﮔﺮﻳﻪ ﻣﻰﻛﺮﺩ‪» .‬ﻣﻦ ﺗﻨﻬﺎﻳﻢ‪ .‬ﭘﺎﻧﺼﺪ ﺳﺎﻝ‪ ،‬ﻣﻮﺟﻮﺩ ﺯﻭﻣﺎﻧﻰ‪ .‬ﺁﻥﻗﺪﺭﻫﺎ‬ ‫ﻫﻢ ﻃﻮﻻﻧﻰ ﻧﻴﺴﺖ‪ .‬ﻣﻦ ﻫﻨﻮﺯ ﺟﻮﺍﻧﻢ‪ .‬ﻭﻟﻰ ﺍﻳﻦ –ﺯﻧﺪﮔﻰ– ﭼﻪ ﻓﺎﻳﺪﻩﺍﻯ ﺩﺍﺭﺩ‪ ،‬ﻭﻗﺘﻰ ﻫﻴﭻ ﺫﻥ ﺩﻳﮕﺮﻯ‬ ‫ﻧﻴﺴﺖ؟«‬ ‫»ﺍﺯ ﻛﺠﺎ ﻣﻰﺩﺍﻧﻰ ﻫﻴﭻ ﺫﻥ ﺩﻳﮕﺮﻯ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ؟«‬ ‫ﺑﺎ ﺻﺪﺍﻳﻰ ﻛﻪ ﺑﻪ ﺯﺣﻤﺖ ﺑﻪ ﮔﻮﺵ ﻣﻰﺭﺳﻴﺪ ﮔﻔﺖ‪» :‬ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪«.‬‬ ‫ﻓﻜﺮ ﻛﻨﻢ ﺍﮔﺮ ﻳﻚ ﺁﺩﻣﻴﺰﺍﺩ ﻣﺆﻧﺚ ﺑﻮﺩ‪ ،‬ﺍﻳﻦ ﺣﺮﻑ ﺭﺍ ﺑﺎ ﻓﺮﻳﺎﺩ ﺑﻴﺎﻥ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺑﺎ ﺧﻮﺩﻡ ﻓﻜﺮ ﻛﺮﺩﻡ‪ ،‬ﻭﻗﺘﻰ ﺟﻬﺎﻧﺖ ﻣﻨﻔﺠﺮ ﺷﺪ ﺗﻮ ﻳﻚ ﺑﭽﻪ ﺑﻮﺩﻯ‪ .‬ﻭ ﻧﺠﺎﺕ ﭘﻴﺪﺍ ﻛﺮﺩﻯ‪ .‬ﺣﺎﻻ ﻳﻚ ﺯﻥ ﺟﻮﺍﻥ‬ ‫ﺳﻪ ﻫﺰﺍﺭ ﺳﺎﻟﻪ ﻫﺴﺘﻰ؛ ﺁﻣﻮﺯﺵ ﻧﺪﻳﺪﻩ‪ ،‬ﺗﺮﺳﻴﺪﻩ‪ ،‬ﺍﺣﺘﻤﺎﻻً ﺳﺮﺷﺎﺭ ﺍﺯ ﺩﻝﻧﮕﺮﺍﻧﻰ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ‪ ،‬ﺣﺘﺎ ﺑﺎ ﺷﺮﺍﻳﻂ‬ ‫ﻫﺰﺍﺭ ﺳﺎﻟﻪﺍﺕ ﺧﺎﻧﻢ ﺟﻮﺍﻥ‪ ،‬ﺁﻥﻗﺪﺭ ﭘﻴﺮ ﻧﺸﺪﻩﺍﻯ ﻛﻪ ﻧﺘﻮﺍﻧﻰ ﺗﻐﻴﻴﺮ ﻛﻨﻰ‪.‬‬ ‫ﺩﻭﺑﺎﺭﻩ ﭘﺮﺳﻴﺪ‪» :‬ﻣﻦ ﺭﺍ ﻣﻰﻛﺸﻰ؟«‬

‫ﻭ ﻧﺎﮔﻬﺎﻥ ﻳﻜﻰ ﺍﺯ ﺁﻥ ﻧﻤﺎﻫﺎﻯ ﭼﺸﻤﮕﻴﺮ ﻭ ﻣﺴﺘﻘﻴﻢ ﺍﺯ ﺗﻤﺎﻣﻰ ﻣﻮﻗﻌﻴﺖ ﺟﻠﻮﻯ ﭼﺸﻤﻢ ﺁﻣﺪ؛ ﺁﺳﻤﺎﻥ‬ ‫ﺯﻳﺒﺎ ﻭ ﺑﻰ ﭘﺎﻳﺎﻥ؛ ﻭﺳﺘﺎﻯ ﻛﺎﻣ ً‬ ‫ﻼ ﻣﺮﺩﻩ؛ ﻣﻮﺟﻮﺩ ﻛﻮﭼﻜﻰ ﻛﻪ ﺁﻥﺟﺎ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﺑﻪ ﻣﻦ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ؛‬ ‫ﻣﻮﺟﻮﺩ ﺑﺎﻫﻮﺵ‪-‬ﻧﺎﺩﺍﻥ‪ ،‬ﺍﻧﺴﺎﻥﮔﻮﻧﻪ‪-‬ﺑﻴﮕﺎﻧﻪ‪ ،‬ﭘﻴﺮ‪-‬ﺟﻮﺍﻧﻰ ﻛﻪ ﺍﺯ ﻣﻦ ﻣﻰﺧﻮﺍﺳﺖ ﺍﻭ ﺭﺍ ﺑﻜﺸﻢ‪.‬‬ ‫ﺑﺮﺍﻯ ﻟﺤﻈﻪﺍﻯ ﻗﺎﺑﻠﻴﺖ ﺗﻔﻜﺮ ﺍﻧﺴﺎﻧﻰﺍﺵ ﻣﻦ ﺭﺍ ﺑﻪ ﻭﺣﺸﺖ ﺍﻧﺪﺍﺧﺖ‪ ...‬ﺷﺒﻴﻪ ﺍﻳﻦ ﺣﺲ ﻛﻪ ﺷﺎﻳﺪ ﺷﺒﻰ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺯﻣﺎﻥ ﻣﻦ« ﻭ »ﺍﻧﻔﺠﺎﺭ ﺍﺗﻤﻰ« ﻏﻴﺮﻣﻤﻜﻦ ﺑﻮﺩ(؛ ﻭ ﺣﺎﻻ ﺍﻳﻦ ﻣﻮﺟﻮﺩ ﭘﻴﺮ ِ ﭘﻴﺮ‪ ،‬ﺳﻪ ﻫﺰﺍﺭ ﺳﺎﻝ ﻗﺒﻞ ﻭ‬ ‫ﻛﻮﺩﻛﻰﺍﺵ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﻣﻰﺁﻭﺭﺩ‪ .‬ﺍﺣﺘﻤﺎﻻً ﻫﻤﺎﻥ ﻣﺪﺍﺭﺱ ﺍﺑﺘﺪﺍﻳﻰ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﻣﻰﺁﻭﺭﺩ؛ ﺍﻭ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﻳﺎﺩ‬ ‫ﺁﻭﺭﺩﻩ ﻭ ﻣﺤﻴﻂ ﻣﻴﺎﻥ ﺍﻛﻨﻮﻥ ﻭ ﺁﻥ ﺯﻣﺎﻥ ﺭﺍ ﺍﻳﻦﻃﻮﺭﻯ ﺗﻮﺻﻴﻒ ﻣﻰﻛﺮﺩ؛ ﻭ ﺗﺎﺯﻩ ﺍﺯ ﺯﻧﺪﻩ ﺑﻮﺩﻥ ﺧﻮﺩﺵ‬ ‫ﺩﺭ ﺍﻳﻦ ﺍﻛﻨﻮﻥ ِ ﻣﺘﻔﺎﻭﺕ ﺣﻴﺮﺕﺯﺩﻩ ﺑﻮﺩ‪...‬‬ ‫ﻫﻤﺎﻥ ﻣﻮﻗﻊ ﺍﻓﻜﺎﺭﻡ ﺭﺍ ﺳﺮ ﻭ ﺳﺎﻣﺎﻥ ﺩﺍﺩﻡ‪ .‬ﭼﻴﺰﻫﺎﻳﻰ ﺭﺍ ﻛﻪ ﺩﺭ ﻣﻮﺭﺩ ﺫﻥﻫﺎ ﺁﻣﻮﺧﺘﻪ ﺑﻮﺩﻳﻢ‪ ،‬ﺑﻪ ﻳﺎﺩ‬ ‫ﺁﻭﺭﺩﻡ‪.‬‬ ‫ﻋﻤﺮ ﻣﺘﻮﺳﻂ ﺁﻥﻫﺎ ‪ 12000‬ﺳﺎﻝ ﻳﺎ ﻛﻤﻰ ﺑﻴﺸﺘﺮ ﺑﻮﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺫﻧﻰ ﻛﻪ ﺭﻭﺑﻪﺭﻭﻯ ﻣﻦ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪،‬‬ ‫ﻃﺒﻖ ﺍﺳﺘﺎﻧﺪﺍﺭﺩﻫﺎﻯ ﺧﻮﺩﻣﺎﻥ‪ ،‬ﺑﻴﺴﺖ ﻭ ﭘﻨﭻ ﺳﺎﻟﻪ ﻣﺤﺴﻮﺏ ﻣﻰﺷﺪ‪ .‬ﻭﻗﺘﻰ ﺑﻴﺴﺖ ﻭ ﭘﻨﺞ ﺳﺎﻟﻪ ﺑﺎﺷﻰ‪،‬‬ ‫ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩﻥ ﺍﺗﻔﺎﻗﺎﺗﻰ ﻛﻪ ﻣﻮﻗﻊ ﻫﻔﺖ ﺳﺎﻟﮕﻰﺍﺕ ﺭﺥ ﺩﺍﺩﻩ ﺍﺻ ً‬ ‫ﻼ ﻋﺠﻴﺐ ﻧﻴﺴﺖ‪...‬‬ ‫ﻭﻟﻰ ﺳﺆﺍﻝ ﺫﻥ‪ ،‬ﻭ ﺣﺘﺎ ﺁﻥ ﺩﻻﻳﻞ ﻣﻨﻄﻘﻰ ﻛﻪ ﺑﺮﺍﻯ ﻭﺍﻛﻨﺶ ﺧﻮﺩﻡ ﺩﺭ ﻣﻘﺎﺑﻞ ﺁﻥ ﻣﻰﺁﻭﺭﺩﻡ‪ ،‬ﺑﺎﻋﺚ‬ ‫ﻭﺣﺸﺘﻢ ﻣﻰﺷﺪ‪ .‬ﺍﻳﻦ ﻛﻪ ﻳﻚ ﺧﺮﺱ ﺗﺪﻯ ﻧﺎﺯ ﻧﺎﺯﻯ ﻧﺒﻮﺩ‪.‬‬ ‫ﺍﻳﻦ ﻣﻮﺟﻮﺩ ﻗﺒﻞ ﺍﺯ ﻣﺴﻴﺢ ﻣﺘﻮﻟﺪ ﺷﺪﻩ ﺑﻮﺩ!‬ ‫ﺍﻭ ﺑﺮﺍﻯ ﺳﻪ ﻫﺰﺍﺭ ﺳﺎﻝ‪ ،‬ﺭﻭﻯ ﺗﻜﻪ ﺍﺳﺘﺨﻮﺍﻧﻰ ﺍﺯ ﺟﻬﺎﻥ ﻣﺮﺩﻩﺍﺵ ﻭ ﺯﻳﺮ ﻣﻘﺒﺮﻩﺍﻯ ﺍﺯ ﺳﺘﺎﺭﮔﺎﻥ‪ ،‬ﺗﻨﻬﺎ‬ ‫ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪ .‬ﺁﺧﺮﻳﻦ ﻭ ﺑﺰﺭگﺗﺮﻳﻦ ﺗﻤﺪﻥ ﻣﺮﻳﺨﻰ‪ ،‬ﻳﻌﻨﻰ ﺗﻤﺪﻥ ﻟﺮﺍﻯ ]‪ ،[10‬ﻓﻘﻂ ﺩﺭ ﻃﻮﻝ ﻋﻤﺮ ﺍﻭ ﺑﻪ‬ ‫ﺍﻭﺝ ﺭﺳﻴﺪﻩ ﻭ ﺑﻌﺪ ﻧﺎﺑﻮﺩ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻭ ﺗﺎﺯﻩ ﺑﻴﺴﺖ ﻭ ﭘﻨﺞ ﺳﺎﻝ ﻫﻢ ﺑﻴﺸﺘﺮ ﻧﺪﺍﺷﺖ‪.‬‬ ‫ﺩﻭﺑﺎﺭﻩ ﭘﺮﺳﻴﺪ‪» :‬ﻣﻦ ﭼﻄﻮﺭ ﺍﻳﻦﺟﺎ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻢ؟«‬ ‫ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﭼﻬﺎﺭﭼﻮﺏ ﺫﻫﻨﻰﺍﻡ ﺑﺮﮔﺸﺘﻢ ﻭ ﺑﺮﺍﻯ ﺫﻥ ﺗﻮﺿﻴﺢ ﺩﺍﺩﻡ ﻛﻪ ﻳﻚ ﺫﻥ ﭼﻴﺴﺖ‪) .‬ﺑﻌﺪﺍ ﺍﺯ ﺯﺑﺎﻥ‬ ‫ﻳﻮﺭﺕ ﺷﻨﻴﺪﻡ ﻛﻪ ﺑﻴﻮﻟﻮژﻯ ‪-‬ﺑﻪ ﺩﻻﻳﻠﻰ ﻛﻪ ﺩﺭ ﺯﻳﺮ ﻣﻰﺁﻳﺪ‪ -‬ﻳﻜﻰ ﺍﺯ ﺳﺨﺖﺗﺮﻳﻦ ﺭﺷﺘﻪﻫﺎﻯ ﻣﻄﺎﻟﻌﺎﺗﻰ‬ ‫ﺑﻮﺩﻩ ﺍﺳﺖ؛ ﺁﻥﻗﺪﺭ ﺳﺨﺖ ﻛﻪ ﺣﺘﺎ ﻓﻴﺰﻳﻚ ﺍﺗﻤﻰ ﺍﺯ ﺁﻥ ﺭﺍﺣﺖﺗﺮ ﺑﻮﺩﻩ!( ﺑﺮﺍﻳﺶ ﮔﻔﺘﻢ ﻛﻪ ﺑﺎ ﻭﺟﻮﺩ‬ ‫ﺗﻤﺎﻣﻰ ﺷﻮﺍﻫﺪ ﻣﻮﺟﻮﺩ‪ ،‬ﺫﻥﻫﺎ ﺳﺨﺖﺟﺎﻥﺗﺮﻳﻦ‪ ،‬ﺑﺎﺩﻭﺍﻡﺗﺮﻳﻦ ﻭ ﺩﺭﺍﺯ ﻋﻤﺮﺗﺮﻳﻦ ﻣﻮﺟﻮﺩﺍﺗﻰ ﺑﻮﺩﻩﺍﻧﺪ ﻛﻪ‬ ‫ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺧﺪﺍﻭﻧﺪ ﺧﻠﻖ ﻛﺮﺩﻩ؛ ﺁﻥﻫﺎ ﻋﻤ ً‬ ‫ﻼ ﺍﺯ ﻣﺤﻴﻂ ﺧﻮﺩ ﻣﺴﺘﻘﻞ ﺑﻮﺩﻩ ﻭ ﻫﻴﭻ ﻣﺤﻴﻂ ﺑﻮﻣﻰ ﺧﺎﺻﻰ‬ ‫ﻧﺪﺍﺷﺘﻪﺍﻧﺪ؛ ﺁﻥﻫﺎ ﺯﻧﺪﮔﻰﻫﺎﻯ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﺳﺨﺖ‪ ،‬ﺧﺸﻦ ﻭ ﺍﺳﺘﻮﺍﺭﻯ ﺩﺍﺷﺘﻪﺍﻧﺪ‪ ،‬ﻧﻴﺮﻭﻯ ﺣﻴﺎﺗﻰ ﺁﻥﻫﺎ‬ ‫ﺍﺯ ﻫﺮ ﻣﻮﺟﻮﺩ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩﻯ ﺩﻳﮕﺮﻯ ﻋﻈﻴﻢﺗﺮ ﺑﻮﺩﻩ ﻭ ﻣﻰﺗﻮﺍﻧﺴﺘﻪ ﺗﻘﺮﻳﺒﺎً ﻫﺮ ﺟﺎﻳﻰ ﻭ ﺗﺤﺖ ﻫﺮ‬ ‫ﺷﺮﺍﻳﻄﻰ–ﺣﺘﺎ ﺷﻨﺎﻭﺭﻯ ﺩﺭ ﻣﻴﺎﻥ ﻓﻀﺎ– ﺩﻭﺍﻡ ﺑﻴﺎﻭﺭﺩ؛ ﻭ ﺍﻳﻦ ﻛﻪ ﻫﻤﻴﻦ ﺣﺎﻻ‪ ،‬ﺳﻴﺎﺭﻙ ﺑﺎﺷﺪ ﻳﺎ ﻧﺒﺎﺷﺪ‪،‬‬ ‫ﺩﺭ ﻭﺍﻗﻊ ﺫﻥ ﺩﺍﺭﺩ ﺗﻮﻯ ﻓﻀﺎ ﻏﻮﻃﻪ ﻣﻰﺧﻮﺭﺩ‪.‬‬ ‫ﺫﻥﻫﺎ ﻧﻔﺲ ﻣﻰﻛﺸﻴﺪﻧﺪ‪ ،‬ﻭﻟﻰ ﺩﻟﻴﻞ ﺍﻳﻦ ﻛﺎﺭﺷﺎﻥ ﺯﻧﺪﻩ ﻣﺎﻧﺪﻥ ﻧﺒﻮﺩ‪ .‬ﺍﻳﻦ ﻧﻔﺲ ﻛﺸﻴﺪﻥ ﭼﻴﺰ ﺧﺎﺻﻰ‬ ‫ﺑﻪ ﺁﻥﻫﺎ ﻧﻤﻰﺑﺨﺸﻴﺪ ﻛﻪ ﻣﺘﺎﺑﻮﻟﻴﺴﻢ ﻓﻮﻕﺍﻟﻌﺎﺩﻩﺷﺎﻥ ﺧﻮﺩ ﻧﺘﻮﺍﻧﺪ ﺍﺯ ﺻﺨﺮﻩ ﻳﺎ ﺍﺷﻌﻪﻫﺎﻯ ﻛﻴﻬﺎﻧﻰ ﻳﺎ ﮔﺎﺯ‬ ‫ﻣﻴﺎﻥ ﺳﺘﺎﺭﻩﺍﻯ ﺁﻥ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩﻩ‪ ،‬ﻳﺎ ﺍﺻ ً‬ ‫ﻼ ﭼﻨﺪ ﻫﺰﺍﺭ ﺳﺎﻟﻰ ﺑﺪﻭﻥ ﺁﻥ ﺳﺮ ﻛﻨﺪ‪ .‬ﺍﮔﺮ ﺑﺪﻥ ﺍﻧﺴﺎﻥ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺷﺎﺥ ﺭﻭﻯ ﻗﺴﻤﺖ ﭘﺎﻳﻴﻨﻰ ﺷﻜﻢ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﺳﺮ ﺟﺎﻳﺶ ﺑﻮﺩ‪ .‬ﺍﺯ ﺭﻭﻯ ﺭﻧﮕﺶ ﺗﺸﺨﻴﺺ ﺩﺍﺩﻩ ﺑﻮﺩﻡ ﻛﻪ‬ ‫ﺍﻳﻦ ﻳﻚ ﺫﻥ ِ ﻣﻮﻧﺚ ﺍﺳﺖ‪.‬‬ ‫ﺩﻫﺎﻧﺶ ﺩﻭﺑﺎﺭﻩ ﻟﺮﺯﻳﺪ؛ ﺍﻟﺒﺘﻪ ﻣﻰﺩﺍﻧﺴﺘﻢ ﺍﺯ ﺳﺮ ﺍﺣﺴﺎﺱ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﺩﻟﻴﻠﺶ ﻓﻌﺎﻟﻴﺖ ﻏﺮﻳﺐ ﺣﺮﻑ‬ ‫ﺯﺩﻥ ﺍﺳﺖ‪» .‬ﻣﻦ ﺑﺮﺍﻯ‪ ...‬ﺑﺮﺍﻯ‪ «...‬ﻛﻤﻰ ﻣﻜﺚ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﻧﻤﻰﺩﺍﻧﻢ‪ .‬ﺑﺮﺍﻯ ﭘﺎﻧﺼﺪ ﺳﺎﻝ ﺍﺯ ﺳﺎﻝﻫﺎﻯ‬ ‫ﺧﻮﺩﻡ ﺍﻳﻦﺟﺎ ﺑﻮﺩﻩﺍﻡ‪«.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﺑﺮﺍﻯ ﺗﻘﺮﻳﺒﺎً ﺳﻪ ﻫﺰﺍﺭ ﺳﺎﻝ ﺍﺯ ﺯﻣﺎﻥ ﻣﻦ‪«.‬‬ ‫‪‬ﻭ ﻫﻤﺎﻥ ﻣﻮﻗﻊ ﺣﻴﺮﺕ ﻧﺎﺑﻰ ﻣﻦ ﺭﺍ ﺩﺭ ﺑﺮ ﮔﺮﻓﺖ؛ ﺣﻴﺮﺗﻰ ﺑﺎﺑﺖ ﺁﺧﺮﻳﻦ ﺩﻭ ﻛﻠﻤﻪﺍﻯ ﻛﻪ ﺑﻪ ﺯﺑﺎﻥ ﺁﻭﺭﺩﻩ‬ ‫ﺑﻮﺩ‪ .‬ﺍﺯ ﻗﺒﻞ ﻭ ﺑﻪ ﺩﻟﻴﻞ ﺁﺷﻨﺎﻳﻰﺍﻡ ﺑﺎ ﻳﻮﺭﺕ‪ ،‬ﺑﺎ ﻫﻮﺷﻤﻨﺪﻯ ﻓﻮﻕﺍﻟﻌﺎﺩﻩﻯ ﺫﻥﻫﺎ ﺁﺷﻨﺎ ﺑﻮﺩﻡ‪ ...‬ﻭﻟﻰ ﻓﻘﻂ‬ ‫ﺗﻌﻴﻴﻦ ﺳﺎﻝﻫﺎ ﺑﻪ ﺯﻣﺎﻥ ﺧﻮﺩﻡ‪ ،‬ﺁﻥ ﻫﻢ ﻭﻗﺘﻰ ﻛﻪ ﺑﻴﮕﺎﻧﻪﺍﻯ ﺍﺯ ﻣﺪﺍﺭ ﺳﻴﺎﺭﻩﺍﻯ ﺩﻳﮕﺮﻯ ﻇﺎﻫﺮ ﺷﺪﻩ ﺭﺍ‬ ‫ﺗﺼﻮﺭ ﻛﻨﻴﺪ! ﻭ ﺭﻭﻯ ﺍﻳﻦ ﺗﻤﺎﻳﺰ ﺯﻣﺎﻧﻰ ﻫﻴﭻ ﺗﺄﻛﻴﺪ ﺧﺎﺻﻰ ﻫﻢ ﻧﻜﺮﺩ؛ ﺗﻔﻜﺮﺵ ﺩﻗﻴﻖ ﻭ ﻭﺍﺿﺢ‪ ،‬ﺩﺭﺳﺖ‬ ‫ﻣﺜﻞ ﻓﻜﺮﻫﺎﻯ ﻳﻮﺭﺕ ﺑﻮﺩ‪.‬‬ ‫ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﻫﻨﻮﺯ ﺩﺭ ﺷﮕﻔﺖﺯﺩﮔﻰ ﺑﻮﺩﻡ‪ ،‬ﺍﺿﺎﻓﻪ ﻛﺮﺩﻡ‪» :‬ﻣﺎ ﺧﺒﺮ ﺩﺍﺭﻳﻢ ﻛﻪ ﺩﻧﻴﺎﻯ ﺷﻤﺎ ﭼﻨﺪ ﺳﺎﻝ‬ ‫ﭘﻴﺶ ﺍﺯ ﺑﻴﻦ ﺭﻓﺖ‪«.‬‬ ‫ﮔﻔﺖ‪» :‬ﺁﻥ ﻣﻮﻗﻊ ﻣﻦ ﻛﻮﺩﻙ ﺑﻮﺩﻡ‪ .‬ﻧﻤﻰﺩﺍﻧﻢ ﭼﻪ ﺍﺗﻔﺎﻗﻰ ﺍﻓﺘﺎﺩ‪ .‬ﻓﻘﻂ ﻣﻰﺗﻮﺍﻧﻢ ﺩﺭ ﻣﻮﺭﺩﺵ ﺣﺪﺱ‬ ‫ﺑﺰﻧﻢ‪«.‬‬ ‫ﺍﻭ ﺑﻪ ﺑﺎﻻ‪ ،‬ﺑﻪ ﺻﻮﺭﺕ ﻓﻠﺰﻯ ﻭ ﺷﻴﺸﻪﺍﻯ ﻣﻦ ﻧﮕﺎﻫﻰ ﻛﺮﺩ؛ ﺍﺣﺘﻤﺎﻻً ﺷﺒﻴﻪ ﻳﻚ ﻏﻮﻝ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪﻡ‪.‬‬ ‫ﺧﻮﺏ‪ ،‬ﻓﻜﺮ ﻛﻨﻢ ﺟﺪﻯ ﺟﺪﻯ ﺷﺒﻴﻪ ﻳﻚ ﻏﻮﻝ ﺑﻮﺩﻡ‪.‬‬ ‫»ﻣﻰﺩﺍﻧﻰ‪ ،‬ﺍﻳﻦ –ﭼﻴﺰﻯ ﻛﻪ ﺭﻭﻯ ﺁﻥ ﻫﺴﺘﻴﻢ– ﺑﺨﺸﻰ ﺍﺯ ﺳﻮﺭﻥ ﺑﻮﺩﻩ‪ .‬ﺩﻟﻴﻠﺶ‪«...‬‬ ‫ﺑﻪ ﺩﻧﺒﺎﻝ ﻛﻠﻤﻪﺍﻯ ﮔﺸﺖ ﻭ ﮔﻔﺖ‪» :‬ﺩﻟﻴﻠﺶ ﺍﻧﻔﺠﺎﺭ ﺍﺗﻤﻰ ﺑﻮﺩ؟«‬ ‫ﺑﺮﺍﻳﺶ ﮔﻔﺘﻢ ﭼﻄﻮﺭ ﺳﻮﺭﻥ ﺩﺭ ﻣﻮﺭﺩ ﺍﺗﻢﻫﺎﻯ ﻫﻴﺪﺭﻭژﻥ ﺧﻮﺩﺵ ﺑﻰﺩﻗﺘﻰ ﺑﻪ ﺧﺮﺝ ﺩﺍﺩﻩ ﻭ ﺧﻮﺩﺵ‬ ‫ﻭ ﻧﻴﻤﻰ ﺍﺯ ﺟﻬﺎﻥ ﺭﺍ ﻣﻨﻔﺠﺮ ﻛﺮﺩﻩ ﺍﺳﺖ )ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﺗﻴﻢﻫﺎﻯ ‪ E.T.I‬ﺍﺯ ﺭﻭﻯ ﻣﺪﺍﺭﻙ ﻋﻠﻤﻰ ﭘﻴﺪﺍ‬ ‫ﺷﺪﻩ ﺑﺮ ﺭﻭﻯ ﺍﺭﻭﺱ ]‪ ،[9‬ﻭ ﻫﻤﻴﻦﻃﻮﺭ ﺍﺯ ﻃﺮﻳﻖ ﺷﻮﺍﻫﺪ ژﺋﻮﻓﻴﺰﻳﻜﻰ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺩﺭ ﺳﺎﻳﺮ ﺳﻴﺎﺭﺍﺕ‬ ‫ﺑﺮﺁﻭﺭﺩ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ(‪.‬‬ ‫ﺑﻌﺪ ﺍﺯ ﻟﺤﻈﻪﺍﻯ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﮔﻔﺖ‪» :‬ﻣﻦ ﻛﻮﺩﻙ ﺑﻮﺩﻡ‪ .‬ﻭﻟﻰ ﻳﺎﺩﻡ ﻫﺴﺖ؛ ﭼﻴﺰﻫﺎﻳﻰ ﻣﺘﻔﺎﻭﺕ ﺍﺯ ﺍﻳﻦ ﺭﺍ ﺑﻪ‬ ‫ﻳﺎﺩ ﺩﺍﺭﻡ‪ .‬ﻫﻮﺍ‪ ...‬ﮔﺮﻣﺎ‪ ...‬ﻧﻮﺭ‪ ...‬ﻣﻦ ﭼﻄﻮﺭ ﺍﻳﻦﺟﺎ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻢ؟«‬ ‫ﺩﻭﺑﺎﺭﻩ ﺍﺯ ﺷﺪﺕ ﻫﻮﺷﻤﻨﺪﻯﺍﺵ ﺑﻪ ﺣﻴﺮﺕ ﺍﻓﺘﺎﺩﻡ )ﻭ ﻧﺎﮔﻬﺎﻥ ﺑﻪ ﺫﻫﻨﻢ ﺭﺳﻴﺪ ﻛﻪ ﺍﺣﺘﻤﺎﻻً ﺍﺧﺘﺮﺷﻨﺎﺳﻰ‬ ‫ﻭ ﻓﻴﺰﻳﻜﻰ ﺍﺗﻤﻰ ﺩﺭ ﻣﺪﺍﺭﺱ ﺍﺑﺘﺪﺍﻳﻰ ﺳﻮﺭﻥ ﺗﺪﺭﻳﺲ ﻣﻰﺷﺪﻩﺍﻧﺪ؛ ﻭﮔﺮﻧﻪ ﮔﻔﺘﻦ ﻛﻠﻤﺎﺕ »ﺳﺎﻝﻫﺎ ﺑﻪ‬ ‫‪29‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﺫﻥ ﺍﺯ ﺳﻨﮓ ﺩﻭﺭ ﺷﺪ‪ ،‬ﻭﻟﻰ ﺍﺯ ﻣﻦ ﻓﺎﺻﻠﻪ ﻧﮕﺮﻓﺖ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﻛﻤﻰ ﻧﺰﺩﻳﻚﺗﺮ ﺷﺪ ﻭ ﺑﻪ ﺑﺎﻻ ﻭ ﺑﻪ ﻛﻠﻪﻯ‬ ‫ﻛﻼﻫﻚﭘﻮﺵ ﻭ ﺁﻳﻨﻪﺍﻯ ﻣﻦ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺑﻰﺷﻚ ﺍﻳﻦ ﻛﺎﺭ‪ ،‬ﺍﺯ ﺳﻮﻯ ﻫﺮ ﻧﮋﺍﺩﻯ ﻭ ﺩﺭ ﻫﺮ ﺟﺎﻳﻰ‪ ،‬ﻧﺸﺎﻧﻪﻯ‬ ‫ﻫﻮﺷﻤﻨﺪﻯ ﺍﺳﺖ‪ .‬ﺩﻫﺎﻧﺶ ﻛﻪ ﺗﻘﺮﻳﺒﺎً ﺍﻧﺴﺎﻥﮔﻮﻧﻪ ﺑﻮﺩ‪ ،‬ﺗﻜﺎﻥ ﺧﻮﺭﺩ؛ ﻋﺎﻗﺒﺖ ﻛﻠﻤﺎﺗﻰ ﺑﻪ ﮔﻮﺵ ﺭﺳﻴﺪﻧﺪ‪.‬‬ ‫ﺍﻭ ﺑﺮﺍﻯ ﺳﻪ ﻫﺰﺍﺭ ﺳﺎﻝ ﺑﺎ ﻫﻴﭻ ﻛﺲ ﺟﺰ ﺧﻮﺩﺵ ﺣﺮﻑ ﻧﺰﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﮔﻔﺖ‪» :‬ﺗﻮ‪ ...‬ﺫﻥ ﻧﻴﺴﺘﻰ‪ .‬ﭼﺮﺍ‪ ...‬ﭼﻄﻮﺭ ﺫﻧﺎﻛﺎﻳﻰ ﺣﺮﻑ ﻣﻰﺯﻧﻰ؟«‬ ‫ﭼﻨﺪ ﻟﺤﻈﻪﺍﻯ ﻃﻮﻝ ﻛﺸﻴﺪ ﺗﺎ ﺑﺘﻮﺍﻧﻢ ﺁﻥ ﺳﻴﻼﺏﻫﺎﻯ ﺟﻴﻎ ﺟﻴﻐﻰ ﺭﺍ ﺍﺯ ﻫﻢ ﺟﺪﺍ ﻛﺮﺩﻩ ﻭ ﻣﻌﻨﻰﺍﺵ ﺭﺍ‬ ‫ﺑﻔﻬﻤﻢ‪ .‬ﭼﻴﺰﻫﺎﻳﻰ ﻛﻪ ﺗﺎ ﺁﻥ ﻟﺤﻈﻪ ﺑﻪ ﺍﻭ ﮔﻔﺘﻪ ﺑﻮﺩﻡ‪ ،‬ﻋﺒﺎﺭﺕﻫﺎﻯ ﭘﻴﺶ ﭘﺎ ﺍﻓﺘﺎﺩﻩﺍﻳﻰ ﺑﻮﺩﻧﺪ ﻛﻪ ﻳﻮﺭﺕ‬ ‫ﻳﺎﺩﻡ ﺩﺍﺩﻩ ﺑﻮﺩ؛ ﭼﻨﺪ ﻛﻠﻤﻪﺍﻯ ﻣﻰﺩﺍﻧﺴﺘﻢ‪ ،‬ﻭﻟﻰ ﺍﺻ ً‬ ‫ﻼ ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻢ ﺫﻧﺎﻛﺎﻳﻰ ﺭﺍ ﺭﻭﺍﻥ ﺣﺮﻑ ﺑﺰﻧﻢ‪ .‬ﺩﺭ‬ ‫ﺿﻤﻦ ﺑﻪ ﻳﺎﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﺪ ﻛﻪ ﻣﻦ ﺑﻪ ﺯﺣﻤﺖ ﺍﻳﻦ ﺯﺑﺎﻥ ﺭﺍ ﺑﻠﺪ ﺑﻮﺩﻡ ﻭ ﺫﻥ ﻫﻢ ﺑﻪ ﺳﺨﺘﻰ ﺁﻥ ﺭﺍ ﺑﻪ ﻳﺎﺩ‬ ‫ﻣﻰﺁﻭﺭﺩ‪ .‬ﺑﺮﺍﻯ ﺻﺮﻓﻪﺟﻮﻳﻰ ﺩﺭ ﻓﻀﺎ‪ ،‬ﺩﻳﺎﻟﻮﮔﻰ ﻛﻪ ﺩﺭ ﺯﻳﺮ ﻣﻰﺁﻳﺪ ﻃﻮﺭﻯ ﺑﺎﺯﻧﻮﻳﺴﻰ ﺷﺪﻩ ﻛﻪ ﻣﻦ ﻭ ﻣﻦ‬ ‫ﻛﺮﺩﻥﻫﺎ‪ ،‬ﻧﮕﺎﻩﻫﺎﻯ ﺣﺎﻛﻰ ﺍﺯ ﻣﺘﻮﺟﻪ ﻧﺸﺪﻥ‪ ،‬ﻭ »ﭼﻰ ﮔﻔﺘﻰ؟«ﻫﺎ ﺩﺭ ﺁﻥ ﺣﺬﻑ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺩﺭ ﻭﺍﻗﻌﻴﺖ‪،‬‬ ‫ﺻﺤﺒﺖ ﻣﺎ ﺑﻴﺸﺘﺮ ﺍﺯ ﻳﻚ ﺳﺎﻋﺖ ﻃﻮﻝ ﻛﺸﻴﺪ‪.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﻣﻦ ﻳﻚ ﺯﻣﻴﻨﻰ ﻫﺴﺘﻢ‪ «.‬ﻭﻗﺘﻰ ﺣﺮﻑ ﻣﻰﺯﺩﻡ‪ ،‬ﺻﺪﺍ ﺭﺍ ﺍﺯ ﻣﻴﺎﻥ ﮔﻮﺷﻰﻫﺎﻳﻢ ﻫﻤﺎﻥﻃﻮﺭﻯ‬ ‫ﻣﻰﺷﻨﻴﺪﻡ ﻛﻪ ﺫﻥ ﺩﺭ ﻣﻴﺎﻥ ﺍﺗﻤﺴﻔﺮ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﺭﻗﻴﻖ ﻭﺳﺘﺎ ﻣﻰﺷﻨﻴﺪ‪ :‬ﺻﺪﺍﻳﻰ ﺿﻌﻴﻒ‪ ،‬ﻓﻠﺰﻯ ﻭ‬ ‫ﺟﻴﺮﺟﻴﺮﻙ ﻣﺎﻧﻨﺪ‪.‬‬ ‫»ﺯﻭ‪...‬ﻣﺎﻧﻰ؟«‬ ‫ﺑﻪ ﺁﺳﻤﺎﻥ‪ ،‬ﺁﻥ ﺁﺳﻤﺎﻥ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﺍﺷﺎﺭﻩ ﻛﺮﺩﻡ‪» .‬ﺍﺯ ﺁﻥﺟﺎ‪ .‬ﺍﺯ ﺩﻧﻴﺎﻳﻰ ﺩﻳﮕﺮ‪«.‬‬ ‫ﻣﺪﺗﻰ ﺑﻪ ﺍﻳﻦ ﻗﻀﻴﻪ ﻓﻜﺮ ﻛﺮﺩ‪ .‬ﻣﻦ ﻣﻨﺘﻈﺮ ﻣﺎﻧﺪﻡ‪ .‬ﻣﻰﺩﺍﻧﺴﺘﻢ ﻛﻪ ﺫﻥﻫﺎ ﺩﺭ ﺩﻭﺭﺍﻥ ﺍﻭﺝ ﺧﻮﺩ‬ ‫ﺳﺘﺎﺭﻩﺷﻨﺎﺳﺎﻥ ﺑﻬﺘﺮﻯ ﺍﺯ ﺣﺎﻝ ﺣﺎﺿﺮ ﻣﺎ ﺑﻮﺩﻩﺍﻧﺪ‪ ،‬ﮔﺮﭼﻪ ﻫﻴﭻﻭﻗﺖ ﻣﻬﺎﺭﺕ ﺳﻔﺮﻫﺎﻯ ﺑﻴﻦ ﺳﻴﺎﺭﻩﺍﻯ‬ ‫ﺭﺍ ﭘﻴﺪﺍ ﻧﻜﺮﺩﻧﺪ؛ ﺑﻨﺎﺑﺮﺍﻳﻦ ﺍﻧﺘﻈﺎﺭ ﻧﺪﺍﺷﺘﻢ ﺍﻳﻦ ﻣﻮﺟﻮﺩ ﺩﺭ ﻣﻘﺎﺑﻞ ﺍﻳﺪﻩﻯ ﻣﻮﺟﻮﺩﺍﺗﻰ ﺍﺯ ﺩﻧﻴﺎﻳﻰ ﺩﻳﮕﺮ‬ ‫ﻭﺣﺸﺖﺯﺩﻩ ﺷﻮﺩ‪ .‬ﺍﻳﻦﻃﻮﺭ ﻫﻢ ﻧﺸﺪ‪ .‬ﻋﺎﻗﺒﺖ ﺍﻭ ﺳﺮﻯ ﺗﻜﺎﻥ ﺩﺍﺩ ﻭ ﻣﻦ ﻣﺜﻞ ﻫﻤﻴﺸﻪ ﺑﺎ ﺧﻮﺩﻡ ﻓﻜﺮ‬ ‫ﻛﺮﺩﻡ‪ ،‬ﭼﻘﺪﺭ ﻋﺠﻴﺐ ﻛﻪ ﺍﻳﻦ ﺍﺩﺍ ﻣﻴﺎﻥ ﺯﻣﻴﻨﻰﻫﺎ ﻭ ﺫﻥﻫﺎ ﻣﺸﺘﺮﻙ ﺍﺳﺖ‪.‬‬ ‫ﮔﻔﺖ‪» :‬ﺧﻮﺏ ﺯﻭ‪-‬ﻣﺎﻧﻰ‪ ،‬ﺗﻮ ﻣﻰﺩﺍﻧﻰ ﻣﻦ ﭼﻰ ﻫﺴﺘﻢ؟«‬ ‫ﻭﻗﺘﻰ ﻣﻌﻨﻰ ﺣﺮﻓﺶ ﺭﺍ ﻣﺘﻮﺟﻪ ﺷﺪﻡ‪ ،‬ﻣﻦ ﻫﻢ ﺳﺮﻯ ﺗﻜﺎﻥ ﺩﺍﺩﻡ‪ .‬ﺑﻌﺪ ﻭﻗﺘﻰ ﻳﺎﺩﻡ ﺍﻓﺘﺎﺩ ﺳﺮ ﺗﻜﺎﻥ ﺩﺍﺩﻧﻢ‬ ‫ﺍﺯ ﭘﺸﺖ ﺷﻴﺸﻪﻯ ﻳﻚ ﻃﺮﻓﻪﻯ ﻛﻼﻫﺨﻮﺩﻡ ﻗﺎﺑﻞ ﺩﻳﺪﻥ ﻧﻴﺴﺖ‪ ،‬ﮔﻔﺘﻢ‪» :‬ﺑﻠﻪ‪«.‬‬ ‫ﮔﻔﺖ‪» :‬ﻣﻦ‪ ...‬ﺁﺧﺮﻳﻦ ِ ﺫﻥﻫﺎ ﻫﺴﺘﻢ‪«.‬‬ ‫ﭼﻴﺰﻯ ﻧﮕﻔﺘﻢ‪ .‬ﺩﺍﺷﺘﻢ ﺍﺯ ﻧﺰﺩﻳﻚ ﺍﻭ ﺭﺍ ﺑﺮﺭﺳﻰ ﻣﻰﻛﺮﺩﻡ ﻭ ﺑﻪ ﺩﻧﺒﺎﻝ ﻫﻤﺎﻥ ﺧﺼﻮﺻﻴﺎﺗﻰ ﻣﻰﮔﺸﺘﻢ ﻛﻪ‬ ‫ﻳﻮﺭﺕ ﺑﺮﺍﻳﻤﺎﻥ ﺗﻮﺿﻴﺢ ﺩﺍﺩﻩ ﺑﻮﺩ‪ :‬ﭘﺸﻢﻫﺎﻯ ﺳﺮﺥ ﻭ ﺳﺒﻚ ﺩﺳﺖﻫﺎ ﻭ ﮔﺮﺩﻥ‪ ،‬ﺷﻜﻞ ﺧﺎﺹ ﮔﻮﺷﺖ ﻭ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫‪‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﻣﺎ ﺳﻪ ﻧﻔﺮ ﻫﺮ ﻛﺪﺍﻡ ﺑﻪ ﻣﺴﻴﺮ ﺧﻮﺩ ﺭﻓﺘﻴﻢ ﻭ ﺧﻴﻠﻰ ﺯﻭﺩ ﺍﺯ ﺩﻳﺪﺭﺱ ﻫﻤﺪﻳﮕﺮ ﺧﺎﺭﺝ ﺷﺪﻳﻢ‪.‬‬ ‫ﻃﺒﻴﻌﺘﺎً ﺍﺩ ﺭﻳﺲ ﺑﻴﻮﻟﻮژﻳﺴﺖ‪ ،‬ﺑﻴﺸﺘﺮ ﺍﺯ ﻫﻤﻪ ﭼﻴﺰ ﺩﻧﺒﺎﻝ ﺣﻴﺎﺕ ﻣﻰﮔﺸﺖ‪.‬‬ ‫ﻭﻟﻰ ﺍﻳﻦ ﻣﻦ ﺑﻮﺩﻡ ﻛﻪ ﺣﻴﺎﺕ ﺭﺍ ﭘﻴﺪﺍ ﻛﺮﺩﻡ‪.‬‬ ‫‪ ‬ﺗﺎﺯﻩ ﺍﺯ ﻛﻨﺎﺭ ﻳﻚ ﺗﺨﺘﻪ ﺳﻨﮓ ﺩﺭﺍﺯ ﻭ ﮔﺮﺩ –ﻛﻪ ﺳﻨﮕﻰ ﺁﺗﺸﻔﺸﺎﻧﻰ ﺑﻮﺩ ﻭ ﺭﻧﮓ ﺷﮕﻔﺖﺍﻧﮕﻴﺰﻯ‬ ‫ﺩﺍﺷﺖ‪ -‬ﮔﺬﺷﺘﻪ ﺑﻮﺩﻡ ﻭ ﺩﺍﺷﺘﻢ ﺑﻪ ﺳﻤﺖ ﻳﻚ ﻓﺮﻭﺭﻓﺘﮕﻰ ﺑﺎ ﻛﻒ ﻗﻠﻮﻩﺳﻨﮕﻰ ﭘﺎﻳﻴﻦ ﻣﻰﺭﻓﺘﻢ‪ .‬ﺩﺍﺷﺘﻢ‬ ‫ﺑﻪ »ﻛﻒ« ﺗﺨﺘﻪ ﺳﻨﮓ‪ ،‬ﺟﺎﻳﻰ ﻛﻪ ﻗﺒﻞ ﺍﺯ ﺍﻧﻔﺠﺎﺭ ﺳﻮﺭﻥ‪ ،‬ﻋﻤﻴﻖﺗﺮﻳﻦ ﺑﺨﺶ ﺗﺨﺘﻪ ﺳﻨﮓ ﻣﺤﺴﻮﺏ‬ ‫ﻣﻰﺷﺪ‪ ،‬ﻧﺰﺩﻳﻚ ﻣﻰﺷﺪﻡ‪ .‬ﺁﻥﺟﺎ ﺑﻬﺘﺮﻳﻦ ﻧﻘﻄﻪ ﺑﺮﺍﻯ ﺟﺴﺘﺠﻮ ﺑﻪ ﺩﻧﺒﺎﻝ ﻓﺴﻴﻞ ﺑﻮﺩ‪.‬‬ ‫ﻭﻟﻰ ﺑﻪ ﺟﺎﻯ ﺍﻳﻦ ﻛﻪ ﺩﻧﺒﺎﻝ ﻓﺴﻴﻞ ﺑﮕﺮﺩﻡ‪ ،‬ﭼﺸﻢﻫﺎﻳﻢ ﺩﺍﺋﻢ ﺑﻪ ﺳﻤﺖ ﺑﺎﻻ ﻭ ﺑﻪ ﻃﺮﻑ ﺳﺘﺎﺭﮔﺎﻥ‬ ‫ﺷﮕﻔﺖﺍﻧﮕﻴﺰ ﺑﻠﻨﺪ ﻣﻰﺷﺪ‪ .‬ﺧﺼﻮﺻﺎً ﺍﮔﺮ ﺁﺩﻡ ﭼﻨﺪ ﻫﻔﺘﻪ ﻣﻴﺎﻥ ﺁﻫﻦ ﻭ ﻓﻠﺰ ﺯﻧﺪﮔﻰ ﻛﻨﺪ‪ ،‬ﺍﻳﻦﻃﻮﺭﻯ‬ ‫ﻣﻰﺷﻮﺩ؛ ﻭ ﺷﺎﻧﺲ ﺁﻭﺭﺩﻡ ﻛﻪ ﺍﻳﻦ ﺑﺎﺭ ﻫﻢ ﻫﻤﻴﻦﻃﻮﺭ ﺑﻮﺩﻡ‪ ،‬ﻭﮔﺮﻧﻪ ﺫﻥ ﺭﺍ ﭘﻴﺪﺍ ﻧﻤﻰﻛﺮﺩﻡ‪.‬‬ ‫ﭘﺎﻳﻢ ﺑﻪ ﻳﻚ ﺳﻨﮓ ﮔﻴﺮ ﻛﺮﺩ‪ .‬ﺳﻘﻮﻁ ﺁﺭﺍﻡ ﻭ ﻛﻢ ﺟﺎﺫﺑﻪﺍﻡ ﺷﺮﻭﻉ ﺷﺪ ﻭ ﻧﮕﺎﻫﻢ ﺭﺍ ﭘﺎﻳﻴﻦ ﺁﻭﺭﺩﻡ ﺗﺎ ﺗﻌﺎﺩﻟﻢ‬ ‫ﺭﺍ ﺣﻔﻆ ﻛﻨﻢ‪ .‬ﻧﻮﺭ ﭼﺮﺍﻍ ﻗﻮﻩﺍﻡ ﺭﻭﻯ ﭼﻴﺰﻯ ﻛﻮﭼﻚ‪ ،‬ﺑﺎ ﭘﺸﻢﻫﺎﻯ ﺳﺮﺥ ﻭ ﺷﻜﻠﻰ ﺷﺒﻴﻪ ﺧﺮﺱﻫﺎﻯ‬ ‫ﺗﺪﻯ ﺍﻓﺘﺎﺩ‪ .‬ﺑﻌﺪ ﻧﻮﺭ ﺍﺯ ﺭﻭﻳﺶ ﮔﺬﺷﺖ‪ .‬ﺳﺮﻳﻌﺎً ﻧﻮﺭ ﺭﺍ ﺩﻭﺑﺎﺭﻩ ﺭﻭﻯ ﺁﻥ ﻧﻘﻄﻪ ﺑﺮﮔﺮﺩﺍﻧﺪﻡ‪.‬‬ ‫ﺑﺎ ﻭﺟﻮﺩ ﺣﺮﻓﻰ ﻛﻪ ﺍﺯ ﺯﺑﺎﻧﻢ ﺷﻨﻴﺪﻳﺪ‪ ،‬ﺑﺎﻳﺪ ﺑﮕﻮﻳﻢ ﻣﻮﻫﺎﻳﻢ ﺳﻴﺦ ﻧﺸﺪﻧﺪ‪ .‬ﺁﺧﺮ ﻭﻗﺘﻰ ﻳﻮﺭﺕ ]‪ [8‬ﺭﺍ ﺑﻪ‬ ‫ﺍﻳﻦ ﺧﻮﺑﻰ ﻣﻰﺷﻨﺎﺧﺘﻢ‪ ،‬ﻭ ﺩﺭ ﻭﺍﻗﻊ ﺍﻭ ﺭﺍ ﻳﻜﻰ ﺍﺯ ﻧﺰﺩﻳﻚﺗﺮﻳﻦ ﺩﻭﺳﺘﺎﻧﻢ ﺣﺴﺎﺏ ﻣﻰﻛﺮﺩﻡ‪ ،‬ﭼﺮﺍ ﺑﺎﻳﺪ‬ ‫ﺍﻳﻦﻃﻮﺭ ﻣﻰﺷﺪ؟‬ ‫ﺫﻥ ﻛﻨﺎﺭ ﻳﻚ ﺳﻨﮓ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ؛ ﻳﻜﻰ ﺍﺯ ﭘﻨﺠﻪﻫﺎﻳﺶ ﺭﻭﻯ ﺳﻨﮓ ﻗﺮﺍﺭ ﺩﺍﺷﺖ‪ ،‬ﮔﻮﺵﻫﺎﻳﺶ ﺭﺍ ﺑﻪ‬ ‫ﺟﻠﻮ ﺧﻢ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﭘﺎﻫﺎﻯ ﭘﺸﻤﺎﻟﻮﻯ ﻋﻘﺒﻰﺍﺵ ﺁﻣﺎﺩﻩﻯ ﭘﺮﻳﺪﻥ ﺑﻪ ﻫﻮﺍ ﺑﻮﺩﻧﺪ‪ .‬ﭼﺸﻤﺎﻥ ﺩﺭﺷﺖ‬ ‫ﺯﺭﺩﺵ ﺑﺪﻭﻥ ﻫﻴﭻ ﺣﺴﻰ ﺯﻳﺮ ﻧﻮﺭ ﺗﻨﺪ ﭼﺮﺍﻍ ﻗﻮﻩ ﭘﻠﻚ ﻣﻰﺯﺩﻧﺪ ﻭ ﻣﻦ ﺑﺎ ﭼﺮﺧﺎﻧﺪﻥ ﻟﻨﺰﻫﺎﻯ ﭘﻮﻻﺭﻳﺰﻩ‪،‬‬ ‫ﺍﺯ ﺷﺪﺕ ﺩﺭﺧﺸﻨﺪﮔﻰ ﻧﻮﺭ ﻛﻢ ﻛﺮﺩﻡ‪.‬‬ ‫ﻣﻮﺟﻮﺩ ﺑﻪ ﻣﻦ ﺧﻴﺮﻩ ﺷﺪ ﻭ ﺍﻧﮕﺎﺭ ﺁﻣﺎﺩﻩ ﺑﻮﺩ ﺗﺎ ﻧﻴﻤﻪ ﺭﺍﻩ ﻣﺮﻳﺦ ﺑﺎﻻ ﺑﭙﺮﺩ؛ ﻳﺎ ﺍﮔﺮ ﻛﺎﺭ ﺍﺷﺘﺒﺎﻫﻰ ﺍﺯﻡ ﺳﺮ‬ ‫ﺯﺩ‪ ،‬ﺑﻪ ﻣﻦ ﺣﻤﻠﻪ ﻛﻨﺪ‪.‬‬ ‫ﺑﻪ ﺯﺑﺎﻥ ﺧﻮﺩﺵ ﺍﻭ ﺭﺍ ﻣﺨﺎﻃﺐ ﻗﺮﺍﺭ ﺩﺍﺩﻡ‪ ،‬ﺑﺎ ﺯﺑﺎﻧﻢ ﺗﻖ ﺗﻖ ﻛﺮﺩﻡ ﻭ ﺍﺯ ﻣﻴﺎﻥ ﺩﻧﺪﺍﻥﻫﺎﻳﻢ ﺳﻮﺕ ﺯﺩﻡ‪:‬‬ ‫»ﺳﻮ‪ ...‬ﺫﻥ‪«...‬‬ ‫ﺯﻳﺮ ﻧﻮﺭ ﺁﺑﻰ‪-‬ﺳﻔﻴﺪ ﭼﺮﺍﻍ ﻗﻮﻩ‪ ،‬ﺫﻥ ﺑﻪ ﺧﻮﺩ ﻟﺮﺯﻳﺪ‪ .‬ﻫﻴﭻ ﭼﻴﺰ ﻧﮕﻔﺖ‪ .‬ﺑﺎ ﺧﻮﺩﻡ ﻓﻜﺮ ﻛﺮﺩﻡ ﺩﻟﻴﻠﺶ ﺭﺍ‬ ‫ﻣﻰﺩﺍﻧﻢ‪ .‬ﺳﻪ ﻫﺰﺍﺭ ﺳﺎﻝ ﺗﺎﺭﻳﻜﻰ ﻭ ﺳﻜﻮﺕ‪...‬‬ ‫ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺯﺑﺎﻥ ﺧﻮﺩﺵ ﮔﻔﺘﻢ‪» :‬ﺍﺫﻳﺘﺖ ﻧﻤﻰﻛﻨﻢ‪«.‬‬ ‫‪27‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﺍﺯ »ﻻﻛﻰ ﭘﻴﺮ« ]‪ [1‬ﺑﻴﺮﻭﻥ ﺁﻣﺪﻩ ﺑﻮﺩﻡ ﺗﺎ ﺩﻧﺒﺎﻝ ﻓﺴﻴﻞ ﺑﮕﺮﺩﻡ )ﻣﻦ ﺩﻳﻮﻳﺪ ﻛﺎﻧﺘﺰ ]‪ [2‬ﻫﺴﺘﻢ‪،‬‬ ‫ﺩﻳﺮﻳﻦﺷﻨﺎﺱ ﻻﻛﻰ ﭘﻴﺮ(‪ .‬ﺟﺎﻳﻰ ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﺳﻤﺖ ﺩﻳﮕﺮﻡ‪ ،‬ﺟﻮ ﻫﺎﺭﮔﺮﻳﻮﺯ ]‪ [3‬ﺑﻮﺩ ﻛﻪ ﺭﺍﺩﺍﺭﺵ‬ ‫ﺭﺍ ﺑﻪ ﺩﻧﺒﺎﻝ ﺭﺳﻮﺏﻫﺎﻯ ﻣﻌﺪﻧﻰ ﻣﻰﭼﺮﺧﺎﻧﺪ؛ ﻭ ﺍﺩ ﺭﻳﺲ ]‪ [4‬ﻛﻪ ﺍﻣﻴﺪﻭﺍﺭﺍﻧﻪ‪ ،‬ﺩﻧﺒﺎﻝ ﻫﺮ ﭼﻴﺰ‬ ‫ﺯﻧﺪﻩﺍﻯ ﻣﻰﮔﺸﺖ‪ .‬ﻻﻛﻰ ﭘﻴﺮ ﭘﺸﺖ ﺳﺮﻣﺎﻥ ﺑﻮﺩ‪ ،‬ﺑﺪﻧﻪﺍﺵ ﭘﺸﺖ ﻳﻚ ﺑﺮﺁﻣﺪﮔﻰ ﺳﻴﺎﻩ ﻭ ﻧﻪ‬ ‫ﭼﻨﺪﺍﻥ ﻣﺮﺗﻔﻊ ﻣﺨﻔﻰ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺗﻨﻬﺎ ﺩﻣﺎﻏﻪﻯ ﺩﺭﺧﺸﺎﻧﺶ ﻣﺜﻞ ﻧﻬﻨﮕﻰ ﺑﻪ ﺳﻄﺢ ﺁﻣﺪﻩ‪،‬‬ ‫ﺑﺎﻻ ﺯﺩﻩ ﺑﻮﺩ‪ .‬ﻭﻗﺘﻰ ﺑﻪ ﻋﻘﺐ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩﻡ‪ ،‬ﻣﻰﺗﻮﺍﻧﺴﺘﻢ ﺩﺭ ﺍﻣﺘﺪﺍﺩ ﻟﺒﻪﻯ ﻧﺎﻫﻤﻮﺍﺭ ﺑﺮﺁﻣﺪﮔﻰ‪،‬‬ ‫ﺑﺎﺯﺗﺎﺏ ﺳﻮﺳﻮﻯ ﺗﻜﻨﺴﻴﻦﻫﺎﻯ ﭘﺮﻛﺎﺭ ﻛﻤﭗ ﺣﺒﺎﺑﻰ ﺭﺍ ﺑﺒﻴﻨﻢ ﻛﻪ ﺩﺍﺷﺘﻨﺪ ﺁﻥﺟﺎ ﺭﺍ ﺳﺮﻫﻢ‬ ‫ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺟﺰ ﺍﻳﻦ ﻧﻮﺭ ﻭ ﺭﻭﺷﻨﺎﻳﻰ ﭼﻬﺎﺭ ﻧﻮﺭﺍﻓﻜﻦ ﺁﺑﻰﺳﻔﻴﺪﻣﺎﻥ ﻛﻪ ﺍﻳﻦﺟﺎ ﻭ ﺁﻥﺟﺎ ﺭﻭﻯ‬ ‫ﺳﻄﺢ ﺷﻨﻰ ﻭ ﺻﺨﺮﻩﺍﻯ ﻣﻰﺍﻓﺘﺎﺩ‪ ،‬ﻫﻤﻪ ﭼﻴﺰ ﺳﻴﺎﻩ ﺑﻮﺩ‪.‬‬ ‫ﻣﺎ ﺑﻴﺴﺖ ﻭ ﻧﻪ ﻧﻔﺮ‪ ،‬ﻋﻀﻮ ﺗﻴﻢ ﻫﻔﺪﻫﻢ ‪ E.T.I‬ﺑﻮﺩﻳﻢ ﻭ ﻣﺄﻣﻮﺭﻳﺖﻣﺎﻥ ﺳﻴﺎﺭﻙﻫﺎ ﺑﻮﺩ‪ .‬ﭼﻬﺎﺭ‬ ‫ﺳﺎﻝ ﻭ ﺳﻪ ﻣﺎﻩ ﺍﺯ ﺩﻭﺭﻳﻤﺎﻥ ﺍﺯ ﺯﻣﻴﻦ ﻣﻰﮔﺬﺷﺖ ﻭ ﺩﺭﺳﺖ ﺳﺮ ﻭﻗﺖ ﺑﻪ ﻭﺳﺘﺎ ]‪ [5‬ﺭﺳﻴﺪﻩ‬ ‫ﺑﻮﺩﻳﻢ‪ .‬ﻓﻘﻂ ﺩﻩ ﺩﻗﻴﻘﻪ ﺑﻌﺪ ﺍﺯ ﻓﺮﻭﺩ ﻓﻬﻤﻴﺪﻳﻢ ﺍﻳﻦ ﻛﻠﻮﺧﻪ ﺑﺨﺸﻰ ﺍﺯ ﭘﻮﺳﺘﻪﻯ ﺳﻴﺎﺭﻩﻯ ‪– X‬ﺑﺎ‬ ‫ﺍﺳﻢ ﻭﺍﻗﻌﻰ ﺳﻮﺭﻥ ]‪ –[6‬ﺑﻮﺩﻩ ﺍﺳﺖ؛ ﻳﻜﻰ ﺍﺯ ﻣﻌﺪﻭﺩ ﭘﻮﺳﺘﻪﻫﺎﻳﻰ ﻛﻪ ﺍﺯ ﻣﻨﻈﻮﻣﻪﻯ ﺷﻤﺴﻰ‬ ‫ﺑﻴﺮﻭﻥ ﻧﻴﻔﺘﺎﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﻫﻤﻴﻦ ﺍﻣﺮ ﻭﺳﺘﺎ ﺭﺍ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﻣﻬﻢ ﻣﻰﻛﺮﺩ‪ .‬ﻳﻌﻨﻰ ﺑﺎﻳﺪ ﻣﺪﺗﻰ ﺍﻳﻦﺟﺎ ﻣﻰﻣﺎﻧﺪﻳﻢ‪ .‬ﻳﻌﻨﻰ‬ ‫ﺑﺮﺭﺳﻰ ﺩﻗﻴﻖ ﻭ ﭼﻨﺪﻳﻦ ﻣﺎﻫﻪﻯ ﻫﺮ ﺳﺎﻧﺘﻰﻣﺘﺮ ﻣﺮﺑﻊ ﻭ ﻣﻜﻌﺐ ﺍﺯ ﻭﺳﺘﺎ‪ ،‬ﻣﺨﺼﻮﺻﺎ ﺍﺯ ﺳﻮﻯ‬ ‫ﺩﺍﻧﺸﻤﻨﺪﺍﻥ ﺯﻳﺴﺘﻰ‪ .‬ﻓﺴﻴﻞ‪ ،‬ﺍﺷﻴﺎﻯ ﻣﺼﻨﻮﻋﻰ‪ ،‬ﺯﻧﺪﮔﻰ ﺟﺎﻥﺩﺍﺭ‪ ...‬ﻳﻚ ﺗﻜﻪ ﺍﺯ ﺳﻄﺢ ﺳﻮﺭﻥ‬ ‫ﻣﻰﺗﻮﺍﻧﺴﺖ ﺗﻚﺗﻚ ﻳﺎ ﺗﻤﺎﻣﻰ ﺍﻳﻦﻫﺎ ﺭﺍ ﺭﻭﻯ ﺧﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﭼﻨﺪ ﭘﻮﺳﺘﻪﺍﻯ ﻛﻪ ﺗﺎ ﺁﻥ‬ ‫ﺯﻣﺎﻥ ﮔﻴﺮ ﺍﻧﺪﺍﺧﺘﻪ ﺑﻮﺩﻳﻢ‪ ،‬ﺷﻤﺎﺭ ﻣﻌﺪﻭﺩﻯ ﺍﺯ ﺍﻳﻦﻫﺎ ﺭﺍ ﺭﻭﻯ ﺧﻮﺩ ﺩﺍﺷﺘﻨﺪ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﻳﻜﻰ ﺩﻭ ﺭﻭﺯ ﺩﻳﮕﺮ‪ ،‬ﺑﻴﺘﻞﻫﺎﻯ ﻳﻚ ﻧﻔﺮﻩ ﻭ ﺷﻨﺎﻭﺭﻫﺎﻯ ﮔﺮﻭﻫﻰ ﺭﺍ ﺑﻴﺮﻭﻥ ﻣﻰﺁﻭﺭﺩﻳﻢ ﻭ‬ ‫ﺑﺎ ﭼﺮﺧﺶ ﻧﻮﺭﺍﻓﻜﻦﻫﺎﻯ ﻣﺪﺍﺭﻯ ﺑﺎﻻﻯ ﺳﺮﻣﺎﻥ‪ ،‬ﻭﺳﺘﺎ ﺩﺭﺳﺖ ﻣﺜﻞ ﻳﻚ ﻣﻮﻟﻜﻮﻝ ﺭﻭﻯ ﻳﻚ‬ ‫ﺻﻔﺤﻪﻯ ﻣﻴﻜﺮﻭﺳﻜﻮپ‪ ،‬ﺩﺭ ﻣﻌﺮﺽ ﺩﻳﺪﻣﺎﻥ ﻗﺮﺍﺭ ﻣﻰﮔﺮﻓﺖ‪ .‬ﺑﻌﺪ ﻛﺎﺭ ﺑﺎ ﺣﺮﺍﺭﺕ ﻓﺮﺍﻭﺍﻥ ﺷﺮﻭﻉ‬ ‫ﻣﻰﺷﺪ‪ .‬ﻭﻟﻰ ﺗﺎ ﺁﻥ ﻣﻮﻗﻊ –ﻭ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﻋﺎﺩﺕ ﻣﻌﻤﻮﻟﻤﺎﻥ ﺑﻮﺩ– ﻣﻦ‪ ،‬ﻫﺎﺭﮔﺮﻳﻮﺯ ﻭ ﺭﻳﺲ‬ ‫ﺍﻳﻦ ﺑﻴﺮﻭﻥ ﭘﺮﺳﻪ ﻣﻰﺯﺩﻳﻢ ﻭ ﭼﻜﻤﻪﻫﺎﻯ ﺳﻨﮕﻴﻦﻣﺎﻥ ﺩﺭ ﻣﻴﺎﻥ ﺗﺎﺭﻳﻜﻰ ﻛﺸﻴﺪﻩ ﻣﻰﺷﺪ‪.‬‬ ‫ﻛﺎﭘﻴﺘﺎﻥ ﻓﻠﺪﻣﻦ ]‪ [7‬ﻣﺪﺕﻫﺎ ﻗﺒﻞ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﺟﻠﻮﻯ ﺍﻳﻦ ﺟﻮﺭ ﺟﻮﻻﻥﻫﺎﻯ ﺗﻚ‬ ‫ﻧﻔﺮﻩﻯ ﺍﻓﺮﺍﺩ ﺩﺍﻧﺸﻤﻨﺪﺵ ﺭﺍ ﻧﮕﻴﺮﺩ‪ .‬ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦﻛﻪ ﻓﻠﺪ ﻧﻈﺎﻣﻰ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﺁﺩﻡ ﺧﻮﺑﻰ ﻫﻢ ﺑﻮﺩ؛‬ ‫ﻫﺮ ﻭﻗﺖ ﻣﺎ ﺷﺎﺩ ﻭ ﺳﺮﺣﺎﻝ ﺟﻠﻮﻯ ﻫﻮﺍﺑﻨﺪﻫﺎ ﻇﺎﻫﺮ ﻣﻰﺷﺪﻳﻢ ﻭ ﻣﻨﺘﻈﺮ ﻣﻰﻣﺎﻧﺪﻳﻢ ﺗﺎ ﺍﺟﺎﺯﻩﻯ‬ ‫ﺧﺮﻭﺝ ﺑﮕﻴﺮﻳﻢ‪ ،‬ﺍﻭ ﻓﻘﻂ ﺷﺎﻧﻪﺍﻯ ﺑﺎﻻ ﻣﻰﺍﻧﺪﺍﺧﺖ ﻭ ﻣﻰﮔﻔﺖ‪» :‬ﺍﺯ ﺩﺳﺖ ﺍﻳﻦ ﺩﺍﻧﺸﻤﻨﺪﻫﺎ!«‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺫﻥ‬ ‫ﺟﺮﻭﻡ ﺑﻴﻜﺴﺒﻰ‬ ‫ﺑﺮﮔﺮﺩﺍﻥ‪ :‬ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

‫ﻭﻗﺘﻰ ﺭﻭﻯ ﻳﻜﻰ ﺍﺯ ﺳﻴﺎﺭﻙﻫﺎ ﻫﺴﺘﻴﺪ‪ ،‬ﺯﻣﻴﻦ ﻧﺨﻮﺭﺩﻥ ﻛﺎﺭ ﻣﺸﻜﻠﻰ ﺍﺳﺖ؛ ﭼﻮﻥ ﺗﻘﺮﻳﺒﺎً‬ ‫ﻏﻴﺮﻣﻤﻜﻦ ﺍﺳﺖ ﻛﻪ ﭼﺸﻤﺎﻧﺘﺎﻥ ﺭﺍ ﺑﻪ ﺟﻠﻮﻯ ﭘﺎﻳﺘﺎﻥ ﺑﺪﻭﺯﻳﺪ‪ .‬ﺧﻮﺩﺗﺎﻥ ﻣﻰﺩﺍﻧﻴﺪ ﻛﻪ ﻫﻴﭻﻭﻗﺖ‬ ‫ﺗﻮﻯ ﺳﻔﻴﻨﻪﻫﺎ ﭘﻨﺠﺮﻩ ﻛﺎﺭ ﻧﻤﻰﮔﺬﺍﺭﻧﺪ –ﻣﻮﻗﻊ ﭘﺮﻭﺍﺯ ﺑﺎ ‪ GB‬ﭘﻨﺠﺮﻩ ﻻﺯﻡ ﻧﻴﺴﺖ ﻭ ﺩﺭ ﻏﻴﺮ ﺁﻥ‬ ‫ﺻﻮﺭﺕ‪ ،‬ﭘﻨﺠﺮﻩ ﺍﺯ ﻧﻈﺮ ﺭﻭﺍﻧﻰ ﺑﻪ ﺻﻼﺡ ﻧﻴﺴﺖ– ﺑﻨﺎﺑﺮﺍﻳﻦ ﻏﻴﺮ ﺍﺯ ﻣﺎﻩ‪ ،‬ﻳﻚ ﺳﻴﺎﺭﻙ ﺗﻨﻬﺎ ﺟﺎﻳﻰ‬ ‫ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺁﻥ ﻣﻰﺗﻮﺍﻧﻴﺪ ﺳﺘﺎﺭﻩﻫﺎ ﺭﺍ ﻭﺍﻗﻌﺎً ﺗﻤﺎﺷﺎ ﻛﻨﻴﺪ‪.‬‬ ‫ﺗﻮﻯ ﺁﺳﻤﺎﻥ ﻳﻚ ﺳﻴﺎﺭﻙ ﺁﻥﻗﺪﺭ ﺳﺘﺎﺭﻩ ﻫﺴﺖ ﻛﻪ ﺷﺒﻴﻪ ﺍﺑﺮ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻨﺪ؛ ﺷﺒﻴﻪ ﺍﺑﺮﻫﺎﻯ‬ ‫ﻧﻘﺮﻩﺍﻯ ﻋﻈﻴﻢ ﻭ ﻛﭙﻪﻛﭙﻪ ﻛﻪ ﺑﻪ ﻛﻨﺪﻯ ﺑﺮ ﺭﻭﻯ ﺳﻄﺢ ﺩﺍﺧﻠﻰ ﻭ ﭘﻬﻨﺎﻭﺭ ﻭ ﺁﺑﻨﻮﺳﻰ ﻛﺮﻩﺍﻯ‬ ‫ﻛﻪ ﺷﻤﺎ ﻭ ﭘﺎﻳﮕﺎﻩ ﻛﻮﭼﻜﺘﺎﻥ ﺭﺍ ﻣﺤﺎﺻﺮﻩ ﻛﺮﺩﻩ‪ ،‬ﺣﺮﻛﺖ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺁﻥﻗﺪﺭ ﻧﺰﺩﻳﻚ ﻫﺴﺘﻨﺪ ﻛﻪ‬ ‫ﻣﻰﺷﻮﺩ ﺁﻥﻫﺎ ﺭﺍ ﻟﻤﺲ ﻛﺮﺩ ﻭ ﺩﻟﺖ ﻣﻰﺧﻮﺍﻫﺪ ﺁﻥﻫﺎ ﺭﺍ ﻟﻤﺲ ﻛﻨﻰ‪ ،‬ﻭﻟﻰ ﺩﺭ ﻋﻴﻦﺣﺎﻝ ﺑﻪ‬ ‫ﻃﺮﺯ ﻭﺣﺸﺘﻨﺎﻛﻰ ﺩﻭﺭ ﻫﺴﺘﻨﺪ‪ ...‬ﻭ ﺧﻴﻠﻰ ﻫﻢ ﺯﻳﺒﺎ ﻫﺴﺘﻨﺪ؛ ﻫﻴﭻ ﭼﻴﺰ ﺩﺭ ﺟﻬﺎﻥ ﺧﻠﻘﺖ‪ ،‬ﺣﺘﺎ‬ ‫ﻧﺼﻒ ﺁﺳﻤﺎﻥ ﻳﻚ ﺳﻴﺎﺭﻙ ﻫﻢ ﺯﻳﺒﺎ ﻧﻴﺴﺖ‪.‬‬ ‫ﻃﺒﻴﻌﻰ ﺍﺳﺖ ﻛﻪ ﺩﻟﺘﺎﻥ ﻧﺨﻮﺍﻫﺪ ﺯﻳﺮ ﭘﺎﻳﺘﺎﻥ ﺭﺍ ﻧﮕﺎﻩ ﻛﻨﻴﺪ‪.‬‬

‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺯﻧﺪﮔﻰ ﺍﺯ ﭘﻴﺶ ﭼﺸﻤﺎﻧﺶ ﻧﮕﺬﺷﺖ‪ .‬ﻓﻘﻂ ﺍﺣﺴﺎﺱ ﻧﻴﺮﻭﺑﺨﺶ ﺩﺍﻧﺴﺘﻦ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺩﺍﺷﺖ‪ .‬ﺍﻓﻜﺎﺭﺵ‬ ‫ﺑﻪ ﺳﻤﺖ ﻛﺎﻧﺘﻮﺭ ﻛﺸﻴﺪﻩ ﺷﺪ ﻭ ﺍﻳﻦ ﻛﻪ ﭼﮕﻮﻧﻪ ﺁﺩﻣﻰ ﺑﻮﺩ ﻛﻪ ﺗﻮﺍﻧﺴﺖ ﺍﻭ ﺭﺍ ﺍﻳﻦ ﭼﻨﻴﻦ ﺭﻫﺎ ﻛﻨﺪ‪ .‬ﺍﻟﺒﺘﻪ‬ ‫ﻓﻴﻠﻴﭗ ﻣﺠﺒﻮﺭ ﺑﻮﺩ ﻭﺟﻮﺩ ﺧﻮﺩ ﻭ ﺩﻳﮕﺮ ﺍﻓﺮﺍﺩ ﺩﻧﻴﺎﻯ ﺧﻮﺩﺵ ﺭﺍ ﺑﺮﺍﻯ ﻧﺠﺎﺕ ﺍﻭ ﺑﻪ ﺧﻄﺮ ﺑﻴﻨﺪﺍﺯﺩ‪ .‬ﺩﺭ‬ ‫ﻧﻈﺮ ﻓﻴﻠﻴﭗ‪ ،‬ﻣﺮگ ﭼﻴﺰﻯ ﺟﺰ ﺑﺨﺸﻰ ﺍﺯ ﺗﺎﺭﻳﺦ ﻧﺒﻮﺩ‪ .‬ﻣﺮگ ﺍﺭﻳﻚ ﻣﻘﺪﺭ ﺑﻮﺩ‪.‬‬ ‫ﺑﻪ ﺍﻳﻦ ﻣﻰﺍﻧﺪﻳﺸﻴﺪ ﻛﻪ ﺁﻳﺎ ﺯﻧﺪﮔﻰﺍﺵ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻛﺎﻓﻰ ﭘﺮﻣﻌﻨﻰ ﺑﻮﺩﻩ ﺍﺳﺖ ﻳﺎ ﻧﻪ‪ .‬ﺁﻳﺎ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ‬ ‫ﻛﺎﻓﻰ ﺯﻧﺪﮔﻰ ﻛﺮﺩﻩ ﺑﻮﺩ؟ ﺟﻮﺍﺏﻫﺎﻳﺶ ﺭﺿﺎﻳﺖﺑﺨﺶ ﺑﻮﺩﻧﺪ‪ .‬ﻧﻮﺷﺘﻦ ﺁﻥ ﻣﻘﺎﻟﻪ ﺗﻨﻬﺎ ﻣﺎﻳﻪﻯ ﺗﺄﺳﻔﺶ‬ ‫ﺑﻮﺩ‪ .‬ﻧﺎﮔﻬﺎﻥ ﺍﺯ ﺑﻼﺗﻜﻠﻴﻔﻰ ﺁﻳﻨﺪﻩ ﻭﺣﺸﺖ ﻛﺮﺩ‪ .‬ﻧﺒﺎﻳﺪ ﻭﺣﺸﺖ ﻣﻰﻛﺮﺩ‪ .‬ﺩﻳﮕﺮ ﻧﮕﺮﺍﻥ ﻛﺎﺭ ﻭ ﺑﺎﺭ ﺍﻳﻦ ﺩﻧﻴﺎ‬ ‫ﻧﺒﻮﺩ‪ .‬ﺍﻓﻜﺎﺭﺵ ﺑﻪ ﺭﻭﺯﻫﺎﻳﻰ ﺑﺎﺯﮔﺸﺖ ﻛﻪ ﺑﻪ ﺗﺤﻘﻴﻖ ﻣﺸﻐﻮﻝ ﺑﻮﺩ‪ ،‬ﺭﻭﺯﻯ ﻛﻪ ﺁﻥ ﻣﻘﺎﻟﻪ ﺭﺍ ﺍﺭﺍﺋﻪ ﺩﺍﺩ‪.‬‬ ‫ﻫﻴﭻﻭﻗﺖ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺑﻪ ﺗﻨﻬﺎﻳﻰ ﺍﺯ ﺁﻥ ﺁﮔﺎﻩ ﺷﻮﺩ‪ .‬ﻧﻮﺭﻫﺎ ﺍﻛﻨﻮﻥ ﺩﻳﮕﺮ ﻛﻮﺭﻛﻨﻨﺪﻩ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﺟﺰ‬ ‫ﺳﻔﻴﺪﻯ ﭼﻴﺰﻯ ﻧﻤﻰﺩﻳﺪ‪ .‬ﺍﺣﺘﻤﺎﻻً ﻫﻤﺎﻥ ﺑﺮ ﺳﺮﺵ ﻣﻰﺁﻣﺪ ﻛﻪ ﺑﺮ ﺳﺮ ﺁﻫﻮﻳﻰ ﻛﻪ ﺩﺭ ﺑﺰﺭﮔﺮﺍﻩ ‪ 17‬ﺑﺎ‬ ‫ﺁﻥ ﺗﺼﺎﺩﻑ ﻛﺮﺩ‪ ،‬ﻫﻢ ﺁﻣﺪﻩ ﺑﻮﺩ‪....‬‬ ‫ﻓﻴﻠﻴﭗ ﺩﻭﺑﺎﺭﻩ ﺩﺭ ﺩﻝ ﺍﺣﺴﺎﺱ ﺁﺷﻮﺏ ﺩﺍﺷﺖ‪ .‬ﻛﻴﺴﻪﺍﻯ ﺍﺯ ﺭﻭﻯ ﻣﻴﺰ ﺑﺮﺩﺍﺷﺖ ﻭ ﺩﺭ ﺁﻥ ﺍﺳﺘﻔﺮﺍﻍ ﻛﺮﺩ‪.‬‬ ‫ﻣﺪﺗﻰ ﮔﺬﺷﺖ ﺗﺎ ﺗﻮﺍﻧﺴﺖ ﺧﻮﺩﺵ ﺭﺍ ﺑﺎ ﺷﺮﺍﻳﻂ ﺗﻄﺒﻴﻖ ﺩﻫﺪ‪ .‬ﺩﺭ ﺁﺯﻣﺎﻳﺸﮕﺎﻫﺶ ﺑﻮﺩ‪ .‬ﺯﻧﮓ ﺳﺎﻋﺖ‬ ‫ﻣﭽﻰﺍﺵ ﻫﻨﻮﺯ ﺻﺪﺍ ﻣﻰﻛﺮﺩ‪ .‬ﺑﻪ ﺗﻜﻪ ﺭﻭﺯﻧﺎﻣﻪﺍﻯ ﻛﻪ ﺑﻪ ﺩﻳﻮﺍﺭ ﺳﻮﺯﻥ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﻧﮕﺎﻩ ﻛﺮﺩ‪» :‬ﺩﺍﻧﺸﻤﻨﺪ‬ ‫‪ 52‬ﺳﺎﻟﻪﺍﻯ ﺩﺭ ﺳﺎﻧﺤﻪﻯ ﺑﺮﺧﻮﺭﺩ ﻛﺎﻣﻴﻮﻥ ﺑﺎ ﻣﻨﺰﻟﺶ‪ ،‬ﻛﺸﺘﻪ ﺷﺪ‪ «.‬ﻫﻨﻮﺯ ﻋﻜﺲ ﺧﺎﻧﻪﻯ ﻭﻳﺮﺍﻥ‬ ‫ﺍﺭﻳﻚ ﺑﺎ ﻛﺎﻣﻴﻮﻧﻰ ﺩﺭ ﻭﺳﻂ ﺍﺗﺎﻕ ﻧﺸﻴﻤﻦ‪ ،‬ﺩﺍﺷﺖ‪ .‬ﻣﻘﺎﻟﻪﻯ ﺯﻳﺮ ﺁﻥ‪ ،‬ﻛﻠﻤﻪ ﺑﻪ ﻛﻠﻤﻪ ﻫﻤﺎﻥ ﺑﻮﺩ‪ .‬ﻓﻴﻠﻴﭗ‬ ‫ﺍﺣﺴﺎﺱ ﻛﺮﺩ ﻛﻪ ﺩﻭﺑﺎﺭﻩ ﻣﻰﺗﻮﺍﻧﺪ ﺭﺍﺣﺖ ﻧﻔﺲ ﺑﻜﺸﺪ‪ .‬ﭼﺸﻤﺎﻧﺶ ﺭﻭﻯ ﺗﻜﻪﻫﺎﻯ ﻛﻨﺎﺭﻯ ﭘﺮﺳﻪ ﺯﺩﻧﺪ‪.‬‬ ‫ﻧﻪ ﺗﻦ ﺩﻳﮕﺮ ﻛﻪ ﺑﺎ ﻣﺮﮔﻰ ﻏﻴﺮ ﻃﺒﻴﻌﻰ ﺟﺎﻥ ﺳﭙﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺩﻩ ﺗﻦ ﺩﺭ ﻗﺴﻤﺖﻫﺎﻯ ﻣﺨﺘﻠﻔﻰ ﺍﺯ ﺯﻣﻴﻦ‪.‬‬ ‫ﺗﻨﻬﺎ ﺷﺒﺎﻫﺘﺸﺎﻥ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﻣﻜﺎﻥ ﻣﺮگ ﻫﺮ ﺩﻩﺗﺎﺷﺎﻥ ﭼﻴﺰ ﺯﻳﺎﺩﻯ ﺑﺎﻗﻰ ﻧﻤﺎﻧﺪﻩ ﺑﻮﺩ‪ .‬ﻓﻴﻠﻴﭗ ﻓﻜﺮ‬ ‫ﻧﻤﻰﻛﺮﺩ ﻛﻪ ﺟﺮﺃﺕ ﺩﻳﺪﻥ ﻣﺮگ ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﺁﻥﻫﺎ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﺑﻪ ﭘﻨﺞ ﺩﻭﺭﺑﻴﻨﻰ ﻛﻪ ﻛﻨﺎﺭﺵ ﻗﺮﺍﺭ ﺩﺍﺷﺖ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺁﻥﻫﺎ ﻫﻤﻪﭼﻴﺰ ﺭﺍ ﺿﺒﻂ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻓﻜﺮ ﺩﻳﺪﻥ‬ ‫ﺩﻭﺑﺎﺭﻩﻯ ﻓﻴﻠﻢﻫﺎ ﺩﻟﺶ ﺭﺍ ﺁﺷﻮﺏ ﻛﺮﺩ‪ .‬ﺁﭘﺎﺭﺍﺕ ﺭﺍ ﺍﺯ ﻛﺎﺭ ﺍﻧﺪﺍﺧﺖ ﻭ ﺁﻥ ﺭﺍ ﺩﺭ ﻛﻤﺪﻯ ﮔﺬﺍﺷﺖ ﻭ ﺩﺭﺵ‬ ‫ﺭﺍ ﻗﻔﻞ ﻛﺮﺩ‪ .‬ﻣﻮﻓﻖ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﻧﻤﻰﺧﻮﺍﺳﺖ ﺗﺎ ﻣﺪﺗﻰ ﻃﻮﻻﻧﻰ ﺑﻪ ﻗﺪﻡ ﺑﻌﺪﻯ ﺑﻰﺍﻧﺪﻳﺸﺪ‪ .‬ﺷﺎﻳﺪ ﺳﻔﺮ‬ ‫ﺩﺭ ﺯﻣﺎﻥ ﻋﻘﻠﺶ ﺭﺍ ﻣﺘﺰﻟﺰﻝ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﭘﻰﻧﻮﺷﺖﻫﺎ‪:‬‬ ‫‪1. Phillip‬‬ ‫‪2. Eric Goldberg‬‬

‫‪3. Kantor‬‬ ‫‪4. Surge Research Laboratories‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﻓﻴﻠﻴﭗ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﻭ‪ ...‬ﭼﻮﻥ ﻫﻨﻮﺯ ﺍﻳﻦﺟﺎ ﻧﺸﺴﺘﻪﺍﻡ‪ ،‬ﮔﻤﻮﻥ ﻧﻜﻨﻢ ﻭﺍﻗﻌﻴﺘﻢ ﺍﺯ ﺑﻴﻦ ﺭﻓﺘﻪ ﺑﺎﺷﻪ‪«.‬‬ ‫»ﺑﺎ ﻋﻘﻞ ﺟﻮﺭ ﺩﺭﻧﻤﻰﺁﺩ‪ .‬ﺍﺯ ﻛِﻰ ﺍﻭﻣﺪﻯ؟«‬ ‫»ﺍﺯ ﭘﻮﻧﺰﺩﻩ ﺳﺎﻝ‪ ،‬ﺷﺶ ﻣﺎﻩ ﻭ ﻛﻤﺘﺮ ﺍﺯ ﺑﻴﺴﺖ ﻭ ﻳﻚ ﺭﻭﺯ ﺑﻌﺪ‪«.‬‬ ‫ﺍﺭﻳﻚ ﻣﺪﺗﻰ ﺑﻪ ﺍﻭ ﺯﻝ ﺯﺩ‪.‬‬ ‫»ﺑﻠﻴﻂ ﺑﺮﮔﺸﺖ ﺭﻭ ﻫﻢ ﺩﺍﺭﻳﺪ؟«‬ ‫»ﺑﻠﻪ‪ ،‬ﺑﺮﺍﻯ ﺩﻗﻴﻘﺎً ‪ 56‬ﺛﺎﻧﻴﻪ ﺩﻳﮕﻪ‪«.‬‬ ‫»ﭘﺲ ﻓﺮﺿﻴﻪﻯ ﻣﻦ ﻛﺎﻣ ً‬ ‫ﻼ ﻏﻠﻄﻪ؟ ﺑﺎ ﺣﺮﻑ ﺯﺩﻥ ﺑﺎ ﻣﻦ ﺗﻐﻴﻴﺮ ﺑﺰﺭﮔﻰ ﺭﻭ ﺍﻳﺠﺎﺩ ﻛﺮﺩﻳﺪ‪«.‬‬ ‫»ﻧﻪ ﺁﻗﺎﻯ ﮔﻠﺪﺑﺮگ‪ ،‬ﺗﺎ ﺍﻭﻥﺟﺎ ﻛﻪ ﻣﻦ ﻣﻰﺩﻭﻧﻢ ﻓﺮﺿﻴﻪﺗﻮﻥ ﻛﺎﻣ ً‬ ‫ﻼ ﺩﺭﺳﺘﻪ‪ .‬ﻭﻗﺖ ﻧﺪﺍﺭﻡ ﻛﻪ ﺗﻮﺿﻴﺢ ﺑﺪﻡ؛‬ ‫ﺍﻣﺎ ﺍﻭﻥﺟﺎ ﺭﻭ ﺑﺒﻴﻨﻴﺪ‪ «...‬ﺑﻪ ﻛﻨﺞ ﺭﺍﺳﺖ ﺳﻘﻒ ﺍﺷﺎﺭﻩ ﻛﺮﺩ‪» .‬ﺍﻭﻥ ﺭﻭ ﻣﻰﺑﻴﻨﻴﺪ؟ ﻳﻜﻰ ﺍﺯ ﺩﻭﺭﺑﻴﻦﻫﺎﻯ‬ ‫ﺁﺯﻣﺎﻳﺸﮕﺎﻩ ﻣﻨﻪ‪ .‬ﻗﺒﻞ ﺍﺯ ﺗﺼﻤﻴﻢﮔﻴﺮﻯ ﺑﺮﺍﻯ ﺍﻳﻦ ﺑﻴﺴﺖ ﻭ ﻳﻚ ﺩﻗﻴﻘﻪ ﻛﻪ ﺑﺮﺍﻯ ﺍﻭﻣﺪﻥ ﻣﻦ ﻭ ﺩﻳﺪﻥ‬ ‫ﺷﻤﺎ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻛﺎﻓﻰ ﺑﻰﺍﺛﺮ ﺑﻮﺩ‪ ،‬ﻣﺪﺗﻰ ﺷﻤﺎ ﺭﻭ ﺯﻳﺮ ﻧﻈﺮ ﺩﺍﺷﺘﻢ‪...0:29... «.‬‬ ‫»ﭼﻪﻃﻮﺭ ﻣﻰﺗﻮﻧﻪ ﺑﻰﺍﺛﺮ ﺑﺎﺷﻪ؟ ﺩﻭﻧﺴﺘﻦ ﻣﻦ ﺗﻐﻴﻴﺮﺍﺕ ﺧﻴﻠﻰ ﺑﺰﺭﮔﻰ ﺍﻳﺠﺎﺩ ﻣﻰﻛﻨﻪ!«‬ ‫ﻭﻗﺘﻰ ﺍﺭﻳﻚ ﺧﻮﺍﺳﺖ ﺑﻠﻨﺪ ﺷﻮﺩ ﻭ ﺑﻪ ﺩﻭﺭﺑﻴﻦ ﺩﺳﺖ ﺑﺰﻧﺪ‪ ،‬ﻓﻴﻠﻴﭗ ﻣﺘﻮﺟﻪ ﺍﺷﺘﺒﺎﻫﺶ ﺷﺪ‪.‬‬ ‫»ﺍﺯ ﺟﺎﺗﻮﻥ ﺑﻠﻨﺪ ﻧﺸﻴﺪ ﺁﻗﺎﻯ ﮔﻠﺪﺑﺮگ‪ .‬ﻭﺍﻗﻌﺎً ﻭﻗﺖ ﻧﺪﺍﺭﻡ ﻛﻪ ﺗﻮﺿﻴﺢ ﺑﺪﻡ‪ .‬ﺩﻭﺳﺖ ﺩﺍﺭﻡ ﺑﺎﺑﺖ ﻋﻤﻠﻜﺮﺩ‬ ‫ﻓﻮﻕﺍﻟﻌﺎﺩﻩﺗﻮﻥ ﺑﻬﺘﻮﻥ ﺗﺒﺮﻳﻚ ﺑﮕﻢ‪ .‬ﺷﻤﺎ ﺭﻭ ﺳﺘﺎﻳﺶ ﻣﻰﻛﻨﻢ‪ .‬ﻫﻤﻮﻥﻃﻮﺭ ﻛﻪ ﻓﺮﻣﻮﺩﻳﺪ‪ ،‬ﺍﻳﻦ ﻛﻪ ﻣﻦ ﺍﺯ‬ ‫ﺁﻳﻨﺪﻩ ﭘﻴﺶ ﺷﻤﺎ ﺍﻭﻣﺪﻡ ﺧﻮﺩﺵ ﻫﻤﻪﭼﻰ ﺭﻭ ﺗﻮﺿﻴﺢ ﻣﻰﺩﻩ‪ .‬ﺍﻓﺴﻮﺱ ﻛﻪ ﭘﺘﺎﻧﺴﻴﻞ ﻛﺎﺭﺗﻮﻥ ﺗﺎ ﻣﺪﺕﻫﺎ‬ ‫ﺑﻌﺪ ﺍﺯ ﻣﺮﮔﺘﻮﻥ ﭘﻴﺪﺍ ﻧﻤﻰﺷﻪ‪ .‬ﺩﻳﺪﻧﺘﻮﻥ ﺍﻓﺘﺨﺎﺭ ﺑﻮﺩ ﺑﺮﺍﻡ‪...0:04... «.‬‬ ‫ﺯﻧﮓ ﺳﺎﻋﺖ ﻣﭽﻰ ﻓﻴﻠﻴﭗ ﺑﻪ ﺻﺪﺍ ﺩﺭ ﺁﻣﺪ‪ .‬ﺍﺭﻳﻚ ﺑﺎ ﺩﻫﺎﻥ ﺑﺎﺯ ﺑﻪ ﺍﻭ ﺧﻴﺮﻩ ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪ .‬ﺑﻪ ﭘﻨﺠﺮﻩ ﺭﻭ‬ ‫ﻛﺮﺩ ﻭ ﻧﺎﮔﻬﺎﻥ ﺻﺪﺍﻯ ﺑﻠﻨﺪﻯ ﺭﺍ ﺍﺯ ﺁﻥ ﺳﻮ ﺷﻨﻴﺪ‪ .‬ﺍﻧﻮﺍﺭ ﺭﻭﺷﻦ ﻣﺴﺘﻘﻴﻢ ﺑﺮ ﺻﻮﺭﺗﺶ ﺍﻓﺘﺎﺩﻧﺪ ﻭ ﻏﺮﺵ‬ ‫ﻣﻮﺗﻮﺭ ﻛﺎﻣﻴﻮﻧﻰ ﻫﻤﺮﺍﻩ ﺑﺎ ﺟﻴﺮﺟﻴﺮ ﻻﺳﺘﻴﻚﻫﺎ ﺑﺮ ﺟﺎﺩﻩﻯ ﺧﻴﺲ ﻭ ﻗﻴﺮﮔﻮﻥ ﺑﻪ ﮔﻮﺵ ﺭﺳﻴﺪ‪ .‬ﺩﻭﺑﺎﺭﻩ‬ ‫ﺑﻪ ﺳﻤﺖ ﻓﻴﻠﻴﭗ ﻧﮕﺎﻩ ﻛﺮﺩ‪ ،‬ﻭﻟﻰ ﺍﻭ ﺩﻳﮕﺮ ﺁﻥﺟﺎ ﻧﺒﻮﺩ‪.‬‬ ‫ﺍﺭﻳﻚ ﺑﺮﺍﻯ ﺳﻮﻣﻴﻦ ﺑﺎﺭ ﺩﺭ ﺁﻥ ﺷﺐ ﺍﺣﺴﺎﺱ ﻛﺮﺩ ﻛﻪ ﺗﻜﻪﻫﺎ ﻧﺎﮔﻬﺎﻥ ﺩﺭ ﺟﺎﻯ ﺧﻮﺩ ﻣﻰﻧﺸﻴﻨﻨﺪ‪ .‬ﻛﺎﻧﺘﻮﺭ‬ ‫ﻣﻰﺩﺍﻧﺴﺖ ﻛﻪ ﭼﻪ ﺍﺗﻔﺎﻗﻰ ﺩﺭ ﺷﺮﻑ ﻭﻗﻮﻉ ﺍﺳﺖ‪ .‬ﺯﻣﺎﻥ ﻭﻗﻮﻉ ﺭﺍ ﺩﻗﻴﻘﺎً ﻣﻰﺩﺍﻧﺴﺖ‪ .‬ﻣﺘﻮﺟﻪ ﺷﺪﻩ ﺑﻮﺩ‬ ‫ﻛﻪ ﺑﻴﺴﺖ ﻭ ﻳﻚﺩﻗﻴﻘﻪﻯ ﮔﺬﺷﺘﻪ ﺑﺮﺍﻯ ﺑﻘﻴﻪﻯ ﺩﻧﻴﺎ ﺑﻰﺍﺛﺮ ﺍﺳﺖ‪ .‬ﺳﻌﻰ ﻧﻜﺮﺩ ﺍﺯ ﺭﻭﻯ ﺻﻨﺪﻟﻰﺍﺵ ﺑﻠﻨﺪ‬ ‫ﺷﻮﺩ‪ .‬ﻣﻰﺩﺍﻧﺴﺖ ﻛﻪ ﭼﻪ ﭼﻴﺰﻯ ﺩﺭ ﺷﺮﻑ ﻭﻗﻮﻉ ﺍﺳﺖ‪ .‬ﻣﻰﺩﺍﻧﺴﺖ ﻛﻪ ﺍﺟﺘﻨﺎﺏﻧﺎﭘﺬﻳﺮ ﺍﺳﺖ‪ .‬ﻓﺮﺻﺘﻰ‬ ‫ﻧﺒﻮﺩ ﺗﺎ ﺍﺯ ﺁﻥ ﻓﺮﺍﺭ ﻛﻨﺪ‪ .‬ﻏﺮﺵ ﻣﻮﺗﻮﺭ ﺍﻛﻨﻮﻥ ﻫﻤﺮﺍﻩ ﺑﻮﺩ ﺑﺎ ﺻﺪﺍﻯ ﺷﻜﺴﺘﻦ ﺷﻴﺸﻪ ﻭ ﻓﻮﻻﺩ ﻭ ﺭﻳﺨﺘﻦ‬ ‫ﻳﻚ ﺩﻳﻮﺍﺭ ﺑﺘﻨﻰ‪ .‬ﻟﻴﻮﺍﻥ ﻭﻳﺴﻜﻰﺍﺵ ﺭﺍ ﻣﺤﻜﻢ ﮔﺮﻓﺖ‪ .‬ﺁﻳﺎ ﺩﺭ ﻃﻮﻝ ﺗﺎﺭﻳﺦ ﻛﺴﻰ ﻭﺟﻮﺩ ﺩﺍﺷﺖ ﻛﻪ ﺑﻪ‬ ‫ﺍﻧﺪﺍﺯﻩﻯ ﺍﻭ ﺍﺯ ﻣﺮﮔﺶ ﻣﻄﻤﺌﻦ ﺑﺎﺷﺪ؟‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺗﻮﺵ ﺯﻧﺪﮔﻰ ﻛﺮﺩﻩ ﺑﺎﺷﻪ ﻭ ﺑﻌﺪ ﺩﻳﮕﻪ ﺍﻧﺴﺎﻥ ﻧﺒﺎﺷﻪ‪ .‬ﺧﻮﺩ ﺩﻧﻴﺎﻫﺎﻳﻰ ﻛﻪ ﺍﻧﺴﺎﻥ ﺗﻮﺷﻮﻥ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ‪،‬‬ ‫ﺑﻌﺪ ﺍﺯ ﻳﻚ ﻧﻘﻄﻪﻯ ﺧﺎﺹ ﺩﺭ ﺯﻣﺎﻥ‪ ،‬ﻣﻮﺟﻮﺩﻳﺘﺸﻮﻥ ﺍﺯ ﺑﻴﻦ ﻣﻴﺮﻩ‪ .‬ﻭ ﺣﺘﺎ ﻓﻜﺮ ﻧﻤﻰﻛﻨﻢ ﭼﻨﻴﻦ ﭼﻴﺰﻯ‬ ‫ﻣﻤﻜﻦ ﺑﺎﺷﻪ‪ .‬ﭼﻮﻥ ﺍﮔﺮ ﻛﺴﻰ ﺑﻪ ﮔﺬﺷﺘﻪ ﻧﺮﻩ ﻭ ﺩﺭ ﺗﻜﺎﻣﻞ ﺍﻧﺴﺎﻥ ﺗﻐﻴﻴﺮ ﺑﻪ ﻭﺟﻮﺩ ﻧﻴﺎﺭﻩ‪ ،‬ﻫﻤﻴﺸﻪ‬ ‫ﻭﺍﻗﻌﻴﺖﻫﺎﻳﻰ ﻭﺟﻮﺩ ﺧﻮﺍﻫﻨﺪ ﺩﺍﺷﺖ ﻛﻪ ﺁﺩﻡ ﺗﻮﺷﻮﻥ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ‪«.‬‬ ‫»ﺍﻣﺎ ﻫﻤﮕﻰ ﻛﺎﺭﺷﻮﻥ ﺑﻪ ﺣﻠﻘﻪﻫﺎ ﺧﺘﻢ ﻣﻴﺸﻪ‪«.‬‬ ‫»ﺁﺧﺮ ﻛﺎﺭ ﺗﻮﻯ ﺣﻠﻘﻪﻫﺎ ﮔﻴﺮ ﻧﻤﻰﻛﻨﻦ‪ ،‬ﺁﻗﺎﻯ ﻛﺎﻧﺘﻮﺭ‪ .‬ﺍﺯ ﺍﺑﺘﺪﺍﻯ ﻫﺮ ﺣﻠﻘﻪ ﻳﻚ ﻣﺴﻴﺮ ﺟﺪﻳﺪ ﺳﺎﺧﺘﻪ‬ ‫ﻣﻰﺷﻪ‪ .‬ﻭ ﺑﻰﺷﻤﺎﺭ ﺍﺣﺘﻤﺎﻝ ﻫﺴﺘﻦ ﻛﻪ ﺍﻣﻜﺎﻥ ﻭﺟﻮﺩ ﺩﺍﺭﻥ‪ .‬ﺣﺪﺍﻗﻞ ﻳﻜﻰ ﺗﺎ ﻣﺴﺎﻓﺮ ﺭﺍﻫﻰ ﺑﺮﺍﻯ ﮔﺬﺭ‬ ‫ﺩﺍﺷﺘﻪ ﺑﺎﺷﻪ‪«.‬‬ ‫»ﭼﻄﻮﺭ؟«‬ ‫»ﺑﺎ ﺑﺮﻧﮕﺸﺘﻦ ﺑﻪ ﺯﻣﺎﻥ ﻗﺒﻞ ﺍﺯ ﻛﺸﻒ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ‪«.‬‬ ‫»ﺷﻤﺎ ﺧﻮﺩﺗﻮﻥ ﮔﻔﺘﻴﺪ ﻛﻪ ﺑﺎﻻﺧﺮﻩ ﻳﻜﻰ ﺍﻳﻦ ﻛﺎﺭ ﺭﻭ ﻣﻰﻛﻨﻪ‪«.‬‬ ‫‪...2:12...‬‬ ‫»ﺧﺐ ﭼﻮﻥ ﺧﻮﺏ ﺭﺍﺟﻊ ﺑﻬﺶ ﻓﻜﺮ ﻧﻜﺮﺩﻩ ﺑﻮﺩﻡ‪ .‬ﻫﻨﻮﺯﻡ ﺩﺭﺳﺖ ﻭ ﺣﺴﺎﺑﻰ ﻓﻜﺮ ﻧﻜﺮﺩﻩﺍﻡ‪ .‬ﺍﻣﺎ ﺣﺎﻻ‬ ‫ﻛﻪ ﺍﻳﻦ ﺭﻭ ﻣﻲﺩﻭﻧﻴﺪ‪ ،‬ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺑﺬﺍﺭﻳﺪ ﻛﺴﻰ ﺑﻪ ﮔﺬﺷﺘﻪ ﺳﻔﺮ ﻛﻨﻪ‪ ،‬ﺗﺠﺪﻳﺪ ﻧﻈﺮ ﻧﻤﻰﻛﻨﻴﺪ؟«‬ ‫»ﺻﺪ ﺩﺭﺻﺪ! ﻣﻨﺘﻬﻰ ﺷﺎﻳﺪ ﺭﺍﻩ ﻓﺮﺍﺭﻯ ﻫﻢ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻪ‪«.‬‬ ‫»ﻣﺜ ً‬ ‫ﻼ؟«‬ ‫»ﺷﺎﻳﺪ ﺭﺍﻫﻰ ﺑﺎﺷﻪ ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﻪ ﻣﻄﻤﺌﻦ ﺷﺪ‪ ،‬ﺗﻐﻴﻴﺮﺍﺗﻰ ﻛﻪ ﻣﺴﺎﻓﺮ ﺯﻣﺎﻥ ﺩﺭ ﮔﺬﺷﺘﻪ ﺍﻳﺠﺎﺩ ﻣﻰﻛﻨﻪ‪،‬‬ ‫ﺍﻭﻥﻗﺪﺭ ﻛﻮﭼﻴﻜﻦ ﻛﻪ ﺑﻪ ﻛﺸﻒ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ ﻛﺎﺭﻯ ﻧﺪﺍﺭﻥ‪ .‬ﺷﺎﻳﺪ ﻳﻪ ﺭﻭﺯﻯ ﺑﺘﻮﻧﻴﻢ ﺩﻗﻴﻘﺎً ﻧﺘﺎﻳﺞ ﺍﻳﺠﺎﺩ‬ ‫ﺗﻐﻴﻴﺮ ﺩﺭ ﮔﺬﺷﺘﻪ ﺭﻭ ﭘﻴﺶﺑﻴﻨﻰ ﻛﻨﻴﻢ‪«.‬‬ ‫»ﺁﺭﻩ‪ .‬ﻣﻤﻜﻨﻪ‪«.‬‬ ‫ﻓﻴﻠﻴﭗ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺳﺎﻋﺘﺶ ﻧﮕﺎﻩ ﻛﺮﺩ‪1:40 .‬؛ ﺩﻳﮕﺮ ﻭﻗﺖ ﺁﻥ ﺑﻮﺩ ﻛﻪ ﺍﺻﻞ ﻛﺎﺭﻯ ﺭﺍ ﭘﻴﺶ ﺑﻜﺸﺪ‪ .‬ﻟﺐ‬ ‫ﺑﻪ ﺳﺨﻦ ﺑﺎﺯ ﻛﺮﺩ‪» :‬ﺁﻗﺎﻯ ﮔﻠﺪﺑﺮگ‪ ،‬ﭼﻰ ﻣﻴﮕﻴﺪ ﺍﮔﻪ ﺑﻬﺘﻮﻥ ﺑﮕﻢ ﺍﺯ ﺁﻳﻨﺪﻩ ﺍﻭﻣﺪﻡ؟ ﻛﻪ ﺑﮕﻢ ﻳﻪ ﻣﺎﺷﻴﻦ‬ ‫ﺯﻣﺎﻥ ﺩﺭﺳﺖ ﻭ ﺣﺴﺎﺑﻰ ﺳﺎﺧﺘﻢ ﻭ ﺑﻌﺪ ﺍﺯ ﺁﺯﻣﺎﻳﺶﻫﺎﻯ ﺯﻳﺎﺩ ﺑﻪ ﺍﻳﻦ ﻧﺘﻴﺠﻪ ﺭﺳﻴﺪﻡ ﻛﻪ ﺳﻔﺮ ﺑﺎﻫﺎﺵ‬ ‫ﺧﻄﺮﻯ ﻧﺪﺍﺭﻩ؟«‬ ‫ﺍﺭﻳﻚ ﺑﺎ ﻟﺒﺨﻨﺪﻯ ﺑﺮﻟﺐ ﮔﻔﺖ‪» :‬ﺍﻭﻥﻭﻗﺖ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺍﻳﻦ ﻫﻤﻪ ﺭﻳﺴﻚ ﺭﻭ ﺑﺮﺍﻯ ﺩﻳﺪﻥ ﻣﻦ ﻗﺒﻮﻝ‬ ‫ﻛﺮﺩﻳﺪ‪ ،‬ﺍﺯﺗﻮﻥ ﺳﭙﺎﺳﮕﺰﺍﺭ ﻣﻰﺷﻢ‪«.‬‬ ‫ﺍﻣﺎ ﭼﻬﺮﻩﻯ ﻓﻴﻠﻴﭗ ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩ ﻛﻪ ﺍﻭ ﺷﻮﺧﻰ ﻧﻤﻰﻛﻨﺪ‪.‬‬ ‫ﻟﺒﺨﻨﺪ ﺍﺭﻳﻚ ﺁﻫﺴﺘﻪ ﻣﺤﻮ ﺷﺪ‪...1:18 ...‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻳﻪ ﻧﻔﺮ ﺑﻪ ﮔﺬﺷﺘﻪ ﺑﺮﮔﺮﺩﻩ ﭼﻪ ﺍﺗﻔﺎﻗﻰ ﻣﻰﺍﻓﺘﻪ؟«‬ ‫»ﺍﮔﻪ ﺑﺨﻮﺍﻳﻢ ﺑﻪ ﭼﺸﻢ ﻳﻪ ﻓﺮﺿﻴﻪ ﺑﻪ ﺣﺮﻓﺎﻯ ﺷﻤﺎ ﻧﮕﺎﻩ ﻛﻨﻴﻢ‪ ،‬ﻣﻨﻄﻘﻰ ﺑﻪ ﻧﻈﺮ ﻣﻴﺎﺩ‪ .‬ﺍﻣﺎ ﻭﻗﺘﻰ ﺩﻧﻴﺎﻳﻰ‬ ‫ﻛﻪ ﻣﺴﺎﻓﺮ ﺯﻣﺎﻥ ﺗﻮﺵ ﺯﻧﺪﮔﻰ ﻣﻰﻛﺮﺩﻩ ﻧﺎﺑﻮﺩ ﺑﺸﻪ‪ ،‬ﺧﻮﺩﺵ ﻫﻢ ﻧﺒﺎﻳﺪ ﺩﺭ ﺍﻭﻥ ﮔﺬﺷﺘﻪﻯ ﺩﺳﺖﻛﺎﺭﻯ‬ ‫ﺷﺪﻩ ﻧﺎﭘﺪﻳﺪ ﺑﺸﻪ؟«‬ ‫»ﻳﻚ ﺩﻭﺟﻴﻦ ﺍﺯ ﺍﻳﻦ ﺍﺣﺘﻤﺎﻻﺕ ﻫﺴﺖ ﻛﻪ ﺑﻪ ﺫﻫﻦ ﺷﻤﺎ ﻣﻰﺭﺳﻪ ﻭ ﻫﺰﺍﺭﺗﺎﻯ ﺩﻳﮕﻪ ﻛﻪ ﻓﻜﺮﺵ ﺭﻭ‬ ‫ﻧﻤﻰﻛﻨﻴﺪ‪ .‬ﺑﺪﻭﻥ ﺗﺤﻘﻴﻖ ﺑﻴﺸﺘﺮ ﻧﻤﻰﺗﻮﻧﻴﺪ ﺑﮕﻴﺪ ﻛﺪﻭﻡ ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﻪ‪ .‬ﻣﻦ ﺍﻳﻦ ﻓﺮﺿﻴﻪ ﺭﻭ ﻓﻘﻂ ﺍﺯ‬ ‫ﺍﻭﻥ ﺟﻬﺖ ﺩﻭﺳﺖ ﺩﺍﺭﻡ ﻛﻪ ﻫﻤﻪ ﭼﻴﺰ ﺭﻭ ﺗﻮﺟﻴﻪ ﻣﻰﻛﻨﻪ‪«...‬‬ ‫»ﻫﻤﻪﭼﻴﺰ ﺭﻭ ﺗﻮﺟﻴﻪ ﻧﻤﻰﻛﻨﻪ‪«...‬‬ ‫»ﻣﻨﻈﻮﺭﻡ ﺗﻤﺎﻡ ﭼﻴﺰﻫﺎﻳﻴﻪ ﻛﻪ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺭﺍﺟﻊ ﺑﻬﺶ ﺻﺤﺒﺖ ﻛﺮﺩﻳﻢ‪ .‬ﺗﻮﺿﻴﺢ ﻣﻴﺪﻩ ﻛﻪ ﭼﺮﺍ ﺳﻔﺮ ﺩﺭ‬ ‫ﺯﻣﺎﻥ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﻛﺸﻒ ﻧﺸﺪﻩ ﻭ ﻃﺒﻴﻌﻰﺗﺮ ﺑﻪ ﻧﻈﺮ ﻣﻴﺎﺩ ﺗﺎ ﺍﻳﻦ ﻛﻪ ﺁﺩﻡﻫﺎﻳﻰ ﺍﺯ ﺁﻳﻨﺪﻩ ﺭﻭ ﺩﺧﻴﻞ ﺑﺪﻭﻧﻴﻢ‬ ‫ﻛﻪ ﺑﻪ ﻗﺼﺪ ﭘﻴﺶﮔﻴﺮﻯ ﺍﺯ ﻛﺸﻒ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ‪ ،‬ﺍﺯ ﺁﻳﻨﺪﻩ ﻣﻴﺎﻥ‪ .‬ﺑﻪ ﻫﺮ ﺣﺎﻝ ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﺑﺪﻭﻧﻦ‪،‬‬ ‫ﺍﻳﻦ ﻛﺎﺭ ﺭﻭ ﻣﻰﻛﻨﻦ‪ .‬ﺍﻳﻦ ﻓﺮﺿﻴﻪ ﺟﺰ ﺍﻳﻦ ﺗﻮﺿﻴﺢ ﻣﻴﺪﻩ ﻛﻪ ﭼﺮﺍ ﻣﻨﻄﻘﻰ ﻛﻪ ﭘﺸﺖ ﺍﻳﻦ ﻗﻀﻴﻪﺍﺱ‪،‬‬ ‫ﻧﺎﻣﻌﻤﻮﻝ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻪ‪ .‬ﻣﺎ ﻫﻴﭻ ﻭﻗﺖ ﻧﻤﻰﺗﻮﻧﺴﺘﻴﻢ ﺑﺎ ﻃﺮﺯ ﻓﻜﺮ ﻣﻌﻤﻮﻟﻰ ﺑﻬﺶ ﺑﺮﺳﻴﻢ‪ .‬ﺩﺭ ﺗﻤﺎﻡ ﺍﻳﻦ‬ ‫ﻭﺍﻗﻌﻴﺖﻫﺎﻯ ﻣﺨﺘﻠﻒ ﻛﻪ ﺍﻧﺸﻌﺎﺑﺸﻮﻥ ﺍﺯ ﺷﺮﻭﻉ ﺧﻮﺩ ﺯﻣﺎﻥ ﺷﺮﻭﻉ ﺷﺪﻩ‪ ،‬ﺁﺩﻣﺎ ﻃﺮﺯ ﻓﻜﺮﺷﻮﻥ ﮔﺴﺘﺮﺵ‬ ‫ﭘﻴﺪﺍ ﻛﺮﺩﻩ‪ .‬ﭼﻴﺰﺍﻯ ﺯﻳﺎﺩﻯ ﺭﻭ ﺍﺧﺘﺮﺍﻉ ﻳﺎ ﻛﺸﻒ ﻛﺮﺩﻥ‪ ،‬ﺷﺎﻫﺪ ﭘﺪﻳﺪﻩﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺑﻮﺩﻥ ﻭ ﻫﺮ ﻛﺪﻭﻡ‬ ‫ﻳﻪ ﺟﻮﺭ ﭘﻴﺸﺮﻓﺖ ﻛﺮﺩﻥ ﻭ ﻣﻄﻤﺌﻨﻢ ﻭﺍﻗﻌﻴﺖﻫﺎﻯ ﺑﻰﺷﻤﺎﺭﻯ ﻫﺴﺖ ﻛﻪ ﺍﻧﺴﺎﻥ ﺗﻮﺵ ﭘﻴﺸﺮﻓﺖ ﻧﻜﺮﺩﻩ‪.‬‬ ‫ﻭ ﭼﻨﻴﻦ ﺩﻧﻴﺎﻫﺎﻳﻰ ﻛﻪ ﺗﻮﺷﻮﻥ ﺍﻧﺘﻈﺎﺭ ﻛﺸﻒ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ ﻧﻤﻰﺭﻩ‪ ،‬ﺑﻴﺸﺘﺮ ﺍﺯ ﺑﻘﻴﻪ‪ ،‬ﻫﺴﺘﻰﺷﻮﻥ ﻃﻮﻝ‬ ‫ﻣﻰﻛﺸﻪ‪«.‬‬ ‫ﺧﻨﺪﻩﺍﻯ ﻛﻮﭼﻚ ﺍﺯ ﺩﻫﺎﻥ ﻓﻴﻠﻴﭗ ﺩﺭﺭﻓﺖ‪» .‬ﭘﺲ ﻣﻦ ﺩﻧﻴﺎﻡ‪ ...‬ﺍﻳﻦ ﻭﺍﻗﻌﻴﺖ ﺭﻭ ﻧﺎﺑﻮﺩ ﻛﺮﺩﻡ؟«‬ ‫»ﺍﺣﺘﻤﺎﻟﺶ ﻫﺴﺖ‪ .‬ﻭﺍﻗﻌﻴﺖ ﻣﺎ ﺗﺎ ﺍﻳﻦﺟﺎﻯ ﻛﺎﺭ ﻣﻮﺟﻮﺩﻳﺖ ﺩﺍﺭﻩ‪ .‬ﻣﻮﺿﻮﻉ ﻓﻘﻂ ﺍﻳﻨﻪ ﻛﻪ ﺷﺎﻳﺪ ﺁﻳﻨﺪﻩﺍﻯ‬ ‫ﺩﺭ ﭘﻴﺶ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ‪ .‬ﮔﺮﭼﻪ ﺍﻳﻦ ﺗﻨﻬﺎ ﺩﺭ ﺻﻮﺭﺗﻴﻪ ﻛﻪ ﺣﺮﻓﺎﻯ ﻣﻦ ﺩﺭﺳﺖ ﺑﻮﺩﻩ ﺑﺎﺷﻪ‪«.‬‬ ‫‪...3:14...‬‬ ‫»ﻭﻟﻰ ﻓﻜﺮ ﻧﻤﻰﻛﻨﻴﺪ ﺍﮔﻪ ﺍﻧﺴﺎﻥ ﺑﻪ ﻳﻚ ﺳﻄﺢ ﺧﺎﺻﻰ ﺍﺯ ﺷﻌﻮﺭ ﺑﺮﺳﻪ‪ ،‬ﺑﻪ ﻧﺎﭼﺎﺭ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ ﺭﻭ‬ ‫ﭘﻴﺪﺍ ﻣﻰﻛﻨﻪ؟«‬ ‫»ﻧﻪ ﺑﻪ ﻧﺎﭼﺎﺭ! ﺍﮔﻪ ﺑﻪ ﻧﺎﭼﺎﺭ ﺑﻮﺩ‪ ،‬ﺁﺩﻡ ﺑﻌﺪ ﺍﺯ ﻳﻚ ﻧﻘﻄﻪﻯ ﺧﺎﺹ ﺩﺭ ﺯﻣﺎﻥ ﺩﻳﮕﻪ ﻧﻤﻰﺗﻮﻧﺴﺖ ﻭﺟﻮﺩ‬ ‫ﺩﺍﺷﺘﻪ ﺑﺎﺷﻪ‪«.‬‬ ‫ﻓﻴﻠﻴﭗ ﭘﺮﺳﻴﺪ‪» :‬ﻭ ﻋﻠﺖ ﺍﻧﻘﺮﺍﺽ ﺍﻧﺴﺎﻥ‪ ،‬ﻛﺸﻒ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ ﻣﻰﺷﺪ؟«‬ ‫»ﺍﻧﺴﺎﻥ ﻫﻴﭻﻭﻗﺖ ﺍﻳﻦﻃﻮﺭﻯ ﻣﻨﻘﺮﺽ ﻧﻤﻰﺷﻪ‪ .‬ﭼﻮﻥ ﺩﻧﻴﺎﻳﻰ ﻭﺟﻮﺩ ﻧﺨﻮﺍﻫﺪ ﺩﺍﺷﺖ ﻛﻪ ﺍﻧﺴﺎﻥ ﻣﺪﺗﻰ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﻳﻚ ﮔﻠﻮﻟﻪﻯ ﺑﺮﻓﻰ ﺗﺎ ﺯﻣﺎﻥ ﻛﺸﻒ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ ﺑﺰﺭگ ﻭ ﺑﺰﺭگﺗﺮ ﻣﻰﺷﻪ‪ .‬ﺍﻳﻦ ﻣﺴﺎﻓﺮ ﻫﺮ ﭼﻰ ﺑﻪ‬ ‫ﻋﻘﺐﺗﺮ ﺳﻔﺮ ﻛﻨﻪ‪ ،‬ﺍﻧﺘﻈﺎﺭ ﺗﻐﻴﻴﺮ ﺑﺰﺭگﺗﺮﻯ ﻫﺴﺖ‪«.‬‬ ‫»ﺍ ِ‪«....‬‬ ‫ﺍﺭﻳﻚ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻓﻴﻠﻴﭗ ﺑﺘﻮﺍﻧﺪ ﭼﻴﺰﻯ ﺑﮕﻮﻳﺪ‪ ،‬ﮔﻔﺖ‪» :‬ﺑﺬﺍﺭ ﺣﺮﻓﻢ ﺗﻤﻮﻡ ﺑﺸﻪ‪ .‬ﺁﻗﺎﻯ ﻛﺎﻧﺘﻮﺭ‪ ،‬ﺩﻧﻴﺎﻯ‬ ‫ﻣﺎ ﻳﻚ ﺳﻴﺴﺘﻢ ﺑﻰﻧﻈﻢ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻪ؛ ﻳﻌﻨﻰ ﻛﻪ ﺑﺮﺁﻣﺪﺵ ﺷﺪﻳﺪﺍ ﻭﺍﺑﺴﺘﻪ ﺑﻪ ﺷﺮﺍﻳﻂ ﺍﻭﻟﻴﻪﺍﺵ ﺍﺳﺖ‪.‬‬ ‫ﻼ ﻭﺿﻊ ﻫﻮﺍ ﺭﻭ ﺩﺭ ﻧﻈﺮ ﺑﮕﻴﺮﻳﺪ‪ .‬ﭘﻴﺶﺑﻴﻨﻰ ﺩﻗﻴﻖ ﻫﻮﺍﻯ ﻓﺮﺩﺍ ﻣﺤﺎﻟﻪ ﻭ ﺍﺻ ً‬ ‫ﻣﺜ ً‬ ‫ﻼ ﺭﺑﻄﻰ ﻧﺪﺍﺭﻩ ﻛﻪ ﻣﺎ‬ ‫ﻣﻰﺩﻭﻧﻴﻢ ﻫﻮﺍﻯ ﺍﻣﺮﻭﺯ ﺩﻗﻴﻘﺎً ﭼﻄﻮﺭﻩ‪ .‬ﻛﻮﭼﻜﺘﺮﻳﻦ ﺗﻴﻜﻪ ﺍﺯ ﺍﻃﻼﻋﺎﺗﻰ ﻛﻪ ﺩﺭ ﺩﺳﺖ ﻣﺎ ﻧﻴﺴﺖ‪ ،‬ﻛﻞ‬ ‫ﺍﻳﻦ ﺗﻔﺎﻭﺕ ﺭﻭ ﺍﻳﺠﺎﺩ ﻣﻰﻛﻨﻪ‪ .‬ﭼﻨﻴﻦ ﻧﻈﺎﻡ ﺑﻰﻧﻈﻤﻰ ﻫﻴﭻ ﻧﻘﻄﻪﻯ ﺗﻌﺎﺩﻟﻰ ﻧﺪﺍﺭﻩ‪ ،‬ﺍﻣﺎ ﺩﺭ ﻫﺮ ﻟﺤﻈﻪ‬ ‫ﻳﻚ ﺗﻌﺎﺩﻝ ﻧﺎﭘﺎﻳﺪﺍﺭ ﺩﺍﺭﻩ‪.‬‬ ‫ﻣﻦ ﺍﺯ ﺍﻭﻟﺶ ﻫﻢ ﻫﻴﭻﻭﻗﺖ ﺑﻪ ﺯﻣﺎﻥ ﺑﻪ ﭼﺸﻢ ﻳﻚ ﺧﻂ ﺻﺎﻑ ﻧﮕﺎﻩ ﻧﻜﺮﺩﻡ‪ ،‬ﺁﻗﺎﻯ ﻛﺎﻧﺘﻮﺭ‪ .‬ﺯﻣﺎﻥ ﺭﻭ ﺑﻪ‬ ‫ﺻﻮﺭﺕ ﺧﻄﻰ ﺩﺭ ﻧﻈﺮ ﻣﻰﮔﻴﺮﻡ ﻛﻪ ﻭﻗﺘﻰ ﺑﺮﺁﻣﺪ ﭼﻴﺰﻯ ﻗﻄﻌﻰ ﻧﻴﺴﺖ‪ ،‬ﺑﻪ ﺩﻭ ﺷﺎﺧﻪ ﺗﻘﺴﻴﻢ ﻣﻴﺸﻪ‪.‬‬ ‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﺧﻄﻮﻁ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩﻯ ﻭﺟﻮﺩ ﺩﺍﺭﻩ؛ ﻣﻴﺸﻪ ﮔﻔﺖ ﺑﻰﻧﻬﺎﻳﺖ ﺧﻂ‪ .‬ﻭﺍﻗﻌﻴﺖﻫﺎﻯ ﻣﻮﺍﺯﻯ‪ .‬ﺍﻳﻦ ﻓﻘﻂ‬ ‫ﻳﻜﻰ ﺍﺯ ﺍﻭﻥﻫﺎﺳﺖ‪ .‬ﭘﺲ ﺩﺭ ﻫﺮ ﻛﺪﻭﻡ ﺍﺯ ﺍﻳﻦ ﻭﺍﻗﻌﻴﺖﻫﺎ ﺑﺎ ﻛﺸﻒ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ‪ ،‬ﻳﻪ ﻧﻔﺮ ﺑﻪ ﺯﻣﺎﻧﻰ ﻗﺒﻞ‬ ‫ﺍﺯ ﻛﺸﻒ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ ﻣﻰﺭﻩ ﻭ ﭼﻴﺰﻯ ﺭﻭ ﺗﻐﻴﻴﺮ ﻣﻰﺩﻩ ﻛﻪ ﺍﻭﻥ ﻭﺍﻗﻌﻴﺖ ﺭﻭ ﺑﻪ ﻛﻠﻰ ﺩﮔﺮﮔﻮﻥ ﻣﻰﻛﻨﻪ‪.‬‬ ‫ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﻭﻗﺎﻳﻊ ﺟﺪﻳﺪﻯ ﺍﺯ ﺍﻭﻥ ﻧﻘﻄﻪ ﺑﻪ ﺑﻌﺪ ﺷﻜﻞ ﻣﻰﮔﻴﺮﻥ‪ .‬ﺣﺎﻻ ﺗﻮﻯ ﺍﻳﻦ ﻭﺍﻗﻌﻴﺖ ﺩﮔﺮﮔﻮﻥ‬ ‫ﺷﺪﻩ‪ ،‬ﺷﺎﻳﺪ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ ﻛﺸﻒ ﺑﺸﻪ ﻭ ﺷﺎﻳﺪ ﻛﺸﻒ ﻧﺸﻪ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ‪ ،‬ﺍﮔﺮ ﻛﺸﻒ ﺑﺸﻪ ﺍﻳﻦ ﭘﺮﺩﺍﺯﻩ‬ ‫ﺍﺯ ﺳﺮ ﮔﺮﻓﺘﻪ ﻣﻰﺷﻪ‪ .‬ﺍﻳﻦﻃﻮﺭﻯ ﻫﺮ ﺩﻧﻴﺎﻳﻰ ﻛﻪ ﺗﻮﺵ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ ﻛﺸﻒ ﺷﺪﻩ ﺑﺎﺷﻪ‪ ،‬ﺑﻌﺪ ﺍﺯ ﺍﻭﻥ‬ ‫ﻧﻘﻄﻪ ﻣﺘﺰﻟﺰﻝ ﻣﻰﺷﻪ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮﻩ ﻛﻪ ﻓﻘﻂ ﺑﺮﺍﻯ ﻭﺍﻗﻌﻴﺖﻫﺎﻳﻰ ﺁﻳﻨﺪﻩ ﻭﺟﻮﺩ ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ ﻛﻪ‬ ‫ﺗﻮﺷﻮﻥ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ ﻛﺸﻒ ﻧﺸﻪ‪«.‬‬ ‫ﺍﺭﻳﻚ ﻫﻮﺍ ﺭﺍ ﺑﻪ ﺩﺭﻭﻥ ﺭﻳﻪﻫﺎﻳﺶ ﻛﺸﻴﺪ‪ .‬ﻛﺎﺭﻯ ﻛﻪ ﻣﺪﺗﻰ ﻣﻰﺷﺪ ﺩﺭ ﺍﻭﺝ ﻫﻴﺠﺎﻧﺶ‪ ،‬ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩﻩ‬ ‫ﺑﻮﺩ‪ .‬ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺍﻳﻦ ﻓﻴﻠﻴﭗ ﺑﻮﺩ ﻛﻪ ﺑﺎﻳﺪ ﻓﻜﺮ ﻣﻰﻛﺮﺩ‪.‬‬ ‫‪...5:07...‬‬ ‫ﻓﻴﻠﻴﭗ ﮔﻔﺖ‪» :‬ﻭﻟﻰ ﺍﻳﻦ ﻓﻘﻂ ﻳﻜﻰ ﺍﺯ ﺍﺣﺘﻤﺎﻻﺗﻪ‪«.‬‬ ‫»ﺍﻟﺒﺘﻪ‪ .‬ﻣﻨﻜﺮﺵ ﻧﻴﺴﺘﻢ‪ .‬ﺍﻣﺎ ﻛﺎﻣ ً‬ ‫ﻼ ﻣﻮﺟﻬﻪ‪ ،‬ﻣﮕﻪ ﻧﻪ؟«‬ ‫ﻓﻴﻠﻴﭗ ﺑﺎ ﻟﺤﻨﻰ ﭘﺮﺳﺸﮕﺮﺍﻧﻪ ﭘﺮﺳﻴﺪ‪» :‬ﭘﺲ ﻫﺮﻛﺲ ﻛﻪ ﺩﺭ ﺯﻣﺎﻥ ﺳﻔﺮ ﻣﻰﻛﻨﻪ‪ ،‬ﻭﺍﻗﻌﻴﺘﻰ ﻛﻪ ﺗﻮﺵ‬ ‫ﺯﻧﺪﮔﻰ ﻣﻰﻛﺮﺩﻩ ﺭﻭ ﺍﺯ ﺑﻴﻦ ﻣﻰﺑﺮﻩ‪«.‬‬ ‫»ﺑﻠﻪ‪ ،‬ﻭﻗﺘﻰ ﺩﺭ ﺯﻣﺎﻥ ﭘﺮﺵ ﻣﻰﻛﻨﻪ ﻫﻤﻮﻥﻃﻮﺭﻯ ﻛﻪ ﺧﻮﺩﺗﻮﻥ ﮔﻔﺘﻴﺪ‪ ،‬ﻳﻚ ﺣﻠﻘﻪ ﺍﻳﺠﺎﺩ ﻣﻰﺷﻪ‪ .‬ﺍﻣﺎ‬ ‫ﺧﻂ ﺯﻣﺎﻧﻰ ﻣﺴﻴﺮ ﻣﺘﻔﺎﻭﺗﻰ ﺭﻭ ﺍﺯ ﻧﻘﻄﻪﺍﻯ ﻛﻪ ﺑﻪ ﺍﻭﻥﺟﺎ ﺑﺮﮔﺸﺘﻪ ﺩﺭ ﭘﻴﺶ ﻣﻰﮔﻴﺮﻩ‪ .‬ﻓﻜﺮ ﻣﻰﻛﻨﻴﺪ ﺍﮔﻪ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻛﻪ ﺍﮔﻪ ﺍﻭﻥ ﭼﻴﺰ ﺍﺗﻔﺎﻕ ﻧﻴﻔﺘﻪ‪ ،‬ﻳﻚ ﻧﻔﺮ ﺑﻪ ﮔﺬﺷﺘﻪ ﻣﻴﺮﻩ ﺗﺎ ﺑﺎﻋﺚ ﺍﻭﻥ ﺍﺗﻔﺎﻕ ﺑﺸﻪ‪ ،‬ﺭﺍﺣﺖﺗﺮ ﻣﻴﺸﻪ‬ ‫ﺩﺭﻛﺶ ﻛﺮﺩ‪ .‬ﻳﻪ ﻛﺴﻰ ﻫﺴﺖ ﻛﻪ ﺑﻪ ﺗﻤﺎﻡ ﻧﻘﺎﻁ ﺯﻣﺎﻥ ﺑﺮﻣﻰﮔﺮﺩﻩ ﺗﺎ ﺍﻭﺿﺎﻉ ﺭﻭ ﺩﺭﺳﺖ ﻛﻨﻪ‪ .‬ﻣﺠﻤﻮﻉ‬ ‫ﺗﻐﻴﻴﺮﺍﺗﻰ ﻛﻪ ﻳﻚ ﻓﺮﺩ ﺩﺭ ﮔﺬﺷﺘﻪ ﺍﻳﺠﺎﺩ ﻣﻰﻛﻨﻪ‪ ،‬ﺑﻪ ﻳﻚ ﺣﺎﻟﺖ ﺗﻌﺎﺩﻝ ﻣﻨﺠﺮ ﻣﻴﺸﻪ‪ .‬ﺗﻘﺪﻳﺮ ﺍﻳﻦﻃﻮﺭﻯ‬ ‫ﺷﻜﻞ ﻣﻰﮔﻴﺮﻩ‪ .‬ﻓﻘﻂ ﺑﻪ ﺟﺎﻯ ﺍﻳﻦ ﻛﻪ ﺯﻣﺎﻥ ﻳﻪ ﺧﻂ ﺻﺎﻑ ﺑﺎﺷﻪ‪ ،‬ﺣﻠﻘﻪﻫﺎﻳﻰ ﺩﺍﺭﻩ ﻛﻪ ﺗﻮﺵ ﺍﻓﺮﺍﺩ ﺍﺯ‬ ‫ﻳﻚ ﺣﺎﻟﺖ ﺑﻪ ﻳﻚ ﺣﺎﻟﺖ ﺩﻳﮕﻪ ﻣﻰﭘﺮﻧﺪ‪«.‬‬ ‫»ﺧﺐ ﺁﻗﺎﻯ ﻛﺎﻧﺘﻮﺭ‪ ،‬ﻓﺮﺿﻴﻪﻯ ﺟﺎﻟﺒﻴﻪ؛ ﺍﻣﺎ ﭘﻮﺱﻛﻨﺪﻩ ﺑﮕﻢ‪ ،‬ﺑﻪ ﺍﻋﺘﻘﺎﺩ ﻣﻦ ﺑﺮ ﺍﺳﺎﺱ ﺍﻳﻦ ﻓﺮﺿﻴﻪ ﻓﻘﻂ‬ ‫ﻳﻚ ﭼﻴﺰ »ﻗﺮﺍﺭ ﺑﻮﺩﻩ ﻛﻪ ﺍﺗﻔﺎﻕ ﺑﻴﻔﺘﻪ« ﺍﻣﺎ ﺑﻪ ﻃﻮﺭ ﻛﺎﻣ ً‬ ‫ﻼ ﺗﺼﺎﺩﻓﻰ‪ ،‬ﺍﻳﻦ ﻫﻤﻮﻥ ﭼﻴﺰﻳﻪ ﻛﻪ ﺑﻪ ﻗﻮﻝ ﺷﻤﺎ‬ ‫ﻗﺮﺍﺭ ﺑﻮﺩﻩ ﺍﺗﻔﺎﻕ ﺑﻴﻔﺘﻪ‪«.‬‬ ‫ﺍﺭﻳﻚ ﺧﻮﺩﺵ ﻓﻬﻤﻴﺪ ﻛﻪ ﭼﻪ ﺟﻤﻠﻪﻯ ﮔﻴﺞﻛﻨﻨﺪﻩﺍﻯ ﮔﻔﺘﻪ ﻭ ﻗﺒﻞ ﺍﺯ ﺍﻳﻨﻜﻪ ﻓﻴﻠﻴﭗ ‪ -‬ﻛﻪ ﺍﺯ ﻗﻴﺎﻓﻪﺍﺵ‬ ‫ﻣﻌﻠﻮﻡ ﺑﻮﺩ ﺳﺨﺖ ﻣﺸﻐﻮﻝ ﺗﺠﺰﻳﻪ ﻭ ﺗﺤﻠﻴﻞ ﺍﺳﺖ ‪ -‬ﺭﻧﺞ ﺑﻴﺸﺘﺮﻯ ﺑﻜﺸﺪ‪ ،‬ﺍﺿﺎﻓﻪ ﻛﺮﺩ‪» :‬ﻣﻰﺗﻮﻧﻢ‬ ‫ﺗﻮﺿﻴﺢ ﺑﺪﻡ ﻛﻪ ﭼﺮﺍ ﻫﻴﭻﻛﺲ ﻓﺮﺿﻴﻪﻯ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ ﺷﻤﺎ ﺭﻭ ﻛﺸﻒ ﻧﻜﺮﺩﻩ‪«.‬‬ ‫‪....7:51....‬‬ ‫»ﭘﺲ ﻟﻄﻔﺎً ﺗﻮﺿﻴﺢ ﺑﺪﻳﺪ‪«...‬‬ ‫»ﺍﻳﻦﻃﻮﺭﻯ ﺍﮔﻪ ﻓﺮﺿﻴﻪﻯ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ ﻛﺸﻒ ﺑﺸﻪ ﻭ ﺗﻜﻨﻮﻟﻮژﻯ ﺭﻭﺯﻯ ﺑﻪ ﺟﺎﻳﻰ ﺑﺮﺳﻪ‪ ،‬ﺁﺩﻡ ﻣﻰﺗﻮﻧﻪ‬ ‫ﺑﻪ ﮔﺬﺷﺘﻪ ﺳﻔﺮ ﻛﻨﻪ‪ ،‬ﺣﺘﺎ ﺑﻪ ﺯﻣﺎﻧﻰ ﻗﺒﻞ ﺍﺯ ﻛﺸﻒ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ‪ .‬ﻭ ﻋﻤﺪﻯ ﻳﺎ ﺍﺗﻔﺎﻗﻰ ﻳﻪ ﭼﻴﺰﻯ ﺭﻭ‬ ‫ﺗﻐﻴﻴﺮ ﺑﺪﻩ‪ .‬ﺩﻳﮕﻪ ﺑﻘﻴﻪﺍﺵ ﺭﻭ ﺧﻮﺩﺗﻮﻥ ﻣﻰﺩﻭﻧﻴﺪ ﺩﻳﮕﻪ؟ ﻫﻤﻮﻥ ﻗﻀﺎﻳﺎﻯ ﺍﺛﺮ ﭘﺮﻭﺍﻧﻪﺍﻯ!«‬ ‫»ﻧﻪ ﺩﻗﻴﻘﺎً!«‬ ‫»ﺧﺐ‪ ،‬ﺍﺟﺎﺯﻩ ﺑﺪﻳﺪ ﻓﺮﺽ ﻛﻨﻴﻢ ﻛﻪ ﻣﺴﺎﻓﺮ ﺯﻣﺎﻧﻤﻮﻥ ﺑﻪ ﮔﺬﺷﺘﻪ ﻣﻴﺮﻩ ﻭ ﻳﻪ ﭼﻴﺰ ﻛﻮﭼﻴﻚ ﺭﻭ ﻋﻮﺽ‬ ‫ﻣﻰﻛﻨﻪ‪ .‬ﻣﺜ ً‬ ‫ﻼ ﻓﻨﺠﻮﻥ ﻳﻪ ﻧﻔﺮ ﺭﻭ ﺍﺯ ﺟﺎﻯ ﻫﻤﻴﺸﮕﻴﺶ ﺑﺮﻣﻰﺩﺍﺭﻩ ﻭ ﻣﻰﺫﺍﺭﻩ ﻳﻪ ﺟﺎﻯ ﺩﻳﮕﻪ‪ .‬ﺍﻭﻥ ﻳﻚ‬ ‫ﻧﻔﺮ ﺻﺒﺢ ﺭﻭﺯ ﺑﻌﺪ ﭘﻮﻧﺰﺩﻩ ﺛﺎﻧﻴﻪ ﺑﻴﺸﺘﺮ ﺑﺮﺍﻯ ﭘﻴﺪﺍ ﻛﺮﺩﻥ ﻓﻨﺠﻮﻧﺶ ﻭﻗﺖ ﻣﻰﺫﺍﺭﻩ‪ .‬ﺍﺯ ﺍﻳﻦﺟﺎ ﺑﻪ ﺑﻌﺪ ﺍﺯ‬ ‫ﻫﺮ ﻛﺎﺭ ﺩﻳﮕﻪﺍﺵ ﭘﻮﻧﺰﺩﻩ ﺛﺎﻧﻴﻪ ﻋﻘﺐ ﻣﻰﺍﻓﺘﻪ‪ .‬ﺷﺎﻳﺪ ﺣﻮﺍﺳﺶ ﺑﻪ ﭼﺮﺍﻍ ﻗﺮﻣﺰ ﻧﺒﺎﺷﻪ ﻭ ﺍﺯ ﺧﻴﺎﺑﻮﻥ ﺭﺩ‬ ‫ﺑﺸﻪ‪ .‬ﻳﻪ ﭘﻠﻴﺲ ﺑﻬﺶ ﮔﻴﺮ ﺑﺪﻩ ﻭ ﺟﺮﻳﻤﻪﺍﺵ ﻛﻨﻪ‪ .‬ﺩﺭﺻﻮﺭﺗﻰ ﻛﻪ ﺍﮔﻪ ﭘﻮﻧﺰﺩﻩ ﺛﺎﻧﻴﻪ ﺯﻭﺩﺗﺮ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻩ‬ ‫ﺑﻮﺩ‪ ،‬ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﻧﻤﻰﺍﻓﺘﺎﺩ‪ .‬ﺍﻳﻦ ﺁﺩﻡ ﭘﻨﺞ ﺩﻗﻴﻘﻪ ﺩﻳﺮﺗﺮ ﺍﺯ ﻭﻗﺘﻰ ﻛﻪ ﻗﺮﺍﺭ ﺑﻮﺩ ﺑﺮﺳﻪ‪ ،‬ﻣﻰﺭﺳﻪ ﻭ ﺻﺪ ﺍﻟﺒﺘﻪ‬ ‫ﻛﻪ ﺣﺎﻟﺶ ﮔﺮﻓﺘﻪﺍﺱ‪ .‬ﺍﻳﻦ ﻭﺿﻌﻴﺘﺶ ﺩﻭﺭ ﻭ ﺑﺮﻳﺎ ﺭﻭ ﻫﻢ ﺗﺤﺖ ﺗﺄﺛﻴﺮ ﻗﺮﺍﺭ ﻣﻴﺪﻩ‪ .‬ﺍﻳﻦ ﻓﻘﻂ ﻳﻪ ﻣﺜﺎﻝ ﺑﻮﺩ‪،‬‬ ‫ﺍﻣﺎ ﺣﺮﻓﻢ ﺍﻳﻨﻪ ﻛﻪ ﺣﺘﺎ ﺑﺎ ﻳﻚ ﺗﻐﻴﻴﺮ‪ ،‬ﻫﺮ ﭼﻨﺪ ﻛﻮﭼﻴﻚ‪ ،‬ﺟﺮﻗﻪﻯ ﺗﻐﻴﻴﺮﺍﺕ ﺩﻳﮕﻪﺍﻯ ﺯﺩﻩ ﻣﻰﺷﻪ‪ .‬ﺑﺎ‬ ‫ﮔﺬﺷﺖ ﺯﻣﺎﻥ‪ ،‬ﺣﺠﻢ ﺍﻳﻦ ﺗﻐﻴﻴﺮﺍﺕ ﺑﺰﺭگ ﻭ ﺑﺰﺭگﺗﺮ ﻣﻴﺸﻪ‪ .‬ﻭ ﺑﻌﺪ ﺍﺯ ﻳﻪ ﻣﺪﺗﻰ‪ ،‬ﺟﺎﺑﺠﺎ ﻛﺮﺩﻥ ﻓﻨﺠﻮﻥ‬ ‫ﺍﻭﻥ ﺁﺩﻡ ﻣﻰﺗﻮﻧﻪ ﺑﻪ ﻳﻪ ﺟﻨﮓ ﻣﻨﺠﺮ ﺑﺸﻪ‪ .‬ﻭ ﺍﺯ ﺍﻳﻦ ﺑﺎﺑﺖ ﺍﻏﺮﺍﻕ ﻧﻤﻰﻛﻨﻢ‪.‬‬ ‫ﺣﺎﻻ ﺍﮔﻪ ﺍﻳﻦ ﻣﺴﺎﻓﺮﻣﻮﻥ ﺑﻪ ﺯﻣﺎﻧﻰ ﻗﺒﻞ ﺍﺯ ﻛﺸﻒ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ ﺑﺮﻩ‪ ،‬ﺗﻐﻴﻴﺮﺍﺗﻰ ﻛﻪ ﺍﻳﺠﺎﺩ ﻣﻰﻛﻨﻪ ﻋﻴﻦ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﻛﻨﻪ‪ ،‬ﺍﻳﻦ ﻃﻮﺭ ﻧﻴﺴﺖ؟«‬ ‫ﻣﻐﺰ ﺍﺭﻳﻚ ﺗﻮﺍﻧﺎﻳﻰ ﭘﺮﺩﺍﺯﺵ ﻳﻚﺟﺎﻯ ﺍﻳﻦ ﻫﻤﻪ ﺍﻃﻼﻋﺎﺕ ﺭﺍ ﻧﺪﺍﺷﺖ‪ .‬ﻟﻴﻮﺍﻥ ﻭﻳﺴﻜﻰ ﺭﺍ ﭘﺎﻳﻴﻦ ﮔﺬﺍﺷﺖ‪.‬‬ ‫ﻓﻴﻠﻴﭗ ﺳﺮﻳﻊ ﺑﻪ ﺳﺎﻋﺘﺶ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﻣﺘﻮﺟﻪ ﺷﺪ ﻛﻪ ﭼﻨﺪﻯ ﺍﺳﺖ ﺍﺯ ﺁﻥ ﻏﺎﻓﻞ ﻣﺎﻧﺪﻩ‪....9:52 ....‬‬ ‫ﺍﺭﻳﻚ ﺑﺎﻻﺧﺮﻩ ﮔﻔﺖ‪» :‬ﺑﻠﻪ‪«.‬‬ ‫ﻭ ﭘﺮﺳﻴﺪ‪» :‬ﺗﺎ ﺣﺎﻻ ﺣﺘﺎ ﺑﻪ ﻋﻮﺍﻗﺐ ﺳﻔﺮ ﺑﻪ ﮔﺬﺷﺘﻪ ﻓﻜﺮ ﻛﺮﺩﻳﺪ؟« ﭼﻴﺰﻯ ﻣﻰﺧﻮﺍﺳﺖ ﺑﮕﻮﻳﺪ ﻛﻪ‬ ‫ﺩﺍﺷﺖ ﺍﺯ ﺫﻫﻨﺶ ﻓﺮﺍﺭ ﻣﻰﻛﺮﺩ‪ .‬ﺳﺨﺖ ﺩﺭ ﺗﻼﺵ ﺑﻮﺩ ﻛﻪ ﺩﻭﺑﺎﺭﻩ ﻓﻜﺮﺵ ﺭﺍ ﺭﻭﻯ ﺁﻥ ﻣﺘﻤﺮﻛﺰ ﻛﻨﺪ‪.‬‬ ‫»ﺑﻠﻪ‪ ،‬ﺍﻟﺒﺘﻪ! ﺭﺍﺳﺘﺶ ﺁﺩﻡ ﻓﻜﺮﺷﻮ ﻛﻪ ﻣﻰﻛﻨﻪ ﻣﻰﺑﻴﻨﻪ ﺧﻴﻠﻰﻫﺎ ﺧﻴﻠﻰ ﺑﻬﺶ ﻓﻜﺮ ﻛﺮﺩﻩﺍﻥ‪«.‬‬ ‫»ﺍﻣﺎ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻛﺎﻓﻰ ﺟﺪﻯ ﻓﻜﺮ ﻧﻜﺮﺩﻥ‪ ...‬ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻛﺎﻓﻰ ﻋﻠﻤﻰ ﻓﻜﺮ ﻧﻜﺮﺩﻥ‪«.‬‬ ‫»ﺍﺣﺘﻤﺎﻻً ﻫﻤﻴﻦﻃﻮﺭﻩ‪ .‬ﻭﻟﻰ ﺩﻳﮕﻪ ﭼﻰ ﻛﺎﺭ ﻣﻰﺗﻮﻧﻦ ﺑﻜﻨﻦ؟ ﺑﺪﻭﻥ ﻓﻬﻤﻴﺪﻥ ﺍﻳﻦ ﻧﻈﺮﻳﻪ‪ ،‬ﻓﻘﻂ ﻣﻰﺗﻮﻧﻦ‬ ‫ﺭﺍﺟﻊ ﺑﻬﺶ ﺧﻴﺎﻝﭘﺮﺩﺍﺯﻯ ﻛﻨﻦ‪ .‬ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺑﺴﻴﺎﺭ ﺟﺬﺍﺑﻴﻪ‪«.‬‬ ‫ﭼﻨﺎﻥ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ ﻛﻪ ﺍﺭﻳﻚ ﺩﺭ ﺍﻓﻜﺎﺭﺵ ﻏﺮﻕ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻗﻴﺎﻓﻪﺍﺵ ﻣﺎﻧﻨﺪ ﺯﻣﺎﻧﻰ ﺑﻮﺩ ﻛﻪ ﺳﻌﻰ‬ ‫ﺩﺍﺷﺖ ﻓﺮﺿﻴﻪ ﺭﺍ ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﺗﻔﺴﻴﺮ ﻛﻨﺪ‪ .‬ﺍﻧﮕﺸﺖ ﺳﺒﺎﺑﻪﺍﺵ ﺑﺮ ﺻﻔﺤﻪﺍﻯ ﺧﻴﺎﻟﻰ ﺭﻭﻯ ﺩﺳﺘﻪﻯ‬ ‫ﺻﻨﺪﻟﻰﺍﺵ ﻛﺸﻴﺪﻩ ﻣﻰﺷﺪ‪.‬‬ ‫ﻓﻴﻠﻴﭗ ﺳﻜﻮﺕ ﺭﺍ ﺷﻜﺴﺖ ﻭ ﮔﻔﺖ‪» :‬ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﻗﺎﻧﻮﻧﺶ ﻫﻤﻴﻨﻪ‪«.‬‬ ‫ﺍﺭﻳﻚ ﻏﺮﻕ ﺩﺭ ﺧﻴﺎﻝ ﮔﻔﺖ‪» :‬ﻫﺎ؟«‬ ‫»ﻓﻜﺮ ﻛﻨﻢ ﻣﺮﺩﻡ ﺑﺎﻳﺪ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦﻛﻪ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ ﺭﻭ ﻛﺸﻒ ﻛﻨﻦ‪ ،‬ﺑﻬﺶ ﻓﻜﺮ ﻛﻨﻦ‪«.‬‬ ‫ﻭ ﻳﻚ ﺑﺎﺭ ﺩﻳﮕﺮ‪ ،‬ﺍﺭﻳﻚ ﺍﺣﺴﺎﺱ ﻣﻰﻛﺮﺩ ﻛﻪ ﻫﻤﻪﭼﻴﺰ ﻣﻌﻨﺎ ﻣﻰﮔﻴﺮﺩ‪ .‬ﺍﻳﻦ ﻓﺮﺿﻴﻪ ﺩﺭﺳﺖ ﺑﻮﺩ ﻭ ﻧﻴﺎﺯﻯ‬ ‫ﻧﺒﻮﺩ ﻛﻪ ﻓﻜﺮ ﺭﺍ ﺑﻪ ﻛﺎﺭ ﺍﻧﺪﺍﺧﺖ ﺗﺎ ﺗﻮﺿﻴﺤﻰ ﻣﺜﻞ ﺳﻴﺎﻩﭘﻮﺵﻫﺎﻯ ﭼﺘﺮﺑﺎﺯ ﺍﺯ ﺁﻳﻨﺪﻩ ﺑﺮﺍﻯ ﺁﻥ ﺍﺭﺍﺋﻪ ﺩﺍﺩ‪.‬‬ ‫ﻓﻬﻤﻴﺪﻥ ﺍﻳﻦ ﻛﻪ ﭼﺮﺍ ﺁﻥ ﻓﺮﺿﻴﻪ ﻛﺸﻒ ﻧﺸﺪﻩ‪ ،‬ﺑﻪ ﺍﻳﻦ ﻫﻤﻪ ﺯﺣﻤﺖ ﺍﺣﺘﻴﺎﺝ ﻧﺪﺍﺷﺖ‪.‬‬ ‫ﻓﻴﻠﻴﭗ ﺍﻛﻨﻮﻥ ﺑﺴﻴﺎﺭ ﺑﻴﺸﺘﺮ ﺑﻪ ﺳﺎﻋﺘﺶ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‪...9:05 .‬‬ ‫ﺍﺭﻳﻚ ﭘﺮﺳﻴﺪ‪» :‬ﭘﺲ ﺑﻪ ﺍﻋﺘﻘﺎﺩ ﺷﻤﺎ ﻫﻤﻪ ﭼﻴﺰ ﺑﺮ ﺍﺳﺎﺱ ﺗﻘﺪﻳﺮ ﭘﻴﺶ ﻣﻰﺭﻩ ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺳﻔﺮ ﺩﺭ‬ ‫ﺯﻣﺎﻥ ﻫﻢ ﻭﺟﻮﺩ ﺩﺍﺭﻩ؟« ﺩﺭ ﻭﺍﻗﻊ ﺩﺍﺷﺖ ﺑﺮﺍﻯ ﺑﻴﺎﻥ ﺍﺻﻞ ﻣﻄﻠﺐ ﺯﻣﻴﻨﻪﺳﺎﺯﻯ ﻣﻰﻛﺮﺩ‪.‬‬ ‫»ﺍﻟﺰﺍﻣﺎً ﺑﺎ ﻫﻢ ﺗﻨﺎﻗﺾ ﻧﺪﺍﺭﻥ‪ .‬ﺷﺎﻳﺪ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ ﻫﻢ ﻳﻪ ﭘﺪﻳﺪﻩﻯ ﺗﻘﺪﻳﺮﻳﻪ‪ .‬ﺟﺰ ﺍﻳﻦ‪ ،‬ﺑﻌﻀﻰ ﭼﻴﺰﻫﺎ‬ ‫ﺍﻭﻥﻗﺪﺭ ﺑﻌﻴﺪ ﻫﺴﺘﻦ ﻛﻪ ﻧﻤﻴﺸﻪ ﺑﻬﺸﻮﻥ ﮔﻔﺖ »ﺍﺗﻔﺎﻕ«‪ .‬ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﺑﻪ ﭼﻴﺰﻯ ﺑﻪ ﺍﺳﻢ ﺳﺮﻧﻮﺷﺖ‬ ‫ﺍﻋﺘﻘﺎﺩ ﺩﺍﺭﻡ‪«.‬‬ ‫»ﭘﺲ ﺳﻔﺮ ﺑﻪ ﮔﺬﺷﺘﻪ ﺳﺮﻧﻮﺷﺖ ﺭﻭ ﺗﻐﻴﻴﺮ ﻧﻤﻴﺪﻩ؟«‬ ‫»ﺧﺐ‪ ،‬ﺳﻔﺮ ﺑﻪ ﮔﺬﺷﺘﻪ ﻫﻢ ﺧﻮﺩﺵ ﺟﺰﺋﻰ ﺍﺯ ﺳﺮﻧﻮﺷﺘﻪ ﻭ ﺑﺎﻋﺚ ﻣﻰﺷﻪ ﻋﻘﻴﺪﻩﺍﻡ ﻧﺴﺒﺖ ﺑﻪ ﺗﻘﺪﻳﺮﻯ‬ ‫ﺑﻮﺩﻥ ﺍﺗﻔﺎﻕﻫﺎ ﺗﻘﻮﻳﺖ ﺑﺸﻪ‪ .‬ﺩﺭﻙ ﺍﻳﻦ ﻛﻪ ﻳﻪ ﭼﻴﺰﻯ ﺑﺎﻳﺪ ﺍﺗﻔﺎﻕ ﺑﻴﻔﺘﻪ‪ ،‬ﺳﺨﺘﻪ؛ ﺍﻣﺎ ﻭﻗﺘﻰ ﺁﺩﻡ ﺑﺪﻭﻧﻪ‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺍﺭﻳﻚ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺑﺮﮔﻪﺍﻯ ﻛﻪ ﺩﺭ ﺩﺳﺘﺶ ﺑﻮﺩ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺍﻛﻨﻮﻥ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ ﻛﻪ ﻭﺍﻗﻌﺎً ﺍﻣﻜﺎﻥ ﺳﻔﺮ‬ ‫ﺩﺭ ﺯﻣﺎﻥ ﺭﺍ ﻓﺮﻳﺎﺩ ﻣﻰﺯﻧﺪ‪.‬‬ ‫ﻓﻴﻠﻴﭗ ﺩﺭ ﺻﻨﺪﻟﻰﺍﺵ ﻓﺮﻭ ﺭﻓﺖ ﻭ ﮔﻔﺖ‪» :‬ﺧﻮﺩ ﻣﻦ ﺗﺼﺎﺩﻓﻰ ﻣﺘﻮﺟﻪ ﺷﺪﻡ‪«.‬‬ ‫ﺍﺭﻳﻚ ﺑﺎ ﺁﺭﺍﻣﺶ ﺍﺯ ﻭﻳﺴﻜﻰﺍﺵ ﺟﺮﻋﻪﺍﻯ ﻧﻮﺷﻴﺪ ﻭ ﭘﺮﺳﻴﺪ‪» :‬ﭘﺲ ﻓﻜﺮ ﻣﻰﻛﻨﻴﺪ ﺍﻳﻦ ﻃﺮﺯ ﻓﻜﺮ‬ ‫ﻧﺎﻣﻌﻤﻮﻟﻪ ﻛﻪ ﺑﺎﻋﺚ ﺷﺪﻩ ﻣﺮﺩﻡ ﻣﺘﻮﺟﻬﺶ ﻧﺸﻦ؟«‬ ‫»ﻧﻪ‪ ،‬ﺩﺍﺭﻡ ﻣﻴﮕﻢ ﻗﺒ ً‬ ‫ﻼ ﻛﺴﺎﻳﻰ ﻣﺘﻮﺟﻬﺶ ﺷﺪﻥ ﻭ ﺩﺍﺭﻥ ﺟﻮﻥ ﻣﻰﻛﻨﻦ ﺗﺎ ﻣﻄﻤﺌﻦ ﺑﺸﻦ ﻣﺨﻔﻰ ﺑﺎﻗﻰ‬ ‫ﻣﻰﻣﻮﻧﻪ‪«.‬‬ ‫»ﻳﻌﻨﻰ ﺩﺍﺭﻥ ﻃﺮﺯ ﻓﻜﺮ ﻣﻠﺖ ﺭﻭ ﺗﻐﻴﻴﺮ ﻣﻴﺪﻥ؟«‬ ‫»ﻣﻰﺗﻮﻧﻴﺪ ﺗﺼﻮﺭ ﻛﻨﻴﺪ ﭼﻰ ﻣﻴﺸﻪ ﺍﮔﻪ ﻫﻤﻪ ﺑﺘﻮﻧﻦ ﺗﻮ ﺯﻣﺎﻥ ﺳﻔﺮ ﻛﻨﻦ؟«‬ ‫ﺣﺘﺎ ﺑﺎ ﺗﺼﻮﺭ ﺁﻥ ﻣﻮﻗﻌﻴﺖ‪ ،‬ﺍﺭﻳﻚ ﻣﻰﺩﺍﻧﺴﺖ ﻛﻪ ﭼﻨﻴﻦ ﭼﻴﺰﻯ ﻣﻤﻜﻦ ﻧﻴﺴﺖ‪ .‬ﻫﻤﺎﻥﻗﺪﺭ ﻣﺤﺎﻝ ﺑﻮﺩ‬ ‫ﻛﻪ ﺩﻭ ﺑﺎﺭ ﺍﻟﻜﺘﺮﻳﻜﻰ ﻣﻨﻔﻰ ﻳﻜﺪﻳﮕﺮ ﺭﺍ ﺟﺬﺏ ﻛﻨﻨﺪ‪ .‬ﺍﮔﺮ ﺗﻐﻴﻴﺮﺍﺗﻰ ﻛﻪ ﺩﺭ ﮔﺬﺷﺘﻪ ﺍﻋﻤﺎﻝ ﻣﻰﺷﺪ ﺑﺮ‬ ‫ﺁﻳﻨﺪﻩ ﺗﺄﺛﻴﺮ ﻣﻰﮔﺬﺍﺷﺖ ﻭ ﺍﮔﺮ ﻫﻤﻪﻯ ﻣﺮﺩﻡ ﺩﺭ ﮔﺬﺷﺘﻪ ﺗﻐﻴﻴﺮﺍﺗﻰ ﺍﻳﺠﺎﺩ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﺍﺛﺮﺍﺕ ﻳﻜﺪﻳﮕﺮ ﺭﺍ‬ ‫ﺍﺯ ﺑﻴﻦ ﻣﻰﺑﺮﺩﻧﺪ‪ .‬ﺩﻳﮕﺮ ﺣﺎﻟﺖ ﺁﺭﺍﻣﺶ ﻭ ﺗﻌﺎﺩﻟﻰ ﺑﺮﺍﻯ ﺯﻣﺎﻥ ﺣﺎﻝ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ‪ .‬ﭘﻴﻮﺳﺘﻪ ﮔﺬﺷﺘﻪ ﺭﺍ‬ ‫ﺗﻐﻴﻴﺮ ﻣﻰﺩﺍﺩﻧﺪ‪ .‬ﻭ ﺯﻣﺎﻥ ﺣﺎﻝ‪ ،‬ﻧﺎﭘﺎﻳﺪﺍﺭ ﻣﻰﺷﺪ‪.‬‬ ‫ﻓﻴﻠﻴﭗ ﺭﺷﺘﻪﻯ ﺍﻓﻜﺎﺭ ﺍﻭ ﺭﺍ ﭘﺎﺭﻩ ﻛﺮﺩ‪» :‬ﺁﺩﻣﺎ ﻫﺮﻛﺎﺭﻯ ﻣﻰﻛﻨﻦ ﺗﺎ ﺍﺯ ﺍﻭﻥ ﺍﺗﻔﺎﻕ ﺟﻠﻮﮔﻴﺮﻯ ﻛﻨﻦ‪ .‬ﻣﺴﻴﺮ‬ ‫ﺗﺤﻘﻴﻖ ﺭﻭ ﻣﻨﺤﺮﻑ ﻣﻰﻛﻨﻦ‪ .‬ﻣﻰﺗﻮﻧﻦ ﻣﻄﻤﺌﻦ ﺑﺸﻦ ﻛﺴﻰ ﻣﺘﻮﺟﻪ ﻧﻤﻴﺸﻪ ﻭ ﺍﮔﻪ ﻛﺴﻰ ﻣﺘﻮﺟﻪ ﺷﺪ‪،‬‬ ‫ﺩﺭﺳﺘﺶ ﻛﻨﻦ‪«.‬‬ ‫ﺍﺭﻳﻚ ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﭘﺲ ﻳﻪ ﻣﺤﻘﻖ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ ﻛﻢﺗﺠﺮﺑﻪ ﻣﺜﻞ ﺷﻤﺎ ﺑﺎﻳﺪ ﻣﺘﻮﺟﻬﺶ ﺑﺸﻪ‪«.‬‬ ‫»ﻗﺮﻳﺐ ﺑﻪ ﻳﻘﻴﻦ ﺍﻭﻧﺎ ﺑﻪ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ ﺩﺳﺘﺮﺳﻰ ﺩﺍﺭﻥ ﺗﺎ ﻣﺎﻧﻊ ﻓﻬﻤﻴﺪﻥ ﺑﻘﻴﻪ ﺑﺸﻦ‪ .‬ﻭﻗﺘﻰ ﮔﻔﺘﻢ ﺍﮔﻪ‬ ‫ﻛﺴﻰ ﻓﻬﻤﻴﺪ ﻣﻰﺗﻮﻧﻦ ﺩﺭﺳﺘﺶ ﻛﻨﻦ‪ ،‬ﻣﻨﻈﻮﺭﻡ ﻫﻤﻴﻦ ﺑﻮﺩ‪«.‬‬ ‫ﺍﻳﻦ ﻫﻤﻪ ﺑﺮﺍﻯ ﺫﻫﻦ ﺍﺭﻳﻚ ﺑﻴﺸﺘﺮ ﺍﺯ ﺁﻥ ﺑﻮﺩ ﻛﻪ ﺑﺘﻮﺍﻧﺪ ﭘﺎ ﺑﻪ ﭘﺎﻯ ﻓﻴﻠﻴﭗ ﭘﻴﺶ ﺑﻴﺎﻳﺪ‪ .‬ﻧﻤﻰﺗﻮﺍﻧﺴﺖ‬ ‫ﺑﻪ ﻧﺘﺎﻳﺞ ﺑﺎﺭﺯ ﻓﺮﺍﻫﻢ ﺁﻣﺪﻥ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ ﺑﻴﻨﺪﻳﺸﺪ‪ .‬ﺍﻣﺎ ﺑﺮ ﺧﻼﻑ ﺍﻭ ﻓﻴﻠﻴﭗ ﺩﺭ ﺍﻳﻦﺑﺎﺭﻩ ﻣﺪﺗﻰ ﻓﻜﺮ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﮔﻔﺖ‪» :‬ﭘﺲ ﺍﻧﺘﻈﺎﺭ ﺩﺍﺭﻳﺪ ﺁﺩﻣﺎﻳﻰ ﻛﻪ ﻟﺒﺎﺱ ﺳﻴﺎﻩ ﭼﺘﺮﺑﺎﺯﻯ ﺗﻨﺸﻮﻧﻪ‪ ،‬ﺍﺯ ﺁﻳﻨﺪﻩ ﺑﻴﺎﻥ ﻭ ﻣﺎﻧﻊ ﺑﺸﻦ ﺗﺎ‬ ‫ﺭﺍﺟﻊ ﺑﻪ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ ﺑﻪ ﺑﻘﻴﻪ ﺍﻃﻼﻉ ﺑﺪﻳﺪ؟« ﻭ ﻟﺒﺨﻨﺪ ﺯﺩ‪.‬‬ ‫»ﺭﺍﺳﺘﺶ‪ ،‬ﺑﺎﻳﺪ ﺧﻴﻠﻰ ﻭﻗﺖ ﭘﻴﺶ ﻣﻰﺍﻭﻣﺪﻥ ﻭ ﺩﺭ ﻭﻫﻠﻪﻯ ﺍﻭﻝ ﺍﺻ ً‬ ‫ﻼ ﻧﻤﻰﺫﺍﺷﺘﻦ ﻣﺘﻮﺟﻪ ﺑﺸﻢ‪«.‬‬ ‫»ﺍﮔﻪ ﻭﺍﻗﻌﺎً ﺍﻭﻟﻴﻦ ﻧﻔﺮﻯ ﺑﺎﺷﻴﺪ ﻛﻪ ﻛﺸﻔﺶ ﻣﻰﻛﻨﻴﺪ ﭼﻰ؟«‬ ‫»ﻓﺮﺽ ﺑﺮ ﺍﻳﻨﻪ ﻛﻪ ﻛﺎﻣ ً‬ ‫ﻼ ﻣﺤﺎﻟﻪ ﻫﻴﭻﻛﺲ ﻗﺒﻞ ﺍﺯ ﻣﻦ ﻧﺘﻮﻧﺴﺘﻪ ﺑﺎﺷﻪ ﭼﻨﻴﻦ ﭼﻴﺰ ﺳﺎﺩﻩﺍﻯ ﺭﻭ ﻛﺸﻒ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺑﻬﺶ ﻧﺮﺳﻴﺪﻩ ﺑﺎﺷﻪ‪ .‬ﺣﺘﺎ ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﺍﻭﻥﻗﺪﺭ ﺳﺎﺩﻩ ﺍﺳﺖ ﻛﻪ ﻣﻰﺗﻮﻧﻪ ﺍﺷﺘﺒﺎﻩ ﺑﺎﺷﻪ‪«.‬‬ ‫»ﻧﻪ‪«.‬‬ ‫»ﻧﻪ؟«‬ ‫ﻓﻴﻠﻴﭗ ﺑﻪ ﺑﺎﺯﻯ ﻛﺮﺩﻥ ﺑﺮگ ﺑﺮﻧﺪﻩﺍﺵ ﺍﻧﺪﻳﺸﻴﺪ‪» .‬ﺍﺷﺘﺒﺎﻩ ﻧﻴﺴﺖ‪«.‬‬ ‫»ﺍﺯ ﻛﺠﺎ ﺍﻳﻦﻗﺪﺭ ﻣﻄﻤﺌﻨﻴﺪ؟«‬ ‫»ﺍﻭﻥﻗﺪﺭ ﺗﺤﻘﻴﻖ ﻛﺮﺩﻩﺍﻡ ﻛﻪ ﻣﻄﻤﺌﻨﻢ!«‬ ‫»ﺗﺤﻘﻴﻘﺘﻮﻥ ﺩﺭ ﭼﻪ ﺳﻄﺤﻰ ﺑﻮﺩﻩ‪ ،‬ﺁﻗﺎﻯ ﻛﺎﻧﺘﻮﺭ؟«‬ ‫»ﺗﻮﻧﺴﺘﻢ ﻳﻪ ﺳﺮﻯ ﺧﺮﺕ ﻭ ﭘﺮﺕ ﻣﺜﻞ ﭼﻨﺪ ﺗﺎ ﺩﻭﺭﺑﻴﻦ ﺭﻭ ﺩﺭ ﺑﺎﺯﻩﻫﺎﻯ ﺯﻣﺎﻧﻰ ﻛﻮﭼﻴﻚ ﺑﻪ ﮔﺬﺷﺘﻪ‬ ‫ﺑﻔﺮﺳﺘﻢ‪ .‬ﭼﻨﺪ ﺗﺎ ﻋﻜﺲ ﻭ ﻓﻴﻠﻢ ﻫﻢ ﺍﺯ ﮔﺬﺷﺘﻪ ﮔﺮﻓﺘﻢ ﻭ ﺿﺒﻂ ﻛﺮﺩﻡ‪«.‬‬ ‫»ﺩﻗﻴﻘﺎً ﺍﺯ ﻛﻰ؟«‬ ‫»ﺩﻳﺮﻭﺯ‪ ،‬ﻳﻚ ﺳﺎﻝ ﭘﻴﺶ‪ ...‬ﺳﺨﺘﻴﺶ ﺍﻳﻦﺟﺎ ﺑﻮﺩ ﻛﻪ ﺑﺎﻳﺪ ﻣﻄﻤﺌﻦ ﻣﻰﺷﺪﻡ ﺍﻭﻥ ﺍﺷﻴﺎء ﮔﺬﺷﺘﻪ ﺭﻭ ﺑﻪ‬ ‫ﻫﻴﭻ ﻧﺤﻮﻯ ﺗﻐﻴﻴﺮ ﻧﻤﻴﺪﻥ‪«.‬‬ ‫»ﺍﻳﻦ ﻋﻜﺴﺎ ﻛﻪ ﻣﻴﮕﻴﺪ ﺍﻻﻥ ﻫﻤﺮﺍﻫﺘﻮﻧﻪ؟«‬ ‫»ﻧﻪ‪ ،‬ﻣﺘﺄﺳﻔﺎﻧﻪ ﺍﻻﻥ ﻫﻤﺮﺍﻫﻢ ﻧﻴﺴﺘﻦ‪«.‬‬ ‫ﺳﺆﺍﻻﺕ ﻣﺘﻌﺪﺩﻯ ﺩﺭ ﺫﻫﻦ ﺍﺭﻳﻚ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺖ ﺍﻳﻦ ﻳﻜﻰ ﺭﺍ ﺑﭙﺮﺳﺪ‪» :‬ﺑﺎﺷﻪ‪ ،‬ﭘﺲ ﮔﻴﺮﻡ ﻛﻪ‬ ‫ﺣﺮﻓﺘﻮﻥ ﺩﺭﺳﺖ ﺑﺎﺷﻪ‪ .‬ﻓﻜﺮ ﻣﻰﻛﻨﻴﺪ ﭼﺮﺍ ﺗﺎ ﺣﺎﻻ ﻛﺴﻰ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﻭ ﻧﻔﻬﻤﻴﺪﻩ‪ ،‬ﺁﻗﺎﻯ ﻛﺎﻧﺘﻮﺭ؟«‬ ‫»ﺧﺐ ﻫﻤﻮﻥ ﻃﻮﺭ ﻛﻪ ﻋﺮﺽ ﻛﺮﺩﻡ‪ ،‬ﻧﻤﻴﺸﻪ ﻫﻤﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﻭ ﺑﻔﻬﻤﻦ‪ .‬ﭘﺲ ﺍﮔﻪ ﻛﺴﻰ ﻫﻢ ﻓﻬﻤﻴﺪﻩ‬ ‫ﺑﺎﺷﻪ‪ ،‬ﻣﺎ ﻣﺘﻮﺟﻪ ﻧﻤﻰﺷﺪﻳﻢ‪«.‬‬ ‫»ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺍﻳﻦﻗﺪﺭ ﺳﺎﺩﻩﺍﺱ ﻛﻪ ﺑﻪ ﻧﻈﺮﻡ ﻫﻤﻪ ﺑﺎﻳﺪ ﻓﻬﻤﻴﺪﻩ ﺑﺎﺷﻦ‪«.‬‬ ‫»ﻭﻟﻰ ﺷﻤﺎ ﺧﻮﺩﺗﻮﻥ ﻫﻴﭻﻭﻗﺖ ﻣﺘﻮﺟﻪ ﻧﺸﺪﻳﺪ‪«.‬‬ ‫»ﻛﻪ ﭼﻰ؟«‬ ‫»ﺷﻤﺎ ﺑﺎﻳﺪ ﻣﺘﻮﺟﻪ ﻣﻰﺷﺪﻳﻦ‪ .‬ﺧﻮﺩﻡ ﺍﺯ ﺭﻭﻯ ﻧﻈﺮﻳﻪﻯ ﺷﻤﺎ ﺍﻳﻦ ﻗﻀﻴﻪ ﺭﻭ ﻣﺘﻮﺟﻪ ﺷﺪﻡ‪«.‬‬ ‫ﻓﻴﻠﻴﭗ ﻣﻨﺘﻈﺮ ﺟﻮﺍﺏ ﻣﺎﻧﺪ‪ ،‬ﺍﻣﺎ ﺍﺯ ﺁﻥﺟﺎ ﻛﻪ ﺑﻪ ﻧﻈﺮ ﻧﻤﻰﺭﺳﻴﺪ ﺟﻮﺍﺑﻰ ﺩﺭ ﻛﺎﺭ ﺑﺎﺷﺪ‪ ،‬ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺑﺎﻳﺪ‬ ‫ﻗﺒﻮﻝ ﻛﻨﻴﺪ‪ .‬ﺭﻭﺷﻰ ﻛﻪ ﻣﻦ ﺑﻪ ﻛﺎﺭ ﺑﺮﺩﻡ ﻳﻪ ﺟﻮﺭﺍﻳﻰ ﭼﻴﺰ ﺑﻮﺩ‪ «....‬ﻓﻴﻠﻴﭗ ﻟﺤﻈﻪﺍﻯ ﺗﺄﻣﻞ ﻛﺮﺩ ﺗﺎ ﻭﺍژﻩﻯ‬ ‫ﺩﺭﺳﺖ ﺭﺍ ﺑﻴﺎﺑﺪ‪» .‬ﺍﺯ ﻧﻈﺮ ﺷﻤﺎ ﺧﻼﻑ ﻋﺮﻑ ﺑﻮﺩ‪«.‬‬ ‫ﺍﺭﻳﻚ ﺑﻪ ﻧﻮﺷﻴﺪﻥ ﻟﻴﻮﺍﻥ ﻭﻳﺴﻜﻰ ﻛﻪ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ ﺗﺎ ﺁﻥ ﻟﺤﻈﻪ ﻓﺮﺍﻣﻮﺷﺶ ﻛﺮﺩﻩ ﺑﺎﺷﺪ‪ ،‬ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪.‬‬ ‫»ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻣﺘﻮﺟﻪ ﺑﺸﻴﺪ ﺍﻣﻜﺎﻥ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ ﺭﻭ ﻧﺸﻮﻥ ﻣﻴﺪﻩ‪ ،‬ﻣﺠﺒﻮﺭ ﺷﺪﻡ ﺑﺮﺍﺗﻮﻥ ﺑﺎﺯﺵ ﻛﻨﻢ‪.‬‬ ‫ﺭﻭ ﻛﺎﻏﺬ ﺩﺍﺭﻩ ﺩﺍﺩ ﻣﻰﺯﻧﻪ‪ ،‬ﺍﻣﺎ ﺷﻤﺎ ﻣﺘﻮﺟﻪ ﻧﺸﺪﻳﺪ‪«.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﻧﻤﻰﺷﻪ‪«...‬‬ ‫»ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﺍﻧﺘﻈﺎﺭ ﺯﻳﺎﺩﻳﻪ ﻛﻪ ﺩﺭ ﻋﺮﺽ ﭼﻨﺪ ﺩﻗﻴﻘﻪ ﻣﺘﻮﺟﻪ ﺑﺸﻴﺪ‪ ،‬ﺍﻣﺎ ﻧﻤﻰﺩﻭﻧﻢ ﭼﻄﻮﺭ ﺍﻳﻦ ﻫﻤﻪ‬ ‫ﺳﺎﻝ ﻛﺴﻰ ﻣﺘﻮﺟﻬﺶ ﻧﺸﺪﻩ‪«.‬‬ ‫ﺍﺭﻳﻚ ﺍﺑﺮﻭﻳﺶ ﺭﺍ ﺑﺎﻻ ﺑﺮﺩ‪.‬‬ ‫ﻓﻴﻠﻴﭗ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺍﻭﻥ ﻧﻮﺷﺘﻪ ﺑﻴﺎﻧﮕﺮ ﻗﺎﻃﻊ ﺍﻣﻜﺎﻥ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻧﻪ‪«.‬‬ ‫ﺍﺭﻳﻚ ﺷﻚ ﺩﺍﺷﺖ ﻛﻪ ﻣﺨﺎﻃﺒﺶ ﺩﻳﻮﺍﻧﻪ ﻧﺒﺎﺷﺪ‪ ،‬ﺍﻣﺎ ﺑﻪ ﺍﻭ ﻓﺮﺻﺖ ﺩﺍﺩ‪.‬‬ ‫ﻓﻴﻠﻴﭗ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺣﺪﺍﻗﻞ ﺍﻣﻜﺎﻥ ﺳﻔﺮ ﺑﻪ ﮔﺬﺷﺘﻪ‪ .‬ﺁﻳﻨﺪﻩ ﻳﻪ ﻣﻔﻬﻤﻮﻡ ﻛﺎﻣ ً‬ ‫ﻼ ﺟﺪﺍﺳﺖ‪«.‬‬ ‫ﺍﺭﻳﻚ ﺩﻭﺑﺎﺭﻩ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻧﻮﺷﺘﻪﻫﺎ ﺭﺍ ﻧﺰﺩﻳﻚ ﺻﻮﺭﺗﺶ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﺁﻥﻫﺎ ﺭﺍ ﺑﺮﺭﺳﻰ ﻛﺮﺩ‪.‬‬ ‫ﻓﻴﻠﻴﭗ ﺑﺪﻭﻥ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻦ ﻛﻪ ﺍﺭﻳﻚ ﺩﻳﮕﺮ ﺑﻪ ﺍﻭ ﺗﻮﺟﻪ ﭼﻨﺪﺍﻧﻰ ﻧﻤﻰﻛﻨﺪ‪ ،‬ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺣﺘﺎ ﺑﻪ ﺭﻭﺵ‬ ‫ﺩﺳﺘﻴﺎﺑﻰ ﺑﻬﺶ ﻫﻢ ﺍﺷﺎﺭﻩ ﻣﻰﻛﻨﻪ‪«.‬‬ ‫ﻫﻤﻪ ﭼﻴﺰ ﺩﺍﺷﺖ ﺑﺮﺍﻯ ﺍﺭﻳﻚ ﻣﻌﻨﺎ ﭘﻴﺪﺍ ﻣﻰﻛﺮﺩ‪ .‬ﺍﻟﺒﺘﻪ! ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ! ﻭ ﺁﻥ ﭼﻨﺎﻥ ﺳﺎﺩﻩ ﺑﻮﺩ ﻛﻪ‬ ‫ﻧﻤﻰﺷﺪ ﮔﻔﺖ ﺍﺷﺘﺒﺎﻫﻰ ﺭﺥ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﮔﺮﭼﻪ ﺑﻪ ﻃﻮﺭ ﻏﺮﻳﺰﻯ ﺍﺣﺴﺎﺱ ﻣﻰﻛﺮﺩ ﺍﺷﻜﺎﻟﻰ ﺩﺭ ﺁﻥ‪ ،‬ﺟﺎ‬ ‫ﺧﻮﺵ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺑﻴﺶ ﺍﺯ ﺣﺪ ﺳﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﻣﻨﻄﻖ ﺍﺯ ﺁﻥ ﺍﺳﻨﺎﺩ ﭘﺸﺘﻴﺒﺎﻧﻰ ﻣﻰﻛﺮﺩ‪ .‬ﺍﮔﺮ ﺍﻳﻦﻗﺪﺭ‬ ‫ﺳﺎﺩﻩ ﺑﻮﺩ‪ ،‬ﭼﻪﻃﻮﺭ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﻛﺴﻰ ﺑﻪ ﺁﻥ ﺩﺳﺖ ﻧﻴﺎﻓﺘﻪ ﺑﻮﺩ؟ ﺩﺭ ﻋﺠﺐ ﺑﻮﺩ ﻛﻪ ﭼﺮﺍ ﺧﻮﺩﺵ ﻭﻗﺘﻰ‬ ‫ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺑﻪ ﺁﻥ ﻧﻮﺷﺘﻪﻫﺎ ﻧﮕﺎﻩ ﻛﺮﺩ‪ ،‬ﻣﺘﻮﺟﻪ ﻧﺸﺪﻩ ﺑﻮﺩ‪ .‬ﺭﻭﺵ ﻣﺤﺎﺳﺒﺎﺕ ﻛﻤﻰ ﻏﻴﺮﻋﺎﺩﻯ ﺑﻮﺩ‪،‬‬ ‫ﺍﻣﺎ ﻓﻘﻂ ﻫﻤﻴﻦ ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺑﺴﻴﺎﺭ ﺳﺎﺩﻩ‪.‬‬ ‫ﺩﻳﮕﺮ ﺻﺤﺒﺖ ﻓﻴﻠﻴﭗ ﺗﻤﺎﻡ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺍﺭﻳﻚ ﭘﺮﺳﻴﺪ‪» :‬ﺍﻳﻦ ﺭﻭ ﺑﻪ ﻛﺲ ﺩﻳﮕﻪﺍﻯ ﻫﻢ ﻧﺸﻮﻥ ﺩﺍﺩﻳﺪ؟«‬ ‫»ﻧﻪ‪«.‬‬ ‫»ﭘﺲ ﻣﻰﺧﻮﺍﻳﺪ ﺑﺎﻫﺎﺵ ﭼﻪ ﻛﺎﺭ ﻛﻨﻴﺪ؟«‬ ‫»ﺷﻤﺎ ﺍﮔﻪ ﺟﺎﻯ ﻣﻦ ﺑﻮﺩﻳﺪ ﭼﻰ ﻛﺎﺭ ﻣﻰﻛﺮﺩﻳﺪ؟«‬ ‫»ﺑﻪ ﻛﺴﻰ ﻧﺸﻮﻥ ﻣﻰﺩﺍﺩﻡ ﻛﻪ ﺑﺘﻮﻧﻪ ﺑﻬﺘﺮ ﻣﺘﻮﺟﻪ ﺑﺸﻪ‪ ،‬ﻧﻈﺮﺷﻮﻥ ﺭﻭ ﻣﻰﺧﻮﺍﺳﺘﻢ ﻭ ﺑﻌﺪ‪«...‬‬ ‫ﺍﺭﻳﻚ ﻟﺤﻈﻪﺍﻯ ﺍﺯ ﺣﺮﻑ ﺯﺩﻥ ﺍﻳﺴﺘﺎﺩ ﻭ ﻓﻴﻠﻴﭗ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺖ ﻛﻪ ﺟﻤﻠﻪﻯ ﺍﻭ ﺭﺍ ﻛﺎﻣﻞ ﻛﻨﺪ‪» :‬ﺍﻣﺘﺤﺎﻧﺶ‬ ‫ﻣﻰﻛﺮﺩﻳﺪ؟«‬ ‫»ﻧﻪ‪ .‬ﺳﺎﺩﻩ ﻧﺒﺎﺵ‪ .‬ﺗﺎ ﻭﻗﺘﻰ ﻛﻪ ﻓﺮﺿﻴﻪﺍﺵ ﻛﺎﻣﻞ ﻧﺸﺪﻩ‪ ،‬ﻧﻪ‪ .‬ﻧﻪ ﺗﺎ ﻭﻗﺘﻰ ﻛﻪ ﻛﺎﻣ ً‬ ‫ﻼ ﻣﻔﻬﻮﻣﺶ ﺭﻭ ﺩﺭﻙ‬ ‫ﻧﻜﺮﺩﻳﻢ‪ .‬ﺍﻻﻥ ﺣﺘﺎ ﻗﺎﺑﻞ ﺗﺼﻮﺭ ﻫﻢ ﻧﻴﺴﺖ‪«.‬‬ ‫»ﻓﻜﺮ ﻧﻜﻨﻢ ﺑﺸﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﻭ ﺑﻪ ﻫﻤﻪ ﮔﻔﺖ‪ .‬ﻛﺎﻓﻴﻪ ﺑﻪ ﻋﻮﺍﻗﺒﺶ ﻓﻜﺮ ﻛﻨﻴﺪ! ﺍﻭﻥ ﻭﻗﺖ ﻣﻠﺖ ﻫﻤﻪ‬ ‫ﻣﻰﺧﻮﺍﻥ ﺑﺮﮔﺮﺩﻥ ﺑﻪ ﮔﺬﺷﺘﻪ‪«.‬‬ ‫»ﺩﺭﺳﺘﻪ‪ .‬ﺷﺎﻳﺪ ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮﻩ ﻛﻪ ﻗﺒ ً‬ ‫ﻼ ﺍﺯ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﭼﻴﺰﻯ ﻧﺸﻨﻴﺪﻳﻢ‪ .‬ﺑﻌﻴﺪﻩ ﻛﻪ ﻛﺴﻰ ﺗﺎ ﺣﺎﻻ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺳﻘﻒ ﺍﺗﺎﻕ ﻧﮕﺎﻫﻰ ﺍﻧﺪﺍﺧﺖ‪ .‬ﻳﻚ ﺩﻭﺭﺑﻴﻦ ﺁﻥﺟﺎ ﻣﺴﺘﻘﻴﻢ ﺑﻪ ﺳﻮﻯ ﭼﺸﻤﺎﻥ ﺍﻭ ﻗﺮﺍﺭ ﺩﺍﺷﺖ؛ ﺩﻭﺭﺑﻴﻨﻰ‬ ‫ﻛﻪ ﻓﻴﻠﻴﭗ ﺍﻧﺘﻈﺎﺭ ﻧﺪﺍﺷﺖ ﺁﻥ ﺭﺍ ﭘﻨﻬﺎﻥ ﺩﺭ ﺷﻜﺎﻑ ﺩﻳﻮﺍﺭ ﺑﺒﻴﻨﺪ‪ .‬ﻛﺘﺶ ﺭﺍ ﺩﺭﺁﻭﺭﺩ ﻭ ﺁﻥ ﺭﺍ ﻛﻨﺎﺭ ﺩﺭ‬ ‫ﺁﻭﻳﺰﺍﻥ ﻛﺮﺩ‪ .‬ﺍﺭﻳﻚ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻳﻚ ﻟﻴﻮﺍﻥ ﻭﻳﺴﻜﻰ ﺭﺍ ﻛﻪ ﺭﻭﻯ ﺩﺳﺘﻪﻯ ﺻﻨﺪﻟﻰ ﺟﺎ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ‪،‬‬ ‫ﺑﺮﻣﻰﺩﺍﺷﺖ ﮔﻔﺖ‪» :‬ﺭﺍﺣﺖ ﺑﺎﺷﻴﺪ‪ .‬ﻣﻰﺩﻭﻧﻢ ﺧﻮﻧﻪﺍﻡ ﻓﻘﻴﺮﺍﻧﻪ ﺍﺳﺖ‪ ،‬ﻭﻟﻰ ﺣﻘﻴﻘﺘﺎً ﺯﻳﺎﺩ ﻣﻬﻤﻮﻥ ﺑﺮﺍﻡ‬ ‫ﻧﻤﻴﺎﺩ‪ «.‬ﻓﻴﻠﻴﭗ ﺑﻪ ﺳﻤﺖ ﺗﻨﻬﺎ ﺻﻨﺪﻟﻰ ﺩﻳﮕﺮ ﺍﺗﺎﻕ ﺭﻓﺖ ﻭ ﺩﺭﺳﺖ ﻣﻘﺎﺑﻞ ﺍﺭﻳﻚ ﻧﺸﺴﺖ‪.‬‬ ‫ﺍﺭﻳﻚ ﭘﺮﺳﻴﺪ‪» :‬ﭼﺮﺍ ﻣﺪﺍﻡ ﺳﺎﻋﺖ ﺭﻭ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻴﺪ؟«‬ ‫»ﺧﺐ‪ ،‬ﺭﺍﺳﺘﺶ ﺑﺎﻳﺪ ﺑﺮﻡ ﺳﺮﺍﻍ ﻳﻪ ﺁﺯﻣﺎﻳﺶ ﻧﻴﻤﻪ ﻛﺎﺭﻩ‪ «.‬ﻓﻴﻠﻴﭗ ﺍﻳﻦ ﺭﺍ ﮔﻔﺖ ﻭ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺳﺎﻋﺘﺶ‬ ‫ﻧﮕﺎﻩ ﻛﺮﺩ‪...18:50 ....‬‬ ‫»ﺗﻮ ﺑﺮﻟﻴﻦ؟«‬ ‫»ﺑﻠﻪ‪ ،‬ﭘﺮﻭﺍﺯ ﺩﺍﺭﻡ‪«.‬‬ ‫»ﻛﻰ؟«‬ ‫ﻓﻴﻠﻴﭗ ﻟﺤﻈﻪﺍﻯ ﺗﺄﻣﻞ ﻛﺮﺩ ﻭ ﺑﻌﺪ ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﻧﺼﻒ ﺷﺐ!«‬ ‫»ﺧﺐ‪ ،‬ﺭﺍﺟﻊ ﺑﻪ ﭼﻰ ﻣﻰﺧﻮﺍﺳﺘﻴﺪ ﺑﺎ ﻣﻦ ﺣﺮﻑ ﺑﺰﻧﻴﺪ؟«‬ ‫ﻓﻴﻠﻴﭗ ﺑﺎ ﺍﺷﺎﺭﻩ ﺑﻪ ﻧﻮﺷﺘﻪﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﺩﺳﺖ ﺍﺭﻳﻚ ﺑﻮﺩ‪ ،‬ﭘﺮﺳﻴﺪ‪» :‬ﻳﺎﺩﺗﻮﻥ ﻫﺴﺖ ﺗﻮﻯ ﺍﻭﻥ ﻣﻘﺎﻟﻪ ﭼﻰ‬ ‫ﻧﻮﺷﺘﻴﺪ‪ ،‬ﺁﻗﺎﻯ ﮔﻠﺪﺑﺮگ؟«‬ ‫ﺍﺭﻳﻚ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺑﺮﮔﻪﻫﺎ ﺭﺍ ﻭﺭﻕ ﻣﻰ ﺯﺩ‪ ،‬ﮔﻔﺖ‪» :‬ﺗﺎ ﺣﺪ ﺯﻳﺎﺩﻯ‪ ،‬ﺑﻠﻪ‪«.‬‬ ‫»ﭘﺲ ﺍﺯﺗﻮﻥ ﻣﻰﺧﻮﺍﻡ ﻛﻪ ﺑﻪ ﭼﻬﺎﺭ ﺻﻔﺤﻪﺍﻯ ﻛﻪ ﺑﻪ ﺍﻧﺘﻬﺎﺵ ﺍﺿﺎﻓﻪ ﻛﺮﺩﻡ‪ ،‬ﺗﻮﺟﻪ ﻛﻨﻴﺪ‪«.‬‬ ‫ﺍﺭﻳﻚ ﻓﻮﺭﺍ ً ﺻﻔﺤﺎﺕ ﺭﺍ ﻭﺭﻕ ﺯﺩ ﺗﺎ ﺑﻪ ﭼﻬﺎﺭ ﺻﻔﺤﻪﻯ ﺁﺧﺮ ﺭﺳﻴﺪ‪....17:54...‬‬ ‫ﻓﻴﻠﻴﭗ ﺳﺎﻛﺖ ﻧﺸﺴﺖ ﻭ ﺍﺭﻳﻚ ﺭﺍ ﺩﺭ ﺣﻴﻦ ﺧﻮﺍﻧﺪﻥ ﻧﻮﺷﺘﻪﻫﺎ ﺯﻳﺮ ﻧﻈﺮ ﮔﺮﻓﺖ‪ .‬ﺍﺑﺘﺪﺍ ﭼﻬﺮﻩﺍﺵ ﺣﺎﻟﺘﻰ‬ ‫ﻧﺪﺍﺷﺖ‪ ،‬ﺍﻧﺪﻛﻰ ﺑﻌﺪ ﺑﻪ ﭘﻴﺸﺎﻧﻰﺍﺵ ﭼﺮﻭﻙ ﺍﻧﺪﺍﺧﺖ‪ ،‬ﺑﻌﺪ ﻣﺪﺗﻰ ﻛﺎﻭﺵﮔﺮﺍﻧﻪ ﺑﻪ ﺑﺮﮔﻪﻫﺎ ﭼﺸﻢ ﺩﻭﺧﺖ‬ ‫ﻭ ﺳﭙﺲ ﺑﺎ ﺳﺮﮔﺸﺘﮕﻰ ﺍﻧﮕﺸﺘﺎﻧﺶ ﺭﺍ ﺭﻭﻯ ﺁﻥﻫﺎ ﻛﺸﻴﺪ‪ .‬ﻓﻴﻠﻴﭗ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺳﺎﻋﺘﺶ ﻧﮕﺎﻩ ﻛﺮﺩ‪.13:51...‬‬ ‫ﺳﺮﺵ ﺭﺍ ﻛﻪ ﺑﺎﻻ ﺁﻭﺭﺩ‪ ،‬ﻓﻬﻤﻴﺪ ﺍﺭﻳﻚ ﺑﻪ ﺍﻭ ﻧﮕﺎﻩ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺍﺭﻳﻚ ﺷﺮﻭﻉ ﺑﻪ ﺣﺮﻑ ﺯﺩﻥ ﻛﺮﺩ‪» :‬ﻧﻜﺘﻪ ﺍﺻﻠﻰﺍﺵ ﺭﺍ ﻧﻤﻰﻓﻬﻤﻢ‪«...‬‬ ‫ﻓﻴﻠﻴﭗ ﻗﺒﻞ ﺍﺯ ﺁﻥﻛﻪ ﺍﻭ ﺑﺘﻮﺍﻧﺪ ﺍﺩﺍﻣﻪ ﺩﻫﺪ‪ ،‬ﺑﻪ ﺳﺮﻋﺖ ﮔﻔﺖ‪» :‬ﺧﺐ‪ ،‬ﺑﻠﻪ‪ ،‬ﺣﻘﻴﻘﺘﺎً ﻧﺘﻴﺠﻪﮔﻴﺮﻯ ﻛﺎﻣﻠﻰ‬ ‫ﻧﻜﺮﺩﻡ‪ «.‬ﺁﻥﻗﺪﺭ ﺳﺮﻳﻊ ﺣﺮﻑ ﺯﺩ ﻛﻪ ﻛﻠﻤﺎﺕ ﺑﺮﺍﻯ ﺧﺮﻭﺝ ﺍﺯ ﺩﻫﺎﻧﺶ ﻓﺮﺻﺖ ﻛﺎﻓﻰ ﻧﺪﺍﺷﺘﻨﺪ‪.‬‬ ‫»ﻧﺘﻴﺠﻪﺍﺵ ﭼﻴﻪ؟«‬ ‫ﻓﻴﻠﻴﭗ ﻫﻴﺠﺎﻥﺯﺩﻩ ﭘﺮﺳﻴﺪ‪» :‬ﻣﺘﻮﺟﻪ ﻧﻤﻰﺷﻴﺪ؟«‬ ‫ﺍﺭﻳﻚ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﻧﻮﺷﺘﻪﻫﺎ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﺑﻴﺸﺘﺮ ﺍﻳﻦ ﻋﻤﻠﻴﺎﺕ ﺭﻳﺎﺿﻰ ﺑﻪ ﺟﺎﻯ ﺧﺎﺻﻰ ﺧﺘﻢ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﺁﻥ ﺑﻴﺮﻭﻥ‪ ،‬ﺑﺎﺭﺍﻥ ﻣﻰﺑﺎﺭﻳﺪ‪ .‬ﻓﻴﻠﻴﭗ ﺍﺯ ﺯﻳﺮ ﺍﻳﻮﺍﻥ ﻣﺴﻘﻒ ﺑﻴﺮﻭﻥ ﺁﻣﺪ ﻭ ﻣﺪﺗﻰ ﺭﺍ ﺯﻳﺮ ﺑﺎﺭﺍﻥ ﮔﺬﺭﺍﻧﺪ‪.‬‬ ‫ﻛﻔﺶﻫﺎﻳﺶ ﮔﻞﺁﻟﻮﺩ ﻭ ﻛﺘﺶ ﺧﻴﺲ ﺷﺪ‪ .‬ﺑﻪ ﺧﻴﺎﺑﺎﻥ ﻧﮕﺎﻩ ﻛﺮﺩ ﻛﻪ ﭼﻮﻥ ﻗﺒﺮ‪ ،‬ﺑﻰﺣﺮﻛﺖ ﺑﻮﺩ‪ .‬ﺩﻭﺑﺎﺭﻩ‬ ‫ﺭﻭﻯ ﺍﻳﻮﺍﻥ ﺭﻓﺖ‪ ،‬ﻛﻼﻫﺶ ﺭﺍ ﻋﻘﺐ ﺩﺍﺩ‪ ،‬ﻧﻔﺲ ﻋﻤﻴﻘﻰ ﻛﺸﻴﺪ‪ ،‬ﺩﺭ ﻧﻬﺎﻳﺖ ﺯﻧﮓ ﺩﺭ ﺭﺍ ﺑﻪ ﺻﺪﺍ ﺩﺭﺁﻭﺭﺩ‬ ‫ﻭ ﺑﻌﺪ ﺑﺎ ﺩﻗﺖ ﺷﺮﻭﻉ ﻛﺮﺩ ﺑﻪ ﺗﻤﻴﺰ ﻛﺮﺩﻥ ﻛﻔﺶﻫﺎﻳﺶ ﺭﻭﻯ ﭘﺎﺩﺭﻯ‪.‬‬ ‫‪ ...20:19‬ﺩﺭ ﺭﺍ ﺗﻨﻬﺎ ﺳﺎﻛﻦ ﺧﺎﻧﻪ ﺑﺎﺯ ﻛﺮﺩ‪ .‬ﺑﻪ ﻗﻴﺎﻓﻪﺍﺵ ﻣﻰﺧﻮﺭﺩ ﻛﻪ ﻫﻔﺘﺎﺩ ﺳﺎﻟﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﻟﺒﺎﺱ‬ ‫ﺧﻮﺍﺏ ﺑﻪ ﺗﻦ ﺩﺍﺷﺖ‪ .‬ﻓﻴﻠﻴﭗ ﺍﻭ ﺭﺍ ﻓﻘﻂ ﺩﺭ ﻳﻚ ﻋﻜﺲ ﺩﻳﺪﻩ ﺑﻮﺩ‪ .‬ﺩﺭ ﺁﻥ ﻋﻜﺲ ﺟﻮﺍﻥﺗﺮ ﻣﻰﻧﻤﻮﺩ‪ .‬ﺍﻳﻦ‬ ‫ﻭﺿﻊ ﻏﻴﺮﻃﺒﻴﻌﻰ ﻟﺤﻈﻪﺍﻯ ﻓﻴﻠﻴﭗ ﺭﺍ ﺯﺑﺎﻥﺑﺴﺘﻪ ﻧﮕﺎﻩ ﺩﺍﺷﺖ‪ .‬ﺩﺭ ﻧﻬﺎﻳﺖ ﻭﻗﺘﻰ ﺯﺑﺎﻥ ﮔﺸﻮﺩ ﻛﻪ ﻓﻬﻤﻴﺪ‬ ‫ﺑﺎﻳﺪ ﺑﻪ ﻧﮕﺎﻩ »ﺍﻳﻦ ﻭﻗﺖ ﺷﺐ ﭼﻰ ﻣﻰﺧﻮﺍﻯ؟« ﻣﺨﺎﻃﺒﺶ ﭘﺎﺳﺦ ﺩﻫﺪ‪.‬‬ ‫»ﺷﻤﺎ ﺁﻗﺎﻯ ﺍﺭﻳﻚ ﮔﻠﺪﺑﺮگ ]‪ [2‬ﻫﺴﺘﻴﺪ؟«‬ ‫»ﺑﻠﻪ؟«‬ ‫»ﺑﻨﺪﻩ ﻓﻴﻠﻴﭗ ﻛﺎﻧﺘﻮﺭ ]‪ [3‬ﺍﺯ ﻣﺮﻛﺰ ﺁﺯﻣﺎﻳﺸﮕﺎﻩﻫﺎﻯ ﺗﺤﻘﻴﻘﺎﺗﻰ ﺳﺮﺝ ]‪ [4‬ﻫﺴﺘﻢ‪ .‬ﻣﺎﻳﻠﻢ ﻛﻪ ﺑﺎ ﺷﻤﺎ‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﺍﻳﻦ ﻣﻘﺎﻟﻪ ﻛﻪ ﺩﻭﺍﺯﺩﻩ ﺳﺎﻝ ﭘﻴﺶ ﻧﻮﺷﺘﻴﺪ ﺻﺤﺒﺖ ﻛﻨﻢ‪ «.‬ﻓﻴﻠﻴﭗ ﻳﻚ ﺩﺳﺘﻪ ﺑﺮﮔﻪ ﺍﺯ ﻳﻜﻰ‬ ‫ﺍﺯ ﺟﻴﺐﻫﺎﻯ ﻛﺘﺶ ﺩﺭﺁﻭﺭﺩ ﻭ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﺍﺭﻳﻚ ﮔﺮﻓﺖ‪ .‬ﻣﺪﺗﻰ ﻃﻮﻝ ﻛﺸﻴﺪ ﺗﺎ ﺍﺭﻳﻚ ﺍﺯ ﺷﻮﻙ‬ ‫ﻏﺎﻓﻠﮕﻴﺮﻯ ﺭﻫﺎﻳﻰ ﻳﺎﺑﺪ‪.‬‬ ‫»ﺍﻻﻥ ﺳﺎﻋﺖ ‪ 10‬ﺷﺒﻪ‪ ،‬ﺁﻗﺎﻯ ﻛﺎﻧﺘﻮﺭ‪ .‬ﺷﺎﻳﺪ ﺑﻬﺘﺮ ﺑﺎﺷﻪ ﺻﺒﺢ ﺩﺭ ﺍﻳﻦ ﺑﺎﺭﻩ ﺻﺤﺒﺖ ﻛﻨﻴﻢ‪«.‬‬ ‫»ﻣﻦ ﺭﻭ ﺑﺒﺨﺸﻴﺪ ﺁﻗﺎﻯ ﮔﻠﺪﺑﺮگ‪ ،‬ﻭﻟﻰ ﺍﻳﻦ ﻳﻪ ﻣﻮﺿﻮﻉ ﻓﻮﺭﻳﻪ‪ .‬ﻭﮔﺮﻧﻪ ﺍﻳﻦ ﻭﻗﺖ ﺷﺐ ﻣﺰﺍﺣﻤﺘﻮﻥ‬ ‫ﻧﻤﻰﺷﺪﻡ‪«.‬‬ ‫ﺍﺭﻳﻚ ﺑﺮﮔﻪﻫﺎ ﺭﺍ ﮔﺮﻓﺖ‪ ،‬ﺑﻪ ﺯﻭﺭ ﻧﻴﻢ ﻧﮕﺎﻫﻰ ﺑﻬﺸﺎﻥ ﺍﻧﺪﺍﺧﺖ ﻭ ﺑﺎ ﺳﺮﮔﺸﺘﮕﻰ ﺑﻪ ﻣﻬﻤﺎﻧﺶ ﺯﻝ ﺯﺩ‪.‬‬ ‫»ﺍﺟﺎﺯﻩ ﺑﺪﻳﺪ ﺍﻳﻦﻃﻮﺭ ﺷﺮﻭﻉ ﻛﻨﻴﻢ ﻛﻪ ﺷﻤﺎ ﺑﻪ ﻣﻦ ﺑﮕﻴﺪ ﺑﺮﺍﻯ ﭼﻰ ﺍﻻﻥ ﺍﻳﻦﺟﺎ ﻫﺴﺘﻴﺪ ﻭ ﭼﺮﺍ‬ ‫ﻣﻰﺧﻮﺍﻳﺪ ﺑﺎ ﻣﻦ ﺭﺍﺟﻊ ﺑﻪ ﭼﻴﺰﺍﻳﻰ ﺣﺮﻑ ﺑﺰﻧﻴﺪ ﻛﻪ ﺩﻭﺍﺯﺩﻩ ﺳﺎﻝ ﭘﻴﺶ ﻧﻮﺷﺘﻢ؟ ﺍﻳﻦ ﺁﺯﻣﺎﻳﺸﮕﺎﻩﻫﺎﻯ‬ ‫ﺳﺮﺝ ﺩﻳﮕﻪ ﻛﺪﻭﻡ ﮔﻮﺭﻳﻪ؟ ﺗﺎ ﺣﺎﻻ ﭼﻴﺰﻯ ﺍﺯﺵ ﻧﺸﻨﻴﺪﻡ‪«.‬‬ ‫»ﻣﺮﻛﺰ ﺁﺯﻣﺎﻳﺸﮕﺎﻩﻫﺎﻯ ﺗﺤﻘﻴﻘﺎﺗﻰ ﺳﺮﺝ ﺗﻮﻯ ﺑﺮﻟﻴﻨﻪ‪ ،‬ﻗﺮﺑﺎﻥ‪ .‬ﻣﺎ ﺑﻴﺸﺘﺮ ﺑﺎ ﺗﺤﻘﻴﻖ ﺭﺍﺟﻊ ﺑﻪ ﺫﺭﺍﺕ‬ ‫ﺯﻳﺮﺍﺗﻤﻰ ﺳﺮ ﻭ ﻛﺎﺭ ﺩﺍﺭﻳﻢ‪ .‬ﺍﻣﺎ ﺍﻭﻥ ﺍﺻ ً‬ ‫ﻼ ﻣﻬﻢ ﻧﻴﺴﺖ‪ .‬ﻣﻦ ﺍﻳﻦﺟﺎﻡ ﭼﻮﻥ ﻳﻚ ﻓﺮﺿﻴﻪﻯ ﺑﺴﻴﺎﺭ ﺟﺎﻟﺐ‬ ‫ﺭﻭ ﺑﺮ ﺍﺳﺎﺱ ﺍﻳﻦ ﻧﻮﺷﺘﻪﻫﺎﻯ ﺷﻤﺎ ﻃﺮﺍﺣﻰ ﻛﺮﺩﻡ ﻭ ﻣﺎﻳﻠﻢ ﺑﺎﻫﺎﺗﻮﻥ ﺭﺍﺟﻊ ﺑﻬﺶ ﺻﺤﺒﺖ ﻛﻨﻢ‪«.‬‬ ‫ﺍﺭﻳﻚ ﺍﻧﺪﻙ ﺯﻣﺎﻧﻰ ﻣﻮﺿﻮﻉ ﺭﺍ ﺩﺭ ﺫﻫﻨﺶ ﺑﺎﻻ ﻭ ﭘﺎﻳﻴﻦ ﻛﺮﺩ‪ .‬ﺍﺯ ﺁﻥﻫﺎ ﻧﺒﻮﺩ ﻛﻪ ﻓﺮﺻﺖ ﻣﺎﺟﺮﺍﺟﻮﻳﻰ ﺭﺍ‬ ‫ﺍﺯ ﺩﺳﺖ ﺑﺪﻫﺪ‪.‬‬ ‫»ﺑﺎﺷﻪ‪ ،‬ﺑﻔﺮﻣﺎﻳﻴﺪ‪«.‬‬ ‫ﺑﺮﮔﺸﺖ ﻭ ﺩﺭ ﻳﻚ ﺻﻨﺪﻟﻰ ﮔﻮﺷﻪﻯ ﺍﺗﺎﻕ ﻧﺸﻴﻤﻦ ﻧﺸﺴﺖ‪ .‬ﻓﻴﻠﻴﭗ ﻭﺍﺭﺩ ﺧﺎﻧﻪ ﺷﺪ ﻭ ﺑﻪ ﮔﻮﺷﻪﻯ ﺭﺍﺳﺖ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺑﻴﺴﺖ ﻭ ﻳﻚ ﺩﻗﻴﻘﻪ‬ ‫ﺭﺍﻫﻮﻝ ﺟﺎﻳﺸﻴﻞ‬ ‫ﺍﻣﻴﺮﺳﻴﻨﺎ ﻫﻤﺎﻳﻮﻧﻰ‬

‫ﻓﻴﻠﻴﭗ ]‪ [1‬ﺍﺣﺴﺎﺱ ﻣﻰﻛﺮﺩ ﻛﻪ ﺩﻟﺶ ﺁﺷﻮﺏ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺍﻛﻨﻮﻥ ﻟﺤﻈﻪﺍﻯ ﻓﺮﺍ ﺭﺳﻴﺪﻩ ﺑﻮﺩ‬ ‫ﺑﻪ ﺑﻬﺎﻯ ﺯﺣﻤﺘﻰ ﺩﻭ ﻣﺎﻫﻪ‪ .‬ﺍﺯ ﺍﻳﻦ ﻭﺟﻪ‪ ،‬ﺁﻥ ﺯﺣﻤﺖ ﺩﻭ ﻣﺎﻫﻪ ﺑﻴﻬﻮﺩﻩ ﻣﻰﻧﻤﻮﺩ‪ .‬ﺩﺭ ﺑﻴﺴﺖ ﻭ‬ ‫ﻳﻚ ﺩﻗﻴﻘﻪﻯ ﺑﻌﺪ‪ ،‬ﺍﻣﻜﺎﻥ ﻧﺪﺍﺷﺖ ﺍﺗﻔﺎﻗﻰ ﺭﻭﻯ ﺩﻫﺪ ﻛﻪ ﺍﺭﺯﺵ ﺁﻥ ﻫﻤﻪ ﺯﺣﻤﺖ ﺭﺍ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﺪ‪ .‬ﮔﻔﺘﮕﻮﻳﻰ ﻛﻮﺗﺎﻩ ﺑﺎ ﻳﻚ ﭘﻴﺮﻣﺮﺩ‪ .‬ﭘﻴﺮﻣﺮﺩﻯ ﺑﺴﻴﺎﺭ ﺑﺎﻫﻮﺵ؛ ﺍﻣﺎ ﻓﺮﻕ ﺯﻳﺎﺩﻯ ﻫﻢ ﻧﺪﺍﺷﺖ‪.‬‬ ‫ﺩﻳﺪﺍﺭ ﺍﻳﻦ ﭘﻴﺮﻣﺮﺩ ﺧﺎﺹ ﺗﻨﻬﺎ ﻳﻚ ﺍﺗﻔﺎﻕ ﺑﻮﺩ‪ .‬ﮔﺮﭼﻪ ﺍﻳﻦ ﺍﻭﺍﺧﺮ‪ ،‬ﺍﻋﺘﻘﺎﺩ ﻓﻴﻠﻴﭗ ﺑﻪ ﺍﺗﻔﺎﻗﺎﺕ‬ ‫ﻛﻢ ﻣﻰﺷﺪ ﻭ ﺑﺎﻭﺭﺵ ﺑﻴﺸﺘﺮ ﺑﻪ ﺳﻤﺖ ﺗﻘﺪﻳﺮ ﻣﻴﻞ ﭘﻴﺪﺍ ﻣﻰﻛﺮﺩ‪ .‬ﺑﻪ ﻣﻼﻗﺎﺕ ﺑﺎ ﺍﻳﻦ ﭘﻴﺮﻣﺮﺩ‬ ‫ﺑﻴﺸﺘﺮ ﺍﺯ ﺩﻳﺪﺍﺭ ﻫﺮﻛﺲ ﺩﻳﮕﺮﻯ ﻣﺎﻳﻞ ﺑﻮﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﻫﻤﻪﻯ ﺁﻥ ﺯﺣﻤﺎﺕ ﺭﺍ ﺗﺤﻤﻞ ﻣﻰﻛﺮﺩ‬ ‫ﺗﺎ ﻫﺮ ﻣﺮﺩ ﻳﺎ ﺯﻧﻰ ﺭﺍ‪ ،‬ﭼﻪ ﺟﻮﺍﻥ ﻭ ﭼﻪ ﭘﻴﺮ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﺁﻥ ﻣﻮﺿﻮﻉ ﺑﺒﻴﻨﺪ‪ .‬ﺍﺻﻞ‪ ،‬ﻋﻤﻠﻰ ﺑﻮﺩ‬ ‫ﻛﻪ ﺍﻧﺠﺎﻡ ﻣﻰﺩﺍﺩ‪.‬‬ ‫ﺑﺎ ﺍﻳﻦ ﻓﻜﺮ ﻛﻪ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻛﺎﻓﻰ ﺭﻭﻯ ﺍﻳﻮﺍﻥ ﺍﻳﺴﺘﺎﺩﻩ ﻭ ﺑﻪ ﺩﺭ ﺯﻝ ﺯﺩﻩ ﺍﺳﺖ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﺑﻪ‬ ‫ﺳﺎﻋﺘﺶ ﻧﮕﺎﻩ ﻛﺮﺩ‪ ،20:47...20:48....20:49 .‬ﺛﺎﻧﻴﻪﻫﺎ ﻛﻢ ﻣﻰﺷﺪﻧﺪ‪ .‬ﺯﻣﺎﻥ ﻣﺤﺪﻭﺩ ﺑﻮﺩ‪.‬‬ ‫ﺑﻪ ﻃﺮﺯ ﻣﺴﺨﺮﻩﺍﻯ‪ ،‬ﺍﻣﻜﺎﻥ ﺩﺍﺷﺖ ﺭﻭﺯﻯ ﺑﺮﺳﺪ ﻛﻪ ﺯﻣﺎﻥ ﻣﺤﺪﻭﺩﻳﺖ ﻫﻴﭻ ﭼﻴﺰ ﻧﺒﺎﺷﺪ‪.‬‬

‫ﺍﻳﻦ ﺭﻭﺯﻫﺎ ﻛﻪ ﻛﻢﻛﻢ ﺑﻪ ﺩﻩ ﺳﺎﻟﮕﻰ ﺩﻭﺭ ﻫﻢ ﺟﻤﻊ ﺷﺪﻥ ﺍﻳﻦ ﻃﺮﻓﺪﺍﺭﺍﻥ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬ ‫)ﺑﺎ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻦ ﺳﺎﺑﻘﻪﻯ ﺑﻌﺪ ﻫﻔﺘﻢ(‪ ،‬ﻧﺰﺩﻳﻚ ﻣﻰﺷﻮﻳﻢ‪ ،‬ﺑﻪ ﺑﻬﺎﻧﻪﻯ ﺩﺭ ﺭﺍﻩ ﺑﻮﺩﻥ ﺟﺸﻦ‬ ‫ﺍﻫﺪﺍﻯ ﺟﻮﺍﻳﺰ ﭘﻨﺠﻤﻴﻦ ﺩﻭﺭﻩﻯ ﺟﺎﻳﺰﻩﻯ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‪ ،‬ﺑﻌﻀﻰﻫﺎﻳﻤﺎﻥ ﺑﻪ ﺍﻳﻦ ﻓﻜﺮ‬ ‫ﺍﻓﺘﺎﺩﻩﺍﻳﻢ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺩﻳﺮﺗﺮ ﺷﻮﺩ ﻭ ﻣﺴﺘﻨﺪﺍﺕ ﺍﺯ ﺑﻴﻦ ﺑﺮﻭﺩ ﻭ ﺣﺎﻓﻈﻪﻣﺎﻥ ﻛﻢﺭﻧﮓ ﺷﻮﺩ‪،‬‬ ‫ﺗﺎﺭﻳﺨﭽﻪﻯ ﺍﻳﻦ ﺳﺎﻝﻫﺎ ﺭﺍ ﺑﻨﻮﻳﺴﻴﻢ‪ .‬ﻭﻗﺘﻰ ﺑﻪ ﮔﺴﺘﺮﺵ ﻓﻌﺎﻟﻴﺖﻫﺎﻯ ﺍﻳﻨﺘﺮﻧﺘﻰ ﻫﻮﺍﺩﺍﺭﻯ ﺩﺭ‬ ‫ﺍﻳﺮﺍﻥ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻴﻢ‪ ،‬ﺧﻴﻠﻰﻫﺎﻳﻤﺎﻥ ﺑﻪ ﺍﻳﻦ ﻓﻜﺮ ﻣﻰﻛﻨﻴﻢ ﻛﻪ ﺳﺎﻝﻫﺎ ﺑﻌﺪ‪ ،‬ﺩﺍﺷﺘﻦ ﺭﻭﺍﻳﺖ‬ ‫ﺻﺤﻴﺢ ﻭ ﺗﺤﺮﻳﻒ ﻧﺸﺪﻩﻯ ﺷﻜﻞﮔﻴﺮﻯ ﺍﻳﻦ ﻓﻌﺎﻟﻴﺖﻫﺎ‪ ،‬ﻭﻇﻴﻔﻪﻯ ﺍﻣﺮﻭﺯ ﻣﺎ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫ﮔﺬﺷﺘﻪ ﺍﺯ ﺁﻥ‪ ،‬ﺳﺎﻝﻫﺎ ﺑﻌﺪ ﻛﻪ ﺑﻪ ﻋﻘﺐ ﻧﻈﺮ ﺍﻧﺪﺍﺯﻳﻢ ﻭ ﻣﺴﻴﺮ ﭘﻴﻤﻮﺩﻩ ﺷﺪﻩ ﺭﺍ ﻧﮕﺎﻩ ﻛﻨﻴﻢ‪ ،‬ﺑﻪ‬ ‫ﻳﺎﺩ ﺁﻭﺭﺩﻥ ﺑﺮﺧﻰ ﺍﺯ ﺍﻳﻦ ﺗﺎﺭﻳﺦﻫﺎ ﻟﺬﺕﺑﺨﺶ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫ﺑﺎ ﺗﻤﺎﻡ ﻓﺮﺍﺯ ﻭ ﻧﺸﻴﺐﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﭘﻴﻤﻮﺩﻥ ﺍﻳﻦ ﻣﺴﻴﺮ ﺩﺍﺷﺘﻪﺍﻳﻢ‪ ،‬ﻫﻨﻮﺯ ﺭﻭ ﺑﻪ ﺟﻠﻮ ﺣﺮﻛﺖ‬ ‫ﻣﻰﻛﻨﻴﻢ ﻭ ﻓﻌﻼ ﻛﻪ ﺗﺼﻤﻴﻤﻰ ﺑﺮﺍﻯ ﻛﻨﺎﺭ ﮔﺬﺍﺷﺘﻦ ﺍﻳﻦ ﻣﺴﻴﺮ ﻧﺪﺍﺭﻳﻢ! ﻭ ﻫﻢﭼﻨﺎﻥ ﺍﻳﻦ ﻧﻮﻳﺪ ﺭﺍ‬ ‫ﻣﻰﺩﻫﻴﻢ ﻛﻪ ﺩﺭ ﺁﻳﻨﺪﻩ ﻧﻴﺰ ﺑﺎ ﺑﺎﺯﺑﻴﻨﻰ ﻓﻌﺎﻟﻴﺖﻫﺎﻳﻤﺎﻥ ﻭ ﺍﺻﻼﺡ ﺳﺎﺧﺘﺎﺭ ﮔﺮﻭﻩ‪ ،‬ﻓﻌﺎﻟﻴﺖ ﺧﻮﺩ ﺭﺍ‬ ‫ﺭﻭ ﺑﻪ ﺭﺷﺪ ﺣﻔﻆ ﻛﻨﻴﻢ ﻭ ﺷﻚ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﻴﺪ ﺑﺎﺯ ﻫﻢ ﺍﺯ ﺗﻐﻴﻴﺮﺍﺕ ﺍﻳﻦ ﮔﺮﻭﻩ ﺧﻮﺍﻫﻴﺪ ﺷﻨﻴﺪ!‬ ‫ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﻭﺍﻗﻌﻴﺖ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺩﻭﺭ ﻫﺴﺘﻪﺍﻯ ﺑﻪ ﻧﺎﻡ »ﮔﺮﻭﻩ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ«‪ ،‬ﻳﺎ ﻫﻤﺎﻥ ﺍﺳﻢ ﻣﻌﺮﻭﻑﺗﺮﺵ‪،‬‬ ‫»ﺁﻛﺎﺩﻣﻰ ﻓﺎﻧﺘﺰﻯ«‪ ،‬ﺍﺳﺎﻣﻰ ﺑﺴﻴﺎﺭﻯ ﺟﻤﻊ ﺷﺪﻧﺪ‪ ،‬ﺑﺮﺧﻰﻫﺎﻳﺸﺎﻥ ﺁﻣﺪﻧﺪ ﻭ ﺭﻓﺘﻨﺪ ﻭ ﺑﺮﺧﻰﻫﺎﻳﺸﺎﻥ‬ ‫ﻫﻢﭼﻨﺎﻥ ﻣﺎﻧﺪﻩﺍﻧﺪ‪ ،‬ﻭﻟﻰ ﺗﻘﺮﻳﺒﺎ ﺗﻤﺎﻡ ﺁﻥﻫﺎﻳﻰ ﻫﻢ ﻛﻪ ﺍﻳﻦ ﺭﻭﺯﻫﺎ ﺑﻪ ﻃﻮﺭ ﺭﺳﻤﻰ ﻛﻨﺎﺭ ﺍﻳﻦ ﻫﺴﺘﻪ ﻧﻴﺴﺘﻨﺪ‪،‬‬ ‫ﺗﻌﻠﻖ ﺧﺎﻃﺮﺷﺎﻥ ﺭﺍ ﺣﻔﻆ ﻛﺮﺩﻧﺪ ﻭ ﻫﺮ ﺯﻣﺎﻥ ﻛﻪ ﻧﻴﺎﺯﻯ ﺑﻪ ﻛﻤﻜﺸﺎﻥ ﺑﺎﺷﺪ‪ ،‬ﺩﺳﺖ ﺩﺭ ﺩﺳﺖ ﺩﻳﮕﺮﺍﻥ ﺑﻪ‬ ‫ﺍﺩﺍﻣﻪﻯ ﺍﻳﻦ ﻣﺴﻴﺮ ﻳﺎﺭﻯ ﻣﻰﺭﺳﺎﻧﻨﺪ‪ .‬ﻫﻤﻴﻦ ﺑﻮﺩﻩ ﻛﻪ ﻧﻘﻞﻗﻮﻝﻫﺎﻳﻰ ﻣﺎﻧﻨﺪ ﻧﻤﻮﻧﻪﻫﺎﻯ ﺯﻳﺮ ﺭﺍ ﭘﺪﻳﺪ ﺁﻭﺭﺩﻩ‬ ‫ﺍﺳﺖ‪:‬‬ ‫ﺭﺿﺎ ﻋﻠﻴﺰﺍﺩﻩ‪ :‬ﺗﺼﻮﺭﺵ ﺭﺍ ﻫﻢ ﻧﻤﻰﻛﺮﺩﻡ ﺍﻳﻦ ﮔﻮﻧﻪﻯ ﺍﺩﺑﻰ ﺍﻳﻦ ﻫﻤﻪ ﺍﺩﺍﻣﻪ ﻃﺮﻓﺪﺍﺭ ﭘﻴﺪﺍ‬ ‫ﻛﻨﺪ‪ .‬ﺍﻳﻦ ﮔﺮﻭﻩ ﺍﺯ ﺟﻤﻠﻪ ﻣﺤﻔﻞﻫﺎﻯ ﺍﺩﺑﻰ ﺍﺳﺖ ﻛﻪ ﺧﻴﻠﻰ ﺩﻭﺍﻡ ﺁﻭﺭﺩﻩ ﺍﺳﺖ؛ ﻳﻌﻨﻰ ﺷﻤﺎ‬ ‫ﺗﺼﻮﺭ ﻛﻨﻴﺪ ﺍﻳﻦﻫﺎ‪ ،‬ﺍﮔﺮ ﺍﺷﺘﺒﺎﻩ ﻧﻜﻨﻢ‪ ،‬ﻣﺜﻼً ﻫﺸﺖ ﻧﻪ ﺳﺎﻝ ﻣﻰﺷﻮﺩ ﻛﻪ ﻫﺴﺘﻨﺪ‪ .‬ﺗﻘﺮﻳﺒﺎً ﻫﻤﺎﻥ‬ ‫ﺑﭽﻪﻫﺎﻯ ﻗﺪﻳﻤﻰ ﻫﺴﺘﻨﺪ ﻭ ﺍﻓﺮﺍﺩ ﺩﻳﮕﺮﻯ ﺑﻬﺸﺎﻥ ﻋﻼﻗﻤﻨﺪ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﻣﻰﺁﻳﻨﺪ ﻭ ﻣﻰﺭﻭﻧﺪ ﻭ‬ ‫ﺧﻼﺻﻪ‪ ،‬ﺑﻬﺸﺎﻥ ﺍﺿﺎﻓﻪ ﻣﻰﺷﻮﺩ ﻭ ﺍﻳﻦ ﺧﻴﻠﻰ ﺧﻮﺏ ﺍﺳﺖ‪...‬‬ ‫ﺣﻤﻴﺪﺭﺿﺎ ﺻﺪﺭ‪ :‬ﺩﺭ ﻛﻞ ﺁﻛﺎﺩﻣﻰ ﻓﺎﻧﺘﺰﻯ ﺭﺍ ﺑﺴﻴﺎﺭ ﭘﺎﻳﺪﺍﺭ ﻭ ﺳﻤﺞ ﻣﻰﺑﻴﻨﻢ ﻭ ﺍﻳﻦ ﺳﻤﺎﺟﺖ‬ ‫ﻳﻜﻰ ﺍﺯ ﻣﻬﻤﺘﺮﻳﻦ ﻭﻳﮋﮔﻰﻫﺎﻯ ﺍﻳﻦ ﮔﺮﻭﻩ ﺍﺳﺖ ﻛﻪ ﺑﺎﻋﺚ ﻣﻮﻓﻘﻴﺖ ﺁﻥ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﻣﻦ‬ ‫ﺩﺭ ﺳﺎﻝﻫﺎﻯ ﺍﺧﻴﺮ ﺑﺎ ﮔﺮﻭﻩﻫﺎﻯ ﺑﺴﻴﺎﺭﻯ ﻧﺸﺴﺖ ﻭ ﺑﺮﺧﺎﺳﺖ ﺩﺍﺷﺘﻪﺍﻡ ﻭ ﺁﻛﺎﺩﻣﻰ ﻓﺎﻧﺘﺰﻯ‬ ‫ﻳﻜﻰ ﺍﺯ ﭘﻴﮕﻴﺮﺗﺮﻳﻦ ﺁﻥﻫﺎ ﺑﻮﺩﻩ ﻛﻪ ﺑﺎ ﻭﺟﻮﺩ ﭘﻴﺶﺑﻴﻨﻰﻫﺎﻯ ﻣﻦ‪ ،‬ﻫﻢﭼﻨﺎﻥ ﭘﺎﻳﺪﺍﺭ ﻣﺎﻧﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﺑﺎﻳﺪ ﺑﺎﺑﺖ ﺍﻳﻦ ﺟﺪﻳﺖ ﻭ ﭘﻴﮕﻴﺮﻯ ﻛﺎﺭ‪ ،‬ﺑﻪ ﺁﻥﻫﺎ ﺗﺒﺮﻳﻚ ﮔﻔﺖ‪.‬‬ ‫ﺷﻬﺮﺍﻡ ﺍﻗﺒﺎﻝﺯﺍﺩﻩ‪ :‬ﺧﻮﺷﺤﺎﻟﻢ ﺑﮕﻮﻳﻢ ﻛﻪ ﮔﺮﻭﻩ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ )ﺁﻛﺎﺩﻣﻰ ﻓﺎﻧﺘﺰﻯ( ﺑﻪ‬ ‫ﻋﻨﻮﺍﻥ ﻳﻚ ﺟﺮﻳﺎﻥ ﺧﻮﺩﺟﻮﺵ ﺍﺳﺘﻘﻼﻝ ﺧﻮﺩ ﺭﺍ ﺣﻔﻆ ﻛﺮﺩﻩ ﻭ ﻣﺤﻮﺭ ﺁﻥ ﺗﻨﻬﺎ ﻋﺸﻖ ﻭ ﻋﻼﻗﻪ‬ ‫ﻭ ﺟﺴﺘﺠﻮﻯ ﺩﺍﻧﺶ ﺩﺭ ﻣﻮﺭﺩ ﺍﻳﻦ ﮔﻮﻧﻪﻫﺎﻯ ﻣﻬﻢ ﺍﺩﺑﻰ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺷﻨﻴﺪﻥ ﺍﻳﻦ ﺣﺮﻑﻫﺎ ﺑﺮﺍﻯ ﻛﺴﺎﻧﻰ ﻛﻪ ﺳﺎﻝﻫﺎ ﺍﺳﺖ ﺑﺎ ﻋﺸﻖ ﻭ ﻋﻼﻗﻪ ﺑﺮﺍﻯ ﺳﺎﺧﺘﻦ ﺑﺴﺘﺮﻯ ﻣﻨﺎﺳﺐ ﺩﺭ‬ ‫ﺟﻬﺖ ﮔﺴﺘﺮﺵ ﮔﻮﻧﻪﻫﺎﻯ ﺍﺩﺑﻰ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﻓﺎﻧﺘﺰﻯ‪ ،‬ﻭﺣﺸﺖ ﻓﻌﺎﻟﻴﺖ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺑﺴﻴﺎﺭ ﺷﻴﺮﻳﻦ ﺍﺳﺖ ﻭ‬ ‫ﻣﺎ ﺭﺍ ﺩﺭ ﺍﺩﺍﻣﻪ ﺩﺍﺩﻥ ﺍﻳﻦ ﻣﺴﻴﺮ ﺑﻴﺶ ﺍﺯ ﭘﻴﺶ ﺭﺍﺳﺦ ﻣﻰﻛﻨﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

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‫ﺩﺭ ﺳﺎﻝ ‪ 1383‬ﻭﺏﮔﺎﻩ »ﺁﻛﺎﺩﻣﻰ ﻓﺎﻧﺘﺰﻯ« ﻧﺨﺴﺖ ﺑﻪ ﻫﻤﻴﻦ ﻧﺎﻡ ﺯﻳﺮﺁﺑﻴﻮﺱ‬ ‫ﻓﻌﺎﻟﻴﺖ ﺧﻮﺩ ﺭﺍ ﺁﻏﺎﺯ ﻛﺮﺩ ﻭ ﺩﺭ ﺍﺑﺘﺪﺍ ﻣﻨﺤﺼﺮﺍ ً ﺑﻪ ﺍﺩﺑﻴﺎﺕ ﻓﺎﻧﺘﺰﻯ ﻣﻰﭘﺮﺩﺍﺧﺖ‪.‬‬ ‫ﻣﺪﺗﻰ ﭘﺲ ﺍﺯ ﺍﻧﺤﻼﻝ ﺑﻌﺪ ﻫﻔﺘﻢ ﺩﺭ ﺩﻯ ﻣﺎﻩ ‪ ،1383‬ﺯﻳﺮﺁﺑﻴﻮﺱ ﺑﺎ ﻫﻤﺮﺍﻫﻰ‬ ‫ﺍﻋﻀﺎﻯ ﻗﺪﻳﻤﻰ ﺧﻮﺩ ﻓﻌﺎﻟﻴﺖ ﺟﺪﻯﺗﺮﻯ ﺭﺍ ﺁﻏﺎﺯ ﻛﺮﺩ ﻭ ﺑﻪ ﺍﺩﺑﻴﺎﺕ‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻧﻴﺰ ﺭﻭﻯ ﺁﻭﺭﺩ‪ .‬ﺁﻛﺎﺩﻣﻰ ﻓﺎﻧﺘﺰﻯ ﺑﻪ ﺻﻮﺭﺕ ﺟﺪﻯﺗﺮ‪ ،‬ﺭﺍﻩ ﺷﺮﻭﻉ‬ ‫ﺷﺪﻩ ﺭﺍ ﺍﺩﺍﻣﻪ ﺩﺍﺩ ﻭ ﺿﻤﻦ ﻗﺪﺭﺕ ﺑﺨﺸﻴﺪﻥ ﺑﻪ ﻓﻌﺎﻟﻴﺖﻫﺎﻯ ﺳﺎﺑﻖ ﺑﻌﺪ‬ ‫ﻫﻔﺘﻢ‪ ،‬ﺍﻭﻟﻴﻦ ﺩﻭﺭﻩﻯ ﻣﺴﺎﺑﻘﻪﻯ ﺩﺍﺳﺘﺎﻥﻧﻮﻳﺴﻰ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻭ ﻓﺎﻧﺘﺰﻯ ﺭﺍ‬ ‫ﺗﻨﻬﺎ ﻳﻚ ﺳﺎﻝ ﭘﺲ ﺍﺯ ﺷﺮﻭﻉ ﻓﻌﺎﻟﻴﺖ ﺧﻮﺩ ﺑﺮﮔﺰﺍﺭ ﻛﺮﺩ‪.‬‬ ‫ﺑﺎ ﺗﻐﻴﻴﺮﺍﺕ ﺳﺎﺧﺘﺎﺭﻯ ﺁﻛﺎﺩﻣﻰ ﻓﺎﻧﺘﺰﻯ‪ ،‬ﺩﺭ ﺗﻴﺮ ﻣﺎﻩ ‪ ،1389‬ﻧﻤﻮﺩ ﺑﻴﺮﻭﻧﻰ‬ ‫ﻓﻌﺎﻟﻴﺖﻫﺎﻯ ﺍﻳﻦ ﮔﺮﻭﻩ ﺑﻪ ﺷﻜﻞ ﻣﺠﻠﻪﻯ ﺍﻳﻨﺘﺮﻧﺘﻰ ﻋﺮﺿﻪ ﺷﺪ‪ .‬ﭘﺲ ﺍﺯ‬ ‫ﺍﻧﺘﺸﺎﺭ ﺳﻪ ﭘﻴﺶ ﺷﻤﺎﺭﻩ‪ ،‬ﺩﺭ ﺁﺫﺭ ﻣﺎﻩ ‪ 1389‬ﺑﺎ ﺍﻧﺘﺸﺎﺭ ﺭﺳﻤﻰ ﻧﺨﺴﺘﻴﻦ‬ ‫ﺷﻤﺎﺭﻩﻯ ﻣﺠﻠﻪﻯ »ﺷﮕﻔﺖﺯﺍﺭ«‪ ،‬ﻧﺎﻡ ﮔﺮﻭﻩ ﺑﺎﺭ ﺩﻳﮕﺮ ﺗﻐﻴﻴﺮ ﻳﺎﻓﺖ ﻭ ﺑﺎ ﻋﻨﻮﺍﻥ‬ ‫ﺗﺎﺯﻩ »ﮔﺮﻭﻩ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ« ﮔﻮﻧﻪﻯ ﻭﺣﺸﺖ ﺭﺍ ﻧﻴﺰ ﺑﻪ ﻃﻮﺭ ﺭﺳﻤﻰ ﺑﻪ‬ ‫ﻣﺠﻤﻮﻋﻪ ﻓﻌﺎﻟﻴﺖﻫﺎﻯ ﺧﻮﺩ ﺍﻓﺰﻭﺩ‪ .‬ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ ﺁﻛﺎﺩﻣﻰ ﻓﺎﻧﺘﺰﻯ ﻭﺏﮔﺎﻩ‬ ‫ﺭﺳﺎﻧﻪﻯ ﺭﺳﻤﻰ ﮔﺮﻭﻩ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﺍﺳﺖ‪.‬‬ ‫ﺧﻼﺻﻪﺗﺮﻳﻦ ﺭﻭﺍﻳﺘﻰ ﻛﻪ ﺍﺯ ﺭﺳﻴﺪﻥ ﮔﺮﻭﻩ ﺑﻪ ﺍﻳﻦ ﻣﺮﺣﻠﻪ ﻣﻰﺷﺪ ﻧﻮﺷﺖ‪ ،‬ﭼﻨﺪ ﺧﻂ ﺑﺎﻻ‬ ‫ﺑﻮﺩ‪ .‬ﻧﺴﺨﻪﻫﺎﻯ ﻣﻔﺼﻞﺗﺮ ﺩﺭﺑﺎﺭﻩﻯ ﺍﻳﻦ ﺍﺳﺎﻣﻰ ﻭ ﻓﻌﺎﻟﻴﺖﻫﺎﻳﻰ ﻛﻪ ﺩﻧﺒﺎﻝ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﺩﺭ‬ ‫ﺩﺍﻧﺶﻧﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ )‪ (wiki.fantasy.ir‬ﭘﻴﺪﺍ ﻣﻰﺷﻮﺩ‪ .‬ﺑﺮﻋﻜﺲ ﺧﻼﺻﻪ ﺑﻮﺩﻥ‬ ‫ﻧﻮﺷﺘﻪﻯ ﺑﺎﻻ‪ ،‬ﺭﺳﻴﺪﻥ ﺑﻪ ﺍﻳﻦ ﻣﻮﻗﻌﻴﺖ ﺳﺎﺩﻩ ﻧﺒﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺯﻣﺎﻧﻰ ﺑﻮﺩ ﻛﻪ ﭘﻴﺪﺍ ﻛﺮﺩﻥ ﻣﺘﺮﺟﻢ‬ ‫ﺑﺮﺍﻯ ﺑﺮﮔﺮﺩﺍﻧﺪﻥ ﺍﻳﻨﺘﺮﻧﺘﻰ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻭ ﻓﺎﻧﺘﺰﻯ‪ ،‬ﻓﺮﺁﻳﻨﺪﻯ ﺑﻮﺩ ﭘﺮ‬ ‫ﺯﺣﻤﺖ ﻭ ﻭ ﺳﺨﺖﺗﺮ ﺍﺯ ﺁﻥ‪ ،‬ﻳﺎﻓﺘﻦ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﺗﺄﻟﻴﻔﻰ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻳﺎ ﻓﺎﻧﺘﺰﻯ ﺩﺭ ﻓﻀﺎﻯ‬ ‫ﻣﺠﺎﺯﻯ ﺑﻮﺩ‪ .‬ﺣﺎﻻ‪ ،‬ﭘﺲ ﺍﺯ ﺗﻼﺵﻫﺎﻯ ﻓﺮﺍﻭﺍﻥ ﺑﺴﻴﺎﺭﻯ ﺍﻓﺮﺍﺩ‪ ،‬ﭘﻨﺠﻤﻴﻦ ﺩﻭﺭﻩﻯ ﺟﺎﻳﺰﻩﻯ‬ ‫ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﺑﺮﮔﺰﺍﺭ ﻣﻰﺷﻮﺩ ﻭ ﺧﻴﻠﻰ ﺍﺯ ﻫﻤﺎﻥ ﺩﻭﺳﺘﺎﻧﻰ ﻛﻪ ﺳﺎﻝﻫﺎ ﻧﻮﺷﺘﻪﻫﺎ‬ ‫ﻭ ﺑﺮﮔﺮﺩﺍﻥﻫﺎﻯ ﺍﻳﻨﺘﺮﻧﺘﻰﺷﺎﻥ ﺭﺍ ﺧﻮﺍﻧﺪﻩﺍﻳﻢ‪ ،‬ﻛﺘﺎﺏﻫﺎﻳﻰ ﺩﺭ ﻧﻮﺑﺖ ﭼﺎپ ﺩﺍﺭﻧﺪ؛ ﭼﻴﺰﻯ ﻛﻪ‬ ‫ﺣﺪﻭﺩ ﭘﻨﺞ ﺳﺎﻝ ﻗﺒﻞ‪ ،‬ﺁﺭﺯﻭﻯ ﺩﻭﺭ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ ﻭ ﺍﻣﺮﻭﺯ‪ ،‬ﺿﺮﻭﺭﺗﻰ ﺍﺟﺘﻨﺎﺏﻧﺎﭘﺬﻳﺮ ﺷﺪﻩ‬ ‫ﺍﺳﺖ‪.‬‬ ‫‪5‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﺳﺨﻦ ﻣﺎﻩ‬

‫»ﺑﻌﺪ ﻫﻔﺘﻢ«‪ ،‬ﺍﻭﻟﻴﻦ ﺑﺎﺷﮕﺎﻩ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻓﺎﺭﺳﻰ ﺯﺑﺎﻥ‪ ،‬ﻭﺏﮔﺎﻫﻰ ﺑﻮﺩ ﻛﻪ‬ ‫ﺩﺭ ﻓﺎﺻﻠﻪﻯ ﺳﺎﻝﻫﺎﻯ ‪ 1381‬ﺗﺎ ‪ 1383‬ﺩﺍﻳﺮ ﺑﻮﺩﻩ ﻭ ﺑﻪ ﺻﻮﺭﺕ ﻋﻤﺪﻩ ﺑﻪ‬ ‫ﺍﺩﺑﻴﺎﺕ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻣﻰﭘﺮﺩﺍﺧﺖ‪ .‬ﺑﺎﺷﮕﺎﻩ ﺗﻮﺳﻂ ﮔﺮﻭﻫﻰ ﺍﺯ ﻋﻼﻗﻪﻣﻨﺪﺍﻥ‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺗﺄﺳﻴﺲ ﺷﺪ ﻭ ﻫﺪﻑ ﺍﺯ ﺗﺄﺳﻴﺲ ﺑﺎﺷﮕﺎﻩ ﺑﻌﺪ ﻫﻔﺘﻢ‪ ،‬ﻓﺮﺍﻫﻢ‬ ‫ﺁﻭﺭﺩﻥ ﺟﺎﻳﮕﺎﻫﻰ ﻗﺎﺑﻞ ﺍﻋﺘﻤﺎﺩ ﺩﺭ ﺍﻳﻨﺘﺮﻧﺖ ﺑﺮﺍﻯ ﺍﺭﺍﺋﻪ ﻣﻄﺎﻟﺐ ﻣﺮﺗﺒﻂ ﺑﺎ‬ ‫ﺍﺩﺑﻴﺎﺕ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻭ ﻓﺎﻧﺘﺰﻯ‪ ،‬ﺑﻪ ﺯﺑﺎﻥ ﻓﺎﺭﺳﻰ ﻭ ﺑﺮﺍﻯ ﺩﻭﺳﺖﺩﺍﺭﺍﻥ‬ ‫ﻓﺎﺭﺳﻰﺯﺑﺎﻥ ﺍﻳﻦ ﺷﺎﺧﻪ ﺍﺯ ﺍﺩﺑﻴﺎﺕ ﻋﻨﻮﺍﻥ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺍﺯ ﺟﻤﻠﻪ ﻓﻌﺎﻟﻴﺖﻫﺎﻳﻰ ﻛﻪ ﺍﺯ ﺑﺎﺷﮕﺎﻩ ﭘﺎ ﮔﺮﻓﺖ‪» ،‬ﮔﺮﻭﻩ ﺯﻳﺮﺁﺑﻴﻮﺱ« ﺑﻮﺩ‪.‬‬ ‫ﺯﻳﺮﺁﺑﻴﻮﺱ ﺩﺭ ﺣﻘﻴﻘﺖ ﻣﺤﻔﻞ ﺷﺒﺎﻧﻪﻯ ﺑﺎﺷﮕﺎﻩ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﺻﻮﺭﺗﻰ ﻣﺎﺑﻴﻦ‬ ‫ﺟﻠﺴﺎﺕ ﺣﻀﻮﺭﻯ ﻭ ﮔﻔﺘﮕﻮﻯ ﺁﻓﻼﻳﻦ ﺩﺭ ﺗﺎﻻﺭﻫﺎﻯ ﮔﻔﺘﮕﻮ ﺑﺮﮔﺰﺍﺭ ﻣﻰﺷﺪ ﻭ‬ ‫ﺍﻋﻀﺎﻯ ﺗﻘﺮﻳﺒﺎً ﺛﺎﺑﺘﻰ ﺩﺍﺷﺖ‪...‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،11‬ﺁﺑﺎﻥ ‪1390‬‬

‫‪4‬‬

‫ﻓﻬﺮﺳﺖ‬ ‫‪4‬‬

‫ﺳﺨﻦ ﻣﺎﻩ‬

‫ﺑﺨﺶ ﺍﻭﻝ‪ :‬ﺩﺍﺳﺘﺎﻥ‬ ‫‪8‬‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﺗﺮﺟﻤﻪ‪ 21 :‬ﺩﻗﻴﻘﻪ‬ ‫ﺭﺍﻫﻮﻝ ﺟﺎﻳﺸﻴﻞ ‪ /‬ﺍﻣﻴﺮ ﺳﻴﻨﺎ ﻫﻤﺎﻳﻮﻧﻰ‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﺫﻥ‬ ‫ﺟﺮﻭﻡ ﺑﻴﻜﺴﺒﻰ ‪ /‬ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

‫‪36‬‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﻧﮕﺎﺭﺵ‪ :‬ﭘﺎﻳﻴﺰ‬ ‫ﻣﻬﺪﻯ ﺑﻨﻮﺍﺭﻯ‬

‫ﺑﺨﺶ ﺩﻭﻡ‪ :‬ﭘﺮﻭﻧﺪﻩ‬ ‫‪46‬‬

‫ﻛﺘﺎﺏ‪ :‬ﺑﺮﺝ ﺗﺎﺭﻳﻚ‬ ‫ﺳﻴﻨﺎ ﻓﺮﺧﻰ‬

‫‪56‬‬

‫ﻛﺘﺎﺏ‪ :‬ﻛﻤﻴﻚ ﺑﺮﺝ ﺗﺎﺭﻳﻚ‬ ‫ﺍﻣﻴﺮ ﺑﺎﺑﺎﻳﻰ‬

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‫ﺳﻴﻨﻤﺎ‪ :‬ﺳﻮﭘﺮ ‪8‬‬ ‫ﻣﺤﻤﺪ ﻣﻬﺪﻯ ﺟﻬﺎﻧﻰ‬

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‫ﺗﻠﻮﻳﺰﻳﻮﻥ‪ :‬ﺩﺭ ﺑﻠﻴﭻ ﭼﻪ ﻣﻰﮔﺬﺭﺩ!‬ ‫ﻫﺎﻧﻴﻪ ﺳﺎﺩﺍﺕ ﺳﺮﻛﻰ‬

‫ﺗﻠﻮﻳﺰﻳﻮﻥ‪ :‬ﻣﺮﻭﺭﻯ ﺑﺮ ﺳﻔﺮﻫﺎﻯ ﺳﺘﺎﺭﻩﺍﻯ‬

‫ﺑﻪ ﻣﻨﺎﺳﺒﺖ ﭼﻬﻠﻤﻴﻦ ﺳﺎﻟﮕﺮﺩ ﺧﻠﻖ ﺁﻥ‬

‫‪82‬‬

‫ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬

‫ﺑﺨﺶ ﺳﻮﻡ‪ :‬ﭘﺎﻭﺭﻗﻰ‬ ‫ﻓﺎﺗﺢ ﻭ ﻓﻴﻠﺴﻮﻑ )ﺑﺨﺶ ﺍﻭﻝ(‬ ‫ﺭﺍﺑﺮﺕ ﺳﻴﻠﻮﺭﺑﺮگ ‪ /‬ﭘﺎﻧﺘﻪﺁ ﻛﻴﺎﻧﻰ‬

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‫ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬ ‫ﺩﻭﺭﻩﻯ ﻧﺨﺴﺖ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ، 11‬ﺁﺑﺎﻥ ‪1390‬‬

‫ﮔﺮﻭﻩ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬

‫ﺩﺑﻴﺮ ﺷﻮﺭﺍﻯ ﺳﻴﺎﺳﺖﮔﺬﺍﺭﻯ‪ :‬ﻣﻬﺪﻯ ﺑﻨﻮﺍﺭﻯ‬ ‫ﺳﺮﺩﺑﻴـــــﺮ ﻣﺠﻠـــــﻪ‪ :‬ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬ ‫ﻫﻴــــﺄﺕ ﺗﺤﺮﻳﺮﻳـــــﻪ‪ :‬ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‪ ،‬ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬ ‫ﻫﻤﻜــﺎﺭﺍﻥ ﺍﻳـﻦ ﺷــﻤﺎﺭﻩ‪ :‬ﺍﻣﻴﺮ ﺑﺎﺑﺎﻳﻰ‪ ،‬ﻣﺤﻤﺪ ﻣﻬﺪﻯ ﺟﻬﺎﻧﻰ‪ ،‬ﻫﺎﻧﻴﻪ ﺳﺎﺩﺍﺕ ﺳﺮﻛﻰ‪،‬‬ ‫ﺳﻴﻨﺎ ﻓﺮﺧﻰ‪ ،‬ﭘﺎﻧﺘﻪﺁ ﻛﻴﺎﻧﻰ‪ ،‬ﻣﺴﻌﻮﺩ ﻣﻘﺪﻡ‪ ،‬ﺍﻣﻴﺮ ﺳﻴﻨﺎ ﻫﻤﺎﻳﻮﻧﻰ‬ ‫ﺻﻔﺤــــــﻪ ﺁ ﺭ ﺍ ﻳـــــﻰ ‪ :‬ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‬ ‫ﻧﺸـــــــﺎﻧﻰ ﻭﺑــــﮕﺎﻩ‪:‬‬

‫‪www.fantasy.ir‬‬

‫ﭘـــﺴﺖ ﺍﻟﻜﺘﺮﻭﻧﻴــــﻚ‪:‬‬

‫‪mag@fantasy.ir‬‬

‫ﻃــــــﺮﺡ‬

‫ﺟﻠــــــﺪ‪:‬‬

‫ﺁﻟﻔﻮﻧﺴﻮ ﻣﺎﺋﻮﺭﻳﺴﻴﻮ ﺳﺎﻻﺯﺍﺭ )‪ ،(Alfonso Mauricio Salazar‬ﺳﺎﻋﺖ‬

‫»‪ 21‬ﺩﻗﻴﻘﻪ«‬

‫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.‬‬

‫ﻣﺮﺟﻊ ﻫﻮﺍﺩﺍﺭﺍﻥ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﻓﺎﻧﺘﺰﻯ‪ ،‬ﻭﺣﺸﺖ‬

‫ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬ ‫ﺩﻭﺭﻩﻯ ﻧﺨﺴﺖ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ، 11‬ﺁﺑﺎﻥ ‪1390‬‬