woderland-vo02-no20-Mordad91-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

‫ﺩﺳﺖ ﺩﺍﺷﺘﻴﻢ‪ ،‬ﺁﺭﺷﻴﻮﻫﺎﻯ ﻭﻳﺪﻳﻮﻳﻰ ﺑﺎﺳﺘﺎﻧﻰ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﺯﻣﻴﻦ ﻣﻰﺁﻣﺪ‪ .‬ﺟﻬﺎﻧﻰ ﺧﺎﻛﺴﺘﺮﻯ ﻭ ﺁﺑﻰ ﻛﻪ‬ ‫ﺩﺭ ﺣﺎﻝ ﻧﺎﺑﻮﺩﻯ ﺑﻮﺩ ﻭ ﺳﺎﻛﻨﺎﻥ ﺧﻄﺮﻧﺎﻛﻰ ﺩﺍﺷﺖ‪.‬‬ ‫ﺧﻴﻠﻰﻫﺎ ﺭﺍ ﻣﻰﺷﻨﺎﺧﺘﻢ ﻛﻪ ﺗﺮﺟﻴﺢ ﻣﻰﺩﺍﺩﻧﺪ ﺩﺭ ﺷﮕﻔﺖ ﺑﺎﻗﻰ ﺑﻤﺎﻧﻨﺪ‪ .‬ﺍﻣﺎ ﺷﻮﻕ ﺣﺎﺻﻞ ﺍﺯ ﻓﺮﻭﺩ ﺳﻔﻴﻨﻪ‬ ‫ﺑﺮ ﺳﻄﺢ ﻳﻚ ﺳﻴﺎﺭﻩ‪ ،‬ﭼﻨﺎﻥ ﺷﻮﻙ ﺭﻭﺍﻧﻰ ﺷﺪﻳﺪﻯ ﺑﻮﺩ ﻛﻪ ﻫﻴﭻﻛﺲ‪ ،‬ﺣﺘﺎ ﭘﻴﺮﺗﺮﻳﻦ ﻭ ﻣﺤﺎﻓﻈﻪﻛﺎﺭﺗﺮﻳﻦ‬ ‫ﺳﺎﻛﻨﺎﻥ ﺳﻔﻴﻨﻪ ﻫﻢ ﻧﺘﻮﺍﻧﺴﺘﻨﺪ ﺩﺭ ﺑﺮﺍﺑﺮ ﻭﺳﻮﺳﻪﻯ ﮔﺬﺍﺷﺘﻦ ﻗﺪﻡﻫﺎﻳﺸﺎﻥ ﺑﺮ ﺯﻣﻴﻦ ﺳﻔﺖ‪ ،‬ﻣﻘﺎﻭﻣﺖ ﻛﻨﻨﺪ‪.‬‬ ‫ﺍﻣﺎ ﻫﻴﭻ ﻛﺪﺍﻡ ﺗﻮﻗﻊ ﺩﻳﺪﻥ ﭼﻴﺰﻯ ﺭﺍ ﻧﺪﺍﺷﺘﻴﻢ ﻛﻪ ﺩﺭ ﺑﺮﺍﺑﺮﻣﺎﻥ ﺑﻮﺩ‪ .‬ﻣﻦ ﺟﺰء ﮔﺮﻭﻩ ﺍﻛﺘﺸﺎﻓﻰ ﺍﻭﻟﻰ‬ ‫ﺑﻮﺩﻡ ﻛﻪ ﺍﺯ ﺳﻔﻴﻨﻪ ﺧﺎﺭﺝ ﺷﺪ‪ .‬ﮔﺮﻭﻫﻤﺎﻥ ﻣﺘﺸﻜﻞ ﺍﺯ ﺳﻪ ﻣﺮﺩ ﻭ ﺩﻭ ﺯﻥ ﺍﺯ ﺟﻤﻠﻪ ﺷﺨﺺ ﻧﺎﺧﺪﺍ ﺑﻮﺩ‪.‬‬ ‫ﻳﺎﺩﻡ ﻫﺴﺖ ﻛﻪ ﺭﺍﻫﺮﻭﻫﺎﻯ ﻧﻮﺭﺍﻧﻰ ﺑﺴﻴﺎﺭﻯ ﺭﺍ ﭘﺸﺖ ﺳﺮ ﮔﺬﺍﺷﺘﻴﻢ ﺗﺎ ﺑﺎﻻﺧﺮﻩ ﺑﻪ ﺩﺭﻯ ﺭﺳﻴﺪﻳﻢ ﻛﻪ‬ ‫ﻧﻘﺸﻰ ﺑﺎﺳﺘﺎﻧﻰ ﺑﺮ ﺁﻥ ﺧﻮﺭﺩﻩ ﺑﻮﺩ‪ .‬ﻫﻤﺎﻥ ﻣﻮﻗﻊ ﻳﺎﺩﻡ ﻫﺴﺖ ﻛﻪ ﺑﻪ ﻧﻈﺮ ﻡ ﻏﺮﻳﺐ ﺁﻣﺪ ﻛﻪ ﻭﺭﻭﺩﻯ ﻳﻚ‬ ‫ﺳﻔﻴﻨﻪ‪ ،‬ﺗﺎ ﺁﻥ ﺣﺪ ﻏﻴﺮ ﻃﺒﻴﻌﻰ ﻭ ﻏﻴﺮﻛﺎﺭﺑﺮﺩﻯ ﺑﺎﺷﺪ‪ .‬ﻭﻟﻰ ﻭﻗﺘﻰ ﺩﺭ ﺑﺎﺯ ﺷﺪ‪ ،‬ﺫﻫﻦ ﻫﻤﮕﻰ ﭼﻨﺎﻥ‬ ‫ﺁﺷﻔﺘﻪ ﺷﺪ ﻛﻪ ﻏﻴﺮﻃﺒﻴﻌﻰ ﻭ ﻏﻴﺮﻛﺎﺭﺑﺮﺩﻯ ﺍﺯ ﻳﺎﺩﻣﺎﻥ ﺭﻓﺖ‪.‬‬ ‫ﺷﺎﻳﺪ ﻛﻠﻤﺎﺕ ﻫﺮﮔﺰ ﻧﺘﻮﺍﻧﻨﺪ ﺗﻌﺠﺒﻢ ﻳﺎ ﺁﻥ ﺗﺼﻮﻳﺮ ﺑﻰﻧﻈﻴﺮ ﺭﺍ ﺗﻮﺻﻴﻒ ﻛﻨﻨﺪ‪ .‬ﻳﺎ ﻭﺣﺸﺘﻢ ﺍﺯ ﻣﻜﺎﻟﻤﻪﺍﻯ‬ ‫ﻛﻪ ﭘﺲ ﺍﺯ ﺁﻥ ﺑﺎ ﻧﺎﺧﺪﺍ ﺩﺍﺷﺘﻴﻢ‪ .‬ﺩﺭ ﺑﺮﺍﺑﺮﻣﺎﻥ ﺧﺎﻛﺴﺘﺮﻫﺎﻯ ﺗﻤﺪﻧﻰ ﺑﻮﺩ‪ ،‬ﭼﻨﺎﻥ ﺑﺎﺳﺘﺎﻧﻰ ﻛﻪ ﺩﻳﺪﻧﺶ‬ ‫ﺭﻋﺸﻪ ﺑﺮ ﺗﻦ ﻣﻰﺍﻧﺪﺍﺧﺖ‪ .‬ﺁﺑﻰ ﺭﻭﺷﻦ ﻭ ﺷﻔﺎﻑ ﻛﻪ ﺗﺎ ﻣﭻ ﭼﻜﻤﻪﻫﺎﻳﻤﺎﻥ ﻣﻰﺭﺳﻴﺪ‪ ،‬ﻫﻤﻪ ﺟﺎ ﺭﺍ ﻓﺮﺍ‬ ‫ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ .‬ﺳﺎﺧﺘﻤﺎﻥﻫﺎ‪ ،‬ﻳﺎ ﺣﺪﺍﻗﻞ ﺍﺳﻜﻠﺘﺸﺎﻥ ﺍﺯ ﺩﻝ ﺁﺏ ﺑﻴﺮﻭﻥ ﺯﺩﻩ ﺑﻮﺩ ﻭ ﺍﺯ ﻣﻴﺎﻧﺸﺎﻥ ﻫﻤﭽﻮﻥ‬ ‫ﺭگﻫﺎﻳﻰ ﻛﻪ ﺑﺪﻧﻰ ﭘﻮﻻﺩﻳﻦ ﺭﺍ ﺧﻮﻥﺭﺳﺎﻧﻰ ﻛﻨﺪ‪ ،‬ﺳﺎﻗﻪﻫﺎﻯ ﻛﻠﻔﺖ ﻭ ﻭﺣﺸﻰ ﺩﺭﺧﺘﺎﻧﻰ ﭘﻴﭽﻨﺪﻩ ﺍﺯ ﻫﺮ‬ ‫ﻃﺮﻑ ﭘﺨﺶ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﮔﻴﺎﻫﺎﻥ ﻣﺜﻞ ﺗﻮﺩﻩﻫﺎﻯ ﺳﺮﻃﺎﻥ‪ ،‬ﺗﺎ ﭼﺸﻢ ﻛﺎﺭ ﻣﻰﻛﺮﺩ‪ ،‬ﺑﺮ ﺩﺍﺭﺑﺴﺖﻫﺎﻯ ﻓﻠﺰﻯ‬ ‫ﺗﻨﻴﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻭ ﺁﺳﻤﺎﻥ ﺑﺮﺧﻼﻑ ﺁﻥ ﭼﻪ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻯ ﺁﻣﻮﺯﺷﻰ ﺑﻪ ﻳﺎﺩ ﺩﺍﺷﺘﻴﻢ‪ ،‬ﺧﺎﻛﺴﺘﺮﻯ ﻧﺒﻮﺩ‪ .‬ﺁﺑﻰ‬ ‫ﺭﻭﺷﻦ ﺑﻮﺩ ﻭ ﺧﻮﺭﺷﻴﺪﻯ ﺑﻪ ﺭﻧﮓ ﻃﻼ ﺩﺭ ﻭﺳﻄﺶ ﻣﻰﺩﺭﺧﺸﻴﺪ‪.‬‬ ‫ﺍﺯ ﻧﺎﺧﺪﺍ ﭘﺮﺳﻴﺪﻡ‪» :‬ﻋﺠﻴﺐ ﻧﻴﺴﺖ ﻧﺎﺧﺪﺍ؟ ﺍﻳﻦ ﺑﻘﺎﻳﺎﻯ ﺗﻤﺪﻥ ﭘﻴﺸﻴﻦ ﺭﺍ ﻣﻰﮔﻮﻳﻢ‪ .‬ﺍﮔﺮ ﻛﻤﻰ ﭼﺸﻤﺎﻧﺖ‬ ‫ﺭﺍ ﺗﻨﮓ ﻛﻨﻰ‪ ،‬ﺩﺭﺳﺖ ﻣﺜﻞ ﺗﺼﺎﻭﻳﺮ ﻓﻴﻠﻢﻫﺎﻯ ﺁﻣﻮﺯﺷﻰ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﺍﮔﺮ ﺍﺯ ﺍﻳﻦ ﮔﻴﺎﻫﺎﻯ ﻫﻴﻮﻻﻳﻰ ﺻﺮﻑ‬ ‫ﻧﻈﺮ ﻛﻨﻴﻢ‪«.‬‬ ‫ﻧﺎﺧﺪﺍ ﻛﻪ ﺗﺎ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﺩﺍﺷﺖ ﺑﺎ ﺣﺎﻟﺘﻰ ﺷﮕﻔﺖﺯﺩﻩ ﺍﻃﺮﺍﻑ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‪ ،‬ﻧﺎﮔﻬﺎﻥ ﺩﺭ ﺟﺎﻳﺶ‬ ‫ﺧﺸﻜﺶ ﺯﺩ‪ .‬ﺑﻌﺪ ﺑﺎ ﺣﺎﻟﺘﻰ ﮔﻨﺎﻫﻜﺎﺭﺍﻧﻪ ﮔﻔﺖ‪» :‬ﺍﻭﻩ‪ ...‬ﻳﻚ ﻣﻮﺭﺩﻯ ﻫﺴﺖ ﻛﻪ ﺷﺎﻳﺪ ﺑﺪ ﻧﺒﺎﺷﺪ ﺷﻤﺎ ﻫﻢ‬ ‫ﺑﺪﺍﻧﻴﺪ‪ ...‬ﺧﻮﺩﻡ ﻫﻢ ﺩﻭ ﺭﻭﺯ ﭘﻴﺶ ﺧﺒﺮﺩﺍﺭ ﺷﺪﻡ‪ ...‬ﻣﻮﺿﻮﻉ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ‪«...‬‬ ‫ﻭ ﭼﻨﻴﻦ ﺷﺪ ﻛﻪ ﺷﮕﻔﺖ ﺑﻪ ﺯﻣﻴﻦ ﺑﺎﺯ ﮔﺸﺖ‪.‬‬

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‫ﻓﺴﺘﻴﻮﺍﻝ ﺗﺎﺑﺴﺘﺎﻧﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ‬

‫ﺁﻧﺪﺭﻭﻳﺪ ﺭﻭ ﺑﻪ ﻫﺸﺖ ﺍﻧﺴﺎﻥ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﺳﻪ ﻣﻮﺷﻚ ﺣﺎﻭﻯ ﻛﻼﻫﻚ ﻫﺴﺘﻪﺍﻯ ﺩﺭ ﻳﻚ ﻛﻴﻠﻮﻣﺘﺮﻯ‬ ‫ﺳﻜﻮﻯ ﭘﺮﺗﺎﺏ‪ ،‬ﺷﻨﺎﺳﺎﻳﻰ ﺷﺪ‪ .‬ﻛﻼﻫﻚ ﻫﺎ ﺭﻭﻯ ﺷﮕﻔﺖ ﻗﻔﻞ ﺷﺪﻩﺍﻧﺪ‪«.‬‬ ‫ﭼﺸﻤﺎﻥ ﻫﺸﺖ ﺍﻧﺴﺎﻥ ﮔﺮﺩ ﺷﺪ‪ .‬ﻫﺮﭼﻨﺪ ﻏﻴﺮﻣﻤﻜﻦ ﻣﻰﻧﻤﻮﺩ‪ ،‬ﺍﻣﺎ ﻫﺮ ﻟﺤﻈﻪ ﺍﻣﻜﺎﻥ ﺩﺍﺷﺖ ﺩﺳﺖﺭﻧﺞ‬ ‫ﺩﻩ ﺳﺎﻝ ﺗﻼﺵ ﻣﺪﺍﻭﻣﺸﺎﻥ ﺟﻠﻮﻯ ﭼﺸﻤﺸﺎﻥ ﺳﻘﻮﻁ ﻛﻨﺪ‪.‬‬ ‫ﻣﺴﻦﺗﺮﻳﻨﺸﺎﻥ ﻛﻪ ﻓﺮﻣﺎﻧﺪﻩ ﮔﺮﻭﻩ ﻧﻴﺰ ﺑﻮﺩ‪ ،‬ﺷﻤﺸﻴﺮ ﺩﺭﺍﺯ ﺍﻟﻜﺘﺮﻳﻜﻰﺍﺵ ﺭﺍ ﺍﺯ ﭘﺸﺖ ﻛﻤﺮﺵ ﺑﻴﺮﻭﻥ‬ ‫ﻛﺸﻴﺪ ﻭ ﺑﻪ ﺳﻤﺖ ﺷﺮﻕ ﺳﻜﻮﻯ ﭘﺮﺗﺎﺏ ﺷﮕﻔﺖ ﺍﺷﺎﺭﻩ ﻛﺮﺩ‪ .‬ﻗﺮﺍﺭﮔﺎﻩ ﻣﻘﺎﻭﻣﺖ ﺟﻨﻮﺏﺷﻬﺮﻯﻫﺎ‪ .‬ﻓﺮﻣﺎﻧﺪﻩ‬ ‫ﻧﻤﻰﺩﺍﻧﺴﺖ ﭼﻪ ﺩﺭ ﺳﺮ ﺟﻬﺶﻳﺎﻓﺘﻪﻯ ﺁﻥﻫﺎ ﻣﻰﮔﺬﺭﺩ‪ .‬ﺷﺎﻳﺪ ﺧﺸﻢ ﻭ ﻭﻳﺮﻭﺱ ﭼﻨﺎﻥ ﺫﻫﻨﺸﺎﻥ ﺭﺍ‬ ‫ﻣﻐﺸﻮﺵ ﻛﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﺩﻳﮕﺮ ﺑﻪ ﻫﺮ ﭼﻴﺰ ﻣﺘﺤﺮﻛﻰ ﺷﻠﻴﻚ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺑﺎﻳﺪ ﻣﺘﻮﻗﻔﺸﺎﻥ ﻣﻰﻛﺮﺩ‪ .‬ﺍﻣﺎ‬ ‫ﺧﻮﺏ ﻣﻰﺩﺍﻧﺴﺖ ﺣﻤﻠﻪﻯ ﻣﺴﺘﻘﻴﻢ ﺑﻪ ﻗﺮﺍﺭﮔﺎﻩ ﺁﻥﻫﺎ ﺑﺎ ﻣﺮگ ﻳﻜﻰ ﺍﺳﺖ‪ .‬ﺑﻪ ﭼﻬﺮﻩﻯ ﺩﻭﺳﺘﺎﻧﺶ ﻧﮕﺎﻩ‬ ‫ﻛﺮﺩ‪ .‬ﻣﺮﺩﺍﻥ ﻭ ﺯﻧﺎﻧﻰ ﻛﻪ ﻣﻰﺷﻨﺎﺧﺖ ﻭ ﺷﺎﻳﺪ ﺣﺘﺎ ﺩﺭ ﺍﻋﻤﺎﻕ ﻗﻠﺒﺶ‪ ،‬ﺟﺎﻳﻰ ﻛﻪ ﮔﺎﻫﻰ ﻓﺮﺍﻣﻮﺵ ﻣﻰﻛﺮﺩ‬ ‫ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﺩﻭﺳﺘﺸﺎﻥ ﺩﺍﺷﺖ‪ .‬ﺁﻥﻫﺎ ﻫﻢ ﺧﻮﺏ ﻣﻰﺩﺍﻧﺴﺘﻨﺪ ﻛﻪ ﭼﻪ ﺑﺎﻳﺪ ﺑﻜﻨﻨﺪ‪ .‬ﻭ ﺍﻳﻦ ﻛﻪ ﺍﺯ ﺍﻳﻦ‬ ‫ﻳﻜﻰ ﺩﻳﮕﺮ ﺭﺍﻩ ﺑﺮﮔﺸﺘﻰ ﻧﺒﻮﺩ‪.‬‬ ‫ﻓﺮﻣﺎﻧﺪﻩ ﺷﻤﺸﻴﺮﺵ ﺭﺍ ﺑﺎﻻ ﺑﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﺑﺮﺍﻯ ﺷﮕﻔﺖ!«‬ ‫ﺟﻮﺍﻥﺗﺮﻳﻨﺸﺎﻥ ﻧﻴﺰ ﺑﻪ ﭘﻴﺮﻭﻯ ﺍﺯ ﺍﻭ ﺷﻤﺸﻴﺮﺵ ﺭﺍ ﺑﺎﻻ ﮔﺮﻓﺖ ﻭ ﮔﻔﺖ‪» :‬ﺍﻣﺸﺐ ﺷﺎﻡ ﻣﻬﻤﻮﻥ ﻣﻦ!«‬ ‫ﻭ ﻣﺜﻞ ﮔﺬﺭ ﺗﻮﻓﺎﻥ‪ ،‬ﺑﻪ ﺳﻤﺖ ﻗﺮﺍﺭﮔﺎﻩ ﻣﻘﺎﻭﻣﺖ ﺷﺘﺎﻓﺘﻨﺪ‪ .‬ﺗﺎ ﺩﻩ ﺩﻗﻴﻘﻪﻯ ﺑﻌﺪ ﺻﺪﺍﻯ ﺍﻧﻔﺠﺎﺭ ﺗﻤﺎﻡ ﺁﻥ‬ ‫ﻗﺴﻤﺖ ﺭﺍ ﻓﺮﺍ ﻣﻰﮔﺮﻓﺖ ﻭ ﺩﺭﻭﻍ ﭼﺮﺍ‪ ،‬ﺩﻩ ﺩﻗﻴﻘﻪﻯ ﺑﻌﺪ ﺍﺯ ﺁﻥ ﻫﻢ ﻫﻤﮕﻰ ﻛﺸﺘﻪ ﺷﺪﻧﺪ ﻭ ﻫﻴﭻﻛﺲ‬ ‫ﻫﺮﮔﺰ ﺍﺯ ﺳﺮﻧﻮﺷﺖﺷﺎﻥ ﻣﻄﻠﻊ ﻧﺸﺪ‪ .‬ﺑﺮﺍﻯ ﻫﻴﭻﻛﺲ ﻫﻢ ﺍﻫﻤﻴﺘﻰ ﻧﺪﺍﺷﺖ‪.‬‬ ‫ﺑﻌﺪ ﺳﻜﻮﺕ ﻫﻤﻪ ﺟﺎ ﺭﺍ ﻓﺮﺍ ﮔﺮﻓﺖ‪ .‬ﺻﺪﺍﻯ ﺯﻭﺯﻩﻫﺎ ﻭ ﺁﻫﻦﭘﺎﺭﻩﻫﺎ ﺧﻮﺍﺑﻴﺪ ﻭ ﺁﺑﺸﺎﺭ ﺳﻨﮓ ﻫﻢ ﺑﺎﻻﺧﺮﻩ‬ ‫ﻣﺘﻮﻗﻒ ﺷﺪ‪ .‬ﺣﺎﻻ ﻓﻘﻂ ﺑﺎﺩ ﺑﻮﺩ ﻛﻪ ﺁﻥ ﺑﺎﻻ ﻣﻰﻭﺯﻳﺪ ﻭ ﺑﻮﻯ ﮔﻮﺷﺖ ﺳﻮﺧﺘﻪ ﻭ ﻣﻮﻯ ﻛﺰ ﺧﻮﺭﺩﻩ ﻭ‬ ‫ﺧﺎﻛﺴﺘﺮ ﺑﺎ ﺧﻮﺩ ﻣﻰﺁﻭﺭﺩ‪...‬‬ ‫‪ ‬ﻭﻗﺘﻰ ﺑﺎﻻﺧﺮﻩ ﺷﮕﻔﺖ ﺩﺭ ﺟﺎﻳﮕﺎﻫﺶ ﻓﺮﻭﺩ ﺁﻣﺪ‪ ،‬ﺍﻧﺘﻈﺎﺭ ﻫﺮ ﭼﻴﺰﻯ ﺭﺍ ﺩﺍﺷﺘﻴﻢ‪ ،‬ﺟﺰ ﭼﻴﺰﻯ ﻛﻪ‬ ‫ﺩﻳﺪﻳﻢ‪ .‬ﻛﺎﻣﭙﻴﻮﺗﺮ ﺳﻔﻴﻨﻪ ﻣﺮﺍﺣﻞ ﻓﺮﻭﺩ ﺭﺍ ﺑﻪ ﺻﻮﺭﺕ ﺧﻮﺩﻛﺎﺭ ﺍﻧﺠﺎﻡ ﺩﺍﺩ ﻭ ﺍﺻ ً‬ ‫ﻼ ﺷﮕﻔﺖﺯﺩﻩ ﻧﺸﺪﻡ ﻭﻗﺘﻰ‬ ‫ﻓﻬﻤﻴﺪﻡ ﺑﺎﻳﺪ ﺍﺯ ﻃﺮﻳﻖ ﺍﺗﺎﻕ ﺁﺭﺷﻴﻮ ﺧﺎﺭﺝ ﺷﻮﻳﻢ‪ .‬ﻳﻌﻨﻰ ﺑﺨﺸﻰ ﻛﻪ ﻫﺰﺍﺭ ﺳﺎﻝ ﺗﻤﺎﻡ ﺑﺮ ﺟﻤﻌﻴﺖ ﺍﻧﺴﺎﻧﻰ‬ ‫ﺳﺎﻛﻦ ﺳﻔﻴﻨﻪ ﺑﺴﺘﻪ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻧﻤﻰﺩﺍﻧﺴﺘﻢ ﺑﺎﻳﺪ ﺍﻧﺘﻈﺎﺭ ﭼﻪ ﭼﻴﺰﻯ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻢ‪ .‬ﺩﺭ ﻛﻼﺱﻫﺎﻯ‬ ‫ﻓﺮﻫﻨﮕﻰ ﻭ ﺁﻣﻮﺯﺷﻰ ﺑﻪ ﻣﺎ ﺁﻣﻮﺧﺘﻪ ﺑﻮﺩﻧﺪ ﺩﺭ ﻫﺮ ﺳﻴﺎﺭﻩﺍﻯ ﻛﻪ ﻓﺮﻭﺩ ﺑﻴﺎﻳﻴﻢ‪ ،‬ﺷﺮﺍﻳﻄﻰ ﻣﺸﺎﺑﻪ ﺯﻣﻴﻦ‬ ‫ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ‪ .‬ﺍﻣﺎ ﺍﺯ ﺯﻣﻴﻦ ﭼﻴﺰﻯ ﺩﺭ ﺧﺎﻃﺮ ﻛﺴﻰ ﻧﺒﻮﺩ‪ .‬ﻭ ﺩﺭﺳﺘﺶ ﻫﻢ ﻫﻤﻴﻦ ﺑﻮﺩ‪ .‬ﻫﺰﺍﺭ ﺳﺎﻝ ﺍﺯ‬ ‫ﺭﻭﺯﻯ ﻛﻪ ﺍﺟﺪﺍﺩ ﻣﺎ ﺳﻮﺍﺭ ﺑﺮ ﺷﮕﻔﺖ ﺍﺯ ﻣﺪﺍﺭ ﺯﻣﻴﻦ ﺧﺎﺭﺝ ﺷﺪﻧﺪ‪ ،‬ﻣﻰﮔﺬﺷﺖ ﻭ ﺗﻨﻬﺎ ﭼﻴﺰﻯ ﻛﻪ ﺩﺭ‬

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‫ﻫﺮ ﻃﻮﺭ ﻛﻪ ﺩﻭﺳﺖ ﺩﺍﺭﻳﺪ ﺩﺭ ﻣﻮﺭﺩ ﻣﺎ ﻗﻀﺎﻭﺕ ﻛﻨﻴﻦ‪ .‬ﺍﻳﻦ ﻣﻴﺰ‪ ...‬ﺍﻳﻦ ﺧﻮﺩﻛﺎﺭﻫﺎﻳﻰ ﻛﻪ ﺭﻭﺵ ﻣﻮﻧﺪﻩ‬ ‫ﻭ ﻋﻜﺲﻫﺎﻳﻰ ﻛﻪ ﺗﻮﻯ ﺍﺗﺎﻕ ﺁﺭﺷﻴﻮ ﻣﻰﺑﻴﻨﻰ‪ ،‬ﻫﻤﻪ ﺛﺎﺑﺖ ﻣﻰﻛﻨﻦ ﻛﻪ ﻣﺎ ﺑﻮﺩﻳﻢ ﻭ ﻫﻤﻴﻦ ﺟﻤﻊ ﻧﺴﻞ‬ ‫ﺑﺸﺮ ﺭﺍ ﻧﺠﺎﺕ ﺩﺍﺩ‪ .‬ﺑﻪ ﺯﻣﻴﻦ ﺑﺮﮔﺮﺩﻳﺪ ﻭ ﺧﻮﺏ ﺯﻧﺪﮔﻰ ﻛﻨﻴﺪ ﻭ ﻣﻮﻓﻖ ﺑﺎﺷﻴﺪ‪ .‬ﺭﻭﺯ ﺧﻮﺵ‪«.‬‬ ‫ﺁﺩﻡﻫﺎﻯ ﺗﻮﻯ ﻭﻳﺪﻳﻮ ﻟﺒﺨﻨﺪ ﺯﺩﻧﺪ ﻭ ﺑﻌﺪ ﺗﺼﻮﻳﺮ ﺧﺸﻚ ﺷﺪ‪ .‬ﺣﺎﻻ ﻋﻴﻨﺎً ﻫﻤﺎﻥ ﻋﻜﺲ ﺭﻭﻯ ﺩﻳﻮﺍﺭ ﺑﻮﺩ‪.‬‬ ‫ﻋﻜﺲ ﺁﺩﻡﻫﺎﻳﻰ ﻛﻪ ﺍﺩﻋﺎ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﺑﺸﺮﻳﺖ ﺭﺍ ﻧﺠﺎﺕ ﺩﺍﺩﻩﺍﻧﺪ ﻭ ﺣﺎﻻ ﺍﺯ ﭘﺸﺖ ﭼﻨﺪ ﻗﺮﻥ‪ ،‬ﻋﻜﺴﺸﺎﻥ‬ ‫ﺑﻪ ﻣﻦ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‪ .‬ﭘﺲ ﺍﺯ ﭼﻨﺪ ﻟﺤﻈﻪ‪ ،‬ﭘﺮﻭژﻛﺘﻮﺭ ﺧﺎﻣﻮﺵ ﺷﺪ ﻭ ﺍﺗﺎﻕ ﺩﻭﺑﺎﺭﻩ ﺩﺭ ﺳﻜﻮﺕ ﻓﺮﻭ ﺭﻓﺖ‪.‬‬ ‫ﺣﺎﻻ ﻣﻴﺰ ﻭ ﺻﻨﺪﻟﻰﻫﺎ ﺑﺰﺭﮔﺘﺮ ﻭ ﺑﻴﺸﺘﺮ ﻭ ﺧﺎﻟﻰﺗﺮ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪﻧﺪ‪ .‬ﻛﻤﻰ ﺩﻳﮕﺮ ﺯﻣﻴﻦ ﺭﺍ ﻧﮕﺎﻩ ﻛﺮﺩﻡ‬ ‫ﻭ ﺑﻌﺪ ﭼﺮﺧﻴﺪﻡ ﺗﺎ ﺑﺮﻭﻡ‪ .‬ﺍﻣﺎ ﻗﺒﻞ ﺍﺯ ﻫﺮ ﭼﻴﺰ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﻧﮕﺎﻫﻰ ﺑﻪ ﻋﻜﺲ ﺭﻭﻯ ﺩﻳﻮﺍﺭ ﺍﻧﺪﺍﺧﺘﻢ‪ .‬ﺯﻳﺮﺵ‬ ‫ﭘﻼﻛﻰ ﭼﺴﺒﺎﻧﺪﻩ ﺑﻮﺩﻧﺪ ﻛﻪ ﻣﻰﮔﻔﺖ‪» :‬ﮔﺮﻭﻩ ﺍﺩﺑﻰ ﮔﻤﺎﻧﻪﺯﻥ‪.«2880 ،‬‬ ‫‪ ‬ﺍﺯ ﺁﺳﻤﺎﻥ ﺷﻬﺮ ﺁﺗﺶ ﻣﻰﺑﺎﺭﻳﺪ‪ .‬ﺟﺎﻳﻰ ﮔﻮﺷﻪﻯ ﺷﻬﺮ‪ ،‬ﻳﻜﻰ ﺍﺯ ﺑﺮﺝﻫﺎﻯ ﻗﺪﻳﻤﻰ ﺗﺠﺎﺭﻯ ﺭﻭﻯ ﺳﺮ‬ ‫ﺳﺎﺧﺘﻤﺎﻥﻫﺎﻯ ﻛﻮﺗﺎﻩ ﭘﺎﻳﻴﻨﻰ ﻣﻰﺭﻳﺨﺖ ﻭ ﺍﻧﮕﺎﺭ ﺁﺑﺸﺎﺭﻯ ﺍﺯ ﺳﻨﮓ ﺑﺎﺷﺪ‪ ،‬ﺳﺮ ﻭ ﺻﺪﺍﻳﺶ ﮔﻮﺵﻫﺎ ﺭﺍ‬ ‫ﻣﻰﺧﺮﺍﺷﻴﺪ‪ .‬ﻫﺸﺖ ﻧﻔﺮ ﺍﻧﺴﺎﻥ ﻭ ﻳﻚ ﺁﻧﺪﺭﻭﻳﺪ ﺭﻭﻯ ﺳﻘﻒ ﻳﻚ ﺑﺮﺝ ﻫﻨﻮﺯ ﭘﺎ ﺑﺮ ﺟﺎ‪ ،‬ﭘﺸﺖ ﺑﻪ ﻛﻠﻤﻪﻯ‬ ‫ِ‬ ‫ﺩﻭﺭﺩﺳﺖ ﺷﺮﻕ‪ ،‬ﻏﻮﻏﺎﻳﻰ ﺑﺮ ﭘﺎ‬ ‫»ﺍﻧﺠﻤﻦ« ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩﻧﺪ ﻭ ﺑﻪ ﺳﻤﺖ ﺷﺮﻕ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺟﺎﻳﻰ ﺩﺭ‬ ‫ﺑﻮﺩ‪ .‬ﺍﻧﮕﺎﺭ ﻓﺸﻔﺸﻪﻯ ﺗﺎﺯﻩﺍﻯ ﺩﺭ ﺍﻳﻦ ﺣﻤﺎﻡ ﺁﺗﺶ ﺭﻭﺷﻦ ﻛﺮﺩﻩ ﺑﺎﺷﻨﺪ‪ .‬ﭼﻴﺰﻯ ﺳﻔﻴﺪ ﺩﺭﺧﺸﻴﺪ ﻭ ﺑﻪ‬ ‫ﺳﻤﺖ ﺑﺎﻻ ﺍﻭﺝ ﮔﺮﻓﺖ‪ .‬ﺳﺮ ﺭﺍﻫﺶ ﺍﺑﺮﻫﺎﻯ ﺳﻴﺎﻩ ﺭﺍ ﻣﻰﺳﻮﺯﺍﻧﺪ ﻭ ﭘﺸﺖ ﺳﺮ ﺗﻮﺩﻩﻫﺎﻯ ﺩﻭﺩ ﺳﻔﻴﺪﻯ‬ ‫ﺑﺎﻗﻰ ﻣﻰﮔﺬﺍﺷﺖ ﻛﻪ ﺷﺎﻳﺪ ﺗﺎ ﭼﻨﺪ ﺳﺎﻋﺖ ﺑﻌﺪ ﻫﻨﻮﺯ ﻗﺎﺑﻞ ﻣﺸﺎﻫﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻣﺜﻞ ﺧﻮﺭﺷﻴﺪ ﺗﺎﺯﻩﺍﻯ ﺑﻮﺩ‬ ‫ﻛﻪ ﺩﻳﺮﻭﻗﺖ ﺷﺐ ﻫﻮﺱ ﻃﻠﻮﻉ ﺑﻪ ﺳﺮﺵ ﺯﺩﻩ ﺑﺎﺷﺪ‪.‬‬ ‫ﺍﺯ ﮔﻮﺷﻪ ﻭ ﻛﻨﺎﺭ ﺷﻬﺮ ﺻﺪﺍﻯ ﺗﻴﺮﺍﻧﺪﺍﺯﻯ ﻣﻰﺁﻣﺪ‪ .‬ﺟﻨﻮﺏﺷﻬﺮﻯﻫﺎ ﺭﻭﻯ ﺑﺮﺝﻫﺎﻳﺸﺎﻥ ﺭﻓﺘﻪ ﺑﻮﺩﻧﺪ ﻭ‬ ‫ﺗﻴﺮ ﻫﻮﺍﻳﻰ ﺩﺭ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺑﺎﺯﺍﺭﻯﻫﺎ ﻗﺮﺍﺿﻪﻫﺎﻯ ﺁﻫﻨﻰ ﺭﺍ ﺑﻪ ﻫﻢ ﻣﻰﻛﻮﺑﻴﺪﻧﺪ ﻭ ﻣﻘﻴﻤﺎﻥ ﻫﺘﻞ ﺷﻬﺮ‪،‬‬ ‫ﺭﻭ ﺑﻪ ﺁﺳﻤﺎﻥ ﺯﻭﺯﻩ ﻣﻰﻛﺸﻴﺪﻧﺪ‪ .‬ﺑﻴﺪﺍﺭ ﺷﺪﻩﻫﺎ ﻛﻮﺭ ﻭ ﺑﻰﻫﺪﻑ‪ ،‬ﺩﺭ ﺧﻴﺎﺑﺎﻥﻫﺎ ﻣﻰﭼﺮﺧﻴﺪﻧﺪ ﻭ ﺩﻧﺒﺎﻝ‬ ‫ﺩﻣﺎﻏﺸﺎﻥ ﻣﻰﺭﻓﺘﻨﺪ‪.‬‬ ‫ﺳﻔﻴﻨﻪ ﺩﺭ ﺷﺮﻕ ﺑﺎﻻ ﻣﻰﺭﻓﺖ ﻭ ﺍﺯ ﻧﻈﺮ ﺩﻭﺭ ﻣﻰﺷﺪ‪ .‬ﻫﺸﺖ ﺍﻧﺴﺎﻥ ﻭ ﻳﻚ ﺁﻧﺪﺭﻭﻳﺪ ﺭﻭﻯ ﺑﺮﺟﻰ ﺍﻳﺴﺘﺎﺩﻩ‬ ‫ﺑﻮﺩﻧﺪ ﻭ ﺭﻓﺘﻦ ﺷﮕﻔﺖ ﺭﺍ ﺗﻤﺎﺷﺎ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺷﺎﻳﺪ ﺍﻳﻦ ﻣﻰﺗﻮﺍﻧﺴﺖ ﭘﺎﻳﺎﻥ ﻛﺎﺭ ﺑﺎﺷﺪ‪ .‬ﺷﺎﻳﺪ ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻣﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﺑﻰﺧﻴﺎﻝ ﻭ ﺭﺍﺣﺖ ﺍﺯ ﺭﻓﻊ‬ ‫ﻣﺴﺌﻮﻟﻴﺘﻰ ﻛﻪ ﻫﺮﮔﺰ ﻧﺒﺎﻳﺪ ﺑﻪ ﮔﺮﺩﻥﺷﺎﻥ ﻣﻰﺍﻓﺘﺎﺩ‪ ،‬ﺑﻪ ﭘﻨﺎﻫﮕﺎﻩﻫﺎﻯ ﺿﺪﺑﻤﺒﺎﺭﺍﻥ ﻫﺴﺘﻪﺍﻳﺸﺎﻥ‬ ‫ﺑﺮﮔﺮﺩﻧﺪ‪ .‬ﺍﻣﺎ ﺳﺮﻧﻮﺷﺖ ﺑﻰﺭﺣﻢﺗﺮ ﺍﺯ ﺍﻳﻦ ﺣﺮﻑﻫﺎ ﺑﻮﺩ‪ .‬ﻫﻨﻮﺯ ﭼﻨﺪ ﺩﻗﻴﻘﻪ ﺍﺯ ﭘﺮﺗﺎﺏ ﺷﮕﻔﺖ ﻧﮕﺬﺷﺘﻪ‬ ‫ﺑﻮﺩ ﻛﻪ ﺁﻧﺪﺭﻭﻳﺪ ﺑﻪ ﻭﺍﺳﻄﻪﻯ ﺣﺲﮔﺮﻫﺎﻯ ﺣﺮﺍﺭﺍﺗﻰﺍﺵ ﭼﻴﺰﻯ ﺭﺍ ﺣﺲ ﻛﺮﺩ‪.‬‬

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‫ﻓﺴﺘﻴﻮﺍﻝ ﺗﺎﺑﺴﺘﺎﻧﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ‬

‫ﺳﻴﺎﺭﻩﺗﺎﻥ ﺗﺎ ﺍﻃﻼﻉ ﺛﺎﻧﻮﻯ ﺍﺯ ﺩﺳﺘﺮﺱ ﺧﺎﺭﺝ ﺍﺳﺖ ﻭ ﻓﻌ ً‬ ‫ﻼ ﺑﺎﻳﺪ ﺩﺭ ﻣﺪﺍﺭ ﻣﻨﺘﻈﺮ ﺗﻤﺎﺱ ﺑﻌﺪﻯ ﺑﻤﺎﻧﻴﺪ‪.‬‬ ‫ﺳﻔﺮ ﺧﻮﺷﻰ ﺭﺍ ﺑﺮﺍﻳﺘﺎﻥ ﺁﺭﺯﻭﻣﻨﺪﻳﻢ‪«.‬‬ ‫ﺩﻫﺎﻧﻢ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩﻡ ﻭ ﮔﻔﺘﻢ‪» :‬ﭼﺮﺍ‪«...‬‬ ‫ﻭﻟﻰ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻛﻠﻤﻪﺍﻯ ﺩﻳﮕﺮ ﺑﮕﻮﻳﻢ‪ ،‬ﺗﺼﻮﻳﺮ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ ﻭ ﺍﻳﻦ ﺑﺎﺭ ﭘﺴﺮﻛﻰ ﻛﻪ ﺳﻮﻯ‬ ‫ﺩﻳﮕﺮ ﻣﻴﺰ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻭ ﻟﺒﺎﺱ ﻗﺮﻣﺰﻯ ﺑﻪ ﺗﻦ ﺩﺍﺷﺖ‪ ،‬ﺑﻪ ﺣﺮﻑ ﺩﺭ ﺁﻣﺪ‪» :‬ﭼﺮﺍ؟ ﭼﺮﺍ ﺍﻳﻦ ﻫﻤﻪ ﺑﺎﺯﻯ؟‬ ‫ﭼﺮﺍ ﺍﻳﻦ ﻫﻤﻪ ﺩﺭﻭﻍ؟ ﭼﺮﺍ ﭘﻨﻬﺎﻥ ﻛﺮﺩﻥ ﺣﻘﻴﻘﺖ؟ ﻫﻮﻭﻡ‪ ...‬ﺷﺎﻳﺪ ﺍﻻﻥ ﺩﺭﻙ ﻧﻜﻨﻰ‪ .‬ﺍﻣﺎ ﺑﺎﻭﺭ ﻛﻦ ﺍﮔﻪ‬ ‫ﻣﻰﺩﻭﻧﺴﺘﻴﺪ ﺗﻮﻯ ﻓﻀﺎﻯ ﺑﻰ ﺳﺮ ﻭ ﺗﻪ ﻧﻴﺴﺘﻴﺪ ﻭ ﺑﺎ ﺯﻣﻴﻦ ﺗﻨﻬﺎ ﻳﻪ ﺷﺎﺗﻞ ﻓﺮﻭﺩﻯ ﻭ ﻳﻪ ﻛﻢ ﺗﺤﻤﻞ‬ ‫ﺳﺨﺘﻰ ﻭﺭﻭﺩ ﺑﻪ ﺟﻮ ﻓﺎﺻﻠﻪ ﺩﺍﺭﻳﺪ‪ ،‬ﻫﻴﭻ ﻛﺲ ﺣﺘﺎ ﻳﻪ ﺭﻭﺯ ﻫﻢ ﺍﻳﻦ ﺑﺎﻻ ﺩﻭﺍﻡ ﻧﻤﻰﺁﻭﺭﺩ‪ .‬ﺷﻤﺎ ﺑﺎﻳﺪ ﺑﻪ‬ ‫ﺍﻳﻦ ﺑﺎﻭﺭ ﻣﻰﺭﺳﻴﺪﻳﺪ ﻛﻪ ﺟﺰ ﺷﮕﻔﺖ‪ ،‬ﺟﺎﻯ ﺩﻳﮕﺮﻯ ﺑﺮﺍﻯ ﺭﻓﺘﻦ ﻧﺪﺍﺭﻳﺪ‪ .‬ﻛﻪ ﺷﮕﻔﺖ ﺗﻨﻬﺎ ﭘﻨﺎﻫﮕﺎﻩ ﻭ‬ ‫ﺗﻨﻬﺎ ﻧﮕﻬﺪﺍﺭﻧﺪﻩﺗﻮﻧﻪ ﻭ ﺍﻟﺒﺘﻪ ﺍﻣﻴﺪ ﺑﻪ ﻳﻚ ﻣﻘﺼﺪ ﺑﻬﺘﺮ ﻭ ﺟﺎﺩﻭﻳﻰ‪ ،‬ﺍﻭﻥﻗﺪﺭ ﺳﺮ ﭘﺎ ﻧﮕﻬﺘﻮﻥ ﻣﻰﺩﺍﺷﺖ‬ ‫ﻛﻪ ﺍﻣﺮﻭﺯ‪ ،‬ﺭﻭﺯ ﺍﻋﺘﺮﺍﻑ ﻣﺎ ﺳﺮ ﺑﺮﺳﻪ‪ .‬ﻭ ﺍﻋﺘﺮﺍﻑ ﻣﻰﻛﻨﻴﻢ‪ ...‬ﻛﻪ ﺷﺎﻳﺪ ﻛﺎﺭﻣﻮﻥ ﺍﺷﺘﺒﺎﻩ ﺑﻮﺩ؛ ﺷﺎﻳﺪ ﺭﺍﻩﻫﺎﻯ‬ ‫ﺩﻳﮕﻪ ﻭ ﺑﻬﺘﺮﻯ ﻫﻢ ﻭﺟﻮﺩ ﺩﺍﺷﺖ‪ .‬ﺍﻣﺎ ﻣﺎ ﭘﺸﻴﻤﻮﻥ ﻧﻴﺴﺘﻴﻢ ﻭ ﺍﻓﺘﺨﺎﺭ ﻣﻰﻛﻨﻴﻢ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺑﺎﻻﺧﺮﻩ ﺑﻪ‬ ‫ﻫﺪﻓﻤﻮﻥ ﺭﺳﻴﺪﻳﻢ‪ .‬ﻫﻤﻴﻦ ﻛﻪ ﺗﻮ ﺍﻳﻦﺟﺎﻳﻰ ﻭ ﺩﺍﺭﻯ ﺍﻳﻦ ﻭﻳﺪﻳﻮﻯ ﻟﻌﻨﺘﻰ ﺭﻭ ﻣﻰﺑﻴﻨﻰ‪ ،‬ﻳﻌﻨﻰ ﻣﺎ ﻣﻮﻓﻖ‬ ‫ﺷﺪﻩﺍﻳﻢ‪«.‬‬ ‫ﻫﻤﮕﻰ ﺩﻭﺑﺎﺭﻩ ﻟﺒﺨﻨﺪ ﻗﻬﺮﻣﺎﻧﺎﻧﻪﺍﻯ ﺑﻪ ﻫﻢ ﺯﺩﻧﺪ‪ .‬ﺯﻥ ﺩﻳﮕﺮﻯ ﺍﺯ ﺁﻥ ﻃﺮﻑ ﻣﻴﺰ ﮔﻔﺖ‪» :‬ﻛﺎﻣﭙﻴﻮﺗﺮ ﺳﻔﻴﻨﻪ‬ ‫ﻃﻮﺭﻯ ﺑﺮﻧﺎﻣﻪﺭﻳﺰﻯ ﺷﺪﻩ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﭘﺨﺶ ﺍﻳﻦ ﻭﻳﺪﻳﻮﻯ ﺳﻪ ﺑﻌﺪﻯ‪ ،‬ﺭﺍﻩ ﺧﺮﻭﺝ ﺍﺯ ﺷﮕﻔﺖ ﻭ ﺑﺎﺯﮔﺸﺖ‬ ‫ﺑﻪ ﺳﻄﺢ ﺳﻴﺎﺭﻩ ﺭﻭ ﺑﻪ ﺑﺎﻻﺗﺮﻳﻦ ﻣﻘﺎﻡ ﺍﺟﺮﺍﻳﻰ ﻧﺸﻮﻥ ﺑﺪﻩ‪ .‬ﮔﻔﺘﻦ ﺣﻘﻴﻘﺖ ﺑﻪ ﻣﺴﺎﻓﺮﻫﺎ ﺳﺨﺘﻪ‪ ،‬ﺍﻣﺎ ﺷﺎﻳﺪ‬ ‫ﺑﻬﺘﺮ ﺑﺎﺷﻪ ﺗﺎ ﺭﻭﻯ ﺯﻣﻴﻦ ﺻﺒﺮ ﻛﻨﻰ ﻭ ﺑﻌﺪ ﺧﺒﺮﺷﻮﻥ ﻛﻨﻰ‪ .‬ﺷﺎﻳﺪ ﻧﻔﺲ ﻛﺸﻴﺪﻥ ﺩﺭ ﻫﻮﺍﻯ ﺁﺯﺍﺩ‪ ،‬ﺍﻭﻥ‬ ‫ﻗﺪﺭ ﺧﻠﻘﺸﻮﻥ ﺭﻭ ﺑﺎﺯ ﻛﻨﻪ ﻛﻪ ﺯﻳﺎﺩﻯ ﻧﺎﺭﺍﺣﺖ ﻧﺸﻮﻧﺪ ﻭ ﺷﻮﺭﺵ ﻧﻜﻨﻨﺪ‪«.‬‬ ‫ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﺣﺮﻑ‪ ،‬ﭘﺴﺮﻙ ﻟﺒﺎﺱ ﻗﺮﻣﺰ ﺑﻠﻨﺪ ﺷﺪ ﻭ ﺑﺎ ﺍﺷﺎﺭﻩﻯ ﺍﻭ‪ ،‬ﻫﻤﻪ ﺷﺮﻭﻉ ﺑﻪ ﺟﻤﻊ ﻛﺮﺩﻥ ﻭﺳﺎﻳﻞ‬ ‫ﺭﻭﻯ ﻣﻴﺰ ﻛﺮﺩﻧﺪ‪ .‬ﺧﻮﺩﻛﺎﺭﻫﺎﻳﺸﺎﻥ ﺭﺍ ﺗﻮﻯ ﻛﻴﻒﻫﺎﻳﺸﺎﻥ ﺭﻳﺨﺘﻨﺪ‪ ،‬ﺩﻓﺘﺮﻫﺎﻳﺸﺎﻥ ﺭﺍ ﺑﺴﺘﻨﺪ ﻭ ﻟﻴﻮﺍﻥﻫﺎ ﺭﺍ‬ ‫ﺩﺳﺖ ﺑﻪ ﺩﺳﺖ ﭼﺮﺧﺎﻧﺪﻧﺪ ﻛﻪ ﺟﺎﻳﻰ ﭘﺸﺖ ﺩﺍﻣﻨﻪﻯ ﺗﺼﻮﻳﺮ ﺍﺯ ﻧﻈﺮ ﻣﺤﻮ ﺷﺪﻧﺪ‪ .‬ﻣﻦ ﻫﻨﻮﺯ ﺩﺭ ﺳﻜﻮﺕ‬ ‫ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩﻡ ﻭ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩﻡ‪.‬‬ ‫ﻫﻤﻪ ﭼﻴﺰ ﻛﻪ ﺗﻤﺎﻡ ﺷﺪ‪ ،‬ﺩﺳﺘﻪﺟﻤﻌﻰ ﺗﻪ ﺗﺼﻮﻳﺮ ﺍﻳﺴﺘﺎﺩﻧﺪ‪ .‬ﺯﺍﻭﻳﻪﻯ ﺍﻳﺴﺘﺎﺩﻧﺸﺎﻥ ﺁﺷﻨﺎ ﺑﻮﺩ‪ .‬ﭼﺮﺧﻴﺪﻡ‬ ‫ﻭ ﻋﻜﺴﻰ ﺭﺍ ﺭﻭﻯ ﺩﻳﻮﺍﺭ ﺩﻳﺪﻡ ﻛﻪ ﺍﻧﮕﺎﺭ ﺍﺯ ﻫﻤﻴﻦ ﻟﺤﻈﻪ ﺩﺭ ﺯﻣﺎﻥ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻣﺮﺩﻯ ﻛﻪ ﺍﻭﻝ ﺍﺯ‬ ‫ﻫﻤﻪ ﺣﺮﻑ ﺯﺩﻩ ﺑﻮﺩ ﻭ ﺑﻪ ﻧﻈﺮ ﺭﻫﺒﺮﺷﺎﻥ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ‪ ،‬ﻳﻚ ﻗﺪﻡ ﺟﻠﻮ ﺁﻣﺪ ﻭ ﮔﻔﺖ‪» :‬ﻣﺎﻣﻮﺭﻳﺖ ﻣﺎ‬ ‫ﺗﻜﻤﻴﻞ ﺷﺪ‪ .‬ﺑﺎﻳﺪ ﺣﺪﺍﻗﻞ ﭼﻨﺪ ﺻﺪ ﺳﺎﻟﻰ ﺍﺯ ﺯﻣﺎﻥ ﺿﺒﻂ ﺍﻳﻦ ﻭﻳﺪﻳﻮ ﺑﮕﺬﺭﻩ ﺗﺎ ﺷﺮﺍﻳﻂ ﺑﺎﺯﮔﺸﺖ ﺁﺩﻡﻫﺎ‬ ‫ﻣﺤﻘﻖ ﺑﺸﻪ‪ .‬ﺍﻣﺎ ﻣﺎ ﻛﻪ ﮔﻠﻪﺍﻯ ﻧﺪﺍﺭﻳﻢ‪ .‬ﺑﺮﻋﻜﺲ‪ ،‬ﺧﻮﺷﺤﺎﻟﻴﻢ ﻛﻪ ﻣﺎ ﺑﻮﺩﻳﻢ ﻛﻪ ﻣﻮﻓﻖ ﺷﺪﻳﻢ‪ .‬ﻣﻰﺗﻮﻧﻴﺪ‬

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‫ﻗﺪﺭﻫﺎ ﻫﻢ ﺳﺎﺩﻩﻟﻮﺡ ﻧﻴﺴﺘﻴﻢ ﻛﻪ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻪ‪ .‬ﻭﻟﻰ ﺭﺍﻫﻰ ﺑﺮﺍﻯ ﺳﻔﺮﻫﺎﻯ ﺑﻴﻦ ﺳﺘﺎﺭﻩﺍﻯ ﻧﺪﺍﺭﻳﻢ‪.‬‬ ‫ﺍﮔﺮ ﻫﻢ ﺯﻣﺎﻧﻰ ﺭﺍﻫﻰ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ‪ ،‬ﺣﺎﻻ ﺑﺎ ﺍﻳﻦ ﺍﻭﺿﺎﻉ ﺷﻴﺮ ﺗﻮ ﺷﻴﺮ ﺩﻳﮕﻪ ﻧﻤﻰﺷﻪ ﺣﺘﺎ ﻓﻜﺮﺵ ﺭﻭ‬ ‫ﻛﺮﺩ‪ .‬ﺍﺻ ً‬ ‫ﻼ ﺳﻔﺮ ﺍﺯ ﺍﻳﻦﺟﺎ ﺗﺎ ﻣﺮﻳﺦ ﺍﻭﻥﻗﺪﺭ ﺳﺨﺖ ﻭ ﮔﺮﻭﻥ ﺗﻤﻮﻡ ﻣﻰﺷﻪ ﻛﻪ ﺑﻬﺘﺮﻩ ﺑﮕﻴﻢ ﻏﻴﺮﻣﻤﻜﻦ ﻭ‬ ‫ﺧﻴﺎﻝ ﺧﻮﺩﻣﻮﻥ ﺭﻭ ﺭﺍﺣﺖ ﻛﻨﻴﻢ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺷﮕﻔﺖ ﺭﻭ ﺳﺎﺧﺘﻴﻢ ﻛﻪ ﺑﻪ ﺟﺎﻯ ﻳﻚ ﺳﻔﻴﻨﻪ‪ ،‬ﻳﻚ ﺍﻳﺴﺘﮕﺎﻩ‬ ‫ﻓﻀﺎﻳﻰ ﻭ ﻣﺪﺍﺭﮔﺮﺩﻩ ﻭ ﻣﻨﺎﺳﺐ ﺑﺮﺍﻯ ﺍﺳﻜﺎﻥ ﺟﻤﻌﻴﺖ ﺯﻳﺎﺩﻯ ﺍﺯ ﺍﻧﺴﺎﻥﻫﺎ‪ .‬ﻣﻰﺩﻭﻧﻴﻢ ﻛﻪ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﺍﺯ‬ ‫ﺁﺏ ﺩﺭ ﻧﻴﻮﻣﺪﻩ ﻭ ﻣﺸﻜﻼﺗﺶ ﺯﻳﺎﺩﻩ؛ ﻣﻰﺩﻭﻧﻴﻢ ﻛﻪ ﺯﻧﺪﮔﻰ ﺗﻮﺵ ﺳﺨﺘﻪ ﻭ ﺷﺎﻳﺪ ﺍﺻ ً‬ ‫ﻼ ﻧﺸﻪ ﺍﺳﻤﺶ ﺭﻭ‬ ‫ﺯﻧﺪﮔﻰ ﮔﺬﺍﺷﺖ‪«...‬‬ ‫ﻣﺮﺩﻯ ﻛﻪ ﻛﻨﺎﺭ ﺩﺭ ﺭﻭﻯ ﺯﻣﻴﻦ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ ،‬ﻭﺳﻂ ﺣﺮﻑ ﺍﻭ ﭘﺮﻳﺪ ﻭ ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺑﻪ ﺩﻳﻮﺍﺭ ﺭﻭﺑﺮﻭﻳﺶ‬ ‫ﺯﻝ ﺯﺩﻩ ﺑﻮﺩ‪ ،‬ﮔﻔﺖ‪» :‬ﻭﻟﻰ ﺍﮔﻪ ﺑﻴﺮﻭﻥ ﺍﻳﻦ ﺍﺗﺎﻕ ﺭﻭ ﺑﺒﻴﻨﻰ‪ ،‬ﺑﺒﻴﻨﻰ ﺗﻮ ﺩﻧﻴﺎ ﭼﻪ ﺧﺒﺮﻩ‪ ،‬ﺑﺒﻴﻨﻰ ﺁﺩﻣﺎ ﺑﻪ‬ ‫ﻛﺠﺎ ﺭﺳﻴﺪﻥ‪ ،‬ﺍﻭﻥ ﻣﻮﻗﺖ ﻣﻄﻤﺌﻦ ﺑﺎﺵ ﺷﮕﻔﺖ ﺑﺮﺍﺕ ﺑﻬﺸﺖ ﻣﻰﺷﻪ‪«.‬‬ ‫ﺯﻥ ﻛﻪ ﺍﺯ ﻗﻄﻊ ﺻﺒﺤﺘﺶ ﺍﺻ ً‬ ‫ﻼ ﺧﻮﺷﺤﺎﻝ ﺑﻪ ﻧﻈﺮ ﻧﻤﻰﺭﺳﻴﺪ‪ ،‬ﺍﺧﻢﻫﺎﻳﺶ ﺭﺍ ﺩﺭ ﻫﻢ ﻛﺸﻴﺪ ﻭ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪:‬‬ ‫»ﺩﺭ ﻫﺮ ﺣﺎﻝ‪ .‬ﺧﻼﺻﻪﺍﺵ ﺍﻳﻦ ﻛﻪ ﭼﺎﺭﻩﻯ ﺩﻳﮕﻪﺍﻯ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ‪ .‬ﺯﻣﻴﻦ ﺩﻳﮕﻪ ﺟﺎﻯ ﻣﻮﻧﺪﻥ ﻧﻴﺴﺖ‪.‬‬ ‫ﺍﻣﺎ ﻫﻤﻴﻦ ﻛﻪ ﺣﺎﻻ ﺗﻮ ﺗﻮﻯ ﺁﻳﻨﺪﻩﺍﺕ ﺑﻪ ﺍﻳﻦﺟﺎ ﺭﺳﻴﺪﻯ‪ ،‬ﻳﻌﻨﻰ ﺍﻭﺿﺎﻉ ﻓﺮﻕ ﻛﺮﺩﻩ‪ .‬ﻳﻌﻨﻰ ﺍﻭﺿﺎﻉ ﺯﻣﻴﻦ‬ ‫ﺑﻬﺒﻮﺩ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﻭ ﻣﻰﺗﻮﻧﻴﺪ ﺧﻴﻠﻰ ﺯﻭﺩ ﺑﻪ ﺧﻮﻧﻪ ﺑﺮﮔﺮﺩﻳﺪ‪ .‬ﺍﺻ ً‬ ‫ﻼ ﻓﻜﺮ ﻛﻨﻴﺪ ﺍﻳﻦﺟﺎ ﻫﻤﺎﻥ ﺳﺮﺯﻣﻴﻦ‬ ‫ﻣﻮﻋﻮﺩﻳﻪ ﻛﻪ ﺍﻳﻦ ﻫﻤﻪ ﺳﺎﻝ ﺩﻧﺒﺎﻟﺶ ﺑﻮﺩﻳﺪ‪ .‬ﺗﺒﺮﻳﻚ ﻣﻰﮔﻢ‪ ،‬ﺑﺎﻻﺧﺮﻩ ﺑﻪ ﻣﻘﺼﺪ ﺭﺳﻴﺪﻳﺪ!«‬ ‫ﺑﻌﺪ ﻟﺒﺨﻨﺪ ﺑﺰﺭﮔﻰ ﺑﻪ ﻣﻦ ﺯﺩ ﻭ ﺑﻘﻴﻪ ﻫﻢ ﺑﻪ ﻧﺸﺎﻧﻪﻯ ﺗﺎﻳﻴﺪ ﺳﺮﻯ ﺗﻜﺎﻥ ﺩﺍﺩﻧﺪ‪ .‬ﻣﺮﺩ ﺑﺎﻻﻯ ﻣﻴﺰ ﮔﻔﺖ‪:‬‬ ‫»ﺳﻮﺍﻟﻰ ﻧﺪﺍﺭﻯ؟ ﻛﺎﻣﭙﻴﻮﺗﺮ ﻣﻰﺗﻮﻧﻪ ﻳﻪ ﻣﺠﻤﻮﻋﻪ ﻛﻠﻤﺎﺕ ﻛﻠﻴﺪﻯ ﺭﻭ ﺷﻨﺎﺳﺎﻳﻰ ﻛﻨﻪ‪ .‬ﺧﻮﺩﺕ ﺍﻣﺘﺤﺎﻥ‬ ‫ﻛﻦ‪«.‬‬ ‫ﻭ ﺗﺼﻮﻳﺮ ﺩﻭﺑﺎﺭﻩ ﻣﻜﺚ ﻛﺮﺩ‪ .‬ﻫﻤﮕﻰﺷﺎﻥ ﺩﺭ ﺁﻥ ﺣﺎﻝ‪ ،‬ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﭘﻴﺮﻭﺯﻣﻨﺪﺍﻧﻪ ﻟﺒﺨﻨﺪ ﻣﻰﺯﺩﻧﺪ ﻭ‬ ‫ﺍﺯ ﺧﻮﺩﺷﺎﻥ ﺣﺴﺎﺑﻰ ﺭﺍﺿﻰ ﺑﻮﺩﻧﺪ‪ ،‬ﺧﺸﻚ ﺷﺪﻧﺪ‪ .‬ﺍﺯ ﭘﻨﺠﺮﻩ ﺑﻴﺮﻭﻥ ﺭﺍ ﻧﮕﺎﻩ ﻛﺮﺩﻡ‪ .‬ﻛﺮﻩﻯ ﺁﺑﻰ ﻭ ﺳﻔﻴﺪ‬ ‫ﺯﻳﺮ ﭘﺎﻳﻢ ﺑﻮﺩ ﻭ ﺣﺘﻤﺎً ﺩﺍﺷﺘﻴﻢ ﺩﻭﺭﺵ ﻣﻰﭼﺮﺧﻴﺪﻳﻢ‪ .‬ﺑﺰﺭگ ﻭ ﺯﻳﺒﺎ ﻭ ﺁﺭﺍﻡ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ‪ .‬ﺍﺯ ﺍﻳﻦ‬ ‫ﺑﺎﻻ ﻧﻤﻰﺷﺪ ﺁﺗﺶ ﻭ ﺳﻴﻞ ﻭ ﺯﻟﺰﻟﻪﺍﻯ ﺭﺍ ﺩﻳﺪ‪ .‬ﺁﻥ ﭘﺎﻳﻴﻦ ﺩﺭﺳﺖ ﻫﻤﺎﻥ ﻃﻮﺭﻯ ﺑﻮﺩ ﻛﻪ ﺳﺮﺯﻣﻴﻦ ﻣﻮﻋﻮﺩ‬ ‫ﺭﺍ ﺑﺮﺍﻳﻤﺎﻥ ﺗﻌﺮﻳﻒ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺟﺎﻳﻰ ﻛﻪ ﻣﻰﺷﺪ ﺩﺭ ﺁﻥ ﺧﺎﻧﻪ ﺳﺎﺧﺖ ﻭ ﺯﻧﺪﮔﻰ ﻛﺮﺩ ﻭ ﺩﻳﮕﺮ ﺍﺳﻴﺮ‬ ‫ﺍﺗﺎﻗﻚﻫﺎﻯ ﻓﻠﺰﻯ ﻭ ﺧﻔﻪ ﻭ ﻛﺎﺭﮔﺮﻫﺎ ﻭ ﺁﺷﭙﺰﻫﺎ ﻭ ﻣﻌﻠﻢﻫﺎﻯ ﺭﻭﺑﺎﺗﻰ ﻧﺒﻮﺩ‪ .‬ﻣﻰﺷﺪ ﭼﻤﻦ ﺭﺍ ﺑﻪ ﺟﺎﻯ‬ ‫ﺗﻤﺎﺷﺎ ﺍﺯ ﭘﺸﺖ ﺷﻴﺸﻪ‪ ،‬ﻟﻤﺲ ﻛﺮﺩ ﻭ ﺭﻭﻳﺶ ﺩﻭﻳﺪ‪.‬‬ ‫ﻭﻟﻰ ﺳﻮﺍﻝ ﻣﻬﻢ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺧﻮﺏ‪ ،‬ﻣﮕﺮ ﺩﻳﻮﺍﻧﻪ ﺑﻮﺩﻧﺪ؟ ﭼﺮﺍ ﺍﺯ ﺍﻭﻝ ﺭﺍﺳﺘﺶ ﺭﺍ ﻧﮕﻔﺘﻨﺪ؟ ﮔﻴﺮﻡ ﻛﻪ‬ ‫ﺯﻣﻴﻦ ﻣﻮﻗﻊ ﭘﺮﺗﺎﺏ ﺷﮕﻔﺖ ﻫﺰﺍﺭ ﻋﻴﺐ ﻭ ﺍﻳﺮﺍﺩ ﺩﺍﺷﺖ‪ .‬ﺑﺮ ﻓﺮﺽ ﻛﻪ ﺍﻣﻜﺎﻧﺎﺕ ﺳﻔﺮﻫﺎﻯ ﻓﻀﺎﻳﻰ ﺭﺍ‬ ‫ﻧﺪﺍﺷﺘﻴﻢ‪ .‬ﻭﻟﻰ ﭼﺮﺍ ﺍﻳﻦ ﻫﻤﻪ ﺩﺭﻭﻍ ﻭ ﺟﻔﻨﮓ؟ ﭼﻪ ﻣﻰﺷﺪ ﺍﮔﺮ ﺭﺍﺳﺖ ﻣﻰﮔﻔﺘﻨﺪ‪» :‬ﻣﺮﺩﻣﺎﻥ ﻋﺰﻳﺰ‪،‬‬

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‫ﻓﺴﺘﻴﻮﺍﻝ ﺗﺎﺑﺴﺘﺎﻧﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ‬

‫ﻣﻰﻛﻨﻪ ﻛﻪ ﻓﻘﻂ ﻳﻚ ﻧﻔﺮ ﺩﺭ ﺍﺗﺎﻕ ﺣﻀﻮﺭ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻪ‪ .‬ﺷﻨﻮﻧﺪﻩ‪ ،‬ﺑﻪ ﻧﻔﻊ ﺧﻮﺩﺕ ﻭ ﺍﻫﺎﻟﻰ ﺳﻔﻴﻨﻪ ﺍﺳﺖ‬ ‫ﻛﻪ ﻳﻚ ﻓﻀﻮﻝ ﺭﺩﻩ ﭘﺎﻳﻴﻦ ﻧﺒﺎﺷﻰ ﻭ ﻣﺤﺾ ﺷﻮﺧﻰ ﻭ ﺧﻨﺪﻩ ﺍﺯ ﺍﻳﻦﺟﺎ ﺳﺮ ﺩﺭ ﻧﻴﺎﻭﺭﺩﻩ ﺑﺎﺷﻰ‪«...‬‬ ‫ﻣﺮﺩﻯ ﻛﻪ ﺳﻤﺖ ﺩﻳﮕﺮ ﻣﻴﺰ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻭ ﺍﺯ ﺍﻭﻝ ﭘﺨﺶ ﻭﻳﺪﻳﻮ ﺑﺎ ﺑﻰﻗﺮﺍﺭﻯ‪ ،‬ﻛﺎﻏﺬ ﺭﻭﺑﺮﻭﻳﺶ ﺭﺍ ﺭﻳﺰﺭﻳﺰ‬ ‫ﻛﺮﺩﻩ ﻭ ﻛﻮﻩ ﻛﻮﭼﻜﻰ ﺩﺭﺳﺖ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺩﺳﺘﻰ ﺑﺎﻻ ﺑﺮﺩ ﻭ ﺑﺎ ﺣﺎﻟﺘﻰ ﻋﺬﺭﺧﻮﺍﻫﺎﻧﻪ ﮔﻔﺖ‪» :‬ﺍﻟﺒﺘﻪ ﻣﻨﻄﻘﺎً‬ ‫ﭼﻨﻴﻦ ﭼﻴﺰﻯ ﻏﻴﺮﻣﻤﻜﻨﻪ‪ .‬ﺳﻴﺴﺘﻢ ﻧﺎﻭﺑﺮ ﺳﻔﻴﻨﻪ ﺭﻭ ﻃﻮﺭﻯ ﻃﺮﺍﺣﻰ ﻛﺮﺩﻩﺍﻡ ﻛﻪ ﺣﻀﻮﺭ ﺁﺭﺷﻴﻮ ﺭﻭ ﺑﺮﺍﻯ‬ ‫ﻫﺮ ﻛﺴﻰ ﺭﻭ ﻧﻜﻨﻪ‪ .‬ﺑﻪ ﻋﻼﻭﻩ‪ ،‬ﺍﺯ ﺍﻳﺪﻩﻯ ﻳﻪ ﺑﺎﺯﻯ ﺷﻄﺮﻧﺞ ﻧﺎﻣﻤﻜﻦ ﻫﻢ ﺧﻮﺷﻢ ﻧﻴﻮﻣﺪ‪ .‬ﭼﻄﻮﺭ ﺑﺎ ﻣﻦ‬ ‫ﻫﻤﺎﻫﻨﮕﻰ‪«...‬‬ ‫ﻣﺮﺩ ﺍﻭﻟﻰ ﺩﺳﺘﺶ ﺭﺍ ﺑﺎﻻ ﺑﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﺑﻠﻪ ﺑﻠﻪ‪ ،‬ﻣﻤﻨﻮﻥ‪ .‬ﺑﺎﻗﻰ ﻣﻮﺿﻮﻋﺎﺕ ﺑﺎﺷﻪ ﺑﺮﺍﻯ ﺑﻌﺪ‪ .‬ﺑﻬﺘﺮﻩ ﺍﺯ‬ ‫ﺍﻭﻝ ﺷﺮﻭﻉ ﻛﻨﻴﻢ‪ .‬ﻣﻰﺗﻮﻧﻰ ﻣﺎ ﺭﻭ ﺷﻮﺭﺍﻯ ﻋﺎﻟﻰ ﺷﮕﻔﺖ ﺻﺪﺍ ﻛﻨﻰ‪ .‬ﺍﻓﺮﺍﺩﻯ ﻛﻪ ﺩﺭ ﺳﺎﺧﺖ ﺳﻔﻴﻨﻪ ﻭ‬ ‫ﺗﻤﺎﻡ ﺍﻳﻦ ﻣﺎﻣﻮﺭﻳﺖ ﻫﻤﻜﺎﺭﻯ ﺩﺍﺷﺘﻨﺪ‪ .‬ﺍﻭﺿﺎﻉ ﺧﻴﻠﻰ ﺳﺎﺩﻩ ﺍﺳﺖ ﻭ ﺍﺣﺘﻤﺎﻻً ﺧﻮﺩﺕ ﻫﻢ ﺗﺎ ﺍﻻﻥ ﺣﺪﺱ‬ ‫ﺯﺩﻯ‪ .‬ﺳﻔﻴﻨﻪ ﺣﺮﻛﺖ ﻧﻤﻰﻛﻨﻪ‪ .‬ﻫﻤﻴﻦ ﺑﺎﻻ ﺛﺎﺑﺖ ﻣﻮﻧﺪﻩ ﻭ ﺩﻭﺭ ﺯﻣﻴﻦ ﻣﻰﭼﺮﺧﻪ‪ .‬ﺍﮔﺮ ﺣﺴﺎﺏ ﻛﻨﻰ‪ ،‬ﺑﻌﺪ‬ ‫ﺍﺯ ﻣﺎﻩ‪ ،‬ﻣﺎ ﺩﻭﻣﻴﻦ ﻗﻤﺮ ﺯﻣﻴﻦ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻴﻢ ﻛﻪ ﺍﻟﺒﺘﻪ ﺍﺯ ﻧﻈﺮ ﺍﺑﻌﺎﺩ ﻫﻢ ﺑﻴﺸﺘﺮ ﻳﻚ ﻗﻤﺮ ﻫﺴﺘﻴﻢ ﺗﺎ‬ ‫ﻳﻚ ﺳﻔﻴﻨﻪ‪ .‬ﻭ ﺍﻟﺒﺘﻪ ﺩﺭ ﻛﻞ ﻣﻨﻈﻮﻣﻪ‪ ،‬ﺑﺰﺭﮔﺘﺮﻳﻦ ﻗﻤﺮ ﻣﺼﻨﻮﻋﻰ ﻫﻤﻴﻦ ﺷﮕﻔﺘﻰ ﺍﺳﺖ ﻛﻪ ﻣﻰﺑﻴﻨﻰ‪«.‬‬ ‫ﭼﻨﺪ ﺗﺎﻳﻰ ﺍﺯ ﺣﺎﺿﺮﺍﻥ ﻟﺒﺨﻨﺪ ﻏﺮﻭﺭﺁﻣﻴﺰﻯ ﺯﺩﻧﺪ ﻭ ﺁﻥ ﻳﻜﻰ ﻛﻪ ﺭﻭﻯ ﺯﻣﻴﻦ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ ،‬ﭘﺎﻫﺎﻳﺶ‬ ‫ﺭﺍ ﺩﺭﺍﺯ ﻛﺮﺩ ﻭ ﺭﻭﻯ ﻫﻢ ﺍﻧﺪﺍﺧﺖ‪ .‬ﻫﻤﺎﻥ ﻣﺮﺩ ﺍﻭﻝ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺍﻣﺎ ﻣﻬﻢﺗﺮ ﺍﺯ ﻫﺮ ﭼﻴﺰﻯ‪ ،‬ﺍﻳﻨﻪ ﻛﻪ‬ ‫ﺑﻔﻬﻤﻰ ﭼﺮﺍ ﺍﻳﻦ ﻛﺎﺭ ﺭﻭ ﻛﺮﺩﻳﻢ ﻭ ﭼﻄﻮﺭ ﺷﺪﻩ ﻛﻪ ﺷﻤﺎﻫﺎ ﺑﻪ ﺟﺎﻯ ﻓﻀﺎﻯ ﺩﻭﺭﺩﺳﺖ‪ ،‬ﻫﻨﻮﺯ ﺩﻭﺭ ﺯﻣﻴﻦ‬ ‫ﻣﻰﮔﺮﺩﻳﺪ‪ .‬ﺩﺭ ﺣﻘﻴﻘﺖ‪ ...‬ﮔﻔﺘﻨﺶ ﺍﻟﺒﺘﻪ ﺳﺨﺘﻪ‪ ...‬ﺍﻣﺎ ﻫﻴﭻ ﻣﻘﺼﺪﻯ ﺩﺭ ﻛﺎﺭ ﻧﻴﺴﺖ‪ .‬ﺗﻤﺎﻡ ﭼﻴﺰﻫﺎﻳﻰ ﻛﻪ‬ ‫ﻫﻤﻴﺸﻪ ﺷﻨﻴﺪﻩﺍﻳﺪ‪ ،‬ﺍﻳﻦ ﻛﻪ ﺷﮕﻔﺖ ﺑﻪ ﺳﻤﺖ ﺳﻴﺎﺭﻩﺍﻯ ﺯﻣﻴﻦﮔﻮﻧﻪ ﻣﻰﺭﻩ ﻭ ﺍﻣﺜﺎﻟﻬﻢ‪ ،‬ﻫﻤﮕﻰ‪ ...‬ﺑﻪ ﻛﻼﻡ‬ ‫ﺳﺎﺩﻩ‪ ...‬ﺧﺮﻋﺒﻠﻪ ﻭ ﺍﻟﺒﺘﻪ‪ ،‬ﻣﺎ ﻫﻢ ﺷﺮﻣﻨﺪﻩﺍﻳﻢ ﻛﻪ ﺍﻳﻦ ﻫﻤﻪ ﻣﺪﺕ ﺑﺎ ﺍﻳﻦ ﺩﺭﻭﻍ ﺯﻧﺪﮔﻰ ﻛﺮﺩﻩﺍﻳﺪ ﻭ ﺣﺎﻻ‬ ‫ﺍﻳﻦ ﻃﻮﺭﻯ ﺍﻧﺘﻈﺎﺭﺍﺗﺘﻮﻥ ﻧﻘﺶ ﺑﺮ ﺁﺏ ﻣﻰﺷﻪ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﭼﻴﺰﻫﺎ ﺩﺭ ﺯﻧﺪﮔﻰ ﺧﻴﻠﻰ ﭘﻴﺶ ﻣﻰﺁﺩ ﻭ ﻫﺪﻑ‬ ‫ﺑﺰﺭﮔﺘﺮ‪ ،‬ﻫﻤﻴﺸﻪ ﻣﻬﻢﺗﺮﻩ‪ .‬ﺩﺭ ﺣﺎﻟﺖ ﻛﻠﻰ‪ ،‬ﻭﺿﻌﺘﻮﻥ ﺑﺎﻳﺪ ﺍﺯ ﺍﻻﻥ ﻣﺎ ﺧﻴﻠﻰ ﺑﻬﺘﺮ ﺑﺎﺷﻪ ﻭ ﻫﻤﻴﻦ ﺟﺎﻯ‬ ‫ﮔﻠﻪ ﻭ ﺷﻜﺎﻳﺖ ﺭﻭ ﻛﻢ ﻣﻰﻛﻨﻪ‪ .‬ﺧﻮﺏ‪ ...‬ﻓﻜﺮ ﻛﻨﻢ ﺑﻬﺘﺮﻩ ﺑﺎﻗﻰ ﻣﺎﺟﺮﺍ ﺭﻭ ﻳﻪ ﻧﻔﺮ ﺩﻳﮕﺮ ﺗﻌﺮﻳﻒ ﻛﻨﻪ‪«.‬‬ ‫ﺑﻌﺪ ﺑﻪ ﺳﻤﺖ ﺯﻧﻰ ﻛﻪ ﺁﻥ ﺳﻮﻯ ﻣﻴﺰ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻭ ﺧﻮﺩﻛﺎﺭ ﻭ ﺩﻓﺘﺮﭼﻪﺍﻯ ﺟﻠﻮﻯ ﺩﺳﺘﺶ ﺑﻮﺩ‪ ،‬ﺍﺷﺎﺭﻩ‬ ‫ﻛﺮﺩ‪ .‬ﺯﻥ ﺑﻌﺪ ﺍﺯ ﭼﻨﺪ ﻟﺤﻈﻪ ﻣﻜﺚ ﮔﻔﺖ‪» :‬ﺑﻠﻪ‪ ،‬ﻫﺪﻑ ﺑﺰﺭﮔﺘﺮ‪ .‬ﺧﻼﺻﻪﺍﺵ ﻣﻰﺷﻪ ﺍﻳﻦ ﻛﻪ ﺯﻣﻴﻦ‬ ‫ﺩﻳﮕﺮ ﺟﺎﻯ ﺑﺎﻗﻰ ﻣﻮﻧﺪﻥ ﻧﻴﺴﺖ؛ ﺑﻌﺪ ﺍﺯ ﺑﺤﺮﺍﻥ ﭘﺸﺖ ﺑﺤﺮﺍﻥ‪ ،‬ﺁﺗﺶﺳﻮﺯﻯ‪ ،‬ﺳﻴﻞ‪ ،‬ﺯﻟﺰﻟﻪﻯ ﻣﺮﮔﺒﺎﺭ‪،‬‬ ‫ﺣﺎﻻ ﻫﻢ ﺍﻳﻦ ﺑﻴﺪﺍﺭ ﺷﺪﻩﻫﺎﻯ ﻟﻌﻨﺘﻰ ﻭ ﭘﺸﺖ ﺳﺮﺷﻮﻥ‪ ،‬ﺍﺧﻮﺕﻫﺎﻳﻰ ﻛﻪ ﺑﻪ ﺍﺳﻢ ﻧﺎﺑﻮﺩﻯ ﺍﻭﻧﺎ ﺑﻪ ﻭﺟﻮﺩ‬ ‫ﺍﻭﻣﺪﻥ ﻭ ﺣﺎﻻ ﺑﻼﻯ ﺟﻮﻥ ﻫﻤﻪﻯ ﺑﺎﻗﻴﻤﺎﻧﺪﻩﻫﺎ ﺷﺪﻥ‪ ...‬ﺍﮔﺮ ﺷﮕﻔﺖ ﺭﻭ ﭘﺮﺗﺎﺏ ﻧﻜﻨﻴﻢ‪ ،‬ﺩﻳﺮ ﻳﺎ ﺯﻭﺩ ﻫﻤﻪ‬ ‫ﭼﻴﺰ ﺍﺯ ﺩﺳﺖ ﻣﻰﺭﻩ‪ .‬ﺑﻪ ﻓﻜﺮ ﭘﻴﺪﺍ ﻛﺮﺩﻥ ﻳﻪ ﺧﻮﻧﻪﻯ ﺗﺎﺯﻩ ﺗﻮﻯ ﻳﻪ ﺳﻴﺎﺭﻩﻯ ﺩﻳﮕﻪ ﺍﻓﺘﺎﺩﻳﻢ؛ ﺁﺭﻩ‪ ،‬ﺍﻭﻥ‬

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‫ﺍﻭﻥ ﺑﺎﻻ ﺑﺨﻮﺍﺩ ﭼﻄﻮﺭ ﻋﻤﻞ ﻛﻨﻪ‪ ...‬ﻣﻨﺘﻬﻰ ﺑﺮﺍﻯ ﻣﻮﺭﺩﻯ ﻛﻪ ﻗﺒ ً‬ ‫ﻼ ﺍﺷﺎﺭﻩ ﻛﺮﺩﻳﻢ‪ ،‬ﻓﻜﺮ ﺟﺎﻟﺒﻰ ﺑﻪ ﺳﺮﻡ‬ ‫ﺯﺩﻩ‪ .‬ﺩﺭ ﺁﻳﻨﺪﻩﻯ ﻛﺎﻣﭙﻴﻮﺗﺮ ﺯﻣﺎﻧﻰ ﺭﻭ ﭘﻴﺶﺑﻴﻨﻰ ﻛﺮﺩﻡ ﻛﻪ ﺑﺮﺍﻯ ﺳﺮﮔﺮﻡ ﻧﮕﻪ ﺩﺍﺷﺘﻦ ﺧﻮﺩﺵ ﻭ ﺑﻘﻴﻪ‪،‬‬ ‫ﻳﻚ ﺑﺎﺯﻯ ﺷﻄﺮﻧﺞ ﻧﺎﻣﻤﻜﻦ ﺩﺭﺳﺖ ﻛﻨﻪ‪«.‬‬ ‫ﻣﻨﺸﻰ ﭘﺮﺳﻴﺪ‪» :‬ﺍﻳﻨﻰ ﻛﻪ ﮔﻔﺘﻴﺪ ﭼﻰ ﻫﺴﺖ؟«‬ ‫ﻣﺪﻳﺮ ﻓﻨﻰ ﺑﺎ ﺧﻨﺪﻩﺍﻯ ﺯﻳﺮﺯﻳﺮﻛﻰ ﮔﻔﺖ‪» :‬ﺣﺎﻻ! ﺗﻨﻬﺎ ﺭﺍﻩ ﻓﻬﻤﻴﺪﻧﺶ ﺍﻳﻨﻪ ﻛﻪ ﻳﻚ ﻣﺎﺷﻴﻦ ﺯﻣﺎﻥ ﺑﺴﺎﺯﻳﻢ‬ ‫ﻭ ﺑﺎﻫﺎﺵ ﺑﻪ ﺁﻳﻨﺪﻩﻯ ﺷﮕﻔﺖ ﺳﻔﺮ ﻛﻨﻴﻢ‪«.‬‬ ‫ﻣﻦ ﮔﻔﺘﻢ‪» :‬ﮔﻔﺘﻴﺪ ﻣﺎﺷﻴﻦ ﺯﻣﺎﻥ! ﺍﻡ‪ ...‬ﻓﻜﺮ ﻛﻨﻢ ﺑﺪ ﻧﻴﺴﺖ ﺿﺒﻂ ﭘﻴﺎﻡ ﺭﻭ ﺷﺮﻭﻉ ﻛﻨﻴﻢ‪ .‬ﻫﻮﺍ ﺩﺍﺭﻩ‬ ‫ﺗﺎﺭﻳﻚ ﻣﻰﺷﻪ ﻭ ﺍﮔﺮ ﺯﻭﺩ ﻧﺠﻨﺒﻴﻢ‪ ،‬ﺑﻪ ﺩﺳﺘﻪﻯ ﺑﻴﺪﺍﺭ ﺷﺪﻩﻫﺎ ﺑﺮ ﻣﻰﺧﻮﺭﻳﻢ‪«.‬‬ ‫ﺍﺯ ﺁﻥ ﻃﺮﻑ ﻣﻴﺰ‪ ،‬ﻣﺸﺎﻭﺭ ﺍﻋﻈﻢ ﺑﺎ ﺗﻤﺴﺨﺮ ﮔﻔﺖ‪» :‬ﺑﺎﺯ ﺷﻤﺎ ﭘﺎﺭﺍﻧﻮﻳﺎﻯ ﺯﺍﻣﺒﻰﺍﺕ ﺭﻭ ﺷﺮﻭﻉ ﻛﺮﺩﻯ!«‬ ‫ﺭﺋﻴﺲ ﻳﻚ ﻗﻠﭗ ﻛﻮﭼﻚ ﺍﺯ ﻟﻴﻮﺍﻥ ﺁﺏ ﺟﻠﻮﻯ ﺭﻭﻳﺶ ﻧﻮﺷﻴﺪ ﻭ ﮔﻔﺖ‪» :‬ﻧﻪ ﻧﻪ ﺣﻖ ﺑﺎ ﺩﺑﻴﺮ ﺍﺟﺮﺍﻳﻴﻪ‪.‬‬ ‫ﺁﻧﺪﺭﻭﻳﺪ‪ ،‬ﻟﻄﻔﺎً ﺟﻠﻮﻯ ﭘﻨﺠﺮﻩﻯ ﻗﺪﻯ ﺑﺎﻳﺴﺖ ﻭ ﺿﺒﻂ ﭘﻴﺎﻡ ﺭﻭ ﺷﺮﻭﻉ ﻛﻦ‪ .‬ﺣﺪﺍﻗﻞ ﺍﻣﺮﻭﺯ ﺣﻮﺻﻠﻪﻯ‬ ‫ﺯﺍﻣﺒﻰ ﻛﺸﺘﻦ ﻧﺪﺍﺭﻡ!«‬ ‫ﺁﻧﺪﺭﻭﻳﺪ ﺑﻠﻨﺪ ﺷﺪ ﻭ ﺳﻤﺖ ﺩﻳﮕﺮ ﻣﻴﺰ‪ ،‬ﺩﺭ ﺑﺮﺍﺑﺮ ﻣﺪﻳﺮ ﺍﻳﺴﺘﺎﺩ‪ .‬ﺑﻌﺪ ﭘﻮﺳﺖ ﺭﻭﻯ ﭘﻴﺸﺎﻧﻰﺍﺵ ﻛﻨﺎﺭ ﺭﻓﺖ‬ ‫ﻭ ﭼﺸﻤﺎﻧﺶ ﺑﻪ ﺩﺍﺧﻞ ﻛﺎﺳﻪﻯ ﺑﺮﮔﺸﺘﻨﺪ ﻭ ﺩﻭ ﺩﻭﺭﺑﻴﻦ ﻓﻠﺰﻯ ﺍﺯ ﺟﺎﻳﮕﺎﻩ ﭼﺸﻤﺎﻧﺶ ﺑﻴﺮﻭﻥ ﺧﺰﻳﺪﻧﺪ‪.‬‬ ‫ﺻﺪﺍﻯ ﺁﻫﻨﻴﻦ ﺁﻧﺪﺭﻭﻳﺪ ﻃﻨﻴﻦ ﺍﻧﺪﺍﺯ ﺷﺪ ﻛﻪ‪» :‬ﺁﻏﺎﺯ ﺿﺒﻂ ﭘﻴﺎﻡ‪«.‬‬ ‫ﺁﻗﺎﻯ ﻣﺪﻳﺮ ﺑﺎ ﺣﺎﻟﺘﻰ ﻋﺼﺒﻰ ﻭ ﻫﻴﺠﺎﻥ ﺯﺩﻩ ﺭﻭ ﺑﻪ ﺩﻭﺭﺑﻴﻦﻫﺎﻯ ﭼﺸﻤﻰ ﺁﻧﺪﺭﻭﻳﺪ ﮔﻔﺖ‪ » :‬ﺍﻡ‪ ...‬ﻓﻜﺮ‬ ‫ﻛﻨﻢ ﺳﻼﻡ‪«...‬‬ ‫‪ ‬ﭼﻨﺪ ﻧﻔﺮ ﺍﺯ ﺣﺎﺿﺮﺍﻥ ﻧﮕﺎﻫﻰ ﺑﻪ ﺍﻭ ﺍﻧﺪﺍﺧﺘﻨﺪ ﻛﻪ ﺑﺎﻋﺚ ﺷﺪ ﭼﻨﺪ ﺑﺎﺭ ﺩﻳﮕﺮ ﮔﻠﻮﻳﺶ ﺭﺍ ﺻﺎﻑ ﻛﻨﺪ‪،‬‬ ‫ﻧﺼﻒ ﻟﻴﻮﺍﻥ ﺁﺏ ﻣﺠﺎﺯﻯ ﺭﻭﺑﺮﻭﻳﺶ ﺭﺍ ﺳﺮ ﺑﻜﺸﺪ ﻭ ﺑﻌﺪ ﺍﺯ ﭘﺎﻙ ﻛﺮﺩﻥ ﻋﺮﻕ ﺭﻭﻯ ﭘﻴﺸﺎﻧﻰﺍﺵ‪ ،‬ﺑﮕﻮﻳﻴﺪ‪:‬‬ ‫»ﺍﻻﻥ ﺑﺎﻳﺪ ﺗﻮﻯ ﺍﺗﺎﻕ ﺁﺭﺷﻴﻮ ﺷﮕﻔﺖ ﺑﺎﺷﻴﻢ‪ .‬ﻧﻤﻰﺩﻭﻧﻢ ﭼﻪ ﺳﺎﻟﻴﻪ ﻳﺎ ﺍﻳﻦ ﻛﻪ ﭼﻄﻮﺭ ﺍﻳﻦﺟﺎ ﺭﻭ ﭘﻴﺪﺍ‬ ‫ﻛﺮﺩﻯ‪ «...‬ﻣﻜﺚ ﻛﺮﺩ ﻭ ﺗﻮﺿﻴﺢ ﺩﺍﺩ‪» :‬ﺍﺯ ﻓﻌﻞ ﻣﻔﺮﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﻢ‪ .‬ﺷﺎﻳﺪ ﭼﻨﺪ ﻧﻔﺮ ﺑﺎﺷﻴﺪ‪ ،‬ﺍﻣﺎ‬ ‫ﺑﺎﻻﺧﺮﻩ ﻳﻜﻰ ﺑﺎﻳﺪ ﺑﺎﻻﺩﺳﺖ ﺑﻘﻴﻪ ﺑﺎﺷﻪ‪ .‬ﺻﺤﺒﺖ ﻣﻦ ﺑﺎ ﻫﻤﻴﻦ ﺑﺎﻻﺩﺳﺖ ﻫﺴﺖ ﻭ ﻗﺒﻞ ﺍﺯ ﻫﺮ ﭼﻴﺰﻯ‪،‬‬ ‫ﻣﻰﺧﻮﺍﻡ ﻛﻪ ﺑﻘﻴﻪ ﺍﺗﺎﻕ ﺭﻭ ﺗﺮﻙ ﻛﻨﻨﺪ‪«.‬‬ ‫ﺻﺤﻨﻪ ﺩﺭﺳﺖ ﻣﺜﻞ ﻳﻚ ﻭﻳﺪﻳﻮ ﭘﺮﻭژﻛﺘﻮﺭ ﻣﺘﻮﻗﻒ ﺷﺪ ﻛﻪ ﻣﺴﺨﺮﻩ ﺑﻮﺩ‪ .‬ﺗﺼﻮﻳﺮ ﺁﺩﻡﻫﺎ ﺁﻥ ﻗﺪﺭ ﻭﺍﻗﻌﻰ‬ ‫ﺑﻮﺩ ﻛﻪ ﻳﻚ ﺩﻓﻌﻪ ﺧﺸﻚ ﺷﺪﻥ ﻫﻢﺯﻣﺎﻧﺸﺎﻥ ﺣﺲ ﻋﺠﻴﺒﻰ ﺑﻪ ﺁﺩﻡ ﻣﻰﺩﺍﺩ؛ ﺍﻧﮕﺎﺭ ﻳﻚ ﻣﺸﺖ ﺁﺩﻡ ﮔﻨﺪﻩ‬ ‫ﺧﻮﺍﺳﺘﻪ ﺑﺎﺷﻨﺪ ﺗﻮ ﺭﺍ ﺩﺳﺖ ﺑﻴﻨﺪﺍﺯﻧﺪ‪.‬‬ ‫ﺗﺼﻮﻳﺮ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ ﻭ ﻫﻤﺎﻥ ﻣﺮﺩ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﻛﺎﻣﭙﻴﻮﺗﺮ ﺍﺗﺎﻕ ﺍﺩﺍﻣﻪﻯ ﻭﻳﺪﻳﻮ ﺭﻭ ﺩﺭ ﺣﺎﻟﻰ ﭘﺨﺶ‬

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‫ﻓﺴﺘﻴﻮﺍﻝ ﺗﺎﺑﺴﺘﺎﻧﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ‬

‫ﺁﻥ ﻃﺮﻑ ﻣﻴﺰ ﻫﻢ ﺩﻭ ﻧﻔﺮ ﺩﻳﮕﺮ ﻧﺸﺴﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﺩﻳﻮﺍﻧﻪ‪ ،‬ﻣﺮﺩ ﻻﻏﺮ ﻭ ﭘﺮﻣﻮﻳﻰ ﺑﻮﺩ ﻛﻪ ﺷﺨﺼﻴﺘﻰ ﻏﻴﺮﻗﺎﺑﻞ‬ ‫ﺩﺭﻙ ﺩﺍﺷﺖ ﻭ ﻫﺮ ﺣﺮﻓﻰ ﻛﻪ ﻣﻰﺯﺩ‪ ،‬ﺑﺎ ﻭﺍﻛﻨﺶ ﻣﻨﻔﻰ ﺗﻤﺎﻣﻰ ﺟﻤﻊ ﺭﻭﺑﻪﺭﻭ ﻣﻰﺷﺪ‪ .‬ﺷﺎﻳﺪ ﺑﺰﺭگﺗﺮﻳﻦ‬ ‫ﺩﺳﺘﺎﻭﺭﺩ ﺍﻭ ﻫﻢ ﻫﻤﻴﻦ ﻣﺘﺤﺪ ﻛﺮﺩﻥ ﮔﺮﻭﻫﻰ ﭼﻨﻴﻦ ﻣﺘﻔﺎﻭﺕﺍﻟﺴﻠﻴﻘﻪ ﺑﻮﺩ‪.‬ﻛﻨﺎﺭ ﺍﻭ ﻫﻢ ﺑﺮﻧﺎﻣﻪﺭﻳﺰ‬ ‫ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻭ ﻛﺎﻏﺬﻫﺎﻯ ﺟﻠﻮﻳﺶ ﺭﺍ ﺭﻳﺰ ﺭﻳﺰ ﻣﻰﻛﺮﺩ ﻭ ﻛﻮﻩ ﻣﻰﺳﺎﺧﺖ‪.‬‬ ‫ﺑﻪ ﺳﺎﻋﺖ ﻧﮕﺎﻩ ﻛﺮﺩﻡ‪ .‬ﺷﺶ ﻭ ﺩﻩ ﺩﻗﻴﻘﻪ ﺑﻮﺩ‪ ،‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺟﻠﺴﻪ ﻗﺮﺍﺭ ﺑﻮﺩ ﺳﺎﻋﺖ ﺷﺶ ﺑﺮﮔﺰﺍﺭ ﺷﻮﺩ‪.‬‬ ‫ﺗﺎﺧﻴﺮﻯ ﻛﻪ ﺍﻧﮕﺎﺭ ﺗﺎ ﺍﺑﺪ ﮔﺮﻳﺒﺎﻧﮕﻴﺮﻣﺎﻥ ﻣﻰﻣﺎﻧﺪ‪ .‬ﮔﻠﻮﻳﻢ ﺭﺍ ﺻﺎﻑ ﻛﺮﺩﻡ ﻭ ﮔﻔﺘﻢ‪» :‬ﻟﻄﻔﺎً ﺍﮔﺮ ﻣﻤﻜﻦ‬ ‫ﺍﺳﺖ ﺳﻜﻮﺕ ﺭﺍ ﺭﻋﺎﻳﺖ ﻛﻨﻴﺪ ﺗﺎ ﻫﺮ ﭼﻪ ﺯﻭﺩﺗﺮ ﺍﻳﻦ ﻛﺎﺭ ﻟﻌﻨﺘﻰ ﺭﺍ ﺗﻤﺎﻡ ﻛﻨﻴﻢ‪ .‬ﻣﻄﻤﺌﻨﻢ ﻫﻤﻪﻯ ﺷﻤﺎ‬ ‫ﻛﺎﺭﻫﺎﻯ ﻣﻬﻢﺗﺮﻯ ﺍﺯ ﻧﺸﺴﺘﻦ ﺩﻭﺭ ﺍﻳﻦ ﻣﻴﺰ ﺩﺍﺭﻳﺪ‪«.‬‬ ‫ﻭ ﻭﺍﻗﻌﻴﺘﺶ ﻫﻢ ﻫﻤﻴﻦ ﺑﻮﺩ‪ .‬ﻫﻴﭻ ﻛﺪﺍﻡ ﺍﺯ ﻣﺎ ﺣﺪﺍﻗﻞ ﺩﺭ ﺁﻥ ﻟﺤﻈﻪﻯ ﺧﺎﺹ ﺍﺯ ﺳﺮ ﻣﻴﻞ ﻭ ﻋﻼﻗﻪ‬ ‫ﺁﻥﺟﺎ ﻧﻨﺸﺴﺘﻪ ﺑﻮﺩﻳﻢ‪ .‬ﺷﺎﻳﺪ ﺩﺭ ﺯﻣﺎﻧﻰ ﺧﻴﻠﻰ ﺩﻭﺭ ﻛﻪ ﺧﻮﺩﻣﺎﻥ ﻫﻢ ﺧﺎﻃﺮﻩﺍﻯ ﻣﺤﻮ ﺍﺯ ﺁﻥ ﺩﺍﺷﺘﻴﻢ‪ ،‬ﺑﻪ‬ ‫ﻫﺪﻓﻤﺎﻥ ﺍﻳﻤﺎﻥ ﺩﺍﺷﺘﻴﻢ ﻭ ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺑﺮﺍﻯ ﻧﺸﺴﺘﻦ ﺩﻭﺭ ﺍﻳﻦ ﻣﻴﺰ ﻭ ﺣﺮﻑ ﺯﺩﻥ ﺩﺭﺑﺎﺭﻩﻯ ﭘﻴﺸﺮﻓﺖ ﻛﺎﺭ‬ ‫ﺳﺎﺧﺖ ﺳﻔﻴﻨﻪﺍﻯ ﻛﻪ ﺣﺎﻻ ﺩﻗﻴﻘﺎً ﺑﺎﻻﻯ ﺳﺮﻣﺎﻥ ﺟﺎﺧﻮﺵ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺷﻮﺭ ﻭ ﺷﻮﻕ ﺑﺴﻴﺎﺭﻯ ﺩﺍﺷﺘﻴﻢ‪.‬‬ ‫ﺁﻗﺎﻯ ﺭﺋﻴﺲ ﮔﻠﻮﻳﻰ ﺻﺎﻑ ﻛﺮﺩ ﻭ ﺑﺎ ﺻﺪﺍﻳﻰ ﺧﺴﺘﻪ ﻭ ﺑﻰﺟﺎﻥ ﮔﻔﺖ‪» :‬ﺑﺴﻴﺎﺭ ﺧﻮﺏ‪ .‬ﻣﻨﺸﻰ‪ ،‬ﻟﻄﻔﺎً‬ ‫ﺩﺳﺘﻮﺭ ﺟﻠﺴﻪﻯ ﺍﻣﺮﻭﺯ ﺭﺍ ﺑﺮﺍﻯ ﺟﻤﻊ ﻳﺎﺩﺁﻭﺭﻯ ﻛﻨﻴﺪ‪«.‬‬ ‫ﻣﻨﺸﻰ ﻛﻤﻰ ﺑﺎ ﺩﻓﺘﺮ ﺑﺮﺍﻕ ﻭ ﺭﻧﮕﺎﺭﻧﮕﺶ ﻭﺭ ﺭﻓﺖ ﻭ ﺻﻔﺤﻪﻯ ﻣﻮﺭﺩ ﻧﻈﺮﺵ ﺭﺍ ﭘﻴﺪﺍ ﻛﺮﺩ‪» :‬ﺍﻣﺮﻭﺯ ﺩﻭ ﺗﺎ‬ ‫ﺩﺳﺘﻮﺭ ﻛﺎﺭ ﺑﻴﺸﺘﺮ ﻧﺪﺍﺭﻳﻢ‪ .‬ﺍﻭﻻً ﻣﺪﻳﺮ ﻓﻨﻰ ﺑﺎﻳﺪ ﻛﺎﻣﭙﻴﻮﺗﺮ ﺳﻔﻴﻨﻪ ﺭﻭ ﻭﺍﺭﺩ ﺣﺎﻓﻈﻪﻯ ﻣﺮﻛﺰﻯ ﺳﻔﻴﻨﻪ‬ ‫ﻛﻨﻪ ﻭ ﻛﻠﻴﺪ ﺷﺮﻭﻉ ﺭﻭ ﺑﺰﻧﻪ‪ .‬ﺩﺭ ﺿﻤﻦ‪ ،‬ﺑﺎﻳﺪ ﭘﻴﺎﻣﻤﻮﻥ ﺭﻭ ﺑﺮﺍﻯ ﺁﻳﻨﺪﻩ ﺿﺒﻂ ﻛﻨﻴﻢ‪«.‬‬ ‫ﭘﻴﺎﻣﻰ ﺑﺮﺍﻯ ﺁﻳﻨﺪﻩ‪ .‬ﺑﻪ ﻧﻈﺮﻡ ﺯﻳﺎﺩﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻣﻰﺁﻣﺪ‪ .‬ﻛﻞ ﺍﻳﻦ ﭘﺮﻭژﻩ ﺍﺯ ﺍﻭﻟﺶ ﻫﻢ ﺑﻮﺩﺍﺭ ﺑﻮﺩ‪ .‬ﻣﻦ‬ ‫ﻭ ﺁﻧﺪﺭﻭﻳﺪ ﺑﻪ ﻃﻮﺭ ﻛﻠﻰ ﻧﻈﺮ ﻣﺴﺎﻋﺪﻯ ﺩﺭ ﺍﻳﻦ ﺑﺎﺭﻩ ﻧﺪﺍﺷﺘﻴﻢ‪ .‬ﻣﻦ ﭼﻮﻥ ﻫﻨﻮﺯ ﺧﻴﻠﻰ ﺟﻮﺍﻥ ﺑﻮﺩﻡ ﻭ‬ ‫ﺩﺭ ﻧﺘﻴﺠﻪ ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻢ ﺍﺩﻋﺎ ﻛﻨﻢ ﺧﻴﺮ ﻭ ﺻﻼﺡ ﺑﺸﺮ ﺭﺍ ﺑﻴﺸﺘﺮ ﺍﺯ ﻫﺮ ﻛﺲ ﺩﻳﮕﺮﻯ ﻣﻰﺩﺍﻧﻢ‪ .‬ﺁﻧﺪﺭﻭﻳﺪ‬ ‫ﺑﻪ ﺍﻳﻦ ﺩﻟﻴﻞ ﻛﻪ ﻣﻌﺘﻘﺪ ﺑﻮﺩ ﺩﺭ ﺟﻬﺎﻧﻰ ﻣﺜﻞ ﺍﻳﻦ ﺟﻬﺎﻥ‪ ،‬ﭼﻴﺰﻯ ﻛﻪ ﺍﺭﺯﺵ ﻧﺠﺎﺕ ﺩﺍﺩﻥ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‬ ‫ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺍﻣﺎ ﺗﻘﺮﻳﺒﺎً ﺑﻘﻴﻪ ﺩﺭ ﻧﺠﺎﺕ ﻧﻮﻉ ﺑﺸﺮ ﻣﺘﺤﺪ ﺑﻮﺩﻧﺪ‪ .‬ﻭ ﭼﻮﻥ ﺟﺰ ﻣﺮﺩﻣﻰ ﻛﻪ ﺩﻭﺭ ﺍﻳﻦ ﻣﻴﺰ‬ ‫ﻧﺸﺴﺘﻪ ﺑﻮﺩﻧﺪ‪ ،‬ﺧﺎﻧﻮﺍﺩﻩﺍﻯ ﻧﺪﺍﺷﺘﻢ ﻭ ﻧﻤﻰﺷﻨﺎﺧﺘﻢ‪ ،‬ﻛﻮﺗﺎﻩ ﺁﻣﺪﻡ‪ .‬ﻧﻈﺮ ﻣﻦ ﻭ ﺁﻧﺪﺭﻭﻳﺪ ﺍﻫﻤﻴﺘﻰ ﻧﺪﺍﺷﺖ‪.‬‬ ‫ﻧﻈﺮ ﺟﻤﻊ ﻫﻤﻴﺸﻪ ﻣﻬﻢﺗﺮ ﺑﻮﺩ‪.‬‬ ‫ﺭﺋﻴﺲ ﻛﻪ ﻛﻤﻰ ﻋﺮﻕ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺳﺮﻯ ﺗﻜﺎﻥ ﺩﺍﺩ ﻭ ﺭﻭ ﺑﻪ ﻣﺪﻳﺮ ﻓﻨﻰ ﭘﺮﺳﻴﺪ‪» :‬ﻭﺿﻌﻴﺖ ﻫﻮﺵ‬ ‫ﻣﺼﻨﻮﻋﻰ ﺳﻔﻴﻨﻪ ﺩﺭ ﭼﻪ ﺣﺎﻟﻪ؟«‬ ‫ﻣﺪﻳﺮ ﻓﻨﻰ ﻛﻪ ﺍﺻ ً‬ ‫ﻼ ﺳﺮ ﺟﺎﻳﺶ ﺑﻨﺪ ﻧﺒﻮﺩ ﻭ ﭘﻮﺯﺧﻨﺪ ﻃﻌﻨﻪﺁﻣﻴﺰﻯ ﺑﺮ ﻟﺒﺎﻧﺶ ﻧﻘﺶ ﺑﺴﺘﻪ ﺑﻮﺩ‪ ،‬ﺑﺪﻭﻥ‬ ‫ﺍﻳﻦ ﻛﻪ ﺩﺭ ﭼﺸﻤﺎﻥ ﻛﺴﻰ ﻧﮕﺎﻩ ﻛﻨﺪ ﮔﻔﺖ‪» :‬ﺣﺎﺿﺮﻩ ﻭ ﺍﻟﻰﺍﻟﺤﺴﺎﺏ ﻣﺸﻜﻠﻰ ﻫﻢ ﻧﺪﺍﺭﻩ‪ .‬ﻭﻟﻰ ﺍﻳﻦ ﻛﻪ‬

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‫ﻛﺎﺭ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺑﺮﮔﺸﺘﻢ ﻭ ﺍﺗﺎﻕ ﺭﺍ ﭘﺮ ﺍﺯ ﺁﺩﻡ ﺩﻳﺪﻡ‪ .‬ﭼﻨﺪ ﻧﻔﺮ ﭘﺸﺖ ﻣﻴﺰ ﻧﺸﺴﺘﻪ ﺑﻮﺩﻧﺪ‪ ،‬ﭼﻨﺪ ﻧﻔﺮﻯ ﺑﻪ‬ ‫ﺩﻳﻮﺍﺭﻫﺎ ﺗﻜﻴﻪ ﺩﺍﺷﺘﻨﺪ ﻭ ﺣﺘﺎ ﻳﻚ ﻧﻔﺮ ﻛﻨﺎﺭ ﺩﺭ ﺭﻭﻯ ﺯﻣﻴﻦ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﻣﺮﺩﻯ ﻋﻴﻨﻜﻰ ﻛﻪ ﺑﺎﻻﻯ ﻣﻴﺰ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ ،‬ﮔﻠﻮﻳﺶ ﺭﺍ ﺻﺎﻑ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﺍﻡ‪ ...‬ﻓﻜﺮ ﻛﻨﻢ ﺳﻼﻡ‪«...‬‬ ‫‪ ‬ﺑﺎﻻﺧﺮﻩ ﺣﺪﻭﺩﻫﺎﻯ ﺷﺶ‪ ،‬ﺑﻌﺪ ﺍﺯ ﺗﺎﺧﻴﺮﻫﺎﻯ ﻓﺮﺍﻭﺍﻥ‪ ،‬ﻫﻤﻪﻯ ﺍﻋﻀﺎ ﺟﻤﻊ ﺷﺪﻧﺪ‪ .‬ﻫﻤﻪﻯ ﺍﻋﻀﺎﻯ‬ ‫ﺷﻮﺭﺍﻯ ﻋﺎﻟﻰ ﺷﮕﻔﺖ‪ .‬ﮔﺮﻭﻫﻰ ﻛﻪ ﻃﺮﺍﺣﻰ ﺑﺰﺭﮔﺘﺮﻳﻦ ﭘﺮﻭژﻩﻯ ﻓﻀﺎﻳﻰ ﺗﺎﺭﻳﺦ ﺭﺍ ﺑﺮ ﻋﻬﺪﻩ ﺩﺍﺷﺘﻨﺪ‪ .‬ﻭ‬ ‫ﺑﻪ ﺍﺣﺘﻤﺎﻝ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩ ﺁﺧﺮﻳﻦ ﭘﺮﻭژﻩﺍﻯ ﻛﻪ ﺑﻪ ﺩﺳﺖ ﺑﺸﺮ ﺍﻧﺠﺎﻡ ﻣﻰﺷﺪ‪.‬‬ ‫ﺑﻪ ﺩﻭﺭ ﺗﺎ ﺩﻭﺭ ﻣﻴﺰ ﺩﺭﺍﺯ ﻭﺳﻂ ﺍﺗﺎﻕ ﻧﮕﺎﻫﻰ ﺍﻧﺪﺍﺧﺘﻢ‪ .‬ﻫﻤﻪ ﺣﺎﺿﺮ ﺑﻮﺩﻧﺪ‪ .‬ﻛﻨﺎﺭ ﻣﻦ ﺁﻧﺪﺭﻭﻳﺪ‪ ،‬ﺑﺎﻧﻚ‬ ‫ﺍﻃﻼﻋﺎﺗﻰ ﻭ ﻧﺎﻇﺮ ﭘﺮﻭژﻩ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ .‬ﺳﺎﻛﺖ ﺑﻮﺩ‪ .‬ﻳﻚ ﺩﻓﺘﺮﭼﻪ ﺩﺍﺷﺖ ﻛﻪ ﺩﺭ ﻣﻮﺍﻗﻊ ﻣﻌﺪﻭﺩﻯ‬ ‫ﺑﻴﺮﻭﻥ ﻣﻰﻛﺸﻴﺪ ﻭ ﺗﻮﻳﺶ ﭼﻴﺰﻫﺎﻳﻰ ﺧﻂﺧﻄﻰ ﻣﻰﻛﺮﺩ‪ .‬ﻫﻨﻮﺯ ﻫﻴﭻﻛﺲ ﻧﺘﻮﺍﻧﺴﺘﻪ ﺑﻮﺩ ﻣﺤﺘﻮﻳﺎﺕ‬ ‫ﻼ ﻋﺠﻴﺐ ﺑﻮﺩ ﻣﻮﺟﻮﺩ ﻛﻪ ﺣﺎﻓﻈﻪﻯ ﺑﻰﻧﻘﺺ ﻭ ﺑﻰﻧﻬﺎﻳﺘﻰ ﺩﺍﺭﺩ‪ ،‬ﺍﺻ ً‬ ‫ﺩﻓﺘﺮﭼﻪﺍﺵ ﺭﺍ ﺑﺒﻴﻨﺪ ﻭ ﺍﺻ ً‬ ‫ﻼ‬ ‫ﺩﻓﺘﺮﭼﻪ ﺑﻪ ﭼﻪ ﻛﺎﺭﺵ ﻣﻰﺁﻳﺪ‪.‬‬ ‫ﺩﺭ ﺭﺃﺱ ﻣﻴﺰ ﺭﺋﻴﺲ‪ ،‬ﻛﻪ ﺑﻪ ﺷﻮﺧﻰ ﺑﻪ ﺍﻭ ﺍﻭﺟﻮﺳﺎﻣﺎ ﻳﺎ ﺑﺎﺑﺎﺑﺰﺭگ ﻫﻢ ﻣﻰﮔﻔﺘﻴﻢ‪ ،‬ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ .‬ﺧﻴﻠﻰ‬ ‫ﭘﻴﺮ ﺑﻮﺩ ﻭ ﻫﻴﭻﻛﺲ ﻧﻤﻰﺩﺍﻧﺴﺖ ﺍﺯ ﻛﺠﺎ ﺁﻣﺪﻩ ﻳﺎ ﭼﻨﺪ ﺳﺎﻟﺶ ﺍﺳﺖ‪ .‬ﻳﺎ ﺍﺻ ً‬ ‫ﻼ ﺍﻳﻦﻛﻪ ﻫﻤﻴﺸﻪ ﻫﻤﻴﻦﻗﺪﺭ‬ ‫ﭘﻴﺮ ﺑﻮﺩﻩ؟ ﭼﻮﻥ ﺍﻭ ﺧﺎﻃﺮﺍﺗﻰ ﺍﺯ ﺭﻭﺯﮔﺎﺭﻯ ﺩﺭ ﺳﺮ ﺩﺍﺷﺖ ﻛﻪ ﻣﺎ ﺣﺘﺎ ﺟﺮﺍﺕ ﻓﻜﺮ ﻛﺮﺩﻥ ﺑﻪ ﺁﻥ ﺭﺍ‬ ‫ﻧﺪﺍﺷﺘﻴﻢ‪.‬‬ ‫ﺁﻥ ﻃﺮﻑ ﻣﺸﺎﻭﺭ ﺍﻋﻈﻢ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ .‬ﻣﺮﺩﻯ ﻋﺼﺒﻰ ﻭ ﺑﻴﺶ ﺍﺯ ﺣﺪ ﻣﻨﻄﻘﻰ ﻛﻪ ﮔﺎﻫﻰ ﻣﻨﻄﻖ ﺑﻴﺶ‬ ‫ﺍﺯ ﺣﺪﺵ‪ ،‬ﺳﺪ ﺭﺍﻩ ﺍﺭﺗﺒﺎﻃﺶ ﺑﺎ ﺟﻬﺎﻥ ﺧﺎﺭﺝ ﻳﺎ ﺣﺪﺍﻗﻞ ﻣﺎ ﻣﻰﺷﺪ‪ .‬ﮔﺎﻫﻰ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻢ ﻓﻜﺮ ﻛﻨﻢ‬ ‫ﺩﻭﺳﺖ ﻣﺎﺳﺖ‪ .‬ﺍﻣﺎ ﺧﻮﺏ ﻣﻰ ﺩﺍﻧﺴﺘﻢ ﻛﻪ ﻣﺜﻞ ﻫﺮ ﻛﺲ ﺩﻳﮕﺮﻯ ﺳﺮ ﺍﻳﻦ ﻣﻴﺰ‪ ،‬ﺍﻭ ﻫﻢ ﺭﻭﻳﺎﻯ ﺷﺨﺼﻰ‬ ‫ﺧﻮﺩﺵ ﺑﺮﺍﻯ ﺷﺮﻛﺖ ﺩﺭ ﺍﻳﻦ ﭘﺮﻭژﻩ ﺭﺍ ﺩﺍﺭﺩ‪.‬‬ ‫ﻭ ﺩﺭ ﻛﻨﺎﺭﺵ ﻣﺪﻳﺮ ﻓﻨﻰ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻭ ﻣﺜﻞ ﻫﻤﻴﺸﻪ ﭘﻮﺯﺧﻨﺪﻯ ﻣﺨﻔﻴﺎﻧﻪ ﺑﺮ ﻟﺐ ﺩﺍﺷﺖ‪ .‬ﺷﺎﻳﺪ‬ ‫ﻣﺮﻣﻮﺯﺗﺮﻳﻦ ﻓﺮﺩ ﮔﺮﻭﻩ ﺧﻮﺩ ﺍﻭ ﺑﻮﺩ‪ .‬ﮔﺎﻫﻰ ﻓﺮﺍﻣﻮﺵ ﻣﻰﻛﺮﺩﻡ ﭼﺮﺍ ﻛﻨﺎﺭ ﻣﺎﺳﺖ‪ .‬ﺟﺰ ﺳﻤﺘﺶ ﭼﻴﺰﻯ ﺍﺯ‬ ‫ﺍﻭ ﻧﻤﻰﺩﺍﻧﺴﺘﻢ‪ .‬ﺍﻟﺒﺘﻪ ﺍﺳﻢ ﺑﻴﻦ ﺍﻋﻀﺎﻯ ﺷﻮﺭﺍﻯ ﻋﺎﻟﻰ ﺷﮕﻔﺖ‪ ،‬ﻛﻤﺘﺮﻳﻦ ﻛﺎﺭﺑﺮﺩﻯ ﻧﺪﺍﺷﺖ‪ .‬ﻣﺎ ﺍﻳﻦﺟﺎ‬ ‫ﺻﺮﻓﺎً ﺳﻤﺖﻫﺎﻳﻤﺎﻥ ﺑﻮﺩﻳﻢ‪ .‬ﺍﺭﺯﺵ ﻫﺮ ﻛﺲ ﺑﻪ ﻛﺎﺭﻯ ﺑﻮﺩ ﻛﻪ ﺍﻧﺠﺎﻡ ﻣﻰﺩﺍﺩ‪.‬‬ ‫ﻛﻨﺎﺭﺵ ﻣﻨﺸﻰ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ .‬ﺍﻭ ﻫﻢ ﺷﺎﻳﺪ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﺭﺋﻴﺲ ﭘﻴﺮ ﺑﻮﺩ‪ .‬ﺍﻟﺒﺘﻪ ﺑﻪ ﻇﺎﻫﺮ ﭼﻴﺰﻯ ﻧﺸﺎﻥ‬ ‫ﻧﻤﻰﺩﺍﺩ‪ .‬ﺍﻭ ﻭ ﺳﺮﺩﺑﻴﺮ‪ ،‬ﺗﻨﻬﺎ ﺍﻋﻀﺎﻯ ﻣﻮﻧﺚ ﺷﻮﺭﺍﻯ ﻋﺎﻟﻰ ﺑﻮﺩﻧﺪ‪ .‬ﺳﺮﺩﺑﻴﺮ ﺁﺩﻣﻰ ﺟﺪﻯ ﺑﻮﺩ‪ .‬ﺳﻼﺡ ﻣﻮﺭﺩ‬ ‫ﻋﻼﻗﻪﺍﺵ ﺑﺮﺧﻼﻑ ﺑﻴﺸﺘﺮ ﻣﺎ ﻛﻪ ﺷﻤﺸﻴﺮﻫﺎﻯ ﺑﺮﻗﻰ ﺩﺍﺷﺘﻴﻢ‪ ،‬ﺷﻼﻕ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﻧﺪﺭﺕ ﺁﻥ ﺭﺍ ﺑﻴﺮﻭﻥ‬ ‫ﻣﻰﻛﺸﻴﺪ‪ ،‬ﺍﻣﺎ ﻭﻗﺘﻰ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻣﻰﻛﺮﺩ‪ ،‬ﺻﺤﻨﻪ ﺗﻤﺎﺷﺎﻳﻰ ﻣﻰﺷﺪ‪.‬‬

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‫ﻓﺴﺘﻴﻮﺍﻝ ﺗﺎﺑﺴﺘﺎﻧﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ‬

‫ﺯﻣﻴﻦ ﺭﺍ ﺑﻪ ﻣﺸﺎﻡ ﺑﻜﺸﺪ‪ .‬ﺣﺎﻻ ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﺗﻮ ﺑﻮﻳﻰ ﺟﺰ ﻛﻬﻨﮕﻰ ﻧﻜﺒﺖ ﻭ ﻏﺒﺎﺭ ﻟﻌﻨﺘﻰ ﻧﻤﻰﺁﻣﺪ‪.‬‬ ‫ﺟﻠﻮﺗﺮ ﻛﻪ ﺭﻓﺘﻢ ﻭ ﺍﺯ ﭘﻨﺠﺮﻩ ﺑﻪ ﺑﻴﺮﻭﻥ ﺧﻴﺮﻩ ﺷﺪﻡ‪ ،‬ﺑﺮﺍﻯ ﭼﻨﺪ ﻟﺤﻈﻪ ﻣﻐﺰﻡ ﻗﻔﻞ ﻛﺮﺩ‪ .‬ﻣﺜﻞ ﺁﻥ‬ ‫ﻭﻗﺖﻫﺎﻳﻰ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﺑﻴﺪﺍﺭﻡ‪ ،‬ﺍﻣﺎ ﺣﺲ ﻣﻰﻛﻨﻢ ﻣﻨﻄﻘﺎً ﺑﺎﻳﺪ ﺧﻮﺍﺏ ﺑﺎﺷﻢ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻮﺍﻗﻊ ﺍﺗﻔﺎﻗﺎﺕ‬ ‫ﺑﻴﺮﻭﻧﻰ ﭼﻨﺎﻥ ﻣﺴﺨﺮﻩ ﻭ ﻣﻀﺤﻚ ﭘﻴﺶ ﻣﻰﺭﻭﻧﺪ ﻭ ﻭﺍﻛﻨﺶﻫﺎﻯ ﺫﻫﻨﻰ ﺧﻮﺩﻡ ﺑﻪ ﺁﻥﻫﺎ ﭼﻨﺎﻥ ﻛﻨﺪ‬ ‫ﻭ ﻧﺎﺁﺷﻨﺎ ﻭ ﻏﻴﺮﻣﻨﻄﻘﻰ ﺍﺳﺖ ﻛﻪ ﺍﮔﺮ ﺧﻮﺍﺏ ﻧﺒﺎﺷﻢ ﻋﺠﻴﺐ ﺍﺳﺖ‪ .‬ﻭﻟﻰ ﺍﻟﺒﺘﻪ ﺁﺧﺮ ﺳﺮ ﻣﻰﻓﻬﻤﻢ ﻛﻪ‬ ‫ﺑﻴﺪﺍﺭﻡ‪ ،‬ﺍﻣﺎ ﻫﻤﺎﻥ ﭼﻨﺪ ﺩﻗﻴﻘﻪ ﺁﺩﻡ ﺭﺍ ﺣﺴﺎﺑﻰ ﺩﺳﺖﭘﺎﭼﻪ ﻣﻰﻛﻨﺪ‪ .‬ﺍﺣﺴﺎﺱ ﻣﻰﻛﻨﻰ ﻳﻚ ﺩﻓﻌﻪ ﺟﺎﻳﺖ‬ ‫ﺑﺎ ﻳﻚ ﻧﻔﺮ ﺩﻳﮕﺮ ﻋﻮﺽ ﺷﺪﻩ ﻭ ﺗﻮﻯ ﺷﺮﺍﻳﻄﻰ ﻭﺍﺭﺩ ﺷﺪﻩﺍﻯ ﻛﻪ ﺍﺻﻮﻻً ﻫﻴﭻ ﺭﺑﻄﻰ ﺑﻪ ﺗﻮ ﻧﺪﺍﺭﺩ ﻭ ﺍﮔﺮ‬ ‫ﺩﺳﺖ ﺑﻪ ﻫﺮ ﻛﺎﺭﻯ ﺑﺰﻧﻰ‪ ،‬ﻣﻄﻤﺌﻨﺎً ﻧﺘﻴﺠﻪﺍﺵ ﭼﻴﺰﻯ ﺟﺰ ﺧﺮﺍﺑﻰ ﻭ ﺍﻓﺘﻀﺎﺡ ﻭ ﺁﺑﺮﻭﺭﻳﺰﻯ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫ﻭ ﺑﻠﻪ‪ ،‬ﺑﺰﺭﮔﺘﺮﻳﻦ ﺍﺷﺘﺒﺎﻫﺎﺕ ﺯﻧﺪﮔﻰ ﺁﺩﻡﻫﺎ ﻣﻌﻤﻮﻻً ﺩﺭ ﻫﻤﻴﻦ ﻟﺤﻈﺎﺕ ﺭﺥ ﻣﻰﺩﻫﻨﺪ ﻛﻪ ﻏﻴﺮﻗﺎﺑﻞ‬ ‫ﺑﺮﮔﺸﺖ ﻫﻢ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺍﻳﻦ ﺩﻓﻌﻪ ﺟﺎﻳﻰ ﺑﺮﺍﻯ ﺍﺷﺘﺒﺎﻩ ﺍﺯ ﻃﺮﻑ ﻣﻦ ﻧﺒﻮﺩ‪ .‬ﺍﺷﺘﺒﺎﻩ ﻗﺒ ً‬ ‫ﻼ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﺣﺎﻻ ﻣﻦ ﺩﺍﺷﺘﻢ ﻧﺘﺎﻳﺞ‬ ‫ﻛﺎﺭ ﻳﻚ ﻳﺎ ﭼﻨﺪ ﻧﻔﺮ ﺭﺍ ﺗﻤﺎﺷﺎ ﻣﻰﻛﺮﺩﻡ ﻛﻪ ﺩﭼﺎﺭ ﺟﺎﺑﺠﺎﻳﻰ ﺭﻭﺡ ﻭ ﺟﺴﻢ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﺑﺰﺭﮔﺘﺮﻳﻦ‬ ‫ﺍﺷﺘﺒﺎﻩ ﻋﻤﺮﺷﺎﻥ‪ ،‬ﺍﻓﺘﻀﺎﺡﺗﺮﻳﻦ ﻧﺘﻴﺠﻪﻯ ﻣﻤﻜﻦ ﺭﺍ ﺑﺮﺍﻯ ﻣﺎ ﺑﻪ ﺩﻧﺒﺎﻝ ﺩﺍﺷﺖ‪ .‬ﭘﺸﺖ ﭘﻨﺠﺮﻩ‪ ،‬ﺗﻮﻯ‬ ‫ﻓﻀﺎ‪ ،‬ﻳﻚ ﺳﻴﺎﺭﻩ ﻣﻰﺩﻳﺪﻡ‪ .‬ﻗﻴﺎﻓﻪﻯ ﺳﻴﺎﺭﻩ ﺑﻴﺶ ﺍﺯ ﺣﺪ ﺁﺷﻨﺎ ﻭ ﺗﻜﺮﺍﺭﻯ ﺑﻮﺩ‪ .‬ﺍﻧﮕﺎﺭ ﺻﺤﻨﻪﻯ ﺗﻤﺎﻣﻰ‬ ‫ﻣﺴﺘﻨﺪﻫﺎﻳﻰ ﻛﻪ ﺑﻪ ﻋﻤﺮﻡ ﺩﻳﺪﻩ ﺑﻮﺩﻡ ﻭ ﺗﻤﺎﻡ ﻛﺘﺎﺏﻫﺎ ﻭ ﻧﻮﺍﺭﻫﺎﻯ ﻋﻠﻮﻣﻰ ﻛﻪ ﺗﻮﻯ ﺍﺗﺎﻕﻫﺎﻯ ﺩﺭﺱ‬ ‫ﺳﻪ ﺩﺭ ﭼﻬﺎﺭ‪ ،‬ﺭﻭﺑﺎﺕﻫﺎ ﻭ ﻛﺎﻣﭙﻴﻮﺗﺮﻫﺎ ﺑﻪ ﺧﻮﺭﺩﻡ ﺩﺍﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺟﻠﻮﻯ ﭼﺸﻤﺎﻧﻢ ﺗﻜﺮﺍﺭ ﻣﻰﺷﺪ‪ .‬ﺳﻴﺎﺭﻩ‬ ‫ﺯﻣﻴﻦ ﺑﻮﺩ؛ ﻫﻤﺎﻥ ﻛﺮﻩ ﺑﺎ ﻓﻼﻥ ﺗﻦ ﻭﺯﻥ ﻭ ﻓﻼﻥ ﻣﻘﺪﺍﺭ ﺟﺎﺫﺑﻪ ﻭ ﺑﻬﻤﺎﻥ ﻣﻘﺪﺍﺭ ﻓﺸﺎﺭ ﺍﺗﻤﺴﻔﺮ ﻭ ﺍﻣﺜﺎﻟﻬﻢ‬ ‫ﻛﻪ ﺯﻳﺮ ﭘﺎﻳﻤﺎﻥ ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﻣﻰﭼﺮﺧﻴﺪ ﻭ ﺧﻴﺎﻟﺶ ﻫﻢ ﻧﺒﻮﺩ ﻛﻪ ﻣﺎ ﺍﻳﻦ ﺑﺎﻻﻳﻴﻢ‪ ،‬ﺩﺭ ﺻﻮﺭﺗﻰ ﻛﻪ ﺑﺎﻳﺪ‬ ‫ﭼﻨﺪ ﺻﺪ ﺳﺎﻝ ﻧﻮﺭﻯ ﺁﻥﻃﺮﻑﺗﺮ‪ ،‬ﺩﺭ ﺭﺍﻩ ﺭﺳﻴﺪﻥ ﺑﻪ ﻣﻘﺼﺪ ﻧﻬﺎﻳﻰ ﺑﺎﺷﻴﻢ‪.‬‬ ‫ﻣﺰﺧﺮﻑ ﺑﻮﺩ‪ ،‬ﭼﺮﻧﺪ ﺑﻮﺩ‪ ،‬ﺧﻨﺪﻩﺩﺍﺭ ﺑﻮﺩ‪ ،‬ﺍﺣﻤﻘﺎﻧﻪ ﺑﻮﺩ ﻭ ﺍﺯ ﻫﻤﻪ ﻣﻬﻢﺗﺮ‪ ،‬ﺭﺍﺳﺖ ﺑﻮﺩ‪ .‬ﺑﻪ ﭼﺸﻢﻫﺎﻳﻢ‬ ‫ﺍﻋﺘﻤﺎﺩ ﺩﺍﺷﺘﻢ ﻭ ﺍﻟﺒﺘﻪ ﺑﻪ ﺍﻳﻦ ﺣﺲ ﻛﻪ ﻫﻤﻴﺸﻪ ﻛﺎﺳﻪﺍﻯ ﺯﻳﺮ ﻧﻴﻢﻛﺎﺳﻪ ﻫﺴﺖ‪ .‬ﺍﻳﻦ ﺷﮕﻔﺖ‪ ،‬ﺍﻳﻦ‬ ‫ِ‬ ‫ﺳﺎﺧﺖ ﺩﺳﺖ ﻳﻚ ﺷﻌﺒﺪﻩﺑﺎﺯ ﻣﺮﺗﺐ ﻛﺎﺭ ﻣﻰﻛﺮﺩ ﻭ‬ ‫ﺳﻔﻴﻨﻪﻯ ﻟﻌﻨﺘﻰ ﻛﻪ ﻣﺜﻞ ﻳﻚ ﺳﺎﻋﺖ ﺟﺎﺩﻭﻳﻰ‬ ‫ﺳﺮﻭﻳﺲ ﻭ ﺗﻌﻤﻴﺮ ﻧﻤﻰﺧﻮﺍﺳﺖ ﻭ ﻛﺎﻣﭙﻴﻮﺗﺮ ﻫﺪﺍﻳﺖ ﻛﻨﻨﺪﻩﺍﺵ ﺟﻨﻮﻥ ﺷﻄﺮﻧﺞ ﺑﺎﺯﻯ ﻛﺮﺩﻥ ﺑﺎ ﺧﻮﺩﺵ‬ ‫ﺭﺍ ﺩﺍﺷﺖ‪ ،‬ﺍﻳﻦ ﻣﺮﻛﺐ ﻟﻌﻨﺘﻰ ﻛﻪ ﭼﻨﺪ ﺻﺪ ﺳﺎﻝ ﺍﺳﻴﺮﺵ ﺑﻮﺩﻳﻢ ﻭ ﺩﻳﻮﺍﺭﻫﺎﻯ ﺁﻫﻨﻰ ﻭ ﺩﺭ ﻭ ﭘﻴﻜﺮ‬ ‫ﻏﻴﺮﻗﺎﺑﻞ ﺗﻐﻴﻴﺮ ﻭ ﻣﺮﺯﻫﺎﻯ ﻣﺤﺪﻭﺩﺵ ﺣﺘﺎ ﺁﺳﺎﻧﺴﻮﺭﻫﺎ ﺭﺍ ﻫﻢ ﺩﻳﻮﺍﻧﻪ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺍﺻ ً‬ ‫ﻼ ﺣﺮﻛﺖ ﻧﻤﻰﻛﺮﺩ‪.‬‬ ‫ﺳﺮ ﻫﻤﮕﻰﻣﺎﻥ ﻛﻼﻩ ﺭﻓﺘﻪ ﺑﻮﺩ ﻭ ﭼﻨﺪ ﻧﺴﻠﻰ ﻣﻰﺷﺪ ﻛﻪ ﺁﺭﺯﻭﻫﺎﻯ ﻣﺴﺎﻓﺮﺍﻥ ﺑﺮﺍﻯ ﺭﺳﻴﺪﻥ ﺑﻪ ﺳﺮﻣﻨﺰﻝ‬ ‫ﺭﻭﻳﺎﻳﻰ ﻭ ﺍﻟﺒﺘﻪ ﻣﺒﻬﻢﺷﺎﻥ‪ ،‬ﺑﻪ ﻫﺪﺭ ﺭﻓﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺳﺮ ﻭ ﺻﺪﺍﻳﻰ ﭘﺸﺖ ﺳﺮﻡ ﺑﻠﻨﺪ ﺷﺪ ﻛﻪ ﺑﺮﺍﻳﻢ ﺁﺷﻨﺎ ﺑﻮﺩ‪ .‬ﺟﺎﻳﻰ ﺩﺭ ﺍﺗﺎﻕ‪ ،‬ﻳﻚ ﺩﺳﺘﮕﺎﻩ ﭘﺮﻭژﻛﺘﻮﺭ ﺑﻪ‬

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‫ﺑﻌﺪ ﺍﺯ ﺧﺮﻭﺝ ﻧﮕﺎﻫﻰ ﺑﻪ ﺳﺎﻋﺖ ﺭﻭﻯ ﺩﻳﻮﺍﺭ ﺍﻧﺪﺍﺧﺘﻢ‪ .‬ﭼﻬﺎﺭ ﻭ ﻧﻴﻢ ﺑﻮﺩ‪ .‬ﻫﻨﻮﺯ ﺗﺎ ﺷﺮﻭﻉ ﻛﺎﺭ ﺧﻴﻠﻰ ﻭﻗﺖ‬ ‫ﺩﺍﺷﺘﻴﻢ‪ .‬ﺩﺭ ﺍﺗﺎﻕ ﺟﻠﺴﻪ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩﻡ ﻭ ﻭﺍﺭﺩ ﺷﺪﻡ‪.‬‬ ‫‪ ‬ﺑﺎ ﺑﺎﺯ ﺷﺪﻥ ﺩﺭ‪ ،‬ﭼﺮﺍﻍﻫﺎﻯ ﺩﺍﺧﻞ ﻳﻜﻰﻳﻜﻰ ﺷﺮﻭﻉ ﺑﻪ ﭼﺸﻤﻚ ﺯﺩﻥ ﻛﺮﺩﻧﺪ ﻭ ﺑﻌﺪ ﺍﻧﮕﺎﺭ ﺍﺯ ﺧﻮﺍﺑﻰ‬ ‫ﻃﻮﻻﻧﻰ ﺑﻴﺪﺍﺭ ﺷﺪﻩ ﺑﺎﺷﻨﺪ‪ ،‬ﺧﻤﻴﺎﺯﻩﻯ ﺩﺭﺍﺯﻯ ﻛﺸﻴﺪﻧﺪ ﻭ ﺭﻭﺷﻨﺎﻳﻰ ﺛﺎﺑﺘﻰ ﺭﻭﻯ ﺍﺗﺎﻕ ﺍﻧﺪﺍﺧﺘﻨﺪ‪ .‬ﺍﺗﺎﻕ‬ ‫ﭼﻨﺪﺍﻥ ﺑﺰﺭﮔﻰ ﻧﺒﻮﺩ‪ .‬ﻗﺪ ﻭ ﺍﻧﺪﺍﺯﻩﻯ ﻳﻚ ﺳﺎﻟﻦ ﻏﺬﺍﺧﻮﺭﻯ ﺧﺎﻧﻮﺍﺩﮔﻰ ﺭﺍ ﺩﺍﺷﺖ ﻭ ﺍﺳﺒﺎﺏ ﻭ ﺍﺛﺎﺛﻴﻪﺍﺵ‬ ‫ﻫﻢ ﻫﻤﺎﻥ ﻃﻮﺭ ﺑﻪ ﭼﺸﻢ ﻣﻰﺧﻮﺭﺩﻧﺪ‪ .‬ﭼﻨﺪ ﺗﺎ ﺻﻨﺪﻟﻰ ﭼﻮﺑﻰ ﻭ ﻣﻴﺰﻯ ﻛﻪ ﺭﻭﻳﺶ ﻛﺎﻏﺬ ﻭ ﻟﻴﻮﺍﻥ ﻭ‬ ‫ﻗﻨﺪﺍﻥ ﻭ ﺧﻮﺩﻛﺎﺭ ﭘﺮﺍﻛﻨﺪﻩ ﺑﻮﺩ‪ .‬ﭼﻨﺪ ﺗﺎ ﻗﻔﺴﻪﻯ ﻛﺘﺎﺏ ﻭ ﭼﻨﺪ ﻋﻜﺲ ﻛﻪ ﺑﻪ ﺩﻳﻮﺍﺭ ﺁﻭﻳﺰﺍﻥ ﺑﻮﺩﻧﺪ ﻭ‬ ‫ﺁﺩﻡﻫﺎﻳﻰ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩﻧﺪ ﻛﻪ ﻣﻌﻠﻮﻡ ﻧﺒﻮﺩ ﻛﻰ ﻫﺴﺘﻨﺪ ﻭ ﭼﻪ ﻛﺎﺭﻩﺍﻧﺪ‪.‬‬ ‫ﭘﻨﺠﺮﻩﺍﻯ ﺭﻭﻯ ﺩﻳﻮﺍﺭ ﺗﻮﺟﻬﻢ ﺭﺍ ﺑﻪ ﺧﻮﺩﺵ ﺟﻠﺐ ﻛﺮﺩ‪ .‬ﭘﻨﺠﺮﻩ ﺁﻥﻗﺪﺭ ﺑﺰﺭگ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﻳﻚ ﺳﺮ ﺩﻳﻮﺍﺭ‬ ‫ﺗﺎ ﺳﺮ ﺩﻳﮕﺮﺵ ﺭﺍ ﻣﻰﭘﻮﺷﺎﻧﺪ ﻭ ﻳﻚ ﺟﻮﺭﻫﺎﻳﻰ ﻗﺪﻯ ﻣﺤﺴﻮﺏ ﻣﻰﺷﺪ‪ ،‬ﻣﻨﺘﻬﻰ ﺿﻠﻊ ﺍﻓﻘﻰﺍﺵ ﺑﻠﻨﺪﺗﺮ‬ ‫ﺑﻮﺩ ﻭ ﻣﻰﺷﺪ ﮔﻔﺖ ﻗﺪﻯ ﺍﺳﺖ‪ ،‬ﺑﺮﺍﻯ ﻳﻚ ﺁﺩﻡ ﺩﺭﺍﺯﻛﺶ‪ .‬ﭘﺸﺖ ﭘﻨﺠﺮﻩ ﻃﺒﻴﻌﺘﺎً ﺳﻴﺎﻫﻰ ﺑﻮﺩ‪ .‬ﭼﻴﺰﻯ‬ ‫ﺟﺰ ﻓﻀﺎﻯ ﺧﺎﻟﻰ ﺁﻥ ﺑﻴﺮﻭﻥ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ‪ .‬ﺍﻣﺎ ﺳﻤﺖ ﭼﭗ ﻣﻨﻈﺮﻩ ﻛﻤﻰ ﺭﻭﺷﻦ ﺑﻮﺩ ﻛﻪ ﻋﺠﻴﺐ ﺑﻪ ﻧﻈﺮ‬ ‫ﻣﻰﺭﺳﻴﺪ‪ .‬ﻣﻨﺒﻊ ﻧﻮﺭﻯ ﺩﺭ ﻓﻀﺎﻯ ﺍﻃﺮﺍﻓﻤﺎﻥ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ ﻛﻪ ﺑﺨﻮﺍﻫﺪ ﺭﻭﺷﻨﺎﻳﻰ ﺗﻮﻟﻴﺪ ﻛﻨﺪ‪ .‬ﻣﺤﻴﻂ‬ ‫ﺧﺎﺭﺟﻰ ﺳﻔﻴﻨﻪ ﻫﻢ ﺟﺰ ﺩﺭ ﻣﻮﺍﻗﻊ ﺍﺿﻄﺮﺍﺭﻯ‪ ،‬ﭼﺮﺍﻏﻰ ﺭﻭﺷﻦ ﻧﺪﺍﺷﺖ‪.‬‬ ‫ﺍﺯ ﻣﻴﺎﻥ ﺧﺮﺕ ﻭ ﭘﺮﺕﻫﺎﻯ ﻭﺳﻂ ﺍﺗﺎﻕ ﺑﻪ ﺳﻤﺖ ﭘﻨﺠﺮﻩ ﺭﻓﺘﻢ‪ .‬ﺣﻴﻦ ﻋﺒﻮﺭ‪ ،‬ﺩﺳﺘﻰ ﺭﻭﻯ ﻣﻴﺰ ﻭﺳﻂ‬ ‫ﺍﺗﺎﻕ ﻛﺸﻴﺪﻡ ﻛﻪ ﻏﺒﺎﺭ ﺭﻭﻳﺶ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ .‬ﻏﺒﺎﺭ ﺑﻼﻯ ﺟﺎﻥ ﺳﻔﻴﻨﻪﻫﺎﺳﺖ‪ .‬ﻫﺮ ﺟﺎ ﺍﻧﺴﺎﻥ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﺪ‪ ،‬ﻏﺒﺎﺭ ﻫﻢ ﻫﺴﺖ‪ .‬ﻭ ﻫﻴﭻ ﻭﻗﺖ ﺭﺍﻩ ﻛﺎﻣﻠﻰ ﺑﺮﺍﻯ ﺧﻼﺻﻰ ﺍﺯ ﺩﺳﺖ ﺁﻥ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺧﻼء ﻫﻢ‬ ‫ﻏﺒﺎﺭ ﺭﺍ ﻳﻚ ﺭﺍﺳﺖ ﺗﻒ ﻣﻰﻛﻨﺪ ﺗﻮﻯ ﺻﻮﺭﺗﺖ ﻭ ﻧﻤﻰﺗﻮﺍﻧﻰ ﺗﻮﻯ ﺳﻴﺎﺭﻩﺍﻯ ﭼﻴﺰﻯ ﺟﺎﻳﺶ ﺑﮕﺬﺍﺭﻯ ﻭ‬ ‫ﺑﺮﻭﻯ ﺑﻪ ﺳﻼﻣﺖ‪ .‬ﺳﺮﻧﻮﺷﺖ ﺁﺩﻡ ﻭ ﻏﺒﺎﺭ ﺭﺍ ﺑﺮﺍﻯ ﺑﺎ ﻫﻢ ﺑﻮﺩﻥ ﺍﺑﺪﻯ ﻧﻮﺷﺘﻪﺍﻧﺪ‪.‬‬ ‫ﻣﻴﺰ ﺭﺍ ﻭﻝ ﻛﺮﺩﻡ ﻭ ﺑﻪ ﺩﻳﻮﺍﺭ ﻧﮕﺎﻫﻰ ﺍﻧﺪﺍﺧﺘﻢ‪ .‬ﻋﻜﺲﻫﺎﻯ ﺭﻭﻯ ﺩﻳﻮﺍﺭﻫﺎ ﻫﻢ ﭼﻨﺪﺍﻥ ﺩﻧﺪﺍﻥﮔﻴﺮ ﻧﺒﻮﺩﻧﺪ‪.‬‬ ‫ﻳﻚ ﻣﺸﺖ ﺁﺩﻡ ﻛﻪ ﻧﺎﺷﻨﺎﺱ ﺑﻮﺩﻧﺪ ﻭ ﺭﺧﺖ ﻭ ﻟﺒﺎﺱ ﺑﺸﺮ ﭼﻨﺪ ﺻﺪ ﺳﺎﻝ ﭘﻴﺶ ﺭﺍ ﺑﻪ ﺗﻦ ﺩﺍﺷﺘﻨﺪ ﻭ‬ ‫ﺍﺯ ﺳﺮ ﻭ ﻭﺿﻊ ﺑﻰﺧﻴﺎﻝ ﻭ ﻣﻨﻈﺮﻩﻫﺎﻯ ﺩﺳﺖ ﻭ ﺩﻟﺒﺎﺯ ﭘﺸﺖ ﺳﺮﺷﺎﻥ ﻣﻌﻠﻮﻡ ﺑﻮﺩ ﻫﻤﻪﻯ ﻋﻜﺲﻫﺎ ﺭﻭﻯ‬ ‫ﺯﻣﻴﻦ ﮔﺮﻓﺘﻪ ﺷﺪﻩﺍﻧﺪ‪ .‬ﭼﻨﺪ ﺗﺎ ﺍﺯ ﻋﻜﺲﻫﺎ ﺗﻮﺟﻬﻢ ﺭﺍ ﺟﻠﺐ ﻛﺮﺩﻧﺪ‪ ،‬ﭼﻮﻥ ﻋﻴﻦ ﻣﻴﺰ ﻭ ﺻﻨﺪﻟﻰﻫﺎﻯ‬ ‫ﺗﻮﻯ ﺍﺗﺎﻕ ﺭﺍ ﻣﻰﺷﺪ ﺑﻴﻦ ﻭ ﭘﺸﺖ ﻭ ﻛﻨﺎﺭ ﺁﺩﻡﻫﺎﻯ ﺗﻮﻳﺶ ﺩﻳﺪ‪ .‬ﻭﺳﻂ ﺭﺍﻩ ﻣﺘﻮﻗﻒ ﺷﺪﻡ ﻭ ﻧﮕﺎﻫﻢ‬ ‫ﭼﻨﺪ ﺑﺎﺭ ﺑﻴﻦ ﻋﻜﺲﻫﺎ ﻭ ﻣﻴﺰ ﻭ ﺻﻨﺪﻟﻰ ﺳﻔﺮ ﻛﺮﺩ‪ .‬ﺧﻮﺏ ﺍﻟﺒﺘﻪ ﺑﻌﻴﺪ ﻫﻢ ﻧﺒﻮﺩ‪ .‬ﺍﻧﺴﺎﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ‬ ‫ﺣﻴﻮﺍﻥ ﺍﺣﺴﺎﺳﻰ‪ ،‬ﺩﺭ ﺁﺧﺮﻳﻦ ﻟﺤﻈﺎﺕ ﺗﺮﻙ ﺯﻣﻴﻦ ﺗﺎ ﺗﻮﺍﻧﺴﺘﻪ ﺑﻮﺩ ﺁﺕ ﻭ ﺁﺷﻐﺎﻝ ﻭ ﺗﻴﺮ ﻭ ﺗﺨﺘﻪ ﺑﺎﺭ‬ ‫ﺳﻔﻴﻨﻪﻫﺎﻳﺶ ﻛﺮﺩﻩ ﺑﻮﺩ ﺗﺎ ﻫﺮ ﻭﻗﺖ ﺩﻟﺶ ﺗﻨﮓ ﺷﺪ‪ ،‬ﺑﺮﻭﺩ ﺧﻮﺩﺵ ﺭﺍ ﻭﺳﻄﺸﺎﻥ ﻏﺮﻕ ﻛﻨﺪ ﻭ ﺑﻮﻯ‬

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‫ﻓﺴﺘﻴﻮﺍﻝ ﺗﺎﺑﺴﺘﺎﻧﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ‬

‫ﺁﻧﺪﺭﻭﻳﺪ ﺗﻔﻨﮕﺶ ﺭﺍ ﺟﻠﻮﻯ ﭼﺸﻤﺶ ﮔﺮﻓﺖ ﻭ ﺑﻪ ﭼﻴﺰﻯ ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﺧﻴﺎﺑﺎﻥ ﻭﻳﺮﺍﻥ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺑﺎ‬ ‫ﻗﺮﺍﺭﮔﺎﻩ ﻣﻘﺎﻭﻣﺖ ﺟﻨﻮﺏﺷﻬﺮﻯﻫﺎ ﻓﺎﺻﻠﻪﻯ ﺯﻳﺎﺩﻯ ﻧﺪﺍﺷﺘﻴﻢ ﻭ ﻣﻰﺩﺍﻧﺴﺘﻢ ﺍﻋﻀﺎﻯ ﻣﻘﺎﻭﻣﺖ ﻳﻚ ﻣﺸﺖ‬ ‫ﻛﻠﻪﺧﺮﺍﺏ ﻫﺴﺘﻨﺪ ﻛﻪ ﻫﺮ ﺟﻨﺒﻨﺪﻩﺍﻯ ﺗﻮﻯ ﺧﻴﺎﺑﺎﻥ ﺑﺒﻴﻨﻨﺪ‪ ،‬ﺑﻪ ﺭﮔﺒﺎﺭﺵ ﻣﻰﺑﻨﺪﻧﺪ ﻭ ﺷﻮﺍﻟﻴﻪ ﻭ ﺁﻧﺪﺭﻭﻳﺪ‬ ‫ﻭ ﺑﻴﺪﺍﺭ ﺷﺪﻩ ﺑﺮﺍﻳﺸﺎﻥ ﻳﻜﻰ ﺍﺳﺖ‪ .‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﻭﻗﺖ ﺗﻠﻒ ﻧﻜﺮﺩﻡ ﻭ ﺩﺳﺘﻜﺶ ﻣﺤﺎﻓﻈﻢ ﺭﺍ ﺩﺭ ﺁﻭﺭﺩﻡ ﻭ‬ ‫ﺑﺎ ﺧﻨﺠﺮﻯ ﻛﻪ ﺑﻪ ﻛﻤﺮﻡ ﺑﺴﺘﻪ ﺑﻮﺩﻡ‪ ،‬ﺧﺮﺍﺷﻰ ﺭﻭﻯ ﻧﻮﻙ ﺍﻧﮕﺸﺖ ﺍﺷﺎﺭﻩﻯ ﺩﺳﺖ ﭼﭙﻢ ﺍﻳﺠﺎﺩ ﻛﺮﺩﻡ‪.‬‬ ‫ﺧﻮﻥ ﺳﺮﺥ ﻣﺜﻞ ﺭﻭﻏﻦ ﺿﺪﺍﺻﻄﻜﺎﻙ ﺯﺭﻩ ﻣﺘﺤﺮﻙ ﺭﻭﺳﻰ‪ ،‬ﺍﺯ ﺍﻧﮕﺸﺘﻢ ﺟﺎﺭﻯ ﺷﺪ‪ .‬ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ‬ ‫ﺧﻮﻥ ﮔﺮﺍﻧﺒﻬﺎﻳﻢ ﻫﺪﺭ ﺑﺮﻭﺩ ﻳﺎ ﺩﺳﺘﮕﺎﻩ ﺍﻳﻤﻨﻰﺍﻡ ﺭﺍﻩ ﺧﺮﻭﺟﺶ ﺭﺍ ﺑﺒﻨﺪﺩ‪ ،‬ﺩﺳﺘﻢ ﺭﺍ ﺭﻭﻯ ﻧﻘﺶﭘﻴﻜﺮ‬ ‫ﺩﺭﻯ ﻛﺸﻴﺪﻡ ﻛﻪ ﭘﺸﺖ ﺗﺨﺘﻪ ﺳﻨﮓﻫﺎﻯ ﻓﺮﻭ ﺭﻳﺨﺘﻪ‪ ،‬ﺍﺯ ﭼﺸﻢ ﭘﻨﻬﺎﻥ ﺑﻮﺩ‪ .‬ﺧﻮﻥ ﻫﻤﭽﻮﻥ ﺧﻂﺧﻄﻰ‬ ‫ﺑﻰﻇﺮﺍﻓﺖ ﺑﻮﺯﻳﻨﻪﻫﺎ ﺭﻭﻯ ﺑﻮﻡ ﻧﻘﺎﺷﻰ‪ ،‬ﻛﻠﻔﺖ ﻭ ﭘﺮﺣﺎﺷﻴﻪ‪ ،‬ﺭﻭﻯ ﻃﺮﺡ ﺍﺳﺐ ﺗﻚﺷﺎﺥ ﺭﻭﻯ ﺩﺭ ﻧﺸﺴﺖ‪.‬‬ ‫ﺗﻚﺷﺎﺥ‪ .‬ﻳﻜﻰ ﺍﺯ ﻧﺸﺎﻥﻫﺎﻯ ﭼﻬﺎﺭﮔﺎﻧﻪﻯ ﮔﺮﻭﻩ‪.‬‬ ‫ﺷﺎﺥ ﺍﺳﺐ‪ ،‬ﺗﺸﻌﺸﻌﻰ ﭘﻼﺳﻤﺎﻳﻰ ﺑﻪ ﺭﻧﮓ ﺁﺑﻰ ﻓﻴﺮﻭﺯﻩﺍﻯ ﺑﻪ ﺧﻮﺩ ﮔﺮﻓﺖ ﻭ ﺑﻪ ﺗﺮﺗﻴﺒﻰ ﺟﺎﺩﻭﻭﺍﺭ‪ ،‬ﺧﻮﻥ‬ ‫ﺭﺍ ﺩﺭ ﺧﻮﺩ ﻣﻜﻴﺪ ﻭ ﺑﺎ ﻫﺮ ﻗﻄﺮﻩ ﻛﻪ ﻣﻜﻴﺪ‪ ،‬ﺳﺮﺥﺗﺮ ﺷﺪ‪ .‬ﺩﺳﺖ ﺁﺧﺮ ﻭﻗﺘﻰ ﻫﻴﭻ ﺧﻮﻧﻰ ﺭﻭﻯ ﻧﻘﺶ‬ ‫ﻧﻤﺎﻧﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﺎ ﺑﻰﻣﻴﻠﻰ ﺧﺶﺧﺸﻰ ﺳﺮ ﺩﺍﺩ ﻭ ﺯﺍﻭﻳﻪﺍﺵ ﺗﻐﻴﻴﺮ ﻛﺮﺩ ﻭ ﻧﻮﺩ ﺩﺭﺟﻪ ﺍﺯ ﻭﺳﻂ ﭼﺮﺧﻴﺪ ﻭ‬ ‫ﺑﻌﺪ ﺑﺎﻻ ﺭﻓﺖ‪.‬‬ ‫ﺩﺭ ﺑﺎﺯ ﺷﺪ‪.‬‬ ‫ﺧﻮﺩﻡ ﺭﺍ ﺑﻪ ﺩﺍﺧﻞ ﺍﻣﻦ ﺗﺎﺭﻳﻚ ﻭ ﺳﺮﭘﻮﺷﻴﺪﻩﻯ ﭘﺸﺖ ﺩﺭ ﻛﺸﺎﻧﺪﻡ‪ .‬ﺁﻧﺪﺭﻭﻳﺪ ﺍﺯ ﻋﻘﺒﻢ ﻭﺍﺭﺩ ﺷﺪ‪.‬‬ ‫ﻟﺤﻈﻪﺍﻯ ﺩﺭ ﺑﺎﺭﻳﻜﻪﻯ ﻧﻮﺭ ﺣﺎﺻﻞ ﺍﺯ ﺧﻮﺭﺷﻴﺪﻯ ﻛﻪ ﺍﻣﺮﻭﺯ ﺑﻪ ﻧﺤﻮﻯ ﻏﺮﻳﺐ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﮔﺮﺩﻯ‬ ‫ﻛﺪﺭ ﻭ ﺳﺮﺩ ﺧﻮﺩ ﺭﺍ ﻧﻤﺎﻳﺶ ﺩﻫﺪ‪ ،‬ﺍﻳﺴﺘﺎﺩﻳﻢ ﻭ ﺑﻴﺮﻭﻥ ﺭﺍ ﺑﺮﺍﻧﺪﺍﺯ ﻛﺮﺩﻳﻢ‪ .‬ﺟﺰ ﺳﻪ ﭼﻬﺎﺭ ﺗﺎﻳﻰ ﺑﻴﺪﺍﺭ ﺷﺪﻩ‬ ‫ﺩﺭ ﺗﻪ ﺧﻴﺎﺑﺎﻥ ﻛﻪ ﺻﺪﺍﻯ ﭘﺎﻯ ﻣﺎ ﺭﻭﻯ ﺧﺮﺩﻩ ﺳﻨﮓﻫﺎﻯ ﭘﺨﺶ ﻛﻒ ﺧﻴﺎﺑﺎﻥ ﻧﻈﺮﺷﺎﻥ ﺭﺍ ﺟﻠﺐ ﻛﺮﺩﻩ‬ ‫ﺑﻮﺩ‪ ،‬ﭼﻴﺰﻯ ﺩﻳﺪﻩ ﻧﻤﻰﺷﺪ‪ .‬ﺑﻌﺪ ﺩﺭ ﺑﺎ ﺻﺪﺍﻯ ﻏﺮﺵ ﺩﻳﻮﻣﺎﻧﻨﺪﻯ ﺑﺴﺘﻪ ﺷﺪ‪.‬‬ ‫ﺭﺍﻫﺮﻭ ﻣﺜﻞ ﺭﻭﺯ ﺭﻭﺷﻦ ﺑﻮﺩ‪ .‬ﻗﺎﻧﻮﻥ ﺭﻭﺷﻨﺎﻳﻰ ﺷﺪﻳﺪ ﻭ ﻓﻠﻮﺭﺳﺎﻧﺖ ﺩﺭ ﺗﻤﺎﻣﻰ ﺳﺎﺧﺘﻤﺎﻥ ﺑﺮﻗﺮﺍﺭ ﺑﻮﺩ‪.‬‬ ‫ﺍﮔﺮ ﺑﺮ ﻓﺮﺽ ﻣﺤﺎﻝ ﮔﺬﺭ ﻳﻚ ﺑﻴﺪﺍﺭ ﺷﺪﻩ ﺑﻪ ﺍﻳﻦﺟﺎ ﻣﻰﺍﻓﺘﺎﺩ‪ ،‬ﺭﻭﺷﻨﺎﻳﻰ ﺑﺎﻋﺚ ﻣﻰﺷﺪ ﺑﺎﻗﻴﻤﺎﻧﺪﻩﻫﺎ‬ ‫ﺑﻴﺸﺘﺮﻳﻦ ﺍﻣﺘﻴﺎﺯ ﺑﺮﺍﻯ ﻋﻜﺲﺍﻟﻌﻤﻞ ﺭﺍ ﺩﺭ ﺩﺳﺖ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ .‬ﻭ ﺛﺎﺑﺖ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﻧﻮﺭ ﺷﺪﻳﺪ‪ ،‬ﺳﺮﻋﺖ‬ ‫ﭘﻴﺸﺮﻭﻯ ﺑﻴﺪﺍﺭ ﺷﺪﻩﻫﺎ ﺭﺍ ﻛﻨﺪ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺑﻌﺪ ﺍﺯ ﭼﻨﺪ ﻭﺭﻭﺩﻯ ﭘﺸﺖ ﺳﺮ ﻫﻢ‪ ،‬ﺑﻪ ﺍﺗﺎﻗﻚ ﺗﺨﻠﻴﻪﻯ ﻓﺸﺎﺭ ﺭﺳﻴﺪﻳﻢ‪ .‬ﻟﺒﺎﺱﻫﺎﻯ ﺑﻴﺮﻭﻧﻰ ﺭﺍ ﺗﻮﻯ‬ ‫ﻣﺤﻔﻈﻪﻫﺎ ﺍﻧﺪﺍﺧﺘﻴﻢ ﻭ ﺳﺮ ﺗﺎ ﭘﺎﻳﻤﺎﻥ ﻏﺮﻕ ﺩﺭ ﺩﻭﺵ ﻣﺎﺩﻩﻯ ﺿﺪﻋﻔﻮﻧﻰ ﻛﻨﻨﺪﻩ ﺷﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﻧﺮﺥ ﻗﺮﺑﺎﻧﻰ‬ ‫ﺑﺎﻻ‪ ،‬ﻣﻌﻠﻮﻡ ﻧﺒﻮﺩ ﺍﻳﻦ ﻭﻳﺮﻭﺱ ﺍﺻ ً‬ ‫ﻼ ﺑﻪ ﻣﺮﺣﻠﻪﻯ ﻫﻮﺍﺯﻯ ﺑﺮﺳﺪ ﻳﺎ ﻧﻪ‪ .‬ﻭﻟﻰ ﻛﺎﺭ ﺍﺯ ﻣﺤﻜﻢﻛﺎﺭﻯ ﻋﻴﺐ‬ ‫ﻧﻤﻰﻛﺮﺩ‪.‬‬

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‫ﻫﻢ ﺍﺑﺮﺍﺯ ﻋﻼﻗﻪ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﻛﻪ ﻳﻚ ﻃﺒﻘﻪ ﺑﺮﺍﻯ ﻫﻤﻴﺸﻪ ﻣﺘﻮﻗﻒ ﺷﻮﻧﺪ ﻭ ﮔﻮﺳﻔﻨﺪ ﭘﺮﻭﺭﺵ ﺩﻫﻨﺪ‪.‬‬ ‫ﭘﺎﻯ ﺷﻄﺮﻧﺞ ﻛﻪ ﭘﻴﺶ ﺁﻣﺪ‪ ،‬ﻛﺎﻣﭙﻴﻮﺗﺮ ﻛ ً‬ ‫ﻼ ﺑﻰﺧﻴﺎﻝ ﺁﺳﺎﻧﺴﻮﺭﻫﺎﻯ ﺑﻴﭽﺎﺭﻩﺍﻯ ﺷﺪ ﻛﻪ ﺗﺎ ﺩﻭ ﺭﻭﺯ ﭘﻴﺶ‬ ‫ﻣﻮﺵ ﺁﺯﻣﺎﻳﺸﮕﺎﻫﻰﺍﺵ ﺑﻮﺩﻧﺪ ﻭ ﺣﺎﻻ ﻗﻴﺎﻓﻪﺷﺎﻥ ﺩﺭﺳﺖ ﻣﺜﻞ ﺁﺩﻣﻜﻰ ﺑﺎ ﺩﻫﺎﻥﻫﺎﻯ ﺭﻭ ﺑﻪ ﭘﺎﻳﻴﻦ ﺑﻮﺩ ﻭ‬ ‫ﻫﺮ ﻭﻗﺖ ﺳﻮﺍﺭﺷﺎﻥ ﻣﻰﺷﺪﻯ‪ ،‬ﻣﻴﺎﻧﻪﻫﺎﻯ ﺭﺍﻩ ﺻﺪﺍﻯ ﻫﻖﻫﻘﺸﺎﻥ ﺑﻠﻨﺪ ﻣﻰﺷﺪ ﻭ ﻭﺿﻌﻴﺖ ﮔﺎﻫﻰ ﺁﻥﻗﺪﺭ‬ ‫ﺩﺳﺘﭙﺎﭼﻪ ﻛﻨﻨﺪﻩ ﻣﻰﺷﺪ ﻛﻪ ﻣﺠﺒﻮﺭ ﻣﻰﺷﺪﻯ ﻭﺳﻂ ﺭﺍﻩ ﭘﻴﺎﺩﻩ ﺷﻮﻯ ﻭ ﺁﺳﺎﻧﺴﻮﺭ ﺑﻌﺪﻯ ﺭﺍ ﺍﻣﺘﺤﺎﻥ‬ ‫ﻛﻨﻰ‪ .‬ﮔﺮﭼﻪ ﺁﺳﺎﻧﺴﻮﺭ ﺑﻌﺪﻯ ﻫﻢ ﻗﺎﺗﻞ ﺍﺯ ﺁﺏ ﺩﺭ ﻣﻰﺁﻣﺪ ﻭ ﭼﻮﻥ ﻣﻰﺩﺍﻧﺴﺖ ﻧﻤﻰﺗﻮﺍﻧﺪ ﻻﻯ ﺩﺭﻫﺎ‬ ‫ﮔﻴﺮﺕ ﺑﻴﻨﺪﺍﺯﺩ‪ ،‬ﺗﺎ ﺧﻮﺩ ﻣﻘﺼﺪ ﻧﻔﺮﻳﻨﺖ ﻣﻰﻛﺮﺩ ﻭ ﺗﻮ ﺭﺍ ﻣﺴﺒﺐ ﺗﻤﺎﻡ ﺑﺪﺑﺨﺘﻰﻫﺎ ﻛﺎﺋﻨﺎﺕ ﺍﺯ ﺭﻭﺯ ﺍﺯﻝ‬ ‫ﻣﻰﺷﻤﺮﺩ‪.‬‬ ‫ﺳﻪ ﻃﺒﻘﻪ ﺯﻳﺮ ﻣﻮﺗﻮﺭﺧﺎﻧﻪ ﺟﺎﻯ ﺟﺎﻟﺒﻰ ﻧﺒﻮﺩ‪ .‬ﻫﻴﭻ ﭼﻴﺰ ﭼﺸﻤﮕﻴﺮ ﻭ ﻣﺘﻔﺎﻭﺗﻰ ﻧﺴﺒﺖ ﺑﻪ ﺑﺎﻗﻰ ﻃﺒﻘﺎﺕ‬ ‫ﺷﮕﻔﺖ ﻧﺪﺍﺷﺖ‪ .‬ﻣﺜﻞ ﻫﻤﻴﺸﻪ ﻓﻘﻂ ﻳﻚ ﺭﺍﻫﺮﻭﻯ ﺩﺭﺍﺯ ﻭ ﺑﻰ ﭘﻨﺠﺮﻩ ﺑﻮﺩ ﻛﻪ ﻻﻣﭗﻫﺎﻯ ﺳﻘﻔﻰﺍﺵ‬ ‫ﭼﻨﺪ ﺗﺎ ﺩﺭ ﻣﻴﺎﻥ ﻳﺎ ﺧﺎﻣﻮﺵ ﺑﻮﺩﻧﺪ ﻳﺎ ﭼﺸﻤﻚ ﻣﻰﺯﺩﻧﺪ ﻭ ﺭﻭ ﺑﻪ ﻣﻮﺕ ﺑﻮﺩﻧﺪ‪ .‬ﻣﺴﺘﻘﻴﻢ ﺗﻪ ﺭﺍﻫﺮﻭ‪،‬‬ ‫ﺩﺭﻯ ﻳﻚ ﻟﻨﮕﻪ ﺩﻳﺪﻩ ﻣﻰﺷﺪ ﻛﻪ ﺗﺎﺑﻠﻮﻯ ﻛﺪﺭ ﺭﻭﻳﺶ ﺍﻋﻼﻡ ﻣﻰﻛﺮﺩ‪» :‬ﺁﺭﺷﻴﻮ«‪ .‬ﺑﻐﻞ ﺩﺭ ﻫﻢ‪ ،‬ﺩﺭﻳﭽﻪﻯ‬ ‫ﻛﻮﭼﻜﺘﺮﻯ ﺑﻮﺩ ﻛﻪ ﻇﺎﻫﺮﺍ ً ﺑﻪ ﺩﺳﺘﺸﻮﻳﻰ ﻣﺸﻜﻞﺩﺍﺭ ﻣﻨﺘﻬﻰ ﻣﻰﺷﺪ‪ .‬ﺑﺎﻳﺪ ﺍﺯ ﻛﺎﻣﭙﻴﻮﺗﺮ ﻓﻠﺴﻔﻪﻯ ﻭﺟﻮﺩ‬ ‫ﺍﻳﻦ ﺩﺳﺘﺸﻮﻳﻰ ﺭﺍ‪ ،‬ﺁﻥ ﻫﻢ ﺩﺭ ﻳﻚ ﺭﺍﻫﺮﻭ ﻛﻪ ﺍﺯ ﻫﻤﺎﻥ ﺍﻭﻝ ﺭﻓﺖ ﻭ ﺁﻣﺪ ﺍﻧﺴﺎﻥ ﺑﻪ ﺁﻥ ﻗﺪﻏﻦ ﺑﻮﺩﻩ‪،‬‬ ‫ﻣﻰﭘﺮﺳﻴﺪﻡ‪.‬‬ ‫ﺩﺭ ﺳﺎﺩﻩ ﺑﻮﺩ‪ .‬ﻗﻔﻞ ﻭ ﺷﻤﺎﺭﻩﮔﻴﺮ ﺭﻣﺰ ﻭ ﺩﺳﺘﮕﺎﻩ ﺗﺸﺨﻴﺺ ﺍﺛﺮ ﺍﻧﮕﺸﺖ ﻭ ﺷﻨﺎﺳﺎﻳﻰ ﺗﺨﻢ ﭼﺸﻢ ﻧﺪﺍﺷﺖ‪.‬‬ ‫ﻛﺎﻓﻰ ﺑﻮﺩ ﺩﺳﺘﮕﻴﺮﻩﺍﺵ ﺭﺍ ﺭﻭ ﺑﻪ ﭘﺎﻳﻴﻦ ﻓﺸﺎﺭ ﺩﻫﻰ ﻭ ﻭﺍﺭﺩ ﺷﻮﻯ‪ .‬ﻣﻦ ﻫﻢ ﻫﻤﻴﻦ ﻛﺎﺭ ﺭﺍ ﻛﺮﺩﻡ‪ .‬ﺩﺭ ﺭﺍ‬ ‫ﺑﺎﺯ ﻛﺮﺩﻡ ﻭ ﻭﺍﺭﺩ »ﺁﺭﺷﻴﻮ« ﺷﺪﻡ‪.‬‬ ‫‪ ‬ﺗﻘﺼﻴﺮ ﺧﻮﺩﺵ ﺑﻮﺩ‪ .‬ﻧﺒﺎﻳﺪ ﺟﻠﻮﻯ ﻳﻜﻰ ﺍﺯ ﺷﻮﺍﻟﻴﻪﻫﺎﻯ ﺷﻮﺭﺍﻯ ﻋﺎﻟﻰ ﻣﻰﺍﻳﺴﺘﺎﺩ‪ .‬ﺍﻟﺒﺘﻪ ﺑﺪﺑﺨﺖ‪،‬‬ ‫ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﻓﺮﻕ ﺑﺎﻗﻴﻤﺎﻧﺪﻩﻫﺎ ﺭﺍ ﺑﺎ ﺁﻥ ﭼﺸﻢﻫﺎﻯ ﺗﺎﺭ ﻭ ﺧﺸﻚ ﺷﺪﻩ ﺑﺒﻴﻨﺪ‪ .‬ﺷﻤﺸﻴﺮﻡ ﺭﺍ ﻛﻪ ﺣﺎﻻ‬ ‫ﻏﺮﻕ ﺩﺭ ﺧﻮﻥ ﺳﻴﺎﻫﺶ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﺎ ﮔﻮﺷﻪﻯ ﻟﺒﺎﺳﻢ ﺗﻤﻴﺰ ﻛﺮﺩﻡ ﻭ ﺑﻪ ﺁﻧﺪﺭﻭﻳﺪ ﺍﺷﺎﺭﻩ ﻛﺮﺩﻡ ﻛﻪ ﺭﺍﻩ‬ ‫ﺑﺎﺯ ﺍﺳﺖ‪ .‬ﺁﻧﺪﺭﻭﻳﺪ ﺍﺯ ﺳﺮ ﭘﻴﭻ ﺑﻌﺪﻯ ﺑﺎ ﺩﺳﺖ ﺍﺷﺎﺭﻩﺍﻯ ﺑﻪ ﻣﻦ ﻛﺮﺩ ﻛﻪ ﻳﻌﻨﻰ ﺣﺮﻛﺘﻢ ﺭﺍ ﻓﻬﻤﻴﺪﻩ‪.‬‬ ‫ﺑﺎ ﮔﺎﻡﻫﺎﻳﻰ ﺣﺴﺎﺏ ﺷﺪﻩ ﻭ ﺗﻔﻨﮓ ﺩﻭﺭﺑﻴﻦﺩﺍﺭ ﻟﻴﺰﺭﻯ ﺩﺭ ﺩﺳﺖ‪ ،‬ﺑﻪ ﺳﻤﺖ ﻭﺭﻭﺩﻯ ﺑﻦﺑﺴﺖ ﺭﻓﺖ ﻭ‬ ‫ﻣﻨﺘﻈﺮ ﻣﺎﻧﺪ ﺗﺎ ﻣﻦ ﻫﻢ ﺳﺮ ﺑﺮﺳﻢ‪.‬‬ ‫ﺟﺴﺪ ﺑﻴﺪﺍﺭ ﺷﺪﻩ ﺭﺍ ﻫﻤﺎﻥﺟﺎ ﺭﻫﺎ ﻛﺮﺩﻡ‪ .‬ﭼﻴﺰ ﻏﻴﺮﻣﻌﻤﻮﻟﻰ ﻧﺒﻮﺩ‪ .‬ﺍﺯ ﺳﺮ ﺗﺎ ﺗﻪ ﺧﻴﺎﺑﺎﻥ ﺣﺪﺍﻗﻞ ﺳﻪ‬ ‫ﺟﺴﺪ ﺟﺰ ﺍﻳﻦ ﻳﻜﻰ ﻣﺜﻞ ﮔﻮﻧﻰ ﺳﻴﺐﺯﻣﻴﻨﻰ ﺭﻭﻯ ﺯﻣﻴﻦ ﻭﻟﻮ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻳﻚ ﻧﮕﺎﻩ ﺑﻪ ﺩﻭ ﺳﺮ ﺧﻴﺎﺑﺎﻥ‬ ‫ﺍﻧﺪﺍﺧﺘﻢ ﻭ ﺍﺯ ﺑﻴﻦ ﭼﺎﻟﻪﻫﺎﻯ ﺣﺎﺻﻞ ﺍﺯ ﺑﻤﺒﺎﺭﺍﻥ‪ ،‬ﺧﻮﺩﻡ ﺭﺍ ﺑﻪ ﻭﺭﻭﺩﻯ ﺩﺭ ﻫﻢ ﺷﻜﺴﺘﻪﻯ ﺑﺮﺝ ﺭﺳﺎﻧﺪﻡ‪.‬‬

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‫ﻓﺴﺘﻴﻮﺍﻝ ﺗﺎﺑﺴﺘﺎﻧﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ‬

‫ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪ ،‬ﻧﻪ ﺑﻨﺰﻳﻦ ﻭ ﮔﺎﺯﻯ‪ .‬ﺑﺎﻗﻴﻤﺎﻧﺪﻩﻫﺎ ﺭﺍﻫﻰ ﺑﺮﺍﻯ ﺭﻓﺖ ﻭ ﺁﻣﺪ ﻧﺪﺍﺷﺘﻨﺪ ﻭ ﮔﺮﻭﻩ ﮔﺮﻭﻩ‪ ،‬ﮔﻮﺷﻪ ﻭ‬ ‫ﻛﻨﺎﺭ ﺯﻣﻴﻦﻫﺎﻯ ﺳﻮﺧﺘﻪ ﻭ ﺑﺎ ﺧﺎﻙ ﻳﻜﺴﺎﻥ ﺷﺪﻩ ﺭﺍ ﺍﺷﻐﺎﻝ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻣﺎ ﺧﻄﺮ ﺑﺰﺭﮔﺘﺮﻯ ﺩﺭ ﻛﺎﺭ ﺑﻮﺩ‪.‬‬ ‫ﺟﺎﻳﻰ ﻣﻴﺎﻥ ﺍﻳﻦ ﺭﻭﺯ ﻋﺪﻡ‪ ،‬ﺷﻬﺮﻯ ﻭﺟﻮﺩ ﺩﺍﺷﺖ ﻛﻪ ﻫﻨﻮﺯ ﻛﺎﻣﻞ ﻧﺴﻮﺧﺘﻪ ﺑﻮﺩ‪ .‬ﺩﺍﺷﺖ ﺧﺎﻛﺴﺘﺮ‬ ‫ﻣﻰﺷﺪ‪ ،‬ﺍﻣﺎ ﻫﻨﻮﺯ ﺳﺎﺧﺘﻤﺎﻥﻫﺎﻯ ﺑﻠﻨﺪﻯ ﺩﺍﺷﺖ ﻛﻪ ﺷﺐ ﻭ ﻧﺼﻔﻪﺷﺐ‪ ،‬ﻓﺮﻭ ﻣﻰﺭﻳﺨﺘﻨﺪ ﻭ ﺧﻮﺍﺏ ﺭﺍ ﺍﺯ‬ ‫ﭼﺸﻢ ﻟﺸﻜﺮ ﺗﺎﺯﻩ ﺑﻴﺪﺍﺭ ﺷﺪﻩﻫﺎ ﻣﻰﮔﺮﻓﺘﻨﺪ‪.‬‬ ‫ﺑﻴﺪﺍﺭ ﺷﺪﻩﻫﺎ ﺷﺐﺯﻯ ﺑﻮﺩﻧﺪ‪ .‬ﻭ ﺁﺳﻤﺎﻥ ﭼﻨﺎﻥ ﺳﻴﺎﻩ ﺑﻮﺩ ﻛﻪ ﺷﺐ ﺍﻧﮕﺎﺭ ﺭﻭﻯ ﺩﻭﺭ ﺗﻜﺮﺍﺭﻯ ﺟﻬﻨﻤﻰ‬ ‫ﺍﻓﺘﺎﺩﻩ ﺑﺎﺷﺪ‪ ،‬ﺗﺎ ﺑﻰﻧﻬﺎﻳﺖ ﺍﺩﺍﻣﻪ ﺩﺍﺷﺖ‪ .‬ﺑﻴﺸﺘﺮ ﺗﻮﻯ ﺳﻄﺢ ﺧﻴﺎﺑﺎﻥﻫﺎ ﭘﺮﺍﻛﻨﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻨﺪ‬ ‫ﺧﻮﺏ ﺍﺯ ﭘﻠﻪﻫﺎﻯ ﺳﺎﺧﺘﻤﺎﻥﻫﺎﻯ ﺑﺎﻗﻴﻤﺎﻧﺪﻩ ﺑﺎﻻ ﺑﺮﻭﻧﺪ ﻭ ﺍﮔﺮ ﻫﻢ ﺑﻪ ﻫﺮ ﺟﺎﻥ ﻛﻨﺪﻧﻰ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺑﺎﻻ‬ ‫ﻣﻰﺭﺳﺎﻧﺪﻧﺪ‪ ،‬ﺩﻳﮕﺮ ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﺑﺮﮔﺮﺩﻧﺪ ﭘﺎﻳﻴﻦ‪ .‬ﺑﻴﺪﺍﺭ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺍﻣﺎ ﺳﻴﺴﺘﻢ ﻣﺪﻳﺮﻳﺖ ﺍﺭﺗﻔﺎﻋﺸﺎﻥ‬ ‫ﻛﺎﺭ ﻧﻤﻰﻛﺮﺩ‪.‬‬ ‫ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﺑﺎﻗﻴﻤﺎﻧﺪﻩﻫﺎ ﺑﺎﻻﻯ ﺑﻠﻨﺪﺗﺮﻳﻦ ﺳﺎﺧﺘﻤﺎﻥﻫﺎﻯ ﺭﻭ ﺑﻪ ﺭﻳﺰﺵ ﭘﻨﺎﻩ ﮔﺮﻓﺘﻪ ﺑﻮﺩﻧﺪ ﻭ ﺍﺯ ﺁﻥ ﺑﺎﻻ‬ ‫ﺳﻨﮓ ﻭ ﻛﻠﻮﺥ ﻭ ﻣﻴﺰ ﻭ ﺻﻨﺪﻟﻰ ﻧﻴﻢﺳﻮﺯ ﺭﻭﻯ ﺳﺮ ﺗﻚ ﻭ ﺗﻮﻙ ﺑﻴﺪﺍﺭ ﺷﺪﻩﻫﺎﻳﻰ ﻣﻰﺭﻳﺨﺘﻨﺪ ﻛﻪ ﮔﺎﻫﻰ‬ ‫ﺍﻭﻗﺎﺕ ﻫﻮﺱ ﭘﻠﻪﻧﻮﺭﺩﻯ ﻭ ﻣﺰﻩ ﻛﺮﺩﻥ ﺑﺎﻗﻴﻤﺎﻧﺪﻩﻫﺎ ﺑﻪ ﺳﺮﺷﺎﻥ ﻣﻰﺯﺩ‪.‬‬ ‫ﺗﻮﻯ ﺍﻳﻦ ﺍﻭﺿﺎﻉ ﺑﻮﺩ ﻛﻪ ﻧﻪ ﻧﻔﺮ ﺑﺎﻗﻴﻤﺎﻧﺪﻩ ﺑﻪ ﻃﺒﻘﻪﻯ ﺩﻫﻢ ﺑﺮﺟﻰ ﺍﺣﻀﺎﺭ ﺷﺪﻧﺪ ﻛﻪ ﺣﺮﻭﻑ ﺍﺳﻢ ﻋﻈﻴﻢ‬ ‫ﺭﻭﻯ ﺳﻘﻔﺶ ﻫﻤﻪ ﺭﻳﺨﺘﻪ ﺑﻮﺩﻧﺪ ﻭ ﺗﻨﻬﺎ ﻳﻚ ﻛﻠﻤﻪﻯ »ﺍﻧﺠﻤﻦ« ﺭﺍ ﻫﻨﻮﺯ ﻣﻰﺷﺪ ﺧﻮﺍﻧﺪ‪.‬‬ ‫‪ ‬ﺁﺳﺎﻧﺴﻮﺭﻫﺎﻯ ﺳﻔﻴﻨﻪ ﻛﻨﺪ ﻛﺎﺭ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺩﻳﮕﺮ ﺑﺮﺍﻳﺸﺎﻥ ﺍﻫﻤﻴﺘﻰ ﻧﺪﺍﺷﺖ ﻛﻪ ﺑﺎﻻ ﻣﻰﺭﻭﻧﺪ ﻳﺎ ﭘﺎﻳﻴﻦ‪.‬‬ ‫ﺁﻥﻫﺎﻳﻰ ﻛﻪ ﻃﺒﻘﺎﺕ ﺯﻭﺝ ﻣﻰﺍﻳﺴﺘﺎﺩﻧﺪ ﺩﺭ ﺣﺴﺮﺕ ﺗﻮﻗﻒ ﺩﺭ ﻃﺒﻘﺎﺕ ﻓﺮﺩ ﺑﻮﺩﻧﺪ ﻭ ﺁﻥﻫﺎﻳﻰ ﻛﻪ ﺩﺭ‬ ‫ﻓﺮﺩﻫﺎ ﻣﺘﻮﻗﻒ ﻣﻰﺷﺪﻧﺪ‪ ،‬ﻣﻰﺧﻮﺍﺳﺘﻨﺪ ﻛﺎﺑﻞﻫﺎﻳﺸﺎﻥ ﻗﻄﻊ ﺷﻮﺩ ﻭ ﺑﺮﻭﻧﺪ ﺗﻪ ﭼﺎﻫﺸﺎﻥ ﺑﭙﻮﺳﻨﺪ ﻭ ﺩﻳﮕﺮ‬ ‫ﺟﻢ ﻧﺨﻮﺭﻧﺪ‪ .‬ﻛﺎﻣﭙﻴﻮﺗﺮ ﺳﻔﻴﻨﻪ ﻛﻪ ﺁﺭﻡ »ﺭﻭﺍﻧﺸﻨﺎﺱ ﺩﺳﺘﮕﺎﻩﻫﺎﻯ ﻫﻮﺷﻤﻨﺪ ﺯﻳﺮﻣﺠﻤﻮﻋﻪ« ﺭﻭﻯ ﺩﺭ‬ ‫ﻭﺭﻭﺩﻯ ﺍﺗﺎﻕ ﻓﺮﻣﺎﻧﺶ ﺧﻮﺭﺩﻩ ﺑﻮﺩ‪ ،‬ﭼﻨﺪ ﺳﺎﻝ ﭘﻴﺶ‪ ،‬ﻗﺒﻞ ﺍﺯ ﺍﺧﺘﺮﺍﻉ ﺷﻄﺮﻧﺞ ﺟﻬﻨﻤﻰﺍﺵ‪ ،‬ﺑﻪ ﺳﺮﺵ‬ ‫ﺯﺩﻩ ﺑﻮﺩ ﺗﺎ ﺑﻪ ﺁﺳﺎﻧﺴﻮﺭﻫﺎ ﺷﺨﺼﻴﺖ ﺑﺪﻫﺪ‪ .‬ﭼﻨﺪ ﺗﺎ ﺍﺯ ﺁﺩﻡﻫﺎﻯ ﺑﺪﺑﺨﺖ ﺗﻮﻯ ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﻋﻤﻠﻰ ﻣﺜﻞ‬ ‫ﺭﺳﻴﺪﮔﻰ ﺑﻪ ﻣﺤﺼﻮﻻﺕ ﻛﺸﺎﻭﺭﺯﻯ ﻭ ﭘﺮﻭﺭﺵ ﮔﻮﺳﻔﻨﺪ ﻣﻴﻨﻴﺎﺗﻮﺭﻯ ﺭﺍ ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﻭ ﺷﺨﺼﻴﺖ ﻧﻜﺒﺖ‬ ‫ﺁﻥﻫﺎ ﺭﺍ ﺷﺒﻴﻪﺳﺎﺯﻯ ﻛﺮﺩﻩ ﻭ ﺭﻭﻯ ﺁﺳﺎﻧﺴﻮﺭﻫﺎ ﭘﻴﺎﺩﻩ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺣﺎﻻ ﻫﻤﮕﻰﺷﺎﻥ ﺍﻓﺴﺮﺩﮔﻰ ﺣﺎﺩ ﺩﺍﺷﺘﻨﺪ‪ .‬ﻣﻴﻞ ﺑﻪ ﺣﺮﻛﺖ ﻭ ﭘﻴﺸﺮﻓﺖ ﺩﺭ ﻭﺟﻮﺩﺷﺎﻥ ﻣﺮﺩﻩ ﺑﻮﺩ ﻭ ﺍﺯ‬ ‫ﭼﻨﺪ ﺗﺎﻳﻰﺷﺎﻥ ﺑﺮﻭﺯ ﺧﺸﻮﻧﺖ ﻫﻢ ﺩﻳﺪﻩ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺻﺒﺮ ﻣﻰﻛﺮﺩﻧﺪ ﺁﺩﻡﻫﺎ ﻛﻪ ﻣﻰﺧﻮﺍﺳﺘﻨﺪ ﭘﻴﺎﺩﻩ ﺷﻮﻧﺪ‪،‬‬ ‫ﺩﺭﻫﺎ ﺭﺍ ﻣﻰﺑﺴﺘﻨﺪ ﻭ ﺁﻥﻫﺎ ﺭﺍ ﮔﻴﺮ ﻣﻰﺍﻧﺪﺍﺧﺘﻨﺪ ﻭ ﺳﻌﻰ ﻣﻰﻛﺮﺩﻧﺪ ﺭﺍﻩ ﺑﻴﻔﺘﻨﺪ؛ ﻭ ﺍﻟﺒﺘﻪ ﺍﮔﺮ ﺳﻴﺴﺘﻢ‬ ‫ﻋﺪﻡ ﺍﻣﻜﺎﻥ ﺣﺮﻛﺖ ﺑﺎ ﺩﺭﻫﺎﻯ ﺑﺎﺯ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ‪ ،‬ﺗﺎ ﺍﻻﻥ ﭼﻨﺪ ﺗﺎﻳﻰ ﻛﺸﺘﻪ ﺩﺍﺩﻩ ﺑﻮﺩﻳﻢ‪ .‬ﭼﻨﺪ ﺗﺎﻳﻰﺷﺎﻥ‬

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‫ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﻧﺸﺴﺘﻪ ﺑﻮﺩﻡ ﻭ ﺍﺯ ﺭﻭﻯ ﻟﻴﺴﺖ ﺑﻪ ﺍﺳﻢﻫﺎﻳﻰ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻡ ﻛﻪ ﺑﺮﺍﻳﻢ ﻫﻴﭻ ﻣﻌﻨﺎ ﻭ ﻣﻔﻬﻮﻣﻰ‬ ‫ﻧﺪﺍﺷﺘﻨﺪ‪ .‬ﻟﻴﺴﺖ ﻃﻮﻻﻧﻰ ﺑﻮﺩ ﻭ ﻛﻠﻤﺎﺕ ﻫﻴﭽﻰ ﺍﺯ ﻣﺎﻫﻴﺖ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﻣﺸﺨﺺ ﻧﻤﻰﻛﺮﺩﻧﺪ‪ .‬ﻣﻌﻠﻮﻡ‬ ‫ﻧﺒﻮﺩ ﭘﺸﺖ ﺟﺎﻳﻰ ﺑﻪ ﺍﺳﻢ »ﻫﻢﻛﻒ ﺭﻭﻯ ﺳﻮﻡ« ﭼﻴﺴﺖ‪ .‬ﻭ ﺍﺻ ً‬ ‫ﻼ ﻣﻌﻠﻮﻡ ﻧﺒﻮﺩ ﻣﻦ ﺭﻭﻯ ﭼﻪ ﺣﺴﺎﺑﻰ‬ ‫ﺑﺎﻳﺪ ﺍﻧﺘﺨﺎﺏ ﻛﻨﻢ ﻛﻪ ﻣﺜ ً‬ ‫ﻼ ﺑﺨﺶ »ﺭﻳﺸﻪﺑﻠﻨﺪ« ﺑﻤﺎﻧﺪ ﻭ »ﺩﻭ ﺑﻪ ﺍﺿﺎﻓﻪﻯ ﺩﻭ« ﺣﺬﻑ ﺷﻮﺩ‪.‬‬ ‫ﻛﺎﻣﭙﻴﻮﺗﺮ ﺳﻔﻴﻨﻪ ﻫﻢ ﺣﻮﺻﻠﻪﻯ ﺟﻮﺍﺏ ﺩﺍﺩﻥ ﻧﺪﺍﺷﺖ‪ .‬ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﺷﻄﺮﻧﺠﻰ ﻃﺮﺍﺣﻰ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ‬ ‫ﺣﺎﻻ ﻳﻚ ﺑﻨﺪ ﺑﺎ ﺑﺎﺯﻯ ﺳﺎﺧﺖ ﺧﻮﺩﺵ ﺳﺮ ﻭ ﻛﻠﻪ ﻣﻰﺯﺩ ﻭ ﻫﻨﻮﺯ ﻧﺘﻮﺍﻧﺴﺘﻪ ﺑﻮﺩ ﺣﺘﺎ ﻳﻚ ﺩﺳﺖ ﺑﺮﻧﺪﻩ‬ ‫ﺷﻮﺩ‪ .‬ﺍﺯ ﻏﺮﻭﺭﺵ ﺑﻮﺩ ﻛﻪ ﻫﺮ ﺍﺯ ﮔﺎﻫﻰ ﻣﻰﮔﻔﺖ ﺑﺮﻧﺎﻣﻪﺍﻯ ﻧﻮﺷﺘﻪ ﻛﻪ ﺣﺘﺎ ﺧﻮﺩﺵ ﻫﻢ ﺍﺯ ﭘﺲ ﺁﻥ‬ ‫ﺑﺮ ﻧﻤﻰﺁﻳﺪ؛ ﺍﻣﺎ ﺣﺪﺱ ﻣﻰﺯﺩﻡ ﺑﻴﺸﺘﺮ ﺷﺒﻴﻪ ﭘﺪﺭﻯ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻧﺎﺧﻠﻔﻰ ﻓﺮﺯﻧﺪﺵ – ﻫﺮﭼﻨﺪ ﻓﺮﺯﻧﺪ‬ ‫ﺳﺮﺑﻠﻨﺪﻯ‪ ،‬ﺍﻣﺎ ﺩﺭ ﻣﻘﺎﺑﻞ ﭘﺪﺭ ﻧﺎﻓﺮﻣﺎﻥ – ﺭﻧﺠﻴﺪﻩ ﺍﺳﺖ ﻭ ﺑﺪﺵ ﻧﻤﻰﺁﻳﺪ ﺍﻳﻦ ﺷﻄﺮﻧﺞ ﻟﻌﻨﺘﻰ ﺍﺯ ﺳﺮ‬ ‫ﺍﺣﺘﺮﺍﻡ ﻫﻢ ﻛﻪ ﺷﺪﻩ‪ ،‬ﻳﻚ ﺑﺎﺭ ﺑﺒﺎﺯﺩ‪.‬‬ ‫ﺍﺳﻢ ﺑﺨﺶﻫﺎ ﺍﺯ ﺭﻭﻯ ﺻﻔﺤﻪ ﺭﺩ ﻣﻰﺷﺪﻧﺪ؛ »ﺍﻟﻒ‪-‬ﺩﺍﻝ‪» ،«33-‬ﻛﻔﺶﺩﺍﺭﻯ«‪» ،‬ﺟﻴﻢ چ‪.‬ﺥ«‪» ،‬ﺳﻜﻮﺕ‬ ‫ﻣﻤﻨﻮﻉ«‪ .‬ﻣﻌﻠﻮﻡ ﻧﺒﻮﺩ ﺩﺭ ﺍﻳﻦ ﺳﻔﻴﻨﻪﻯ ﺧﺮﺍﺏ ﺷﺪﻩ ﭼﻪ ﺧﺒﺮ ﺍﺳﺖ‪ .‬ﺁﺩﻡﻫﺎ ﺧﻴﻠﻰ ﻭﻗﺖ ﺑﻮﺩ ﻛﻪ ﺩﻳﮕﺮ‬ ‫ﺟﺰ ﺑﺨﺶﻫﺎﻯ ﻣﺴﻜﻮﻧﻰ ﺑﻰﺭﻧﮓ ﻭ ﺭﻭ ﻭ ﻣﺮﺍﻛﺰ ﺁﻣﻮﺯﺷﻰ ﻭ ﻓﺮﻫﻨﮕﻰ ﺑﺪﺗﺮﻛﻴﺐ ﻭ ﺁﻫﻨﻰ‪ ،‬ﺑﻪ ﺑﺨﺶ‬ ‫ﺩﻳﮕﺮﻯ ﺍﺯ ﺷﮕﻔﺖ ﺩﺳﺘﺮﺳﻰ ﻧﺪﺍﺷﺘﻨﺪ‪ .‬ﻛﺎﻣﭙﻴﻮﺗﺮ ﻣﻰﮔﻔﺖ ﺧﻴﻠﻰ ﺍﺯ ﺑﺨﺶﻫﺎ ﺍﺯ ﻫﻤﺎﻥ ﺭﻭﺯ ﺍﻭﻝ ﭘﺮﺗﺎﺏ‬ ‫ﻣﻤﻨﻮﻉﺍﻟﻮﺭﻭﺩ ﺑﻮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﺍﻳﻦ ﻃﻮﺭﻯ ﻧﻤﻰﺷﺪ ﺗﺼﻤﻴﻢﮔﻴﺮﻯ ﻛﺮﺩ؛ ﺑﺪﻡ ﻧﻤﻰﺁﻣﺪ ﻳﻜﻰ ﺍﺯ ﺍﻳﻦ ﺑﺨﺶﻫﺎ ﺭﺍ ﺑﻪ ﭼﺸﻢ ﺧﻮﺩﻡ ﺑﺒﻴﻨﻢ‪.‬‬ ‫ﺍﺯ ﻛﺎﻣﭙﻴﻮﺗﺮ ﻧﻈﺮﺳﻨﺠﻰ ﻛﺮﺩﻡ‪ ،‬ﺷﺶ ﺩﻗﻴﻘﻪ ﻭ ﭼﻬﻞ ﻭ ﺳﻪ ﺛﺎﻧﻴﻪ ﺳﻜﻮﺕ ﻛﺮﺩ‪ ،‬ﺑﻌﺪ ﻓﻴﻠﺶ ﺭﺍ ﺣﺮﻛﺖ‬ ‫ﺩﺍﺩ ﻭ ﮔﻔﺖ‪» :‬ﺑﻪ ﺷﻜﻞ ﺗﺼﺎﺩﻓﻰ‪ ...‬ﻣﻮﺭﺩ ﺷﻤﺎﺭﻩﻯ ﻳﺎﺯﺩﻩ‪ ،‬ﻧﻪ‪ ،‬ﭼﻬﻞ ﻭ ﺳﻪ ﺭﺍ ﺑﺎﺯﺑﻴﻨﻰ ﻛﻦ‪» .‬ﺁﺭﺷﻴﻮ«‪.‬‬ ‫ﺍﻳﺪﻩﻯ ﺧﺎﺻﻰ ﻧﺪﺍﺭﻡ ﻛﻪ ﺗﻮﺵ ﭼﻪ ﺧﺒﺮﻩ‪ .‬ﻓﻘﻂ ﻣﻰﺩﻭﻧﻢ ﺳﻪ ﻃﺒﻘﻪ ﺯﻳﺮ ﻣﻮﺗﻮﺭﺧﻮﻧﻪ ﺍﺳﺖ‪ ،‬ﺍﺯ ﺭﻭﺯ‬ ‫ﭘﺮﺗﺎﺏ ﻫﻴﭻ ﻛﺲ ﮔﺬﺍﺭﺵ ﺑﻪ ﺍﻭﻥ ﺍﻃﺮﺍﻑ ﻧﻴﻔﺘﺎﺩﻩ ﻭ ﺍﻟﺒﺘﻪ ﻛﻨﺎﺭﺵ ﻳﻪ ﺗﻮﺍﻟﺘﻪ ﻛﻪ ﭼﺎﻫﺶ ﺍﺯ ﭼﻬﻞ ﻭ‬ ‫ﻫﺸﺖ ﺳﺎﻝ ﭘﻴﺶ ﻛﻪ ﻳﻪ ﺷﻬﺎﺏﺳﻨﮓ ﺑﺪﻧﻪ ﺭﻭ ﺳﻮﺍﺭﺥ ﻛﺮﺩ ﻭ ﺍﻭﻣﺪ ﺗﻮ‪ ،‬ﮔﺮﻓﺘﻪ‪«.‬‬ ‫ﺍﻃﻼﻋﺎﺕ ﺩﻧﺪﺍﻥﮔﻴﺮﻯ ﻧﺒﻮﺩ‪ .‬ﻓﻘﻂ ﻓﻬﻤﻴﺪﻡ ﻛﻪ ﻗﺒﻞ ﺍﺯ ﺭﻓﺘﻦ ﺑﻪ ﺳﻪ ﻃﺒﻘﻪ ﺯﻳﺮ ﻣﻮﺗﻮﺭﺧﺎﻧﻪ‪ ،‬ﺑﺪ ﻧﻴﺴﺖ‬ ‫ﺳﺮﻯ ﺑﻪ ﺩﺳﺘﺸﻮﻳﻰ ﺑﺰﻧﻢ‪.‬‬ ‫‪ ‬ﺷﻬﺮﻫﺎ ﺭﻭﺷﻦ ﺑﻮﺩﻧﺪ‪ .‬ﺩﻭﺭﺷﺎﻥ ﺁﺗﺶﻫﺎﻯ ﺑﻰﭘﺎﻳﺎﻥ ﻣﻰﺳﻮﺧﺖ ﻭ ﺑﻌﺪ ﺩﺍﻣﻦ ﻣﻰﮔﺮﻓﺖ ﺑﻪ ﺷﻬﺮﻫﺎﻯ‬ ‫ﻛﻨﺎﺭﻯ ﻭ ﺟﻨﮕﻞ ﻭ ﺭﻭﺩﺧﺎﻧﻪ ﻭ ﻛﻮﻩ ﻭ ﺳﻨﮓ؛ ﻭ ﺁﻥ ﻭﻗﺖ ﻛﺸﻮﺭﻫﺎ ﻳﻚﭘﺎﺭﭼﻪ ﻣﻰﺳﻮﺧﺘﻨﺪ‪ .‬ﺁﺳﻤﺎﻥ‬ ‫ﺑﻴﺸﺘﺮ ﺍﻭﻗﺎﺕ ﺳﻴﺎﻩ ﺑﻮﺩ‪ .‬ﺩﻭﺩﻩ ﻫﻤﻪ ﺟﺎ ﺭﺍ ﭘﻮﺷﺎﻧﺪﻩ ﺑﻮﺩ ﻭ ﺑﻮﻯ ﺳﻮﺧﺘﻦ ﭼﻮﺏ ﻭ ﺁﻫﻦ ﻭ ﮔﻮﺷﺖ ﻭ‬ ‫ﺍﺳﺘﺨﻮﺍﻥ‪ ،‬ﺩﻣﺎﻍﻫﺎ ﺭﺍ ﺧﻴﻠﻰ ﻭﻗﺖ ﭘﻴﺶ ﺍﺯ ﻛﺎﺭ ﺍﻧﺪﺍﺧﺘﻪ ﺑﻮﺩ‪ .‬ﻫﻴﭻ ﭼﻴﺰ ﻛﺎﺭ ﻧﻤﻰﻛﺮﺩ‪ .‬ﻧﻪ ﺑﺮﻕ ﻭ ﺁﺑﻰ‬

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‫ﻓﺴﺘﻴﻮﺍﻝ ﺗﺎﺑﺴﺘﺎﻧﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ‬

‫ﻣﻮﺍﺯﻯ‬ ‫ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬ ‫ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

‫‪ ‬ﺑﻌﻀﻰ ﺑﺨﺶﻫﺎ ﻫﺴﺘﻨﺪ ﻛﻪ ﻫﻴﭻ ﻭﻗﺖ ﺑﺎﺯﺩﻳﺪ ﻧﺸﺪﻩﺍﻧﺪ‪ .‬ﺷﺎﻳﺪ ﺳﺎﺯﻧﺪﻩ ﻫﻤﺎﻥ ﺭﻭﺯ ﺍﻭﻝ ﺗﻮﻟﻴﺪ‬ ‫ﺁﻥﻫﺎ ﺭﺍ ﺩﻳﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﻭﻟﻰ ﺑﻌﺪ ﺩﻳﮕﺮ ﻫﻤﻪﻯ ﺍﻳﻦ ﻧﻘﺎﻁ ﺑﻪ ﺩﺳﺖ ﻓﺮﺍﻣﻮﺷﻰ ﺳﭙﺮﺩﻩ ﺷﺪﻧﺪ ﻭ‬ ‫ﺣﺎﻻ ﻛﻪ ﻣﺎﻫﻴﺖﺷﺎﻥ ﻧﻴﺴﺖ‪ ،‬ﺧﻮﺩﺷﺎﻥ ﻫﻢ ﺩﺍﺭﻧﺪ ﻧﻴﺴﺖ ﻣﻰﺷﻮﻧﺪ‪ .‬ﻛﺎﻣﭙﻴﻮﺗﺮ ﺳﻔﻴﻨﻪ ﺍﺧﻄﺎﺭ‬ ‫ﺩﺍﺩﻩ ﺑﻮﺩ ﻛﻪ ﺑﺎﻳﺪ ﻫﺮ ﭼﻪ ﺳﺮﻳﻊﺗﺮ ﺭﻭﻯ ﺑﺨﺶﻫﺎﻯ ﺩﺭ ﻣﻌﺮﺽ ﺧﻄﺮ ﻭ ﺍﻧﻘﺮﺍﺽ ﺗﻤﺮﻛﺰ ﻛﻨﻢ‬ ‫ﻭ ﺗﺼﻤﻴﻢ ﺑﮕﻴﺮﻡ ﺁﻳﺎ ﺑﻪ ﻣﻮﺟﻮﺩﻳﺘﺸﺎﻥ ﻧﻴﺎﺯﻯ ﻫﺴﺖ ﻳﺎ ﻧﻪ‪ .‬ﺍﮔﺮ ﺑﻮﺩ ﻛﻪ ﻫﻴﭻ‪ ،‬ﺍﮔﺮ ﻧﻪ ﻛﺎﻣﭙﻴﻮﺗﺮ‬ ‫ﺧﻮﺩﺵ ﺭﺍ ﺍﺯ ﺁﻥ ﺑﺨﺶﻫﺎ ﺑﻴﺮﻭﻥ ﻣﻰﻛﺸﻴﺪ ﻭ ﻣﻰﮔﺬﺍﺷﺖ ﺑﻪ ﺯﺑﺎﻟﻪﺩﺍﻥ ﺗﺎﺭﻳﺦ ﺑﭙﻴﻮﻧﺪﻧﺪ‪ .‬ﻭ ﺍﮔﺮ‬ ‫ﻛﺎﻣﭙﻴﻮﺗﺮ ﺍﺯ ﺍﻳﻦ ﺑﺨﺶﻫﺎ ﺑﻴﺮﻭﻥ ﻣﻰﻛﺸﻴﺪ‪ ،‬ﺩﻳﮕﺮ ﻫﻴﭻ ﺭﺍﻩ ﺩﺳﺘﺮﺳﻰ ﺑﻪ ﺁﻥﻫﺎ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ‪.‬‬ ‫ﻫﻤﻪﻯ ﺩﺭ ﻭ ﭘﻴﻜﺮﻫﺎﻯ ﺍﻳﻦ ﺳﻔﻴﻨﻪﻯ ﻟﻌﻨﺘﻰ ﻭ ﺑﻮ ﮔﺮﻓﺘﻪ ﺑﻪ ﺩﺳﺖ ﻛﺎﻣﭙﻴﻮﺗﺮ ﺑﺎﺯ ﻣﻰﺷﺪﻧﺪ‪.‬‬

‫ﻓﺴﺘﻴﻮﺍﻝ ﺗﺎﺑﺴﺘﺎﻧﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ‬

‫ﭼﻮﺑﻰ ﻗﺮﺍﺭ ﺩﺍﺷﺖ‪ .‬ﻛﻮﺑﻪ ﺭﺍ ﺩﺭ ﺩﺳﺖ ﮔﺮﻓﺖ ﻭ ﺭﻭﻯ ﺩﺭ ﭼﻮﺑﻰ ﻛﻮﺑﻴﺪ‪ .‬ﺻﺪﺍﻯ ﺑﺮﺧﻮﺭﺩ ﻛﻮﺑﻪ ﺑﻪ ﺩﺭﺏ ﺩﺭ‬ ‫ﻓﻀﺎﻯ ﺗﺎﺭﻳﻚ ﻭ ﺳﺎﻛﺖ ﻃﺒﻘﻪﻯ ﻣﻨﻔﻰ ﺳﻪ ﭘﻴﭽﻴﺪ‪ .‬ﺩﺭ ﺑﺎ ﺻﺪﺍﻯ ﺁﺭﺍﻣﻰ ﺑﺎﺯ ﺷﺪ‪ .‬ﺩﺭ ﺁﻥﺟﺎ ﭘﺮﻭﻧﺪﻩﻫﺎﻯ‬ ‫ﺧﺎﻙ ﮔﺮﻓﺘﻪﺍﻯ ﻗﺮﺍﺭ ﺩﺍﺷﺖ‪ .‬ﭘﺮﻭﻧﺪﻩﻫﺎﻯ ﺑﺮﺍﻯ ﺳﺎﻝﻫﺎﻯ ﺩﻭﺭ‪ .‬ﻳﻜﻰ ﺍﺯ ﭘﺮﻭﻧﺪﻩﻫﺎ ﺭﺍ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪ ﻭ‬ ‫ﺧﻮﺍﻧﺪ‪.‬‬ ‫»ﺑﻮﻟﺘﻦ ﺷﮕﻔﺖ – ﺳﺎﻝ ﻳﻜﻢ – ﺷﻤﺎﺭﻩ ﻳﻜﻢ – ﻣﺮﺩﺍﺩ ‪«.1389‬‬ ‫ﺩﺭ ﻓﻀﺎﻯ ﺍﺗﺎﻕ ﭼﺮﺧﻴﺪ‪ .‬ﺩﺭ ﻧﺰﺩﻳﻜﻰ ﺩﺭ‪ ،‬ﻛﻠﻴﺪ ﺑﺮﻗﻰ ﻗﺪﻳﻤﻰ ﺭﺍ ﺩﻳﺪ‪ .‬ﻛﻠﻴﺪ ﺑﺮﻕ ﺭﺍ ﻓﺸﺎﺭ ﺩﺍﺩ‪ .‬ﻣﻬﺘﺎﺑﻰﻫﺎ‬ ‫ﺁﺭﺍﻡﺁﺭﺍﻡ ﺭﻭﺷﻦ ﺷﺪﻧﺪ‪ .‬ﺳﺎﻟﻦ ﺑﺴﻴﺎﺭ ﺑﺰﺭﮔﻰ ﺭﺍ ﺩﻳﺪ‪ .‬ﺑﻪ ﻛﻨﺎﺭ ﭘﻨﺠﺮﻩ ﺭﻓﺖ‪ .‬ﻧﺎﮔﻬﺎﻥ ﭼﺸﻤﺎﻧﺶ ﺍﺯ ﺗﻌﺠﺐ‬ ‫ﮔﺮﺩ ﺷﺪ‪.‬‬ ‫»ﻳﺎﻓﺘﻢ‪ .‬ﻳﺎﻓﺘﻢ‪«.‬‬ ‫ﺯﻣﻴﻦ ﺯﻳﺮ ﭘﺎﻫﺎﻳﺶ ﻗﺮﺍﺭ ﺩﺍﺷﺖ ﻭ ﻣﺮﺩﻣﻰ ﺭﺍ ﻣﻰﺩﻳﺪ ﻛﻪ ﺑﺎ ﺩﺳﺖ ﺑﻪ ﺷﮕﻔﺖ ﺍﺷﺎﺭﻩ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫»ﺷﮕﻔﺘﺎ‪ .‬ﺷﻰﺋﻰ ﻋﺠﻴﺐ ﺩﺭ ﺁﺳﻤﺎﻥ‪«.‬‬ ‫ﭘﺲ ﺍﺯ ﭼﻨﺪ ﻟﺤﻈﻪ ﺑﺮﻕ ﻗﻄﻊ ﺷﺪ ﻭ ﺩﻭﺑﺎﺭﻩ ﻫﻤﻪ ﺟﺎ ﺗﺎﺭﻳﻚ ﺷﺪ‪ .‬ﺩﻭﺑﺎﺭﻩ ﺳﻴﺎﻫﻰ ﺑﻮﺩ ﻭ ﺳﻴﺎﻫﻰ ﻭ ﻧﻮﺭ‬ ‫ﻣﺸﻌﻞ ﺁﺑﻰ ﺭﻧﮕﻰ ﻛﻪ ﺩﻭﺭﺵ ﺭﺍ ﺭﻭﺷﻦ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬

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‫ﻛﺘﺎﺏ ﺭﺍ ﺑﺴﺖ ﻭ ﺭﻭﻯ ﻣﻴﺰ ﮔﺬﺍﺷﺖ‪.‬‬ ‫»ﺷﮕﻔﺖ ﻣﻰﺭﻭﺩ‪ ،‬ﻣﻰﺭﻭﺩ‪ ،‬ﻣﻰﺭﻭﺩ – ﺷﻌﺮﻫﺎﻯ ﺷﺎﻋﺮﺍﻥ ﺳﻔﻴﻨﻪﻯ ﺷﮕﻔﺖ‪«.‬‬ ‫ﻳﺎﺩﺵ ﺁﻣﺪ‪.‬‬ ‫»ﺑﺮ ﺭﻭﻯ ﻋﺮﺷﻪﻯ ﺷﮕﻔﺖ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﺑﺮﺍﻯ ﺩﻭﺳﺘﺎﻧﺶ ﻛﻪ ﭘﺎﻳﻴﻦ ﺭﻭﻯ ﺯﻣﻴﻦ ﺑﻮﺩﻧﺪ‪ ،‬ﺩﺳﺖ ﺗﻜﺎﻥ‬ ‫ﻣﻰﺩﺍﺩ‪ .‬ﺳﻔﻴﻨﻪﻯ ﺷﮕﻔﺖ ﺑﻪ ﺁﻫﺴﺘﮕﻰ ﺍﺯ ﺳﻜﻮﻯ ﭘﺮﺗﺎﺏ ﺟﺪﺍ ﻣﻰﺷﺪ ﻭ ﺑﻪ ﺳﻤﺖ ﻣﺎﻩ ﻣﻰﺭﻓﺖ‪«.‬‬ ‫ﺷﮕﻔﺖ ﺳﻔﻴﻨﻪﺍﻯ ﺑﻮﺩ ﺑﺴﻴﺎﺭ ﺑﺰﺭگ‪ ،‬ﺁﻥ ﻗﺪﺭ ﺑﺰﺭگ ﻛﻪ ﺑﺮﺍﻯ ﺗﻮﺻﻴﻔﺶ ﺩﻳﮕﺮ ﺍﻋﺪﺍﺩ ﻭ ﺍﺭﻗﺎﻡ ﻗﺎﺑﻞ‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﻧﺒﻮﺩﻧﺪ‪.‬‬ ‫»ﻣﺄﻣﻮﺭﻳﺖ‪ :‬ﻋﺒﻮﺭ ﺍﺯ ﺟﺮﻳﺎﻥ ﺍﺻﻠﻰ ﻛﻬﻜﺸﺎﻧﻰ ﻭ ﻛﺸﻒ ﺳﻴﺎﺭﻩﻯ ﺷﮕﻔﺖﺯﺍﺭ ﺩﺭ ﻛﻬﻜﺸﺎﻥ‪«...‬‬ ‫ﻛﻬﻜﺸﺎﻥ ﺩﺭ ﺍﺑﺘﺪﺍ ﺍﺳﻢ ﻧﺪﺍﺷﺖ ﻭ ﺣﺘﺎ ﻫﻴﭻ ﻋﻜﺴﻰ ﺍﺯ ﺁﻥ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ‪ .‬ﺗﻨﻬﺎ ﻳﻚ ﻣﺨﺘﺼﺎﺕ‬ ‫ﺟﻐﺮﺍﻓﻴﺎﻳﻰ ﺩﺭ ﺩﺳﺖ ﺑﻮﺩ‪ .‬ﭘﺲ ﻣﺠﺒﻮﺭ ﺷﺪﻧﺪ ﺍﺳﻢ ﻛﻬﻜﺸﺎﻥ ﺭﺍ ﻛﻪ ﺑﺮ ﺍﺳﺎﺱ ﺣﺪﺱ ﻭ ﮔﻤﺎﻥ‬ ‫ﺑﻮﺩ‪ ،‬ﮔﻤﺎﻧﻪﺯﻥ ﻧﺎﻣﮕﺬﺍﺭﻯ ﻛﻨﻨﺪ‪ .‬ﺳﻴﺎﺭﻩﻯ ﺷﮕﻔﺖﺯﺍﺭ ﻧﻴﺰ ﺳﻴﺎﺭﻩﺍﻯ ﺑﻮﺩ؛ ﺳﻴﺎﺭﻩﺍﻯ ﺑﻮﺩ ﺩﺭ ﻛﻬﻜﺸﺎﻥ‬ ‫ﮔﻤﺎﻧﻪﺯﻥ‪.‬‬ ‫»ﺳﺎﻝ ﻳﻚ‪ :‬ﺧﺮﻭﺝ ﺍﺯ ﻣﻨﻈﻮﻣﻪﻯ ﺷﻤﺴﻰ‪«.‬‬ ‫ﺷﮕﻔﺖ ﻫﻤﭽﻨﺎﻥ ﺩﺭ ﻣﻴﺎﻥ ﺟﺮﻳﺎﻥ ﺍﺻﻠﻰ ﻛﻪ ﻣﺎﻧﻨﺪ ﺍﺑﺮﻯ ﺳﻔﻴﺪﺭﻧﮓ ﺳﻔﻴﻨﻪ ﺭﺍ ﺩﻭﺭﻩ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺑﻪ‬ ‫ﭘﻴﺶ ﻣﻰﺭﻓﺖ‪ .‬ﻓﻀﺎ ﺭﺍ ﻣﻰﺷﻜﺎﻓﺖ‪.‬‬ ‫»ﺳﺎﻝ ﺩﻭ‪ :‬ﺧﺮﻭﺝ ﺍﺯ ﻛﻬﻜﺸﺎﻥ ﺭﺍﻩ ﺷﻴﺮﻯ‪«.‬‬ ‫ﻫﻴﭻ ﻛﺲ ﻫﻴﭻ ﺟﺎﻯ ﺷﮕﻔﺖ ﺭﺍ ﺩﺭﺳﺖ ﻧﻤﻰﺷﻨﺎﺧﺖ‪ .‬ﻫﺮ ﻛﺲ ﺑﻨﺎ ﺑﻪ ﻣﺄﻣﻮﺭﻳﺘﻰ ﻛﻪ ﺩﺍﺷﺖ‪ ،‬ﺑﻪ‬ ‫ﺑﺨﺶﻫﺎﻯ ﺩﻭﺭ ﻭ ﺍﻃﺮﺍﻓﺶ ﺁﺷﻨﺎﻳﻰ ﻳﺎﻓﺘﻪ ﺑﻮﺩ‪.‬‬ ‫»ﺳﺎﻝ ﺳﻪ‪ :‬ﺷﮕﻔﺖ ﮔﻢ ﺷﺪ‪«.‬‬ ‫ﺧﺒﺮﻯ ﺩﺭ ﺳﺮﺍﺳﺮ ﺷﮕﻔﺖ ﭘﻴﭽﻴﺪ‪ .‬ﺷﮕﻔﺖ ﮔﻢ ﺷﺪ‪ .‬ﺩﻭﺭ ﺷﮕﻔﺖ ﺗﻨﻬﺎ ﺳﻴﺎﻫﻰ ﺑﻮﺩ ﻭ ﺳﻴﺎﻫﻰ‪ .‬ﺍﺯ ﻫﻴﭻ‬ ‫ﭼﻴﺰ ﺩﻳﮕﺮﻯ ﺧﺒﺮﻯ ﻧﺒﻮﺩ‪.‬‬ ‫»ﺟﺮﻋﻪﺍﻯ ﺁﺏ ﻧﻮﺷﻴﺪ ﻭ ﺑﻪ ﻛﺎﻏﺬ ﺭﻭﻯ ﺩﺳﺘﺶ ﻧﮕﺎﻩ ﻛﺮﺩ‪ :‬ﻣﺄﻣﻮﺭﻳﺖ ﺑﻪ ﺭﺋﻴﺲ ﺳﺎﺯﻣﺎﻥ ﺍﻃﻼﻋﺎﺕ‬ ‫ﺷﮕﻔﺖ‪ .‬ﻣﻮﺿﻮﻉ‪ :‬ﺗﻬﻴﻪﻯ ﻧﻘﺸﻪﻯ ﻛﺎﻣﻞ ﺍﺯ ﺷﮕﻔﺖ‪«.‬‬ ‫ﺁﺭﺍﻡ ﺁﺭﺍﻡ ﻭﺍﺭﺩ ﻃﺒﻘﻪﻯ ﻣﻨﻔﻰ ﺳﻪﻯ ﺷﮕﻔﺖ ﺷﺪ‪ .‬ﻧﻮﺭ ﺁﺑﻰ ﻣﺸﻌﻠﺶ ﺩﻳﻮﺍﺭﻫﺎ ﺭﺍ ﺭﻭﺷﻦ ﻣﻰﻛﺮﺩ‪ .‬ﺻﺪﺍﻯ‬ ‫ﭘﺎﻳﺶ ﺭﻭﻯ ﺳﻄﺢ ﻓﻮﻻﺩﻯ ﺳﻔﻴﻨﻪ ﺑﻪ ﮔﻮﺵ ﻣﻰﺭﺳﻴﺪ‪ .‬ﻃﺒﻘﻪﻯ ﻣﻨﻔﻰ ﺳﻪ ﺭﺍ ﻫﻴﭻ ﻛﺲ ﻧﺪﻳﺪﻩ ﺑﻮﺩ ﻭ‬ ‫ﻧﻤﻰﺩﺍﻧﺴﺖ ﺁﻥﺟﺎ ﭼﻪ ﺧﺒﺮ ﺍﺳﺖ‪.‬‬ ‫»ﻧﻜﺘﻪ‪ :‬ﻧﻘﺸﻪﻫﺎﻯ ﻛﺎﻣﻞ ﺷﮕﻔﺖ ﻛﻪ ﭘﻴﺸﺘﺮ ﺩﺭ ﺩﺳﺘﺮﺱ ﺑﻮﺩ‪ ،‬ﺩﺭ ﺯﻣﺎﻥ ﺗﻔﻜﻴﻚ ﻗﻮﺍ ﮔﻢ ﺷﺪﻩ ﺍﺳﺖ‪«.‬‬ ‫ﻧﺎﮔﻬﺎﻥ ﺑﺮﻕ ﺟﺴﻤﻰ ﭼﺸﻤﺶ ﺭﺍ ﮔﺮﻓﺖ‪ .‬ﺁﺭﺍﻡﺁﺭﺍﻡ ﺑﻪ ﺟﺴﻢ ﻧﺰﺩﻳﻚ ﺷﺪ‪ .‬ﻛﻮﺑﻪﺍﻯ ﺑﻠﻮﺭﻳﻦ ﺭﻭﻯ ﺩﺭ‬

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‫ﻓﺴﺘﻴﻮﺍﻝ ﺗﺎﺑﺴﺘﺎﻧﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ‬

‫ﺷﮕﻔﺖ ﻳﺎ ﺁﻥ ﻃﻮﺭ ﻛﻪ‬ ‫ﺭﻭﻯ ﺯﻣﻴﻦ ﻣﻰﮔﻮﻳﻨﺪ‪،‬‬ ‫ﺷﻰﺋﻰ ﻋﺠﻴﺐ ﺩﺭ ﺁﺳﻤﺎﻥ‬ ‫ﻣﻴﻼﺩ ﻗﺰﻟﻠﻮ‬

‫ﺳﻔﯿﻨﻪای ﺑﻪ ﻧﺎم ﺷﮕﻔﺖ‪ ...‬دﯾﺮﯾﺴﺖ ﮐﻪ ﮔﻤﺸﺪه اﺳﺖ‬ ‫ﺑﺎ ﻣﻮﺗﻮرﻫﺎی روﺷﻦ درﺧﺸﺎن‬ ‫ﺑﺎ ارﺗﻔﺎﻋﯽ ﺑﻠﻨﺪ‪ ...‬ﺑﻪ ﺑﺎﻻی ﮐﻮهﻫﺎی ﻣﺮﯾﺦ‬ ‫ﻫﺮ ﮐﺲ از او ﻧﺸﺎﻧﯽ دارد‬ ‫ﻣﺎ را ﮐﻨﺪ ﺧﱪ‬ ‫اﯾﻦ ﻫﻢ ﻧﺸﺎن ﻣﺎ‬ ‫ﯾﮏ ﺳﻮ ﺳﯿﺎرک ‪۱۹‬‬ ‫ﺳﻮی دﯾﮕﺮ از ﻫﯿﭻ ﻧﯿﺴﺖ اﺛﺮ‬ ‫ﺷﺎﻋﺮ ﮔﻤﻨﺎﻡ‬

‫ﻓﺴﺘﻴﻮﺍﻝ ﺗﺎﺑﺴﺘﺎﻧﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ‬

‫ﺁﺭﻣﻴﺪﻩ‪ .‬ﺍﻧﺴﺎﻧﻲ ﻛﻪ ﺗﻨﻬﺎ ﮔﻨﺎﻫﺶ ﺳﺎﺩﻩﻟﻮﺣﻲ ﺍﺳﺖ‪.‬‬ ‫ﺁﺏ ﻣﺨﺰﻥ ﺭﺍ ﭘﺮ ﻣﻲﻛﻨﺪ‪ .‬ﺣﺲ ﻣﻲﻛﻨﻢ ﻗﺎﺩﺭﻡ ﺯﻳﺮ ﺁﻥ ﻧﻔﺲ ﺑﻜﺸﻢ‪ ،‬ﺍﻣﺎ ﻛﻢﻛﻢ ﺩﻳﺪﮔﺎﻧﻢ ﺗﺎﺭ ﻣﻲﺷﻮﻧﺪ‬ ‫ﻭ ﺩﻧﻴﺎﻳﻢ ﺗﺎﺭﻳﻚ ﻣﻲﺷﻮﺩ‪ .‬ﺣﺲ ﺑﺴﻴﺎﺭ ﻧﻔﺮﺕﺍﻧﮕﻴﺰﻱ ﺍﺳﺖ‪ .‬ﺍﺣﺴﺎﺱ ﻣﻲﻛﻨﻢ ﺍﻳﻦ ﻣﺮگ ﺷﻮﻡ ﺣﻘﻢ‬ ‫ﺍﺳﺖ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻣﻦ ﻫﻢ ﻣﺜﻞ ﺑﻘﻴﻪ ﺳﺎﺩﻩﻟﻮﺣﻲ ﺑﻴﺶ ﻧﺒﻮﺩﻡ ﻭ ﺍﮔﺮ ﭼﻴﺰﻱ ﻓﻬﻤﻴﺪﻡ‪،‬ﻛﺎﺭ ﺍﺯ ﻛﺎﺭ ﮔﺬﺷﺘﻪ‬ ‫ﺑﻮﺩ‪ .‬ﺩﻳﺪﮔﺎﻧﻢ ﻛﺎﻣ ً‬ ‫ﻼ ﺗﺎﺭﻳﻚ ﻣﻲﺷﻮﻧﺪ ﻭ ﺫﻫﻨﻢ ﺍﺯ ﻓﻜﺮ ﻛﺮﺩﻥ ﻋﺎﺟﺰ ﻣﻲﻣﺎﻧﺪ‪ .‬ﺩﻳﮕﺮ ﺩﻧﻴﺎﻳﻲ ﺑﺎﻗﻲ‬ ‫ﻧﻤﺎﻧﺪﻩ‪ ...‬ﺍﻳﻦ ﭘﺎﻳﺎﻥ ﻣﻦ ﺍﺳﺖ‪...‬‬

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‫ﺩﺳﺘﻜﺶ ﺳﻔﻴﺪﻱ ﻣﻲﭘﻮﺷﺪ ﻭ ﻳﻚ ﺳﺮﻧﮓ ﺣﺎﺿﺮ ﻣﻲﻛﻨﺪ‪ .‬ﻣﺎﺩﻩ ﺍﻱ ﺳﺒﺰﺭﻧﮓ ﺭﺍ ﻭﺍﺭﺩ ﺳﺮﻧﮓ ﻛﺮﺩﻩ ﻭ‬ ‫ﺑﻪ ﻣﻦ ﻧﺰﺩﻳﻚ ﻣﻲﺷﻮﺩ‪ .‬ﺍﺯ ﺗﺮﺱ ﻓﺮﻳﺎﺩ ﻣﻲﺯﻧﻢ‪ ،‬ﺍﻣﺎ ﭘﻴﺮﻣﺮﺩ ﻣﻲﮔﻮﻳﺪ‪» :‬ﺧﻮﺩﺕ ﺭﺍ ﺑﻪ ﺯﺣﻤﺖ ﻧﻴﻨﺪﺍﺯ‪.‬‬ ‫ﻫﻴﭻ ﻛﺲ ﻛﻤﻜﺖ ﻧﻤﻲﻛﻨﺪ‪ «.‬ﭘﻴﺮﻣﺮﺩ ﻣﺎﺩﻩﻱ ﺳﺒﺰﺭﻧﮓ ﺭﺍ ﺑﻪ ﺭگ ﺩﺳﺖ ﺭﺍﺳﺘﻢ ﺗﺰﺭﻳﻖ ﻣﻲﻛﻨﺪ‪.‬‬ ‫ﻛﺎﺭ ﺍﺯ ﻛﺎﺭ ﮔﺬﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺳﺮﻡ ﺭﺍ ﻛﺞ ﻣﻲﻛﻨﻢ ﻭ ﻧﻮﻣﻴﺪﺍﻧﻪ ﺍﺯ ﭘﻨﺠﺮﻩﻱ ﻓﻴﺒﺮﻛﺮﺑﻨﻲ ﺷﻔﺎﻑ ﺑﻴﺮﻭﻥ ﺭﺍ‬ ‫ﻣﻲﻧﮕﺮﻡ‪ .‬ﺍﻣﺎ ﭘﻨﺠﺮﻩﻱ ﺍﻳﻦ ﺁﺯﻣﺎﻳﺸﮕﺎﻩ ﻛﻬﻜﺸﺎﻥﻫﺎ ﻭ ﺳﺘﺎﺭﻩﻫﺎﻳﻲ ﺭﺍ ﻛﻪ ﺍﺯ ﻧﺰﺩﻳﻜﻲ ﻣﺎ ﻣﻲﮔﺬﺭﻧﺪ‪ ،‬ﻧﺸﺎﻥ‬ ‫ﻧﻤﻲﺩﻫﺪ‪ .‬ﺁﻥ ﭼﻴﺰﻱ ﻛﻪ ﻣﻲﺑﻴﻨﻢ ﻛﺮﻩﻱ ﺯﻣﻴﻦ ﺧﻮﺩﻣﺎﻥ ﺍﺳﺖ ﻛﻪ ﺩﺍﺭﻳﻢ ﺩﺭ ﻣﺪﺍﺭﺵ ﮔﺮﺩﺵ ﻣﻲﻛﻨﻴﻢ!‬ ‫ﺍﻳﻦﺟﺎ ﭼﻪ ﺧﺒﺮ ﺍﺳﺖ؟‬ ‫ﭘﻴﺮﻣﺮﺩ ﻟﺒﺎﺳﻲ ﻣﺸﻜﻲ ﻭ ﭼﺴﺒﺎﻥ ﺑﻪ ﻣﻦ ﻣﻲﭘﻮﺷﺎﻧﺪ ﻭ ﺍﺯ ﺁﺯﻣﺎﻳﺸﮕﺎﻩ ﺧﺎﺭﺝ ﻣﻲﺷﻮﺩ‪ .‬ﻓﻀﺎﻳﻲ ﻫﻢ ﺑﻠﻨﺪﻡ‬ ‫ﻣﻲ ﻛﻨﺪ ﻭ ﻭﺍﺭﺩ ﺭﺍﻫﺮﻭﻳﻲ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻳﻦﺟﺎ ﺭﺍ ﺑﻪ ﺧﺎﻃﺮ ﺩﺍﺭﻡ‪ .‬ﺟﺴﺪ ﺑﻲﺟﺎﻥ ﭘﺴﺮ ﺭﺍ ﮔﻮﺷﻪ ﻱ ﺭﺍﻫﺮﻭ‬ ‫ﻣﻲﺑﻴﻨﻢ ﻭ ﭼﻨﺪ ﻟﺤﻈﻪ ﺑﻌﺪ ﻭﺍﺭﺩ ﺗﺎﻻﺭ ﻣﺨﺎﺯﻥ ﻣﻲﺷﻮﻳﻢ‪ .‬ﺩﻳﮕﺮ ﭘﺎﻫﺎ ﻭ ﺩﺳﺖﻫﺎﻳﻢ ﺭﺍ ﺍﺣﺴﺎﺱ ﻧﻤﻲﻛﻨﻢ‪.‬‬ ‫ﺍﻳﻦ ﺑﺎﻳﺪ ﺍﺛﺮ ﺁﻥ ﻣﺎﺩﻩﻱ ﺳﺒﺰﺭﻧﮓ ﺑﺎﺷﺪ‪.‬‬ ‫ﻓﻀﺎﻳﻲ ﻣﺮﺍ ﺑﻪ ﺳﻤﺖ ﻳﻚ ﻣﺨﺰﻥ ﺧﺎﻟﻲ ﻣﻲﺑﺮﺩ ﻭ ﻣﺮﺍ ﺩﺍﺧﻞ ﺁﻥ ﻣﻲﮔﺬﺍﺭﺩ‪ .‬ﺳﭙﺲ ﻫﻤﻴﻦ ﻃﻮﺭ ﻛﻪ ﺩﺭ‬ ‫ﺁﻥ ﻣﻌﻠﻖ ﻗﺮﺍﺭ ﺩﺍﺭﻡ‪ ،‬ﻟﻮﻟﻪﻫﺎﻳﻲ ﺭﺍ ﺑﻪ ﺁﻥ ﻭﺻﻞ ﻣﻲﻛﻨﺪ ﻭ ﻛﻤﻲ ﺑﻌﺪ ﺁﺑﻲ ﺍﺯ ﺯﻳﺮ ﻣﺨﺰﻥ ﺑﻴﺮﻭﻥ ﻣﻲﺟﻬﺪ‬ ‫ﻭ ﻛﻢﻛﻢ ﺑﺎﻻ ﻣﻲﺁﻳﺪ‪ .‬ﻣﻦ ﻫﻢ ﺑﻪ ﺳﺮﻧﻮﺷﺖ ﺁﻥ ﭘﺴﺮ ﺩﭼﺎﺭ ﺧﻮﺍﻫﻢ ﺷﺪ‪ .‬ﭼﻴﺰﻱ ﺟﺰ ﻣﺮگ ﺩﺭ ﺍﻧﺘﻈﺎﺭ‬ ‫ﻣﻦ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻣﺨﺰﻥ ﻛﺎﻣ ً‬ ‫ﻼ ﭘﺮ ﺷﻮﺩ‪ ،‬ﻣﻲﺑﻴﻨﻢ ﻛﻪ ﺻﻮﺭﺕ ﺷﻴﺸﻪﺍﻱ ﻓﻀﺎﻳﻲ ﻛﻨﺎﺭ‬ ‫ﻣﻲﺭﻭﺩ ﻭ ﺳﺮ ﻳﻚ ﺍﻧﺴﺎﻥ ﻣﺸﺨﺺ ﻣﻲﺷﻮﺩ‪ .‬ﺧﺪﺍﻳﺎ‪ ...‬ﭼﮕﻮﻧﻪ ﺍﻣﻜﺎﻥ ﺩﺍﺭﺩ؟! ﺍﻭ ﻓﻀﺎﻳﻲ ﻧﻴﺴﺖ! ﺑﻠﻜﻪ‬ ‫ﺁﺩﻣﻲ ﺍﺳﺖ ﻛﻪ ﻟﺒﺎﺳﻲ ﺷﺒﻴﻪ ﻓﻀﺎﻳﻲﻫﺎ ﭘﻮﺷﻴﺪﻩ!‬ ‫ﺣﺲ ﻣﻲﻛﻨﻢ ﺍﺯ ﻧﺎﺣﻴﻪ ﻱ ﺧﻮﺩﻣﺎﻥ ﻓﺮﻳﺐ ﺧﻮﺭﺩﻩﺍﻡ‪ .‬ﻧﻪ ﺗﻨﻬﺎ ﻣﻦ‪ ،‬ﺑﻠﻜﻪ ﺗﻤﺎﻡ ﺁﺩﻡﻫﺎﻱ ﺁﻥ ﺳﻔﻴﻨﻪ‪ .‬ﻧﺎﺑﻮﺩ‬ ‫ﺷﺪﻥ ﻧﺴﻞ ﺍﻧﺴﺎﻥ ﻭ ﻣﺎ ﻛﻪ ﺁﺧﺮﻳﻦ ﺑﺎﺯﻣﺎﻧﺪﮔﺎﻥ ﻫﺴﺘﻴﻢ‪ ...‬ﻫﻤﻪ ﻭ ﻫﻤﻪ ﺩﺭﻭﻏﻲ ﺑﻴﺶ ﻧﻴﺴﺖ‪ .‬ﻣﺎ ﺩﺭ ﻣﻴﺎﻥ‬ ‫ﻛﻬﻜﺸﺎﻥﻫﺎ ﺳﻴﺮ ﻧﻤﻲﻛﻨﻴﻢ‪ ،‬ﺑﻠﻜﻪ ﺗﻨﻬﺎ ﺑﻪ ﺩﻭﺭ ﺯﻣﻴﻦ ﻣﻲﮔﺮﺩﻳﻢ! ﺍﺯ ﺍﺑﺘﺪﺍ ﻫﻴﭻ ﻛﺎﭘﻴﺘﺎﻧﻲ ﻫﻢ ﻭﺟﻮﺩ‬ ‫ﺧﺎﺭﺟﻲ ﻧﺪﺍﺷﺘﻪ ﻭ ﺳﻔﻴﻨﻪ ﻛﺎﻣ ً‬ ‫ﻼ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺍﻧﺴﺎﻥﻫﺎﺳﺖ‪ .‬ﻣﺎ ﺗﻨﻬﺎ ﻣﻮﺵﻫﺎﻱ ﺁﺯﻣﺎﻳﺸﮕﺎﻫﻲ ﻫﺴﺘﻴﻢ‬ ‫ﻛﻪ ﺑﺎ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﺗﺨﻴﻠﻲ ﺧﻨﺪﻩﺩﺍﺭ ﻓﺮﻳﺐ ﺧﻮﺭﺩﻩﺍﻳﻢ ﻭ ﻫﻢﻧﻮﻋﺎﻧﻤﺎﻥ ﻇﺎﻟﻤﺎﻧﻪ ﺍﺯ ﻣﺎ ﺑﺮﺍﻱ ﺭﺳﻴﺪﻥ ﺑﻪ‬ ‫ﻣﻘﺎﺻﺪﺷﺎﻥ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲﻛﻨﻨﺪ‪ .‬ﺑﻪ ﺣﺎﻝ ﺁﻥ ﺁﺩﻡﻫﺎﻳﻲ ﻛﻪ ﺩﺭ ﺁﻥ ﺳﺎﻟﻦ ﺑﻪ ﺍﻧﺘﻈﺎﺭ ﻣﻘﺼﺪﻱ ﺍﻣﻦ ﺩﺭ‬ ‫ﻓﺮﺍﺳﻮﻱ ﻛﻬﻜﺸﺎﻥﻫﺎ ﻫﺴﺘﻨﺪ‪ ،‬ﺗﺄﺳﻒ ﻣﻲﺧﻮﺭﻡ‪ .‬ﻭ ﻫﻤﻴﻦ ﻃﻮﺭ ﺑﻪ ﺣﺎﻝ ﺧﻮﺩﻡ ﻛﻪ ﻛﻪ ﻛﻨﺠﻜﺎﻭﻱﺍﻡ‬ ‫ﻣﺮﺍ ﺑﻪ ﻛﺎﻡ ﻣﺮگ ﻛﺸﺎﻧﺪ‪.‬‬ ‫ﭼﻴﺰﻱ ﻧﻤﺎﻧﺪﻩ ﻛﻪ ﻣﺨﺰﻥ ﭘﺮ ﺷﻮﺩ‪ .‬ﻣﺮﺩ ﺁﻫﻨﻲ )ﻫﻤﺎﻥ ﻓﻀﺎﻳﻲ!( ﺑﻪ ﻣﻦ ﻣﻲﻧﮕﺮﺩ ﻭ ﻣﻲﺧﻨﺪﺩ‪ .‬ﻭ ﺳﭙﺲ‬ ‫ﺩﻭﺭ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻃﺮﺍﻑ ﺭﺍ ﻣﻲﻧﮕﺮﻡ ﻭ ﻣﺨﺎﺯﻥ ﺑﻲﺷﻤﺎﺭ ﺭﺍ ﻛﻪ ﺩﺭ ﻫﺮ ﻛﺪﺍﻣﺸﺎﻥ ﻳﻚ ﺍﻧﺴﺎﻥ ﺑﻲﮔﻨﺎﻩ‬ ‫‪122‬‬

‫ﻓﺴﺘﻴﻮﺍﻝ ﺗﺎﺑﺴﺘﺎﻧﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ‬

‫ﻫﺎﻱ ﺳﺮﺩ ﻭ ﻭﺣﺸﺘﻨﺎﻙ ﮔﺬﺍﺷﺘﻨﺪ‪ «.‬ﺗﻨﻢ ﺍﺯ ﺷﻨﻴﺪﻥ ﺍﻳﻦ ﺧﺒﺮ ﻣﻲﻟﺮﺯﺩ‪ .‬ﺍﻣﻴﺪﻫﺎﻱ ﺁﻥ ﻣﺴﺎﻓﺮﺍﻥ ﺭﺍ ﺑﻪ‬ ‫ﻳﺎﺩ ﻣﻲﺁﻭﺭﻡ ﻛﻪ ﺑﻴﻬﻮﺩﻩ ﻭ ﺑﻲﺳﺮﺍﻧﺠﺎﻡ ﺍﺳﺖ‪ .‬ﺑﺎ ﺗﻌﺤﺐ ﻣﻲﭘﺮﺳﻢ‪» :‬ﭘﺲ ﭼﺮﺍ ﻣﺎ ﺁﻥﻫﺎ ﺭﺍ ﻧﻤﻲﺑﻴﻨﻴﻢ؟‬ ‫ﻣﻨﻈﻮﺭﻡ ﻓﻀﺎﻳﻲﻫﺎﺳﺖ‪ .‬ﭼﮕﻮﻧﻪ ﺁﻣﺪﻧﺪ ﻭ ﻣﺴﺎﻓﺮﺍﻥ ﺭﺍ ﺑﺮﺩﻧﺪ؟« ﺳﻌﻲ ﻣﻲﻛﻨﺪ ﻧﻔﺲ ﺑﻜﺸﺪ‪ .‬ﺣﺎﻟﺶ ﺑﺪ‬ ‫ﺷﺪﻩ‪ ،‬ﺍﻣﺎ ﭘﺎﺳﺦ ﻣﻲﺩﻫﺪ‪» :‬ﻧﻤﻲﺩﺍﻧﻢ‪ .‬ﻭﻗﺘﻲ ﺧﻮﺍﺑﻴﺪﻩ ﺑﻮﺩﻡ‪ ،‬ﻣﺮﺍ ﺑﻪ ﺁﺯﻣﺎﻳﺸﮕﺎﻩ ﺑﺮﺩﻧﺪ‪ .‬ﻣﺮﺍﻗﺐ ﺁﻥﻫﺎ ﺑﺎﺵ‪.‬‬ ‫ﺁﻥﻫﺎ ﺑﺪﻧﻲ ﻣﺎﺷﻴﻨﻲ ﺍﺯ ﺟﻨﺲ ﻓﻮﻻﺩ ﻭ ﻧﻘﺮﻩ ﻭ ﺻﻮﺭﺗﻲ ﺷﻴﺸﻪﺍﻱ ﺩﺍﺭﻧﺪ ﻭ ﺩﻭ ﺑﺮﺍﺑﺮ ﺗﻮ ﻗﺪﺷﺎﻥ ﺍﺳﺖ‪ .‬ﻫﺮ‬ ‫ﺁﻥ ﻣﻤﻜﻦ ﺍﺳﺖ ﺳﺮ ﺑﺮﺳﻨﺪ‪ «...‬ﭘﺴﺮ ﺳﻌﻲ ﻣﻲﻛﻨﺪ ﻧﻔﺴﻲ ﺩﻳﮕﺮ ﺑﻜﺸﺪ‪ ،‬ﺍﻣﺎ ﺣﺎﻟﺶ ﺑﺪﺗﺮ ﻣﻲﺷﻮﺩ ﻭ ‪...‬‬ ‫ﺩﻳﮕﺮ ﻧﻔﺴﺶ ﺑﺎﻻ ﻧﻤﻲﺁﻳﺪ‪ .‬ﺍﻭ ﺭﺍ ﺻﺪﺍ ﻣﻲﺯﻧﻢ ﻭ ﻛﻤﻲ ﻫﻠﺶ ﻣﻲﺩﻫﻢ‪ .‬ﺍﻣﺎ ﻧﻪ‪ ...‬ﺍﻭ ﻣﺮﺩﻩ ﺍﺳﺖ!‬ ‫ﺑﺎ ﻋﺠﻠﻪ ﻣﺴﻴﺮ ﺭﺍﻫﺮﻭ ﺭﺍ ﺑﺎ ﺗﺮﺱ ﻭ ﻭﺣﺸﺖ ﺍﺯ ﻓﻀﺎﻳﻲﻫﺎ ﻃﻲ ﻣﻲﻛﻨﻢ‪ .‬ﺍﺯ ﺁﻥﺟﺎ ﻭ ﭼﻨﺪ ﺩﺍﻻﻥ ﻭ ﺗﺎﻻﺭ‬ ‫ﺩﻳﮕﺮ ﺑﺎ ﺯﺍﻧﻮﺍﻧﻲ ﻟﺮﺯﺍﻥ ﻣﻲﮔﺬﺭﻡ ﻭ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺑﻪ ﺳﺎﻟﻨﻲ ﻛﻪ ﺁﺩﻡﻫﺎ ﺁﻥﺟﺎ ﻫﺴﺘﻨﺪ ﺑﺮﺳﻢ‪ ،‬ﻛﺎﺑﻴﻦ‬ ‫ﻛﺎﭘﻴﺘﺎﻥ ﺭﺍ ﻣﻲﺑﻴﻨﻢ‪ .‬ﺻﺪﺍﻱ ﻛﺎﭘﻴﺘﺎﻥ ﺩﻭﺑﺎﺭﻩ ﺍﺯ ﺑﻠﻨﺪﮔﻮﻫﺎ ﭘﺨﺶ ﻣﻲﺷﻮﺩ‪» :‬ﻣﺴﺎﻓﺮﺍﻥ ﻋﺰﻳﺰ‪ ،‬ﻧﺘﺮﺳﻴﺪ!‬ ‫ﺑﻪ ﺯﻭﺩﻱ ﻫﻤﻪ ﭼﻴﺰ ﺭﻭﺑﺮﺍﻩ ﻣﻲﺷﻮﺩ!«‬ ‫ﺑﺎ ﻗﺪﻡﻫﺎﻳﻲ ﻣﺮﺩﺩ ﺑﻪ ﺩﺭ ﻭﺭﻭﺩﻱ ﻛﺎﺑﻴﻦ ﻧﺰﺩﻳﻚ ﻣﻲﺷﻮﻡ ﻭ ﺁﻥ ﺭﺍ ﺑﺎﺯ ﻣﻲﻛﻨﻢ‪ .‬ﺍﻣﺎ ﭼﻴﺰﻱ ﻛﻪ ﻣﻲﺑﻴﻨﻢ‬ ‫ﺑﺴﻴﺎﺭ ﻋﺠﻴﺐ ﺍﺳﺖ‪ .‬ﻛﺎﺑﻴﻦ ﺩﺭ ﻭﺍﻗﻊ ﺍﺗﺎﻗﻲ ﺍﺳﺖ ﺷﻴﺸﻪﺍﻱ ﻛﻪ ﻫﻴﭻ ﻭﺳﻴﻠﻪﺍﻱ ﺑﺮﺍﻱ ﻛﻨﺘﺮﻝ ﺳﻔﻴﻨﻪ‬ ‫ﻧﺪﺍﺭﺩ! ﺗﻨﻬﺎ ﻳﻚ ﺩﺳﺘﮕﺎﻩ ﭘﺨﺶﻛﻨﻨﺪﻩ ﺑﺮ ﺭﻭﻱ ﺩﻳﻮﺍﺭ ﻧﺼﺐ ﺷﺪﻩ ﻛﻪ ﻣﺮﺗﺐ ﺻﺪﺍﻱ ﻛﺎﭘﻴﺘﺎﻥ ﺍﺯ ﺁﻥ‬ ‫ﭘﺨﺶ ﻣﻲﺷﻮﺩ‪ .‬ﺍﻳﻦ ﺑﻪ ﭼﻪ ﻣﻌﻨﺎﺳﺖ؟ ﻳﻌﻨﻲ ﺗﻤﺎﻡ ﺍﻳﻦ ﻣﺪﺕ ﻫﻴﭻ ﻛﺎﭘﻴﺘﺎﻧﻲ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺘﻪ؟ ﺳﻔﻴﻨﻪ‬ ‫ﻱ ﺷﮕﻔﺖ ﺭﺍ ﭼﻪ ﻛﺴﻲ ﻛﻨﺘﺮﻝ ﻣﻲﻛﻨﺪ؟‬ ‫ﺗﺮﺳﺎﻥ ﻭ ﻟﺮﺯﺍﻥ ﺑﻪ ﻋﻘﺐ ﻗﺪﻡ ﺑﺮ ﻣﻲﺩﺍﺭﻡ‪ .‬ﺳﺮﻧﻮﺷﺖ ﺷﻮﻣﻲ ﺩﺭ ﺍﻧﺘﻈﺎﺭ ﻣﻦ ﻭ ﺗﻤﺎﻡ ﻣﺴﺎﻓﺮﺍﻥ ﺍﺳﺖ‪.‬‬ ‫ﺑﺎ ﻋﺠﻠﻪ ﺍﺯ ﻛﺎﺑﻴﻦ ﺧﺎﺭﺝ ﻣﻲﺷﻮﻡ‪ ،‬ﺍﻣﺎ ﻧﺎﮔﺎﻩ ﻳﻚ ﻓﻀﺎﻳﻲ ﺑﺎ ﺑﺪﻧﻲ ﻓﻠﺰﻱ ﻭ ﻧﻘﺮﻩﺍﻱﺭﻧﮓ ﺍﺯ ﺩﻭﺭ ﻣﺮﺍ‬ ‫ﻣﻲﺑﻴﻨﺪ ﻭ ﺑﻪ ﻃﺮﻓﻢ ﻣﻲﺁﻳﺪ‪ .‬ﻗﺪﻡﻫﺎﻳﺶ ﺑﺴﻴﺎﺭ ﺳﻨﮕﻴﻦ ﺍﻣﺎ ﺗﻨﺪ ﻫﺴﺘﻨﺪ‪ .‬ﻫﻴﭻ ﺭﺍﻩ ﻓﺮﺍﺭﻱ ﺑﺮﺍﻳﻢ ﺑﺎﻗﻲ‬ ‫ﻧﻤﺎﻧﺪﻩ‪ .‬ﻭﻗﺘﻲ ﺑﻪ ﻳﻚ ﻗﺪﻣﻲ ﻣﻦ ﻣﻲﺭﺳﺪ‪ ،‬ﻣﺘﻮﻗﻒ ﻣﻲﺷﻮﺩ ﻭ ﺑﺎ ﺻﻮﺭﺕ ﻳﻜﺪﺳﺖ ﺷﻴﺸﻪﺍﻱﺍﺵ ﺑﻪ ﻣﻦ‬ ‫ﻣﻲﻧﮕﺮﺩ‪ .‬ﺑﺎ ﺩﺳﺘﺎﻧﺶ ﺑﺰﺭﮔﺶ ﻣﺮﺍ ﻣﻲﮔﻴﺮﺩ ﻭ ﺑﻪ ﺳﻤﺘﻲ ﺭﻭﺍﻧﻪ ﻣﻲﺷﻮﺩ‪ .‬ﺟﻴﻎ ﻣﻲﻛﺸﻢ‪ ،‬ﺍﻣﺎ ﭼﻪ ﻛﺴﻲ‬ ‫ﺩﺭ ﺍﻳﻦ ﺳﻔﻴﻨﻪ ﺍﺳﺖ ﻛﻪ ﺻﺪﺍﻳﻢ ﺭﺍ ﺑﺸﻨﻮﺩ‪.‬‬ ‫ﻓﻀﺎﻳﻲ ﻣﺮﺍ ﺑﻪ ﺁﺯﻣﺎﻳﺸﮕﺎﻫﺸﺎﻥ ﻣﻲﺑﺮﺩ‪ .‬ﺍﺗﺎﻗﻲ ﺍﺳﺖ ﺷﻴﺸﻪﺍﻱ ﻛﻪ ﭼﻨﺪﻳﻦ ﻣﺎﻧﻴﺘﻮﺭ ﻭ ﻭﺳﺎﻳﻞ ﮔﻮﻧﺎﮔﻮﻥ ﻭ‬ ‫ﻋﺠﻴﺐ ﺑﻴﻀﻲﺷﻜﻞ ﺁﻥﺟﺎ ﻧﺼﺐ ﺍﺳﺖ‪ .‬ﻟﻮﻟﻪﻫﺎﻳﻲ ﭘﻼﺳﺘﻴﻜﻲﺭﻧﮓ ﺍﺯ ﺳﻘﻒ ﺁﺯﻣﺎﻳﺸﮕﺎﻩ ﭘﺎﻳﻴﻦ ﻣﻲﺁﻳﻨﺪ‬ ‫ﻭ ﺑﻪ ﺁﻥ ﻭﺳﺎﻳﻞ ﻋﺠﻴﺐ ﻭ ﻏﺮﻳﺐ ﻭﺻﻞ ﻣﻲﺷﻮﻧﺪ‪ .‬ﻓﻀﺎﻳﻲ ﻣﺮﺍ ﺑﺮ ﺭﻭﻱ ﺗﺨﺘﻲ ﻭﺳﻂ ﺁﺯﻣﺎﻳﺸﮕﺎﻩ‬ ‫ﻣﻲﺧﻮﺍﺑﺎﻧﺪ ﻭ ﺑﺎ ﭼﻨﺪ ﺩﺳﺘﺒﻨﺪ ﻭ ﭘﺎﺑﻨﺪ ﻣﺮﺍ ﺑﻪ ﺁﻥ ﻗﻔﻞ ﻣﻲﻛﻨﺪ‪ .‬ﺳﭙﺲ ﮔﻮﺷﻪﺍﻱ ﻣﻲﺍﻳﺴﺘﺪ ﻭ ﻣﻲﺑﻴﻨﻢ‬ ‫ﻛﻪ ﭘﻴﺮﻣﺮﺩﻱ ﻛﭽﻞ ﺑﺎ ﻟﺒﺎﺳﻲ ﺳﻔﻴﺪ ﻭ ﻣﺎﺳﻜﻲ ﻛﻪ ﺗﻨﻬﺎ ﺩﻫﺎﻥ ﻭ ﺑﻴﻨﻲﺍﺵ ﺭﺍ ﭘﻮﺷﺎﻧﺪﻩ‪ ،‬ﻭﺍﺭﺩ ﻣﻲﺷﻮﺩ‪.‬‬ ‫‪121‬‬

‫ﺩﺭﻭﻥ ﺁﻥ ﻗﺮﺍﺭ ﺩﺍﺭﺩ ﻛﻪ ﺑﺎ ﺑﻴﺮﻭﻥ ﭘﺎﺷﻴﺪﻥ ﺁﺏ‪ ،‬ﺭﻭﻱ ﺯﻣﻴﻦ ﻭﻟﻮ ﻣﻲﺷﻮﺩ‪ .‬ﺁﺏ ﺳﺮﺩ ﺑﻪ ﺳﺮ ﻭ ﺻﻮﺭﺗﻢ‬ ‫ﻣﻲﺧﻮﺭﺩ ﻭ ﺩﻣﺎﻱ ﺑﺪﻧﻢ ﺭﺍ ﺑﻴﺶ ﺍﺯ ﭘﻴﺶ ﻛﺎﻫﺶ ﻣﻲﺩﻫﺪ‪ .‬ﺍﻣﺎ ﺁﻥ ﭼﻴﺰﻱ ﻛﻪ ﺩﺭ ﻣﺨﺰﻥ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ‪،‬‬ ‫ﺑﺮﺍﻳﻢ ﺁﻥ ﻗﺪﺭ ﺍﻋﺠﺎﺏﺍﻧﮕﻴﺰ ﻫﺴﺖ ﻛﻪ ﺳﺮﻣﺎ ﺭﺍ ﻓﺮﺍﻣﻮﺵ ﻛﻨﻢ‪.‬‬ ‫ﺑﺎ ﺳﺮﻋﺖ ﺑﻪ ﻃﺮﻑ ﭘﺴﺮ ﻣﻲﺩﻭﻡ ﻭ ﭘﻮﺳﺘﻪﻱ ﻣﺨﺰﻥ ﺭﺍ ﺍﺯ ﺍﻭ ﺩﻭﺭ ﻣﻲﻛﻨﻢ‪ .‬ﺍﺣﺴﺎﺱ ﻣﻲﻛﻨﻢ ﺳﺮﻣﺎﻱ‬ ‫ﺑﺪﻧﺶ ﺩﺍﺭﺩ ﻛﻢﻛﻢ ﻓﺮﻭﻛﺶ ﻣﻲﻛﻨﺪ ﻭ ﮔﺮﻡ ﻣﻲﺷﻮﺩ‪ .‬ﭼﻨﺪ ﺳﻴﻠﻲ ﺑﻪ ﮔﻮﺷﺶ ﻣﻲﺯﻧﻢ ﺗﺎ ﺑﻠﻜﻪ ﺑﺮﺧﻴﺰﺩ‬ ‫ﻭ ﺛﺎﻧﻴﻪﺍﻱ ﺑﻌﺪ ﭼﺸﻤﺎﻧﺶ ﺭﺍ ﺗﻜﺎﻥ ﻣﻲﺩﻫﺪ‪ .‬ﺍﻣﺎ ﺯﻳﺮ ﻟﺐ ﺳﺨﻨﺎﻥ ﻧﺎﻣﻔﻬﻮﻣﻲ ﻣﻲﮔﻮﻳﺪ ﻛﻪ ﺑﺮﺍﻱ ﻣﻦ‬ ‫ﻏﺮﻳﺐ ﺍﺳﺖ‪.‬‬ ‫ﭘﺴﺮ ﺭﺍ ﻛﻪ ﻭﺯﻥ ﺯﻳﺎﺩﻱ ﻫﻢ ﻧﺪﺍﺭﺩ‪ ،‬ﺑﺮ ﺭﻭﻱ ﺩﻭﺵ ﻣﻲ ﻛﺸﻢ ﻭ ﺁﻥ ﺳﻮﻱ ﺗﺎﻻﺭ‪ ،‬ﺩﺭﺳﺖ ﺯﻳﺮ ﺭﺍﻫﺮﻭﻫﺎﻱ‬ ‫ﺗﻮ ﺩﺭ ﺗﻮ ﺩﺭﻱ ﻣﻲﺑﻴﻨﻢ ﻭ ﺑﻪ ﺳﻤﺘﺶ ﻣﻲﺩﻭﻡ‪ .‬ﺯﺍﻧﻮﺍﻥ ﭘﺴﺮ ﺑﺮ ﺭﻭﻱ ﺯﻣﻴﻦ ﻛﺸﻴﺪﻩ ﻣﻲﺷﻮﺩ ﻭ ﻛﻤﻲ ﺯﻭﺭ‬ ‫ﻣﻲﺯﻧﻢ ﻭ ﺍﻭ ﺭﺍ ﺑﺎﻻﺗﺮ ﻣﻲﻛﺸﻢ‪ .‬ﺷﺎﻧﻪﺍﻡ ﻛﻢﻛﻢ ﺩﺭﺩ ﻣﻲﻛﻨﺪ‪ .‬ﺩﺭ ﺭﺍ ﺑﺎﺯ ﻣﻲﻛﻨﻢ ﻭ ﻭﺍﺭﺩ ﺭﺍﻫﺮﻭﻳﻲ ﺗﻨﮓ‬ ‫ﻭ ﺭﻭﺷﻦ ﻣﻲﺷﻮﻡ‪ .‬ﭘﺴﺮ ﺭﺍ ﺭﻭﻱ ﺯﻣﻴﻦ ﻭ ﺑﺎ ﺗﻜﻴﻪ ﺑﻪ ﺩﻳﻮﺍﺭ ﻣﻲﮔﺬﺍﺭﻡ ﻭ ﺩﻭﺑﺎﺭﻩ ﭼﻨﺪ ﺳﻴﻠﻲ ﺑﻪ ﮔﻮﺷﺶ‬ ‫ﻣﻲﺯﻧﻢ ﺗﺎ ﺑﻪ ﻫﻮﺵ ﺑﻴﺎﻳﺪ‪ .‬ﺳﺮﺵ ﺭﺍ ﻛﻪ ﺧﻴﺲ ﺍﺳﺖ‪ ،‬ﺗﻜﺎﻥ ﺁﺭﺍﻣﻲ ﻣﻲﺩﻫﺪ ﻭ ﻣﺮﺍ ﻣﻲﻧﮕﺮﺩ‪ .‬ﺑﺎ ﺻﺪﺍﻳﻲ‬ ‫ﻟﺮﺯﺍﻥ ﻣﻲﮔﻮﻳﺪ‪» :‬ﺍﻳﻦﺟﺎ ﭼﻪ ﻣﻲ ﻛﻨﻲ؟ ﭼﺮﺍ ﻣﺮﺍ ﺑﻴﺮﻭﻥ ﺁﻭﺭﺩﻱ؟ ‪ «...‬ﻣﻦ ﻛﻪ ﻓﻜﺮ ﻣﻲﻛﺮﺩﻡ ﭘﺴﺮ ﺍﺯ‬ ‫ﻣﻦ ﺗﺸﻜﺮ ﻣﻲﻛﻨﺪ ﻛﻪ ﺯﻧﺪﮔﻲﺍﺵ ﺭﺍ ﻧﺠﺎﺕ ﺩﺍﺩﻡ‪ ،‬ﻣﻲﮔﻮﻳﻢ‪» :‬ﺍﻳﻦ ﺳﻮﺍﻻﺕ ﺭﺍ ﺑﮕﺬﺍﺭ ﺑﺮﺍﻱ ﺑﻌﺪ‪ ،‬ﺑﻬﺘﺮ‬ ‫ﺍﺳﺖ ﺍﺯ ﺍﻳﻦﺟﺎ ﺩﻭﺭ ﺷﻮﻳﻢ‪ «.‬ﭘﺴﺮ ﻣﻲ ﮔﻮﻳﺪ‪» :‬ﺍﺣﻤﻖ‪ ...‬ﻣﺮﺍ ﺑﻪ ﻣﺨﺰﻧﻢ ﺑﺎﺯﮔﺮﺩﺍﻥ! ﺗﻮ ﻧﻤﻲﺩﺍﻧﻲ ﭼﻪ‬ ‫ﻛﺮﺩﻱ‪ .‬ﺍﮔﺮ ﻛﻤﻲ ﺩﻳﮕﺮ ﺍﻳﻦﺟﺎ ﺑﻤﺎﻧﻢ‪ ،‬ﻣﻲﻣﻴﺮﻡ!« ﺍﺯ ﺣﺮﻓﺶ ﻫﻴﭻ ﺳﺮ ﺩﺭ ﻧﻤﻲﺁﻭﺭﻡ‪ .‬ﻣﻲﭘﺮﺳﻢ ﭼﺮﺍ؟‬ ‫ﻣﻲﮔﻮﻳﺪ‪» :‬ﺑﻪ ﻣﻦ ﻣﺎﺩﻩﺍﻱ ﺑﻪ ﻧﺎﻡ ﺁﻟﻮﻛﻮﺋ ِﻠﻦ ﺗﺰﺭﻳﻖ ﻛﺮﺩﻩﺍﻧﺪ ﻛﻪ ﺑﺎﻋﺚ ﻣﻲﺷﻮﺩ ﺭﻳﻪﻱ ﺍﻧﺴﺎﻥ ﺩﺭ ﺯﻳﺮ‬ ‫ﺁﺏ ﻫﻢ ﻧﻔﺲ ﺑﻜﺸﺪ‪ ...‬ﺑﺎﻳﺪ ﺗﺎ ﭼﻨﺪ ﺩﻗﻴﻘﻪﻱ ﺩﻳﮕﺮ ﺑﺎﺯ ﮔﺮﺩﻡ ﻭﮔﺮﻧﻪ‪ «...‬ﺑﺎ ﻧﻮﻣﻴﺪﻱ ﺑﻪ ﺍﻭ ﻣﻲﮔﻮﻳﻢ‪:‬‬ ‫»ﺍﻣﻜﺎﻥ ﻧﺪﺍﺭﺩ‪ .‬ﻣﺨﺰﻥ ﺗﻮ ﭘﺎﺭﻩ ﺷﺪﻩ ﻭ ﺩﻳﮕﺮ ﻧﻤﻲﺗﻮﺍﻧﻲ ﺑﺮﮔﺮﺩﻱ‪ «.‬ﭘﺴﺮ ﺳﺮﺵ ﺭﺍ ﺑﻪ ﺩﻳﻮﺍﺭ ﻣﻲﻛﻮﺑﺪ ﻭ‬ ‫ﺁﺭﺍﻡ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺍﻧﮕﺎﺭ ﻛﻪ ﻗﺒﻮﻝ ﻛﺮﺩﻩ ﻛﻪ ﻣﺮﮔﺶ ﺣﺘﻤﻲ ﺍﺳﺖ ﻭ ﺍﻳﻦ ﭘﺎﻳﺎﻥ ﺭﺍﻩ ﺍﺳﺖ‪ .‬ﺣﺲ ﺑﺴﻴﺎﺭ ﺑﺪﻱ‬ ‫ﺩﺍﺭﻡ ﻛﻪ ﺑﺎﻋﺚ ﺷﺪﻩﺍﻡ ﻣﺮگ ﻛﺴﻲ ﻓﺮﺍ ﺑﺮﺳﺪ ﻭ ﺍﻳﻦ ﺍﺯ ﺩﺭﻭﻥ ﻣﺮﺍ ﻣﻲﺳﻮﺯﺍﻧﺪ‪.‬‬ ‫ﭘﺴﺮ ﺳﺮﺵ ﺭﺍ ﺯﻳﺮ ﺍﻧﺪﺍﺧﺘﻪ ﻭ ﺳﻌﻲ ﻣﻲﻛﻨﺪ ﺧﻮﺩ ﺭﺍ ﺑﺮﺍﻱ ﻣﺮگ ﺁﻣﺎﺩﻩ ﺳﺎﺯﺩ‪ .‬ﺑﺎ ﻧﺎﺭﺍﺣﺘﻲ ﺍﺯ ﺍﻭ‬ ‫ﻣﻲﭘﺮﺳﻢ‪» :‬ﺍﺻ ً‬ ‫ﻼ ﭼﺮﺍ ﺁﻥ ﻣﺎﺩﻩ ﺭﺍ ﺑﻪ ﺗﻮ ﺗﺰﺭﻳﻖ ﻛﺮﺩﻧﺪ؟« ﭘﺴﺮ ﭘﺎﺳﺦ ﻣﻲ ﺩﻫﺪ‪» :‬ﭼﻪ ﻓﻜﺮ ﻣﻲﻛﻨﻲ؟‬ ‫ﺁﻳﺎ ﻗﺮﺍﺭ ﻧﺒﻮﺩ ﺍﻳﻦ ﺳﻔﻴﻨﻪﻱ ﻋﻈﻴﻢ ﺑﻪ ﻣﺮﻳﺦ ﺑﺮﻭﺩ ﺗﺎ ﻣﺎ ﻛﻪ ﺁﺧﺮﻳﻦ ﻧﺴﻞ ﺍﻧﺴﺎﻥ ﻫﺴﺘﻴﻢ‪ ،‬ﻧﺠﺎﺕ ﭘﻴﺪﺍ‬ ‫ﻛﻨﻴﻢ؟« ﭘﺎﺳﺦ ﻣﻲﺩﻫﻢ‪» :‬ﺑﻠﻪ‪ «.‬ﺍﺩﺍﻣﻪ ﻣﻲﺩﻫﺪ‪» :‬ﺍﻳﻦ ﺳﻔﻴﻨﻪ ﺭﺍ ﺩﺭ ﻧﻴﻤﻪﻱ ﺭﺍﻩ ﻓﻀﺎﻳﻲﻫﺎ ﺗﺴﺨﻴﺮ‬ ‫ﻛﺮﺩﻧﺪ‪ .‬ﺁﻥﻫﺎ ﻛﺎﭘﻴﺘﺎﻥ ﺭﺍ ﻛﺸﺘﻨﺪ ﻭ ﻛﻨﺘﺮﻝ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﮔﺮﻓﺘﻨﺪ‪ .‬ﺳﭙﺲ ﺗﻌﺪﺍﺩﻱ ﺍﺯ ﻣﺴﺎﻓﺮﺍﻥ ﺳﻔﻴﻨﻪ ﺭﺍ‬ ‫ﺑﻪ ﺁﺯﻣﺎﻳﺸﮕﺎﻩ ﺧﻮﺩ ﺑﺮﺩﻧﺪ ﻭ ﻣﺎﺩﻩﻫﺎﻳﻲ ﻣﺜﻞ ﺁﻟﻮﻛﻮﺋﻠﻦ ﺭﺍ ﺑﺮ ﺭﻭﻳﺸﺎﻥ ﺁﺯﻣﺎﻳﺶ ﻛﺮﺩﻧﺪ ﻭ ﺩﺭ ﺁﻥ ﻣﺨﺰﻥ‬ ‫‪120‬‬

‫ﻓﺴﺘﻴﻮﺍﻝ ﺗﺎﺑﺴﺘﺎﻧﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ‬

‫ﺧﻴﻠﻲ ﻋﺠﻴﺐ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﻣﻲ ﺑﻴﻨﻢ ﺩﺭ ﻭﺭﻭﺩﻱ‪ ،‬ﭘﺸﺖ ﺳﺮﻡ ﺩﺭﺳﺖ ﺩﺭ ﻳﻚ ﻗﺪﻣﻲ ﻗﺮﺍﺭ ﺩﺍﺭﺩ! ﺁﻥ ﺭﺍ‬ ‫ﺑﺎﺯ ﻣﻲﻛﻨﻢ‪ .‬ﺑﻠﻪ‪ ...‬ﻫﻤﺎﻥ ﺩﺭﻱ ﺍﺳﺖ ﻛﻪ ﭼﻨﺪ ﺳﺎﻋﺖ ﭘﻴﺶ ﺍﺯ ﺁﻥ ﻭﺍﺭﺩ ﺩﺍﻻﻥ ﺷﺪﻡ‪ .‬ﻳﻌﻨﻲ ﺗﻤﺎﻡ ﺍﻳﻦ‬ ‫ﺭﺍﻫﻲ ﺭﺍ ﻛﻪ ﺩﻭﻳﺪﻩﺍﻡ‪ ،‬ﭘﻮچ ﺑﻮﺩﻩ؟ ﺩﺭ ﺭﺍ ﻣﻲﺑﻨﺪﻡ ﻭ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺍﻧﺘﻬﺎﻱ ﻧﺎﻣﺸﺨﺺ ﺩﺍﻻﻥ ﻣﻲﻧﮕﺮﻡ‪ .‬ﺍﻣﺎ‬ ‫ﺻﺒﺮ ﻛﻦ‪ ...‬ﺍﻧﺘﻬﺎﻱ ﺩﺍﻻﻥ ﺍﺯ ﺩﻭﺭ‪ ،‬ﻧﺰﺩﻳﻚ ﻣﻲﺷﻮﺩ‪ .‬ﺻﺤﻨﻪﺍﻱ ﺍﻋﺠﺎﺏﺍﻧﮕﻴﺰ ﺍﺳﺖ‪ .‬ﺗﻤﺎﻡ ﻣﺴﻴﺮ ﻃﻮﻻﻧﻲ‬ ‫ﻣﺤﻮ ﻣﻲﺷﻮﺩ ﻭ ﺩﺭ ﺛﺎﻧﻴﻪﺍﻱ‪ ،‬ﺩﺭﻱ ﻣﺸﻜﻲﺭﻧﮓ ﻣﻘﺎﺑﻠﻢ ﻇﺎﻫﺮ ﻣﻲﺷﻮﺩ‪ .‬ﺗﻤﺎﻡ ﺍﻳﻦ ﺭﺍﻩ ﺑﻲﭘﺎﻳﺎﻥ ﺗﻮﻫﻤﻲ‬ ‫ﺑﻴﺶ ﻧﺒﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺗﻤﺎﻡ ﺁﻥ ﻋﺮﻕﻫﺎﻳﻲ ﻛﻪ ﺭﻳﺨﺘﻢ‪ .‬ﺗﻤﺎﻡ ﺁﻥ ﺩﻭﻳﺪﻥﻫﺎ ‪ ...‬ﻓﻘﻂ ﺑﺮﺍﻱ ﻧﺒﺮﺩ ﺑﺎ ﺗﻮﻫﻤﻲ‬ ‫ﭘﻮچ ﻭ ﺑﻲﺍﺭﺯﺵ‪.‬‬ ‫ﺩﺭ ﻣﺸﻜﻲﺭﻧﮓ ﺭﺍ ﺑﺎﺯ ﻣﻲﻛﻨﻢ‪ .‬ﺑﺎ ﺻﺪﺍﻱ ﺑﻴﺮﻭﻥ ﺁﻣﺪﻥ ﮔﺎﺯ ﺑﺎ ﻓﺸﺎﺭ ﺯﻳﺎﺩ‪ ،‬ﺩﺭ ﺑﺎﺯ ﻣﻲﺷﻮﺩ ﻭ ﻣﻘﺎﺑﻠﻢ‬ ‫ﺗﺎﻻﺭﻱ ﺗﻮ ﺩﺭ ﺗﻮ ﻭ ﺗﺎﺭﻳﻚ ﻣﻲﺑﻴﻨﻢ‪ .‬ﻧﻪ ﭼﺮﺍﻏﻲ‪ ،‬ﻧﻪ ﭘﻨﺠﺮﻩﺍﻱ‪ .‬ﺗﻨﻬﺎ ﺭﻭﺷﻨﻲﺑﺨﺶ ﺗﺎﻻﺭ ﭼﻨﺪ ﻻﻣﭗ‬ ‫ﻛﻮﭼﻚ ﺩﻳﻮﺍﺭﻱِ ﻛﻢﺳﻮ ﻫﺴﺘﻨﺪ ﻛﻪ ﻟﺤﻈﺎﺕ ﭘﺎﻳﺎﻧﻲ ﻋﻤﺮﺷﺎﻥ ﺭﺍ ﻣﻲﮔﺬﺭﺍﻧﻨﺪ‪ .‬ﭘﺎ ﺑﻪ ﻛﻒ ﺗﻮﺭﻱ ﺗﺎﻻﺭ‬ ‫ﻣﻲﮔﺬﺍﺭﻡ ﻭ ﻣﻴﺎﻥ ﻳﻜﻲ ﺍﺯ ﺭﺍﻫﺮﻭﻫﺎﻱ ﺁﻥ ﭘﻴﺶ ﻣﻲﺭﻭﻡ‪ .‬ﺯﻳﺮ ﭘﺎﻳﻢ ﺭﺍ ﻣﻲﺗﻮﺍﻧﻢ ﺑﺒﻴﻨﻢ ﻛﻪ ﺻﺪﻫﺎ ﺭﺍﻫﺮﻭ‬ ‫ﺩﻳﮕﺮ ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ‪ .‬ﻭ ﻫﻢ ﭼﻨﻴﻦ ﺑﺎﻻﻱ ﺳﺮﻡ ﻫﻢ‪ ،‬ﭼﻨﻴﻦ ﺍﺳﺖ‪ .‬ﺑﻴﺸﺘﺮ ﺟﻠﻮ ﻣﻲﺭﻭﻡ ﻭ ﺍﻧﺘﻬﺎﻱ ﺭﺍﻫﺮﻭ ﺭﺍ‬ ‫ﻣﻲﺑﻴﻨﻢ ﻛﻪ ﺑﻪ ﺳﺮﺳﺮﺍﻳﻲ ﻛﻪ ﺩﻩﻫﺎ ﻣﺘﺮ ﺯﻳﺮ ﭘﺎﻳﻢ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ‪ ،‬ﺑﺎﺯ ﻣﻲﺷﻮﺩ‪ .‬ﺍﺯ ﭘﻴﺸﺮﻭﻱ ﺩﺳﺖ ﻣﻲﻛﺸﻢ‬ ‫ﻭ ﺁﻥ ﺳﺮﺳﺮﺍ ﺭﺍ ﻣﺸﺎﻫﺪﻩ ﻣﻲﻛﻨﻢ‪ .‬ﺩﺭ ﺁﻥ ﺻﺪﻫﺎ ﻣﺨﺰﻥ ﺑﻴﻀﻲﺷﻜﻞ ﺁﺑﻲﺭﻧﮓ ﻧﻴﻤﻪﺷﻔﺎﻑ ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ‬ ‫ﻛﻪ ﺑﺨﺎﺭ ﺍﺯ ﺳﻄﺢ ﺁﻥﻫﺎ ﺑﻪ ﺍﻃﺮﺍﻑ ﺭﻭﺍﻧﻪ ﻣﻲﺷﻮﺩ‪ .‬ﻫﻴﭻﻛﺲ ﺩﺭ ﺁﻥ ﺳﺮﺳﺮﺍﻱ ﻋﻈﻴﻢ ﻧﻴﺴﺖ ﻭ ﺗﻨﻬﺎ‬ ‫ﻣﻦ ﻫﺴﺘﻢ‪ .‬ﺍﺯ ﺭﺍﻫﺮﻭﻳﻲ ﻛﻪ ﺩﺭ ﺁﻥ ﺍﻳﺴﺘﺎﺩﻩﺍﻡ ﺑﺎ ﺩﺳﺖ ﻭ ﭘﺎ ﭘﺎﻳﻴﻦ ﻣﻲﺁﻳﻢ ﻭ ﭘﺎ ﺑﻪ ﺳﺮﺳﺮﺍ ﻣﻲﮔﺬﺍﺭﻡ‪.‬‬ ‫ﻣﺨﺎﺯﻥ ﺁﺑﻲﺭﻧﮓ ﺍﺯ ﻫﻤﺎﻥ ﺍﺑﺘﺪﺍ ﺷﺮﻭﻉ ﻣﻲﺷﻮﻧﺪ‪ .‬ﺑﺨﺎﺭﻱ ﻛﻪ ﺍﺯ ﺁﻥﻫﺎ ﺳﺎﻃﻊ ﻣﻲﺷﻮﺩ ﺑﺴﻴﺎﺭ ﺳﺮﺩ ﺍﺳﺖ‪.‬‬ ‫ﺧﻮﺩﻡ ﺭﺍ ﻣﻲﻓﺸﺎﺭﻡ ﺑﻠﻜﻪ ﻛﻤﻲ ﮔﺮﻡ ﺷﻮﻡ‪.‬‬ ‫ﺍﺯ ﻣﻴﺎﻥ ﻣﺨﺎﺯﻥ ﻋﺒﻮﺭ ﻣﻲﻛﻨﻢ‪ .‬ﺑﺴﻴﺎﺭ ﻋﺠﻴﺐ ﻭ ﻏﺮﻳﺐ ﻫﺴﺘﻨﺪ ﻭ ﺻﺪﻫﺎ ﻟﻮﻟﻪ ﻭ ﺳﻴﻢ ﺑﻪ ﺁﻥﻫﺎ ﻭﺻﻞ ﺷﺪﻩ‪.‬‬ ‫ﺑﺎ ﻗﺪﻡﻫﺎﻳﻲ ﻧﺎﻣﻨﻈﻢ ﺍﺯ ﺭﻭﻱ ﺳﻴﻢﻫﺎ ﻭ ﻟﻮﻟﻪﻫﺎﻳﻲ ﻛﻪ ﺭﻭﻱ ﺯﻣﻴﻦ ﭘﻬﻦ ﺷﺪﻩﺍﻧﺪ ﻭ ﻫﺮ ﻛﺪﺍﻡ ﺑﻪ ﻳﻚ ﻣﺨﺰﻥ‬ ‫ﻭﺻﻞ ﻣﻲﺷﻮﻧﺪ‪ ،‬ﻋﺒﻮﺭ ﻣﻲ ﻛﻨﻢ‪ .‬ﻫﻮﺍ ﻫﻨﻮﺯ ﻫﻢ ﺳﺮﺩ ﺍﺳﺖ ﻭ ﻫﻢ ﭼﻨﺎﻥ ﺑﺎ ﺩﺳﺖ ﺗﻼﺵ ﻣﻲﻛﻨﻢ ﺧﻮﺩﻡ ﺭﺍ‬ ‫ﮔﺮﻡ ﻧﮕﻪ ﺩﺍﺭﻡ‪ .‬ﺍﻣﺎ ﻫﻤﭽﻨﺎﻥ ﻛﻪ ﺑﻲﻫﺪﻑ ﺩﺭ ﺣﺎﻝ ﺣﺮﻛﺖ ﻫﺴﺘﻢ‪ ،‬ﭘﺎﻳﻢ ﺑﻪ ﻳﻜﻲ ﺍﺯ ﺳﻴﻢﻫﺎ ﮔﻴﺮ ﻣﻲﻛﻨﺪ‬ ‫ﻭ ﺗﻌﺎﺩﻟﻢ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻣﻲﺩﻫﻢ‪ .‬ﺟﻬﺎﻥ ﮔﺮﺩﺍﮔﺮﺩ ﺳﺮﻡ ﻣﻲﭼﺮﺧﺪ ﻭ ﻧﺎﮔﺎﻩ ﺗﻨﻪﺍﻡ ﺑﻪ ﻳﻚ ﻣﺨﺰﻥ ﺑﺮﺧﻮﺭﺩ‬ ‫ﻣﻲﻛﻨﺪ‪ .‬ﺑﺪﻧﻪﻱ ﻣﺨﺰﻥ ﻛﻪ ﺑﺴﻴﺎﺭ ﺍﻧﻌﻄﺎﻑﭘﺬﻳﺮ ﺍﺳﺖ‪ ،‬ﺑﻪ ﻟﺮﺯﺵ ﺩﺭ ﻣﻲﺁﻳﺪ ﻭ ﺍﻳﻦ ﻟﺮﺯﺵ ﻣﺘﻮﻗﻒ ﻧﻤﻲﺷﻮﺩ‪.‬‬ ‫ﺑﻪ ﮔﻮﺷﻪﺍﻱ ﻣﻲﺧﺰﻡ ﻭ ﺁﻥ ﺭﺍ ﻣﻲﻧﮕﺮﻡ ﻛﻪ ﭼﮕﻮﻧﻪ ﻟﺮﺯﻩ ﺩﺭ ﺑﺪﻧﻪﺍﺵ ﮔﺴﺘﺮﺵ ﻣﻲﻳﺎﺑﺪ ﻭ ﻫﺮ ﻟﺤﻈﻪ ﻫﻢ‬ ‫ﺷﺪﻳﺪﺗﺮ ﻣﻲﺷﻮﺩ‪ .‬ﭼﻴﺰﻱ ﻧﻤﻲﮔﺬﺭﺩ ﻛﻪ ﻣﺨﺰﻥ ﭘﺎﺭﻩ ﻣﻲﺷﻮﺩ ﻭ ﺁﺑﻲ ﺑﺴﻴﺎﺭ ﺳﺮﺩ ﺍﺯ ﺁﻥ ﺑﻴﺮﻭﻥ ﻣﻲﺯﻧﺪ‪.‬‬ ‫ﺍﻣﺎ ﻣﺨﺰﻥ ﻓﻘﻂ ﺍﺯ ﺁﺏ ﭘﺮ ﻧﺸﺪﻩ ﺍﺳﺖ! ﭘﺴﺮﻱ ﻧﻮﺟﻮﺍﻥ ﻫﻢﺳﻦ ﺧﻮﺩﻡ ﺑﺎ ﻟﺒﺎﺳﻲ ﭼﺴﺒﺎﻥ ﺑﻪ ﺭﻧﮓ ﺳﻴﺎﻩ‬ ‫‪119‬‬

‫ﻗﺮﺍﺭ ﺑﻮﺩ ﻳﻚ ﺳﺎﻝ ﭘﻴﺶ ﺍﻧﺴﺎﻥﻫﺎﻱ ﺯﻧﺪﻩ ﻣﺎﻧﺪﻩ ﺍﺯ ﺣﺎﺩﺛﻪﻱ ﻣﺮﮔﺒﺎﺭ ﺑﺮﺧﻮﺭﺩ ﺷﻬﺎﺏﻫﺎ ﺑﺎ ﺯﻣﻴﻦ‪ ،‬ﺑﺎ ﺍﻳﻦ‬ ‫ﺳﻔﻴﻨﻪ ﺑﻪ ﻧﺎﻡ ﺷﮕﻔﺖ ﺑﻪ ﻣﺮﻳﺦ ﻣﻨﺘﻘﻞ ﺷﻮﻧﺪ‪ .‬ﺍﻣﺎ ﻫﻴﭻ ﻛﺲ ﻧﻤﻲﺩﺍﻧﺪ ﺩﺭ ﻛﺎﺑﻴﻦ ﻛﺎﭘﻴﺘﺎﻥ ﭼﻪ ﮔﺬﺷﺖ‬ ‫ﻛﻪ ﺑﻪ ﺟﺎﻱ ﻣﺮﻳﺦ ﺍﺯ ﺍﻳﻦ ﻓﻀﺎﻱ ﺑﻲﺍﻧﺘﻬﺎ ﺳﺮ ﺩﺭ ﺁﻭﺭﺩﻳﻢ‪ .‬ﺍﻣﺎ ﺍﻳﻦﻫﺎ ﻫﻤﻪ ﮔﺬﺷﺘﻪﺍﻧﺪ ﻭ ﻓﻜﺮ ﻧﻤﻲﻛﻨﻢ‬ ‫ﺩﻳﮕﺮ ﺑﺸﻮﺩ ﺑﻪ ﻣﺮﻳﺦ ﺑﺎﺯﮔﺸﺖ‪ .‬ﻳﺎ ﺣﺪﺍﻗﻞ ﺑﺮﺍﻱ ﺍﻳﻦ ﻛﺎﺭ ﺯﻣﺎﻥ ﺯﻳﺎﺩﻱ ﻻﺯﻡ ﺍﺳﺖ‪.‬‬ ‫ﺭﻭﺯﻱ ﺩﻳﮕﺮ ﻣﻤﻠﻮ ﺍﺯ ﺗﺮﺱ ﻭ ﺍﺿﻄﺮﺍﺏ ﺁﻏﺎﺯ ﺷﺪﻩ‪ .‬ﺩﺭ ﺩﺭﻭﻧﻢ ﺣﺲ ﻛﻨﺠﻜﺎﻭﻱ ﺑﻪ ﭘﻲ ﺑﺮﺩﻥ ﺭﺍﺯ ﮔﻤﺸﺪﻥ‬ ‫ﺷﮕﻔﺖ ﻏﻠﻴﺎﻥ ﻣﻲﻛﻨﺪ‪ .‬ﺍﻳﻦ ﻃﻮﺭ ﻛﻪ ﮔﻔﺘﻪ ﻣﻲ ﺷﻮﺩ ﻛﺎﭘﻴﺘﺎﻥ ﻳﻚ ﺳﺎﻝ ﺍﺳﺖ ﻛﻪ ﺩﻳﺪﻩ ﻧﺸﺪﻩ‪ ،‬ﻭﻟﻲ ﻫﺮ‬ ‫ﺭﻭﺯ ﺍﺯ ﺩﺭﻭﻥ ﺑﻠﻨﺪﮔﻮﻫﺎ ﺻﺪﺍﻳﺶ ﺭﺍ ﻣﻲﺷﻨﻮﻳﻢ ﻛﻪ ﺗﻨﻬﺎ ﻳﻚ ﭼﻴﺰ ﺭﺍ ﺗﻜﺮﺍﺭ ﻣﻲﻛﻨﺪ‪ » :‬ﻣﺴﺎﻓﺮﺍﻥ ﻋﺰﻳﺰ‪،‬‬ ‫ﻧﺘﺮﺳﻴﺪ! ﺑﻪ ﺯﻭﺩﻱ ﻫﻤﻪ ﭼﻴﺰ ﺭﻭﺑﺮﺍﻩ ﻣﻲﺷﻮﺩ!«‬ ‫ﺑﺮ ﻣﻲﺧﻴﺰﻡ ﻭ ﻣﻴﺎﻥ ﺻﺪﻫﺎ ﺍﻧﺴﺎﻥ ﻏﻢﺯﺩﻩ ﻭ ﺩﺭﻣﺎﻧﺪﻩ ﺭﺍﻩ ﺑﺎﺯ ﻣﻲﻛﻨﻢ‪ .‬ﺍﺯ ﺭﺍﻫﺮﻭﻫﺎﻱ ﺩﺍﻳﺮﻩﻭﺍﺭ ﺳﻔﻴﻨﻪ‬ ‫ﻋﺒﻮﺭ ﻣﻲﻛﻨﻢ ﻭ ﺍﺯ ﺳﺎﻟﻨﻲ ﺑﺰﺭگ ﺳﺮ ﺩﺭ ﻣﻲﺁﻭﺭﻡ‪ .‬ﺑﺎ ﺩﻩﻫﺎ ﺩﺭ ﻭﺭﻭﺩﻱ ﻭ ﻫﻢﭼﻨﻴﻦ ﺩﺭﻭﺍﺯﻩﺍﻱ ﻋﻈﻴﻢ ﻛﻪ‬ ‫ﺭﻭ ﺑﻪ ﭘﺎﻳﻴﻦ ﻭ ﺑﻪ ﺑﻴﺮﻭﻥ ﺍﺯ ﺳﻔﻴﻨﻪ ﺑﺎﺯ ﻣﻲﺷﻮﺩ‪ .‬ﺍﺯ ﺑﺲ ﺭﻭﺯ ﻭ ﺷﺐ ﺑﻪ ﺍﻳﻦﺟﺎ ﻣﻲﺁﻳﻢ‪ ،‬ﻫﻤﻪ ﺟﺎﻳﺶ ﺭﺍ‬ ‫ﻣﺜﻞ ﻛﻒ ﺩﺳﺖ ﻣﻲﺷﻨﺎﺳﻢ‪ .‬ﻫﺮ ﺩﺭ ﺑﻪ ﻳﻚ ﺩﺍﻻﻥ ﭘﺮ ﺍﺯ ﻗﻔﺴﻪﻫﺎﻱ ﻓﻠﺰﻱ ﻧﻘﺮﻩﺍﻱ ﺭﻧﮓ ﺑﺎﺯ ﻣﻲﺷﻮﺩ ﻛﻪ‬ ‫ﺁﻥ ﻗﺪﺭ ﺯﻳﺎﺩﻧﺪ ﻛﻪ ﺣﻮﺻﻠﻪﺍﺕ ﻧﻤﻲﺷﻮﺩ ﺗﺎ ﺁﺧﺮﺵ ﺑﺮﻭﻱ‪ .‬ﻫﺮ ﺭﻭﺯ ﻛﻪ ﺳﻌﻲ ﻣﻲﻛﻨﻢ ﺑﻪ ﺍﻧﺘﻬﺎﻱ ﻳﻜﻲ ﺍﺯ‬ ‫ﺩﺍﻻﻥﻫﺎ ﺑﺮﺳﻢ‪ ،‬ﭘﺸﻴﻤﺎﻥ ﻣﻲﺷﻮﻡ ﻭ ﺑﺎﺯ ﻣﻲﮔﺮﺩﻡ‪ .‬ﺍﻣﺎ ﺍﻣﺮﻭﺯ ﭘﻲ ﺑﻪ ﺍﻳﻦ ﺑﺮﺩﻩﺍﻡ ﻛﻪ ﻭﻗﺖ ﺩﺭ ﺍﻳﻦ ﺳﻔﻴﻨﻪ‬ ‫ﻃﻼ ﻧﻴﺴﺖ ﻭ ﺁﻥ ﻗﺪﺭ ﺯﻳﺎﺩ ﻫﺴﺖ ﻛﻪ ﺑﺘﻮﺍﻧﻢ ﻳﻜﻲ ﺍﺯ ﺩﺍﻻﻥﻫﺎ ﺭﺍ ﺗﺎ ﺁﺧﺮ ﺑﭙﻴﻤﺎﻳﻢ‪.‬‬ ‫ﺍﻧﺘﺨﺎﺏ ﻣﻴﺎﻥ ﺁﻥ ﻫﻤﻪ ﺩﺭ ﺑﺮﺍﻳﻢ ﭼﻨﺪﺍﻥ ﺩﺷﻮﺍﺭ ﻧﻴﺴﺖ‪ .‬ﭼﺮﺍ ﻛﻪ ﻫﻤﻪﺷﺎﻥ ﺑﻪ ﻳﻚ ﺟﻮﺭ ﺟﺎ ﺑﺎﺯ ﻣﻲ‬ ‫ﺷﻮﻧﺪ‪ .‬ﻧﺰﺩﻳﻚﺗﺮﻳﻨﺸﺎﻥ ﺭﺍ ﺑﺎﺯ ﻣﻲﻛﻨﻢ ﻭ ﻭﺍﺭﺩ ﻣﻲﺷﻮﻡ‪ .‬ﺩﺍﻻﻧﻲ ﺷﺶﺿﻠﻌﻲ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺩﻳﻮﺍﺭﻩﻫﺎﻳﺶ‬ ‫ﻗﻔﺴﻪﻫﺎﻱ ﻓﻠﺰﻱ ﺑﺪﻭﻥ ﺩﺭ ﻛﺎﺭ ﮔﺬﺍﺷﺘﻪ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺗﺎ ﭼﺸﻢ ﻛﺎﺭ ﻣﻲﻛﻨﺪ ﺩﺍﻻﻥ ﺍﺩﺍﻣﻪ ﺩﺍﺭﺩ‪ ،‬ﺍﻣﺎ ﺍﻣﺮﻭﺯ‬ ‫ﻭﺿﻊ ﺟﻮﺭ ﺩﻳﮕﺮﻱ ﺍﺳﺖ‪ .‬ﺣﺎﺿﺮﻡ ﻫﺮ ﻛﺎﺭﻱ ﻛﻨﻢ ﺗﺎ ﺍﻧﺘﻬﺎﻱ ﺁﻥ ﺭﺍ ﺑﺒﻴﻨﻢ‪ .‬ﺩﺭ ﺯﻧﺪﮔﻲ ﻧﻜﺒﺖﺑﺎﺭﻡ ﺩﺭ ﻳﻚ‬ ‫ﺳﺎﻝ ﮔﺬﺷﺘﻪ‪ ،‬ﺗﻨﻬﺎ ﮔﻮﺷﻪﺍﻱ ﻧﺸﺴﺘﻪﺍﻡ ﻭ ﻣﻨﺘﻈﺮ ﺭﺳﻴﺪﻥ ﺳﻔﻴﻨﻪ ﺑﻪ ﻣﻘﺼﺪﻱ ﻧﺎﻣﻌﻠﻮﻡ ﻣﺎﻧﺪﻩﺍﻡ‪ .‬ﺍﻣﺎ‬ ‫ﺍﮔﺮ ﺑﻪ ﺍﻳﻦ ﻛﺎﺭ ﺍﺩﺍﻣﻪ ﻣﻲﺩﺍﺩﻡ‪ ،‬ﻣﻲﺷﺪﻡ ﻣﺜﻞ ﺁﻥ ﺁﺩﻡﻫﺎﻱ ﺩﺭﻣﺎﻧﺪﻩﺍﻱ ﻛﻪ ﺩﻳﮕﺮ ﺭﻭﺍﻧﺸﺎﻥ ﺭﺍ ﺍﺯ ﺩﺳﺖ‬ ‫ﺩﺍﺩﻩﺍﻧﺪ ﻭ ﻫﺮ ﺍﺗﻔﺎﻗﻲ ﻫﻢ ﺑﻴﻔﺘﺪ‪ ،‬ﺍﻧﺴﺎﻥ ﻧﻤﻲﺷﻮﻧﺪ!‬ ‫ﺑﻪ ﻣﺴﻴﺮﻡ ﺍﺩﺍﻣﻪ ﻣﻲﺩﻫﻢ‪ .‬ﻧﺰﺩﻳﻚ ﺑﻪ ﻳﻚ ﺳﺎﻋﺖ ﺍﺳﺖ ﻛﻪ ﻣﻲﺩﻭﻡ‪ ،‬ﺍﻣﺎ ﺑﻪ ﺟﺎﻳﻲ ﻧﻤﻲﺭﺳﻢ‪ .‬ﻫﺮ ﺍﺯ‬ ‫ﮔﺎﻫﻲ ﻣﻲﻧﺸﻴﻨﻢ ﻭ ﺧﺴﺘﮕﻲ ﺩﺭ ﻣﻲﻛﻨﻢ‪ ،‬ﺍﻣﺎ ﺩﺍﻻﻥ ﻫﻢ ﭼﻨﺎﻥ ﺍﺩﺍﻣﻪ ﺩﺍﺭﺩ‪ .‬ﺩﻭ ﺳﺎﻋﺖ ﺩﻳﮕﺮ ﻫﻢ ﻣﻲﺩﻭﻡ‪.‬‬ ‫ﺳﻪ ﺳﺎﻋﺖ‪ ...‬ﭘﺎﻫﺎﻳﻢ ﺩﻳﮕﺮ ﺗﻮﺍﻥ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺑﻪ ﺯﻣﻴﻦ ﻣﻲﺍﻓﺘﻢ ﻭ ﺳﻘﻒ ﺩﺍﻻﻥ ﺭﺍ ﻛﻪ ﺑﺎ ﻻﻣﭗﻫﺎﻱ ﻧﺌﻮﻧﻲ‬ ‫ﺳﻔﻴﺪﺭﻧﮓ ﺯﻳﻨﺖ ﺩﺍﺩﻩ ﺷﺪﻩ‪ ،‬ﻣﻲﻧﮕﺮﻡ‪ .‬ﺁﺧﺮ ﺗﺎ ﻛﺠﺎ ﺍﺩﺍﻣﻪ ﺩﻫﻢ؟ ﺑﺮﺍﻱ ﺑﺎﺯﮔﺸﺖ ﭼﻪ ﻛﻨﻢ؟ ﺁﻳﺎ ﺑﺎﻳﺪ‬ ‫ﻫﻤﻪﻱ ﺭﺍﻫﻲ ﺭﺍ ﻛﻪ ﺁﻣﺪﻩﺍﻡ‪ ،‬ﺑﺎﺯ ﮔﺮﺩﻡ؟ ﺍﺯ ﺍﻳﻦ ﻓﻜﺮ ﺳﺮﻡ ﺳﻮﺕ ﻣﻲﻛﺸﺪ ﻭ ﭘﺸﺖ ﺳﺮﻡ ﺭﺍ ﻣﻲ ﻧﮕﺮﻡ‪.‬‬ ‫‪118‬‬

‫ﻓﺴﺘﻴﻮﺍﻝ ﺗﺎﺑﺴﺘﺎﻧﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ‬

‫ﺳﻔﻴﻨﻪ‬ ‫ﺍﻣﻴﺪﺭﺿﺎ ﺍﻳﺰﺩﻯ‬

‫ﺳﺎﻋﺖ ﻣﭽﻲﺍﻡ ﺭﺍ ﻣﻲﻧﮕﺮﻡ‪ .‬ﻋﻘﺮﺑﻪﻫﺎﻳﺶ ﺩﻳﮕﺮ ﺩﺭﺳﺖ ﻛﺎﺭ ﻧﻤﻲﻛﻨﻨﺪ‪ ،‬ﺍﻣﺎ ﺗﺎﺭﻳﺦ ﻧﮕﺎﺭﺵ ﺳﺎﻝ‬ ‫‪ 2050‬ﺭﺍ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ‪ .‬ﺳﺎﻋﺖﻫﺎﺳﺖ ﻛﻪ ﻣﻴﺎﻥ ﺻﺪﻫﺎ ﺍﻧﺴﺎﻥ ﺧﺴﺘﻪ ﻭ ﻭﺣﺸﺖﺯﺩﻩ ﻛﻪ ﻛﻨﺞ‬ ‫ﺳﻔﻴﻨﻪ ﻛﺰ ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﻧﻤﻲﺩﺍﻧﻨﺪ ﺳﺮﻧﻮﺷﺘﺸﺎﻥ ﭼﻪ ﺧﻮﺍﻫﺪ ﺷﺪ‪ ،‬ﻧﺸﺴﺘﻪﺍﻡ‪ .‬ﺩﻳﻮﺍﺭﻩﻱ ﺳﺮﺩ‬ ‫ﺳﻔﻴﻨﻪ ﺭﻭﺯﻫﺎﺳﺖ ﺗﻜﻴﻪﮔﺎﻩ ﻣﻦ ﺷﺪﻩ ﻭ ﻛﻞ ﺁﻥ ﺳﻔﻴﻨﻪ ﺗﻤﺎﻡ ﺩﻧﻴﺎﻳﻲ ﻛﻪ ﺑﺮﺍﻳﻢ ﺑﺎﻗﻲ ﻣﺎﻧﺪﻩ‪ .‬ﺍﺯ‬ ‫ﭘﻨﺠﺮﻩ ﻓﻴﺒﺮﻛﺮﺑﻨﻲ ﺷﻔﺎﻑ‪ ،‬ﺑﻴﺮﻭﻥ ﺭﺍ ﻣﻲﻧﮕﺮﻡ ﻛﻪ ﭼﮕﻮﻧﻪ ﻛﻬﻜﺸﺎﻥﻫﺎ ﻭ ﺳﺘﺎﺭﻩﻫﺎﻱ ﭘﺮﻧﻮﺭ ﻭ‬ ‫ﺑﺎﻋﻈﻤﺖ ﺭﺍ ﻣﻲﭘﻴﻤﺎﻳﻴﻢ ﻭ ﭘﻴﺶ ﻣﻲﺭﻭﻳﻢ‪.‬‬

‫ﻓﺴﺘﻴﻮﺍﻝ ﺗﺎﺑﺴﺘﺎﻧﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ‬

‫ﺷﻌﺮﻫﺎﯾﺸﺎن را ﺑﺮای آﺳامنﻫﺎی ﻏﺮﯾﺒﻪ ﺧﻮاﻫﯿﻢ ﺧﻮاﻧﺪ‬ ‫داﺳﺘﺎنﻫﺎﯾﺸﺎن را ﺑﺮای اﻗﯿﺎﻧﻮسﻫﺎی ﻧﻮﯾﻦ ﺑﺎزﮔﻮ ﺧﻮاﻫﯿﻢ ﮐﺮد‬ ‫ﻧﺎﻣﺸﺎن را ﺑﺮ ﺻﺨﺮهﻫﺎی ﻣﺮﺟﺎﻧﯽ دﻧﯿﺎﯾﯽ دﯾﮕﺮ ﺣﮏ ﻣﯽﮐﻨﯿﻢ‬ ‫‪...‬‬ ‫ﭼﻨﻴﻦ ﺳﺨﻦ ﻣﻰﮔﻔﺘﻨﺪ ﻭ ﺍﺯ ﺍﻧﺴﺎﻥﻫﺎ‪ ،‬ﻫﻤﭽﻮﻥ ﺩﻭﺳﺘﺎﻧﻰ ﻗﺪﻳﻤﻰ ﻳﺎﺩ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺑﺎﻭﺭ ﻣﺎ ﺍﻳﻦ ﺍﺳﺖ‬ ‫ﻛﻪ ﺍﺑﺰﺍﺭﻫﺎﻯ ﻣﺤﻴﻂﺯﻳﺴﺘﺸﺎﻥ ﺳﺎﺧﺘﻪﻯ ﺩﺳﺖ ﺩﻭﺳﺖﻫﺎﻯ ﺍﻧﺴﺎﻧﻰﺷﺎﻥ ﺑﻮﺩ‪ .‬ﻣﻮﺟﻮﺩﺍﺗﻰ ﻧﺎﺯﻧﻴﻦ ﻭ‬ ‫ﺩﻭﺳﺖﺩﺍﺷﺘﻨﻰ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪﻧﺪ ﻛﻪ ﺑﻪ ﺗﻨﻬﺎﻳﻰ ﺍﻣﻜﺎﻥ ﻧﺪﺍﺷﺖ ﺑﺘﻮﺍﻧﻨﺪ ﺍﺯ ﭘﻠﻜﺎﻥ ﺗﻜﺎﻣﻞ ﺑﺎﻻ ﺑﺮﻭﻧﺪ‪.‬‬ ‫ﮔﻮﻳﻰ ﺍﻧﺴﺎﻥﻫﺎ ﺗﻨﻬﺎ ﻛﻤﻜﺸﺎﻥ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﻛﻪ ﺑﺮﺍﻳﺸﺎﻥ ﺷﻌﺮ ﻭ ﺳﺮﻭﺩ ﺑﺨﻮﺍﻧﻨﺪ‪.‬‬ ‫ﺭﻭﺯﻯ ﭘﺮﺩﻩ ﺍﺯ ﺍﺳﺮﺍﺭ ﺷﮕﻔﺖ ﺑﺮﺷﺨﻮﺍﻫﻴﻢ ﺩﺍﺷﺖ‪ .‬ﺩﻟﻔﻴﻦﻫﺎ ﺑﺎﻭﺭ ﺩﺍﺷﺘﻨﺪ ﻛﻪ ﺑﻪ ﻣﻘﺼﺪ ﻣﻰﺭﺳﻨﺪ‪.‬‬ ‫ﺑﺎﻻﺧﺮﻩ ﺭﻭﺯﻯ ﻣﻰﻓﻬﻤﻴﻢ ﺍﻳﻦ ﺳﻔﻴﻨﻪ ﺍﺯ ﻛﺪﺍﻣﻴﻦ ﺳﻮﻯ ﺁﻣﺪﻩ‪ ،‬ﺑﻪ ﻛﺪﺍﻡ ﺳﻮﻯ ﺭﻭﺍﻥ ﺍﺳﺖ ﻭ ﺳﺎﺯﻧﺪﮔﺎﻧﺶ‬ ‫ﻛﺠﺎ ﺭﻓﺘﻪﺍﻧﺪ‪.‬‬

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‫ﻧﻤﻰﺩﺍﻧﺴﺘﻴﻢ‪ .‬ﻣﻌﻠﻮﻡ ﻧﺒﻮﺩ ﺍﻫﺎﻟﻰ ﺷﮕﻔﺖ ﻛﺠﺎ ﻫﺴﺘﻨﺪ‪ .‬ﺣﺘﺎ ﻣﻌﻠﻮﻡ ﻧﺒﻮﺩ ﺍﺯ ﻛﺠﺎ ﺁﻣﺪﻩ ﻭ ﺑﻪ ﻛﺠﺎ‬ ‫ﻣﻰﺭﻭﺩ‪ ،‬ﺍﻣﺎ ﻫﺮ ﮔﻮﺷﻪﺍﺵ ﺑﻪ ﺭﺍﺳﺘﻰ ﺩﻧﻴﺎﻳﻰ ﺍﺯ ﺷﮕﻔﺘﻰ ﺑﻮﺩ‪ .‬ﻧﺎﻡ ﺳﻔﻴﻨﻪ ﺭﺍ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺁﺭﺷﻴﻮﻫﺎﻯ‬ ‫ﻣﺘﻨﻰ ﻭ ﺻﻮﺗﻰ ﺑﻰﺷﻤﺎﺭﺵ ﻓﻬﻤﻴﺪﻩ ﺑﻮﺩﻳﻢ‪ ،‬ﻫﻤﻴﻦﻃﻮﺭ ﺯﺑﺎﻥ ﺍﻫﺎﻟﻰ ﺁﻥ ﺭﺍ‪ .‬ﮔﻮﻳﻰ ﺧﻮﺩﺷﺎﻥ ﺑﻪ ﻋﻤﺪ‬ ‫ﺭﺍﻫﻨﻤﺎﻫﺎﻯ ﺑﺴﻴﺎﺭ ﺩﺭ ﺩﺳﺘﺮﺱ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺑﻮﺩﻧﺪ ﺗﺎ ﺍﮔﺮ ﺭﻭﺯﻯ ﻛﺴﻰ ﭘﻴﺪﺍﻳﺶ ﻛﺮﺩ‪ ،‬ﺑﺮﺍﻯ ﺧﻮﺍﻧﺪﻥ‬ ‫ﺗﺎﺭﻳﺨﭽﻪ ﻣﺸﻜﻠﻰ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﻓﻘﻂ ﻣﻮﺿﻮﻉ ﺍﻳﻦﺟﺎ ﺑﻮﺩ ﻛﻪ ﺗﺎﺭﻳﺨﭽﻪﺍﻯ ﺩﺭ ﻛﺎﺭ ﻧﺒﻮﺩ‪ .‬ﻣﻘﺎﺩﻳﺮ ﺯﻳﺎﺩﻯ‬ ‫ﺍﺛﺮ ﺍﺩﺑﻰ ﻭ ﻫﻨﺮﻯ ﺑﻮﺩ‪ ،‬ﻭﻟﻰ ﺧﺒﺮﻯ ﺍﺯ ﺗﺎﺭﻳﺦ ﻧﺒﻮﺩ‪ .‬ﺭﺍﺳﺘﻰ ﺧﻮﺩﺷﺎﻥ ﺭﺍ »ﺍﻧﺴﺎﻥ« ﻣﻰﻧﺎﻣﻴﺪﻧﺪ ﻭ ﻧﺎﻡ‬ ‫ﺯﺑﺎﻧﺸﺎﻥ ﺑﻪ ﺯﺑﺎﻥ ﺧﻮﺩﺷﺎﻥ ﻣﻰﺷﺪ »ﭘﺎﺭﺳﻰ«‪ ،‬ﻭﻟﻰ ﭼﻴﺰ ﺩﻳﮕﺮﻯ ﻧﻤﻰﺩﺍﻧﺴﺘﻴﻢ‪ .‬ﺳﻔﻴﻨﻪ ﺭﺍ ﻗﺪﻡ ﺑﻪ ﻗﺪﻡ‬ ‫ﺍﻛﺘﺸﺎﻑ ﻣﻰﻛﺮﺩﻳﻢ ﻛﻪ ﺑﻪ ﺁﻥ ﺁﻛﻮﺍﺭﻳﻮﻡ ﺣﻴﺮﺕﺍﻧﮕﻴﺰ ﺭﺳﻴﺪﻳﻢ‪.‬‬ ‫ﻣﻮﺟﻮﺩﺍﺗﻰ ﻛﻪ ﺩﺍﺧﻠﺶ ﺯﻧﺪﮔﻰ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﺑﺰﺭگ ﺑﻮﺩﻧﺪ ﻭ ﺑﺪﻧﻰ ﺩﺍﺷﺘﻨﺪ ﻛﻤﺎﺑﻴﺶ ﺷﺒﻴﻪ ﺑﻪ ﺑﺪﻥ‬ ‫ﺗﻤﺎﻡ ﺁﺑﺰﻳﺎﻥ ﻛﺎﺋﻨﺎﺕ‪ ،‬ﻣﺘﻨﺎﺳﺐ ﺑﺮﺍﻯ ﺷﻨﺎ ﻭ ﺳﺮﻳﺪﻥ ﺩﺭ ﺁﺏ‪ .‬ﻟﻴﺰ‪ ،‬ﺍﺳﺘﻮﺍﻧﻪ ﻣﺎﻧﻨﺪ‪ ،‬ﻛﻤﻰ ﺩﺭ ﺟﻠﻮ ﻭ ﺍﻧﺘﻬﺎ‬ ‫ﺑﺎﺭﻳﻚ‪ ،‬ﺑﺎ ﺑﺎﻟﻪﻫﺎﻳﻰ ﺩﺭ ﺩﻭ ﻃﺮﻑ‪ .‬ﺯﻭﺩ ﻣﺘﻮﺟﻪ ﺷﺪﻳﻢ ﻛﻪ ﺁﻥ ﻣﻮﺟﻮﺩﺍﺕ ﺍﻛﺴﻴﮋﻥ ﺑﻴﺮﻭﻥ ﺁﺏ ﺭﺍ ﺗﻨﻔﺲ‬ ‫ﻣﻰﻛﻨﻨﺪ ﻭ ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﺩﺍﺧﻞ ﻣﺤﻔﻈﻪ ﻛﺎﻣﻞ ﺑﺎ ﺁﺏ ﭘﺮ ﻧﺸﺪﻩ ﺑﻮﺩ‪ .‬ﺩﺍﺧﻞ ﺁﺏ ﺧﺎﻧﻪ ﻭ ﺩﺳﺘﮕﺎﻩﻫﺎﻯ‬ ‫ﻏﺮﻳﺐ ﺩﻳﮕﺮ ﺑﻪ ﭼﺸﻢ ﻣﻰﺧﻮﺭﺩﻧﺪ‪.‬‬ ‫ﺧﻴﻠﻰ ﺯﻭﺩ ﻛﻨﺘﺮﻝﻫﺎ ﻭ ﺻﻔﺤﻪ ﻧﻤﺎﻳﺶﻫﺎﻳﻰ ﻛﻨﺎﺭ ﻳﻜﻰ ﺍﺯ ﺩﻳﻮﺍﺭﻫﺎ ﭘﻴﺪﺍ ﻛﺮﺩﻳﻢ‪ .‬ﺑﺎ ﻛﻤﻰ ﻣﻄﺎﻟﻌﻪ ﻭ ﻛﺎﺭ‬ ‫ﻛﺮﺩﻥ ﺑﺎ ﺩﺳﺘﮕﺎﻩﻫﺎ ﺗﻮﺍﻧﺴﺘﻴﻢ ﭘﻰ ﺑﻪ ﻛﺎﺭﻛﺮﺩﺷﺎﻥ ﺑﺒﺮﻳﻢ‪ .‬ﺍﺯ ﻃﺮﻳﻖ ﺁﻥﻫﺎ ﻣﻰﺷﺪ ﺑﺎ ﻣﻮﺟﻮﺩﺍﺕ ﺩﺭﻭﻥ‬ ‫ﺁﻛﻮﺍﺭﻳﻮﻡﻫﺎ ﺻﺤﺒﺖ ﻛﺮﺩ‪ .‬ﻣﻮﺟﻮﺩﺍﺕ ﻛﻪ ﺧﻮﺩﺷﺎﻥ ﺭﺍ »ﺩﻟﻔﻴﻦ« ﻣﻰﻧﺎﻣﻴﺪﻧﺪ‪ ،‬ﺑﻪ ﻫﻤﺎﻥ ﺯﺑﺎﻥ ﺳﺎﻛﻨﺎﻥ‬ ‫ﺍﻭﻟﻴﻪﻯ »ﺷﮕﻔﺖ« ﺻﺤﺒﺖ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﻳﻌﻨﻰ ﺑﻪ »ﭘﺎﺭﺳﻰ«‪.‬‬ ‫ﻣﻮﺟﻮﺩﺍﺕ ﻏﺮﻳﺒﻰ ﺑﻮﺩﻧﺪ‪ ،‬ﮔﻮﻳﺎ ﺑﻪ ﺷﻌﺮ ﻭ ﺁﻭﺍﺯ ﺳﺨﻦ ﻣﻰ ﮔﻔﺘﻨﺪ‪:‬‬

‫از آن درﯾﺎﻫﺎی دوردﺳﺖ‪ ،‬ﺳﺒﺰ و آﺑﯽ‬ ‫ﻫﯿﭻ منﺎﻧﺪه ﺟﺰ ﺧﺎﻃﺮهای ﴎاﴎ دﻟﺘﻨﮕﯽ‬ ‫از آن دوﺳﺖﻫﺎی ﺧﺸﻤﮕﯿﻦ و ﻣﻬﺮﺑﺎن‬ ‫ﺟﺰ ﯾﺎدی منﺎﻧﺪه‬ ‫ﻣﺎ دﻟﺘﻨﮕﯿﻢ‬ ‫روزﮔﺎر ﺑﻪ دﻟﺘﻨﮕﯽ ﻣﯽﮔﺬراﻧﯿﻢ در اﯾﻦ ﺷﮕﻔﺖزار‬ ‫ﯾﺎد دوﺳﺘﺎمنﺎن را ﺑﺎ ﺧﻮد ﻣﯽﺑﺮﯾﻢ‬ ‫ﺷﺎﯾﺪ ﮐﻪ ﺑﻪ درﯾﺎﻫﺎﯾﯽ دوردﺳﺖ و ﻏﺮﯾﺒﻪ‬ ‫آن ﺳﻮی ﻣﺮزﻫﺎی ﺳﺘﺎرﮔﺎن‬

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‫ﻓﺴﺘﻴﻮﺍﻝ ﺗﺎﺑﺴﺘﺎﻧﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ‬

‫ﺩﺍﺳﺘﺎﻥ ﺷﮕﻔﺖ‬ ‫ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬

‫ﺍﺯ ﻫﻤﻪ ﻗﺴﻤﺖﻫﺎﻯ »ﺷﮕﻔﺖ«‪ ،‬ﺷﮕﻔﺖﺍﻧﮕﻴﺰﺗﺮ ﺁﻥ ﺩﺍﻻﻥ ﻧﻴﻤﻪ ﺗﺎﺭﻳﻚ ﺑﻮﺩ‪ .‬ﻳﺎﺩﻡ ﻧﻴﺴﺖ‬ ‫ﻭﺭﻭﺩﻯﺍﺵ ﺭﺍ ﭼﻄﻮﺭ ﭘﻴﺪﺍ ﻛﺮﺩﻳﻢ؛ ﺭﺍﻫﺮﻭﻯ ﺑﺎﺭﻳﻜﻰ ﺑﻮﺩ ﻛﻪ ﺩﻭ ﻃﺮﻓﺶ ﺩﻳﻮﺍﺭﻫﺎﻯ ﺷﻴﺸﻪﺍﻯ‬ ‫ﺑﻠﻨﺪ ﺗﺎ ﺳﻘﻔﻰ ﻛﻪ ﺍﺯ ﻧﻈﺮ ﺑﺴﻴﺎﺭ ﺩﻭﺭ ﺑﻮﺩ‪ ،‬ﻛﺸﻴﺪﻩ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﭘﺸﺖ ﺩﻳﻮﺍﺭﻫﺎﻯ ﺷﻴﺸﻪﺍﻯ‬ ‫ﺁﺏ ﺑﻮﺩ ﻭ ﺩﻧﻴﺎﻳﻰ ﺍﺯ ﺁﺏ‪ .‬ﺍﻣﺎ ﺍﺭﺗﻔﺎﻉ ﺁﺏ ﺗﺎ ﺳﻘﻒ ﻧﺒﻮﺩ‪ ،‬ﺑﻠﻜﻪ ﺗﺎ ﻧﻴﻤﻪﻫﺎ ﺑﻮﺩ ﻭ ﺭﻭﻯ ﺳﻘﻒ‬ ‫ﺩﺳﺘﮕﺎﻩﻫﺎﻯ ﺗﻬﻮﻳﻪ ﻛﺎﺭ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ‪ .‬ﺗﺎ ﺁﻥ ﻟﺤﻈﻪ ُﮔﻤﺎﻥ ﻧﻤﻰﻛﺮﺩﻳﻢ ﻣﻮﺟﻮﺩﺍﺕ ﺁﺑﺰﻯ ﺑﺘﻮﺍﻧﻨﺪ‬ ‫ﻫﻮﺷﻤﻨﺪ ﺑﺎﺷﻨﺪ‪ ،‬ﻭﻟﻰ ﺍﺯ ﻣﺤﻴﻂ ﺯﻧﺪﮔﻰ ﭘﺸﺖ ﺁﻥ ﺩﻳﻮﺍﺭﻫﺎ ﺑﺮ ﻣﻰﺁﻣﺪ ﻣﺤﻞ ﺯﻧﺪﮔﻰ ﻳﻚ‬ ‫ﻣﻮﺟﻮﺩ ﻫﻮﺷﻤﻨﺪ ﺑﺎﺷﺪ‪ .‬ﺁﻳﺎ ﺍﻳﻦ ﻫﻮﺷﻤﻨﺪﺍﻥ ﺁﺑﺰﻯ ﺑﺎ ﺍﻫﺎﻟﻰ »ﺷﮕﻔﺖ« ﺯﻧﺪﮔﻰ ﻣﺴﺎﻟﻤﺖﺁﻣﻴﺰ‬ ‫ﻭ ﻫﻢﺯﻳﺴﺘﻰ ﺩﺍﺷﺘﻨﺪ ﻳﺎ ﺍﻳﻦ ﻫﻢ ﻳﻚ ﺟﻮﺭ ﺑﺎﻍﻭﺣﺶ ﺑﻮﺩ؟‬

‫ﻓﺴﺘﻴﻮﺍﻝ ﺗﺎﺑﺴﺘﺎﻧﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ‬

‫ﻫامن ﻃﻮر ﮐﻪ در ﻓﺮاﺧﻮان »ﻓﺴﺘﯿﻮال ﺗﺎﺑﺴﺘﺎﻧﻪی ﺷﮕﻔﺖزار« در ﺳﺨﻦ‬ ‫‪ (۹۱‬ﺧﻮاﻧﺪﯾﺪ‪ ،‬دﻋﻮت ﺷﺪه ﺑﻮدﯾﺪ ﮐﻪ‬ ‫ﻣﺎه ﺷﮕﻔﺖزار ﻫﺠﺪﻫﻢ )ﺧﺮداد ‪(۹۱‬‬ ‫در ﻓﻌﺎﻟﯿﺖ ﻫﯿﺠﺎناﻧﮕﯿﺰ ﻧﻮﺷنت داﺳﺘﺎﻧﯽ اﺷﱰاﮐﯽ ﺑﻪ ﻣﻨﺎﺳﺒﺖ ﴍوع‬ ‫ﻏﯿﺮرﺳﻤﯽ ﺷﮕﻔﺖزار ﴍﮐﺖ ﮐﻨﯿﺪ و داﺳﺘﺎﻧﯽ ﺑﻨﻮﯾﺴﯿﺪ در اﯾﻦ زﻣﯿﻨﻪ‪:‬‬ ‫»ﺳﻔﯿﻨﻪای ﻏﻮلآﺳﺎ و ﮔﻢﺷﺪه ﺑﻪ ﻧﺎم "ﺷﮕﻔﺖ" در ﻓﻀﺎ ﺑﻪ ﺳﻮی ﻫﺪﻓﯽ‬ ‫ﻧﺎﺷﻨﺎﺧﺘﻪ ﭘﯿﺶ ﻣﯽرود‪ .‬ﺳﻔﯿﻨﻪ از ﻃﺒﻘﺎت و ﻻﯾﻪﻫﺎی ﺑﯽﺷامری‬ ‫ﺑﺮﺧﻮردار اﺳﺖ و ﺗﻘﺮﯾﺒﺎً ﻫﯿﭻ ﮐﺪام از ﴎﻧﺸﯿﻨﺎن اﯾﻦ ﺳﻔﯿﻨﻪ از متﺎﻣﯽ‬ ‫زﯾﺮ و ﺑﻢﻫﺎی آن ﺧﱪ ﻧﺪارﻧﺪ‪ .‬ﺷام ﻫﻢ ﺳﻮار ﺑﺮ اﯾﻦ ﺳﻔﯿﻨﻪ ﻫﺴﺘﯿﺪ‬ ‫و ﺑﻪ دﻟﯿﻠﯽ‪ ،‬وارد ﯾﮑﯽ از ﺑﺨﺶﻫﺎی ﻧﺎﺷﻨﺎﺧﺘﻪی آن ﻣﯽﺷﻮﯾﺪ‪ .‬اﯾﻦ‬ ‫ﺑﺨﺶ‪ ،‬ﺷﮕﻔﺘﯽﻫﺎی آن و ﺗﺠﺮﺑﯿﺎت ﺧﻮد در اﯾﻦﺟﺎ را ﺗﻮﺻﯿﻒ ﮐﻨﯿﺪ‪.‬‬ ‫آنﺟﺎ ﭼﻪ ﻣﯽﺑﯿﻨﯿﺪ؟ ﺑﺎ ﭼﻪ ﮐﺴﯽ روﺑﻪرو ﻣﯽﺷﻮﯾﺪ؟ آﯾﺎ اﻓﺮاد ﺣﺎﴐ در‬ ‫آن ﺑﺨﺶ ﺑﺮاﯾﺘﺎن آﺷﻨﺎ ﻫﺴﺘﻨﺪ؟ ﭼﻄﻮر؟!«‬ ‫و ﺣﺎﻻ دﻋﻮﺗﯿﺪ داﺳﺘﺎنﻫﺎی رﺳﯿﺪه ﺑﺮای اﯾﻦ ﻣﻬامﻧﯽ را ﻣﻬامن ﭼﺸامن‬ ‫ﺧﻮد ﮐﻨﯿﺪ!‬

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‫ﺑﺎ ﺣﻀﻮر‪:‬‬ ‫•‬ ‫•‬ ‫•‬ ‫•‬

‫ﺩﺍﺳﺘﺎﻥ ﺷﮕﻔﺖ‬ ‫ﺳﻔﻴﻨﻪ‬ ‫ﺷﮕﻔﺖ ﻳﺎ ﺁﻥ ﻃﻮﺭ ﻛﻪ ﺭﻭﻯ ﺯﻣﻴﻦ ﻣﻰﮔﻮﻳﻨﺪ‪،‬‬ ‫ﺷﻰﺋﻰ ﻋﺠﻴﺐ ﺩﺭ ﺁﺳﻤﺎﻥ‬ ‫ﻣﻮﺍﺯﻯ‬

‫ﻛﺘﺎﺏ‬

‫‪ ،1385‬ﺹ ‪72‬‬ ‫‪ ‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﻣﺎﺩﺭﺑﺰﺭگ‪ ،‬ﭘﺮﻭﻳﺰ ﺩﻭﺍﻳﻰ‪ ،‬ﻓﺼﻞﻧﺎﻣﻪ ﻧﮕﺎﻩ ﻧﻮ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ،68‬ﺑﻬﻤﻦ ‪،1384‬‬ ‫ﺹ ‪80‬‬ ‫‪ ‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﭘﺪﺭﺑﺰﺭگ‪ ،‬ﭘﺮﻭﻳﺰ ﺩﻭﺍﻳﻰ‪ ،‬ﻓﺼﻞﻧﺎﻣﻪ ﻧﮕﺎﻩ ﻧﻮ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ،67‬ﺁﺑﺎﻥ ‪ ،1384‬ﺹ‬ ‫‪‬‬ ‫‪‬‬ ‫‪‬‬ ‫‪‬‬

‫‪70‬‬ ‫‪‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﻭﺳﻴﻠﻪﻯ ﭘﺮﻧﺪﻩ‪ ،‬ﻣﺤﻤﺪﺭﺿﺎ ﻗﻠﻴﭻ ﺧﺎﻧﻰ‪ ،‬ﻣﺎﻩ ﻧﺎﻣﻪ ﻧﻔﺖ ﭘﺎﺭﺱ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪،26‬‬ ‫ﺷﻬﺮﻳﻮﺭ ‪ ،1384‬ﺹ ‪38‬‬ ‫‪‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﺩﺭ ﻓﺼﻠﻰ ﺍﺯ ﻫﻮﺍﻯ ﺁﺭﺍﻡ‪ ،‬ﭘﺮﻭﻳﺰ ﺩﻭﺍﻳﻰ‪ ،‬ﻓﺼﻞﻧﺎﻣﻪ ﻧﮕﺎﻩ ﻧﻮ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ،63‬ﺁﺑﺎﻥ‬ ‫‪ ،1383‬ﺹ ‪81‬‬ ‫‪‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﻋﺎﺑﺮ ﭘﻴﺎﺩﻩ‪ ،‬ﻣﺤﺴﻦ ﺑﻠﻮﭼﻴﺎﻥ‪ ،‬ﻣﺎﻩﻧﺎﻣﻪ ﺩﺍﻧﺸﻤﻨﺪ‪ ،‬ﺷﻤﺎﺭﻩﻯ ؟‪ ،‬ﺷﻬﺮﻳﻮﺭ ‪،1372‬‬ ‫ﺹ؟‬ ‫‪‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﺳﻴﺐﻫﺎﻯ ﻃﻼﻳﻰ ﺧﻮﺭﺷﻴﺪ‪ ،‬ﻧﺎﺻﺮ ﺁﻗﺎﻳﻰ‪ ،‬ﻣﺎﻩﻧﺎﻣﻪ ﺩﺍﻧﺸﻤﻨﺪ‪ ،‬ﺷﻤﺎﺭﻩﻯ ؟‪،‬‬ ‫ﻣﺮﺩﺍﺩ ‪ ،1371‬ﺹ؟‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫‪ ‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﺷﺮﻛﺖ ﻋﺮﻭﺳﻚ ﺧﻴﻤﻪﺷﺐﺑﺎﺯﻯ‪ ،‬ﻣﻬﺮﺁﻳﻴﻦ ﺍﺧﻮﺕ‪ ،‬ﻣﺎﻩﻧﺎﻣﻪ ﻓﻨﺎﻭﺭﻯ ﺩﺍﻧﺶ‪،‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪ ،13‬ﺑﻬﻤﻦ ‪ ،1389‬ﺹ ‪60‬‬ ‫‪ ‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﺻﺪﻑ ﺩﺭﻳﺎﻳﻰ‪ ،‬ﭘﺮﻭﻳﺰ ﺩﻭﺍﻳﻰ‪ ،‬ﻓﺼﻞﻧﺎﻣﻪ ﻧﮕﺎﻩ ﻧﻮ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ،88‬ﺯﻣﺴﺘﺎﻥ‬ ‫‪ ،1389‬ﺹ ‪98‬‬ ‫‪ ‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﺷﺮﺍﺏ ﻗﺎﺻﺪﻙ‪ ،‬ﭘﺮﻭﻳﺰ ﺩﻭﺍﻳﻰ‪ ،‬ﻣﺎﻩﻧﺎﻣﻪ ﺟﻬﺎﻥ ﻛﺘﺎﺏ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ،257‬ﻣﺮﺩﺍﺩ‪-‬‬ ‫‪‬‬ ‫‪‬‬ ‫‪‬‬ ‫‪‬‬ ‫‪‬‬ ‫‪‬‬ ‫‪‬‬ ‫‪‬‬ ‫‪‬‬ ‫‪‬‬ ‫‪‬‬ ‫‪‬‬

‫ﻣﻬﺮ ‪ ،1389‬ﺹ ‪2‬‬ ‫‪‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﻣﺎﺟﺮﺍﻯ ﻋﺎﺷﻘﺎﻧﻪ‪ ،‬ﭘﺮﻭﻳﺰ ﺩﻭﺍﻳﻰ‪ ،‬ﻓﺼﻞﻧﺎﻣﻪ ﻧﮕﺎﻩ ﻧﻮ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ،86‬ﺗﺎﺑﺴﺘﺎﻥ‬ ‫‪ ،1389‬ﺹ ‪77‬‬ ‫‪‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﻛﺘﺎﺏ ﻭ ﺁﺩﻡ‪ ،‬ﭘﺮﻭﻳﺰ ﺩﻭﺍﻳﻰ‪ ،‬ﻓﺼﻞﻧﺎﻣﻪ ﻧﮕﺎﻩ ﻧﻮ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ،82‬ﺗﺎﺑﺴﺘﺎﻥ ‪،1388‬‬ ‫ﺹ ‪89‬‬ ‫‪‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﻳﻚ ﺷﺐ ﺩﺭ ﻫﻤﻪﻯ ﻋﻤﺮ‪ ،‬ﭘﺮﻭﻳﺰ ﺩﻭﺍﻳﻰ‪ ،‬ﻓﺼﻞﻧﺎﻣﻪ ﻧﮕﺎﻩ ﻧﻮ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪،80‬‬ ‫ﺑﻬﻤﻦ ‪ ،1387‬ﺹ ‪102‬‬ ‫‪‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﺩﻭﺷﻴﺰﻩ ﻭ ﻣﺮگ‪ ،‬ﭘﺮﻭﻳﺰ ﺩﻭﺍﻳﻰ‪ ،‬ﻓﺼﻞﻧﺎﻣﻪ ﻧﮕﺎﻩ ﻧﻮ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ،78‬ﻣﺮﺩﺍﺩ‬ ‫‪ ،1387‬ﺹ ‪86‬‬ ‫‪‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﺻﺪﺍﻯ ﭘﺎﻯ ﺗﺎﺑﺴﺘﺎﻥ‪ ،‬ﭘﺮﻭﻳﺰ ﺩﻭﺍﻳﻰ‪ ،‬ﻓﺼﻞﻧﺎﻣﻪ ﻧﮕﺎﻩ ﻧﻮ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪،77‬‬ ‫ﺍﺭﺩﻳﺒﻬﺸﺖ ‪ ،1387‬ﺹ ‪92‬‬ ‫‪‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﻳﻚ ﺳﺎﻗﻪﻯ ﻋﻠﻒ‪ ،‬ﭘﺮﻭﻳﺰ ﺩﻭﺍﻳﻰ‪ ،‬ﻓﺼﻞﻧﺎﻣﻪ ﻧﮕﺎﻩ ﻧﻮ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ،75‬ﺁﺑﺎﻥ‬ ‫‪ ،1386‬ﺹ ‪70‬‬ ‫‪‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﺍﻭﺕ ‪ :1999‬ﻣﺮﺩﺍﻥ ﺯﻣﻴﻨﻰ‪ ،‬ﻣﻬﺪﻯ ﺑﻨﻮﺍﺭﻯ‪ ،‬ﻣﺎﻩﻧﺎﻣﻪ ﺟﺸﻦ ﻛﺘﺎﺏ‪ ،‬ﺷﻤﺎﺭﻩﻯ‬ ‫‪ ،22‬ﺗﺎﺑﺴﺘﺎﻥ ‪ ،1386‬ﺹ ‪37‬‬ ‫‪‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﻣﺎﺷﻴﻦ ﻛﻠﻴﻤﺎﻧﺠﺎﺭﻭ‪ ،‬ﭘﺮﻭﻳﺰ ﺩﻭﺍﻳﻰ‪ ،‬ﻓﺼﻞﻧﺎﻣﻪ ﻧﮕﺎﻩ ﻧﻮ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ،74‬ﻣﺮﺩﺍﺩ‬ ‫‪ ،1386‬ﺹ ‪83‬‬ ‫‪‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﭘﺴﺮﻙ ﻧﺎﻣﺮﺋﻰ‪ ،‬ﭘﺮﻭﻳﺰ ﺩﻭﺍﻳﻰ‪ ،‬ﻓﺼﻞﻧﺎﻣﻪ ﻧﮕﺎﻩ ﻧﻮ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ،73‬ﺍﺭﺩﻳﺒﻬﺸﺖ‬ ‫‪ ،1386‬ﺹ ‪55‬‬ ‫‪‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﻣﺎﺷﻴﻦ ﭘﺮﻧﺪﻩ‪ ،‬ﭘﺮﻭﻳﺰ ﺩﻭﺍﻳﻰ‪ ،‬ﻓﺼﻞﻧﺎﻣﻪ ﻧﮕﺎﻩ ﻧﻮ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ،72‬ﺑﻬﻤﻦ ‪،1385‬‬ ‫ﺹ ‪74‬‬ ‫‪‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﻗﻮ‪ ،‬ﭘﺮﻭﻳﺰ ﺩﻭﺍﻳﻰ‪ ،‬ﻓﺼﻞﻧﺎﻣﻪ ﻧﮕﺎﻩ ﻧﻮ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ،71‬ﺁﺑﺎﻥ ‪ ،1385‬ﺹ‬ ‫‪‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﻳﻜﻰ ﺍﺯ ﺁﻥ ﺭﻭﺯﻫﺎ‪ ،‬ﭘﺮﻭﻳﺰ ﺩﻭﺍﻳﻰ‪ ،‬ﻓﺼﻞﻧﺎﻣﻪ ﻧﮕﺎﻩ ﻧﻮ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ،70‬ﻣﺮﺩﺍﺩ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

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‫ﻛﺘﺎﺏ‬

‫‪ ‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﻣﺮﺩ ﻣﺼﻮﺭ‪ :‬ﻣﺠﻤﻮﻋﻪ ﺩﺍﺳﺘﺎﻥ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،1374 ،‬ﻣﺤﻤﺪ ﻗﺼﺎﻉ‪ ،‬ﺗﻬﺮﺍﻥ‪:‬‬ ‫ﺍﻓﻖ‬

‫)دﺷﺖ آﻓﺮﯾﻘﺎﯾﯽ‪ ،‬ﮐﺎﻟﺌﯿﺪوﺳﮑﻮپ‪ ،‬ﭘﺎی دﯾﮕﺮ‪ ،‬ﺑﺰرﮔﺮاه‪ ،‬ﻣﺮد‪ ،‬ﺑﺎران ﻃﻮﻻﻧﯽ‪ ،‬آﴍ دو‪ ،‬آﺧﺮﯾﻦ ﺷﺐ‬ ‫ﺟﻬﺎن‪ ،‬ﻣﻮﺷﮏ‪ ،‬ﻧﻪ ﺷﺐ ﻧﻪ روز‪ ،‬روﺑﺎه و ﺟﻨﮕﻞ‪ ،‬ﻣﻼﻗﺎت ﮐﻨﻨﺪه‪ ،‬ﴍﮐﺖ ﻣﺮﯾﻮﻧﺖ‪ ،‬ﺷﻬﺮ‪ ،‬ﺳﺎﻋﺖ‬ ‫ﺻﻔﺮ(‬ ‫‪ ‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﻣﺮﺩ ﻣﺼﻮﺭ‪ ،1372 ،‬ﻫﻮﺷﻨﮓ ﻏﻴﺎﺛﻰ ﻧﮋﺍﺩ‪ ،‬ﺗﻬﺮﺍﻥ‪ :‬ﭘﺎﺳﺎﺭﮔﺎﺩ‬

‫)ﺟﻠﮕﻪ‪ ،‬ﮐﺎﻟﯿﺪوﺳﮑﻮپ‪ ،‬ﭘﺎی دﯾﮕﺮ‪ ،‬ﺷﺎﻫﺮاه‪ ،‬ﻣﺮد‪ ،‬ﺑﺎران ﻃﻮﻻﻧﯽ‪ ،‬ﺧﻠﺒﺎن راﮐﺖ‪ ،‬ﺑﺎﻟﻮنﻫﺎی آﺗﺸﯿﻦ‪،‬‬ ‫آﺧﺮﯾﻦ ﺷﺐ ﺟﻬﺎن‪ ،‬ﺗﺒﻌﯿﺪیﻫﺎ‪ ،‬ﯾﮏ ﺷﺐ ﯾﺎ ﺻﺒﺢ وﯾﮋه‪ ،‬روﺑﺎه و ﺑﯿﺸﻪ‪ ،‬ﻣﻼﻗﺎﺗﯽ‪ ،‬ﺑﺘﻮن ﻣﺨﻠﻮطﮐﻦ‪،‬‬ ‫ﮐﻤﭙﺎﻧﯽ ﻋﺮوﺳﮏﺳﺎزی‪ ،‬ﺷﻬﺮ‪ ،‬ﺳﺎﻋﺖ ﺻﻔﺮ‪ ،‬راﮐﺖ(‬ ‫‪ ‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﻓﺎﺭﻧﻬﺎﻳﺖ ‪ ،451‬ﻋﻼﺍﻟﺪﻳﻦ ﺑﻬﺸﺘﻰ‪ ،1363 ،‬ﺗﻬﺮﺍﻥ‪ :‬ﺁﺷﺘﻴﺎﻧﻰ‪.‬‬ ‫ﺏ‪ .‬ﮔﻠﭽﻴﻦﻫﺎﻯ ﺍﺩﺑﻰ‬ ‫‪ ‬ﺁﻧﺘﻮﺍﻥ ﭼﺨﻮﻑ ]ﻭ ﺩﻳﮕﺮﺍﻥ[‪ ،‬ﭼﻨﺪ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ ﻫﻤﺮﺍﻩ ﺑﺎ ﺗﺤﻠﻴﻞ ‪ ،2‬ﺷﺎﺩﻣﺎﻥ ﺷﻜﺮﻭﻯ‪،‬‬ ‫ﺗﻬﺮﺍﻥ‪ :‬ﻫﻴﻼ‪1390 ،‬‬ ‫‪ ‬ﭘﺮﻳﻤﻮ ﻟﻮﻯ ]ﻭ ﺩﻳﮕﺮﺍﻥ[‪ ،‬ﻣﻌﺎﻣﻠﻪ ﭘﺮﺳﻮﺩ ﻭ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺩﻳﮕﺮ‪ ،‬ﻣﮋﺩﻩ ﺩﻗﻴﻘﻰ‪ ،‬ﺗﻬﺮﺍﻥ‪ :‬ﻧﻴﻠﻮﻓﺮ‪،‬‬ ‫‪1385‬‬

‫)داﺳﺘﺎن ﺑﺎران ﻧﻢﻧﻢ ﺧﻮاﻫﺪ ﺑﺎﯾﺪ از ﮐﺘﺎب ‪(The Martian Chronicles‬‬ ‫‪ ‬ﺁﺭﺗﻮﺭ ﺳﻰ ﻛﻼﺭﻙ ]ﻭ ﺩﻳﮕﺮﺍﻥ[‪ ،‬ﺍﻟﻮ ﺍﻟﻮ ﻓﺮﺍﻧﻜﺸﺘﺎﻳﻦ ﻭ ﭼﻨﺪ ﺩﺍﺳﺘﺎﻥ ﺩﻳﮕﺮ‪ ،‬ﻧﻴﻤﺎ ﺍﺑﺮﺍﻫﻴﻢ‬ ‫ﻧﮋﺍﺩ‪ ،‬ﻣﺸﻬﺪ‪ :‬ﻧﻮﻧﺪ‪.1374 ،‬‬

‫)دو داﺳﺘﺎن ﮐﺴﯽ ﮐﻪ اﻧﺘﻈﺎر ﻣﯽﮐﺸﺪ و ﺗﻌﻄﯿﻼت از ﻣﺠﻤﻮﻋﻪی ‪(The machineries of Joy‬‬ ‫پ‪ .‬ﻣﺠﻼﺕ ﻭ ﻧﺸﺮﻳﺎﺕ‬ ‫‪ ‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﻣﺎﺷﻴﻦ ﻛﻠﻴﻤﺎﻧﺠﺎﺭﻭ‪ ،‬ﭘﺮﻭﻳﺰ ﺩﻭﺍﻳﻰ‪ ،‬ﻓﺼﻞﻧﺎﻣﻪ ﻧﮕﺎﻩ ﻧﻮ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ،90‬ﺁﺑﺎﻥ‬ ‫‪ ،1390‬ﺹ ‪102‬‬ ‫‪ ‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﮔﻤﮕﺸﺘﻪ‪ ،‬ﭘﺮﻭﻳﺰ ﺩﻭﺍﻳﻰ‪ ،‬ﻓﺼﻞﻧﺎﻣﻪ ﻧﮕﺎﻩ ﻧﻮ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ،90‬ﺗﺎﺑﺴﺘﺎﻥ ‪،1390‬‬ ‫ﺹ ‪74‬‬ ‫‪ ‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﺳﺎﺣﺮﻩﻯ ﺷﺐ‪ ،‬ﭘﺮﻭﻳﺰ ﺩﻭﺍﻳﻰ‪ ،‬ﻓﺼﻞﻧﺎﻣﻪ ﻧﮕﺎﻩ ﻧﻮ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ،89‬ﺑﻬﺎﺭ ‪،1390‬‬ ‫ﺹ ‪86‬‬ ‫‪107‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﻛﺮﺩﻥ ﺩﺳﺘﺮﺳﻰ ﺑﻪ ﺁﻥ ﺩﺭ ﺑﺎﻳﮕﺎﻧﻰ ﻛﺘﺎﺑﺨﺎﻧﻪﻯ ﻣﻠﻰ ﻳﺎ ﺍﮔﺮ ﻫﻨﻮﺯ ﻧﺸﺮﻳﻪ ﺳﺮ ﭘﺎ ﺑﺎﺷﺪ‪ ،‬ﺑﺎﻳﮕﺎﻧﻰ‬ ‫ﺧﻮﺩ ﻧﺸﺮﻳﻪ( ﺑﺮﺍﻯ ﺗﻮ ﺑﻜﺎﻫﺪ‪ .‬ﻳﺎ ﺍﻳﻦ ﻛﻪ ﺷﺎﻳﺪ ﻧﺴﺨﻪﻯ ﺍﻳﻨﺘﺮﻧﺘﻰﺍﺵ ﺭﺍ‪ ،‬ﻛﻪ ﭼﻨﺪ ﻧﻔﺮ ﻋﻼﻗﻪﻣﻨﺪ‬ ‫ﺩﻳﮕﺮ ﻣﺜﻞ ﺧﻮﺩﺕ ﭘﻴﺸﺘﺮ ﺗﺮﺟﻤﻪ ﻛﺮﺩﻩﺍﻧﺪ‪ ،‬ﭘﻴﺪﺍ ﻛﻨﻰ ﻭ ﺑﺎ ﻭﻟﻊ ﺑﺒﻠﻌﻰ ﻭ ﺗﺎﺯﻩ ﺁﻥ ﻣﻮﻗﻊ ﺑﺮﺳﻰ ﺑﻪ‬ ‫ﺍﻳﻦ ﻛﻪ ﺣﺎﻻ ﭼﻘﺪﺭ ﻛﺎﺭ ﺑﻪ ﺯﺑﺎﻥ ﺍﺻﻠﻰ ﻣﻰﻣﺎﻧﺪ ﺑﺮﺍﻯ ﺧﻮﺍﻧﺪﻥ!‬ ‫ﻓﺎﻳﺪﻩ ﻫﻢ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺑﻪ ﺍﻳﻦ ﺩﺭﺩ ﻣﻰﺧﻮﺭﺩ ﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻋﻼﻗﻪﻣﻨﺪ ژﺍﻧﺮ ﻳﻚ ﮔﻮﺷﻪﻯ‬ ‫ﺣﺎﻓﻈﻪﺍﺕ ﺭﺍ ﺑﺎ ﭼﻬﺎﺭ ﺗﺎ ﺍﺳﻢ ﺩﻳﮕﺮ ﭘﺮ ﻛﻨﻰ ﻭ ﻫﺮ ﻭﻗﺖ ﻻﺯﻡ ﺷﺪ‪ ،‬ﻗﻴﺎﻓﻪﺍﻯ ﺑﮕﻴﺮﻯ ﻭ ﺑﻪ ﻋﻨﻮﺍﻥ‬ ‫ﻓﺮﺩ ﻣﻄﻠﻊ‪ ،‬ﺁﻣﺎﺭ ﻧﺸﺮ ﺁﻥ ﻧﻮﻳﺴﻨﺪﻩ ﺭﺍ ﺑﺮﻳﺰﻯ ﺭﻭﻯ ﺩﺍﻳﺮﻩ ﻭ ﭘﻴﮕﻴﺮ ﺑﻮﺩﻥ ﺧﻮﺩﺕ ﺭﺍ ﻧﺸﺎﻥ ﺩﻫﻰ‪.‬‬ ‫ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﺷﺪ ﻛﻪ ﭘﻴﺶ ﺧﻮﺩﻣﺎﻥ ﮔﻔﺘﻴﻢ ﺣﺎﻻ ﻛﻪ ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺑﺮﺩﺑﺮﻯ –ﺍﺯ ﺍﻳﻦ ﺑﻪ ﺑﻌﺪ‪ -‬ﻓﻘﻴﺪ‬ ‫ﺍﺳﺖ‪ ،‬ﺧﻮﺏ ﺍﺳﺖ ﻓﻬﺮﺳﺖ ﻛﺎﺭﻫﺎﻯ –ﺩﺍﺳﺘﺎﻧﻰ‪ -‬ﺗﺮﺟﻤﻪ ﺷﺪﻩﺍﺵ ﺭﺍ ﻫﻢ ﺑﻨﻮﻳﺴﻴﻢ؛ ﭼﻮﻥ ﻓﻬﺮﺳﺖ‬ ‫ﻛﺮﺩﻧﺶ ﺑﻪ ﺩﺭﺩ ﻫﻴﭻ ﻛﺪﺍﻡ ﺍﺯ ﻣﻮﺍﺭﺩ ﺑﺎﻻ ﻫﻢ ﻛﻪ ﻧﺨﻮﺭﺩ‪ ،‬ﻣﻄﻤﺌﻨﺎ ﺟﺎﻳﺶ ﺩﺭ ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺑﺮﺩﺑﺮﻯ‬ ‫ﻫﺴﺖ ﻭ ﺷﺎﻳﺪ ﺑﻌﺪﻫﺎ ﻳﻚ ﺟﺎﻳﻰ ﺑﻪ ﻛﺎﺭ ﺑﻴﺎﻳﺪ‪.‬‬ ‫ﺍﻟﻒ‪ .‬ﻛﺘﺎﺏ‬ ‫‪ ‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﺣﻜﺎﻳﺖﻫﺎﻯ ﻣﺮﻳﺦ‪ ،1391 ،‬ﻣﻬﺪﻯ ﺑﻨﻮﺍﺭﻯ‪ ،‬ﺗﻬﺮﺍﻥ‪ :‬ﭘﺮﻳﺎﻥ )ﺩﺭ ﺩﺳﺖ ﭼﺎپ(‬

‫)ﺗﺎﺑﺴﺘﺎن ﻣﻮﺷﮑﯽ‪ ،‬ﯾﯿﻼ‪ ،‬ﺷﺐ ﺗﺎﺑﺴﺘﺎﻧﯽ‪ ،‬زﻣﯿﻨﯽﻫﺎ‪ ،‬ﻣﺎﻟﯿﺎتدﻫﻨﺪه‪ ،‬ﻫﯿﺄت اﻋﺰاﻣﯽ ﺳﻮم‪ ،‬ﻫﻤﭽﻨﺎن‬ ‫دل ﻋﺎﺷﻖ اﺳﺖ و ﻣﺎه ﺗﺎﺑﺎن‪ ،‬ﻣﻬﺎﺟﺮاﻧﻪ‪ ،‬ﺑﺎﻣﺪاد ﺳﺒﺰ‪ ،‬ﻣﻠﺦﻫﺎ‪ ،‬ﻣﻼﻗﺎت ﺷﺒﺎﻧﻪ‪ ،‬ﺳﺎﺣﻞ‪ ،‬ﮔﺬار‪،‬‬ ‫ﻧﻐﻤﻪﭘﺮدازان‪ ،‬راﻫﯽ ﻣﯿﺎن آﺳامن‪ ،‬آﴍ دو‪ ،‬ﻣﺮدم ﺳﺎﻟﺨﻮرده‪ ،‬ﻣﺮﯾﺨﯽ‪ ،‬ﭼﻤﺪانﻓﺮوﺷﯽ‪ ،‬ﻓﺼﻞ‬ ‫ﺗﻌﻄﯿﻠﯽ‪ ،‬متﺎﺷﺎﮔﺮان‪ ،‬ﺷﻬﺮﻫﺎی ﺧﺎﻣﻮش‪ ،‬ﺳﺎلﻫﺎی ﻃﻮﻻﻧﯽ‪ ،‬ﻧﻢمنﮏ ﺑﺎران ﺧﻮاﻫﺪ آﻣﺪ‪ ،‬ﮔﺮدش‬ ‫ﻫﺰار ﻫﺰار ﺳﺎﻟﻪ(‬ ‫‪ ‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﻓﺎﺭﻧﻬﺎﻳﺖ ‪ ،1389 ،451‬ﻋﻠﻰ ﺷﻴﻌﻪﻋﻠﻰ‪ ،‬ﺗﻬﺮﺍﻥ‪ :‬ﺳﺒﺰﺍﻥ‬ ‫‪ ‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﻣﺎﺷﻴﻦ ﻛﻠﻴﻤﺎﻧﺠﺎﺭﻭ‪ ،1388 ،‬ﭘﺮﻭﻳﺰ ﺩﻭﺍﻳﻰ‪ ،‬ﺗﻬﺮﺍﻥ‪ :‬ﻛﺘﺎﺏ ﭘﻨﺠﺮﻩ‬

‫)ﻗﻮ‪ ،‬ﯾﮑﯽ از آن روزﻫﺎ‪ ،‬ﭘﴪک ﻧﺎﻣﺮﺋﯽ‪ ،‬ﻟﺒﺨﻨﺪ‪ ،‬در ﻓﺼﻠﯽ از ﻫﻮای آرام‪ ،‬رﻫﮕﺬر‪ ،‬ﺻﺪای ﭘﺎی‬ ‫ﺗﺎﺑﺴﺘﺎن‪ ،‬اژدﻫﺎ‪ ،‬ﯾﮏ ﺳﺎﻗﻪی ﻋﻠﻒ‪ ،‬ﻣﺎﺷﯿﻦ ﭘﺮﻧﺪه‪ ،‬ﭘﺪرﺑﺰرگ‪ ،‬ﻣﺎدرﺑﺰرگ‪ ،‬درود و ﺑﺪورد‪ ،‬ﻋﻄﺮ‬ ‫ﺷﺐ ﺗﺎﺑﺴﺘﺎن‪ ،‬ﻣﺴﺎﻓﺮ زﻣﺎن‪ ،‬ﻣﺎﺷﯿﻦ ﮐﻠﯿامﻧﺠﺎرو(‬ ‫‪ ‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﺁﺧﺮﻳﻦ ﺷﺐ ﺟﻬﺎﻥ‪ ،1384 ،‬ﺣﺴﻴﻦ ﺷﻬﺮﺍﺑﻰ‪ ،‬ﺗﻬﺮﺍﻥ‪ :‬ﻧﺰﺩﻳﻚ‬

‫)متﺎس ﺷﺒﺎﻧﻪ ﺑﻪ ﺧﺮج ﻣﻘﺼﺪ‪ ،‬ﻣﻮﺷﮏران‪ ،‬زﻧﺎن‪ ،‬ﺑﺰرﮔﺮاه‪ ،‬آﺧﺮﯾﻦ ﺷﺐ ﺟﻬﺎن‪ ،‬ﻧﻪ ﺷﺐ ﻧﻪ روز‪،‬‬ ‫ﻣﺮد‪ ،‬ﺷﻬﺮ(‬ ‫‪ ‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﺍﻣﭙﺮﺍﻃﻮﺭ ﻭ ﻣﺮﺩ ﭘﺮﻧﺪﻩ‪ ،1383 ،‬ﺯﻫﺮﺍ ﺍﻣﺮﺍﻳﻰ‪ ،‬ﺗﻬﺮﺍﻥ‪ :‬ﺗﻼﻭﻧﮓ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

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‫ﻛﺘﺎﺏ‬

‫ﺭﻯ ﺑﺮﺩﺑﺮﻯ؛‬ ‫ﻧﺴﺨﻪﻯ ﻓﺎﺭﺳﻰ‬ ‫ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‬

‫ﺍﻳﻦ ﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻫﻮﺍﺩﺍﺭ ﺑﺪﺍﻧﻰ ﺍﺯ ﻫﺮ ﻛﺪﺍﻡ ﺍﺯ ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻳﺎ ﻓﺎﻧﺘﺰﻯ‬ ‫ﻳﺎ ﻭﺣﺸﺖ ﻭ ﺧﻼﺻﻪ‪ ،‬ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻯ ﮔﻤﺎﻧﻪﺯﻥ‪ ،‬ﻛﺪﺍﻡ ﻛﺎﺭﻫﺎﻳﺸﺎﻥ ﺭﻭﺯﻯ ﺭﻭﺯﮔﺎﺭﻯ ﺁﻥ ﻗﺪﺭ‬ ‫ﺧﻮﺵﺷﺎﻧﺲ ﺑﻮﺩﻩ ﻛﻪ ﺑﻪ ﻓﺎﺭﺳﻰ ﺗﺮﺟﻤﻪ ﺷﻮﺩ ﻭ ﺑﻴﺸﺘﺮ ﺍﺯ ﺁﻥ‪ ،‬ﺳﻌﺎﺩﺕ ﺩﻳﺪﻥ ﺭﻧﮓ ﻛﺎﻏﺬ ﻭ‬ ‫ﻛﺘﺎﺏ ﺷﺪﻥ ﺭﺍ ﺑﻪ ﺧﻮﺩﺵ ﺩﺍﺷﺘﻪ‪ ،‬ﺣﺲ ﺧﻮﺑﻰ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﺍﻳﻦ ﻓﺎﻳﺪﻩ ﺭﺍ ﺩﺍﺭﺩ ﻛﻪ ﺑﺪﺍﻧﻰ ﻛﺪﺍﻡ ﻛﺎﺭﻫﺎ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺩﺭ ﻛﺘﺎﺏﻫﺎ ﭘﻴﺪﺍ ﻛﺮﺩ ﻭ ﺧﻮﺍﻧﺪ ﻭ ﺁﻥ‬ ‫ﻭﻗﺖ ﭼﻘﺪﺭ ﻛﺎﺭ ﻧﺨﻮﺍﻧﺪﻩ ﺭﻭﻯ ﺯﻣﻴﻦ ﺧﻮﺍﻫﺪ ﻣﺎﻧﺪ ﻛﻪ ﻳﺎ ﺑﺎﻳﺪ ﺑﮕﺮﺩﻯ ﻭ ﺍﺯ ﺳﺮ ﺑﺨﺖ ﻭ ﺍﻗﺒﺎﻝ‪،‬‬ ‫ﻣﻴﺎﻥ ﻣﺠﻼﺕ ﺳﺎﻝﻫﺎﻯ ﺩﻭﺭ ﻧﺸﺎﻧﻰ ﺍﺯ ﺑﻌﻀﻰﻫﺎﻳﺸﺎﻥ ﺑﻴﺎﺑﻰ‪ ،‬ﺁﻥ ﻫﻢ ﺑﺎ ﻛﻤﻚ ﺣﺎﻓﻈﻪﻯ ﺩﻳﮕﺮ‬ ‫ﻫﻮﺍﺩﺍﺭﺍﻥ ژﺍﻧﺮ ﻛﻪ ﺍﻏﻠﺐ ﻓﻘﻂ ﻳﺎﺩﺷﺎﻥ ﻫﺴﺖ ﻛﻪ ﻓﻼﻥ ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﺑﻬﻤﺎﻥ ﻣﺠﻠﻪ ﭼﺎپ ﺷﺪﻩ ﻭ‬ ‫ﺑﺴﺘﻪ ﺑﻪ ﺳﻌﺎﺩﺗﻰ ﻛﻪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻰ‪ ،‬ﻣﻤﻜﻦ ﺍﺳﺖ ﺣﻮﺍﻟﻰ ﺳﺎﻝ ﭼﺎﭘﺶ ﺭﺍ ﻫﻢ ﺍﺯ ﺣﺎﻓﻈﻪﺷﺎﻥ‬ ‫ﺑﻴﺮﻭﻥ ﺑﻜﺸﻨﺪ ﻭ ﻛﻤﻰ ﺍﺯ ﺯﺣﻤﺖ ﺯﻳﺮ ﻭ ﺭﻭ ﻛﺮﺩﻥ ﺁﺭﺷﻴﻮ ﺁﻥ ﻧﺸﺮﻳﺎﺕ )ﺗﺎﺯﻩ ﺑﻪ ﻓﺮﺽ ﭘﻴﺪﺍ‬

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‫ﺧﻮدﺗﺎن اﻣﺘﺤﺎن ﮐﻨﯿﺪ ﮐﻪ ﺑﺒﯿﻨﯿﺪ ﭼﻪ ﺣﺎﻟﯽ دارد؟ آدم اﮔﺮ ﭼﯿﺰﻫﺎ را ﻣﺮﺗﺐ اﻣﺘﺤﺎن ﻧﮑﻨﺪ‪،‬‬ ‫ﯾﺎدش ﻣﯽرود‪ .‬ﻓﺮوﺷﻨﺪهی ﺳﯿﮕﺎر ﺑﺮگ ﺧﻮدش ﺳﯿﮕﺎر ﻣﯽﮐﺸﺪ‪ ،‬منﯽﮐﺸﺪ؟ آبﻧﺒﺎت ﻓﺮوش‬ ‫ﻫﻢ ﺣﺘامً از ﺟﻨﺲﻫﺎی ﺧﻮدش ﻣﯽﭼﺸﺪ‪ .‬اﯾﻦ اﺳﺖ ﮐﻪ‪«...‬‬ ‫ﭘﯿﺮﻣﺮد ﮔﻔﺖ‪»:‬ﺷﺎﯾﺪ ﺗﻮﺟﻪ ﮐﺮده ﺑﺎﺷﯽ ﮐﻪ ﻣﻦ ﮐﻔﺶ ﺑﻪ ﭘﺎ دارم‪«.‬‬ ‫»وﻟﯽ ﻧﻪ ﮐﻔﺶ ﮐﺘﺎﻧﯽ‪ .‬اﮔﺮ ﺧﻮاﺳﺘﻪ ﺑﺎﺷﯿﺪ‪ ،‬ﮐﻔﺶﻫﺎی ﮐﺘﺎﻧﯽ ﺑﻔﺮوﺷﯿﺪ‪ ،‬ﭼﻪﻃﻮری ﻣﯽﺗﻮاﻧﯿﺪ‬ ‫ﺑﺪون اﻣﺘﺤﺎن اﯾﻦ ﮐﻔﺶﻫﺎ در وﺻﻒﺷﺎن داد ﺳﺨﻦ ﺑﺪﻫﯿﺪ؟«‬ ‫‪ .1‬ﻣﻄﻠﻊ ﻏﺰﻟﻰ ﺍﺯ ﻫﺎﺩﻯ ﺳﻌﻴﺪﻯ ﻛﻴﺎﺳﺮﻯ‬ ‫‪ .2‬ﺑﺎﻭﺭﻡ ﻧﻴﺴﺖ ﺯ ﺑﺪ ﻋﻬﺪﻯ ﺍﻳﺎﻡ ﻫﻨﻮﺯ ‪ /‬ﻗﺼﻪﻯ ﻏﺼﻪ ﻛﻪ ﺩﺭ‬ ‫ﺩﻭﻟﺖ ﻳﺎﺭ ﺁﺧﺮ ﺷﺪ‬ ‫ﺣﺎﻓﻆ‬ ‫‪ .3‬ﻧﺴﻴﻢ ﻭﺻﻞ ﺑﻪ ﺍﻓﺴﺮﺩﮔﺎﻥ ﭼﻪ ﺧﻮﺍﻫﺪ ﻛﺮﺩ؟ ‪ /‬ﺑﻬﺎﺭ ﺗﺎﺯﻩ ﺑﻪ‬ ‫ﺑﺮگ ﺧﺰﺍﻥ ﭼﻪ ﺧﻮﺍﻫﺪ ﻛﺮﺩ؟‬ ‫ﺭﻫﻰ ﻣﻌﻴﺮﻯ‬ ‫‪ :Spaulding .4‬ﻧﺎﻡ ﻣﻴﺎﻧﻰ ﭘﺪﺭ ﺑﺮﺩﺑﺮﻯ ﺍﺳﺖ ﻛﻪ ﻧﺎﻡ ﻓﺎﻣﻴﻞ‬ ‫ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺑﺮﺩﺑﺮﻯ ﻫﻢ ﻫﺴﺖ‪.‬‬ ‫‪ .5‬ﺑﺨﺶ ﻋﻤﺪﻩﺍﻯ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﻣﻮﺭﺩ‬ ‫ﺍﺳﭙﺎﻟﺪﻳﻨﮓﻫﺎﺳﺖ‪ ،‬ﺍﺯ ﻛﻮﺩﻛﻰ ﺧﻮﺩ ﺑﺮﺩﺑﺮﻯ ﻳﺎ ﺧﺎﻃﺮﺍﺕ ﻧﺴﻞ‬ ‫ﻗﺒﻞ ﺍﺯ ﺍﻭ ﺍﻟﻬﺎﻡ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫‪ .6‬ﮔﻔﺘﻢ ﻛﻪ ﻟﺐ ﻭﺍ ﻣﻰﻛﻨﻢ ‪-‬ﺑﺎ ﺧﻮﻳﺸﺘﻦ ﮔﻔﺘﻢ‪ -‬ﻭﻟﻰ ﺑﻐﻀﻰ‪/‬‬ ‫ﺑﺎ ﺩﺳﺖﻫﺎﻳﻰ ﺁﺷﻨﺎ ﺩﺭ ﻣﻦ ﺑﻪ ﻛﺎﺭ ﻗﻔﻞ ﺑﺴﺘﻦ ﺑﻮﺩ‬ ‫ﻣﺤﻤﺪ ﻋﻠﻰ ﺑﻬﻤﻨﻰ‬

‫‪ .7‬ﻣﻦ ﻭ ﺗﻮ ﺭﻩ ﺑﻪ ﺛﻮﺍﺑﻰ ﻧﻤﻰﺑﺮﻳﻢ ﺍﺯ ﻫﻢ ‪ /‬ﭼﺮﺍ ﻣﻀﺎﻳﻐﻪ ﺩﺍﺭﻯ‬ ‫ﮔﻨﺎﻩ ﺭﺍ ﺣﺘﺎ؟‬ ‫ﻣﺤﻤﺪ ﻋﻠﻰ ﺑﻬﻤﻨﻰ‬ ‫‪ .8‬ﻫﺮ ﻏﺰﻝ ﮔﺮﭼﻪ ﺣﻮﺩ ﺍﺯ ﺩﺭﺩﻯ ﻭ ﺩﺍﻏﻰ ﻣﻰﺳﻮﺧﺖ ‪ /‬ﺩﻳﺪﻧﻰ‬ ‫ﺩﺍﺷﺖ ﻭﻟﻰ ﺳﻮﺧﺘﻦ ﺑﺎﻫﻢﺷﺎﻥ‬ ‫ﮔﻔﺘﻰ ﺍﺯ ﺧﺴﺘﻪﺗﺮﻳﻦ ﺣﻨﺠﺮﻩﻫﺎ ﻣﻰﺁﻣﺪ ‪ /‬ﺑﻐﻀﺸﺎﻥ‪ ،‬ﺷﻴﻮﻧﺸﺎﻥ‪،‬‬ ‫ﺿﺠﻪﻯ ﺯﻳﺮ ﻭ ﺑﻤﺸﺎﻥ‬ ‫ﻣﺤﻤﺪ ﻋﻠﻰ ﺑﻬﻤﻨﻰ‬ ‫‪ .9‬ﮔﻔﺘﻨﺪ‪ :‬ﺍﻳﻦ ﺩﻭﻥ ﺍﺳﺖ ﻭ ﺁﻥ ﻭﺍﻻ‪ ،‬ﺗﻮ ﺭﺍ ﺍﻣﺎ ‪ /‬ﺍﻯ ﻟﺤﻈﻪﻯ‬ ‫ﺩﻳﺪﺍﺭ ﺟﺴﻢ ﻭ ﺟﺎﻥ‪ ،‬ﻛﺴﻰ ﻧﺸﻨﺎﺧﺖ‬ ‫ﺣﺴﻴﻦ ﻣﻨﺰﻭﻯ‬ ‫‪ .10‬ﺷﻜﺮ ﺍﻳﺰﺩ ﻛﻪ ﺑﻪ ﺍﻗﺒﺎﻝ ﻛﻠﻪ ﮔﻮﺷﻪﻯ ﮔﻞ ‪ /‬ﻧﺨﻮﺕ ﺑﺎﺩ ﺩﻯ‬ ‫ﻭ ﺷﻮﻛﺖ ﺧﺎﺭ ﺁﺧﺮ ﺷﺪ‬ ‫ﺣﺎﻓﻆ‬

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‫ﺍﻟﺒﺘﻪ ﮔﻔﺘﻨﻰ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺍﻳﻦ ‪ 16‬ﺩﺍﺳﺘﺎﻥ‪ ،‬ﺑﻌﻀﻰ ﺩﺭ ﺣﺎﻝ ﻭ ﻫﻮﺍﻯ ﻣﺸﺘﺮﻙﺍﻧﺪ ﻭ ﺑﻌﻀﻰ ﻫﻢ‬ ‫ﺑﺴﻴﺎﺭ ﺍﺯ ﻫﻢ ﺩﻭﺭﻧﺪ ﻭ ﻫﺮ ﭼﻨﺪ ﻫﺮ ﻛﺪﺍﻡ ﺩﺭﺩﻯ ﻭ ﺩﺍﻏﻰ ﺩﺍﺭﻧﺪ‪ ،‬ﺍﻣﺎ ﺑﺎ ﻫﻢ ﺩﻳﺪﻧﺸﺎﻥ ﺧﻮﺍﻧﺪﻧﻰ ﺍﺳﺖ‪.‬‬ ‫ﻫﺮﭼﻨﺪ ﺳﺎﺩﻩﺍﻧﺪ ﻭ ﻧﻮﻳﺴﻨﺪﻩ ﻫﻢ ﺧﻴﻠﻰ ﺑﻪ ﺁﺏ ﻭ ﺁﺗﺶ ﻧﻤﻰﺯﻧﺪ؛ ﺍﻣﺎ ﺑﻪ ﻧﻈﺮﻡ ﺑﻐﺾ ﻭ ﺧﺴﺘﮕﻰ‬ ‫ﺣﻨﺠﺮﻩ ﺭﺍ ﻣﻰﺗﻮﺍﻧﺪ ﺩﺭ ﭘﺲ ﻣﺘﻦﻫﺎ ﺣﺲ ﻛﺮﺩ ]‪ .[8‬ﻧﻤﻰﺩﺍﻧﻢ ﭼﻪ ﻛﺲ ﮔﻔﺖ ﮔﻤﺎﻧﻪﺯﻥ ﺩﻭﻥ‬ ‫ﺍﺳﺖ ﻭ ﻏﻴﺮﺵ ﻭﺍﻻ ﻳﺎ ﺑﺮﻋﻜﺲ‪ .‬ﺍﺻ ً‬ ‫ﻼ ﻣﻄﻤﺌﻦ ﻧﻴﺴﺘﻢ ﻛﺴﻰ ﺑﻪ ﺍﻳﻦ ﺻﺮﺍﺣﺖ ﭼﻨﻴﻦ ﭼﻴﺰﻯ ﮔﻔﺘﻪ‬ ‫ﺑﺎﺷﺪ‪ .‬ﺍﻣﺎ ﺍﮔﺮ ﺑﻪ ﭼﻨﻴﻦ ﮔﺰﺍﺭﻩﻫﺎﻳﻰ ﻣﻰﺍﻧﺪﻳﺸﻴﺪ ﻳﺎ ﺍﻧﺪﻳﺸﻴﺪﻩﺍﻳﺪ )ﻣﺜﻞ ﺧﻮﺩ ﻣﻦ!(‪ ،‬ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ‬ ‫ﺭﺍ ﺑﺨﻮﺍﻧﻴﺪ‪ .‬ﻫﺮﭼﻨﺪ ﺷﺎﻳﺪ ﺑﺎ ﻫﻢ ﺩﻳﺪﺍﺭ ﻧﻜﻨﻨﺪ‪ ،‬ﺍﻣﺎ ﺩﺭ ﻣﻌﻴﺖ ﺑﻮﺩﻧﺸﺎﻥ ﻫﻢ ﻟﺬﺕﺑﺨﺶ ﺍﺳﺖ ﻭ‬ ‫ﺷﻨﺎﺧﺖ ﺑﻬﺘﺮﻯ ﺍﺯ ﺑﺮﺩﺑﺮﻯ ﺑﻪ ﻣﻦ ﺩﺍﺩ ]‪.[9‬‬ ‫ﻗﺒﻞ ﺍﺯ ﺷﺮﻭﻉ ﺩﺍﺳﺘﺎﻥﻫﺎ ﺑﺨﺸﻰ ﻫﺴﺖ ﺑﺎ ﻋﻨﻮﺍﻥ »ﺍﺯ ﻧﻮﻳﺴﻨﺪﻩ« ﻛﻪ ﺧﻼﺻﻪﺷﺪﻩﻯ ﻧﻮﺷﺘﻪﺍﻯ‬ ‫ﺍﺳﺖ ﺍﺯ ﺧﻮﺩ ﺑﺮﺩﺑﺮﻯ ﺩﺭ ﻳﻜﻰ ﺍﺯ ﻣﺠﻤﻮﻋﻪﻫﺎﻳﺶ‪ .‬ﻫﺮﭼﻨﺪ ﺗﺮﺟﻤﻪﻯ ﺍﻳﻦ ﺑﺨﺶ ﻛﻤﻰ ﻧﺎﻣﻄﻤﺌﻦ‬ ‫ﺍﺳﺖ ﻭ ﺑﻌﻀﻰ ﺟﺎﻫﺎ ﻣﺎ ﺭﺍ ﺑﻪ ﺷﻚ ﻣﻰﺍﻧﺪﺍﺯﺩ ﻛﻪ ﺩﺭ ﻣﺘﻦ ﺍﺻﻠﻰ ﭼﻪ ﺁﻣﺪﻩ )ﺩﺭ ﭼﻨﺪ ﺟﺎﻯ ﺩﻳﮕﺮ‬ ‫ﻛﺘﺎﺏ ﻫﻢ ﺍﻳﻦ ﮔﻮﻧﻪ ﺍﺳﺖ(‪ ،‬ﺍﻣﺎ ﺧﻮﺍﻧﺪﻥ ﺍﻳﻦ ﺑﺨﺶ ﺭﺍ ﻫﻢ ﺗﻮﺻﻴﻪ ﻣﻰﻛﻨﻢ‪ .‬ﺩﺭ ﺍﻳﻦ ﺑﺨﺶ ﻧﻮﻳﺴﻨﺪﻩ‬ ‫ﻣﻨﺸﺄ ﺍﻟﻬﺎﻡ ﺑﻌﻀﻰ ﺩﺍﺳﺘﺎﻥﻫﺎ ﺭﺍ ﺷﺮﺡ ﻣﻰﺩﻫﺪ ﻭ ﺑﺨﺸﻰ ﺍﺯ ﻧﮕﺎﻫﺶ ﺑﻪ ﻧﻮﻳﺴﻨﺪﮔﻰ‪ ،‬ﺯﻧﺪﮔﻰ‪،‬‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻭ ﻓﺎﻧﺘﺰﻯ ﻭ‪ ...‬ﺭﺍ ﺗﻮﺿﻴﺢ ﻣﻰﺩﻫﺪ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻦ ﺣﺪﺍﻗﻞ ﺑﺮﺩﺑﺮﻯ ﺍﻳﻦ ﻛﺘﺎﺏ ﺭﺍ ﺧﻮﺏ‬ ‫ﺗﺼﻮﻳﺮ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺁﻥ ﻛﻪ ﻫﺮﭼﻨﺪ ﺑﺎ ﻳﻚ ﮔﻞ ﺑﻬﺎﺭ ﻧﻤﻰﺷﻮﺩ ﻭ ﻧﺨﻮﺕ ﺑﺎﺩ ﺩﻯ ﻫﻢ ﺑﻪ ﺍﻳﻦ ﺳﺎﺩﮔﻰﻫﺎ ﺭﻓﺘﻨﻰ‬ ‫ﻧﻴﺴﺖ‪ ،‬ﺍﻣﺎ ﺑﺎﺯ ﻫﻢ ﺑﺎﺑﺖ ﺍﻳﻦ ﻛﺘﺎﺏ ﺷﻜﺮ ﺍﻳﺰﺩ ﺑﺎﻳﺴﺘﻪ ﺍﺳﺖ ]‪ .[10‬ﻟﺰﻭﻣﻰ ﻫﻢ ﻧﺪﺍﺭﺩ ﻣﺜﻞ ﻣﻦ‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺍﻳﻦ ﻛﺘﺎﺏ ﺭﺍ ﻳﻚﺟﺎ ﻭ ﻳﻚ ﺩﻓﻌﻪ ﺑﺨﻮﺍﻧﻴﺪ‪ .‬ﻫﺮ ﺍﺯ ﮔﺎﻫﻰ ﻫﻢ ﺑﻪ ﻳﻜﻰﺷﺎﻥ ﺳﺮﻯ‬ ‫ﺑﺰﻧﻴﺪ‪ ،‬ﺍﺣﺘﻤﺎﻻً ﻫﻤﺪﻟﺶ ﺧﻮﺍﻫﻴﺪ ﺷﺪ ﻭ ﺷﺎﻳﺪ ﺑﺪﻳﻦ ﺻﻮﺭﺕ ﻟﺬﺕ ﺧﻮﺍﻧﻨﺪﮔﻰ ﻃﻮﻻﻧﻰﻣﺪﺕﺗﺮﻯ‬ ‫ﺭﺍ ﺗﺠﺮﺑﻪ ﻛﻨﻴﺪ‪.‬‬

‫ﻗﻄﻌﻪﺍﻯ ﺍﺯ ﻣﺘﻦ ﻛﺘﺎﺏ‬ ‫»‪ ...‬آﻗﺎی ﺳﺎﻧﺪرﺳﻦ‪ ،‬ﯾﺎدﺗﺎن ﻫﺴﺖ ﮐﻪ آﺧﺮﯾﻦ ﺑﺎر ﮐﯽ ﮐﻔﺶ ﮐﺘﺎﻧﯽ ﺑﻪ ﭘﺎ ﮐﺮدﯾﺪ؟«‬ ‫اﺑﺮ ﺗﯿﺮهای ﺑﺮ ﭼﻬﺮهی آﻗﺎی ﺳﺎﻧﺪرﺳﻦ ﮔﺬﺷﺖ‪:‬‬ ‫»آه‪ ،‬ده‪ ،‬ﺑﯿﺴﺖ‪ ،‬ﺷﺎﯾﺪ ﺳﯽ ﺳﺎل ﭘﯿﺶ‪ .‬ﭼﺮا؟«‬ ‫»آﻗﺎی ﺳﺎﻧﺪرﺳﻦ‪ ،‬ﻓﮑﺮ منﯽﮐﻨﯿﺪ ﮐﻪ ﺷام اﯾﻦ را ﺑﻪ ﻣﺸﱰیﻫﺎی ﺧﻮدﺗﺎن ﻣﺪﯾﻮﻧﯿﺪ ﮐﻪ ﯾﮏ‬ ‫ﺑﺎر ﻫﻢ ﮐﻪ ﺷﺪه‪ ،‬ﮐﻔﺶﻫﺎی ﮐﺘﺎﻧﯽ را ﮐﻪ ﻣﯽﻓﺮوﺷﯿﺪ‪ ،‬ﻓﻘﻂ ﺑﻪ ﻣﺪت ﯾﮏ دﻗﯿﻘﻪ ﺑﻪ ﭘﺎی‬

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‫ﭘﺲ ﻣﻔﺎﻫﻴﻢ ﻋﻤﻴﻖ ﺑﻌﺾ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﮔﻤﺎﻧﻪﺯﻥ ﺑﻪ ﺩﻧﺒﺎﻝ ﻫﻤﺎﻥ ﻟﺬﺕﻫﺎﻯ ﻗﺪﻳﻤﻰ ﻭ ﺳﺎﺩﻩ ﻭ‬ ‫ﺩﺭﮔﻴﺮﻯﻫﺎﻯ ﺣﺴﻰ ﻣﻌﻤﻮﻝ ﻫﺴﺘﻢ‪ ،‬ﺍﻳﻦ ﻛﺘﺎﺏ ﺗﺎ ﺣﺪﻯ ﺩﺭ ﻣﻘﺎﻡ ﺑﻬﺎﺭ ﺗﺎﺯﻩ ﺑﺮﺍﻯ ﺑﺮگ ﺧﺰﺍﻥ ]‪[3‬‬ ‫ﺑﻮﺩ‪ .‬ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺳﺎﺩﻩ ﻭ ﺑﻰﺷﻴﻠﻪﭘﻴﻠﻪﺍﻯ ﻛﻪ ﻳﺎﺩﺁﻭﺭ ﺣﻘﺎﻳﻘﻰ ﺭﻳﺰ ﻭ ﺑﺪﻳﻬﻰﺍﻧﺪ ﻭ ﺍﺩﻋﺎﻯ ﭼﻨﺪﺍﻧﻰ‬ ‫ﻫﻢ ﻧﺪﺍﺭﻧﺪ ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﻓﺎﺭﻍ ﺍﺯ ﻣﻮﻓﻘﻴﺖ ﻳﺎ ﻋﺪﻡ ﻣﻮﻓﻘﻴﺘﺸﺎﻥ‪ ،‬ﺑﻨﺎﻯ ﭘﻮچ ﺑﻮﺩﻥ ﻳﺎ ﺻﺮﻓﺎً‬ ‫ﺳﺮﮔﺮﻣﻰ ﺑﻮﺩﻥ ﻫﻢ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺑﺎﺭﻫﺎ ﻭ ﺑﺎﺭﻫﺎ ﺑﺎ ﺍﺳﭙﺎﻟﺪﻳﻨﮓ ]‪[4‬ﻫﺎ ﻫﻤﺮﺍﻩ ﻣﻰﺷﻮﻳﺪ‪.‬‬ ‫ﭼﻨﺪﻳﻦ ﺑﺎﺭ ﺷﻮﺭ ﻭ ﺷﻮﻕ ﻭ ﺻﺪﺍﻗﺖ ﻛﻮﺩﻛﺎﻧﻪ ﻣﻰﭼﺸﻴﺪ ﻭ ﭼﻨﺪﻳﻦ ﺑﺎﺭ ﺍﺯ ﭘﺨﺘﮕﻰ ﻭ ﺳﻨﮕﻴﻨﻰ‬ ‫ﻛﻬﻨﺴﺎﻟﻰ ﻣﻰﺷﻨﻮﻳﺪ‪ .‬ﺣﺴﻦ ﺗﺼﺎﺩﻑ ﺍﺳﺖ ﻛﻪ ﭘﻴﺮﻫﺎﻯ ﺩﺍﺳﺘﺎﻥﻫﺎ ﺩﺭ ﺩﻫﻪﻯ ﻧﻬﻢ ﺯﻧﺪﮔﻰ ﺧﻮﺩ‬ ‫ﻫﺴﺘﻨﺪ ﻭ ﺍﮔﺮ ﺣﻮﺍﺳﺘﺎﻥ ﺑﺎﺷﺪ ﻛﻪ ﺑﺮﺩﺑﺮﻯ ﻫﻢ ﺩﺭ ﺳﻦ ‪ 91‬ﺯﻧﺪﮔﻰ ﺩﻧﻴﺎﻳﻰﺍﺵ ﺭﺍ ﻭﺩﺍﻉ ﮔﻔﺖ‪،‬‬ ‫ﺷﺎﻳﺪ ﻣﺜﻞ ﻣﻦ ﺑﻪ ﺍﻳﻦ ﺑﻴﻨﺪﻳﺸﻴﺪ ﻛﻪ ﻧﻮﻳﺴﻨﺪﻩ ﺩﺍﺭﺩ ﺯﺑﺎﻥ ﺣﺎﻝ ﺧﻮﺩﺵ ﺭﺍ ﻣﻰﻧﻮﻳﺴﻨﺪ ﻭ ﺧﺎﻃﺮﺍﺕ‬ ‫ﻛﻮﺩﻛﻰﺍﺵ ﺭﺍ ﺗﻌﺮﻳﻒ ﻧﻤﻰﻛﻨﺪ ]‪.[5‬‬ ‫ﺑﻪ ﻛﺴﺎﻧﻰ ﻛﻪ ﺑﻪ ﻧﻮﻳﺴﻨﺪﻩ ﺍﺭﺍﺩﺗﻰ ﺩﺍﺭﻧﺪ ﺗﻮﺻﻴﻪ ﻣﻰﻛﻨﻢ ﺍﮔﺮ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺩﺍﺳﺘﺎﻥ »ﻣﺎﺷﻴﻦ‬ ‫ﻛﻠﻴﻤﺎﻧﺠﺎﺭﻭ« ‪-‬ﻛﻪ ﺁﺧﺮﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺍﺳﺖ‪ -‬ﺭﺍ ﻧﺨﻮﺍﻧﺪﻩﺍﻧﺪ‪ ،‬ﺣﺘﻤﺎً ﻳﻚ ﺩﻭﺭ ﺁﻥ ﺭﺍ‬ ‫ﺑﺨﻮﺍﻧﻨﺪ‪ .‬ﺣﺲ ﻏﺮﻳﺒﻰ ﺍﺳﺖ ﻭﻗﺘﻰ ﺩﺍﺳﺘﺎﻥ ﻧﻮﻳﺴﻨﺪﻩ ﺭﺍ ﺑﻌﺪ ﺍﺯ ﻣﺮﮔﺶ ﻣﻰﺧﻮﺍﻧﻰ ﻭ ﺑﺎ ﺧﻮﺩ ﻓﻜﺮ‬ ‫ﻣﻰﻛﻨﻰ ﺍﻧﮕﺎﺭ ﻧﻮﻳﺴﻨﺪﻩ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺑﺮﺍﻯ ﻣﺨﺎﻃﺒﻰ ﭼﻮﻥ ﺗﻮ ﻧﻮﺷﺘﻪ ﺗﺎ ﻭﻗﺘﻰ ﺩﻳﮕﺮ ﺩﺭ ﻗﻴﺪ ﺣﻴﺎﺕ‬ ‫ﻧﻴﺴﺖ‪ ،‬ﺁﻥ ﺭﺍ ﺑﺨﻮﺍﻧﻰ‪ .‬ﻛﻤﻰ ﺷﺒﻴﻪ ﺁﻥ ﺑﻐﺾﻫﺎ ﺍﺳﺖ ﻛﻪ ﻣﻌﻤﻮﻻً ﺩﺭ ﮔﻠﻮ ﺑﻪ ﻛﺎﺭ ﻗﻔﻞ ﺑﺴﺘﻦ‬ ‫ﻣﺸﻐﻮﻟﻨﺪ ]‪ .[6‬ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﭼﻨﺪ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﻫﻤﻴﻦ »ﻣﺎﺷﻴﻦ ﻛﻠﻴﻤﺎﻧﺠﺎﺭﻭ« ﺧﻴﺎﻝ ﻛﺮﺩﻡ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﺭﺍ ﺟﻠﻮﻯ ﭼﺸﻤﺎﻧﻢ ﻣﻰﺑﻴﻨﻢ ﻭ ﺩﻟﻢ ﻣﻰﺧﻮﺍﺳﺖ ﺑﺮ ﭘﻴﺸﺎﻧﻰﺍﺵ ﺑﻮﺳﻪﺍﻯ ﺑﺰﻧﻢ‪ .‬ﺗﺎﺯﻩ‪ ،‬ﻣﻦ‬ ‫ﻛﻪ ﺍﺯ ﻃﺮﻓﺪﺍﺭﺍﻥ ﺑﺮﺩﺑﺮﻯ ﻫﻢ ﻧﻴﺴﺘﻢ‪.‬‬ ‫ﺑﺮﺩﺑﺮﻯ ﺑﻪ ﺷﺎﻋﺮ ﺑﻮﺩﻧﺶ ﻫﻢ ﻣﻌﺮﻭﻑ ﺍﺳﺖ ﻭ ﺑﻪ ﺷﺎﻋﺮﺍﻧﮕﻰ ﻧﺜﺮﺵ‪ .‬ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺏ ﻫﻢ ﻛﻢ ﻭ‬ ‫ﺑﻴﺶ ﺭﺩ ﭘﺎﻯ ﺍﻳﻦ ﺍﻋﺘﺒﺎﺭ ﺭﺍ ﻣﻰﺑﻴﻨﻴﺪ‪ .‬ﺍﻟﺒﺘﻪ ﻛﻴﻔﻴﺘﻰ ﻛﻪ ﺑﺎ ﻧﺎﻡ »ﺷﺎﻋﺮﺍﻧﻪ« ﺍﺯ ﺁﻥ ﻳﺎﺩ ﻣﻰﻛﻨﻨﺪ‬ ‫)ﺍﺯ ﺟﻤﻠﻪﻯ ﻣﺘﺮﺟﻢ ﻣﺠﻤﻮﻋﻪ( ﻭ ﺑﻪ ﻧﺜﺮ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥﻫﺎ ﻧﺴﺒﺖ ﻣﻰﺩﻫﻨﺪ‪ ،‬ﺍﺻ ً‬ ‫ﻼ ﻏﻠﻴﻆ ﻳﺎ ﻋﺠﻴﺐ‬ ‫ﻭ ﻏﺮﻳﺐ ﻧﻴﺴﺖ‪ .‬ﺧﻴﻠﻰ ﺳﺎﺩﻩ ﻭ ﺭﻭﺍﻥﺍﻧﺪ ﻭ ﺑﻪ ﺧﻮﺑﻰ ﺑﻪ ﻛﺎﺭ ﮔﺮﻓﺘﻪ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﺑﻴﺸﺘﺮ‬ ‫ﺟﺎﻯ ﮔﻼﻳﻪ ﺩﺍﺭﺩ ﻛﻪ ﭼﺮﺍ ﺑﺎﻗﻰ ﻫﻢﻗﻄﺎﺭﺍﻥ ﺑﺮﺩﺑﺮﻯ ﺍﻳﻦ ﮔﻮﻧﻪ ﻧﻤﻰﻧﻮﻳﺴﻨﺪ ﻳﺎ ﺩﺭ ﺟﻬﺖ ﻋﻜﺲ‬ ‫ﭘﻴﺶ ﻣﻰﺭﻭﻧﺪ‪ .‬ﺍﮔﺮ ﺩﺭ ﺍﻳﻦ ﺣﺪ ﻫﻢ ﻧﻤﻰﺗﻮﺍﻧﻨﺪ‪ ،‬ﻛﻪ ﺍﺣﺘﻤﺎﻻً ﺳﺮ ﺳﻮﺯﻥ ﺫﻭﻗﻰ ﻫﻢ ﻧﺪﺍﺭﻧﺪ ﻭ ﺍﮔﺮ‬ ‫ﻣﻰﺗﻮﺍﻧﻨﺪ ﻭ ﻫﻤﻴﺸﻪ ﺩﺭ ﺟﻬﺖ ﺧﻼﻓﺶ ﭘﻴﺶ ﻣﻰﺭﻭﻧﺪ‪ ،‬ﺷﺎﻳﺪ ﺁﻥ ﺭﺍ ﮔﻨﺎﻩ ﻣﻰﭘﻨﺪﺍﺭﻧﺪ‪ .‬ﺑﺎ ﺧﻮﺍﻧﺪﻥ‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﻫﻤﻴﻦ ﻣﺠﻤﻮﻋﻪ‪ ،‬ﺑﺎ ﺧﻮﺩ ﻣﻰﮔﻮﻳﻢ ﻭﻗﺘﻰ ﺩﻏﺪﻏﻪﻯ ﺛﻮﺍﺑﻰ ﺩﺭ ﺑﻴﻦ‬ ‫ﻧﻴﺴﺖ‪ ،‬ﺁﺧﺮ ﭼﺮﺍ ﺑﻌﻀﻰﻫﺎ ﻫﻤﻴﻦ ﺍﻧﺪﻙ ﮔﻨﺎﻩ ﺭﺍ ﻫﻢ ﺍﺯ ﺧﻮﺍﻧﻨﺪﮔﺎﻧﺸﺎﻥ ﺩﺭﻳﻎ ﻣﻰﻛﻨﻨﺪ ]‪[7‬؟‬ ‫‪101‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﻣﺒﺎﺭﻛﺖ ﺍﻯ ﺻﺒﻮﺭ ﺷﺐﻫﺎ ﺑﻪ ﺻﺒﺢ ﺗﺎﺑﺎﻥ ﺭﺳﻴﺪﻯ ﺁﺧﺮ‬ ‫ﺯ ﺗﻦ ﭘﺮﺍﻛﻨﺪﮔﻰ ﮔﺬﺷﺘﻰ ﺑﻪ ﻣﻄﻠﻖ ﺟﺎﻥ ﺭﺳﻴﺪﻯ ﺁﺧﺮ ]‪[1‬‬ ‫ﺯﻣﺎﻧﻰ ﻛﻪ ﺑﻨﺎ ﺑﺮ ﻛﺎﺭ ﺑﺮﺍﻯ ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﺑﺮﺩﺑﺮﻯ ﺷﺪ‪ ،‬ﻣﻰﺩﺍﻧﺴﺘﻢ ﺣﺪﻭﺩﺍ ً ﺳﻬﻢ ﺣﺪﺍﻗﻠﻰ ﻭ ﻗﻄﻌﻰ‬ ‫ﻣﻦ ﺍﺯ ﺍﻳﻦ ﻭﻳﮋﻩﻧﺎﻣﻪ ﭼﻴﺴﺖ‪ .‬ﺍﻧﺘﺨﺎﺏ ﻳﻚ ﺍﺛﺮ ﺑﺮﺍﻯ ﻣﻌﺮﻓﻰ‪ ،‬ﻫﻢ ﺁﺳﺎﻥ ﺑﻮﺩ ﻭ ﻫﻢ ﺳﺨﺖ‪ .‬ﺍﺯ‬ ‫ﺁﻥ ﺟﻬﺖ ﺁﺳﺎﻥ ﻛﻪ ﺟﺪﺍ ً ﭼﻨﺪﺍﻥ ﺑﺮﺍﻳﻢ ﻓﺮﻗﻰ ﻧﻤﻰﻛﺮﺩ ﻛﺪﺍﻣﻴﻚ ﺭﺍ ﺑﺮﮔﺰﻳﻨﻢ‪ .‬ﺍﺷﺘﻴﺎﻗﻰ ﻧﺴﺒﺖ‬ ‫ﺑﻪ ﻫﻴﭻ ﻳﻚ ﻧﺪﺍﺷﺘﻢ‪ .‬ﻭ ﺳﺨﺖ ﻫﻢ ﺍﺯ ﺁﻥ ﺟﻬﺖ ﻛﻪ ﺑﺎﻳﺪ ﻛﺘﺎﺑﻰ ﻣﻰﺧﻮﺍﻧﺪﻡ ﻛﻪ ﺩﻳﮕﺮ ﻣﺪﺕﻫﺎ‬ ‫ﺍﺳﺖ ﺍﺯ ﻫﻢﮔﻮﻧﻪﻫﺎﻳﺶ ﭼﻨﺪﺍﻥ ﻟﺬﺗﻰ ﻧﻤﻰﺑﺮﻡ‪ .‬ﺍﺗﻔﺎﻗﺎً ﻗﺴﻤﺖ ﺳﺨﺘﺶ ﻭﻗﺘﻰ ﺑﻴﺸﺘﺮ ﺷﺪ ﻛﻪ ﺍﺯ‬ ‫ﭼﻨﺪ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻫﻰ ﻛﻪ ﺑﻌﺪ ﺷﻨﻴﺪﻥ ﺧﺒﺮ ﻓﻮﺕ ﻧﻮﻳﺴﻨﺪﻩ ﺍﺯ ﺍﻭ ﺧﻮﺍﻧﺪﻡ ﻭ ﺷﻨﻴﺪﻡ –ﻛﻪ ﺑﻴﺸﺘﺮ‬ ‫ﺑﺎﺯﺧﻮﺍﻧﻰ ﺑﻮﺩ‪ -‬ﺑﻪ ﺟﺰ ﻳﻜﻰ‪ ،‬ﺑﺎﻗﻰ ﺑﻪ ﺩﻟﻢ ﻧﻨﺸﺴﺖ‪ .‬ﺍﻣﺎ ﺧﺐ‪ ...‬ﻫﺮ ﻛﺎﺭﻯ ﻫﻢ ﻛﻪ ﺑﻜﻨﻴﺪ‪ ،‬ﺑﺎﻭﺭﻡ‬ ‫ﻧﻴﺴﺖ ﺯ ﺑﺪ ﻋﻬﺪﻯ ﺍﻳﻦ ﺍﻳﺎﻡ ﻫﻨﻮﺯ]‪.[2‬‬ ‫ﻛﺘﺎﺏ ﺣﺎﺿﺮ‪ ،‬ﻣﺠﻤﻮﻋﻪﺍﻯ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺑﺮﮔﺰﻳﺪﻩﻯ ﺭﻯ ﺑﺮﺩﺑﺮﻯ ﺑﻪ ﺍﻧﺘﺨﺎﺏ ﻣﺘﺮﺟﻢ ﺍﺳﺖ‪.‬‬ ‫ﻣﺘﺮﺟﻢ ﺩﺭﺑﺎﺭﻩﻯ ﻣﻼﻙ ﺍﻧﺘﺨﺎﺏ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥﻫﺎ ﺩﺭ ﻣﻘﺪﻣﻪﻯ ﻛﺘﺎﺏ ﭼﻨﻴﻦ ﺁﻭﺭﺩﻩ ﺍﺳﺖ‪:‬‬ ‫»ﺩﺭ ﺍﻧﺘﺨﺎﺏ ﻗﺼﻪﻫﺎﻯ ﻣﺠﻤﻮﻋﻪﻯ ﺣﺎﺿﺮ ﺑﻴﺸﺘﺮ ﺑﻪ ﺁﻥﻫﺎﻳﻰ ﺗﻮﺟﻪ ﺷﺪﻩ ﻛﻪ ﺑﻪ ﮔﻔﺘﻪﻯ ﺧﻮﺩ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ "ﺑﺰﺭﮔﺪﺍﺷﺖ ﺩﻝ ﻭ ﺭﻭﺡ ﺁﺩﻣﻰ‪ ،‬ﻟﺬﺕﻫﺎﻯ ﺳﺎﺩﻩﻯ ﺯﻳﺴﺘﻰ ﺑﻰﺁﻻﻳﺶ‪ ،‬ﺳﺘﺎﻳﺶ ﺟﻠﻮﻩﻫﺎﻯ‬ ‫ﻋﺎﺩﻯ ﺯﻧﺪﮔﻰ ﻭ ﻃﺒﻴﻌﺖ ﻭ ﺷﻮﻕ ﺯﻳﺴﺘﻦ ﺩﺭﺷﺎﻥ ﻣﻨﻌﻜﺲ ﺍﺳﺖ‪ ".‬ﺩﺭ ﺍﻳﻦ ﺍﻧﺘﺨﺎﺏ ﺗﻜﻴﻪ ﺑﻴﺸﺘﺮ ﺑﺮ‬ ‫ﺷﺎﻋﺮﺍﻧﮕﻰ ﻗﺼﻪﻫﺎ ﺑﻮﺩﻩ ﺍﺳﺖ ﺗﺎ ﻗﺼﻪﻫﺎﻳﻰ ﻛﻪ ﺑﻪ ﺧﻮﻑ ﻭ ﻛﺎﺑﻮﺱ ﻣﻰﭘﺮﺩﺍﺯﻧﺪ‪«.‬‬ ‫ﻭ ﺑﻪ ﻧﻈﺮﻡ ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﻓﺮﺧﻨﺪﻩﺍﻯ ﺍﺳﺖ‪ .‬ﻗﺒﻞ ﺍﺯ ﺗﻬﻴﻪﻯ ﻛﺘﺎﺏ ﺷﻨﻴﺪﻡ ﺑﻌﻀﻰ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺍﻳﻦ‬ ‫ﻣﺠﻤﻮﻋﻪ ﺍﺯ ﺁﺛﺎﺭ ﮔﻤﺎﻧﻪﺯﻥ ﺑﺮﺩﺑﺮﻯ ﻧﻴﺴﺘﻨﺪ ﻭ ﺑﺎ ﺧﻮﺩ ﮔﻔﺘﻢ ﭘﺲ ﭼﺮﺍ ﺑﺨﻮﺍﻧﻤﺸﺎﻥ‪ ،‬ﻳﺎ ﺍﺻ ً‬ ‫ﻼ ﭼﺮﺍ‬ ‫ﺩﺭ ﺷﮕﻔﺖﺯﺍﺭ ﻫﻢ ﺍﺯ ﻧﻮﻳﺴﻨﺪﻩﺍﻯ ﺑﻪ ﺍﻋﺘﺒﺎﺭ ﺁﺛﺎﺭ ﻏﻴﺮﮔﻤﺎﻧﻪﺯﻧﺶ ﻳﺎﺩﻯ ﻛﻨﻴﻢ‪ .‬ﺍﻣﺎ ﺷﻜﺮ ﺧﺪﺍ ﺍﻳﻦ‬ ‫ﻭﺍﻛﻨﺸﻰ ﺯﻭﺩﮔﺬﺭ ﺑﻮﺩ ﻭ ﻣﺎﻧﻊ ﺍﺯ ﺧﻮﺍﻧﺪﻥ ﻣﺠﻤﻮﻋﻪ ﻧﺸﺪ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﺍﻛﺜﺮ ﺩﺍﺳﺘﺎﻥﻫﺎ ﮔﻤﺎﻧﻪﺯﻥ‬ ‫ﻧﻴﺴﺘﻨﺪ ﻭ ﺍﺯ ‪ 16‬ﺩﺍﺳﺘﺎﻥ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ‪ ،‬ﺗﻨﻬﺎ ‪ 4‬ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﺍﻳﻦ ﺯﻣﺮﻩ ﻣﻰﮔﻨﺠﻨﺪ‪ .‬ﻭ ﺍﻻﻥ‪ ،‬ﺑﻌﺪ ﺍﺯ‬ ‫ﻳﻚ ﺩﻭﺭ ﺗﺠﺮﺑﻪﻯ ﺧﻮﺍﻧﺪﻥ ﻛﺘﺎﺏ ﺑﺎ ﺧﻮﺩ ﻣﻰﮔﻮﻳﻢ ﺍﺻ ً‬ ‫ﻼ ﭼﻪ ﻟﺰﻭﻣﻰ ﺩﺍﺭﺩ ﺍﺯ ﻳﻚ ﻧﻮﻳﺴﻨﺪﻩ ﻓﻘﻂ ﺑﻪ‬ ‫ﺍﻋﺘﺒﺎﺭ ﺁﺛﺎﺭ ﮔﻤﺎﻧﻪﺯﻧﺶ ﻳﺎﺩﻯ ﺑﻜﻨﻴﻢ‪ ،‬ﺑﻪ ﺧﺼﻮﺹ ﻭﻗﺘﻰ ﺁﺛﺎﺭ ﺑﻬﺘﺮﻯ ﻫﻢ ﺩﺍﺭﺩ‪ .‬ﺍﺗﻔﺎﻗﺎً ﺩﺍﺳﺘﺎﻥﻫﺎﻯ‬ ‫ﮔﻤﺎﻧﻪﺯﻥ ﻣﺠﻤﻮﻋﻪ ﺑﻪ ﻧﻈﺮ ﺩﺭ ﻗﻴﺎﺱ ﺑﺎ ﺩﻳﮕﺮ ﻫﻢﻧﺸﻴﻦﻫﺎﻯ ﻛﺎﻏﺬﻯ ﺍﻳﻦ ﺧﺎﻧﻪﺷﺎﻥ )ﻣﺠﻤﻮﻋﻪﻯ‬ ‫ﺣﺎﺿﺮ( ﺿﻌﻴﻒﺗﺮﻧﺪ‪ .‬ﻭﺍﻧﮕﻬﻰ ﺑﻪ ﻧﻈﺮﻡ ﺧﻮﺍﻧﺪﻥ ﭼﻨﻴﻦ ﻣﺠﻤﻮﻋﻪﺍﻯ ﺧﻴﻠﻰ ﻫﻢ ﺗﺠﺮﺑﻪﻯ ﺧﻮﺏ ﻭ‬ ‫ﺣﺘﺎ ﻻﺯﻣﻰ ﺍﺳﺖ‪ .‬ﺑﺮﺍﻯ ﭼﻮﻥ ﻣﻨﻰ ﻛﻪ ﺍﺯ ﻛﻤﺎﺕ ﻗﺼﺎﺭﻯ ﭼﻮﻥ ﻋﻠﻢ ﻓﻼﻥ ﺍﺳﺖ‪ ،‬ﺟﺎﺩﻭ ﺑﻬﻤﺎﻥ‬ ‫ﺍﺳﺖ ﻳﺎ ﺳﻮﺍﻻﺗﻰ ﭼﻮﻥ ﺍﮔﺮ ﭼﻨﻴﻦ ﺷﺪ ﭼﻪ ﻣﻰﺷﻮﺩ ﺍﺷﺒﺎﻉ )ﺑﺨﻮﺍﻧﻴﺪ ﺧﺴﺘﻪ( ﺷﺪﻩﺍﻡ ﻭ ﺍﺯ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫‪100‬‬

‫ﻛﺘﺎﺏ‬

‫ﻣﺎﺷﻴﻦ ﻛﻠﻴﻤﺎﻧﺠﺎﺭﻭ‬ ‫ﻣﺤﻤﺪﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‬

‫ﺷﻨﺎﺳﻨﺎﻣﻪ‬ ‫ﻧﺎﻡ ﻛﺘــﺎﺏ‪ :‬ﻣﺎﺷﻴﻦ‬

‫ﻛﻠﻴﻤﺎﻧﺠﺎﺭﻭ‬

‫ﺑﺮﮔﺰﻳﺪﻩﻯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺭﻯ ﺑﺮﺩﺑﺮﻯ‬

‫ﻧﻮﻳﺴﻨــﺪﻩ‪ :‬ﺭﻯ ﺑﺮﺩﺑـــــــﺮﻯ‬ ‫ﻣﺘــﺮ ﺟـﻢ ‪ :‬ﭘﺮﻭﻳــــﺰ ﺩﻭﺍﻳــﻰ‬ ‫ﻧـﺎﺷــــﺮ‪ :‬ﻛﺘﺎﺏ ﭘﻨﺠــــــﺮﻩ‬ ‫ﻧﻮﺑﺖ ﭼـﺎپ‪ :‬ﺍﻭﻝ ‪-‬‬

‫‪1 3 8 8‬‬

‫ﺷﻤــﺎﺭﮔﺎﻥ‪ 1 6 5 0 :‬ﻧﺴﺨـــﻪ‬

‫ﻛﺘﺎﺏ‬

‫ﺗﺮﺟﻤﻪ ﺩﺭ ﺍﻳﺮﺍﻥ‬ ‫ﺍﻳﻦ ﺍﺛﺮ ﺗﻮﺳﻂ ﺩﻭ ﻣﺘﺮﺟﻢ )ﻣﺤﻤﺪ ﻗﺼﺎﻉ ﻭ ﻫﻮﺷﻨﮓ ﻏﻴﺎﺛﻰﻧﮋﺍﺩ( ﺑﻪ ﻧﺎﻡ ﻣﺮﺩ ﻣﺼﻮﺭ ﺗﺮﺟﻤﻪ ﺷﺪﻩ‬ ‫ﺍﺳﺖ‪ .‬ﺗﺮﺟﻤﻪﻯ ﻫﻮﺷﻨﮓ ﻏﻴﺎﺛﻰ ﺩﺭ ﺳﺎﻝ ‪ 1372‬ﺗﻮﺳﻂ ﭘﺎﺳﺎﺭﮔﺎﺩ ﻭ ﺗﺮﺟﻤﻪﻯ ﻣﺤﻤﺪ ﻗﺼﺎﻉ ﺑﻪ‬ ‫ﺳﺎﻝ ‪ 1374‬ﺗﻮﺳﻂ ﻧﺸﺮ ﺍﻓﻖ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺗﺮﺟﻤﻪﻯ ﻣﺤﻤﺪ ﻗﺼﺎﻉ ﭼﻬﺎﺭ ﺩﺍﺳﺘﺎﻥ ﺣﺬﻑ‬ ‫)ﻣﻮﺷﻚﺭﺍﻥ‪ ،‬ﺑﺎﻟﻮﻥﻫﺎﻯ ﺁﺗﺸﻴﻦ‪ ،‬ﺗﺒﻌﻴﺪﻯﻫﺎ‪ ،‬ﺑﺘﻮﻥ ﻣﺨﻠﻮﻁﻛﻦ( ﻭ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﺩﻳﮕﺮ )ﺁﺷﺮ ﺩﻭ(‬ ‫ﺍﺿﺎﻓﻪ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺑﺮﻳﺪﻩﺍﻯ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﺑﺰﺭﮔﺮﺍﻩ )ﺗﺮﺟﻤﻪﻯ ﺣﺴﻴﻦ ﺷﻬﺮﺍﺑﻰ‪ ،‬ﺑﻬﻤﻦ ‪ ،1385‬ﺁﻛﺎﺩﻣﻰ ﻓﺎﻧﺘﺰﻯ(‬

‫ﺑﺎران ﺧﻨﮏ ﺷﺎﻣﮕﺎﻫﯽ ﺑﻪ دره رﺳﯿﺪ و ذرتﻫﺎ را در ﮐﺸﺘﮕﺎهﻫﺎی ﮐﻮﻫﺴﺘﺎﻧﯽ زﯾﺮ ﮐﺸﺖ‬ ‫ﻧﻮازش ﮐﺮد و ﴐﺑﻪای آﻫﺴﺘﻪ ﺑﻪ ﻋﻠﻒﻫﺎی ﺧﺸﮏ ﺑﺎم ﮐﻠﺒﻪ زد‪ .‬در ﺗﺎرﯾﮑﯽ ﻧﺎﺷﯽ از ﺑﺎران‪،‬‬ ‫زﻧﯽ ﺑﺎ ﻣﺸﻘﺖ ذرتﻫﺎ را ﻣﯿﺎن ﺳﻨﮓﻫﺎی آﺗﺸﻔﺸﺎﻧﯽ آرد ﻣﯽﮐﺮد و در آن روﺷﻨﺎﯾﯽ اﻧﺪک‬ ‫و منﻨﺎک‪ ،‬ﮐﻮدﮐﯽ در ﺟﺎﯾﯽ ﮔﺮﯾﺴﺖ‪.‬‬ ‫ﻫﺮﻧﺎﻧﺪو ﮐﻨﺎر اﯾﺴﺘﺎد ﮐﻪ ﺑﺎران ﺑﻨﺪ ﺑﯿﺎﯾﺪ ﺗﺎ ﺑﻌﺪ از آن ﺑﺎر دﯾﮕﺮ ﺑﺎ ﺧﯿﺶ ﭼﻮﺑﯽاش ﮐﺎر‬ ‫ﺷﺨﻢ زدن زﻣﯿﻦ را از ﴎ ﺑﮕﯿﺮد‪ .‬در ﭘﺎﯾﯿﻦدﺳﺖ‪ ،‬رودﺧﺎﻧﻪ ﮔِﻞآﻟﻮد ﻣﯽﺷﺪ و در ﻣﺴﯿﺮش‬ ‫ﺷﺘﺎﺑﺎن ﭘﯿﺶ ﻣﯽرﻓﺖ‪ .‬ﺑﺰرﮔﺮاﻫﯽ ﺑﺘﻮﻧﯽ‪ ،‬ﻫامﻧﻨﺪ رودﺧﺎﻧﻪای دﯾﮕﺮ ﻧﯿﺰ ﺑﻪ ﭼﺸﻢ ﻣﯽﺧﻮرد‬ ‫ﮐﻪ ﺑﻪ ﻫﯿﭻ وﺟﻪ ﺟﺎری منﯽمنﻮد؛ ﺑﻠﮑﻪ درﺧﺸﺎن و ﺗﻬﯽ ﻏﻨﻮده ﺑﻮد‪ .‬از ﺳﺎﻋﺘﯽ ﭘﯿﺶ ﺣﺘﺎ‬ ‫ﺗﮏﻣﺎﺷﯿﻨﯽ ﻧﯿﺰ ﻧﮕﺬﺷﺘﻪ ﺑﻮد ﮐﻪ ﺑﻪﺧﻮدیﺧﻮد ﺟﺬاﺑﯿﺘﯽ ﻧﺎﻣﻌﻤﻮل ﺑﻪ ﺟﺎده ﻣﯽداد‪ .‬در‬ ‫اﯾﻦ ﻫﻤﻪ ﺳﺎل‪ ،‬ﺳﺎﻋﺘﯽ ﻧﺒﻮد ﮐﻪ ﻣﺎﺷﯿﻨﯽ از آنﺟﺎ ﻧﮕﺬرد و ﮐﺴﯽ ﻓﺮﯾﺎد ﻧﺰﻧﺪ‪» :‬ﻫﯽ! ﻋﯿﺒﯽ‬ ‫ﻧﺪاره از ﺷام ﻋﮑﺲ ﺑﮕﯿﺮم؟« ﮐﺴﯽ ﺑﺎ ﺟﻌﺒﻪای ﮐﻪ ﺻﺪای ﮐﻠﯿﮏ ﻣﯽداد و ﺳﮑﻪای ﮐﻪ‬ ‫در دﺳﺘﺶ داﺷﺖ‪ .‬ﮔﺎﻫﯽ اﮔﺮ ﺑﺪون ﮐﻼه و آﻫﺴﺘﻪ در ﻣﺰرﻋﻪ راه ﻣﯽرﻓﺖ‪ ،‬ﻣﯽﮔﻔﺘﻨﺪ‪:‬‬ ‫»منﯽﺷﻪ ﮐﻼﻫﺖ رو ﻫﻢ ﺑﮕﺬاری ﴎت؟« و ﺳﭙﺲ دﺳﺘﺎﻧﺸﺎن را ﮐﻪ ﭼﯿﺰی ﻃﻼﯾﯽ داﺷﺖ‪،‬‬ ‫ﺗﮑﺎن ﻣﯽدادﻧﺪ؛ ﭼﯿﺰی ﮐﻪ زﻣﺎن را ﺑﻪ آنﻫﺎ ﻣﯽﮔﻔﺖ‪ ،‬آنﻫﺎ را ﻣﯽﺷﻨﺎﺳﺎﻧﺪ ﯾﺎ ﻫﯿﭻ ﮐﺎری‬ ‫منﯽﮐﺮد ﺑﻪ ﺟﺰ ﺗﻸﻟﻮ در آﻓﺘﺎب‪ ،‬ﻣﺎﻧﻨﺪ ﭼﺸﻢ ﮔﺮﺑﻪ در ﺷﺐ‪ .‬اﯾﻦ را ﮐﻪ ﻣﯽﮔﻔﺘﻨﺪ‪ ،‬او ﺑﺮ‬ ‫ﻣﯽﮔﺸﺖ و ﮐﻼه ﺑﻪ ﴎ ﻣﯽﮔﺬاﺷﺖ‪.‬‬ ‫‪4. Jack Smaight‬‬ ‫‪5. Dark Star‬‬

‫‪1. Illustrated Man‬‬ ‫‪2. Framing‬‬ ‫‪3. Dark Carnival‬‬

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‫ﺗﺒﻌﻴﺪﻯﻫﺎ‪ :‬ﺯﻣﻴﻨﻰﻫﺎ ﺑﻪ ﻣﺮﻳﺦ ﻣﻰﺭﻭﻧﺪ‪ .‬ﺍﻣﺎ ﻣﺮﻳﺦ ﭘﺎﻳﮕﺎﻩ ﺗﺒﻌﻴﺪﻯﻫﺎﻯ ﻋﺠﻴﺒﻰ ﺍﺳﺖ ﻛﻪ ﺳﺎﻧﺴﻮﺭ‬ ‫ﻭ ﻛﺘﺎﺏﺳﻮﺯﺍﻥ‪ ،‬ﺁﻥﻫﺎ ﺭﺍ ﺍﺯ ﺯﻣﻴﻦ ﺭﺍﻧﺪﻩ ﺍﺳﺖ‪...‬‬ ‫ﻧﻪ ﺷﺐ ﻭ ﻧﻪ ﺻﺒﺢ‪ :‬ﻛﻠﺒﻰﻣﺴﻠﻜﻰ ﻛﻬﻨﻪﻛﺎﺭ‪ ،‬ﻓﻀﺎﻯ ﻻﻳﺘﻨﺎﻫﻰ ﺭﺍ ﺑﻪ ﺩﺭﻭﻥ ﻣﻰﻛﺸﺪ ﻭ ﺷﻜﺎﻛﻴﺘﺶ‬ ‫ﺗﺎ ﻣﻨﺘﻬﺎ ﺩﺭﺟﻪﻯ ﺗﺤﻤﻞ ﺁﺩﻣﻰ ﺑﺎﻻ ﻣﻰﺭﻭﺩ ﺗﺎ ﺁﻥﻛﻪ‪...‬‬ ‫ﺭﻭﺑﺎﻩ ﻭ ﺑﻴﺸﻪ‪ :‬ﻓﺮﺍﺭﻯﻫﺎﻳﻰ ﻛﻪ ﺍﺯ ﺁﻳﻨﺪﻩ ﺁﻣﺪﻩﺍﻧﺪ‪...‬‬ ‫ﻣﻼﻗﺎﺗﻰ‪ :‬ﻣﺮﺩﻯ ﺑﺎ ﻗﺪﺭﺗﻰ ﻋﺠﻴﺐ ﻭ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩ ﺑﻪ ﺗﺒﻌﻴﺪﮔﺎﻩ ﺑﻴﻤﺎﺭﺍﻥ ﻻﻋﻼﺝ ﻓﺮﺳﺘﺎﺩﻩ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﺍﺗﻔﺎﻗﻰ ﻛﻪ ﺩﺭ ﭘﻴﺶ ﺭﻭﺳﺖ‪ ،‬ﻓﺮﺍﺗﺮ ﺍﺯ ﺑﺎﻭﺭ ﺗﻚﺗﻚ ﺳﺎﻛﻨﺎﻥ ﺭﻭ ﺑﻪ ﻣﻮﺕ ﻣﺮﻳﺦ ﺍﺳﺖ‪...‬‬ ‫ﺑﺘﻮﻥ ﻣﺨﻠﻮﻁﻛﻦ‪ :‬ﻳﻚ ﻣﺮﻳﺨﻰ ﭘﻴﺶﻗﺮﺍﻭﻝ ﺩﺭ ﺯﻣﻴﻦ ﻛﺎﭘﻴﺘﺎﻟﻴﺴﺖ ﭼﻪ ﺣﺎﻟﻰ ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ؟‬ ‫ﺷﺮﻛﺖ ﺧﻴﻤﻪﺷﺐﺑﺎﺯﻯ ﻣﺎﺭﻳﻮﻧﺖ‪ :‬ﭼﻪ ﺍﺗﻔﺎﻓﻰ ﻣﻰﺍﻓﺘﺪ ﺍﮔﺮ ﺭﻭﺯﻯ ﻋﺮﻭﺳﻚﻫﺎﻳﻰ ﻣﺎﻧﻨﺪ ﺍﻧﺴﺎﻥ‬ ‫ﺟﺎﻳﮕﺰﻳﻦ ﺍﻧﺴﺎﻥﻫﺎﻯ ﻭﺍﻗﻌﻰ ﺷﻮﻧﺪ‪ .‬ﺍﻳﻦ ﺑﻦﻣﺎﻳﻪﻯ ﺗﻜﺮﺍﺭﻯ ﺍﺯ ﺩﻳﺪ ﺑﺮﺩﺑﺮﻯ ﻋﻤﻘﻰ ﺷﺎﻋﺮﺍﻧﻪ ﭘﻴﺪﺍ‬ ‫ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺷﻬﺮ‪ :‬ﺷﻬﺮﻯ ﺑﻴﺴﺖ ﻫﺰﺍﺭ ﺳﺎﻟﻪ ﻭ ﻣﺘﺮﻭﻙ‪ ،‬ﺯﻧﺪﻩ ﺍﺳﺖ ﻭ ﺩﺭ ﺍﻧﺘﻈﺎﺭ ﻧﮋﺍﺩ ﺧﺎﺻﻰ ﻛﻪ ﺍﻭ ﺭﺍ ﺑﻴﺪﺍﺭ‬ ‫ﻛﻨﺪ‪ .‬ﻭﻗﺘﻰ ﮔﺮﻭﻫﻰ ﺍﺯ ﺍﻧﺴﺎﻥﻫﺎ ﭘﺎ ﺑﻪ ﺭﻭﻯ ﺳﻴﺎﺭﻩﻯ ﺷﻬﺮ ﻣﻰﮔﺬﺍﺭﻧﺪ‪...‬‬ ‫ﺳﺎﻋﺖ ﺻﻔﺮ‪ :‬ﺳﺎﻋﺖ ﺻﻔﺮ ﺑﺎﺯﻯ ﻣﺤﺒﻮﺏ ﻫﻤﻪﻯ ﻛﻮﺩﻛﺎﻥ ﺩﺭ ﺳﺮﺗﺎﺳﺮ ﺯﻣﻴﻦ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻣﺎ‬ ‫ﺭﺍﺯﻯ ﺑﺰﺭگ ﭘﺸﺖ ﺍﻳﻦ ﺑﺎﺯﻯ ﺑﻰﺧﻄﺮ ﻛﻮﺩﻛﺎﻧﻪ ﻧﻬﻔﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﻣﻮﺷﻚ‪ :‬ﻓﻴﻮﺭﻟﻮ ﺑﺎﻳﺪ ﺑﻴﻦ ﺧﻮﺩﺵ ﻭ ﺍﻋﻀﺎﻯ ﺧﺎﻧﻮﺍﺩﻩﻯ ﺑﺰﺭﮔﺶ ﻳﻚ ﻧﻔﺮ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻛﻨﺪ‪ .‬ﻳﻚ‬ ‫ﻧﻔﺮ ﺑﺮﺍﻯ ﺳﻔﺮﻯ ﻛﻪ ﻓﻘﻂ ﻳﻚ ﺑﺎﺭ ﺑﺮﺍﻯ ﺁﻥﻫﺎ ﺍﻣﻜﺎﻥ ﺩﺍﺭﺩ‪...‬‬ ‫ﭘﺎﻳﺎﻥ‪ :‬ﻣﺮﺩ ﻣﺼﻮﺭ‪ :‬ﺭﺍﻭﻯ ﭼﺸﻤﺶ ﺑﻪ ﻛﻤﺮ ﻣﺮﺩ ﻣﺼﻮﺭ ﻣﻰﺍﻓﺘﺪ ﻛﻪ ﺳﺮﻧﻮﺷﺖ ﺧﻮﺩ ﺍﻭ ﺭﺍ ﻧﺸﺎﻥ‬ ‫ﻣﻰﺩﻫﺪ‪ .‬ﺳﺮﻧﻮﺷﺘﻰ ﻛﻪ ﺍﻭ ﺭﺍ ﻭﺍ ﻣﻰﺩﺍﺭﺩ ﺑﻰﺩﺭﻧﮓ ﺑﮕﺮﻳﺰﺩ‪.‬‬

‫ﺍﻗﺘﺒﺎﺱﻫﺎﻳﻰ ﺳﻴﻨﻤﺎﻳﻰ‬ ‫ﺩﺭ ﺳﺎﻝ ‪ 1969‬ﺟﻚ ﺍﺳﻤﺎﻳﺖ ]‪ [4‬ﻓﻴﻠﻤﻰ ﺑﻪ ﻫﻤﻴﻦ ﻧﺎﻡ ﺍﺯ ﺭﻭﻯ ﺍﻳﻦ ﺍﺛﺮ ﺳﺎﺧﺖ ﻛﻪ ﺳﻪ ﺩﺍﺳﺘﺎﻥ‬ ‫ﻣﺠﻤﻮﻋﻪ ﺑﻪ ﻋﻼﻭﻩﻯ ﻣﻘﺪﻣﻪ ﻭ ﻣﺆﺧﺮﻩ ﺭﺍ ﭘﻮﺷﺶ ﻣﻰﺩﺍﺩ‪ .‬ﻓﻴﻠﻢ ﺳﺘﺎﺭﻩﻯ ﺗﺎﺭﻳﻚ ]‪ [5‬ﻧﻴﺰ ﺍﺯ‬ ‫ﺩﺍﺳﺘﺎﻥ ﻛﺎﻟﻪﺋﻴﺪﻭﺳﻜﻮپ ﺍﻟﻬﺎﻡ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪.‬‬

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‫ﻛﺘﺎﺏ‬

‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥﻫﺎ‬ ‫ﺁﻏﺎﺯ‪ :‬ﻣﺮﺩ ﻣﺼﻮﺭ‪ :‬ﺭﺍﻭﻯ ﺑﺎ ﻣﺮﺩ ﻣﺼﻮﺭ ﺁﺷﻨﺎ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺑﻴﺸﻪ‪ :‬ﺩﺭ ﺁﻳﻨﺪﻩﺍﻯ ﻧﻪ ﭼﻨﺪﺍﻥ ﺩﻭﺭ ﺍﺗﺎﻕ ﺑﺎﺯﻯ ﻭﺍﻗﻌﻴﺖ ﻣﺠﺎﺯﻯ‪ ،‬ﺗﻨﻬﺎ ﻣﺤﻠﻰ ﺍﺳﺖ ﻛﻪ ﻛﻮﺩﻛﺎﻥ ﺩﺭ‬ ‫ﺧﺎﻧﻪ ﺑﻪ ﺁﻥ ﺍﺣﺴﺎﺱ ﺗﻌﻠﻖ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻭﻗﺘﻰ ﭘﺪﺭ ﻭ ﻣﺎﺩﺭ ﺗﻼﺵ ﻣﻰﻛﻨﻨﺪ ﺍﻭﺿﺎﻉ ﺭﺍ ﺗﻐﻴﻴﺮ ﺩﻫﻨﺪ‪...‬‬ ‫ﻛﺎﻟﻪﺋﻴﺪﻭﺳﻜﻮپ‪ :‬ﺳﻔﻴﻨﻪﺍﻯ ﺩﺭ ﻓﻀﺎ ﻧﺎﺑﻮﺩ ﻣﻰﺷﻮﺩ ﻭ ﻓﻀﺎﻧﻮﺭﺩﺍﻥ ﭘﺨﺶ ﺷﺪﻩ ﺩﺭ ﻓﻀﺎ ﻛﻪ‬ ‫ﻛﻨﺘﺮﻟﻰ ﺑﺮ ﺭﻭﻯ ﺣﺮﻛﺖ ﺧﻮﺩ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﺁﺧﺮﻳﻦ ﺳﺎﻋﺖﻫﺎﻯ ﺯﻧﺪﮔﻰ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﺍﻃﻼﻉ ﺍﺯ ﻣﺮگ‬ ‫ﺣﺘﻤﻰ ﻃﻰ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﭘﺎﻯ ﺩﻳﮕﺮ‪ :‬ﺳﻴﺎﻩﭘﻮﺳﺘﺎﻥ ﻣﺮﻳﺦ ﺭﺍ ﻣﺴﻜﻮﻧﻰ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﺧﺒﺮ ﻣﻰﺭﺳﺪ ﻛﻪ ﺳﻔﻴﺪﭘﻮﺳﺘﺎﻥ ﺩﺭ ﻓﺮﺍﺭ ﺍﺯ‬ ‫ﺟﻨﮕﻰ ﻧﺎﺑﻮﺩﮔﺮ ﺑﻪ ﻣﺮﻳﺦ ﻣﻰﺁﻳﻨﺪ‪ .‬ﺍﻳﻦ ﺧﺒﺮ ﻭﺍﻛﻨﺶﻫﺎﻯ ﻣﺨﺘﻠﻔﻰ ﺭﺍ ﺑﺮ ﻣﻰﺍﻧﮕﻴﺰﺍﻧﺪ‪...‬‬ ‫ﺑﺰﺭﮔﺮﺍﻩ‪ :‬ﻣﺮﺩ ﻭ ﺯﻧﻰ ﺑﻰﺧﺒﺮ ﺍﺯ ﺗﻤﺎﻡ ﺩﻧﻴﺎ‪ ،‬ﺩﺭ ﻣﺰﺭﻋﻪﺷﺎﻥ ﻛﻨﺎﺭ ﺑﺰﺭﮔﺮﺍﻩ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺧﻮﺩﺭﻭﻫﺎﻯ ﻋﺒﻮﺭﻯ ﺗﻨﻬﺎ ﺍﺭﺗﺒﺎﻁ ﺁﻥﻫﺎ ﺑﺎ ﺩﻧﻴﺎﻳﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﻫﻴﭻ ﺍﺭﺗﺒﺎﻃﻰ ﺑﺎ ﺁﻥﻫﺎ ﻧﺪﺍﺭﺩ‪ .‬ﺍﻣﺎ‬ ‫ﺭﻭﺯﻯ‪...‬‬ ‫ﻣﺮﺩ‪ :‬ﻓﻀﺎﻧﻮﺭﺩﺍﻥ ﺳﻔﻴﻨﻪﺍﻯ ﺑﻪ ﺳﻴﺎﺭﻩﺍﻯ ﺟﺪﻳﺪ ﻣﻰﺭﺳﻨﺪ ﻭ ﻣﺮﺩﻡ ﺁﻥﺟﺎ ﺭﺍ ﺩﺭ ﺁﺭﺍﻣﺸﻰ ﺑﺮﻫﻢﻧﺎﺯﺩﻧﻰ‬ ‫ﻣﻰﻳﺎﺑﻨﺪ‪ .‬ﻧﺎﺧﺪﺍ ﺑﺎ ﭘﺮﺱﻭﺟﻮ ﺩﺭ ﻣﻰﻳﺎﺑﺪ ﻛﻪ ﺍﻳﻦ ﺁﺭﺍﻣﺶ ﻧﺘﻴﺠﻪﻯ ﻇﻬﻮﺭ ﺷﺨﺼﻰ ﻏﺮﻳﺐ ﺍﺳﺖ ﻛﻪ‬ ‫ﺑﻪ ﺗﺎﺯﮔﻰ ﻋﺮﻭﺝ ﻛﺮﺩﻩ ﺍﺳﺖ‪...‬‬ ‫ﺑﺎﺭﺍﻥ ﻃﻮﻻﻧﻰ‪ :‬ﻛﺸﺘﻰ ﻓﻀﺎﻳﻰ ﺭﻭﻯ ﺯﻫﺮﻩ ﺳﻘﻮﻁ ﻣﻰﻛﻨﺪ ﻭ ﻓﻀﺎﻧﻮﺭﺩﺍﻥ ﺑﺎﻳﺪ ﺯﻳﺮ ﺑﺎﺭﺍﻥ ﺍﺑﺪﻯ‬ ‫ﺯﻫﺮﻩ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﭘﻨﺎﻫﮕﺎﻩ ﺑﺮﺳﺎﻧﻨﺪ ﻭ ﺩﺭ ﺍﻳﻦ ﺭﺍﻩ ﺑﺎ ﺟﻨﻮﻥ ﻭ ﺗﻮﻫﻢ ﻭ ﺧﻮﺩ ﻭ ﺳﻴﺎﺭﻩ ﻭ ﻣﻮﺟﻮﺩﺍﺗﺶ‬ ‫ﺭﻭﺑﻪﺭﻭ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﻣﻮﺷﻚﺭﺍﻥ‪ :‬ﻫﻤﺴﺮ ﻭ ﻓﺮﺯﻧﺪ ﻣﺮﺩ ﻣﻮﺷﻚﺭﺍﻥ ﻛﻪ ﻫﻤﻴﺸﻪ ﻣﺎﻧﻨﺪ ﺭﺍﻧﻨﺪﻩﻯ ﻛﺎﻣﻴﻮﻧﻰ ﺑﻴﺎﺑﺎﻧﻰ ﺩﺭ‬ ‫ﺭﺍﻩ ﺍﺳﺖ‪ ،‬ﺑﺎ ﺑﻮﺩﻥ ﻭ ﻧﺒﻮﺩﻥ ﺍﻭ ﻛﻨﺎﺭ ﻣﻰﺁﻳﻨﺪ ﺗﺎ ﺭﻭﺯﻯ ﻛﻪ‪...‬‬ ‫ﺑﺎﻟﻮﻥﻫﺎﻯ ﺁﺗﺸﻴﻦ‪ :‬ﻛﺸﻴﺸﻰ ﺯﻣﻴﻨﻰ ﺑﺮﺍﻯ ﻫﺪﺍﻳﺖ ﺳﺎﻛﻨﺎﻥ ﻣﺮﻳﺦ ﺑﻪ ﺍﻳﻦ ﺳﻴﺎﺭﻩ ﻣﻰﺭﻭﺩ‪ .‬ﺍﻣﺎ ﺩﺭ‬ ‫ﻋﻮﺽ ﺑﺎ ﻛﺮﻩﻫﺎﻳﻰ ﺍﺯ ﻧﻮﺭ ﺭﻭﺑﻪﺭﻭ ﻣﻰﺷﻮﺩ ﻛﻪ‪...‬‬ ‫ﺁﺧﺮﻳﻦ ﺷﺐ ﺟﻬﺎﻥ‪ :‬ﺁﺧﺮﻳﻦ ﺷﺐ ﺟﻬﺎﻥ ﺍﺳﺖ ﻭ ﻫﻤﻪﻯ ﻣﺮﺩﻡ ﺍﻳﻦ ﺭﺍ ﻣﻰﺩﺍﻧﻨﺪ‪ .‬ﭼﻪ ﺭﻓﺘﺎﺭﻯ‬ ‫ﺭﺍ ﺍﻧﺘﻈﺎﺭ ﺩﺍﺭﻳﺪ؟‬ ‫‪95‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﺳﺎﻝ ‪ 1951‬ﺑﻮﺩ ﻛﻪ »ﻣﺮﺩ ﻣﺼﻮﺭ« ﺑﻪ ﺻﻮﺭﺕ ﻛﺘﺎﺏ ﭼﺎپ ﺷﺪ‪ .‬ﻫﺠﺪﻩ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ ﺟﺎﺩﻭﻳﻰ‬ ‫ﺁﻗﺎﻯ ﺑﺮﺩﺑﺮﻯ ﺑﺎ ﭘﻞﻫﺎﻳﻰ ﻏﺮﻳﺐ ﺩﺭ ﻗﺎﻟﺐ ﺩﺍﺳﺘﺎﻧﻰ ﺧﻴﺎﻟﻰ ﺑﻪ ﻫﻢ ﻣﺘﺼﻞ ﺷﺪﻩ ﻭ ﻣﺮﺩ ﻣﺼﻮﺭ ﺭﺍ‬ ‫ﺷﻜﻞ ﺩﺍﺩﻩﺍﻧﺪ‪ .‬ﺑﺮﺩﺑﺮﻯ ﻳﻜﻰ ﺍﺯ ﺍﺳﺎﺗﻴﺪ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ ﺩﺭ ژﺍﻧﺮ ﺍﺳﺖ ﻭ ﻫﺠﺪﻩ ﺩﺍﺳﺘﺎﻧﻰ ﻛﻪ ﺑﺎ‬ ‫ﻗﺎﺏﺳﺎﺯﻯ ]‪ [2‬ﺑﻪ ﻫﻢ ﻣﺘﺼﻞ ﻛﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺟﺰء ﺑﻬﺘﺮﻳﻦ ﻧﻤﻮﻧﻪﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ ﮔﻤﺎﻧﻪﺯﻥ ﺑﻪ‬ ‫ﺣﺴﺎﺏ ﻣﻰﺁﻳﻨﺪ‪.‬‬ ‫ﻛﺘﺎﺏ ﺑﺎ ﺩﺍﺳﺘﺎﻥ ﻣﻼﻗﺎﺕ ﺭﺍﻭﻯ ﻭ ﻣﺮﺩ ﻣﺼﻮﺭ ﺁﻏﺎﺯ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺭ ﻣﺠﻤﻮﻋﻪ ﺩﺍﺳﺘﺎﻥ »ﻛﺎﺭﻧﺎﻭﺍﻝ‬ ‫ﻇﻠﻤﺖ« ]‪ [3‬ﺑﺮﺩﺑﺮﻯ ﺑﺎ ﺳﺎﺣﺮﻩﺍﻯ ﺁﺷﻨﺎ ﻣﻰﺷﻮﻳﻢ ﻛﻪ ﺯﻣﺎﻥ ﺭﺍ ﺯﻳﺮ ﭼﻨﮓ ﺩﺍﺭﺩ ﻭ ﺍﺯ ﺁﻳﻨﺪﻩ ﻳﺎ‬ ‫ﮔﺬﺷﺘﻪ ﺁﻣﺪﻩ ﺍﺳﺖ ﻭ ﭼﻬﺮﻩﺍﺵ ﻫﻤﻴﺸﻪ ﺩﺭ ﺣﺎﻝ ﺩﮔﺮﮔﻮﻧﻰ ﺍﺳﺖ‪.‬‬ ‫ﺑﺪﻥ ﻣﺮﺩ ﻣﺼﻮﺭ ﭘﻮﺷﻴﺪﻩ ﺷﺪﻩ ﺍﺳﺖ ﺍﺯ ﺧﺎﻟﻜﻮﺑﻰﻫﺎﻯ ﻏﺮﻳﺐ ﻭ ﺯﻧﺪﻩ ﻛﻪ ﺍﮔﺮ ﺧﻮﺏ ﺩﻗﺖ ﻛﻨﻴﺪ‬ ‫ﻭ ﮔﻮﺵ ﺑﺴﭙﺎﺭﻳﺪ‪ ،‬ﻫﺮ ﻛﺪﺍﻡ ﺩﺍﺳﺘﺎﻧﻰ ﻣﺠﺰﺍ ﺭﺍ ﻧﻘﻞ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺩﺍﺳﺘﺎﻥﻫﺎ ﻣﻮﺗﻴﻒﻫﺎﻯ ﭼﻨﺪﻯ‬ ‫ﺩﺍﺭﻧﺪ ﻛﻪ ﻣﻬﻢﺗﺮﻳﻦ ﻭ ﭘﺮﺭﻧﮓﺗﺮﻳﻦ ﺁﻥﻫﺎ‪ ،‬ﻧﺨﺴﺖ ﺍﻧﺴﺎﻧﻴﺖ ﻭ ﺩﻭﻡ ﻓﻨﺎﻭﺭﻯ ﺍﺳﺖ‪ .‬ﺍﻧﺴﺎﻧﻴﺖ ﺑﻪ‬ ‫ﺍﻧﺤﺎء ﻣﺨﺘﻠﻒ‪ ،‬ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻣﺠﻤﻮﻋﻪ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪ .‬ﺑﺮﺧﻮﺭﺩ ﻧﺎﺧﺪﺍ ﻭ ﻣﺮﺩﻡ ﺩﻧﻴﺎﻳﻰ ﻛﻪ ﺭﻭﻯ ﺁﻥ‬ ‫ﻓﺮﻭﺩ ﺁﻣﺪﻩ ﺑﺎ ﺭﺧﺪﺍﺩﻫﺎﻯ ﺑﺎﻭﺭﻧﺎﻛﺮﺩﻧﻰ ﻳﺎ ﺩﺭﻙﻧﺸﺪﻧﻰ ﻳﺎ ﻫﻀﻢﻧﺸﺪﻧﻰ )ﻣﺮﺩ‪ ،‬ﻛﺎﻟﻪﺋﻴﺪﻭﺳﻜﻮپ‬ ‫ﻭ‪ ،(...‬ﻏﺮﺍﺑﺖ ﺑﭽﻪﻫﺎ ﺑﺎ ﻭﺍﻟﺪﻳﻦ )ﻣﺮﻏﺰﺍﺭ‪ ،‬ﺳﺎﻋﺖ ﺻﻔﺮ‪ ،‬ﻣﻮﺷﻚ( ﻛﻪ ﺩﺭ ﻓﺮﺁﻳﻨﺪﻯ ﺍﻳﺠﺎﺩ ﺷﺪﻩ ﻛﻪ‬ ‫ﻧﺘﻴﺠﻪﻯ ﻣﺴﺘﻘﻴﻢ ﻏﻠﺒﻪﻯ ﺍﻗﺘﻀﺎ ﺩﺭ ﻛﺎﺭﺑﺮﺩ ﻓﻨﺎﻭﺭﻯ ﺍﺳﺖ ﻭ ﻣﺎﻧﻨﺪ ﺁﻥ‪ .‬ﺩﺭﮔﻴﺮﻯﻫﺎﻯ ﺍﻧﺴﺎﻧﻰ ﺩﺭ‬ ‫ﺳﻄﻮﺡ ﻣﺨﺘﻠﻒ ﺧﻮﺩ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪ ،‬ﭼﻪ ﺩﺭ ﺣﺪ ﺟﻨﮓ ﻭ ﺍﺛﺮﺍﺕ ﺁﻥ )ﺑﺰﺭﮔﺮﺍﻩ( ﻭ ﭼﻪ ﺩﺭ ﺣﺪ‬ ‫ﺗﻨﻬﺎﻳﻰ ﻣﺪﺭﻥ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻣﺠﻤﻮﻋﻪ ﺩﺭ ﻃﻰ ﺳﺎﻝﻫﺎﻯ ‪ 1948‬ﺗﺎ ‪ 1951‬ﺩﺭ ﻣﺠﻠﻪﻫﺎﻯ ﻣﺨﺘﻠﻒ ﻣﻨﺘﺸﺮ ﺷﺪﻩﺍﻧﺪ‬ ‫ﻭ ﺁﻥﭼﻪ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﻫﻢ ﭘﻴﻮﻧﺪ ﻣﻰﺩﻫﺪ‪ ،‬ﺗﺼﺤﻴﺢ ﺭﺍﻭﻯ ﻭ ﭘﻞﻫﺎﻯ ﺩﺍﺳﺘﺎﻧﻰ ﺍﺳﺖ‪ .‬ﻫﻤﻴﻦ ﺍﻣﺮ‬ ‫ﺑﺎﻋﺚ ﺷﺪﻩ ﺍﺳﺖ ﺩﺍﺳﺘﺎﻥﻫﺎ ﺑﺮﺧﻼﻑ ﺑﺴﻴﺎﺭﻯ ﻣﺠﻤﻮﻋﻪﻫﺎ ﭘﻴﻮﻧﺪ ﻣﺴﺘﻘﻴﻤﻰ ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﻧﺪﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﻨﺪ‪ ،‬ﺍﻣﺎ ﺍﺯ ﺳﻮﻯ ﺩﻳﮕﺮ ﻫﻤﻴﻦ ﻋﺪﻡ ﻭﺟﻮﺩ ﭘﻴﻮﻧﺪ‪ ،‬ﺗﻔﺎﻭﺕ ﺩﺍﺳﺘﺎﻥﻫﺎ ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﻭ ﮔﻮﻧﻪﮔﻮﻧﻰ ﺩﺭ‬ ‫ﺭﻭﺍﻳﺖ‪ ،‬ﻣﺠﻤﻮﻋﻪﻯ ﺭﻧﮕﺎﺭﻧﮕﻰ ﭘﺪﻳﺪ ﺁﻭﺭﺩﻩ ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﻯ ﺧﻮﺍﻧﻨﺪﻩ ﻫﻢ ﺟﺬﺍﺏ ﻣﻰﻧﻤﺎﻳﺪ‪ .‬ﺑﺎ ﺗﻮﺟﻪ‬ ‫ﺑﻪ ﺩﻳﺪ ﺑﺮﺩﺑﺮﻯ ﻭ ﺑﻦﻣﺎﻳﻪﻯ ﺩﺍﺳﺘﺎﻥﻫﺎ ﻛﻪ ﺍﺯ ﺩﻳﺪﮔﺎﻩ ﺑﺮﺩﺑﺮﻯ ﻧﺴﺒﺖ ﺑﻪ ﺁﻥﭼﻪ ﺁﻥ ﺭﺍ ﻣﻄﻠﻮﺏ‬ ‫ﺭﻭﺍﺑﻂ ﺍﻧﺴﺎﻧﻰ ﻣﻰﺩﺍﻧﺪ‪ ،‬ﻧﺸﺄﺕ ﮔﺮﻓﺘﻪ؛ ﻧﻘﻄﻪﻯ ﺍﺷﺘﺮﺍﻙ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﻫﻤﺎﻥ ﺑﻦﻣﺎﻳﻪ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺖ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﻣﺨﺘﺼﺮ ﻧﻤﻰﺗﻮﺍﻥ ﺣﺘﺎ ﺑﻪ ﺑﺨﺶ ﻛﻮﭼﻜﻰ ﺍﺯ ﻋﻨﺎﺻﺮ ﺍﺳﺎﺳﻰ ﻛﺘﺎﺏ ﭘﺮﺩﺍﺧﺖ‪ .‬ﺍﻣﺎ ﺗﻼﺵ‬ ‫ﺷﺪ ﺗﺎ ﻣﻬﻤﺘﺮﻳﻦ ﻧﻜﺎﺕ ﮔﻨﺠﺎﻧﺪﻩ ﺷﻮﻧﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

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‫ﻛﺘﺎﺏ‬

‫ﻣﺮﺩ ﻣﺼﻮﺭ‬ ‫ﻣﻬﺪﻯ ﺑﻨﻮﺍﺭﻯ‬

‫ﺷﻨﺎﺳﻨﺎﻣﻪ‬ ‫ﻧﺎﻡ ﻛﺘــﺎﺏ‪ :‬ﻣـﺮﺩ ﻣﺼـﻮﺭ ]‪[1‬‬ ‫ﻧﻮﻳﺴﻨــﺪﻩ‪ :‬ﺭﻯ ﺑﺮﺩﺑـــﺮﻯ‬ ‫ﻧـﺎﺷــــﺮ‪:‬‬

‫‪Doubleday‬‬ ‫‪& Company‬‬

‫ﺳﺎﻝ ﺍﻧﺘﺸﺎﺭ‪ 1 9 5 1 :‬ﻣﻴﻼﺩﻯ‬ ‫ﺻﻔﺤــﺎ ﺕ ‪ 2 5 6 :‬ﺻﻔﺤـﻪ‬

‫ﻣﺼﺎﺣﺒﻪ‬

‫‪71. Grapes of Wrath‬‬

‫‪ :Nikos Kazantzakis .72‬ﻧﻮﻳﺴﻨﺪﻩﻯ »ﻧﺎﻥ ﻭ ﺷﺮﺍﺏ«‬ ‫ﻭ »ﺯﻭﺭﺑﺎﻯ ﻳﻮﻧﺎﻧﻰ«‬ ‫‪73. The Saviors of God‬‬

‫‪ :Tarzan .74‬ﻣﻌﺮﻭﻑﺗﺮﻳﻦ ﺷﺨﺼﻴﺖ ﭘﺮﺩﺍﺧﺘﻪﻯ ﺩﺳﺖ‬ ‫ﺍﺩﮔﺎﺭ ﺭﺍﻳﺲ ﺑﺎﺭﻭﺯ ﺑﻌﺪ ﺍﺯ ﺟﺎﻥ ﻛﺎﺭﺗﺮ‬ ‫‪75. Mr. Electrico‬‬

‫‪ :The Illustrated Man .76‬ﻳﻜﻰ ﺍﺯ ﺭﻣﺎﻥﻫﺎﻯ ﺭﻯ‬ ‫ﺑﺮﺩﺑﺮﻯ‬

‫‪91‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫‪12. Arthur C. Clarke‬‬

‫‪36. Katherine Anne Porter‬‬

‫‪13. Theodore Sturgeon‬‬

‫‪37. Edith Wharton‬‬

‫‪14. Van Vogt‬‬

‫‪38. Jessamyn West‬‬

‫‪ :Astounding Science Fiction .15‬ﻣﺠﻠﻪﻯ‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻋﺎﻣﻪﭘﺴﻨﺪﻯ ﺑﻪ ﺳﺮﺩﺑﻴﺮﻯ »ﺟﺎﻥ ﺩﺑﻠﻴﻮ‪.‬‬ ‫ﻛﻤﭙﺒﻞ« ﻛﻪ ﻧﻮﻳﺴﻨﺪﮔﺎﻧﻰ ﭼﻮﻥ ﺁﺳﻴﻤﻮﻑ‪ ،‬ﻫﺎﻳﻦﻻﻳﻦ‪ ،‬ﻟﺴﺘﺮ‬ ‫ﺩﻝ ﺭﻯ‪ ،‬ﺍﺳﺘﻮﺭژﻥ‪ ،‬ﺍﻯ‪ .‬ﺍﻯ ﺍﺳﻤﻴﺖ ‪ ،‬ﺍﻭﺭﺳﻮﻥ ﺍﺳﻜﺎﺕ ﻛﺎﺭﺩ ﻭ‬ ‫ﺍﻝ‪ .‬ﺭﺍﻥ ﻫﺎﺑﺎﺭﺩ ﺩﺭ ﺁﻥ ﻗﻠﻢ ﺯﺩﻩﺍﻧﺪ‪.‬‬ ‫‪ :Jules Verne .16‬ﻧﻮﻳﺴﻨﺪﻩﻯ ﺑﻴﺴﺖ ﻫﺰﺍﺭ ﻓﺮﺳﻨﮓ ﺯﻳﺮ‬ ‫ﺩﺭﻳﺎ‬ ‫‪ :H. G. Wells .17‬ﻧﻮﻳﺴﻨﺪﻩﻯ ﻣﺮﺩ ﻧﺎﻣﺮﺋﻰ‪ ،‬ﻣﺎﺷﻴﻦ ﺯﻣﺎﻥ‬ ‫ﻭ ﺟﻨﮓ ﺩﻧﻴﺎﻫﺎ‬ ‫‪ :Nemo .18‬ﻗﻬﺮﻣﺎﻥ ﻛﺘﺎﺏ ﺑﻴﺴﺖ ﻫﺰﺍﺭ ﻓﺮﺳﻨﮓ ﺯﻳﺮ ﺩﺭﻳﺎ‬ ‫‪ :Ahab .19‬ﺷﺨﺼﻴﺖ ﻧﺎﺧﺪﺍ ﺩﺭ ﻛﺘﺎﺏ ﻣﻮﺑﻰﺩﻳﻚ‬ ‫‪ :Herman Melville .20‬ﻧﻮﻳﺴﻨﺪﻩﻯ ﻣﻮﺑﻰﺩﻳﻚ‬ ‫‪ :Edgar Allan Poe .21‬ﻧﻮﻳﺴﻨﺪﻩﻯ »ﻗﻠﺐ ﺭﺍﺯﮔﻮ«‪،‬‬ ‫»ﻣﻮﺭﻻ«‪» ،‬ﮔﺮﺑﻪ ﺳﻴﺎﻩ« ﻭ »ﻧﻘﺎﺏ ﻣﺮگ ﺳﺮﺥ«‬ ‫‪ :Edgar Rice Burroughs .22‬ﻧﻮﻳﺴﻨﺪﻩﻯ ﻣﻌﺮﻭﻑ‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺁﻣﺮﻳﻜﺎﻳﻰ ﻭ ﭘﺪﺭ ﮔﻮﻧﻪﻯ ﺍﭘﺮﺍﻯ ﻓﻀﺎﻳﻰ ﺑﻪ ﻋﻠﺖ‬ ‫ﻧﮕﺎﺭﺵ ﻣﺠﻤﻮﻋﻪﻯ »ﺑﺎﺭﺯﻭﻡ«‬ ‫‪ :John Carter .23‬ﻗﻬﺮﻣﺎﻥ ﻣﺠﻤﻮﻋﻪﻯ ﺑﺎﺭﺯﻭﻡ ﻧﻮﺷﺘﻪﻯ‬ ‫ﺑﺎﺭﻭﺯ ﻛﻪ ﺩﺭ ﻣﺮﻳﺦ ﻣﻰﮔﺬﺭﺩ‪.‬‬

‫‪ :The Martian Chronicles .39‬ﻣﺠﻤﻮﻋﻪﺍﻯ ﺍﺯ‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻛﻮﺗﺎﻩ ﻛﻪ ﺩﺭ ﺍﻳﺮﺍﻥ ﺑﺎ ﻧﺎﻡ »ﺣﻜﺎﻳﺖﻫﺎﻯ ﻣﺮﻳﺦ« ﺑﺎ‬ ‫ﺗﺮﺟﻤﻪﻯ ﻣﻬﺪﻯ ﺑﻨﻮﺍﺭﻯ ﺍﺯ ﻧﺸﺮ ﭘﺮﻳﺎﻥ ﺩﺭ ﺩﺳﺖ ﭼﺎپ ﺍﺳﺖ‪.‬‬ ‫‪40. Dark Carnival‬‬ ‫‪41. Norman Corwin‬‬ ‫‪42. Walter Bradbury‬‬ ‫‪43. Winesburg‬‬ ‫‪44. There Will Come Soft Rains‬‬

‫‪ :Marcel Proust .45‬ﻧﻮﻳﺴﻨﺪﻩﻯ »ﺩﺭ ﺟﺴﺖﻭﺟﻮﻯ‬ ‫ﺯﻣﺎﻥ ﺍﺯ ﺩﺳﺖ ﺭﻓﺘﻪ«‬ ‫‪ :James Joyce .46‬ﻧﻮﻳﺴﻨﺪﻩﻯ »ﺍﻭﻟﻴﺲ« ﻭ »ﭼﻬﺮﻩﻯ ﻣﺮﺩ‬ ‫ﻫﻨﺮﻣﻨﺪ ﺩﺭ ﺟﻮﺍﻧﻰ«‬ ‫‪ :Gustave Flaubert .47‬ﻧﻮﻳﺴﻨﺪﻩﻯ »ﻣﺎﺩﺍﻡ ﺑﻮﺍﺭﻯ«‬ ‫‪ :Vladimir Nabokov .48‬ﻧﻮﻳﺴﻨﺪﻩﻯ »ﻟﻮﻟﻴﺘﺎ« ﻭ‬ ‫»ﺩﻋﻮﺕ ﺑﻪ ﻣﺮﺍﺳﻢ ﮔﺮﺩﻥﺯﻧﻰ«‬ ‫‪49. Henry James‬‬ ‫‪50. John Irving‬‬ ‫‪51. Washington Irving‬‬ ‫‪52. Nathaniel Hawthorne‬‬

‫‪24. Chandu the Magician‬‬

‫‪53. King Vidor‬‬

‫‪ :George Bernard Shaw .25‬ﻧﻤﺎﻳﺸﻨﺎﻣﻪﻧﻮﻳﺲ‬ ‫ﺍﻳﺮﻟﻨﺪﻯ ﻭ ﺑﻨﻴﺎﻧﮕﺬﺍﺭ ﻣﻜﺘﺐ ﺍﻗﺘﺼﺎﺩﻯ ﻟﻨﺪﻥ‬

‫‪54. Moby-Dick‬‬ ‫‪55. John Huston‬‬

‫‪26. Hopkins‬‬

‫‪56. The Maltese Falcon‬‬ ‫‪ :Call me Ishmael .57‬ﺟﻤﻠﻪﻯ ﺁﻏﺎﺯﻳﻦ ﻛﺘﺎﺏ‬ ‫ﻣﻮﺑﻰﺩﻳﻚ‬

‫‪ :John Steinbeck .29‬ﻧﻮﻳﺴﻨﺪﻩﻯ »ﺧﻮﺷﻪﻫﺎﻯ ﺧﺸﻢ«‬ ‫ﻭ »ﻣﻮﺵﻫﺎ ﻭ ﺁﺩﻡﻫﺎ«‬ ‫‪ :Aldus Huxley .30‬ﻧﻮﻳﺴﻨﺪﻩﻯ »ﺩﻧﻴﺎﻯ ﺷﮕﻔﺖﺍﻧﮕﻴﺰ‬ ‫ﻧﻮ«‬ ‫‪ :Thomas Wolfe .31‬ﻳﻜﻰ ﺍﺯ ﺑﺰﺭﮔﺘﺮﻳﻦ ﻭ ﺗﺎﺛﻴﺮﮔﺬﺍﺭﺗﺮﻳﻦ‬ ‫ﻧﻮﺳﻴﻨﺪﮔﺎﻥ ﺍﺩﺑﻴﺎﺕ ﺁﻣﺮﻳﻜﺎ ﺩﺭ ﺍﻭﺍﻳﻞ ﻗﺮﻥ ﺑﻴﺴﺘﻢ‪ .‬ﻭﻯ‬ ‫ﻧﻮﺷﺘﻪﻫﺎﻯ ﺷﺎﻋﺮﺍﻧﻪ ﻭ ﺍﻣﭙﺮﺳﻴﻮﻧﻴﺴﺘﻰ ﺭﺍ ﺑﻪ ﺍﺩﺑﻴﺎﺕ ﺁﻣﺮﻳﻜﺎ‬ ‫ﻣﻌﺮﻓﻰ ﻛﺮﺩ‪.‬‬ ‫‪ :Thomas Mann .32‬ﻧﻮﻳﺴﻨﺪﻩﻯ »ﻣﺮگ ﺩﺭ ﻭﻧﻴﺰ« ﻭ‬ ‫»ﻛﻮﻩ ﺟﺎﺩﻭ«‬

‫‪58. Fedallah‬‬

‫‪67. Juggernaut‬‬

‫‪33. John Collier‬‬

‫‪68. Love Story‬‬

‫‪34. Gerald Heard‬‬

‫‪69. Toynbee Convector‬‬

‫‪35. Eudora Welty‬‬

‫‪70. Rob Wagner‬‬

‫‪27. Frost‬‬ ‫‪28. Shakespeare‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫‪90‬‬

‫‪59. Montag‬‬ ‫‪60. Zen in the Art of Writing‬‬ ‫‪61. Saint-John Perse‬‬ ‫‪62. Edward Hopper‬‬ ‫‪63. The Fog Horn‬‬ ‫‪64. A Sound of Thunder‬‬ ‫‪65. Something Wicked This Way Comes‬‬ ‫‪66. Let’s All Kill Constance‬‬

‫ﻣﺼﺎﺣﺒﻪ‬

‫ﺁﺧﺮ ﭼﺮﺍ ﺁﻥ ﺣﺮﻑ ﺭﺍ ﺯﺩ؟ ﺷﻤﺎ ﺑﺮﺍﻯ ﻣﻦ ﺑﮕﻮﻳﻴﺪ ﭼﺮﺍ؟ ﺷﺎﻳﺪ ﭘﺴﺮﺵ ﻣﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺷﺎﻳﺪ ﺍﺻ ً‬ ‫ﻼ ﭘﺴﺮﻯ‬ ‫ﻧﺪﺍﺷﺖ‪ .‬ﺷﺎﻳﺪ ﻓﻘﻂ ﺧﻴﻠﻰ ﺗﻨﻬﺎ ﺑﻮﺩ‪ .‬ﺷﺎﻳﺪ ﻫﻢ ﺩﺍﺷﺖ ﺷﻮﺧﻰ ﻣﺴﺨﺮﻩﺍﻯ ﺑﺎ ﻣﻦ ﻣﻰﻛﺮﺩ‪ .‬ﻛﻰ‬ ‫ﻣﻰﺩﺍﻧﺪ‪ .‬ﺷﺎﻳﺪ ﻣﺘﻮﺟﻪ ﺭﻧﺠﻰ ﻛﻪ ﻣﻰﺑﺮﻡ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻫﺮ ﭼﻨﺪ ﻭﻗﺖ ﻳﻚ ﺑﺎﺭ ﺩﺭ ﺻﻒﻫﺎﻯ ﺍﻣﻀﺎﻯ‬ ‫ﻛﺘﺎﺏ‪ ،‬ﻣﻦ ﻫﻢ ﺑﭽﻪﻫﺎﻳﻰ ﺭﺍ ﻣﻰﺑﻴﻨﻢ ﻛﻪ ﺷﻮﺭ ﻭ ﺍﺷﺘﻴﺎﻕ ﺍﺯ ﭼﻬﺮﻩﺷﺎﻥ ﻣﻰﺑﺎﺭﺩ‪ .‬ﻣﻦ ﻫﻢ ﻣﺜﻞ‬ ‫ﺩﻭﺳﺘﻢ ﺑﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺗﻮﺟﻪ ﻣﻰﻛﻨﻢ‪.‬‬ ‫ﻭﻗﺘﻰ ﺍﺯ ﻛﺎﺭﻧﺎﻭﺍﻝ ﺑﺮﮔﺸﺘﻢ‪ ،‬ﺭﻭﻯ ﻣﺤﻮﻃﻪﻯ ﺍﺳﺐﻫﺎ ﺧﻢ ﺷﺪﻡ ﻭ ﺍﺳﺐﻫﺎ ﺭﺍ ﻧﮕﺎﻩ ﻛﺮﺩﻡ ﻛﻪ‬ ‫ﺑﺎ ﺭﻳﺘﻢ ﻣﻮﺳﻴﻘﻰ »ﺍﻭﻫﺎﻳﻮﻯ ﺯﻳﺒﺎ« ﻛﻪ ﺍﺯ ﺭﺍﺩﻳﻮ ﭘﺨﺶ ﻣﻰﺷﺪ‪ ،‬ﺩﻭﺭ ﻣﺤﻮﻃﻪ ﻣﻰﭼﺮﺧﻴﺪﻧﺪ ﻭ‬ ‫ﻣﻰﭼﺮﺧﻴﺪﻧﺪ‪ .‬ﻣﻦ ﻫﻢ ﺷﺮﻭﻉ ﻛﺮﺩﻡ ﺑﻪ ﺍﺷﻚ ﺭﻳﺨﺘﻦ‪ .‬ﺍﺷﻚ ﺗﻤﺎﻡ ﺻﻮﺭﺗﻢ ﺭﺍ ﭘﺮ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺑﻪ‬ ‫ﺧﺎﻃﺮ ﺻﺤﺒﺖﻫﺎﻳﻢ ﺑﺎ ﺁﻗﺎﻯ ﺍﻟﻜﺘﺮﻳﻜﻮ‪ ،‬ﻓﻬﻤﻴﺪﻩ ﺑﻮﺩﻡ ﻛﻪ ﺁﻥ ﺭﻭﺯ ﺍﺗﻔﺎﻕ ﻣﻬﻤﻰ ﺑﺮﺍﻳﻢ ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﻭ ﻣﻦ ﺭﺍ ﺗﻐﻴﻴﺮ ﺩﺍﺩﻩ ﺑﻮﺩ‪ .‬ﺑﻪ ﻣﻦ ﺣﺴﻰ ﺟﺎﺩﻭﻳﻰ ﺍﺯ ﺑﺰﺭﮔﻰ ﻭ ﺟﺎﻭﺩﺍﻧﮕﻰ ﺍﻟﻘﺎ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺯﻧﺪﮔﻰﺍﻡ‬ ‫ﺭﺍ ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺑﻪ ﺍﻥ ﺭﻭ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺑﺎﻳﺪ ﺍﻋﺘﺮﺍﻑ ﻛﻨﻢ ﻛﻪ ﻣﻮﻗﻊ ﮔﻔﺘﻦ ﺍﻳﻦ ﻛﻠﻤﺎﺕ ﻣﻮ ﺑﻪ ﺗﻨﻢ ﺳﻴﺦ‬ ‫ﻣﻰﺷﻮﺩ‪ ،‬ﻭﻟﻰ ﻭﻗﺘﻰ ﺁﻥ ﺭﻭﺯ ﺑﻪ ﺧﺎﻧﻪ ﺑﺮﮔﺸﺘﻢ‪ ،‬ﺷﺮﻭﻉ ﻛﺮﺩﻡ ﺑﻪ ﻧﻮﺷﺘﻦ ﻭ ﺗﺎ ﺍﻣﺮﻭﺯ ﺍﺯ ﻧﻮﺷﺘﻦ‬ ‫ﺩﺳﺖ ﺑﺮﻧﺪﺍﺷﺘﻢ‪.‬‬ ‫ﻫﻔﺘﺎﺩ ﻭ ﻫﻔﺖ ﺳﺎﻝ ﮔﺬﺷﺘﻪ‪ ،‬ﻭﻟﻰ ﺧﺎﻃﺮﻩﺍﺵ ﺑﺮﺍﻳﻢ ﻣﺜﻞ ﺭﻭﺯ ﺭﻭﺷﻦ ﺍﺳﺖ‪ .‬ﺁﻥ ﺷﺐ ﺑﺎﺯ ﺑﻪ ﺩﻳﺪﻧﺶ‬ ‫ﺭﻓﺘﻢ‪ .‬ﺑﺎ ﺷﻤﺸﻴﺮﺵ ﺭﻭﻯ ﺻﻨﺪﻟﻰﺍﺵ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻭ ﻳﻚ ﻧﻔﺮ ﺩﺳﺘﻪﻯ ﺑﺮﻕ ﺭﺍ ﻛﺸﻴﺪ ﻭ ﻣﻮﻫﺎﻯ ﺍﻭ‬ ‫ﺳﻴﺦ ﺷﺪ‪ .‬ﺍﻭ ﺑﺎ ﺷﻤﺸﻴﺮﺵ ﻫﻤﻪﻯ ﻛﺴﺎﻧﻰ ﻛﻪ ﺩﺭ ﺭﺩﻳﻒ ﺍﻭﻝ ﻧﺸﺴﺘﻪ ﺑﻮﺩﻧﺪ ﺭﺍ ﻟﻤﺲ ﻛﺮﺩ‪ .‬ﺩﺧﺘﺮ‬ ‫ﻭ ﭘﺴﺮ ﻭ ﻣﺮﺩ ﻭ ﺯﻥ‪ .‬ﻭ ﻭﻗﺘﻰ ﺑﻪ ﻣﻦ ﺭﺳﻴﺪ‪ ،‬ﭼﺎﻧﻪ ﻭ ﺍﺑﺮﻭ ﻭ ﭘﻴﺸﺎﻧﻰﺍﻡ ﺭﺍ ﺑﺎ ﺷﻤﺸﻴﺮﺵ ﻟﻤﺲ ﻛﺮﺩ ﻭ‬ ‫ﺑﻌﺪ ﺗﻮﻯ ﮔﻮﺷﻢ ﺯﻣﺰﻣﻪ ﻛﺮﺩ‪» :‬ﺗﺎ ﺍﺑﺪ ﺯﻧﺪﮔﻰ ﻛﻦ‪ «.‬ﻭ ﻣﻦ ﻫﻢ ﺩﻗﻴﻘﺎً ﻫﻤﺎﻥ ﻛﺎﺭ ﺭﺍ ﻛﺮﺩﻡ‪.‬‬

‫‪ :Norman Mailer .1‬ﻧﻮﻳﺴﻨﺪﻩﻯ »ﺁﻭﺍﻯ ﺟﻼﺩ« ﻭ ﻳﻜﻰ ﺍﺯ‬ ‫ﭘﺎﻳﻪﮔﺬﺍﺭﺍﻥ ﻧﺌﻮژﻭﺭﻧﺎﻟﻴﺴﻢ‬ ‫‪ :Kurt Vonnegut .2‬ﻧﻮﻳﺴﻨﺪﻩﻯ »ﺍﻓﺴﻮﻧﮕﺮﺍﻥ ﺗﺎﻳﺘﺎﻥ« ﻭ‬ ‫»ﺳﻼﺥﺧﺎﻧﻪﻯ ﺷﻤﺎﺭﻩﻯ ﭘﻨﺞ«‬ ‫‪ :Pollyanna .3‬ﺷﺨﺼﻴﺖ ﺍﺻﻠﻰ ﻛﺘﺎﺑﻰ ﺑﻪ ﻫﻤﻴﻦ ﻧﺎﻡ‬ ‫ﻧﻮﺷﺘﻪﻯ »ﺍﻟﻨﻮﺭ ﺍچ‪ .‬ﭘﻮﺭﺗﺮ« ﻛﻪ ﺑﺴﻴﺎﺭ ﺧﻮﺵﺑﻴﻦ ﻭ ﻣﺜﺒﺖﻧﮕﺮ‬ ‫ﺍﺳﺖ‪.‬‬ ‫‪ :Cassandra .4‬ﻳﻜﻰ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎﻯ ﻛﺘﺎﺏ ﺍﻳﻠﻴﺎﺩ ﻛﻪ‬ ‫ﻧﺎﺑﻮﺩﻯ ﺗﺮﻭﺍ ﺭﺍ ﭘﻴﺸﮕﻮﻳﻰ ﻣﻰﻛﻨﺪ‪.‬‬ ‫‪ :Janus .5‬ﺧﺪﺍﻯ ﺩﻭ ﭼﻬﺮﻩﻯ ﺩﺭﻭﺍﺯﻩﻫﺎ ﻛﻪ ﺩﺭ ﻳﻚ ﺯﻣﺎﻥ‬ ‫ﺁﻳﻨﺪﻩ ﻭ ﮔﺬﺷﺘﻪ ﺭﺍ ﻣﻰﺑﻴﻨﺪ‪.‬‬

‫‪ :Flash Gordon .6‬ﺷﺨﺼﻴﺖ ﺍﺻﻠﻰ ﻛﻤﻴﻚ ﺍﺳﺘﺮﻳﭗ‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺑﻪ ﻃﺮﺍﺣﻰ »ﺍﻟﻜﺲ ﺭﻳﻤﻮﻧﺪ« ﻛﻪ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺩﺭ‬ ‫‪ 1934‬ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪ‪.‬‬ ‫‪ :Buck Rogers .7‬ﺷﺨﺼﻴﺖ ﻛﻤﻴﻚ ﺍﺳﺘﺮﻳﭗ ﻛﻪ ﺍﻭﻟﻴﻦ‬ ‫ﺑﺎﺭ ﺩﺭ ﺁﺭﻣﺎﮔﺪﻭﻥ ‪» 2419‬ﻓﻴﻠﻴﭗ ﻓﺮﺍﻧﺴﻴﺲ ﻧﻮﻻﻥ« ﻇﺎﻫﺮ‬ ‫ﻣﻰﺷﻮﺩ‪.‬‬ ‫‪ :Fahrenheit 451 .8‬ﻣﻌﺮﻭﻑﺗﺮﻳﻦ ﺭﻣﺎﻥ ﺭﻯ ﺑﺮﺩﺑﺮﻯ‬ ‫‪ :Perseus .9‬ﻗﻬﺮﻣﺎﻥ ﻛﺸﻨﺪﻩﻯ ﻣﺪﻭﺳﺎ‬ ‫‪ :Medusa .10‬ﻫﻴﻮﻻﻳﻰ ﻛﻪ ﺑﺎ ﻧﮕﺎﻫﺶ ﻣﻮﺟﻮﺩﺍﺕ ﺯﻧﺪﻩ ﺭﺍ ﺑﻪ‬ ‫ﺳﻨﮓ ﺗﺒﺪﻳﻞ ﻣﻰﻛﻨﺪ‪.‬‬ ‫‪11. Robert Heinlein‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﻭﻟﺖ ﺑﺮﻕ ﺍﺯ ﺻﻨﺪﻟﻰ ﻋﺒﻮﺭ ﻣﻰﻛﺮﺩ‪ .‬ﺑﺮﻕ ﺍﺯ ﭼﺸﻤﺎﻧﺶ ﺑﻴﺮﻭﻥ ﻣﻰﺟﻬﻴﺪ ﻭ ﻣﻮﻫﺎﻳﺶ ﺳﻴﺦ ﻣﻰﺷﺪ‪.‬‬ ‫ﺭﻭﺯ ﺑﻌﺪ ﻣﻦ ﺑﺎﻳﺪ ﺑﻪ ﻣﺮﺍﺳﻢ ﺧﺎﻙﺳﭙﺎﺭﻯ ﻋﻤﻮﻯ ﻣﺤﺒﻮﺑﻢ ﻣﻰﺭﻓﺘﻢ‪ .‬ﻭﻗﺘﻰ ﺑﺎ ﺧﺎﻧﻮﺍﺩﻩﺍﻡ ﺍﺯ ﻣﺮﺍﺳﻢ‬ ‫ﺑﺮ ﻣﻰﮔﺸﺘﻴﻢ‪ ،‬ﺩﺭ ﺳﻮﺍﺣﻞ ﺩﺭﻳﺎﭼﻪﻯ ﻣﻴﺸﻴﮕﺎﻥ ﺧﻴﻤﻪﻫﺎﻯ ﺳﻴﺮﻙ ﺭﺍ ﺩﻳﺪﻡ ﻭ ﺑﻪ ﭘﺪﺭﻡ ﮔﻔﺘﻢ‬ ‫ﻣﺎﺷﻴﻦ ﺭﺍ ﻧﮕﻪ ﺩﺍﺭﺩ‪ .‬ﭘﺪﺭ ﭘﺮﺳﻴﺪ ﺁﺧﺮ ﺑﺮﺍﻯ ﭼﻪ؟ ﻣﻦ ﻫﻢ ﮔﻔﺘﻢ ﻣﺎﺷﻴﻦ ﺭﺍ ﻧﮕﻪ ﺩﺍﺭﺩ ﭼﻮﻥ ﺑﺎﻳﺪ‬ ‫ﭘﻴﺎﺩﻩ ﺷﻮﻡ‪ .‬ﭘﺪﺭﻡ ﺣﺴﺎﺑﻰ ﺍﺯ ﺩﺳﺘﻢ ﻋﺼﺒﺎﻧﻰ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﭼﻮﻥ ﺍﻧﺘﻈﺎﺭ ﺩﺍﺷﺖ ﺑﺮﺍﻯ ﻋﺰﺍﺩﺍﺭﻯ ﻛﻨﺎﺭ‬ ‫ﺧﺎﻧﻮﺍﺩﻩ ﺑﻤﺎﻧﻢ‪ .‬ﻭﻟﻰ ﻣﻦ ﺍﺯ ﻣﺎﺷﻴﻦ ﺩﻭﺭ ﺷﺪﻡ ﻭ ﺍﺯ ﺗﭙﻪ ﭘﺎﻳﻴﻦ ﺩﻭﻳﺪﻡ ﻭ ﺑﻪ ﺳﻤﺖ ﻛﺎﺭﻧﺎﻭﺍﻝ ﺭﻓﺘﻢ‪.‬‬ ‫ﺁﻥ ﻣﻮﻗﻊ ﻣﺘﻮﺟﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻧﺸﺪﻡ‪ .‬ﻭﻟﻰ ﻭﺍﻗﻌﻴﺘﺶ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺩﺍﺷﺘﻢ ﺍﺯ ﻣﺮگ ﻓﺮﺍﺭ ﻣﻰﻛﺮﺩﻡ‪.‬‬ ‫ﻭ ﺑﻪ ﺳﻤﺖ ﺯﻧﺪﮔﻰ ﻣﻰﺩﻭﻳﺪﻡ‪ .‬ﻭﻗﺘﻰ ﺑﻪ ﻛﺎﺭﻧﺎﻭﺍﻝ ﺭﺳﻴﺪﻡ‪ ،‬ﺁﻗﺎﻯ ﺍﻟﻜﺘﺮﻳﻜﻮ ﺭﻭﻯ ﺻﺤﻨﻪﻯ ﻧﻤﺎﻳﺶ‬ ‫ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ .‬ﻧﻤﻰﺩﺍﻧﺴﺘﻢ ﺑﺎﻳﺪ ﭼﻪ ﺑﮕﻮﻳﻢ‪ .‬ﻣﻰﺗﺮﺳﻴﺪﻡ ﺍﺣﻤﻖ ﺑﻪ ﻧﻈﺮ ﺑﺮﺳﻢ‪ .‬ﻭﺳﻴﻠﻪﻯ ﺷﻌﺒﺪﻩﺑﺎﺯﻯ‬ ‫ﻛﻮﭼﻜﻰ ﺗﻮﻯ ﺟﻴﺒﻢ ﺩﺍﺷﺘﻢ‪ .‬ﻳﻚ ﺣﻘﻪﻯ ﺳﺎﺩﻩﻯ ﮔﻠﺪﺍﻥ ﻭ ﺗﻮپ ﺑﻮﺩ ﻛﻪ ﻣﻰﺷﺪ ﺑﺎ ﺁﻥ ﺗﻮپ ﺭﺍ‬ ‫ﻏﻴﺐ ﻭ ﻇﺎﻫﺮ ﻛﺮﺩ‪ .‬ﻭﺳﻴﻠﻪ ﺭﺍ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪﻡ ﻭ ﺍﺯ ﺍﻭ ﭘﺮﺳﻴﺪﻡ‪» :‬ﻣﻰﺷﻮﺩ ﻛﺎﺭ ﺑﺎ ﺍﻳﻦ ﺭﺍ ﺑﻪ ﻣﻦ ﻳﺎﺩ‬ ‫ﺑﺪﻫﻴﺪ؟« ﻛﺎﺭ ﺩﺭﺳﺘﻰ ﺑﻮﺩ‪ .‬ﺑﺎﻋﺚ ﺷﺪ ﭼﻴﺰﻯ ﺑﻴﻦ ﻣﺎ ﺑﻪ ﺟﺮﻳﺎﻥ ﺑﻴﻔﺘﺪ‪ .‬ﺍﻭ ﻣﺘﻮﺟﻪ ﺷﺪ ﻛﻪ ﺩﺍﺭﺩ‬ ‫ﺑﺎ ﻳﻚ ﺷﻌﺒﺪﻩﺑﺎﺯ ﺟﻮﺍﻥ ﺻﺤﺒﺖ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻭ ﻭﺳﻴﻠﻪ ﺭﺍ ﮔﺮﻓﺖ ﻭ ﻃﺮﺯ ﻛﺎﺭﺵ ﺭﺍ ﺑﻪ ﻣﻦ ﺁﻣﻮﺯﺵ ﻭ‬ ‫ﻭﺳﻴﻠﻪ ﺭﺍ ﺑﻪ ﻣﻦ ﭘﺲ ﺩﺍﺩ‪ .‬ﺑﻌﺪ ﻧﮕﺎﻫﻰ ﺑﻪ ﺻﻮﺭﺕ ﻣﻦ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﻣﻰﺧﻮﺍﻫﻰ ﺁﻥ ﺁﺩﻡﻫﺎﻳﻰ‬ ‫ﺭﺍ ﻛﻪ ﺩﺍﺧﻞ ﺁﻥ ﺧﻴﻤﻪ ﻫﺴﺘﻨﺪ‪ ،‬ﺑﺒﻴﻨﻰ؟« ﻋﺠﻴﺐﺍﻟﺨﻠﻘﻪﻫﺎ ﺭﺍ ﻣﻰﮔﻔﺖ‪ .‬ﻣﻦ ﻫﻢ ﮔﻔﺘﻢ ﺑﻠﻪ ﺁﻗﺎ‪.‬‬ ‫ﺑﻌﺪ ﻣﻦ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﺧﻴﻤﻪ ﺭﺍﻫﻨﻤﺎﻳﻰ ﻛﺮﺩ ﻭ ﺑﺎ ﻋﺼﺎﻳﺶ ﺑﻪ ﺧﻴﻤﻪ ﺯﺩ ﻭ ﺑﻪ ﺁﻥﻫﺎﻳﻰ ﻛﻪ ﺩﺍﺧﻞ‬ ‫ﺧﻴﻤﻪ ﺑﻮﺩﻧﺪ ﮔﻔﺖ ﺣﻮﺍﺱﺷﺎﻥ ﺑﻪ ﺣﺮﻑ ﺯﺩﻧﺸﺎﻥ ﺑﺎﺷﺪ‪ .‬ﺑﻌﺪ ﻣﻦ ﺭﺍ ﺑﻪ ﺩﺍﺧﻞ ﺧﻴﻤﻪ ﺑﺮﺩ ﻭ ﺍﻭﻟﻴﻦ‬ ‫ﻛﺴﻰ ﻛﻪ ﺩﻳﺪﻡ »ﻣﺮﺩ ﻣﺼﻮﺭ« ]‪ [76‬ﺑﻮﺩ‪ .‬ﺗﺼﻮﺭﺵ ﺭﺍ ﺑﻜﻨﻴﺪ! ﻣﺮﺩ ﻣﺼﻮﺭ! ﺧﻮﺩﺵ ﺍﺳﻢ ﺧﻮﺩﺵ‬ ‫ﺭﺍ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ ﻣﺮﺩ ﺧﺎﻟﻜﻮﺑﻰﺷﺪﻩ‪ .‬ﻭﻟﻰ ﻣﻦ ﺑﻌﺪﺍ ً ﺍﺳﻤﺶ ﺭﺍ ﺩﺭ ﻛﺘﺎﺑﻢ ﺗﻐﻴﻴﺮ ﺩﺍﺩﻡ‪ .‬ﻫﻤﺎﻥﺟﺎ ﺑﺎ‬ ‫ﻣﺮﺩ ﻗﻮﻯ ﻭ ﺯﻥ ﭼﺎﻕ ﻭ ﻛﻮﺗﻮﻟﻪ ﻭ ﺍﺳﻜﻠﺖ ﻫﻢ ﺍﺷﻨﺎ ﺷﺪﻡ‪ .‬ﻫﻤﮕﻰ ﺷﺨﺼﻴﺖﻫﺎﻯ ﻛﺘﺎﺏ ﺷﺪﻧﺪ‪.‬‬ ‫ﺁﻗﺎﻯ ﺍﻟﻜﺘﺮﻳﻜﻮ ﻣﺮﺩ ﺧﻮﺑﻰ ﺑﻮﺩ‪ .‬ﭼﻮﻥ ﻣﻰﺩﺍﻧﺴﺖ ﻛﻨﺎﺭﺵ ﺩﻭﺍﺯﺩﻩ ﺳﺎﻟﻪﺍﻯ ﺍﻳﺴﺘﺎﺩﻩ ﻛﻪ ﺯﻳﺎﺩﻯ‬ ‫ﻋﺠﻴﺐ ﻭ ﻏﺮﻳﺐ ﺍﺳﺖ ﻭ ﺁﺭﺯﻭﻫﺎﻯ ﺩﻭﺭ ﻭ ﺩﺭﺍﺯﻯ ﺩﺍﺭﺩ‪ .‬ﺑﺎ ﻫﻢ ﺩﺭ ﺳﺎﺣﻞ ﺩﺭﻳﺎﭼﻪﻯ ﻣﻴﺸﻴﮕﺎﻥ‬ ‫ﻗﺪﻡ ﺯﺩﻳﻢ ﻭ ﺍﻭ ﺑﺎ ﻣﻦ ﻣﺜﻞ ﺁﺩﻡ ﺑﺰﺭگﻫﺎ ﺭﻓﺘﺎﺭ ﻛﺮﺩ‪ .‬ﻣﻦ ﺍﺯ ﻓﻠﺴﻔﻪﺑﺎﻓﻰﻫﺎﻯ ﺑﺰﺭﮔﻢ ﺑﺮﺍﻳﺶ ﮔﻔﺘﻢ‬ ‫ﻭ ﺍﻭ ﺍﺯ ﻓﻠﺴﻔﻪﺑﺎﻓﻰﻫﺎﻯ ﻛﻮﭼﻜﺶ‪ .‬ﺑﻌﺪ ﺑﺎ ﻫﻢ ﺭﻭﻯ ﺷﻦﻫﺎ ﻧﺸﺴﺘﻴﻢ ﻭ ﺍﻭ ﺧﻴﻠﻰ ﻏﻴﺮﻣﻨﺘﻈﺮﻩ ﺑﻪ‬ ‫ﻣﻦ ﮔﻔﺖ ﻛﻪ ﺧﻮﺷﺤﺎﻟﻢ ﺑﻪ ﺯﻧﺪﮔﻰ ﻣﻦ ﺑﺮﮔﺸﺘﻰ‪ .‬ﻣﻦ ﭘﺮﺳﻴﺪﻡ ﻣﻨﻈﻮﺭﺕ ﭼﻴﺴﺖ؛ ﻣﻦ ﻛﻪ ﺗﻮ ﺭﺍ‬ ‫ﻧﻤﻰﺷﻨﺎﺳﻢ‪ .‬ﺍﻭ ﮔﻔﺖ ﺗﻮ ﺑﻬﺘﺮﻳﻦ ﺩﻭﺳﺖ ﻣﻦ ﺩﺭ ﭘﺎﺭﻳﺲ ﺑﻮﺩﻯ‪ .‬ﺳﺎﻝ ‪ .1918‬ﺩﺭ ﺁﺭﺩﻧﺰ ﺯﺧﻤﻰ‬ ‫ﺷﺪﻩ ﺑﻮﺩﻯ ﻭ ﺗﻮﻯ ﺑﻐﻞ ﺧﻮﺩﻡ ﻣﺮﺩﻯ‪ .‬ﺷﺎﻳﺪ ﺻﻮﺭﺕﺍﺕ ﻭ ﺍﺳﻤﺖ ﻋﻮﺽ ﺷﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﻭﻟﻰ ﺭﻭﺣﻰ‬ ‫ﻛﻪ ﺍﺯ ﭼﺸﻤﺎﻧﺖ ﺑﻴﺮﻭﻥ ﻣﻰﺗﺮﺍﻭﺩ ﻫﻤﺎﻥ ﺭﻭﺡ ﺁﺷﻨﺎ ﺍﺳﺖ‪ .‬ﺑﺮﮔﺸﺘﻨﺖ ﺑﻪ ﺩﻧﻴﺎ ﺭﺍ ﺗﺒﺮﻳﻚ ﻣﻰﮔﻮﻳﻢ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

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‫ﻣﺼﺎﺣﺒﻪ‬

‫ﺭﺍﻳﺲ ﺑﺎﺭﻭﺯ ﻫﺮﮔﺰ ﺑﻪ ﺧﻮﺩﺵ ﺑﻪ ﭼﺸﻢ ﻳﻚ ﻣﺼﻠﺢ ﺍﺟﺘﻤﺎﻋﻰ ﻳﺎ ﺭﻫﺒﺮ ﺟﻨﺒﺶ ﻧﮕﺎﻩ ﻧﻜﺮﺩ‪ .‬ﻭﻟﻰ‬ ‫ﺁﻥ ﻃﻮﺭ ﻛﻪ ﻣﻦ ﻣﻰﺑﻴﻨﻢ )ﻭ ﺧﻴﻠﻰﻫﺎ ﺣﺎﻟﺸﺎﻥ ﮔﺮﻓﺘﻪ ﻣﻰﺷﻮﺩ ﻭﻗﺘﻰ ﻣﻦ ﺍﻳﻦ ﺣﺮﻑ ﺭﺍ ﻣﻰﺯﻧﻢ(‬ ‫ﺍﻭ ﻣﻮﺛﺮﺗﺮﻳﻦ ﻧﻮﻳﺴﻨﺪﻩﻯ ﻛﻞ ﺗﺎﺭﻳﺦ ﺑﺸﺮ ﺍﺳﺖ‪.‬‬ ‫ﭼﻄﻮﺭ ﺑﺎﺭﻭﺯ ﭼﻨﻴﻦ ﺟﺎﻳﮕﺎﻩ ﺑﺎﻻﻳﻰ ﺩﺍﺭﺩ؟‬ ‫ﺑﺎ ﺷﻨﺎﺳﺎﻧﺪﻥ ﺭﻭﻣﺎﻧﺲ ﻭ ﻣﺎﺟﺮﺍﺟﻮﻳﻰ ﺑﻪ ﻳﻚ ﻧﺴﻞ ﺍﺯ ﭘﺴﺮﻫﺎﻯ ﺟﻮﺍﻥ‪ ،‬ﺑﺎﻋﺚ ﺷﺪ ﻫﻤﮕﻰ ﺑﺎ ﺁﺭﺯﻭﻯ‬ ‫ﺧﺎﺹ ﺑﻮﺩﻥ ﻭﺍﺭﺩ ﺟﺎﻣﻌﻪ ﺷﻮﻧﺪ‪ .‬ﻫﻤﻪ ﻣﻰﺧﻮﺍﺳﺘﻨﺪ ﺑﺮﺍﻯ ﺧﻮﺩﺷﺎﻥ ﻛﺴﻰ ﺷﻮﻧﺪ‪ .‬ﺍﻳﻦ ﻣﺴﺌﻮﻟﻴﺖ‬ ‫ﻭﺍﻗﻌﻰ ﻳﻚ ﻧﻮﻳﺴﻨﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻛﻪ ﺑﺎ ﻛﺘﺎﺏﻫﺎﻳﻤﺎﻥ ﺑﻪ ﻣﺮﺩﻡ ﺯﻧﺪﮔﻰ ﺭﺍ ﻫﺪﻳﻪ ﺩﻫﻴﻢ‪ .‬ﻓﺮﺽ‬ ‫ﻛﻨﻴﺪ ﻛﻪ ﺑﻪ ﻳﻚ ﺑﭽﻪﻯ ﺩﻩ ﺳﺎﻟﻪ ﺑﮕﻮﻳﻴﺪ‪» :‬ﻫﻰ! ﺯﻧﺪﮔﻰ ﺧﻴﻠﻰ ﻟﺬﺕﺑﺨﺶ ﺍﺳﺖ! ﺯﻭﺩﺗﺮ ﺑﺰﺭگ‬ ‫ﺷﻮ!« ﻣﻦ ﺑﺎ ﺑﻴﻮﺷﻴﻤﻴﺴﺖﻫﺎ ﻭ ﻓﻀﺎﻧﻮﺭﺩﻫﺎ ﻭ ﻣﻬﻨﺪﺱﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺻﺤﺒﺖ ﻛﺮﺩﻡ ﻛﻪ ﻣﻰﮔﻔﺘﻨﺪ‬ ‫ﻭﻗﺘﻰ ﺑﭽﻪ ﺑﻮﺩﻧﺪ ﻛﺘﺎﺏﻫﺎﻯ ﺟﺎﻥ ﻛﺎﺭﺗﺮ ﻭ ﺗﺎﺭﺯﺍﻥ ]‪ [74‬ﺭﺍ ﺧﻮﺍﻧﺪﻩﺍﻧﺪ ﻭ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺘﻪﺍﻧﺪ ﺷﻐﻞ‬ ‫ﻫﻴﺠﺎﻥﺍﻧﮕﻴﺰ ﻭ ﺭﻣﺎﻧﺘﻴﻜﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ .‬ﺑﺎﺭﻭﺯ ﺍﺳﺖ ﻛﻪ ﺍﻧﺴﺎﻥ ﺭﺍ ﺑﻪ ﻣﺎﻩ ﺑﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻳﻚ ﺑﺎﺭ ﺩﺭ‬ ‫ﻛﻞﺗﻚ ﻛﻨﺎﺭ ﺟﻤﻌﻰ ﺍﺯ ﺩﺍﻧﺸﻤﻨﺪﺍﻥ ﻭ ﻣﻬﻨﺪﺳﺎﻥ ﻧﺸﺴﺘﻪ ﺑﻮﺩﻡ ﻭ ﻫﻤﻪ ﺑﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻣﻌﺘﺮﻑ‬ ‫ﺑﻮﺩﻧﺪ ﻛﻪ ﺑﺎﺭﻭﺯﺧﻮﺍﻥ ﻫﺴﺘﻨﺪ‪ .‬ﺩﻭ ﺗﺎ ﺍﺯ ﻓﻀﺎﻧﻮﺭﺩﻫﺎ ﺣﺘﺎ ﮔﻔﺘﻨﺪ ﻛﻪ ﺑﻪ ﺧﺎﻃﺮ ﺍﻳﻦ ﻛﻪ ﻣﺮﻳﺦ ﺭﺍ ﺍﺯ‬ ‫ﻧﺰﺩﻳﻚﺗﺮ ﺑﺒﻴﻨﻨﺪ ﻓﻀﺎﻧﻮﺭﺩ ﺷﺪﻩﺍﻧﺪ‪.‬‬ ‫ﻣﻦ ﺍﻳﻦ ﺭﺍ ﺑﻴﻦ ﺧﻴﻠﻰ ﺍﺯ ﺗﻜﻨﻮﻟﻮژﻳﺴﺖﻫﺎﻯ ﺭﺷﺘﻪﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺩﻳﺪﻩﺍﻡ‪ .‬ﺍﺯ ﺁﻥ ﻃﺮﻑ ﺭﻭﺷﻨﻔﻜﺮﻫﺎ‬ ‫ﻣﺜﻞ ﻫﻤﻴﺸﻪ ﺷﺮﻭﻉ ﻣﻰﻛﻨﻨﺪ ﺑﻪ ﺗﺨﺮﻳﺐ ﺑﺎﺭﻭﺯ‪ .‬ﻭ ﺍﻳﻦ ﻃﻮﺭﻯ ﺍﺳﺖ ﻛﻪ ﻛﻮﺩﻛﺎﻥ ﻣﺎ ﺑﻰﺍﻧﮕﻴﺰﻩ‬ ‫ﺑﺰﺭگ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺑﺮﺍﻯ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻦ ﻳﻚ ﺷﻐﻞ ﺑﺎﻳﺪ ﺁﻥ ﺭﺍ ﺑﺎ ﺣﺲ ﻣﺎﺟﺮﺍﺟﻮﻳﻰ ﻭ ﺭﻭﻣﺎﻧﺲ‬ ‫ﻫﻤﺮﺍﻩ ﻛﺮﺩ‪ .‬ﺩﻗﻴﻘﺎً ﻣﺜﻞ ﺩﻭﺳﺖ ﻋﺰﻳﺰ ﻣﻦ ﺁﻗﺎﻯ ﺍﻟﻜﺘﺮﻳﻜﻮ ]‪![75‬‬ ‫ﻣﻨﻈﻮﺭﺗﺎﻥ ﻫﻤﺎﻥ ﺷﺨﺼﻴﺘﻰ ﺍﺳﺖ ﻛﻪ ﻳﻚ ﺣﻀﻮﺭ ﻛﻮﺗﺎﻩ ﻫﻢ ﺩﺭ ﺩﺍﺳﺘﺎﻥ »ﭼﻴﺰ ﺷﻮﻣﻰ‬ ‫ﺍﻳﻦ ﺳﻮ ﻣﻰﺁﻳﺪ« ﺩﺍﺭﺩ‪ .‬ﺷﻤﺎ ﮔﻔﺘﻪﺍﻳﺪ ﻛﻪ ﻭﺟﻮﺩ ﺧﺎﺭﺟﻰ ﺩﺍﺭﺩ‪ .‬ﻭﻟﻰ ﻫﻨﻮﺯ ﻛﺴﻰ ﻣﻮﻓﻖ‬ ‫ﻧﺸﺪﻩ ﻭﺟﻮﺩﺵ ﺭﺍ ﺛﺎﺑﺖ ﻛﻨﺪ‪ .‬ﺭﺋﻴﺲ ﻣﺮﻛﺰ ﻣﻄﺎﻟﻌﺎﺕ ﺭﻯ ﺑﺮﺩﺑﺮﻯ ﻣﻰﮔﻮﻳﺪ ﺟﺴﺖﻭﺟﻮ‬ ‫ﺑﺮﺍﻯ ﻳﺎﻓﺘﻦ ﺁﻗﺎﻯ ﺍﻟﻜﺘﺮﻳﻜﻮ ﻣﺜﻞ ﺟﺴﺖﻭﺟﻮ ﺑﺮﺍﻯ ﺟﺎﻡ ﻣﻘﺪﺱ ﺷﺪﻩ‪.‬‬ ‫ﺷﺎﻳﺪ‪ .‬ﻭﻟﻰ ﺍﻭ ﻳﻚ ﺍﻧﺴﺎﻥ ﻭﺍﻗﻌﻰ ﺑﻮﺩ‪ .‬ﺍﺳﻤﺶ ﻫﻢ ﻫﻤﻴﻦ ﺑﻮﺩ‪ .‬ﺳﻴﺮﻙﻫﺎ ﻭ ﻛﺎﺭﻧﺎﻭﺍﻝﻫﺎ ﻫﻤﻴﺸﻪ ﺍﺯ‬ ‫ﺍﻳﻠﻰﻧﻮﻯ ﻣﻰﮔﺬﺷﺘﻨﺪ ﻭ ﻣﻦ ﻋﺎﺷﻖ ﺁﻥ ﻫﺎﻟﻪﻯ ﺍﺳﺮﺍﺭﺁﻣﻴﺰ ﺩﻭﺭﺷﺎﻥ ﺑﻮﺩﻡ‪ .‬ﻳﻚ ﺑﺎﺭ ﻭﻗﺘﻰ ﺩﻭﺍﺯﺩﻩ‬ ‫ﺳﺎﻟﻢ ﺑﻮﺩ‪ ،‬ﺳﻴﺮﻙ ﺑﺮﺍﺩﺭﺍﻥ ﺩﻳﻞ ﺑﻪ ﺷﻬﺮ ﻣﺎ ﺁﻣﺪ‪ .‬ﻳﻜﻰ ﺍﺯ ﻧﻤﺎﻳﺶﻫﺎ ﻣﺮﺑﻮﻁ ﺑﻪ ﺁﻗﺎﻯ ﺍﻟﻜﺘﺮﻳﻜﻮ‬ ‫ﺑﻮﺩ‪ .‬ﺍﻭ ﺭﻭﻯ ﻳﻚ ﺻﻨﺪﻟﻰ ﺑﺮﻗﻰ ﻣﻰﻧﺸﺴﺖ ﻭ ﻳﻚ ﻧﻔﺮ ﻫﻢ ﻳﻚ ﺩﺳﺘﻪ ﺭﺍ ﻣﻰﻛﺸﻴﺪ ﻭ ﭘﻨﺠﺎﻩ ﻫﺰﺍﺭ‬ ‫‪87‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﺍﺻﻠﻰ ﺩﺍﺳﺘﺎﻥ ﺧﻮﺩ ﻣﻦ ﻫﺴﺘﻢ ﻛﻪ ﺩﻭﺳﺖ ﺩﺍﺭﻡ ﻣﺮﺩﻡ ﺭﺍ ﻗﺎﻧﻊ ﻛﻨﻢ ﻛﻪ ﺭﻭﺵﻫﺎﻳﺸﺎﻥ ﺭﺍ ﻋﻮﺽ‬ ‫ﻛﻨﻨﺪ‪.‬‬ ‫ﻭﻗﺘﻰ ﺑﻪ ﮔﺬﺷﺘﻪ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻴﺪ‪ ،‬ﺁﻳﺎ ﻟﺤﻈﻪﻯ ﺧﺎﺻﻰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺑﺮﺍﻯ ﺷﻤﺎ ﺑﻴﺶ ﺍﺯ‬ ‫ﺑﻘﻴﻪ ﺷﺎﺩﻯﺁﻭﺭ ﺑﺎﺷﺪ؟‬ ‫ﺭﺍﺳﺘﺶ ﻳﻜﻰ ﺍﺯ ﺍﻭﻟﻴﻦ ﻟﺤﻈﺎﺕ ﻓﻮﻕﺍﻟﻌﺎﺩﻩﻯ ﺯﻧﺪﮔﻰﺍﻡ ﻭﻗﺘﻰ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩ ﻛﻪ ﺑﻴﺴﺖ ﺳﺎﻟﻢ ﺑﻮﺩ‪.‬‬ ‫ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ ﺑﺮﺍﻯ ﻣﺠﻠﻪﻯ ﺭﺍﺏ ﻭﺍﮔﻨﺮ ]‪ [70‬ﻓﺮﺳﺘﺎﺩﻡ‪ .‬ﻳﻚ ﺭﻭﺯ ﺩﺭ ﺁﮔﻮﺳﺖ ﺑﻮﺩ ﻛﻪ ﻧﺎﻣﻪﻯ‬ ‫ﺍﺯ ﺭﺍﺏ ﻭﺍﮔﻨﺮ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩﻡ ﻛﻪ ﻧﻮﺷﺘﻪ ﺑﻮﺩ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺧﻴﻠﻰ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻪ ﻭ ﺩﺭ ﺍﻳﻦ ﺷﻤﺎﺭﻩ‬ ‫ﭼﺎﭘﺶ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻣﻦ ﻓﺮﻳﺎﺩ ﻛﺸﻴﺪﻡ ﻭ ﻣﺎﺩﺭﻡ ﺩﻭﻳﺪ ﺩﺍﺧﻞ ﺣﻴﺎﻁ ﻭ ﻣﻦ ﻧﺎﻣﻪ ﺭﺍ ﻧﺸﺎﻧﺶ ﺩﺍﺩﻡ‪ .‬ﻣﻦ‬ ‫ﺑﻴﺴﺖ ﺳﺎﻟﻢ ﺑﻮﺩ ﻭ ﻣﺎ ﺩﺍﺧﻞ ﺣﻴﺎﻁ ﻛﻠﻰ ﺭﻗﺼﻴﺪﻳﻢ‪ .‬ﺍﻟﺒﺘﻪ ﺑﺮﺍﻯ ﺩﺍﺳﺘﺎﻥ ﭘﻮﻟﻰ ﺩﺭﻳﺎﻓﺖ ﻧﻜﺮﺩﻡ‪.‬‬ ‫ﻭﻟﻰ ﭼﻨﺪﻳﻦ ﻧﺴﺨﻪ ﺍﺯ ﻣﺠﻠﻪ ﺭﺍ ﺑﺮﺍﻳﻢ ﻓﺮﺳﺘﺎﺩﻧﺪ ﺗﺎ ﺑﻪ ﺩﻭﺳﺘﺎﻧﻢ ﻧﺸﺎﻥ ﺩﻫﻢ ﻭ ﺑﻬﺸﺎﻥ ﺛﺎﺑﺖ ﻛﻨﻢ‬ ‫ﻛﻪ ﻧﻮﻳﺴﻨﺪﻩ ﻫﺴﺘﻢ‪ .‬ﺍﻭﻟﻴﻦ ﺩﺍﺳﺘﺎﻧﻰ ﻛﻪ ﻣﻰﻓﺮﻭﺷﻰ‪ ،‬ﺗﺄﺛﻴﺮ ﻋﻤﻴﻖ ﺭﻭﺍﻧﻰ ﺩﺍﺭﺩ‪ .‬ﺷﺎﻳﺪ ﺣﺘﺎ ﺗﺎ ﻳﻚ‬ ‫ﺳﺎﻝ ﺑﻌﺪ ﻫﻢ ﺩﺍﺳﺘﺎﻧﻰ ﻧﻔﺮﻭﺷﻰ‪ .‬ﻭﻟﻰ ﺍﻭﻟﻴﻦ ﺩﺍﺳﺘﺎﻧﻰ ﻛﻪ ﻣﻰﻓﺮﻭﺷﻰ ﻳﻚ ﭼﻴﺰ ﺩﻳﮕﺮ ﺍﺳﺖ‪.‬‬ ‫ﺁﻳﺎ ﺑﺮﺍﻯ ﻣﺨﺎﻃﺐ ﺧﺎﺻﻰ ﻣﻰﻧﻮﻳﺴﻴﺪ ﻳﺎ ﺑﺮﺍﻯ ﻣﺨﺎﻃﺒﺎﻥ ﻋﺎﻡ؟‬ ‫ﻫﺮ ﻭﻗﺖ ﺑﺮﺍﻯ ﻫﺮ ﻛﺴﻰ ﻭ ﺑﻪ ﻫﺮ ﺩﻟﻴﻠﻰ ﺑﻨﻮﻳﺴﻴﺪ‪ ،‬ﺣﺘﺎ ﺍﮔﺮ ﺑﻪ ﺩﻟﻴﻠﺘﺎﻥ ﺍﻋﺘﻘﺎﺩ ﻛﺎﻣﻞ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﺪ‪،‬‬ ‫ﺩﺭﻭﻍ ﻧﻮﺷﺘﻪﺍﻳﺪ‪ .‬ﺍﺷﺘﺎﻳﻦﺑﻚ ﻳﻜﻰ ﺍﺯ ﻣﻌﺪﻭﺩ ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻯ ﺩﻫﻪﻯ ﺳﻰ ﺍﺳﺖ ﻛﻪ ﻛﺘﺎﺏﻫﺎﻳﺶ‬ ‫ﻫﻨﻮﺯ ﻓﺮﻭﺵ ﻣﻰﺭﻭﺩ‪ .‬ﭼﻮﻥ ﺩﺍﺳﺘﺎﻥﻫﺎﻳﺶ ﺻﺮﻓﺎً ﺗﺠﺮﺑﻴﺎﺕ ﺍﻧﺴﺎﻧﻰﺍﻯ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﻪ ﺻﻮﺭﺕ‬ ‫ﻏﻴﺮﻣﺴﺘﻘﻴﻢ ﺑﻪ ﻭﻗﺎﻳﻊ ﺧﺎﺭﺟﻰ ﺭﺑﻂ ﭘﻴﺪﺍ ﻣﻰﻛﻨﻨﺪ‪» .‬ﺧﻮﺷﻪﻫﺎﻯ ﺧﺸﻢ« ]‪ [71‬ﻭ ﺩﻳﮕﺮ ﺁﺛﺎﺭ‬ ‫ﺍﻭ ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﺑﻴﺎﻧﻴﻪﻫﺎﻯ ﺳﻴﺎﺳﻰ ﻧﻴﺴﺘﻨﺪ‪ .‬ﻓﺎﺭﻧﻬﺎﻳﺖ ‪ 451‬ﺷﺎﻳﺪ ﻳﻚ ﺟﻮﺭ ﺑﻴﺎﻧﻴﻪﻯ ﺳﻴﺎﺳﻰ‬ ‫ﺑﺎﺷﺪ‪ .‬ﻭﻟﻰ ﻭﺍﻗﻌﺎً ﺍﻳﻦ ﻃﻮﺭ ﻧﻴﺴﺖ‪ .‬ﭼﻮﻥ ﻳﻚ ﭘﻴﺎﻡ ﺍﺣﺴﺎﺳﻰ ﺻﺎﻑ ﻭ ﺳﺎﺩﻩ ﺩﺍﺭﺩ‪ :‬ﺩﺳﺖ ﺍﺯ ﺳﺮ ﻫﻢ‬ ‫ﺑﺮﺩﺍﺭﻳﺪ! ﺑﮕﺬﺍﺭﻳﺪ ﻫﺮ ﻛﺴﻰ ﺯﻧﺪﮔﻰ ﺧﻮﺩﺵ ﺭﺍ ﺑﻜﻨﺪ‪.‬‬ ‫ﺑﺎﻻﺧﺮﻩ ﺍﺩﺑﻴﺎﺕ ﻫﻴﭻ ﻣﺴﺌﻮﻟﻴﺘﻰ ﻧﺴﺒﺖ ﺑﻪ ﺟﺎﻣﻌﻪ ﺩﺍﺭﺩ ﻳﺎ ﻧﻪ؟‬ ‫ﻣﺴﺌﻮﻟﻴﺖ ﻣﺴﺘﻘﻴﻢ ﺧﻴﺮ‪ .‬ﺍﮔﺮ ﻣﺴﺌﻮﻟﻴﺘﻰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﺑﻪ ﺻﻮﺭﺕ ﻏﻴﺮﻣﺴﺘﻘﻴﻢ ﺍﺳﺖ‪ .‬ﻧﻴﻜﻮﺱ‬ ‫ﻛﺎﺯﺍﻧﺘﺎﻛﻴﺲ ]‪ [72‬ﺍﻳﻦ ﻃﻮﺭ ﻣﺴﺌﻮﻟﻴﺖ ﺍﺟﺘﻤﺎﻋﻰﺍﺵ ﺭﺍ ﺑﻴﺎﻥ ﻣﻰﻛﻨﺪ‪» :‬ﺗﺎ ﺍﺑﺪ ﭘﺎﻳﺪﺍﺭ ﺑﻤﺎﻥ‪«.‬‬ ‫ﻛﺘﺎﺏ »ﻧﺎﺟﻴﺎﻥ ﺧﺪﺍﻭﻧﺪﮔﺎﺭ« ]‪ [73‬ﺩﺭ ﻭﺍﻗﻊ ﺩﺭ ﺳﺘﺎﻳﺶ ﺯﻧﺪﮔﻰ ﺩﺭ ﺍﻳﻦ ﺟﻬﺎﻥ ﺍﺳﺖ‪ .‬ﻫﺮ ﻛﺘﺎﺏ‬ ‫ﺑﺰﺭﮔﻰ ﭘﻴﺎﻣﺶ ﻫﻤﻴﻦ ﺍﺳﺖ‪ .‬ﺩﻳﻜﻨﺰ ﻣﻰﮔﻮﻳﺪ ﺯﻧﺪﮔﻰ ﺭﺍ ﺑﺎ ﺗﻤﺎﻡ ﺍﻧﺮژﻯﺍﺕ ﺯﻧﺪﮔﻰ ﻛﻦ‪ .‬ﺍﺩﮔﺎﺭ‬

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‫ﻳﺎﺩ ﺑﮕﻴﺮﻧﺪ‪ .‬ﺑﺮﺍﺩﺭ ﺧﻮﺩ ﻣﻦ ﻭﻗﺘﻰ ﻣﺪﺭﺳﻪ ﻣﻰﺭﻓﺖ ﻧﻤﺮﺍﺗﺶ ﺧﻮﺏ ﻧﺒﻮﺩ‪ .‬ﻭﻟﻰ ﻭﻗﺘﻰ ﺑﻴﺴﺖ ﻭ‬ ‫ﺧﺮﺩﻩﺍﻯ ﺳﺎﻟﻪ ﺑﻮﺩ‪ ،‬ﻣﺠﺒﻮﺭ ﺷﺪ ﺑﺮﺍﻯ ﭘﻮﻝ ﺩﺭﺁﻭﺭﺩﻥ ﺩﺭ ﺍﺩﺍﺭﻩﻯ ﺑﺮﻕ ﺍﺳﺘﺨﺪﺍﻡ ﺷﻮﺩ‪ .‬ﻳﻚ ﻛﺘﺎﺏ‬ ‫ﺭﻳﺎﺿﻴﺎﺕ ﻭ ﺍﻟﻜﺘﺮﻳﺴﻴﺘﻪ ﺩﺳﺖ ﮔﺮﻓﺖ ﻭ ﻫﺮ ﭼﻴﺰﻯ ﺭﺍ ﻛﻪ ﻧﻴﺎﺯ ﺑﻮﺩ ﻳﺎﺩ ﮔﺮﻓﺖ ﻭ ﺍﺳﺘﺨﺪﺍﻡ ﺷﺪ‪.‬‬ ‫ﺍﮔﺮ ﺑﺎﻫﻮﺵ ﺑﺎﺷﻴﺪ ﻣﻰﺗﻮﺍﻧﻴﺪ ﺭﺍﻫﻰ ﺑﺮﺍﻯ ﺁﻣﻮﺧﺘﻦ ﺭﻳﺎﺿﻴﺎﺕ ﭘﻴﺪﺍ ﻛﻨﻴﺪ‪ .‬ﻭﻟﻰ ﻳﻚ ﺑﭽﻪﻯ ﻋﺎﺩﻯ‬ ‫ﻫﺮﮔﺰ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺭﻳﺎﺿﻴﺎﺕ ﺭﺍ ﺁﻥ ﻃﻮﺭ ﻛﻪ ﺑﺎﻳﺪ ﻳﺎﺩ ﺑﮕﻴﺮﺩ‪ .‬ﺑﺎﻳﺪ ﺭﻭﻯ ﺧﻮﺍﻧﺪﻥ ﻭ ﻧﻮﺷﺘﻦ ﺗﻤﺮﻛﺰ‬ ‫ﻛﺮﺩ‪ .‬ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﻭﻗﺘﻰ ﺑﭽﻪ ﺷﺶ ﺳﺎﻟﺶ ﺷﺪ ﻣﻰﺗﻮﺍﻧﺪ ﺧﻮﺩﺵ ﺧﻮﺩﺵ ﺭﺍ ﺁﻣﻮﺯﺵ ﺩﻫﺪ‪ .‬ﺁﻥ‬ ‫ﻭﻗﺖ ﻛﺘﺎﺑﺨﺎﻧﻪ ﻣﺪﺭﺳﻪﻯ ﻭﺍﻗﻌﻰﺷﺎﻥ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺷﻤﺎ ﺗﺠﺮﺑﻪﻯ ﭘﻨﺠﺎﻩ ﻭ ﺷﺶ ﺳﺎﻝ ﺯﻧﺪﮔﻰ ﻣﺸﺘﺮﻙ ﺑﺎ ﻫﻤﺴﺮ ﻓﻘﻴﺪﺗﺎﻥ ﺭﺍ ﺩﺍﺷﺘﻪﺍﻳﺪ‪ .‬ﺭﺍﺯ‬ ‫ﺩﻭﺍﻡ ﺍﻳﻦ ﺯﻧﺪﮔﻰ ﻣﺸﺘﺮﻙ ﭼﻪ ﺑﻮﺩﻩ؟‬ ‫ﺍﮔﺮ ﻣﺰﺍﺝ ﻃﻨﺎﺯﻯ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﻴﺪ‪ ،‬ﺯﻧﺪﮔﻰ ﻣﺸﺘﺮﻙ ﺧﻮﺑﻰ ﻫﻢ ﻧﺨﻮﺍﻫﻴﺪ ﺩﺍﺷﺖ‪ .‬ﺩﺭ ﻓﻴﻠﻢ »ﺩﺍﺳﺘﺎﻥ‬ ‫ﻋﺸﻖ« ]‪ [68‬ﻳﻚ ﺩﻳﺎﻟﻮگ ﻫﺴﺖ ﻛﻪ ﺑﻪ ﻧﻈﺮﻡ ﺍﺣﻤﻘﺎﻧﻪﺗﺮﻳﻦ ﺩﻳﺎﻟﻮگ ﺩﻧﻴﺎﺳﺖ‪» :‬ﻋﺸﻖ ﻳﻌﻨﻰ‬ ‫ﻫﺮﮔﺰ ﻣﺠﺒﻮﺭ ﻧﺒﺎﺷﻰ ﻛﻪ ﺑﮕﻮﻳﻰ ﻣﺘﺄﺳﻔﻢ‪ «.‬ﻋﺸﻖ ﻳﻌﻨﻰ ﻫﺮ ﺭﻭﺯ ﺯﻧﺪﮔﻰﺍﺕ ﻣﺠﺒﻮﺭ ﺑﺎﺷﻰ ﺑﺮﺍﻯ‬ ‫ﻓﻼﻥ ﭼﻴﺰ ﻛﻮﭼﻚ ﻣﻌﺬﺭﺕﺧﻮﺍﻫﻰ ﻛﻨﻰ‪ .‬ﭼﻮﻥ ﺯﻧﺪﮔﻰ ﻣﺸﺘﺮﻙ ﭘﺮ ﺍﺯ ﺍﺷﺘﺒﺎﻫﺎﺕ ﺍﺳﺖ‪ .‬ﻻﻣﭗﻫﺎ‬ ‫ﺭﺍ ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩﻡ! ﺁﻥ ﭼﻴﺰﻯ ﺭﺍ ﻛﻪ ﮔﻔﺘﻪ ﺑﻮﺩﻯ ﺍﺯ ﻣﻐﺎﺯﻩ ﻧﺨﺮﻳﺪﻡ‪ .‬ﻣﺘﺄﺳﻔﻢ! ﻣﺘﻮﺟﻪ ﻫﺴﺘﻴﺪ؟‬ ‫ﻋﺸﻖ ﻳﻌﻨﻰ ﻗﺒﻮﻝ ﻛﺮﺩﻥ ﻳﻚ ﻣﺴﺌﻮﻟﻴﺖ ﺑﺰﺭگ ﻭ ﺩﺭ ﻛﻨﺎﺭﺵ ﺩﺍﺷﺘﻦ ﺷﻮﺥﻃﺒﻌﻰ ﺗﺎ ﺍﺯ ﻫﻤﻪﻯ‬ ‫ﻣﺎﺟﺮﺍﻫﺎﻯ ﻛﻮﭼﻜﻰ ﻛﻪ ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﻨﺪ‪ ،‬ﻟﺬﺕ ﺑﺒﺮﻳﺪ‪.‬‬ ‫ﻳﻚ ﻫﻔﺘﻪ ﺑﻌﺪ ﺍﺯ ﻣﺮگ ﻫﻤﺴﺮﺗﺎﻥ ﺷﻤﺎ ﻧﻮﺷﺘﻦ ﺭﺍ ﺍﺯ ﺳﺮ ﮔﺮﻓﺘﻴﺪ‪ .‬ﺍﻣﺎ ﭼﻄﻮﺭ؟‬ ‫ﻧﻮﺷﺘﻦ ﺣﻼﻝ ﻣﺸﻜﻼﺕ ﺍﺳﺖ‪ .‬ﻣﻦ ﺩﺭ ﺯﻧﺪﮔﻰﺍﻡ ﺳﻪ ﻗﺎﻧﻮﻥ ﺩﺍﺭﻡ‪ .‬ﺍﻭﻻً ﻧﻮﺷﺘﻦ ﺭﺍ ﻫﺮﮔﺰ ﺭﻫﺎ‬ ‫ﻧﻤﻰﻛﻨﻢ‪ .‬ﺩﻭﻣﺎً ﺍﮔﺮ ﻧﺘﻮﺍﻧﺴﺘﻢ ﭼﻴﺰﻯ ﺑﻨﻮﻳﺴﻢ‪ ،‬ﻣﻰﻧﻮﺷﻢ‪ .‬ﺳﻮﻡ ﺍﻳﻦ ﻛﻪ ﺍﮔﺮ ﻫﻴﭻ ﻛﺪﺍﻡ ﺍﺯ ﺩﻭ ﻣﻮﺭﺩ‬ ‫ﻗﺒﻠﻰ ﺟﻮﺍﺏ ﻧﺪﺍﺩ‪ ،‬ﻣﺜﻞ ﺩﻳﻮﺍﻧﻪﻫﺎ ﺷﺮﻭﻉ ﻣﻰﻛﻨﻢ ﺑﻪ ﺩﻭﻳﺪﻥ!‬ ‫ﺍﺯ ﻛﺪﺍﻡ ﻳﻚ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺗﺎﺯﻩﺗﺎﻥ ﺑﻴﺸﺘﺮ ﻟﺬﺕ ﻣﻰﺑﺮﻳﺪ؟‬ ‫ﻳﻜﻰ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻰ ﻛﻪ ﺑﻬﺶ ﺍﻓﺘﺨﺎﺭ ﻣﻰﻛﻨﻢ ﺩﺍﺳﺘﺎﻥ »ﭘﻴﺎﻣﺒﺮ ﺩﺭﻭﻏﻴﻦ« ]‪ [69‬ﺍﺳﺖ‪ .‬ﺩﺍﺳﺘﺎﻥ‬ ‫ﻣﺮﺩﻯ ﺍﺳﺖ ﻛﻪ ﻣﺮﺩﻡ ﺭﺍ ﻗﺎﻧﻊ ﻣﻰﻛﻨﺪ ﻛﻪ ﻣﺎﺷﻴﻦ ﺯﻣﺎﻥ ﺭﺍ ﺍﺧﺘﺮﺍﻉ ﻛﺮﺩﻩ ﻭ ﺁﻳﻨﺪﻩ ﺭﺍ ﺩﻳﺪﻩ ﻭ‬ ‫ﻣﻰﮔﻮﻳﺪ ﺍﮔﺮ ﺑﻪ ﻫﻤﻴﻦ ﺗﺮﺗﻴﺐ ﺍﺩﺍﻣﻪ ﺑﺪﻫﻴﻢ ﻫﻤﻪ ﭼﻴﺰ ﻧﺎﺑﻮﺩ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﺍﻟﺒﺘﻪ ﻣﺸﺨﺼﺎً ﻳﻚ‬ ‫ﺷﺎﺭﻻﺗﺎﻥ ﺑﻪ ﺗﻤﺎﻡ ﻣﻌﻨﺎ ﺍﺳﺖ‪ .‬ﻭﻟﻰ ﻣﺮﺩﻡ ﺣﺮﻓﺶ ﺭﺍ ﺑﺎﻭﺭ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺍﺯ ﺟﻬﺎﺕ ﺑﺴﻴﺎﺭﻯ ﺷﺨﺼﻴﺖ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﺑﺪ‪ ،‬ﭘﻴﺶ ﭼﺸﻢ ﻣﻰﺁﻭﺭﻳﺪ‪ .‬ﺑﺎ ﺧﻮﺩﺗﺎﻥ ﻣﻰﮔﻮﻳﻴﺪ ﻋﺠﺐ ﺭﻭﺯﻯ ﺑﻮﺩ‪ .‬ﺁﺧﺮ ﻫﻔﺘﻪ ﻛﻪ ﺑﺎﻳﺪ ﻛﺎﺭﻫﺎﻯ‬ ‫ﺑﻴﺸﺘﺮﻯ ﺭﺍ ﺍﺭﺯﻳﺎﺑﻰ ﻛﻨﻴﺪ ﻫﻢ ﻣﻰﮔﻮﻳﻴﺪ ﻋﺠﺐ ﻫﻔﺘﻪﺍﻯ ﺑﻮﺩ‪ .‬ﺁﺧﺮ ﻳﻚ ﺳﺎﻝ ﻫﻢ ﺑﺎ ﺧﻮﺩﺗﺎﻥ‬ ‫ﺧﻮﺍﻫﻴﺪ ﮔﻔﺖ ﻋﺠﺐ ﺳﺎﻟﻰ ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﻣﻬﻢ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻫﻤﻪﻯ ﺍﻳﻦ ﻛﺎﺭﻫﺎ ﺭﺍ ﺑﺎ ﻧﻬﺎﻳﺖ ﺗﻮﺍﻧﺘﺎﻥ‬ ‫ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩ ﺑﺎﺷﻴﺪ‪.‬‬ ‫ﻧﻈﺮﺗﺎﻥ ﺩﺭﺑﺎﺭﻩﻯ ﻛﺘﺎﺏﻫﺎﻯ ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻰ ﻭ ﻛﻴﻨﺪﻝﻫﺎﻯ ﺁﻣﺎﺯﻭﻥ ﭼﻴﺴﺖ؟‬ ‫ﻛﺘﺎﺏ ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻰ ﻛﻪ ﻛﺘﺎﺏ ﻧﻴﺴﺖ‪ .‬ﻧﻤﻰﺷﻮﺩ ﻛﺎﻣﭙﻴﻮﺗﺮ ﺭﺍ ﻣﺜﻞ ﻛﺘﺎﺏ ﺩﺭ ﺩﺳﺖ ﮔﺮﻓﺖ‪ .‬ﻛﺎﻣﭙﻴﻮﺗﺮ‬ ‫ﻫﻴﭻ ﻋﻄﺮ ﺧﺎﺻﻰ ﻧﺪﺍﺭﺩ‪ .‬ﻛﺘﺎﺏﻫﺎ ﺩﻭ ﺟﻮﺭ ﺭﺍﻳﺤﻪ ﺩﺍﺭﻧﺪ‪ .‬ﻭﻗﺘﻰ ﻛﺘﺎﺏ ﺗﺎﺯﻩ ﺍﺳﺖ ﺑﻮﻯ ﻓﻮﻕﺍﻟﻌﺎﺩﻩﺍﻯ‬ ‫ﻣﻰﺩﻫﺪ‪ .‬ﻭﻗﺘﻰ ﻫﻢ ﻗﺪﻳﻤﻰ ﺍﺳﺖ ﺑﻮﻳﺶ ﭼﻨﺪﻳﻦ ﺑﺮﺍﺑﺮ ﺑﻬﺘﺮ ﺍﺳﺖ‪ .‬ﺑﻮﻯ ﻣﺼﺮ ﺑﺎﺳﺘﺎﻥ ﺭﺍ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﻛﺘﺎﺏ ﺑﺎﻳﺪ ﺑﻮ ﺑﺪﻫﺪ‪ .‬ﺑﺎﻳﺪ ﺑﺘﻮﺍﻧﻰ ﻛﺘﺎﺏ ﺭﺍ ﺩﺭ ﺩﺳﺖ ﺑﮕﻴﺮﻯ ﻭ ﺑﺎ ﺧﻮﺩﺕ ﺟﺎﺑﻪﺟﺎﻳﺶ ﻛﻨﻰ‪ .‬ﺍﻳﻦ‬ ‫ﻃﻮﺭﻯ ﺗﺎ ﺍﺑﺪ ﺑﺎ ﺗﻮ ﻣﻰﻣﺎﻧﺪ‪ .‬ﻭﻟﻰ ﻛﺎﻣﭙﻴﻮﺗﺮ ﺍﻳﻦ ﻃﻮﺭ ﻧﻴﺴﺖ‪ .‬ﻣﺘﺄﺳﻔﻢ‪.‬‬ ‫ﺑﺎ ﻧﻮﺷﺘﻦ ﻛﺘﺎﺏ ﻓﺎﺭﻧﻬﺎﻳﺖ ‪ 451‬ﺷﻤﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺁﻳﻨﺪﻩﻧﮕﺮ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩﺍﻳﺪ‪ .‬ﭼﻪ‬ ‫ﺗﻮﺻﻴﻪﻯ ﺩﺭﺑﺎﺭﻩﻯ ﻋﺼﺮ ﺣﺎﺿﺮ ﺩﺍﺭﻳﺪ؟‬ ‫ﺳﻴﺴﺘﻢ ﺁﻣﻮﺯﺵ ﻣﺎ ﺩﺍﺭﺩ ﻧﺎﺑﻮﺩ ﻣﻰﺷﻮﺩ‪ .‬ﻧﻈﺮ ﻣﻦ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻫﻤﻴﻦ ﺍﻻﻥ ﺁﻣﻮﺯﺵ ﺑﭽﻪﻫﺎﻯ‬ ‫ﺷﺎﻧﺰﺩﻩ ﺳﺎﻝ ﺑﻪ ﺑﺎﻻ ﺭﺍ ﻣﺘﻮﻗﻒ ﻛﻨﻴﻢ ﻭ ﻫﻤﻪﻯ ﭘﻮﻝ ﺧﺮﺝ ﺷﺪﻩ ﺩﺭ ﺍﻳﻦ ﻗﺴﻤﺖ ﺭﺍ ﺻﺮﻑ ﺁﻣﻮﺯﺵ‬ ‫ﺩﺭ ﻛﻮﺩﻛﺴﺘﺎﻥ ﻛﻨﻴﻢ‪ .‬ﺑﭽﻪﻫﺎﻯ ﻛﻮﭼﻚ ﺑﺎﻳﺪ ﻳﺎﺩ ﺑﮕﻴﺮﻧﺪ ﻛﻪ ﺑﺨﻮﺍﻧﻨﺪ ﻭ ﺑﻨﻮﻳﺴﻨﺪ‪ .‬ﺍﮔﺮ ﺑﭽﻪﻫﺎ‬ ‫ﻗﺒﻞ ﺍﺯ ﺁﻣﺪﻥ ﺑﻪ ﻣﺪﺭﺳﻪ ﺧﻮﺍﻧﺪﻥ ﻭ ﻧﻮﺷﺘﻦ ﺑﻠﺪ ﺑﺎﺷﻨﺪ‪ ،‬ﺁﻳﻨﺪﻩﻯ ﻣﺎ ﺗﻀﻤﻴﻦ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﻧﺒﺎﻳﺪ‬ ‫ﺑﮕﺬﺍﺭﻳﻢ ﺑﺪﻭﻥ ﺗﻮﺍﻧﺎﻳﻰ ﺧﻮﺍﻧﺪﻥ ﻭ ﻧﻮﺷﺘﻦ ﺑﻪ ﻛﻼﺱﻫﺎﻯ ﺑﺎﻻﺗﺮ ﺑﺮﻭﻧﺪ‪ .‬ﺑﺎﻳﺪ ﺍﺯ ﻛﺘﺎﺏﻫﺎﻯ ﺁﻣﻮﺯﺷﻰ‬ ‫ﻋﻜﺲﺩﺍﺭ ﻭ ﺣﺘﺎ ﻛﺘﺎﺏﻫﺎﻯ ﻛﻤﻴﻚ ﺑﺮﺍﻯ ﺁﻣﻮﺯﺵﺷﺎﻥ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻴﻢ‪ .‬ﻭﻗﺘﻰ ﭘﻨﺞ ﺳﺎﻟﻢ ﺑﻮﺩ ﻋﻤﻪﺍﻡ‬ ‫ﻣﺠﻤﻮﻋﻪﺍﻯ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﭘﺮﻳﺎﻥ ﺑﻪ ﻣﻦ ﺩﺍﺩ ﺑﻪ ﻧﺎﻡ ﺭﻭﺯﻯ ﺭﻭﺯﮔﺎﺭﻯ‪ .‬ﺩﺍﺳﺘﺎﻥ ﺍﻭﻝ ﻛﺘﺎﺏ‪ ،‬ﺯﻳﺒﺎ ﻭ‬ ‫ﻫﻴﻮﻻ ﺑﻮﺩ‪ .‬ﺁﻥ ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﻣﻦ ﻛﻤﻚ ﻛﺮﺩ ﺧﻮﺍﻧﺪﻥ ﻭ ﻧﻮﺷﺘﻦ ﻳﺎﺩ ﺑﮕﻴﺮﻡ‪ .‬ﭼﻮﻥ ﻣﻦ ﺗﺼﺎﻭﻳﺮ ﺯﻳﺒﺎ‬ ‫ﻭ ﻫﻴﻮﻻ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻢ‪ .‬ﺍﻣﺎ ﺑﻪ ﺷﺪﺕ ﻣﺸﺘﺎﻕ ﺑﻮﺩﻡ ﻧﻮﺷﺘﻪﻫﺎﻳﺶ ﺭﺍ ﻫﻢ ﺑﺨﻮﺍﻧﻢ‪ .‬ﻭﻗﺘﻰ ﺑﻪ ﺳﻦ‬ ‫ﺷﺶ ﺳﺎﻟﮕﻰ ﺭﺳﻴﺪﻡ ﺧﻮﺍﻧﺪﻥ ﻭ ﻧﻮﺷﺘﻦ ﺑﻠﺪ ﺑﻮﺩﻡ‪.‬‬ ‫ﺍﺻ ً‬ ‫ﻼ ﭼﺮﺍ ﺑﺎﻳﺪ ﺑﻪ ﺑﭽﻪﻫﺎ ﺭﻳﺎﺿﻴﺎﺕ ﺁﻣﻮﺯﺵ ﺩﻫﻴﻢ؟ ﺁﻥﻫﺎ ﻛﻪ ﻫﺮﮔﺰ ﻗﺮﺍﺭ ﻧﻴﺴﺖ ﺍﺯ ﺭﻳﺎﺿﻴﺎﺕ‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻨﺪ‪ .‬ﺭﻳﺎﺿﻴﺎﺕ ﺳﺎﺩﻩ ﺑﺮﺍﻳﺸﺎﻥ ﻛﺎﻓﻰ ﺍﺳﺖ‪ .‬ﺟﻤﻊ ﻭ ﺗﻔﺮﻳﻖ ﻭ ﺗﻘﺴﻴﻢ‪ .‬ﻭﻟﻰ ﺭﻳﺎﺿﻴﺎﺕ‬ ‫ﭘﻴﺸﺮﻓﺘﻪ ﭼﻪ ﻣﺼﺮﻓﻰ ﺩﺍﺭﺩ؟ ﺁﻥﻫﺎ ﻛﻪ ﻫﺮﮔﺰ ﻗﺮﺍﺭ ﻧﻴﺴﺖ ﺍﺯ ﺭﻳﺎﺿﻴﺎﺕ ﺍﺳﺘﻔﺎﺩﻩﻯ ﻋﻤﻠﻰ ﺑﺒﺮﻧﺪ‪.‬‬ ‫ﻣﮕﺮ ﺍﻳﻦ ﻛﻪ ﺑﺨﻮﺍﻫﻨﺪ ﻭﺍﺭﺩ ﻋﻠﻮﻡ ﺗﺠﺮﺑﻰ ﺷﻮﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﺻﻮﺭﺕ ﺑﻌﺪﺍ ً ﻫﻢ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺭﻳﺎﺿﻴﺎﺕ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

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‫ﻣﺼﺎﺣﺒﻪ‬

‫ﺧﻮﺩﻡ ﺑﻮﺩﻩ‪ .‬ﺧﻮﺩﻡ ﺍﻳﻦ ﺑﻼﻫﺎ ﺭﺍ ﺳﺮ ﺧﻮﺩﻡ ﺁﻭﺭﺩﻡ‪ .‬ﻳﻚ ﻋﺎﻟﻢ ﻣﺸﺮﻭﺏ ﻭ ﺍﻟﻜﻞ‪ ،‬ﻫﻔﺘﺎﺩ ﭘﻮﻧﺪ ﺍﺿﺎﻓﻪ‬ ‫ﻭﺯﻥ‪ .‬ﺩﻳﮕﺮ ﻭﻗﺘﺶ ﺑﻮﺩ ﻳﻚ ﺗﻜﺎﻧﻰ ﺑﻪ ﺧﻮﺩﻡ ﺑﺪﻫﻢ‪.‬‬ ‫ﻭﻟﻰ ﺗﻮﺍﻧﺎﻳﻰ ﺗﺎﻳﭗ ﺳﺮﻳﻊﺗﺎﻥ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻳﺪ‪ .‬ﺁﻳﺎ ﻫﻨﻮﺯ ﻫﻢ ﺑﺮﺍﻯ ﺗﺎﻳﭗ ﻛﺮﺩﻥ ﻣﺸﻜﻞ‬ ‫ﺩﺍﺭﻳﺪ؟‬ ‫ﭼﻨﺪ ﺭﻭﺯ ﺑﻌﺪ ﺍﺯ ﺳﻜﺘﻪﺍﻡ ﺑﻪ ﺩﺧﺘﺮﻡ ﺁﻟﻜﺴﺎﻧﺪﺭﺍ ﻛﻪ ﺩﺳﺘﻴﺎﺭﻡ ﻫﻢ ﻫﺴﺖ ﺗﻠﻔﻦ ﺯﺩﻡ‪ .‬ﺑﻪ ﺍﻭ ﮔﻔﺘﻢ‬ ‫ﺑﻪ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﺑﻴﺎﻳﺪ‪ .‬ﺑﻪ ﺍﻭ ﮔﻔﺘﻢ ﻛﻪ ﻧﻤﺎﻳﺸﻨﺎﻣﻪﺍﻯ ﻛﻪ ﺩﺍﺷﺘﻢ ﺭﻭﻳﺶ ﻛﺎﺭ ﻣﻰﻛﺮﺩﻡ ﺭﺍ ﺑﺎ ﺧﻮﺩﺵ‬ ‫ﺑﻴﺎﻭﺭﺩ‪» .‬ﺑﻴﺎﻳﻴﺪ ﻛﻨﺴﺘﺎﻧﺲ ﺭﺍ ﺑﻜﺸﻴﻢ« ]‪ [66‬ﺑﻮﺩ‪ .‬ﻣﻦ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺑﻪ ﺍﻭ ﺗﻘﺪﻳﻢ ﻛﺮﺩﻡ ﺍﻭ ﻫﻢ‬ ‫ﻣﻮﺍﻓﻘﺖ ﻛﺮﺩ ﻛﻪ ﺗﺎﻳﭙﺶ ﻛﻨﺪ‪ .‬ﻭ ﺍﺯ ﺁﻥ ﻣﻮﻗﻊ ﺑﻪ ﺑﻌﺪ ﺍﻳﻦﻃﻮﺭﻯ ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻢ ﺭﺍ ﻧﻮﺷﺘﻢ‪ .‬ﺑﺎ ﺍﻭ‬ ‫ﺗﻤﺎﺱ ﻣﻰﮔﻴﺮﻡ ﻭ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺑﻪ ﺍﻭ ﺗﻘﺪﻳﻢ ﻣﻰﻛﻨﻢ ﻭ ﺍﻭ ﻫﻢ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺗﺎﻳﭗ ﻣﻰﻛﻨﺪ ﻭ ﺑﺮﺍﻳﻢ ﺑﺎ‬ ‫ﻓﻜﺲ ﻣﻰﻓﺮﺳﺘﺪ‪ .‬ﺑﻌﺪ ﻣﻦ ﺑﺎ ﻣﺪﺍﺩ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﻭﻳﺮﺍﻳﺶ ﻣﻰﻛﻨﻢ‪ .‬ﺭﻭﺵ ﺍﻳﺪﻩﺁﻟﻰ ﻧﻴﺴﺖ‪ ،‬ﻭﻟﻰ ﭼﻪ‬ ‫ﻣﻰﺷﻮﺩ ﻛﺮﺩ؟‬ ‫ﺍﻳﻦ ﺗﻐﻴﻴﺮ ﺩﺭ ﺍﻣﺮ ﻧﻮﺷﺘﻦ ﺑﺎﻋﺚ ﺗﻐﻴﻴﺮ ﺳﺒﻚ ﻧﮕﺎﺭﺷﻰ ﺷﻤﺎ ﻧﺸﺪﻩ؟‬ ‫ﻧﻪ ﭼﻨﺪﺍﻥ‪ .‬ﺍﮔﺮ ﺑﻪ ﻣﺠﻤﻮﻋﻪﻯ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻫﻰ ﻛﻪ ﺍﻻﻥ ﺩﺭ ﺣﺎﻝ ﻛﺎﺭ ﻛﺮﺩﻥ ﺭﻭﻳﺶ ﻫﺴﺘﻢ ﻧﮕﺎﻫﻰ‬ ‫ﺑﻴﻨﺪﺍﺯﻳﺪ‪ ،‬ﻣﺘﻮﺟﻪ ﻣﻰﺷﻮﻳﺪ ﻛﻪ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺧﻴﻠﻰ ﺧﻮﺑﻰ ﻫﺴﺘﻨﺪ‪ .‬ﺍﺳﻢ ﻣﺠﻤﻮﻋﻪ »ﺟﮕﺮﻧﺎﺕ«‬ ‫]‪ [67‬ﺍﺳﺖ‪ .‬ﺧﻴﻠﻰ ﺩﻟﻢ ﺑﺮﺍﻯ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻣﺎﺷﻴﻦﺗﺤﺮﻳﺮﻡ ﺗﻨﮓ ﺷﺪﻩ‪ .‬ﻭﻟﻰ ﭼﺎﺭﻩ ﭼﻴﺴﺖ؟‬

‫ﺣﺲ ﺧﻮﺵﺑﻴﻨﻰﺗﺎﻥ ﭼﻪ ﺗﺄﺛﻴﺮﻯ ﺭﻭﻯ ﺷﻐﻠﺘﺎﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻧﻮﻳﺴﻨﺪﻩ ﮔﺬﺍﺷﺘﻪ‬ ‫ﺍﺳﺖ؟‬ ‫ﻼ ﺑﻪ ﺧﻮﺵﺑﻴﻨﻰ ﺍﻋﺘﻘﺎﺩﻯ ﻧﺪﺍﺭﻡ‪ .‬ﻣﻦ ﺑﻪ ﺗﻼﺵ ﺣﺪﺍﻛﺜﺮ ﻣﻌﺘﻘﺪﻡ‪ .‬ﻛ ً‬ ‫ﻣﻦ ﺍﺻ ً‬ ‫ﻼ ﻳﻚ ﻣﻮﺿﻮﻉ ﺩﻳﮕﺮ‬ ‫ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﻫﺮ ﺭﻭﺯ ﺗﺎ ﺁﺧﺮﻳﻦ ﺩﺭﺟﻪﻯ ﺗﻮﺍﻧﺘﺎﻥ ﺗﻼﺵ ﻛﻨﻴﺪ‪ ،‬ﭼﻪ ﻣﻰﺷﻮﺩ؟ ﻳﻚ ﺑﺎﺭ ﻫﻢ ﻛﻪ ﺷﺪﻩ‬ ‫ﺍﻣﺘﺤﺎﻥ ﻛﻨﻴﺪ‪ .‬ﺑﺎﻳﺪ ﺗﺎ ﺁﺧﺮﻳﻦ ﺣﺪ ﺗﻮﺍﻥ ﻫﺮ ﺭﻭﺯ ﺭﺍ ﺯﻧﺪﮔﻰ ﻛﺮﺩ‪ .‬ﺑﺎﻳﺪ ﺑﺎ ﻧﻬﺎﻳﺖ ﻗﺪﺭﺕ ﻓﺮﻳﺎﺩ ﺯﺩ‬ ‫ﻭ ﺑﻪ ﺍﻧﻌﻜﺎﺱﺍﺵ ﮔﻮﺵ ﺳﭙﺮﺩ‪ .‬ﺧﻴﻠﻰ ﻭﻗﺖ ﭘﻴﺶ ﺳﺮ ﻣﻴﺰ ﻧﺎﻫﺎﺭ ﺩﺭﺱ ﺍﺭﺯﺷﻤﻨﺪﻯ ﻳﺎﺩ ﮔﺮﻓﺘﻢ‪.‬‬ ‫ﺑﺎ ﻣﺎﺩﺭ ﻭ ﭘﺪﺭ ﻭ ﺑﺮﺍﺩﺭﻡ ﺳﺮ ﻣﻴﺰ ﻧﺸﺴﺘﻪ ﺑﻮﺩﻳﻢ ﻭ ﻛﻮﻓﺘﻪﻯ ﺳﻮﺋﺪﻯ ﻣﻰﺧﻮﺭﺩﻳﻢ‪ .‬ﻭﻗﺘﻰ ﻏﺬﺍﻳﻢ ﺭﺍ‬ ‫ﺗﻤﺎﻡ ﻛﺮﺩﻡ ﺻﻨﺪﻟﻰﺍﻡ ﺭﺍ ﻋﻘﺐ ﻛﺸﻴﺪﻡ ﻭ ﮔﻔﺘﻢ‪» :‬ﺧﺪﺍﻯ ﻣﻦ! ﻋﺠﺐ ﻏﺬﺍﻳﻰ ﺑﻮﺩ!« ﺍﺯ ﺁﻥ ﻃﺮﻑ‬ ‫ﻣﻴﺰ ﺑﺮﺍﺩﺭﻡ ﮔﻔﺖ‪» :‬ﻫﻰ‪ ،‬ﺑﺪ ﻧﺒﻮﺩ‪ «.‬ﻓﺮﻗﺶ ﺭﺍ ﻣﺘﻮﺟﻪ ﻣﻰﺷﻮﻳﺪ؟‬ ‫ﺍﻋﻤﺎﻝ ﺑﺎ ﺍﻣﻴﺪ ﻋﺠﻴﻦ ﺷﺪﻩﺍﻧﺪ‪ .‬ﻭﻗﺘﻰ ﺭﻭﺯ ﺗﻤﺎﻡ ﻣﻰﺷﻮﺩ ﺷﻤﺎ ﻛﺎﺭﻫﺎﻯ ﺭﻭﺯﺍﻧﻪﺗﺎﻥ ﺭﺍ‪ ،‬ﺧﻮﺏ ﻳﺎ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﻣﺼﺎﺣﺒﻪ‬

‫ﻭ ﻳﻚ ﭘﺎﺭﺍﮔﺮﺍﻑ ﺑﺎﺯ ﻣﻰﻛﻨﻢ‪ .‬ﺑﻌﺪ ﺷﺮﻭﻉ ﻣﻰﻛﻨﻢ ﺑﻪ ﮔﺮﻳﻪ ﻛﺮﺩﻥ‪ .‬ﭼﻮﻥ ﻣﻰﺑﻴﻨﻢ ﻛﻪ ﻫﻴﭻ ﻛﺪﺍﻡ‬ ‫ﺍﻳﻦﻫﺎ ﻛﺎﺭ ﻣﻦ ﻧﻴﺴﺘﻨﺪ‪ .‬ﻫﻤﻪﻯ ﺍﻳﻦﻫﺎ ﻛﺎﺭ ﺧﺪﺍ ﻫﺴﺘﻨﺪ‪ .‬ﻭ ﻣﻦ ﺧﻴﻠﻰ ﺍﺯ ﺍﻭ ﻣﻤﻨﻮﻧﻢ‪ .‬ﺧﻴﻠﻰ‬ ‫ﺯﻳﺎﺩ‪ .‬ﺑﻬﺘﺮﻳﻦ ﺗﻌﺮﻳﻔﻰ ﻛﻪ ﺍﺯ ﻛﺎﺭ ﺧﻮﺩﻡ ﻣﻰﺗﻮﺍﻧﻢ ﻋﻨﻮﺍﻥ ﻛﻨﻢ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺣﺎﻝ ﺩﻭﻳﺪﻥ ﺩﺭ‬ ‫ﺩﺷﺖﻫﺎﻯ ﺧﺪﺍﻭﻧﺪﮔﺎﺭ ﻫﺴﺘﻢ‪ .‬ﺧﻴﻠﻰ ﻟﺬﺕﺑﺨﺶ ﺑﻮﺩﻩ‪ .‬ﻭ ﻧﻤﻰﺩﺍﻧﻢ ﺍﻳﻦ ﻧﻮﺷﺘﻪﻫﺎ ﺍﺯ ﻛﺠﺎ ﻭﺍﺭﺩ‬ ‫ﺫﻫﻨﻢ ﻣﻰﺷﻮﻧﺪ‪ .‬ﻓﻘﻂ ﻣﻰﺗﻮﺍﻧﻢ ﺑﮕﻮﻳﻢ ﻛﻪ ﺧﻮﺵ ﺷﺎﻧﺲ ﺑﻮﺩﻩﺍﻡ‪ .‬ﺧﻴﻠﻰ ﺧﻮﺵ ﺷﺎﻧﺲ‪.‬‬ ‫ﺑﻪ ﻧﻈﺮﻡ ﺳﻮﺍﻝ ﺍﺣﻤﻘﺎﻧﻪﺍﻯ ﺍﺳﺖ ﺍﮔﺮ ﺑﭙﺮﺳﻢ ﺍﺯ ﻧﻮﺷﺘﻦ ﻟﺬﺕ ﻣﻰﺑﺮﻳﺪ ﻳﺎ ﻧﻪ‪.‬‬ ‫ﻣﺸﺨﺼﺎً ﺧﻴﻠﻰ ﺍﺯ ﻧﻮﺷﺘﻦ ﻟﺬﺕ ﻣﻰﺑﺮﻡ‪ .‬ﻟﺬﺕﺑﺨﺶﺗﺮﻳﻦ ﻭ ﺩﻳﻮﺍﻧﻪﻭﺍﺭﺗﺮﻳﻦ ﺑﺨﺶ ﺯﻧﺪﮔﻰ ﻣﻦ‬ ‫ﻧﻮﺷﺘﻦ ﺍﺳﺖ ﻭ ﺍﺻ ً‬ ‫ﻼ ﺩﺭﻙ ﻧﻤﻰﻛﻨﻢ ﭼﺮﺍ ﺩﻳﮕﺮ ﻧﻮﻳﺴﻨﺪﻩﻫﺎ ﺑﻪ ﺁﻥ ﺑﻪ ﭼﺸﻢ ﺷﻐﻞ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺑﺮﺍﻯ ﻣﻦ ﻣﺜﻞ ﺑﺎﺯﻯ ﻛﺮﺩﻥ ﺍﺳﺖ‪ .‬ﺩﻭﺳﺖ ﺩﺍﺭﻡ ﺍﻳﺪﻩﻫﺎ ﺭﺍ ﺑﺎﻻ ﻭ ﭘﺎﻳﻴﻦ ﻛﻨﻢ ﻭ ﻣﺜﻞ ﺗﻮپ ﭘﺮﺗﺸﺎﻥ‬ ‫ﻛﻨﻢ ﺑﺎﻻ ﻭ ﺯﻳﺮﺷﺎﻥ ﺑﺎﻳﺴﺘﻢ‪ .‬ﺍﮔﺮ ﻗﺮﺍﺭ ﺑﻮﺩ ﺭﻭﻳﺸﺎﻥ ﻛﺎﺭ ﻛﻨﻢ ﻛﻪ ﺧﻴﻠﻰ ﻭﻗﺖ ﭘﻴﺶ ﻧﻮﻳﺴﻨﺪﮔﻰ ﺭﺍ‬ ‫ﻛﻨﺎﺭ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ‪ .‬ﭼﻮﻥ ﺍﺯ ﻛﺎﺭ ﻛﺮﺩﻥ ﻣﺘﻨﻔﺮﻡ‪.‬‬ ‫ﺍﺯ ﺗﺠﺮﺑﻪﻯ ﺳﻜﺘﻪﻯ ﻗﻠﺒﻰ ‪1999‬ﺗﺎﻥ ﭼﻴﺰﻯ ﺑﻪ ﺧﺎﻃﺮ ﺩﺍﺭﻳﺪ؟‬ ‫ﺩﺭ ﺧﺎﻧﻪﺍﻡ ﺩﺭ ﭘﺎﻟﻢ ﺍﺳﭙﺮﻳﻨﮕﺰ ﺑﻮﺩﻡ ﻭ ﺩﺍﺷﺘﻢ ﺭﻭﻯ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ ﻛﺎﺭ ﻣﻰﻛﺮﺩﻡ‪ .‬ﺩﺭ ﺧﺎﻧﻪ‬ ‫ﺍﻳﻦ ﻃﺮﻑ ﻭ ﺁﻥ ﻃﺮﻑ ﻣﻰﺭﻓﺘﻢ ﻛﻪ ﻧﺎﮔﻬﺎﻥ ﺣﺲ ﻛﺮﺩﻡ ﺣﺎﻟﻢ ﺧﻮﺵ ﻧﻴﺴﺖ‪ .‬ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻢ ﺑﻪ‬ ‫ﺧﻮﺑﻰ ﺭﺍﻩ ﺑﺮﻭﻡ ﻳﺎ ﺣﺮﻑ ﺑﺰﻧﻢ‪ .‬ﺑﻪ ﺯﻧﻢ ﺗﻠﻔﻦ ﺯﺩﻡ ﻛﻪ ﺩﺭ ﺧﺎﻧﻪﻯ ﺩﻳﮕﺮﻣﺎﻥ ﺩﺭ ﻟﺲﺁﻧﺠﻠﺲ ﺑﻮﺩ ﻭ‬ ‫ﺍﻭ ﻫﻢ ﻳﻚ ﺭﺍﻧﻨﺪﻩ ﺩﻧﺒﺎﻟﻢ ﻓﺮﺳﺘﺎﺩ ﺗﺎ ﻣﻦ ﺭﺍ ﺑﻪ ﺧﺎﻧﻪ ﺑﺮﮔﺮﺩﺍﻧﺪ‪ .‬ﻭﻗﺘﻰ ﺭﺍﻧﻨﺪﻩ ﺭﺳﻴﺪ ﺑﻪ ﺍﻭ ﮔﻔﺘﻢ‬ ‫ﻣﻦ ﺭﺍ ﺑﻪ ﺧﺎﻧﻪ ﺑﺒﺮﺩ‪ .‬ﺍﻭ ﮔﻔﺖ ﻣﺴﺘﻘﻴﻤﺎً ﻣﻰﺑﺮﺩﻡ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ‪ .‬ﺑﺎ ﺍﻳﻦ ﻛﺎﺭﺵ ﺟﺎﻧﻢ ﺭﺍ ﻧﺠﺎﺕ ﺩﺍﺩ‪.‬‬ ‫ﺑﻪ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﺁﻳﺰﻧﻬﺎﻭﺭ ﺭﻓﺘﻴﻢ ﻭ ﺁﻥﻫﺎ ﭼﻨﺪ ﺁﺯﻣﺎﻳﺶ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻧﺪ ﻭ ﻣﻌﻠﻮﻡ ﺷﺪ ﻭﺿﻌﻴﺘﻢ ﻭﺧﻴﻢ‬ ‫ﺍﺳﺖ‪ .‬ﺩﺳﺖ ﻭ ﭘﺎﻳﻢ ﻓﻠﺞ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻢ ﺻﺤﺒﺖ ﻛﻨﻢ‪.‬‬ ‫ﻣﻰﺩﺍﻧﺴﺘﻢ ﻛﻪ ﺍﻭﺿﺎﻉ ﺧﺮﺍﺏ ﺍﺳﺖ‪ ،‬ﭼﻮﻥ ﻓﻠﺞ ﺷﺪﻩ ﺑﻮﺩﻡ‪ .‬ﺗﻮﻯ ﺗﺨﺘﻢ ﺧﻮﺍﺑﻴﺪﻩ ﺑﻮﺩﻡ ﺑﻪ ﭘﺎﻳﻢ‬ ‫ﻣﻰﮔﻔﺘﻢ ﺣﺮﻛﺖ ﻛﻦ ﻭﻟﻰ ﺣﺮﻛﺖ ﻧﻤﻰﻛﺮﺩ‪ .‬ﻣﺜﻞ ﻳﻚ ﺳﮓ ﻣﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﺑﻰﺧﺎﺻﻴﺖ ﺳﺮ ﺟﺎﻳﺶ‬ ‫ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺩﺳﺘﻢ ﻫﻢ ﻫﻤﻴﻦﻃﻮﺭ‪ .‬ﺑﻌﺪ ﺍﺯ ﭼﻨﺪ ﻫﻔﺘﻪ ﺁﺭﺍﻡﺁﺭﺍﻡ ﻣﻮﻓﻖ ﺷﺪﻡ ﻳﻚ ﺍﻧﮕﺸﺖ ﺩﺳﺘﻢ ﺭﺍ‬ ‫ﺣﺮﻛﺖ ﺩﻫﻢ‪ .‬ﺑﻌﺪ ﻳﻚ ﺍﻧﮕﺸﺖ ﭘﺎﻳﻢ ﺭﺍ‪ .‬ﻣﻄﻤﺌﻦ ﺑﻮﺩﻡ ﻛﻪ ﻳﻚ ﻣﺎﻩ ﻫﻢ ﺩﻭﺍﻡ ﻧﺨﻮﺍﻫﻢ ﺁﻭﺭﺩ‪ .‬ﻭﻟﻰ‬ ‫ﺩﻭﺍﻡ ﺁﻭﺭﺩﻡ‪ .‬ﭘﺎﻳﻢ ﺑﻪ ﺣﺮﻛﺖ ﺩﺭ ﺁﻣﺪ‪ .‬ﻟﻄﻒ ﺧﺪﺍ ﺑﻮﺩﻩ‪ .‬ﻣﻦ ﻛﻪ ژﻥﻫﺎﻯ ﺧﻮﺑﻰ ﻧﺪﺍﺷﺘﻢ‪ .‬ﻭﻟﻰ ﻛﻞ‬ ‫ﺍﻳﻦ ﻣﺎﺟﺮﺍ ﺑﺎﻋﺚ ﺷﺪ ﻛﻠﻰ ﻭﺯﻥ ﻛﻢ ﻛﻨﻢ‪ .‬ﻗﻨﺪ ﺧﻮﻧﻢ ﻧﺮﻣﺎﻝ ﺷﺪﻩ ﻭ ﺩﻳﮕﺮ ﻧﻴﺎﺯﻯ ﻧﻴﺴﺖ ﺑﺮﺍﻳﺶ‬ ‫ﻗﺮﺹ ﻣﺼﺮﻑ ﻛﻨﻢ‪ .‬ﻓﺸﺎﺭ ﺧﻮﻧﻢ ﻫﻢ ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻫﻤﻪ ﺳﺎﻝ ﻃﺒﻴﻌﻰ ﺷﺪﻩ‪ .‬ﻫﻤﻪﻯ ﺍﻳﻦﻫﺎ ﺗﻘﺼﻴﺮ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﺍﮔﺮ ﻧﺴﺨﻪﻯ ﺍﻭﻟﻴﻪﻯ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﻗﻮﻝ ﺧﻮﺩﺗﺎﻥ‪ ،‬ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺷﻤﺎ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻛﺎﻏﺬ‬ ‫ﺣﺮﻑ ﻣﻰﺯﻧﺪ‪ ،‬ﺁﻳﺎ ﺩﺭ ﺑﺎﺯﻧﻮﻳﺴﻰ ﺩﺍﺳﺘﺎﻥ ﺁﻥ ﺭﺍ ﺍﺯ ﻧﻈﺮ ﺍﺩﺑﻰ ﻭ ﻓﻜﺮﻯ ﺗﺼﺤﻴﺢ ﻣﻰﻛﻨﻴﺪ؟‬ ‫ﺍﻟﺒﺘﻪ‪ .‬ﺧﻴﻠﻰ ﻭﻗﺖﻫﺎ ﺩﺍﺳﺘﺎﻥﻫﺎ ﺭﺍ ﻛﻮﺗﺎﻩ ﻣﻰﻛﻨﻢ‪ .‬ﭼﻮﻥ ﺑﻴﺸﺘﺮ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩﻫﺎ ﺯﻳﺎﺩﻯ ﺑﻠﻨﺪ‬ ‫ﻣﻰﺷﻮﻧﺪ‪ .‬ﺍﻭﻟﻴﻦ ﻧﺴﺨﻪﻯ ﺩﺍﺳﺘﺎﻥ »ﭼﻴﺰ ﺷﻮﻣﻰ ﺍﻳﻦ ﺳﻮ ﻣﻰﺁﻳﺪ« ]‪ [65‬ﺻﺪ ﻭ ﭘﻨﺠﺎﻩ ﻫﺰﺍﺭ ﻛﻠﻤﻪ‬ ‫ﺑﻮﺩ‪ .‬ﻣﻦ ﻫﻢ ﺩﺳﺖ ﺑﻪ ﻛﺎﺭ ﺷﺪﻡ ﻭ ﭘﻨﺠﺎﻩ ﻫﺰﺍﺭ ﻛﻠﻤﻪ ﺍﺯ ﺁﻥ ﻛﻢ ﻛﺮﺩﻡ‪ .‬ﺧﻴﻠﻰ ﻣﻬﻢ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺳﺮ‬ ‫ﺭﺍﻩ ﻧﻮﺷﺘﻦ ﺧﻮﺩﺕ ﻛﻨﺎﺭ ﺑﺮﻭﻯ‪ .‬ﺑﺎﻳﺪ ﻧﻮﺷﺘﻪ ﺭﺍ ﺗﻤﻴﺰ ﻭ ﺻﺎﻑ ﻭ ﺳﺎﺩﻩ ﻛﺮﺩ‪.‬‬ ‫ﺷﻤﺎ ﻧﻮﻳﺴﻨﺪﻩﻯ ﺳﺮﻳﻌﻰ ﻫﺴﺘﻴﺪ‪ .‬ﺁﻳﺎ ﻭﻳﺮﺍﺳﺘﺎﺭ ﺳﺮﻳﻌﻰ ﻫﻢ ﻫﺴﺘﻴﺪ؟‬ ‫ﻧﻪ‪ .‬ﻣﻦ ﻧﺴﺨﻪﻯ ﺍﻭﻝ ﺭﺍ ﺧﻴﻠﻰ ﺧﻴﻠﻰ ﺳﺮﻳﻊ ﺗﺎﻳﭗ ﻣﻰﻛﻨﻢ‪ .‬ﺗﻘﺮﻳﺒﺎً ﺑﻪ ﺷﻜﻞ ﻏﺮﻳﺰﻯ‪ .‬ﭼﻨﺪ ﺭﻭﺯ ﺑﻌﺪ‬ ‫ﻛﻞ ﻧﻮﺷﺘﻪ ﺭﺍ ﻳﻚ ﺑﺎﺭ ﺩﻳﮕﺮ ﺗﺎﻳﭗ ﻣﻰﻛﻨﻢ ﻭ ﻧﺎﺧﻮﺩﺁﮔﺎﻫﻢ ﺑﻪ ﻣﻦ ﻛﻠﻤﺎﺕ ﺗﺎﺯﻩﺍﻯ ﺍﺭﺍﺋﻪ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﺎﺭﻫﺎ ﻳﻚ ﭼﻴﺰ ﺭﺍ ﺩﻭﺑﺎﺭﻩ ﺗﺎﻳﭗ ﻛﻨﻢ‪ .‬ﻭﻟﻰ ﺧﻴﻠﻰ ﻭﻗﺖﻫﺎ ﺗﻨﻬﺎ ﻳﻚ ﺑﺎﺭ ﻛﺎﻓﻰ ﺍﺳﺖ‪.‬‬ ‫ﻣﻌﻤﻮﻻً ﭼﻪ ﻣﻮﻗﻌﻰ ﺍﺯ ﺭﻭﺯ ﺭﺍ ﺑﺮﺍﻯ ﻧﻮﺷﺘﻦ ﺗﺮﺟﻴﺢ ﻣﻰﺩﻫﻴﺪ؟‬ ‫ﺗﺮﺟﻴﺢ ﺧﺎﺻﻰ ﻧﺪﺍﺭﻡ‪ .‬ﻣﺪﺍﻡ ﺩﺭ ﺣﺎﻝ ﻧﻮﺷﺘﻦ ﻫﺴﺘﻢ‪ .‬ﻫﺮ ﺭﻭﺯ ﺻﺒﺢ ﻛﻪ ﺍﺯ ﺧﻮﺍﺏ ﺑﻴﺪﺍﺭ ﻣﻰﺷﻮﻡ‬ ‫ﻣﻄﻤﺌﻦ ﻧﻴﺴﺘﻢ ﻗﺮﺍﺭ ﺍﺳﺖ ﭼﻜﺎﺭ ﻛﻨﻢ‪ .‬ﻣﻌﻤﻮﻻً ﺍﻭﻝ ﺻﺒﺢ ﺗﻮﻯ ﺗﺨﺘﻢ ﻭ ﺗﻮﻯ ﺫﻫﻨﻢ ﺗﺌﺎﺗﺮﻯ ﺍﺯ‬ ‫ﺭﻧﮓﻫﺎ ﻭ ﺍﺗﻔﺎﻗﺎﺕ ﻭ ﺻﺪﺍﻫﺎ ﺍﺳﺖ‪ .‬ﻭﻗﺘﻰ ﺑﻪ ﻳﻚ ﺍﺳﺘﻌﺎﺭﻩﻯ ﺧﻮﺏ ﺭﺳﻴﺪﻡ‪ ،‬ﺍﺯ ﺗﻮﻯ ﺗﺨﺘﻢ ﺑﻴﺮﻭﻥ‬ ‫ﻣﻰﭘﺮﻡ ﻭ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺍﺯ ﺫﻫﻨﻢ ﺑﭙﺮﻧﺪ‪ ،‬ﮔﻴﺮﺷﺎﻥ ﻣﻰﺍﻧﺪﺍﺯﻡ‪ .‬ﺭﻣﺰﺵ ﻫﻤﻴﻦ ﺍﺳﺖ‪ .‬ﺑﺎﻳﺪ ﻛﺎﺭﻯ ﺭﺍ‬ ‫ﺑﻜﻨﻴﺪ ﻛﻪ ﻫﻴﺠﺎﻥﺯﺩﻩﺗﺎﻥ ﺑﻜﻨﺪ‪ .‬ﺩﺭ ﺿﻤﻦ ﻫﻴﭻﻭﻗﺖ ﺧﻮﺍﺏ ﺑﻌﺪﺍﺯﻇﻬﺮ ﺭﺍ ﻓﺮﺍﻣﻮﺵ ﻧﻤﻰﻛﻨﻢ‪ .‬ﭼﻮﻥ‬ ‫ﺍﻳﻦﻃﻮﺭﻯ ﺩﻭ ﺗﺎ ﺻﺒﺢ ﺑﺮﺍﻯ ﺗﺼﻮﻳﺮﺳﺎﺯﻯ ﺩﺭ ﺫﻫﻨﻢ ﺩﺍﺭﻡ!‬ ‫ﻃﺮﺡ ﻛﻠﻰ ﺑﺮﺍﻯ ﻧﻮﺷﺘﻪﻫﺎﻳﺘﺎﻥ ﻣﻰﻧﻮﻳﺴﻴﺪ ﻳﺎ ﻳﻚ ﺭﺍﺳﺖ ﻣﻰﺭﻭﻳﺪ ﺳﺮﺍﻍ ﺍﺻﻞ ﻣﻄﻠﺐ؟‬ ‫ﻧﻪ ﻫﺮﮔﺰ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻧﻤﻰﻛﻨﻢ‪ .‬ﺍﺻ ً‬ ‫ﻼ ﺑﺮﺍﻳﻢ ﻣﻤﻜﻦ ﻧﻴﺴﺖ‪ .‬ﺗﻮﺻﻴﻪﺍﺵ ﻫﻢ ﻧﻤﻰﻛﻨﻢ‪ .‬ﻫﻤﺎﻥﻃﻮﺭ‬ ‫ﻛﻪ ﻧﻤﻰﺷﻮﺩ ﻓﺮﺩﺍ ﻳﺎ ﻳﻚ ﺳﺎﻝ ﺩﻳﮕﺮ ﻳﺎ ﺩﻩ ﺳﺎﻝ ﺩﻳﮕﺮ ﺭﺍ ﺑﺮﻧﺎﻣﻪﺭﻳﺰﻯ ﻛﺮﺩ‪ .‬ﭼﻮﻥ ﺗﻤﺎﻡ ﺍﻧﺮژﻯ ﻭ‬ ‫ﺣﻴﺎﺗﺶ ﺍﺯ ﺁﻥ ﮔﺮﻓﺘﻪ ﻣﻰﺷﻮﺩ‪ .‬ﻫﻤﻴﻦ ﺍﺗﻔﺎﻕ ﺑﺮﺍﻯ ﻧﻮﺷﺘﻪﻫﺎ ﻫﻢ ﻣﻰﺍﻓﺘﺪ‪ .‬ﺳﺮﺯﻧﺪﮔﻰﺍﺵ ﺍﺯ ﺑﻴﻦ‬ ‫ﻣﻰﺭﻭﺩ‪ .‬ﺑﺎﻳﺪ ﺑﮕﺬﺍﺭﻳﺪ ﺩﺍﺳﺘﺎﻥ ﺧﻮﺩﺵ ﭘﺮ ﻭ ﺑﺎﺭ ﺑﮕﻴﺮﺩ ﻭ ﺷﺨﺼﻴﺖﻫﺎ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺟﻠﻮ ﺑﺒﺮﻧﺪ‪.‬‬ ‫ﻫﺮﮔﺰ ﺁﺛﺎﺭﺗﺎﻥ ﺭﺍ ﺩﻭﺑﺎﺭﻩ ﻣﻰﺧﻮﺍﻧﻴﺪ؟‬ ‫ﻫﺮ ﭼﻨﺪ ﺷﺐ ﻳﻚ ﺑﺎﺭ ﺍﺯ ﭘﻠﻪﻫﺎﻯ ﺍﺗﺎﻕ ﺧﻮﺍﺑﻢ ﭘﺎﻳﻴﻦ ﻣﻰﺁﻳﻢ ﻭ ﻳﻜﻰ ﺍﺯ ﻛﺘﺎﺏﻫﺎﻳﻢ ﺭﺍ ﺑﺎﺯ ﻣﻰﻛﻨﻢ‬

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‫ﺑﻌﺪ ﺍﺯ ﺗﻬﻴﻪﻯ ﻓﻬﺮﺳﺖ ﺍﺳﻢﻫﺎ ﺑﺎﻳﺪ ﭼﻜﺎﺭ ﻛﺮﺩ؟‬ ‫ﻣﻦ ﺧﻮﺩﻡ ﺩﺭ ﻣﺮﺣﻠﻪﻯ ﺑﻌﺪ ﻋﺒﺎﺭﺍﺗﻰ ﻣﺴﺠﻊ ﺩﺭﺑﺎﺭﻩﻯ ﻫﺮ ﺍﺳﻢ ﻣﻰﻧﻮﻳﺴﻢ‪ .‬ﻳﻚ ﭼﻴﺰﻯ ﻣﺜﻞ‬ ‫ﻭﺯﻥ ﺷﻌﺮﻯ ﺑﺮﺍﻯﺷﺎﻥ ﻣﻰﺳﺎﺯﻡ‪ .‬ﺍﺷﺘﻴﺎﻕﺁﻭﺭ ﺍﺳﺖ ﻭ ﺧﻴﻠﻰ ﻭﻗﺖﻫﺎ ﺑﻪ ﺍﺳﺘﻌﺎﺭﻩﻫﺎﻯ ﻛﻼﻣﻰ ﺧﺘﻢ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﺳﻨﺖ ﺟﺎﻥ ﭘﺮﺱ ]‪ [61‬ﭼﻨﺪﻳﻦ ﻣﺠﻠﺪ ﺑﺰﺭگ ﺷﻌﺮ ﺑﻪ ﻫﻤﻴﻦ ﺗﺮﺗﻴﺐ ﺑﺎ ﻛﺎﻏﺬﻫﺎﻯ ﺧﻴﻠﻰ‬ ‫ﺯﻳﺒﺎ ﻭ ﭼﺎپ ﻗﺸﻨﮓ ﻣﻨﺘﺸﺮ ﻛﺮﺩﻩ‪ .‬ﺍﺳﻢ ﻛﺘﺎﺏﻫﺎﻳﺶ ﻫﻢ ﻣﻌﻤﻮﻻً ﭼﻴﺰﻫﺎﻳﻰ ﺑﻮﺩ ﻣﺜﻞ ﺑﺎﺭﺍﻥﻫﺎ‪،‬‬ ‫ﺑﺮﻑﻫﺎ‪ ،‬ﺑﺎﺩﻫﺎ‪ ،‬ﺩﺭﻳﺎﻫﺎ‪ .‬ﻫﻴﭻﻭﻗﺖ ﻧﺘﻮﺍﻧﺴﺘﻢ ﻫﻴﭻ ﻛﺪﺍﻡ ﺍﺯ ﻛﺘﺎﺏﻫﺎﻳﺶ ﺭﺍ ﺑﺨﺮﻡ‪ .‬ﭼﻮﻥ ﻫﺮ ﻛﺪﺍﻡ‬ ‫ﺑﻴﺴﺖ ﺳﻰ ﺩﻻﺭ ﺑﻮﺩﻧﺪ‪ .‬ﺁﻥ ﻫﻢ ﭘﻨﺠﺎﻩ ﺳﺎﻝ ﭘﻴﺶ! ﻭﻟﻰ ﻧﻮﺷﺘﻪﻫﺎﻳﺶ ﺧﻴﻠﻰ ﺑﺮ ﻣﻦ ﺗﺄﺛﻴﺮ ﮔﺬﺍﺷﺖ‪.‬‬ ‫ﭼﻮﻥ ﺗﻮﻯ ﻛﺘﺎﺏﻓﺮﻭﺷﻰﻫﺎ ﻧﮕﺎﻫﻰ ﺑﻪ ﺁﺛﺎﺭﺵ ﻣﻰﺍﻧﺪﺍﺧﺘﻢ‪.‬‬ ‫ﺧﻴﻠﻰ ﺯﻭﺩ ﺷﺮﻭﻉ ﻛﺮﺩﻡ ﺑﻪ ﻧﻮﺷﺘﻦ ﭘﺎﺭﺍﮔﺮﺍﻑﻫﺎﻯ ﺩﻭﻳﺴﺖ ﻛﻠﻤﻪﺍﻯ ﺗﻮﺿﻴﺤﻰ ﺩﺭﺑﺎﺭﻩﻯ ﺍﺳﻢﻫﺎﻳﻢ‪.‬‬ ‫ﺑﻌﺪ ﺷﺨﺼﻴﺖﻫﺎﻳﻰ ﺭﺍ ﻭﺍﺭﺩ ﻧﻮﺷﺘﻪ ﻣﻰﻛﺮﺩﻡ ﺗﺎ ﺩﺭﺑﺎﺭﻩﻯ ﺁﻥ ﺍﺳﻢ ﺑﺎ ﻫﻢ ﺻﺤﺒﺖ ﻛﻨﻨﺪ‪ .‬ﺧﻴﻠﻰ ﺯﻭﺩ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺗﺎﺯﻩﺍﻯ ﺷﺮﻭﻉ ﻣﻰﺷﺪ‪ .‬ﺑﺎ ﻋﻜﺲﻫﺎﻳﻰ ﻛﻪ ﺍﺯ ﻣﺠﻠﻪﻫﺎ ﻫﻢ ﻣﻰﻛﻨﺪﻡ ﻫﻤﻴﻦ ﻛﺎﺭ ﺭﺍ ﻣﻰﻛﺮﺩﻡ‪.‬‬ ‫ﺑﺮﺍﻯ ﻫﺮ ﻛﺪﺍﻡ ﻳﻚ ﭘﺎﺭﺍﮔﺮﺍﻑ ﻣﻰﻧﻮﺷﺘﻢ‪.‬‬ ‫ﺑﻌﻀﻰ ﺍﺯ ﻋﻜﺲﻫﺎ‪ ،‬ﭼﻴﺰﻫﺎﻳﻰ ﺍﺯ ﮔﺬﺷﺘﻪﺍﻡ ﺭﺍ ﺩﺭ ﻣﻦ ﺯﻧﺪﻩ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﻭﻗﺘﻰ ﺑﻪ ﻧﻘﺎﺷﻰﻫﺎﻯ ﺍﺩﻭﺍﺭﺩ‬ ‫ﻫﺎﭘﺮ ]‪ [62‬ﻧﮕﺎﻩ ﻣﻰﻛﻨﻢ‪ ،‬ﺧﻴﻠﻰ ﻭﻗﺖﻫﺎ ﻫﻤﻴﻦ ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﺪ‪ .‬ﺍﻭ ﺧﻴﻠﻰ ﻭﻗﺖﻫﺎ ﺍﺯ ﻣﻨﺎﻇﺮ ﺷﻬﺮﻯ‬ ‫ﻣﺜﻞ ﻛﺎﻓﻪﻫﺎ ﻭ ﺗﺌﺎﺗﺮﻫﺎﻯ ﺧﺎﻟﻰ ﺩﺭ ﻧﻴﻤﻪﺷﺐ‪ ،‬ﻛﻪ ﻓﻘﻂ ﻳﻜﻰ ﺩﻭ ﻧﻔﺮ ﺩﺭ ﺁﻥﻫﺎ ﻧﺸﺴﺘﻪ ﺍﻧﺪ‪ ،‬ﻧﻘﺎﺷﻰ‬ ‫ﻣﻰﻛﺸﻴﺪ‪ .‬ﺣﺲ ﺗﻨﻬﺎﻳﻰ ﻭ ﺍﻧﺰﻭﺍﻳﻰ ﻛﻪ ﺩﺭ ﻧﻘﺎﺷﻰﻫﺎ ﺑﻪ ﺗﺼﻮﻳﺮ ﻣﻰﻛﺸﻴﺪ ﺑﻰﻧﻈﻴﺮ ﺑﻮﺩ‪ .‬ﻣﻦ ﺑﻪ‬ ‫ﻧﻘﺎﺷﻰﻫﺎ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩﻡ ﻭ ﺩﺭ ﺫﻫﻨﻢ ﭘﺮﺷﺎﻥ ﻣﻰﻛﺮﺩﻡ‪ .‬ﻫﻨﻮﺯ ﻫﻢ ﺁﻥ ﭘﺎﺭﺍﮔﺮﺍﻑﻫﺎﻯ ﺗﻮﺿﻴﺤﻰ ﺭﺍ‬ ‫ﺩﺍﺭﻡ‪ .‬ﺁﻥﻫﺎ ﺑﻮﺩﻧﺪ ﻛﻪ ﺭﻯ ﺑﺮﺩﺑﺮﻯ ﺭﺍ ﺳﺎﺧﺘﻨﺪ‪.‬‬ ‫ﻣﻰﺷﻮﺩ ﻳﻚ ﻣﺜﺎﻝ ﺩﺭ ﻳﻜﻰ ﺍﺯ ﺁﺛﺎﺭﺗﺎﻥ ﺑﺰﻧﻴﺪ؟‬ ‫ﭘﺎﺭﺍﮔﺮﺍﻓﻰ ﻛﻪ ﺩﺭﺑﺎﺭﻩﻯ ﺑﻮﻕ ﻫﺸﺪﺍﺭ ﻣﻪ ﮔﺮﻓﺘﮕﻰ ﺩﺭ ﻛﺘﺎﺏ »ﻣﻪ ﮔﺮﻓﺘﮕﻰ« ]‪ [63‬ﺗﻮﺿﻴﺢ ﻣﻰﺩﻫﺪ‬ ‫ﻳﺎ ﭘﺎﺭﺍﮔﺮﺍﻓﻰ ﻛﻪ ﺩﺍﻳﻨﺎﺳﻮﺭ ﺭﺍ ﺩﺭ »ﺁﻭﺍﻯ ﺗﻨﺪﺭ« ]‪ [64‬ﺗﻮﺿﻴﺢ ﻣﻰﺩﻫﺪ‪ ،‬ﻣﺜﺎﻝ ﺧﻮﺑﻰ ﺍﺳﺖ‪.‬‬ ‫ﭼﺮﺍ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ ﺭﺍ ﺑﻪ ﺭﻣﺎﻥ ﺗﺮﺟﻴﺢ ﻣﻰﺩﻫﻴﺪ؟ ﺑﻪ ﺧﺎﻃﺮ ﺑﻰﺻﺒﺮﻯ ﺑﻴﺶ ﺍﺯ ﺣﺪ‬ ‫ﻧﻴﺴﺖ؟ ﺍﻳﻦ ﺭﻭﺯﻫﺎ ﺍﺳﻤﺶ ﺭﺍ ﮔﺬﺍﺷﺘﻪ ﺍﻧﺪ ﺑﻴﺶﻓﻌﺎﻟﻰ‪.‬‬ ‫ﺭﺍﺳﺘﺶ ﺗﺎ ﺣﺪﻯ ﺣﻖ ﺑﺎ ﺷﻤﺎ ﺍﺳﺖ‪ .‬ﺗﻤﺮﻛﺰ ﻣﻦ ﺧﻴﻠﻰ ﻣﺴﺘﺤﻜﻢ ﻧﻴﺴﺖ‪ .‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﺗﺎ ﺟﺎﻳﻰ‬ ‫ﻛﻪ ﺑﺘﻮﺍﻧﻢ ﺳﺮﻳﻊ ﻋﻤﻞ ﻣﻰﻛﻨﻢ‪ .‬ﻳﻌﻨﻰ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ ﻣﻰﻧﻮﻳﺴﻢ‪.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﺑﻌﻀﻰ ﻭﻗﺖﻫﺎ ﻧﮕﺎﻫﻰ ﺑﻪ ﻋﻨﺎﻭﻳﻨﺸﺎﻥ ﻣﻰﺍﻧﺪﺍﺯﻡ‪ .‬ﻣﺜﻞ ﭘﺮﻧﺪﻩﺍﻯ ﻛﻪ ﺑﺎ ﻳﻚ ﻛﺮﻡ ﺩﺭ ﺩﻫﺎﻧﺶ ﭘﻴﺶ‬ ‫ﺑﭽﻪﻫﺎﻳﺶ ﺑﺮﮔﺮﺩﺩ‪ .‬ﺑﻪ ﺁﻥ ﻣﻨﻘﺎﺭﻫﺎﻯ ﮔﺮﺳﻨﻪ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻢ‪ ،‬ﺑﻪ ﻫﻤﻪﻯ ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻰ ﻛﻪ ﻣﻨﺘﻈﺮﻧﺪ‬ ‫ﻧﻮﺷﺘﻪ ﺷﻮﻧﺪ‪ ،‬ﻭ ﻣﻰﭘﺮﺳﻢ ﺧﻮﺏ‪ ،‬ﻛﺪﺍﻡﺗﺎﻥ ﺩﻭﺳﺖ ﺩﺍﺭﻳﺪ ﺗﻤﺎﻡ ﺷﻮﻳﺪ؟ ﻭ ﺁﻥ ﺩﺍﺳﺘﺎﻧﻰ ﻛﻪ ﺑﻠﻨﺪﺗﺮ‬ ‫ﺍﺯ ﺑﻘﻴﻪ ﻧﻌﺮﻩ ﺑﻜﺸﺪ ﻭ ﺍﻳﺪﻩﺍﻯ ﻛﻪ ﻣﻨﻘﺎﺭﺵ ﺭﺍ ﺑﻴﺸﺘﺮ ﺍﺯ ﺑﻘﻴﻪ ﺑﺎﺯ ﻛﻨﺪ‪ ،‬ﭘﻴﺮﻭﺯ ﻣﻰﺷﻮﺩ‪ .‬ﺍﺯ ﺩﺍﺧﻞ‬ ‫ﻛﺸﻮ ﺑﻴﺮﻭﻧﺶ ﻣﻰﻛﺸﻢ ﻭ ﺩﺭ ﻋﺮﺽ ﭼﻨﺪ ﺳﺎﻋﺖ ﺗﻤﺎﻣﺶ ﻣﻰﻛﻨﻢ‪.‬‬ ‫ﺩﺭ ﻛﺘﺎﺏ »ﺫﻥ ﺩﺭ ﻫﻨﺮ ﻧﻮﻳﺴﻨﺪﮔﻰ« ]‪ [60‬ﻛﻪ ﺩﺭ ﺩﻭﺭﺍﻥ ﺟﻮﺍﻧﻰﺗﺎﻥ ﻧﻮﺷﺘﻪﺍﻳﺪ‪ ،‬ﻓﻬﺮﺳﺘﻰ‬ ‫ﺍﺯ ﺍﺳﺎﻣﻰﺍﻯ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺑﻮﺩﻳﺪ ﻛﻪ ﺍﺯ ﻧﻈﺮ ﺷﻤﺎ ﺍﻳﺪﻩﺳﺎﺯ ﻫﺴﺘﻨﺪ‪ .‬ﮔﻠﺪﺍﻥ‪ ،‬ﺁﺏﺍﻧﺒﺎﺭ‪،‬‬ ‫ﺩﺭﻳﺎﭼﻪ‪ ،‬ﺍﺳﻜﻠﺖ‪ .‬ﻫﻨﻮﺯ ﻫﻢ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﻴﺪ؟‬ ‫ﻧﻪ ﺑﻪ ﻫﻤﺎﻥ ﺍﻧﺪﺍﺯﻩﻯ ﻗﺒﻞ‪ .‬ﭼﻮﻥ ﺍﻻﻥ ﺩﻳﮕﺮ ﺑﻪ ﺻﻮﺭﺕ ﺧﻮﺩﻛﺎﺭ ﺍﻳﺪﻩ ﺗﻮﻟﻴﺪ ﻣﻰﻛﻨﻢ‪ .‬ﻭﻟﻰ ﺩﺭ ﺁﻥ‬ ‫ﺯﻣﺎﻥ ﻣﻰﺩﺍﻧﺴﺘﻢ ﻛﻪ ﻧﻴﺎﺯ ﺩﺍﺭﻡ ﻧﺎﺧﻮﺩﺁﮔﺎﻫﻢ ﺭﺍ ﺗﺮﻏﻴﺐ ﻛﻨﻢ‪ .‬ﻭ ﻛﻠﻤﺎﺕ ﻫﺴﺘﻨﺪ ﻛﻪ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺍﻧﺠﺎﻡ‬ ‫ﻣﻰﺩﻫﻨﺪ‪ .‬ﺧﻴﻠﻰ ﻭﻗﺖ ﭘﻴﺶ ﻳﺎﺩ ﮔﺮﻓﺘﻢ ﻛﻪ ﺳﻪ ﭼﻴﺰ ﻫﻤﻴﺸﻪ ﺩﺭ ﺳﺮ ﺁﺩﻡﻫﺎ ﻣﻮﺝ ﻣﻰﺯﻧﺪ‪ .‬ﺍﻭﻝ ﺗﻤﺎﻣﻰ‬ ‫ﺗﺠﺮﺑﻴﺎﺗﻰ ﻛﻪ ﺍﺯ ﺯﻣﺎﻥ ﺑﻪ ﺩﻧﻴﺎ ﺁﻣﺪﻥ ﺩﺍﺷﺘﻪﺍﻳﺪ‪ .‬ﻫﺮ ﺛﺎﻧﻴﻪ ﺍﺯ ﺁﻥ‪ .‬ﻫﺮ ﺩﻗﻴﻘﻪ ﻭ ﺳﺎﻋﺘﺶ‪ .‬ﻫﺮ ﺭﻭﺯﺵ‪.‬‬ ‫ﻭ ﺩﻭﻡ ﻭﺍﻛﻨﺶ ﺷﻤﺎ ﺍﺳﺖ ﺑﻪ ﺍﻳﻦ ﺍﺗﻔﺎﻗﺎﺕ‪ .‬ﺣﺎﻻ ﺍﻳﻦ ﺍﺗﻔﺎﻗﺎﺕ ﻣﻤﻜﻦ ﺍﺳﺖ ﺧﻮﺷﺤﺎﻝ ﻛﻨﻨﺪﻩ ﺑﺎﺷﻨﺪ‬ ‫ﻳﺎ ﻧﺎﺭﺍﺣﺖ ﻛﻨﻨﺪﻩ‪ .‬ﺍﻳﻦ ﺩﻭ ﭼﻴﺰ ﻫﻤﻴﺸﻪ ﺑﺎ ﺷﻤﺎ ﻫﺴﺘﻨﺪ‪ .‬ﺳﻮﻣﻰ ﺗﻤﺎﻣﻰ ﺗﺠﺮﺑﻴﺎﺗﻰ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺁﺛﺎﺭ‬ ‫ﻫﻨﺮﻯ ﻭ ﻫﻤﻪﻯ ﻧﻮﻳﺴﻨﺪﻩﻫﺎ ﻭ ﻫﻨﺮﻣﻨﺪﻫﺎ ﻭ ﺗﻬﻴﻪﻛﻨﻨﺪﻩﻫﺎ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥﻫﺎ ﻭ ﻧﻮﺍﺯﻧﺪﻩﻫﺎ ﺩﺭ ﺫﻫﻦ ﺩﺍﺭﻳﺪ‪.‬‬ ‫ﭘﺲ ﻫﻤﻪﻯ ﺍﻳﻦﻫﺎ ﻣﺜﻞ ﻳﻚ ﺗﻮﺩﻩ ﻛﻮﺩﮔﻴﺎﻫﻰ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﻭ ﭘﺮ ﭘﻴﻤﺎﻥ ﺗﻮﻯ ﺫﻫﻦ ﺷﻤﺎ ﻫﺴﺘﻨﺪ ﻭ ﺷﻤﺎ‬ ‫ﺑﺎﻳﺪ ﺍﺯ ﺍﻳﻦﻫﺎ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻴﺪ‪ .‬ﭼﻄﻮﺭ؟ ﺑﺎ ﺗﻬﻴﻪﻯ ﻓﻬﺮﺳﺖ ﺍﺳﺎﻣﻰ ﻭ ﭘﺮﺳﻴﺪﻥ ﺍﻳﻦ ﺳﻮﺍﻝ ﻛﻪ ﺍﻳﻦﻫﺎ‬ ‫ﭼﻪ ﻣﻌﻨﺎﻳﻰ ﺩﺍﺭﻧﺪ؟ ﻫﻤﻴﻦ ﺣﺎﻻ ﻣﻰﺗﻮﺍﻧﻴﺪ ﻓﻬﺮﺳﺖﺗﺎﻥ ﺭﺍ ﺑﻨﻮﻳﺴﻴﺪ ﻭ ﺑﺒﻴﻨﻴﺪ ﻛﻪ ﭼﻘﺪﺭ ﺑﺎ ﻓﻬﺮﺳﺖ‬ ‫ﻣﻦ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ‪ .‬ﺷﺐ‪ .‬ﺟﻴﺮﺟﻴﺮﻙ‪ .‬ﺳﻮﺕ ﻗﻄﺎﺭ‪ .‬ﺯﻳﺮﺯﻣﻴﻦ‪ .‬ﺍﺗﺎﻕ ﺯﻳﺮﺷﻴﺮﻭﺍﻧﻰ‪ .‬ﻛﻔﺶﻫﺎﻯ ﺗﻨﻴﺲ‪.‬‬ ‫ﺁﺗﺶ ﺑﺎﺯﻯ‪ .‬ﻫﻤﻪﻯ ﺍﻳﻦ ﻛﻠﻤﺎﺕ ﺧﻴﻠﻰ ﺷﺨﺼﻰ ﻫﺴﺘﻨﺪ‪ .‬ﻭ ﻭﻗﺘﻰ ﻓﻬﺮﺳﺖﺗﺎﻥ ﺭﺍ ﺗﻬﻴﻪ ﻛﺮﺩﻳﺪ‪ ،‬ﺩﻭﺭ‬ ‫ﻭ ﺑﺮ ﺍﻳﻦ ﺍﺳﻢﻫﺎ‪ ،‬ﺍﺳﻢﻫﺎﻯ ﺟﺪﻳﺪ ﺟﻤﻊ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺍﺯ ﺧﻮﺩﺗﺎﻥ ﻣﻰﭘﺮﺳﻴﺪ ﭼﺮﺍ ﺍﻳﻦ ﺍﺳﻢ ﺭﺍ ﻧﻮﺷﺘﻢ؟‬ ‫ﻣﻌﻨﻰﺍﺵ ﭼﻴﺴﺖ؟ ﭼﺮﺍ ﺑﻪ ﺟﺎﻯ ﺍﻳﻦ ﺍﺳﻢ ﻳﻚ ﺍﺳﻢ ﺩﻳﮕﺮ ﻧﻨﻮﺷﺘﻢ؟ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﻫﻴﺪ ﻭ ﻗﻮﻝ‬ ‫ﻣﻰﺩﻫﻢ ﻧﻮﻳﺴﻨﺪﻩﻯ ﺧﻮﺑﻰ ﺧﻮﺍﻫﻴﺪ ﺷﺪ‪ .‬ﻧﻤﻰﺷﻮﺩ ﺑﺮﺍﻯ ﺩﻳﮕﺮﺍﻥ ﻧﻮﺷﺖ‪ .‬ﻧﻤﻰﺷﻮﺩ ﺑﺮﺍﻯ ﺟﻨﺎﺡ ﭼﭗ‬ ‫ﻳﺎ ﺟﻨﺎﺡ ﺭﺍﺳﺖ‪ ،‬ﻓﻼﻥ ﻣﺬﻫﺐ ﻳﺎ ﺑﻬﻤﺎﻥ ﺍﻋﺘﻘﺎﺩ ﻧﻮﺷﺖ‪ .‬ﺁﺩﻡ ﺑﺎﻳﺪ ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﻭ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺩﻧﻴﺎ‬ ‫ﺭﺍ ﻣﻰﺑﻴﻨﺪ ﺑﻨﻮﻳﺴﺪ‪ .‬ﻓﻬﺮﺳﺘﻰ ﺍﺯ ﺩﻩ ﭼﻴﺰﻯ ﻛﻪ ﺍﺯ ﺁﻥ ﻣﺘﻨﻔﺮﻳﺪ ﺗﻬﻴﻪ ﻛﻨﻴﺪ ﻭ ﻫﻤﻪ ﺭﺍ ﻭﺍﺭﺩ ﻳﻚ ﺷﻌﺮ‬ ‫ﻳﺎ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ ﻛﻨﻴﺪ‪ .‬ﻓﻬﺮﺳﺘﻰ ﺍﺯ ﺩﻩ ﭼﻴﺰﻯ ﻛﻪ ﻋﺎﺷﻘﺸﺎﻥ ﻫﺴﺘﻴﺪ ﺗﻬﻴﻪ ﻛﻨﻴﺪ‪ .‬ﻣﺎﺟﺮﺍﻯ ﻓﺎﺭﻧﻬﺎﻳﺖ‬ ‫‪ 451‬ﻫﻢ ﻫﻤﻴﻦ ﺍﺳﺖ‪ .‬ﻣﻦ ﺍﺯ ﻛﺘﺎﺏﺳﻮﺯﻯ ﻣﺘﻨﻔﺮﻡ ﻭ ﻋﺎﺷﻖ ﻛﺘﺎﺑﺨﺎﻧﻪﻫﺎ ﻫﺴﺘﻢ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

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‫ﻣﺸﻜﻞ ﭼﻴﺴﺖ؟ ﮔﻔﺖ ﺩﻳﮕﺮ ﺍﺯ ﻛﺘﺎﺏ ﺳﻮﺯﺍﻧﺪﻥ ﺧﺴﺘﻪ ﺷﺪﻩ‪ .‬ﻣﻦ ﻫﻢ ﮔﻔﺘﻢ ﺑﺮﻭﺩ ﻫﺮ ﻛﺎﺭﻯ ﻛﻪ‬ ‫ﺩﻭﺳﺖ ﺩﺍﺭﺩ ﺑﻜﻨﺪ‪ .‬ﺍﻭ ﻫﻢ ﺭﻓﺖ ﻭ ﺩﺭ ﻧﻪ ﺭﻭﺯ ﻛﺘﺎﺏ ﺭﺍ ﺑﺮﺍﻳﻢ ﺗﻤﺎﻡ ﻛﺮﺩ‪.‬‬ ‫ﺁﻳﺎ ﺑﺮﺍﻯ ﻧﻮﺷﺘﻦ ﺑﺮﻧﺎﻣﻪﻯ ﺩﻗﻴﻘﻰ ﺩﺍﺭﻳﺪ؟‬ ‫ﻋﻼﻗﻪﺍﻡ ﻣﺮﺍ ﻫﺮ ﺭﻭﺯ ﺑﻪ ﺳﻤﺖ ﻣﺎﺷﻴﻦﺗﺤﺮﻳﺮ ﻣﻰﻛﺸﺎﻧﺪ‪ .‬ﺍﺯ ﻭﻗﺘﻰ ﺩﻭﺍﺯﺩﻩ ﺳﺎﻟﻪ ﺑﻮﺩﻡ ﺗﺎ ﺣﺎﻻ‪ .‬ﺑﺮﺍﻯ‬ ‫ﻫﻤﻴﻦ ﻫﻴﭻﻭﻗﺖ ﻧﮕﺮﺍﻥ ﺑﺮﻧﺎﻣﻪ ﺭﻳﺨﺘﻦ ﻧﺒﻮﺩﻡ‪ .‬ﻣﻐﺰ ﻣﻦ ﭘﺮ ﺍﺯ ﺍﻳﺪﻩﻫﺎﻯ ﺍﻧﻔﺠﺎﺭﻯ ﺍﺳﺖ‪ .‬ﺍﻳﺪﻩﻫﺎ‬ ‫ﺧﻮﺩﺷﺎﻥ ﻣﺮﺍ ﭘﺎﻯ ﻣﺎﺷﻴﻦﺗﺤﺮﻳﺮ ﻣﻰﻛﺸﺎﻧﻨﺪ ﻭ ﺩﺳﺘﻮﺭ ﻣﻰﺩﻫﻨﺪ ﻛﻪ ﺗﺎﻳﭗ ﻛﻨﻢ‪.‬‬ ‫ﺑﺮﺍﻯ ﻧﻮﺷﺘﻦ ﺑﻪ ﻛﺠﺎ ﻣﻰﺭﻭﻳﺪ؟‬ ‫ﺗﻘﺮﻳﺒﺎً ﻫﻤﻪ ﺟﺎ ﻣﻰﺗﻮﺍﻧﻢ ﺑﻨﻮﻳﺴﻢ‪ .‬ﻭﻗﺘﻰ ﺧﺎﻧﻪﻯ ﭘﺪﺭ ﻭ ﻣﺎﺩﺭﻡ ﺑﻮﺩﻡ ﻭ ﻭﻗﺘﻰ ﺑﺎ ﺑﺮﺍﺩﺭﻡ ﺩﺭ‬ ‫ﻟﺲﺁﻧﺠﻠﺲ ﺯﻧﺪﮔﻰ ﻣﻰﻛﺮﺩﻡ‪ ،‬ﺩﺭ ﺍﺗﺎﻕ ﺧﻮﺍﺏ ﻭ ﺍﺗﺎﻕ ﭘﺬﻳﺮﺍﻳﻰ ﻣﻰﻧﻮﺷﺘﻢ‪ .‬ﺗﻮﻯ ﺍﺗﺎﻕ ﭘﺬﻳﺮﺍﻳﻰ‬ ‫ﻣﻰﻧﻮﺷﺘﻢ ﻭ ﺭﺍﺩﻳﻮ ﺭﻭﺷﻦ ﺑﻮﺩ ﻭ ﭘﺪﺭ ﻭ ﻣﺎﺩﺭ ﻭ ﭘﺮﺩﺍﺭﻡ ﻫﻢ ﻣﺸﻐﻮﻝ ﺣﺮﻑ ﺯﺩﻥ ﺑﻮﺩﻧﺪ‪ .‬ﻭﻗﺘﻰ ﻣﺸﻐﻮﻝ‬ ‫ﻧﻮﺷﺘﻦ ﻓﺎﺭﻧﻬﺎﻳﺖ ‪ 451‬ﺑﻮﺩﻡ‪ ،‬ﺑﻪ ‪ UCLA‬ﺭﻓﺘﻢ ﻭ ﺩﺭ ﻳﻜﻰ ﺍﺯ ﺯﻳﺮﺯﻣﻴﻦﻫﺎﻳﺶ ﻣﺎﺷﻴﻦﺗﺤﺮﻳﺮﻯ ﭘﻴﺪﺍ‬ ‫ﻛﺮﺩﻡ ﻛﻪ ﺑﺎ ﺍﻧﺪﺍﺧﺘﻦ ﺩﻩ ﺳﻨﺖ ﻣﻰﺗﻮﺍﻧﺴﺘﻰ ﻧﻴﻢ ﺳﺎﻋﺖ ﺑﺎ ﺁﻥ ﺗﺎﻳﭗ ﻛﻨﻰ‪.‬‬ ‫ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺍﺯ ﻛﺎﻣﭙﻴﻮﺗﺮ ﻫﻢ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻩﺍﻳﺪ؟‬ ‫ﺗﺎ ﻗﺒﻞ ﺍﺯ ﺳﻜﺘﻪﺍﻡ ﺍﺯ ﻣﺎﺷﻴﻦﺗﺤﺮﻳﺮ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﺮﺩﻡ‪ .‬ﻳﻚ ﻣﺎﺷﻴﻦﺗﺤﺮﻳﺮ ﻣﺪﻝ ‪ IBM‬ﺳﻠﻜﺘﺮﻳﻚ‪.‬‬ ‫ﺍﺯ ﻛﺎﻣﭙﻴﻮﺗﺮ ﺍﺳﺘﻔﺎﺩﻩ ﻧﻤﻰﻛﺮﺩﻡ‪ .‬ﻛﺎﻣﭙﻴﻮﺗﺮ ﻫﻢ ﻧﻮﻋﻰ ﻣﺎﺷﻴﻦﺗﺤﺮﻳﺮ ﺍﺳﺖ ﺩﻳﮕﺮ‪ .‬ﻣﻦ ﻛﻪ ﻳﻚ‬ ‫ﻣﺎﺷﻴﻦﺗﺤﺮﻳﺮ ﺩﺍﺭﻡ‪.‬‬ ‫ﺧﻴﻠﻰﻫﺎ ﻣﻌﺘﻘﺪ ﻫﺴﺘﻨﺪ ﻛﻪ ﻛﺎﻣﭙﻴﻮﺗﺮ ﻛﺎﺭ ﺭﺍ ﭼﻨﺪﻳﻦ ﺑﺮﺍﺑﺮ ﺁﺳﺎﻥﺗﺮ ﻣﻰ ﻛﻨﺪ‪ .‬ﺗﺎﺯﻩ ﺍﻣﻼﻯ‬ ‫ﻧﻮﺷﺘﻪﻫﺎ ﺭﺍ ﻫﻢ ﺗﺼﺤﻴﺢ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻫﻔﺘﺎﺩ ﺳﺎﻝ ﺍﺳﺖ ﻛﻪ ﺩﺍﺭﻡ ﻣﻰﻧﻮﻳﺴﻢ‪ .‬ﺍﮔﺮ ﺍﻣﻼﻯ ﺩﺭﺳﺖ ﻛﻠﻤﺎﺕ ﺭﺍ ﺑﻠﺪ ﻧﺒﺎﺷﻢ ﻛﻪ‪...‬‬ ‫ﺩﻓﺘﺮﭼﻪﻯ ﻳﺎﺩﺩﺍﺷﺖ ﺩﺍﺭﻳﺪ؟‬ ‫ﻧﻪ‪ .‬ﺑﻪ ﻣﺤﻀﻰ ﺍﻳﻦ ﻛﻪ ﺍﻳﺪﻩﺍﻯ ﺑﻪ ﺫﻫﻨﻢ ﻣﻰﺭﺳﺪ‪ ،‬ﺁﻥ ﺭﺍ ﺗﺒﺪﻳﻞ ﺑﻪ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ ﻳﺎ ﺭﻣﺎﻥ ﻳﺎ‬ ‫ﺷﻌﺮ ﻣﻰﻛﻨﻢ‪ .‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﺑﻪ ﺩﻓﺘﺮﭼﻪ ﻳﺎﺩﺩﺍﺷﺖ ﻧﻴﺎﺯﻯ ﻧﺪﺍﺭﻡ‪ .‬ﻭﻟﻰ ﻛﺸﻮﻳﻰ ﺩﺍﺭﻡ ﻛﻪ ﺍﻳﺪﻩﻫﺎﻳﻰ‬ ‫ﺭﺍ ﻛﻪ ﻳﻚ ﺳﺎﻝ ﻗﺒﻞ ﻳﺎ ﭘﻨﺞ ﺳﺎﻝ ﻗﺒﻞ ﻳﺎ ﺩﻩ ﺳﺎﻝ ﻗﺒﻞ ﺑﻪ ﺩﺭﺩﻡ ﻧﺨﻮﺭﺩﻧﺪ‪ ،‬ﺩﺍﺧﻠﺶ ﻧﮕﻪ ﻣﻰﺩﺍﺭﻡ‪.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﻳﻚ ﻛﺘﺎﺏ ﺑﺎﻳﺪ ﺗﺼﻤﻴﻢ ﺑﮕﻴﺮﻳﺪ ﻛﻪ ﭼﻪ ﻗﺴﻤﺖﻫﺎﻳﻰ ﺭﺍ ﺣﺬﻑ ﻛﻨﻴﺪ‪ .‬ﺷﺨﺼﻴﺖ ﻣﺴﺨﺮﻩﻯ ﻓﺪﻻ‬ ‫]‪ [58‬ﺭﺍ ﺩﻭﺳﺖ ﻧﺪﺍﺷﺘﻢ‪ .‬ﭼﻮﻥ ﻛﻞ ﻣﺎﺟﺮﺍ ﺭﺍ ﺑﻪ ﻳﻚ ﻛﻤﺪﻯ ﺗﺒﺪﻳﻞ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺷﺨﺼﻴﺖ ﺍﻭ ﻳﻚ‬ ‫ﭘﺎﺭﻳﺴﻰ ﻣﺮﻣﻮﺯ ﺍﺳﺖ ﻛﻪ ﻛﻤﺮ ﺭﻣﺎﻥ ﻣﻮﺑﻰﺩﻳﻚ ﺭﺍ ﻣﻰﺷﻜﻨﺪ‪ .‬ﺩﺭ ﻳﻚ ﺗﺮﺍژﺩﻯ ﺍﮔﺮ ﺩﻗﺖ ﺑﻪ ﺧﺮﺝ‬ ‫ﻧﺪﻫﻴﺪ‪ ،‬ﻳﻚ ﻗﺘﻞ ﺍﺿﺎﻓﻰ‪ ،‬ﻳﻚ ﺗﺠﺎﻭﺯ ﺍﺿﺎﻓﻰ ﻳﺎ ﻳﻚ ﺯﻧﺎ ﺑﺎ ﻣﺤﺎﺭﻡ ﺍﺿﺎﻓﻰ ﻣﻰﺗﻮﺍﻧﺪ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺑﻪ‬ ‫ﻳﻚ ﻛﻤﺪﻯ ﺗﺒﺪﻳﻞ ﻛﻨﺪ‪ .‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﻣﻦ ﺍﺯ ﺷﺮ ﻓﺪﻻ ﺧﻼﺹ ﺷﺪﻡ‪ .‬ﺍﻳﻦ ﻃﻮﺭﻯ ﺷﺪ ﻛﻪ ﺩﺭ ﭘﺎﻳﺎﻥ‬ ‫ﻫﻴﭻ ﻛﺲ ﺩﻳﮕﺮﻯ ﻫﻤﺮﺍﻩ ﻧﻬﻨﮓ ﺭﺍﻫﻰ ﺍﻋﻤﺎﻕ ﻧﺸﺪ‪ .‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﻫﻢ ﺍﻳﻬﺎﺏ ﺑﺎ ﻧﻬﻨﮓ ﺯﻳﺮ ﺁﺏ ﻣﻰﺭﻭﺩ‬ ‫ﻭ ﺁﻥ ﺟﻤﻠﻪﻫﺎ ﺩﺭﺑﺎﺭﻩﻯ ﻧﻴﺰﻩﻫﺎﻯ ﺷﻜﺎﺭ ﻧﻬﻨﮓ ﺭﺍ ﻣﻰﮔﻮﻳﺪ ﻭ ﻣﺮﺩﺍﻧﻰ ﻛﻪ ﻫﻤﺮﺍﻫﺶ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﻫﻤﻪ‬ ‫ﻣﻰﻣﻴﺮﻧﺪ‪ .‬ﺍﻳﻦﻫﺎ ﺩﺭ ﻛﺘﺎﺏ ﻧﻴﺴﺘﻨﺪ‪ ،‬ﻭﻟﻰ ﺑﺎﻳﺪ ﺑﮕﻮﻳﻢ ﻛﻪ ﺷﺨﺼﺎً ﺍﺯ ﭘﺎﻳﺎﻥ ﺳﺮﻳﺎﻝ ﺧﻴﻠﻰ ﺭﺍﺿﻰ ﻫﺴﺘﻢ‪.‬‬ ‫ﻧﻮﺷﺘﻦ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ ﻭ ﺭﻣﺎﻥ ﺑﻠﻨﺪ ﻣﺸﻜﻼﺕ ﻣﺘﻔﺎﻭﺗﻰ ﺩﺍﺭﻧﺪ؟‬ ‫ﺑﻠﻪ‪ .‬ﻣﺸﻜﻞ ﺭﻣﺎﻥ ﺑﻠﻨﺪ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﺎﻳﺪ ﺩﺭ ﻃﻮﻝ ﺯﻣﺎﻥ ﻧﺴﺒﺖ ﺑﻪ ﺟﻮﻫﺮ ﺍﺻﻠﻰ ﺩﺍﺳﺘﺎﻥ ﭘﺎﻳﺒﻨﺪ‬ ‫ﺑﻤﺎﻧﻰ‪ .‬ﺩﺭ ﻋﻮﺽ ﻭﻗﺘﻰ ﺍﻳﺪﻩ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻛﺎﻓﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻰ‪ ،‬ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺩﺭ ﭼﻨﺪ‬ ‫ﺳﺎﻋﺖ ﻧﻮﺷﺖ‪ .‬ﻣﻦ ﺑﻪ ﺩﻭﺳﺘﺎﻧﻢ ﻭ ﺩﺍﻧﺶﺁﻣﻮﺯﺍﻧﻢ ﻭ ﺩﻭﺳﺘﺎﻥ ﻧﻮﻳﺴﻨﺪﻩﺍﻡ ﭘﻴﺸﻨﻬﺎﺩ ﻣﻰﻛﻨﻢ ﻛﻪ ﺩﺍﺳﺘﺎﻥ‬ ‫ﻛﻮﺗﺎﻩ ﺭﺍ ﺩﺭ ﻳﻚ ﺭﻭﺯ ﺑﻨﻮﻳﺴﻨﺪ‪ .‬ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺩﺍﺳﺘﺎﻥ ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﻫﻮﻳﺖ ﻭ ﺣﻴﺎﺕ ﺷﺨﺼﻰ ﺩﺍﺭﺩ‪.‬‬ ‫ﺍﺻ ً‬ ‫ﻼ ﺍﻳﻦ ﻛﻪ ﺍﻳﺪﻩ ﺩﺭ ﺁﻥ ﺳﺎﻋﺖ ﺧﺎﺹ ﺑﻪ ﺫﻫﻨﺘﺎﻥ ﺭﺳﻴﺪﻩ ﻳﻚ ﺩﻟﻴﻠﻰ ﺩﺍﺭﺩ! ﺑﺎﻳﺪ ﻫﻤﺎﻥ ﻣﻮﻗﻊ ﺳﺮ‬ ‫ﻭ ﺗﻬﺶ ﺭﺍ ﻫﻢ ﺁﻭﺭﺩ‪ .‬ﻧﻮﺷﺘﻦ ﺩﻭ ﺳﻪ ﻫﺰﺍﺭ ﻛﻠﻤﻪ ﺩﺭ ﻳﻚ ﺭﻭﺯ ﻫﻢ ﻛﺎﺭ ﺳﺨﺘﻰ ﻧﻴﺴﺖ‪ .‬ﻧﮕﺬﺍﺭﻳﺪ ﻣﺮﺩﻡ‬ ‫ﻣﺎﻧﻊ ﻛﺎﺭﺗﺎﻥ ﺷﻮﻧﺪ‪ .‬ﺑﺮﺍﻯ ﭼﻨﺪ ﺳﺎﻋﺖ ﻫﻢ ﻛﻪ ﺷﺪﻩ‪ ،‬ﺗﻠﻔﻨﺘﺎﻥ ﺭﺍ ﺧﺎﻣﻮﺵ ﻛﻨﻴﺪ ﻭ ﻳﻚ ﺟﺎ ﻗﺎﻳﻢ ﺷﻮﻳﺪ‬ ‫ﻭ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺑﻨﻮﻳﺴﻴﺪ‪ .‬ﺍﮔﺮ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ ﺭﺍ ﻧﺼﻔﻪ ﺭﻫﺎ ﻛﻨﻴﺪ‪ ،‬ﻣﻤﻜﻦ ﺍﺳﺖ ﻭﻗﺖ ﺧﻮﺍﺏ ﺷﺮﻭﻉ‬ ‫ﻛﻨﻴﺪ ﺑﻪ ﺭﻭﺷﻨﻔﻜﺮﺍﻧﻪﺗﺮ ﻛﺮﺩﻧﺶ‪ .‬ﻳﺎ ﺟﻮﺭﻯ ﺗﻐﻴﻴﺮﺵ ﺑﺪﻫﻴﺪ ﻛﻪ ﻛﺴﻰ ﺭﺍ ﺗﺤﺖ ﺗﺄﺛﻴﺮ ﻗﺮﺍﺭ ﺩﻫﻴﺪ‪.‬‬ ‫ﻭﻟﻰ ﺭﻣﺎﻥ ﺧﻴﻠﻰ ﺳﺨﺖﺗﺮ ﺍﺳﺖ‪ .‬ﭼﻮﻥ ﻣﺪﺍﻡ ﺩﺭ ﻛﻨﺎﺭ ﺁﺩﻡﻫﺎﻯ ﺩﻳﮕﺮ ﻫﺴﺘﻰ ﻭ ﺧﻴﻠﻰ ﻃﻮﻝ‬ ‫ﻣﻰﻛﺸﺪ ﻭ ﻫﺮ ﺁﻥ ﻣﻤﻜﻦ ﺍﺳﺖ ﺗﺤﺖ ﺗﺄﺛﻴﺮ ﻗﺮﺍﺭ ﺑﮕﻴﺮﻯ‪ .‬ﭼﻮﻥ ﺧﻴﻠﻰ ﻃﻮﻻﻧﻰﺗﺮ ﺍﺳﺖ‪ .‬ﻧﻮﺷﺘﻦ‬ ‫ﺭﻣﺎﻥ ﺩﺭ ﺿﻤﻦ ﺍﺯ ﺍﻳﻦ ﻧﻈﺮ ﻛﻪ ﻣﻤﻜﻦ ﺍﺳﺖ ﻋﻼﻗﻪﺗﺎﻥ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺑﺪﻫﻴﺪ ﻫﻢ ﺳﺨﺖ ﺍﺳﺖ‪ .‬ﺍﻳﻦ‬ ‫ﻛﻪ ﺩﻭﻳﺴﺖ ﺭﻭﺯ ﺗﻤﺎﻡ ﺑﻪ ﻳﻚ ﭼﻴﺰ ﻋﺸﻖ ﺑﻮﺭﺯﻳﺪ ﺗﻘﺮﻳﺒﺎً ﻏﻴﺮﻣﻤﻜﻦ ﺍﺳﺖ‪ .‬ﭘﺲ ﺑﻬﺘﺮ ﺍﺳﺖ ﺍﻳﺪﻩﻯ‬ ‫ﺍﺻﻠﻰ ﺭﺍ ﺯﻭﺩﺗﺮ ﭘﻴﺎﺩﻩ ﻛﻨﻴﺪ ﻭ ﺑﮕﺬﺍﺭﻳﺪ ﺍﻳﺪﻩﻫﺎﻯ ﻛﻮﭼﻚﺗﺮ ﻣﺜﻞ ﺁﻫﻦﺭﺑﺎ ﺑﻪ ﻃﺮﻓﺶ ﻛﺸﻴﺪﻩ ﺷﻮﻧﺪ‬ ‫ﻭ ﺑﻪ ﺁﻥ ﺑﭽﺴﺒﻨﺪ‪.‬‬ ‫ﺁﻳﺎ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺑﺎ ﻳﻜﻰ ﺍﺯ ﺭﻣﺎﻥﻫﺎﻳﺘﺎﻥ ﻣﺸﻜﻞ ﺧﺎﺻﻰ ﺩﺍﺷﺘﻪﺍﻳﺪ؟‬ ‫ﺩﺭ ﻓﺎﺭﻧﻬﺎﻳﺖ ‪ ،451‬ﻣﻮﻧﺘﺎگ ]‪ [59‬ﺑﻪ ﺳﺮﺍﻏﻢ ﺁﻣﺪ ﻭ ﮔﻔﺖ ﺩﺍﺭﻡ ﺩﻳﻮﺍﻧﻪ ﻣﻰﺷﻮﻡ‪ .‬ﻣﻦ ﭘﺮﺳﻴﺪﻡ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

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‫ﮔﺮﻓﺘﻪ ﺑﻮﺩﻡ‪ .‬ﺍﺯ ﻳﻚ ﻃﺮﻑ ﺍﻳﻦ ﻓﺮﺻﺘﻰ ﺑﻮﺩ ﺑﺮﺍﻯ ﻛﺎﺭ ﻛﺮﺩﻥ ﺑﺎ ﻣﺮﺩﻯ ﻛﻪ ﺩﻭﺳﺘﺶ ﺩﺍﺷﺘﻢ ﻭ‬ ‫ﺍﺯ ﻛﺎﺭﺵ ﻟﺬﺕ ﻣﻰﺑﺮﻡ‪ .‬ﻫﺮ ﻛﺴﻰ ﺟﺎﻯ ﻣﻦ ﺑﻮﺩ ﺑﺎ ﭼﺸﻤﺎﻥ ﺑﺴﺘﻪ ﻗﺒﻮﻝ ﻣﻰﻛﺮﺩ‪ .‬ﻣﻦ ﮔﻔﺘﻢ ﻛﻪ‬ ‫ﺍﻣﺸﺐ ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﺑﺘﻮﺍﻧﻢ ﻛﺘﺎﺏ ﺭﺍ ﻣﻰﺧﻮﺍﻧﻢ ﻭ ﻓﺮﺩﺍ ﺑﺮﺍﻯ ﻧﺎﻫﺎﺭ ﻣﻼﻗﺎﺗﺶ ﻣﻰﻛﻨﻢ‪ .‬ﺗﺎ ﺁﻥ ﻣﻮﻗﻊ‬ ‫ﺩﻳﮕﺮ ﻣﻰﺗﻮﺍﻧﺴﺘﻢ ﺗﺼﻤﻴﻤﻢ ﺭﺍ ﺑﮕﻴﺮﻡ‪ .‬ﭼﻮﻥ ﭼﻨﺪﻳﻦ ﻧﺴﺨﻪ ﺍﺯ ﻣﻮﺑﻰﺩﻳﻚ ﺩﺭ ﺧﺎﻧﻪ ﺯﻳﺮ ﺩﺭﺳﺖ ﻭ‬ ‫ﭘﺎ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺑﺮﮔﺸﺘﻢ ﺧﺎﻧﻪ ﻭ ﺷﺮﻭﻉ ﻛﺮﺩﻡ ﺑﻪ ﺧﻮﺍﻧﺪﻥ ﻛﺘﺎﺏ‪ .‬ﺟﺎﻟﺐ ﺍﻳﻦﺟﺎ ﺑﻮﺩ ﻛﻪ ﻳﻚ ﻣﺎﻩ ﭘﻴﺶ‬ ‫ﺍﺯ ﺍﻳﻦ ﻣﺎﺟﺮﺍ ﺍﺯ ﺯﻧﻢ ﭘﺮﺳﻴﺪﻩ ﺑﻮﺩﻡ ﻳﻌﻨﻰ ﻛﻰ ﻣﻰﺷﻮﺩ ﻣﻦ ﺍﻳﻦ ﻛﺘﺎﺏ ﺭﺍ ﺑﺨﻮﺍﻧﻢ‪.‬‬ ‫ﺑﻪ ﺟﺎﻯ ﺍﻳﻦ ﻛﻪ ﺍﺯ ﺍﻭﻝ ﻛﺘﺎﺏ ﺷﺮﻭﻉ ﻛﻨﻢ ﺍﺯ ﻭﺳﻄﺶ ﺧﻮﺍﻧﺪﻡ‪ .‬ﺑﻪ ﻧﻜﺎﺕ ﺷﺎﻋﺮﺍﻧﻪﻯ ﺯﻳﺎﺩﻯ ﺑﺮﺧﻮﺭﺩ‬ ‫ﻛﺮﺩﻡ‪ .‬ﺍﺯ ﺳﻔﻴﺪﻯ ﻭﺍﻝ ﻭ ﺭﻧﮓ ﻛﺎﺑﻮﺱﻫﺎ ﻭ ﻓﻮﺭﺍﻥ ﺍﺭﻭﺍﺡ ﻋﻈﻴﻢ‪ .‬ﻭ ﺗﻘﺮﻳﺒﺎً ﺍﻭﺍﺧﺮ ﻛﺘﺎﺏ ﺑﻪ ﺟﺎﻳﻰ‬ ‫ﺭﺳﻴﺪﻡ ﻛﻪ ﺍﻳﻬﺎﺏ ﺭﻭﻯ ﻧﺮﺩﻩﻫﺎﻯ ﻛﺸﺘﻰ ﺍﻳﺴﺘﺎﺩﻩ ﺍﺳﺖ ﻭ ﻣﻰﮔﻮﻳﺪ‪» :‬ﺑﺎﺩﻯ ﺑﺴﻴﺎﺭ ﻣﻼﻳﻢ ﻣﻰﻭﺯﺩ‬ ‫ﻭ ﺁﺳﻤﺎﻥ ﺻﺎﻑ ﺍﺳﺖ‪ .‬ﻭ ﻫﻮﺍ ﭼﻨﺎﻥ ﺑﻮﻳﻰ ﻣﻰﺩﻫﺪ ﻛﻪ ﺍﻧﮕﺎﺭ ﺍﺯ ﻛﺸﺘﺰﺍﺭﻯ ﻣﻰﻭﺯﺩ ﺩﺭ ﺩﺍﻣﻨﻪﻯ ﺁﻧﺪ‪،‬‬ ‫ﻛﻪ ﺩﺭ ﺁﻥ ﻣﺸﻐﻮﻝ ﺩﺭﻭ ﻛﺮﺩﻥ ﺟﻮ ﺑﻮﺩﻩ ﺍﻧﺪ‪ «...‬ﻭ ﺑﻌﺪ ﺑﺮﮔﺸﺘﻢ ﻭ ﺍﺯ ﺍﻭﻝ ﺧﻮﺍﻧﺪﻣﺶ‪» .‬ﻣﺮﺍ ﺍﺳﻤﺎﻋﻴﻞ‬ ‫ﺑﺨﻮﺍﻧﻴﺪ‪ [57] «...‬ﻭ ﻋﺎﺷﻖ ﻛﺘﺎﺏ ﺷﺪﻡ‪ .‬ﭼﻮﻥ ﻣﻦ ﻋﺎﺷﻖ ﺷﺎﻋﺮﺍﻧﮕﻰ ﻫﺴﺘﻢ‪ .‬ﻭ ﻋﺎﺷﻖ ﺷﻜﺴﭙﻴﺮ‪.‬‬ ‫ﻭﻗﺘﻰ ﭼﻬﺎﺭﺩﻩ ﺳﺎﻟﻢ ﺑﻮﺩ‪ ،‬ﻋﺎﺷﻖ ﺷﻜﺴﭙﻴﺮ ﺷﺪﻡ‪ .‬ﻭ ﺍﻳﻦ ﻛﺘﺎﺏ ﺟﻮﺭﻯ ﺑﻮﺩ ﻛﻪ ﺍﻧﮕﺎﺭ ﺷﻜﺴﭙﻴﺮ‬ ‫ﻧﻮﺷﺘﻪ ﺑﻮﺩﺵ‪ .‬ﺍﻟﺒﺘﻪ ﺑﺎ ﻧﺎﻡ ﻣﺴﺘﻌﺎﺭ ﻣﻠﻮﻳﻞ‪.‬‬ ‫ﺭﻭﺯﻯ ﻛﻪ ﺑﻪ ﺩﻳﺪﻥ ﻫﻮﺳﺘﻮﻥ ﺭﻓﺘﻢ ﺍﺯ ﺍﻭ ﭘﺮﺳﻴﺪﻡ‪ ،‬ﺁﻳﺎ ﺑﺎﻳﺪ ﻧﻈﺮﻳﺎﺕ ﻓﺮﻭﻳﺪﻯﻫﺎ ﻭ ﻳﻮﻧﮕﻰﻫﺎ ﺭﺍ‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﻧﻬﻨﮓ ﺳﻔﻴﺪ ﺑﺨﻮﺍﻧﻢ؟ ﮔﻔﺖ ﺍﻟﺒﺘﻪ ﻛﻪ ﻧﻪ! ﻣﻦ ﺩﺍﺭﻡ ﺭﻯ ﺑﺮﺩﺑﺮﻯ ﺭﺍ ﺍﺳﺘﺨﺪﺍﻡ ﻣﻰﻛﻨﻢ!‬ ‫ﺍﻳﻦ ﻃﻮﺭﻯ ﻫﺮ ﮔﻠﻰ ﺯﺩﻯ ﺑﻪ ﺳﺮ ﺧﻮﺩﺕ ﺯﺩﻯ‪.‬‬ ‫ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﻫﻢ ﻛﺘﺎﺏ ﺭﺍ ﺑﺎﺭﻫﺎ ﺧﻮﺍﻧﺪﻡ ﻭ ﺩﺭ ﺭﺍﻩ ﺍﺭﻭﭘﺎ ﺗﻮﻯ ﻫﻮﺍﭘﻴﻤﺎ ﻗﺴﻤﺖ ﺍﻭﻝ ﺭﺍ ﻧﻮﺷﺘﻢ‪ .‬ﺍﻟﺒﺘﻪ‬ ‫ﺑﻘﻴﻪﻯ ﻗﺴﻤﺖﻫﺎ ﺳﺨﺖ ﺑﻮﺩﻧﺪ‪ .‬ﭼﻮﻥ ﻛﺘﺎﺏ ﺳﺎﺧﺘﺎﺭ ﻳﻚ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺭﺍ ﻧﺪﺍﺷﺖ ﻭ ﺑﺎﻳﺪ ﻗﺴﻤﺖﻫﺎﻳﻰ‬ ‫ﺍﺯ ﺁﺧﺮ ﺭﺍ ﺑﻪ ﺍﻭﻝ ﺍﺿﺎﻓﻪ ﻣﻰﻛﺮﺩﻡ‪ .‬ﻛﺎﻣ ً‬ ‫ﻼ ﻣﺜﻞ ﻳﻚ ﻧﻤﺎﻳﺸﻨﺎﻣﻪﻯ ﺗﺌﺎﺗﺮ ﺷﺪﻩ‪ .‬ﻛﻞ ﺳﺮﻳﺎﻝ ﭘﺮ ﺍﺯ‬ ‫ﺑﺮﺩﺍﺷﺖﻫﺎﻯ ﺷﺎﻋﺮﺍﻧﻪ ﻭ ﺍﺩﺑﻰ ﺍﺳﺖ‪.‬‬ ‫ﻳﻚ ﺭﻭﺯ ﺩﺭ ﻫﺘﻠﻢ ﺩﺭ ﻟﻨﺪﻥ ﺍﺯ ﺧﻮﺍﺏ ﺑﻴﺪﺍﺭ ﺷﺪﻡ ﻭ ﺭﻭﺑﻪﺭﻭﻯ ﺁﻳﻨﻪ ﺍﻳﺴﺘﺎﺩﻡ ﻭ ﺑﻪ ﺧﻮﺩﻡ ﮔﻔﺘﻢ‪:‬‬ ‫»ﻣﻦ ﻫﺮﻣﺎﻥ ﻣﻠﻮﻳﻞ ﻫﺴﺘﻢ‪ «.‬ﺭﻭﺡ ﻣﻠﻮﻳﻞ ﺁﻥ ﺭﻭﺯ ﺑﺎ ﻣﻦ ﺻﺤﺒﺖ ﻛﺮﺩ ﻭ ﻣﻦ ﺳﻰ ﺻﻔﺤﻪﻯ ﺁﺧﺮ‬ ‫ﻓﻴﻠﻤﻨﺎﻣﻪ ﺭﺍ ﻧﻮﺷﺘﻢ‪ .‬ﻫﻤﻪﺍﺵ ﻣﺜﻞ ﻳﻚ ﺍﻧﻔﺠﺎﺭ ﺍﺣﺴﺎﺳﻰ ﺍﺯ ﻗﻠﻤﻢ ﺗﺮﺍﻭﺵ ﻛﺮﺩ‪ .‬ﺑﻌﺪ ﻧﺼﻒ ﻟﻨﺪﻥ ﺭﺍ‬ ‫ﺩﻭﻳﺪﻡ ﻭ ﺧﻮﺩﻡ ﺭﺍ ﺑﻪ ﻫﻮﺳﺘﻮﻥ ﺭﺳﺎﻧﺪﻡ‪ .‬ﺧﻮﺩﺵ ﻛﻪ ﻣﻰﮔﻔﺖ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﺷﺪﻩ‪.‬‬ ‫ﻭﻟﻰ ﭘﺎﻳﺎﻥ ﺳﺮﻳﺎﻝ ﺍﺯ ﺧﻮﺩﺗﺎﻥ ﺍﺳﺖ‪ .‬ﻧﻪ ﺍﺯ ﻣﻠﻮﻳﻞ‪.‬‬ ‫ﺑﻠﻪ‪ ،‬ﻭﻟﻰ ﺑﻪ ﻧﻈﺮﻡ ﻣﻨﺎﺳﺐ ﺍﺳﺖ‪ .‬ﭼﻮﻥ ﻣﻦ ﺩﭼﺎﺭ ﻳﻚ ﺟﻮﺭ ﻣﻜﺎﺷﻔﻪ ﺷﺪﻡ‪ .‬ﺑﺮﺍﻯ ﻧﻮﺷﺘﻦ ﻓﻴﻠﻤﻨﺎﻣﻪﻯ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﺧﻮﺑﻰ ﻫﻢ ﺟﻤﻊﺁﻭﺭﻯ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺑﻴﺸﺘﺮﺷﺎﻥ ﻣﺮﺩﻩﺍﻧﺪ‪ .‬ﺍﻛﺜﺮﺍ ً ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻯ ﺍﺳﺘﻌﺎﺭﻯﻧﻮﻳﺲ‬ ‫ﺑﻮﺩﻩﺍﻧﺪ‪ .‬ﺍﺩﮔﺎﺭ ﺁﻟﻦ ﭘﻮ‪ ،‬ﻫﺮﻣﺎﻥ ﻣﻠﻮﻳﻞ‪ ،‬ﻭﺍﺷﻨﮕﺘﻮﻥ ﺍﻳﺮﻭﻳﻨﮓ ]‪ ،[51‬ﻧﺎﺗﺎﻧﻴﻞ ﻫﺎﺛﻮﺭﻥ ]‪ .[52‬ﻫﻤﻪﻯ‬ ‫ﺍﻳﻦﻫﺎ ﺑﺮﺍﻯ ﺑﭽﻪﻫﺎ ﻣﻰﻧﻮﺷﺘﻨﺪ‪ .‬ﺣﺘﺎ ﺍﮔﺮ ﺧﻮﺩﺷﺎﻥ ﻗﺒﻮﻝ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﭼﻘﺪﺭ ﺑﺮﺍﻯﺗﺎﻥ ﻣﻬﻢ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻏﺮﺍﻳﺰ ﻧﻮﻳﺴﻨﺪﮔﻰ ﺧﻮﺩﺗﺎﻥ ﭘﻴﺮﻭﻯ ﻛﻨﻴﺪ؟‬ ‫ﺍﻟﺒﺘﻪ! ﻣﻦ ﻛﺎﻣ ً‬ ‫ﻼ ﺑﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻣﻌﺘﻘﺪﻡ‪ .‬ﭼﻨﺪﻳﻦ ﺳﺎﻝ ﭘﻴﺶ ﺑﻪ ﻣﻦ ﭘﻴﺸﻨﻬﺎﺩ ﺷﺪ ﻛﻪ ﭼﻨﺪ ﻗﺴﻤﺖ‬ ‫ﺍﺯ ﻣﺠﻤﻮﻋﻪﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺟﻨﮓ ﻭ ﺻﻠﺢ ﺭﺍ ﺑﻨﻮﻳﺴﻢ‪ .‬ﻧﺴﺨﻪﻯ ﺁﻣﺮﻳﻜﺎﻳﻰﺍﺵ ﺑﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﻛﻴﻨﮓ‬ ‫ﻭﻳﺪﻭﺭ ]‪ .[53‬ﻗﺒﻮﻝ ﻧﻜﺮﺩﻡ‪ .‬ﻫﻤﻪ ﮔﻔﺘﻨﺪ ﭼﺮﺍ ﭼﻨﻴﻦ ﻛﺎﺭﻯ ﻛﺮﺩﻯ؟ ﻛﺘﺎﺏ ﺧﻴﻠﻰ ﻓﻮﻕﺍﻟﻌﺎﺩﻩﺍﻯ‬ ‫ﺍﺳﺖ‪ .‬ﻣﻦ ﮔﻔﺘﻢ ﺑﻪ ﺩﺭﺩ ﻣﻦ ﻧﻤﻰﺧﻮﺭﺩ‪ .‬ﭼﻮﻥ ﺣﺘﺎ ﻳﻚ ﺑﺎﺭ ﻫﻢ ﻧﺨﻮﺍﻧﺪﻣﺶ‪ .‬ﻣﻌﻨﻰﺍﺵ ﺍﻳﻦ ﻧﻴﺴﺖ‬ ‫ﻛﻪ ﻛﺘﺎﺏ ﺑﺪﻯ ﺍﺳﺖ‪ .‬ﻓﻘﻂ ﻣﻦ ﻫﻨﻮﺯ ﺑﺮﺍﻯ ﭼﻨﻴﻦ ﻛﺎﺭﻯ ﺁﻣﺎﺩﻩ ﻧﻴﺴﺘﻢ‪ .‬ﻳﻚ ﻋﺎﻟﻢ ﺍﺳﻢ ﺩﺍﺭﺩ‪ .‬ﺯﻧﻢ‬ ‫ﻭﻟﻰ ﺩﻭﺳﺘﺶ ﺩﺍﺭﺩ‪ .‬ﻫﺮ ﺳﻪ ﺳﺎﻝ ﻳﻚ ﺑﺎﺭ ﻣﻰﺧﻮﺍﻧﺪﺵ‪ .‬ﺑﺮﺍﻯ ﻧﻮﺷﺘﻦ ﻓﻴﻠﻤﻨﺎﻣﻪ ﺻﺪ ﻫﺰﺍﺭ ﺩﻻﺭ‬ ‫ﻣﻰﺩﺍﺩﻧﺪ‪ .‬ﻭﻟﻰ ﻣﻦ ﻗﺒﻮﻝ ﻧﻜﺮﺩﻡ‪ .‬ﭼﻮﻥ ﺗﻮﻯ ﺍﻳﻦ ﺩﻧﻴﺎ ﻫﻴﭻ ﻛﺎﺭﻯ ﺭﺍ ﻧﺒﺎﻳﺪ ﺑﻪ ﺧﺎﻃﺮ ﭘﻮﻝ ﺍﻧﺠﺎﻡ‬ ‫ﺩﺍﺩ‪ .‬ﻣﻬﻢ ﻧﻴﺴﺖ ﭼﻘﺪﺭ ﭘﻴﺸﻨﻬﺎﺩ ﻣﻰﺩﻫﻨﺪ ﻳﺎ ﭼﻘﺪﺭ ﻓﻘﻴﺮ ﻫﺴﺘﻴﺪ‪ .‬ﻓﻘﻂ ﻳﻚ ﺩﻟﻴﻞ ﺩﺭﺳﺖ ﻭ‬ ‫ﺣﺴﺎﺑﻰ ﺑﺮﺍﻯ ﻗﺒﻮﻝ ﭼﻨﻴﻦ ﭼﻴﺰﻯ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻓﻘﻂ ﺍﮔﺮ ﻳﻜﻰ ﺍﺯ ﺍﻋﻀﺎﻯ ﺧﺎﻧﻮﺍﺩﻩﺗﺎﻥ ﻣﺮﻳﺾ ﺍﺳﺖ‬ ‫ﻭ ﻗﺒﺾﻫﺎﻯ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﺳﺮ ﺑﻪ ﻓﻠﻚ ﻛﺸﻴﺪﻩ‪ .‬ﺩﺭ ﺍﻳﻦ ﺻﻮﺭﺕ ﻣﻦ ﻣﻰﮔﻮﻳﻢ ﺑﻪ ﺟﻬﻨﻢ‪ .‬ﺑﻌﺪﺍ ً ﻫﻢ‬ ‫ﻣﻰﺷﻮﺩ ﺍﺯ ﻛﺎﺭ ﺍﻓﺘﻀﺎﺣﻰ ﻛﻪ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩﺍﻳﺪ ﭘﺸﻴﻤﺎﻥ ﺑﻮﺩ‪.‬‬ ‫ﻓﻴﻠﻤﻨﺎﻣﻪﻯ ﻣﻮﺑﻰﺩﻳﻚ ]‪ [54‬ﺭﺍ ﭼﺮﺍ ﻧﻮﺷﺘﻴﺪ؟‬ ‫ﻭﻗﺘﻰ ﺑﻴﺴﺖ ﺳﺎﻟﻢ ﺑﻮﺩ ﻋﺎﺷﻖ ﻛﺎﺭ ﺟﺎﻥ ﻫﻮﺳﺘﻮﻥ ]‪ [55‬ﺷﺪﻡ‪ .‬ﻓﻴﻠﻢ »ﺷﺎﻫﻴﻦ ﻣﺎﻟﺖ« ]‪ [56‬ﺭﺍ‬ ‫ﺑﻴﺸﺘﺮ ﺍﺯ ﺑﻴﺴﺖ ﺑﺎﺭ ﺩﻳﺪﻡ‪ .‬ﻭ ﺳﺎﺧﺘﻪﻫﺎﻯ ﺩﻳﮕﺮﺵ ﺭﺍ ﻫﻢ‪ .‬ﻭﻗﺘﻰ ﺑﻴﺴﺖ ﻭ ﻧﻪ ﺳﺎﻟﻢ ﺑﻮﺩ ﺑﺮﺍﻯ‬ ‫ﺗﻤﺎﺷﺎﻯ ﻓﻴﻠﻤﻰ ﺭﻓﺘﻢ ﻭ ﺟﺎﻥ ﻫﻮﺳﺘﻮﻥ ﺩﻗﻴﻘﺎً ﭘﺸﺖ ﺳﺮﻡ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ .‬ﺩﻭﺳﺖ ﺩﺍﺷﺘﻢ ﺑﺮﮔﺮﺩﻡ ﻭ‬ ‫ﺑﻪ ﺍﻭ ﺑﮕﻮﻳﻢ ﻛﻪ ﺍﺯ ﻛﺎﺭﻫﺎﻳﺶ ﺧﻴﻠﻰ ﻟﺬﺕ ﻣﻰﺑﺮﻡ ﻭ ﺩﻭﺳﺖ ﺩﺍﺭﻡ ﺑﺎ ﺍﻭ ﻛﺎﺭ ﻛﻨﻢ‪ .‬ﻭﻟﻰ ﺻﺒﺮ ﻛﺮﺩﻡ‬ ‫ﺗﺎ ﺳﻪ ﻛﺎﺭ ﺍﺯ ﻣﻦ ﻣﻨﺘﺸﺮ ﺷﺪ‪ .‬ﺗﺎ ﺑﺮﺍﻯ ﻋﻼﻗﻪﺍﻡ ﻣﺪﺭﻛﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻢ‪ .‬ﺑﻪ ﻣﺪﻳﺮﻡ ﺗﻠﻔﻦ ﺯﺩﻡ ﻭ‬ ‫ﮔﻔﺘﻢ ﻣﻰﺧﻮﺍﻫﻢ ﺑﺎ ﻫﻮﺳﺘﻮﻥ ﻣﻼﻗﺎﺕ ﻛﻨﻢ‪ .‬ﻣﺎ ﺷﺐ ﻭﻟﻨﺘﺎﻳﻦ ﺳﺎﻝ ‪ 51‬ﻫﻤﺪﻳﮕﺮ ﺭﺍ ﻣﻼﻗﺎﺕ ﻛﺮﺩﻳﻢ‪.‬‬ ‫ﻛﺘﺎﺏﻫﺎﻳﻢ ﺭﺍ ﻧﺸﺎﻧﺶ ﺩﺍﺩﻡ ﻭ ﮔﻔﺘﻢ ﺍﮔﺮ ﺍﺯ ﺁﻥﻫﺎ ﺧﻮﺵﺍﺵ ﺁﻣﺪ‪ ،‬ﺣﺘﻤﺎً ﺑﺎﻳﺪ ﻳﻚ ﺭﻭﺯ ﺑﺎ ﻫﻢ ﻛﺎﺭ‬ ‫ﻣﺸﺘﺮﻛﻰ ﺍﻧﺠﺎﻡ ﺩﻫﻴﻢ‪ .‬ﭼﻨﺪ ﺳﺎﻝ ﺑﻌﺪ ﺧﻴﻠﻰ ﺍﺗﻔﺎﻗﻰ ﺑﺎ ﻣﻦ ﺗﻤﺎﺱ ﮔﺮﻓﺖ ﻭ ﭘﺮﺳﻴﺪ ﻭﻗﺖ ﺩﺍﺭﻡ‬ ‫ﺑﻪ ﺍﺭﻭﭘﺎ ﺑﺮﻭﻡ ﻭ ﻓﻴﻠﻤﻨﺎﻣﻪﻯ ﻣﻮﺑﻰﺩﻳﻚ ﺭﺍ ﺑﻨﻮﻳﺴﻢ؟ ﻣﻦ ﻫﻢ ﮔﻔﺘﻢ ﻛﻪ ﻣﻄﻤﺌﻦ ﻧﻴﺴﺘﻢ‪ ،‬ﭼﻮﻥ‬ ‫ﻫﻴﭻﻭﻗﺖ ﻧﺘﻮﺍﻧﺴﺘﻢ ﻛﺘﺎﺏ ﻟﻌﻨﺘﻰ ﺭﺍ ﺗﺎ ﺁﺧﺮ ﺑﺨﻮﺍﻧﻢ‪ .‬ﺍﻳﻦﺟﺎ ﺑﻮﺩ ﻛﻪ ﺳﺮ ﻳﻚ ﺩﻭ ﺭﺍﻫﻰ ﺑﺰﺭگ ﻗﺮﺍﺭ‬

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‫ﺯﻧﺪﮔﻰ ﻣﻦ ﺑﺎ ﻛﺘﺎﺑﺨﺎﻧﻪ ﻋﺠﻴﻦ ﺷﺪﻩ‪ .‬ﻣﻦ ﺧﻮﺩﻡ ﺭﺍ ﺩﺭ ﻛﺘﺎﺑﺨﺎﻧﻪ ﭘﻴﺪﺍ ﻛﺮﺩﻡ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﻣﻰﺭﻓﺘﻢ ﻛﻪ‬ ‫ﺧﻮﺩﻡ ﺭﺍ ﺩﺭ ﻛﺘﺎﺑﺨﺎﻧﻪ ﭘﻴﺪﺍ ﻛﻨﻢ‪ .‬ﻭﻗﺘﻰ ﻋﺎﺷﻖ ﻛﺘﺎﺑﺨﺎﻧﻪ ﺷﺪﻡ‪ ،‬ﺷﺶ ﺳﺎﻟﻢ ﺑﻮﺩ‪ .‬ﻛﺘﺎﺑﺨﺎﻧﻪ ﺗﻤﺎﻡ‬ ‫ﻛﻨﺠﻜﺎﻭﻯﻫﺎﻯ ﻣﻦ ﺭﺍ ﺳﻴﺮﺍﺏ ﻣﻰﻛﺮﺩ‪ .‬ﺍﺯ ﺩﺍﻳﻨﺎﺳﻮﺭﻫﺎ ﮔﺮﻓﺘﻪ ﺗﺎ ﻣﺼﺮ ﺑﺎﺳﺘﺎﻥ‪ .‬ﻭﻗﺘﻰ ﺳﺎﻝ ‪1938‬‬ ‫ﺍﺯ ﺩﺑﻴﺮﺳﺘﺎﻥ ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴﻞ ﺷﺪﻡ‪ ،‬ﻫﻔﺘﻪﺍﻯ ﺳﻪ ﺷﺐ ﺭﺍ ﺩﺭ ﻛﺘﺎﺑﺨﺎﻧﻪ ﺑﻪ ﺳﺮ ﻣﻰﺑﺮﺩﻡ‪ .‬ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ‬ ‫ﺗﺎ ﺳﺎﻝ ‪ 47‬ﻛﻪ ﺍﺯﺩﻭﺍﺝ ﻛﺮﺩﻡ ﺍﺩﺍﻣﻪ ﺩﺍﺩﻡ‪ .‬ﻫﻤﺎﻥ ﺳﺎﻝ ﺑﻮﺩ ﻛﻪ ﻓﻬﻤﻴﺪﻡ ﺩﻳﮕﺮ ﻛﺎﺭﻡ ﺑﺎ ﻛﺘﺎﺑﺨﺎﻧﻪ‬ ‫ﺗﻤﺎﻡ ﺷﺪﻩ‪ .‬ﭘﺲ ﻣﻦ ﺳﺎﻝ ‪ 47‬ﻭﻗﺘﻰ ‪ 27‬ﺳﺎﻟﻢ ﺑﻮﺩ ﺍﺯ ﻛﺘﺎﺑﺨﺎﻧﻪ ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴﻞ ﺷﺪﻡ‪ .‬ﻛﺘﺎﺑﺨﺎﻧﻪ‬ ‫ﻣﺪﺭﺳﻪﻯ ﻭﺍﻗﻌﻰ ﻣﻦ ﺑﻮﺩ‪.‬‬ ‫ﻗﺒ ً‬ ‫ﻼ ﮔﻔﺘﻪﺍﻳﺪ ﻛﻪ ﺑﺮﺍﻯ ﺁﻣﻮﺧﺘﻦ ﻧﻮﻳﺴﻨﺪﮔﻰ ﻧﻴﺎﺯﻯ ﺑﻪ ﺩﺍﻧﺸﮕﺎﻩ ﺭﻓﺘﻦ ﻧﻴﺴﺖ‪ .‬ﭼﺮﺍ؟‬ ‫ﻧﻮﻳﺴﻨﺪﮔﻰ ﺭﺍ ﻧﻤﻰﺷﻮﺩ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩ ﻳﺎﺩ ﮔﺮﻓﺖ‪ .‬ﺑﺮﺍﻯ ﻧﻮﻳﺴﻨﺪﻩﻫﺎ ﺟﺎﻯ ﺧﻴﻠﻰ ﺑﺪﻯ ﺍﺳﺖ‪ ،‬ﭼﻮﻥ‬ ‫ﺍﺳﺘﺎﺩﻫﺎ ﻫﻤﻴﺸﻪ ﻓﻜﺮ ﻣﻰﻛﻨﻨﺪ ﺑﻴﺸﺘﺮ ﺍﺯ ﺗﻮ ﻣﻰﻓﻬﻤﻨﺪ‪ .‬ﺩﺭ ﺻﻮﺭﺗﻰ ﻛﻪ ﺍﻳﻦﻃﻮﺭ ﻧﻴﺴﺖ‪ .‬ﺍﺳﺘﺎﺩﻫﺎ‬ ‫ﻣﺘﻌﺼﺐﺍﻧﺪ‪ .‬ﻣﺜ ً‬ ‫ﻼ ﺁﻥﻫﺎ ﻫﻨﺮﻯ ﺟﻴﻤﺰ ]‪ [49‬ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺭﻧﺪ‪ ،‬ﻭﻟﻰ ﺍﮔﺮ ﺷﻤﺎ ﻫﻨﺮﻯ ﺟﻴﻤﺰ ﺩﻭﺳﺖ‬ ‫ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﻴﺪ ﭼﻪ؟ ﻳﺎ ﻣﺜ ً‬ ‫ﻼ ﺟﺎﻥ ﺍﻳﺮﻭﻳﻨﮓ ]‪ [50‬ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ ﻛﻪ ﺧﺴﺘﻪﻛﻨﻨﺪﻩﺗﺮﻳﻦ‬ ‫ﻧﻮﻳﺴﻨﺪﻩﻯ ﺗﻤﺎﻡ ﺩﻭﺭﺍﻥ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﺳﻰ ﺳﺎﻝ ﻛﺘﺎﺏﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺗﺪﺭﻳﺲ ﺷﺪﻩ ﻛﻪ ﻣﻦ ﺍﺻ ً‬ ‫ﻼ‬ ‫ﺩﻟﻴﻞ ﺗﺪﺭﻳﺲ ﺷﺪﻧﺸﺎﻥ ﺭﺍ ﺩﺭﻙ ﻧﻤﻰﻛﻨﻢ‪ .‬ﺩﺭ ﻛﺘﺎﺑﺨﺎﻧﻪ ﻭﻟﻰ ﻫﻴﭻ ﺗﺮﺗﻴﺐ ﻭ ﻗﺎﻋﺪﻩﺍﻯ ﻭﺟﻮﺩ‬ ‫ﻧﺪﺍﺭﺩ‪ .‬ﺍﻃﻼﻋﺎﺕ ﺣﺎﺿﺮ ﻭ ﺁﻣﺎﺩﻩ ﻫﺴﺘﻨﺪ‪ .‬ﻛﺴﻰ ﺑﻪ ﺷﻤﺎ ﻧﻤﻰﮔﻮﻳﺪ ﻓﻼﻥ ﭼﻴﺰ ﺭﺍ ﻛﺸﻒ ﻛﻦ‪.‬‬ ‫ﺧﻮﺩﺗﺎﻥ ﻫﺮ ﭼﻴﺰﻯ ﻛﻪ ﺑﺨﻮﺍﻫﻴﺪ ﻛﺸﻒ ﻣﻰﻛﻨﻴﺪ‪.‬‬ ‫ﻭﻟﻰ ﻛﺘﺎﺏﻫﺎﻯ ﺧﻮﺩ ﺷﻤﺎ ﻫﻢ ﺩﺭ ﻣﺪﺭﺳﻪ ﺗﺪﺭﻳﺲ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﻣﻰﺩﺍﻧﻴﺪ ﭼﺮﺍ ﻣﻌﻠﻢﻫﺎ ﺍﺯ ﻧﻮﺷﺘﻪﻫﺎﻯ ﻣﻦ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﻨﺪ؟ ﭼﻮﻥ ﻣﻦ ﺍﺯ ﺍﺳﺘﻌﺎﺭﺍﺕ ﻭ ﺻﻨﺎﻳﻊ‬ ‫ﺍﺩﺑﻰ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﻢ‪ .‬ﻫﻤﻪﻯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻣﻦ ﺍﺳﺘﻌﺎﺭﻩﻫﺎﻳﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﻪ ﺭﺍﺣﺘﻰ ﻣﻰﺷﻮﺩ ﺑﻪ‬ ‫ﺧﺎﻃﺮ ﺳﭙﺮﺩ‪ .‬ﺍﺩﻳﺎﻥ ﺑﺰﺭگ ﻫﻢ ﻫﻤﮕﻰ ﺯﺑﺎﻧﻰ ﺍﺳﺘﻌﺎﺭﻯ ﺩﺍﺭﻧﺪ‪ .‬ﻣﺎ ﻫﻤﻪ ﺍﺯ ﭼﻴﺰﻫﺎﻳﻰ ﻣﺜﻞ ﺩﺍﻧﻴﺎﻝ ﻭ‬ ‫ﻻﻧﻪﻯ ﺷﻴﺮ ﻭ ﺑﺮﺝ ﺑﺎﺑﻞ ﻟﺬﺕ ﻣﻰﺑﺮﻳﻢ‪ .‬ﻣﺮﺩﻡ ﺍﻳﻦ ﺍﺳﺘﻌﺎﺭﻩﻫﺎ ﺭﺍ ﺑﻪ ﺧﺎﻃﺮ ﻣﻰﺳﭙﺎﺭﻧﺪ ﭼﻮﻥ ﺑﺴﻴﺎﺭ‬ ‫ﺯﻧﺪﻩ ﻭ ﺟﺬﺍﺏﺍﻧﺪ‪ .‬ﺑﭽﻪ ﻣﺪﺭﺳﻪﺍﻯﻫﺎ ﻫﻢ ﺍﺯ ﻫﻤﻴﻦ ﭼﻴﺰﻫﺎ ﻟﺬﺕ ﻣﻰﺑﺮﻧﺪ‪ .‬ﺍﺯ ﺑﺮﺧﻮﺭﺩ ﺑﺎ ﻣﻮﺟﻮﺩﺍﺕ‬ ‫ﺑﻴﮕﺎﻧﻪ ﻭ ﺳﻔﺮ ﺑﺎ ﻣﻮﺷﻚ ﻭ ﺩﺍﻳﻨﺎﺳﻮﺭﻫﺎ‪.‬‬ ‫ﺩﺭ ﺗﻤﺎﻡ ﻋﻤﺮﻡ ﺩﺭ ﺍﻳﻦ ﺣﻮﺯﻩﻯ ﺍﺩﺑﻰ ﺟﺴﺖﻭﺟﻮ ﻛﺮﺩﻡ ﻭ ﺩﺭﺧﺸﺎﻥﺗﺮﻳﻦ ﻣﻮﺿﻮﻋﺎﺕ ﺭﺍ ﺟﻤﻊﺁﻭﺭﻯ‬ ‫ﻛﺮﺩﻡ‪ .‬ﺑﻌﺪ ﺩﺍﺳﺘﺎﻧﻰ ﺑﺮﺍﻯ ﺍﻳﻦ ﺍﻳﺪﻩﻫﺎ ﻧﻮﺷﺘﻢ‪ .‬ﺑﭽﻪﻫﺎ ﻫﻢ ﺍﺯ ﻫﻤﻴﻦ ﭼﻴﺰﻫﺎ ﻟﺬﺕ ﻣﻰﺑﺮﻧﺪ‪ .‬ﺍﻣﺮﻭﺯ‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻣﻦ ﺩﺭ ﻫﺰﺍﺭﺍﻥ ﮔﻠﭽﻴﻦ ﺍﺩﺑﻰ ﺟﻤﻊﺁﻭﺭﻯ ﺷﺪﻩﺍﻧﺪ ﻭ ﺩﺭ ﻛﻨﺎﺭ ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻯ ﺧﻴﻠﻰ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

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‫ﺧﻮﺏ ﺑﻮﺩﻥ ﺑﺎﻳﺪ ﺍﻳﻦ ﻧﻮﻉ ﻧﻮﺷﺘﻪﻫﺎ ﺭﺍ ﻣﻄﺎﻟﻌﻪ ﻛﺮﺩ‪ .‬ﻣﺜ ً‬ ‫ﻼ ﺍﮔﺮ ﺑﺨﻮﺍﻫﺪ ﺩﺭﺑﺎﺭﻩﻯ ﺯﻧﻰ ﺑﻨﻮﻳﺴﺪ ﻛﻪ‬ ‫ﻭﺍﺭﺩ ﺍﺗﺎﻕ ﻣﻰﺷﻮﺩ ﻭ ﺍﻃﺮﺍﻑ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰﻛﻨﺪ‪ ،‬ﺩﺭ ﻳﻚ ﺟﻤﻠﻪ ﺑﺮﺍﻯ ﺷﻤﺎ ﻓﻀﺎﻯ ﺍﺗﺎﻕ ﻭ ﺍﺣﺴﺎﺱ ﺯﻥ‬ ‫ﻭ ﻋﻤﻠﻰ ﺭﺍ ﻛﻪ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﺪ‪ ،‬ﺗﻮﺻﻴﻒ ﻣﻰﻛﻨﺪ‪ .‬ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﭙﺮﺳﻴﺪ ﭼﻄﻮﺭ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻣﻰﻛﻨﺪ؟‬ ‫ﺍﺯ ﭼﻪ ﻗﻴﺪﻫﺎ ﻭ ﺗﻮﺻﻴﻒﻫﺎ ﻭ ﻓﻌﻞﻫﺎﻳﻰ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﺪ‪ .‬ﭼﻄﻮﺭ ﺁﻥﻫﺎ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻣﻰﻛﻨﺪ ﻭ ﻛﻨﺎﺭ‬ ‫ﻫﻢ ﻗﺮﺍﺭ ﻣﻰﺩﻫﺪ‪ .‬ﻣﻦ ﺩﺍﻧﺶﺁﻣﻮﺯ ﻣﺸﺘﺎﻕ ﻭ ﺳﺨﺖﻛﻮﺷﻰ ﺑﻮﺩﻡ‪ .‬ﺑﻌﻀﻰ ﻭﻗﺖﻫﺎ ﻳﻚ ﻧﺴﺨﻪﻯ‬ ‫ﻗﺪﻳﻤﻰ ﺍﺯ ﻭﻭﻟﻒ ﺑﻪ ﺩﺳﺘﻢ ﻣﻰﺭﺳﻴﺪ ﻭ ﻣﻦ ﭘﺎﺭﺍﮔﺮﺍﻑﻫﺎﻯ ﻛﺘﺎﺏ ﺭﺍ ﻣﻰﺑﺮﻳﺪﻡ ﻭ ﻣﻰﮔﺬﺍﺷﺘﻤﺸﺎﻥ‬ ‫ﻭﺳﻂ ﻧﻮﺷﺘﻪﻫﺎﻯ ﺧﻮﺩﻡ‪ .‬ﮔﺎﻫﻰ ﻫﻢ ﻳﻚ ﺑﺨﺶ ﺍﺯ ﻧﻮﺷﺘﻪﻫﺎﻯ ﺩﻳﮕﺮﺍﻥ ﺭﺍ ﺑﺎﺯﻧﻮﻳﺴﻰ ﻣﻰﻛﺮﺩﻡ‪.‬‬ ‫ﺩﻭﺳﺖ ﺩﺍﺷﺘﻢ ﻧﻮﻉ ﻧﻮﺷﺘﻦ ﺁﻥﻫﺎ ﺭﺍ ﺍﺣﺴﺎﺱ ﻛﻨﻢ‪ .‬ﺭﻳﺘﻢﺷﺎﻥ ﺭﺍ ﻳﺎﺩ ﺑﮕﻴﺮﻡ‪.‬‬ ‫ﭘﺲ ﭘﺮﻭﺳﺖ ]‪ [45‬ﻭ ﺟﻮﻳﺲ ]‪ [46‬ﻭ ﻓﻠﻮﺑﺮ ]‪ [47‬ﻭ ﻧﺎﺑﺎﻛﻮﻑ ]‪ [48‬ﭼﻪ؟ ﻣﻨﻈﻮﺭﻡ‬ ‫ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺍﺩﺑﻴﺎﺕ ﺩﺭ ﻗﺎﻟﺐ ﻓﺮﻡ ﻭ ﺳﺒﻚ )ﺍﺳﺘﺎﻳﻞ( ﻧﮕﺎﻩ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﻫﺮﮔﺰ ﻋﻼﻗﻪﺍﻯ ﺑﻪ ﺁﻥﻫﺎ ﺩﺍﺷﺘﻪﺍﻳﺪ؟‬ ‫ﻧﻪ‪ .‬ﭼﻮﻥ ﺯﻳﺎﺩﻯ ﺧﻮﺍﺏﺁﻭﺭﻧﺪ‪ .‬ﻣﻦ ﺑﺎﺭﻫﺎ ﺳﻌﻰ ﻛﺮﺩﻡ ﭘﺮﻭﺳﺖ ﺑﺨﻮﺍﻧﻢ ﻭ ﻣﺘﻮﺟﻪ ﺳﺒﻚ ﺯﻳﺒﺎﻳﺶ ﻫﻢ‬ ‫ﺷﺪﻩﺍﻡ‪ .‬ﻭﻟﻰ ﻭﺍﻗﻌﺎً ﺧﻮﺍﺏﺁﻭﺭ ﺍﺳﺖ‪ .‬ﺟﻮﻳﺲ ﻫﻢ ﻫﻤﻴﻦﻃﻮﺭ ﺍﺳﺖ‪ .‬ﺩﺭ ﻧﻮﺷﺘﻪﻫﺎﻯ ﺟﻮﻳﺲ ﺍﻳﺪﻩﻫﺎﻯ‬ ‫ﺯﻳﺎﺩﻯ ﺑﻪ ﭼﺸﻢ ﻧﻤﻰﺧﻮﺭﺩ‪ .‬ﻣﻦ ﺧﻴﻠﻰ ﺑﻪ ﺍﻳﺪﻩ ﺍﻫﻤﻴﺖ ﻣﻰﺩﻫﻢ‪ .‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﺑﻪ ﺑﻌﻀﻰ ﺍﺯ ﺷﻜﻞ‬ ‫ﺭﻭﺍﻳﺖﻫﺎﻯ ﺍﻧﮕﻠﻴﺴﻰ ﻭ ﻓﺮﺍﻧﺴﻮﻯ ﺑﻴﺸﺘﺮ ﻋﻼﻗﻤﻨﺪﻡ‪ .‬ﺣﻘﻴﻘﺘﺎً ﻧﻤﻰﺗﻮﺍﻧﻢ ﺗﺼﻮﺭ ﻛﻨﻢ ﺩﺭ ﺟﻬﺎﻧﻰ‬ ‫ﺯﻧﺪﮔﻰ ﻛﻨﻢ ﻛﻪ ﺍﻳﺪﻩﻫﺎ ﻣﻦ ﺭﺍ ﺣﻴﺮﺕﺯﺩﻩ ﻧﻜﻨﻨﺪ‪.‬‬ ‫ﺷﻤﺎ ﺗﺤﺼﻴﻼﺕ ﺁﻛﺎﺩﻣﻴﻚ ﻧﺪﺍﺭﺩ‪ .‬ﺩﺭﺳﺖ ﺍﺳﺖ؟‬ ‫ﺑﻠﻪ‪ .‬ﺗﻤﺎﻡ ﺗﺤﺼﻴﻼﺕ ﻣﻦ ﺩﺭ ﻛﺘﺎﺑﺨﺎﻧﻪﻫﺎ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻩ‪ .‬ﻫﺮﮔﺰ ﺩﺍﻧﺸﮕﺎﻩ ﻧﺮﻓﺘﻢ‪ .‬ﻭﻗﺘﻰ ﺭﺍﻫﻨﻤﺎﻳﻰ ﻭ‬ ‫ﺩﺑﻴﺮﺳﺘﺎﻥ ﺑﻮﺩﻡ‪ ،‬ﺗﻤﺎﻡ ﺭﻭﺯﻫﺎﻯ ﺗﺎﺑﺴﺘﺎﻥ ﺭﺍ ﺩﺭ ﻛﺘﺎﺑﺨﺎﻧﻪ ﺑﻪ ﺳﺮ ﻣﻰﺑﺮﺩﻡ‪ .‬ﺍﺯ ﻳﻚ ﻣﻐﺎﺯﻩ ﺩﺭ ﺧﻴﺎﺑﺎﻥ‬ ‫ﺟﻨﻴﺰ ﻣﺠﻠﻪ ﻣﻰﺩﺯﺩﻳﺪﻡ ﻭ ﻣﻰﺧﻮﺍﻧﺪﻡ‪ .‬ﺑﻌﺪ ﺩﻭﺑﺎﺭﻩ ﻳﻮﺍﺷﻜﻰ ﺑﺮﺷﺎﻥ ﻣﻰﮔﺮﺩﺍﻧﺪﻡ‪ .‬ﺩﻭﺳﺖ ﻧﺪﺍﺷﺘﻢ‬ ‫ﺩﺯﺩ ﺑﺎﻗﻰ ﺑﻤﺎﻧﻢ‪ .‬ﻫﻤﻴﺸﻪ ﻗﺒﻞ ﺍﺯ ﺧﻮﺍﻧﺪﻥ ﻣﺠﻠﻪ ﻫﻢ ﺩﺳﺘﺎﻧﻢ ﺭﺍ ﻣﻰﺷﺴﺘﻢ‪ .‬ﻛﺘﺎﺑﺨﺎﻧﻪ ﺍﻣﺎ ﺁﻥﻗﺪﺭ‬ ‫ﺑﺰﺭگ ﺍﺳﺖ ﻛﻪ ﺣﺘﺎ ﺍﮔﺮ ﺑﺎﺭﻫﺎ ﺗﻤﺎﻡ ﻛﺘﺎﺑﺨﺎﻧﻪ ﺭﺍ ﺑﮕﺮﺩﻯ‪ ،‬ﺑﺎﺯ ﻫﻢ ﭼﻴﺰﻫﺎﻯ ﺗﺎﺯﻩﺍﻯ ﭘﻴﺪﺍ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺍﺯ ﻣﺪﺭﺳﻪ ﺭﻓﺘﻦ ﺟﺬﺍﺏﺗﺮ ﺍﺳﺖ‪ ،‬ﭼﻮﻥ ﻧﻴﺎﺯﻯ ﻧﻴﺴﺖ ﭼﻴﺰﻯ ﺭﺍ ﻛﻪ ﺩﻭﺳﺖ ﻧﺪﺍﺭﻯ ﺑﺨﻮﺍﻧﻰ‪ .‬ﻧﻴﺎﺯﻯ‬ ‫ﻫﻢ ﻧﻴﺴﺖ ﻣﺪﺍﻡ ﮔﻮﺷﺖ ﺑﻪ ﻣﻌﻠﻢ ﺑﺎﺷﺪ‪ .‬ﺑﻌﻀﻰ ﻭﻗﺖﻫﺎ ﺑﭽﻪﻫﺎﻯ ﺧﻮﺩﻡ ﻛﺘﺎﺏﻫﺎﻳﻰ ﺑﻪ ﺧﺎﻧﻪ‬ ‫ﻣﻰﺁﻭﺭﺩﻧﺪ ﻛﻪ ﻗﺮﺍﺭ ﺑﻮﺩ ﺍﺯ ﺁﻥﻫﺎ ﺍﻣﺘﺤﺎﻥ ﮔﺮﻓﺘﻪ ﺷﻮﺩ‪ ...‬ﺧﻮﺏ ﺍﮔﺮ ﺑﻌﻀﻰ ﺍﺯ ﺍﻳﻦ ﻛﺘﺎﺏﻫﺎ ﺭﺍ ﺩﻭﺳﺖ‬ ‫ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﻴﺪ ﭼﻪ؟‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﻣﺎ ﺩﺍﺳﺘﺎﻥ ﭼﺎپ ﻧﻤﻰﻛﻨﻴﻢ‪ .‬ﭼﻮﻥ ﻛﺴﻰ ﺩﺍﺳﺘﺎﻥ ﻧﻤﻰﺧﻮﺍﻧﺪ‪ .‬ﺑﻌﺪ ﻣﻰﭘﺮﺳﻴﺪﻧﺪ ﺭﻣﺎﻥ ﻧﺪﺍﺭﻯ؟‬ ‫ﻣﻦ ﻫﻢ ﺟﻮﺍﺏ ﻣﻰﺩﺍﺩﻡ ﻣﻦ ﺩﻭﻧﺪﻩﻯ ﺳﺮﻋﺘﻢ‪ .‬ﺩﻭﻧﺪﻩﻯ ﻣﺎﺭﺍﺗﻦ ﻧﻴﺴﺘﻢ‪ .‬ﺩﺍﺷﺘﻢ ﺁﻣﺎﺩﻩ ﻣﻰﺷﺪﻡ‬ ‫ﻛﻪ ﺑﺮﮔﺮﺩﻡ ﻛﻪ ﻳﻚ ﺷﺐ ﺷﺎﻡ ﻣﻬﻤﺎﻥ ﻧﺎﺷﺮﻯ ﺷﺪﻡ ﺑﻪ ﻧﺎﻡ ﻭﺍﻟﺘﺮ ﺑﺮﺩﺑﺮﻯ ]‪) [42‬ﻧﺴﺒﺘﻰ ﺑﺎ ﻫﻢ‬ ‫ﻧﺪﺍﺷﺘﻴﻢ(‪ .‬ﺍﺯ ﻣﻦ ﭘﺮﺳﻴﺪ‪ ،‬ﺍﮔﺮ ﻫﻤﻪﻯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻣﺮﻳﺨﻰ ﺭﺍ ﻳﻚ ﺟﺎ ﺟﻤﻊ ﻛﻨﻰ‪ ،‬ﻣﻰﺷﻮﺩ‬ ‫ﺍﺳﻤﺶ ﺭﺍ ﮔﺬﺍﺷﺖ ﺭﻣﺎﻥ‪ .‬ﺑﻌﺪ ﻋﻨﻮﺍﻧﺶ ﺭﺍ ﻫﻢ ﻣﻰﮔﺬﺍﺭﻳﻢ ﺣﻜﺎﻳﺖﻫﺎﻯ ﻣﺮﻳﺦ‪ .‬ﻣﻦ ﮔﻔﺘﻢ ﺍﺗﻔﺎﻗﺎً‬ ‫ﺳﺎﻝ ‪ 1944‬ﻛﺘﺎﺏ ﺍﻭﻫﺎﻳﻮﻯ ﻭﺍﻳﻨﺰﺑﺮگ ]‪ [43‬ﺭﺍ ﺧﻮﺍﻧﺪﻩ ﺑﻮﺩﻡ‪ .‬ﺧﻴﻠﻰ ﻫﻢ ﺍﺯ ﻛﺘﺎﺏ ﺧﻮﺷﻢ ﺁﻣﺪﻩ‬ ‫ﺑﻮﺩ‪ .‬ﻭ ﺑﺎ ﺧﻮﺩﻡ ﮔﻔﺘﻪ ﺑﻮﺩﻡ ﻣﻦ ﻫﻢ ﻳﻚ ﺭﻭﺯ ﻳﻚ ﻛﺘﺎﺏ ﺑﻪ ﻫﻤﻴﻦ ﺳﻴﺎﻕ ﺧﻮﺍﻫﻢ ﻧﻮﺷﺖ‪ .‬ﻭﻟﻰ‬ ‫ﻣﺤﻠﺶ ﺩﺭ ﻣﺮﻳﺦ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﺣﺘﻰ ﺳﺎﻝ ‪ 44‬ﻳﻚ ﻳﺎﺩﺍﺷﺖ ﻫﻢ ﺩﺭ ﺍﻳﻦ ﺑﺎﺭﻩ ﻧﻮﺷﺘﻪ ﺑﻮﺩﻡ‪ .‬ﻭﻟﻰ‬ ‫ﻛﺎﻣ ً‬ ‫ﻼ ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩﻩ ﺑﻮﺩﻡ‪.‬‬ ‫ﺁﻥ ﺷﺐ ﺭﺍ ﺩﺭ ﺍﺗﺎﻕ ﻫﺘﻠﻢ ﺑﻴﺪﺍﺭ ﻣﺎﻧﺪﻡ ﻭ ﻳﻚ ﭘﻼﺕ ﻛﻠﻰ ﺑﺮﺍﻯ ﺭﻣﺎﻧﻢ ﻧﻮﺷﺘﻢ‪ .‬ﻓﺮﺩﺍ ﻧﻮﺷﺘﻪﻫﺎﻳﻢ ﺭﺍ‬ ‫ﺑﺮﺍﻳﺶ ﺑﺮﺩﻡ‪ .‬ﺑﻪ ﻣﻦ ﮔﻔﺖ ﻳﻚ ﭼﻚ ﺩﺭ ﻭﺟﻪ ﻫﻔﺘﺼﺪ ﻭ ﭘﻨﺠﺎﻩ ﺩﻻﺭ ﺑﺮﺍﻳﻢ ﻣﻰﻧﻮﻳﺴﺪ‪ .‬ﺑﺮﮔﺸﺘﻢ‬ ‫ﻟﺲﺁﻧﺠﻠﺲ ﻭ ﻫﻤﻪﻯ ﺩﺍﺳﺘﺎﻥﻫﺎ ﺭﺍ ﺟﻤﻊ ﻛﺮﺩﻡ ﻭ ﺍﻳﻦ ﻃﻮﺭﻯ ﺣﻜﺎﻳﺖﻫﺎﻯ ﻣﺮﻳﺦ ﺷﻜﻞ ﮔﺮﻓﺖ‪.‬‬ ‫ﺍﺳﻤﺶ ﺭﺍ ﮔﺬﺍﺷﺘﻪﺍﻧﺪ ﺭﻣﺎﻥ‪ ،‬ﻭﻟﻰ ﺣﻖ ﺑﺎ ﺷﻤﺎﺳﺖ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﻣﺠﻤﻮﻋﻪﻯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻛﻮﺗﺎﻫﻰ‬ ‫ﺍﺳﺖ ﻛﻪ ﺍﺭﺗﺒﺎﻁ ﺧﻴﻠﻰ ﻛﻤﻰ ﺑﺎ ﻫﻢ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﻳﻜﻰ ﺍﺯ ﻣﺤﺒﻮﺏﺗﺮﻳﻦ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻣﺠﻤﻮﻋﻪ‪ ،‬ﺩﺍﺳﺘﺎﻥ »ﺑﺎﺭﺍﻥ ﻧﻢﻧﻢ ﺧﻮﺍﻫﺪ ﺑﺎﺭﻳﺪ«‬ ‫]‪ [44‬ﺍﺳﺖ‪ .‬ﺩﺍﺳﺘﺎﻧﻰ ﺩﺭﺑﺎﺭﻩﻯ ﻳﻚ ﺧﺎﻧﻪﻯ ﻣﻜﺎﻧﻴﻜﻰ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﺟﻨﮓ ﺍﺗﻤﻰ ﻫﻤﭽﻨﺎﻥ‬ ‫ﺑﻪ ﻛﺎﺭﺵ ﺍﺩﺍﻣﻪ ﻣﻰﺩﻫﺪ‪ .‬ﻫﻴﭻ ﺷﺨﺼﻴﺖ ﺍﻧﺴﺎﻧﻰﺍﻯ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺍﻳﺪﻩﻯ‬ ‫ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺍﺯ ﻛﺠﺎ ﺑﻪ ﺫﻫﻨﺘﺎﻥ ﺭﺳﻴﺪ؟‬ ‫ﺑﻌﺪ ﺍﺯ ﺑﻤﺒﺎﺭﺍﻥ ﻫﻴﺮﻭﺷﻴﻤﺎ‪ ،‬ﻋﻜﺴﻰﻫﺎﻳﻰ ﺩﻳﺪﻡ ﺍﺯ ﺧﺎﻧﻪﻫﺎﻳﻰ ﻛﻪ ﻧﻘﺶ ﺁﺩﻡﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﺁﻥﻫﺎ‬ ‫ﺯﻧﺪﮔﻰ ﻣﻰﻛﺮﺩﻧﺪ ﺑﻪ ﺧﺎﻃﺮ ﺷﺪﺕ ﺑﻤﺐ‪ ،‬ﺭﻭﻳﺸﺎﻥ ﺛﺒﺖ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺁﺩﻡﻫﺎ ﻣﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻭﻟﻰ‬ ‫ﺳﺎﻳﻪﺷﺎﻥ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺑﻪ ﺣﺪﻯ ﺗﺄﺛﻴﺮﮔﺬﺍﺭ ﺑﻮﺩ ﻛﻪ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﻧﻮﺷﺘﻢ‪.‬‬ ‫ﺑﻌﻀﻰ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺣﻜﺎﻳﺖﻫﺎﻯ ﻣﺮﻳﺦ ﻭ ﺑﻌﻀﻰ ﺍﺯ ﻛﺎﺭﻫﺎﻯ ﺩﻳﮕﺮﺗﺎﻥ‪ ،‬ﻣﺘﻦﻫﺎﻯ‬ ‫ﺷﺎﻋﺮﺍﻧﻪ ﻭ ﻧﻈﻢﮔﻮﻧﻪﺍﻯ ﺩﺍﺭﻧﺪ‪ .‬ﺍﻳﻦ ﺣﺎﻟﺖ ﺷﻌﺮﮔﻮﻧﻪ ﺩﺭ ﺁﺛﺎﺭﺗﺎﻥ ﺍﺯ ﻛﺠﺎ ﻧﺸﺎﺕ ﻣﻰﮔﻴﺮﺩ؟‬ ‫ﺗﺄﺛﻴﺮ ﺧﻮﺍﻧﺪﻥ ﺷﻌﺮ ﺍﺳﺖ‪ .‬ﻣﻦ ﺗﻤﺎﻡ ﻋﻤﺮﻡ ﻫﺮ ﺭﻭﺯ ﺷﻌﺮ ﺧﻮﺍﻧﺪﻩﺍﻡ‪ .‬ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻯ ﻣﻮﺭﺩ ﻋﻼﻗﻪﺍﻡ‬ ‫ﻧﻴﺰ ﺩﺭ ﻧﻮﺷﺘﻦ ﺯﺑﺮﺩﺳﺖ ﺑﻮﺩﻩﺍﻧﺪ‪ .‬ﻧﻮﺷﺘﻪﻫﺎﻯ ﺍﺩﻭﺭﺍ ﻭﻟﺘﻰ ﺭﺍ ﻣﻄﺎﻟﻌﻪ ﻣﻰﻛﺮﺩﻡ‪ .‬ﺍﻭ ﺩﺭ ﻳﻚ ﺳﻄﺮ‬ ‫ﻫﻢ ﻓﻀﺎ ﻭ ﻫﻢ ﺷﺨﺼﻴﺖ ﻭ ﺣﺮﻛﺖ ﺭﺍ ﺑﻪ ﺭﺍﺣﺘﻰ ﺍﻟﻘﺎ ﻣﻰﻛﻨﺪ‪ .‬ﺗﻨﻬﺎ ﺩﺭ ﻳﻚ ﺳﻄﺮ! ﺑﺮﺍﻯ ﻧﻮﻳﺴﻨﺪﻩﻯ‬

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‫ﻣﺼﺎﺣﺒﻪ‬

‫ﻏﺎﻳﻰ ﺍﺳﺖ‪ .‬ﻭﻗﺘﻰ ﺗﺼﻤﻴﻢ ﻧﻬﺎﻳﻰ ﺩﺭﺑﺎﺭﻩﻯ ﺁﻥﭼﻪ ﺭﺍ ﻣﻰﺧﻮﺍﻫﻴﺪ ﺩﺭﺑﺎﺭﻩﻯ ﺧﻮﺩﺗﺎﻥ ﻭ ﺗﺮﺱﻫﺎ ﻭ‬ ‫ﺯﻧﺪﮔﻰﺗﺎﻥ ﺑﮕﻮﻳﻴﺪ ﮔﺮﻓﺘﻴﺪ‪ ،‬ﺁﻥ ﻣﻮﻗﻊ ﺍﺳﺖ ﻛﻪ ﺳﺒﻚ ﺷﻤﺎ ﺍﻳﺠﺎﺩ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺣﺎﻻ ﻭﻗﺘﺶ ﺍﺳﺖ‬ ‫ﺳﺮﺍﻍ ﺁﻥ ﺩﺳﺘﻪ ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻳﻰ ﺑﺮﻭﻳﺪ ﻛﻪ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺑﻪ ﺷﻤﺎ ﻳﺎﺩ ﺑﺪﻫﻨﺪ ﭼﻄﻮﺭﻯ ﺍﻳﻦ ﻭﺍﻗﻌﻴﺖ ﺭﺍ‬ ‫ﺩﺭ ﻗﺎﻟﺐ ﻛﻠﻤﺎﺕ ﺑﺮﻳﺰﻳﺪ‪ .‬ﺍﺯ ﺍﺷﺘﺎﻳﻦﺑﻚ ﻳﺎﺩ ﮔﺮﻓﺘﻢ ﭼﻄﻮﺭ ﺑﺮﻭﻥﮔﺮﺍﻳﺎﻧﻪ ﺑﻨﻮﻳﺴﻢ ﻭ ﻧﻈﺮﺍﺕ ﺧﻮﺩﻡ ﺭﺍ‬ ‫ﻫﻢ ﻭﺍﺭﺩ ﻛﻨﻢ‪ ،‬ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﺯﻳﺎﺩﻯ ﺩﺭ ﺭﻭﻧﺪ ﺩﺍﺳﺘﺎﻥ ﻣﺪﺍﺧﻠﻪ ﻛﻨﻢ‪ .‬ﺍﺯ ژﺍﻥ ﻛﻮﻳﻪ ]‪ [33‬ﻭ ﺟﺮﺍﻟﺪ‬ ‫ﻫﻴﺮﺩ ]‪ [34‬ﻫﻢ ﺧﻴﻠﻰ ﭼﻴﺰﻫﺎ ﻳﺎﺩ ﮔﺮﻓﺖ‪ .‬ﺣﺘﻰ ﺩﻳﻮﺍﻧﻪﻭﺍﺭ ﻋﺎﺷﻖ ﭼﻨﺪ ﺗﺎ ﺍﺯ ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻯ ﺯﻥ‬ ‫ﺷﺪﻡ‪ .‬ﺑﻪ ﺧﺼﻮﺹ ﺍﺩﻭﺭﺍ ﻭﻟﺘﻰ ]‪ [35‬ﻭ ﻛﺎﺗﺮﻳﻦ ﺁﻥ ﭘﻮﺭﺗﺮ ]‪ .[36‬ﻫﻨﻮﺯ ﻫﻢ ﮔﺎﻫﻰ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ‬ ‫ﺍﺩﻳﺖ ﻭﺍﺭﺗﻮﻥ ]‪ [37‬ﻭ ﺟﺴﻤﻴﻦ ﻭﺳﺖ ]‪ [38‬ﺭﺍ ﻣﻰﺧﻮﺍﻧﻢ‪» .‬ﻭﺳﻮﺳﻪﻫﺎﻯ ﺩﻭﺳﺘﺎﻧﻪ« ﻳﻜﻰ ﺍﺯ‬ ‫ﻣﺠﻤﻮﻋﻪ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩﻫﺎﻯ ﻣﻮﺭﺩ ﻋﻼﻗﻪﻯ ﻣﻦ ﺍﺳﺖ‪.‬‬ ‫ﺣﻜﺎﻳﺖﻫﺎﻯ ﻣﺮﻳﺦ ]‪ [39‬ﺭﺍ ﻛﻪ ﺍﻭﻟﻴﻦ ﻣﻮﻓﻘﻴﺖ ﺑﺰﺭگ ﺷﻤﺎﺳﺖ‪ ،‬ﺧﻴﻠﻰﻫﺎ ﺭﻣﺎﻥ ﻗﻠﻤﺪﺍﺩ‬ ‫ﻣﻰﻛﻨﻨﺪ‪ .‬ﺩﺭ ﺻﻮﺭﺗﻰ ﻛﻪ ﺩﺭ ﻭﺍﻗﻊ ﻣﺠﻤﻮﻋﻪﻯ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ ﺍﺳﺖ ﻛﻪ ﺧﻴﻠﻰ ﺍﺯ‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻳﺶ ﻫﻢ ﺩﺭ ﺩﻫﻪﻯ ﭼﻬﻞ ﺩﺭ ﻣﺠﻠﻪﻫﺎﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻋﺎﻣﻪﭘﺴﻨﺪ ﭼﺎپ ﺷﺪﻩ‬ ‫ﺑﻮﺩﻧﺪ‪ .‬ﭼﻄﻮﺭ ﺷﺪ ﻛﻪ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺘﻴﺪ ﺑﻪ ﺻﻮﺭﺕ ﺭﻣﺎﻥ ﺟﻤﻊﺁﻭﺭﻯﺷﺎﻥ ﻛﻨﻴﺪ؟‬ ‫ﺳﺎﻝ ‪ 1947‬ﻭﻗﺘﻰ ﺍﻭﻟﻴﻦ ﺭﻣﺎﻧﻢ‪ ،‬ﻛﺎﺭﻧﺎﻭﺍﻝ ﻇﻠﻤﺖ ]‪ [40‬ﭼﺎپ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﺎ ﻣﻨﺸﻰ ﻧﻮﺭﻣﻦ ﻛﺮﻭﻳﻦ‬ ‫]‪ [41‬ﺁﺷﻨﺎ ﺷﺪﻡ‪ .‬ﻧﻮﺭﻣﻦ ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﺩﺭ ﺭﺍﺩﻳﻮ ﻛﺴﻰ ﺑﻮﺩ‪ .‬ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ ﻭ ﺗﻬﻴﻪ‬ ‫ﻛﻨﻨﺪﻩ ﺑﻮﺩ‪ .‬ﺗﻮﺳﻂ ﻣﻨﺸﻰﺍﺵ ﻳﻚ ﻧﺴﺨﻪ ﺍﺯ ﻛﺎﺭﻧﺎﻭﺍﻝ ﻇﻠﻤﺖ ﺭﺍ ﻓﺮﺳﺘﺎﺩﻡ ﺑﻪ ﻫﻤﺮﺍﻩ ﻳﻚ ﻧﺎﻣﻪ‪.‬‬ ‫ﺑﺮﺍﻳﺶ ﻧﻮﺷﺘﻢ ﻛﻪ ﺍﮔﺮ ﺍﻭ ﻫﻢ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻣﻦ ﻛﺘﺎﺏ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺭﺩ‪ ،‬ﺩﻭﺳﺖ ﺩﺍﺭﻡ ﻳﻚ ﻧﻮﺷﻴﺪﻧﻰ‬ ‫ﻣﻬﻤﺎﻧﺶ ﻛﻨﻢ‪ .‬ﻳﻚ ﻫﻔﺘﻪ ﺑﻌﺪ ﻧﻮﺭﻣﻦ ﺗﻤﺎﺱ ﮔﺮﻓﺖ ﻭ ﮔﻔﺖ ﻧﻮﺷﻴﺪﻧﻰ ﺭﺍ ﺑﻰﺧﻴﺎﻝ! ﺷﺎﻡ ﻣﻬﻤﺎﻥ‬ ‫ﻣﻦ! ﺧﻼﺻﻪ ﺣﺴﺎﺑﻰ ﺑﺎ ﻫﻢ ﺭﻓﻴﻖ ﺷﺪﻳﻢ‪ .‬ﻳﻚ ﺭﻓﺎﻗﺖ ﻃﻮﻻﻧﻰ ﻣﺪﺕ‪ .‬ﺁﻥ ﺷﺐ ﺳﺮ ﺷﺎﻡ ﺑﺤﺚ‬ ‫ﺣﻜﺎﻳﺖﻫﺎﻯ ﻣﺮﻳﺦ ﺷﺪ‪ .‬ﺍﻭ ﮔﻔﺖ ﻛﻪ ﺑﻪ ﻧﻈﺮﺵ ﺧﻴﻠﻰ ﺟﺎﻟﺐ ﻫﺴﺘﻨﺪ ﻭ ﺍﺯ ﻣﻦ ﺧﻮﺍﺳﺖ ﺑﻴﺸﺘﺮ‬ ‫ﺑﻨﻮﻳﺴﻢ‪ .‬ﻣﻦ ﻫﻢ ﻫﻤﻴﻦ ﻛﺎﺭ ﺭﺍ ﻛﺮﺩﻡ‪ .‬ﻳﻚ ﺟﻮﺭﻫﺎﻳﻰ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺁﻏﺎﺯ ﺣﻜﺎﻳﺖﻫﺎﻯ ﻣﺮﻳﺦ ﺑﻮﺩ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﺩﻻﻳﻞ ﺩﻳﮕﺮ ﻫﻢ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻨﺪ‪ .‬ﺳﺎﻝ ‪ 1949‬ﻫﻤﺴﺮﻡ ﻣﮕﻰ‪ ،‬ﺩﺧﺘﺮ ﺍﻭﻟﻤﺎﻥ ﺳﻮﺯﺍﻥ ﺭﺍ ﺑﺎﺭﺩﺍﺭ‬ ‫ﺑﻮﺩ‪ .‬ﺗﺎ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻣﻦ ﺧﺎﻧﻪﻧﺸﻴﻦ ﺑﻮﺩﻡ ﻭ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ ﻣﻰﻧﻮﺷﺘﻢ ﻭ ﻫﻤﺴﺮﻡ ﺷﺎﻏﻞ ﺑﻮﺩ‪.‬‬ ‫ﺍﻣﺎ ﺣﺎﻻ ﻛﻪ ﻫﻤﺴﺮﻡ ﺑﺎﺭﺩﺍﺭ ﺑﻮﺩ‪ ،‬ﺑﻪ ﭘﻮﻝ ﺑﻴﺸﺘﺮﻯ ﻧﻴﺎﺯ ﺩﺍﺷﺘﻴﻢ‪ .‬ﺑﺎﻳﺪ ﻳﻚ ﻗﺮﺍﺭﺩﺍﺩ ﻛﺘﺎﺏ ﻣﻰﻧﻮﺷﺘﻢ‪.‬‬ ‫ﻧﻮﺭﻣﻦ ﭘﻴﺸﻨﻬﺎﺩ ﻛﺮﺩ ﺑﻪ ﻧﻴﻮﻳﻮﺭﻙ ﺑﺮﻭﻡ ﻭ ﺑﺎ ﭼﻨﺪﺗﺎ ﻧﺎﺷﺮ ﻭ ﻭﻳﺮﺍﺳﺘﺎﺭ ﻧﺸﺴﺖ ﻭ ﺑﺮﺧﺎﺳﺖ ﻛﻨﻢ‪ .‬ﻣﻦ‬ ‫ﻫﻢ ﺳﻮﺍﺭ ﺍﺗﻮﺑﻮﺱﻫﺎﻯ ﮔﺮﻯﻫﻮﻧﺪ ﺷﺪﻡ ﻭ ﺗﻮﻯ ﻫﺘﻞ ‪ YMCA‬ﺍﺗﺎﻕ ﮔﺮﻓﺘﻢ‪ .‬ﺷﺒﻰ ﭘﻨﺠﺎﻩ ﺳﻨﺖ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻢ ﺭﺍ ﭘﻴﺶ ﺩﻩ ﺩﻭﺍﺯﺩﻩ ﻧﺎﺷﺮ ﺑﺮﺩﻡ‪ .‬ﻫﻴﭻﻛﺲ ﻧﻮﺷﺘﻪﻫﺎﻳﻢ ﺭﺍ ﻧﭙﺴﻨﺪﻳﺪ‪ .‬ﺑﻬﻢ ﻣﻰﮔﻔﺘﻨﺪ‬

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‫ﺑﺮﺍﻳﻤﺎﻥ ﺑﻴﺸﺘﺮ ﺍﺯ ﺑﺎﺯﻳﮕﺮﻯ ﺑﮕﻮﻳﻴﺪ‪.‬‬ ‫ﻳﻚ ﺭﻭﺯ ﺩﺭ ﺗﺎﺳﻜﻦ ﺁﺭﻳﺰﻭﻧﺎ‪ ،‬ﻭﻗﺘﻰ ﺩﻭﺍﺯﺩﻩ ﺳﺎﻟﻢ ﺑﻮﺩ‪ ،‬ﺑﻪ ﺩﻭﺳﺘﺎﻧﻢ ﮔﻔﺘﻢ ﻣﻰﺧﻮﺍﻫﻢ ﺑﻪ ﺍﻳﺴﺘﮕﺎﻩ‬ ‫ﺭﺍﺩﻳﻮ ﺑﺮﻭﻡ ﻭ ﺻﺪﺍﭘﻴﺸﮕﻰ ﻛﻨﻢ ﻛﻪ ﻳﻚ ﺟﻮﺭ ﺑﺎﺯﻳﮕﺮﻯ ﺑﻮﺩ‪ .‬ﺩﻭﺳﺘﺎﻧﻢ ﭘﻮﺯﺧﻨﺪ ﺯﺩﻧﺪ ﻭ ﭘﺮﺳﻴﺪﻧﺪ‪:‬‬ ‫»ﻛﺴﻰ ﺭﺍ ﻫﻢ ﺗﻮﻯ ﺭﺍﺩﻳﻮ ﻣﻰﺷﻨﺎﺳﻰ؟« ﻣﻦ ﻫﻢ ﮔﻔﺘﻢ ﻧﻪ‪ .‬ﻫﻤﺎﻥﺟﺎ ﭼﺮﺥ ﻣﻰﺯﻧﻢ ﺗﺎ ﺍﺳﺘﻌﺪﺍﺩ‬ ‫ﻋﻈﻴﻢﺍﻡ ﺭﺍ ﻛﺸﻒ ﻛﻨﻨﺪ‪ .‬ﻫﻤﻴﻦ ﻛﺎﺭ ﺭﺍ ﻫﻢ ﻛﺮﺩﻡ‪ .‬ﺩﻭ ﻫﻔﺘﻪﻯ ﺗﻤﺎﻡ ﺗﻮﻯ ﺭﺍﺩﻳﻮ ﭘﺎﺩﻭﻳﻰ ﻛﺮﺩﻡ‪.‬‬ ‫ﺁﺷﻐﺎﻝﻫﺎ ﺭﺍ ﺧﺎﻟﻰ ﻛﺮﺩﻡ‪ ،‬ﺭﻭﺯﻧﺎﻣﻪ ﺧﺮﻳﺪﻡ‪ .‬ﺑﻌﺪ ﺍﺯ ﺩﻭ ﻫﻔﺘﻪ ﺑﺮﻧﺎﻣﻪﻯ ﺧﻮﺩﻡ ﺭﺍ ﺩﺍﺷﺘﻢ‪ .‬ﻫﺮ ﺷﻨﺒﻪ‬ ‫ﺷﺐ ﺑﺮﺍﻯ ﺑﭽﻪﻫﺎ ﻛﻤﻴﻚ ﻣﻰﺧﻮﺍﻧﺪﻡ‪» .‬ﺗﺎﻣﻰ ﺧﻠﻪ« ﻭ »ﺑﺎگ ﺭﺍﺟﺮﺯ«‪.‬‬ ‫ﺑﺎﻳﺪ ﺑﮕﻮﻳﻢ ﺗﺠﺮﺑﻪﻫﺎﻯ ﺭﻧﮕﻴﻨﻰ ﺩﺍﺷﺘﻪﺍﻳﺪ‪.‬‬ ‫ﺭﺍﺳﺘﺶ ﻣﻦ ﻳﻚ ﻛﭙﻪ ﺁﺕ ﻭ ﺁﺷﻐﺎﻝ ﻧﺎﻣﺘﺠﺎﻧﺴﻢ‪ .‬ﻭﻟﻰ ﻛﭙﻪﻯ ﺁﺷﻐﺎﻟﻰ ﻛﻪ ﺑﺎ ﺷﻌﻠﻪﻫﺎﻳﻰ ﺑﻠﻨﺪ ﻭ‬ ‫ﺩﺭﺧﺸﺎﻥ ﻣﻰﺳﻮﺯﺩ‪ .‬ﺧﻴﻠﻰ ﻭﻗﺖﻫﺎ ﺩﻭﺳﺖ ﺩﺍﺭﻡ ﺗﺼﻮﺭ ﻛﻨﻢ ﺳﻮﺍﺭ ﻳﻚ ﻗﻄﺎﺭ ﺳﺮﻳﻊﺍﻟﺴﻴﺮ ﻧﻴﻤﻪﺷﺐ‬ ‫ﻫﺴﺘﻢ ﻛﻪ ﺩﻭﺭ ﺁﻣﺮﻳﻜﺎ ﻣﻰﭼﺮﺧﺪ‪ .‬ﻭ ﻣﻦ ﺗﻮﻯ ﻗﻄﺎﺭ ﺑﺎ ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻯ ﻣﻮﺭﺩ ﻋﻼﻗﻪﺍﻡ ﻫﻢﺻﺤﺒﺖ‬ ‫ﻫﺴﺘﻢ‪ .‬ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻳﻰ ﻣﺜﻞ ﺟﺮﺝ ﺑﺮﻧﺎﺭﺩ ﺷﺎﻭ ]‪ ،[25‬ﻛﻪ ﺷﻨﻴﺪﻩﺍﻡ ﻫﻮﺍﺩﺍﺭ ﺍﻳﺪﻩﻫﺎﻯ ﺗﺨﻴﻠﻰ ﺑﻮﺩﻩ‪.‬‬ ‫ﺧﻮﺩ ﺷﺎﻭ ﮔﺎﻫﻰ ﭼﻴﺰﻫﺎﻳﻰ ﻣﻰﻧﻮﺷﺖ ﻛﻪ ﻣﻰﺷﻮﺩ ﮔﻔﺖ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺑﻮﺩﻧﺪ‪ .‬ﺑﻴﺪﺍﺭ ﻣﻰﻣﺎﻧﻴﻢ ﻭ‬ ‫ﺗﺎ ﻧﻴﻤﻪﺷﺐ ﺍﻳﺪﻩﻫﺎﻳﻤﺎﻥ ﺭﺍ ﺭﺩ ﻭ ﺑﺪﻝ ﻣﻰﻛﻨﻴﻢ‪ .‬ﻣﺜ ً‬ ‫ﻼ ﻣﻰﮔﻮﻳﻴﻢ ﺍﮔﺮ ﺯﻥﻫﺎﻯ ‪ 1900‬ﺍﻳﻦﺟﻮﺭﻯ‬ ‫ﻫﺴﺘﻨﺪ‪ ،‬ﭘﺲ ﺯﻥﻫﺎﻯ ‪ 2050‬ﭼﻪ ﻃﻮﺭﻯ ﻫﺴﺘﻨﺪ؟‬ ‫ﺩﻳﮕﺮ ﭼﻪ ﻛﺴﻰ ﺳﻮﺍﺭ ﺍﻳﻦ ﻗﻄﺎﺭ ﺍﺳﺖ؟‬ ‫ﻳﻚ ﻋﺎﻟﻢ ﺷﺎﻋﺮ‪ .‬ﻫﺎﭘﻜﻴﻨﺰ ]‪ ،[26‬ﻓﺮﺍﺳﺖ ]‪ ،[27‬ﺷﻜﺴﭙﻴﺮ ]‪ .[28‬ﻭ ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻳﻰ ﻣﺜﻞ ﺍﺷﺘﺎﻳﻦﺑﻚ‬ ‫]‪ [29‬ﻭ ﻫﺎﻛﺴﻠﻰ ]‪ [30‬ﻭ ﺗﺎﻣﺲ ﻭﻭﻟﻒ ]‪.[31‬‬ ‫ﻭﻭﻟﻒ ﭼﻪ ﺗﺄﺛﻴﺮﻯ ﺭﻭﻯ ﺷﻤﺎ ﺩﺍﺷﺘﻪ؟‬ ‫ﺍﻭ ﻳﻚ ﺭﻭﻣﺎﻧﺘﻴﻚ ﻭﺍﻗﻌﻰ ﺑﻮﺩ‪ .‬ﻭﻗﺘﻰ ﻧﻮﺯﺩﻩ ﺳﺎﻟﻢ ﺑﻮﺩ‪ ،‬ﺍﻭ ﺩﺭﻫﺎﻯ ﺟﻬﺎﻥ ﺩﻳﮕﺮﻯ ﺭﺍ ﺑﺮ ﻣﻦ ﮔﺸﻮﺩ‪.‬‬ ‫ﺑﻌﻀﻰ ﻧﻮﻳﺴﻨﺪﻩﻫﺎ ﻣﺮﺑﻮﻁ ﺑﻪ ﺩﻭﺭﻫﺎﻯ ﺧﺎﺻﻰ ﺍﺯ ﺯﻧﺪﮔﻰ ﻣﺎ ﻫﺴﺘﻨﺪ‪ .‬ﻫﺮﭼﻨﺪ ﺷﺎﻳﺪ ﺩﺭ ﺁﻳﻨﺪﻩ ﻫﺮﮔﺰ‬ ‫ﺍﺯ ﺁﻥﻫﺎ ﺗﺄﺛﻴﺮ ﻧﮕﻴﺮﻳﻢ‪ .‬ﻭﻭﻟﻒ ﺑﺮﺍﻯ ﻧﻮﺯﺩﻩ ﺳﺎﻟﮕﻰ ﻣﻨﺎﺳﺐ ﺍﺳﺖ‪ .‬ﻭﻟﻰ ﺍﮔﺮ ﺩﺭ ﺳﻰ ﺳﺎﻟﮕﻰ ﻋﺎﺷﻖ‬ ‫ﺷﺎﻭ ﺷﻮﻳﺪ‪ ،‬ﺩﻳﮕﺮ ﺗﺎ ﺁﺧﺮ ﻋﻤﺮ ﻋﺎﺷﻘﺶ ﻣﻰﻣﺎﻧﻴﺪ‪ .‬ﻭ ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺩﺭﺑﺎﺭﻩﻯ ﺑﻌﻀﻰ‬ ‫ﺍﺯ ﻛﺘﺎﺏﻫﺎﻯ ﺗﺎﻣﺲ ﻣﺎﻥ ]‪ [32‬ﻫﻢ ﺻﺪﻕ ﻣﻰﻛﻨﺪ‪ .‬ﻭﻗﺘﻰ ﺑﻴﺴﺖ ﺳﺎﻟﻢ ﺑﻮﺩ‪» ،‬ﻣﺮگ ﺩﺭ ﻭﻧﻴﺰ« ﺭﺍ‬ ‫ﺧﻮﺍﻧﺪﻡ‪ .‬ﺍﺯ ﺁﻥ ﻣﻮﻗﻊ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﻫﺮ ﺑﺎﺭ ﻣﻰﺧﻮﺍﻧﻤﺶ‪ ،‬ﺑﻬﺘﺮ ﻣﻰﺷﻮﺩ‪ .‬ﺳﺒﻚ ﻧﻮﻳﺴﻨﺪﮔﻰ ﺣﻘﻴﻘﺖ‬

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‫ﻧﻮﻳﺴﻨﺪﻩﺍﻯ ﺍﺧﻼﻕﮔﺮﺍ ﻭ ﺭﺍﻫﻨﻤﺎﻯ ﺑﺸﺮﻳﺖ ﺑﻮﺩ‪ .‬ﻣﻌﺘﻘﺪ ﺑﻮﺩ ﻛﻪ ﺍﻧﺴﺎﻥﻫﺎ ﺩﺭ ﻣﻮﻗﻌﻴﺘﻰ ﻋﺠﻴﺐ ﻭ‬ ‫ﻏﺮﻳﺐ ﻭ ﺩﺭ ﺟﻬﺎﻧﻰ ﻋﺠﻴﺐ ﻭ ﻏﺮﻳﺐ ﺑﻪ ﺳﺮ ﻣﻰﺑﺮﻧﺪ ﻭ ﺗﻨﻬﺎ ﺭﺍﻩ ﭘﻴﺮﻭﺯﻯ ﺩﺭ ﺍﻳﻦ ﺩﻧﻴﺎ‪ ،‬ﻋﻤﻞ ﺑﺮ‬ ‫ﺍﺳﺎﺱ ﻣﻌﻴﺎﺭﻫﺎﻯ ﺍﺧﻼﻗﻰ ﺍﺳﺖ‪ .‬ﻗﻬﺮﻣﺎﻧﺶ ﻛﺎﭘﻴﺘﺎﻥ ﻧﻤﻮ ]‪ [18‬ﻛﻪ ﺩﺭ ﻭﺍﻗﻊ ﻣﺘﻀﺎﺩ ﻧﺎﺧﺪﺍ ﺍﻳﻬﺎﺏ‬ ‫]‪ ،[19‬ﺩﻳﻮﺍﻧﻪﻯ ﻣﻠﻮﻳﻞ ]‪ [20‬ﺍﺳﺖ‪ ،‬ﺩﻭﺭ ﺩﻧﻴﺎ ﻣﻰﭼﺮﺧﺪ ﻭ ﺍﻧﺴﺎﻥﻫﺎ ﺭﺍ ﺧﻠﻊ ﺳﻼﺡ ﻣﻰﻛﻨﺪ ﻭ ﺭﺍﻩ‬ ‫ﺻﺤﻴﺢ ﺯﻧﺪﮔﻰ ﺭﺍ ﻧﺸﺎﻥﺷﺎﻥ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻯ ﺟﻮﺍﻥﺗﺮ ﺍﺯ ﺧﻮﺩﺗﺎﻥ ﭼﻄﻮﺭ؟ ﻛﺎﺭ ﺁﻥﻫﺎ ﺭﺍ ﻣﻰﺧﻮﺍﻧﻴﺪ؟‬ ‫ﺗﺮﺟﻴﺢ ﻣﻰﺩﻫﻢ ﻛﺎﺭ ﺟﻮﺍﻥﺗﺮﻫﺎ ﺭﺍ ﻧﺨﻮﺍﻧﻢ‪ .‬ﺧﻴﻠﻰ ﻭﻗﺖﻫﺎ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﻴﻦ ﺍﻳﺪﻩﻫﺎﻳﺸﺎﻥ ﺑﻪ‬ ‫ﺍﻳﺪﻩﺍﻯ ﺑﺮﺧﻮﺭﺩ ﻛﻨﻢ ﻛﻪ ﺧﻮﺩﻡ ﺩﺍﺭﻡ ﺭﻭﻳﺶ ﻛﺎﺭ ﻣﻰﻛﻨﻢ‪ .‬ﺗﺮﺟﻴﺢ ﻣﻰﺩﻫﻢ ﻛﺎﺭ ﺧﻮﺩﻡ ﺭﺍ ﺑﻜﻨﻢ‪.‬‬ ‫ﭼﻪ ﺯﻣﺎﻧﻰ ﻧﻮﺷﺘﻦ ﺭﺍ ﺷﺮﻭﻉ ﻛﺮﺩﻳﺪ؟‬ ‫ﻛﺎﺭ ﻣﻦ ﺍﺯ ﺍﺩﮔﺎﺭ ﺁﻟﻦ ﭘﻮ ]‪ [21‬ﺁﻏﺎﺯ ﺷﺪ‪ .‬ﺍﺯ ﺩﻭﺍﺯﺩﻩ ﺳﺎﻟﮕﻰ ﺗﺎ ﻫﺠﺪﻩ ﺳﺎﻟﮕﻰ ﺍﺯ ﺭﻭﺵﺍﺵ ﺗﻘﻠﻴﺪ‬ ‫ﻣﻰﻛﺮﺩﻡ‪ .‬ﻋﺎﺷﻖ ﻧﻮﺷﺘﻪﻫﺎﻯ ﭘﺮﺯﺭﻕ ﻭ ﺑﺮﻗﺶ ﺷﺪﻡ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻦ ﭘﻮ ﻳﻚ ﺟﻮﺍﻫﺮﺳﺎﺯ ﺑﻰﻧﻈﻴﺮ ﺍﺳﺖ‪.‬‬ ‫ﺍﺩﮔﺎﺭ ﺭﺍﻳﺲ ﺑﺎﺭﻭﺯ ]‪ [22‬ﻭ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺟﺎﻥ ﻛﺎﺭﺗﺮ ]‪ [23‬ﻫﻢ ﻫﻤﻴﻦﻃﻮﺭ‪ .‬ﻣﻦ ﺑﺎ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ‬ ‫ﻭﺣﺸﺖ ﺳﻨﺘﻰ ﺷﺮﻭﻉ ﻛﺮﺩﻡ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﻫﺮ ﻛﺴﻰ ﻛﻪ ﻭﺍﺭﺩ ﻧﻮﻳﺴﻨﺪﮔﻰ ژﺍﻧﺮﻯ ﻣﻰﺷﻮﺩ ﺍﺯ ﻫﻤﻴﻦﺟﺎ‬ ‫ﺷﺮﻭﻉ ﻣﻰﻛﻨﺪ‪ .‬ﻣﺎﺟﺮﺍﻯ ﺁﺩﻡﻫﺎﻳﻰ ﻛﻪ ﺗﻮﻯ ﻣﻘﺒﺮﻩﻫﺎ ﮔﻴﺮ ﻣﻰﻛﻨﻨﺪ ﻭ ﻫﺰﺍﺭﺗﻮﻫﺎﻯ ﻣﺼﺮﻯ‪...‬‬ ‫ﻫﻤﻪ ﭼﻴﺰ ﺍﺯ ﺁﻥ ﺗﺎﺑﺴﺘﺎﻥ ‪ 1932‬ﺷﺮﻭﻉ ﺷﺪ ﻛﻪ ﺩﻭﺍﺯﺩﻩ ﺳﺎﻟﻢ ﺑﻮﺩ‪ .‬ﭼﻴﺰﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﺍﺧﺘﻴﺎﺭ‬ ‫ﺩﺍﺷﺘﻢ ﻛﺘﺎﺏﻫﺎﻯ ﭘﻮ ﻭ ﺑﺎﺭﻭﺯ ﺑﻮﺩ ﻭ ﻛﻠﻰ ﻫﻢ ﻛﻤﻴﻚ‪ .‬ﺑﻪ ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﺗﺨﻴﻠﻰ ﺭﺍﺩﻳﻮ ﻫﻢ ﺯﻳﺎﺩ ﮔﻮﺵ‬ ‫ﻣﻰﺩﺍﺩﻡ‪ .‬ﻣﺨﺼﻮﺻﺎً ﺑﺮﻧﺎﻣﻪﻯ »ﺷﺎﻧﺪﻭﻯ ﺟﺎﺩﻭﮔﺮ« ]‪ .[24‬ﺍﺣﺘﻤﺎﻻً ﺑﺮﻧﺎﻣﻪﻯ ﻣﺰﺧﺮﻓﻰ ﺑﻮﺩﻩ‪ .‬ﻭﻟﻰ‬ ‫ﻣﻦ ﺧﻴﻠﻰ ﺩﻭﺳﺘﺶ ﺩﺍﺷﺘﻢ‪ .‬ﻫﺮ ﺷﺐ ﺑﻌﺪ ﺍﺯ ﭘﺨﺶ ﺑﺮﻧﺎﻣﻪ ﻣﻰﻧﺸﺴﺘﻢ ﻭ ﻛﻞ ﺩﺍﺳﺘﺎﻧﺶ ﺭﺍ ﺍﺯ ﺣﻔﻆ‬ ‫ﻣﻰﻧﻮﺷﺘﻢ‪ .‬ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻢ ﺩﺭ ﺑﺮﺍﺑﺮ ﻭﺳﻮﺳﻪﺍﺵ ﻣﻘﺎﻭﻣﺖ ﻛﻨﻢ‪ .‬ﺷﺎﻧﺪﻭ ﻋﻠﻴﻪ ﺗﻤﺎﻡ ﺿﺪﻗﻬﺮﻣﺎﻥﻫﺎﻯ‬ ‫ﺩﻧﻴﺎ ﺑﻮﺩ‪ .‬ﻣﻦ ﻫﻢ ﻫﻤﻴﻦﻃﻮﺭ‪ .‬ﺷﺎﻧﺪﻭ ﺑﻪ ﭘﻴﺎﻡﻫﺎﻯ ﻓﺮﺍﻓﻴﺰﻳﻜﻰ ﭘﺎﺳﺦ ﻣﻰﺩﺍﺩ ﻭ ﻣﻦ ﻫﻢ ﻫﻤﻴﻦﻃﻮﺭ‪.‬‬ ‫ﺍﺯ ﻃﺮﺍﺣﻰ ﻛﺎﺭﺗﻮﻥ ﻫﻢ ﺧﻮﺷﻢ ﻣﻰﺁﻣﺪ‪ .‬ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻳﺴﺖ ﻫﻢ ﺑﻮﺩﻡ‪ .‬ﻫﻤﻴﺸﻪ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻢ ﻛﻤﻴﻚ‬ ‫ﺍﺳﺘﺮﻳﭗ ﺧﻮﺩﻡ ﺭﺍ ﺑﻨﻮﻳﺴﻢ‪ .‬ﺧﻼﺻﻪ ﻓﻘﻂ ﻧﻮﻳﺴﻨﺪﻩﻯ ﺩﺳﺖﺩﻭﻡ ﻧﺒﻮﺩﻡ‪ .‬ﻃﺮﺍﺡ ﻛﻤﻴﻚ ﺧﻮﺩﻡ ﻫﻢ‬ ‫ﺑﻮﺩﻡ‪ .‬ﻣﻌﻤﻮﻻً ﻣﺎﺟﺮﺍﻫﺎﻳﻰ ﺭﺍ ﻣﻰﻧﻮﺷﺘﻢ ﻛﻪ ﺩﺭ ﺁﻣﺮﻳﻜﺎﻯ ﺟﻨﻮﺑﻰ ﻭ ﺑﻴﻦ ﺁﺯﺗﻚﻫﺎ ﻳﺎ ﺩﺭ ﺁﻓﺮﻳﻘﺎ‬ ‫ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﺎﺩﻧﺪ‪ .‬ﻫﻤﻴﺸﻪ ﻣﺎﺟﺮﺍﻯ ﻳﻚ ﺩﺧﺘﺮ ﺯﻳﺒﺎ ﻭ ﻗﺮﺑﺎﻧﻰ ﻛﺮﺩﻥ ﻫﻢ ﺩﺭ ﻛﺎﺭ ﺑﻮﺩ‪ .‬ﭘﺲ ﻣﻄﻤﺌﻦ‬ ‫ﺑﻮﺩﻡ ﻛﻪ ﻭﺍﺭﺩ ﻳﻚ ﺣﺮﻓﻪﻯ ﻫﻨﺮﻯ ﻣﻰﺷﻮﻡ‪ .‬ﭼﻮﻥ ﻫﻢ ﻣﻰﻧﻮﺷﺘﻢ ﻭ ﻫﻢ ﻃﺮﺍﺣﻰ ﻣﻰﻛﺮﺩﻡ ﻭ ﻫﻢ‬ ‫ﺑﺎﺯﻳﮕﺮ ﺑﻮﺩﻡ‪.‬‬

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‫ژﺍﻧﺮ ﺍﻓﺘﻀﺎﺡ ﺑﻮﺩ‪ .‬ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺷﺼﺖ ﺳﺎﻝ ﭘﻴﺶ ﺩﺭ ﺍﻳﻦ ﺣﺪ ﺑﻰﺍﻫﻤﻴﺖ ﺑﻮﺩ‪ .‬ﻭﻗﺘﻰ ﻫﻢ ﻛﻪ ﺍﻭﻟﻴﻦ‬ ‫ﻛﺘﺎﺏﻫﺎ ﺑﺎﻻﺧﺮﻩ ﺩﺭ ﺩﻫﻪﻯ ﭘﻨﺠﺎﻩ ﭼﺎپ ﺷﺪﻧﺪ‪ ،‬ﻣﺠﻠﻪﻫﺎﻯ ﺳﻄﺢ ﭘﺎﻳﻴﻦ ﺗﺒﻠﻴﻐﺸﺎﻥ ﺭﺍ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫ﻣﺎ ﻫﻤﻪ ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻯ ﺩﺍﺧﻞ ﻛﻤﺪ ﺑﻮﺩﻳﻢ‪.‬‬ ‫ﺁﻳﺎ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺑﻪ ﻧﻮﻳﺴﻨﺪﻩﺍﺵ ﺍﻳﻦ ﺍﻣﻜﺎﻥ ﺭﺍ ﻣﻰﺩﻫﺪ ﻛﻪ ﻳﻚ ﻣﺴﺄﻟﻪﻯ ﻓﺮﺿﻰ ﻭ‬ ‫ﺍﺩﺭﺍﻛﻰ ﺭﺍ ﺭﺍﺣﺖﺗﺮ ﻣﻮﺭﺩ ﺑﺮﺭﺳﻰ ﻗﺮﺍﺭ ﺩﻫﺪ؟‬ ‫ﻓﺎﺭﻧﻬﺎﻳﺖ ‪ [8] 451‬ﺭﺍ ﺩﺭ ﻧﻈﺮ ﺑﮕﻴﺮﻳﺪ‪ .‬ﻛﺘﺎﺏﺳﻮﺯﻯ ﻣﻮﺿﻮﻋﻰ ﺑﺴﻴﺎﺭ ﺟﺪﻯ ﺍﺳﺖ‪ .‬ﺑﺎﻳﺪ ﺣﻮﺍﺳﺘﺎﻥ‬ ‫ﺑﺎﺷﺪ ﻛﻪ ﺑﺮﺍﻯ ﻣﺮﺩﻡ ﺳﺨﻨﺮﺍﻧﻰ ﺑﻰﺧﻮﺩ ﻧﻜﻨﻴﺪ‪ .‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﻫﻢ ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﺁﻳﻨﺪﻩ ﺭﺥ ﻣﻰﺩﻫﺪ‬ ‫ﻭ ﺁﺗﺶﻧﺸﺎﻧﻰ ﺩﺭ ﺁﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺑﻪ ﺟﺎﻯ ﺧﺎﻣﻮﺵ ﻛﺮﺩﻥ ﺁﺗﺶ‪ ،‬ﻛﺘﺎﺏ ﻣﻰﺳﻮﺯﺍﻧﺪ )ﻛﻪ ﺑﺮﺍﻯ‬ ‫ﺧﻮﺩﺵ ﺍﻳﺪﻩﻯ ﺩﺭﺧﺸﺎﻧﻰ ﺍﺳﺖ(‪ .‬ﺑﻌﺪ ﻛﻢﻛﻢ ﺁﺗﺶﻧﺸﺎﻥ ﻭﺍﺭﺩ ﻣﺴﻴﺮﻯ ﻣﻰﺷﻮﺩ ﻛﻪ ﻃﻰ ﺁﻥ‬ ‫ﻛﺸﻒ ﻣﻰﻛﻨﺪ ﻛﻪ ﺷﺎﻳﺪ ﺳﻮﺯﺍﻧﺪﻥ ﻛﺘﺎﺏﻫﺎ ﻓﻜﺮ ﺧﻮﺑﻰ ﻧﻴﺴﺖ‪ .‬ﻋﺎﺷﻖ ﻣﻰﺷﻮﺩ‪ .‬ﻭ ﺑﻌﺪ ﺯﻧﺪﮔﻰﺍﺵ‬ ‫ﺭﺍ ﺗﻐﻴﻴﺮ ﻣﻰﺩﻫﺪ‪ .‬ﺩﺍﺳﺘﺎﻥ ﺗﻌﻠﻴﻘﻰ ﺟﺎﻟﺒﻰ ﺍﺳﺖ ﻭ ﺩﺭ ﺩﺭﻭﻥ ﺩﺍﺳﺘﺎﻥ ﺣﻘﻴﻘﺘﻰ ﻋﻈﻴﻢ ﻧﻬﻔﺘﻪ‪ ،‬ﺑﺪﻭﻥ‬ ‫ﺍﻳﻦ ﻛﻪ ﺩﺭ ﺩﺍﻡ ﺯﻳﺎﺩﮔﻮﻳﻰ ﻭ ﻧﺼﻴﺤﺖ ﺑﻰﺟﺎ ﺩﺍﺩﻥ ﺑﻴﻔﺘﻴﻢ‪.‬‬ ‫ﻫﺮ ﻭﻗﺖ ﺍﺯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺻﺤﺒﺖ ﻣﻰﺷﻮﺩ‪ ،‬ﻣﻦ ﺍﺯ ﺍﺳﺘﻌﺎﺭﻩﻯ ﭘﺮﺳﺌﻮﺱ ]‪ [9‬ﻭ ﺳﺮ ﺑﺮﻳﺪﻩﻯ‬ ‫ﻣﺪﻭﺳﺎ ]‪ [10‬ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﻢ‪ .‬ﺑﻪ ﺟﺎﻯ ﻧﮕﺎﻩ ﻛﺮﺩﻥ ﺩﺭ ﭼﺸﻤﺎﻥ ﺣﻘﻴﻘﺖ‪ ،‬ﺑﻪ ﺑﺎﺯﺗﺎﺑﺶ ﺩﺭ ﺳﭙﺮ‬ ‫ﺑﺮﻧﺰﻯ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻴﻢ‪ .‬ﺑﻌﺪ ﺑﺎﻳﺪ ﺍﺯ ﭘﺸﺖ ﺳﺮ ﺷﻤﺸﻴﺮ ﺭﺍ ﺑﭽﺮﺧﺎﻧﻴﻢ ﻭ ﺳﺮ ﻣﺪﻭﺳﺎ ﺭﺍ ﻗﻄﻊ ﻛﻨﻴﻢ‪.‬‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻫﻢ ﺗﻨﻬﺎ ﺍﺩﺍﻯ ﻧﮕﺎﻩ ﻛﺮﺩﻥ ﺑﻪ ﺁﻳﻨﺪﻩ ﺭﺍ ﺩﺭ ﻣﻰﺁﻭﺭﺩ ﻭ ﺩﺭ ﻭﺍﻗﻊ ﺩﺍﺭﺩ ﺑﻪ ﺑﺎﺯﺗﺎﺏ ﺁﻥ‬ ‫ﭼﻪ ﻫﻤﻴﻦ ﺣﺎﻻ ﺩﺭ ﺑﺮﺍﺑﺮﻣﺎﻥ ﺍﺳﺖ‪ ،‬ﻧﮕﺎﻩ ﻣﻰﻛﻨﺪ‪ .‬ﭘﺲ ﺩﺭ ﺍﻳﻦ ﺟﺎ ﺑﺎ ﺩﻳﺪﻯ ﻛﻤﺎﻧﻪﺍﻯ ﺳﺮ ﻭ ﻛﺎﺭ‬ ‫ﺩﺍﺭﻳﻢ‪ .‬ﻳﻚ ﺟﻮﺭ ﺑﻴﻨﺶ ﻗﻮﺱﺩﺍﺭ ﻛﻪ ﺑﻪ ﺷﻤﺎ ﺍﺟﺎﺯﻩ ﻣﻰﺩﻫﺪ ﺧﻮﺵ ﺑﮕﺬﺭﺍﻧﻴﺪ‪ .‬ﺑﻪ ﺟﺎﻯ ﺍﻳﻦ ﻛﻪ‬ ‫ﺩﭼﺎﺭ ﻋﺬﺍﺏ ﻭﺟﺪﺍﻥ ﻭ ﻓﺮﺍﺭﻭﺷﻨﻔﻜﺮﻯ ﺁﺯﺍﺭﺩﻫﻨﺪﻩ ﺑﺎﺷﻴﺪ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺩﻳﮕﺮ ﺭﺍ ﻣﻰﺧﻮﺍﻧﻴﺪ؟‬ ‫ﻣﻦ ﻫﻤﻴﺸﻪ ﻣﻌﺘﻘﺪ ﺑﻮﺩﻡ ﻛﻪ ﻭﻗﺘﻰ ﻭﺍﺭﺩ ﻛﺎﺭﻯ ﻣﻰﺷﻮﻳﺪ‪ ،‬ﺑﺎﻳﺪ ﺧﻮﺍﻧﺪﻥ ﺩﺭ ﺁﻥ ﺯﻣﻴﻨﻪ ﺭﺍ ﺑﻪ ﺣﺪﺍﻗﻞ‬ ‫ﺑﺮﺳﺎﻧﻴﺪ‪ .‬ﻭﻟﻰ ﺩﺭ ﺷﺮﻭﻉ ﻛﺎﺭ ﺑﺪ ﻧﻴﺴﺖ ﺑﺒﻴﻨﻴﺪ ﻛﻪ ﺑﻘﻴﻪ ﭼﻪ ﻛﺎﺭ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻭﻗﺘﻰ ﻫﻔﺪﻩ ﺳﺎﻟﻢ ﺑﻮﺩ‬ ‫ﺗﻤﺎﻡ ﺁﺛﺎﺭ ﻫﺎﻳﻦﻻﻳﻦ ]‪ [11‬ﻭ ﻛﻼﺭﻙ ]‪ [12‬ﺭﺍ ﻣﻰﺧﻮﺍﻧﺪﻡ‪ .‬ﻧﻮﺷﺘﻪﻫﺎﻯ ﺍﻭﻟﻴﻪﻯ ﺗﺌﻮﺩﻭﺭ ﺍﺳﺘﻮﺭﺟﻦ‬ ‫]‪ [13‬ﺭﺍ ﻫﻢ ﺧﻮﺍﻧﺪﻡ‪ .‬ﻭ ﻧﻮﺷﺘﻪﻫﺎﻯ ﻭﻥﻭﺕ ]‪ [14‬ﺭﺍ‪ .‬ﻳﻌﻨﻰ ﻫﻤﻪﻯ ﻛﺴﺎﻧﻰ ﻛﻪ ﺩﺭ »ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‬ ‫ﺧﺎﺭﻕﺍﻟﻌﺎﺩﻩ« ]‪ [15‬ﻣﻰﻧﻮﺷﺘﻨﺪ‪ .‬ﻭﻟﻰ ﻛﺴﺎﻧﻰ ﻛﻪ ﺑﻴﺶ ﺍﺯ ﺩﻳﮕﺮﺍﻥ ﺭﻭﻯ ﻣﻦ ﺗﺄﺛﻴﺮ ﮔﺬﺍﺷﺘﻨﺪ‪،‬‬ ‫ژﻭﻝ ﻭﺭﻥ ]‪ [16‬ﻭ ﺍچ‪ .‬ﺟﻰ‪ .‬ﻭﻟﺰ ]‪ [17‬ﺑﻮﺩﻧﺪ‪ .‬ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﺑﻴﺸﺘﺮ ﺷﺒﻴﻪ ژﻭﻝ ﻭﺭﻥ ﻫﺴﺘﻢ‪ .‬ﻭﺭﻥ‬

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‫ﻣﺪﺕﻫﺎ ﻭﻧﻪﮔﻮﺕ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻋﻠﻤﻰﺗﺨﻴﻠﻰﻧﻮﻳﺲ ﻣﻰﺷﻨﺎﺧﺘﻨﺪ‪ .‬ﺍﻣﺎ ﺑﻌﺪﺍ ً ﮔﻔﺘﻪ ﺷﺪ‬ ‫ﻛﻪ ﻫﻴﭻ ﻛﺪﺍﻡ ﺍﺯ ﺁﺛﺎﺭﺵ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻧﺒﻮﺩﻩ ﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﻧﻮﻳﺴﻨﺪﻩﻯ ﺟﺮﻳﺎﻥ ﺍﺻﻠﻰ‬ ‫ﺷﻨﺎﺧﺘﻪ ﺷﺪ‪ .‬ﻭﻧﻪﮔﻮﺕ »ﺍﺩﺑﻴﺎﺕ« ﺷﺪ ﻭ ﺷﻤﺎ ﻫﻨﻮﺯ ﺩﺭ ﺣﺎﺷﻴﻪ ﻫﺴﺘﻴﺪ‪ .‬ﺑﻪ ﻧﻈﺮﺗﺎﻥ ﺩﻟﻴﻞ‬ ‫ﻣﻮﻓﻘﻴﺖ ﻭﻧﻪﮔﻮﺕ ﻫﻤﻴﻦ ﺑﺪﺑﻴﻨﻰﺍﺵ ﺑﻮﺩﻩ؟‬ ‫ﺑﻠﻪ‪ ،‬ﺍﻳﻦ ﻫﻢ ﺑﺨﺸﻰ ﺍﺯ ﻣﻮﺿﻮﻉ ﺍﺳﺖ‪ .‬ﻫﻤﻴﻦ ﻣﻨﻔﻰﺑﺎﻓﻰ ﺧﻼﻗﺎﻧﻪﺍﺵ ﺑﻮﺩ ﻛﻪ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻣﻨﺘﻘﺪﺍﻥ‬ ‫ﻧﻴﻮﻳﻮﺭﻛﻰ ﻗﺮﺍﺭ ﮔﺮﻓﺖ ﻭ ﺑﺎﻋﺚ ﺷﻬﺮﺗﺶ ﺷﺪ‪ .‬ﻧﻴﻮﻳﻮﺭﻛﻰﻫﺎ ﺍﺯ ﮔﻮﻝ ﺯﺩﻥ ﺧﻮﺩﺷﺎﻥ ﻟﺬﺕ ﻣﻰﺑﺮﻧﺪ‪.‬‬ ‫ﺍﺯ ﻧﺎﺑﻮﺩ ﻛﺮﺩﻥ ﺧﻮﺩﺷﺎﻥ ﻫﻢ ﻫﻤﻴﻦﻃﻮﺭ‪ .‬ﻭﻟﻰ ﻣﻦ ﺑﭽﻪﻯ ﻛﺎﻟﻴﻔﺮﻧﻴﺎ ﻫﺴﺘﻢ‪ .‬ﺗﺠﺮﺑﻪﻯ ﺯﻧﺪﮔﻰ ﺩﺭ‬ ‫ﻣﺤﻴﻂﻫﺎﻯ ﺍﻓﺴﺮﺩﻩﻯ ﺷﻬﺮﻯ ﻣﺜﻞ ﻧﻴﻮﻳﻮﺭﻙ ﺭﺍ ﻧﺪﺍﺭﻡ‪ .‬ﻣﻦ ﺑﺮﺍﻯ ﻛﺴﻰ ﺗﻌﻴﻴﻦ ﺗﻜﻠﻴﻒ ﻧﻤﻰﻛﻨﻢ‬ ‫ﻛﻪ ﻧﻮﻳﺴﻨﺪﮔﻰ ﭼﻴﺴﺖ‪ .‬ﻛﺴﻰ ﻫﻢ ﺑﻪ ﻣﻦ ﻧﻤﻰﮔﻮﻳﺪ ﭼﻄﻮﺭﻯ ﺑﻨﻮﻳﺴﻢ‪.‬‬ ‫ﻭ ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ ﺷﻤﺎ ﺑﺮﻧﺪﻩﻯ ﻣﺪﺍﻝ ﻧﻮﻳﺴﻨﺪﻩﻯ ﺗﺄﺛﻴﺮﮔﺬﺍﺭ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﺁﻣﺮﻳﻜﺎ ﺷﺪﻩﺍﻳﺪ‪.‬‬ ‫ﺑﺮﻧﺪﻩ ﺷﺪﻥ ﻣﺪﺍﻝ ﭼﻘﺪﺭ ﺑﺮﺍﻳﺘﺎﻥ ﺍﻫﻤﻴﺖ ﺩﺍﺷﺖ؟‬ ‫ﺷﺐ ﻓﻮﻕﺍﻟﻌﺎﺩﻩﺍﻯ ﺑﻮﺩ‪ .‬ﻭﻟﻰ ﺑﺮﮔﺸﺘﻦ ﺑﻪ ﻫﺘﻠﻢ ﺑﺮﺍﻳﻢ ﺩﺭﺩﺳﺮ ﺷﺪ‪ .‬ﻣﺮﺍﺳﻢ ﺭﺍ ﺩﺭ ﻫﺘﻠﻰ ﺩﺭ ﻧﻴﻮﻳﻮﺭﻙ‬ ‫ﺑﺮﮔﺰﺍﺭ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﻭ ﻫﺘﻞ ﺑﻪ ﻗﺪﺭﻯ ﺑﺰﺭگ ﺑﻮﺩ ﻛﻪ ﻣﻦ ﺩﭼﺎﺭ ﻧﺎﺍﻣﻴﺪﻯ ﺷﺪﻡ‪ .‬ﺑﻌﺪ ﺍﺯ ﺳﻜﺘﻪﺍﻡ‬ ‫ﺳﻌﻰ ﻣﻰﻛﻨﻢ ﺧﻴﻠﻰ ﺁﺭﺍﻡ ﺣﺮﻛﺖ ﻛﻨﻢ‪ .‬ﺁﻥ ﺷﺐ ﺗﺎﺑﻠﻮﻳﻰ ﺩﻳﺪﻡ ﻛﻪ ﺭﻭﻳﺶ ﻧﻮﺷﺘﻪ ﺑﻮﺩ‪» :‬ﺍﺗﺎﻕ‬ ‫ﺑﻌﺪﻯ ﺩﻭﻳﺴﺖ ﻭ ﻫﺸﺘﺎﺩ ﻣﺎﻳﻞ ﺟﻠﻮﺗﺮ«‪ .‬ﻣﻴﺰ ﭘﺬﻳﺮﺵ ﻃﺒﻘﻪﻯ ﻫﺸﺘﻢ ﺑﻮﺩ‪ .‬ﺩﻩ ﺩﻗﻴﻘﻪ ﺑﺎﻳﺪ ﻣﻨﺘﻈﺮ‬ ‫ﺁﺳﺎﻧﺴﻮﺭ ﻣﻰﻣﺎﻧﺪﻳﺪ ﺗﺎ ﺳﺮ ﺑﺮﺳﺪ ﻛﻪ ﻓﻘﻂ ﺑﺮﻭﻳﺪ ﺍﺗﺎﻕ ﺑﮕﻴﺮﻳﺪ‪ .‬ﺷﺐ ﭼﻨﺪ ﻧﻔﺮ ﺍﺯ ﺧﺎﻧﻢﻫﺎ ﺩﺍﺷﺘﻨﺪ‬ ‫ﻣﺮﺍ ﺑﻪ ﺍﺗﺎﻗﻢ ﻣﺸﺎﻳﻌﺖ ﻣﻰ ﻛﺮﺩﻧﺪ ﻭ ﻣﻦ ﭘﺮﺳﻴﺪﻡ‪» :‬ﻣﺤﺾ ﺭﺿﺎﻯ ﺧﺪﺍ ﺩﺳﺘﺸﻮﻳﻰ ﻣﺮﺩﺍﻧﻪ ﺭﺍ ﺑﻪ ﻣﻦ‬ ‫ﻧﺸﺎﻥ ﺑﺪﻫﻴﺪ‪ «.‬ﻭﻟﻰ ﻧﺘﻮﺍﻧﺴﺘﻴﻢ ﭘﻴﺪﺍﻳﺶ ﻛﻨﻴﻢ‪ .‬ﻳﻜﻰ ﺍﺯ ﺩﺧﺘﺮﻫﺎ ﮔﻔﺖ ﻣﻰﺗﻮﺍﻧﻢ ﺍﺯ ﮔﻠﺪﺍﻥ ﻧﺨﻠﻰ ﻛﻪ‬ ‫ﻫﻤﺎﻥ ﺍﻃﺮﺍﻑ ﺑﻮﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻢ‪ .‬ﻣﻦ ﻫﻢ ﻫﻤﻴﻦ ﻛﺎﺭ ﺭﺍ ﻛﺮﺩﻡ‪ .‬ﻛﺴﻰ ﻫﻢ ﻣﺮﺍ ﻧﺪﻳﺪ‪ .‬ﺍﻟﺒﺘﻪ ﻓﻜﺮ ﻛﻨﻢ‪.‬‬ ‫ﻣﺪﺍﻝ ﻧﻤﺎﺩ ﺍﻳﻦ ﻧﺒﻮﺩ ﻛﻪ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺑﺎﻻﺧﺮﻩ ﺩﺭ ﺟﻮﺍﻣﻊ ﺍﺩﺑﻰ ﻣﻮﺭﺩ ﺍﺣﺘﺮﺍﻡ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ؟‬ ‫ﺗﺎ ﺣﺪﻭﺩﻯ‪ .‬ﺧﻴﻠﻰ ﻃﻮﻝ ﻛﺸﻴﺪ ﺗﺎ ﻣﺮﺩﻡ ﺑﻪ ﻣﺎ ﺍﺟﺎﺯﻩ ﺩﺍﺩﻧﺪ ﺩﺭ ﻣﻜﺎﻥﻫﺎﻯ ﻋﻤﻮﻣﻰ ﺗﺮﺩﺩ ﻛﻨﻴﻢ‬ ‫ﻭ ﻣﺴﺨﺮﻩﻣﺎﻥ ﻧﻜﻨﻨﺪ‪ .‬ﺟﻮﺍﻥ ﻛﻪ ﺑﻮﺩﻡ ﺍﮔﺮ ﺑﻪ ﻳﻚ ﻣﻬﻤﺎﻧﻰ ﻣﻰﺭﻓﺘﻢ ﻭ ﻣﻰﮔﻔﺘﻢ ﻧﻮﻳﺴﻨﺪﻩﻯ‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻫﺴﺘﻢ‪ ،‬ﻣﺮﺩﻡ ﻣﺴﺨﺮﻩﺍﻡ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺗﻤﺎﻡ ﺷﺐ ﺻﺪﺍﻳﻢ ﻣﻰﻛﺮﺩﻧﺪ ﻓﻠﺶ ﮔﻮﺭﺩﻭﻥ‬ ‫]‪ [6‬ﻳﺎ ﺑﺎﻙ ﺭﺍﺟﺮﺯ ]‪ .[7‬ﺍﻟﺒﺘﻪ ﺣﺮﻓﻰ ﻧﻴﺴﺖ ﻛﻪ ﺷﺼﺖ ﺳﺎﻝ ﭘﻴﺶ ﺍﺻ ً‬ ‫ﻼ ﻛﺘﺎﺑﻰ ﺩﺭ ﺍﻳﻦ ژﺍﻧﺮ ﭼﺎپ‬ ‫ﻧﻤﻰﺷﺪ‪ .‬ﺳﺎﻝ ‪ 1946‬ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﺩﺭ ﺧﺎﻃﺮﻡ ﻣﺎﻧﺪﻩ‪ ،‬ﻓﻘﻂ ﺩﻭ ﻣﺎﻫﻨﺎﻣﻪﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﭼﺎپ‬ ‫ﻣﻰﺷﺪ‪ .‬ﺗﺎﺯﻩ ﻣﺎ ﻛﻪ ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻴﻢ ﺑﺨﺮﻳﻤﺸﺎﻥ‪ .‬ﻓﻘﻴﺮ ﺑﻮﺩﻳﻢ‪ .‬ﻭﺿﻌﻴﺖ ﻣﺎ ﺍﻳﻦﻃﻮﺭﻯ ﺑﻮﺩ‪ .‬ﻭﺿﻌﻴﺖ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﺑﺮﺳﺪ‪ ،‬ﺁﻥ ﺍﻳﺪﻩ ﺑﺨﺸﻰ ﺍﺯ ﺟﻬﺎﻧﻰ ﺭﺍ ﻛﻪ ﺩﺭ ﺁﻥ ﺩﺭ ﺣﺎﻝ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻧﻮﺷﺘﻦ ﻫﺴﺘﻴﺪ‪ ،‬ﻋﻮﺽ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻓﻦ ﺍﻣﻜﺎﻥ ﻭ ﻣﻮﻗﻌﻴﺖ ﺍﺳﺖ‪ .‬ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺣﺮﻑ ﺍﺯ ﻏﻴﺮ ﻣﻤﻜﻦﻫﺎ ﻧﻴﺴﺖ‪.‬‬ ‫ﺍﮔﺮ ﺷﺼﺖ ﺳﺎﻝ ﭘﻴﺶ ﺩﺭ ﺁﻏﺎﺯ ﻛﺎﺭ ﻧﻮﻳﺴﻨﺪﮔﻰﺍﻡ‪ ،‬ﺩﺍﺳﺘﺎﻧﻰ ﻣﻰﻧﻮﺷﺘﻢ ﻛﻪ ﺩﺭ ﺁﻥ ﺯﻧﻰ ﻳﻚ ﻛﭙﺴﻮﻝ‬ ‫ﻣﻰﺧﻮﺭﺩ ﻭ ﻛﻠﻴﺴﺎﻯ ﻛﺎﺗﻮﻟﻴﻚ ﺭﺍ ﻣﻨﻔﺠﺮ ﻣﻰﻛﻨﺪ ﻭ ﺟﻨﺒﺶ ﺁﺯﺍﺩﻯﺑﺨﺶ ﺯﻧﺎﻥ ﺭﺍ ﺭﺍﻩ ﻣﻰﺍﻧﺪﺍﺯﺩ‪،‬‬ ‫ﻣﺮﺩﻡ ﺑﻪ ﻣﻦ ﻣﻰﺧﻨﺪﻳﺪﻧﺪ‪ .‬ﻭﻟﻰ ﺍﻳﻦ ﻣﺎﺟﺮﺍ ﺩﺭ ﺩﺭﻭﻥ ﺩﺍﻳﺮﻩﻯ ﺍﻣﻮﺭ ﻣﻤﻜﻦ ﻗﺮﺍﺭ ﻣﻰﮔﺮﻓﺖ ﻭ‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺧﻮﺑﻰ ﻫﻢ ﻣﻰﺷﺪ‪ .‬ﺣﺎﻻ ﻓﺮﺽ ﻛﻨﻴﺪ ﻣﻦ ﻧﻮﻳﺴﻨﺪﻩﺍﻯ ﺩﺭ ﺍﻭﺍﻳﻞ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ ﺑﻮﺩﻡ‪.‬‬ ‫ﺁﻥ ﻣﻮﻗﻊ ﺍﺣﺘﻤﺎﻻً ﺩﺍﺳﺘﺎﻧﻰ ﻣﻰﻧﻮﺷﺘﻢ ﻛﻪ ﺩﺭ ﺁﻥ ﻣﺎﺷﻴﻦﻫﺎﻯ ﻋﺠﻴﺐ ﻭ ﻏﺮﻳﺐ ﺍﻳﺎﻻﺕ ﻣﺘﺤﺪﻩ ﺭﺍ‬ ‫ﺩﺭﻣﻰﻧﻮﺭﺩﻧﺪ ﻭ ﺩﺭ ﻋﺮﺽ ﻫﻔﺘﺎﺩ ﺳﺎﻝ‪ ،‬ﺑﻴﺴﺖ ﻣﻴﻠﻴﻮﻥ ﻧﻔﺮ ﺭﺍ ﻣﻰﻛﺸﻨﺪ‪ .‬ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺗﻨﻬﺎ ﻓﻦ‬ ‫ﻧﻮﺷﺘﻦ ﺍﺯ ﻣﻤﻜﻦﻫﺎ ﻧﻴﺴﺖ‪ .‬ﻓﻦ ﻧﻮﺷﺘﻦ ﺑﺪﻳﻬﻴﺎﺕ ﻧﻴﺰ ﻫﺴﺖ‪ .‬ﻭﻗﺘﻰ ﺍﺗﻮﻣﺒﻴﻞﻫﺎ ﺑﻪ ﻭﺟﻮﺩ ﺁﻣﺪﻧﺪ‪،‬‬ ‫ﭘﻴﺶﺑﻴﻨﻰ ﺍﻳﻦ ﻛﻪ ﺑﺎﻋﺚ ﻗﺘﻞﻋﺎﻡ ﺑﺴﻴﺎﺭﻯ ﺧﻮﺍﻫﻨﺪ ﺷﺪ ﺧﻴﻠﻰ ﺳﺨﺖ ﻧﺒﻮﺩ‪.‬‬ ‫ﺁﻳﺎ ﻧﻮﺷﺘﻦ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﻧﻴﺎﺯﻯ ﺭﺍ ﺍﺭﺿﺎ ﻣﻰﻛﻨﺪ ﻛﻪ ﺟﺮﻳﺎﻥ ﺍﺻﻠﻰ ﻧﻤﻰﺗﻮﺍﻧﺪ؟‬ ‫ﻗﻄﻌﺎً‪ .‬ﭼﻮﻥ ﺑﻪ ﻧﻈﺮ ﻣﻦ ﺟﺮﻳﺎﻥ ﺍﺻﻠﻰ ﺑﻪ ﺗﻐﻴﻴﺮﺍﺗﻰ ﻛﻪ ﻃﻰ ﭘﻨﺠﺎﻩ ﺳﺎﻝ ﮔﺬﺷﺘﻪ ﺩﺭ ﻓﺮﻫﻨﮓ ﻣﺎ ﺭﺥ‬ ‫ﺩﺍﺩﻩ‪ ،‬ﺑﻰﺗﻮﺟﻪ ﺑﻮﺩﻩ‪ .‬ﭘﻴﺸﺮﻓﺖﻫﺎﻯ ﭘﺰﺷﻜﻰ ﻭ ﺍﻫﻤﻴﺖ ﺍﻛﺘﺸﺎﻑ ﻓﻀﺎ ﺑﺮﺍﻯ ﺑﻘﺎﻯ ﮔﻮﻧﻪﻯ ﺍﻧﺴﺎﻥ ﺍﺯ‬ ‫ﺟﻤﻠﻪ ﺍﻳﺪﻩﻫﺎﻯ ﺍﺻﻠﻰﺍﻯ ﻫﺴﺘﻨﺪ ﻛﻪ ﻣﻮﺭﺩ ﺑﻰﺗﻮﺟﻬﻰ ﻭﺍﻗﻊ ﺷﺪﻩﺍﻧﺪ‪ .‬ﻣﻨﺘﻘﺪﺍﻥ ﻫﻢ ﻳﺎ ﻫﻤﻴﺸﻪ ﺍﺷﺘﺒﺎﻩ‬ ‫ﻣﻰﻛﻨﻨﺪ ﻳﺎ ﭘﻨﺠﺎﻩ ﺳﺎﻝ ﺍﺯ ﺩﻧﻴﺎ ﻋﻘﺐ ﻫﺴﺘﻨﺪ‪ .‬ﺧﺠﺎﻟﺖﺁﻭﺭ ﺍﺳﺖ‪ .‬ﺧﻴﻠﻰ ﭼﻴﺰﻫﺎ ﺍﺻ ً‬ ‫ﻼ ﺑﻪ ﭼﺸﻤﺸﺎﻥ‬ ‫ﻧﻤﻰﺁﻳﺪ‪ .‬ﺍﻳﻦ ﻛﻪ ﭼﺮﺍ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻭ ﺍﻳﺪﻩﻫﺎﻯ ﺗﺨﻴﻠﻰ ﺑﺎﻳﺪ ﭼﻨﻴﻦ ﻣﻮﺭﺩ ﻛﻢﻟﻄﻔﻰ ﻗﺮﺍﺭ ﺑﮕﻴﺮﻧﺪ‪،‬‬ ‫ﻣﻌﻤﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻧﻈﺮ ﻣﻦ ﭘﺎﺳﺦ ﺁﻥ ﺑﻪ ﻓﺨﺮﻓﺮﻭﺷﻰ ﻭ ﺧﻮﺩﺑﺰﺭگﺑﻴﻨﻰ ﺍﺩﺑﻰ ﻣﻨﺘﻘﺪﺍﻥ ﺑﺎﺯﻣﻰﮔﺮﺩﺩ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﺍﮔﺮ ﺍﺷﺘﺒﺎﻩ ﻧﻜﻨﻢ‪ ،‬ﻳﻚ ﺯﻣﺎﻧﻰ ﺧﻮﺩ ﺷﻤﺎ ﻫﻢ ﺗﻤﺎﻳﻞ ﺩﺍﺷﺘﻴﺪ ﺗﻮﺟﻪ ﻣﻨﺘﻘﺪﺍﻥ ﻭ‬ ‫ﺭﻭﺷﻨﻔﻜﺮﻫﺎ ﺭﺍ ﺟﻠﺐ ﻛﻨﻴﺪ‪.‬‬ ‫ﺑﻠﻪ‪ ،‬ﺍﻟﺒﺘﻪ‪ .‬ﺍﻣﺎ ﺩﻳﮕﺮ ﺍﻳﻦ ﻃﻮﺭ ﻧﻴﺴﺖ‪ .‬ﺍﮔﺮ ﻳﻚ ﺭﻭﺯ ﺑﻔﻬﻤﻢ ﻧﻮﺭﻣﻦ ﻣﺎﻳﻠﺮ ]‪ [1‬ﺍﺯ ﻧﻮﺷﺘﻪﻫﺎﻯ ﻣﻦ‬ ‫ﺧﻮﺵﺍﺵ ﻣﻰﺁﻳﺪ‪ ،‬ﺧﻮﺩﻡ ﺭﺍ ﻣﻰﻛﺸﻢ‪ .‬ﻋﻘﺎﻳﺪﺵ ﺯﻳﺎﺩﻯ ﺑﺎﺳﺘﺎﻧﻰ ﺑﻮﺩ‪ .‬ﻣﺪﺍﻡ ﺩﺭ ﺣﺎﻝ ﺩﺭﺟﺎ ﺯﺩﻥ‬ ‫ﺑﻮﺩ‪ .‬ﺩﺭ ﺿﻤﻦ ﺧﻴﻠﻰ ﻫﻢ ﺧﻮﺷﺤﺎﻟﻢ ﻛﻪ ﻛﻮﺭﺕ ﻭﻧﻪﮔﻮﺕ ]‪ [2‬ﻫﻢ ﺍﺯ ﻧﻮﺷﺘﻪﻫﺎﻯ ﻣﻦ ﺧﻮﺵﺍﺵ‬ ‫ﻧﻤﻰﺁﻣﺪ‪ .‬ﻭﻧﻪﮔﻮﺕ ﻣﺸﻜﻞ ﺩﺍﺷﺖ‪ .‬ﻣﺸﻜﻼﺕ ﻭﺣﺸﺘﻨﺎﻛﻰ ﻫﻢ ﺩﺍﺷﺖ‪ .‬ﺩﻧﻴﺎ ﺭﺍ ﻣﺜﻞ ﻣﻦ ﻧﻤﻰﺩﻳﺪ‪ .‬ﺍﮔﺮ‬ ‫ﻣﻦ ﭘﻮﻟﻴﺎﻧﺎ ]‪ [3‬ﺑﺎﺷﻢ‪ ،‬ﺍﻭ ﻛﺎﺳﺎﻧﺪﺭﺍ ]‪ [4‬ﺑﻮﺩ‪ .‬ﺭﺍﺳﺘﺶ ﺗﺮﺟﻴﺢ ﻣﻰﺩﻫﻢ ژﺍﻧﻮﺱ ]‪ [5‬ﺑﺎﺷﻢ‪ .‬ﺧﺪﺍﻯ ﺩﻭ‬ ‫ﭼﻬﺮﻩ‪ .‬ﻧﻴﻤﻰ ﭘﻮﻟﻴﺎﻧﺎ ﻭ ﻧﻴﻤﻰ ﻛﺎﺳﺎﻧﺪﺭﺍ‪ .‬ﻧﺴﺒﺖ ﺑﻪ ﺁﻳﻨﺪﻩ ﻫﺸﺪﺍﺭ ﻣﻰﺩﻫﻢ ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺯﻳﺎﺩﻯ ﺩﺭ‬ ‫ﮔﺬﺷﺘﻪ ﺯﻧﺪﮔﻰ ﻛﺮﺩﻩﺍﻡ‪ .‬ﺩﺭﺳﺖ ﺍﺳﺖ ﻛﻪ ﻣﻨﻔﻰﺑﺎﻑ ﻧﻴﺴﺘﻢ‪ ،‬ﻭﻟﻰ ﺧﻮﺵﺑﻴﻨﻰ ﻏﻴﺮﻣﻌﻘﻮﻝ ﻫﻢ ﻧﺪﺍﺭﻡ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

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‫ﻣﺼﺎﺣﺒﻪ‬

‫ﻫﻨﺮ ﺩﺍﺳﺘﺎﻥﺳﺮﺍﻳﻰ‬ ‫ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

‫آنﭼﻪ ﺑﻪ ﭘﯿﻮﺳﺖ ﻣﯽرﺳﺪ‪ ،‬ﻣﺼﺎﺣﺒﻪای اﺳﺖ ﺑﺎ ری ﺑﺮدﺑﺮی ﮐﻪ در ﺳﺎل ‪ ۲۰۱۰‬اﻧﺠﺎم‬ ‫ﺷﺪه و در ﺷامرهی دوﯾﺴﺖ و ﺳﻮم ﭘﺎرﯾﺲ رﯾﻮﯾﻮ ﺗﺤﺖ ﻋﻨﻮان »ﻫرن داﺳﺘﺎنﴎاﯾﯽ«‬ ‫ﺑﻪ ﭼﺎپ رﺳﯿﺪه اﺳﺖ‪.‬‬ ‫ﭼﺮﺍ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻣﻰﻧﻮﻳﺴﻴﺪ؟‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﺍﻳﺪﻩﻫﺎﻯ ﺗﺨﻴﻠﻰ ﺍﺳﺖ‪ .‬ﺍﻳﺪﻩﻫﺎ ﻣﻦ ﺭﺍ ﺫﻭﻕﺯﺩﻩ ﻣﻰﻛﻨﻨﺪ ﻭ ﻫﻤﻴﻦ ﻛﻪ ﺍﻳﻦ ﺍﺗﻔﺎﻕ‬ ‫ﻣﻰﺍﻓﺘﺪ‪ ،‬ﺁﺩﺭﻧﺎﻟﻴﻦ ﺩﺭ ﺑﺪﻧﻢ ﺟﺮﻳﺎﻥ ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ ﻭ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻣﺘﻮﺟﻪ ﺷﻮﻡ ﭼﻪ ﺷﺪﻩ‪،‬‬ ‫ﺩﺍﺭﻡ ﺍﺯ ﺍﻳﺪﻩﻫﺎ ﺍﻧﺮژﻯ ﻣﻰﮔﻴﺮﻡ‪ .‬ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺩﺭ ﻭﺍﻗﻊ ﻣﺠﻤﻮﻋﻪ ﺍﻳﺪﻩﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺳﺮ‬ ‫ﺁﺩﻡ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻭ ﻫﻨﻮﺯ ﺩﺭ ﺩﻧﻴﺎﻯ ﺧﺎﺭﺝ ﺍﻳﺠﺎﺩ ﻧﺸﺪﻩ‪ ،‬ﻭﻟﻰ ﺑﻪ ﺯﻭﺩﻯ ﺍﺗﻔﺎﻕ ﺧﻮﺍﻫﻨﺪ ﺍﻓﺘﺎﺩ‬ ‫ﻭ ﺯﻧﺪﮔﻰ ﻣﺎ ﺭﺍ ﺑﺮﺍﻯ ﻫﻤﻴﺸﻪ ﻋﻮﺽ ﺧﻮﺍﻫﻨﺪ ﻛﺮﺩ‪ .‬ﺑﻪ ﻣﺤﺾ ﺍﻳﻦ ﻛﻪ ﺍﻳﺪﻩﺍﻯ ﺑﻪ ﺫﻫﻦ ﺷﻤﺎ‬

‫ﻣﻘﺎﻟﻪ‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻭ ﻓﺎﻧﺘﺰﻯ ﺗﻘﺪﻳﺮ ﺷﺪ‪.‬‬

‫‪2008‬‬ ‫‪2009‬‬

‫ﺍﺳﺘﺎﺩ ﺍﻋﻈﻢ ﺍﻧﺠﻤﻦ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻭ ﻓﺎﻧﺘﺰﻯ ﺁﻣﺮﻳﻜﺎ ﺷﺪ‪.‬‬ ‫ﺍﺯ ﻛﺎﻟﺞ ﻛﻠﻤﺒﻴﺎ ﻳﻚ ﺩﻛﺘﺮﺍﻯ ﺍﻓﺘﺨﺎﺭﻯ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩ‪ .‬ﺩﺭ ﻣﺮﺍﺳﻢ ﺩﺭﻳﺎﻓﺖ ﺩﻛﺘﺮﺍﻯ‬

‫ﺍﻓﺘﺨﺎﺭﻯ ﺳﺨﻨﺮﺍﻧﻰ ﻛﺮﺩ ﻭ ﮔﻔﺖ ﭼﮕﻮﻧﻪ ﺯﻧﺪﮔﻰ ﻛﺮﺩﻩ ﺗﺎ ﺩﺭ ﺳﺎﻝ ‪ 2009‬ﺑﺎﻻﺧﺮﻩ ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴﻞ‬ ‫ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

‫‪2012‬‬

‫ﺑﺮﺩﺑﺮﻯ ﭘﺲ ﺍﺯ ﻳﻚ ﺑﻴﻤﺎﺭﻯ ﻃﻮﻻﻧﻰ ﻣﺪﺕ ﺩﺭﮔﺬﺷﺖ‪.‬‬ ‫‪4. Arkham house‬‬ ‫‪5. Marguerite Mcclure‬‬

‫‪1. Hollerbochen’s Dilemma‬‬

‫‪ .2‬ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻫﻮﺍﺩﺍﺭ ﻣﻌﺮﻭﻑ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‬ ‫‪3. Futuria Fantasia‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﻛﺘﺎﺏ ﺭﺍ ﺗﻨﻬﺎ ﺍﺛﺮ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺧﻮﺩ ﻣﻰﺩﺍﻧﺪ‪ .‬ﻓﺮﺍﻧﺴﻮﺍ ﺗﺮﻭﻓﻮ ﻓﻴﻠﻤﻰ ﻣﻮﻓﻖ ﺑﺮ ﺍﺳﺎﺱ ﺍﻳﻦ ﺭﻣﺎﻥ‬ ‫ﺑﺮﺩﺑﺮﻯ ﺳﺎﺧﺘﻪ ﺍﺳﺖ‪.‬‬

‫‪1962‬‬ ‫‪ 1971‬ﺑﻪ ﻫﻤﺮﺍﻩ ﻛﺎﺭﻝ ﺳﺎﮔﺎﻥ‪ ،‬ﺁﺭﺗﻮﺭ ﺳﻰ‪.‬ﻛﻼﺭﻙ ﻭ ﺑﺮﻭﺱ ﻣﻮﺭﻯ ﺑﻪ ﻳﻚ ﻣﻴﺰﮔﺮﺩ ﺩﺭ ﻛﻠﺘﻚ‬ ‫ﺭﻣﺎﻥ »ﭼﻴﺰﻯ ﺷﻮﻡ ﺍﻳﻦ ﺳﻮ ﻣﻰﺁﻳﺪ« ﺭﺍ ﻣﻨﺘﺸﺮ ﺳﺎﺧﺖ‪.‬‬

‫ﺩﻋﻮﺕ ﺷﺪ ﺗﺎ ﺩﺭﺑﺎﺭﻩﻯ ﻣﻮﻓﻘﻴﺖ ﻧﺎﺳﺎ ﺩﺭ ﭘﺮﺗﺎﺏ ﻣﺎﺭﻳﻨﺮ ‪ 9‬ﺑﻪ ﺳﻮﻯ ﻣﺮﻳﺦ ﺻﺤﺒﺖ ﻛﻨﻨﺪ‪ .‬ﻣﺎﺭﻳﻨﺮ ‪9‬‬ ‫ﺍﻭﻟﻴﻦ ﻣﺪﺍﺭﮔﺮﺩﻯ ﺑﻮﺩ ﻛﻪ ﺑﺎ ﻣﻮﻓﻘﻴﺖ ﺩﺭ ﻣﺪﺍﺭ ﻳﻚ ﺩﻧﻴﺎﻯ ﺩﻳﮕﺮ ﻗﺮﺍﺭ ﻣﻰﮔﺮﻓﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺰﮔﺮﺩ‪،‬‬ ‫ﺑﺮﺩﺑﺮﻯ ﺷﻌﺮﻯ ﺭﺍ ﻛﻪ ﺑﻪ ﻣﻨﺎﺳﺐ ﺍﻳﻦ ﭘﻴﺮﻭﺯﻯ ﺳﺮﻭﺩﻩ ﺑﻮﺩ ﺧﻮﺍﻧﺪ‪ .‬ﺷﻌﺮ »ﺍﮔﺮ ﺍﻧﺴﺎﻥ ﺑﻠﻨﺪﻗﺎﻣﺖﺗﺮ‬ ‫ﻣﻰﺑﻮﺩ« ﻧﺎﻡ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﺳﺎﻝ ﻳﻜﻰ ﺍﺯ ﻓﻀﺎﻧﻮﺭﺩﺍﻥ ﺁﭘﻮﻟﻮ ‪ 15‬ﻳﻚ ﺩﻫﺎﻧﻪﻯ ﺑﺮﺧﻮﺭﺩﻯ ﺭﻭﻯ ﻛﺮﻩﻯ‬ ‫ﻣﺎﻩ ﺭﺍ ﺑﻪ ﺍﻓﺘﺨﺎﺭ ﺩﺍﺳﺘﺎﻥ »ﺷﺮﺍﺏ ﻗﺎﺻﺪﻙ« ﺍﻭ‪» ،‬ﺩﻫﺎﻧﻪﻯ ﻗﺎﺻﺪﻙ« ﻧﺎﻡ ﻧﻬﺎﺩ‪.‬‬

‫‪1985‬‬

‫ﻛﺎﺭ ﺑﺎ ﺑﺮﻧﺎﻣﻪﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ »ﺗﺌﺎﺗﺮ ﺭﻯ ﺑﺮﺩﺑﺮﻯ« ﺭﺍ ﺁﻏﺎﺯ ﻛﺮﺩ‪ .‬ﺍﻳﻦ ﺑﺮﻧﺎﻣﻪ ﺑﺮ ﺍﺳﺎﺱ‬

‫ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻛﻮﺗﺎﻩ ﺍﻭ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻫﻤﻜﺎﺭﻯ ﺗﺎ ﺳﺎﻝ ‪ 1992‬ﺍﺩﺍﻣﻪ ﻳﺎﻓﺖ‪.‬‬

‫‪1990‬‬

‫ﻳﻚ ﭘﺎﺭﻙ ﺩﺭ ﺷﻬﺮ ﺯﺍﺩﮔﺎﻫﺶ ﻳﻌﻨﻰ ﻭﺍﻛﮕﺎﻥ ﺍﻳﻠﻴﻨﻮﻳﺰ ﺑﻪ ﺍﻭ ﺍﺧﺘﺼﺎﺹ ﻳﺎﻓﺖ‪ .‬ﺑﺮﺩﺑﺮﻯ‬

‫ﺩﺭ ﻣﺮﺍﺳﻢ ﺍﻓﺘﺘﺎﺡ ﻇﺎﻫﺮ ﺷﺪ ﻭ ﺭﻭﺑﺎﻥ ﺭﺍ ﺧﻮﺩﺵ ﻗﻴﭽﻰ ﻛﺮﺩ‪ .‬ﺍﻳﻦ ﭘﺎﺭﻙ ﺷﺎﻣﻞ ﻣﻨﺎﻃﻘﻰ ﺍﺳﺖ ﻛﻪ‬ ‫ﺩﺭ ﺭﻣﺎﻥ »ﺷﺮﺍﺏ ﻗﺎﺻﺪﻙ« ﺍﺯ ﺁﻥﻫﺎ ﻧﺎﻡ ﺑﺮﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

‫‪1992‬‬

‫ﺩﺭ ﺍﻳﻦ ﺳﺎﻝ ﺑﺮﺩﺑﺮﻯ ﺳﻜﺘﻪ ﻛﺮﺩ ﻭ ﺍﻳﻦ ﺭﺧﺪﺍﺩ ﺑﺎﻋﺚ ﺷﺪ ﺗﺎ ﺁﺧﺮ ﻋﻤﺮﺵ ﺗﺎ ﺣﺪﻯ‬

‫ﺑﻪ ﺻﻨﺪﻟﻰﭼﺮﺧﺪﺍﺭ ﻭﺍﺑﺴﺘﻪ ﺷﻮﺩ‪ ،‬ﺍﻣﺎ ﺍﻳﻦ ﻧﺎﺗﻮﺍﻧﻰ ﺑﻪ ﻫﻴﭻ ﻋﻨﻮﺍﻥ ﺭﻭﻯ ﻓﻌﺎﻟﻴﺖﻫﺎﻯ ﺍﺩﺑﻰ ﺍﻭ ﺗﺎﺛﻴﺮ‬ ‫ﻧﮕﺬﺍﺷﺖ‪ .‬ﺩﺭ ﻫﻤﻴﻦ ﺳﺎﻝ ﻳﻚ ﺳﻴﺎﺭﻙ ﺑﻪ ﺍﻓﺘﺨﺎﺭ ﺍﻭ »ﺑﺮﺩﺑﺮﻯ ‪ «9766‬ﻧﺎﻡﮔﺬﺍﺭﻯ ﺷﺪ‪.‬‬

‫‪1994‬‬ ‫‪ 2003‬ﻫﻤﺴﺮﺵ ﭘﺲ ﺍﺯ ‪ 65‬ﺳﺎﻝ ﺯﻧﺪﮔﻰ ﻣﺸﺘﺮﻙ ﺑﺎ ﺍﻭ ﺩﺭﮔﺬﺷﺖ‪ .‬ﺍﺯ ﺩﺍﻧﺸﮕﺎﻩ »ﻭﻭﺩﺑﺮﻯ«‬ ‫ﺟﺎﻳﺰﻩﻯ ﺍ ِﻣﻰ ﺭﺍ ﺑﺮﺍﻯ ﻓﻴﻠﻢﻧﺎﻣﻪﻯ »ﺩﺭﺧﺖ ﻫﺎﻟﻮﻭﻳﻦ« ﺑﺮﻧﺪﻩ ﺷﺪ‪.‬‬

‫ﺩﻛﺘﺮﺍﻯ ﺍﻓﺘﺨﺎﺭﻯ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩ‪ .‬ﺍﻭ ﻫﺮ ﺳﺎﻝ ﺩﺭ ﺍﻳﻦ ﺩﺍﻧﺸﮕﺎﻩ ﺟﺎﻳﺰﻩﻯ »ﺧﻼﻗﻴﺖ ﺑﺮﺩﺑﺮﻯ« ﺭﺍ ﺑﻪ‬ ‫ﻳﻚ ﻧﻔﺮ ﺍﻫﺪﺍ ﻣﻰﻛﺮﺩ‪.‬‬

‫‪2004‬‬ ‫‪ 2007‬ﺟﺎﻳﺰﻩﻯ ﻭﻳﮋﻩﻯ ﺳﺎﻟﻴﺎﻧﻪﻯ ﺁﺭﺗﻮﺭ ﺳﻰ‪.‬ﻛﻼﺭﻙ ﺭﺍ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩ‪ .‬ﺍﺯ ﺳﻮﻯ ﭘﻮﻟﻴﺘﺰﺭ ﻳﻚ‬ ‫ﻧﺸﺎﻥ ﻣﻠﻰ ﻫﻨﺮ ﺭﺍ ﺍﺯ ﺭﻳﻴﺲﺟﻤﻬﻮﺭ ﺟﺮﺝ ﺩﺑﻠﻴﻮ‪.‬ﺑﻮﺵ ﻭ ﻻﺭﺍ ﺑﻮﺵ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩ‪.‬‬

‫ﺗﻘﺪﻳﺮﻧﺎﻣﻪﻯ ﺭﺳﻤﻰ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩ‪ .‬ﺍﺯ ﺍﻭ ﺑﺎ ﻋﻨﻮﺍﻥ ﻧﻮﻳﺴﻨﺪﻩﺍﻯ ﭘﺮﻛﺎﺭ ﻭ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﺩﺭ ﺯﻣﻴﻨﻪﻯ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫‪60‬‬

‫ﻣﻘﺎﻟﻪ‬

‫ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺍﺯ ﺁﺭﺗﻮﺭ ﺳﻰ ﻛﻼﺭﻙ‪ ،‬ﺭﺍﺑﺮﺕ ﻫﺎﻳﻦﻻﻳﻦ‪ ،‬ﻧﻮﺷﺘﻪﻫﺎﻯ ﺍﻭﻟﻴﻪﻯ ﺍﺳﺘﻮﺭﺟﻦ‬ ‫ﻭ ﺍﻯ‪.‬ﺍﻯ‪ .‬ﻭﻥﻭﺕ ﺭﺍ ﺧﻮﺍﻧﺪﻩ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺍچ‪.‬ﺟﻰ‪ .‬ﻭﻟﺰ ﻭ ژﻭﻝ ﻭﺭﻥ ﺭﺍ ﺑﺰﺭگﺗﺮﻳﻦ ﺍﻟﻬﺎﻡﺑﺨﺶﻫﺎﻯ‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺧﻮﻳﺶ ﻧﺎﻣﻴﺪ‪.‬‬

‫‪1938‬‬

‫ﺩﺭﺳﺖ ﭘﺲ ﺍﺯ ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴﻠﻰ ﺍﺯ ﺩﺑﻴﺮﺳﺘﺎﻥ ﺑﺎ ﻫﺎﻳﻦﻻﻳﻦ ﻛﻪ ﺁﻥ ﻣﻮﻗﻊ ‪ 31‬ﺳﺎﻝ‬

‫ﺩﺍﺷﺖ‪ ،‬ﻣﻼﻗﺎﺕ ﻛﺮﺩ‪ .‬ﺑﺮﺩﺑﺮﻯ ﺩﺭﺑﺎﺭﻩﻯ ﺍﻳﻦ ﻣﻼﻗﺎﺕ ﺑﻌﺪﻫﺎ ﭼﻨﻴﻦ ﻧﻮﺷﺖ‪» :‬ﺍﻭ ﻣﺸﻬﻮﺭ ﺑﻮﺩ ﻭ‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺍﻧﺴﺎﻥﮔﺮﺍﻳﺎﻧﻪ ﻣﻰﻧﻮﺷﺖ‪ .‬ﺗﺎﺛﻴﺮﻯ ﻛﻪ ﺍﻭ ﺑﺮ ﻣﻦ ﮔﺬﺍﺷﺖ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ‬ ‫ﺷﻬﺎﻣﺖ ﺍﻧﺴﺎﻥ ﺑﻮﺩﻥ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻢ ﻭ ﻣﺎﺷﻴﻦ ﻧﺒﺎﺷﻢ‪ «.‬ﺩﺭ ﺍﻳﻦ ﺳﺎﻝ ﺍﻭﻟﻴﻦ ﺩﺍﺳﺘﺎﻥ ﺑﺮﺩﺑﺮﻯ ﺩﺭ‬ ‫ﺷﻤﺎﺭﻩﻯ ژﺍﻧﻮﻳﻪﻯ »ﻣﺠﻠﻪ ﻫﻮﺍﺩﺍﺭﻯ ﺗﺨﻴﻞ« ﻣﻨﺘﺸﺮ ﺷﺪ‪ .‬ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ »ﻣﻌﻤﺎﻯ ﻫﻮﻟﺮﺑﻮﺧﻦ« ]‪[1‬‬ ‫ﻧﺎﻡ ﺩﺍﺷﺖ‪.‬‬

‫‪1939‬‬

‫ﺩﺭ ﺍﻳﻦ ﺳﺎﻝ ﻓﺎﺭﺳﺖ ﺟﻰ‪ .‬ﺁﻛﺮﻣﻦ ]‪ [2‬ﺑﻪ ﺑﺮﺩﺑﺮﻯ ﻧﻮﺯﺩﻩ ﺳﺎﻟﻪ ﭘﻮﻝ ﺩﺍﺩ ﺗﺎ ﺑﻪ ﻧﻴﻮﻳﻮﺭﻙ‬

‫ﺑﺮﻭﺩ ﻭ ﺩﺭ ﺍﻭﻟﻴﻦ ﮔﺮﺩﻫﻤﺎﻳﻰ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺟﻬﺎﻥ ﺷﺮﻛﺖ ﻛﻨﺪ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺑﻪ ﺍﻭ ﻛﻤﻚ ﻣﺎﻟﻰ ﺑﺮﺍﻯ‬ ‫ﭼﺎپ ﻓﻨﺰﻳﻨﺶ ﻛﻪ »ﻓﻴﻮﭼﺮﻳﺎ ﻓﺎﻧﺘﺎﺯﻳﺎ« ]‪ [3‬ﻧﺎﻡ ﺩﺍﺷﺖ ﺩﺍﺩ‪ .‬ﺑﺮﺩﺑﺮﻯ ﺑﻴﺸﺘﺮ ﻫﺮ ﭼﻬﺎﺭ ﺷﻤﺎﺭﻩ ﺭﺍ‬ ‫ﺧﻮﺩﺵ ﻧﻮﺷﺖ ﻭ ﺍﺯ ﻫﺮ ﺷﻤﺎﺭﻩ ﺣﺪﻭﺩ ‪ 100‬ﻛﭙﻰ ﻣﻨﺘﺸﺮ ﺷﺪ‪.‬‬

‫‪1942‬‬

‫ﺍﻭﻟﻴﻦ ﺩﺍﺳﺘﺎﻧﺶ ﺑﺎ ﻧﺎﻡ »ﺩﺭﻳﺎﭼﻪ« ﺭﺍ ﺑﻪ ﻣﺒﻠﻎ ‪ 13‬ﺩﻻﺭ ﻓﺮﻭﺧﺖ‪ .‬ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﺍﻳﻦ ﺳﺎﻝ‪،‬‬

‫ﺍﻭ ﺩﻳﮕﺮ ﻳﻚ ﻧﻮﻳﺴﻨﺪﻩﻯ ﺗﻤﺎﻡ ﻭﻗﺖ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬

‫‪1947‬‬

‫ﺍﻭﻟﻴﻦ ﻣﺠﻤﻮﻋﻪﻯ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻫﺶ ﺑﻪ ﻧﺎﻡ »ﻛﺎﺭﻧﺎﻭﺍﻝ ﻇﻠﻤﺖ« ﺭﺍ ﺍﻧﺘﺸﺎﺭﺍﺕ ﻛﻮﭼﻜﻰ‬

‫ﺑﻪ ﻧﺎﻡ »ﺁﺭﻛﺎﻡ ﻫﺎﻭﺱ« ]‪ [4‬ﺩﺭ ﻭﻳﺴﻜﺎﻧﺴﻴﻦ ﻣﻨﺘﺸﺮ ﺳﺎﺧﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﺳﺎﻝ ﺍﻭ ﺑﺎ ﻣﺎﺭﮔﺮﺕ ﻣﻚﻛﻠﺮ‬ ‫]‪ [5‬ﺍﺯﺩﻭﺍﺝ ﻛﺮﺩ ﻭ ﺗﺎ ﺳﺎﻝ ‪ 2003‬ﻛﻪ ﻣﺎﺭﮔﺮﺕ ﺩﺭﮔﺬﺷﺖ‪ ،‬ﺑﺎ ﻫﻢ ﺯﻧﺪﮔﻰ ﻛﺮﺩﻧﺪ‪ .‬ﺑﺮﺩﺑﺮﻯ ﺧﻮﺩ‬ ‫ﮔﻔﺘﻪ ﺍﺳﺖ‪» :‬ﻣﮕﻰ ﺗﻨﻬﺎ ﺯﻧﻰ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺗﻤﺎﻡ ﺯﻧﺪﮔﻰﺍﺵ ﺑﺎ ﺍﻭ ﻗﺮﺍﺭ ﻋﺎﺷﻘﺎﻧﻪ ﮔﺬﺍﺷﺖ‪ «.‬ﺍﻭ ﻭ‬ ‫ﻫﻤﺴﺮﺵ ﺻﺎﺣﺐ ﭼﻬﺎﺭ ﺩﺧﺘﺮ ﺷﺪﻧﺪ‪.‬‬

‫‪1950‬‬

‫ﺍﻧﺘﺸﺎﺭ ﻛﺘﺎﺏ »ﺣﻜﺎﻳﺎﺕ ﻣﺮﻳﺦ« ﻛﻪ ﺍﺯ ﻣﻌﺮﻭﻑﺗﺮﻳﻦ ﻭ ﺗﺎﺛﻴﺮﮔﺬﺍﺭﺗﺮﻳﻦ ﺁﺛﺎﺭ ﺍﻭ ﺍﺳﺖ‪.‬‬

‫ﭘﻴﺶﺗﺮ ﺑﺮﺩﺑﺮﻯ ﺑﻪ ﺻﻮﺭﺕ ﺗﺼﺎﺩﻓﻰ ﺩﺭ ﻳﻚ ﻛﺘﺎﺏﻓﺮﻭﺷﻰ ﻟﺲﺁﻧﺠﻠﺲ ﺑﺎ ﻛﺮﻳﺴﺘﻮﻓﺮ ﺍﻳﺸﺮﻭﻭﺩ‪،‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩﻯ ﺗﺒﻌﻴﺪﻯ ﺍﻧﮕﻠﻴﺴﻰ ﻣﻼﻗﺎﺕ ﻛﺮﺩﻩ ﻭ ﻓﺮﺻﺖ ﻳﺎﻓﺘﻪ ﺑﻮﺩ ﺗﺎ ﻛﺘﺎﺑﺶ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﻳﻚ‬ ‫ﻣﻨﺘﻘﺪ ﻣﺤﺘﺮﻡ ﺑﺴﭙﺎﺭﺩ ﻭ ﻧﻈﺮ ﺍﻭ ﺭﺍ ﺑﭙﺮﺳﺪ‪.‬‬

‫‪1953‬‬

‫ﺩﻳﮕﺮ ﺍﺛﺮ ﻣﻄﺮﺡ ﺑﺮﺩﺑﺮﻯ ﻳﻌﻨﻰ »ﻓﺎﺭﻧﻬﺎﻳﺖ ‪ «451‬ﻣﻨﺘﺸﺮ ﺷﺪ‪ .‬ﺑﺮﺩﺑﺮﻯ ﺧﻮﺩ ﺍﻳﻦ‬ ‫‪59‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫‪1926‬‬

‫ﺍﻭﻟﻴﻦ ﺷﻤﺎﺭﻩﻯ »ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺷﮕﻔﺖﺍﻧﮕﻴﺰ« ﻣﻨﺘﺸﺮ ﺷﺪ ﻭ ﺭﻯ ﺑﺮﺩﺑﺮﻯ ﺟﺰء ﺍﻭﻟﻴﻦ‬

‫ﻣﺸﺘﺮﻙﻫﺎﻯ ﺁﻥ ﺑﻮﺩ‪.‬‬

‫‪1931‬‬

‫ﺑﺮﺩﺑﺮﻯ ﺩﺭ ﺳﻦ ﻳﺎﺯﺩﻩ ﺳﺎﻟﮕﻰ ﻧﮕﺎﺭﺵ ﺍﻭﻟﻴﻦ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺧﻮﻳﺶ‬

‫ﺭﺍ ﺁﻏﺎﺯ ﻛﺮﺩ‪ .‬ﻛﺸﻮﺭ ﺩﺭ ﺩﻭﺭﺍﻥ ﺭﻛﻮﺩ ﺍﻗﺘﺼﺎﺩﻯ ﺑﻪ ﺳﺮ ﻣﻰﺑﺮﺩ ﻭ ﺍﻭ ﮔﺎﻫﻰ ﺭﻭﻯ ﻛﺎﻏﺬ ﻗﺼﺎﺑﻰ‬ ‫ﻣﻰﻧﻮﺷﺖ‪ .‬ﺍﺯ ﺁﻥﺟﺎ ﻛﻪ ﺑﺴﻴﺎﺭ ﺑﻪ ﻣﺎﺟﺮﺍﻫﺎﻯ ﺟﺎﻥ ﻛﺎﺭﺗﺮ ﻋﻼﻗﻪﻣﻨﺪ ﺑﻮﺩ‪ ،‬ﻳﻜﻰ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻰ ﻛﻪ‬ ‫ﺩﺭ ﺍﻳﻦ ﺳﻦ ﻧﻮﺷﺖ‪ ،‬ﺩﻧﺒﺎﻟﻪﺍﻯ ﺑﺮ »ﻓﺮﻣﺎﻧﺮﻭﺍﻯ ﻣﺮﻳﺦ« ﺑﻮﺩ‪.‬‬

‫‪1932‬‬

‫ﺍﻭﻟﻴﻦ ﺷﺨﺼﻰ ﻛﻪ ﺑﺮ ﺑﺮﺩﺑﺮﻯ ﺟﻮﺍﻥ ﺗﺎﺛﻴﺮ ﮔﺬﺍﺷﺖ‪ ،‬ﺍﺩﮔﺎﺭ ﺁﻟﻦ ﭘﻮ ﺑﻮﺩ‪ .‬ﺍﻭ ﺩﺭ ﺳﻦ ‪12‬‬

‫ِ‬ ‫ﺳﺎﻟﮕﻰ ﺷﺮﻭﻉ ﺑﻪ ﻧﮕﺎﺭﺵ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ‬ ‫ﻭﺣﺸﺖ ﻛﻼﺳﻴﻚ ﻛﺮﺩ ﻭ ﺑﻪ ﮔﻔﺘﻪﻯ ﺧﻮﺩﺵ ﺗﺎ ﻫﺠﺪﻩ‬ ‫ﺳﺎﻟﮕﻰ ﺗﻼﺵ ﻣﻰﻛﺮﺩ ﺍﺯ ﭘﻮ ﺗﻘﻠﻴﺪ ﻛﻨﺪ‪ .‬ﺑﻌﺪﻫﺎ ﺑﻪ ﺍﺩﮔﺎﺭ ﺭﺍﻳﺲ ﺑﺎﺭﻭﺯ ﻭ ﻣﺎﺟﺮﺍﻫﺎﻯ ﺟﺎﻥ ﻛﺎﺭﺗﺮ ﻫﻢ‬ ‫ﻋﻼﻗﻪﻣﻨﺪ ﺷﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﺳﺎﻝ ﻳﻚ ﻛﺎﺭﻧﺎﻭﺍﻝ ﻭﺍﺭﺩ ﺷﻬﺮﺷﺎﻥ ﺷﺪ ﻭ ﺁﻗﺎﻯ ﺍﻟﻜﺘﺮﻳﻜﻮ ﺍﺯ ﺷﻌﺒﺪﻩﺑﺎﺯﻫﺎﻯ‬ ‫ﻛﺎﺭﻧﺎﻭﺍﻝ‪ ،‬ﺑﺎ ﻳﻚ ﺷﻤﺸﻴﺮ ﺍﻟﻜﺘﺮﻳﻜﻰ ﺑﻪ ﻧﻮﻙ ﺑﻴﻨﻰ ﺍﻭ ﺿﺮﺑﻪ ﺯﺩ ﻭ ﻣﻮﻫﺎﻳﺶ ﺳﻴﺦ ﺷﺪ‪ .‬ﺍﻭ ﻣﻰﮔﻮﻳﺪ‬ ‫ﻣﻼﻗﺎﺕ ﺑﺎ ﺁﻗﺎﻯ ﺍﻟﻜﺘﺮﻳﻜﻮ ﺍﺯ ﺁﻥ ﺍﺗﻔﺎﻗﺎﺕ ﺗﺎﺛﻴﺮﮔﺬﺍﺭﻯ ﺑﻮﺩ ﻛﻪ ﺁﻳﻨﺪﻩ ﺭﺍ ﺑﻪ ﺍﻭ ﺩﺍﺩ‪ .‬ﺍﻭ ﺍﺯ ﺁﻥ ﺯﻣﺎﻥ‬ ‫ﺷﺮﻭﻉ ﺑﻪ ﻧﻮﺷﺘﻦ ﻛﺮﺩ ﻭ ﺗﺎ ﺁﺧﺮ ﻋﻤﺮﺵ ﻫﺮ ﺭﻭﺯ ﻧﻮﺷﺖ‪.‬‬

‫‪1934‬‬

‫ﺩﺭ ﺍﻳﻦ ﺳﺎﻝ ﺧﺎﻧﻮﺍﺩﻩﻯ ﺑﺮﺩﺑﺮﻯ ﺩﺭ ﻟﺲﺁﻧﺠﻠﺲ ﺳﺎﻛﻦ ﺷﺪﻧﺪ ﻭ ﭘﺪﺭ ﺑﺮﺩﺑﺮﻯ ﺩﺭ ﻳﻚ‬

‫ﻛﺎﺭﺧﺎﻧﻪﻯ ﺳﺎﺧﺖ ﺳﻴﻢ ﺷﻐﻠﻰ ﭘﻴﺪﺍ ﻛﺮﺩ‪ .‬ﺧﺎﻧﻪﻯ ﺁﻥﻫﺎ ﺩﺭ ﻧﺰﺩﻳﻜﻰ ﺳﺎﻟﻦ ﻧﻤﺎﻳﺶ ﺑﺎﻻﻯ ﺷﻬﺮ‬ ‫ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﻭﺳﺘﺮﻥ ﺑﻮﺩ ﻛﻪ ﺳﺎﻟﻦ ﻧﻤﺎﻳﺶ ﺷﺮﻛﺖﻫﺎﻯ ‪ MGM‬ﻭ ‪ Fox‬ﺑﻮﺩ‪ .‬ﺑﺮﺩﺑﺮﻯ ﻛﻪ ﻋﺎﺷﻖ‬ ‫ﻫﺎﻟﻴﻮﻭﺩ ﺑﻮﺩ‪ ،‬ﺧﻴﻠﻰ ﺯﻭﺩ ﻳﺎﺩ ﮔﺮﻓﺖ ﭼﮕﻮﻧﻪ ﻫﺮ ﻫﻔﺘﻪ ﭘﻴﺶﻧﻤﺎﻳﺶ ﻓﻴﻠﻢﻫﺎ ﺭﺍ ﺗﻤﺎﺷﺎ ﻛﻨﺪ‪ .‬ﺍﻭ ﺩﺭ‬ ‫ﺁﻥ ﻣﺤﻞ ﺍﺳﻜﻴﺖ ﻣﻰﻛﺮﺩ ﻭ ﺑﻪ ﺩﻧﺒﺎﻝ ﺳﺘﺎﺭﻩﻫﺎﻯ ﺳﻴﻨﻤﺎ ﺑﻮﺩ ﺗﺎ ﻋﻜﺲ ﺍﻣﻀﺎ ﺷﺪﻩ ﺍﺯ ﺁﻥﻫﺎ ﺑﮕﻴﺮﺩ‪.‬‬ ‫ﺍﺯ ﺟﻤﻠﻪ ﺳﺘﺎﺭﻩﻫﺎﻳﻰ ﻛﻪ ﺑﺎ ﺁﻥﻫﺎ ﻣﻼﻗﺎﺕ ﻛﺮﺩ‪ ،‬ﻣﻰﺗﻮﺍﻥ ﺍﺯ »ﻧﻮﺭﻣﺎ ﺷﻴﺮﺭ«‪» ،‬ﻟﻮﺭﻝ ﻭ ﻫﺎﺭﺩﻯ« ﻭ‬ ‫»ﺭﻭﻧﺎﻟﺪ ﻛﻮﻟﻤﻦ« ﺭﺍ ﻧﺎﻡ ﺑﺮﺩ‪.‬‬ ‫‪ 1936‬ﺩﺭ ﻳﻚ ﻣﻐﺎﺯﻩﻯ ﻓﺮﻭﺵ ﻛﺘﺎﺏﻫﺎﻯ ﺩﺳﺖﺩﻭﻡ‪ ،‬ﻳﻚ ﺁﮔﻬﻰ ﺩﺭﺑﺎﺭﻩﻯ ﺍﻧﺠﻤﻦ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‬ ‫ﻟﺲﺁﻧﺠﻠﺲ ﺩﻳﺪ‪ .‬ﺍﺯ ﻣﻼﻗﺎﺕ ﺑﺎ ﺍﻓﺮﺍﺩﻯ ﻛﻪ ﻋﻼﻗﻪﻣﻨﺪﻯﻫﺎﻳﻰ ﭼﻮﻥ ﺧﻮﺩﺵ ﺩﺍﺷﺘﻨﺪ‪ ،‬ﻫﻴﺠﺎﻥ ﺯﺩﻩ‬ ‫ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺩﺭ ‪ 16‬ﺳﺎﻟﮕﻰ ﺑﻪ ﻣﺤﻔﻞ ﻫﻔﺘﮕﻰ ﻋﻼﻗﻪﻣﻨﺪﺍﻥ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﭘﻴﻮﺳﺖ ﻛﻪ ﻫﺮ ﺳﻪﺷﻨﺒﻪ‬ ‫ﺷﺐ ﺩﻭﺭ ﻫﻢ ﺟﻤﻊ ﻣﻰﺷﺪﻧﺪ‪.‬‬

‫‪1937‬‬

‫ﺩﺭ ﺍﻳﻦ ﺳﻦ ﺧﻮﺍﻧﺪﻥ »ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺧﺎﺭﻕﺍﻟﻌﺎﺩﻩ« ﺭﺍ ﺷﺮﻭﻉ ﻛﺮﺩ‪ .‬ﺍﻭ ﮔﻔﺘﻪ ﻛﻪ ﺗﻤﺎﻡ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫‪58‬‬

‫ﻣﻘﺎﻟﻪ‬

‫ﺳﺎﻟﺸﻤﺎﺭ ﺯﻧﺪﮔﻰ‬ ‫ﺭﻯ ﺑﺮﺩﺑــــﺮﻯ‬ ‫ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬

‫‪1920‬‬

‫ِﮕﺎﻥ ﺍﻳﺎﻟﺖ ﺍﻳﻠﻰﻧﻮﻯ‪.‬‬ ‫ﺗﻮﻟﺪ ﺩﺭ ﺷﻬﺮ ﻭﺍﻛ ِ‬

‫ﻭﺍﻛﮕﺎﻥ ﻫﻤﺎﻥ »ﺷﻬﺮ ﺳﺒﺰ« ﺩﺭ ﺁﺛﺎﺭ ﺑﺮﺩﺑﺮﻯ ﺍﺳﺖ‪ ،‬ﺷﻬﺮ ﺳﺒﺰ ﻧﻤﺎﺩ ﺍﻣﻨﻴﺖ ﻭ ﺧﺎﻧﻪ ﺍﺳﺖ‪ .‬ﺍﻳﻦ‬ ‫ﺷﻬﺮ ﺯﻣﻴﻨﻪﻯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ »ﺷﺮﺍﺏ ﻗﺎﺻﺪﻙ«‪» ،‬ﭼﻴﺰﻯ ﺷﻮﻡ ﺍﻳﻦ ﺳﻮ ﻣﻰﺁﻳﺪ« ﻭ »ﺑﺪﺭﻭﺩ‬ ‫ﺗﺎﺑﺴﺘﺎﻧﻰ« ﺍﺳﺖ‪ .‬ﺑﺮﺩﺑﺮﻯ ﺑﻪ ﻫﻤﺮﺍﻩ ﺧﺎﻧﻮﺍﺩﻩﺍﺵ ﺗﺎ ‪ 14‬ﺳﺎﻟﮕﻰ ﺩﺭ ﺍﻳﻦ ﺷﻬﺮ ﺯﻧﺪﮔﻰ ﻣﻰﻛﺮﺩ ﻭ‬ ‫ﺍﺯ ﺯﻣﺎﻧﻰ ﻛﻪ ﺧﻮﺍﻧﺪﻥ ﻭ ﻧﻮﺷﺘﻦ ﻳﺎﺩ ﮔﺮﻓﺖ‪ ،‬ﻭﻗﺖ ﺑﺴﻴﺎﺭﻯ ﺭﺍ ﺩﺭ ﻛﺘﺎﺑﺨﺎﻧﻪﻯ ﺷﻬﺮ ﺑﻪ ﺧﻮﺍﻧﺪﻥ‬ ‫ﺁﺛﺎﺭ ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻯ ﭼﻮﻥ »ﺍچ ﺟﻰ ﻭﻟﺰ«‪» ،‬ژﻭﻝ ﻭﺭﻥ« ﻭ »ﺍﺩﮔﺎﺭ ﺭﺍﻳﺲ ﺑﺎﺭﻭﺯ« ﮔﺬﺭﺍﻧﺪ‪.‬‬

‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺳﺎﻋﺖ ﺷﺶ ﻭ ﻧﻴﻢ ﺁﻥ ﺭﻭﺯ ﺻﺒﺢ‪ ،‬ﭘﻴﺪﺍﻳﺶ ﻛﺮﺩﻧﺪ‪ .‬ﺩﺭ ﺍﺗﺎﻕ ﺯﻳﺮ ﺷﻴﺮﻭﺍﻧﻰ‪.‬‬ ‫ﺗﻤﺎﻡ ﺧﺎﻧﻪ ﺷﺴﺘﻪ ﺷﺪﻩ ﻭ ﺑﺮﻕ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﮔﻠﺪﺍﻥﻫﺎ ﻣﺜﻞ ﺳﺘﺎﺭﻩﻫﺎﻳﻰ ﺷﻴﺸﻪﺍﻯ ﻣﻰﺩﺭﺧﺸﻴﺪﻧﺪ‪.‬‬ ‫ﺻﻨﺪﻟﻰﻫﺎ ﺟﻼ ﺩﺍﺷﺘﻨﺪ‪ .‬ﻇﺮﻭﻑ ﺑﺮﻧﺰﻯ‪ ،‬ﻇﺮﻭﻑ ﺑﺮﻧﺠﻰ‪ ،‬ﻇﺮﻭﻑ ﻣﺴﻰ ﺑﺮﻕ ﻣﻰﺯﺩﻧﺪ‪ .‬ﻛﻒ ﺍﺗﺎﻕ‬ ‫ﭼﺸﻤﻚ ﻣﻰﺯﺩ‪ .‬ﻧﺮﺩﻩﻫﺎ ﺍﺯ ﺧﻮﺩ ﻧﻮﺭ ﺳﺎﻃﻊ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﻣﻰﺩﺭﺧﺸﻴﺪ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﺑﺮﻕ‬ ‫ﻣﻰﺯﺩ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﺭﻭﺷﻦ ﻭ ﻧﻮﺭﺍﻧﻰ ﺑﻮﺩ‪...‬‬ ‫ﺩﺭ ﺍﺗﺎﻕ ﺯﻳﺮ ﺷﻴﺮﻭﺍﻧﻰ ﭘﻴﺪﺍﻳﺶ ﻛﺮﺩﻧﺪ‪ ،‬ﺩﺭ ﺣﺎﻝ ﺩﺳﺘﻤﺎﻝ ﻛﺸﻴﺪﻥ ﺑﻪ ﭼﻤﺪﺍﻥﻫﺎﻯ ﻛﻬﻨﻪ‪،‬‬ ‫ﺻﻨﺪﻟﻰﻫﺎﻯ ﻛﻬﻨﻪ‪ ،‬ﻛﺎﻟﺴﻜﻪﻫﺎ‪ ،‬ﺍﺳﺒﺎﺏﺑﺎﺯﻯﻫﺎ‪ ،‬ﺟﻌﺒﻪﻫﺎﻯ ﻣﻮﺳﻴﻘﻰ ﻛﻮﻛﻰ‪ ،‬ﮔﻠﺪﺍﻥﻫﺎ‪ ،‬ﻗﺎﺷﻖ ﻭ‬ ‫ﭼﻨﮕﺎﻝﻫﺎ‪ ،‬ﺍﺳﺐﻫﺎﻯ ﭼﻮﺑﻰ ﻭ ﺳﻜﻪﻫﺎﻯ ﺧﺎﻙﮔﺮﻓﺘﻪﻯ ﻋﻬﺪ ﺟﻨﮓﻫﺎﻯ ﺩﺍﺧﻠﻰ‪ .‬ﻧﺼﻒ ﺍﺗﺎﻕ ﺯﻳﺮ‬ ‫ﺷﻴﺮﻭﺍﻧﻰ ﺭﺍ ﺗﻤﺎﻡ ﻛﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﺍﻓﺴﺮ ﭘﻠﻴﺲ ﺑﺎ ﺍﺳﻠﺤﻪ ﭘﺸﺖ ﺳﺮﺵ ﺁﻣﺪ‪.‬‬ ‫ﻫﻨﮕﺎﻡ ﺧﺎﺭﺝ ﺷﺪﻥ ﺍﺯ ﺧﺎﻧﻪ‪ ،‬ﺁﻛﺘﻮﻥ ﺩﺳﺘﮕﻴﺮﻩﻯ ﺩﺭ ﻭﺭﻭﺩﻯ ﺭﺍ ﺑﺎ ﺩﺳﺘﻤﺎﻟﺶ ﺑﺮﻕ ﺍﻧﺪﺍﺧﺖ ﻭ‬ ‫ﭘﻴﺮﻭﺯﻣﻨﺪﺍﻧﻪ ﺩﺭ ﺭﺍ ﺑﻪ ﻫﻢ ﻛﻮﻓﺖ‪.‬‬

‫* ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺗﺮﺟﻤﻪﺍﻯ ﺍﺳﺖ ﺍﺯ ﺩﺍﺳﺘﺎﻥ‬ ‫»‪ «The Fruit at the Bottom of the Bowl‬ﺑﻪ ﻧﻘﻞ ﺍﺯ‬

‫ﺩﻭ ﻫﻔﺘﻪﻧﺎﻣﻪ ﻓﺮﻫﻨﮕﻰ ﻓﺮﻭﻍ )‪ ،(www.forough.net‬ﺳﺎﻝ‬ ‫ﭼﻬﺎﺭﻡ‪ ،1384 ،‬ﺷﻤﺎﺭﻩﻫﺎﻯ ‪ 91‬ﺗﺎ ‪.93‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﺍﺯ ﺷﻤﻌﺪﺍﻥ‪ ،‬ﺍﺯ ﮔﻮﺷﻪﻫﺎﻯ ﺍﺗﺎﻕ ﻭ ﺭﻭﻯ ﺯﻣﻴﻦ‪ ،‬ﻫﺰﺍﺭﺍﻥ ﺗﺎﺭ ﻛﻮﭼﻚ ﭘﻴﭽﺎﭘﻴﭻ‪ ،‬ﺑﺎ ﺟﻴﻎ ﺍﻭ ﺑﻪ ﻣﻮﺝ‬ ‫ﺩﺭ ﺁﻣﺪﻧﺪ‪ .‬ﻋﻨﻜﺒﻮﺕﻫﺎﻯ ﺭﻳﺰ ﻭ ﻛﻮﭼﻮﻟﻮﻳﻰ ﻛﻪ ﺑﻪ ﺷﻜﻠﻰ ﻃﻌﻨﻪﺁﻣﻴﺰ‪ ،‬ﺣﺘﺎ ﺍﺯ ﺍﻧﮕﺸﺘﺶ ﻛﻮﭼﻚﺗﺮ‬ ‫ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺗﻤﺎﺷﺎ ﻣﻰﻛﺮﺩ‪ ،‬ﺗﺎﺭﻫﺎ ﺭﻭﻯ ﻗﺎﺏ ﻋﻜﺲ‪ ،‬ﻇﺮﻑ ﻣﻴﻮﻩ‪ ،‬ﺟﺴﺪ ﻭ ﻛﻒ ﺍﺗﺎﻕ ﺗﻨﻴﺪﻩ‬ ‫ﻣﻰﺷﺪﻧﺪ‪ .‬ﺍﺛﺮ ﺍﻧﮕﺸﺖﻫﺎ ﭘﺎﻛﺖﺑﺎﺯﻛﻦ ﺭﺍ ﺑﺎﻻﻯ ﺳﺮ ﺑﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻛﺸﻮﻫﺎ ﺭﺍ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪﻩ ﺑﻮﺩﻧﺪ‪،‬‬ ‫ﺭﻭﻯ ﻣﻴﺰ ﺭﺍ ﺩﺳﺖ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺩﺳﺖ‪ ،‬ﺩﺳﺖ‪ ،‬ﺩﺳﺖ ﺯﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ‪ ،‬ﻫﻤﻪ ﺟﺎ ﺭﺍ‪.‬‬ ‫ﻛﻒ ﺍﺗﺎﻕ ﺭﺍ ﺑﺮﻕ ﻣﻰﺍﻧﺪﺍﺧﺖ‪ ،‬ﻭﺣﺸﻴﺎﻧﻪ‪ ،‬ﻭﺣﺸﻴﺎﻧﻪ‪ .‬ﺟﺴﺪ ﺭﺍ ﭼﺮﺧﺎﻧﺪ ﻭ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺯﺍﺭﻯﻛﻨﺎﻥ‪،‬‬ ‫ﭘﻴﺸﺎﻧﻰﺍﺵ ﺭﺍ ﺭﻭﻯ ﺁﻥ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ‪ ،‬ﺁﻥ ﺭﺍ ﺷﺴﺖ‪ .‬ﺑﻌﺪ ﺑﻠﻨﺪ ﺷﺪ‪ .‬ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ ﻭ ﻣﻴﻮﻩﻯ ﺗﻪ‬ ‫ﻇﺮﻑ ﺭﺍ ﭘﺎﻙ ﻛﺮﺩ‪ .‬ﺑﻌﺪ ﻳﻚ ﺻﻨﺪﻟﻰ ﺯﻳﺮ ﺗﺎﻗﭽﻪﻯ ﺷﻤﻌﺪﺍﻥ ﮔﺬﺍﺷﺖ‪ ،‬ﺭﻭﻳﺶ ﺭﻓﺖ ﻭ ﺩﺭ ﺣﺎﻟﻰ‬ ‫ﻛﻪ ﻣﺜﻞ ﻳﻚ ﺩﺍﻳﺮﻩ ﺯﻧﮕﻰ ﺑﻠﻮﺭﻳﻦ ﺗﻜﺎﻥ ﺗﻜﺎﻧﺶ ﻣﻰﺩﺍﺩ‪ ،‬ﺩﺍﻧﻪ ﺑﻪ ﺩﺍﻧﻪ‪ ،‬ﺷﻌﻠﻪﻫﺎﻯ ﻛﻮﭼﻚ ﻭ‬ ‫ﺁﻭﻳﺰﺍﻧﺶ ﺭﺍ ﺗﻤﻴﺰ ﻛﺮﺩ ﺗﺎ ﺍﻳﻦ ﻛﻪ ﻣﺜﻞ ﺯﺑﺎﻧﻪﻯ ﺯﻧﮕﻮﻟﻪ ﺩﺭ ﻫﻮﺍ ﻳﻚﺑﺮ ﺷﺪ‪ .‬ﺑﻌﺪ ﺍﺯ ﺻﻨﺪﻟﻰ ﭘﺎﻳﻴﻦ‬ ‫ﺁﻣﺪ ﻭ ﺩﺳﺘﮕﻴﺮﻩﻯ ﺩﺭﻫﺎ ﺭﺍ ﺩﺳﺖ ﻛﺸﻴﺪ‪ .‬ﺭﻭﻯ ﺑﻘﻴﻪﻯ ﺻﻨﺪﻟﻰﻫﺎ ﺭﻓﺖ ﻭ ﺩﻳﻮﺍﺭﻫﺎ ﺭﺍ ﺗﺎ ﺑﺎﻻ ﻭ‬ ‫ﺑﺎﻻﺗﺮ ﺷﺴﺖ ﻭ ﺩﻭﻳﺪ ﺩﺍﺧﻞ ﺁﺷﭙﺰﺧﺎﻧﻪ‪ ،‬ﺟﺎﺭﻭﻳﻰ ﭘﻴﺪﺍ ﻛﺮﺩ ﻭ ﺗﺎﺭ ﻋﻨﻜﺒﻮﺕﻫﺎ ﺭﺍ ﺍﺯ ﺳﻘﻒ ﭘﺎﻙ ﻛﺮﺩ‬ ‫ﻭ ﻣﻴﻮﻩﻯ ﺗﻪ ﻇﺮﻑ ﺭﺍ ﺗﻤﻴﺰ ﻛﺮﺩ ﻭ ﺟﺴﺪ ﻭ ﺩﺳﺘﮕﻴﺮﻩﻫﺎﻯ ﺩﺭ ﻭ ﻧﻘﺮﻩﺁﻻﺕ ﺭﺍ ﺷﺴﺖ ﻭ ﻧﺮﺩﻩﻫﺎﻯ‬ ‫ﺭﺍﻫﺮﻭ ﺭﺍ ﭘﻴﺪﺍ ﻛﺮﺩ ﻭ ﺁﻥ ﺭﺍ ﮔﺮﻓﺖ ﻭ ﺭﻓﺖ ﺗﺎ ﻃﺒﻘﻪﻯ ﺑﺎﻻ‪.‬‬ ‫ﺳﺎﻋﺖ ﺳﻪ! ﻫﻤﻪ ﺟﺎﻯ ﺧﺎﻧﻪ‪ ،‬ﺳﺎﻋﺖﻫﺎ ﺑﺎ ﻗﺪﺭﺗﻰ ﻣﺎﺷﻴﻨﻰ ﻭ ﻇﺎﻟﻤﺎﻧﻪ‪ ،‬ﺗﻴﻚ ﺗﺎﻙ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺩﻭﺍﺯﺩﻩ ﺍﺗﺎﻕ ﺩﺭ ﻃﺒﻘﻪﻯ ﭘﺎﻳﻴﻦ ﺑﻮﺩ ﻭ ﻫﺸﺖ ﺗﺎ ﺩﺭ ﻃﺒﻘﻪﻯ ﺑﺎﻻ‪ .‬ﻣﺘﺮ ﺑﻪ ﻣﺘﺮ‪ ،‬ﻓﻀﺎ ﻭ ﺯﻣﺎﻥ ﺭﺍ‬ ‫ﺣﺴﺎﺏ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺻﺪ ﺻﻨﺪﻟﻰ‪ ،‬ﺷﺶ ﻣﺒﻞ‪ ،‬ﺑﻴﺴﺖ ﻭ ﻫﻔﺖ ﻣﻴﺰ‪ ،‬ﺷﺶ ﺭﺍﺩﻳﻮ‪ .‬ﺯﻳﺮ ﻭ ﺭﻭ ﻭ ﭘﺸﺖ ﺳﺮ‪ .‬ﺍﺛﺎﺛﻴﻪ ﺭﺍ ﺍﺯ‬ ‫ﻛﻨﺞ ﺩﻳﻮﺍﺭﻫﺎ ﻛﻨﺎﺭ ﻣﻰﻛﺸﺎﻧﺪ ﻭ ﻫﻖﻫﻖﻛﻨﺎﻥ‪ ،‬ﺁﻥﻫﺎ ﺭﺍ ﺍﺯ ﮔﺮﺩ ﻭ ﻏﺒﺎﺭ ﭼﻨﺪﻳﻦ ﻭ ﭼﻨﺪ ﺳﺎﻟﻪ ﭘﺎﻙ‬ ‫ﻣﻰﻛﺮﺩ‪ .‬ﮔﻴﺞ ﮔﻴﺠﻰ ﻣﻰﺧﻮﺭﺩ ﻭ ﻧﺮﺩﻩﻫﺎ ﺭﺍ ﺗﺎ ﻃﺒﻘﻪﻯ ﺑﺎﻻ ﺩﻧﺒﺎﻝ ﻣﻰﻛﺮﺩ‪ ،‬ﺩﺳﺖ ﻣﻰﻛﺸﻴﺪ‪ ،‬ﭘﺎﻙ‬ ‫ﻣﻰﻛﺮﺩ‪ ،‬ﺩﺳﺘﻤﺎﻝ ﻣﻰﻣﺎﻟﻴﺪ‪ ،‬ﺑﺮﻕ ﻣﻰﺍﻧﺪﺍﺧﺖ‪ ،‬ﭼﻮﻥ ﺍﮔﺮ ﻳﻚ ﺍﺛﺮ ﺍﻧﮕﺸﺖ ﻛﻮﭼﻚ ﺟﺎ ﻣﻰﮔﺬﺍﺷﺖ‪،‬‬ ‫ﺗﻮﻟﻴﺪ ﻣﺜﻞ ﻣﻰﻛﺮﺩ ﻭ ﺗﺒﺪﻳﻞ ﻣﻰﺷﺪ ﺑﻪ ﻣﻴﻠﻴﻮﻥﻫﺎ ﺍﺛﺮ ﺍﻧﮕﺸﺖ! ﻭ ﻛﺎﺭ ﺑﺎﻳﺪ ﻳﻚ ﺑﺎﺭﻩ ﺩﻳﮕﺮ ﻫﻢ‬ ‫ﺍﻧﺠﺎﻡ ﻣﻰﮔﺮﻓﺖ ﻭ ﺣﺎﻻ ﺳﺎﻋﺖ ﭼﻬﺎﺭ ﺑﻮﺩ‪.‬‬ ‫ﻭ ﺑﺎﺯﻭﺍﻧﺎﺵ ﻛﻮﻓﺘﻪ ﺑﻮﺩﻧﺪ ﻭ ﭼﺸﻢﻫﺎﻳﺶ ﭘﻒ ﻛﺮﺩﻩ ﻭ ﺧﻴﺮﻩ ﻣﺎﻧﺪﻩ ﻭ ﺑﻪ ﻛﻨﺪﻯ ﺣﺮﻛﺖ ﻣﻰﻛﺮﺩ‪ .‬ﺑﺎ‬ ‫ﭘﺎﻫﺎﻳﻰ ﺑﻴﮕﺎﻧﻪ‪ ،‬ﺑﺎ ﺳﺮﻯ ﭘﺎﻳﻴﻦ ﺍﻓﺘﺎﺩﻩ ﻭ ﺩﺳﺘﺎﻧﻰ ﻛﻪ ﺣﺮﻛﺖ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﻛﻬﻨﻪ ﻣﻰﻛﺸﻴﺪﻧﺪ‪ ،‬ﺗﻤﻴﺰ‬ ‫ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﺍﺗﺎﻕ ﺧﻮﺍﺏ ﺑﻪ ﺍﺗﺎﻕ ﺧﻮﺍﺏ‪ ،‬ﭘﺴﺘﻮ ﺑﻪ ﭘﺴﺘﻮ‪.‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺗﺨﻢﻣﺮﻍ ﻧﺎﺯﻛﻪ‪ ،‬ﺑﺎﻭﺭﻧﻜﺮﺩﻧﻴﻪ! ﻣﺜﻞ ﺁﺗﺸﻔﺸﺎﻥ ﺑﺮﻕ ﻣﻰﺯﻧﻪ‪ .‬ﺑﮕﻴﺮﺵ‪ ،‬ﺑﮕﻴﺮ! ﺍﺷﻜﺎﻟﻰ ﻧﺪﺍﺭﻩ‪«.‬‬ ‫ﺑﻴﺎ‪ ،‬ﺑﮕﻴﺮﺵ! ﻭﺭﺵ ﺩﺍﺭ!‬ ‫ﺁﻛﺘﻮﻥ ﺑﻪ ﻫﻖﻫﻖ ﺍﻓﺘﺎﺩ‪ .‬ﻇﺮﻑ ﺳﻔﺎﻟﻰ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﺩﻳﻮﺍﺭ ﭘﺮﺕ ﻛﺮﺩ‪ .‬ﻇﺮﻑ ﺳﻔﺎﻟﻰ ﺑﻪ ﻭﺿﻌﻰ‬ ‫ﻭﺣﺸﻴﺎﻧﻪ ﺭﻭﻯ ﺯﻣﻴﻦ ﺧﺮﺩ ﻭ ﭘﻮﺳﺘﻪ ﭘﻮﺳﺘﻪ ﺷﺪ‪.‬‬ ‫ﻟﺤﻈﻪﺍﻯ ﺑﻌﺪ‪ ،‬ﺭﻭﻯ ﺯﺍﻧﻮﻫﺎﻳﺶ ﺑﻮﺩ‪ .‬ﺗﻜﻪ ﺑﻪ ﺗﻜﻪ‪ ،‬ﻗﻄﻌﻪ ﺑﻪ ﻗﻄﻌﻪﺍﺵ ﺑﺎﻳﺪ ﺟﻤﻊ ﻣﻰﺷﺪ‪ .‬ﺍﺣﻤﻖ‪،‬‬ ‫ﺍﺣﻤﻖ‪ ،‬ﺍﺣﻤﻖ! ﺑﻪ ﺧﻮﺩﺵ ﻓﺮﻳﺎﺩ ﻣﻰﺯﺩ ﻭ ﺳﺮﺵ ﺭﺍ ﺗﻜﺎﻥ ﻣﻰﺩﺍﺩ ﻭ ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ ﺑﺎﺯ ﻭ ﺑﺴﺘﻪ‬ ‫ﻣﻰﻛﺮﺩ ﻭ ﺳﺮﺵ ﺭﺍ ﭘﺎﻳﻴﻦ ﻧﮕﻪ ﻣﻰﺩﺍﺷﺖ‪ .‬ﻫﻤﻪﻯ ﺗﻜﻪﻫﺎ ﺭﺍ ﺟﻤﻊ ﻛﻦ‪ ،‬ﺍﺑﻠﻪ! ﻳﻚ ﻗﻄﻌﻪ ﺭﺍ ﻫﻢ‬ ‫ﻧﺒﺎﻳﺪ ﺟﺎ ﺑﮕﺬﺍﺭﻯ‪ .‬ﺍﺣﻤﻖ‪ ،‬ﺍﺣﻤﻖ!‬ ‫ﺟﻤﻊﺷﺎﻥ ﻛﺮﺩ‪.‬‬ ‫ﺁﻳﺎ ﻫﻤﻪﺍﺵ ﺟﻤﻊ ﺷﺪﻩ ﺑﻮﺩ؟ ﺭﻭﻯ ﻣﻴﺰ ﻧﮕﺎﻩﺷﺎﻥ ﻛﺮﺩ‪ .‬ﺯﻳﺮ ﻣﻴﺰ ﺭﺍ ﮔﺸﺖ‪ ،‬ﺯﻳﺮ ﺻﻨﺪﻟﻰ‪ ،‬ﺯﻳﺮ‬ ‫ﮔﻨﺠﻪﻯ ﻇﺮﻭﻑ ﻭ ﺩﺭ ﻧﻮﺭ ﻛﺒﺮﻳﺖ‪ ،‬ﻳﻚ ﻗﻄﻌﻪﻯ ﺩﻳﮕﺮ ﭘﻴﺪﺍ ﻛﺮﺩ ﻭ ﺷﺮﻭﻉ ﻛﺮﺩ ﺑﻪ ﺗﻤﻴﺰ ﻛﺮﺩﻥ ﺗﻜﻪ‬ ‫ﺑﻪ ﺗﻜﻪﺷﺎﻥ‪ ،‬ﺍﻧﮕﺎﺭ ﻛﻪ ﺳﻨﮓﻫﺎﻳﻰ ﮔﺮﺍﻥﻗﻴﻤﺖ ﺑﺎﺷﻨﺪ‪ .‬ﻫﻤﻪﺷﺎﻥ ﺭﺍ ﻣﺮﺗﺐ ﺭﻭﻯ ﻣﻴﺰ ﺑﺮﻕﺍﻓﺘﺎﺩﻩ‬ ‫ﭼﻴﺪ‪.‬‬ ‫»ﻳﻪ ﻇﺮﻑ ﺳﻔﺎﻟﻰ ﻋﺎﻟﻴﻪ‪ ،‬ﺁﻛﺘﻮﻥ! ﺑﻴﺎ ﺑﮕﻴﺮﺵ!« ﻛﻬﻨﻪ ﺭﺍ ﺩﺭ ﺁﻭﺭﺩ ﻭ ﺗﻤﻴﺰﺵ ﻛﺮﺩ ﻭ ﺻﻨﺪﻟﻰ‬ ‫ﻭ ﻣﻴﺰﻫﺎ ﺭﺍ ﭘﺎﻙ ﻛﺮﺩ‪ .‬ﻫﻤﻴﻦﻃﻮﺭ ﺩﺳﺘﮕﻴﺮﻩﻫﺎﻯ ﺩﺭﻫﺎ ﻭ ﭘﻨﺠﺮﻩﻫﺎ‪ ،‬ﺗﺎﻗﭽﻪﻫﺎ‪ ،‬ﭘﺮﺩﻩﻫﺎ ﻭ ﺯﻣﻴﻦ‬ ‫ﺭﺍ ﺩﺳﺘﻤﺎﻝ ﻛﺸﻴﺪ‪ .‬ﺁﺷﭙﺰﺧﺎﻧﻪ ﺭﺍ ﭘﻴﺪﺍ ﻛﺮﺩ‪ ،‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻧﻔﺲﻧﻔﺲ ﻣﻰﺯﺩ‪ .‬ﻭﺣﺸﻴﺎﻧﻪ ﻧﻔﺲ‬ ‫ﻣﻰﻛﺸﻴﺪ‪ .‬ﺟﻠﻴﻘﻪﺍﺵ ﺭﺍ ﺩﺭ ﺁﻭﺭﺩ‪ ،‬ﺩﺳﺘﻜﺶﻫﺎﻳﺶ ﺭﺍ ﺟﺎ ﺍﻧﺪﺍﺧﺖ ﻭ ﻇﺮﻭﻑ »ﻛﺮﻭﻡ« ﺑﺮﺍﻕ ﺭﺍ‬ ‫ﺩﺳﺘﻤﺎﻝ ﻛﺸﻴﺪ‪.‬‬ ‫ﻫﺎﻛﺴﻠﻰ ﻣﻰﮔﻔﺖ‪» :‬ﻣﻰﺧﻮﺍﻡ ﺧﻮﻧﻪﺍﻡ ﺭﻭ ﻧﺸﻮﻥﺍﺕ ﺑﺪﻡ ﺁﻛﺘﻮﻥ! ﻫﻤﺮﺍﻩﺍﻡ ﺑﻴﺎ‪ «...‬ﻭ ﺍﻭ ﺗﻤﺎﻡ ﻇﺮﻭﻑ‬ ‫ﺁﺷﭙﺰﺧﺎﻧﻪ ﺭﺍ ﻫﻤﺮﺍﻩ ﺷﻴﺮﻫﺎﻯ ﺁﺏ ﻧﻘﺮﻩﺍﻯ ﺭﻧﮓ ﻭ ﻛﺎﺳﻪﻫﺎﻯ ﻫﻢﺯﻧﻰ ﺩﺳﺘﻤﺎﻝ ﻣﻰﻛﺸﻴﺪ‪ ،‬ﭼﻮﻥ‬ ‫ﺣﺎﻻ ﺩﻳﮕﺮ ﻳﺎﺩﺵ ﻧﻤﻰﺁﻣﺪ ﭼﻪ ﭼﻴﺰﻯ ﺭﺍ ﺩﺳﺖ ﺯﺩﻩ ﻭ ﺑﻪ ﭼﻪ ﭼﻴﺰﻯ ﺩﺳﺖ ﻧﺰﺩﻩ ﺑﻮﺩ‪ .‬ﺍﻭ ﻭ‬ ‫ﻫﺎﻛﺴﻠﻰ‪ ،‬ﺍﻳﻦﺟﺎ ﺩﺍﺧﻞ ﺁﺷﭙﺰﺧﺎﻧﻪ ﺗﻮﻗﻒ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻫﺎﻛﺴﻠﻰ ﺍﺯ ﻣﻬﺎﺭﺗﺶ ﺩﺭ‬ ‫ﻣﺨﻔﻰ ﻛﺮﺩﻥ ﺧﺸﻢ ﺩﺭ ﺣﻀﻮﺭ ﻳﻚ ﻗﺎﺗﻞ ﺑﺎﻟﻘﻮﻩ ﻣﻐﺮﻭﺭ ﺑﻮﺩ ﻭ ﺍﺣﺘﻤﺎﻻً ﻣﻰﺧﻮﺍﺳﺖ ﺩﺭ ﺻﻮﺭﺕ ﻧﻴﺎﺯ‪،‬‬ ‫ﻧﺰﺩﻳﻚ ﭼﺎﻗﻮﻫﺎ ﺑﺎﺷﺪ‪ .‬ﺁﻥﻫﺎ ﻭﻗﺖ ﺗﻠﻒ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺑﻪ ﺍﻳﻦ ﭼﻴﺰ ﻭ ﺁﻥ ﭼﻴﺰ ﺩﺳﺖ ﺯﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻭ‬ ‫ﻳﻚ ﭼﻴﺰ ﺩﻳﮕﺮ؛ ﻳﺎﺩﺵ ﻧﻤﻰﺁﻣﺪ ﻛﻪ ﭼﻪ ﭼﻴﺰ ﻳﺎ ﭼﻨﺪ ﻋﺪﺩ ﻳﺎ ﭼﻪ ﻣﻘﺪﺍﺭ‪ .‬ﻭ ﺁﺷﭙﺰﺧﺎﻧﻪ ﺭﺍ ﺗﻤﺎﻡ ﻛﺮﺩ‬ ‫ﻭ ﺩﺍﺧﻞ ﺭﺍﻫﺮﻭﻳﻰ ﺷﺪ ﻛﻪ ﻫﺎﻛﺴﻠﻰ ﺩﺭ ﺁﻥﺟﺎ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺟﻴﻐﻰ ﺯﺩ‪.‬‬ ‫ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩﻩ ﺑﻮﺩ ﺩﻳﻮﺍﺭ ﭼﻬﺎﺭﻡ ﺍﺗﺎﻕ ﺭﺍ ﺑﺸﻮﻳﺪ‪ .‬ﻭ ﻭﻗﺘﻰ ﺁﻥﺟﺎ ﻧﺒﻮﺩ‪ ،‬ﻋﻨﻜﺒﻮﺕﻫﺎ ﺍﺯ ﺩﻳﻮﺍﺭ ﭼﻬﺎﺭﻡ‬ ‫ﺑﻴﺮﻭﻥ ﺁﻣﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺭﻭﻯ ﺩﻳﻮﺍﺭﻫﺎﻯ ﺗﻤﻴﺰ ﺟﻤﻊ ﺷﺪﻩ ﻭ ﺩﻭﺑﺎﺭﻩ ﻛﺜﻴﻔﺸﺎﻥ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺍﺯ ﺳﻘﻒ‪،‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﻳﻚ ﻟﻨﮕﻪﻯ ﺩﺳﺘﻜﺶ ﺭﺍ ﺩﺭﺁﻭﺭﺩ ﻭ ﺩﺳﺘﺶ ﺭﺍ ﺟﻠﻮﻯ ﻧﻮﺭ ﮔﺮﻓﺖ‪» .‬ﻧﮕﺎﻩﺍﺵ ﻛﻦ ﺍﺣﻤﻖ‪ ...‬ﻣﻰﺑﻴﻨﻰ‬ ‫ﺣﻠﻘﻪﻫﺎ ﭼﻪ ﺷﻜﻠﻴﻪ؟ ﻧﮕﺎﻩ ﻛﻦ!«‬ ‫»ﭼﻴﺰﻯ ﺭﻭ ﺛﺎﺑﺖ ﻧﻤﻰﻛﻨﻪ‪«.‬‬ ‫»ﺁﻩ‪ ،‬ﺧﻴﻠﻰ ﺧﻮﺏ!« ﺑﺎ ﺧﺸﻢ ﺷﺮﻭﻉ ﻛﺮﺩ ﺑﻪ ﺩﺳﺘﻤﺎﻝ ﻛﺸﻴﺪﻥ ﺩﻳﻮﺍﺭ‪ .‬ﺑﺎﻻ ﻭ ﭘﺎﻳﻴﻦ‪ ،‬ﺟﻠﻮ ﻭ ﻋﻘﺐ‪،‬‬ ‫ﺑﺎ ﺩﺳﺖﻫﺎﻯ ﺩﺍﺧﻞ ﺩﺳﺘﻜﺶ‪ .‬ﻭ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻋﺮﻕ ﻣﻰﻛﺮﺩ‪ ،‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻏﺮﻏﺮ ﻣﻰﻛﺮﺩ‪ ،‬ﻓﺤﺶ‬ ‫ﻣﻰﺩﺍﺩ‪ ،‬ﺩﻭﻻ ﻣﻰﺷﺪ‪ ،‬ﺭﺍﺳﺖ ﻣﻰﺷﺪ‪.‬‬ ‫ﻛﺘﺶ ﺭﺍ ﺩﺭ ﺁﻭﺭﺩ ﻭ ﺭﻭﻯ ﻳﻚ ﺻﻨﺪﻟﻰ ﻧﺸﺴﺖ‪.‬‬ ‫»ﺳﺎﻋﺖ ﺩﻭ!« ﺍﻳﻦ ﺭﺍ ﺑﻌﺪ ﺍﺯ ﺗﻤﺎﻡ ﺷﺪﻥ ﺩﻳﻮﺍﺭ ﻭ ﻧﮕﺎﻩ ﺑﻪ ﺳﺎﻋﺖ ﮔﻔﺖ‪.‬‬ ‫ﺳﺮﺍﻍ ﻇﺮﻑ ﻣﻴﻮﻩ ﺭﻓﺖ ﻭ ﻣﻴﻮﻩﻯ ﺷﻤﻌﻰ ﺭﺍ ﺑﻴﺮﻭﻥ ﺁﻭﺭﺩ ﻭ ﻣﻴﻮﻩﻫﺎﻯ ﺗﻪ ﻇﺮﻑ ﺭﺍ ﺑﺮﻕ ﺍﻧﺪﺍﺧﺖ‪،‬‬ ‫ﺳﺮ ﺟﺎﻳﺸﺎﻥ ﮔﺬﺍﺷﺖ ﻭ ﺑﻌﺪ ﻗﺎﺏ ﻋﻜﺲ ﺭﺍ ﺩﺳﺘﻤﺎﻝ ﻛﺸﻴﺪ‪ .‬ﺑﻌﺪ ﺑﺎﻻ ﺭﺍ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺑﻪ ﺷﻤﻌﺪﺍﻥ‬ ‫ﭼﻨﺪ ﺷﺎﺧﻪﺍﻯ‪...‬‬ ‫ﺍﻧﮕﺸﺘﺎﻧﺶ ﻳﻚﺩﻓﻌﻪ ﺟﻤﻊ ﺷﺪ‪ .‬ﺩﻫﺎﻧﺶ ﺑﺎﺯ ﺷﺪ‪ ،‬ﺯﺑﺎﻧﺶ ﺭﻭﻯ ﻟﺐﻫﺎ ﻛﺸﻴﺪﻩ ﺷﺪ‪ ،‬ﺑﻪ ﺷﻤﻌﺪﺍﻥ‬ ‫ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﺭﻭﻳﺶ ﺭﺍ ﺑﺮﮔﺮﺩﺍﻧﺪ‪ .‬ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺷﻤﻌﺪﺍﻥ ﻧﮕﺎﻩ ﻛﺮﺩ‪ ،‬ﺑﻪ ﺟﺴﺪ ﻫﺎﻛﺴﻠﻰ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﺑﻌﺪ‬ ‫ﺑﻪ ﺷﻤﻌﺪﺍﻥ ﺑﻠﻮﺭﻯ‪ ،‬ﺑﺎ ﺁﻥ ﻣﺮﻭﺍﺭﻳﺪﻫﺎﻯ ﺷﻴﺸﻪﺍﻯ ﻛﺸﻴﺪﻩ ﻭ ﺭﻧﮕﺎﺭﻧﮓﺍﺵ‪.‬‬ ‫ﻳﻚ ﺻﻨﺪﻟﻰ ﭘﻴﺪﺍ ﻛﺮﺩ ﻭ ﭘﺎﻳﻴﻦ ﺷﻤﻌﺪﺍﻥ ﮔﺬﺍﺷﺖ‪ .‬ﻳﻚ ﭘﺎ ﺭﺍ ﺭﻭﻯ ﺻﻨﺪﻟﻰ ﮔﺬﺍﺷﺖ ﻭ ﺷﻤﻌﺪﺍﻥ ﺭﺍ‬ ‫ﭘﺎﻳﻴﻦ ﺁﻭﺭﺩ ﻭ ﺻﻨﺪﻟﻰ ﺭﺍ ﺑﺎ ﺧﺸﻮﻧﺖ ﺑﻪ ﮔﻮﺷﻪﺍﻯ ﭘﺮﺕ ﻛﺮﺩ‪ .‬ﺑﻌﺪ ﺍﺯ ﺍﺗﺎﻕ ﺑﻴﺮﻭﻥ ﺩﻭﻳﺪ‪ ،‬ﺩﺭ ﺣﺎﻟﻰ‬ ‫ﻛﻪ ﻳﻚ ﺩﻳﻮﺍﺭ‪ ،‬ﻫﻨﻮﺯ ﻧﺸﺴﺘﻪ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺗﻮﻯ ﺍﺗﺎﻕ ﻏﺬﺍﺧﻮﺭﻯ‪...‬‬ ‫ﺗﻮﻯ ﺍﺗﺎﻕ ﻏﺬﺍﺧﻮﺭﻯ ﺳﺮﺍﻍ ﻳﻚ ﻣﻴﺰ ﺭﻓﺖ‪.‬‬ ‫ﻫﺎﻛﺴﻠﻰ ﮔﻔﺘﻪ ﺑﻮﺩ‪» :‬ﻣﻰﺧﻮﺍﻡ ﻛﺎﺭﺩ ﻭ ﭼﻨﮕﺎﻝ ﻋﻬﺪ ژﺭژ ﺧﻮﺩﻡ ﺭﻭ ﻧﺸﻮﻧﺖ ﺑﺪﻡ ﺁﻛﺘﻮﻥ!«‬ ‫»ﻭﻗﺖ ﻧﺪﺍﺭﻡ‪«.‬‬ ‫»ﭼﺮﺕ ﻧﮕﻮ‪ .‬ﺍﻳﻦ ﻧﻘﺮﻩ ﺭﻭ ﻧﮕﺎﻩ ﻛﻦ! ﺍﻳﻦ ﻫﻨﺮ ﺩﺳﺖ ﺍﺳﺘﺜﻨﺎﻳﻰ ﺭﻭ ﻧﮕﺎﻩ ﻛﻦ!«‬ ‫ﺁﻛﺘﻮﻥ ﺟﻠﻮﻯ ﻣﻴﺰ ﺗﻮﻗﻒ ﻛﺮﺩ‪ ،‬ﺟﺎﻳﻰ ﻛﻪ ﺟﻌﺒﻪﻫﺎﻯ ﻛﺎﺭﺩ ﻭ ﭼﻨﮕﺎﻝ ﻗﺮﺍﺭ ﺩﺍﺷﺘﻨﺪ‪ .‬ﺑﺎﺭ ﺩﻳﮕﺮ ﺻﺪﺍﻯ‬ ‫ﻫﺎﻛﺴﻠﻰ ﺭﺍ ﻣﻰﺷﻨﻴﺪ‪ ،‬ﺗﻤﺎﺱ ﺩﺳﺖﻫﺎ ﺭﺍ‪ ،‬ﺗﻤﺎﻡ ﻛﺎﺭﻫﺎ ﺭﺍ ﺑﻪ ﺧﺎﻃﺮ ﻣﻰﺁﻭﺭﺩ‪.‬‬ ‫ﺣﺎﻻ ﺁﻛﺘﻮﻥ ﻗﺎﺷﻖ ﻭ ﭼﻨﮕﺎﻝﻫﺎ ﺭﺍ ﭘﺎﻙ ﻛﺮﺩ‪ ،‬ﺗﻤﺎﻡ ﺑﺸﻘﺎﺏﻫﺎ ﺭﺍ ﺍﺯ ﻗﻔﺴﻪ ﺑﻴﺮﻭﻥ ﺁﻭﺭﺩ‪...‬‬ ‫»ﺍﻳﻦ ﻫﻢ ﻳﻪ ﻛﺎﺭ ﺳﻔﺎﻟﻰ ﻋﺎﻟﻴﻪ‪ ،‬ﺍﺛﺮ ﮔﺮﺗﺮﻭﺩ ﻭ ﺍﺗﻮ ﻧﺎﺗﺰﻟﺮ‪ .‬ﺁﻛﺘﻮﻥ‪ ،‬ﺑﺎ ﻛﺎﺭﺷﻮﻥ ﺁﺷﻨﺎﻳﻰ ﺩﺍﺭﻯ؟«‬ ‫»ﻭﺍﻗﻌﺎً ﻗﺸﻨﮕﻪ!«‬ ‫»ﻭﺭﺵ ﺩﺍﺭ ﺑﭽﺮﺧﻮﻧﺶ‪ .‬ﻇﺮﺍﻓﺖ ﻇﺮﻑ ﺭﻭ ﺑﺒﻴﻦ‪ .‬ﺭﻭﻯ ﭼﺮﺥ ﺩﺳﺘﻰ ﺩﺭﺳﺘﺶ ﻛﺮﺩﻥ‪ .‬ﻣﺜﻞ ﭘﻮﺳﺖ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺍﺯ ﮔﻮﺷﻪﻯ ﭼﺸﻤﺎﻧﺶ ﺗﺎﺭﻫﺎﻯ ﻧﺎﺯﻙ ﺭﺍ ﺩﻳﺪ‪ .‬ﻭﻗﺘﻰ ﭘﺸﺘﺶ ﺑﻪ ﻋﻨﻜﺒﻮﺕﻫﺎ ﺑﻮﺩ‪ ،‬ﺍﺯ ﻗﺴﻤﺖﻫﺎﻯ‬ ‫ﭼﻮﺑﻰ ﺩﻳﻮﺍﺭ ﺑﻴﺮﻭﻥ ﺁﻣﺪﻩ‪ ،‬ﺗﺎﺭﻫﺎﻯ ﻇﺮﻳﻒ ﻭ ﻧﻴﻤﻪﻣﺮﺋﻰﺷﺎﻥ ﺭﺍ ﺗﻨﻴﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻟﺒﺘﻪ ﻧﻪ ﺭﻭﻯ ﺩﻳﻮﺍﺭ‬ ‫ﺳﻤﺖ ﭼﭙﺶ‪ ،‬ﭼﻮﻥ ﺁﻥ ﺩﻳﻮﺍﺭ ﻛﺎﻣ ً‬ ‫ﻼ ﺷﺴﺘﻪ ﻭ ﺗﻤﻴﺰ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﻠﻜﻪ ﺭﻭﻯ ﺳﻪ ﺩﻳﻮﺍﺭﻯ ﻛﻪ ﺗﺎ‬ ‫ﺁﻥ ﻭﻗﺖ ﺩﺳﺖ ﻧﺨﻮﺭﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻫﺮ ﺑﺎﺭ ﻛﻪ ﻣﺴﺘﻘﻴﻢ ﺑﻬﺸﺎﻥ ﺯﻝ ﻣﻰﺯﺩ‪ ،‬ﺩﺍﺧﻞ ﻗﺴﻤﺖ ﭼﻮﺑﻰ‬ ‫ﺑﺮﻣﻰﮔﺸﺘﻨﺪ ﺗﺎ ﺗﻨﻬﺎ ﻭﻗﺘﻰ ﺍﻭ ﻋﻘﺐﻧﺸﻴﻨﻰ ﻣﻰﻛﺮﺩ‪ ،‬ﺑﺮﮔﺮﺩﻧﺪ‪ .‬ﻣﺼﺮﺍﻧﻪ ﻧﻴﻤﭽﻪ ﻓﺮﻳﺎﺩﻯ ﺳﺮ ﺩﺍﺩ ﻛﻪ‬ ‫»ﺍﻳﻦ ﺩﻳﻮﺍﺭﻫﺎ ﺧﻮﺑﻦ! ﻣﻦ ﺑﻬﺸﻮﻥ ﺩﺳﺖ ﻧﻤﻰﺯﻧﻢ‪«.‬‬ ‫ﺳﺮﺍﻍ ﻣﻴﺰ ﺗﺤﺮﻳﺮﻯ ﺭﻓﺖ ﻛﻪ ﻫﺎﻛﺴﻠﻰ ﻗﺒﻼ ﭘﺸﺘﺶ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ .‬ﻛﺸﻮﻳﻰ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩ ﻭ ﭼﻴﺰﻯ ﺭﺍ‬ ‫ﻛﻪ ﺩﻧﺒﺎﻟﺶ ﻣﻰﮔﺸﺖ‪ ،‬ﺑﻴﺮﻭﻥ ﺁﻭﺭﺩ‪ .‬ﻳﻚ ﺫﺭﻩﺑﻴﻦ ﻛﻮﭼﻚ ﻛﻪ ﻫﺎﻛﺴﻠﻰ ﮔﺎﻫﻰ ﺑﺮﺍﻯ ﺧﻮﺍﻧﺪﻥ ﺍﺯ‬ ‫ﺁﻥ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﺮﺩ‪ .‬ﺫﺭﻩﺑﻴﻦ ﺭﺍ ﮔﺮﻓﺖ ﻭ ﺑﺎ ﻧﺎﺭﺍﺣﺘﻰ ﺑﻪ ﺩﻳﻮﺍﺭ ﻧﺰﺩﻳﻚ ﺷﺪ‪.‬‬ ‫ﺁﺛﺎﺭ ﺍﻧﮕﺸﺖ!‬ ‫»ﻭﻟﻰ ﺍﻳﻨﺎ ﻛﻪ ﻣﺎﻝ ﻣﻦ ﻧﻴﺲ!« ﺧﻨﺪﻩﺍﺵ ﻣﻰﮔﺮﻓﺖ‪» :‬ﻣﻦ ﺍﻳﻦﺟﺎ ﻧﺬﺍﺷﺘﻢﺷﻮﻥ! ﻣﻄﻤﺌﻦﺍﻡ‪ .‬ﺷﺎﻳﺪ‬ ‫ﻛﻠﻔﺘﻰ‪ ،‬ﻧﻮﻛﺮﻯ‪ ،‬ﺳﺮﺍﻳﺪﺍﺭﻯ‪ ،‬ﻛﺴﻰ ﮔﺬﺍﺷﺘﻪ ﺑﺎﺷﻪ‪«.‬‬ ‫ﺩﻳﻮﺍﺭ ﭘﻮﺷﻴﺪﻩ ﺍﺯ ﺁﺛﺎﺭ ﺍﻧﮕﺸﺖ ﺑﻮﺩ‪ .‬ﺑﻪ ﺧﻮﺩﺵ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﺭﻭ ﻧﮕﺎﻩ ﻛﻦ! ﺩﺭﺍﺯ ﻭ ﻗﻠﻤﻰ‪ .‬ﺯﻧﻮﻧﻪﺱ‪.‬‬ ‫ﺷﺮﻁ ﻣﻰﺑﻨﺪﻡ‪«.‬‬ ‫»ﺟﺪﻯ؟«‬ ‫»ﻭﺍﻗﻌﺎً ﻣﻰﺑﻨﺪﻡ‪«.‬‬ ‫»ﻣﻄﻤﺌﻨﻰ؟«‬ ‫»ﺑﻠﻪ!«‬ ‫»ﺻﺪ ﺩﺭ ﺻﺪ؟«‬ ‫»ﺧﻮﺏ‪ ،‬ﺁﺭﻩ!«‬ ‫»ﺣﺘﻤﺎً؟«‬ ‫»ﺁﺭﻩ ﻟﻌﻨﺘﻰ‪ ،‬ﺁﺭﻩ!«‬ ‫»ﺍﻣﺎ ﭘﺎﻛﺶ ﻛﻦ!«‬ ‫»ﺧﺪﺍﻳﺎ‪ ...‬ﺑﻴﺎ! ﺧﻮﺑﻪ؟«‬ ‫»ﻟﻜﻪﻯ ﻟﻌﻨﺘﻰ ﺭﻭ ﭘﺎﻙ ﻛﺮﺩﻯ‪ ،‬ﻫﺎ ﺁﻛﺘﻮﻥ؟«‬ ‫ﺁﻛﺘﻮﻥ ﺑﻪ ﺷﻮﺧﻰ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﻳﻜﻰ ﺭﻭ ﻧﮕﺎﻩ ﻛﻦ! ﺍﻳﻦ ﻣﺎﻝ ﻳﻪ ﻣﺮﺩ ﭼﺎﻗﻪ‪«.‬‬ ‫»ﻣﻄﻤﺌﻨﻰ؟«‬ ‫»ﺧﻴﻠﻰ ﺧﺐ‪ ،‬ﺧﻴﻠﻰ ﺧﺐ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﺷﺮﻭﻉ ﻧﻜﻦ!«‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺍﺯ ﮔﻮﺷﻪﻯ ﭼﺸﻢﻫﺎﻳﺶ ﭼﻴﺰﻯ ﺭﻭﻯ ﺩﻳﻮﺍﺭ ﺩﻳﺪ‪.‬‬ ‫»ﻣﺤﻞ ﺳﮓ ﻧﻤﻰﺫﺍﺭﻡ‪ «.‬ﺍﻳﻦ ﺭﺍ ﮔﻔﺖ ﺗﺎ ﺣﻮﺍﺱ ﺧﻮﺩﺵ ﺭﺍ ﺍﺯ ﻣﻮﺿﻮﻉ ﻣﻨﺤﺮﻑ ﻛﻨﺪ‪.‬‬ ‫»ﺣﺎﻻ ﻣﻰﺭﻳﻢ ﺳﺮﺍﻍ ﺍﺗﺎﻕ ﺑﻌﺪﻯ‪ .‬ﺍﺻﻮﻟﻰ ﻛﺎﺭ ﻣﻰﻛﻨﻢ‪ .‬ﺧﻮﺏ‪ ،‬ﺑﺒﻴﻦ‪ ،‬ﺭﻭﻯ ﻫﻢ ﺭﻓﺘﻪ ﺗﻮﻯ ﺭﺍﻫﺮﻭ‬ ‫ﺑﻮﺩﻳﻢ ﻭ ﺗﻮﻯ ﻛﺘﺎﺑﺨﻮﻧﻪ ﻭ ﺍﻳﻦ ﺍﺗﺎﻕ ﻭ ﺍﺗﺎﻕ ﻏﺬﺍﺧﻮﺭﻯ ﻭ ﺁﺷﭙﺰﺧﻮﻧﻪ‪«.‬‬ ‫ﭘﺸﺖ ﺳﺮﺵ ﺭﻭﻯ ﺩﻳﻮﺍﺭ ﻳﻚ ﻟﻜﻪ ﺑﻮﺩ‪.‬‬ ‫ﻣﮕﺮ ﻧﺒﻮﺩ؟‬ ‫ﺑﺎ ﻋﺼﺒﺎﻧﻴﺖ ﺑﺮﮔﺸﺖ‪» :‬ﺧﻴﻠﻰ ﺧﻮﺏ‪ ،‬ﺧﻴﻠﻰ ﺧﻮﺏ! ﻓﻘﻂ ﺑﺮﺍﻯ ﺍﻃﻤﻴﻨﺎﻥ!«‬ ‫ﺳﺮﺍﻍ ﺩﻳﻮﺍﺭ ﺭﻓﺖ ﻭ ﻧﺘﻮﺍﻧﺴﺖ ﻟﻜﻪ ﺭﺍ ﭘﻴﺪﺍ ﻛﻨﺪ‪ .‬ﺍُﻩ! ﻳﻚ ﻟﻜﻪﻯ ﻛﻮﭼﻚ‪ .‬ﺑﻠﻪ‪ ،‬ﻫﻢ ﺍﻳﻦﺟﺎ! ﭘﺎﻛﺶ‬ ‫ِ‬ ‫ﺩﺳﺖ ﺩﺳﺘﻜﺶﭘﻮﺵﻳﺪﻩﺍﺵ ﺑﻪ ﺩﻳﻮﺍﺭ ﺗﻜﻴﻪ ﺯﺩ‪ .‬ﺑﻪ ﺩﻳﻮﺍﺭ ﻧﮕﺎﻩ‬ ‫ﻛﺮﺩ‪ .‬ﺑﻪ ﻫﺮ ﺣﺎﻝ ﺍﺛﺮ ﺍﻧﮕﺸﺖ ﻧﺒﻮﺩ‪.‬‬ ‫ﻛﺮﺩ ﻛﻪ ﭼﻄﻮﺭ ﺑﻪ ﺭﺍﺳﺖ ﻭ ﭼﭗ ﻭ ﺗﺎ ﺑﺎﻻﻯ ﺳﺮ ﻭ ﺗﺎ ﭘﺎﻳﻴﻦ ﭘﺎﻳﺶ ﺍﻣﺘﺪﺍﺩ ﺩﺍﺷﺖ ﻭ ﺑﻪ ﻧﺮﻣﻰ ﮔﻔﺖ‪:‬‬ ‫»ﻧﻪ!« ﺑﺎﻻ ﻭ ﭘﺎﻳﻴﻦ ﻭ ﻃﻮﻝ ﻭ ﻋﺮﺽ ﺩﻳﻮﺍﺭ ﺭﺍ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﺁﻫﺴﺘﻪ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﺧﻴﻠﻴﻪ!« ﭼﻨﺪ ﻣﺘﺮ‬ ‫ﻣﺮﺑﻊ ﻣﻰﺷﺪ؟ »ﺑﻪ ﺩﺭﻙ!«‬ ‫ﺩﻭﺭ ﺍﺯ ﺩﻳﺪ ﭼﺸﻢﻫﺎﻯ ﺍﻭ‪ ،‬ﺍﻧﮕﺸﺘﺎﻥ ﺩﺍﺧﻞ ﺩﺳﺘﻜﺶﺍﺵ ﺑﺎ ﺿﺮﺏﺁﻫﻨﮕﻰ ﺧﺎﺹ‪ ،‬ﺭﻭﻯ ﺩﻳﻮﺍﺭ ﻣﺎﻟﻴﺪﻩ‬ ‫ﻣﻰﺷﺪﻧﺪ‪.‬‬ ‫ﺑﻪ ﺩﺳﺘﺶ ﺧﻴﺮﻩ ﺷﺪ ﻭ ﺑﻪ ﻛﺎﻏﺬ ﺩﻳﻮﺍﺭﻯ‪ .‬ﺍﺯ ﺑﺎﻻﻯ ﺷﺎﻧﻪ ﺑﻪ ﺍﺗﺎﻕ ﺩﻳﮕﺮ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﺑﻪ ﺧﻮﺩﺵ‬ ‫ﮔﻔﺖ‪» :‬ﺑﺎﻳﺪ ﺑﺮﻡ ﺍﻭﻥﺟﺎ ﻭ ﭼﻴﺰﻫﺎﻯ ﻣﻬﻤﺘﺮ ﺭﻭ ﭘﺎﻙ ﻛﻨﻢ‪ «.‬ﺍﻣﺎ ﺩﺳﺖﻫﺎﻳﺶ ﻫﻤﺎﻥﺟﺎ ﻣﺎﻧﺪ‪ .‬ﺍﻧﮕﺎﺭ‬ ‫ﻛﻪ ﺩﻳﻮﺍﺭ ﺭﺍ ﻳﺎ ﺧﻮﺩ ﺍﻭ ﺭﺍ ﻧﮕﻪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺻﻮﺭﺗﺶ ﺟﺪﻯ ﺷﺪ‪.‬‬ ‫ﺑﺪﻭﻥ ﻫﻴﭻ ﺣﺮﻓﻰ ﺷﺮﻭﻉ ﻛﺮﺩ ﺑﻪ ﺩﺳﺘﻤﺎﻝ ﻛﺸﻴﺪﻥ ﺩﻳﻮﺍﺭ‪ .‬ﺑﺎﻻ ﻭ ﭘﺎﻳﻴﻦ‪ ،‬ﻋﻘﺐ ﻭ ﺟﻠﻮ‪ ،‬ﺑﺎﻻ ﻭ‬ ‫ﭘﺎﻳﻴﻦ‪ ،‬ﺗﺎ ﺁﻥﺟﺎ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺴﺖ ﻗﺪﺵ ﺭﺍ ﺑﻜﺸﺪ ﻭ ﺗﺎ ﺁﻥﺟﺎ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺧﻢ ﺷﻮﺩ‪ .‬ﺑﻠﻨﺪ ﺷﺪ ﻭ‬ ‫ﺩﺳﺖﻫﺎ ﺭﺍ ﺑﻪ ﻛﻤﺮ ﺯﺩ‪.‬‬ ‫»ﻣﺴﺨﺮﻩﺱ‪ ،‬ﺧﺪﺍﻳﺎ! ﻣﺴﺨﺮﻩﺱ!«‬ ‫ﺍﻣﺎ ﻓﻜﺮﺵ ﺑﻪ ﺍﻭ ﻣﻰﮔﻔﺖ‪» :‬ﺑﺎﻳﺪ ﻣﻄﻤﺌﻦ ﺑﺸﻰ!«‬ ‫ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﺁﺭﻩ‪ ،‬ﺑﺎﻳﺪ ﻣﻄﻤﺌﻦ ﺷﺪ‪ ،‬ﺑﺎﻳﺪ ﻣﻄﻤﺌﻦ ﺷﺪ‪«.‬‬ ‫ﺁﻥﻭﻗﺖ ﺩﻭﺑﺎﺭﻩ ﻣﺸﻐﻮﻝ ﺩﺳﺘﻤﺎﻝ ﻛﺸﻴﺪﻥ ﻭ ﭘﺎﻙ ﻛﺮﺩﻥ ﺷﺪ‪ .‬ﻳﻚ ﺩﻳﻮﺍﺭ ﺭﺍ ﺗﻤﺎﻡ ﻛﺮﺩ ﻭ ﺑﻌﺪ‪...‬‬ ‫ﺳﺮﺍﻍ ﻳﻚ ﺩﻳﻮﺍﺭ ﺩﻳﮕﺮ ﺭﻓﺖ‪ .‬ﻓﻜﺮ ﻛﺮﺩ‪» :‬ﺍﻻﻥ ﺳﺎﻋﺖ ﭼﻨﺪﻩ؟«‬ ‫ﺑﻪ ﺳﺎﻋﺖ ﺭﻭﻯ ﺗﺎﻗﭽﻪ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﻳﻚ ﺳﺎﻋﺖ ﮔﺬﺷﺘﻪ ﺑﻮﺩ‪ .‬ﭘﻨﺞ ﺩﻗﻴﻘﻪ ﺍﺯ ﻳﻚ ﮔﺬﺷﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺑﻪ ﺩﻳﻮﺍﺭ ﺟﺪﻳﺪ ﻭ ﺩﺳﺖﻧﺨﻮﺭﺩﻩﺍﺵ ﻧﮕﺎﻩ ﻛﺮﺩ‪» .‬ﺍﺣﻤﻘﺎﻧﻪﺱ! ﻟﻚ ﻧﺪﺍﺭﻩ‪ .‬ﺩﺳﺖ ﺑﻬﺶ ﻧﻤﻰﺯﻧﻢ‪«.‬‬ ‫ﺭﻭﻳﺶ ﺭﺍ ﺑﺮﮔﺮﺩﺍﻧﺪ‪.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﻫﺎﻛﺴﻠﻰ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﺻﻨﺪﻟﻰ ﻛﻪ ﺷﻤﺎ ﺭﻭﺵ ﻧﺸﺴﺘﻰ‪ ،‬ﺁﻛﺘﻮﻥ! ﻳﻪ ﻣﺒﻞ ﻋﺘﻴﻘﻪﺍﺱ‪ ،‬ﻣﺎﻝ ﺯﻣﺎﻥ‬ ‫ﻟﻮﻳﻰ ﭼﻬﺎﺭﺩﻫﻢ‪ .‬ﺟﻨﺲ ﭘﺎﺭﭼﻪ ﺭﻭ ﺍﺣﺴﺎﺱ ﻣﻰﻛﻨﻰ؟«‬ ‫»ﻣﻦ ﻧﻴﻮﻣﺪﻡ ﺍﻳﻦﺟﺎ ﺍﺯ ﻣﺒﻞ ﻭ ﺻﻨﺪﻟﻰ ﺣﺮﻑ ﺑﺰﻧﻢ‪ ،‬ﻫﺎﻛﺴﻠﻰ! ﻭﺍﺳﻪ “ﻟﻴﻠﻰ” ﺍﻭﻣﺪﻡ‪«.‬‬ ‫»ﻟﻰﻟﻰ‪ ،‬ﻫﻮﻡ؟ ﺑﻰﺧﻴﺎﻟﺶ ﺷﻮ ﺑﺎﺑﺎ! ﺗﻮ ﺍﻳﻦﻗﺪﺭﻫﺎﻡ ﺩﺭ ﻣﻮﺭﺩﺵ ﺟﺪﻯ ﻧﻴﺴﺘﻰ‪ .‬ﻣﻰﺩﻭﻧﻰ‪ ،‬ﺩﻭﺳﺖﺍﺕ‬ ‫ﻧﺪﺍﺭﻩ‪ .‬ﺑﻪ ﻣﻦ ﮔﻔﺘﻪ ﻣﺎﻩ ﺩﻳﮕﻪ ﻫﻤﺮﺍﻩﺍﻡ ﻣﻰﺁﺩ ﻣﻜﺰﻳﻜﻮﺳﻴﺘﻰ‪«.‬‬ ‫»ﺗﻮ ﻭ ﺍﻭﻥ ﭘﻮﻟﺖ ﻭ ﻣﺒﻠﻤﺎﻥ ﻟﻌﻨﺘﻰﺍﺕ!«‬ ‫»ﻣﺒﻠﻤﺎﻥ ﺧﻮﺑﻴﻪ ﺁﻛﺘﻮﻥ! ﻣﻬﻤﺎﻥ ﺧﻮﺑﻰ ﺑﺎﺵ ﻭ ﺍﺯﺵ ﻟﺬﺕ ﺑﺒﺮ‪«.‬‬ ‫ﺍﺛﺮ ﺍﻧﮕﺸﺖ ﺣﺘﻤﺎ ﺭﻭﻯ ﭘﺎﺭﭼﻪﻫﺎ ﻫﻢ ﺑﻮﺩ‪.‬‬ ‫»ﻫﺎﻛﺴﻠﻰ!« ﻭﻳﻠﻴﺎﻡ ﺁﻛﺘﻮﻥ ﺑﻪ ﺟﺴﺪ ﺯﻝ ﺯﺩ‪» .‬ﺗﻮ ﻣﻰﺩﻭﻧﺴﺘﻰ ﻣﻰﺧﻮﺍﻡ ﺑﻜﺸﻤﺖ؟ ﻳﻌﻨﻰ ﺿﻤﻴﺮ‬ ‫ﻧﺎﺧﻮﺩﺁﮔﺎﻩﺍﺕ ﻣﻰﺩﻭﻧﺴﺖ؟ ﻣﺜﻞ ﺿﻤﻴﺮ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﻣﻦ ﻛﻪ ﻣﻰﺩﻭﻧﺴﺖ؟ ﺍﻳﻦ ﻧﺎﺧﻮﺩﺁﮔﺎﻩﺍﺕ ﻧﺒﻮﺩ‬ ‫ﻛﻪ ﻣﺠﺒﻮﺭﻡ ﻛﺮﺩ ﺗﻮﻯ ﺧﻮﻧﻪﺍﺕ ﺑﭽﺮﺧﻢ‪ ،‬ﻛﺘﺎﺏﻫﺎ ﺭﻭ‪ ،‬ﻇﺮﻑﻫﺎ ﺭﻭ‪ ،‬ﺩﺭﻫﺎ ﺭﻭ‪ ،‬ﺻﻨﺪﻟﻰﻫﺎ ﺭﻭ ﺩﺳﺖ‬ ‫ﺑﺮﻧﻢ‪ ،‬ﺍﻳﻦ ﻭﺭ ﻭ ﺍﻭﻥ ﻭﺭ ﻛﻨﻢ ﻭ ﻧﺎﺯﺷﻮﻥ ﻛﻨﻢ؟ ﻳﻌﻨﻰ ﺗﻮ ﺍﻳﻦﻗﺪﺭ ﺁﺏ ﺯﻳﺮ ﻛﺎﻩ ﻭ ﭘﺴﺖ ﺑﻮﺩﻯ؟«‬ ‫ﺻﻨﺪﻟﻰﻫﺎ ﺭﺍ ﺑﺎ ﭘﺎﺭﭼﻪﻯ ﭼﻼﻧﺪﻩ ﺷﺪﻩ ﺗﻤﻴﺰ ﻛﺮﺩ‪ .‬ﺑﻌﺪ ﺑﻪ ﻳﺎﺩ ﺟﺴﺪ ﺍﻓﺘﺎﺩ‪ .‬ﺍﻳﻦ ﻳﻜﻰ ﺭﺍ ﺑﺎ ﭘﺎﺭﭼﻪ‬ ‫ﺧﺸﻚ ﻧﻜﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺳﺮﺍﻏﺶ ﺭﻓﺖ‪ ،‬ﺍﻳﻦ ﻃﺮﻑ ﻭ ﺁﻥ ﻃﺮﻓﺶ ﻛﺮﺩ ﻭ ﺧﻼﺻﻪ ﻫﻤﻪﺟﺎﻳﺶ ﺭﺍ ﻛﺎﻣ ً‬ ‫ﻼ‬ ‫ﺗﻤﻴﺰ ﻛﺮﺩ‪ .‬ﺣﺘﺎ ﻛﻔﺶﻫﺎ ﺭﺍ ﺑﺮﻕ ﺍﻧﺪﺍﺧﺖ‪.‬‬ ‫ﻭﻗﺘﻰ ﻛﻔﺶﻫﺎ ﺭﺍ ﺑﺮﻕ ﻣﻰﺍﻧﺪﺍﺧﺖ‪ ،‬ﺻﻮﺭﺕﺍﺵ ﺑﺎ ﻧﮕﺮﺍﻧﻰ ﻟﺮﺯﻳﺪ‪ .‬ﻟﺤﻈﻪﺍﻯ ﺑﻌﺪ ﺑﻠﻨﺪ ﺷﺪ ﻭ ﺧﻮﺩﺵ‬ ‫ﺭﺍ ﺑﻪ ﻣﻴﺰ ﺭﺳﺎﻧﺪ‪ .‬ﻣﻴﻮﻩﻯ ﺗﻪ ﻇﺮﻑ ﺭﺍ ﺩﺭ ﺁﻭﺭﺩ ﻭ ﺩﺳﺘﻤﺎﻝ ﻛﺸﻴﺪ‪ .‬ﺯﻳﺮ ﺯﺑﺎﻧﻰ ﮔﻔﺖ‪» :‬ﺑﻬﺘﺮ ﺷﺪ!«‬ ‫ﻭ ﺩﻭﺑﺎﺭﻩ ﺳﺮﺍﻍ ﺟﺴﺪ ﺭﻓﺖ‪.‬‬ ‫ﺍﻣﺎ ﻫﻤﻴﻦ ﻛﻪ ﺭﻭﻯ ﺟﺴﺪ ﺧﻢ ﺷﺪ‪ ،‬ﭘﻠﻚﻫﺎﻳﺶ ﺑﺴﺘﻪ ﺷﺪ‪ ،‬ﺁﺭﻭﺍﺭﻩﻫﺎﻳﺶ ﺑﻪ ﺍﻳﻦ ﺳﻤﺖ ﻭ ﺁﻥ ﺳﻤﺖ‬ ‫ﺣﺮﻛﺖ ﻛﺮﺩ‪ .‬ﺑﺎ ﺧﻮﺩﺵ ﻓﻜﺮ ﻛﺮﺩ‪ .‬ﺑﻌﺪ ﺑﻠﻨﺪ ﺷﺪ‪ ،‬ﺑﺮﮔﺸﺖ ﻭ ﻳﻚ ﺑﺎﺭ ﺩﻳﮕﺮ ﺳﺮﺍﻍ ﻣﻴﺰ ﺭﻓﺖ‪ .‬ﻗﺎﺏ‬ ‫ﻋﻜﺲ ﺭﺍ ﺗﻤﻴﺰ ﻛﺮﺩ‪ .‬ﺩﺭ ﺣﻴﻦ ﺗﻤﻴﺰ ﻛﺮﺩﻥ‪ ،‬ﻣﺘﻮﺟﻪ ﭼﻴﺰﻯ ﺷﺪ‪.‬‬ ‫ﺩﻳﻮﺍﺭ!‬ ‫ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﺩﻳﮕﻪ ﺍﺣﻤﻘﺎﻧﻪﺱ!«‬ ‫ﻫﺎﻛﺴﻠﻰ ﻓﺮﻳﺎﺩ ﺯﺩﻩ ﺑﻮﺩ‪» :‬ﻳﺎ‪ «...‬ﻭ ﺳﻌﻰ ﻛﺮﺩﻩ ﺑﻮﺩ ﺍﻭ ﺭﺍ ﻛﻨﺎﺭ ﺑﺰﻧﺪ‪ .‬ﺩﺭ ﺣﻴﻦ ﺗﻘﻼ ﺑﻪ ﺁﻛﺘﻮﻥ ﺗﻨﻪﺍﻯ‬ ‫ﺯﺩﻩ ﺑﻮﺩ‪ .‬ﺁﻛﺘﻮﻥ ﺑﻪ ﺩﻳﻮﺍﺭﻯ ﺧﻮﺭﺩﻩ ﺑﻮﺩ‪ ،‬ﺑﻌﺪ ﺑﻪ ﺩﻳﻮﺍﺭ ﺩﺳﺖ ﺯﺩﻩ ﻭ ﺑﻠﻨﺪ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺩﻭﺑﺎﺭﻩ ﺑﻪ‬ ‫ﺳﻤﺖ ﻫﺎﻛﺴﻠﻰ ﺩﻭﻳﺪﻩ ﺑﻮﺩ‪ .‬ﺑﻌﺪ ﻫﺎﻛﺴﻠﻰ ﺭﺍ ﺧﻔﻪ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻫﺎﻛﺴﻠﻰ ﻣﺮﺩﻩ ﺑﻮﺩ‪...‬‬ ‫ﺁﻛﺘﻮﻥ ﺍﺳﺘﻮﺍﺭ ﻭ ﻣﺼﻤﻢ ﻛﻨﺎﺭ ﺁﻣﺪ‪ .‬ﻓﺤﺶﻫﺎ ﻭ ﺻﺤﻨﻪﻯ ﺟﻨﺎﻳﺖ ﺍﺯ ﺫﻫﻨﺶ ﻣﺤﻮ ﺷﺪ‪ .‬ﺑﻪ ﭼﻬﺎﺭ‬ ‫ﺩﻳﻮﺍﺭ ﺩﻭﺭﺵ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﮔﻔﺖ‪» :‬ﻣﺴﺨﺮﻩ!«‬

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‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻓﻘﻂ ﻳﻚ ﺍﺛﺮ ﺍﻧﮕﺸﺖ ﺑﻪﺟﺎ ﻣﻰﻣﺎﻧﺪ‪ ،‬ﻫﻤﻴﻦﻃﻮﺭ ﻣﻰﺷﺪ‪ .‬ﺍﺛﺒﺎﺕ ﻗﺘﻞ ﺑﻪ ﺿﻤﻴﻤﻪ ﻛﺮﺩﻥ ﻣﻬﺮ ﻫﻢ‬ ‫ﺍﺣﺘﻴﺎﺝ ﻧﺪﺍﺷﺖ‪.‬‬ ‫»ﺑﻘﻴﻪﻯ ﻛﺸﻮﻫﺎ‪ .‬ﺳﺎﻛﺖ ﺑﺎﺵ‪ ،‬ﺣﻮﺍﺳﺖ ﺭﻭ ﺟﻤﻊ ﻛﻦ‪ .‬ﺩﻗﺖ ﻛﻦ!« ﺑﻪ ﺧﻮﺩﺵ ﻣﻰﮔﻔﺖ‪.‬‬ ‫ﻛﻒ ﻫﺸﺘﺎﺩ ﻭ ﭘﻨﺠﻤﻴﻦ ﻛﺸﻮ‪ ،‬ﻋﺎﻗﺒﺖ ﺩﺳﺘﻜﺶ ﭘﻴﺪﺍ ﻛﺮﺩ‪.‬‬ ‫»ﺍﻭﻩ‪ ،‬ﺧﺪﺍﻳﺎ‪ ،‬ﺧﺪﺍﻳﺎ!« ﭘﺎﻳﻴﻦ ﺟﺎﻟﺒﺎﺳﻰ ﻭﻟﻮ ﺷﺪ ﻭ ﺁﻫﻰ ﻛﺸﻴﺪ‪ .‬ﺩﺳﺘﻜﺶ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﻛﺮﺩ‪ ،‬ﺑﺎﻻ‬ ‫ﻛﺸﻴﺪ‪ ،‬ﻣﻐﺮﻭﺭﺍﻧﻪ ﺩﻛﻤﻪﻫﺎﻳﺶ ﺭﺍ ﺑﺴﺖ‪ .‬ﻧﺮﻡ‪ ،‬ﺟﺎ ﺍﻓﺘﺎﺩﻩ‪ ،‬ﺿﺨﻴﻢ ﻭ ﺷﻜﺴﺖﻧﺎﭘﺬﻳﺮ ﺑﻮﺩﻧﺪ‪ .‬ﺣﺎﻻ‬ ‫ﻣﻰﺗﻮﺍﻧﺴﺖ ﺑﺎ ﺩﺳﺖﻫﺎﻳﺶ ﻫﺮ ﻛﻠﻜﻰ ﺳﻮﺍﺭ ﻛﻨﺪ ﻭ ﻫﻴﭻ ﺭﺩﻯ ﺑﻪ ﺟﺎ ﻧﮕﺬﺍﺭﺩ‪ .‬ﺟﻠﻮﻯ ﺁﻳﻨﻪﻯ ﺍﺗﺎﻕ‬ ‫ﺧﻮﺍﺏ‪ ،‬ﺑﻪ ﻧﻮﻙ ﺩﻣﺎﻏﺶ ﺍﻧﮕﺸﺖ ﺯﺩ‪ .‬ﺩﻧﺪﺍﻥﻫﺎ ﺭﺍ ﻣﻚ ﺯﺩ‪.‬‬ ‫ﻫﺎﻛﺴﻠﻰ ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﻧﻪ!«‬ ‫ﻋﺠﺐ ﻧﻘﺸﻪﻯ ﻛﺜﻴﻔﻰ ﺑﻮﺩ!‬ ‫ﻫﺎﻛﺴﻠﻰ ﻣﺨﺼﻮﺻﺎ ﺧﻮﺩﺵ ﺭﺍ ﺭﻭﻯ ﺯﻣﻴﻦ ﺍﻧﺪﺍﺧﺘﻪ ﺑﻮﺩ! ﭼﻪ ﻣﺮﺩ ﺷﺮﻳﺮ ﻭ ﺟﻠﺒﻰ ﺑﻮﺩ! ﺟﻨﺎﺏ‬ ‫ﻫﺎﻛﺴﻠﻰ ﺭﻭﻯ ﻛﻒ ﭼﻮﺑﻰ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﻭﻳﻠﻴﺎﻡ ﺁﻛﺘﻮﻥ ﺑﻪ ﺩﻧﺒﺎﻝ ﺍﻭ‪ .‬ﻫﻤﺎﻥﻃﻮﺭ ﻏﻠﺘﻴﺪﻩ ﻭ ﺟﻨﮕﻴﺪﻩ‬ ‫ﻭ ﻛﻒ ﺍﺗﺎﻕ ﺭﺍ ﭘﻨﺠﻮﻝ ﻛﺸﻴﺪﻩ ﺑﻮﺩﻧﺪ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺍﻧﮕﺸﺖﻫﺎﻯ ﺟﻨﻮﻥﺁﻣﻴﺰﺷﺎﻥ ﺭﺍ ﻣﺮﺗﺐ ﺭﻭﻯ‬ ‫ﺁﻥ ﻣﻰﻛﺸﻴﺪﻧﺪ‪ .‬ﻫﺎﻛﺴﻠﻰ ﺗﻮﺍﻧﺴﺘﻪ ﺑﻮﺩ ﭼﻨﺪ ﻣﺘﺮ ﻓﺮﺍﺭ ﻛﻨﺪ ﻭ ﺁﻛﺘﻮﻥ ﺗﻮﺍﻧﺴﺘﻪ ﺑﻮﺩ ﺩﺳﺖﻫﺎ ﺭﺍ‬ ‫ﺭﻭﻯ ﮔﺮﺩﻧﺶ ﺑﮕﺬﺍﺭﺩ ﻭ ﺁﻥﻗﺪﺭ ﻓﺸﺎﺭ ﺑﺪﻫﺪ ﺗﺎ ﺣﻴﺎﺕ‪ ،‬ﻣﺜﻞ ﺧﻤﻴﺮ ﺩﻧﺪﺍﻥ‪ ،‬ﺍﺯ ﺑﺪﻧﺶ ﺧﺎﺭﺝ ﺷﻮﺩ!‬ ‫ﻭﻳﻠﻴﺎﻡ ﺁﻛﺘﻮﻥ ﺩﺳﺘﻜﺶﭘﻮﺵﻳﺪﻩ ﺑﻪ ﺍﺗﺎﻕ ﺑﺮﮔﺸﺖ‪ ،‬ﺭﻭﻯ ﺯﻣﻴﻦ ﺯﺍﻧﻮ ﺯﺩ ﻭ ﺑﺎ ﺟﺎﻥ ﻛﻨﺪﻥ ﺷﺮﻭﻉ‬ ‫ﻛﺮﺩ ﺑﻪ ﻛﺎﺭ ﭘﺮﻣﺸﻘﺖ ﭘﺎﻙ ﻛﺮﺩﻥ ﺳﺎﻧﺘﻰﻣﺘﺮ ﺑﻪ ﺳﺎﻧﺘﻰﻣﺘﺮ ﺍﺗﺎﻕ‪ .‬ﺳﺎﻧﺘﻰﻣﺘﺮ ﺑﻪ ﺳﺎﻧﺘﻰﻣﺘﺮ ﺑﺮﻕ‬ ‫ﺍﻧﺪﺍﺧﺖ ﻭ ﺑﺮﻕ ﺍﻧﺪﺍﺧﺖ‪ ،‬ﺗﺎ ﺍﻳﻦ ﻛﻪ ﺻﻮﺭﺕ ﻣﺼﻤﻢ ﻭ ﻋﺮﻕﻛﺮﺩﻩﺍﺵ ﺭﺍ ﺭﻭﻯ ﺯﻣﻴﻦ ﺩﻳﺪ‪ .‬ﺑﻌﺪ ﺳﺮﺍﻍ‬ ‫ﻳﻚ ﻣﻴﺰ ﺭﻓﺖ ﻭ ﻫﻤﺎﻥﻃﻮﺭ ﺗﺎ ﺑﻪ ﺑﺪﻧﻪﻯ ﺯﻣﺨﺖ ﻭ ﺯﻭﺍﺭﻫﺎﻯ ﺭﻭﻯ ﻣﻴﺰ ﺭﺳﻴﺪ‪ ،‬ﺑﻌﺪ ﻇﺮﻭﻑ ﻧﻘﺮﻩﺍﻯ‬ ‫ﺭﺍ ﺩﺳﺘﻤﺎﻝ ﻛﺸﻴﺪ ﻭ ﻣﻴﻮﻩﻫﺎﻯ ﺷﻤﻌﻰ ﺭﺍ ﺑﺮﺩﺍﺷﺖ ﻭ ﺑﺮﻕﺷﺎﻥ ﺍﻧﺪﺍﺧﺖ‪ ،‬ﺍﻣﺎ ﺁﺧﺮﻳﻦ ﻣﻴﻮﻩﻯ ﺗﻪ‬ ‫ﻇﺮﻑ ﺭﺍ ﺗﻤﻴﺰ ﻧﻜﺮﺩ‪.‬‬ ‫»ﺍﺻﻼ ﺑﻪ ﺍﻳﻦ ﺩﺳﺖ ﻧﺰﺩﻩ ﺑﻮﺩﻡ‪«.‬‬ ‫ﻛﺸﻴﺪﻥ ﻣﻴﺰ‪ ،‬ﺳﺮﺍﻍ ﻗﺎﺏ ﻋﻜﺲ ﺭﻭﻯ ﻣﻴﺰ ﺭﻓﺖ‪.‬‬ ‫ﺑﻌﺪ ﺍﺯ ﺩﺳﺘﻤﺎﻝ‬ ‫ِ‬ ‫»ﻣﻄﻤﺌﻦﺍﻡ ﺑﻪ ﺍﻳﻦ ﺩﺳﺖ ﻧﺰﺩﻡ‪ «.‬ﻗﺎﺏ ﻋﻜﺲ ﺭﺍ ﻧﮕﺎﻩ ﻛﺮﺩ‪.‬‬ ‫ﺩﺭﻫﺎﻯ ﺍﺗﺎﻕ ﺭﺍ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺍﻣﺸﺐ ﺍﺯ ﻛﺪﺍﻡ ﺩﺭﻫﺎ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻩ ﺑﻮﺩ؟ ﺑﻪ ﻳﺎﺩ ﻧﻤﻰﺁﻭﺭﺩ‪» .‬ﭘﺲ‬ ‫ﻫﻤﻪﺷﻮﻧﻮ ﺗﻤﻴﺰ ﻛﻦ!« ﺍﺯ ﺩﺳﺖﮔﻴﺮﻩﻫﺎ ﺷﺮﻭﻉ ﻛﺮﺩ‪ .‬ﻫﻤﻪﺷﺎﻥ ﺭﺍ ﻧﻮﺭﺍﻧﻰ ﻛﺮﺩ‪ .‬ﺑﻌﺪ ﺩﺭﻫﺎ ﺭﺍ ﺍﺯ ﺑﺎﻻ‬ ‫ﺗﺎ ﭘﺎﻳﻴﻦ ﻗﺸﻮ ﻛﺮﺩ ﺗﺎ ﺟﺎﻯ ﺷﻜﻰ ﺑﺎﻗﻰ ﻧﻤﺎﻧﺪ‪ .‬ﺑﻌﺪ ﺳﺮﺍﻍ ﻣﺒﻠﻤﺎﻥ ﺩﺍﺧﻞ ﺍﺗﺎﻕ ﺭﻓﺖ‪ ،‬ﺩﺳﺘﻪﻯ‬ ‫ﺻﻨﺪﻟﻰﻫﺎ ﺭﺍ ﻫﻢ ﭘﺎﻙ ﻛﺮﺩ‪.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﺩﺳﺖﻫﺎﻳﺶ ﻓﺸﺮﺩ‪ ،‬ﻣﭽﺎﻟﻪ ﻛﺮﺩ‪ .‬ﻟﺐﻫﺎ ﺭﺍ ﺑﻪ ﺩﻧﺪﺍﻥ ﮔﺰﻳﺪ ﻭ ﻭﻝ ﻛﺮﺩ‪.‬‬ ‫ﺍﺛﺮ ﺍﻧﮕﺸﺘﺶ ﻫﻤﻪﺟﺎ ﺑﻮﺩ!‬ ‫»ﻣﻰﺷﻪ ﺑﻮﺭﮔﺎﻧﺪﻯ ﺭﻭ ﺑﮕﻴﺮﻯ ﺁﻛﺘﻮﻥ؟ ﻫﻮﻡ؟ ﺑﻄﺮﻯ ﺑﻮﺭﮔﺎﻧﺪﻯ ﺭﻭ‪ ،‬ﻫﻮﻡ؟ ﺑﺎ ﺍﻧﮕﺸﺘﺎﺕ‪ ،‬ﻫﻮﻡ؟ ﻣﻦ‬ ‫ﺧﻴﻠﻰ ﺧﺴﺘﻪﻣﻪ‪ ،‬ﻣﻰﻓﻬﻤﻰ؟«‬ ‫ﻳﻚ ﺟﻔﺖ ﺩﺳﺘﻜﺶ! ﻗﺒﻞ ﺍﺯ ﻫﺮ ﻛﺎﺭﻯ‪ ،‬ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻗﺴﻤﺖ ﺩﻳﮕﺮﻯ ﺭﺍ ﺩﺳﺘﻤﺎﻝ ﺑﻜﺸﺪ‪ ،‬ﺑﺎﻳﺪ‬ ‫ﻳﻚ ﺩﺳﺘﻜﺶ ﭘﻴﺪﺍ ﻣﻰﻛﺮﺩ؛ ﻭﮔﺮﻧﻪ ﻣﻤﻜﻦ ﺑﻮﺩ ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﺑﺨﻮﺍﻫﺪ‪ ،‬ﺑﻌﺪ ﺍﺯ ﭘﺎﻙ ﻛﺮﺩﻥ ﺟﺎﻳﻰ‬ ‫ﺩﻭﺑﺎﺭﻩ ﻫﻮﻳﺘﺶ ﺭﺍ ﭘﺨﺶ ﻛﻨﺪ‪.‬‬ ‫ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ ﺗﻮﻯ ﺟﻴﺐ ﻛﺮﺩ‪ .‬ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ ﺗﺎ ﺑﻪ ﺟﺎﻟﺒﺎﺳﻰ ﺍﺗﺎﻕ ﻧﺸﻴﻤﻦ ﺭﺳﻴﺪ‪ .‬ﺍﻭﺭﻛﺖ ﻫﺎﻛﺴﻠﻰ!‬ ‫ﺟﻴﺐﻫﺎﻯ ﺍﻭﺭﻛﺖ ﺭﺍ ﺑﻴﺮﻥ ﻛﺸﻴﺪ‪.‬‬ ‫ﺩﺳﺘﻜﺸﻰ ﺩﺭ ﻛﺎﺭ ﻧﺒﻮﺩ‪.‬‬ ‫ﺑﺎﺯ‪ ،‬ﺩﺳﺖﻫﺎ ﺗﻮﻯ ﺟﻴﺐ! ﺭﺍﻩ ﺍﻓﺘﺎﺩ ﺑﻪ ﺳﻤﺖ ﻃﺒﻘﻪﻯ ﺑﺎﻻ‪ .‬ﺑﺎ ﺳﺮﻋﺖ ﺗﺤﺖ ﺍﺭﺍﺩﻩﺍﻯ ﺣﺮﻛﺖ‬ ‫ﻣﻰﻛﺮﺩ‪» .‬ﺧﺸﻢ ﻭ ﺩﻳﻮﺍﻧﻪﮔﻰ ﻣﻤﻨﻮﻉ!« ﺍﺷﺘﺒﺎﻩ ﺍﻭﻟﻴﻪﻯ ﻧﭙﻮﺷﻴﺪﻥ ﺩﺳﺘﻜﺶ ﺭﺍ ﻣﺮﺗﻜﺐ ﺷﺪﻩ ﺑﻮﺩ‬ ‫)ﺁﺧﺮ‪ ،‬ﺍﻭ ﺑﺮﺍﻯ ﻗﺘﻞ ﻧﻘﺸﻪﺍﻯ ﻧﻜﺸﻴﺪﻩ ﺑﻮﺩ ﻭ ﻧﺎﺧﻮﺩﺁﮔﺎﻩﺍﺵ ﻛﻪ ﺍﺣﺘﻤﺎﻻً ﭘﻴﺶ ﺍﺯ ﻭﻗﻮﻉ ﻗﺘﻞ ﺍﺯ ﺁﻥ‬ ‫ﺧﺒﺮ ﺩﺍﺷﺘﻪ‪ ،‬ﻗﺒﻞ ﺍﺯ ﻧﻴﻤﻪ ﺷﺐ‪ ،‬ﺣﺘﺎ ﺍﺷﺎﺭﻩﺍﻯ ﻧﻜﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﻪ ﺩﺳﺘﻜﺶ ﺍﺣﺘﻴﺎﺝ‬ ‫ﭘﻴﺪﺍ ﻛﻨﺪ(‪ .‬ﻭ ﺣﺎﻻ ﺍﻭ ﺑﺎﻳﺪ ﺟﻮﺭ ﺍﻳﻦ ﻏﻔﻠﺖ ﺭﺍ ﻣﻰﻛﺸﻴﺪ‪ .‬ﺟﺎﻳﻰ‪ ،‬ﺩﺍﺧﻞ ﺧﺎﻧﻪ‪ ،‬ﺩﺳﺖﻛﻢ ﻳﻚ ﺟﻔﺖ‬ ‫ﺩﺳﺘﻜﺶ ﺑﺎﻳﺪ ﭘﻴﺪﺍ ﻣﻰﺷﺪ‪ .‬ﺑﺎﻳﺪ ﺍﺯ ﺯﻣﺎﻥ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﺮﺩ‪ .‬ﺍﺣﺘﻤﺎﻝ ﺿﻌﻴﻔﻰ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺁﻥ ﺳﺎﻋﺖ‬ ‫ﻛﺴﻰ ﺑﺨﻮﺍﻫﺪ ﻫﺎﻛﺴﻠﻰ ﺭﺍ ﺑﺒﻴﻨﺪ‪ .‬ﺗﺎ ﺳﺎﻋﺖ ﺷﺶ ﺻﺒﺢ ﻛﻪ ﺩﻭﺳﺘﺎﻥ ﻫﺎﻛﺴﻠﻰ ﺑﺮﺍﻯ ﺷﻜﺎﺭ ﺑﺎ ﺍﻭ‬ ‫ﻗﺮﺍﺭ ﺩﺍﺷﺘﻨﺪ ﻭ ﺑﻪ ﺩﻧﺒﺎﻟﺶ ﻣﻰﺁﻣﺪﻧﺪ‪ ،‬ﻓﺮﺻﺖ ﺩﺍﺷﺖ‪.‬‬ ‫ﻃﺒﻘﻪﻯ ﺑﺎﻻ ﺭﺍ ﻣﻰﮔﺸﺖ‪ .‬ﻛﺸﻮﻫﺎ ﺭﺍ ﺑﺎﺯ ﻭ ﺍﺯ ﺩﺳﺘﻤﺎﻝ ﺑﺮﺍﻯ ﻣﺤﻮ ﻛﺮﺩﻥ ﺍﺛﺮ ﺍﻧﮕﺸﺖ ﺍﺳﺘﻔﺎﺩﻩ‬ ‫ﻣﻰﻛﺮﺩ‪ .‬ﻫﻔﺘﺎﺩ ﻳﺎ ﻫﺸﺘﺎﺩ ﻛﺸﻮ ﺭﺍ ﺩﺭ ﺷﺶ ﺍﺗﺎﻕ ﻃﺒﻘﻪﻯ ﺑﺎﻻ ﺑﻪ ﻫﻢ ﺭﻳﺨﺖ‪ .‬ﻫﺮ ﻛﺪﺍﻡ ﺭﺍ ﻫﻤﺎﻥﻃﻮﺭ‬ ‫ﻣﺜﻞ ﺯﺑﺎﻥﻫﺎﻯ ﺍﺯ ﺣﻠﻖ ﺑﻴﺮﻭﻥ ﺍﻓﺘﺎﺩﻩ ﺑﻪ ﺣﺎﻝ ﺧﻮﺩ ﻭﻝ ﻣﻰﻛﺮﺩ ﻭ ﺳﺮﺍﻍ ﺑﻌﺪﻯ ﻣﻰﺭﻓﺖ‪ .‬ﺗﺎ ﻭﻗﺘﻰ‬ ‫ﺩﺳﺘﻜﺶ ﭘﻴﺪﺍ ﻧﻤﻰﺷﺪ‪ ،‬ﺍﺣﺴﺎﺱ ﺑﻰﭼﺎﺭﮔﻰ ﻫﻢ ﺩﺳﺖﺑﺮﺩﺍﺭ ﻧﺒﻮﺩ‪ .‬ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﻛﻮﭼﻚﺗﺮﻳﻦ‬ ‫ﻛﺎﺭﻯ ﺍﻧﺠﺎﻡ ﺩﻫﺪ‪ .‬ﻣﻤﻜﻦ ﺑﻮﺩ ﺑﻪ ﺗﻤﺎﻡ ﺧﺎﻧﻪ ﺳﺮ ﺑﻜﺸﺪ‪ ،‬ﻫﺮ ﺳﻄﺢ ﻗﺎﺑﻞ ﺗﺼﻮﺭﻯ ﺭﺍ ﻛﻪ ﺍﺛﺮ‬ ‫ﺍﻧﮕﺸﺘﺶ ﺭﺍ ﺩﺍﺷﺖ ﭘﺎﻙ ﻛﻨﺪ‪ .‬ﺑﻌﺪ ﺍﺗﻔﺎﻗﻰ ﺑﻪ ﺩﻳﻮﺍﺭﻯ ﺑﺨﻮﺭﺩ؛ ﻳﻌﻨﻰ ﻛﻪ ﺳﺮﻧﻮﺷﺘﺶ ﺭﺍ ﺑﺎ ﻳﻚ‬ ‫ﻧﺸﺎﻧﻪﻯ ﻣﻴﻜﺮﻭﺳﻜﻮﭘﻰ ﭘﻴﭻﭘﻴﭽﻰ ﻣﻬﺮ ﻭ ﻣﻮﻡ ﻛﻨﺪ‪ .‬ﺍﻳﻦ ﺑﻪ ﻣﻌﻨﻰ ﻣﻬﺮ ﺗﺄﻳﻴﺪ ﺑﺮ ﻗﺘﻞ ﺑﻮﺩ‪ .‬ﺑﻠﻪ‪،‬‬ ‫ﭼﻨﻴﻦ ﭼﻴﺰﻯ ﺑﻮﺩ! ﻣﺜﻞ ﻣﻮﻡﻫﺎﻯ ﺭﻭﻏﻨﻰ ﻗﺪﻳﻢ‪ ،‬ﻭﻗﺘﻰ ﭘﺎﭘﻴﺮﻭﺱ ﺭﺍ ﺑﺎﺯ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﺑﺎ ﺟﻮﻫﺮ‬ ‫ﺭﻭﻳﺶ ﺧﻮﺵﻧﻮﻳﺴﻰ ﻣﻰﻛﺮﺩﻧﺪ ﻭ ﺑﻌﺪ ﺭﻭﻯ ﺁﻥ ﺷﻦ ﭘﺨﺶ ﻣﻰﻛﺮﺩﻧﺪ ﺗﺎ ﺟﻮﻫﺮ ﺭﺍ ﺧﺸﻚ ﻛﻨﺪ ﻭ‬ ‫ﺑﻌﺪ ﻣﻬﺮ ﺧﺎﺗﻢ ﺭﺍ ﺑﻪ ﺭﻭﻏﻦ ﺟﮕﺮﻯ ِ‬ ‫ﺭﻧﮓ ﺩﺍﻍ ﻭ ﺁﻣﺎﺩﻩﻯ ﻣﻬﺮ ﭘﺎﻳﻴﻦ ﺻﻔﺤﻪ ﻣﻰﻛﻮﻓﺘﻨﺪ‪ .‬ﺍﮔﺮ ﻳﻚ‪،‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻛﻨﺎﺭ ﺟﺴﺪ ﻫﺎﻛﺴﻠﻰ ﺯﺍﻧﻮ ﺯﺩ‪ .‬ﺍﺯ ﻟﺒﺎﺱ ﺟﺴﺪ ﻳﻚ ﺩﺳﺘﻤﺎﻝ ﺟﻴﺒﻰ ﺩﺭﺁﻭﺭﺩ ﻭ ﺑﻪ ﻃﺮﺯ ﻣﻨﻈﻤﻰ‬ ‫ﺷﺮﻭﻉ ﻛﺮﺩ ﺑﻪ ﭘﺎﻙ ﻛﺮﺩﻥ ﮔﻠﻮﻯ ﻫﺎﻛﺴﻠﻰ‪ .‬ﮔﻠﻮ ﺭﺍ ﺧﻮﺏ ﻣﺎﻟﺶ ﺩﺍﺩ ﻭ ﺻﻮﺭﺕ ﻭ ﭘﺸﺖ ﮔﺮﺩﻥ ﺭﺍ‬ ‫ﺑﺎ ﺷﺪﺕ ﭘﺎﻙ ﻛﺮﺩ‪ .‬ﺑﻌﺪ ﺑﻠﻨﺪ ﺷﺪ‪.‬‬ ‫ﺑﻪ ﮔﻠﻮﻯ ﻣﺮﺩ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺑﻪ ﺯﻣﻴﻦ ﺭﻭﻏﻦﺟﻼﺧﻮﺭﺩﻩ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺁﻫﺴﺘﻪ ﺧﻢ ﺷﺪ ﻭ ﺑﺎ ﺩﺳﺘﻤﺎﻝ ﭼﻨﺪ‬ ‫ﺑﺎﺭ ﺑﻪ ﺯﻣﻴﻦ ﺯﺩ‪ .‬ﺑﻌﺪ ﺍﺧﻤﻰ ﻛﺮﺩ ﻭ ﺷﺮﻭﻉ ﻛﺮﺩ ﺑﻪ ﭘﺎﻙ ﻛﺮﺩﻥ ﺯﻣﻴﻦ‪ .‬ﺍﻭﻝ ﺍﻃﺮﺍﻑ ﺳﺮ ﺟﻨﺎﺯﻩ ﺭﺍ‪ .‬ﺑﻌﺪ‬ ‫ﺩﻭﺭ ﺩﺳﺖﻫﺎ ﺭﺍ‪ .‬ﺑﻌﺪ ﻫﻤﻪ ﻃﺮﻑ ﺟﻨﺎﺯﻩ ﺭﺍ‪ ...‬ﺑﻪ ﺷﻌﺎﻉ ﻳﻚ ﻣﺘﺮ ﺍﺯ ﺟﻨﺎﺯﻩ‪ ،‬ﺯﻣﻴﻦ ﺭﺍ ﺑﺮﻕ ﺍﻧﺪﺍﺧﺖ‪.‬‬ ‫ﺑﻌﺪ ﺑﻪ ﺷﻌﺎﻉ ﻣﺘﺮ ﻳﺎﺭﺩ‪ .‬ﺑﻌﺪ‪...‬‬ ‫ﺍﻳﺴﺘﺎﺩ‪...‬‬ ‫ﻳﻚ ﻟﺤﻈﻪ ﺗﻤﺎﻡ ﺧﺎﻧﻪ ﺩﺭ ﻧﻈﺮﺵ ﻣﺠﺴﻢ ﺷﺪ‪ .‬ﺭﺍﻩﺭﻭﻫﺎ‪ ،‬ﺩﺭﻫﺎ‪ ،‬ﻣﺒﻠﻤﺎﻥ‪ ،‬ﻭ ﺍﻧﮕﺎﺭ ﻛﻪ ﻛﻠﻤﻪ ﻛﻠﻤﻪ‬ ‫ﺑﺮﺍﻯﺍﺵ ﺗﻜﺮﺍﺭ ﺷﻮﺩ‪ ،‬ﺻﺪﺍﻯ ﻫﺎﻛﺴﻠﻰ ﺭﺍ ﻣﻰﺷﻨﻴﺪ ﻛﻪ ﺣﺮﻑ ﻣﻰﺯﺩ ﻭ ﺻﺪﺍﻯ ﺧﻮﺩ ﺭﺍ‪ ...‬ﺩﺭﺳﺖ‬ ‫ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﻳﻚ ﺳﺎﻋﺖ ﭘﻴﺶ ﺻﺤﺒﺖ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺍﻧﮕﺸﺖ ﺭﻭﻯ ﺯﻧﮓ‪ ،‬ﺩﺭ ﺑﺎﺯ ﻣﻰﺷﻮﺩ‪.‬‬ ‫»ﺍﻭﻩ‪ ،‬ﺁﻟﺘﻮﻥ! ﺗﻮ ﻫﺴﺘﻰ؟«‬ ‫»ﻣﻰﺧﻮﺍﻡ ﺑﺒﻴﻨﻢﺍﺕ ﻫﺎﻛﺴﻠﻰ‪ ،‬ﻣﻬﻤﻪ!«‬ ‫»ﻣﺘﻮﺟﻪ ﻧﻤﻰﺷﻢ! ﺧﻮﺏ‪ ،‬ﺧﻴﻠﻰ ﺧﻮﺏ‪ ،‬ﺑﻴﺎ ﺗﻮ!«‬ ‫ﺩﺍﺧﻞ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫»ﺑﺮﻭ ﺗﻮ ﻛﺘﺎﺑﺨﻮﻧﻪ‪«.‬‬ ‫ﺑﻪ ﺩﺭ ﻛﺘﺎﺑﺨﺎﻧﻪ »ﺩﺳﺖ ﺯﺩﻩ ﺑﻮﺩ‪«.‬‬ ‫»ﻧﻮﺷﻴﺪﻧﻰ؟«‬ ‫»ﻳﻪ ﭼﻴﺰﻯ ﻣﻰﺧﻮﺭﻡ‪«.‬‬ ‫»ﻳﻪ ﺑﻄﺮﻯ ﺑﻮﺭﮔﺎﻧﺪﻯ ﺳﺖ‪ .‬ﺁﻛﺘﻮﻥ ﻣﻰﺷﻪ ﺧﻮﺩﺕ ﺑﮕﻴﺮﻳﺶ؟ ﻣﻦ ﺧﻴﻠﻰ ﺧﺴﺘﻪﻣﻪ‪«.‬‬ ‫»ﺣﺘﻤﺎً!«‬ ‫ﺑﮕﻴﺮﺵ‪ ،‬ﺣﻤﻠﺶ ﻛﻦ‪ ،‬ﻟﻤﺲﺍﺵ ﻛﻦ‪ .‬ﻭ ﺍﻭ ﻛﺮﺩﻩ ﺑﻮﺩ!‬ ‫»ﭼﻨﺪ ﺗﺎ ﻛﺘﺎﺏ ﭼﺎپ ﺍﻭﻝ ﺍﻭﻥﺟﺎﺱ ﺁﻛﺘﻮﻥ‪ .‬ﻓﻘﻂ ﺟﻠﺪﺷﻮﻥ ﻧﮕﺎﻩ ﻛﻦ! ﭼﻪ ﻣﺤﺸﺮﻩ‪ ...‬ﻧﮕﺎﻩ ﻛﻦ‪«.‬‬ ‫ﺑﻪ ﻛﺘﺎﺏﻫﺎ ﻭ ﻣﻴﺰ ﻛﺘﺎﺑﺨﺎﻧﻪ »ﺩﺳﺖ ﺯﺩﻩ ﺑﻮﺩ‪ «.‬ﺑﻪ ﺑﻄﺮﻯ ﻭ ﺟﺎﻡﻫﺎ »ﺩﺳﺖ ﺯﺩﻩ ﺑﻮﺩ‪«.‬‬ ‫ﻛﻨﺎﺭ ﺟﺴﺪ ﻫﺎﻛﺴﻠﻰ ﻗﻮﺯ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺩﺳﺘﻤﺎﻝ ﺩﺭ ﺩﺳﺖ ﻭ ﺑﻰﺣﺮﻛﺖ‪ .‬ﺑﻪ ﺧﺎﻧﻪ ﻧﮕﺎﻩ ﻛﺮﺩ‪ ،‬ﺑﻪ‬ ‫ﺩﻳﻮﺍﺭﻫﺎ‪ ،‬ﺍﺛﺎﺛﻴﻪﻯ ﺍﻃﺮﺍﻓﺶ‪ ،‬ﭼﺸﻢﻫﺎﻳﺶ ﮔﺸﺎﺩ ﻣﻰﺷﺪ‪ ،‬ﺩﻫﺎﻧﺶ ﺁﻭﻳﺰﺍﻥ ﻭ ﺳﺎﻛﺖ‪ .‬ﺍﺯ ﺁﻥﭼﻪ‬ ‫ﻣﻰﺩﻳﺪ ﻭ ﻣﻰﻓﻬﻤﻴﺪ‪ ،‬ﮔﻴﺞ ﻣﻰﺷﺪ‪ .‬ﭼﺸﻢﻫﺎﻳﺶ ﺑﺴﺘﻪ ﺷﺪ‪ .‬ﺳﺮﺵ ﭘﺎﻳﻴﻦ ﺍﻓﺘﺎﺩ‪ .‬ﺩﺳﺘﻤﺎﻝ ﺭﺍ ﺑﻴﻦ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﺗﻴﺮﮔﻰ ﻭ ﺳﺮﺩﻯ ﺩﺭ ﺣﺪﻗﻪﻯ ﭼﺸﻤﺎﻥ ﺑﻰﺷﻜﻠﺶ ﻧﻬﺎﺩﻩ ﺑﻮﺩ‪ .‬ﻟﺐﻫﺎﻯ ﻣﺮﺩ ﻛﻪ ﻫﻤﻴﺸﻪ ﺻﻮﺭﺗﻰﺭﻧﮓ‬ ‫ﻭ ﻫﻮﺱﺁﻟﻮﺩ ﺑﻮﺩ‪ ،‬ﺣﺎﻻ ﺑﺎﺯ ﻣﺎﻧﺪﻩ ﺑﻮﺩ ﺗﺎ ﺩﻧﺪﺍﻥﻫﺎﻯ ﺍﺳﺐﻣﺎﻧﻨﺪﺵ ﺭﺍ ﻧﻤﺎﻳﺶ ﺑﺪﻫﺪ؛ ﺩﻧﺪﺍﻥﻫﺎﻯ‬ ‫»ﻧﻴﺶ« ﻧﻴﻜﻮﺗﻴﻦﮔﺮﻓﺘﻪ ﻭ ﺩﻧﺪﺍﻥﻫﺎﻯ »ﺁﺳﻴﺎ« ﺑﺎ ﺭﻭﻛﺶﻫﺎﻯ‬ ‫»ﭘﻴﺸﻴﻦ« ﺯﺭﺩ ﺭﻧﮓ‪ ،‬ﺩﻧﺪﺍﻥﻫﺎﻯ‬ ‫ِ‬ ‫ِ‬ ‫ﻃﻼ‪ .‬ﺩﻣﺎﻍ ﻫﻢ ﻛﻪ ﺯﻣﺎﻧﻰ ﺻﻮﺭﺗﻰ ﺑﻮﺩ‪ ،‬ﺣﺎﻻ ﺯﺭﺩ ﻭ ﺭﻧﮓﭘﺮﻳﺪﻩ ﻭ ﺭﮔﻪﺭﮔﻪ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻫﻤﻴﻦﻃﻮﺭ‬ ‫ﮔﻮﺵﻫﺎ‪ .‬ﺩﺳﺘﺎﻥ ﻫﺎﻛﺴﻠﻰ ﺭﻭﻯ ﺯﻣﻴﻦ ﺍﺯ ﻫﻢ ﻭﺍﺭﻓﺘﻪ ﺑﻮﺩﻧﺪ ﻭ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺩﺭ ﻋﻤﺮﺷﺎﻥ‪ ،‬ﺑﻪ‬ ‫ﺟﺎﻯ ﺧﻮﺍﻫﺶ‪ ،‬ﺍﻟﺘﻤﺎﺱ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺑﻠﻪ‪ ،‬ﻃﺮﺡ ﻫﻨﺮﻣﻨﺪﺍﻧﻪﺍﻯ ﺑﻮﺩ! ﺭﻭﻯ ﻫﻢ ﺭﻓﺘﻪ‪ ،‬ﺗﻐﻴﻴﺮ ﺑﺮﺍﻯ ﻫﺎﻛﺴﻠﻰ ﺧﻮﺏ ﺑﻮﺩ‪ .‬ﺣﺎﻻ ﺑﺮﺍﻯ ﺳﺮ‬ ‫ﻭ ﻛﺎﺭ ﺩﺍﺷﺘﻦ ﺑﺎ ﺍﻭ‪ ،‬ﻣﺮگ ﺯﻳﺒﺎﺗﺮﺵ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺣﺎﻻ ﻣﻰﺷﺪ ﺑﺎ ﺍﻭ ﺻﺤﺒﺖ ﻛﺮﺩ ﻭ ﺍﻭ ﻣﺠﺒﻮﺭ ﺑﻮﺩ‬ ‫ﮔﻮﺵ ﻛﻨﺪ‪.‬‬ ‫ﻭﻳﻠﻴﺎﻡ ﺁﻛﺘﻮﻥ ﺑﻪ ﺍﻧﮕﺸﺖﻫﺎﻯ ﺧﻮﺩ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﻛﺎﺭ ﺍﺯ ﻛﺎﺭ ﮔﺬﺷﺘﻪ ﺑﻮﺩ‪ .‬ﻧﻤﻰﺷﺪ ﻋﻮﺿﺶ ﻛﺮﺩ‪.‬‬ ‫ﺁﻳﺎ ﻛﺴﻰ ﭼﻴﺰﻯ ﺷﻨﻴﺪﻩ ﺑﻮﺩ؟ ﮔﻮﺵ ﺩﺍﺩ‪ .‬ﺑﻴﺮﻭﻡ ﺻﺪﺍﻯ ﻋﺎﺩﻯ ﻋﺒﻮﺭ ﻭ ﻣﺮﻭﺭ ﺩﻳﺮﻭﻗﺖ ﺧﻴﺎﺑﺎﻥ‬ ‫ﺍﺩﺍﻣﻪ ﺩﺍﺷﺖ‪ .‬ﻣﺸﺘﻰ ﺑﻪ ﺩﺭ ﻧﻤﻰﺧﻮﺭﺩ‪ .‬ﺷﺎﻧﻪﻫﺎﻳﻰ ﺧﺮﺩ ﻭ ﺧﻤﻴﺮﺵ ﻧﻤﻰﻛﺮﺩﻧﺪ‪ .‬ﻫﻴﭻ ﻛﺲ ﻓﺮﻳﺎﺩ‬ ‫ﻧﻤﻰﺯﺩ‪» :‬ﺩﺭ ﺭﻭ ﺑﺎﺯ ﻛﻦ!« ﻗﺘﻞ‪ ،‬ﻣﺠﺴﻤﻪﺳﺎﺯﻯ ﺍﺯ ﮔﻞ ﮔﺮﻡ ﺑﻪ ﮔﻞ ﺳﺮﺩ‪ ،‬ﺍﻧﺠﺎﻡ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﻫﻴﭻ‬ ‫ﻛﺲ ﻧﻤﻰﺩﺍﻧﺴﺖ‪.‬‬ ‫ﺧﻮﺏ‪ ،‬ﻛﻪ ﭼﻪ؟ ﺗﻴﻚﺗﺎﻙ ﺳﺎﻋﺖ ﻧﻴﻤﻪ ﺷﺐ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩ‪ .‬ﻫﺮ ﺣﺮﻛﺘﻰ ﻛﻪ ﻣﻰﻛﺮﺩ‪ ،‬ﻋﺠﻠﻪﺍﻯ‬ ‫ﺗﺸﻨﺞﺁﻣﻴﺰ ﺑﺮﺍﻯ ﺩﻭﻳﺪﻥ‪ ،‬ﺩﺭ ﺍﻭ ﺷﻌﻠﻪﻭﺭ ﻣﻰﺷﺪ‪ .‬ﺑﺮﻭ ﺑﻴﺮﻭﻥ‪ ،‬ﺩﺭ ﺑﺮﻭ‪ ،‬ﺑﺪﻭ‪ ،‬ﻫﻴﭻ ﻭﻗﺖ ﺑﺮﻧﮕﺮﺩ‪ ،‬ﺳﻮﺍﺭ‬ ‫ﻗﻄﺎﺭ ﺷﻮ‪ ،‬ﺗﺎﻛﺴﻰ ﺑﮕﻴﺮ‪ ،‬ﺑﮕﻴﺮ‪ ،‬ﺑﺮﻭ‪ ،‬ﭘﻴﺎﺩﻩ ﺑﺮﻭ‪ ،‬ﺍﺻﻼ ﺑﺪﻭﻥ ﻣﻘﺼﺪ ﺑﺮﻭ‪ ،‬ﺍﻣﺎ ﺧﻮﺩﺗﻮ ﺍﻳﻦﺟﺎ ﻧﻤﺎﻳﺶ‬ ‫ﻧﺪﻩ! ﺟﻤﻊ ﻛﻦ‪ ،‬ﺑﺮﻭ »ﺑﻴﺮﻭﻥ«‬ ‫ﺩﺳﺖﻫﺎ ﺟﻠﻮﻯ ﺻﻮﺭﺗﺶ ﺁﺭﺍﻡ ﻧﺪﺍﺷﺘﻨﺪ‪ .‬ﺍﻳﻦ ﻃﺮﻑ ﻭ ﺁﻥ ﻃﺮﻑ ﻣﻰﺷﺪﻧﺪ‪ .‬ﺑﻪ ﺍﺧﺘﻴﺎﺭ ﻭ ﺁﻫﺴﺘﻪ‬ ‫ﺑﺮﺷﺎﻥ ﮔﺮﺩﺍﻧﺪ‪ .‬ﭘﻮچ ﻭ ﺑﻰﻭﺯﻥ ﺑﻮﺩﻧﺪ‪ ،‬ﺩﺭﺳﺖ ﻣﺜﻞ ﭘﺮ‪ .‬ﭼﺮﺍ ﺑﻪ ﺩﺳﺖﻫﺎﻳﺶ ﺯﻝ ﺯﺩﻩ ﺑﻮﺩ؟ ﺍﻳﻦ‬ ‫ﺭﺍ ﺍﺯ ﺧﻮﺩﺵ ﭘﺮﺳﻴﺪ‪ .‬ﺁﻳﺎ ﭼﻴﺰ ﺧﻴﻠﻰ ﻫﻴﺠﺎﻥﺍﻧﮕﻴﺰﻯ ﺩﺭ ﺁﻥﻫﺎ ﺑﻮﺩ ﻛﻪ ﺣﺎﻻ ﺑﻌﺪ ﺍﺯ ﻣﻮﻓﻘﻴﺖ ﺩﺭ‬ ‫ﺧﻔﻪ ﻛﺮﺩﻥ ﻣﺮﺩﻙ‪ ،‬ﺑﺎﻳﺪ ﺍﻳﻦﻃﻮﺭ ﻣﻜﺚ ﻣﻰﻛﺮﺩ ﻭ ﺑﺎ ﻣﻴﻜﺮﻭﻣﺘﺮ‪ ،‬ﻭﺟﺐ ﺑﻪ ﻭﺟﺒﺸﺎﻥ ﺭﺍ ﺁﺯﻣﺎﻳﺶ‬ ‫ﻣﻰﻛﺮﺩ؟ ﺩﺳﺖﻫﺎﻳﻰ ﻣﻌﻤﻮﻟﻰ ﺑﻮﺩﻧﺪ‪ .‬ﻧﻪ ﻛﻠﻔﺖ ﻧﻪ ﻧﺎﺯﻙ‪ ،‬ﻧﻪ ﺩﺭﺍﺯ ﻧﻪ ﻛﻮﺗﺎﻩ‪ ،‬ﻧﻪ ﭘﺸﻤﺎﻟﻮ ﻧﻪ ﻟﺨﺖ‪،‬‬ ‫ﻧﻪ ﺳﻔﻴﺪ ﻭ ﺁﺭﺍﻳﺶ ﻛﺮﺩﻩ ﻧﻪ ﻛﺜﻴﻒ‪ ،‬ﻧﻪ ﻧﺮﻡ‪ ،‬ﻧﻪ ﭘﻴﻨﻪﺑﺴﺘﻪ‪ ،‬ﻧﻪ ﭼﺮﻭﻛﻴﺪﻩ‪ ،‬ﻧﻪ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺧﻴﻠﻰ‬ ‫ﺻﺎﻑ‪ .‬ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﺩﺳﺖﻫﺎﻯ ﻳﻚ ﻗﺎﺗﻞ ﻧﺒﻮﺩﻧﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ‪ ،‬ﻣﻌﺼﻮﻡ ﻫﻢ ﻧﺒﻮﺩﻧﺪ‪ .‬ﺩﺭ ﻧﮕﺎﻩ ﻛﺮﺩﻥ‬ ‫ﺑﻪﺷﺎﻥ‪ ،‬ﭼﻴﺰﻯ ﻏﻴﺮﻋﺎﺩﻯ ﻭ ﺟﺎﺩﻭﻳﻰ ﻭﺟﻮﺩ ﺩﺍﺷﺖ‪ .‬ﺩﺳﺖﻫﺎ ﺩﺳﺖﻫﺎﻳﻰ ﻧﺒﻮﺩﻧﺪ ﻛﻪ ﺩﻭﺳﺘﺸﺎﻥ‬ ‫ِ‬ ‫ِ‬ ‫ﻛﺮﺧﺖ ﭘﺲ ﺍﺯ ﻓﺎﺟﻌﻪﻯ ﺍﻧﺠﺎﻡ ﮔﺮﻓﺘﻪ‪ ،‬ﻣﺘﻮﺟﻪ‬ ‫ﺍﺑﺪﻳﺖ‬ ‫ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺍﻧﮕﺸﺖﻫﺎ ﻫﻢ ﻧﺒﻮﺩﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ‬ ‫ﺷﺪ ﻛﻪ ﺗﻨﻬﺎ ﺑﻪ ﺳﺮﺍﻧﮕﺸﺘﺎﻧﺶ ﻋﻼﻗﻪ ﺩﺍﺭﺩ‪ .‬ﺳﺎﻋﺖ ﺭﻭﻯ ﺗﺎﻗﭽﻪ ﺗﻴﻚﺗﺎﻙ ﻣﻰﻛﺮﺩ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺁﺧﺮﻳﻦ ﻣﻴﻮﻩ‬ ‫ﺭﻯ ﺑﺮﺩﺑﺮﻯ‬ ‫ﺳﺘﺎﺭ ﺷﻜﺮﻯ‬

‫ﻭﻳﻠﻴﺎﻡ ﺁﻛﺘﻮﻥ ﺑﻠﻨﺪ ﺷﺪ‪ .‬ﺗﻴﻚﺗﺎﻙ ﺳﺎﻋﺖ ﺭﻭﻯ ﺗﺎﻗﭽﻪ‪ ،‬ﻧﻴﻤﻪﺷﺐ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩ‪ .‬ﺑﻪ‬ ‫ﺍﻧﮕﺸﺘﺎﻧﺶ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺑﻪ ﺍﺗﺎﻕ ﻋﺮﻳﺾ ﺍﻃﺮﺍﻓﺶ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﺑﻪ ﻣﺮﺩﻯ ﻛﻪ ﺭﻭﻯ ﺯﻣﻴﻦ ﺩﺭﺍﺯ‬ ‫ﻛﺸﻴﺪﻩ ﻭ ﻣﺮﺩﻩ ﺑﻮﺩ ﻭ ﺩﻳﮕﺮ ﻧﻪ ﭼﻴﺰﻯ ﻣﻰﮔﻔﺖ‪ ،‬ﻧﻪ ﺣﺲ ﺩﺭﻧﺪﻩﺧﻮﻳﻰ ﺍﻳﺠﺎﺩ ﻣﻰﻛﺮﺩ‪ .‬ﻭﻳﻠﻴﺎﻡ‬ ‫ﺁﻛﺘﻮﻥ ﻛﻪ ﺍﻧﮕﺸﺘﺎﻧﺶ ﺑﻪ ﺩﻛﻤﻪﻫﺎﻯ ﻣﺎﺷﻴﻦ ﺗﺤﺮﻳﺮ ﺿﺮﺑﻪ ﻣﻰﺯﺩﻧﺪ‪ ،‬ﻛﺎﻡ ﺩﻝ ﻣﻰﮔﺮﻓﺘﻨﺪ‪ ،‬ﻭ‬ ‫ﺑﺮﺍﻯ ﺻﺒﺤﺎﻧﻪﻫﺎﻯ ﭘﻴﺶ ﺍﺯ ﻭﻗﺖ ﻫﻤﺒﺮﮔﺮ ﻭ ﺗﺨﻢ ﻣﺮﻍ ﺳﺮﺥ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﺣﺎﻻ ﻣﺮﺗﻜﺐ ﻗﺘﻞ‬ ‫ﺷﺪﻩ ﺑﻮﺩﻧﺪ؛ ﺑﺎ ﻫﻤﺎﻥ ﺩﻩ ﺍﻧﮕﺸﺖ ﺧﻤﻴﺪﻩ‪ .‬ﺍﻭ ﻫﺮﮔﺰ ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ﺩﻳﺪ ﻳﻚ ﻣﺠﺴﻤﻪﺳﺎﺯ ﻧﮕﺎﻩ‬ ‫ﻧﻜﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ‪ ،‬ﺩﺭ ﺍﻳﻦ ﻟﺤﻈﻪ‪ ،‬ﺑﺎ ﻧﮕﺎﻫﻰ ﺍﺯ ﺑﻴﻦ ﺩﺳﺖﻫﺎﻳﺶ‪ ،‬ﺑﻪ ﻛﻒ ﭼﻮﺑﻰ ﻭ‬ ‫ﻭﺍﻛﺲﺧﻮﺭﺩﻩﻯ ﺍﺗﺎﻕ‪ ،‬ﻣﺘﻮﺟﻪ ﺷﺪ ﻛﻪ ﺑﺎ ﻛﻤﻰ ﭘﻴﭻ ﻭ ﺗﺎﺏ ﻭ ﻭﺭﺯ ﺩﺍﺩﻥ ﻳﻚ ﺧﻤﻴﺮ ﺍﻧﺴﺎﻧﻰ‪،‬‬ ‫ﺍﻳﻦ ﻣﺮﺩ ﺭﺍ ﻛﻪ ﻧﺎﻣﺶ ﺁﺭﺗﻮﺭ ﻫﺎﻛﺴﻠﻰ ﺑﻮﺩ‪ ،‬ﺩﺭ ﺩﺳﺖ ﮔﺮﻓﺘﻪ ﻭ ﻇﺎﻫﺮﺵ ﺭﺍ‪ ،‬ﺩﺭ ﻭﺍﻗﻊ ﭼﺎﺭﭼﻮﺏ‬ ‫ﻛﻠﻰ ﺑﺪﻥﺍﺵ ﺭﺍ ﺗﻐﻴﻴﺮ ﺩﺍﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺍﻧﮕﺸﺘﺎﻧﺶ‪ ،‬ﺑﺎ ﺣﺮﻛﺘﻰ‪ ،‬ﺑﺮﻕ ﺩﻗﻴﻖ ﭼﺸﻤﺎﻥ ﺧﺎﻛﺴﺘﺮﻯ ﻫﺎﻛﺴﻠﻰ ﺭﺍ ﻣﺤﻮ ﻛﺮﺩﻩ‪ ،‬ﺑﻪ ﺟﺎﻳﺶ‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺩﺧﺘﺮ ﻣﺎﻧﺪﺭﻳﻦ ﮔﻔﺖ‪» :‬ﭘﺲ‪ ،‬ﺷﻤﺎ ﻛﻮﺍﻥﺳﻰ‪ ،‬ﺑﺮﺍﻯ ﺁﺧﺮﻳﻦ ﺑﺎﺭ ﺷﻜﻞ ﺩﻳﻮﺍﺭﻫﺎﻯ ﺧﻮﺩ ﺭﺍ ﺗﻐﻴﻴﺮ‬ ‫ﺩﻫﻴﺪ ﺗﺎ ﭼﻴﺰﻯ ﻧﻪ ﺑﻴﺸﺘﺮ ﻭ ﻧﻪ ﻛﻤﺘﺮ ﺍﺯ ﺑﺎﺩ ﺑﺎﺷﻴﺪ‪ .‬ﻭ ﻣﺎ ﺩﻳﻮﺍﺭﻫﺎﻳﻤﺎﻥ ﺭﺍ ﻣﺜﻞ ﺑﺎﺩﺑﺎﺩﻛﻰ ﻃﻼﻳﻰ‬ ‫ﺧﻮﺍﻫﻴﻢ ﺳﺎﺧﺖ‪ .‬ﺑﺎﺩ ﻣﻰﺗﻮﺍﻧﺪ ﺑﻪ ﺑﺎﺩﺑﺎﺩﻙ ﺯﻳﺒﺎﻳﻰ ﺑﺨﺸﻴﺪﻩ ﻭ ﺁﻥ ﺭﺍ ﺗﺎ ﺍﺭﺗﻔﺎﻋﻰ ﺧﺎﺭﻕﺍﻟﻌﺎﺩﻩ ﺑﺎﻻ‬ ‫ﺑﺒﺮﺩ‪ .‬ﻭ ﺑﺎﺩﺑﺎﺩﻙ ﻫﻢ ﻳﻜﻨﻮﺍﺧﺘﻰ ﺣﻴﺎﺕ ﺑﺎﺩ ﺭﺍ ﺍﺯ ﻣﻴﺎﻥ ﻣﻰﺑﺮﺩ ﻭ ﺑﻪ ﺁﻥ ﻣﻌﻨﺎ ﻭ ﻫﺪﻑ ﻣﻰﺑﺨﺸﺪ‪.‬‬ ‫ﻳﻜﻰ ﺑﺪﻭﻥ ﺩﻳﮕﺮﻯ ﻫﻴﭻ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺩﺭ ﻛﻨﺎﺭ ﻫﻢ‪ ،‬ﻫﻤﻪ ﭼﻴﺰ ﻓﻘﻂ ﺯﻳﺒﺎﻳﻰ ﻭ ﻫﻤﻜﺎﺭﻯ ﻭ ﻋﻤﺮ‬ ‫ﻃﻮﻻﻧﻰ ﻭ ﻣﺘﺒﺮﻙ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪«.‬‬ ‫ﺑﺎ ﺷﻨﻴﺪﻥ ﺍﻳﻦ ﺣﺮﻑ‪ ،‬ﺩﻭ ﻣﺎﻧﺪﺭﻳﻦ ﭼﻨﺎﻥ ﺷﺎﺩﻣﺎﻥ ﺷﺪﻧﺪ ﻛﻪ ﭘﺲ ﺍﺯ ﭼﻨﺪﻳﻦ ﺭﻭﺯ‪ ،‬ﺗﻘﺎﺿﺎﻯ ﻏﺬﺍ‬ ‫ﻛﺮﺩﻧﺪ ﺗﺎ ﺟﺎﻥ ﺑﮕﻴﺮﻧﺪ ﻭ ﺳﭙﺲ ﻳﻜﺪﻳﮕﺮ ﺭﺍ ﺩﺭ ﺁﻏﻮﺵ ﻛﺸﻴﺪﻧﺪ ﻭ ﻳﻜﺪﻳﮕﺮ ﺭﺍ ﺑﻪ ﺑﺎﺩ ﺗﻌﺮﻳﻒ ﻭ‬ ‫ﺗﻤﺠﻴﺪ ﮔﺮﻓﺘﻨﺪ ﻭ ﺩﺧﺘﺮ ﻣﺎﻧﺪﺭﻳﻦ ﺭﺍ ﻳﻚ ﭘﺴﺮ‪ ،‬ﻳﻚ ﻣﺮﺩ‪ ،‬ﻳﻚ ﺳﺘﻮﻥ ﺳﻨﮕﻰ‪ ،‬ﻳﻚ ﺟﻨﮕﺠﻮ ﻭ‬ ‫ﻳﻚ ﭘﺴﺮ ﺣﻘﻴﻘﻰ ﻭ ﺩﺭ ﻳﺎﺩ ﻣﺎﻧﺪﻧﻰ ﺧﻮﺍﻧﺪﻧﺪ‪ .‬ﺳﭙﺲ ﺑﻼﻓﺎﺻﻠﻪ ﺍﺯ ﻫﻢ ﺟﺪﺍ ﺷﺪﻧﺪ ﻭ ﺳﺮﻳﻊ ﺑﻪ‬ ‫ﺷﻬﺮﻫﺎﻳﺸﺎﻥ ﺑﺎﺯ ﮔﺸﺘﻨﺪ ﻭ ﮔﺮﭼﻪ ﺿﻌﻴﻒ ﻭ ﺑﻴﻤﺎﺭ ﺑﻮﺩﻧﺪ‪ ،‬ﺍﻣﺎ ﺁﻭﺍﺯ ﻣﻰﺧﻮﺍﻧﺪﻧﺪ ﻭ ﺷﺎﺩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﻭ ﺑﻨﺎﺑﺮﺍﻳﻦ ﭘﺲ ﺍﺯ ﻣﺪﺗﻰ‪ ،‬ﺍﻳﻦ ﺩﻭ ﺷﻬﺮ ﺗﺒﺪﻳﻞ ﺑﻪ ﺷﻬﺮ ﺑﺎﺩﺑﺎﺩﻙ ﻃﻼﻳﻰ ﻭ ﺷﻬﺮ ﺑﺎﺩ ﻧﻘﺮﻩﺍﻯ ﺷﺪﻧﺪ‪.‬‬ ‫ﻭ ﻣﺤﺼﻮﻻﺕ ﺑﺮﺩﺍﺷﺖ ﺷﺪﻩ ﻭ ﺗﺠﺎﺭﺕﻫﺎ ﺍﺯ ﺳﺮ ﮔﺮﻓﺘﻪ ﺷﺪﻧﺪ؛ ﻭ ﮔﻮﺷﺖ ﺑﺮ ﺍﺳﺘﺨﻮﺍﻥﻫﺎ ﺭﻭﻳﻴﺪ ﻭ‬ ‫ﺑﻴﻤﺎﺭﻯ ﭼﻮﻥ ﺷﻐﺎﻝ ﺗﺮﺳﻴﺪﻩﺍﻯ ﭘﺎ ﺑﻪ ﻓﺮﺍﺭ ﮔﺬﺍﺷﺖ‪ .‬ﻭ ﻣﺮﺩﻣﺎﻥ ﺷﻬﺮ ﺑﺎﺩﺑﺎﻙ ﻃﻼﻳﻰ‪ ،‬ﺩﺭ ﺗﻤﺎﻣﻰ‬ ‫ﺷﺐﻫﺎﻯ ﺳﺎﻝ ﺻﺪﺍﻯ ﻭﺯﺵ ﺑﺎﺩ ﻧﻘﺮﻩﺍﻯ ﺷﻬﺮ ﻫﻤﺴﺎﻳﻪ ﺭﺍ ﻣﻰﺷﻨﻴﺪﻧﺪ ﻛﻪ ﻣﺎﻳﻪﻯ ﺩﻭﺍﻡ ﺁﻥﻫﺎ ﺑﻮﺩ‪.‬‬ ‫ﻭ ﻣﺮﺩﻣﺎﻥ ﺷﻬﺮ ﺑﺎﺩ ﻧﻘﺮﻩﺍﻯ ﺻﺪﺍﻯ ﺑﺎﺩﺑﺎﺩﻙ ﻃﻼﻳﻰ ﺭﺍ ﻣﻰﺷﻨﻴﺪﻧﺪ ﻛﻪ ﻣﻰﺧﻮﺍﻧﺪ‪ ،‬ﺯﻣﺰﻣﻪ ﻣﻰﻛﺮﺩ‪،‬‬ ‫ﺑﻪ ﭘﺮﻭﺍﺯ ﺩﺭ ﻣﻰﺁﻣﺪ ﻭ ﺑﻪ ﺑﺎﺩ ﺁﻥﻫﺎ ﺯﻳﺒﺎﻳﻰ ﻭ ﺟﻼ ﻣﻰﺑﺨﺸﻴﺪ‪.‬‬ ‫ﻭ ﻣﺎﻧﺪﺭﻳﻦ ﺟﻠﻮﻯ ﭘﺮﺩﻩﻯ ﺍﺑﺮﻳﺸﻤﻴﻦ ﺧﻮﺩ ﮔﻔﺖ‪» :‬ﻭ ﭼﻨﻴﻦ ﺑﺎﺩ‪«.‬‬ ‫‪1. Mandarin‬‬

‫‪2. Kwana-ci‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﻭ ﺍﻭ ﻫﻤﺎﻥﺟﺎ ﺩﺭﺍﺯ ﻣﻰﻛﺸﻴﺪ ﻭ ﺑﺎ ﺩﺭﺩﻣﻨﺪﻯ‪ ،‬ﺩﺳﺘﻮﺭﺍﺕ ﺗﺎﺯﻩﺍﻯ ﺑﺮﺍﻯ ﻣﻌﻤﺎﺭﺍﻥ ﺻﺎﺩﺭ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺣﺎﻻ ﺻﺪﺍﻯ ﭘﺸﺖ ﭘﺮﺩﻩ ﻫﻢ ﺿﻌﻴﻒ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺩﺭﺳﺖ ﻣﺜﻞ ﺑﺎﺩﻯ ﺑﻮﺩ ﻛﻪ ﺑﺮ ﻓﺮﺍﺯ ﺑﺎﻡﻫﺎ ﺑﻮﺯﺩ‪.‬‬ ‫»ﻛﻮﺍﻥﺳﻰ ﻋﻘﺎﺏ ﺍﺳﺖ‪ .‬ﭘﺲ ﺩﻳﻮﺍﺭﻫﺎ ﻣﺎ ﺗﻮﺭﻯ ﺑﺮﺍﻯ ﺷﻜﺎﺭ ﺍﻳﻦ ﻋﻘﺎﺏ ﺧﻮﺍﻫﻨﺪ ﺑﻮﺩ‪ .‬ﺁﻥﻫﺎ ﺧﻮﺭﺷﻴﺪ‬ ‫ﺷﺪﻩﺍﻧﺪ ﺗﺎ ﺗﻮﺭ ﻣﺎ ﺭﺍ ﺑﺴﻮﺯﺍﻧﻨﺪ‪ .‬ﭘﺲ ﻣﺎﻩ ﻣﻰﺷﻮﻳﻢ ﺗﺎ ﺧﻮﺭﺷﻴﺪﺷﺎﻥ ﺭﺍ ﺩﺭ ﻣﺤﺎﻕ ﻓﺮﻭ ﺑﺒﺮﻳﻢ!«‬ ‫ﻭ ﺷﻬﺮ ﻣﺜﻞ ﻣﺎﺷﻴﻨﻰ ﺯﻧﮓﺯﺩﻩ‪ ،‬ﺑﺎﻻﺧﺮﻩ ﺍﺯ ﺣﺮﻛﺖ ﺍﻳﺴﺘﺎﺩ‪ .‬ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ‪ ،‬ﺻﺪﺍﻯ ﭘﺸﺖ ﭘﺮﺩﻩ ﻓﺮﻳﺎﺩ‬ ‫ﺯﺩ‪» :‬ﺑﻪ ﻧﺎﻡ ﺍﻳﺰﺩﺍﻥ! ﺣﺎﻛﻢ ﻛﻮﺍﻥﺳﻰ ﺭﺍ ﺧﺒﺮ ﻛﻨﻴﺪ!«‬ ‫ﺩﺭ ﺁﺧﺮﻳﻦ ﺭﻭﺯ ﺗﺎﺑﺴﺘﺎﻥ‪ ،‬ﺣﺎﻛﻢ ﻛﻮﺍﻥﺳﻰ‪ ،‬ﺑﻴﻤﺎﺭ ﻭ ﻓﺮﺗﻮﺕ‪ ،‬ﺑﻪ ﻛﻤﻚ ﭼﻬﺎﺭ ﺧﺪﻣﺘﻜﺎﺭ ﻗﺤﻄﻰﺯﺩﻩ‪،‬‬ ‫ﺑﻪ ﺩﺭﺑﺎﺭ ﻣﺎﻧﺪﺭﻳﻦ ﻣﺎ ﻭﺍﺭﺩ ﺷﺪ‪ .‬ﺩﻭ ﻣﺎﻧﺪﺭﻳﻦ ﺭﻭﺑﺮﻭﻯ ﻳﻜﺪﻳﮕﺮ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻨﺪ‪ .‬ﻧﻔﺲﻫﺎﻳﺸﺎﻥ ﻣﺜﻞ ﺑﺎﺩ‬ ‫ﺯﻣﺴﺘﺎﻧﻰ ﺩﺭ ﺳﻴﻨﻪﺷﺎﻥ ﻣﻰﻟﺮﺯﻳﺪ‪.‬‬ ‫ﺻﺪﺍﻳﻰ ﮔﻔﺖ‪» :‬ﺑﻴﺎﻳﻴﺪ ﺍﻳﻦ ﺑﺎﺯﻯ ﺭﺍ ﺗﻤﺎﻡ ﻛﻨﻴﻢ‪«.‬‬ ‫ﻫﺮ ﺩﻭ ﭘﻴﺮﻣﺮﺩ ﺳﺮﻯ ﺗﻜﺎﻥ ﺩﺍﺩﻧﺪ‪.‬‬ ‫ﺻﺪﺍﻯ ﺿﻌﻴﻒ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺍﻳﻦ ﻭﺿﻊ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺍﺩﺍﻣﻪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﻣﺮﺩﻡ ﻣﺎ ﻛﺎﺭﻯ ﻧﺪﺍﺭﻧﺪ ﺟﺰ ﺍﻳﻦ‬ ‫ﻛﻪ ﻫﺮ ﺭﻭﺯ ﻭ ﻫﺮ ﺳﺎﻋﺖ ﺷﻬﺮ ﺭﺍ ﺑﻪ ﺷﻜﻞ ﻣﺘﻔﺎﻭﺗﻰ ﺩﺭ ﺑﻴﺎﻭﺭﻧﺪ‪ .‬ﻧﻪ ﻭﻗﺘﻰ ﺑﺮﺍﻯ ﺷﻜﺎﺭ ﻭ ﻣﺎﻫﻴﮕﻴﺮﻯ‬ ‫ﺩﺍﺭﻧﺪ‪ ،‬ﻧﻪ ﻭﻗﺘﻰ ﺑﺮﺍﻯ ﻋﺸﻖ ﻭﺭﺯﻳﺪﻥ ﻭ ﻧﻪ ﻭﻗﺘﻰ ﺑﺮﺍﻯ ﺍﻧﺠﺎﻡ ﻭﻇﻴﻔﻪ ﻧﺴﺒﺖ ﺑﻪ ﻧﻴﺎﻛﺎﻥ ﻭ ﺑﺎﺯﻣﺎﻧﺪﮔﺎﻥ‬ ‫ﻧﻴﺎﻛﺎﻥ ﺧﻮﺩ‪«.‬‬ ‫ﻣﺎﻧﺪﺭﻳﻦﻫﺎﻯ ﺷﻬﺮﻫﺎﻯ ﻗﻔﺲ‪ ،‬ﻣﺎﻩ‪ ،‬ﻧﻴﺰﻩ‪ ،‬ﺁﺗﺶ‪ ،‬ﺷﻤﺸﻴﺮ‪ ،‬ﺍﻳﻦ‪ ،‬ﺁﻥ ﻭ ﺩﻳﮕﺮﻯ ﮔﻔﺘﻨﺪ‪» :‬ﻣﻰﭘﺬﻳﺮﻳﻢ‪«.‬‬ ‫ﺻﺪﺍ ﮔﻔﺖ‪» :‬ﻣﺎ ﺭﺍ ﺑﻪ ﺯﻳﺮ ﺁﻓﺘﺎﺏ ﺑﺒﺮﻳﺪ‪«.‬‬ ‫ﺩﻭ ﭘﻴﺮﻣﺮﺩ ﺭﺍ ﺯﻳﺮ ﺁﻓﺘﺎﺏ ﻭ ﺑﺮ ﻓﺮﺍﺯ ﺗﭙﻪﺍﻯ ﻛﻮﭼﻚ ﺑﺮﺩﻧﺪ‪ .‬ﺩﺭ ﻧﺴﻴﻢ ﺩﻳﺮﻫﻨﮕﺎﻡ ﺗﺎﺑﺴﺘﺎﻧﻰ‪ ،‬ﭼﻨﺪ‬ ‫ﻛﻮﺩﻙ ﻻﻏﺮ‪ ،‬ﺑﺎﺩﺑﺎﺩﻙﻫﺎﻯ ﺧﻮﺩ ﺭﺍ ﻛﻪ ﺑﻪ ﺷﻜﻞ ﺍژﺩﻫﺎ ﺑﻮﺩﻧﺪ‪ ،‬ﻭ ﺑﻪ ﺷﻜﻞ ﻗﻮﺭﺑﺎﻏﻪ ﻭ ﭼﻤﻦ ﺑﻮﺩﻧﺪ‪،‬‬ ‫ﻭ ﺭﻧﮓ ﺩﺭﻳﺎ ﻭ ﺳﻜﻪ ﻭ ﮔﻨﺪﻡ ﺩﺍﺷﺘﻨﺪ‪ ،‬ﺑﻪ ﻫﻮﺍ ﺑﺮﺩﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺩﺧﺘﺮ ﻣﺎﻧﺪﺭﻳﻦ ﺍﻭﻝ ﻛﻨﺎﺭ ﺗﺨﺖ ﺍﻭ ﺍﻳﺴﺘﺎﺩ ﻭ ﮔﻔﺖ‪» :‬ﺑﺒﻴﻨﻴﺪ‪«.‬‬ ‫ﺩﻭ ﭘﻴﺮﻣﺮﺩ ﮔﻔﺘﻨﺪ‪» :‬ﺍﻳﻦﻫﺎ ﻛﻪ ﭼﻴﺰﻯ ﺟﺰ ﺑﺎﺩﺑﺎﻙ ﻧﻴﺴﺘﻨﺪ‪«.‬‬ ‫ﺩﺧﺘﺮ ﮔﻔﺖ‪» :‬ﻭﻟﻰ ﺑﺎﺩﺑﺎﺩﻛﻰ ﻛﻪ ﺩﺭ ﻫﻮﺍ ﻧﺒﺎﺷﺪ‪ ،‬ﭼﻴﺴﺖ؟ ﻫﻴﭻ ﺍﺳﺖ‪ .‬ﭼﻪ ﭼﻴﺰﻯ ﻻﺯﻡ ﺩﺍﺭﺩ ﺗﺎ‬ ‫ﺧﻮﺩﺵ ﺑﺎﺷﺪ ﻭ ﺗﻤﺎﻣﺎً ﺯﻳﺒﺎ ﻭ ﺣﻘﻴﻘﻰ ﺑﺎﺷﺪ؟«‬ ‫ﺁﻥ ﺩﻭ ﮔﻔﺘﻨﺪ‪» :‬ﻣﺸﺨﺺ ﺍﺳﺖ؛ ﺑﺎﺩ‪«.‬‬ ‫»ﻭ ﺁﺳﻤﺎﻥ ﻭ ﺑﺎﺩ ﭼﻪ ﭼﻴﺰﻯ ﻧﻴﺎﺯ ﺩﺍﺭﻧﺪ ﺗﺎ ﺯﻳﺒﺎ ﺑﺎﺷﻨﺪ؟«‬ ‫»ﻣﻌﻠﻮﻡ ﺍﺳﺖ؛ ﺑﺎﺩﺑﺎﺩﻙ – ﺑﺎﺩﺑﺎﺩﻙﻫﺎﻯ ﻓﺮﺍﻭﺍﻥ؛ ﺗﺎ ﻳﻜﺪﺳﺘﻰ ﻭ ﻳﻜﻨﻮﺍﺧﺘﻰ ﺁﻥ ﺭﺍ ﺍﺯ ﻣﻴﺎﻥ ﺑﺒﺮﻧﺪ‪.‬‬ ‫ﺑﺎﺩﺑﺎﺩﻙﻫﺎﻳﻰ ﺭﻧﮕﻴﻦ ﻛﻪ ﭘﺮﻭﺍﺯ ﻣﻰﻛﻨﻨﺪ!«‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻭ ﻣﺎﻧﺪﺭﻳﻦ ﻛﻪ ﺟﺎ ﺧﻮﺭﺩﻩ ﺑﻮﺩ‪ ،‬ﺗﻜﺮﺍﺭ ﻛﺮﺩ‪» :‬ﻧﻪ‪«.‬‬ ‫ﺯﻣﺰﻣﻪ ﺷﺒﻴﻪ ﺭﻳﺰﺵ ﺩﺍﻧﻪﻫﺎﻯ ﺑﺎﺭﺍﻥ ﮔﻔﺖ‪» :‬ﺑﻪ ﺳﻨﮓﺗﺮﺍﺷﺎﻧﻢ ﺑﮕﻮﻳﻴﺪ ﺗﺎ ﺩﻳﻮﺍﺭﻫﺎﻯ ﺷﻬﺮ ﺭﺍ ﺑﻪ‬ ‫ﺷﻜﻞ ﺑﺮﻛﻪﺍﻯ ﺩﺭﺧﺸﺎﻥ ﺩﺭ ﺁﻭﺭﻧﺪ‪«.‬‬ ‫ﻣﺎﻧﺪﺭﻳﻦ ﻓﺮﻣﺎﻥ ﺭﺍ ﺑﻠﻨﺪ ﺗﻜﺮﺍﺭ ﻛﺮﺩ ﻭ ﻗﻠﺒﺶ ﺟﺎﻥ ﺩﻭﺑﺎﺭﻩﺍﻯ ﮔﺮﻓﺖ‪ .‬ﺯﻣﺰﻣﻪ ﺩﺭ ﮔﻮﺵ ﭘﻴﺮﻣﺮﺩ‬ ‫ﮔﻔﺖ‪» :‬ﻭ ﺑﺎ ﺍﻳﻦ ﺑﺮﻛﻪﻯ ﺁﺏ‪ ،‬ﺁﺗﺶ ﺭﺍ ﻓﺮﻭ ﻧﺸﺎﻧﺪﻩ ﻭ ﺁﻥ ﺭﺍ ﺑﺮﺍﻯ ﺍﺑﺪ ﺧﺎﻣﻮﺵ ﻣﻰﻛﻨﻴﻢ!«‬ ‫ﺷﻬﺮ ﺑﺎ ﺩﺭﻳﺎﻓﺖ ﺍﻳﻦ ﺧﺒﺮ ﻛﻪ ﺍﻳﺪﻩﻫﺎﻯ ﻋﺎﻟﻤﺎﻧﻪﻯ ﺣﺎﻛﻢ ﺑﺎﺭ ﺩﻳﮕﺮ ﺭﺍﻩ ﻧﺠﺎﺗﺸﺎﻥ ﺷﺪﻩ‪ ،‬ﺷﺎﺩ ﻭ‬ ‫ﺳﻌﺎﺩﺗﻤﻨﺪ ﺷﺪ‪ .‬ﻫﻤﻪ ﺑﻪ ﺳﻮﻯ ﺩﻳﻮﺍﺭﻫﺎ ﺩﻭﻳﺪﻧﺪ ﻭ ﺁﻭﺍﺯﻩﺧﻮﺍﻥ‪ ،‬ﺁﻥ ﺭﺍ ﻧﺰﺩﻳﻚ ﺑﻪ ﺗﺼﻮﻳﺮ ﭘﻴﺸﻨﻬﺎﺩﻯ‬ ‫ﻛﺮﺩﻧﺪ؛ ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﺑﺎﺭ ﺻﺪﺍﻯ ﺁﻭﺍﺯﻫﺎﻳﺸﺎﻥ ﺑﻪ ﺑﻠﻨﺪﻯ ﺑﺎﺭ ﻗﺒﻞ ﻧﺒﻮﺩ‪ ،‬ﭼﻮﻥ ﺧﺴﺘﻪ ﺑﻮﺩﻧﺪ؛ ﻭ ﺑﻪ ﻫﻤﺎﻥ‬ ‫ﺳﺮﻋﺖ ﻛﺎﺭ ﻧﻤﻰﻛﺮﺩﻧﺪ‪ ،‬ﭼﻮﻥ ﺍﺯ ﺁﻥﺟﺎﻳﻰ ﻛﻪ ﺳﺎﺧﺖ ﺩﻳﻮﺍﺭ ﻗﺒﻠﻰ ﻳﻚ ﻣﺎﻩ ﻃﻮﻝ ﻛﺸﻴﺪﻩ ﺑﻮﺩ‪،‬‬ ‫ﻣﺠﺒﻮﺭ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﺗﺠﺎﺭﺕ ﻭ ﻣﺤﺼﻮﻻﺕ ﻛﺸﺎﻭﺭﺯﻯ ﺧﻮﺩ ﺭﺍ ﺭﻫﺎ ﻛﻨﻨﺪ ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺣﺎﻻ‬ ‫ﺿﻌﻴﻒﺗﺮ ﻭ ﻓﻘﻴﺮﺗﺮ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺑﻪ ﺩﻧﺒﺎﻝ ﺍﻳﻦ ﻣﺎﺟﺮﺍ‪ ،‬ﻳﻜﻰ ﺩﺭ ﻣﻴﺎﻥ ﺩﻭﺭﻩﻫﺎﻯ ﺧﺎﺭﻕﺍﻟﻌﺎﺩﻩ ﻭ ﻭﺣﺸﺘﻨﺎﻛﻰ ﭘﻴﺶ ﺁﻣﺪ ﻛﻪ ﺍﻧﮕﺎﺭ‬ ‫ﻣﺎﻧﻨﺪ ﻣﺠﻤﻮﻋﻪﺍﻯ ﺍﺯ ﺟﻌﺒﻪﻫﺎﻯ ﻋﺠﻴﺐ‪ ،‬ﺩﺭﻭﻥ ﻫﻢ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﭘﻴﻚ ﻓﺮﻳﺎﺩ ﻛﺸﻴﺪ‪» :‬ﺁﻩ‪ ،‬ﺣﺎﻛﻢ‪ ،‬ﻛﻮﺍﻥﺳﻰ ﺩﻳﻮﺍﺭﻫﺎﻯ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺷﻜﻞ ﺩﻫﺎﻥ ﺑﺰﺭﮔﻰ ﺩﺭ ﺁﻭﺭﺩﻩ ﺗﺎ‬ ‫ﺗﻤﺎﻣﻰ ﺑﺮﻛﻪﻯ ﻣﺎ ﺭﺍ ﻳﻚ ﺟﺎ ﺑﺒﻠﻌﺪ!«‬ ‫ﺣﺎﻛﻢ ﻛﻪ ﻧﺰﺩﻳﻚ ﭘﺮﺩﻩﻯ ﺍﺑﺮﻳﺸﻤﻴﻦ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ ،‬ﺩﺳﺘﻮﺭ ﺩﺍﺩ‪» :‬ﭘﺲ ﺩﻳﻮﺍﺭﻫﺎﻯ ﻣﺎ ﺭﺍ ﺷﺒﻴﻪ‬ ‫ﺳﻮﺯﻧﻰ ﺳﺎﺯﻳﺪ ﺗﺎ ﺍﻳﻦ ﺩﻫﺎﻥ ﺭﺍ ﺑﻪ ﻫﻢ ﺑﺪﻭﺯﺩ!«‬ ‫ﭘﻴﻚ ﻓﺮﻳﺎﺩ ﻛﺸﻴﺪ‪» :‬ﺣﺎﻛﻢ! ﺩﻳﻮﺍﺭﻫﺎﻳﺸﺎﻥ ﺭﺍ ﺷﺒﻴﻪ ﺷﻤﺸﻴﺮﻯ ﻛﺮﺩﻩﺍﻧﺪ ﺗﺎ ﺑﺎ ﺁﻥ ﺳﻮﺯﻥ ﻣﺎ ﺭﺍ‬ ‫ﺑﺸﻜﻨﻨﺪ!«‬ ‫ﺣﺎﻛﻢ ﻛﻪ ﻟﺮﺯﺍﻥ ﺟﻠﻮﻯ ﭘﺮﺩﻩﻯ ﺍﺑﺮﻳﺸﻤﻴﻦ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ ،‬ﮔﻔﺖ‪» :‬ﭘﺲ ﺳﻨﮓﻫﺎ ﺭﺍ ﻃﻮﺭﻯ ﺗﻜﺎﻥ‬ ‫ﺩﻫﻴﺪ ﺗﺎ ﻧﻴﺎﻣﻰ ﺳﺎﺧﺘﻪ ﺷﻮﺩ ﻭ ﺍﻳﻦ ﺷﻤﺸﻴﺮ ﺭﺍ ﻏﻼﻑ ﻛﻨﺪ!«‬ ‫ﺻﺒﺢ ﺑﻌﺪ‪ ،‬ﭘﻴﻚ ﮔﺮﻳﻪﻛﻨﺎﻥ ﺧﺒﺮ ﺁﻭﺭﺩ‪» :‬ﺭﺣﻢ ﻛﻨﻴﺪ ﺣﺎﻛﻢ! ﺁﻥﻫﺎ ﺗﻤﺎﻡ ﺷﺐ ﻛﺎﺭ ﻛﺮﺩﻩ ﻭ‬ ‫ﺩﻳﻮﺍﺭﻫﺎﻳﺸﺎﻥ ﺭﺍ ﺷﺒﻴﻪ ﺁﺫﺭﺧﺸﻰ ﺳﺎﺧﺘﻪﺍﻧﺪ ﺗﺎ ﻧﻴﺎﻡ ﺷﻤﺸﻴﺮ ﻣﺎ ﺭﺍ ﺧﺮﺩ ﻭ ﻧﺎﺑﻮﺩ ﻛﻨﺪ!«‬ ‫ﺑﻴﻤﺎﺭﻯ ﻣﺜﻞ ﮔﻠﻪﺍﻯ ﺳﮓ ﻭﺣﺸﻰ ﺩﺭ ﺷﻬﺮ ﺷﻴﻮﻉ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻭ ﺟﻤﻌﻴﺖ ﻛﻪ ﺣﺎﻻ ﭼﻨﺪﻳﻦ ﻣﺎﻩ‬ ‫ﻣﻰﺷﺪ ﺑﻪ ﻛﺎﺭ ﺗﻐﻴﻴﺮ ﺷﻜﻞ ﺩﻳﻮﺍﺭﻫﺎ ﺍﺷﺘﻐﺎﻝ ﺩﺍﺷﺖ‪ ،‬ﺷﺒﻴﻪ ﺧﻮﺩ ﻣﺮگ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﺍﺳﺘﺨﻮﺍﻥﻫﺎﻯ‬ ‫ﺳﻔﻴﺪﺵ ﺩﺭ ﺩﺳﺖ ﺑﺎﺩ‪ ،‬ﺻﺪﺍﻳﻰ ﭼﻮﻥ ﺻﺪﺍﻯ ﻳﻚ ﺁﻟﺖ ﻣﻮﺳﻴﻘﻰ ﺗﻮﻟﻴﺪ ﻣﻰﻛﺮﺩ‪ .‬ﺧﻴﺎﺑﺎﻥﻫﺎ ﭘﺮ ﺍﺯ‬ ‫ﺗﺸﻴﻊ ﺟﻨﺎﺯﻩ ﺷﺪﻧﺪ‪ ،‬ﻭﻟﻰ ﺗﺎﺯﻩ ﻭﺳﻂ ﺗﺎﺑﺴﺘﺎﻥ ﺑﻮﺩ‪ ،‬ﺯﻣﺎﻧﻰ ﻛﻪ ﻫﻤﻪ ﺑﺎﻳﺪ ﻣﺸﻐﻮﻝ ﺟﻤﻊﺁﻭﺭﻯ ﻭ ﺩﺭﻭ‬ ‫ﻣﻰﺑﻮﺩﻧﺪ‪ .‬ﻣﺎﻧﺪﺭﻳﻦ ﭼﻨﺎﻥ ﺑﻴﻤﺎﺭ ﺷﺪ ﻛﻪ ﺩﺳﺘﻮﺭ ﺩﺍﺩ ﺗﺨﺘﺶ ﺭﺍ ﻛﻨﺎﺭ ﭘﺮﺩﻩﻯ ﺍﺑﺮﻳﺸﻤﻴﻦ ﺑﺮ ﭘﺎ ﻛﻨﻨﺪ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺳﻨﮓﺗﺮﺍﺷﺎﻥ ﺑﺎ ﻓﺮﻳﺎﺩﻫﺎﻯ ﺑﻠﻨﺪ ﺍﺯ ﺟﺎ ﺑﺮﺧﺎﺳﺘﻨﺪ‪ .‬ﺣﺘﺎ ﺧﻮﺩ ﻣﺎﻧﺪﺭﻳﻦ ﻫﻢ‪ ،‬ﺫﻭﻕﺯﺩﻩ ﺑﺎﺑﺖ ﺁﻥ ﭼﻪ‬ ‫ﺍﺯ ﺩﻫﺎﻥ ﺧﻮﺩ ﺷﻨﻴﺪﻩ ﺑﻮﺩ‪ ،‬ﺍﺯ ﺗﺨﺖ ﺑﺮﺧﺎﺳﺖ ﻭ ﺷﺮﻭﻉ ﺑﻪ ﺩﺳﺖ ﺯﺩﻥ ﻛﺮﺩ‪ .‬ﺳﭙﺲ ﻓﺮﻳﺎﺩ ﻛﺸﻴﺪ‪:‬‬ ‫»ﺯﻭﺩ ﺑﺎﺷﻴﺪ! ﺳﺮﺍﻍ ﻛﺎﺭﺗﺎﻥ ﺑﺮﻭﻳﺪ!«‬ ‫ﻭﻗﺘﻰ ﻣﺮﺩﺍﻥ ﺭﻓﺘﻨﺪ‪ ،‬ﻣﺎﻧﺪﺭﻳﻦ ﺧﻨﺪﺍﻥ ﻭ ﻫﻴﺠﺎﻧﺰﺩﻩ‪ ،‬ﺑﺎ ﻋﺸﻖ ﻭ ﻋﻼﻗﻪﻯ ﻓﺮﺍﻭﺍﻥ ﺑﻪ ﺳﻤﺖ ﭘﺮﺩﻩﻯ‬ ‫ﺍﺑﺮﻳﺸﻤﻴﻦ ﭼﺮﺧﻴﺪ ﻭ ﺯﻣﺰﻣﻪ ﻛﺮﺩ‪» :‬ﺩﺧﺘﺮ‪ ،‬ﺑﺎﻳﺪ ﺗﻮ ﺭﺍ ﺩﺭ ﺁﻏﻮﺵ ﺑﻜﺸﻢ‪ «.‬ﺍﻣﺎ ﺟﻮﺍﺑﻰ ﻧﻴﺎﻣﺪ‪.‬‬ ‫ﻣﺎﻧﺪﺭﻳﻦ ﺑﻪ ﭘﺸﺖ ﭘﺮﺩﻩ ﺭﻓﺖ ﻭ ﺩﻳﺪ ﺩﺧﺘﺮﺵ ﺁﻥﺟﺎ ﺭﺍ ﺗﺮﻙ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺑﺎ ﺧﻮﺩﺵ ﻓﻜﺮ ﻛﺮﺩ‪،‬‬ ‫ﭼﻪ ﺩﺧﺘﺮ ﻓﺮﻭﺗﻨﻰ ﺩﺍﺭﻡ‪ .‬ﺭﻓﺘﻪ ﻭ ﻣﻦ ﺭﺍ ﺑﺎ ﭘﻴﺮﻭﺯﻯ ﺗﻨﻬﺎ ﮔﺬﺍﺷﺘﻪ؛ ﺍﻧﮕﺎﺭ ﺍﻳﻦ ﭘﻴﺮﻭﺯﻯ ﺍﺯ ﺍﻭﻝ ﻫﻢ‬ ‫ﺍﺯ ﺁﻥ ﺧﻮﺩﻡ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺧﺒﺮ ﺩﺭ ﺷﻬﺮ ﭘﻴﭽﻴﺪ؛ ﺷﻬﺮﺕ ﻣﺎﻧﺪﺭﻳﻦ ﭼﻨﺪ ﺑﺮﺍﺑﺮ ﺷﺪ‪ .‬ﻫﻤﻪ ﺩﺳﺖ ﺑﻪ ﻛﺎﺭ ﺣﻤﻞ ﺳﻨﮓ ﺑﻪ ﺳﻤﺖ‬ ‫ﺩﻳﻮﺍﺭﻫﺎ ﺷﺪﻧﺪ‪ .‬ﻣﻨﻘﻞﻫﺎﻯ ﺁﺗﺶ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻧﺪ ﻭ ﺷﻴﺎﻃﻴﻦ ﻣﺮگ ﻭ ﻓﻘﺮ ﭼﻨﺪﺍﻥ ﺩﺭ ﺷﻬﺮ ﺑﺎﻗﻰ‬ ‫ﻧﻤﺎﻧﺪﻧﺪ؛ ﭼﺮﺍ ﻛﻪ ﺣﺎﻻ ﻫﻤﻪ ﺑﻪ ﻫﻢ ﻛﻤﻚ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺩﺭ ﭘﺎﻳﺎﻥ ﻣﺎﻩ‪ ،‬ﺷﻜﻞ ﺩﻳﻮﺍﺭﻫﺎ ﻋﻮﺽ ﺷﺪ‪.‬‬ ‫ﺣﺎﻻ ﺩﻳﻮﺍﺭﻫﺎ ﺷﻜﻞ ﭼﻤﺎﻗﻰ ﻗﺪﺭﺗﻤﻨﺪ ﺑﻮﺩﻧﺪ ﻛﻪ ﻣﻰﺷﺪ ﺑﺎ ﺁﻥ ﺧﻮﻙﻫﺎ‪ ،‬ﺧﺮﺱﻫﺎ ﻭ ﺣﺘﺎ ﺷﻴﺮﻫﺎ‬ ‫ﺭﺍ ﻓﺮﺍﺭﻯ ﺩﺍﺩ‪ .‬ﻣﺎﻧﺪﺭﻳﻦ ﻫﺮ ﺷﺐ ﻣﺜﻞ ﺭﻭﺑﺎﻫﻰ‪ ،‬ﺧﻮﺵ ﻭ ﺧﺮﻡ ﻣﻰﺧﻮﺍﺑﻴﺪ‪.‬‬ ‫»ﺧﻴﻠﻰ ﺩﻟﻢ ﻣﻰﺧﻮﺍﻫﺪ ﺻﻮﺭﺕ ﻣﺎﻧﺪﺭﻳﻦ ﻛﻮﺍﻥﺳﻰ‪ ،‬ﻭﻗﺘﻰ ﻛﻪ ﺧﺒﺮﻫﺎ ﺭﺍ ﻣﻰﺷﻨﻮﺩ‪ ،‬ﺑﺒﻴﻨﻢ‪ .‬ﭼﻪ‬ ‫ﻏﻮﻏﺎ ﻭ ﻫﻴﺎﻫﻮﻳﻰ ﺷﻮﺩ؛ ﺑﻌﻴﺪ ﻧﻴﺴﺖ ﺧﻮﺩﺵ ﺭﺍ ﺍﺯ ﺑﺎﻻﻯ ﻛﻮﻫﻰ ﺑﻪ ﭘﺎﻳﻴﻦ ﭘﺮﺕ ﻛﻨﺪ! ﻛﻤﻰ ﺩﻳﮕﺮ‬ ‫ﺑﺮﺍﻳﻢ ﺷﺮﺍﺏ ﺑﺮﻳﺰ‪ ،‬ﺩﺧﺘﺮﻡ ﻛﻪ ﻣﺜﻞ ﭘﺴﺮﻫﺎ ﻓﻜﺮ ﻣﻰﻛﻨﻰ‪«.‬‬ ‫ﺍﻣﺎ ﺧﻮﺷﻰ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﮔﻠﻰ ﺯﻣﺴﺘﺎﻧﻰ‪ ،‬ﺯﻭﺩﮔﺬﺭ ﺑﻮﺩ؛ ﻭ ﺧﻴﻠﻰ ﺯﻭﺩ ﺍﺯ ﻣﻴﺎﻥ ﺭﻓﺖ‪ .‬ﻫﻤﺎﻥ ﺭﻭﺯ ﻋﺼﺮ‪،‬‬ ‫ﭘﻴﻚ ﺑﺎ ﻋﺠﻠﻪ ﻭﺍﺭﺩ ﺗﺎﻻﺭ ﺷﺪ ﻭ ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﺍﻭﻩ‪ ،‬ﻣﺎﻧﺪﺭﻳﻦ! ﺑﻴﻤﺎﺭﻯ‪ ،‬ﺍﻧﺪﻭﻩ ﺯﻭﺩﺭﺱ‪ ،‬ﻭﻳﺮﺍﻧﻰ‪ ،‬ﻫﺠﻮﻡ‬ ‫ﻣﻠﺦ‪ ،‬ﭼﺎﻩﻫﺎﻯ ﺁﻟﻮﺩﻩ!«‬ ‫ﻣﺎﻧﺪﺭﻳﻦ ﺑﻪ ﺧﻮﺩ ﻟﺮﺯﻳﺪ ﻭ ﭘﻴﻚ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺷﻬﺮ ﻛﻮﺍﻥﺳﻰ‪ ،‬ﻛﻪ ﻣﺜﻞ ﺧﻮﻛﻰ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺑﻮﺩ‬ ‫ﻭ ﻣﺎ ﺁﻥ ﺭﺍ ﺑﺎ ﺗﻐﻴﻴﺮ ﺩﻳﻮﺍﺭﻫﺎﻳﻤﺎﻥ ﺑﻪ ﺷﻜﻞ ﭼﻤﺎﻗﻰ ﻗﺪﺭﺗﻤﻨﺪ ﻓﺮﺍﺭﻯ ﺩﺍﺩﻳﻢ‪ ،‬ﺣﺎﻻ ﻣﻮﻓﻘﻴﺖ ﻣﺎ ﺭﺍ‬ ‫ﺗﺒﺪﻳﻞ ﺑﻪ ﺧﺎﻛﺴﺘﺮ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺁﻥﻫﺎ ﺩﻳﻮﺍﺭﻫﺎ ﺷﻬﺮﺷﺎﻥ ﺭﺍ ﺑﻪ ﺷﻜﻞ ﺁﺗﺶ ﻋﻈﻴﻤﻰ ﺩﺭ ﺁﻭﺭﺩﻩﺍﻧﺪ‬ ‫ﻛﻪ ﭼﻤﺎﻕ ﻣﺎ ﺭﺍ ﺧﻮﺍﻫﺪ ﺳﻮﺯﺍﻧﺪ!«‬ ‫ﻗﻠﺐ ﻣﺎﻧﺪﺭﻳﻦ‪ ،‬ﺩﺭﺳﺖ ﻣﺎﻧﻨﺪ ﻣﻴﻮﻩﺍﻯ ﭘﺎﻳﻴﺰﻯ ﺩﺭ ﻣﻴﺎﻥ ﺩﺭﺧﺘﻰ ﻛﻬﻨﺴﺎﻝ‪ ،‬ﻏﻤﮕﻴﻦ ﻭ ﺧﺴﺘﻪ‬ ‫ﺷﺪ‪» .‬ﺁﻩ‪ ،‬ﺍﻳﺰﺩﺍﻥ! ﻣﺴﺎﻓﺮﺍﻥ ﺍﺯ ﻣﺎ ﺭﻭﻯ ﺑﺮﺧﻮﺍﻫﻨﺪ ﮔﺮﺩﺍﻧﺪ‪ .‬ﺗﺎﺟﺮﺍﻥ ﻛﻪ ﻧﺸﺎﻧﻪﻫﺎ ﺭﺍ ﻣﻰﺧﻮﺍﻧﻨﺪ‪ ،‬ﺍﺯ‬ ‫ﭼﻤﺎﻗﻰ ﻛﻪ ﺑﻪ ﺍﻳﻦ ﺭﺍﺣﺘﻰ ﺑﻪ ﺩﺳﺖ ﺁﺗﺶ ﻧﺎﺑﻮﺩ ﻣﻰﺷﻮﺩ ﻭ ﻫﻤﮕﻰ ﻣﺎ ﺭﺍ ﺗﺴﺨﻴﺮ ﻣﻰﻛﻨﺪ‪ ،‬ﺭﻭﻯ‬ ‫ﺑﺮﺧﻮﺍﻫﻨﺪ ﮔﺮﺩﺍﻧﺪ!«‬ ‫ﺯﻣﺰﻣﻪﺍﻯ‪ ،‬ﺑﻪ ﻟﻄﺎﻓﺖ ﻳﻚ ﺩﺍﻧﻪﻯ ﺑﺮﻑ‪ ،‬ﺍﺯ ﭘﺸﺖ ﭘﺮﺩﻩﻯ ﺍﺑﺮﻳﺸﻤﻴﻦ ﮔﻔﺖ‪» :‬ﻧﻪ‪«.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﻫﺮ ﺩﻭ ﺩﺭ ﻓﻜﺮ ﻓﺮﻭ ﺭﻓﺘﻨﺪ‪.‬‬ ‫ﺯﻧﺪﮔﻰ ﭘﺮ ﺍﺯ ﻧﺸﺎﻧﻪ ﻭ ﺍﺷﺎﺭﻩ ﺑﻮﺩ‪.‬ﺍﻫﺮﻳﻤﻨﺎﻥ ﺩﺭ ﻫﺮ ﮔﻮﺷﻪﺍﻯ ﮔﺬﺭ ﺩﺍﺷﺘﻨﺪ‪ .‬ﻣﺮگ ﺩﺭ ﺧﻴﺴﻰ ﭼﺸﻢ‬ ‫ﺷﻨﺎ ﻣﻰﻛﺮﺩ‪ ،‬ﭼﺮﺧﺶ ﺑﺎﻝ ﻣﺮﻍ ﺩﺭﻳﺎﻳﻰ ﻧﺸﺎﻧﻪﻯ ﺑﺎﺭﺍﻥ ﺑﻮﺩ؛ ﺭﻭﺵ ﺑﻪ ﺩﺳﺖ ﮔﺮﻓﺘﻦ ﺑﺎﺩﺑﺰﻥ‪،‬‬ ‫ﺷﻴﺐ ﻳﻚ ﺷﻴﺮﻭﺍﻧﻰ ﻭ ﺑﻠﻪ‪ ،‬ﺣﺘﺎ ﺷﻜﻞ ﺩﻳﻮﺍﺭ ﻳﻚ ﺷﻬﺮ ﺍﻫﻤﻴﺖ ﻋﻈﻴﻤﻰ ﺩﺍﺷﺘﻨﺪ‪ .‬ﻣﺴﺎﻓﺮﺍﻥ ﻭ‬ ‫ﮔﺮﺩﺷﮕﺮﺍﻥ‪ ،‬ﻛﺎﺭﻭﺍﻥﻫﺎ‪ ،‬ﻣﻮﺳﻴﻘﻴﺪﺍﻧﺎﻥ‪ ،‬ﻫﻨﺮﻣﻨﺪﺍﻥ ﻭ ﻫﺮ ﻛﺲ ﻛﻪ ﺑﻪ ﺍﻳﻦ ﺩﻭ ﺷﻬﺮ ﻣﻰﺭﺳﻴﺪ ﻭ ﺍﺯ‬ ‫ﻣﻨﻈﺮﻯ ﺑﻰﻃﺮﻑ ﺁﻥ ﺩﻭ ﺭﺍ ﻣﺸﺎﻫﺪﻩ ﻣﻰﻛﺮﺩ‪ ،‬ﻣﻰﮔﻔﺖ‪» :‬ﺷﻬﺮﻯ ﺑﻪ ﺷﻜﻞ ﻳﻚ ﭘﺮﺗﻘﺎﻝ! ﻧﻪ! ﻣﻦ‬ ‫ﺑﻪ ﺷﻬﺮ ﺧﻮﻙﺷﻜﻞ ﻭﺍﺭﺩ ﻣﻰﺷﻮﻡ ﺗﺎ ﻣﻮﻓﻖ ﺑﺎﺷﻢ‪ ،‬ﺧﻮﺏ ﺑﺨﻮﺭﻡ‪ ،‬ﻭ ﺍﺯ ﺧﻮﺵﺷﺎﻧﺴﻰ ﻭ ﻣﻮﻓﻘﻴﺖ‬ ‫ﻓﺮﺑﻪ ﺷﻮﻡ!«‬ ‫ﻣﺎﻧﺪﺭﻳﻦ ﮔﺮﻳﻪﻛﻨﺎﻥ ﮔﻔﺖ‪» :‬ﻫﻤﻪ ﭼﻴﺰ ﺍﺯ ﺩﺳﺖ ﺭﻓﺖ! ﺍﻳﻦ ﻧﺸﺎﻧﻪﻫﺎ ﻭ ﻋﻼﻳﻢ ﺑﺎﻋﺚ ﻭﺣﺸﺖ‬ ‫ﻣﻰﺷﻮﻧﺪ‪ .‬ﺷﻬﺮ ﻣﺎ ﺑﻪ ﺭﻭﺯﮔﺎﺭ ﺳﻴﺎﻫﻰ ﻭﺍﺭﺩ ﻣﻰﺷﻮﺩ‪«.‬‬ ‫ﺩﺧﺘﺮ ﺍﻭ ﮔﻔﺖ‪» :‬ﭘﺲ‪ ،‬ﺳﻨﮓﺗﺮﺍﺷﺎﻥ ﻭ ﻣﻌﺒﺪﺳﺎﺯﺍﻥ ﺭﺍ ﺧﺒﺮ ﻛﻨﻴﺪ‪ .‬ﻣﻦ ﺍﺯ ﭘﺸﺖ ﭘﺮﺩﻩﻯ ﺍﺑﺮﻳﺸﻢ‬ ‫ﺑﺮﺍﻳﺘﺎﻥ ﺯﻣﺰﻣﻪ ﻣﻰﻛﻨﻢ ﻭ ﺑﺪﻳﻦ ﺷﻜﻞ‪ ،‬ﺷﻤﺎ ﻛﻠﻤﺎﺕ ﺭﺍ ﺧﻮﺍﻫﻴﺪ ﻓﻬﻤﻴﺪ‪«.‬‬ ‫ﭘﻴﺮﻣﺮﺩ ﺑﺎ ﻫﻤﺎﻥ ﺣﺎﻝ ﻧﺰﺍﺭ‪ ،‬ﺩﺳﺘﺎﻧﺶ ﺭﺍ ﺑﻪ ﻫﻢ ﻛﻮﺑﻴﺪ ﻭ ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﻫﺎﻯ! ﺳﻨﮓﺗﺮﺍﺷﺎﻥ!‬ ‫ﻣﻌﺒﺪﺳﺎﺯﺍﻥ ﻭ ﻛﺎﺥﺳﺎﺯﺍﻥ!«‬ ‫ﻣﺮﺩﺍﻧﻰ ﻛﻪ ﺍﺯ ﻣﺮﻣﺮ ﻭ ﺧﺎﺭﺍ ﻭ ﻋﻘﻴﻖ ﺳﺮﺭﺷﺘﻪ ﺩﺍﺷﺘﻨﺪ‪ ،‬ﺳﺮﻳﻊ ﺍﺯ ﺭﺍﻩ ﺭﺳﻴﺪﻧﺪ‪ .‬ﻣﺎﻧﺪﺭﻳﻦ ﺑﺎ ﺑﻰﻗﺮﺍﺭﻯ‬ ‫ﺩﺭ ﺑﺮﺍﺑﺮ ﺁﻥﻫﺎ ﻗﺮﺍﺭ ﮔﺮﻓﺖ ﻭ ﺧﻮﺩﺵ ﻣﻨﺘﻈﺮ ﺯﻣﺰﻣﻪﺍﻯ ﺑﻮﺩ ﻛﻪ ﺑﺎﻳﺪ ﺍﺯ ﭘَﺲ ﭘﺮﺩﻩﻯ ﺍﺑﺮﻳﺸﻤﻴﻦ‬ ‫ﺁﻭﻳﺰﺍﻥ ﺩﺭ ﭘﺸﺖ ﺗﺨﺖ ﺣﻜﻮﻣﺖ ﻓﺮﺍ ﻣﻰﺭﺳﻴﺪ‪ .‬ﻋﺎﻗﺒﺖ ﺯﻣﺰﻣﻪ ﺍﺯ ﺭﺍﻩ ﺭﺳﻴﺪ ﻭ ﮔﻔﺖ‪» :‬ﺷﻤﺎ ﺭﺍ ﺑﻪ‬ ‫ﺍﻳﻦﺟﺎ ﻓﺮﺍ ﺧﻮﺍﻧﺪﻩﺍﻡ‪«.‬‬ ‫ﻣﺎﻧﺪﺭﻳﻦ ﺑﺎ ﺻﺪﺍﻯ ﺑﻠﻨﺪ ﺗﻜﺮﺍﺭ ﻛﺮﺩ‪» :‬ﺷﻤﺎ ﺭﺍ ﺑﻪ ﺍﻳﻦﺟﺎ ﻓﺮﺍ ﺧﻮﺍﻧﺪﻩﺍﻡ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺷﻬﺮ ﻣﺎ ﺷﻜﻞ‬ ‫ﭘﺮﺗﻘﺎﻝ ﺍﺳﺖ ﻭ ﺷﻬﺮ ﺷﻴﻄﺎﻧﻰ ﻛﻮﺍﻥﺳﻰ‪ ،‬ﺍﻣﺮﻭﺯ ﺩﻳﻮﺍﺭ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺷﻜﻞ ﺧﻮﻙ ﺣﺮﻳﺺ ﻭ ﮔﺮﺳﻨﻪﺍﻯ‬ ‫ﺩﺭ ﺁﻭﺭﺩﻩ ﺍﺳﺖ‪«...‬‬ ‫ﺩﺭ ﺍﻳﻦ ﻟﺤﻈﻪ‪ ،‬ﺳﻨﮓﺗﺮﺍﺷﺎﻥ ﻧﺎﻟﻪ ﻛﺮﺩﻧﺪ ﻭ ﮔﺮﻳﺴﺘﻨﺪ‪ .‬ﺻﺪﺍﻯ ﺗﻠﻖﺗﻠﻖ ﻋﺼﺎﻯ ﻣﺮگ ﺩﺭ ﺣﻴﺎﻁ‬ ‫ﺑﻴﺮﻭﻧﻰ ﺑﻪ ﮔﻮﺵ ﻣﻰﺭﺳﻴﺪ‪ .‬ﻓﻘﺮ ﺩﺭ ﻣﻴﺎﻥ ﺳﺎﻳﻪﻫﺎﻯ ﺗﺎﻻﺭ‪ ،‬ﺳﺮﻓﻪﻯ ﺧﻴﺴﻰ ﻛﺮﺩ‪.‬‬ ‫ﺯﻣﺰﻣﻪ ﻭ ﺑﻪ ﺩﻧﺒﺎﻝ ﺁﻥ ﻣﺎﻧﺪﺭﻳﻦ ﺍﺩﺍﻣﻪ ﺩﺍﺩﻧﺪ‪» :‬ﺑﻨﺎﺑﺮﺍﻳﻦ‪ ،‬ﺷﻤﺎ ﻛﺴﺎﻧﻰ ﻛﻪ ﺩﻳﻮﺍﺭﻫﺎ ﺭﺍ ﺑﺮﺍﻓﺮﺍﺷﺘﻪ‬ ‫ﻣﻰﻛﻨﻴﺪ‪ ،‬ﺑﺎﻳﺪ ﺑﻪ ﺳﺮﺍﻍ ﺳﻨﮓ ﻭ ﺗﻴﺸﻪﻯ ﺧﻮﺩ ﺑﺮﻭﻳﺪ ﻭ ﺷﻜﻞ ﺷﻬﺮﻣﺎﻥ ﺭﺍ ﻋﻮﺽ ﻛﻨﻴﺪ!«‬ ‫ﻧﻔﺲ ﺩﺭ ﺳﻴﻨﻪﻯ ﻣﻌﻤﺎﺭﺍﻥ ﻭ ﺳﻨﮓﺗﺮﺍﺷﺎﻥ ﺣﺒﺲ ﺷﺪ‪ .‬ﺧﻮﺩ ﻣﺎﻧﺪﺭﻳﻦ ﻫﻢ ﺑﺎ ﺷﻨﻴﺪﻥ ﺁﻥ ﭼﻪ‬ ‫ﮔﻔﺘﻪ ﺑﻮﺩ‪ ،‬ﻧﻔﺲ ﺭﺍ ﺩﺭ ﺳﻴﻨﻪ ﺣﺒﺲ ﻛﺮﺩ‪ .‬ﺯﻣﺰﻣﻪ ﺍﺩﺍﻣﻪ ﻳﺎﻓﺖ‪ .‬ﻣﺎﻧﺪﺭﻳﻦ ﮔﻔﺖ‪» :‬ﻭ ﺩﻳﻮﺍﺭﻫﺎﻯ‬ ‫ﺷﻬﺮﻣﺎﻥ ﺭﺍ ﺑﻪ ﺷﻜﻞ ﭼﻤﺎﻗﻰ ﺩﺭ ﺁﻭﺭﻳﺪ ﻛﻪ ﺧﻮﻙ ﺭﺍ ﻛﺘﻚ ﺯﺩﻩ ﻭ ﻓﺮﺍﺭﻯ ﺩﻫﺪ!«‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺑﺎﺩﺑﺎﺩﻙ ﻃﻼﻳﻰ‪،‬‬ ‫ﺑﺎﺩ ﻧﻘـــــﺮﻩﺍﻯ‬ ‫ﺭﻯ ﺑﺮﺩﺑﺮﻯ‬ ‫ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

‫ﻣﺎﻧﺪﺭﻳﻦ ]‪ [1‬ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﺑﻪ ﺷﻜﻞ ﻳﻚ ﺧﻮﻙ؟«‬ ‫ﭘﻴﻚ ﺗﻜﺮﺍﺭ ﻛﺮﺩ‪» :‬ﺑﻪ ﺷﻜﻞ ﻳﻚ ﺧﻮﻙ‪ «.‬ﻭ ﺧﺎﺭﺝ ﺷﺪ‪.‬‬ ‫ﻣﺎﻧﺪﺭﻳﻦ ﻧﺎﻟﻪ ﻛﺮﺩ‪» :‬ﺍﻭﻩ‪ ،‬ﭼﻪ ﺭﻭﺯ ﺷﻮﻣﻰ ﺩﺭ ﭼﻪ ﺳﺎﻝ ﺷﻮﻣﻰ! ﺷﻬﺮ ﻛﻮﺍﻥﺳﻰ ]‪ ،[2‬ﺁﻥ ﺳﻮﻯ‬ ‫ﺗﭙﻪ‪ ،‬ﺯﻣﺎﻥ ﻛﻮﺩﻛﻰ ﻣﻦ ﺑﺴﻴﺎﺭ ﻛﻮﭼﻚ ﺑﻮﺩ‪ .‬ﺣﺎﻻ ﭼﻨﺎﻥ ﺑﺰﺭگ ﺷﺪﻩ ﻛﻪ ﺑﺎﻻﺧﺮﻩ ﻣﻰﺧﻮﺍﻫﻨﺪ‬ ‫ﺩﻭﺭﺵ ﺩﻳﻮﺍﺭ ﺷﻬﺮ ﺑﻜﺸﻨﺪ‪«.‬‬ ‫ﺩﺧﺘﺮ ﻣﺎﻧﺪﺭﻳﻦ ﺑﻪ ﺁﺭﺍﻣﻰ ﭘﺮﺳﻴﺪ‪» :‬ﺍﻣﺎ ﭼﺮﺍ ﺩﻳﻮﺍﺭ ﺷﻬﺮﻯ ﺩﺭ ﺩﻭ ﻣﺎﻳﻠﻰ ﺍﻳﻦﺟﺎ ﺑﺎﻳﺪ ﭘﺪﺭ ﻋﺰﻳﺰ‬ ‫ﻣﻦ ﺭﺍ ﺩﺭ ﺍﻳﻦ ﻟﺤﻈﻪ ﻏﻤﮕﻴﻦ ﻭ ﻋﺼﺒﺎﻧﻰ ﺳﺎﺯﺩ؟«‬ ‫ﻣﺎﻧﺪﺭﻳﻦ ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﺩﻳﻮﺍﺭﺷﺎﻥ ﺭﺍ ﺑﻪ ﺷﻜﻞ ﻳﻚ ﺧﻮﻙ ﺳﺎﺧﺘﻪﺍﻧﺪ! ﻣﺘﻮﺟﻬﻰ؟ ﺩﻳﻮﺍﺭ ﺷﻬﺮ ﻣﺎ‬ ‫ﺑﻪ ﺷﻜﻞ ﻳﻚ ﭘﺮﺗﻘﺎﻝ ﺍﺳﺖ‪ .‬ﺧﻮﻙ ﺑﺎ ﺣﺮﺹ ﺗﻤﺎﻡ‪ ،‬ﻣﺎ ﺭﺍ ﺧﻮﺍﻫﺪ ﺑﻠﻌﻴﺪ!«‬

‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺧﺪﻣﺘﮕﺰﺍﺭﺍﻥ ﺭﻓﺘﻨﺪ ﺗﺎ ﺩﺳﺘﻮﺭ ﺭﺍ ﺍﺟﺮﺍ ﻛﻨﻨﺪ‪.‬‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﺑﻪ ﺳﻮﻯ ﺧﺪﻣﺘﮕﺰﺍﺭ ﺷﺨﺼﻰﺍﺵ ﺑﺮﮔﺸﺖ ﻛﻪ ﻣﺮﺩ ﺭﺍ ﺩﺭ ﭘﺮﻭﺍﺯ ﺩﻳﺪﻩ ﺑﻮﺩ ﻭ ﮔﻔﺖ‪» :‬ﺯﺑﺎﻧﺖ‬ ‫ﺭﺍ ﻧﮕﻪ ﺩﺍﺭ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﺭﺅﻳﺎ ﺑﻮﺩ‪ .‬ﺧﻮﺍﺑﻰ ﻏﻢﺍﻓﺰﺍ ﻭ ﺯﻳﺒﺎ‪ .‬ﻭ ﺁﻥ ﻛﺸﺎﻭﺭﺯ ﺩﺭ ﺁﻥ ﻣﺰﺭﻋﻪﻯ ﺩﻭﺭﺩﺳﺖ‬ ‫ﻛﻪ ﺷﺎﻫﺪ ﭘﺮﻭﺍﺯ ﺑﻮﺩ‪ ،‬ﺑﻪ ﺍﻭ ﺑﮕﻮ ﺑﻪ ﻧﻔﻌﺶ ﺍﺳﺖ ﻛﻪ ﻣﺎﺟﺮﺍ ﺭﺍ ﺑﻪ ﺣﺴﺎﺏ ﺧﻮﺍﺑﻰ ﺭﺅﻳﺎﻳﻰ ﺑﮕﺬﺍﺭﺩ‪ .‬ﺍﮔﺮ‬ ‫ﻛﻠﻤﻪﺍﻯ ﺍﺯ ﺍﻳﻦ ﻣﺎﺟﺮﺍ ﺑﺸﻨﻮﻡ ﻭ ﺗﻮ ﻭ ﺁﻥ ﻛﺸﺎﻭﺭﺯ ﺩﺭ ﺳﺎﻋﺖ ﻣﻰﻣﻴﺮﻳﺪ‪«.‬‬ ‫»ﺑﺰﺭگﻭﺍﺭﻳﺪ ﺍﻣﭙﺮﺍﻃﻮﺭ‪«.‬‬ ‫ﭘﻴﺮﻣﺮﺩ ﮔﻔﺖ‪» :‬ﻧﻪ‪ ،‬ﺑﺰﺭگﻭﺍﺭ ﻧﻴﺴﺘﻢ‪ «.‬ﺁﻥ ﺳﻮﺗﺮ ﺍﺯ ﺩﻳﻮﺍﺭ ﺑﺎﻍ ﻧﮕﻬﺒﺎﻧﺎﻥ ﺭﺍ ﺩﻳﺪ ﻛﻪ ﻣﺎﺷﻴﻦ ﺯﻳﺒﺎﻯ‬ ‫ﺳﺎﺧﺘﻪﺷﺪﻩ ﺍﺯ ﻛﺎﻏﺬ ﻭ ﻧﻰ ﺭﺍ ﻣﻰﺳﻮﺯﺍﻧﻨﺪ ﻛﻪ ﺑﻮﻯ ﻧﺴﻴﻢ ﺻﺒﺢ ﻣﻰﺩﺍﺩ‪ .‬ﺩﻭﺩ ﺳﻴﺎﻩ ﺭﺍ ﺩﻳﺪ ﻛﻪ ﺑﻪ‬ ‫ﺁﺳﻤﺎﻥ ﻣﻰﺭﻓﺖ ﻭ ﮔﻔﺖ‪» :‬ﻧﻪ‪ ،‬ﻓﻘﻂ ﺑﺴﻴﺎﺭ ﺷﮕﻔﺖﺯﺩﻩ ﻭ ﺗﺮﺳﻴﺪﻩﺍﻡ‪ «.‬ﻧﮕﻬﺒﺎﻧﺎﻥ ﺭﺍ ﺩﻳﺪ ﻛﻪ ﭼﺎﻟﻪﺍﻯ‬ ‫ﻛﻮﭼﻚ ﺑﺮﺍﻯ ﺩﻓﻦ ﺧﺎﻛﺴﺘﺮﻫﺎ ﻣﻰ َﻛ َﻨﻨﺪ ﻭ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺟﺎﻥ ﻳﻚ ﻣﺮﺩ ﺩﺭ ﻣﻘﺎﺑﻞ ﺟﺎﻥ ﻣﻴﻠﻴﻮﻥﻫﺎ‬ ‫ﻧﻔﺮ ﺩﻳﮕﺮ ﭼﻪ ﺍﺭﺯﺷﻰ ﺩﺍﺭﺩ؟ ﺑﺎﻳﺪ ﻭﺟﺪﺍﻧﻢ ﺭﺍ ﺑﺎ ﺍﻳﻦ ﻓﻜﺮ ﺗﺴﻜﻴﻦ ﺑﺪﻫﻢ‪«.‬‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﻛﻠﻴﺪ ﺭﺍ ﺍﺯ ﺯﻧﺠﻴﺮﺵ ﻛﻪ ﺑﻪ ﮔﺮﺩﻥ ﺁﻭﻳﺨﺘﻪ ﺑﻮﺩ ﮔﺮﻓﺖ ﻭ ﺑﺎﺭ ﺩﻳﮕﺮ ﺑﺎﻍ ﻣﻴﻨﻴﺎﺗﻮﺭﻯ ﺯﻳﺒﺎ ﺭﺍ‬ ‫ﻛﻮﻙ ﻛﺮﺩ‪ .‬ﺍﻳﺴﺘﺎﺩ ﻭ ﺍﺯ ﻭﺭﺍﻯ ﺳﺮﺯﻣﻴﻨﺶ ﺑﻪ ﺩﻳﻮﺍﺭ ﺑﺰﺭگ ﺧﻴﺮﻩ ﻣﺎﻧﺪ‪ ،‬ﺑﻪ ﺷﻬﺮ ﺁﺭﺍﻡ‪ ،‬ﺑﻪ ﺩﺷﺖﻫﺎﻯ‬ ‫ﺳﺒﺰ‪ ،‬ﺑﻪ ﺭﻭﺩﻫﺎ ﻭ ﻧﻬﺮﻫﺎ‪ .‬ﺁﻫﻰ ﻛﺸﻴﺪ‪ .‬ﺑﺎﻍ ﻛﻮﭼﻚ ﺳﺎﺯ ﻭ ﻛﺎﺭ ﻣﺨﻔﻰ ﻭ ﻇﺮﻳﻔﺶ ﺭﺍ ﺑﻪ ﺳﺮﻋﺖ‬ ‫ﻣﻰﭼﺮﺧﺎﻧﺪ ﻭ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺣﺮﻛﺖ ﺩﺭ ﻣﻰﺁﻭﺭﺩ؛ ﻣﺮﺩﻡ ﺭﻳﺰ ﺩﺭ ﺟﻨﮕﻞﻫﺎ ﻗﺪﻡ ﻣﻰﺯﺩﻧﺪ‪ ،‬ﭼﻬﺮﻩﻫﺎﻳﻰ‬ ‫ﻛﻮﭼﻚ ﺑﺮ ﺗﻨﻪﻫﺎﻯ ﺩﺭﺧﺸﺎﻥ ﺯﻳﺒﺎ ﺩﺭ ﺑﻴﺸﻪﺯﺍﺭﻫﺎﻯ ﺳﺎﻳﻪﺭﻭﺷﻦ ﻣﻰﺧﺮﺍﻣﻴﺪﻧﺪ ﻭ ﺩﺭ ﻣﻴﺎﻥ ﺩﺭﺧﺘﺎﻥ‬ ‫ِ‬ ‫ﻛﻮﭼﻚ ﺫﺭﻩﻫﺎﻯ‬ ‫ﻛﻮﭼﻚ ﺁﻭﺍﺯﻯ ﺗﻴﺰ ﻭ ﺭﻧﮓﻫﺎﻯ ﺯﺭﺩ ﻭ ﺁﺑﻰ ﺩﺭﺧﺸﺎﻥ ﻣﻰﭘﺮﻳﺪﻧﺪ‪ ،‬ﻣﻰﭘﺮﻳﺪﻧﺪ‪،‬‬ ‫ﻣﻰﭘﺮﻳﺪﻧﺪ‪ ،‬ﻣﻰﭘﺮﻳﺪﻧﺪ ﺩﺭ ﺁﺳﻤﺎﻥ ﻛﻮﭼﻚ‪.‬‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ ﺑﺴﺖ ﻭ ﮔﻔﺖ‪» :‬ﺁﻩ‪ ،‬ﭘﺮﻧﺪﻩﻫﺎ ﺭﺍ ﺑﺒﻴﻦ‪ ،‬ﭘﺮﻧﺪﻩﻫﺎ ﺭﺍ ﺑﺒﻴﻦ!«‬

‫* ﻣﺎﺷﻴﻦ ﭘﺮﻧﺪﻩ )‪ (Flying Machine‬ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻫﻰ ﺍﺯ‬ ‫ﺭﻯ ﺑﺮﺩﺑﺮﻯ ﻓﻘﻴﺪ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪ 1953‬ﺩﺭ ﻣﺠﻤﻮﻋﻪﺍﻯ‬ ‫ﺑﻪ ﻧﺎﻡ »ﺳﻴﺐﻫﺎﻯ ﻃﻼﻳﻰ ﺧﻮﺭﺷﻴﺪ« ﻣﻨﺘﺸﺮ ﺷﺪ‪ .‬ﺩﺭ ﻫﻤﺎﻥ‬

‫ﺳﺎﻝ ﺑﺮﺩﺑﺮﻯ ﻧﻤﺎﻳﺶﻧﺎﻣﻪﺍﻯ ﺍﺯ ﺁﻥ ﻧﻮﺷﺖ ﻛﻪ ﺑﻪ ﺻﻮﺭﺕ ﺗﺌﺎﺗﺮ‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺑﺎ ﺳﻪ ﺑﺎﺯﻳﮕﺮ ﺍﺟﺮﺍ ﺷﺪ‪ .‬ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺑﺮﺍﻯ‬ ‫ﻣﺎﻫﻨﺎﻣﻪﻯ ﺗﺠﺮﺑﻪ ﺑﻪ ﻓﺎﺭﺳﻰ ﺗﺮﺟﻤﻪ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﺩﻫﻢ‪ .‬ﻣﻦ ﭘﺮﻧﺪﻩﻫﺎ ﺭﺍ ﻭﺍﺩﺍﺷﺘﻪﺍﻡ ﺑﺨﻮﺍﻧﻨﺪ‪ ،‬ﺟﻨﮕﻞﻫﺎ ﺭﺍ ﺑﻪ ﺯﻣﺰﻣﻪ ﻭﺍﺩﺍﺷﺘﻪﺍﻡ‪ ،‬ﻣﺮﺩﻡ ﺭﺍ ﮔﺬﺍﺷﺘﻪﺍﻡ‬ ‫ﺗﺎ ﺩﺭ ﺍﻳﻦ ﺩﺭﺧﺖﺯﺍﺭ ﻗﺪﻡ ﺑﺰﻧﻨﺪ ﻭ ﺍﺯ ﺩﺭﺧﺖﻫﺎ ﻭ ﺳﺎﻳﻪ ﻭ ﺁﻭﺍﺯﻫﺎ ﻟﺬﺕ ﺑﺒﺮﻧﺪ‪ .‬ﺍﻳﻦ ﺍﺳﺖ ﻛﺎﺭﻯ ﻛﻪ‬ ‫ﻣﻦ ﻛﺮﺩﻩﺍﻡ‪«.‬‬ ‫ﭘﺮﻧﺪﻩ ﺑﻪ ﺯﺍﻧﻮ ﺩﺭ ﺍﻓﺘﺎﺩ‪ ،‬ﺑﺎ ﺻﻮﺭﺗﻰ ﻛﻪ ﺍﺷﻚ ﺭﻭﻳﺶ ﺭﻭﺍﻥ ﺑﻮﺩ ﺑﻪ ﺍﻟﺘﻤﺎﺱ ﺑﻪ ﺍﻣﭙﺮﺍﻃﻮﺭ ﮔﻔﺖ‪» :‬ﻭﻟﻰ‪،‬‬ ‫ﺁﺧﺮ ﺍﻣﭙﺮﺍﻃﻮﺭ! ﻣﻦ ﻫﻢ ﭼﻨﻴﻦ ﻛﺎﺭﻯ ﻛﺮﺩﻩﺍﻡ! ﻣﻦ ﺯﻳﺒﺎﻳﻰ ﺭﺍ ﻳﺎﻓﺘﻪﺍﻡ‪ .‬ﻣﻦ ﺳﻮﺍﺭ ﺑﺮ ﺑﺎﺩ ﺳﺤﺮﮔﺎﻫﻰ‬ ‫ﭘﺮﻭﺍﺯ ﻛﺮﺩﻩﺍﻡ‪ .‬ﻣﻦ ﺍﺯ ﺑﺎﻻ ﺧﺎﻧﻪﻫﺎﻯ ﻭ ﺑﺎﻍﻫﺎﻯ ﺧﻔﺘﻪ ﺭﺍ ﺩﻳﺪﻩﺍﻡ‪ .‬ﻣﻦ ﺩﺭﻳﺎ ﺭﺍ ﺑﻮﻳﻴﺪﻩﺍﻡ ﻭ ﺣﺘﺎ ﺁﻥ ﺭﺍ‬ ‫ﺩﻳﺪﻡ‪ ،‬ﺁﻥ ﺳﻮﻯ ﺗﭙﻪﻫﺎ‪ ،‬ﺍﺯ ﺑﻠﻨﺪﺍﻳﻰ ﻛﻪ ﺑﻮﺩﻡ ﻭ ﺑﺎ ﺑﺎﺩﻯ ﻛﻪ ﻣﺮﺍ ﺩﺭ ﺑﺮ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ .‬ﺑﺎﺩ ﻣﺮﺍ ﻣﺜﻞ ﭘﺮ‬ ‫ﻣﻰﺑﺮﺩ‪ ،‬ﻣﺜﻞ ﻳﻚ ﺑﺎﺩﺑﺰﻥ‪ ،‬ﺁﺳﻤﺎﻥ ﺻﺒﺢ ﭼﻪ ﺑﻮﻳﻰ ﺩﺍﺭﺩ! ﻭ ﭼﻘﺪﺭ ﺁﺩﻡ ﺍﺣﺴﺎﺱ ﺁﺯﺍﺩﻯ ﻣﻰﻛﻨﺪ!‬ ‫ﺯﻳﺒﺎﺳﺖ ﺍﻣﭙﺮﺍﻃﻮﺭ‪ ،‬ﺍﻳﻦ ﻫﻢ ﺯﻳﺒﺎﺳﺖ!«‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﻏﻤﮕﻴﻦ ﮔﻔﺖ‪» :‬ﺑﻠﻪ‪ .‬ﻣﻰﺩﺍﻧﻢ ﻛﻪ ﺩﺭﺳﺖ ﻣﻰﮔﻮﻳﻰ‪ .‬ﺯﻳﺮﺍ ﻣﻦ ﻗﻠﺒﻢ ﺭﺍ ﺣﺲ ﻛﺮﺩﻡ ﻛﻪ ﺑﺎ‬ ‫ﺗﻮ ﺩﺭ ﺁﺳﻤﺎﻥ ﺑﻮﺩ ﻭ ﺑﺎ ﺧﻮﺩ ﻓﻜﺮ ﻛﺮﺩﻡ‪ :‬ﭼﻄﻮﺭ ﺣﺴﻰ ﺍﺳﺖ؟ ﭼﮕﻮﻧﻪ ﺍﺳﺖ؟ ﺑﺮﻛﻪﻫﺎﻯ ﺩﻭﺭﺩﺳﺖ‬ ‫ﺍﺯ ﺁﻥ ﺑﺎﻻ ﭼﻄﻮﺭ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻨﺪ؟ ﺧﺎﻧﻪﻯ ﻣﻦ ﻭ ﺧﺪﻣﺘﮕﺰﺍﺭﺍﻧﻢ ﭼﻄﻮﺭ؟ ﻣﺜﻞ ﻣﻮﺭﭼﻪ؟ ﺷﻬﺮ‬ ‫ﺩﻭﺭﺩﺳﺘﻰ ﻛﻪ ﻫﻨﻮﺯ ﺑﻴﺪﺍﺭ ﻧﺸﺪﻩ ﺍﺳﺖ ﭼﻄﻮﺭ؟«‬ ‫»ﭘﺲ ﺍﺯ ﺟﺎﻧﻢ ﺑﮕﺬﺭﻳﺪ!«‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﺑﻴﺸﺘﺮ ﻓﺮﻭ ﺭﻓﺘﻪ ﺩﺭ ﻣﻐﺎﻙ ﻏﻢ ﮔﻔﺖ‪» :‬ﺍﻣﺎ ﻭﻗﺖﻫﺎﻳﻰ ﭘﻴﺶ ﻣﻰﺁﻳﺪ ﻛﻪ ﺍﻧﺴﺎﻥ ﻣﺠﺒﻮﺭ‬ ‫ﺍﺳﺖ ﺑﺮﺍﻯ ﺍﻳﻦﻛﻪ ﺯﻳﺒﺎﻳﻰ ﻛﻮﭼﻜﻰ ﺭﺍ ﻛﻪ ﺩﺍﺭﺩ ﺣﻔﻆ ﻛﻨﺪ‪ ،‬ﺯﻳﺒﺎﻳﻰ ﻛﻮﭼﻚ ﺩﻳﮕﺮﻯ ﺭﺍ ﺍﺯ ﺩﺳﺖ‬ ‫ﺑﺪﻫﺪ‪ .‬ﺗﺮﺱ ﻣﻦ ﺍﺯ ﺗﻮ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﺍﺯ ﻛﺲ ﺩﻳﮕﺮﻯ ﻣﻰﺗﺮﺳﻢ‪«.‬‬ ‫»ﭼﻪ ﻛﺴﻰ؟«‬ ‫»ﻛﺲ ﺩﻳﮕﺮﻯ ﻛﻪ ﻭﻗﺘﻰ ﺗﻮ ﺭﺍ ﺑﺒﻴﻨﺪ‪ ،‬ﭼﻴﺰﻯ ﺍﺯ ﻛﺎﻏﺬﻫﺎﻯ ﺑﺮﺍﻕ ﻭ ﺭﻭﺷﻦ ﻭ ﺑﺎﻣﺒﻮ ﻣﺜﻞ ﺍﻳﻦ‬ ‫ﻣﻰﺳﺎﺯﺩ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﻛﺲ ﺩﻳﮕﺮ ﭼﻬﺮﻩﺍﻯ ﺍﻫﺮﻳﻤﻨﻰ ﻭ ﻗﻠﺒﻰ ﺍﻫﺮﻳﻤﻨﻰ ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ ﻭ ﺯﻳﺒﺎﻳﻰ ﺍﺯ‬ ‫ﻣﻴﺎﻥ ﺧﻮﺍﻫﺪ ﺭﻓﺖ‪ .‬ﺍﺯ ﺍﻳﻦ ﻛﺲ ﺍﺳﺖ ﻛﻪ ﻣﻦ ﻣﻰﺗﺮﺳﻢ‪«.‬‬ ‫»ﭼﺮﺍ؟ ﭼﺮﺍ؟«‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﮔﻔﺖ‪» :‬ﭼﻪ ﻛﺴﻰ ﻣﻰﮔﻮﻳﺪ ﻣﻤﻜﻦ ﻧﻴﺴﺖ ﺭﻭﺯﻯ ﭼﻨﻴﻦ ﺁﺩﻣﻰ‪ ،‬ﺩﺭ ﭼﻨﺎﻥ ﺩﺳﺘﮕﺎﻫﻰ‬ ‫ﺍﺯ ﻛﺎﻏﺬ ﻭ ﺑﺎﻣﺒﻮ ﺩﺭ ﺁﺳﻤﺎﻥ ﭘﺮﻭﺍﺯ ﻛﻨﺪ ﻭ ﺳﻨﮓﻫﺎﻯ ﺑﺰﺭگ ﺭﻭﻯ ﺩﻳﻮﺍﺭ ﺑﺰﺭگ ﭼﻴﻦ ﺑﻴﻨﺪﺍﺯﺩ؟«‬ ‫ﻧﻪ ﻛﺴﻰ ﺗﻜﺎﻥ ﺧﻮﺭﺩ ﻭ ﻧﻪ ﻛﺴﻰ ﻛﻼﻣﻰ ﺑﻪ ﺯﺑﺎﻥ ﺁﻭﺭﺩ‪.‬‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﮔﻔﺖ‪» :‬ﺳﺮﺵ ﺭﺍ ﺑﺰﻧﻴﺪ‪«.‬‬ ‫ﺟﻼﺩ ﺗﺒﺮ ﻧﻘﺮﻩﺍﺵ ﺭﺍ ﭼﺮﺧﺎﻧﺪ‪.‬‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﮔﻔﺖ‪» :‬ﺑﺎﺩﺑﺎﺩﻙ ﻭ ﺟﺴﺪ ﻣﺨﺘﺮﻉ ﺭﺍ ﺑﺴﻮﺯﺍﻧﻴﺪ ﻭ ﺧﺎﻛﺴﺘﺮﺷﺎﻥ ﺭﺍ ﺑﺎ ﻫﻢ ﺩﻓﻦ ﻛﻨﻴﺪ‪«.‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫»ﻗﺴﻢ ﻣﻰﺧﻮﺭﻡ!«‬ ‫»ﻏﻴﺮ ﺍﺯ ﺧﻮﺩﺕ ﻛﻪ ﺍﺯ ﻭﺟﻮﺩ ﺍﻳﻦ ﻣﺎﺷﻴﻦ ﺧﺒﺮ ﺩﺍﺭﺩ؟«‬ ‫»ﻫﻴﭻ ﻛﺲ‪ .‬ﺣﺘﺎ ﺯﻧﻢ ﻫﻢ ﻧﻤﻰﺩﺍﻧﺪ‪ .‬ﺍﮔﺮ ﻣﻰﻓﻬﻤﻴﺪ ﺧﻮﺩﺵ ﻭ ﭘﺴﺮﻡ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻧﺪ ﺩﻳﻮﺍﻧﻪ ﺷﺪﻩﺍﻡ‪.‬‬ ‫ﻓﻜﺮ ﻣﻰﻛﺮﺩ ﺩﺍﺭﻡ ﺑﺎﺩﺑﺎﺩﻙ ﻣﻰﺳﺎﺯﻡ‪ .‬ﺷﺐ ﺑﻴﺪﺍﺭ ﺷﺪﻡ ﻭ ﭘﺎﻯ ﭘﻴﺎﺩﻩ ﺗﺎ ﺻﺨﺮﻩﻫﺎﻯ ﺩﻭﺭﺩﺳﺖ ﺭﻓﺘﻢ‪.‬‬ ‫ﻭﻗﺘﻰ ﻧﺴﻴﻢ ﺻﺒﺢ ﻭﺯﻳﺪ ﻭ ﺧﻮﺭﺷﻴﺪ ﺑﺎﻻ ﺁﻣﺪ ﺟﺮﺃﺗﻢ ﺭﺍ ﺟﻤﻊ ﻛﺮﺩﻡ ﺍﻋﻠﻰ ﺣﻀﺮﺕ ﻭ ﺍﺯ ﺑﺎﻻﻯ‬ ‫ﺻﺨﺮﻩ ﭘﺮﻳﺪﻡ‪ .‬ﭘﺮﻭﺍﺯ ﻛﺮﺩﻡ! ﺍﻣﺎ ﺯﻧﻢ ﺧﺒﺮ ﻧﺪﺍﺭﺩ‪«.‬‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﮔﻔﺖ‪» :‬ﺧﺐ ﭘﺲ ﺑﺮﺍﻯ ﺍﻭ ﺧﻮﺏ ﺷﺪ‪ .‬ﺩﻧﺒﺎﻝ ﻣﻦ ﺑﻴﺎ‪«.‬‬ ‫ﻫﺮ ﺳﻪ ﺑﻪ ﺳﻮﻯ ﺧﺎﻧﻪﻯ ﻋﻈﻴﻢ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻧﺪ‪ .‬ﺧﻮﺭﺷﻴﺪ ﺍﻳﻨﻚ ﺩﻳﮕﺮ ﻛﺎﻣ ً‬ ‫ﻼ ﺩﺭ ﺁﺳﻤﺎﻥ ﺑﺎﻻ ﺁﻣﺪﻩ‬ ‫ﺑﻮﺩ ﻭ ﺑﻮﻯ ﭼﻤﻦﻫﺎ ﺭﻭﺡﻧﻮﺍﺯ ﺑﻮﺩ‪.‬‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ‪ ،‬ﺧﺪﻣﺘﮕﺰﺍﺭ ﻭ ﭘﺮﻧﺪﻩ ﺩﺭ ﺑﺎﻍ ﺑﺰﺭگ ﺍﻳﺴﺘﺎﺩﻧﺪ‪.‬‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ ﺑﻪ ﻫﻢ ﻛﻮﺑﻴﺪ ﻭ ﮔﻔﺖ‪» :‬ﻧﮕﻬﺒﺎﻥ!« ﻧﮕﻬﺒﺎﻧﺎﻥ ﺩﻭﺍﻥ ﺩﻭﺍﻥ ﺁﻣﺪﻧﺪ‪ .‬ﺍﻣﭙﺮﺍﻃﻮﺭ‬ ‫ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﻣﺮﺩ ﺭﺍ ﺑﮕﻴﺮﻳﺪ‪ «.‬ﻧﮕﻬﺒﺎﻧﺎﻥ ﭘﺮﻧﺪﻩ ﺭﺍ ﺑﺎﺯﺩﺍﺷﺖ ﻛﺮﺩﻧﺪ‪ .‬ﺍﻣﭙﺮﺍﻃﻮﺭ ﮔﻔﺖ‪» :‬ﺟﻼﺩ ﺭﺍ ﺻﺪﺍ‬ ‫ﻛﻨﻴﺪ‪ «.‬ﭘﺮﻧﺪﻩ ﻛﻪ ﺟﺎ ﺧﻮﺭﺩﻩ ﺑﻮﺩ ﻧﺎﻟﻴﺪ ﻛﻪ‪» :‬ﭼﻪ ﺧﺒﺮ ﺍﺳﺖ! ﻣﮕﺮ ﻣﻦ ﭼﻪ ﻛﺮﺩﻩﺍﻡ؟« ﻭ ﺑﻪ ﮔﺮﻳﻪ‬ ‫ﺍﻓﺘﺎﺩ‪ ،‬ﺁﻥ ﻃﻮﺭ ﻛﻪ ﺩﺳﺘﮕﺎﻩ ﻛﺎﻏﺬﻯ ﺯﻳﺒﺎ ﺑﻪ ﺧﺶﺧﺶ ﺍﻓﺘﺎﺩ‪.‬‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﻣﺮﺩﻯ ﺍﺳﺖ ﻛﻪ ﻣﺎﺷﻴﻦ ﻭﻳﮋﻩﺍﻯ ﺳﺎﺧﺘﻪ ﺍﺳﺖ ﻭ ﺣﺎﻻ ﺍﺯ ﻣﺎ ﻣﻰﭘﺮﺳﺪ ﭼﻪ‬ ‫ﭼﻴﺰﻯ ﺁﻓﺮﻳﺪﻩ ﺍﺳﺖ‪ .‬ﺧﻮﺩﺵ ﻧﻤﻰﺩﺍﻧﺪ ﭼﻪ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻧﮕﺎﺭ ﻓﻘﻂ ﺑﺎﻳﺪ ﻣﻰﺁﻓﺮﻳﺪ‪ .‬ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ‬ ‫ﺑﺪﺍﻧﺪ ﭼﺮﺍ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻛﺮﺩﻩ ﻳﺎ ﭼﻪ ﻛﺎﺭﻯ ﺍﺯ ﺍﺧﺘﺮﺍﻋﺶ ﺑﺮﺧﻮﺍﻫﺪ ﺁﻣﺪ‪«.‬‬ ‫ﺟﻼﺩ ﺑﺎ ﺗﺒﺮﻯ ﺳﻴﻤﻴﻦ ﻭ ﺗﻴﺰ ﺩﻭﺍﻥﺩﻭﺍﻥ ﺁﻣﺪ‪ .‬ﺻﻮﺭﺗﺶ ﺭﺍ ﺯﻳﺮ ﻧﻘﺎﺏ ﺻﺎﻑ ﻭ ﺳﻔﻴﺪ ﻭ ﺑﻰﭘﻴﺮﺍﻳﻪﺍﻯ‬ ‫ﻣﺨﻔﻰ ﭘﻮﺷﺎﻧﺪﻩ ﺑﻮﺩ ﻭ ﺁﻣﺎﺩﻩ ﺑﺎ ﺑﺎﺯﻭﺍﻥ ﻟﺨﺖ ﭘﺮ ﻋﻀﻠﻪﺍﺵ ﺩﺭ ﺧﺪﻣﺖ ﺍﻳﺴﺘﺎﺩ‪.‬‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﮔﻔﺖ‪» :‬ﺻﺒﺮ ﻛﻨﻴﺪ‪ «.‬ﺑﻌﺪ ﺑﻪ ﺳﻮﻯ ﻣﻴﺰﻯ ﻧﺰﺩﻳﻜﺶ ﺑﺮﮔﺸﺖ ﻛﻪ ﺑﺮ ﺭﻭﻳﺶ ﻣﺎﺷﻴﻨﻰ‬ ‫ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ ،‬ﺁﻓﺮﻳﺪﻩﻯ ﺧﻮﺩ ﻭﻯ‪ .‬ﺍﻣﭙﺮﺍﻃﻮﺭ ﻛﻠﻴﺪ ﺯﺭﻳﻦ ﻛﻮﭼﻜﻰ ﺭﺍ ﺍﺯ ﮔﺮﺩﻧﺶ ﺑﺮﺩﺍﺷﺖ‪ .‬ﻛﻠﻴﺪ ﺭﺍ‬ ‫ﺑﻪ ﻣﺎﺷﻴﻦ ﻇﺮﻳﻒ ﻭﺍﺭﺩ ﻛﺮﺩ ﻭ ﺁﻥ ﺭﺍ ﭼﺮﺧﺎﻧﺪ‪ .‬ﺳﭙﺲ ﻣﺎﺷﻴﻦ ﺭﺍ ﺑﻪ ﺭﺍﻩ ﺍﻧﺪﺍﺧﺖ‪.‬‬ ‫ﻣﺎﺷﻴﻦ ﺑﺎﻏﻰ ﺑﻮﺩ ﺍﺯ ﻓﻠﺰ ﻭ ﺟﻮﺍﻫﺮ‪ .‬ﻛﺎﺭ ﻛﻪ ﻣﻰ ﺍﻓﺘﺎﺩ‪ ،‬ﭘﺮﻧﺪﻩﻫﺎ ﺭﻭﻯ ﺩﺭﺧﺖﻫﺎﻯ ﻛﻮﭼﻚ ﻓﻠﺰﻯ‬ ‫ﺑﻪ ﭼﻬﭽﻪ ﺩﺭ ﻣﻰﺁﻣﺪﻧﺪ‪ ،‬ﮔﺮگﻫﺎ ﻭﺳﻂ ﺟﻨﮕﻞﻫﺎﻯ ﻣﻴﻨﻴﺎﺗﻮﺭﻯ ﭘﺮﺳﻪ ﻣﻰﺯﺩﻧﺪ ﻭ ﺁﺩﻡﻫﺎﻯ ُﺧﺮﺩ‬ ‫ﺑﻴﻦ ﺳﺎﻳﻪ ﻭ ﺭﻭﺷﻦ ﻣﻰﺭﻓﺘﻨﺪ ﻭ ﻣﻰﺁﻣﺪﻧﺪ ﻭ ﺍﻳﺴﺘﺎﺩﻩ ﺩﺭ ﻛﻨﺎﺭ ﻓﻮﺍﺭﻩﻫﺎﻯ ﺑﻰﻧﻬﺎﻳﺖ ﻛﻮﭼﻚ ﺑﺎ‬ ‫ﺑﺎﺩﺑﺰﻥﻫﺎﻯ ﻣﻴﻨﻴﺎﺗﻮﺭﻯ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺧﻨﻚ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﻓﻮﺍﺭﻩﻫﺎﻳﻰ ﻛﻪ ﻫﺮ ﭼﻨﺪ ﻛﻮﭼﻜﻰﺷﺎﻥ‬ ‫ﻏﻴﺮﻣﻤﻜﻦ ﻣﻰﻧﻤﻮﺩ‪ ،‬ﺑﺎﺯ ﺷﺮﺷﺮﺷﺎﻥ ﺭﺍ ﻣﻰﺷﺪ ﺷﻨﻴﺪ‪.‬‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﮔﻔﺖ‪» :‬ﺁﻳﺎ ﺯﻳﺒﺎ ﻧﻴﺴﺖ؟ ﺍﮔﺮ ﺍﺯ ﻣﻦ ﺑﭙﺮﺳﻰ ﭼﻪ ﻛﺮﺩﻩﺍﻡ‪ ،‬ﻣﻰﺗﻮﺍﻧﻢ ﺑﻪ ﺧﻮﺑﻰ ﭘﺎﺳﺨﺖ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺩﺍﺷﺖ ﺍﺯ ﻣﻴﺎﻥ ﻣﻪ ﺩﻭﺭﺩﺳﺖ ﺳﺤﺮﮔﺎﻫﻰ ﺩﺭ ﺗﭙﻪﻫﺎﻯ ﺳﺒﺰ ﺧﻮﺩ ﺭﺍ ﻧﻤﺎﻳﺎﻥ ﻣﻰﻛﺮﺩ ﻭ ﺷﻜﻞ‬ ‫ﻣﻰﮔﺮﻓﺖ‪ ،‬ﺑﻪ ﺁﻥ ﻣﺎﺭ ﻋﻈﻴﻢ ﺷﻜﻮﻫﻤﻨﺪ ﺳﻨﮕﻰ ﻛﻪ ﺷﺎﻫﺎﻧﻪ ﺍﺯ ﺍﻳﻦ ﺳﻮﻯ ﺍﻓﻖ ﺗﺎ ﺁﻥ ﺳﻮ ﭘﻴﭻ ﻭ‬ ‫ﺗﺎﺏ ﺧﻮﺭﺩﻩ ﺑﻮﺩ‪ .‬ﺩﻳﻮﺍﺭ ﺷﮕﺮﻓﻰ ﻛﻪ ﺩﺭ ﻃﻰ ﺯﻣﺎﻧﻰ ﺑﻰﺯﻣﺎﻥ ﺍﻳﺸﺎﻥ ﺭﺍ ﺍﺯ ﻫﺠﻮﻡ ﺧﻴﻞ ﺩﺷﻤﻨﺎﻥ ﺩﺭ‬ ‫ﺍﻣﺎﻥ ﺩﺍﺷﺘﻪ ﻭ ﺳﺎﻝﻫﺎﻯ ﺳﺎﻝ ﺣﺎﻓﻆ ﺻﻠﺢ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺷﻬﺮ ﺭﺍ ﺩﻳﺪ‪ ،‬ﻏﻨﻮﺩﻩ ﺩﺭ ﺑﺮ ﺭﻭﺩﺧﺎﻧﻪﺍﻯ ﻭ‬ ‫ﺭﺍﻫﻰ ﻭ ﺗﭙﻪﺍﻯ‪ ،‬ﻛﻪ ﺩﺍﺷﺖ ﺑﻴﺪﺍﺭ ﻣﻰﺷﺪ‪.‬‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﺑﻪ ﺧﺪﻣﺘﮕﺰﺍﺭﺵ ﮔﻔﺖ‪» :‬ﺑﮕﻮ ﺑﺒﻴﻨﻢ‪ .‬ﻛﺲ ﺩﻳﮕﺮﻯ ﻏﻴﺮ ﺍﺯ ﺗﻮ ﻫﻢ ﺍﻳﻦ ﻣﺮﺩ ﭘﺮﻧﺪﻩ ﺭﺍ‬ ‫ﺩﻳﺪﻩ ﺍﺳﺖ؟«‬ ‫ﺧﺪﻣﺘﮕﺰﺍﺭ ﻛﻪ ﺭﻭ ﺑﻪ ﺁﺳﻤﺎﻥ ﻟﺒﺨﻨﺪ ﻣﻰﺯﺩ ﻭ ﺩﺳﺖ ﺗﻜﺎﻥ ﻣﻰﺩﺍﺩ ﮔﻔﺖ‪» :‬ﻓﻘﻂ ﻣﻨﻢ ﺍﻋﻠﻰ‬ ‫ﺣﻀﺮﺕ‪«.‬‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﻟﺨﺘﻰ ﺩﻳﮕﺮ ﺑﻪ ﺁﺳﻤﺎﻥ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﺑﻌﺪ ﮔﻔﺖ‪» :‬ﺻﺪﺍﻳﺶ ﻛﻦ ﺗﺎ ﭘﻴﺶ ﻣﻦ ﺑﻴﺎﻳﺪ‪«.‬‬ ‫ﺧﺪﻣﺘﮕﺰﺍﺭ ﺩﺳﺘﺎﻧﺶ ﺭﺍ ﺩﻭﺭ ﺩﻫﺎﻥ ﺣﻠﻘﻪ ﻛﺮﺩ ﻭ ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﻫﻮ‪ ،‬ﺑﻴﺎ ﭘﺎﻳﻴﻦ‪ ،‬ﺑﻴﺎ ﭘﺎﻳﻴﻦ! ﺍﻣﭙﺮﺍﻃﻮﺭ‬ ‫ﺗﻮ ﺭﺍ ﺑﻪ ﺣﻀﻮﺭ ﻣﻰﺧﻮﺍﻧﺪ!«‬ ‫ﺗﺎ ﻣﺮﺩ ﭘﺮﻧﺪﻩ ﺍﺯ ﺭﻭﻯ ﺑﺎﺩﻫﺎﻯ ﺻﺒﺢﮔﺎﻫﻰ ﭘﺎﻳﻴﻦ ﺑﻠﻐﺰﺩ‪ ،‬ﺍﻣﭙﺮﺍﻃﻮﺭ ﻧﮕﺎﻫﺶ ﺭﺍ ﺑﻪ ﺍﻃﺮﺍﻑ‪ ،‬ﺑﻪ ﻫﻤﻪ‬ ‫ﺳﻮ‪ ،‬ﭼﺮﺧﺎﻧﺪ‪ .‬ﻛﺸﺎﻭﺭﺯﻯ ﺳﺤﺮﺧﻴﺰ ﺭﺍ ﺩﺭ ﻣﺰﺭﻋﻪﺍﺵ ﺩﻳﺪ ﻛﻪ ﺁﺳﻤﺎﻥ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ ﻭ ﺟﺎﻳﺶ ﺭﺍ‬ ‫ﺑﻪ ﺧﺎﻃﺮ ﺳﭙﺮﺩ‪.‬‬ ‫ﻣﺮﺩ ﭘﺮﻧﺪﻩ ﺩﺭ ﻣﻴﺎﻥ ﺧﺶﺧﺶ ﻛﺎﻏﺬ ﻭ ﺗﺮﻕﺗﺮﻕ ﻧﻰﻫﺎﻯ ﺑﺎﻣﺒﻮ ﻓﺮﻭﺩ ﺁﻣﺪ‪ .‬ﺑﺎ ﻏﺮﻭﺭ ﺑﻪ ﻧﺰﺩ ﺍﻣﭙﺮﺍﻃﻮﺭ‬ ‫ﺁﻣﺪ‪ .‬ﻛﻤﻰ ﺑﺎ ﺑﺴﺎﻁ ﻭ ﺗﺠﻬﻴﺰﺍﺗﺶ ﻭﺭ ﺭﻓﺖ ﺗﺎ ﺳﺮﺍﻧﺠﺎﻡ ﺩﺭ ﻣﻘﺎﺑﻞ ﭘﻴﺮﻣﺮﺩ ﺳﺮ ﺑﻪ ﺗﻌﻈﻴﻢ ﻓﺮﻭﺩ ﺁﻭﺭﺩ‪.‬‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﭘﺮﺳﻴﺪ‪» :‬ﭼﻪ ﻛﺮﺩﻩﺍﻯ؟«‬ ‫ﻣﺮﺩ ﭘﺎﺳﺦ ﺩﺍﺩ‪» :‬ﻣﻦ ﺩﺭ ﺁﺳﻤﺎﻥ ﭘﺮﻭﺍﺯ ﻛﺮﺩﻡ ﺍﻋﻠﻰ ﺣﻀﺮﺕ‪«.‬‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﺩﻭﺑﺎﺭﻩ ﮔﻔﺖ‪» :‬ﭼﻪ ﻛﺮﺩﻩﺍﻯ؟«‬ ‫ﭘﺮﻧﺪﻩ ﺑﻠﻨﺪ ﮔﻔﺖ‪» :‬ﻫﻤﻴﻦ ﺍﻻﻥ ﮔﻔﺘﻢ!«‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﮔﻔﺖ‪» :‬ﺗﻮ ﻫﻴﭻ ﭼﻴﺰ ﺑﻪ ﻣﻦ ﻧﮕﻔﺘﻰ‪ «.‬ﺑﻌﺪ ﺩﺳﺖ ﻻﻏﺮﺵ ﺭﺍ ﺩﺭﺍﺯ ﻛﺮﺩ ﻭ ﺩﺳﺘﻰ ﺑﻪ‬ ‫ﻛﺎﻏﺬ ﺯﻳﺒﺎﻯ ﺧﻮﺷﺮﻧﮓ ﺑﺪﻧﻪ ﻭ ﺳﺘﻮﻥ ﻓﻘﺮﺍﺕ ﭘﺮﻧﺪﻩﻭﺍﺭ ﺩﺳﺘﮕﺎﻩ ﻛﺸﻴﺪ‪ .‬ﺩﺳﺘﮕﺎﻩ ﺑﻮﻯ ﺧﻨﻜﻰ‪،‬‬ ‫ﺑﻮﻯ ﺻﺒﺢ ﻣﻰﺩﺍﺩ‪.‬‬ ‫»ﺯﻳﺒﺎ ﻧﻴﺴﺖ ﺍﻋﻠﻰ ﺣﻀﺮﺗﺎ؟«‬ ‫»ﺑﻠﻪ‪ ،‬ﺯﻳﺎﺩﻩ ﺍﺯ ﺣﺪ ﺯﻳﺒﺎﺳﺖ‪«.‬‬ ‫ﻣﺮﺩ ﻟﺒﺨﻨﺪﻯ ﺯﺩ ﻭ ﮔﻔﺖ‪» :‬ﺩﺭ ﺗﻤﺎﻡ ﺩﻧﻴﺎ ﺗﻚ ﺍﺳﺖ‪ .‬ﻭ ﻣﻦ ﻫﻢ ﻣﺨﺘﺮﻋﺶ ﻫﺴﺘﻢ‪«.‬‬ ‫»ﺗﻚ ﺍﺳﺖ؟«‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫»ﻧﻪ‪ ،‬ﻧﻪ‪ ،‬ﺍﻋﻠﻰ ﺣﻀﺮﺗﺎ‪«.‬‬ ‫»ﺑﮕﺬﺍﺭ ﺑﺒﻴﻨﻢ‪ ...‬ﺧﻮﺭﺷﻴﺪ ﺑﺎﻻ ﺁﻣﺪﻩ ﻭ ﺩﺭ ﺁﺳﺘﺎﻧﻪﻯ ﺭﻭﺯﻯ ﻧﻮ ﻫﺴﺘﻴﻢ‪ .‬ﻳﺎ ﺩﺭﻳﺎ ﺁﺑﻰ ﺍﺳﺖ‪ .‬ﺍﻳﻦ‬ ‫ﺑﻬﺘﺮﻳﻦ ﻣﻌﺠﺰﻩ ﺍﺳﺖ‪«.‬‬ ‫»ﺍﻋﻠﻰ ﺣﻀﺮﺗﺎ‪ ،‬ﻳﻜﻰ ﺩﺍﺭﺩ ﭘﺮﻭﺍﺯ ﻣﻰﻛﻨﺪ!«‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﺍﺯ ﺑﺎﺩ ﺯﺩﻥ ﺧﻮﺩ ﺩﺳﺖ ﺑﺮﺩﺍﺷﺖ ﻭ ﮔﻔﺖ‪» :‬ﭼﻪ؟«‬ ‫»ﻣﺮﺩﻯ ﺑﺎﻝﺩﺍﺭ ﺩﺍﺭﺩ ﺩﺭ ﻫﻮﺍ ﭘﺮﻭﺍﺯ ﻣﻰﻛﻨﺪ‪ .‬ﺁﻥ ﺑﺎﻻ ﺩﻳﺪﻣﺶ‪ .‬ﺻﺪﺍﻳﻰ ﺍﺯ ﺁﺳﻤﺎﻥ ﺑﻠﻨﺪ ﺷﺪ‪ .‬ﻣﻦ ﻧﮕﺎﻩ‬ ‫ﻛﺮﺩﻡ ﻭ ﺍﻭ ﺭﺍ ﺩﻳﺪﻡ‪ .‬ﻣﺜﻞ ﺍژﺩﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﻣﺮﺩﻯ ﺭﺍ ﺑﻪ ﺩﻫﺎﻥ ﮔﺮﻓﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺍژﺩﻫﺎﻳﻰ ﺍﺯ ﻛﺎﻏﺬ ﻭ‬ ‫ﺑﺎﻣﺒﻮ‪ ،‬ﺑﻪ ﺭﻧﮓ ﺧﻮﺭﺷﻴﺪ ﻭ ﻋﻠﻒ‪«.‬‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﮔﻔﺖ‪» :‬ﺧﻮﺍﺏﻧﻤﺎ ﺷﺪﻩﺍﻯ‪ .‬ﺻﺒﺢ ﺯﻭﺩ ﺍﺳﺖ ﻭ ﻫﻨﻮﺯ ﺍﺯ ﺭﺅﻳﺎﻯ ﺷﺒﺎﻧﻪ ﺑﻴﺮﻭﻥ ﻧﻴﺎﻣﺪﻩﺍﻯ‪«.‬‬ ‫»ﺯﻭﺩ ﺍﺳﺖ‪ ،‬ﻭﻟﻰ ﻣﻦ ﺩﻳﺪﻣﺶ! ﺑﻴﺎﻳﻴﺪ ﺗﺎ ﺑﻪ ﭼﺸﻢ ﺧﻮﺩ ﺑﺒﻴﻨﻴﺪ‪«.‬‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﮔﻔﺖ‪» :‬ﻫﻤﻴﻦ ﺟﺎ ﻧﺰﺩﻳﻚ ﻣﻦ ﺑﻨﺸﻴﻦ‪ .‬ﺍﻧﺪﻛﻰ ﭼﺎﻯ ﺑﻨﻮﺵ‪ .‬ﺍﮔﺮ ﺍﻳﻦ ﻃﻮﺭ ﺑﺎﺷﺪ‪ ،‬ﺧﻴﻠﻰ‬ ‫ﻋﺠﻴﺐ ﻣﻰﺷﻮﺩ‪ ،‬ﻣﺮﺩﻯ ﻛﻪ ﭘﺮﻭﺍﺯ ﻣﻰﻛﻨﺪ‪ .‬ﺗﻮ ﺑﺎﻳﺪ ﻭﻗﺖ ﻛﻨﻰ ﺩﺭ ﻣﻮﺭﺩﺵ ﻓﻜﺮ ﻛﻨﻰ‪ ،‬ﻣﻦ ﻫﻢ ﺑﺎﻳﺪ‬ ‫ﺑﻨﺸﻴﻨﻢ ﻭ ﺳﺮ ﻓﺮﺻﺖ ﺧﻮﺩ ﺭﺍ ﺑﺮﺍﻯ ﺍﻳﻦ ﺻﺤﻨﻪ ﺁﻣﺎﺩﻩ ﻛﻨﻢ‪«.‬‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﻭ ﺧﺪﻣﺘﮕﺰﺍﺭ ﭼﺎﻯ ﻧﻮﺷﻴﺪﻧﺪ‪.‬‬ ‫ﺑﺎﻻﺧﺮﻩ ﺧﺪﻣﺘﮕﺰﺍﺭ ﮔﻔﺖ‪» :‬ﺳﺮﻭﺭﻡ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﺮﻭﺩ‪ «.‬ﺍﻣﭙﺮﺍﻃﻮﺭ ﻣﺘﻔﻜﺮﺍﻧﻪ ﺍﺯ ﺟﺎ ﺑﺮﺧﺎﺳﺖ ﻭ‬ ‫ﮔﻔﺖ‪» :‬ﺧﺐ ﺣﺎﻻ ﺑﻪ ﻣﻦ ﻧﺸﺎﻥ ﺑﺪﻩ ﭼﻪ ﭼﻴﺰﻯ ﺩﻳﺪﻩﺍﻯ‪«.‬‬ ‫ﻗﺪﻡ ﺯﻧﺎﻥ ﺑﻪ ﺑﺎﻍ ﺭﻓﺘﻨﺪ‪ ،‬ﺍﺯ ﺭﻭﻯ ﭼﻤﻦﺯﺍﺭﻯ ﺳﺒﺰ ﮔﺬﺷﺘﻨﺪ‪ ،‬ﺑﻪ ﭘﻠﻰ ﻛﻮﭼﻚ ﺭﺳﻴﺪﻧﺪ ﻭ ﺁﻥ ﺳﻮﻯ‬ ‫ﺁﻥ‪ ،‬ﺍﺯ ﻣﻴﺎﻥ ﺩﺭﺧﺘﺎﻥ ﺑﻴﺸﻪﺍﻯ ﮔﺬﺷﺘﻨﺪ ﺗﺎ ﺑﻪ ﺑﺎﻻﻯ ﺗﭙﻪﺍﻯ ﻛﻮﭼﻚ ﺭﺳﻴﺪﻧﺪ‪.‬‬ ‫ﺧﺪﻣﺘﮕﺰﺍﺭ ﮔﻔﺖ‪» :‬ﺁﻥﺟﺎ!«‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﺑﻪ ﺁﺳﻤﺎﻥ ﻧﮕﺎﻩ ﻛﺮﺩ‪.‬‬ ‫ﻭ ﺩﺭ ﺁﺳﻤﺎﻥ ﻣﺮﺩﻯ ﺑﻮﺩ؛ ﻣﻰﺧﻨﺪﻳﺪ‪ ،‬ﺩﺭ ﺍﺭﺗﻔﺎﻋﻰ ﭼﻨﺎﻥ ﻋﻈﻴﻢ ﻣﻰﺧﻨﺪﻳﺪ ﻛﻪ ﺻﺪﺍﻳﺶ ﺑﻪ ﺯﺣﻤﺖ‬ ‫ﺑﻪ ﮔﻮﺵ ﻣﻰﺭﺳﻴﺪ‪ .‬ﻣﺮﺩ ﺑﺎﻝﻫﺎﻳﻰ ﭘﻮﺷﻴﺪﻩ ﺑﻮﺩ ﺳﺎﺧﺘﻪ ﺍﺯ ﻧﻰ ﻭ ﻛﺎﻏﺬ‪ ،‬ﺑﺎ ﺩﻣﻰ ﺯﺭﺩ ﻭ ﺯﻳﺒﺎ؛ ﻭ ﻣﺮﺩ‬ ‫ﻣﺜﻞ ﺑﺰﺭگﺗﺮﻳﻦ ﭘﺮﻧﺪﻩﻯ ﺟﻬﺎﻥ ﭘﺮﻧﺪﮔﺎﻥ‪ ،‬ﻣﺜﻞ ﺍژﺩﻫﺎﻳﻰ ﺗﺎﺯﻩ ﺩﺭ ﺳﺮﺯﻣﻴﻦ ﺍژﺩﻫﺎﻳﺎﻥ ﻛﻬﻦ ﺩﺭ‬ ‫ﺁﺳﻤﺎﻥ ﺻﺒﺢ‪ ،‬ﻣﻌﻠﻖ ﺩﺭ ﻫﻮﺍ‪ ،‬ﻣﻰﺧﺮﺍﻣﻴﺪ‪.‬‬ ‫ﻣﺮﺩ ﺍﺯ ﺑﺎﻻ‪ ،‬ﭘﻴﭽﻴﺪﻩ ﺩﺭ ﺑﺎﺩﻫﺎﻯ ﺧﻨﻚ ﺳﺤﺮﮔﺎﻫﺎﻥ ﺻﺪﺍﻳﺸﺎﻥ ﺯﺩ‪» :‬ﭘﺮﻭﺍﺯ ﻣﻰﻛﻨﻢ! ﺩﺍﺭﻡ ﭘﺮﻭﺍﺯ‬ ‫ﻣﻰﻛﻨﻢ!«‬ ‫ﺧﺪﻣﺘﮕﺰﺍﺭ ﺑﺮﺍﻳﺶ ﺩﺳﺖ ﺗﻜﺎﻥ ﺩﺍﺩ ﻭ ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﺑﻠﻪ! ﺑﻠﻪ!«‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﻳﻮﺁﻥ ﺗﻜﺎﻥ ﻧﺨﻮﺭﺩ‪ .‬ﺩﺭ ﻋﻮﺽ ﺭﻭﻳﺶ ﺭﺍ ﺑﻪ ﺳﻮﻯ ﺩﻳﻮﺍﺭ ﺑﺰﺭگ ﭼﻴﻦ ﮔﺮﺩﺍﻧﺪ ﻛﻪ ﺍﻳﻨﻚ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻣﺎﺷﻴﻦ ﭘﺮﻧﺪﻩ‬ ‫ﺭﻯ ﺑﺮﺩﺑﺮﻯ‬ ‫ﻣﻬﺪﻯ ﺑﻨﻮﺍﺭﻯ‬

‫ﺩﺭ ﺳﺎﻝ ‪ 400‬ﭘﺲ ﺍﺯ ﻣﻴﻼﺩ ﻣﺴﻴﺢ‪ ،‬ﺍﻣﭙﺮﺍﻃﻮﺭ ﻳﻮﺁﻥ ﺗﺨﺖﮔﺎﻫﺶ ﺭﺍ ﺩﺭ ﭘﻨﺎﻩ ﺩﻳﻮﺍﺭ ﺑﺰﺭگ‬ ‫ﭼﻴﻦ ﺯﺩﻩ ﺑﻮﺩ ﻭ ﺯﻣﻴﻦ ﺳﺒﺰ ﻭ ﺳﻴﺮﺍﺏ ﺍﺯ ﺑﺎﺭﺍﻥ ﺧﻮﺩ ﺭﺍ ﺑﺮﺍﻯ ﻓﺼﻞ ﺑﺮﺩﺍﺷﺖ ﺁﻣﺎﺩﻩ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﻣﺮﺩﻣﺎﻥ ﻗﻠﻤﺮﻭﻳﺶ ﺩﺭ ﺻﻠﺢ ﻭ ﺻﻔﺎ ﻧﻪ ﻓﺮﺍﺗﺮ ﺍﺯ ﺍﻧﺪﺍﺯﻩ ﺧﻮﺷﺤﺎﻝ ﺑﻮﺩﻧﺪ ﻭ ﻧﻪ ﺍﻧﺪﻭﻫﻨﺎﻙ‪.‬‬ ‫ﺻﺒﺢ ﺯﻭﺩ ﺭﻭﺯ ﺍﻭﻝ ﺍﺯ ﻫﻔﺘﻪﻯ ﺍﻭﻝ ﺍﺯ ﺩﻭﻣﻴﻦ ﻣﺎ ِﻩ ﺳﺎﻝ ﻧﻮ‪ ،‬ﺍﻣﭙﺮﺍﻃﻮﺭ ﻳﻮﺁﻥ ﭼﺎﻯ ﻣﻰﻧﻮﺷﻴﺪ ﻭ‬ ‫ﺑﺮﺍﻯ ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﺩﻡ ﮔﺮﻡ ﻫﻮﺍ ﺧﻮﺩ ﺭﺍ ﺑﺎﺩ ﻣﻰﺯﺩ ﻛﻪ ﺧﺪﻣﺘﮕﺰﺍﺭﻯ ﺩﻭﺍﻥﺩﻭﺍﻥ ﺍﺯ ﺭﻭﻯ ﻛﺎﺷﻰﻫﺎﻯ‬ ‫ﺁﺑﻰ ﻭ ﺳﺮﺥ ﺑﺎﻍ ﺁﻣﺪ ﻭ ﺑﻪ ﻓﺮﻳﺎﺩ ﮔﻔﺖ‪» :‬ﺍﻣﭙﺮﺍﻃﻮﺭﺍ! ﺍﻣﭙﺮﺍﻃﻮﺭ‪ ،‬ﻣﻌﺠﺰﻩ!«‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭ ﮔﻔﺖ‪» :‬ﺁﺭﻯ‪ .‬ﺍﻣﺮﻭﺯ ﻫﻮﺍﻯ ﺻﺒﺢ ﺩﻝﭘﺬﻳﺮ ﺍﺳﺖ‪«.‬‬ ‫ﺧﺪﻣﺘﮕﺰﺍﺭ ﺷﺘﺎﺑﺎﻥ ﻛﺮﻧﺸﻰ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﻧﻪ‪ ،‬ﻧﻪ؛ ﻣﻌﺠﺰﻩ!«‬ ‫»ﺍﻳﻦ ﭼﺎﻯ ﻛﻪ ﺑﻪ ﺩﻫﺎﻧﻢ ﺑﺴﻴﺎﺭ ﺧﻮﺵ ﻃﻌﻢ ﻣﻰﺁﻳﺪ‪ ،‬ﺣﺘﻤﺎً ﻣﻌﺠﺰﻩ ﺍﺳﺖ‪«.‬‬

‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻣﺮﺩﺍﻥ ﺁﺭﺍﻡ ﮔﺮﻓﺘﻨﺪ ﻭ ﮔﻮﺵ ﺳﭙﺮﺩﻧﺪ‪.‬‬ ‫»ﻓﺮﻣﺎﻧﺪﻩ‪ ،‬ﺷﻤﺎ ﻫﻢ ﺷﻨﻴﺪﻳﺪ؟«‬ ‫»ﻧﻪ!«‬ ‫»ﻣﺜﻞ ﻣﻮﺝ ﺑﻮﺩ‪ ،‬ﻗﺮﺑﺎﻥ! ﻣﻮﺟﻰ ﺍﺯ ژﺭﻓﺎﻯ ﺩﺭﻳﺎ‪ .‬ﮔﻤﺎﻥ ﻛﺮﺩﻡ ﭼﻴﺰﻯ ﺩﻳﺪﻡ‪ .‬ﺁﻥﺟﺎ‪ .‬ﻣﻮﺟﻰ ﺳﻴﺎﻩ ﻭ‬ ‫ﺑﺰﺭگ ﺑﻪ ﺳﻤﺖ ﻣﺎ ﻣﻰﺁﻣﺪ‪«.‬‬ ‫»ﺍﺷﺘﺒﺎﻩ ﻛﺮﺩﻯ‪«.‬‬ ‫»ﺁﻥﺟﺎ ﺭﺍ ﻗﺮﺑﺎﻥ!«‬ ‫»ﭼﻰ؟«‬ ‫»ﻣﻰﺑﻴﻨﻴﺪ؟ ﺁﻥﺟﺎ؟ ﺷﻬﺮ ﺭﺍ ﻧﮕﺎﻩ ﻛﻨﻴﺪ! ﺷﻬﺮ ﺳﺒﺰ ﻛﻨﺎﺭ ﺩﺭﻳﺎﭼﻪ! ﺩﺍﺭﺩ ﺩﻭ ﺗﻜﻪ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺍﺭﺩ ﻓﺮﻭ‬ ‫ﻣﻰﺭﻳﺰﺩ!«‬ ‫ﻣﺮﺩﺍﻥ ﺩﻳﮕﺮ ﺍﺯ ﮔﻮﺷﻪﻯ ﭼﺸﻢ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﮔﻮﻳﺎ ﻛﻪ ﻃﻔﺮﻩ ﻣﻰﺭﻓﺘﻨﺪ‪.‬‬ ‫ﺍﺳﻤﻴﺖ ﻣﻴﺎﻥ ﺁﻥﻫﺎ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﻣﻰﻟﺮﺯﻳﺪ‪ .‬ﺩﺳﺘﺶ ﺭﺍ ﺭﻭﻯ ﺳﺮﺵ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ‪ ،‬ﺍﻧﮕﺎﺭ ﻛﻪ‬ ‫ﺑﺨﻮﺍﻫﺪ ﺍﻧﺪﻳﺸﻪﺍﻯ ﺭﺍ ﺑﻴﺎﺑﺪ‪» .‬ﻳﺎﺩﻡ ﻣﻰﺁﻳﺪ‪ .‬ﺑﻠﻪ! ﺧﻴﻠﻰ ﻭﻗﺖ ﭘﻴﺶ ﺑﻮﺩ‪ .‬ﺑﭽﻪ ﻛﻪ ﺑﻮﺩﻡ‪ ،‬ﻳﻚ ﻛﺘﺎﺏ‬ ‫ﺧﻮﺍﻧﺪﻡ‪ .‬ﻳﻚ ﺩﺍﺳﺘﺎﻥ‪ .‬ﺍُﺯ‪ ،‬ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﻫﻤﻴﻦ ﺑﻮﺩ‪ .‬ﺑﻠﻪ‪ ،‬ﺍُﺯ‪ .‬ﺷﻬ ِﺮ ﺯﻣﺮﺩﻳﻦ ﺍُﺯ‪«...‬‬ ‫»ﺍُﺯ؟ ﻫﺮﮔﺰ ﺍﺳﻤﺶ ﺭﺍ ﻧﺸﻨﻴﺪﻩﺍﻡ‪«.‬‬ ‫»ﺑﻠﻪ‪ ،‬ﺍُﺯ‪ .‬ﺧﻮﺩﺵ ﺑﻮﺩ‪ .‬ﻫﻤﻴﻦ ﺍﻻﻥ ﺩﻳﺪﻣﺶ‪ .‬ﻣﺜﻞ ﺧﻮ ِﺩ ﺩﺍﺳﺘﺎﻥ ﺑﻮﺩ‪ .‬ﺩﺍﺷﺖ ﻓﺮﻭ ﻣﻰﺭﻳﺨﺖ‪«.‬‬ ‫»ﺍﺳﻤﻴﺖ!«‬ ‫»ﺑﻠﻪ‪ ،‬ﻗﺮﺑﺎﻥ؟«‬ ‫»ﻓﺮﺩﺍ ﺧﻮﺩﺕ ﺭﺍ ﺑﻪ ﺭﻭﺍﻧﻜﺎﻭ ﻣﻌﺮﻓﻰ ﻛﻦ!«‬ ‫»ﺑﻠﻪ ﻗﺮﺑﺎﻥ‪ «.‬ﻳﻚ ﺳﻼﻡ ﻧﻈﺎﻣﻰ ﺳﺮﻳﻊ‪.‬‬ ‫»ﻣﺮﺍﻗﺐ ﺑﺎﺵ‪«.‬‬ ‫ﻣﺮﺩﺍﻥ ﺑﺎ ﺗﻔﻨﮓﻫﺎﻯ ﺁﻣﺎﺩﻩ‪ ،‬ﭘﺎﻭﺭﭼﻴﻦﭘﺎﻭﺭﭼﻴﻦ ﺭﺍﻩ ﻣﻰﺭﻓﺘﻨﺪ ﻭ ﺩﺭ ﭘﺸﺖ ﻧﻮﺭ ﺿﺪﻋﻔﻮﻧﻰ ﻧﺎﻭ ﺑﻪ‬ ‫ﺩﺭﻳﺎﻯ ﺑﺰﺭگ ﻭ ﺗﭙﻪﻫﺎﻯ ﻛﻮﭼﻚ ﻣﻰﻧﮕﺮﻳﺴﺘﻨﺪ‪ .‬ﺍﺳﻤﻴﺖ‪ ،‬ﻧﺎﺍﻣﻴﺪﺍﻧﻪ ﻧﺠﻮﺍ ﻛﺮﺩ‪» :‬ﺁﻩ‪ ...‬ﻫﻴﭻ ﻛﺲ‬ ‫ﺍﻳﻦﺟﺎ ﻧﻴﺴﺖ‪ ،‬ﻫﺴﺖ؟ ﻫﻴﭻﻛﺲ ﻧﻴﺴﺖ‪«.‬‬ ‫ﺑﺎﺩ‪ ،‬ﺯﻭﺯﻩﻛﺸﺎﻥ‪ ،‬ﺷﻦﻫﺎ ﺭﺍ ﺑﻪ ﺭﻭﻯ ﻛﻔﺶﻫﺎﻳﺶ ﺭﺍﻧﺪ‪.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﺍﺯ ﮔﺪﺍﺯﻩﻫﺎﻯ ﺗﻔﺘﻴﺪﻩﻯ ﻭﺍژﮔﻮﻥ ﺷﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﺍﻧﺴﺎﻥﻫﺎﻯ ﺧﺮﻭﺷﺎﻥ ﻭ ﺟﺎﻧﻮﺭﺍﻥ ﭘﺮﺧﺎﺷﮕﺮ‪ ،‬ژﺭﻓﺎﻫﺎ‬ ‫ﺭﺍ ﺯﻳﺮ ﻭ ﺭﻭ ﻛﺮﺩﻧﺪ‪.‬‬ ‫ﭘﻮ ﻣﻰﺩﻭﻳﺪ ﻭ ﻓﺮﻳﺎﺩ ﻣﻰﻛﺸﻴﺪ‪» :‬ﺑﻜﺸﻴﺪﺷﺎﻥ!«‬ ‫‪ ‬ﺳﺮﻧﺸﻴﻨﺎﻥ ﻣﻮﺷﻚ ﺑﺎ ﺗﻔﻨﮓﻫﺎﻯ ﺁﻣﺎﺩﻩ ﺍﺯ ﻧﺎﻭﺷﺎﻥ ﺑﻴﺮﻭﻥ ﭘﺮﻳﺪﻧﺪ ﻭ ﻣﻐﺮﻭﺭﺍﻧﻪ ﺩﺭ ﺍﻃﺮﺍﻑ ﻧﺎﻭ ﺭﺍﻩ‬ ‫ﺭﻓﺘﻨﺪ ﻭ ﻫﻮﺍ ﺭﺍ ﻣﺎﻧﻨﺪ ﺳﮕﺎﻥ ﺷﻜﺎﺭﻯ ﺑﻮ ﻛﺸﻴﺪﻧﺪ‪ .‬ﭼﻴﺰﻯ ﻧﺒﻮﺩ‪ .‬ﺁﺭﺍﻡ ﺷﺪﻧﺪ‪.‬‬ ‫ﺳﺮﺍﻧﺠﺎﻡ‪ ،‬ﻓﺮﻣﺎﻧﺪﻩ ﺟﻠﻮ ﺁﻣﺪ ﻭ ﺩﺳﺘﻮﺭﻫﺎﻯ ﺳﺮﻳﻌﻰ ﺩﺍﺩ‪ .‬ﭼﻮﺏ ﺁﻭﺭﺩﻧﺪ ﻭ ﺭﻭﺷﻦ ﻛﺮﺩﻧﺪ‪ .‬ﺁﺗﺶ ﺑﻪ‬ ‫ﻳﻚ ﻟﺤﻈﻪ ﺯﺑﺎﻧﻪ ﻛﺸﻴﺪ‪ .‬ﻓﺮﻣﺎﻧﺪﻩ ﺍﻓﺮﺍﺩﺵ ﺭﺍ ﺩﺭ ﻳﻚ ﻧﻴﻢﺩﺍﻳﺮﻩ ﮔﺮﺩ ﺧﻮﺩﺵ ﺁﻭﺭﺩ‪.‬‬ ‫ﮔﻔﺖ‪» :‬ﻳﻚ ﺟﻬﺎﻥ ﻧﻮ‪ «.‬ﻭ ﺧﻮﺩﺵ ﺭﺍ ﻭﺍﺩﺍﺭ ﻛﺮﺩ ﻛﻪ ﺁﺭﺍﻡ ﺻﺤﺒﺖ ﻛﻨﺪ؛ ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﻫﺮ ﺍﺯ ﮔﺎﻫﻰ‬ ‫ﺑﻪ ﻃﺮﺯﻯ ﻋﺼﺒﻰ ﺑﻪ ﺩﺭﻳﺎﻯ ﺗﻬﻰ ﻣﻰﻧﮕﺮﻳﺴﺖ‪ .‬ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺟﻬﺎﻥ ﻛﻬﻨﻪ ﺭﺍ ﭘﺸﺖ ﺳﺮ ﮔﺬﺍﺷﺘﻪﺍﻳﻢ‪.‬‬ ‫ﻳﻚ ﺁﻏﺎﺯ ﻧﻮ‪ .‬ﭼﻪ ﭼﻴﺰﻯ ﻧﻤﺎﺩﻳﻦﺗﺮ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻣﺎ ﺍﻳﻦﺟﺎ ﺧﻮﺩﻣﺎﻥ ﺗﻤﺎﻡ ﭼﻴﺰﻫﺎﻯ ﻛﻬﻨﻪ ﺭﺍ ﻓﺪﺍﻯ‬ ‫ﺩﺍﻧﺶ ﻭ ﭘﻴﺸﺮﻓﺖ ﻛﻨﻴﻢ‪ «.‬ﺳﺮﺵ ﺭﺍ ﺑﻰﺍﻋﺘﻨﺎ ﺑﻪ ﺳﻮﻯ ﻧﺎﻭﺑﺎﻥ ﺗﻜﺎﻥ ﺩﺍﺩ ﻭ ﮔﻔﺖ‪» :‬ﻛﺘﺎﺏﻫﺎ!«‬ ‫ﻧﻮﺭ ﺁﺗﺶ‪ ،‬ﻧﺎﻡﻫﺎﻯ ﻃﻼﻳﻰ ﻭ ﺭﻧﮓ ﻭ ﺭﻭ ﺭﻓﺘﻪﻯ ﻛﺘﺎﺏﻫﺎ ﺭﺍ ﺩﺭﺧﺸﺎﻥ ﻛﺮﺩ‪ :‬ﺑﻴﺪﻫﺎ‪ ،‬ﺑﻴﮕﺎﻧﻪ‪،‬‬ ‫ﺭﻭﻳﺎﺑﻴﻦ‪ ،‬ﺩﻛﺘﺮ ﺟﻜﻞ ﻭ ﺁﻗﺎﻯ ﻫﺎﻳﺪ‪ ،‬ﺳﺮﺯﻣﻴﻦ ﺍُﺯ‪ ،‬ﭘﻠﻮﺳﺎﻳﺪﺭ‪ ،‬ﺳﺮﺯﻣﻴﻨﻰ ﻛﻪ ﺯﻣﺎﻥ‬ ‫ﻓﺮﺍﻣﻮﺷﺶ ﻛﺮﺩ‪ ،‬ﺭﻭﻳﺎﻯ ﺷﺐ ﻧﻴﻤﻪﻯ ﺗﺎﺑﺴﺘﺎﻥ ﻭ ﻧﺎﻡﻫﺎﻯ ﻫﺮﺍﺱﺍﻧﮕﻴﺰ ﻣﺎﺧﻦ ﻭ ﺍﺩﮔﺎﺭ ﺁﻟﻦ ﭘﻮ‬ ‫ﻭ ﻛﺎﺑﻞ‪ .‬ﺩﺍﻧﺴﻨﻰ ﻭ ﺑﻠﻚﻭﻭﺩ ﻭ ﻟﻮﻳﻴﺲ ﻛﺎﺭﻭﻝ؛ ﻧﺎﻡﻫﺎ‪ ،‬ﻧﺎﻡﻫﺎﻯ ﻛﻬﻦ‪ ،‬ﻧﺎﻡﻫﺎﻯ ﺍﻫﺮﻳﻤﻨﻰ‪.‬‬ ‫»ﻳﻚ ﺟﻬﺎﻥ ﻧﻮ ﺑﺎ ﻧﻤﺎﺩ ﺳﻮﺯﺍﻧﺪﻥ ﺁﺧﺮﻳﻦ ﺁﺛﺎﺭ ﻛﻬﻨﮕﻰ‪«.‬‬ ‫ﻓﺮﻣﺎﻧﺪﻩ‪ ،‬ﺻﻔﺤﺎﺗﻰ ﺍﺯ ﻛﺘﺎﺏﻫﺎ ﺭﺍ ﭘﺎﺭﻩ ﻛﺮﺩ ﻭ ﺑﺮگ ﺑﻪ ﺑﺮگ ﺧﺸﻚ ﺁﻥﻫﺎ ﺩﺭﻭﻥ ﺁﺗﺶ ﺍﻧﺪﺍﺧﺖ‪.‬‬ ‫ﺻﺪﺍﻯ ﻳﻚ ﻓﺮﻳﺎﺩ!‬ ‫ﺍﻓﺮﺍﺩ ﺑﻪ ﻋﻘﺐ ﭘﺮﻳﺪﻧﺪ ﻭ ﭘﺸﺖ ﻧﻮﺭ ﺁﺗﺶ ﺑﻪ ﻟﺒﻪﻯ ﺩﺭﻳﺎﻯ ﭘﻴﺶﺁﻳﻨﺪﻩ ﻭ ﻣﺘﺮﻭﻙ ﺧﻴﺮﻩ ﺷﺪﻧﺪ‪.‬‬ ‫ﻳﻚ ﭼﻴﺰﻯ ﺟﻴﻎ ﻣﻰﻛﺸﻴﺪ‪ .‬ﻣﺎﻧﻨﺪ ﻣﺮگ ﺍژﺩﻫﺎ ﺑﻮﺩ ﻭ ﺩﺳﺖ ﻭ ﭘﺎ ﻛﻮﺑﻴﺪﻥ ﻧﻬﻨﮕﻰ ﻓﻠﺰﻯ ﻛﻪ‬ ‫ﻧﻔﺲﻧﻔﺲﺯﻧﺎﻥ ﺩﺭ ﺩﺭﻳﺎﻯ ﻟﻮﻳﺎﺗﺎﻥ‪ ،‬ﻛﻪ ﺁﺏﻫﺎﻳﺶ ﺩﺭ ﺭﻳﮓﻫﺎ ﻓﺮﻭ ﺭﻓﺘﻪ ﻭ ﺑﺨﺎﺭ ﺷﺪﻩ‪ ،‬ﺭﻫﺎ ﺷﺪﻩ‬ ‫ﺑﺎﺷﺪ‪.‬‬ ‫ﺁﻭﺍﻯ ﻫﻮﺍﻳﻰ ﺑﻮﺩ ﻛﻪ ﻫﺠﻮﻡ ﻣﻰﺑﺮﺩ ﺗﺎ ﺧﻼء ﺭﺍ ﭘﺮ ﻛﻨﺪ؛ ﻳﻌﻨﻰ ﺟﺎﻳﻰ ﻛﻪ ﻟﺤﻈﻪﺍﻯ ﭘﻴﺶ ﭼﻴﺰﻯ‬ ‫ﺩﺭ ﺁﻥ ﻧﺒﻮﺩ‪.‬‬ ‫ﻓﺮﻣﺎﻧﺪﻩ ﺍﺯ ﺷﺮ ﺁﺧﺮﻳﻦ ﻛﺘﺎﺏ ﺧﻼﺹ ﺷﺪ ﻭ ﺁﺗﺶ ﺑﻪ ﺁﻥ ﺍﻓﻜﻨﺪ‪.‬‬ ‫ﻫﻮﺍ ﺍﺯ ﻃﻐﻴﺎﻥ ﺍﻳﺴﺘﺎﺩ‪.‬‬ ‫ﺳﻜﻮﺕ!‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻛﺸﺘﻰ! ﻛﺸﺘﻰ! ﺩﺍﻏﻮﻥ ﺷـﻮ! ﻛﺸﺘﻰ! ﻛﺸﺘﻰ! ﭼﻮﻥ ﺧﻮﻥ ﺷﻮ!‬ ‫ﺑﺸﻜﻦ! ﺑـﻤﻴﺮ! ﺑﺴﻮﺯ! ﺑﺴﻮﺯ! ﺑـﺴﻮﺯ ﺩﺭ ﺷـﺐ! ﺑـﻤﻴﺮ ﺩﺭ ﺭﻭﺯ!‬ ‫ﺑﻠﻚﻭﻭﺩ ﺯﻣﺰﻣﻪ ﻛﺮﺩ‪» :‬ﻭﻗﺖ ﺭﻓﺘﻦ ﺍﺳﺖ؛ ﺑﻪ ﻫﺮ ﻛﺠﺎ ﻛﻪ ﺑﺎﺷﺪ! ﺑﻪ ﻣﺸﺘﺮﻯ‪ ،‬ﺑﻪ ﺯﺣﻞ‪ ،‬ﺑﻪ ﭘﻠﻮﺗﻮ‪«.‬‬ ‫ﭘﻮ ﺩﺭ ﻣﻴﺎﻥ ﺑﺎﺩ ﻓﺮﻳﺎﺩ ﻛﺸﻴﺪ‪» :‬ﮔﺮﻳﺰ؟ ﻫﺮﮔﺰ!«‬ ‫»ﻣﻦ ﭘﻴﺮﻡ ﻭ ﺧﺴﺘﻪ‪«.‬‬ ‫ﭘﻮ ﺑﻪ ﭼﻬﺮﻩﻯ ﭘﻴﺮﻣﺮﺩ ﺧﻴﺮﻩ ﺷﺪ ﻭ ﺣﺮﻑ ﺍﻭ ﺭﺍ ﺑﺎﻭﺭ ﻛﺮﺩ‪ .‬ﺍﻣﺎ ﺍﺯ ﺗﺨﺘﻪﺳﻨﮓ ﺑﺰﺭﮔﻰ ﺑﺎﻻ ﺭﻓﺖ ﻭ ﺑﻪ‬ ‫ﺩﻩ ﻫﺰﺍﺭ ﺳﺎﻳﻪﻯ ﺧﺎﻛﺴﺘﺮﻯ ﻭ ﻧﻮﺭ ﺳﺒﺰ ﻭ ﭼﺸﻤﺎﻥ ﺯﺭﺩ ﻭ ﺭﻧﮓﭘﺮﻳﺪﻩ ﺩﺭ ﻣﻴﺎﻥ ﺑﺎﺩ ﻭﺯﺍﻥ ﻧﮕﺮﻳﺴﺖ‪.‬‬ ‫ﻓﺮﻳﺎﺩ ﻛﺸﻴﺪ‪» :‬ﮔﺮﺩﻫﺎ ﻭ ﺳﻢﻫﺎ!«‬ ‫ﺭﺍﻳﺤﻪﻯ ﺩﺍﻍ ﻭ ﺗﻨﺪ ﺑﺎﺩﺍ ِﻡ ﺗﻠﺦ ﻭ ﺯﺑﺎﺩ ﻭ ﺯﻳﺮﻩ ﻭ ﺗﺨﻢﻫﺎﻯ ﻛِﺮﻡ ﻭ ﺯﻧﺒﻖ ﺯﺭﺩ‪.‬‬ ‫ﻣﻮﺷﻚ ﭘﺎﻳﻴﻦ ﺁﻣﺪ؛ ﺁﺭﺍﻡ ﻭ ﻫﻤﺮﺍﻩ ﺑﺎ ﺟﻴﻎﻫﺎﻯ ﺭﻭﺣﻰ ﻧﻔﺮﻳﻦﺷﺪﻩ! ﭘﻮ ﺑﻪ ﺳﻮﻳﺶ ﻣﻰﻏﺮﻳﺪ!‬ ‫ﻣﺸﺖﻫﺎﻳﺶ ﺭﺍ ﺑﻪ ﺑﺎﻻ ﭘﺮﺗﺎﺏ ﻣﻰﻛﺮﺩ ﻭ ﺍﺭﻛﺴﺘﺮ ﮔﺮﻣﺎ ﻭ ﺭﺍﻳﺤﻪ ﻭ ﺍﻧﺰﺟﺎﺭ ﺁﻭﺍﺯﺵ ﺭﺍ ﺑﻪ ﺑﻠﻨﺪﻯ ﺳﺮ‬ ‫ﺩﺍﺩ! ﺧﻔﺎﺵﻫﺎ ﻫﻢﭼﻮﻥ ﺗﻜﻪﭼﻮﺏﻫﺎﻯ ﺗﺒﺮ ﺧﻮﺭﺩﻩ ﺑﻪ ﭘﺮﻭﺍﺯ ﺩﺭﺁﻣﺪﻧﺪ‪ .‬ﻗﻠﺐﻫﺎﻯ ﺳﻮﺯﺍﻥ ﺭﺍ ﻣﺜﻞ‬ ‫ﻣﻮﺷﻚ ﺑﻪ ﺑﺎﻻ ﭘﺮﺗﺎﺏ ﻛﺮﺩﻧﺪ ﻛﻪ ﺩﺭ ﻫﻮﺍ ﺑﻪ ﺷﻜﻞ ﺁﺗﺶﺑﺎﺯﻯﻫﺎﻳﻰ ﺧﻮﻧﻴﻦ ﻣﻨﻔﺠﺮ ﺷﺪﻧﺪ‪ .‬ﻣﻮﺷﻚ‬ ‫ﺑﻰﺭﺣﻤﺎﻧﻪ ﻣﺎﻧﻨﺪ ﺁﻭﻧﮕﻰ ﭘﺎﻳﻴﻦ ﻭ ﭘﺎﻳﻴﻦﺗﺮ ﺁﻣﺪ ﻭ ﭘﻮ ﺑﺎ ﻋﺼﺒﺎﻧﻴﺖ ﻧﻌﺮﻩ ﻣﻰﻛﺸﻴﺪ ﻭ ﺑﺎ ﻫﺮ ﻫﺠﻮﻡ‬ ‫ﻣﻮﺷﻚ ﻛﻪ ﻫﻮﺍ ﺭﺍ ﺷﻜﺎﻑ ﻣﻰﺩﺍﺩ ﻭ ﺳﻴﺎﻩ ﻣﻰﻛﺮﺩ‪ ،‬ﻋﻘﺐ ﻣﻰﻧﺸﺴﺖ‪ .‬ﻫﻤﻪﻯ ﺩﺭﻳﺎﻯ ﻣﺮﺩﻩ ﻣﺎﻧﻨﺪ‬ ‫ﮔﻮﺩﺍﻟﻰ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺁﻥ ﺑﻪ ﺩﺍﻡ ﺍﻓﺘﺎﺩﻩﺍﻧﺪ ﻭ ﺩﺭ ﺍﻧﺘﻈﺎﺭ ﭘﺎﻳﻴﻦﺁﻣﺪﻥ ﺁﻥ ﺍﺑﺰﺍﺭ ﻫﺮﺍﺱﺍﻧﮕﻴﺰ‪ ،‬ﺁﻥ‬ ‫ﺗﺒﺮ ﺩﺭﺧﺸﺎﻥ ﻫﺴﺘﻨﺪ؛ ﻣﺜﻞ ﻣﺮﺩﻣﺎﻥ ﺯﻳﺮ ﺑﻬﻤﻦ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﭘﻮ ﻓﺮﻳﺎﺩ ﻛﺸﻴﺪ‪» :‬ﻣﺎﺭﻫﺎ!«‬ ‫ﻭ ﻣﺎﺭﻫﺎﻳﻰ ﺩﺭﺧﺸﺎﻥ ﻭ ﻣﻮﺍﺝ ﻭ ﺳﺒﺰ ﺑﻪ ﺳﻮﻯ ﻣﻮﺷﻚ ﭘﺮﺗﺎﺏ ﺷﺪﻧﺪ‪ .‬ﻭﻟﻰ ﻣﻮﺷﻚ‪ ،‬ﻫﺠﻮﻡ ﻭ ﺁﺗﺶ‬ ‫ﻭ ﺣﺮﻛﺖ ﺑﻮﺩ ﻭ ﭘﺎﻳﻴﻦ ﺁﻣﺪ ﻭ ﻳﻜﻰ ﺩﻭ ﻛﻴﻠﻮﻣﺘﺮ ﺁﻥﺳﻮﺗﺮ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺁﺧﺮﻳﻦ ﺩﻭﺩﻫﺎﻯ ﻧﻔﺲ‬ ‫ﺳﺮﺧﺶ ﺭﺍ ﺑﻴﺮﻭﻥ ﻣﻰﺩﺍﺩ‪ ،‬ﺁﺭﺍﻡ ﮔﺮﻓﺖ‪.‬‬ ‫ﭘﻮ ﻓﺮﻳﺎﺩ ﻛﺸﻴﺪ‪» :‬ﺑﻪ ﺳﻤﺖ ﻣﻮﺷﻚ! ﻧﻘﺸﻪ ﺗﻐﻴﻴﺮ ﻛﺮﺩﻩ‪ .‬ﺁﺧﺮﻳﻦ ﺑﺨﺖﻣﺎﻥ ﻫﻤﻴﻦ ﺍﺳﺖ‪ .‬ﺑﺮﻭﻳﺪ! ﺑﻪ‬ ‫ﺳﻮﻯ ﻣﻮﺷﻚ! ﺑﺎ ﺑﺪﻥﻫﺎﻳﻤﺎﻥ ﻧﺎﺑﻮﺩﺵ ﻣﻰﻛﻨﻴﻢ! ﻣﻰﻛﺸﻴﻤﺸﺎﻥ!«‬ ‫ﻭ ﮔﻮﻳﺎ ﻛﻪ ﺩﺳﺘﻮﺭ ﺩﺍﺩﻩ ﺑﺎﺷﺪ ﺩﺭﻳﺎﻯ ﺧﺸﻤﻨﺎﻙ ﻣﺴﻴﺮﺵ ﺭﺍ ﻋﻮﺽ ﻛﻨﺪ ﻭ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺑﺴﺘﺮ ﺁﻏﺎﺯﻳﻦ‬ ‫ﺑﺮﻫﺎﻧﺪ‪ ،‬ﻟﺨﺘﻪﻫﺎﻯ ﭼﺮﺧﺎﻥ ﻭ ﻭﺣﺸﻰ ﺁﺗﺶ ﭘﺮﺍﻛﻨﺪﻩ ﺷﺪﻧﺪ ﻭ ﭼﻮﻥ ﺑﺎﺩ ﻭ ﺑﺎﺭﺍﻥ ﻭ ﺁﺫﺭﺧﺶ ﺑﺮ‬ ‫ﻓﺮﺍﺯ ﺷﻦﻫﺎﻯ ﺩﺭﻳﺎ ﺑﻪ ﺟﻨﺒﺶ ﺍﻓﺘﺎﺩﻧﺪ‪ ،‬ﻭ ﺑﻪ ﺳﻮﻯ ﺩﻟﺘﺎﻫﺎﻯ ﺗﻬﻰ ﺭﻭﺩﺧﺎﻧﻪ‪ ،‬ﺳﺎﻳﻪﻭﺍﺭ ﻭ ﻓﺮﻳﺎﺩﻛﻨﺎﻥ‬ ‫ﻭ ﺯﻭﺯﻩﻛﺸﺎﻥ ﻭ ﺳﻮﺕﺯﻧﺎﻥ‪ ،‬ﭘﺮ ﺳﺮ ﻭ ﺻﺪﺍ ﻭ ﻳﻜﭙﺎﺭﭼﻪ‪ ،‬ﺑﻪ ﺳﻮﻯ ﻣﻮﺷﻜﻰ ﺑﻪ ﺣﺮﻛﺖ ﺍﻓﺘﺎﺩﻧﺪ ﻛﻪ‬ ‫ﺧﺎﻣﻮﺵ ﺑﻮﺩ ﻭ ﭼﻮﻥ ﻣﺸﻌﻠﻰ ﻓﻠﺰﻯ ﻭ ﭘﺎﻛﻴﺰﻩ ﺩﺭ ژﺭﻑﺗﺮﻳﻦ ﭼﺎﻩ ﺧﻮﺍﺑﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻧﮕﺎﺭ ﺩﻳﮓ ﺑﺰﺭﮔﻰ‬ ‫‪23‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﺩﺭ ﻳﻚ ﺧﻤﺮﻩﻯ ﮔﻨﺪﺯﺩﺍﻯ ﻻﺳﻴﻮﻝ ﻏﺮﻗﺶ ﻛﺮﺩﻧﺪ؛ ﺧﻮﺩﺗﺎﻥ ﺑﺎﻳﺪ ﺑﻬﺘﺮ ﺑﺪﺍﻧﻴﺪ‪«.‬‬ ‫ﻫﻤﻪ ﺳﺎﻛﺖ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﭘﻮ ﮔﻔﺖ‪» :‬ﺁﺧﺮ‪ ،‬ﺯﻣﻴﻦ ﭼﻄﻮﺭ ﺑﺎﻳﺪ ﺑﺎﺷﺪ؟ ﺑﺪﻭﻥ ﻛﺮﻳﺴﻤﺲ؟ ﺑﺪﻭﻥ ﺁﺟﻴﻞ ﺩﺍﻍ‪ ،‬ﺩﺭﺧﺖ‪ ،‬ﺗﺰﻳﻴﻦ‪،‬‬ ‫ﻃﺒﻞ‪ ،‬ﺷﻤﻊ؟ ﻫﻴﭻ ﭼﻴﺰ‪ .‬ﻫﻴﭻ ﭼﻴﺰ ﻣﮕﺮ ﺑﺮﻑ ﻭ ﺑﺎﺩ ﻭ ﻣﺮﺩﻣﻰ ﺗﻨﻬﺎ ﻭ ﻭﺍﻗﻊﮔﺮﺍ‪«.‬‬ ‫ﻫﻤﻪ ﺑﻪ ﺁﻥ ﭘﻴﺮﻣﺮﺩ ﺯﺍﺭ ﻭ ﻧﺰﺍﺭ‪ ،‬ﺑﺎ ﺁﻥ ﺭﻳﺶ ژﻭﻟﻴﺪﻩ ﻭ ﺟﺎﻣﻪﻯ ﻣﺨﻤﻠﻰ ﺳﺮﺥ‪ ،‬ﻭﻟﻰ ﺭﻧﮓ ﻭ ﺭﻭ‬ ‫ﺭﻓﺘﻪﺍﺵ ﻧﮕﺎﻩ ﻛﺮﺩﻧﺪ‪.‬‬ ‫»ﺩﺍﺳﺘﺎﻧﺶ ﺭﺍ ﺷﻨﻴﺪﻩﺍﻳﺪ؟«‬ ‫»ﻣﻰﺗﻮﺍﻧﻢ ﺗﺼﻮﺭﺵ ﻛﻨﻢ‪ .‬ﺭﻭﺍﻥﻛﺎﻭﻯ ﻛﻪ ﭼﺸﻤﺶ ﺑﺮﻕ ﻣﻰﺯﻧﺪ‪ ،‬ﺟﺎﻣﻌﻪﺷﻨﺎﺱ ﺑﺎﻫﻮﺵ‪ ،‬ﻛﺎﺭﺷﻨﺎﺱ‬ ‫ﺁﻣﻮﺯﺷﻰ ﻏﻀﺐﺁﻟﻮﺩ ﻭ ﺩﻫﺎﻥ ﻛﻒﻛﺮﺩﻩ‪ ،‬ﻭﺍﻟﺪﻳﻦ ﺿﺪﻋﻔﻮﻧﻰﺷﺪﻩ‪ ...‬ﺍﻳﻦﻫﺎ ﻣﻤﻨﻮﻋﺶ ﻛﺮﺩﻧﺪ‪«...‬‬ ‫ﺑﻴﺮﺱ ﻟﺒﺨﻨﺪ ﺯﺩ ﻛﻪ‪» :‬ﻳﻚ ﻣﻮﻗﻌﻴﺖ ﺭﻗﺖﺍﻧﮕﻴﺰ ﺑﺮﺍﻯ ﺑﺮﮔﺰﺍﺭﻛﻨﻨﺪﻩﻫﺎﻯ ﻛﺮﻳﺴﻤﺲ ﻛﻪ ﻫﻤﺎﻥ‬ ‫ﻃﻮﺭ ﻛﻪ ﻗﺒ ً‬ ‫ﻼ ﮔﻔﺘﻢ‪ ،‬ﺍﺯ ﺁﺧﺮﻳﻦ ﻛﺮﻳﺴﻤﺲ ﺭﺍﺝﻫﺎ ﺭﺍ ﻛﻨﺎﺭ ﮔﺬﺍﺷﺘﻨﺪ ﻭ ﺳﺮﻭﺩ ﻧﻮﺋﻞ ﺭﺍ ﺭﻭﺯ ﭘﻴﺶ‬ ‫ﺍﺯ ﻫﺎﻟﻮﻭﻳﻦ ﻣﻰﺧﻮﺍﻧﻨﺪ ﻭ ﺍﻣﺴﺎﻝ ﺍﮔﺮ ﻛﻤﻰ ﺑﺨﺖ ﻳﺎﺭﺷﺎﻥ ﺑﺎﺷﺪ‪ ،‬ﻛﺮﻳﺴﻤﺲ ﺭﺍ ﺭﻭﺯ ﻛﺎﺭﮔﺮ ﺟﺸﻦ‬ ‫ﻣﻰﮔﻴﺮﻧﺪ‪«...‬‬ ‫ﺑﻴﺮﺱ ﺩﻳﮕﺮ ﺍﺩﺍﻣﻪ ﻧﺪﺍﺩ‪ .‬ﺁﻩﻛﺸﺎﻥ ﺑﻪ ﺟﻠﻮ ﭘﺮﺕ ﺷﺪ ﻭ ﺯﻣﺎﻧﻰ ﻛﻪ ﺭﻭﻯ ﺯﻣﻴﻦ ﻣﻰﺍﻓﺘﺎﺩ‪ ،‬ﺗﻨﻬﺎ ﮔﻔﺖ‪:‬‬ ‫»ﭼﻘﺪﺭ ﺟﺎﻟﺐ!« ﻭ ﺳﭙﺲ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻫﻤﻪ ﻫﺮﺍﺳﺎﻥ ﻣﻰﻧﮕﺮﻳﺴﺘﻨﺪ‪ ،‬ﺑﺪﻧﺶ ﺑﻪ ﻏﺒﺎﺭ ﺁﺑﻰﺭﻧﮓ ﻭ‬ ‫ﺍﺳﺘﺨﻮﺍﻥ ﻧﻴﻢﺳﻮﺧﺘﻪ ﺑﺪﻝ ﺷﺪ ﻭ ﻛﻤﻰ ﺑﻌﺪ‪ ،‬ﺧﺎﻛﺴﺘﺮﻫﺎﻯ ﺳﻮﺧﺘﻪﺍﺵ ﺑﻪ ﺷﻜﻞ ﺗﻜﻪﭘﺎﺭﻩﻫﺎﻳﻰ‬ ‫ﺳﻴﺎﻩ ﺩﺭ ﻫﻮﺍ ﻧﺎﭘﺪﻳﺪ ﺷﺪ‪.‬‬ ‫»ﺑﻴﺮﺱ! ﺑﻴﺮﺱ!«‬ ‫»ﻣﺮﺩﻩ!«‬ ‫»ﺁﺧﺮﻳﻦ ﻛﺘﺎﺑﺶ ﻫﻢ ﺍﺯ ﺑﻴﻦ ﺭﻓﺖ‪ .‬ﻛﺴﻰ ﺩﺭ ﺯﻣﻴﻦ ﺁﻥ ﺭﺍ ﺳﻮﺯﺍﻧﺪ‪«.‬‬ ‫»ﭘﺮﻭﺭﺩﮔﺎﺭ ﺭﻭﺍﻧﺶ ﺭﺍ ﺷﺎﺩ ﻛﻨﺪ! ﻫﻴﭻ ﭼﻴﺰ ﺍﺯ ﺍﻭ ﺑﺎﻗﻰ ﻧﻤﺎﻧﺪﻩ‪ .‬ﭼﺮﺍ ﻛﻪ ﻣﺎ ﺗﻨﻬﺎ ﻛﺘﺎﺏﻫﺎﻳﻤﺎﻥ‬ ‫ﻫﺴﺘﻴﻢ ﻭ ﺁﻥﻫﺎ ﻛﻪ ﺍﺯ ﺑﻴﻦ ﺑﺮﻭﻧﺪ ﭼﻴﺰﻯ ﺍﺯ ﻣﺎ ﺑﺮ ﺟﺎ ﻧﻤﻰﻣﺎﻧﺪ‪«.‬‬ ‫ﺁﻭﺍﻳﻰ ﺧﺮﻭﺷﺎﻥ ﺁﺳﻤﺎﻥ ﺭﺍ ﺁﻛﻨﺪ‪.‬‬ ‫ﻓﺮﻳﺎﺩ ﻛﺸﻴﺪﻧﺪ ﻭ ﻫﺮﺍﺳﺎﻥ ﺑﻪ ﺑﺎﻻ ﻧﮕﺮﻳﺴﺘﻨﺪ‪ .‬ﺩﺭ ﺁﺳﻤﺎﻥ ﻛﻪ ﺍﺑﺮﻫﺎﻯ ﺁﺗﺸﻴﻦ ﻭ ﺩﺍﻏﺶ ﭼﺸﻢ ﺭﺍ‬ ‫ﻣﻰﺯﺩ‪ ،‬ﻣﻮﺷﻜﻰ ﭘﺮﻭﺍﺯ ﻣﻰﻛﺮﺩ! ﻓﺎﻧﻮﺱﻫﺎ‪ ،‬ﭘﻴﺮﺍﻣﻮﻥ ﺍﻓﺮﺍﺩ ﺭﻭﻯ ﺳﺎﺣﻞ‪ ،‬ﺗﻜﺎﻥﺗﻜﺎﻥ ﺧﻮﺭﺩﻧﺪ‪ .‬ﺟﻴﻎ‬ ‫ﻭ ﻓﺮﻳﺎﺩ ﻭ ﺟﻮﺷﻴﺪﻥ ﻭ ﺑﻮﻯ ﻃﻠﺴﻢﻫﺎﻯ ﺁﺗﺶﮔﺮﻓﺘﻪ ﻫﻤﻪ ﺟﺎ ﻣﻮﺝ ﻣﻰﺯﺩ‪ .‬ﻛﺪﻭﺣﻠﻮﺍﻳﻰﻫﺎ ﺑﺎ ﺷﻤﻊ‬ ‫ﭼﺸﻢﻫﺎﻳﺸﺎﻥ ﺩﺭ ﻫﻮﺍﻯ ﺳﺮﺩ ﻭ ﺳﺎﻛﻦ ﺑﻪ ﺣﺮﻛﺖ ﺍﻓﺘﺎﺩﻧﺪ‪ .‬ﺍﻧﮕﺸﺘﺎﻥ ﻛﺸﻴﺪﻩ ﻭ ﻻﻏﺮ ﺑﻪ ﻣﺸﺖﻫﺎﻯ‬ ‫ﮔﺮﻩﻛﺮﺩﻩ ﺑﺪﻝ ﺷﺪﻧﺪ ﻭ ﺟﺎﺩﻭﮔﺮﻯ ﺍﺯ ﻣﻴﺎﻥ ﻟﺐﻫﺎﻯ ﭼﺮﻭﻛﻴﺪﻩﺍﺵ ﻓﺮﻳﺎﺩ ﻛﺸﻴﺪ‪:‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻭ ﻋﺮﺑﺪﻩﻛﺸﺎﻥ ﺭﻫﺎ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺁﻗﺎﻯ ﻣﺎﺧﻦ ﺍﻳﺴﺘﺎﺩ‪ .‬ﻣﺎﻧﻨﺪ ﻛﻮﺩﻛﻰ ﺭﻭﻯ ﺷﻦﻫﺎﻯ ﺳﺮﺩ ﻧﺸﺴﺖ ﻭ ﻫﻖﻫﻖﻛﻨﺎﻥ ﮔﺮﻳﺴﺖ‪.‬‬ ‫ﻛﻮﺷﻴﺪﻧﺪ ﺁﺭﺍﻣﺶ ﻛﻨﻨﺪ‪ ،‬ﻭﻟﻰ ﮔﻮﺵ ﻧﻤﻰﻛﺮﺩ‪ .‬ﮔﻔﺖ‪» :‬ﺩﺍﺷﺘﻢ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻡ ﻭﻗﺘﻰ ﺁﺧﺮﻳﻦ‬ ‫ﺭﻭﻧﻮﺷﺖﻫﺎﻯ ﻛﺘﺎﺏﻫﺎﻳﻤﺎﻥ ﻧﺎﺑﻮﺩ ﺷﻮﺩ‪ ،‬ﭼﻪ ﺑﺮ ﺳﺮ ﻣﺎ ﻣﻰﺁﻳﺪ؟«‬ ‫ﻫﻮﺍ ﺑﻪ َﺩﻭﺭﺍﻥ ﺍﻓﺘﺎﺩ‪.‬‬ ‫»ﺻﺤﺒﺘﺶ ﺭﺍ ﻧﻜﻦ!«‬ ‫ﺁﻗﺎﻯ ﻣﺎﺧﻦ ﻣﻮﻳﻪ ﻣﻰﻛﺮﺩ‪» :‬ﺍﻻﻥ‪ ...‬ﺍﻻﻥ ﻛﻪ ﻣﻮﺷﻚ ﻓﺮﻭﺩ ﻣﻰﺁﻳﺪ‪ ،‬ﺗﻮ ﺁﻗﺎﻯ ﭘﻮ‪ ،‬ﺗﻮ ﺁﻗﺎﻯ ﻛﻮﭘﺎﺭﺩ‪ ،‬ﺗﻮ‬ ‫ﺑﻴﺮﺱ‪ ،‬ﻫﻤﻪﺗﺎﻥ ﻧﺎﺑﻮﺩ ﻣﻰﺷﻮﻳﺪ‪ .‬ﻣﺜﻞ ﺩﻭﺩ ﻫﻴﺰﻡ ﭘﺮﺍﻛﻨﺪﻩ ﻣﻰﺷﻮﻳﺪ‪ .‬ﭼﻬﺮﻩﻫﺎﺗﺎﻥ ﺫﻭﺏ ﻣﻰﺷﻮﺩ‪«...‬‬ ‫»ﻣﺮگ! ﻣﺮگ ﺭﺍﺳﺘﻴﻦ ﺑﺮ ﻫﻤﻪﻯ ﻣﺎ!«‬ ‫»ﻓﻘﻂ ﺑﻪ ﺧﺎﻃﺮ ﺳﻜﻮﺕ ﺯﻣﻴﻦ ﺍﺳﺖ ﻛﻪ ﻭﺟﻮﺩ ﺩﺍﺭﻳﻢ‪ .‬ﺍﮔﺮ ﺍﻣﺸﺐ ﻳﻚ ﺩﺳﺘﻮﺭ ﺍﺯ ﻳﻚ ﻣﻘﺎﻣﻰ‬ ‫ﻫﻤﻪﻯ ﺁﺛﺎﺭ ﺑﺎﻗﻰﻣﺎﻧﺪﻩﻣﺎﻥ ﺭﺍ ﻧﺎﺑﻮﺩ ﻛﻨﺪ‪ ،‬ﻣﺜﻞ ﻧﻮﺭ ﺭﻭ ﺑﻪ ﺧﺎﻣﻮﺷﻰ ﻣﻰﺷﻮﻳﻢ‪«.‬‬ ‫ﻛﻮﭘﺎﺭﺩ ﺑﻪ ﺁﺭﺍﻣﻰ ﺩﺭ ﺍﻧﺪﻳﺸﻪ ﻓﺮﻭ ﺭﻓﺖ ﻭ ﮔﻔﺖ‪» :‬ﻧﻤﻰﺩﺍﻧﻢ ﭼﻪ ﻛﺴﻰ ﻫﺴﺘﻢ‪ .‬ﺍﻣﺸﺐ ﺩﺭ ﻛﺪﺍﻡ‬ ‫ﺫﻫﻦ ﺯﻣﻴﻨﻰ ﻭﺟﻮﺩ ﺩﺍﺭﻡ؟ ﺩﺭ ﻛﻠﺒﻪﺍﻯ ﺁﻓﺮﻳﻘﺎﻳﻰ؟ ﻳﻚ ﺁﺩﻡ ﮔﻮﺷﻪﮔﻴﺮ ﻭ ﻋﺰﻟﺖﻧﺸﻴﻦ ﺍﺳﺖ ﻛﻪ‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻢ ﺭﺍ ﻣﻰﺧﻮﺍﻧﺪ؟ ﺁﻳﺎ ﺍﻭ ﺷﻤﻌﻰ ﺗﻨﻬﺎ ﺩﺭ ﺑﻮﺭﺍﻥ ﺯﻣﺎﻥ ﻭ ﻋﻠﻢ ﺍﺳﺖ؟ ﮔﻮﻳﻰ ﺩﺭﺧﺸﻨﺪﻩ‬ ‫ﺍﺳﺖ ﻛﻪ ﻣﺮﺍ ﺍﻳﻦﺟﺎ‪ ،‬ﺳﺮﻛﺸﺎﻧﻪ‪ ،‬ﺩﺭ ﺍﻳﻦ ﺗﺒﻌﻴﺪ ﻧﮕﻪ ﺩﺍﺷﺘﻪ؟ ﺁﻳﺎ ﺍﻭﺳﺖ؟ ﻳﺎ ﭘﺴﺮﻯ ﺍﺳﺖ ﻛﻪ ﻣﺮﺍ‬ ‫ﺩﺭ ﻳﻚ ﺍﺗﺎﻕ ﺯﻳﺮ ﺷﻴﺮﻭﺍﻧﻰ ﻣﺘﺮﻭﻙ ﭘﻴﺪﺍ ﻛﺮﺩﻩ؟ ﺁﻩﻩﻩﻩ! ﺩﻳﺸﺐ‪ ،‬ﺍﺣﺴﺎﺱ ﺑﻴﻤﺎﺭﻯ ﻛﺮﺩﻡ‪ ،‬ﺑﻴﻤﺎﺭﻯ‪،‬‬ ‫ﺑﻴﻤﺎﺭﻯ ﺩﺭ ﻣﻐﺰ ﺍﺳﺘﺨﻮﺍﻧﻢ‪ .‬ﭼﺮﺍ ﻛﻪ ﻳﻚ ﭼﻴﺰﻯ ﺑﻪ ﻧﺎﻡ ﺑﺪﻥ ﺭﻭﺡ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﺩﺭﺳﺖ ﻣﺜﻞ ﺑﺪﻥ‬ ‫ﺑﺪﻥ‪ .‬ﻭ ﺍﻳﻦ ﺑﺪﻥ ﺭﻭﺡ ﺩﺭ ﻫﻤﻪﻯ ﺍﻋﻀﺎﻯ ﺩﺭﺧﺸﺎﻧﺶ ﺍﺣﺴﺎﺱ ﺩﺭﺩ ﻣﻰﻛﺮﺩ‪ .‬ﻭ ﻣﻦ ﺩﻳﺸﺐ ﺧﻮﺩﻡ‬ ‫ﺭﺍ ﺷﻤﻌﻰ ﺩﺭ ﺣﺎﻝ ﺧﺎﻣﻮﺷﻰ ﺣﺲ ﻛﺮﺩﻡ‪ .‬ﺗﺎ ﺍﻳﻦ ﻛﻪ ﻧﺎﮔﻬﺎﻥ ﭘﺮ ﺍﺯ ﻧﻴﺮﻭ ﺷﺪﻡ ﻭ ﺍﺯ ﺟﺎ ﭘﺮﻳﺪﻡ‪ .‬ﻧﻮﺭ‬ ‫ﺗﺎﺯﻩﺍﻯ ﺩﺍﺷﺘﻢ! ﺍﻧﮕﺎﺭ ﻛﻮﺩﻛﻰ ﻛﻪ ﺍﺯ ﮔﺮﺩ ﻭ ﻏﺒﺎﺭ ﻋﻄﺴﻪﺍﺵ ﮔﺮﻓﺘﻪ ﺩﺭ ﻳﻚ ﺍﺗﺎﻕ ﺯﻳﺮ ﺷﻴﺮﻭﺍﻧﻰ‬ ‫ﻛﻢﻧﻮﺭ ﺩﺭ ﺯﻣﻴﻦ‪ ،‬ﺭﻭﻧﻮﺷﺘﻰ ﭘﻮﺳﻴﺪﻩ ﻭ ﻧﺦﻧﻤﺎ ﺍﺯ ﻣﻦ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺑﺎﺷﺪ! ﻭ ﻣﻦ ﻣﻬﻠﺖ ﻛﻮﺗﺎﻩ ﺩﻳﮕﺮﻯ‬ ‫ﻳﺎﻓﺘﻪﺍﻡ!«‬ ‫ﺩﺭ ﻛﻠﺒﻪﺍﻯ ﻛﻮﭼﻚ ﺭﻭﻯ ﺳﺎﺣﻞ ﻣﺤﻜﻢ ﺻﺪﺍ ﺩﺍﺩ‪ .‬ﻣﺮﺩﻯ ﻛﻮﺗﺎﻩﻗﺪ ﻭ ﻻﻏﺮ ﺑﺎ ﺑﺪﻧﻰ ﺧﻤﻴﺪﻩ ﺑﻴﺮﻭﻥ‬ ‫ﺁﻣﺪ ﻭ ﺑﻰﺗﻮﺟﻪ ﺑﻪ ﺩﻳﮕﺮﺍﻥ ﻧﺸﺴﺖ ﻭ ﺑﻪ ﻣﺸﺖﻫﺎﻯ ﮔﺮﻩﻛﺮﺩﻩﺍﺵ ﺧﻴﺮﻩ ﺷﺪ‪.‬‬ ‫ﺑﻠﻚﻭﻭﺩ ﻧﺠﻮﺍ ﻛﺮﺩ‪» :‬ﻳﻜﻰ ﻫﺴﺖ ﻛﻪ ﻭﺍﻗﻌﺎً ﺑﺮﺍﻳﺶ ﻣﺘﺄﺳﻔﻢ‪ .‬ﺑﻪ ﺍﻭ ﻧﮕﺎﻩ ﻛﻨﻴﺪ؛ ﺩﺍﺭﺩ ﻣﻰﻣﻴﺮﺩ‪.‬‬ ‫ﺯﻣﺎﻧﻰ ﺍﻭ ﻭﺍﻗﻌﻰﺗﺮ ﺍﺯ ﻣﺎ ﺑﻮﺩ ﻛﻪ ﺍﻧﺴﺎﻥ ﺑﻮﺩﻳﻢ‪ .‬ﺁﻥﻫﺎ ﺍﻭ ﺭﺍ‪ ،‬ﻳﻚ ﺍﻧﺪﻳﺸﻪﻯ ﺍﺳﺘﺨﻮﺍﻧﻰ ﺭﺍ ﮔﺮﻓﺘﻨﺪ‬ ‫ﻭ ﺩﺭ ﻃﻮﻝ ﻗﺮﻥﻫﺎ ﺩﺭ ﮔﻮﺷﺖ ﺗﻦ ﻭ ﻣﻮﻯ ﺳﻔﻴﺪ ﻭ ﺟﺎﻣﻪﻯ ﻣﺨﻤﻠﻰ ﺳﺮﺥ ﻭ ﭼﻜﻤﻪﻯ ﺳﻴﺎﻩ‬ ‫ﭘﻮﺷﺎﻧﺪﻧﺪ‪ .‬ﺑﻪ ﺍﻭ ﮔﻮﺯﻥ ﺳﻮﺭﺗﻤﻪﺭﺍﻥ ﻭ ﻧﻮﺍﺭ ﺯﺭﻭﺭﻕ ﻭ ﺩﺭﺧﺖ ﺭﺍﺝ ﺩﺍﺩﻧﺪ‪ .‬ﻭ ﺑﻌﺪ ﺍﺯ ﻗﺮﻥﻫﺎ ﺳﺎﺧﺘﻦ‪،‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻛﻮﺷﻴﺪﻳﻢ ﻧﺠﺎﺗﺸﺎﻥ ﺑﺪﻫﻴﻢ ﻭ ﺗﻨﻬﺎ ﻛﺎﺭﻯ ﻛﻪ ﺗﻮﺍﻧﺴﺘﻴﻢ ﺑﺮﺍﻳﺸﺎﻥ ﺍﻧﺠﺎﻡ ﺑﺪﻫﻴﻢ‪ ،‬ﻳﻚ ﻗﺮﻥ ﺍﻧﺘﻈﺎﺭ‬ ‫ﺍﻳﻦﺟﺎ ﺭﻭﻯ ﻣﺮﻳﺦ ﺑﻮﺩ‪ ،‬ﺑﻪ ﺍﻳﻦ ﺍﻣﻴﺪ ﻛﻪ ﺯﻣﻴﻦ‪ ،‬ﺩﺍﻧﺸﻤﻨﺪﺍﻥ ﻭ ﺗﺮﺩﻳﺪﻫﺎﻳﺸﺎﻥ ﺭﺍ ﺑﺎﻻ ﺑﻴﺎﻭﺭﺩ؛ ﻭﻟﻰ‬ ‫ﺣﺎﻻ ﺁﻥﻫﺎ ﻣﻰﺁﻳﻨﺪ ﺗﺎ ﻣﺎ ﺭﺍ ﺍﺯ ﺍﻳﻦﺟﺎ ﻫﻢ ﭘﺎﻙ ﻛﻨﻨﺪ‪ ،‬ﻣﺎ ﻭ ﭼﻴﺰﻫﺎﻯ ﺗﺎﺭﻳﻜﻤﺎﻥ ﺭﺍ ﻭ ﻫﻤﻪﻯ‬ ‫ﻛﻴﻤﻴﺎﮔﺮﻫﺎ ﻭ ﺟﺎﺩﻭﮔﺮﻫﺎ ﻭ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻭ ﺟﺎﺩﻭﺟﻤﺒﻞﻫﺎﻳﻤﺎﻥ ﺭﺍ ﻛﻪ ﻳﻜﻰﻳﻜﻰ ﺑﺎ ﻳﻮﺭﺵ ﻋﻠﻢ ﺩﺭ‬ ‫ﻫﺮ ﻛﺸﻮﺭ ﺭﻭﻯ ﺯﻣﻴﻦ ﻋﻘﺐ ﻧﺸﺴﺘﻨﺪ ﻭ ﺑﻪ ﻓﻀﺎ ﮔﺮﻳﺨﺘﻨﺪ‪ .‬ﺳﺮﺍﻧﺠﺎﻡ ﻫﻴﭻ ﺭﺍﻫﻰ ﺑﺮﺍﻯﻣﺎﻥ ﺑﺎﻗﻰ‬ ‫ﻧﻤﺎﻧﺪ ﻣﮕﺮ ﻫﺠﺮﺕ‪ .‬ﺑﺎﻳﺪ ﺑﻪ ﻣﺎ ﻛﻤﻚ ﻛﻨﻴﺪ‪ .‬ﺷﻤﺎ ﻛﻼﻡ ﻧﺎﻓﺬﻯ ﺩﺍﺭﻳﺪ‪ .‬ﺑﻪ ﺷﻤﺎ ﺍﺣﺘﻴﺎﺝ ﺩﺍﺭﻳﻢ‪«.‬‬ ‫ﺩﻳﻜﻨﺰ ﺑﺎ ﻋﺼﺒﺎﻧﻴﺖ ﻓﺮﻳﺎﺩ ﻛﺸﻴﺪ‪» :‬ﺗﻜﺮﺍﺭ ﻣﻰﻛﻨﻢ! ﻣﻦ ﺍﺯ ﺷﻤﺎ ﻧﻴﺴﺘﻢ ﻭ ﺷﻤﺎ ﻭ ﺩﻳﮕﺮﺍﻥ ﺭﺍ ﺗﺎﻳﻴﺪ‬ ‫ﻧﻤﻰﻛﻨﻢ‪ .‬ﻫﺮﮔﺰ ﻫﻢ ﭼﻴﺰﻯ ﺩﺭﺑﺎﺭﻩﻯ ﺟﺎﺩﻭﮔﺮﺍﻥ ﻭ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻭ ﻣﻮﺿﻮﻋﺎﺕ ﻧﻴﻤﻪﺷﺐ ﻧﻨﻮﺷﺘﻢ‪«.‬‬ ‫»ﭘﺲ ﺳﺮﻭﺩ ﻛﺮﻳﺴﻤﺲ ﺭﺍ ﭼﻪ ﻣﻰﮔﻮﻳﻴﺪ؟«‬ ‫»ﻣﺴﺨﺮﻩ ﺍﺳﺖ! ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﺑﻴﺸﺘﺮ ﻧﻴﺴﺖ‪ .‬ﺁﻩ‪ ،‬ﺷﺎﻳﺪ ﻫﻢ ﭼﻨﺪﺗﺎﻳﻰ ﺩﺭﺑﺎﺭﻩﻯ ﺍﺭﻭﺍﺡ ﻧﻮﺷﺘﻪ ﺑﺎﺷﻢ‪،‬‬ ‫ﻭﻟﻰ ﭼﻪ ﺭﺑﻄﻰ ﺩﺍﺭﺩ؟ ﺁﺛﺎﺭ ﺍﺻﻠﻰﺍﻡ ﻫﻴﭻ ﻛﺎﺭﻯ ﺑﻪ ﺁﻥ ﺗ ُّﺮﻫﺎﺕ ﻧﺪﺍﺭﺩ!«‬ ‫»ﺍﺷﺘﺒﺎﻩ ﻳﺎ ﻧﻪ‪ ،‬ﺷﻤﺎ ﺭﺍ ﺑﺎ ﻣﺎ ﺩﺭ ﻳﻚ ﺩﺳﺘﻪ ﮔﺬﺍﺷﺘﻨﺪ‪ .‬ﻛﺘﺎﺏﻫﺎﻯ ﺷﻤﺎ ﺭﺍ ﻫﻢ ﻧﺎﺑﻮﺩ ﻛﺮﺩﻧﺪ‪،‬‬ ‫ﺟﻬﺎﻥﻫﺎﻳﺘﺎﻥ ﺭﺍ‪ ...‬ﺑﺎﻳﺪ ﺍﺯ ﺁﻥﻫﺎ ﻣﺘﻨﻔﺮ ﺑﺎﺷﻴﺪ‪ ،‬ﺁﻗﺎﻯ ﺩﻳﻜﻨﺰ!«‬ ‫»ﻣﻰﭘﺬﻳﺮﻡ ﻛﻪ ﺁﻥﻫﺎ ﻧﺎﺩﺍﻥ ﻭ ﺳﺘﻤﮕﺮﻧﺪ‪ ،‬ﻭﻟﻰ ﻓﻘﻂ ﻫﻤﻴﻦ! ﺭﻭﺯ ﺧﻮﺵ!«‬ ‫»ﺩﺳﺖﻛﻢ ﺑﮕﺬﺍﺭﻳﺪ ﺁﻗﺎﻯ ﻣﺎﺭﻟﻰ ﺑﻴﺎﻳﻨﺪ!«‬ ‫»ﻧﻪ!«‬ ‫ﺩﺭ‪ ،‬ﻣﺤﻜﻢ ﺑﻪ ﻫﻢ ﺧﻮﺭﺩ‪ .‬ﻭ ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﭘﻮ ﺑﺎﺯﻣﻰﮔﺸﺖ‪ ،‬ﺩﺭ ﭘﺎﻳﻴﻦﺩﺳﺖ ﺧﻴﺎﺑﺎﻥ ﻳﻚ ﺩﻟﻴﺠﺎﻥﺭﺍﻥ‬ ‫ﻛﻪ ﺭﻭﻯ ﺯﻣﻴﻦ ﻳﺦﺯﺩﻩ ﻣﻰﺭﺍﻧﺪ‪ ،‬ﻧﻮﺍﻳﻰ ﭘﺮﺷﻮﺭ ﺩﺭ ﺷﻴﭙﻮﺭ ﻧﻮﺍﺧﺖ‪ .‬ﺑﻴﺮﻭﻥ ﺍﺯ ﺩﻟﻴﺠﺎﻥ ﺁﻟﺒﺎﻟﻮﻳﻰﺭﻧﮓ‪،‬‬ ‫ﭘﻴﻚﻭﻳﻜﻰﻫﺎ ﺟﻤﻊ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﻣﻰﺧﻨﺪﻳﺪﻧﺪ‪ ،‬ﻭ ﺩﺭﻫﺎ ﺭﺍ ﻣﻰﺯﺩﻧﺪ ﻭ ﻭﻗﺘﻰ ﻛﻪ ﻳﻚ ﭘﺴﺮ ﭼﺎﻕ‬ ‫ﺩﺭ ﺭﺍ ﺑﺎﺯ ﻣﻰﻛﺮﺩ‪ ،‬ﻓﺮﻳﺎﺩ ﻣﻰﺯﺩﻧﺪ‪» :‬ﺳﺎﻝ ﻧﻮ ﻣﺒﺎﺭﻙ!«‬ ‫‪ ‬ﺁﻗﺎﻯ ﭘﻮ ﺩﺭ ﻧﻴﻤﻪﺷﺐ ﺳﺎﺣﻞ ﺩﺭﻳﺎﻯ ﺗﻬﻰ ﺑﺎ ﺷﺘﺎﺏ ﺭﺍﻩ ﻣﻰﺭﻓﺖ‪ .‬ﻛﻨﺎﺭ ﺁﺗﺶﻫﺎ ﻭ ﺩﻭﺩﺷﺎﻥ‬ ‫ﺍﻳﺴﺘﺎﺩ ﺗﺎ ﺩﺳﺘﻮﺭﻫﺎﻳﺶ ﺭﺍ ﻓﺮﻳﺎﺩ ﺑﺰﻧﺪ ﻭ ﻧﮕﺎﻫﻰ ﺑﻪ ﺩﻳﮓﻫﺎﻯ ﺟﻮﺷﺎﻥ ﻭ ﺯﻫﺮﻫﺎ ﻭ ﺳﺘﺎﺭﻩﻫﺎﻯ‬ ‫ﭘﻨﺞﭘﺮ ﺁﻫﻜﻰ ﺑﻴﻨﺪﺍﺯﺩ‪» .‬ﺧﻮﺏ ﺍﺳﺖ!« ﻭ ﺑﻌﺪ ﮔﻔﺖ‪» :‬ﻋﺎﻟﻰ ﺍﺳﺖ!« ﻓﺮﻳﺎﺩ ﺯﺩ ﻭ ﺩﻭﺑﺎﺭﻩ ﺩﻭﻳﺪ‪.‬‬ ‫ﺩﻳﮕﺮﺍﻥ ﻫﻢ ﺑﻪ ﺍﻭ ﻣﻠﺤﻖ ﺷﺪﻧﺪ ﻭ ﺑﺎ ﺍﻭ ﺩﻭﻳﺪﻧﺪ‪ .‬ﺍﻳﻦﺟﺎ ﺁﻗﺎﻯ ﻛﻮﭘﺎﺭﺩ ﻭ ﺁﻗﺎﻯ ﻣﺎﺧﻦ ﺑﺎ ﺍﻭ ﻣﻰﺩﻭﻳﺪﻧﺪ‬ ‫ﻭ ﺁﻥﺟﺎ ﻣﺎﺭﻫﺎﻯ ﻧﻔﺮﺕﺍﻧﮕﻴﺰ ﻭ ﺍﻫﺮﻳﻤﻨﺎﻥ ﺧﺸﻤﮕﻴﻦ ﻭ ﺍژﺩﻫﺎﻳﺎﻥ ﻣﻔﺮﻏﻰ ﻭ ﺁﺗﺸﻴﻦ ﻭ ﺧﻔﺎﺷﺎﻥ‬ ‫ﺧﻮﻥﺁﺷﺎﻡ ﺧﺮﻧﺎﺱﻛﺶ ﻭ ﺟﺎﺩﻭﮔﺮﺍﻥ ﺭﻗﺼﺎﻥ ﺑﻮﺩﻧﺪ ﻛﻪ ﻣﺎﻧﻨﺪ ﺧﺎﺭﻫﺎ ﻭ ﮔﺰﻧﻪﻫﺎ ﻭ ﺗﻴﻎﻫﺎ ﻭ ﻫﻤﻪﻯ‬ ‫ﺧﺮﺩﻩﺭﻳﺰﻫﺎﻯ ﻧﺎﺧﻮﺷﺎﻳﻨﺪ ﺩﺭﻳﺎﻯ ﭘﺲﺭﻭﻧﺪﻩﻯ ﺗﺨﻴﻞ ﺑﺮ ﺳﺎﺣﻞ ﻣﺎﻟﻴﺨﻮﻟﻴﺎ‪ ،‬ﺯﻭﺯﻩﻛﺸﺎﻥ ﻭ ﻛﻒﺁﻟﻮﺩ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﺧﺮﺩﻝ ﻳﺎ ﭘﻨﻴﺮ ُﺧﺮﺩ ﺷﺪﻩ ﻳﺎ ﺳﻴﺐﺯﻣﻴﻨﻰ ﻧﭙﺨﺘﻪ ﺑﺎﺷﺪ‪ .‬ﻛﺴﻰ ﻧﺒﻮﺩ ﻣﮕﺮ ﺁﻗﺎﻯ ﻣﺎﺭﻟﻰ ﻛﻪ ﺑﻪ ﺯﻧﺠﻴﺮ‬ ‫ﺑﻮﺩ ﻭ ﺩﺭ ﻫﻤﺎﻥ ﺣﺎﻝ‪ ،‬ﺷﺮﺍﺏﻫﺎ ﺭﻳﺨﺘﻪ ﻣﻰﺷﺪ ﻭ ﺑﻮﻗﻠﻤﻮﻥﻫﺎﻯ ﺳﺮﺥﺷﺪﻩ ﺑﻬﺘﺮ ﺍﺯ ﻫﻤﻴﺸﻪ ﺳﻌﻰ‬ ‫ﻣﻰﻛﺮﺩﻧﺪ ﭘﺨﺘﻪ ﺷﻮﻧﺪ‪.‬‬ ‫ﺁﻗﺎﻯ ﭼﺎﺭﻟﺰ ﺩﻳﻜﻨﺰ ﭘﺮﺳﻴﺪ‪» :‬ﭼﻪ ﻣﻰﺧﻮﺍﻫﻴﺪ؟«‬ ‫ﭘﻮ ﮔﻔﺖ‪» :‬ﺁﻣﺪﻩﺍﻳﻢ ﺗﺎ ﺩﻭﺑﺎﺭﻩ ﺗﻘﺎﺿﺎﻳﻰ ﺍﺯ ﺷﻤﺎ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ‪ ،‬ﭼﺎﺭﻟﺰ؛ ﺑﻪ ﻛﻤﻚﺗﺎﻥ ﺍﺣﺘﻴﺎﺝ ﺩﺍﺭﻳﻢ‪«.‬‬ ‫»ﻛﻤﻚ؟ ﮔﻤﺎﻥ ﻣﻰﻛﻨﻴﺪ ﺑﻪ ﺷﻤﺎ ﻛﻤﻚ ﻣﻰﻛﻨﻢ ﺗﺎ ﺑﺎ ﺁﻥ ﻣﺮﺩﺍﻥ ﻧﺎﺯﻧﻴﻦ ﺩﺍﺧﻞ ﻣﻮﺷﻚ ﺑﺠﻨﮕﻴﺪ؟ ﻫﺮ‬ ‫ﭼﻪ ﺑﺎﺷﺪ ﻣﻦ ﺑﻪ ﺍﻳﻦﺟﺎ ﺗﻌﻠﻖ ﻧﺪﺍﺭﻡ‪ .‬ﻛﺘﺎﺏﻫﺎﻯ ﻣﻦ ﺭﺍ ﺑﻪ ﺍﺷﺘﺒﺎﻩ ﺳﻮﺯﺍﻧﺪﻧﺪ‪ .‬ﻣﻦ ﻧﻪ ﻓﺮﺍﻃﺒﻴﻌﺖﮔﺮﺍ‬ ‫ﻫﺴﺘﻢ ﻭ ﻧﻪ ﻧﻮﻳﺴﻨﺪﻩﻯ ﻭﺣﺸﺖ‪ ،‬ﻣﺜﻞ ﺷﻤﺎ ﭘﻮ‪ ،‬ﻳﺎ ﺷﻤﺎ‪ ،‬ﺑﻴﺮﺱ‪ ،‬ﻳﺎ ﺩﻳﮕﺮﺍﻥ‪ .‬ﻣﻦ ﻫﻴﭻ ﻛﺎﺭﻯ ﺑﺎ‬ ‫ﺷﻤﺎ ﻣﺮﺩﺍﻥ ﻫﺮﺍﺱﺍﻧﮕﻴﺰ ﻧﺪﺍﺭﻡ‪«.‬‬ ‫»ﺻﺤﺒﺖﻫﺎﻯ ﺷﻤﺎ ﻫﻤﻴﺸﻪ ﻗﺎﻧﻊﻛﻨﻨﺪﻩ ﺑﻮﺩﻩ‪ .‬ﺷﻤﺎ ﻣﻰﺗﻮﺍﻧﻰ ﺑﺎ ﻣﺮﺩﺍﻥ ﺩﺍﺧﻞ ﻣﻮﺷﻚ ﻣﻼﻗﺎﺕ‬ ‫ﻛﻨﻰ ﻭ ﺁﺭﺍﻡﺷﺎﻥ ﻛﻨﻰ‪ ،‬ﺗﻨﺪﻯ ﺑﺎﻭﺭﻫﺎﻯ ﻏﻠﻂﺷﺎﻥ ﺭﺍ ﺑﺨﻮﺍﺑﺎﻧﻰ‪ ،‬ﻭ ﺑﻌﺪ ﺍﺯ ﺁﻥ‪ ...‬ﺑﻌﺪ ﺍﺯ ﺁﻥ‪ ،‬ﻣﺎ‬ ‫ﺣﻮﺍﺱﻣﺎﻥ ﺑﻪ ﺁﻥﻫﺎ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪«.‬‬ ‫ﺁﻗﺎﻯ ﺩﻳﻜﻨﺰ ﺑﻪ ﭼﻴﻦﻫﺎﻯ ﺭﻭﻯ ﺷﻨﻞ ﺳﻴﺎﻩ ﻛﻪ ﺩﺳﺘﺎﻥ ﭘﻮ ﺭﺍ ﭘﻮﺷﺎﻧﺪﻩ ﺑﻮﺩ ﺧﻴﺮﻩ ﺷﺪ‪ .‬ﭘﻮ ﺑﺎ ﻳﻚ‬ ‫ﻟﺒﺨﻨﺪ‪ ،‬ﮔﺮﺑﻪﻯ ﺳﻴﺎﻫﻰ ﺭﺍ ﺍﺯ ﺯﻳﺮ ﺁﻥ ﺑﻴﺮﻭﻥ ﺁﻭﺭﺩ‪ .‬ﮔﻔﺖ‪» :‬ﺑﺮﺍﻯ ﻳﻜﻰ ﺍﺯ ﻫﻤﻴﻦﻫﺎ ﻛﻪ ﻣﻰﺁﻳﻨﺪ‪«.‬‬ ‫»ﻭ ﺑﺮﺍﻯ ﺑﻘﻴﻪ؟«‬ ‫ﭘﻮ ﺧﺮﺳﻨﺪﺍﻧﻪ ﺩﻭﺑﺎﺭﻩ ﻟﺒﺨﻨﺪﻯ ﺯﺩ ﻭ ﮔﻔﺖ‪» :‬ﺯﻧﺪﻩ ﺑﻪ ﮔﻮﺭﻯ؟«‬ ‫»ﺷﻤﺎ ﻣﺮﺩ ﻣﺨﻮﻓﻰ ﻫﺴﺘﻴﺪ‪ ،‬ﺁﻗﺎﻯ ﭘﻮ!«‬ ‫»ﻣﻦ‪ ،‬ﻣﺮﺩﻯ ﻫﺮﺍﺳﺎﻥ ﻭ ﺧﺸﻤﮕﻴﻦ ﻫﺴﺘﻢ‪ .‬ﻣﻦ‪ ،‬ﺧﺪﺍ ﻫﺴﺘﻢ‪ ،‬ﺁﻗﺎﻯ ﺩﻳﻜﻨﺰ‪ .‬ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺷﻤﺎ‬ ‫ﺧﺪﺍ ﻫﺴﺘﻰ‪ .‬ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﻫﻤﻪﻯ ﻣﺎ ﺧﺪﺍﻳﺎﻥ ﻫﺴﺘﻴﻢ ﻭ ﺳﺎﺧﺘﻪﻫﺎﻣﺎﻥ ﺭﺍ ــ ﺍﮔﺮ ﺷﻤﺎ ﺑﻴﺸﺘﺮ‬ ‫ﻣﻰﭘﺴﻨﺪﻯ‪ ،‬ﻣﺮﺩﻣﺎﻧﻤﺎﻥ ﺭﺍ ــ ﻓﻘﻂ ﻧﺘﺮﺳﺎﻧﺪﻧﺪ‪ ،‬ﻛﻪ ﺗﺒﻌﻴﺪ ﻛﺮﺩﻧﺪ ﻭ ﺳﻮﺯﺍﻧﺪﻧﺪ‪ ،‬ﭘﺎﺭﻩﭘﺎﺭﻩ ﻭ ﺗﻨﻘﻴﺢ‬ ‫ﻛﺮﺩﻧﺪ‪ ،‬ﻧﺎﺑﻮﺩ ﻛﺮﺩﻧﺪ ﻭ ﺩﻭﺭ ﺍﻧﺪﺍﺧﺘﻨﺪ‪ .‬ﺟﻬﺎﻥﻫﺎﻳﻰ ﻛﻪ ﺁﻓﺮﻳﺪﻳﻢ ﺭﻭ ﺑﻪ ﻓﻨﺎ ﻣﻰﺭﻭﻧﺪ‪ .‬ﺣﺘﺎ ﺧﺪﺍﻳﺎﻥ‬ ‫ﺑﺎﻳﺪ ﺑﺴﺘﻴﺰﻧﺪ!«‬ ‫»ﺧﻮﺏ؟« ﺁﻗﺎﻯ ﺩﻳﻜﻨﺰ ﺷﺘﺎﺏ ﺩﺍﺷﺖ ﺑﻪ ﻣﻬﻤﺎﻧﻰ ﻭ ﻣﻮﺳﻴﻘﻰ ﻭ ﺧﻮﺭﺍﻛﻰﻫﺎ ﺑﺎﺯﮔﺮﺩﺩ‪» .‬ﺷﺎﻳﺪ ﺷﻤﺎ‬ ‫ﺑﺘﻮﺍﻧﻴﺪ ﺗﻮﺿﻴﺢ ﺑﺪﻫﻴﺪ ﻣﺎ ﭼﺮﺍ ﺍﻳﻦﺟﺎ ﻫﺴﺘﻴﻢ‪ .‬ﭼﻄﻮﺭ ﺑﻪ ﺍﻳﻦﺟﺎ ﺁﻣﺪﻳﻢ؟«‬ ‫»ﺟﻨﮓ‪ ،‬ﺟﻨﮓ ﻣﻰﺁﻭﺭﺩ‪ .‬ﻧﺎﺑﻮﺩﻯ‪ ،‬ﻧﺎﺑﻮﺩﻯ ﻣﻰﺁﻭﺭﺩ‪ .‬ﻳﻚ ﻗﺮﻥ ﭘﻴﺶ ﺭﻭﻯ ﺯﻣﻴﻦ‪ ،‬ﺳﺎﻝ ‪،2020‬‬ ‫ﻛﺘﺎﺏﻫﺎﻯ ﻣﺎ ﺭﺍ ﻏﻴﺮﻗﺎﻧﻮﻧﻰ ﺍﻋﻼﻡ ﻛﺮﺩﻧﺪ‪ .‬ﺁﻩ‪ ،‬ﭼﻪ ﭼﻴﺰ ﻭﺣﺸﺘﻨﺎﻛﻰ‪ ...‬ﻧﺎﺑﻮﺩﻯ ﺁﻓﺮﻳﺪﻩﻫﺎﻯ ﺍﺩﺑﻰﻣﺎﻥ‬ ‫ﺑﻪ ﺁﻥ ﺷﻜﻞ! ﺍﻳﻦ ﻛﺎﺭ ﻣﺎ ﺭﺍ ﺍﺣﻀﺎﺭ ﻛﺮﺩ؛ ﺍﺯ‪ ...‬ﺍﺯ ﭼﻪ؟ ﻣﺮگ؟ ﺁﻥ ﺟﻬﺎﻥ؟ ﺍﺯ ﭼﻴﺰﻫﺎﻯ ﺍﻧﺘﺰﺍﻋﻰ‬ ‫ﺧﻮﺷﻢ ﻧﻤﻰﺁﻳﺪ‪ .‬ﻧﻤﻰﺩﺍﻧﻢ‪ .‬ﺗﻨﻬﺎ ﻣﻰﺩﺍﻧﻢ ﻛﻪ ﺟﻬﺎﻧﻤﺎﻥ ﻭ ﺁﻓﺮﻳﺪﻩﻫﺎﻳﻤﺎﻥ ﻣﺎ ﺭﺍ ﻓﺮﺍ ﺧﻮﺍﻧﺪﻧﺪ ﻭ ﻣﺎ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻣﺎﻧﻨﺪ ﺧﻤﻴﺮﻩﻯ ﻛﺎﺑﻮﺱﻫﺎ ﻣﻪﻣﺎﻧﻨﺪ ﻭ ﻣﺒﻬﻢ ﻣﻰﺷﺪ‪ .‬ﻫﻮﺍ ﺭﺍ ﺻﺪﺍﻯ ﺑﺎﻝﻫﺎ‪ ،‬ﻭ ﻫﺎﻯ ﻭ ﻫﻮﻯ ﺑﺎﺩﻫﺎ‬ ‫ﻭ ﺳﻴﺎﻫﻰ ﺁﻛﻨﺪﻩ ﺑﻮﺩ‪ .‬ﺁﻭﺍﻫﺎ ﺩﮔﺮﮔﻮﻥ ﺷﺪﻧﺪ ﻭ ﭘﻴﻜﺮﻫﺎ ﺩﺭ ﻛﻨﺎﺭ ﺁﺗﺶﻫﺎﻯ ﺭﻭﺑﺎﺯ ﺗﻜﺎﻥ ﺧﻮﺭﺩﻧﺪ‪.‬‬ ‫ﺁﻗﺎﻯ ﭘﻮ‪ ،‬ﺳﻮﺯﻥﻫﺎ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ ﻛﻪ ﺩﺭ ﻧﻮﺭ ﺁﺗﺶ ﻣﻰﺑﺎﻓﺖ ﻭ ﻣﻰﺑﺎﻓﺖ‪ .‬ﺭﻧﺞ ﻭ ﺩﺭﺩ ﺭﺍ ﻣﻰﺑﺎﻓﺖ‪،‬‬ ‫ﺭﺫﺍﻟﺖ ﺭﺍ ﺑﻪﺩﺭﻭﻥ ﻋﺮﻭﺳﻚﻫﺎﻯ ﻣﻮﻣﻰ ﻭ ﺑﻪ ﺩﺭﻭﻥ ﻋﺮﻭﺳﻚﻫﺎﻯ ﮔِﻠﻰ ﻣﻰﺑﺎﻓﺖ‪ .‬ﭘﺎﺗﻴﻞ‪ ،‬ﺭﺍﻳﺤﻪﻯ‬ ‫ﺳﻴﺮ ﻭﺣﺸﻰ ﻭ ﻓﻠﻔﻞ ﺳﺮﺥ ﻭ ﺯﻋﻔﺮﺍﻥ ﺭﺍ ﻣﻰﭘﺮﺍﻛﻨﺪ ﻭ ﻣﻰﺟﻮﺷﻴﺪ ﺗﺎ ﺷﺐ ﺭﺍ ﺑﺎ ﮔﺰﻧﺪﮔﻰ ﻭ ﺗﻠﺨﻰ‬ ‫ﺍﻫﺮﻳﻤﻨﻰ ﺑﻴﺎﻛﻨﺪ‪.‬‬ ‫ﭘﻮ ﮔﻔﺖ‪» :‬ﻫﻤﻴﻦﻃﻮﺭ ﺍﺩﺍﻣﻪ ﺑﺪﻫﻴﺪ‪ .‬ﺑﺮﻣﻰﮔﺮﺩﻡ‪«.‬‬ ‫ﺳﺮﺗﺎﺳﺮ ﺳﺎﺣﻞ ﺗﻬﻰ‪ ،‬ﭘﻴﻜﺮﻫﺎﻯ ﺳﻴﺎﻩ ﻣﻰﭼﺮﺧﻴﺪﻧﺪ ﻭ ﻣﻰﻛﺎﻫﻴﺪﻧﺪ‪ ،‬ﻣﻰﺑﺎﻟﻴﺪﻧﺪ ﻭ ﭼﻮﻥ ﺩﻭﺩﻯ‬ ‫ﺳﻴﺎﻩ ﺩﺭ ﺁﺳﻤﺎﻥ ﺩﻣﻴﺪﻩ ﻣﻰﺷﺪﻧﺪ‪ .‬ﺯﻧﮓﻫﺎ ﺩﺭ ﺑﺮﺝﻫﺎﻯ ﻛﻮﻫﺴﺘﺎﻧﻰ ﺑﻪ ﺻﺪﺍ ﺩﺭ ﻣﻰﺁﻣﺪﻧﺪ ﻭ‬ ‫ﻛﻼﻍﻫﺎﻯ ﺳﻴﺎﻩ ﺑﺎ ﺻﺪﺍﻯ ﻣﻔﺮﻏﻰ ﺧﺒﺮﻫﺎ ﺭﺍ ﺑﺎﺯﮔﻮ ﻣﻰﻛﺮﺩﻧﺪ ﻭ ﺑﻪ ﺧﺎﻛﺴﺘﺮ ﺑﺪﻝ ﻣﻰﺷﺪﻧﺪ‪.‬‬ ‫‪ ‬ﺩﺭ ﺧﻠﻨﮓﺯﺍﺭﻯ ﭘﺮﺕ ﻭ ﻣﻨﺰﻭﻯ‪ ،‬ﺩﺭ ﺩﺭﻩﺍﻯ ﻛﻮﭼﻚ‪ ،‬ﭘﻮ ﻭ ﺑﻴﺮﺱ ﺑﺮ ﺳﺮﻋﺖ ﮔﺎﻡﻫﺎﻯ ﺧﻮﺩ‬ ‫ﺍﻓﺰﻭﺩﻧﺪ ﻭ ﺩﺭ ﻫﻮﺍﻯ ﺳﺮﺩ ﻭ ﻳﺄﺱﺁﻭﺭ ﻭ ﮔﺰﻧﺪﻩ ﺧﻮﺩ ﺭﺍ ﻧﺎﮔﻬﺎﻥ ﺩﺭ ﺧﻴﺎﺑﺎﻧﻰ ﻗﻠﻮﻩﺳﻨﮓﭘﻮﺵ‬ ‫ﻳﺎﻓﺘﻨﺪ‪ .‬ﻣﺮﺩﻡ ﺩﺭ ﺣﻴﺎﻁﻫﺎﻯ ﺳﻨﮕﻰﺷﺎﻥ ﺍﻳﻦ ﺳﻮ ﻭ ﺁﻥ ﺳﻮ ﻣﻰﺭﻓﺘﻨﺪ ﺗﺎ ﭘﺎﻫﺎﺷﺎﻥ ﺭﺍ ﮔﺮﻡ ﻛﻨﻨﺪ‪.‬‬ ‫ﺷﻤﻊﻫﺎ ﭘﺸﺖ ﭘﻨﺠﺮﻩﻯ ﺩﻓﺘﺮﻫﺎ ﻭ ﻣﻐﺎﺯﻩﻫﺎ‪ ،‬ﻛﻪ ﺑﻮﻗﻠﻤﻮﻥﻫﺎﻯ ﻛﺮﻳﺴﻤﺲ ﺭﺍ ﺁﻭﻳﺰﺍﻥ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪،‬‬ ‫ﻣﻰﺩﺭﺧﺸﻴﺪﻧﺪ‪ .‬ﻭﻗﺘﻰ ﺳﺎﻋﺖ ﺑﺰﺭگ ﺑﺎ ﺁﻭﺍﻳﻰ ﺑﻠﻨﺪ ﻭ ﭘﻴﻮﺳﺘﻪ ﻧﻴﻤﻪﺷﺐ ﺭﺍ ﺍﻋﻼﻡ ﻛﺮﺩ‪ ،‬ﭼﻨﺪ ﭘﺴﺮ‬ ‫ﻛﻪ ﻛﻤﻰ ﺁﻥﺳﻮﺗﺮ ﺩﺭ ﻫﻮﺍﻯ ﺯﻣﺴﺘﺎﻧﻰ ﮔﺮﺩ ﻫﻢ ﺁﻣﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﻧﻔﺲ ﺿﻌﻴﻒﺷﺎﻥ ﺭﺍ ﺑﺎ ﺻﺪﺍ ﺑﻴﺮﻭﻥ‬ ‫ﻣﻰﺩﺍﺩﻧﺪ‪ ،‬ﺁﻭﺍﺯ »ﺧﺪﺍ ﺷﺎﺩﻣﺎﻥﺗﺎﻥ ﺑﺪﺍﺭﺩ‪ ،‬ﺁﻗﺎﻳﺎﻥ!« ﺭﺍ ﺳﺮ ﺩﺍﺩﻧﺪ‪ .‬ﻧﺎﻧﻮﺍ ﺩﺭ ﺳﻴﻨﻰ ﻭ ﭘﻴﺎﻟﻪﻫﺎﻯ‬ ‫ﻧﻘﺮﻩﺍﻯ ﻛﻤﻰ ﺍﺯ ﺷﺎﻡ ﺑﺨﺎﺭﭘﺰ ﺩﺭ ﺟﺸﻦﻫﺎﻯ ﻛﺜﻴﻒﺷﺎﻥ ﺭﺍ ﺑﻪ ﺑﭽﻪﻫﺎ ﺩﺍﺩ‪.‬‬ ‫ﺭﻭﻯ ﻋﻼﻣﺘﻰ ﻛﻪ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺑﻮﺩ »ﺍﺳﻜﺮﻭﺝ‪ ،‬ﻣﺎﺭﻟﻰ‪ ،‬ﺩﻳﻜﻨﺰ«‪ ،‬ﭘﻮ ﺑﺎ ﭼﻜﺶ ﺩ ِﺭ ﻣﺨﺼﻮﺹ ﻣﺎﺭﻟﻰ‬ ‫ﺩﻕﺍﻟﺒﺎﺏ ﻛﺮﺩ؛ ﻭ ﺑﺎ ﺑﺎﺯ ﺷﺪﻥ ﻻﻯ ﺩﺭ‪ ،‬ﻫﺠﻮﻡ ﻧﺎﮔﻬﺎﻧﻰ ﻣﻮﺳﻴﻘﻰ ﺍﺯ ﺩﺍﺧﻞ‪ ،‬ﭘﻮ ﻭ ﺑﻴﺮﺱ ﺭﺍ ﺗﻘﺮﻳﺒﺎً ﺑﻪ‬ ‫ﺭﻗﺺ ﺍﻧﺪﺍﺧﺖ‪ .‬ﻭ ﺁﻥﺟﺎ ﭘﺸﺖ ﺳﺮ ﻣﺮﺩﻯ ﻛﻪ ﺳﺒﻴﻞ ﻭ ﺭﻳﺶ ﺑﺰﻯ ﻣﺮﺗﺒﻰ ﺩﺍﺷﺖ‪ ،‬ﺁﻗﺎﻯ ﻓﻴﺰﻯﻭﻳﮓ‬ ‫ﺩﺭ ﺣﺎﻝ ﺩﺳﺖ ﺯﺩﻥ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﺧﺎﻧﻢ ﻓﻴﺰﻯﻭﻳﮓ ﺑﺎ ﻟﺒﺨﻨﺪﻯ ﺍﺯ ﺗﻪ ﺩﻝ ﻣﻰﺭﻗﺼﻴﺪ ﻭ ﺑﻪ ﺩﻳﮕﺮ‬ ‫ﺷﺎﺩﺧﻮﺍﺭﺍﻥ ﺗﻨﻪ ﻣﻰﺯﺩ‪ .‬ﺩﺭ ﻫﻤﺎﻥ ﺣﺎﻝ‪ ،‬ﻭﻳﻮﻟﻮﻥ ﺟﻴﺮﺟﻴﺮﻯ ﻛﺮﺩ ﻭ ﺍﻃﺮﺍﻑ ﻣﻴﺰ ﻫﻤﻪ ﺑﻪ ﺧﻨﺪﻩ‬ ‫ﺍﻓﺘﺎﺩﻧﺪ‪ ،‬ﺍﻧﮕﺎﺭ ﻛﻪ ﺑﺎﺩﻯ ﻧﺎﮔﻬﺎﻧﻰ ﻣﻴﺎﻥ ﭼﻠﭽﺮﺍﻍ ﻭﺯﻳﺪﻩ ﺑﺎﺷﺪ‪ .‬ﻣﻴﺰ ﺑﺰﺭگ‪ ،‬ﺑﺎ ﮔﻮﺷﺖ ﻗﻮﺭﻣﻪ ﻭ‬ ‫ﺑﻮﻗﻠﻤﻮﻥ ﻭ ﺩﺭﺧﺖ ﺭﺍﺝ ﻭ ﻏﺎﺯ ﻭ ﭘﻴﺮﺍﺷﻜﻰ ﮔﻮﺷﺖ ﻭ ﻛﺒﺎﺏ ﺑﭽﻪﺧﻮﻙ ﻭ ﺣﻠﻘﻪﻫﺎﻯ ﺳﻮﺳﻴﺲ ﻭ‬ ‫ﭘﺮﺗﻘﺎﻝ ﻭ ﺳﻴﺐ ﭘﺮ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻭ ﺑﺎﺏ ﻛﺮﺍﭼﻴﺖ ﻭ ﻟﻴﺘﻞ ﺩﻭﺭﻳﺖ ﻭ ﺗﻴﻨﻰ ﺗﻴﻢ ﻭ ﺧﻮﺩ ﺁﻗﺎﻯ ﻓﺎﮔﻴﻦ ﻫﻢ‬ ‫ﺁﻥﺟﺎ ﺑﻮﺩﻧﺪ ﻭ ﻫﻤﻴﻦ ﻃﻮﺭ ﻫﻢ ﻳﻚ ﻣﺮﺩ ﺩﻳﮕﺮ ﻛﻪ ﺍﻧﮕﺎﺭ ﻳﻚ ﺗﻜﻪ ﮔﻮﺷﺖ ﻫﻀﻢﻧﺸﺪﻩ‪ ،‬ﻳﺎ ﻟﻜﻪﻯ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﻧﺎﮔﻬﺎﻥ ﻓﺮﻳﺎﺩ ﺟﻨﻮﻥﺁﻣﻴﺰﻯ ﺍﺯ ﭘﻠﻪﻫﺎﻯ ﺑﺮﺝ ﺻﺤﺒﺖﺷﺎﻥ ﺭﺍ ﻗﻄﻊ ﻛﺮﺩ‪.‬‬ ‫»ﺁﻗﺎﻯ ﭘﻮ! ﺁﻗﺎﻯ ﺑﻴﺮﺱ!«‬ ‫»ﺑﻠﻪ‪ ،‬ﺑﻠﻪ؟ ﺩﺍﺭﻳﻢ ﻣﻰﺁﻳﻴﻢ‪ «.‬ﭘﻮ ﻭ ﺑﻴﺮﺱ ﺍﺯ ﭘﻠﻪﻫﺎ ﭘﺎﻳﻴﻦ ﺭﻓﺘﻨﺪ ﺗﺎ ﻣﺮﺩﻯ ﻛﻪ ﺑﻪ ﺩﻳﻮﺍﺭ ﺳﻨﮕﻰ ﺗﻜﻴﻪ‬ ‫ﺩﺍﺩﻩ ﺑﻮﺩ ﻭ ﻧﻔﺲﻧﻔﺲ ﻣﻰﺯﺩ‪ ،‬ﺑﺒﻴﻨﻨﺪ‪.‬‬ ‫ﻧﺎﮔﻬﺎﻥ ﻓﺮﻳﺎﺩ ﻛﺸﻴﺪ‪» :‬ﺧﺒﺮ ﺭﺍ ﺷﻨﻴﺪﻩﺍﻳﺪ؟« ﻣﺎﻧﻨﺪ ﻛﺴﻰ ﻛﻪ ﺍﺯ ﭘﺮﺗﮕﺎﻩ ﺳﻘﻮﻁ ﻣﻰﻛﻨﺪ ﺟﻴﻎ‬ ‫ﻣﻰﻛﺸﻴﺪ‪» .‬ﺗﺎ ﻳﻚ ﺳﺎﻋﺖ ﺩﻳﮕﺮ ﻓﺮﻭﺩ ﻣﻰﺁﻳﻨﺪ! ﻛﺘﺎﺏﻫﺎ ﺭﺍ ﺑﺎ ﺧﻮﺩﺷﺎﻥ ﺁﻭﺭﺩﻩﺍﻧﺪ‪ ...‬ﻛﺘﺎﺏﻫﺎﻯ‬ ‫ﻛﻬﻦ ﺭﺍ؛ ﺟﺎﺩﻭﮔﺮﻫﺎ ﻣﻰﮔﻔﺘﻨﺪ‪ .‬ﺩﺭ ﭼﻨﻴﻦ ﻭﺿﻌﻰ ﺍﻳﻦﺟﺎ ﭼﻪ ﻛﺎﺭ ﻣﻰﻛﻨﻴﺪ؟ ﭼﺮﺍ ﻛﺎﺭﻯ ﺍﻧﺠﺎﻡ‬ ‫ﻧﻤﻰﺩﻫﻴﺪ؟«‬ ‫ﭘﻮ ﮔﻔﺖ‪» :‬ﻫﺮ ﻛﺎﺭﻯ ﺑﺘﻮﺍﻧﻴﻢ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﻴﻢ‪ ،‬ﺑﻠﻚﻭﻭﺩ! ﺗﻮ ﺗﺎﺯﻩﻭﺍﺭﺩﻯ ﻭ ﺑﺎ ﺍﻳﻦ ﻗﺒﻴﻞ ﺍﻭﺿﺎﻉ ﺁﺷﻨﺎ‬ ‫ﻧﻴﺴﺘﻰ‪ .‬ﺑﺎ ﻣﻦ ﺑﻴﺎ‪ ،‬ﺑﻴﺮﺱ‪ .‬ﺑﻪ ﺧﺎﻧﻪﻯ ﺁﻗﺎﻯ ﭼﺎﺭﻟﺰ ﺩﻳﻜﻨﺰ ﻣﻰﺭﻭﻳﻢ‪«...‬‬ ‫ﺑﻴﺮﺱ ﭼﺸﻤﻜﻰ ﺯﺩ ﻭ ﮔﻔﺖ‪» :‬ﺗﺎ ﺩﺭﺑﺎﺭﻩﻯ ﺳﺮﻧﻮﺷﺖ ﺷﻮﻡﻣﺎﻥ ﺑﻴﻨﺪﻳﺸﻴﻢ‪ ،‬ﺳﺮﻧﻮﺷﺖ ﺷﻮﻡ ﻭ‬ ‫ﺳﻴﺎﻩﻣﺎﻥ‪«.‬‬ ‫‪ ‬ﺍﺯ ﮔﻠﻮﮔﺎﻩﻫﺎﻯ ﺗﻨﮓ ﻭ ﭘﮋﻭﺍﻙﻛﻨﻨﺪﻩﻯ ﻗﻠﻌﻪ ﭘﺎﻳﻴﻦ ﺭﻓﺘﻨﺪ؛ ﭘﻠﻪ ﭘﺲ ﺍﺯ ﻫﺮ ﭘﻠﻪﻯ ﺳﺒﺰ ﻭ ﺗﺎﺭﻳﻚ‪،‬‬ ‫ﺑﻪ ﺳﻮﻯ ﻛﻬﻨﮕﻰ ﻭ ﻧﺎﺑﻮﺩﻯ ﻭ ﻋﻨﻜﺒﻮﺕﻫﺎ ﻭ ﺗﺎﺭﻫﺎﻯ ﺑﺎﻓﺘﻪ ﺍﺯ ﺭﺅﻳﺎ ﻣﻰﺭﻓﺘﻨﺪ‪ .‬ﭘﻮ ﮔﻔﺖ‪» :‬ﻧﮕﺮﺍﻥ‬ ‫ﻧﺒﺎﺷﻴﺪ‪ «.‬ﺍﺑﺮﻭﻳﺶ ﻣﺎﻧﻨﺪ ﭼﺮﺍﻏﻰ ﺑﺰﺭگ ﻭ ﺳﻔﻴﺪ ﻣﺴﻴﺮ ﻓﺮﻭ ﺭﻭﻧﺪﻩﻯ ﺟﻠﻮﻯ ﭘﺎﻯﺷﺎﻥ ﺭﺍ ﺭﻭﺷﻦ‬ ‫ﻣﻰﻛﺮﺩ‪» .‬ﮔﻔﺘﻪﺍﻡ ﻫﻤﻪ ﺑﻴﺎﻳﻨﺪ ﻛﻨﺎﺭ ﺩﺭﻳﺎﻯ ﻣﺮﺩﻩ‪ .‬ﺩﻭﺳﺘﺎﻥ ﺷﻤﺎ ﻭ ﺧﻮﺩﻡ‪ ،‬ﺑﻠﻚﻭﻭﺩ! ﺑﻴﺮﺱ! ﻫﻤﻪ‬ ‫ﺁﻥﺟﺎ ﻫﺴﺘﻨﺪ‪ ،‬ﺟﺎﻧﻮﺭﻫﺎ‪ ،‬ﻋﺠﻮﺯﻩﻫﺎ ﻭ ﻣﺮﺩﺍﻥ ﺑﻠﻨﺪﺑﺎﻻ ﺑﺎ ﺁﻥ ﺩﻧﺪﺍﻥﻫﺎﻯ ﺳﻔﻴﺪ ﻭ ﺗﻴﺰﺷﺎﻥ‪ .‬ﺩﺍﻡﻫﺎ‬ ‫ﺁﻣﺎﺩﻩﺍﻧﺪ؛ ﮔﻮﺩﺍﻝﻫﺎ‪ ،‬ﺑﻪ ﻫﻢﭼﻨﻴﻦ! ﻭ ﺁﻭﻧﮓﻫﺎ؛ ﻭ ﻣﺮگ ﺳﺮﺥ‪ .‬ﻫﺮﮔﺰ ﺧﻴﺎﻝ ﻧﻤﻰﻛﺮﺩﻡ ﻭﻗﺘﻰ ﺑﺮﺳﺪ‬ ‫ﻛﻪ ﺍﺯ ﭼﻴﺰﻯ ﻣﺜﻞ ﻣﺮگ ﺳﺮﺥ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻢ‪ .‬ﻭﻟﻰ ﺧﻮﺩﺷﺎﻥ ﺧﻮﺍﺳﺘﻨﺪ‪ ،‬ﭘﺲ ﮔﻮﺍﺭﺍﻯﺷﺎﻥ ﺑﺎﺩ‪«.‬‬ ‫ﺑﻠﻚﻭﻭﺩ ﭘﺮﺳﻴﺪ‪» :‬ﻗﺪﺭﺗﺶ ﺭﺍ ﺩﺍﺭﻳﻢ؟«‬ ‫»ﻣﮕﺮ ﺍﻧﺴﺎﻥ ﻗﺪﺭﺗﻤﻨﺪ ﭼﻘﺪﺭ ﻗﻮﻯ ﺍﺳﺖ؟ ﺍﻧﺘﻈﺎﺭ ﻣﺎ ﺭﺍ ﻧﺪﺍﺭﻧﺪ‪ .‬ﻗﺪﺭﺕ ﺗﺨﻴﻞ ﻫﻢ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺁﻥ ﻣﺮﺩﺍﻥ‬ ‫ﻣﻮﺷﻚﻧﺸﻴﻦ ﺟﻮﺍﻥ ﻭ ﭘﺎﻛﻴﺰﻩ ﺑﺎ ﺩﻫﺎﻥﻫﺎﻯ ﮔﻨﺪ ﺯﺩﻭﺩﻩ ﻭ ﻛﻼﻩﺧﻮﺩﻫﺎﻳﺸﺎﻥ ﻛﻪ ﻣﺜﻞ ﺗُﻨﮓ ﻣﺎﻫﻰ‬ ‫ﺍﺳﺖ! ﺑﺎ ﺁﻥ ﻣﺬﻫﺐ ﺟﺪﻳﺪﺷﺎﻥ‪ .‬ﺩﻭﺭ ﮔﺮﺩﻥﺷﺎﻥ ﺑﻪ ﺯﻧﺠﻴﺮﻫﺎﻯ ﻃﻼ‪ ،‬ﭼﺎﻗﻮﻯ ﺟﺮﺍﺣﻰ ﺩﺍﺭﻧﺪ؛ ﺭﻭﻯ‬ ‫ﺳﺮﺷﺎﻥ ﺩﻳﻬﻴﻤﻰ ﺍﺯ ﻣﻴﻜﺮﻭﺳﻜﻮپ ﺍﺳﺖ ﻭ ﺩﺭ ﺍﻧﮕﺸﺘﺎﻥ ﻣﻘﺪﺱﺷﺎﻥ ﺧﺎﻛﺴﺘﺮﺩﺍﻥﻫﺎﻯ ﺑﺨﻮﺭﺍﻓﺸﺎﻥ‬ ‫ﻛﻪ ﺩﺭ ﻭﺍﻗﻌﻴﺖ‪ ،‬ﺍﺟﺎﻕﻫﺎﻯ ﻣﻴﻜﺮﻭﺏﻛﺸﻰ ﺍﺳﺖ ﺑﺮﺍﻯ ﺑﺨﺎﺭ ﻛﺮﺩﻥ ﺧﺮﺍﻓﺎﺕ‪ .‬ﺑﺨﺎﺭ ﻛﺮﺩﻥ ﻧﺎﻡﻫﺎﻯ‬ ‫ﭘﻮ‪ ،‬ﺑﻴﺮﺱ‪ ،‬ﻫﺎﻭﺗﻮﺭﻥ‪ ،‬ﺑﻠﻚﻭﻭﺩ ــ ﻛﻔﺮ ﺑﺮ ﻟﺒﺎﻥ ﭘﺎﻙﺷﺎﻥ ﺑﺎﺩ!«‬ ‫ﺑﻴﺮﻭﻥ ﺍﺯ ﻗﻠﻌﻪ ﺩﺭ ﻓﻀﺎﻳﻰ ﺁﺑﮕﻮﻥ ﭘﺮﺍﻛﻨﺪﻩ ﺷﺪﻧﺪ‪ ،‬ﺩﺭﻳﺎﭼﻪﺍﻯ ﻛﻪ ﺩﺭﻳﺎﭼﻪ ﻧﺒﻮﺩ ﻭ ﭘﻴﺶ ﭼﺸﻢﺷﺎﻥ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺁﻗﺎﻯ ﭘﻮ ﮔﻔﺖ‪» :‬ﻣﺠﺒﻮﺭﻳﻢ ﻫﻤﻴﻦ ﺍﻻﻥ ﺑﻪ ﺁﻗﺎﻯ ﺩﻳﻜﻨﺰ ﺑﮕﻮﻳﻴﻢ‪ .‬ﻗﻀﻴﻪ ﺭﺍ ﺑﻴﺶ ﺍﺯ ﺣﺪ ﻛﺶ‬ ‫ﺩﺍﺩﻩﺍﻳﻢ‪ .‬ﻣﺴﺎﻟﻪﻯ ﭼﻨﺪ ﺳﺎﻋﺖ ﺍﺳﺖ‪ .‬ﺗﺎ ﺧﺎﻧﻪﻯ ﺍﻭ ﻫﻤﺮﺍﻫﻰﺍﻡ ﻣﻰﻛﻨﻰ‪ ،‬ﺑﻴﺮﺱ؟«‬ ‫ﺑﻴﺮﺱ ﺷﺎﺩﻣﺎﻧﻪ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﺩﺍﺷﺘﻢ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻡ‪ ...‬ﭼﻪ ﺍﺗﻔﺎﻗﻰ ﺑﺮﺍﻯﻣﺎﻥ ﻣﻰﺍﻓﺘﺪ؟«‬ ‫»ﺍﮔﺮ ﻧﺘﻮﺍﻧﻴﻢ ﺍﻓﺮﺍﺩ ﻣﻮﺷﻚ ﺭﺍ ﺍﺯ ﻣﻴﺎﻥ ﺑﺒﺮﻳﻢ ﻳﺎ ﺑﺘﺮﺳﺎﻧﻴﻢﺷﺎﻥ؛ ﺍﻟﺒﺘﻪ ﻣﺠﺒﻮﺭ ﺧﻮﺍﻫﻴﻢ ﺑﻮﺩ ﻛﻪ‬ ‫ﺍﻳﻦﺟﺎ ﺭﺍ ﺗﺮﻙ ﻛﻨﻴﻢ‪ .‬ﺑﻪ ﺳﻴﺎﺭﻩﻯ ﻣﺸﺘﺮﻯ ﻣﻰﺭﻭﻳﻢ ﻭ ﻭﻗﺘﻰ ﺑﻪ ﻣﺸﺘﺮﻯ ﺁﻣﺪﻧﺪ ﺑﻪ ﺯﺣﻞ ﻣﻰﺭﻭﻳﻢ‬ ‫ﻭ ﻭﻗﺘﻰ ﺁﻣﺪﻧﺪ ﺁﻥﺟﺎ ﺑﻪ ﺍﻭﺭﺍﻧﻮﺱ ﺧﻮﺍﻫﻴﻢ ﺭﻓﺖ ﻳﺎ ﺑﻪ ﻧﭙﺘﻮﻥ ﻭ ﺳﭙﺲ ﺑﻪﺳﻤﺖ ﭘﻠﻮﺗﻮﻥ‪«...‬‬ ‫»ﺑﻌﺪ؟«‬ ‫ﭼﻬﺮﻩﻯ ﺁﻗﺎﻯ ﭘﻮ ﺧﺴﺘﻪ ﺑﻮﺩ؛ ﺯﻏﺎﻝﻫﺎﻯ ﺳﻮﺯﺍﻥ ﻭ ﺳﻮﺳﻮﺯﻥ ﺩﺭ ﭼﺸﻤﺎﻧﺶ ﺑﻮﺩ ﻭ ﺗﻮﺣﺸﻰ ﻏﻤﺒﺎﺭ‬ ‫ﺩﺭ ﺷﻴﻮﻩﻯ ﻛﻼﻣﺶ ﻭ ﺩﺭ ﺑﻴﻬﻮﺩﮔﻰ ﺣﺮﻛﺖ ﺩﺳﺖﻫﺎﻳﺶ ﻭ ﺣﺎﻟﺘﻰ ﻛﻪ ﮔﻴﺴﻮﻯ ﻟﺨﺘﺶ ﺭﻭﻯ‬ ‫ﺍﺑﺮﻭﻫﺎﻯ ﺳﻔﻴﺪ ﻭ ﺷﮕﻔﺖﺁﻭﺭﺵ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﻣﺎﻧﻨﺪ ﺍﻫﺮﻳﻤﻨﻰ ﺍﺯ ﺁﺭﻣﺎﻧﻰ ﺗﺎﺭﻳﻚ ﻭ ﮔﻢﺷﺪﻩ ﻣﻰﻧﻤﻮﺩ‬ ‫ﻳﺎ ﺍﺭﺗﺸﺒﺪﻯ ﺑﺎﺯﮔﺸﺘﻪ ﺍﺯ ﻳﻮﺭﺷﻰ ﻭﻳﺮﺍﻧﮕﺮ‪ .‬ﻟﺐﻫﺎﻯ ﺍﻭ ﻛﻪ ﻣﺸﺨﺼﺎً ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩ ﺻﺎﺣﺐﺷﺎﻥ ﺩﺭ‬ ‫ﺍﻧﺪﻳﺸﻪ ﻓﺮﻭﺭﻓﺘﻪ‪ ،‬ﺳﺒﻴﻞ ﻧﺮﻡ ﻭ ﺳﻴﺎﻫﺶ ﺭﺍ ﻛﻨﺎﺭ ﺯﺩﻩ ﺑﻮﺩ‪ .‬ﺁﻥﻗﺪﺭ ﻗﺪﺵ ﻛﻮﺗﺎﻩ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﻧﻈﺮ‬ ‫ﻣﻰﺭﺳﻴﺪ ﺍﺑﺮﻭﺍﻧﺶ ﺩﺭ ﺍﻳﻦ ﺍﺗﺎﻕ ﺗﺎﺭﻳﻚ ﺷﻨﺎﻭﺭ ﺍﺳﺖ‪.‬‬ ‫»ﻣﻰﺗﻮﺍﻧﻴﻢ ﺍﺯ ﺷﻜﻞﻫﺎﻯ ﭘﻴﺸﺮﻓﺘﻪﻯ ﻣﺴﺎﻓﺮﺕ ﻛﻪ ﺩﺍﺭﻳﻢ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻴﻢ ﻳﺎ ﺣﺘﺎ ﺑﻪ ﺟﻨﮓ‬ ‫ﻫﺴﺘﻪﺍﻯ ﺍﻣﻴﺪ ﺑﺒﻨﺪﻳﻢ‪ ،‬ﻳﺎ ﻓﺮﻭﭘﺎﺷﻰ ﻳﺎ ﺑﺎﺯﮔﺸﺖ ﺩﻭﺑﺎﺭﻩﻯ ﻗﺮﻭﻥ ﻭﺳﻄﺎ؛ ﺑﺎﺯﮔﺸﺖ ﺧﺮﺍﻓﺎﺕ‪ .‬ﺑﻌﺪ‬ ‫ﺍﺯ ﺁﻥ ﻣﻰﺗﻮﺍﻧﻴﻢ ﺑﺮﮔﺮﺩﻳﻢ ﺯﻣﻴﻦ؛ ﻫﻤﻪﻣﺎﻥ‪ ،‬ﻳﻚﺷﺒﻪ‪ «.‬ﭼﺸﻤﺎﻥ ﺳﻴﺎﻩ ﭘﻮ ﺯﻳﺮ ﺍﺑﺮﻭﺍﻥ ﻛﻤﺎﻧﻰ ﻭ‬ ‫ﺩﺭﺧﺸﺎﻧﺶ ﺑﻪ ﻓﻜﺮ ﻓﺮﻭ ﺭﻓﺘﻪ ﺑﻮﺩ‪ .‬ﺑﻪ ﺳﻘﻒ ﺧﻴﺮﻩ ﺷﺪ ﻭ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺁﻥﻫﺎ ﻣﻰﺁﻳﻨﺪ ﺗﺎ ﺍﻳﻦ‬ ‫ﺟﻬﺎﻥ ﺭﺍ ﻫﻢ ﺑﻪ ﻧﺎﺑﻮﺩﻯ ﺑﻜﺸﻨﺪ؟ ﻳﻌﻨﻰ ﻧﻤﻰﺧﻮﺍﻫﻨﺪ ﭼﻴﺰﻯ ﺭﺍ ﻓﺎﺳﺪ ﻧﺸﺪﻩ ﺑﮕﺬﺍﺭﻧﺪ؟«‬ ‫»ﻳﻌﻨﻰ ﮔﻠﻪﻯ ﮔﺮگ ﺗﺎ ﻭﻗﺘﻰ ﻫﻤﻪﻯ ﻃﻌﻤﻪﻫﺎ ﺭﺍ ﻧﻜﺸﺪ ﻭ ﺩﻝ ﻭ ﺭﻭﺩﻩﺷﺎﻥ ﺭﺍ ﻧﺨﻮﺭﺩ‪ ،‬ﺍﺯ ﻛﺸﺘﺎﺭ‬ ‫ﺩﺳﺖ ﻣﻰﻛﺸﺪ؟ ﺟﻨﮓ ﺗﻤﺎﻡﻋﻴﺎﺭ ﺍﺳﺖ‪ .‬ﺑﻪ ﻧﻈﺮﻡ ﺑﻬﺘﺮ ﺍﺳﺖ ﻣﻦ ﻳﻚ ﮔﻮﺷﻪ ﺑﻨﺸﻴﻨﻢ ﻭ ﺍﻣﺘﻴﺎﺯﻫﺎ‬ ‫ﺭﺍ ﻧﮕﻪ ﺩﺍﺭﻡ؛ ﭼﻨﺪ ﻣﺮﺩ ﺭﺍ ﺗﻮﻯ ﺭﻭﻏﻦ ﺳﺮﺥ ﻛﺮﺩﻧﺪ‪ ،‬ﭼﻨﺪ ﺩﻭﺷﻴﺰﻩ ﻓﺎﻧﺪ ﺩﺭ ﺑﺎﺗﻠﺰ ﺳﻮﺧﺘﻨﺪ‪ ،‬ﺳﻴﻨﻪﻯ‬ ‫ﭼﻨﺪ ﺍﻧﺴﺎﻥ ﺭﺍ ﺧﻨﺠﺮ ﺩﺭﻳﺪ‪ ،‬ﭼﻨﺪ ﻣﺮگ ﺳﺮﺥ ﺭﺍ ﻳﻚ ﺩﺳﺘﻪ ﺳﺮﻧﮓ ﺯﻳﺮﭘﻮﺳﺘﻰ ﻣﺠﺒﻮﺭ ﺑﻪ ﮔﺮﻳﺰ‬ ‫ﻛﺮﺩ‪ ...‬ﺍَﻩ!«‬ ‫ﭘﻮ‪ ،‬ﺧﻮﺩ ﺭﺍ ﺑﺎ ﻋﺼﺒﺎﻧﻴﺖ ﺗﻜﺎﻥ ﻣﻰﺩﺍﺩ؛ ﻛﻤﻰ ﺳﺮﺵ ﺑﻪ ﺑﺎﺩﻩ ﮔﺮﻡ ﺑﻮﺩ‪» .‬ﻣﺎ ﭼﻪ ﻛﺮﺩﻳﻢ؟ ﺑﻪ ﻧﺎﻡ ﺧﺪﺍ‬ ‫ﺑﺎ ﻣﺎ ﺑﺎﺵ‪ ،‬ﺑﻴﺮﺱ! ﺣﺘﺎ ﻓﺮﺻﺖ ﻧﻘﺪ ﻣﻨﺼﻔﺎﻧﻪ ﺑﻪ ﻣﺎ ﺩﺍﺩﻧﺪ؟ ﻧﻪ! ﺍﻧﺒﺮﺩﺳﺖﻫﺎﻯ ﭘﺎﻛﻴﺰﻩ ﻭ ﺿﺪﻋﻔﻮﻧﻰ‬ ‫ﺟﺮﺍﺣﺎﻥﺷﺎﻥ ﻛﺘﺎﺏﻫﺎﻣﺎﻥ ﺭﺍ ﺑﺮﭼﻴﺪ ﻭ ﺍﻧﺪﺍﺧﺖ ﺗﻮﻯ ﺩﻳﮓ ﺗﺎ ﺑﺠﻮﺷﻨﺪ ﻭ ﻫﻤﻪﻯ ﻣﻴﻜﺮﻭﺏﻫﺎﻯ‬ ‫ﻣﺮگﺯﺍﻯﺷﺎﻥ ﺑﻤﻴﺮﺩ‪ .‬ﻧﻔﺮﻳﻦ ﺑﻪ ﻫﻤﻪﺷﺎﻥ!«‬ ‫ﺑﻴﺮﺱ ﮔﻔﺖ‪» :‬ﺑﻪ ﻧﻈﺮ ﻣﻦ ﻛﻪ ﻣﻮﻗﻌﻴﺖ ﺳﺮﮔﺮﻡﻛﻨﻨﺪﻩﺍﻯ ﺍﺳﺖ‪«.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺍﻳﻦﻫﺎ ﺗﻮﻯ ﻣﻮﺷﻚ ﺑﻪ ﭼﻪ ﺩﺭﺩﻯ ﻣﻰﺧﻮﺭﻧﺪ؟«‬ ‫»ﻧﻤﻰﺩﺍﻧﻢ‪ «.‬ﺁﻫﻰ ﻛﺸﻴﺪ ﻭ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﻫﻨﻮﺯ ﻧﻤﻰﺩﺍﻧﻢ‪«.‬‬ ‫‪ ‬ﺳﻪ ﻋﻔﺮﻳﺘﻪ ﺑﻠﻮﺭ ﺭﺍ ﻛﻪ ﺗﺼﻮﻳﺮ ﻓﺮﻣﺎﻧﺪﻩ ﺩﺭ ﺁﻥ ﺳﻮﺳﻮ ﻣﻰﺯﺩ ﭼﺮﺧﺎﻧﺪﻧﺪ‪ .‬ﺻﺪﺍﻯ ﺁﺭﺍﻡ ﻓﺮﻣﺎﻧﺪﻩ ﺍﺯ‬ ‫ﺩﺭﻭﻥ ﺑﻠﻮﺭ ﺑﻴﺮﻭﻥ ﺁﻣﺪ‪» :‬ﻧﻤﻰﺩﺍﻧﻢ‪ «.‬ﺁﻫﻰ ﻛﺸﻴﺪ ﻭ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﻫﻨﻮﺯ ﻧﻤﻰﺩﺍﻧﻢ‪«.‬‬ ‫ﺳﻪ ﺟﺎﺩﻭﮔﺮ ﺳﺮﺥﭼﺸﻢ ﺑﻪ ﺻﻮﺭﺕ ﻳﻜﺪﻳﮕﺮ ﺯﻝ ﺯﺩﻧﺪ‪.‬‬ ‫ﻳﻜﻰﺷﺎﻥ ﮔﻔﺖ‪» :‬ﻭﻗﺖ ﺯﻳﺎﺩﻯ ﻧﺪﺍﺭﻳﻢ‪«.‬‬ ‫»ﺑﻬﺘﺮ ﺍﺳﺖ ﺑﻪ ﺁﻥﻫﺎ ﺩﺭ ﺷﻬﺮ ﻫﺸﺪﺍﺭ ﺑﺪﻫﻴﻢ‪«.‬‬ ‫»ﻣﻰﺧﻮﺍﻫﻨﺪ ﺍﺯ ﻛﺘﺎﺏﻫﺎ ﺳﺮ ﺩﺭﺑﻴﺎﻭﺭﻧﺪ‪ .‬ﺍﺻ ً‬ ‫ﻼ ﭼﻴﺰ ﺧﻮﺑﻰ ﻧﻴﺴﺖ‪ .‬ﻟﻌﻨﺖ ﺑﺮ ﺁﻥ ﻓﺮﻣﺎﻧﺪﻩ ﺩﻳﻮﺍﻧﻪ‪«.‬‬ ‫»ﺗﺎ ﻳﻚ ﺳﺎﻋﺖ ﺩﻳﮕﺮ ﻣﻮﺷﻚﺷﺎﻥ ﻓﺮﻭﺩ ﻣﻰﺁﻳﺪ‪«.‬‬ ‫ﺳﻪ ﻋﻔﺮﻳﺘﻪ ﺑﻪ ﺧﻮﺩ ﻟﺮﺯﻳﺪﻧﺪ ﻭ ﭘﻠﻚﺯﻧﺎﻥ ﺑﻪ ﺷﻬﺮ ﺯﻣﺮﺩﻳﻦ ﺩﺭ ﻟﺒﻪﻯ ﺩﺭﻳﺎﻯ ﺧﺸﻚ ﻣﺮﻳﺨﻰ‬ ‫ﺧﻴﺮﻩ ﺷﺪﻧﺪ‪ .‬ﺩﺭ ﺑﻠﻨﺪﺗﺮﻳﻦ ﭘﻨﺠﺮﻩﻯ ﺷﻬﺮ‪ ،‬ﻣﺮﺩﻯ ﻛﻮﭼﻚﺍﻧﺪﺍﻡ‪ ،‬ﭘﺮﺩﻩﺍﻯ ﺧﻮﻥﺭﻧﮓ ﺭﺍ ﻛﻨﺎﺭ ﺯﺩ‪.‬‬ ‫ﺑﻪ ﺯﻣﻴﻦﻫﺎﻯ ﺑﺎﻳﺮﻯ ﻧﮕﺮﻳﺴﺖ ﻛﻪ ﺳﻪ ﺟﺎﺩﻭﮔﺮ‪ ،‬ﭘﺎﺗﻴﻞﺷﺎﻥ ﺭﺍ ﺩﺭ ﺁﻥ ﺭﻭﺷﻦ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﻭ ﺑﺎ‬ ‫ﻣﻮﻡﻫﺎ‪ ،‬ﺷﻜﻞ ﻣﻰﺳﺎﺧﺘﻨﺪ‪ .‬ﻛﻤﻰ ﺩﻭﺭﺗﺮ‪ ،‬ﺩﻩ ﻫﺰﺍﺭ ﺁﺗﺶ ﻻﺟﻮﺭﺩﻯ ﻭ ﺑُﺨﻮﺭ ﺑﺮگ ﻏﺎﺭ ﻭ ﺩﻭﺩ ﺳﻴﺎﻩ‬ ‫ﺗﻨﺒﺎﻛﻮ ﻭ ﺑﺮگ ﺻﻨﻮﺑﺮ ﻭ ﻏﺒﺎﺭ ﺍﺳﺘﺨﻮﺍﻥ ﻭ ﺩﺍﺭﭼﻴﻦ‪ ،‬ﻣﺎﻧﻨﺪ ﺷﺐﭘﺮﻩ‪ ،‬ﺁﺭﺍﻡ‪ ،‬ﺩﺭ ﺷﺐ ﻣﺮﻳﺦ ﺑﻪ ﻫﻮﺍ‬ ‫ﺑﺮﺧﺎﺳﺖ‪ .‬ﺁﺗﺶﻫﺎﻯ ﺟﺎﺩﻭﻳﻰ ﻭ ﺷﻌﻠﻪﻭﺭ ﺭﺍ ﺷﻤﺮﺩ‪ .‬ﺳﭙﺲ‪ ،‬ﻭﻗﺘﻰ ﺳﻪ ﺟﺎﺩﻭﮔﺮ ﺑﻪ ﺍﻭ ﻧﮕﺎﻩ ﻛﺮﺩﻧﺪ‪،‬‬ ‫ﺭﻭ ﺑﺮﮔﺮﺩﺍﻧﺪ‪ .‬ﭘﺮﺩﻩﻯ ﺍﺭﻏﻮﺍﻧﻰ ﺭﻫﺎ ﺷﺪ ﻭ ﺍﻓﺘﺎﺩ ﻭ ﻫﺸﺘﻰ ﺗﺰﻳﻴﻨﻰ ﺩﻭﺭﺩﺳﺖ ﺭﺍ ﻣﺎﻧﻨﺪ ﭼﺸﻤﻰ‬ ‫ﺭﻧﮓﭘﺮﻳﺪﻩ ﺑﻪ ﭼﺸﻤﻚﺯﺩﻥ ﻭﺍ ﺩﺍﺷﺖ‪.‬‬ ‫ﺁﻗﺎﻯ ﺍﺩﮔﺎﺭ ﺁﻟﻦ ﭘﻮ ﻛﻨﺎﺭ ﭘﻨﺠﺮﻩﻯ ﺑﺮﺝ ﺍﻳﺴﺘﺎﺩ‪ .‬ﺑﺨﺎﺭ ﻣﺤﻮ ﺷﺮﺍﺏ ﺩﺭ ﻧﻔﺴﺶ ﺑﻮﺩ‪ .‬ﮔﻔﺖ‪» :‬ﺩﻭﺳﺘﺎﻥ‬ ‫ﻫِﻜﺎﺕ‪ ،‬ﺳﺮﺷﺎﻥ ﺍﻣﺸﺐ ﺷﻠﻮﻍ ﺍﺳﺖ‪ «.‬ﻭ ﺑﻪ ﺟﺎﺩﻭﮔﺮﺍﻥ ﺩﺭ ﺁﻥ ﭘﺎﻳﻴﻦ ﻧﮕﺮﻳﺴﺖ‪.‬‬ ‫ﺻﺪﺍﻳﻰ ﺍﺯ ﭘﺸﺖ ﺳﺮﺵ ﮔﻔﺖ‪» :‬ﻭﻳﻠﻰ ﺷﻜﺴﭙﻴﺮ ﺭﺍ ﺩﻳﺪﻡ ﻛﻪ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﺿﺮﺏِ ﺗﺎﺯﻳﺎﻧﻪ ﻣﻰﺑُﺮﺩ‪.‬‬ ‫ﺍﻣﺸﺐ ﺗﻤﺎﻡ ﺍﻓﺮﺍﺩ ﺷﻜﺴﭙﻴﺮ ﺁﺭﺍﻳﺶ ﻣﻰﮔﻴﺮﻧﺪ؛ ﭼﻨﺪﻫﺰﺍﺭ ﺗﺎ ﻣﻰﺷﻮﻧﺪ؛ ﺳﻪ ﺟﺎﺩﻭﮔﺮ‪ ،‬ﺍ ُﻭﺑ ِﺮﻭﻥ‪ ،‬ﭘﺪﺭ‬ ‫ﻫﻤﻠﺖ‪ ،‬ﭘﻮﻙ ــ ﻫﻤﻪ‪ ،‬ﻫﻤﻪﻯ ﺁﻥﻫﺎ ــ ﭼﻨﺪﻫﺰﺍﺭ ﻧﻔﺮﻧﺪ! ﺧﺪﺍﻳﺎ‪ ،‬ﺩﺭﻳﺎﻯ ﺟﻮﺷﺎﻥ ﺍﻧﺴﺎﻧﻰ‪«.‬‬ ‫»ﻭﻳﻠﻴﺎﻡ ﻧﺎﺯﻧﻴﻦ!« ﭘﻮ ﭼﺮﺧﻴﺪ ﻭ ﺍﺟﺎﺯﻩ ﺩﺍﺩ ﭘﺮﺩﻩﻯ ﺍﺭﻏﻮﺍﻧﻰ ﺑﻴﻔﺘﺪ ﻭ ﺑﺴﺘﻪ ﺷﻮﺩ‪ .‬ﭼﻨﺪ ﻟﺤﻈﻪﺍﻯ‬ ‫ﺍﻳﺴﺘﺎﺩ ﺗﺎ ﺍﺗﺎﻕ ﺳﻨﮕﻰ ﻧﻤﻨﺎﻙ ﻭ ﻣﻴﺰ ﭼﻮﺑﻰ ﻭ ﺷﻌﻠﻪﻯ ﻣﺸﻌﻞ ﺭﺍ ﺑﺒﻴﻨﺪ ﻭ ﻧﻴﺰ ﻣﺮﺩ ﺩﻳﮕﺮﻯ ﻛﻪ‬ ‫ﺭﺍﺣﺖ ﺩﺭ ﺍﺗﺎﻕ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ ،‬ﻳﻌﻨﻰ ﺁﻗﺎﻯ ﺁﻣﺒﺮﻭﺯ ﺑﻴﺮﺱ؛ ﺑﻴﺮﺱ ﺩﺍﺷﺖ ﻛﺒﺮﻳﺖﻫﺎ ﺭﺍ ﺭﻭﺷﻦ ﻣﻰﻛﺮﺩ‬ ‫ﻭ ﺳﻮﺧﺘﻦﺷﺎﻥ ﺭﺍ ﺗﻤﺎﺷﺎ ﻣﻰﻛﺮﺩ‪ .‬ﺑﺎ ﻫﺮ ﻧﻔﺴﺶ ﺳﻮﺕ ﻣﻰﻛﺸﻴﺪ ﻭ ﻫﺮ ﺍﺯ ﭼﻨﺪ ﮔﺎﻫﻰ ﻫﻢ ﺑﺎ ﺧﻮﺩ‬ ‫ﻣﻰﺧﻨﺪﻳﺪ‪.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﭼﺮﺧﺎﻧﺪ ﻭ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺍﺳﻤﻴﺖ‪ ،‬ﺑﻪ ﻧﻈﺮﺕ ﻣﻰﺩﺍﻧﻨﺪ ﺩﺍﺭﻳﻢ ﻣﻰﺁﻳﻴﻢ؟«‬ ‫»ﻣﻌﻠﻮﻡ ﻧﻴﺴﺖ ﻛﺴﻰ ﺩﺭ ﻣﺮﻳﺦ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﺪ ﻳﺎ ﻧﻪ‪ ،‬ﻗﺮﺑﺎﻥ‪«.‬‬ ‫»ﻣﻌﻠﻮﻡ ﻧﻴﺴﺖ؟ ﺍﺯ ﺩﻭ ﻣﺎﻩ ﻗﺒﻞ ﺍﺯ ﺷﺮﻭﻉ ﺳﻔﺮ ﻣﺎ ﺭﺍ ﺗﺮﺳﺎﻧﺪﻩﺍﻧﺪ‪ .‬ﭘﺮﺳﻪ ﻭ ﺭﻳﻨﻮﻟﺪﺯ ﺭﺍ ﻛﺸﺘﻪﺍﻧﺪ‪.‬‬ ‫ﺩﻳﺮﻭﺯ ﻛﺮﻧﻮﻝ ﺭﺍ ﻛﻮﺭ ﻛﺮﺩﻧﺪ‪ .‬ﭼﻄﻮﺭ ﺍﻳﻦ ﻛﺎﺭﻫﺎ ﺭﺍ ﻛﺮﺩﻧﺪ؟ ﺧﺒﺮ ﻧﺪﺍﺭﻡ‪ .‬ﺧﻔﺎﺵ‪ ،‬ﺳﻮﺯﻥ‪ ،‬ﻛﺎﺑﻮﺱ‪،‬‬ ‫ﻣﺮگ ﺑﻰﺩﻟﻴﻞ ﺁﺩﻡﻫﺎ‪ .‬ﺍﮔﺮ ﺩﻭﺭﻩﻯ ﺩﻳﮕﺮﻯ ﺑﻮﺩ ﺍﺳﻢ ﺍﻳﻦ ﭼﻴﺰﻫﺎ ﺭﺍ ﺟﺎﺩﻭ ﻣﻰﮔﺬﺍﺷﺘﻢ‪ .‬ﻭﻟﻰ ﺍﻻﻥ‬ ‫ﺳﺎﻝ ‪ 2120‬ﺍﺳﺖ‪ ،‬ﺍﺳﻤﻴﺖ؛ ﻣﺎ ﻫﻢ ﺁﺩﻡﻫﺎﻯ ﺧﺮﺩﻣﻨﺪﻯ ﻫﺴﺘﻴﻢ‪ .‬ﺍﻳﻦ ﺟﻮﺭ ﭼﻴﺰﻫﺎ ﻣﻤﻜﻦ ﻧﻴﺴﺖ‬ ‫ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﻭﻟﻰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺁﻥﻫﺎ‪ ،‬ﻫﺮﻛﺴﻰ ﻛﻪ ﺑﺎﺷﻨﺪ‪ ،‬ﺳﻌﻰ ﻣﻰﻛﻨﻨﺪ ﺑﺎ ﺳﻮﺯﻥﻫﺎﺷﺎﻥ‬ ‫ﻭ ﺑﺎ ﺧﻔﺎﺵﻫﺎﺷﺎﻥ ﻛﺎﺭ ﻣﺎ ﺭﺍ ﻳﻜﺴﺮﻩ ﻛﻨﻨﺪ‪ «.‬ﺗﻌﺎﺩﻟﺶ ﺭﺍ ﻛﻤﻰ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩ‪ .‬ﺑﻌﺪ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪:‬‬ ‫»ﺍﺳﻤﻴﺖ‪ ،‬ﺁﻥ ﻛﺘﺎﺏﻫﺎ ﺭﺍ ﺍﺯ ﻗﻔﺴﻪﺍﻡ ﺑﻴﺎﻭﺭ‪ .‬ﻣﻮﻗﻊ ﻓﺮﻭﺩ ﻣﻰﺧﻮﺍﻫﻢﺷﺎﻥ‪«.‬‬ ‫ﺩﻭﻳﺴﺖ ﻛﺘﺎﺏ ﺭﺍ ﺭﻭﻯ ﻋﺮﺷﻪﻯ ﻣﻮﺷﻚ ﺭﻳﺨﺘﻨﺪ‪.‬‬ ‫»ﻣﺘﺸﻜﺮﻡ‪ ،‬ﺍﺳﻤﻴﺖ‪ .‬ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺍﻳﻦﻫﺎ ﺭﺍ ﺩﻳﺪﻩ ﺑﻮﺩﻯ؟ ﮔﻤﺎﻥ ﻣﻰﻛﻨﻰ ﺩﻳﻮﺍﻧﻪﺍﻡ؟ ﺷﺎﻳﺪ‪ .‬ﻛﺎﺭ‬ ‫ﺍﺣﻤﻘﺎﻧﻪﺍﻯ ﺑﻮﺩ‪ .‬ﺩﺭ ﺁﺧﺮﻳﻦ ﻟﺤﻈﺎﺕ ﻗﺒﻞ ﺍﺯ ﺳﻔﺮ ﺩﺳﺘﻮﺭ ﺩﺍﺩﻡ ﺍﻳﻦ ﻛﺘﺎﺏﻫﺎ ﺭﺍ ﺍﺯ ﻣﻮﺯﻩﻯ‬ ‫ﺗﺎﺭﻳﺦ ﺑﻴﺎﻭﺭﻧﺪ‪ .‬ﺑﻪ ﺧﺎﻃﺮ ﺭﺅﻳﺎﻫﺎﻳﻢ‪ .‬ﺑﻴﺴﺖ ﺷﺐ ﺧﻨﺠﺮ ﺧﻮﺭﺩﻡ‪ ،‬ﻛﺸﺘﻪ ﺷﺪﻡ‪ ،‬ﺧﻔﺎﺷﻰ ﺩﺭ ﺣﺎﻝ‬ ‫ﺟﻴﻎﻛﺸﻴﺪﻥ ﺭﻭﻯ ﺗﺸﻜﻢ ﺩﻳﺪﻡ ﻳﺎ ﭼﻴﺰﻯ ﺩﻳﺪﻡ ﻛﻪ ﺯﻳﺮ ﺯﻣﻴﻦ ﺩﺍﺧﻞ ﺟﻌﺒﻪﺍﻯ ﺳﻴﺎﻩ ﻣﻰﮔﻨﺪﻳﺪ؛‬ ‫ﺭﺅﻳﺎﻫﺎﻯ ﻫﻮﻟﻨﺎﻙ ﻭ ﺑﺪ‪ .‬ﻫﻤﻪﻯ ﺧﺪﻣﻪﻯ ﻣﺎ ﺧﻮﺍﺏ ﺟﺎﺩﻭﺟﻨﺒﻞ ﻣﻰﺑﻴﻨﻨﺪ‪ .‬ﺧﻮﺍﺏ ﺧﻮﻥﺁﺷﺎﻡ ﻭ‬ ‫ﺍﺷﺒﺎﺡ‪ ،‬ﺧﻮﺍﺏ ﭼﻴﺰﻫﺎﻳﻰ ﻛﻪ ﻣﻤﻜﻦ ﻧﻴﺴﺖ ﭼﻴﺰﻯ ﺩﺭﺑﺎﺭﻩﺍﺵ ﺑﺪﺍﻧﻨﺪ‪ .‬ﭼﺮﺍ؟ ﭼﻮﻥ ﻛﺘﺎﺏﻫﺎﻯ‬ ‫ﻣﺨﻮﻓﻰ ﻣﺜﻞ ﺍﻳﻦﻫﺎ ﺭﺍ ﻳﻚ ﻗﺮﻥ ﭘﻴﺶ ﻧﺎﺑﻮﺩ ﻛﺮﺩﻧﺪ؛ ﻗﺎﻧﻮﻥ ﻧﺎﺑﻮﺩﺷﺎﻥ ﻛﺮﺩ‪ .‬ﺑﺮﺍﻯ ﻫﻤﻪ ﻗﺪﻏﻦ‬ ‫ﺷﺪ ﻛﻪ ﻧﻮﺷﺘﻪﻫﺎﻯ ﻫﺮﺍﺱﺍﻧﮕﻴﺰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ .‬ﺍﻳﻦ ﻛﺘﺎﺏﻫﺎﻳﻰ ﻛﻪ ﺗﻮ ﺍﻳﻦﺟﺎ ﻣﻰﺑﻴﻨﻰ‪ ،‬ﺁﺧﺮﻳﻦ‬ ‫ﻧﺴﺨﻪﻫﺎ ﻫﺴﺘﻨﺪ ﻭ ﺑﺮﺍﻯ ﻣﻨﻈﻮﺭﻫﺎﻯ ﺗﺎﺭﻳﺨﻰ ﺗﻮﻯ ﮔﺎﻭﺻﻨﺪﻭﻕﻫﺎﻯ ﻗﻔﻞﺷﺪﻩﻯ ﻣﻮﺯﻩﻫﺎ ﻧﮕﻪﺷﺎﻥ‬ ‫ﻣﻰﺩﺍﺷﺘﻨﺪ‪«.‬‬ ‫ﻋﻨﺎﻭﻳﻦ ﻏﺒﺎﺭﮔﺮﻓﺘﻪﺷﺎﻥ ﺭﺍ ﺑﺨﻮﺍﻧﺪ‪.‬‬ ‫ﺍﺳﻤﻴﺖ ﺧﻢ ﺷﺪ ﺗﺎ‬ ‫ِ‬ ‫»ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺍﺳﺮﺍﺭ ﻭ ﭘﻨﺪﺍﺭ ﺍﺛﺮ ﺍﺩﮔﺎﺭ ﺁﻟﻦ ﭘﻮ‪ ،‬ﺩﺭﺍﻛﻮﻻ ﺍﺛﺮ ﺑﺮﺍﻡ ﺍﺳﺘﻮﻛﺮ‪ ،‬ﻓﺮﺍﻧﻜﻨﺸﺘﺎﻳﻦ‬ ‫ﺍﺛﺮ ﻣﺮﻯ ﺷﻠﻰ‪ ،‬ﻣﺸﻜﻞ ﺭﻭﻯ ﻣﺸﻜﻞ ﺍﺛﺮ ﻫﻨﺮﻯ ﺟﻴﻤﺰ‪ ،‬ﺍﻓﺴﺎﻧﻪﻯ ﺍﺳﻠﻴﭙﻰ ﻫﺎﻟﻮ ﺍﺛﺮ ﻭﺍﺷﻨﮕﺘﻦ‬ ‫ﺍﻳﺮﻭﻳﻨﮓ‪ ،‬ﺩﺧﺘﺮ ﺭﺍﭘﺎﭼﻴﻨﻰ ﺍﺛﺮ ﻧﺎﺗﺎﻧﻴﻞ ﻫﺎﻭﺗﻮﺭﻥ‪ ،‬ﻭﺍﻗﻌﻪﻯ ﭘﻞ ﺍﻭﻝﻛﺮﻳﻚ ﺍﺛﺮ ﺁﻣﺒﺮﻭﺯ ﺑﻴﺮﺱ‪،‬‬ ‫ﺁﻟﻴﺲ ﺩﺭ ﺳﺮﺯﻣﻴﻦ ﻋﺠﺎﻳﺐ ﺍﺛﺮ ﻟﻮﻳﻴﺲ ﻛﺎﺭﻭﻝ‪ ،‬ﺑﻴﺪﻫﺎ ﺍﺛﺮ ﺁﻟﺠﺮﻧﻮﻥ ﺑﻠﻚﻭﻭﺩ‪ ،‬ﺟﺎﺩﻭﮔﺮ ﺷﻬﺮ‬ ‫ﺍُﺯ ﺍﺛﺮ ﻝ‪ .‬ﻓﺮﺍﻧﻚ ﺑﺎﻭﻡ‪ ،‬ﺳﺎﻳﻪﻯ ﺷﮕﺮﻑ ﺑﺮ ﻓﺮﺍﺯ ﺍﺳﻨﻴﻤﻮﺕ ﺍﺛﺮ ﻩ‪ .‬ﻑ‪ .‬ﻻﻭﻛﺮﺍﻓﺖ‪ ،‬ﻭ ﺑﻘﻴﻪﺷﺎﻥ!‬ ‫ﻛﺘﺎﺏﻫﺎﻳﻰ ﺍﺯ ﻭﺍﻟﺘﺮ ﺩ ﻻﻣﺎﺭ‪ ،‬ﻫﺎﺭﻭﻯ‪ ،‬ﻭﻟﺰ‪ ،‬ﺁﺳﻜﻮﺑﻴﺖ‪ ،‬ﻫﺎﻛﺴﻠﻰ؛ ﻫﻤﻪﻯ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻣﻤﻨﻮﻉ‪.‬‬ ‫ﻫﻤﻪﺷﺎﻥ ﺭﺍ ﻫﻤﺎﻥ ﺳﺎﻟﻰ ﺳﻮﺯﺍﻧﺪﻧﺪ ﻛﻪ ﻫﺎﻟﻮﻭﻳﻦ ﻏﻴﺮﻗﺎﻧﻮﻧﻰ ﺷﺪ ﻭ ﻛﺮﻳﺴﻤﺲ ﻣﻤﻨﻮﻉ‪ .‬ﻭﻟﻰ ﻗﺮﺑﺎﻥ‪،‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻓﺮﻣﺎﻧﺪﻩ ﺩﻳﺪ ﻛﻪ ﻣﭻ ﺩﺳﺖ ﭘﺰﺷﻚ ﺑﻪ ﻣﺎﺭ ﻣﺒﺪﻝ ﺷﺪ ﻭ ﺍﻭ ﺭﺍ ﮔﺰﻳﺪ‪ .‬ﺍﺯ ﺟﺎﻳﺶ ﺗﻜﺎﻥ ﻧﺨﻮﺭﺩ‪ .‬ﻓﻘﻂ‬ ‫ﮔﻔﺖ‪» :‬ﻣﺮﺍﻗﺐ ﺧﻮﺩﺗﺎﻥ ﺑﺎﺷﻴﺪ‪ .‬ﺿﺮﺑﺎﻥ ﺷﻤﺎ ﻫﻢ ﺑﺎﻻﺳﺖ‪«.‬‬ ‫ﻣﭻ‬ ‫ﭘﺰﺷﻚ ﺑﺎ‬ ‫ِ‬ ‫ﺗﻜﺎﻥ ﺳﺮ ﺗﺼﺪﻳﻖ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﭘﺮﺳﻪ ﺍﺯ ﺩﺭﺩ ﺷﻜﺎﻳﺖ ﺩﺍﺷﺖ‪ .‬ﻣﻰﮔﻔﺖ ﺗﻮﻯ ِ‬ ‫ﺩﺳﺘﺶ ﻭ ﺗﻮﻯ ﭘﺎﻫﺎﻳﺶ ﺳﻮﺯﻥ ﻓﺮﻭﻣﻰﺭﻭﺩ‪ .‬ﻣﻰﮔﻔﺖ ﺍﺣﺴﺎﺱ ﻣﻰﻛﻨﺪ ﻣﻮﻡ ﻣﺬﺍﺏ ﺍﺳﺖ‪ .‬ﺯﻣﻴﻦ‬ ‫ﺧﻮﺭﺩ ﻭ ﻣﻦ ﻛﻤﻜﺶ ﻛﺮﺩﻡ ﺑﺎﻳﺴﺘﺪ‪ .‬ﻣﺜﻞ ﺑﭽﻪﻫﺎ ﮔﺮﻳﻪ ﻣﻰﻛﺮﺩ‪ .‬ﮔﻔﺖ ﻳﻚ ﺳﻮﺯﻥ ﻧﻘﺮﻩﺍﻯ ﺗﻮﻯ‬ ‫ﻗﻠﺒﺶ ﺭﻓﺘﻪ‪ .‬ﻣﺮﺩ ﻭ ﺣﺎﻻ ﻫﻢ ﺟﺴﺪﺵ ﺍﻳﻦﺟﺎﺳﺖ‪ .‬ﻣﻰﺗﻮﺍﻧﻢ ﻛﺎﻟﺒﺪﺷﻜﺎﻓﻰ ﺭﺍ ﺗﻜﺮﺍﺭ ﻛﻨﻢ‪ .‬ﺧﻮﺩﺗﺎﻥ‬ ‫ﺑﺒﻴﻨﻴﺪ‪ .‬ﻫﻤﻪﭼﻴﺰ ﻃﺒﻴﻌﻰ ﺍﺳﺖ‪«.‬‬ ‫»ﻧﻤﻰﺷﻮﺩ ﻛﻪ؛ ﻻﺑﺪ ﺍﺯ ﭼﻴﺰﻯ ﻣﺮﺩﻩ‪«.‬‬ ‫ﻓﺮﻣﺎﻧﺪﻩ ﺑﻪﺳﻮﻯ ﻓﻀﺎﻯ ﺧﺎﻟﻰ ﺍﺗﺎﻕ ﺭﻓﺖ‪ .‬ﺑﻮﻯ ﺟﻮﻫﺮ ﻧﻌﻨﺎ ﻭ ﻳﺪ ﻭ ﺻﺎﺑﻮﻥ ﺳﺒﺰ ﺭﺍ ﺍﺯ ﺩﺳﺘﺎﻥ‬ ‫ﺭﻭﻏﻦﺧﻮﺭﺩﻩ ﻭ ﻣﺎﻧﻴﻜﻮﺭﺷﺪﻩﺍﺵ ﻣﻰﺷﺪ ﺷﻨﻴﺪ‪ .‬ﺩﻧﺪﺍﻥﻫﺎﻯ ﺳﻔﻴﺪﺵ ﺭﺍ ﺩﻧﺪﺍﻥﺷﻮﻳﻪ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ‬ ‫ﮔﻮﺵﻫﺎﻳﺶ ﺑﻪ ﺭﻧﮓ ﺻﻮﺭﺗﻰ ﺑﺮﺍﻕ ﻣﻰﻧﻤﻮﺩ‪ ،‬ﺍﻧﮕﺎﺭ ﮔﻮﻧﻪﻫﺎﻳﺶ ﺑﺎﺷﻨﺪ‪ .‬ﻳﻮﻧﻴﻔﺮﻣﺶ ﺑﻪ ﺭﻧﮓ ﺑﺮﻑ‬ ‫ﺗﺎﺯﻩ ﻭ ﺳﻔﻴﺪ ﺑﻮﺩ ﻭ ﭼﻜﻤﻪﻫﺎﻳﺶ ﻣﺎﻧﻨﺪ ﺁﻳﻴﻨﻪﻫﺎﻯ ﺳﻴﺎﻩ ﺯﻳﺮ ﭘﺎﻳﺶ ﻣﻰﺩﺭﺧﺸﻴﺪ‪ .‬ﻣﻮﻯ ﻛﻮﺗﺎﻩ ﻭ‬ ‫ﺁﺭﺍﺳﺘﻪﺍﺵ ﺑﻮﻯ ﺗﻨﺪ ﺍﻟﻜﻞ ﻣﻰﺩﺍﺩ‪.‬‬ ‫ﺣﺘﺎ ﻧﻔﺴﺶ ﺗﻨﺪ ﻭ ﺗﺎﺯﻩ ﻭ ﺗﻤﻴﺰ ﺑﻮﺩ‪ .‬ﻫﻴﭻ ﻟﻜﻪﺍﻯ ﺩﺭ ﺍﻭ ﻧﺒﻮﺩ‪ .‬ﺍﺑﺮﺍﺯﻯ ﺗﺎﺯﻩﺳﺎﺧﺖ ﺑﻮﺩ‪ ،‬ﮔﻮﺵﺑﻪﻓﺮﻣﺎﻥ‬ ‫ﻭ ﺁﻣﺎﺩﻩ ﻭ ﻫﻨﻮﺯ ﺍﺯ ﮔﺮﻣﺎﻯ ﺗﻨﻮﺭ ﺟﺮﺍﺡ‪ ،‬ﺩﺍﻍ‪.‬‬ ‫ﻣﺮﺩﺍﻥ ﻫﻤﺮﺍﻩ ﺍﻭ ﻫﻢ ﺍﺯ ﻫﻤﺎﻥ ﻗﺎﻟﺐ ﺑﻮﺩﻧﺪ‪ .‬ﻣﻰﺷﺪ ﺗﻮﻗﻊ ﺩﺍﺷﺖ ﻛﻠﻴﺪﻫﺎﻯ ﻓﻠﺰﻳﻦ ﻭ ﺑﺰﺭﮔﻰ‬ ‫ِ‬ ‫ﺭﺍ ﭘﺸﺖﺷﺎﻥ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ ﻛﻪ ﺁﺭﺍﻡﺁﺭﺍﻡ ﻛﻮﻙﺷﺎﻥ ﻣﻰﻛﻨﺪ‪ .‬ﮔﺮﺍﻥ ﻭ ﭘﺮﺍﺳﺘﻌﺪﺍﺩ ﺑﻮﺩﻧﺪ؛‬ ‫ﺍﺳﺒﺎﺏﺑﺎﺯﻯﻫﺎﻯ ﺭﻭﻏﻦﺧﻮﺭﺩﻩ‪ ،‬ﻓﺮﻣﺎﻥﺑﺮ‪ ،‬ﺳﺮﻳﻊ‪.‬‬ ‫ﻓﺮﻣﺎﻧﺪﻩ‪ ،‬ﻧﮕﺎﻫﻰ ﺑﻪ ﺳﻴﺎﺭﻩﻯ ﻣﺮﻳﺦ ﺍﻧﺪﺍﺧﺖ ﻛﻪ ﺣﺎﻻ ﺩﻳﮕﺮ ﺩﺭ ﻓﻀﺎ ﺑﺴﻴﺎﺭ ﺑﺰﺭگ ﺩﻳﺪﻩ ﻣﻰﺷﺪ‪.‬‬ ‫»ﺗﺎ ﻳﻚ ﺳﺎﻋﺖ ﺩﻳﮕﺮ ﺭﻭﻯ ﺁﻥ ﺟﺎﻯ ﻣﺰﺧﺮﻑ ﻓﺮﻭﺩ ﻣﻰﺁﻳﻴﻢ‪ .‬ﺍﺳﻤﻴﺖ‪ ،‬ﺗﻮ ﻫﻴﭻ ﺧﻔﺎﺵ ﻳﺎ ﻛﺎﺑﻮﺱ‬ ‫ﺩﻳﮕﺮﻯ ﺩﻳﺪﻩﺍﻯ؟«‬ ‫»ﺑﻠﻪ‪ ،‬ﻗﺮﺑﺎﻥ‪ .‬ﻳﻚ ﻣﺎﻩ ﻗﺒﻞ ﺍﺯ ﭘﺮﻭﺍﺯ ﻣﻮﺷﻚ ﺍﺯ ﻧﻴﻮﻳﻮﺭﻙ ﺍﺯ ﺍﻳﻦ ﺧﻮﺍﺏﻫﺎ ﺩﻳﺪﻡ‪ ،‬ﻗﺮﺑﺎﻥ‪ .‬ﻣﻮﺵﻫﺎﻯ‬ ‫ﺳﻔﻴﺪ ﮔﺮﺩﻧﻢ ﺭﺍ ﮔﺎﺯ ﻣﻰﮔﺮﻓﺘﻨﺪ ﻭ ﺧﻮﻧﻢ ﺭﺍ ﻣﻰﺧﻮﺭﺩﻧﺪ‪ .‬ﭼﻴﺰﻯ ﻧﮕﻔﺘﻢ؛ ﺗﺮﺳﻴﺪﻡ ﺍﺟﺎﺯﻩ ﻧﺪﻫﻴﺪ‬ ‫ﺑﻪ ﺍﻳﻦ ﺳﻔﺮ ﺑﻴﺎﻳﻢ‪«.‬‬ ‫ﻓﺮﻣﺎﻧﺪﻩ ﺁﻩ ﻛﺸﻴﺪ ﻭ ﮔﻔﺖ‪» :‬ﻣﻬﻢ ﻧﻴﺴﺖ‪ .‬ﻣﻦ ﻫﻢ ﺧﻮﺍﺏ ﺩﻳﺪﻡ‪ .‬ﺍﺯ ﻳﻚ ﻫﻔﺘﻪ ﭘﻴﺶ ﺍﺯ ﺧﻴﺰ ﺍﺯ‬ ‫ﺯﻣﻴﻦ‪ .‬ﺗﻤﺎﻡ ﭘﻨﺠﺎﻩ ﺳﺎﻝ ﻋﻤﺮﻡ ﺧﻮﺍﺏ ﻧﺪﻳﺪﻩ ﺑﻮﺩﻡ ﻭ ﺍﺯ ﺁﻥ ﺑﻪ ﺑﻌﺪ ﻫﺮ ﺷﺐ ﺧﻮﺍﺏ ﻣﻰﺩﻳﺪﻡ‬ ‫ﻣﻦ ﮔﺮگ ﺳﻔﻴﺪﻯ ﻫﺴﺘﻢ ﻛﻪ ﻻﻯ ﺗﭙﻪﻯ ﺑﺮﻓﻰ ﮔﻴﺮ ﺍﻓﺘﺎﺩﻩﺍﻡ ﻭ ﮔﻠﻮﻟﻪﻯ ﻧﻘﺮﻩﺍﻯ ﺑﻪ ﻣﻦ ﺷﻠﻴﻚ‬ ‫ﻣﻰﻛﻨﻨﺪ‪ .‬ﺑﻌﺪ ﻭﻗﺘﻰ ﻣﻴﻠﻪ ﺗﻮﻯ ﻗﻠﺒﻢ ﻓﺮﻭ ﺭﻓﺘﻪ‪ ،‬ﺷﻌﻠﻪ ﻣﻰﻛﺸﻢ‪ «.‬ﺳﺮﺵ ﺭﺍ ﺑﻪ ﺳﻮﻯ ﻣﺮﻳﺦ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫»ﭼﻪ ﺧﻮﺏ!«‬ ‫»ﻣﻮﻡ ﺯﺭﺩ‪ ،‬ﺧﻮﺩﺵ ﺭﺍ ﮔﺮﻓﺘﻪ؟«‬ ‫»ﺑﻠﻪ‪«.‬‬ ‫»ﺑﺮﻳﺰﺵ ﺗﻮﻯ ﻗﺎﻟﺐ ﺁﻫﻨﻰ‪«.‬‬ ‫»ﻣﻮﻡ ﺷﻜﻞ ﮔﺮﻓﺖ؟« ﻣﻮﻡ ﺭﺍ ﭼﻜﻪﭼﻜﻪ ﺩﺭ ﺩﺳﺘﺎﻥ ﺳﺒﺰﺷﺎﻥ ﺷﻜﻞ ﺩﺍﺩﻧﺪ‪.‬‬ ‫»ﺳﻮﺯﻥ ﺭﺍ ﺗﻮﻯ ﻗﻠﺒﺶ ﻓﺮﻭ ﻛﻦ‪«.‬‬ ‫»ﺑﻠﻮﺭ! ﺑﻠﻮﺭ ﺭﺍ ﺍﺯ ﻛﻴﻒ ﻭﺭﻕﻫﺎﻯ ﺗﺎﺭﻭﺕ ﺑﻴﺎﻭﺭ ﻭ ﮔﺮﺩ ﻭ ﻏﺒﺎﺭﺵ ﺭﺍ ﺑﮕﻴﺮ‪ .‬ﺗﻤﺎﺷﺎ ﻛﻦ‪«.‬‬ ‫ﭼﻬﺮﻩﻯ ﺭﻧﮓﭘﺮﻳﺪﻩﺷﺎﻥ ﺭﻭﻯ ﺑﻠﻮﺭ ﺧﻢ ﺷﺪ‪.‬‬ ‫»ﺑﺒﻴﻨﻴﺪ‪ ،‬ﺑﺒﻴﻨﻴﺪ‪ ،‬ﺑﺒﻴﻨﻴﺪ‪«...‬‬ ‫‪ ‬ﺍﺧﺘﺮﻧﺎﻭ‪ ،‬ﻓﻀﺎ ﺭﺍ ﻣﻰﭘﻴﻤﻮﺩ ﻭ ﺍﺯ ﺯﻣﻴﻦ ﺑﻪﺳﻮﻯ ﻣﺮﻳﺦ ﺣﺮﻛﺖ ﻣﻰﻛﺮﺩ‪ .‬ﺁﺩﻡﻫﺎ ﺩﺭ ﻧﺎﻭ ﻣﻰﻣﺮﺩﻧﺪ‪.‬‬ ‫ﻓﺮﻣﺎﻧﺪﻩ‪ ،‬ﺧﺴﺘﻪ ﻭ ﺩﺭﻣﺎﻧﺪﻩ‪ ،‬ﺳﺮﺵ ﺭﺍ ﺑﻠﻨﺪ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﻣﺠﺒﻮﺭﻳﻢ ﺍﺯ ﻣﻮﺭﻓﻴﻦ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻴﻢ‪«.‬‬ ‫»ﻭﻟﻰ ﻓﺮﻣﺎﻧﺪﻩ‪«...‬‬ ‫ﮔﻔﺖ‪» :‬ﺧﻮﺩﺕ ﺣﺎﻝ ﺍﻳﻦ ﻣﺮﺩ ﺭﺍ ﻣﻰﺑﻴﻨﻰ‪ «.‬ﻭ ﭘﺘﻮﻯ ﭘﺸﻤﻰ ﺭﺍ ﻛﻨﺎﺭ ﺯﺩ‪ .‬ﻣﺮﺩﻯ ﺯﻳﺮ ﭘﺘﻮﻯ ﻧﻤﻨﺎﻙ‬ ‫ﺗﻜﺎﻥ ﺧﻮﺭﺩ ﻭ ﻧﺎﻟﻪ ﻛﺮﺩ‪ .‬ﻫﻮﺍ‪ ،‬ﺁﻛﻨﺪﻩ ﺍﺯ ﻏﺮﺵ ﺷﻌﻠﻪﻫﺎﻯ ﺩﻭﺯﺥ ﺑﻮﺩ‪.‬‬ ‫»ﺩﻳﺪﻣﺶ! ﺩﻳﺪﻣﺶ!« ﻣﺮﺩ‪ ،‬ﭼﺸﻤﺎﻧﺶ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩ ﻭ ﺑﻪ ﺳﻤﺖ ﭼﭗ ﻧﮕﺎﻩ ﻛﺮﺩ ﻛﻪ ﺗﻨﻬﺎ ﻓﻀﺎﻯ‬ ‫ﺗﺎﺭﻳﻚ ﺑﻮﺩ؛ ﻭ ﺳﺘﺎﺭﮔﺎﻥ ﺩ ّﻭﺍﺭ ﻭ ﺯﻣﻴﻨﻰ ﻛﻪ ﺑﻪ ﺩﻭﺭﺩﺳﺖ ﻣﻰﺭﻓﺖ ﻭ ﻣﺮﻳﺨﻰ ﻛﻪ ﺑﺰﺭگﺗﺮ ﻭ ﺳﺮﺥﺗﺮ‬ ‫ﻣﻰﺷﺪ‪» .‬ﺩﻳﺪﻣﺶ! ﺧﻔﺎﺵ ﺑﻮﺩ‪ .‬ﺧﻴﻠﻰ ﺑﺰﺭگ ﺑﻮﺩ‪ .‬ﻳﻚ ﺧﻔﺎﺵ ﺑﺎ ﭼﻬﺮﻩﻯ ﺍﻧﺴﺎﻥ‪ .‬ﺑﺎﻝ ﻣﻰﺯﺩ‪ ،‬ﺑﺎﻝ‬ ‫ﻣﻰﺯﺩ‪ ...‬ﺑﺎﻝ ﻣﻰﺯﺩ‪ ،‬ﺑﺎﻝ ﻣﻰﺯﺩ‪«.‬‬ ‫ﻓﺮﻣﺎﻧﺪﻩ ﭘﺮﺳﻴﺪ‪» :‬ﺿﺮﺑﺎﻥ؟«‬ ‫ِ‬ ‫ﭘﺰﺷﻚ ﻧﺎﻭ ﺿﺮﺑﺎﻥ ﺭﺍ ﺍﻧﺪﺍﺯﻩ ﮔﺮﻓﺖ ﻭ ﮔﻔﺖ‪» :‬ﺻﺪ ﻭ ﺳﻰ‪«.‬‬ ‫»ﺯﻧﺪﻩ ﻧﻤﻰﻣﺎﻧﺪ‪ .‬ﻣﻮﺭﻓﻴﻦ ﺭﺍ ﺗﺰﺭﻳﻖ ﻛﻦ‪ .‬ﺩﻧﺒﺎﻟﻢ ﺑﻴﺎ‪ ،‬ﺍﺳﻤﻴﺖ‪«.‬‬ ‫ﺭﺍﻩ ﺍﻓﺘﺎﺩﻧﺪ‪ .‬ﻧﺎﮔﻬﺎﻥ ﻛﻒ ﺭﺍﻫﺮﻭﻫﺎ ﺍﺯ ﺍﺳﺘﺨﻮﺍﻥﻫﺎ ﻭ ﺟﻤﺠﻤﻪﻫﺎﻳﻰ ﭘﺮ ﺷﺪ ﻛﻪ ﺟﻴﻎ ﻣﻰﻛﺸﻴﺪﻧﺪ‪.‬‬ ‫ﻓﺮﻣﺎﻧﺪﻩ ﺟﺮﺍﺕ ﻧﻜﺮﺩ ﺑﻪ ﭘﺎﻳﻴﻦ ﻧﮕﺎﻩ ﻛﻨﺪ ﻭ ﺩﺭ ﻣﻴﺎﻥ ﺍﻳﻦ ﻓﺮﻳﺎﺩﻫﺎ ﮔﻔﺖ‪» :‬ﭘِﺮﺳِ ﻪ ﻫﻤﻴﻦﺟﺎﺳﺖ؟«‬ ‫ﻭ ﺍﺯ ﺩﺭ ﮔﺬﺷﺖ ﻭ ﻭﺍﺭﺩ ﺍﺗﺎﻗﻰ ﺷﺪ‪ .‬ﺟﺮﺍﺣﻰ ﺑﺎ ﺭﻭﭘﻮﺵ ﺳﻔﻴﺪ ﻛﻨﺎﺭ ﺟﺴﺪﻯ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﮔﻔﺖ‪:‬‬ ‫»ﺍﺻ ً‬ ‫ﻼ ﺳﺮ ﺩﺭﻧﻤﻰﺁﻭﺭﻡ‪«.‬‬ ‫»ﭘﺮﺳﻪ ﭼﺮﺍ ﻣﺮﺩﻩ؟«‬ ‫»ﻧﻤﻰﺩﺍﻧﻴﻢ‪ ،‬ﻓﺮﻣﺎﻧﺪﻩ‪ .‬ﻣﺸﻜﻞ ﻗﻠﺒﺶ ﻳﺎ ﻣﻐﺰﺵ ﻳﺎ ﺷﻮﻙ ﺑﻪ ﺗﻨﺶ ﻧﻴﺴﺖ‪ .‬ﻓﻘﻂ‪ ...‬ﻣﺮﺩﻩ‪«.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

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‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺗﺒﻌﻴﺪﻯ ﻫﺎ‬ ‫ﺭﻯ ﺑﺮﺩﺑﺮﻯ‬ ‫ﺣﺴﻴﻦ ﺷﻬﺮﺍﺑﻰ‬

‫‪ ‬ﺍﺯ ﭼﺸﻢ ﺟﺎﺩﻭﮔﺮﺍﻥ ﺁﺗﺶ ﻣﻰﺑﺎﺭﻳﺪ ﻭ ﻧﻔﺲ ﺍﺯ ﺩﻫﺎﻥﺷﺎﻥ ﺷﻌﻠﻪ ﻣﻰﻛﺸﻴﺪ؛ ﺧﻢ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‬ ‫ﺗﺎ ﭘﺎﺗﻴﻞ ﺭﺍ ﺑﺎ ﭼﻮﺑﺪﺳﺖ ﻭ ﺍﻧﮕﺸﺘﺎﻥ ﺍﺳﺘﺨﻮﺍﻧﻰ ﺧﻮﺩ ﺑﻜﺎﻭﻧﺪ‪.‬‬ ‫ﻛِﻰ ﻣﻰﺑﻴﻨﻴﻢ ﻫﻢﺩﻳﮕﻪ ﺭﻭ ﺩﻭﺑﺎﺭﻩ‬

‫ﺯﻳـﺮ ﺁﻓـﺘﺎﺏ‪ ،‬ﺯﻳـﺮ ﺳـﺘﺎﺭﻩ؟‬

‫ﺳﺮﻣﺴﺘﺎﻧﻪ ﺑﺮ ﺳﺎﺣﻞ ﺩﺭﻳﺎﻯ ﺗﻬﻰ ﭘﺎﻯ ﻣﻰﻛﻮﺑﻴﺪﻧﺪ ﻭ ﺩﺳﺖ ﻣﻰﺍﻓﺸﺎﻧﺪﻧﺪ؛ ﻫﻮﺍ ﺭﺍ ﺑﺎ ﺯﺑﺎﻥﺷﺎﻥ‬ ‫ﻣﻰﺁﻟﻮﺩﻧﺪ ﻭ ﺑﺎ ﭼﺸﻤﺎﻥ ﮔﺮﺑﻪﺍﻯ ﺩﺭﺧﺸﺎﻥ ﻭ ﺑﺪﺧﻮﺍﻫﺎﻧﻪﺷﺎﻥ ﻣﻰﺳﻮﺯﺍﻧﺪﻧﺪ‪:‬‬ ‫ﺩﺭﺩ ﻭ ﺯﻫـﺮ ﻭ ﻋـﺬﺍﺏ ﺗـﻮﺷـﻪ!‬

‫ﺩﻭﺭ ﭘﺎﺗﻴﻞ ﻣﻰﭼـﺮﺧﻴﻢ‬ ‫ﺩﺭﺩ ﻭ ﺭﻧﺞﻭ ﺑﻴﺸﺘﺮ ﻛﻦ ﺁﺗﻴﺶ ﻣﻰﺳﻮﺯﻩ‪ ،‬ﭘـﺎﺗﻴﻞ ﺟﻮﺷﻪ!‬

‫ﻟﻤﺤﻪﺍﻯ ﺍﻳﺴﺘﺎﺩﻧﺪ ﻭ ﻧﮕﺎﻫﻰ ﺑﻪ ﺍﻃﺮﺍﻑ ﺍﻧﺪﺍﺧﺘﻨﺪ؛ ﮔﻔﺘﻨﺪ‪» :‬ﮔﻮﻯ ﺑﻠﻮﺭﻳﻦ ﻛﺠﺎﺳﺖ؟ ﺳﻮﺯﻥﻫﺎ‬ ‫ﻛﺠﺎﺳﺖ؟«‬ ‫»ﺍﻳﻦﺟﺎ!«‬

‫ﺩﺭ ﺁﺳﻤﺎﻥ ﻧﻴﻤﻪﺷﺐ ﺑﻪ ﭘﺮﻭﺍﺯ ﺩﺭ ﺁﻳﺪ‪ .‬ﭘﺪﺭﺑﺰﺭﮔﻢ ﻣﺜﻞ ﻛﺎﻫﻦ ﺍﻋﻈﻢ ﺑﻮﺩ ﻭ ﻣﻦ ﻫﻢ ﻛﺎﺭﺁﻣﻮﺯ‬ ‫ﺩﺳﺘﻴﺎﺭﺵ‪ .‬ﺑﻪ ﺍﻭ ﻛﻤﻚ ﻛﺮﺩﻡ ﺗﺎ ﻛﺎﻏﺬ ﺳﻔﻴﺪ ﻭ ﻗﺮﻣﺰ ﻭ ﺁﺑﻰ ﺭﺍ ﺍﺯ ﺟﻌﺒﻪ ﺑﻴﺮﻭﻥ ﺑﻴﺎﻭﺭﺩ ﻭ ﺗﻤﺎﺷﺎ‬ ‫ﻛﺮﺩﻡ ﻛﻪ ﭘﺪﺭﺑﺰﺭگ ﭼﻄﻮﺭ ﻛﺎﺳﻪﻯ ﭘﺮ ﺍﺯ ﻛﺎﻩ ﺧﺸﻜﻰ ﺭﺍ ﻛﻪ ﺯﻳﺮﺵ ﺁﻭﻳﺰﺍﻥ ﺑﻮﺩ‪ ،‬ﺭﻭﺷﻦ ﻛﺮﺩ‪.‬‬ ‫ﻭﻗﺘﻰ ﺁﺗﺶ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ‪ ،‬ﻫﻮﺍﻯ ﺩﺍﻍ ﺩﺍﺧﻞ ﺑﺎﻟﻮﻥ ﺷﺪ ﻭ ﺁﻥ ﺭﺍ ﭼﺎﻕ ﻛﺮﺩ‪.‬‬ ‫ﻭﻟﻰ ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻢ ﺑﺎﻟﻮﻥ ﺭﺍ ﺭﻫﺎ ﻛﻨﻢ‪ .‬ﺍﻳﻦ ﭼﺮﺍﻍ‪ ،‬ﺑﺎ ﺁﻥ ﻧﻮﺭ ﻭ ﺳﺎﻳﻪﺍﻯ ﻛﻪ ﺩﺭﻭﻧﺶ ﺑﻪ ﺭﻗﺺ ﺩﺭ‬ ‫ﻣﻰﺁﻣﺪ‪ ،‬ﺑﻰﻧﻬﺎﻳﺖ ﺯﻳﺒﺎ ﺑﻮﺩ‪ .‬ﻓﻘﻂ ﻭﻗﺘﻰ ﭘﺪﺭﺑﺰﺭگ ﺗﻮﻯ ﭼﺸﻤﺎﻧﻢ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﺳﺮﺵ ﺭﺍ ﺁﺭﺍﻡ ﺗﻜﺎﻥ‬ ‫ﺩﺍﺩ‪ ،‬ﺑﺎﻻﺧﺮﻩ ﺑﺎﻟﻮﻥ ﺭﺍ ﺭﻫﺎ ﻛﺮﺩﻡ ﻛﻪ ﺍﺯ ﺟﻠﻮﻯ ﺍﻳﻮﺍﻥ ﮔﺬﺷﺖ ﻭ ﺩﺭ ﮔﺬﺭ ﺧﻮﺩ‪ ،‬ﺻﻮﺭﺕ ﺍﻗﻮﺍﻣﻢ ﺭﺍ‬ ‫ﺭﻭﺷﻦ ﻛﺮﺩ‪ .‬ﺑﺎﻟﻮﻥ ﺷﻨﺎﻭﺭ ﺍﺯ ﻓﺮﺍﺯ ﺩﺭﺧﺘﺎﻥ ﺳﻴﺐ ﮔﺬﺷﺖ‪ ،‬ﺑﻪ ﺑﺎﻻﻯ ﺷﻬﺮ ﺁﻣﺎﺩﻩ ﺑﺮﺍﻯ ﺧﻮﺍﺏ ﺭﺳﻴﺪ‬ ‫ﻭ ﺩﺭ ﻃﻮﻝ ﺷﺐ‪ ،‬ﻣﻴﺎﻥ ﺳﺘﺎﺭﮔﺎﻥ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ‪.‬‬ ‫ﺣﺪﺍﻗﻞ ﺩﻩ ﺩﻗﻴﻘﻪ ﺑﻪ ﺗﻤﺎﺷﺎﻯ ﺑﺎﻟﻮﻥ ﺍﻳﺴﺘﺎﺩﻳﻢ‪ ،‬ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﺩﻳﮕﺮ ﺍﺯ ﺩﻳﺪﺭﺳﻤﺎﻥ ﺧﺎﺭﺝ ﺷﺪ‪ .‬ﺁﻥ‬ ‫ﻭﻗﺖ ﺍﺷﻚ ﺭﻭﻯ ﮔﻮﻧﻪﻫﺎﻯ ﻣﻦ ﺭﻭﺍﻥ ﺷﺪ ﻭ ﭘﺪﺭﺑﺰﺭگ ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﺑﻪ ﻣﻦ ﻧﮕﺎﻩ ﻛﻨﺪ‪ ،‬ﮔﻠﻮﻳﺶ‬ ‫ﺭﺍ ﺻﺎﻑ ﻛﺮﺩ ﻭ ﭘﺎ ﺑﻪ ﭘﺎ ﺷﺪ‪ .‬ﻫﻤﻪﻯ ﻓﺎﻣﻴﻞ‪ ،‬ﺑﺎ ﺍﻧﮕﺸﺖﻫﺎﻯ ﮔﻮﮔﺮﺩﻯ ﺍﺯ ﺩﻧﺒﺎﻟﻪﻯ ﻓﺸﻔﺸﻪﻫﺎ‪ ،‬ﻳﺎ‬ ‫ﺩﺍﺧﻞ ﺧﺎﻧﻪ ﺭﻓﺘﻨﺪ ﻳﺎ ﺗﻮﻯ ﺣﻴﺎﻁ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻧﺪ ﻭ ﻣﻦ ﺭﺍ ﺗﻨﻬﺎ ﮔﺬﺍﺷﺘﻨﺪ ﺗﺎ ﺑﺎ ﺍﻧﮕﺸﺘﺎﻥ ﮔﻮﮔﺮﺩﻯﺍﻡ‪،‬‬ ‫ﺍﺷﻚﻫﺎﻳﻢ ﺭﺍ ﭘﺎﻙ ﻛﻨﻢ‪ .‬ﺁﺧﺮ ﻫﻤﺎﻥ ﺷﺐ‪ ،‬ﺧﻮﺍﺏ ﺩﻳﺪﻡ ﻛﻪ ﺑﺎﻟﻮﻥ ﻛﺎﻏﺬﻯ ﺑﺎﺯﮔﺸﺘﻪ ﻭ ﺟﻠﻮﻯ‬ ‫ﭘﻨﺠﺮﻩﻯ ﺍﺗﺎﻗﻢ ﺷﻨﺎﻭﺭ ﺍﺳﺖ‪.‬‬ ‫ﺑﻴﺴﺖ ﻭ ﭘﻨﺞ ﺳﺎﻝ ﺑﻌﺪ‪» ،‬ﺑﺎﻟﻮﻥﻫﺎﻯ ﺁﺗﺸﻴﻦ« ﺭﺍ ﻧﻮﺷﺘﻢ؛ ﺩﺍﺳﺘﺎﻧﻰ ﻛﻪ ﺩﺭ ﺁﻥ ﺗﻌﺪﺍﺩﻯ ﻛﺸﻴﺶ‬ ‫ﺑﺮﺍﻯ ﻳﺎﻓﺘﻦ ﻣﻮﺟﻮﺩﺍﺗﻰ ﺧﻴﺮﺧﻮﺍﻩ ﻭ ﻧﻴﻚ‪ ،‬ﺑﻪ ﻣﺮﻳﺦ ﺳﻔﺮ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺍﺩﺍﻯ ﺍﺣﺘﺮﺍﻡ ﻣﻦ‬ ‫ﺑﻪ ﻫﻤﺎﻥ ﺗﺎﺑﺴﺘﺎﻥﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﭘﺪﺭﺑﺰﺭﮔﻢ ﺯﻧﺪﻩ ﺑﻮﺩ‪ .‬ﻳﻜﻰ ﺍﺯ ﻛﺸﻴﺶﻫﺎ ﻣﺜﻞ ﭘﺪﺭﺑﺰﺭگ ﺧﻮﺩ ﻣﻦ‬ ‫ﺍﺳﺖ؛ ﺍﻭ ﺭﺍ ﺑﻪ ﻣﺮﻳﺦ ﻓﺮﺳﺘﺎﺩﻡ ﺗﺎ ﺩﻭﺑﺎﺭﻩ ﺑﺎﻟﻮﻥﻫﺎ ﺭﺍ ﺑﺒﻴﻨﺪ‪ ،‬ﻭﻟﻰ ﺍﻳﻦ ﺑﺎﺭ ﺑﺎﻟﻮﻥﻫﺎ ﻫﻤﺎﻥ ﻣﺮﻳﺨﻰﻫﺎ‬ ‫ﺑﻮﺩﻧﺪ؛ ﺁﺗﺸﻴﻦ ﻭ ﺭﻭﺷﻦ‪ ،‬ﺷﻨﺎﻭﺭ ﺑﺮ ﻓﺮﺍﺯ ﺩﺭﻳﺎﻫﺎﻳﻰ ﻣﺮﺩﻩ‪.‬‬

‫* ﺑﻪ ﻧﻘﻞ ﺍﺯ ﻧﻴﻮﻳﻮﺭﻛﺮ ‪ -‬ژﻭﺋﻦ ‪2012‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﺩﻳﮕﺮ ﺭﺍ ﺗﺠﺮﺑﻪ ﻣﻰﻛﺮﺩﻡ‪ .‬ﺩﺍﺋﻢ ﻓﺮﻳﺎﺩ ﻣﻰﻛﺸﻴﺪﻡ ﻭ ﺍﻳﻦ ﻃﺮﻑ ﻭ ﺁﻥ ﻃﺮﻑ ﻣﻰﺩﻭﻳﺪﻡ‪ ،‬ﭼﻮﻥ‬ ‫ﻣﻰﺗﺮﺳﻴﺪﻡ ﺟﻬﺎﻥ ﻫﻤﺎﻥ ﺑﻌﺪﺍﺯﻇﻬﺮ ﺑﻪ ﭘﺎﻳﺎﻥ ﺑﺮﺳﺪ‪.‬‬ ‫ﺩﻳﻮﺍﻧﮕﻰ ﺑﻌﺪﻯﺍﻡ ﺩﺭ ﺳﺎﻝ ‪ 1931‬ﺭﺥ ﺩﺍﺩ؛ ﻳﻌﻨﻰ ﺯﻣﺎﻧﻰ ﻛﻪ ﺍﻭﻟﻴﻦ ﻣﺠﻤﻮﻋﻪ ﺍﺯ ﻧﻘﺎﺷﻰﻫﺎﻯ ﺭﻧﮕﻰ‬ ‫ﻫﺎﺭﻭﻟﺪ ﻓﺎﺳﺘﺮ ﺑﺮ ﺍﺳﺎﺱ ﺩﺍﺳﺘﺎﻥ »ﺗﺎﺭﺯﺍﻥ« ﺍﺩﮔﺎﺭ ﺭﺍﻳﺲ ﺑﺎﺭﻭﺯ ﺩﺭ ﺭﻭﺯﻧﺎﻣﻪﻯ ﺳﺎﻧﺪﻯ ﻣﻨﺘﺸﺮ ﺷﺪ ﻭ‬ ‫ﻫﻤﺰﻣﺎﻥ‪ ،‬ﺩﺭ ﻛﺘﺎﺑﻔﺮﻭﺷﻰ ﻛﻨﺎﺭ ﺧﺎﻧﻪﻯ ﻋﻤﻮ ﺑﺎﻳﻮﻥﺍﻡ‪ ،‬ﻣﺠﻤﻮﻋﻪﻯ »ﺟﺎﻥ ﻛﺎﺭﺗﺮ ﺍﺯ ﻣﺮﻳﺦ« ﺭﺍ ﻛﺸﻒ‬ ‫ﻛﺮﺩﻡ‪ .‬ﻣﻄﻤﺌﻨﻢ ﻛﻪ ﺍﮔﺮ ﺑﺎﺭﻭﺯ ﭼﻨﺎﻥ ﺗﺎﺛﻴﺮﻯ ﺩﺭ ﺁﻥ ﺑﺮﻫﻪ ﺍﺯ ﺯﻧﺪﮔﻰﺍﻡ ﻧﻤﻰﮔﺬﺍﺷﺖ‪» ،‬ﺗﻮﺍﺭﻳﺦ‬ ‫ﻣﺮﻳﺦ« ﻫﺮﮔﺰ ﺑﻪ ﻭﺟﻮﺩ ﻧﻤﻰﺁﻣﺪ‪.‬‬ ‫ﺗﻤﺎﻡ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺟﺎﻥ ﻛﺎﺭﺗﺮ ﻭ ﺗﺎﺭﺯﺍﻥ ﺭﺍ ﺣﻔﻆ ﺑﻮﺩﻡ ﻭ ﺗﻮﻯ ﺣﻴﺎﻁ ﺟﻠﻮﻳﻰ ﺧﺎﻧﻪﻯ ﭘﺪﺭﺑﺰﺭﮔﻢ‬ ‫ﻣﻰﻧﺸﺴﺘﻢ ﻭ ﻫﺮ ﻛﺴﻰ ﻛﻪ ﻃﺎﻗﺖ ﻣﻰﺁﻭﺭﺩ ﻛﻨﺎﺭ ﺩﺳﺘﻢ ﺑﻨﺸﻴﻨﺪ ﻭ ﮔﻮﺵ ﺩﻫﺪ‪ ،‬ﮔﻴﺮ ﻣﻰﺍﻧﺪﺍﺧﺘﻢ‬ ‫ﻭ ﺩﺍﺳﺘﺎﻥﻫﺎ ﺭﺍ ﺑﺮﺍﻳﺶ ﺗﻌﺮﻳﻒ ﻣﻰﻛﺮﺩﻡ‪ .‬ﺷﺐﻫﺎﻯ ﺗﺎﺑﺴﺘﺎﻧﻰ ﺑﻪ ﺣﻴﺎﻁ ﻣﻰﺭﻓﺘﻢ ﻭ ﺩﺳﺘﻢ ﺭﺍ ﺑﻪ‬ ‫ﺳﻮﻯ ﻧﻮﺭ ﺳﺮﺥ ﻣﺮﻳﺦ ﺩﺭﺍﺯ ﻣﻰﻛﺮﺩﻡ ﻭ ﻣﻰﮔﻔﺘﻢ‪» :‬ﻣﻦ ﺭﺍ ﺑﻪ ﺧﺎﻧﻪ ﺑﺒﺮ!« ﺁﺭﺯﻭ ﺩﺍﺷﺘﻢ ﭘﺮﻭﺍﺯ ﻛﻨﻢ‬ ‫ﻭ ﺁﻥﺟﺎ ﺩﺭ ﻣﻴﺎﻥ ﻏﺒﺎﺭﻫﺎﻯ ﻏﺮﻳﺒﻰ ﻛﻪ ﺍﺯ ﺳﻮﻯ ﺩﺭﻳﺎﻫﺎﻯ ﻣﺮﺩﻩ ﺑﻪ ﺳﻤﺖ ﺷﻬﺮﻫﺎﻯ ﺑﺎﺳﺘﺎﻧﻰ‬ ‫ﻣﻰﻭﺯﻳﺪ‪ ،‬ﻓﺮﻭﺩ ﺑﻴﺎﻳﻢ‪.‬‬ ‫ﻭﻗﺖﻫﺎﻳﻰ ﻛﻪ ﺭﻭﻯ ﺯﻣﻴﻦ ﺑﺎﻗﻰ ﻣﻰﻣﺎﻧﺪﻡ‪ ،‬ﺩﺭ ﻋﻮﺽ ﺩﺭ ﺯﻣﺎﻥ ﺳﻔﺮ ﻣﻰﻛﺮﺩﻡ ﻭ ﺑﻪ ﺑﺰﺭﮔﺘﺮﻫﺎ ﮔﻮﺵ‬ ‫ﻣﻰﺩﺍﺩﻡ ﻛﻪ ﺷﺐﻫﺎﻯ ﮔﺮﻡ ﺗﺎﺑﺴﺘﺎﻧﻰ ﺩﺭ ﺣﻴﺎﻁ ﻭ ﺟﻠﻮﻯ ﺧﺎﻧﻪﻫﺎ ﺟﻤﻊ ﻣﻰﺷﺪﻧﺪ ﺗﺎ ﺣﺮﻑ ﺑﺰﻧﻨﺪ‬ ‫ﻭ ﺧﺎﻃﺮﻩ ﺗﻌﺮﻳﻒ ﻛﻨﻨﺪ‪ .‬ﺩﺭ ﭘﺎﻳﺎﻥ ﻣﺮﺍﺳﻢ ﭼﻬﺎﺭﻡ ژﻭﺋﻴﻪ‪ ،‬ﻭﻗﺘﻰ ﻋﻤﻮﻫﺎ ﺳﻴﮕﺎﺭﻫﺎﻳﺸﺎﻥ ﺭﺍ ﻛﺸﻴﺪﻩ‬ ‫ﻭ ﺑﺤﺚﻫﺎﻯ ﻓﻠﺴﻔﻰﺷﺎﻥ ﺭﺍ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﺎﻧﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻭ ﻋﻤﻪﻫﺎ ﻭ ﻋﻤﻮﺯﺍﺩﻩﻫﺎ ﻭ ﻋﻤﻪﺯﺍﺩﻩﻫﺎ ﺑﺴﺘﻨﻰ‬ ‫ﻗﻴﻔﻰ ﻳﺎ ﻟﻴﻤﻮﻧﺎﺩﺷﺎﻥ ﺭﺍ ﺗﻤﺎﻡ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻭ ﻫﻤﻪﻯ ﺗﺮﻗﻪﻫﺎ ﻭ ﻓﺸﻔﺸﻪﻫﺎ ﺭﺍ ﺗﻤﺎﻡ ﻛﺮﺩﻩ ﺑﻮﺩﻳﻢ‪،‬‬ ‫ﻟﺤﻈﻪﻯ ﺟﺎﺩﻭﻳﻰ‪ ،‬ﻟﺤﻈﻪﻯ ﻏﻢﺍﻧﮕﻴﺰ‪ ،‬ﻫﻤﺎﻥ ﻟﺤﻈﻪﻯ ﺳﺮﺷﺎﺭ ﺍﺯ ﺯﻳﺒﺎﻳﻰ ﺳﺮ ﻣﻰﺭﺳﻴﺪ‪ .‬ﻳﻌﻨﻰ‬ ‫ﻟﺤﻈﻪﻯ ﻫﻮﺍ ﻛﺮﺩﻥ ﺑﺎﻟﻮﻥﻫﺎﻯ ﺁﺗﺶ‪.‬‬ ‫ﺣﺘﺎ ﺩﺭ ﺁﻥ ﺳﻦ ﻛﻢﻛﻢ ﺑﻪ ﻓﻬﻢ ﭘﺎﻳﺎﻥ ﻫﺮ ﭼﻴﺰ ﻣﻰﺭﺳﻴﺪﻡ؛ ﻳﻜﻴﺶ ﻫﻤﻴﻦ ﭼﺮﺍﻍ ﻛﺎﻏﺬﻯ ﺯﻳﺒﺎ ﺑﻮﺩ‪.‬‬ ‫ﺩﺭ ﺁﻥ ﺳﻦ ﭘﺪﺭﺑﺰﺭﮔﻢ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻡ؛ ﻭﻗﺘﻰ ﭘﻨﺞ ﺳﺎﻝ ﺩﺍﺷﺘﻢ‪ ،‬ﺍﻭ ﺍﺯ ﺩﻧﻴﺎ ﺭﻓﺖ‪ .‬ﺍﻭ ﺭﺍ ﺧﻮﺏ‬ ‫ﺑﻪ ﻳﺎﺩ ﺩﺍﺭﻡ‪ :‬ﻣﻦ ﻭ ﺍﻭ ﺩﺭ ﭼﻤﻦ ﺭﻭﺑﺮﻭﻯ ﺍﻳﻮﺍﻥ ﺍﻳﺴﺘﺎﺩﻳﻢ‪ ،‬ﺣﺪﻭﺩ ﺑﻴﺴﺖ ﻧﻔﺮ ﺍﺯ ﺍﻗﻮﺍﻡ ﺗﻤﺎﺷﺎﭼﻰ‬ ‫ﻛﺎﺭﻣﺎﻥ ﺑﻮﺩﻧﺪ‪ ،‬ﻭ ﺑﺎﻟﻮﻥ ﻛﺎﻏﺬﻯ ﺑﺮﺍﻯ ﺍﻋﻼﻡ ﻟﺤﻈﻪﻯ ﺁﺧﺮ‪ ،‬ﭘﺮ ﺍﺯ ﻧﻔﺴﻰ ﮔﺮﻡ‪ ،‬ﻣﻴﺎﻥ ﻣﺎ ﻗﺮﺍﺭ ﺩﺍﺷﺖ‬ ‫ﻭ ﺁﻣﺎﺩﻩﻯ ﺣﺮﻛﺖ ﺑﻮﺩ‪.‬‬ ‫ﺑﻪ ﭘﺪﺭﺑﺰﺭﮔﻢ ﻛﻤﻚ ﻛﺮﺩﻡ ﺟﻌﺒﻪﺍﻯ ﺭﺍ ﺟﻠﻮ ﺑﻴﺎﻭﺭﺩ ﻛﻪ ﺟﺴﻢ ﻛﺎﻏﺬﻯ ﺑﺎﻟﻮﻥ ﺁﺗﺶ‪ ،‬ﻣﺜﻞ ﺭﻭﺣﻰ‬ ‫ﻟﻄﻴﻒ ﻭ ﻧﺎﺯﻙ‪ ،‬ﺩﺭ ﺁﻥ ﻗﺮﺍﺭ ﺩﺍﺷﺖ ﻭ ﺁﻣﺎﺩﻩ ﺑﻮﺩ ﺗﺎ ﺩﺭ ﺁﻥ ﻧﻔﺴﻰ ﻛﺸﻴﺪﻩ ﺷﻮﺩ ﻭ ﭘﺮ ﺷﻮﺩ ﻭ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

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‫ﺑﻪ ﺟﺎﻯ ﺳﺨﻦ ﻣﺎﻩ‪:‬‬ ‫*‬

‫ﻣﺮﺍ ﺑﻪ ﺧﺎﻧﻪﺍﻡ ﺑﺒﺮﻳﺪ‬ ‫ﺭﻯ ﺑﺮﺩﺑﺮﻯ‬ ‫ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

‫ﻭﻗﺘﻰ ﻫﻔﺖ ﻫﺸﺖ ﺳﺎﻟﻪ ﺑﻮﺩﻡ‪ ،‬ﺷﺮﻭﻉ ﺑﻪ ﺧﻮﺍﻧﺪﻥ ﻣﺠﻼﺕ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻛﺮﺩﻡ ﻛﻪ ﻣﺸﺘﺮﻳﺎﻥ‬ ‫ﻭﻭﻛﮕﺎﻥ ﺍﻳﻠﻴﻨﻮﻳﺰ ﻣﻰﺁﻭﺭﺩﻧﺪ‪ .‬ﻫﻤﺎﻥ ﺳﺎﻝﻫﺎﻳﻰ ﺑﻮﺩ ﻛﻪ ﻫﻮﮔﻮ‬ ‫ﺑﻪ ﻣﻬﻤﺎﻧﺨﺎﻧﻪﻯ ﭘﺪﺭﺑﺰﺭﮔﻢ ﺩﺭ‬ ‫ِ‬ ‫ﮔﺮﻧﺰﺑﻚ »ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺷﮕﻔﺖ« ﺭﺍ ﭼﺎپ ﻣﻰﻛﺮﺩ ﻭ ﺭﻭﻯ ﺟﻠﺪﺵ ﻧﻘﺎﺷﻰﻫﺎﻳﻰ ﻏﺮﻳﺐ ﻭ‬ ‫ﺭﻧﮕﻴﻦ ﻭ ﺗﺨﻴﻠﻰ ﺩﺍﺷﺖ ﻛﻪ ﻗﻮﻩﻯ ﺗﺨﻴﻞ ﺗﺸﻨﻪﻯ ﻣﻦ ﺭﺍ ﺳﻴﺮﺍﺏ ﻣﻰﻛﺮﺩ‪ .‬ﻛﻤﻰ ﺑﻌﺪ‪ ،‬ﻭﻗﺘﻰ‬ ‫ﺑﺎﻙ ﺭﺍﺟﺮﺯ ﺩﺭ ﺳﺎﻝ ‪ 1928‬ﻇﺎﻫﺮ ﺷﺪ‪ ،‬ﻫﻴﻮﻻﻯ ﺧﻼﻕ ﺩﺭﻭﻧﻢ ﺭﺷﺪ ﻛﺮﺩ ﻭ ﺑﻪ ﻧﻈﺮﻡ ﭘﺎﻳﻴﺰ ﺁﻥ‬ ‫ﺳﺎﻝ ﻛﻤﻰ ﺩﻳﻮﺍﻧﻪ ﺷﺪﻡ‪ .‬ﺗﻨﻬﺎ ﺭﺍﻩ ﺗﻮﺻﻴﻒ ﺍﻳﻦ ﻛﻪ ﭼﻄﻮﺭ ﺩﺍﺳﺘﺎﻥﻫﺎ ﺭﺍ ﻣﻰﺑﻠﻌﻴﺪﻡ‪ ،‬ﻫﻤﻴﻦ‬ ‫ﺍﺳﺖ ﻛﻪ ﺑﮕﻮﻳﻢ ﺩﻳﻮﺍﻧﻪ ﺷﺪﻩ ﺑﻮﺩﻡ‪ .‬ﺩﺭ ﺳﻨﻴﻦ ﺑﺎﻻﺗﺮ ﺑﻪ ﻧﺪﺭﺕ ﭼﻨﻴﻦ ﺗﺐﻫﺎﻳﻰ ﭘﻴﺶ ﻣﻰﺁﻳﺪ‬ ‫ﻛﻪ ﺗﻤﺎﻡ ﺭﻭﺯ ﺁﺩﻡ ﺭﺍ ﺍﺯ ﺍﺣﺴﺎﺱ ﺳﺮﺷﺎﺭ ﻛﻨﺪ‪.‬‬ ‫ﺣﺎﻻ ﻛﻪ ﺑﻪ ﮔﺬﺷﺘﻪ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻢ‪ ،‬ﻣﻰﺑﻴﻨﻢ ﭼﻪ ﻣﻮﺟﻮﺩ ﻏﻴﺮﻗﺎﺑﻞ ﺗﺤﻤﻠﻰ ﺑﺮﺍﻯ ﺩﻭﺳﺘﺎﻥ ﻭ‬ ‫ﺍﻗﻮﺍﻣﻢ ﺑﻮﺩﻩﺍﻡ‪ .‬ﺩﺍﺋﻢ ﺩﻳﻮﺍﻧﮕﻰ ﭘﺲ ﺍﺯ ﻫﻴﺠﺎﻥ ﭘﺲ ﺍﺯ ﺍﺷﺘﻴﺎﻕ ﭘﺲ ﺍﺯ ﻫﻴﺴﺘﺮﻯ ﭘﺲ ﺍﺯ ﺣﺴﻰ‬

‫ﻓﻬﺮﺳﺖ‬ ‫ﺑﻪ ﺟﺎﻯ ﺳﺨﻦ ﻣﺎﻩ‪ :‬ﻣﺮﺍ ﺑﻪ ﺧﺎﻧﻪﺍﻡ ﺑﺒﺮﻳﺪ‬

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‫ﺑﺨﺶ ﺍﻭﻝ‪ :‬ﺩﺍﺳﺘﺎﻥ‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﺗﺒﻌﻴﺪﻯﻫﺎ‬

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‫ﺭﻯ ﺑﺮﺩﺑﺮﻯ ‪ /‬ﺣﺴﻴﻦ ﺷﻬﺮﺍﺑﻰ‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﻣﺎﺷﻴﻦ ﭘﺮﻧﺪﻩ‬

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‫ﺭﻯ ﺑﺮﺩﺑﺮﻯ ‪ /‬ﻣﻬﺪﻯ ﺑﻨﻮﺍﺭﻯ‬

‫ﻓﺎﻧﺘﺰﻯ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﺑﺎﺩﺑﺎﻙ ﻃﻼﻳﻰ‪ ،‬ﺑﺎﺩ ﻧﻘﺮﻩﺍﻯ‬

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‫ﺭﻯ ﺑﺮﺩﺑﺮﻯ ‪ /‬ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

‫ﻭﺣﺸﺖ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﺁﺧﺮﻳﻦ ﻣﻴﻮﻩ‬

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‫ﺭﻯ ﺑﺮﺩﺑﺮﻯ ‪ /‬ﺳﺘﺎﺭ ﺷﻜﺮﻯ‬

‫ﺑﺨﺶ ﺩﻭﻡ‪ :‬ﻣﻘﺎﻟﻪ‬ ‫ﻣﻘﺎﻟﻪ‪ :‬ﺳﺎﻟﺸﻤﺎﺭ ﺯﻧﺪﮔﻰ ﺑﺮﺩﺑﺮﻯ‬

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‫ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬

‫ﻣﺼﺎﺣﺒﻪ‪ :‬ﻫﻨﺮ ﺩﺍﺳﺘﺎﻥﺳﺮﺍﻳﻰ‬

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‫ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

‫ﺑﺨﺶ ﺳﻮﻡ‪ :‬ﭘﺮﻭﻧﺪﻩ‬ ‫ﻛﺘﺎﺏ‪ :‬ﻣﺮﺩ ﻣﺼﻮﺭ‬

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‫ﻣﻬﺪﻯ ﺑﻨﻮﺍﺭﻯ‬

‫ﻛﺘﺎﺏ‪ :‬ﻣﺎﺷﻴﻦ ﻛﻠﻴﻤﺎﻧﺠﺎﺭﻭ‬

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‫ﻣﺤﻤﺪ ﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‬

‫ﻛﺘﺎﺏ‪ :‬ﺭﻯ ﺑﺮﺩﺑﺮﻯ‪ ،‬ﻧﺴﺨﻪﻯ ﻓﺎﺭﺳﻰ‬

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‫ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‬

‫ﺑﺨﺶ ﭼﻬﺎﺭﻡ‪ :‬ﻭﻳﮋﻩﻧﺎﻣﻪﻯ ﻓﺴﺘﻴﻮﺍﻝ ﺗﺎﺑﺴﺘﺎﻧﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺷﮕﻔﺖ‬

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‫ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬

‫ﺳﻔﻴﻨﻪ‬

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‫ﺍﻣﻴﺪﺭﺿﺎ ﺍﻳﺰﺩﻯ‬

‫ﺷﮕﻔﺖ ﻳﺎ ﺁﻥ ﻃﻮﺭ ﻛﻪ ﺭﻭﻯ ﺯﻣﻴﻦ ﻣﻰﮔﻮﻳﻨﺪ‪ ،‬ﺷﻰﺋﻰ ﻋﺠﻴﺐ ﺩﺭ ﺁﺳﻤﺎﻥ‬

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‫ﻣﻴﻼﺩ ﻗﺰﻟﻠﻮ‬

‫ﻣﻮﺍﺯﻯ‬ ‫ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‪ ،‬ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

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‫ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬ ‫ﺳﺎﻝ ﺩﻭﻡ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ، 20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﮔﺮﻭﻩ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬

‫ﺩﺑﻴﺮ ﺷﻮﺭﺍﻯ ﺳﻴﺎﺳﺖﮔﺬﺍﺭﻯ‪ :‬ﻣﻬﺪﻯ ﺑﻨﻮﺍﺭﻯ‬ ‫ﺳﺮﺩﺑﻴـــــﺮ ﻣﺠﻠـــــﻪ‪ :‬ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬ ‫ﻫﻴــــﺄﺕ ﺗﺤﺮﻳﺮﻳـــــﻪ‪ :‬ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‪ ،‬ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‪ ،‬ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬ ‫ﻫﻤﻜــﺎﺭﺍﻥ ﺍﻳـﻦ ﺷــﻤﺎﺭﻩ‪ :‬ﺍﻣﻴﺪﺭﺿﺎ‬

‫ﺍﻳﺰﺩﻯ‪،‬‬

‫ﺳﺘﺎﺭ‬

‫ﺷﻜﺮﻯ‪،‬‬

‫ﺣﺴﻴﻦ‬

‫ﺷﻬﺮﺍﺑﻰ‪،‬‬

‫ﻣﺤﻤﺪﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‪ ،‬ﻣﻴﻼﺩ ﻗﺰﻟﻠﻮ‬ ‫ﺑﺎ اﺣﱰام ﺑﻪ ﺣﻀﻮر ﻫﻤﯿﺸﮕﯽ آﻗﺎی اﻟﮑﱰﯾﮑﻮ‪ ،‬ﻣﺮد ﻣﺼﻮر‪ ،‬ﮔﺎی ﻣﻮﻧﺘﺎگ و آﻗﺎی ﭘﻮ‬ ‫ﺻﻔﺤــــــﻪ ﺁ ﺭ ﺍ ﻳـــــﻰ ‪ :‬ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‬ ‫ﻧﺸـــــــﺎﻧﻰ ﻭﺑــــﮕﺎﻩ‪:‬‬

‫‪www.fantasy.ir‬‬

‫ﭘـــﺴﺖ ﺍﻟﻜﺘﺮﻭﻧﻴــــﻚ‪:‬‬

‫‪mag@fantasy.ir‬‬

‫ﻃــــــﺮﺡ‬

‫ﺟﻠــــــﺪ‪:‬‬

‫ﺭﻯ ﺑﺮﺩﺑﺮﻯ‬

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

‫ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬ ‫ﺳﺎﻝ ﺩﻭﻡ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ، 20‬ﻣﺮﺩﺍﺩ ‪1391‬‬

‫ﻪی‬ ‫وﯾﮋﻩﻧﺎﺮﻣدﺑﺮی‬ ‫ری ﺑ‬