Issuu on Google+


‫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


‫ﻣﺘﻦ ﻓﺎﺭﺳﻰ ﺑﺴﻴﺎﺭ ﺭﻭﺍﻥ ﺑﻮﺩﻩ ﻭ ﺧﻮﺍﻧﺪﻥ ﺁﻥ ﺑﺴﻴﺎﺭ ﺁﺳﺎﻥ ﻭ ﻟﺬﺕﺑﺨﺶ ﺍﺳﺖ‪ .‬ﻏﻠﻂﻫﺎﻯ ﺍﻣﻼﻳﻰ ﻭ‬ ‫ﻧﮕﺎﺭﺷﻰ ﺑﺴﻴﺎﺭ ﻛﻤﻰ ﺩﺭ ﻛﻞ ﻣﺘﻦ ﺑﻪ ﭼﺸﻢ ﻣﻰﺧﻮﺭﺩ‪ ،‬ﻭﻟﻰ ﻣﺘﺄﺳﻔﺎﻧﻪ ﻳﻜﻰ ﺍﺯ ﺍﻳﻦ ﻣﻮﺍﺭﺩ ﺩﺭ ﺑﺪﺗﺮﻳﻦ‬ ‫ﺟﺎﻯ ﻣﻤﻜﻦ ﻳﻌﻨﻰ ﺩﺭ ﺭﻭﻯ ﺟﻠﺪ ﻛﺘﺎﺏ ﺭﺥ ﺩﺍﺩﻩ‪ .‬ﺑﺎﻋﺚ ﺗﻌﺠﺐ ﺍﺳﺖ ﻛﻪ ﻭﻗﺘﻰ ﻧﺎﻡ ﻧﻮﻳﺴﻨﺪﻩ ﺩﺭ‬ ‫ﺷﻨﺎﺳﻨﺎﻣﻪﻯ ﻛﺘﺎﺏ ﺑﻪ ﺩﺭﺳﺘﻰ ﺫﻛﺮ ﺷﺪﻩ‪ ،‬ﭼﮕﻮﻧﻪ ﺩﺭ ﺭﻭﻯ ﺟﻠﺪ ﺑﻪ »ﺭﻭﺩﻫﻦ« ﺗﻐﻴﻴﺮ ﻳﺎﻓﺘﻪ ﺍﺳﺖ؟ ﻛﻪ‬ ‫ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﺍﻣﺮ ﺑﻴﺶ ﺍﺯ ﺁﻥ ﻛﻪ ﻣﺘﻮﺟﻪ ﺗﺮﺟﻤﻪ ﺑﺎﺷﺪ‪ ،‬ﺑﻪ ﺍﻣﺮ ﭼﺎپ ﺑﺎﺯ ﻣﻰﮔﺮﺩﺩ‪.‬‬ ‫ﺧﻮﺍﻧﺪﻥ ﻛﺘﺎﺏ ﺣﺪﻭﺩ ‪ 6-7‬ﺳﺎﻋﺖ ﺯﻣﺎﻥ ﻣﻰﺑﺮﺩ ﻭ ﻗﻴﻤﺖ ﺁﻥ ﻫﻢ ﺑﺴﻴﺎﺭ ﺍﻗﺘﺼﺎﺩﻯ ﺍﺳﺖ‪ .‬ﺧﻮﺍﻧﺪﻥ ﺁﻥ‬ ‫ﺭﺍ ﺑﻪ ﮔﺮﻭﻩ ﺳﻨﻰ ‪ 14-20‬ﺳﺎﻝ ﺟﺪﺍ ً ﺗﻮﺻﻴﻪ ﻣﻰﻛﻨﻢ‪.‬‬ ‫ﻗﻄﻌﻪﺍﻯ ﺍﺯ ﻣﺘﻦ ﻛﺘﺎﺏ‬

‫اﻻﻫﮕﺎن اﻧﺘﻘﺎم ﺑﯽ آن ﻛﻪ ﺻﺪاﯾﯽ اﯾﺠﺎد ﻛﻨﻨﺪ‪ ،‬ﺑﺎ ﺳﺎﯾﻪﻫﺎ در ﻣﯽآﻣﯿﺰﻧﺪ ﻛﻪ ﺑﺴﯿﺎر ﺷﮕﻔﺖاﻧﮕﯿﺰ اﺳﺖ‪.‬‬ ‫ﻧﻘﺎبﻫﺎی اﺳﻜﻠﺘﯽﺷﺎن‪ ،‬ﻧﺸﺎن ﻗﺎﺗﻞ اﺳﺖ‪ ،‬ﻫﻤﯿﻦ ﻃﻮر ﺧﻨﺠﺮﻫﺎی ﺳﯿﺎﻫﺸﺎن‪ .‬درﺑﺎرهی اﻻﻫﮕﺎن اﻧﺘﻘﺎم‬ ‫ﭼﯿﺰﻫﺎﯾﯽ ﺷﻨﯿﺪه ﺑﻮدم‪ ،‬اﻣﺎ ﻫﯿﭻ وﻗﺖ ﻫﯿﭻ ﻛﺪاﻣﺸﺎن را از ﻧﺰدﯾﻚ ﻧﺪﯾﺪه ﺑﻮدم‪ .‬ﮔﻮﯾﺎ ﻗﺮار اﺳﺖ زن‬ ‫ﺑﺎﺷﻨﺪ‪ .‬اﻟﺒﺘﻪ منﯽﺷﻮد زن ﺑﻮدن آنﻫﺎ را ﺗﺸﺨﯿﺺ داد‪ ،‬ﻫﺮ ﻛﺴﯽ ﯾﺎ ﻫﺮ ﭼﯿﺰی ﻣﻤﻜﻦ اﺳﺖ داﺧﻞ آن‬ ‫ﺷﻨﻞ ﺳﯿﺎه ﺑﺎﺷﻠﻖدار ﺑﺎﺷﺪ‪.‬‬ ‫ﻣﯽﮔﻮﯾﻨﺪ اﻻﻫﮕﺎن اﻧﺘﻘﺎم ﭼﻨﺎن ﻣﺎﻫﺮ و ﻣﺨﻔﯽﻛﺎر ﻫﺴﺘﻨﺪ ﻛﻪ ﻗﺮﺑﺎﻧﯿﺎنﺷﺎن ﺑﯽ آن ﻛﻪ ﺻﺪاﯾﯽ‬ ‫درﺑﯿﺎورﻧﺪ‪ ،‬ﻣﯽﻣﯿﺮﻧﺪ‪ .‬ﺗﻨﻬﺎ ﻛﺎری ﻛﻪ از ﻣﻦ ﺑﺮ ﻣﯽآﯾﺪ‪ ،‬اﯾﻦ اﺳﺖ ﻛﻪ ﻣﺤﻜﻢ ﺑﻪ ﺻﻮرت ﻛﻮﭼﻮﻟﻮ ﺑﭽﺴﺒﻢ‬ ‫و اﻣﯿﺪوار ﺑﺎﺷﻢ ﻻﻧﺎﯾﺎ ﺑﺪاﻧﺪ دارد ﭼﻪ ﻛﺎر ﻣﯽﻛﻨﺪ‪.‬‬ ‫ﻫامن ﻃﻮر ﻛﻪ اﻻﻫﮕﺎن اﻧﺘﻘﺎم در ﺳﻜﻮت اﻃﺮاف او ﺣﺮﻛﺖ ﻣﯽﻛﻨﻨﺪ‪ ،‬ﺑﺎ ﺻﺪاﯾﯽ آرام ﻣﯽﮔﻮﯾﺪ‪» :‬درود‪،‬‬ ‫ﻣﺎ ﺑﺮای وﯾﺪا ﺑﻠﯿﻚ ﭘﯿﺸﻜﺶﻫﺎﯾﯽ آوردهاﯾﻢ‪«.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪88‬‬


‫ﻛﺘﺎﺏ‬ ‫ﻣﻰﺗﻮﺍﻥ ﭘﺸﺘﻪﻫﺎ ﻭ ﺍﻳﺪﻥ ﺭﺍ ﺑﺎ ﻣﺠﻤﻮﻋﻪﻯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺭﻭﺑﺎﺗﻰ ﺁﺳﻴﻤﻮﻑ ﻣﻘﺎﻳﺴﻪ ﻧﻤﻮﺩ‪ .‬ﻣﺮﺩﻡ ﭘﺮﺷﻤﺎﺭ‬ ‫ﺯﻣﻴﻦ ﻛﻪ ﺁﻣﻴﺨﺘﻪ ﺩﺭ ﻓﺮﻫﻨﮓ ﻗﺪﻳﻤﻰ ﺧﻮﺩ ﻫﺴﺘﻨﺪ‪ ،‬ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﻓﻀﺎﻳﻴﺎﻥ ﻛﻢﺗﻌﺪﺍﺩ ﻭ ﻓﺮﻣﺎﻥﺩﺍﺭ‬ ‫ﻛﻪ ﺩﺭ ﺳﻴﺎﺭﺍﺕ ﺑﻬﺸﺘﻰ ﺧﻮﺩ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻓﻀﺎﻳﻴﺎﻥ ﻣﺎﻧﻨﺪ ﺍﺻﻼﺣﻰﻫﺎﻯ ﺍﻳﺪﻥ ﺩﺭ ﺳﻴﺎﺭﺍﺗﻰ ﻛﻢ‬ ‫ﺟﻤﻌﻴﺖ‪ ،‬ﺳﺮﺳﺒﺰ ﻭ ﺁﻣﻴﺨﺘﻪ ﺑﺎ ﻓﻨﺎﻭﺭﻯ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺑﻌﻀﻰ ﺍﺯ ﺁﻥﻫﺎ ﻃﺎﻟﺐ ﻧﺎﺑﻮﺩﻯ ﺍﻧﺴﺎﻥﻫﺎﻯ‬ ‫ﭘﺴﺖﺗﺮ ﺯﻣﻴﻦ ﻫﺴﺘﻨﺪ ﻭ ﺑﻌﻀﻰ ﻣﺸﻮﻕ ﺁﺯﺍﺩﻯ ﺯﻣﻴﻦ‪ ،‬ﺍﻣﺎ ﺍﻛﺜﺮ ﺍﻳﺸﺎﻥ ﺑﻰﺗﻮﺟﻪ ﺑﻪ ﻣﺰﺍﻳﺎ ﻭ ﻣﻌﺎﻳﺐ‬ ‫ﺯﻧﺪﮔﻰ ﺩﺭ ﺯﻣﻴﻦ ﻣﺸﻐﻮﻝ ﮔﺬﺭﺍﻥ ﺯﻧﺪﮔﻰ ﺧﻮﺩ ﻫﺴﺘﻨﺪ‪ .‬ﺍﺯ ﺳﻮﻯ ﺩﻳﮕﺮ ﺯﻣﻴﻨﻰﻫﺎ ﺭﻭﻳﺎﻯ ﻓﻀﺎ – ﻭ‬ ‫ﺍﻫﺎﻟﻰ ﭘﺸﺘﻪ‪ ،‬ﺭﻭﻳﺎﻯ ﺍﻳﺪﻥ – ﺭﺍ ﻣﻰﺑﻴﻨﻨﺪ؛ ﻭﻟﻰ ﺩﺭ ﻏﻴﺎﺏ ﺍﻳﺸﺎﻥ ﻣﺸﻐﻮﻝ ﺯﻧﺪﮔﻰ ﺧﻮﺩ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﻛﺘﺎﺏ ﺩﺭ ﻳﻚ ﻧﮕﺎﻩ‬ ‫ﻛﺘﺎﺏ ﺭﻭﺍﻳﺖ ﺳﺎﺩﻩ ﻭ ﺳﺮﺭﺍﺳﺘﻰ ﺩﺍﺭﺩ؛ ﻫﺮ ﭼﻨﺪ ﺳﻌﻰ ﺷﺪﻩ ﺗﺎ ﻳﻜﻰ ﺩﻭ ﭘﻴﭽﺶ ﺩﺍﺳﺘﺎﻧﻰ ﻫﻢ ﺩﺭ ﺁﻥ‬ ‫ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﻭﻟﻰ ﻣﻌﻤﺎﻫﺎﻯ ﭼﻨﺪﺍﻧﻰ ﺑﺮﺍﻯ ﺧﻮﺍﻧﻨﺪﻩ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﻭ ﭼﻨﺪ ﻧﻜﺘﻪﺍﻯ ﻫﻢ ﻛﻪ ﺩﺭ‬ ‫ﭘﺎﻳﺎﻥ ﺩﺍﺳﺘﺎﻥ ﺍﻓﺸﺎ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﭼﻨﺪﺍﻥ ﺩﺭ ﺳﻴﺮ ﻭﻗﺎﻳﻊ ﺍﺛﺮﮔﺬﺍﺭ ﻧﻴﺴﺘﻨﺪ‪ .‬ﺍﮔﺮ ﺑﺨﻮﺍﻫﻴﻢ ﺑﺎ ﻧﮕﺎﻩ ﻣﻨﺘﻘﺪﺍﻧﻪ‬ ‫ﺑﻪ ﺩﺍﺳﺘﺎﻥ ﻧﮕﺎﻩ ﻛﻨﻴﻢ‪ ،‬ﺟﻬﺎﻥ ﺩﺍﺳﺘﺎﻥ ﺧﻴﻠﻰ ﻣﻨﻄﻘﻰ ﭼﻴﺪﻩ ﻧﺸﺪﻩ ﻭ ﮔﻮﻳﻰ ﺍﻟﻤﺎﻥﻫﺎﻯ ﻣﺨﺘﻠﻒ‬ ‫ﺗﺸﻜﻴﻞ ﺩﻫﻨﺪﻩﻯ ﺁﻥ ﺍﺯ ﺟﺎﻫﺎﻯ ﻣﺨﺘﻠﻒ ﻭﺍﻡ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﻭ ﺩﺭ ﻛﻨﺎﺭ ﻳﻜﺪﻳﮕﺮ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪﺍﻧﺪ‪ .‬ﻣﺤﻠﻪﻫﺎ‪،‬‬ ‫ﭘﺸﺘﻪﻫﺎ‪ ،‬ﭘﺴﺮﺍﻥ ﻣﻴﻤﻮﻧﻰ‪ ،‬ﻣﻠﻜﻪ ﻭﻧﺪﺍﻝﻫﺎ‪ ،‬ﺍﺻﻼﺣﻰﻫﺎ‪ ،‬ﺍﻳﺪﻥ ﻭ‪ ...‬ﻫﻤﻪ ﻭ ﻫﻤﻪ ﻧﻤﻮﻧﻪﻫﺎﻯ ﻣﺸﺎﺑﻪ ﻭ ﺣﺘﺎ‬ ‫ﺑﻬﺘﺮﻯ ﺩﺭ ﺩﻳﮕﺮ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺩﺍﺭﻧﺪ‪ .‬ﻭﻟﻰ ﺍﻳﻦ ﺑﻪ ﺁﻥ ﻣﻌﻨﺎ ﻧﻴﺴﺖ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﺭﻭﺍﻳﺖ‬ ‫ﺟﺬﺍﺑﻰ ﻧﺪﺍﺭﺩ ﻭ ﻳﺎ ﻧﻤﻰﺗﻮﺍﻥ ﺍﺯ ﺧﻮﺍﻧﺪﻥ ﺁﻥ ﻟﺬﺕ ﺑﺮﺩ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﻛﺘﺎﺏ ﺍﺯ ﺍﻳﻦ ﺣﻴﺚ ﻧﻤﺮﻩﺍﻯ ﺑﻴﺶ ﺍﺯ‬ ‫ﻣﺘﻮﺳﻂ ﻣﻰﮔﻴﺮﺩ ﻭ ﺟﺬﺍﺏﺗﺮﻳﻦ ﻭﺟﻪ ﺁﻥ ﻧﻴﺰ ﺩﺭ ﻫﻤﺎﻥ ﺭﻭﺍﻳﺖ ﺷﻴﺮﻳﻦ ﺩﺍﺳﺘﺎﻥ ﻧﻬﻔﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻦ ﻛﻪ ﻛﺘﺎﺏ ﺩﺭ ﺳﺎﻝ ‪ 2000‬ﭼﺎپ ﺷﺪﻩ‪ ،‬ﺣﺘﺎ ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ ﻛﻪ ﻣﺴﺎﻳﻞ ﻣﻄﺮﺡ ﺷﺪﻩ ﺩﺭ‬ ‫ﺁﻥ ﺩﻏﺪﻏﻪﻫﺎﻯ ﻭﺍﻗﻌﻰ ﻧﻮﻳﺴﻨﺪﻩ ﺑﻮﺩﻩﺍﻧﺪ؛ ﻣﺴﺎﻳﻠﻰ ﺍﺯ ﻗﺒﻴﻞ ﺁﻳﻨﺪﻩﻯ ﺩﺳﺘﻜﺎﺭﻯﻫﺎﻯ ژﻧﺘﻴﻜﻰ ﻭ ﺗﺎﺛﻴﺮ‬ ‫ﺁﻥ ﺑﺮ ﺁﻳﻨﺪﻩﻯ ﺑﺸﺮﻳﺖ‪ ،‬ﺟﺎﻳﮕﺰﻳﻨﻰ ﺍﺑﺰﺍﺭﻫﺎﻯ ﺍﻟﻜﺘﺮﻭﻧﻴﻚ ﻭ ﺍﺗﻜﺎﻯ ﺑﻴﺸﺘﺮ ﻭ ﺑﻴﺸﺘﺮ ﺍﻧﺴﺎﻥﻫﺎ ﺑﻪ ﺍﻗﺴﺎﻡ‬ ‫ﺭﺍﻳﺎﻧﻪﻫﺎ ﻭ ﺣﺎﻓﻈﻪﻫﺎﻯ ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻰ ﻭ ﺗﻐﻴﻴﺮ ﺷﻜﻞ ﻭ ﻣﺎﻫﻴﺖ ﺍﻃﻼﻋﺎﺕ‪ .‬ﺷﺎﻳﺪ ﻳﻜﻰ ﺍﺯ ﻣﻬﻤﺘﺮﻳﻦ ﻭﺟﻮﻩ‬ ‫ﻣﺜﺒﺖ ﺩﺍﺳﺘﺎﻥ ﺍﻳﻦ ﺑﺎﺷﺪ ﻛﻪ ﻧﻮﻳﺴﻨﺪﻩ ﺩﺭ ﻣﻮﺭﺩ ﻫﻴﭻ ﻳﻚ ﺍﺯ ﻣﻮﺍﺭﺩ ﻓﻮﻕ ﺣﻜﻢ ﻗﻄﻌﻰ ﺻﺎﺩﺭ ﻧﻤﻰﻛﻨﺪ‪،‬‬ ‫ﺑﻠﻜﻪ ﺗﻨﻬﺎ ﺩﻏﺪﻏﻪ ﻭ ﻧﮕﺮﺍﻧﻰ ﺧﻮﺩ ﺭﺍ ﻣﻄﺮﺡ ﻛﺮﺩﻩ ﻭ ﻗﻀﺎﻭﺕ ﺭﺍ ﺑﻪ ﺧﻮﺍﻧﻨﺪﻩ ﻣﻰﺳﭙﺎﺭﺩ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﺗﺮﺟﻤﻪ‬ ‫ﺗﺮﺟﻤﻪﻯ ﺩﺍﺳﺘﺎﻥ ﺑﺴﻴﺎﺭ ﺷﻴﺮﻳﻦ ﻭ ﺧﻮﺏ ﺍﺳﺖ‪ .‬ﺷﺨﺼﺎً ﻣﺘﻦ ﺍﺻﻠﻰ ﻛﺘﺎﺏ ﺭﺍ ﻧﺨﻮﺍﻧﺪﻩﺍﻡ‪ ،‬ﺩﺭ ﻧﺘﻴﺠﻪ‬ ‫ﻧﻤﻰﺗﻮﺍﻧﻢ ﻗﻀﺎﻭﺗﻰ ﺩﺭ ﺧﺼﻮﺹ ﻣﻴﺰﺍﻥ ﻭﻓﺎﺩﺍﺭﻯ ﻣﺘﺮﺟﻢ ﺑﻪ ﻣﺘﻦ ﺍﺻﻠﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻢ‪ ،‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ‬

‫‪87‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫‪-2‬ﭘﻴﻐﺎﻣﻰ ﺍﺯ ﺧﺎﻧﻪ‬ ‫ﺭﻭﺯ ﺩﻳﮕﺮ ﭘﻴﺎﻡﺭﺳﺎﻧﻰ ﺍﺯ ﺳﻮﻯ ﺩﻳﮕﺮ ﺷﻬﺮ ﺑﻪ ﺧﺎﻧﻪﻯ ﻏﺸﻰ ﻣﻰﺭﺳﺪ ﻭ ﺧﺒﺮ ﺍﺯ ﺑﻴﻤﺎﺭﻯ ﺧﻮﺍﻫﺮ ﺍﻭ‪،‬‬ ‫ﺑﻴﻴﻦ ﻣﻰﺩﻫﺪ‪ .‬ﺑﻴﻴﻦ ﻣﺒﺘﻼ ﺑﻪ ﻳﻚ ﺑﻴﻤﺎﺭﻯ ﺧﻮﻧﻰ ﺍﺳﺖ ﻛﻪ ﻣﺠﺪﺩﺍ ً ﻋﻮﺩ ﻛﺮﺩﻩ ﻭ ﺍﻭ ﺭﺍ ﺑﻪ ﺑﺴﺘﺮ ﻣﺮگ‬ ‫ﻛﺸﺎﻧﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻭ ﻣﻰﺧﻮﺍﻫﺪ ﻗﺒﻞ ﺍﺯ ﻣﺮگ ﺑﺮﺍﺩﺭ ﻧﺎﺗﻨﻰﺍﺵ ﺭﺍ ﺑﺒﻴﻨﺪ‪ .‬ﻏﺸﻰ ﺑﺪﻭﻥ ﺍﺟﺎﺯﻩﻯ ﺭﺋﻴﺲ ﺭﺍﻩ‬ ‫ﻣﻰﺍﻓﺘﺪ ﺗﺎ ﺳﻔﺮﻯ ﺧﻄﺮﻧﺎﻙ ﺑﻪ ﺳﻤﺖ ﺧﺎﻧﻪ ﺭﺍ ﺁﻏﺎﺯ ﻛﻨﺪ‪ .‬ﺍﻭ ﺩﺭ ﺍﻳﻦ ﺳﻔﺮ ﺗﻨﻬﺎ ﻧﻴﺴﺖ‪ .‬ﭘﻴﺮﻣﺮﺩ ﻧﻮﻳﺴﻨﺪﻩ‬ ‫ﻭ ﻳﻚ ﭘﺴﺮﺑﭽﻪﻯ ﺳﺮﺭﺍﻫﻰ ﺑﺎ ﺍﻭ ﻫﻤﺮﺍﻩ ﻣﻰﺷﻮﻧﺪ ﻭ ﻛﻤﻰ ﺑﻌﺪ ﺩﺧﺘﺮﻯ ﺍﺯ ﻧﮋﺍﺩ ﺍﺻﻼﺣﻰ ﻫﻢ ﺑﻪ ﺁﻥﻫﺎ‬ ‫ﻣﻰﭘﻴﻮﻧﺪﺩ ﻭ ﺍﻳﺸﺎﻥ ﺳﻔﺮ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﭘﺸﺘﻪﻫﺎ ﺍﺯ ﺷﻬﺮ ﻗﺪﻳﻤﻰ ﺗﺎ ﺍﻳﺪﻥ ﺍﺩﺍﻣﻪ ﻣﻰﺩﻫﻨﺪ‪.‬‬ ‫ﺩﻧﻴﺎﻯ ﺁﺧﺮﺍﻟﺰﻣﺎﻥ‬ ‫»ﺁﺧﺮﻳﻦ ﻛﺘﺎﺏ ﺟﻬﺎﻥ« ﺭﺍ ﺑﺎﻳﺪ ﺩﺭ ﺭﺩﻩﻯ ﭘﺴﺎﺁﺧﺮﺍﻟﺰﻣﺎﻥ ﺩﺳﺘﻪﺑﻨﺪﻯ ﻛﺮﺩ‪ .‬ﻭﻗﺎﻳﻊ ﻛﺘﺎﺏ ﺩﺭ ﺁﻳﻨﺪﻩﺍﻯ‬ ‫ﻧﺎﻣﻌﻠﻮﻡ ﻣﻰﮔﺬﺭﺩ‪ .‬ﻫﻴﭻ ﻣﺒﻨﺎﻳﻰ ﺑﺮﺍﻯ ﺗﻌﻴﻴﻦ ﺯﻣﺎﻥ ﻭﻗﻮﻉ ﺭﺧﺪﺍﺩﻫﺎ ﺩﺭ ﻛﺘﺎﺏ ﺍﺭﺍﻳﻪ ﻧﺸﺪﻩ؛ ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ‬ ‫ﺟﻬﺎﻥ ﺩﺍﺳﺘﺎﻥ ﭼﻨﺎﻥ ﻛﻪ ﻭﻳﮋﮔﻰ ﺍﻛﺜﺮ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺍﻳﻦ ﺯﻳﺮﮔﻮﻧﻪ ﺍﺳﺖ‪ ،‬ﻧﻮﻋﻰ ﻭﻳﺮﺍﻥﺷﻬﺮ ﺍﺳﺖ ﻛﻪ‬ ‫ﺩﺭ ﺁﻥ ﺍﺯ ﺑﻴﺸﺘﺮ ﭘﻴﺸﺮﻓﺖﻫﺎﻯ ﻋﻠﻤﻰ ﻭ ﺍﺟﺘﻤﺎﻋﻰ ﺑﺸﺮ ﺍﺛﺮﻯ ﺑﺮ ﺟﺎﻯ ﻧﻤﺎﻧﺪﻩ ﻭ ﻋﻠﺖ ﺍﻳﻦ ﺍﻣﺮ ﻧﻴﺰ‬ ‫»ﺗﻜﺎﻥ ﺑﺰﺭگ« ﻋﻨﻮﺍﻥ ﻣﻰﺷﻮﺩ؛ ﺯﻟﺰﻟﻪﺍﻯ ﻛﻪ ﭘﺎﻳﺎﻥ ﺑﺸﺮﻳﺖ ﺭﺍ ﺑﺎ ﺧﻮﺩ ﺑﻪ ﻫﻤﺮﺍﻩ ﺁﻭﺭﺩﻩ ﻭ ﻣﺎ ﺑﻪ ﻧﻮﻋﻰ‬ ‫ﺁﺧﺮﺍﻟﺰﻣﺎﻥ ﺭﺳﻴﺪﻩﺍﻳﻢ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﺁﺧﺮﺍﻟﺰﻣﺎﻧﻰ ﺑﺎﻳﺴﺘﻰ ﻣﻌﻴﺎﺭﻫﺎﻯ ﺧﺎﺻﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻛﻪ ﻣﻬﻢﺗﺮﻳﻦ ﺷﺎﺧﺺ ﺁﻥ‪ ،‬ﺯﻧﺪﮔﻰ‬ ‫ﺑﺎﺯﻣﺎﻧﺪﮔﺎﻥ ﺑﻼﻳﺎﻯ ﻃﺒﻴﻌﻰ ﻳﺎ ﺍﻧﺴﺎﻧﻰ ﮔﺴﺘﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻭﻳﮋﮔﻰ ﺭﻣﺎﻥ ﺁﺧﺮﻳﻦ ﻛﺘﺎﺏ ﺟﻬﺎﻥ ﺍﻳﻦ ﺍﺳﺖ‬ ‫ﻛﻪ ﺣﺎﺩﺛﻪﺍﻯ ﻣﺼﻨﻮﻋﻰ ﻭ ﻧﺎﺷﻰ ﺍﺯ ﺷﺮﺍﺭﺕ ﺑﺸﺮ ﻫﻤﻪﭼﻴﺰ ﺭﺍ ﺑﺮ ﻫﻢ ﻧﺰﺩﻩ‪ ،‬ﺑﻠﻜﻪ ﻳﻚ ﺯﻟﺰﻟﻪ ﻣﻮﺟﺐ‬ ‫ﻧﺎﺑﻮﺩﻯ ﺟﻬﺎﻥ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﺻﻮﺭﺕ ﺍﻭﻝ ﺷﺨﺺ ﺭﻭﺍﻳﺖ ﺷﺪﻩ ﻭ ﺩﻧﻴﺎﻯ ﺭﺍﻭﻯ ﺻﺮﻓﺎً‬ ‫ﭘﺸﺘﻪﻫﺎﻯ ﺷﻬﺮ ﻗﺪﻳﻤﻰ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﻣﺸﺨﺺ ﺍﺳﺖ ﻛﻪ ﻭﺍﻗﻌﻪﻯ ﻋﻈﻴﻢ –ﻛﻪ ﮔﺮﺍﻧﺪﻛﺎﻧﻴﻮﻥ ﺭﺍ ﻧﺎﺑﻮﺩ‬ ‫ﺳﺎﺧﺘﻪ– ﺍﺣﺘﻤﺎﻻً ﺗﻤﺎﻡ ﺟﻬﺎﻥ ﺭﺍ ﺩﺭ ﻧﻮﺭﺩﻳﺪﻩ ﺍﺳﺖ‪ .‬ﻃﺒﻖ ﺷﻨﻴﺪﻩﻫﺎﻯ ﺭﺍﻭﻯ ﺍﺯ ﻣﻜﺎﻟﻤﺎﺕ ﺍﺻﻼﺣﻰﻫﺎ‪،‬‬ ‫ﺩﻟﻴﻠﻰ ﻣﺒﻨﻰ ﺑﺮ ﺍﺭﺗﺒﺎﻁ ﺍﻳﺸﺎﻥ ﺑﺎ ﺳﺎﻳﺮ ﻧﻘﺎﻁ ﺟﻬﺎﻥ ﺩﺭ ﺩﺳﺖ ﻧﻴﺴﺖ‪.‬‬ ‫ﺍﺯ ﻧﮕﺎﻩ ﺳﺎﻛﻨﻴﻦ ﭘﺸﺘﻪﻫﺎ‪ ،‬ﺍﻳﺪﻥ ﺁﺭﻣﺎﻥﺷﻬﺮ ﺍﺳﺖ؛ ﺁﺭﻣﺎﻥﺷﻬﺮﻯ ﻛﻪ ﺍﻫﺎﻟﻰ ﺍﺻﻼﺡﺷﺪﻩﻯ ﺁﻥ ﺩﺍﺭﺍﻯ ﻋﻤﺮ‬ ‫ﺟﺎﻭﺩﺍﻥ‪ ،‬ﻫﻮﺵ ﺧﺎﺭﻕﺍﻟﻌﺎﺩﻩ ﻭ ﺯﻳﺒﺎﻳﻰ ﺧﻴﺮﻩﻛﻨﻨﺪﻩ ﻫﺴﺘﻨﺪ‪ .���ﺑﺮ ﺧﻼﻑ ﺁﺭﻣﺎﻥﺷﻬﺮﻫﺎﻯ ﻣﺸﻬﻮﺭ ﺍﺩﺑﻴﺎﺕ‪،‬‬ ‫ﺍﻫﺎﻟﻰ ﺍﻳﻦ ﺁﺭﻣﺎﻥﺷﻬﺮ ﺩﻗﻴﻘﺎً ﻣﻄﺎﺑﻖ ﺗﺼﻮﺭﺍﺕ ﺍﻫﺎﻟﻰ ﭘﺸﺘﻪﻫﺎ‪ ،‬ﻛﺎﻣﻞ ﻧﻴﺴﺘﻨﺪ؛ ﺍﻣﺎ ﺧﻮﺩ ﺍﻳﺸﺎﻥ ﺍﺯ ﺯﻧﺪﮔﻰ‬ ‫ﺩﺭ ﺍﻳﺪﻥ ﻛﺎﻣ ً‬ ‫ﻼ ﺭﺍﺿﻰ ﻫﺴﺘﻨﺪ ﻭ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﭘﺸﺘﻪﻫﺎ ﺑﺎ ﺷﻬﺮﻯ ﺁﺭﻣﺎﻧﻰ ﺭﻭﺑﺮﻭﻳﻴﻢ‪ .‬ﺁﺭﻣﺎﻥﺷﻬﺮﻯ ﻛﻪ‬ ‫ﺑﺎﺯ ﻫﻢ ﻛﻮﺗﻪﻧﻈﺮﻯ‪ ،‬ﺍﺧﺘﻼﻑ ﻋﻘﺎﻳﺪ ﻭ ﻣﺨﺎﻟﻔﺖ ﺑﺎ ﺣﻜﺎﻡ ﺩﺭ ﺁﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺍﺯ ﺍﻳﺪﻥ ﻃﺒﻖ ﻣﻌﻴﺎﺭﻫﺎﻯ‬ ‫ﺍﻣﺮﻭﺯ ﺟﺎﻣﻌﻪﺍﻯ ﻣﺮﺩﻡﺳﺎﻻﺭ‪ ،‬ﻣﺘﻤﺪﻥ‪ ،‬ﻓﻨﺎﻭﺭﻯﻣﺤﻮﺭ ﻭ ﺑﺎ ﻧﮋﺍﺩ ﺍﻧﺴﺎﻧﻰ ﺍﺻﻼﺡ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪86‬‬


‫ﻛﺘﺎﺏ‬ ‫ﺩﺭ ﻛﻨﺎﺭ ﺷﻬﺮ ﻣﺨﺮﻭﺑﻪ ﻳﻚ ﺁﺭﻣﺎﻥﺷﻬﺮ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺑﻬﺸﺖ ﺯﻣﻴﻨﻰ ﻛﻪ ﺑﻪ ﺁﻥ ﺍﻳﺪﻥ ﻣﻰﮔﻮﻳﻨﺪ‪ .‬ﺍﻳﺪﻥ‬ ‫ﻣﺤﻞ ﺯﻧﺪﮔﻰ ﺍﺯ ﻣﺎ ﺑﻬﺘﺮﺍﻥ ﺍﺳﺖ‪ ،‬ﺍﻧﺴﺎﻥﻫﺎﻳﻰ ﻛﻪ ﻣﺤﻴﻂ ﺯﻧﺪﮔﻰ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﻛﺜﺎﻓﺎﺕ ﻭ ﺁﻟﻮﺩﮔﻰﻫﺎﻯ‬ ‫ﺑﻴﺮﻭﻧﻰ ﺍﻳﺰﻭﻟﻪ ﻧﻤﻮﺩﻩﺍﻧﺪ ﻭ ﺑﺎ ﻣﻌﻴﺎﺭﻫﺎﻯ ﺑﺎﻻﻯ ﺳﻼﻣﺘﻰ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺑﻪ ﺍﻳﺸﺎﻥ ﺍﺻﻼﺣﻰ ﻣﻰﮔﻮﻳﻨﺪ‪،‬‬ ‫ﻳﻌﻨﻰ ﻛﺴﺎﻧﻰ ﻛﻪ ﺑﻪ ﻛﻤﻚ ﻣﻬﻨﺪﺳﻰ ژﻧﺘﻴﻚ ﺗﻮﺍﻧﺴﺘﻪﺍﻧﺪ ﺑﻪ ﻛﻤﺎﻝ ﺯﻳﺒﺎﻳﻰ‪ ،‬ﻫﻮﺵ ﻭ ﺳﻼﻣﺘﻰ ﺩﺳﺖ‬ ‫ﻳﺎﺑﻨﺪ‪ .‬ﺍﻣﺎ ﻫﻤﻴﺸﻪ ﺑﺎﻳﺪ ﺭﺧﻨﻪﺍﻯ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺁﻳﺎ ﻭﺍﻗﻌﺎً ﺍﻫﺎﻟﻰ ﺷﻬﺮ ﻗﺪﻳﻤﻰ )ﻛﻪ ﺑﻪ ﺁﻥ ﭘﺸﺘﻪ‬ ‫ﻣﻰﮔﻮﻳﻨﺪ( ﻟﻌﻨﺖ ﺷﺪﻩ ﻭ ﺣﻴﻮﺍﻧﺎﺕ ﻧﺎﻃﻖ ﻫﺴﺘﻨﺪ ﻭ ﺍﻳﺪﻥ ﺑﻬﺸﺖ ﺍﻧﺴﺎﻥﻫﺎ ﺍﺳﺖ؟‬ ‫ﺍﻫﺎﻟﻰ ﺷﻬﺮ ﻣﺨﺮﻭﺑﻪ ﺩﻳﮕﺮ ﺍﻃﻼﻋﻰ ﺍﺯ ﻋﻠﻢ ﻭ ﻛﺘﺎﺏ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺗﻨﻬﺎ ﻟﺬﺕ ﺍﻳﺸﺎﻥ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺫﻫﻦﻧﻤﺎ ﺍﺳﺖ‪.‬‬ ‫ﻭﺳﻴﻠﻪﺍﻯ ﻛﻪ ﺑﺎ ﺍﺗﺼﺎﻝ ﻳﻚ ﺍﻟﻜﺘﺮﻭﺩ ﺑﻪ ﻣﻐﺰ ﻣﻰﺗﻮﺍﻧﺪ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺑﻪ ﻣﻐﺰ ﻓﺮﺩ ﻣﻨﺘﻘﻞ ﻛﻨﺪ‪ .‬ﺩﺍﺳﺘﺎﻥ‬ ‫ﺟﻨﺎﻳﻰ‪ ،‬ﻓﻴﻠﻢ ﺳﻴﻨﻤﺎﻳﻰ‪ ،‬ﺭﺅﻳﺎﻯ ﺍﻳﺪﻥ ﻳﺎ ﺻﺤﻨﻪﻫﺎﻯ ﺷﻬﻮﺍﻧﻰ‪ ،‬ﻫﻤﻪ ﻭ ﻫﻤﻪ ﺑﺎ ﺫﻫﻦﻧﻤﺎ ﻗﺎﺑﻞ ﺍﻧﺘﻘﺎﻝ‬ ‫ﺍﺳﺖ‪ .‬ﺩﻳﮕﺮ ﻛﺴﻰ ﺑﻪ ﺩﻧﺒﺎﻝ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺳﻪﺑﻌﺪﻯ ﻳﺎ ﻛﺘﺎﺏ ﻧﻴﺴﺖ‪ .‬ﻭﻗﺘﻰ ﻣﻰﺗﻮﺍﻥ ﺑﺎ ﺫﻫﻦﻧﻤﺎ ﻭﺍﻗﻌﺎً ﻭﺍﺭﺩ‬ ‫ﺻﺤﻨﻪ ﻣﻮﺭﺩ ﻧﻈﺮ ﺷﺪ‪ ،‬ﺩﻳﮕﺮ ﺗﻤﺎﺷﺎﻯ ﻓﻴﻠﻢ ﺳﻪﺑﻌﺪﻯ ﭼﻪ ﻟﺬﺗﻰ ﺩﺍﺭﺩ؟‬ ‫ﺫﻫﻦﻧﻤﺎ ﺑﻬﺸﺖ ﺛﺮﻭﺗﻤﻨﺪﺍﻥ ﻭ ﻗﺪﺭﺗﻤﻨﺪﺍﻥ ﭘﺸﺘﻪﻫﺎ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺫﻫﻦﻧﻤﺎ ﺗﺄﺛﻴﺮﺍﺕ ﺟﺎﻧﺒﻰ ﻫﻢ ﺩﺍﺭﺩ ﻛﻪ‬ ‫ﻛﺴﻰ ﺑﻪ ﺁﻥ ﺗﻮﺟﻪ ﻧﻤﻰﻛﻨﺪ‪ .‬ﻣﺜ ً‬ ‫ﻼ ﺣﺎﻓﻈﻪ ﺭﺍ ﻣﺨﺘﻞ ﻣﻰﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﭼﻪ ﺑﺎﻙ! ﺩﺭ ﺩﻧﻴﺎﻯ ﺟﻬﻨﻤﻰ ﻫﺮ ﭼﻪ‬ ‫ﻛﻤﺘﺮ ﺟﻬﻨﻢ ﺭﺍ ﺑﻪ ﺧﺎﻃﺮ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻰ ﺑﻬﺘﺮ ﺍﺳﺖ‪.‬‬ ‫ﺍﻣﺎ ﺑﻌﻀﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺍﺯ ﺑﺮﻛﺎﺕ ﺫﻫﻦﻧﻤﺎ ﻣﺤﺮﻭﻣﻨﺪ‪ ،‬ﻣﺎﻧﻨﺪ ﻛﺴﺎﻧﻰ ﻛﻪ ﻣﺒﺘﻼ ﺑﻪ ﺻﺮﻉ ﻫﺴﺘﻨﺪ‪ .‬ﻛﺴﻰ‬ ‫ﻛﻪ ﺻﺮﻉ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺑﺎ ﺍﺗﺼﺎﻝ ﺫﻫﻦﻧﻤﺎ ﻓﻮﺭﺍ ً ﺩﭼﺎﺭ ﺣﻤﻠﻪ ﻣﻰﺷﻮﺩ‪ .‬ﻗﻬﺮﻣﺎﻥ ﺩﺍﺳﺘﺎﻥ ﻣﺎ ﻫﻢ ﭘﺴﺮﻯ‬ ‫ﺍﺳﺖ ﻣﺼﺮﻭﻉ ﻛﻪ ﺍﻭ ﺭﺍ ﻏﺸﻰ ﻣﻰﺧﻮﺍﻧﻨﺪ‪ .‬ﻏﺸﻰ ﺑﻴﻤﺎﺭ ﺍﺳﺖ‪ ،‬ﭘﺲ ﺑﺎﻳﺴﺘﻰ ﺗﺒﻌﻴﺪ ﺷﻮﺩ ﺗﺎ ﺑﺎ ﺑﻴﻤﺎﺭ‬ ‫ﻛﺮﺩﻥ ﺳﺎﻳﺮﻳﻦ ﻣﺎﻧﻊ ﺍﺳﺘﻔﺎﺩﻩﻯ ﺍﻳﺸﺎﻥ ﺍﺯ ﺫﻫﻦﻧﻤﺎ ﻧﺸﻮﺩ‪ .‬ﻏﺸﻰ ﺍﺯ ﺧﺎﻧﻮﺍﺩﻩ ﻭ ﺧﻮﺍﻫﺮ ﻛﻮﭼﻚﺗﺮﺵ ﺟﺪﺍ‬ ‫ﺷﺪﻩ ﻭ ﺑﻪ ﻳﻜﻰ ﺍﺯ ﭘﺸﺘﻪﻫﺎﻯ ﺩﻭﺭﺩﺳﺖ ﺗﺒﻌﻴﺪ ﺷﺪﻩ ﺍﺳﺖ ﺗﺎ ﺩﺭ ﺁﻥﺟﺎ ﺯﻧﺪﮔﻰ ﻛﻨﺪ ﻭ ﺑﻤﻴﺮﺩ‪ .‬ﻏﺸﻰ ﺑﻪ‬ ‫ﺩﺍﺭ ﻭ ﺩﺳﺘﻪﻯ ﺭﺋﻴﺲ ﻣﺤﻠﻪ ﻣﻰﭘﻴﻮﻧﺪﻧﺪ ﻭ ﺗﺤﺖ ﺣﻤﺎﻳﺖ ﺑﻴﻠﻰ ﺑﻴﺰﻣﻮ‪ ،‬ﺭﺋﻴﺲ ﻣﺤﻠﻪ‪ ،‬ﺯﻧﺪﮔﻰ ﺭﻭﺯﻣﺮﻩﻯ‬ ‫ﺧﻮﺩ ﺭﺍ ﻣﻰﮔﺬﺭﺍﻧﺪ‪ .‬ﺍﻣﺎ ﺩﻭ ﻭﺍﻗﻌﻪ ﺯﻧﺪﮔﻰ ﺍﻭ ﺭﺍ ﻣﺘﺤﻮﻝ ﻣﻰﻛﻨﺪ‪:‬‬ ‫‪-1‬ﻛﺘﺎﺏﻫﺎ‬ ‫ﺭﻭﺯﻯ ﺑﻨﮕﺮﻫﺎ )ﺩﺍﺭ ﻭ ﺩﺳﺘﻪ ﺑﻴﻠﻰ ﺑﻴﺰﻣﻮ( ﻏﺸﻰ ﺭﺍ ﺑﺮﺍﻯ ﻏﺎﺭﺕ ﺍﻣﻮﺍﻝ ﭘﻴﺮﻣﺮﺩﻯ ﺑﻪ ﻧﺎﻡ ﺭﺍﻳﺘﺮ ﻣﻰﻓﺮﺳﺘﻨﺪ‪.‬‬ ‫ﻏﺸﻰ ﺩﺭ ﺍﺗﺎﻕ ﭘﻴﺮﻣﺮﺩ ﻛﺘﺎﺏﻫﺎﻳﻰ ﻣﻰﺑﻴﻨﺪ‪ .‬ﻛﺘﺎﺏﻫﺎﻳﻰ ﻗﺪﻳﻤﻰ ﻛﻪ ﻣﺘﻌﻠﻖ ﺑﻪ ﭘﺪﺭﺑﺰﺭگ ﺭﺍﻳﺘﺮ ﺩﺭ‬ ‫ﺯﻣﺎﻧﻰ ﻗﺒﻞ ﺍﺯ ﺗﻜﺎﻥ ﺑﺰﺭگ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﭘﻴﺮﻣﺮﺩ ﺍﺩﻋﺎ ﻣﻰﻛﻨﺪ ﻳﻚ ﻧﻮﻳﺴﻨﺪﻩ ﺍﺳﺖ‪ ،‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻛﺴﻰ‬ ‫ﺩﻳﮕﺮ ﺳﻮﺍﺩ ﺧﻮﺍﻧﺪﻥ ﻧﺪﺍﺭﺩ ﻭ ﻫﻴﭻﻛﺲ ﻋﻼﻗﻪﺍﻯ ﺑﻪ ﺁﻣﻮﺧﺘﻦ ﻧﺪﺍﺭﺩ‪ .‬ﭘﻴﺮﻣﺮﺩ ﻏﺸﻰ ﺭﺍ ﺗﺤﺴﻴﻦ ﻣﻰﻛﻨﺪ‬ ‫ﻛﻪ ﺑﻪ ﺩﻟﻴﻞ ﻣﺼﺮﻭﻉ ﺑﻮﺩﻥ ﻧﺘﻮﺍﻧﺴﺘﻪ ﺫﻫﻦ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﺫﻫﻦﻧﻤﺎ ﺧﺮﺍﺏ ﻛﻨﺪ ﻭ ﻫﻨﻮﺯ ﻣﻰﺗﻮﺍﻧﺪ ﺧﺎﻃﺮﺍﺗﺶ‬ ‫ﺭﺍ ﻋﺰﻳﺰ ﺩﺍﺭﺩ‪.‬‬

‫‪85‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﺗﺼﻮﯾﺮی ﮐﻪ ﻣﯽﺗﻮاﻧﻢ ﺑﻪ ﯾﺎد ﺑﯿﺎورم‪ ،‬وﻗﺘﯽ ﺑﻮد ﮐﻪ ﺑﺎ ﭼﮑﺶ روی ﺻﻔﺤﻪی ﻓﻠﺰی ﮐﻮﺑﯿﺪه ﺷﺪ و ﭘﯿﺘﺎ ﺑﻪ‬ ‫ﻋﻼﻣﺖ ﻣﻨﻔﯽ ﴎ ﺗﮑﺎن ﻣﯽداد‪ .‬اﮔﺮ اﻻن ﻣﺮده‪ ،‬ﺷﺎﯾﺪ ﺑﺮاﯾﺶ ﺑﻬﱰ ﺑﺎﺷﺪ‪ .‬او ﻫﯿﭻ اﻃﻤﯿﻨﺎﻧﯽ ﺑﻪ اﺣﺘامل‬ ‫ﺑﺮﻧﺪه ﺷﺪﻧﺶ ﻧﺪاﺷﺖ و ﻣﻦ ﻫﻢ در ﻧﻬﺎﯾﺖ ﮐﺎرم ﺑﻪ ﺟﺎﯾﯽ منﯽﮐﺸﺪ ﮐﻪ ﻣﺮﺗﮑﺐ ﻋﻤﻞ ﻧﺎﺧﻮﺷﺎﯾﻨﺪ و‬ ‫ﻧﺎﮔﻮار ﻗﺘﻞ او ﺷﻮم‪ .‬ﺷﺎﯾﺪ ﺑﺮاﯾﺶ ﺑﻬﱰ ﺑﺎﺷﺪ ﮐﻪ ﺑﺮای ﻫﻤﯿﺸﻪ از اﯾﻦ ﻗﻀﺎﯾﺎ ﺧﻼص ﺷﺪه اﺳﺖ‪...‬‬

‫ﺁﺧـﺮﻳﻦ ﻛﺘـﺎﺏ ﺟﻬـــﺎﻥ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ‪ :‬ﺭﻭﺩﻣﻦ ﻓﻴﻠﺒﺮﻳﻚ‬ ‫ﻣﺘﺮﺟﻢ‪ :‬ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬ ‫ﻧﺎﺷﺮ‪ :‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﻛﺘﺎﺑﺴﺮﺍﻯ ﺗﻨﺪﻳﺲ‬ ‫ﻧﻮﺑﺖ ﭼﺎپ‪ :‬ﺍﻭﻝ ‪1390 -‬‬ ‫ﺷﻤﺎﺭﮔﺎﻥ‪ 1500 :‬ﻧﺴﺨﻪ‬ ‫ﻗﻴﻤﺖ‪ 5000 :‬ﺗﻮﻣﺎﻥ‬ ‫‪ 200‬ﺻﻔﺤﻪ‬ ‫ﺭﻭﺩﻣﻦ ﻓﻴﻠﺒﺮﻳﻚ ﺩﺭ ﺍﻳﺮﺍﻥ ﻧﻮﻳﺴﻨﺪﻩ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩﺍﻯ ﻧﻴﺴﺖ؛ ﺁﺷﻨﺎﺗﺮﻳﻦ ﺧﺎﻃﺮﻩﺍﻯ ﻛﻪ ﻣﺨﺎﻃﺐ‬ ‫ﺍﻳﺮﺍﻧﻰ ﺍﺯ ﺍﻳﻦ ﻧﻮﻳﺴﻨﺪﻩ ﻣﻰﺗﻮﺍﻧﺪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﻓﻴﻠﻢ ‪ The Mighty‬ﺍﺳﺖ ﻛﻪ ﺑﺮ ﺍﺳﺎﺱ ﻛﺘﺎﺑﻰ ﺍﺯ ﻭﻯ‬ ‫ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﻭ ﺧﻮﺩ ﻭﻯ ﻧﻴﺰ ﻧﮕﺎﺭﺵ ﻓﻴﻠﻢﻧﺎﻣﻪﻯ ﺁﻥ ﺭﺍ ﺑﺮ ﻋﻬﺪﻩ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﻛﺘﺎﺏ‬ ‫ﺁﺧﺮﻳﻦ ﻛﺘﺎﺏ ﺟﻬﺎﻥ ﺩﺍﺳﺘﺎﻧﻰ ﺍﺳﺖ ﺁﺧﺮﺍﻟﺰﻣﺎﻧﻰ‪ ،‬ﺍﻣﺎ ﭼﻴﺰﻯ ﺩﻭﺭ ﺍﺯ ﺫﻫﻦ‪ ،‬ﻏﻴﺮ ﻗﺎﺑﻞ ﺑﺎﻭﺭ ﻳﺎ ﺣﺘﺎ‬ ‫ﻭﺣﺸﻴﺎﻧﻪ ﻣﻮﺟﺐ ﺍﻳﻦ ﺁﺧﺮﺍﻟﺰﻣﺎﻥ ﻧﺸﺪﻩ ﺍﺳﺖ‪ .‬ﻧﻮﻳﺴﻨﺪﻩ ﻓﺎﺟﻌﻪﺍﻯ ﺭﺍ ﺗﺼﻮﺭ ﻣﻰﻛﻨﺪ ﻛﻪ ﻣﻤﻜﻦ ﺍﺳﺖ‬ ‫ﺳﺎﻝ ﺁﻳﻨﺪﻩ ﺭﺥ ﺩﻫﺪ‪ .‬ﺯﻟﺰﻟﻪﺍﻯ ﻣﺨﻮﻑ ﺩﻧﻴﺎ ﺭﺍ ﺑﻪ ﻫﻢ ﭘﻴﭽﻴﺪﻩ‪ ،‬ﺑﻪ ﻧﺤﻮﻯ ﻛﻪ ﺩﻳﮕﺮ ﻫﻴﭻ ﻧﻘﻄﻪﻯ ﺳﺎﻟﻤﻰ‬ ‫ﺑﺎﻗﻰ ﻧﻤﺎﻧﺪﻩ ﺍﺳﺖ؛ ﮔﺮﺍﻧﺪ ﻛﺎﻧﻴﻮﻥ ﺑﺎ ﺧﺎﻙ ﻳﻜﺴﺎﻥ ﺷﺪﻩ‪ ،‬ﺍﺭﺗﺒﺎﻃﺎﺕ‪ ،‬ﺑﻬﺪﺍﺷﺖ ﻭ ﺣﻜﻮﻣﺖ ﻣﺮﻛﺰﻯ ﻫﻤﻪ‬ ‫ﻭ ﻫﻤﻪ ﺟﺰء ﺧﺎﻃﺮﺍﺕ ﭘﺪﺭﺑﺰﺭگﻫﺎﻯ ﭘﺪﺭﺑﺰﺭگﻫﺎ ﻫﺴﺘﻨﺪ‪ .‬ﺣﻜﻮﻣﺘﻰ ﻣﻠﻮﻙﺍﻟﻄﻮﺍﻳﻔﻰ ﺗﻮﺳﻂ ﺭﺅﺳﺎﻯ‬ ‫ﻣﺤﻼﺕ ﺑﻪ ﻭﺟﻮﺩ ﺁﻣﺪﻩ ﻭ ﻗﺎﻧﻮﻥ ﺟﻨﮕﻞ ﺑﻪ ﻃﻮﺭ ﻛﺎﻣﻞ ﺣﻜﻢﻓﺮﻣﺎ ﺍﺳﺖ‪ .‬ﺍﻛﺜﺮ ﻣﺮﺩﻡ ﺩﺭ ﻛﺎﻧﺘﻴﻨﺮﻫﺎ‪،‬‬ ‫ﺟﻌﺒﻪﻫﺎ ﻭ ﺍﻧﺒﺎﺭﻫﺎﻯ ﻗﺪﻳﻤﻰ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ ﻭ ﻓﻘﻂ ﺩﺍﺭ ﻭ ﺩﺳﺘﻪﻯ ﺭﺋﻴﺲ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺍﺯ ﺍﻣﻜﺎﻧﺎﺕ‬ ‫ﺑﺎﻻﺗﺮ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻨﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪84‬‬


‫ﻛﺘﺎﺏ‬ ‫ﻋﻄﺶ ﻣﺒﺎﺭﺯﻩ ﺍﻭﻟﻴﻦ ﻛﺘﺎﺏ ﺍﺯ ﺳﻪﮔﺎﻧﻪﻯ ﺁﺯﻣﻮﻥﻫﺎﻯ ﻋﻄﺶ‪ ،‬ﻧﻮﺷﺘﻪﻯ ﺳﻮﺯﺍﻥ ﻛﺎﻟﻴﻨﺰ ﺍﺳﺖ ﻛﻪ ﺩﺭ‬ ‫‪ 14‬ﺳﭙﺘﺎﻣﺒﺮ ‪ 2008‬ﻣﻨﺘﺸﺮ ﺷﺪ‪ .‬ﻛﺘﺎﺏ ﺩﻭﻡ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺑﻪ ﻧﺎﻡ »ﺧﻂ ﺁﺗﺶ« ﺩﺭ ﺳﺎﻝ ‪ 2009‬ﻭ‬ ‫ﻛﺘﺎﺏ ﺳﻮﻡ ﺑﻪ ﻧﺎﻡ »ﺯﺍﻍ ﻣﻘﻠﺪ« ﺩﺭ ﺳﺎﻝ ‪ 2010‬ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪ‪ .‬ﺍﻗﺘﺒﺎﺱ ﺳﻴﻨﻤﺎﻳﻰ ﺍﺯ ﻛﺘﺎﺏ ﺍﻭﻝ ﻧﻴﺰ‬ ‫ﺑﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ »ﮔﺮﻯ ﺭﺍﺱ« ﺩﺭ ﻣﺎﺭﺱ ‪ 2012‬ﺭﻭﻯ ﭘﺮﺩﻩﻫﺎ ﺭﻓﺖ ﻭ ﺩﺭ ﮔﻴﺸﻪ ﻣﻮﻓﻘﻴﺖ ﺑﺴﻴﺎﺭ ﺧﻮﺑﻰ‬ ‫ﻛﺴﺐ ﻛﺮﺩ‪.‬‬ ‫ﻋﻄﺶ ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﺍﻳﻦ ﻛﻪ ﺟﻠﺪ ﺍﻭﻝ ﺍﺯ ﻳﻚ ﺳﻪ ﮔﺎﻧﻪ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﻣﻰﺗﻮﺍﻥ ﺁﻥ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻛﺘﺎﺑﻰ ﺗﻚ‬ ‫ﺟﻠﺪﻯ ﻭ ﻣﺴﺘﻘﻞ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺖ‪ ،‬ﭼﺮﺍ ﻛﻪ ﭘﺎﻳﺎﻧﻰ ﻗﺎﺑﻞ ﻗﺒﻮﻝ ﺩﺍﺭﺩ‪.‬‬ ‫ﺍﻳﻦ ﻛﺘﺎﺏ ﻳﻚ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻣﺎﺟﺮﺍﺟﻮﻳﺎﻧﻪ ﺍﺳﺖ‪ .‬ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﻳﻚ ﻓﻀﺎﻯ ﭘﺴﺎﺁﺧﺮﺍﻟﺰﻣﺎﻧﻰ ﺳﻴﺮ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺁﻣﺮﻳﻜﺎﻯ ﺷﻤﺎﻟﻰ ﻧﺎﺑﻮﺩ ﺷﺪﻩ ﻭ ﺣﻜﻮﻣﺘﻰ ﻗﺪﺭﺗﻤﻨﺪ ﻭ ﺩﻳﻜﺘﺎﺗﻮﺭ ﺑﻪ ﻧﺎﻡ ﻛﺎﭘﻴﺘﻮﻝ ﺳﺮ ﻛﺎﺭ ﺁﻣﺪﻩ ﻛﻪ ﺑﺮﺍﻯ‬ ‫ﻳﺎﺩﺁﻭﺭﻯ ﺑﺮﺗﺮﻯ ﺧﻮﺩﺵ‪ ،‬ﻫﺮ ﺳﺎﻝ ﺍﺯ ﺩﻭﺍﺯﺩﻩ ﻣﻨﻄﻘﻪﺍﻯ ﻛﻪ ﺗﺤﺖ ﺳﻠﻄﻪ ﺩﺍﺭﺩ‪ ،‬ﻳﻚ ﺩﺧﺘﺮ ﻭ ﭘﺴﺮ ﺭﺍ‬ ‫ﺍﻧﺘﺨﺎﺏ ﻣﻰﻛﻨﺪ ﻭ ﺁﻥﻫﺎ ﺭﺍ ﺩﺭ ﻣﺴﺎﺑﻘﺎﺗﻰ ﺑﻪ ﻧﺎﻡ »ﻋﻄﺶ ﻣﺒﺎﺭﺯﻩ« ﺑﻪ ﺟﺎﻥ ﻫﻢ ﻣﻰﺍﻧﺪﺍﺯﺩ‪.‬‬ ‫ﺑﺎ ﺍﻳﻦ ﻛﻪ ﺩﺭ ﺩﻧﻴﺎﻯ ﺩﺍﺳﺘﺎﻥ ﺗﻜﻨﻮﻟﻮژﻯﻫﺎﻯ ﭘﻴﺸﺮﻓﺘﻪﺍﻯ ﻣﻮﺟﻮﺩ ﺍﺳﺖ‪ ،‬ﻓﻀﺎﻯ ﺩﺍﺳﺘﺎﻥ ﻛﻤﻰ ﺣﺎﻟﺖ‬ ‫ﻗﺮﻭﻥ ﻭﺳﻄﺎﻳﻰ ﺩﺍﺭﺩ‪ .‬ﺍﻳﻦ ﻣﻮﺭﺩ ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ ﻃﺮﻓﺪﺍﺭﺍﻥ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻓﺎﻧﺘﺰﻯ ﺣﻤﺎﺳﻰ ﻫﻢ ﺍﺯ‬ ‫ﺧﻮﺍﻧﺪﻥ ﺍﻳﻦ ﻛﺘﺎﺏ ﻟﺬﺕ ﺑﺒﺮﻧﺪ‪.‬‬ ‫ﺑﻌﺪ ﺍﺯ ﻣﻮﻓﻘﻴﺖ ﻣﺠﻤﻮﻋﻪﻫﺎﻯ »ﻫﺮﻯ ﭘﺎﺗﺮ« ﻭ »ﮔﺮگ ﻭ ﻣﻴﺶ«‪ ،‬ﺍﻳﻦ ﻛﺘﺎﺏ ﻣﻮﺝ »ﻧﻮﺟﻮﺍﻧﺎﻧﻪﺧﻮﺍﻥﻫﺎ«‬ ‫ﺭﺍ ﺑﻪ ﺳﻤﺖ ﺧﻮﺩ ﺟﺬﺏ ﻛﺮﺩ‪ .‬ﺩﺍﺳﺘﺎﻥ ﺑﺮﺍﻯ ﻧﻮﺟﻮﺍﻧﺎﻥ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﻧﻪ ﺍﺯ ﻧﻮﻉ »ﮔﺮگ ﻭ ﻣﻴﺸﻰ« ﺁﻥ‪ .‬ﻓﻀﺎ‬ ‫ﺑﺴﻴﺎﺭ ﺗﺎﺭﻳﻚﺗﺮ ﻭ ﺧﺸﻦﺗﺮ ﺍﺳﺖ ﻭ ﭘﻰﺭﻧﮓ ﻋﺎﺷﻘﺎﻧﻪﺍﻯ ﻛﻪ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺣﻜﻤﻔﺮﻣﺎﺳﺖ‪ ،‬ﻣﻨﺤﺼﺮﺑﻪﻓﺮﺩ‬ ‫ﺍﺳﺖ‪ .‬ﻧﻪ ﺗﻨﻬﺎ »ﺣﺎﻝ ﺑﻪ ﻫﻢ ﺯﻥ« ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﺟﺬﺍﺑﻴﺖ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺩﻭﭼﻨﺪﺍﻥ ﻣﻰﻛﻨﺪ‪ .‬ﭼﻴﺰ ﺑﻴﺸﺘﺮﻯ‬ ‫ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﮔﻔﺘﻪ ﻧﺸﻮﺩ ﺑﻬﺘﺮ ﺍﺳﺖ‪ ،‬ﭼﻮﻥ ﻫﺮ ﺗﻮﺿﻴﺢ ﺍﺿﺎﻓﻪﺍﻯ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﻟﻮﺙ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺩﺭ ﭘﺎﻳﺎﻥ ﻫﻢ ﺑﺎﻳﺪ ﮔﻔﺖ ﻛﻪ ﺩﺭ ﺍﻧﺘﺨﺎﺏ ﻛﺘﺎﺏ‪ ،‬ﻫﺮ ﺳﻠﻴﻘﻪﺍﻯ ﻫﻢ ﻛﻪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﺪ‪ ،‬ﺍﺯ ﺧﻮﺍﻧﺪﻥ ﻋﻄﺶ‬ ‫ﻣﺒﺎﺭﺯﻩ ﻟﺬﺕ ﺧﻮﺍﻫﻴﺪ ﺑﺮﺩ‪.‬‬ ‫ﻗﻄﻌﻪﺍﻯ ﺍﺯ ﻣﺘﻦ ﻛﺘﺎﺏ‬

‫ﻧﺎﮔﻬﺎن ﻏﺮق ﻓﮑﺮ ﻣﯽ ﺷﻮم‪ ...‬ﭘﯿﺘﺎ را ﺗﺼﻮر ﻣﯽﮐﻨﻢ ﮐﻪ ﺷﺎﯾﺪ ﺗﻠﻒ ﺷﺪه‪ ،‬آن ﻗﺪر ﺧﻮن از ﺑﺪﻧﺶ رﻓﺘﻪ‬ ‫ﮐﻪ ﻣﺜﻞ ﮔﭻ ﺳﻔﯿﺪ ﺷﺪه‪ ،‬ﺟﺴﺪش را ﺑﺮداﺷﺘﻪاﻧﺪ و اﻻن در ﺣﺎل اﻧﺘﻘﺎل ﺑﻪ ﮐﺎﭘﯿﺘﻮل اﺳﺖ ﺗﺎ متﯿﺰ ﺷﻮد‪،‬‬ ‫ﻟﺒﺎس ﭘﻮﺷﺎﻧﺪه و در ﺟﻌﺒﻪی ﭼﻮﺑﯽ ﺳﺎدهای ﺑﻪ ﻣﻨﻄﻘﻪی‪ ۲۱‬ﺑﺎز ﮔﺮداﻧﺪه ﺷﻮد‪ .‬دﯾﮕﺮ اﯾﻦﺟﺎ ﻧﯿﺴﺖ‪.‬‬ ‫ﻋﺎزم ﺧﺎﻧﻪ اﺳﺖ‪ .‬ﺑﻪ ﺧﻮدم ﻓﺸﺎر ﻣﯽ آورم ﯾﺎدم ﺑﯿﺎﯾﺪ وﻗﺘﯽ ﺣﺮﮐﺖ ﮐﺮدﯾﻢ دﯾﺪﻣﺶ ﯾﺎ ﻧﻪ‪ .‬اﻣﺎ آﺧﺮﯾﻦ‬ ‫‪83‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﻋﻄــﺶ ﻣﺒـــــــﺎﺭﺯﻩ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ‪ :‬ﺳﻮﺯﺍﻥ ﻛﺎﻟﻴﻨﺰ‬ ‫ﻧﺎﺷﺮ ‪ :‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﺍﻓﺮﺍﺯ‬ ‫ﻣﺘﺮﺟﻢ‪ :‬ﺷﺒﻨﻢ ﺳﻌﺎﺩﺕ‬ ‫ﻧﻮﺑﺖ ﭼﺎپ‪ :‬ﺍﻭﻝ ‪1389 -‬‬ ‫ﺷﻤﺎﺭﮔﺎﻥ ‪ 1650 :‬ﻧﺴﺨﻪ‬ ‫ﻗﻴﻤﺖ‪ 8800 :‬ﺗﻮﻣﺎﻥ‬ ‫‪ 408‬ﺻﻔﺤﻪ‬ ‫ﺑﺮﻧﺪﻩ ﺷﺪﻥ ﻣﺸﻬﻮﺭﺕ ﻣﻰﻛﻨﺪ‪ .‬ﺑﺎﺧﺖ ﺑﻪ ﻣﻌﻨﺎﻯ ﻣﺮگ ﺣﺘﻤﻰ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﺗﺼﻮﻳﺮﻯ ﺗﺎﺭﻳ��� ﺍﺯ ﺁﻳﻨﺪﻩﺍﻯ ﻧﺰﺩﻳﻚ‪ ،‬ﺑﺮﻧﺎﻣﻪﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﻭﺍﻗﻌﻰ ﻭ ﺗﺮﺳﻨﺎﻛﻰ ﺩﺭ ﺣﺎﻝ ﺭﺥ‬ ‫ﺩﺍﺩﻥ ﺍﺳﺖ‪ .‬ﺩﻭﺍﺯﺩﻩ ﭘﺴﺮ ﻭ ﺩﺧﺘﺮ ﻣﺠﺒﻮﺭﻧﺪ ﺩﺭ ﺭﻭﻳﺪﺍﺩﻯ ﺯﻧﺪﻩ ﻛﻪ »ﻣﺴﺎﺑﻘﺎﺕ ﻋﻄﺶ ﻣﺒﺎﺭﺯﻩ«‬ ‫ﻧﺎﻣﻴﺪﻩ ﻣﻰﺷﻮﺩ‪ ،‬ﻇﺎﻫﺮ ﺷﻮﻧﺪ‪ .‬ﺗﻨﻬﺎ ﻳﻚ ﻗﺎﻧﻮﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ :‬ﺑﻜﺶ ﻳﺎ ﻛﺸﺘﻪ ﻣﻰﺷﻮﻯ‪.‬‬ ‫ﻭﻗﺘﻰ َﻛﺘﻨﻴﺲ ﺍ ِ ِﻭﺭﺩﻳﻦ ﺷﺎﻧﺰﺩﻩ ﺳﺎﻟﻪ ﻗﺪﻡ ﭘﻴﺶ ﻣﻰﮔﺬﺍﺭﺩ ﺗﺎ ﺟﺎﻯ ﺧﻮﺍﻫﺮﺵ ﺭﺍ ﺩﺭ ﻣﺴﺎﺑﻘﺎﺕ‬ ‫ﺑﮕﻴﺮﺩ‪ ،‬ﺁﻥ ﺭﺍ ﺑﻪ ﭼﺸﻢ ﺣﻜﻢ ﻣﺮگ ﻣﻰﺑﻴﻨﺪ‪ .‬ﺍﻣﺎ ﻛﺘﻨﻴﺲ ﻗﺒ ً‬ ‫ﻼ ﻧﻴﺰ ﺩﺭ ﺷﺮﻑ ﻣﺮگ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺑﺮﺍﻯ ﻛﺘﻨﻴﺲ ﺗﻼﺵ ﺑﺮﺍﻯ ﺯﻧﺪﻩ ﻣﺎﻧﺪﻥ ﻋﺎﺩﺗﻰ ﻫﻤﻴﺸﮕﻰ ﺷﺪﻩ ﺍﺳﺖ‪...‬‬ ‫ﺑﮕﺬﺍﺭﻳﺪ ﺑﺮﺍﻯ ﻣﻌﺮﻓﻰ ﻛﺘﺎﺏ ﻋﻄﺶ ﻣﺒﺎﺭﺯﻩ‪ ،‬ﺍﺯ ﻫﻤﻴﻦ ﺧﻼﺻﻪ ﺷﺮﻭﻉ ﻛﻨﻴﻢ‪ .‬ﺁﻥﭼﻪ ﺩﺭ ﺑﺎﻻ ﺫﻛﺮ ﺷﺪ‪،‬‬ ‫ﺗﻤﺎﻡ ﺍﻃﻼﻋﺎﺗﻰ ﺍﺳﺖ ﻛﻪ ﻭﻗﺘﻰ ﺩﺭ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻛﺘﺎﺏ ﻫﺴﺘﻴﺪ ﻭ ﺑﻪ ﺻﻮﺭﺕ ﺍﺗﻔﺎﻗﻰ ﭼﺸﻢﺗﺎﻥ ﺑﻪ ﺍﻳﻦ‬ ‫ﻛﺘﺎﺏ ﻣﻰﺧﻮﺭﺩ‪ ،‬ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺧﻮﺍﻫﻴﺪ ﺩﺍﺷﺖ‪.‬‬ ‫ﺑﺎ ﺍﻳﻦ ﻛﻪ ﺧﻼﺻﻪﻯ ﻧﺴﺒﺘﺎً ﺧﻮﺑﻰ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﻣﺜﻞ ﺍﻛﺜﺮ ﻧﻮﺷﺘﻪﻫﺎﻯ ﭘﺸﺖ ﺟﻠﺪ ﻛﺘﺎﺏﻫﺎ‪ ،‬ﺣﻖ ﻣﻄﻠﺐ‬ ‫ﺭﺍ ﺍﺩﺍ ﻧﻤﻰﻛﻨﺪ‪ .‬ﺍﺻﻞ ﻣﺎﺟﺮﺍ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻋﻄﺶ ﻣﺒﺎﺭﺯﻩ ﻛﺘﺎﺑﻰ ﺍﺳﺖ ﭘﺮ ﺍﺯ ﺗﻌﻠﻴﻖ‪ ،‬ﻛﺸﺶ ﻭ ﻫﻴﺠﺎﻥ‪.‬‬ ‫ﻛﺘﺎﺑﻰ ﻛﻪ ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ ﺷﺐ ﻫﺎ ﺑﻴﺪﺍﺭ ﺑﻤﺎﻧﻴﺪ ﻭ ﺗﺎ ﻗﺒﻞ ﺍﺯ ﺗﻤﺎﻡ ﺷﺪﻥ ﻛﺘﺎﺏ‪ ،‬ﺁﻥ ﺭﺍ ﺯﻣﻴﻦ ﻧﮕﺬﺍﺭﻳﺪ‬ ‫ﻭ ﺍﺯ ﺍﻳﻦ ﺑﻰﺧﻮﺍﺑﻰﻫﺎ ﻛﻢ ﺑﻪ ﭘﺴﺖ ﺁﺩﻡ ﻣﻰﺧﻮﺭﺩ‪.‬‬ ‫ﻓﻀﺎﻯ ﭘﺮ ﺍﺣﺴﺎﺱ ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺧﺸﻦ ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﻧﻮﻉ ﺧﻮﺩ ﺑﻰﻧﻈﻴﺮ ﺍﺳﺖ‪ .‬ﺳﺎﻳﻪﻯ ﻣﺮگ ﺩﺭ‬ ‫ﺳﺮﺗﺎﺳﺮ ﺧﻂ ﺩﺍﺳﺘﺎﻥ ﺣﺲ ﻣﻰﺷﻮﺩ ﻭ ﻫﻤﺎﻥ ﭼﻴﺰﻯ ﺍﺳﺖ ﻛﻪ ﻗﻬﺮﻣﺎﻥ ﺩﺍﺳﺘﺎﻥ –ﻭ ﺑﻪ ﺗﺒﻊ ﺍﻭ‪ ،‬ﻣﺎ‪ -‬ﺭﺍ‬ ‫ﺑﻪ ﺣﺮﻛﺖ ﺩﺭ ﻣﻰﺁﻭﺭﺩ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪82‬‬


‫ﻛﺘﺎﺏ‬ ‫ﻛﺘﺎﺏﻫﺎﻯ ﺩﻳﮕﺮ ﻫﻢ ﺭﺩﭘﺎﻯ ﺁﻥ ﺩﻳﺪﻩ ﻣﻰ ﺷﻮﺩ‪ .‬ﻣﺜﻼ ﺩﺭ ﻛﻮﺭﺍﻻﻳﻦ ﻫﻢ ﮔﺮﺑﻪ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎﻯ‬ ‫ﻃﺮﻑ ﺧﻴﺮ ﺩﺍﺳﺘﺎﻥ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺩﺭ ﻛﻞ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺑﺮﺍﻯ ﻣﺨﺎﻃﺐ ﻋﺎﺩﻯ ﻛﻪ ﻓﺎﺭﻍ ﺍﺯ ﮔﻮﻧﻪ ﻭ ﺳﺒﻚ ﺑﻪ ﺩﻧﺒﺎﻝ ﺩﺍﺳﺘﺎﻥ ﺧﻮﺏ‬ ‫ﺍﺳﺖ‪ ،‬ﺟﺬﺍﺏ ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﻭ ﺑﺮﺍﻯ ﻣﺨﺎﻃﺒﻰ ﻛﻪ ﺑﺎ ﺩﻗﺖ ﻻﻳﻪﻫﺎﻯ ﺯﻳﺮﻳﻦ ﻫﺮ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﻣﻄﺎﻟﻌﻪ‬ ‫ﻭ ﻛﻨﻜﺎﺵ ﻛﻨﺪ‪ ،‬ﻟﺬﺕﺑﺨﺶﺗﺮ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﺍﺯ ﺑﻴﻦ ﻛﺘﺎﺏﻫﺎﻯ ﭼﺎپ ﺷﺪﻩ ﺩﺭ ﺍﻳﺮﺍﻥ‪ ،‬ﺍﻳﻦ ﻛﺘﺎﺏ‬ ‫ﺑﻪ ﻓﻀﺎﻯ ﺫﻫﻨﻰ ﻧﻮﻳﺴﻨﺪﻩ ﻧﺰﺩﻳﻚﺗﺮ ﺍﺳﺖ‪ .‬ﺑﺮ ﺧﻼﻑ »ﻋﺎﺩ ﻭ ﻏﻮﻝﻫﺎﻯ ﻳﺨﻰ« ﻛﻪ ﭼﻨﺪﺍﻥ‬ ‫ﻛﺘﺎﺏ ﮔﻴﻤﻨﻰ ﻧﻴﺴﺖ‪ ،‬ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺑﻪ ﺣﺎﻝ ﻭ ﻫﻮﺍﻯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ‪ Neverwhere‬ﻭ »ﺧﺪﺍﻳﺎﻥ‬ ‫ﺁﻣﺮﻳﻜﺎﻳﻰ« ﻛﻪ ﺭﺍﺣﺖﺗﺮ ﻣﻰﺗﻮﺍﻥ ﺍﻣﻀﺎﻯ ﺩﺭﺳﺘﻰ ﺍﺯ ﮔﻴﻤﻦ ﭘﺎﻯ ﺁﻥﻫﺎ ﺩﻳﺪ‪ ،‬ﺑﺴﻴﺎﺭ ﻧﺰﺩﻳﻚ ﺍﺳﺖ‪.‬‬ ‫ﮔﻴﻤﻦ ﭼﻨﺪ ﺳﺎﻟﻰ ﻣﻰﺷﻮﺩ ﻛﻪ ﺩﺭ ﺍﻳﺮﺍﻥ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻣﺘﺮﺟﻤﺎﻥ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺑﻪ ﺟﺰ ﻛﺘﺎﺏﻫﺎﻯ‬ ‫ﻋﺎﺩ ﻭ ﻏﻮﻝﻫﺎﻯ ﻳﺨﻰ ﻭ »ﻛﺘﺎﺏ ﮔﻮﺭﺳﺘﺎﻥ« ﻛﻪ ﺗﻮﺳﻂ ﻓﺮﺯﺍﺩ ﻓﺮﺑﺪ ﺗﺮﺟﻤﻪ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﺍﺯ ﻛﺘﺎﺏ ﻛﻮﺭﺍﻻﻳﻦ‬ ‫ﻭﻯ ﻧﻴﺰ ﺳﻪ ﺗﺮﺟﻤﻪ ﺩﺭ ﺑﺎﺯﺍﺭ ﻣﻮﺟﻮﺩ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺍﺣﺘﻤﺎﻝ ﺯﻳﺎﺩ ﺑﻪ ﺍﻗﺒﺎﻝ ﺍﻧﻴﻤﻴﺸﻦ ﻛﻮﺭﺍﻻﻳﻦ ﺩﺭ ﺍﻳﺮﺍﻥ‬ ‫ﺑﻰﺭﺑﻂ ﻧﻴﺴﺖ‪ .‬ﻓﻀﺎﻯ ﺗﺎﺭﻳﻚ ﻭ ﺳﺎﺧﺘﺎﺭﺷﻜﻨﺎﻧﻪﺍﻯ ﻛﻪ ﺩﺭ ﻛﺎﺭﻫﺎﻯ ﻭﻯ ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ‪ ،‬ﺣﺪﺍﻗﻞ ﺑﺮﺍﻯ‬ ‫ﻧﺴﻞ ﺟﺪﻳﺪ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﺗﺎﺯﮔﻰ ﺩﺍﺭﺩ‪ .‬ﺍﻳﻦ ﺗﻴﺮﮔﻰ ﺩﺭ ﻛﺎﺭﻫﺎﻯ ﻛﻮﺩﻛﺎﻥ ﻛﻪ ﺷﺎﻳﺪ ﺑﺘﻮﺍﻥ ﮔﻔﺖ ﺑﻪ ﻧﺎﻡ‬ ‫ﮔﻴﻤﻦ ﺧﻮﺭﺩﻩ ﺍﺳﺖ‪ ،‬ﺩﺭ ﻛﺎﺭﻫﺎﻯ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺟﺪﻳﺪ ﻭ ﻛﺎﺭﻫﺎﻯ ﺟﺪﻳﺪ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻗﺪﻳﻤﻰﺗﺮ ﺑﻴﺸﺘﺮ‬ ‫ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ ﻭ ﺑﻴﺸﺘﺮ ﺑﻪ ﻓﻀﺎﻯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﭘﺮﻳﺎﻥ ﻗﺪﻳﻤﻰ ﻧﺰﺩﻳﻚ ﻣﻰﺷﻮﻳﻢ ﻛﻪ ﺍﻟﺰﺍﻣﻰ ﺑﺮ ﭘﺎﻳﺎﻥ‬ ‫ﺧﻮﺵ ﻧﺪﺍﺷﺘﻨﺪ‪.‬‬ ‫ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪﻯ ﺧﺎﺹ‪ ،‬ﺷﺎﻣﻞ ﻫﺸﺖ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ ﻭ ﻳﻚ ﺷﻌﺮ ﺍﺳﺖ ﻛﻪ ﻫﻤﮕﻰ ﺩﺭ ﮔﻮﻧﻪﻯ ﻓﺎﻧﺘﺰﻯ‬ ‫ﻧﻮﺷﺘﻪ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺑﻪ ﻋﻘﻴﺪﻩﻯ ﻣﺘﺮﺟﻢ‪ ،‬ﺑﻬﺘﺮﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﭘﻞ ﺗﺮﻭﻝ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺑﺮﺧﻼﻑ ﭘﻞ ﺗﺮﻭﻝ ﻧﻮﺷﺘﻪﻯ ﺗﺮﻯ ﭘﺮﭼﺖ* ﻛﻪ ﺩﺭ ﻓﻀﺎﻯ ﻛﻨﺎﻳﻰ ﻭ ﻃﻨﺰﺁﻣﻴﺰ ﻣﻰﮔﺬﺭﺩ‪ ،‬ﻓﻀﺎﻳﻰ ﺗﻴﺮﻩ ﻭ‬ ‫ﺗﺎﺭ ﺩﺍﺭﺩ ﻭ ﺷﺎﻳﺪ ﺑﺘﻮﺍﻥ ﺍﺩﻋﺎ ﻛﺮﺩ ﭼﻜﻴﺪﻩﻯ ﮔﻴﻤﻦ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺩﻳﺪ‪ .‬ﺷﻌﺮﻯ ﻛﻪ ﺩﺭ ﺍﻳﻦ‬ ‫ﻣﺠﻤﻮﻋﻪ ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪﻩ ﻧﻴﺰ‪ ،‬ﻗﺒ ً‬ ‫ﻼ ﺑﻪ ﺻﻮﺭﺕ ﺟﺪﺍﮔﺎﻧﻪ ﺗﺤﺖ ﻋﻨﻮﺍﻥ ‪ Instructions‬ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪﻩ‬ ‫ﺍﺳﺖ ﻛﻪ ﻳﻚ ﻛﺘﺎﺏ ﺗﺼﻮﻳﺮﻯ ﺍﺳﺖ‪.‬‬ ‫ﺍﻳﻦ ﻛﺘﺎﺏ ﺩﺭ ﺯﻣﺎﻥ ﺍﻧﺘﺸﺎﺭ ﺍﻳﻦ ﻣﻄﻠﺐ‪ ،‬ﻫﻨﻮﺯ ﺩﺭ ﻛﺸﻮﺭ ﻣﻨﺘﺸﺮ ﻧﺸﺪﻩ ﺍﺳﺖ؛ ﺍﻣﺎ ﻗﺮﺍﺭ ﺍﺳﺖ ﺩﺭ‬ ‫ﻧﻤﺎﻳﺸﮕﺎﻩ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﻛﺘﺎﺏ ﺗﻬﺮﺍﻥ ﺑﻪ ﺻﻮﺭﺕ ﻋﻤﻮﻣﻰ ﻋﺮﺿﻪ ﺷﻮﺩ‪ .‬ﺍﻣﻴﺪﻭﺍﺭﻳﻢ ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﻪ ﻧﻤﺎﻳﺸﮕﺎﻩ‬ ‫ﻛﺘﺎﺏ ﺑﺮﺳﺪ ﻭ ﻣﺘﻌﺎﻗﺒﺎ ﺗﻬﻴﻪ ﻛﻨﻴﺪ ﻭ ﺍﺯ ﺧﻮﺍﻧﺪﻥ ﺁﻥ ﻟﺬﺕ ﺑﺒﺮﻳﺪ‪.‬‬

‫‪81‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﻓﺮﺑﺪ‪ ،‬ﻣﺘﺮﺟﻢ ﻣﺤﺘﺮﻡ ﻛﺘﺎﺏ ﺑﻨﺸﻴﻨﻴﻢ ﻛﻪ ﻋﻼﻭﻩ ﺑﺮ ﺗﺮﺟﻤﻪﻯ ﺩﻭ ﻋﻨﻮﺍﻥ ﺩﻳﮕﺮ ﺍﺯ ﻫﻤﻴﻦ ﻧﻮﻳﺴﻨﺪﻩ‪،‬‬ ‫ﻳﻜﻰ ﺍﺯ ﻃﺮﻓﺪﺍﺭﺍﻥ ﭘﺮ ﻭ ﭘﺎ ﻗﺮﺹ ﻧﻴﻞ ﮔﻴﻤﻦ ﻫﻢ ﻫﺴﺖ ﻭ ﺩﻓﺘﺮﺵ ﭘﺮ ﺍﺳﺖ ﺍﺯ ﻛﺘﺎﺏﻫﺎﻯ ﭼﺸﻢﻧﻮﺍﺯ‪،‬‬ ‫ﺍﺯ ﺟﻤﻠﻪ ﻣﺠﻤﻮﻋﻪﺍﻯ ﻧﺴﺒﺘﺎً ﻛﺎﻣﻞ ﺍﺯ ﺁﺛﺎﺭ ﮔﻴﻤﻦ‪.‬‬ ‫ﺍﺯ ﺍﻳﺸﺎﻥ ﺩﺭﺧﻮﺍﺳﺖ ﻛﺮﺩﻳﻢ ﻛﻪ ﺑﺮﺍﻯ ﻣﺎ ﺍﺯ ﺍﻳﻦ ﻛﺘﺎﺏ ﻛﻪ ﺑﻪ ﺯﻭﺩﻯ ﺑﻪ ﭼﺎپ ﺧﻮﺍﻫﻴﺪ ﺭﺳﻴﺪ‪ ،‬ﺻﺤﺒﺖ‬ ‫ﻛﻨﺪ‪:‬‬ ‫‪ ...‬ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺩﺭ ﻭﺍﻗﻊ ﺍﺩﺍﻯ ﺩﻳﻨﻰ ﺑﻪ ﺭﻯ ﺑﺮﺩﺑﺮﻯ ﺍﺳﺖ‪ .‬ﺩﺭ ﻣﻘﺪﻣﻪﻯ ﻛﺘﺎﺏ ﻫﻢ ﺁﻣﺪﻩ ﺭﻯ‬ ‫ﺑﺮﺩﺑﺮﻯ ﻋﺎﺩﺕ ﺩﺍﺷﺖ ﻣﺠﻤﻮﻋﻪﺍﻯ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻛﻮﺗﺎﻩ ﺭﺍ ﻛﻪ ﻓﻜﺮ ﻣﻰﻛﺮﺩ ﺑﺮﺍﻯ ﻧﻮﺟﻮﺍﻧﺎﻥ‬ ‫ﻣﻨﺎﺳﺐ ﺍﺳﺖ‪ ،‬ﮔﺮﺩﺁﻭﺭﻯ ﻛﻨﺪ ﻭ ﺗﺤﺖ ﻋﻨﺎﻭﻳﻨﻰ ﭼﻮﻥ ﻣﻴﻢ ﻣﺜﻞ ﻣﻮﺷﻚ‪ ،‬ﺑﻪ ﭼﺎپ ﺑﺮﺳﺎﻧﺪ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﻫﻢ ﺩﺭ ﻭﺍﻗﻊ ﺩﺭ ﻛﺘﺎﺏﻫﺎﻯ ﺩﻳﮕﺮ ﮔﻴﻤﻦ ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪﻩﺍﻧﺪ‪ .‬ﺍﺯ ﺟﻤﻠﻪ‬ ‫ﺑﺮﺧﻰ ﺍﺯ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥﻫﺎ ﺩﺭ »ﭼﻴﺰﻫﺎﻯ ﺷﻜﻨﻨﺪﻩ« ﻭ »ﺩﻭﺩ ﻭ ﺁﻳﻨﻪ« ﻛﻪ ﺩﻭ ﻣﺠﻤﻮﻋﻪﻯ ﺩﺍﺳﺘﺎﻥ‬ ‫ﻛﻮﺗﺎﻩ ﺩﻳﮕﺮ ﺍﺯ ﮔﻴﻤﻦ ﻫﺴﺘﻨﺪ‪ ،‬ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪﻩﺍﻧﺪ‪.‬‬ ‫ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺍﺯ ﮔﻴﻤﻦ ﻫﻢ ﺑﻪ ﻣﺎﻧﻨﺪ ﻛﺎﺭﻫﺎﻯ ﺩﻳﮕﺮ ﺍﻭ ﺍﺯ ﺗﻠﻤﻴﺢ ﺧﺎﻟﻰ ﻧﻴﺴﺖ‪ .‬ﺗﻠﻤﻴﺢ‪ ،‬ﺍﺳﺎﺱ‬ ‫ﻧﻮﺷﺘﻪﻫﺎﻯ ﮔﻴﻤﻦ ﺍﺳﺖ ﻭ ﺗﺴﻠﻂ ﺍﻭ ﺭﺍ ﺑﺮ ﺍﺩﺑﻴﺎﺕ ﻛﻼﺳﻴﻚ ﻭ ﻣﺪﺭﻥ‪ ،‬ﺍﺳﻄﻮﺭﻩﻫﺎ ﻭ ﺗﺎﺭﻳﺦ‪ ،‬ﻧﺸﺎﻥ‬ ‫ﻣﻰﺩﻫﺪ‪ .‬ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺜﺎﻝ ﺩﺍﺳﺘﺎﻥ ﺍﻭﻝ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﻛﻪ ﻓﻀﺎﻳﻰ ﻛﺎﺭﺁﮔﺎﻫﻰ ﺩﺍﺭﺩ‪ ،‬ﻋﻼﻭﻩ ﺑﺮ ﺣﻀﻮﺭ‬ ‫ﻣﺴﺘﻘﻴﻢ ﻳﻜﻰ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎﻯ »ﺁﻟﻴﺲ ﺩﺭ ﺳﺮﺯﻣﻴﻦ ﻋﺠﺎﻳﺐ«‪ ،‬ﭘﺮ ﺍﺳﺖ ﺍﺯ ﺍﺷﺎﺭﺍﺕ ﻣﺨﺘﻠﻒ ﺑﻪ‬ ‫ﺟﺎﻯﺟﺎﻯ ﺩﻳﮕﺮ ﺁﺛﺎﺭ ﺍﺩﺑﻰ‪.‬‬ ‫ﺍﺯ ﺳﻮﻳﻰ ﻣﺠﻤﻮﻋﻪ ﺍﺯ ﺗﻨﻮﻉ ﺑﺎﻻﻳﻰ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺍﺳﺖ ﻭ ﻫﻤﻴﻦ ﻭﻳﮋﮔﻰ ﺳﺒﺐ ﻣﻰﺷﻮﺩ ﺗﺎ ﻫﺮ ﻛﺴﻰ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺑﺎﺏ ﺩﻧﺪﺍﻥ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺁﻥ ﺑﻴﺎﺑﺪ‪ .‬ﺑﻪ ﻃﻮﺭ ﻣﺜﺎﻝ ﺩﺍﺳﺘﺎﻥ ﺩﻭﻡ‪» ،‬ﺍﺯ ﺁﺩﻣﻚ ﻧﭙﺮﺱ« ﺩﺭ‬ ‫ﻓﻀﺎﻳﻰ ﻭﺣﺸﺖﺑﺎﺭ ﻣﻰﮔﺬﺭﺩ‪ .‬ﺍﻳﻦ ﺑﺎﺭ ﻧﻴﺰ ﻳﻚ ﻋﺮﻭﺳﻚ ﻭﺣﺸﺖﺁﻓﺮﻳﻦ ﻣﻰﺷﻮﺩ‪ .‬ﮔﻴﻤﻦ ﺩﺭ ﻓﻦ‬ ‫ﺗﺮﺳﺎﻧﺪﻥ ﺑﺎ ﭼﻴﺰﻯ ﻛﻪ ﻣﻌﺼﻮﻡ ﺍﻧﮕﺎﺷﺘﻪ ﻣﻰﺷﻮﺩ –ﻛﻪ ﻋﺮﻭﺳﻚ ﻫﻢ ﻳﻜﻰ ﺍﺯ ﺁﻥﻫﺎﺳﺖ‪ -‬ﺍﺳﺘﺎﺩ‬ ‫ﺍﺳﺖ ﻭ ﺍﮔﺮ ﺑﻪ ﺳﻴﻨﻤﺎ ﻫﻢ ﻧﮕﺎﻩ ﻛﻨﻴﻢ‪ ،‬ﺩﻭ ﻓﻴﻠﻢ ﺗﺮﺳﻨﺎﻙ »ﺟﻦﮔﻴﺮ« ﻭ »ﻃﺎﻟﻊ ﻧﺤﺲ« ﻫﻢ ﺍﺯ‬ ‫ﻫﻤﻴﻦ ﺗﻜﻨﻴﻚ ﺑﺮﺍﻯ ﺗﺮﺳﺎﻧﺪﻥ ﺑﻬﺮﻩ ﻣﻰﺑﺮﻧﺪ‪ .‬ﻧﻜﺘﻪﻯ ﺟﺎﻟﺐ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻧﻮﻳﺴﻨﺪﻩ ﺗﻨﻬﺎ ﺩﺭ‬ ‫ﭼﻬﺎﺭ ﺻﻔﺤﻪ ﺧﻮﺍﻧﻨﺪﻩ ﺭﺍ ﺑﻪ ﺧﻮﺑﻰ ﻣﻰﺗﺮﺳﺎﻧﺪ ﻭ ﺍﻳﻦ ﺗﺠﺮﺑﻪﻯ ﻛﻤﻴﺎﺑﻰ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻳﻚ ﺩﺍﺳﺘﺎﻥ‬ ‫‪ 4‬ﺻﻔﺤﻪﺍﻯ‪ ،‬ﺷﻤﺎ ﺗﺠﺮﺑﻪﺍﻯ ﻫﺮﭼﻨﺪ ﻣﺤﺪﻭﺩ ﺍﻣﺎ ﻛﺎﻣﻞ ﺍﺯ ﺗﺮﺱ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﺪ‪ .‬ﺍﺯ ﻃﺮﻓﻰ ﺩﺭ ﻳﻜﻰ‬ ‫ﺩﻳﮕﺮ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ‪ ،‬ﮔﺮﺑﻪ ﻧﻤﺎﺩ ﻣﺤﺎﻓﻆ ﺩﺭﺑﺮﺍﺑﺮ ﻧﻴﺮﻭﻯ ﺷﺮ ﻣﻰﺷﻮﺩ؛ ﺣﺎﻝ ﺁﻥ ﻛﻪ‬ ‫ﻣﻌﻤﻮﻻً ﮔﺮﺑﻪﻫﺎ ﺩﺭ ﻓﺮﻫﻨﮓﻫﺎﻯ ﻣﺨﺘﻠﻒ ﻣﻮﺟﻮﺩﺍﺕ ﺧﻮﺵﻳﻤﻨﻰ ﻧﻴﺴﺘﻨﺪ‪ ،‬ﺑﻪ ﺧﺼﻮﺹ ﻛﻪ ﻣﺎ ﻫﻢ‬ ‫ﺑﺎ ﻧﻮﻉ ﺳﻴﺎﻫﺶ ﺁﺷﻨﺎﻳﻴﻢ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﮔﻴﻤﻦ ﺑﻪ ﺭﻭﻧﺪ ﺧﺮﻕﻋﺎﺩﺕ ﺧﻮﺩ ﺍﺩﺍﻣﻪ ﻣﻰﺩﻫﺪ‪ .‬ﻛﺎﺭﻯ ﻛﻪ ﺩﺭ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪80‬‬


‫ﻛﺘﺎﺏ‬

‫ﻗﻄﻌﻪﺍﻯ ﺍﺯ ﻣﺘﻦ ﻛﺘﺎﺏ‬

‫ﮐﻤﺮﺑﻨﺪ ﺑﺮای ﺑﺴﺘﻪ ﺷﺪن ﺑﻪ دور ﺗﻦﻫﺎی ﻻﻏﺮ آنﻫﺎ ﺑﻪ اﻧﺪازهی ﻧﯿﺎز ﺑﻠﻨﺪ ﺑﻮد‪ ،‬اﻣﺎ ﻧﯿﺮوی ﮐﺸﺶ ﺗﻨﺪﺑﺎد‬ ‫اﻓﺮوﻧﮏ را از او دور ﻣﯽﮐﺮد‪ .‬ﺗﯿﮕ َﺮ ﺗﺮس را ﻓﺮاﻣﻮش ﮐﺮده ﺑﻮد و ﺗﻨﻬﺎ ﺑﻪ دور ﮐﺮدن ﺧﻮاﻫﺮش از دﺳﱰس‬ ‫ﻣﻮرتﻫﺎ ﻣﯽاﻧﺪﯾﺸﯿﺪ‪ .‬ﭘﺲ در ﯾﮏ آن و ﺑﺎ ﻫﻤﻪی ﺗﻮان‪ ،‬اﻓﺮوﻧﮏ را ﺑﻪ ﺳﻮی ﺧﻮد ﮐﺸﯿﺪ و ﻫﻤﯿﻦ‬ ‫ﮐﻪ ﺑﻪاﻧﺪازه ﺑﻪ او ﻧﺰدﯾﮏ ﺷﺪ‪ ،‬ﭼﻔﺖ ﮐﻤﺮﺑﻨﺪ را ﺑﺴﺖ و دﺳﺖﻫﺎی آزاد ﺷﺪهاش را ﺑﻪ درﮔﺎه ﮔﺮﻓﺖ‪.‬‬ ‫ﺑﻪ اﻧﺪک زﻣﺎﻧﯽ‪ ،‬ﮐﻤﺮﺑﻨﺪ آﻏﺎز ﺑﻪ درﺧﺸﯿﺪن و ﺗﻨﮓ ﺷﺪن ﮐﺮد‪ .‬ﺗﻨﺪﺑﺎد اﯾﺴﺘﺎد و ﻣﻮرتﻫﺎ ﺧﺎﻣﻮش‬ ‫ﺷﺪﻧﺪ‪ .‬ﮐﻤﺮﺑﻨﺪ آنﭼﻨﺎن درﺧﺸﺎن ﺷﺪ ﮐﻪ ﺑﭽﻪﻫﺎ دﯾﮕﺮ منﯽﺗﻮاﻧﺴﺘﻨﺪ ﭼﺸامن ﺧﻮد را ﺑﺎز ﻧﮕﻪ دارﻧﺪ‪.‬‬ ‫ﺗﯿﮕ َﺮ ﺑﺎ ﻧﮕﺮاﻧﯽ ﮐﻮﺷﺶ ﮐﺮد ﭼﻔﺖ ﮐﻤﺮﺑﻨﺪ را ﺑﺎز ﮐﻨﺪ‪ ،‬اﻣﺎ از ﺑﺮﺧﻮرد دﺳﺘﺶ ﺑﺎ آن آذرﺧﺶ ﺑﺰرﮔﯽ‬ ‫درﺧﺸﯿﺪ و او دﺳﺘﺶ را ﭘﺲ ﮐﺸﯿﺪ‪.‬‬ ‫ﮐﻤﺮﺑﻨﺪ ﺗﻨﮓﺗﺮ و ﺗﻨﮓﺗﺮ ﻣﯽﺷﺪ و رﻧﮓ ﻧﺎرﻧﺠﯽ ﺗﻨﺪ و روﺷﻦ‪ ،‬ﭘﺸﺖ ﭘﻠﮏﻫﺎی ﺑﺴﺘﻪی ﺑﭽﻪﻫﺎ ﻧﺸﺎن‬ ‫از درﺧﺸﺶ زﯾﺎد ﮐﻤﺮﺑﻨﺪ ﻣﯽداد‪ .‬ﺻﺪای ﺗﺮﺳﻨﺎﮐﯽ ﻫﻤﭽﻮن ﻓﺮو رﯾﺨنت ﺧﺮوارﻫﺎ ﺳﻨﮓ ﺑﺮﺧﺎﺳﺖ و‬ ‫ﻫﺮ دو ﺑﻪ زﻣﯿﻦ اﻓﺘﺎدﻧﺪ‪ .‬ﻫﻮا در ﺳﯿﻨﻪﺷﺎن ﺑﻨﺪ آﻣﺪه ﺑﻮد و ﺗﺎب آوردن ﻓﺸﺎر ﮐﻤﺮﺑﻨﺪ ﻫﺮ دم ﺑﺮاﯾﺸﺎن‬ ‫ﺳﺨﺖﺗﺮ ﻣﯽﺷﺪ‪ .‬ﺗﯿﮕﺮ ﺻﺪای آﻫﺴﺘﻪی اﻓﺮوﻧﮏ را ﺷﻨﯿﺪ‪» :‬دارم ﺧﻔﻪ ﻣﯽﺷﻮم‪«.‬‬ ‫»ﻧﻪ!«‬ ‫»دﯾﮕﺮ‪ ...‬دﯾﮕﺮ‪ ...‬منﯽﺗﻮاﻧﻢ‪«.‬‬ ‫و ﺧﺎﻣﻮش ﺷﺪ‪.‬‬

‫ﺝ ﻣﺜــﻞ ﺟـــﺎﺩﻭ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ‪ :‬ﻧﻴﻞ ﮔﻴﻤﻦ‬ ‫ﻣﺘﺮﺟﻢ‪ :‬ﻓﺮﺯﺍﺩ ﻓﺮﺑﺪ‬ ‫ﻧﺎﺷﺮ‪ :‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﭘﺮﻳﺎﻥ‬ ‫ﻗﻴﻤﺖ‪ 5700 :‬ﺗﻮﻣﺎﻥ‬ ‫‪ 200‬ﺻﻔﺤﻪ‬ ‫ﺝ ﻣﺜﻞ ﺟﺎﺩﻭ ﻧﻮﺷﺘﻪﻯ ﻧﻴﻞ ﮔﻴﻤﻦ‪ ،‬ﻣﺠﻤﻮﻋﻪﺍﻯ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻛﻮﺗﺎﻩ ﺩﺭ ژﺍﻧﺮ ﻓﺎﻧﺘﺰ��� ﺍﺳﺖ‪ .‬ﺑﻪ‬ ‫ﮔﻔﺘﻪﻯ ﺧﻮﺩ ﻧﻮﻳﺴﻨﺪﻩ‪ ،‬ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺑﺮﺍﻯ ﻣﺨﺎﻃﺐ ﻧﻮﺟﻮﺍﻥ ﻭ ﺳﻨﻴﻦ ﺑﺎﻻﺗﺮ ﻭ ﺩﺭ ﺯﻳﺮﮔﻮﻧﻪﻯ ﺍﺩﺑﻰ‬ ‫ﻓﺎﻧﺘﺰﻯ ﺳﻴﺎﻩ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺑﺮﺍﻯ ﻣﻌﺮﻓﻰ ﺍﻳﻦ ﻛﺘﺎﺏ‪ ،‬ﺗﺮﺟﻴﺢ ﺩﺍﺩﻳﻢ ﭘﺎﻯ ﺻﺤﺒﺖﻫﺎﻯ ﻓﺮﺯﺍﺩ‬ ‫‪79‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﺫﻛﺮ ﺍﺳﺖ‪ ،‬ﺍﺳﺘﻔﺎﺩﻩﻯ ﺑﻪﺟﺎ ﺍﺯ ﻗﻠﻤﻰ ﭼﻮﻥ ﺁﺭﻳﻞ ﻳﺎ ﺗﺎﻳﻤﺰ ﺑﺮﺍﻯ ﻣﺘﻦ ﺩﺍﺳﺘﺎﻥ ﺍﺳﺖ‪ .‬ﻫﺮﭼﻨﺪ ﺩﺭ ﻧﮕﺎﻩ ﺍﻭﻝ‬ ‫ﺍﻳﻦ ﻣﻮﺭﺩ ﺣﻤﻞ ﺑﺮ ﺑﻰﺳﻠﻴﻘﮕﻰ ﻳﺎ ﻧﺎﺁﮔﺎﻫﻰ ﻧﺎﺷﺮ ﻣﻰﺷﻮﺩ‪ ،‬ﺍﻣﺎ ﺑﺎ ﺍﺩﺍﻣﻪﻯ ﺩﺍﺳﺘﺎﻥ ﻣﺘﻮﺟﻪ ﻣﻰﺷﻮﻳﻢ ﻛﻪ‬ ‫ﺍﻳﻦ ﺍﻧﺘﺨﺎﺏ ﻗﻠﻢ ﻣﺘﻨﺎﺳﺐ ﺑﺎ ﺑﺪﻭﻳﺖ ﺩﺍﺳﺘﺎﻥ –ﻛﻪ ﺩﺭ ﺗﺮﺳﻴﻢ ﻓﻀﺎ ﻭ ﻧﺎﻡ ﺷﺨﺼﻴﺖﻫﺎ ﻫﻢ ﺑﻪ ﺧﻮﺑﻰ ﻫﻮﻳﺪﺍ‬ ‫ﺍﺳﺖ‪ -‬ﻭ ﻫﻤﭽﻨﻴﻦ ﺗﺎﺭﻳﺦ ﺣﺪﻭﺩﻯ ﺭﻭﻳﺪﺍﺩ ﺁﻥ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﻣﺴﻠﻢ ﺍﺳﺖ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﻭﺍﻗﻌﻴﺖ ﻧﺪﺍﺭﺩ‪ ،‬ﺍﻣﺎ‬ ‫ﺍﺯ ﺁﻥﺟﺎ ﻛﻪ ﺩﺭ ﻓﻀﺎﻳﻰ ﻛﻬﻦ ﻭ ﺣﺘﺎ ﺩﺭ ﺍﺑﺘﺪﺍﻯ ﺷﻜﻞﮔﻴﺮﻯ ﺍﺳﻄﻮﺭﻩﻫﺎ –ﺑﻪ ﺍﺩﻋﺎﻯ ﭘﺸﺖ ﺟﻠﺪ‪ 6 ،‬ﻫﺰﺍﺭ‬ ‫ﻗﻠﻢ ﺩﺭ ﻇﺎﻫﺮ ﺧﺸﻦ ﻭ ﺯﻣﺨﺖ ﺍﻧﺘﺨﺎﺏ ﻫﻮﺷﻤﻨﺪﺍﻧﻪﺍﻯ ﺍﺳﺖ‪.‬‬ ‫ﺳﺎﻝ ﭘﻴﺶ‪ -‬ﺭﻭﻯ ﻣﻰﺩﻫﺪ‪ ،‬ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﻳﻦ ِ‬ ‫ﺯﺑﺎﻥ ﺩﺍﺳﺘﺎﻥ ﻫﻢ ﻛﺎﻣ ً‬ ‫ﻼ ﻓﺎﺭﺳﻰ ﻳﺎ ﺑﻪ ﻋﺒﺎﺭﺗﻰ ﭘﺎﺭﺳﻰ ﺍﺳﺖ ﻭ ﺳﻌﻰ ﺷﺪﻩ ﺍﺯ ﻛﻠﻤﺎﺕ ﺩﺧﻴﻞ ﺑﻪ ﻫﻴﭻ‬ ‫ﻋﻨﻮﺍﻥ ﺍﺳﺘﻔﺎﺩﻩﺍﻯ ﻧﺸﻮﺩ‪ .‬ﻓﺎﺭﻍ ﺍﺯ ﺑﺤﺚﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﻣﻮﺭﺩ ﺍﻳﻦ ﮔﻮﻧﻪ ﺍﺳﺘﻔﺎﺩﻩ ﻳﺎ ﻋﺪﻡ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ‬ ‫ﺯﺑﺎﻥ ﺩﺭ ﺧﺎﺭﺝ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﻣﻰﺗﻮﺍﻥ ﺍﻧﺠﺎﻡ ﺩﺍﺩ‪ ،‬ﺍﻳﻦ ﺍﻧﺘﺨﺎﺏ ﻫﺮ ﭼﻨﺪ ﻧﻮﻋﻰ ﺑﺪﻭﻳﺖ ﻓﻀﺎ ﺭﺍ ﻫﻢ ﺑﻴﺸﺘﺮ‬ ‫ﻣﻰﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﺍﻭﻻً ﺑﻪ ﻧﻈﺮ ﻧﻤﻰﺭﺳﺪ ﺩﻟﻴﻞ ﺍﻳﻦ ﺍﻧﺘﺨﺎﺏ ﻛﻤﻚ ﺑﻪ ﻓﻀﺎﺳﺎﺯﻯ ﺑﺎﺷﺪ‪ ،‬ﺛﺎﻧﻴﺎً ﺗﺄﺛﻴﺮ ﭼﻨﺪﺍﻥ‬ ‫ﻣﺜﺒﺘﻰ ﺑﺮ ﺩﺍﺳﺘﺎﻥ ﻧﺪﺍﺭﺩ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻛﻤﻰ ﻣﻴﺎﻥ ﺩﺍﺳﺘﺎﻥ ﻭ ﺧﻮﺍﻧﻨﺪﻩ ﻓﺎﺻﻠﻪ ﻣﻰﺍﻧﺪﺍﺯﺩ ﻭ ﺍﮔﺮ ﻛﺴﻰ‬ ‫ﻋﻼﻗﻤﻨﺪ ﺑﻪ ﺧﻮﺍﻧﺪﻥ ﺩﺍﺳﺘﺎﻥ ﻧﺒﺎﺷﺪ‪ ،‬ﺷﺎﻳﺪ ﻗﺒﻞ ﺍﺯ ﺁﻥ ﻛﻪ ﮔﺮﻩ ﻣﺎﺟﺮﺍ ﺍﻭ ﺭﺍ ﺩﺭﮔﻴﺮ ﻛﻨﺪ‪ ،‬ﺍﺯ ﺧﻮﺍﻧﺪﻥ‬ ‫ﺩﺳﺖ ﺑﻜﺸﺪ‪ .‬ﺍﻳﻦ ﻧﺎﻫﻤﮕﻮﻧﻰ ﺯﺑﺎﻥ ﻣﺨﺎﻃﺐ ﺑﺎ ﺯﺑﺎﻥ ﻛﺘﺎﺏ ﻛﻪ ﺩﺭ ﭼﻨﺪ ﺟﺎ ﻫﻮﻳﺪﺍ ﻣﻰﺷﻮﺩ‪ ،‬ﺑﺎﻋﺚ‬ ‫ﻣﻰﺷﻮﺩ ﭘﺮﺩﺍﺧﺖ ﺷﺨﺼﻴﺖﻫﺎ ﻫﻢ ﻛﻤﻰ ﺑﻪ ﺗﺄﺧﻴﺮ ﺑﻴﻔﺘﺪ ﻳﺎ ﺷﺎﻳﺪ ﺑﺘﻮﺍﻥ ﮔﻔﺖ‪ ،‬ﺍﺯ ﺁﻥﺟﺎ ﻛﻪ ﺯﺑﺎﻥ‬ ‫ﺩﺍﺳﺘﺎﻥ ﻛﻤﻰ ﻧﻴﺎﺯ ﺑﻪ ﻋﺎﺩﺕ ﺷﺪﻥ ﺩﺍﺭﺩ‪ ،‬ﺍﻧﺪﻛﻰ ﺯﻣﺎﻥ ﻣﻰﺑﺮﺩ ﺗﺎ ﺧﻮﺍﻧﻨﺪﻩ ﺁﻥ ﺭﺍ ﺑﭙﺬﻳﺮﺩ ﻭ ﺍﻳﻦ ﻋﺪﻡ‬ ‫ﭘﺬﻳﺮﺵ‪ ،‬ﺑﻴﺸﺘﺮﻳﻦ ﺍﺛﺮ ﺭﺍ ﺩﺭ ﻧﺰﺩﻳﻚ ﺷﺪﻥ ﺧﻮﺍﻧﻨﺪﻩ ﺑﺎ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﺑﻪ ﺧﺼﻮﺹ ﻗﻬﺮﻣﺎﻧﺎﻥ‬ ‫ﺁﻥ ﻣﻰﮔﺬﺍﺭﺩ‪ .‬ﺍﻣﺎ ﺑﻪ ﻫﺮ ﺣﺎﻝ‪ ،‬ﺍﮔﺮ ﻧﻮﻳﺴﻨﺪﻩ ﺑﻪ ﻫﺮ ﺩﻟﻴﻞ ﺑﺮ ﺍﻳﻦ ﻃﺮﻳﻖ ﺍﺻﺮﺍﺭ ﺩﺍﺭﺩ‪ ،‬ﭘﻴﺸﻨﻬﺎﺩ ﻣﻰﻛﻨﻢ‬ ‫ﻟﻐﺖﻧﺎﻣﻪﺍﻯ ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﻛﺘﺎﺏ ﺑﮕﺬﺍﺭﺩ ﺗﺎ ﺍﺭﺟﺎﻉ ﺧﻮﺍﻧﻨﺪﻩ ﺑﻪ ﻣﻌﻨﻰ ﺑﻌﻀﻰ ﻭﺍژﻩﻫﺎ ﺁﺳﺎﻥﺗﺮ ﺷﻮﺩ‪.‬‬ ‫ﺑﺎ ﺗﻤﺎﻡ ﺍﻳﻦ ﺍﺣﻮﺍﻝ ﺧﻴﻠﻰ ﺑﺎ ﺩﺍﺳﺘﺎﻥ ﺑﻮﻣﻰ ﺭﻭﺑﺮﻭ ﻧﻴﺴﺘﻴﻢ‪ .‬ﺍﻟﺒﺘﻪ ﻗﻄﻌﺎً ﻏﺮﺑﻰ ﻫﻢ ﻧﻴﺴﺖ‪ .‬ﻧﻪ ﺗﻨﻬﺎ ﺑﻪ‬ ‫ﺩﻟﻴﻞ ﻣﻠﻴﺖ ﻧﻮﻳﺴﻨﺪﻩ‪ ،‬ﺑﻠﻜﻪ ﺑﻪ ﺧﺎﻃﺮ ﺧﻮﺩ ﺩﺍﺳﺘﺎﻥ ﻭ ﺁﻥﭼﻪ ﺩﺭ ﺧﻮﺩ ﺩﺍﺭﺩ‪ .‬ﭼﻴﺰﻯ ﺑﻴﻨﺎﺑﻴﻦ ﺍﺳﺖ ﻛﻪ‬ ‫ﺑﺎﻳﺪ ﺳﺮﺟﺎﻯ ﺧﻮﺩﺵ ﺩﻳﺪﻩ ﺷﻮﺩ‪» .‬ﺗﻘﻠﻴﺪﻯ« ﻳﺎ »ﻏﺮﺏﺯﺩﻩ« ﺧﻮﺍﻧﺪﻥ ﺩﺍﺳﺘﺎﻥ ﻭﺍﻗﻌﺎً ﺩﻭﺭ ﺍﺯ ﺍﻧﺼﺎﻑ‬ ‫ﻭ ﻋﺪﻝ ﺍﺳﺖ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﻧﺴﺒﺖ ﺩﺍﺩﻥ ﺻﻔﺖ »ﺑﻮﻣﻰ« ﺑﻪ ﺍﻳﻦ ﺍﺛﺮ‪ ،‬ﺑﻴﻬﻮﺩﻩ ﺩﻭﺷﺶ ﺭﺍ ﺳﻨﮕﻴﻦ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﻧﻮﺷﺘﻦ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﺑﻮﻣﻰ‪ ،‬ﻧﻴﺎﺯﻣﻨﺪ ﺁﺷﻨﺎﻳﻰ ﺑﺎ ﺳﻨﺖ ﺗﺎﺭﻳﺦ ﺑﻮﻡ ﻣﻮﺭﺩ ﻧﻈﺮ ﺍﺳﺖ‪ .‬ﭼﻴﺰﻯ ﻛﻪ‬ ‫ﺑﻪ ﺩﺭﺳﺘﻰ ﺩﺭ ﻻﺑﻪﻻﻯ ﺳﻄﻮﺭ ﻧﻴﺎﻣﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﺍﻧﺘﻬﺎ ﺍﻣﻴﺪﻭﺍﺭﻡ ﻗﺴﻤﺖﻫﺎﻯ ﺑﻌﺪﻯ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺑﻠﻨﺪ ﻫﻢ ﺑﻪ ﻫﻤﻴﻦ ﺧﻮﺑﻰ ﻭ ﺣﺘﺎ ﺑﻬﺘﺮ ﺑﺎﺷﺪ ﻭ ﺷﺎﻫﺪ‬ ‫ﭘﻴﺸﺮﻓﺖ ﺁﻥ ﺑﺎﺷﻴﻢ‪ .‬ﺑﺎ ﺩﺍﺳﺘﺎﻥ ﺧﻮﺑﻰ ﺭﻭﺑﺮﻭ ﻫﺴﺘﻴﻢ‪ .‬ﺣﺘﺎ ﻳﻚ ﻗﺪﻡ ﻓﺮﺍﺗﺮ ﻣﻰﮔﺬﺍﺭﻡ ﻭ ﻣﺪﻋﻰ ﻣﻰﺷﻮﻡ‬ ‫ﺑﺎ ﺩﺍﺳﺘﺎﻥ ﻓﺎﻧﺘﺰﻯ ﺧﻮﺑﻰ ﺭﻭﺑﺮﻭ ﻫﺴﺘﻴﻢ ﻭ ﺍﮔﺮ ﺻﻔﺖ ﺑﻮﻣﻰ ﺭﺍ ﺍﺯ ﺩﻭﺷﺶ ﺑﺮﺩﺍﺭﻳﻢ‪ ،‬ﻣﻘﺪﺍﺭ ﺯﻳﺎﺩﻯ ﺍﺯ‬ ‫ﺍﻧﺘﻈﺎﺭﺍﺗﻤﺎﻥ ﺭﺍ ﺑﻪ ﺧﻮﺑﻰ ﺑﺮﺁﻭﺭﺩﻩ ﺧﻮﺍﻫﺪ ﻛﺮﺩ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪78‬‬


‫ﻛﺘﺎﺏ‬ ‫ﻣﻰﺷﻮﺩ ﻛﻪ ﺧﻮﺍﻫﺮ ﻭ ﺑﺮﺍﺩﺭﻯ –ﻛﻪ ﻇﺎﻫﺮﺍ ً ﺩﻭ ﺗﻦ ﺍﺯ ﻗﻬﺮﻣﺎﻧﺎﻥ ﺩﺍﺳﺘﺎﻧﻨﺪ‪ -‬ﺑﻪ ﺩﻧﺒﺎﻝ ﭘﻴﺮﺯﻧﻰ ﻣﻰﺭﻭﻧﺪ‬ ‫ﻛﻪ ﺍﻧﮕﺎﺭ ﻗﺎﺑﻠﻪ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﺩﺍﻣﻪ‪ ،‬ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﮔﻮﻧﻪﺍﻯ ﭘﻴﺶ ﻣﻰﺭﻭﺩ ﻛﻪ ﻓﻜﺮ ﻣﻰﻛﻨﻴﻢ ﺑﺎﺯ ﻫﻤﺎﻥ ﻛﻠﻴﺸﻪﻯ‬ ‫ﻗﺪﻳﻤﻰ ﺟﻠﻮﻯ ﺭﻭﻯ ﻣﺎﺳﺖ ﻭ ﺍﺯ ﻗﺪﻳﻢﺍﻻﻳﺎﻡ ﻛﺴﻰ ﭘﻴﺸﮕﻮﻳﻰ ﻛﺮﺩﻩ ﻭ ﻗﺮﺍﺭ ﺍﺳﺖ ﻗﻬﺮﻣﺎﻧﻰ ﺫﺍﺗﻰ ﻛﻪ ﺍﺯ‬ ‫ﺩﺭﻭﻥ ﺭﺣﻢ ﻣﺎﺩﺭ ﺩﺍﺭﺍﻯ ﻧﻴﺮﻭﻫﺎﻯ ﺧﺎﺭﻕﺍﻟﻌﺎﺩﻩ ﺍﺳﺖ‪ ،‬ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺍﺯ ﻗﺪﺭﺕﻫﺎﻳﺶ ﺑﺎ ﺧﺒﺮ ﺷﺪ ﻭ ﺑﻌﺪ‬ ‫ﻫﻢ ﻛﻠﻰ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﺗﻘﺪﻳﺮ ﻭ ﺳﺮﻧﻮﺷﺖ ﻭ ﺍﻧﺘﺨﺎﺏ ﻏﺮﻏﺮ ﻛﺮﺩ‪ ،‬ﺑﺎﻻﺧﺮﻩ ﻣﻨﺖ ﺑﺮ ﺳﺮ ﻣﺎ ﺑﮕﺬﺍﺭﺩ ﻭ ﺩﺭ ﺭﺍﻩ‬ ‫ﻧﺠﺎﺕ ﺑﺸﺮﻳﺖ ﻓﺪﺍﻛﺎﺭﻯ ﻛﻨﺪ‪ .‬ﺍﻣﺎ ﻧﻪ! ﺍﺯ ﺍﻳﻦ ﺧﺒﺮﻫﺎ ﻧﻴﺴﺖ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﺩﺭ ﺍﻭﺍﺧﺮ ﺩﺍﺳﺘﺎﻥ ﻣﻰﻓﻬﻤﻴﻢ ﻛﻪ‬ ‫ﺍﺻ ً‬ ‫ﻼ ﺍﺯ ﺍﻳﻦ ﺧﺒﺮﻫﺎ ﻧﻴﺴﺖ ﻭ ﻣﺎﻧﻮﺭ ﻗﻮﻯ ﻧﻮﻳﺴﻨﺪﻩ ﺩﺭ ﻗﺼﻪﭘﺮﺩﺍﺯﻯ ﻭ ﭼﻴﻨﺶ ﺣﻮﺍﺩﺙ ﺑﻪ ﮔﻮﻧﻪﺍﻯ ﺍﺳﺖ‬ ‫ﻛﻪ ﺑﺎ ﻣﻮﻓﻘﻴﺖ ﺍﺯ ﺑﺮﭼﺴﺐ ﻳﻚ ﻛﻠﻴﺸﻪ ﺧﻼﺹ ﻣﻰﺷﻮﺩ‪ .‬ﭼﻪ ﺧﻮﺏ ﻛﻪ ﺍﺯ ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﻧﻪ ﺗﻨﻬﺎ ﻧﺎﺭﺍﺣﺖ‬ ‫ﻧﻴﺴﺘﻴﻢ‪ ،‬ﺑﻠﻜﻪ ﻟﺒﺨﻨﺪ ﺭﺿﺎﻳﺖ ﻫﻢ ﺑﺮ ﻟﺒﺎﻧﻤﺎﻥ ﻧﻘﺶ ﺑﺴﺘﻪ ﺍﺳﺖ‪ .‬ﻭ ﺍﮔﺮ ﺩﺳﺖ ﻧﻮﻳﺴﻨﺪﻩ ﺍﻳﻦﺟﺎ ﻣﻌﻠﻮﻡ‬ ‫ﻧﺒﺎﺷﺪ‪ ،‬ﭘﺲ ﺩﻳﮕﺮ ﻛﺠﺎ ﺑﺎﻳﺪ ﺭﺩ ﺍﻭ ﺭﺍ ﮔﺮﻓﺖ؟‬ ‫ﻧﻘﻄﻪﻯ ﻗﻮﺕ ﺩﻳﮕﺮ ﻛﺘﺎﺏ‪ ،‬ﺟﺪﺍ ﺍﺯ ﻫﺴﺘﻪﻯ ﻣﺎﺟﺮﺍﻳﻰ ﻛﻪ ﺑﻪ ﺁﻥ ﭘﺮﺩﺍﺧﺘﻴﻢ‪ ،‬ﺩﺭ ﺍﻳﺠﺎﺩ ﻭ ﺗﻮﺳﻌﻪﻯ ﻓﻀﺎ‬ ‫ﺍﺳﺖ‪ .‬ﻣﺮﺩﻡ ﺁﺯﺍﺩﻩﻯ ﺩﺍﺳﺘﺎﻥ ﻛﻮﻩﻧﺸﻴﻦ ﻫﺴﺘﻨﺪ ﻭ ﺭﻭﺳﺘﺎﻫﺎﺷﺎﻥ ﺭﺍ ﺩﺭ ﭘﺴﺘﻰ ﻭ ﺑﻠﻨﺪﻯﻫﺎ ﺳﺎﺧﺘﻪﺍﻧﺪ‪.‬‬ ‫ﺍﻳﻦ ﭼﻴﻨﺶ ﻓﻀﺎ ﺗﺎ ﺣﺪ ﺧﻮﺑﻰ‪ ،‬ﺩﺭﺳﺖ ﻭ ﺑﻪﺟﺎ ﺗﺮﺳﻴﻢ ﻣﻰﺷﻮﺩ؛ ﺑﻪ ﮔﻮﻧﻪﺍﻯ ﻛﻪ ﺗﺄﺛﻴﺮ ﺁﻥ ﺭﺍ ﺩﺭ ﺯﻧﺪﮔﻰ‬ ‫ﻣﺮﺩﻡ ﻣﻰﺑﻴﻨﻴﻢ‪ .‬ﺭﺩ ﻫﻮﺍﻯ ﺳﺮﺩ ﻭ ﻭﻳﮋﮔﻰﻫﺎﻯ ﺯﻧﺪﮔﻰ ﺩﺭ ﻛﻮﻫﺴﺘﺎﻥ ﺭﺍ ﻣﻰﺷﻮﺩ ﺩﺭ ﺭﻓﺘﺎﺭ ﻭ ﻛﺮﺩﺍﺭ‬ ‫ﺁﻥﻫﺎ ﺩﻳﺪ‪ .‬ﺍﺯ ﻧﻮﻉ ﻟﺒﺎﺱ ﭘﻮﺷﻴﺪﻥ ﺑﮕﻴﺮﻳﺪ ﺗﺎ ﻣﺤﻞ ﺯﻧﺪﮔﻰ ﻭ ﺍﺩﻭﺍﺕ ﺟﻨﮕﻰ ﻭ ﺍﺳﺘﺮﺍﺗﮋﻯﻫﺎﻯ ﻧﺒﺮﺩ‪ .‬ﺑﻪ‬ ‫ﻋﺒﺎﺭﺗﻰ ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ ﻣﺮﺩﻡ ﺳﺎﻛﻦ ﻛﻮﻫﺴﺘﺎﻥ‪ ،‬ﻭﺍﻗﻌﺎً ﻣﺎﻝ ﻛﻮﻫﺴﺘﺎﻥ ﻫﺴﺘﻨﺪ ﻭ ﺑﻪ ﺭﺍﺣﺘﻰ ﻧﻤﻰﺗﻮﺍﻥ‬ ‫ﺟﺎﻯ ﺁﻥﻫﺎ ﺭﺍ ﻣﺜ ً‬ ‫ﻼ ﺑﺎ ﻣﺮﺩﻡ ﺳﻴﺎﻫﺪﺷﺖ ﻋﻮﺽ ﻛﺮﺩ‪.‬‬ ‫ﺁﻥ ﭼﻪ ﮔﻔﺘﻦ ﺩﺍﺭﺩ‪ ،‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻫﺮﭼﻨﺪ ﻛﺘﺎﺏ ﻧﺨﺴﺖ ﻗﻄﻮﺭ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﻛﺸﺪﺍﺭ ﻭ ﺧﻴﻠﻰ ﺧﺴﺘﻪﻛﻨﻨﺪﻩ‬ ‫ﻧﻴﺴﺖ‪ .‬ﻧﻮﻳﺴﻨﺪﻩ ﻭﺍﻗﻒ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻛﺠﺎﻫﺎ ﺩﺍﺳﺘﺎﻧﺶ ﺑﻪ ﻳﻜﻨﻮﺍﺧﺘﻰ ﻳﺎ ﻛﻨﺪﻯ ﺿﺮﺑﺂﻫﻨﮓ ﮔﺮﺍﻳﺶ‬ ‫ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ ﻭ ﺩﺭ ﺍﻳﻦ ﻣﻮﺍﻗﻊ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺧﻮﺑﻰ ﭘﻴﭽﺶ ﺩﻳﮕﺮﻯ ﺑﻪ ﺩﺍﺳﺘﺎﻥ ﻣﻰﺍﻓﺰﺍﻳﺪ‪ .‬ﻳﺎ ﺑﻪ ﻧﺎﮔﺎﻩ‬ ‫ﻧﻴﻢﻓﺼﻞﻫﺎﻳﻰ ﺑﺎ ﻋﻨﻮﺍﻥ »ﺟﺎﻳﻰ ﺩﻳﮕﺮ« ﺭﻭ ﻣﻰﻛﻨﺪ ﻛﻪ ﺑﻪ ﻧﻈﺮﻡ ﺍﺯ ﺟﺬﺍﺏﺗﺮﻳﻦ ﻓﺮﺍﺯﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ‬ ‫ﻧﻴﺰ ﻫﺴﺘﻨﺪ‪ .‬ﻭ ﺧﻮﺑﻰ ﻛﺎﺭ ﺁﻥﺟﺎ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﺍﺗﻔﺎﻗﺎﺕ ﺩﺭﺳﺖ ﻣﺘﻨﺎﺳﺐ ﺑﺎ ﺭﻭﻧﺪ ﺩﺍﺳﺘﺎﻥ ﺍﺳﺖ ﻭ‬ ‫ﺑﺎ ﻣﻨﻄﻖ ﺁﻥ ﻣﻨﻄﺒﻖ‪ .‬ﻛﻤﺘﺮ ﻣﻰﺗﻮﺍﻥ ﺍﻃﻼﻋﺎﺗﻰ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪ ﻛﻪ ﺑﺎ ﻣﻨﻄﻖ ﺩﺍﺳﺘﺎﻥ ﻭ‬ ‫ﺷﺨﺼﻴﺖﻫﺎﻳﺶ ﻣﺘﻨﺎﻗﺾ ﺑﺎﺷﺪ‪ ،‬ﻳﺎ ﺍﺯ ﻛﻠﻴﺖ ﺩﺍﺳﺘﺎﻥ ﺑﻴﺮﻭﻥ ﺑﺰﻧﺪ‪ .‬ﺩﺭ ﺑﻴﺸﺘﺮ ﺍﻭﻗﺎﺕ ﻧﻮﻳﺴﻨﺪﻩ ﺑﺮﺍﻯ‬ ‫ﮔﺮﻩﮔﺸﺎﻳﻰﻫﺎ ﻳﺎ ﻗﻄﺮﻩ ﭼﻜﺎﻧﺪﻥ ﺍﺯ ﻣﻨﺒﻊ ﺍﻃﻼﻋﺎﺗﺶ‪ ،‬ﺑﻬﺎﻧﻪﻯ ﺧﻮﺑﻰ ﺩﺭ ﺁﺳﺘﻴﻦ ﺩﺍﺭﺩ ﻭ ﻛﻢ ﭘﻴﺶ‬ ‫ﻣﻰﺁﻳﺪ ﻛﻪ ﻧﺎﮔﻬﺎﻥ ﺍﺯ ﺩﻫﺎﻥ ﻳﻚ ﺷﺨﺼﻴﺖ ﺣﺮﻑ ﺯﻳﺎﺩﻯ ﺑﺸﻨﻮﻳﻢ‪.‬‬ ‫ﻧﺒﺎﻳﺪ ﺍﺯ ﻛﻴﻔﻴﺖ ﻧﺸﺮ ﻫﻢ ﮔﺬﺭ ﻛﺮﺩ‪ .‬ﻛﺘﺎﺏ ﺻﺤﺎﻓﻰ ﺧﻮﺑﻰ ﺩﺍﺭﺩ ﻭ ﺑﺎ ﺁﻥ ﻛﻪ ﻗﻄﻮﺭ ﻭ ﺣﺠﻴﻢ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ‬ ‫ﺷﺎﻛﻠﻪﻯ ﻣﺤﻜﻤﻰ ﺩﺍﺭﺩ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺣﻔﻆ ﻣﻰﻛﻨﺪ‪ .‬ﻧﻜﺘﻪﺍﻯ ﻛﻪ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﺩﺭ ﻣﻮﺭﺩ ﻧﺎﺷﺮ ﺷﺎﻳﺎﻥ‬

‫‪77‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﻫﻤﭽﻨﺎﻥ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﻧﮕﻪ ﻣﻰﺩﺍﺭﺩ‪ .‬ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﻪ ﻧﻈﺮ ﻭﺍﺿﺢ ﺍﺳﺖ ﻛﻪ ﻧﻮﻳﺴﻨﺪﻩ ﻃﺮﺡ‬ ‫ﻣﺸﺨﺺ ﻭ ﻓﻜﺮ ﺷﺪﻩﺍﻯ ﺑﺮﺍﻯ ﺩﺍﺳﺘﺎﻧﺶ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺭﻭﻳﺪﺍﺩﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ ﻭ ﺗﻐﻴﻴﺮ ﻣﺴﻴﺮﻫﺎﻳﺶ‪،‬‬ ‫ﻋﻤﻮﻣﺎً ﺭﻭﻯ ﺣﺴﺎﺏ ﻭ ﻛﺘﺎﺏ ﻫﺴﺘﻨﺪ ﻭ ﺍﺯ ﺩﺳﺖ ﻧﻮﻳﺴﻨﺪﻩ ﺩﺭ ﻧﺮﻓﺘﻪﺍﻧﺪ‪ .‬ﺑﻪ ﻣﻮﻗﻊ ﺭﺥ ﻣﻰﺩﻫﻨﺪ‪ ،‬ﺗﻘﺮﻳﺒﺎً‬ ‫ﺩﺭﺳﺖ ﺗﺄﺛﻴﺮ ﻣﻰﮔﺬﺍﺭﻧﺪ ﻭ ﺩﺭﻳﭽﻪﻯ ﺟﺪﻳﺪﻯ ﺭﺍ ﺑﻪ ﺭﻭﻯ ﻣﺨﺎﻃﺐ ﺑﺎﺯ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻭ ﺩﺭ ﺑﻌﻀﻰ ﻣﻮﺍﻗﻊ‬ ‫ﻓﻮﻕﺍﻟﻌﺎﺩﻩﺍﻧﺪ ﻭ ﻧﻮﻳﺴﻨﺪﻩ ﺑﺎ ﻇﺮﺍﻓﺖ ﻭ ﺩﻗﺖ ﭼﻨﺎﻥ ﺷﺨﺼﻴﺘﻰ ﺭﺍ ﺩﭼﺎﺭ ﭘﻴﭽﺶ ﻣﻰﻛﻨﺪ ﻛﻪ ﺩﺭ ﻫﻨﮕﺎﻡ‬ ‫ﮔﺮﻩﮔﺸﺎﻳﻰ‪ ،‬ﻣﻴﻮﻩﻯ ﺗﻌﻠﻴﻖ ﺁﻥ ﺑﺴﻴﺎﺭ ﺁﺏﺩﺍﺭ ﻭ ﮔﻮﺍﺭﺍ ﺍﺳﺖ‪.‬‬ ‫ﺍﻣﺎ ﺩﺍﺳﺘﺎﻥ ﭼﻴﺴﺖ؟ ﺟﻮﺍﺏ ﺩﺍﺩﻥ ﺑﻪ ﺍﻳﻦ ﺳﻮﺍﻝ ﺩﺭ ﻧﻮﺷﺘﻪﺍﻯ ﻛﻪ ﻗﺮﺍﺭ ﺍﺳﺖ ﻣﻌﺮﻓﻰ ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﺎﺷﺪ‬ ‫ﺧﻴﻠﻰ ﺳﺨﺖ ﺍﺳﺖ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺍﺯ ﻫﻤﺎﻥ ﺍﻭﻝ ﻣﻤﻜﻦ ﺍﺳﺖ ﻣﻮﺟﺐ ﻟﻮ ﺭﻓﺘﻦ ﻣﺎﺟﺮﺍﻫﺎﻯ ﻛﺘﺎﺏ ﺷﻮﺩ‪ .‬ﺩﺭ‬ ‫ﻧﺘﻴﺠﻪ ﻧﺎﭼﺎﺭﻡ ﺑﻪ ﺑﺨﺸﻰ ﺍﺯ ﺗﻮﺻﻴﻒ ﭘﺸﺖ ﺟﻠﺪ ﻛﺘﺎﺏ ﺍﻛﺘﻔﺎ ﻛﻨﻢ ﻛﻪ ﺻﺮﻓﺎً ﺗﻮﺻﻴﻔﻰ ﻛﻠﻰ ﺍﺯ ﻓﻀﺎﻯ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺍﺳﺖ‪:‬‬ ‫ﻧﺰﺩﻳﻚ ﺑﻪ ﺷﺶ ﻫﺰﺍﺭ ﺳﺎﻝ ﭘﻴﺶ‪ ،‬ﺍﻫﺮﻳﻤﻦ ﭼﻬﺎﺭ ﺩﻳﻮ ﺑﺮﮔﺰﻳﺪﻩﻯ ﺧﻮﺩ ﺭﺍ ﺑﺮ ﭼﻬﺎﺭ ﮔﻮﺷﻪﻯ‬ ‫ﺳﺮﺯﻣﻴﻦ ﺁﺯﺍﺩﮔﺎﻥ ﺑﻪ ﭘﺎﺩﺷﺎﻫﻰ ﻧﺸﺎﻧﺪ‪ .‬ﺍﻳﻦ ﭼﻬﺎﺭ ﺩﻳﻮ ﻳﺎ »ﺍژﻯﻫﺎ« ﺍﺯ ﻧﻴﺎﺯﻫﺎﻯ ﻣﺮﺩﻣﺎﻥ ﻧﻴﺮﻭ‬ ‫ﻣﻰﮔﻴﺮﻧﺪ ﻭ ﺩﺍﻣﻨﻪﻯ ﭘﺎﺩﺷﺎﻫﻰ ﺧﻮﺩ ﺭﺍ ﮔﺴﺘﺮﺩﻩﺗﺮ ﻛﺮﺩﻧﺪ‪ .‬ﺳﭙﺲ ﺍﻫﺮﻳﻤﻦ ﺳﺮﺑﺎﺯﺍﻧﻰ ﻫﻢﺧﻮﻯ‬ ‫ﺧﻮﺩ ﺑﺮ ﻣﺮﺩﻣﺎﻥ ﮔﻤﺎﺭﺩ ﺗﺎ ﺍﻳﻦ ﭘﺎﺩﺷﺎﻫﻰ ﺭﺍ ﺍﺳﺘﻮﺍﺭ ﮔﺮﺩﺍﻧﺪ‪ .‬ﺍﻳﻦ ﺳﺮﺑﺎﺯﺍﻥ »ﻣﻮﺭﺕﻫﺎ« ﻫﺴﺘﻨﺪ‬ ‫ﻛﻪ ﺑﺎ ﺁﻓﺮﻳﺪﻥ ﺗﺮﺱ‪ ،‬ﻣﺮﺩﻡ ﺭﺍ ﻧﺎﺗﻮﺍﻥ ﻭ ﺁﺳﻴﺐﭘﺬﻳﺮ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺍﻳﻦ ﺟﺎﻧﻮﺭﺍﻥ ﺗﻨﻰ ﻣﺎﻧﻨﺪ ﮔﺮگ ﻭ‬ ‫ﺭﻓﺘﺎﺭﻯ ﭼﻮﻥ ﻣﺮﺩﻡ ﺩﺍﺭﻧﺪ‪ .‬ﺁﻧﺎﻥ ﺷﺒﺎﻧﻪ ﺩﺭ ﭘﻬﻨﻪﻯ ﺩﺷﺖ ﭘﺮﺳﻪ ﻣﻰﺯﻧﻨﺪ‪ ،‬ﻣﮕﺮ ﺗﻨﻬﺎﻣﺎﻧﺪﻩﺍﻯ ﺗﻨﻬﺎ‬ ‫ﻭ ﻧﺎﺗﻮﺍﻥ ﺑﻴﺎﺑﻨﺪ ﻭ ﺟﺎﻧﺶ ﺭﺍ ﺑﺴﺘﺎﻧﻨﺪ‪.‬‬ ‫ﻛﺎﺭﮔﺰﺍﺭﺍﻥ ﺍژﻯﻫﺎ ﻣﺮﺩﻣﺎﻧﻰ ���ﺴﺘﻨﺪ ﻛﻪ ﺯﻳﺎﺩﻩﺧﻮﺍﻫﻰﺷﺎﻥ ﺁﻧﺎﻥ ﺭﺍ ﺑﻪ ﺍﻫﺮﻳﻤﻦ ﻧﺰﺩﻳﻚ ﻛﺮﺩ‪ .‬ﺍﻳﻦ‬ ‫ﻣﺮﺩﻣﺎﻥ »ﻳﺎﺗﻮﻙﻫﺎ« ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﺎ ﮔﺮﻭ ﻧﻬﺎﺩﻥ ﻫﻮﺷﻴﺎﺭﻯ ﻭ ﺗﻦ ﻭ ﺟﺎﻧﺸﺎﻥ ﻧﺰﺩ ﺍژﻯﻫﺎ‪ ،‬ﺑﻪ ﺑﺨﺸﻰ‬ ‫ﺍﺯ ﻧﻴﺮﻭﻫﺎﻯ ﺟﺎﺩﻭﻳﻰ ﺍﻫﺮﻳﻤﻨﻰ ﺩﺳﺖ ﻳﺎﻓﺘﻨﺪ‪.‬‬ ‫ﻫﻤﻪﻯ ﻣﺮﺩﻡ ﺳﺮﺯﻣﻴﻦ ﺁﺯﺍﺩﮔﺎﻥ ﺯﻳﺮ ﻧﻴﺮﻭﻯ »ﺍژﻯﻫﺎ« ﻭ »ﻳﺎﺗﻮﻙﻫﺎ« ﻧﻴﺴﺘﻨﺪ‪ .‬ﮔﺮﻭﻫﻰ ﺍﺯ ﻣﺮﺩﻡ ﺩﺭ‬ ‫ﺩﻫﻜﺪﻩﻫﺎﻯ ﻛﻮﻫﺴﺘﺎﻧﻰ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺍﺯ ﺁﺳﻴﺐ ﻭ ﺳﺘﻢ »ﺍژﻯﻫﺎ« ﺩﺭ ﺍﻣﺎﻥ ﻣﺎﻧﺪﻩ ﻭ ﺳﺎﻟﻴﺎﻥ‬ ‫ﺩﺭﺍﺯ ﺍﺳﺖ ﻛﻮﺷﺶ ﺩﺍﺭﻧﺪ ﺩﻳﮕﺮ ﻣﺮﺩﻡ ﺳﺮﺯﻣﻴﻦ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺭﻫﺎﻳﻰ ﺍﺯ ﺯﻳﺮ ﻳﻮﻍ ﺍﻫﺮﻳﻤﻦ ﻳﺎﺭﻯ‬ ‫ﺩﻫﻨﺪ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﺧﻴﻠﻰ ﺍﻳﻦ ﺣﺮﻑﻫﺎ ﺭﺍ ﺟﺪﻯ ﻧﮕﻴﺮﻳﺪ‪ .‬ﺧﻂ ﻭ ﺭﺑﻂ ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺏ ﻛﻪ ﻛﺘﺎﺏ ﺍﻭﻝ ﺑﺎﺷﺪ‪،‬‬ ‫ﻣﺸﺨﺺﺗﺮ ﺍﺯ ﺍﻳﻦﻫﺎ ﺍﺳﺖ ﻭ ﺍﻳﻦ ﻗﺪﺭ ﻛﻠﻰ ﻧﻴﺴﺖ ﻭ ﺗﻨﻬﺎ ﺍﺷﺎﺭﺍﺗﻰ ﻛﻮﺗﺎﻩ ﺑﻪ ﺗﻌﺪﺍﺩ ﺍژﻯﻫﺎ ﻭ ﺍﺭﺗﺒﺎﻃﺸﺎﻥ‬ ‫ﺑﺎ ﺍﻫﺮﻳﻤﻦ ﻭ‪ ...‬ﻣﻰﺷﻮﺩ‪ .‬ﺍﻟﺒﺘﻪ ﺍﺣﺘﻤﺎﻻً ﻧﮕﺎﺭﻧﺪﻩﻯ ﻣﺘﻦ ﭘﺸﺖ ﺟﻠﺪ ﻫﻢ ﺑﺮﺍﻯ ﮔﺮﻳﺰ ﺍﺯ ﻫﻤﺎﻥﭼﻴﺰﻯ‬ ‫ﻛﻪ ﻣﻦ ﺍﺯ ﺁﻥ ﭘﺮﻫﻴﺰ ﺩﺍﺭﻡ‪ ،‬ﭼﻨﻴﻦ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﺁﻥﭼﻪ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﻣﻰﮔﺬﺭﺩ‪ ،‬ﺍﺯ ﺁﻥﺟﺎ ﺁﻏﺎﺯ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪76‬‬


‫ﻛﺘﺎﺏ‬

‫ﺧﺪا ﻣﯽﺳﭙﺎرم و ﺑﻌﺪ ﺑﻪ ﻧﺎﺧﺪا‪ «.‬و ﺑﺎ ﻋﺠﻠﻪ اداﻣﻪ داد‪» :‬راﺳﺘﯽ ﺗﺎ دﯾﺮ ﻧﺸﺪه ﺑﺎﯾﺪ ﺧﻮدﻣﺎن را ﺑﻪ ﻧﺎﺧﺪا‬ ‫ﻣﻌﺮﻓﯽ ﮐﻨﯿﻢ‪ .‬ﻋﻤﻮﯾﺖ در ﺗﻠﻔﻦ ﮔﻔﺖ ﮐﻪ ﻧﺎﺧﺪای اﯾﻦ ﮐﺸﺘﯽ از دوﺳﺘﺎن ﻗﺪﯾﻤﯽام اﺳﺖ و ﻗﺒﻼً ﺑﻪ او‬ ‫ﮔﻔﺘﻪ ﮐﻪ در اﯾﻦ ﺳﻔﺮ درﯾﺎﯾﯽ ﭼﻨﺪ ﺳﺎﻋﺘﯽ ﻣﯿﻬامن ﮐﺸﺘﯽ او ﺧﻮاﻫﯽ ﺑﻮد‪ «.‬ﺳﭙﺲ ﻫﺮ دو ﺑﺎ ﻗﺪمﻫﺎی‬ ‫آﻫﺴﺘﻪ ﺑﻪ ﺳﻮی ﻧﺎﺧﺪا ﮐﻪ ﻣﺸﻐﻮل ﮔﻔﺖ و ﮔﻮ ﺑﺎ ﭼﻨﺪ ﻣﺴﺎﻓﺮ ﺑﻮد‪ ،‬ﺣﺮﮐﺖ ﮐﺮدﻧﺪ‪ .‬ﻧﺎﺧﺪا ﻣﺮدی‬ ‫ﻗﻮیﻫﯿﮑﻞ و درﺷﺖ اﻧﺪام‪ ،‬ﺑﺎ ﺷﮑﻤﯽ ﺑﺮآﻣﺪه ﺑﻮد ﮐﻪ ﺻﻮرﺗﯽ ﮔﺮد و ﭘﻮﺳﺘﯽ ﺳﯿﻪﭼﺮده داﺷﺖ‪ .‬ﺑﻪ‬ ‫ﻧﺰدﯾﮑﯽ ﻧﺎﺧﺪا ﮐﻪ رﺳﯿﺪﻧﺪ‪ ،‬ﻣﺎدر ﻣﺎﻧﯽ ﮐﻤﯽ ﻣﮑﺚ ﮐﺮد و ﺑﺎ ﻟﺤﻨﯽ آرام ﮔﻔﺖ‪»:‬ﺳﻼم‪ ،‬ﺧﺴﺘﻪ ﻧﺒﺎﺷﯿﺪ‪«.‬‬ ‫ﻧﺎﺧﺪا ﻧﮕﺎﻫﯽ ﮐﻨﺠﮑﺎواﻧﻪ ﺑﻪ ﻣﺎﻧﯽ و ﻣﺎدرش اﻧﺪاﺧﺖ و ﺑﺎ ﺻﺪاﯾﯽ ﮔﺮم و ﻣﻬﺮﺑﺎن ﭘﺎﺳﺦ داد‪»:‬ﺳﻼم‪ ،‬ﺷام‬ ‫ﻫﻢ ﺧﺴﺘﻪ ﻧﺒﺎﺷﯿﺪ‪ ،‬ﺑﺎ ﻣﻦ ﮐﺎری داﺷﺘﯿﺪ؟«‬

‫ﻫﻤﻮﻧﺪﺍﻥ ﺗﺎﺭﻳﻚ ﻭ ﺭﻭﺷﻦ‪ ،‬ﺩﻓﺘﺮ ﻧﺨﺴﺖ‪ :‬ﺗﻴﻐﻪﻯ ﻛﺎﻭﻛﻰ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ‪ :‬ﻓﺮﻳﺒﺎ ﻣﻌﺰﻯ‬ ‫ﻧﺎﺷﺮ‪ :‬ﻧﺸﺮ ﺑﻠﺦ‪ ،‬ﻧﺸﺮ ﻗﻄﺮﻩ‬ ‫ﻧﻮﺑﺖ ﭼﺎپ‪ :‬ﺍﻭﻝ ‪1388 -‬‬ ‫ﺷﻤﺎﺭﮔﺎﻥ‪ 2000 :‬ﻧﺴﺨﻪ‬ ‫ﻗﻴﻤﺖ‪ 9400 :‬ﺗﻮﻣﺎﻥ‬ ‫‪ 533‬ﺻﻔﺤﻪ‬ ‫ﻭﻗﺘﻰ ﺁﺩﻡ ﻣﻰﺑﻴﻨﺪ ﻧﻮﻳﺴﻨﺪﻩﺍﻯ ﻫﻮﺷﻤﻨﺪﺍﻧﻪ ﻭ ﺧﻮﺏ ﻗﺼﻪ ﻣﻰﮔﻮﻳﺪ‪ ،‬ﻣﺎﺟﺮﺍﻫﺎ ﻭ ﺧﺮﺩﻩﻣﺎﺟﺮﺍﻫﺎﻯ‬ ‫ﻣﺨﺘﻠﻒ ﺭﺍ ﺩﺭ ﻫﻢ ﻣﻰﭘﻴﭽﺪ ﻭ ﺣﺴﺎﺏ ﺷﺪﻩ ﮔﺮﻩﮔﺸﺎﻳﻰ ﻣﻰﻛﻨﺪ‪ ،‬ﺟﺪﺍ ً ﻛﻴﻒ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺍﻳﻦ ﻛﺘﺎﺏ‪ ،‬ﺍﻭﻟﻴﻦ ﺗﺠﺮﺑﻪﻯ ﺑﻠﻨﺪ ﻧﻮﻳﺴﻨﺪﻩ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﻣﻌﻠﻮﻡ ﺍﺳﺖ ﻛﻪ ﺍﻭ ﺍﺯ ﻓﻨﻮﻥ ﺩﺍﺳﺘﺎﻥﭘﺮﺩﺍﺯﻯ ﻭ‬ ‫ﻗﺼﻪﮔﻮﻳﻰ ﺁﮔﺎﻫﻰ ﻛﺎﻓﻰ ﺩﺍﺭﺩ ﻭ ﻫﺮ ﭼﻨﺪ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ –ﻛﻪ ﻧﻮﻳﺴﻨﺪﻩ ﻗﺒ ً‬ ‫ﻼ ﺗﺠﺮﺑﻪﻫﺎﻳﻰ ﺩﺭ ﺁﻥ‬ ‫ﺩﺍﺷﺘﻪ‪ -‬ﺗﺎ ﺭﻣﺎﻥ ﺑﻠﻨﺪ ﻓﺎﺻﻠﻪ ﻛﻢ ﻧﻴﺴﺖ‪ ،‬ﺍﻣﺎ ﺩﺭ ﻣﺠﻤﻮﻉ ﺧﻴﻠﻰ ﺧﻮﺏ ﺍﺯ ﭘﺲ ﻃﻰ ﺍﻳﻦ ﻣﺴﻴﺮ ﺑﻠﻨﺪ‬ ‫ﺑﺮﺁﻣﺪﻩ ﻭ ﺍﺯ ﺁﻥ ﻣﻬﻢﺗﺮ ﺁﻥ ﻛﻪ ﺧﻮﺍﻧﻨﺪﻩ ﺭﺍ ﻫﻢ ﺗﺎ ﺣﺪ ﺧﻮﺑﻰ ﺑﺎ ﺧﻮﺩ ﻫﻤﺮﺍﻩ ﻣﻰﻛﻨﺪ ﻭ ﻛﺎﺭ ﺭﺍ ﺩﺭ ﺁﻥﺟﺎ‬ ‫ﺧﺘﻢ ﻣﻰﻛﻨﺪ ﻛﻪ ﻣﺨﺎﻃﺐ ﺑﺎ ﭘﺎﻳﺎﻥ ﺑﺮﺩﻥ ﻛﺘﺎﺏ ﺑﻠﻨﺪﻯ ﭼﻮﻥ ﺍﻳﻦ‪ ،‬ﺍﺯ ﺍﻧﺘﺨﺎﺑﺶ ﺧﺮﺳﻨﺪ ﺍﺳﺖ ﻭ ﺭﺍﺿﻰ‬ ‫ﺍﺯ ﭘﺎﻯ ﻣﻄﺎﻟﻌﻪﺍﺵ ﺑﺮ ﻣﻰﺧﻴﺰﺩ‪.‬‬ ‫ﺩﺭ ﺍﺑﺘﺪﺍ ﻧﻮﻳﺴﻨﺪﻩ ﺍﺯ ﺍﻳﺪﻩﻯ ﻣﺎﺟﺮﺍﻳﻰ ﻛﻪ ﺑﻪ ﺻﻮﺭﺕ ﻛﻠﻰ ﻛﻠﻴﺸﻪ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺑﻬﺮﻩ ﻣﻰﮔﻴﺮﺩ؛ ﺍﻣﺎ ﺑﺎ‬ ‫ﻫﻮﺷﻤﻨﺪﻯ ﻃﻮﺭﻯ ﻗﺼﻪﺍﺵ ﺭﺍ ﻫﺪﺍﻳﺖ ﻣﻰﻛﻨﺪ ﻛﻪ ﺍﺯ ﺯﻳﺮ ﺑﺎﺭ ﻛﻠﻴﺸﻪ ﺷﺪﻥ ﻫﻢ ﺑﻪ ﺧﻮﺑﻰ ﻣﻰﮔﺮﻳﺰﺩ ﻭ‬

‫‪75‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﺍﺯ ﻫﻤﺴﻔﺮﺍﻥ ﺩﺭﻳﺎﻳﻰ ﻣﺎﻧﻰ ﺑﻮﺩﻩ‪ -‬ﻣﺸﻜﻞ ﺍﻳﻦ ﺳﻴﺎﺭﻩ ﺭﺍ ﺣﻞ ﻛﻨﻨﺪ ﺗﺎ ﺑﺘﻮﺍﻧﻨﺪ ﺑﻪ ﺧﺎﻧﻪ ﻭ ﻛﺎﺷﺎﻧﻪﻯ‬ ‫ﺧﻮﺩ ﺑﺎﺯ ﮔﺮﺩﻧﺪ‪.‬‬ ‫ﺭﻭﻧﺪ ﻗﺼﻪ ﻭ ﺭﻭﻳﺪﺍﺩﻫﺎﻳﻰ ﻛﻪ ﭘﺴﺮ ﻭ ﺩﺧﺘﺮ ﻗﺼﻪ ﺭﺍ ﺑﻪ ﭼﺎﻟﺶ ﺑﺮﻣﻰﺍﻧﮕﻴﺰﻧﺪ ﻫﻢ ﺩﺭ ﺟﻬﺖ ﺣﻜﺎﻳﺎﺕ‬ ‫ﻗﺪﻳﻤﻰ ﻭ ﺑﺎ ﻫﻤﺎﻥ ﺧﻄﻰﻣﺸﻰ ﻛﻠﻰ ﺍﺳﺖ‪ .‬ﺧﻮﺍﻥﻫﺎﻳﻰ ﻛﻪ ﭘﺸﺖ ﻫﻢ ﻣﻰﺁﻳﻨﺪ ﻭ ﻗﻬﺮﻣﺎﻧﺎﻥ ﻣﺎ ﺑﺎﻳﺪ ﺑﺎ‬ ‫ﺁﻥﻫﺎ ﺭﻭﺑﺮﻭ ﺷﻮﻧﺪ ﻭ ﺑﺎ ﺣﻴﻠﺘﻰ ﻫﺮ ﻛﺪﺍﻡ ﺭﺍ ﭘﺸﺖ ﺳﺮ ﺑﮕﺬﺍﺭﻧﺪ‪ .‬ﻓﻘﻂ ﺗﻔﺎﻭﺕ ﺁﻥﺟﺎﺳﺖ ﻛﻪ ﻛﻠﻴﺪ ﭘﻴﺮﻭﺯ‬ ‫ﺷﺪﻥ ﺩﺭ ﺍﻳﻦ ﭼﺎﻟﺶﻫﺎ ﺁﮔﺎﻫﻰ ﺍﻳﻦ ﺩﻭ ﺍﺯ ﺗﺎﺭﻳﺦ ﻭ ﺍﺩﺑﻴﺎﺕ ﻛﺸﻮﺭﺷﺎﻥ ﺍﺳﺖ‪.‬‬ ‫ﻧﺒﺮﺩ ﺳﻨﺘﻰ ﺧﻴﺮ ﻭ ﺷﺮ‪ ،‬ﺍﺯ ﻋﻨﺎﺻﺮﻯ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻛﺘﺎﺏﻫﺎﻯ ﺍﻳﻦ ﺭﺩﻩﻯ ﺳﻨﻰ ﺯﻳﺎﺩ ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺏ ﻫﻢ ﺍﻳﻦ ﮔﻮﻧﻪ ﺍﺳﺖ‪ .‬ﺳﻴﺎﺭﻩﻯ ﺷﺎﺩﻯ ﻭ ﺍﻫﺎﻟﻰ ﺁﻥ‪ ،‬ﻧﻘﻄﻪﻯ ﻣﻘﺎﺑﻠﻰ ﭼﻮﻥ ﺳﻴﺎﺭﻩﻯ ﻏﻢ‬ ‫ﺩﺍﺭﻧﺪ ﻭ ﻣﺮﺯ ﻣﻴﺎﻥ ﺍﻳﻦ ﺩﻭ ﻭﺍﺿﺢ ﺍﺳﺖ‪ .‬ﺍﻫﺎﻟﻰ ﺳﻴﺎﺭﻩﻯ ﺷﺎﺩﻯ ﭘﺮﻯﻫﺎ ﻫﺴﺘﻨﺪ ﻭ ﺍﻫﺎﻟﻰ ﺳﻴﺎﺭﻩﻯ‬ ‫ﻏﻢ ﻋﺠﻮﺯﻩﻫﺎ‪ .‬ﺁﺭﻣﺎﻥ ﻣﺮﺩﻡ ﺳﻴﺎﺭﻩﻯ ﺷﺎﺩﻯ ﺻﻠﺢ ﻭ ﺩﻭﺳﺘﻰ ﺍﺳﺖ‪ ،‬ﺣﺎﻝ ﺁﻥ ﻛﻪ ﺟﻨﮓ ﺧﻮﺍﺳﺘﻪﻯ‬ ‫ﻫﻤﻴﺸﮕﻰ ﺍﻫﺎﻟﻰ ﺳﻴﺎﺭﻩﻯ ﻏﻢ ﺍﺳﺖ‪ .‬ﻭ ﻫﻤﻴﻦ ﺗﻀﺎﺩ ﻗﺼﻪﻯ ﻣﺎ ﺭﺍ ﺟﻠﻮ ﻣﻰﺑﺮﺩ‪ .‬ﺍﻣﺎ ﺁﻥ ﭼﻪ ﺩﺭ ﺍﻳﻦ‬ ‫ﺑﻴﻦ ﻛﻤﻰ ﺑﺎ ﺳﻴﺮ ﻛﺘﺎﺏ ﻧﺎﻫﻤﮕﻮﻥ ﺍﺳﺖ‪ ،‬ﺑﺮﺧﻰ ﮔﻔﺖ ﻭ ﮔﻮﻫﺎ ﺍﺳﺖ‪ .‬ﻧﺤﻮﻩﻯ ﺍﺩﺍﺭﻩﻯ ﺳﻴﺎﺭﻩﻯ‬ ‫ﺷﺎﺩﻯ ﻛﻪ ﺩﺭ ﺧﻼﻝ ﺷﺮﺡ ﻣﺎﻭﻗﻊ ﺁﻥﭼﻪ ﺑﻴﻦ ﻏﻢ ﻭ ﺷﺎﺩﻯ ﺭﺥ ﺩﺍﺩﻩ ﺑﻴﺎﻥ ﻣﻰﺷﻮﺩ‪ ،‬ﺍﺯ ﺍﻳﻦ ﺩﺳﺖ‬ ‫ﺍﺳﺖ‪ .‬ﻳﺎ ﻧﻘﻞﻗﻮﻝﻫﺎﻳﻰ ﺍﺯ ﺩﻭ ﻗﻬﺮﻣﺎﻥ ﻗﺼﻪ ﺩﺭﺑﺎﺭﻩﻯ ﺗﺎﺭﻳﺦ ﻭ ﻣﻴﺮﺍﺙ ﺗﺎﺭﻳﺨﻰ‪/‬ﻣﻌﻨﻮﻯ ﺍﻳﺮﺍﻥ‪ ،‬ﺑﻌﻀﻰ‬ ‫ﺍﻭﻗﺎﺕ ﺧﻴﻠﻰ ﺑﺎ ﻗﺼﻪ ﺗﻨﺎﺳﺒﻰ ﻧﺪﺍﺭﺩ‪ .‬ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺩﺭ ﺍﺑﺘﺪ ﮔﻔﺘﻪ ﺷﺪ‪ ،‬ﻣﻘﺼﻮﺩ ﻧﻮﻳﺴﻨﺪﻩ ﻛﻪ ﻫﻤﺎﻥ‬ ‫ﺁﮔﺎﻫﻰﺑﺨﺸﻰ ﺑﻪ ﻛﻮﺩﻛﺎﻥ ﺩﺭﺑﺎﺭﻩﻯ ﺑﺨﺸﻰ ﺍﺯ ﻫﻮﻳﺖ ﻣﻠﻰﺷﺎﻥ ﺍﺳﺖ‪ ،‬ﺩﺭ ﻃﻮﻝ ﺩﺍﺳﺘﺎﻥ ﻧﻤﺎﻳﺎﻥ ﺍﺳﺖ‪،‬‬ ‫ﺍﻣﺎ ﺑﻬﺘﺮ ﺑﻮﺩ ﺑﻪ ﺟﺎﻯ ﺁﻥ ﻛﻪ ﺍﻳﻦ ﻫﺪﻑ ﺑﻪ ﻗﺼﻪ ﺗﺰﺭﻳﻖ ﺷﻮﺩ‪ ،‬ﺍﺯ ﺍﺑﺘﺪﺍ ﻫﺴﺘﻪﻯ ﻣﺎﺟﺮﺍﻯ ﻣﺎ ﺭﺍ ﺷﻜﻞ‬ ‫ﻣﻰﺩﺍﺩ‪ .‬ﺍﮔﺮ ﻧﻮﻳﺴﻨﺪﻩ ﻗﺼﺪ ﺍﺩﺍﻣﻪﻯ ﻣﺴﻴﺮ ﻗﺼﻪﮔﻮﻳﻰ ﺭﺍ ﺩﺍﺭﺩ‪ ،‬ﺧﻮﺏ ﺍﺳﺖ ﺩﺭ ﺗﺠﺎﺭﺏ ﺑﻌﺪﻯ ﺑﻪ ﺍﻳﻦ‬ ‫ﻧﻜﺎﺕ ﺗﻮﺟﻪ ﺑﻴﺸﺘﺮ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﺩﺭ ﺍﻧﺘﻬﺎ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﺣﺪﺍﻗﻞ ﻓﺎﻳﺪﻩﺍﻯ ﻛﻪ ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﺮﺍﻯ ﻛﻮﺩﻛﺎﻥ ﺩﺍﺭﺩ‪ ،‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﮔﺮ ﺍﻭﻝ‬ ‫ﺍﻳﻦ ﻛﺘﺎﺏ ﺭﺍ ﺧﻮﺍﻧﺪﻩ ﺑﺎﺷﻨﺪ‪ ،‬ﺩﺭ ﻣﻮﺍﺟﻬﻪﻯ ﺍﺣﺘﻤﺎﻟﻰ ﺑﺎ »ﺁﻟﻴﺲ ﺩﺭ ﺳﺮﺯﻣﻴﻦ ﻋﺠﺎﻳﺐ« ﺑﻪ ﻳﺎﺩ ﺍﻳﻦ‬ ‫ﻗﺼﻪ ﺍﻓﺘﺎﺩﻩ ﻭ ﺷﺎﻳﺪ ﺣﺘﺎ ﮔﻤﺎﻥ ﻛﻨﻨﺪ ﻛﻪ ﻧﺨﺴﺖ ﺍﻳﻦﺟﺎ ﺧﺮﮔﻮﺵ ﺑﺎﺯﻳﮕﻮﺵ ﺑﻪ ﻛﺎﺭ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻗﻄﻌﻪﺍﻯ ﺍﺯ ﻣﺘﻦ ﻛﺘﺎﺏ‬

‫اﺳﮑﻠﻪ ﺑﺴﯿﺎر ﺷﻠﻮغ و ﭘﺮازدﺣﺎم ﺑﻪ ﻧﻈﺮ ﻣﯽرﺳﯿﺪ‪ .‬ﭼﻨﺪ ﮐﺸﺘﯽ ﻣﺴﺎﻓﺮﺑﺮی ﻧﺴﺒﺘﺎً ﮐﻮﭼﮏ در ﮐﻨﺎر‬ ‫ﺳﺎﺣﻞ ﻟﻨﮕﺮ اﻧﺪاﺧﺘﻪ ﺑﻮدﻧﺪ و ﮐﺎرﮔﺮان آنﻫﺎ ﻣﺸﻐﻮل ﺑﺎر ﮐﺮدن ﺑﺎرﻫﺎی ﻣﺴﺎﻓﺮان ﺑﻮدﻧﺪ‪ .‬در ﻻﺑﻪﻻی‬ ‫ﻫﻤﯿﻦ ﺟﻤﻌﯿﺖ اﻧﺒﻮه‪ ،‬ﻣﺎدری ﺑﻮﺳﻪای ﺑﺮ ﭘﯿﺸﺎﻧﯽ ﭘﴪ ﻧﻮﺟﻮاﻧﺶ زد‪ .‬ﺳﭙﺲ ﺑﺎ ﭼﺸامﻧﯽ ﻣﻀﻄﺮب ﺑﻪ‬ ‫ﭼﺸامن ﭘﴪش ﺧﯿﺮه ﺷﺪ و ﺑﺎ ﻟﺤﻨﯽ ﻣﻬﺮﺑﺎن ﮔﻔﺖ‪» :‬ﻣﺎﻧﯽ ﺟﺎن‪ ،‬ﻣﺮاﻗﺐ ﺧﻮدت ﺑﺎش‪ .‬اول ﺗﻮ را ﺑﻪ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪74‬‬


‫ﻛﺘﺎﺏ‬

‫ﻧﺒﺮﺩ ﺍﺳﻄﻮﺭﻩﻫﺎ؛ ﺳﻴﺎﺭﻩﻯ ﺑﺤﺮﺍﻥﺯﺩﻩ ﻭ ﺍژﺩﻫﺎﻯ ﺳﻪﺳﺮ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ‪ :‬ﻣﺤﻤﺪﺭﺿﺎ ﺳﺎﺭﻧﭽﻪ‬ ‫ﻧﺎﺷﺮ‪ :‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﺗﺮﻓﻨﺪ‬ ‫ﻧﻮﺑﺖ ﭼﺎپ‪ :‬ﺍﻭﻝ ‪1390 -‬‬ ‫ﺷﻤﺎﺭﮔﺎﻥ ‪ 2000 :‬ﻧﺴﺨﻪ‬ ‫ﻗﻴﻤﺖ‪ 3300 :‬ﺗﻮﻣﺎﻥ‬ ‫‪ 123‬ﺻﻔﺤﻪ‬ ‫ﻗﺼﻪﺍﻯ ﺳﺎﺩﻩ ﺍﺯ ﻧﻮﻳﺴﻨﺪﻩﺍﻯ ﺗﺎﺯﻩﻛﺎﺭ‪ .‬ﻣﺤﻤﺪﺭﺿﺎ ﺳﺎﺭﻧﭽﻪ ﻣﺘﻮﻟﺪ ‪ 1361‬ﺍﺳﺖ ﻭ ﺍﻳﻦ ﺍﻭﻟﻴﻦ ﻛﺎﺭ ﻣﻨﺘﺸﺮ‬ ‫ﺷﺪﻩ ﺍﺯ ﺍﻭﺳﺖ‪ .‬ﺑﻴﺶ ﺍﺯ ﻫﺮ ﭼﻴﺰ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﻛﻪ ﺍﻳﻦ ﻗﺼﻪ ﺑﺮﺍﻯ ﺳﻨﻴﻦ ﻛﻮﺩﻙ ﻭ ﺧﺮﺩﺳﺎﻝ‬ ‫ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺧﻮﺍﻧﺪﻥ ﺁﻥ ﺑﻪ ﻋﻤﻮﻡ ﺑﺰﺭﮔﺴﺎﻻﻥ ﺗﻮﺻﻴﻪ ﻧﻤﻰﺷﻮﺩ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﺮﺍﻯ‬ ‫ﺑﺰﺭﮔﺴﺎﻻﻥ ﺑﻴﺶ ﺍﺯ ﺣﺪ ﺳﺎﺩﻩ ﻳﺎ ﻏﻴﺮﺟﺬﺍﺏ ﺑﺎﺷﺪ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺩﻏﺪﻏﻪﻫﺎﻯ ﻧﻮﻳﺴﻨﺪﻩ ﺩﺭ ﻣﻮﺭﺩ ﺗﺎﺭﻳﺦ ﺍﻳﻦ‬ ‫ﻣﺮﺯ ﻭ ﺑﻮﻡ‪ ،‬ﭼﻪ ﺗﺎﺭﻳﺦ ﺣﻘﻴﻘﻰ ﻭ ﭼﻪ ﺗﺎﺭﻳﺦ ﺍﺳﻄﻮﺭﻩﺍﻯ‪ ،‬ﻭ ﺁﺷﻨﺎﻳﻰ ﻧﻮﻧﻬﺎﻻﻥ ﻓﺎﺭﺳﻰﺯﺑﺎﻥ ﺑﺎ ﺍﻳﻦ ﺑﺨﺶ‬ ‫ﺍﺯ ﻫﻮﻳﺖ ﻣﻠﻰﺷﺎﻥ‪ ،‬ﺩﺭ ﻗﺼﻪ ﻣﺸﺨﺺ ﺍﺳﺖ‪ .‬ﺍﺯ ﻓﻬﺮﺳﺖ ﻛﺘﺎﺏﻫﺎﻯ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺗﻮﺳﻂ ﻧﺎﺷﺮ ﻫﻢ‬ ‫ﭼﻨﻴﻦ ﺩﻏﺪﻏﻪﺍﻯ ﺑﺮﺩﺍﺷﺖ ﻣﻰﺷﻮﺩ‪ .‬ﺷﻤﺎﺭﮔﺎﻥ ﺍﻳﻦ ﻛﺘﺎﺏ ﻫﻢ ﺧﻮﺩ ﮔﻮﺍﻩ ﺍﻳﻦ ﺍﺩﻋﺎ ﺑﻪ ﺷﻤﺎﺭ ﻣﻰﺭﻭﺩ‪.‬‬ ‫ﺩﺭ ﺭﻭﺯﮔﺎﺭﻯ ﻛﻪ ‪ 1000‬ﻭ ‪ 1100‬ﻧﺴﺨﻪ ﻣﻌﻤﻮﻝ ﺷﺪﻩ‪ ،‬ﺍﻧﺘﺸﺎﺭ ﻧﻮﺷﺘﻪﻫﺎﻯ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻏﻴﺮﺍﺳﻤﻰ ﺑﺎ‬ ‫ﺷﻤﺎﺭﮔﺎﻥ ‪ 2000‬ﻧﺴﺨﻪ‪ ،‬ﭼﻨﻴﻦ ﮔﻤﺎﻧﻪﻫﺎﻳﻰ ﺭﺍ ﺭﺍﺣﺖ ﺑﻪ ﺫﻫﻦ ﻣﺘﺒﺎﺩﺭ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﮔﻔﺘﻪ ﺷﺪ‪ ،‬ﻛﺘﺎﺏ ﺑﺮﺍﻯ ﻣﺨﺎﻃﺐ ﻛﻢﺳﻦ ﻭ ﺳﺎﻝ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﻭ ﭘﺮﺑﻴﺮﺍﻩ ﻧﻴﺴﺖ‬ ‫ﺍﮔﺮ ﺑﮕﻮﻳﻴﻢ ﻓﺎﻧﺘﺰﻯﻫﺎ ﺑﺮﺍﻯ ﺍﻳﻦ ﻣﺤﺪﻭﺩﻩﻯ ﺳﻨﻰ ﺁﺫﻭﻗﻪﻯ ﻓﺮﺍﻭﺍﻥﺗﺮﻯ ﻓﺮﺍﻫﻢ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺍﻳﻦ ﻗﺼﻪ ﻫﻢ‬ ‫ﭼﻨﺪﺍﻥ ﺍﺳﺘﺜﻨﺎﻳﻰ ﻧﻴﺴﺖ ﻭ ﻧﺒﺎﻳﺪ ﺑﺎ ﺩﻳﺪﻥ ﻭﺍژﻩﻯ »ﺳﻴﺎﺭﻩ« ﺩﺭ ﻧﺎﻡ‪ ،‬ﺁﻥ ﻗﻀﺎﻭﺕ ﺷﺘﺎﺏﺯﺩﻩ ﻛﺮﺩ؛ ﭼﺮﺍ‬ ‫ﻛﻪ ﺑﺎﺭ »ﺍژﺩﻫﺎﻯ ﺳﻪﺳﺮ« ﻭ »ﺍﺳﻄﻮﺭﻩ« ﺑﺮ ﺁﻥ ﭼﺮﺑﺶ ﺩﺍﺭﺩ‪.‬‬ ‫ﺍﻣﺎ ﻗﺼﻪ ﺍﺯ ﭼﻪ ﻗﺮﺍﺭ ﺍﺳﺖ‪ .‬ﻗﺼﻪﻯ ﻣﺎ ﻛﺎﻣ ً‬ ‫ﻼ ﺣﺎﺩﺛﻪﻣﺤﻮﺭ ﺍﺳﺖ‪ .‬ﺩﺭ ﺁﻏﺎﺯ ﭘﺴﺮﻯ ﻛﻢﺳﻦ ﻭ ﺳﺎﻝ ﺑﻪ ﻧﺎﻡ‬ ‫ﻣﺎﻧﻰ ﺭﺍ ﺩﺍﺭﻳﻢ ﻛﻪ ﻗﺼﺪ ﺩﺍﺭﺩ ﺑﻪ ﺗﻨﻬﺎﻳﻰ‪ ،‬ﺍﺯ ﻳﻜﻰ ﺍﺯ ﺑﻨﺪﺭﻫﺎﻯ ﺟﻨﻮﺑﻰ ﻛﺸﻮﺭ ﺑﺎ ﻛﺸﺘﻰ ﺑﻪ ﻳﻜﻰ ﺍﺯ ﺟﺰﺍﻳﺮ‬ ‫ﺧﻠﻴﺞ ﻓﺎﺭﺱ ﺳﻔﺮ ﻛﻨﺪ ﻭ ﻣﺪﺗﻰ ﺭﺍ ﺑﺎ ﻋﻤﻮﻳﺶ ﺑﮕﺬﺭﺍﻧﺪ‪ .‬ﺍﻣﺎ ﺣﺎﺩﺛﻪ ﺍﺯ ﻫﻤﺎﻥ ﺑﺪﻭ ﻗﺼﻪ ﺁﻏﺎﺯ ﻣﻰﺷﻮﺩ‬ ‫ﻭ ﺩﺭ ﻃﻰ ﺍﻳﻦ ﻣﺴﻴﺮ‪ ،‬ﺑﺎ ﻣﺨﺎﻃﺮﺍﺕ ﺳﻔﺮﻫﺎﻯ ﺩﺭﻳﺎﻳﻰ ﺩﺳﺖ ﺩﺭ ﮔﺮﻳﺒﺎﻥ ﻣﻰﺷﻮﻳﻢ‪ .‬ﺩﺭ ﺍﺩﺍﻣﻪ ﺑﻪ ﺩﻧﺒﺎﻝ‬ ‫ﺧﺮﮔﻮﺷﻰ ﺑﺎﺯﻳﮕﻮﺵ ﺑﻪ ﺳﻴﺎﺭﻩﻯ ﺑﺤﺮﺍﻥﺯﺩﻩ ﻗﺪﻡ ﻣﻰﮔﺬﺍﺭﻳﻢ‪ .‬ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﺳﻴﺎﺭﻩ ﺑﺮﺧﻼﻑ ﺍﺳﻤﺶ‪ ،‬ﺩﺭ‬ ‫ﺷﺮﺍﻳﻂ ﻣﻌﻤﻮﻝ ﺳﻴﺎﺭﻩﻯ ﺳﻌﺎﺩﺕ ﻭ ﺧﻮﺵﺑﺨﺘﻰ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﭘﺴﺮ ﻗﺼﻪﻯ ﻣﺎ ﺯﻣﺎ���ﻰ ﺑﻪ ﺍﻳﻦ ﺳﻴﺎﺭﻩ ﻭﺍﺭﺩ‬ ‫ﻣﻰﺷﻮﺩ ﻛﻪ ﺍﻭﺿﺎﻉ ﺁﻥ ﺩﺭ ﻭﺧﻴﻢﺗﺮﻳﻦ ﺣﺎﻟﺖ ﻣﻤﻜﻦ ﺍﺳﺖ ﻭ ﺣﺎﻻ ﺍﻭ ﺑﺎﻳﺪ ﺑﻪ ﻫﻤﺮﺍﻩ ﺩﺧﺘﺮ ﻗﺼﻪ –ﻛﻪ‬ ‫‪73‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫زن ﺑﺴﯿﺎر ﺑﺰرگ ﺑﻮد‪ .‬ﻗﺪی ﺣﺪود ﺳﯽ ﻣﱰ داﺷﺖ‪ .‬ﻟﺒﺎﺳﯽ از ﺣﺮﯾﺮ ﻧﺎزك ﺳﻔﯿﺪ‪ ،‬اﻧﺪام درﺷﺘﺶ را‬ ‫ﭘﻮﺷﺎﻧﺪه ﺑﻮد‪.‬‬ ‫ﺻﻮرﺗﺶ ﻣﺜﻞ ﻣﺮﻣﺮ ﺑﯽﺟﺎن ﺑﻪ ﻧﻈﺮ ﻣﯽرﺳﯿﺪ‪ ،‬وﻟﯽ زﯾﺒﺎ ﺑﻮد‪ .‬دو دﺳﺘﺶ روی ﺳﯿﻨﻪ در ﻫﻢ ﮔﺮه ﺧﻮرده‬ ‫ﺑﻮد و ﯾﻚ ﺷﺎﺧﻪ ارﻛﯿﺪه ﻛﻪ ﻫﻢرﻧﮓ و ﻫﻢﺟﻨﺲ ﺧﻮدش ﺑﻪ ﻧﻈﺮ ﻣﯽآﻣﺪ‪ ،‬در ﻣﯿﺎن دو دﺳﺘﺶ ﻗﺮار‬ ‫داﺷﺖ‪.‬‬ ‫ﭼﺸامن آن ﺻﻮرت درﺷﺖ ﺳﻨﮕﯽ ﺑﺴﺘﻪ ﺑﻮد و ﻫﯿﭻ ﻧﻮع ﺣﺮﻛﺘﯽ در اﻧﺪام ﺑﻪ ﺧﻮاب رﻓﺘﻪی او دﯾﺪه‬ ‫منﯽﺷﺪ‪.‬‬ ‫ﺑﺪن زن متﺎم ﺳﻄﺢ ﻗﻠﻪ را ﭘﻮﺷﺎﻧﺪه ﺑﻮد‪ .‬ﻣﻮﻫﺎﯾﯽ ﺷﻔﺎف دور ﺻﻮرﺗﺶ را ﮔﺮﻓﺘﻪ ﺑﻮد و رﻧﮓ آﺑﯽ ﺑﺴﯿﺎر‬ ‫زﯾﺒﺎﯾﯽ داﺷﺖ‪ .‬اداﻣﻪی آن ﮔﯿﺴﻮان آﺑﯽرﻧﮓ ﺑﺮاق از ﻟﺒﻪی ﺻﺎف ﻗﻠﻪ ﺑﻪ ﭘﺎﯾﯿﻦ رﯾﺨﺘﻪ ﺑﻮد و از ﺑﺎﻻ‬ ‫دﯾﺪه منﯽﺷﺪ‪.‬‬ ‫اﺑﻠﯿﺲ ﺑﻪ ﺳﻤﺖ ﭘﺎﯾﯿﻦ ﻛﻮه ﺷﯿﺮﺟﻪ رﻓﺖ و ﺑﻘﯿﻪ ﻫﻢ ﺑﻪ دﻧﺒﺎﻟﺶ‪.‬‬ ‫وﻗﺘﯽ از ﺑﺮاﺑﺮ ﻛﻮه ﭘﺎﯾﯿﻦ ﻣﯽرﻓﺘﻨﺪ‪ ،‬ﻣﻮﻫﺎی ﺑﻠﻨﺪ و ﻛﻠﻔﺖ زن را دﯾﺪﻧﺪ ﻛﻪ از ﻛﻮه ﺑﻪ ﭘﺎﯾﯿﻦ رﯾﺨﺘﻪ ﺑﻮد‬ ‫و ﺑﻌﺪ از ﺣﺪود دو ﺳﻪ ﻣﱰ دﯾﮕﺮ ﺑﻪ ﺣﺎﻟﺖ ﻣﻮﻫﺎی آﺑﯽرﻧﮓ و دﺳﺘﻪدﺳﺘﻪی ﯾﻚ ﻣﺠﺴﻤﻪی ﺳﻨﮕﯽ‬ ‫ﻧﺒﻮدﻧﺪ‪ ،‬ﺑﻠﻜﻪ ﺑﻪ ﺻﻮرت ﯾﻚ آﺑﺸﺎر ﭘﻬﻦ و ﻋﻈﯿﻢ ﺑﺎ ﺻﺪاﯾﯽ دﻟﻨﺸﯿﻦ ﺑﻪ داﺧﻞ ﯾﻚ رودﺧﺎﻧﻪی ﺑﺰرگ‬ ‫ﻣﯽرﯾﺨﺘﻨﺪ‪ .‬رودﺧﺎﻧﻪی ﭘﻬﻦ و ﻋﻤﯿﻘﯽ ﻛﻪ در ﻣﯿﺎن ﺳﺒﺰهﻫﺎی ﺑﯽﻧﻈﯿﺮ ﺟﺮﯾﺎن داﺷﺖ ‪.‬‬ ‫ﺳﺒﺰهﻫﺎی ﺗﺎزه و ﺑﺎﻃﺮاوت ﺑﻪ ﻃﺮز ﻋﺠﯿﺒﯽ ﻛﻮﺗﺎه ﺷﺪه ﺑﻮدﻧﺪ و ﺑﻪ راﺣﺘﯽ ﻣﯽﺷﺪ ﺗﺼﺎوﯾﺮ زﯾﺒﺎﯾﯽ‬ ‫از اﻧﻮاع ﮔﻞﻫﺎ را روی ﺳﺒﺰهﻫﺎ ﻣﺸﺎﻫﺪه ﻛﺮد ﻛﻪ در اﺛﺮ ﻛﻮﺗﺎه و ﺑﻠﻨﺪ ﺑﻮدن ﺳﺒﺰهﻫﺎ ﭘﺪﯾﺪ آﻣﺪه ﺑﻮد‪.‬‬ ‫ﺗﺎ ﭼﺸﻢ ﻛﺎر ﻣﯽﻛﺮد زﻣﯿﻦ ﺳﺒﺰ ﺑﻮد و درﺧﺘﺎن ﺑﻠﻨﺪ ﭘﺮ از ﻣﯿﻮهﻫﺎی رﻧﮕﺎرﻧﮓ و اﻧﻮاع ﮔﻞﻫﺎی‬ ‫ﺧﻮشرﻧﮓ و ﺑﻮ‪.‬‬ ‫در اﻧﺘﻬﺎی دﯾﺪ‪ ،‬ﺟﺎﯾﯽ ﻛﻪ دﯾﮕﺮ آن زﻣﯿﻦ ﺳﺒﺰ ﺑﻪ امتﺎم ﻣﯽرﺳﯿﺪ‪ ،‬ﯾﻚ ﺳﺎﺧﺘامن ﺑﺴﯿﺎر ﺑﺰرگ ﺑﻪ ﭼﺸﻢ‬ ‫ﻣﯽﺧﻮرد‪.‬‬ ‫ﻗﴫی ﺑﺎﻋﻈﻤﺖ‪ ،‬ﺑﺎ ﭼﻨﺪﯾﻦ ﻣﻨﺎره و ﺑﺮج‪ .‬ﺑﺎ درﻫﺎ و ﭘﻨﺠﺮهﻫﺎﯾﯽ ﺑﺰرگ و زﯾﺒﺎ‪ .‬متﺎم ﺳﺎﺧﺘامن از ﻃﻼی‬ ‫ﻧﺎب ﺑﻮد‪ .‬ﺷﯿﺮواﻧﯽﻫﺎی ﮔﺮد ﻧﻮك ﺑﺮجﻫﺎ ﺑﻪ ﺷﺪت ﻣﯽدرﺧﺸﯿﺪﻧﺪ‪.‬‬ ‫اﺑﻠﯿﺲ در ﺑﺮاﺑﺮ آن ﻗﴫ روﯾﺎﯾﯽ‪ ،‬روی ﭼﻤﻦﻫﺎی ﺗﺎزه و ﺳﺒﺰ ﻓﺮود آﻣﺪ و ﮔﻔﺖ‪» :‬اﯾﻦﺟﺎ ﴎزﻣﯿﻦ‬ ‫ﺳﺤﺮآﻣﯿﺰی اﺳﺖ ﺑﺮ ﻓﺮاز اﺑﺮﻫﺎ‪ .‬ﻣﻦ اﯾﻦﺟﺎ را ﺑﺎ ﺳﺤﺮی ﻛﻪ از دو ﺧﺪای ﻗﺪرمتﻨﺪ ذﻫﻦ ﺑﴩ رﺑﻮدهام‪،‬‬ ‫ﺑﻨﺎ ﻛﺮده و آراﺳﺘﻪام‪ .‬ﺟﺎدوﯾﯽ ﺑﺮ آﻣﺪه از ﭼﻨﮓ ﻃﻼﯾﯽ آﭘﻮﻟﻮن و ﻣﺮغ ﺗﺨﻢ ﻃﻼی ﻫﺮﻣﺲ‪«.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪72‬‬


‫ﻛﺘﺎﺏ‬ ‫ﺑﻪ ﺳﺒﺐ ﻧﻘﺶ ﺑﺴﻴﺎﺭﺵ ﺩﺭ ﻛﺘﺎﺏ ﻭ ﮔﺮﻩﺍﻓﻜﻨﻰ ﺁﻥ ﺩﺭ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﺑﻪ ﻳﻚ ﺷﺨﺼﻴﺖ ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺍﻣﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺁﻥ ﺷﺮﺍﻳﻂ ﺧﺎﺻﻰ ﺩﺍﺭﺩ ﻭ ﺍﻓﺮﺍﺩﻯ ﺑﻪ ﺧﺼﻮﺻﻰ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺍﺯ ﺁﻥ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻨﺪ ﻛﻪ ﺩﺭ‬ ‫ﺩﺍﺳﺘﺎﻥ ﻣﺸﺨﺺ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺩﺭ ﻛﻞ ﺍﮔﺮ ﺑﻪ ﺩﻧﺒﺎﻝ ﻛﺘﺎﺑﻰ ﺑﺎ ﺍﻳﺪﻩﻫﺎﻯ ﻧﻮ ﻭ ﺑﺎ ﻣﺸﺨﺼﻪﻫﺎﻯ ﺍﻓﺴﺎﻧﻪﺍﻯ ﺍﻳﺮﺍﻧﻰ ﻫﺴﺘﻴﺪ‪ ،‬ﺍﻳﻦ ﻛﺘﺎﺏ‬ ‫ﻣﻰﺗﻮﺍﻧﺪ ﮔﺰﻳﻨﻪﻯ ﺧﻮﺑﻰ ﺑﺎﺷﺪ‪.‬‬ ‫ﻣﺎﺟﺮﺍ ﭼﻴﺴﺖ؟‬ ‫ﺩﺭ ﺍﺑﺪﮔﺎﻩ ﭼﻪ ﭼﻴﺰﻯ ﻣﻨﺘﻈﺮ ﻫﺮﻣﻴﻮﺱ ﻭ ﻳﺎﺭﺍﻧﺶ ﺧﻮﺍﻫﺪ ﺑﻮﺩ؟‬ ‫ﺭﻭﺍﻳﺖ ﺳﻮﻡ ﺷﺨﺺ ﺧﻂ ﺩﺍﺳﺘﺎﻧﻰ ﺑﺎﻻ ﻭ ﺍﻳﻦ ﻛﺘﺎﺏ ﻫﻢ ﺩﺭ ﻧﻮﻉ ﺧﻮﺩ ﺟﺎﻟﺐ ﺍﺳﺖ‪ .‬ﻛﺘﺎﺏ ‪ 14‬ﻓﺼﻞ‬ ‫ﺩﺍﺭﺩ ﻭ ﺑﻪ ﺩﻭ ﺑﺨﺶ ﺗﻘﺴﻴﻢ ﻣﻰﺷﻮﺩ‪ .‬ﻫﻔﺖ ﻓﺼﻞ ﺍﻭﻝ ‪ -‬ﻛﻪ ﺑﺨﺶ ﺍﻭﻝ ﻛﺘﺎﺏ ﺑﻪ ﺷﻤﺎﺭ ﻣﻰﺭﻭﺩ‪ -‬ﺑﻪ‬ ‫ﻣﻌﺮﻓﻰ ﺑﺮﺧﻰ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎ ﻭ ﻛﻠﻴﺖ ﻓﻀﺎﻯ ﺣﺎﻛﻢ ﺑﺮ ﺩﻧﻴﺎﻯ ﺗﺤﺖ ﺳﻠﻄﻪﻯ ﺷﻴﮕﺎﻧﻬﻮﺱ ﻣﻰﭘﺮﺩﺍﺯﺩ‪.‬‬ ‫ﺍﻣﺎ ﺑﺨﺶ ﺩﻭﻡ‪ ،‬ﻳﺎ ﻫﻔﺖ ﻓﺼﻞ ﭘﺎﻳﺎﻧﻰ ﻛﺘﺎﺏ ﻛﻪ ﺑﻪ ﻧﻮﻋﻰ ﺍﺯ ﺯﺑﺎﻥ ﺍﺭﻛﺎﻟﻮﻥ ﺭﻭﺍﻳﺖ ﻣﻰﺷﻮﺩ‪ ،‬ﺩﺍﺳﺘﺎﻥ‬ ‫ﺗﺴﺨﻴﺮ ﺯﻣﻴﻦ ﺗﻮﺳﻂ ﺷﻴﮕﺎﻧﻬﻮﺱ ﻭ ﻧﻴﺮﻭﻫﺎﻯ ﺍﻫﺮﻳﻤﻨﻰ ﺍﻭ ﺭﺍ ﺑﺎﺯﮔﻮ ﻣﻰﻛﻨﺪ ﻭ ﺩﺭ ﺍﺻﻞ ﺩﺭﺑﺎﺭﻩﻯ‬ ‫ﺍﻧﺘﺨﺎﺏ ﭘﺪﺭﺍﻥ ﺷﻴﮕﺎﻧﻬﻮﺱ ﺍﺯ ﺑﻴﻦ ﺷﻴﺎﻃﻴﻦ ﺍﺳﺖ‪ .‬ﺩﺭ ﺣﻘﻴﻘﺖ ﺍﺑﻠﻴﺲ ﺑﺮﺍﻯ ﺍﻧﺘﻘﺎﻡ ﺍﺯ ﺁﺩﻣﻴﺎﻥ‪،‬‬ ‫ﻣﻰﺧﻮﺍﻫﺪ ﻃﻰ ﻣﺴﺎﺑﻘﺎﺗﻰ ﺩﺭ ﻣﻴﺎﻥ ﺷﻴﺎﻃﻴﻦ‪ ،‬ﺑﺮﺗﺮﻳﻦ ﺷﻴﺎﻃﻴﻦ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻛﻨﺪ‪ ،‬ﺗﺎ ﺷﻴﮕﺎﻧﻬﻮﺱ‬ ‫ﺧﺒﻴﺚﺗﺮﻳﻦ ﭘﺪﺭﺍﻥ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﺩﺭ ﭘﺎﻳﺎﻥ ﺑﺎﻳﺪ ﮔﻔﺖ ﻛﻪ ﻛﺘﺎﺏ ﻣﻤﻜﻦ ﺍﺳﺖ ﺩﺭ ﻧﮕﺎﻩ ﺍﻭﻝ ﻭ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺷﺮﻭﻉ ﻧﻪﭼﻨﺪﺍﻥ ﺟﺎﻟﺒﺶ‪،‬‬ ‫ﻧﺎﺍﻣﻴﺪﻛﻨﻨﺪﻩ ﺑﻪ ﻧﻈﺮ ﺑﻴﺎﻳﺪ؛ ﺍﻣﺎ ﺩﺭ ﺍﺩﺍﻣﻪ ﺑﺎ ﺩﺍﺳﺘﺎﻥ ﺟﺬﺍﺑﺶ ﺷﻤﺎ ﺭﺍ ﻫﻤﺮﺍﻩ ﺧﻮﺩ ﻣﻰﻛﻨﺪ‪ .‬ﻛﺘﺎﺏ ﺑﻪ‬ ‫ﺗﻨﻬﺎﻳﻰ ﻣﻄﻤﺌﻨﺎً ﺩﺍﺳﺘﺎﻥ ﻓﻮﻕ ﺍﻟﻌﺎﺩﻩﺍﻯ ﻧﻴﺴﺖ‪ ،‬ﺍﻣﺎ ﺑﺎﻳﺪ ﺗﻮﺟﻪ ﺩﺍﺷﺖ ﻛﻪ ﻗﺴﻤﺘﻰ ﺍﺯ ﻳﻚ ﻣﺠﻤﻮﻋﻪﻯ‬ ‫ﻃﻮﻻﻧﻰ ﺍﺳﺖ ﻭ ﺑﻪ ﻧﻈﺮﻡ ﻧﻮﻳﺪ ﻣﺠﻤﻮﻋﻪﺍﻯ ﺟﺬﺍﺏ ﻭ ﭘﺮﻣﺎﺟﺮﺍ ﺭﺍ ﻣﻰﺩﻫﺪ ﻭ ﺣﺮﻛﺖ ﺷﺠﺎﻋﺎﻧﻪﻯ‬ ‫ﻧﻮﻳﺴﻨﺪﻩﻯ ﻛﺘﺎﺏ‪ ،‬ﻳﻌﻨﻰ ﻧﻮﺷﺘﻦ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻓﺎﻧﺘﺰﻯ ﺍﻳﻦ ﭼﻨﻴﻨﻰ ﺑﺮﺍﻯ ﻛﻮﺩﻛﺎﻥ ﻭ ﻧﻮﺟﻮﺍﻧﺎﻥ‬ ‫ﺳﺘﻮﺩﻧﻰ ﺍﺳﺖ‪.‬‬ ‫ﻗﻄﻌﻪﺍﻯ ﺍﺯ ﻣﺘﻦ ﻛﺘﺎﺏ‬

‫ﭼﻨﺪ ﻟﺤﻈﻪ ﺑﻌﺪ ﺷﯿﺎﻃﯿﻦ ﺑﺮ ﻓﺮاز ﻛﻮه ﺑﻮدﻧﺪ‪ .‬ﺻﺪای ﺗﺤﺴﯿﻦ و ﺗﻌﺠﺐ از ﻫﻤﻪ ﺑﺮ ﻣﯽﺧﺎﺳﺖ‪ ،‬وﻗﺘﯽ‬ ‫ﺑﺮ ﻓﺮاز آن ﻛﻮه ﺑﻠﻨﺪ ﻛﻪ ﻗﻠﻪی ﭘﻬﻦ و ﻫﻤﻮار و ﻣﺴﻄﺤﺶ ﻣﺴﺎﺣﺖ زﯾﺎدی داﺷﺖ‪ ،‬زﻧﯽ درﺷﺖاﻧﺪام‬ ‫ﺑﻪ رﻧﮓ ﺳﻔﯿﺪ ﺷﻔﺎف را در ﺧﻮاب ﻣﯽدﯾﺪﻧﺪ‪.‬‬ ‫‪71‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﻗﺮﻥﻫﺎ ﺍﺑﻠﻴﺲ ﺩﺭﺻﺪﺩ ﺍﻧﺘﻘﺎﻡ ﺍﺯ ﺑﺸﺮﻳﺖ ﺑﻮﺩ ﻭ ﺣﺎﻝ ﺯﻣﺎﻥ ﺍﻧﺘﻘﺎﻡ ﻓﺮﺍ ﺭﺳﻴﺪﻩ ﺍﺳﺖ‪ .‬ﻛﻞ ﺟﻬﺎﻥ ﺩﺭ‬ ‫ﺳﻴﻄﺮﻩﻯ ﻧﻴﺮﻭﻯ ﺍﻫﺮﻳﻤﻨﻰ ﺷﻴﻄﺎﻧﻰ ﺑﻪ ﻧﺎﻡ ﺷﻴﮕﺎﻧﻬﻮﺱ ﺍﺳﻴﺮ ﺍﺳﺖ‪ .‬ﺯﻧﺪﮔﻰ ﻣﺮﺩﻡ ﺯﻣﻴﻦ ﺩﺭ ﺯﺟﺮ‬ ‫ﻛﺸﻴﺪﻥﻫﺎﻯ ﺑﻰﭘﺎﻳﺎﻥ ﻭ ﻛﺎﺑﻮﺱ ﺍﺳﺎﺭﺕ ﺩﺭ ﻣﺨﻮﻑﺗﺮﻳﻦ ﻣﻜﺎﻥ ﻋﺎﻟﻢ ﻫﺴﺘﻰ‪ ،‬ﺍﺑﺪﮔﺎﻩ ﮔﺎﻟﻮﻧﺘﻮﺱ‬ ‫ﺧﻼﺻﻪ ﺷﺪﻩ ﺍﺳﺖ؛ ﺑﻰﻫﻴﭻ ﻛﻮﺭﺳﻮﻯ ﺍﻣﻴﺪﻯ ﺑﻪ ﺭﻫﺎﻳﻰ ﺍﺯ ﺍﻳﻦ ﺩﻭﺭﻩﻯ ﺗﺎﺭﻳﻚ‪ .‬ﭘﺴﺮﻯ ﺩﺭ‬ ‫ﺩﻝ ﺍﺑﺪﮔﺎﻩ ﺯﺍﺩﻩ ﻣﻰﺷﻮﺩ ﺗﺎ ﺑﻪ ﺳﻠﻄﻨﺖ ﻭﺣﺸﻴﺎﻧﻪﻯ ﺷﻴﮕﺎﻧﻬﻮﺱ ﭘﺎﻳﺎﻥ ﺩﻫﺪ‪ .‬ﺗﻤﺎﻣﻰ ﻧﻴﺮﻭﻫﺎﻯ‬ ‫ﻣﺎﻭﺭﺍﻳﻰ ﻭ ﺍﻓﺴﺎﻧﻪﺍﻯ ﺩﺳﺖ ﺑﻪ ﺩﺳﺖ ﻫﻢ ﻣﻰﺩﻫﻨﺪ ﺗﺎ ﻫﺮﻣﻴﻮﺱ ﺟﻮﺍﻥ ﺭﺍ ﺩﺭ ﺭﺳﻴﺪﻥ ﺑﻪ ﺁﺳﺘﺎﻧﻪﻯ‬ ‫ﺍﺑﺪﮔﺎﻩ ﮔﺎﻟﻮﻧﺘﻮﺱ ﻳﺎﺭﻯ ﺩﻫﻨﺪ‪.‬‬ ‫ﻛﺘﺎﺏ ﺍﺭﻛﺎﻟﻮﻥ ﻛﻪ ﻧﺨﺴﺘﻴﻦ ﻛﺘﺎﺏ ﺍﺯ ﻳﻚ ﻣﺠﻤﻮﻋﻪﻯ ﻫﻔﺖ ﺟﻠﺪﻯ ﺍﺳﺖ‪ ،‬ﺍﻭﻟﻴﻦ ﺗﺠﺮﺑﻪﻯ ﺟﺪﻯ‬ ‫ﻧﻮﻳﺴﻨﺪﮔﻰ ﺧﺎﻧﻢ ﻧﻮﺭﺑﺨﺶ ﻫﻢ ﻫﺴﺖ‪ .‬ﺑﺎ ﻳﻚ ﻧﮕﺎﻩ ﺟﺰﺋﻰ ﺑﻪ ﻭﻳﮋﮔﻰﻫﺎﻯ ﻛﺘﺎﺏ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺭﺍﺣﺘﻰ‬ ‫ﻓﻬﻤﻴﺪ ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﺮﺍﻯ ﺭﻗﺎﺑﺖ ﺑﺎ ﺁﺛﺎﺭ ﺧﺎﺭﺟﻰ ﻣﺸﺎﺑﻪ )ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻓﺎﻧﺘﺰﻯ ﺑﺎ ﻣﺨﺎﻃﺐ ﻛﻮﺩﻛﺎﻥ ﻭ‬ ‫ﻧﻮﺟﻮﺍﻧﺎﻥ( ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﻧﻮﻳﺴﻨﺪﻩ ﻛﻮﺷﻴﺪﻩ ﺑﺎ ﻭﻳﮋﮔﻰﻫﺎﻯ ﻧﻮﻯ ﺩﺍﺳﺘﺎﻧﺶ‪ ،‬ﻓﻀﺎﻯ ﺣﺎﻛﻢ ﺑﺮ‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻓﺎﻧﺘﺰﻯ ﻛﻮﺩﻛﺎﻥ ﺍﻣﺮﻭﺯ ﺟﺎﻣﻌﻪ ﺭﺍ ﻛﻤﻰ ﺗﻐﻴﻴﺮ ﺩﻫﺪ‪ .‬ﻛﺘﺎﺏ ﻭﻳﮋﮔﻰﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺩﺍﺭﺩ‬ ‫ﻛﻪ ﺁﻥ ﺭﺍ ﺧﻮﺍﻧﺪﻧﻰ ﻣﻰﻛﻨﺪ‪ .‬ﺍﺯ ﺟﻬﺎﻥﺳﺎﺯﻯ ﻓﻜﺮ ﺷﺪﻩﻯ ﺁﻥ ﮔﺮﻓﺘﻪ ﺗﺎ ﺍﻳﺪﻩﭘﺮﺩﺍﺯﻯﻫﺎﻯ ﻧﻮ ﻛﻪ ﻃﺮﺡ‬ ‫ﻗﺪﻳﻤﻰ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ‪-‬ﻳﻌﻨﻰ ﻧﻮﺟﻮﺍﻧﻰ ﺍﺯ ﭘﻴﺶ ﺗﻌﻴﻴﻦ ﺷﺪﻩ ﺑﺮﺍﻯ ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﭘﻠﻴﺪﻯ ﺣﺎﻛﻢ ﺑﺮ ﺩﻧﻴﺎ ﻛﻪ‬ ‫ﺍﻟﺒﺘﻪ ﺧﻮﺩﺵ ﺩﺭ ﺍﺑﺘﺪﺍ ﺍﻳﻦ ﺳﺮﻧﻮﺷﺖ ﺭﺍ ﻗﺒﻮﻝ ﻧﻤﻰﻛﻨﺪ‪ -‬ﺧﻮﺍﻧﺪﻧﻰ ﻣﻰﻛﻨﺪ‪ .‬ﻭﻳﮋﮔﻰ ﺩﻳﮕﺮ‪ ،‬ﺣﻀﻮﺭ‬ ‫ﻭ ﻧﻘﺶ ﭘﺮﺭﻧﮓ ﺍﺳﺎﻃﻴﺮ ﺑﺎﺳﺘﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﻭﺟﻮﺩ ﺍﺳﺎﻃﻴﺮ ﻭ ﺍﻓﺴﺎﻧﻪﻫﺎﻯ ﺍﻳﺮﺍﻧﻰ ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ‪ ،‬ﺑﺴﻴﺎﺭ‬ ‫ﺳﺘﻮﺩﻧﻰ ﻭ ﺧﻮﺷﺤﺎﻝﻛﻨﻨﺪﻩ ﻭ ﺟﺬﺍﺏ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﺍﺯ ﻃﺮﻓﺪﺍﺭﺍﻥ ﺧﻮﻥ ﺁﺷﺎﻡﻫﺎﻯ ﻗﺪﻳﻤﻰ ﻭ ﺩﺭﺳﺖ ﻭ‬ ‫ﺣﺴﺎﺑﻰ ﻭ ﺟﺎﺩﻭﮔﺮﻫﺎﻯ ﺷﺮﻭﺭ ﻫﺴﺘﻴﺪ‪ ،‬ﻛﺘﺎﺏ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻧﺪﻫﻴﺪ ﻛﻪ ﻋﻨﺎﺻﺮ ﻓﺎﻧﺘﺰﻯ ﻛﺘﺎﺏ‪ ،‬ﺳﻨﺖﻫﺎﻯ‬ ‫ﺧﻮﺩ ﺭﺍ ﺣﻔﻆ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﺑﻪ ﺳﺨﺘﻰ ﻣﻰﺷﻮﺩ ﺍﻳﻦ ﻛﺘﺎﺏ ﺭﺍ ﺷﺒﻴﻪ ﻛﺘﺎﺏﻫﺎﻯ ﺩﻳﮕﺮ ﺍﻳﻦ ﮔﻮﻧﻪ ﺩﺍﻧﺴﺖ‪،‬‬ ‫ﺍﻣﺎ ﺷﺎﻳﺪ ﺑﺘﻮﺍﻥ ﮔﻔﺖ ﺍﻳﻦ ﻛﺘﺎﺏ‪ ،‬ﺑﻪ ﺳﻪﮔﺎﻧﻪﻯ ﭘﺎﺩﺷﺎﻫﻰ ﻛﻬﻦ )ﻧﻮﺷﺘﻪﻯ ﮔﺎﺭﺙ ﻧﻴﻜﺲ( ﺗﻨﻪ ﻣﻰﺯﻧﺪ‬ ‫ﻭ ﻳﺎﺩﺁﻭﺭ ﺩﻧﻴﺎﻫﺎﻯ ﺟﺪﻳﺪ ﻭ ﻗﻬﺮﻣﺎﻥﻫﺎﻯ ﺩﻭﺳﺖﺩﺍﺷﺘﻨﻰ ﺁﻥ ﻣﺠﻤﻮﻋﻪ ﺍﺳﺖ‪ .‬ﻓﻀﺎﻯ ﺩﺍﺳﺘﺎﻥ ﻫﻢ‬ ‫ﻓﻀﺎﻳﻰ ﻓﺎﻧﺘﺰﻯ ﻭ ﺍﺳﻄﻮﺭﻩﮔﻮﻥ ﻭ ﺩﺭ ﺑﻌﻀﻰ ﻗﺴﻤﺖﻫﺎ ﺍﻓﺴﺎﻧﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ﺑﺴﻴﺎﺭ ﺭﻧﮕﺎﺭﻧﮓ ﺍﺳﺖ ﻭ‬ ‫ﻛﻤﺘﺮ ﻓﻀﺎﻫﺎﻯ ﺗﺎﺭﻳﻚ ﻭ ﻣﻤﻠﻮ ﺍﺯ ﻭﻫﻢ ﻭ ﺗﺮﺱ ﺩﺭ ﺁﻥ ﻣﻰﺑﻴﻨﻴﻢ‪ .‬ﻧﻜﺘﻪﻯ ﺩﻳﮕﺮ‪ ،‬ﻋﻨﻮﺍﻥ ﻛﺘﺎﺏ ﺍﺳﺖ‪:‬‬ ‫ﺍﺭﻛﺎﻟﻮﻥ! ﺍﺭﻛﺎﻟﻮﻥ ﻳﻜﻰ ﺍﺯ ﻋﻨﺎﺻﺮ ﺟﺎﺩﻭﻳﻰ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﺻﻞ ﺍﺭﻛﺎﻟﻮﻥ ﻳﻚ ﻛﺘﺎﺏ ﺍﺳﺖ ﻛﻪ‬ ‫ﻗﺎﺑﻠﻴﺖﻫﺎﻳﻰ ﺣﺘﺎ ﻓﺮﺍﺗﺮ ﺍﺯ ﺟﺎﺩﻭ ﺩﺍﺭﺩ‪ .‬ﺍﺭﻛﺎﻟﻮﻥ ﺗﻤﺎﻡ ﻋﻠﻮﻡ ﺯﻣﻴﻦ ﻭ ﺁﺳﻤﺎﻥ ﺭﺍ ﻣﻰﺩﺍﻧﺪ ﻭ ﺑﺮﺍﻯ ﻫﺮ ﻛﺲ‬ ‫ﻣﻰﺗﻮﺍﻧﺪ ﻳﻚ ﻣﻌﻠﻢ ﺑﺎﺷﺪ ﻭ ﺍﺯ ﺗﻤﺎﻡ ﺗﺎﺭﻳﺦ ﻭ ﺍﺳﺮﺍﺭ ﺟﺎﺩﻭﮔﺮﻯ ﺁﮔﺎﻩ ﺍﺳﺖ‪ ،‬ﺑﻪ ﻧﻮﻋﻰ ﻛﻪ ﻛﺘﺎﺏ ﺍﺭﻛﺎﻟﻮﻥ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪70‬‬


‫ﻛﺘﺎﺏ‬

‫ﺍﺯ ﻧﻤﺎﻳﺸﮕﺎﻩ ﭼﻪ ﺧﺒﺮ؟‬

‫ﺍُﺭﻛﺎﻟﻮﻥ؛ ﻧﺨﺴﺘﻴﻦ ﻛﺘﺎﺏ ﺍﺯ ﻫﻔﺖﮔﺎﻧﻪﻯ ﺍﺑﺪﮔﺎﻩ ﮔﺎﻟﻮﻧﺘﻮﺱ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ‪ :‬ﺑﻬﺎﺭﻩ ﻧﻮﺭﺑﺨﺶ‬ ‫ﻭﻳﺮﺍﺳﺘﺎﺭ‪ :‬ﺳﻴﺪ ﺍﻣﻴﻦ ﻣﻮﺳﻮﻯ ﺯﺍﺩﻩ‬ ‫ﻧﺎﺷﺮ‪ :‬ﻧﺸﺮ ﺭﻭﺯﮔﺎﺭ‬ ‫ﻧﻮﺑﺖ ﭼﺎپ‪ :‬ﺍﻭﻝ ‪1390 -‬‬ ‫ﺷﻤﺎﺭﮔﺎﻥ‪ 1000 :‬ﻧﺴﺨﻪ‬ ‫ﻗﻴﻤﺖ‪ 11000 :‬ﺗﻮﻣﺎﻥ‬ ‫‪ 503‬ﺻﻔﺤﻪ‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﻣﻨﺘﻘﻞ ﺷﻮﺩ ﻭ ﺑﺮ ﺭﻭﻯ ﺩﺳﺘﮕﺎﻩ ﻋﺼﺒﻰ ﺗﺎﺛﻴﺮ ﺑﮕﺬﺍﺭﺩ‪ .‬ﻣﺒﺘﻼﻳﺎﻥ ﺑﻌﺪ ﺍﺯ ﺳﻴﺰﺩﻩ ﺳﺎﻋﺖ ﻛﻨﺘﺮﻝ ﺧﻮﺩ ﺑﺮ‬ ‫ﺫﻫﻨﺸﺎﻥ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻣﻰﺩﻫﻨﺪ‪ .‬ﭘﺲ ﺍﺯ ﺁﻥ ﻭﻳﺮﻭﺱ ﺑﺎ ﺷﺒﻴﻪﺳﺎﺯﻯ ﺳﻴﮕﻨﺎﻝﻫﺎﻯ ﻋﺼﺒﻰ‪ ،‬ﻓﺮﺩ ﻣﺒﺘﻼ‬ ‫ﺭﺍ ﺑﻪ ﺣﺮﻛﺎﺕ ﻏﻴﺮﺍﺭﺍﺩﻯ ﻭﺍ ﻣﻰﺩﺍﺭﺩ‪ .‬ﺍﻳﻦ ﻭﻳﺮﻭﺱ ﺑﺮﺍﻯ ﺍﻧﺘﻘﺎﻝ ﻫﺮ ﭼﻪ ﺑﻴﺸﺘﺮ ﺧﻮﺩ‪ ،‬ﺍﻧﺴﺎﻥﻫﺎﻯ ﺗﺤﺖ‬ ‫ﻛﻨﺘﺮﻝ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻫﻤﮕﻮﻥﺧﻮﺍﺭﻯ ﻭﺍ ﻣﻰﺩﺍﺭﺩ‪ .‬ﺍﻳﻦﻫﺎ ﻫﻤﻪ ﺩﺭ ﺯﻳﺮﻧﻮﻳﺲ ﺧﺒﺮ ﻣﺜﻞ ﻣﺎﺭﻯ ﻭﺣﺸﺖﺯﺩﻩ‬ ‫ﺟﻠﻮ ﻣﻰﺭﻭﻧﺪ‪.‬‬ ‫ﻣﺮﺩ ﻧﻔﺲﻧﻔﺲ ﻣﻰﺯﻧﺪ‪ .‬ﻫﺠﻮﻡ ﺁﮔﺎﻫﻰ ﺑﻰﺣﺎﻟﺶ ﻛﺮﺩﻩ‪ .‬ﺭﻭﻯ ﺻﻨﺪﻟﻰﺍﺵ ﺳﻘﻮﻁ ﻣﻰﻛﻨﺪ‪ .‬ﻣﻰﺩﺍﻧﺪ‬ ‫ﻛﻪ ﺗﺎ ﭼﻨﺪ ﺩﻗﻴﻘﻪﻯ ﺩﻳﮕﺮ ﺑﺎﻳﺪ ﺑﻠﻨﺪ ﺷﻮﺩ ﻭ ﺟﺴﺪ ﺩﻛﺘﺮ ﺭﻭﺧﻴﻢ ﺭﺍ ﻛﺸﺎﻥﻛﺸﺎﻥ ﺑﻪ ﺍﺗﺎﻕ ﺑﻐﻠﻰ ﺑﺒﺮﺩ ﻭ‬ ‫ﺁﻥ ﺭﺍ ﺍﺯ ﻃﺮﻳﻖ ﺗﻮﻧﻠﻰ ﻋﻤﻮﺩﻯ ﻛﻪ ﺑﻪ ﺳﻴﺴﺘﻢ ﻓﺎﺿﻼﺏ ﻣﺘﺼﻞ ﻣﻰﺷﻮﺩ‪ ،‬ﺩﺭ ﻛﻨﺎﺭ ﻳﺎﺯﺩﻩ ﺟﺴﺪ ﺩﻳﮕﺮ‬ ‫ﺑﻴﻨﺪﺍﺯﺩ‪ .‬ﺍﻣﺎ ﺍﻧﮕﺎﺭ ﻫﺰﺍﺭ ﺳﺎﻟﻪ ﺑﺎﺷﺪ ﻭ ﭘﻮﺷﻴﺪﻩ ﺍﺯ ﻓﺴﻴﻞ ﻧﺎﺗﻴﻠﻮﺱﻫﺎ ﻭ ﺗﺮﻳﻠﻮﺑﻴﺖﻫﺎ‪.‬‬ ‫ﺍﺯ ﺁﮔﺎﻫﻰﺍﺵ ﺩﺭ ﻋﺠﺐ ﺍﺳﺖ‪ .‬ﻧﻤﻰﺩﺍﻧﺪ ﺍﻳﻦ ﻓﺎﺻﻠﻪﻯ ﺁﮔﺎﻫﻰ ﺁﺯﺍﺭﺩﻫﻨﺪﻩﺗﺮ ﺍﺳﺖ ﻳﺎ ﻭﻗﺘﻰ ﺩﺭ‬ ‫ﻣﺎﻟﻴﺨﻮﻟﻴﺎﻳﺶ ﺣﻞ ﻣﻰﺷﻮﺩ‪ .‬ﻣﻰﺩﺍﻧﺪ ﻛﻪ ﻻﺟﺮﻡ ﺑﻪ ﺳﺮﺍﻏﺶ ﻣﻰﺁﻳﺪ‪ .‬ﻫﺮﮔﺰ ﺗﺮﻛﺶ ﻧﻤﻰﻛﻨﺪ‪ .‬ﺷﺎﻳﺪ‬ ‫ﺍﻳﻦ ﺁﺧﺮﻳﻦ ﺑﺎﺭ ﺑﺎﺷﺪ ﻛﻪ ﻣﻰﺩﺍﻧﺪ ﻛﻴﺴﺖ‪.‬‬ ‫ﭼﺸﻤﺎﻧﺶ ﺭﻭﻯ ﻣﺎﻧﻴﺘﻮﺭﻫﺎ ﮔﺮﻳﺰﺍﻥ ﺍﺳﺖ ﻭ ﺍﺷﻚ ﻣﺜﻞ ﺧﻮﻥ ﮔﺮﻡ ﺍﺯ ﺁﻥﻫﺎ ﺟﺎﺭﻯ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭﻭﻥ ﺫﻫﻨﺶ ﭼﻬﺮﻩﻯ ﺩﻛﺘﺮ ﻭ ﻣﻌﺸﻮﻗﺶ ﺑﺎ ﻫﻢ ﺟﻤﻊ ﻣﻰﺷﻮﻧﺪ ﺩﺭ ﻫﻢ ﺫﻭﺏ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺭﺍﺣﻴﻞ‪ ...‬ﺩﺭ‬ ‫ﺫﻫﻦ ﭘﺮﻳﺸﺎﻥ ﺍﻭ‪ ،‬ﻫﺮ ﺩﻭ ﻳﻜﻰ ﻫﺴﺘﻨﺪ‪. ...‬‬ ‫ﺯﺍﻭﻳﻪﻯ ﺩﻳﺪ ﻣﺎ ﺍﻭﻝ ﻣﺪﺗﻰ ﺑﺮ ﻓﺮﺍﺯ ﺍﺗﺎﻕ ﻣﻌﻠﻖ ﻣﻰﻣﺎﻧﺪ‪ .‬ﺑﻌﺪ ﺍﺯ ﺳﻘﻒ ﺧﺎﺭﺝ ﻣﻰﺷﻮﺩ‪ .‬ﺑﻌﺪ ﺑﺎ ﺳﺮﻋﺘﻰ‬ ‫ﺳﺮﺳﺎﻡﺁﻭﺭ ﺑﺎﻻ ﻭ ﺑﺎﻻﺗﺮ ﻣﻰﺭﻭﺩ ﺗﺎ ﺍﻳﻦ ﻛﻪ ﻛﺮﻩﻯ ﺯﻣﻴﻦ ﺭﺍ‪ ،‬ﺁﺑﻰﺭﻧﮓ ﻭ ﺁﺭﺍﻡ‪ ،‬ﺷﺎﻩﮔﻮﻥ ﻭ ﭘﺮ ﻋﻈﻤﺖ‪،‬‬ ‫ﻣﺜﻞ ﻻﻙﭘﺸﺘﻰ ﺑﻰﻫﻴﭻ ﺷﺘﺎﺏ‪ ،‬ﺑﻪ ﻧﻤﺎﻳﺶ ﺑﮕﺬﺍﺭﺩ‪.‬‬ ‫ﺷﺎﻳﺪ ﺩﻭﺍﺯﺩﻩ ﺛﺎﻧﻴﻪ ﻫﻤﺎﻥﻃﻮﺭ ﺛﺎﺑﺖ ﻣﻰﻣﺎﻧﺪ‪.‬‬ ‫ﺑﻌﺪ ﺗﺼﻮﻳﺮ ﺧﺎﻣﻮﺵ ﻣﻰﺷﻮﺩ‪...‬‬

‫‪ :Noeh Mask .2‬ﻧﻘﺎﺑﻰ ﻛﻪ ﺩﺭ ﺗﺌﺎﺗﺮﻫﺎﻯ ﺳﻨﺘﻰ ژﺍﭘﻨﻰ ﺑﺮ‬ ‫ﭼﻬﺮﻩ ﻣﻰﺯﻧﻨﺪ‪ .‬ﻧﻘﺎﺏﻫﺎﻯ ﻧﻮﻩ ﺻﻮﺭﺕﻫﺎﻯ ﺍﻧﺴﺎﻧﻰ ﺭﺍ ﺑﻪ ﻧﻤﺎﻳﺶ‬ ‫ﻣﻰﮔﺬﺭﺍﻧﺪ‪ .‬ﺷﺎﻫﺰﺍﺩﮔﺎﻥ‪ ،‬ﺟﻮﺍﻧﺎﻥ‪ ،‬ﻣﺴﺘﺎﻥ‪ ،‬ﺯﻧﺎﻥ‪ ،‬ﻋﻔﺮﻳﺘﻪﻫﺎ ﻭ‬ ‫ﺍﻫﺮﻳﻤﻨﺎﻥ ﻭ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺩﻳﮕﺮ‪ .‬ﺍﻳﻦ ﻧﻘﺎﺏﻫﺎ ﻣﻌﻤﻮﻻً ﺧﻴﻠﻰ‬ ‫ﺳﺎﺩﻩ ﻭ ﺑﻰﺭﻭﺡ ﻫﺴﺘﻨﺪ‪.‬‬

‫‪ :Post Traumatic Stress Disorder .1‬ﺑﻴﻤﺎﺭﻯ ﺭﻭﺍﻥﺯﺧﻤﻰ‬ ‫ﭘﺴﺎﺣﺎﺩﺛﻪﺍﻯ ﻛﻪ ﭘﺲ ﺍﺯ ﺣﺎﺩﺛﻪﻯ ﺩﺭﺩﻧﺎﻛﻰ ﻣﺜﻞ ﺗﺼﺎﺩﻑ‪،‬‬ ‫ﺳﻮءﻗﺼﺪ ﻳﺎ ﻣﺮگ ﻋﺰﻳﺰﺍﻥ ﺭﺥ ﻣﻰﺩﻫﺪ‪ .‬ﺑﻴﻤﺎﺭ ﺩﭼﺎﺭ ﺿﺮﺑﻪﻯ‬ ‫ﺷﺪﻳﺪ ﺭﻭﺣﻰ ﻣﻰﺷﻮﺩ ﻭ ﺩﺭﻙ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﮔﺬﺭ ﺯﻣﺎﻥ ﻭ ﻣﻜﺎﻧﻰ‬ ‫ﻛﻪ ﺩﺭ ﺁﻥ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ‪ ،‬ﺍﺯ ﺩﺳﺖ ﻣﻰﺩﻫﺪ ﻭ ﺩﺭ ﺑﺮﺧﻰ ﻣﻮﺍﺭﺩ ﺩﭼﺎﺭ‬ ‫ﺗﻮﻫﻢ ﻣﻰﺷﻮﺩ‪.‬‬

‫‪67‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﺧﻮﺏ ﻣﻰﺩﺍﻧﺴﺖ ﻛﻪ ﺍﺳﻜﻦ ﻣﻐﺰﻯ ﺑﻴﺎﻥﮔﺮ ﭼﻪ ﭼﻴﺰﻯ ﺍﺳﺖ‪ .‬ﺳﻴﮕﻨﺎﻝﻫﺎﻯ ﺣﺮﻛﺖ ﺩﺍﺷﺘﻨﺪ ﺍﺯ‬ ‫ﺑﺼﻞﺍﻟﻨﺨﺎﻉ ﺧﺎﺭﺝ ﻣﻰﺷﺪﻧﺪ‪ .‬ﻛﺎﻓﻰ ﺑﻮﺩ ﺑﻪ ﺩﺭﻭﻥ ﺑﺪﻧﺶ ﺑﺮﮔﺮﺩﺩ ﺗﺎ ﻛﺎﺭﻯ ﺭﺍ ﻛﻪ ﺑﺎﻳﺪ‪ ،‬ﺑﻜﻨﺪ‪ .‬ﺧﻮﺏ‬ ‫ﻣﻰﺩﺍﻧﺴﺖ ﭼﻪ‪.‬‬ ‫ﻣﺜﻞ ﻋﻨﻜﺒﻮﺗﻰ ﻛﻪ ﺗﺎﺭ ﺑﺘﻨﺪ‪ .‬ﺭﺷﺘﻪﺍﻯ ﺍﺯ ﺁﮔﺎﻫﻰ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﺳﺮﺵ ﻣﻰﺍﻧﺪﺍﺯﺩ‪ .‬ﺑﻌﺪ ﺳﻌﻰ ﻣﻰﻛﻨﺪ‬ ‫ﺁﺭﺍﻡﺁﺭﺍﻡ ﻭﺍﺭﺩ ﺑﺪﻧﺶ ﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺍﻧﮕﺎﺭ ﻣﺎﻧﻌﻰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻫﺮﭼﻪ ﺑﻴﺶﺗﺮ ﺗﻼﺵ ﻣﻰﻛﻨﺪ‪ ،‬ﺑﺪﻧﺶ ﮔﻮﻳﻰ‬ ‫ﻣﻘﺎﻭﻣﺖ ﺑﻴﺶﺗﺮﻯ ﺩﺭ ﺑﺮﺍﺑﺮ ﻭﺭﻭﺩ ﺁﮔﺎﻫﻰﺍﺵ ﺍﺯ ﺧﻮﺩ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪ .‬ﺑﺪﻧﺶ ﮔﻮﻳﻰ ﺩﺭ ﺗﺼﺮﻑ ﺍﺟﻨﻪ‬ ‫ﻭ ﺍﺭﻭﺍﺡ ﺑﺎﺷﺪ‪ .‬ﻟﻤﺲ ﺷﺪﻩ ﺑﺎﺷﺪ‪ .‬ﺍﻣﺎ ﺑﻰﺣﺮﻛﺖ ﭼﻮﻥ ﻣﺠﺴﻤﻪﻯ ﺳﺰﺍﺭﻫﺎﻯ ﺭﻭﻣﻰ ﻻﻏﺮ ﻭ ﺑﻰﺗﻔﺎﻭﺕ‬ ‫ﺍﻳﺴﺘﺎﺩﻩ‪ .‬ﻓﺎﺭﻍ‪.‬‬ ‫ﺁﮔﺎﻫﻰ ﻣﺮﺩ‪ ،‬ﺑﻰﺻﺪﺍ ﺟﻴﻐﻰ ﺍﺯ ﺭﻭﻯ ﺗﺮﺱ ﺳﺮ ﻣﻰﺩﻫﺪ‪ .‬ﺣﺮﻛﺎﺕ ﺟﺴﺪ ﻫﺮ ﻟﺤﻈﻪ ﺑﻴﺶﺗﺮ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﺁﮔﺎﻫﻰ ﻣﻰﺩﺍﻧﺪ ﻫﻤﻴﻦ ﺣﺎﻻ ﺑﺎﻳﺪ ﻭﺍﺭﺩ ﺟﺴﻢ ﺷﻮﺩ‪ .‬ﻫﻤﻴﻦ ﺣﺎﻻ‪ .‬ﺑﺎ ﺗﻤﺎﻡ ﻗﻮﺍ ﺑﺮ ﺩﻳﻮﺍﺭﻫﺎﻳﻰ ﻧﺎﻣﺮﺋﻰ ﻛﻪ‬ ‫ﺍﺯ ﻭﺭﻭﺩﺵ ﺟﻠﻮﮔﻴﺮﻯ ﻣﻰﻛﻨﻨﺪ ﺿﺮﺑﻪ ﻣﻰﺯﻧﺪ‪.‬‬ ‫ﺑﻌﺪ ﺟﺴﺪ ﺑﺮ ﻣﻰﺧﻴﺰﺩ‪ .‬ﻣﺜﻞ ﺯﻧﻰ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﺧﻮﺍﺑﻰ ﻃﻮﻻﻧﻰ‪ ،‬ﺑﺎ ﺻﺪﺍﻯ ﮔﻨﺠﺸﻚﻫﺎ ﺑﻴﺪﺍﺭ ﺷﻮﺩ ﻭ‬ ‫ﺩﺳﺘﺎﻧﺶ ﺭﺍ ﻛﺶ ﻭ ﻗﻮﺱ ﺑﺪﻫﺪ ﻭ ﺭﻭﻯ ﺗﺨﺘﺶ ﺑﻨﺸﻴﻨﺪ‪.‬‬ ‫ﺗﺮﺱ ﻣﺜﻞ ﺗﻴﻐﻪﺍﻯ ﻓﻠﺰﻯ ﮔﻠﻮﻯ ﻣﺮﺩ ﺭﺍ ﭘﺎﺭﻩ ﻣﻰﻛﻨﺪ‪ .‬ﺁﮔﺎﻫﻰ ﺍﺯ ﺷﻮﻙ ﺑﺮﺧﺎﺳﺘﻦ ﺟﺴﺪ ﻫﻤﭽﻮﻥ‬ ‫ﺷﺊﺍﻯ ﺳﻨﮕﻴﻦ ﻛﻪ ﺍﺯ ﻓﺎﺻﻠﻪﺍﻯ ﺑﻰﻧﻬﺎﻳﺖ ﺑﻪ ﺯﻣﻴﻦ ﺳﻘﻮﻁ ﻛﻨﺪ ﺩﺭ ﺟﺴﻢ ﻓﺮﻭ ﻣﻰﺭﻭﺩ‪ .‬ﺷﺪﺕ ﺑﺮﺧﻮﺭﺩ‬ ‫ﺑﻪ ﺣﺪﻯ ﺍﺳﺖ ﻛﻪ ﻣﺮﺩ ﻳﻚ ﺛﺎﻧﻴﻪ ﮔﻴﺞ ﻣﻰﺷﻮﺩ ﻭ ﻫﻴﭻ ﻧﻤﻰﻛﻨﺪ‪ .‬ﻭﻟﻰ ﻓﻘﻂ ﻳﻚ ﺛﺎﻧﻴﻪ‪ .‬ﻳﻚ ﺛﺎﻧﻴﻪﻯ‬ ‫ﺑﻌﺪ ﺍﻭ ﭘﺘﻚ ﺁﻫﻨﻴﻦ ﺭﺍ ﺍﺯ ﻛﻨﺎﺭ ﺻﻨﺪﻟﻰﺍﺵ ﺑﻠﻨﺪ ﻣﻰﻛﻨﺪ ﻭ ﭘﺘﻚ ﺭﺍ ﺑﺎﻻﻯ ﺳﺮﺵ ﻣﻰﺑﺮﺩ ﻭ ﺑﺎ ﭼﺸﻤﺎﻧﻰ‬ ‫ﺍﺷﻚﺁﻟﻮﺩ )ﭼﺸﻤﺎﻧﺶ ﻛﻰ ﺑﻪ ﺍﺷﻚ ﺁﻏﺸﺘﻪ ﺷﺪﻩ ﺑﻮﺩﻧﺪ؟( ﭘﺘﻚ ﺭﺍ ﺑﺮ ﺳﺮ ﺟﺴﺪ ﺯﻥ ﻓﺮﻭﺩ ﻣﻰﺁﻭﺭﺩ‪.‬‬ ‫ﺳﺮ ﺯﻥ ﻣﺜﻞ ﻳﻚ ﻛﻴﺴﻪ ﻟﺠﻦ ﻣﻰﺗﺮﻛﺪ ﻭ ﻣﻐﺰﺵ ﻣﺜﻞ ﺑﺎﺭﺍﻥ ﺑﺮ ﺩﻳﻮﺍﺭ ﭘﺸﺖ ﺳﺮﺵ ﻭ ﺑﺮ ﺯﻣﻴﻦ ﻭ ﺗﺨﺖ‬ ‫ﻣﻰﭘﺎﺷﺪ‪ .‬ﺟﺴﺪ‪ ،‬ﺷﺎﻳﺪ ﺳﻪ ﺛﺎﻧﻴﻪ ﻫﻢﭼﻨﺎﻥ ﺣﺮﻛﺖ ﻣﻰﻛﻨﺪ ﻭ ﺑﻌﺪ ﻣﺜﻞ ﮔﻮﻧﻰ ﺷﻜﺮ ﺟﻠﻮﻯ ﭘﺎﻯ ﻣﺮﺩ‬ ‫ﻭﻝ ﻣﻰﺷﻮﺩ‪ .‬ﻫﻴﭻ ﭘﺎﺷﺶ ﺧﻮﻧﻰ ﺩﺭ ﻛﺎﺭ ﻧﻴﺴﺖ‪ .‬ﺧﻮﻥ ﺩﻭﺍﺯﺩﻩ ﺳﺎﻋﺖ ﺍﺳﺖ ﻛﻪ ﺧﺸﻜﻴﺪﻩ‪ .‬ﻳﺎ ﺳﻴﺰﺩﻩ‬ ‫ﺳﺎﻋﺖ؟‬ ‫ﻣﺮﺩ ﻛﻪ ﺣﺎﻻ ﻛﺎﻣ ً‬ ‫ﻼ ﺁﮔﺎﻩ ﺍﺳﺖ‪ ،‬ﺍﺯ ﮔﺬﺷﺘﻪ‪ ،‬ﺣﺎﻝ ﻭ ﺣﺘﺎ ﺁﻳﻨﺪﻩ‪ ،‬ﭘﺘﻚ ﺭﺍ ﺭﻫﺎ ﻣﻰﻛﻨﺪ‪ .‬ﭘﺘﻚ ﺑﺎ ﺻﺪﺍﻯ‬ ‫ﺩﺍﻧﮓ ﺑﻰﻣﻌﻨﺎﻳﻰ ﺑﺎ ﺯﻣﻴﻦ ﺑﺮﺧﻮﺭﺩ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺷﺒﺎﻧﮕﺎﻩ ﻛﻪ ﺑﺴﺘﺮﻡ ﺭﺍ ﺩﺭ ﺟﺴﺖﻭﺟﻮﻯ ﺁﻥ ﻣﻌﺸﻮﻕ ﺟﺴﺘﻢ‪ ،‬ﺍﺯ ﺍﻭ ﺍﺛﺮﻯ ﻧﻴﺎﻓﺘﻢ‪ ...‬ﭘﺲ ﺑﺮﺧﺎﺳﺘﻢ ﻭ ﺩﺭ‬ ‫ﺷﻬﺮ ﺑﻪ ﺟﺴﺖﻭﺟﻮﻳﺶ ﺷﺘﺎﻓﺘﻢ‪ ،‬ﺷﺎﻳﺪ ﻧﺸﺎﻧﻰ ﺍﺯ ﺍﻭ ﺑﺎﺯ ﻳﺎﺑﻢ‪ . ...‬ﺍﻯ ﺩﺧﺘﺮﺍﻥ ﺍﻭﺭﺷﻠﻴﻢ‪ ،‬ﺷﻤﺎ ﺭﺍ ﺑﻪ ﻫﺮ‬ ‫ﺁﻥ ﭼﻪ ﻣﻘﺪﺱ ﺍﺳﺖ ﻗﺴﻢ ﻣﻰﺩﻫﻢ‪ ،‬ﺧﻮﺍﺏ ﻣﻌﺸﻮﻗﻢ ﺭﺍ ﺁﺷﻔﺘﻪ ﻧﻜﻨﻴﺪ‪ .‬ﺗﺎ ﺍﻭ ﺍﻧﺪﻛﻰ ﻓﺎﺭﻍ ﺑﺨﺴﺒﺪ‪. ...‬‬ ‫ﻣﺎﻧﻴﺘﻮﺭ ﺷﻤﺎﺭﻩﻯ ‪ 4‬ﺍﻭﻟﻴﻦ ﺍﻋﻼﻡ ﺭﺳﻤﻰ ﭘﺨﺶ ﺷﺪﻥ ﻭﻳﺮﻭﺱ ‪ Z-563VH‬ﺭﺍ ﺑﻪ ﻧﻤﺎﻳﺶ ﮔﺬﺍﺷﺘﻪ‬ ‫ﺍﺳﺖ‪ .‬ﺗﺎﺭﻳﺦ ﺧﺒﺮ ﺑﺮﺍﻯ ﻳﻚ ﻣﺎﻩ ﭘﻴﺶ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻭﻳﺮﻭﺱ ﻗﺎﺩﺭ ﺍﺳﺖ ﺍﺯ ﺭﺍﻩ ﺧﻮﻥ ﻭ ﻣﺎﻳﻌﺎﺕ ﺑﺪﻥ‬ ‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪66‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺻﺪﺍ ﻫﻤﻪ ﺟﺎ ﺭﺍ ﺑﺎ ﻧﮕﺎﻫﺶ ﺯﻳﺮ ﻭ ﺭﻭ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻭ ﺗﻨﻬﺎﺳﺖ‪.‬‬ ‫ﺗﻨﻬﺎ‪.‬‬ ‫ﺻﺪﺍ ﺍﺯ ﺣﻨﺠﺮﻩﻯ ﺍﻭ ﺑﻴﺮﻭﻥ ﻣﻰﺁﻳﺪ‪ .‬ﺩﻗﺎﻳﻘﻰ ﭼﻨﺪ ﺍﺯ ﺍﻳﻦ ﺁﮔﺎﻫﻰ ﺳﭙﺮﻯ ﻣﻰﺷﻮﺩ؛ ﭼﻪ ﺁﮔﺎﻫﻰ ﺻﺮﻑ‬ ‫ﺑﺮﺍﻯ ﻣﺘﻮﻗﻒ ﻛﺮﺩﻥ ﺍﻳﻦ ﺻﺪﺍﻯ ﻏﺮﻳﺐ ﻛﺎﻓﻰ ﻧﻴﺴﺖ‪ .‬ﺍﻭ ﺑﺎﻳﺪ ﺗﻤﺎﻡ ﺗﻮﺍﻧﺶ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﺟﻤﻊ ﻛﻨﺪ‪ .‬ﻭﻗﺘﻰ‬ ‫ﺑﺎﻻﺧﺮﻩ ﻣﻮﻓﻖ ﻣﻰﺷﻮﺩ ﺧﻮﺩﺵ ﺭﺍ ﺁﺭﺍﻡ ﻛﻨﺪ‪ ،‬ﺗﻤﺎﻡ ﻟﺒﺎﺱﻫﺎﻳﺶ ﺍﺯ ﻋﺮﻕ ﺧﻴﺲ ﺷﺪﻩ‪ .‬ﺍﻧﮕﺎﺭ ﻫﻤﺎﻥﻃﻮﺭ‬ ‫ﻳﻚ ﺳﺮ ﺩﺭ ﺍﺳﺘﺨﺮﻯ ﭘﺮﻳﺪﻩ ﺑﺎﺷﺪ‪.‬‬ ‫ﻣﻐﺰﺵ ﭘﺎﺭﻩ ﭘﺎﺭﻩ ﺍﺳﺖ‪ .‬ﻣﺎﻧﻨﺪ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺿﺮﺑﻪ ﻭﺍﻗﻌﺎً ﺑﺮ ﺳﺮﺵ ﻓﺮﻭﺩ ﺁﻣﺪﻩ ﺑﺎﺷﺪ‪ .‬ﺳﻌﻰ ﻣﻰﻛﻨﺪ‬ ‫ﺗﻜﻪﻫﺎﻯ ﺳﺎﻟﻢﺗﺮ ﺭﺍ ﺑﻪ ﻫﻢ ﺍﺭﺗﺒﺎﻁ ﺩﻫﺪ‪ .‬ﺍﻭ ﺯﻧﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻭ ﺩﻳﻮﺍﻧﻪ ﻧﻴﺴﺖ‪ .‬ﺟﻬﺎﻥ ﺧﺎﺭﺝ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺍﻭ ﺩﺭ‬ ‫ﺍﺗﺎﻗﻰ ﻧﺸﺴﺘﻪ ﻛﻪ ﺩﻩ ﻣﺎﻧﻴﺘﻮﺭ ﺩﺭ ﺁﻥ ﻣﺸﻐﻮﻝ ﭘﺨﺶ ﺗﺼﺎﻭﻳﺮﻯ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﻪ ﺗﺮﺗﻴﺒﻰ ﺑﺎ ﻫﻢ ﻣﺮﺗﺒﻂﺍﻧﺪ‪.‬‬ ‫ﺳﺎﻋﺖ ﺩﻩ ﻭ ﺩﻭﺍﺯﺩﻩ ﺩﻗﻴﻘﻪﻯ ﺷﺐ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺭﺍ ﺍﺯ ﺳﺎﻋﺘﻰ ﺩﻳﺠﻴﺘﺎﻟﻰ ﻣﻰﻓﻬﻤﺪ ﻛﻪ ﺑﺮ ﻓﺮﺍﺯ ﻣﺎﻧﻴﺘﻮﺭﻫﺎ‬ ‫ﻧﺼﺐ ﺷﺪﻩ‪ .‬ﺩﺭ ﻛﻨﺎﺭﺵ ﺟﺴﺪﻯ ﻫﺴﺖ ﻛﻪ ﺳﻴﻢﻫﺎﻳﻰ ﺑﻪ ﺳﺮﺵ ﻭﺻﻞ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻭﻟﻰ ﭼﺮﺍ؟‬ ‫ﻫﻤﻪ ﭼﻴﺰ ﻣﺤﻮ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻭ ﺑﻪ ﭘﺘﻚ ﻛﻨﺎﺭ ﺻﻨﺪﻟﻰﺍﺵ ﺧﻴﺮﻩ ﻣﻰﺷﻮﺩ‪ .‬ﭘﺘﻚ ﻣﺜﻞ ﺩﻟﻘﻜﻰ ﺑﺎﺩﻯ ﻛﻪ ﻫﺮ‬ ‫ﮔﺎﻩ ﺑﺎ ﻣﺸﺖ ﺁﻥ ﺭﺍ ﺑﻪ ﺯﻣﻴﻦ ﺑﻴﻨﺪﺍﺯﻯ ﺑﺎﺯ ﺑﻪ ﺧﺎﻃﺮ ﻣﺮﻛﺰ ﺛﻘﻠﺶ ﺑﺎﻻ ﺑﻴﺎﻳﺪ‪ ،‬ﺑﻪ ﺫﻫﻨﺶ ﺳﻘﻠﻤﻪ ﻣﻰﺯﻧﺪ‪.‬‬ ‫ﺑﻪ ﺍﻭ ﻳﺎﺩﺁﻭﺭ ﻣﻰﺷﻮﺩ ﻛﻪ ﭼﻴﺰﻯ ﺭﺍ ﺍﺯ ﻳﺎﺩ ﺑﺮﺩﻩ‪ .‬ﺍﺯ ﻛﺎﺭﻯ ﻓﺮﻭﮔﺬﺍﺭﻯ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺑﻰﻫﻴﭻ ﻣﻘﺪﻣﻪﺍﻯ‪ ،‬ﺻﺪﺍﻯ ﺯﻧﮓ ﺧﻄﺮ ﺍﺯ ﺟﺎﻳﻰ ﺑﻠﻨﺪ ﻣﻰﺷﻮﺩ‪ .‬ﻣﺮﺩ ﻫﻴﺠﺎﻥﺯﺩﻩ ﺑﺎﺭ ﺩﻳﮕﺮ ﺍﺗﺎﻕ ﺭﺍ‬ ‫ﻣﻰﻛﺎﻭﺩ‪ .‬ﭼﺸﻤﺶ ﺭﻭﻯ ﺍﺳﻜﻦ ﻣﻐﺰﻯ ﻣﺘﻮﻗﻒ ﻣﻰﺷﻮﺩ‪ .‬ﭘﺲ ﺯﻣﻴﻨﻪﻯ ﻣﺮﺑﻊﺑﻨﺪﻯ ﺷﺪﻩ ﻛﻪ ﭘﻴﺶ ﺍﺯ‬ ‫ﺍﻳﻦ ﺳﺒﺰ ﺑﻮﺩ‪ ،‬ﺣﺎﻻ ﺁﺑﻰ ﭼﺸﻤﻚﺯﻥ ﺷﺪﻩ‪ .‬ﺟﺮﻗﻪﻫﺎﻳﻰ ﻧﻮﺭﺍﻧﻰ ﻣﺜﻞ ﺟﺮﮔﻪﻫﺎﻯ ﺁﺗﺶﺑﺎﺯﻯ ﺍﺯ ﺑﺮﺁﻣﺪﮔﻰ‬ ‫ﭘﺸﺖ ﭼﻴﺰﻯ ﻛﻪ ﺍﻧﮕﺎﺭ ﺗﺼﻮﻳﺮ ﻣﻐﺰﻯ ﺑﻮﺩ‪ ،‬ﺑﻴﺮﻭﻥ ﻣﻰﺟﻬﻨﺪ‪ .‬ﻣﺮﺩ ﺑﻪ ﺫﻫﻨﺶ ﻓﺸﺎﺭ ﺁﻭﺭﺩ‪ .‬ﻫﻤﻪﻯ ﺍﻳﻦﻫﺎ‬ ‫ﺑﺎﻳﺪ ﻣﻌﻨﻰ ﺧﺎﺻﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺣﺎﺿﺮ ﺑﻮﺩ ﻗﺴﻢ ﺑﺨﻮﺭﺩ ﻛﻪ ﺍﻳﻦﻫﺎ ﻫﻤﻪ ﻣﻬﻢﺍﻧﺪ‪.‬‬ ‫ﻣﺪﺗﻰ ﻫﻤﺎﻥﻃﻮﺭ ﺧﻴﺮﻩ ﺑﻪ ﻣﺎﻧﻴﺘﻮﺭ ﺩﺭ ﻣﺮﻛﺰ ﺍﺗﺎﻕ ﻣﻰﺍﻳﺴﺘﺪ‪ .‬ﺑﻌﺪ ﮔﻮﻳﻰ ﺁﮔﺎﻫﻰﺍﺵ ﺑﻪ ﺑﺎﻻ ﺳﻔﺮ ﻛﻨﺪ‬ ‫ﻭ ﺭﻭﻯ ﺳﻘﻒ ﻣﺜﻞ ﺧﻔﺎﺷﻰ ﺳﺮ ﻭ ﺗﻪ ﻗﻼﺏ ﺍﻓﻜﻨﺪ‪ ،‬ﺧﻮﺩﺵ ﺭﺍ ﻣﻰﻧﮕﺮﺩ ﻭ ﺍﺗﺎﻕ ﺭﺍ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﭼﻘﺪﺭ‬ ‫ﻭﺍﺿﺢ ﺑﻮﺩ‪ .‬ﺣﺎﻻ ﻛﻪ ﺍﺯ ﺷﺮ ﭘﻮﺳﺖ ﻭ ﺑﺪﻥ ﺳﻨﮕﻴﻨﺶ ﺭﻫﺎ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﭼﻘﺪﺭ ﺭﺍﺣﺖ ﻭ ﺷﻔﺎﻑ ﻓﻜﺮ‬ ‫ﻣﻰﻛﺮﺩ‪ .‬ﭘﻴﻜﺮ ﺧﻮﺩﺵ ﺭﺍ ﻣﻰﺩﻳﺪ ﻛﻪ ﺑﻰﺣﺮﻛﺖ ﺩﺭ ﻣﺮﻛﺰ ﺍﺗﺎﻕ ﺍﻳﺴﺘﺎﺩﻩ ﻭ ﺳﺘﻮﻥﻫﺎﻳﻰ ﺍﺯ ﺑﺨﺎﺭ ﺁﺏ‬ ‫ﮔﺎﻫﻰ ﺍﺯ ﺟﺎﻯﺟﺎﻯ ﺍﺗﺎﻕ ﺍﺯ ﻟﻮﻟﻪﻫﺎ ﺧﺎﺭﺝ ﻣﻰﺷﻮﻧﺪ ﺑﻌﺪ ﻧﺎﭘﺪﻳﺪ ﻣﻰﺷﻮﻧﺪ‪ .‬ﻣﺎﻧﻴﺘﻮﺭ ﻛﻪ ﻣﺪﺍﻡ ﺧﺎﻣﻮﺵ‬ ‫ﻭ ﺭﻭﺷﻦ ﻣﻰﺷﻮﺩ‪ .‬ﺟﺰ ﺍﻳﻦ ﺣﺮﻛﺘﻰ ﻧﻴﺴﺖ‪ .‬ﺑﻌﺪ ﮔﻮﺷﻪﻯ ﻣﻨﻈﺮﺵ ﺣﺮﻛﺘﻰ ﺩﻳﮕﺮ ﺭﺍ ﺿﺒﻂ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺁﮔﺎﻫﻰ ﺧﻔﺎﺵﻭﺍﺭ ﺑﻰﺟﺴﻢ ﻭ ﻣﻌﻠﻘﺶ ﺑﺪﺍﻥ ﻣﻌﻄﻮﻑ ﻣﻰﮔﺮﺩﺩ‪ .‬ﺣﺮﻛﺖ ﺍﺯ ﺟﺴﺪ ﺯﻳﺮ ﭘﺎﺭﭼﻪ ﺍﺳﺖ ﻛﻪ‬ ‫ﻛﺎﺑﻞﻫﺎﻯ ﺳﻴﺎﻩ ﺭﻧﮓ ﺍﺯ ﺁﻥ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪﻩ ﻣﻰﺷﻮﻧﺪ‪ .‬ﻛﺎﺑﻞﻫﺎ ﻣﺴﺘﻘﻴﻢ ﺑﻪ ﻣﻐﺰ ﺟﺴﺪ ﻭﺻﻞ ﺷﺪﻩﺍﻧﺪ‪.‬‬ ‫ﺍﺳﻜﻦ ﺭﻭﻯ ﻣﺎﻧﻴﺘﻮﺭ ﺑﺮﺍﻯ ﺁﻥ ﺟﺴﺪ ﺍﺳﺖ‪.‬‬ ‫ﺍﻭ ﻣﻰﺩﺍﻧﺴﺖ ﻛﻪ ﺁﻥ ﺟﺴﺪ ﻛﻴﺴﺖ‪ .‬ﺍﻳﻦﻛﻪ ﭼﺮﺍ ﺁﻥﺟﺎﺳﺖ ﻭ ﭼﺮﺍ ﺍﻳﻦ ﺳﻴﻢﻫﺎ ﺑﻪ ﺁﻥ ﻭﺻﻞ ﺷﺪﻩﺍﻧﺪ‪.‬‬ ‫‪65‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﺍﺯ ﻧﺎﺗﻮﺍﻧﻰﺍﺵ ﺍﺯ ﺣﻠﻘﺶ ﺑﻪ ﺩﺭﻭﻥ ﻣﻰﺭﻭﻧﺪ ﻭ ﻭﺍﺭﺩ ﻣﻌﺪﻩﺍﺵ ﻣﻰﺷﻮﻧﺪ ﻭ ﺍﺯ ﺍﺳﻴﺪ ﻣﻌﺪﻩﺍﺵ ﺑﻰﺣﺎﻝ‬ ‫ﻣﻰﺷﻮﻧﺪ‪ .‬ﻣﻌﺪﻩﺍﺵ ﺍﺯ ﺳﻮﺳﻚ ﭘﺮ ﻣﻰﺷﻮﺩ‪ .‬ﺳﻮﺳﻚﻫﺎ ﺩﺳﺖ ﻭ ﭘﺎ ﻣﻰﺯﻧﻨﺪ ﻭ ﻣﺮﻯ ﻭ ﻣﻌﺪﻩﺍﺵ ﺭﺍ‬ ‫ﻗﻠﻘﻠﻚ ﻣﻰﺩﻫﻨﺪ ﻭ ﻣﻰﺧﺮﺍﺷﻨﺪ‪ .‬ﺍﻧﮕﺎﺭ ﺗﺎ ﺍﺑﺪ ﺩﻟﻬﺮﻩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺍﻧﮕﺎﺭ ﺗﺎ ﺍﺑﺪ ﺑﺨﻮﺍﻫﺪ ﺑﻪ ﻣﻌﺸﻮﻗﺶ‬ ‫ﺍﻋﺘﺮﺍﻑ ﻛﻨﺪ ﻛﻪ ﺩﻭﺳﺘﺶ ﺩﺍﺭﺩ‪ .‬ﺑﻰ ﺁﻥ ﻛﻪ ﺑﺨﻮﺍﻫﺪ ﭼﺸﻤﺎﻧﺶ ﺑﺮ ﺭﻭﻯ ﻣﺎﻧﻴﺘﻮﺭ ﺷﻤﺎﺭﻩﻯ ‪ 2‬ﻗﻔﻞ‬ ‫ﻣﻰﺷﻮﻧﺪ‪ .‬ﻣﺎ���ﻴﺘﻮﺭ ﺩﺭ ﺟﺮﻳﺎﻥ ﺯﻣﺎﻧﻰ ﺩﻳﮕﺮﻯ ﺩﺭ ﺣﺎﻝ ﻧﻤﺎﻳﺶ ﺍﻭﺳﺖ‪ .‬ﺍﻭ ﺧﻮﺩﺵ ﺭﺍ ﻣﻰﺑﻴﻨﺪ ﻛﻪ ﺩﺭ‬ ‫ﺑﺮﺍﺑﺮ ﺩﻭﺭﺑﻴﻨﻰ ﻧﺸﺴﺘﻪ ﻭ ﺭﻭﭘﻮﺵ ﺳﻔﻴﺪ ﺑﻠﻨﺪﻯ ﺑﻪ ﺗﻦ ﺩﺍﺭﺩ‪ .‬ﺣﺘﺎ ﺻﺪﺍﻯ ﺧﻮﺩﺵ ﺭﺍ ﻣﻰﺷﻨﻮﺩ‪» .‬ﻣﻮﺭﺩ‬ ‫ﺷﻤﺎﺭﻩﻯ ‪ 11‬ﻣﺮﺩ ﻣﻴﺎﻧﺴﺎﻝ‪ ،‬ﻫﻨﺪﻭﺍﺭﻭﭘﺎﻳﻰ‪ .‬ﺑﻴﻤﺎﺭ ﺑﻪ ﻋﻠﺖ ﮔﺎﺯﮔﺮﻓﺘﮕﻰﻫﺎﻯ ﺷﺪﻳﺪ ﺩﺭ ﻧﺎﺣﻴﻪﻯ ﮔﺮﺩﻥ‬ ‫ﻭ ﺍﺯ ﺩﺳﺖ ﺭﻓﺘﻦ ﺧﻮﻥ ﻓﻮﺕ ﻛﺮﺩﻩ‪ .‬ﺯﻣﺎﻥ ﻣﺮگ ‪ 72:5‬ﺑﻌﺪﺍﺯﻇﻬﺮ‪ ،‬ﻳﻌﻨﻰ‪ « ...‬ﺧﻮﺩﺵ ﺩﺭ ﺗﺼﻮﻳﺮﺵ‬ ‫ﺑﻪ ﺳﺎﻋﺖ ﻣﭽﻰ ﺳﻴﺎﻩﺭﻧﮓ ﻛﺎﺳﻴﻮﺍﺵ ﻧﮕﺎﻩ ﻣﻰﻛﻨﺪ‪» .‬ﺩﻗﻴﻘﺎً ‪ 01‬ﺳﺎﻋﺖ ﻭ ﭘﺎﻧﺰﺩﻩ ﺩﻗﻴﻘﻪﻯ ﭘﻴﺶ‪.‬‬ ‫ﺟﺴﺪ ﺗﺤﺖ ﻧﻈﺎﺭﺕ ﻛﺎﻣﻞ ﺩﻛﺘﺮ ﺭﻭﺧﻴﻢ ﻭ ﻣﻦ ﻗﺮﺍﺭ ﺩﺍﺭﻩ‪ «.‬ﭘﺸﺖ ﺳﺮ ﺧﻮﺩ ﺩﺭ ﺗﺼﻮﻳﺮﺵ‪ ،‬ﺯﻧﻰ ﺭﺍ‬ ‫ﻣﻰﺑﻴﻨﺪ ﻛﻪ ﺑﺎ ﺭﻭﭘﻮﺵ ﺳﻔﻴﺪ ﭘﺰﺷﻜﻰ ﺩﺭ ﺍﻃﺮﺍﻑ ﻫﻤﺎﻥ ﺗﺨﺖ ﻛﻪ ﺣﺎﻻ ﻛﻨﺎﺭﺵ ﺑﻮﺩ‪ ،‬ﻣﻰﭼﺮﺧﺪ ﻭ‬ ‫ﺩﺭ ﺣﺎﻝ ﻣﻌﺎﻳﻨﻪﻯ ﺩﻗﻴﻖ ﺟﺴﺪ ﻣﺮﺩﻯ ﺍﺳﺖ ﻛﻪ ﺧﻮﺩ ﺩﺭ ﺗﺼﻮﻳﺮ ﻭﺻﻔﺶ ﺭﺍ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻫﻤﻪﻯ ﺍﻳﻦﻫﺎ‬ ‫ﺩﺭ ﺍﻭ ﻣﻰﻧﺸﻴﻨﻨﺪ‪ .‬ﺍﻭ ﺣﺲ ﻣﻰ ﻛﻨﺪ ﺑﻪ ﻳﺎﺩ ﻣﻰﺁﻭﺭﺩ‪ ،‬ﭼﻴﺰﻯ ﺭﺍ‪ ،‬ﺍﻣﺎ ﺳﻮﺳﻚﻫﺎ ﺍﻣﺎﻧﺶ ﻧﻤﻰﺩﻫﻨﺪ‪ .‬ﺩﺭ‬ ‫ﺗﻤﺎﻡ ﺍﻳﻦ ﻣﺪﺕ ﺳﻮﺳﻚﻫﺎ ﺣﻠﻘﺶ ﺭﺍ ﭘﺮ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺑﻌﺪ ﺷﺮﻭﻉ ﻣﻰﻛﻨﻨﺪ ﺑﻪ ﮔﺴﻼﻧﺪﻥ ﺑﺪﻧﺶ‪ .‬ﺍﺯ ﺯﻳﺮ‬ ‫ﭘﻮﺳﺘﺶ ﺑﻪ ﻫﻤﻪ ﺟﺎﻯ ﺑﺪﻧﺶ ﺳﺮﺍﻳﺖ ﻣﻰﻛﻨﻨﺪ ﻭ ﻣﺜﻞ ﻣﻮﺭﻳﺎﻧﻪ ﻫﻀﻤﺶ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺍﻭ ﺩﻳﮕﺮ ﺍﺯ ﻫﻢ‬ ‫ﻣﻰﭘﺎﺷﺪ‪ .‬ﻣﻤﻜﻦ ﻧﻴﺴﺖ ﺑﻴﺶ ﺍﺯ ﺍﻳﻦ ﺑﺘﻮﺍﻧﺪ ﺗﺤﻤﻞ ﻛﻨﺪ‪ .‬ﻧﮕﺎﻫﺶ ﺭﺍ ﺍﺯ ﻣﺎﻧﻴﺘﻮﺭ ‪ 2‬ﺑﺎﺭ ﺩﻳﮕﺮ ﻣﺘﻮﺟﻪ‬ ‫ﻣﺮﺩﻙ ﻟﻌﻨﺘﻰ ﻣﻰﻛﻨﺪ‪ .‬ﺑﺎﻳﺪ ﺗﺎ ﻫﻨﻮﺯ ﻣﺘﻼﺷﻰ ﻧﺸﺪﻩ ﺍﻳﻦ ﺿﺮﺑﻪ ﺭﺍ ﻭﺍﺭﺩ ﻛﻨﺪ‪ .‬ﺑﺎﻳﺪ ﺍﻧﺘﻘﺎﻡ ﺑﮕﻴﺮﺩ‪ .‬ﺑﻨﺪﺑﻨﺪ‬ ‫ﺑﺪﻧﺶ ﺍﺯ ﻫﻢ ﮔﺴﺴﺘﻪ ﻣﻰﺷﻮﺩ‪ .‬ﺗﺎﻧﺪﻭﻥﻫﺎ ﺍﺯ ﺍﺳﺘﺨﻮﺍﻥﻫﺎ ﺑﺎﺯ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺭﺑﺎﻁﻫﺎ ﻛﺶ ﻣﻰﺁﻳﻨﺪ ﻭ ﺑﺎ‬ ‫ﺻﺪﺍﻳﻰ ﭼﻨﺪﺵﺁﻭﺭ ﭘﺎﺭﻩ ﻣﻰﺷﻮﻧﺪ‪ .‬ﻏﻼﻑ ﺩﻭﺭ ﻣﺎﻫﻴﭽﻪﻫﺎ ﺫﻭﺏ ﻣﻰﺷﻮﺩ ﻭ ﺍﻣﻌﺎء ﻭ ﺍﺣﺸﺎﻳﺶ ﻫﻤﭽﻮﻥ‬ ‫ﺟﺎﻧﻮﺭﺍﻥ ﭼﻨﺪ ﺩﺳﺖ ﻭ ﭘﺎﻯ ﺷﻞ ﻭ ﻭﻟﻰ ﻛﻪ ﺩﺭ ﻓﺮﻡﺁﻟﺪﻫﻴﺪ ﻓﺮﻭ ﻏﻠﺘﻨﺪ‪ ،‬ﺩﺭ ﭘﺮﺩﻩﻯ ﺻﻔﺎﻗﺶ ﺳﻨﮕﻴﻨﻰ‬ ‫ﻣﻰﻛﻨﻨﺪ‪ .‬ﻫﺮ ﺁﻥ ﭘﻮﺳﺘﺶ ﺍﺯ ﻫﻢ ﻣﻰﭘﺎﺷﺪ ﻭ ﺍﺳﺘﺨﻮﺍﻥﻫﺎﻳﺶ ﭘﻮﺩﺭ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺑﻌﺪ ﺩﺭﺳﺖ ﻳﻚ ﺛﺎﻧﻴﻪ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦﻛﻪ ﺍﺯ ﻫﻢ ﺑﮕﺴﻠﺪ ﻭ ﻫﻢﭼﻮﻥ ﺍﺳﺘﻔﺮﺍﻍ ﭘﺨﺶ ﺯﻣﻴﻦ ﺷﻮﺩ‪ ،‬ﭘﺘﻚ‬ ‫ﺑﺎ ﻗﺪﺭﺕ ﻗﻄﺎﺭﻯ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻤﻰ ﻛﻪ ﺩﻭﺩﻯ ﺁﺳﻤﺎﻥﮔﻴﺮ ﻭ ﺷﻴﻄﺎﻧﻰ ﺍﺯ ﺧﻮﺩ ﺑﻴﺮﻭﻥ ﻣﻰﺩﻫﺪ‪ ،‬ﺑﻪ ﻣﻐﺰ‬ ‫ﻣﺮﺩﻙ ﻣﻠﻌﻮﻥ ﺑﺮﺧﻮﺭﺩ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺟﻤﺠﻤﻪﻯ ﻣﺮﺩ ﻣﺜﻞ ﻫﻨﺪﻭﺍﻧﻪ ﺧﻮﺭﺩ ﻣﻰﺷﻮﺩ ﻭ ﻣﻐﺰ ﻭ ﺧﻮﻥ ﻭ ﻟﻨﻒ ﻭ ﻣﺎﻳﻊ ﻣﻐﺰﻯ ﻧﺨﺎﻋﻰ ﻫﻤﻪ ﺟﺎﺭ‬ ‫ﺭﺍ ﭘﺮ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﻣﺮﺩ ﺑﺮ ﻣﻰﺧﻴﺰﺩ ﻭ ﺑﺎ ﻭﺣﺸﺘﻰ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﺗﺎﺭﻳﺦ‪ ،‬ﺑﻪ ﭘﺸﺖ ﺳﺮﺵ ﻧﮕﺎﻩ ﻣﻰﻛﻨﺪ‪ .‬ﺑﻪ ﺩﻧﺒﺎﻝ ﺁﻥ ﭘﺘﻚ‬ ‫ﺑﻪ ﺩﺳﺖ‪ .‬ﺍﻣﺎ ﻫﻴﭻ ﻛﺲ ﻧﻴﺴﺖ‪ .‬ﺻﺪﺍﻯ ﻓﺮﻳﺎﺩﻯ ﻭﺣﺸﺖﺯﺩﻩ ﻭ ﻣﻤﺘﺪ ﺍﺗﺎﻕ ﺭﺍ ﭘﺮ ﻛﺮﺩﻩ‪ .‬ﺑﻪ ﺩﻧﺒﺎﻝ ﻣﻨﺒﻊ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪64‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﭼﻪ ﭼﻴﺰﻯ ﻓﻜﺮ ﻣﻰﻛﺮﺩ ﻛﻪ ﺍﻳﻦ ﻗﺪﺭ ﻓﺎﺭﻍ ﺍﺯ ﻫﻤﻪ ﭼﻴﺰ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﻗﺪﺭ ﻣﺠﺮﺩ‪ .‬ﺍﻳﻦﻗﺪﺭ ﺩﺳﺖ ﻧﻴﺎﻓﺘﻨﻰ‪.‬‬ ‫ﺍﺯ ﺯﺍﻭﻳﻪﺍﻯ ﻛﻪ ﻣﺎ ﺷﺎﻫﺪﺵ ﻫﺴﺘﻴﻢ‪ ،‬ﺍﺯ ﭘﺸﺖ ﺳﺮ ﺑﻪ ﺳﻤﺖ ﻣﺮﺩﻯ ﻛﻪ ﺩﺭ ﺗﺼﻮﻳﺮ ﺍﺳﺖ‪ ،‬ﺩﺳﺖ ﺩﺭﺍﺯ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﺳﻌﻰ ﻣﻰﻛﻨﺪ ﺷﺎﻧﻪﻫﺎﻯ ﻣﺮﺩ ﻟﻌﻨﺘﻰ ﺭﺍ ﻛﻪ ﻋﻴﻨﻚ ﻭﺯﻏﻰ ﻣﺴﺨﺮﻩﻯ ﺁﺯﺍﺭ ﺩﻫﻨﺪﻩﺍﻯ ﺩﺍﺭﺩ‪،‬‬ ‫ﺑﮕﻴﺮﺩ ﻭ ﺗﻜﺎﻥ ﺑﺪﻫﺪ‪ .‬ﭼﻨﺎﻥ ﺗﻜﺎﻥ ﺑﺪﻫﺪ ﻛﻪ ﻣﺮﺩ ﺣﺎﻟﺶ ﺑﻬﻢ ﺑﺨﻮﺭﺩ ﻭ ﺑﺎﻻ ﺑﻴﺎﻭﺭﺩ‪ .‬ﺍﺻ ً‬ ‫ﻼ ﭘﺘﻚ ﺭﺍ ﻛﻪ‬ ‫ﻛﻨﺎﺭ ﺻﻨﺪﻟﻰ ﻣﺮﺩ ﺍﻳﻦ ﻃﻮﺭ ﻳﻠﻪ ﻭ ﻭﻟﻨﮕﺎﺭ ﺍﻓﺘﺎﺩﻩ‪ ،‬ﺑﺮﺩﺍﺭﺩ ﻭ ﻣﻐﺰ ﻣﺮﺩ ﺭﺍ ﺭﻭﻯ ﺩﻳﻮﺍﺭ ﺑﭙﺎﺷﺪ‪ .‬ﻫﻤﻴﻦ ﻛﺎﺭ ﺭﺍ‬ ‫ﺑﺎﻳﺪ ﺑﻜﻨﺪ‪ .‬ﺑﻪ ﺳﻤﺖ ﭘﺘﻚ ﻣﻰﺭﻭﺩ‪ .‬ﺩﺳﺘﺶ ﺭﺍ ﺩﻭﺭ ﺩﺳﺘﻪﻯ ﻓﻠﺰﻯ ﻛﻠﻔﺖ ﺳﻔﺖ ﻣﻰﻛﻨﺪ‪ .‬ﻣﺮﺩ ﺑﻰﺗﻮﺟﻪ‬ ‫ﺍﺳﺖ‪ .‬ﻫﻢﭼﻨﺎﻥ ﺩﺭ ﺁﻥ ﻓﻜﺮ ﻣﺠﺮﺩ ﻓﺮﻭ ﺭﻓﺘﻪ‪ .‬ﺍﺯ ﺟﻬﺎﻥ ﻛﻨﺪﻩ ﺷﺪﻩ‪ .‬ﻣﺮﺩﻯ ﻛﻪ ﺍﺯ ﺯﺍﻭﻳﻪﻯ ﭼﺸﻢ ﻣﺎ ﻧﮕﺎﻩ‬ ‫ﻣﻰﻛﻨﺪ‪ ،‬ﻳﻚ ﻟﺤﻈﻪ ﺗﺮﺩﻳﺪ ﻣﻰﻛﻨﺪ‪ .‬ﻧﻜﻨﺪ ﺍﻳﻦ ﻓﻴﻠﺴﻮﻑ ﻟﻤﻴﺪﻩ ﺑﺮ ﺻﻨﺪﻟﻰ ﻣﺮﺩﻩ ﺑﺎﺷﺪ؟‬ ‫ﺍﻣﺎ ﻓﻜﺮ ﺭﺍ ﺍﺯ ﺫﻫﻨﺶ ﺩﻭﺭ ﻣﻰﻛﻨﺪ‪ .‬ﺩﺳﺘﺶ ﺭﺍ ﺟﻠﻮﻯ ﺻﻮﺭﺗﺶ ﻃﻮﺭﻯ ﺗﻜﺎﻥ ﻣﻰﺩﻫﺪ ﻛﻪ ﺍﻧﮕﺎﺭ‬ ‫ﻣﮕﺴﻰ ﺭﺍ ﻣﻰﭘﺮﺍﻧﺪ‪ .‬ﭘﺘﻚ ﺭﺍ ﻛﻪ ﺑﻴﺶ ﺍﺯ ﺍﺭﺯﻳﺎﺑﻰﺍﺵ ﺳﻨﮕﻴﻦ ﺍﺳﺖ‪ ،‬ﺑﻠﻨﺪ ﻣﻰﻛﻨﺪ ﻭ ﺑﺮ ﺭﻭﻯ ﺷﺎﻧﻪﺍﺵ‬ ‫ﻣﻰﮔﺬﺍﺭﺩ‪ .‬ﺳﻌﻰ ﻣﻰﻛﻨﺪ ﺩﻗﻴﻘﺎً ﻣﻐﺰ ﻣﺮﺩﻙ ﺭﺍ ﻧﺸﺎﻧﻪ ﺑﮕﻴﺮﺩ‪ .‬ﺑﻪ ﻳﺎﺩ ﺣﺮﻑﻫﺎﻯ ﻣﺮﺑﻰ ﺑﻴﺴﺒﺎﻟﺶ‬ ‫ﻣﻰﺍﻓﺘﺪ ﻛﻪ ﻣﻰﮔﻔﺖ ﺑﺎﻳﺪ ﻫﻤﻪﻯ ﺑﺪﻧﺖ ﺭﺍ ﺑﭽﺮﺧﺎﻧﻰ‪ .‬ﻧﻪ ﺗﻨﻬﺎ ﺩﺳﺘﺎﻧﺖ ﺭﺍ‪.‬‬ ‫ﭘﺘﻚ ﺭﺍ ﺑﻪ ﻭﺣﺸﻴﺎﻧﻪﺗﺮﻳﻦ ﺯﺍﻭﻳﻪﻯ ﻣﻤﻜﻦ ﺑﺎﻻ ﻣﻰﺑﺮﺩ ﺗﺎ ﺑﭽﺮﺧﺎﻧﺪ ﻭ ﻣﻐﺰ ﺁﻥ ﻓﻴﻠﺴﻮﻑ ﻧﻔﺮﻳﻨﻰ ﺭﺍ ﻛﻪ‬ ‫ﻭﺟﻮﺩﺵ ﻣﺜﻞ ﺳﻄﺢ ﻣﺮﺩﺍﺑﻰ ﮔﻨﺪﻳﺪﻩ ﻭ ﻗﺎﺭچ ﮔﺮﻓﺘﻪ‪ ،‬ﺳﻴﺎﻫﻰ ﻭ ﻧﻔﺮﺕ ﻣﻰﭘﺮﺍﻛﻨﺪ‪ ،‬ﭘﺮﻳﺸﺎﻥ ﻛﻨﺪ‪ .‬ﺗﻤﺎﻡ‬ ‫ﺧﺸﻤﺶ ﺍﺯ ﺍﻳﻦ ﻓﺮﺍﻣﻮﺷﻰ‪ ،‬ﺍﺯ ﺍﻳﻦ ﻗﺎﻳﻢﺑﺎﺷﻚﺑﺎﺯﻯ ﺁﮔﺎﻫﻰﺍﺵ ﺭﺍ ﺩﺭ ﺍﻳﻦ ﺿﺮﺑﻪ ﺟﻤﻊ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻳﻦ‬ ‫ﺩﺯﺩ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﺻﻨﺪﻟﻰ ﺍﻓﺘﺎﺩﻩ ﻣﺜﻞ ﻣﺮﺩﻩﻫﺎ‪ ،‬ﺍﻳﻦ ﻣﻮﺟﻮﺩ ﺗﻬﻮﻉﺁﻭﺭ ﺁﮔﺎﻫﻰﺍﺵ ﺭﺍ ﺩﺯﺩﻳﺪﻩ‪ .‬ﺍﻳﻦ ﺭﺍ‬ ‫ﻣﻰﺩﺍﻧﺪ‪ .‬ﺑﺎ ﺗﻚﺗﻚ ﺳﻠﻮﻝﻫﺎﻯ ﻣﻐﺰﺵ ﻭ ﻫﻤﻪﻯ ﭘﻮﺳﺖ ﺗﻨﺶ ﺍﻳﻦ ﻭﺍﻗﻌﻴﺖ ﺭﺍ ﺣﺲ ﻣﻰﻛﻨﺪ‪ .‬ﺧﺸﻢ ﻭ‬ ‫ﺑﻰﺣﻮﺻﻠﮕﻰ ﻭ ﺁﺯﺍﺭﻯ ﻛﻪ ﺁﻥ ﺻﺪﺍ ﻭ ﺻﻮﺭﺕ ﺑﺮ ﺍﻭ ﺗﺤﻤﻴﻞ ﻛﺮﺩﻩﺍﻧﺪ‪ ،‬ﺯﻳﺮ ﺳﺮ ﺍﻭﺳﺖ‪ .‬ﺍﻭ‪ ،‬ﻭﻗﺘﻰ ﺣﻮﺍﺳﺶ‬ ‫ﻧﺒﻮﺩﻩ‪ ،‬ﻛﻮﻳﻮﺕ ﺭﺍ ﺯﻳﺮ ﭘﺎﺭﭼﻪﻯ ﺳﻔﻴﺪ ﮔﺬﺍﺷﺘﻪ‪ .‬ﺍﻭ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﺟﺎﻧﺶ ﺍﻧﺪﺍﺧﺘﻪ‪ .‬ﺍﻭ ﻛﻪ ﻣﻌﻠﻮﻡ ﻧﻴﺴﺖ ﺩﺭ‬ ‫ﺑﺮﺍﺑﺮ ﺍﻳﻦ ﺩﻡ ﻭ ﺩﺳﺘﮕﺎﻩ ﺟﺎﺩﻭﮔﺮﺍﻧﻪ ﭼﺮﺍ ﻧﺸﺴﺘﻪ‪.‬‬ ‫ﭘﺘﻚ ﺭﺍ ﻣﻰﭼﺮﺧﺎﻧﺪ‪ .‬ﺯﻣﺎﻥ ﺑﺎﺭ ﺩﻳﮕﺮ ﺗﺎ ﻳﻚ ﻣﻴﻠﻴﺎﺭﺩ ﺳﺎﻝ ﻛﺶ ﻣﻰﺁﻳﺪ‪ .‬ﻗﻄﺮﻩﻫﺎﻯ ﻋﺮﻕ ﺳﺮﺩﻯ ﻛﻪ‬ ‫ﺍﺯ ﺷﺪﺕ ﺧﺸﻢ ﻭ ﺍﺿﻄﺮﺍﺏ ﺭﻭﻯ ﺗﻨﺶ ﻧﺸﺴﺘﻪﺍﻧﺪ‪ ،‬ﺑﺎ ﺳﺮﻋﺖ ﻳﻚ ﻧﺎﻧﻮﻣﺘﺮ ﺩﺭ ﻗﺮﻥ ﺑﻪ ﺟﻠﻮ ﻣﻰﺧﺰﻧﺪ‪.‬‬ ‫ﻋﺠﺐ ﻋﺬﺍﺏ ﺧﺎﺭﺝ ﺍﺯ ﺗﺼﻮﺭﻯ‪ .‬ﭼﻄﻮﺭ ﻛﻠﻤﺎﺕ ﺭﺍ ﺑﻪ ﺯﻧﺠﻴﺮ ﺑﻜﺸﺪ ﺗﺎ ﺩﺭ ﺩﺭﻭﻥ ﺫﻫﻦ ﻣﺤﺼﻮﺭ ﺑﻪ‬ ‫ﺯﺑﺎﻥ ﻭ ﺍﻧﺴﺎﻧﻰﺍﺵ ﺁﻏﺎﺯ ﺑﻪ ﺩﺭﻙ ﺍﻳﻦ ﻫﻤﻪ ﻛﻨﺪ؟ ﺍﻧﮕﺎﺭ ﻫﺰﺍﺭ ﺳﻮﺳﻚ ﻭ ﺳﻮﺳﺮﻯ ﺳﻴﺎﻩ ﺍﺯ ﺗﻨﺶ ﺑﺎﻻ‬ ‫ﻣﻰﺭﻭﻧﺪ ﻭ ﺗﻮﻯ ﺣﻠﻘﺶ ﻓﺮﻭ ﻣﻰﺭﻭﻧﺪ‪ .‬ﺧﺮﭼﻨﮓﻫﺎ ﺭﻭﻯ ﺷﻜﻤﺶ ﻣﻰﺧﺰﻧﺪ ﻭ ﻫﺰﺍﺭﭘﺎﻫﺎ ﻭ ﻋﻨﻜﺒﻮﺕﻫﺎ‬ ‫ﺍﺯ ﺗﻮﻯ ﻛﺎﺳﻪﻯ ﭼﺸﻤﺶ ﻭ ﮔﻮﺵﻫﺎﻳﺶ‪ ،‬ﻣﺜﻞ ﻣﺮﺩﮔﺎﻧﻰ ﻛﻪ ﺗﻘﻼﻛﻨﺎﻥ ﺍﺯ ﻗﺒﺮ ﺑﻴﺮﻭﻥ ﺑﻴﺎﻳﻨﺪ‪ ،‬ﺩﻩ ﺳﺎﻝ‬ ‫ﺑﻌﺪ ﺍﺯ ﻣﺮﮔﺸﺎﻥ‪ ،‬ﺧﺎﺭﺝ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺍﻭ ﻳﻚ ﻣﻴﻠﻴﺎﺭﺩ ﺳﺎﻝ ﺗﻤﺎﻡ ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﺩﺭ ﺣﺎﻝ ﻣﺒﺎﺭﺯﻩ ﺍﺳﺖ‪ .‬ﺍﻣﺎ‬ ‫ﻫﻤﭽﻮﻥ ﺭﺑﺎﺗﻰ ﻛﻪ ﺑﺮﻧﺎﻣﻪﺭﻳﺰﻯ ﺷﺪﻩ ﻭ ﺁﻥﻛﻪ ﺩﺳﺘﻮﺭ ﺭﺍ ﻧﻮﺷﺘﻪ‪ ،‬ﻣﺪﺕﻫﺎ ﭘﻴﺶ ﻣﺮﺩﻩ ﺑﺎﺷﺪ‪ ،‬ﺟﺰ ﻛﺎﺭﻯ‬ ‫ﻛﻪ ﺑﺎﻳﺪ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺍﻧﺠﺎﻡ ﺩﻫﺪ‪ .‬ﺍﻭ ﻣﺤﻜﻮﻡ ﺍﺳﺖ ﺍﻳﻦ ﺿﺮﺑﻪ ﺭﺍ ﻭﺍﺭﺩ ﺁﻭﺭﺩ‪ .‬ﺳﻮﺳﻚﻫﺎ ﺑﺎ ﺁﺭﺍﻣﺶ ﺧﺎﻃﺮ‬ ‫‪63‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺳﻮﺭﺍﺥ ﻣﻰﻛﻨﺪ‪ .‬ﺻﺪﺍﻯ ﻧﺎﻟﻪﻯ ﺧﻮﺩﺵ ﺭﺍ ﻣﻰﺷﻨﻮﺩ ﻛﻪ ﺑﻪ ﺳﺎﻥ ﻧﺎﻟﻪﻯ ﺑﻴﻤﺎﺭﻯ ﻭﺑﺎﻳﻰ ﺍﺯ ﮔﻠﻮﻳﺶ‬ ‫ﺧﺎﺭﺝ ﻣﻰﺷﻮﺩ‪ .‬ﺑﻪ ﻫﻤﺮﺍﻩ ﺁﮔﺎﻫﻰ ﺗﺎﺯﻩ ﻳﺎﻓﺘﻪﺍﺵ‪ ،‬ﺻﻮﺭﺗﻰ ﺩﺭ ﺫﻫﻨﺶ ﺟﺎ ﺑﺎﺯ ﻣﻰﻛﻨﺪ‪ .‬ﺑﻰﺍﺳﻢ‪ .‬ﺑﻰﻫﻴﭻ‬ ‫ﻫﻮﻳﺘﻰ‪ .‬ﻛﻢﻛﻢ ﻧﻘﺎﺏ ﺑﻰﺭﻭﺡ ﻭ ﭘﻮﺳﺖ ﺑﻰﺗﺮﺗﻴﺐ ﺟﺎﻳﺸﺎﻥ ﺭﺍ ﺑﻪ ﭼﺸﻤﺎﻧﻰ ﻣﻰﺩﻫﻨﺪ ﻛﻪ ﭼﻮﻥ ﺩﻭ ﮔﻮﻯ‬ ‫ﺍﻳﺮﻳﺪﻳﻮﻡ‪ ،‬ﭘﻮﺳﺖ ﺭﺍ ﺫﻭﺏ ﻣﻰﻛﻨﻨﺪ ﻭ ﺁﺷﻜﺎﺭﺍ ﺑﺮﻕ ﻣﻰﺯﻧﻨﺪ ﻭ ﺑﻴﻨﻰ ﺻﺎﻓﻰ ﻫﻤﭽﻮﻥ ﺣﺸﺮﻩﺍﻯ ﻛﻪ ﺑﺎ‬ ‫ﺩﻭﺭ ﺗﻨﺪ ﺍﺯ ﭘﻴﻠﻪﺍﻯ ﺧﺎﺭﺝ ﺷﻮﺩ‪ ،‬ﭘﻴﺪﺍ ﻣﻰﺷﻮﺩ‪ .‬ﺩﻫﺎﻥ ﻛﻪ ﺗﺎ ﺁﻥ ﻟﺤﻈﻪ ﺻﺮﻓﺎً ﺧﻄﻰ ﺑﻮﺩ ﺑﺮﺍﻯ ﺧﺮﻭﺝ‬ ‫ﺻﺪﺍ‪ ،‬ﺣﺎﻻ ﺷﻜﻠﻰ ﻣﺘﻤﺎﻳﺰ ﻭ ﺍﻧﺴﺎﻧﻰ ﺑﻪ ﺧﻮﺩ ﻣﻰﮔﻴﺮﺩ‪ .‬ﺍﻳﻦ ﭼﻬﺮﻩ ﺑﻰﺷﻚ ﻣﺘﻌﻠﻖ ﺑﻪ ﺯﻧﻰ ﺍﺳﺖ ﻛﻪ‬ ‫ﺍﻭ ﻣﻰﺷﻨﺎﺧﺘﻪ‪.‬‬ ‫ﺑﺎﺭ ﺩﻳﮕﺮ ﺑﻪ ﻣﺎﻧﻴﺘﻮﺭﻫﺎ ﺧﻴﺮﻩ ﻣﻰﺷﻮﺩ‪ .‬ﻣﺎﻧﻴﺘﻮﺭ ‪ 1‬ﺗﺼﻮﻳﺮ ﻣﺮﺩﻣﻰ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﻫﺪ ﻛﻪ ﺑﻪ ﺳﻤﺖ‬ ‫ﺳﺮﺑﺎﺯﺍﻧﻰ ﻛﻪ ﺑﺎ ﺷﺪﺕ ﻫﺮ ﭼﻪ ﺑﻴﺸﺘﺮ ﺑﻪ ﺳﻤﺖ ﺁﻥﻫﺎ ﺷﻠﻴﻚ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺑﻪ ﭘﻴﺶ ﻣﻰﺭﻭﻧﺪ‪ .‬ﺩﺭ ﺷﻠﻴﻚ‬ ‫ﮔﻠﻮﻟﻪﻫﺎ ﺟﺪﻳﺖ ﺑﺴﻴﺎﺭﻯ ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺣﺎﺻﻞ ﺍﻧﺪﻙ ﺍﺳﺖ‪ .‬ﺳﻼﺡﻫﺎ ﺑﻰﺍﺛﺮﻧﺪ‪ .‬ﺟﺰ ﺗﻌﺪﺍﺩ ﻛﻤﻰ‬ ‫ﺍﺯ ﻣﺮﺩﺍﻥ ﻭ ﺯﻧﺎﻥ ﻭ ﻛﻮﻛﺎﻥ ﻛﻪ ﻓﺮﻭ ﻣﻰﺭﻳﺰﻧﺪ‪ ،‬ﺑﺎﻗﻰ ﺑﻰﺗﻔﺎﻭﺕ‪ ،‬ﺍﻧﮕﺎﺭ ﻛﻠﻴﺪ ﺧﺎﻣﻮﺷﻰ ﺳﻴﺴﺘﻢ ﺩﺭﻙ‬ ‫ﺩﺭﺩﺷﺎﻥ ﺭﺍ ﺯﺩﻩ ﺑﺎﺷﻨﺪ‪ ،‬ﺑﻪ ﭘﻴﺸﺮﻭﻯ ﺍﺩﺍﻣﻪ ﻣﻰﺩﻫﻨﺪ‪ .‬ﻣﻮﺝ ﺟﻤﻌﻴﺖ ﻫﻤﻴﻦﻃﻮﺭ ﺑﻪ ﭘﻴﺶ ﻣﻰﺭﻭﺩ‪ .‬ﻭﻗﺘﻰ‬ ‫ﻳﻜﻰ ﻓﺮﻭ ﻣﻰﺍﻓﺘﺪ‪ ،‬ﺩﻩ ﺗﺎﻯ ﺩﻳﮕﺮ ﺟﺎﻳﺶ ﺭﺍ ﭘﺮ ﻣﻰﻛﻨﻨﺪ ﻭ ﺍﺯ ﺭﻭﻯ ﺟﺴﺪﺵ ﻋﺒﻮﺭ ﻣﻰﻛﻨﻨﺪ‪ .‬ﭘﺎﻛﺸﺎﻥ‬ ‫ﻣﺜﻞ ﺩﺳﺘﻪﺍﻯ ﺳﻴﺎﻩﻣﺴﺖ‪ .‬ﺍﻧﮕﺎﺭ ﻫﻴﭻ ﺩﺭﻛﻰ ﺍﺯ ﺁﻥ ﻛﻪ ﻣﻰﺍﻓﺘﺪ ﻭ ﺧﻄﻰ ﺍﺯ ﻧﻈﺎﻣﻴﺎﻥ ﻛﻪ ﺑﻪ ﺳﻮﻳﺸﺎﻥ‬ ‫ﺁﺗﺶ ﺑﺎﺯ ﻛﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺩﺭ ﺁﻥﻫﺎ ﻧﻴﺴﺖ‪ .‬ﺍﻳﻦﺟﺎ ﭼﻴﻦ ﺍﺳﺖ‪ .‬ﻛﻠﻤﺎﺕ ﻏﻴﺮﻣﻌﻘﻮﻟﻰ ﻛﻪ ﻣﺜ ً‬ ‫ﻼ ﺑﺎﻳﺪ ﻣﻔﻬﻮﻣﻰ‬ ‫ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ ،‬ﻧﻤﺎﻳﺎﻧﮕﺮ ﺍﻳﻦ ﻣﻮﺿﻮﻋﻨﺪ‪ .‬ﺗﺼﻮﻳﺮ ﺿﺒﻂ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺗﺎﺭﻳﺨﺶ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﻛﻪ ﻫﻔﺪﻩ‬ ‫ﺟﻮﻻﻯ ‪ 8202‬ﺍﺳﺖ‪.‬‬ ‫ﻣﺎﻧﻴﺘﻮﺭ ﺷﻤﺎﺭﻩﻯ ‪ 6‬ﺭﺍ ﺯﻳﺮ ﻧﻈﺮ ﻣﻰﮔﻴﺮﺩ‪ .‬ﻣﺪﺗﻰ ﻃﻮﻝ ﻣﻰﻛﺸﺪ ﻛﻪ ﭘﻴﻜﺴﻞﻫﺎ ﻣﻌﻨﻰ ﺍﻳﺠﺎﺩ ﻛﻨﻨﺪ‪.‬‬ ‫ﺑﻪ ﻛﻨﺪﻯ ﺍﻣﺎ ﻗﻄﻌﺎﺕ ﭘﺎﺯﻝ ﺩﺭ ﺫﻫﻨﺶ ﻛﻨﺎﺭ ﻫﻢ ﺟﻤﻊ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺍﻳﻦﺟﺎ ﺁﻓﺮﻳﻘﺎﺳﺖ‪ .‬ﺗﺼﻮﻳﺮ ﺍﺯ ﻛﻤﭗ‬ ‫ﺑﺎﺯﻣﺎﻧﺪﮔﺎﻥ ﺟﻨﮓ ﺍﺳﺖ‪ .‬ﻧﻪ‪ ،‬ﺟﻨﮓ ﻧﻪ‪ .‬ﺑﻪ ﺫﻫﻨﺶ ﻓﺸﺎﺭ ﻣﻰﺁﻭﺭﺩ‪ .‬ﻛﺎﺭﻯ ﻫﺴﺖ ﻛﻪ ﺑﺎﻳﺪ ﺍﻧﺠﺎﻡ‬ ‫ﺩﻫﺪ‪ .‬ﻣﺜﻞ ﻣﺴﺌﻮﻟﻴﺘﻰ ﻛﻪ ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺷﺎﻳﺪ ﺷﻴﺮ ﮔﺎﺯ ﺁﭘﺎﺭﺗﻤﺎﻧﺶ ﺭﺍ ﺑﺎﺯ ﺭﻫﺎ ﻛﺮﺩﻩ؟ ﺍﮔﺮ‬ ‫ﺁﺗﺶﺳﻮﺯﻯ ﺷﻮﺩ ﭼﻪ؟ ﮔﺮﺑﻪﻯ ﺑﻴﭽﺎﺭﻩﺍﺵ ﻳﻮﺭﻯ ﺭﺍﻩ ﻓﺮﺍﺭﻯ ﻧﺨﻮﺍﻫﺪ ﺩﺍﺷﺖ‪ ،‬ﭼﻮﻥ ﻣﻄﻤﺌﻦ ﺑﻮﺩ ﻛﻪ‬ ‫ﭘﻨﺠﺮﻩﻫﺎ ﺭﺍ ﺑﺴﺘﻪ ﺍﺳﺖ‪. ...‬‬ ‫ﻧﻪ! ﻟﻌﻨﺖ! ﺍﻳﻦ ﻧﺒﻮﺩ‪ .‬ﺍﻳﻦ ﮔﺬﺷﺘﻪ ﺑﻮﺩ‪ .‬ﺣﺎﻻ‪ .‬ﺑﺎﻳﺪ ﺑﻪ ﺣﺎﻻ ﺑﺮﻣﻰﮔﺸﺖ‪ .‬ﻫﺮ ﻃﻮﺭ ﺷﺪﻩ‪ .‬ﺑﺎﻳﺪ ���ﻪ ﻭﺍﻗﻌﻴﺘﻰ‬ ‫ﻛﻪ ﺩﺭ ﺍﻃﺮﺍﻓﺶ ﻣﻰﭘﻴﭽﻴﺪ ﺩﺳﺖ ﻣﻰﻳﺎﺯﻳﺪ‪ .‬ﻭﺍﻗﻌﻴﺖ ﺍﻣﺎ ﻣﺜﻞ ﻣﺮﺩﻯ ﺑﻮﺩ ﻛﻪ ﺭﻭﻯ ﺻﻨﺪﻟﻰ ﺗﺎﺷﻮﻳﻰ‬ ‫ﺭﻭﺑﻪﺭﻭﻯ ﺩﻩ ﻣﺎﻧﻴﺘﻮﺭ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻭ ﺩﺭ ﻛﻨﺎﺭﺵ ﺗﺨﺘﻰ ﻗﺮﺍﺭ ﺩﺍﺷﺖ ﻛﻪ ﺭﻭﻳﺶ ﺟﺴﺪﻯ ﺑﻮﺩ ﻛﻪ‬ ‫ﭘﺎﺭﭼﻪﺍﻯ ﺳﻔﻴﺪ ﻭ ﺁﻏﺸﺘﻪ ﺑﻪ ﺧﻮﻥ ﺭﻭﻳﺶ ﺭﺍ ﭘﻮﺷﺎﻧﺪﻩ ﺑﻮﺩ‪ .‬ﻣﺮﺩ ﻟﻌﻨﺘﻰ ﺩﺭ ﻓﻜﺮ ﻓﺮﻭ ﺭﻓﺘﻪ ﺑﻮﺩ‪ .‬ﻟﻌﻨﺘﻰ‪،‬‬ ‫ﺑﻪ ﭼﻪ ﭼﻴﺰﻯ ﻓﻜﺮ ﻣﻰﻛﺮﺩ؟ ﺁﻥﻃﻮﺭ ﺑﻰﺗﻔﺎﻭﺕ‪ ،‬ﺍﻧﮕﺎﺭ ﻧﻪ ﺍﻧﮕﺎﺭ ﻛﻪ ﺍﺯ ﻫﻤﻪ ﻃﺮﻑ ﺻﺪﺍﻯ ﺍﻧﻔﺠﺎﺭ ﻭ ﻧﺎﻟﻪ‬ ‫ﻭ ﺧﺮﺧﺮ ﺗﻪﺣﻠﻘﻰ ﻣﻰﺁﻣﺪ‪ .‬ﻋﺠﺐ ﺁﺩﻡ ﺑﻰﻭﺟﺪﺍﻧﻰ ﺑﻮﺩ! ﺣﺘﺎ ﺣﺎﺿﺮ ﻧﺒﻮﺩ ﺍﺯ ﺟﺎﻳﺶ ﺑﻠﻨﺪ ﺷﻮﺩ‪ .‬ﺁﺧﺮ ﺑﻪ‬ ‫‪61‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﻣﻰﻛﻨﺪ ﻛﻪ ﺗﻴﺰﻧﺪ‪ .‬ﻛﻪ ﻫﺮ ﺩﻡ ﮔﻮﺷﺘﺶ ﺭﺍ ﺑﻪ ﺗﺮﺗﻴﺒﻰ ﺣﻴﻮﺍﻧﻰ ﻭ ﻫﻴﻮﻻﻳﻰ ﺗﻜﻪﺗﻜﻪ ﻣﻰﻛﻨﻨﺪ ﻭ ﻓﺮﻭ‬ ‫ﻣﻰﺩﻫﻨﺪ‪ .‬ﻫﻤﭽﻮﻥ ﻣﻨﺎﺳﻜﻰ ﻣﺬﻫﺒﻰ ﻛﻪ ﺩﺭ ﺯﻣﺎﻧﻰ ﭘﺮﺕ ﻭ ﻧﺎﻣﻌﻠﻮﻡ ﺩﺭ ﻣﻜﺎﻧﻰ ﻛﻪ ﺣﺎﻻ ﺩﺍﻧﺴﺘﻦ ﻧﺎﻣﺶ‬ ‫ﺗﻤﺴﺨﺮﺁﻣﻴﺰ ﺍﺳﺖ‪ ،‬ﺍﻭ ﺧﻮﺭﺩﻩ ﻣﻰﺷﻮﺩ ﻭ ﺑﻪ ﭼﺮﺧﻪﺍﻯ ﻛﻨﺪ ﺍﺯ ﻧﻴﺘﺮﻭژﻥ ﻭ ﻓﺴﻔﺎﺕ ﻭ ﻛﺮﺑﻦ ﺗﺒﺪﻳﻞ‬ ‫ﻣﻰﺷﻮﺩ ﻛﻪ ﻭﺭﺍﻯ ﺣﺪ ﺗﺼﻮﺭ‪ ،‬ﺁﺭﺍﻡ ﺑﻪ ﺟﻠﻮ ﻣﻰﺭﻭﺩ‪ .‬ﺩﻫﺎﻥﻫﺎ ﺑﻪ ﺳﻤﺖ ﺍﻭ ﻛﻪ ﺧﻮﺩﺵ ﺭﺍ ﺍﺯ ﺩﻳﺪ ﺍﻳﻦ‬ ‫ﺩﻫﺎﻥﻫﺎ ﻣﻰﺑﻴﻨﺪ‪ ،‬ﺑﺎﺯ ﺷﺪﻩﺍﻧﺪ‪.‬‬ ‫ﺑﻌﺪ ﻣﮕﺮ ﺯﻣﺎﻥ ﺭﮔﻰ ﺑﺎﺷﺪ ﻛﻪ ﺧﺮﺍﺷﻴﺪﻩ ﺷﻮﺩ ﻭ ﺩﻫﺎﻥﻫﺎ ﺧﻮﻥ ﺑﺎﺷﻨﺪ‪ ،‬ﺑﺮ ﺍﻭ ﻣﻰﭘﺎﺷﻨﺪ‪ .‬ﺍﻭ ﺧﻮﺩﺵ ﺍﻭﻝ‬ ‫ﺍﺯ ﻫﻤﻪ ﺩﻫﺎﻧﺶ ﺭﺍ ﺑﺮ ﭘﻮﺳﺘﺶ ﻓﺮﻭ ﻣﻰﺑﺮﺩ‪ .‬ﭘﻮﺳﺖ ﻃﻌﻢ ﻋﺮﻕ ﻭ ﺁﻣﻮﻧﻴﺎﻙ ﻣﻰﺩﻫﺪ‪ .‬ﻣﺜﻞ ﻻﺳﺘﻴﻚ‬ ‫ﭘﻨﺠﺮﻯ ﺩﺭ ﺯﻳﺮ ﺩﻧﺪﺍﻥﻫﺎﻳﺶ ﻛﻪ ﺑﻪ ﻃﺮﺯ ﻏﻴﺮﻣﻌﻘﻮﻟﻰ ﺗﻴﺰﻧﺪ‪ ،‬ﻭﺍ ﻣﻰﺩﻫﺪ‪ .‬ﺧﻮﻥ ﺯﻳﺮ ﭘﻮﺳﺖ ﻭ ﺁﺏ‬ ‫ﻣﻴﺎﻥﺑﺎﻓﺘﻰ ﺗﻮﻯ ﺣﻠﻖ ﻋﻄﺶﻧﺎﻛﺶ ﺟﺎﺭﻯ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻭ ﺁﻫﻰ ﺍﺯ ﺳﺮ ﺭﺿﺎﻳﺖ ﺳﺮ ﻣﻰﺩﻫﺪ‪ .‬ﺩﻫﺎﻥﻫﺎﻯ‬ ‫ﺍﻃﺮﺍﻓﺶ ﻫﻤﻪ ﺍﺯ ﺳﺮﺧﻮﺷﻰ ﻭ ﺍﺭﺿﺎﺋﻰ ﺗﻬﻮﻉﺁﻣﻴﺰ‪ ،‬ﺟﻴﻎ ﻭ ﻧﺎﻟﻪ ﺑﻪ ﺭﺍﻩ ﺍﻧﺪﺍﺧﺘﻪﺍﻧﺪ‪ .‬ﻧﺎﻟﻪﻯ ﻛﻮﻳﻮﺕ ﺍﺯ‬ ‫ﻫﻤﻪ ﺑﻠﻨﺪﺗﺮ ﺷﻨﻴﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﻫﻤﭽﻨﺎﻥ ﺑﺎ ﺻﺪﺍﻯ ﺩﻟﻨﻮﺍﺯ ﺁﻥ ﺯﻥ ﻳﻜﻰ ﺍﺳﺖ‪ .‬ﻫﻤﺎﻥﻗﺪﺭ ﺩﮔﺮﺳﻴﺎﺭﻩﺍﻯ‪.‬‬ ‫ﻛﻠﻤﺎﺕ ﺍﺯ ﺩﻧﺪﺍﻥﻫﺎ ﻋﻤﻴﻖﺗﺮ ﻣﻰﺑﺮﻧﺪ‪» :‬ﻣﺮﺍ ﺑﻪ ﺧﻮﺩ ﺑﻴﺎﻭﻳﺰ ﻭ ﻣﻦ ﺗﻮ ﺭﺍ ﺩﻧﺒﺎﻝ ﻣﻰﻛﻨﻢ‪ .‬ﺷﺎﻩ ﻣﺮﺍ ﺑﻪ ﺍﺗﺎﻕ‬ ‫ﺧﻮﺍﺏ ﺧﻮﺩ ﺑﻴﺎﻭﺭﺩﻩ‪ ...‬ﻋﺸﻘﺖ ﺍﺯ ﺷﺮﺍﺏ ﺑﺮﺍﻳﻢ ﻣﻘﻮﻯﺗﺮ ﺍﺳﺖ‪ «...‬ﺻﺪﺍﻯ ﻛﻮﻳﻮﺕ ﺑﻪ ﺧﺮﺧﺮﻯ ﺧﻔﻪ ﺧﺘﻢ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﻣﺮﺩ ﺑﻪ ﺧﻮﺩ ﺑﺎﺯ ﻣﻰﮔﺮﺩﺩ‪ .‬ﺧﻮﺭﺩﻩ ﻣﻰﺷﻮﺩ‪ .‬ﻣﺎﻫﻴﭽﻪﻫﺎ ﺑﻰﻛﻢﺗﺮﻳﻦ ﻇﺮﺍﻓﺖ ﻛﻨﺪﻩ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﮔﻮﻳﻰ ﮔﺮﮔﻰ ﺑﺮ ﭘﺮﺩﻩﺍﻯ ﺍﺑﺮﻳﺸﻤﻴﻦ ﭼﻨﮓ ﺑﻴﻨﺪﺍﺯﺩ‪ .‬ﺍﻭ ﻧﻤﻰﺑﻴﻨﺪ ﺁﻥﻫﺎ ﻛﻴﺴﺘﻨﺪ‪ .‬ﺟﺪﺍ ﺍﺯ ﺍﻳﻦ ﻫﻤﻪ ﺍﻭ‬ ‫ﺧﻮﺭﺩﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻭ ﺧﻮﺩﺵ ﺭﺍ ﻣﻰﺧﻮﺭﺩ‪.‬‬ ‫ﺩﻫﺎﻥﻫﺎ ﮔﺮﺩﻧﺶ ﺭﺍ ﮔﺎﺯ ﻣﻰﮔﻴﺮﻧﺪ ﻭ ﺷﺎﻫﺮﮔﺶ ﺭﺍ ﭘﺎﺭﻩ ﻣﻰﻛﻨﻨﺪ‪ .‬ﮔﺮﺩﻧﺶ ﺭﺍ ﻣﻰﺷﻜﻨﻨﺪ‪ .‬ﺩﻫﺎﻥ ﺩﻳﮕﺮﻯ‬ ‫ﭘﻮﺳﺖ ﺷﻜﻤﺶ ﺭﺍ ﺍﺯ ﺟﺎ ﻣﻰﻛﻨﺪ ﻭ ﺧﻮﻥ ﻓﻮﺍﺭﻩ ﻣﻰﺯﻧﺪ‪ .‬ﺑﻘﻴﻪﻯ ﺩﻫﺎﻥﻫﺎ ﻣﺜﻞ ﻛﻔﺘﺎﺭﻫﺎﻳﻰ ﮔﺮﺳﻨﻪ‪،‬‬ ‫ﺭﻭﺩﻩﻫﺎﻳﺶ ﺭﺍ ﺑﻴﺮﻭﻥ ﻣﻰﻛﺸﻨﺪ ﻭ ﻣﻰﺩﺭﻧﺪ‪ .‬ﻣﻌﺪﻩﺍﺵ ﺭﺍ ﻣﻰﺑﻴﻨﺪ ﻛﻪ ﺑﺎﺯ ﻣﻰﺷﻮﺩ ﻭ ﻣﺤﺘﻮﻳﺎﺗﺶ ﺭﻭﻯ‬ ‫ﺯﻣﻴﻦ ﭘﺨﺶ ﻣﻰﺷﻮﺩ‪ .‬ﺑﻮﻯ ﺧﻮﻥ ﻭ ﻋﻔﻦ ﺑﺎ ﻫﻢ ﻣﺨﻠﻮﻁ ﻣﻰﺷﻮﺩ‪ .‬ﻳﻜﻰ ﺍﺯ ﺩﻫﺎﻥﻫﺎ ﻳﻚ ﻛﻠﻴﻪ ﺭﺍ‬ ‫ﺑﻴﺮﻭﻥ ﻣﻰﻛﺸﺪ ﻭ ﺟﻠﻮﻯ ﭼﺸﻤﺶ ﮔﺎﺯ ﻣﻰﺯﻧﺪ‪ .‬ﺍﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺍﺯ ﺩﻳﺪ ﺁﻥ ﺩﻫﺎﻥ ﺑﻪ ﺧﻮﺩ ﻣﻰﻧﮕﺮﺩ‬ ‫ﻭ ﺩﻧﺪﺍﻥﻫﺎﻳﺶ ﺭﺍ ﺩﺭ ﺷﺎﻧﻪﻯ ﺧﻮﺩﺵ ﻓﺮﻭ ﻣﻰﺑﺮﺩ‪ .‬ﺻﺪﺍﻯ ﺷﻜﺴﺘﻦ ﺍﺳﺘﺨﻮﺍﻥ ﻛﺘﻒ ﺑﻠﻨﺪ ﻣﻰﺷﻮﺩ‪...‬‬ ‫ﺗﺮﻕ‪ ...‬ﺩﻫﺎﻥﻫﺎﻯ ﺩﻳﮕﺮ ﭘﻬﻠﻮﻫﺎﻳﺶ ﺭﺍ ﻣﻰﺩﺭﻧﺪ‪.‬‬ ‫ﺑﻌﺪ ﺗﺎ ﭼﺸﻤﺎﻧﺶ ﺭﺍ ﻣﻰﺧﻮﺍﻫﻨﺪ ﺩﺭ ﺁﻭﺭﻧﺪ ﻭ ﺯﻳﺮ ﺩﻧﺪﺍﻥﻫﺎﺷﺎﻥ ﻟﻪ ﻛﻨﻨﺪ ﻭ ﺷﻴﺮﻩﻯ ﮔﺮﻡ ﻭ ﺷﻮﺭﺵ ﺭﺍ‬ ‫ﻗﻮﺭﺕ ﺑﺪﻫﻨﺪ‪ ،‬ﺍﻭ ﺑﻪ ﻣﺜﺎﺑﻪ ﻣﺮﺩﻯ ﻛﻪ ﺍﺯ ﭘﻨﺠﺮﻩﻯ ﻣﺘﺮﻭﻳﻰ ﻛﻪ ﺑﺎ ﺣﺪﺍﻛﺜﺮ ﺳﺮﻋﺘﺶ ﺑﻪ ﺟﻠﻮ ﻣﻰﻟﻐﺰﺩ‪،‬‬ ‫ﺑﻪ ﺑﻴﺮﻭﻥ ﭘﺮﺕ ﺷﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﺩﺭ ﻣﻜﺎﻥ ﺑﻪ ﺟﻠﻮ ﭘﺮﺗﺎﺏ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻧﻔﺲﻧﻔﺲ ﻣﻰﺯﺩ‪ .‬ﺁﺩﺭﻧﺎﻟﻴﻦ ﺧﻮﻧﺶ ﺑﺎﻻﺳﺖ‪ .‬ﺍﻭ ﺭﻭﻯ ﺻﻨﺪﻟﻰ ﻧﺸﺴﺘﻪ‪ .‬ﭘﺎﺭﭼﻪﻯ ﺭﻭﻯ ﺗﺨﺖ ﻛﺸﻴﺪﻩ‬ ‫ﺷﺪﻩ‪ .‬ﺧﺒﺮﻯ ﺍﺯ ﻫﻴﭻ ﻣﻮﺟﻮﺩﻯ ﺟﺰ ﺍﻭ ﻧﻴﺴﺖ‪ .‬ﺍﺗﺎﻕ ﺧﺎﻟﻴﺴﺖ‪ .‬ﺍﻭ ﺗﻨﻬﺎﺳﺖ‪.‬‬ ‫ﺁﮔﺎﻫﻰ ﻣﺜﻞ ﺍﺳﺘﺎﻻﮔﻤﻴﺘﻰ ﭼﺮﺧﺎﻥ ﻭ ﺳﺮﺩ‪ ،‬ﻳﺎ ﮔﻠﻮﻟﻪﺍﻯ ﺑﻴﺴﺖ ﻭ ﻫﺸﺖ ﻣﻴﻠﻰﻣﺘﺮﻯ‪ ،‬ﻣﻐﺰﺵ ﺭﺍ‬ ‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪60‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺧﻮﻓﻰ ﺧﺎﺭﺝ ﺍﺯ ﺗﻮﺻﻴﻒ‪ ،‬ﺑﻪ ﺁﻥﻫﺎ ﭼﻨﮓ ﺯﺩﻩ‪.‬‬ ‫ﺩﺳﺘﺶ ﭘﺎﺭﭼﻪ ﺭﺍ ﻣﻰﮔﻴﺮﺩ ﻭ ﻣﻰﻛﺸﺪ‪ .‬ﭘﺎﺭﭼﻪ ﻫﻤﭽﻮﻥ ﺯﻧﻰ ﺭﻗﺎﺻﻪ ﺍﺯ ﻛﻨﺎﺭﺵ ﻣﻰﺳﺮﺩ ﻭ ﺑﻰﺍﻫﻤﻴﺖ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﺩﺭ ﺑﺮﺍﺭﺑﺮﺵ ﺑﺮ ﺭﻭﻯ ﺗﺨﺖ‪ ،‬ﻻﺷﻪﻯ ﻛﻮﻳﻮﺗﻰ ﺍﻓﺘﺎﺩﻩ‪ .‬ﻛﻮﻳﻮﺕ ﻣﺮﺍﺣﻠﻰ ﭘﻴﺸﺮﻓﺘﻪ ﺍﺯ ﺗﺠﺰﻳﻪ‬ ‫ﺭﺍ ﻣﻰﮔﺬﺭﺍﻧﺪ‪ .‬ﺩﻫﺎﻧﺶ ﺑﻪ ﺧﻨﺪﻩﺍﻯ ﺍﺑﺪﻯ ﮔﺸﻮﺩﻩ ﺷﺪﻩ ﻭ ﭘﺮ ﺍﺯ ﺷﻔﻴﺮﻩ ﻭ ﻻﺭﻭ ﺣﺸﺮﻩ ﺍﺳﺖ‪ .‬ﺗﻨﺶ‬ ‫ﭼﻨﺎﻥ ﺑﻮﻯ ﺗﻌﻔﻨﻰ ﻣﻰﺩﻫﺪ ﻛﻪ ﻣﺮﺩ ﺩﻣﻰ ﺣﻮﺍﺳﺶ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻣﻰﻫﺪ‪ .‬ﺑﺪﻥ ﻛﻮﻳﻮﺕ ﭘﺎﺭﻩ ﭘﺎﺭﻩ ﺷﺪﻩ‬ ‫ﻭ ﺳﻴﻢﻫﺎﻯ ﻓﺸﺎﺭ ﻗﻮﻯ ﺩﺭ ﺍﻭ ﻭﺍﺭﺩ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺍﻭ ﻭﺣﺸﺖ ﻣﺴﻠﻢ ﺭﺍ ﺩﺭ ﺗﻴﻐﻪﻫﺎﻯ ﺑﻪ ﻫﻢ ﺭﺳﻨﺪﻩﻯ‬ ‫ﻧﻮﺭﻭﻥﻫﺎﻳﺶ ﺣﺲ ﻣﻰﻛﻨﺪ‪ .‬ﺑﻌﺪ ﭼﺸﻤﺎﻥ ﻛﻮﻳﻮﺕ ﺑﻪ ﺭﻧﮓ ﺁﺑﻰ ﺑﺮﺍﻕ ﺑﻪ ﺳﻤﺖ ﺍﻭ ﻣﻰﭼﺮﺧﻨﺪ‪ .‬ﻛﻮﻳﻮﺕ‬ ‫ﺑﻪ ﺍﻭ ﻣﻰﻧﮕﺮﺩ‪ .‬ﻣﺮﺩ ﺣﺲ ﻣﻰﻛﻨﺪ ﻛﻪ ﻧﮕﺎﻩ ﻛﻮﻳﻮﺕ ﭼﺎﻗﻮﻳﻰ ﺳﺮﺩ ﻭ ﺑﺮﻧﺪﻩ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻓﺮﻕ‪ ،‬ﺳﺮﺵ‬ ‫ﺭﺍ ﻣﻰﺷﻜﺎﻓﺪ ﻭ ﺍﻭ ﺭﺍ ﺑﻪ ﺩﻭ ﻧﻴﻢ ﻣﻰﻛﻨﺪ‪ .‬ﺩﻫﺎﻧﺶ ﺑﻪ ﺣﺮﻛﺖ ﺩﺭ ﻣﻰﺁﻳﺪ ﻭ ﺁﻥ ﻓﻚﻫﺎ ﻛﻪ ﺑﺎ ﺑﻨﺪﻫﺎﻯ‬ ‫ﭘﺮﻭﺗﺌﻴﻨﻰ ﺳﺴﺘﻰ ﺑﻪ ﻫﻢ ﻭﺻﻞ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﭘﻴﺎﻣﺒﺮ ﻛﻠﻤﺎﺗﻰ ﻣﻰﺷﻮﻧﺪ‪ .‬ﻣﺮﺩ ﻧﻤﻰﺩﺍﻧﺪ ﻛﺪﺍﻡ ﭘﺘﻜﻰ ﻣﺤﻜﻢﺗﺮ‬ ‫ﺑﺮ ﺳﺮﺵ ﻣﻰﻛﻮﺑﺎﻧﺪ‪ .‬ﻛﻠﻤﺎﺕ ﻛﻪ ﺩﺭ ﺯﻳﺮ ﮔﻮﺷﺘﺶ ﻣﻰﺧﺰﻧﺪ ﻳﺎ ﺻﺪﺍ ﻛﻪ ﺻﺪﺍﻯ ﺁﺷﻨﺎﻯ ﺁﻥ ﺯﻥ ﺻﻮﺭﺕ‬ ‫ﻧﻘﺎﺏﺯﺩﻩ ﺍﺳﺖ ﻭ ﭼﻮﻥ ﺯﺍﻟﻮﻳﻰ ﻫﺰﺍﺭ ﺩﻧﺪﺍﻥ‪ ،‬ﺑﺮ ﺟﺎﻳﮕﺎﻩ ﭼﺸﻢ ﺳﻮﻣﺶ ﻣﻰﭼﺴﺒﺪ‪.‬‬ ‫ﻛﻮﻳﻮﺕ ﺑﺎ ﺻﺪﺍﻯ ﺯﻥ ﻣﻰﺧﻮﺍﻧﺪ‪» :‬ﭼﻨﻴﻦ ﺍﺳﺖ ﻏﺰﻝ ﻏﺰﻝﻫﺎ ﻛﻪ ﺳﻠﻴﻤﺎﻥ ﺭﺍﺳﺖ‪ ...‬ﺑﮕﺬﺍﺭ ﻟﺒﺎﻧﺶ ﺭﺍ‬ ‫ﺑﺎ ﻟﺒﺎﻧﻢ ﻳﻜﻰ ﻛﻨﺪ‪ .‬ﺑﮕﺬﺍﺭ ﺑﺒﻮﺳﺪ ﻣﺮﺍ ﺑﺎ ﺑﻮﺳﻪﻫﺎﻳﻰ ﺍﺯ ﺩﻫﺎﻧﺶ‪ ،‬ﻛﻪ ﻋﺸﻘﺶ ﺍﺯ ﺷﺮﺍﺏ ﺑﺮﺍﻳﻢ ﮔﻮﺍﺭﺍﺗﺮ‬ ‫ﺍﺳﺖ‪« ...‬‬ ‫ﺑﻌﺪ ﺁﻥﻫﺎ ﻣﻰﺁﻳﻨﺪ‪ .‬ﻣﺮﺩ ﺻﺪﺍﻳﺸﺎﻥ ﺭﺍ ﻣﻰﺷﻨﻮﺩ‪ .‬ﺍﺯ ﺗﻪ ﺣﻠﻖ ﺩﺍﺭﻧﺪ ﺻﺪﺍﻯ ﺧﻔﻪﺍﻯ ﺩﺭ ﻣﻰﺁﻭﺭﻧﺪ‪.‬‬ ‫ﭘﺎﻫﺎﺷﺎﻥ ﺭﺍ ﺑﺎ ﻗﺪﻡﻫﺎﻳﻰ ﻛﻪ ﻓﻮﺍﺻﻠﻰ ﻏﻴﺮﺣﻘﻴﻘﻰ ﺑﻴﻨﺸﺎﻥ ﻣﻰﺍﻓﺘﺪ‪ ،‬ﺑﻪ ﺟﻠﻮ ﻣﻰﻛﺸﻨﺪ‪ .‬ﻣﺮﺩ ﺩﺳﺘﺎﻧﺶ‬ ‫ﺭﺍ ﺳﭙﺮ ﺳﺮﺵ ﻣﻰﻛﻨﺪ‪ .‬ﺑﻰﭘﻨﺎﻩ ﻣﺜﻞ ﻛﻮﺩﻛﻰ‪ ،‬ﺍﺗﺎﻕ ﺭﺍ ﺑﺮﺍﻯ ﻳﺎﻓﺘﻦ ﺩﺭﻳﭽﻪﺍﻯ ﺑﻪ ﺑﻴﺮﻭﻥ ﻣﻰﺟﻮﻳﺪ‪.‬‬ ‫ﻫﻴﭻ ﺭﺍﻩ ﻓﺮﺍﺭﻯ ﻧﻴﺴﺖ‪ .‬ﺁﻥﻫﺎ ﻣﻰﺁﻳﻨﺪ‪ .‬ﻣﺪﺍﻡ ﻧﺰﺩﻳﻚﺗﺮ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺿﺠﻪ ﻣﻰﺯﻧﻨﺪ ﻭ ﻓﺮﻳﺎﺩ ﻣﻰﻛﺸﻨﺪ‪.‬‬ ‫ﻣﺮﺩ ﺧﻮﺩﺵ ﺭﺍ ﻣﻰﺑﻴﻨﺪ ﻛﻪ ﺑﻪ ﮔﻮﺷﻪﺍﻯ ﻣﻰﺧﺰﺩ ﻭ ﻛﺎﺑﻞﻫﺎﻯ ﺗﻠﻤﺒﺎﺭ ﺷﺪﻩ ﺭﺍ ﺑﻪ ﺩﻭﺭ ﺧﻮﺩﺵ ﺗﻮﺩﻩ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﻣﺜﻞ ﭘﺘﻮﻳﻰ ﻛﻪ ﺩﺭ ﺑﺮﺍﺑﺮ ﻛﺎﺑﻮﺱﻫﺎﻯ ﺷﺒﺎﻧﻪ ﺑﺨﻮﺍﻫﺪ ﻣﺤﺎﻓﻈﺘﺶ ﻛﻨﺪ‪ .‬ﻭﻟﻰ ﺁﻥﻫﺎ ﻫﻨﻮﺯ ﻫﻢ‬ ‫ﺩﺍﺭﻧﺪ ﻧﺰﺩﻳﻚﺗﺮ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﺍﻭ ﺧﻮﺩﺵ ﺭﺍ ﻣﻰﺑﻴﻨﺪ ﺍﺯ ﺯﺍﻭﻳﻪﺍﻯ ﺩﺭ ﺑﺮﺍﺑﺮ ﮔﻮﺷﻪﺍﻯ ﻛﻪ ﺑﺪﺍﻥ ﭘﻨﺎﻩ ﺁﻭﺭﺩﻩ ﻭ ﺁﻥﻫﺎ ﺗﻘﻼ ﻣﻰﻛﻨﻨﺪ ﻭ ﺍﺯ‬ ‫ﻫﻢ ﺩﻳﮕﺮ ﺳﺒﻘﺖ ﻣﻰﮔﻴﺮﻧﺪ ﺗﺎ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺭﻭﻳﺶ ﺑﻴﻨﺪﺍﺯﻧﺪ‪ .‬ﺗﺎ ﺍﻭ ﺭﺍ ﻧﺎﺑﻮﺩ ﻛﻨﻨﺪ‪ .‬ﺑﻌﺪ ﻣﻰﺑﻴﻨﺪ ﻛﻪ ﺁﻥﻫﺎ‬ ‫ﺑﻪ ﺍﻭ ﻣﻰﺭﺳﻨﺪ‪ .‬ﺍﻭ ﺑﻰﺟﻬﺖ ﻧﻌﺮﻩ ﻣﻰﻛﺸﺪ ﻭ ﻫﻖﻫﻖ ﻣﻰﻛﻨﺪ‪ .‬ﺁﻥﻫﺎ ﺩﺭ ﻳﻚ ﻣﻴﻠﻰﻣﺘﺮﻯﺍﺵ ﻣﺘﻮﻗﻒ‬ ‫ﻣﻰﺷﻮﻧﺪ‪ .‬ﺍﻧﮕﺎﺭ ﺯﻣﺎﻥ ﺑﺎﺯ ﻛﺶ ﺑﻴﺎﻳﺪ‪.‬‬ ‫ﺍﻭ ﺍﺯ ﺯﺍﻭﻳﻪﻯ ﺩﻳﺪ ﻣﺎ ﻭ ﺁﻥﻫﺎ‪ ،‬ﺧﻮﺩﺵ ﺭﺍ ﻣﻰﺑﻴﻨﺪ ﻛﻪ ﭼﻘﺪﺭ ﺣﻘﻴﺮ ﻭ ﺩﺭﻣﺎﻧﺪﻩ‪ ،‬ﺑﺎ ﮔﻠﻮﻳﻰ ﻛﻪ ﺍﺯ ﻫﻖﻫﻖ‬ ‫ﺭﺍﻩ ﻫﺮ ﻛﻠﻤﻪﺍﻯ ﺑﺮ ﺁﻥ ﺑﺴﺘﻪ ﺷﺪﻩ‪ ،‬ﻭ ﺷﻠﻮﺍﺭﻯ ﻛﻪ ﺍﺯ ﺗﺮﺱ ﺧﻴﺴﺶ ﻛﺮﺩﻩ‪ ،‬ﻛﺎﺑﻞﻫﺎ ﺭﺍ ﺳﭙﺮ ﻛﺮﺩﻩ‪ .‬ﻫﻤﻪ‬ ‫ﭼﻴﺰ ﻣﺘﻮﻗﻒ ﺷﺪﻩ‪ .‬ﺍﻭ ﻓﻚﻫﺎﻳﻰ ﺭﺍ ﺩﺭ ﺍﻃﺮﺍﻓﺶ ﻣﻰﺑﻴﻨﺪ ﻛﻪ ﺑﺎﺯ ﺷﺪﻩﺍﻧﺪ ﻭ ﺩﻧﺪﺍﻥﻫﺎﻳﻰ ﺩﺭ ﺁﻥﻫﺎ ﺟﻠﻮﻩ‬ ‫‪59‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﻣﺎ ﺍﻳﻦ ﺗﺼﺎﻭﻳﺮ ﺭﺍ ﻣﻰﺑﻴﻨﺪ‪ ،‬ﺑﻪ ﺟﻠﻮ ﻣﻰﺧﺰﺩ‪ .‬ﮔﻮﻳﻰ ﻣﻰﺧﻮﺍﻫﺪ ﺯﻥ ﺭﺍ ﺩﺭ ﺁﻏﻮﺵ ﺑﮕﻴﺮﺩ‪ .‬ﻳﺎ ﭼﻬﺮﻩﺍﺵ‬ ‫ﺭﺍ ﺑﺮﮔﺮﺩﺍﻧﺪ‪ .‬ﺑﻪ ﻳﺎﺩ ﺑﻴﺎﻭﺭﺩ‪ .‬ﺑﻪ ﺳﻤﺖ ﺍﻭ ﻣﻰﺧﺰﺩ‪ .‬ﺩﺳﺘﺶ ﺭﺍ ﺑﻪ ﺯﺣﻤﺖ ﺑﻠﻨﺪ ﻣﻰ ﻛﻨﺪ‪ .‬ﺍﻧﮕﺎﺭ ﺷﺌﻰ‬ ‫ﺑﺎﺳﺘﺎﻧﻰ ﺑﺎﺷﺪ ﺍﺯ ﺯﻣﺎﻧﻰ ﻓﺮﺍﻣﻮﺵ ﺷﺪﻩ ﻛﻪ ﺑﺎ ﻳﻚ ﺗﻠﻨﮕﺮ ﺍﺯ ﻫﻢ ﺑﭙﺎﺷﺪ‪ ،‬ﺻﻮﺭﺕ ﺯﻥ‪ .‬ﺑﻌﺪ ﺗﻮ ﮔﻔﺘﻰ‬ ‫ﻃﺎﻗﺘﺶ ﻃﺎﻕ ﺷﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﭘﻨﺠﻪ ﻣﻰﻛﺸﺪ ﻭ ﺻﻮﺭﺕ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﺧﻮﺩﺵ ﺑﺮﻣﻰﮔﺮﺩﺍﻧﺪ‪ .‬ﻧﺎﻟﻪﺍﻯ ﻣﻰﻛﻨﺪ‬ ‫ﻭ ﭼﻮﻥ ﻣﺠﻨﻮﻧﺎﻥ ﺑﻪ ﻋﻘﺐ ﺳﻜﻨﺪﺭﻯ ﻣﻰﺧﻮﺭﺩ ﻭ ﺩﻭﺭ ﻣﻰﺷﻮﺩ‪ .‬ﺻﻮﺭﺕ ﺧﺎﻟﻰ ﺍﺳﺖ‪ .‬ﻟﺐﻫﺎ ﻫﻤﭽﻨﺎﻥ‬ ‫ﺩﺭ ﺣﺎﻝ ﺑﺎﺯ ﻭ ﺑﺴﺘﻪ ﺷﺪﻥ ﻫﺴﺘﻨﺪ‪ .‬ﻫﻢﭼﻮﻥ ﻧﻘﺎﺏ ﻧﻮﻩﺍﻯ]‪ [2‬ﻛﻪ ﺣﺎﻟﺘﺶ ﺷﻜﺴﺖ ﻧﻤﻰﮔﻴﺮﺩ‪.‬‬ ‫ﺟﻴﻎ ﻣﻰﻛﺸﺪ‪ .‬ﻣﺜﻞ ﻛﺎﺑﻮﺱ ﺯﺩﻩﺍﻯ ﻛﻪ ﻗﺎﺩﺭ ﻧﻴﺴﺖ ﺍﺯ ﺯﻧﺠﻴﺮ ﺧﻮﺍﺏ ﺭﻫﺎ ﺷﻮﺩ‪ .‬ﻧﻪ ﺍﺯ ﺣﻨﺠﺮﻩﺍﺵ‬ ‫ﺻﺪﺍﻳﻰ ﺧﺎﺭﺝ ﻣﻰﺷﻮﺩ ﻭ ﻧﻪ ﺑﻨﺪ ﺍﺯ ﺷﺎﻧﻪﻫﺎ ﻭ ﺩﺳﺖﻫﺎﻳﺶ ﮔﺴﺴﺘﻪ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﻟﺤﻈﻪﺍﻯ ﻛﺸﻤﻜﺸﻰ ﻛﻬﻜﺸﺎﻧﻰ ﺩﺭ ﺗﻨﺶ ﻭﻭﻝ ﻣﻰﺯﻧﺪ ﻛﻪ ﺑﺮﺧﻴﺰﺩ ﻭ ﭘﺎﺭﭼﻪ ﺭﺍ ﺍﺯ ﺭﻭﻯ ﺟﺴﺪ ﺑﺮﮔﻴﺮﺩ‪.‬‬ ‫ﺑﻪ ﻫﻤﺎﻥ ﺳﺮﻋﺖ ﺍﻣﺎ ﺑﻪ ﻳﺎﺩ ﻣﻰﺁﻭﺭﺩ ﺍﻳﻦ ﻛﺎﺭ ﻧﺎﺭﻭﺍﺳﺖ‪ .‬ﺗﺎﺑﻮﻳﻰ ﺑﺪﻭﻯ ﺩﺭ ﺍﻭ ﺑﻴﺪﺍﺭ ﻣﻰﺷﻮﺩ‪ .‬ﻛﻨﺎﺭ ﺭﻓﺘﻦ‬ ‫ﭘﺎﺭﭼﻪ ﺍﺳﺎﺱ ﻫﺴﺘﻰ ﺭﺍ ﻣﻰﺩﺭﺩ‪ .‬ﺍﻧﮕﺎﺭ ﻛﻮﻫﻰ ﺑﺨﻮﺍﻫﺪ ﺍﺯ ﻫﻢ ﻭﺍ ﭘﺎﺷﻴﺪﻩ ﺷﻮﺩ ﻭ ﺑﻪ ﺳﻤﺖ ﺁﺳﻤﺎﻥ‬ ‫ﺩﺳﺖﺩﺭﺍﺯﻯ ﻛﻨﺪ‪ .‬ﻣﻰﺧﻮﺍﻫﺪ ﺑﻠﻨﺪ ﺷﻮﺩ ﻭ ﺑﺎ ﺗﻤﺎﻡ ﺳﺮﻋﺖ ﺩﺭ ﺟﻬﺖ ﻣﺨﺎﻟﻒ ﺟﺴ ِﺪ ﭘﻮﺷﻴﺪﻩ ﺩﺭ ﭘﺎﺭﭼﻪ‬ ‫ﺑﺪﻭﺩ‪ .‬ﺍﻣﺎ ﺑﺪﻧﺶ ﺍﺯ ﺍﻭ ﻓﺮﻣﺎﻥ ﻧﻤﻰﺑﺮﺩ‪ .‬ﺧﺸﻚ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻫﻴﭻ ﺍﺭﺍﺩﻩﺍﻯ ﻧﺪﺍﺭﺩ‪ .‬ﻭﺟﻮﺩﺵ ﭘﺴﺖ ﻭ ﻧﺎﭼﻴﺰ‬ ‫ﺍﺳﺖ‪ .‬ﺑﻪ ﺍﻧﮕﻠﻰ ﻣﻰﻣﺎﻧﺪ ﺣﻘﻴﺮ ﻭ ﺭﻳﺰ‪ ،‬ﺯﻳﺮ ﺫﺭﻩﺑﻴﻦ ﻋﻈﻴﻢ ﻣﺮﺩﺍﻧﻰ ﺑﺎ ﺭﻭﭘﻮﺵﻫﺎﻯ ﺁﺯﻣﺎﻳﺸﮕﺎﻩ ﺑﻠﻨﺪ ﻭ‬ ‫ﺳﻔﻴﺪ‪ .‬ﺣﺲ ﻣﻰﻛﻨﺪ ﺑﺮﻫﻨﻪ ﺍﺳﺖ ﻭ ﻫﻤﻪ ﺑﺎ ﻛﻨﺠﻜﺎﻭﻯ ﺑﻪ ﺍﻭ ﺧﻴﺮﻩ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺩﻭﺳﺖ ﺩﺍﺭﺩ ﺧﻮﺩﺵ ﺭﺍ‬ ‫ﺑﭙﻮﺷﺎﻧﺪ‪ .‬ﻧﺎﮔﻬﺎﻥ ﺩﺭ ﺑﻮﺭﺍﻧﻰ ﺳﻔﻴﺪ ﻭ ﺧﺎﻟﻰ ﮔﻴﺮ ﻛﺮﺩﻩ ﻛﻪ ﺑﻮﻯ ﻣﺎﻳﻊ ﺿﺪﻋﻔﻮﻧﻰ ﻛﻨﻨﺪﻩ ﻣﻰﺩﻫﺪ‪ .‬ﺧﻴﻠﻰ‬ ‫ﺳﺮﺩﺵ ﺷﺪﻩ‪ .‬ﺑﻌﺪ ﻫﻤﭽﻮﻥ ﻛﻮﺩﻛﻰ ﻛﻪ ﺑﻪ ﺳﻤﺖ ﺁﻥ ﺻﻨﺪﻟﻰ ﺑﺮﻭﺩ ﻛﻪ ﻫﻤﻴﺸﻪ ﭘﺪﺭﺵ ﺑﺮ ﺁﻥ ﻟﻢ‬ ‫ﻣﻰﺩﺍﺩﻩ ﻭ ﺣﺎﻻ ﺍﻭ ﺭﺍ ﺑﺎﺯ ﻧﺠﻮﻳﺪ‪ ،‬ﺩﺳﺘﺎﻧﺶ ﺭﺍ ﻣﻰﻓﻬﻤﺪ ﻛﻪ ﺑﻰﺧﻮﺩ ﺍﺯ ﺍﻭ ﺑﻠﻨﺪ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺣﺲ ﻣﻰﻛﻨﺪ‬ ‫ﺍﺯ ﺟﺎ ﻛﻨﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﻣﺎﻧﻨﺪ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﭘﻮﺳﺘﺶ ﺭﺍ ﺑﻪ ﺻﻨﺪﻟﻰ ﭘﻼﺳﺘﻴﻜﻰ ﭼﺴﺒﺎﻧﺪﻩ ﺑﺎﺷﻨﺪ ﻭ ﺣﺎﻻ‬ ‫ﺍﻭ ﺑﺎ ﺑﻠﻨﺪ ﺷﺪﻧﺶ‪ ،‬ﭘﻮﺳﺘﺶ ﺭﺍ ﺑﺮ ﺭﻭﻯ ﺻﻨﺪﻟﻰ ﺑﻪ ﺟﺎﻯ ﻣﻰﮔﺬﺍﺭﺩ‪ .‬ﭘﻮﺳﺖ ﺫﺭﻩ ﺫﺭﻩ ﻛﻨﺪﻩ ﻣﻰﺷﻮﺩ ﻭ‬ ‫ﺍﻭ ﺑﺎ ﻭﺟﻮﺩ ﺗﻼﺵ ﻧﻔﺲﮔﻴﺮﺵ‪ ،‬ﺍﺯ ﺟﻠﺪﺵ ﺧﺎﺭﺝ ﻣﻰﺷﻮﺩ‪ .‬ﻫﺮ ﭼﻪ ﺩﺭ ﺍﻭﺳﺖ ﺑﺮ ﻋﻠﻴﻪ ﺍﻳﻦ ﭘﻴﺶﺭﻭﻯ‬ ‫ﻣﻘﺎﻭﻣﺖ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻣﺎ ﭼﻴﺰﻯ ﺟﺰ ﺍﻭ ﺑﻪ ﺍﻭ ﻓﺮﻣﺎﻥ ﻣﻰﺩﻫﺪ ﻛﻪ ﺑﺮﺧﻴﺰﺩ‪ .‬ﺩﺳﺘﺶ ﺭﺍ ﻣﻰﺑﻴﻨﺪ ﻛﻪ ﺑﻪ ﺳﻤﺖ‬ ‫ﭘﺎﺭﭼﻪ ﻣﻰﺭﻭﺩ‪ .‬ﺟﻴﻐﻰﻫﺎﻳﻰ ﻛﻪ ﻫﺮﮔﺰ ﺍﺯ ﮔﻠﻮﻳﺶ ﺧﺎﺭﺝ ﻧﻤﻰﺷﻮﻧﺪ ﺗﻘﻠﻰ ﻣﻰﻛﻨﻨﺪ ﺍﻭ ﺭﺍ ﻣﻨﺼﺮﻑ ﻛﻨﻨﺪ‪.‬‬ ‫ﺯﻳﺮ ﺍﻳﻦ ﭘﺎﺭﭼﻪﻯ ﺳﻔﻴﺪ‪ ،‬ﺩﺭ ﻧﺎﺧﻮﺩﺁﮔﺎﻫﺶ ﻣﻰﺩﺍﻧﺪ‪ ،‬ﻫﻴﭻ ﭼﻴﺰ ﻧﻴﺴﺖ‪ .‬ﻧﻪ ﺍﻳﻦ ﻛﻪ ﭘﺎﺭﭼﻪ ﺭﺍ ﺑﺮﺩﺍﺭﺩ ﻭ‬ ‫ﺑﺒﻴﻨﺪ ﻛﻪ ﻫﻴﭻ ﺩﺭ ﺯﻳﺮ ﺁﻥ ﻧﻴﺴﺖ‪ .‬ﻧﻴﺴﺘﻰ ﺧﻮﺩ ﺩﺭ ﺯﻳﺮ ﭘﺎﺭﭼﻪ ﺍﺳﺖ‪ .‬ﮔﻮﻳﻰ ﺑﺨﺸﻰ ﺍﺯ ﺟﻬﺎﻥ ﺭﺍ ﻛﻪ‬ ‫ﺯﻳﺮ ﭘﺎﺭﭼﻪ ﺍﺳﺖ‪ ،‬ﻭﺣﺸﻴﺎﻧﻪ ﺑﺎ ﭘﻨﺠﻪﻫﺎﻳﻰ ﻫﻴﻮﻻﻭﺍﺭ ﺧﺮﺍﺷﻴﺪﻩ ﺑﺎﺷﻨﺪ ﻭ ﻗﻠﻮﻩﻛﻦ ﻛﺮﺩﻩ ﺑﺎﺷﻨﺪ‪ .‬ﺍﺯ ﻧﮕﺎﻩ‬ ‫ﻛﺮﺩﻥ ﺑﻪ ﺁﻥ ﻣﻰﻫﺮﺍﺳﺪ‪ .‬ﺭﻳﺶﺭﻳﺶ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺳﺖﻫﺎ ﻭ ﭘﺎﻫﺎﻳﺶ ﺑﻪ ﺗﻴﻐﻪﻫﺎﻯ ﭼﺮﺧﺎﻧﻰ ﻛﻪ ﺑﺎ ﺳﺮﻋﺘﻰ‬ ‫ﺳﺮﺳﺎﻡﺁﻭﺭ ﻣﻰﭼﺮﺧﻴﺪﻧﺪ‪ ،‬ﺳﭙﺮﺩﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺍﺭﺍﺩﻩﺍﻯ ﺩﺭ ﻛﺎﺭ ﻧﻴﺴﺖ‪ .‬ﺍﻭ ﻋﺮﻭﺳﻜﻰ ﺑﻴﺶ ﻧﻴﺴﺖ ﻭ‬ ‫ﻧﺦﻫﺎﻳﻰ ﺑﻪ ﺍﻭ ﻭﺻﻞ ﻛﺮﺩﻩﺍﻧﺪ ﻛﻪ ﺍﺯ ﺳﻘﻒ ﺍﻳﻦ ﺍﺗﺎﻕ ﺑﻴﺮﻭﻥ ﻣﻰﺯﻧﻨﺪ ﻭ ﻛﺴﻰ ﺑﺎ ﭼﺸﻤﺎﻧﻰ ﺷﻜﺎﻑﺩﺍﺭ ﻭ‬ ‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪58‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﻭ ﺑﻌﺪ ﭼﻨﺎﻥ ﻛﻪ ﺁﻏﺎﺯ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺁﺭﺍﻡ ﻣﻰﮔﻴﺮﺩ‪ .‬ﻣﺮﺩ ﺑﺎﺭ ﺩﻳﮕﺮ ﺑﻪ ﺣﻘﻴﻘﺖ ﺑﺎﺯ ﻣﻰﮔﺮﺩﺩ‪ .‬ﻣﺎﻧﻴﺘﻮﺭ‬ ‫ﺷﻤﺎﺭﻩﻯ ‪ 9‬ﺗﺼﻮﻳﺮﻯ ﺍﺯ ﻛﺎﺥ ﺳﻔﻴﺪ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪ .‬ﺁﻥﭼﻪ ﭘﺸﺖ ﺳﺮ ﻣﺮﺩ ﺳﻔﻴﺪﻣﻮﻯ ﭘﻴﺮ ﺑﻪ ﭼﺸﻢ‬ ‫ﻣﻰﺧﻮﺭﺩ‪ ،‬ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﺑﺮﺍﻳﺶ ﺭﻭﺷﻦ ﻣﻰﺳﺎﺯﺩ‪ .‬ﻧﻴﺎﺯﻯ ﻧﻴﺴﺖ ﺑﻪ ﺯﻳﺮﻧﻮﻳﺲ ﺧﺒﺮ ﺗﻮﺟﻬﻰ ﻛﻨﺪ ﺗﺎ‬ ‫ﺑﻔﻬﻤﺪ ﭼﻪ ﺭﺥ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﻟﺤﻈﻪ ﺍﻭ ﺍﺯ ﻫﺮ ﺁﻥﭼﻪ ﺭﺥ ﻭ ﺩﺍﺩﻩ ﻭ ﺩﺭ ﺣﺎﻝ ﺭﺥ ﺩﺍﺩﻥ ﺍﺳﺖ‪ ،‬ﺁﮔﺎﻩ‬ ‫ﺍﺳﺖ‪ .‬ﺍﻭ ﻣﻰﺩﺍﻧﺪ ﻛﻴﺴﺖ‪ .‬ﻣﻰﺩﺍﻧﺪ ﺯﻳﺮ ﭘﺎﺭﭼﻪﻯ ﺳﻔﻴﺪ ﭼﻪ ﭼﻴﺰﻯ ﻣﺨﻔﻰ ﺷﺪﻩ‪ .‬ﺍﻭ ﻣﻰﺩﺍﻧﺪ ﺩﻳﮕﺮﻯ‬ ‫ﭼﻴﺰﻯ ﺑﻪ ﻧﺎﻡ ﺍﻳﺎﻻﺕ ﻣﺘﺤﺪﻩ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ ،‬ﻳﺎ ﺟﻤﻬﻮﺭﻯ ﺧﻠﻖ ﭼﻴﻦ‪ ،‬ﻳﺎ ﺍﻣﭙﺮﺍﻃﻮﺭﻯ ژﺍﭘﻦ‪ .‬ﺍﻳﻦ ﻛﻠﻤﺎﺕ‬ ‫ﻫﻤﺎﻥﻗﺪﺭ ﺗﻬﻰ ﻭ ﺑﻰﻣﻌﻨﻰ ﺑﻮﺩﻧﺪ ﻛﻪ ﺭﺋﻴﺲﺟﻤﻬﻮﺭ ﻳﺎ ﻭﺯﺍﺭﺕ ﺩﻓﺎﻉ‪ ،‬ﻳﺎ ﺍﻑ‪.‬ﺩﻯ‪.‬ﺍﻯ ﻳﺎ ﺍﺭﺗﺶ‪ .‬ﺟﻬﺎﻥ‬ ‫ﺁﻥ ﻃﻮﺭﻯ ﻛﻪ ﺗﺎ ﻣﺎﻩ ﭘﻴﺶ ﻣﻰﺷﻨﺎﺧﺘﺶ‪ ،‬ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﻴﺪﻩ ﺍﺳﺖ‪ .‬ﺑﻰﺍﺧﺘﻴﺎﺭ ﺑﻪ ﻳﺎﺩ ﻛﻠﻤﺎﺗﻰ ﺍﺯ ﺗﻰ‪.‬ﺍﺱ‬ ‫ﺍﻟﻴﻮﺕ ﻣﻰﺍﻓﺘﺪ‪ .‬ﭼﻪ ﻗﺪﺭ ﻣﻨﺎﺳﺐﺍﻧﺪ‪ .‬ﻭ ﭼﻨﻴﻦ ﺍﺳﺖ ﭘﺎﻳﺎﻥ ﺟﻬﺎﻥ‪ .‬ﻧﻪ ﺑﺎ ﺍﻧﻔﺠﺎﺭﻯ ﻋﻈﻴﻢ‪ ،‬ﻛﻪ ﺑﺎ ﻧﺎﻟﻪﺍﻯ‬ ‫ﻫﺮ ﺩﻡ ﻣﺤﻮ ﺷﻮﻧﺪﻩ‪.‬‬ ‫ﻣﺮگ ﺍﺯ ﺩﻳﺪ ﺍﻭ ﺁﻥ ﺁﺧﺮﻳﻦ ﻭ ﺑﺮﺗﺮﻳﻦ ﺧﻮﺷﺒﺨﺘﻰ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﻛﻪ ﺑﻰﺩﻏﺪﻏﻪﻯ ﺁﺯﺍﺭﻯ ﻳﺎ ﺻﺪﺍﻳﻰ ﺩﺭ‬ ‫ﺳﻴﺎﻫﻰ ﺍﺑﺪﻯ ﺭﻫﺎ ﺷﻮﺩ‪ .‬ﺻﺮﻓﺎً ﺷﻨﺎﻭﺭ ﺑﺎﺷﺪ‪ .‬ﺗﺤﺮﻛﻰ ﻧﺒﺎﺷﺪ‪.‬‬ ‫ﻫﻴﭻ ﻧﺒﺎﺷﺪ‪.‬‬ ‫ﺻﺪﺍ ﺑﺎﺭ ﺩﻳﮕﺮ ﺑﺎﺯ ﻣﻰﮔﺮﺩﺩ‪ .‬ﻣﺜﻞ ﻣﺎﻫﻴﺘﻰ ﻛﻪ ﻣﺘﺮﺻﺪ ﺟﻬﻴﺪﻥ ﺑﺮ ﺁﮔﺎﻫﻰﺍﺵ ﺑﺎﺷﺪ‪ .‬ﺻﺪﺍ ﺑﻰﻧﻬﺎﻳﺖ‬ ‫ﻟﺠﻮﺝ ﺍﺳﺖ ﺗﺎ ﻣﺮﺯ ﻳﻘﻴﻦ ﻭ ﺗﺨﻴﻞ ﺭﺍ ﺍﺯ ﻫﻢ ﺑﺸﻜﺎﻓﺪ‪ .‬ﺑﻪ ﻳﺎﺩ ﻧﺪﺍﺭﺩ ﺩﻳﻮﺍﻧﻪ ﺑﻮﺩﻩ ﺑﺎﺷﺪ‪ .‬ﻣﺴﺖ ﻧﻴﺴﺖ‪.‬‬ ‫ﻧﻤﺮﺩﻩ ﺍﺳﺖ‪ .‬ﭘﺲ ﺷﺎﻳﺪ ﺩﺭ ﻣﺴﻴﺮ ﺩﻳﻮﺍﻧﻪ ﺷﺪﻥ ﺑﻪ ﭘﻴﺶ ﻣﻰﺭﻭﺩ‪ .‬ﺍﮔﺮ ﺩﻭﺍﺯﺩﻩ ﺳﺎﻋﺖ ﺗﻨﻬﺎﻳﻰ ﻣﻰﺗﻮﺍﻧﺴﺖ‬ ‫ﺩﻳﻮﺍﻧﻪﺍﺵ ﻛﻨﺪ‪ ...‬ﻳﺎ ﺳﻴﺰﺩﻩ ﺳﺎﻋﺖ ﺑﻮﺩ؟ ﻫﻤﺎﻥ ﻛﻠﻤﺎﺕ ﺑﺎﺯ ﺗﻜﺮﺍﺭ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺑﻪ ﺫﻫﻨﺶ ﻓﺸﺎﺭ ﻣﻰﺁﻭﺭﺩ‪.‬‬ ‫ﻛﻠﻤﺎﺕ ﺁﺷﻨﺎ ﻫﺴﺘﻨﺪ‪ .‬ﻛﺎﺵ ﭘﻴﺶ ﺍﺯ ﺁﻥ ﻛﻪ ﺁﮔﺎﻫﻰ ﺑﺎﺯﻳﺎﻓﺘﻪﺍﺵ ﺑﺎﺭ ﺩﻳﮕﺮ ﻣﺤﻮ ﺷﻮﺩ‪ ،‬ﻣﻰﺗﻮﺍﻧﺴﺖ ﺑﻪ‬ ‫ﻳﺎﺩ ﺁﻭﺭﺩ‪ .‬ﭼﻬﺮﻩﻯ ﻧﻴﻢﻧﻘﺎﺏ ﺯﺩﻩ ﺑﺎﺭ ﺩﻳﮕﺮ ﺩﺭ ﺑﺮﺍﺑﺮ ﭼﺸﻢ ﺩﺭﻭﻧﺶ ﻇﺎﻫﺮ ﻣﻰﺷﻮﺩ‪ .‬ﺣﺎﻻ ﻣﻰﺩﺍﻧﺪ ﻛﻪ‬ ‫ﺗﺼﻮﻳﺮ ﺯﻧﻰ ﺍﺳﺖ‪ .‬ﻧﺎﮔﻬﺎﻥ ﺍﻧﮕﺎﺭ ﺩﺭ ﻣﻐﺰﺵ ﭼﺎﻫﻰ ﺑﺎﺯ ﺷﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﺑﻪ ﺩﺭﻭﻥ ﻣﻜﻴﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﻣﺜﻞ ﺑﺎﺭ‬ ‫ﻗﺒﻞ‪ .‬ﺍﮔﺮ ﺧﺎﻃﺮﻩﺍﻯ ﺍﺯ ﺁﻥ ﺩﺍﺭﺩ‪.‬‬ ‫ﺁﺳﻤﺎﻥ ﺻﺎﻑ ﺍﺳﺖ‪ .‬ﺯﻥ ﻛﻪ ﻟﺒﺎﺳﻰ ﻇﺮﻳﻒ ﺑﺮ ﺗﻦ ﺩﺍﺭﺩ‪ ،‬ﺑﻰﺗﻮﺟﻪ ﺑﻪ ﻧﻮﺭ ﺧﻮﺭﺷﻴﺪ ﻛﻪ ﺑﺮ ﭘﻮﺳﺖ ﺗﻨﺶ‬ ‫ﺑﻮﺳﻪ ﻣﻰﺯﻧﺪ ﻭ ﻣﻔﻬﻮﻣﻰ ﺩﮔﺮ ﺟﻬﺎﻧﻰ ﺑﺪﺍﻥ ﻣﻰﺑﺨﺸﺪ‪ ،‬ﻣﺸﻐﻮﻝ ﺧﻮﺍﻧﺪﻥ ﺍﺳﺖ‪ .‬ﺑﺎ ﻛﻼﻣﻰ ﺁﺭﺍﻡ ﻭ‬ ‫ﺻﺪﺍﻳﻰ ﻣﻮﺳﻴﻘﻴﺎﻳﻰ ﻛﻠﻤﺎﺗﻰ ﺭﺍ ﺍﺯ ﺑﺮ ﻣﻰﺧﻮﺍﻧﺪ‪ .‬ﺑﻪ ﺯﺑﺎﻧﻰ ﻛﻪ ﭼﻴﺰﻯ ﺍﺳﺖ ﺑﻴﻦ ﻋﺒﺮﻯ ﻭ ﻳﻴﺪﻳﺶ‪» .‬ﺍﻯ‬ ‫ﺩﻟﺒﺮﻡ‪ ،‬ﺗﻮ ﺑﻪ ﺩﺳﺘﻪﻯ ﺍﺳﺒﺎﻥ ﺍﺭﺍﺑﻪﻯ ﻓﺮﻋﻮﻥ ﻣﺎﻧﻰ‪ .‬ﮔﻮﻧﻪﻫﺎﻳﺖ ﺁﺭﺍﻡﺍﻧﺪ ﻭ ﻣﺰﻳﻦ ﺑﻪ ﺑﻰﺑﺪﻳﻞ ﮔﻮﻫﺮﻫﺎﻳﻰ‬ ‫ﻧﺎﺏ‪ .‬ﺑﺮﺍﻳﺖ ﮔﺮﺩﻥﺁﻭﻳﺰﻯ ﺧﻮﺍﻫﻢ ﺳﺎﺧﺖ ﺍﺯ ﻃﻼ ﻭ ﻧﻘﺮﻩ‪ «...‬ﻣﺮﺩ ﺧﻮﺩﺵ ﺭﺍ ﺍﺯ ﺩﺭﻳﭽﻪﻯ ﭼﺸﻢ ﻣﺎ ﻛﻪ‬ ‫ﻧﻈﺎﺭﻩﮔﺮ ﺍﻳﻦ ﻫﻤﻪ ﺑﺎﺷﻴﻢ‪ ،‬ﻣﻰﺑﻴﻨﺪ ﻛﻪ ﺑﺮ ﺗﺨﺘﻰ ﺁﺭﻣﻴﺪﻩ‪ .‬ﺑﻪ ﺯﻥ ﺧﻴﺮﻩ ﺍﺳﺖ‪ .‬ﺧﺎﻃﺮﻩﻯ ﺍﻭﺳﺖ‪ .‬ﺍﻣﺎ‬ ‫ﻋﻴﻦ ﺧﺎﻃﺮﻩ ﻧﻴﺴﺖ‪ .‬ﺗﺼﻮﺭﻯ ﺧﺎﺭﺟﻰ ﺍﺳﺖ ﺍﺯ ﺁﻥﭼﻪ ﺑﻪ ﺍﺗﻜﺎﻯ ﺫﻫﻦ ﻣﻐﺸﻮﺷﺶ ﺭﺥ ﺩﺍﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺣﺎﻓﻈﻪ ﺍﺳﺖ‪ .‬ﺻﺪﺍ ﮔﺮﻡ ﺍﺳﺖ‪ .‬ﺗﺮﻧﻤﺶ ﺁﻫﻨﮕﻴﻦ ﻣﺜﻞ ﺟﻮﻳﺒﺎﺭ ﺟﻠﻮ ﻣﻰﺭﻭﺩ‪ .‬ﻣﺮﺩ ﻛﻪ ﺍﺯ ﺩﺭﻳﭽﻪﻯ ﭼﺸﻢ‬ ‫‪57‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﮔﺮﻓﺘﻪ ﺷﺪﻩ‪ .‬ﺷﺎﻳﺪ ﻳﻚ ﺗﭙﻪ ﻳﺎ ﻳﻚ ﺳﺎﺧﺘﻤﺎﻥ ﺑﻠﻨﺪ‪ .‬ﻣﺮﺩ ﻣﻄﻤﺌﻦ ﻧﻴﺴﺖ‪ .‬ﺩﺭ ﻧﻈﺮ ﺍﻭﻝ ﺑﻰﺷﺒﺎﻫﺖ ﺑﻪ‬ ‫ﺟﻨﮓ ﻧﻴﺴﺖ‪ .‬ﺍﻣﺎ ﺍﺯ ﻫﻠﻴﻜﻮﭘﺘﺮﻫﺎ ﻳﺎ ﺗﺎﻧﻚﻫﺎ ﺧﺒﺮﻯ ﻧﻴﺴﺖ‪ .‬ﺑﻪ ﻓﻮﺭﺍﻥ ﺧﻮﻥ ﻣﻰﻣﺎﻧﺪ ﻭﻗﺘﻰ ﺯﺧﻤﻰ ﺩﺭ‬ ‫ﻛﺎﺭ ﻧﻴﺴﺖ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﻭﺭﺍﻯ ﺗﺼﻮﺭﺵ ﺑﻰﻣﻌﻨﻰ ﻭ ﺑﻰﺭﺑﻂ ﺍﺳﺖ‪ .‬ﻣﻨﻄﻘﻰ ﻧﻴﺴﺖ‪ .‬ﺑﻌﻀﻰ ﺍﺯ ﺳﺎﺧﺘﻤﺎﻥﻫﺎ‬ ‫ﺁﺷﻨﺎ ﻫﺴﺘﻨﺪ‪ .‬ﻧﻪ ﺍﻳﻦ ﻛﻪ ﻣﺮﺩ ﻗﺒ ً‬ ‫ﻼ ﺗﺼﺎﻭﻳﺮ ﺭﺍ ﻧﺪﻳﺪﻩ ﺑﺎﺷﺪ‪ .‬ﻣﺎﻧﻌﻰ ﺩﺭ ﺑﺮﺍﺑﺮ ﺁﮔﺎﻫﻰ ﺍﻭ ﺯﺩﻩ ﺷﺪﻩ‪ .‬ﮔﻮﻳﻰ‬ ‫ﻫﺮ ﮔﺎﻩ ﺑﻪ ﻳﻚ ﺳﺎﻋﺖ ﻳﺎ ﺣﺘﺎ ﻳﻚ ﺛﺎﻧﻴﻪﻯ ﭘﻴﺶ ﻓﻜﺮ ﻣﻰﻛﻨﺪ‪ ،‬ﺑﺎ ﺳﺪﻯ ﺑﻪ ﺑﻠﻨﺪﺍﻯ ﻳﻚ ﻛﻴﻠﻮﻣﺘﺮ ﺭﻭﺑﻪﺭﻭ‬ ‫ﻣﻰﺷﻮﺩ ﻛﻪ ﺳﺮﺩ ﻭ ﻋﺒﻮﺱ ﻭ ﺑﺘﻮﻧﻰ ﺑﻪ ﺍﻭ ﺧﻴﺮﻩ ﻣﻰﺷﻮﺩ ﻭ ﻫﺮ ﺛﺎﻧﻴﻪ ﻳﻚ ﻭﺟﺐ ﺑﻪ ﺟﻠﻮ ﻣﻰﺭﻭﺩ ﻭ ﺍﻭ ﺭﺍ‬ ‫ﺑﻪ ﺟﻠﻮ ﻫﻞ ﻣﻰﺩﻫﺪ‪ .‬ﺍﻭ ﻧﻤﻰﺧﻮﺍﻫﺪ ﺟﻠﻮ ﺑﺮﻭﺩ‪ .‬ﺍﻭ ﻣﻰﺧﻮﺍﻫﺪ ﺩﻳﻮﺍﺭ ﺭﺍ ﺧﺮﺍﺵ ﺑﺪﻫﺪ ﺍﻣﺎ ﺩﻳﻮﺍﺭ‪ ،‬ﻧﺎﻫﻤﻮﺍﺭ ﻭ‬ ‫ﺑﻰﺗﻮﺟﻪ‪ ،‬ﺳﺮ ﭘﻨﺠﻪﻫﺎﻳﺶ ﺭﺍ ﺁﺯﺍﺭ ﻣﻰﺩﻫﺪ‪ .‬ﺗﻨﺶ ﺑﻪ ﺧﺎﺭﺵ ﻣﻰﺍﻓﺘﺪ‪ .‬ﺍﻳﻦ ﺑﺮﺝ ﺑﻴﮓﺑﻦ ﺍﺳﺖ‪ .‬ﻧﻪ ﺷﺎﻳﺪ‬ ‫ﻫﻢ ﻧﻴﺴﺖ‪ .‬ﺍﻳﻦ ﺭﻭﺩ ﺗﻴﻤﺰ ﺍﺳﺖ‪ .‬ﺩﻳﻮﺍﺭ ﻧﺎﺧﻦﻫﺎﻳﺶ ﺭﺍ ﻣﻰﺷﻜﻨﺪ‪ .‬ﺍﺯ ﺩﺳﺘﺎﻧﺶ ﺧﻮﻥ ﺟﺎﺭﻯ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺳﺮﺵ ﺗﺎ ﻣﺮﺯ ﺍﻧﻔﺠﺎﺭ ﭘﻴﺶ ﻣﻰﺭﻭﺩ‪ .‬ﻣﺮﺩ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺩﺳﺘﺎﻧﺶ ﺭﺍ ﺩﺭ ﻣﻮﻫﺎﻯ ﭘﺮﭘﺸﺖ ﻭ ﺧﺸﻜﻴﺪﻩﺍﺵ‬ ‫ﻓﺮﻭ ﻣﻰﺑﺮﺩ‪ .‬ﺩﺭﺩ ﻣﺘﻮﻗﻒ ﻣﻰﺷﻮﺩ‪ .‬ﺑﺮﺧﻼﻑ ﺍﻧﺘﻈﺎﺭﺵ‪ ،‬ﻣﻮﻫﺎﻳﺶ ﺩﺳﺘﻪﺩﺳﺘﻪ ﻓﺮﻭ ﻧﻤﻰﺭﻳﺰﻧﺪ‪ .‬ﺩﺭ ﺑﺮﺍﺑﺮ‬ ‫ﺗﻤﺎﺱ ﺩﺳﺘﺎﻥ ﺳﺮﺩﺵ ﻣﻘﺎﻭﻣﺖ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺍﻧﮕﺎﺭ ﻟﺤﻈﻪﺍﻯ ﺑﻪ ﻭﺍﻗﻌﻴﺖ ﻗﻮﺍﻧﻴﻦ ﻓﻴﺰﻳﻚ ﺑﺎﺯﮔﺮﺩﺩ‪ .‬ﺍﻳﻦ‬ ‫ﻟﻨﺪﻥ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺗﺼﻮﻳﺮ ﻣﻰﺳﻮﺯﺩ‪ .‬ﺍﻧﻔﺠﺎﺭﻫﺎ ﺧﻴﻠﻰ ﺍﺗﻔﺎﻗﻰ ﺭﺥ ﻣﻰﺩﻫﻨﺪ‪ .‬ﺍﻳﻦ ﺟﺎ ﻫﻴﭻ ﺭﻭﻧﺪﻯ ﻭﺟﻮﺩ‬ ‫ﻧﺪﺍﺭﺩ‪ .‬ﺁﺷﻮﺏ ﻣﺤﺾ ﺍﺳﺖ‪ .‬ﻫﻴﭻ ﺩﻭ ﻧﻘﻄﻪﺍﻯ ﺭﺍ ﻧﻤﻰﺷﻮﺩ ﺑﺎ ﻳﻚ ﺧﻂ ﺑﻪ ﻫﻢ ﻣﺘﺼﻞ ﻛﺮﺩ‪.‬‬ ‫ﺑﻪ ﺟﺴﺪ ﺧﻴﺮﻩ ﻣﻰﺷﻮﺩ‪ .‬ﭘﺎﺭﭼﻪ ﺭﻭﻳﺶ ﺭﺍ ﭘﻮﺷﺎﻧﺪﻩ‪ .‬ﺍﮔﺮ ﻧﻤﻰﺩﺍﻧﺴﺖ ﺩﺭ ﺯﻳﺮ ﺁﻥ ﺗﻮﺩﻩﻯ ﺧﻔﻪ ﺍﺯ ﭘﺎﺭﭼﻪ‬ ‫ﻭ ﺳﻴﻢ ﭼﻴﺴﺖ‪ ،‬ﻏﺮﻳﺐ ﻧﺒﻮﺩ ﺍﮔﺮ ﺁﻥ ﺭﺍ‪ ...‬ﻳﻚ ﺁﻥ ﺧﺸﻚ ﻣﻰﺷﻮﺩ‪ .‬ﺟﻬﺎﻥ ﻣﺘﻮﻗﻒ ﻣﻰﺷﻮﺩ‪ .‬ﺑﻪ ﻳﺎﺩﺵ‬ ‫ﻧﻴﺴﺖ ﺩﺭ ﺯﻳﺮ ﭘﺎﺭﭼﻪﻯ ﺳﻔﻴﺪ ﭼﻪ ﺧﺰﻳﺪﻩ ﺍﺳﺖ‪ .‬ﮔﻮﻳﻰ ﻛﺮﻣﻰ ﺩﺭ ﻣﻐﺰﺵ ﺭﻫﺎ ﺷﺪﻩ ﻭ ﻣﺴﻴﺮﻫﺎﻯ ﻧﻮﺭﻭﻧﻰ‬ ‫ﭘﺮﺍﺭﺯﺵ ﺧﺎﻃﺮﻩﺍﺵ ﺭﺍ ﻣﻰﻟﻴﺴﺪ ﻭ ﭘﺎﻙ ﻣﻰﻛﻨﺪ‪ .‬ﺍﺯ ﺗﺼﺎﻭﻳﺮ‪ .‬ﺍﺯ ﺧﺎﻃﺮﺍﺕ‪ .‬ﺍﺯ ﺑﻮﻫﺎ‪ .‬ﺍﺯ ﻳﺎﺩ ﻟﻤﺲﻫﺎ‪.‬‬ ‫ﺻﺪﺍ ﺑﺎﺭ ﺩﻳﮕﺮ ﺩﺭ ﭘﺲ ﺫﻫﻨﺶ ﺯﻣﺰﻣﻪ ﻣﻰﻛﻨﺪ‪ .‬ﺧﻴﻠﻰ ﺩﻭﺭ ﺍﺳﺖ‪ .‬ﺧﻴﻠﻰ ﺗﻬﻰ ﻭ ﺑﻰﺣﺎﻝ ﺍﺳﺖ‪ .‬ﺍﻣﺎ‬ ‫ﻣﺜﻞ ﺧﺮﺩﻩ ﺷﻴﺸﻪ ﺩﺭ ﭘﺲ ﺳﺮﺵ ﻣﻰﻟﻐﺰﺩ‪ .‬ﮔﺎﻫﻰ ﺩﻭﺭ ﻣﻰﺷﻮﺩ‪ .‬ﺑﻌﺪ ﻧﺰﺩﻳﻚ ﻣﻰﺁﻳﺪ‪ .‬ﻣﺜﻞ ﻫﻴﺌﺘﻰ‬ ‫ﻛﻪ ﺑﺎ ﻟﺠﺒﺎﺯﻯ ﺗﻤﺎﻡ ﺍﺯ ﻧﻮﺭ ﻣﻬﺘﺎﺏ ﺍﺟﺘﻨﺎﺏ ﻣﻰﻛﻨﺪ‪ .‬ﺻﺪﺍ ﻗﻮﻯﺗﺮ ﻣﻰﺷﻮﺩ‪ .‬ﻣﺮﺩ ﺗﻘﻼ ﻣﻰﻛﻨﺪ ﺗﺎ ﻣﮕﺮ‬ ‫ﺑﺨﺸﻰ ﺍﺯ ﺁﻥ ﺭﺍ ﻓﺮﺍﭼﻨﮓ ﺁﺭﺩ‪ .‬ﺻﺪﺍ ﺍﻧﺴﺎﻧﻰ ﻧﻴﺴﺖ‪ ،‬ﻭﻟﻰ ﻛﻠﻤﺎﺕ ﻫﺴﺘﻨﺪ‪ .‬ﺑﻰﺟﻨﺴﻴﺖﺍﻧﺪ‪ .‬ﺯﻥ ﻧﻴﺴﺘﻨﺪ‬ ‫ﻳﺎ ﻣﺮﺩ‪ .‬ﻣﺜﻞ ﺻﻮﺭﺕ‪ ،‬ﺑﻰﻫﻴﭻ ﻧﺸﺎﻧﻰ ﺍﺯ ﺁﺩﻡ ﺑﻮﺩﻥ‪ .‬ﺟﺰ ﺁﻥﭼﻪ ﺧﺎﻃﺮﻩﺍﺵ ﺑﻪ ﺣﺎﻓﻈﻪﺍﺵ ﻣﻰﻛﻮﺑﺎﻧﺪ‪.‬‬ ‫»ﻣﻌﺸﻮﻗﻪﺍﻡ‪ ،‬ﺗﻮ ﺧﺎﺭﺝ ﺍﺯ ﺻﻨﺎﻋﺖﻫﺎﻯ ﺯﺑﺎﻥ ﺁﺩﻣﻴﺎﻥ ﺯﻳﺒﺎﻳﻰ ﻭ ﺩﻟﭙﺬﻳﺮ‪ .‬ﺑﺎ ﭼﺸﻤﺎﻧﻰ ﭼﻮﻥ ﭼﺸﻤﺎﻥ‬ ‫ﻛﺒﻮﺗﺮ‪ «...‬ﺳﭙﺲ ﺑﺎﺭ ﺩﻳﮕﺮ ﺗﻨﻬﺎ ﻛﻮﺑﺶ ﺍﺳﺖ‪ .‬ﺑﻢ ﻭ ﺑﻰﻣﻌﻨﻰ ﻭ ﻛﺸﺪﺍﺭ ﻭ ﺑﻌﺪ ﺩﻭﺑﺎﺭﻩ ﭼﻮﻥ ﻗﻄﺎﺭﻯ ﻛﻪ‬ ‫ﺑﺎ ﺗﻤﺎﻡ ﺳﺮﻋﺖ ﺍﺯ ﺗﭙﻪﺍﻯ ﺑﺎ ﺷﻴﺒﻰ ﺩﻳﻮﺍﻧﻪﻭﺍﺭ ﺑﺎﻻ ﺑﻴﺎﻳﺪ‪ ،‬ﺗﻴﺰ ﻣﻰﺷﻮﺩ ﻭ ﺩﺭ ﺫﻫﻨﺶ ﻣﻰﻧﺸﻴﻨﺪ‪» .‬ﺩﺳﺖ‬ ‫ﭼﭙﺶ ﺑﺮ ﺳﺮﻡ ﮔﺬﺍﺭﺩﻩ‪ ،‬ﺩﺳﺖ ﺭﺍﺳﺘﺶ ﺩﺭ ﺑﺮﻡ ﻛﺸﻴﺪﻩ‪ ...‬ﮔﺮﺩﻧﺖ ﺍﻯ ﻣﻌﺸﻮﻕ‪ ،‬ﺑﻪ ﺳﺎﻥ ﺑﺮﺝ ﺁﻫﻨﮕﺮﻯ‬ ‫ﺩﺍﻭﻭﺩ ﻭ ﺍﺯ ﺁﻥ ﺻﺪ ﺳﭙﺮ ﻭ ﺯﺭﻩ ﺩﻻﻭﺭﺍﻥ ﻭ ﺳﻠﺤﺸﻮﺭﺍﻥ ﺁﻭﻳﺨﺘﻪ‪ ...‬ﺍﻯ ﺩﺧﺘﺮﺍﻥ ﺍﻭﺭﺷﻠﻴﻢ‪ ،‬ﺷﻤﺎ ﺭﺍ ﺑﻪ ﻫﺮ‬ ‫ﺁﻥ ﭼﻪ ﻣﻘﺪﺱ ﺍﺳﺖ ﻗﺴﻢ ﻣﻰ ﺩﻫﻢ‪ ،‬ﺧﻮﺍﺏ ﻣﻌﺸﻮﻗﻢ ﺭﺍ ﺁﺷﻔﺘﻪ ﻧﻜﻨﻴﺪ‪ .‬ﺗﺎ ﺍﻭ ﺍﻧﺪﻛﻰ ﻓﺎﺭﻍ ﺑﺨﺴﺒﺪ‪«.‬‬ ‫‪55‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬���


‫ﻭ ﮔﺮﻡ‪ .‬ﺳﺮﺥ ﺍﺳﺖ‪ .‬ﺍﻧﮕﺎﺭ ﺯﻳﺮ ﻣﻼﻓﻪﺍﻯ ﺳﻔﻴﺪ ﺧﺰﻳﺪﻩ ﺑﺎﺷﺪ ﺩﺭ ﻧﻴﻢﺭﻭﺯﻯ ﺗﺎﺑﺴﺘﺎﻧﻰ ﻭ ﺧﺴﺘﻪ‪ ،‬ﺻﻮﺭﺗﻰ‬ ‫ﻣﺤﻮ ﺩﺭ ﮔﻮﺷﺶ ﺯﻣﺰﻣﻪﺍﻯ ﻣﻰﻛﻨﺪ ﻛﻪ ﻧﺎﺗﻮﺍﻧﻰﺍﺵ ﺩﺭ ﺩﺭﻙ ﻛﻠﻤﺎﺕ ﻣﺜﻞ ﺍﻳﻦ ﻛﻪ ﭘﻴﭻﻫﺎﻳﻰ ﻓﻠﺰﻯ‬ ‫ﺭﺍ ﺩﺭ ﺩﺳﺘﺶ ﻓﺮﻭ ﻛﻨﻨﺪ‪ ،‬ﺁﺯﺍﺭﺵ ﻣﻰﺩﻫﺪ‪ .‬ﺍﻧﮕﺎﺭ ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩﻩ‪ .‬ﺻﻮﺭﺕ ﺍﻧﮕﺎﺭ ﻧﻘﺎﺑﻰ ﺩﺍﺭﺩ‪ .‬ﻳﺎ ﺁﻥﺟﺎ‬ ‫ﻛﻪ ﺑﺎﻳﺪ ﭼﺸﻤﺎﻥ ﻭ ﺑﻴﻨﻰ ﻗﺮﺍﺭ ﻣﻰﮔﺮﻓﺖ‪ ،‬ﺗﻨﻬﺎ ﭘﻮﺳﺘﻰ ﺑﻰﺟﻬﺖ ﻭ ﺑﻰﻣﻌﻨﻰ ﻛﺸﻴﺪﻩ ﺷﺪﻩ‪ .‬ﺍﻧﮕﺎﺭ ﺗﻨﻬﺎ‬ ‫ﺩﻫﺎﻧﻰ ﻭﺍ ﺭﻓﺘﻪ ﻭ ﺑﻰﺷﻜﻞ ﺍﺳﺖ‪ .‬ﺩﻫﺎﻥ ﻫﻤﺎﻥﻗﺪﺭ ﺷﺨﺼﻴﺖ ﺩﺍﺭﺩ ﻛﻪ ﺍﻭ ﺩﺭ ﺫﻫﻨﺶ ﻣﻰﺩﺍﻧﺪ ﺍﻧﺴﺎﻥﻫﺎ‬ ‫ﺩﻫﺎﻥ ﺩﺍﺭﻧﺪ‪ .‬ﻫﻤﺎﻥ ﻗﺪﺭ ﻏﻴﺮﺷﺨﺼﻰ ﻭ ﺩﻭﺭ ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﻯ ﺧﺎﺭﺝ ﺷﺪﻥ ﺁﻥ ﺯﻣﺰﻣﻪﻯ ﺯﺟﺮﺁﻭﺭ‪ ،‬ﺑﻪ‬ ‫ﺩﻫﺎﻧﻰ ﻧﻴﺎﺯ ﺍﺳﺖ‪.‬‬ ‫ﺩﺳﺘﺎﻧﺶ ﺭﺍ ﺍﺯ ﺻﻮﺭﺗﺶ ﻣﻰﻛﻨﺪ‪ .‬ﻣﺎﻧﻴﺘﻮﺭ ﺷﻤﺎﺭﻩﻯ ‪ 3‬ﺩﺭ ﺣﺎﻝ ﭘﺨﺶ ﺗﺼﺎﻭﻳﺮﻯ ﺿﺒﻂ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻣﻜﺎﻧﺶ ﺑﺎﻳﺪ ﺟﺎﻳﻰ ﺩﺭ ﺍﺭﻭﭘﺎ ﺑﺎﺷﺪ‪ .‬ﺍﺟﺴﺎﺩ ﺭﻭﻯ ﺯﻣﻴﻦ ﺭﺩﻳﻒ ﺷﺪﻩﺍﻧﺪ ﻭ ﮔﺰﺍﺭﺷﮕﺮﻯ ﺑﺎ ﻣﻮﻫﺎﻳﻰ‬ ‫ﻫﻤﭽﻮﻥ ﺍﺑﺮﻳﺸﻢ ﻭ ﻛﺸﻤﻴﺮ ﺳﺮﺥ ﺯﻧﮕﺎﺭﻯ‪ ،‬ﺩﺭ ﺑﺮﺍﺑﺮ ﺩﻭﺭﺑﻴﻨﻰ ﻛﻪ ﺍﻣﺮﻭﺯ ﺩﻳﮕﺮ ﺁﻥﺟﺎ ﻧﻴﺴﺖ‪ ،‬ﺍﻳﺴﺘﺎﺩﻩ‬ ‫ﺍﺳﺖ‪ .‬ﮔﺰﺍﺭﺷﮕﺮ ﺑﺎ ﺟﺪﻳﺖ ﺗﻤﺎﻡ ﺩﺭ ﺣﺎﻝ ﺗﻮﺿﻴﺢ ﻣﻮﺿﻮﻋﻰ ﺍﺳﺖ ﻛﻪ ﺑﻰﻧﻬﺎﻳﺖ ﺣﻴﺎﺗﻰ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ‪.‬‬ ‫ﺟﺬﺍﺏ ﺍﺳﺖ‪ .‬ﺩﻧﺪﺍﻥﻫﺎﻳﺶ ﺳﻔﻴﺪ ﻭ ﻳﻚﺩﺳﺖﺍﻧﺪ‪ .‬ﺍﺯ ﺁﻥ ﺩﺳﺖ ﺩﻧﺪﺍﻥﻫﺎﻳﻰ ﻛﻪ ﺭﻭﻯ ﺑﺴﺘﻪﻫﺎﻯ‬ ‫ﺧﻤﻴﺮﺩﻧﺪﺍﻥ ﻣﻰﺍﻧﺪﺍﺯﻧﺪ‪ .‬ﻳﻜﻰ ﺍﺯ ﺍﺟﺴﺎﺩ ﭘﺸﺖ ﺳﺮﺵ ﺣﺮﻛﺘﻰ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻣﺪﺍﺩﮔﺮﻯ ﻭﺣﺸﺖﺯﺩﻩ ﻭ ﺑﺎ‬ ‫ﻧﻬﺎﻳﺖ ﺳﺮﻋﺖ ﺑﻪ ﻃﺮﻑ ﺟﺴﺪ ﻣﻰﺩﻭﺩ‪ .‬ﺷﺎﻳﺪ ﻣﺮﺩ ﻫﻨﻮﺯ ﻧﻤﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺷﺎﻳﺪ ﺍﺷﺘﺒﺎﻫﻰ ﻋﻈﻴﻢ ﺭﺥ ﺩﺍﺩﻩ‬ ‫ﺍﺳﺖ‪ .‬ﮔﺰﺍﺭﺷﮕﺮ ﺑﻪ ﭘﺸﺖ ﺳﺮﺵ ﻧﮕﺎﻩ ﻣﻰﻛﻨﺪ ﻭ ﺑﺎ ﻫﻴﺠﺎﻧﻰ ﻭﺻﻒ ﻧﺸﺪﻧﻰ ﺑﻪ ﺳﻤﺖ ﻣﺮﻛﺰ ﺁﺷﻮﺏ‬ ‫ﻣﻰﺩﻭﺩ‪ ،‬ﺟﺎﻳﻰ ﻛﻪ ﺣﺎﻻ ﭼﻨﺪﻳﻦ ﭘﻴﻜﺮ ﺳﻔﻴﺪﭘﻮﺵ ﺗﺠﻤﻊ ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﻫﻤﭽﻮﻥ ﺁﻫﻦﺭﺑﺎﻳﻰ ﺍﻧﺴﺎﻥﻗﺪ‪،‬‬ ‫ﺩﻭﺭﺑﻴﻦ ﺑﻪ ﺩﻧﺒﺎﻟﺶ ﻛﺸﻴﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﭘﻴﺶ ﺍﺯ ﺁﻥ ﻛﻪ ﺗﺼﻮﻳﺮ ﻧﺎﮔﻬﺎﻥ ﻗﻄﻊ ﺷﻮﺩ‪ ،‬ﺗﺼﻮﻳﺮﻯ ﻛﻮﺗﺎﻩ ﺍﺯ‬ ‫ﻣﺮﺩﻯ ﻛﻪ ﺗﺎ ﭼﻨﺪ ﺛﺎﻧﻴﻪﻯ ﭘﻴﺶ ﻣﺮﺩﻩ ﻓﺮﺽ ﺷﺪﻩ ﺑﻮﺩ ﭘﺨﺶ ﻣﻰﺷﻮﺩ‪ .‬ﻣﺮﺩ ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﺣﺎﻝ ﻭ‬ ‫ﺭﻭﺷﻦ ﺑﻴﻤﺎﺭﻳﺴﺖ‪.‬‬ ‫ﺭﻭﺯ ﺧﻮﺷﻰ ﻧﺪﺍﺭﺩ‪ .‬ﭼﺸﻤﺎﻧﺶ ﺑﻴﺶ ﺍﺯ ﺣﺪ ﮔﺸﺎﺩ ﺷﺪﻩﺍﻧﺪ ﻭ ﻋﻨﺒﻴﻪﺍﺵ ﺁﺑﻰ ﺑﺴﻴﺎﺭ‬ ‫ِ‬ ‫ﻣﺮﺩ ﻣﻰﺷﻤﺎﺭﺩ‪ .‬ﻳﻚ‪ ...‬ﺩﻭ‪ ...‬ﺳﻪ‪ .‬ﺗﺼﻮﻳﺮ ﺭﻭﻯ ﻣﺎﻧﻴﺘﻮﺭ ‪ 3‬ﺑﺎﺭ ﺩﻳﮕﺮ ﺟﺎﻥ ﻣﻰﮔﻴﺮﺩ‪ .‬ﺑﺎﺭ ﺩﻳﮕﺮ ﮔﺰﺍﺭﺷﮕﺮ‬ ‫ﺟﺬﺍﺏ ﺩﺭ ﺑﺮﺍﺑﺮ ﺍﻭ ﻣﻰﺍﻳﺴﺘﺪ ﻭ ﺑﺎ ﭼﻬﺮﻩﺍﻯ ﺟﺪﻯ ﻭ ﻣﺼﻤﻢ ﺧﺒﺮﺵ ﺭﺍ ﺑﺮﺍﻯ ﻣﺮﺩﻣﻰ ﺩﺭ ﺯﻣﺎﻧﻰ ﺩﻳﮕﺮ‪،‬‬ ‫ﺑﻪ ﺯﺑﺎﻧﻰ ﻛﻪ ﺑﺮﺍﻯ ﻣﺮﺩ ﻏﺮﻳﺒﻪ ﺍﺳﺖ‪ ،‬ﺑﺎﺯﮔﻮ ﻣﻰﻛﻨﺪ‪ .‬ﻳﻚ ﺑﺎﺭ ﺩﻳﮕﺮ ﺍﻣﺪﺍﺩﮔﺮ ﺑﻪ ﺳﻤﺖ ﺟﺴﺪ ﻣﻰﺩﻭﺩ ﻭ‬ ‫ﻳﻚ ﺑﺎﺭ ﺩﻳﮕﺮ ﺯﻥ ﺑﻪ ﺳﻤﺖ ﺍﻭ ﻣﻰﺭﻭﺩ ﻭ ﺩﻭﺭﺑﻴﻦ ﺩﻧﺒﺎﻟﺶ ﻣﻰﻛﻨﺪ ﻭ ﺗﺼﻮﻳﺮ ﻣﺮﺩ ﻣﺮﺩﻩﻯ ﺩﻭﺑﺎﺭﻩ ﺟﺎﻥ‬ ‫ﮔﺮﻓﺘﻪ‪ ،‬ﻣﺜﻞ ﻟﻤﺴﻰ ﺳﺮﺩ ﻭ ﮔﺬﺭﺍ ﺑﺮ ﺭﻭﻯ ﻋﻴﻨﻚ ﻭﺯﻏﻰ‪ ،‬ﻣﻨﻌﻜﺲ ﻣﻰﺷﻮﺩ‪ .‬ﺗﺼﻮﻳﺮ ﺑﺎﺯ ﻗﻄﻊ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺍﻣﺎ ﺳﻪ ﺛﺎﻧﻴﻪﻯ ﺑﻌﺪ ﺑﺎﺯ ﺑﺮﻣﻰﮔﺮﺩﺩ‪ .‬ﮔﻮﻳﻰ ﻛﻪ ﺩﺭ ﭼﺮﺧﻪﺍﻯ ﺍﺑﺪﻯ ﮔﻴﺮ ﺍﻓﺘﺎﺩﻩ ﺑﺎﺷﺪ‪ ،‬ﺯﻥ ﻣﺤﻜﻮﻡ ﺍﺳﺖ‬ ‫ﺗﺎ ﻫﻤﻴﺸﻪ ﺍﻳﻦ ﺧﺒﺮ ﺭﺍ ﺑﺎ ﺁﻥ ﭼﻬﺮﻩﻯ ﻣﺼﻤﻢ ﺑﺎﺯﮔﻮ ﻛﻨﺪ‪ .‬ﺩﺳﺘﺎﻧﺶ ﺭﺍ ﺑﺎﻻ ﺑﻴﺎﻭﺭﺩ ﻭ ﻣﻮﻫﺎﻯ ﺳﺮﺧﺶ‬ ‫ﺭﺍ ﺍﺯ ﻛﻨﺎﺭ ﭘﻴﺸﺎﻧﻰﺍﺵ ﻛﻨﺎﺭ ﺑﺰﻧﺪ ﺑﻌﺪ ﺑﻪ ﺳﻤﺖ ﺟﺴﺪ ﺑﺪﻭﺩ‪ ،‬ﺑﻴﻬﻮﺩﻩ‪ ،‬ﻭ ﺍﻧﮕﺎﺭ ﻧﻴﺮﻭﻳﻰ ﺑﺪﺳﺮﺷﺖ ﻭ‬ ‫ﺁﺳﻤﺎﻧﻰ ﺑﺎﺭ ﺩﻳﮕﺮ ﻣﺤﺾ ﺧﻨﺪﻩ ﺍﻭ ﺭﺍ ﻳﻚ ﺧﺎﻧﻪ ﺑﻪ ﺭﺍﺳﺖ ﻭ ﺳﻪ ﺧﺎﻧﻪ ﺑﻪ ﻋﻘﺐ ﺑﻜﺸﺪ ﻭ ﺑﺎﺯﻯ ﺍﺯ ﻧﻮ‪. ...‬‬ ‫ﻣﺎﻧﻴﺘﻮﺭ ﺷﻤﺎﺭﻩﻯ ‪ 01‬ﻣﻮﺟﻰ ﺍﺯ ﺍﻧﻔﺠﺎﺭ ﺭﺍ ﺩﺭ ﺷﻬﺮﻯ ﻋﻈﻴﻢ ﺑﻪ ﻧﻤﺎﻳﺶ ﻣﻰﮔﺬﺍﺭﺩ‪ .‬ﺗﺼﻮﻳﺮ ﺍﺯ ﻓﺮﺍﺯﻯ‬ ‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪54‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﻣﻰﭼﻜﺪ‪ .‬ﭼﺎﻟﻪﺍﻯ ﻛﻮﭼﻚ ﺍﺯ ﺧﻮﻥ ﺍﺯ ﻫﻤﻴﻦ ﺣﺎﻻ ﭘﻮﻳﺸﺶ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﺻﻨﺪﻟﻰ ﻣﺮﺩ ﺁﻏﺎﺯ ﻛﺮﺩﻩ ﺍﺳﺖ‬ ‫ﻭ ﻫﻤﭽﻮﻥ ﻫﻴﻮﻻﻳﻰ ﺍﻓﺘﺎﻥ ﻭ ﺧﻴﺰﺍﻥ ﻣﻰﺭﻭﺩ ﺗﺎ ﭘﺎﻫﺎﻯ ﺍﻭ ﺭﺍ ﺁﻏﺸﺘﻪ ﻛﻨﺪ ﻭ ﺍﺯ ﺍﻭ ﻗﺪ ﺑﻜﺸﺪ‪.‬‬ ‫ﻣﺮﺩ ﺍﻣﺎ ﻫﻨﻮﺯ ﻓﺎﺭﻍ ﺍﺳﺖ‪ .‬ﺳﻴﮕﺎﺭﺵ ﺭﺍ ﻣﻰﻛﺸﺪ‪ .‬ﺍﻳﻦ ﻧﻔﺲ ﺁﺧﺮﻯ ﺑﻮﺩ‪ .‬ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﺑﺎﻳﺪ ﺭﻫﺎﻳﺶ‬ ‫ﻣﻰﻛﺮﺩ‪ .‬ﺳﻴﮕﺎﺭ ﺭﺍ ﺑﻪ ﻟﺒﺶ ﻧﺰﺩﻳﻚ ﻣﻰﻛﻨﺪ ﻭ ﺩﻭﺩ ﺭﺍ ﺍﺯ ﻣﻴﺎﻥ ﻓﻴﻠﺘﺮ ﭘﻼﺳﺘﻴﻜﻰ ﺑﻪ ﺩﺭﻭﻥ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﺑﻌﺪ ﻧﻔﺴﻰ ﻋﻤﻴﻖ ﻭ ﻣﻨﺘﻈﺮ ﻣﻰﻣﺎﻧﺪ ﺗﺎ ﻧﻴﻜﻮﺗﻴﻦ ﺍﺯ ﺭﻳﻪﻫﺎﻳﺶ ﻭﺍﺭﺩ ﺧﻮﻧﺶ ﺷﻮﺩ‪ .‬ﻧﻔﺴﺶ ﺭﺍ ﺑﻴﺮﻭﻥ‬ ‫ﻣﻰﺩﻫﺪ‪ .‬ﺩﻭﺩ ﻣﺜﻞ ﻗﺎﺭﭼﻰ ﻳﺎ ﻫﺸﺖﭘﺎﻳﻰ‪ ،‬ﻫﻮﺍ ﺭﺍ ﺍﺯ ﻫﻢ ﻣﻰﺩﺭﺩ ﻭ ﺍﺯ ﭘﻨﻜﻪﻫﺎﻯ ﻋﻈﻴﻢ ﺗﻬﻮﻳﻪ ﻛﻪ ﺩﺭ‬ ‫ﺳﻘﻒ ﺟﺎﺳﺎﺯﻯ ﺷﺪﻩﺍﻧﺪ ﻭ ﻫﺮ ﻟﺤﻈﻪ ﻫﻮﺍ ﺭﺍ ﺻﺪ ﻫﺰﺍﺭ ﺑﺎﺭ ﻣﻰﺷﻜﺎﻓﻨﺪ‪ ،‬ﺑﻴﺮﻭﻥ ﻣﻰﺭﻭﺩ‪.‬‬ ‫ﺗﻪ ﺳﻴﮕﺎﺭ ﺍﺯ ﺩﺳﺘﺶ ﻛﻨﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻧﮕﺎﺭ ﻣﺮﺩﻩ ﺑﺎﺷﺪ‪ .‬ﺳﻘﻮﻁ ﺗﺎ ﺍﺑﺪ ﺍﺩﺍﻣﻪ ﻣﻰﻳﺎﺑﺪ‪ .‬ﺗﻪ ﺳﻴﮕﺎﺭ ﺩﺭ‬ ‫ﺟﺮﻳﺎﻥ ﺯﻣﺎﻧﻰ ﺍﺯﻟﻰ ﺷﻨﺎﻭﺭ ﻣﻰﺷﻮﺩ ﻭ ﺁﻥ ﺟﺮﻳﺎﻥ ﺍﺻﻠﻰ ﺍﺳﺖ‪ .‬ﺁﻥ ﭼﻴﺰﻯ ﻛﻪ ﺟﺰ ﺍﻳﻦ ﺳﻘﻮﻁ ﺍﺳﺖ‪ ،‬ﻫﺮ‬ ‫ﭼﻴﺰﻯ ﻛﻪ ﺩﺭ ﺟﻬﺎﻥ ﺧﺎﺭﺝ ﺍﺳﺖ‪ ،‬ﺩﺭ ﺟﺮﻳﺎﻥ ﺯﻣﺎﻧﻰ ﻓﺮﻋﻰ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﺯﻣﺎﻧﻰ ﻣﻮﺍﺯﻯ ﺍﻣﺎ‬ ‫ﺑﻴﺎﻫﻤﻴﺖ ﺍﺳﺖ‪ .‬ﻣﺮﺩ ﻫﻤﻴﺸﻪ ﺩﺭ ﻫﻤﺎﻥ ﻓﺎﺻﻠﻬﻰ ﺑﻴﻦ ﺭﻫﺎ ﺷﺪﻥ ﺗﻪ ﺳﻴﮕﺎﺭ ﻛﻪ ﭼﻮﻥ ﻭﺯﻧﻪﺍﻯ ﺳﺮﺑﻰ‬ ‫ﺍﺯ ﺩﺳﺘﺎﻥ ﻧﺎﺯﻛﺶ ﻓﺮﻭ ﻣﻰﺍﻓﺘﻨﺪ ﻛﻪ ﻣﺜﻞ ﺭﻳﺸﻪﻫﺎﻯ ﺧﺸﻜﻴﺪﻩﻯ ﺩﺭﺧﺘﻰ ﺑﺎﺳﺘﺎﻧﻰ ﺩﻭﺭ ﺁﻥ ﻭﺯﻧﻪﻯ‬ ‫ﻻﻳﻨﺘﻨﺎﻫﻰ ﭘﻴﭽﻴﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻭ ﺑﺮﺧﻮﺭﺩ ﺳﻨﮕﻴﻦ ﺁﻥ ﺑﺎ ﺯﻣﻴﻦ‪ ،‬ﺷﻨﺎﻭﺭ ﻣﻰﻣﺎﻧﺪ‪ .‬ﺗﻪ ﺳﻴﮕﺎﺭ ﭼﻨﺎﻥ ﺑﺎ ﺯﻣﻴﻦ‬ ‫ﺑﺮﺧﻮﺭﺩ ﻣﻴﻜﻨﺪ ﻛﻪ ﺍﻧﮕﺎﺭ ﺳﻨﺪﺍﻧﻰ ﺗﺎﻳﺘﺎﻧﻴﻮﻣﻰ ﺑﺎﺷﺪ‪ .‬ﺍﻧﮕﺎﺭ ﻣﺎﻣﻮﺗﻰ ﺑﺎﺷﺪ ﻛﻪ ﺍﺯ ﻳﻚ ﭼﺎﻟﻪﻯ ﺯﻣﺎﻧﻰ‬ ‫ﻣﻰﮔﺬﺭﺩ ﻭ ﺑﺮ ﺍﺛﺮ ﺍﺻﺎﺑﺖ ﮔﻠﻮﻟﻪﻯ ﻋﻈﻴﻢ ﻳﻚ ﺗﻔﻨﮓ ﻓﻴﻞﻛﺶ‪ ،‬ﻓﺮﻭ ﻣﻰﺭﻳﺰﺩ‪ .‬ﺍﻧﮕﺎﺭ ﺯﻣﻴﻦ ﺗﺮﻙ ﺑﺮ‬ ‫ﻣﻰﺩﺍﺭﺩ‪.‬‬ ‫ﻳﻚ ﻣﻴﻠﻴﺎﺭﺩ ﺳﺎﻝ ﻗﺒﻞ‪ ،‬ﻳﺎ ﺑﻌﺪ‪ ،‬ﺗﻪ ﺳﻴﮕﺎﺭ ﺩﺭﻭﻥ ﭼﺎﻟﻪﻯ ﺧﻮﻥ ﻣﻰﺍﻓﺘﺪ ﻭ ﺻﺪﺍﻯ ﺟﻠﺰ ﻭ ﻭﻟﺰﺵ ﻣﺜﻞ‬ ‫ﻧﺎﺧﻨﻰ ﻛﻪ ﺭﻭﻯ ﺳﻄﺤﻰ ﺻﺎﻑ ﻛﺸﻴﺪﻩ ﺷﻮﺩ‪ ،‬ﻣﻮ ﺑﺮ ﺗﻦ ﻣﺮﺩ ﺳﻴﺦ ﻣﻰﻛﻨﺪ ﻭ ﺑﻮﻯ ﺗﻬﻮﻉﺁﻭﺭ ﺳﻮﺧﺘﮕﻰ‪،‬‬ ‫ﮔﻴﺮﻧﺪﻩﻫﺎﻯ ﺑﻮﻳﺎﻳﻰ ﺧﺪﺷﻪﺩﺍﺭ ﺷﺪﻩ ﺍﺯ ﻳﻚ ﻋﻤﺮ ﺳﻴﮕﺎﺭ ﻛﺸﻴﺪﻧﺶ ﺭﺍ ﺁﺯﺍﺭ ﻣﻰﺩﻫﺪ‪ .‬ﻣﺮﺩ ﺗﻮﺟﻬﺶ‬ ‫ﺟﻠﺐ ﻣﻰﺷﻮﺩ؛ ﺷﺎﻳﺪ ﺣﺘﺎ ﺁﻥ ﻗﺪﺭ ﻛﻪ ﺑﺘﻮﺍﻧﺪ ﺑﺎﻻ ﺑﻴﺎﻭﺭﺩ‪ .‬ﻧﮕﺎﻩ ﻏﻴﺮﺍﻧﺴﺎﻧﻰﺍﺵ ﺑﻪ ﺗﺼﻮﻳﺮﻯ ﺩﺭ ﻣﺎﻧﻴﺘﻮﺭ‬ ‫‪ 7‬ﻣﻰﺍﻓﺘﺪ‪ .‬ﺗﺼﻮﻳﺮ ﻣﺴﺘﻘﻴﻤﺎً ﺍﺯ ﺩﻭﺭﺑﻴﻦ ﻣﺨﻔﻰ ﺗﺮﺍﻓﻴﻚ ﺩﺭ ﺷﺒﻮﻳﺎﻯ ﺗﻮﻛﻴﻮ ﺩﺯﺩﻳﺪﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻓﺼﻞ‬ ‫ﺑﻬﺎﺭ ﺍﺳﺖ‪ .‬ﺷﻜﻮﻓﻪﻫﺎﻯ ﮔﻴﻼﺱ ﺑﻰﺧﻴﺎﻝ ﻭ ﺁﺯﺍﺩ ﻫﻤﭽﻮﻥ ﺑﻰﻧﻬﺎﻳﺖ ﭘﺮﻫﺎﻯ ﻗﻮ ﻳﺎ ﻣﻠﻜﻮﻝﻫﺎﻯ ﺁﺏ ﻛﻪ‬ ‫ﺭﻭﻯ ﻫﻢ ﺳﺮ ﺑﺨﻮﺭﻧﺪ‪ ،‬ﺍﺯ ﺳﺮﺷﺎﺧﻪﻫﺎﻯ ﺩﺭﺧﺘﺎﻥ ﺟﺪﺍ ﻣﻰﺷﻮﻧﺪ ﻭ ﺳﻔﻴﺪ ﻭ ﺻﻮﺭﺗﻰ ﺩﺭ ﻫﻢ ﻣﻰﺁﻭﻳﺰﻧﺪ‬ ‫ﻭ ﺭﻭﻯ ﺁﺳﻔﺎﻟﺖ ﺧﻴﺎﺑﺎﻥﻫﺎ ﻓﺮﺍﻣﻮﺵ ﻣﻰﺷﻮﻧﺪ‪ .‬ﻣﺮﺩﻡ ﺑﻰﺟﻬﺖ ﺩﺭ ﺧﻴﺎﺑﺎﻥﻫﺎ ﺭژﻩﺍﻯ ﺍﺑﺪﻯ ﺭﺍ ﺍﺟﺮﺍ‬ ‫ﻣﻰﻛﻨﻨﺪ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﺁﺳﻤﺎﻥ ﭘﻮچ ﺍﺳﺖ‪ .‬ﻫﻴﭻ ﻣﺎﺷﻴﻨﻰ ﺩﺭ ﺧﻴﺎﺑﺎﻥﻫﺎ ﻧﻴﺴﺖ‪.‬‬ ‫ﺩﺳﺘﺎﻧﺶ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﺩﻫﺎﻧﺶ ﻣﻰﺑﺮﺩ‪ .‬ﺳﺮﺩ ﻭ ﻓﻠﺰﻯﺍﻧﺪ‪ .‬ﺑﻮﻯ ﺳﻴﮕﺎﺭ ﻣﻰﺩﻫﻨﺪ‪ .‬ﺍﻣﺎ ﭼﻴﺰ ﺩﻳﮕﺮﻯ ﻫﻢ‬ ‫ﻫﺴﺖ‪ .‬ﺑﻮﻯ ﺳﻨﮕﻴﻨﻰ ﻛﻪ ﻣﺜﻞ ﻣﻮﺟﻮﺩﻯ ﻟﺰﺝ ﺭﻭﻯ ﺩﺳﺘﺶ ﭘﻴﭽﻴﺪﻩ ﺍﺳﺖ‪ .‬ﻳﻚ ﻟﺤﻈﻪ ﻣﺘﻌﺠﺐ‬ ‫ﻣﻰﺷﻮﺩ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺁﻥ ﺑﻮ ﻫﻨﻮﺯ ﺩﺳﺘﺎﻧﺶ ﺭﺍ ﺗﺮﻙ ﻧﮕﻔﺘﻪ‪ .‬ﺩﻭﺍﺯﺩﻩ ﺳﺎﻋﺖ ﮔﺬﺷﺘﻪ‪ .‬ﺑﻮﻯ »ﺍﻭ« ﺭﺍ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﺍﺯ ﺟﻬﺎﻥ ﺟﺪﺍ ﻣﻰﺷﻮﺩ‪ .‬ﺑﻪ ﺩﺭﻭﻥ ﺣﻔﺮﻩﺍﻯ ﻧﺎﻣﺮﺋﻰ ﺍﺯ ﻧﺎﺁﮔﺎﻫﻰ ﻛﺸﻴﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﻧﻮﺭﺍﻧﻰ ﺍﺳﺖ‬ ‫‪53‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﺍﮔﺮ ﺍﺯ ﺭﻭﺑﻪﺭﻭ ﺑﻪ ﺍﻭ ﺑﻨﮕﺮﻳﻢ‪ ،‬ﺍﻭ ﻛﻪ ﺗﻪﺭﻳﺸﻰ ﺧﺸﻦ ﺩﺍﺭﺩ ﻭ ﺍﻧﮕﺸﺘﺎﻧﻰ ﻻﻏﺮ‪ ،‬ﺍﻧﮕﺎﺭ ﺩﺭ ﺑﺮﺍﺑﺮ ﺗﺎﺑﻠﻮﻫﺎﻯ‬ ‫ﻧﺌﻮﻥ ﺗﺒﻠﻴﻐﺎﺗﻰ ﻧﺸﺴﺘﻪ ﺑﺎﺷﺪ ﻛﻪ ﻫﺮ ﭼﻨﺪ ﺩﻗﻴﻘﻪ ﺭﻭﺷﻦ ﻭ ﺧﺎﻣﻮﺵ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﮔﺎﻩ ﺧﻴﻠﻰ ﮔﺬﺭﺍ‬ ‫ﺟﺰﻳﻴﺎﺗﻰ ﺍﺯ ﺻﻮﺭﺗﺶ ﺑﻪ ﻧﻤﺎﻳﺶ ﮔﺬﺍﺷﺘﻪ ﻣﻰﺷﻮﺩ‪ .‬ﻭ ﺑﻌﺪ ﺑﺎﺯ ﺗﺎﺭﻳﻚ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺍﮔﺮ ﺑﻠﻨﺪ ﺷﻮﻳﻢ ﻭ ﭘﺸﺖ ﺳﺮﺵ ﺑﺎﻳﺴﺘﻴﻢ‪ ،‬ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ ﺧﺒﺮﻯ ﺍﺯ ﺗﺎﺑﻠﻮﻫﺎﻯ ﻧﺌﻮﻥ ﻧﻴﺴﺖ‪ .‬ﺍﻭ ﻫﻤﭽﻮﻥ‬ ‫ﺗﺪﻭﻳﻦﮔﺮﻯ ﺭﻭﻯ ﺻﻨﺪﻟﻰ ﺗﺎﺷﻮﺍﺵ ﻧﺸﺴﺘﻪ ﻭ ﺳﻴﮕﺎﺭ ﻧﺎﺯﻛﺶ ﺭﺍ ﻣﻰﻛﺸﺪ ﻛﻪ ﻣﺜﻞ ﺧﻮﺩﺵ ﻣﭽﺎﻟﻪ ﺷﺪﻩ‬ ‫ﻭ ﺩﺭ ﺑﺮﺍﺑﺮﺵ ﺩﻩ ﻣﺎﻧﻴﺘﻮﺭ ﺑﺰﺭگ ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ ﻛﻪ ﺗﺼﺎﻭﻳﺮﻯ ﺭﺍ ﺑﺮﺍﻳﺶ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭ ﻣﻰﺁﻭﺭﻧﺪ‪.‬‬ ‫ﺍﻭ ﺑﻪ ﺗﺼﺎﻭﻳﺮ ﺧﻴﺮﻩ ﺷﺪﻩ‪ .‬ﭼﻬﺮﻩﺍﺵ ﺑﻰﺭﻭﺡ ﺍﺳﺖ‪ .‬ﻧﮕﺎﻫﺶ ﺍﻣﺎ ﺍﻧﮕﺎﺭ ﺍﺯ ﻣﺎﻧﻴﺘﻮﺭﻫﺎ ﻣﻰﮔﺬﺭﺩ‪ .‬ﺩﻳﻮﺍﺭ‬ ‫ﭘﺸﺖ ﻣﺎﻧﻴﺘﻮﺭﻫﺎ ﺭﺍ ﻣﻰﺷﻜﺎﻓﺪ ﻭ ﺑﻪ ﺳﻤﺖ ﺗﭙﻪﻫﺎﻳﻰ ﺧﻴﺎﻟﻰ ﻣﻰﺭﻭﺩ ﻭ ﺩﺭ ﻃﻠﻮﻋﻰ ﺑﻰﻧﻈﻴﺮ ﻏﺮﻕ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﺍﺯ ﺟﻬﺎﻥ ﺍﻃﺮﺍﻓﺶ ﻓﺎﺭﻍ ﺍﺳﺖ‪ .‬ﺍﺯ ﺍﺗﺎﻗﻰ ﻛﻪ ﺩﺭ ﺁﻥ ﻧﺸﺴﺘﻪ ﻭ ﺗﻞﻫﺎﻯ ﻋﻈﻴﻢ ﺳﻴﻢ ﻭ ﻛﺎﺑﻞ‬ ‫ﻓﺸﺎﺭ ﻗﻮﻯ ﻭ ﻟﻮﻟﻪﻫﺎﻯ ﺍﻧﺘﻘﺎﻝ ﺑﺨﺎﺭ‪ .‬ﺗﻞﻫﺎﻯ ﻓﻠﺰﻯ ﺑﻰﺧﺎﺻﻴﺖ‪.‬‬ ‫ﺯﻣﻴﻨﻰ ﻛﻪ ﺩﺭ ﺑﺮﺍﺑﺮﺵ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ‪ ،‬ﺩﺭ ﺩﻭ ﺭﺩﻳﻒ ﻣﻮﺍﺯﻯ ﻭ ﺑﺎ ﻓﺎﺻﻠﻪ ﺍﺯ ﻫﻢ‪ ،‬ﻣﺸﺒﻚ ﺍﺳﺖ ﻭ ﺗﻮﻧﻞﻫﺎﻳﻰ‬ ‫ﺍﺯ ﻛﺎﺑﻞ ﻓﺸﺎﺭ ﻗﻮﻯ ﺭﺍ ﻣﻰﭘﻮﺷﺎﻧﺪ ﻛﻪ ﻫﻤﭽﻮﻥ ﻛﺮﻡﻫﺎﻯ ﻟﺰﺝ ﻗﺒﻴﺤﻰ ﺩﺭ ﻫﻢ ﻓﺮﻭ ﺭﻓﺘﻪﺍﻧﺪ ﻭ ﺑﺎ ﻫﻢ‬ ‫ﻣﺸﻐﻮﻝ ﻫﻢﺁﻏﻮﺷﻰ ﭼﻨﺪﺵﺁﻭﺭﻯ ﻫﺴﺘﻨﺪ ﻭ ﻣﻰﺧﺰﻧﺪ ﺗﺎ ﺍﺯ ﺟﺎﻯﺟﺎﻯ ﺩﻳﻮﺍﺭ ﺑﻴﺮﻭﻥ ﺑﭙﺎﺷﻨﺪ ﻭ ﺑﺎ‬ ‫ﺑﻰﺗﺎﺑﻰ ﺑﻪ ﺳﻤﺖ ﻳﻚ ﺩﺳﺘﮕﺎﻩ ﭘﻴﭽﻴﺪﻩ ﺑﺮﻭﻧﺪ ﻭ ﺩﺭ ﺍﻭ ﻭﺍﺭﺩ ﺷﻮﻧﺪ‪ .‬ﺗﺎ ﺍﻭ ﺷﻴﺮﻩﺷﺎﻥ ﺭﺍ ﺑﻴﺎﺷﺎﻣﺪ ﻭ ﺗﺮﺗﺮ‬ ‫ﻛﻨﺪ ﻭ ﻛﺎﺭﻯ ﺑﻜﻨﺪ ﻛﻪ ﺍﻛﻨﻮﻥ ﺑﻰﺍﻫﻤﻴﺖ ﻣﻰﻧﻤﺎﻳﺪ‪ .‬ﺑﻰﺧﻮﺩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺟﻬﺎﻧﻰ ﺩﻳﮕﺮ ﺭﺥ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﻣﺮﺩ ﻋﻴﻨﻜﻰ ﺑﻪ ﭼﺸﻢ ﺩﺍﺭﺩ ﻛﻪ ﺑﺎ ﻛﺶ ﺑﻪ ﻛﻠﻪﺍﺵ ﻭﺻﻞ ﺷﺪﻩ‪ .‬ﻋﻴﻨﻚ ﭼﺸﻤﺎﻧﺶ ﺭﺍ ﻭﺯﻍﻭﺍﺭ‪ ،‬ﻋﻈﻴﻢ‬ ‫ﻣﻰﻛﻨﺪ ﻭ ﺍﺯ ﺍﻭ ﻧﺎﻗﺺﺍﻟﺨﻠﻘﻪﺍﻯ ﻏﻴﺮﻃﺒﻴﻌﻰ ﻣﻰﺳﺎﺯﺩ‪ .‬ﮔﺎﻫﻰ ﭼﺸﻤﺎﻧﺶ ﭘﺮﺷﻰ ﻏﻮﻝﺁﺳﺎ ﻣﻰﻛﻨﺪ���.‬‬ ‫ﻋﻴﻨﻜﺶ ﺍﻭ ﺭﺍ ﻟﻮ ﻣﻰﺩﻫﺪ‪ .‬ﮔﺎﻫﻰ ﺣﻮﺍﺳﺶ ﻣﺘﻮﺟﻪ ﻣﺎﻧﻴﺘﻮﺭﻫﺎ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻣﺎﻧﻴﺘﻮﺭ ‪ 5‬ﺗﺼﻮﻳﺮﻯ ﭘﻴﺸﺮﻓﺘﻪ ﺍﺳﺖ ﺍﺯ ﻣﻐﺰ‪ .‬ﺍﺳﻜﻨﻰ ﺩﻗﻴﻖ ﻭ ﺳﻪ ﺑﻌﺪﻯ ﺩﺭ ﭘﺲﺯﻣﻴﻨﻪﺍﻯ ﻣﺮﺑﻊﺑﻨﺪﻯ‬ ‫ﺷﺪﻩ ﻭ ﺳﺒﺰ‪ .‬ﺳﺒﺰﻯ ﺯﻧﻨﺪﻩ ﻭ ﺳﻤﻰ‪ .‬ﺗﺼﻮﻳﺮ ﻣﻐﺰﻯ ﺭﺍ ﺍﺯ ﻟﻮﺏ ﻓﺮﻭﻧﺘﺎﻝ ﺗﺎ ﺑﺼﻞﺍﻟﻨﺨﺎﻉ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﻣﻐﺰ ﺳﺮﺥ ﺍﺳﺖ ﻭ ﺧﺎﻣﻮﺵ‪ .‬ﻫﻴﭻ ﻧﻘﻄﻪﻯ ﺳﻔﻴﺪ ﻧﻮﺭﺍﻧﻰ ﺍﺯ ﻟﻮﺏﻫﺎﻯ ﻣﻐﺰ ﺩﺭﺣﺎﻝ ﺷﺎﺭﺵ ﻧﻴﺴﺖ‪ .‬ﻫﻤﻪ‬ ‫ﭼﻴﺰ ﺁﺭﺍﻡ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻣﻐﺰ ﻣﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻣﻐﺰ ﺯﻧﺪﻩ ﭘﺮ ﺍﺳﺖ ﺍﺯ ﺟﺮﻗﻪﻫﺎﻳﻰ ﺍﻟﻜﺘﺮﻳﻜﻰ ﻛﻪ ﺑﻪ ﭘﻴﺶ ﻣﻰﺗﺎﺯﻧﺪ ﻭ ﻫﺰﺍﺭﺍﻥ ﻧﻮﺭﻭﻥ ﻛﻪ ﺍﺯ ‪ 03‬ﺗﺎ ‪09‬‬ ‫ﻣﻴﻠﻰﻭﻟﺖ ﺩﺭ ﺗﻼﻃﻢﺍﻧﺪ‪ .‬ﻟﻮﺏ ﻓﺮﻭﻧﺘﺎﻝ ﻓﺮﺍﻣﻴﻦ ﺭﺍ ﺍﺭﺳﺎﻝ ﻣﻰﻛﻨﺪ‪ .‬ﻓﺮﺍﻣﻴﻦ ﺍﺯ ﻣﺨﭽﻪ ﻭ ﺑﺼﻞﺍﻟﻨﺨﺎﻉ‬ ‫ﻋﺒﻮﺭ ﻣﻰﻛﻨﻨﺪ ﻭ ﺑﻪ ﺍﻋﺼﺎﺏ ﻣﻰﺭﻳﺰﻧﺪ‪ .‬ﺣﺮﻛﺎﺕ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺑﻰﺩﺧﺎﻟﺖ ﻟﻮﺏﻫﺎﻯ ﻣﺦ ﺍﻳﺠﺎﺩ ﺷﻮﻧﺪ‪.‬‬ ‫ﺣﺮﻛﺎﺗﻰ ﺍﻧﻌﻜﺎﺳﻰ ﻛﻪ ﺗﻨﻬﺎ ﺍﺯ ﺑﺼﻞﺍﻟﻨﺨﺎﻉ ﻧﺸﺄﺕ ﻣﻰﮔﻴﺮﻧﺪ‪ .‬ﺍﻣﺎ ﺩﺭ ﺍﻳﻦ ﺣﺮﻛﺎﺕ ﺩﺭﻛﻰ ﻧﻴﺴﺖ‪ .‬ﺁﻥﭼﻪ‬ ‫ﺗﺤﺖ ﻋﻨﻮﺍﻥ »ﻣﻦ« ﻣﻰﺷﻨﺎﺳﻴﻢ‪ ،‬ﺩﺭ ﺩﺭﻭﻥ ﻣﺦ ﺟﺎﻳﮕﺰﻳﻦ ﺷﺪﻩ‪ .‬ﻣﺮﺩ ﺍﻳﻦ ﺭﺍ ﺧﻮﺏ ﻣﻰﺩﺍﻧﺪ‪ .‬ﺩﺭ ﻃﻮﻝ‬ ‫ﻋﻤﺮﺵ ﻫﺰﺍﺭﺍﻥ ﺍﺳﻜﻦ ﻣﻐﺰﻯ ﺭﺍ ﻣﻄﺎﻟﻌﻪ ﻛﺮﺩﻩ ﻭ ﺩﺭ ﺍﻳﻦ ﭼﻨﺪ ﻫﻔﺘﻪﻯ ﺍﺧﻴﺮ ﺣﺘﺎ ﺑﻴﺶ ﺍﺯ ﭘﻴﺶ‪.‬‬ ‫ﺧﻮﻥ ﻫﻤﭽﻮﻥ ﺷﻴﺮﺍﺑﻪﺍﻯ ﮔﻨﺪﻳﺪﻩ ﻛﻪ ﺍﺯ ﺗﻮﺩﻩﻯ ﺯﺑﺎﻟﻪ ﻧﺸﺖ ﻛﻨﺪ‪ ،‬ﺍﺯ ﻛﻴﺴﻪﻯ ﺳﻔﻴﺪ ﺑﺮ ﺭﻭﻯ ﺯﻣﻴﻦ‬ ‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪52‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫‪1‬‬

‫‪P.T.S.D‬‬

‫ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

‫ﺻﺪﺍﻯ ﺩﻭﺭ ﻭ ﺧﻔﻪﻯ ﺟﻴﻐﻰ‪ ،‬ﻏﺮﺵ ﺑﻢ ﻭ ﻫﻤﻪﮔﻴﺮ ﻣﻮﺗﻮﺭﻫﺎﻯ ﺑﺮﻕ ﺭﺍ ﻣﻰﺷﻜﺎﻓﺪ‪ .‬ﻣﺮﺩ ﺭﻭﻯ‬ ‫ﺻﻨﺪﻟﻰﺍﺵ ﻧﺸﺴﺘﻪ ﺍﺳﺖ ﻭ ﺳﻴﮕﺎﺭﺵ ﺭﺍ ﻣﻰﻛﺸﺪ‪ .‬ﺁﺧﺮﻳﻦ ﺳﻴﮕﺎﺭﺵ ﺭﺍ‪ .‬ﺭﻭﻯ ﻣﻴﺰ ﺩﺭ ﻛﻨﺎﺭﺵ‬ ‫ﺟﺴﺪﻯ ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ ﻭ ﺩﺭ ﻛﻨﺎﺭ ﺻﻨﺪﻟﻰﺍﺵ ﭘﺘﻜﻰ ﺳﻨﮕﻴﻦ‪ .‬ﻣﺮﺩ ﺑﻪ ﺩﻳﻮﺍﺭﻫﺎﻯ ﺧﺎﻧﻪﺍﺵ ﻧﮕﺎﻩ‬ ‫ﻣﻰﻛﻨﺪ ﻛﻪ ﺩﺭﺍﺯ ﺍﺳﺖ ﻣﺜﻞ ﻳﻚ ﺳﻮﻟﻪ ﻭ ﺧﺎﻟﻰ‪ .‬ﺧﺎﻟﻰ ﺍﺯ ﻣﻔﻬﻮﻡ ﻭ ﺍﺛﺎﺛﻴﻪ‪ .‬ﻭ ﺍﺯ ﻫﻨﺮ‪ .‬ﻭ ﺭﻧﮓ‪.‬‬ ‫ﺟﺴﺪ ﺭﻭﻯ ﻣﻴﺰ ﺩﺭﻭﻥ ﻛﻴﺴﻪﺍﻯ ﭘﻴﭽﻴﺪﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻛﻴﺴﻪ ﺳﻔﻴﺪ ﺍﺳﺖ‪ .‬ﻣﺮﺩ ﺑﻪ ﺟﺴﺪ ﻧﮕﺎﻩ‬ ‫ﻣﻰﻛﻨﺪ ﻭ ﺑﻌﺪ ﺗﻮﺟﻬﺶ ﺭﺍ ﺑﻪ ﺳﻴﻢﻫﺎﻯ ﻓﻠﺰﻯ ﻣﻌﻄﻮﻑ ﻣﻰﻛﻨﺪ ﻛﻪ ﻣﺜﻞ ﺁﺑﺸﺎﺭﻯ ﺯﻣﺨﺖ ﺍﺯ‬ ‫ﺟﺎﻳﻰ ﻛﻪ ﺑﺎﻳﺪ ﺳﺮ ﺟﺴﺪ ﺩﺭﻭﻥ ﻛﻴﺴﻪ ﺑﺎﺷﺪ‪ ،‬ﺑﻴﺮﻭﻥ ﺭﻳﺨﺘﻪ‪ .‬ﺯﻣﺨﺖ ﺍﺳﺖ‪ .‬ﺳﺮﺩ ﻭ ﺯﺑﺮ ﺍﺳﺖ‪.‬‬ ‫ﻳﺎ ﺷﺎﻳﺪ ﺩﺍﻍ‪ .‬ﺍﻭ ﻧﻤﻰﺩﺍﻧﺪ‪ .‬ﺩﺳﺘﺶ ﺭﺍ ﺑﻪ ﺷﻠﻮﺍﺭﺵ ﻣﻰﻛﺸﺪ‪ .‬ﺣﺲ ﻣﻰﻛﻨﺪ ﺣﺘﺎ ﺍﺯ ﺍﻳﻦ ﻓﺎﺻﻠﻪ‬ ‫ﺩﺳﺘﺎﻧﺶ ﺭﺍ ﻣﻰﺁﺯﺍﺭﻧﺪ‪ .‬ﺳﻴﻢﻫﺎ ﺑﻪ ﺧﻮﻥ ﺁﻏﺸﺘﻪﺍﻧﺪ‪ .‬ﺧﻮﻥ ﺍﻭ ﻧﻴﺴﺖ‪.‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺑﭽﻪﻫﻪ ﻣﻰﻣﺮﺩ ﻭ ﻣﮕﺮ ﻧﻪ ﺍﻳﻦﻛﻪ ﺍﻳﻦﻃﻮﺭﻯ ﻣﻮﻧﺎ‬ ‫ﺭﺍ ﺍﺯ ﺗﻤﺎﻡ ﺍﻳﻦ ﻣﺴﺨﺮﻩﺑﺎﺯﻯ ﺧﻼﺹ ﻣﻰﻛﺮﺩ؟‬ ‫ﺑﻪ ﺁﺭﻣﺎﻥ ﻓﻜﺮ ﻛﺮﺩ ﻛﻪ ﻣﻨﺘﻈﺮ ﺩﻳﺪﻥ ﺑﭽﻪ ﺑﻮﺩ‪.‬‬ ‫ﭼﻘﺪﺭ ﻣﻨﺘﻈﺮ ﺑﻮﺩ؟ ﻧﻪ ﺧﻴﻠﻰ ﻻﺑﺪ‪ .‬ﻓﻬﻤﻴﺪ ﺩﻭﺑﺎﺭﻩ‬ ‫ﺩﺍﺭﺩ ﺑﻪ ﺩﻭ ﺷﺐ ﭘﻴﺶ ﻓﻜﺮ ﻣﻰﻛﻨﺪ‪ .‬ﺍﺯ ﭘﻠﻪﻫﺎﻯ‬ ‫ﺳﺎﺧﺘﻤﺎﻧﻰ ﺑﺎﻻ ﻣﻰﺭﻓﺖ‪ .‬ﺩﺭ ﻣﻰﺯﺩ‪ .‬ﻳﺎﺭﻭﻯ ﻃﺎﺳﻰ‬ ‫ﺩﺭ ﺭﺍ ﺑﺎﺯ ﻣﻰﻛﺮﺩ‪ .‬ﺗﺎﺭﻳﻚ ﺑﻮﺩ‪ .‬ﺩﺍﺧﻞ ﺗﺎﺭﻳﻚﺗﺮ‬ ‫ﺍﺯ ﺭﺍﻩﭘﻠﻪﻯ ﺍﺯ ﭘﻴﺶﺁﻣﺎﺩﻩ‪ .‬ﺁﭘﺎﺭﺗﻤﺎﻥ ‪ 40‬ﻣﺘﺮﻯ‪،‬‬ ‫ﻧﻘﻠﻰ‪ ،‬ﺗﻮﻯ ﻧﺸﻴﻤﻦ ﻣﺮﺩﻫﺎﻳﻰ ﻧﺸﺴﺘﻪ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺁﺭﻣﺎﻥ ﻳﻚﺑﻨﺪ ﺣﺮﻑ ﻣﻰﺯﺩ‪ .‬ﭼﺎﻕ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻭ‬ ‫ﺧﻴﻠﻰ ﺩﺍﺧﻞ ﻧﺮﻓﺘﻪ ﺑﻮﺩ‪ .‬ﻣﻮﺩﺏ ﺑﻮﺩ‪ .‬ﻣﻰﺧﻮﺍﺳﺖ‬ ‫ﺩﺍﺧﻞ ﺩﻫﺎﻥ ﻣﻌﺸﻮﻕ ﺳﺎﺑﻘﺶ ﺑﺨﺰﺩ ﻭ ﻗﺎﻳﻢ‬ ‫ﺑﺸﻮﺩ‪ .‬ﺳﺮﺵ ﺭﺍ ﺭﻭﻯ ﺯﺑﺎﻥ ﺩﺍﻍ ﺍﻭ ﺑﮕﺬﺍﺭﺩ‪ ،‬ﻋﻴﻦ‬ ‫ﭘﻨﺒﻪ ﺑﻪ ﭘﺮﺯﻫﺎﻳﺶ ﺑﭽﺴﺒﺪ ﻭ ﺍﺯ ﻻﻯ ﺷﻴﺎﺭﻫﺎ‪،‬‬ ‫ﮔﻮﺵ ﺑﺪﻫﺪ ﻛﻪ ﺁﻥ ﺧﻄﺎﺑﻪﻫﺎﻯ ﺑﻰﭘﺎﻳﺎﻥ ﭘﺮﺕ‪،‬‬ ‫ﺍﺳﻢ ﻛﻮﭼﻚ ﺧﻮﺩﺵ‪ .‬ﺑﻌﺪ ﻃﺮﻑ ﺳﻜﻮﺕ ﻛﺮﺩﻩ‬ ‫ﺑﻮﺩ‪ .‬ﺳﻤﺖ ﺍﻭ ﺑﺮﮔﺸﺘﻪ ﺑﻮﺩ‪ .‬ﺑﺮﺍﻧﺪﺍﺯﺵ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﻣﻜﺚ‪ .‬ﻛﻮﺗﺎﻩ‪.‬‬ ‫ﺣﺎﻻ ﻛﻪ ﺍﻭﻣﺪﻯ ﭼﺮﺍ ﺍﻭﻥﺟﺎﻳﻰ؟ ﻭﺍﻧﺴﺘﺎ!‬‫ﻣﻰﺷﻪ؟ ﻟﻄﻔﺎً!‬ ‫ﻓﻜﺮ ﻛﺮﺩ ﻛﺎﺵ ﻻﺍﻗﻞ ﺍﻳﻦﺟﻮﺭ ﺗﻮﻯ ﻭﺍﮔﻦ ﺳﺮ‬ ‫ﭘﺎ ﻧﻤﺎﻧﺪﻩ ﺑﻮﺩ‪ .‬ﻛﺎﺵ ﻭﻗﺖ ﻣﺮﺩﻥ ﻳﻚﺟﺎﻳﻰ ﺁﺭﺍﻡ‬ ‫ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪.‬‬

‫‪49‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﺑﻪ ﻣﻮﻧﺎ ﺍﻳﺴﺘﺎﺩﻩ‪ ،‬ﺳﺮ ﺑﺎﻻ ﻛﺮﺩﻩ‪ ،‬ﺑﺎ ﻧﻴﺶﺧﻨﺪﻯ‬ ‫ﻧﮕﺎﻫﺶ ﻣﻰﻛﻨﺪ‪ .‬ﻣﻮﻧﺎ ﻧﮕﺎﻫﺶ ﺭﺍ ﻣﻰﺩﺯﺩ‪.‬‬ ‫ﻋﺮﻕ ﻣﻰﻛﻨﺪ‪ .‬ﺣﺎﻻ ﺍﮔﺮ ﻣﻰﻣﺮﺩ‪ ،‬ﻛﻨﺎﺭ ﺍﻳﻦ ﺑﭽﻪ‬ ‫ﻣﻰﻣﺮﺩ‪ .‬ﺩﻭﺳﺖ ﺩﺍﺷﺖ ﻓﻜﺮ ﻛﻨﺪ ﻃﺮﻑ ﭘﺴﺮﺑﭽﻪ‬ ‫ﺍﺳﺖ‪ .‬ﺩﺭ ﺗﻜﺎﻥﻫﺎﻯ ﺷﺪﻳﺪ ﻭﺍﮔﻦ ﻧﻮﺭ ﻣﻰﺁﻣﺪ‬ ‫ﺑﺮﻧﺠﻰ‬ ‫ﻭ ﻣﻰﺭﻓﺖ‪ .‬ﺑﺮﻛﻪﻫﺎﻯ ﺗﺎﺭﻳﻜﻰ‪ ،‬ﺑﻮﻕﻫﺎﻯ‬ ‫ِ‬ ‫ﺭﻭﺷﻨﺎﻳﻰ‪.‬‬ ‫ﻛﻨﺎﺭ ﭼﻄﻮﺭ ﻛﺴﻰ ﻣﻰﻣﺮﺩ؟ ﺩﻳﻮﺍﻧﻪ ﺑﻮﺩ؟ ﺩﺯﺩ‬ ‫ﺑﻮﺩ؟ ﺩﺭﺱﺧﻮﺍﻧﺪﻩ ﺑﻮﺩ؟ ﺩﻣﺎﻏﺶ ﮔﻮﺷﺘﻰ ﺑﻮﺩ‪.‬‬ ‫ﺿﻌﻒﻫﺎﻯ ﻋﺼﺒﻰ ﺩﺍﺷﺖ؟ ﻭﺍﮔﻦ ﻛﻪ ﺩﺭ ﻫﻢ‬ ‫ﻣﻰﺗﻜﻴﺪ‪ ،‬ﺗﻮﻧﻞ ﻛﻪ ﻓﺮﻭ ﻣﻰﺭﻳﺨﺖ‪ ،‬ﺁﻥﻫﺎ ﭼﻄﻮﺭ‬ ‫ﺯﺧﻢﻫﺎﻳﻰ ﺑﺮ ﻣﻰﺩﺍﺷﺘﻨﺪ؟ ﺑﻪ ﺯﺧﻢﻫﺎﻳﺸﺎﻥ‬ ‫ﻓﻜﺮ ﻛﺮﺩ‪ .‬ﭼﻄﻮﺭ ﻣﻴﻠﻪﻫﺎﻯ ﺳﻘﻔﻰ ﺍﺯ ﺧﻼﻝ‬ ‫ﺗﻦﻫﺎﻳﺸﺎﻥ ﻣﻰﮔﺬﺷﺖ ﻭ ﻋﻴﻦ ﺍﺳﺐﻫﺎﻯ‬ ‫ﺳﻮﺍﺭﻯ ﺷﻬﺮﺑﺎﺯﻯﻫﺎ ﺩﺭﺷﺎﻥ ﻣﻰﺁﻭﺭﺩ؛ ﭼﻄﻮﺭ‬ ‫ﺑﺎ ﺧﺮﺩﻩ ﺷﻴﺸﻪﻫﺎ ﺭﻭﻯ ﭘﻮﺳﺘﺸﺎﻥ ﻋﻴﻦ ﻣﺮﺑﺎﻯ‬ ‫ﺷﻜﺮﻙ ﺯﺩﻩ ﻣﻰﺷﺪﻧﺪ‪ .‬ﭼﻄﻮﺭ ﺳﻘﻒ ﺍﺯ ﻣﻴﺎﻥ‬ ‫ﻣﻰﺷﻜﺴﺖ ﻭ ﻟﺒﻪﻫﺎﻯ ﺁﻟﻮﻣﻴﻨﻴﻮﻡ ﺯﺧﻢﻫﺎﻯ‬ ‫ﺩﺭﺍﺯ ِﺩﻫﻨﻪﺩﺍﺭ ﺗﻮﻯ ﻛﻤﺮ ﺑﭽﻪ ﺟﺎ ﻣﻰﺩﺍﺩ؛ ﭼﻄﻮﺭ‬ ‫ﺧﻮﻥ ﻻﻯ ﭼﺮﻡﻫﺎﻯ ﺗﻦ ﺍﻭ ﻋﻴﻦ ﻧﺌﻮﻥ ﺗﻮﻯ ﺷﺐ‬ ‫ﺑﺮﻕ ﻣﻰﺯﺩ ﻭ ﭼﻄﻮﺭ ﺧﻮﻥ ﺧﻮﺩﺵ ﺭﻭﻯ ﺑﭽﻪ‬ ‫ﻣﻰﭘﺎﺷﻴﺪ ﻭ ﮔﺮﻣﺎﻳﺶ ﻭ ﻧﺮﻣﺎﻳﺶ ﺑﭽﻪ ﺭﺍ ﺑﻴﺸﺘﺮ‬ ‫ﺑﺮ ﻣﻰﺍﻧﮕﻴﺨﺖ‪ .‬ﺧﻨﺪﻳﺪ‪ .‬ﺣﺎﻻ ﻧﺎﮔﻬﺎﻥ ﺗﺎ ﺳﺮ ﺣﺪ‬ ‫ﻣﺮگ ﻣﻠﻮﻝ ﺑﻮﺩ‪ .‬ﻛﺎﺵ ﺟﺎﻯ ﺧﻮﺩﺵ‪ ،‬ﺑﭽﻪﺍﺵ‬ ‫ﻧﻔﻠﻪ ﻣﻰﺷﺪ‪ .‬ﻧﻪ ﺍﻳﻦ ﺑﭽﻪﻯ ﺭﺍﺳﺖ ﻗﺎﻣﺖ ﻛﻪ‬ ‫ﻣﻘﺎﺑﻠﺶ ﺗﺮﺱﺧﻮﺭﺩﻩ ﺍﻳﺴﺘﺎﺩﻩ‪ ،‬ﺁﻥ ﻳﻜﻰ‪،‬‬ ‫ﺩﺧﺘﺮﻛﺶ‪ ،‬ﻛﻪ ﺣﺎﻻ ﺟﺎﻳﻰ ﺗﻮﻯ ﻣﻨﻄﻘﻪﻯ ‪،12‬‬

‫ﺳﻮﺭﺍﺥ‬ ‫ﮔﻠﻮﻟﻪﻫﺎ‪ .‬ﺩﺭ ﺳﺘﻮﻧﻰ ﺍﺯ ﻧﻮﺭ ﻛﻪ ﺍﺯ ﺧﻼﻝ‬ ‫ِ‬ ‫ﺁﻫﻦ‬ ‫ﺗﺎﺯﻩ ﺑﻪ ﻇﻠﻤﺎﺕ ﺍﻧﺰﻟﻰ ﺗﺎﺑﻴﺪ‪ ،‬ﺑﺮﺍﺩﻩﻫﺎﻯ‬ ‫ِ‬ ‫ﺟﺪﺍ ﺷﺪﻩ ﺍﺯ ﺳﭙﺮ ﺩﻓﺎﻋﻰ ﭘﻴﺪﺍ ﺑﻮﺩﻧﺪ؛ ﺳﺒﻚ‪،‬‬ ‫ﺳﻴﺎﻩ‪ ،‬ﻓﺮﻭ ﺭﻳﺰﺍﻥ ﭼﻮﻥ ﺷﻜﻮﻓﻪﻫﺎﻳﻰ ﺩﺭ‬ ‫ﻋﺼﺮﮔﺎﻫﻰ ﻛﻬﻦ ﺩﺭ ﺍﺭﺩﻳﺒﻬﺸﺖ‪ .‬ﺳﭙﺮ ﻛﻪ ﺣﺎﻻ‬ ‫ﺑﻰﺛﺒﺎﺕ ﻣﻰﺷﺪ‪ ،‬ﺑﺎ ﺻﺪﺍﻯ ﺍﻣﻮﺍﺝ ﺧﺎﻟﻰ ﺭﺍﺩﻳﻮ‬ ‫ﺟﻴﻎ ﻣﻰﻛﺸﻴﺪ‪ .‬ﻭ ﺳﭙﺲ ﮔﻠﻮﻟﻪﻫﺎﻯ ﺑﻌﺪﻯ ﻭ‬ ‫ﺳﻮﺭﺍﺥﻫﺎﻯ ﺑﻌﺪﻯ ﺍﺯ ﺭﺍﻩ ﺭﺳﻴﺪﻧﺪ‪ .‬ﻭ ﺳﺘﻮﻥﻫﺎﻳﻰ‬ ‫ﺑﻰﺷﻤﺎﺭ ﺍﺯ ﻧﻮﺭ‪ ،‬ﺍﺭﻳﺐ ﺩﺭ ﺭﻭﺷﻨﺎﻳﻰ ﺯﻣﺴﺘﺎﻧﻰ‬ ‫ﺻﺒﺢ ﻭ ﺩﺭ ﻣﻴﺎﻧﺸﺎﻥ ﻓﺮﺷﺘﮕﺎﻥ ﺭﻭﺱ‪ ،‬ﺁﻫﻨﻰ‪ ،‬ﺑﺎ‬ ‫ﺑﺎﻝﻫﺎﻯ ﻛﺮﻛﺲ‪ .‬ﺷﻬﺮ ﺗﺎﺭﻳﺨﻰ ﺩﺭ ﻣﻰﺁﺷﻔﺖ‪.‬‬ ‫ﺑﻪ ﺯﻭﺩﻯ ﻭﻗﺘﻰ ﺳﭙﺮ ﻛﺎﻣ ً‬ ‫ﻼ ﺍﺯ ﺣﻔﺮﻩﻫﺎ ﺍﻧﺪﻭﺩ‬ ‫ﻣﻰﺷﺪ ﻭ ﺳﺮ ﺁﺧﺮ ﺑﻪ ﻛﻠﻰ ﺍﺯ ﻣﻴﺎﻥ ﻣﻰﺭﻓﺖ‪،‬‬ ‫ﻭﻗﺘﻰ ﺑﻤﺐﺑﺎﺭﺍﻥ ﺁﻏﺎﺯ ﻣﻰﺷﺪ‪ ،‬ﺟﻤﻌﻴﺘﻰ ﺩﺭ ﻣﻪ‬ ‫ﻗﻬﻮﻩﺍﻯﺭﻧﮓ ﺻﺒﺤﮕﺎﻫﻰ‪ ،‬ﺁﻥﻫﺎ ﻛﻪ ﺭﻭﻯ ﺳﻄﺢ‬ ‫ﺧﺎﻧﻪ ﺩﺍﺷﺘﻨﺪ‪ ،‬ﺑﻪ ﻧﻘﺐﻫﺎ ﻫﺠﻮﻡ ﻣﻰﺑﺮﺩﻧﺪ‪،‬‬ ‫ﺑﻪ ﻻﻧﻪﻫﺎﻯ ﻓﺮﺍﺭ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﺩﺭ ﭼﺎﻝﻫﺎ ﻓﺮﻭ‬ ‫ﻣﻰﺭﻓﺘﻨﺪ ﻭ ﺩﺭ ﻫﻤﻴﻦ ﺁﺷﻔﺘﮕﻰ ﺑﻮﺩ ﻛﻪ ﺧﺎﻧﻢ‬ ‫ﺁ‪.‬ﺵ‪ ،‬ﺯﻥ ﻣﻴﺎﻧﺴﺎﻝ ﺍﻫﻞ ﺍﻧﺰﻟﻰ‪ ،‬ﺁﻗﺎﻯ ﺷﻬﺒﺎ ﺭﺍ‬ ‫ﺑﺎ ﻗﺎﻧﻘﺎﺭﻳﺎ ﺩﺭ ﺷﺎﻧﻪﺍﺵ ﻳﺎﻓﺖ ﻭ ﺍﺯ ﺍﻭ ﭘﻴﺶ ﺍﺯ‬ ‫ﻣﺮگ ﻗﺮﻳﺐﺍﻟﻮﻗﻮﻋﺶ‪ ،‬ﺳﻪ ﺭﻭﺯ ﭘﺮﺳﺘﺎﺭﻯ ﻛﺮﺩ‪.‬‬ ‫ﻭ ﺍﻳﻦﻫﺎ ﻫﻤﻪ ﺩﺭ ﺍﻧﺰﻟﻰ ﺗﺎﺭﻳﺨﻰ ﺭﺥ ﻣﻲﺩﺍﺩ‪،‬‬ ‫ﺑﺨﺸﻰ ﺍﺯ ﺷﻬﺮﻯ ﻛﻼﻥ ﺩﺭ ﺷﻤﺎﻝ ﻗﻠﻤﺮﻭﻯ‬ ‫ﺧﺎﺭﺝ ﺷﺪﻩ ﺍﺯ ﺍﺷﻐﺎﻝ‪ ،‬ﺩﺭ ﺷﺐ ﺗﺮﻣﻮ‪-‬ﺍﺗﻤﻰ‪.‬‬

‫ﻻﻯ ﻣﻼﻓﻪﻫﺎ‪ ،‬ﭘﻴﺶ ﭘﺮﺳﺘﺎﺭﻯ ﻻﺑﺪ ﺧﻮﺍﺑﻴﺪﻩ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪48‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﻧﺎﺩﻳﺪﻧﻰ‪ ،‬ﺑﺎ ﻫﻴﺒﺘﻰ ﺿﺪﻧﻮﺭ ﺩﺭ ﭘﻴﺶﺯﻣﻴﻨﻪﻯ‬ ‫ﺷﻌﻠﻪﻫﺎﻯ ﺍﻧﻔﺠﺎﺭ ﻛﺎﺩﻳﻼﻙ‪ ،‬ﺍﺯ ﻧﺸﻴﺐ ﺗﭙﻪﺍﻯ‬ ‫ﭘﺎﻳﻴﻦ ﻣﻰﺁﻳﺪ‪ .‬ﺳﺮﺍﻍ ﻣﺎﻣﻮﺭﻳﺖ ﺑﻌﺪﻯ ﺧﻮﺍﻫﺪ‬ ‫ﺭﻓﺖ ﻭ ﻧﻪ ﺍﺯ ﺍﻳﻦ ﺑﺎﺑﺖ ﻛﻪ ﻣﺎﻣﻮﺭﻳﺖ ﺑﺮﺍﻳﺶ‬ ‫ﺍﻫﻤﻴﺘﻰ ﺩﺍﺭﺩ‪ ،‬ﺑﻠﻜﻪ ﺑﻪ ﺍﻳﻦ ﺧﺎﻃﺮ ﻛﻪ ﻣﺠﺒﻮﺭ‬ ‫ﺍﺳﺖ‪(.‬‬ ‫ﭘﻮﻛﻴﺪﻥ ﺑﻤﺐﺍﻓﻜﻦ‬ ‫ﻣﻮﺷﻚ ﺑﺎ ﻧﻮﺭﻯ ﻛﻪ ﺍﺯ‬ ‫ِ‬ ‫ﻣﺎﺩﺭ ﺑﻪ ﻛﻤﺮﺵ ﻣﻰﺗﺎﺑﻴﺪ‪ ،‬ﺩﺭ ﺍﺭﺗﻔﺎﻉ ‪32‬ﭘﺎﻳﻰ‬

‫ﺟﻴﻎ ﻣﻰﻛﺸﺪ‪ ،‬ﻧﻮﺭ ﭼﺸﻤﻚﺯﻥ‪ ،‬ﻫﻨﻮﺯ ﻓﻠﺶﻫﺎﻯ‬ ‫ﺩﻭﺭﺑﻴﻦ ﺳﻘﻔﻰ‪ ،‬ﺯﻥﻫﺎ ﻛﻪ ﺑﺮﺟﺴﺘﮕﻰﻫﺎﻯ‬ ‫ﺗﻦﻫﺎﺷﺎﻥ ﺭﻭﻯ ﻫﻢ ﻓﺸﺮﺩﻩ ﻣﻰﺷﻮﺩ‪ ،‬ﺑﭽﻪﻫﺎ‪،‬‬ ‫ﺻﺪﺍﻯ ﻧﻮﻳﺰ ﺭﺍﺩﻳﻮ ﺍﺯ ﺑﻴﺮﻭﻥ ﻭﺍﮔﻦ ﻭ ﻛﻮﻑﻛﻮﻑ‬ ‫ﻣﺸﺖ ﻳﺎﺭﻭﻫﺎﻳﻰ ﺁﻥ ﺑﻴﺮﻭﻥ ﺭﻭﻯ ﺩﺭ ﻭﺭﻭﺩﻯ ﺩﺭ‬ ‫ﺟﺴﺖﻭﺟﻮﻯ ﺟﺎﻳﻰ ﺍﻣﻦﺗﺮ‪ ،‬ﺗﻮﻟﻪﻯ ﺗﺨﺴﻰ ﻛﻪ‬ ‫ﺗﻮ ﺍﺯﺩﺣﺎﻡ ﺩﺍﺧﻞ‪ ،‬ﺳﻴﮕﺎﺭ ﺭﻭﺷﻦ ﻛﺮﺩﻩ ﻭ ﻣﻮﻧﺎ‬ ‫ﻛﻪ ﺁﻥﺟﺎ ﺍﻳﺴﺘﺎﺩﻩ ﻭ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺍﺯ ﺑﺮﺟﺴﺘﮕﻰ‬ ‫ﺑﻴﻦ ﭘﺎﻫﺎﻯ ﭘﺴﺮ ﭼﺸﻢ ﺑﺮﺩﺍﺭﺩ ﻭ ﺍﻭ ﻛﻪ ﺑﻰ ﺁﻥ‬ ‫ﻛﻪ ﺑﺨﻮﺍﻫﺪ ﻣﻌﺎﻣﻠﻪﺍﺵ ﺭﺍ ﺑﻪ ﺗﻤﺎﺷﺎ ﻣﻰﮔﺬﺍﺭﺩ ﻭ‬ ‫ﺧﺠﺎﻟﺖ ﻧﻤﻰﻛﺸﺪ‪ .‬ﭼﺮﺍ ﺑﻜﺸﺪ؟‬ ‫ﺧﻔﻪ ﺷﻮ ﺯﻥ! ﺧﻔﻪ ﺷﻮ ﺯﻧﻴﻜﻪ ﺩﻩ! ﺧﻮﺩﻡ‬‫ﻣﻰﻛﺸﻤﺖ ﻳﻪ ﺭﻭﺯ ﺑﺎﻻﺧﺮﻩ‪.‬‬ ‫ ﺧﺎﻧﻢ ﺧﻮﺍﻫﺶ ﻣﻰﻛﻨﻢ‪ .‬ﭼﻴﺰﻯ ﻧﻴﺴﺖ‪ .‬ﻫﻴﭻ‬‫ﺍﺗﻔﺎﻗﻰ ﻧﻤﻰﺍﻓﺘﻪ‪.‬‬ ‫ﺧﻔﻪ ﺷﻮ ﺟﻨﺪﻩ! ﺑﺒﺮ ﺻﺪﺍﺗﻮ!‬‫ِ‬ ‫ﻫﻮﻟﻨﺎﻙ ﻭﻗﺖ ﺑﺎﻻ ﺁﻣﺪﻥ‬ ‫ﻣﻘﺼﺮ ﻓﺸﺎﺭ ﺟﺎﺫﺑﻪﻯ‬ ‫ﻭﺍﮔﻦ ﺍﺳﺖ ﻛﻪ ﺧﻮﻥ ﺭﺍ ﺑﻪ ﭘﺎﻳﻴﻦﺗﻨﻪﻯ ﺍﻭ‬ ‫ﺩﻭﺍﻧﺪﻩ‪) .‬ﻳﺎﺩﺩﺍﺷﺖ‪ :‬ﺧﻮﻥ‪ ،‬ﻣﻜﺎﻧﻴﻚ ﺑﺎ ﺳﺎﺑﻘﻪ‪،‬‬ ‫ﮔﺮﻳﺲ ﺭﻭﻯ ﺩﺳﺖﻫﺎﻳﺶ ﻭ ﻗﻼﺩﻩﻯ ﻣﻬﺮﻩﺩﺍﺭﻯ‬ ‫ﺭﻭﺣﺎﻧﻰ ﭘﻴﺮﻯ ﺷﺪﻩ‪ .‬ﭘﺎﺩﺷﺎﻩ‬ ‫ﺑﻪ ﮔﺮﺩﻧﺶ‪ ،‬ﺍﺟﻴﺮ‬ ‫ِ‬ ‫ﺟﺎﺫﺑﻪﻫﺎ ﻛﻪ ﺧﻮﻥ ﺭﺍ ﻭﺍ ﻣﻰﺩﺍﺩ ﺑﻪ ﺁﻥ ﺟﺎﻯ‬ ‫ﭘﺴﺮﻙ ﺑﻤﺐ ﭘﺮﺗﺎﺏ ﻛﻨﺪ‪(.‬‬ ‫ﻣﺴﺘﻘﻴﻢ ﺗﻮﻯ ﭼﺸﻢﻫﺎﻯ ﻣﻮﻧﺎ ﻧﮕﺎﻩ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻣﻮﻧﺎ ﻧﮕﺎﻫﺶ ﭘﺎﻳﻴﻦﺗﺮ ﺍﺳﺖ‪ ،‬ﺯﻭﺭ ﻧﮕﺎﻩ ﺭﺍ ﺣﺲ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﺳﺮ ﺑﺎﻻ ﻣﻰﺁﻭﺭﺩ‪ .‬ﭘﺴﺮﻙ ﺧﻮﺵﻗﻴﺎﻓﻪ‬ ‫ﺍﺳﺖ‪ ،‬ﺭﺍﺳﺖ ﺍﻳﺴﺘﺎﺩﻩ ﻭ ﻛﻤﻰ ﺗﺮﺳﻴﺪﻩ‪ .‬ﻛﻨﺎﺭ ﺍﻭ‬ ‫ﻣﺮﺩ ﻛﻮﺗﻮﻟﻪﺍﻯ ﺑﺎ ﺩﻧﺪﺍﻥﻫﺎﻯ ﺳﺎﻳﻴﺪﻩﻯ ﺗﻴﺰ ﺭﻭ‬

‫ِﺑﺎﻻﻯ ﺳﭙﺮ ﺗﺪﺍﻓﻌﻰ ﻣﻨﻔﺠﺮ ﺷﺪ‪ .‬ﺍﺯ ﻫﻢ ﺷﻜﺎﻓﺖ‬ ‫ﻭ ﮔﺮﺩﻩ ﺍﻓﺸﺎﻧﺪ‪ .‬ﮔﺮﺩﻩﻫﺎﻳﺶ‪ ،‬ﺑﺮﺍﺩﻩﻫﺎﻳﻰ ﺑﻪ‬ ‫ﻋﺮﺽ ﺳﻮﺳﻚ ﺣﻤﺎﻡ‪ ،‬ﺭﻭﻯ ﺳﭙﺮ ﺩﻓﺎﻋﻰ‬ ‫ﻃﻮﻝ ﻭ‬ ‫ِ‬ ‫ﻧﺸﺴﺘﻨﺪ ﻭ ﺑﺎ ﺭﻓﺘﺎﺭ ﻻﻳﻪﻯ ﻛﭙﻚ ﺗﻜﺜﻴﺮ ﺷﺪﻧﺪ‪.‬‬ ‫ﺩﺭ ﻫﻢ ﭼﻔﺖ ﺷﺪﻧﺪ ﻭ ﺑﻪ ﻫﻢ ﺩﺭ ﺁﻣﺪﻧﺪ ﻭ ﺗﻤﺎﻡ‬ ‫ﺳﻄﺢ ﻛﺮﻩﻯ ﺳﭙﺮ ﺭﺍ ﭘﻮﺷﺎﻧﺪﻧﺪ‪.‬‬

‫‪ ‬ﺁﻥ ﺯﻳﺮ‪ ،‬ﺑﺨﺶ ﺗﺎﺭﻳﺨﻰ ﺍﻧﺰﻟﻰ ﺩﺭ ﻇﻠﻤﺎﺕ‬ ‫ﻓﺮﻭ ﺭﻓﺘﻪ ﻭ ﺗﺎﺭﻳﻜﻰ ﻣﻄﻠﻖ ﺑﻮﺩ ﺗﺎ ﺁﻥ ﻭﻗﺖ‬ ‫ﻛﻪ ﮔﻠﻮﻟﻪﻫﺎﻯ ﺗﻮپﺧﺎﻧﻪ ﺍﺯ ﺷﻤﺎﻝ ﺯﻣﻴﻦ ﻓﺮﺍ‬ ‫ﺭﺳﻴﺪﻧﺪ‪ .‬ﻧﺨﺴﺘﻴﻦ ﮔﻠﻮﻟﻪ ﺭﻭﻯ ﺳﭙﺮ ﺗﺪﺍﻓﻌﻰ –‬ ‫ﻛﻪ ﺣﺎﻻ ﻣﻨﺘﻘﻞ ﺷﺪﻩ ﺑﻮﺩ ﺑﺮ ﺳﻄﺢ ﻓﻠﺰﻯِ ﺗﺎﺯﻩ‬ ‫ﺗﺸﻜﻴﻞ ﺷﺪﻩ ﺍﺯ ﺑﺮﺍﺩﻩﻫﺎ – ﻣﺘﻼﺷﻰ ﺷﺪ‪ .‬ﺍﻧﻮﺍﺭ‬ ‫ﭼﻨﺪ ﺭﻧﮓ‪ ،‬ﺷﻴﺎﺭﻫﺎﻳﻰ ﺯﺭﺩ ﻭ ﺳﺮﺥ ﻭ ﻧﺎﺭﻧﺠﻰ‪،‬‬ ‫ﺗﻮﻯ ﺳﭙﺮ ﺩﻭﻳﺪﻧﺪ ﻭ ﺍﺗﻔﺎﻗﻰ ﻧﻴﻔﺘﺎﺩ‪ .‬ﺍﻣﺎ ﻛﻤﻰ‬ ‫ﺑﻌﺪ‪ ،‬ﺳﻄﺢ ﻓﻠﺰﻯ‪ ،‬ﺯﻳﺮ ﻣﺤﻞ ﺑﺮﺧﻮﺭﺩ ﮔﻠﻮﻟﻪ‪،‬‬ ‫ﻭﺍ ﺩﺍﺩ ﻭ ﻓﺮﻭ ﺭﻳﺨﺖ‪ .‬ﺳﻮﺭﺍﺧﻰ ﻫﻮﻳﺪﺍ ﺷﺪ ﻛﻪ‬ ‫ﻣﻴﺪﺍﻥ ﺳﭙﺮ ﺗﺎ ﻟﺒﻪﻫﺎﻯ ﺁﻥ ﭘﺲ ﻧﺸﺴﺖ ﻭ‬ ‫ﺣﻔﺮﻩﺍﻯ ﺑﻪﻭﺟﻮﺩ ﺁﻭﺭﺩ ﺑﺮﺍﻯ ﮔﺬﺭ ﻣﻮﺝ ﺑﻌﺪﻯ‬

‫‪47‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﺑﻌﺪ ﺗﻜﺎﻥﻫﺎ ﺁﻏﺎﺯ ﻣﻰﺷﻮﻧﺪ‪ .‬ﻭﺍﮔﻦ‪ ،‬ﮔﻠﺒﺮگﻫﺎﻯ‬ ‫ﺍﻧﺰﻟﻰ‪ ،‬ﺩﺭﻳﺎ ﻭ ﺍﺳﺘﺨﻮﺍﻥ ﺍﻧﻮﺍﻉ ﻣﻨﻘﺮﺽ ﺷﺪﻩ ﺑﺎ‬ ‫ﻫﻢ ﻣﻰﻟﺮﺯﻧﺪ‪.‬‬ ‫ﻣﻬﻤﺎﻧﺎﻥ ﺩﺭ ﺟﻨﺐﻭﺟﻮﺵ‬ ‫ﻋﻴﻦ ﺳﻴﻨﺪﺭﻻ ﺩﺭ ﻣﻴﺎﻥ‬ ‫ِ‬ ‫ِﻛﺎﺥ‪ ،‬ﻣﻮﻧﺎ ﻣﺒﻬﻮﺕ ﺍﻳﺴﺘﺎﺩﻩ‪ .‬ﺑﺎ ﻣﺪﺍﺭﻙﺵ ﺑﻪ‬ ‫ﺳﻤﺖ ﺩﻭﺭﺑﻴﻦ ﻧﭽﺮﺧﻴﺪﻩ ﻭ ﺑﺴﻴﺎﺭﻯ ﺩﻳﮕﺮ ﺗﻮ‬ ‫ﻭﺍﮔﻦ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﺎ ﻣﺪﺭﺍﻛﺸﺎﻥ ﺭﻭ ﺑﻪ ﺩﻭﺭﺑﻴﻦ‬ ‫ﻧﭽﺮﺧﻴﺪﻩﺍﻧﺪ ﻭ ﭘﺴﺮﻙ ﺩﺭ ﻣﻴﺎﻥ ﺁﻥﻫﺎﺳﺖ‪.‬‬ ‫ﭘﺴﺮﻛﻰ ﻧﻮﺟﻮﺍﻥ‪ ،‬ﺷﺎﻧﺰﺩﻩ ﻫﻔﺪﻩ ﺳﺎﻟﻪ‪ ،‬ﺑﺎ ﻟﺒﺎﺱ‬ ‫ﻓﺮﻡ ﻳﻚﺩﺳﺖ ﭼﺮﻡ‪ ،‬ﺑﺎ ﺳﻪ ﺳﻜﻪﻯ ﻧﻴﻜﻞ ﺑﺎﻓﺘﻪ‬ ‫ﺷﺪﻩ ﺑﺮ ﭼﻜﺎﺩ ﻓﻮﻛﻞﺍﺵ ﻭ ﺑﺎ ﺁﻟﺖﺍﺵ ﻛﻪ ﻋﻴﻨﻬﻮ‬ ‫ﻛﻮﺩﻛﺎﻧﻰ ﺑﻪ ﺯﻭﺭ ﺍﺯ ﺁﺏ ﮔﺮﻳﺰﺍﻥ‪ ،‬ﺍﺯ ﺳﻄﺢ‬ ‫ﺭﺍﻥﻫﺎﺵ ﺑﺮ ﺁﻣﺪﻩ ﻭ ﺷﻠﻮﺍﺭ ﺗﻨﮕﺶ ﺭﺍ ﺑﻪ ﺑﻴﺮﻭﻥ‬ ‫ﻗﺮ ﻛﺮﺩﻩ‪ .‬ﺩﺭ ﻇﺎﻫﺮ ﭘﺴﺮ ﭘﻴﺪﺍﺳﺖ ﻛﻪ ﺧﺠﺎﻟﺖ‬ ‫ﻧﻤﻰﻛﺸﺪ‪ ،‬ﺣﺘﺎ ﻣﻮﻧﺎ ﺭﺍ ﻧﮕﺎﻩ ﻧﻤﻰﻛﻨﺪ‪ .‬ﺍﺯ ﺟﺎﻳﻰ‬ ‫ﺗﻮﻯ ﻭﺍﮔﻦ ﺻﺪﺍﻯ ﺟﻴﻎ ﺯﻧﻰ ﻣﻰﺁﻣﺪ‪ ،‬ﻋﺼﺒﻰ‪،‬‬ ‫ﺑُﺮﻧﺪﻩ‪.‬‬ ‫ﺧﻔﻪ ﺷﻮ ﺯﻥ! ﺧﻔﻪ ﺷﻮ ﺯﻧﻴﻜﻪ ﺩﻩ!‬‫ ﺧﺎﻧﻢ ﺧﻮﺍﻫﺶ ﻣﻰﻛﻨﻢ‪ .‬ﭼﻴﺰﻯ ﻧﻴﺴﺖ‪ .‬ﻫﻴﭻ‬‫ﺍﺗﻔﺎﻗﻰ ﻧﻤﻰﺍﻓﺘﻪ‪.‬‬ ‫ﺧﻔﻪ ﺷﻮ ﺟﻨﺪﻩ! ﺑﺒﺮ ﺻﺪﺍﺗﻮ!‬‫ ﻣﺎﻣﺎﻥ ﭼﺮﺍ ﺩﺭ ﺗﻜﻮﻥ ﻣﻰﺧﻮﺭﻩ؟‬‫ﺑﺎﺩﻩ ﻣﺎﻣﺎﻥ ﺟﻮﻥ ﺯﻳﺮ ﺩﺭ‪.‬‬‫ ﺍﻭﻥ ﭼﻴﻪ ﻣﺎﻣﺎﻥ؟‬‫ ﺑﺎﺩﻩ! ﺳﺎﻛﺖ ﺩﻳﮕﻪ!‬‫ﺧﻔﻪ ﺷﻮ ﺯﻧﻴﻜﻪ‪.‬‬‫ﺻﻮﺭﺕﻫﺎﻳﻰ ﻛﻪ ﻋﻴﻦ ﻓﺎﻧﻮﺱﻫﺎﻯ ﺩﺭﻳﺎﻳﻰ ﺍﺯ ﺑﺎﻻ‬ ‫ﺯﻥ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻨﺪ ﻛﻪ ﺭﻭ ﺯﻣﻴﻦ ﻧﺸﺴﺘﻪ ﻭ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫ﻟﺤﻈﻪﺍﻯ ﺳﺎﻛﺖ ﻛﺮﺩ‪ .‬ﺑﻪ ﺷﺪﺕ ﺗﺮﺳﻴﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺳﻌﻰ ﻛﺮﺩ ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ ﺑﺎﺯ ﺑﻜﻨﺪ‪ .‬ﻧﺘﻮﺍﻧﺴﺖ‪.‬‬ ‫ﺍﻧﺪﺍﻡ ﻓﻠﺠﺶ ﻣﺎﻧﻊ ﻣﻰﺷﺪ ﻛﻪ ﺗﻮﻯ ﭘﻴﺶﻭﺭﻯ‬ ‫ﻋﻤﻠﻴﺎﺕ ﺧﻠﻠﻰ ﺍﻳﺠﺎﺩ ﺑﻜﻨﺪ‪.‬‬ ‫‪...3...4‬‬ ‫ﻭ ﻣﻮﺷﻚ ﺷﻠﻴﻚ ﺷﺪ‪.‬‬

‫‪‬ﺑﻌﺪ ﺳﺮﮔﺮﺩ ﺑﻪ ﻣﺮﺍﺳﻢ ﺗﺎﺝﮔﺬﺍﺭﻯ ﺩﺍﺧﻞ ﺷﺪ‪.‬‬ ‫ﺩﻳﻬﻴﻤﻰ ﺍﺯ ﺯﺧﻢﻫﺎ ﺑﺮﺍﻯ ﺳﺮﮔﺮﺩ ﻧﻴﻜﻮﻻﺋﻒ‪،‬‬ ‫ﺳﻮﺍﺭ ﺭﻭﻯ ﻣﻮﺷﻚ ﻛﻮﺗﺎﻩﺑﺮﺩ ِ ﺿﺪﻫﻮﺍﻳﻰ‪.‬‬ ‫ﺯﺧﻢﻫﺎ ﺩﺭ ﺩﻝ ﻓﻠﺰﻯ ﻣﻮﺷﻚ ﺧﻔﺘﻪ ﺑﻮﺩﻧﺪ‪ ،‬ﺍﻣﺎ‬ ‫ﺑﻌﺪ ﻛﻪ ﺑﻪ ﺷﻜﻢ ﺑﻤﺐﺍﻓﻜﻦ ﺧﺎﻛﻰﺭﻧﮓ ﺍﺭﺗﺶ‬ ‫ﺳﺮﺥ ﺩﺍﺧﻞ ﺑﺮ ﻣﻰﺧﻮﺭﺩﻧﺪ‪ ،‬ﺳﺮﻭﺩﺧﻮﺍﻧﺎﻥ‬ ‫ﻣﻰﺷﻜﻔﺘﻨﺪ‪ .‬ﺳﺮﮔﺮﺩ ﺭﺍ ﻣﺴﺨﺮﻩ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺍﻭ‬ ‫ﭘﺎﺩﺷﺎﻩ ﺯﺧﻢﻫﺎ ﻣﻰﺷﺪ‪» :‬ﺧﺪﺍﺣﺎﻓﻆ ﺳﺮﮔﺮﺩ‬ ‫ﻧﻴﻜﻮﻻﺋﻒ ﻋﺰﻳﺰ! ﺧﺪﺍ ﺣﺎﻓﻆ ﺳﺮﮔﺮﺩ!«‬

‫‪‬ﻭ ﺩﺭ ﻣﻴﺎﻥ ﻛﻮﺭﺍﻥ‪ ،‬ﻣﻮﺷﻜﻰ ﻛﻪ ﺭﺣﻢ ﺑﻤﺐﺍﻓﻜﻦ‬ ‫ﺳﺮﮔﺮﺩ ﺭﺍ ﺗﺮﻙ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺑﻪ ﺳﻮﻯ ﻣﻘﺼ ِﺪ‬ ‫ﺍﺯ ﭘﻴﺶ ﺗﻌﻴﻴﻦ ﺷﺪﻩ ﻣﻰﺭﻓﺖ‪) .‬ﻳﺎﺩﺩﺍﺷﺖ‪:‬‬ ‫ﻣﻮﺷﻚ ﻋﻴﻦ ﮔﺎﻧﮕﺴﺘﺮﻯ ﻛﻪ ﻣﺎﺷﻴﻦ ﻛﺸﺘﻰﻭﺍ ِﺭ‬ ‫ﻫﻢﻗﻄﺎﺭﺵ ﺭﺍ ﺑﻪ ﺟﻬﺖ ﻣﻘﺎﺻﺪ ﻭﺍﻻﺗﺮ ﻣﻨﻔﺠﺮ‬ ‫ﺗﻦ ﭘﺎﺭﻩ ﺷﺪﻩﻯ ﺍﻭ‪ ،‬ﺍﺯ ﺗﺼﻮﺭ‬ ‫ﻛﺮﺩﻩ ﻭ ﺍﺯ ﺗﺼﻮﺭ ِ‬ ‫ﻣﻮﻫﺎﻯ ﭼﺮﺑﺶ ﻛﻪ ﻣﻰﺳﻮﺯﺩ‪ ،‬ﺩﻟﺨﻮﺭ ﺍﺳﺖ‪،‬‬ ‫ﺑﺎ ﻟﺒﻪﻯ ﭘﺎﻳﻴﻦﺩﺍﺩﻩﻯ ﻛﻼﻫﺶ‪ ،‬ﭼﺸﻢﻫﺎﺵ‬

‫‪46‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺍﻧﺪﺍﺧﺖ ﻭ ﺍﻧﻌﻜﺎﺱ ﺻﺪﺍﻳﺶ ﺭﺍ ﺭﻭﻯ ﻛﻒ ﺍﺗﺎﻗﻚ‬ ‫ﺷﻨﻴﺪ‪ .‬ﺩﺳﺖ ﺑﻪ ﻛﺎﺭ ﺷﺪ‪ .‬ﻣﻴﺘﻮﻛﺴﻴﻨﻰ ﻛﻪ ﺩﺭ‬ ‫ﺧﻮﻧﺶ ﻣﻰﺷﻜﻔﺖ‪ ،‬ﺑﻨﺎ ﺑﻮﺩ ﺑﻪ ﻣﻮﻗﻊ ﻓﻠﺠﺶ‬ ‫ﺑﻜﻨﺪ‪ .‬ﺭﻭﻯ ﺻﻔﺤﻪﺍﻯ ﻛﺮﺑﻨﻰ ﻛﻪ ﻣﻘﺎﺑﻠﺶ ﺑﻮﺩ‬ ‫ﺩﺳﺖ ﮔﺬﺍﺷﺖ‪ .‬ﺻﻔﺤﻪ ﺯﻳﺮ ﺩﺳﺘﺶ ﺷﺮﻭﻉ ﺑﻪ‬ ‫ﺩﺍﻍ ﺷﺪﻥ ﻛﺮﺩ‪ .‬ﻭ ﻫﻢﺯﻣﺎﻥ ﺩﺭ ﭼﺸﻢﺍﻧﺪﺍﺯ ﺗﻮﻯ‬

‫ﺍﻧﮕﺎﺭ ﻣﻬﻤﺎﻥﻫﺎﻳﻰ ﻛﻪ ﺭﺍﺑﻄﻪﻯ ﺩﻭﺭﺷﺎﻥ ﺑﺎ ﺍﻣﻮﺍﺕ‬ ‫ﺳﺒﺐ ﻣﻰﺷﻮﺩ ﺗﺎ ﻣﺮﺍﺳﻢ ﺗﺪﻓﻴﻨﻰ ﺭﺍ ﺯﻭﺩﺗﺮ ﺍﺯ‬ ‫ﺳﺎﻳﺮﻳﻦ ﺗﺮﻙ ﺑﻜﻨﻨﺪ‪ ،‬ﺧﻴﻠﻰ ﺍﻭﺗﻮﻣﺎﺗﻴﻚﻭﺍﺭ‪،‬‬ ‫ﮔﻮﻳﻰ ﺩﺭ ﺣﺎﻝ ﺍﻧﺠﺎﻡ ﻭﻇﻴﻔﻪ ﺍﺯ ﺟﺎ ﺑﺮﺧﺎﺳﺘﻨﺪ‪.‬‬ ‫ﻣﺮﺍﺣﻞ ﺁﺳﺎﻥﺳﺎﺯﻯ ﺗﺸﺨﻴﺺ ﻫﻮﻳﺖ ﭼﻴﺰ ﺗﻜﺮﺍﺭ‬ ‫ﺷﻮﻧﺪﻩﺍﻯ ﺍﺳﺖ ﺍﻳﻦﺟﺎ‪.‬‬ ‫ﻳﺎﺭﻭﻫﺎ ﺑﻰ ﺁﻥ ﻛﻪ ﺻﺪﺍﻳﻰ ﺍﺯﺷﺎﻥ ﺑﻠﻨﺪ ﺑﺸﻮﺩ‪،‬‬ ‫ﺩﺭ ﺭﺍﻫﺮﻭﻯ ﻭﺍﮔﻦ ﻣﻰﺍﻳﺴﺘﻨﺪ‪ .‬ﺑﺮﮔﻪﻫﺎﻳﻰ ﺍﺯ‬ ‫ﺍﻋﻤﺎﻕ ﻟﺒﺎﺱﻫﺎﻳﺸﺎﻥ ﺑﻴﺮﻭﻥ ﻣﻰﻛﺸﻨﺪ‪ ،‬ﺍﻣﻮﺍﺝ‬ ‫ﻫﻠﻴﻮﮔﺮﺍﻓﻴﻚ ﻫﻮﻳﺖ ﺭﺍ ﺍﺯ ﺟﻴﺐﻫﺎ ﺧﺎﺭﺝ‬ ‫ﻣﻰﻛﻨﻨﺪ‪ ،‬ﻛﺎﺭﺕﻫﺎﻯ ﻗﺪﻳﻤﻰ ﺭﺍ ﺗﻮ ﺩﺳﺖ‬ ‫ﻣﻰﮔﻴﺮﻧﺪ ﻭ ﺩﺭ ﺻﺪﺍﻳﻰ ﺣﻔﻴﻒ‪ ،‬ﻋﻴﻦ ﺻﺪﺍﻯ‬ ‫ﺳﻴﮕﻨﺎﻝ ﺑﻪ ﻧﻮﻳﺰ ﺭﺍﺩﻳﻮﻫﺎ‪ ،‬ﻛﻪ ﺍﺯ ﺑﻴﺮﻭﻥ ﺩﺍﺧﻞ‬ ‫ﻭﺍﮔﻦ ﻣﻰﺷﻮﺩ ﻭ ﺩﺭ ﺻﺪﺍﻯ ﺍﺭﺩﻭﮔﺎﻫﻰ ِ ﺯﻥ‬ ‫ﮔﻮﻳﻨﺪﻩ‪ ،‬ﻳﺎﺭﻭﻫﺎ ﻣﻰﺍﻳﺴﺘﻨﺪ ﺭﻭ ﺑﻪ ﻧﻘﻄﻪﺍﻯ ﺩﺭ‬ ‫ﻣﻴﺎﻧﻪﻯ ﻭﺍﮔﻦ‪ ،‬ﺳﺮ ﺑﺎﻻ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺭﻭ ﺑﻪ ﺳﻘﻒ‪،‬‬ ‫ﺷﺎﺧﺼﻪﻫﺎﻯ ﻫﻮﻳﺖ ﻛﻨﺎﺭ ﺻﻮﺭﺕﻫﺎﺷﺎﻥ‪،‬‬ ‫ﺍﻳﻦﺟﺎ ﻭ ﺁﻥﺟﺎ ﺧﻴﻠﻰ ﻧﺎﻣﺤﺴﻮﺱ ﻛﺴﻰ ﺭﺍ ﻫﻞ‬ ‫ﻣﻰﺩﻫﻨﺪ ﺗﺎ ﺑﻬﺘﺮ ﺩﻳﺪﻩ ﺷﻮﻧﺪ ﻭ ﻟﻨﺰ ﻓﻴﺶﺁﻯِ‬ ‫ﮔﻨﺪﻩﻯ ﺳﻘﻔﻰ‪ ،‬ﭘﺮﺩﻩﻫﺎﻯ ﺗﻴﺘﺎﻧﻴﻮﻣﻰ ﺷﺎﺗﺮﺵ‬ ‫ﺭﺍ ﺗﻨﺒﻞ ﻣﻰﺟﻨﺒﺎﻧﺪ ﻭ ﻓﻠﺶ ﻣﻰﺯﻧﺪ‪ ،‬ﺗﻖﺗﻖ ﺻﺪﺍ‬ ‫ﻣﻰﺩﻫﺪ ﻭ ﻋﻜﺲ ﻳﺎﺭﻭﻫﺎ ﺭﺍ ﺑﺮ ﻣﻰﺩﺍﺭﺩ‪.‬‬ ‫ﺗﻮﺩﻩﻯ ﻣﺮﺩﻡ‪ ،‬ﺩﻭ ﺑﻪ ﺩﻭ ﺗﻦﻫﺎﺷﺎﻥ ﻛﻨﺎﺭ ﻫﻢ‪،‬‬ ‫ﭼﭙﻴﺪﻩ ﺑﻪ ﺷﻜﻞ ﻗﺎﺷﻖﻫﺎﻳﻰ ﻣﺮﺗﺐ ﺷﺪﻩ‪ ،‬ﺑﻪ‬ ‫ﺷﻜﻞ ﺍﻧﺘﮕﺮﺍﻝﻫﺎﻯ ﺩﻭﮔﺎﻧﻪ‪ ،‬ﺑﻪ ﺷﻜﻞ ‪SS‬ﻫﺎﻯ‬ ‫ﺁﺭﺯﻭﻣﻨﺪ‪ ،‬ﻳﺎ ﺑﻪ ﺣﻘﻴﻘﺖ ﺩﺭ ﺷﻜﻞ ﻋﻜﺲ‬ ‫ﻳﺎﺩﮔﺎﺭﻯ ﮔﺮﺩﺍﻧﻰ ﻛﻪ ﺑﻪ ﺯﻭﺩﻯ ﻋﺎﺯﻡ ﻋﻤﻠﻴﺎﺕ‬ ‫ﺁﺧﺮﻳﻦ ﺍﺳﺖ‪ ،‬ﺭﻭﻯ ﻓﻴﻠﻢﻫﺎ ﺛﺒﺖ ﻣﻰﺷﻮﻧﺪ‪.‬‬

‫ﺳﺮﺵ‪ ،‬ﺍﺯ ﭼﻬﺎﺭ ﺟﻬﺖ ﺍﺻﻠﻰ‪ ،‬ﺻﻔﺤﻪﻯ ﻛﻨﺘﺮﻝ‬ ‫ﻣﻮﺷﻚ ﺩﺍﺧﻞ ﺩﻳﺪﺵ ﺷﺮﻩ ﻛﺮﺩ‪ .‬ﺁﺑﻰ‪ ،‬ﻭﻫﻤﻰ‪،‬‬ ‫ﻋﻴﻦ ﭼﺮﺥﻭﻓﻠﻜﻰ ﺧﺎﻟﻰ ﻣﺎﻧﺪﻩ ﺗﻮﻯ ﺳﺮﻣﺎ‪،‬‬ ‫ﺻﻔﺤﻪ ﺩﺍﺷﺖ ﻛﺎﻣﻞ ﻣﻰﺷﺪ‪ .‬ﻣﺴﻴﺮ ﺑﻤﺒﻰ‬ ‫ﺭﺍ ﻛﻪ ﻫﻨﻮﺯ ﺭﻫﺎ ﻧﻜﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺗﻌﻴﻴﻦ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺑﻤﺒﻪ ﺭﺍ ﻣﺴﺘﻘﻴﻢ ﺑﻪ ﺳﻤﺖ ﻗﻄﺐ ﻛﺮﻩﻯ ﺳﭙﺮ‬ ‫ﭘﺎﻳﻰ ﺑﺎﻻﻯ‬ ‫ﺩﻓﺎﻋﻰ ﺭﺍﻧﺪ ﻭ ﺗﻮﻯ ﻓﺎﺻﻠﻪﻯ ‪32‬‬ ‫ِ‬ ‫ﺳﭙﺮ ﻣﻨﻔﺠﺮﺵ ﻛﺮﺩ‪ .‬ﺻﻔﺤﻪﻯ ﺁﺑﻰ ﻛﻨﺘﺮﻝ ﺑﻪ‬ ‫ﻧﺮﻣﻰ ﻣﺤﻮ ﺷﺪ‪ .‬ﺩﺭ ﻣﻘﺎﺑﻠﺶ ﺣﺎﻻ ﻓﻀﺎﻯ ﺳﻴﺎﻩ‬ ‫ﭘﺲﺯﻣﻴﻨﻪ ﺑﻪ ﻛﻢﺗﺮﻳﻦ ﺣﺪ ﺭﺳﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺭﻭﺑﺎﻥﻫﺎ‬ ‫ﺑﻪ ﻫﻤﻪ ﺟﺎ ﺗﺴﺮﻯ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﻭ ﺷﻤﺎﺭﻧﺪﻩﻯ‬ ‫ﻛﻮﭼﻚ ‪ 11‬ﺭﺍ ﭼﺸﻤﻚ ﻣﻰﺯﺩ‪ .‬ﺑﺮﺍﻯ ﻧﺨﺴﺘﻴﻦ‬ ‫ﺑﺎﺭ ﺻﺪﺍﻯ ﻃﻮﻓﺎﻥ ﺭﺍ ﺷﻨﻴﺪ ﻛﻪ ﺑﻴﺮﻭﻥ ﺍﺯ ﻛﺎﺑﻴﻦ‬ ‫ﻣﻰﮔﺸﺖ‪ .‬ﮔﺮﻣﺎﻯ ﺻﻔﺤﻪﻯ ﻛﺮﺑﻨﻰ ﺭﺍ ﺩﻳﮕﺮ ﺯﻳﺮ‬ ‫ﺩﺳﺖ ﺣﺲ ﻧﻤﻰﻛﺮﺩ‪ .‬ﻣﻴﺘﻮﻛﺴﻴﻦ ﺑﻪ ﺳﺮﻋﺖ‬ ‫ﻣﻨﺘﺸﺮ ﻣﻰﺷﺪ‪ .‬ﺳﺘﻮﻥ ﺳﺒﺰ ﺣﺮﻭﻑ ﺣﺎﻻ‬ ‫ﺧﺎﻟﻰﺗﺮ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺗﺮﺍﻧﻪﻯ ﻗﺪﻳﻤﻰ ﻋﺎﻣﻴﺎﻧﻪﺍﻯ‬ ‫ﺗﻮ ﺳﺮﺵ ﻣﻰﺷﻨﻴﺪ ﻛﻪ ﺷﺠﺎﻋﺖ ﺳﺮﮔﺮﺩ ﺭﺍ‬ ‫ﺗﺤﺴﻴﻦ ﻣﻰﻛﺮﺩ‪ ،‬ﺍﻣﺎ ﺣﻘﻴﻘﺘﺶ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ‬ ‫ﺳﺮﮔﺮﺩ ﺧﻠﺒﺎﻥ ﻧﻴﻜﻮﻻﺋﻒ‪ ،‬ﺑﺎ ﺍﺳﻔﻨﻜﺘﺮﻫﺎﻯ‬ ‫ﻓﻠﺞ ﺷﺪﻩﺍﺵ‪ ،‬ﺗﻮﻯ ﺧﻮﺩﺵ ﺭﻳﺪﻩ ﺑﻮﺩ‪ .‬ﺻﺪﺍﻯ‬ ‫ﻃﻮﻓﺎﻥ ﺭﺍ ﻣﺸﺖ ﺧﻼءﺳﺎ ِﺯ ﺷﻠﻴﻚ ﺿﺪﻫﻮﺍﻳﻰ‬ ‫‪45‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﺑﻪ ﺳﺮﻋﺖ ﺑﺎﺯ ﺷﺪﻧﺪ‪ .‬ﻋﻴﻦ ﻟﻚﻟﻚﻫﺎﻳﻰ ﻓﺮﻭﺩ‪-‬‬ ‫ﺁﻳﻨﺪﻩ ﺭﻭﻯ ﻟﺒﻪﻯ ﺟﻬﺎﻥ ﺑﻮﺩﻧﺪ ﻭ ﺭﻭﻯ ﻟﺒﻪﻯ‬ ‫ﺩﺍﺧﻠﻰ ﮔﻠﺒﺮگ ﻣﻰﻧﺸﺴﺘﻨﺪ‪ .‬ﺑﻪ ﺯﻭﺩﻯ ﻫﻤﻪﭼﻴﺰ‬ ‫ﺁﻏﺎﺯ ﻣﻰﺷﺪ ﻭ ﺍﻳﻦﻃﻮﺭﻯ ﺣﺎﻻ ﻭﺍﮔﻦ ﺑﺮﺍﻯ‬ ‫ﻫﻤﻪﻯ ﺗﻜﺎﻥﻫﺎ ﻭ ﺍﻧﻔﺠﺎﺭﻫﺎ ﻭ ﺍﺗﺼﺎﻟﻰﻫﺎ ﻭ ﻓﺮﻭ‬ ‫ﺭﻳﺨﺘﻦﻫﺎ ﺁﻣﺎﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺩﺍﺧﻞ‪ ،‬ﻣﻮﻧﺎ ﺩﺭ ﺁﺷﻔﺘﮕﻰ ﺣﺎﺻﻞ ﺍﺯ ﺑﺎﻻ ﺁﻣﺪﻥ‪،‬‬ ‫ﺑﻌﺪ ﺍﺯ ﺑﺴﻴﺎﺭ ﺗﺎﺏ ﺧﻮﺭﺩﻥ ﺩﻭﺭ ﺑﺎﺯﻭﻯ ﭼﻔﺖ‬ ‫ﺷﺪﻩ ﺑﻪ ﻣﻴﻠﻪﻱ ﺳﻘﻔﻰﺍﺵ‪ ،‬ﺍﺯ ﺳﺮﮔﻴﺠﻪ ﺭﻫﺎ‬ ‫ﻣﻰﺷﺪ‪ .‬ﻳﺎﺭﻭﻫﺎﻯ ﻣﺴﺎﻓﺮ ﺑﻪ ﺣﺎﻝ ﺳﻜﻮﻥ ﺑﺮ‬ ‫ﻣﻰﮔﺸﺘﻨﺪ‪ .‬ﺁﻗﺎﻳﺎﻥ ﻭ ﺧﺎﻧﻢﻫﺎﻳﻰ ﺑﻮﺩﻧﺪ ﻛﻪ‬ ‫ﺭﺍﺳﺖ ﻣﻰﺍﻳﺴﺘﺎﺩﻧﺪ‪ ،‬ﺁﻗﺎﻳﺎﻥ ﻭ ﺧﺎﻧﻢﻫﺎﻳﻰ‬ ‫ﺑﻮﺩﻧﺪ ﻛﻪ ﻣﻮﻫﺎﻳﺸﺎﻥ ﺭﺍ ﻣﻬﺎﺭ ﻣﻰﻛﺮﺩﻧﺪ ﻭ ﺑﻌﺪ‬ ‫ﻟﺒﺎﺱﻫﺎﻳﺸﺎﻥ ﺭﺍ ﻛﻪ ﻋﻴﻦ ﺩﺳﺘﻪﻯ ﻭﺭﻕ ﺑُﺮ‬ ‫ﺧﻮﺭﺩﻩ ﺑﻮﺩ‪ ،‬ﻣﺮﺗﺐ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺑﺎﻻﺧﺮﻩ ﻛﻮﺭﺍﻥ‬ ‫ﺟﺎﺫﺑﻪ ﻓﺮﻭ ﻣﻰﻛﺸﻴﺪ ﻭ ﻣﻮﻧﺎ ﺍﻳﺴﺘﺎﺩﻩ ﺩﺭ ﻣﻘﺎﺑﻠﺶ‪،‬‬ ‫ﭘﺴﺮﻙ ﻧﻮﺟﻮﺍﻧﻰ ﺭﺍ ﺩﻳﺪ ﻛﻪ ﺗﻮﺟﻪﺍﺵ ﺭﺍ ﺩﺭ ﺗﻤﺎﻡ‬ ‫ﻃﻮﻝ ﺍﺗﻔﺎﻗﺎﺕ ﺁﻳﻨﺪﻩﻯ ﺑﻤﺐﺑﺎﺭﺍﻥ ﺁﻥ ﺭﻭﺯ ﺻﺒﺢ‬ ‫ﺯﻣﺴﺘﺎﻧﻰ ﺍﻧﺰﻟﻰ‪ ،‬ﺑﻪ ﺧﻮﺩﺵ ﺟﻠﺐ ﻛﺮﺩ‪ .‬ﺑﻪ ﺷﺮﺡ‬ ‫ﺍﻳﻦ ﺷﻴﻔﺘﮕﻰ ﺑﺎﺯ ﺧﻮﺍﻫﻴﻢ ﮔﺸﺖ‪ ،‬ﺍﻣﺎ ﺣﺎﻻ‪ :‬ﺩﺭ‬ ‫ﺍﻃﺮﺍﻑ ﭘﺴﺮ ﻭ ﻣﻮﻧﺎ‪ ،‬ﺻﺪﺍﻳﻰ ﺯﻧﺎﻧﻪ ﺩﺭ ﺑﻠﻨﺪﮔﻮﻯ‬ ‫ﻭﺍﮔﻦ‪ ،‬ﺑﻨﺎ ﻛﺮﺩ ﺍﺯ ﺭﻭﻯ ﻧﻮﺷﺘﻪﺍﻯ ﺧﻮﺍﻧﺪﻥ ﺑﺎ‬ ‫ﻫﻤﭽﻪ ﻣﻀﻤﻮﻧﻰ‪ :‬ﻣﺴﺎﻓﺮﻫﺎ ﻣﻰﺑﺎﻳﺴﺖ ﺑﺮﺍﻯ‬ ‫ﺭﺍﺣﺖﺗﺮ ﻛﺮﺩﻥ ﻣﺮﺍﺣﻞ ﺗﺸﺨﻴﺺ ﻫﻮﻳﺖ ﺩﺭ‬ ‫ﺻﻮﺭﺕ ِ‬ ‫ﻣﺮگ ﺍﺣﺘﻤﺎﻟﻰ‪...‬‬ ‫ﺑﻠﻪ‪ ،‬ﺍﻭﺿﺎﻉ ﺩﺭ ﺍﻧﺰﻟﻰ ﺗﺎﺭﻳﺨﻰ ﺍﻳﻦﻃﻮﺭﻯ ﺑﻮﺩ‬ ‫ﻭ ﭘﻴﺶ ﺍﺯ ﺁﻥﻛﻪ ﻧﻄﻖ ﺯﻥ ﻛﺎﺭﻣﻨﺪ ﺷﺮﻛﺖ‬ ‫ﺗﻮﻟﻴﺪﻛﻨﻨﺪﻩﻯ ﻭﺍﮔﻦ ﺗﻤﺎﻡ ﺷﻮﺩ‪ ،‬ﭼﻨﺪ ﻧﻔﺮﻯ‪،‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫ﺍﻭ ﺳﺮﻙ ﻣﻰﻛﺸﻴﺪﻧﺪ‪ ،‬ﺟﻮﺭﻯ ﻛﻪ ﺍﻧﮕﺎﺭ ﺣﺴﺎﺑﻰ‬ ‫ﻣﺮﺍﻗﺐ ﺳﺮﮔﺮﺩ ﻫﺴﺘﻨﺪ‪ .‬ﺩﺭ ﭼﺸﻢﺍﻧﺪﺍﺯﻯ ﻛﻪ ﺗﻮﻯ‬ ‫ﺳﺮﺵ ﺩﺍﺷﺖ‪ ،‬ﺻﻠﻴﺐ ﺗﺮﺍﺯ ﻫﻮﺍﭘﻴﻤﺎ ﺭﺍ ﻣﻰﺩﻳﺪ‬ ‫ﺑﺮ ﺯﻣﻴﻨﻪﺍﻯ ﺍﺯ ﺭﻭﺑﺎﻥﻫﺎﻯ ﺟﻮﺷﻨﺪﻩﻯ ﻧﺎﺭﻧﺠﻰ‪.‬‬ ‫ﺭﻭﺑﺎﻥﻫﺎﻳﻰ ﻋﻴﻦ ﺁﻥ ﺭﺷﺘﻪﻫﺎ ﻛﻪ ﺍﺯ ﺳﻄﺢ‬ ‫ﺧﻮﺭﺷﻴﺪ ﺑﻪ ﻓﻀﺎﻯ ﺗﻬﻰ ﻣﻰﭘﺎﺷﺪ‪ ،‬ﻋﻴﻦ ﻇﺮﻑ‬ ‫ﺑﺰﺭﮔﻰ ﺍﺯ ﻣﺎﻛﺎﺭﻭﻧﻰ ﺯﻧﺪﻩ‪ ،‬ﻋﻴﻦ ﻣﺮﺟﺎﻥﻫﺎﻳﻰ‬ ‫ﻟﻮﻟﻪﺍﻯ ﺗﻮ ﺟﺮﻳﺎﻥ ﺁﺏﻫﺎﻯ ﮔﺮﻡ ﺗﺎﺏﺧﻮﺭﺍﻥ‪ .‬ﺍﻳﻦ‬ ‫ﻣﮕﻨﻮﮔﺮﺍﻑ ﺍﺯ ﺳﭙﺮ ﺩﻓﺎﻋﻰ ﺍﻧﺰﻟﻰ ﺩﺭ ﺯﻣﻴﻨﻪﺍﻯ‬ ‫ﺳﻴﺎﻩ‪ ،‬ﺷﻤﺎﺭﻧﺪﻩﻯ ﻣﻌﻜﻮﺱﺷﻤﺎﺭﻯ‪ ،‬ﺑﺎﻻ ﺩﺭ‬ ‫ﻛﻨﺞ ﺭﺍﺳﺖ‪ ،‬ﺳﺘﻮﻧﻰ ﭘﺎﻳﻴﻦﺭﻭﻧﺪﻩ ﺍﺯ ﺣﺮﻭﻑ ﺳﺒﺰ‬ ‫ﺩﺭ ﻧﻴﻤﻪﻯ ﺳﻤﺖ ﭼﭗ ﻭ ﺟﺮﻳﺎﻥ ﮔﺬﺭﺍﻳﻰ ﺍﺯ‬ ‫ﻣﺨﺮﻭﻁﻫﺎﻯ ﺳﺮﺥ ﺩﺭ ﻧﻴﻤﻪﻯ ﭘﺎﻳﻴﻨﻰ ﻛﻪ ﺍﺯ ﺩﻭﺭ‬ ‫ﺑﻪ ﺍﻭ ﻧﺰﺩﻳﻚ ﻣﻰﺷﺪﻧﺪ ﻭ ﺑﺮﺍﻯ ﻟﺤﻈﻪﺍﻯ ﻫﻤﻪ‬ ‫ﭼﻴﺰ ﺭﺍ ﺩﺭ ﺳﺮﺧﻰ ﭼﺸﻢﺁﺯﺍﺭﺷﺎﻥ ﻓﺮﻭ ﻣﻰﺑﺮﺩﻧﺪ‬ ‫ﻭ ﺑﻌﺪ ﻣﻰﮔﺬﺷﺘﻨﺪ‪ ،‬ﭘﺮﺩﻩﺍﻯ ﺭﺍ ﺗﺸﻜﻴﻞ ﻣﻰﺩﺍﺩﻧﺪ‬ ‫ﻛﻪ ﺳﺮﮔﺮﺩ ﺑﺎ ﭼﺸﻢﻫﺎﻳﺶ‪ ،‬ﻋﺎﻣﺪﺍﻧﻪ ﺑﺴﺘﻪ‪ ،‬ﺗﻮﻯ‬ ‫ﺳﺮﺵ ﻣﻰﺩﻳﺪ‪.‬‬ ‫‪‬ﺍﻫﺮﻣﻰ ﺭﺍ ﺟﺴﺖ ﻭ ﻋﻘﺐ ﻛﺸﻴﺪﺵ ﻭ ﺳﺮﻋﺖ‬ ‫ﺯﻳﺎﺩ ﻛﺮﺩ‪ .‬ﺻﻔﺤﻪﻯ ﺩﻳﺪﺵ ﺩﻭ ﺑﺎﺭ ﺑﻪ ﻧﺸﺎﻧﻪﻯ‬ ‫ﻫﺸﺪﺍﺭ ﺑﻪ ﺳﺮﺧﻰ ﭼﺸﻤﻚ ﺯﺩ‪ .‬ﺩﺳﺖ ﺗﻮ‬ ‫ﭘﺎﻳﻴﻦ ﺭﺍﻧﺶ ﻛﺮﺩ‪ ،‬ﺳﺮﻧﮓ ﺍﺳﺘﻴﻠﻰ‬ ‫ﺟﻴﺐﻫﺎﻯ‬ ‫ِ‬ ‫ﺭﺍ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪ‪ .‬ﻫﺪﻳﻪﺍﻯ ﺑﻮﺩ ﻛﻪ ﺑﺴﻴﺎﺭ‬ ‫ﻋﺰﻳﺰﺵ ﻣﻰﺩﺍﺷﺖ‪ .‬ﺳﺮﻧﮓ ﺭﺍ ﻫﻤﺎﻥﺟﺎ ﺭﻭ‬ ‫ﻛﺸﺎﻟﻪﻯ ﺭﺍﻧﺶ ﮔﺮﻓﺖ‪ .‬ﺿﺎﻣﻨﻰ ﺭﺍ ﺁﺯﺍﺩ ﻛﺮﺩ‪.‬‬ ‫ﺳﺮﻧﮓ ﭼﻴﺰﻯ ﺩﺍﺧﻞ ﺷﺮﻳﺎﻥﻫﺎﻳﺶ ﺷﻠﻴﻚ‬ ‫ﻛﺮﺩ‪ .‬ﺑﻪ ﺯﻭﺩﻯ ﺑﻪ ﻛﻠﻰ ﻓﻠﺞ ﻣﻰﺷﺪ‪ .‬ﺳﺮﻧﮓ ﺭﺍ‬

‫‪44‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺳﻮﻧﺎﺕﻫﺎﻯ ﻣﺪﺭﻥ ﺧﻮﺷﺶ ﻣﻰﺁﻳﺪ ﻭ ﺍﺯ ﻫﻤﻴﻦ ﺑﺎﺑﺖ ﺍﺳﺖ ﻛﻪ ﺣﺎﻻ ﭘﻴﺎﻧﻮﻳﻰ ﮔﻮﺷﻪﻯ‬ ‫ﺁﺷﭙﺰﺧﺎﻧﻪ‪ ،‬ﺳﻮﻧﺎﺕ ﻛﻮﭼﻮﻟﻮﻳﻰ ﺍﺯ ﺩﺑﻮﺳﻰ ﻣﻰﻧﻮﺍﺯﺩ‪ ،‬ﺑﺎ ﻧﺖﻫﺎﻳﻰ ﮔﺮﺩ‪ ،‬ﺳﻔﻴﺪ‪ ،‬ﻋﻴﻦ ﺁﻧﺘﻰﺑﻴﻮﺗﻴﻚﻫﺎ‪،‬‬ ‫ﻓﺮﺍﺭ ﺍﺯ ﺩﻝ ﺩﺳﺘﮕﺎﻩ‪ ،‬ﻣﻌﻠﻖ ﻣﺎﻧﺪﻩ ﺩﺭ ﻫﻮﺍﻯ ﺿﺪﻋﻔﻮﻧﻰﺷﺪﻩ‪ .‬ﻭ ﺳﺮﮔﺮﺩ ﻫﻤﻴﻦﻃﻮﺭ ﺑﺎﺑﺖ ﻛﺎﺷﺖ‬ ‫ﭘﺮﺍﻥ‪ّ ،‬‬ ‫ﮔﻮﺟﻪ ﺗﻮﻯ ﻓﻀﺎﻯ »ﺍﻭﻗﺎﺕ ﻓﺮﺍﻏﺖ ِ« ﺳﺮﺍﻳﺸﺎﻥ ﻣﻌﺮﻭﻑ ﺍﺳﺖ‪ .‬ﻓﻀﺎﻯ ﺍﻭﻗﺎﺕ ﻓﺮﺍﻏﺖ ﺍﻭ ﻋﺒﺎﺭﺕ ﺍﺳﺖ ﺍﺯ‬ ‫ﺑﺎﻏﭽﻪﺍﻯ ﻛﻪ ﺗﻮﻳﺶ ﮔﻮﺟﻪﻓﺮﻧﮕﻰ – ﺍﻳﻦ ﻛﺎﻧﻰ ﻛﻢﻳﺎﺏ ﻋﺰﻳﺰ – ﻋﻤﻞ ﻣﻰﺁﻳﺪ‪ .‬ﺳﺮﮔﺮﺩ‪ ،‬ﺩﻳﮕﺮ ﺳﺮﮔﺮﺩﻫﺎ‬ ‫ﺭﺍ ﺑﺎ »ﻳﻪ ﮔﻮﺟﻪ ﺑﻜﻦ ﺑﺨﻮﺭ« ﺧﻄﺎﺏ ﻣﻰﻛﻨﺪ‪ .‬ﺑﻪ ﮔﻮﺟﻪﻫﺎﻳﺶ ﻣﻰﻧﺎﺯﺩ ﻭ ﺣﺎﻻ ﺑﺮﺍﻳﺶ ﺍﺯ ﻫﻤﭽﻪ‬ ‫ﻣﺤﺼﻮﻟﻰ‪ ،‬ﺻﺒﺤﺎﻧﻪﺍﻯ ﻣﻔﺼﻞ ﺩﺳﺖ ﻭ ﭘﺎ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﺩﺭ ﺗﺸﺖ ﻓﻠﺰﻯ ﻛﻮﭼﻜﻰ ﺭﻭﻯ ﻣﻴﺰ‪ ،‬ﮔﻮﺟﻪﻫﺎﻯ‬ ‫ﻟﻪ ﺷﺪﻩ ﺩﻭﺭ ﺣﻠﻘﻪﻫﺎﻯ ﻧﺎﺯﻙ ﻭ ﺁﺏﺩﺍﺭ ﻣﺎﺭﻣﺎﻫﻰ ﺳﺮﺥ ﺷﺪﻩﺍﻧﺪ ﻭ ﺗﻮﻯ ﻟﻴﻮﺍﻧﻰ‪ ،‬ﭼﺎﻯ ﻫﻢ ﺗﭙﺎﻧﺪﻩﺍﻧﺪ‬ ‫ﻭ ﺍﻳﻦﺟﻮﺭﻯ ﺍﺳﺖ ﻛﻪ ﺳﺮﮔﺮﺩ ﺣﺎﻟﻰﺍﺵ ﺷﺪﻩ ﭘﺮﻭﺍﺯ ﺍﻣﺮﻭﺯ ﺑﺎﻳﺪ ﺣﺴﺎﺑﻰ ﺣﻴﺎﺗﻰ ﺑﺎﺷﺪ‪ .‬ﺩﺳﺖ ﺑﻪ ﻛﺎﺭ‬ ‫ﺧﻮﺭﺩﻥ ﻣﻰﺷﻮﺩ‪ .‬ﭘﻴﺶ ﺧﻮﺩﺵ ﻓﻜﺮ ﻣﻰﻛﻨﺪ ﻛﻪ ﺑﺎﻳﺪ »ﻳﻪ ﮔﻮﺟﻪ ﺑﻜﻦ ﺑﺨﻮﺭ« ﻭ ﻭﺩﻛﺎﻯ ﻣﺮﺩﻩﻯ ﺭﻭ‬ ‫ﺯﻣﻴﻦ ﺑﺘﻮﻧﻰ ﺁﺷﭙﺮﺧﺎﻧﻪ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻩ ﺍﺯ ﺟﺸﻦ ﺗﻮﻟﺪ ﺳﺎﻝ ﭘﻴﺸﺶ ﻭ ﺳﺮﻧﻮﺷﺖ ﺳﺮﮔﺮﺩ ﻳﺮﭼﻴﻨﺴﻜﻰ ﺭﺍ‬ ‫ِ‬ ‫ﻓﺮﺍﻣﻮﺵ ﻛﻨﺪ‪ ،‬ﭼﻮﻥ ﭘﺮﻭﺍﺯ ﺍﻣﺮﻭﺯ ﺣﻴﺎﺗﻰ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫‪‬ﺩﻭ ﺩﻗﻴﻘﻪ ﻭ ﭼﻬﻞ ﻭ ﺳﻪ ﺛﺎﻧﻴﻪ ﭘﻴﺶ ﺍﺯ ﺁﻥﻛﻪ‬ ‫ﻟﺮﺯﻳﺪﻥ ﺍﻧﺰﻟﻰ ﺁﻏﺎﺯ ﺑﺸﻮﺩ‪ ،‬ﻧﻮﺭ ﺁﺑﻰ ﻧﺎﻣﻼﻳﻢ‬ ‫ِﻭﺍﺭﺳﻰﻛﻨﻨﺪﻩﻫﺎ ﺩﺭ ﺁﺷﻴﺎﻧﻪﻯ ﻣﻴﻨﺴﻚ‪ ،‬ﻫﻨﻮﺯ‬ ‫ﺗﻮﻯ ﺳﺮ ﺳﺮﮔﺮﺩ ﺧﻠﺒﺎﻥ ﻧﻴﻜﻮﻻﺋﻒ ﻣﻰﭘﻠﻜﻴﺪ‪.‬‬ ‫ﺳﺮﮔﺮﺩ ﺩﺭ ﺟﺖ ﺑﻤﺐﺍﻓﻜﻦ ﺗﻚﻧﻔﺮﻩﺍﺵ‪ ،‬ﺩﺭ‬ ‫ﻭﺿﻌﻴﺘﻰ ﻛﻪ ﺁﺩﻡ ﺭﻭﻯ ﺻﻨﺪﻟﻰ ﺩﻧﺪﺍﻥﭘﺰﺷﻜﻰ‬ ‫ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ‪ ،‬ﺁﺭﺍﻡ ﻧﻔﺲﻛﺸﺎﻥ ﺧﻮﺍﺑﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺑﻪ‬ ‫ﺍﻭ ﻣﺘﺼﻞ ﻓﺮﺳﺘﻨﺪﻩﻫﺎﻯ ﺍﻟﻜﺘﺮﻭﻋﺼﺒﻰﺍﻯ ﺑﻮﺩﻧﺪ‬ ‫ﻛﻪ ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﺍﻟﻴﺎﻓﻰ ﻃﻼﻳﻰ‪ ،‬ﺑﻴﺮﻭﻥ ﺭﻭﻳﻴﺪﻩ‬ ‫ﺍﺯ ﻫﻤﻪ ﺟﺎﻯ ﺍﺗﺎﻗﻚ ﺧﻠﺒﺎﻥ‪ ،‬ﺁﮔﺎﻫﻰ ﺍﻭ ﺭﺍ‬ ‫ﻛﻨﺘﺮﻝ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﭼﺴﺒﻴﺪﻩ ﺭﻭﻯ ﺟﻤﺠﻤﻪﺍﺵ‪،‬‬ ‫ﭼﻨﮓ ﺯﺩﻩ ﺩﺭ ﺳﺘﻮﻥ ﻣﻬﺮﻩﻫﺎﻯ ﭘﺸﺘﺶ‪ ،‬ﻓﺮﻭ‬ ‫ﺭﻓﺘﻪ ﺩﺭ ﻣﻴﻨﺎﻯ ﺩﻧﺪﺍﻥﻫﺎﻳﺶ‪ ،‬ﺩﺍﺧﻞ ﺯﺍﻧﻮﻫﺎﻯ‬ ‫ﺑﭽﻪﮔﺎﻧﻪﺍﺵ‪ ،‬ﺭﺷﺘﻪﻫﺎﻯ ﻓﺮﺳﺘﻨﺪﻩ ﺍﺯ ﻧﺰﺩﻳﻚ ﺩﺭ‬

‫‪‬ﺩﻭ ﺳﺎﻋﺖ ﻭ ﺑﻴﺴﺖ ﻭ ﭼﻨﺪ ﺩﻗﻴﻘﻪ ﭘﺲ ﺍﺯ ﺁﻥﻛﻪ‬ ‫ﺳﺮﮔﺮﺩ ﺧﻠﺒﺎﻥ ﻧﻴﻜﻮﻻﺋﻒ ﺑﻪ ﺧﻮﺭﺩﻥ ﺻﺒﺤﺎﻧﻪﻯ‬ ‫ﻭﺍﭘﺴﻴﻨﺶ ﻣﺸﻐﻮﻝ ﺷﺪ‪ ،‬ﺩﺭ ﻻﻧﻪﻯ ‪-72‬ﺁ‪ ،‬ﻳﻚ‬ ‫ﭼﺎﻝ ﻋﻈﻴﻢ ﺗﺎﺳﻴﺴﺎﺗﻰ‪/‬ﺧﺪﻣﺎﺗﻰ‪ ،‬ﺩﺭ ﺑﺨﺶ‬ ‫ْ‬ ‫ﺩﺧﺘﺮﻙ ﻣﻮﻧﺎ‪،‬‬ ‫ﻭﺍﮔﻦ ﺣﺎﻣﻞ‬ ‫ﺗﺎﺭﻳﺨﻰ ﺑﻨﺪﺭ ﺍﻧﺰﻟﻰ‪،‬‬ ‫ِ‬ ‫ﻃﺒﻖ ﺩﺳﺘﻮﺭﺍﻟﻌﻤﻞ ﻭﺿﻌﻴﺖﻫﺎﻯ ﺍﺿﻄﺮﺍﺭﻯ‬ ‫ﻋﻤﻞ ﻛﺮﺩﻩ‪ ،‬ﺑﻪ ﺳﺮﻋﺖ ﺩﺍﺧﻞ ﺗﻮﻧﻞﻫﺎﻯ ﺣﻤﻞ‬ ‫ﻭ ﻧﻘﻞ ﻋﻘﺐ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻭ ﺣﺎﻻ ﺑﻪ ﻧﺰﺩﻳﻚﺗﺮﻳﻦ‬ ‫ﺗﺮﻣﻴﻨﺎﻝ ﻣﻰﺭﺳﻴﺪ‪ :‬ﺩﺭﻳﭽﻪﺍﻯ ﺭﻭﻯ ﮔﻠﺒﺮگ‪،‬‬ ‫»ﺭﺍﺩﻳﻮﻡ«‪ .‬ﺩﺭ ﻣﻘﺎﺑﻞ ﺩﺭﻳﭽﻪ‪ ،‬ﻭﺍﮔﻦ ﺳﻪ ﻟﻨﮕﺮﺵ‬ ‫ﺭﺍ – ﺩﻭ ﺗﺎ ﺩﺭ ﺭﺋﻮﺱ ﺟﻠﻮﻳﻰ ﺑﺨﺶ ﻣﻜﻌﺒﻰ‬ ‫ﻭ ﻳﻜﻰ ﺩﺭ ﺍﺳﺘﻮﺍﻯ ﺑﺨﺶ ﻧﻴﻢﻛﺮﻭﻯ – ﺑﻴﺮﻭﻥ‬ ‫ﻣﻰﺁﻭﺭﺩ ﻭ ﺑﻪ ﻟﺒﻪﻫﺎﻯ ﺩﺭﻳﭽﻪ ﻣﻰﮔﻴﺮﺍﻧﺪﺷﺎﻥ‪.‬‬ ‫ﻗﺎﺑﻞ ﺫﻛﺮ ﺍﺳﺖ ﻛﻪ ﺑﺮ ﺧﻼﻑ ﻣﻌﻤﻮﻝ‪ ،‬ﻟﻨﮕﺮﻫﺎ‬ ‫‪43‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﻫﺎﻳﺒﺮﻧﻴﺘﻰﺍﺵ ﺩﻳﺪ‪ .‬ﺳﺮﮔﺮﺩ ﻭ‪.‬ﻩ‪.‬ﻯ‪ ،‬ﺣﺎﻻ ﺷﺶ ﻣﺎﻩ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺧﻮﺍﺏ ﺗﺮﻣﻴﻢ ﺧﻔﺘﻪ‪ ،‬ﺑﺎ ﻳﻚ ﺩﻡ ﻭ‬ ‫ِ‬ ‫ﻗﻮﺯﻙ ﺍﺯ‬ ‫ﺑﺎﺯﺩﻡ ﺩﺭ ﺩﻗﻴﻘﻪ‪ .‬ﻫﻤﻴﻦ ﺭﻭﺯﻫﺎﺳﺖ ﻛﻪ ﺑﻴﺪﺍﺭﺵ ﺑﻜﻨﻨﺪ؛ ﭼﻮﻥ ﺣﺎﻻ ﻻﺑﺪ ﺩﻭﺑﺎﺭﻩ ﺻﺎﺣﺐ‬ ‫ﺩﺳﺖﺭﻓﺘﻪﺍﺵ ﺷﺪﻩ‪ .‬ﺩﺭ ﺍﻋﻮﺟﺎﺝ ﺷﻴﺸﻪﻯ ﻛﭙﺴﻮﻝ‪ ،‬ﺍﻧﺪﺍ ِﻡ ﺍﺯ ﻫﻢ ﺩﺭﻳﺪﻩﺍﺵ‪ ،‬ﻋﻴﻦ ﺁﻭﻧﺪﻫﺎﻳﻰ‪ ،‬ﻋﻴﻦ‬ ‫ﺍﻣﻮﺍﺝ ﺧﻠﻴﺠﻰ ﺩﺭ ﻣﺪ ﻛﺎﻣﻞ‪ ،‬ﺑﻪ ﺳﻘﻒ ﻣﺤﻔﻈﻪ ﻫﺠﻮﻡ ﺑﺮﺩﻩ ﺑﻮﺩﻧﺪ ﻭ ﺍﻳﻦ ﻛﺎﺭ ﺗﺸﺨﻴﺺ ﺭﺍ ﺑﺮﺍﻯ ﺳﺮﮔﺮﺩ‬ ‫ﻧﻴﻜﻮﻻﺋﻒ ﺩﺷﻮﺍﺭ ﻣﻰﻛﺮﺩ‪ .‬ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺑﺎ ﻧﮕﺎﻩ ﻛﺮﺩﻥ ﺍﺯ ﭼﮕﻮﻧﮕﻰ ﺣﺎﻝ ﺩﻭﺳﺖ ﻗﺪﻳﻤﻰﺍﺵ ﺧﺒﺮﺩﺍﺭ‬ ‫ﻛﭙﺴﻮﻝ ﺧﻮﺍﺑﻰ‪ ،‬ﻧﺴﺨﻪﺍﻯ ﻛﻪ ﺩﺭ ﻃﻮﻝ ﺷﺐ ﺗﻨﻬﺎ ﻣﻮﺍﺩ ﻏﺬﺍﻳﻰ ﻭ‬ ‫ﺷﻮﺩ‪ .‬ﻧﺴﺨﻪﺍﻯ ﺭﻗﻴﻖﺗﺮ ﺍﺯ ﻫﻤﭽﻮ‬ ‫ِ‬ ‫ﻣﺴﻜﻦﻫﺎ ﺭﺍ ﺑﻪ ﺳﺮﮔﺮﺩ ﻧﻴﻜﻮﻻﺋﻒ ﻣﻰﺭﺳﺎﻧﺪ‪ ،‬ﺑﻪ ﺍﻭ ﻓﺮﻣﺎﻥ ﺑﻴﺪﺍﺭﺑﺎﺵ ﻣﻰﺩﺍﺩ‪ .‬ﺳﺮﮔﺮﺩ ﺩﺭ ﺳﻼﻣﺖ‬ ‫ﻛﺎﻣﻞ‪ ،‬ﺑﺪﻭﻥ ﺳﻞ ﺩﺭ ﺷﺶﻫﺎﻳﺶ ﻭ ﺑﺪﻭﻥ ﭘﺎﺭﺍﻧﻮﻳﺎ‪ ،‬ﺑﺪﻭﻥ ﻣﺸﻜﻼﺕ ﻓﺸﺎﺭ ﺧﻮﻥ ﻭ ﺷﻮﻙ ﻣﺮﺣﻠﻪﻯ‬ ‫ﺳﻮﻡ ﻭﺿﻌﻴﺖ ﺟﻨﮕﻰ‪ ،‬ﺭﻭﻯ ﺗﺨﺖﺧﻮﺍﺑﺶ ﺑﻪ ﭘﻬﻠﻮ ﻏﻠﺘﻴﺪ ﻭ ﺑﻌﺪ ﻧﺸﺴﺖ‪.‬‬ ‫ﻭﺍﮔﻦ ﻣﻮﻧﺎ‪ ،‬ﺟﺎﻳﻰ ﺩﺭ ﺍﻧﺰﻟﻰ‪ ،‬ﺩﻭ ﺳﺎﻋﺖ ﻭ ﻧﻴﻢ ﭘﺲ ﺍﺯ ﺑﻴﺪﺍﺭ ﺷﺪﻥ ﺳﺮﮔﺮﺩ ﺧﻠﺒﺎﻥ‪ ،‬ﻻﻣﭗﻫﺎ ﻭ‬ ‫‪‬ﺩﺍﺧﻞ‬ ‫ِ‬ ‫ﻭﺍﮔﻦ ﻣﻜﻌﺐ‪/‬ﻧﻴﻢﻛﺮﺩﻩﺍﻯ ِﺣﻤﻞ ﻭ ﻧﻘﻞ ﺩﺭ ﻛﺎﻧﺎﻝ‬ ‫ﺩﺳﺘﮕﺎﻩ ﺗﻬﻮﻳﻪ ﺩﺭ ﺩﻣﻰ ﺭﻭﺷﻦ ﺷﺪﻧﺪ‪ .‬ﺑﻌﺪ ﻧﺎﮔﻬﺎﻥ‬ ‫ِ‬ ‫ﻛﻨﺪﺭﻭ‪ ،‬ﺑﺎ ﺷﺘﺎﺑﻰ ُﻛﺸﻨﺪﻩ‪ ،‬ﺭﻭ ﺑﻪ ﺑﺎﻻ ﻣﻰ ّﻛ ّﻨﺪ‪ .‬ﺣﺮﻛﺖ ﻣﻰﻛﻨﺪ ﻭ ﺭﺍﻫﻰ ﺭﺍ ﻛﻪ ﺁﻣﺪﻩ‪ ،‬ﺑﺎﺯ ﻣﻰﮔﺮﺩﺩ‪.‬‬ ‫ﺍﻧﺒﻮﻩ ﻣﺴﺎﻓﺮﺍﻥ ﺩﺭ ﺍﺛﺮ ﺗﻜﺎﻥﻫﺎ‪ ،‬ﺩﺭ ﺍﺛﺮ ﺗﻐﻴﻴﺮ ﻧﺎﮔﻬﺎﻧﻰ ﺟﺎﺫﺑﻪ‪ ،‬ﺍﺯ ﺟﺎﻫﺎﻳﺸﺎﻥ ﻛﻨﺪﻩ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺁﻥﻫﺎ ﻛﻪ‬ ‫ﻧﺸﺴﺘﻪﺍﻧﺪ ﻭ ﺁﻥﻫﺎ ﻛﻪ ﺍﻳﺴﺘﺎﺩﻩﺍﻧﺪ‪ ،‬ﺑﻪ ﺟﻤﺎﻋﺖ ﻭ ﻫﻢﺯﻣﺎﻥ ﺑﻪ ﺭﻗﺺ ﺩﺭ ﻣﻰﺁﻳﻨﺪ‪ .‬ﻭﺍﮔﻦ ﺩﺭ ﺟﺮﻳﺎﻥ‬ ‫ﺗﻮﻧﻞ ﺳﻮﺕ ﻣﻰﻛﺸﺪ‪ .‬ﻳﺎﺭﻭﻫﺎ ﺩﺍﺧﻞ ﺩﺭ ﻫﻢ ﻣﻰﻟﻮﻟﻨﺪ‪ .‬ﺗﻠﻰ ﺍﺯ ﭘﻴﻜﺮﻫﺎ‪ ،‬ﺩﺭ ﻫﻢ ﺷﻜﺴﺘﻪ‪ ،‬ﺩﺳﺖ ﻭ ﭘﺎﻫﺎ‪،‬‬ ‫ﺟﻨﮕﻠﻰ ﺍﺯ ﺧﺸﻜﻪﮔﻴﺎﻫﺎﻥ‪ ،‬ﻛﻪ ﺩﺭ ﺳﺎﻋﺖﻫﺎﻯ ﺻﻠﺢ ﺷﻬﺮ ﺗﺎﺭﻳﺨﻰ ﺑﻪ ﻛﺎﺭﻯ ﻣﺸﻐﻮﻝﺍﻧﺪ‪ ،‬ﭼﺎﻗﻮﻳﻰ ﺭﺍ ﺩﺭ‬ ‫ﮔﻮﺷﺘﻰ ﻓﺸﺎﺭ ﻣﻰﺩﻫﻨﺪ ﻭ ﺍﺯ ﭘﻠﻪﻫﺎﻯ ﺑﺎﻻ ﻣﻰﺭﻭﻧﺪ‪ ،‬ﻧﻮﺍﺯﺵ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺭﻭﻯ ﻛﻠﻴﺪﻫﺎ ﺗﺎﻳﭗ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺍﺯ‬ ‫ﺩﻭﺵ ﻣﻐﻨﺎﻃﻴﺲ ﻣﻰﮔﺬﺭﻧﺪ ﻭ ﭘﺎﻳﻴﺪﻩ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﺣﺎﻻ ﺩﺭ ﺁﺭﺯﻭﻯ ﻣﻴﻠﻪﻫﺎﻯ ﺳﻘﻔﻰ ﻭ ﺟﺎﻯ ﻣﻄﻤﺌﻨﻰ‬ ‫ﺑﺮﺍﻯ ﺍﻳﺴﺘﺎﺩﻥ‪ ،‬ﺩﺭ ﻫﻢ ﻓﺮﻭ ﻣﻰﺭﻭﻧﺪ‪ .‬ﺩﺭ ﺟﺎﺫﺑﻪﻯ ﺁﺳﺎﻧﺴﻮﺭﻯ ﺁﺩﻡﻫﺎ ﺑﻪ ﻫﻢ ﻣﺎﻟﻴﺪﻩ ﻣﻰﺷﻮﻧﺪ‪ .‬ﻫﻤﻴﻦ‬ ‫ﺣﺎﻻ ﺍﺳﺖ ﻛﻪ ﺟﻮﺍﺭﺣﺸﺎﻥ ﺑﻪ ﻛﻠﻰ ﺑﻴﺮﻭﻥ ﻣﻜﻴﺪﻩ ﺷﻮﺩ‪ .‬ﻭ ﺑﺨﻴﻪﻫﺎ ﺩﺭ ﻓﺎﺻﻠﻪﻯ ﺑﻴﻦ ﺩﻧﺪﻩﻫﺎ ﻭ ﭘﻬﻠﻮﻯ‬ ‫ﭼﭗ ﻣﻮﻧﺎ‪ ،‬ﻛﺸﻴﺪﻩ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺧﻮﻥ ﺳﻼﻧﻪ ﺍﺯ ﺟﺎﻯ ﺯﺧﻢ ﻛﻬﻨﻪ ﻧﺸﺖ ﻣﻰﻛﻨﺪ‪.‬‬ ‫‪ ‬ﭘﻴﺶ ﺍﺯ ﺍﻳﻦﻫﺎ‪ ،‬ﻛﻤﻰ ﻛﻢﺗﺮ ﺍﺯ ﺩﻭ ﺳﺎﻋﺖ ﻭ ﻧﻴﻢ ﭘﻴﺶ‪ ،‬ﻛﻼﻩﺩﻭﺯ ﺩﺭ ﺁﺷﭙﺮﺧﺎﻧﻪﻯ ﺧﻮﺍﺑﮕﺎﻩ ﺑﻪ ﻣﻴﺰ‬ ‫ﺻﺒﺤﺎﻧﻪﺍﻯ ﭼﻴﺪﻩ ﺷﺪﻩ ﻧﮕﺎﻩ ﻣﻰﻛﻨﺪ‪ .‬ﺳﺮ ﭘﺎ ﺍﻳﺴﺘﺎﺩﻩ‪ ،‬ﻧﺰﺩﻳﻚ ﺻﻨﺪﻟﻰ‪ ،‬ﻣﻼﻝ ﺻﺒﺤﮕﺎﻫﻰ ﻫﺴﺘﻪﻯ‬ ‫ﺳﻔﺘﻰ ﺍﺳﺖ ﺗﻮ ﺷﻜﻢ ﺍﻭ ﻭ ﺍﻧﺪﻙ ﻫﻴﺠﺎﻧﻰ ﻛﻪ ﺣﺲ ﻣﻰﻛﻨﺪ‪ ،‬ﺍﺯ ﺑﺎﺑﺖ ﺷﻮﻕ ﺧﻮﺭﺍﻙ ﮔﻮﺟﻪﻓﺮﻧﮕﻰ ﻭ‬ ‫ﻣﺎﺭﻣﺎﻫﻰ ﺍﺳﺖ‪ .‬ﺳﺮﮔﺮﺩ ﻧﻴﻜﻮﻻﺋﻒ ﺑﺮﺍﻯ ﺩﻭ ﭼﻴﺰ ﻣﻴﺎﻥ ﻫﻢﻗﻄﺎﺭﻫﺎﻳﺶ ﻣﻌﺮﻭﻑ ﺍﺳﺖ‪ .‬ﺳﺮﮔﺮﺩ ﻣﻌﺮﻭﻑ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪42‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﻟﻤﻴﺪﻩ ﺑﻮﺩ ﺑﺎ ﻓﻼﺳﻚ ﻛﻮﭼﻮﻟﻮﻳﻰ ﺗﻮﻯ ﺩﺍﻣﻦ ﻟﺒﺎﺱ ﻳﻚﺳﺮﻩﺍﺵ‪ .‬ﺯﻥ ﺳﺮﺵ ﺭﺍ ﭼﺮﺧﺎﻧﺪ ﻭ ﻣﻮﻧﺎ ﺣﺘﻢ‬ ‫ﺩﺍﺷﺖ ﻛﻪ ﺣﺎﻻ ﺩﺍﺭﺩ ﺭﺍﺳﺖ ﺍﻭ ﺭﺍ ﺗﻤﺎﺷﺎ ﻣﻰﻛﻨﺪ‪ .‬ﺍﺣﺴﺎﺱ ﺑﺪﻯ ﺩﺍﺷﺖ‪ .‬ﻃﻮﻟﻰ ﻧﻤﻰﻛﺸﻴﺪ ﻛﻪ ﻫﻤﻪ‬ ‫ﺧﻴﺮﻩﻯ ﺍﻭ ﻣﻰﺷﺪﻧﺪ‪ .‬ﻛﺴﻰ ﺣﺮﻓﻰ ﻧﻤﻰﺯﺩ‪ ،‬ﺳﺮﺯﻧﺸﺶ ﻧﻤﻰﻛﺮﺩﻧﺪ؛ ﺍﻣﺎ ﺧﻴﻠﻰ ﻧﮕﺎﻫﺶ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫ﻓﺮﺻﺖ ﻧﻤﻰﻛﺮﺩ ﺗﻮﺿﻴﺢ ﺑﺪﻫﺪ ﻛﻪ ﺑﻰﻫﻮﺍ ﺳﺮﺵ ﭘﺎﻳﻴﻦ ﺍﻓﺘﺎﺩﻩ ﻭ ﺧﺎﻧﻢ ﺭﺍ ﺩﻳﺪﻩ‪ .‬ﺩﺍﺷﺖ ﺍﻏﺮﺍﻕ ﻣﻰﻛﺮﺩ؟‬ ‫ﺍﻳﻦﺟﺎ‪ ،‬ﺯﺍﺩﮔﺎﻫﺶ‪ ،‬ﺑﻨﺪﺭ ﺗﺤﺖ ﻣﺤﺎﻓﻈﺖ ﻛﻪ ﺭﻭﺯﮔﺎﺭﻯ ﺁﺧﺮﻳﻦ ﺳﻮﺭﺍﺥ ﺭﻭ ﺑﻪ ﺩﻧﻴﺎﻯ ﺑﻴﺮﻭﻥ ﺑﻮﺩﻩ‪،‬‬ ‫ﺍﻳﻦﺟﺎ ﺑﺎ ﺍﻧﺒﻮﻩ ﻋﺠﺎﻳﺐﺍﻟﺨﻠﻘﻪﻫﺎﻳﺶ ﻭ ﭼﺸﻢﻫﺎﻳﺶ ﻭ ﺳﻨﺴﻮﺭﻫﺎﻳﺶ؛ ﻧﻪ ﺟﺪﺍ ً ﺍﻏﺮﺍﻕ ﻧﺒﻮﺩ‪ .‬ﺑﻠﻪ؟ ﺩﻭﺳﺖ‬ ‫ﺩﺍﺷﺖ ﺗﻮﻯ ﺧﻮﺩﺵ ﺗﺎ ﺑﺨﻮﺭﺩ‪ ،‬ﭼﻮﻥ ﺣﺪﺱ ﻣﻰﺯﺩ ﻛﻪ ﺯﻥ ﺣﺎﻻ ﺩﺍﺭﺩ ﻫﻴﺰﻯ ﻣﻰﻛﻨﺪ‪ .‬ﺑﺎ ﺷﺒﻜﻪﻯ‬ ‫ﭼﺸﻢﻫﺎﻯ ﺻﻴﻘﻠﻰﺍﺵ ﺩﺍﺭﺩ ﺷﻜﻮﻓﻪﻫﺎﻯ ﻓﺮﻭﺳﺮﺧﻰ ﺭﺍ ﺗﻤﺎﺷﺎ ﻣﻰﻛﻨﺪ ﻛﻪ ﺍﺯ ﺗﺎﺭﻳﻚﺗﺮﻳﻦ ﺟﺎﻫﺎﻯ‬ ‫ﺟﮕﺮ ﻣﻮﻧﺎ ﺑﻴﺮﻭﻥ ﻣﻰﺯﻧﻨﺪ‪ .‬ﺍﺯ ﺁﻥ ﺗﺎﻻﺭﻫﺎﻯ ﺑﻄﻦﺍﺵ ﻛﻪ ﻫﺮﮔﺰ ﻧﻮﺭ ﺑﻬﺸﺎﻥ ﻧﺮﺳﻴﺪﻩ ﺑﻮﺩ‪ ،‬ﮔﺮﻣﺎ ﻣﺘﺼﺎﻋﺪ‬ ‫ﻣﻰﺷﺪ ﻭ ﺯﻥ ﻛﻮﭼﻚﺗﺮﻳﻦ ﺗﻐﻴﻴﺮ ﺩﻣﺎﻯ ﺗﻨﺶ ﺭﺍ ﺑﻪ ﺩﻗﺖ ﻣﻰﺩﻳﺪ‪ .‬ﺟﺮﻳﺎﻥ ﮔﺮﻡ ﺧﻮﻥ ﺭﺍ ﻣﻰﺩﻳﺪ ﻛﻪ‬ ‫ﺍﺯ ﺭﺣﻢﺍﺵ ﺑﻪ ﻣﻴﺎﻥ ﺭﺍﻥﻫﺎﻳﺶ ﻣﻰﺭﻳﺨﺖ‪ ،‬ﺑﻰﺧﻮﺍﺑﻰ ﺯﺭﺩﺵ ﺭﺍ ﻣﻰﺩﻳﺪ ﺗﻮﻯ ﺳﺮﺵ‪ .‬ﺗﺮﺟﻴﺢ ﻣﻰﺩﺍﺩ‬ ‫ﻟﺨﺖ ﺑﺎﺷﺪ‪ .‬ﺑﺎﺑﺖ ﺯﻝ ﺯﺩﻥ ﺑﻪ ﻏﺮﻳﺒﻪﻫﺎ ﺩﺍﺷﺖ ﺗﻨﺒﻴﻪ ﻣﻰﺷﺪ‪ .‬ﺑﻌﺪ ﻛﻨﺎﺭ ﺩﺳﺘﺶ ﺩﺭ ﺑﺎﺯ ﺷﺪ‪ .‬ﺩﺭ ﻫﻴﺎﻫﻮ‬ ‫ﻭ ﺑﻮ‪ ،‬ﮔﺮﻣﺎ‪ ،‬ﻧﻮﺭ ﺩﺍﺧﻞ ﺁﻣﺪﻧﺪ ﻭ ﺗﻮﻯ ﺁﺷﻔﺘﮕﻰ ﺳﻮﺍﺭ ﻭ ﭘﻴﺎﺩﻩ ﺷﺪﻥﻫﺎ‪ ،‬ﻣﻮﻧﺎ ﺟﺎ ﻋﻮﺽ ﻛﺮﺩ‪ .‬ﺍﻳﺴﺘﺎﺩ ﻭ‬ ‫ﺍﺯ ﺯﻥ ﺩﻭﺭ ﺷﺪ ﻭ ﺑﻌﺪ ﻭﺳﻂ ﺭﺍﻫﺮﻭ ﺟﺎﻳﻰ ﺑﺮﺍﻯ ﻧﺸﺴﺘﻦ ﭘﻴﺪﺍ ﻧﻜﺮﺩ؛ ﭘﺲ ﺳﺮ ﭘﺎ ﻣﺎﻧﺪ‪ .‬ﺑﺎ ﺑﺎﺯﻭﻯ ﺁﻭﻳﺨﺘﻪ‬ ‫ﺑﻪ ﻣﻴﻠﻪﻯ ﺳﻘﻔﻰ‪ .‬ﺑﻌﺪ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻧﺪ‪ .‬ﺑﻌﺪ ﺑﺎﺯ ﺍﻳﺴﺘﺎﺩﻧﺪ‪ .‬ﺑﻮﻫﺎﻳﻰ ﺍﺯ ﺟﻨﺲ ﺩﻳﮕﺮ‪ ،‬ﺳﺮ ﻭ ﺻﺪﺍ ﻭ ﻧﻮﺭ ﺩﺍﺧﻞ‬ ‫ﻣﻴﺶ ﻭﺍﮔﻦ‪ ،‬ﺁﺯﺍﺭ‬ ‫ﺷﺪﻧﺪ‪ .‬ﺑﻌﺪ ﺩﻭﺑﺎﺭﻩ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻧﺪ‪ .‬ﺑﻌﺪ ﺑﺎﺯ ﻧﻮﺭ‪ ،‬ﻛﻪ ﭼﺸﻢ ﺭﺍ‪ ،‬ﻋﺎﺩﺕ ﻛﺮﺩﻩ ﺑﻪ ﮔﺮگﻭ ِ‬ ‫ﻣﻰﺩﺍﺩ ﻭ ﺑﻮﻯ ﻋﻔﻦ ﻣﺲ ﻭ ﺟﻴﻎ ﻭ ﻭﻳﻎ‪ .‬ﺑﻌﺪ ﺑﺎﺯ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻧﺪ‪ .‬ﻭ ﺩﻭﺑﺎﺭﻩ ﺍﻳﺴﺘﺎﺩﻧﺪ‪ .‬ﺩﺭ ﺍﻳﺴﺘﮕﺎﻫﻰ ﺩﻳﮕﺮ‪،‬‬ ‫ﺑﺴﺘﻪﻫﺎﻯ ﺻﺪﺍ ﻭ ﺑﻮ ﻭ ﻧﻮﺭ ﻭ ﻣﺴﺎﻓﺮ‪ ،‬ﺑﺎ ﺿﺮﺑﺎﻧﻰ ﻣﻨﻈﻢ‪ ،‬ﻋﻴﻦ ﻫﺎﻯﻭﻫﻮﻯ ﻣﻐﺮﻭﻗﻰ ﻛﻪ ﻣﺪﺍﻡ ﺯﻳﺮ ﺁﺏ‬ ‫ﻣﻰﺭﻭﺩ ﻭ ﺳﺮ ﺑﻴﺮﻭﻥ ﻣﻰﺁﻭﺭﺩ‪ ،‬ﭘﻤﭗ ﻣﻰﺷﺪ ﺩﺍﺧﻞ ﻭﺍﮔﻦ‪ .‬ﺑﻌﺪ ﺑﺎﺯ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻧﺪ ﻭ ﺑﻌﺪ ﻫﻤﻪ ﭼﻴﺰ ﺑﺮﺍﻯ‬ ‫ﻟﺤﻈﻪﺍﻯ ﺍﻳﺴﺘﺎﺩ‪ .‬ﺩﺍﺧﻞ ﻭﺍﮔﻦ ﺭﻭﺷﻨﺎﻳﻰ ﻓﺮﻭ ﻣﺮﺩ؛ ﻳﻌﻨﻰ ﻛﻪ ﻻﻣﭗﻫﺎ‪ ،‬ﻧﻪ ﻳﻚ ﻫﻮ ﻛﻪ ﺑﺎ ﻧﺠﻮﺍﻳﻰ‪ ،‬ﻋﻴﻦ‬ ‫ﺁﻧﻰ ﻛﻪ ﺍﺯ ﺷﻴﺸﻪﻯ ﻣﺬﺍﺏ ﺩﺭ ﺣﺎﻝ ﻛﺶ ﺁﻣﺪﻥ ﺑﻠﻨﺪ ﻣﻰﺷﻮﺩ‪ ،‬ﻛﻢﻧﻮﺭﺗﺮ ﻭ ﻛﻢﻧﻮﺭﺗﺮ ﺷﺪﻧﺪ ﺗﺎ ﺑﺎﻻﺧﺮﻩ‬ ‫ﺗﺎﺭﻳﻜﻰ ﻭﺍﮔﻦ ﺭﺍ ﺑﺮﺩﺍﺷﺖ‪ .‬ﺻﺪﺍﻳﻰ ﺍﺯ ﻛﺴﻰ ﺑﻠﻨﺪ ﻧﺒﻮﺩ ﻭ ﻛﺴﻰ ﺟﻨﺐ ﻧﺨﻮﺭﺩ‪.‬‬ ‫‪ ‬ﺩﻭ ﺳﺎﻋﺖ ﻭ ﻧﻴﻢ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ‪ ،‬ﺳﺮﮔﺮﺩ ﺧﻠﺒﺎﻥ ﻧﻴﻜﻮﻻﺋﻒ ﻛﻪ ﺑﻪ ﻛﻼﻩﺩﻭﺯ ﻣﻠﻘﺐ ﺑﻮﺩ‪ ،‬ﺩﺭ ﺳﺮﺍﻯ‬ ‫ﺧﻮﺍﺏﮔﺎﻫﺸﺎﻥ ﺟﺎﻳﻰ ﺗﻮﻯ ﺧﺎﻙ ﺭﻭﺳﻴﻪ‪ ،‬ﺍﺯ ﺧﻮﺍﺏ ﺑﻴﺪﺍﺭ ﺷﺪ‪ .‬ﺍﺯ ﺳﺘﻮﻥ ﺗﺨﺖﻫﺎﻯ ﺳﻪ ﻃﺒﻘﻪ‪ ،‬ﺍﻭ‬ ‫ﻃﺒﻘﻪﻯ ﭘﺎﻳﻴﻦ ﺭﺍ ﺍﺷﻐﺎﻝ ﻣﻰﻛﺮﺩ‪ .‬ﭼﺸﻢ ﻛﻪ ﺑﺎﺯ ﻛﺮﺩ‪ ،‬ﺩﺭ ﺭﺩﻳﻒ ﻛﻨﺎﺭﻯ ﺗﺨﺖﻫﺎ ﻭ ﺩﺭ ﻃﺒﻘﻪﻯ ﺑﺎﻻ‪،‬‬ ‫ﺗﻦ ﺳﺮﮔﺮﺩ ﺧﻠﺒﺎﻥ ﻭ‪.‬ﻩ‪.‬ﻳﺮﭼﻴﻨﺴﻜﻰ ﺍﻫﻞ ﻟﻬﺴﺘﺎﻥ ﺭﺍ ﺍﺯ ﭘﺸﺖ ﺟﺪﺍﺭ ﺷﻴﺸﻪﺍﻯِ ﻛﭙﺴﻮﻝ ﺧﻮﺍﺏ‬ ‫ﺍﻧﻌﻜﺎﺱ ِ‬ ‫‪41‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺑﻮﺩ ﺍﺯ ﻣﻜﻌﺐ ﻭ ﻧﻴﻢﻛﺮﻩ ﻛﻪ ﺑﻪ ﭘﻬﻠﻮ ﺩﺭ ﻫﻢ ﺟﻮﺵ ﺧﻮﺭﺩﻩ ﺑﻮﺩﻧﺪ؛ ﻋﻴﻨﻬﻮ ﺣﺸﺮﻩﺍﻯ ﺑﺎ ﺗﻨﻪﺍﻯ ﻇﺮﻳﻒ‬ ‫)ﻛﻪ ﺑﺨﺶ ﻣﻜﻌﺒﻰ ﺑﻮﺩ( ﻭ ﻛﻮﻧﻰ ﻋﻈﻴﻢ ﻭ ﭘﺸﻤﺎﻟﻮ‪ :‬ﻧﻴﻢﻛﺮﻩ‪ .‬ﻧﻴﻢﻛﺮﻩ ﻫﻢﻗﻄﺮ ﺩﺭﻳﭽﻪ ﺑﻮﺩ ﻭ ﻣﻤﺎﺱ ﺑﻪ‬ ‫ﻟﺒﻪﻫﺎﻯ ﺁﻥ‪ ،‬ﻣﺨﺼﻮﺹ ﺑﺎﺭﻫﺎ‪ .‬ﻭ ﻣﻜﻌﺐ‪ ،‬ﺍﺗﺎﻗﻚ ﻣﺴﺎﻓﺮﺑﺮﻯ ﺑﻮﺩ‪ ،‬ﻛﻮﭼﻚﺗﺮ‪ ،‬ﺁﻧﺘﻴﻚ‪ .‬ﺣﺎﻻ ﺩﺍﺷﺖ ﺩﺭﺵ‬ ‫ﺭﺍ ﺭﻭ ﺑﻪ ﻛﻮﭼﻪ ﺑﺮﺍﻯ ﻣﻮﻧﺎ ﺑﺎﺯ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺩﺧﺘﺮ ﻣﻨﺘﻈﺮ ﺷﺪ‪ ،‬ﺍﻣﺎ ﻛﺴﻰ ﭘﻴﺎﺩﻩ ﻧﺸﺪ ﻭ ﻭﺍﮔﻦ‪ ،‬ﺍﻏﻮﺍﮔﺮ‪ ،‬ﺩﺭ ﺩﻫﺎﻧﻪﻯ ﺣﻔﺮﻩ‪ ،‬ﻟﺮﺯﺍﻥ‪ ،‬ﻣﺘﺮﺻﺪ ﺑﻪ‬ ‫ﭼﺎﻙ ﺯﺩﻥ‪ ،‬ﻣﻮﻧﺎ ﺭﺍ ﺑﻪ ﺧﻮﺩﺵ ﺩﻋﻮﺕ ﻣﻰﻛﺮﺩ‪ .‬ﺑﺎﺗﺮﻯﺍﺵ ﺭﺍ ﭘﻴﺶ ﺁﻭﺭﺩ‪ .‬ﺷﺴﺖ ﺩﺳﺖ ﺍﻧﺴﺎﻧﻰﺍﺵ ﺭﺍ‬ ‫ﺭﻭﻯ ﺻﻔﺤﻪﻯ ﺍﺳﻜﻨﺮﻯ ﺗﻮﻯ ﺑﺪﻧﻪﻯ ﻧﻴﻢﻛﺮﻩ ﮔﺬﺍﺷﺖ‪ .‬ﺍﺟﺎﺯﻩ ﺩﺍﺩ ﺍﻧﮕﺸﺖﻧﮕﺎﺭﻯ ﺑﺸﻮﺩ‪ .‬ﻭﺍﮔﻦ ﻋﻴﻦ‬ ‫ﻣﻨﺸﻰ ﺁﻗﺎﻯ ﺩﻛﺘﺮﻯ‪ ،‬ﻫﻴﺠﺎﻥﺯﺩﻩ‪ ،‬ﺩﻭ ﺑﺎﺭ ﺑﻮﻕ ﺯﺩ‪ .‬ﻳﻜﻰ ﺍﺯ ﺩﺭﻫﺎﻯ ﻛﺸﻮﻳﻰ ﺭﻭﻯ ﻧﻴﻢﻛﺮﻩ‪ ،‬ﻛﻨﺎﺭ ﺭﻓﺖ‬ ‫ﻭ ﻣﺤﻔﻈﻪﺍﻯ ﺭﺍ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﻣﻮﻧﺎ ﮔﺬﺍﺷﺖ‪ .‬ﺑﺎﺗﺮﻯ ﺭﺍ ﺁﻥ ﺗﻮ ﻭﻝ ﻛﺮﺩ‪ .‬ﺩﻭﺑﺎﺭﻩ ﺍﻧﮕﺸﺖﻧﮕﺎﺭﻯ‪ .‬ﺑﻌﺪ ﺳﻮﺍﺭ‬ ‫ﺷﺪﻥ‪ .‬ﻫﻢ ﺁﻣﺪﻥ ﺩﺭ ﻭﺍﮔﻦ ﭘﺸﺖ ﺳﺮﺵ‪ .‬ﻧﺸﺴﺘﻦ ﺭﻭﻯ ﺍﻭﻟﻴﻦ ﺻﻨﺪﻟﻰ ﻫﻤﺎﻥﺟﺎ ﻛﻨﺎﺭ ﺩﺭ‪ .‬ﭼﻔﺖ ﻛﺮﺩﻥ‬ ‫ﺑﺎﺯﻭﻯ ﻣﻜﺎﻧﻴﻜﻰ‪ ،‬ﺁﻥﻃﻮﺭ ﻛﻪ ﻋﺮﻑ ﺑﻮﺩ‪ ،‬ﺩﻭﺭ ﻣﻴﻠﻪﻯ ﺳﻘﻔﻰ ﺑﺎﻻﻯ ﺳﺮ‪ .‬ﻭ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻥ ﻭﺍﮔﻦ‪ ،‬ﺑﻰﺗﻜﺎﻧﻰ‪.‬‬ ‫ﻣﻮﻧﺎ ﺩﺍﺷﺖ ﻳﻚﻗﺪﺭﻯ ﺁﺭﺍﻡ ﻣﻰﮔﺮﻓﺖ‪ .‬ﺣﺲ ﺧﻨﻜﻰﺍﻯ ﺗﻮ ﺳﺮﺵ ﺩﺍﺷﺖ ﻛﻪ ﺍﺯ ﺑﺎﺑﺖ ﻛﭙﺴﻮﻟﻪ ﺑﻮﺩ‬ ‫ﺧﺎﻟﻰ ﺳﺮ ﻭ ﺻﺪﺍ ﺗﻮﻯ ﺳﺮﺵ ﺭﺍ ﺣﺲ ﻣﻰﻛﺮﺩ‪،‬‬ ‫ﻭ ﺍﻟﺒﺘﻪ ﺍﺯ ﺑﺎﺑﺖ ﺳﻜﻮﺕ‪ .‬ﺳﻜﻮﺕ ﺷﻴﺮﻳﻦ‪ .‬ﺟﺎﻯ‬ ‫ِ‬ ‫ﺁﻥﻃﻮﺭ ﻛﻪ ﺷﻤﺎ ﻣﻤﻜﻦ ﺍﺳﺖ ﺟﺎﻯ ﺧﺎﻟﻰ ﺧﺎﺭ ﻣﺎﻫﻰ ﺭﺍ ﺣﺲ ﻛﻨﻴﺪ‪ ،‬ﻭﻗﺘﻰ ﺍﺯ ﺗﻮﻯ ﮔﻠﻮﻳﺘﺎﻥ ﺑﻴﺮﻭﻧﺶ‬ ‫ﻣﻰﻛﺸﻴﺪ‪.‬‬ ‫ﺭﺳﺎﻧﻰ ﺍﺩﺍﺭﻩﺟﺎﺕ ﻗﺪﻳﻢ‪ ،‬ﻭﺍﮔﻦ ﺗﻮﻯ‬ ‫ﺟﺮﻳﺎﻥ ﺑﺎﺩ ﺗﻮﻯ ﺷﺒﻜﻪﻯ ﻟﻮﻟﻪﻫﺎﻯ ﭘﻴﺎﻡ‬ ‫ﻣﺜﻞ ﻧﺎﻣﻪﺍﻯ ﺳﻮﺍﺭ ﺑﺮ‬ ‫ِ‬ ‫ِ‬ ‫ﺗﻮﻧﻞﻫﺎ ﺳﺮ ﻣﻰﺧﻮﺭﺩ‪ .‬ﺗﻮﻧﻞﻫﺎ ﺑﺴﻴﺎﺭ ﺑﻮﺩﻧﺪ‪ ،‬ﻓﻠﺰﻯ‪ ،‬ﺩﺭ ﻧﻈﻤﻰ ﺗﺎﺭﻋﻨﻜﺒﻮﺕﻭﺍﺭ‪ ،‬ﻛﺸﻴﺪﻩ ﺷﺪﻩ ﺩﺭ‬ ‫ﻓﻀﺎﻫﺎﻯ ﺑﻴﻦ ﮔﻠﺒﺮﮔﻰ‪ ،‬ﻣﺘﺼﻞ ﺑﻪ ﻫﻢ ﻭ ﺑﻪ ﺟﺪﺍﺭﻩﻯ ﮔﻠﺒﺮگﻫﺎ‪ ،‬ﻫﻤﻪ ﺟﺎﻯ ﻻﻧﻪ ﺭﺍ ﺑﻪ ﻫﻤﻪ ﺟﺎﻯ ﻻﻧﻪ‬ ‫ﻭﺻﻞ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺁﻥ ﺗﻮ‪ ،‬ﺻﻨﺪﻟﻰﻫﺎ ﺭﻭ ﺑﻪ ﺭﺍﻫﺮﻭﻯ ﻭﺍﮔﻦ ﺩﺍﺷﺘﻨﺪ‪ .‬ﻣﻮﻧﺎ ﺳﺮﺵ ﺭﺍ ﺑﻪ ﻋﻘﺐ ﺗﻜﻴﻪ ﺩﺍﺩ‪ .‬ﺍﺯ ﮔﻮﺷﻪﻯ ﭼﺸﻢ‬ ‫ﻫﻢﺳﻔﺮﻫﺎ ﺭﺍ ﻭﺍﺭﺳﻰ ﻛﺮﺩ ﻭ ﺳﺎﻳﻪﻯ ﻣﺤﻮﻯ ﺩﻳﺪ ﺍﺯ ﭼﻨﺪ ﺗﺎﻳﻰ ﺑﺎﺯﻭﻯ ﺩﻳﮕﺮ‪ ،‬ﭼﻔﺖ ﺷﺪﻩ ﺑﻪ ﻣﻴﻠﻪﻯ‬ ‫ﺳﻘﻔﻰ‪ .‬ﺩﺭ ﻫﻤﭽﻪ ﻭﻳﺘﺮﻳﻨﻰ‪ ،‬ﺍﺟﺒﺎﺭﻯ‪ ،‬ﺩﺭ ﺳﻜﻮﻧﻰ ﻛﻪ ﻳﺎﺭﻭﻫﺎ ﺭﺍ ﺑﻴﺮﻭﻥ ﺍﻓﺘﺎﺩﻩ ﺍﺯ ﻻﻙﻫﺎﻳﺸﺎﻥ ﻛﻨﺎﺭ ﻫﻢ‬ ‫ﭼﭙﺎﻧﺪﻩ ﺑﻮﺩ‪ ،‬ﻫﻤﻪ ﺩﺳﺖ ﺑﻪ ﺩﺳﺖ ﻫﻢ ﺗﻤﺎﻡ ﺗﻮﺍﻥﺷﺎﻥ ﺭﺍ ﺑﻪ ﻛﺎﺭ ﻣﻰﮔﺮﻓﺘﻨﺪ ﺗﺎ ﺑﻪ ﺭﻭﺑﻪﺭﻭ‪ ،‬ﺑﻪ ﻫﻢ‪ ،‬ﻧﮕﺎﻩ‬ ‫ﻧﻜﻨﻨﺪ‪ .‬ﻳﻚ ﺷﻜﻨﺠﻪﻯ ﺣﺴﺎﺑﻰ ﺑﻮﺩ‪ .‬ﻣﻮﻧﺎ ﺑﻰﺍﺧﺘﻴﺎﺭ ﺳﺮﺵ ﺭﺍ ﺁﻭﺭﺩ ﭘﺎﻳﻴﻦ ﻭ ﺯﻝ ﺯﺩ ﺑﻪ ﻳﺎﺭﻭﻳﻰ ﺗﻮﻯ‬ ‫ﺭﺩﻳﻒ ﻣﻘﺎﺑﻞ ﺻﻨﺪﻟﻰﻫﺎ‪ .‬ﺯﻥ ﻓﺮﺑﻪ ﻧﺎﺟﻮﺭﻯ ﺑﻮﺩ‪ ،‬ﺍﺯ ﻫﻤﻪ ﺟﺎﻯ ﺩﺳﺖﻫﺎﻳﺶ ﺩﻧﺒﻪ ﺁﻭﻳﺰﺍﻥ ﺑﻮﺩ ﻭ ﻧﻪ ﺩﻗﻴﻘﺎً‬ ‫ﺭﻭﺑﻪﺭﻭﻯ ﻣﻮﻧﺎ‪ ،‬ﻛﻪ ﻛﻤﻰ ﻣﺘﻤﺎﻳﻞ ﺑﻪ ﭼﭗ ِ ﺍﻭ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ .‬ﭼﺸﻢﺧﺎﻧﻪﻫﺎﻳﺶ ﺭﺍ ﺩﻭ ﻗﺮﺹ ﺁﻳﻨﻪﮔﻮﻥ‬ ‫ِﻓﻠﺰﻯ ﭘﺮ ﻣﻰﻛﺮﺩ‪ ،‬ﻋﻴﻦ ﻣﺮﺩﻩﻯ ﻗﺒﺎﻳﻞ ﻛﻪ ﺳﻜﻪ ﺭﻭﻯ ﻻﺷﻪﻯ ﭼﺸﻢﻫﺎﺷﺎﻥ ﻣﻰﮔﺬﺍﺷﺘﻨﺪ ﻭ ﺁﻥﺟﺎ‬ ‫‪39‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫)ﺍﺭﺛﻴﻪﻯ ﺗﻞ ﺍﺳﺘﺨﻮﺍﻥ‪ ،‬ﺍﺭﺛﻴﻪﻯ ﺗﻞ ﺍﺳﺘﺨﻮﺍﻥ(‪.‬‬ ‫ﻣﻮﻧﺎ ﺩﺳﺖ ﺩﺭ ﺩﺳﺖ ﺑﺎﺗﺮﻯﺍﺵ ﺭﻭﻯ ﻗﺎﻳﻘﺮﺍﻥ‪ ،‬ﺍﺯ ﻣﻴﺎﻥ ﺟﻤﻌﻴﺖ ﺑﻪ ﺳﺨﺘﻰ ﭘﻴﺶ ﻣﻰﺭﻭﺩ‪ .‬ﻣﺤﻠﻪﺍﻯ‬ ‫ﺍﺳﺖ ﻛﻪ ﺑﻴﺶ ﺍﺯ ﻫﺮ ﭼﻴﺰ ﺩﺭ ﺁﻥ ﻏﺬﺍﺧﻮﺭﻯ ﺑﻪ ﻫﻢ ﻣﻰﺭﺳﺪ‪ .‬ﮔﺮﺳﻨﮕﻰ ﺑﻪ ﺩﺧﺘﺮﻙ ﻓﺸﺎﺭ ﻣﻰﺁﻭﺭﺩ‪.‬‬ ‫ﻭﻗﺖ ﻣﻰﻛﻨﺪ ﻭﻋﺪﻩﻯ ﻣﺨﺘﺼﺮﻯ ﺑﺨﻮﺭﺩ؟ ﻧﻪ‪ .‬ﺯﻭﺩﺗﺮ ﺑﻴﺮﻭﻥ ﺑﺮﻭ‪ .‬ﺯﻭﺩﺗﺮ‪ .‬ﺑﺎﻻﺧﺮﻩ ﻭ ﻋﻠﻰﺭﻏﻢ ﻫﻤﻪ ﭼﻴﺰ‪،‬‬ ‫ﺭﻭﺯﻯ ﺍﻳﻦﺟﺎ ﺍﺯ ﻫﻮﺍﻯ ﺧﻔﻪ‪ ،‬ﺍﺯ ﻓﺸﺎﺭ ﺟﻤﻌﻴﺖ‪ ،‬ﺍﺯ ﻣﺮﺽ ﻭﺍﮔﻴﺮﺩﺍﺭ‪ ،‬ﺍﺯ ﺳﺮ ﻭ ﺻﺪﺍ ﺧﻮﺍﻫﺪ ﻣﺮﺩ‪ .‬ﺍﺯ ﺍﻳﻦﻫﺎ‬ ‫ﺧﻮﺍﻫﺪ ﻣﺮﺩ‪ .‬ﺷﻚ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﺍﺯ ﻫﻤﻪﺟﺎ ﺩﺭ ﺳﻴﺎﻫﻰ ﻣﺨﻤﻠﻴﻦ ﻻﻧﻪ ﺻﺪﺍﻯ ﻓﻠﺰﻫﺎ ﻣﻰﺁﻳﺪ ﻛﻪ ﺭﻭ ﻫﻢ ﻣﻰﺟﻨﺒﻨﺪ ﻭ ﺑﻪ ﻫﻢ ﻣﺘﺼﻞ‬ ‫ﻣﻰﺷﻮﻧﺪ‪ ،‬ﺻﺪﺍﻯ ﻗﺮﻗﺮﻩﻫﺎﻯ ﻏﻮﻝﺁﺳﺎ ﻣﻰﺁﻳﺪ‪ ،‬ﺻﺪﺍﻯ ﺟﻴﻎﻫﺎ‪ ،‬ﺻﺪﺍﻯ ﻭﻧﮓ ﻧﻮﺯﺍﺩﻫﺎ‪ ،‬ﺻﺪﺍﻯ ﺩﻭﺩﻯ‬ ‫ِ‬ ‫ﮔﻮﺷﺖ ﺍﺯ ﭼﻴﻦ ﺁﻣﺪﻩ‪ ،‬ﺻﺪﺍﻯ ﻫﺒﻮﻁ ﺟﺮﻳﺎﻥ ﺍﻛﺴﻴﮋﻥ ﺍﺯ ﻣﻐﺎﺭﻫﺎﻳﻰ ﺩﺭ ﺁﺳﻤﺎﻥ‪ ،‬ﺻﺪﺍﻯ ﺷﻜﺴﺘﻦ‬ ‫ﻛﺮﺩﻥ‬ ‫ﺷﻴﺸﻪﻫﺎ‪ ،‬ﺍﺯ ﺑﺎﻻﻯ ﺳﺮ ﺻﺪﺍﻯ ﺍﻓﺘﺎﺩﻥ ﺳﻴﻤﺎﻥ ﮔﻨﺪﻳﺪﻩ ﻣﻰﺁﻳﺪ ﻭ ﺍﺯ ﺯﻳﺮ ﭘﺎ ﺩﺭ ﺍﻋﻤﺎﻕ‪ ،‬ﺻﺪﺍﻯ ﺑﺨﺎﺭ ﻛﻪ‬ ‫ﺩﺭ ﭘﺎﻑﻫﺎ ﻭ ﭘﻮﻑﻫﺎﻳﻰ ﻣﻰﮔﺮﻳﺰﺩ ﻭ ﻧﺎﭘﺪﻳﺪ ﻣﻰﺷﻮﺩ‪ .‬ﭼﻄﻮﺭ ﻣﻰﺷﺪ ﻫﻤﻪﭼﻴﺰ ﺭﺍ ﺑﺮﺍﻯ ﻟﺤﻈﻪﺍﻯ ﺧﻔﻪ‬ ‫ﻋﺮﻕ ﻛﻒ‬ ‫ﻛﺮﺩ؟ ﻧﻴﺘﺮﻭﻛﺴﻴﻦ‪ ،‬ﻗﺮﺹ ﻓﻴﺮﻭﺯﻩﺍﻯ ﺭﺍ ﻛﻪ ﻫﻨﻮﺯ ﺩﺭ ﻣﺸﺖ ﺩﺍﺷﺖ ﻗﻮﺭﺕ ﺩﺍﺩ‪ .‬ﺗﻮ ﺧﻴﺴﻰ ِ‬ ‫ﺩﺳﺘﺶ ﻛﭙﺴﻮﻝ ﺍﻧﺪﻛﻰ ﻭﺍ ﺩﺍﺩﻩ ﺑﻮﺩ‪ .‬ﭼﺸﻢ ﺑﺴﺘﻪ‪ ،‬ﺭﻭﻳﺎ ﺯﺩﻩ‪ ،‬ﺳﺮﻳﻊﺗﺮ ﭘﻴﺶ ﺭﻓﺖ‪.‬‬ ‫ﻻﻧﻪ ﻭﺍژﻥ ﭼﻨﺪ ﻟﺒﻪﻯ ﺯﻣﻴﻦ ﻣﺎﺩﺭ ﺍﺳﺖ ﻭ ﺍﺯ ﺁﻥ ﻫﺎﺍﺍﺍﺍﺍﺍﻩ ﺑﻠﻨﺪ ﻧﺎﻣﻨﻘﻄﻌﻰ‪ ،‬ﺑﺎﻻﻯ ﺗﻤﺎﻣﻰ ﺻﺪﺍﻫﺎ‪ ،‬ﺑﻪ‬ ‫ﮔﻮﺵ ﻣﻰﺭﺳﺪ‪ .‬ﻫﺎﺍﺍﺍﺍﺍﺍﻩ‪ ،‬ﭼﻮﻥ ﺑﺎﺯﺩﻡ ﻃﻮﻻﻧﻰ ﭘﻴﺮﺯﻧﻰ ﺟﺎﺩﻭﮔﺮ‪ ،‬ﺩﺭ ﺍﻧﺘﻈﺎﺭ ﺑﻠﻌﻴﺪﻥ ﻫﺎﻧﺴﻞ‪.‬‬ ‫‪ ‬ﻣﻮﻧﺎ ﻣﻰﺑﺎﻳﺴﺖ ﮔﻠﺒﺮﮔﺶ ﺭﺍ ﻋﻮﺽ ﻣﻰﻛﺮﺩ‪ .‬ﺟﺎﻯ ﺭﻭﺯﻣﺮﻩﺍﺵ ﺑﺮﺍﻯ ﺷﺎﺭژ ‪ 11‬ﻃﺒﻘﻪ ﭘﺎﻳﻴﻦﺗﺮ‪،‬‬ ‫ﻣﺨﺼﻮﺹ ﺯﻥﻫﺎ ﺑﻮﺩ‪ .‬ﺁﻥﺟﺎ ﺭﺍ ﺧﻮﺵ ﺩﺍﺷﺖ؛ ﭘﺲ ﺗﻮﻯ ﻛﻮﭼﻪﺍﻯ ﭘﺮ ﺍﺯ ﺑﻮﻯ ﻋﻠﻮﻓﻪﻯ ﻛﺒﺎﺏ ﺷﺪﻩ‪ ،‬ﺑﺎ‬ ‫ﺑﺎﺗﺮﻯﺍﻯ ﻛﻪ ﻋﻴﻦ ﻋﺮﻭﺳﻚ ﺍﺯ ﭘﺲ ﺳﺮ ﻣﻰﻛﺸﻴﺪﺵ‪ ،‬ﺭﺍﻫﺶ ﺭﺍ ﺑﺎ ﺷﺎﻧﻪ ﺍﺯ ﻣﻴﺎﻥ ﺟﻤﻌﻴﺖ ﺑﺎﺯ ﻛﺮﺩ‪.‬‬ ‫ﺩﺭ ﺷﺎﺭ ﻣﺨﺎﻟﻒ ﺍﻭ ﺩﺳﺘﻪﺍﻯ ﻣﻰﺁﻣﺪ ﺍﺯ ﻳﺎﺭﻭﻫﺎﻳﻰ ﻛﻪ ﻳﻚ ﺟﺎﻳﻰ ﺍﺯ ﺍﺳﻜﻠﺖﺷﺎﻥ ﺭﺍ ﺷﻜﺴﺘﻪ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﭘﻴﺸﺎﭘﻴﺶ ﺩﺳﺘﻪ‪ ،‬ﻣﺮﺑﻰ ﺗﻮﺍﻥﺑﺨﺸﻰ ﺑﻮﺩ ﻭ ﭘﺸﺖ ﺳﺮ ﺍﻭ ﺍﻧﺰﻟﻰﭼﻰﻫﺎﻳﻰ ﻣﻴﺎﻧﺴﺎﻝ‪ ،‬ﺑﺎ ﺩﺳﺖﻫﺎ‪ ،‬ﭘﺎﻫﺎ‪،‬‬ ‫ﺗﺮﻗﻮﻩﻫﺎﻳﻰ ﺷﻜﺴﺘﻪ ﻛﻪ ﺍﻟﻜﺘﺮﻭﺩﻫﺎﻯ ﭘﻮﺳﺘﻰ ﻛﺮﺑﻨﻰ ﺭﺍ ﺭﻭﻯ ﺟﺎﻯ ﺷﻜﺴﺘﮕﻰﻫﺎ ﺑﺴﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﺳﺮﻳﻊﺗﺮ‬ ‫ﻗﺪﻡ ﺑﺮﺩﺍﺷﺖ‪ ،‬ﺍﺯ ﺁﺧﺮﻳﻦ ﻧﻔ ِﺮ ﻫﻤﭽﻮ ﺻﻔﻰ ﮔﺬﺷﺖ ﻭ ﻣﻘﺎﺑﻞ ﺩﺭﻳﭽﻪﻱ ﮔﺮﺩ ﺑﺰﺭﮔﻰ ﺭﺳﻴﺪ ﺩﺭ ﺟﺪﺍﺭﻩﻯ‬ ‫ﮔﻠﺒﺮگ ﻛﻪ ﻋﻴﻦ ﭘﻨﺠﺮﻩﺍﻯ ﺗﻮﻯ ﻛﺸﺘﻰ ﺁﻥﺟﺎ ﻗﺮﺍﺭ ﺩﺍﺷﺖ‪ .‬ﺩﺭﻳﭽﻪ ﺩﻫﺎﻧﻪﻯ ﺗﻮﻧﻠﻰ ﺑﻮﺩ ﻭ ﻣﻮﻧﺎ ﺍﺯ ﺣﻔﺮﻩ‬ ‫ﺗﻮﻧﻞ ﭘﺸﺖ‬ ‫ﺻﺪﺍﻯ ﻛﻮﺭﺍﻥ ﻣﻰﺷﻨﻴﺪ‪ .‬ﻳﻚﻗﺪﺭﻯ ﻣﻨﺘﻈﺮ ﻫﻤﺎﻥﺟﺎ ﺍﻳﺴﺘﺎﺩ‪ .‬ﺑﻌﺪ ﻭﺍﮔﻨﻰ ﺑﺎ ﺳﺮﻋﺖ ﺍﺯ ﺩﻝ ِ‬ ‫ﺩﺭﻳﭽﻪ ﭘﻴﺶ ﺁﻣﺪ‪ ،‬ﺳﺘﻮﻧﻰ ﺍﺯ ﻫﻮﺍﻯ ﻧﺎ ﻛﺮﺩﻩ ﺭﺍ ﺑﺎ ﻓﺸﺎﺭ ﺑﻴﺮﻭﻥ ﻓﺮﺳﺘﺎﺩ ﻭ ﺩﺭ ﺩﻫﺎﻧﻪﻯ ﺣﻔﺮﻩ ﻣﺘﻮﻗﻒ‬ ‫ﺷﺪ‪ .‬ﻣﻮﻧﺎ ﺟﻠﻮﺗﺮ ﺭﻓﺖ‪ .‬ﻭﺍﮔﻦ ﻣﺠﻤﻮﻋﻪﻯ ﺩﺭ ﻫﻢ ﭘﻴﭽﻴﺪﻩﺍﻯ ﺑﻮﺩ ﺍﺯ ﺁﻟﻮﻣﻴﻨﻴﻮﻡ ﻭ ﺷﻴﺸﻪ‪ .‬ﺗﺮﻛﻴﺒﻰ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪38‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺑﻮﺩ ﻭ ﻣﺸﺘﺮﻯﻫﺎﻯ ﻓﺼﻠﻰ ﺩﻳﻮﺍﻧﻪ؛ ﺍﻣﺎ ﺍﻳﻦﺟﺎ ﺭﺍ ﺑﺒﻴﻦ! ﭼﻄﻮﺭ ﻣﻰﺷﺪ ﺍﺯ ﺍﻣﻨﻴﺖ ﻫﻤﭽﻮ ﻫﺮﺝ ﻭ ﻣﺮﺝ‬ ‫ﺑﺪﻭﻯ ﮔﺬﺷﺖ؟‬ ‫ﻻﻧﻪ ﺳﻮﺭﺍﺥ ﺑﺰﺭﮔﻰ ﺑﻮﺩ ﻛﻨﺪﻩ ﺷﺪﻩ ﺩﺭ ﺩﻝ ﺯﻣﻴﻦ‪ .‬ﺑﺮﺝ ﻗﻴﻔﻰﺷﻜﻞ ﺑﺎﺑﻞ‪ ،‬ﻭﺍﺭﻭﻧﻪ‪ ،‬ﺩﻓﻦ ﺷﺪﻩ ﺩﺭ ﺍﻋﻤﺎﻕ‪.‬‬ ‫َﻣﺜَﻞ ﻣﺮﻛﺰ ﺷﻬﺮ ﺑﻮﺩ ﺑﺮﺍﻯ ﺁﻥ ﺷﻬﺮﻫﺎﻯ ﻗﺪﻳﻤﻰ‪ ،‬ﻟﻴﻜﻦ ﻋﻤﻮﺩﻯ ﺍﻣﺘﺪﺍﺩ ﻳﺎﻓﺘﻪ‪ ،‬ﭼﻮﻥ ﺭﻳﺸﻪﺍﻯ ﺑﻪ ﻋﻤﻖ‬ ‫ﻛﺮﻩ ﻫﺠﻮﻡ ﺑﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺩﺭ ﺭﻭﺯﻫﺎﻯ ﺟﻨﮓ ﻣﺴﺘﻘﻴﻢ‪ ،‬ﻭﻗﺘﻰ ﻫﻨﻮﺯ ﺳﭙﺮﻯ ﺩﺭ ﻛﺎﺭ ﻧﺒﻮﺩ‪ ،‬ﺳﺎﺧﺘﻪ ﺷﺪﻩ‬ ‫ﺑﻮﺩ ﻭ ﺑﺎ ﺍﻳﻦﻫﻤﻪ ﻣﻬﻨﺪﺳﻰﺍﻯ ﺗﺪﺭﻳﺠﻰ ﺩﺍﺷﺖ‪ .‬ﺩﺭ ﻃﻮﻝ ﺳﺎﻝﻫﺎ ﺗﻐﻴﻴﺮ ﺷﻜﻞ ﻭ ﻛﺎﺭﺑﺮﻯ ﺩﺍﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺩﺭ ﺭﻳﺨﺖ ﻓﻌﻠﻰﺍﺵ ﺑﻪ ﻧﻈﺮ »ﺍﺗﻔﺎﻗﻰ« ﻣﻰﺭﺳﻴﺪ‪ ،‬ﺑﺴﻴﺎﺭ ﻧﺎﺭﻳﺎﺿﻰﻭﺍﺭ ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺑﻪ ﺷﺪﺕ ﻛﺎﺭﺁﻣﺪ‪.‬‬ ‫ﻣﺤﻠﻪﻫﺎﻯ ﺑﺴﻴﺎﺭﺵ‪ ،‬ﺳﺎﺯﻩﻫﺎﻯ ﻋﻤﻮﺩﻯ‪ ،‬ﻏﻮﻝﺁﺳﺎ‪ ،‬ﺑﺎ ﻃﺮﺡ ﻏﻴﺮﺍﻗﻠﻴﺪﺳﻰ���ﺎﻥ‪ ،‬ﺑﺎ ﻓﻮﻻﺩ ﻭ ﺑﺎﺯﺍﻟﺘﺸﺎﻥ‪،‬‬ ‫ﺍﺯ ﺍﻧﺘﻬﺎﻯ ﺑﺎﺭﻳﻚ ِ‬ ‫ﻗﻴﻒ ﻻﻧﻪ ﺩﺭ ﻋﻤﻖ ‪ 1200‬ﻣﺘﺮﻯ ﺗﺎ ﺍﺭﺗﻔﺎﻋﺎﺕ ﻣﺨﺘﻠﻒ ﺁﻥ ﺳﺮ ﺑﺮﺍﻓﺮﺍﺷﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﺑﻪ‬ ‫ﮔﻮﻧﻪﻯ ﮔﻠﺒﺮگﻫﺎﻳﻰ‪ ،‬ﻓﻀﺎﻯ ﺍﺧﺘﻨﺎﻕﺁﻭﺭ ﮔﻮﺩﺍﻝ ﺍﺳﻔﻞ ﺭﺍ ﭘﺮ ﻣﻰﻛﺮﺩﻧﺪ ﻭ ﻣﺮﺍﻛﺰ ﺗﺎﺳﻴﺴﺎﺗﻰ‪/‬ﺧﺪﻣﺎﺗﻰ‬ ‫ﺷﻬﺮ ﻗﺪﻳﻤﻰ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﻣﻮﻧﺎ ﻛﻪ ﻋﻴﻦ ﺁﻟﻴﺲ ﺍﺯ ﺩﺍﻻﻥ ﺧﺮﮔﻮﺵ ﭘﺎﻳﻴﻦ ﺁﻣﺪﻩ‪ ،‬ﺣﺎﻻ ﺑﻪ »ﻗﺎﻳﻘﺮﺍﻥ ﻓﻘﻴﺪ« ﭘﺎ ﻣﻰﮔﺬﺍﺭﺩ ﻛﻪ ﻳﻜﻰ‬ ‫ﺍﺯ ﮔﻠﺒﺮگﻫﺎﺳﺖ‪ ،‬ﺭﻭﻳﻴﺪﻩ ﻻﺑﻪﻻﻯ ﺭﺯ ﺳﻴﺎﻩ ﻻﻧﻪ‪ .‬ﻣﺤﻠﻪﻫﺎ‪/‬ﮔﻠﺒﺮگﻫﺎ ﺗﺎ ژﺭﻓﺎﻯ ﺑﻌﻴﺪﻯ ﺩﺭ ﻋﻤﻖ ﻻﻧﻪ‬ ‫ﭘﺎﻳﻴﻦ ﻣﻰﺭﻭﻧﺪ ﻭ ﺁﻥﺟﺎ‪ ،‬ﻋﻴﻨﻬﻮ ﭼﺸﻢ ﻣﻴﺎﻧﻰ ﮔﻞ‪ ،‬ﻣﺜﻞ ﭘﺮﭼﻢ ﮔﻞ‪ ،‬ﺩﺭﻳﺎﭼﻪﺍﻯ ﺑﺎﺯﻣﺎﻧﺪﻩ ﺍﺯ ﺳﻔﺮﻩﻫﺎﻯ‬ ‫ﺁﺏ ﺯﻳﺮﺯﻣﻴﻨﻰ ﻋﺘﻴﻖ ﺧﻮﺍﺑﻴﺪﻩ ﻛﻪ ﺍﻳﻦ ﻣﺤﻠﻪﻫﺎﻯ ﻋﻤﻮﺩﻯ ﺍﺯ ﺳﻮﺍﺣﻞ ﺁﻥ ﺗﺎ ﺑﺎﻻﻫﺎﻯ ﻻﻧﻪ ﻧﻤﻮ ﻛﺮﺩﻩﺍﻧﺪ‪،‬‬ ‫ﺩﺭ ﻫﻢ ﺗﺎﻓﺘﻪﺍﻧﺪ‪ ،‬ﺭﻭﻯ ﻫﻢ ﻟﻐﺰﻳﺪﻩﺍﻧﺪ‪ ،‬ﺭﺍﺳﺖ ﻋﻴﻦ ﮔﻠﺒﺮگﻫﺎﻯ ﺭﺯﻯ ﻧﻴﻢﺷﻜﻔﺘﻪ‪ .‬ﺟﻤﺎﻋﺖ ﺩﺭ ﻛﻮﭼﻪﻫﺎ‪،‬‬ ‫ﺭﻭﻯ ﭘﻞﻫﺎﻯ ﻭﺍﺻﻞ‪ ،‬ﺩﺭ ﭘﺎﺳﺎژﻫﺎﻯ ﻣﻌﻠﻖ‪ ،‬ﺑﻰﺳﺨﻨﻰ‪ ،‬ﺑﻰﺁﻥ ﻛﻪ ﺳﺮﻓﻪﺍﻯ ﺑﻜﻨﻨﺪ‪ ،‬ﺑﻪ ﺧﻂ ﻣﺴﺘﻘﻴﻢ‪،‬‬ ‫ﺣﺎﻣﻞ ﺑﺎﺭﻯ ﻳﺎ ﺑﻰ ﺁﻥ ﻛﻪ ﭼﻴﺰﻯ ﺩﺭ ﺩﺳﺖ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ ،‬ﺗﺎﺑﻊﻭﺍﺭ ﭼﻮﻥ ﺑﺴﺘﻪﻫﺎﻳﻰ ﺩﺭ ﺭﺍﻫﺮﻭﻫﺎﻯ ﻳﻚ‬ ‫ﺑﺎﺭﺧﺎﻧﻪ‪ ،‬ﺗﻮﻯ ﺩﻝ ﺍﻳﻦ ﮔﻠﺒﺮگﻫﺎ ﺷﻠﻨﮓ ﺑﺮ ﻣﻰﺩﺍﺭﻧﺪ‪.‬‬ ‫ﺑﻴﻦ ﺩﻭ ﺟﺪﺍﺭﻩﻯ ﻫﺮ ﮔﻠﺒﺮگ ﺭﺍ ﻛﻮﭼﻪﻫﺎﻳﻰ ﺑﺎ ﺳﺎﺧﺘﺎﺭ ﻃﺒﻘﺎﺗﻰ‪ ،‬ﻛﺸﻴﺪﻩ ﺷﺪﻩ ﺭﻭﻯ ﮔﺮﺩﻩﻯ ﻫﻢ‪ ،‬ﭘﺮ‬ ‫ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﻣﺮﺩﻡ ﺁﻥ ﺑﻴﻦ ﺭﻭﺍﻧﻨﺪ‪ .‬ﺑﺴﺘﻨﻰ ﺳﺎﻧﺪﻭﻳﭽﻰ ﺩﺭ ﻫﻢ ﻟﻬﻴﺪﻩﺍﻯ ﺍﺯ ﻓﻮﻻﺩ ﻭ ﮔﻮﺷﺖ‪ :‬ﺿﺨﺎﻣﺖ‬ ‫ﺍﻧﺪﻙ ﮔﻠﺒﺮگﻫﺎ‪ ،‬ﻛﻪ ﻫﺸﺖ ﻣﺮﺩ ﺷﺎﻧﻪﺑﻪﺷﺎﻧﻪ ﻛﻨﺎﺭ ﻫﻢ ﺍﻳﺴﺘﺎﺩﻩ ﺁﻥ ﺭﺍ ﭘﺮ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺳﺒﺐ ﻣﻰﺷﻮﺩ‬ ‫ﺗﺎ ﺑﺎ ﻭﺟﻮﺩ ﺗﻨﻜﻰ ﺟﻤﻌﻴﺖ ﺷﻬﺮ ﺗﺎﺭﻳﺨﻰ‪ ،‬ﺭﻭﻧﺪﻩﮔﺎﻥ ﺭﻭﻯ ﻛﻮﭼﻪﻫﺎ ﺩﺭ ﻫﻢ ﺑﻠﻮﻟﻨﺪ‪ .‬ﻛﻮﭼﻪﻫﺎﻳﻰ ﺍﺯ ﺩﻭ‬ ‫ﮔﻠﺒﺮگ ﻣﺨﺘﻠﻒ ﮔﺎﻫﺎً ﺍﻳﻦﺟﺎ ﻭ ﺁﻥﺟﺎ ﺑﺎ ﭘﻞﻫﺎﻳﻰ ﺑﻪ ﻫﻢ ﻣﺘﺼﻞ ﺷﺪﻩﺍﻧﺪ ﻭ ﻫﻤﻪﭼﻴﺰ ﺭﺍ ﺑﻰﻧﻬﺎﻳﺖ ﮔﻠﺒﻮﻝ‬ ‫ﻧﻮﺭ ﺭﻭﺷﻦ ﻣﻰﻛﻨﺪ‪ ،‬ﻧﻮﺭﺍﻓﻜﻦﻫﺎﻳﻰ ﺑﻪ ﺭﻧﮓﻫﺎﻯ ﺳﺒﺰ ﺗﻴﺮﻩ ﻭ ﺳﺮﺥ ﻭ ﺳﻔﻴﺪ ﻭ ﺯﺭﺩ‪ ،‬ﻋﻴﻦ ﺩﺳﺘﻪﻯ‬ ‫ﺷﺘﻪﻫﺎﻯ ﺳﺎﻛﻦ ﻻﺑﻪﻻﻯ ﺍﻳﻦ ﮔﻞ ﻋﻈﻴﻢ ﺗﺪﻓﻴﻦ ﺷﺪﻩ‪ .‬ﭘﻴﺶﺗﺮﻫﺎ‪ ،‬ﻧﺌﻮﻥﻫﺎ‪ ،‬ﻣﺎﻧﻴﺘﻮﺭﻫﺎﻯ ﺗﺒﻠﻴﻐﺎﺗﻰ‬ ‫ﻭ ﺗﻠﻮﻳﺰﻳﻮﻥﻫﺎ ﺑﺰﺭگ ﻧﻮﺭ ﺭﺍ ﻣﺘﻨﻮﻉﺗﺮ ﻣﻰﻛﺮﺩ‪ ،‬ﺍﻣﺎ ﺣﺎﻻ ﻧﻪ؛ ﺣﺎﻻ ﻫﻤﻪﺷﺎﻥ ﺭﺍ ﺧﺎﻣﻮﺵ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‬ ‫‪37‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﺷﺪﻥ ﺍﻟﻜﺘﺮﻳﺴﻴﺘﻪ ﻭ ﺟﺰ ﺻﺪﺍﻯ ﺳﺮ‬ ‫ﺍﺯ »ﺳﻄﺢ« ﭘﺲ ﺍﺯ ﺩﺍﺧﻞ ﺷﺪﻥ ﺑﻪ ﻭﺭﻭﺩﻯ‪ ،‬ﺟﺰ ﺻﺪﺍﻯ ﺷﻜﻨﺠﻪ‬ ‫ِ‬ ‫ﭼﺮﺧﺎﻧﺪﻥ ﻫﻴﺪﺭﻭﻟﻴﻚ ﺳﻴﻜﻠﻮپﻫﺎ ﺻﺪﺍﻳﻰ ﻧﺒﻮﺩ؛ ﺍﻣﺎ ﺟﻠﻮﺗﺮ ﻣﻰﺷﺪ ﺁﻭﺍﻯ ﺑﻢ ﻫﻮﻝﺍﻧﮕﻴﺰ ﻻﻧﻪ ﺭﺍ ﺷﻨﻴﺪ‪.‬‬ ‫ﭘﻴﺶ ﺭﻭ‪ ،‬ﺑﻪ ﺣﺴﺎﺏ ﺳﺮﻋﺖ ﻣﻮﻧﺎ‪ ،‬ﭘﻨﺞ ﺩﻗﻴﻘﻪﺍﻯ ﻣﺎﻧﺪﻩ ﺑﻪ ﺁﻥﺟﺎ ﻛﻪ ﺯﻣﻴﻦ ﺍﺭﺗﻔﺎﻉ ﻛﻢﻛﺮﺩﻥ ﺭﺍ ﻣﺘﻮﻗﻒ‬ ‫ﻣﻰﻛﺮﺩ ﻭ ﺑﻪ ﺳﻄﺢ ﻧﺨﺴﺘﻴﻦ ﻃﺒﻘﻪﻯ ﻻﻧﻪ ﻣﻰﺭﺳﻴﺪ‪» ،‬ﺟﻮﺏ« ﻗﺮﺍﺭ ﺩﺍﺷﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﺳﺎﻋﺖ ﺻﺒﺢ‬ ‫ﻛﻪ ﻣﻮﻧﺎ ﺭﺍﻩ ﻻﻧﻪ ﺭﺍ ﭘﻴﺶ ﮔﺮﻓﺘﻪ‪ ،‬ﻣﻘﺎﺑﻞ »ﺟﻮﺏ« ﺧﻠﻮﺕﺗﺮ ﺍﺯ ﻫﺮ ﻭﻗﺘﻰ ﺍﺳﺖ؛ ﺍﻣﺎ ﺟﻮﺏ ﺍﻣﭙﺮﺍﻃﻮﺭﻯ‬ ‫ﻋﺼﺮﺍﻧﻪﻯ ﻓﻘﺮﺍ ﺑﻮﺩ‪ ،‬ﺁﺧﺮﻳﻦ ﻛﻒﻫﺎﻯ ﺑﻪﺟﺎ ﻣﺎﻧﺪﻩﻯ ﻳﻚ ﺍﺟﺘﻤﺎﻉ ﺍﺯ ﺩﺳﺖ ﺭﻓﺘﻪ‪ ،‬ﺧﺸﻚ ﺷﺪﻩ‪،‬‬ ‫ﻛﺮﻳﺴﺘﺎﻟﻴﺰﻩ ﺷﺪﻩ‪ ،‬ﻣﻨﻌﻘﺪ ﺷﺪﻩ ﺑﻪ ﻫﻴﺒﺖ ﺍﻳﻦ ﺑﻰﻧﻬﺎﻳﺖ ﻗﻔﺴﻪﻯ ﺍﺟﻨﺎﺱ ﻛﻪ ﺩﺭ ﺩﻫﺎﻧﻪﻯ ﻭﺭﻭﺩﻯ‬ ‫ﻻﻧﻪﻫﺎ‪ ،‬ﺍﻳﻦﺟﺎ ﻭ ﺁﻥﺟﺎﻯ ﺷﻬﺮ ﺗﺎﺭﻳﺨﻰ ﻣﻰﺷﺪ ﺩﻳﺪﺷﺎﻥ‪ .‬ﺟﻤﺎﻋﺖ ﻫﺮ ﭼﻪ ﻛﻪ ﺑﺮﺍﻳﺶ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻩ ﺑﻮﺩ‬ ‫ﺭﺍ ﺍﻳﻦﺟﺎ ﺗﻮﻯ ﻗﻔﺴﻪﻫﺎﻯ ﺟﻮﺏ ﺑﻪ ﺍﺷﺘﺮﺍﻙ ﻣﻰﮔﺬﺍﺷﺖ‪ .‬ﻣﻴﺎﻥ ﻗﻔﺴﻪﻫﺎ‪ ،‬ﺳﺮﺩﺧﺎﻧﻪﻫﺎﻳﻰ ﺑﻮﺩ ﺑﺮﺍﻯ‬ ‫ﻣﻮﺍﺩ ﻏﺬﺍﻳﻰ‪ ،‬ﭘﺎﺳﻴﻮﻫﺎﻯ ﻣﻴﻨﻴﺎﺗﻮﺭﻯ ﺑﻮﺩ ﻛﻪ ﮔﺎﻫﻰ ﮔﻴﺎﻫﻰ ﺗﻮﻳﺶ ﭘﻴﺪﺍ ﻣﻰﺷﺪ‪ ،‬ﻗﻔﺴﻪﻫﺎﻳﻰ ﻣﺨﺼﻮﺹ‬ ‫ﺣﻴﻮﺍﻧﺎﺕ ﺑﻮﺩ ﻭ ﺭﺩﻳﻒﻫﺎﻯ ﻣﻬﻤﺎﺕ‪ .‬ﻣﻮﻧﺎ ﺍﻳﻦﺟﺎ ﻣﻘﺎﺑﻞ ﺟﻮﺏ ﺍﻳﺴﺘﺎﺩﻩ‪ .‬ﺑﺎ ﺩﺳﺘﻰ ﻛﻪ ﺑﺎﺯﻭﻯ ﻣﻜﺎﻧﻴﻜﻰ‬ ‫ﺑﻬﺶ ﻣﺘﺼﻞ ﺍﺳﺖ؛ ﺑﺎﺗﺮﻯ ﺑﺰﺭگ ‪ 250‬ﻛﻴﻠﻮﻳﻰﺍﺵ ﺭﺍ ﺍﺯ ﺳﺮ ﺧﻮﺭﺩﻥ ﺩﺭ ﺳﺮﺍﺷﻴﺒﻰ ﺑﺎﺯ ﺩﺍﺷﺘﻪ ﻭ ﺑﺎ‬ ‫ﺩﺳﺖ ﺩﻳﮕﺮ ﺗﻮﻯ ﻗﻔﺴﻪﻯ ﺩﺍﺭﻭﻫﺎ ﺭﺍ ﻣﻰﺟﻮﺭﺩ‪ .‬ﭼﻴﺰﻫﺎﻳﻰ ﺭﺍ ﻛﻪ ﻣﻰﺧﻮﺍﻫﺪ – ﻣﺴﻜﻨﻰ ﺑﺮﺍﻯ ﺷﺎﻧﻪﻫﺎﻯ‬ ‫ﺩﺭﺩﺁﻟﻮﺩﺵ‪ ،‬ﺭﻳﺘﺎﻟﻴﻦ ﻣﺎﻳﻊ ﺑﺮﺍﻯ ﺳﺮ ﺧﻮﺍﺏﺁﻟﻮﺩﺵ – ﭘﻴﺪﺍ ﻧﻤﻰﻛﻨﺪ‪ ،‬ﺍﺯ ﺷﺎﻳﻊﺗﺮﻳﻦ ﺩﺍﺭﻭﻯ ﻗﻔﺴﻪ‪،‬‬ ‫ﻛﭙﺴﻮﻝ ﻓﻴﺮﻭﺯﻩﺍﻯ ﺧﻮﺵﺭﻧﮕﻰ‪ ،‬ﻳﻜﻰ ﺑﺮ ﻣﻰﺩﺍﺭﺩ ﻭ ﻣﻰﺭﻭﺩ ﻭ ﺩﺍﺧﻞ ﻻﻧﻪ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺧﻴﻠﻰ ﺯﻭﺩ – ﺩﻗﻴﻘﺎً ﻧﻤﻰﺩﺍﻧﺴﺖ ﭼﻪ ﻭﻗﺖ – ﺭﺍﺑﻄﺶ ﺍﺯ ﺭﺍﻩ ﻣﻰﺭﺳﻴﺪ‪ .‬ﭼﻪ ﺧﻮﺏ ﻛﻪ ﺍﻭ ﻛﺎﺭﻯ‬ ‫ﻧﻤﻰﺑﺎﻳﺴﺖ ﻣﻰﻛﺮﺩ‪ ،‬ﺧﻮﺩﺷﺎﻥ ﺑﺎ ﻳﺎﺭﻭ ﺗﻤﺎﺱ ﮔﺮﻓﺘﻪ ﺑﻮﺩﻧﺪ ﻭ ﻣﺮﺩ ﻛﻪ ﻣﺜ ً‬ ‫ﻼ ﺍﺳﻤﺶ ﺁﻗﺎﻯ ﺭﺷﺪﻯ ﺑﻮﺩ‪،‬‬ ‫ﻻﺑﺪ ﺣﺎﻻ ﺳﻮﺍﺭ ﺍﻛﺎﻧﻮﻯ ژﺍﭘﻨﻰ ﺩﻣﺎﻏﻪﺗﻴﺰﻯ‪ ،‬ﻛﻨﺎﺭ ﭘﻨﺠﺮﻩﺍﻯ ﺭﻭ ﺑﻪ ﺍﻓﻖ ِﺩﻭﺩﺁﻟﻮﺩ‪ ،‬ﺗﻮ ﻫﻮﺍ ﻣﻌﻠﻖ ﺑﻮﺩ ﻭ ﺑﻌﺪ‬ ‫ﺗﻮﻯ ﺷﻬﺮ ﺗﺎﺯﻩ ﻓﺮﻭﺩ ﻣﻰﺁﻣﺪ‪ .‬ﻣﻮﻧﺎ ﻳﻚﺑﺎﺭﻯ ﺳﻮﺍﺭ ﺟﺖ ﺑﺎﺭﻯ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﻫﻮﺍﭘﻴﻤﺎﻫﺎﻯ ﻣﺴﺎﻓﺮﺑﺮﻯ‬ ‫ﺑﺮﺍﻳﺶ ﺁﻣﻴﺨﺘﻪ ﺑﻪ ﺍﻓﺴﺎﻧﻪ ﺑﻮﺩ‪ .‬ﺑﭽﻪﺗﺮ ﻛﻪ ﺑﻮﺩ‪ ،‬ﻛﺎﺗﺎﻟﻮگﻫﺎﻳﺸﺎﻥ ﺭﺍ ﺟﻤﻊ ﻣﻰﻛﺮﺩ ﻭ ﺑﻬﺘﺮﻳﻦ ﻫﺪﻳﻪﺍﻯ‬ ‫ﻛﻪ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﻣﺎﻛﺖ ﺳ ِﺮﻫﻢﺷﻮﻯ ﺳﻴﺴﻰ ‪ 710‬ﺁﻣﺮﻳﻜﺎﻳﻰ ﺑﻮﺩ‪ ،‬ﻛﺎﻣ ً‬ ‫ﻼ ﺩﺭﺑﺴﺘﻪ‪ ،‬ﺍﺳﺘﻔﺎﺩﻩ ﻧﺸﺪﻩ‪ .‬ﭘﻨﺠﺎﻩ‬ ‫ﻭ ﺳﻪ ﺳﺎﻝ ﭘﻴﺶ ﺍﺯ ﺗﻮﻟﺪ ﺍﻭ ﺍﺳﺒﺎﺏﺑﺎﺯﻳﻪ ﺗﻮﻟﻴﺪ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﺑﻪ ﺣﺴﺎﺏ ﮔﻨﺞ ﺑﻮﺩ‪ .‬ﺁﻗﺎﻯ‬ ‫ﺭﺷﺪﻯ ﺭﺍ ﺗﺼﻮﺭ ﻣﻰﻛﺮﺩ ﻛﻪ ﻟﺒﺎﺱﻫﺎﻯ ﻣﺮﺗﺒﺶ ﺗﻮﻯ ﺑﻮﻯ ﺑﺎﺩﺍﻡﻃﻮﺭﻯِ ﺩﺳﺘﮕﺎﻩ ﺗﻬﻮﻳﻪ ﻏﺮﻕ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﻣﺮﺩ ﺍﺻﺮﺍﺭ ﺩﺍﺷﺖ ﻛﻪ ﻧﻪ ﻳﻚﺟﺎﻳﻰ ﺗﻮﻯ ﻻﻧﻪ – ﻛﻪ ﺍﻣﻦﺗﺮﻳﻦ ﺟﺎ ﺑﻮﺩ ﺑﺮﺍﻯ ﻫﻤﭽﻮ ﻣﻼﻗﺎﺗﻰ – ﺑﻠﻜﻪ‬ ‫ﺗﻮﻯ ﺑﺎﺷﮕﺎﻫﻰ ﻫﻢﺩﻳﮕﺮ ﺭﺍ ﺑﺒﻴﻨﻨﺪ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻮﻧﺎ ﻫﻤﭽﻪ ﺍﺻﺮﺍﺭﻯ ﻋﺠﻴﺐ ﺁﻣﺪﻩ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﺍﻳﻦ ﻭﺍﻗﻌﻴﺖ‬ ‫ﻛﻪ ﺑﺎﺷﮕﺎﻫﻪ ﺭﺍ ﺧﻮﺏ ﻣﻰﺷﻨﺎﺧﺖ ﻣﺠﺎﺑﺶ ﻛﺮﺩ ﻛﻪ ﻛﻮﺗﺎﻩ ﺑﻴﺎﻳﺪ‪ .‬ﺣﺎﻻ ﺩﻭﺑﺎﺭﻩ ﻛﻤﻰ ﻧﮕﺮﺍﻥ ﺍﻣﻨﻴﺘﺸﺎﻥ‬ ‫ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺑﺎﺷﮕﺎﻩ ﺩﺧﻤﻪﺍﻯ ﺑﻮﺩ ﺭﻭﻯ »ﺳﻄﺢ«‪ ،‬ﺯﻳﺮ ﺩﻳﺪ‪ ،‬ﺷﻠﻮﻍ‪ ،‬ﺑﺎ ﺻﺎﺣﺒﺶ ﻛﻪ ﺍﺯ ﺍﻭﺑﺎﺵ ﺳﺮﺷﻨﺎﺱ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪36‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺑﺎﺯ ﻣﺎﻧﺪﻩ ﺑﻮﺩ ﺧﻼﺹ ﻣﻰﻛﺮﺩ‪ .‬ﺣﺎﻻ ﺑﺎﻳﺪ ﺩﺭﺩ ﺷﺎﻧﻪﻯ ﻟﻪ ﺷﺪﻩ ﺭﺍ ﻫﻢ ﺗﺤﻤﻞ ﻣﻰﻛﺮﺩ‪ .‬ﺍﺯ ﺩﻭﺭ ﺩﺍﺩ ﺯﺩ‬ ‫ﻛﻪ ﭘﻴﺮﺯﻥ ﺍﺯ ﺭﺍﻩ ﻛﻨﺎﺭ ﺑﺮﻭﺩ‪.‬‬ ‫ﺧﺎﻧﻢ ﺍﻟﻴﺰ ﺗﻴﻤﻮﺗﻴﺎﻥ –ﺍﺳﻢ ﭘﻴﺮﺯﻥ ﺍﻳﻦ ﺑﻮﺩ– ﺑﺎ ﺻﺪﺍﻯ ﻟﻐﺰﺵ ﺁﻫﻦ ﺗﻮﻯ ﺩﻳﻮﺍﺭﻩﻯ ﺳﻨﮕﻰ‪ ،‬ﺑﺎ ﺻﺪﺍﻯ‬ ‫ﻓﺮﻭ ﺭﻳﺨﺘﻦ ﺳﻨﮓﻫﺎ‪ ،‬ﺑﺎ ﺻﺪﺍﻯ ﻓﺮﻳﺎﺩ ﻳﺎﺭﻭﻳﻰ ﺍﺯ ﺩﻭﺭ‪ ،‬ﻣﺠﺒﻮﺭ ﺷﺪ ﻛﻪ ﺳﺮ ﺑﺮﮔﺮﺩﺍﻧﺪ ﻭ ﺑﻪ ﻋﻘﺐ ﻧﮕﺎﻫﻰ‬ ‫ﺑﻴﻨﺪﺍﺯﺩ‪ .‬ﺑﺎ ﺩﻗﺖ ﺗﻴﻎ ﺟﺮﺍﺣﻰ‪ ،‬ﺭﻭﻯ ﺩﻳﺴﻚ ﻛﻤﺮ ﺑﺎﺳﺘﺎﻧﻰﺍﺵ ﭼﺮﺧﻴﺪ‪ .‬ﺍﻳﻦ ﺭﻭﺯﻫﺎ ﺗﻘﺮﻳﺒﺎ ﺑﻪ ﻛﻠﻰ ﻛﻮﺭ‬ ‫ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺍﺯ ﻫﻤﻴﻦ ﺑﺎﺑﺖ ﻭﺿﻌﻴﺖ ﺩﻳﺪﺵ ﺭﺍ ﺭﻭﻯ ﻣﺎﺩﻭﻥﻗﺮﻣﺰ ﻧﮕﻪ ﻣﻰﺩﺍﺷﺖ‪ .‬ﻣﻴﺎﻥ ﺍﺷﻜﺎﻝ ﺯﺭﺩ ﻭ‬ ‫ﻧﺎﺭﻧﺠﻰ ﻭ ﺧﺎﻛﺴﺘﺮﻯ‪ ،‬ﻟﻜﻪﻯ ﺳﺮﺧﻰ ﺭﺍ ﺩﻳﺪ ﻛﻪ ﺷﻌﻠﻪ ﻣﻰﻛﺸﻴﺪ‪ .‬ﺑﺰﺭگ ﻣﻰﺷﺪ ﻭ ﺟﻴﻎ ﻣﻰﻛﺸﻴﺪ‪.‬‬ ‫ﺍﻟﻴﺰ ﺍﺯ ﺟﺎﻳﻰ ﻛﻪ ﺑﻮﺩ ﺟﻨﺐ ﻧﺨﻮﺭﺩ‪ .‬ﺣﺎﻻ ﻛﻪ ﻟﻜﻪ ﻧﺰﺩﻳﻚﺗﺮ ﻣﻰﺷﺪ ﺍﻧﺪﺍﻡ ﻧ ِﺸﺴﺘﻪ‪ ،‬ﺭﻭﻯ ﻫﻢ ﺍﻓﺘﺎﺩﻩ‪،‬‬ ‫ﺩﺭ ﻫﻢﮔﻮﺭﻳﺪﻩﺍﻯ ﺭﺍ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺗﺸﺨﻴﺺ ﺑﺪﻫﺪ‪ .‬ﺑﺮﮔﺸﺖ ﻭ ﺑﻪ ﺭﺍﻫﺶ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪ .‬ﺁﺩﺭﻧﺎﻟﻴﻦ‪ ،‬ﻓﺮﺍﻣﻮﺵ‬ ‫ﺷﺪﻩ‪ ،‬ﻋﻴﻦ ﺍﺭﻭﺍﺡ ﮔﻠﻪﻯ ﺑﻮﻓﺎﻟﻮﻫﺎﻳﻰ ﺣﺎﻻ ﻫﺰﺍﺭ ﺳﺎﻝ ﻣﺮﺩﻩ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﺗﻮﻯ ﺧﻮﻧﺶ ﺩﻭﻳﺪﻩ ﺑﻮﺩ‪ .‬ﺣﺲ‬ ‫ﻣﻰﻛﺮﺩ ﻫﻤﻴﻦ ﺣﺎﻻ ﺻﻮﺭﺗﺶ ﺭﺍ ﺷﺴﺘﻪ ﻭ ﮔﺮﺩﻧﺶ ﺭﺍ ﺑﻪ ﺑﻮﺳﻪﺍﻯ ﭼﻴﺰﻯ ﺳﭙﺮﺩﻩ‪ .‬ﺳﺮ ﺣﺎﻝ ﺁﻣﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﻣﻮﻧﺎ ﺷﺎﻧﻪ ﺑﻪ ﺩﻳﻮﺍﺭ ﺩﺍﺷﺖ‪ .‬ﭼﺮﺥﺩﺳﺘﻰ ﺩﺭ ﺍﺛﺮ ﺗﺮﻣﺰ ﺑﻪ ﭘﻬﻠﻮ ﺑﻠﻨﺪ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺩﺧﺘﺮﻙ ﺭﺍ ﺑﻪ ﺭﺩ‬ ‫ﻻﺳﺘﻴﻚ ﻛﻮﺑﺎﻧﺪﻩ ﺑﻮﺩ‪ .‬ﺑﺎﺯﻭ ﺭﺍ ﺍﺯ ﺩﻝ ﺩﻳﻮﺍﺭﻩ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪ‪ .‬ﭼﻨﮕﻚ ﻟﻮﺭﺩﻩ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺍﺯ ﻻﺑﻪﻻﻯ‬ ‫ﺍﻧﮕﺸﺖﻫﺎ‪ ،‬ﺳﻴﻢﻫﺎ ﻣﺸﺘﺎﻕ ﻋﻴﻦ ﻛﺮﻡ ﺑﻌﺪ ﺍﺯ ﺑﺎﺭﺍﻥ‪ ،‬ﺑﻴﺮﻭﻥ ﺭﻳﺨﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﺍﺯ ﻓﺎﺻﻠﻪﻯ ﺑﻴﻦ ﺩﻳﻮﺍﺭ ﻭ‬ ‫ﭼﺮﺥﺩﺳﺘﻰ ﺧﻮﺩﺵ ﺭﺍ ﺧﻼﺹ ﻛﺮﺩ ﻭ ﭘﺎ ﺭﻭﻯ ﺯﻣﻴﻦ ﺭﺍﻩ ﮔﺬﺍﺷﺖ‪ .‬ﺍﺯ ﺯﻳﺮ ﺷﻜﻢ ﻭﺳﻴﻠﻪ‪ ،‬ﺻﺪﺍﻯ ﺁﻻﺭﻡ‬ ‫ﺳﻜﺴﻪﻃﻮﺭﻯ ﺑﻪ ﺭﺍﻩ ﺑﻮﺩ‪ .‬ﺑﺎﺗﺮﻯﺍﺵ ﺭﺍ ﺍﺯ ﺗﺴﻤﻪﻫﺎ ﺑﺎﺯ ﻛﺮﺩ ﻭ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ‪ .‬ﺑﺎ ﺍﺣﺘﻴﺎﻃﻰ ﻋﻘﺐ ﺳﺮ‬ ‫ﭘﻴﺮﺯﻥ ﺍﻓﻠﻴﺞ‪.‬‬ ‫ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﺭﺍﻩ ﺍﻣﻦ‪ ،‬ﻃﺎﻕ ﻛﻢﺍﺭﺗﻔﺎﻉ ﺳﺎﺭﻭﺟﻰ‪ ،‬ﻭﺭﻭﻯ »ﻻﻧﻪ«ﻯ ‪-72‬ﺁ ﺍﻳﺴﺘﺎﻩ ﺑﻮﺩ‪ .‬ﺗﻮ ﺩﻝ ﺍﻳﻦ‬ ‫ﺑﻮﻣﻰﺳﺎﺯﻯ ﺑُﻠﻪﺁﻣﻴﺰ – ﺳﺎﺭﻭﺝ – ﺩﻫﺎﻧﻪﻯ ﻃﺎﻕ ﺗﺎﺭﻳﻚ ﺑﻮﺩ ﺑﺎ ﻟﻜﻪﻫﺎﻯ ﺭﻧﻮﺍﺭﻯ ﺭﻧﮕﻴﻦ ﻛﻪ ﭼﺸﻢﺍﻧﺪﺍﺯ‬ ‫ﻭﺭﻭﺩﻯ ﺭﺍ ﻋﻴﻦ ﺟﻌﺒﻪﻓﻴﻮﺯ ﻋﻈﻴﻤﻰ ﺩﺭ ﺁﻭﺭﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻟﻜﻪﻫﺎ ﺭﺍ ﺗﺎﺑﻠﻮﻫﺎﻯ ﺍﻋﻼﻥ ﺭﻧﮕﺎﺭﻧﮕﻰ ﻣﺘﺼﺎﻋﺪ‬ ‫ﻣﻰﻛﺮﺩﻧﺪ ﻛﻪ ﺑﻪ ﻫﻤﻪﻱ ﺳﻄﺢ ﺩﻳﻮﺍﺭﻩﻯ ﻭﺭﻭﺩﻯ ﻧﺼﺐ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻋﻼﻥ ﺗﺒﻠﻴﻐﺎﺗﻰ ﻣﻐﺎﺯﻩﺍﻯ‪ ،‬ﺗﺎﺑﻠﻮﻯ‬ ‫ﺩﻓﺘﺮﻛﺎﺭ ﻳﺎﺭﻭﻯ ﭘﺰﺷﻜﻰ‪ ،‬ﻋﻼﻣﺖﻫﺎﻯ ﺍﺧﺘﺼﺎﺭﻯ ﺭﺳﺘﻮﺭﺍﻥﻫﺎ‪ ،‬ﻫﺸﺪﺍﺭﻫﺎﻯ ﺍﻣﻨﻴﺘﻰ ﻭ ﻧﻘﺸﻪﻫﺎﻯ‬ ‫ﺍﻧﺘﺰﺍﻋﻰ ﻃﺒﻘﺎﺕ ﻣﺨﺘﻠﻒ ﻻﻧﻪ‪ ،‬ﻋﻤﻮﻣﺎً ﻗﺪﻳﻤﻰ‪ ،‬ﻫﻤﻪ ﺩﺭ ﺭﻧﮓﻫﺎﻯ ﻣﺘﻨﻮﻉ ﺳﻮﺍﺣﻞ ﮔﺮﻡ‪ ،‬ﺑﻌﻀﻰﻫﺎﻳﺸﺎﻥ‬ ‫ﻫﻤﭽﻨﺎﻥ ﺭﻭﺷﻦ ﻭ ﺑﺴﻴﺎﺭﻯ ﻓﺮﻭ ﻣﺮﺩﻩ‪ ،‬ﺁﻭﻳﺰﺍﻥ ﺍﺯ ﺗﻚ ﻣﻴﺨﻰ‪ ،‬ﺑﻪﺟﺎ ﻣﺎﻧﺪﻩ ﺭﻭﻯ ﭘﺮﭼﻰ ﭼﻴﺰﻯ‪ .‬ﺭﻭﻯ‬ ‫ﺳﻘﻒ ﻛﻪ ﺑﻪ ﻣﻮﺍﺯﺍﺕ ﺭﺍ ِﻩ ﺯﻳﺮ ﭘﺎ ﺑﻪ ﺳﻮﻯ ﻣﺮﻛﺰ ﺯﻣﻴﻦ ﻧﺰﻭﻝ ﻣﻰﻛﺮﺩ‪ ،‬ﺩﺭ ﻓﻮﺍﺻﻞ ﻣﻨﻈﻢ‪ ،‬ﻣﻬﺘﺎﺑﻰﻫﺎﻯ‬ ‫ﺩﺭﺍﺯﻯ ﺭﻭﺷﻦ ﺑﻮﺩ‪ ،‬ﭘﺖﭘﺖ ﻣﻰﻛﺮﺩ‪ ،‬ﺟﺰﺟﺰ ﺻﺪﺍ ﻣﻰﺩﺍﺩ‪ .‬ﻭ ﺳﻴﻜﻠﻮپﻫﺎ ﻭ ﺁﻛﻮﺭﺍﻳﻮﻡﻫﺎﻯ ﺩﻳﻮﺍﺭﻯ‬ ‫ﺗﺰﻳﻴﻨﻰ ﻛﻪ ﺣﺎﻻ ﺧﺎﻟﻰ ﻣﺎﻧﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﮔﺮﺍﻓﻴﺘﻰﻫﺎ ﻭ ﺍﻧﺒﻮﻩ ﭘﻠﻰﺍﺳﺘﺮﻯ ﺁﺷﻐﺎﻝ‪ .‬ﺗﺎ ﻓﺎﺻﻠﻪﻯ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻰ‬ ‫‪35‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﺩﺍﻓﻊ ﺭﺍﻩ ﺍﻣﺎ ﺩﻳﮕﺮ ﺍﺧﺖ ﮔﺮﻓﺘﻪ ﺑﺎ‬ ‫ﺑﻮﺩ‪ .‬ﺳﮓ ﺍﺯ ﺯﻭﺭ ﮔﺮﻣﺎ ﻫﻤﻴﻦ ﺣﺎﻻ ﺭﻳﺪﻩ ﺑﻮﺩ‪ .‬ﺩﻳﻮﺍﻧﻪ ﺷﺪﻩ ﺍﺯ ﻧﻮﻳﺰ ِ‬ ‫ﺁﻥ‪ ،‬ﻫﻤﺎﻥﺟﺎ ﺧﻮﺍﺑﻴﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﺎ ﭼﺸﻢﻫﺎ ﻧﻴﻤﻪﺑﺎﺯ‪ ،‬ﺩﺭ ﺍﻭﻫﺎﻡ ِﺧﺮﮔﻮﺵﻫﺎﻳﻰ ﻛﻪ ﺑﺎ ﭘﺎﻫﺎﻯ ﮔﻴﺞﻛﻨﻨﺪﻩﺷﺎﻥ‬ ‫ﻣﻰﺩﻭﻳﺪﻧﺪ ﻭ ﺍﻭ ﻫﻢ ﺑﻪ ﺩﻧﺒﺎﻟﺸﺎﻥ ﺧﻴﻠﻰ ﻣﻰﺩﻭﻳﺪ‪ .‬ﻣﻮﻧﺎ ﻛﻪ ﺍﺯ ﻛﻨﺎﺭﺵ ﮔﺬﺷﺖ‪ ،‬ﺣﺘﺎ ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ‬ ‫ﻫﻢ ﻧﮕﺮﺩﺍﻧﺪ‪ .‬ﻣﻮﻧﺎ ﺑﻪ ﺣﺎﻝ ﺷﻴﻔﺘﮕﻰ‪ ،‬ﺣﻴﻮﺍﻥ ﺭﺍ ﺧﻴﺮﻩ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﭘﻴﭽﻴﺪﮔﻰ ﺍﻧﺪﺍﻡﻫﺎﻳﺶ‪ ،‬ﭘﻮﺳﺖ ﮔﺮﺵ‪،‬‬ ‫ﺯﺑﺎﻧﺶ‪ ،‬ﻫﻤﻪﺍﺵ ﺭﺍ ﺳﻌﻰ ﻛﺮﺩ ﺩﻗﻴﻖ ﺑﻪ ﺧﺎﻃﺮ ﺑﺴﭙﺎﺭﺩ‪ .‬ﺭﻭﺯﻯ ﻛﻪ ﺩﺭ ﭘﻴﺶ ﺩﺍﺷﺖ ﺑﻪ ﺣﺪ ﻛﺎﻓﻰ‬ ‫ﭘﺮﺩﺭﺩﺳﺮ ﺑﻮﺩ ﻭ ﺣﺎﻻ ﺩﻳﺪﻥ ﺳﮓ ﺑﻪ ﻧﻈﺮﺵ ﻧﺸﺎﻧﻪﻯ ﺧﻮﺑﻰ ﻧﻤﻰﺭﺳﻴﺪ‪ .‬ﺑﻪ ﭘﺸﺖ ﺧﻢ ﺷﺪ‪ ،‬ﺷﺘﺎﺏ‬ ‫ﮔﺮﻓﺖ ﻭ ﺍﺯ ﺯﻳﺮ ﺗﺎﺑﻠﻮﻯ ﺗﺒﻠﻴﻐﺎﺗﻰﺍﻯ ﮔﺬﺷﺖ ﻛﻪ ﺑﺎﻻﻯ ﺳﺮﺵ‪ ،‬ﺑﺎﻻﻯ ﺩﻳﻮﺍﺭﻩ ﻋﻠﻢ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺧﺎﻣﻮﺵ‬ ‫ﺑﻮﺩ‪ ،‬ﺑﺎ ﻻﻣﭗ ﺗﺼﻮﻳﺮ ﺍﺯ ﻛﺎﺭ ﺍﻓﺘﺎﺩﻩﺍﺵ‪ .‬ﺗﻔﻨﮓ ﻏﻮﻝﺁﺳﺎﻯ ﺍﻟﻜﺘﺮﻭﻧﻰﺍﺵ ﺭﺍ ﻣﻰﺷﺪ ﺩﻳﺪ ﻛﻪ ﺑﻪ ﭘﺸﺖ‪،‬‬ ‫ﻋﻴﻦ ﺧﺰﻧﺪﻩﻯ ﻣﺮﺩﻩﺍﻯ ﺭﻭﻯ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﻧﻤﻮﻧﻪﻯ ﺍﺯ »ﺍﺭﺛﻴﻪﻯ ﺍﺳﺘﺨﻮﺍﻥ« ﺑﻮﺩ‪ ،‬ﻳﺎﺩﮔﺎﺭ ﺩﻭﺭﺍﻧﻰ‬ ‫ﻛﻪ ﺩﺍﺭ ﻭ ﺩﺳﺘﻪﻯ ﻫﻤﭽﻮ ﺗﺎﺑﻠﻮﻫﺎﻳﻰ ﺷﺐ ﺍﻧﺰﻟﻰ ﺭﺍ ﻧﻮﺭﺍﻧﻰ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺑﺮﺍﻯ ﻣﻮﻧﺎ ﻧﺸﺎﻧﻪﻯ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ‬ ‫ﺑﻪ ﻭﺭﻭﺩﻯ ﻻﻧﻪ ﻧﺰﺩﻳﻚ ﻣﻰﺷﻮﺩ ﻭ ﺑﺎﻳﺪ ﺳﺮﻋﺖ ﻛﻢ ﻛﻨﺪ‪.‬‬ ‫ﺑﺎ ﭼﻨﮕﻚ ﺑﺎﺯﻭ ﺭﻭﻯ ﺑﺮﺁﻣﺪﮔﻰﻫﺎﻯ ﺩﻳﻮﺍﺭﻩ ﺗﺮﻣﺰ ﻛﺮﺩ‪ ،‬ﺍﻣﺎ ﻧﻪ ﺧﻴﻠﻰ ﻣﻨﺎﺳﺐ ﺍﺣﻮﺍﻝ؛ ﭼﻮﻥ ﻫﻤﺎﻥ ﻭﻗﺖ‬ ‫ﺳﺮ ﭼﺮﺧﺎﻧﺪﻩ ﺑﻮﺩ ﻭ ﺩﺭ ﻣﻘﺎﺑﻠﺶ ﺣﺎﻻ ﻫﻴﺒﺖ ﻟﻨﮕﺎﻧﻰ ﺭﺍ ﻣﻰﺩﻳﺪ ﻛﻪ ﺭﻭﻯ ﺭﺍﻩ ﺑﻪ ﺁﺭﺍﻣﻰ ﭘﻴﺶ ﻣﻰﺭﻓﺖ‪.‬‬ ‫ﺑﺴﺘﻪﻯ ﺑﺰﺭﮔﻰ ﺗﻮﻯ ﺑﻐﻠﺶ ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﻭ ﻫﻤﻴﻦ ﺭﺍﻩ ﺭﻓﺘﻦ ﺭﺍ ﺑﺮﺍﻳﺶ ﻣﺸﻜﻞﺗﺮ ﻣﻰﻛﺮﺩ‪ .‬ﻓﻜﺮ ﻛﺮﺩ‬ ‫ﻫﻤﻴﻦ ﺣﺎﻻ ﺍﺳﺖ ﻛﻪ ﭘﻴﺮﺯﻥ ﺭﺍ ﻟﻪ ﺑﻜﻨﺪ‪ .‬ﺧﺎﻧﻮﻡ ﭘﻴﺮﻯ ﺑﻮﺩ ﻛﻪ ﻧﺰﺩﻳﻜﺸﺎﻥ ﺟﺎﻳﻰ ﻫﻤﺎﻥ ﺍﻃﺮﺍﻑ ﺯﻧﺪﮔﻰ‬ ‫ﻣﻰﻛﺮﺩ ﻭ ﻣﻮﻫﺎﺵ ﻋﻴﻦ ﻛﻼﻩ ﺑﻰﺷﻜﻠﻰ ﺑﻮﺩ‪ ،‬ﺑﺎﻓﺘﻪ ﺷﺪﻩ ﺍﺯ ﻓﻮﻻﺩ ﺳﻔﻴﺪ‪ .‬ﺍﺳﻤﻰ ﻧﺪﺍﺷﺖ ﻳﺎ ﺩﺳﺖ ﻛﻢ‬ ‫ﻛﺴﻰ ﺑﻪ ﻳﺎﺩ ﻧﻤﻰﺁﻭﺭﺩ ﻛﻪ ﺍﺳﻤﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﻣﻮﻧﺎ ﻫﺮ ﺑﺎﺭ ﻛﻪ ﺑﻬﺶ ﺑﺮﻣﻰﺧﻮﺭﺩ‪ ،‬ﻫﻴﺠﺎﻥﺯﺩﻩ ﻣﻰﺷﺪ‪.‬‬ ‫ﭼﻨﺎﻥ ﺗﺤﻠﻴﻞ ﺭﻓﺘﻪ ﺑﻮﺩ ﻛﻪ ﺣﺎﻻ ﻣﻰﺑﺎﻳﺴﺖ ﺑﻪ ﻛﻠﻰ ﺑﺪﻧﺶ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩ ﺑﺎﺷﺪ‪ .‬ﺑﺎﻳﺪ ﺗﻨﻬﺎ ﺍﺯ ﺍﻭ‬ ‫ﺷﺒﻜﻪﻯ ﻋﺼﺐﻫﺎﻳﺶ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﭘﺮﺍﻛﻨﺪﻩ ﺩﺭ ﻫﻢ‪ ،‬ﺑﻰﺍﻧﺪﺍﻡ‪ ،‬ﭼﻮﻥ ﺑﻮﺗﻪﻯ ﺧﺎﺭﻯ ﻏﻠﺖﺧﻮﺭﺍﻥ‬ ‫ﺩﺭ ﺟﺮﻳﺎﻥ ﻧﺎﭼﻴﺰ ﻫﻮﺍ ﺭﻭﻯ ﺑﺮﻫﻮﺕ‪ .‬ﺍﻣﺎ ﺯﻧﻚ ﺳﺎﻝﻫﺎﻯ ﺟﻮﺍﻧﻰﺍﺵ ﺭﺍ ﺟﻨﻮﺏ ﭘﻴﺶ ﻣﺘﻔﻘﻴﻦ ﻛﺎﺭ ﻛﺮﺩﻩ‬ ‫ﺑﻮﺩ ﻭ ﺑﻪ ﺍﻋﺘﺒﺎﺭ ﺍﺻﻼﺡ ﻧﮋﺍﺩﻯ‪ ،‬ﻫﻨﻮﺯ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺭﺍﻩ ﺑﺮﻭﺩ‪ ،‬ﮔﻴﺮﻡ ﻛﻪ ﺑﺴﻴﺎﺭ ﺑﻪ ﺯﺣﻤﺖ‪ .‬ﻣﻮﻧﺎ ﺑﺎ ﺳﻪ‬ ‫ﺍﻧﮕﺸﺖ ﻓﻮﻻﺩﻯﺍﺵ ﺗﻮﻯ ﺩﻳﻮﺍﺭﻩ ﻣﺸﺖ ﺯﺩ‪ ،‬ﺑﺎﺯﻭ ﺩﻳﻮﺍﺭﻩ ﺭﺍ ﺩﺭﻳﺪ ﻭ ﺗﺎﻧﺪﻭﻥﻫﺎﻯ ﺷﺎﻧﻪﻯ ﻣﻮﻧﺎ ﺷﻴﻬﻪ‬ ‫ﻛﺸﻴﺪﻧﺪ ﻭ ﻛﺶ ﺁﻣﺪﻧﺪ‪ .‬ﭼﻪ ﺩﺭﺩﻯ‪ .‬ﭼﻪ ﻛﺎﺭ ﻋﺒﺜﻰ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻛﻪ ﭼﻰ ﺑﺸﻮﺩ؟ ﭼﻪ ﺑﻼﻳﻰ ﻣﻰﺧﻮﺍﺳﺖ‬ ‫ﺳﺮ ﺧﻮﺩﺵ ﺑﻴﺎﻭﺭﺩ؟ ﺧﺐ ﻣﻰﮔﺬﺍﺷﺖ ﺑﺎ ﺯﻥ ﺗﺼﺎﺩﻑ ﺑﻜﻨﺪ‪ .‬ﺧﻄﺮ ﭘﻴﮕﻴﺮﻯ ﺗﻬﺪﻳﺪﺵ ﻧﻤﻰﻛﺮﺩ‪.‬‬ ‫ﻻﻳﻪﻫﺎﻯ ﺁﺭﺍﻳﺶ ﺑﻪﺧﺼﻮﺻﺶ ﺗﺎﺑﺶ ﺍﺳﻜﻨﺮﻫﺎ ﺭﺍ ﻣﻨﺤﺮﻑ ﻣﻰﻛﺮﺩ – ﺑﻪ ﺧﻮﺩﺵ ﻫﻰ ﺯﺩ ﻛﻪ ﺍﺑﻠﻪ!‬ ‫ﭼﻄﻮﺭ ﻫﻨﻮﺯ ﺑﻠﺪ ﻧﻴﺴﺖ ﺍﺯ ﺑﻬﺮﻩﻯ ﻫﻤﭽﻪ ﺗﺸﺮﻳﻔﺎﺗﻰ ﺍﺳﺘﻔﺎﺩﻩ ﺑﻜﻨﺪ؟ ﭼﻘﺪﺭ ﺍﺑﻠﻪ ﺑﻮﺩ‪ – .‬ﭼﻬﺮﻩﺍﺵ ﻭ‬ ‫ﺩﺭ ﻧﺘﻴﺠﻪ ﻫﻮﻳﺘﺶ ﺗﺸﺨﻴﺺ ﻧﺪﺍﺩﻧﻰ ﺑﺎﻗﻰ ﻣﻰﻣﺎﻧﺪ ﻭ ﺩﺭ ﺿﻤﻦ‪ ،‬ﭘﻴﺮﺯﻥ ﺭﺍ ﻫﻢ ﺍﺯ ﻧﻜﺒﺘﻰ ﻛﻪ ﺗﻮﻳﺶ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪34‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬ ‫ﺗﺮﻳﻠﺮ ﺍﺯ ﺁﻥﺟﺎ ﮔﺬﺷﺘﻪ ﺑﻮﺩ ﻭ ﺫﻭﺏ ﺷﺪﻥ ﺯﻣﻴﻦ ﻭ ﺩﻭﺑﺎﺭﻩ ﺩﺭ ﻫﻢ ﻣﻨﺠﻤﺪ ﺷﺪﻧﺶ‪ ،‬ﺭﺩ ﻻﺳﺘﻴﻚ ﺭﺍ‬ ‫ﺁﻥﺟﺎ ﺍﺑﺪﻯ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺩﻳﻮﺍﺭﻩﻫﺎ ﺑﺎ ﺷﻴﺎﺭ ﺁﺝﻫﺎﻯ ﭼﺮﺥ‪ ،‬ﻛﻪ ﻧﻮﺭ ﺷﻜﺴﺘﻪ ﺩﺭ ﻗﻄﺮﻩﻫﺎﻯ ﺑﺎﺭﺍﻥ ﻋﻴﻨﻬﻮ‬ ‫ﺩﺍﻻﻥ ﻣﻌﺒﺪﻯ ﻣﺎﻳﺎﻳﻰ ﺗﺰﻳﻴﻦﺷﺎﻥ ﻣﻰﻛﺮﺩ‪ ،‬ﺍﻳﻦ »ﺭﺍﻩ ﺍﻣﻦ ِ« ﺑﻪ ﺧﺼﻮﺹ ﺭﺍ‪ ،‬ﺧﻴﻠﻰ ﺩﻧﺞ ﺍﺯ ﺁﺏ ﺩﺭ‬ ‫ﺁﻭﺭﺩﻩ ﺑﻮﺩ‪ .‬ﺩﺧﺘﺮﻙ ﺭﻭﻯ ﭼﺮﺥﺩﺳﺘﻰ ﻣﻮﻧﻮﺭﻳﻠﻰ ﺳﻮﺍﺭ ﺑﻮﺩ ﻭ ﺑﺎﺗﺮﻯﺍﺵ ﺭﺍ ﺑﻪ ﭘﻬﻠﻮ ﺧﻮﺍﺑﺎﻧﺪﻩ‪ ،‬ﻣﺜﻞ‬ ‫ﺷﻜﺎﺭ ﮔﻨﺪﻩﺍﻯ ﻛﻪ ﻣﺎﻫﻴﮕﻴﺮﻫﺎ ﺑﻪ ﭘﻬﻠﻮﻯ ﻗﺎﻳﻖ ﻣﻰﺑﻨﺪﻧﺪ‪ ،‬ﺑﺎ ﺳﻪ ﺗﺴﻤﻪ ﺑﻪ ﭼﺮﺥﺩﺳﺘﻰ ﺑﺴﺘﻪ ﺑﻮﺩﺵ‪.‬‬ ‫ﺣﺎﻻ ﻳﺎﺭﻭﻫﺎﻯ ﻛﻤﻰ ﭘﻴﺪﺍ ﻣﻰﺷﺪﻧﺪ ﻛﻪ ﺑﺘﻮﺍﻧﻨﺪ ﭼﺮﺥﺩﺳﺘﻰﻫﺎ ﺭﺍ ﺑﺮﺍﻧﻨﺪ ﻭ ﺍﻳﻦﺟﻮﺭﻯ ﻫﻤﻴﺸﻪ ﻣﻰﺷﺪ‬ ‫ﺩﺳﺖﻛﻢ ﻳﻜﻰﺷﺎﻥ ﺭﺍ ﺑﻰﺍﺳﺘﻔﺎﺩﻩ ﻣﺎﻧﺪﻩ ﭘﻴﺪﺍ ﻛﺮﺩ‪ .‬ﺑﺎ ﻟﺮﺯﺵ ﻣﺪﺍﻭﻡ ﻣﺨﺘﺼﺮﻯ ﭼﺮﺥﻫﻪ ﺭﻭﻯ ﺭﺍﻩ ﺳﺮ‬ ‫ﻣﻰﺧﻮﺭﺩ‪ .‬ﻣﻮﻧﺎ ﺑﻪ ﭘﺸﺖ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ ،‬ﺍﺯ ﻟﺮﺯﻩ ﺧﻮﺷﺶ ﻣﻰﺁﻣﺪ ﻭ ﺭﺍﻫﻰ ﺭﺍ ﻛﻪ ﻃﻰ ﻣﻰﺷﺪ ﺗﻤﺎﺷﺎ‬ ‫ﻣﻰﻛﺮﺩ‪ .‬ﺭﺍﻩ ﺧﻄﻰ ﺑﻮﺩ ﺍﺯ ﺍﻟﻮﺍﺡ ﻛﻮﺭ‪ ،‬ﺍﻟﻮﺍﺡ ﻣﺸﺒﻚ ﻓﻠﺰﻯ ﺩﻭﺧﺘﻪ ﺷﺪﻩ ﺑﻪ ﺩﻧﺒﺎﻟﻪﻯ ﻳﻜﺪﻳﮕﺮ‪ .‬ﭘﻴﺶﺗﺮ‬ ‫ﺗﺮﺷﺢ ﻣﻐﻨﺎﻃﻴﺴﻰ ﻣﻴﺪﺍﻧﻰ ﺣﺎﻣﻰ ﺭﺍﻩﺭﻭﻧﺪﮔﺎﻥ ﺍﺯ ﺁﻥ ﺟﺮﻳﺎﻥ ﺩﺍﺷﺖ‪ ،‬ﻧﻮﻳﺰﻯ ﻧﺎﺷﻨﻴﺪﻧﻰ ﺗﻮﻟﻴﺪ ﻣﻰﻛﺮﺩ‬ ‫ﻛﻪ ﺣﻴﻮﺍﻧﺎﺕ ﺑﺮﻫﻮﺕ ﺭﺍ ﺩﻭﺭ ﻧﮕﻪ ﻣﻰﺩﺍﺷﺖ ﻭ ﺍﺯ ﻣﻴﺎﻥ ﺷﻴﺎﺭﻫﺎﻳﺶ ﮔﺎﺭ ﺿﺪﻋﻔﻮﻧﻰ ﺑﻪ ﻫﻮﺍ ﺑﻠﻨﺪ ﺑﻮﺩ‪ .‬ﺣﺎﻻ‬ ‫ﺍﻣﺎ ﻓﻘﻂ ﺭﺍﻫﻨﻤﺎﻯ ﺭﺳﻴﺪﻥ ﺑﻪ »ﻻﻧﻪ«ﻫﺎ ﺑﻮﺩ‪ .‬ﻋﻴﻦ ﺭﺍﻩ ﻣﻴﺶﺭﻭﻳﻰ ﺩﺭ ﺧﻠﻨﮓﺯﺍﺭﻯ ﺍﺯ ﻓﻠﺰ ﺑﻰﺭﻳﺨﺖ‬ ‫ﺷﺪﻩ‪ ،‬ﺑﻪ ﭘﻴﭻﺭﻭﻧﺪﻩ ﺑﻪ ﺗﺎﺏﺭﻭﻧﺪﻩ ﻻﻯ ﺗﭙﻪﻫﺎﻯ ﺑﺘﻮﻥ ﻭ ﺷﺎﺧﻪﻫﺎﻯ ﺑﺮﻧﺪﻩﻯ ﺁﺳﻔﺎﻟﺖ‪ ،‬ﻻﻯ ﻟﻮﻟﻪﻫﺎﻯ‬ ‫ﺗﺎﺳﻴﺴﺎﺗﻰ ﺑﻴﺮﻭﻥ ﺟﻬﻴﺪﻩ ﺍﺯ ﺯﻣﻴﻦ‪ ،‬ﻻﻯ ﻻﺷﻪﻫﺎﻯ ﻛﺎﺑﻞﻫﺎ‪ .‬ﺧﻴﻠﻰ ﺩﻫﻪﻫﺎ ﺍﺯ ﺳﺎﺧﺘﻪ ﺷﺪﻥ ﻫﻤﭽﻮ‬ ‫ﺭﺍﻩﻫﺎﻯ ﺍﻣﻨﻰ ﻣﻰﮔﺬﺷﺖ‪ .‬ﺑﺨﺸﻰ ﺍﺯ ﺑﺮﻧﺎﻣﻪﻯ ﻋﻈﻴﻢ ﺩﻭﻟﺖ ﺗﺎﺯﻩ ﺗﺎﺳﻴﺲ ﺑﻮﺩﻧﺪ ﺑﺮﺍﻯ ﺩﻭﺑﺎﺭﻩ ﻣﺴﻜﻮﻧﻰ‬ ‫ﻛﺮﺩﻥ ﺷﻬﺮ ﺗﺎﺭﻳﺨﻰ‪ .‬ﺻﺪ ﻭ ﻫﻔﺘﺎﺩ ﻭ ﺳﻪ ﺭﺍﻩ ﺍﻣﻦ ﻛﻪ ﺑﻪ ﻭﺭﻭﺩﻯ »ﻻﻧﻪ«ﻫﺎ ﺧﺘﻢ ﻣﻰﺷﺪﻧﺪ‪ .‬ﺣﺎﻻ ﺍﻣﺎ‬ ‫ﻛﻤﺘﺮ ﺑﻪ ﻛﺎﺭﻯ ﻣﻰﺁﻣﺪﻧﺪ‪ .‬ﺭﻭﻯ ﺭﺍﻩ ﺍﻣﻦ ﻣﻮﻧﺎ‪ ،‬ﮔﺮﻣﺎ ﻫﻤﭽﻨﺎﻥ ﻛﺸﻨﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﻳﻜﻰ ﺭﺍﻩ ﭘﺮﺕ ﺍﻓﺘﺎﺩﻩﺍﻯ‬ ‫ﺑﻮﺩ‪ ،‬ﻛﻢ ﺁﻣﺪ ﻭ ﺷﺪ‪ ،‬ﻣﺤﺒﻮﺏ ﺩﺧﺘﺮﻙ‪ .‬ﻧﻤﻮﻧﻪﻯ ﻛﺎﻣﻠﻰ ﺑﻮﺩ ﺍﺯ ﺍﺭﺛﻴﻪﻯ »ﺗﻞ ﺍﺳﺘﺨﻮﺍﻥ«‪ .‬ﭼﻬﺎﺭﺯﺍﻧﻮ‬ ‫ﺑﻴﺮﻭﻥ‬ ‫ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﺑﺎ ﻛﻔﺶﻫﺎﻯ ﻧﺎﻳﻠﻮﻧﻰﺍﺵ ﺟﻤﻊ ﺷﺪﻩ ﺯﻳﺮ ﺭﺍﻥﻫﺎﺵ ﻭ ﺑﺎﺯﻭﻯ ﺑﺰﺭﮔﺶ ﺁﻭﻳﺰﺍﻥ ﺭﻭ ﺑﻪ‬ ‫ِ‬ ‫ﻭﺳﻴﻠﻪﻯ ﻧﻘﻠﻴﻪ‪ .‬ﺩﺍﺷﺖ ﺩﻭ ﺳﺎﻝ ﻣﻰﺷﺪ ﻛﻪ ﺍﻳﻦﺟﺎ ﺑﺮﮔﺸﺘﻪ ﺑﻮﺩ‪ .‬ﺍﺯ ﺑﻄﺎﻟﺖ ﺍﻳﻦﺟﺎ ﺧﻮﺷﺶ ﻣﻰﺁﻣﺪ ﻭ‬ ‫ﺍﺯ ﺍﻳﻦ ﺧﻮﺷﺶ ﻣﻰﺁﻣﺪ ﻛﻪ ﻓﻘﻂ ﺑﺎ ﺗﻨﺒﻠﻰ ﻣﻰﺷﺪ ﻫﻤﭽﻪ ﺟﺎﻳﻰ ﺩﻭﺍﻡ ﺁﻭﺭﺩ؛ ﺍﻣﺎ ﺍﺯ ﺍﻳﻦ ﻣﺮﺍﺳﻢ ﺭﻭﺯﺍﻧﻪﻯ‬ ‫ﺑﻪ »ﻻﻧﻪ« ﺭﻓﺘﻦ ﺑﻴﺰﺍﺭ ﺑﻮﺩ ﻭ ﺍﺯ ﺧﻴﻠﻰ ﭼﻴﺰﻫﺎﻯ ﺩﻳﮕﺮ‪ .‬ﺑﻪ ﺯﻭﺩﻯ‪ ،‬ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻣﺎﺟﺮﺍﻯ ﭼﺮﻧﺪﻯ ﻛﻪ‬ ‫ﭘﻴﺶ ﭘﺎﻳﺶ ﺍﻓﺘﺎﺩﻩ ‪ ،‬ﻳﻚ ﻛﺎﺭﻯ ﺩﺳﺖ ﻭ ﭘﺎ ﻣﻰﻛﺮﺩ‪ .‬ﻣﻄﻤﺌﻦ ﺑﻮﺩ‪ .‬ﺩﻭﺳﺖ ﺩﺍﺷﺖ ﺑﺮﺍﻯ ﺷﺮﻛﺖ ﻛﺎﻏﺬ‬ ‫ﺩﻳﻮﺍﺭﻯ ﻛﺎﺭ ﺑﻜﻨﺪ‪ .‬ﺍﺯ ﺍﻓﺴﺮ ﺍﻧﮕﻠﻴﺴﻰﺍﻯ ﻛﺴﻰ ﻃﺮﺍﺣﻰ ﻳﺎﺩ ﻣﻰﮔﺮﻓﺖ ﻭ ﻫﻤﻪ ﭼﻴﺰ ﺭﻭ ﺑﻪ ﺭﺍﻩ ﻣﻰﺷﺪ‪.‬‬ ‫ﺯﺍﺋﺪﻩﻫﺎﻯ ﻛﻔﺶ ﻭ ﺑﺮﺟﺴﺘﮕﻰﻫﺎﻯ ﻛﻒ ﭼﺮﺥﺩﺳﺘﻰ‪ ،‬ﺑﺮﻫﻨﮕﻰ ﭘﺎﻫﺎﻳﺶ ﺭﺍ ﻣﻰﺁﺯﺭﺩ ﻭ ﺑﻪ ﻋﺮﻕ ﻛﺮﺩﻥ‬ ‫ﻣﻰﺍﻧﺪﺍﺧﺖﺷﺎﻥ ﻭ ﺧﺎﺭﺵ ﻣﺮﻃﻮﺏ ﻧﺎﺟﻮﺭﻯ ﺑﻪ ﺟﺎﻧﺶ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﻛﻤﺘﺮ ﭘﻴﺶ ﻣﻰﺁﻣﺪ ﻛﻪ ﻫﻤﭽﻮ ﺻﺤﻨﻪﺍﻯ ﺭﺍ ﺑﺸﻮﺩ ﺩﻳﺪ‪ .‬ﻛﻤﻰ ﺟﻠﻮﺗﺮ ﻛﻨﺎﺭﻩﻯ ﺭﺍﻩ ﺍﻣﻦ‪ ،‬ﺳﮕﻰ ﻟﻤﻴﺪﻩ‬ ‫‪33‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫‪‬ﺩﻭﺳﺖ ﺑﺴﻴﺎﺭ ﻋﺰﻳﺰ!‬ ‫ﺍﺯ ﻣﻦ ﺑﭙﺮﺳﻴﺪ ﭼﻄﻮﺭ ﻣﻰﺷﻮﺩ ﻣﻮﻧﺎ ﺍﺯ ﻗﺼﻪﺍﻯ ﺑﺪﺵ ﺑﻴﺎﻳﺪ ﻭ ﺑﻪ ﺷﻤﺎ ﺧﻮﺍﻫﻢ ﮔﻔﺖ ﻛﻪ ﭼﻄﻮﺭ‪.‬‬ ‫ﻗﺼﻪﺗﺎﻥ ﺭﺍ ﺑﺎ ﻛﻼﻡ ﻗﺼﺎﺭﻯ ﭼﻴﺰﻯ ﺁﻏﺎﺯ ﺑﻜﻨﻴﺪ‪ .‬ﻣﻮﻧﺎ ﺍﺯ ﺍﻳﻦ ﻗﺒﻴﻞ ﻛﻼﻡ ﺑﻴﺰﺍﺭ ﺍﺳﺖ‪ .‬ﺗﺎ ﺑﻪ ﺁﻥ ﺣﺪ ﻛﻪ‬ ‫ﻋﻠﻰﺭﻏﻢ ﻫﺮ ﺁﻥﭼﻪ ﻛﻪ ﺩﺭ ﻗﺼﻪ ﮔﻨﺠﺎﻧﺪﻩ ﺑﺎﺷﻴﺪ‪ ،‬ﺁﻥ ﺭﺍ ﻧﺨﻮﺍﻫﺪ ﺧﻮﺍﻧﺪ‪ .‬ﻭ ﺍﻟﺒﺘﻪ ﺍﺯ ﺗﻘﺪﻳﻢﻧﺎﻣﻪﻫﺎﻯ‬ ‫ﻣﺘﻈﺎﻫﺮﺍﻧﻪ ﻫﻢ ﻫﻴﭻ ﺧﻮﺷﺶ ﻧﻤﻰﺁﻳﺪ ﻭ ﺑﺎﺯ ﺍﺯ ﭘﻴﺸﮕﻔﺘﺎﺭ ﻧﻮﻳﺴﻨﺪﻩ‪ .‬ﺍﻣﺎ ﺭﺍﺯﻯ ﺭﺍ ﺑﺎ ﺷﻤﺎ ﺩﺭ ﻣﻴﺎﻥ‬ ‫ﻣﻰﮔﺬﺍﺭﻡ‪ .‬ﻣﻨﻔﻮﺭﺗﺮﻳﻦﻫﺎ ﭘﻴﺶ ﻣﻮﻧﺎ ﺍﭘﻴﮕﺮﺍﻑﻫﺎ ﻫﺴﺘﻨﺪ‪ .‬ﻫﺮ ﺑﺎﺭ ﻛﻪ ﺍﭘﻴﮕﺮﺍﻓﻰ ﺑﺒﻴﻨﺪ‪ ،‬ﭘﻴﺶ ﺧﻮﺩﺵ‬ ‫ﺧﻮﺍﻫﺪ ﮔﻔﺖ ﻛﻪ‪» :‬ﺍﻳﻦ ﺩﻳﮕﻪ ﭼﻴﻪ؟ ﭼﻪ ﻣﺮﮔﺘﻮﻧﻪ ﺁﺧﻪ ﺷﻤﺎ؟«‬ ‫ﺑﺮﺍﻯ ﻣﺜﺎﻝ ﻓﻜﺮ ﻛﻨﻴﺪ ﻛﻪ ﻗﺼﻪﺍﻯ ﺭﺍ ﺑﺎ ﻧﻘﻞ ﺍﻳﻦ ﻗﻮﻝ ﭘﺮ ﺁﻭﺍﺯﻩ ﺍﺯ »ﺳﻴﻨﺎ« ﺷﺮﻭﻉ ﺑﻜﻨﻴﻢ‪:‬‬ ‫ﭼﻬﻞ ﺳﮓ را در ﻧﻈﺮ دارم ﮐﻪ ﮔﺮد ﺗﻠﯽ اﺳﺘﺨﻮان ﺑﻪ اﺟﺘامع ﺧﻔﺘﻪاﻧﺪ‪ .‬ﺑﻪ ﺗﻨﺎول ﻃﻌﻤﻪ اﺣﺸﺎﺷﺎن اﻧﺒﺎن‬ ‫اﺳﺖ و زﺑﺎن ﺑﺮ ﭘﻮز آﻏﺸﺘﻪ ﺑﻪ ﺧﻮن دارﻧﺪ‪ .‬ﺷﺨﺺ ﺳﻤﯿﻊ آﻧﺎن را در ﺳﮑﻮﺗﯽ ﭼﻨﺎن ﻣﯽﻳﺎﺑﺪ ﮐﻪ ﻣﻮت را‬ ‫ﺑﺪان راه ﻧﯿﺴﺖ‪ ،‬ﻟﯿﮑﻦ ﻫﺮ آﯾﻨﻪ ﻫﻤﯿﻦ ﺷﺨﺺ ﺑﻪ اذن ﺧﺪاوﻧﺪ در روزﮔﺎر اﯾﻦ ﮔﻠﻪ ﻣﻌﮑﻮس ﮔﺮدد‪ ،‬ﺑﻪ ﭼﺸﻢ‬ ‫ﻣﯽﺑﯿﻨﺪ ﮐﻪ اﺳﺘﺨﻮانﻫﺎ ﺑﻪ ﻫﻢ آﻣﺪه‪ ،‬ﮔﻮﺷﺖ ﺑﺮ آنﻫﺎ ﺧﻮاﻫﺪ روﯾﯿﺪ و ﺑﻪ ﮔﻮش ﻣﯽﺷﻨﻮد ﮐﻪ ﺳﮕﺎن ﻋﻮ‬ ‫ﻣﯽﮐﻨﻨﺪ و ﻻﺑﻪ ﴎ ﻣﯽدﻫﻨﺪ‪ .‬ﺳﭙﺲ ﮔﻮﺷﺖ ﺑﻪ ﻫﻢ آﻣﺪهی ﻻﺷﻪي ﻧﯿﻢﺧﻮردهای در ﻧﻈﺮ ﺷﺨﺺ ﻫﻮﯾﺪا‬ ‫ﺧﻮاﻫﺪ ﺷﺪ و ﺑﻪ ﺳﻤﻊ او ﻧﻮف ﺳﮕﺎن ﺳﺒﺐ ﻫﻮل ﮔﺮدد‪ .‬ﻟﻬﺬا ﺧﻮاب از او ﺗﱪی ﺟﻮﯾﺪ اﮔﺮ ﭼﻨﺎن ﭘﺲ ﺑﺮود‬ ‫ﮐﻪ ﮐﻨﯿﺰ ﺗﺮﺳﺎی ﭼﺎردهﺳﺎﻟﻪای را در ﻣﻌﱪ ﺳﮕﺎن ﺑﯿﺎﺑﺪ ﺟﯿﻎﮐﺸﺎن‪ ،‬ﭘﯿﺶ از آنﮐﻪ ﻃﻌﺎم دﯾﻮان ﮔﺮدد؛ و‬ ‫ﻫﯿﺎﻫﻮی ﺳﮕﺎن را درﯾﺎﺑﺪ از ﻓﺮط ﺑﻬﺠﺖ‪.‬‬ ‫ﺣﴪﺗﺎ ﺑﻮﻋﻠﯽ ﮐﻪ ﺧﺎﻣﺶ اﯾﻦ ﻋﺎمل ﭼﻨﯿﻦ اﺳﺖ‪ .‬ﭼﻪ ﻋﺠﺎﯾﺐ ﮐﻪ واﻗﻊ ﮔﺸﺘﻪ‪ ،‬ﭼﻪ ﺟﯿﻔﻪﻫﺎ ﮐﻪ درﯾﺪه‬ ‫ﺷﺪهاﻧﺪ و اﻣﺎ ﺟﺰ ﻣﺸﺘﯽ اﺳﺘﺨﻮان ﺑﻪ ﺗﻮ ﻧﺮﺳﯿﺪه‪.‬‬ ‫ﺑﻪ ﺍﻧﺰﻟﻰ ﺗﺎﺭﻳﺨﻰ ﻣﻮﻧﺎ‪ ،‬ﺗﻠﻰ ﺍﺯ ﺍﺳﺘﺨﻮﺍﻥﻫﺎ ﺭﺳﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺧﻮﺭﺷﻴﺪ ﺑﺎﻻﻯ ﺳﺮ ﺩﺭ ﺩﻭﺭﺩﺳﺖﻫﺎ‪ ،‬ﻧﺎﺑﻪﺟﺎ‪،‬‬ ‫ﺧﺠﺎﻟﺖﺁﻭﺭ‪ ،‬ﻋﻴﻦ ﻛﺎﻣﻴﻮﻥ ﻣﻨﻬﺪﻡ ﺷﺪﻩﺍﻯ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﻣﻮﻧﺎ ﺩﺭ ﺳﻜﻮﺕ »ﺳﻄﺢ«‪ ،‬ﺩﺭ ﺑﺮﻫﻮﺕ ﺯﺭﺩﻯ‬ ‫ﻛﻪ ﺍﻳﻦﺟﺎ ﻭ ﺁﻥﺟﺎ ﺑﻠﻨﺪﻯﻫﺎﻳﻰ ﮔﻮﻩﺷﻜﻞ ﺍﺯ ﻧﺨﺎﻟﻪﺟﺎﺕ ﺷﻬﺮ ﻭﻳﺮﺍﻥ ﻳﻚﺩﺳﺘﻰﺍﺵ ﺭﺍ ﻣﺨﺘﻞ ﻣﻰﻛﺮﺩ‪،‬‬ ‫ﻧﺸﺌﻪ ﺭﻭﻯ ﻭ���ﻟﻴﻮﻡ‪ ،‬ﺑﺮ ﺭﺍﻩ ﺍﻣﻨﻰ ﻣﻰﺭﻓﺖ‪ .‬ﺑﺎﺭﺍﻥ ﺑﻪ ﺷﺪﺕ ﺭﻭﻯ ﺳﻘﻒ ﺷﻔﺎﻑِ ﺭﺍﻩﻫﻪ ﻣﻰﺑﺎﺭﻳﺪ ﻭ ﻣﻮﻧﺎ‬ ‫ِ‬ ‫ﺯﻣﺨﺖ ﺩﻭ ﻃﺮﻑ‪ .‬ﺭﺍﻩ ﻻﻯ‬ ‫ﻣﺸﻐﻮﻝ ﺗﻤﺎﺷﺎﻯ ﺗﻼﻟﻮﻯ ﺁﻛﻮﺍﺭﻳﻮﻣﻰ ﺁﺏ ﺑﻮﺩ ﺭﻭﻯ ﺭﺍﻩ ﻭ ﺭﻭﻯ ﺩﻳﻮﺍﺭﻩﻫﺎﻯ‬ ‫ﺭﺩ ﻻﺳﺘﻴﻚ ﺗﺮﻳﻠﺮ ﻫﻴﻮﻻﻳﻰ ﺍﺣﺪﺍﺙ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺧﻴﻠﻰ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﭼﺮﺥ ﺗﺮﻳﻠﺮ ﺯﻣﻴﻦ ﺭﺍ ﮔﻮﺩ ﻛﺮﺩﻩ‪،‬‬ ‫ﺩﻳﻮﺍﺭﻩﻫﺎﻳﻰ ﺑﻪ ﺍﺭﺗﻔﺎﻉ ﻗﺎﻣﺖ ﺩﺧﺘﺮﻙ ﺩﻭ ﻃﺮﻑ ﺭﺍﻩ ﺑﺮ ﺁﻭﺭﺩﻩ ﺑﻮﺩ‪ .‬ﺩﺭ ﺭﻭﺯﻫﺎﻯ ﺁﺯﻣﺎﻳﺶ ﺳﻼﺡ ﺣﺮﺍﺭﺗﻰ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪32‬‬


‫ﻋﻠﻤﻰ ﺗﺨﻴﻠﻰ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﻣﻮﻧــــﺎ‬ ‫)‪(٢‬‬ ‫ﺁﺭﻣﺎﻥ ﺳﻼﺡ ﻭﺭﺯﻯ‬

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


‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻭﻗﺘﻰ ﮔﺮﻳﻪﺍﺵ ﺗﻤﺎﻡ ﻣﻰﺷﻮﺩ‪ ،‬ﭼﺎﻗﻮ ﺭﺍ ﺑﺮ ﻣﻰﺩﺍﺭﺩ ﻭ ﺧﻮﺩﺵ ﺭﺍ ﺟﻤﻊ ﻭ ﺟﻮﺭ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺁﻓﺘﺎﺑﻰ ﺑﺎ ﭘﺎﻫﺎﻳﻰ ﻟﺮﺯﺍﻥ ﻛﻨﺎﺭ ﺍﻭ ﻣﻰﺍﻳﺴﺘﺪ‪ .‬ﺑﺪﻭﻥ ﺷﺎﺥ ﻭ ﺑﺎﻝﻫﺎﻳﺶ ﺧﻴﻠﻰ ﻛﻮﭼﻚﺗﺮ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ‪.‬‬ ‫ﺩﺳﺘﺎﻥ ﺑﺎﺭﺑﺎﺭﺍ ﺧﻴﺲ ﻭ ﻟﻐﺰﺍﻧﻨﺪ‪ ،‬ﺍﻣﺎ ﻣﺸﺘﺶ ﺑﻪ ﺩﻭﺭ ﭼﺎﻗﻮ ﺭﺍ ﻣﺤﻜﻢﺗﺮ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻧﺎﮔﻬﺎﻥ ﺁﻓﺘﺎﺑﻰ ﻣﻰﮔﻮﻳﺪ‪» :‬ﻧﻪ‪ .‬ﺣﺘﺎ ﺑﺮﺍﻯ ﭼﻨﻴﻦ ﭼﻴﺰﻯ ﻫﻢ ﻧﻪ‪«.‬‬ ‫ﺑﻌﺪ ﻣﻰﭼﺮﺧﺪ ﻭ ﺷﺮﻭﻉ ﺑﻪ ﺩﻭﻳﺪﻥ ﻣﻰﻛﻨﺪ؛ ﺍﻭ ﺑﻪ ﺳﺮﻋﺖ ﻭ ﺯﻳﺒﺎﻳﻰ ﻳﻚ ﭘﻮﻧﻰ ﻭﺍﻗﻌﻰ‪ ،‬ﻳﻮﺭﺗﻤﻪ ﺑﻪ ﻃﺮﻑ‬ ‫ﻧﺮﺩﻩ ﻣﻰﺭﻭﺩ؛ ﻭﻟﻰ ﺑﻘﻴﻪ ﻫﻨﻮﺯ ﻫﺴﺘﻨﺪ ﻭ ﺁﻥﻫﺎ ﺑﺰﺭﮔﺘﺮﻧﺪ ﻭ ﺁﻓﺘﺎﺑﻰ ﺑﺎﻟﻰ ﺑﺮﺍﻯ ﭘﺮﻳﺪﻥ ﻭ ﺷﺎﺧﻰ ﺑﺮﺍﻯ‬ ‫ﺟﻨﮕﻴﺪﻥ ﻧﺪﺍﺭﺩ‪ .‬ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺑﺘﻮﺍﻧﺪ ﺍﺯ ﺭﻭﻯ ﻧﺮﺩﻩ ﺑﻪ ﺟﻨﮕﻞ ﭘﺸﺖ ﺧﺎﻧﻪ ﺑﭙﺮﺩ‪ ،‬ﺑﻘﻴﻪ ﺍﻭ ﺭﺍ ﭘﺎﻳﻴﻦ‬ ‫ﻣﻰﻛﺸﻨﺪ‪ .‬ﺁﻓﺘﺎﺑﻰ ﻓﺮﻳﺎﺩ ﻣﻰﻛﺸﺪ ﻭ ﺑﻌﺪ ﺩﻳﮕﺮ ﻫﻴﭻ ﺻﺪﺍﻳﻰ‪ ،‬ﺟﺰ ﺻﺪﺍﻯ ﺳﻢﻫﺎﻯ ﻛﻮﺑﺎﻥ ﺣﻠﻘﻪﻯ‬ ‫ﭘﻮﻧﻰﻫﺎ ﺑﻪ ﮔﻮﺵ ﻧﻤﻰﺭﺳﺪ‪.‬‬ ‫»ﺳﺎﻳﺮ ﺩﺧﺘﺮﻫﺎ« ﺧﺸﻜﻴﺪﻩ ﺩﺭ ﺟﺎ ﺍﻳﺴﺘﺎﺩﻩﺍﻧﺪ‪ .‬ﺻﻮﺭﺕﻫﺎﻯ ﺑﻰﺍﺣﺴﺎﺳﺸﺎﻥ ﺑﻪ ﻃﺮﻑ ﭘﻮﻧﻰﻫﺎ ﭼﺮﺧﻴﺪﻩ‬ ‫ﺍﺳﺖ‪.‬‬ ‫ﭘﻮﻧﻰﻫﺎ ﺣﻠﻘﻪﻯ ﺧﻮﺩ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩﻩ ﻭ ﺩﻭﺭ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺑﻪ ﺟﺰ ﺍﻓﺸﺎﻧﻪﺍﻯ ﺍﺯ ﺧﻮﻥ ﭘﺸﻤﻜﻰ ﻭ ﺣﻠﻘﻪﺍﻯ ﺍﺯ‬ ‫ﻳﺎﻝ ﺩﺭﺧﺸﺎﻥ ﺁﻓﺘﺎﺑﻰ ﻛﻪ ﻛﻨﺪﻩ ﺷﺪﻩ ﻭ ﺩﺭ ﺣﻴﻦ ﻓﺮﻭ ﺍﻓﺘﺎﺩﻥ ﺑﻪ ﺭﻭﻯ ﭼﻤﻦ ﻣﺤﻮ ﻣﻰﺷﻮﺩ‪ ،‬ﻫﻴﭻ ﭼﻴﺰ‬ ‫ﺩﻳﮕﺮﻯ ﺑﺎﻗﻰ ﻧﻤﺎﻧﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﻣﻴﺎﻥ ﺳﻜﻮﺕ‪» ،‬ﺩﺧﺘﺮ ﺑﺮﺗﺮ« ﻣﻰﮔﻮﻳﺪ‪» :‬ﻛﺴﻰ ﻛﻠﻮﭼﻪ ﻧﻤﻰﺧﻮﺍﻫﺪ؟«‬ ‫ﺻﺪﺍﻳﺶ ﻟﺮﺯﺍﻥ ﻭ ﺩﺭﻭﻏﻴﻦ ﺍﺳﺖ‪» .‬ﺳﺎﻳﺮ ﺩﺧﺘﺮﺍﻥ« ﺗﻮﻯ ﺧﺎﻧﻪ ﺟﻤﻊ ﻣﻰﺷﻮﻧﺪ ﻭ ﺑﺎ ﺻﺪﺍﻫﺎﻳﻰ ﺑﻪ ﻫﻤﺎﻥ‬ ‫ﺍﻧﺪﺍﺯﻩ ﺩﺭﻭﻏﻴﻦ‪ ،‬ﻣﺸﻐﻮﻝ ﮔﭗ ﻭ ﮔﻔﺘﮕﻮ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺑﻌﺪ ﻳﻚ ﺑﺎﺯﻯ ﺭﺍﻩ ﻣﻰﺍﻧﺪﺍﺯﻧﺪ ﻭ ﻛﻤﻰ ﺑﻴﺸﺘﺮ ﺍﺯ‬ ‫ﻛﻮﻛﺎﻫﺎﻯ ﺭژﻳﻤﻰ ﺧﻮﺩ ﻣﻰﻧﻮﺷﻨﺪ‪.‬‬ ‫ﺑﺎﺭﺑﺎﺭﺍ ﺗﻠﻮﺗﻠﻮﺧﻮﺭﺍﻥ ﺑﻪ ﺩﻧﺒﺎﻝ ﺁﻥﻫﺎ ﺑﻪ ﺍﺗﺎﻕ ﻧﺸﻴﻤﻦ ﻣﻰﺭﻭﺩ ﻭ ﺑﺎ ﺗﺮﺩﻳﺪ ﻣﻰﭘﺮﺳﺪ‪» :‬ﭼﻰ ﺑﺎﺯﻯ‬ ‫ﻣﻰﻛﻨﻴﺪ؟«‬ ‫»ﺩﺧﺘﺮ ﺍﻭﻝ« ﺍﻧﮕﺎﺭ ﻛﻪ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﻣﺘﻮﺟﻪ ﺍﻭ ﺷﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﻣﻰﮔﻮﻳﺪ‪» :‬ﺗﻮ ﺍﻳﻦﺟﺎ ﭼﻰ ﻛﺎﺭ ﻣﻰﻛﻨﻰ؟‬ ‫ﺗﻮ ﻛﻪ ﺍﺯ ﻣﺎ ﻧﻴﺴﺘﻰ!«‬ ‫»ﺳﺎﻳﺮ ﺩﺧﺘﺮﺍﻥ« ﺳﺮﻯ ﺗﻜﺎﻥ ﻣﻰﺩﻫﻨﺪ ﻭ ﻣﻰﮔﻮﻳﻨﺪ‪» :‬ﺗﻮ ﭘﻮﻧﻰ ﻧﺪﺍﺭﻯ‪«.‬‬

‫‪29‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﺑﻌﺪ ﻳﻚ ﭼﺎﻗﻮ ﺑﺎ ﺗﻴﻐﻪﺍﻯ ﺧﻤﻴﺪﻩ ﺑﻪ ﺩﺭﺍﺯﺍﻯ ﺩﺳﺖ ﻳﻚ ﺯﻥ ﺑﻪ ﺑﺎﺭﺑﺎﺭﺍ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﺑﺎﺭﺑﺎﺭﺍ ﻣﻰﮔﻮﻳﺪ‪» :‬ﻣﻦ؟ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻡ ﻳﻚ ﻧﻔﺮ ﺩﻳﮕﺮ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻣﻰﻛﻨﺪ‪ .‬ﻳﻚ ﺁﺩﻡ ﺑﺰﺭگ‪«.‬‬ ‫»ﺩﺧﺘﺮ ﺑﺮﺗﺮ« ﻣﻰﮔﻮﻳﺪ‪» :‬ﻫﺮ ﻛﺴﻰ ﻣﺎﻝ ﺧﻮﺩﺵ ﺭﺍ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﺪ‪ .‬ﺧﻮﺩ ﻣﻦ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺑﺮﺍﻯ‬ ‫ﺷﻜﻮﻓﻪﻯ ﺳﺘﺎﺭﻩ ﻛﺮﺩﻡ‪«.‬‬ ‫ﺁﻓﺘﺎﺑﻰ ﺩﺭ ﺳﻜﻮﺕ ﻳﻜﻰ ﺍﺯ ﺑﺎﻝﻫﺎﻳﺶ ﺭﺍ ﺑﺎﺯ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻗﻄﻊ ﺍﻋﻀﺎﻯ ﻳﻚ ﭘﻮﻧﻰ ﻭﺍﻗﻌﻰ‪ ،‬ﺁﻥ ﻃﻮﺭ ﻛﻪ ﺑﺎﻳﺪ ﺑﺎﺷﺪ ﻧﻴﺴﺖ‪ .‬ﺑﺎﻝ ﺑﻪ ﺭﺍﺣﺘﻰ‪ ،‬ﺍﻧﮕﺎﺭ ﻳﻚ ﺗﻜﻪ ﭘﻼﺳﺘﻴﻚ‬ ‫ﺑﺎﺷﺪ‪ ،‬ﺍﺯ ﺟﺎ ﺩﺭ ﻣﻰﺁﻳﺪ ﻭ ﺧﻮﻥ ﻫﻢ ﺑﻮﻯ ﭘﺸﻤﻜﻰ ﺭﺍ ﻣﻰﺩﻫﺪ ﻛﻪ ﺗﻮﻯ ﺷﻬﺮﺑﺎﺯﻯﻫﺎ ﻣﻰﻓﺮﻭﺷﻨﺪ‪ .‬ﺣﺎﻻ‬ ‫ﻳﻚ ﺑﻴﻀﻰ ﺩﺭﺧﺸﺎﻥ ﺟﺎﻯ ﺳﺎﺑﻖ ﺑﺎﻝ ﻗﺮﺍﺭ ﺩﺍﺭﺩ؛ ﺩﺭﺳﺖ ﻣﺜﻞ ﺍﻳﻦ ﻛﻪ ﺑﺎﺭﺑﺎﺭﺍ ﻳﻚ ﺭﺍﺣﺖﺍﻟﺤﻠﻘﻮﻡ ﺑﺎ‬ ‫ﻃﻌﻢ ﮔﻞ ﺭﺍ ﺍﺯ ﻣﻴﺎﻥ ﺑﻪ ﺩﻭ ﻧﻴﻢ ﻛﻨﺪ ﻭ ﺭﻧﮓ ﺻﻮﺭﺗﻰ ﺯﻳﺮ ﻻﻳﻪﻯ ﺷﻜﺮ ﺭﺍ ﺑﺒﻴﻨﺪ‪ .‬ﺑﺎ ﺧﻮﺩﺵ ﻓﻜﺮ ﻣﻰﻛﻨﺪ‬ ‫ﭼﻘﺪﺭ ﻗﺸﻨﮓ ﺍﺳﺖ‪ ،‬ﻭ ﺑﻌﺪ ﺑﺎﻻ ﻣﻰﺁﻭﺭﺩ‪.‬‬ ‫ﺁﻓﺘﺎﺑﻰ ﺑﻪ ﺧﻮﺩ ﻣﻰﻟﺮﺯﺩ ﻭ ﭼﺸﻤﺎﻧﺶ ﺭﺍ ﻣﺤﻜﻢ ﺑﺴﺘﻪ ﺍﺳﺖ‪ .‬ﺑﺎﺭﺑﺎﺭﺍ ﺑﺎﻝ ﺩﻭﻡ ﺭﺍ ﻫﻢ ﻣﻰﺑﺮﺩ ﻭ ﺁﻥ ﺭﺍ‬ ‫ﻛﻨﺎﺭ ﺑﺎﻝ ﺍﻭﻟﻰ ﻣﻰﮔﺬﺍﺭﺩ‪.‬‬ ‫ﻛﺎﺭ ﺑﺎ ﺷﺎﺥ ﺳﺨﺖﺗﺮ ﺍﺳﺖ؛ ﺍﻧﮕﺎﺭ ﺑﺨﻮﺍﻫﻰ ﺳﻢ ﻳﻚ ﭘﻮﻧﻰ ﻭﺍﻗﻌﻰ ﺭﺍ ﻧﻌﻞ ﻛﻨﻰ‪ .‬ﺩﺳﺖ ﺑﺎﺭﺑﺎﺭﺍ ﺩﺭ ﻣﻰﺭﻭﺩ‬ ‫ﻭ ﺻﻮﺭﺕ ﺁﻓﺘﺎﺑﻰ ﺯﺧﻢ ﻣﻰﺷﻮﺩ ﻭ ﺑﺎﺯ ﺧﻮﻥ ﺑﺎ ﺑﻮﻯ ﭘﺸﻤﻚ ﺭﺍﻩ ﻣﻰﺍﻓﺘﺪ‪ .‬ﻭ ﻋﺎﻗﺒﺖ ﺷﺎﺥ ﻫﻢ ﻛﻨﺎﺭ ﺑﺎﻝﻫﺎ‬ ‫ﺭﻭﻯ ﭼﻤﻦ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ‪.‬‬ ‫ﺁﻓﺘﺎﺑﻰ ﺑﻪ ﺯﺍﻧﻮ ﻣﻰﺍﻓﺘﺪ‪ .‬ﺑﺎﺭﺑﺎﺭﺍ ﭼﺎﻗﻮ ﺭﺍ ﺍﻧﺪﺍﺧﺘﻪ ﻭ ﺑﺎ ﻫﻖﻫﻖ ﻭ ﺳﻜﺴﻜﻪ‪ ،‬ﻛﻨﺎﺭ ﺍﻭ ﻣﻰﺍﻓﺘﺪ‪ .‬ﺑﻌﺪ ﺑﺎ ﭘﺸﺖ‬ ‫ﺩﺳﺖ ﺻﻮﺭﺗﺶ ﺭﺍ ﭘﺎﻙ ﻛﺮﺩﻩ ﻭ ﺑﻪ ﺑﺎﻻ‪ ،‬ﺑﻪ ﺣﻠﻘﻪﻯ ﺩﻭﺭﺷﺎﻥ ﻧﮕﺎﻫﻰ ﻣﻰﺍﻧﺪﺍﺯﺩ‪.‬‬ ‫ﺷﻜﻮﻓﻪﻯ ﺳﺘﺎﺭﻩ ﺑﺎ ﺩﻣﺎﻏﺶ ﭼﺎﻗﻮ ﺭﺍ ﻟﻤﺲ ﻣﻰﻛﻨﺪ ﻭ ﺑﺎ ﻳﻜﻰ ﺍﺯ ﺳﻢﻫﺎﻯ ﻳﺎﺳﻰﺭﻧﮕﺶ‪ ،‬ﺁﻥ ﺭﺍ ﺑﻪ ﻃﺮﻑ‬ ‫ﺑﺎﺭﺑﺎﺭﺍ ﻫﻞ ﻣﻰﺩﻫﺪ‪» .‬ﺩﺧﺘﺮ ﺑﺮﺗﺮ« ﻣﻰﮔﻮﻳﺪ‪» :‬ﺣﺎﻻ ﺻﺪﺍ‪ .‬ﺑﺎﻳﺪ ﺻﺪﺍﻳﺶ ﺭﺍ ﺑﺒﺮﻯ‪«.‬‬ ‫»ﻭﻟﻰ ﻣﻦ ﻛﻪ ﺑﺎﻝﻫﺎ ﻭ ﺷﺎﺧﺶ ﺭﺍ ﺑﺮﻳﺪﻡ!« ﺑﻌﺪ ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ ﺑﻪ ﺣﺎﻟﺖ ﻣﺤﺎﻓﻈﺖ ﺩﻭﺭ ﮔﺮﺩﻥ ﺁﻓﺘﺎﺑﻰ‬ ‫ﺣﻠﻘﻪ ﻣﻰﻛﻨﺪ ﻭ ﺍﺩﺍﻣﻪ ﻣﻰﺩﻫﺪ‪» :‬ﺧﻮﺩﺗﺎﻥ ﮔﻔﺘﻴﺪ ﺩﻭ ﺗﺎ ﺍﺯ ﺳﻪ ﺗﺎ!«‬ ‫»ﺩﺧﺘﺮ ﺑﺮﺗﺮ« ﻣﻰﮔﻮﻳﺪ‪» :‬ﺑﻠﻪ‪ ،‬ﺑﺮﻳﺪﻥ ﻫﻤﻴﻦ ﺍﺳﺖ‪ .‬ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﻪ ﻳﻜﻰ ﺍﺯ ﻣﺎ ﺷﻮﻯ‪ ،‬ﺍﻳﻦ ﺗﻮﻳﻰ ﻛﻪ ﺑﺎﻳﺪ‬ ‫ﺩﻭ ﺗﺎ ﺭﺍ ﺑﺒﺮﻯ‪ .‬ﻭﻟﻰ ﭘﻮﻧﻰﻫﺎ ﺧﻮﺩﺷﺎﻥ ﺩﻭﺳﺘﺎﻧﺸﺎﻥ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻭ ﺍﻳﻦ ﻛﺎﺭ ﻫﻢ ﻫﺰﻳﻨﻪ ﺩﺍﺭﺩ‪«.‬‬ ‫ﺷﻜﻮﻓﻪﻯ ﺳﺘﺎﺭﻩ ﻳﺎﻝﻫﺎﻯ ﺑﻨﻔﺸﻪﺭﻧﮕﺶ ﺭﺍ ﭘﺸﺖ ﺳﺮ ﻣﻰﺍﻧﺪﺍﺯﺩ‪ .‬ﺑﺎﺭﺑﺎﺭﺍ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﻣﺘﻮﺟﻪ ﻣﻰﺷﻮﺩ‬ ‫ﻛﻪ ﻳﻚ ﺯﺧﻢ ﺑﻪ ﺷﻜﻞ ﻟﺒﺨﻨﺪ ﺭﻭﻯ ﮔﺮﺩﻥ ﺍﻭﺳﺖ‪ .‬ﻫﻤﻪﻯ ﭘﻮﻧﻰﻫﺎ ﭼﻨﻴﻦ ﺯﺧﻤﻰ ﺭﺍ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﺑﺎﺭﺑﺎﺭﺍ ﻓﺮﻳﺎﺩ ﻣﻰﺯﻧﺪ‪» :‬ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻧﻤﻰﻛﻨﻢ!«‬ ‫ﻭﻟﻰ ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺍﺯ ﺷﺪ ﮔﺮﻳﻪ ﺻﻮﺭﺗﺶ ﺧﻴﺲ ﻭ ﺯﺷﺖ ﻣﻰﺷﻮﺩ‪ ،‬ﻣﻰﺩﺍﻧﺪ ﻛﻪ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻣﻰﻛﻨﺪ ﻭ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪28‬‬


‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻧﺰﺩﻳﻚ ﻣﻰﺷﻮﺩ‪ .‬ﺁﻥﻫﺎ ﺩﺭ ﺳﻜﻮﺕ ﺷﺎﺥ ﻭ ﺑﺎﻝﻫﺎﻯ ﺍﻭ ﺭﺍ ﺑﺎ ﺩﻣﺎﻍ ﻣﺨﻤﻠﻴﻦ ﺧﻮﺩ ﻟﻤﺲ ﻣﻰﻛﻨﻨﺪ ﻭ‬ ‫ﺑﻌﺪ ﺗﻤﺎﻡ ﭘﻮﻧﻰﻫﺎ ﻳﻮﺭﺗﻤﻪ ﺑﻪ ﺳﻤﺖ ﺁﻏﻞ ﻳﺎﺱﻫﺎ ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﻣﺮﺗﻊ ﻣﻰﺭﻭﻧﺪ؛ ﺁﻥﺟﺎ ﻳﻚ ﻋﺪﻝ ﻳﻮﻧﺠﻪﻯ‬ ‫ﺗﺎﺯﻩ ﺑﺎﺯ ﻛﺮﺩﻩﺍﻧﺪ‪.‬‬ ‫»ﺩﺧﺘﺮ ﺑﺮﺗﺮ« ﺟﻠﻮﻯ ﺣﺼﺎﺭ ﺧﺎﻧﻪ ﺑﻪ ﺑﺎﺭﺑﺎﺭﺍ ﻣﻰﺭﺳﺪ ﻭ ﺑﺪﻭﻥ ﺳﻼﻡ ﻭ ﺍﺣﻮﺍﻟﭙﺮﺳﻰ ﻣﻰﮔﻮﻳﺪ‪» :‬ﭘﻮﻧﻰ ﺗﻮ‬ ‫ﻫﻤﻴﻦ ﺍﺳﺖ؟ ﺑﻪ ﻗﺸﻨﮕﻰ ﺷﻜﻮﻓﻪﻯ ﺳﺘﺎﺭﻩ ﻛﻪ ﻧﻴﺴﺖ‪«.‬‬ ‫ﺑﺎﺭﺑﺎﺭﺍ ﺟﺒﻬﻪ ﻣﻰﮔﻴﺮﺩ ﻭ ﻣﻰﮔﻮﻳﺪ‪» :‬ﺧﻴﻠﻰ ﻗﺸﻨﮓ ﺍﺳﺖ!« ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﻛﺎﺭﺵ ﺍﺷﺘﺒﺎﻩ ﺍﺳﺖ ﻭ ﺑﻪ ﻫﻤﻴﻦ‬ ‫ﺧﺎﻃﺮ ﺳﺮﻳﻊ ﺍﺿﺎﻓﻪ ﻣﻰﻛﻨﺪ‪» :‬ﻣﺎﻝ ﺗﻮ ﻫﻢ ﻗﺸﻨﮓ ﺍﺳﺖ!«‬ ‫ﻭ ﭘﻮﻧﻰ »ﺩﺧﺘﺮ ﺑﺮﺗﺮ« ﻭﺍﻗﻌﺎً ﻫﻢ ﻗﺸﻨﮓ ﺍﺳﺖ‪ :‬ﺩﻣﺶ ﺗﻤﺎﻣﻰ ﻃﻴﻒﻫﺎﻯ ﺑﻨﻔﺶ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﺩﺍﺭﺩ ﻭ ﻣﺜﻞ‬ ‫ﺳﺘﺎﺭﻩ ﭼﺸﻤﻚ ﻣﻰﺯﻧﺪ‪ .‬ﺍﻣﺎ ﺩﻡ ﺁﻓﺘﺎﺑﻰ ﺳﻔﻴﺪ ﺷﻴﺮﻯ ﺍﺳﺖ ﻭ ﺑﺎ ﺟﺮﻗﻪﻫﺎﻯ ﻋﺴﻠﻰ ﺑﺮﻕ ﻣﻰﺯﻧﺪ ﻭ ﺑﺎﺭﺑﺎﺭﺍ‬ ‫ﻣﻄﻤﺌﻦ ﺍﺳﺖ ﺁﻓﺘﺎﺑﻰ ﺯﻳﺒﺎﺗﺮﻳﻦ ﭘﻮﻧﻰ ﺩﻧﻴﺎ ﺍﺳﺖ‪.‬‬ ‫»ﺩﺧﺘﺮ ﺑﺮﺗﺮ« ﺩﻭﺭ ﻣﻰﺷﻮﺩ ﻭ ﺍﺯ ﺳﺮ ﺷﺎﻧﻪ ﻣﻰﮔﻮﻳﺪ‪» :‬ﻳﻚ ﮔﺮﻭﻩ ﻣﻮﺳﻴﻘﻰ ﺩﺭ ﺍﺗﺎﻕ ﻧﺸﻴﻤﻦ ﺩﺍﺭﻳﻢ ﻭ‬ ‫ﭼﻨﺪ ﺗﺎ ﺍﺯ »ﺳﺎﻳﺮ ﺩﺧﺘﺮﺍﻥ« ﺗﻮﻯ ﺣﻴﺎﻁ ﺟﻤﻌﻨﺪ ﻭ ﻣﺎﺩﺭﻡ ﻛﻠﻮﭼﻪ ﺧﺮﻳﺪﻩ ﻭ ﻛﻮﻛﺎﻯ ﺯﻳﺮﻭ ﻭ ﺭﺩ ﺑﻮﻝ ﻭ‬ ‫ﻟﻴﻤﻮﻧﺎﺩ ﺭژﻳﻤﻰ ﻫﻢ ﺩﺍﺭﻳﻢ‪«.‬‬ ‫ﺑﺎﺭﺑﺎﺭﺍ ﻣﻰﭘﺮﺳﺪ‪» :‬ﺗﻮ ﻛﺠﺎ ﻣﻰﭼﺮﺧﻰ؟«‬ ‫»ﺩﺧﺘﺮ ﺑﺮﺗﺮ« ﻣﻰﮔﻮﻳﺪ‪» :‬ﺑﻴﺮﻭﻥ‪«.‬‬ ‫ﭘﺲ ﺑﺎﺭﺑﺎﺭﺍ ﻳﻚ ﻧﻮﺭ ﻛﺮﻳﺴﺘﺎﻝ ﻭ ﺳﻪ ﺗﺎ ﻛﻠﻮﭼﻪﻯ ﻛﺸﻤﺸﻰ ﺷﻜﺮﭘﻮﺵ ﺑﺮ ﻣﻰﺩﺍﺭﺩ ﻭ ﺩﻧﺒﺎﻝ ﺍﻭ ﻣﻰﺭﻭﺩ‪.‬‬ ‫»ﺳﺎﻳﺮ ﺩﺧﺘﺮﺍﻥ« ﺑﻴﺮﻭﻥ ﺩﺍﺭﻧﺪ ﺑﻪ ﺁﻯﭘﺎﺩﻯ ﮔﻮﺵ ﻣﻰﺩﻫﻨﺪ ﻛﻪ ﺑﻪ ﻳﻚ ﺑﻠﻨﺪﮔﻮ ﻭﺻﻞ ﺷﺪﻩ ﻭ ﺑﺎ ‪Wii‬‬ ‫ﺗﻨﻴﺲ ﺑﺎﺯﻯ ﻣﻰﻛﻨﻨﺪ ﻭ ﻣﺸﻐﻮﻝ ﺗﻤﺎﺷﺎﻯ ﭘﻮﻧﻰﻫﺎ ﻫﺴﺘﻨﺪ ﻛﻪ »ﻗﺎﻳﻢﺑﺎﺷﻚ«‪» ،‬ﻛﻰ ﺍﺯ ﻫﻤﻪ ﻗﺸﻨﮓﺗﺮ‬ ‫ﺍﺳﺖ« ﻭ »ﺍﻳﻦ ﺑﻬﺘﺮﻳﻦ ﺑﺎﺯﻯ ﺩﻧﻴﺎﺳﺖ« ﺭﺍ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﻨﺪ‪ .‬ﻫﻤﻪﺷﺎﻥ ﻫﻤﺎﻥﺟﺎ ﻫﺴﺘﻨﺪ؛ »ﺩﺧﺘﺮ ﺩﻭﻡ«‬ ‫ﻭ »ﺩﺧﺘﺮ ﺑﺎﻣﺤﺒﺖ« ﻭ »ﺩﺧﺘﺮ ﻣﺤﺒﻮﺏ ﻫﻤﻪ«‪ .‬ﺑﺎﺭﺑﺎﺭﺍ ﺗﻨﻬﺎ ﻭﻗﺘﻰ ﺣﺮﻑ ﻣﻰﺯﻧﺪ ﻛﻪ ﺍﺯ ﺧﻮﺏ ﺑﻮﺩﻥ‬ ‫ﺣﺮﻓﺶ ﻣﻄﻤﺌﻦ ﺑﺎﺷﺪ‪.‬‬ ‫ﻭ ﺑﻌﺪ ﻭﻗﺘﺶ ﻣﻰﺭﺳﺪ‪» .‬ﺳﺎﻳﺮ ﺩﺧﺘﺮﺍﻥ« ﻭ ﭘﻮﻧﻰﻫﺎﻯ ﺑﻰﺻﺪﺍ ﺩﺭ ﺣﻠﻘﻪﺍﻯ ﺑﻪ ﺩﻭﺭ ﺑﺎﺭﺑﺎﺭﺍ ﻭ ﺁﻓﺘ���ﺑﻰ ﺟﻤﻊ‬ ‫ﻣﻰﺷﻮﻧﺪ‪ .‬ﺑﺎﺭﺑﺎﺭﺍ ﺣﺎﻟﺖ ﺗﻬﻮﻉ ﺩﺍﺭﺩ‪.‬‬ ‫»ﺩﺧﺘﺮ ﺑﺮﺗﺮ« ﺑﻪ ﺑﺎﺭﺑﺎﺭﺍ ﻣﻰﮔﻮﻳﺪ‪» :‬ﭼﻰ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩﻩ؟«‬ ‫ﺁﻓﺘﺎﺑﻰ ﻭﺣﺸﺖﺯﺩﻩ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ‪ ،‬ﺍﻣﺎ ﺧﻮﺩﺵ ﻣﺴﺘﻘﻴﻢ ﺟﻮﺍﺏ ﻣﻰﺩﻫﺪ‪» :‬ﺗﺮﺟﻴﺢ ﻣﻰﺩﻫﻢ ﺑﻪ ﺟﺎﻯ‬ ‫ﭘﺮﻭﺍﺯ ﻭ ﺳﻴﺨﻮﻧﻚ ﺯﺩﻥ ﺑﻪ ﻫﻤﻪ ﭼﻴﺰ ﺑﺎ ﺷﺎﺧﻢ‪ ،‬ﺑﺘﻮﺍﻧﻢ ﺣﺮﻑ ﺑﺰﻧﻢ‪«.‬‬ ‫»ﺩﺧﺘﺮ ﺑﺮﺗﺮ« ﺑﻪ ﺑﺎﺭﺑﺎﺭﺍ ﻣﻰﮔﻮﻳﺪ‪» :‬ﭘﻮﻧﻰﻫﺎ ﻫﻤﻪ ﺍﻭﻟﺶ ﻫﻤﻴﻦ ﺭﺍ ﻣﻰﮔﻮﻳﻨﺪ‪«.‬‬ ‫‪27‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﺩﺧﺘﺮﻛﺎﻥ ﺩﺍﺭﻧﺪ ﺑﺎ ﭼﺎﻗﻮﻫﺎﻯ ﺗﻴﻐﻪ ﺧﻤﻴﺪﻩ‪ ،‬ﺷﺎﺥ ﭘﻮﻧﻰ ﺭﺍ ﻣﻰﺑﺮﻧﺪ‪ .‬ﺑﺎﻝﻫﺎﻳﺶ ﺭﺍ ﻗﺒ ً‬ ‫ﻼ ﻛﻨﺪﻩﺍﻧﺪ ﻭ ﺭﻭﻯ‬ ‫ﻛﭙﻪﺍﻯ ﻛﻨﺎﺭ ﻣﺮﺗﻊ ﮔﺬﺍﺷﺘﻪﺍﻧﺪ‪.‬‬ ‫ﺷﻤﺎ ﻭ ﭘﻮﻧﻰﺗﺎﻥ –ﻭ ﺩﺭ ﺍﻳﻦ ﻗﺴﻤﺖ ﺍﺳﻢ ﺁﻓﺘﺎﺑﻰ ﺑﺎ ﺣﺮﻭﻓﻰ ﭘﻒﺩﺍﺭ‪ ،‬ﺑﺎ ﺩﺳﺖ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺑﻮﺩ– ﺑﻪ‬ ‫ﻣﻬﻤﺎﻧﻰ ﺑﺮﻳﺪﻥ ﺍﻋﻀﺎ ﺑﺎ »ﺳﺎﻳﺮ ﺩﺧﺘﺮﺍﻥ« ﺩﻋﻮﺗﻴﺪ! ﺍﮔﺮ ﺍﺯ ﺗﻮ ﺧﻮﺷﻤﺎﻥ ﺑﻴﺎﻳﺪ‪ ،‬ﻭ ﺍﮔﺮ ﭘﻮﻧﻰﺍﺕ ﻋﻴﺐ ﻭ‬ ‫ﺍﻳﺮﺍﺩﻯ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺍﺟﺎﺯﻩ ﻣﻰﺩﻫﻴﻢ ﺑﺎ ﻣﺎ ﺩﻭﺳﺖ ﺷﻮﻯ‪.‬‬ ‫ﺁﻓﺘﺎﺑﻰ ﻣﻰﮔﻮﻳﺪ‪» :‬ﻣﻰﺧﻮﺍﻫﻢ ﻫﺮ ﭼﻪ ﺯﻭﺩﺗﺮ ﺩﻭﺳﺖ ﭘﻴﺪﺍ ﻛﻨﻢ!« ﺍﻭ ﺍﺯ ﺳﺮ ﺷﺎﻧﻪﻯ ﺑﺎﺭﺑﺎﺭﺍ ﺧﻢ ﺷﺪﻩ‬ ‫ﻭ ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺩﻋﻮﺕﻧﺎﻣﻪ ﺭﺍ ﻣﻰﺧﻮﺍﻧﺪ‪ ،‬ﻧﻔﺲﻫﺎﻳﺶ ﻛﻪ ﺑﻮﻯ ﮔﻞ ﻣﻰﺩﻫﻨﺪ ﻣﻮﻫﺎﻯ ﺑﺎﺭﺑﺎﺭﺍ ﺭﺍ ﺗﻜﺎﻥ‬ ‫ﻣﻰﺩﻫﻨﺪ‪ .‬ﺁﻥﻫﺎ ﺗﻮﻯ ﺣﻴﺎﻁ ﭘﺸﺘﻰ‪ ،‬ﻛﻨﺎﺭ ﻣﻴﺰ ﺻﻮﺭﺗﻰ ﺳﺎﻧﻰ ﺍﻳﺴﺘﺎﺩﻩﺍﻧﺪ‪.‬‬ ‫ﺑﺎﺭﺑﺎﺭﺍ ﻣﻰﮔﻮﻳﺪ‪» :‬ﺗﺼﻤﻴﻢ ﮔﺮﻓﺘﻰ ﻛﺠﺎ ﺭﺍ ﻧﮕﻪ ﺩﺍﺭﻯ؟«‬ ‫ﻭﻗﺘﻰ ﺁﻓﺘﺎﺑﻰ ﺑﻪ ﻫﻮﺍ ﭘﺮﻳﺪﻩ ﻭ ﭼﺮﺧﻰ ﻣﻰﺯﻧﺪ‪ ،‬ﺑﺎﻝﻫﺎﻯ ﻛﻮﭼﻜﺶ ﻣﺤﻮ ﻭ ﺗﺎﺭ ﻣﻰﺷﻮﻧﺪ؛ ﺑﻌﺪ ﺷﻨﺎﻭﺭ‬ ‫ﻣﻰﺷﻮﺩ ﻭ ﭘﺎﻫﺎﻳﺶ ﺭﺍ ﺯﻳﺮ ﺗﻨﺶ ﺟﻤﻊ ﻣﻰﻛﻨﺪ‪» .‬ﺍﻭﻩ‪ ،‬ﻣﻌﻠﻮﻡ ﺍﺳﺖ ﻛﻪ ﺣﺮﻑ ﺯﺩﻥ ﺭﺍ! ﭘﺮﻭﺍﺯ ﻣﺤﺸﺮ‬ ‫ﺍﺳﺖ‪ ،‬ﻭﻟﻰ ﺣﺮﻑ ﺯﺩﻥ ﺧﻴﻠﻰ ﺧﻴﻠﻰ ﺑﻬﺘﺮ ﺍﺳﺖ!« ﺑﻌﺪ ﺭﻭﻯ ﭼﻤﻦﻫﺎ ﻓﺮﻭﺩ ﻣﻰﺁﻳﺪ ﻭ ﻣﻰﮔﻮﻳﺪ‪:‬‬ ‫»ﻧﻤﻰﻓﻬﻤﻢ ﭼﺮﺍ ﻳﻚ ﭘﻮﻧﻰ ﺑﺎﻳﺪ ﺑﺨﻮﺍﻫﺪ ﺷﺎﺧﺶ ﺭﺍ ﻧﮕﻪ ﺩﺍﺭﺩ! ﺑﻪ ﻫﺮ ﺣﺎﻝ ﺷﺎﺥ ﻛﻪ ﻣﺼﺮﻓﻰ ﻧﺪﺍﺭﺩ‪«.‬‬ ‫ﺍﺯ ﺯﻣﺎﻧﻰ ﻛﻪ ﭘﻮﻧﻰﻫﺎ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪﺍﻧﺪ‪ ،‬ﺍﻭﺿﺎﻉ ﻫﻤﻴﻦﻃﻮﺭ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺗﻤﺎﻡ ﭘﻮﻧﻰﻫﺎ ﺑﺎﻝ ﺩﺍﺭﻧﺪ‪ .‬ﺗﻤﺎﻡ‬ ‫ﭘﻮﻧﻰﻫﺎ ﺷﺎﺥ ﺩﺍﺭﻧﺪ‪ .‬ﺗﻤﺎﻡ ﭘﻮﻧﻰﻫﺎ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺣﺮﻑ ﺑﺰﻧﻨﺪ‪ .‬ﺑﻌﺪ ﻫﻤﻪﻯ ﭘﻮﻧﻰﻫﺎ ﺑﻪ ﻳﻚ ﻣﻬﻤﺎﻧﻰ ﺑﺮﻳﺪﻥ‬ ‫ﺍﻋﻀﺎ ﻣﻰﺭﻭﻧﺪ ﻭ ﺑﺎﻳﺪ ﺩﻭ ﺗﺎ ﺍﺯ ﺳﻪ ﺗﻮﺍﻧﺎﻳﻰﺷﺎﻥ ﺭﺍ ﻛﻨﺎﺭ ﺑﮕﺬﺍﺭﻧﺪ‪ ،‬ﭼﻮﻥ ﺍﮔﺮ ﺩﺧﺘﺮﻯ ﺑﺨﻮﺍﻫﺪ ﺑﺎ »ﺳﺎﻳﺮ‬ ‫ﺩﺧﺘﺮﺍﻥ« ﺑﭽﺮﺧﺪ‪ ،‬ﺑﺎﻳﺪ ﻫﻤﻴﻦ ﻛﺎﺭ ﺭﺍ ﺑﻜﻨﺪ‪ .‬ﺑﺎﺭﺑﺎﺭﺍ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﻫﻴﭻ ﭘﻮﻧﻰ ﺭﺍ ﻧﺪﻳﺪﻩ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﻣﻬﻤﺎﻧﻰ‬ ‫ﺑﺮﻳﺪﻥ ﺍﻋﻀﺎ‪ ،‬ﻫﻨﻮﺯ ﺷﺎﺥ ﻳﺎ ﺑﺎﻝﻫﺎﻳﺶ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﺑﺎﺭﺑﺎﺭﺍ ﭘﻮﻧﻰ »ﺳﺎﻳﺮ ﺩﺧﺘﺮﺍﻥ« ﺭﺍ ﻣﻰﺑﻴﻨﺪ ﻛﻪ ﺩﺭﺳﺖ ﻗﺒﻞ ﺍﺯ ﺯﻧﮓ ﺗﻔﺮﻳﺢ‪ ،‬ﺍﺯ ﭘﻨﺠﺮﻩ ﺑﻪ ﻛﻼﺱ ﺳﺮﻙ‬ ‫ﻣﻰﻛﺸﻨﺪ ﻳﺎ ﺑﻌﺪ ﺍﺯ ﻣﺪﺭﺳﻪ‪ ،‬ﺩﺭ ﺍﻳﺴﺘﮕﺎﻩ ﺍﺗﻮﺑﻮﺱ ﺍﺯﺩﺣﺎﻡ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻫﻤﻪﺷﺎﻥ ﺻﻮﺭﺗﻰ ﻟﻄﻴﻒ ﻭ ﺑﻨﻔﺶ‬ ‫ﻭ ﺯﺭﺩ ﻟﻴﻤﻮﻳﻰ ﻫﺴﺘﻨﺪ‪ ،‬ﻳﺎﻝﻫﺎﻯ ﺍﺑﺮﻳﺸﻤﻰﺷﺎﻥ ﺣﻠﻘﻪﺣﻠﻘﻪ ﺍﺳﺖ‪ ،‬ﻭ ﺩﻣﺸﺎﻥ ﭘﺮ ﭘﻴﭻ ﻭ ﺗﺎﺏ ﺗﺎ ﺯﻣﻴﻦ‬ ‫ﻣﻰﺭﺳﺪ‪» .‬ﺳﺎﻳﺮ ﺩﺧﺘﺮﺍﻥ« ﻫﺮ ﻭﻗﺖ ﻣﺪﺭﺳﻪ ﻳﺎ ﺗﻤﺮﻳﻦ ﻭﻳﻮﻟﻦﺳﻞ ﻳﺎ ﺑﺎﻟﻪ ﻳﺎ ﻓﻮﺗﺒﺎﻝ ﻳﺎ ﺑﺎﺯﻯ ﮔﺮﻭﻫﻰ ﻳﺎ‬ ‫ﻗﺮﺍﺭ ﺍﺭﺗﻮﺩﻧﺘﻴﺴﺖ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ ،‬ﺭﻭﺯﺷﺎﻥ ﺭﺍ ﺑﺎ ﭘﻮﻧﻰﻫﺎﻳﺸﺎﻥ ﻣﻰﮔﺬﺭﺍﻧﻨﺪ‪.‬‬ ‫‪‬ﻣﻬﻤﺎﻧﻰ ﺩﺭ ﺧﺎﻧﻪﻯ »ﺩﺧﺘﺮ ﺑﺮﺗﺮ« ﺑﺮﮔﺬﺍﺭ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻭ ﻣﺎﺩﺭﻯ ﺩﺍﺭﺩ ﻛﻪ ﭘﺰﺷﻚ ﺍﻃﻔﺎﻝ ﺍﺳﺖ ﻭ ﭘﺪﺭﻯ‬ ‫ﻛﻪ ﻣﺘﺨﺼﺺ ﻗﻠﺐ ﺍﺳﺖ ﻭ ﻳﻚ ﺁﻏﻞ ﻛﻮﭼﻚ ﻫﻢ ﺩﺍﺭﺩ ﻭ ﺩﺭﺧﺘﺎﻥ ﻏﻮﻝﭘﻴﻜﺮﻯ ﻣﺮﺗﻌﻰ ﺭﺍ ﻛﻪ ﭘﻮﻧﻰﻫﺎ‬ ‫ﺩﺭ ﺁﻥ ﻣﺸﻐﻮﻝ ﺑﺎﺯﻯ ﻫﺴﺘﻨﺪ‪ ،‬ﻏﺮﻕ ﺩﺭ ﺳﺎﻳﻪﻯ ﺧﻮﺩ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﺁﻓﺘﺎﺑﻰ ﻣﻀﻄﺮﺍﺏ ﻭ ﺩﻝﻧﮕﺮﺍﻥ ﺑﻪ ﺁﻥﻫﺎ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪26‬‬


‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﭘﻮﻧﻰﻫﺎ‬ ‫ﻛﻴﺞ ﺟﺎﻧﺴﻮﻥ‬ ‫ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

‫‪ ‬ﻛﺎﺭﺕ ﺩﻋﻮﺕ ﻃﺮﺣﻰ ﻭﺳﺘﺮﻥ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﺍﻣﺘﺪﺍﺩ ﺣﺎﺷﻴﻪﻫﺎﻯ ﺁﻥ‪ ،‬ﺩﺧﺘﺮﻛﺎﻧﻰ ﻛﺎﺭﺗﻮﻧﻰ‬ ‫ﺑﺎ ﻛﻼﻩﻫﺎﻯ ﻛﺎﺑﻮﻯ‪ ،‬ﮔﻠﻪﺍﻯ ﭘﻮﻧﻰ ﺭﺍ ﺩﻧﺒﺎﻝ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﭘﻮﻧﻰﻫﺎ ﭼﻨﺪﺍﻥ ﺑﺰﺭگﺗﺮ ﺍﺯ ﺩﺧﺘﺮﻫﺎ‬ ‫ﻧﻴﺴﺘﻨﺪ‪ ،‬ﺑﻪ ﺭﻧﮕﺎﺭﻧﮕﻰ ﭘﺮﻭﺍﻧﻪ‪ ،‬ﭼﺎﻕ ﻭ ﭼﻠﻪ‪ ،‬ﺑﺎ ﺷﺎﺥﻫﺎﻯ ﻛﻮﺗﺎﻩ ﻭ ﻧﻮﻙﭘﻬﻦ ﻳﻚ ﺗﻚﺷﺎﺥ‬ ‫ﻭ ﺑﺎﻝﻫﺎﻯ ﭘﻔﻰ ﻛﻮﭼﻚ ﻫﺴﺘﻨﺪ‪ .‬ﭘﺎﻳﻴﻦ ﻛﺎﺭﺕ‪ ،‬ﭘﻮﻧﻰﻫﺎﻯ ﺗﺎﺯﻩ ﺷﻜﺎﺭ ﺷﺪﻩ ﺩﺭ ﻣﺮﺗﻌﻰ‬ ‫ﻣﻰﭼﺮﺧﻨﺪ‪ .‬ﺩﺧﺘﺮﻫﺎ ﻳﻚ ﭘﻮﻧﻰ ﺳﻔﻴﺪ ﻭ ﺻﻮﺭﺗﻰ ﺭﺍ ﺑﻪ ﻛﻤﻨﺪ ﺍﻧﺪﺍﺧﺘﻪﺍﻧﺪ‪ .‬ﭼﺸﻤﺎﻥ ﻭ ﺩﻫﺎﻥ‬ ‫ﭘﻮﻧﻰ ﺑﻪ ﻧﺸﺎﻧﻪﻯ ﺗﻌﺠﺐ‪ ،‬ﮔﺮﺩ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺑﺎﻻﻯ ﺳﺮﺵ ﻫﻢ ﭼﻨﺪ ﻋﻼﻣﺖ ﺗﻌﺠﺐ ﻧﻘﺎﺷﻰ ﺷﺪﻩ‪.‬‬


‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻧﺒﻮﺩ‪ .‬ﺍﻣﺎ ﺑﺎ ﺩﻗﺖ ﻭ ﻣﺘﺎﻧﺖ ﺍﺯ ﺟﻌﺒﻪ ﺑﺎﻻ ﻣﻰﺁﻣﺪ ﻭ ﺑﻪ ﺑﭽﻪ ﺍﺷﺎﺭﻩ ﻣﻰﻛﺮﺩ ﻧﺰﺩﻳﻚ ﻭ ﻧﺰﺩﻳﻚﺗﺮ ﺑﻴﺎﻳﺪ‪،‬‬ ‫ﻭ ﻟﺒﺨﻨﺪ ﻣﻰﺯﺩ‪.‬‬ ‫ﻭ ﻫﻤﺎﻥﺟﺎ ﺩﺭ ﻣﻬﺘﺎﺏ ﺣﺮﻑﻫﺎﻳﻰ ﺑﻪ ﺁﻥﻫﺎ ﻣﻰﺯﺩ ﻛﻪ ﺑﻌﺪﺍ ً ﺧﻮﺏ ﺑﻪ ﺧﺎﻃﺮ ﻧﻤﻰﺁﻭﺭﺩﻧﺪ‪ ،‬ﺣﺮﻑﻫﺎﻳﻰ‬ ‫ﻛﻪ ﺣﺘﺎ ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﻛﺎﻣ ً‬ ‫ﻼ ﻓﺮﺍﻣﻮﺵ ﻛﻨﻨﺪ‪.‬‬ ‫ﺑﺰﺭﮔﺘﺮﻳﻦ ﭘﺴﺮ ﺧﺎﻧﻮﺍﺩﻩ ﺩﺭ ﺟﻨﮓ ﺟﻬﺎﻧﻰ ﺍﻭﻝ ﻛﺸﺘﻪ ﺷﺪ‪ .‬ﺟﻮﺍﻧﺘﺮﻳﻦ ﭘﺴﺮ ﺑﻌﺪ ﺍﺯ ﻣﺮگ ﻭﺍﻟﺪﻳﻨﺶ‬ ‫ﺧﺎﻧﻪ ﺭﺍ ﺑﻪ ﺍﺭﺙ ﺑﺮﺩ‪ ،‬ﻫﺮ ﭼﻨﺪ ﺑﻌﺪ ﺍﺯ ﺷﺒﻰ ﻛﻪ ﺍﻭ ﺭﺍ ﺑﺎ ﭘﺎﺭﭼﻪ ﻭ ﭘﺎﺭﺍﻓﻴﻦ ﻭ ﻛﺒﺮﻳﺖ ﺩﺭ ﺳﺮﺩﺍﺑﻪﻯ ﺧﺎﻧﻪ‬ ‫ﭘﻴﺪﺍ ﻛﺮﺩﻧﺪ ﻛﻪ ﺳﻌﻰ ﺩﺍﺷﺖ ﺧﺎﻧﻪﻯ ﺑﺰﺭگ ﺭﺍ ﺑﺴﻮﺯﺍﻧﺪ ﻭ ﺑﺎ ﺧﺎﻙ ﻳﻜﻰ ﻛﻨﺪ‪ ،‬ﺧﺎﻧﻪ ﺭﺍ ﺍﺯ ﭼﻨﮓ ﺍﻭ ﺩﺭ‬ ‫ﺁﻭﺭﺩﻧﺪ‪ .‬ﺍﻭ ﺭﺍ ﺑﻪ ﺩﻳﻮﺍﻧﻪﺧﺎﻧﻪ ﺑﺮﺩﻧﺪ‪ ،‬ﻭ ﺷﺎﻳﺪ ﻫﻨﻮﺯ ﻫﻤﺎﻥﺟﺎ ﺑﺎﺷﺪ‪.‬‬ ‫ﺑﭽﻪﻫﺎﻯ ﺩﻳﮕﺮ ﻛﻪ ﺯﻣﺎﻧﻰ ﺩﺧﺘﺮﺑﭽﻪ ﺑﻮﺩﻧﺪ ﻭ ﺣﺎﻻ ﺑﺮﺍﻯ ﺧﻮﺩﺷﺎﻥ ﺧﺎﻧﻢ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻫﻤﻪ ﺍﺯ ﺑﺎﺯﮔﺸﺖ‬ ‫ﺑﻪ ﺧﺎﻧﻪﺍﻯ ﻛﻪ ﺩﺭ ﺁﻥ ﺑﺰﺭگ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺳﺮ ﺑﺎﺯ ﺯﺩﻧﺪ؛ ﭘﻨﺠﺮﻩﻫﺎﻯ ﺧﺎﻧﻪ ﺭﺍ ﺑﺎ ﺗﺨﺘﻪ ﭘﻮﺷﺎﻧﺪﻩ ﻭ ﻫﻤﻪﻯ‬ ‫ﺩﺭﻫﺎ ﺭﺍ ﺑﺎ ﻛﻠﻴﺪﻫﺎﻯ ﺁﻫﻨﻰ ﺑﺰﺭگ ﻗﻔﻞ ﻛﺮﺩﻧﺪ ﻭ ﺧﻮﺍﻫﺮﻫﺎ ﻓﻘﻂ ﻭﻗﺘﻰ ﺑﺮ ﻣﺰﺍﺭ ﺑﺮﺍﺩﺭ ﺑﺰﺭﮔﺘﺮ ﺣﺎﺿﺮ‬ ‫ﻣﻰﺷﺪﻧﺪ ﻳﺎ ﺑﺮﺍﻯ ﺩﻳﺪﻥ ﺁﻥ ﻣﻮﺟﻮﺩ ﻣﻔﻠﻮﻛﻰ ﻣﻰﺭﻓﺘﻨﺪ ﻛﻪ ﺯﻣﺎﻧﻰ ﺑﺮﺍﺩﺭ ﻛﻮﭼﻜﺸﺎﻥ ﺑﻮﺩ‪ ،‬ﺑﻪ ﺁﻥ ﺧﺎﻧﻪ‬ ‫ﭘﺎ ﻣﻰﮔﺬﺍﺷﺘﻨﺪ‪ ،‬ﻛﻪ ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﺑﻪ ﻧﺪﺭﺕ ﺭﺥ ﻣﻰﺩﺍﺩ‪.‬‬ ‫ﺳﺎﻝﻫﺎ ﮔﺬﺷﺘﻪ ﻭ ﺩﺧﺘﺮﻫﺎ ﭘﻴﺮﺯﻥ ﺷﺪﻩﺍﻧﺪ ﻭ ﺟﻐﺪﻫﺎ ﻭ ﺧﻔﺎﺵﻫﺎ ﺩﺭ ﺍﺗﺎﻕ ﺑﺎﺯﻯ ﺯﻳﺮﺷﻴﺮﻭﺍﻧﻰ ﻻﻧﻪ‬ ‫ﻛﺮﺩﻩﺍﻧﺪ؛ ﻣﻮﺵﻫﺎﻯ ﺻﺤﺮﺍﻳﻰ ﻻﻧﻪﺷﺎﻥ ﺭﺍ ﺩﺭ ﻣﻴﺎﻥ ﺍﺳﺒﺎﺏﺑﺎﺯﻯﻫﺎﻯ ﻓﺮﺍﻣﻮﺵ ﺷﺪﻩ ﺳﺎﺧﺘﻪﺍﻧﺪ‪ .‬ﺁﻥ‬ ‫ﻣﻮﺟﻮﺩﺍﺕ ﺑﺎ ﺣﺎﻟﺘﻰ ﺧﻴﺮﻩ ﻭ ﺑﻰﺍﻋﺘﻨﺎ ﺑﻪ ﻋﻜﺲﻫﺎﻯ ﺭﻧﮓﭘﺮﻳﺪﻩﻯ ﺩﻳﻮﺍﺭ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻨﺪ ﻭ ﺑﻘﺎﻳﺎﻯ ﻓﺮﺵ‬ ‫ﻣﻨﺪﺭﺱ ﺭﺍ ﺑﺎ ﻓﻀﻮﻻﺕِ ﺧﻮﺩ ﻟﻚ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﻭ ﺩﺭ ﺍﻋﻤﺎﻕ ﺟﻌﺒﻪﺍﻯ ﻛﻪ ﺩﺭ ﺻﻨﺪﻭﻗﭽﻪﺍﻯ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ‪ ،‬ﺁﺩﻣﻚ ﻟﺒﺨﻨﺪﺯﻧﺎﻥ ﺍﻧﺘﻈﺎﺭ ﻣﻰﻛﺸﺪ ﻭ ﺭﺍﺯﻫﺎﻳﻰ‬ ‫ﺩﺭ ﺩﻝ ﺩﺍﺭﺩ‪ .‬ﺍﻭ ﺩﺭ ﺍﻧﺘﻈﺎﺭ ﺑﭽﻪﻫﺎﺳﺖ‪ .‬ﻭ ﻣﻰﺗﻮﺍﻧﺪ ﺗﺎ ﺍﺑﺪ ﻣﻨﺘﻈﺮ ﺑﻤﺎﻧﺪ‪.‬‬

‫‪ :Pandoera’s Box .2‬ﺻﻨﺪﻭﻗﻰ ﻛﻪ ﻃﺒﻖ ﺍﺳﺎﻃﻴﺮ‪ ،‬ﺍﻭﻟﻴﻦ ﺯﻥ ﺟﻬﺎﻥ‬ ‫ﺁﻥ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩ ﻭ ﻣﺸﻜﻼﺕ ﻭ ﺑﺪﺑﺨﺘﻰﻫﺎ ﺭﺍ ﺁﺯﺍﺩ ﻛﺮﺩ‪.‬‬

‫‪ :Jaci-in-the-box .1‬ﻧﻮﻋﻰ ﺍﺳﺒﺎﺏﺑﺎﺯﻯ ﻛﻪ ﺑﺎ ﺑﺎﺯ ﺷﺪﻥ ﺩﺭﺵ‪،‬‬ ‫ﺩﻟﻘﻜﻰ ﺑﻴﺮﻭﻥ ﭘﺮﻳﺪﻩ ﻭ ﺑﺎﻋﺚ ﺗﻌﺠﺐ ﻣﻰﺷﻮﺩ‪.‬‬

‫‪23‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﭼﻮﺑﻰ ﺍﺳﺒﺎﺏﺑﺎﺯﻯ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﻛﻪ ﻗﺪﻣﺖ ﻭ‬ ‫ﺑﭽﻪﻫﺎ ﺑﺎ ﺁﻥ ﺑﺎﺯﻯ ﻧﻤﻰﻛﺮﺩﻧﺪ‪ .‬ﺗ ِﻪ ﺟﻌﺒﻪﻯ ﻗﺪﻳﻤﻰ ﻭ‬ ‫ِ‬ ‫ﺍﻧﺪﺍﺯﻩﺍﺵ ﻫﻤﭙﺎﻯ ﺻﻨﺪﻭﻕ ﮔﻨﺞ ﺩﺯﺩﺍﻥ ﺩﺭﻳﺎﻳﻰ ﺑﻮﺩ‪ ،‬ﻳﺎ ﻻﺍﻗﻞ ﺑﭽﻪﻫﺎ ﺍﻳﻦ ﻃﻮﺭ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺟﻌﺒﻪﻯ‬ ‫ﺷﻴﻄﺎﻧﻚ ]‪ [1‬ﺯﻳﺮ ﻋﺮﻭﺳﻚﻫﺎ ﻭ ﻗﻄﺎﺭﻫﺎ‪ ،‬ﺩﻟﻘﻚﻫﺎ ﻭ ﺳﺘﺎﺭﻩﻫﺎﻯ ﻛﺎﻏﺬﻯ‪ ،‬ﻭﺳﺎﻳﻞ ﻗﺪﻳﻤﻰ ﺗﺮﺩﺳﺘﻰ‬ ‫ﻭ ﻋﺮﻭﺳﻚﻫﺎﻯ ﺩﺳﺖ ﻭ ﭘﺎ ﺷﻜﺴﺘﻪﻯ ﺧﻴﻤﻪﺷﺐﺑﺎﺯﻯ ﻛﻪ ﻧﺦﻫﺎﻳﺸﺎﻥ ﺑﻪ ﻃﺮﺯﻯ ﺑﺮﮔﺸﺖﻧﺎﭘﺬﻳﺮ ﺩﺭ‬ ‫ﻫﻢ ﮔﺮﻩ ﺧﻮﺭﺩﻩ ﺑﻮﺩ‪ ،‬ﻟﺒﺎﺱﻫﺎﻯ ُﻣﺒﺪﻝ )ﻛﻪ ﺩﺭ ﻭﺍﻗﻊ ﻳﻚ ﻟﺒﺎﺱ ﻋﺮﻭﺳﻰ ﻛﻬﻨﻪ ﻭ ژﻧﺪﻩ ﻭ ﻳﻚ ﻛﻼﻩ‬ ‫ﺍﺑﺮﻳﺸﻤﻰ ﺳﻴﺎﻩ ﺑﻮﺩ ﻛﻪ ﻏﺒﺎﺭ ﺯﻣﺎﻥ ﺑﺮ ﺁﻥ ﻧﺸﺴﺘﻪ ﺑﻮﺩ( ﻭ ﺟﻮﺍﻫﺮﺍﺕ ﺑﺪﻟﻰ‪ ،‬ﺣﻠﻘﻪﻫﺎﻯ ﺷﻜﺴﺘﻪﻯ‬ ‫ﺍﺳﺒﺎﺏﺑﺎﺯﻯ ﻭ ﻓﺮﻓﺮﻩﻫﺎ ﻭ ﺍﺳﺐﻫﺎﻯ ﭼﻮﺑﻰ ﻣﺪﻓﻮﻥ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺟﻌﺒﻪﻯ ﺷﻴﻄﺎﻧﻚ ﺯﻳﺮ ﻫﻤﻪﻯ ﺍﻳﻦﻫﺎ‬ ‫ﻗﺮﺍﺭ ﺩﺍﺷﺖ‪.‬‬ ‫ﺑﭽﻪﻫﺎ ﺑﺎ ﺁﻥ ﺑﺎﺯﻯ ﻧﻤﻰﻛﺮﺩﻧﺪ‪ .‬ﻭﻗﺘﻰ ﺩﺭ ﺍﺗﺎﻕ ﺑﺎﺯﻯ ﺯﻳﺮﺷﻴﺮﻭﺍﻧﻰ ﺗﻨﻬﺎ ﺑﻮﺩﻧﺪ‪ ،‬ﺑﻴﻦ ﺧﻮﺩﺷﺎﻥ ﺯﻣﺰﻣﻪﻫﺎﻳﻰ‬ ‫ﺷﻨﻴﺪﻩ ﻣﻰﺷﺪ‪ .‬ﺩﺭ ﺭﻭﺯﻫﺎﻯ ﺧﺎﻛﺴﺘﺮﻯ‪ ،‬ﻭﻗﺘﻰ ﺑﺎﺩ ﺩﺭ ﺍﻃﺮﺍﻑ ﺧﺎﻧﻪ ﺯﻭﺯﻩ ﻣﻰﻛﺸﻴﺪ ﻭ ﺑﺎﺭﺍﻥ ﺑﺮ ﻟﺐﺑﺎﻡ‬ ‫ﺗﻠﻖﺗﻠﻮﻕ ﻭ ﺗﺎپﺗﺎپ ﻣﻰﻛﺮﺩ‪ ،‬ﺩﺭﺑﺎﺭﻩﻯ ﺁﺩﻣﻚ ﺗﻮﻯ ﺟﻌﺒﻪ ﺑﺮﺍﻯ ﻫﻢ ﻗﺼﻪﻫﺎ ﺗﻌﺮﻳﻒ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﻫﺮ‬ ‫ﭼﻨﺪ ﻫﺮﮔﺰ ﺍﻭ ﺭﺍ ﻧﺪﻳﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻳﻜﻰ ﺍﺩﻋﺎ ﻣﻰﻛﺮﺩ ﺁﺩﻣﻚ ﺟﺎﺩﻭﮔﺮﻯ ﺷﺮﻭﺭ ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﻯ ﻣﻜﺎﻓﺎﺕِ‬ ‫ﺟﻨﺎﻳﺖﻫﺎﻳﻰ ﻣﺨﻮﻑ ﻛﻪ ﺍﺯ ﻓﺮﻁ ﻫﻮﻟﻨﺎﻙ ﺑﻮﺩﻥ ﻧﻤﻰﺷﺪ ﺑﻪ ﺁﻥﻫﺎ ﺍﺷﺎﺭﻩ ﻛﺮﺩ‪ ،‬ﺩﺭ ﺟﻌﺒﻪ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ‬ ‫ﺍﺳﺖ؛ ﺩﻳﮕﺮﻯ )ﻣﻄﻤﺌﻨﻢ ﻳﻜﻰ ﺍﺯ ﺩﺧﺘﺮﻫﺎ ﺑﻮﺩﻩ( ﻋﻘﻴﺪﻩ ﺩﺍﺷﺖ ﺟﻌﺒﻪﻯ ﺷﻴﻄﺎﻧﻚ ﻫﻤﺎﻥ ﺟﻌﺒﻪﻯ‬ ‫ﭘﺎﻧﺪﻭﺭﺍ ]‪ [2‬ﺍﺳﺖ‪ ،‬ﻭ ﺁﺩﻣﻚ ﺭﺍ ﺩﺭ ﺟﻌﺒﻪ ﻗﺮﺍﺭ ﺩﺍﺩﻩﺍﻧﺪ ﺗﺎ ﻣﺎﻧﻊ ﺧﺮﻭﺝ ﭼﻴﺰﻫﺎﻯ ﺑﺪ ﺑﺸﻮﺩ‪ .‬ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ‬ ‫ﻣﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﺟﻌﺒﻪ ﺭﺍ ﺣﺘﺎ ﻟﻤﺲ ﻧﻤﻰﻛﺮﺩﻧﺪ‪ ،‬ﻫﺮ ﭼﻨﺪ ﻭﻗﺘﻰ ﺑﺰﺭﮔﺴﺎﻟﻰ ﺩﺭﺑﺎﺭﻩﻯ ﻧﺒﻮﺩﻥ ﺁﻥ ﺟﻌﺒﻪﻯ‬ ‫ﻗﺸﻨﮓ ﺣﺮﻓﻰ ﻣﻰﺯﺩ‪ ،‬ﻛﻪ ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﻫﺮ ﺍﺯ ﮔﺎﻫﻰ ﺭﺥ ﻣﻰﺩﺍﺩ ﻭ ﺁﻥ ﺭﺍ ﺍﺯ ﺻﻨﺪﻭﻕ ﺑﻴﺮﻭﻥ ﻣﻰﺁﻭﺭﺩ ﻭ ﺩﺭ‬ ‫ﻣﻜﺎﻥ ﺁﺑﺮﻭﻣﻨﺪﻯ ﻫﻤﭽﻮﻥ ﺗﺎﻗﭽﻪﻯ ﺑﺎﻻﻯ ﺑﺨﺎﺭﻯ ﻗﺮﺍﺭ ﻣﻰﺩﺍﺩ‪ ،‬ﺑﭽﻪﻫﺎ ﺩﻝ ﻭ ﺟﺮﺍﺕ ﭘﻴﺪﺍ ﻣﻰﻛﺮﺩﻧﺪ ﻭ‬ ‫ﺑﻌﺪﺍ ً ﺩﻭﺑﺎﺭﻩ ﺁﻥ ﺭﺍ ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﭘﻨﻬﺎﻥ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺑﭽﻪﻫﺎ ﺑﺎ ﺟﻌﺒﻪﻯ ﺷﻴﻄﺎﻧﻚ ﺑﺎﺯﻯ ﻧﻤﻰﻛﺮﺩﻧﺪ‪ .‬ﻭ ﻭﻗﺘﻰ ﺑﺰﺭگ ﺷﺪﻧﺪ ﻭ ﺧﺎﻧﻪﻯ ﺑﺰﺭگ ﺭﺍ ﺗﺮﻙ‬ ‫ﻛﺮﺩﻧﺪ‪ ،‬ﺍﺗﺎﻕ ﺑﺎﺯﻯ ﺯﻳﺮﺷﻴﺮﻭﺍﻧﻰ ﺑﺴﺘﻪ ﻭ ﺗﻘﺮﻳﺒﺎً ﻓﺮﺍﻣﻮﺵ ﺷﺪ‪.‬‬ ‫ﺗﻘﺮﻳﺒﺎً‪ ،‬ﺍﻣﺎ ﻧﻪ ﻛﺎﻣ ً‬ ‫ﻼ‪ .‬ﭼﺮﺍ ﻛﻪ ﻫﺮ ﻳﻚ ﺍﺯ ﺑﭽﻪﻫﺎ ﺟﺪﺍﮔﺎﻧﻪ ﻳﺎﺩﺵ ﻣﻰﺁﻣﺪ ﻛﻪ ﭼﻄﻮﺭ ﭘﺎﺑﺮﻫﻨﻪ ﺩﺭ ﻧﻮﺭ‬ ‫ﺁﺑﻰ ﻣﺎﻩ ﺑﻪ ﺍﺗﺎﻕ ﺑﺎﺯﻯ ﻣﻰﺭﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺧﻴﻠﻰ ﺷﺒﻴﻪ ﺧﻮﺍﺑﮕﺮﺩﻯ ﺑﻮﺩ‪ ،‬ﺑﻰﺻﺪﺍ ﺭﻭﻯ ﭘﻠﻪﻫﺎﻯ ﭼﻮﺑﻰ‪،‬‬ ‫ﺭﻭﻯ ﻓﺮﺵ ﻧﺦﻧﻤﺎﻯ ﺍﺗﺎﻕ ﺑﺎﺯﻯ ﮔﺎﻡ ﺑﺮ ﻣﻰﺩﺍﺷﺘﻨﺪ‪ .‬ﻳﺎﺩﺷﺎﻥ ﻣﻰﺁﻣﺪ ﻛﻪ ﭼﻄﻮﺭ ﺻﻨﺪﻭﻕ ﮔﻨﺞ ﺭﺍ ﺑﺎﺯ‬ ‫ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﺑﻴﻦ ﻋﺮﻭﺳﻚﻫﺎ ﻭ ﻟﺒﺎﺱﻫﺎ ﻣﻰﮔﺸﺘﻨﺪ ﻭ ﺟﻌﺒﻪﻯ ﺷﻴﻄﺎﻧﻚ ﺭﺍ ﺑﻴﺮﻭﻥ ﻣﻰﻛﺸﻴﺪﻧﺪ‪.‬‬ ‫ﺑﻌﺪ ﺑﭽﻪ ﭼﻔﺖ ﺟﻌﺒﻪ ﺭﺍ ﻟﻤﺲ ﻣﻰﻛﺮﺩ ﻭ ﺩ ِﺭ ﺟﻌﺒﻪ ﺑﺎﺯ ﻣﻰﺷﺪ‪ ،‬ﺁﺭﺍﻡ ﻣﺜﻞ ﻏﺮﻭﺏ ﺧﻮﺭﺷﻴﺪ‪ ،‬ﻭ ﻣﻮﺳﻴﻘﻰ‬ ‫ﺷﺮﻭﻉ ﺑﻪ ﻧﻮﺍﺧﺘﻦ ﻣﻰﻛﺮﺩ ﻭ ﺁﺩﻣﻚ ﺑﻴﺮﻭﻥ ﻣﻰﺁﻣﺪ‪ .‬ﻧﻪ ﺑﺎ ﻳﻚ ﺟﻬﺶ ﻳﺎ ﺣﺮﻛﺖ ﻧﺎﮔﻬﺎﻧﻰ‪ :‬ﭘﺎﺷﻨﻪ ﻓﻨﺮﻯ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪22‬‬


‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺍﺯ ﺁﺩﻣﻚ ﻧﭙﺮﺱ‬ ‫ﻧﻴﻞ ﮔﻴﻤﻦ‬ ‫ﻓﺮﺯﺍﺩ ﻓﺮﺑﺪ‬

‫اﯾﻦ داﺳﺘﺎن‪ ،‬از ﮐﺘﺎب »ج ﻣﺜﻞ ﺟﺎدو« ﺑﻪ اﻧﺘﺨﺎب ﺧﻮد ﻣﱰﺟﻢ ﺑﺮای ﺷﮕﻔﺖزار‬ ‫ارﺳﺎل ﺷﺪه اﺳﺖ‪ .‬در ﺑﺨﺶ ﻣﻌﺮﻓﯽ ﮐﺘﺎب ﺑﺎ ﻋﻨﻮان »از منﺎﯾﺸﮕﺎه ﭼﻪ ﺧﱪ« ﺑﯿﺸﱰ‬ ‫در ﻣﻮرد »ج ﻣﺜﻞ ﺟﺎدو« ﺑﺨﻮاﻧﯿﺪ‪.‬‬ ‫ﺍﺗﺎﻕ ﺑﺎﺯﻯ‬ ‫ﻫﻴﭻ ﻛﺲ ﻧﻤﻰﺩﺍﻧﺴﺖ ﺁﻥ ﺍﺳﺒﺎﺏﺑﺎﺯﻯ ﺍﺯ ﻛﺠﺎ ﺁﻣﺪﻩ ﺍﺳﺖ‪ ،‬ﻳﺎ ﻗﺒﻞ ﺍﺯ ﺁﻥ ﻛﻪ ﺑﻪ ِ‬ ‫ﺍﻫﺪﺍ ﺷﻮﺩ‪ ،‬ﻣﺎﻝ ﻛﺪﺍﻡ ﻋﻤﻪ ﻳﺎ ﺟﺪ ﺑﺰﺭگ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺟﻌﺒﻪﺍﻯ ﺑﻮﺩ ﻛﻨﺪﻩﻛﺎﺭﻯ ﺷﺪﻩ ﻛﻪ ﺑﺎ ﺭﻧﮓﻫﺎﻯ ﻃﻼﻳﻰ ﻭ ﻗﺮﻣﺰ ﺭﻧﮓ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺑﻰﺷﻚ‬ ‫ﺟﺬﺍﺏ ﺑﻮﺩ‪ ،‬ﻳﺎ ﭼﻨﺎﻥ ﻛﻪ ﺁﺩﻡﺑﺰﺭگﻫﺎ ﻣﻌﺘﻘﺪ ﺑﻮﺩﻧﺪ‪ ،‬ﺧﻴﻠﻰ ﺑﺎﺍﺭﺯﺵ ﺑﻮﺩ‪ .‬ﺣﺘﺎ ﺷﺎﻳﺪ ﻋﺘﻴﻘﻪ‬ ‫ﺑﻮﺩ‪ .‬ﻣﺘﺎﺳﻔﺎﻧﻪ ﭼﻔﺘﺶ ﺯﻧﮓ ﺯﺩﻩ ﻭ ﮔﻴﺮ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﻛﻠﻴﺪﺵ ﮔﻢ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺁﺩﻣﻜﺶ‬ ‫ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺍﺯ ﺟﻌﺒﻪ ﺑﻴﺮﻭﻥ ﺑﻴﺎﻳﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﺟﻌﺒﻪﺍﻯ ﺍﺳﺘﺜﻨﺎﻳﻰ ﺑﻮﺩ‪ ،‬ﺳﻨﮕﻴﻦ ﻭ ﻛﻨﺪﻩﻛﺎﺭﻯ‬ ‫ﺷﺪﻩ ﻭ ﭘﺮﺯﺭﻕ ﻭ ﺑﺮﻕ‪.‬‬


‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺑﺎﻧﻮ ﺑﻪ ﺍﻭ ﺯﻝ ﺯﺩ‪ .‬ﻗﻄﺮﻩﻯ ﺍﺷﻜﻰ ﺑﻪ ﺭﻭﻯ ﮔﻮﻧﻪﺍﺵ ﺭﻭﺍﻥ ﺷﺪ ﻭ ﺑﻌﺪ ﻳﻜﻰ ﺩﻳﮕﺮ‪» :‬ﻣﻦ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻡ‬ ‫ﺍﻳﻦ ﺑﺮﺝ ﻣﻨﻪ‪ .‬ﻫﻤﻴﺸﻪﺑﻬﺎﺭﻯ ﻛﻪ ﻫﺮﮔﺰ ﻧﻤﻰﻣﻴﺮﻩ ﻭ ﺗﻨﻬﺎ ﺯﻧﺪﻩ ﺍﺳﺖ ﺗﺎ ﻣﺮگ ﺍﻧﺴﺎﻥﻫﺎ ﺭﻭ ﺑﺒﻴﻨﻪ‪«.‬‬ ‫ﻣﺮﺩ ﺁﻫﻰ ﻛﺸﻴﺪ ﻭ ﮔﻔﺖ‪» :‬ﻫﻤﻪﻯ ﻣﺎ ﻫﻤﻴﻨﻴﻢ‪ «.‬ﻭ ﺩﺭ ﺩﻭﺭ ﺩﺳﺖ‪ ،‬ﺭﻋﺪﻯ ﺩﺭ ﺁﺳﻤﺎﻥ ﻏﺮﻳﺪ‪» :‬ﻫﻤﻪﻯ‬ ‫ﻣﺎ ﺑﺮﺝ ﻣﻰﺳﺎﺯﻳﻢ ﻭ ﺑﻌﺪ ﺑﻘﻴﻪ ﺭﻭ ﺑﻪ ﻭﺭﻭﺩ ﻣﻰﻃﻠﺒﻴﻢ‪«...‬‬ ‫ﻣﺮﺩ ﺭﻳﺰ ﺭﺯ ﺭﺍ ﺑﺎ ﮔﻠﺪﺍﻥ ﺟﻤﺠﻤﻪﺍﺵ ﺑﺮﺩﺍﺷﺖ ﻭ ﺻﺎﻑ ﺍﻳﺴﺘﺎﺩ‪ .‬ﺑﺎﻧﻮ ﺑﻪ ﺩﻧﺒﺎﻟﺶ ﺑﻪ ﺳﻤﺖ ﭘﻠﻪﻫﺎ ﺭﻓﺖ‪:‬‬ ‫»ﺭﺯ ﻣﻦ ﺭﻭ ﻛﺠﺎ ﻣﻰﺑﺮﻯ؟«‬ ‫»ﺑﻴﺮﻭﻥ‪«.‬‬ ‫ﺍﻭ ﺑﺎ ﺍﻋﺘﺮﺍﺽ ﺩﻧﺒﺎﻟﺶ ﺭﻓﺖ ﻭ ﮔﻔﺖ‪» :‬ﺍﻣﺎ ﺍﻭﻥ ﻣﺎﻝ ﻣﻨﻪ‪«.‬‬ ‫»ﮔﻔﺘﻰ ﻣﻰﺗﻮﻧﻴﻢ ﻫﺮﭼﻴﺰﻯ ﺭﻭ ﺍﻧﺘﺨﺎﺏ ﻛﻨﻴﻢ‪«.‬‬ ‫»ﺁﺧﻪ ﺍﻳﻦ ﻓﻘﻂ ﻳﻪ ﭼﻴﺰ ﺑﻰﺍﺭﺯﺷﻪ ﻛﻪ ﻣﻦ ﭘﺮﻭﺭﺵ ﻣﻰﺩﻡ‪ .‬ﺍﻳﻦ ﺍﺯ ﮔﻨﺠﻴﻨﻪﻫﺎﻯ ﺑﺮﺝ ﺑﻪ ﺣﺴﺎﺏ ﻧﻤﻴﺎﺩ‪.‬‬ ‫ﺍﮔﺮ ﺑﺎﻳﺪ ﺍﻧﺘﺨﺎﺏ ﻛﻨﻰ‪ ،‬ﻻﺍﻗﻞ ﭼﻴﺰﻯ ﺭﻭ ﺍﻧﺘﺨﺎﺏ ﻛﻦ ﻛﻪ ﺑﻪ ﺯﻧﺪﮔﻴﺖ ﺑﻰﺍﺭﺯﻩ!«‬ ‫ﻫﻤﻴﻦ ﻛﻪ ﺍﺯ ﭘﻠﻪﻫﺎﻯ ﺩﻭﺭ ﺗﺎ ﺩﻭﺭ ﺑﺮﺝ ﭘﺎﻳﻴﻦ ﺭﻓﺘﻨﺪ‪ ،‬ﺑﺮﮔﺸﺖ ﻭ ﺑﻪ ﺍﻭ ﻧﻈﺮ ﻛﺮﺩ‪ .‬ﺻﻮﺭﺗﺶ ﻣﺜﻞ‬ ‫ﮔﭻ ﺳﻔﻴﺪ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﻫﻨﻮﺯ ﻣﻰﺗﻮﺍﻧﺴﺖ ﻟﺒﺨﻨﺪ ﺑﺰﻧﺪ‪» :‬ﺭﺯﺕ ﺭﻭ ﺑﻪ ﺗﻮ ﭘﺲ ﻣﻰﺩﻡ‪ ،‬ﺍﮔﺮ ﺑﺬﺍﺭﻯ‬ ‫ﻫﻤﻴﺸﻪﺑﻬﺎﺭ ﺭﻭ ﺑﺎ ﺧﻮﺩ ﺑﺒﺮﻡ‪«.‬‬ ‫»ﺍﻣﺎ ﻣﻦ ﺗﻨﻬﺎ ﻫﻤﻴﺸﻪﺑﻬﺎﺭﻡ‪«.‬‬ ‫ﻣﺮﺩ ﺑﺎ ﮔﺎﻡﻫﺎﻯ ﺑﻠﻨﺪ ﻫﻤﺮﺍﻫﺎﻥ ﺣﻴﺮﺍﻧﺶ ﺭﺍ ﺟﺎ ﮔﺬﺍﺷﺖ ﻛﻪ ﺩﺳﺖﻫﺎﻳﺸﺎﻥ ﺭﺍ ﭘﺮ ﺍﺯ ﺍﻳﻦﻳﻜﻰ ﻳﺎ ﺁﻥﻳﻜﻰ‬ ‫ﻭ ﺷﺎﻳﺪ ﻫﻢ ﺁﻥﻳﻜﻰ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻧﮕﺎﺭ ﻛﻪ ﭼﺸﻤﺎﻥ ﺟﺎﺩﻭﻳﻰ ﺍژﺩﻫﺎ ﭼﺸﻤﺎﻥ ﺧﻮﺩﺵ ﺭﺍ ﻫﻢ ﺑﺎﺯ ﻛﺮﺩﻩ‬ ‫ﺑﺎﺷﺪ‪ ،‬ﻣﺮﺩ ﺑﺎﻧﻮ ﺭﺍ ﺑﻪ ﺳﻮﻯ ﺩﻫﺎﻥ ﺍژﺩﻫﺎ ﺑﺮﺩ‪.‬‬

‫‪7. Corbeil‬‬ ‫‪8. Gram‬‬ ‫‪9. Yew‬‬ ‫‪10. Ustor‬‬ ‫‪11. Amaranth‬‬

‫‪1. Grenelief‬‬ ‫‪2. Stoney Head‬‬ ‫‪3. Dulcis Isle‬‬ ‫‪4. Carnelaine‬‬ ‫‪5. Marlebane‬‬ ‫‪6. Ran‬‬

‫‪ :Love-lies-bleeding .12‬ﻧﺎﻡ ﺩﻳﮕﺮ ﮔﻞ ﻫﻤﻴﺸﻪﺑﻬﺎﺭ ﺍﺳﺖ‪.‬‬

‫‪19‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫»ﭼﻪ ﻛﺴﻰ ﺍﻳﻦ ﺑﺮﺝ ﺭﻭ ﺳﺎﺧﺖ؟«‬ ‫ﺑﺎﻧﻮ ﺳﺎﻛﺖ ﺑﻮﺩ‪ .‬ﺷﺎﺧﻪﻯ ﻧﻌﻨﺎﻯ ﺑﻴﻦ ﺍﻧﮕﺸﺘﺎﻧﺶ ﺭﺍ ﺭﻳﺰ ﺭﻳﺰ ﻣﻰﻛﺮﺩ ﻭ ﺩﺭ ﺁﺧﺮ ﮔﻔﺖ‪» :‬ﻣﻦ ﺳﺎﺧﺘﻢ‪.‬‬ ‫ﻫﻤﻴﺸﻪﺑﻬﺎﺭﻯ ﻛﻪ ﻫﺮﮔﺰ ﻧﻤﻰﻣﻴﺮﻩ‪«.‬‬ ‫ﺭﻧﮓ ﻣﺮﺩ ﺑﻪ ﺷﺪﺕ ﭘﺮﻳﺪ‪ .‬ﭼﺸﻤﺎﻧﺶ ﭼﻨﺎﻥ ﺩﺭﺧﺸﻴﺪ ﻛﻪ ﺍﻧﮕﺎﺭ ﺳﺎﻳﻪﻯ ﺧﻄﺮ ﺭﺍ ﺩﻳﺪﻩ ﺑﺎﺷﺪ‪» :‬ﺗﻮ‬ ‫ﺳﺎﺧﺘﻰ؟ ﺗﻮ ﺑﺎ ﻫﻮﺍﻯ ﺑﻰﻣﺎﻳﻪﻯ ﺍﻳﻦ ﺩﺷﺖ ﺁﺑﻠﻪﺯﺩﻩ‪ ،‬ﮔﻞ ﺭﺯ ﭘﺮﻭﺭﺵ ﻣﻰﺩﻯ‪ .‬ﺗﻮ ﺗﻼﺵ ﻣﻰﻛﻨﻰ ﺑﺎ‬ ‫ﺍﺳﺘﺨﻮﺍﻧﺎﻯ ﺧﻮﺩﻣﻮﻥ ﻣﺮگ ﺭﻭ ﺍﺯ ﻣﺎ ﺑﺮﻭﻧﻰ‪ .‬ﺗﻮ ﻧﻪ ﻣﺎ‪ ،‬ﺑﻠﻜﻪ ﺣﻤﺎﻗﺖ ﻭ ﺗﻘﺪﻳﺮ ﻣﺎ ﺭﻭ ﻧﻔﺮﻳﻦ ﻣﻰﻛﻨﻰ‪.‬‬ ‫ﭼﻪ ﻛﺴﻰ ﺍﻳﻦ ﺑﺮﺝ ﺭﻭ ﺑﺮﺍﻯ ﺗﻮ ﺳﺎﺧﺖ؟«‬ ‫ﺑﺎﻧﻮ ﺭﻭﻯ ﺑﺮﮔﺮﺩﺍﻧﺪ‪ .‬ﺳﺎﻛﺖ ﺑﻮﺩ ﻭ ﻣﺮﺩ ﺑﻪ ﻧﺮﻣﻰ ﮔﻔﺖ‪» :‬ﺍﻭﻥ ﻳﻜﻰ ﻫﻤﻴﺸﻪﺑﻬﺎﺭ‪ ،‬ﻫﻤﻮﻧﻰ ﺭﻭ ﻛﻪ ﻣﻰﻣﻴﺮﻩ‪،‬‬ ‫ﺑﻪ ﻧﺎﻡ ﺩﻳﮕﻪﺍﻯ ﻫﻢ ﺻﺪﺍ ﻣﻰﻛﻨﻦ‪ :‬ﻋﺸﻘﻰ ﻛﻪ ﺩﺭ ﺧﻮﻥ ﻣﻰﻏﻠﺘﺪ ]‪«.[12‬‬ ‫ﺑﺎﻧﻮ ﺑﻪ ﺗﻨﺪﻯ ﺷﺮﻭﻉ ﺑﻪ ﺻﺤﺒﺖ ﻛﺮﺩ‪ .‬ﺻﺪﺍﻳﺶ ﺧﺸﻦ ﺑﻮﺩ ﻭ ﺍﺯ ﺷﺪﺕ ﺩﺭﺩ ﻣﻰﻟﺮﺯﻳﺪ‪» :‬ﺁﺧﺮﻳﻦ ﻣﺮﺩ ﺑﻮﺩ‪.‬‬ ‫ﻫﻤﻮﻥ ﻛﻪ ﺑﺮﺍﻯ ﻋﺸﻖﺑﺎﺯﻯ ﭘﻴﺸﻨﻬﺎﺩ ﺳﻜﻪ ﺩﺍﺩ‪ .‬ﻣﻦ ﻫﻢ ﺍﺯ ﺩﺳﺖﺧﻮﺭﺩﻩ ﻭ ﺑﻌﺪ ﻓﺮﺍﻣﻮﺵ ﺷﺪﻥ ﺧﺴﺘﻪ‬ ‫ﺑﻮﺩﻡ‪ .‬ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺍﻭﻝ ﻧﺎﻣﻢ ﺭﻭ ﺑﺮ ﻟﺐﻫﺎ ﺑﺸﻨﻮﻡ ﻭ ﺑﻌﺪ ﺍﺯ ﺍﻭﻥ ﺩﻳﮕﻪ ﻫﻴﭽﻰ‪ ،‬ﺍﻧﮕﺎﺭ ﻓﻘﻂ ﺯﻣﺎﻧﻰ ﻭﺍﻗﻌﻰ‬ ‫ﺑﻮﺩﻡ ﻛﻪ ﺩﻳﺪﻩ ﻣﻰﺷﺪﻡ ﻭ ﺑﻌﺪ ﺍﺯ ﺍﻭﻥ ﻓﻘﻂ ﭼﻴﺰﻯ ﺑﻮﺩﻡ ﻛﻪ ﻓﺮﺍﻣﻮﺵ ﻣﻰﺷﺪ؛ ﻣﺜﻞ ﮔﻼﻳﻰ ﻛﻪ ﺑﻌﺪ ﺍﺯ‬ ‫ﺩﻭﺭ ﺭﻳﺨﺘﻦ ﺩﻳﮕﻪ ﺑﻪ ﻳﺎﺩﺷﻮﻥ ﻧﻤﻴﺎﺭﻯ‪ .‬ﭘﺲ ﺑﻪ ﺍﻭ ﮔﻔﺘﻢ ﻧﻪ ﻭ ﻧﻪ ﻭ ﻧﻪ‪ .‬ﻭ ﺑﻌﺪ ﭼﺸﻤﺎﻧﺶ ﺭﻭ ﺩﻳﺪﻡ‪ .‬ﻣﺜﻞ‬ ‫ﻛﻬﺮﺑﺎﻳﻰ ﺑﻮﺩ ﻛﻪ ﺭﮔﻪﻫﺎﻳﻰ ﺗﺎﺭﻳﻚ ﺩﺍﺷﺖ‪ :‬ﭼﺸﻤﺎﻥ ﺳﺎﺣﺮ ﺑﻮﺩ‪ .‬ﺍﻭﻥ ﮔﻔﺖ‪» :‬ﺍﺳﻤﺖ ﺭﻭ ﺑﻪ ﻣﻦ ﺑﮕﻮ‪ «.‬ﻭ‬ ‫ﻣﻦ ﮔﻔﺘﻢ‪» :‬ﻫﻤﻴﺸﻪﺑﻬﺎﺭ‪ «.‬ﻭ ﺍﻭﻥ ﺧﻨﺪﻳﺪ ﻭ ﺧﻨﺪﻳﺪ‪ .‬ﺷﺮﺍﺑﻰ ﻛﻪ ﺑﺮﺍﺵ ﺁﻭﺭﺩﻩ ﺑﻮﺩﻡ‪ ،‬ﺗﻮﻯ ﺳﻴﻨﻰ ﭼﭙﻪ‬ ‫ﺷﺪ ﻭ ﺭﻭﻯ ﺩﺍﻣﻨﻢ ﺭﻳﺨﺖ ﻭ ﻣﻦ ﻓﻘﻂ ﻫﻤﻮﻥﺟﻮﺭﻯ ﺍﻭﻥﺟﺎ ﻭﺍﻳﺴﺎﺩﻡ‪ .‬ﺍﻭﻥ ﮔﻔﺖ‪» :‬ﭘﺲ ﺑﺎﻳﺪ ﺍﺯ ﺍﺳﻤﺖ‬ ‫ﻳﻪ ﺑﺮﺝ ﺑﺴﺎﺯﻯ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺍﺯ ﻗﺒﻞ ﺍﻳﻦ ﺑﺮﺝ ﺗﻮ ﻗﻠﺒﺖ ﺳﺎﺧﺘﻪ ﺷﺪﻩ‪«.‬‬ ‫ﻣﺮﺩ ﺯﻣﺰﻣﻪ ﻛﺮﺩ‪» :‬ﻋﺸﻘﻰ ﻛﻪ ﺩﺭ ﺧﻮﻥ ﻣﻰﻏﻠﺘﺪ‪«.‬‬ ‫»ﺍﻭﻥ ﺟﺎﺩﻭﮔﺮ ﻫﻤﻮﻥ ﻫﻤﻴﺸﻪﺑﻬﺎﺭ ﺭﻭ ﺷﻨﺎﺧﺖ‪«.‬‬ ‫»ﺍﻟﺒﺘﻪ ﻛﻪ ﺷﻨﺎﺧﺖ‪ .‬ﭼﻮﻥ ﺍﻳﻦ ﻫﻤﻮﻥ ﭼﻴﺰﻯ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﻗﻠﺐ ﺧﻮﺩﺵ ﻫﻢ ﻣﺮﺩﻩ ﺑﻮﺩ‪«.‬‬ ‫ﻭ ﺑﻌﺪ ﺑﺎﻧﻮ ﺑﺪﻭﻥ ﻛﻼﻡ ﺑﺮﮔﺸﺖ ﺗﺎ ﻧﮕﺎﻫﺶ ﻛﻨﺪ‪ .‬ﺩﻭﺑﺎﺭﻩ ﻟﺒﺨﻨﺪ ﻣﻰﺯﺩ‪ ،‬ﮔﺮﭼﻪ ﻫﻤﭽﻨﺎﻥ ﺻﻮﺭﺗﺶ‬ ‫ﺯﻳﺮ ﺗﺎﺑﺶ ﺷﺪﻳﺪ ﻧﻮﺭ ﺑﻮﺩ ﻭ ﻋﺮﻕ ﺩﺭ ﻣﻴﺎﻥ ﻣﻮﻫﺎﻳﺶ ﺑﺮﻕ ﻣﻰﺯﺩ‪ .‬ﺑﺎﻧﻮ ﭘﺮﺳﻴﺪ‪» :‬ﺗﻮ ﺍﺯ ﻛﺠﺎ ﺍﻭﻥ ﺭﻭ‬ ‫ﻣﻰﺷﻨﺎﺳﻰ؟«‬ ‫»ﭼﻮﻥ ﻗﺒ ً‬ ‫ﻼ ﺍﻳﻦ ﺑﺮﺝ ﺭﻭ ﺩﻳﺪﻩﺍﻡ ﻭ ﺯﻧﻰ ﺭﻭ ﻛﻪ ﻫﻤﻪﻣﻮﻥ ﺍﻧﺘﻈﺎﺭ ﺩﺍﺭﻳﻢ ﺭﻭ ﻫﻢ‪ ...‬ﺗﻨﻬﺎ ﺯﻧﻰ ﻛﻪ ﺑﻌﻀﻰ‬ ‫ﻣﺮﺩﺍ ﺩﺭ ﺗﻤﺎﻡ ﻃﻮﻝ ﺯﻧﺪﮔﻰ ﻣﻰﺷﻨﺎﺳﻦ‪ ...‬ﻭ ﻫﺮ ﺑﺎﺭ ﻛﻪ ﺑﻪ ﺍﻧﺘﻈﺎﺭ ﺍﻭﻥ ﻣﻰﺁﻳﻴﻢ‪ ،‬ﺑﻪ ﺍﻧﺘﻈﺎﺭ ﻫﻤﻮﻥ ﻛﻪ ﻣﺎ‬ ‫ﺭﻭ ﺑﺎ ﻃﻤﻊ ﺍﺭﺯﺷﻤﻨﺪﺗﺮﻳﻦ ﭼﻴﺰﺍ ﻓﺮﻳﺐ ﻣﻰﺩﻩ ﻭ ﺑﺎ ﻫﻤﻮﻥﻫﺎ ﻣﺎ ﺭﻭ ﻣﻰﻛﺸﻪ‪ ،‬ﺑﻪ ﺩﻭﺭﺵ ﺩﻭﺑﺎﺭﻩ ﻭ ﺳﻪﺑﺎﺭﻩ‬ ‫ﻭ ﭼﻬﺎﺭﺑﺎﺭﻩ ﻫﻤﻮﻥ ﺑﺮﺝ ﺭﻭ ﻣﻰﻛﺸﻴﻢ‪«.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪18‬‬


‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺍﺯ ﺁﻓﺘﺎﺏ ﻇﻬﺮ ﺩﺭ ﺍﻣﺎﻥ ﺑﺎﺷﻨﺪ‪» :‬ﺧﺐ ﻓﻜﺮ ﻣﻰﻛﺮﺩ ﻳﻪ ﺩﻫﻦ ﺟﻮﺍﻫﺮﻩ‪ .‬ﻛﻪ ﺑﻪ ﻧﻈﺮﻡ ﺩﻭ ﺑﺮﺍﺑﺮ ﺍﺣﻤﻖﺗﺮﺵ‬ ‫ﻣﻰﻛﺮﺩ‪ .‬ﺣﺘﺎ ﺳﻪ ﺑﺮﺍﺑﺮ‪ .‬ﺑﻪ ﺧﺎﻃﺮ ﺍﺷﺘﺒﺎﻫﺶ‪ ،‬ﺑﻪ ﺧﺎﻃﺮ ﻓﺮﻳﺐﺧﻮﺭﺩﮔﻰﺍﺵ ﻭ ﺑﻪ ﺧﺎﻃﺮ ﻣﺮﺩﻧﺶ‪ .‬ﭼﻪ‬ ‫ﺟﺎﻯ ﻭﺣﺸﺘﻨﺎﻛﻴﻪ ﺍﻳﻦﺟﺎ‪ .‬ﺍﻭﻝ ﺍﺯ ﺗﻤﺎﻡ ﺍﻭﻫﺎﻡ ﺧﺎﻟﻴﺖ ﻣﻰﻛﻨﻪ ﻭ ﺑﻌﺪ ﺍﺳﺘﺨﻮﻥﻫﺎﺕ ﺭﻭ ﻟﺨﺖ ﻣﻰﻛﻨﻪ‪«.‬‬ ‫ﻭ ﺑﺎﻧﻮ ﺑﺎ ﺍﻧﺪﻭﻩ ﮔﻔﺖ‪» :‬ﻭﺣﺸﺘﻨﺎﻛﻪ‪ .‬ﺑﺎ ﺍﻳﻦﺣﺎﻝ ﻛﺴﺎﻳﻰ ﻛﻪ ﺑﺪﻭﻥ ﺍﻧﺘﺨﺎﺏ ﺍﺯ ﺍﻳﻦﺟﺎ ﺭﻓﺘﻦ‪ ،‬ﺍﻧﮕﺎﺭ‬ ‫ﻫﻴﭻﻭﻗﺖ ﺩﺭﺳﺖ ﺩﺍﺳﺘﺎﻥ ﺭﻭ ﻧﻔﻬﻤﻴﺪﻥ‪ .‬ﺍﻭﻧﺎ ﻫﻤﻴﺸﻪ ﺑﺎﻳﺪ ﺍﺯ ﮔﻨﺠﻴﻨﻪﺍﻯ ﺻﺤﺒﺖ ﻛﻨﻦ ﻛﻪ ﺑﻪ ﺩﺳﺖ‬ ‫ﻧﻴﺎﻭﺭﺩﻥ‪ ،‬ﻧﻪ ﺍﺯ ﺍﺳﺘﺨﻮﺍﻥﻫﺎﻳﻰ ﻛﻪ ﺭﻫﺎ ﻧﻜﺮﺩﻥ‪«.‬‬ ‫»ﺩﺭﺳﺘﻪ‪ .‬ﺍﻭﻧﺎ ﻫﻤﻴﺸﻪ ﻛﻨﺠﻜﺎﻭﻯ ﺭﻭ ﺑﺎ ﺧﻮﺩﺷﻮﻥ ﺍﺯ ﺍﻳﻦﺟﺎ ﺑﻴﺮﻭﻥ ﻣﻰﺑﺮﻥ ﻭ ﺑﻪ ﻫﺮ ﺭﻫﮕﺬﺭ ﺍﺣﻤﻘﻰ‬ ‫ﻣﻨﺘﻘﻞ ﻣﻰﻛﻨﻦ‪ «.‬ﻭ ﺑﻌﺪ ﻫﻤﭽﻨﺎﻥ ﻛﻪ ﺍﻭ ﺭﺍ ﺗﻤﺎﺷﺎ ﻣﻰﻛﺮﺩ‪ ،‬ﻣﺪﺗﻰ ﺳﻜﻮﺕ ﻛﺮﺩ ﻭ ﺳﭙﺲ ﺑﻪ ﺁﺭﺍﻣﻰ‬ ‫ﮔﻔﺖ‪» :‬ﻫﻤﻴﺸﻪﺑﻬﺎﺭ‪ .‬ﺍﻳﻦ ﻫﻤﻮﻥ ﮔﻠﻴﻪ ﻛﻪ ﺗﻮ ﺍﺩﺑﻴﺎﺕ ﻫﻴﭻﻭﻗﺖ ﻧﻤﻰﻣﻴﺮﻩ‪ .‬ﺑﻬﺶ ﻣﻴﺎﺩ‪«.‬‬ ‫»ﺑﻠﻪ‪«.‬‬ ‫»ﻭ ﻧﻮﻉ ﺩﻳﮕﻪﺍﻯ ﻫﻢ ﺍﺯ ﮔﻞ ﻫﻤﻴﺸﻪﺑﻬﺎﺭ ﻫﺴﺖ‪ .‬ﺁﺗﺸﻴﻦ ﻭ ﺯﻳﺒﺎ ﻭ ﺍﻭﻥ ﻣﻰﻣﻴﺮﻩ‪«...‬‬ ‫ﺩﺳﺘﺎﻥ ﺑﺎﻧﻮ ﺑﺎ ﺷﻨﻴﺪﻥ ﺍﻳﻦ ﺳﺨﻨﺎﻥ ﺑﻰﺣﺮﻛﺖ ﻣﺎﻧﺪ ﻭ ﭼﺸﻤﺎﻧﺶ ﮔﺸﺎﺩ ﺷﺪ‪ ،‬ﺍﻣﺎ ﺣﺮﻓﻰ ﻧﺰﺩ‪ .‬ﻣﺮﺩ ﺑﻪ‬ ‫ﺧﺮﺩﻩﺳﻨﮓﻫﺎﻯ ﺩﺍﻍ ﻟﺒﻪﻯ ﺑﺎﺭﻭ ﺗﻜﻴﻪ ﺩﺍﺩﻩ ﺑﻮﺩ ﻭ ﭼﺸﻤﺎﻥ ﺍژﺩﻫﺎﻳﻰﺍﺵ ﺍﻭ ﺭﺍ ﺩﻧﺒﺎﻝ ﻣﻰﻛﺮﺩ‪ ،‬ﻫﻤﺎﻥ‬ ‫ﻃﻮﺭ ﻛﻪ ﮔﻞ ﺁﻓﺘﺎﺏﮔﺮﺩﺍﻥ‪ ،‬ﺁﻓﺘﺎﺏ ﺭﺍ‪» :‬ﻭﻗﺘﻰ ﻫﻤﻴﺸﻪﺑﻬﺎﺭﻯ ﺑﻮﺩﻯ ﻛﻪ ﻣﻰﻣﺮﺩ‪ ،‬ﭼﻰ ﻛﺎﺭﻩ ﺑﻮﺩﻯ؟«‬ ‫»ﻣﻦ ﻳﻜﻰ ﺍﺯ ﺍﻭﻥ ﺯﻥﻫﺎﻯ ﺑﻰﭼﻬﺮﻩﺍﻯ ﺑﻮﺩﻡ ﻛﻪ ﺩﺭ ﻣﻴﺨﻮﻧﻪﻫﺎ ﺑﺮﺍﺗﻮﻥ ﺷﺮﺍﺏ ﻣﻰﺁﻭﺭﺩﻡ‪ .‬ﻫﻤﻮﻧﺎﻳﻰ ﻛﻪ‬ ‫ﺳﺮﺷﻮﻥ ﻓﺮﻳﺎﺩ ﻣﻰﻛﺸﻴﺪ ﻭ ﺑﻬﺸﻮﻥ ﻣﺘﻠﻚ ﻣﻰﭘﺮﻭﻧﻴﺪ ﻭ ﺷﺎﻳﺪ ﻫﻢ ﺑﺴﺘﻪ ﺑﻪ ﭼﮕﻮﻧﮕﻰ ﺧﻨﺪﻩ ﻭ ﻭﺍﻛﻨﺶ‬ ‫ﻣﺎ‪ ،‬ﺳﻜﻪﺍﻯ ﺑﺪﻳﺪ ﻳﺎ ﻧﺪﻳﺪ‪«.‬‬ ‫ﻣﺮﺩ ﺳﺎﻛﺖ ﺑﻮﺩ‪ .‬ﺧﻴﻠﻰ ﺳﺎﻛﺖ ﻭ ﺑﺎﻧﻮ ﻓﻜﺮ ﻛﺮﺩ ﻛﻪ ﺍﻭ ﺭﻓﺘﻪ ﺍﺳﺖ؛ ﺍﻣﺎ ﻭﻗﺘﻰ ﺭﻭﻯ ﺑﺮﮔﺮﺩﺍﻧﺪ‪ ،‬ﻫﻤﭽﻨﺎﻥ‬ ‫ﺁﻥﺟﺎ ﺑﻮﺩ ﻭ ﺗﻨﻬﺎ‪ ،‬ﻟﺒﺨﻨﺪﺵ ﺍﺯ ﻟﺐ ﭘﺎﻙ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺑﻪ ﻧﺮﻣﻰ ﮔﻔﺖ‪» :‬ﭘﺲ ﻣﻦ ﺗﻮ ﺭﻭ ﺩﻳﺪﻩﺍﻡ‪ .‬ﺑﺎﺭﻫﺎ ﻭ‬ ‫ﺩﺭ ﺧﻴﻠﻰ ﺟﺎﻫﺎ‪ ،‬ﺍﻣﺎ ﻫﻴﭻﻭﻗﺖ ﺩﺭ ﭼﻨﻴﻦ ﺟﺎﻳﻰ ﻧﺪﻳﺪﻡ‪«.‬‬ ‫»ﻣﺮﺩ ﺍﻫﻞ ﺍﺳﺘﻮﻧﻰ ﻫﺪ ﻫﻢ ﺍﻧﺘﻈﺎﺭ ﻛﺲ ﺩﻳﮕﻪﺍﻯ ﺭﻭ ﻣﻰﻛﺸﻴﺪ‪«.‬‬ ‫»ﺍﻭﻥ ﺍﻧﺘﻈﺎﺭ ﺩﺍﺷﺖ ﻳﻪ ﺭﻭﻳﺎ ﺑﺒﻴﻨﻪ‪«.‬‬ ‫ﺑﺎﻧﻮ ﻧﻌﻨﺎﻯ ﻭﺣﺸﻰﺍﺵ ﺭﺍ ﺯﻳﺮ ﺳﺎﻳﻪﻯ ﭼﻨﺪ ﭘ���ﺩﻩﻯ ﻧﺦﻧﻤﺎ ﻛﺸﻴﺪ ﻭ ﮔﻔﺖ‪» :‬ﺍﻭﻥ ﻫﻤﻮﻧﻰ ﺭﻭ ﺩﻳﺪ‬ ‫ﻛﻪ ﻣﻰﺧﻮﺍﺳﺖ‪ :‬ﺑﺎﻧﻮﻯ ﺟﻤﺠﻤﻪﻫﺎ‪ .‬ﻭ ﭘﻴﺪﺍﺵ ﻛﺮﺩ‪ .‬ﻭ ﺣﺎﻻ ﺍﻳﻦ ﺗﻤﺎﻡ ﭼﻴﺰﻳﻪ ﻛﻪ ﻣﻦ ﻫﺴﺘﻢ‪ :‬ﺑﺎﻧﻮﻯ‬ ‫ﺟﻤﺠﻤﻪﻫﺎ‪ .‬ﺍﻭﻥ ﻣﻮﻗﻊ ﻛﻪ ﻣﻦ ﻓﻘﻂ ﺷﺮﺍﺏ ﻣﻰﺁﻭﺭﺩﻡ‪ ،‬ﺷﻤﺎﻫﺎ ﺁﺳﻮﺩﻩﺗﺮ ﺑﻮﺩﻳﻦ‪«.‬‬ ‫»ﺗﻮ ﺍﻳﻦ ﺑﺮﺝ ﺭﻭ ﻧﺴﺎﺧﺘﻰ‪«.‬‬ ‫»ﺍﺯ ﻛﺠﺎ ﻣﻰﺩﻭﻧﻰ؟ ﺷﺎﻳﺪ ﺍﺯ ﺧﻨﺪﻩﻫﺎ ﻭ ﺳﻜﻪﻫﺎ ﺧﺴﺘﻪ ﺷﺪﻡ ﻭ ﺟﺎﻳﻰ ﺑﺮﺍﻯ ﺧﻮﺩ ﺳﺎﺧﺘﻢ‪ ،‬ﺟﺎﻳﻰ ﻛﻪ‬ ‫ﺑﺘﻮﻧﻢ ﺑﻪ ﺁﺩﻡﻫﺎ ﺳﻜﻪ ﺗﻌﺎﺭﻑ ﻛﻨﻢ ﻭ ﻫﻴﭽﻰ ﻧﺪﻡ‪«.‬‬

‫‪17‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﻭ ﺍﮔﺮ ﭘﻴﺮﻭﺯ ﺑﺸﻦ‪ ،‬ﻳﻌﻨﻰ ﺳﺘﻮﺩﻩ ﺷﺪﻥ‪ .‬ﺑﺮﺍﻯ ﻛﺮﺑﻴﻞ ﭼﻴﺰﻯ ﺑﺮﺍﻯ ﺑﺮﻧﺪﻩ ﺷﺪﻥ ﺑﻮﺩ‪ .‬ﭼﻴﺰﻯ ﻛﻪ ﺍﻭﻥ‬ ‫ﺻﺎﺣﺒﺶ ﻣﻰﺷﺪ ﻭ ﻫﻴﭻﻛﺲ ﻧﻤﻰﺩﺍﺷﺖ‪ .‬ﺍﻭﻥ ﻭﻗﺖ ﺭﻭﻯ ﺑﻠﻨﺪﻯ ﻣﻰﻧﺸﺴﺖ ﺗﺎ ﻣﺮﺩﻡ ﺑﻪ ﺍﻭ ﻧﮕﺎﻩ ﻛﻨﻦ‪،‬‬ ‫ﺣﺴﻮﺩﻯ ﻛﻨﻦ ﻭ ﺍﺯﺵ ﻣﺘﻨﻔﺮ ﺑﺎﺷﻦ‪«.‬‬ ‫»ﺍﻭﻥ ﻣﺮﺩ ﺳﺮﺩﻯ ﺑﻮﺩ‪ .‬ﺁﺩﻡﻫﺎﻯ ﺳﺮﺩ ﺭﻭ ﺗﻮ ﺁﺗﺶ ﺳﺮﺩ ﻣﻰﻧﺪﺍﺯﻥ‪ .‬ﺍﻣﺎ ﺑﺎﺯ ﻫﻢ‪ «...‬ﻭ ﺁﻫﻰ ﻛﺸﻴﺪ ﻭ ﺍﺩﺍﻣﻪ‬ ‫ﺩﺍﺩ‪» :‬ﺩﻭﺳﺖ ﺩﺍﺷﺘﻢ ﺑﺒﻴﻨﻢ ﻛﻪ ﺑﺎ ﭘﺎﻫﺎﻯ ﺧﻮﺩﺵ ﺍﻳﻦﺟﺎ ﺭﻭ ﺗﺮﻙ ﻣﻰﻛﻨﻪ‪ .‬ﺑﺮﺍﻯ ﺗﻮ ﺍﻳﻦ ﮔﻨﺠﻴﻨﻪ ﭼﻪ‬ ‫ﻣﻌﻨﻰﺍﻯ ﻣﻰﺩﻩ؟«‬ ‫ﻭ ﺍﻭ ﻫﻢ ﺧﻨﺪﻩﻯ ﻣﺒﻬﻤﺶ ﺭﺍ ﺑﺮ ﻟﺐ ﺩﺍﺷﺖ‪» :‬ﭘﻮﻝ‪ .‬ﺟﺮﺋﺘﺶ ﺭﻭ ﻧﺪﺍﺭﻡ ﺟﻮﻧﻢ ﺭﻭ ﭘﺎﻯ ﭘﻮﻝ ﺑﺬﺍﺭﻡ‪ .‬ﺑﻪ‬ ‫ﺯﻭﺩﻯ ﺑﺎ ﺩﺳﺘﺎﻯ ﺧﺎﻟﻰ ﺍﺯ ﺍﻳﻦ ﺩﺭ ﺑﻴﺮﻭﻥ ﻣﻰﺭﻡ‪ .‬ﺍﻣﺎ ﺁﺧﻪ ﭼﻴﺰ ﺩﻳﮕﻪﺍﻯ ﻫﻢ ﻫﺴﺖ‪«.‬‬ ‫»ﭼﻰ؟«‬ ‫»ﺻﺮﻑ ﺧﻮﺩ ﻣﻌﻤﺎ‪ .‬ﻣﻌﻤﺎﺳﺖ ﻛﻪ ﻣﺎ ﺭﻭ ﺍﺯ ﺩﺭﻭﻥ ﺑﻪ ﺍﻳﻦﺟﺎ ﻣﻰﻛﺸﻪ‪ :‬ﺍﺭﺯﺷﻤﻨﺪﺗﺮﻳﻦ ﻛﺪﻭﻣﻪ؟ ﺑﺮﺍﻯ ﺍﻳﻦ‬ ‫ﻛﻪ ﺑﺒﻴﻨﻰﺍﺵ‪ ،‬ﺩﺭ ﺩﺳﺘﺎﻧﺖ ﺑﮕﻴﺮﻳﺶ ﻭ ﺑﺎﻻﺗﺮ ﺍﺯ ﻫﻤﻪ‪ ،‬ﺍﻳﻦ ﻛﻪ ﺑﺘﻮﻧﻰ ﺗﺸﺨﻴﺺ ﺑﺪﻯ ﻭ ﺍﻧﺘﺨﺎﺑﺶ ﻛﻨﻰ‪.‬‬ ‫ﺍﻳﻦ ﭼﻴﺰﻳﻪ ﻛﻪ ﻣﺎ ﺭﻭ ﻣﺪﺍﻡ ﺑﻪ ﺍﻳﻦﺟﺎ ﻣﻰﻛﺸﻪ ﻭ ﺗﻮ ﺭﻭ ﻫﻢ ﭘﺎﺑﻨﺪ ﺍﻳﻦﺟﺎ ﻛﺮﺩﻩ‪«.‬‬ ‫ﺑﺎﻧﻮ ﺑﻪ ﺍﻭ ﺧﻴﺮﻩ ﺷﺪ ﻭ ﺩﺭ ﭼﺸﻤﺎﻧﺶ ﻫﻤﺎﻥ ﻛﻨﺠﻜﺎﻭﻯ ﺭﺍ ﺩﻳﺪ ﻛﻪ ﻣﺮﺩ ﻓﻜﺮ ﻣﻰﻛﺮﺩ ﺑﻪ ﺟﺎﻧﺶ ﻣﻰﺍﺭﺯﺩ‪.‬‬ ‫ﺭﻭﻳﺶ ﺭﺍ ﺑﺮﮔﺮﺩﺍﻧﺪ ﻭ ﭘﺸﺘﺶ ﺭﺍ ﺑﻪ ﻣﺮﺩ ﻛﺮﺩ ﻭ ﺑﻪ ﻗﻠﺐ ﻣﺮﻳﻢ ﻭ ﻛﻠﻤﺒﻴﺎ ﺁﺏ ﺩﺍﺩ ﻭ ﺳﻨﮕﺪﻻﻧﻪ ﺑﻪ‬ ‫ﻛﺎﺭ ﻛﻼﻍﻫﺎ ﺑﻰﻣﺤﻠﻰ ﻛﺮﺩ‪ .‬ﺑﻪ ﺧﺸﻜﻰ ﭘﺮﺳﻴﺪ‪» :‬ﺍﮔﺮ ﭘﻴﺪﺍﺵ ﻛﻨﻰ‪ ،‬ﺩﻳﮕﻪ ﭼﻰ ﻛﻨﺠﻜﺎﻭﻯ ﺗﻮ ﺭﻭ ﺑﺮ‬ ‫ﻣﻰﺍﻧﮕﻴﺰﻭﻧﻪ؟«‬ ‫»ﺯﻧﺪﮔﻰ ﻫﻤﻴﺸﻪ ﻫﺴﺖ‪«.‬‬ ‫»ﻧﻪ ﺍﮔﻪ ﭘﺎﻯ ﻫﻤﻴﻦ ﻛﻨﺠﻜﺎﻭﻯ ﻛﺸﺘﻪ ﺑﺸﻰ‪«.‬‬ ‫ﻣﺮﺩ ﺑﻪ ﻧﺮﻣﻰ ﺧﻨﺪﻳﺪ ﻭ ﺍﻳﻦ ﺻﺪﺍ ﺑﺮﺍﻯ ﺑﺎﻧﻮ ﺩﺭ ﺁﻥ ﻣﻜﺎﻥ ﻏﻴﺮﻣﻨﺘﻈﺮﻩ ﺑﻮﺩ‪ .‬ﻣﺮﺩ ﭘﺮﺳﻴﺪ‪» :‬ﺍﮔﺮ ﺗﻮ ﻫﻢ‬ ‫ﻗﺼﻪﻫﺎﻯ ﺍﻳﻦ ﺑﺮﺝ ﺭﻭ ﻣﻰﺷﻨﻴﺪﻯ‪ ،‬ﺍﺯ ﺩﺷﺖ ﻧﻤﻰﮔﺬﺷﺘﻰ ﻭ ﺑﺮﺍﻯ ﭘﻴﺪﺍ ﻛﺮﺩﻥ ﺍﺭﺯﺷﻤﻨﺪﺗﺮﻳﻦ ﭼﻴﺰ ﺑﻪ‬ ‫ﺍﻳﻦﺟﺎ ﻧﻤﻰﺍﻭﻣﺪﻯ؟«‬ ‫ﭘﺎﺗﻴﻠﻰ ﺍﺯ ﻗﺎﺻﺪﻙ ﺭﺍ ﺩﺭﻭﻥ ﺳﺎﻳﻪ ﺑﺮﺩ ﻭ ﺩﺭ ﻫﻤﻴﻦ ﺣﻴﻦ ﮔﻔﺖ‪» :‬ﻫﻴﭻﭼﻴﺰ ﺑﺮﺍﻯ ﻣﻦ ﺑﺎﺍﺭﺯﺵ ﻧﻴﺴﺖ‪.‬‬ ‫ﺣﺪﺍﻗﻞ ﻧﻪ ﺍﻭﻥ ﭘﺎﻳﻴﻦ‪ .‬ﺍﮔﺮ ﻗﺮﺍﺭ ﺑﻮﺩ ﻣﻦ ﭼﻴﺰﻯ ﺭﻭ ﺑﺎ ﺧﻮﺩﻡ ﺑﺒﺮﻡ‪ ،‬ﺍﻭﻥ ﭼﻴﺰ ﻫﻴﭻﻭﻗﺖ ﺷﻤﺸﻴﺮ ﻭ ﻃﻼ‬ ‫ﻭ ﺍﺳﺘﺨﻮﺍﻥ ﺍژﺩﻫﺎ ﻧﻤﻰﺑﻮﺩ؛ ﺑﻠﻜﻪ ﻫﺮ ﺍﻭﻥ ﭼﻴﺰﻯ ﺑﻮﺩ ﻛﻪ ﺯﻧﺪﻩ ﺑﺎﺷﻪ‪«.‬‬ ‫ﻣﺮﺩ ﺭﻳﺰ ﺭﺯ ﺭﺍ ﻟﻤﺲ ﻛﺮﺩ ﻭ ﭘﺮﺳﻴﺪ‪» :‬ﻣﻨﻈﻮﺭﺕ ﭼﻴﺰﻯ ﺷﺒﻴﻪ ﺍﻳﻨﻪ؟ ﻛﺮﺑﻴﻞ ﻫﻴﭻﻭﻗﺖ ﺑﺮﺍﻯ ﺍﻳﻦ‬ ‫ﻧﻤﻰﻣﺮﺩ‪«.‬‬ ‫»ﺍﻭﻥ ﺑﺮﺍﻯ ﻳﻪ ﺩﻫﻦ ﺁﺏ ﻣﺮﺩ‪«.‬‬ ‫ﭘﺸﺖ ﺑﻪ ﺁﺳﻤﺎﻥ ﻛﻨﺎﺭ ﮔﻞ ﺭﺯ ﻧﺸﺴﺖ ﻭ ﺑﺎﻧﻮ ﺭﺍ ﻧﮕﺎﻩ ﻛﺮﺩ ﻛﻪ ﭘﺎﺗﻴﻞﻫﺎﻳﺶ ﺭﺍ ﺩﺭﻭﻥ ﺳﺎﻳﻪ ﻣﻰﮔﺬﺍﺷﺖ ﺗﺎ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪16‬‬


‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺯﻣﺎﻧﻰ ﻛﻪ ﻫﻮﺍ ﻏﺮﺵﻛﻨﺎﻥ ﺍﺯ ﺳﻮﻯ ﻛﻮﻫﺴﺘﺎﻥ ﺑﺮ ﺭﻭﻯ ﺩﺷﺖ ﻣﻰﺧﺰﻳﺪ‪ ،‬ﺩﺭ ﺫﻫﻦ ﺧﻮﺩ ﺗﺼﻮﺭ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﭘﺲ ﺍﺯ ﻣﺪﺗﻰ ﺩﻭﺑﺎﺭﻩ ﺻﺪﺍﻯ ﮔﺎﻡﻫﺎﻯ ﻣﺮﺩ ﺭﺍ ﺷﻨﻴﺪ ﻛﻪ ﭘﺎﻳﻴﻦ ﻣﻰﺭﻭﺩ‪.‬‬ ‫ﺻﺪﺍﻳﻰ ﺍﻭ ﺭﺍ ﻓﺮﺍﺧﻮﺍﻧﺪ‪» :‬ﺑﺎﻧﻮﻯ ﺟﻤﺠﻤﻪﻫﺎ!« ﺻﺪﺍﻯ ﺍﻫﻞ ﺍﺳﺘﻮﻧﻰ ﻫﺪ ﺑﻮﺩ‪ .‬ﭘﻠﻚﺯﻧﺎﻥ ﺍﺯ ﺷﺪﺕ ﻧﻮﺭ‪،‬‬ ‫ﭘﺎﻳﻴﻦ ﺭﻓﺖ‪ .‬ﺻﺎﻑ ﺍﻳﺴﺘﺎﺩﻩ ﻭ ﺻﻮﺭﺗﺶ ﻣﺼﻤﻢ ﺑﻮﺩ‪ .‬ﻫﻤﻪ ﺷﻖ ﻭ ﺭﻕ ﺍﻳﺴﺘﺎﺩﻩ ﻭ ﻧﻈﺎﺭﻩﮔﺮ ﺑﻮﺩﻧﺪ‪.‬‬ ‫»ﻣﻦ ﺍﻻﻥ ﺍﺯ ﺍﻳﻦﺟﺎ ﻣﻰﺭﻡ‪ .‬ﻣﻰﺗﻮﻧﻢ ﻫﺮ ﭼﻴﺰﻯ ﺑﺮﺩﺍﺭﻡ؟«‬ ‫ﺑﺎﻧﻮ ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﻫﺮ ﭼﻴﺰﻯ‪ «.‬ﻭ ﺩﺭ ﺑﺮﺍﺑﺮ ﺍﻭ ﻗﻠﺒﺶ ﺍﺯ ﺳﻨﮓ ﺷﺪ‪ ،‬ﻣﺜﻞ ﺷﺒﺢ‪ ،‬ﺗﺎ ﺑﺪﻳﻦ ﺻﻮﺭﺕ ﺩﻟﺶ‬ ‫ﺑﺮﺍﻯ ﻣﺮﺩ ﻧﺴﻮﺯﺩ‪ .‬ﻣﺮﺩ ﺑﻪ ﺳﻤﺖ ﭼﺸﻤﻪ ﺭﻓﺖ ﻭ ﺩﻫﺎﻧﺶ ﺭﺍ ﭘﺮ ﺍﺯ ﺁﺏ ﻛﺮﺩ‪ .‬ﺑﻪ ﺑﺎﻧﻮ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﺍﻭ ﻫﻢ‬ ‫ﺭﻓﺖ ﺗﺎ ﻣﺴﻴﺮ ﻣﺨﻔﻰ ﺩﻫﺎﻥ ﺍژﺩﻫﺎ ﺭﺍ ﻧﺸﺎﻧﺶ ﺩﻫﺪ‪.‬‬ ‫ﻟﺤﻈﻪﺍﻯ ﺑﻌﺪ ﺁﻥﻫﺎ ﺻﺪﺍﻯ ﻓﺮﻳﺎﺩﻯ ﺷﻨﻴﺪﻧﺪ‪ .‬ﺳﻪ ﮔﺮﻳﻨﻠﻴﻔﻰ ﺑﻪ ﺳﻤﺖ ﺻﺪﺍ ﺳﺮ ﺑﺮﮔﺮﺩﺍﻧﺪﻧﺪ‪ .‬ﻫﺮ ﻛﺪﺍﻡ‬ ‫ﺗﻜﻪﺍﻯ ﺍﺯ ﺯﺭﻫﻰ ﺭﺍ ﺑﻪ ﺗﻦ ﺩﺍﺷﺖ ﻛﻪ ﭘﻮﺷﻨﺪﻩ ﺭﺍ ﻧﺎﻣﺮﺋﻰ ﻣﻰﻛﺮﺩ‪ :‬ﻳﻜﻰ ﻳﻚ ﺑﺎﺯﻭ ﻧﺪﺍﺷﺖ‪ ،‬ﺩﻳﮕﺮﻯ ﻳﻚ‬ ‫ﭘﺎ ﻭ ﺩﻳﮕﺮﻯ ﭘﻨﺠﻪﻫﺎﻯ ﺩﺳﺖ‪ .‬ﺣﺎﻻﺕ ﺻﻮﺭﺗﺸﺎﻥ ﺑﺎ ﻇﺮﺍﻓﺖ ﺑﻪ ﺣﺎﻟﺘﻰ ﭘﻴﭽﻴﺪﻩﺗﺮ ﺍﺯ ﺷﻮﻙ ﻭ ﺗﺮﺱ‬ ‫ﺗﻐﻴﻴﺮ ﻳﺎﻓﺖ‪ .‬ﭘﻨﺞ ﻧﻔﺮ ﺑﻮﺩﻧﺪ ﻭ ﺑﺎﻧﻮ ﺩﻳﺪ ﻛﻪ ﺩﺭ ﻓﻜﺮﻧﺪ‪ .‬ﺣﺎﻻ ﺩﻳﮕﺮ ﻓﻘﻂ ﭘﻨﺞ ﺍﻧﺘﺨﺎﺏ ﻭﺟﻮﺩ ﺩﺍﺷﺖ‪.‬‬ ‫ﺑﺎ ﺳﺮﺩﻯ ﭘﺮﺳﻴﺪ‪» :‬ﻛﺲ ﺩﻳﮕﻪﺍﻯ ﻫﺴﺖ؟« ﺍﻫﻞ ﺩﻟﻜﻴﺲ ﺁﻳﻞ ﺁﺏ ﺩﻫﺎﻧﺶ ﺭﺍ ﻗﻮﺭﺕ ﺩﺍﺩ ﻭ ﺭﻭﻯ ﭘﻠﻪﻫﺎ‬ ‫ﻭﺍ ﺭﻓﺖ‪ .‬ﺻﻮﺭﺗﺶ ﺯﻳﺮ ﻧﻮﺭ ﺳﺒﺰ‪-‬ﺯﺭﺩ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺑﻪ ﺑﺎﻧﻮ ﺧﻴﺮﻩ ﺑﻮﺩ‪ .‬ﺩﻭﺑﺎﺭﻩ ﺁﺏ ﺩﻫﺎﻧﺶ ﺭﺍ ﻗﻮﺭﺕ ﺩﺍﺩ‬ ‫ﻭ ﺑﻌﺪ ﺳﺮ ﺑﺎﻧﻮ ﻧﻌﺮﻩ ﻛﺸﻴﺪ‪.‬‬ ‫ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺣﺘﺎ ﺑﻪ ﺑﺮﺝ ﺑﻴﺎﻳﺪ‪ ،‬ﻫﺮ ﻓﺤﺸﻰ ﻛﻪ ﺑﻪ ﻓﻜﺮ ﺍﻳﻦ ﺍﻓﺮﺍﺩ ﺑﺮﺳﺪ ﺷﻨﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺍﺯ ﻛﻨﺎﺭ ﻣﺮﺩ‬ ‫ﮔﺬﺷﺖ ﻭ ﺍﺯ ﭘﻠﻪﻫﺎ ﺑﺎﻻ ﺭﻓﺖ‪ .‬ﻣﺮﺩ ﺟﺮﺃﺕ ﻧﺪﺍﺷﺖ ﺑﻪ ﺍﻭ ﺩﺳﺖ ﺑﺰﻧﺪ‪ .‬ﺑﺎﻧﻮ ﺭﻓﺖ ﺗﺎ ﭘﻴﺶ ﮔﻴﺎﻫﺎﻧﺶ ﺑﺎﺷﺪ‪.‬‬ ‫ﻛﺮﺑﻴﻞ ﺍﺯ ﺍﺳﺘﻮﻧﻰ ﻫﺪ ﻫﻤﺎﻥﺟﺎ ﺭﻭﻯ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﻗﻄﻌﻪﺍﻯ ﻣﺮﻃﻮﺏ ﻭ ﻗﻬﻮﻩﺍﻯ ﺭﻧﮓ ﺍﺯ ﺯﻣﻴﻦ‬ ‫ﺟﻠﻮﻯ ﺩﻫﺎﻧﺶ ﺑﻮﺩ‪ .‬ﺑﺎﻧﻮ ﻫﻤﻴﻦ ﻃﻮﺭ ﻧﻈﺎﺭﻩ ﻛﺮﺩ ﺗﺎ ﺧﻮﺭﺷﻴﺪ ﺯﻣﻴﻦ ﺭﺍ ﺧﺸﻚ ﻛﺮﺩ ﻭ ﺍﻭﻟﻴﻦ ﻻﺷﺨﻮﺭ‬ ‫ﺑﺮ ﺯﻣﻴﻦ ﻧﺸﺴﺖ‪.‬‬ ‫ﺍﺯ ﺍﺳﺘﺨﻮﺍﻥﻫﺎﻯ ﺩﻡ ﺩﺳﺘﺶ ﺑﺮ ﻣﻰﺩﺍﺷﺖ ﻭ ﻧﺎﺳﺰﺍﮔﻮﻳﺎﻥ ﺑﻪ ﺳﻮﻯ ﭘﺮﻧﺪﻩﻯ ﻻﺷﺨﻮﺭ ﭘﺮﺕ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﭼﻨﺪ ﺗﺎﻳﻰ ﺑﻪ ﭘﺮﻧﺪﻩ ﺯﺩ ﻭ ﺑﻌﺪ ﻳﻜﻰ ﺩﻳﮕﺮ ﺁﻣﺪ‪ .‬ﺳﭙﺲ ﻳﻚ ﻧﻔﺮ ﺍﺳﺘﺨﻮﺍﻥ ﺭﺍ ﺍﺯ ﺩﺳﺘﺶ ﮔﺮﻓﺖ ﻭ ﺍﻭ ﺭﺍ‬ ‫ﺍﺯ ﻟﺒﻪﻯ ﺩﻳﻮﺍﺭ ﻛﻨﺎﺭ ﻛﺸﻴﺪ‪.‬‬ ‫»ﺍﻭﻥ ﻣﺮﺩﻩ‪ .‬ﻓﺮﻗﻰ ﻧﻤﻰﻛﻨﻪ ﺍﺳﺘﺨﻮﻧﺎ ﺭﻭ ﺑﻪ ﭘﺮﻧﺪﻩﻫﺎ ﻣﻰﺯﻧﻰ ﻳﺎ ﺑﻪ ﺍﻭﻥ‪«.‬‬ ‫ﺧﻴﻠﻰ ﻛﻮﺗﺎﻩ ﮔﻔﺖ‪» :‬ﻣﻦ ﻣﺠﺒﻮﺭﻡ ﺗﻤﺎﺷﺎ ﻛﻨﻢ‪ «.‬ﻭ ﻫﻤﻴﻦ ﻃﻮﺭ ﺑﻪ ﻟﺒﻪﻯ ﺑﺎﺭﻭ ﭼﺸﻢ ﺩﻭﺧﺘﻪ ﺑﻮﺩ ﻛﻪ‬ ‫ﻣﺜﻞ ﺩﻧﺪﺍﻥ ﺍژﺩﻫﺎ ﺷﺪﻩ ﺑﻮﺩ‪» :‬ﺷﻤﺎ ﻫﻤﻴﻦ ﻃﻮﺭ ﻣﻰﺁﻳﺪ ﻭ ﻣﻰﻣﻴﺮﻳﺪ‪ .‬ﭼﺮﺍ ﻫﻤﻪﺗﻮﻥ ﻣﺪﺍﻡ ﻣﻰﺁﻳﺪ؟‬ ‫ﮔﻨﺠﻴﻨﻪﻯ ﺍﻳﻦﺟﺎ ﻣﻰﺍﺭﺯﻩ ﻛﻪ ﺻﺒﺤﺎﻧﻪﻯ ﻛﻼﻍﻫﺎﻯ ﻻﺷﺨﻮﺭ ﺑﺸﻴﺪ؟«‬ ‫»ﺑﺮﺍﻯ ﻫﺮ ﻛﺴﻰ ﻳﻪ ﺟﻮﺭ ﻣﻰﺍﺭﺯﻩ‪ .‬ﺑﺮﺍﻯ ﺑﺮﺍﺩﺭﺍﻥ ﮔﺮﻳﻨﻠﻴﻒ ﺍﻳﻦ ﻳﻌﻨﻰ ﻳﻚ ﻣﺎﺟﺮﺍﺟﻮﻳﻰ‪ ،‬ﻳﻚ ﺭﻗﺎﺑﺖ‬

‫‪15‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺑﺎﻧﻮ ﮔﻔﺖ‪» :‬ﺑﻮﻳﻰ ﻧﺪﺍﺭﻩ‪«.‬‬ ‫ﻳﻚ ﺷﺎﺧﻪﻯ ﺩﻳﮕﺮ ﺑﺮﺩﺍﺷﺖ‪ .‬ﺍﻧﮕﺎﺭ ﻫﻤﻴﺸﻪ ﺩﺭ ﺷﺮﻑ ﺧﻨﺪﻳﺪﻥ ﺑﻮﺩ؛ ﻭ ﺍﻳﻦ ﺣﺎﻟﺖ‪ ،‬ﮔﺎﻩ ﺩﺍﻧﺎ ﻭ ﮔﺎﻩ ﻧﺎﺩﺍﻥ‬ ‫ﻧﺸﺎﻧﺶ ﻣﻰﺩﺍﺩ‪ .‬ﺍﺯ ﻛﻼﻩﺧﻮﺩ ﺑﺮﻧﺰﻯ ﺁﺏ ﺧﻮﺭﺩ؛ ﻫﻢﺭﻧﮓ ﻣﻮﻫﺎﻯ ﺧﻮﺩﺵ ﺑﻮﺩ‪.‬‬ ‫ﺍﺯ ﭘﻰ ﺧﻮﺭﺩﻥ ﺍﺿﺎﻓﻪ ﻛﺮﺩ‪» :‬ﺍﻳﻦ ﺁﺏ ﺑﺮﺍﻯ ﻫﻤﭽﻴﻦ ﺩﺷﺖ ﺑﺎﻳﺮﻯ ﺧﻴﻠﻰ ﺧﻨﻚ ﻭ ﮔﻮﺍﺭﺍﺳﺖ‪ «.‬ﻭ ﭼﺸﻢ‬ ‫ﺑﻪ ﺍﻭ‪ ،‬ﺭﻭﻯ ﺩﻳﻮﺍﺭ ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﺟﺎ ﺑﺎﺯ ﻛﺮﺩ‪» :‬ﻛﻮﺭﺑﻴﻞ ﻣﻰﮔﻪ ﺗﻮ ﻭﺍﻗﻌﻰ ﻧﻴﺴﺘﻰ‪ .‬ﺑﺮﺍﻯ ﻣﻦ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ‬ ‫ﻛﺎﻓﻰ ﻭﺍﻗﻌﻰ ﺑﻪ ﻧﻈﺮ ﻣﻴﺎﻯ‪ «.‬ﺑﺎﻧﻮ ﺳﺎﻛﺖ ﺑﻮﺩ‪ .‬ﻳﻚ ﺷﺎﺧﻪ ﺷﺒﺪﺭ ﭘﮋﻣﺮﺩﻩ ﺍﺯ ﮔﻠﺪﺍﻥ ﺷﺒﺪﺭ ﺑﺮﺩﺍﺷﺖ‪.‬‬ ‫»ﺑﮕﻮ ﺑﺒﻴﻨﻢ ﺍﺯ ﻛﺠﺎ ﻣﻴﺎﻯ‪«.‬‬ ‫ﺑﺎﻧﻮ ﺷﺎﻧﻪﺍﻯ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺖ‪» :‬ﻳﻪ ﻣﻴﻜﺪﻩ‪«.‬‬ ‫»ﻭ ﭼﻄﻮﺭ ﺷﺪ ﺍﻭﻣﺪﻯ ﺍﻳﻦﺟﺎ؟«‬ ‫ﺑﺎﻧﻮ ﺑﻪ ﻣﺮﺩ ﭼﺸﻢ ﺩﻭﺧﺖ‪» :‬ﺗﻮ ﭼﻄﻮﺭ ﺑﻪ ﺍﻳﻦﺟﺎ ﺍﻭﻣﺪﻯ‪ ،‬ﺭﻥ ﺍﻫﻞ ﻛﺮﻧﻠﻴﻦ؟«‬ ‫ﻭ ﺑﺎﻻﺧﺮﻩ ﺍﻭ ﻫﻢ ﻛﻨﺎﻳﻪﺩﺍﺭ ﻟﺒﺨﻨﺪ ﺯﺩ‪» :‬ﻛﺮﻧﻠﻴﻦ ﺟﺎﻯ ﻓﻘﻴﺮﻳﻪ‪ .‬ﺍﻭﻣﺪﻡ ﺗﺎ ﺻﻨﺪﻭﻗﭽﻪﻫﺎﺵ ﺭﻭ ﺩﻭﺑﺎﺭﻩ ﭘﺮ‬ ‫ﻛﻨﻢ‪«.‬‬ ‫»ﻗﺎﻋﺪﺗﺎً ﺑﺎﻳﺪ ﺭﺍﻩﻫﺎﻯ ﻛﻢﺧﻄﺮﺗﺮﻯ ﻫﻢ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻪ‪«.‬‬ ‫»ﺷﺎﻳﺪ ﻣﻰﺧﻮﺍﺳﺘﻢ ﺍﺭﺯﺷﻤﻨﺪﺗﺮﻳﻦ ﭼﻴﺰﻯ ﺭﻭ ﻛﻪ ﻣﻰﺷﻪ ﭘﻴﺪﺍ ﻛﺮﺩ‪ ،‬ﺑﺒﻴﻨﻢ‪ .‬ﺍﮔﻪ ﭘﻴﺪﺍ ﺑﺸﻪ‪ ،‬ﺍﻳﻦ ﺩﺷﺖ‬ ‫ﺩﻭﺑﺎﺭﻩ ﺳﺮﺳﺒﺰ ﻣﻰﺷﻪ؟ ﺍﮔﻪ ﭘﻴﺪﺍ ﺑﺸﻪ‪ ،‬ﺗﻮ ﺑﻪ ﺟﺎﻯ ﮔﻠﺪﻭﻧﺎﻯ ﺟﻤﺠﻤﻪﺍﻯ ﺻﺎﺣﺐ ﻳﻪ ﺑﺎﻏﭽﻪ ﻣﻰﺷﻰ؟«‬ ‫»ﺷﺎﻳﺪ‪ .‬ﺷﺎﻳﺪ ﻫﻢ ﻣﻦ ﻧﺎﭘﺪﻳﺪ ﺑﺸﻢ‪ .‬ﺑﺎ ﻣﺮگ ﻃﻠﺴﻢ ﺍﻳﻦﺟﺎ‪ ،‬ﻣﻦ ﻫﻢ ﺑﻤﻴﺮﻡ‪ .‬ﺍﮔﺮ ﻫﻮﺷﻤﻨﺪﺍﻧﻪ ﺍﻧﺘﺨﺎﺏ‬ ‫ﻛﻨﻰ‪ ،‬ﺟﻮﺍﺑﺖ ﺭﻭ ﺧﻮﺍﻫﻰ ﮔﺮﻓﺖ‪«.‬‬ ‫ﻣﺮﺩ ﺷﺎﻧﻪﺍﻯ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺖ‪» :‬ﺷﺎﻳﺪ ﻫﻢ ﺍﻧﺘﺨﺎﺏ ﻧﻜﻨﻢ‪ .‬ﭼﻴﺰﺍﻯ ﺍﺭﺯﺷﻤﻨﺪ ﺯﻳﺎﺩﻯ ﻭﺟﻮﺩ ﺩﺍﺭﻩ‪«.‬‬ ‫ﻧﮕﺎﻫﻰ ﺑﻪ ﺍﻭ ﺍﻧﺪﺍﺧﺖ‪ .‬ﺩﺍﺷﺖ ﺷﻴﻄﻨﺖ ﻣﻰﻛﺮﺩ‪ .‬ﺍﺯ ﺍﻭ ﻣﻰﺧﻮﺍﺳﺖ ﺗﺎ ﺩﺭ ﻟﻔﺎﻓﻪﻯ ﻣﻌﻤﺎ‪ ،‬ﺭﺍﻫﻨﻤﺎﻳﻰﺍﺵ‬ ‫ﻛﻨﺪ‪ .‬ﺑﺎﻳﺪ ﺭﺯ ﺭﺍ ﺑﺮﺩﺍﺭﻡ ﻳﺎ ﺳﻮﺳﻦ ﺭﺍ؟ ﻳﺎ ﺍﺳﺘﺨﻮﺍﻥ ﺭﺍﻥ ﺟﺎﺩﻭﮔﺮ ﺭﺍ؟ ﺷﻤﺸﻴﺮ ﻳﺎ ﺁﺏ ﻳﺎ ﭼﺸﻢ ﺍژﺩﻫﺎ؟‬ ‫ﻗﺒ ً‬ ‫ﻼ ﻫﻢ ﺍﻳﻦ ﺳﻮﺍﻝﻫﺎ ﺭﺍ ﺍﺯ ﺍﻭ ﭘﺮﺳﻴﺪﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﻭ ﺑﺎﻧﻮ ﺑﻪ ﺳﺎﺩﮔﻰ ﮔﻔﺖ‪» :‬ﻧﻤﻰﺗﻮﻧﻢ ﺑﮕﻢ ﭼﻪ ﭼﻴﺰ ﺭﻭ ﺑﺎﻳﺪ ﺑﺮﺩﺍﺭﻯ‪ .‬ﻣﻦ ﻫﻢ ﻭﺍﻗﻌﺎً ﻧﻤﻰﺩﻭﻧﻢ‪ .‬ﺗﺎ ﺍﻭﻥﺟﺎ‬ ‫ﻛﻪ ﻣﻦ ﺩﻳﺪﻩﺍﻡ‪ ،‬ﻫﻤﻪ ﭼﻴﺰ ﻛﺸﻨﺪﻩ ﺍﺳﺖ‪ «.‬ﻭ ﺍﻳﻦ ﻧﺰﺩﻳﻚﺗﺮﻳﻦ ﺟﻮﺍﺑﻰ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﺫﻫﻨﺶ ﻣﻰﺭﺳﻴﺪ‪.‬‬ ‫ﻭﺍﺿﺢﺗﺮ ﺍﺯ ﺍﻳﻦ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ‪ :‬ﺍﻳﻦﺟﺎ ﺭﺍ ﺗﺮﻙ ﻛﻦ‪ .‬ﺍﻣﺎ ﻟﺒﺨﻨﺪ ﻣﺮﺩ ﺍﺯ ﻣﻴﺎﻥ ﺭﻓﺖ ﻭ ﻓﻘﻂ ﮔﻔﺖ‪» :‬ﺑﺮﺍﻯ‬ ‫ﻫﻤﻴﻨﻪ ﻛﻪ ﻫﻴﭻﻭﻗﺖ ﺍﺯ ﺍﻳﻦﺟﺎ ﻧﺮﻓﺘﻰ؟« ﺑﺎﻧﻮ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺍﻭ ﺧﻴﺮﻩ ﺷﺪ‪ .‬ﻣﺮﺩ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺍﺯ ﺩﺭ ﻧﺰﺩﻯ‬ ‫ﺑﻴﺮﻭﻥ ﻭ ﺭﻭ ﺍﺳﺐ ﻳﻪ ﺷﺎﻩ ﻣﺮﺩﻩ ﺍﺯ ﺍﻳﻦ ﺩﺷﺖ ﻧﮕﺬﺷﺘﻰ ﻭ ﻧﺮﻓﺘﻰ؟«‬ ‫ﻭ ﺑﺎﻧﻮ ﺩﺭ ﺟﻮﺍﺏ ﮔﻔﺖ‪» :‬ﻧﻤﻰﺗﻮﻧﻢ ﺑﺮﻡ‪ «.‬ﻭ ﺍﺯ ﺍﻭ ﺩﻭﺭ ﺷﺪ ﺗﺎ ﺑﻪ ﮔﻞﻫﺎﻳﻰ ﻭﺣﺸﻰ ﻛﻪ ﺯﻧﮕﻮﻟﻪﻫﺎﻯ ﺑﺎﺩ‬ ‫ﻣﻰﻧﺎﻣﻴﺪﺷﺎﻥ‪ ،‬ﺑﺮﺳﺪ‪ .‬ﺍﻳﻦ ﻧﺎﻡ ﺭﺍ ﺑﻪ ﺍﻳﻦ ﺧﺎﻃﺮ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩﻩ ﺑ���ﺩ ﭼﻮﻥ ﻣﻮﺳﻴﻘﻰﺷﺎﻥ ﺭﺍ ﺷﺐﻫﻨﮕﺎﻡ‪،‬‬

‫‪13‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﮔﻔﺖ‪» :‬ﺍﻧﺘﺨﺎﺑﺖ ﺍﻳﻨﻪ‪ ،‬ﺭﻥ]‪[6‬؟«‬ ‫ﻭ ﺍﻭ ﺧﻨﺪﺍﻥ ﻓﻠﻮﺕ ﺭﺍ ﭘﺎﻳﻴﻦ ﺁﻭﺭﺩ ﻭ ﮔﻔﺖ‪» :‬ﻧﻪ‪ ،‬ﻧﻪ ﻛﻮﺭﺑﻴﻞ]‪«.[7‬‬ ‫»ﭘﺲ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺧِ ِﺮﺕ ﺭﻭ ﺑﮕﻴﺮﻩ ﻭ ﺍﻧﺘﺨﺎﺑﺶ ﻛﻨﻰ‪ ،‬ﺑﻨﺪﺍﺯﺵ‪ .‬ﺍﻭﻥﭼﻴﺰﻯ ﻛﻪ ﻣﻰﺧﻮﺍﻯ ﺭﻭ ﭘﻴﺪﺍ‬ ‫ﻛﺮﺩﻯ؟«‬ ‫»ﻧﻪ‪ .‬ﺗﻮ ﻧﻈﺮﺕ ﺭﻭ ﻋﻮﺽ ﻧﻜﺮﺩﻯ؟«‬ ‫»ﻧﻪ‪«.‬‬ ‫ﻭ ﺍﻳﻦ ﺑﺎﺭ ﺑﺎ ﺗﺮﺩﻳﺪ ﺑﻪ ﻓﻮﺍﺭﻩ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﭼﻴﺰﻯ ﻧﮕﻔﺖ‪.‬‬ ‫ﮔﺮﻡ]‪ ،[8‬ﺑﺒﻴﻦ!«‬ ‫ﻳﻜﻰ ﺍﺯ ﺑﺮﺍﺩﺭﺍﻥ ﺍﻫﻞ ﮔﺮﻳﻨﻠﻴﻒ ﺑﻪ ﺩﻳﮕﺮﻯ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﺭﻭ ﺑﺒﻴﻦ َ‬ ‫»ﺩﺍﺭﻡ ﻣﻰﺑﻴﻨﻢ ﻳﻮ]‪«.[9‬‬ ‫»ﻧﮕﺎﻫﺶ ﻛﻦ! ﺁﺳﺘﺮ]‪ [10‬ﺍﻳﻦ ﺭﻭ ﺑﺒﻴﻦ! ﺗﺎ ﺣﺎﻻ ﻫﻤﭽﻴﻦ ﭼﻴﺰﻯ ﺩﻳﺪﻩ ﺑﻮﺩﻯ؟ ﺣﺲﺍﺵ ﻛﻦ! ﺑﺒﻴﻦ‪:‬‬ ‫ﺗﻮ ﻧﻮﺭ ﻧﺎﭘﺪﻳﺪ ﻣﻰﺷﻪ!«‬ ‫ﺷﻤﺸﻴﺮﻯ ﺑﻪ ﺩﺳﺖ ﺩﺍﺷﺖ‪ .‬ﻗﺒﻀﻪﺍﺵ ﺍﺯ ﺯﻣﺮﺩﻯ ﺳﺒﺰ ﺑﻮﺩ؛ ﺗﻴﻐﻪﺍﺵ ﭼﻮﻥ ﺁﺑﻰ ﺯﻻﻝ ﻛﻪ ﺩﺭ ﻧﻮﺭ‬ ‫ﺑﺮ ﺭﻭﻯ ﺳﻨﮓ ﺑﺮﻳﺰﺩ‪ .‬ﺑﺎﻧﻮ ﺗﺮﻛﺸﺎﻥ ﻛﺮﺩ‪ .‬ﺍﺯ ﭘﻠﻪﻫﺎ ﺑﺎﻻ ﺭﻓﺖ‪ .‬ﺑﺎ ﭘﺎﻫﺎﻯ ﺑﺮﻫﻨﻪﺍﺵ ﺳﻜﻪﻫﺎﻯ ﻃﻼ ﻭ‬ ‫ﺟﻮﺍﻫﺮﺍﺕ ﺭﺍ ﺍﺯ ﻣﻴﺎﻥ ﺑﺎﺭﻳﻜﻪﻫﺎﻯ ﺿﺮﺑﺪﺭﻯ ﻧﻮﺭ ﺑﻪ ﭘﺎﻳﻴﻦ ﻣﻰﻏﻠﺘﺎﻧﺪ‪ .‬ﺍﺯ ﺑﺎﻻﻯ ﺑﺮﺝ ﺑﻪ ﺍﻓﻖ ﻧﮕﺎﻩ ﻛﺮﺩ‪.‬‬ ‫ﺟﺎﻳﻰ ﻛﻪ ﺯﺭﻳﻦﺧﺎﻙ ﻣﺴﻄﺢ ﻭ ﻏﺒﺎﺭﺁﻟﻮﺩ ﺩﺷﺖ‪ ،‬ﺑﻪ ﺁﺳﻤﺎﻥ ﺁﻓﺘﺎﺏﺳﻮﺧﺘﻪﻯ ﻏﺒﺎﺭﺁﻟﻮﺩﻩ ﻣﻰﺭﺳﻴﺪ‪ .‬ﺑﺎ‬ ‫ﺧﻮﺩ ﻣﻰﺍﻧﺪﻳﺸﻴﺪ‪ ،‬ﺑﺮﻭﻳﺪ! ﻫﻤﻪﭼﻴﺰ ﺭﺍ ﺭﻫﺎ ﻛﻨﻴﺪ ﻭ ﺑﻪ ﺟﺎﻳﻰ ﺑﺮﻭﻳﺪ ﻛﻪ ﻣﺨﻠﻮﻗﺎﺕ ﺭﺷﺪ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺑﻪ‬ ‫ﺁﻥﻫﺎ ﺍﻟﺘﻤﺎﺱ ﻣﻰﻛﺮﺩ‪ ،‬ﺑﺮﻭﻳﺪ‪ .‬ﺑﺎ ﻫﺮ ﺿﺮﺑﺎﻥ ﻗﻠﺒﺶ ﺍﺯ ﺁﻥﻫﺎ ﻣﻰﺧﻮﺍﺳﺖ‪ :‬ﺑﺮﻭﻳﺪ‪ ،‬ﺑﺮﻭﻳﺪ‪ ،‬ﺑﺮﻭﻳﺪ‪ .‬ﺍﻣﺎ‬ ‫ﻫﻴﭻﻛﺲ ﺍﺯ ﺩﺭ ﺯﻳﺮ ﭘﺎﻳﺶ ﺧﺎﺭﺝ ﻧﺸﺪ‪ ،‬ﺩﺭ ﻋﻮﺽ ﻛﺴﻰ ﺍﺯ ﭘﻠﻪﻫﺎ ﺑﺎﻻ ﺁﻣﺪ‪.‬‬ ‫ﺭﻥ ﺍﻫﻞ ﻛﺮﻧﻠﻴﻦ ﮔﻔﺖ‪» :‬ﻳﻪ ﺳﻮﺍﻝ ﺩﺍﺭﻡ‪«.‬‬ ‫»ﺑﭙﺮﺱ‪«.‬‬ ‫»ﺍﺳﻤﺖ ﭼﻴﻪ؟«‬ ‫ﺍﻭ ﭘﺎﺳﺦ ﻫﻤﻪﭼﻴﺰ ﺭﺍ ﺩﺍﺷﺖ‪ ،‬ﺍﻣﺎ ﺍﻳﻦ ﺭﺍ ﺍﺯ ﻳﺎﺩ ﺑﺮﺩﻩ ﺑﻮﺩ؛ ﻭﻟﻰ ﺍﻳﻦ ﻳﻜﻰ ﺑﻪ ﻧﺎﮔﺎﻩ ﻳﺎﺩﺵ ﺁﻣﺪ‪:‬‬ ‫»ﻫﻤﻴﺸﻪﺑﻬﺎﺭ]‪ «.[11‬ﻣﺮﺩ ﺩﺭ ﻳﻚ ﺩﺳﺖ ﺭﺯ ﺳﻴﺎﻫﻰ ﺩﺍﺷﺖ ﻭ ﺩﺭ ﺩﺳﺖ ﺩﻳﮕﺮ ﺳﻮﺳﻨﻰ ﻧﻘﺮﻩﺍﻯ‪ .‬ﺍﮔﺮ‬ ‫ﻳﻜﻰ ﺭﺍ ﺑﺮ ﻣﻰﮔﺰﻳﺪ‪ ،‬ﺧﺎﺭﻫﺎﻳﺶ ﺍﻭ ﺭﺍ ﻣﻰﻛﺸﺖ ﻭ ﺍﮔﺮ ﺩﻳﮕﺮﻯ ﺭﺍ‪ ،‬ﻧﻮﺭ ﻧﺎﺑﺶ ﺍﺯ ﺩﺭﻭﻥ ﭼﺸﻢﻫﺎ ﻣﻐﺰﺵ‬ ‫ﺭﺍ ﻣﻰﺳﻮﺯﺍﻧﺪ‪.‬‬ ‫»ﻫﻤﻴﺸﻪﺑﻬﺎﺭ‪ .‬ﻳﻪ ﮔﻞ ﺩﻳﮕﻪ‪«.‬‬ ‫ﺑﺎﻧﻮ ﺑﻰﺗﻔﺎﻭﺕ ﭘﺎﺳﺦ ﺩﺍﺩ‪» :‬ﻫﻤﻴﻨﻪ ﻛﻪ ﻫﺴﺖ‪ «.‬ﻣﺮﺩ ﮔﻞﻫﺎﻯ ﺟﺎﺩﻭﻳﻰ ﺭﺍ ﺭﻭﻯ ﺑﺎﺭﻭ ﮔﺬﺍﺷﺖ ﻭ ﻳﻚ‬ ‫ﺷﺎﺧﻪ ژﺭﺍﻧﻴﻮﻡ ﺩﺭ ﺣﺎﻝ ﻣﺮگ ﺑﺮﺩﺍﺷﺖ ﻭ ﺭﻳﺰ ﺭﺯ ﺭﺍ ﺑﻮﻳﻴﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪12‬‬


‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﭘﻮﺳﻴﺪﻩﻯ ﺍژﺩﻫﺎ ﺁﻭﻳﺰﺍﻥ ﺑﻮﺩ‪ .‬ﭼﻴﺰﻫﺎﻳﻰ ﻛﻪ ﺭﻭﻯ ﺯﻣﻴﻦ ﺍﻧﺒﺎﺷﺘﻪ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻭ ﻫﻤﻴﻦ ﻃﻮﺭ ﭼﺸﻤﺎﻧﺸﺎﻥ‬ ‫ﺍﺯ ﻳﻜﻰ ﺑﻪ ﺩﻳﮕﺮﻯ ﻣﻰﺭﻓﺖ ﺗﺎ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﻪ ﺑﺎﻧﻮ ﺭﺳﻴﺪ ﻭ ﺍﻭ ﺻﺒﻮﺭﺍﻧﻪ ﻭ ﺟﺎﻡ ﺑﻪ ﺩﺳﺖ ﺁﻥﺟﺎ ﺍﻳﺴﺘﺎﺩﻩ‬ ‫ﺑﻮﺩ‪ .‬ﭼﺸﻤﺎﻧﺸﺎﻥ ﺑﺮ ﺍﻭ ﻣﺘﻮﻗﻒ ﺷﺪ‪ :‬ﺯﻧﻰ ﺑﻠﻨﺪﻗﺪ ﻭ ﭼﻬﺎﺭﺷﺎﻧﻪ‪ ،‬ﺑﺮﻫﻨﻪﭘﺎ ﺩﺭ ﻟﺒﺎﺳﻰ ﺳﻔﻴﺪ ﺍﺯ ﻛﺘﺎﻧﻰ ﺯﺑﺮ‪.‬‬ ‫ﮔﻴﺴﻮﺍﻥ ﻗﺮﻣﺰﺵ ﺑﺎﻻﻯ ﺳﺮ ﭘﺮﻳﺸﺎﻥ ﺑﻮﺩ ﻭ ﺩﺍﻣﻦ ﺑﻠﻨﺪﺵ ﻫﻨﻮﺯ ﺍﺯ ﺷﺮﺍﺑﻰ ﻛﻪ ﺳﺎﻝﻫﺎ ﭘﻴﺶ ﺩﺭ ﻣﻴﻜﺪﻩ‬ ‫ﺑﺮ ﺭﻭﻯ ﺁﻥ ﺭﻳﺨﺘﻪ ﺑﻮﺩ‪ ،‬ﻟﻜﻪ ﺩﺍﺷﺖ ﻭ ﺩﺭ ﺗﺎﺭﻳﻚ ﻭ ﺭﻭﺷﻦ ﻫﻮﺍ ﺑﻪ ﺧﻮﻥ ﻣﻰﻣﺎﻧﺴﺖ‪.‬‬ ‫ﺁﻥﻫﺎ ﺧﻮﺍﺏ ﺭﺍ ﺑﺮﮔﺰﻳﺪﻧﺪ‪ ،‬ﻣﺜﻞ ﻗﺒﻠﻰﻫﺎ‪ .‬ﺧﺴﺘﻪ ﺍﺯ ﺳﻔﺮﻯ ﺩﺭﺍﺯ ﻭ ﺳﺮﺩﺭﮔﻢ‪ ،‬ﺍﺯ ﺁﻥ ﻫﻤﻪ ﺛﺮﻭﺕ‪.‬‬ ‫ﺭﻭﻯ ﭘﻠﻪﻫﺎ ﻧﺸﺴﺖ ﻭ ﻗﺪﺭﻯ ﺗﻤﺎﺷﺎﻳﺸﺎﻥ ﻛﺮﺩ‪ .‬ﻳﻜﻰﺷﺎﻥ ﺩﺭ ﺧﻮﺍﺏ ﮔﺮﻳﻪ ﻣﻰﻛﺮﺩ‪ .‬ﭘﺲ ﺍﺯ ﻣﺪﺗﻰ ﺑﻪ‬ ‫ﺑﺎﻻﻯ ﺑﺮﺝ ﺭﻓﺖ‪ ،‬ﺟﺎﻳﻰ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺳﺘﺎﺭﮔﺎﻥ ﺭﺍ ﺑﺒﻴﻨﺪ‪ .‬ﺯﻳﺮ ﻧﻮﺭ ﻣﻬﺘﺎﺏ ﮔﻞﻫﺎ ﻏﺮﻳﺐ ﻣﻰﺷﺪﻧﺪ‪.‬‬ ‫ﺭﻧﮓﻫﺎﺷﺎﻥ ﺭﺍ ﻣﺨﻔﻰ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﺍﻧﮕﺎﺭ ﺭﻧﮓﻫﺎﻯ ﺣﻘﻴﻘﻰﺷﺎﻥ ﺩﺭ ﺭﻭﺷﻨﺎﻳﻰ ﺭﻭﺯ ﺳﺮﺯﻣﻴﻦ ﺩﻳﮕﺮﻯ‬ ‫ﺟﻮﺍﻧﻪ ﻣﻰﺯﺩ ﻭ ﺷﺐﻫﺎ ﺗﻨﻬﺎ ﺑﻰﺭﻧﮓ ﻭ ﺭﻭﻳﻰﺷﺎﻥ ﺭﺍ ﺑﺮ ﺟﺎ ﻣﻰﮔﺬﺍﺷﺖ‪ .‬ﺑﺎﻧﻮ ﺑﺎ ﺷﻤﺎﺭﺵ ﺭﻧﮓﻫﺎﻯ ﻣﺎﻩ‬ ‫ﺑﻪ ﺧﻮﺍﺏ ﺭﻓﺖ‪.‬‬ ‫ﺻﺒﺢ ﭘﺎﻳﻴﻦ ﺭﻓﺖ ﺗﺎ ﺑﺒﻴﻨﺪ ﻛﺪﺍﻡ ﻳﻚ ﺁﻥ ﻗﺪﺭ ﺷﻌﻮﺭ ﺩﺍﺷﺘﻪ ﺗﺎ ﺁﻥﺟﺎ ﺭﺍ ﺗﺮﻙ ﻛﻨﺪ‪.‬‬ ‫ﻫﻨﻮﺯ ﻫﺮ ‪ 6‬ﻧﻔﺮﺷﺎﻥ ﺁﻥﺟﺎ ﺑﻮﺩﻧﺪ‪ .‬ﺩﺭ ﻣﻴﺎﻥ ﮔﻨﺠﻴﻨﻪﻫﺎﻯ ﺭﻭﻯ ﺯﻣﻴﻦ ﻭ ﭘﺮﺍﻛﻨﺪﻩ ﺭﻭﻯ ﭘﻠﻪﻫﺎﻯ ﻣﺎﺭﭘﻴﭻ‬ ‫ﺑﺮﺝ ﻣﻰﮔﺸﺘﻨﺪ‪ ،‬ﻳﻜﻰ ﺭﺍ ﺑﺮ ﻣﻰﺩﺍﺷﺘﻨﺪ ﻭ ﻳﻜﻰ ﺭﺍ ﻣﻰﮔﺬﺍﺷﺘﻨﺪ‪ .‬ﺑﺎﺭﻳﻜﻪﻫﺎﻯ ﻧﻮﺭ ﺍﺯ ﭘﻨﺠﺮﻩﻫﺎﻯ ﺑﺎﺭﻳﻚ‬ ‫ﺑﺮﺝ ﺑﻪ ﺩﺭﻭﻥ ﻣﻰﺁﻣﺪ ﻭ ﺩﺍﺋﻤﺎً ﺭﻧﮓﻫﺎﻯ ﮔﺮﻡ ﻭ ﺗﻨﺪﻯ ﺭﺍ ﺑﻪ ﭼﺸﻤﺸﺎﻥ ﻣﻰﺍﻧﺪﺍﺧﺖ ﻭ ﺳﺒﺐ ﻣﻰﺷﺪ‬ ‫ﺁﻥﭼﻪ ﺩﺍﺷﺘﻨﺪ‪ ،‬ﺯﻣﻴﻦ ﺑﮕﺬﺍﺭﻧﺪ ﻭ ﺑﺮﺍﻯ ﺩﻳﮕﺮﻯ ﺩﺳﺖ ﺩﺭﺍﺯ ﻛﻨﻨﺪ‪ .‬ﺍﻫﻞ ﺩﻟﻜﻴﺲ ﺁﻳﻞ ﺑﺎ ﺩﻳﺪﻥ ﺍﻭ‪ ،‬ﻟﺮﺯﺍﻥ‬ ‫ﻭ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﮔﻨﺠﻴﻨﻪﻫﺎ ﭼﺸﻤﺎﻧﺶ ﺭﺍ ﭘﺮ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﭘﺮﺳﻴﺪ‪» :‬ﻣﻰﺗﻮﻧﻴﻢ ﺳﻮﺍﻝ ﺑﭙﺮﺳﻴﻢ؟ ﺍﻳﻦ ﭼﻴﻪ؟«‬ ‫ﻣﺮﺩ ﺍﺳﺘﻮﻧﻰ ﻫﺪ ﺑﻪ ﺗﻨﺪﻯ ﮔﻔﺖ‪» :‬ﺍﺯﺵ ﺳﻮﺍﻝ ﻧﻜﻦ ﻣﺎﺭﻟﺒﻴﻦ]‪ ،[5‬ﺍﻭﻥ ﺩﺭﻭﻍ ﻣﻰﮔﻪ‪ .‬ﻫﻤﻪﺷﻮﻥ‬ ‫ﻫﻤﻴﻨﻦ‪«.‬‬ ‫ﻭ ﺑﺎﻧﻮ ﺑﻪ ﺍﻭ ﺍﻃﻤﻴﻨﺎﻥ ﺩﺍﺩ‪» :‬ﻣﻦ ﻓﻘﻂ ﺑﻪ ﺗﻮ ﺩﺭﻭﻍ ﺧﻮﺍﻫﻢ ﮔﻔﺖ‪ «.‬ﻭ ﮔﻨﺠﻴﻨﻪﻯ ﻛﻮﭼﻜﻰ ﻛﻪ ﺩﺭ ﺩﺳﺖ‬ ‫ﻣﺮﺩ ﺍﻫﻞ ﺩﻟﻜﻴﺲ ﺁﻳﻞ ﺑﻮﺩ‪ ،‬ﮔﺮﻓﺖ ﻭ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﺑﻠﻮﻃﻰ ﺍﺯ ﺟﻨﺲ ﻃﻼﺳﺖ‪ .‬ﺍﮔﺮ ﺑﺒﻠﻌﻰﺍﺵ‪ ،‬ﺑﻪ ﺗﻤﺎﻡ‬ ‫ﺯﺑﺎﻥﻫﺎﻯ ﺁﺩﻡﻫﺎ ﻭ ﺣﻴﻮﺍﻧﺎﺕ ﺳﺨﻦ ﺧﻮﺍﻫﻰ ﮔﻔﺖ‪«.‬‬ ‫ﻭ ﻣﺮﺩ ﮔﺮﻳﻨﻠﻴﻔﻰ ﺑﺎ ﺷﻌﻒ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺑﺎﻧﻮ ﻧﺰﺩﻳﻚ ﻛﺮﺩ‪ .‬ﭼﻴﺰﻯ ﺍﺯ ﺟﻨﺲ ﻧﻘﺮﻩ ﻭ ﺩﻭﺩ ﺩﺭ ﺩﺳﺖ ﺩﺍﺷﺖ‪:‬‬ ‫»ﺍﻳﻦ ﭼﻰ؟«‬ ‫»ﺍﻳﻦ ﺩﺳﺘﺒﻨﺪﻯ ﺍﺯ ﺟﻨﺲ ﺍﺳﺘﺨﻮﺍﻥ ﺑﻴﻨﻰ ﺍژﺩﻫﺎﺳﺖ‪ .‬ﺟﻮﺍﻫﺮ ﺩﺭﻭﻧﺶ ﻫﻢ ﻫﻤﻮﻥ ﭼﺸﻤﺸﻪ ﻛﻪ ﺑﻪ‬ ‫ﺳﻨﮓ ﺑﺪﻝ ﺷﺪﻩ‪ .‬ﻭﻗﺘﻰ ﺑﻪ ﺩﺳﺘﺶ ﻛﻨﻰ‪ ،‬ﺗﻮ ﺭﻭ ﺍﺯ ﺧﻄﺮ ﺣﻔﻆ ﻣﻰﻛﻨﻪ‪«.‬‬ ‫ﺍﻫﻞ ﻛﺮﻧﻠﻴﻦ ﺩﺍﺷﺖ ﺑﺎ ﻓﻠﻮﺗﻰ ﺍﺯ ﺟﻨﺲ ﺍﺳﺘﺨﻮﺍﻥ ﺭﺍﻥ ﻳﻚ ﺟﺎﺩﻭﮔﺮ ﻣﻰﻧﻮﺍﺧﺖ‪ .‬ﭼﺸﻤﺎﻧﺶ‪ ،‬ﭼﺸﻤﺎﻥ‬ ‫ﺧﺎﻛﺴﺘﺮﻯﺳﺒﺰ ﻏﺮﻳﺒﺶ‪ ،‬ﻣﺴﺖ ﺍﺯ ﺻﺪﺍﻯ ﻣﻮﺳﻴﻘﻰ ﺑﻮﺩ‪ .‬ﺍﻫﻞ ﺍﺳﺘﻮﻧﻰ ﻫﺪ ﺍﻭ ﺭﺍ ﺗﻜﺎﻥ ﺷﺪﻳﺪﻯ ﺩﺍﺩ ﻭ‬

‫‪11‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫»ﺑﺎﻧﻮﻯ ﺟﻤﺠﻤﻪﻫﺎ‪«.‬‬ ‫»ﺩﺭ ﻋﺠﺒﻢ ﻛﻪ ﺍﺻ ً‬ ‫ﻼ ﻣﻮ ﺩﺍﺭﻩ؟«‬ ‫»ﺳﻨﺶ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﺧﻮﺩ ﺑﺮﺟﻪ‪ .‬ﺑﺎﻳﺪ ﺧﻮﺩﺷﻢ ﺍﺳﻜﻠﺖ ﺷﺪﻩ ﺑﺎﺷﻪ‪«.‬‬ ‫ﻣﺮﺩ ﺍﻫﻞ ﺍﺳﺘﻮﻧﻰ ﻫﺪ ﮔﻔﺖ‪» :‬ﺍﻭﻥ ﺯﻳﺒﺎﺳﺖ‪ .‬ﻫﻤﻴﺸﻪ ﻫﻤﻴﻦﻃﻮﺭﻥ‪ .‬ﺍﻭﻧﺎﻳﻰ ﻛﻪ ﺑﻪ َﻃ َﻤﻌﺖ ﻣﻰﻧﺪﺍﺯﻥ‪،‬‬ ‫ﺍﻭﻧﺎﻳﻰ ﻛﻪ ﺍﺯ ﭼﻴﺰﻯ ﻧﮕﻬﺒﺎﻧﻰ ﻣﻰﻛﻨﻦ ﻭ ﺍﻭﻧﺎﻳﻰ ﻛﻪ ﻣﺮگ ﻣﻰﺑﺨﺸﻦ‪«.‬‬ ‫ﺑﺮﺝ ﺧﻮﺩﺷﻪ ﻳﺎ ﺗﻮﺵ ﺑﻪ ﺗﻠﻪ ﺍﻓﺘﺎﺩﻩ؟«‬ ‫ﺍﻫﻞ ﻛﺮﻧﻠﻴﻦ ﭘﺮﺳﻴﺪ‪» :‬ﺍﻳﻦ ِ‬ ‫»ﻓﺮﻗﺶ ﭼﻴﻪ؟ ﻭﻗﺘﻰ ﻃﻠﺴﻢ ﺍﺯ ﺑﻴﻦ ﺑﺮﻩ‪ ،‬ﺍﻭﻥ ﻫﻢ ﻧﺎﺑﻮﺩ ﻣﻰﺷﻪ‪ .‬ﻭﺍﻗﻌﻰ ﻛﻪ ﻧﻴﺴﺖ‪ ،‬ﻓﻘﻂ ﺑﺨﺸﻰ ﺍﺯ‬ ‫ﺟﺎﺩﻭﻯ ﺑﺮﺟﻪ‪«.‬‬ ‫ﻣﺮﺩﺍﻥ ﺧﻮﺩ ﺭﺍ ﻫﻤﮕﺎﻡ ﺑﺎ ﺳﺎﻳﻪﻯ ﺑﺮﺝ ﺟﺎﺑﻪﺟﺎ ﻛﺮﺩﻧﺪ‪ .‬ﺑﺎﻧﻮ ﻛﻼﻩﺧﻮﺩ ﺭﺍ ﭘﺮ ﺁﺏ ﻛﺮﺩ‪ ،‬ﺑﺎ ﺩﺳﺖ ﺁﺏ‬ ‫ﺑﺮﺩﺍﺷﺖ ﻭ ﺭﻭﻯ ﺻﻮﺭﺗﺶ ﺭﻳﺨﺖ‪ .‬ﻣﻰﺧﻮﺍﺳﺖ ﺭﻭﻯ ﻟﺒﻪﻯ ﺑﺮﺝ ﺧﻢ ﺷﺪﻩ ﻭ ﻓﺮﻳﺎﺩ ﻛﻨﺪ‪ :‬ﺑﻪ ﺧﺎﻧﻪﺗﺎﻥ‬ ‫ﺑﺮﻭﻳﺪ ﺍﺣﻤﻖﻫﺎ‪ ،‬ﺍﺑﻠﻬﺎﻥ ﺑﻰﻣﻐﺰ‪ .‬ﺍﮔﺮ ﺍﻳﻦﻗﺪﺭ ﻣﻰﺩﺍﻧﻴﺪ‪ ،‬ﭘﺲ ﺟﻠﻮﻯ ﻳﻚ ﺑﺮﺝ ﺭﻭﻯ ﺯﻣﻴﻦ ﺧﺸﻚ‬ ‫ﻧﺸﺴﺘﻪﺍﻳﺪ ﻭ ﻣﻨﺘﻈﺮ ﺯﻧﻰ ﻫﺴﺘﻴﺪ ﻛﻪ ﺷﻤﺎ ﺭﺍ ﺑﻜﺸﺪ‪ ،‬ﻛﻪ ﭼﻪ ﺑﺸﻮﺩ؟ ﺁﻥﻫﺎ ﺑﻪ ﻳﻚ ﺳﻤﺖ ﺑﺮﺝ ﺭﻓﺘﻨﺪ‬ ‫ﻭ ﺍﻭ ﺑﻪ ﺳﻤﺖ ﺩﻳﮕﺮ ﻭ ﺧﻮﺭﺷﻴﺪ ﺍﺯ ﻓﺮﺍﺯ ﺁﺳﻤﺎﻥ ﺑﻪ ﭘﺎﻳﻴﻦ ﻣﻰﺁﻣﺪ‪ .‬ﻏﺮﻭﺏ ﺁﻓﺘﺎﺏ ﺭﺍ ﺗﻤﺎﺷﺎ ﻛﺮﺩ‪ .‬ﻫﺮ‬ ‫ﭼﻨﺪ ﻣﺮﺩﺍﻥ ﺣﺘﺎ ﻳﻚ ﺗﻜﻪ ﭼﻮﺏ ﻫﻢ ﻧﺪﺍﺷﺘﻨﺪ ﺗﺎ ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﺁﺗﺶ ﺑﺰﻧﻨﺪ‪ ،‬ﺍﻣﺎ ﻫﻤﭽﻨﺎﻥ ﺍﺯ ﺭﻓﺘﻦ ﺍﻣﺘﻨﺎﻉ‬ ‫ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺁﻩ ﺑﻰﺻﺪﺍﻯ ﺩﻳﮕﺮﻯ ﻛﺸﻴﺪ ﻭ ﭘﺎﻳﻴﻦ ﺭﻓﺖ ﺗﺎ ﺑﻪ ﺁﻥﻫﺎ ﺧﻮﺵﺁﻣﺪ ﺑﮕﻮﻳﺪ‪.‬‬ ‫ﺗﻼﻟﺆ ﻓﻮﺍﺭﻩ ﺩﺭ ﻗﻠﺐ ﮔﻨﺠﻴﻨﻪﺍﻯ ﻣﻰﺩﺭﺧﺸﻴﺪ ﻛﻪ ﺑﺎﻧﻮ ﺍﺯ ﻣﺪﺕﻫﺎ ﭘﻴﺶ ﺩﻳﮕﺮ ﺑﻪ ﺁﻥ ﺗﻮﺟﻬﻰ ﻧﺪﺍﺷﺖ‪.‬‬ ‫ﺍﺯ ﻛﻨﺎﺭ ﺯﺭﻩ ﺯﺭﻳﻦ ﮔﺬﺷﺖ‪ .‬ﺍﺯ ﻛﻨﺎﺭ ﺍﺳﺘﺨﻮﺍﻥﻫﺎﻯ ﺳﻴﺎﻩ ﻭ ﻛﻨﺎﺭﻩﻫﺎ ﻃﻼﻳﻰﺭﻧﮓ ﺍژﺩﻫﺎ ﻭ ﺍﺳﺘﺨﻮﺍﻥﻫﺎﻯ‬ ‫ﺳﻔﻴﺪ ﺷﺎﻫﺰﺍﺩﻩ ﻫﻢ‪ .‬ﺟﺎﻡ ﻳﻚﺩﺳﺖ ﻧﻘﺮﻩ ﺭﺍ ﺍﺯ ﻛﻨﺎﺭ ﭼﺸﻤﻪ ﺑﺮﺩﺍﺷﺖ ﻭ ﺩﺭﻭﻥ ﺁﺏ ﻓﺮﻭ ﺑﺮﺩ‪ .‬ﻣﺮﺩ ﺍﻫﻞ‬ ‫ﺩﻟﻜﻴﺲ ﺁﻳﻞ ﺩﺭﺑﺎﺭﻩﻯ ﺍﺳﺘﺨﻮﺍﻥﻫﺎﻯ ﺍژﺩﻫﺎ ﺩﺭﺳﺖ ﻣﻰﮔﻔﺖ‪ .‬ﻭﺭﻭﺩﻯ ﺑﺮﺝ ﺁﺭﻭﺍﺭﻩﻯ ﮔﺸﺎﺩﻩﻯ ﺍژﺩﻫﺎ‬ ‫ﺑﻮﺩ ﻭ ﺩﺭ ﺭﻭﺯ ﺩﻳﺪﻩ ﻧﻤﻰﺷﺪ‪.‬‬ ‫ﺁﺧﺮﻳﻦ ﺑﺎﺭﻳﻜﻪﻯ ﻧﻮﺭ ﺑﻪ ﺍﺳﺘﺨﻮﺍﻥ ﺧﻮﺭﺩ ﻭ ﻭﺭﻭﺩﻯ ﺩﻧﺪﺍﻧﻪﺩﺍﺭ ﺳﻴﺎﻫﻰ ﺭﺍ ﻧﻤﺎﻳﺎﻥ ﻛﺮﺩ ﻛﻪ ﺑﻪ ﻣﺮﺩﺍﻥ‬ ‫ﺧﻮﺵﺁﻣﺪ ﻣﻰﮔﻔﺖ‪ .‬ﺁﻥﻫﺎ ﺑﻰﺻﺪﺍ ﻭﺍﺭﺩ ﺷﺪﻧﺪ ﻭ ﺑﺎﻧﻮ ﺳﺨﻨﺶ ﺭﺍ ﺁﻏﺎﺯ ﻛﺮﺩ‪» :‬ﺍﺟﺎﺯﻩ ﺩﺍﺭﻳﺪ ﺍﺯ ﺁﺏ‬ ‫ﺑﻨﻮﺷﻴﺪ‪ ،‬ﺍﺟﺎﺯﻩ ﺩﺍﺭﻳﺪ ﺩﺭ ﺟﺎﻯﺟﺎﻯ ﺑﺮﺝ ﺳﺮ ﺑﭽﺮﺧﺎﻧﻴﺪ‪ .‬ﺍﮔﺮ ﭼﻴﺰﻯ ﺍﻧﺘﺨﺎﺏ ﻧﻜﻨﻴﺪ‪ ،‬ﻣﻰﺗﻮﺍﻧﻴﺪ ﺁﺯﺍﺩﺍﻧﻪ‬ ‫ﺍﻳﻦﺟﺎ ﺭﺍ ﺗﺮﻙ ﻛﻨﻴﺪ‪ .‬ﻭﻗﺘﻰ ﺭﻓﺘﻴﺪ‪ ،‬ﺩﻳﮕﺮ ﺍﺟﺎﺯﻩﻯ ﺑﺎﺯﮔﺸﺖ ﻧﺨﻮﺍﻫﻴﺪ ﺩﺍﺷﺖ‪ .‬ﺍﮔﺮ ﺑﻨﺎﻯ ﺍﻧﺘﺨﺎﺏ ﺩﺍﺭﻳﺪ‪،‬‬ ‫ﺩﺭﻭﻥ ﺑﺮﺝ ﺭﺍ ﺑﺮﮔﺰﻳﻨﻴﺪ‪ ،‬ﻣﻰﺗﻮﺍﻧﻴﺪ‬ ‫ﺍﺭﺯﺷﻤﻨﺪﺗﺮﻳﻦ‬ ‫ﺑﺎﻳﺪ ﺗﺎ ﻏﺮﻭﺏ ﻓﺮﺩﺍ ﺍﻧﺘﺨﺎﺏ ﺧﻮﺩ ﺭﺍ ﻛﺮﺩﻩ ﺑﺎﺷﻴﺪ‪ .‬ﺍﮔﺮ‬ ‫ِ‬ ‫ِ‬ ‫ﺗﻤﺎﻡ ﺁﻥﭼﻪ ﺭﺍ ﻣﻰﺑﻴﻨﻴﺪ ﭘﻴﺶ ﺧﻮﺩ ﻧﮕﺎﻩ ﺩﺍﺭﻳﺪ‪ .‬ﺍﮔﺮ ﺍﺷﺘﺒﺎﻩ ﺍﻧﺘﺨﺎﺏ ﻛﻨﻴﺪ‪ ،‬ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺩﺷﺖ ﺭﺍ‬ ‫ﺗﺮﻙ ﻛﻨﻴﺪ‪ ،‬ﺧﻮﺍﻫﻴﺪ ﻣﺮﺩ‪«.‬‬ ‫ﺩﻫﺎﻥﻫﺎ ﺩﻭﺑﺎﺭﻩ ﺑﺎﺯ ﻣﺎﻧﺪﻩ ﺑﻮﺩ ﻭ ﭼﺸﻢﻫﺎ ﺣﻴﺮﺍﻥ ﺁﻥ ﭼﻴﺰﻫﺎﻳﻰ ﺑﻮﺩ ﻛﻪ ﻣﺜﻞ ﺑﺮگ ﻣﻮ ﺍﺯ ﺍﺳﺘﺨﻮﺍﻥﻫﺎﻯ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪10‬‬


‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻭ ﺑﻪ ﺍﻭ ﭘﻴﻮﺳﺘﻨﺪ‪ .‬ﺯﻣﻴﻦ ﺳﺨﺖ ﺯﻳﺮ ﭘﺎﻳﺸﺎﻥ ﺭﺍ ﻟﻌﻨﺖ ﻛﺮﺩﻧﺪ ﻭ ﻧﺸﺴﺘﻨﺪ‪ .‬ﺻﺪﺍﻳﺸﺎﻥ ﻫﻢ ﺩﺭ ﻫﻮﺍﻯ ﺭﺍﻛﺪ‬ ‫ﻭ ﺑﻰﺟﺮﻳﺎﻥ ﺑﻪ ﮔﻮﺵ ﺑﺎﻧﻮ ﻣﻰﺭﺳﻴﺪ ﻭ ﺍﻭ ﻫﻢ ﺑﻪ ﺁﺑﻴﺎﺭﻳﺶ ﺍﺩﺍﻣﻪ ﻣﻰﺩﺍﺩ‪.‬‬ ‫ﻣﺎﻧﻨﺪ ﺍﺳﻼﻓﺸﺎﻥ ﺩﺭﺑﺎﺭﻩﻯ ﭼﻴﺴﺘﻰ ﺍﺭﺯﺷﻤﻨﺪﺗﺮﻳﻦ ﻭ ﻏﺎﻣﺾﺗﺮﻳﻦ ﺷﻰء ﺍﻳﻦ ﮔﻨﺠﻴﻨﻪﻯ ﺍﻓﺴﺎﻧﻪﺍﻯ‬ ‫ﺻﺤﺒﺖ ﻛﺮﺩﻧﺪ‪ .‬ﺑﺎ ﻫﻢ ﻗﺮﺍﺭ ﮔﺬﺍﺷﺘﻨﺪ ﺍﮔﺮ ﻛﺴﻰ ﮔﻨﺠﻴﻨﻪ ﺭﺍ ﻳﺎﻓﺖ‪ ،‬ﺑﻴﻦ ﺯﻧﺪﻩﻣﺎﻧﺪﮔﺎﻥ ﺟﻤﻊ ﺗﻘﺴﻴﻤﺶ‬ ‫ﻛﻨﺪ‪ .‬ﺑﺎﻧﻮ ﺍﺑﺮﻭ���ﻰ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺖ‪ .‬ﻣﺮﺩ ﺍﻫﻞ ﺩﻟﻜﻴﺲ ﺁﻳﻞ ﻛﻪ ﻣﻮﻫﺎﻳﻰ ﺗﻴﺮﻩ ﻭ ﺟﻮﺍﻫﺮﻯ ﻗﺮﻣﺰ ﺑﻪ ﮔﻮﺵ‬ ‫ﺩﺍﺷﺖ ﮔﻔﺖ‪» :‬ﻫﺮ ﭼﻰ ﺍﺯ ﺍژﺩﻫﺎ ﺍﻭﻥﺟﺎ ﺑﺎﺷﻪ ﻣﺎﻝ ﻣﻨﻪ‪ .‬ﻣﻰﮔﻦ ﺯﻣﺎﻧﻰ ﻳﻪ ﮔﻨﺞ ﺍژﺩﻫﺎ ﺍﻭﻥﺟﺎ ﺑﻮﺩﻩ‪.‬‬ ‫ﻣﻰﮔﻦ ﺍﺳﺘﺨﻮﻧﺎﻯ ﺍژﺩﻫﺎ ﺑﺎ ﺟﺎﺩﻭ ﺩﺭ ﻫﻢ ﭘﻴﭽﻴﺪﻩ ﻭ ﺍﮔﺮ ﻳﻪ ﺍﺳﺘﺨﻮﻥ ﺭﻭ ﺗﻜﻮﻥ ﺑﺪﻯ‪ ،‬ﺑﺎﻗﻰ ﻫﻢ ﺩﻧﺒﺎﻟﺶ‬ ‫ﻣﻴﺎﻥ‪ .‬ﺍﺳﺘﺨﻮﻧﺎ ﮔﻨﺠﻴﻨﻪ ﺭﻭ ﺑﺎ ﺧﻮﺩﺷﻮﻥ ﻣﻴﺎﺭﻥ‪«.‬‬ ‫ﻣﺮﺩ ﺍﻫﻞ ﺍﺳﺘﻮﻧﻰ ﻫﺪ ﻫﻢ ﮔﻔﺖ‪» :‬ﻣﻦ ﺷﻨﻴﺪﻡ ﻳﻪ ﭼﺸﻤﻪ ﺍﻭﻥﺟﺎﺳﺖ ﻛﻪ ﺁﺏ ﺍﺯﺵ ﻓﻮﺍﺭﻩ ﻣﻰﺯﻧﻪ ﻭ‬ ‫ﻭﻗﺘﻰ ﻗﻄﺮﺍﺕ ﺁﺑﺶ ﺑﻪ ﺯﻣﻴﻦ ﻣﻰﺭﺳﻪ‪ ،‬ﺑﻪ ﺍﻟﻤﺎﺱ ﺗﺒﺪﻳﻞ ﻣﻰﺷﻪ‪«.‬‬ ‫ﻳﻜﻰ ﺍﺯ ﺳﻪ ﮔﺮﻳﻨﻠﻴﻔﻰ ﮔﺮﺩﻥﻛﻠﻔﺖ ﻭ ﻣﻮﻓﺮﻓﺮﻯ ﮔﻔﺖ‪» :‬ﺣﺮﻑ ﺁﺏ ﺭﻭ ﻛﻪ ﻧﺰﻥ‪ .‬ﻫﻤﻪﺵ ﺭﻭ ﺧﻮﺩﻡ‬ ‫ﻣﻰﺧﻮﺭﻡ‪«.‬‬ ‫»ﻓﻘﻂ ﺑﺎﻳﺪ ﺩﺭ ﺭﻭ ﭘﻴﺪﺍ ﻛﻨﻴﻢ‪ .‬ﺁﺏ ﺍﻭﻥ ﺗﻮ ﻫﺴﺖ‪«.‬‬ ‫ﻣﺮﺩ ﺍﻫﻞ ﻛﺮﻧﻠﻴﻦ ﭘﺮﺳﻴﺪ‪» :‬ﻣﻰﺧﻮﺍﻯ ﭼﻰﻛﺎﺭ ﻛﻨﻰ؟ ﻫﻤﻪﻯ ﺁﺏ ﺭﻭ ﺑﺮﻳﺰﻯ ﺗﻮ ﺟﻴﺒﺖ ﻭ ﺑﺒﺮﻯ؟«‬ ‫ﻣﻮ ﺑﻮﺭﻯ ﺍﻫﻞ ﺍﺳﺘﻮﻧﻰ ﻫﺪ‪ ،‬ﺑﻪ ﺳﻴﺒﻴﻠﺶ ﺗﺎﺑﻰ ﺩﺍﺩ‪ .‬ﺻﺪﺍﻳﻰ ﺻﺎﻑ‪ ،‬ﺑﻢ ﻭ ﭘﺮﺍﻧﺮژﻯ ﺩﺍﺷﺖ ﻭ ﺷﻮﺧﻰ ﻫﻢ‬ ‫ﺩﺭ ﻛﻼﻣﺶ ﻧﺒﻮﺩ‪» :‬ﺗﻮ ﺩﻫﻨﻢ ﻣﻰﺭﻳﺰﻡ ﻭ ﻣﻰﺑﺮﻡ‪ .‬ﻭﻗﺘﻰ ﺯﻧﺪﻩ ﺑﺮﺍﻯ ﺑﺎﻗﻴﺶ ﺑﺮﮔﺮﺩﻡ‪ ،‬ﺩﻫﻨﺎﻯ ﺯﻳﺎﺩﻯ‬ ‫ﺑﺮﺍﻯ ﺑﺮﺩﻧﺶ ﻫﺴﺖ‪ .‬ﻫﺮﭼﻰ ﻫﻢ ﻧﺒﺎﺷﻪ‪ ،‬ﻛﻠﻰ ﺟﻤﺠﻤﻪ ﻛﻪ ﻫﺴﺖ‪ .‬ﺗﺎﺯﻩ‪ ،‬ﺷﻨﻴﺪﻡ ﻳﻪ ﺩﻳﮓ ﺟﺎﺩﻭﮔﺮ ﻫﻢ‬ ‫ﺍﻭﻥﺟﺎﺳﺖ‪ ،‬ﻳﻪ ﭼﻴﺰﻯ ﺷﺒﻴﻪ ﻳﻪ ﭘﺎﺗﻴﻞ ﻗﺪﻳﻤﻰ ﻭ ﺯﻧﮓﺯﺩﻩ‪«.‬‬ ‫ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﮔﺮﻳﻨﻠﻴﻔﻰﻫﺎ ﮔﻔﺖ‪» :‬ﺷﺎﻳﺪ‪«.‬‬ ‫»ﺷﺎﻳﺪ‪ .‬ﻭﻟﻰ ﻣﻦ ﻓﻘﻂ ﺑﺮﺍﻯ ﺁﺏ ﻣﻰﺭﻡ‪ .‬ﺗﻮ ﺍﻳﻦ ﺟﻬﻨﻢﺩﺭﻩ ﭼﻰ ﺑﺎ ﺍﺭﺯﺵﺗﺮ ﺍﺯ ﺁﺏ ﻣﻰﺗﻮﻧﻪ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﻪ‪«.‬‬ ‫ﻣﺮﺩ ﺩﻟﻜﻴﺲ ﺁﻳﻠﻰ ﺩﺭ ﺟﻮﺍﺏ ﮔﻔﺖ‪» :‬ﺍﻭﻥ ﻫﻢ ﺣﺮﻓﻴﻪ‪ .‬ﺍﻣﺎ ﻧﻪ‪ ،‬ﺑﺮﺍﻯ ﻣﻦ ﻫﻤﻮﻥ ﺍژﺩﻫﺎﻫﻪ ﺧﻮﺑﻪ‪«.‬‬ ‫ﺳﻮﻣﻴﻦ ﻣﺮﺩ ﮔﺮﻳﻨﻠﻴﻒ ﺑﺎ ﺣﺎﻟﺘﻰ ﻣﻐﻤﻮﻡ ﮔﻔﺖ‪» :‬ﻓﻌ ً‬ ‫ﻼ ﻛﻪ ﺑﻴﺸﺘﺮ ﺣﺮﻑ ﺍﻳﻨﻪ‪ ،‬ﭼﻰ ﺟﻮﺭﻯ ﺑﺮﻳﻢ ﺩﺍﺧﻞ‬ ‫ﺍﻳﻦ ﺳﺎﺧﺘﻤﻮﻥ ﻟﻌﻨﺘﻰ؟«‬ ‫ﻣﺮﺩ ﺍﻫﻞ ﻛﺮﻧﻠﻴﻦ ﮔﻔﺖ‪» :‬ﺧﺎﻧﻤﻰ ﺍﻭﻥﺟﺎﺳﺖ ﻛﻪ ﺩﺍﺭﻩ ﮔﻞﻫﺎ ﺭﻭ ﺁﺏ ﻣﻰﺩﻩ‪ «.‬ﻭ ﺁﻥﻫﺎ ﺑﺎ ﺗﻌﺠﺐ ﺑﻪ ﺑﺎﻻ‬ ‫ﻧﻈﺮ ﻛﺮﺩﻧﺪ؛ ﺑﻪ ﻃﻮﺭﻯ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺍﺯ ﺁﻥ ﺑﺎﻻ ﺟﻮﺍﻫﺮ ﺩﺭ ﺩﻫﺎﻧﺸﺎﻥ ﺑﻴﻨﺪﺍﺯﺩ‪ .‬ﻣﺮﺩ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺍﻭ‬ ‫ﻣﻰﺩﻭﻧﻪ ﻣﺎ ﺍﻳﻦﺟﺎﻳﻴﻢ‪«.‬‬ ‫ﺁﺭﺍﻡ ﻭ ﺑﻰﺻﺪﺍ ﮔﻔﺘﻨﺪ‪» :‬ﺍﻭﻥ ﻫﻤﻮﻥ ﺑﺎﻧﻮﻯ ﺍﻳﻦﺟﺎﺳﺖ‪«.‬‬

‫‪9‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﺑﻰﺻﺪﺍ ﺁﻫﻰ ﻛﺸﻴﺪ ﻭ ﺭﺯ ﻛﻮﭼﻜﺶ ﺭﺍ ﺑﺎ ﻳﻚ ﭘﻨﺠﻪﻯ ﺍژﺩﻫﺎ ﺩﺭ ﻫﻮﺍ ﭼﺮﺧﺎﻧﺪ‪ .‬ﺍﮔﺮ ﺍﻳﻦﻗﺪﺭ ﻛﻮﺭ ﺑﻮﺩﻧﺪ‬ ‫ﻛﻪ ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﻭﺭﻭﺩﻯ ﺑﺮﺝ ﺭﺍ ﺑﻴﺎﺑﻨﺪ‪ ،‬ﭼﻄﻮﺭ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻧﺪ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺑﻪ ﻭﺿﻮﺡ ﻣﺤﺘﻮﺍﻯ ﺩﺭﻭﻥ‬ ‫ﺑﺮﺝ ﺭﺍ ﺑﺒﻴﻨﻨﺪ؟ ﺑﻪ ﻧﺎﮔﺎﻩ ﺑﻰﻗﺮﺍﺭ ﺷﺪ‪ .‬ﺁﻥﻫﺎ‪ ،‬ﺁﻥﻫﺎ‪ ،‬ﺁﻥﻫﺎ‪ ...‬ﺁﻥﻫﺎ ﺑﺎ ﺍﺳﺘﺨﻮﺍﻥﻫﺎﻳﺸﺎﻥ ﺩﺷﺖ ﺭﺍ ﺳﻴﺮ‬ ‫ﻣﻰﻛﺮﺩﻧﺪ؛ ﺁﻥﻫﺎ ﻫﻴﭻﮔﺎﻩ ﻳﺎﺩ ﻧﻤﻰﮔﺮﻓﺘﻨﺪ‪...‬‬ ‫ﻛﻼﻍ ﺳﻴﺎﻫﻰ ﺩﻭﺭ ﺳﺮﺵ ﻣﻰﭼﺮﺧﻴﺪ ﻭ ﺳﺮﻫﺎ ﺭﺍ ﻣﻰﺷﻤﺮﺩ‪ .‬ﺑﺎﻧﻮ ﺑﺮ ﺍﻭ ﺷﻮﺭﻳﺪ ﻭ ﻛﻼﻍ ﻫﻢ ﺩﺭ ﺟﻮﺍﺏ‬ ‫ﺑﺎ ﺗﻤﺴﺨﺮ ﻏﺎﺭﻏﺎﺭ ﻛﺮﺩ‪ .‬ﻣﻰﺗﻮﺍﻧﺴﺖ ﺍﺯ ﺩﺭﻭﻥ ﭼﺸﻤﺎﻥ ﺳﻴﺎﻫﺶ ﺑﺨﻮﺍﻧﺪ‪ ،‬ﺗﻮ ﻫﺮﮔﺰ ﻧﻤﻰﻣﻴﺮﻯ‪ ،‬ﻭﻟﻰ‬ ‫ﻣﺮﺩﻩﻫﺎ ﺭﺍ ﭘﻴﺶ ﻣﻦ ﻣﻰﺁﻭﺭﻯ‪.‬‬ ‫ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺩﺷﺖ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﺍﻭﻧﺎ ﻫﻴﭻﻭﻗﺖ ﺑﻪ ﻣﻦ ﮔﻮﺵ ﻧﻤﻰﻛﻨﻦ‪ «.‬ﭼﺸﻤﺎﻥ ﺧﺸﻜﺶ‬ ‫ﻣﻰﺳﻮﺧﺖ‪ .‬ﺩﺭ ﻓﺎﺻﻠﻪﺍﻯ ﺩﻭﺭ‪ ،‬ﺭﻋﺪ ﺁﺳﻤﺎﻥ ﺭﺍ ﺷﻜﺎﻓﺖ ﻭ ﺑﺮﻕ ﺍﺑﺮﻫﺎﻯ ﺍﺭﻏﻮﺍﻧﻰ ﺭﺍ ﺑﻪ ﺻﺪﺍ ﺩﺭ ﺁﻭﺭﺩ‪ .‬ﺍﻣﺎ‬ ‫ﺍﺑﺮﻫﺎ ﻫﻴﭻﮔﺎﻩ ﺑﺎﺭﺍﻧﻰ ﻧﺪﺍﺷﺘﻨﺪ‪ .‬ﻫﺮﮔﺰ‪ ،‬ﺣﺘﺎ ﻳﻚ ﻗﻄﺮﻩ؛ ﭼﺸﻤﺎﻥ ﺍﺑﺮ ﻫﻢ ﻣﺜﻞ ﭼﺸﻤﺎﻥ ﺧﻮﺩﺵ ﺧﺸﻚ‬ ‫ﺑﻮﺩﻧﺪ‪ .‬ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ ﻭ ﺍﺯ ﺟﻤﺠﻤﻪﺍﻯ ﺑﻪ ﺟﻤﺠﻤﻪﻯ ﺩﻳﮕﺮ ﭼﻴﺰﻫﺎﻳﻰ ﻛﻪ ﺑﺎ ﺳﻤﺎﺟﺖ ﭘﺮﻭﺍﻧﺪﻩ ﺑﻮﺩ‪ ،‬ﺁﺏ‬ ‫ﺩﺍﺩ‪ .‬ﺑﺬﺭﻫﺎﺷﺎﻥ ﺑﺮ ﺭﻭﻯ ﺩﺳﺖ ﺑﺎﺩ ﺍﺯ ﻓﺎﺻﻠﻪﺍﻯ ﺩﻭﺭ‪ ،‬ﺍﺯ ﻣﺮﺍﺗﻊ ﺳﺮﺳﺒﺰ ﺳﺮﺯﻣﻴﻦﻫﺎﻯ ﺁﺭﺍﻡ ﺁﻣﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺳﺒﺰﻩ‪ ،‬ﻋﻠﻒ ﻫﺮﺯ ﻭ ﮔﻞﻫﺎﻯ ﻭﺣﺸﻰ ﻫﻢ ﺩﺭ ﻣﻴﺎﻧﺸﺎﻥ ﺑﻮﺩ‪ .‬ﺍﻫﻤﻴﺘﻰ ﻧﻤﻰﺩﺍﺩ‪ .‬ﺍﻭ ﺑﻪ ﻫﺮ ﺁﻥﭼﻪ ﻣﻰﺭﻭﻳﻴﺪ‪،‬‬ ‫ﺁﺏ ﻣﻰﺩﺍﺩ‪.‬‬ ‫ﻣﺮﺩﺍﻥ ﺁﻥ ﭘﺎﻳﻴﻦ ﭼﺮﺥ ﺯﺩﻧﺸﺎﻥ ﺭﺍ ﺷﺮﻭﻉ ﻛﺮﺩﻧﺪ‪ .‬ﺍﻳﻦ ﻛﺎﺭﺷﺎﻥ ﺧﺎﻙ ﺑﻪ ﭘﺎ ﻣﻰﻛﺮﺩ‪ .‬ﺧﺮﺧﺮ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺻﺪﺍﻯ ﻓﺤﺶ ﺩﺍﺩﻧﺸﺎﻥ ﺭﺍ ﺷﻨﻴﺪ‪ .‬ﺳﻮﺍﻻﺕ ﺑﻰﻣﻮﺭﺩ ﻭ ﻧﺎﻣﻌﻠﻮﻡ ﻭ ﺑﻌﺪ ﺳﻜﻮﺕ‪ .‬ﺍﻳﺴﺘﺎﺩﻧﺪ ﺗﺎ ﻛﻤﻰ‬ ‫ﺍﺳﺘﺮﺍﺣﺖ ﻛﻨﻨﺪ‪ .‬ﮔﺎﻫﻰ ﺍﻭ ﺭﺍ ﺻﺪﺍ ﻣﻰﺯﺩﻧﺪ ﻭ ﻛﻤﻚ ﻣﻰﺧﻮﺍﺳﺘﻨﺪ‪ .‬ﺍﻣﺎ ﺍﻭ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﻛﺎﺭﻯ ﺑﺮﺍﻳﺸﺎﻥ‬ ‫ﺍﻧﺠﺎﻡ ﺩﻫﺪ‪ .‬ﺑﻪ ﺩﻭﺭ ﺑﺮﺝ ﻣﻰﭼﺮﺧﻴﺪﻧﺪ؛ ﺳﺮﻳﻊ‪ ،‬ﻗﻮﻯ ﻭ ﺑﻪ ﺗﻤﺎﻣﻰ ﻣﺴﻠﺢ‪ .‬ﻧﺸﺎﻥﻫﺎﻯ ﺭﻭﻯ ﺳﭙﺮﻫﺎﺷﺎﻥ‬ ‫ﺭﺍ ﺧﻮﺍﻧﺪ‪ :‬ﺳﻪﻧﻔﺮ ﺍﺯ ﮔﺮﻳﻨﻠﻴﻒ]‪ ،[1‬ﻳﻜﻰ ﺍﺯ ﺍﺳﺘﻮﻧﻰ ﻫﺪ]‪ ،[2‬ﻳﻜﻰ ﺍﺯ ﺩﻟﻜﻴﺲ ﺁﻳﻞ]‪ [3‬ﻭ ﻳﻜﻰ ﻫﻢ ﺍﺯ‬ ‫ﻛﺮﻧﻠﻴﻦ]‪ .[4‬ﭘﺲ ﺍﺯ ﻣﺪﺗﻰ‪ ،‬ﻳﻚ ﻧﻔﺮ ﺍﺯ ﺩﺍﻳﺮﻩ ﺑﻴﺮﻭﻥ ﺭﻓﺖ ﻭ ﻛﻨﺎﺭﻯ ﺍﻳﺴﺘﺎﺩ‪ .‬ﺳﭙﺮ ﺳﺎﺩﻩﺍﻯ ﺩﺍﺷﺖ‪:‬‬ ‫ﺭﺯﻯ ﻗﺮﻣﺰ ﺑﺮ ﺯﻣﻴﻨﻪﻯ ﺳﻔﻴﺪ‪ .‬ﻛﺮﻧﻠﻴﻦ‪ .‬ﺑﺎﻧﻮ ﺑﻪ ﺍﻭ ﻧﻈﺮ ﺍﻧﺪﺍﺧﺖ ﻭ ﻓﻬﻤﻴﺪ ﻣﺮﺩ ﻫﻢ ﺑﻪ ﺍﻭ ﻧﮕﺎﻩ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻣﺮﺩ ﻳﻚ ﺁﺳﺘﻴﻦ ﺗﻮ ﺧﺎﻟﻰ ﻣﻰﺩﻳﺪ ﻭ ﻳﻚ ژﺭﺍﻧﻴﻮﻡ ﻗﺮﻣﺰ ﺩﺭﻭﻥ ﺟﻤﺠﻪﺍﻯ ﻭﺍژﮔﻮﻥ‪ .‬ﺩﻳﮕﺮ ﻣﺮﺩﺍﻥ ﻫﻤﻴﻦ‬ ‫ﻃﻮﺭ ﻛﻪ ﻣﺼﺮﺍﻧﻪ ﺗﻘﺎﺿﺎﻯ ﻭﺭﻭﺩ ﺩﺍﺷﺘﻨﺪ‪ ،‬ﺍﻭ ﺭﺍ ﺑﺎﻧﻮﻯ ﺟﻤﺠﻤﻪﻫﺎ ﺻﺪﺍ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﮔﺎﻫﻰ ﺧﻴﻠﻰ ﻣﺆﺩﺑﺎﻧﻪ‬ ‫ﻭ ﮔﺎﻫﻰ ﻛﻤﺘﺮ‪ .‬ﺑﻪ ُﮔﻠﺶ ﺁﺏ ﺩﺍﺩ‪ .‬ﻣﻨﺘﻈﺮ ﺑﻮﺩ ﺍﻳﻦ ﻳﻜﻰ ﻫﻢ ﺻﺪﺍﻳﺶ ﻛﻨﺪ‪ .‬ﺍﻭ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻧﻜﺮﺩ؛ ﺍﺳﺒﺶ‬ ‫ﺭﺍ ﺑﻪ ﺯﻳﺮ ﺳﺎﻳﻪﻯ ﺑﺮﺝ ﺭﺍﻧﺪ ﻭ ﭘﻴﺎﺩﻩ ﺷﺪ‪ .‬ﻛﻼﻩﺧﻮﺩﺵ ﺭﺍ ﺩﺭﺁﻭﺭﺩ ﻭ ﺑﻪ ﺍﻧﺘﻈﺎﺭ ﻧﺸﺴﺖ‪ .‬ﺑﺎ ﺗﻨﺒﻠﻰ ﻭ‬ ‫ﺑﻰﺣﻮﺻﻠﮕﻰ ﺯﻣﻴﻦ ﺭﺍ ﻣﻰﻛﻨﺪ ﻭ ﺳﻨﮓﻫﺎ ﺭﺍ ﺑﻪ ﺍﻳﻦ ﺳﻮ ﻭ ﺁﻥ ﺳﻮ ﻣﻰﺍﻧﺪﺍﺧﺖ ﻭ ﺑﻪ ﺁﺳﺘﻴﻦ ﺗﻮﺧﺎﻟﻰ ﻭ‬ ‫ﮔﺎﻩ ﺑﻪ ﻃﻮﻓﺎﻥ ﺩﻭﺭﺩﺳﺖ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺩﺭ ﻧﻬﺎﻳﺖ ﻭﻗﺘﻰ ﻣﺮﺩ ﺁﺭﺍﻡ ﮔﺮﻓﺖ‪ ،‬ﺩﻳﮕﺮﺍﻥ ﻫﻢ ﺍﺳﻠﺤﻪ ﻭ ﺯﺭﻩﻫﺎﺷﺎﻥ ﺭﺍ ﺑﻪ ﺍﻳﻦ ﺳﻮ ﻭ ﺁﻥ ﺳﻮ ﭘﺮﺕ ﻛﺮﺩﻧﺪ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪8‬‬


‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺑﺎﻧﻮﻯ ﺟﻤﺠﻤﻪﻫﺎ‬ ‫ﭘﺎﺗﺮﻳﺸﻴﺎ ﻣﻚﻛﻠﻴﭗ‬ ‫ﻣﺤﻤﺪ ﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‬

‫ﺑﺎﻧﻮ ﮔﺮﻭﻫﻰ ‪ 6‬ﻧﻔﺮﻩ ﺭﺍ ﺩﻳﺪ ﻛﻪ ﺑﺮ ﭘﻬﻨﻪﻯ ﺩﺷﺖ ﻣﻰﺗﺎﺧﺘﻨﺪ‪ .‬ﺁﺑﭙﺎﺵﺍﺵ ﺭﺍ –ﻛﻪ ﻛﻼﻩﺧﻮﺩ‬ ‫ﺑﺮﻧﺰﻯ ﻳﻚ ﺷﻮﺍﻟﻴﻪﻯ ﺑﺪﺷﻨﺎﺱ ﺑﻮﺩ‪ -‬ﻛﻨﺎﺭﻯ ﮔﺬﺍﺷﺖ‪ ،‬ﺩﺳﺘﻰ ﺯﻳﺮ ﭼﺎﻧﻪ ﺯﺩ ﻭ ﺑﻪ ﺩﻳﻮﺍﺭﻩﻯ‬ ‫ﺑﺎﺭﻭ ﺗﻜﻴﻪ ﺩﺍﺩ‪ .‬ﺑﻪ ﺗﻤﺎﻣﻰ ﻣﺴﻠﺢ ﺑﻮﺩﻧﺪ‪ .‬ﺍﺳﺐﻫﺎﻯ ﺟﻨﮕﻰﺷﺎﻥ ﺑﺮﺍﻯ ﻧﺒﺮﺩ ﺯﻳﻦ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺳﭙﺮﻫﺎﺷﺎﻥ ﻛﻪ ﺩﺭ ﻛﻨﺎﺭﻩﻫﺎ ﻧﻘﺮﻩﻛﺎﺭﻯ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺍﻓﺴﺎﺭﻫﺎﻯ ﺁﺫﻳﻦﺑﻨﺪﻯﺷﺪﻩﻯ ﺍﺳﺐﻫﺎﻳﺸﺎﻥ‬ ‫ﻭ ﺩﺳﺘﻪﻫﺎﻯ ﺷﻤﺸﻴﺮﻫﺎﻳﺸﺎﻥ ﺯﻳﺮ ﻧﻮﺭ ﺁﻓﺘﺎﺏ ﻇﻬﺮ ﺍﺯ ﺧﻮﺩ ﻧﻮﺭ ﺳﺎﻃﻊ ﻣﻰﻛﺮﺩ‪ .‬ﻣﺜﻞ ﻫﻤﻴﺸﻪ‬ ‫ﻭ ﺑﺎ ﺣﻴﺮﺕ ﻓﻘﻂ ﻣﻰﺧﻮﺍﺳﺖ ﺑﺪﺍﻧﺪ ﺁﺧﺮ ﺍﻳﻦﻫﺎ ﻓﻜﺮ ﻣﻰﻛﻨﻨﺪ ﺑﻪ ﺟﻨﮓ ﭼﻪ ﭼﻴﺰ ﻣﻰﺁﻳﻨﺪ؟‬ ‫ﻛﻼﻩﺧﻮﺩ ﺭﺍ ﺑﺮﺩﺍﺷﺖ ﻭ ﺭﻳﺰﺑﻮﺗﻪﻯ ﺭﺯﻯ ﺭﺍ ﻛﻪ ﺩﺭ ﺟﻤﺠﻤﻪﺍﻯ ﭘﺮﻭﺭﺍﻧﺪﻩ ﺑﻮﺩ‪ ،‬ﺁﺏ ﺩﺍﺩ‪ .‬ﺁﺑﻰ ﻛﻪ‬ ‫ﺍﺯ ﺩﺭﻭﻥ ﺑﺮﺝ ﻣﻰﺁﻣﺪ‪ .‬ﺗﻨﻬﺎ ﻣﻨﺸﺄ ﺁﺏ ﺩﺭ ﺍﻳﻦ ﺩﺷﺖ ﺁﻓﺘﺎﺏﺳﻮﺧﺘﻪﻯ ﺗﻤﺎﻣﺎً ﺑﺎﻳﺮ ﻫﻤﻴﻦ ﺑﻮﺩ‪.‬‬ ‫ﺷﻮﺍﻟﻴﻪﻫﺎ ﺳﺎﻋﺖﻫﺎ ﺯﻳﺮ ﺁﻓﺘﺎﺏ ﺳﻮﺯﺍﻥ ﺩﺭ ﺟﺴﺘﺠﻮﻯ ﻭﺭﻭﺩﻯ ﺑﻪ ﺩﻭﺭ ﺑﺮﺝ ﭼﺮﺥ ﻣﻰﺯﺩﻧﺪ ﻭ‬ ‫ﻫﻨﮕﺎﻡ ﻏﺮﻭﺏ‪ ،‬ﺍﻭ ﺁﺏ ﺑﻪ ﺩﺳﺖ ﺧﻮﺵﺁﻣﺪﺷﺎﻥ ﻣﻰﮔﻔﺖ‪.‬‬


‫ﻧﻤﺎﻳﺸﮕﺎﻩ ﻛﺘﺎﺏ ﺍﻣﺴﺎﻝ ﻫﻢ ﺑﻬﺎﻧﻪﺍﻯ ﺷﺪ ﺗﺎ ﺑﺒﻴﻨﻴﻢ ﭼﻨﺪ ﻣﺮﺩﻩ ﺣﻼﺟﻴﻢ‪ .‬ﺑﺒﻴﻨﻴﻢ‬ ‫ﺁﻳﺎ ﻣﻰﺗﻮﺍﻧﻴﻢ ﺩﺳﺖ ﺑﻪ ﻋﻤﻞ ﻗﻬﺮﻣﺎﻧﺎﻧﻪﻯ ﺩﻳﮕﺮﻯ ﺑﺰﻧﻴﻢ ﻳﺎ ﻧﻪ‪ .‬ﻗﻀﺎﻭﺗﺶ ﺑﺎﺷﺪ‬ ‫ﺑﺎ ﺷﻤﺎ‪.‬‬ ‫ﺍﻳﻦ ﺑﺎﺭ ﻋﻼﻭﻩ ﺑﺮ ﺍﺧﺘﺼﺎﺹ ﺑﺨﺸﻰ ﻣﺠﺰﺍ ﺑﻪ ﻧﮕﺎﺷﺘﻪﻫﺎﻯ ﻓﺎﺭﺳﻰﺯﺑﺎﻧﺎﻥ ﺩﺭ‬ ‫ﺣﻮﺯﻩﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‪ ،‬ﺑﻪ ﻣﻌﺮﻓﻰ ﻛﺘﺎﺑﻰ ﭘﺮﺩﺍﺧﺘﻴﻢ ﻛﻪ ﺩﺭ ﻫﻨﮕﺎﻡ ﺍﻧﺘﺸﺎﺭ‬ ‫ﺍﻳﻦ ﻣﻄﻠﺐ‪ ،‬ﻫﻨﻮﺯ ﻣﻨﺘﺸﺮ ﻧﺸﺪﻩ ﻭ ﺍﻣﻴﺪﻭﺍﺭﻳﻢ ﺩﺭ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻛﺘﺎﺏ ﻋﺮﺿﻪ ﺷﻮﺩ‪.‬‬ ‫ﺑﻪ ﻫﻤﻴﻦ ﺟﻬﺖ ﺍﺯ ﺁﻗﺎﻯ ﻓﺮﺯﺍﺩ ﻓﺮﺑﺪ )ﻣﺘﺮﺟﻢ ﻛﺘﺎﺏ( ﺑﻪ ﺩﻟﻴﻞ ﮔﺸﺎﺩﻩﺭﻭﻳﻰ ﻭ‬ ‫ﻫﻤﻜﺎﺭﻯﺷﺎﻥ ﻛﻤﺎﻝ ﺗﺸﻜﺮ ﺭﺍ ﺩﺍﺭﻡ‪ .‬ﻫﻤﻴﻦ ﻃﻮﺭ ﺟﺎ ﺩﺍﺭﺩ ﺍﺯ ﺗﻚﺗﻚ ﺍﻓﺮﺍﺩﻯ ﻛﻪ‬ ‫ﺩﺭ ﺍﻳﻦ ﭘﺮﻭﻧﺪﻩ ﻣﺎ ﺭﺍ ﻳﺎﺭﻯ ﺩﺍﺩﻧﺪ‪ ،‬ﺳﭙﺎﺱﮔﺰﺍﺭﻯ ﻛﻨﻢ؛ ﺍﺯ ﺁﻗﺎﻳﺎﻥ ﺳﻴﻨﺎ ﻓﺮﺧﻰ‪،‬‬ ‫ﭘﻮﺭﻳﺎ ﺗﻘﻮﻯ‪ ،‬ﻋﻠﻴﺮﺿﺎ ﻗﺴﻤﺘﻰ ﻭ ﺩﺍﻭﺩ ﺍﺑﺮﺍﻫﻴﻤﻰ ﻛﻪ ﺑﺎﺭ ﻋﻤﺪﻩﻯ ﺗﺸﻜﻴﻞ ﺍﻳﻦ‬ ‫ﭘﺮﻭﻧﺪﻩ ﺭﺍ ﺑﻪ ﺩﻭﺵ ﻛﺸﻴﺪﻧﺪ‪.‬‬ ‫ﻣﺤﻤﺪ ﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‬

‫‪5‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


‫ﺳﺨﻦ ﻣﺎﻩ‬

‫ﻧﻤﺎﻳﺸﮕﺎﻩ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﻛﺘﺎﺏ ﺗﻬﺮﺍﻥ ﻛﻪ ﺍﺯ ﺳﺎﻝ ‪ ،...1366‬ﺍﻣﺎ ﻧﻪ! ﺍﻣﺴﺎﻝ ﻗﺮﺍﺭ‬ ‫ﻧﻴﺴﺖ ﻫﻤﺎﻥ ﻣﺘﻦ ﺳﺎﻝ ﮔﺬﺷﺘﻪ ﺭﺍ ﺑﻨﻮﻳﺴﻢ ﻭ ﻓﻘﻂ ﻳﻚ ﺳﺎﻝ ﺭﻭﻯ ﺁﻥ ﺑﻴﺎﻭﺭﻡ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﻧﻮﺷﺘﻦ ﻣﺘﻦ ﺗﻜﺮﺍﺭﻯ ﻛﻪ ﺧﻴﻠﻰ ﺁﺳﺎﻥ ﺍﺳﺖ‪ ،‬ﺑﻪ ﺧﺼﻮﺹ ﺑﺮﺍﻯ ﭼﻨﻴﻦ‬ ‫ﻣﺘﻨﻰ‪ .‬ﺑﻴﺴﺖ ﻭ ﭘﻨﺠﻤﻴﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻛﺘﺎﺏ ﻛﻪ ﺍﻧﺸﺎﺍﷲ ﺑﺮﮔﺰﺍﺭ ﻣﻰﺷﻮﺩ‪ ،‬ﻣﺜﻞ‬ ‫ﺑﻴﺴﺖ ﻭ ﭼﻬﺎﺭﺗﺎﻯ ﻗﺒﻠﻰ‪ .‬ﺍﺣﺘﻤﺎﻻً ﺩﺭ ﻣﺼﻠﻰ ﺗﻬﺮﺍﻥ ﻫﻢ ﭘﻬﻨﻪ ﺧﻮﺍﻫﺪ ﮔﺴﺘﺮﺩ‪،‬‬ ‫ﻣﺜﻞ ﭼﻨﺪ ﺳﺎﻝ ﮔﺬﺷﺘﻪ‪ .‬ﺑﺎﺯﺩﻳﺪ ﻛﻨﻨﺪﻩ ﻫﻢ ﻛﻪ ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ‪ ،‬ﺩﺭﺳﺖ ﻣﺜﻞ‬ ‫ﮔﺬﺷﺘﻪ‪ .‬ﻛﺘﺎﺏﺧﻮﺍﻥﻫﺎﻳﻰ ﭼﻮﻥ ﻣﺎ ﻫﻢ ﻛﻪ ﻫﻤﭽﻨﺎﻥ ﻫﺴﺘﻴﻢ‪ ،‬ﻣﺜﻞ ﮔﺬﺷﺘﻪ‪.‬‬ ‫ﺷﮕﻔﺖﺯﺍﺭ ﻫﻢ ﻛﻪ ﺩﺭ ﺣﺪ ﻭﺳﻌﺶ ﺍﻳﻦ ﺭﻭﻳﺪﺍﺩ ﻓﺮﻫﻨﮕﻰ ﺭﺍ ﭘﻮﺷﺶ ﻣﻰﺩﻫﺪ‪،‬‬ ‫ﻣﺜﻞ ﺳﺎﻝ ﮔﺬﺷﺘﻪ‪ .‬ﭘﺲ ﭼﻪ ﭼﻴﺰ ﻓﺮﻕ ﻣﻰﻛﻨﺪ؟‬ ‫ﻣﺎﺟﺮﺍ ﺍﻳﻦ ﺍﺳﺖ‪ :‬ﺍﺯ ﻗﺪﻳﻢ ﺍﻻﻳﺎﻡ ﺩﺭ ﺗﺎﺭﻳﺦ ﺁﻛﺎﺩﻣﻰ ﻓﺎﻧﺘﺰﻯ ﺛﺒﺖ ﺷﺪﻩ ﻛﻪ‬ ‫ﺑﻌﻀﻰ ﻣﻌﺘﻘﺪ ﺑﻪ ﺷﻌﺎﺭﻯ ﭼﻮﻥ »ﻣﺎ ﻗﻬﺮﻣﺎﻧﻴﻢ« ﺑﻮﺩﻩﺍﻧﺪ‪ .‬ﺍﻟﺒﺘﻪ ﻫﻨﻮﺯ ﻫﻢ ﭼﻨﻴﻦ‬ ‫ﺍﻋﺘﻘﺎﺩﻯ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻣﻦ ﭼﻨﺪﺍﻥ ﺩﺭ ﺯﻣﺮﻩﻯ ﺍﻳﻦ ﻣﻌﺘﻘﺪﻳﻦ ﻧﺒﻮﺩﻩ ﻭ ﻧﻴﺴﺘﻢ‪،‬‬ ‫ﺍﻣﺎ ﻣﻌﺘﻘﺪﻡ ﺩﺭ ﮔﺮﻭﻩ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﮔﺎﻩﮔﺎﻩ ﺍﺗﻔﺎﻗﺎﺕ ﻗﻬﺮﻣﺎﻧﺎﻧﻪﺍﻯ ﻣﻰﺍﻓﺘﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،17‬ﺍ���ﺩﻳﺒﻬﺸﺖ ‪1391‬‬

‫‪4‬‬


‫ﻓﻬﺮﺳﺖ‬

‫ﺳﺨﻦ ﻣﺎﻩ‬

‫‪4‬‬

‫ﺑﺨﺶ ﺍﻭﻝ‪ :‬ﺩﺍﺳﺘﺎﻥ‬ ‫ﻓﺎﻧﺘﺰﻯ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﺑﺎﻧﻮﻯ ﺟﻤﺠﻤﻪﻫﺎ‬

‫‪6‬‬

‫ﭘﺎﺗﺮﻳﺸﻴﺎ ﻣﻚ ﻛﻠﻴﭗ ‪ /‬ﻣﺤﻤﺪﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‬

‫ﻓﺎﻧﺘﺰﻯ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﺍﺯ ﺁﺩﻣﻚ ﻧﭙﺮﺱ‬

‫‪20‬‬

‫ﻧﻴﻞ ﮔﻴﻤﻦ ‪ /‬ﻓﺮﺯﺍﺩ ﻓﺮﺑﺪ‬

‫ﻓﺎﻧﺘﺰﻯ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﭘﻮﻧﻰﻫﺎ‬

‫‪24‬‬

‫ﻛﻴﺞ ﺟﺎﻧﺴﻮﻥ ‪ /‬ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﻧﮕﺎﺭﺵ‪ :‬ﻣﻮﻧﺎ )‪(2‬‬

‫‪30‬‬

‫ﺁﺭﻣﺎﻥ ﺳﻼﺡ ﻭﺭﺯﻯ‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﻧﮕﺎﺭﺵ‪P.T.S.D :‬‬

‫‪50‬‬

‫ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

‫ﺑﺨﺶ ﺩﻭﻡ‪ :‬ﭘﺮﻭﻧﺪﻩ‬ ‫ﻛﺘﺎﺏ‪ :‬ﺍﺯ ﻧﻤﺎﻳﺸﮕﺎﻩ ﭼﻪ ﺧﺒﺮ‬

‫‪68‬‬


‫ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬ ‫ﺳﺎﻝ ﺩﻭﻡ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ، 17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪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 :‬ﺩﺍﻭﺩ‬

‫ﺍﺑﺮﺍﻫﻴﻤﻰ‪،‬‬

‫ﭘﻮﺭﻳﺎ‬

‫ﺗﻘﻮﻯ‪،‬‬

‫ﺁﺭﻣﺎﻥ‬

‫ﺳﻼﺡ‬

‫ﻭﺭﺯﻯ‪،‬‬

‫ﻣﺤﻤﺪﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‪ ،‬ﻓﺮﺯﺍﺩ ﻓﺮﺑﺪ‪ ،‬ﺳﻴﻨﺎ ﻓﺮﺧﻰ‪،‬‬ ‫ﻋﻠﻴﺮﺿﺎ ﻗﺴﻤﺘﻰ‬ ‫ﺻﻔﺤــــــﻪ ﺁ ﺭ ﺍ ﻳـــــﻰ ‪ :‬ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‬ ‫ﻧﺸـــــــﺎﻧﻰ ﻭﺑــــﮕﺎﻩ‪:‬‬

‫‪www.fantasy.ir‬‬

‫ﭘـــﺴﺖ ﺍﻟﻜﺘﺮﻭﻧﻴــــﻚ‪:‬‬

‫‪mag@fantasy.ir‬‬

‫ﻃــــــﺮﺡ‬

‫ﺟﻠــــــﺪ‪:‬‬

‫ﻧﻴﻨﺎ ﻭﻳﻦ )‪ ،(Nina Wayne‬ﺟﻤﺠﻤﻪﻫﺎ‬

‫»ﺑﺎﻧﻮﻯ ﺟﻤﺠﻤﻪﻫﺎ«‬

‫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 ‪ ، 17‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1391‬‬


wonderland-vol02-no17-fantasy-ir