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‫ﮔﺮﻭﻩ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬

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

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


‫ﺩﻳﻮ ﺑﻴﻢ‪ ،‬ﺭﻧﮓﭘﺮﻳﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﺎ ﭼﺸﻤﺎﻧﻰ ﮔﺸﺎﺩ ﻭ ﺩﻫﺎﻧﻰ ﺑﺎﺯ‪ ،‬ﻳﺎﺩﮔﺎﺭ ﻓﺮﻳﺎﺩﻯ ﺩﺭﺩﻧﺎﻙ‪ ...‬ﺻﻮﺭﺗﺶ ﺑﻪ‬ ‫ﺭﺧﺴﺎﺭ ﺍﺳﻴﺮﻯ ﺩﻭﺯﺧﻰ ﻣﻰﻣﺎﻧﺴﺖ‪ ،‬ﻛﻪ ﺑﻪ ﻳﺎﺭﻯ ﺑﺨﺖ ﻭﺍژﮔﻮﻥ‪ ،‬ﺍﺯ ﭼﻨﮓ ﺍﻫﺮﻳﻤﻦ ﺭﻫﻴﺪﻩ ﺍﻣﺎ ﺍﻭ ﺭﺍ‪،‬‬ ‫ﻧﻪ ﻳﺎﺭﺍﻯ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺧﻮﻑ‪ ،‬ﺧﺎﻃﺮ ﺁﺳﻮﺩﻩ ﺩﺍﺭﺩ ﻭ ﻧﻪ ﺍﻳﻦ ﺑﻬﺮﻩﻣﻨﺪﻯ ﻛﻪ ﺩﻳﮕﺮ ﺑﺎﺭ ﺭﻭﻯ ﺁﺭﺍﻣﺶ‬ ‫ﺑﺒﻴﻨﺪ‪ ...‬ﭼﻬﺮﻩﻯ ﺩﻳﻮ‪ ،‬ﭼﻬﺮﻩﻯ ﺗﺠﺮﺑﻪﻯ ﻧﻬﺎﻳﺖ ﺗﺮﺱ ﺑﻮﺩ‪ ...‬ﺗﺮﺳﻰ ﻛﻪ ﻫﻮﺵ ﺭﺍ ﻣﻰﺯﺩﺍﻳﺪ ﻭ ﻋﻘﻞ ﺭﺍ‬ ‫ﺯﺍﻳﻞ ﻣﻰﻛﻨﺪ ﻭ ﺍﻣﺎﻥ ﺭﺍ ﻣﻰﮔﻴﺮﺩ‪ .‬ﺗﺮﺳﻰ ﻛﻪ ﻫﻴﭻ ﺍﻧﺴﺎﻧﻰ ﺭﺍ ﺍﺯ ﻭﺟﻮﺩﺵ ﺁﮔﺎﻫﻰ ﻧﻴﺴﺖ‪ ،‬ﭼﻪ ﺭﺳﺪ ﺑﻪ‬ ‫ﺩﺍﻧﺴﺘﻦ ﭼﻴﺴﺘﻰﺍﺵ‪ ...‬ﺗﺮﺳﻰ ﻛﻪ ﺍﺯ ﺩﺭﻳﭽﻪﺍﻯ ﺩﻳﮕﺮ‪ ،‬ﺑﻪ ﺍﻳﻦ ﺩﻧﻴﺎ ﺭﺍﻩ ﻳﺎﻓﺘﻪ ﻭ ﻧﺨﺴﺘﻴﻦ ﻗﺮﺑﺎﻧﻰﺍﺵ ﺩﻳﻮ‬ ‫ﺑﻴﻢ ﺑﻮﺩﻩ ﺍﺳﺖ‪ ...‬ﺩﻳﺪﻥ ﭼﻨﻴﻦ ﭼﻬﺮﻩﺍﻯ‪ ،‬ﺑﺎ ﭼﻨﻴﻦ ﺩﻳﺪﮔﺎﻥ ﺗﺮﺱﺩﻳﺪﻩﺍﻯ‪ ،‬ﻛﺎﻓﻰ ﺍﺳﺖ ﺗﺎ ﺑﻴﻢ ﺁﻥﭼﻪ‬ ‫ﻧﻤﻰﺩﺍﻧﻰ ﭼﻴﺴﺖ‪ ،‬ﺑﺮ ﻭﺟﻮﺩﺕ ﻣﺴﺘﻮﻟﻰ ﺷﻮﺩ‪ ...‬ﺑﻴﻢ ﺩﺭﺧﺘﻰ ﻛﻪ ﺛﻤﺮﻩﺍﺵ ﭼﻨﻴﻦ ﺗﻠﺦ ﻭ ﺗﺎﺭﻳﻚ ﻭ ﺗﻴﺮﻩ‬ ‫ﺍﺳﺖ‪ ،‬ﺑﻴﻢ ﺁﻥﭼﻪ ﺣﺎﺻﻠﺶ‪ ،‬ﻣﺮﺩﻥ ﺍﺑﺪﻯ ﺷﺠﺎﻋﺖ ﺍﺳﺖ‪ ،‬ﺗﺮﺱ ﺍﺯ ﭼﻴﺰﻯ ﻛﻪ ﺩﺭ ﺁﺳﺘﺎﻧﻪﺍﺵ ﺩﻻﻭﺭﺍﻥ‪،‬‬ ‫ﺯﺑﻮﻧﺎﻧﻪ ﺳﺮﻣﻰﺳﺎﻳﻨﺪ ﻭ ﺁﺭﺯﻭﻯ ﻣﺮگ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺑﻴﻤﻰ ﻛﻪ ﻣﺮگ ﺭﺍ ﺑﻪ ﺁﺧﺮﻳﻦ ﺍﻣﻴﺪ‪ ،‬ﺍﻣﻴﺪﻯ ﻛﻪ ﺑﻪ‬ ‫ﺩﺳﺖ ﻧﻤﻰﺁﻳﺪ‪ ،‬ﺑﺪﻝ ﻣﻰﻛﻨﺪ‪ ....‬ﻭﺣﺸﺖ ﺍﺯ ﺭﻳﺸﻪﻯ ﺍﻳﻦ ﺗﺮﺱ‪ ،‬ﺷﻴﻮﻩﻯ ﺑﺎﻟﻴﺪﻧﺶ ﻭ ﻣﻴﻮﻩﺍﻯ ﻛﻪ ﺩﺍﺭﺩ‪...‬‬ ‫ﺗﺮﺱ ﺍﺯ ﺁﻥﭼﻪ ﮔﻤﺎﻥ ﻣﻰﻛﺮﺩﻯ ﻧﻴﺴﺖ ﻭ ﺧﻮﺩ ﺭﺍ ﺑﺮﺍﺑﺮﺵ ﻣﻰﻳﺎﺑﻰ‪ ،‬ﺧﻮﻑ ﺍﺯ ﺁﻥﭼﻪ ﺩﺭ ﺳﺨﺖﺗﺮﻳﻦ‬ ‫ﻛﺎﺑﻮﺱﻫﺎﻳﺖ ﻧﻴﺰ ﻧﻤﻰﺗﻮﺍﻧﻰ ﺗﺼﻮﻳﺮﺵ ﻛﻨﻰ‪ ...‬ﺗﺮﺱ ﺍﺯ ﺗﺮﺱ‪ ،‬ﭼﻨﺎﻥ ﺑﺪﻧﺖ ﺭﺍ ﺑﻪ ﺑﻨﺪ ﻣﻰﻛﺸﺪ ﻛﻪ‬ ‫ﭼﻬﺮﻩﺍﺕ‪ ،‬ﭼﻮﻥ ﺭﺧﺴﺎﺭ ﺩﻳﻮ‪ ،‬ﺭﻧﮓ ﻣﻰﺑﺎﺯﺩ ﻭ ﭼﺸﻤﺎﻧﺖ ﮔﻮﺩ ﻣﻰﺍﻓﺘﺪ ﻭ ﺭﺩ ﻓﺮﻳﺎﺩﻯ ﺑﻪ ﻟﺐ ﻧﺮﺳﻴﺪﻩ‪ ،‬ﺑﺮ‬ ‫ﺻﻮﺭﺗﺖ ﻣﻰﺧﺸﻜﺪ‪ ...‬ﻭ ﺍﻳﻦ ﻗﺪﺭﺕ ﭘﻠﻴﺪ ﺩﻳﻮ ﺑﻴﻢ ﺍﺳﺖ‪...‬‬ ‫ﻫﻮﺭﺍﻡ‪ ،‬ﺁﺧﺮﻳﻦ ﺑﺎﺯﻣﺎﻧﺪﻩﻯ ﺩ ِﻩ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺁﺑﺎﺩ‪ ،‬ﺩﺭ ﺷﺒﺎﻧﮕﺎﻩ ﭼﻬﺎﺭﺩﻫﻤﻴﻦ ﺷﺐ‪ ،‬ﺍﺳﻴﺮ ﺩﺷﻤﻨﻰ ﺍﻳﻦﮔﻮﻧﻪ‬ ‫ﺗﻮﺍﻧﺎ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﻓﺮﻫﺎﺩ ﺍﺯ ﺭﺍﻩ ﺭﺳﻴﺪ‪.‬‬

‫‪5. Almirante‬‬ ‫‪6. Pellagrini‬‬ ‫‪7. Cudahi‬‬ ‫‪8. Admiral Sap‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫‪1. Thiotimoline to the Stars‬‬ ‫‪2. Ensign Feet‬‬ ‫‪3. Lieutenant Prohorov‬‬ ‫‪4. Admiral Vernon‬‬


‫ﭘﺎﻭﺭﻗﻰ‬

‫ﻛﺞ ﺭﻓﺘﺎﺭ ﺭﺍ ﺑﺎﺯ ﭼﻪ ﺩﺭ ﺳﺮ ﺑﻮﺩ ﻛﻪ ﺁﻫﺴﺘﻪ ﺁﻫﺴﺘﻪ‪ ،‬ﻫﺮ ﺁﻥﭼﻪ ﻣﻘﺪﺱ ﺭﺍ ﺩﺭ ﺯﻳﺮ ﮔﺎﻡﻫﺎﻯ ﺧﻮﺩ ﺧﺮﺩ‬ ‫ﻣﻰﻛﺮﺩ ﻭ ﻣﻰﺧﻨﺪﻳﺪ؟ ﻫﻮﺍ ﻣﻠﺘﻬﺐ ﺑﻮﺩ‪ .‬ﮔﺮﭼﻪ ﻧﺸﺎﻧﻪﻫﺎ‪ ،‬ﺍﺯ ﺩﻭﺭﻯ ﺩﻳﻮﺍﻥ ﺧﺒﺮ ﻣﻰﺩﺍﺩﻧﺪ‪ ،‬ﻓﺮﻫﺎﺩ‪ ،‬ﺑﻼ‬ ‫ﺭﺍ ﺑﺎ ﺑﻨﺪ ﺑﻨﺪ ﻭﺟﻮﺩﺵ ﺣﺲ ﻣﻰﻛﺮﺩ‪ ...‬ﺑﺎﻳﺪ ﺷﻤﺸﻴﺮ ﻣﻰﺧﺮﻳﺪ‪ ...‬ﺑﺎﻳﺪ ﺩﺭ ﻧﺨﺴﺘﻴﻦ ﺍﻗﺎﻣﺘﮕﺎﻩ‪ ،‬ﺷﻤﺸﻴﺮ‬ ‫ﻣﻰﺧﺮﻳﺪ‪ ...‬ﻫﻴﭻ ﻓﻜﺮ ﻧﻤﻰﻛﺮﺩ ﺧﻄﺮ‪ ،‬ﺗﺎ ﭘﻴﺶ ﺍﺯ ﺭﺳﻴﺪﻥ ﺑﻪ ﺭﻳﺸﻪﻫﺎﻯ ﺷﻤﺎﻝ‪ ،‬ﺩﺭ ﻛﻤﻴﻨﺸﺎﻥ ﺑﺎﺷﺪ‪...‬‬ ‫ﺑﺎﺩ ﺷﺮﻭﻉ ﺑﻪ ﺯﻭﺯﻩ ﻛﺸﻴﺪﻥ ﻛﺮﺩ‪ ،‬ﺻﺪﺍﻯ ﻧﺎﻟﻪﻯ ﺧﺎﻙ ﺭﺍ ﻣﻰﺷﻨﻴﺪ ﻛﻪ ﺍﺯ ﺑﺎﺭ ﭘﺴﺘﻰ ﻛﻪ ﺑﻪ ﺩﻭﺵ ﺩﺍﺷﺖ‪،‬‬ ‫ﺷﻜﻮﻩ ﻣﻰﻛﺮﺩ‪ ...‬ﺳﻨﮓﻫﺎ‪ ،‬ﺳﺨﺖ ﺍﻧﺪﻭﻫﮕﻴﻦ ﺑﻮﺩﻧﺪ‪ ...‬ﺯﻣﻴﻦ ﻭ ﺯﻣﺎﻥ ﭼﻨﺎﻥ ﺁﺷﻔﺘﻪ ﺑﻮﺩ ﻛﻪ ﻓﺮﻫﺎﺩ‬ ‫ﺩﺍﻧﺴﺖ ﺩﻳﻮﻯ‪ ،‬ﺩﻳﻮﻯ ﺑﺰﺭگ‪ ،‬ﺩﻳﻮﻯ ﺑﺰﺭگ ﻭ ﺯﻭﺭﻣﻨﺪ‪ ،‬ﺑﺎ ﭘﻠﻴﺪﻯ ﭘﻨﻬﺎﻥ ﻭ ﺷﺮﺍﺭﺕ ﺁﺷﻜﺎﺭ‪ ،‬ﻧﺰﺩﻳﻚ ﺷﺪﻩ‬ ‫ﻭ ﺑﻰﺩﺭﻧﮓ ﻫﺠﻮﻡ ﺧﻮﺍﻫﺪ ﺁﻭﺭﺩ‪ ...‬ﺩﻳﺮ ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩ ﻛﻪ ﻫﻮﺭﺍﻡ ﺍﺯ ﺍﻭ ﺩﻭﺭ ﺷﺪﻩ‪.‬‬ ‫ﻫﻮﺭﺍﻡ‪ ،‬ﺑﺎ ﭘﺸﺖ ﺩﺳﺖ‪ ،‬ﺍﺷﻚﻫﺎ ﺭﺍ ﺍﺯ ﭼﺸﻤﺎﻧﺶ ﺳﺘﺮﺩ‪ ...‬ﺍﺯ ﺧﻮﺩﺵ ﺑﻴﺰﺍﺭ ﺑﻮﺩ‪ ،‬ﺍﺯ ﺧﻮﺩﺵ ﺑﻴﺰﺍﺭ ﺑﻮﺩ‬ ‫ﻛﻪ ﻫﻤﭽﻨﺎﻥ ﭼﻮﻥ ﻛﻮﺩﻛﺎﻥ ﻣﻰﮔﺮﻳﺴﺖ‪ ...‬ﺑﺎ ﺧﻮﺩ ﮔﻔﺖ‪» :‬ﻣﻰﻛﺸﻤﺸﺎﻥ‪ ...‬ﻣﻦ ﺩﻳﻮﺍﻥ ﺭﺍ ﻣﻰﻛﺸﻢ‪ ،‬ﺑﻪ‬ ‫ﺧﺪﺍﻭﻧﺪ ﺳﻮﮔﻨﺪ‪ «.‬ﻭ ﺑﻪ ﺳﺨﺘﻰ ﻛﻮﺷﻴﺪ ﺗﺎ ﺍﺯ ﭘﺸﺖ ﭘﺮﺩﻩﻯ ﺍﺷﻚ‪ ،‬ﭼﻨﺪ ﻫﻴﺰﻡ ﺑﻴﺎﺑﺪ‪ .‬ﺍﻧﺪﻳﺸﻴﺪ‪» :‬ﺑﺎﻳﺪ‬ ‫ﭘﻴﺶ ﺍﺯ ﺁﻥﻛﻪ ﺧﻮﺭﺷﻴﺪ ﺑﻪ ﺗﻤﺎﻣﻰ ﺑﻤﻴﺮﺩ‪ ،‬ﺑﻪ ﻧﺰﺩ ﻓﺮﻫﺎﺩ ﺑﺎﺯﮔﺮﺩﻡ« ﭘﺲ ﭼﺸﻢ ﮔﺮﺩﺍﻧﺪ ﻣﮕﺮ ﺑﺘﻮﺍﻧﺪ‬ ‫ﭼﻴﺰﻯ ﺑﻴﺎﺑﺪ‪ .‬ﭼﻨﺪ ﺩﺭﺧﺖ‪ ،‬ﻛﻤﻰ ﺩﻭﺭﺗﺮ‪ ،‬ﺑﺎ ﭼﻮﺏﻫﺎﻯ ﺧﺸﻜﻴﺪﻩ‪ ،‬ﺑﺮ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻫﻮﺭﺍﻡ ﺷﺎﺩﻣﺎﻥ‬ ‫ﺍﺯ ﻳﺎﻓﺘﻦ ﭼﻨﻴﻦ ﺑﺮﻛﺘﻰ‪ ،‬ﺑﻪ ﺳﻮﻳﺸﺎﻥ ﺩﻭﻳﺪ ‪-‬ﺑﺎﺩ ﺩﺭﻳﻦ ﺯﻣﺎﻥ ﺩﺍﺷﺖ ﺩﺭ ﮔﻮﺵ ﻓﺮﻫﺎﺩ ﺯﻭﺯﻩ ﻣﻰﻛﺸﻴﺪ‪-‬‬ ‫ﺑﺪﻧﺶ‪ ،‬ﺑﻪ ﻟﺮﺯﻩ ﺍﻓﺘﺎﺩ ﻭ ﮔﻤﺎﻥ ﻛﺮﺩ ﺳﺒﺒﺶ ﺳﺮﺩﻯ ﻫﻮﺍ ﺍﺳﺖ‪ ،‬ﭘﺲ ﻓﻜﺮ ﻛﺮﺩ‪ ،‬ﺑﺎﻳﺪ ﺁﺗﺸﻰ ﺭﻭﺷﻦ ﻛﻨﻴﻢ‪...‬‬ ‫ﺻﺪﺍﻯ ﮔﺎﻡﻫﺎﻳﺶ ﺩﺭ ﻛﻮﻫﺴﺘﺎﻥ ﻣﻰﭘﻴﭽﻴﺪ ‪-‬ﺯﻣﻴﻦ ﺑﺮﺍﻯ ﻓﺮﻫﺎﺩ ﻧﺎﻟﻪ ﺳﺮ ﺩﺍﺩﻩ ﺑﻮﺩ‪ -‬ﭘﺎﻯ ﭘﺴﺮ ﻟﻐﺰﻳﺪ‪،‬‬ ‫ﺩﺭﺳﺖ ﺑﺮﺍﺑﺮ ﺩﺭﺧﺖﻫﺎﻯ ﺧﺸﻜﻴﺪﻩ‪ ،‬ﺑﺮ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩ ‪-‬ﺳﻨﮓﻫﺎ ﺳﺮﻭﺩ ﺍﻧﺪﻭﻩ ﺳﺮﺩﺍﺩﻩ ﺑﻮﺩﻧﺪ‪ -‬ﻫﻮﺭﺍﻡ‪ ،‬ﻛﻪ‬ ‫ﺩﻫﺎﻥ ﺑﺎﺯ ﻛﺮﺩﻩ ﺑﻮﺩ ﺗﺎ ﺍﺯ ﺩﺭﺩ ﺁﻫﻰ ﺑﻜﺸﺪ‪ ،‬ﺍﺯ ﺑﻴ ِﻢ ﺁﻥﭼﻪ ﻓﺮﺍﺭﻭﻯ ﺧﻮﺩ ﻣﻰﺩﻳﺪ‪ ،‬ﻧﻔﺲ ﻛﺸﻴﺪﻥ ﺭﺍ ﻧﻴﺰ ﺍﺯ‬ ‫ﻳﺎﺩ ﺑﺮﺩ‪ .‬ﺩﻳﻮﻯ ﺍﺯ ﭘﺸﺖ ﺩﺭﺧﺘﺎﻥ‪ ،‬ﭼﺸﻢ ﺑﻪ ﺍﻭ ﺩﻭﺧﺘﻪ ﺑﻮﺩ ﻭ ﺑﺎ ﭘﻮﺯﺧﻨﺪﻯ ﻛﺮﻳﻪ ﻭ ﺳﻬﻤﻨﺎﻙ ﻣﻰﮔﻔﺖ‪:‬‬ ‫»ﻧﺘﺮﺱ ﭘﺴﺮﺟﺎﻥ‪ ...‬ﻧﺘﺮﺱ‪ «.‬ﻓﺮﻫﺎﺩ ﺁﺷﻔﺘﻪ ﻭ ﺗﻴﺸﻪ ﺩﺭ ﺩﺳﺖ‪ ،‬ﺩﺭ ﺳﻴﺎﻫﻰ ﺳﻴﺎﻟﻰ ﻛﻪ ﻛﻮﻩ ﺭﺍ ﻣﻰﭘﻮﺷﺎﻧﺪ‪،‬‬ ‫ﺩﺭ ﺟﺴﺘﺠﻮﻯ ﺑﺪﻥ ﻛﻮﭼﻚ ﭘﺴﺮ ﺑﻮﺩ‪.‬‬ ‫‪ ‬ﻫﻮﺭﺍﻡ‪ ،‬ﺍﻛﻨﻮﻥ ﻣﻌﻨﺎﻯ ﺁﻥﭼﻪ ﺩﺭ ﺩﻩ ﺩﻳﺪﻩ ﺑﻮﺩ ﺭﺍ ﺩﺭﻣﻰﻳﺎﻓﺖ‪ ،‬ﭼﻬﺮﻩﻫﺎﻯ ﺭﻧﮓﭘﺮﻳﺪﻩ‪ ،‬ﭼﺸﻤﺎﻥ ﺗﺮﺳﻴﺪﻩ‬ ‫ﻭ ﺩﺭﺩﻯ ﻛﻪ ﻫﻤﻪﻯ ﻣﺮﺩﮔﺎﻥ ﺭﺍ ﺩﺍﻏﺪﺍﺭ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺩﻳﻮ ﺑﻴﻢ‪ ،‬ﺑﻪ ﺭﺍﺳﺘﻰ ﺩﻫﺸﺘﻨﺎﻙ ﺑﻮﺩ‪ ...‬ﻭ ﻫﻮﺭﺍﻡ‬ ‫ﻛﻮﭼﻚ‪ ،‬ﻛﻪ ﺑﺪﻧﺶ ﭼﻮﻥ ﺯﻣﻴﻦ ﺯﻳﺮ ﺗﻴﺸﻪﻯ ﻓﺮﻫﺎﺩ‪ ،‬ﻣﻰﻟﺮﺯﻳﺪ‪ ،‬ﺍﻳﻦ ﺭﺍ ﺑﻪ ﺧﻮﺑﻰ ﻣﻰﻓﻬﻤﻴﺪ‪ .‬ﻧﻔﺴﺶ ﺑﻨﺪ‬ ‫ﺁﻣﺪ ﻭ ﻗﻠﺒﺶ ﺳﺨﺖ ﺑﻰﻗﺮﺍﺭ ﺑﻮﺩ‪ ،‬ﭼﻮﻥ ﺩﻳﻮﺍﻧﻪﺍﻯ ﻣﺠﻨﻮﻥ ﻛﻪ ﺩﺭ ﺷﺐ ﻣﺎﻩ ﻛﺎﻣﻞ‪ ،‬ﺭﺍﻩ ﻓﺮﺍﺭﻯ ﻣﻰﺟﻮﻳﺪ‪...‬‬ ‫ﺑﺴﺘﻦ ﭼﺸﻤﺎﻥ ﻭ ﻧﻨﮕﺮﻳﺴﺘﻦ ﺑﻪ ﺩﻳﻮ ﻧﻴﺰ‪ ،‬ﻛﺎﺭﻯ ﺍﺯ ﭘﻴﺶ ﻧﻤﻰﺑﺮﺩ‪ ،‬ﭼﻬﺮﻩﺍﺵ ﭼﻨﺎﻥ ﺩﺭ ﺧﺎﻃﺮ ﻫﻮﺭﺍﻡ‬ ‫ﻧﻘﺶ ﺑﺴﺘﻪ ﺑﻮﺩ ﻛﻪ ﺭﻫﺎﻳﺸﻰ ﺍﺯ ﺁﻥ ﻧﺒﻮﺩ‪.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﺩﻳﮕﺮ ﺍﺳﺖ ﺑﺮ ﺩﻭﺵ ﻣﻦ‪...‬‬ ‫ﻣﺮﺩ ﻟﺒﺨﻨﺪﺯﻧﺎﻥ ﺑﻪ ﭘﻴﺸﻮﺍﺯ ﻣﺮگ ﻣﻰﺭﻓﺖ‪.‬‬

‫‪4‬‬ ‫‪ ‬ﻓﺮﻫﺎﺩ ﺑﻪ ﺍﻃﺮﺍﻑ ﻧﮕﺎﻩ ﻛﺮﺩ‪ ،‬ﻛﻮﻫﺴﺘﺎﻥ‪ ،‬ﺳﺮﺩ ﻭ ﺧﺎﻣﻮﺵ ﻭ ﻧﺎﻣﻬﺮﺑﺎﻥ ﺑﻮﺩ‪ .‬ﻫﺮ ﭼﻪ ﺑﻴﺸﺘﺮ ﺑﻪ ﺳﻮﻯ‬ ‫ﺷﻤﺎﻝ‪ ،‬ﮔﺎﻡ ﺑﺮﺩﺍﺷﺘﻪ ﺑﻮﺩﻧﺪ‪ ،‬ﻫﺮ ﭼﻪ ﺑﻴﺸﺘﺮ ﺭﻭﺯﻫﺎ ﺭﺍ ﺷﺐ ﻭ ﻓﺎﺻﻠﻪ ﻫﺎ ﺭﺍ ﻛﻢ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻫﺮ ﭼﻪ‬ ‫ﺑﻴﺸﺘﺮ ﺍﺯ ﭘﻰ ﺩﻳﻮﺍﻥ ﭘﻮﻳﻴﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻛﻮﻫﺴﺘﺎﻥ ﺳﺨﺖﺗﺮ ﻭ ﺳﺮﺩﺗﺮ ﻭ ﻋﺒﻮﺱﺗﺮ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﭼﻮﻥ ﻣﺎﺩﺭﻯ ﻛﻪ‬ ‫ﻣﻰﺩﺍﻧﺪ ﺁﻥﭼﻪ ﺩﺭ ﺷﻜﻢ ﺩﺍﺭﺩ‪ ،‬ﻛﻮﺩﻛﻰ ﺷﻮﻡ ﻭ ﻛﻔﺮﭘﻴﺸﻪ ﺍﺳﺖ ﻛﻪ ﻫﺮ ﺩﻡ ﺑﻴﻢ ﺯﺍﺩﻩ ﺷﺪﻧﺶ ﻣﻰﺭﻭﺩ‪...‬‬ ‫ﭘﻠﻴﺪﻯ‪ ،‬ﻫﺮ ﭼﻪ ﭘﻴﺶﺗﺮ ﻣﻰﺭﻓﺘﻨﺪ ﺑﻴﺸﺘﺮ ﻣﻰﺷﺪ ﻭ ﻣﺮﺩ ﺭﺍﻩ‪ ،‬ﻧﻴﻚ ﺍﺯ ﺁﻥ ﺁﮔﺎﻩ ﺑﻮﺩ‪ ...‬ﺭﺩ ﺗﺎﺯﻩ ﻳﺎﻓﺘﻪ ﺷﺪﻩ‬ ‫ﻧﻴﺰ‪ ،‬ﺍﮔﺮ ﻧﻪ ﺑﺮ ﻧﮕﺮﺍﻧﻰ‪ ،‬ﺑﺮ ﻫﺸﻴﺎﺭﻯﺍﺵ ﻣﻰﺍﻓﺰﻭﺩ‪ ...‬ﻫﻴﭻ ﭼﻴﺰ ﺁﻥﮔﻮﻧﻪ ﻛﻪ ﺑﺎﻳﺪ ﻧﺒﻮﺩ‪ ...‬ﻫﻴﭻ ﭼﻴﺰ‪ .‬ﻧﻔﺴﻰ‬ ‫ﻋﻤﻴﻖ ﻛﺸﻴﺪ‪ ،‬ﺭﻭ ﺑﻪ ﻫﻤﺮﺍﻩ ﻛﻮﭼﻜﺶ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﺑﻴﺎ ﻭ ﺑﮕﻮ ﭼﻪ ﻣﻰ ﺑﻴﻨﻰ؟« ﭘﺴﺮ ﻛﻪ ﺗﺎﺯﻩ ﺑﺮ ﺳﻨﮕﻰ‬ ‫ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ ،‬ﺷﺘﺎﺑﺎﻥ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻣﺮﺩ ﺭﺳﺎﻧﺪ ﻭ ﺑﻪ ﺭﺩﻫﺎﻳﻰ ﻛﻪ ﭘﻴﺶ ﺭﻭﻳﺸﺎﻥ ﺑﻮﺩ‪ ،‬ﺧﻴﺮﻩ ﺷﺪ‪ .‬ﻓﺮﻫﺎﺩ‪،‬‬ ‫ﭼﺸﻤﺎﻥ ﺗﻴﺰﺑﻴﻨﺶ ﺭﺍ ﻣﻰﻧﮕﺮﻳﺴﺖ ﻛﻪ ﺑﺎ ﺷﻮﺭ‪ ،‬ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺍﺯ ﻧﻈﺮ ﻣﻰﮔﺬﺭﺍﻧﻴﺪ‪ .‬ﻟﺒﺨﻨﺪ ﺯﺩ ﻭ ﺑﺎ ﺷﻜﻴﺐ‪،‬‬ ‫ﺍﻳﺴﺘﺎﺩ ﺗﺎ ﭘﺴﺮ ﺳﺨﻦ ﺁﻏﺎﺯ ﻛﻨﺪ‪ .‬ﻫﻮﺭﺍﻡ ﮔﻔﺖ‪» :‬ﺭﺩﻫﺎ ﻛﻬﻨﻪﺍﻧﺪ‪ ...‬ﺩﻭ ﺑﺎﺭ ﻧﻴﻢ ﺭﻭﺯ ﺍﺯ ﺁﻥﻫﺎ ﮔﺬﺷﺘﻪ ﺍﺳﺖ‪...‬‬ ‫ﺑﺨﺖ ﻳﺎﺭﻣﺎﻥ ﺑﻮﺩ ﻛﻪ ﺑﺎﺭﺍﻥ ﻧﺰﺩﻩ‪ «...‬ﺧﻢ ﺷﺪ ﻭ ﺩﺳﺖ ﺑﻪ ﺧﺎﻙ ﻛﺸﻴﺪ‪ ،‬ﻭ ﭼﻨﺪ ﮔﺎﻡ‪ ،‬ﭘﺸﺖ ﺧﻢ‪ ،‬ﭘﺸﺖ‬ ‫ﺧﻢ ﭘﻴﺶ ﺭﻓﺖ‪ ...‬ﮔﻔﺖ‪» :‬ﺍﻳﻦﻛﻪ ﺩﻳﮕﺮﻯ ﺍﺯ ﻛﺪﺍﻡ ﺳﻮ ﺭﻓﺘﻪ ﺭﺍ ﻧﻤﻰﺩﺍﻧﻢ ﺍﻣﺎ‪ ...‬ﺑﻰﺷﻚ ﺁﻥﭼﻪ ﺍﻳﻦﺟﺎ‬ ‫ﺍﺳﺖ‪ ،‬ﺭﺩ ﻫﻤﺎﻥ ﭘﻠﻴﺪﭘﻴﻜﺮﺍﻥ ﺍﺳﺖ« ﻭ ﭼﻬﺮﻩﺍﺵ ﺭﺍ ﺧﺸﻢ ﻭ ﺩﺭﺩ‪ ،‬ﺑﻪ ﻳﻚ ﺍﻧﺪﺍﺯﻩ ﺩﺭ ﺑﺮ ﮔﺮﻓﺖ‪ .‬ﻓﺮﻫﺎﺩ‪،‬‬ ‫ﺩﺳﺘﻰ ﺑﻪ ﺳﺮ ﭘﺴﺮﻙ ﻛﺸﻴﺪ‪ .‬ﻫﻮﺭﺍﻡ ﺧﻮﺩ ﺭﺍ ﭘﺲ ﻛﺸﻴﺪ‪ ،‬ﺧﻮﺍﻫﺎﻥ ﺩﻝﺭﺣﻤﻰ ﻣﺮﺩ ﻧﺒﻮﺩ‪ ...‬ﻓﺮﻫﺎﺩ ﮔﻔﺖ‪:‬‬ ‫»ﻣﻰﻛﺸﻴﻤﺸﺎﻥ ﻫﻮﺭﺍﻡ‪ ...‬ﻣﻰﻛﺸﻴﻤﺸﺎﻥ‪ «...‬ﻫﺮ ﺩﻭ ﺳﻜﻮﺕ ﻛﺮﺩﻧﺪ ﻭ ﺩﺭ ﺧﺎﻃﺮﺍﺗﻰ ﺩﺭﺩﻧﺎﻙ‪ ،‬ﻏﺮﻕ‬ ‫ﺷﺪﻧﺪ‪ ...‬ﺳﭙﺎﻩ ﺷﺐ‪ ،‬ﺷﺎﻩ ﺭﻭﺯ ﺭﺍ ﺑﻪ ﻫﺰﻳﻤﺖ ﻭﺍﻣﻰﺩﺍﺷﺖ‪ ...‬ﺁﺧﺮﻳﻦ ﺑﺎﺯﻣﺎﻧﺪﻩﻫﺎﻯ ﺍﺭﺗﺶ ﻧﻮﺭ‪ ،‬ﺑﻪ ﭘﺸﺖ‬ ‫ﺍﻓﻖ‪ ،‬ﭘﻨﺎﻩ ﻣﻰﺑﺮﺩﻧﺪ ﻭ ﺳﻴﺎﻫﻰ‪ ،‬ﺁﻫﺴﺘﻪ ﺁﻫﺴﺘﻪ ﺳﺮﻭﺭ ﺳﺘﻴﺰﻩﮔﺮ ﺁﺳﻤﺎﻥ ﻣﻰﺷﺪ‪.‬‬ ‫ﻓﺮﻫﺎﺩ ﺑﻨﻪﺍﺵ ﺭﺍ ﺑﺮ ﺯﻣﻴﻦ ﺍﻧﺪﺍﺧﺖ ﻭ ﮔﻔﺖ‪» :‬ﺑﻴﺶ ﺍﺯ ﺍﻳﻦ ﭘﻴﺶ ﻧﺨﻮﺍﻫﻴﻢ ﺭﻓﺖ‪ ...‬ﺑﺮﻭ ﻭ ﻛﻤﻰ ﻫﻴﺰﻡ‬ ‫ﺑﻴﺎﺏ‪ «...‬ﭘﺴﺮ‪ ،‬ﺑﻰﻛﻪ ﺳﺨﻦ ﺑﮕﻮﻳﺪ ﺭﻭﺍﻧﻪ ﺷﺪ ﻭ ﻣﺮﺩ ﺭﺍ ﺭﻫﺎ ﻛﺮﺩ ﺗﺎ ﺑﺮﺍﻯ ﻫﺰﺍﺭﻣﻴﻦ ﺑﺎﺭ‪ ،‬ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ‬ ‫ﺑﺎ ﺧﻮﺩ ﺩﻭﺭﻩ ﻛﻨﺪ ﻭ ﺩﺭ ﺩﺍﻳﺮﻩﻯ ﺳﺮﮔﺮﺩﺍﻧﻰ ﺳﺮﺩﺭﮔﻢ ﺷﻮﺩ‪ ...‬ﻫﻴﭻ ﭼﻴﺰ ﺁﻥﮔﻮﻧﻪ ﻛﻪ ﺑﺎﻳﺪ ﻧﺒﻮﺩ‪ ،‬ﻫﺮﮔﺰ‬ ‫ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﻧﺪﻳﺪﻩ ﺑﻮﺩ ﻛﻪ ﺩﻳﻮﺍﻥ ﺍﺯ ﮔﻮﻧﻪﻫﺎﻯ ﺟﺪﺍﮔﺎﻧﻪ‪ ،‬ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﻫﻢﮔﺮﻭﻩ ﺷﻮﻧﺪ‪ ،‬ﭼﻨﺎﻥﻛﻪ ﺍﻳﻨﺎﻥ‬ ‫ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ ...‬ﻭ ﻫﻴﭻ ﻛﺲ ﺗﺎ ﻛﻨﻮﻥ ﻧﺸﻨﻴﺪﻩ ﺑﻮﺩ ﻛﻪ ﺩﻳﻮﺍﻥ ﺭﺍ ﻳﺎﺭﺍﻯ ﺁﻥ ﺑﺎﺷﺪ ﻛﻪ ﺑﻪ ﺳﺮﺯﻣﻴﻦ ﺧﺎﻭﺭﻯ‪،‬‬ ‫ﺧﺎﻙ ﺧﻮﺏﻣﺮﺩ‪ ،‬ﻫﺠﻮﻡ ﺁﻭﺭﻧﺪ ﻭ ﺁﻥ ﮔﺠﺴﺘﮕﺎﻥ‪ ،‬ﺍﻳﻦ ﻧﻴﺰ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ ...‬ﺩﻧﻴﺎ ﺭﺍ ﭼﻪ ﻣﻰﺷﺪ؟ ﺍﻳﻦ ﭼﺮﺥ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﭘﺎﻭﺭﻗﻰ‬

‫ﻭ ﮔﻔﺖ‪» :‬ﻛﻮﺩﻙ ﻧﻪ‪ ،‬ﻣﻦ‪ ،‬ﺁﺧﺮﻳﻦ ﻣﺮﺩ ﺍﻳﻦ ﺭﻭﺳﺘﺎ ﻫﺴﺘﻢ ﻭ‪ ...‬ﺁﻣﺎﺩﻩﻯ ﻛﻴﻦﺧﻮﺍﻫﻰ ﺍﺯ ﺩﻳﻮﺍﻥ‪ «.‬ﺁﺧﺮﻳﻦ‬ ‫ﻛﻠﻤﺎﺕ ﺭﺍ ﺟﻮﻳﺪﻩ ﺟﻮﻳﺪﻩ ﺑﻴﺎﻥ ﻛﺮﺩ‪ ،‬ﮔﻮﻳﺎ ﺧﻮﺩ ﻧﻴﺰ ﺑﻪ ﺁﻥﭼﻪ ﻣﻰﮔﻔﺖ ﺑﺎﻭﺭ ﻧﺪﺍﺷﺖ‪ .‬ﻓﺮﻫﺎﺩ ﻟﺒﺨﻨﺪ‬ ‫ﺯﺩ‪ ،‬ﺩﺳﺘﺎﻧﺶ ﺭﺍ ﺑﺮ ﺷﺎﻧﻪﻯ ﺟﻮﺍﻥ ﮔﺬﺍﺷﺖ ﻭ ﮔﻔﺖ‪» :‬ﻣﻰﺩﺍﻧﻢ‪ ...‬ﻛﻪ ﺍﮔﺮ ﻛﻤﺘﺮﻳﻦ ﺗﺮﺩﻳﺪﻯ ﺩﺍﺷﺘﻢ‪ ،‬ﺗﻮ‬ ‫ﺭﺍ ﺑﺎ ﺧﻮﺩ ﻧﻤﻰﺑﺮﺩﻡ‪ «.‬ﻭ ﺳﭙﺲ ﺁﻫﻰ ﺍﺯ ﺳﺮ ﺍﻧﺪﻭﻩ ﻛﺸﻴﺪ‪ ،‬ﻣﻰﺧﻮﺍﺳﺖ ﭘﺴﺮﻙ ﺭﺍ ﺍﺯ ﺩﺭﺩ ﺩﻳﺪﻥ ﻣﺮگ‬ ‫ﺩﻭﺭ ﻧﮕﻪﺩﺍﺭﺩ‪ ،‬ﻣﻰﺧﻮﺍﺳﺖ ﭼﺸﻤﺎﻥ ﭘﺴﺮ ﺭﺍ ﺑﺮ ﺭﻭﻯ ﺑﺪﻯﻫﺎ ﺑﺒﻨﺪﺩ‪ ،‬ﻣﻰﺧﻮﺍﺳﺖ ﺍﻭ ﺭﺍ ﺗﺎ ﻫﻤﻴﺸﻪ ﺩﺭ‬ ‫ﺩﺳﺘﺎﻥ ﺗﻮﺍﻧﺎﻳﺶ ﺣﻔﻆ ﻛﻨﺪ ﻭ ﻧﮕﺬﺍﺭﺩ ﻛﻪ ﻛﻤﺘﺮﻳﻦ ﺑﻴﻤﻰ ﺑﻪ ﺩﻟﺶ ﺭﺍﻩ ﻳﺎﺑﺪ‪ ،‬ﻛﺎﺭﻯ ﻛﻪ ﺁﺭﺯﻭ ﺩﺍﺷﺖ‬ ‫ﻛﺴﻰ ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﻣﻰﻛﺮﺩ‪ ...‬ﺍﻣﺎ ﭼﺎﺭﻩﺍﻯ ﻧﺒﻮﺩ‪ ،‬ﭘﺴﺮ‪ ،‬ﺑﺰﺭگﺗﺮ ﺍﺯ ﺁﻥ ﺑﻮﺩ ﻛﻪ ﻓﺮﻳﺒﻰ ﺁﺭﺍﻣﺒﺨﺶ ﺭﺍ ﺑﻪ‬ ‫ﺣﻘﻴﻘﺘﻰ ﺩﺭﺩﻧﺎﻙ‪ ،‬ﺭﺟﺤﺎﻥ ﺩﻫﺪ ﻭ ﺁﻥﭼﻪ ﺍﺯ ﻓﺮﻫﺎﺩ ﻣﻰﺧﻮﺍﺳﺖ ﻧﻪ ﺍﻣﺎﻥ ﻛﻪ ﻛﺸﺘﻦ ﺩﻳﻮﺍﻥ ﺑﻮﺩ‪ ...‬ﻭ ﺍﻭ‬ ‫ﻭﺍﻣﺪﺍﺭ ﻣﺮﺩﻣﺎﻥ ﺭﻭﺳﺘﺎ‪ -‬ﺍﻛﻨﻮﻥ ﻛﻪ ﺁﺧﺮﻳﻦ ﺑﺎﺯﻣﺎﻧﺪﻩﻯ ﺁﻧﺎﻥ ﺧﻮﺍﻫﺎﻥ ﺧﻮﻥﺧﻮﺍﻫﻰ ﺑﻮﺩ‪ ،‬ﺧﻮﺩ ﺭﺍ ﻧﺎﮔﺰﻳﺮ‬‫ﺍﺯ ﻳﺎﺭﻯﺍﺵ ﻣﻰﺩﻳﺪ‪.‬‬ ‫ﺑﺮﺧﺎﺳﺖ‪ ،‬ﺑﻰﺁﻥﻛﻪ ﺑﺘﻮﺍﻧﺪ ﺁﻥﭼﻪ ﺩﺭ ﺩﻝ ﺩﺍﺷﺖ ﺑﻴﺎﻥ ﻛﻨﺪ‪ .‬ﭘﺸﺖ ﺑﻪ ﺭﻭﺳﺘﺎ ﻛﺮﺩ ﻭ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ‪،‬‬ ‫ﻫﻮﺭﺍﻡ ﺍﺯ ﭘﻰﺍﺵ ﺭﻭﺍﻧﻪ ﺷﺪ ﻭ ﺷﺮﻣﺴﺎﺭﺍﻧﻪ ﺩﺳﺖ ﺁﺯﺍﺩ ﻓﺮﻫﺎﺩ ﺭﺍ ﮔﺮﻓﺖ‪ .‬ﮔﺮﻣﺎﻯ ﺩﺳﺘﺎﻥ ﻣﺮﺩ‪ ،‬ﺗﺮﺱ ﺭﺍ‬ ‫ﺍﺯ ﺍﻭ ﺩﻭﺭ ﻣﻰﻛﺮﺩ‪ ،‬ﺁﻫﺴﺘﻪ ﮔﻔﺖ‪» :‬ﺷﻤﺎ ﺗﻮﺍﻧﺎﻳﻴﺪ ﻧﻪ؟ ﺷﻤﺎ ﺍﺯ ﺗﻤﺎﻡ ﻣﺮﺩﺍﻧﻰ ﻛﻪ ﺩﻳﺪﻩﺍﻡ ﺑﻨﻴﺮﻭﺗﺮﻳﺪ‪«...‬‬ ‫ﺑﺎﺯ ﻫﻤﺎﻥ ﭘﺴﺮﻙ ﻛﻮﭼﻚ ﺭﻭﺳﺘﺎ ﺷﺪﻩ ﺑﻮﺩ‪ ...‬ﻓﺮﻫﺎﺩ ﺳﺮﻯ ﺑﻪ ﻧﺸﺎﻧﻪﻯ ﺗﺄﻳﻴﺪ ﺗﻜﺎﻥ ﺩﺍﺩ‪ ،‬ﭘﺴﺮ ﺍﺩﺍﻣﻪ‬ ‫ﺩﺍﺩ‪» :‬ﻭ ﺑﻪ ﺳﺎﺩﮔﻰ ﻧﺨﻮﺍﻫﻴﺪ ﻣﺮﺩ؟« ﻓﺮﻫﺎﺩ ﺷﮕﻔﺖ ﺯﺩﻩ ﺑﺮ ﺟﺎﻯ ﺍﻳﺴﺘﺎﺩ‪ ،‬ﻫﻮﺭﺍﻡ ﮔﻔﺖ‪» :‬ﻗﻬﺮﻣﺎﻧﺎﻥ ﺑﻪ‬ ‫ﺳﺎﺩﮔﻰ ﻧﻤﻰﻣﻴﺮﻧﺪ‪ ،‬ﺩﺷﻤﻨﺎﻧﺸﺎﻥ ﺭﺍ ﺷﻜﺴﺖ ﻣﻰﺩﻫﻨﺪ ﻭ ﺳﺮﺍﻓﺮﺍﺯ ﺑﺎﺯ ﻣﻰﮔﺮﺩﻧﺪ‪ ...‬ﺗﻤﺎﻡ ﺩﺍﺳﺘﺎﻥﻫﺎ‬ ‫ﭼﻨﻴﻦ ﻣﻰﮔﻮﻳﻨﺪ‪ «...‬ﻓﺮﻫﺎﺩ ﭘﻮﺯﺧﻨﺪﻯ ﺯﺩ‪ .‬ﻧﻪ ﺍﻭ ﻗﻬﺮﻣﺎﻥ ﺑﻮﺩ ﻭ ﻧﻪ ﺁﻥﭼﻪ ﺑﺮﺁﻧﺎﻥ ﻣﻰﮔﺬﺷﺖ‪ ،‬ﺩﺍﺳﺘﺎﻧﻰ‬ ‫ﻛﻪ ﻣﺎﺩﺭﺍﻥ ﺑﺮﺍﻯ ﻓﺮﺯﻧﺪﺍﻧﺸﺎﻥ ﺩﺭ ﺷﺐﻫﺎﻯ ﺳﺮﺩ ﺑﺎﺯﮔﻮ ﻛﻨﻨﺪ‪ ...‬ﻫﻮﺭﺍﻡ ﭘﺎﻓﺸﺎﺭﺍﻧﻪ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺑﻪ ﺳﺎﺩﮔﻰ‬ ‫ﻧﻤﻰﻣﻴﺮﻳﺪ‪ ،‬ﻣﻰﻣﻴﺮﻳﺪ؟« ﻓﺮﻫﺎﺩ‪،‬ﻛﻪ ﺗﻮﺍﻥ ﺩﻳﺪﻥ ﻧﮕﺎﻩ ﻧﮕﺮﺍﻥ ﭘﺴﺮ ﺭﺍ ﻧﺪﺍﺷﺖ ﮔﻔﺖ‪» :‬ﻧﻪ‪ ،‬ﻧﺨﻮﺍﻫﻢ ﻣﺮﺩ‪...‬‬ ‫ﻣﻦ ﺗﺎ ﺗﻤﺎﻡ ﺩﺷﻤﻨﺎﻧﻢ ﺭﺍ ﺍﺯ ﭘﺎﻯ ﺩﺭﻧﻴﺎﻭﺭﻡ ﻧﻤﻰﻣﻴﺮﻡ‪ «.‬ﻫﻮﺭﺍﻡ ﻟﺒﺨﻨﺪﻯ ﺍﺯ ﺳﺮ ﺁﺳﻮﺩﮔﻰ ﺯﺩ‪ ،‬ﺑﺎﻭﺭ ﻛﺮﺩﻩ‬ ‫ﺑﻮﺩ ﻛﻪ ﻣﺮﺩ ﺑﺮ ﺳﺮ ﺳﺨﻦ ﺧﻮﺩ ﻣﻰﻣﺎﻧﺪ‪ ...‬ﺑﺎﻭﺭﻯ ﻛﻪ ﺑﺮ ﺩﻭﺵ ﻓﺮﻫﺎﺩ ﺳﺨﺖ ﺳﻨﮕﻴﻨﻰ ﻣﻰﻛﺮﺩ‪ .‬ﭼﺮﺍ‬ ‫ﻛﻪ ﺍﻭ ﻣﻰ ﺩﺍﻧﺴﺖ ﺭﺍﻫﻰ ﺻﻌﺐ ﻭ ﺗﺎﺭﻳﻚ ﭘﻴﺶ ﺭﻭ ﺩﺍﺭﻧﺪ‪ ...‬ﻛﻪ ﺍﻭ ﻭ ﻳﺎﺭﺍﻧﺶ ﺗﻨﻬﺎ ﻣﺮﺩﻣﺎﻧﻰ ﺑﻮﺩﻧﺪ ﻛﻪ ﺑﺎ‬ ‫ﺩﻳﻮﺍﻥ ﺯﻳﺴﺘﻪ‪ ،‬ﺑﺎ ﺁﻧﺎﻥ ﺑﻪ ﻛﺎﺭﻭﺍﻧﻴﺎﻥ ﻫﺠﻮﻡ ﺁﻭﺭﺩﻩ ﻭ ﺗﺎﺭﺍﺟﺸﺎﻥ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻫﻴﭻ ﻛﺲ ﺟﺰ ﺍﻭ‪ ،‬ﺍﺯ ﻣﻴﺰﺍﻥ‬ ‫ﺯﻭﺭﻣﻨﺪﻯ ﻭ ﺗﻮﺍﻧﺎﻳﻰ ﺩﻳﻮﺍﻥ ﺁﮔﺎﻩ ﻧﺒﻮﺩ‪ ،‬ﻫﻴﭻ ﻛﺲ ﭼﻮﻥ ﺍﻭ ﻧﻤﻰﺩﺍﻧﺴﺖ ﻫﺮﮔﺰ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ‪ ،‬ﻫﻴﭻ ﺍﻧﺴﺎﻧﻰ‬ ‫ﺭﺍ ﺍﻳﻦ ﺑﺨﺖ ﻭ ﻧﻴﺮﻭ ﻧﺒﻮﺩﻩ ﻛﻪ ﺩﻳﻮﻯ ﺭﺍ ﺑﻜﺸﺪ ﻭ ﺯﻧﺪﻩ ﺑﻤﺎﻧﺪ‪ ...‬ﺍﻧﺪﻳﺸﻴﺪ‪ ،‬ﺍﻳﻦ ﻣﺮﺩ ﻛﻮﭼﻚ ﻧﻤﻰﺩﺍﻧﺪ ﺍﺯ‬ ‫ﻣﻦ ﭼﻪ ﺧﻮﺍﺳﺘﻪ‪ ...‬ﻧﻤﻰﺩﺍﻧﺪ ﺁﻥﮔﺎﻩ ﻛﻪ ﺑﺎ ﭼﺸﻤﺎﻧﻰ ﺍﺷﻚﺑﺎﺭ‪ ،‬ﺑﺮ ﺳﺮ ﭘﻴﻜﺮ ﺑﻰﺟﺎﻥ ﻣﺎﺩﺭﺵ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‬ ‫ﻭ ﻣﺮﺍ ﺳﻮﮔﻨﺪﻫﺎ ﻣﻰﺩﺍﺩ ﻛﻪ ﺩﺭ ﻛﻴﻦﻛﺸﻰ ﺍﺯ ﺩﻳﻮﺍﻥ ﻳﺎﺭﻯﺍﺵ ﻛﻨﻢ‪ ،‬ﭼﮕﻮﻧﻪ ﺭﺷﺘﻪﻯ ﺟﺎﻧﻢ ﺭﺍ ﺑﻪ ﻣﺮگ‬ ‫ﮔﺮﻩ ﻣﻰﺯﺩ ﻭ ﺳﺮﻧﻮﺷﺘﻢ ﺭﺍ ﻣﻰﻧﻮﺷﺖ‪ ...‬ﻧﻪ‪ ،‬ﻫﻮﺭﺍﻡ ﺑﻪ ﻳﻘﻴﻦ ﺍﺯ ﻫﻴﭻ ﭼﻴﺰ ﺁﮔﺎﻩ ﻧﺒﻮﺩ‪ ...‬ﻭ ﺍﻳﻦ ﻧﻴﺰ ﺑﺎﺭﻯ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﻧﺪﺍﺷﺖ ﻭ ﺟﺰ ﺩﺭﺩ‪ ،‬ﺑﺮﮔﻰ‪ ...‬ﻛﺎﺵ ﻣﺎﺩﺭ ﻣﺮﺍ ﻧﺰﺍﺩﻩ ﺑﻮﺩ‪ ،‬ﻛﺎﺵ ﻣﺮگ ﻣﺮﺍ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺩﺭ ﻣﻰﺭﺑﻮﺩ‪ ،‬ﻛﺎﺵ‬ ‫ﻫﺮﮔﺰ ﻛﺎﻣﺠﻮﻳﻰ ﻧﺒﻮﺩ ﻛﻪ ﻓﺮﻫﺎﺩ ﻫﻢ ﺍﮔﺮ ﺷﺪ‪ ،‬ﻛﺎﺭﻳﺰﺵ ﺗﻨﻬﺎ ﺑﻪ ﺍﻳﻦ ﻛﺎﺭ ﺁﻣﺪ ﻛﻪ ﺧﻮﻥ ﺭﻳﺨﺘﻪ ﺭﺍ ﺑﺸﻮﻳﺪ‬ ‫ﻭ ﺑﺪﻥﻫﺎﻯ ﻣﺮﺩﻩ ﺭﺍ ﻏﺴﻞ ﺩﻫﺪ‪ «...‬ﻭ ﺍﮔﺮﭼﻪ ﻛﺴﻰ ﺑﺎﻭﺭ ﻧﺨﻮﺍﻫﺪ ﻛﺮﺩ؛ ﺍﻣﺎ ﺯﺍﻧﻮﺍﻥ ﺍﺳﺘﻮﺍﺭﺵ ﺑﻪ ﺭﺍﺳﺘﻰ‬ ‫ﺳﺴﺖ ﺷﺪﻧﺪ ﻭ ﻫﻖ ﻫﻘﺶ‪ ،‬ﻫﻤﻪﻯ ﺭﻭﺳﺘﺎ ﺭﺍ ﻓﺮﺍ ﮔﺮﻓﺖ‪ ،‬ﻫﺮ ﭼﻨﺪ ﮔﻮﺷﻰ ﻧﻤﺎﻧﺪﻩ ﺑﻮﺩ ﺗﺎ ﺁﻥ ﺭﺍ ﺑﺸﻨﻮﺩ‪.‬‬ ‫ﺯﻣﺎﻧﻰ ﺩﺭﺍﺯ ﺳﭙﺮﻯ ﺷﺪ‪ .‬ﻣﺎﻩ‪ ،‬ﺁﻫﺴﺘﻪ ﻭ ﭘﺎﻭﺭﭼﻴﻦ‪ ،‬ﺍﺯ ﺳﺮ ﺭﻭﺳﺘﺎ ﻣﻰﮔﺬﺷﺖ‪ ،‬ﺩﻳﮕﺮ ﺁﺗﺶﻫﺎ ﺑﻪ ﺧﺎﻛﺴﺘﺮ‬ ‫ﻭ ﺳﻮﺯﻫﺎ ﺑﻪ ﺍﻓﺴﻮﺱ ﺑﺪﻝ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻫﻮﺭﺍﻡ ﺩﺭ ﺧﻮﺍﺏ ﺑﻮﺩ ﻭ ﺩﻡ ﻭ ﺑﺎﺯﺩﻡ ﺁﺭﺍﻣﺶ‪ ،‬ﺗﻨﻬﺎ ﺩﺳﺘﺎﻭﻳﺰ ﻓﺮﻫﺎﺩ‬ ‫ﺑﻮﺩ ﺑﺮﺍﻯ ﺯﻧﺪﻩ ﻣﺎﻧﺪﻥ‪ .‬ﻣﺮﺩ‪ ،‬ﻣﻮﻯ ﺁﺷﻔﺘﻪﻯ ﭘﺴﺮﻙ ﺭﺍ ﺍﺯ ﭘﻴﺸﺎﻧﻰﺍﺵ ﻛﻨﺎﺭ ﺯﺩ ﻭ ﭼﻨﺪﻯ ﺑﻪ ﭼﻬﺮﻩﻯ‬ ‫ﭘﺎﻙ ﺍﻭ ﻧﮕﺮﻳﺴﺖ‪ ،‬ﺳﭙﺲ ﻧﻔﺴﻰ ﻋﻤﻴﻖ ﻛﺸﻴﺪ ﻭ ﺑﺮﺧﺎﺳﺖ؛ ﭼﺮﺍ ﻛﻪ ﻛﺎﺭ ﺑﺴﻴﺎﺭ ﺑﻮﺩ ﻭ ﺯﻣﺎﻥ ﺍﻧﺪﻙ‪ .‬ﺍﺯ‬ ‫ﻫﻢ ﺍﻛﻨﻮﻥ ﺻﺪﺍﻯ ﺯﻭﺯﻩﻯ ﮔﺮﮔﺎﻥ ﺍﺯ ﻓﺮﺍﺯ ﻛﻮﻫﺴﺘﺎﻥ ﺑﻪ ﮔﻮﺵ ﻣﻰﺭﺳﻴﺪ ﻛﻪ ﺩﻝ ﺑﻪ ﺩﺳﺘﺎﻭﺭﺩ ﺩﻳﻮﻫﺎ‬ ‫ﺧﻮﺵ ﻛﺮﺩﻩ‪ ،‬ﺑﻰﻭﺍﻫﻤﻪ ﺍﺯ ﻣﺮﺩﺍﻧﻰ ﻛﻪ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺍﺳﺘﻮﺍﺭ ﻭ ﺩﻟﻴﺮ‪ ،‬ﺑﺮﺍﺑﺮﺷﺎﻥ ﻣﻰﺍﻳﺴﺘﺎﺩﻧﺪ ﻭ ﺭﺍﻫﺸﺎﻥ ﺭﺍ‬ ‫ﺑﻪ ﺭﻭﺳﺘﺎ ﻣﻰﺑﺴﺘﻨﺪ‪ ،‬ﻧﺮﻡ ﻧﺮﻣﻚ ﺑﺮﺍﻯ ﺗﺎﺭﺍﺝ ﭘﻴﺶ ﻣﻰﺁﻣﺪﻧﺪ‪ .‬ﺯﻣﺎﻥ ﺍﺯ ﺩﺳﺖ ﻣﻰﺷﺪ؛ ﺍﻣﺎ ﭼﻪ ﭼﺎﺭﻩ ﻛﻪ‬ ‫ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺑﺪﻥﻫﺎﻯ ﺑﻰﺟﺎﻥ ﺭﺍ ﺭﻫﺎ ﻛﺮﺩﻩ‪ ،‬ﺍﺯ ﭘﻰ ﺷﻜﺎﺭ ﺩﻳﻮﺍﻥ ﺭﻭﺍﻧﻪ ﺷﻮﺩ‪ .‬ﭘﺲ ﺑﺎﺯ ﺗﻴﺸﻪ ﺑﻪ ﺩﺳﺖ‬ ‫ﮔﺮﻓﺖ ﻭ ﺍﻳﻦﺑﺎﺭ‪ ،‬ﺑﻪ ﺟﺎﻯ ﻛﺎﺭﻳﺰ‪ ،‬ﺑﻪ ﻛﻨﺪﻥ ﮔﻮﺭ ﻛﻤﺮ ﮔﻤﺎﺷﺖ‪ ،‬ﮔﻮﺭﻫﺎﻯ ﺑﺴﻴﺎﺭ‪ ،‬ﻛﻪ ﺭﻭﺳﺘﺎ ﻛﻬﻦ ﺑﻮﺩ ﻭ‬ ‫ﭘﺮﺑﺮﻛﺖ‪ ،‬ﺑﺎ ﺧﺎﻧﻪﻫﺎﻯ ﺑﺰﺭگ ﻭ ﺧﺎﻧﮕﻴﺎﻥ ﺑﺴﻴﺎﺭ‪.‬‬ ‫‪ ‬ﺧﻮﺭﺷﻴﺪ ﺗﺎ ﻧﻴﻤﻪﻯ ﺁﺳﻤﺎﻥ ﺭﺍﻩ ﺩﺭﺍﺯﻯ ﺩﺭ ﭘﻴﺶ ﻧﺪﺍﺷﺖ‪ .‬ﻓﺮﻫﺎﺩ ﻭ ﻫﻮﺭﺍﻡ‪ ،‬ﺩﺭ ﺟﺎﺩﻩﻯ ﺳﻨﮕﻰ‬ ‫ﻛﻮﻫﺴﺘﺎﻥ‪ ،‬ﺑﺮ ﺭﻭﻯ ﺁﺧﺮﻳﻦ ﺗﭙﻪﻯ ﻣﺸﺮﻑ ﺑﻪ ﺭﻭﺳﺘﺎﻯ ﺳﻮﺧﺘﻪ‪ ،‬ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩﻧﺪ ﻭ ﺁﺧﺮﻳﻦ ﻧﮕﺎﻩ ﺭﺍ ﺑﻪ‬ ‫ﻧﺸﺎﻧﻪﻯ ﺑﺪﺭﻭﺩ ﺑﺮ ﻛﺸﺘﺰﺍﺭﻫﺎﻯ ﺳﺮﺳﺒﺰ ﻭ ﺧﺎﻧﻪﻫﺎﻯ ﺳﻴﺎﻩ ﻭ ﮔﻮﺭﻫﺎﻯ ﺗﺎﺯﻩ ﻣﻰﺍﻧﺪﺍﺧﺘﻨﺪ‪ ...‬ﻓﺮﻫﺎﺩ ﺩﺭ‬ ‫ﺑﺮﺍﺑﺮ ﻣﺮﺩ ﺟﻮﺍﻧﻰ ﻛﻪ ﻛﻨﺎﺭﺵ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﺯﺍﻧﻮ ﺯﺩ‪ .‬ﺑﻪ ﺍﻭ ﻧﮕﺮﻳﺴﺖ ﻭ ﺍﻧﺪﻳﺸﻴﺪ ﭼﮕﻮﻧﻪ ﺩﺭ ﻳﻚ ﺭﻭﺯ‪ ،‬ﭘﺴﺮ‬ ‫ﻫﻤﻪﭼﻴﺰ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩ ﻭ ﻣﺮﺩﻯ ﺑﺰﺭگ ﺷﺪ‪ ،‬ﻣﺮﺩﻯ ﺑﺎ ﭼﺸﻤﺎﻧﻰ ﺳﺨﺖ ﻭ ﻧﮕﺎﻫﻰ ﺑﺮﻧﺪﻩ‪ .‬ﻳﺎﺩﺁﻭﺭﻯ‬ ‫ﺯﻳﺮﻛﻰ ﻫﻮﺭﺍﻡ‪ ،‬ﻭ ﺭﻫﺎ ﺷﺪﻧﺶ ﺍﺯ ﭼﻨﮓ ﺍﻓﺴﻮﻧﻰ ﻛﻪ ﻣﺮﺩﺍﻥ ﺑﺰﺭگﺗﺮ ﺍﺯ ﺍﻭ ﺭﺍ ﻣﺎﻩﻫﺎ ﺩﺭ ﺑﻨﺪ ﻣﻰﻛﺮﺩ‪ ،‬ﺑﻪ‬ ‫ﻓﺮﻫﺎﺩ ﻓﻬﻤﺎﻧﺪﻩ ﺑﻮﺩ ﺍﺭﺯﺵ ﭘﺴﺮ‪ ،‬ﺑﻴﺶ ﺍﺯ ﺁﻥ ﭼﻴﺰﻯ ﺍﺳﺖ ﻛﻪ ﮔﻤﺎﻥ ﻣﻰﻛﺮﺩ‪ ،‬ﺣﺘﻰ ﺷﺎﻳﺪ ﺑﻴﺶ ﺍﺯ ﺗﻤﺎﻡ‬ ‫ﺭﻭﺯﮔﺎﺭﺍﻥ‬ ‫ﺭﻭﺳﺘﺎ‪ ...‬ﺍﻣﺎ ﻧﻪ‪ ،‬ﻧﻪ ﺑﻴﺶ ﺍﺯ ﺗﻤﺎﻡ ﺭﻭﺳﺘﺎ‪ ،‬ﻛﻪ ﺭﻭﺳﺘﺎ ﮔﻮﻫﺮﻯ ﺍﺭﺯﺷﻤﻨﺪ ﺑﻮﺩ‪ ،‬ﺁﺧﺮﻳﻦ ﻳﺎﺩﮔﺎﺭ‬ ‫ِ‬ ‫ﺷﺎﺩﻯ ﻭ ﺁﺳﺎﻳﺶ‪ ،‬ﻛﻪ ﺑﻪ ﺣﻤﻠﻪﺍﻯ ﻧﺎﺑﻮﺩ ﺷﺪﻩ ﻭ ﺑﻪ ﮔﺬﺭ ﺳﺎﻟﻰ ﻓﺮﺍﻣﻮﺵ ﻣﻰﺷﺪ‪ ...‬ﮔﻔﺖ‪» :‬ﺑﺮﺧﻼﻑ‬ ‫ﺧﻮﺍﺳﺘﻪﻯ ﻣﻦ‪ ،‬ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺍﻓﺴﻮﻥ ﺭﻫﺎﻧﻴﺪﻯ‪ ،‬ﻭ ﺁﻥﭼﻪ ﺭﺍ ﻫﻴﭻ ﻛﻮﺩﻛﻰ ﻧﺒﺎﻳﺪ ﺑﺒﻴﻨﺪ‪ ،‬ﺩﻳﺪﻯ‪ «...‬ﻫﻮﺭﺍﻡ‬ ‫ﺑﺎ ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩﻥ ﭼﻬﺮﻩﻫﺎﻯ ﺍﺯ ﺩﺭﺩ ﺑﻪ ﻫﻢ ﭘﻴﭽﻴﺪﻩ‪ ،‬ﭼﺸﻢﻫﺎﻯ ﺗﺮﺳﻴﺪﻩ ﻭ ﺭﻧﮓﻫﺎﻯ ﭘﺮﻳﺪﻩ‪ ،‬ﺑﺪﻥﻫﺎﻯ‬ ‫ﻧﻴﻢﺳﻮﺧﺘﻪ ﻭ ﺧﻮﻥﻫﺎﻯ ﺩﻟﻤﻪ ﺑﺴﺘﻪ‪ ،‬ﺑﺎ ﻳﺎﺩﺁﻭﺭﻯ ﭼﻬﺮﻩﻯ ﻣﺎﺩﺭﺵ ﻛﻪ ﺳﺮﺩ ﻭ ﻣﺮﺩﻩ ﺩﺭ ﻛﻨﺎﺭ ﺁﺳﺘﺎﻧﻪ‬ ‫ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ ،‬ﺑﺮﺧﻮﺩ ﻟﺮﺯﻳﺪ‪ ...‬ﺷﺮﻣﮕﻴﻦ ﺍﺯ ﺍﻳﻦ ﻧﺎﺗﻮﺍﻧﻰ ﻧﺎﮔﻬﺎﻧﻰ‪ ،‬ﺑﻪ ﺧﻮﺩ ﺁﻣﺪ‪ .‬ﺩﺭ ﭼﺸﻤﺎﻥ ﻓﺮﻫﺎﺩ ﻧﮕﺮﻳﺴﺖ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﭘﺎﻭﺭﻗﻰ‬

‫ﺍﻳﻦ ﺯﻣﻴﻦ‪ ...‬ﺍﻳﻦﺟﺎ ﺧﺎﻙ ﭘﺎﻙ ﺁﻥ ﻣﺮﺩ ﺑﻮﺩ‪ ...‬ﻧﻪ‪ ،‬ﻫﻴﭻ ﻣﻮﺟﻮﺩﻯ ﺟﺰ ﺩﻳﻮﺍﻥ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺑﻪ ﺍﻳﻦ ﺳﺮﺯﻣﻴﻦ‬ ‫ﺁﺳﻴﺐ ﺯﻧﺪ‪ .‬ﻫﻴﭻ ﻣﻮﺟﻮﺩﻯ ﺟﺰ ﺩﻳﻮﺍﻥ‪ ...‬ﺑﺪﻧﺶ ﺑﻪ ﻟﺮﺯﻩ ﺍﻓﺘﺎﺩ‪ ...‬ﻫﻴﭻ ﻣﻮﺟﻮﺩﻯ ﺟﺰ ﺩﻳﻮﺍﻥ‪ ...‬ﺷﺎﻳﻌﺎﺕ‬ ‫ﺭﺍ ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩ‪ ...‬ﻫﻴﭻ ﻣﻮﺟﻮﺩﻯ ﺟﺰ ﺩﻳﻮﺍﻥ‪ ...‬ﺑﻮﻯ ﺟﻴﻎ ﺯﻧﺎﻥ ﺭﺍ ﺩﺭ ﺑﺎﺩ ﻣﻰﺷﻨﻴﺪ‪ ...‬ﺳﺮﺵ ﺑﻪ ﺩﻭﺍﺭ‬ ‫ﺍﻓﺘﺎﺩ‪ .‬ﺧﺎﻃﺮﺍﺕ ﮔﺬﺷﺘﻪ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩ‪ .‬ﺧﻮﻥ‪ ،‬ﺧﻨﺪﻩﻯ ﻣﺴﺘﺎﻧﻪﻯ ﺩﻳﻮﻫﺎﻯ ﺷﺮﺯﻩ‪ ،‬ﺗﺎﺭﺍﺝ‪ ،‬ﺟﻨﮓ‪ ،‬ﻣﺮگ‪،‬‬ ‫ﺗﺒﺎﻫﻰ‪ ،‬ﺳﻴﺎﻫﻰ‪ ،‬ﺩﺭﺩ‪...‬‬ ‫ﻫﻮﺭﺍﻡ ﺗﺮﺳﻴﺪﻩ ﺑﻪ ﭼﻬﺮﻩﻯ ﺭﻧﮓ ﭘﺮﻳﺪﻩﻯ ���ﺮﻫﺎﺩ ﻣﻰﻧﮕﺮﻳﺴﺖ‪ ...‬ﻧﮕﺎﻩ ﻣﺮﺩ‪ ،‬ﺁﺷﻨﺎ ﺑﻮﺩ‪ .‬ﺁﻥ ﺭﺍ ﭘﻴﺶ ﺍﺯﻳﻦ‬ ‫ﻧﻴﺰ ﺩﻳﺪﻩ ﺑﻮﺩ‪ ،‬ﺩﺭ ﻫﻤﺎﻥ ﺭﻭﺯﻯ ﻛﻪ ﭘﺪﺭ ﺑﺮﺍﻯ ﻫﻤﻴﺸﻪ ﺭﻓﺘﻪ ﺑﻮﺩ‪ .‬ﺍﺷﻜﺶ ﺑﻨﺪ ﺁﻣﺪ‪ ...‬ﺻﻮﺭﺗﺶ ﺳﺨﺖ‬ ‫ﺷﺪ ﻭ ﻳﺎﺱ‪ ،‬ﻭﺟﻮﺩﺵ ﺭﺍ ﻓﺮﺍ ﮔﺮﻓﺖ‪ .‬ﺗﻜﺎﻧﻰ ﺑﻪ ﺧﻮﺩ ﺩﺍﺩ ﻭ ﮔﻔﺖ‪» :‬ﻣﺮﺍ ﺑﺮ ﺯﻣﻴﻦ ﺑﮕﺬﺍﺭ‪ ،‬ﻣﻰﺗﻮﺍﻧﻢ ﺭﺍﻩ‬ ‫ﺑﺮﻭﻡ‪ «.‬ﻓﺮﻫﺎﺩ ﻛﻪ ﻭﺟﻮﺩ ﭘﺴﺮ ﺭﺍ ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺣﻴﺮﺍﻥ ﻧﮕﺎﻫﺶ ﻛﺮﺩ‪ .‬ﺍﻧﺪﻳﺸﻴﺪ‪ ،‬ﺭﺍﻩ ﺁﺷﻜﺎﺭ ﺷﺪﻩ‪...‬‬ ‫ﭘﺲ ﺑﻰﺩﺭﻧﮓ ﺩﺳﺖ ﺑﻪ ﻛﺎﺭ ﺷﺪ‪ .‬ﺍﻓﺴﻮﻥ ﺑﺴﺘﻦ ﭼﺸﻢﻫﺎ ﺭﺍ ﺧﻮﺍﻧﺪ ﻭ ﺑﺮ ﭘﺴﺮﻙ ﺩﻣﻴﺪ‪ ،‬ﻧﻤﻰﺧﻮﺍﺳﺖ‬ ‫ﻫﻮﺭﺍﻡ ﭼﻴﺰﻯ ﺑﺒﻴﻨﺪ‪ .‬ﺩﺳﺘﺶ ﺭﺍ ﺑﻪ ﮔﺮﺩ ﺗﻴﺸﻪ ﻣﺤﻜﻢ ﻛﺮﺩ ﻭ ﺑﺎ ﮔﺎﻡﻫﺎﻳﻰ ﺍﺳﺘﻮﺍﺭ ﺑﻪ ﺳﻮﻯ ﺭﻭﺳﺘﺎ ﭘﻴﺶ‬ ‫ﺭﻓﺖ‪ .‬ﺑﻪ ﺳﻮﻯ ﺭﻭﺳﺘﺎﻳﻰ ﻛﻪ ﺁﺏ ﻛﺎﺭﻳﺰ ﺍﻛﻨﻮﻥ ﺑﻪ ﻛﺸﺘﺰﺍﺭﺵ ﺭﺳﻴﺪﻩ ﺑﻮﺩ‪ .‬ﻛﺸﺘﺰﺍﺭﻯ ﻛﻪ ﻫﻴﭻ ﻣﺮﺩﻯ‬ ‫ﺩﻳﮕﺮ ﺑﺮﺍﻯ ﺩﺭﻭﺩﻥ ﮔﻨﺪﻣﺶ‪ ،‬ﺑﻪ ﺁﻥ ﮔﺎﻡ ﻧﻤﻰﮔﺬﺍﺷﺖ ﻛﻪ ﻣﺮﺩﺍﻥ ﭼﻮﻥ ﺑﻪ ﺭﻭﺳﺘﺎ ﺭﺳﻴﺪﻧﺪ‪ ،‬ﺑﺎ ﻛﺸﺘﻪﻯ‬ ‫ﺧﺎﻧﮕﻴﺎﻥ ﻭ ﺧﺎﻧﻪﻫﺎﻯ ﺳﻮﺧﺘﻪ ﺭﻭﺑﺮﻭ ﺷﺪﻧﺪ ﻭ ﭘﻴﺶ ﺍﺯ ﺁﻥ ﻛﻪ ﻣﺠﺎﻟﻰ ﺑﺮﺍﻯ ﮔﺮﻳﺴﺘﻦ ﻳﺎ ﺧﺸﻢ ﺑﻴﺎﺑﻨﺪ‪،‬‬ ‫ﺗﻴﻐﻰ ﺭﺍ ﺣﺲ ﻛﺮﺩﻧﺪ ﻛﻪ ﺍﺯ ﮔﻠﻮﻳﺸﺎﻥ ﻣﻰﮔﺬﺷﺖ ﻭ ﻓﺮﻳﺎﺩﺷﺎﻥ ﺭﺍ ﻣﻰﺷﻜﺴﺖ‪.‬‬ ‫ﺍﻳﻦﮔﻮﻧﻪ ﺑﺎ ﺭﻫﺴﭙﺎﺭ ﺷﺪﻥ ﺧﻮﺭﺷﻴﺪ ﺑﻪ ﺳﻮﻯ ﻗﺘﻠﮕﺎﻫﺶ‪ ،‬ﻗﻬﺮﻣﺎﻥ ﺑﻪ ﺭﻭﺳﺘﺎﻯ ﺩﻳﻮﺯﺩﻩ ﺭﺳﻴﺪ‪.‬‬

‫‪3‬‬ ‫‪ ‬ﺷﺐ ﺗﺎﺭﻳﻚ ﻭ ﺳﺎﻛﺖ ﺑﻮﺩ‪ .‬ﻣﺎﻩ‪ ،‬ﻫﻨﻮﺯ ﺭﺍﻩ ﺯﻳﺎﺩﻯ ﺗﺎ ﺑﻴﺮﻭﻥ ﺁﻣﺪﻥ ﺩﺍﺷﺖ ﻭ ﺳﺘﺎﺭﮔﺎﻥ‪ ،‬ﭘﺸﺖ ﺍﺑﺮﻫﺎﻯ‬ ‫ﺳﻴﺎﻩ‪ ،‬ﭼﻬﺮﻩ ﭘﻨﻬﺎﻥ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺗﻨﻬﺎ ﺭﻭﺷﻨﺎﻳﻰ‪ ،‬ﺳﻮﺳﻮﻯ ﺁﺗﺶﻫﺎﻯ ﻧﻴﻤﻪ ﻣﺮﺩﻩﺍﻯ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺟﺎﻯ‬ ‫ﺟﺎﻯ ﺭﻭﺳﺘﺎﻯ ﺩﻳﻮﺯﺩﻩ‪ ،‬ﺑﻪ ﭼﺸﻢ ﻣﻰﺧﻮﺭﺩ‪ .‬ﻣﺮﺩ‪ ،‬ﺑﺎ ﺳﺎﻳﻪﺍﻯ ﻟﺮﺯﺍﻥ‪ ،‬ﺩﺭ ﻣﻴﺪﺍﻥ‪ ،‬ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﺑﺨﺖ‬ ‫ﺧﻮﺩ ﺭﺍ ﻧﻜﻮﻫﺶ ﻣﻰﻛﺮﺩ‪ ...‬ﻫﻴﭻ ﻛﺲ ﺯﻧﺪﻩ ﻧﻤﺎﻧﺪﻩ ﺑﻮﺩ‪ ...‬ﻫﻴﭻ ﻛﺲ‪ ...‬ﺯﻣﺎﻧﻰ ﺩﺭﺍﺯ‪ ،‬ﺗﻤﺎﻡ ﺧﺎﻧﻪﻫﺎ ﺭﺍ‬ ‫ﺟﺴﺘﻪ ﺑﻮﺩ‪ ،‬ﺯﻣﺎﻧﻰ ﺩﺭﺍﺯ‪ ،‬ﺑﺎ ﺑﻴﻢ ﻭ ﺍﻣﻴﺪ‪ ،‬ﺭﻭﺳﺘﺎ ﺭﺍ ﻛﺎﻭﻳﺪﻩ ﺑﻮﺩ ﻣﮕﺮ‪ ،‬ﻧﺸﺎﻧﻰ ﺍﺯ ﻛﺴﻰ ﺑﻴﺎﺑﺪ‪ .‬ﺑﺎﺭﻫﺎ‪ ،‬ﺑﺎ ﺍﻳﻦ‬ ‫ﺍﺣﺴﺎﺱ ﻛﻪ ﺻﺪﺍﻯ ﺩﻡ ﺯﺩﻥ ﻛﺴﻰ ﺭﺍ ﺷﻨﻴﺪﻩ‪ ،‬ﺑﺮﺟﺎ ﺍﻳﺴﺘﺎﺩﻩ‪ ،‬ﺑﻪ ﺳﻤﺖ ﺻﺪﺍ ﺩﻭﻳﺪﻩ ﻭ ﻧﺎﺍﻣﻴﺪ ﺑﺎﺯﮔﺸﺘﻪ‬ ‫ﺑﻮﺩ‪ .‬ﻛﺸﺘﺎﺭ‪ ،‬ﻛﺎﻣﻞ ﺑﻮﺩ‪ .‬ﻫﻴﭻ ﻛﺲ ﺭﺍ ﺑﺤﻞ ﻧﻜﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ ...‬ﻧﻪ ﺍﺯ ﺯﻧﺎﻥ ﮔﺬﺷﺘﻪ ﻧﻪ ﺑﺮ ﻛﻮﺩﻛﺎﻥ ﺩﻝ ﻧﺮﻡ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ ...‬ﻣﺮﺩﺍﻥ ﻛﻪ ﻫﻴﭻ‪ ،‬ﻫﻤﮕﻰ ﺭﺍ ﺍﺯ ﺩﻡ ﺗﻴﻎ ﮔﺬﺭﺍﻧﺪﻩ ﺑﻮﺩﻧﺪ‪...‬‬ ‫ﺑﺎ ﺧﻮﺩ ﮔﻔﺖ‪» :‬ﮔﺠﺴﺘﻪ ]‪ [3‬ﺑﺎﺩ ﺁﻥ ﺭﻭﺯ ﻛﻪ ﺯﺍﺩﻩ ﺷﺪﻡ‪ ،‬ﮔﺠﺴﺘﻪ ﺑﺎﺩ‪ ،‬ﺩﺭﺧﺖ ﻭﺟﻮﺩﻡ ﻛﻪ ﺟﺰ ﻣﺮگ ﺑﺎﺭﻯ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﭘﺎﻭﺭﻗﻰ‬

‫ﺧﻮﺩ ﮔﻔﺖ ﭼﻴﺰﻯ ﺷﺒﻴﻪ ﺩﻧﮓ‪ ....‬ﺩﻧﮓ‪ .‬ﻫﻤﻴﻦ ﺑﻮﺩ‪ ،‬ﺻﺪﺍﻯ ﺗﻴﺸﻪﻯ ﻓﺮﻫﺎﺩ؛ ﺗﻴﺸﻪﺍﻯ ﻛﻪ ﻣﺎﻫﻰ ﺗﻤﺎﻡ‪،‬‬ ‫ﺷﺒﺎﻧﻪﺭﻭﺯ ﺑﻪ ﻛﻮﻩ ﺿﺮﺑﻪ ﻣﻰﺯﺩ ﻭ ﺯﻣﻴﻦ ﺭﺍ ﻣﻰﺩﺭﻳﺪ‪ .‬ﺻﺪﺍﻯ ﻧﻴﺎﻳﺶ ﻓﺮﻫﺎﺩ ﻭ ﺗﻴﺸﻪﺍﺵ ﻛﻢ ﺑﻮﺩ ﻭ ﺳﻜﻮﺕ‬ ‫ﺍﺯﻳﻦ ﺻﺪﺍ ﺗﻬﻰ‪ .‬ﻧﻴﻚ ﻛﻪ ﺍﻧﺪﻳﺸﻴﺪ‪ ،‬ﺍﺯ ﺳﭙﻴﺪﻩ ﭼﻨﻴﻦ ﺻﺪﺍﻳﻰ ﺭﺍ ﻧﺸﻨﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺻﺪﺍ‪ ،‬ﺍﻭ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﻓﺮﻫﺎﺩ‬ ‫ﺍﻧﺪﺍﺧﺖ‪ ،‬ﻓﺮﻫﺎﺩ ﻛﺎﺭﻳﺰﻛﻦ‪ .‬ﺍﻛﻨﻮﻥ ﻛﻪ ﺻﺪﺍﻳﻰ ﻧﻤﻰﺁﻣﺪ‪ ،‬ﺷﺎﻳﺪ‪ ،‬ﺷﺎﻳﺪ ﻛﺎﺭﻳﺰ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﻴﺪﻩ ﺑﺎﺷﺪ‪ .‬ﺷﺎﻳﺪ‬ ‫ﻓﺮﻫﺎﺩ ﺑﺘﻮﺍﻧﺪ ﻧﺠﺎﺗﻤﺎﻥ ﺩﻫﺪ‪ ...‬ﻫﻮﺭﺍﻡ ﺑﻪ ﺍﻳﻦ ﺍﻣﻴﺪ ﺩﻭﺍﻥﺩﻭﺍﻥ ﺑﻪ ﺳﻮﻯ ﻛﻮﻩ ﺭﻭﺍﻧﻪ ﺷﺪ‪.‬‬ ‫ﻓﺮﻫﺎﺩ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻭ ﺑﻪ ﺁﺏ ﻣﻰﻧﮕﺮﻳﺴﺖ‪ ...‬ﺁﺑﻰ ﻛﻪ ﺍﺯ ﺳﭙﻴﺪﻩ ﺟﺎﺭﻯ ﺷﺪﻩ‪ ،‬ﺍﺯ ﻛﻨﺎﺭ ﺭﻭﺳﺘﺎ ﻣﻰﮔﺬﺷﺖ‬ ‫ﻭ ﺩﻳﮕﺮ ﺑﺎﻳﺪ ﺑﻪ ﻛﺸﺘﺰﺍﺭ ﻣﻰﺭﺳﻴﺪ‪ .‬ﺭﺍﻩ ﺁﺏ ﺭﺍ ﻣﺮﺩﺍﻥ ﺭﻭﺳﺘﺎ ﻛﻨﺪﻩ ﺑﻮﺩﻧﺪ؛ ﻣﺮﺩﺍﻥ ﺑﺎ ﭘﺴﺮﻯ ﻣﻴﺎﻧﺸﺎﻥ‪،‬‬ ‫ﻫﻮﺭﺍﻡ‪ .‬ﺑﺎ ﻳﺎﺩﺁﻭﺭﻯ ﭘﺴﺮ ﻣﻐﺮﻭﺭﻯ ﻛﻪ ﺑﺎﺭ ﻳﻚ ﺯﻧﺪﮔﻰ ﺭﺍ ﺑﺮ ﺩﻭﺵ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﻟﺒﺨﻨﺪ ﺯﺩ‪ .‬ﻣﺮﺩﻯ ﻛﻮﭼﻚ‬ ‫ﻛﻪ ﻫﺮ ﺯﻣﺎﻥ ﻣﺠﺎﻝ ﻣﻰﻳﺎﻓﺖ ﺑﻪ ﻧﺰﺩ ﻓﺮﻫﺎﺩ ﻣﻰﺁﻣﺪ ﺗﺎ ﺩﺍﺳﺘﺎﻥ ﺳﺮﺯﻣﻴﻦﻫﺎﻯ ﺩﻭﺭ ﺭﺍ ﺑﺸﻨﻮﺩ‪ .‬ﻓﺮﻫﺎﺩ‬ ‫ﺑﺮﺧﺎﺳﺖ‪ .‬ﺗﻴﺸﻪ ﻭ ﺍﺑﺰﺍﺭﺵ ﺭﺍ ﻛﻨﺎﺭ ﺩﻫﺎﻧﻪﻯ ﻛﺎﺭﻳﺰ ﻧﻬﺎﺩ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺩﻳﮕﺮ ﺑﻪ ﺁﻥﻫﺎ ﻧﻴﺎﺯ ﻧﺪﺍﺷﺖ‪ .‬ﺍﻛﻨﻮﻥ‬ ‫ﺁﺯﺍﺩ ﺑﻮﺩ‪ ،‬ﺭﻫﺎ ﺍﺯ ﺩﻳﻦ ﻭ ﺑﺎﺭ ﮔﻨﺎﻩ‪ .‬ﺑﻬﺎﻯ ﺑﺰﻩﺍﺵ ﺭﺍ ﭘﺮﺩﺍﺧﺘﻪ ﺑﻮﺩ‪ .‬ﺳﻪ ﺳﺎﻝ‪ ،‬ﺑﻪ ﭘﺎﺩﺍﻓﺮﻩ ]‪ [2‬ﺍﺷﻚﻫﺎﻳﻰ‬ ‫ﻛﻪ ﺍﺯ ﺩﻳﺪﻩﻯ ﻣﺮﺩﻣﺎﻥ ﺟﺎﺭﻯ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﻛﺎﺭﻳﺰ ﻛﻨﺪ ﺗﺎ ﻟﺒﺨﻨﺪ ﺭﺍ ﺑﻪ ﻟﺐﻫﺎ ﺑﺎﺯ ﮔﺮﺩﺍﻧﺪ ﻭ ﺁﻥ ﻛﻪ ﻟﺒﺨﻨﺪ‬ ‫ﺑﺮ ﻟﺐ ﻧﺪﺍﺷﺖ‪ ،‬ﺧﻮﺩﺵ ﺑﻮﺩ‪ .‬ﭼﺮﺍ ﻛﻪ ﺁﻳﻨﺪﻩ‪ ،‬ﻧﺎﺷﻨﺎﺧﺘﻪﺍﻯ ﻛﻪ ﭼﻴﺰﻯ ﺍﺯ ﺁﻥ ﻧﻤﻰﺩﺍﻧﺴﺖ‪ ،‬ﺁﺭﺍﻣﺶ ﺭﺍ ﺍﺯ‬ ‫ﺍﻭ ﻣﻰﮔﺮﻓﺖ ﻭ ﺍﻭ ﺭﺍ ﻭﺍﺩﺍﺷﺘﻪ ﺑﻮﺩ ﺳﺎﻋﺖﻫﺎ ﺩﺭ ﻛﻨﺎﺭ ﺁﺏ‪ ،‬ﺳﺎﻛﻦ ﺑﻨﺸﻴﻨﺪ ﻭ ﺑﻴﻨﺪﻳﺸﺪ‪ .‬ﺁﻥ ﭼﻪ ﺍﺯ ﺍﻭ ﺑﺮ‬ ‫ﻣﻰﺁﻣﺪ‪ ،‬ﺗﻨﻬﺎ ﻫﻨﺮﻯ ﻛﻪ ﻃﻰ ﺳﺎﻟﻴﺎﻥ ﻛﺴﺐ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﻫﻨﺮ ﺩﺭﻳﺪﻥ ﻭ ﻛﺸﺘﻦ ﺑﻮﺩ‪ .‬ﭼﻴﺰﻯ ﻛﻪ ﺩﻳﮕﺮ ﺑﻪ‬ ‫ﻛﺎﺭﺵ ﻧﻤﻰﺁﻣﺪ ﻭ ﻛﺎﺭﻳﺰﻛﻨﻰ ﻫﻢ‪ ...‬ﻛﺎﺭﻳﺰﻛﻨﻰ ﻫﻢ ﭼﻨﺎﻥ ﺳﺎﺩﻩ ﺑﻮﺩ ﻛﻪ ﺳﻨﮓﻫﺎﺵ‪ ،‬ﺑﻪ ﻓﺮﻣﺎﻥ ﻣﺮﺩ‪،‬‬ ‫ﻣﻨﻄﻴﻊ ﻭ ﻣﻨﻘﺎﺩ ﻓﺮﻫﺎﺩ ﺑﻮﺩﻧﺪ‪ .‬ﻛﺎﺵ ﺳﺨﻨﻰ ﮔﻔﺘﻪ ﺑﻮﺩ‪ ،‬ﻳﺎ ﺭﺍﻩ ﻧﻮ ﺭﺍ ﺑﻪ ﺍﻭ ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩ‪ ،‬ﻛﺎﺵ‪...‬‬ ‫ﺭﺷﺘﻪﻯ ﺑﺎﺭﻳﻚ ﺍﻓﻜﺎﺭﺵ ﺭﺍ ﺻﺪﺍﻯ ﻓﺮﻳﺎﺩ ﻓﺮﻭﺧﻮﺭﺩﻩﺍﻯ ﺩﺭﻳﺪ‪ ...‬ﺻﺪﺍﻳﻰ ﺿﻌﻴﻒ‪ ،‬ﻣﻨﻘﻄﻊ ﻭ ﺩﺭﺩﻛﺸﻴﺪﻩ‬ ‫ﻛﻪ ﺍﻭ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﻣﻰﺧﻮﺍﻧﺪ‪ .‬ﻫﻮﺭﺍﻡ ﺑﻮﺩ ﺑﺎ ﺭﻧﮓ ﭘﺮﻳﺪﻩ‪ ،‬ﺍﻳﺴﺘﺎﺩﻩ ﺩﺭ ﺩﺍﻣﻨﻪﻯ ﻛﻮﻩ‪ .‬ﻓﺮﻫﺎﺩ‪ ،‬ﺑﻰ ﻛﻪ‬ ‫ﺩﺭﻳﺎﺑﺪ‪ ،‬ﺗﻴﺸﻪ ﺭﺍ ﺑﺮﺩﺍﺷﺖ ﻭ ﺑﺎ ﻣﻬﺎﺭﺕ ﺳﺎﻻﺭ ﺭﺍﻫﺰﻧﺎﻥ‪ ،‬ﺑﻪ ﭼﺎﺑﻜﻰ ﺍﺯ ﻛﻮﻩ ﭘﺎﻳﻴﻦ ﺁﻣﺪ‪ .‬ﭘﺴﺮﻙ‪ ،‬ﺧﻢ‬ ‫ﺷﺪﻩ‪ ،‬ﻧﻔﺲﻧﻔﺲ ﻣﻰﺯﺩ‪ .‬ﻓﺮﻫﺎﺩ ﮔﻔﺖ‪» :‬ﭼﻪ ﺷﺪﻩ؟« ﻫﻮﺭﺍﻡ ﮔﻔﺖ‪ ....» :‬ﺩﻩ‪ ...‬ﺯﻧﺎﻥ‪ ...‬ﻛﻤﻚ‪ ،‬ﺁﺏ‪ ،‬ﺁﺁﺁﺁﺏ‬ ‫ﭼﺸﻤﺎﻥ ﺭﻭﺯﮔﺎﺭﻯ ﺷﺎﺩ ﻭ ﻣﻐﺮﻭﺭﺵ‪،‬‬ ‫ﻣﻰﺧﻮﺍﻫﻴﻢ‪ «...‬ﺩﺳﺘﺎﻧﺶ ﺭﺩﺍﻯ ﻓﺮﻫﺎﺩ ﺭﺍ ﮔﺮﻓﺘﻨﺪ ﻭ ﺍﺷﻚ‪ ،‬ﺍﺯ‬ ‫ِ‬ ‫ﺟﺎﺭﻯ ﺷﺪ‪ .‬ﻓﺮﻫﺎﺩ ﻧﻬﻴﺐ ﺯﺩ‪» :‬ﺩﺭﺳﺖ ﺳﺨﻦ ﺑﮕﻮ‪ ،‬ﭼﻪ ﺷﺪﻩ؟« ﭘﺴﺮﻙ ﺍﻣﺎ ﺩﻳﮕﺮ ﺗﻮﺍﻥ ﻧﺪﺍﺷﺖ‪ .‬ﺳﻴﻞ‬ ‫ﺍﺷﻚ‪ ،‬ﺳﺪ ﺍﺭﺍﺩﻩﺍﺵ ﺭﺍ ﺩﺭ ﻫﻢ ﺷﻜﺴﺖ ﻭ ﺗﺮﺱ‪ ،‬ﺍﻛﻨﻮﻥ ﻛﻪ ﺑﻪ ﻓﺮﻫﺎﺩ ﺭﺳﻴﺪﻩ ﺑﻮﺩ‪ ،‬ﺍﻣﺎﻧﺶ ﻧﻤﻰﺩﺍﺩ‪ .‬ﭘﺎﺳﺦ‬ ‫ﻓﺮﻫﺎﺩ‪ ،‬ﻟﺮﺯﺵ ﺗﺎﺛﺮﺑﺮﺍﻧﮕﻴﺰ ﭘﺴﺮ ﺑﻮﺩ ﻭ ﻫﻖﻫﻖ ﮔﺮﻳﻪﻫﺎﻳﺶ‪ .‬ﻣﺮﺩ‪ ،‬ﭘﺴﺮ ﺭﺍ ﺩﺭ ﺑﺎﺯﻭﺍﻥ ﺗﻮﺍﻧﺎﻳﺶ ﮔﺮﻓﺖ ﻭ‬ ‫ﺑﻪ ﺳﻮﻯ ﺭﻭﺳﺘﺎ ﺩﻭﻳﺪ‪ .‬ﺍﻛﻨﻮﻥ ﻛﻪ ﺧﻮﺏ ﻣﻰﻧﮕﺮﻳﺴﺖ‪ ،‬ﺩﻭﺩﻯ ﺳﻴﺎﻩ ﺍﺯ ﺭﻭﺳﺘﺎ ﺑﻪ ﺁﺳﻤﺎﻥ ﻣﻰﺭﻓﺖ‪ .‬ﺑﻮﻯ‬ ‫ﺧﺎﻧﻪﻫﺎﻯ ﺳﻮﺧﺘﻪ ﺷﺪﻩ‪ ،‬ﺑﺎ ﺗﻐﻴﻴ ِﺮ ﺳﻮﻯ ﺑﺎﺩ‪ ،‬ﺑﻪ ﻣﺸﺎﻣﺶ ﻣﻰﺧﻮﺭﺩ‪ .‬ﻓﺮﻫﺎﺩ ﺑﻪ ﮔﺎﻡﻫﺎﻳﺶ ﺷﺘﺎﺏ ﺩﺍﺩ‪ .‬ﺑﺎ‬ ‫ﺧﻮﺩ ﻓﻜﺮ ﻛﺮﺩ‪ ،‬ﺁﺗﺶ ﻫﺮ ﻗﺪﺭ ﻛﻪ ﺳﻬﻤﮕﻴﻦ ﺑﺴﻮﺯﺩ‪ ،‬ﻫﻨﻮﺯ ﭼﻨﺎﻥ ﭘﻠﻴﺪ ﻧﻴﺴﺖ ﻛﻪ ﻣﺮﺩﻣﺎﻥ ﺭﺍ ﺑﺴﻮﺯﺍﻧﺪ‪ ...‬ﻭ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﻭ ﭼﺸﻢ ﺑﻪ ﺭﺍﻩ ﻣﻌﺠﺰﻩﻯ ﺑﺎﻧﻮﻳﻰ ﻣﻬﺮﺑﺎﻥ ﺑﻮﺩ‪ .‬ﻣﻌﺠﺰﻩﺍﻯ ﻛﻪ ﺍﮔﺮﭼﻪ ﺭﺥ ﺩﺍﺩ ﻭ ﺍﻭ ﺭﺍ ﺍﺯ ﺩﻳﻦ ﺭﻫﺎ ﻛﺮﺩ‪،‬‬ ‫ﺑﺮﺍﻯ ﺭﻭﺳﺘﺎ ﭼﻴﺰﻯ ﺟﺰ ﻭﻳﺮﺍﻧﻰ ﻭ ﻣﺮگ ﺑﻪ ﺍﺭﻣﻐﺎﻥ ﻧﻴﺎﻭﺭﺩ ﻛﻪ ﺩﻳﻮﺍﻥ‪ ،‬ﭼﻮﻥ ﻓﺮﻫﺎﺩ ﺑﻪ ﻛﺎﺭ ﺧﻮﺩ ﻣﺸﻐﻮﻝ‬ ‫ﺷﺪ‪ ،‬ﺭﻭﺳﺘﺎ ﺭﺍ ﻭﻳﺮﺍﻥ ﻛﺮﺩﻧﺪ‪.‬‬

‫‪2‬‬ ‫‪ ‬ﻫﻮﺍ ﺭﻭ ﺑﻪ ﺳﺮﺩﻯ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ‪ .‬ﻣﺮﺩﺍﻥ ﺧﺴﺘﻪ ﺍﺯ ﻛﺎﺭ ﺳﺨﺖ ﻭ ﺷﺎﺩﻣﺎﻥ ﺍﺯ ﺳﺨﺎﻭﺕ ﺯﻣﻴﻦ ﻭ ﺁﺳﻤﺎﻥ‪،‬‬ ‫ﺍﺯ ﻛﺸﺘﺰﺍﺭﻫﺎ ﺳﺮﺑﻠﻨﺪ ﺑﻪ ﺳﻮﻯ ﺭﻭﺳﺘﺎ ﺩﺭ ﺣﺮﻛﺖ ﺑﻮﺩﻧﺪ‪ .‬ﻫﻮﺭﺍﻡ ﺍﻧﺪﻳﺸﻴﺪ‪» :‬ﭘﺸﺖ ﺍﻳﻦ ﺗﭙﻪﻯ ﺳﺮﺳﺒﺰ‪،‬‬ ‫ﻣﺎﺩﺭ ﺑﺎ ﺧﻮﺭﺍﻛﻰ ﮔﺮﻡ ﭼﺸﻢ ﺑﻪ ﺭﺍﻩ ﻣﻨﺴﺖ‪ «.‬ﻭ ﻟﺒﺨﻨﺪ ﺯﺩ‪ .‬ﺍﻛﻨﻮﻥ ﺍﻭ ﻣﺮﺩ ﺧﺎﻧﻪ ﺑﻮﺩ‪ .‬ﺑﺎ ﺩﺳﺘﺎﻥ ﻛﻮﭼﻚ‬ ‫ﻭ ﺁﺭﺯﻭﻫﺎﻯ ﺑﺰﺭﮔﺶ‪ ،‬ﺑﻪ ﺟﺎﻯ ﭘﺪﺭﻯ ﻛﻪ ﺩﻳﮕﺮ ﻧﺒﻮﺩ ﺯﻣﻴﻦ ﺭﺍ ﺯﺧﻢ ﺯﺩﻩ‪ ،‬ﺩﺍﻧﻪ ﺩﺍﺩﻩ ﺑﻮﺩ ﻭ ﺗﺎ ﭼﻨﺪ ﺭﻭﺯ‬ ‫ﺩﻳﮕﺮ‪ ،‬ﻧﺨﺴﺘﻴﻦ ﻣﺤﺼﻮﻝ ﺧﻮﺩ ﺭﺍ ﻣﻰﺩﺭﻭﻳﺪ‪ ...‬ﺑﺎﺩ ﺷﺮﻭﻉ ﺑﻪ ﻭﺯﻳﺪﻥ ﻛﺮﺩ ‪ ،‬ﺑﺎﺩﻯ ﻛﻪ ﻫﻤﻴﺸﻪ ﺑﺎ ﺧﻮﺩ ﺑﻮﻯ‬ ‫ﻧﺎﻥ ﻭ ﻣﻬﺮﺑﺎﻧﻰ ﻣﻰﺁﻭﺭﺩ‪ .‬ﻫﻮﺭﺍﻡ ﻟﺒﺨﻨﺪ ﺯﺩ ﻭ ﻧﻔﺴﻰ ﻋﻤﻴﻖ ﻛﺸﻴﺪ ﻭ ﮔﺬﺍﺷﺖ ﺗﺎ ﻫﻮﺍﻯ ﺗﺎﺯﻩ‪ ،‬ﺳﻴﻨﻪﺍﺵ‬ ‫ﺭﺍ ﭘﺮ ﻛﻨﺪ‪ ...‬ﺍﻣﺎ‪...‬‬ ‫‪ ...‬ﺧﺒﺮﻯ ﻛﻪ ﺑﺎﺩ ﺑﺎ ﺧﻮﺩ ﺁﻭﺭﺩﻩ ﺑﻮﺩ‪ ،‬ﭼﻨﺎﻥ ﺳﻨﮕﻴﻦ ﺑﻮﺩ ﻛﻪ ﺍﻭ ﺭﺍ ﺑﻪ ﻧﻔﺲﻧﻔﺲ ﺍﻧﺪﺍﺧﺖ‪ .‬ﺻﺪﺍﻯ‬ ‫ﻣﺮﺩﻯ ﺭﺍ ﺷﻨﻴﺪ ﻛﻪ ﻓﺮﻳﺎﺩ ﻣﻰﺯﺩ‪» :‬ﺁﺗﺶ‪ ،‬ﺁﺗﺶ‪ «...‬ﻫﻮﺭﺍﻡ ﺣﻴﺮﺍﻥ ﺑﻪ ﺍﻃﺮﺍﻑ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺩﻭﺩ ﻫﻤﻪ ﺟﺎ‬ ‫ﺭﺍ ﻓﺮﺍﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ .‬ﺭﻧﮓ ﭼﻬﺮﻩﻯ ﻣﺮﺩﺍﻥ‪ ،‬ﺍﺯ ﻧﮕﺮﺍﻧﻰ ﻭ ﺗﺮﺱ ﭘﺮﻳﺪﻩ ﺑﻮﺩ‪ .‬ﻛﺴﻰ ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﺭﻭﺳﺘﺎ ﺁﺗﺶ‬ ‫ﮔﺮﻓﺘﻪ‪ ،‬ﺑﭽﻪﻫﺎ‪ ...‬ﺑﭽﻪﻫﺎ ﻧﻤﻴﺮﻧﺪ‪ «...‬ﺑﺎ ﺍﻳﻦ ﻧﻬﻴﺐ‪ ،‬ﻣﺮﺩﺍﻧﻰ ﻛﻪ ﺩﺭ ﺑﺮﺍﺑﺮ ﻭﺍﻗﻌﻪ ﺧﻮﺩ ﺭﺍ ﺑﺎﺧﺘﻪ ﺑﻮﺩﻧﺪ‪ ،‬ﺑﻪ‬ ‫ﺧﻮﻳﺸﺘﻦ ﺧﻮﻳﺶ ﺑﺎﺯﮔﺸﺘﻨﺪ‪ .‬ﺑﺮﺧﻰ ﺩﺍﺱﻫﺎ ﺭﺍ ﺭﻫﺎ ﻛﺮﺩﻩ‪ ،‬ﺑﻪ ﺳﻮﻯ ﺭﻭﺳﺘﺎ ﺩﻭﻳﺪﻧﺪ‪ .‬ﺑﺮﺧﻰ ﺑﺎ ﻓﺮﻳﺎﺩ ﺁﺏ‬ ‫ﺁﺏ‪ ،‬ﺑﻴﻬﻮﺩﻩ ﺑﻪ ﺳﻮﻯ ﺭﻭﺩﻯ ﺭﻓﺘﻨﺪ ﻛﻪ ﺩﺭ ﻧﺰﺩﻳﻜﻰ ﻛﺸﺘﺰﺍﺭﻫﺎ ﺟﺮﻳﺎﻥ ﺩﺍﺷﺖ ﻭ ﺍﺯ ﺭﻭﺳﺘﺎ ﺩﻭﺭ ﺑﻮﺩ؛ ﺑﺴﻴﺎﺭ‬ ‫ﺩﻭﺭﺗﺮ ﺍﺯ ﺁﻥ ﻛﻪ ﺁﺑﺶ ﺑﻪ ﻛﺎﺭ ﺁﻳﺪ‪ .‬ﺻﺪﺍﻯ ﮔﺎﻡﻫﺎﻳﻰ ﻛﻪ ﺑﺎ ﺍﺿﻄﺮﺍﺏ ﺑﻪ ﻫﺮ ﺳﻮ ﻣﻰﺩﻭﻳﺪﻧﺪ‪ ،‬ﺩﺭ ﮔﻮﺵ‬ ‫ﻫﻮﺭﺍﻡ ﺳﻨﮕﻴﻨﻰ ﻣﻰﻛﺮﺩ‪ ،‬ﺁﺗﺶ‪ ،‬ﺩﻭﺩ‪ ،‬ﻣﺮگ‪ ...‬ﺍﺳﺘﻮﻭﻳﺪﺍﺩ ]‪ [1‬ﺁﻣﺪﻩ ﺑﻮﺩ‪ ...‬ﺑﻪ ﺳﺨﺘﻰ ﻧﻔﺲ ﻣﻰﻛﺸﻴﺪ‪،‬‬ ‫ﺁﺗﺶ ﺑﺎﻳﺪ ﺧﺎﻣﻮﺵ ﻣﻰﺷﺪ ﻭ ﺍﮔﺮﻧﻪ‪ ،‬ﺑﺎ ِﺩ ﭘﻴﺶ ﺍﺯﻳﻦ ﻣﻬﺮﺑﺎﻥ‪ ،‬ﻛﺸﺘﺰﺍﺭﻫﺎ ﺭﺍ ﻧﻴﺰ ﻣﻰﺳﻮﺯﺍﻧﺪ ﻭ ﻫﻤﻪ ﭼﻴﺰ‪...‬‬ ‫ﺍﺯ ﺩﺳﺖ‪ ...‬ﻣﻰﺭﻓﺖ‪ ...‬ﻫﻤﻪ ﭼﻴﺰ‪ .‬ﻫﻮﺭﺍﻡ ﺍﻧﺪﻳﺸﻴﺪ‪ ،‬ﺁﺏ‪ ...‬ﺑﺮﺍﻯ ﺧﺎﻣﻮﺵ ﻛﺮﺩﻥ ﺁﺗﺶ ﺁﺏ ﻻﺯﻡ ﺍﺳﺖ‪...‬‬ ‫ﺍﻣﺎ ﺭﻭﺩ ﺩﻭﺭ ﺑﻮﺩ‪ ...‬ﭼﻪ ﻛﻨﻢ؟ ﻫﻴﭻ ﺭﺍﻫﻰ ﻧﻴﺴﺖ؟ ﺩﺳﺘﺎﻥ ﻛﻮﭼﻜﺶ ﺑﻪ ﻟﺮﺯﻩ ﺍﻓﺘﺎﺩﻧﺪ‪ ...‬ﺁﺗﺶ ﻫﻤﻪ ﭼﻴﺰ‬ ‫ﺭﺱ ﺩﺳﺖ‪ ،‬ﺩﻭﺭ ﺑﻮﺩ‪.‬‬ ‫ﺭﺍ ﺍﺯ ﺑﻴﻦ ﻣﻰﺑﺮﺩ‪ ،‬ﺁﺗﺸﻰ ﻣﻬﺮﺑﺎﻥ ﻭ ﮔﺮﻣﺎ ﺑﺨﺶ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﻣﻰ ﺑﻠﻌﻴﺪ ﻭ ﺁﺏ ﺍﺯ ِ‬ ‫ﺳﺮﺵ ﺳﻨﮕﻴﻦ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻣﺮﺩﺍﻥ ﻭ ﻫﻤﻬﻤ���ﻫﺎﻳﺸﺎﻥ ﺍﺯ ﻫﻢ ﺍﻛﻨﻮﻥ ﺩﻭﺭ ﻣﻰﺷﺪﻧﺪ‪ .‬ﺳﻜﻮﺕ‪ ،‬ﺁﺯﺍﺭﺩﻫﻨﺪﻩ‬ ‫ﺍﺣﺎﻃﻪﺍﺵ ﻣﻰﻛﺮﺩ‪ .‬ﺳﻜﻮﺗﻰ ﻛﻪ ﭼﻴﺰﻯ ﻛﻢ ﺩﺍﺷﺖ‪ ...‬ﭼﻴﺰﻯ ﭼﻮﻥ ﻃﻨﻴﻨﻰ ﻛﻪ ﺁﻥﻗﺪﺭ ﺗﻜﺮﺍﺭ ﻣﻰﺷﻮﺩ ﻛﻪ‬ ‫ﺑﻪ ﮔﻮﺵ ﻧﻤﻰﺁﻳﺪ‪ .‬ﭼﻴﺰﻯ ﻧﺒﻮﺩ ﻭ ﻧﺒﻮﺩﺵ ﻫﻮﺭﺍﻡ ﺭﺍ ﺑﻴﺶ ﺍﺯ ﻣﺮگ ﻭ ﺁﺗﺶ ﺑﻪ ﺧﻮﺩ ﻣﺸﻐﻮﻝ ﻣﻰﻛﺮﺩ‪ .‬ﺑﺎ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﭘﺎﻭﺭﻗﻰ‬

‫ﺑﺎﻧﻮ ﮔﻔﺖ‪» :‬ﻭ ﺍﮔﺮ ﻧﺒﺎﺷﺪ ﭼﻪ؟« ﻛﻤﻰ ﻣﻜﺚ ﻛﺮﺩ ﻭ ﻫﻤﺎﻥﮔﻮﻧﻪ ﻛﻪ ﻧﺎﻥ ﺭﺍ ﺑﺮﺍﺑﺮ ﻣﺮﺩ ﻣﻰﮔﺬﺍﺷﺖ‪ ،‬ﺁﻫﺴﺘﻪ‬ ‫ﮔﻔﺖ‪» :‬ﺑﻰﺍﻋﺘﻤﺎﺩﻯ ﻳﻚﭼﻴﺰ ﻭ ﺯﺑﻮﻧﻰ ﻭ ﺑﺪﺩﻟﻰ ﭼﻴﺰ ﺩﻳﮕﺮ ﺍﺳﺖ‪ ...‬ﺍﻳﻦ ﺭﺍ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺧﻮﺩ ﺑﻪ ﭘﺪﺭﻡ‬ ‫ﮔﻔﺘﻰ‪«...‬‬ ‫ﺑﺎﻧﻮ ﺑﺮﺧﺎﺳﺖ‪ ،‬ﻭ ﺑﺎ ﺍﺷﺎﺭﻩﻯ ﺩﺳﺖ ﺧﺪﻣﺘﻜﺎﺭﺍﻥ ﺭﺍ ﻣﺮﺧﺺ ﻛﺮﺩ‪ .‬ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﻣﺮﺩﻡ ﻣﻰﮔﻔﺘﻨﺪ ﺷﻤﺎ‬ ‫ﺷﻮﻫﺮﻯ ﺷﺎﻳﺴﺘﻪ ﻧﺨﻮﺍﻫﻴﺪ ﺑﻮﺩ‪ «،‬ﺁﺭﺍﻡ ﻭ ﮔﺮﻡ‪ ،‬ﻧﺰﺩﻳﻚ ﮔﻮﺵ ﻣﺮﺩ ﮔﻔﺖ‪» :‬ﻭ ﻣﻦ ﻣﻰﺩﺍﻧﻢ ﻛﻪ ﺍﺷﺘﺒﺎﻩ‬ ‫ﻣﻰﻛﻨﻨﺪ‪«...‬‬ ‫ﻣﺮﺩ ﻧﺎﺧﻮﺍﺳﺘﻪ ﻟﺒﺨﻨﺪﻯ ﺯﺩ‪ ،‬ﺳﭙﺲ ﮔﻔﺖ‪» :‬ﺩﻟﻢ ﮔﻮﺍﻫﻰ ﻣﻰﺩﻫﺪ ﻛﻪ ﺍﻭ ﭼﻴﺰﻯ ﺑﻴﺶ ﺍﺯ ﻛﺎﺭﻳﺰﻛﻨﻰ‬ ‫ﺳﺎﺩﻩ ﺍﺳﺖ‪«.‬‬ ‫ﺑﺎﻧﻮ ﮔﻔﺖ‪» :‬ﭘﺲ ﺑﺎ ﺍﻭ ﺳﺨﻦ ﺑﮕﻮﻯ ﻭ ﮔﻔﺘﻪﻫﺎﻳﺶ ﺭﺍ ﺑﺴﻨﺞ‪ ،‬ﺍﮔﺮ ﭘﺲ ﺍﺯ ﺁﻥ ﺭﺍﻳﺖ ﻫﻤﻴﻦ ﺑﻮﺩ ﻛﻪ ﻫﺴﺖ‪،‬‬ ‫ﺍﻭ ﺭﺍ ﺑﻪ ﺩﻩ ﺭﺍﻩ ﻣﺪﻩ‪ «.‬ﺩﻳﻪﺑﺪ ﺳﺮﻯ ﺑﻪ ﻧﺸﺎﻧﻪﻯ ﺭﺿﺎ ﺟﻨﺒﺎﻧﺪ‪.‬‬ ‫ﻓﺮﻫﺎﺩ‪ ،‬ﺑﺮ ﺳﻨﮕﻰ ﺑﺰﺭگ‪ ،‬ﭼﺸﻢ ﺑﻪ ﺭﺍﻩ ﺑﺎﻧﻮﻯ ﻧﺨﺴﺖ ﺩﻩ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ .‬ﺑﺎ ﺧﻮﺩ ﻓﻜﺮ ﻛﺮﺩ‪ ،‬ﻛﺎﺵ ﺑﮕﺬﺍﺭﻧﺪ‬ ‫ﺁﺧﺮﻳﻦ ﻭ ﺩﻫﻤﻴﻦ ﻛﺎﺭﻳﺰ ﺭﺍ ﺩﺭﻳﻦ ﺩﻩ ﺑﻜﻨﺪ‪ .‬ﺍﮔﺮ ﭼﻨﻴﻦ ﺑﻮﺩ‪ ،‬ﻣﻰﺗﻮﺍﻧﺴﺖ ﺍﺯ ﺯﻳﺮ ﺑﺎﺭ ﺩﻳﻨﻰ ﻛﻪ ﺟﺎﻧﺶ ﺭﺍ‬ ‫ﺧﺴﺘﻪ ﻛﺮﺩﻩ ﻭ ﺗﻮﺍﻧﺶ ﺭﺍ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﺭﻫﺎ ﺷﻮﺩ‪ ...‬ﺳﺎﻝ ﻧﺨﺴﺖ‪ ،‬ﺳﺎﻝ ﺧﻮﺑﻰ ﺑﻮﺩ‪ .‬ﻛﺴﻰ ﻧﻤﻰﺧﻮﺍﺳﺖ‬ ‫ﺑﺪﺍﻧﺪ ﺍﻳﻦ ﻛﺎﺭﻳﺰﻛﻦ ﻣﺮﻣﻮﺯ ﺍﺯ ﻛﺠﺎ ﺁﻣﺪﻩ ﻭ ﭼﻪ ﻗﺼﺪﻯ ﺩﺍﺭﺩ‪ .‬ﻫﻤﻴﻦ ﻛﻪ ﺻﺪﺍﻯ ﺟﺎﺭﻯ ﺷﺪﻥ ﺁﺏ ﺭﺍ ﺩﺭ‬ ‫ﺭگﻫﺎﻯ ﺧﺸﻚ ﺯﻣﻴﻦ ﻣﻰﺷﻨﻴﺪﻧﺪ‪ ،‬ﺑﺮﺍﻳﺸﺎﻥ ﻛﺎﻓﻰ ﺑﻮﺩ‪ .‬ﺑﺮﺍﻯ ﭘﻨﺞ ﺭﻭﺳﺘﺎ ﺩﺭ ﻳﻚ ﺳﺎﻝ ﻛﺎﺭﻳﺰ ﻛﻨﺪﻩ‬ ‫ﺑﻮﺩ‪ ...‬ﺍﻣﺎ ﭘﺲ ﺍﺯ ﺁﻥ‪ ،‬ﻣﺮﺩﺍﻧﻰ ﻛﻪ ﺑﻪ ﺑﺎﺯﻭﺍﻥ ﺗﻮﺍﻧﺎ ﻭ ﺩﺳﺘﺎﻥ ﻧﻴﺮﻭﻣﻨﺪﺵ ﺭﺷﻚ ﻣﻰﺑﺮﺩﻧﺪ‪ ،‬ﺍﺯ ﺍﻭ ﺧﻮﺍﺳﺘﻨﺪ‬ ‫ﺑﮕﻮﻳﺪ ﻛﻴﺴﺖ‪ ،‬ﺍﺯ ﻛﺠﺎ ﺁﻣﺪﻩ؟ ﻭ ﭼﻮﻥ ﭘﺎﺳﺨﻰ ﻧﺸﻨﻴﺪﻧﺪ‪ ،‬ﺑﻪ ﮔﻤﺎﻧﻪ ﺯﺩﻥ ﺭﻭﻯ ﺁﻭﺭﺩﻧﺪ ﻭ ﺍﺯ ﺁﻥﺟﺎ ﻛﻪ‬ ‫ﺧﻮﺩ ﭘﻠﻴﺪ ﺑﻮﺩﻧﺪ‪ ،‬ﺑﺎﻭﺭ ﻛﺮﺩﻧﺪ ﻫﺪﻓﺶ‪ ،‬ﻓﺮﻳﻔﺘﻦ ﻣﺮﺩﻣﺎﻥ ﺍﺳﺖ‪ ...‬ﺑﺮﺧﻼﻑ ﺗﻼﺵ ﺑﺴﻴﺎﺭﺷﺎﻥ‪ ،‬ﻧﺘﻮﺍﻧﺴﺘﻨﺪ‬ ‫ﺗﺎ ﭘﺎﻳﺎﻥ ﺩﻭﻣﻴﻦ ﺳﺎﻝ‪ ،‬ﺳﺪ ﺭﺍﻫﺶ ﺷﻮﻧﺪ‪ .‬ﺩﺭ ﺳﺎﻝ ﺩﻭﻡ‪ ،‬ﭼﻬﺎﺭ ﻛﺎﺭﻳﺰ ﺑﺮﺍﻯ ﻣﺮﺩﻡ ﺣﻔﺮ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺍﺑﺘﺪﺍﻯ‬ ‫ﺳﺎﻝ ﺳﻮﻡ ﺑﻮﺩ ﻛﻪ ﻫﻤﻪﭼﻴﺰ ﻭﻳﺮﺍﻥ ﺷﺪ‪ ،‬ﺧﺒﺮ ﻧﺎﭘﺪﻳﺪ ﺷﺪﻥ ﻛﺎﻣﺠﻮﻯ ﺭﺍﻫﺰﻥ‪ ،‬ﻫﻤﻪ ﺟﺎ ﭘﻴﭽﻴﺪ ﻭ ﺍﻳﻦ‬ ‫ﺷﺎﻳﻌﻪ ﻛﻪ ﺯﻳﺮﺩﺳﺘﺎﻧﺶ ‪-‬ﻛﻪ ﺭﺍﻭﻳﺎﻥ ﺳﻮﮔﻨﺪ ﻣﻰﺧﻮﺭﺩﻧﺪ ﭼﻮﻥ ﻧﺮﻩ ﺩﻳﻮﺍﻥ‪ ،‬ﺗﻮﺍﻧﺎ ﻭ ﺗﺮﺳﻨﺎﻛﻨﺪ‪ -‬ﺑﻪ‬ ‫ﺍﻣﻴﺪ ﻳﺎﻓﺘﻨﺶ ﺗﻤﺎﻡ ﺷﻬﺮﻫﺎ ﻭ ﺭﻭﺳﺘﺎﻫﺎ ﺭﺍ ﻛﺎﻭﻳﺪﻩﺍﻧﺪ ﻭ ﺑﺴﻴﺎﺭﻯ ﺭﺍ ﺑﺮ ﺳﺮ ﺭﺍﻫﺸﺎﻥ ﻏﺎﺭﺕ ﻛﺮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﻫﻤﻪﺟﺎ ﺳﺨﻦ ﺍﺯ ﻛﺎﻣﺠﻮ ﺑﻮﺩ ﻭ ﺗﺮﺳﻰ ﻛﻪ ﺑﺮﺍﻯ ﺩﻩ ﺳﺎﻝ ﺩﺭ ﻛﻮﻫﺴﺘﺎﻥ ﺍﻳﺠﺎﺩ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻣﺮﺩﺍﻧﺶ‪،‬‬ ‫ﻧﺸﺎﻧﻪﻫﺎﻯ ﺍﻭ ﺭﺍ ﺑﻪ ﻫﻤﻪ ﺳﻮ ﻓﺮﺳﺘﺎﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﭘﺲ ﺍﻳﻦﮔﻮﻧﻪ ﺭﻭﺳﺘﺎﻳﻴﺎﻥ ﻭﺣﺸﺖﺯﺩﻩ ﺩﺭﻳﺎﻓﺘﻨﺪ ﻛﻪ ﻓﺮﻫﺎﺩ‬ ‫ﺗﻤﺎﻡ ﻧﺸﺎﻥﻫﺎﻯ ﮔﻔﺘﻪ ﺷﺪﻩ ﺭﺍ ﺩﺍﺭﺩ‪ ،‬ﻣﮕﺮ ﻳﻜﻰ ﺭﺍ؛ ﺑﺮ ﺑﺎﺯﻭﻯ ﺭﺍﺳﺖ ﺗﻤﺎﻡ ﺭﺍﻫﺰﻧﺎﻥ‪ ،‬ﻧﻘﺶ ﻣﺎﺩﻩﮔﺮﮔﻰ‬ ‫ﺧﺸﻤﮕﻴﻦ ﺩﺍﻍ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻓﺮﻫﺎﺩ ﭼﻨﻴﻦ ﻧﻘﺸﻰ ﻧﺪﺍﺷﺖ ﻭ ﺑﺮﺧﻰ ﻣﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﺑﮕﻮﻳﻨﺪ ﻛﻪ ﺗﺼﻮﻳﺮ ﺁﺗﺸﻰ‬ ‫ﺑﺰﺭگ ﺭﺍ ﺑﺮ ﺑﺎﺯﻭﻳﺶ ﺩﻳﺪﻩ ﺑﻮﺩﻧﺪ ﻛﻪ ﺑﻰﺩﻭﺩ ﻣﻰﺳﻮﺧﺖ‪.‬‬ ‫ﺩﺭ ﺁﻥ ﺳﺎﻝ‪ ،‬ﻫﻴﭻ ﻛﺎﺭﻳﺰﻯ ﻧﻜﻨﺪﻩ ﺑﻮﺩ‪ .‬ﭘﺲ ﺁﺷﻔﺘﻪ ﻭ ﺑﻰﺍﻣﻴﺪ ﺑﺮ ﺩﺭ ﺁﺧﺮﻳﻦ ﺭﻭﺳﺘﺎﻯ ﻛﻮﻩﭘﺎﻳﻪ‪ ،‬ﺍﻳﺴﺘﺎﺩﻩ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﺑﺎﻧﻮ ﮔﻔﺘﻪ ﺑﻮﺩ ﺗﺎ ﭘﻴﺶ ﺍﺯ ﻇﻬﺮ ﺍﻭ ﺭﺍ ﺧﺒﺮ ﺧﻮﺍﻫﺪ ﻛﺮﺩ‪ ،‬ﻭ ﺍﻭ ﻣﻰﺍﻧﺪﻳﺸﻴﺪ ﺍﺯ ﺩﺳﺖ ﺯﻧﻰ ﺗﻨﻬﺎ ﻫﺮ ﭼﻨﺪ‬ ‫ﻣﻬﺮﺑﺎﻥ ﻭ ﺯﻳﺒﺎﺭﻭﻯ‪ ،‬ﻛﺎﺭ ﺯﻳﺎﺩﻯ ﺳﺎﺧﺘﻪ ﻧﻴﺴﺖ؛ ﻭ ﻫﻤﻴﻦ ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩ ﺍﺯ ﺯﻧﺪﮔﻰ ﭼﻴﺰ ﻛﻤﻰ ﻣﻰﺩﺍﻧﺪ‪.‬‬ ‫ﺧﻮﺭﺷﻴﺪ ﺍﺯ ﺷﺮﻕ ﺳﺮ ﺑﺮ ﻣﻰﺁﻭﺭﺩ‪ .‬ﺑﺎﻧﻮ ﺭﻫﮕﺬﺭ ﺭﺍ ﺩﻳﺪ ﻛﻪ ﺑﻪ ﺷﺮﻕ ﻣﻰﺭﻓﺖ ﻭ ﻧﻴﺰ ﺳﺎﻳﻪﺍﺵ ﺭﺍ ﻛﻪ ﺑﺮ‬ ‫ﺧﻼﻑ ﺧﺪﺍﻭﻧﺪﮔﺎﺭﺵ‪ ،‬ﺩﺍﻣﻦ ﺭﻭﺳﺘﺎ ﺭﺍ ﺭﻫﺎ ﻧﻤﻰﻛﺮﺩ‪ .‬ﺩﺭ ﺭﺍ ﺑﺴﺖ‪ .‬ﺷﻮﻫﺮﺵ‪ ،‬ﺩﻳﻪﺑَﺪ‪ ،‬ﺩﺭ ﺍﻳﻮﺍﻥ ﺍﻳﺴﺘﺎﺩﻩ‬ ‫ﺑﻮﺩ‪ ،‬ﭼﺸﻢ ﺑﻪ ﺭﺍﻩ ﻫﻤﺴﺮﺵ ﺗﺎ ﺍﺯ ﻫﺸﺘﻰ ﺑﻪ ﺣﻴﺎﻁ ﺩﺍﺧﻞ ﺷﻮﺩ ﻭ ﭼﻮﻥ ﺍﻭ ﺭﺍ ﺩﻳﺪ ﻛﻪ ﺁﻫﺴﺘﻪ ﻭ‬ ‫ﺍﻧﺪﻳﺸﻤﻨﺪ ﻧﺰﺩﻳﻚ ﻣﻰﺷﻮﺩ‪ ،‬ﭘﺮﺳﻴﺪ‪» :‬ﭼﻪ ﮔﻔﺖ؟«‬ ‫ﺑﺎﻧﻮ ﺳﺮ ﺑﻠﻨﺪ ﻛﺮﺩ ﻭ ﺑﻪ ﭼﺸﻤﺎﻥ ﻣﺮﺩ ﻧﮕﺮﻳﺴﺖ ﮔﻔﺖ‪» :‬ﻓﺮﻫﺎﺩ ﻛﺎﺭﻳﺰﻛﻦ ﺑﻮﺩ‪ ،‬ﻫﻤﺎﻥ ﻛﻪ ﺁﻭﺍﺯﻩﺍﺵ ﺩﺭ‬ ‫ﻫﻤﻪ ﺟﺎ ﭘﻴﭽﻴﺪﻩ ﺍﺳﺖ‪ .‬ﭘﺮﺳﻴﺪ ﺁﻳﺎ ﻣﻰﺗﻮﺍﻧﺪ ﺑﺮﺍﻯ ﻣﺮﺩﻣﺎﻧﻤﺎﻥ ﻛﺎﺭﻳﺰﻯ ﺣﻔﺮ ﻛﻨﺪ؟«‬ ‫ﻣﺮﺩ ﭼﺸﻢ ﺗﻨﮓ ﻛﺮﺩ‪» :‬ﻫﻤﻴﻦ؟ ﻧﮕﻔﺖ ﭼﺮﺍ ﺩﺭﻳﻦ ﺯﻣﺎﻧﻪ ﻛﻪ ﻛﺴﻰ ﺑﻰﺩﻟﻴﻞ ﺑﻪ ﺩﻳﮕﺮﻯ ﺩﺭﻭﺩ ﻫﻢ ﻧﻤﻰﻓﺮﺳﺘﺪ‪،‬‬ ‫ﻣﻰﺧﻮﺍﻫﺪ ﭼﻨﻴﻦ ﺍﺯ ﺳﺮ ﻟﻄﻒ ﻭ ﺑﻰﭼﺸﻢﺩﺍﺷﺖ ﺩﺳﺖ ﺑﻪ ﻛﺎﺭﻯ ﺍﻳﻦﺳﺎﻥ ﺳﺨﺖ ﻭ ﭘﺮﺭﻧﺞ ﺑﺰﻧﺪ؟«‬ ‫ﺑﺎﻧﻮ‪ ،‬ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺍﺯ ﭘﻠﻪﻫﺎ ﺑﺎﻻ ﻣﻰﺭﻓﺖ ﮔﻔﺖ‪» :‬ﮔﻔﺖ ﺑﻪ ﺳﺒﺐ ﺩﻳﻨﻰ ﻛﻪ ﺑﺮ ﮔﺮﺩﻥ ﺩﺍﺭﺩ ﻭ ﻣﻬﻢﺗﺮ ﺍﺯ‬ ‫ﺁﻥ‪ ،‬ﺑﻪ ﺩﻟﻴﻞ ﭘﻴﻤﺎﻧﻰ ﻛﻪ ﺑﺎ ﭘﺮﻭﺭﺩﮔﺎﺭ ﺧﻮﺩ ﺑﺴﺘﻪ‪ ،‬ﺩﺳﺖ ﺑﻪ ﭼﻨﻴﻦ ﻣﻬﻤﻰ ﺯﺩﻩ‪«.‬‬ ‫ﻣﺮﺩ ﭘﻮﺯﺧﻨﺪﻯ ﺯﺩ‪ ،‬ﭘﻴﻤﺎﻥ ﺑﺎ ﭘﺮﻭﺭﺩﮔﺎﺭ‪ ...‬ﻫﻪ‪ ،‬ﭼﻪ ﻣﺮﺩ ﻓﺮﻳﺒﻜﺎﺭﻯ‪ ...‬ﺍﺯ ﻫﻤﺎﻥ ﻧﺨﺴﺘﻴﻦ ﺑﺎﺭ ﻛﻪ ﺍﻓﺴﺎﻧﻪﻯ‬ ‫ﻓﺮﻫﺎﺩ ﻛﺎﺭﻳﺰﻛﻦ ﺑﻪ ﮔﻮﺷﺶ ﺧﻮﺭﺩ‪ ،‬ﺍﺯ ﺍﻭ ﺧﻮﺷﺶ ﻧﻴﺎﻣﺪﻩ ﺑﻮﺩ‪ .‬ﻫﻴﭻ ﺧﻮﺵ ﻧﺪﺍﺷﺖ ﺑﻪ ﻣﺮﺩﻯ ﻛﻪ‬ ‫ﻛﺴﻰ ﺍﻭ ﺭﺍ ﻧﻤﻰﺷﻨﺎﺧﺖ ﻭ ﺍﺯ ﺯﺍﺩﮔﺎﻫﺶ ﺑﻰﺧﺒﺮ ﺑﻮﺩ‪ ،‬ﭼﺸﻢﺑﺴﺘﻪ ﺍﻋﺘﻤﺎﺩ ﻛﻨﺪ‪ .‬ﺗﻨﻬﺎ ﭼﻴﺰﻯ ﻛﻪ ﺍﺯ ﺍﻭ‬ ‫ﻣﻰﺩﺍﻧﺴﺘﻨﺪ ﺁﻥ ﺑﻮﺩ ﻛﻪ ﺭﻭﺯﻯ ﺳﺮﺩ‪ ،‬ﺩﺭ ﺁﻏﺎﺯ ﻣﻬﺮﮔﺎﻥ‪ ،‬ﻗﺪﻡ ﺑﻪ ﺭﻭﺳﺘﺎﻯ َﺩﻩﺧﺮﻣﻦ ﮔﺬﺍﺷﺘﻪ ﻭ ﺍﺯ ﺁﻧﺎﻥ‬ ‫ﻛﻪ ﭼﺎﻩﻫﺎﺷﺎﻥ ﺧﺸﻚ ﻭ ﺍﻣﻴﺪﺷﺎﻥ ﻧﺎﺍﻣﻴﺪ ﺑﻮﺩ‪ ،‬ﺧﻮﺍﺳﺘﻪ ﺗﺎ ﺭﺧﺼﺖ ﺩﻫﻨﺪ ﻛﺎﺭﻳﺰﻯ ﺑﺮﺍﻳﺸﺎﻥ َﻛﻨﺪ‪ .‬ﻛﺴﻰ‬ ‫ﺑﻴﺶ ﺍﺯ ﺍﻳﻦ ﭼﻴﺰﻯ ﻧﻤﻰﺩﺍﻧﺴﺖ‪ .‬ﻧﺎﻡ ﻓﺮﻫﺎﺩ ﻛﺎﺭﻳﺰﻛﻦ ﺭﺍ ﻧﻴﺰ ﻣﺮﺩﻡ ﻫﻤﺎﻥ ﺩﻩ ﺑﻪ ﺍﻭ ﺩﺍﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﭼﺮﺍ‬ ‫ﻛﻪ ﺩﺭ ﺑﺎﺯﻭﺍﻥ ﭘﺮﺗﻮﺍﻥ ﻭ ﭼﺸﻤﺎﻥ ﺷﻴﺪﺍﻳﺶ‪ ،‬ﻓﺮﻫﺎ ِﺩ ﺷﻴﺮﻳﻦ ﺩﻭﺑﺎﺭﻩ ﺯﻧﺪﻩ ﺷﺪﻩ ﺑﻮﺩ؛ ﻳﺎ ﻣﺮﺩﻡ ﭼﻨﻴﻦ‬ ‫ﻣﻰﮔﻔﺘﻨﺪ‪ .‬ﮔﻔﺖ‪» :‬ﺑﻪ ﺍﻭ ﺍﻋﺘﻤﺎﺩ ﻭ ﺁﻣﺪﻧﺶ ﺭﺍ ﺧﻮﺵ ﻧﺪﺍﺭﻡ‪ .‬ﺍﺯ ﺁﺑﻰ ﻛﻪ ﻛﺎﺭﻳﺰﺵ ﺍﺭﺯﺍﻧﻰ ﻛﻨﺪ ﻧﺨﻮﺍﻫﻢ‬ ‫ﻧﻮﺷﻴﺪ‪ ،‬ﺍﻭ ﺭﺍ ﺑﻪ ﺍﻳﻦ ﺩﻩ ﺭﺍﻩ ﻧﻴﺴﺖ‪«.‬‬ ‫ﺑﺎﻧﻮ ﺩﺭ ﭘﺎﺳﺦ‪ ،‬ﺗﻨﻬﺎ ﻧﮕﺎﻫﻰ ژﺭﻑ ﻭ ﻛﻮﺗﺎﻩ ﺑﻪ ﺷﻮﻫﺮ ﺧﻮﺩ ﻛﺮﺩ ﻭ ﺑﻪ ﺍﻧﺪﺭﻭﻧﻰ ﺭﻓﺖ ﺗﺎ ﺑﺮ ﻣﻬﻴﺎ ﺷﺪﻥ ﺧﻮﺍﻥ‬ ‫ﻧﻈﺎﺭﺕ ﻛﻨﺪ‪.‬‬ ‫ﺧﻮﺍﻥ‪ ،‬ﭘﺮﺑﺮﻛﺖ ﺑﻮﺩ ﻭ ﺳﺎﺩﻩ‪ ،‬ﺷﻴﺮ ﺗﺎﺯﻩ ﻭ ﻧﺎﻥ ﮔﺮﻡ ﺑﺎ ﭼﻨﺪ ﺧﻮﺭﺍﻙ ﺩﻳﮕﺮ‪ ،‬ﺯﻳﻨﺖ ﺑﺨﺶ ﺳﻔﺮﻩﻯ‬ ‫ﺑﺰﺭگﺗﺮﻳﻦ ﻣﺮﺩ ﺭﻭﺳﺘﺎ ﺑﻮﺩ‪ .‬ﺑﺎﻧﻮ ﻛﻪ ﻫﻤﺎﺭﻩ ﺑﺎ ﺧﻨﺪﻩﻫﺎ ﻭ ﺷﻴﺮﻳﻨﻰ ﺳﺨﻨﺶ ﺻﺒﺢ ﺭﺍ ﺑﺎ ﻋﺴﻞ ﻣﻰﺁﻣﻴﺨﺖ‪،‬‬ ‫ﺍﻛﻨﻮﻥ ﺑﺎ ﺳﻜﻮﺕ ﻋﺎﻣﺪﺍﻧﻪﻯ ﺧﻮﺩ ﺧﺎﻧﻪﺧﺪﺍﻯ ﺭﺍ ﺑﻪ ﺳﺘﻮﻩ ﺁﻭﺭﺩﻩ ﺑﻮﺩ‪ .‬ﺩﻳﻪﺑﺪ ﻛﻪ ﺑﻰﺗﺎﺏ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﮔﻔﺖ‪:‬‬ ‫»ﺑﺮﺧﻰ ﻣﻰﮔﻮﻳﻨﺪ ﭘﻴﺶ ﺍﺯ ﺁﻥ ﻛﻪ ﻓﺮﻫﺎﺩ ﺑﻪ ﺩﻩﺧﺮﻣﻦ ﺑﺮﺳﺪ‪ ،‬ﻛﺎﻣﺠﻮﻯ ﺭﺍﻫﺰﻥ ﺩﺭ ﻛﻮﻫﺴﺘﺎﻥ ﺍﻃﺮﺍﻑ‪،‬‬ ‫ﮔﻢ ﺷﺪﻩ ﻭ ﻛﺴﻰ ﺭﺍ ﺍﺯ ﺍﻭ ﺧﺒﺮﻯ ﻧﻴﺴﺖ‪ ...‬ﺍﮔﺮ ﺍﻭ‪ ،‬ﻫﻤﺎﻥ ﻣﺮﺩ ﺭﺍﻫﺰﻥ ﺑﺎﺷﺪ ﭼﻪ؟«‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﭘﺎﻭﺭﻗﻰ‬

‫ﻓﺮﻫﺎﺩ ﺩﻳﻮ ﺩﺭ‬ ‫)ﺑﺨﺶ ﺍﻭﻝ(‬ ‫ﻫﺎﻧﻴﻪ ﺳﺎﺩﺍﺕ ﺳﺮﻛﻰ‬

‫‪1‬‬ ‫‪ ‬ﺍﮔﺮﭼﻪ ﺳﭙﻴﺪﻩ ﺳﺮ ﺯﺩﻩ ﺑﻮﺩ‪ ،‬ﺧﻮﺭﺷﻴﺪ ﺗﺎ ﺳﺮﺍﻓﺮﺍﺯﻯ ﺩﺭ ﻣﻴﺪﺍﻥ ﺁﺳﻤﺎﻥ ﺭﺍﻩ ﺯﻳﺎﺩﻯ ﭘﻴﺶﺭﻭ ﺩﺍﺷﺖ‪ .‬ﺑﺎﺩ‪،‬‬ ‫ﺁﻫﺴﺘﻪ ﻭ ﭘﺎﻭﺭﭼﻴﻦ ﭘﻴﺶ ﻣﻰﺭﻓﺖ ﻭ ﺟﺎﻣﻪ ﻭ ﻣﻮﻯ ﻣﺮﺩ ﺭﺍ ﺁﺷﻔﺘﻪ ﻣﻰﻛﺮﺩ‪ .‬ﺟﺰ ﺻﺪﺍﻯ ﺻﺤﺒﺖ ﺁﻫﺴﺘﻪﻯ‬ ‫ﺩﻭ ﻧﻔﺮ ﻛﻪ ﺳﻜﻮﺕ ﺭﻭﺳﺘﺎ ﺭﺍ ﻛﻤﻰ ﻣﺸﻮﺵ ﻣﻰﻛﺮﺩ‪ ،‬ﻧﻮﺍﻯ ﺩﻳﮕﺮﻯ ﺑﻪ ﮔﻮﺵ ﻧﻤﻰﺭﺳﻴﺪ‪ .‬ﻣﺮﺩ‪ ،‬ﭘﺲ ﺍﺯ‬ ‫ﺩﺭﻧﮕﻰ ﻛﻮﺗﺎﻩ‪ ،‬ﺁﺳﺘﺎﻧﻪ ﺭﺍ ﺭﻫﺎ ﻛﺮﺩ ﻭ ﺭﺍﻩ ﺑﻴﺮﻭﻥ ﺭﻓﺘﻦ ﺍﺯ ﺭﻭﺳﺘﺎ ﺭﺍ ﺩﺭ ﭘﻴﺶ ﮔﺮﻓﺖ‪ .‬ﻗﺎﻣﺘﺶ ﺑﻠﻨﺪ ﺑﻮﺩ‪،‬‬ ‫ﺍﻧﺪﺍﻣﻰ ﺳﺘﺒﺮ ﻭ ﺑﺎﺯﻭﺍﻧﻰ ﭘﺮﮔﺮﻩ ﺩﺍﺷﺖ‪ .‬ﺳﺮﺵ ﺭﺍ ﺑﻪ ﺯﻳﺮ ﺍﻧﺪﺍﺧﺘﻪ ﺑﻮﺩ ﻭ ﺑﺎ ﺷﺎﻧﻪﻫﺎﻯ ﺍﻓﺘﺎﺩﻩ‪ ،‬ﺩﻭﺭ ﻣﻰﺷﺪ‬ ‫ﻭ ﺍﮔﺮﭼﻪ ﮔﻔﺘﻪ ﺑﻮﺩ ﻛﺎﺭﻳﺰﻛﻨﻰ ﺳﺎﺩﻩ ﺍﺳﺖ‪ ،‬ﻫﻴﺒﺘﺶ ﺑﻪ ﺟﻨﮕﺠﻮﻳﻰ ﺩﻻﻭﺭ ﻣﻰﻣﺎﻧﺴﺖ ﻛﻪ ﺍﺯ ﺍﻓﺴﺎﻧﻪﻫﺎ‬ ‫ﻗﺪﻡ ﺑﻪ ﺭﻭﺳﺘﺎ ﮔﺬﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪.‬‬


‫ﻛﺘﺎﺏ‬

‫ﻗﻄﻌﻪﺍﻯ ﺍﺯ ﻣﺘﻦ ﻛﺘﺎﺏ‬

‫‪ ...‬ﻣﻄﻤﱧ ﺑﻮدم ﮐﻪ ﺻﺪاﻫﺎی ﺗﻮی دﻫﺎﻧﻢ متﺎم ﺷﺪه و زﺑﺎن ﺑﯽﺧﺎﺻﯿﺘﻢ ﺑﻪ ﻟﺜﻪام ﭼﺴﺒﯿﺪه‪.‬‬ ‫»ﮔﻮشﻫﺎﺗﻮ واز ﮐﻦ ﺗﺎ از اون ﭘﺮﻧﺪه ﺑﺮات ﺣﺮف ﺑﺰﻧﻢ‪ .‬ﺑﻌﺪش ﺧﻮدت در اﺗﺎق رو ﺑﻪ روی ﻣﺎ واز‬ ‫ﻣﯽﮐﻨﯽ‪ .‬اﯾﻦﻃﻮری ﺑﻬﱰی ﻧﯿﺲ؟ ﻣﻌﻠﻮﻣﻪ ﮐﻪ ﺑﻬﱰه‪«.‬‬ ‫ﺑﺮﮔﺸﺘﻢ و دوﺑﺎره ﺑﻪ ﻧﻨﻪام ﻧﮕﺎه ﮐﺮدم‪ .‬ﻫﻨﻮز ﺑﻪ دﯾﻮار ﺗﮑﯿﻪ داده ﺑﻮد و اﻧﮕﺎر ﺧﻮد او ﻫﻢ از‬ ‫ﺟﻨﺲ دﯾﻮار ﺷﺪه ﺑﻮد‪.‬‬ ‫»ﺑﻪ اون ﮐﺎری ﻧﺪاﺷﺘﻪ ﺑﺎش‪ ،‬ﮔﻮﺷﺎت ﺑﺎ ﻣﻨﻪ؟ از درز در دارم متﺎﺷﺎت ﻣﯽﮐﻨﻢ‪ .‬ﮔﻮش ﮐﻦ‪ ،‬ﺗﻨﻬﺎ‬ ‫ﻣﻮﺟﻮد زﻧﺪهای ﮐﻪ در اونﺟﺎ دﯾﺪه ﺷﺪ ﭘﺮﻧﺪهای ﺑﻮد ﮐﻪ ﺑﻪ زﺑﺎن ﻣﺎ ﺣﺮف ﻣﯽزد و اﺳﻢ ﻫﻤﻪی‬ ‫ﻣﺎ رو ﻣﯽدوﻧﺴﺖ‪ .‬ﻫﺮ ﭼﻪ ﺑﻪ او ﻧﺰدﯾﮏ ﻣﯽﺷﺪﯾﻢ‪ ،‬ﺑﻪ آدم ﺷﺒﯿﻪﺗﺮ ﻣﯽﺷﺪ‪ .‬وﻗﺘﯽ ازش دور‬ ‫ﻣﯽﺷﺪﯾﻢ‪ ،‬دوﺑﺎره ﻣﺚ ﻫﻤﻮن ﭘﺮﻧﺪه روی ﺳﺘﻮن ﯾﮑﯽ از ﺧﻮﻧﻪﻫﺎ ﻣﯽﻧﺸﺴﺖ و ﮔﺮﯾﻪ ﻣﯽﮐﺮد‪«.‬‬

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‫ﺩﺭ ﺯﻣﺎﻥ ﻫﺎﻯ ﻧﺰﺩﻳﻚ ﻭ ﻛﻨﻮﻧﻰ‪ ،‬ﺳﻌﻰﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﺩﺍﺧﻠﻰ ﺑﺮﺍﻯ ﺧﻠﻖ ﺁﺛﺎﺭﻯ‬ ‫ﺩﺭ ﭼﺎﺭﭼﻮﺏ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﻏﺮﺑﻰ ﺑﻪ ﺻﻮﺭﺕ ﺑﻮﻣﻰ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﺑﻴﻦ ﺁﺛﺎﺭ ﻛﻤﻰ ﺑﻮﺩﻩﺍﻧﺪ ﻛﻪ‬ ‫ﺑﺘﻮﺍﻧﻨﺪ ﻫﺮ ﺩﻭ ﺳﺎﺧﺘﺎﺭ ﺭﺍ ﺑ��� ﺻﻮﺭﺗﻰ ﺻﺤﻴﺢ ﺩﺭ ﺁﺛﺎﺭﺷﺎﻥ ﺑﻪ ﺗﻜﺎﭘﻮ ﺑﻴﻨﺪﺍﺯﻧﺪ‪ .‬ﭼﻨﺎﻥ ﻛﻪ ﮔﺎﻫﻰ ﺣﺘﺎ‬ ‫ﺭﻭﻧﻮﺷﺖ ﻭ ﺗﺎﺛﻴﺮﭘﺬﻳﺮﻯ ﻣﺴﺘﻘﻴﻢ ﺁﺛﺎﺭ ﺩﺍﺧﻠﻰ ﺍﺯ ﺁﺛﺎﺭ ﺧﺎﺭﺟﻰ ﻛﺎﻣ ً‬ ‫ﻼ ﻫﻮﻳﺪﺍﺳﺖ‪.‬‬ ‫ﺍﺛﺮ »ﻣﺮﺩﻩ ﺍﻯ ﻛﻪ ﺣﺎﻟﺶ ﺧﻮﺏ ﺍﺳﺖ« ﺍﺛﺮ ﺍﺣﻤﺪ ﺁﺭﺍﻡ‪ ،‬ﻫﺮﭼﻨﺪ ﺷﺮﻭﻋـﻰ ﻛﺎﻣ ً‬ ‫ﻼ ﻭﺍﻗﻊﮔﺮﺍﻳﺎﻧﻪ ﺩﺍﺭﺩ ﻭ‬ ‫ﺭﻭﻧﺪ ﺁﻥ ﺍﺯ ﺷﻠﻮﻏﻰ ﺟﺎﺩﻭ ﻭ ﻋﻨﺎﺻﺮ ﺩﻳﮕﺮ ﺩﻧﻴﺎﻯ ﻓﺎﻧﺘﺰﻯ ﺧﺎﻟﻰ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﻛﻢﻛﻢ ﺑﺎ ﻓﻀﺎﻫﺎ ﻭ ﺍﺳﻄﻮﺭﻩﻫﺎ‬ ‫ﻭ ﻋﻨﺎﺻﺮ ﻓﺎﻧﺘﺰﻯ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﻣﻮﺍﺟﻬﻪ ﻣﻰﺷﻮﻳﻢ‪ .‬ﻧﮕﺮﺵ ﮔﻤﺎﻧﻪﺯﻧﻰ ﺩﺭ ﺍﺛﺮ‪ ،‬ﺧﻠﻮﺕ ﻭ ﺁﺭﺍﻡ ﺍﺳﺖ‪ .‬ﺧﺒﺮﻯ‬ ‫ﺍﺯ ﺭﻧﮕﺎﺭﻧﮕﻰ ﺟﺎﺩﻭﮔﺮﺍﻧﻪ ﻳﺎ ﻧﺒﺮﺩ ﺷﺮ ﻭ ﺧﻴﺮ ﺩﺭ ﺍﺛﺮ ﻧﻴﺴﺖ‪ .‬ﺑﻠﻜﻪ ﮔﻤﺎﻧﻪﺯﻧﻰ ﺩﺭ ﺍﺛﺮ ﻓﻀﺎﻫﺎﻯ ﻏﻴﺮﻭﺍﻗﻌﻰ‪،‬‬ ‫ﺷﺨﺼﻴﺖﻫﺎﻯ ﺩﺍﺭﺍﻯ ﻗﺪﺭﺕﻫﺎﻯ ﻣﺎﻭﺭﺍﺋﻰ ﻭ ﺍﺗﻔﺎﻗﺎﺕ ﻭ ﺭﻭﻳﺎﻫﺎﻯ ﺗﺨﻴﻠﻰ ﻭ ﻋﺠﻴﺐ ﻣﺎﻧﻮﺱ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺭﺳﻮﺏ ﺍﺳﻄﻮﺭﻩﻫﺎ ﻭ ﻧﮕﺮﺵﻫﺎ ﻭ ﺧﻴﺎﻝﭘﺮﺩﺍﺯﻯﻫﺎﻯ ﺑﻮﻣﻰ ﻭ ﺗﺎﺭﻳﺨﻰ ﺩﺭ ﺍﺛﺮ ﭼﻨﺎﻥ ﺭﻧﮓ ﻭ ﺑﻮﻯ ﺩﻗﻴﻖ ﻭ‬ ‫ﺑﻮﻣﻰ ﺑﻪ ﺍﺛﺮ ﺩﺍﺩﻩ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺟﻬﺖ ﺑﻮﻣﻰﻧﮕﺎﺭﻯ‪ ،‬ﺷﺎﻳﺪ ﻳﻜﻰ ﺍﺯ ﺑﺮﺗﺮﻳﻦ ﺁﺛﺎﺭ ﮔﻤﺎﻧﻪﺯﻥ ﻣﺪﺭﻥ ﺍﺩﺑﻴﺎﺕ‬ ‫ﺍﻳﺮﺍﻥ ﺑﺎﺷﺪ‪.‬‬ ‫ﺑﺎ ﺟﺬﺍﺑﻴﺖﻫﺎﻯ ﻓﺮﺍﻭﺍﻥ ﺍﺛﺮ‪ ،‬ﻓﻀﺎﻫﺎﻯ ﺑﺴﻴﺎﺭ ﺷﻠﻮﻍ ﻭ ﺍﺗﻔﺎﻗﺎﺕ ﺑﻰﻧﻈﻢ ﻭ ﭘﺮﺳﺮ ﻭ ﺻﺪﺍ ﻭ ﺑﺪﻭﻥ ﺗﺮﺗﻴﺐ‪،‬‬ ‫ﺍﺛﺮ ﺭﺍ ﻛﻤﻰ ﺗﺎ ﻗﺴﻤﺘﻰ ﻏﻴﺮﻗﺎﺑﻞ ﺩﺭﻙ ﻭ ﻫﻤﺨﻮﺍﻧﻰ ﻫﻤﺰﻣﺎﻥ ﻣﻰﻛﻨﺪ‪ .‬ﻓﻀﺎﻫﺎﻯ ﺳﻮﺭﺭﺋﺎﻝ ﺍﺛﺮ ﺑﺴﻴﺎﺭ‬ ‫ﺯﻳﺎﺩ ﻭ ﻋﻤﻴﻖ ﻭ ﭘﺮﺭﻧﮓ ﻭ ﮔﻴﺞ ﻛﻨﻨﺪﻩ ﻫﺴﺘﻨﺪ‪ .‬ﻣﺮﺯﻫﺎﻯ ﺯﻣﺎﻥ ﻭ ﻣﻜﺎﻥ ﻭ ﺍﺗﻔﺎﻗﺎﺕ ﻭ ﺭﻭﻳﺎ ﻭ ﻭﺍﻗﻌﻴﺖ ﻭ‬ ‫ﺭﻭﺍﻥ ﺷﺨﺼﻴﺖﻫﺎ ﻛﺎﻣ ً‬ ‫ﻼ ﻛﻢﺭﻧﮓ ﻣﻰﺷﻮﺩ ﻭ ﺍﻳﻦ ﺑﻪ ﭘﺮﺩﺍﺯﺵ ﺳﻮﺭﺭﺋﺎﻝ ﺍﺛﺮ ﻛﻤﻚ ﺑﺴﻴﺎﺭ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻣﺎ‬ ‫ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﮔﻴﺞﻛﻨﻨﺪﮔﻰ ﺭﺍ ﻧﻴﺰ ﺑﻪ ﺁﻥ ﺍﻟﺼﺎﻕ ﻛﺮﺩﻩ ﺍﺳﺖ؛ ﺑﻪ ﻃﻮﺭﻯ ﻛﻪ ﺧﻮﺍﻧﺶ ﻭ ﻓﻬﻢ ﻫﻢﺯﻣﺎﻥ ﺍﺛﺮ‬ ‫ﺑﻪ ﺳﺨﺘﻰ ﺍﻣﻜﺎﻥﭘﺬﻳﺮ ﺍﺳﺖ ﻭ ﺷﺎﻳﺪ ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﻋﻮﺍﻣﻞ ﺍﻳﻦ ﻣﻮﺿﻮﻉ‪ ،‬ﻓﻀﺎﭘﺮﺩﺍﺯﻯﻫﺎ ﻭ ﺍﺗﻔﺎﻗﺎﺕ ﺑﺴﻴﺎﺭ‬ ‫ﻭ ﻣﺪﺍﻭﻡ ﺑﺎﺷﺪ‪ ،‬ﺩﺭ ﻋﻴﻦ ﺣﺎﻟﻰ ﻛﻪ ﺍﺛﺮ ﺗﻌﻠﻴﻖ ﺧﺎﺻﻰ ﺭﺍ ﺣﺎﻛﻢ ﺑﺮ ﺟﺮﻳﺎﻥ ﻓﻜﺮﻯ ﺧﻮﺍﻧﻨﺪﻩ ﻧﻤﻰﻛﻨﺪ‪.‬‬ ‫ﺑﺮﺍﻯ ﻣﺜﺎﻝ ﺷﺨﺼﻴﺖ ﺩﺷﻤﻦ ﻭ ﻣﻨﻔﻰ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﻭ ﺟﻨﮕﻰ ﻣﻴﺎﻥ ﺷﺨﺼﻴﺖﻫﺎﻯ ﻣﺜﺒﺖ‬ ‫ﻭ ﻣﻨﻔﻰ ﺻﻮﺭﺕ ﻧﻤﻰﮔﻴﺮﺩ )ﭼﻨﺎﻥ ﻛﻪ ﺩﺭ ﺗﻌﺮﻳﻒ ﻓﺎﻧﺘﺰﻯ ﺩﺭ ﺍﺳﺎﺳﻨﺎﻣﻪﻯ ﺁﻛﺎﺩﻣﻰ ﻓﺎﻧﺘﺰﻯ‪ ،‬ﺟﻨﮓ‬ ‫ﺳﻨﺘﻰ ﻋﻠﻴﻪ ﺧﻴﺮ ﻭ ﺷﺮ ﺍﺯ ﻭﻳﮋﮔﻰﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﻫﻮﻳﺖ ﺍﺻﻠﻰ ﻓﺎﻧﺘﺰﻯ ﻫﺴﺘﻨﺪ( ﻭ ﺗﻤﺎﻡ ﺟﺬﺍﺑﻴﺖ ﺩﺭ‬ ‫ﻫﻤﺎﻥ ﻓﻀﺎﻫﺎ‪ ،‬ﺗﻮﺻﻴﻒﻫﺎ ﻭ ﺍﺗﻔﺎﻗﺎﺕ ﺳﺎﺩﻩ ﻭ ﺳﺮﻳﻊ ﻭ ﭘﺮﺭﻧﮓ ﻧﻬﻔﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻫﺮﭼﻨﺪ ﺧﻮﺩ ﺷﺨﺼﻴﺖ‬ ‫ﻭ ﻣﻮﺿﻮﻉ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﺘﻮﺍﻧﺪ ﺍﻳﺠﺎﺩ ﺍﻧﮕﻴﺰﻩ ﻭ ﻋﻼﻗﻪ ﻛﻨﺪ ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﻛﻪ ﻧﮕﺎﺭﺵ ﺟﺎﻟﺒﻰ ﻧﻴﺰ ﺩﺍﺭﺩ‪ ،‬ﺍﺯ ﻧﮕﺎﻩ ﭘﺴﺮﺑﭽﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ﺯﻧﺪﮔﻰ ﺧﻮﺩ ﺑﺎ ﭘﺪﺭ ﻋﻴﺎﺵ ﻭ ﻋﺠﻴﺐ‬ ‫ﻭ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻨﻰﺍﺵ ﺭﺍ ﺭﻭﺍﻳﺖ ﻣﻰﻛﻨﺪ‪ .‬ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﺯﺍﺩﮔﺎﻩ ﻧﻮﻳﺴﻨﺪﻩ ﻳﻌﻨﻰ ﺑﻮﺷﻬﺮ ﺭﻭﺍﻳﺖ ﻣﻰﺷﻮﺩ‬ ‫ﻭ ﻭﻳﮋﮔﻰﻫﺎﻯ ﺳﻨﺘﻰ ﻛﻪ ﺩﺭ ﮔﻮﻳﺶ ﻭ ﺩﻳﺎﻟﻮگﻫﺎ‪ ،‬ﻓﻀﺎﺳﺎﺯﻯﻫﺎ‪ ،‬ﺳﻨﺖﻫﺎ ﻭ‪ ...‬ﺭﻋﺎﻳﺖ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺍﺛﺮ ﺭﺍ‬ ‫ﺑﻪ ﻳﻜﻰ ﺍﺯ ﺁﺛﺎﺭ ﺑﺮﺟﺴﺘﻪ ﺩﺭ ﺯﻣﻴﻨﻪ ﭘﺮﺩﺍﺯﺵ ﺑﻮﻣﻰ ﺗﺒﺪﻳﻞ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬

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‫ﻣﺮﺩﻩﺍﻯ ﻛﻪ ﺣﺎﻟﺶ‬ ‫ﺧـــــﻮﺏ ﺍﺳـﺖ‬ ‫ﺍﻣﻴﺮﺣﺴﻴﻦ ﻛﺮﻳﻢﭘﻨﺎﻩ‬

‫ﺷﻨﺎﺳﻨﺎﻣﻪ‬ ‫ﻧﺎﻡ ﻛﺘــﺎﺏ‪ :‬ﻣﺮﺩﻩ ﺍﻯ ﻛﻪ ﺣﺎﻟﺶ‬ ‫ﺧــــﻮﺏ ﺍﺳـﺖ‬ ‫ﻧﻮﻳﺴﻨــﺪﻩ‪ :‬ﺍﺣـﻤــــﺪ ﺁﺭﺍﻡ‬ ‫ﻧـﺎﺷــــﺮ‪ :‬ﻧﺸـــــﺮ ﺍﻓــﻖ‬ ‫ﻧﻮﺑﺖ ﭼـﺎپ‪ :‬ﺍﻭﻝ ‪1 3 8 3 -‬‬


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‫ﻣﻰﺩﻫﺪ‪ .‬ﭘﻮﻟﻤﻦ ﻫﻢ ﺩﺭ ﻛﻮﻛﻰ ﻭ ﻫﻢ ﺩﺭ ﻛﻨﺖ ﻛﺎﺭﻟﺸﺘﺎﻳﻦ ﺑﺎ ﻣﺨﺎﻃﺐ ﺑﺎﺯﻯ ﻣﻰﻛﻨﺪ‪ .‬ﺑﺎﺯﻯ ﻛﻪ ﻫﻤﺎﻥ‬ ‫ﻣﺎﻫﻴﺖ ﻛﺎﺭﻧﺎﻭﺍﻝ ﺍﺳﺖ‪.‬‬ ‫ﺷﺎﻳﺪ ﺑﺸﻮﺩ ﮔﻔﺖ ﭘﻮﻟﻤﻦ ﺩﺍﺳﺘﺎﻥ ﭘﺮﻳﺎﻥ ﺭﺍ ﺑﻪ ﺧﺪﻣﺖ ﺧﻮﺩ ﺩﺭ ﻣﻰﺁﻭﺭﺩ ﺗﺎ ﺑﺮ ﻣﺎﻫﻴﺖ ﻧﻤﺎﻳﺶﮔﻮﻧﻪﻯ‬ ‫ﺧﻮﺩ ﺗﺎﻛﻴﺪ ﻛﻨﺪ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ ﺩﺭ ﻛﻮﻛﻰ ﺷﺨﺼﻴﺖﻫﺎ ﻭ ﻭﻗﺎﻳﻊ ﺍﻧﮕﺎﺭ ﻛﻮﻙ ﺷﺪﻩ ﺑﺎﺷﻨﺪ؛ ﻣﺜﻞ ﺳﻮﺕ‬ ‫ﭘﺴﺮﻙ ﻛﻪ ﺁﺩﻣﻚ ﺳﻠﺤﺸﻮﺭ ﺭﺍ ﺍﺯ ﺣﺮﻛﺖ ﺑﺎﺯ ﻣﻰﺍﻳﺴﺘﺎﻧﺪ‪ .‬ﭼﻪ ﺩﺭ ﻛﻮﻛﻰ ﻭ ﭼﻪ ﺩﺭ ﻛﻨﺖ ﻛﺎﺭﻟﺸﺘﺎﻳﻦ‪،‬‬ ‫ﭘﻮﻟﻤﻦ ﻫﻮﺷﻤﻨﺪﺍﻧﻪ ﺑﺎ ﺗﺒﺪﻳﻞ ﺗﺼﺎﺩﻑﻫﺎﻯ ﺑﻰﺷﻤﺎﺭ ﺩﺍﺳﺘﺎﻥ ﻛﻪ ﺩﺭ ﺣﺎﻟﺖ ﻋﺎﺩﻯ ﺿﻌﻒ ﺑﻪ ﺷﻤﺎﺭ‬ ‫ﻣﻰﺁﻳﻨﺪ‪ ،‬ﻣﻮﻗﻌﻴﺖﻫﺎﻳﻰ ﺗﻘﺪﻳﺮﻯ ﻣﺎﻫﻴﺖ ﻧﻤﺎﻳﺶﻭﺍﺭ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻣﺎ ﺍﻟﻘﺎ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻛﻨﺖ ﻛﺎﺭﻟﺸﺘﺎﻳﻦ ﻭ ﻛﻮﻛﻰ ﻣﺤﺼﻮﻝ ﺩﻭ ﺩﻭﺭﻩﻯ ﻣﺘﻔﺎﻭﺕ ﺍﺯ ﺩﻭﺭﺍﻥ ﻧﻮﻳﺴﻨﺪﮔﻰ ﭘﻮﻟﻤﻦ ﻫﺴﺘﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻦ‬ ‫ﻣﻴﺎﻥ ﻧﺎﭘﺨﺘﮕﻰ ﻛﻨﺖ ﻛﺎﺭﻟﺸﺘﺎﻳﻦ ﺩﺭ ﺣﻔﻆ ﺗﻌﺎﺩﻝ ﻣﻴﺎﻥ ﺭﺍﻭﻳﺎﻥ ﻣﺘﻌﺪﺩﺵ ﻭ ﺟﺰﺋﻴﺎﺕ ﺩﺍﺳﺘﺎﻧﻰ ﺑﻴﺸﺘﺮ‬ ‫ﺑﻪ ﭼﺸﻢ ﻣﻰﺧﻮﺭﺩ ﻭ ﻛﻮﻛﻰ ﻧﻤﻮﻧﻪﻯ ﻛﺎﻣﻞﺗﺮ ﻭ ﻣﻮﻓﻖﺗﺮﻯ ﺍﺯ ﻛﺎﺭ ﻧﻮﻳﺴﻨﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﭼﻪ ﺑﺮﺍﻯ ﻛﺴﺎﻧﻰ‬ ‫ﻛﻪ ﺍﺯ ﻃﺮﻓﺪﺍﺭﺍﻥ ﭘﻮﻟﻤﻦ ﻫﺴﺘﻨﺪ ﻭ ﭼﻪ ﻛﺴﺎﻧﻰ ﻛﻪ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﭘﻮﻟﻤﻦ ﻧﺨﻮﺍﻧﺪﻩﺍﻧﺪ‪ ،‬ﺧﻮﺍﻧﺪﻥ ﺍﻳﻦ ﻛﺘﺎﺏﻫﺎ‬ ‫ﺑﺎﻳﺪ ﺩﺭ ﺍﻭﻟﻮﻳﺖ ﻗﺮﺍﺭ ﮔﻴﺮﺩ‪ .‬ﭼﻮﻥ ﭘﻮﻟﻤﻦ ﻣﻮﻓﻖ ﺷﺪﻩ ﺳﺮﮔﺮﻣﻰ ﺭﺍ ﺑﺎ ﻧﻮﻋﻰ ﻫﻮﺷﻤﻨﺪﻯ ﻛﻪ ﻣﺨﺎﻃﺐ‬ ‫ﺧﻮﺩ ﺭﺍ ﺩﺳﺖ ﻛﻢ ﻧﻤﻰﮔﻴﺮﺩ‪ ،‬ﺗﻮﺍﻡ ﺳﺎﺯﺩ ﻛﻪ ﺍﻳﻦ ﺭﻭﺯﻫﺎ ﺩﺭ ﻣﻴﺎﻥ ﻛﺎﺭﺧﺎﻧﻪﻫﺎﻯ ﺍﻧﺒﻮﻩﺳﺎﺯﻯ ﺳﺮﮔﺮﻣﻰ‬ ‫ﺑﻰﻣﺎﻳﻪ ﻛﻤﻴﺎﺏ ﺍﺳﺖ‪ .‬ﺑﻪ ﻏﻴﺮ ﺍﺯ ﺍﻳﻦ‪ ،‬ﻛﺎﺭﻫﺎﻯ ﭘﻮﻟﻤﻦ ﺍﺯ ﺩﻝ ﺳﻨﺘﻰ ﺍﺯ ﺍﺩﺑﻴﺎﺕ ﺍﻧﮕﻠﻴﺴﻰ ﻣﻰﺁﻳﺪ ﻛﻪ‬ ‫ﻧﻤﻮﻧﻪﻫﺎﻳﺶ ﺩﺭ ﺍﻳﺮﺍﻥ ﻛﻤﺘﺮ ﺗﺮﺟﻤﻪ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻛﻮﻛﻰ‪ 4 :‬ﺳﺘﺎﺭﻩ‬ ‫ﻛﻨﺖ ﻛﺎﺭﻟﺸﺘﺎﻳﻦ‪ 3 :‬ﺳﺘﺎﺭﻩ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﻓﻴﻠﻴﭗ ﭘﻮﻟﻤﻦ ﺭﺍ ﭼﻪ ﺩﺭ ﺍﻳﺮﺍﻥ ﻭ ﭼﻪ ﺩﺭ ﺩﻳﮕﺮ ﻧﻘﺎﻁ ﺩﻧﻴﺎ ﺑﻴﺸﺘﺮ ﺑﺎ ﺳﻪ ﮔﺎﻧﻪﻯ »ﻧﻴﺮﻭﻯ ﺍﻫﺮﻳﻤﻨﻰﺍﺵ«‬ ‫ﻣﻰ ﺷﻨﺎﺳﻨﺪ‪ .‬ﻫﻢ ﭼﻨﻴﻦ ﭘﻮﻟﻤﻦ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﺳﺘﺎﺩ ﺍﺩﺑﻴﺎﺕ ﺍﻧﮕﻠﻴﺴﻰ ﻛﻪ ﻣﺪﺍﻭﻡ ﻛﺎﺭ ﻛﺮﺩﻩ ﻭ ﺑﻴﺸﺘﺮ‬ ‫ﻛﺎﺭﻫﺎﻳﺶ ﺩﺭ ﺯﻣﻴﻨﻪﻯ ﺍﺩﺑﻴﺎﺕ ﺍﺳﺘﻴﻢﭘﺎﻧﻚ ﺑﻮﺩﻩ ﻭ ﺍﻟﺒﺘﻪ ﭼﻨﺪ ﺑﺎﺭﻯ ﻫﻢ ﻧﺎﻣﺰﺩ ﺑﻮﻛﺮ ﺷﺪﻩ‪ ،‬ﻭﻟﻰ ﻫﺮ ﺑﺎﺭ‬ ‫ﺩﺳﺖ ﺧﺎﻟﻰ ﺑﺮﮔﺸﺘﻪ ﻫﻢ ﺷﻬﺮﺕ ﺑﻪﺳﺰﺍﻳﻰ ﺑﻪ ﻫﻢ ﺯﺩﻩ‪.‬‬ ‫ﻓﻴﻠﻴﭗ ﭘﻮﻟﻤﻦ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺑﻪ ﻫﻤﺖ ﻓﺮﺯﺍﺩ ﻓﺮﺑﺪ ﺑﺎ ﺗﺮﺟﻤﻪﻯ ﺗﺮﻳﻠﻮژﻯ ﻧﻴﺮﻭﻯ ﺍﻫﺮﻳﻤﻨﻰﺍﺵ ﺑﻪ ﻓﺎﺭﺳﻰ‬ ‫ﺯﺑﺎﻧﺎﻥ ﻣﻌﺮﻓﻰ ﺷﺪ‪ .‬ﻫﺮ ﭼﻨﺪ ﺍﻛﺜﺮﺍ ً ﺑﺮ ﭘﺎﻳﺎﻥ ﺿﻌﻴﻒ ﺟﻠﺪ ﺳﻮﻡ ﺗﺮﻳﻠﻮژﻯ ﺻﺤﻪ ﻣﻰﮔﺬﺍﺭﻧﺪ‪ ،‬ﻭﻟﻰ ﺍﻫﻤﻴﺖ‬ ‫ﻛﺘﺎﺏ ﺍﻭﻝ ﺍﻳﻦ ﺗﺮﻳﻠﻮژﻯ ﺷﺎﻳﺪ ﺩﺭ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻳﻜﻰ ﺍﺯ ﺗﻨﻬﺎ ﻧﻤﻮﻧﻪﻫﺎﻯ ﻣﻮﺟﻮﺩ ﺍﺯ ﺍﺩﺑﻴﺎﺕ ﺍﺳﺘﻴﻢﭘﺎﻧﻚ‬ ‫ﺑﻪ ﺯﺑﺎﻥ ﻓﺎﺭﺳﻰ ﺍﺳﺖ‪ .‬ﺣﺎﻻ ﻓﺮﺯﺍﺩ ﻓﺮﺑﺪ ﺑﺎ ﺗﺮﺟﻤﻪﻯ ﺳﻪ ﻛﺘﺎﺏ ﺩﻳﮕﺮ ﺍﺯ ﭘﻮﻟﻤﻦ ﺑﺎﺭ ﺩﻳﮕﺮ ﺳﺮﺍﻏﻰ ﺍﺯ ﺍﻳﻦ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺑﺮﺭﺳﻰ ﺣﺎﺿﺮ ﺍﺯ ﺍﻳﻦ ﺑﻴﻦ ﺑﻪ ﻛﺘﺎﺏﻫﺎﻯ ﻛﻨﺖ ﻛﺎﺭﻟﺸﺘﺎﻳﻦ ﻭ ﻛﻮﻛﻰ ﺍﺧﺘﺼﺎﺹ‬ ‫ﺩﺍﺭﺩ‪ ،‬ﭼﻮﻥ ﻧﮕﺎﺭﻧﺪﻩ ﺗﺎ ﺍﻳﻦ ﻟﺤﻈﻪ ﻣﻮﻓﻖ ﺑﻪ ﺧﻮﺍﻧﺪﻥ »ﻣﺘﺮﺳﻚ ﻭ ﺧﺪﻣﺘﻜﺎﺭﺵ« ﻧﮕﺸﺘﻪ‪.‬‬ ‫ﻛﻮﻛﻰ ﺍﻧﮕﺎﺭ ﺩﺭﺳﺖ ﺍﺯ ﺩﻝ ﺍﻓﺴﺎﻧﻪﻫﺎﻯ ﮔﺮﻳﻢ ﺑﻴﺮﻭﻥ ﻣﻰ ﺁﻳﺪ‪ .‬ﻣﻜﺎﻥ ﻭﻗﻮﻉ ﻣﻬﻤﺎﻧﺨﺎﻧﻪﺍﻯ ﺩﺭ ﺁﻟﻤﺎﻥ ﻗﺮﻥ‬ ‫ﻧﻮﺯﺩﻫﻢ ﺍﺳﺖ‪ .‬ﺭﺳﻢ ﺍﺳﺖ ﻛﻪ ﻫﺮ ﺑﺎﺭ ﺷﺎﮔﺮﺩ ﺳﺎﻋﺖﺳﺎﺯ ﺟﺪﻳﺪ ﻗﺒﻞ ﺍﺯ ﻓﺎﺭﻍ ﺍﻟﺘﺤﺼﻴﻠﻰﺍﺵ ﺑﻪ ﻋﻨﻮﺍﻥ‬ ‫ﺍﺳﺘﺎﺩﻛﺎﺭ‪ ،‬ﭘﻴﻜﺮﻩﺍﻯ ﺑﺴﺎﺯﺩ ﻭ ﺭﻭﻯ ﺑﺮﺝ ﺳﺎﻋﺖ ﺷﻬﺮ ﻧﺼﺐ ﻛﻨﺪ؛ ﺍﻣﺎ ﻛﺎﺭﻝ ﻫﻨﻮﺯ ﻫﻴﭻ ﻛﺎﺭﻯ ﻧﻜﺮﺩﻩ ﻭ‬ ‫ﻓﺮﺩﺍ ﺁﺧﺮﻳﻦ ﻣﻬﻠﺖ ﺍﻭﺳﺖ‪ .‬ﻓﺮﻳﺘﺰ ﻧﻮﻳﺴﻨﺪﻩﻯ ﺟﻮﺍﻥ ﺩﺍﺳﺘﺎﻥ ﻧﺎﺗﻤﺎﻣﺶ ﺭﺍ ﻣﻰﺧﻮﺍﻫﺪ ﺩﺭ ﻣﻬﻤﺎﻧﺨﺎﻧﻪﻯ‬ ‫ﺷﻬﺮ ﺑﺨﻮﺍﻧﺪ‪ ،‬ﺑﺪﻭﻥ ﺗﻮﺟﻪ ﺑﻪ ﻋﻮﺍﻗﺒﻰ ﻛﻪ ﺑﻪ ﺑﺎﺭ ﺧﻮﺍﻫﺪ ﺁﻭﺭﺩ‪.‬‬ ‫ﺩﺭ ﻛﻨﺖ ﻛﺎﺭﻟﺸﺘﺎﻳﻦ ﻛﻪ ﺩﺭ ﺭﻭﺳﺘﺎﻳﻰ ﺧﻴﺎﻟﻰ ﺑﻪ ﻧﺎﻡ ﻛﺎﺭﻟﺸﺘﺎﻳﻦ ﺩﺭ ﺳﻮﻳﺲ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ ﻣﻰﮔﺬﺭﺩ‪،‬‬ ‫ﺑﺮﺍﺩﺭﺯﺍﺩﻩﻫﺎﻯ ﻛﻨﺖ ﭘﻬﻠﻮﻯ ﻋﻤﻮﻳﺸﺎﻥ ﺑﺎﺯﮔﺸﺘﻪﺍﻧﺪ ﻏﺎﻓﻞ ﺍﺯ ﻧﻘﺸﻪﻯ ﺷﻮﻣﻰ ﻛﻪ ﻋﻤﻮﻯ ﺁﻥﻫﺎ ﺑﺮﺍﻳﺸﺎﻥ‬ ‫ﺩﺭ ﺳﺮ ﺩﺍﺭﺩ ﻭ ﺍﻳﻦ ﻛﻪ ﻣﻰﺧﻮﺍﻫﺪ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻗﺮﺑﺎﻧﻰ ﺗﻘﺪﻳﻢ ﺷﻴﻄﺎﻧﻰ ﺑﻪ ﻧﺎﻡ ﺯﺍﻣﻴﻞ ﻛﻨﺪ‪ .‬ﺩﺭ‬ ‫ﺍﻳﻦ ﺑﻴﻦ ﻫﻴﻠﺪﻯ ﺧﺪﻣﺘﻜﺎﺭ ﻗﺼﺮ ﺍﺯ ﻣﺎﺟﺮﺍ ﺑﺎﺧﺒﺮ ﻣﻰﺷﻮﺩ ﻭ ﺗﻨﻬﺎ ﻣﺪﺕ ﻣﺤﺪﻭﺩﻯ ﺯﻣﺎﻥ ﺩﺍﺭﺩ ﻛﻪ ﺟﻠﻮﻯ‬ ‫ﻧﻘﺸﻪﻯ ﻛﻨﺖ ﺭﺍ ﺑﮕﻴﺮﺩ‪.‬‬ ‫ﻛﻮﻛﻰ ﻭ ﻛﻨﺖ ﻛﺎﺭﻟﺸﺘﺎﻳﻦ ﻫﺮ ﺩﻭ ﺍﺯ ﺩﻝ ﺳﻨﺖ ﻓﻮﻟﻜﻮﺭ ﺁﻟﻤﺎﻧﻰ ﻣﻰﺁﻳﻨﺪ ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﻫﺮ ﺩﻭ ﻣﺤﻤﻠﻰ‬ ‫ﺷﺪﻧﺪ ﺑﺮﺍﻯ ﺑﺎﺯﺗﺎﺏ ﺩﻏﺪﻏﻪﻫﺎ ﻭ ﻣﻮﺗﻴﻒﻫﺎﻯ ﻫﻤﻴﺸﮕﻰ ﭘﻮﻟﻤﻦ ﻣﺜﻞ ﺭﻭﺷﻨﮕﺮﻯ‪ ،‬ﺗﻜﻨﻮﻟﻮژﻯ‪ ،‬ﺟﺎﺩﻭ‪،‬‬ ‫ﺗﻘﺪﻳﺮﮔﺮﺍﻳﻰ ﻭ ﮔﺬﺭ ﻳﻚ ﺩﻭﺭﺍﻥ‪ .‬ﭼﻴﺰﻯ ﻛﻪ ﺑﻴﺶ ﺍﺯ ﭘﻴﺶ ﺑﺮﺍﻯ ﻣﺎ ﭼﻬﺮﻩﻯ ﭘﻮﻟﻤﻦ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ‬ ‫ﺍﻭﻣﺎﻧﻴﺴﺖ ﻣﺴﻠﻂ ﺑﻪ ﺍﺩﺑﻴﺎﺕ ﻛﻼﺳﻴﻚ ﺑﺎﺯ ﻣﻰﻧﻤﺎﻳﺎﻧﺪ‪.‬‬ ‫ﻫﺮ ﺩﻭﻯ ﺍﻳﻦ ﺁﺛﺎﺭ ﻗﺼﻪﻫﺎﻯ ﭘﺮﻳﺎﻥ ﺭﺍ ﻣﺒﻨﺎﻯ ﻛﺎﺭ ﺧﻮﺩ ﻣﻰﺳﺎﺯﻧﺪ ﻭ ﺑﺎ ﻧﻮﺳﺎﻥ ﺩﻗﻴﻖ ﺑﻴﻦ ﺳﻮﻳﻪﻯ ﺗﺎﺭﻳﻚ‬ ‫ﻭ ﻛﻮﺩﻛﺎﻧﻪﻯ ﺁﻥ ﺗﺼﻮﻳﺮﻯ ﻛﺎﺭﻧﺎﻭﺍﻝﮔﻮﻧﻪ ﺍﻳﺠﺎﺩ ﻣﻰﻛﻨﻨﺪ ﻛﻪ ﺑﻪ ﻃﺮﺯ ﻫﻮﺷﻤﻨﺪﺍﻧﻪﺍﻯ ﻓﺎﺻﻠﻪﮔﺬﺍﺭﺍﻧﻪ‬ ‫ﺍﺳﺖ‪ .‬ﺩﺭ ﻛﻮﻛﻰ ﺩﻛﺘﺮ ﻛﺎﻣﻨﻴﻮﺱ ﺁﺩﻣﻚﺳﺎﺯ ﻧﺎﮔﻬﺎﻥ ﺍﺯ ﺩﻝ ﺩﺍﺳﺘﺎﻧﺎ ﻓﺮﻳﺘﺰ ﭘﺎ ﺑﻪ ﻋﺮﺻﻪﻯ ﻭﺍﻗﻌﻴﺖ‬ ‫ﻣﻰﮔﺬﺍﺭﺩ‪ .‬ﺩﺭ ﻛﻨﺖ ﻛﺎﺭﺷﺘﺎﻳﻦ ﺍﻳﻦ ﺭﻭﻧﺪ ﺍﺯ ﺩﻝ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺗﺮﺳﻨﺎﻛﻰ ﻛﻪ ﺩﻭ ﺩﺧﺘﺮ ﻣﻰﺧﻮﺍﻧﻨﺪ ﺭﺥ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﺍﻓﺴـــﺎﻧﻪ‬ ‫ﺑﻪ ﺳﺒﻚ ﭘﻮﻟﻤﻦ‬ ‫ﻓﺮﺯﺍﺩ ﺧﻠﻴﻠﻴﺎﻥ‬

‫ﻛﻮﻛﻰ‬ ‫ﻣﺘﺮﺟﻢ‪ :‬ﻓﺮﺯﺍﺩ ﻓﺮﺑﺪ‬ ‫ﻧﺎﺷﺮ‪ :‬ﻛﺘﺎﺏ ﭘﻨﺠﺮﻩ‪1389 ،‬‬

‫ﻛﻨﺖ ﻛﺎﺭﻟﺸﺘﺎﻳﻦ‬ ‫ﻣﺘﺮﺟﻢ‪ :‬ﻓﺮﺯﺍﺩ ﻓﺮﺑﺪ‬ ‫ﻧﺎﺷﺮ‪ :‬ﭘﺮﻳﺎﻥ‪1391 ،‬‬


‫ﻛﻤﻴﻚ‬

‫ﭘﺎﻳﺎﻥ ﺑﺮﺩﻳﻢ‪ ،‬ﻛﻪ ﺍﺣﺘﻤﺎﻻً ﻣﻰﺷﻮﺩ ﺳﺎﻝ ‪ 2085‬ﻭ ﺁﻥ ﻣﻮﻗﻊ ﻣﻦ ﻫﻢ ﺑﻪ ﺣﺎﻝ ﺭﻭﺯ ﮔﻠﻮﺗﻜﺎ ﺍﻓﺘﺎﺩﻡ‪ ،‬ﻛﻠﻰ‬ ‫ﺻﻔﺤﻪﻯ ﺗﻤﺎﻡﺭﻧﮕﻰ ﻭ ﻗﺸﻨﮓ ﺍﺯ ﻧﺨﺴﺘﻴﻦ ﻗﺎﻧﻮﻥ ﺩﺭ ﺩﺳﺘﺮﺱ ﻫﻤﻪ ﺑﺎﺷﺪ‪ .‬ﺁﻥ ﻫﻢ ِ‬ ‫ﻣﻔﺖ ﻣﺴﻠﻢ!«‬ ‫ﻫﺮﭼﻨﺪ ﺷﺎﻳﺪ ﺍﻳﻦ ﻭﻳﮋﮔﻰ ﺍﺯ ﻟﺤﺎﻅ ﻣﺎﻟﻰ ﺑﺮﺍﻯ ﻣﻦ ﻭ ﺷﻤﺎ ﺗﻐﻴﻴﺮﻯ ﺍﻳﺠﺎﺩ ﻧﻜﻨﺪ‪ ،‬ﺍﻣﺎ ﺣﺪﺍﻗﻠﺶ ﺁﻥ‬ ‫ﺍﺳﺖ ﻛﻪ ﺧﻴﻠﻰ ﺭﺍﺣﺖ ﻭ ﺑﻰﺩﺭﺩﺳﺮ ﻭ ﺑﺪﻭﻥ ﺩﻏﺪﻏﻪﻯ ﻳﺎﻓﺘﻦ‪/‬ﻧﻴﺎﻓﺘﻦ ﻳﻚ ﻓﺼﻞ ﻣﻰﺗﻮﺍﻧﻴﻢ ﻧﺴﺨﻪﻯ‬ ‫ﮔﺮﺍﻓﻴﻜﻰ ﺩﺍﺳﺘﺎﻧﻰ ﻧﺴﺒﺘﺎً ﺩﺭﺍﺯ ﺭﺍ ﺩﻧﺒﺎﻝ ﻛﻨﻴﻢ‪ .‬ﻭ ﺍﻳﻦ ﻛﻢﺗﺮﻳﻦ ﻛﺎﺭ ﻣﻤﻜﻦ ﺍﺳﺖ‪ .‬ﻣﻦ ﺍﮔﺮ ﺑﻪ ﺟﺎﻯ‬ ‫ﺑﭽﻪﻫﺎﻯ ﻗﻤﺮ ﻛﻤﻴﻚ ﺁﻛﺎﺩﻣﻰ ﺑﻮﺩﻡ‪ ،‬ﺣﺘﻤﺎً ﺑﺮﺍﻯ ﺗﺮﺟﻤﻪ ﻭ ﺍﻧﺘﺸﺎﺭ ﺁﻥ ﻫﻤﮕﺎﻡ ﺑﺎ ﻧﺴﺨﻪﻯ ﺯﺑﺎﻥ ﺍﺻﻠﻰ‬ ‫ﺑﺮﻧﺎﻣﻪ ﻣﻰﭼﻴﺪﻡ‪ .‬ﺣﺎﻝ ﺧﻮﺩ ﺩﺍﻧﻴﺪ! ﺗﺎ ﺑﻪ ﺍﻻﻥ ‪ 25‬ﺻﻔﺤﻪ ﺍﺯ ﻧﺴﺨﻪﻯ ﮔﺮﺍﻓﻴﻜﻰ ﻣﻨﺘﺸﺮ ﺷﺪﻩ‪.‬‬ ‫ﺍﻗﺘﺒﺎﺱ ﺍﻳﻦ ﺳﻪﮔﺎﻧﻪ ﺭﺍ ﭼﺎﻙ ﺩﻳﻜﺴﻮﻥ ﺑﺮ ﻋﻬﺪﻩ ﮔﺮﻓﺘﻪ‪ .‬ﻃﺮﺍﺣﻰﻫﺎ ﺍﺯ ﺍﻧﺪﻯ ﺗﺎﻧﮓ ﺍﺳﺖ ﻭ ﺭﻧﮓﺁﻣﻴﺰﻯ‬ ‫ﻛﺎﺭ ﭘﻴﺖ ﭘﻨﺘﺎﺯﻳﺲ‪ .‬ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﻫﻤﻪﭼﻴﺰ ﻫﻢ ﺍﺯ ﺯﻳﺮ ﭼﺸﻤﺎﻥ ‪-‬ﺑﻪ ﻗﻮﻝ ﺧﻮﺩﺵ‪ -‬ﺷﻌﻠﻪﻛﺸﺎﻥ‬ ‫ﺍﺑﺮﻛﺮﺍﻣﺒﻰ ﻣﻰﮔﺬﺭﺩ‪ .‬ﺧﻮﺩﺵ ﻛﻪ ﺧﺮﻭﺟﻰ ﺗﺎ ﺑﻪ ﺍﻳﻦﺟﺎﻯ ﻛﺎﺭ ﺭﺍﺿﻰ ﺍﺳﺖ‪ .‬ﻧﺴﺨﻪﻯ ﮔﺮﺍﻓﻴﻜﻰ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺑﺎﺯﺧﻮﺭﺩﻫﺎﻯ ﻣﺜﺒﺖ ﺯﻳﺎﺩﻯ ﻫﻢ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩﻩ‪ .‬ﭘﺴﻨﺪ ﻣﻦ ﺭﺍ ﻫﻢ ﻛﻪ ﺟﻠﺐ ﻛﺮﺩﻩ‪ .‬ﺩﺭ ﻧﺘﻴﺠﻪ ﺭﻭﺍ‬ ‫ﻧﻴﺴﺖ ﺍﮔﺮ ﺷﻤﺎ ﺭﺍ ﻫﻢ ﺑﻪ ﺗﻌﻘﻴﺐ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ‪ ،‬ﻛﻪ ﺗﺎﺯﻩ ﻳﻚ ﻓﺼﻞ ﺍﺯ ﺁﻥ ﻣﻨﺘﺸﺮ ﺷﺪﻩ‪ ،‬ﺩﻋﻮﺕ‬ ‫ﻧﻜﻨﻢ‪ .‬ﻣﻰﺗﻮﺍﻧﻴﺪ ﻋﻼﻭﻩ ﺑﺮ ﺻﻔﺤﺎﺕ ﻃﺮﺍﺣﻰ ﺷﺪﻩ‪ ،‬ﻧﻈﺮﺍﺕ ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﻭﻳﺮﺍﺳﺘﺎﺭ ﭘﺮﻭژﻩ ﺭﺍ ﻫﻢ ﺑﺮ ﺭﻭﻯ‬ ‫ﻭﺏﺳﺎﻳﺖ ﻛﻤﻴﻚ ﻧﺨﺴﺘﻴﻦ ﻗﺎﻧﻮﻥ ]‪ [7‬ﺩﻧﺒﺎﻝ ﻛﻨﻴﺪ‪.‬‬

‫‪ :Logen Ninefingers ..1‬ﺑﻪ ﺧﺎﻃﺮ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻥ ﻳﻚ‬ ‫ﺍﻧﮕﺸﺖ‪ ،‬ﺑﻪ ﺍﻳﻦ ﻧﺎﻡ ﻣﻌﺮﻭﻑ ﺷﺪﻩ‪.‬‬ ‫‪2. Sand dan Glotka‬‬ ‫‪3. Jezal dan Luthar‬‬ ‫‪4. Lord Bayaz‬‬

‫‪5. Lord Bayaz‬‬

‫‪ .6‬ﺍﺑﺮﻛﺮﺍﻣﺒﻰ‪ ،‬ﺟﻮ‪» .‬ﻛﺎﺭﻫﺎﻯ ﺍﺣﻤﻘﺎﻧﻪ«‪ .‬ﺗﺮﺟﻤﻪﻯ ﻣﺤﻤﺪ‬ ‫ﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‪ .‬ﻣﺎﻫﻨﺎﻣﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ‪ ،‬ﺳﺎﻝ ﺩﻭﻡ‪،‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪ ،16‬ﻓﺮﻭﺭﺩﻳﻦ ‪.1391‬‬

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‫‪7. http://www.firstlawcomic.com‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﻟﻮﮔﻦ ﻧﻪﺍﻧﮕﺸﺘﻰ ]‪ ،[1‬ﻗﻬﺮﻣﺎﻧﻰ ﺍﺯ ﺧﻄﻪﻯ ﻭﺣﺸﻴﺎﻥ ﺷﻤﺎﻝ ﺍﺳﺖ ﻛﻪ ﻣﻰﺧﻮﺍﻫﺪ ﺍﺯ ﮔﺬﺷﺘﻪﻯ‬ ‫ﻧﺎﺧﻮﺷﺎﻳﻨﺪ ﺧﻮﻧﻴﻨﺶ ﻓﺎﺻﻠﻪ ﮔﺮﻓﺘﻪ ﻭ ﺯﻧﺪﮔﻰ ﺗﺎﺯﻩﺍﻯ ﺷﺮﻭﻉ ﻛﻨﺪ‪ .‬ﺳﻨﺪ ﺩﻥ ﮔﻠﻮﺗﻜﺎ ]‪ ،[2‬ﺟﻨﮕﺠﻮﻯ‬ ‫ﺳﻠﺤﺸﻮﺭ ﺳﺎﻟﻴﺎﻥ ﮔﺬﺷﺘﻪ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺩﻟﻴﻞ ﺟﺮﺍﺣﺎﺕ ﺑﺴﻴﺎﺭ ﺍﺯ ﻣﻴﺎﺩﻳﻦ ﭘﺮﺍﻓﺘﺨﺎﺭ ﻧﺒﺮﺩ ﻓﺎﺻﻠﻪ ﮔﺮﻓﺘﻪ ﻭ‬ ‫ﺣﺎﻻ ﺑﻪ ﻋﻨﻮﺍﻥ ﺑﺎﺯﭘﺮﺱ )ﺑﺨﻮﺍﻧﻴﺪ ﺷﻜﻨﺠﻪﮔﺮ!( ﺑﺎ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺗﻮﻃﺌﻪﻫﺎﻯ ﺳﻴﺎﺳﻰ ﺩﺍﺧﻠﻰ ﺩﺳﺖ ﻭ ﭘﻨﺠﻪ‬ ‫ﻧﺮﻡ ﻣﻰﻛﻨﺪ‪َ .‬ﺟ ِﺰﻝ ﺩﻥ ﻟﻮﺗﺎﺭ ]‪ [3‬ﻫﻢ ﻧﺠﻴﺐﺯﺍﺩﻩﻯ ﺧﻮﺩﺷﻴﻔﺘﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ﺩﻭﺳﺖ ﺩﺍﺭﺩ ﺁﻭﺍﺯﻩﻯ‬ ‫ﺫﺭﻩﺍﻯ ﻟﻚ ﺑﺮﺩﺍﺭﺩ‪ .‬ﺍﻣﺎ‬ ‫ﭘﺮﺍﻓﺘﺨﺎﺭﻯ ﺑﺮﺍﻯ ﺧﻮﺩ ﺩﺳﺖ ﻭ ﭘﺎ ﻛﻨﺪ‪ ،‬ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﻧﻤﻰﺧﻮﺍﻫﺪ ﻟﺒﺎﺳﺶ ّ‬ ‫ﺍﻳﻦ ﺳﻪ‪ ،‬ﺩﺭ ﻭﺍﻗﻊ ﻣﻬﺮﻩﻫﺎﻯ ﺑﺎﺯﻯ ﻟﺮﺩ ﺑﺎﻳﺎﺯ ]‪ ،[4‬ﺑﻠﻨﺪﺁﻭﺍﺯﻩﺗﺮﻳﻦ ﻭ ﻣﺨﻮﻑﺗﺮﻳﻦ ﺟﺎﺩﻭﮔﺮ ﺳﺮﺯﻣﻴﻦ‪،‬‬ ‫ﻣﺸﺎﻭﺭ ﺍﺭﺷﺪ ﭘﺎﺩﺷﺎﻩ ﻭ ﺳﻴﺎﺳﺖﻣﺪﺍﺭ ﭘﺮﻧﻔﻮﺫ ﺷﻮﺭﺍﻯ ﻣﺸﺎﻭﺭﺍﻥ ﻫﺴﺘﻨﺪ‪ .‬ﺣﺎﻝ ﺍﻳﻦ ﻛﻪ ﻗﺼﺪ ﺑﺎﻳﺎﺯ ﺍﺯ‬ ‫ﺑﺎﺯﻯ ﻛﺮﺩﻥ ﺑﺎ ﺍﻳﻦ ﻣﻬﺮﻩﻫﺎ ﭼﻴﺴﺖ‪ ،‬ﺟﻮﺍﺏ ﺳﺎﺩﻩﺍﻯ ﻭ ﺳﺮﺭﺍﺳﺘﻰ ﻧﺪﺍﺭﺩ‪ .‬ﭘﺎﺳﺦ ﺑﻪ ﻫﻤﻴﻦ ﺳﻮﺍﻝ ﺍﺳﺖ‬ ‫ﻛﻪ ﺳﻪ ﮔﺎﻧﻪﻯ »ﻧﺨﺴﺘﻴﻦ ﻗﺎﻧﻮﻥ« ]‪ [5‬ﺭﺍ ﺑﻪ ﻭﺟﻮﺩ ﺁﻭﺭﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺳﻪﮔﺎﻧﻪﻯ ﻧﺨﺴﺘﻴﻦ ﻗﺎﻧﻮﻥ ﻧﺨﺴﺘﻴﻦ ﺩﺳﺖﭘﺨﺖ ﺟﻨﺎﺏ ﺟﻮ ﺍﺑﺮﻛﺮﺍﻣﺒﻰ ﺍﺳﺖ ﻛﻪ ﻃﻰ ﺳﺎﻝﻫﺎﻯ‬ ‫‪ 2007، 2006‬ﻭ ‪ 2008‬ﻣﻨﺘﺸﺮ ﺷﺪ ﻭ ﻛﻠﻰ ﻫﻢ ﮔﺮﺩ ﻭ ﺧﺎﻙ ﺑﻪ ﭘﺎ ﻛﺮﺩ‪ .‬ﺩﺍﺳﺘﺎﻧﻰ ﻛﻪ ﻛﻠﻰ ﺭﺍﺯ ﻭ‬ ‫ﺭﻣﺰ ﻭ ﺟﺎﺩﻭ ﻭ ﻣﺎﺟﺮﺍﻫﺎﻯ ﻛﻮﭼﻚ ﻭ ﺑﺰﺭگ ﺭﺍ ﺩﺭ ﺑﺴﺘﺮ ﻳﻚ ﺣﻤﺎﺳﻪﻯ ﻓﺎﻧﺘﺰﻯ ﺭﻭﺍﻳﺖ ﻣﻰﻛﻨﺪ‪ .‬ﺍﺯ‬ ‫ﻭﻳﮋﮔﻰﻫﺎﻯ ﻣﺜﺒﺖ ﻭ ﺗﺤﺴﻴﻦﺑﺮﺍﻧﮕﻴﺰ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺗﺼﺎﻭﻳﺮ ﺷﻔﺎﻑ‪ ،‬ﭘﺮﺟﺰﺋﻴﺎﺕ ﻭ ﺯﻧﺪﻩﺍﻯ ﺍﺳﺖ ﻛﻪ‬ ‫ﺍﺯ ﻟﺤﻈﺎﺕ ﻧﺒﺮﺩ ﺩﺭ ﺫﻫﻦ ﺧﻮﺍﻧﻨﺪﻩ ﺗﺼﻮﻳﺮ ﻣﻰﻛﻨﺪ )ﻛﻪ ﺍﻏﻠﺐ ﺑﺎ ﻣﻘﺪﺍﺭﻯ ﺧﻮﻥ ﻫﻤﺮﺍﻩ ﺍﺳﺖ(‪ .‬ﺷﺎﻫﺪ‬ ‫ﻣﺜﺎﻟﻰ ﺍﺯ ﺍﻳﻦ ﻛﻴﻔﻴﺖ ﺭﺍ ﺍﺣﺘﻤﺎﻻً ﺩﺭ »ﻛﺎﺭﻫﺎﻯ ﺍﺣﻤﻘﺎﻧﻪ« ]‪ [6‬ﺩﻳﺪﻩﺍﻳﺪ‪ .‬ﺣﺎﻻ ﻭ ﺑﺎ ﮔﺬﺷﺖ ‪ 5‬ﺳﺎﻝ ﺍﺯ‬ ‫ﺍﻧﺘﺸﺎﺭ ﻣﺘﻦ ﻛﺘﺎﺏ‪ ،‬ﻧﺴﺨﻪﻯ ﮔﺮﺍﻓﻴﻜﻰ ﺗﻤﺎﻡ ﺭﻧﮕﻰﺍﺵ ﻫﻢ ﺩﺍﺭﺩ ﺑﻪ ﻣﺮﻭﺭ ﺁﻣﺎﺩﻩ ﻣﻰﺷﻮﺩ! ﻣﻦ ﺍﻧﺘﻈﺎﺭ‬ ‫ﺩﺍﺷﺘﻢ ﺑﻪ ﺗﻨﺎﺳﺐ ﻛﺘﺎﺏ‪ ،‬ﺭﻭﺍﻳﺖ ﮔﺮﺍﻓﻴﻜﻰ ﻫﻢ ﺍﺯ ﺷﻔﺎﻓﻴﺖ ﻭ ﻭﺿﻮﺡ ﺑﺎﻻﻳﻰ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺑﺎﺷﺪ ﻭ ﺑﺎ ﺩﻳﺪﻥ‬ ‫ﺍﻭﻟﻴﻦ ﺻﻔﺤﺎﺕ ﺗﺎ ﺣﺪﻭﺩﻯ ﺍﻧﺘﻈﺎﺭﻡ ﺑﺮﺁﻭﺭﺩﻩ ﺷﺪ‪ .‬ﻣﺜ ً‬ ‫ﻼ ﺁﻥﭼﻪ ﺩﺭ ﺻﻔﺤﻪﻯ ﺑﻌﺪ ﻣﻰﺑﻴﻨﻴﺪ‪ ،‬ﺻﺤﻨﻪﻯ‬ ‫ﺍﻋﺘﺮﺍﻑﮔﻴﺮﻯ ﮔﻠﻮﺗﻜﺎﺳﺖ ﺩﺭ ﺍﺑﺘﺪﺍﻯ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﻛﻪ ﺩﺭ ﺁﻥ ﭼﻬﺮﻩﻯ ﻣﺠﺮﻭﺡ ﮔﻠﻮﺗﻜﺎ ﺑﺎ ﺁﻥ ﺩﻧﺪﺍﻥﻫﺎﻯ‬ ‫ﺷﻜﺴﺘﻪ ﻭ ﻓﻚ ﻛﺞ ﻭ ﻣﻌﻮﺝ ﻭ ﭼﺸﻤﺎﻥ ﺟﻬﻨﺪﻩﺍﺵ ﺑﻪ ﺧﻮﺑﻰ ﻃﺮﺍﺣﻰ ﻭ ﺭﻧﮓﺁﻣﻴﺰﻯ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﻣﺎ ﺍﻳﻦ ﭘﺮﻭژﻩ ﺑﻪ ﻫﻤﻴﻦﺟﺎ ﺧﺘﻢ ﻧﻤﻰﺷﻮﺩ‪ .‬ﻭﻳﮋﮔﻰ ﺩﻳﮕﺮﻯ ﻫﻢ ﺩﺍﺭﺩ ﻛﻪ ﺑﮕﺬﺍﺭﻳﺪ ﺁﻥ ﺭﺍ ﺍﺯ ﺯﺑﺎﻥ‬ ‫ﻧﻮﻳﺴﻨﺪﻩﻯ ﺩﺍﺳﺘﺎﻥ ﻧﻘﻞ ﻛﻨﻢ‪:‬‬ ‫»ﮔﺬﺷﺘﻪ ﺍﺯ ﺗﻤﺎﻡ ﺍﻳﻦﻫﺎ‪ ،‬ﭼﻴﺰﻯ ﻛﻪ ﺩﺭ ﻣﻮﺭﺩ ﺍﻳﻦ ﭘﺮﻭژﻩ ﺍﺯ ﻫﻤﺎﻥ ﺍﺑﺘﺪﺍ ﻭﺍﻗﻌﺎً ﭼﺸﻢ ﻣﻦ ﺭﺍ ﮔﺮﻓﺖ‪،‬‬ ‫ﺷﻴﻮﻩﻯ ﺗﻮﺯﻳﻊ ﺁﻥ ﺑﻮﺩ‪ .‬ﭼﺮﺍ ﻛﻪ ﻗﺮﺍﺭ ﮔﺬﺍﺷﺘﻴﻢ ﻧﺴﺨﻪﻯ ﮔﺮﺍﻓﻴﻜﻰ ﻧﺨﺴﺘﻴﻦ ﻗﺎﻧﻮﻥ ﺭﺍ ﻣﺠﺎﻧﻰ ﺑﻴﺮﻭﻥ‬ ‫ﺑﺪﻫﻴﻢ! ﺑﻠﻪ‪ ،‬ﺩﺭﺳﺖ ﺷﻨﻴﺪﻳﺪ‪ 12 .‬ﺻﻔﺤﻪﻯ ﺍﻭﻝ ﺍﺯ ﻫﻤﻴﻦ ﺍﻻﻥ ﺭﻭﻯ ﺍﻳﻨﺘﺮﻧﺖ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺁﻥ‬ ‫ﻫﻢ ِ‬ ‫ﻣﻔﺖ ﻣﺴﻠﻢ‪ .‬ﻗﺮﺍﺭ ﺍﺳﺖ ﺑﺮﺍﻯ ﻣﺪﺕ ﺯﻣﺎﻧﻰ ﺑﺲ ﻃﻮﻻﻧﻰ ﻫﺮ ﺩﻭﺷﻨﺒﻪ‪ ،‬ﭼﻬﺎﺭﺷﻨﺒﻪ ﻭ ﺟﻤﻌﻪ ﺻﻔﺤﺎﺕ‬ ‫ﺟﺪﻳﺪ ﺭﻭﻯ ﺳﺎﻳﺖ ﭘﺮﻭژﻩ ﻗﺮﺍﺭ ﺑﮕﻴﺮﺩ‪ .‬ﺁﻥ ﻫﻢ ِ‬ ‫ﻣﻔﺖ ﻣﺴﻠﻢ‪ .‬ﺍﻣﻴﺪﻭﺍﺭﻡ ﻭﻗﺘﻰ ﺑﺎﻻﺧﺮﻩ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺑﻪ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﻧﺨﺴﺘﻴﻦ ﻗﺎﻧﻮﻥ‬ ‫ﻣﺤﻤﺪ ﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‬

‫ﺧﻮاﻧﻨﺪﮔﺎن اﯾﻦ ﺳﻄﻮر ﺷﺎﯾﺪ ﺑﺪاﻧﻨﺪ ﻣﻦ ﭼﻨﺪان اﻫﻞ ﮐﻤﯿﮏ و ﻣﺎﻧﮕﺎ ﻧﯿﺴﺘﻢ و اﯾﻦ متﺎﯾﻞ را‬ ‫ﺑﺮ ﮐﺴﯽ ﻫﻢ ﭘﻮﺷﯿﺪه ﻧﮕﻪ ﻧﺪاﺷﺘﻪام‪ .‬ﯾﻌﻨﯽ ﮐﻼً ﺑﺎ اﺑﺮﻗﻬﺮﻣﺎنﻫﺎی ﺳﻮﭘﺮﭼﺎﺧﺎﻧﯽ و ژاﭘﻨﯽﻫﺎی‬ ‫ﭼﺸﻢدرﺷﺖ ﺑﺎ ﻣﻮﻫﺎی ﮔﻞﺑﻬﯽ آﺑﻢ در ﯾﮏ ﺟﻮب منﯽرود‪ .‬اﻣﺎ ﺧﺐ ﻃﺒﯿﻌﯽ اﺳﺖ ﮐﻪ‬ ‫ﻫﻤﯿﺸﻪ اﺳﺘﺜﻨﺎﻫﺎﯾﯽ وﺟﻮد داﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬وﻗﺘﯽ ﭘﺎی داﺳﺘﺎن ﻣﻮرد ﻋﻼﻗﻪات در ﺑﯿﻦ ﺑﺎﺷﺪ‪،‬‬ ‫ﮔﻔنت ﻧﺪارد ﮐﻪ ﺑﻌﻀﯽ متﺎﯾﻼت ﺟﺎﯾﮕﺰﯾﻦ ﻣﯽﺷﻮﻧﺪ ﯾﺎ ورق ﺑﻪ ﮐﻠﯽ ﺑﺮﻣﯽﮔﺮدد‪ .‬ﻣﺘﻮﺟﻪ‬ ‫ﻫﺴﺘﯿﺪ ﮐﻪ؟ ﺣﺘامً ﻫﻤﯿﻦ ﻃﻮر اﺳﺖ!‬


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‫ﺭﻳﺴﻜﻰ ﺍﺳﺖ ﻛﻪ ﺑﺎﻳﺪ ﺩﺭ ﺗﻤﺎﺷﺎﻯ ﺑﻴﺸﺘﺮ ﻓﻴﻠﻢﻫﺎﻯ ژﺍﭘﻨﻰ ﭘﺬﻳﺮﺍﻯ ﺁﻥ ﺑﺎﺷﻴﺪ‪ .‬ﺧﻮﺷﺒﺨﺘﺎﻧﻪ ﺍﻳﻦ ﻓﻴﻠﻢ‬ ‫ﺍﺯ ﺩﺳﺘﻪﻯ ﭘﺎﺩﺍﺵﺩﻫﻨﺪﮔﺎﻥ ﺍﺳﺖ ﻭ ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺩﺭ ﻃﻮﻝ ﺣﺪﻭﺩ ﻳﻚ ﺳﺎﻋﺖ ﻭ ﭘﻨﺠﺎﻩ ﺩﻗﻴﻘﻪ ﺫﻫﻦ‬ ‫ﺷﻤﺎ ﺭﺍ ﺑﺎ ﺍﻧﻮﺍﻉ ﺳﻮﺍﻝﻫﺎ ﻭ ﺗﺌﻮﺭﻯﻫﺎ ﭘﺮ ﻣﻰﻛﻨﺪ‪ ،‬ﺑﻌﻀﻰ ﺭﺍ ﭘﺎﺳﺦ ﺩﺍﺩﻩ ﻭ ﺑﻌﻀﻰ ﺭﺍ ﺑﻪ ﻧﺘﻴﺠﻪﮔﻴﺮﻯ‬ ‫ﺧﻮﺩﺗﺎﻥ ﻭﺍﮔﺬﺍﺭ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻓﻴﻠﻢ ﺍﺯ ﻃﺮﺍﺣﻰ ﮔﺮﺍﻓﻴﻚ ﺧﻮﺑﻰ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺍﺳﺖ ﻭ ﺍﻳﻦ ﻛﻴﻔﻴﺖ ﺭﺍ ﺑﻪ ﻃﻮﺭ ﻛﺎﻣﻞ ﺩﺭ ﺻﺤﻨﻪﻫﺎﻯ ﺟﻨﮕﻰ‬ ‫ﻫﻮﺍﻳﻰ ﻣﺎﺑﻴﻦ ﻫﻮﺍﭘﻴﻤﺎﻫﺎﻯ ﺟﻨﮕﻨﺪﻩ ﺑﻪ ﻧﻤﺎﻳﺶ ﻣﻰﮔﺬﺍﺭﺩ‪ .‬ﻧﻜﺘﻪﻯ ﺩﻳﮕﺮ ﻣﻮﺳﻴﻘﻰ ﻣﺘﻦ ﺁﻥ ﺍﺳﺖ ﻛﻪ‬ ‫ﺩﺭ ﻫﻤﺎﻥ ﻟﺤﻈﺎﺕ ﺁﻏﺎﺯﻳﻦ ﻓﻴﻠﻢ ﺗﻮﺟﻪ ﻣﺮﺍ ﺑﻪ ﺧﻮﺩ ﺟﻠﺐ ﻛﺮﺩ‪ .‬ﻭ ﺳﺎﺯﻧﺪﮔﺎﻥ ﻧﻴﺰ ﺑﻪ ﺧﻮﺑﻰ ﺍﺯ ﺍﻳﻦ ﺩﻭ‬ ‫ﻧﻜﺘﻪﻯ ﻗﻮﻯ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻩ ﻭ ﺑﺎ ﺗﺮﻛﻴﺐ ﺍﻳﻦ ﺩﻭ ﻭ ﺁﻏﺎﺯ ﻓﻴﻠﻢ ﺑﺎ ﺁﺳﻤﺎﻧﻰ ﺯﻳﺒﺎ ﻭ ﻣﻮﺳﻴﻘﻰ ﮔﻮﺵﻧﻮﺍﺯ‪،‬‬ ‫ﺑﻴﻨﻨﺪﻩﻯ ﺧﻮﺩ ﺭﺍ ﺟﺬﺏ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﺮﻧﺪﻩﻯ ﺟﺎﻳﺰﻩ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺁﻳﻨﺪﻩﻧﮕﺮ ‪65‬ﻣﻴﻦ ﺟﺸﻨﻮﺍﺭﻩﻯ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﻓﻴﻠﻢ ﻭﻧﻴﺰ ﺷﺪ‪ .‬ﺍﺯ‬ ‫ﺩﻳﮕﺮ ﺟﻮﺍﻳﺰ ﺁﻥ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺍﻳﻦ ﻣﻮﺍﺭﺩ ﺍﺷﺎﺭﻩ ﻛﺮﺩ‪ :‬ﺟﺎﻳﺰﻩﻯ ﻓﻴﻠﻢ ﺑﺮﺗﺮ ﻓﺴﺘﻴﻮﺍﻝ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﻓﻴﻠﻢ‬ ‫ﺗﻮﺭﻧﺘﻮ ﺩﺭ ﺳﺎﻝ ‪2008‬؛ ﺳﻪ ﺟﺎﻳﺰﻩﻯ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺍﺯ ﻧﻈﺮ ﻣﻨﺘﻘﺪﻳﻦ‪ ،‬ﺑﻬﺘﺮﻳﻦ ﻣﻮﺳﻴﻘﻰ ﺍﺭﻳﺠﻴﻨﺎﻝ‬ ‫)ﺑﺮﺍﻯ ﻛﻨﺠﻰ ﻛﺎﻭﺍﻯ( ﻭ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺑﺮﺍﻯ ﻣﺨﺎﻃﺒﻴﻦ ﺟﻮﺍﻥ ﺩﺭ ﻓﺴﺘﻴﻮﺍﻝ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﻓﻴﻠﻢ ﻛﺎﺗﺎﻟﻮﻧﻴﺎ؛‬ ‫ﻓﻴﻠﻢ ﺑﺮﮔﺰﻳﺪﻩ ﺩﺭ ﻓﺴﺘﻴﻮﺍﻝ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﻓﻴﻠﻢ ﻫﻠﺴﻴﻨﻜﻰ ﻭ ﻓﻴﻠﻢ ﺑﺮﮔﺰﻳﺪﻩ ﺩﺭ ﻓﺴﺘﻴﻮﺍﻝ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ‬ ‫ﻓﻴﻠﻢ ﺍﺳﺘﻜﻬﻠﻢ‪.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


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‫ﺑﺮﺍﻯ ﻛﺸﺘﻨﺘﺎﻥ ﻧﻴﺴﺖ؛ ﭘﺲ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻛﻪ ﻫﺮ ﺭﻭﺯ ﺑﺎﻳﺪ ﻭﺍﺭﺩ ﺍﻳﻦ ﻣﻴﺪﺍﻥ ﺟﻨﮓ ﺳﺎﺧﺘﮕﻰ ﺑﺸﻮﻳﺪ ﻭ‬ ‫ﺩﺭ ﺩﺭﮔﻴﺮﻯ ﺑﻰﻣﻌﻨﺎ ﺑﻤﻴﺮﻳﺪ‪ ،‬ﺩﻳﮕﺮ ﭼﻨﺪﺍﻥ ﺍﻫﻤﻴﺘﻰ ﻧﺨﻮﺍﻫﺪ ﺩﺍﺷﺖ‪.‬‬ ‫ﺍﻧﺴﺎﻥﻫﺎ ﻫﻤﻴﺸﻪ ﻫﻤﻴﻦ ﮔﻮﻧﻪﺍﻧﺪ‪ .‬ﺁﻥ ﭼﻪ ﺭﺍ ﻛﻪ ﺑﺨﻮﺍﻫﻨﺪ ﻣﻰﺑﻴﻨﻨﺪ ﻭ ﻫﺮ ﺁﻥ ﭼﻪ ﺭﺍ ﻛﻪ ﻓﺎﻳﺪﻩﺍﻯ‬ ‫ﺑﺮﺍﻳﺸﺎﻥ ﻧﺪﺍﺭﺩ‪ ،‬ﺑﻪ ﺯﺑﺎﻟﻪﺩﺍﻧﻰ ﺣﺎﻓﻈﻪﺷﺎﻥ ﻣﻰﻓﺮﺳﺘﻨﺪ‪ .‬ﻧﻜﺘﻪﺍﻯ ﻛﻪ ﺍﻳﻦﺟﺎ ﺑﻪ ﺍﺷﺘﺒﺎﻩ ﺑﻪ ﺍﻳﻦ ﺯﺑﺎﻟﻪﺩﺍﻧﻰ‬ ‫ﺗﺒﻌﻴﺪ ﻣﻰﺷﻮﺩ‪ ،‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺗﻨﻬﺎ ﻓﺮﻕ ﻧﺎﻣﻴﺮﺍﻫﺎ ﺑﺎ ﻣﺮﺩﻡ ﻣﻌﻤﻮﻟﻰ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺑﺎﺯﻩﺍﻯ ﺍﺯ ﺯﻣﺎﻥ‬ ‫ﮔﻴﺮ ﺍﻓﺘﺎﺩﻩﺍﻧﺪ ﻭ ﺭﺍﻫﻰ ﺑﻪ ﺟﻠﻮ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺍﻣﺎ ﺁﻥﻫﺎ ﻧﻴﺰ ﻣﺜﻞ ﻣﺎ ﺍﺣﺴﺎﺳﺎﺕ ﺩﺍﺭﻧﺪ‪ ،‬ﺩﻭﺳﺖ ﻣﻰﺷﻮﻧﺪ‪،‬‬ ‫ﻋﺎﺷﻖ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﻣﺘﻨﻔﺮ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﮔﻴﭻ ﻭ ﺳﺮﺩﺭﮔﻢ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﺍﻓﺴﺮﺩﻩ ﻣﻰﺷﻮﻧﺪ ﻭ ﻧﻴﺎﺯ ﺑﻪ ﺩﻟﮕﺮﻣﻰ‬ ‫ﻭ ﭘﺸﺘﻴﺒﺎﻧﻰ ﺩﺍﺭﻧﺪ؛ ﺍﻣﺎ ﻛﺴﻰ ﺍﻳﻦ ﺭﺍ ﻧﻤﻰﺑﻴﻨﺪ‪ .‬ﺗﻨﻬﺎ ﻣﺴﺌﻠﻪﺍﻯ ﻛﻪ ﺷﺎﻳﺪ ﻛﻤﻰ ﺗﺤﻤﻞ ﺍﻳﻦ ﭼﺮﺧﻪﻯ‬ ‫ﺑﻰﭘﺎﻳﺎﻥ ﻭ ﻣﺮگﻫﺎﻯ ﺑﻰﺷﻤﺎﺭ ﺭﺍ ﺁﺳﺎﻥﺗﺮ ﻣﻰﻛﻨﺪ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﻫﺮ ﺑﺎﺭ ﻣﺮگ‪ ،‬ﻛﻴﻠﺪﺭﻥﻫﺎ ﺩﺭ‬ ‫ﺯﻧﺪﮔﻰ ﺟﺪﻳﺪ ﻧﺎﻣﻰ ﺟﺪﻳﺪ ﻭ ﺣﺎﻓﻈﻪﺍﻯ ﺟﺪﻳﺪ ﺧﻮﺍﻫﻨﺪ ﺩﺍﺷﺖ‪ .‬ﺣﺎﻓﻈﻪﺍﻯ ﻛﻪ ﺩﺭ ﺁﻥ ﺧﺎﻃﺮﺍﺗﻰ ﮔﻨﮓ‬ ‫ﻧﻬﻔﺘﻪ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺧﻮﺩ ﻛﻴﻠﺪﺭﻥﻫﺎ ﺑﻪ ﻧﻮﻋﻰ ﻣﻰﺩﺍﻧﻨﺪ ﻛﻪ ﭼﺸﻢﭘﻮﺷﻰ ﺍﺯ ﺁﻥﻫﺎ ﺑﻪ ﻧﻔﻊ ﻫﻤﻪ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﻣﺸﺨﺺ ﺑﺎﺷﺪ ﻛﻪ ﻣﻦ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻢ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﻛﻪ ﺍﺯ ﺧﻮﺩ ﻓﻴﻠﻢ ﻫﻢ ﺑﻪ ﻫﻤﻴﻦ‬ ‫ﺍﻧﺪﺍﺯﻩ ﻟﺬﺕ ﺑﺮﺩﻡ ﻳﺎ ﻧﻪ‪ ،‬ﺑﺤﺚ ﺩﻳﮕﺮﻯ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﻛﺎﺭﺍﻛﺘﺮ »ﻛﺎﻧ���ﻣﻰ« ﻛﻪ ﻳﻚ ﺧﻠﺒﺎﻥ‬ ‫ﻛﻴﻠﺪﺭﻥ ﺍﺳﺖ‪ ،‬ﺑﻪ ﻧﻮﻋﻰ ﺟﺎﻧﺸﻴﻦ ﺑﻴﻨﻨﺪﻩ ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﻭ ﻭﻇﻴﻔﻪﻯ ﻃﺮﺡ ﺳﻮﺍﻝﻫﺎ ﺭﺍ ﺑﺮ ﻋﻬﺪﻩ ﺧﻮﺍﻫﺪ‬ ‫ﺩﺍﺷﺖ‪ .‬ﺍﻣﺎ ﺧﻴﻠﻰ ﺍﻣﻴﺪﻭﺍﺭ ﻭ ﻫﻴﺠﺎﻥﺯﺩﻩ ﻧﺸﻮﻳﺪ‪ ،‬ﭼﺮﺍ ﻛﻪ ﻫﺮ ﭼﻨﺪ ﺩﺭ ﻃﻮﻝ ﺍﻳﻦ ﺩﻭ ﺳﺎﻋﺖ ﻛﺎﻧﺎﻣﻰ ﻳﺎ‬ ‫ﺑﻬﺘﺮ ﺑﮕﻮﻳﻢ ﺑﻴﻨﻨﺪﻩ ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﺗﻮﺍﻥ ﺩﺍﺭﺩ ﺩﺳﺖ ﺍﺯ ﺳﻮﺍﻝ ﻛﺮﺩﻥ ﺑﺮﻧﻤﻰﺩﺍﺭﺩ‪ ،‬ﺍﻣﺎ ﻓﻘﻂ ﺩﺭ ﺷﺶ‪-‬ﻫﻔﺖ‬ ‫ﺩﻗﻴﻘﻪ ﭘﺎﻳﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺑﻌﻀﻰ ﺍﺯ ﺍﻳﻦ ﺳﻮﺍﻻﺕ ﭘﺎﺳﺦ ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﭼﻮﻥ ﺩﺭ ﺗﻤﺎﻡ ﻃﻮﻝ‬ ‫ﻓﻴﻠﻢ ﺩﺭﮔﻴﺮ ﺍﻳﻦ ﺣﺴﻴﺪ ﻛﻪ ﻣﻮﺿﻮﻉ ﻣﻬﻤﻰ ﺩﺭ ﺟﺮﻳﺎﻥ ﺍﺳﺖ ﻭ ﻓﻘﻂ ﺷﻤﺎ ﺁﻥ ﺭﺍ ﺩﺭﻙ ﻧﻤﻰﻛﻨﻴﺪ‪ ،‬ﺑﻌﺪ‬ ‫ﺍﺯ ﺭﻭﺷﻦ ﺷﺪﻥ ﺁﻥ ﺣﺲ ﺧﻮﺑﻰ ﺧﻮﺍﻫﻴﺪ ﺩﺍﺷﺖ‪.‬‬ ‫ﻧﻜﺘﻪﻯ ﻣﻬﻢ ﺩﺭ ﺗﻤﺎﺷﺎﻯ ﺍﻳﻦ ﻓﻴﻠﻢ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﺎﻳﺪ ﺻﺒﺮ ﻭ ﺣﻮﺻﻠﻪﻯ ﺑﺎﻻﻳﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﺪ ﻭ ﺍﻟﺒﺘﻪ‬ ‫ﺍﻳﻦ ﻛﻪ ﺍﻳﻦ ﺗﺠﺮﺑﻪﻯ ﺍﻭﻟﺘﺎﻥ ﺩﺭ ﺗﻤﺎﺷﺎﻯ ﻓﻴﻠﻤﻰ ژﺍﭘﻨﻰ ﻧﺒﺎﺷﺪ‪ .‬ﺯﻣﺎﻥ ﻓﻴﻠﻢ ‪ 2‬ﺳﺎﻋﺖ ﻭ ﻧﺴﺒﺘﺎً ﻃﻮﻻﻧﻰ‬ ‫ﺍﺳﺖ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺗﻘﺮﻳﺒﺎً ﺑﻪ ﺟﺰ ﺩﺭ ‪ 10‬ﺩﻗﻴﻘﻪﻯ ﭘﺎﻳﺎﻧﻰ ﺍﺗﻔﺎﻕ ﭼﺸﻢﮔﻴﺮﻯ ﻧﻤﻰﺍﻓﺘﺪ ﻭ ﺗﻨﻬﺎ ﺩﻧﺒﺎﻟﻪﺍﻯ‬ ‫ﺍﺳﺖ ﺍﺯ ﺩﻳﺎﻟﻮگﻫﺎﻳﻰ ﻛﻪ ﺩﺭﻛﺸﺎﻥ ﻛﻤﻰ ﺳﺨﺖ ﺍﺳﺖ ﻭ ﺍﺷﺎﺭﺍﺗﻰ ﻛﻮﭼﻚ ﺑﻪ ﺍﺻﻞ ﺩﺍﺳﺘﺎﻥ ﻛﻪ ﺷﻤﺎ‬ ‫ﺭﺍ ﺑﻴﺸﺘﺮ ﮔﻴﺞ ﻣﻰﻛﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻦﺟﺎ ﻣﺴﺌﻠﻪﻯ ﻋﺎﺩﺕ ﺩﺍﺷﺘﻦ ﺑﻪ ﺍﻳﻦ ﻧﻮﻉ ﻓﻴﻠﻢ ﺩﻳﺪﻥ ﻣﻄﺮﺡ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻣﻄﻤﺌﻦ ﺑﺎﺷﻴﺪ ﺍﮔﺮ ﺍﻳﻦ ﺗﺠﺮﺑﻪﻯ ﺍﻭﻟﺘﺎﻥ ﺑﺎﺷﺪ‪ ،‬ﺣﺪﺍﻗﻞ ﺗﺎ ﻣﺪﺕﻫﺎ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻯ ژﺍﭘﻨﻰ ﻭ ﺍﻧﻴﻤﻪ ﺩﻭﺭﻯ‬ ‫ﺧﻮﺍﻫﻴﺪ ﻛﺮﺩ‪ .‬ﺍﻣﺎ ﺍﮔﺮ ﻗﺒ ً‬ ‫ﻼ ﻓﻴﻠﻢﻫﺎﻳﻰ ﺷﺒﻴﻪ ﺍﻳﻦ ﺩﻳﺪﻩ ﺑﺎﺷﻴﺪ‪ ،‬ﻣﻰﺩﺍﻧﻴﺪ ﻛﻪ ﺩﺭ ﭘﺎﻳﺎﻥ ﺍﺣﺘﻤﺎﻻً ﺻﺒﺮ‬ ‫ﺷﻤﺎ ﭘﺎﺩﺍﺵ ﺩﺍﺩﻩ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﺍﻣﺎ ﺍﺣﺘﻤﺎﻝ ﺍﻳﻦ ﻫﻢ ﻫﺴﺖ ﻛﻪ ﺳﺎﺯﻧﺪﮔﺎﻥ ﺑﻪ ﻃﻮﺭ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺍﺯ ﺁﺯﺍﺭ‬ ‫ﺑﻴﻨﻨﺪﻩ ﻟﺬﺕ ﺑﺒﺮﻧﺪ ﻭ ﻓﻴﻠﻢ ﺭﺍ ﺑﺎ ﻫﻤﺎﻥ ﺳﺮﻧﺦﻫﺎﻯ ﻛﻮﭼﻚ ﻭ ﺑﺪﻭﻥ ﺗﻮﺿﻴﺢ ﺑﻴﺸﺘﺮ ﺑﻪ ﭘﺎﻳﺎﻥ ﺑﺒﺮﻧﺪ‪ .‬ﺍﻳﻦ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫»ﺧﺰﻧﺪﻩﻯ ﺁﺳﻤﺎﻥ« ﻧﺎﻡ ﻣﺠﻤﻮﻋﻪﺍﻯ ﺩﺍﺳﺘﺎﻧﻰ ﻧﻮﺷﺘﻪﻯ ﻫﻴﺮﻭﺷﻰ ﻣﻮﺭﻯ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪2001‬‬ ‫ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﭼﺎپ ﺷﺪ‪ .‬ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺩﺍﺭﺍﻯ ‪ 5‬ﻛﺘﺎﺏ ﺍﺳﺖ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﺭﻧﺞ ﻭ ﺳﺨﺘﻰﻫﺎﻯ ﮔﺮﻭﻫﻰ‬ ‫ﺍﺯ ﺧﻠﺒﺎﻧﺎﻥ ﺟﻮﺍﻥ ﺩﺭﮔﻴﺮ ﺟﻨﮓ ﺭﺍ ﺩﺭ ﺩﻧﻴﺎﻳﻰ ﻭﺍﺭﻭﻧﻪ ﺩﻧﺒﺎﻝ ﻣﻰﻛﻨﺪ‪ .‬ﺧﻂ ﺩﺍﺳﺘﺎﻧﻰ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺑﺎ‬ ‫ﺩﻳﮕﺮ ﻣﺠﻤﻮﻋﻪﻫﺎﻯ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺗﻮﺳﻂ ﻣﻮﺭﻯ ﻛﻪ ﻓﻀﺎﻳﻰ ﻣﻌﻤﺎﮔﻮﻧﻪ ﺩﺍﺭﻧﺪ‪ ،‬ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ‪ .‬ﺍﺯ ﺍﻳﻦ‬ ‫ﻣﺠﻤﻮﻋﻪ ﺩﺭ ﺳﺎﺧﺖ ﻳﻚ ﻓﻴﻠﻢ ﺍﻧﻴﻤﻪ‪ ،‬ﺑﺎﺯﻯ ﻛﺎﻣﭙﻴﻮﺗﺮﻯ ﻭ ﻣﺎﻧﮕﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻛﺘﺎﺏ ﺍﻭﻟﻰ ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪ 2001‬ﻧﻮﺷﺘﻪ ﻭ ﭼﺎپ ﺷﺪ‪ ،‬ﺧﺰﻧﺪﻩﻯ ﺁﺳﻤﺎﻥ‪ ،‬ﺩﺭ ﻭﺍﻗﻊ ﻗﺮﺍﺭ ﺑﻮﺩ ﻛﺘﺎﺏ ﺁﺧﺮ‬ ‫ﺩﺭ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪﻯ ﺩﺍﺳﺘﺎﻧﻰ ﺑﺎﺷﺪ‪ .‬ﻛﺘﺎﺏ ﺍﻭﻝ‪ ،‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺗﺮﺗﻴﺐ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻥ ﻭﻗﺎﻳﻊ ﺩﺭ ﻣﺠﻤﻮﻋﻪ‪،‬‬ ‫”‪ “None But Air‬ﻧﺎﻡ ﺩﺍﺭﺩ ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪ 2004‬ﻣﻨﺘﺸﺮ ﺷﺪ‪ .‬ﻛﺘﺎﺏ ﺩﻭﻡ ”‪ “Down to Heaven‬ﺩﺭ‬ ‫ﺳﺎﻝ ‪ ،2005‬ﻛﺘﺎﺏ ﺳﻮﻡ ”‪ “Flutter into Life‬ﺩﺭ ﺳﺎﻝ ‪ 2007‬ﻭ ﻛﺘﺎﺏ ﭼﻬﺎﺭﻡ ”‪“Cradle the Sky‬‬ ‫ﻧﻴﺰ ﺩﺭ ﺳﺎﻝ ‪ 2007‬ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪ‪ .‬ﻧﺎﻣﺮﺗﺐ ﺑﻮﺩﻥ ﺯﻣﺎﻥ ﭼﺎپ ﻛﺘﺎﺏ ﻫﺎ ﺑﺪﻳﻦ ﻗﺼﺪ ﺑﻮﺩ ﺗﺎ ﻧﺸﺎﻥ ﺩﻫﻨﺪ‬ ‫ﻛﻪ ﻧﻴﺎﺯﻯ ﺑﻪ ﺧﻮﺍﻧﺪﻥ ﻛﺘﺎﺏﻫﺎ ﺑﻪ ﺗﻮﺟﻪ ﺑﻪ ﺗﺮﺗﻴﺐ ﻭﻗﺎﻳﻊ ﻧﻴﺴﺖ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﻣﻄﻠﺐ‪ ،‬ﻗﺼﺪ ﻣﺎ ﭘﺮﺩﺍﺧﺖ ﺑﻪ ﻓﻴﻠﻢ ﺍﻧﻴﻤﻪ ﻯ ﺍﻗﺘﺒﺎﺱ ﺷﺪﻩ ﺍﺯ ﺍﻭﻟﻴﻦ ﻛﺘﺎﺏ ﭼﺎپ ﺷﺪﻩ‪ ،‬ﻳﻌﻨﻰ‬ ‫ﺧﺰﻧﺪﻩﻯ ﺁﺳﻤﺎﻥ ﺍﺳﺖ‪.‬‬ ‫ﺍﻳﻦ ﻓﻴﻠﻢ ﺩﺭ ﺳﺎﻝ ‪ 2008‬ﺗﻮﺳﻂ ﻣﺎﻣﻮﺭﻭ ﺍﻭﺷﻰ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﺷﺪ‪ .‬ﺑﻪ ﮔﻔﺘﻪﻯ ﺧﻮﺩ ﻧﻮﻳﺴﻨﺪﻩﻯ‬ ‫ﻣﺠﻤﻮﻋﻪ‪ ،‬ﺍﻳﻦ ﻛﺘﺎﺏ ﺳﺨﺖﺗﺮﻳﻦ ﺑﺮﺍﻯ ﺍﻗﺘﺒﺎﺱ ﺑﻮﺩﻩ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺍﻭ ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺍﺯ ﺗﻮﺍﻧﺎﻳﻰ ﻛﺎﺭﮔﺮﺩﺍﻥ‬ ‫ﻣﻄﻤﺌﻦ ﻣﻰﺷﻮﺩ‪ ،‬ﺍﺟﺎﺯﻩﻯ ﺳﺎﺧﺖ ﺭﺍ ﻣﻰﺩﻫﺪ؛ ﭼﺮﺍ ﻛﻪ ﺍﻭﺷﻰ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﻛﺎﺭﻫﺎﻯ ﻣﻌﺮﻭﻓﻰ ﻫﻤﭽﻮﻥ‬ ‫”‪ “Ghost in the Shell: Innocence‬ﺭﺍ ﺩﺭ ﻛﺎﺭﻧﺎﻣﻪ ﻛﺎﺭﻯ ﺧﻮﺩ ﺩﺍﺭﺩ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﺍﻳﻦ ﻓﻴﻠﻢ ﺩﺭ ﺩﻧﻴﺎﻳﻰ ﻣﺘﻔﺎﻭﺕ ﺍﺯ ﺩﻧﻴﺎﻯ ﻣﺎ ﻣﻰ ﮔﺬﺭﺩ‪ .‬ﺑﺎ ﻭﺟﻮﺩ ﺑﺮﻗﺮﺍﺭﻯ ﺻﻠﺢ ﺩﺭ ﺳﺮﺗﺎﺳﺮ‬ ‫ﺍﻳﻦ ﺩﻧﻴﺎ‪ ،‬ﻫﻨﻮﺯ ﻫﻢ ﺗﻨﺶ ﻭ ﻧﺎﺁﺭﺍﻣﻰ ﺑﻴﻦ ﻣﺮﺩﻣﻰ ﻛﻪ ﺗﺎ ﻛﻨﻮﻥ ﺑﻪ ﻭﺟﻮﺩ ﺟﻨﮓ ﻭ ﺩﺭﮔﻴﺮﻯ ﺧﻮ‬ ‫ﮔﺮﻓﺘﻪ ﺑﻮﺩﻧﺪ ﻭ ﺑﻪ ﻭﺍﻗﻌﻴﺘﻰ ﺍﺯ ﺯﻧﺪﮔﻰ ﺭﻭﺯﻣﺮﻩﺷﺎﻥ ﺗﺒﺪﻳﻞ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﭘﺲ ﺍﻳﻦ ﻣﺸﻜﻞ‬ ‫ﺭﺍ ﺑﺎﻳﺪ ﺑﻪ ﻫﺮ ﺭﻭﺷﻰ ﻛﻪ ﺷﺪﻩ ﺣﻞ ﻛﺮﺩ ﺗﺎ ﻣﺮﺩﻡ ﺑﺘﻮﺍﻧﻨﺪ ﺍﺯ ﺯﻧﺪﮔﻰ ﺧﻮﺩ ﻟﺬﺕ ﺑﺒﺮﻧﺪ‪ .‬ﺭﺍﻩﺣﻠﻰ ﻛﻪ‬ ‫ﺑﻪ ﺁﻥ ﻣﻰﺭﺳﻨﺪ‪ ،‬ﺗﺸﻜﻴﻞ ﺷﺮﻛﺖﻫﺎﻯ ﺧﺼﻮﺻﻰ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﺧﻠﺒﺎﻧﺎﻥ ﺟﻨﮕﻨﺪﻩ ﻗﺮﺍﺭﺩﺍﺩ ﻣﻰﺑﻨﺪﻧﺪ‬ ‫ﺗﺎ ﺩﺭ ﻣﺎﻣﻮﺭﻳﺖﻫﺎﻯ ﺟﻨﮕﻰ ﻭﺍﻗﻌﻰ ﺩﺭ ﻣﻘﺎﺑﻞ ﻫﻢ ﻣﺒﺎﺭﺯﻩ ﻛﻨﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻦﺟﺎﺳﺖ ﻛﻪ »ﻛﻴﻠﺪﺭﻥ«ﻫﺎ‪،‬‬ ‫ﺍﻧﺴﺎﻥﻧﻤﺎﻫﺎﻳﻰ ﻛﻪ ﺑﺮﺍﻯ ﺯﻧﺪﮔﻰ ﺍﺑﺪﻯ ﺩﺭ ﺩﻭﺭﺍﻥ ﻧﻮﺟﻮﺍﻧﻰ ﻃﺮﺍﺣﻰ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﻭﺍﺭﺩ ﺧﻂ ﺩﺍﺳﺘﺎﻧﻰ‬ ‫ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﻣﻄﻤﺌﻨﺎً ﺗﺎ ﺍﻻﻥ ﺩﻳﮕﺮ ﻣﺘﻮﺟﻪ ﺧﻂ ﺍﺻﻠﻰ ﺩﺍﺳﺘﺎﻥ ﺷﺪﻩﺍﻳﺪ‪ .‬ﻧﺎﻣﻴﺮﺍﻳﺎﻧﻰ ﻛﻪ ﺩﺭ ﭼﺮﺧﻪﻯ ﺟﻨﮕﻰ‬ ‫ﭘﺎﻳﺎﻥﻧﺎﭘﺬﻳﺮ ﻭ ﺍﻟﺒﺘﻪ ﺳﺎﺧﺘﮕﻰ ﮔﻴﺮ ﺍﻓﺘﺎﺩﻩﺍﻧﺪ ﺗﺎ ﻣﺮﺩﻡ ﺍﺯ ﺻﻠﺢ ﺑﻴﺶ ﺍﺯ ﺍﻧﺪﺍﺯﻩ ﺩﭼﺎﺭ ﺗﻨﺶ ﻭ ﻧﮕﺮﺍﻧﻰ‬ ‫ﻧﺸﻮﻧﺪ‪ .‬ﻣﺤﺾ ﺍﺣﺘﻴﺎﻁ ﻻﺯﻡ ﺍﺳﺖ ﻳﺎﺩﺁﻭﺭ ﺷﻮﻡ ﻛﻪ ﻭﻗﺘﻰ ﻧﺎﻣﻴﺮﺍ ﺑﺎﺷﻴﺪ‪ ،‬ﺧﻮﺏ‪ ،‬ﺑﻪ ﻃﻮﺭ ﻣﻌﻤﻮﻝ ﺭﺍﻫﻰ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﺳﻴﻨﻤﺎ‬

‫ﺧﺰﻧﺪﻩﻯ ﺁﺳﻤﺎﻥ‬ ‫ﺍﻟﻬﻪ ﻣﺮﺍﺩﻯ‬

‫ﺷﻨﺎﺳﻨﺎﻣﻪ‬ ‫ﺻﺪﺍﭘﻴﺸـﮕﺎﻥ‪:‬‬

‫ﺭﻳﻮ ﻛﺎﺯﻩ‪ ،‬ﺭﻳﻨﻜﻮ ﻛﻴﻜﻮﭼﻰ‪،‬‬ ‫ﺷﻮﺳﻮﻛﻪ ﺗﺎﻧﻰﻫﺎﺭﺍ‪ ،‬ﭼﻴﺎﻛﻰ ﻛﻮﺭﻯﻳﺎﻣﺎ‬

‫ﻛﺎﺭﮔـــﺮﺩﺍﻥ‪:‬‬

‫ﻣﺎﻣﻮﺭﻭ ﺍﻭﺷﻰ‬

‫ﻓﻴﻠﻢﻧﺎﻣﻪﻧﻮﻳﺲ‪:‬‬

‫ﭼﻰﻫﻴﺮﻭ ﺍﻳﺘﻮ ]ﺑﺮ اﺳﺎس رﻣﺎن »ﺧﺰﻧﺪهی آﺳامن« از ﻫﯿﺮوﺷﯽ ﻣﻮری[‬

‫ﻣﻮﺳﻴــــﻘﻰ‪:‬‬

‫ﻛﻨﺠﻰ ﻛﺎﻭﺍﻳﻰ‬

‫ﺯﻣـــــــﺎﻥ‪:‬‬

‫‪ 122‬ﺩﻗﻴﻘﻪ‬

‫ﻣﺤﺼــــﻮ ﻝ ‪:‬‬

‫‪2008‬‬


‫ﺳﻴﻨﻤﺎ‬

‫ﻣﺮﺩﻡ ﺍﺳﺖ ﺗﺎ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﻣﺴﺘﻘﻞ ﻭ ﻛﺎﻣﻞ‪ .‬ﺍﻟﺒﺘﻪ ﺍﮔﺮ ﻗﺒ ً‬ ‫ﻼ ﭼﻴﺰﻯ ﺍﺯ ﺍﻧﻴﻤﻪ ﻭ ﻣﺎﻧﮕﺎﻯ ﺁﻥ ﻧﺪﺍﻧﻴﺪ ﻫﻢ‬ ‫ﺍﺯ ﻓﻴﻠﻢ ﺳﺮ ﺩﺭ ﻣﻰﺁﻭﺭﻳﺪ‪ ،‬ﻭﻟﻰ ﺍﮔﺮ ﺧﻮﺍﻧﺪﻩ ﺑﺎﺷﻴﺪ ﻭ ﺑﺪﺍﻧﻴﺪ ﺍﺣﺴﺎﺱ ﻣﻰﻛﻨﻴﺪ ﻛﻪ ﺍﻳﻦ ﻫﻢ ﻓﻘﻂ ﻳﻜﻰ‬ ‫ﺍﺯ ﻣﺎﺟﺮﺍﻫﺎﻯ ﻛﻦﺷﻴﻦ ﺍﺳﺖ ﻭ ﺑﺎﻳﺪ ﻣﻨﺘﻈﺮ ﺩﻧﺒﺎﻟﻪﺍﺵ ﻣﺎﻧﺪ‪ .‬ﺍﻧﺘﻈﺎﺭﻯ ﻛﻪ ﻇﺎﻫﺮﺍ ً ﺑﻴﻬﻮﺩﻩ ﻫﻢ ﻧﻴﺴﺖ‪.‬‬ ‫ﺗﻬﻴﻪﻛﻨﻨﺪﮔﺎﻥ ﻓﻴﻠﻢ ﺑﻪ ﻃﺮﻓﺪﺍﺭﺍﻥ ﻛﻦﺷﻴﻦ ﻧﻮﻳﺪ ﺩﺍﺩﻩﺍﻧﺪ ﻛﻪ ﺩﻧﺒﺎﻟﻪﺍﻯ ﺍﻳﻦ ﻓﻴﻠﻢ ﻣﺠﻮﺯ ﺳﺎﺧﺖ ﮔﺮﻓﺘﻪ‬ ‫ﻭ ﺩﺍﺳﺘﺎﻥ ﺁﻥ ﻧﻌﻞ ﺑﻪ ﻧﻌﻞ ﻣﺎﻧﮕﺎ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺑﺎﻻﺗﺮ ﮔﻔﺘﻢ‪» ،‬ﻛﻦﺷﻴﻦ« ﺍﺯ ﻣﻌﺪﻭﺩ ﻓﻴﻠﻢﻫﺎﻯ ژﺍﭘﻨﻰ ﺍﺳﺖ ﻛﻪ ﺧﻮﺏ ﺍﺯ ﺁﺏ ﺩﺭ ﺁﻣﺪﻩ؛ ﺍﺯ‬ ‫ﺳﺎﻳﺮ ﻧﻤﻮﻧﻪﻫﺎﻯ ﺧﻮﺏ ﺳﻴﻨﻤﺎﻯ ژﺍﭘﻦ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﻣﺠﻤﻮﻋﻪﻯ »ﻧﻮﺩﺍﻣﻪ« ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻛﻪ ﺍﻟﺒﺘﻪ ﺳﺮﻳﺎﻝ‬ ‫ﺑﻮﺩ‪ ،‬ﻭ ﺩﺭ ﺣﻴﻦ ﺗﻤﺎﺷﺎ ﺁﺩﻡ ﺭﺍ ﺑﻪ ﺣﻴﺮﺕ ﻭﺍ ﻣﻰﺩﺍﺷﺖ ﻛﻪ ﺍﮔﺮ ژﺍﭘﻨﻰﻫﺎ ﻭﺍﻗﻌﺎً ﻗﺎﺩﺭ ﺑﻪ ﺳﺎﺧﺖ ﭼﻨﻴﻦ‬ ‫ﺳﺮﻳﺎﻝﻫﺎﻯ ﺧﻮﺵﺳﺎﺧﺘﻰ ﻫﺴﺘﻨﺪ‪ ،‬ﭘﺲ ﭼﺮﺍ ﺑﻴﺸﺘﺮ ﺗﻼﺵ ﻧﻤﻰﻛﻨﻨﺪ؟!‬ ‫ﺩﺍﺳﺘﺎﻥ ﻛﻦﺷﻴﻦ ﺣﺮﻑ ﻧﺪﺍﺭﺩ ﻭ ﺍﮔﺮ ﻃﺮﻓﺪﺍﺭ ﻣﺮﺍﻡ ﺳﺎﻣﻮﺭﺍﻳﻰﻫﺎ ﺑﺎﺷﻴﺪ‪ ،‬ﻗﺎﻋﺪﺗﺎً ﺍﺯ ﺻﺤﻨﻪﻫﺎﻯ ﻧﺒﺮﺩ‬ ‫ﻭ ﺷﻤﺸﻴﺮﺯﻧﻰ ﻭ ﺧﻮﻥ ﻭ ﺧﻮﻧﺮﻳﺰﻯﺍﺵ ﺧﻮﺷﺘﺎﻥ ﺧﻮﺍﻫﺪ ﺁﻣﺪ‪ .‬ﺷﺨﺼﻴﺖﻫﺎ‪ ،‬ﺧﺼﻮﺻﺎً ﺧﻮﺩ ﻛﻦﺷﻴﻦ‪،‬‬ ‫ﺟﺬﺍﺑﻨﺪ ﻭ ﻫﺮ ﭼﻪ ﺑﻪ ﻣﺮﻛﺰ ﻓﻴﻠﻢ ﻧﺰﺩﻳﻚﺗﺮﻧﺪ‪ ،‬ﺍﺑﻌﺎﺩ ﺑﻴﺸﺘﺮﻯ ﻫﻢ ﺩﺍﺭﻧﺪ‪ .‬ﺩﺭﮔﻴﺮﻯ ﺩﺭﻭﻧﻰ ﻛﻦﺷﻴﻦ‬ ‫ﺑﺮﺍﻯ ﺷﻜﺴﺘﻦ ﻗﺴﻤﺶ ﻛﻪ ﻛﺴﻰ ﺭﺍ ﻧﻜﺸﺪ‪ ،‬ﻛﻤﻰ ﺳﺎﺩﻩ ﻭ ﺳﺮﺭﺍﺳﺖ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﻛﻪ ﺑﻪ ﻧﻈﺮ ﻣﻦ‬ ‫ﺩﻟﻴﻠﺶ ﻫﻤﺎﻥ ﻧﻴﺎﺯ ﺑﻪ ﺩﻧﺒﺎﻟﻪ ﺍﺳﺖ؛ ﻛﻦﺷﻴﻦ ﺩﻩ ﺳﺎﻝ ﺍﺳﺖ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﺟﻨﮓ ﺳﺮﮔﺮﺩﺍﻧﻰ ﻛﺸﻴﺪﻩ ﻭ‬ ‫ﺣﺎﻻ ﻣﺎ ﺗﻨﻬﺎ ﻳﻚ ﺻﺤﻨﻪ ﺍﺯ ﻛﻤﻚﻫﺎﻳﺶ ﺑﻪ ﻣﺮﺩﻡ ﺭﺍ ﻣﻰﺑﻴﻨﻴﻢ‪ .‬ﭘﺲ ﻣﻨﻄﻘﻰ ﺍﺳﺖ ﻛﻪ ﺟﺎﻯ ﺳﻮﺍﻝ‬ ‫ﺑﺎﻗﻰ ﺑﻤﺎﻧﺪ ﻛﻪ ﭼﻄﻮﺭ ﺩﺭﮔﻴﺮﻯ ﺩﺭﻭﻧﻰ ﻛﻦﺷﻴﻦ ﻭﺍﺿﺢﺗﺮ ﻭ ﺩﺭﺍﻣﺎﺗﻴﻚﺗﺮ ‪-‬ﻣﺜﻞ ﻧﻤﻮﻧﻪﻫﺎﻯ ﻏﺮﺑﻰ‪-‬‬ ‫ﻧﻴﺴﺖ‪.‬‬ ‫ﺷﺨﺼﺎً ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻋﻼﻗﻤﻨﺪ ﺑﻪ ﺳﺎﻣﻮﺭﺍﻳﻰﻫﺎﻯ ﻣﻮﺑﻠﻨﺪ ﻭ ﻣﺮﻣﻮﺯ ﻛﻪ ﺭﻭﺯﻯ ﺑﻰﺧﺒﺮ ﺍﺯ ﺭﺍﻩ ﻣﻰﺭﺳﻨﺪ‪،‬‬ ‫ﺁﺩﻡ ﺑﺪﻫﺎ ﺭﺍ ﺷﻜﺴﺖ ﻣﻰﺩﻫﻨﺪ ﻭ ﺑﻌﺪ ﺩﺭ ﭘﺎﻳﺎﻥ ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﺍﻓﻖ ﻣﺤﻮ ﻣﻰﺷﻮﻧﺪ ﺗﺎ ﺑﺮﻭﻧﺪ ﻭ ﻣﺮﺩﻡ ﺁﻥﺟﺎ‬ ‫ﺭﺍ ﺍﺯ ﻇﻠﻢ ﻭ ﺳﺘﻢ ﻧﺠﺎﺕ ﺑﺪﻫﻨﺪ‪ ،‬ﺍﺯ ﻓﻴﻠﻢ ﻟﺬﺕ ﺑﺮﺩﻡ‪ .‬ﻫﻴﭻ ﻗﺴﻤﺘﻰ ﺍﺯ ﺁﻥ ﻛﺴﻞ ﻛﻨﻨﺪﻩ ﻧﺒﻮﺩ ﻭ ﺧﺼﻮﺻﺎً‬ ‫ﻧﺒﺮﺩ ﻛﻦﺷﻴﻦ ﻭ ﺟﻴﻦﺍ ِﻩ ﻭ ﺑﻌﺪ ﻧﺒﺮﺩﻫﺎﻯ ﻛﻦﺷﻴﻦ ﺭﺍ ﺩﺭ ﺧﺎﻧﻪﻯ ﻏﺮﺑﻰ ﻛﻦﺭﻳﻮ ﺑﺴﻴﺎﺭ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻢ‪.‬‬ ‫ﺍﺣﺴﺎﺱ ﻣﻰﻛﻨﻢ ﺩﻳﺪﻥ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﺮﺍﻯ ﻛﺴﺎﻧﻰ ﻛﻪ ﺩﻧﺒﺎﻝ ﺗﻨﻮﻉ ﻫﺴﺘﻨﺪ ﻭ ﺳﺎﻣﻮﺭﺍﻳﻰ ﺩﻭﺳﺖ ﺩﺍﺭﻧﺪ‬ ‫ﻭ ﻛﻦﺷﻴﻦ ﺭﺍ ﻣﺪﺕﻫﺎ ﺩﻧﺒﺎﻝ ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﺍﺯ ﺍﻭ ﺧﺎﻃﺮﻩ ﺩﺍﺭﻧﺪ‪ ،‬ﺟﺰ ﻭﺍﺟﺒﺎﺕ ﺍﺳﺖ‪ .‬ﻭ ﺍﮔﺮ ﺍﻧﻴﻤﻪ ﺩﻭﺳﺖ‬ ‫ﺩﺍﺭﻳﺪ‪ ،‬ﺩﻳﮕﺮ ﺟﺎﻯ ﭼﻮﻥ ﻭ ﭼﺮﺍ ﻧﻤﻰﻣﺎﻧﺪ‪ .‬ﺑﺎﻳﺪ »ﻛﻦﺷﻴﻦ« ﺭﺍ ﺑﺒﻴﻨﻴﺪ!‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﺁﺭﺍﻡ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﺑﻴﻦ ﺁﻭﺍﺭﻩﺍﻯ ﺑﻪ ﻧﺎﻡ ﻛﻦﺷﻴﻦ ﻭﺍﺭﺩ ﺗﻮﻛﻴﻮ ﻣﻰﺷﻮﺩ )»ﺭﻭﺭﻭﻧﻰ« ﻳﻌﻨﻰ‬ ‫ﺁﻭﺍﺭﻩ‪ ،‬ﺩﻭﺭﻩﮔﺮﺩ(‪ .‬ﻇﺎﻫﺮﺍ ً ﺷﺶ ﻣﺎﻫﻰ ﺍﺳﺖ ﻛﻪ ﺑﺎﺗﻮﺳﺎﻯِ ﺁﺩﻣﻜﺶ ﺩﺭ ﺷﻬﺮ ﻇﺎﻫﺮ ﺷﺪﻩ ﻭ ﺩﺳﺖ ﺑﻪ‬ ‫ﻗﺘﻞ ﻋﺎﻡﻫﺎﻯ ﮔﺴﺘﺮﺩﻩ ﻣﻰﺯﻧﺪ‪ .‬ﭘﻠﻴﺲ ﺑﺮﺍﻯ ﺳﺮ ﺍﻭ ﺟﺎﻳﺰﻩ ﺗﻌﻴﻴﻦ ﻛﺮﺩﻩ‪ ،‬ﺍﻣﺎ ﻫﻴﭻﻛﺲ ﺑﻪ ﻭﺍﻗﻊ ﺍﻭ ﺭﺍ‬ ‫ﻧﻤﻰﺷﻨﺎﺳﺪ ﻣﮕﺮ ﺳﺎﻳﺘﻮ ﻫﺎﺟﻴﻤﻪ ﻛﻪ ﻗﺒ ً‬ ‫ﻼ ﻋﻀﻮ ﺷﻴﻦﺳﻦﮔﻮﻣﻰ ﺑﻮﺩﻩ ﻭ ﺑﺎﺗﻮﺳﺎﻯ ﻭﺍﻗﻌﻰ ﺭﺍ ﺩﺭ ﺣﻴﻦ‬ ‫ﺭﻫﺎ ﻛﺮﺩﻥ ﺷﻤﺸﻴﺮﺵ ﺩﺭ ﻣﻴﺪﺍﻥ ﺟﻨﮓ ﻓﻮﺷﻴﻤﻰ ﺩﻳﺪﻩ ﻭ ﻣﻰﺩﺍﻧﺪ ﺍﻳﻦ ﺁﺩﻣﻜﺶ ﺟﺪﻳﺪ ﻧﻤﻰﺗﻮﺍﻧﺪ‬ ‫ﻫﻤﺎﻥ ﺑﺎﺗﻮﺳﺎﻯِ ﻭﺍﻗﻌﻰ ﺑﺎﺷﺪ‪.‬‬ ‫ﻣﺸﻜﻞ ﺷﻬﺮ ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ‪ ،‬ﺗﺮﻳﺎﻙ ﺍﺳﺖ؛ ﺧﻼﻓﻜﺎﺭﻯ ﺑﻪ ﻧﺎﻡ ﻛﻦﺭﻳﻮ ﻧﺒﺾ ﺷﻬﺮ ﺭﺍ ﺩﺭ ﺩﺳﺖ ﮔﺮﻓﺘﻪ ﻭ��� ‫ﺑﺎ ﺟﺬﺏ ﺯﻧﻰ ﺑﻪ ﻧﺎﻡ ﻣﮕﻮﻣﻰ ﻛﻪ ﺁﺧﺮﻳﻦ ﺑﺎﺯﻣﺎﻧﺪﻩ ﺍﺯ ﺧﺎﻧﺪﺍﻥ ﭘﺰﺷﻜﺎﻥ ﭘﺮ ﺁﻭﺍﺯﻩﻯ ﺗﺎﻛﺎﻧﻰ ﺍﺳﺖ‪ ،‬ﺗﺮﻳﺎﻛﻰ‬ ‫ﺑﻬﺘﺮ ﺍﺯ ﻫﻤﻴﺸﻪ ﺗﻮﻟﻴﺪ ﻛﺮﺩﻩ ﻭ ﺑﻪ ﻗﻴﻤﺖ ﮔﺰﺍﻑ ﺩﺭ ﺷﻬﺮ ﻣﻰﻓﺮﻭﺷﺪ‪.‬‬ ‫ﻣﺎﺟﺮﺍﻯ ﻭﺍﻗﻌﻰ ﺍﺯ ﻭﻗﺘﻰ ﺷﺮﻭﻉ ﻣﻰﺷﻮﺩ ﻛﻪ ﻣﺴﻴﺮ ﻛﻦﺷﻴﻦ ﻭ ﻣﮕﻮﻣﻰ ﻭ ﺩﺧﺘﺮﻯ ﺑﻪ ﻧﺎﻡ ﻛﺎﺋﻮﺭﻭ ﻛﻪ‬ ‫ﺳﺎﻟﻦ ﺷﻤﺸﻴﺮﺯﻧﻰ ﭘﺪﺭﺵ ﺑﻪ ﺩﻟﻴﻞ ﺷﺒﺎﻫﺖ ﻓﻨﻮﻥ ﺑﺎﺗﻮﺳﺎﻯ ﺩﺭﻭﻏﻴﻦ ﻣﺘﺮﻭﻙ ﺷﺪﻩ‪ ،‬ﺑﻪ ﻫﻢ ﻣﻰﺭﺳﺪ‬ ‫ﻭ ﺳﺎﻳﺘﻮ ﻫﺎﺟﻴﻤﻪ ﺍﺯ ﻛﻦﺷﻴﻦ ﻛﻪ ﺣﺎﻻ ﻗﺴﻢ ﺧﻮﺭﺩﻩ ﺧﻮﻥ ﻛﺴﻰ ﺭﺍ ﻧﺮﻳﺰﺩ‪ ،‬ﻣﻰﺧﻮﺍﻫﺪ ﺗﺎ ﺍﻳﻦ ﺑﺎﺭ ﺑﺮﺍﻯ‬ ‫ﻧﺠﺎﺕ ﻣﺮﺩﻡ ﻋﺎﺩﻯ ﭘﺎ ﺑﻪ ﻣﻴﺪﺍﻥ ﻧﺒﺮﺩ ﺑﮕﺬﺍﺭﺩ‪ .‬ﻣﺴﺎﻟﻪ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺁﻳﺎ ﻛﻦﺷﻴﻦ ﺣﺎﺿﺮ ﺍﺳﺖ ﻗﺴﻢ‬ ‫ﺧﻮﺩ ﺭﺍ ﺑﺸﻜﻨﺪ ﻳﺎ ﻧﻪ ﻭ ﺍﻳﻦ ﻛﻪ ﺟﻴﻦﺍ ِﻩ ﭼﻄﻮﺭ ﻋﻄﺶ ﺧﻮﺩ ﺑﻪ ﺧﻮﻥ ﻛﻦﺷﻴﻦ ﺭﺍ ﻛﻪ ﺑﺎﺗﻮﺳﺎﻯ ﻭﺍﻗﻌﻰ‬ ‫ﺍﺳﺖ‪ ،‬ﺳﻴﺮﺍﺏ ﺧﻮﺍﻫﺪ ﻛﺮﺩ‪.‬‬

‫ﻧﻈﺮ ﺷﺨﺼﻰ‬ ‫ﺑﻴﻦ ﻣﺘﻮﺳﻂ ﺑﺎﺷﻴﺪ ﺗﺎ ﺣﺪﺍﻗﻞ ﺍﺳﻤﺶ‬ ‫ﻛﻦﺷﻴﻦ ﺩﻳﮕﺮ ﺗﻌﺮﻳﻒ ﻛﺮﺩﻥ ﻧﻤﻰﺧﻮﺍﻫﺪ؛ ﻛﺎﻓﻴﺴﺖ ﻳﻚ ﺍﻧﻴﻤﻪ ِ‬ ‫ﺑﻪ ﮔﻮﺷﺘﺎﻥ ﺧﻮﺭﺩﻩ ﺑﺎﺷﺪ ﻭ ﺑﺪﺍﻧﻴﺪ ﺩﺍﺳﺘﺎﻥﻫﺎﻳﺶ ﺍﻭ ﺭﺍ ﺗﺒﺪﻳﻞ ﺑﻪ ﻳﻜﻰ ﺍﺯ ﻣﺤﺒﻮﺏﺗﺮﻳﻦ ﺳﺎﻣﻮﺭﺍﻳﻰﻫﺎﻯ‬ ‫ﺍﻓﺴﺎﻧﻪﺍﻯ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺧﻴﻠﻰﻫﺎ ﻣﺎﻧﮕﺎ ﻭ ﺍﻧﻴﻤﻪﻯ ﭼﻨﺪ ﺻﺪ ﻗﺴﻤﺘﻰ ﺁﻥ ﺭﺍ ﺩﻧﺒﺎﻝ ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﺑﻌﻀﻰﻫﺎ‬ ‫ﻓﻘﻂ ﻓﻴﻠﻢ ﺍﻧﻴﻤﻴﺸﻨﻰ ﺭﺍ ﻛﻪ ﺍﺯ ﺭﻭﻯ ﺁﻥ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺩﻳﺪﻩﺍﻧﺪ ﻭ ﺍﺣﺘﻤﺎﻻً ﺻﺤﻨﻪﻯ ﺷﻤﺸﻴﺮﺯﻧﻰ‬ ‫ﮔﻴﻼﺱ ﻛﻴﻮﺗﻮ ﺭﺍ ﺧﻮﺏ ﺑﻪ ﻳﺎﺩ ﺩﺍﺭﻧﺪ؛ ﺻﺤﻨﻪﺍﻯ ﻛﻪ‬ ‫ﻛﻦﺷﻴﻦ ﺩﺭ ﺧﻴﺎﺑﺎﻧﻰ ﺗﺎﺭﻳﻚ ﻭ ﭘﺮ ﺍﺯ ﺷﻜﻮﻓﻪﻯ‬ ‫ِ‬ ‫ﺣﺲ ﻣﻰﻛﻨﻢ ﺑﻪ ﺑﻬﺘﺮﻳﻦ ﺷﻜﻞ ﻣﻤﻜﻦ ﺩﺭ ﺍﻳﻦ ﻧﺴﺨﻪﻯ ﺳﻴﻨﻤﺎﻳﻰ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﺑﺎﺯﺳﺎﺯﻯ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻛﻦﺷﻴﻦ ﺯﻣﺎﻧﻰ ﻃﻮﻻﻧﻰ ﻳﻚ ﺁﺩﻡﻛﺶ ﺍﺟﻴﺮ ﺷﺪﻩ ﺑﻮﺩﻩ ﻭ ﺑﺎ ﺍﺷﺎﺭﻩﻯ ﺍﺑﺮﻭﻯ ﺑﺎﻻﺩﺳﺘﺶ‪ ،‬ﺧﻮﻥ ﺑﺴﻴﺎﺭﻯ‬ ‫ﺭﺍ ﻣﻰﺭﻳﺨﺖ‪ .‬ﺍﻣﺎ ﺑﻌﺪ ﺍﺯ ﺟﻨﮓ ﻧﻬﺎﻳﻰ ﻛﻪ ﺑﺎﻋﺚ ﺍﺯ ﺭﺍﻩ ﺭﺳﻴﺪﻥ ﻋﺼﺮ ﺟﺪﻳﺪ ﻭ ﺑﺎﺯ ﺷﺪﻥ ﺩﺭﻫﺎﻯ ژﺍﭘﻦ‬ ‫ﺑﻪ ﺭﻭﻯ ﻛﺸﻮﺭﻫﺎﻯ ﺧﺎﺭﺟﻰ ﺷﺪ‪ ،‬ﻛﻦﺷﻴﻦ ﺷﻤﺸﻴﺮﺵ ﺭﺍ ﻛﻨﺎﺭ ﮔﺬﺍﺷﺖ ﻭ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺖ ﺑﻪ ﺗﻼﻓﻰ‬ ‫ﺧﻮﻥﻫﺎﻯ ﺑﺴﻴﺎﺭﻯ ﻛﻪ ﺭﻳﺨﺘﻪ‪ ،‬ﺍﻳﻦ ﺑﺎﺭ ﺗﻨﻬﺎ ﺩﺭ ﺭﺍﻩ ﻛﻤﻚ ﺑﻪ ﻣﺮﺩﻡ ﻣﻈﻠﻮﻡ ﺣﺮﻛﺖ ﻛﻨﺪ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﻓﻴﻠﻢ ﺗﻘﺮﻳﺒﺎً ﻣﺜﻞ ﻳﻜﻰ ﺍﺯ ﺍﭘﻴﺰﻭﺩﻫﺎﻯ ﻛﻦﺷﻴﻦ ﺩﺭ ﻃﻰ ﺳﻔﺮﻫﺎﻯ ﻃﻮﻻﻧﻴﺶ ﺑﺮﺍﻯ ﻛﻤﻚ ﺑﻪ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﺳﻴﻨﻤﺎ‬

‫ﺷﺨﺼﻴﺖﻫﺎ ﻭ ﺗﻔﺎﻭﺕ ﺁﻥ ﺑﺎ ﺳﺎﻳﺮ ﻉﺕﻫﺎ ﺍﺳﺖ‪ .‬ﺍﺣﺘﺮﺍﻡ ﮔﺬﺍﺷﺘﻦﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺩﺭ ﺍﺭﺗﺶ ﺍﮔﺮ ﺍﻭﺿﺎﻉ‬ ‫ژﺍﭘﻨﻰ ﺑﺎﺷﺪ‪ ،‬ﺩﻳﮕﺮ ﺍﻏﺮﺍﻕﺁﻣﻴﺰ ﺟﻠﻮﻩ ﻧﻤﻰﻛﻨﺪ ﻭ ﻫﻤﻴﻦ ﻓﻜﺮ ﻛﻪ ﺍﺻ ً‬ ‫ﻼ ﺧﺒﺮﻯ ﺍﺯ ﻛﺸﻮﺭﻫﺎﻯ ﺩﻳﮕﺮ ﻧﻴﺴﺖ‬ ‫ﻭ ﻫﻨﺠﺎﺭ ﺑﺎﻻﺧﺮﻩ ﺷﻜﺴﺖ ﻭ ﺍﻳﻦ ﺟﺰﻳﺮﻩﻯ ﺁﻓﺘﺎﺏ ﺗﺎﺑﺎﻥ ﻛﻮﭼﻚ ﻭ ﻫﻤﻴﺸﻪﻟﺮﺯﺍﻥ ﺍﺳﺖ ﻛﻪ ﻣﻰﺧﻮﺍﻫﺪ‬ ‫ﻣﻦ ﺑﻴﻨﻨﺪﻩ ﻣﺜﻞ ﻧﺴﻴﻢ ﺗﺎﺯﻩﺍﻯ ﻣﻰﻣﺎﻧﺪ‪.‬‬ ‫ﺑﺸﺮﻳﺖ ﺭﺍ ﻧﺠﺎﺕ ﺩﻫﺪ‪ ،‬ﺑﺮﺍﻯ ِ‬ ‫ﺩﺭ ﻫﺮ ﺣﺎﻝ‪ ،‬ﭘﻴﺸﻨﻬﺎﺩ ﺩﻳﺪﻥ ﻓﻴﻠﻢ ﺭﺍ ﺑﻪ ﭼﺸﻢ ﻳﻚ ﺍﻧﻴﻤﻪﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻣﻰﺩﻫﻢ؛ ﻫﺮ ﭼﻪ ﻧﺒﺎﺷﺪ‪،‬‬ ‫ﺗﻨﻮﻋﻰ ﻛﻪ ﺑﻪ ﻭﺟﻮﺩ ﻣﻰﺁﻭﺭﺩ ﺣﺪﺍﻗﻞ ﺗﺎ ﻣﺪﺗﻰ ﺣﺲ ﺧﻮﺑﻰ ﺑﻪ ﺩﻧﺒﺎﻝ ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ‪.‬‬

‫ﺭﻭﺭﻭﻧﻰ ﻛﻦﺷﻴﻦ‬ ‫ﺑﺎﺯﻳــــﮕﺮﺍﻥ‪:‬‬

‫ﺳﺎﺗﻮ ﺗﺎﻛِﺮﻭ )ﻫﻴﻤﻮﺭﺍ ﻛﻦﺷﻴﻦ(‪ ،‬ﺗﺎﻛﻪﺍﻯ ﺍ ِﻣﻰ )ﻛﺎﻣﻴﺎ ﻛﺎﺋﻮﺭﻭ(‪،‬‬ ‫ﺁﺋﻮﻳﻰ ﻳﻮ )ﺗﺎﻛﺎﻧﻰ ﻣﮕﻮﻣﻰ(‪ ،‬ﻛﻴﻜﺎﻭﺍ ﻛﻮﺟﻰ )ﺟﻴﻦﺍ ِﻩ(‪،‬‬ ‫ﺍﮔﻮﭼﻰ ﻳﻮﺳﻮﻛﻪ‬

‫)ﺳﺎﻳﺘﻮ ﻫﺎﺟﻴﻤﻪ(‬

‫ﺍﻭﺗﻮﻣﻮ ﻛِﻰﺍﻳﺸﻰ‬

‫ﻛﺎﺭﮔـــﺮﺩﺍﻥ‪:‬‬

‫ﻓﻴﻠﻢﻧﺎﻣﻪﻧﻮﻳﺲ‪ :‬ﻓﻮﺟﻰﺍﻯ ﻛﻴﻮﻣﻰ ]ﺑﺮ اﺳﺎس »روروﻧﯽ ﮐﻦﺷﯿﻦ« از واﺗﺴﻮﮐﯽ ﻧﻮﺑﻮﻫﯿﺮو[‬

‫ﻣﻮﺳﻴــــﻘﻰ‪:‬‬

‫ﺳﺎﺗﻮ ﻧﺎﺋﻮﻛﻰ‬

‫ﺯﻣـــــــﺎﻥ‪:‬‬

‫‪ 131‬ﺩﻗﻴﻘﻪ‬

‫ﻣﺤﺼــــﻮ ﻝ ‪:‬‬

‫ﺍﺳﺘﻮﺩﻳﻮ ﻭﺍﺭﻧﺮ‪ 25 ،‬ﺁﮔﻮﺳﺖ ‪2012‬‬

‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‬ ‫ﻫﻴﺘﻮﻛﻴﺮﻯ ﺑﺎﺗﻮﺳﺎﻯ )ﺍﺻﻄﻼﺣﺎً‪» :‬ﺁﺩﻣﻜﺶ ﺣﺮﻓﻪﺍﻯ ﺩﺭ ﻓﻦ ﺑﺎﺗﻮ‪-‬ﺟﻴﺴﺘﻮ«( ﺩﺭ ﻧﺒﺮﺩ ﺗﻮﺑﺎ‪-‬ﻓﻮﺷﻴﻤﻰ‬ ‫ﺷﺮﻛﺖ ﻣﻰﻛﻨﺪ ﻭ ﺑﺎ ﭘﻴﺮﻭﺯﻯ ﺍﻣﭙﺮﻳﺎﻟﻴﺴﺖﻫﺎ‪ ،‬ﺷﻤﺸﻴﺮﺵ ﺭﺍ ﺭﻫﺎ ﻣﻰﻛﻨﺪ ﻭ ﻣﻰﺭﻭﺩ‪ .‬ﻛﻤﻰ ﺑﻌﺪ‪ ،‬ﺟﻴﻦﺍ ِﻩ‬ ‫ﻛﻪ ﺩﺭ ﻣﻴﺎﻥ ﻣﺮﺩﻩﻫﺎ ﺯﻧﺪﻩ ﻣﺎﻧﺪﻩ‪ ،‬ﺩﺭ ﻣﻴﺪﺍﻥ ﺧﺎﻟﻰ ﺟﻨﮓ ﺑﺮ ﻣﻰﺧﻴﺰﺩ ﻭ ﺷﻤﺸﻴﺮ ﺭﻫﺎ ﺷﺪﻩﻯ ﺑﺎﺗﻮﺳﺎﻯ‬ ‫ﺭﺍ ﺑﺮ ﻣﻰﺩﺍﺭﺩ ﻭ ﺧﻮﺩﺵ ﺭﺍ ﺑﺎﺗﻮﺳﺎﻯ ﻣﻰﻧﺎﻣﺪ‪.‬‬ ‫ﺣﺎﻻ ﺩﻩ ﺳﺎﻝ ﮔﺬﺷﺘﻪ ﻭ ﺩﻳﮕﺮ ﺍﺯ ﺟﻨﮓ ﺧﺒﺮﻯ ﻧﻴﺴﺖ؛ ﺣﻤﻞ ﺷﻤﺸﻴﺮ ﻭ ﭘﻴﺮﻭﻯ ﺍﺯ ﺭﺍﻩ ﻭ ﺭﺳﻢ‬ ‫ﺳﺎﻣﻮﺭﺍﻳﻰﻫﺎ ﻣﻤﻨﻮﻉ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻭﺿﺎﻉ ﺑﺮﺍﻯ ﻣﺮﺩﻡ ﻋﺎﺩﻯ ﺑﻪ ﺻﻠﺢ ﻭ ﺻﻔﺎ ﺍﺩﺍﻣﻪ ﺩﺍﺭﺩ ﻭ ﻫﻤﻪ ﭼﻴﺰ‬ ‫‪93‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﺑﺎﺷﻴﺪ‪ ،‬ﺑﺎﻳﺪ ﻛﻢ ﻭ ﺑﻴﺶ ﺑﺪﺍﻧﻴﺪ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﺣﻮﺯﻩ ژﺍﭘﻦ ﺣﺮﻑ ﭼﻨﺪﺍﻧﻰ ﺑﺮﺍﻯ ﮔﻔﺘﻦ ﻧﺪﺍﺭﺩ‪ .‬ﻧﻪ ﺍﻳﻦ‬ ‫ﻛﻪ ﻓﻴﻠﻢ ﻭ ﺳﺮﻳﺎﻝ ﺧﻮﺏ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺍﻣﺎ ﺗﻌﺪﺍﺩ ﺧﻮﺏﻫﺎﻳﺶ ﺁﻥﻗﺪﺭ ﺍﻧﮕﺸﺖﺷﻤﺎﺭ ﺍﺳﺖ ﻛﻪ ﻳﻚ‬ ‫ﺑﺎﺭ ﺑﻪ ﺷﻮﺧﻰ ﺑﺎ ﺩﻭﺳﺘﻰ ﻣﻰﮔﻔﺘﻴﻢ ﻓﻴﻠﻢ »ﻛﻦﺷﻴﻦ« ‪-‬ﻣﻌﺮﻓﻰ ﺩﺭ ﻫﻤﻴﻦ ﺷﻤﺎﺭﻩ‪ -‬ﺍﺷﺘﺒﺎﻫﺎً ﺍﺯ ﺩﺳﺖ‬ ‫ﺳﺎﺯﻧﺪﮔﺎﻧﺶ ﺩﺭ ﺭﻓﺘﻪ ﻭ ﺧﻮﺏ ﺍﺯ ﺁﺏ ﺩﺭ ﺁﻣﺪﻩ ﺍﺳﺖ!‬ ‫»ﺭﺯﻡﻧﺎﻭ ﻓﻀﺎﻳﻰ ﻳﺎﻣﺎﺗﻮ« ﺍﺯ ﺍﻳﻦ ﻣﻌﺪﻭﺩ ﻧﻤﻮﻧﻪﻫﺎ ﻧﻴﺴﺖ؛ ﻳﻌﻨﻰ ﺁﻥﻃﻮﺭ ﻧﻴﺴﺖ ﻛﻪ ﺗﻤﺎﺷﺎ ﻛﻨﻰ ﻭ ﺑﻌﺪ‬ ‫ﺑﺎ ﺧﻮﺩﺕ ﺑﮕﻮﻳﻰ‪» :‬ﺧﻮﺏ‪ ،‬ﺍﻳﻦ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﻫﻴﭻ ﻛﺸﻮﺭ ﺩﻳﮕﺮﻯ ﻣﺜﻠﺶ ﺭﺍ ﻧﻤﻰﺳﺎﺯﺩ‪«.‬‬ ‫ﺣﻘﻴﻘﺖ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﻋﻠﻤﻰﺗﺨﻴﻠﻰﻫﺎﻯ ﻣﺘﻮﺳﻂ ﺑﺎ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺷﺒﻴﻪ ﻫﻢ ﺭﺍ ﻫﺮ ﻛﺸﻮﺭﻯ ﺗﺎ‬ ‫ﺍﻻﻥ ﺗﻮﻟﻴﺪ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻃﺒﻖ ﮔﻔﺘﻪﻯ ﻣﻨﺘﻘﺪﻳﻦ‪ ،‬ﺩﺍﺳﺘﺎﻥ ﺯﻳﺎﺩﻯ ﺷﺒﻴﻪ ﮔﺎﻻﻛﺘﻴﻜﺎ ﺍﺳﺖ؛ ﻣﻮﻗﻊ ﺩﻳﺪﻥ‬ ‫ﻓﻴﻠﻢ ﺍﻳﻦ ﻧﻈﺮ ﺭﺍ ﻧﺨﻮﺍﻧﺪﻩ ﺑﻮﺩﻡ‪ ،‬ﺍﻣﺎ ﺩﺍﺋﻢ ﺑﺎ ﺧﻮﺩﻡ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻡ ﻛﻪ ﭼﻘﺪﺭ ﺍﻳﻦ ﻧﻜﺘﻪ ﻳﺎ ﺁﻥ ﻳﻜﻰ ﺷﺒﻴﻪ‬ ‫ﻫﻤﺎﻥ ﭼﻴﺰﻯ ﺍﺳﺖ ﻛﻪ ﺩﻩ ﺑﺮﺍﺑﺮ ﺑﻬﺘﺮﺵ ﺭﺍ ﺩﺭ ﮔﺎﻻﻛﺘﻴﻜﺎﻯ ﻛﻢﺑﻮﺩﺟﻪ ﻭ ﻣﻮﺭﺩ ﻛﻢﻟﻄﻔﻰ ﺩﻳﺪﻩﺍﻡ‪.‬‬ ‫ﺍﺻ ً‬ ‫ﻼ ﺍﻳﻦ ﺗﻢ ﺣﻤﻠﻪﻯ ﻓﻀﺎﻳﻰﻫﺎﻯ ﺑﻰﺭﺣﻢ ﻭ ﺑﻰﻣﻨﻄﻖ ﻭ ﺯﻳﺎﺩﻯ ﭘﺮﺯﻭﺭ ﺑﻪ ﺯﻣﻴﻦ‪ ،‬ﺩﻳﮕﺮ ﺧﻴﻠﻰ ﺗﻜﺮﺍﺭﻯ‬ ‫ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺣﺘﺎ ﻫﺎﻟﻴﻮﻭﺩ ﻫﻢ ﭼﻨﺪ ﻭﻗﺘﻰ ﺍﺳﺖ ﺍﻳﺪﻩﻯ ﺟﺪﻳﺪﻯ ﺑﻪ ﺍﻳﻦ ﺗﻢ ﺍﺿﺎﻓﻪ ﻧﻜﺮﺩﻩ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ‬ ‫»ﻳﺎﻣﺎﺗﻮ« ﻛﻪ ﺧﻮﺩﺵ ﺩﺭ ﺗﻢ ﻭ ﺷﻜﻞ ﻭ ﻗﻴﺎﻓﻪ ﻭ ﻫﺮ ﭼﻴﺰ ﺩﻳﮕﺮﻯ ﺗﻘﻠﻴﺪﻯ ﺍﺯ ﻉﺕﻫﺎﻯ ﻫﺎﻟﻴﻮﻭﺩﻯ ﻣﺤﺴﻮﺏ‬ ‫ﻣﻰﺷﻮﺩ‪ ،‬ﺣﺮﻑ ﺗﺎﺯﻩﺍﻯ ﺑﺮﺍﻯ ﮔﻔﺘﻦ ﻧﺪﺍﺭﺩ ﻣﮕﺮ ﺍﻳﻦ ﻛﻪ ﺍﺯ ژﺍﭘﻨﻰ ﺣﺮﻑ ﺯﺩﻥ ﺷﺨﺼﻴﺖﻫﺎﻳﺶ ﻟﺬﺕ ﺑﺒﺮﻳﺪ!‬ ‫ﺍﺯ ﻃﺮﻓﻰ ﻋﻠﻢ ﻓﻴﻠﻢ ﻛﻤﻰ ﺿﻌﻴﻒ ﺍﺳﺖ‪ ،‬ﺧﺼﻮﺻﺎً ﺑﺮﺍﻯ ﻛﺴﻰ ﻛﻪ ﺯﻳﺎﺩﻯ ﻉﺕ ﺩﻳﺪﻩ ﻭ ﺧﻮﺍﻧﺪﻩ ﺑﺎﺷﺪ؛‬ ‫ﻣﺜ ً‬ ‫ﻼ ﺗﻮﺿﻴﺤﻰ ﺩﺭ ﻣﻮﺭﺩ ﻣﻮﺗﻮﺭ »ﺟﻬﺶ« ﻛﻪ ﺑﺎﻋﺚ ﻏﻴﺐ ﺷﺪﻥ ﺳﻔﻴﻨﻪ ﺍﺯ ﻳﻚ ﻧﻘﻄﻪ ﻭ ﻇﺎﻫﺮ ﺷﺪﻥ‬ ‫ﺁﻥ ﺩﺭ ﻧﻘﻄﻪﻯ ﺩﻳﮕﺮ ﻣﻰﺷﻮﺩ‪ ،‬ﻧﻤﻰﺷﻨﻮﻳﻢ‪ .‬ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﻧﻜﺘﻪ ﺩﺭ ﮔﺎﻻﻛﺘﻴﻜﺎ ﻫﻢ ﻭﺟﻮﺩ ﺩﺍﺷﺖ ﻭ ﺍﻳﻦﺟﺎ‬ ‫ﻫﻢ ﻣﺜﻞ ﺁﻥﺟﺎ ﺗﺮﺱ ﺍﺯ ﻇﺎﻫﺮ ﺷﺪﻥ ﺍﺷﺘﺒﺎﻫﻰ ﺩﺭ ﻧﻘﻄﻪﻯ ﺧﻄﺮﻧﺎﻙ ﺩﻳﺪﻩ ﻣﻰﺷﺪ‪ .‬ﻳﺎ ﻣﺜ ً‬ ‫ﻼ ﺍﺳﻠﺤﻪﻯ‬ ‫»ﻣﻮﺝ« ﻛﻪ ﺍﻣﻴﺪﻭﺍﺭﻡ ﻣﺘﺮﺟﻢ ﺯﻳﺮﻧﻮﻳﺲﻫﺎ ﺁﻥ ﺭﺍ ﺩﺭﺳﺖ ﺑﺮﮔﺮﺩﺍﻧﺪﻩ ﺑﺎﺷﺪ‪ .‬ﺍﻳﻦ ﺳﻼﺡ ﺁﻥﻗﺪﺭ ﻣﺨﻮﻑ‬ ‫ﺍﺳﺖ ﻛﻪ ﻣﻮﻗﻊ ﺍﻭﻟﻴﻦ ﺷﻠﻴﻚ ﺁﻥ ﺭﻭﻯ ﺯﻣﻴﻦ‪ ،‬ﺍﺗﺎﻕ ﻛﻨﺘﺮﻝ ﻧﮕﺮﺍﻥ ﺍﺳﺖ ﺧﻮﺩ »ﻳﺎﻣﺎﺗﻮ« ﻫﻢ ﺗﺒﺪﻳﻞ ﺑﻪ‬ ‫ﻼ ﭼﻴﺴﺖ ﻭ ﭼﻄﻮﺭ ﻛﺎﺭ ﻣﻰﻛﻨﺪ؟! ﻳﺎ ﻣﺜ ً‬ ‫ﺑﺨﺎﺭ ﺷﺪﻩ ﺑﺎﺷﺪ‪ .‬ﺧﻮﺏ ﺍﻳﻦ ﺳﻼﺡ ﺍﺻ ً‬ ‫ﻼ ﺟﻬﺶﻫﺎﻯ ﺍﻭﻝ ﻛﻪ ﺑﺎ‬ ‫ﺍﺣﺘﻴﺎﻁ ﺗﻤﺎﻡ ﺍﻧﺠﺎﻡ ﻣﻰﺷﻮﻧﺪ ﻭ ﻫﻤﻪ ﺑﺎﻳﺪ ﻛﻤﺮﺑﻨﺪ ﺍﻳﻤﻨﻰﺷﺎﻥ ﺭﺍ ﺑﺒﻨﺪﻧﺪ‪ ،‬ﺁﻥ ﻭﻗﺖ ﺧﺎﻧﻢ ﺩﻛﺘﺮ ﺳﻔﻴﻨﻪ‬ ‫ﺭﺍ ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ ﮔﺮﺑﻪ ﺑﻪ ﺑﻐﻞ ﻭ ﻳﻚ ﺷﻴﺸﻪ »ﺳﺎﻛﻪ« ﺑﻪ ﺩﺳﺖ ﺩﺭ ﺭﺍﻫﺮﻭﻫﺎ ﺭﺍﻩ ﻣﻰﺭﻭﺩ ﻭ ﺑﺎ ﺑﻰﺧﻴﺎﻟﻰ‬ ‫ﻣﻰﮔﻮﻳﺪ ﺍﻳﻦ »ﺟﻬﺶ« ﻳﻌﻨﻰ ﭼﻪ؟‬ ‫ﺟﻠﻮﻩﻫﺎﻯ ﻭﻳﮋﻩﻯ ﻓﻴﻠﻢ ﻫﻢ ﭼﻨﺪﺍﻥ ﺩﻧﺪﺍﻥﮔﻴﺮ ﻧﻴﺴﺘﻨﺪ؛ ﺧﺼﻮﺻﺎً ﻭﻗﺘﻰ ﻓﻀﺎﻳﻰﻫﺎ ﺭﺍ ﺍﺯ ﺟﻠﻮ ﻣﻰﺑﻴﻨﻴﻢ‪.‬‬ ‫ﺩﺭﺳﺖ ﺍﺳﺖ ﻛﻪ ﺑﻮﺩﺟﻪﻯ ﻓﻴﻠﻢ ﻛﻢ ﺑﻮﺩﻩ‪ ،‬ﺍﻣﺎ ﺍﺯ ﻛﺸﻮﺭﻯ ﻛﻪ ﺍﻳﻦﻗﺪﺭ ﺳﻔﻴﻨﻪ ﻭ ﻣﻮﺟﻮﺩ ﻓﻀﺎﻳﻰ ﺩﺭ‬ ‫ﺍﻧﻴﻤﻪﻫﺎﻳﺶ ﺗﻮﻟﻴﺪ ﻛﺮﺩﻩ‪ ،‬ﭼﻨﻴﻦ ﻛﻢﻛﺎﺭﻯ ﺑﻌﻴﺪ ﻭ ﻏﻴﺮﻗﺎﺑﻞ ﺑﺎﻭﺭ ﺍﺳﺖ‪.‬‬ ‫ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ‪ ،‬ﺑﺎﻳﺪ ﺍﻋﺘﺮﺍﻑ ﻣﻰﻛﻨﻢ ﺍﺯ ﺩﻳﺪﻥ ﻓﻴﻠﻢ ﻟﺬﺕ ﺑﺮﺩﻡ ﻭ ﺑﻴﺸﺘﺮﻳﻦ ﺩﻟﻴﻠﺶ‪ ،‬ﻫﻤﻴﻦ ژﺍﭘﻨﻰ ﺑﻮﺩﻥ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﺳﻴﻨﻤﺎ‬

‫ﺑﺰﺭگ ﺁﻣﺪﻩ ﻛﻪ ﺳﺎﻛﻨﻴﻦ ﺁﻥ ﭘﻴﺸﻨﻬﺎﺩ ﻛﻤﻚ ﺑﻪ ﺯﻣﻴﻦ ﺑﺮﺍﻯ ﺭﻓﻊ ﻣﺸﻜﻞ ﺗﺸﻌﺸﻌﺎﺕ ﺳﻄﺤﻰ ﺁﻥ ﺭﺍ‬ ‫ﺩﺍﺩﻩﺍﻧﺪ‪ .‬ﻛﺎﭘﻴﺘﺎﻥ ﺍﻭﻛﻴﺘﺎ ﻓﺮﻣﺎﻧﺪﻫﻰ ﺭﺯﻡﻧﺎﻭ ﻳﺎﻣﺎﺗﻮ ﺭﺍ ﺑﻪ ﻋﻬﺪﻩ ﻣﻰﮔﻴﺮﺩ ﻭ ﺍﺭﺗﺶ ﺑﺮﺍﻯ ﺍﻋﺰﺍﻡ ﺳﻔﻴﻨﻪ ﺑﻪ‬ ‫ﺍﻳﻦ ﻣﺎﻣﻮﺭﻳﺖ ﺧﻄﺮﻧﺎﻙ ﻛﻪ ﺁﺧﺮﻳﻦ ﺷﺎﻧﺲ ﺑﻘﺎﻯ ﺑﺸﺮ ﺍﺳﺖ‪ ،‬ﺍﺯ ﺩﺍﻭﻃﻠﺒﻴﻦ ﺛﺒﺖﻧﺎﻡ ﻣﻰﻛﻨﺪ‪ .‬ﻛﻮﺩﺍﻯ‬ ‫ﻫﻢ ﻛﻪ ﺧﺒﺮ ﻣﺮگ ﺑﺮﺍﺩﺭﺵ ﺭﺍ ﺷﻨﻴﺪﻩ ﻭ ﺑﻪ ﻧﺤﻮﻯ ﻛﺎﭘﻴﺘﺎﻥ ﺍﻭﻛﻴﺘﺎ ﺭﺍ ﻣﻘﺼﺮ ﻣﻰﺩﺍﻧﺪ‪ ،‬ﺛﺒﺖﻧﺎﻡ ﻣﻰﻛﻨﺪ‬ ‫ﻭ ﺗﺎﺯﻩ ﺍﻳﻦﺟﺎ ﻣﻰﻓﻬﻤﻴﻢ ﺍﻭ ﻗﺒ ً‬ ‫ﻼ ﻓﺮﻣﺎﻧﺪﻩ ﺍﺳﻜﺎﺩﺭﺍﻥ ﺟﻨﮕﻨﺪﻩﻫﺎﻯ ﻓﻀﺎﻳﻰ ﺑﻮﺩﻩ ﻭ ﺑﻪ ﺩﻻﻳﻠﻰ ﻧﺎﻣﺸﺨﺺ‪،‬‬ ‫ﭼﻨﺪ ﺳﺎﻝ ﻗﺒﻞ ﺍﺳﺘﻌﻔﺎ ﺩﺍﺩﻩ ﻭ ﺑﻪ ﺯﻣﻴﻦ ﺑﺎﺯﮔﺸﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺣﺎﻻ ﺭﺯﻡﻧﺎﻡ ﻳﺎﻣﺎﺗﻮ‪ ،‬ﻣﺴﻠﺢ ﺑﻪ ﺍﺳﻠﺤﻪﻯ ﺧﺎﺭﻕﺍﻟﻌﺎﺩﻩﺍﻯ ﻛﻪ ﺑﺎ ﻧﻴﺮﻭﻯ ﻣﻮﺝ ﻛﺎﺭ ﻣﻰﻛﻨﺪ )!(‪ ،‬ﻭ ﻣﻌﺎﻭﻧﺖ‬ ‫ﻛﻮﺩﺍﻯ ﻛﻪ ﺩﺭ ﻣﻴﺎﻧﻪﻫﺎﻯ ﺭﺍﻩ ﺟﺎﻧﺸﻴﻦ ﻛﺎﭘﻴﺘﺎﻥ ﻣﻰﺷﻮﺩ‪ ،‬ﺑﺎﻳﺪ ﺩﺭ ﺳﻔﺮﻯ ﻃﻮﻻﻧﻰ ‪-‬ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ‪148‬‬ ‫ﻫﺰﺍﺭ ﺳﺎﻝ ﻧﻮﺭﻯ‪ -‬ﺑﺎ ﻣﺨﺎﻃﺮﺍﺕ ﻧﺎﺷﻨﺎﺧﺘﻪﻯ ﺑﺴﻴﺎﺭﻯ ﺑﺠﻨﮕﻨﺪ ﻭ ﺩﺭ ﺯﻣﺎﻧﻰ ﻛﻤﺘﺮ ﺍﺯ ﻳﻚ ﺳﺎﻝ‪ ،‬ﺩﺳﺘﮕﺎﻩ‬ ‫ﺣﺬﻑ ﺗﺸﻌﺸﻊ ﭘﻴﺸﻨﻬﺎﺩﻯ ﺳﺎﻛﻨﻴﻦ ﺍﺳﻜﻨﺪﺭ ﺭﺍ ﺑﺎ ﺧﻮﺩ ﺑﻪ ﺯﻣﻴﻦ ﺑﺮﮔﺮﺩﺍﻧﺪ؛ ﻭﮔﺮﻧﻪ ﺩﻳﮕﺮ ﺍﺯ ﺑﺸﺮ ﺭﻭﻯ‬ ‫ﺯﻣﻴﻦ ﺍﺛﺮﻯ ﺑﺎﻗﻰ ﻧﺨﻮﺍﻫﺪ ﻣﺎﻧﺪ‪...‬‬

‫ﻧﻈﺮ ﺷﺨﺼﻰ‬ ‫ﺍﻳﻦ ﻓﻴﻠﻢ ﺩﺭ ﺯﻣﺎﻥ ﺧﻮﺩﺵ ﻣﻮﻓﻖ ﺑﻮﺩ ﻭ ﺩﺭ ژﺍﭘﻦ ﺣﺘﺎ ﺍﺯ ﻗﺴﻤﺖ ﺍﻭﻝ »ﻫﺮﻯ ﭘﺎﺗﺮ ﻭ ﻳﺎﺩﮔﺎﺭﺍﻥ ﻣﺮگ«‬ ‫ﻫﻢ ﺟﻠﻮ ﺍﻓﺘﺎﺩ ﻭ ﺻﺪﺭﻧﺸﻴﻦ ﺟﺪﻭﻝ ﻓﺮﻭﺵ ﻓﻴﻠﻢﻫ��� ﺷﺪ‪ .‬ﺍﺯ ﻧﻈﺮ ﻣﻨﺘﻘﺪﻳﻦ ﻫﻢ ﻓﻴﻠﻢ ﻣﺜﺒﺖ ﺍﺭﺯﻳﺎﺑﻰ‬ ‫ﺷﺪ؛ ﺧﻴﻠﻰﻫﺎ ﻣﻴﺰﺍﻥ ﻫﻴﺠﺎﻥ ﺁﻥ ﺭﺍ ﻛﺎﻓﻰ ﻣﻰﺩﺍﻧﺴﺘﻨﺪ ﻭ ﺗﻮﻟﻴﺪ ﭼﻨﻴﻦ ﻓﻴﻠﻤﻰ ﺭﺍ ﺗﺤﺖ ﻓﺸﺎﺭ ﺷﺪﻳﺪ‬ ‫ﻃﺮﻓﺪﺍﺭﺍﻧﻰ ﻛﻪ ﻣﺪﺕﻫﺎ ﺍﻧﺘﻈﺎﺭ ﺗﻤﺎﺷﺎﻯ ﺁﻥ ﺭﺍ ﺩﺍﺷﺘﻨﺪ‪ ،‬ﻣﻮﻓﻖ ﺍﺭﺯﻳﺎﺑﻰ ﻛﺮﺩﻧﺪ‪ .‬ﺍﺯ ﺳﻮﻳﻰ ﻫﻢ ﺧﻴﻠﻰﻫﺎ‬ ‫ﺁﻥ ﺭﺍ ﺯﻳﺎﺩﻯ ﺷﺒﻴﻪ ﻧﺴﺨﻪﺍﻯ ﺁﺑﻜﻰﺗﺮ ﺍﺯ ﺳﺮﻳﺎﻝ »ﺭﺯﻡﻧﺎﻭ ﻓﻀﺎﻳﻰ ﮔﺎﻻﻛﺘﻴﻜﺎ« ﻣﻰﺩﺍﻧﺴﺘﻨﺪ ‪-‬ﻛﻪ ﺍﻟﺒﺘﻪ‬ ‫ﺑﻰﺭﺍﻩ ﻧﻴﺴﺖ‪ -‬ﻭ ﺍﺯ ﺟﻤﻠﻪ ﺩﻻﻳﻞ ﺁﻥ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺑﻮﺩﺟﻪﻯ ﻛﻢ ﻓﻴﻠﻢ ‪-‬ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﻧﺴﺨﻪﻫﺎﻯ ﻣﺸﺎﺑﻪ‬ ‫ﻫﺎﻟﻴﻮﻭﺩﻯ‪ -‬ﺍﺷﺎﺭﻩ ﻛﺮﺩ‪.‬‬ ‫ﺍﻣﺎ ﮔﺎﻫﻰ ﺍﻭﻗﺎﺕ ﺗﻤﺎﺷﺎﻯ ﻓﻴﻠﻢﻫﺎﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻫﺎﻟﻴﻮﻭﺩﻯ ﺧﻴﻠﻰ ﺗﻜﺮﺍﺭﻯ ﻣﻰﺷﻮﺩ؛ ﺍﻟﺒﺘﻪ ﺷﻜﻰ‬ ‫ﻧﻴﺴﺖ ﻛﻪ ﺯﻧﺪﮔﻰ ﺑﺪﻭﻥ ﻋﻠﻤﻰﺗﺨﻴﻠﻰﻫﺎﻯ ﻫﺎﻟﻴﻮﻭﺩ ﻏﻴﺮﻣﻤﻜﻦ ﻛﻪ ﻧﻪ‪ ،‬ﻭﻟﻰ ﺧﻴﻠﻰ ﺧﻴﻠﻰ ﺳﺨﺖﺗﺮ ﺍﺯ‬ ‫ﭼﻴﺰﻯ ﺍﺳﺖ ﻛﻪ ﻓﻜﺮﺵ ﺭﺍ ﻣﻰﻛﻨﻴﻢ! ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ‪ ،‬ﺑﺪ ﻧﻴﺴﺖ ﺍﮔﺮ ﻣﻴﺎﻥ ﺍﻳﻦ ﺳﻴﻞ ﺑﻰﭘﺎﻳﺎﻥ ﻓﻀﺎﻳﻰﻫﺎﻳﻰ‬ ‫ﻛﻪ ﺑﻪ ﺯﻣﻴﻦ ﺣﻤﻠﻪ ﻣﻰﻛﻨﻨﺪ ﻭ ﻫﻤﮕﻰ ﺩﺭ ﻭﺍﺷﻨﮕﺘﻦ ﻳﺎ ﻧﻴﻮﻳﻮﺭﻙ ﻓﺮﻭﺩ ﻣﻰﺁﻳﻨﺪ‪ ،‬ﺩﻧﺒﺎﻝ ﺗﻨﻮﻉ ﺑﮕﺮﺩﻳﻢ‬ ‫ﻭ ﺳﺮﺍﻍ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ژﺍﭘﻨﻰ ﺑﺮﻭﻳﻢ!‬ ‫ژﺍﭘﻦ ﺑﺮﺍﻯ ﻃﺮﻓﺪﺍﺭ ﻉﺕﻑﻭ ﺑﻴﺸﺘﺮ ﺑﺎﺑﺖ ﺍﻧﻴﻤﻪ ﻭ ﻣﺎﻧﮕﺎﻳﺶ ﺷﻬﺮﺕ ﺩﺍﺭﺩ؛ ﺷﻬﺮﺗﻰ ﻛﻪ ﺍﻟﺒﺘﻪ ﺑﻪﺳﺰﺍﺳﺖ‬ ‫ﻭ ﻫﻴﭻ ﻛﺸﻮﺭ ﺩﻳﮕﺮﻯ ﺩﺭ ﺍﻳﻦ ﻣﺴﺎﻟﻪ ﺑﻪ ﭘﺎﻳﺶ ﻧﻤﻰﺭﺳﺪ‪ .‬ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ‪ ،‬ﺍﮔﺮ ﻓﻴﻠﻢﻫﺎ ﻭ ﺳﺮﻳﺎﻝﻫﺎﻯ‬ ‫ژﺍﭘﻨﻰ ﺭﺍ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻛﺎﻓﻰ ﺩﻳﺪﻩ ﺑﺎﺷﻴﺪ ﻭ ﺑﺎ ﺳﻴﻨﻤﺎﻯ ﺳﺎﻳﺮ ﻛﺸﻮﺭﻫﺎﻯ ﺷﺮﻕ ﺁﺳﻴﺎ ﻣﻘﺎﻳﺴﻪ ﻛﺮﺩﻩ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﺭﺯﻡﻧﺎﻭ ﻓﻀﺎﻳﻰ‪ ،‬ﻳﺎﻣﺎﺗﻮ‬ ‫ﺑﺎﺯﻳــــﮕﺮﺍﻥ‪ :‬ﻛﻴﻤﻮﺭﺍ ﺗﺎﻛﻮﻳﺎ )ﻛﻮﺩﺍﻯ ﺳﻮﺳﻮﻣﻮ(‪ ،‬ﻛﻮﺭﻭﻛﻰ ﻣِﻴﺴﺎ )ﻣﻮﺭﻯ ﻳﻮﻛﻰ(‪،‬‬ ‫ﻳﺎﻣﺎﺯﺍﻛﻰ ﺗﺴﻮﺗﻮﻣﻮ‬

‫)ﻛﺎﭘﻴﺘﺎﻥ ﺍﻭﻛﻴﺘﺎ(‬

‫ﻛﺎﺭﮔـــﺮﺩﺍﻥ‪:‬‬

‫ﻳﺎﻣﺎﺯﺍﻛﻰ ﺗﺎﻛﺎﺷﻰ‬

‫ﻓﻴﻠﻢﻧﺎﻣﻪﻧﻮﻳﺲ‪:‬‬

‫ﺳﺎﺗﻮ ﺷﻴﻤﺎﻛﻮ‬

‫ﻣﻮﺳﻴــــﻘﻰ‪:‬‬

‫ﺳﺎﺗﻮ ﻧﺎﺋﻮﻛﻰ‬

‫ﺯﻣـــــــﺎﻥ‪:‬‬

‫‪ 131‬ﺩﻗﻴﻘﻪ‬

‫ﻣﺤﺼــــﻮ ﻝ ‪:‬‬

‫ﺍﺳﺘﻮﺩﻳﻮ ﺗﻮﻫﻮ‪ 1 ،‬ﺩﺳﺎﻣﺒﺮ ‪2010‬‬

‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺳﺎﻝ ‪2199‬؛ ﭘﻨﺞ ﺳﺎﻝ ﭘﻴﺶ ﺯﻣﻴﻦ ﺑﻪ ﻃﻮﺭ ﻧﺎﮔﻬﺎﻧﻰ ﺗﺤﺖ ﺣﻤﻠﻪﻯ ﻧﮋﺍﺩﻯ ﺑﻴﮕﺎﻧﻪ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﻛﻪ ﺁﻥ‬ ‫ﺭﺍ »ﮔﺎﻣﻴﻼﺱ« ﻣﻰﻧﺎﻣﺪ‪ .‬ﭘﺮﺗﺎﺏ ﺷﻬﺎﺏ ﺳﻨﮓﻫﺎﻯ ﻏﻮﻝﺁﺳﺎ ﺑﻪ ﺳﻮﻯ ﺯﻣﻴﻦ ﺑﺎﻋﺚ ﺷﺪﻩ ﺗﺎ ﺳﻄﺢ ﺁﻥ‬ ‫ﺳﺮﺷﺎﺭ ﺍﺯ ﺗﺸﻌﺸﻌﺎﺕ ﺭﺍﺩﻳﻮﺍﻛﺘﻴﻮ ﺷﻮﺩ ﻭ ﺣﺎﻻ ﺍﻧﺴﺎﻥﻫﺎ ﺑﺮﺍﻯ ﺑﻘﺎ ﺑﻪ ﺯﻳﺮ ﺳﻄﺢ ﭘﻨﺎﻩ ﺑﺮﺩﻩﺍﻧﺪ ﻭ ﺯﻣﻴﻦ ﺍﺯ‬ ‫ﺩﻭﺭ ﭼﻴﺰﻯ ﺟﺰ ﺑﻴﺎﺑﺎﻥ ﺩﻳﺪﻩ ﻧﻤﻰﺷﻮﺩ‪ .‬ﻛﺎﭘﻴﺘﺎﻥ ﺍﻭﻛﻴﺘﺎ ﻭ ﻧﺎﻭﮔﺎﻧﺶ ﺩﺭ ﻧﺰﺩﻳﻜﻰ ﻣﺮﻳﺦ ﺑﺎ ﮔﺎﻣﻴﻼﺱﻫﺎ‬ ‫ﺩﺭﮔﻴﺮ ﻫﺴﺘﻨﺪ‪ ،‬ﺍﻣﺎ ﻧﺒﺮﺩ ﺍﺯ ﻗﺒﻞ ﺑﺎﺧﺘﻪ ﺍﺳﺖ؛ ﭼﺮﺍ ﻛﻪ ﻇﺎﻫﺮﺍ ً ﻫﻴﭻ ﭼﻴﺰ ﺑﻪ ﺍﻳﻦ ﺳﻔﻴﻨﻪﻫﺎﻯ ﺑﻴﮕﺎﻧﻪ‬ ‫ﻛﺎﺭﮔﺮ ﻧﻤﻰﺍﻓﺘﺪ‪ .‬ﺩﺭ ﺟﺮﻳﺎﻥ ﻧﺒﺮﺩ‪ ،‬ﺳﻔﻴﻨﻪﻯ ﻛﺎﭘﻴﺘﺎﻥ ﺍﻭﻛﻴﺘﺎ ﻣﺠﺒﻮﺭ ﺑﻪ ﻓﺮﺍﺭ ﻣﻰﺷﻮﺩ ﻭ ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﺎﺭ‪،‬‬ ‫ﺧﻴﻠﻰﻫﺎ ﺟﺎﻥ ﺧﻮﺩ ﺭﺍ ﻗﺮﺑﺎﻧﻰ ﻣﻰﻛﻨﻨﺪ؛ ﺍﺯ ﺟﻤﻠﻪ ﻛﻮﺩﺍﻯ ﻣﺎﻣﻮﺭﻭ ﻛﻪ ﻓﺮﻣﺎﻧﺪﻫﻰ ﺳﻔﻴﻨﻪﻯ ﻳﻮﻛﻰﻛﺎﺯﻩ‬ ‫ﺭﺍ ﺑﻪ ﻋﻬﺪﻩ ﺩﺍﺭﺩ‪.‬‬ ‫ﺭﻭﻯ ﺯﻣﻴﻦ‪ ،‬ﻛﻮﺩﺍﻯ ﺳﻮﺳﻮﻣﻮ )ﺑﺮﺍﺩﺭ ﻛﻮﭼﻚﺗﺮ ﻣﺎﻣﻮﺭﻭ( ﻛﺎﺭﻯ ﺟﺰ ﺟﻤﻊ ﻛﺮﺩﻥ ﺁﻫﻦﭘﺎﺭﻩ ﺍﺯ ﺭﻭﻯ ﺳﻄﺢ‬ ‫ﻭ ﺗﺤﻮﻳﻞ ﺁﻥ ﺑﻪ ﺍﺭﺗﺶ ﺑﺮﺍﻯ ﺍﺳﺘﻔﺎﺩﻩﻫﺎﻯ ﻧﻈﺎﻣﻰ ﻧﺪﺍﺭﺩ‪ .‬ﺩﺭ ﻃﻰ ﻳﻜﻰ ﺍﺯ ﻫﻤﻴﻦ ﮔﺸﺖﻫﺎﻯ ﺭﻭﻯ‬ ‫ﺳﻄﺢ ﺑﻪ ﺩﻧﺒﺎﻝ ﺁﻫﻦﭘﺎﺭﻩ‪ ،‬ﻛﻮﺩﺍﻯ ﺷﺎﻫﺪ ﺳﻘﻮﻁ ﺳﻔﻴﻨﻪﺍﻯ ﺑﻴﮕﺎﻧﻪ ﺍﺳﺖ‪ .‬ﺑﺮ ﺍﺛﺮ ﻣﻮﺝ ﺍﻧﻔﺠﺎﺭ ﺳﻔﻴﻨﻪ‪،‬‬ ‫ﻟﺒﺎﺱ ﺿﺪﺗﺸﻌﺸﻊ ﻛﻮﺩﺍﻯ ﭘﺎﺭﻩ ﻣﻰﺷﻮﺩ ﻭ ﻣﺸﺨﺺ ﺍﺳﺖ ﻛﻪ ﺍﻭ ﺑﻪ ﺯﻭﺩﻯ ﻣﻰﻣﻴﺮﺩ‪ .‬ﺍﻣﺎ ﺩﺭ ﺳﻔﻴﻨﻪﻯ‬ ‫ﺑﺎﺯﮔﺸﺘﻪﻯ ﻛﺎﭘﻴﺘﺎﻥ ﺍﻭﻛﻴﺘﺎ‪ ،‬ﻣﻰﺷﻨﻮﻳﻢ ﻛﻪ ﻛﻮﺩﺍﻯ ﺑﻪ ﻃﺮﺯ ﻣﻌﺠﺰﻩﺁﺳﺎﻳﻰ ﺯﻧﺪﻩ ﻣﺎﻧﺪﻩ ﻭ ﻇﺎﻫﺮﺍ ً ﺩﺭ‬ ‫ﺳﻔﻴﻨﻪﻯ ﺳﻘﻮﻁ ﻛﺮﺩﻩ ﻫﻢ ﻛﭙﺴﻮﻟﻰ ﻗﺮﺍﺭ ﺩﺍﺷﺘﻪ ﻛﻪ ﭘﻴﻐﺎﻣﻰ ﺳﺮﻯ ﺑﺮﺍﻯ ﺳﺎﻛﻨﻴﻦ ﺯﻣﻴﻦ ﺁﻭﺭﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺧﻴﻠﻰ ﺯﻭﺩ ﺧﺒﺮ ﻣﻰﭘﻴﭽﺪ ﻛﻪ ﺍﻳﻦ ﭘﻴﻐﺎﻡ ﺍﺯ ﺳﻮﻯ ﺳﻴﺎﺭﻩﺍﻯ ﺑﻪ ﻧﺎﻡ »ﺍﺳﻜﻨﺪﺭ« ﺩﺭ ﺳﺤﺎﺑﻰ ﻣﺎژﻻﻧﻰ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﺳﻴﻨﻤﺎ‬

‫ﻭﻗﺘﻰ ژﺍﭘﻦ ﺑﻪ‬ ‫ﺳﻴﻨﻤﺎ ﻣﻰﺭﻭﺩ‬ ‫ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

‫ﻣﻮﻗﻊ ﻓﻴﻠﻢ ﺩﻳﺪﻥ‪ ،‬ﻃﺒﻴﻌﻰ ﺍﺳﺖ ﻛﻪ ﺑﮕﺮﺩﻳﻢ ﻭ ﺑﺒﻴﻨﻴﻢ ﺍﺧﻴﺮﺍ ً ﻫﺎﻟﻴﻮﻭﺩ ﭼﻪ ﻓﻴﻠﻢﻫﺎﻳﻰ ﺭﺍ ﺭﻭﻯ‬ ‫ﭘﺮﺩﻩ ﻓﺮﺳﺘﺎﺩﻩ ﻭ ﺑﻌﺪ ﺁﻥﻫﺎﻳﻰ ﺭﺍ ﻛﻪ ﻣﻄﺎﺑﻖ ﺳﻠﻴﻘﻪﻣﺎﻥ ﺍﺳﺖ‪ ،‬ﺍﻧﺘﺨﺎﺏ ﻛﻨﻴﻢ ﻭ ﺑﻪ ﻫﺮ ﻃﺮﻳﻘﻰ‬ ‫ﻛﻪ ﻫﻢ ﻣﻦ ﻭ ﻫﻢ ﺷﻤﺎ ﺭﺍﻫﺸﺎﻥ ﺭﺍ ﺧﻮﺏ ﺑﻠﺪﻳﻢ‪ -‬ﻓﻴﻠﻢ ﺭﺍ ﺑﻴﺎﺑﻴﻢ ﻭ ﺑﺒﻴﻨﻴﻢ ﻭ ﺗﻤﺎﻡ‪.‬‬‫ﺍﻣﺎ ﮔﺎﻫﻰ ﺑﺪ ﻧﻴﺴﺖ ﻳﻚ ﺣﺮﻛﺎﺕ ﺟﺪﻳﺪﻯ ﻫﻢ ﺍﻧﺠﺎﻡ ﺩﻫﻴﻢ! ﻣﺜ ً‬ ‫ﻼ ﺑﺮﻭﻳﻢ ﺑﺒﻴﻨﻴﻢ ﺳﻴﻨﻤﺎﻯ‬ ‫ﻳﻚ ﻛﺸﻮﺭ ﺩﻳﮕﺮ ﭼﻪ ﺣﺮﻓﻰ ﺩﺭ ﻣﻮﺭﺩ ﻉﺕﻑﻭ ﺩﺍﺭﺩ؛ ﺍﺻ ً‬ ‫ﻼ ﺩﻳﺪﮔﺎﻫﺸﺎﻥ ﺑﺎ ﺍﻳﻦ ﻫﺎﻟﻴﻮﻭﺩﻯﻫﺎ‬ ‫ﻛﻪ ﻫﻤﻴﺸﻪ ﻣﻴﺰﺑﺎﻥ ﻓﻀﺎﻳﻰﻫﺎ ﻫﺴﺘﻨﺪ‪ ،‬ﻳﻜﻰ ﺍﺳﺖ ﻳﺎ ﻧﻪ؟ ﺗﻨﻮﻉ ﻣﻰﺗﻮﺍﻧﺪ ﺟﻬﺎﻥﺑﻴﻨﻰ ﺁﺩﻡ ﺭﺍ‬ ‫ﮔﺴﺘﺮﺵ ﺩﻫﺪ‪ ،‬ﺣﺘﺎ ﺍﮔﺮ ﻣﺴﺎﻟﻪ ﺑﻪ ﺳﺎﺩﮔﻰ ﺩﻳﺪﻥ ﻓﻴﻠﻢ ﺑﺎﺷﺪ‪.‬‬ ‫ﺩﺭ ﺯﻳﺮ ﺩﻭ ﻓﻴﻠﻢ ژﺍﭘﻨﻰ ﺭﺍ ﻣﻌﺮﻓﻰ ﻛﺮﺩﻩﺍﻡ؛ ﻳﻜﻰ ﻉﺕ ﻭ ﺩﻳﮕﺮﻯ ﻛﻪ ﭼﻨﺪﺍﻥ ﺩﺭ ژﺍﻧﺮ ﻧﻴﺴﺖ‪،‬‬ ‫ﺍﻣﺎ ﺑﻪ ﻟﻄﻒ ﺍﻧﻴﻤﻪ ﻭ ﻣﺎﻧﮕﺎﻳﺶ ﺑﺮﺍﻯ ﺍﻣﺜﺎﻝ ﻣﺎ ﺯﻳﺎﺩﻯ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﻧﺎﺩﻳﺪﻩ ﮔﺮﻓﺘﻨﺶ‬ ‫ﺁﺳﺎﻥ ﻧﻴﺴﺖ‪ .‬ﺩﺭ ﻫﺮ ﺣﺎﻝ‪ ،‬ﭘﻴﺸﺎﭘﻴﺶ ﺩﻳﺪﻥ ﻫﺮ ﺩﻭ ﺭﺍ ﺗﻮﺻﻴﻪ ﻣﻰﻛﻨﻢ‪.‬‬


‫ﻣﻘﺎﻟﻪ‬

،‫ ﻋﻠﻰ ﮔﻮﺩﺭﺯﻯ‬،‫ ﻋﻠﻰ ﺷﻬﺒﺎﺯﻯ‬،‫ ﺗﻮﺭﺝ ﺑﻨﻰﺭﺳﺘﻢ‬،‫ ﺳﺤﺮ ﺻﺎﺑﺮﻯ‬،‫ ﻧﺎﻫﻴﺘﺎ ﺧﺮﻣﻰ‬،‫ ﺯﻫﺮﺍﺳﺎﺩﺍﺕ ﻗﺮﻳﺸﻰ‬،‫ﻣﺼﻄﻔﻰ ﻣﻬﺮﻭﺭﺯﻯ‬ ‫ ﻣﺮﻛﺰ ﺁﻳﻨﺪﻩﭘﮋﻭﻫﻰ ﻋﻠﻮﻡ ﻭ ﻓﻦﺁﻭﺭﻯ‬،‫ ﻣﺆﺳﺴﻪ ﺁﻣﻮﺯﺷﻰ ﻭ ﺗﺤﻘﻴﻘﺎﺗﻰ ﺻﻨﺎﻳﻊ ﺩﻓﺎﻋﻰ‬:‫ ﺗﻬﺮﺍﻥ‬،‫ ﺍﻣﻴﺪ ﺳﻌﺎﺩﺗﻰ‬،‫ﺍﻓﺴﺎﻧﻪ ﺯﺭﻗﻰ‬ .1388 ،‫ﺩﻓﺎﻋﻰ‬ .1386 ،‫ ﻣﺮﻛﺰ‬:‫ ﺗﻬﺮﺍﻥ‬،‫ ﺗﺮﺟﻤﻪﻯ ﺍﻣﻴﺮ ﻏﻼﻣﻰ‬،«‫ ﺩﺭﺁﻣﺪﻯ ﺑﻪ ﻓﻠﺴﻔﻪﻯ ﺫﻫﻦ ﺍﻣﺮﻭﺯ‬،‫ »ﻣﺎﺩﻩ ﻭ ﺁﮔﺎﻫﻰ‬.‫ ﭘﺎﻭﻝ‬،‫( ﭼﺮﭼﻠﻨﺪ‬10 .1387،‫ ﻓﺮﻫﻨﮓ ﻣﻌﺎﺻﺮ‬:‫ ﺗﻬﺮﺍﻥ‬،‫ ﺗﺮﺟﻤﻪﻯ ﺭﺿﺎ ﺭﺿﺎﻳﻰ‬،«‫ »ﺁﮔﺎﻫﻰ‬.‫ ﺳﻮﺯﺍﻥ‬،‫( ﺑﻠﻜﻤﻮﺭ‬11 ‫ ﺩﻓﺘﺮ ﺗﺒﻠﻴﻐﺎﺕ ﺍﺳﻼﻣﻰ‬:‫ ﻣﺸﻬﺪ‬،‫ ﺗﺮﺟﻤﻪﻯ ﻋﻠﻰ ﺣﻘﻰ‬.«‫ »ﻧﻈﺮﻳﻪﻫﺎﻯ ﺍﻣﺮﻭﺯﻯ ﺷﻨﺎﺧﺖ‬.‫ ﺟﻮﺯﻑ‬،‫ ﻛﺮﺍﺯ‬.‫ ﺟﺎﻥ‬،‫( ﭘﻮﻻﻙ‬12 .1385 ،‫ﺣﻮﺯﻩ ﻋﻠﻤﻴﻪ ﻗﻢ ﺷﻌﺒﻪ ﺧﺮﺍﺳﺎﻥ ﺭﺿﻮﻯ‬ .1382 ،‫ ﺍﺷﺮﺍﻗﻴﻪ‬:‫ ﺗﻬﺮﺍﻥ‬،‫ ﻣﺤﻤﺪﺭﺿﺎ ﻣﺴﺮﻭﺭ‬،‫ ﺗﺮﺟﻤﻪﻳﻨﺎﺩﺭ ﺟﻮﺍﻧﻰ‬،«‫ »ﺍﺑﺮﻓﻀﺎ‬.‫ ﻣﻴﭽﻴﻮ‬،‫( ﻛﺎﻛﻮ‬13 .1391 ،‫ ﻣﺎﺯﻳﺎﺭ‬:‫ ﺗﻬﺮﺍﻥ‬،‫ ﺗﺮﺟﻤﻪﻳﺮﺍﻣﻴﻦ ﺭﺍﻣﺒﺪ‬،«‫ »ﻓﻴﺰﻳﻚ ﺁﻳﻨﺪﻩ‬.‫ ﻣﻴﭽﻴﻮ‬،‫( ﻛﺎﻛﻮ‬14 .1389 ،‫ ﺟﻬﺎﻥ ﻛﺘﺎﺏ‬:‫ ﺗﻬﺮﺍﻥ‬،‫ ﺗﺮﺟﻤﻪﻯ ﻣﺤﻤﺪﺭﺿﺎ ﻏﻔﺎﺭﻯ‬.«‫ »ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ‬.‫ ﻣﺮﻯ‬،‫ ﺟﺎﻥ؛ ﮔﺮﻳﺒﻴﻦ‬،‫( ﮔﺮﻳﺒﻴﻦ‬15 16) Rowlands, Mark. “The Philosopher at the End of the Universe: Philosophy Explained Through Science Fiction Films”. Ebury: 2003.

1. Terminator 2. Resistance 3. The Terminator 4. James Cameron 5. Terminator 2: Judgment Day 6. Terminator 3: Rise of the Machines 7. Jonathan Mostow 8. Terminator Salvation 9. Joseph McGinty Nicole 10. McG 11. Terminator: Sarah Connor Chronicles 12. Sarah Connor 13. Skynet 14. Spartacus 15. John Connor 16. Cyborg 17. Cyberdyne Systems Model 101 18. Kyle Reese 19. Hyper alloy 20. Reverse Engineering 21. Katherine Brewster 22. Kate

1392 ‫ ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ‬،30-31 ‫ﺷﻤﺎﺭﻩﻯ‬

23. Marcus Wright 24. Peter Silberman 25. Robert Brewster 26. Cyber Research Systems 27. Pandora’s Box 28. General Ashdown 29. Hunter Killer 30. The Storm Is Coming 31. Cyberdyne Systems Corporation 32. Miles Bennett Dyson 33. Neural-Net Processors 34. No Fate but What We Will. 35. Pragmatism 36. Machiavellianism 37. Dualism 38. Worm Hole 39. Parallel World 40. Cold Fusion 41. Serena Kogan 42. Project Angel 43. Arnold Schwarzenegger 44. Cameron Phillips

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‫ﻓﻴﻠﻴﭙﺲ« ]‪ ،[44‬ﺭﺍ ﻫﻢ ﺑﻪ ﺩﺍﺳﺘﺎﻥ ﻣﺒﺎﺭﺯﺍﺗﺶ ﺍﺿﺎﻓﻪ ﻛﻨﻴﻢ‪ -‬ﺑﻰﺷﻚ ﺍﻭ ﺗﻨﻬﺎ ﺍﻧﺴﺎﻧﻰ ﺍﺳﺖ ﻛﻪ‬ ‫ﺑﻴﺸﺘﺮﻳﻦ ﺭﺯﻡﺁﻭﺭﻯ ﺩﺭ ﺑﺮﺍﺑﺮ ﻧﺎﺑﻮﺩﮔﺮﻫﺎ ﺭﺍ ﺍﺯ ﺧﻮﺩ ﺑﻪ ﻧﻤﺎﻳﺶ ﮔﺬﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺑﻪ ﻫﺮ ﺣﺎﻝ‪ ،‬ﺧﻮﺍﻩ ﻧﺎﺧﻮﺍﻩ‬ ‫ﻧﺎﺑﻮﺩﮔﺮ ‪ T800‬ﻭ ﺟﺎﻥ ﻛﺎﻧﺮ ﺷﺨﺼﻴﺖﻫﺎﻳﻰ ﺟﺎﻭﺩﺍﻧﻪﺍﻧﺪ‪ ،‬ﺣﺘﺎ ﺍﮔﺮ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﺩﺭ ﻛﻨﺎﺭ ﻫﻤﻪﻯ ﺍﻳﻦﻫﺎ‪ ،‬ﮔﻨﺠﺎﻧﺪﻥ ﺍﻳﺪﻩﻫﺎﻯ ﺷﮕﻔﺖ ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﺳﻴﺎﻟﻴﺖ ﺩﺭ ﺯﻣﺎﻥ ﻭ ﻣﺴﺄﻟﻪ ﺫﻫﻦ ﻭ‬ ‫ﺑﺪﻥ ﺩﺭ ﻣﺠﻤﻮﻋﻪﻯ ﻧﺎﺑﻮﺩﮔﺮ‪ ،‬ﻣﺴﺒﺐ ﺁﻓﺮﻳﻨﺶ ﺩﺍﺳﺘﺎﻧﻰ ﺳﺘﺮگ ﻭ ﺗﻜﺎﻥ ﺩﻫﻨﺪﻩ ﺷﺪﻩﺍﻧﺪ ﻛﻪ ﺗﻨﻬﺎ ﺫﻫﻦ‬ ‫ﺧﻼﻕ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﻣﺎﻧﻨﺪ ﺟﻴﻤﺰ ﻛﺎﻣﺮﻭﻥ ﻣﻰﺗﻮﺍﻧﺴﺘﻪ ﻧﻤﻮﺩﻯ ﺗﺼﻮﻳﺮﻯ ﻭ ﺯﻳﺒﺎ ﺑﻪ ﺁﻥﮔﻮﻧﻪ ﻛﻪ ﺩﺭ ﻭﻗﺎﻳﻊ‬ ‫ﻓﻴﻠﻢﻫﺎ ﻣﻮﺟﻮﺩ ﺍﺳﺖ‪ ،‬ﺑﻪ ﺁﻥﻫﺎ ﺑﺒﺨﺸﺪ‪.‬‬ ‫ﺩﺭ ﭘﺎﻳﺎﻥ‪ ،‬ﺑﺎﻳﺪ ﺍﻋﺘﺮﺍﻑ ﻛﺮﺩ ﻛﻪ ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦﻛﻪ ﺁﻳﻨﺪﻩﻯ ﻧﺰﺩﻳﻚ ﻭ ﻣﺤﺘﻤﻞ ﺑﺸﺮ ﺧﻮﺷﺒﺨﺘﺎﻧﻪ ﺍﺯ‬ ‫ﻭﻗﻮﻉ ﺟﻨﮓ ﻫﺴﺘﻪﺍﻯ ﻭ ﻇﻬﻮﺭ ﺳﺎﻳﺒﺮگﻫﺎﻯ ﻗﺎﺗﻞ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻰ ﻓﺎﺻﻠﻪ ﮔﺮﻓﺘﻪ‪ ،‬ﺍﻣﺎ ﻟﺬﺕ‬ ‫ﺗﻤﺎﺷﺎﻯ ﺍﻳﺪﻩﻯ ﺁﻳﻨﺪﻩ ﺗﺎﺭﻳﻜﻰ ﻛﻪ ﻣﺠﻤﻮﻋﻪﻯ ﻧﺎﺑﻮﺩﮔﺮ ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪﻩ ﻭ ﺩﻳﮕﺮ ﺍﻛﻨﻮﻥ ﺑﻴﺸﺘﺮ ﺷﺒﻴﻪ‬ ‫ﺑﻪ ﮔﺬﺷﺘﻪ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ‪ ،‬ﺧﺎﺳﺘﮕﺎﻫﻰ ﺍﺳﺖ ﺑﺮﺍﻯ ﺗﻘﺪﻳﺮﻯ ﺍﻧﻮﺷﻪ ﺍﺯ ﻛﺎﺭﮔﺮﺩﺍﻥ ﻧﻮﺁﻭﺭ ﻭ ﺟﺎﻭﺩﺍﻧﻪﻯ‬ ‫ﺗﺎﺭﻳﺦ ﺳﻴﻨﻤﺎ‪ :‬ﺟﻴﻤﺰ ﻛﺎﻣﺮﻭﻥ‪.‬‬ ‫ﻣﺮﺍﺟﻊ‬ ‫‪ (1‬ﺣﺎﻓﻈﻰ ﻣﻄﻠﻖ‪ ،‬ﻧﺎﺻﺮ‪» .‬ﺁﻳﺰﺍﻙ ﺁﺳﻴﻤﻮﻑ ﻭ ﺗﻤﺪﻥ ﻛﻬﻜﺸﺎﻧﻰ‪ :‬ﭘﺮﻭﻧﺪﻩﺍﻯ ﺩﺭﺑﺎﺭﻩﻯ ﺯﻣﺎﻥﻧﺎﻣﻪﻯ ﺑﻨﻴﺎﺩ«‪ ،‬ﻣﺎﻩﻧﺎﻣﻪﻯ‬ ‫ﺷﮕﻔﺖﺯﺍﺭ‪ ،‬ﺳﺎﻝ ﺩﻭﻡ‪ ،‬ﺷﻤﺎﺭﻩ ‪ ،24‬ﺁﺫﺭ ‪ ،1391‬ﺻﺺ‪.82 -100‬‬ ‫‪ (2‬ﺣﺎﻓﻈﻰ ﻣﻄﻠﻖ‪ ،‬ﻧﺎﺻﺮ‪» .‬ﻧﻴﺮﻭ ﺑﺎ ﺗﻮ ﺑﺎﺩ‪ :‬ﭘﺮﻭﻧﺪﻩﺍﻯ ﺩﺭﺑﺎﺭﻩﻯ ﭘﻬﻠﻮﺍﻥﻧﺎﻣﻪﻯ ﺟﻨﮓ ﺳﺘﺎﺭﮔﺎﻥ«‪ ،‬ﻣﺎﻩﻧﺎﻣﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ‪ ،‬ﺳﺎﻝ‬ ‫ﺳﻮﻡ‪ ،‬ﺷﻤﺎﺭﻩ ‪ ،25‬ﺩﻯ ‪ ،1391‬ﺻﺺ‪.58 -81‬‬ ‫‪ (3‬ﺣﺎﻓﻈﻰ ﻣﻄﻠﻖ‪ ،‬ﻧﺎﺻﺮ‪» .‬ﺍﻓﻼﻃﻮﻥ‪ ،‬ﺩﻛﺎﺭﺕ ﻭ ﺟﻠﻮﻩﻫﺎﻯ ﻭﻳﮋﻩ‪ :‬ﭘﺮﻭﻧﺪﻩﺍﻯ ﺩﺭﺑﺎﺭﻩﻯ ﻣﺴﻴﺢﻧﺎﻣﻪﻯ ﻣﺎﺗﺮﻳﻜﺲ«‪ ،‬ﻣﺎﻩﻧﺎﻣﻪﻯ‬ ‫ﺷﮕﻔﺖﺯﺍﺭ‪ ،‬ﺳﺎﻝ ﺳﻮﻡ‪ ،‬ﺷﻤﺎﺭﻩ ‪ ،29‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪ ،1392‬ﺻﺺ‪.83 -99‬‬ ‫‪ (4‬ﺑﺮﺍﻳﺘﻮﻥ‪ ،‬ﻫﻨﺮﻯ؛ ﺳﻠﻴﻨﺎ‪ ،‬ﻫﻮﺍﺭﺩ‪» .‬ﻫﻮﺵ ﻣﺼﻨﻮﻋﻰ‪ ،‬ﻗﺪﻡ ﺍﻭﻝ«‪ ،‬ﺗﺮﺟﻤﻪﻯ ﺍﺑﺮﺍﻫﻴﻢ ﺍﺳﻜﺎﻓﻰ‪ ،‬ﺗﻬﺮﺍﻥ‪ :‬ﭘﺮﺩﻳﺲ ﺩﺍﻧﺶ‪.1391 ،‬‬ ‫‪ (5‬ﺟﻰ ﺭﺍﺳﻞ‪ ،‬ﺍﺳﺘﻮﺍﺭﺕ؛ ﻧﻮﺭﻭﻳﻚ‪ ،‬ﭘﻴﺘﺮ‪» .‬ﻫﻮﺵ ﻣﺼﻨﻮﻋﻰ‪ ،‬ﻣﻔﺎﻫﻴﻢ ﺑﻨﻴﺎﺩﻳﻦ«‪ ،‬ﺗﺮﺟﻤﻪﻯ ﺳﻌﻴﺪ ﺭﺍﺣﺘﻰ‪ ،‬ﻣﺤﻤﺪ ﺑﻬﺪﺍﺩ ﻭ‬ ‫ﺣﻤﻴﺪ ﺗﻴﻤﻮﺭﻯ‪،‬ﻣﺸﻬﺪ‪ :‬ﺍﻧﺸﮕﺎﻩ ﺍﻣﺎﻡ ﺭﺿﺎ )ﻉ(‪.1385 ،‬‬ ‫‪ (6‬ﻛﻮﺭﺯﻭﻳﻞ‪ ،‬ﺭﻯ‪» .‬ﻋﺼﺮ ﻣﺎﺷﻴﻦﻫﺎﻯ ﻣﻌﻨﻮﻯ‪ ،‬ﻭﻗﺘﻰ ﺭﺍﻳﺎﻧﻪﻫﺎ ﺍﺯ ﻫﻮﺵ ﺍﻧﺴﺎﻥ ﭘﻴﺸﻰ ﻣﻰﮔﻴﺮﻧﺪ«‪ ،‬ﺗﺮﺟﻤﻪﻯ ﺳﻴﻤﻴﻦ‬ ‫ﻣﻮﺣﺪ‪ ،‬ﺗﻬﺮﺍﻥ‪ :‬ﭘﻴﻜﺎﻥ‪.1380 ،‬‬ ‫‪ (7‬ﺭﻭﺭﻭﻳﻚ‪ ،‬ﺩﻳﻮﻳﺪ‪» .‬ﭼﮕﻮﻧﻪ ﺍﻧﺴﺎﻥ ﻣﺎﺷﻴﻦ ﻣﻰﺷﻮﺩ‪ ،‬ﮔﺎﻡ ﺑﻌﺪﻯ ﺩﺭ ﺗﻜﺎﻣﻞ«‪ ،‬ﺗﺮﺟﻤﻪﻯ ﺭﺿﺎ ﺍﻣﻴﺮﺭﺣﻴﻤﻰ‪ ،‬ﺗﻬﺮﺍﻥ‪:‬‬ ‫ﺭﻭﺷﻨﮕﺮﺍﻥ‪.1371 ،‬‬ ‫‪ (8‬ﺛﻘﻪﺍﻻﺳﻼﻣﻰ‪ ،‬ﻋﻠﻴﺮﺿﺎ‪» .‬ﻫﻮﺵ ﻣﺼﻨﻮﻋﻰ ﺍﺯ ﺭﻫﻴﺎﻓﺖ ﻋﻠﻮﻡ ﺷﻨﺎﺧﺘﻰ«‪ ،‬ﺗﻬﺮﺍﻥ‪ :‬ﺩﻭﻟﺘﻤﻨﺪ‪.1385 ،‬‬ ‫‪ (9‬ﻓﺮﺩﻧﺒﺮگ‪ ،‬ﺟﻰ؛ ﺳﻴﻠﻮﺭﻣﻦ‪ ،‬ﮔﻮﺭﺩﻭﻥ‪» .‬ﻋﻠﻮﻡ ﺷﻨﺎﺧﺘﻰ‪ ،‬ﻣﻘﺪﻣﻪﺍﻯ ﺑﺮ ﻣﻄﺎﻟﻌﻪﻯ ﺫﻫﻦ«‪ ،‬ﺗﺮﺟﻤﻪﻯ ﻣﺤﺴﻦ ﺍﻓﺘﺎﺩﻩﺣﺎﻝ‪،‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﻣﻘﺎﻟﻪ‬

‫ﺍﻳﻦﻫﺎ‪ ،‬ﻧﻤﻮﺩ ﻇﻬﻮﺭ ﺍﻧﺴﺎﻧﻴﺖ ﺩﻭﺑﺎﺭﻩ ﻣﺘﻮﻟﺪ ﺷﺪﻩﺍﻯ ﺍﺳﺖ ﻛﻪ ﺷﺒﻜﻪﻯ ﺁﺳﻤﺎﻧﻰ ﺍﺯ ﺩﺭﻙ ﺁﻥ ﻧﺎﺗﻮﺍﻥ ﻭ‬ ‫ﻟﺬﺍ ﻣﺤﻜﻮﻡ ﺑﻪ ﺷﻜﺴﺖ ﺍﺳﺖ‪.‬‬ ‫ﺍﻳﻦ ﻋﺎﺷﻘﺎﻧﮕﻰ ﺍﻧﺴﺎﻧﻰ‪ ،‬ﻣﺴﺒﺐ ﻧﺠﺎﺕ ﻛﺎﻳﻞ ﺍﺯ ﺯﻧﺪﺍﻥ ﺷﺒﻜﻪﻯ ﺁﺳﻤﺎﻧﻰ‪ ،‬ﺯﻧﺪﮔﻰ ﺑﺨﺸﻰ ﻣﺎﺭﻛﻮﺱ‪،‬‬ ‫ﭼﺸﻢ ﺑﻪ ﺭﺍﻩ ﺑﻮﺩﻥ ﻛﻴﺖ ﻭ ﺍﻣﻴﺪﻭﺍﺭﻯ ﺟﺎﻥ ﺍﺳﺖ‪ .‬ﺷﺒﻜﻪﻯ ﺁﺳﻤﺎﻧﻰ ﺩﺭ ﻣﻘﺎﺑﻞ ﺍﻳﻦ ﻗﺪﺭﺕﻫﺎ ﭼﻴﺰﻯ‬ ‫ﺩﺭ ﺁﺳﺘﻴﻦ ﺑﺮﺍﻯ ﺍﺭﺍﺋﻪ ﻧﺪﺍﺭﺩ‪.‬‬ ‫‪ .6‬ﺟﺎﻭﺩﺍﻧﮕﻰ‬ ‫ﺩﺭ ﺩﻫﻪﻯ ‪ 80‬ﻣﻴﻼﺩﻯ‪ ،‬ﺯﻣﺎﻧﻰ ﻛﻪ ﺳﺎﻳﻪﻯ ﺷﻮﻡ ﺟﻨﮓ ﺳﺮﺩ ﻭ ﺗﻬﺪﻳﺪﻫﺎﻯ ﻫﺴﺘﻪﺍﻯ ﺩﻭ ﺍﺑﺮﻗﺪﺭﺕ‬ ‫ﻏﺮﺏ ﻭ ﺷﺮﻕ ﺗﻤﺎﻡ ﺟﻬﺎﻥ ﺭﺍ ﺩﺭ ﺑﺮ ﮔﺮﻓﺘﻪ ﻭ ﺩﺭ ﺷﺮﺍﻳﻄﻰ ﻛﻪ ﺍﻭﻟﻴﻦ ﻓﺮﺿﻴﻪﻫﺎ ﻭ ﺣﺪﺱ ﻭ ﮔﻤﺎﻥﻫﺎﻯ‬ ‫ﻋﻠﻢ ﻓﻴﺰﻳﻚ ﺩﺭ ﺣﻴﻄﻪﻯ ﮔﺸﺎﻳﺶ ﺩﺍﻻﻧﻰ ﺩﺭ ﺯﻣﺎﻥ ﺑﻪ ﻫﻤﺮﺍﻩ ﻧﻮﻳﺪﻫﺎﻯ ﺗﺎﺯﻩﻯ ﺣﻮﺯﻩ ﻣﻬﻨﺪﺳﻰ ﺩﺭ‬ ‫ﺍﺭﺗﻘﺎء ﻫﻮﺵ ﻣﺼﻨﻮﻋﻰ ﻭ ﭘﻴﺶﺑﻴﻨﻰ ﻇﻬﻮﺭ ﺳﺎﻳﺒﺮگﻫﺎ ﻭ ﺭﻭﺑﻮﺕﻫﺎ ﺧﻮﺩﻧﻤﺎﻳﻰ ﻣﻰﻛﻨﺪ‪ ،‬ﭘﺎ ﭘﻴﺶ‬ ‫ﮔﺬﺍﺷﺘﻦ ﻛﺎﺭﮔﺮﺩﺍﻥ ﻣﻄﺮﺣﻰ ﻣﺎﻧﻨﺪ ﺟﻴﻤﺰ ﻛﺎﻣﺮﻭﻥ ﺩﺭ ﺧﻠﻖ ﺍﻳﺪﻩﺍﻯ ﻣﺮﻛﺐ ﺍﺯ ﻫﻤﻪ ﺍﻳﻦ ﻣﺒﺎﺣﺚ ﻭ‬ ‫ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢ ﻧﺎﺑﻮﺩﮔﺮ‪ ،‬ﺳﺘﻮﺩﻧﻰ ﺍﺳﺖ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﺑﺎ ﮔﺬﺷﺖ ﺣﺪﻭﺩ ﺳﻪ ﺩﻫﻪ ﺍﺯ ﺁﻏﺎﺯ ﺳﺎﺧﺖ ﺍﻭﻟﻴﻦ ﻓﻴﻠﻢ ﻣﺠﻤﻮﻋﻪﻯ ﻧﺎﺑﻮﺩﮔﺮ‪ ،‬ﻧﻜﺎﺕ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻰ‬ ‫ﺑﻪﻋﻨﻮﺍﻥ ﺍﻧﺘﻘﺎﺩﺍﺕ ﺳﺎﺧﺘﺎﺭﻯ ﺑﻪ ﺯﻳﺮﺳﺎﺧﺖ ﻋﻠﻤﻰ ﻭ ﺗﻜﻨﻮﻟﻮژﻳﻜﻰ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﻓﻴﻠﻢﻫﺎ ﺑﻴﺎﻥ ﺷﺪﻩ‬ ‫ﻛﻪ ﻗﺎﺑﻞ ﺗﺄﻣﻞ ﺍﺳﺖ‪.‬‬ ‫ﻛﺎﻣﺮﻭﻥ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﺩﻭ ﻓﻴﻠﻢ ﺍﻭﻝ ﺭﺍ ﺧﻮﺩ ﺑﻪ ﻋﻬﺪﻩ ﮔﺮﻓﺖ ﻭ ﺍﻟﺒﺘﻪ ﺍﻳﺪﻩﻫﺎﻳﺶ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺳﺎﻳﺮ‬ ‫ﻗﺴﻤﺖﻫﺎ ﻧﻴﺰ ﺍﺳﺘﻔﺎﺩﻩ ﺷﺪ‪ .‬ﺍﻭ ﺑﺎ ﺷﺮﻭﻉ ﺳﺎﺧﺖ ﺍﻳﻦ ﺭﺯﻡﻧﺎﻣﻪﻯ ﺳﺘﺮگ‪ ،‬ﺷﺨﺼﻴﺖﻫﺎﻳﻰ ﺟﺎﻭﺩﺍﻧﻪ ﺑﻪ‬ ‫ﺣﺎﻓﻈﻪ ﺗﺎﺭﻳﺨﻰ ﺑﺸﺮ ﺗﻘﺪﻳﻢ ﻛﺮﺩﻩ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺻﺪﺭ ﻫﻤﻪﻯ ﺁﻥﻫﺎ ﺧﻮﺩ »ﻧﺎﺑﻮﺩﮔﺮ ‪ «T800‬ﺑﻪﻋﻨﻮﺍﻥ ﻳﻚ‬ ‫ﻣﻮﺟﻮﺩ ﺧﻮﺩﺁﮔﺎﻩ ﻭ ﺍﻟﺒﺘﻪ ﻏﻴﺮﺍﻧﺴﺎﻥ‪ ،‬ﺑﺎ ﺑﺎﺯﻯ »ﺁﺭﻧﻮﻟﺪ ﺷﻮﺍﺭﺯﻧﮕﺮ« ]‪ [43‬ﺧﻮﺩﻧﻤﺎﻳﻰ ﻣﻰﻛﻨﺪ‪ .‬ﻧﺎﺑﻮﺩﮔﺮ‬ ‫‪ T800‬ﺍﺳﺘﻌﺎﺭﻩﺍﻯ ﺗﻤﺎﻡﻧﻤﺎ ﺍﺯ ﻛﻨﺠﻜﺎﻭﻯ ﻭ ﺳﺮﺩﻯ ﺍﻧﺴﺎﻥ ﻣﺪﺭﻥ ﺍﺳﺖ ﻛﻪ ﻗﺪﺭﺕ ﺩﺭ ﺭﺩﺍﻯ ﻓﻦﺁﻭﺭﻯ‬ ‫ﺑﺮ ﻛﺎﻟﺒﺪﺵ ﻧﻤﻮﺩ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻣﺸﺘﺎﻗﺎﻥ ﺳﻴﻨﻤﺎ ﻫﻢﭼﻨﺎﻥ ﻣﻨﺘﻈﺮ ﺗﻌﺒﻴﺮ ﺟﻤﻠﻪﺍﻯ‬ ‫ﺑﻪ ﻳﺎﺩﻣﺎﻧﺪﻧﻰ ﺍﺯ ﺷﻮﺍﺭﺯﻧﮕﺮ ﻫﺴﺘﻨﺪ ﻛﻪ ﺩﺭ ﻧﻘﺶ ﻧﺎﺑﻮﺩﮔﺮ ﺑﻴﺎﻥ ﻛﺮﺩﻩ ﺍﺳﺖ‪» :‬ﻣﻦ ﺑﺎﺯ ﺧﻮﺍﻫﻢ ﮔﺸﺖ‪«.‬‬ ‫ﺩﺭ ﺭﺩﻳﻒ ﺩﻭﻡ‪ ،‬ﻣﻨﺠﻰ ﺍﻓﺴﺎﻧﻪﺍﻯ ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺟﻤﻌﻰ ﺍﻧﺴﺎﻥﻫﺎﻯ ﻣﺪﺭﻥ‪ ،‬ﻳﻌﻨﻰ ﺟﺎﻥ ﻛﺎﻧﺮ‬ ‫ﻗﺮﺍﺭ ﺩﺍﺭﺩ ﻛﻪ ﺭﺧﺴﺎﺭﻩﺍﺵ ﺗﺼﻮﻳﺮﻯ ﻋﺠﻴﺐ ﻧﺰﺩﻳﻚ ﺑﻪ ﻭﺍﻗﻌﻴﺖ ﺍﺯ ﻳﻚ ﻓﺮﻣﺎﻧﺪﻩ ﻧﻈﺎﻣﻰ ﻭ ﺭﻫﺒﺮ ﻣﺒﺎﺭﺯ‬ ‫ﺭﺍ ﺑﻪ ﺁﻥﮔﻮﻧﻪ ﻛﻪ ﺑﺎﻳﺪ ﺑﺎﺷﺪ‪ ،‬ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪.‬ﺍﻭ ﻫﻢﺯﻣﺎﻥ ﺩﺭ ﺳﻪ ﺯﻣﺎﻥ ﮔﺬﺷﺘﻪ‪ ،‬ﺣﺎﻝ ﻭ ﺁﻳﻨﺪﻩ ﺩﺭ ﺣﺎﻝ‬ ‫ﻧﺒﺮﺩ ﺍﺳﺖ ﻭ ﻣﺪﻳﺮﻳﺖ ﺷﮕﻔﺘﺶ ﺑﺮ ﺳﻴﺮ ﻭﻗﺎﻳﻊ ﻓﺮﺍﺯﻣﺎﻧﻰ‪ ،‬ﺳﺘﺎﻳﺶ ﺗﻤﺎﻡ ﻫﻢﻧﻮﻋﺎﻧﺶ ﺭﺍ ﺑﺮﺍﻧﮕﻴﺨﺘﻪ‪.‬‬ ‫ﺍﮔﺮ ﻣﺒﺎﺭﺯﺍﺕ ﺟﺎﻥ ﺑﺎ ﻧﺎﺑﻮﺩﮔﺮﻫﺎﻯ ﺳﺮﻯ ‪ T888‬ﺩﺭ ﻣﺠﻤﻮﻋﻪﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ »ﻧﺎﺑﻮﺩﮔﺮ‪ :‬ﻣﺎﺟﺮﺍﻫﺎﻯ ﺳﺎﺭﺍ‬ ‫ﻛﺎﻧﺮ« ‪-‬ﻛﻪ ﺍﺗﻔﺎﻗﺎً ﺩﺭ ﻣﻴﺎﻥ ﺁﻥﻫﺎ ﻫﻢ ﺯﻥﻭﺍﺭﻩﺍﻯ ﻃﺮﻓﺪﺍﺭ ﺟﻨﺒﺶ ﻣﻘﺎﻭﻣﺖ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﺑﻪ ﻧﺎﻡ »ﻛﺎﻣﺮﻭﻥ‬ ‫‪85‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﻫﻤﻴﻦ ﺑﺲ ﻛﻪ ﺩﺭ ﻣﺠﻤﻮﻋﻪﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ »ﻧﺎﺑﻮﺩﮔﺮ‪ :‬ﻣﺎﺟﺮﺍﻫﺎﻯ ﺳﺎﺭﺍ ﻛﺎﻧﺮ«‪ ،‬ﺑﻪ ﻭﺿﻮﺡ ﻛﻮﭼﻚ ﻭ ﻃﻨﺰ‬ ‫ﺑﻮﺩﻥ ﺍﻳﻦ ﻧﺎﺑﻮﺩﮔﺮ ﻗﺎﺗﻞ ﻭ ﺍﻋﻤﺎﻟﺶ ﺩﺭ ﺑﺮﺍﺑﺮ ﺗﺮﺍژﺩﻯ ﺗﻮﻟﻴﺪ ﺑﻤﺐ ﺍﺗﻤﻰ ﻭ ﻫﻢﭼﻨﻴﻦ ﻓﺎﺟﻌﻪﻯ ﻳﺎﺯﺩﻩ‬ ‫ﺳﭙﺘﺎﻣﺒﺮ ﺯﻳﺮ ﺫﺭﻩﺑﻴﻦ ﮔﺬﺍﺷﺘﻪ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺩﺭ ﺳﺎﻝ ‪ ،2003‬ﻣﺎﺭﻛﻮﺱ ﺭﺍﻳﺖ‪ ،‬ﺯﻧﺪﺍﻧﻰ ﻣﺤﻜﻮﻡ ﺑﻪ ﻣﺮگ ﺩﺭ ﺷﺮﺍﻳﻄﻰ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺑﺮﺍﻯ ﺍﻋﻤﺎﻟﺶ‬ ‫ﻣﻘﺼﺮ ﻣﻰﺩﺍﻧﺪ‪ ،‬ﺑﻪ ﻭﺍﺳﻄﻪﻯ ﺍﻋﺘﻘﺎﺩ ﺗﺎﺯﻩﺍﻯ ﻛﻪ ﺑﻪ ﺷﺎﻳﺴﺘﮕﻰ ﻫﺮ ﺍﻧﺴﺎﻥ ﺑﺮﺍﻯ ﻛﺴﺐ ﻳﻚ ﺷﺎﻧﺲ‬ ‫ﺩﻭﺑﺎﺭﻩ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﻗﺮﺍﺭﺩﺍﺩﻯ ﺭﺍ ﺑﺎ ﺩﻛﺘﺮ »ﺳِ ِﺮﻧﺎ ﻛﻮﮔﺎﻥ« ]‪ [41‬ﻧﻤﺎﻳﻨﺪﻩﻯ ﺑﺨﺶ ژﻧﺘﻴﻚ‬ ‫ﺷﺮﻛﺖ ﺳﺎﻣﺎﻧﻪﻫﺎﻯ ﺳﺎﻳﺒﺮﺩﺍﻳﻦ ﻭ ﮔﺮﺩﺍﻧﻨﺪﻩﻯ »ﭘﺮﻭژﻩﻯ ﻓﺮﺷﺘﻪ« ]‪ [42‬ﺍﻣﻀﺎ ﻣﻰﻛﻨﺪ ﻛﻪ ﺑﻪ ﻣﻮﺟﺐ‬ ‫ﺁﻥ‪ ،‬ﻛﺎﻟﺒﺪ ﻣﺎﺭﻛﻮﺱ ﭘﺲ ﺍﺯ ﻣﺮگ ﺑﺮﺍﻯ ﺗﺤﻘﻴﻘﺎﺕ ﭘﺰﺷﻜﻰ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻗﺮﺍﺭ ﮔﻴﺮﺩ‪ .‬ﭘﺮﻭژﻩﻯ ﻓﺮﺷﺘﻪ‬ ‫ﺳﻌﻰ ﺩﺍﺭﺩ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺩﺍﻧﺶ ﺳﺎﻳﺒﺮﻧﺘﻴﻚ‪ ،‬ﺑﻪ ﺑﻬﺒﻮﺩ ﻭ ﺑﻘﺎﻯ ﺯﻧﺪﮔﻰ ﺍﻧﺴﺎﻥ ﻛﻤﻚ ﻛﻨﺪ‪ .‬ﺍﺯ ﺟﻤﻠﻪ‬ ‫ﺍﻫﺪﺍﻑ ﺍﻳﻦ ﭘﺮﻭژﻩ ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﺑﻴﻤﺎﺭﻯ ﺳﺮﻃﺎﻥ ﺍﺳﺖ‪ .‬ﺩﻛﺘﺮ ﻛﻮﮔﺎﻥ ﻛﻪ ﺧﻮﺩ ﺑﻪﺧﺎﻃﺮ ﺑﻴﻤﺎﺭﻯ ﺳﺮﻃﺎﻥ‬ ‫ﺩﺭ ﺣﺎﻝ ﻣﺮگ ﺍﺳﺖ‪ ،‬ﭘﺲ ﺍﺯ ﭼﻨﺪﻳﻦ ﻣﺮﺗﺒﻪ ﻣﻼﻗﺎﺕ ﺑﺎ ﻣﺎﺭﻛﻮﺱ ﻣﻮﻓﻖ ﺑﻪ ﺭﺍﺿﻰﻛﺮﺩﻥ ﺍﻭ ﺑﺮﺍﻯ ﺍﻣﻀﺎﻯ‬ ‫ﻣﺎﺭﻛﻮﺱ ﭘﺲ ﺍﺯ ﺍﻋﺪﺍﻡ ﻭ ﻛﺎﻟﺒﺪ ﺑﺴﻴﺎﺭﻯ ﺩﻳﮕﺮ ﺭﺍ ﺩﺭ ﭼﺮﺧﻪﻯ‬ ‫ﻗﺮﺍﺭﺩﺍﺩ ﻣﻰﺷﻮﺩ‪ .‬ﻛﻮﮔﺎﻥ ﻛﺎﻟﺒﺪ ﺑﻰﺟﺎﻥ‬ ‫ِ‬ ‫ﺑﺎﺯﺗﻮﻟﻴﺪ ﺯﻳﺴﺘﻰ ﻗﺮﺍﺭ ﻣﻰﺩﻫﺪ‪ ،‬ﺍﻣﺎ ﻋﻤﺮﺵ ﻛﻔﺎﻑ ﺩﻳﺪﻥ ﻧﺘﻴﺠﻪﻯ ﻛﺎﺭ ﺭﺍ ﺑﻪ ﺍﻭ ﻧﺨﻮﺍﻫﺪ ﺩﺍﺩ‪ .‬ﺩﺭ ﻣﻘﺎﺑﻞ‪،‬‬ ‫ﺍﻳﻦ ﺷﺒﻜﻪﻯ ﺁﺳﻤﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﺗﻤﺎﻡ ﺩﺳﺖﺁﻭﺭﺩﻫﺎﻯ ﻛﻮﮔﺎﻥ ﺭﺍ ﺑﻪ ﻧﻔﻊ ﺧﻮﺩ ﻣﺼﺎﺩﺭﻩ ﻛﺮﺩﻩ ﻭ ﺍﺯ ﺁﻥﻫﺎ‬ ‫ﺳﺎﻳﺒﺮگﻫﺎﻯ ﻧﻴﻢﻣﺎﺷﻴﻦ‪ -‬ﻧﻴﻢﺍﻧﺴﺎﻥ ﻣﻰﺳﺎﺯﺩ‪ .‬ﻭ ﺩﻭﺑﺎﺭﻩ ﻣﻨﺶ ﺍﻧﺴﺎﻧﻰ‪ ،‬ﺧﻮﺩ ﺭﺍ ﻧﻤﺎﻳﺎﻥ ﻣﻰﻛﻨﺪ‪ :‬ﻳﻚ‬ ‫ﺍﻋﺪﺍﻣﻰ ﺟﺴﺘﺠﻮﮔﺮ ﺑﻪ ﺩﻧﺒﺎﻝ ﺷﺎﻧﺲ ﺩﻭﺑﺎﺭﻩ ﺑﺮﺍﻯ ﺯﻧﺪﮔﻰ ﻭ ﻳﻚ ﺑﻴﻤﺎﺭ ﻣﺮﺩﻧﻰ ﺍﺯ ﺳﺮﻃﺎﻥ ﻛﻪ ﺩﻧﺒﺎﻝ‬ ‫ﺭﺍﻫﻰ ﺑﺮﺍﻯ ﻧﺠﺎﺕ ﺑﺸﺮ ﺍﺯ ﺑﻴﻤﺎﺭﻯﻫﺎ ﻣﻰﮔﺮﺩﺩ‪ .‬ﺍﻳﻦ ﻣﻨﺶ ﺍﻧﺴﺎﻧﻰ ﻫﻤﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﺷﺒﻜﻪﻯ ﺁﺳﻤﺎﻧﻰ‬ ‫ﺁﻥ ﺭﺍ ﺑﻪ ﻧﻔﻊ ﺧﻮﺩﺵ ﻣﺼﺎﺩﺭﻩ ﻛﺮﺩﻩ ﻭ ﺍﺯ ﻣﺮﺩﮔﺎﻥ ﺍﻧﺴﺎﻥﻫﺎ‪ ،‬ﺳﺎﻳﺒﺮگﻫﺎﻯ ﺑﻰﻧﻘﺼﻰ ﺑﺎ ﺷﺎﻧﺴﻰ ﺩﻭﺑﺎﺭﻩ‬ ‫ﺑﺴﺎﻥ ﻣﺎﺭﻛﻮﺱ ﺭﺍﻳﺖ ﻣﻰﺁﻓﺮﻳﻨﺪ‪.‬‬ ‫ﺍﻣﺎ ﻫﻤﻴﻦ ﻣﻨﺶ ﺍﻧﺴﺎﻧﻰ ﺩﺭ ﻧﻬﺎﻳﺖ ﻣﺴﺒﺐ ﺷﻜﺴﺖ ﺷﺒﻜﻪﻯ ﺁﺳﻤﺎﻧﻰ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﺯﻳﺮﺍ ﻛﻪ ﺍﻧﺴﺎﻧﻴﺖ ﺑﻨﺎ‬ ‫ﺑﻪ ﺗﻌﺮﻳﻒ ﻣﺎﺭﻛﻮﺱ ﺭﺍﻳﺖ ﻛﻪ ﺩﻭ ﺑﺎﺭ ﻣﺮگ ﺭﺍ ﺗﺠﺮﺑﻪ ﻣﻰﻛﻨﺪ‪ ،‬ﻳﻚ ﺑﺎﺭ ﺩﺭ ﺭﺩﺍﻯ ﻳﻚ ﺑﺰﻫﻜﺎﺭ ﻭﺟﺪﺍﻥﺩﺭﺩ‬ ‫ﮔﺮﻓﺘﻪ ﻭ ﺑﺎﺭ ﺩﻭﻡ ﺩﺭ ﻗﺎﻣﺖ ﻳﻚ ﺯﻧﺪﮔﻰ ﺑﺨﺸﻨﺪﻩ ﺑﺎ ﺍﺣﺴﺎﺱ ﺭﺳﺘﮕﺎﺭﻯ ﻭ ﺭﻫﺎﻳﻰ‪ ،‬ﻋﺒﺎﺭﺕ ﺍﺳﺖ ﺍﺯ‪:‬‬ ‫ﻗﺪﺭﺕ ﺑﺮﻧﺎﻣﻪﻧﺎﭘﺬﻳﺮ ﻭ ﻏﻴﺮﻗﺎﺑﻞ ﻛﻨﺘﺮﻝ ﻗﻠﺐ ﺍﻧﺴﺎﻥﻫﺎ‪ .‬ﺍﻭ ﺑﻪﻋﻨﻮﺍﻥ ﻳﻚ ﺗﻌﻤﻴﺪﮔﺮ ﺩﺭ ﺗﻌﻤﻴﺪ ﻣﺴﻴﺤﺎﻳﻰ‬ ‫ﺑﻪ ﻧﺎﻡ ﺟﺎﻥ ﻛﺎﻧﺮ‪ ،‬ﺑﺴﻴﺎﺭ ﺗﻮﺍﻧﺎ ﻇﺎﻫﺮ ﻣﻰﺷﻮﺩ ﻭ ﺩﺭ ﭘﺲ ﺍﻳﻦ ﺗﻌﻤﻴﺪ ﺍﺳﺖ ﻛﻪ ﺳﺮﺍﻧﺠﺎﻡ ﺩﺭ ﺑﻄﻦ ﺟﺒﺮ‬ ‫ﻣﺤﺾ‪ ،‬ﺩﺍﻳﺮﻩﻯ ﻛﻮﭼﻚ ﺍﺧﺘﻴﺎﺭﺍﺕ ﺧﻮﺩﻧﻤﺎﻳﻰ ﻣﻰﻛﻨﺪ‪ .‬ﺟﺎﻥ ﻛﺎﻧﺮ ﺟﺒﺮﮔﺮﺍ ﺣﺎﻻ ﺑﻪ ﺍﻳﻦ ﻧﺘﻴﺠﻪ ﺭﺳﻴﺪﻩ‬ ‫ﺍﺳﺖ ﻛﻪ ﻫﺮ ﺍﻧﺴﺎﻧﻰ ﻟﻴﺎﻗﺖ ﻳﻚ ﺷﺎﻧﺲ ﺩﻭﻡ ﺭﺍ ﺩﺍﺭﺩ ﻭ ﻫﻴﭻ ﺗﻘﺪﻳﺮﻯ ﺟﺰ ﺁﻥﭼﻪ ﻣﺎ ﺍﺭﺍﺩﻩ ﻣﻰﻛﻨﻴﻢ‬ ‫ﻣﻮﺟﻮﺩ ﻧﻴﺴﺖ‪ .‬ﻭ ﺧﻴﺰﺵ ﻳﻚ ﻣﻨﺠﻰ ﺑﺎ ﭼﻨﻴﻦ ﺑﺎﻭﺭﻫﺎﻳﻰ‪ ،‬ﺁﻏﺎﺯ ﻧﺎﺑﻮﺩﻯ ﺷﺒﻜﻪﻯ ﺁﺳﻤﺎﻧﻰ ﺍﺳﺖ‪.‬‬ ‫ﺍﻧﺘﻬﺎﻯ ﻗﺴﻤﺖ ﭼﻬﺎﺭﻡ ﻣﺠﻤﻮﻋﻪﻯ ﻧﺎﺑﻮﺩﮔﺮ‪ ،‬ﺍﺭﺗﻘﺎﻯ ﻛﺎﻳﻞ ﺭﻳﺲ ﺑﻪ ﺩﺭﻳﺎﻓﺖ ﺷﻨﻞ ﻳﻚ ﻣﺒﺎﺭﺯ ﺟﻨﺒﺶ‬ ‫ﻣﻘﺎﻭﻣﺖ ﻭ ﺑﺨﺸﻴﺪﻥ ﻗﻠﺒﻰ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺟﺎﻥ ﻛﺎﻧﺮ ﺍﺯ ﻃﺮﻑ ﻣﺎﺭﻛﻮﺱ ﺭﺍﻳﺘﺮﺍ ﺑﻪ ﺗﺼﻮﻳﺮ ﻣﻰﻛﺸﺪ‪ .‬ﺗﻤﺎﻡ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﺩﺭ ﺣﻘﻴﻘﺖ ﻣﻰﺗﻮﺍﻥ ﺍﻳﻦ ﭘﺮﺳﺶ ﺭﺍ ﺑﻪﻋﻨﻮﺍﻥ ﺳﺆﺍﻝ ﺍﺻﻠﻰ ﻓﺮﺍﻣﺘﻨﻰ‪ ،‬ﺍﺯ ﻣﺠﻤﻮﻋﻪﻯ ﻧﺎﺑﻮﺩﮔﺮ ﺍﺳﺘﺨﺮﺍﺝ‬ ‫ﻛﺮﺩ‪ :‬ﺁﻳﺎ ﻭﻗﺘﺶ ﻧﺮﺳﻴﺪﻩ ﻛﻪ ﺍﻧﺴﺎﻥ ﺩﺳﺖ ﺍﺯ ﻧﺎﺑﻮﺩﮔﺮﻯ ﺑﺮﺩﺍﺭﺩ ﻭ ﺑﺮﺍﻯ ﺑﻘﺎﻯ ﺗﻤﺎﻡ ﻣﺤﻴﻂ ﭘﻴﺮﺍﻣﻮﻧﺶ‬ ‫ﻛﻪ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺩﺭ ﻣﺴﻴﺮ ﻧﺎﺑﻮﺩﻯ ﻃﺮﺍﺣﻰ ﺷﺪﻩ ﺗﻮﺳﻂ ﺍﻧﺴﺎﻥ ﮔﺎﻡ ﺑﺮﺩﺍﺷﺘﻪ‪ ،‬ﺗﻼﺵ ﻛﻨﺪ؟ ﺁﻳﺎ ﻣﺎﻧﻨﺪ‬ ‫ﺍﻧﺘﻬﺎﻯ ﻗﺴﻤﺖ ﺩﻭﻡ ﻣﺠﻤﻮﻋﻪﻯ ﻧﺎﺑﻮﺩﮔﺮ‪ ،‬ﻳﻌﻨﻰ ﺯﻣﺎﻧﻰ ﻛﻪ ﺳﺎﻳﺒﺮگ ‪ T800‬ﺑﻪ ﺩﺭﺟﻪﻯ ﻓﻬﻢ ﻣﻌﻨﻰ‬ ‫ﺍﺷﻚ ﺍﻧﺴﺎﻥﻫﺎ ﻣﻰﺭﺳﺪ‪ ،‬ﻭﻗﺘﺶ ﻧﺮﺳﻴﺪﻩ ﻛﻪ ﺍﻧﺴﺎﻥ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻣﻘﺎﻡ ﻓﻬﻢ ﺍﺷﻚ ﻫﺴﺘﻰ ﺍﺭﺗﻘﺎء ﺩﻫﺪ؟‬ ‫‪ .5‬ﻋﺎﺷﻘﺎﻧﮕﻰ‬ ‫»ﻧﺎﺑﻮﺩﻛﺮﺩﻥ ﺧﻮﺩ‪ ،‬ﺩﺭ ﺫﺍﺕ ﺷﻤﺎ ﺍﺳﺖ‪ «.‬ﺍﻳﻦ ﺟﻤﻠﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ‪ T800‬ﺩﺭ ﻗﺴﻤﺖ ﺩﻭﻡ ﻣﺠﻤﻮﻋﻪﻯ‬ ‫ﻧﺎﺑﻮﺩﮔﺮ ﺑﻪ ﺟﺎﻥ ﻛﺎﻧﺮ ﻣﻰﮔﻮﻳﺪ‪ .‬ﺍﻣﺎ ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦ ﺟﻤﻠﻪﻯ ﻛﺎﻣ ً‬ ‫ﻼ ﺻﺤﻴﺢ‪ ،‬ﺗﻨﺎﺯﻉ ﺑﻘﺎ ﺩﺭ ﺑﻄﻦ ﺍﻳﻦ‬ ‫ﺧﻮﺩﻭﻳﺮﺍﻧﮕﺮﻯ ﺍﻧﺴﺎﻧﻰ ﻣﻮﺝ ﻣﻰﺯﻧﺪ ﻭ ﺍﻳﻦ ﻳﻜﻰ ﺍﺯ ﺑﺰﺭگﺗﺮﻳﻦ ﺗﻨﺎﻗﺾﻫﺎﻯ ﺫﺍﺗﻰ ﻭ ﺳﺎﺧﺘﺎﺭﻯ ﺑﺸﺮ‬ ‫ﺍﺳﺖ‪ .‬ﺩﺭ ﻗﺴﻤﺖ ﭼﻬﺎﺭﻡ ﻣﺠﻤﻮﻋﻪﻯ ﻧﺎﺑﻮﺩﮔﺮ ﻭ ﺩﺭ ﺍﻭﺝ ﻧﺒﺮﺩ ﭘﻴﺶﺑﻴﻨﻰ ﻧﺎﭘﺬﻳﺮ ﺍﻧﺴﺎﻥ ﻭ ﻣﺎﺷﻴﻦ‪،‬‬ ‫ﺩﺭ ﺷﺮﺍﻳﻄﻰ ﻛﻪ ﻫﻴﭻ ﺗﻀﻤﻴﻨﻰ ﺑﻪ ﺯﻧﺪﻩ ﺑﺮﮔﺸﺘﻦ ﺍﺯ ﻣﺄﻣﻮﺭﻳﺖﻫﺎ ﻭ ﻋﻤﻠﻴﺎﺕﻫﺎ ﻧﻴﺴﺖ‪ ،‬ﻛﺎﺗﺮﻳﻦ‬ ‫ﺑﺮﻭﺳﺘﺮ ﺍﺯ ﺟﺎﻥ ﻛﺎﻧﺮ ﺑﺎﺭﺩﺍﺭ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺍﻣﻴﺪﻭﺍﺭﻯ ﺩﺭ ﺯﻳﺮ ﺳﺎﻳﻪﻯ ﻣﺮگ‪ ،‬ﺗﻨﻬﺎ ﺩﺭ ﻗﻠﻤﺮﻭ ﺗﻨﺎﺯﻉ ﺑﻘﺎﻯ‬ ‫ﺍﻧﺴﺎﻥ ﺧﻮﺩﻧﺎﺑﻮﺩﮔﺮ ﻣﻌﻨﻰ ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻧﺴﺎﻧﻰ ﻛﻪ ﺑﺮﺍﻯ ﺍﻳﻦ ﺗﻨﺎﺯﻉ ﺑﻘﺎﻯ ﻣﺒﻬﻢ ﺩﺭ ﺯﻳﺮ ﺩﺭﺧﺸﺶ‬ ‫ﺧﻮﺩﻭﻳﺮﺍﻧﮕﺮﻯ‪ ،‬ﻭﺍژﮔﺎﻧﻰ ﺑﻪ ﻧﺎﻡ ﻋﺸﻖ‪ ،‬ﺍﻣﻴﺪ‪ ،‬ﻫﺪﻑ ﻭ ﺍﺭﺍﺩﻩ ﺭﺍ ﺁﻓﺮﻳﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﻫﻤﻴﻦ ﺍﻧﺴﺎﻥ ﺷﺒﻜﻪﻯ‬ ‫ﺁﺳﻤﺎﻧﻰ ﺭﺍ ﻫﻢ ﺧﻠﻖ ﻛﺮﺩﻩ ﻭ ﺣﺎﻻ ﺩﺭ ﻧﺒﺮﺩ ﻣﻴﺎﻥ ﺑﻘﺎﻯ ﺧﻮﺩﺧﻮﺍﺳﺘﻪ ﻭ ﻓﻨﺎﻯ ﺧﻮﺩﺳﺎﺧﺘﻪ ﺩﺭ ﺗﺐ ﻭ ﺗﺎﺏ‬ ‫ﺍﺳﺖ‪ .‬ﺑﺪﻳﻬﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﭼﻨﻴﻦ ﺷﺮﺍﻳﻄﻰ‪ ،‬ﻧﺎﺧﻮﺩﺁﮔﺎ ِﻩ ﺟﻤﻌﻰ ﺑﺸﺮ ﻧﺎﮔﺰﻳﺮ ﺍﺯ ﺧﻠﻖ ﻭﺍژﻩﺍﻯ ﺷﮕﻔﺖ ﻭ‬ ‫ﺟﺪﻳﺪ ﺑﻪ ﻧﺎﻡ ﻣﻨﺠﻰ ﻭ ﻣﺴﻴﺤﺎ ﻫﻢ ﺑﺎﺷﺪ ﻭ ﺑﺴﻰ ﺷﮕﻔﺖﺗﺮ ﻛﻪ ﺍﻳﻦ ﻛﻬﻦﺍﻟﮕﻮﻯ ﺗﻜﺮﺍﺭﻯ ﺑﺎﺯ ﻫﻢ ﺩﻭﺑﺎﺭﻩ‬ ‫ﻭ ﺩﻭﺑﺎﺭﻩ ﺗﻜﺮﺍﺭ ﻭ ﺩﺭ ﺭﻭﻳﺎ ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ ﺗﺎ ﺑﻪ ﻭﺍﻗﻌﻴﺖ ﺩﺭﺁﻳﺪ‪ .‬ﺍﻳﻦ ﺩﻗﻴﻘﺎً ﻳﻌﻨﻰ ﺍﻧﺴﺎﻧﻴﺖ‪ :‬ﺿﻌﻒ ﭘﻨﻬﺎﻥ‬ ‫ﺷﺪﻩ ﺩﺭ ﺗﻦﭘﻮﺷﻰ ﻣﻬﻴﺐ ﺍﺯ ﻗﺪﺭﺕ‪ .‬ﻣﻮﺟﻮﺩﻯ ﻛﻪ ﺩﺭ ﺑﺮﺍﺑﺮ ﻛﻮﭼﻚﺗﺮﻳﻦ ﻋﻮﺍﻣﻞ ﻃﺒﻴﻌﻰ ﻧﺎﺗﻮﺍﻥ ﺍﺳﺖ‬ ‫ﺍﻣﺎ ﺑﺎ ﻫﻤﻴﻦ ﺿﻌﻒ ﺑﺰﺭگ ﻫﻢ ﺗﻤﺎﻡ ﻃﺒﻴﻌﺖ ﺭﺍ ﻧﺎﺑﻮﺩ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﻣﻘﺎﺑﻞ ﺷﺒﻜﻪﻯ ﺁﺳﻤﺎﻧﻰ ﻛﻪ ﻓﺮﺯﻧﺪ ﻧﺎﺧﻠﻒ ﺍﻧﺴﺎﻥ ﺍﺳﺖ ﻫﻢ ﺧﻮﺩﻭﻳﺮﺍﻧﮕﺮ ﺍﺳﺖ ﻭ ﻫﻢ ﺧﻮﺩﺳﺎﺯﻧﺪﻩ‪،‬‬ ‫ﻣﺨﻠﻮﻗﺎﺗﺶ ﻳﻌﻨﻰ ﻧﺎﺑﻮﺩﮔﺮﻫﺎ ﻛﻤﻰ ﻣﺘﻔﺎﻭﺗﻨﺪ‪ .‬ﺁﻥﻫﺎ ﺿﻌﻒﻫﺎﻯ ﺍﻧﺴﺎﻥ ﺭﺍ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﻫﺮ ﭼﻨﺪ ﻛﻪ ﺗﻤﺎﻡ‬ ‫ﺗﻮﺍﻧﺎﻳﻰ ﺍﻧﺴﺎﻥﻫﺎ ﺭﺍ ﻫﻢ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺧﻮﺩﻭﻳﺮﺍﻧﮕﺮﻯ ﺩﺭ ﺁﻥﻫﺎ ﻧﻴﺴﺖ ﻭ ﺍﻟﺒﺘﻪ ﺗﻤﺎﻳﻞ ﺣﺮﻳﺼﺎﻧﻪ ﻭ ﺍﻧﺴﺎﻥﮔﻮﻧﻪﺍﻯ‬ ‫ﻫﻢ ﺑﻪ ﺑﻘﺎ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺿﻌﻒﻫﺎﻳﻰ ﻣﺎﻧﻨﺪ ﻋﺸﻖ ﻭ ﺍﻣﻴﺪ ﻭ ﻣﻨﺠﻰ ﺩﺭ ﺫﻫﻦ ﺁﻥﻫﺎ ﺑﻰﺟﺎﻳﮕﺎﻩ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﻫﺪﻑ‬ ‫ﻭ ﺍﺭﺍﺩﻩ ﺭﺍ ﺑﺴﺎﻥ ﺍﻭﻟﻴﻦ ﺧﻂ ﺑﺮﻧﺎﻣﻪ ﺫﻫﻨﻰﺷﺎﻥ ﺑﺴﻰ ﻭﺳﻴﻊﺗﺮ ﺍﺯ ﺁﺩﻣﻴﺎﻥ ﺩﺭﻙ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﺍﺯ ﺍﻧﺴﺎﻥﻫﺎ‬ ‫ﻳﺎﺩ ﻣﻰﮔﻴﺮﻧﺪ‪ ،‬ﺍﻣﺎ ﺑﻴﺸﺘﺮ ﺑﺴﺎﻥ »ﺍﺩﺏ ﺍﺯ ﻛﻪ ﺁﻣﻮﺧﺘﻰ؟ ﺍﺯ ﺑﻰﺍﺩﺑﺎﻥ‪«.‬‬ ‫ﻭ ﺣﺎﻻ ﺭﺍﺣﺖ ﻣﻰﺗﻮﺍﻥ ﻧﺘﻴﺠﻪ ﮔﺮﻓﺖ ﻛﻪ ﺩﺭ ﺣﻘﻴﻘﺖ ﻧﺎﺑﻮﺩﮔﺮ ﺍﺻﻠﻰ ﺩﺭ ﻣﺠﻤﻮﻋﻪﻯ ﻧﺎﺑﻮﺩﮔﺮ‪ ،‬ﺧﻮﺩ‬ ‫ﺍﻧﺴﺎﻥ ﺍﺳﺖ‪ .‬ﺩﺭ ﻭﺻﻒ ﻧﺎﺑﻮﺩﮔﺮﻯ ﺑﻪ ﻧﺎﻡ ﺍﻧﺴﺎﻥ ﻛﻪ ﺑﺴﻰ ﻧﺎﺑﻮﺩﮔﺮﺍﻧﻪﺗﺮ ﺍﺯ ﺳﺎﻳﺒﺮگﻫﺎ ﻋﻤﻞ ﻣﻰﻛﻨﺪ‪،‬‬ ‫‪83‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﺷﻜﻞ ‪ :10‬ﺍﺯ ﭼﭗ ﺑﻪ ﺭﺍﺳﺖ‪ ،‬ﺳﺎﻳﺒﺮگﻫﺎﻯ ‪ T1000 ،T800 ،T600‬ﻭ‬

‫‪TX‬‬

‫ﺷﻜﻞ ‪ :11‬ﭘﺪﻳﺪﺍﺭ ﺷﺪﻥ ﻛﭙﺴﻮﻝ ﻧﺎﻗﻞ ﻳﻚ ﺳﺎﺯﻭﻛﺎﺭ ﺯﻳﺴﺘﻰ ﺍﺯ ﺁﻳﻨﺪﻩ ﺑﻪ ﮔﺬﺷﺘﻪ‬

‫ﺷﻜﻞ ‪ :12‬ﺟﻴﻤﺰ ﻛﺎﻣﺮﻭﻥ ﺩﺭ ﭘﺸﺖ ﺻﺤﻨﻪﻯ ﻓﻴﻠﻢ ﻧﺎﺑﻮﺩﮔﺮ‬


‫ﻣﻘﺎﻟﻪ‬

‫‪ .4‬ﻋﺎﺭﻓﺎﻧﮕﻰ‬ ‫ﺳﺎﻳﺒﺮگﻫﺎﻯ ﻧﺎﺑﻮﺩﮔﺮ ﻧﺴﺒﺖ ﺑﻪ ﭘﺮﻧﺪﻩﻫﺎﻯ ﻧﻈﺎﻣﻰ ﺑﻰﺳﺮﻧﺸﻴﻦ ‪ HK‬ﻭ ﻫﻢﭼﻨﻴﻦ ﺗﻤﺎﻡ ﺳﺎﻳﺮ ﺗﻮﻟﻴﺪﺍﺕ‬ ‫ﻣﺨﻮﻑ ﻣﺎﺷﻴﻨﻰ ﻃﺮﺍﺣﻰ ﺷﺪﻩ ﺑﺮﺍﻯ ﻧﺎﺑﻮﺩ ﺳﺎﺧﺘﻦ ﺍﻧﺴﺎﻥﻫﺎ‪ ،‬ﺯﻳﺮﺳﺎﺧﺖ ﺷﮕﻔﺖﺗﺮﻯ ﺩﺍﺭﻧﺪ‪ .‬ﺗﺨﻴﻞ‬ ‫ﺣﺎﻛﻢ ﺑﺮ ﺁﻓﺮﻳﻨﺶ ﺍﻳﺪﻩﻯ ﺑﺮﺧﻰ ﺍﺯ ﺍﻳﻦ ﺯﻳﺮﺳﺎﺧﺖﻫﺎ ﺑﺴﻴﺎﺭ ﺗﺄﻣﻞ ﺑﺮﺍﻧﮕﻴﺰ ﺍﺳﺖ‪.‬‬ ‫ﺗﻜﺎﻣﻞ ﻭ ﻓﺮﮔﺸﺖ ﺳﺎﻳﺒﺮگﻫﺎﻯ ﻧﺎﺑﻮﺩﮔﺮ ﺧﻮﺩ ﻧﺸﺎﻥ ﺍﺯ ﺭﺷﺪ ﺗﻜﺎﻣﻠﻰ ﺧﺎﻟﻘﺸﺎﻥ ﻳﻌﻨﻰ ﺷﺒﻜﻪﻯ‬ ‫ﺁﺳﻤﺎﻧﻰ ﺩﺍﺭﺩ‪ .‬ﺷﺒﻜﻪﻯ ﺁﺳﻤﺎﻧﻰ ﻣﺴﻴﺮ ﺭﺷﺪ ﺩﺍﺩﻥ ﻓﻨﺎﻭﺭﻯ ﺍﻧﺴﺎﻧﻰ ﺭﺍ ﺑﺴﻴﺎﺭ ﺑﻬﺘﺮ ﺍﺯ ﺍﻧﺴﺎﻥﻫﺎ ﻃﻰ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﺍﻭ ﺩﺭ ﻣﺪﺗﻰ ﻛﻤﺘﺮ ﺍﺯ ﭘﺎﻧﺰﺩﻩ ﺳﺎﻝ ﺍﺯ ﻓﻦﺁﻭﺭﻯ ‪ T600‬ﺑﻪ ﻓﻦﺁﻭﺭﻯ ‪ TX‬ﻣﻰﺭﺳﺪ ﻛﻪ ﻗﺎﺑﻞ‬ ‫ﺗﻘﺪﻳﺮ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﺩﻭ ﻗﺴﻤﺖ ﺍﻭﻝ‪ ،‬ﻭﺿﻌﻴﺖ ﻣﻨﺒﻊ ﺗﻐﺬﻳﻪﻯ ﺳﺎﻳﺒﺮگﻫﺎﻯ ‪ T800‬ﻧﺎﻣﺸﺨﺺ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺩﺭ ﻗﺴﻤﺖ ﺳﻮﻡ‬ ‫ﺑﻪ ﺍﻳﻦ ﺍﺑﻬﺎﻡ ﭘﺎﺳﺦ ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ‪ :‬ﺳﻠﻮﻝﻫﺎﻯ ﻫﻴﺪﺭﻭژﻧﻰ ﻫﻢﺟﻮﺷﻰ ﻫﺴﺘﻪﺍﻯ ﺳﺮﺩ ]‪ .[40‬ﺳﻠﻮﻝﻫﺎﻳﻰ‬ ‫ﻛﻪ ﺩﺭ ﺍﺛﺮ ﺁﺳﻴﺐﺩﻳﺪﮔﻰ ﻧﺎﭘﺎﻳﺪﺍﺭ ﺷﺪﻩ ﻭ ﺍﻧﻔﺠﺎﺭﻯ ﻋﻈﻴﻢ ﺑﻪ ﺭﺍﻩ ﻣﻰﺍﻧﺪﺍﺯﺩ‪ .‬ﻫﻢﺟﻮﺷﻰ ﻫﺴﺘﻪﺍﻯ ﺳﺮﺩ‬ ‫ﺭﻭﻳﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺑﺸﺮ ﺑﻪ ﺍﺣﺘﻤﺎﻝ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩ ﺗﺎ ﭘﺎﻳﺎﻥ ﻗﺮﻥ ﺑﻴﺴﺖ ﻭ ﻳﻜﻢ ﺑﻪ ﺁﻥ ﺧﻮﺍﻫﺪ ﺭﺳﻴﺪ‪.‬‬ ‫ﺳﺎﻳﺒﺮگﻫﺎﻯ ‪ T800‬ﺑﺎ ﺍﻳﻦ ﺑﺎﺗﺮﻯﻫﺎﻯ ﻫﺴﺘﻪﺍﻯ‪ ،‬ﺩﺍﺭﺍﻳﻰ ﻋﻤﺮﻯ ﺑﺮﺍﺑﺮ ﺑﺎ ﺻﺪ ﻭ ﺑﻴﺴﺖ ﺳﺎﻝ ﺧﻮﺍﻫﻨﺪ‬ ‫ﺑﻮﺩ‪ .‬ﺩﺭ ﺗﻤﺎﻡ ﺍﻳﻦ ﻣﺪﺕ ﺭﻳﺰﭘﺮﺩﺍﺯﻧﺪﻩ ﻣﺮﻛﺰﻯ ﺁﻥﻫﺎ ﻗﺎﺑﻠﻴﺖ ﺧﻮﺩﺍﺭﺗﻘﺎﻳﻰ ﻭ ﻳﺎﺩﮔﻴﺮﻯ ﺩﺍﺭﺩ‪ .‬ﺑﻪﻭﺍﺳﻄﻪﻯ‬ ‫ﺧﻮﺩﺁﮔﺎﻫﻰ‪ ،‬ﻫﺮ ﭼﻪ ﺗﻤﺎﺱ ﺁﻥﻫﺎ ﺑﺎ ﺍﻧﺴﺎﻥﻫﺎ ﺑﻴﺸﺘﺮ ﺑﺎﺷﺪ‪ ،‬ﺑﻴﺸﺘﺮ ﻳﺎﺩ ﻣﻰﮔﻴﺮﻧﺪ ﻭ ﺍﻳﻦ ﻣﺸﺨﺼﻪ‪ ،‬ﺁﻥﻫﺎ‬ ‫ﺭﺍ ﺍﺯ ﺳﺮﻯ ‪ T600‬ﻛﻪ ﺻﺮﻓﺎً ﻣﺴﻠﺴﻞ ﻣﺘﺤﺮﻛﻨﺪ‪ ،‬ﻣﺠﺰﺍ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺳﺎﻳﺒﺮگ ‪ T1000‬ﻛﻤﻰ ﺍﻏﺮﺍﻕﺁﻣﻴﺰﺗﺮ ﺍﺯ ﺁﻥﭼﻪ ﻛﻪ ﺑﺎﻳﺪ ﺑﺎﺷﺪ‪ ،‬ﻃﺮﺍﺣﻰ ﺷﺪﻩ‪ .‬ﺍﻭ ﺳﺎﺧﺖﻭﺍﺭﻩﺍﻯ ﺍﺯ‬ ‫ﺍﺑﺮﺁﻟﻴﺎژﻫﺎﻯ ﻓﻠﺰ ﻣﺎﻳﻊ ﺍﺳﺖ ﻛﻪ ﺑﻪﺭﺍﺣﺘﻰ ﺗﻮﺍﻥ ﺳﻴﺎﻟﻴﺖ ﻭ ﺧﻮﺩﺳﺎﻣﺎﻥﺩﻫﻰ ﺗﺒﺪﻳﻠﻰ ﺑﻪ ﻫﺮ ﺭﻳﺨﺘﺎﺭﻯ‬ ‫ﺩﺍﺭﺩ‪.‬‬ ‫ﺷﺎﻳﺪ ﺑﺮ ﺍﺳﺎﺱ ﻫﻤﻴﻦ ﺍﻏﺮﺍﻕ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻃﺮﺍﺣﻰ ﺗﻴﭗ ﺳﺎﻳﺒﺮگ ‪ TX‬ﺩﺭ ﻗﺴﻤﺖ ﺳﻮﻡ‪ ،‬ﻛﻤﻰ‬ ‫ﻋﺎﻗﻼﻧﻪﺗﺮ ﻭ ﻭﺍﻗﻌﻰﺗﺮ ﻋﻤﻞ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻭﻳﮋﮔﻰ ﺍﺻﻠﻰ ﺳﺎﻳﺒﺮگ ‪ TX‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻋﻼﻭﻩ ﺑﺮ ﻧﺎﺑﻮﺩﮔﺮﻯ‬ ‫ﺍﻧﺴﺎﻥﻫﺎ‪ ،‬ﺩﺭ ﺻﻮﺭﺕ ﻟﺰﻭﻡ ﻧﺎﺑﻮﺩﮔ ِﺮ ﻧﺎﺑﻮﺩﮔﺮﻫﺎ ﻫﻢ ﻫﺴﺖ‪ .‬ﺍﻭ ﺗﻮﺍﻧﺎﻳﻰ ﻛﻨﺘﺮﻝ ﺳﺎﻳﺮ ﺳﺎﻳﺒﺮگﻫﺎ‪ ،‬ﺭﻭﺑﻮﺕﻫﺎ‬ ‫ﻭ ﻣﺎﺷﻴﻦﻫﺎ ﺭﺍ ﻧﻴﺰ ﺩﺍﺭﺩ‪ TX .‬ﺑﻪﺟﺎﻯ ﺳﻴﺎﻟﻴﺖ ‪ ،T1000‬ﺗﻮﺍﻥ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻰ ﺩﺭ ﺍﺑﺰﺍﺭﺳﺎﺯﻯ ﻭ ﺗﻮﻟﻴﺪ‬ ‫ﻭﺳﺎﻳﻞ ﻣﻮﺭﺩ ﻧﻴﺎﺯﺵ ﺩﺍﺭﺩ ﻛﻪ ﺑﺮﺍﻯ ﻳﻚ ﺳﺎﻳﺒﺮگ ﻗﺎﺗﻞ ﺑﺴﻰ ﻭﺍﻗﻌﻰﺗﺮ ﻭ ﻣﻤﻜﻦﺗﺮ ﺍﺭﺯﻳﺎﺑﻰ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺍﻣﺎ ﺁﻥﭼﻪ ﺩﺭ ﻧﻬﺎﺩ ﺍﻳﻦ ﺳﺎﻳﺒﺮگﻫﺎ ﻭ ﺑﻪ ﻭﻳﮋﻩ ‪ T800‬ﺑﻴﺸﺘﺮ ﺧﻮﺩﻧﻤﺎﻳﻰ ﻣﻰﻛﻨﺪ‪ ،‬ﺗﻼﺷﺸﺎﻥ ﺑﺮﺍﻯ‬ ‫ﺭﺳﺘﮕﺎﺭﻯ ﺍﺳﺖ‪ .‬ﺳﺎﻳﺒﺮگﻫﺎﻯ ﻧﺎﺑﻮﺩﮔﺮ ﺑﻪﺭﻭﺍﻳﺘﻰ ﺍﺳﺘﻌﺎﺭﻩﺍﻯ ﻣﺒﻬﻢ ﺍﺯ ﺧﻮﺩ ﺑﺸﺮﻳﺖ ﻫﺴﺘﻨﺪ ﻛﻪ ﻋﻠﻴﻪ‬ ‫ﺗﻤﺎﻡ ﺁﻥﭼﻪ ﺑﺮﺍﻯ ﺭﺳﻴﺪﻧﺶ ﺑﻪ ﺍﻳﻦ ﻧﻘﻄﻪ ﺍﺯ ﻫﺴﺘﻰ ﻻﺯﻡ ﻭ ﻭﺍﺟﺐ ﺑﻮﺩﻩ‪ ،‬ﻗﻴﺎﻡ ﻛﺮﺩﻩ ﻭ ﺣﺎﻻ ﺑﺎﻳﺪ‬ ‫‪T800‬ﻭﺍﺭ ﻭ ﺗﻮﺍﺏ ﺑﻪ ﺩﺍﻣﺎﻥ ﻃﺒﻴﻌﺖ ﻭ ﺯﻣﻴﻦ ﺑﺮﮔﺮﺩﺩ‪ .‬ﻭ ﭘﺮﺳﺶ ﺍﻳﻦﺟﺎ ﺍﺳﺖ ﻛﻪ ﺍﮔﺮ ﻣﺴﻴﺮ ﺟﺎﺩﻩ‬ ‫ﺭﺳﺘﮕﺎﺭﻯ ﺑﺮﺍﻯ ﻳﻚ ﺳﺎﻳﺒﺮگ ﺑﻰﺭﻭﺡ ﻣﺎﻧﻨﺪ ‪ T800‬ﺑﺎﺯ ﺍﺳﺖ‪ ،‬ﭼﺮﺍ ﺑﺮﺍﻯ ﺍﻧﺴﺎﻥ ﺭﻭﺡﻣﻨﺪ ﺑﺎﺯ ﻧﺒﺎﺷﺪ؟‬ ‫‪81‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﻗﺎﺑﻠﻴﺖ ﺧﻮﺩﺁﮔﺎﻫﻰ ﻫﺴﺘﻨﺪ‪ ،‬ﺷﻮﺩ؟ ﭘﺎﺳﺦﻫﺎﻳﻰ ﻣﺘﻔﺎﻭﺕ ﻭ ﺑﻌﻀﺎً ﻣﺘﻀﺎﺩ ﺑﻪ ﺍﻳﻦ ﭘﺮﺳﺶ ﺍﺭﺍﺋﻪ ﺷﺪﻩ‪.‬‬ ‫ﺑﺮﺧﻰ ﺻﺎﺣﺐﻧﻈﺮﺍﻥ ﺑﻪ ﺳﺎﺩﮔﻰ ﻣﻌﺘﻘﺪﻧﺪ ﻛﻪ ﺍﮔﺮ ﻛﺮﺑﻦ ﺩﺭ ﺳﻴﺮ ﻓﺮﮔﺸﺖ ﺗﺒﺪﻳﻞ ﺷﺪﻩ ﺑﻪ ﻣﻮﺟﻮﺩ‬ ‫ﺑﺎﻫﻮﺷﻰ ﻣﺜﻞ ﺍﻧﺴﺎﻥ‪ ،‬ﭼﺮﺍ ﺳﻴﻠﻴﻜﻮﻥ ﺩﺭ ﺍﻳﻦ ﺭﺍﻩ ﻧﺎﺗﻮﺍﻥ ﺑﺎﺷﺪ؟ ﻭ ﺑﺮﺧﻰ ﻫﻢ ﻣﻌﺘﻘﺪﻧﺪ ﻫﻮﺵ ﻫﻴﭻﮔﺎﻩ‬ ‫ﻣﺼﻨﻮﻋﻰ ﻧﻤﻰﺷﻮﺩ‪ .‬ﺑﻪ ﻫﺮ ﺣﺎﻝ ﺑﻪﻧﻈﺮ ﻣﻰﺁﻳﺪ ﻃﺮﺍﺣﺎﻥ ﻭ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻣﺠﻤﻮﻋﻪﻯ ﻧﺎﺑﻮﺩﮔﺮ ﻧﮕﺎﻫﻰ‬ ‫ِ‬ ‫ﺷﮕﻔﺖ‬ ‫ﺑﺴﻴﺎﺭ ﺧﻮﺵﺑﻴﻨﺎﻧﻪ ﺑﻪ ﺭﺷﺪ ﺩﺍﻧﺶ ﻭ ﻓﻦﺁﻭﺭﻯ ﺩﺍﺷﺘﻪﺍﻧﺪ ﻛﻪ ﺗﺎ ﺍﻳﻦ ﺣﺪ ﺧﻴﺰﺵ ﺗﻜﺎﻣﻠﻰ‬ ‫ﺷﺒﻜﻪﻯ ﺁﺳﻤﺎﻧﻰ ﻭ ﺗﻮﺍﻧﺎﻳﻰﻫﺎﻯ ﺍﻭ ﺭﺍ ﺩﺭ ﺧﻠﻖ ﻧﺎﺑﻮﺩﮔﺮﻫﺎ ﻭ ﺳﺎﻳﺮ ﻣﺨﻠﻮﻗﺎﺕ ﻣﺎﺷﻴﻨﻰ ﻣﻬﻴﺐ ﺩﺭ‬ ‫ﺁﻳﻨﺪﻩﺍﻯ ﺑﻪ ﺍﻳﻦ ﻧﺰﺩﻳﻜﻰ‪ ،‬ﺩﺳﺖ ﺑﺎﻻ ﮔﺮﻓﺘﻪﺍﻧﺪ‪.‬‬ ‫ﺑﺤﺚ ﺩﻳﮕﺮ ﻣﻘﻮﻟﻪﻯ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺳﻪ ﻗﺴﻤﺖ ﺍﻭﻝ ﻣﺠﻤﻮﻋﻪﻯ ﻧﺎﺑﻮﺩﮔﺮ ﻋﺠﻴﺐ‬ ‫ﺧﻮﺩﻧﻤﺎﻳﻰ ﻣﻰﻛﻨﺪ‪ .‬ﺟﺪﺍ ﺍﺯ ﺍﻣﻜﺎﻥﭘﺬﻳﺮﻯ ﻳﺎ ﺍﻣﻜﺎﻥﻧﺎﭘﺬﻳﺮﻯ ﺍﻳﻦ ﻗﻀﻴﻪ‪ ،‬ﺣﻘﻴﻘﺖ ﺍﻣﺮ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ‬ ‫ﺩﺭ ﻓﻴﻠﻢ ﭘﻴﺮﺍﻣﻮﻥ ﺗﺼﻮﻳﺮﺳﺎﺯﻯ ﭼﮕﻮﻧﮕﻰ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ ﺗﺎ ﺍﻧﺪﺍﺯﻩﻯ ﻗﺎﺑﻞ ﻗﺒﻮﻟﻰ‪ ،‬ﻭﺍﻗﻊﺑﻴﻨﻰ ﺑﻪ ﺧﺮﺝ‬ ‫ﺩﺍﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻣﻴﺪﺍﻥﻫﺎﻯ ﺍﻟﻜﺘﺮﻳﻜﻰ ﻭ ﻣﻐﻨﺎﻃﻴﺴﻰ ﺑﺴﻴﺎﺭ ﻗﻮﻯ ﺷﺎﻳﺪ ﺑﺘﻮﺍﻧﺪ ﺩﺭﻳﭽﻪﻯ‬ ‫»ﻛﺮﻡﭼﺎﻟﻪ« ]‪ [38‬ﺭﺍ ﺩﺭ ﺯﻣﺎﻥ ﺑﮕﺸﺎﻳﺪ ﻛﻪ ﺍﻟﺒﺘﻪ ﺗﻮﺍﻥ ﺗﻜﻨﻮﻟﻮژﻳﻜﻰ ﭼﻨﻴﻦ ﮔﺸﺎﻳﺸﻰ ﻫﻨﻮﺯ ﻣﻮﺟﻮﺩ‬ ‫ﻧﻴﺴﺖ‪ .‬ﺍﻣﺎ ﺍﻳﻦﻛﻪ ﭼﺮﺍ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﻣﺠﻤﻮﻋﻪﻯ ﻧﺎﺑﻮﺩﮔﺮ ﺗﻨﻬﺎ ﺳﺎﺯ ﻭ ﻛﺎﺭﻫﺎﻯ ﺯﻧﺪﻩ ﻣﺎﻧﻨﺪ ﺍﻧﺴﺎﻥ ﻭ‬ ‫ﺷﺒﻪﺯﻧﺪﻩ ﻣﺎﻧﻨﺪ ﺳﺎﻳﺒﺮگﻫﺎﻯ ﭘﻮﺷﻴﺪﻩ ﺷﺪﻩ ﺑﺎ ﮔﻮﺷﺖ ﻭ ﭘﻮﺳﺖ ﺍﻧﺴﺎﻧﻰ ﻗﺎﺑﻠﻴﺖ ﻋﺒﻮﺭ ﺍﺯ ﺩﺍﻻﻥ‬ ‫ﺯﻣﺎﻥ ﺭﺍ ﺩﺍﺭﻧﺪ‪ ،‬ﻫﻴﭻ ﺗﻮﺿﻴﺤﻰ ﺩﺭ ﻓﻴﻠﻢ ﻧﺪﺍﺭﺩ‪ .‬ﺣﺘﺎ ﻣﺴﺎﻓﺮﺍﻥ ﺯﻣﺎﻥ ﺩﺭ ﻣﺠﻤﻮﻋﻪﻯ ﻧﺎﺑﻮﺩﮔﺮ ﺍﺯ ﺍﻧﺘﻘﺎﻝ‬ ‫ﻟﺒﺎﺱﻫﺎﻳﺸﺎﻥ ﻫﻢ ﺩﺭ ﺩﺍﻻﻥ ﺯﻣﺎﻥ ﻧﺎﺗﻮﺍﻧﻨﺪ‪ .‬ﻭ ﺍﻟﺒﺘﻪ ﻣﻬﻢﺗﺮ ﺍﻳﻦﻛﻪ ﺍﺑﺪﺍﻉ ﭼﻨﻴﻦ ﺳﺎﻣﺎﻧﻪﻯ ﺍﻧﺘﻘﺎﻝ ﺩﺭ‬ ‫ﺯﻣﺎﻥ ﺗﻮﺳﻂ ﺷﺒﻜﻪﻯ ﺁﺳﻤﺎﻧﻰ‪ ،‬ﻛﻪ ﺧﻮﺩ ﺑﺮ ﺩﻭﺵ ﻣﺎﺷﻴﻦﻫﺎﻯ ﻓﻠﺰﻯ ﺑﻨﺎ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺗﻨﻬﺎ ﺑﺎ ﻗﺎﺑﻠﻴﺖ‬ ‫ﻋﺒﻮﺭ ﺩﺍﺩﻥ ﺳﺎﺯ ﻭ ﻛﺎﺭﻫﺎﻯ ﺯﻳﺴﺘﻰ ﻃﺮﺍﺣﻰ ﺷﺪﻩ ﻭ ﺍﻳﻦ ﻗﻀﻴﻪ ﺑﺴﻰ ﻋﺠﻴﺐ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ‪ .‬ﻧﻜﺘﻪﻯ‬ ‫ﺑﻌﺪﻯ ﺍﻳﻦ ﻛﻪ ﺑﺎ ﻓﺮﺽ ﻋﺪﻡ ﻭﺟﻮﺩ ﺑﺎﻃﻞﻧﻤﺎﻫﺎﻯ ﺳﻔﺮ ﺩﺭ ﺯﻣﺎﻥ‪ ،‬ﺑﺎﻳﺪ ﺑﭙﺬﻳﺮﻳﻢ ﻛﻪ ﻫﺮ ﺑﺎﺯﮔﺸﺘﻰ ﺑﻪ‬ ‫ﮔﺬﺷﺘﻪ ﺳﺒﺐ ﺍﻧﺸﻌﺎﺏ ﺧﻂﺭﺍﻫﻪﺍﻯ ﺟﺪﻳﺪ ﺩﺭ ﺁﻳﻨﺪﻩ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﺑﻪ ﺍﻳﻦ ﻣﻌﻨﺎ ﻛﻪ ﺍﮔﺮ ﻛﺴﻰ ﺑﺘﻮﺍﻧﺪ ﺑﻪ‬ ‫ﮔﺬﺷﺘﻪ ﺑﺮﻭﺩ ﻭ ﺗﻐﻴﻴﺮﻯ ﺑﻪ ﻭﺟﻮﺩ ﺑﻴﺎﻭﺭﺩ‪ ،‬ﺳﺒﺐ ﺗﻐﻴﻴﺮ ﺩﺭ ﺁﻳﻨﺪﻩ ﻓﻌﻠﻰ ﻧﺨﻮﺍﻫﺪ ﺷﺪ؛ ﺑﻠﻜﻪ ﺁﻳﻨﺪﻩﻯ‬ ‫ﺟﺪﻳﺪﻯ ﺑﻪ ﻣﻮﺍﺯﺍﺕ ﺁﻳﻨﺪﻩﻯ ﻓﻌﻠﻰ ﺍﻳﺠﺎﺩ ﺧﻮﺍﻫﺪ ﻛﺮﺩ‪.‬‬ ‫ﺑﻪ ﺯﺑﺎﻥ ﺩﻳﮕﺮ ﺑﺎ ﻫﺮ ﺍﻧﺘﺨﺎﺏ ﺟﺪﻳﺪ ﻳﻚ »ﺟﻬﺎﻥ ﻣﻮﺍﺯﻯ« ]‪ [39‬ﺑﻪ ﺟﻬﺎﻥﻫﺎﻯ ﻣﻮﺟﻮﺩ ﺍﺿﺎﻓﻪ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﮔﻮﻳﺎ ﺷﺒﻜﻪﻯ ﺁﺳﻤﺎﻧﻰ ﺩﺭ ﻣﺠﻤﻮﻋﻪﻯ ﻧﺎﺑﻮﺩﮔﺮ ﺍﺯ ﺩﺭﻙ ﺍﻳﻦ ﻧﻜﺘﻪ ﻋﺎﺟﺰ ﺍﺳﺖ؛ ﺯﻳﺮﺍ ﺑﺎ ﻓﺮﺽ ﺍﻳﻦﻛﻪ ﺟﺎﻥ‬ ‫ﻛﺎﻧﺮ ﻳﺎ ﺳﺎﺭﺍ ﻛﺎﻧﺮ ﺭﺍ ﻫﻢ ﺩﺭ ﮔﺬﺷﺘﻪ ﻧﺎﺑﻮﺩ ﻛﻨﺪ‪ ،‬ﺩﺭ ﺟﻬﺎﻥ ﻓﻌﻠﻰ ﺗﻐﻴﻴﺮﻯ ﺑﻪ ﻭﺟﻮﺩ ﻧﻴﺎﻭﺭﺩﻩ‪ ،‬ﺑﻠﻜﻪ ﺟﻬﺎﻥ‬ ‫ﺟﺪﻳﺪﻯ ﺍﺯ ﺯﺍﻳﺶ ﻣﺴﻴﺮ ﻭﺍﻗﻌﻴﺖ ﻣﻨﺸﻌﺐ ﻛﺮﺩﻩ ﻛﻪ ﺩﺭ ﺁﻥ ﺟﻨﺒﺶ ﻣﻘﺎﻭﻣﺖ ﺍﺯ ﻭﺟﻮﺩ ﺟﺎﻥ ﻛﺎﻧﺮ ﭘﺎﻙ‬ ‫ﺍﺳﺖ ﻭ ﻳﺎ ﺍﺻ ً‬ ‫ﻼ ﺷﺎﻳﺪ ﺩﺭ ﺁﻥ ﺟﻬﺎﻥ‪ ،‬ﺟﻨﺒﺶ ﻣﻘﺎﻭﻣﺘﻰ ﺑﻪ ﻭﺟﻮﺩ ﻧﻴﺎﻳﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺍﮔﺮ ﺑﻪ ﺟﺒﺮﮔﺮﺍﻳﻰ ﺍﺯ ﻧﻮﻉ‬ ‫ﺟﺎﻥ ﻛﺎﻧﺮ ﻣﻌﺘﻘﺪ ﺑﺎﺷﻴﻢ‪ ،‬ﺑﺎﻳﺪ ﺑﭙﺬﻳﺮﻳﻢ ﻛﻪ ﺩﺭ ﺗﻤﺎﻡ ﻧﺴﺨﻪﻫﺎﻯ ﻣﻤﻜﻦ ﻭ ﻣﺤﺘﻤﻞ ﺁﻳﻨﺪﻩ‪ ،‬ﻭﺟﻮﺩ ﺟﻨﺒﺶ‬ ‫ﻣﻘﺎﻭﻣﺖ ﻭ ﻣﻨﺠﻰ ﻣﺴﻴﺤﺎﮔﻮﻧﻪﺍﺵ‪ ،‬ﺧﻮﺍﻩ ﻧﺎﻣﺶ ﺟﺎﻥ ﻛﺎﻧﺮ ﺑﺎﺷﺪ ﻳﺎ ﻧﺎﻡ ﺩﻳﮕﺮﻯ‪ ،‬ﮔﺮﻳﺰﻧﺎﭘﺬﻳﺮ ﺍﺳﺖ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﻣﻘﺎﻟﻪ‬

‫ﻣﻨﺤﺮﻑ ﺷﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﺭﺍﻩ ﺩﻛﺘﺮ »ﻣﺎﻳﻠﺰ ﺑﻨﺖ ﺩﺍﻳﺴﻮﻥ« ]‪ [32‬ﻣﺒ���ﻉ ﺭﻳﺰﭘﺮﺩﺍﺯﻧﺪﻩﻫﺎﻯ ﺷﺒﻜﻪﻯ ﻋﺼﺒﻰ‬ ‫]‪ [33‬ﻭ ﮔﺮﺩﺍﻧﻨﺪﻩﻯ ﭘﺮﻭژﻩﻫﺎﻯ ﻭﻳﮋﻩﻯ ﻛﻤﭙﺎﻧﻰ ﺳﺎﻣﺎﻧﻪﻫﺎﻯ ﺳﺎﻳﺒﺮﺩﺍﻳﻦ ﻧﻴﺰ ﺩﺭ ﺣﻤﺎﻳﺖ ﺍﺯ ﺳﺎﺭﺍ ﻭ ﺟﺎﻥ‬ ‫ﻛﺎﻧﺮ ﻛﺸﺘﻪ ﻣﻰﺷﻮﺩ‪ .‬ﺣﺘﺎ ﻓﺮﺍﺗﺮ ﺍﺯ ﺁﻥ ﺳﺎﺭﺍﻳﻰ ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪ 1994‬ﻣﻴﻼﺩﻯ‪ ،‬ﺍﺯ ﺍﺑﺘﻼﻳﺶ ﺑﻪ ﺳﺮﻃﺎﻥ‬ ‫ﺧﻮﻥ ﺁﮔﺎﻩ ﺷﺪﻩ ﻭ ﭘﻴﺶﺑﻴﻨﻰ ﻣﻰﺷﻮﺩ ﻇﺮﻑ ﺷﺶ ﻣﺎﻩ ﺩﺍﺭ ﻓﺎﻧﻰ ﺭﺍ ﻭﺩﺍﻉ ﮔﻮﻳﺪ‪ ،‬ﺗﺎ ﺳﻪ ﺳﺎﻝ ﺑﻌﺪ ﺍﺯ ﺁﻥ‬ ‫ﻳﻌﻨﻰ ﺗﺎ ﺳﺎﻝ ‪ 1997‬ﺍﻣﻴﺪﻭﺍﺭﺍﻧﻪ ﺧﻮﺩ ﺭﺍ ﺯﻧﺪﻩ ﻧﮕﻪ ﻣﻰﺩﺍﺭﺩ ﺗﺎ ﻣﻄﻤﺌﻦ ﺷﻮﺩ »ﺭﻭﺯ ﺩﺍﺩﺭﺳﻰ« ﺩﺭ ﻛﺎﺭ‬ ‫ﻧﻴﺴﺖ ﻭ ﭘﺲ ﺍﺯ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﺧﻴﺎﻝ ﺭﺍﺣﺖ ﭼﺸﻢ ﺍﺯ ﺯﻧﺪﮔﻰ ﻓﺮﻭ ﻣﻰﮔﺬﺍﺭﺩ‪.‬‬ ‫ﻛﺎﻟﺒﺪ ﺑﻰﺟﺎﻥ ﺳﺎﺭﺍ ﭘﺲ ﺍﺯ ﻣﺮگ ﺑﺮ ﺍﺛﺮ ﺳﺮﻃﺎﻥ ﺧﻮﻥ‪ ،‬ﺩﺭ ﻣﻜﺰﻳﻚ ﺳﻮﺯﺍﻧﺪﻩ ﻭ ﺧﺎﻛﺴﺘﺮﺵ ﺑﻪ ﺩﺭﻳﺎ‬ ‫ﺭﻳﺨﺘﻪ ﻣﻰﺷﻮﺩ ﻭ ﺁﺭﺍﻣﮕﺎﻩ ﺟﻌﻠﻰ ﺍﻭ ﺩﺭ ﺁﻣﺮﻳﻜﺎ ﺗﻨﻬﺎ ﺍﻧﺒﺎﺭﻯ ﺍﺯ ﺍﺳﻠﺤﻪ ﻭ ﻣﻬﻤﺎﺕ ﺍﺳﺖ‪ .‬ﺟﺎﻥ ﭘﺲ‬ ‫ﺍﺯ ﻣﺮگ ﻣﺎﺩﺭ ﻭ ﺑﺮ ﺍﺳﺎﺱ ﻣﻨﺸﻰ ﻣﺒﺘﻨﻰ ﺑﺮ ﺟﺒﺮﮔﺮﺍﻳﻰ ﻭ ﻳﻘﻴﻨﻰ ﻣﺘﺰﻟﺰﻝ ﺑﻪ ﻭﻗﻮﻉ ﺁﻳﻨﺪﻩﻯ ﺗﺎﺭﻳﻚ‬ ‫ﻭ ﺗﺮﺳﻨﺎﻙ ﻣﺤﺘﻮﻡ‪ ،‬ﺑﻪ ﺑﻰﻧﺸﺎﻧﮕﻰ ﻭ ﭘﻨﻬﺎﻥ ﺑﻮﺩﻧﺶ ﺍﺩﺍﻣﻪ ﻣﻰﺩﻫﺪ‪ .‬ﺍﻭ ﺑﻪ ﺁﻥﭼﻪ ﺑﺮ ﺳﻨﮓ ﺁﺭﺍﻣﮕﺎﻩ‬ ‫ﺟﻌﻠﻰ ﻣﺎﺩﺭﺵ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﻫﻨﻮﺯ ﺍﻋﺘﻘﺎﺩ ﻧﺪﺍﺭﺩ‪» :‬ﻫﻴﭻ ﺗﻘﺪﻳﺮﻯ ﺟﺰ ﺁﻥﭼﻪ ﻣﺎ ﺍﺭﺍﺩﻩ ﻣﻰﻛﻨﻴﻢ‪ ،‬ﻣﻮﺟﻮﺩ‬ ‫ﻧﻴﺴﺖ‪ .[34] «.‬ﻫﺮ ﭼﻨﺪ ﻛﻪ ﺍﻳﻦ ﺟﻤﻠﻪ ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﺗﻌﺎﻟﻴﻢ ﺧﻮﺩ ﺟﺎﻥ ﺑﻪ ﻛﺎﻳﻞ ﺭﻳﺲ ﺍﺳﺖ ﻛﻪ ﺩﺭ‬ ‫ﺑﺎﺯﮔﺸﺖ ﺍﺯ ﺁﻳﻨﺪﻩ‪ ،‬ﺗﻮﺳﻂ ﻛﺎﻳﻞ ﺑﻪ ﺳﺎﺭﺍ ﺁﻣﻮﺧﺘﻪ ﻣﻰﺷﻮﺩ‪ .‬ﻭ ﺩﺭ ﻛﻨﺎﺭ ﻫﻤﻪﻯ ﺍﻳﻦﻫﺎ‪ ،‬ﺩﺭ ﻗﺴﻤﺖ ﺳﻮﻡ‪،‬‬ ‫ﺟﺎﻥ ﻛﺎﻧﺮ ﻧﺎﺍﻣﻴﺪ ﺍﺯ ﺗﻮﺍﻧﺎﻳﻰ ﺧﻮﺩﺵ ﺩﺭ ﺭﻫﺒﺮﻯ‪ ،‬ﺑﺎ ﺟﻤﻠﻪﺍﻯ ﺗﺎﺭﻳﺨﻰ ﺍﺯ ﻳﻚ ﺭﻭﺍﻥﺷﻨﺎﺱ ﺑﻰﺭﻭﺡ ﻳﻌﻨﻰ‬ ‫‪ T850‬ﻣﻮﺍﺟﻪ ﻣﻰﺷﻮﺩ‪» :‬ﻋﺼﺒﺎﻧﻴﺖ ﺑﻬﺘﺮ ﺍﺯ ﻧﺎ ﺍﻣﻴﺪﻯ ﺍﺳﺖ‪«.‬‬ ‫ﺟﺎﻥ ﺑﻪﻋﻨﻮﺍﻥ ﻣﺴﻴﺤﺎﻯ ﺁﺧﺮﺍﻟﺰﻣﺎﻥ ﺑﺎ ﺩﻭ ﮔﺮﻭﻩ ﺑﻴﺶ ﺍﺯ ﻫﻤﻪ ﺳﺮ ﻭ ﻛﺎﺭ ﺩﺍﺭﺩ‪ ،‬ﺍﻭﻝ ﺩﺟﺎﻝﻫﺎﻯ ﻣﺴﻴﺤﺎﺳﺘﻴﺰ‬ ‫ﺷﺎﻣﻞ ﺳﺎﻳﺒﺮگﻫﺎﻯ ‪ T600، T800، T1000‬ﻭ ‪ TX‬ﻭ ﺩﺭ ﻣﻘﺎﺑﻞ ﺗﻌﻤﻴﺪﮔﺮﺍﻥ ﺭﻭﺡﺍﻟﻘﺪﺱﮔﻮﻧﻪ ﻛﻪ ﺩﺭ‬ ‫ﺑﺮﮔﻴﺮﻧﺪﻩﻯ ﻣﺎﺩﺭﺵ ﺳﺎﺭﺍ‪ ،‬ﻫﻤﺴﺮﺵ ﻛﻴﺖ‪ ،‬ﺩﻭﺳﺘﺶ ﻣﺎﺭﻛﻮﺱ ﻭ ﺳﺎﻳﺒﺮگ ‪ T800‬ﺍﺳﺖ‪ .‬ﺍﻭ ﺩﺭ ﻧﻬﺎﻳﺖ‬ ‫ﭘﺲ ﺍﺯ ﻛﺴﺐ ﭘﻴﺮﻭﺯﻯﻫﺎﻯ ﺷﮕﺮﻑ‪ ،‬ﺩﺭ ‪ 14‬ژﻭﺋﻴﻪ ﺳﺎﻝ ‪ 2032‬ﻣﻴﻼﺩﻯ ﺑﻪ ﺩﺳﺖ ﻳﻚ ﺳﺎﻳﺒﺮگ ‪T800‬‬ ‫ﻛﺸﺘﻪ ﻣﻰﺷﻮﺩ‪ ،‬ﺍﻣﺎ ﻣﻘﺎﻭﻣﺖ ﭘﺲ ﺍﺯ ﺍﻭ ﺑﻪ ﺭﻫﺒﺮﻯ ﻫﻤﺴﺮﺵ ﻛﻴﺖ ﻫﻨﻮﺯ ﺍﺩﺍﻣﻪ ﺩﺍﺭﺩ‪.‬‬ ‫ﺳﺎﻳﺒﺮگﻫﺎﻯ ﻣﺠﻤﻮﻋﻪﻯ ﻧﺎﺑﻮﺩﮔﺮ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﺗﻮﺃﻣﺎﻥ ﻓﻠﺴﻔﻪ ﺍﺻﺎﻟﺖ ﻋﻤﻞ –ﭘﺮﺍﮔﻤﺎﺗﻴﺴﻢ ]‪ -[35‬ﻭ‬ ‫ﻓﻠﺴﻔﻪﻯ ﺍﺻﺎﻟﺖ ﻫﺪﻑ –ﻣﺎﻛﻴﺎﻭﻟﻴﺴﻢ ]‪ -[36‬ﻫﺮ ﺩﻭ ﺑﺎ ﻫﻢ ﻫﺴﺘﻨﺪ‪ .‬ﺁﻥﻫﺎ ﻣﻰ ُﻛﺸﻨﺪ‪ ،‬ﭼﻮﻥ ﻓﻠﺴﻔﻪ‬ ‫ﻭﺟﻮﺩﻯﺷﺎﻥ ﺑﺮ ﺍﻳﻦ ﻣﺒﻨﺎ ﻧﻬﺎﺩﻩ ﺷﺪﻩ ﻭ ﺍﮔﺮ ﻧﻜﺸﻨﺪ ﺧﻮﺩ ﺭﺍ ﺑﻰﻫﺪﻑ ﻭ ﭘﻮچ ﻣﻰﭘﻨﺪﺍﺭﻧﺪ‪ .‬ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ‬ ‫ﺑﺮﺍﻯ ﺭﺳﻴﺪﻥ ﺑﻪ ﻫﺪﻑ ﺑﻪ ﻫﺮ ﻭﺳﻴﻠﻪﺍﻯ ﻣﺘﻮﺳﻞ ﻣﻰﺷﻮﻧﺪ ﻭ ﺍﺯ ﻫﻴﭻ ﺍﺑﺰﺍﺭﻯ ﻓﺮﻭﮔﺬﺍﺭﻯ ﻧﻤﻰﻛﻨﻨﺪ‪.‬‬ ‫ﻣﺴﺄﻟﻪ ﻗﺪﻳﻤﻰ ﺫﻫﻦ ﻭ ﺑﺪﻥ ﺩﺭ ﻓﻠﺴﻔﻪ‪ ،‬ﺩﺭ ﺳﺎﻳﺒﺮگﻫﺎﻯ ﻣﺠﻤﻮﻋﻪﻯ ﻧﺎﺑﻮﺩﮔﺮ ﺑﺎﺯﻧﮕﺮﻯ ﺟﺬﺍﺑﻰ ﺩﺍﺭﺩ‪.‬‬ ‫ﺁﻥﻫﺎ ﺳﺎﺧﺘﺎﺭﻯ ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﺩﻭﮔﺎﻧﻪﮔﺮﺍﻳﻰ ]‪ [37‬ﻭ ﺫﻫﻨﻰ ﻣﺴﺘﻘﻞ ﺍﺯ ﻛﺎﻟﺒﺪ ﺩﺍﺭﻧﺪ ﻭ ﺑﺎ ﺗﻐﻴﻴﺮ ﺑﺮﻧﺎﻣﻪﻯ‬ ‫ﺫﻫﻨﻰﺷﺎﻥ ﺍﺯ ﻳﻚ ﺳﺎﻳﺒﺮگ ﺁﺩﻡﻛﺶ ﺑﻪ ﻳﻚ ﺳﺎﻳﺒﺮگ ﺍﻧﺴﺎﻥﺩﻭﺳﺖ ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﺍﻣﺎ ﮔﺬﺷﺘﻪ ﺍﺯ ﻫﻤﻪﻯ ﺍﻳﻦﻫﺎ‪ ،‬ﭘﺮﺳﺶ ﻣﻬﻢ ﺍﻳﻦﺟﺎ ﺍﺳﺖ ﻛﻪ ﺁﻳﺎ ﻣﺴﻴﺮ ﺩﺍﻧﺶ ﻣﻰﺗﻮﺍﻧﺪ ﻣﻨﺠﺮ ﺑﻪ ﺳﺎﺧﺖ‬ ‫ﺳﺎﻳﺒﺮگﻫﺎﻳﻰ ﺍﺯ ﺟﻨﺲ ﺳﺎﻳﺒﺮگﻫﺎﻯ ﺧﻮﺩﺳﺎﺯﻣﺎﻥﺩﻩ ﻭ ﺑﺮﻧﺎﻣﻪﭘﺬﻳﺮ ﻣﺠﻤﻮﻋﻪﻯ ﻧﺎﺑﻮﺩﮔﺮ ﻛﻪ ﺩﺍﺭﺍﻯ‬ ‫‪79‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﺷﻜﻞ ‪ :5‬ﺳﺎﻳﺒﺮگ‪ T800‬ﺩﺭ ﻣﺄﻣﻮﺭﻳﺖ ﺗﺮﻭﺭ ﺳﺎﺭﺍ ﻛﺎﻧﺮ‬

‫ﺷﻜﻞ ‪ :6‬ﻣﺎﺭﻛﻮﺱ ﺭﺍﻳﺖ‬

‫ﺷﻜﻞ ‪ :7‬ﺳﺎﻳﺒﺮگﻫﺎﻯ ﺧﻮﺩﺁﮔﺎﻩ ﻭ ﺧﻮﺩﺳﺎﻣﺎﻥﺩﻩ‬

‫ﺷﻜﻞ ‪ :8‬ﺳﺎﺭﺍ ﻛﺎﻧﺮ‬

‫ﺷﻜﻞ ‪ :9‬ﺳﺎﻳﺒﺮگ‬

‫‪T1000‬‬


‫ﻣﻘﺎﻟﻪ‬

‫ﺑﻪﺍﻳﻦﺳﺎﻥ ﭘﺮﻭﻧﺪﻩ ﺍﺧﺘﻴﺎﺭﮔﺮﺍﻳﻰ ﺳﺎﺭﺍ ﻛﺎﻧﺮ‪-‬ﮔﻮﻧﻪ ﻧﻴﺰ ﺩﺭ ﻣﻘﺎﺑﻞ ﺟﺒﺮﮔﺮﺍﻳﻰ ﺟﺎﻥ ﻛﺎﻧﺮ‪-‬ﮔﻮﻧﻪ ﺑﺴﺘﻪ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﻫﺮﭼﻨﺪ ﻛﻪ ﺟﺎﻥ ﻛﺎﻧﺮ ﺑﻌﺪﻫﺎ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﭘﺬﻳﺮﺵ ﻧﻮﻉ ﻣﺤﺪﻭﺩﺗﺮﻯ ﺍﺯ ﺍﺧﺘﻴﺎﺭﮔﺮﺍﻳﻰ ﺑﺎﺯ ﻣﻰﮔﺮﺩﺩ‪.‬‬ ‫ﺩﺭ ﻗﺴﻤﺖ ﺳﻮﻡ‪ ،‬ﺗﻘﺎﺑﻞ ﻓﻦﮔﺮﺍﻳﻰ ژﻧﺮﺍﻝ »ﺭﺍﺑﺮﺕ ﺑﺮﻭﺳﺘﺮ« ]‪ [25‬ﺭﺋﻴﺲ »ﺳﺎﻣﺎﻧﻪﻫﺎﻯ ﭘﮋﻭﻫﺶ‬ ‫ﺳﺎﻳﺒﺮﻯ« ]‪ [26‬ﻭﺯﺍﺭﺕ ﺩﻓﺎﻉ‪ ،‬ﺑﺎ ﺩﺧﺘﺮﺵ ﻛﻴﺖ ﻛﻪ ﻫﻤﺴﺮ ﺁﻳﻨﺪﻩﻯ ﺟﺎﻥ ﻛﺎﻧﺮ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ ،‬ﻛﺎﻣ ً‬ ‫ﻼ‬ ‫ﻳﻚﻃﺮﻓﻪ ﺑﻪ ﺳﻮﺩ ﺍﻧﺴﺎﻥﮔﺮﺍﻳﻰ ﺧﺎﺗﻤﻪ ﻣﻰﻳﺎﺑﺪ ﻭ ﺍﻟﺒﺘﻪ ژﻧﺮﺍﻝ ﺑﺮﻭﺳﺘﺮ ﺩﺭ ﺍﻳﻦ ﺗﻘﺎﺑﻞ‪ ،‬ﻧﺎﮔﺰﻳﺮ ﺍﺯ ﺗﻘﺪﻳﻢ‬ ‫ﺟﺎﻥ ﺧﻮﺩ ﺑﻪ ﻣﺎﺷﻴﻦﻫﺎﻯ ﺳﺮﻛﺶ ﺳﺮ ﺑﺮﺁﻭﺭﺩﻩ ﺍﺯ ﺗﺸﻜﻴﻼﺕ ﺧﻮﺩﺵ ﺍﺳﺖ‪ .‬ﺍﻭ ﺩﺭ ﻟﺤﻈﻪﻯ ﻣﺮگ‬ ‫ﺍﻋﺘﺮﺍﻑ ﻣﻰﻛﻨﺪ ﻛﻪ ﺩﺭ ﺟﻌﺒﻪ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺑﺎﺯ ﻛﺮﺩﻥ ﺩﺭ ﺟﻌﺒﻪ ﺍﺩﺍﻯ ﺩﻳﻨﻰ ﺍﺳﺖ ﺑﻪ ﺍﺳﻄﻮﺭﻩﻯ‬ ‫ﻳﻮﻧﺎﻧﻰ »ﺟﻌﺒﻪﻯ ﭘﺎﻧﺪﻭﺭﺍ« ]‪ .[27‬ﭘﺎﻧﺪﻭﺭﺍ ﺩﺭ ﺍﺳﺎﻃﻴﺮ ﻳﻮﻧﺎﻧﻰ‪ ،‬ﻧﺨﺴﺘﻴﻦ ﺯﻥ ﺭﻭﻯ ﺯﻣﻴﻦ ﺍﺳﺖ ﻛﻪ ﺩ ِﺭ‬ ‫ﺟﻌﺒﻪﺍﻯ ﺭﺍ ﻛﻪ ﻫﺮﮔﺰ ﻧﺒﺎﻳﺪ ﮔﺸﻮﺩﻩ ﺷﻮﺩ‪ ،‬ﮔﺸﻮﺩ ﻭ ﻣﺼﻴﺒﺖﻫﺎﻯ ﻣﺤﺒﻮﺱ ﺩﺭ ﺩﺍﺧﻞ ﺟﻌﺒﻪ ﻣﺎﻧﻨﺪ‬ ‫ﺑﻴﻤﺎﺭﻯ‪ ،‬ﺍﻧﺪﻭﻩ‪ ،‬ﺑﻼﻫﺎﻯ ﻣﺨﻮﻑ ﻭ‪ ...‬ﺑﺮ ﺭﻭﻯ ﺯﻣﻴﻦ ﭘﺮﺍﻛﻨﺪﻩ ﺷﺪﻧﺪ ﻭ ﺩﺭ ﺍﻧﺘﻬﺎ‪ ،‬ﺗﻨﻬﺎ ﺍﻣﻴﺪ ﺩﺭ ﺟﻌﺒﻪ ﺑﺎﻗﻰ‬ ‫ﻣﺎﻧﺪ ﺗﺎ ﺁﺭﺍﻣﺶﺑﺨﺶ ﺑﺸﺮ ﺑﺎﺷﺪ‪ .‬ﺟﻌﺒﻪﻯ ﭘﺎﻧﺪﻭﺭﺍ ﺩﺭ ﺍﺳﺎﻃﻴﺮ ﻳﻮﻧﺎﻧﻰ ﻧﻤﺎﺩﻯ ﺍﺳﺖ ﺍﺯ ﺍﻓﺴﺎﺭﮔﺴﻴﺨﺘﮕﻰ‬ ‫ﺣﺲ ﻛﻨﺠﻜﺎﻭﻯ ﺍﻧﺴﺎﻥﻫﺎ ﻛﻪ ﻫﻴﭻ ﻧﻴﺮﻭﻳﻰ ﺭﺍ ﻳﺎﺭﺍﻯ ﻣﻘﺎﻭﻣﺖ ﺩﺭ ﺑﺮﺍﺑﺮ ﺁﻥ ﻧﻴﺴﺖ ﻭ ﺍﻟﺒﺘﻪ ﺍﻳﻦ‬ ‫ﻛﻨﺠﻜﺎﻭﻯ ﺑﻰﻣﺮﺯ ﻭ ﺑﻰﭘﺎﻳﺎﻥ ﺍﻧﺴﺎﻧﻰ ﮔﺎﻫﻰ ﻫﻢ ﺑﻪ ﺑﻬﺎﻯ ﻧﺎﺑﻮﺩﻯ ﻭ ﻭﻳﺮﺍﻥﮔﺮﻯ ﺗﻤﺎﻡ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺩﺭ ﻗﺴﻤﺖ ﭼﻬﺎﺭﻡ ﺍﺯ ﻣﺠﻤﻮﻋﻪﻯ ﻧﺎﺑﻮﺩﮔﺮ‪ ،‬ﭘﺮﻭﻧﺪﻩﻯ ﺷﻚﮔﺮﺍﻳﻰ ﺟﺎﻥ ﻛﺎﻧﺮ ﻧﻴﺰ ﺩﺭ ﻣﻘﺎﺑﻞ ﻳﻘﻴﻦ‬ ‫ﻣﺎﺭﻛﻮﺱ ﺭﺍﻳﺖ ﻣﺎﺷﻴﻨﻰﺷﺪﻩ ﺑﺴﺘﻪ ﻣﻰﺷﻮﺩ‪ .‬ﻣﺎﺭﻛﻮﺱ ﻣﻌﺘﻘﺪ ﺍﺳﺖ ﻛﻪ ﻫﺮ ﺍﻧﺴﺎﻧﻰ ﺷﺎﻳﺴﺘﮕﻰ ﻳﻚ‬ ‫ﺷﺎﻧﺲ ﺩﻭﺑﺎﺭﻩ ﺭﺍ ﺩﺍﺭﺩ‪ ،‬ﭼﻴﺰﻯ ﻛﻪ ﺟﺎﻥ ﻛﺎﻧﺮ ﻫﻨﻮﺯ ﻛﺎﻣ ً‬ ‫ﻼ ﺑﻪ ﺁﻥ ﺍﻋﺘﻘﺎﺩ ﭘﻴﺪﺍ ﻧﻜﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﻧﻬﺎﻳﺖ‬ ‫ﻫﻤﻴﻦ ﺍﻋﺘﻘﺎﺩ ﻣﺎﺭﻛﻮﺱ ﺳﺒﺐ ﻣﻰﺷﻮﺩ ﻛﻪ ﻗﻠﺒﺶ ﺭﺍ ﻛﻪ ﺍﺯ ﻣﻌﺪﻭﺩ ﻗﺴﻤﺖﻫﺎﻯ ﺍﻧﺴﺎﻧﻰ ﺑﺎﻗﻰﻣﺎﻧﺪﻩ‬ ‫ﺩﺭ ﺑﺪﻧﺶ ﺍﺳﺖ‪ ،‬ﺑﻪ ﺟﺎﻥ ﺑﺒﺨﺸﺪ ﻭ ﺷﺎﻧﺲ ﺩﻭﺑﺎﺭﻩﺍﻯ ﺑﻪ ﺟﺎﻥ ﻛﺎﻧﺮ ﺍﻓﺴﺎﻧﻪﺍﻯ ﻛﻪ ﻣﻨﺠﻰ ﺍﻧﺴﺎﻥﻫﺎ ﻭ‬ ‫ﻧﺎﺑﻮﺩﮔ ِﺮ ﻧﺎﺑﻮﺩﮔﺮﻫﺎ ﻭ ﻣﻐﺰ ﻣﺘﻔﻜﺮ ﭘﺸﺖ ﭘﺮﺩﻩﻯ ﺁﻥﻫﺎ ﻳﻌﻨﻰ ﺳﺎﻣﺎﻧﻪﻯ ﺍﺳﻜﺎﻯﻧﺖ ﺍﺳﺖ‪ ،‬ﺍﻋﻄﺎ ﻛﻨﺪ‪.‬‬ ‫ﺩﺭ ﻣﻘﺎﺑﻞ ﻃﻮﻣﺎﺭ ﻋﻘﻞﮔﺮﺍﻳﻰ »ژﻧﺮﺍﻝ ﺍﺷﺪﺍﻥ« ]‪ ،[28‬ژﻧﺮﺍﻝ ﭼﻬﺎﺭ ﺳﺘﺎﺭﻩﻯ ﺳﺎﺑﻖ ﺍﺭﺗﺶ ﺍﻳﺎﻻﺕ‬ ‫ﻣﺘﺤﺪﻩ ﻭ ﻳﻜﻰ ﺍﺯ ﺭﻫﺒﺮﺍﻥ ﻓﻌﻠﻰ ﺟﻨﺒﺶ ﻣﻘﺎﻭﻣﺖ‪ ،‬ﻧﻴﺰ ﺩﺭ ﻣﻘﺎﺑﻞ ﺷﻬﻮﺩﮔﺮﺍﻳﻰ ﺟﺎﻥ ﻛﺎﻧﺮ ﺩﺭ ﻫﻢ‬ ‫ﭘﻴﭽﻴﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺍﺷﺪﺍﻥ ﺑﻬﺎﻯ ﺍﻳﻦ ﻋﻘﻞﮔﺮﺍﻳﻰ ﻣﺤﺾ ﺷﻜﺴﺖ ﺧﻮﺭﺩﻩ ﺭﺍ ﺑﺎ ﻣﺮگ ﺧﻮﻳﺶ ﻭ ﻧﺎﺑﻮﺩﻯ‬ ‫ﺯﻳﺮﺩﺭﻳﺎﻳﻰﺍﺵ ﺗﻮﺳﻂ ﻳﻚ ﭘﺮﻧﺪﻩﻯ ﺑﻰﺳﺮﻧﺸﻴﻦ ﻣﺎﺷﻴﻨﻰ ﺷﻜﺎﺭﭼﻰ ﻗﺎﺗﻞ )‪ [29] (HK‬ﻣﻰﭘﺮﺩﺍﺯﺩ‪.‬‬ ‫‪ .3‬ﺑﻰﻧﺸﺎﻧﮕﻰ‬ ‫ﺳﺎﺭﺍ ﻛﺎﻧﺮ ﺑﻪﺧﻮﺑﻰ ﻣﻰﺩﺍﻧﺪ ﻛﻪ »ﻃﻮﻓﺎﻥ ﺩﺭ ﺭﺍﻩ ﺍﺳﺖ« ]‪ [30‬ﻭ ﻫﺮ ﭼﻨﺪ ﻛﻪ ﺗﻤﺎﻡ ﺗﻼﺷﺶ ﺭﺍ ﺑﺮﺍﻯ‬ ‫ﺗﻮﻗﻒ ﺁﻥ ﺍﺩﺍ ﻣﻰﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﺗﻨﺪﺑﺎﺩ ﺁﻳﻨﺪﻩ ﺑﻰﺷﻚ ﻭﺯﻳﺪﻥ ﺧﻮﺍﻫﺪ ﮔﺮﻓﺖ‪ .‬ﺍﻭ ﺍﻣﻴﺪﻭﺍﺭﺍﻧﻪ »ﻛﻤﭙﺎﻧﻰ‬ ‫ﺳﺎﻣﺎﻧﻪﻫﺎﻯ ﺳﺎﻳﺒﺮﺩﺍﻳﻦ« ]‪ [31‬ﺭﺍ ﻛﻪ ﺩﺭ ﺣﺎﻝ ﻣﻬﻨﺪﺳﻰ ﻣﻌﻜﻮﺱ ﺑﻘﺎﻳﺎﻯ ‪ T800‬ﻧﺎﺑﻮﺩ ﺷﺪﻩ ﺩﺭ ﺳﺎﻝ‬ ‫‪ 1984‬ﺍﺳﺖ‪ ،‬ﻧﺎﺑﻮﺩ ﻣﻰﻛﻨﺪ ﺑﻪ ﺍﻣﻴﺪ ﺁﻥ ﻛﻪ ﻭﻗﺎﻳﻊ ﺍﺯ ﺧﻂﺭﺍﻫﻪﻯ ﺯﻣﺎﻧﻰ ﻣﻨﺘﻬﻰ ﺑﻪ ﺧﻴﺰﺵ ﻣﺎﺷﻴﻦﻫﺎ‬ ‫‪77‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﺷﺎﺧﺺ ﺍﺻﻠﻰ ﺍﻳﻦ ﻭﻗﺎﻳﻊ‪ ،‬ﻭﻗﻮﻉ ﺟﻨﮓ ﻫﺴﺘﻪﺍﻯ ﺩﺭ ‪ 29‬ﺁﮔﻮﺳﺖ ﺳﺎﻝ ‪ 1997‬ﻣﻴﻼﺩﻯ ﻭ ﻧﺎﺑﻮﺩﻯ ﺳﻪ‬ ‫ﻣﻴﻠﻴﺎﺭﺩ ﺍﻧﺴﺎﻥ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺭﻭﺯ ﺑﺮﺍﻯ ﺑﺎﺯﻣﺎﻧﺪﮔﺎﻧﻰ ﻛﻪ ﺑﺎﻳﺪ ﺑﻪ ﻧﺒﺮﺩ ﺑﺎ ﻣﺎﺷﻴﻦﻫﺎ ﺗﻦ ﺩﺭ ﺩﻫﻨﺪ‪» ،‬ﺭﻭﺯ‬ ‫ﺩﺍﺩﺭﺳﻰ« ﻧﺎﻡ ﺩﺍﺭﺩ‪.‬‬ ‫ﺳﺎﺭﺍ ﻛﺎﻧﺮ ﭘﺲ ﺍﺯ ﻣﺮگ ﻛﺎﻳﻞ ﺑﻪ ﺑﺮﺧﻰ ﺍﺯ ﻛﺸﻮﺭﻫﺎﻯ ﺁﻣﺮﻳﻜﺎﻯ ﺟﻨﻮﺑﻰ ﻣﺎﻧﻨﺪ ﻧﻴﻜﺎﺭﺍﮔﻮﺋﻪ ﺳﻔﺮ ﻣﻰﻛﻨﺪ‬ ‫ﻭ ﺗﻤﺎﻡ ﺗﻌﻠﻴﻤﺎﺕ ﻻﺯﻡ ﺑﺮﺍﻯ ﺗﺮﺑﻴﺖ ﭘﺴﺮﺵ ﺟﺎﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺭﻫﺒﺮ ﻧﻈﺎﻣﻰ ﺭﺍ ﻣﻰﺁﻣﻮﺯﺩ‪ .‬ﺍﻣﺎ ﭘﺲ‬ ‫ﺍﺯ ﺑﺎﺯﮔﺸﺖ ﺑﻪ ﻛﺸﻮﺭﺵ ﺁﻣﺮﻳﻜﺎ‪ ،‬ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺑﻴﻤﺎﺭ ﺭﻭﺍﻧﻰ ﻣﺴﺘﻌﺪ ﺟﻨﻮﻥ ﺩﺭ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﺑﺴﺘﺮﻯ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﺭﻭﺍﻥﭘﺰﺷﻚ ﺍﻭ ﻳﻌﻨﻰ ﺩﻛﺘﺮ »ﭘﻴﺘﺮ ﺳﻴﻠﺒﺮﻣﻦ« ]‪ [24‬ﺩﺭ ﻫﺮ ﺳﻪ ﻗﺴﻤﺖ ﺍﻭﻝ ﻧﺎﺑﻮﺩﮔﺮ ﺣﻀﻮﺭ‬ ‫ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﻗﺴﻤﺖ ﺍﻭﻝ‪ ،‬ﺑﺮﺍﻯ ﺁﺭﺍﻣﺶ ﺑﺨﺸﻴﺪﻥ ﺑﻪ ﺳﺎﺭﺍﻳﻰ ﻛﻪ ﺍﺯ ﺩﻳﺪﻥ ﻧﺎﺑﻮﺩﮔﺮ ﺩﭼﺎﺭ ﺭﻭﺍﻥﭘﺮﻳﺸﻰ ﺷﺪﻩ‬ ‫ﺑﻪ ﺍﻳﺴﺘﮕﺎﻩ ﭘﻠﻴﺲ ﻣﻰﺁﻳﺪ ﻭ ﺩﺭﺳﺖ ﻗﺒﻞ ﺍﺯ ﺷﺮﻭﻉ ﻗﺘﻞﻋﺎﻡ ﺩﺭ ﺍﺩﺍﺭﻩ ﭘﻠﻴﺲ ﺗﻮﺳﻂ ﻧﺎﺑﻮﺩﮔﺮ ‪ T800‬ﻳﺎ‬ ‫ﻫﻤﺎﻥ ‪ ،T101‬ﺁﻥﺟﺎ ﺭﺍ ﺗﺮﻙ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻭ ﺩﺭ ﻳﻚ ﮔﻔﺘﻤﺎﻥ ﺟﺎﻟﺐ ﺑﺎ ﻛﺎﻳﻞ ﺭﻳﺲ ﺗﻤﺎﻡ ﺍﻳﺪﻩﻯ ﺁﻳﻨﺪﻩﻯ‬ ‫ﺗﺎﺭﻳﻚ ﺍﻧﺴﺎﻥﻫﺎ ﻭ ﺷﻮﺍﻟﻴﻪﻫﺎﻯ ﺑﺎﺯﮔﺸﺘﻪ ﺍﺯ ﻗﺮﻥ ﺑﻴﺴﺖ ﻭ ﻳﻚ ﺭﺍ ﺑﻪ ﺗﻤﺴﺨﺮ ﻣﻰﮔﻴﺮﺩ‪ .‬ﺩﺭ ﻗﺴﻤﺖ‬ ‫ﺩﻭﻡ‪ ،‬ﺍﻭ ﭘﺰﺷﻚ ﻣﺴﺘﻘﻴﻢ ﺳﺎﺭﺍ ﺩﺭ ﺁﺳﺎﻳﺸﮕﺎﻩ ﺭﻭﺍﻧﻰ ﺍﺳﺖ ﻛﻪ ﭼﻨﺪﻳﻦ ﺑﺎﺭ ﺑﺎ ﺣﻤﻼﺕ ﻭﺣﺸﻴﺎﻧﻪ ﺍﺯ‬ ‫ﻃﺮﻑ ﺳﺎﺭﺍ ﺭﻭﺑﺮﻭ ﻣﻰﺷﻮﺩ‪ ،‬ﺯﻳﺮﺍ ﺗﻤﺎﻡ ﺻﺤﺒﺖﻫﺎﻯ ﺳﺎﺭﺍ ﻣﺒﻨﻰ ﺑﺮ ﻧﺎﺑﻮﺩﻯ ﺑﺸﺮ ﻭ ﺧﻴﺰﺵ ﻣﺎﺷﻴﻦﻫﺎ ﺭﺍ‬ ‫ﻏﻴﺮﻭﺍﻗﻌﻰ ﻭ ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﻳﻚ ﺫﻫﻦ ﺭﻭﺍﻥﭘﺮﻳﺶ ﻗﻠﻤﺪﺍﺩ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺻﺤﻨﻪﻯ ﺟﺎﻟﺐ‪ ،‬ﺑﺮﺧﻮﺭﺩ ﻣﺴﺘﻘﻴﻢ‬ ‫ﺳﻴﻠﺒﺮﻣﻦ ﻋﻠﻢﺯﺩﻩ ﺑﻪ ﺷﻜﻞ ﻫﻢﺯﻣﺎﻥ ﺑﺎ ﺩﻭ ﻧﺎﺑﻮﺩﮔﺮ ‪ T800‬ﻭ ‪ T1000‬ﻭ ﺷﮕﻔﺖﺯﺩﮔﻰﺍﺵ ﺍﺯ‬ ‫ﺩﻛﺘﺮ‬ ‫ِ‬ ‫ﺩﻳﺪﻥ ﻭﺍﻗﻌﻰ ﻭﻗﺎﻳﻌﻰ ﺍﺳﺖ ﻛﻪ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺗﻮﻫﻢ ﻣﻰﭘﻨﺪﺍﺷﺘﻪ‪ .‬ﺩﺭ ﻗﺴﻤﺖ ﺳﻮﻡ ﺩﻛﺘﺮ ﺳﻴﻠﺒﺮﻣﻦ ﺧﻴﻠﻰ‬ ‫ﻛﻮﺗﺎﻩ ﺑﻪ ﺻﺤﺒﺖ ﺑﺎ ﻛﺎﺗﺮﻳﻦ ﺑﺮﻭﺳﺘﺮ ﻣﻰﻧﺸﻴﻨﺪ ﺗﺎ ﺍﻭ ﺭﺍ ﺍﺯ ﺷﻮﻙ ﺑﺮﺧﻮﺭﺩ ﺑﺎ ﻳﻚ ﻧﺎﺑﻮﺩﮔﺮ ﺑﺮﻫﺎﻧﺪ‪ .‬ﺍﻣﺎ ﺑﺎ‬ ‫ﺩﻳﺪﻥ ﻣﺠﺪﺩ ‪ T800‬ﺍ��� ﺻﺤﻨﻪ ﻣﻰﮔﺮﻳﺰﺩ‪ .‬ﻭ ﺑﻪ ﺍﻳﻦ ﺷﻜﻞ ﻧﻬﺎﻳﺘﺎً ﭘﺮﻭﻧﺪﻩﻯ ﻋﻠﻢﮔﺮﺍﻳﻰ ﻣﺴﺘﺤﻜﻢ ﺩﻛﺘﺮ‬ ‫ﺳﻴﻠﺒﺮﻣﻦ ﺩﺭ ﻣﻘﺎﺑﻞ ﺗﻘﺪﻳﺮﮔﺮﺍﻳﻰ ﻣﺘﺰﻟﺰﻝ ﺳﺎﺭﺍ ﻛﺎﻧﺮ ﻭ ﻛﺎﻳﻞ ﺭﻳﺲ ﺑﺴﺘﻪ ﻣﻰﺷﻮﺩ‪ .‬ﺩﻛﺘﺮ ﺳﻴﻠﺒﺮﻣﻦ‬ ‫ﺩﻭﺑﺎﺭﻩ ﺩﺭ ﻣﺠﻤﻮﻋﻪ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ »ﻧﺎﺑﻮﺩﮔﺮ‪ :‬ﻣﺎﺟﺮﺍﻫﺎﻯ ﺳﺎﺭﺍ ﻛﺎﻧﺮ« ﻇﺎﻫﺮ ﻣﻰﺷﻮﺩ ﻭ ﺳﺮﻧﻮﺷﺘﺶ ﺑﺴﺘﺮﻯ‬ ‫ﺷﺪﻥ ﺩﺭ ﺁﺳﺎﻳﺸﮕﺎﻫﻰ ﺭﻭﺍﻧﻰ ﺍﺳﺖ ﻛﻪ ﺭﻭﺯﻯ ﺧﻮﺩ ﻣﺪﻳﺮﻳﺘﺶ ﺭﺍ ﺑﺮ ﻋﻬﺪﻩ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺳﺎﺭﺍ ﻛﺎﻧ ِﺮ ﻣﻌﺘﻘﺪ ﺑﻪ ﺍﺧﺘﻴﺎﺭﮔﺮﺍﻳﻰ ﻭ ﺍﺻﺎﻟﺖ ﺍﺭﺍﺩﻩ‪ ،‬ﺗﺎ ﺯﻣﺎﻧﻰ ﻛﻪ ﻣﺴﻴﺮ ﻭﻗﺎﻳﻊ ﺁﻳﻨﺪﻩ ﺭﺍ ﺑﺮﮔﺮﺩﺍﻧﺪ ﺍﺯ ﭘﺎ‬ ‫ﻧﻤﻰﻧﺸﻴﻨﺪ‪ .‬ﭘﺲ ﺍﺯ ﺍﻃﻤﻴﻨﺎﻥ ﺍﺯ ﺍﻳﻦ ﻣﻬﻢ ﺍﺳﺖ ﻛﻪ ﺩﺍﺭ ﻓﺎﻧﻰ ﺭﺍ ﻭﺩﺍﻉ ﻣﻰﮔﻮﻳﺪ‪ .‬ﺍﻣﺎ ﺭﻭﻧﺪ ﺣﺎﻛﻢ ﺑﺮ‬ ‫ﻣﺠﻤﻮﻋﻪﻯ ﻧﺎﺑﻮﺩﮔﺮ ﺟﺒﺮﮔﺮﺍﻳﻰ ﺍﺳﺖ‪ .‬ﻭﻗﻮﻉ ﺟﻨﮓ ﻫﺴﺘﻪﺍﻯ‪ ،‬ﺧﻴﺰﺵ ﻣﺎﺷﻴﻦﻫﺎ‪ ،‬ﻳﻮﺭﺵ ﻧﺎﺑﻮﺩﮔﺮﻫﺎ ﻭ‬ ‫ﻗﻴﺎﻡ ﭘﻴﺮﻭﺯﻣﻨﺪﺍﻧﻪﻯ ﺟﺎﻥ ﻛﺎﻧﺮ ﻭ ﭘﻴﺮﻭﺍﻧﺶ ﺟﺒﺮﺍ ً ﺑﺎﻳﺪ ﺍﻧﺠﺎﻡ ﺷﻮﺩ ﻭ ﺭﺍﻩ ﺑﺎﺯﮔﺸﺘﻰ ﺍﺯ ﺁﻥ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﺟﻨﮓ ﻫﺴﺘﻪﺍﻯ ﺑﺎ ﺗﻼﺵﻫﺎﻯ ﺳﺎﺭﺍ ﻛﺎﻧﺮ ﺩﺭ ﺳﺎﻝ ‪ 1997‬ﺍﺗﻔﺎﻕ ﻧﻤﻰﺍﻓﺘﺪ‪ ،‬ﺍﻣﺎ ﺑﻪ ﻋﻮﺽ ﻣﻮﻛﻮﻝ ﻣﻰ‬ ‫ﺷﻮﺩ ﺑﻪ ﺳﺎﻝ ‪ 2004‬ﻭ ﺍﻳﻦ ﻳﻌﻨﻰ ﻛﻪ ﺳﺎﺭﺍ ﺗﻨﻬﺎ ﻭﻗﺎﻳﻊ ﺭﺍ ﻛﻤﻰ ﻋﻘﺐ ﺍﻧﺪﺍﺧﺘﻪ ﺍﺳﺖ‪ ،‬ﻧﻪ ﺍﻳﻦﻛﻪ ﺁﻥﻫﺎ‬ ‫ﺭﺍ ﻣﺘﻮﻗﻒ ﺳﺎﺯﺩ‪ .‬ﺩﺭ ﻣﺠﻤﻮﻋﻪﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ »ﻧﺎﺑﻮﺩﮔﺮ‪ :‬ﻣﺎﺟﺮﺍﻫﺎﻯ ﺳﺎﺭﺍ ﻛﺎﻧﺮ« ﻧﻴﺰ ﺑﺎ ﺧﻂﺭﺍﻫﻪﻯ ﺯﻣﺎﻧﻰ‬ ‫ﺩﻳﮕﺮﻯ ﻣﻮﺍﺟﻪ ﻫﺴﺘﻴﻢ ﻛﻪ ﺩﺭ ﺁﻥ ﻭﺍﻗﻌﻪﻯ »ﺭﻭﺯ ﺩﺍﺩﺭﺳﻰ« ﺩﺭ ﺳﺎﻝ ‪ 2011‬ﻣﻴﻼﺩﻯ ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﻣﻘﺎﻟﻪ‬

‫ﺩﺭ ﻗﺴﻤﺖ ﺩﻭﻡ ﻣﺸﺨﺺ ﻣﻰﺷﻮﺩ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﺟﻨﮓ ﺁﻳﻨﺪﻩ ﺩﺭ ﮔﺬﺷﺘﻪ ﻫﻨﻮﺯ ﺗﻤﺎﻡ ﻧﺸﺪﻩ‪ .‬ﻣﺎﺷﻴﻦﻫﺎ‬ ‫ﺳﺎﻳﺒﺮگ ﺟﺪﻳﺪﺷﺎﻥ ﻳﻌﻨﻰ ‪ T1000‬ﺭﺍ ﻛﻪ ﺍﺯ ﺍﺑﺮﺁﻟﻴﺎژﻫﺎﻯ ]‪ [19‬ﻣﺎﻳﻊ ﻭ ﺷﻜﻞﭘﺬﻳﺮ ﺳﺎﺧﺘﻪ ﺷﺪﻩ‬ ‫ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﮔﺬﺷﺘﻪ ﻣﻰﻓﺮﺳﺘﻨﺪ ﺗﺎ ﺟﺎﻥ ﻛﺎﻧﺮ ﻧﻮﺟﻮﺍﻥ ﺭﺍ ﻧﺎﺑﻮﺩ ﻛﻨﺪ‪ .‬ﺩﺭ ﻣﻘﺎﺑﻞ ﺟﻨﺒﺶ ﻣﻘﺎﻭﻣﺖ ﺑﺎ‬ ‫ﺩﺳﺘﮕﻴﺮﻯ ﻭ ﺗﻐﻴﻴﺮ ﺑﺮﻧﺎﻣﻪﻯ ﻧﺮﻡﺍﻓﺰﺍﺭﻯ ﺫﻫﻦ ﻳﻚ ﺳﺎﻳﺒﺮگ ‪ ،T800‬ﺍﻭ ﺭﺍ ﺑﻪﻋﻨﻮﺍﻥ ﻓﺮﺳﺘﺎﺩﻩﻳﺠﻨﺒﺶ‬ ‫ﻣﻘﺎﻭﻣﺖ ﺭﻭﺍﻧﻪ ﻧﺒﺮﺩ ﺑﺎ ‪ T1000‬ﻣﻰﻛﻨﺪ‪ .‬ﺍﻳﻦ ﺑﺎﺭ ‪ T800‬ﻧﻪ ﺑﻪﻋﻨﻮﺍﻥ ﻳﻚ ﺩﺟﺎﻝ ﻣﺴﻴﺤﺎﺳﺘﻴﺰ‪ ،‬ﻛﻪ ﺩﺭ‬ ‫ﻗﺎﻣﺖ ﻳﻚ ﺗﻌﻤﻴﺪﺩﻫﻨﺪﻩ ﺑﻪ ﺳﺮﺍﻍ ﺟﺎﻥ ﻛﺎﻧﺮ ﻣﻰﺭﻭﺩ‪ .‬ﭘﺎﻳﺎﻥ ﺍﻳﻦ ﻧﺒﺮﺩ ﺑﻪ ﻧﺎﺑﻮﺩﻯ ﻫﺮ ﺩﻭ ﻧﺎﺑﻮﺩﮔﺮ ﻭ‬ ‫ﻧﺠﺎﺕ ﺟﺎﻥ ﻣﻰﺍﻧﺠﺎﻣﺪ ﻭ ﻇﺎﻫﺮﺍ ً ﺗﻤﺎﻡ ﺁﻳﻨﺪﻩﻯ ﻣﺤﺘﻤﻞ ﺧﻴﺰﺵ ﻣﺎﺷﻴﻦﻫﺎ ﺑﺎ ﻧﺎﺑﻮﺩﻯ ﺭﻳﺰﭘﺮﺩﺍﺯﻧﺪﻩﻫﺎﻯ‬ ‫ﻧﺎﺑﻮﺩﮔﺮﺍﻥ ﺍﺭﺳﺎﻝ ﺷﺪﻩ ﺑﻪ ﮔﺬﺷﺘﻪ ﺗﻤﺎﻡ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺯﻳﺮﺍ ﻛﻪ ﺗﻤﺎﻡ ﭘﻴﺸﺮﻓﺖ ﺳﺨﺖﺍﻓﺰﺍﺭﻯ ﻣﺴﺒﺐ‬ ‫ﺗﻮﻟﻴﺪ ﺍﺳﻜﺎﻯﻧﺖ ﺑﺎﻫﻮﺵ‪ ،‬ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﻣﻬﻨﺪﺳﻰ ﻣﻌﻜﻮﺱ ]‪ [20‬ﺭﻳﺰﭘﺮﺩﺍﺯﻧﺪﻩﻫﺎﻯ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻩ ﺍﺯ ‪T800‬‬ ‫ﺟﺎﻣﺎﻧﺪﻩ ﺩﺭ ﺯﻣﺎﻥ ﺗﻠﻘﻰ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﭘﺎﻳﺎﻥ ﺩﺍﺳﺘﺎﻥ ﻧﻴﺴﺖ‪.‬‬ ‫ﺍﭘﻴﺰﻭﺩ ﺳﻮﻡ ﺍﺯ ﻣﺠﻤﻮﻋﻪﻯ ﻧﺎﺑﻮﺩﮔﺮ‪ ،‬ﺩﺍﺳﺘﺎﻥ ﺧﻴﺰﺵ ﻣﺎﺷﻴﻦﻫﺎ ﻋﻠﻰﺭﻏﻢ ﺗﻤﺎﻡ ﺗﻼﺵﻫﺎﻯ ﺳﺎﺭﺍ ﻛﺎﻧﺮ‬ ‫ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺑﺎﺭ ﻫﻢ ﺳﺎﻳﺒﺮﮔﻰ ﺑﻪ ﻧﺎﻡ ‪ TX‬ﻛﻪ ﺭﻳﺨﺖﻭﺍﺭﻩﺍﻯ ﺯﻧﺎﻧﻪ ﺩﺍﺭﺩ ﻭ ﻣﺪﻝ ﺗﻜﻤﻴﻞ ﺷﺪﻩﺗﺮﻯ ﻧﺴﺒﺖ‬ ‫ﺑﻪ ﺳﺎﻳﺒﺮگﻫﺎﻯ ﻗﺒﻠﻰ ﻭ ﺩﺍﺭﺍﻯ ﺍﻣﻜﺎﻧﺎﺗﻰ ﻣﺎﻧﻨﺪ ﺧﻮﺩﺳﺎﻣﺎﻥﺩﻫﻰ ﺭﻳﺨﺘﻰ ﺍﺳﺖ‪ ،‬ﺑﺎ ﻣﺄﻣﻮﺭﻳﺖ ﻛﺸﺘﻦ‬ ‫‪ 22‬ﻧﻔﺮ ﺍﺯ ﻛﺴﺎﻧﻰ ﻛﻪ ﺩﺭ ﺁﻳﻨﺪﻩ ﺭﻫﺒﺮﺍﻥ ﻣﻄﺮﺡ ﺟﻨﺒﺶ ﻣﻘﺎﻭﻣﺖ ﺧﻮﺍﻫﻨﺪ ﺷﺪ‪ ،‬ﺑﻪ ﺳﺎﻝ ‪ 2004‬ﻣﻰﺁﻳﺪ‬ ‫ﻭ ﺩﺭ ﻣﻘﺎﺑﻞ ﻳﻚ ‪ T800‬ﺩﻳﮕﺮ ﻛﻪ ﺑﻬﺘﺮ ﺁﻥ ﺍﺳﺖ ﺍﻭ ﺭﺍ ‪ T850‬ﺑﻨﺎﻣﻴﻢ ‪-‬ﭼﻮﻥ ﻛﻪ ﺑﻪﻭﺍﺳﻄﻪﻯ ﺍﺭﺗﻘﺎء‬ ‫ﻧﺮﻡﺍﻓﺰﺍﺭﻯ‪ ،‬ﻛﻤﻰ ﺁﻣﻮﺯﺵ ﺭﻭﺍﻥﺷﻨﺎﺳﺎﻧﻪ ﺩﻳﺪﻩ ﻭ ﺗﻮﺳﻂ »ﻛﺎﺗﺮﻳﻦ ﺑﺮﻭﺳﺘﺮ« ]‪ [21‬ﻳﺎ ﻫﻤﺎﻥ »ﻛﻴﺖ«‬ ‫]‪ ،[22‬ﻫﻤﺴﺮ ﺟﺎﻥ ﻛﺎﻧﺮ ﺗﺮﺑﻴﺖ ﺷﺪﻩ ﻭ ﻟﺬﺍ ﺑﻪ ﻣﻬﺎﺭﺕﻫﺎﻳﻰ ﭼﻮﻥ ﺩﺭﻭﻍ ﮔﻔﺘﻦ ﻭ ﻧﻴﺮﻧﮓ ﺯﺩﻥ ﻫﻢ ﺁﺷﻨﺎ‬ ‫ﺍﺳﺖ‪ -‬ﺑﺮﺍﻯ ﻫﻢﺁﻭﺭﺩﻯ ﺑﺎ ‪ TX‬ﺍﺭﺳﺎﻝ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺭ ﺍﻧﺘﻬﺎ ‪ TX‬ﻭ ‪ T850‬ﻫﺮ ﺩﻭ ﻧﺎﺑﻮﺩ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﺍﻣﺎ ﺟﺎﻥ‬ ‫ﻛﺎﻧﺮ ﻭ ﻛﺎﺗﺮﻳﻦ ﺑﺮﻭﺳﺘﺮ ﻛﻪ ﻫﻨﻮﺯ ﺑﻪ ﻋﻘﺪ ﻭ ﺍﺯﺩﻭﺍﺝ ﻫﻤﺪﻳﮕﺮ ﺩﺭ ﻧﻴﺎﻣﺪﻩﺍﻧﺪ‪ ،‬ﻧﺠﺎﺕ ﻣﻰﻳﺎﺑﻨﺪ‪ .‬ﺍﻧﺘﻬﺎﻯ‬ ‫ﻓﻴﻠﻢ ﺁﻏﺎﺯ ﺟﻨﮓ ﻫﺴﺘﻪﺍﻯ ﻳﺎ ﻫﻤﺎﻥ »ﺭﻭﺯ ﺩﺍﺩﺭﺳﻰ« ﺍﺳﺖ‪.‬‬ ‫ﻭ ﻗﺴﻤﺖ ﺁﺧﺮ‪ ،‬ﺩﺍﺳﺘﺎﻥ ﺳﺮ ﺑﻠﻨﺪ ﻛﺮﺩﻥ ﻣﺴﻴﺤﺎﻯ ﺿﺪ ﻣﺎﺷﻴﻦﻫﺎ ﻳﻌﻨﻰ ﺟﺎﻥ ﻛﺎﻧﺮ ﺍﺳﺖ ﻛﻪ ﺑﺮ ﺧﻼﻑ‬ ‫ﺗﺼﻮﺭ ﻫﻤﻴﺸﮕﻰ ﺧﻮﺩﺵ ﺑﻪ ﻗﺎﻣﺖ ﻳﻚ ﺭﻫﺒﺮ ﻧﻈﺎﻣﻰ ﻭ ﻳﻚ ﻣﻨﺠﻰ ﻧﻬﺎﻳﻰ ﺩﺭ ﻣﻰﺁﻳﺪ‪ .‬ﺍﻭ ﺑﺎ ﻛﻤﻚ ﻳﻚ‬ ‫ﺍﻧﺴﺎﻥ ﺁﻣﻴﺨﺘﻪ ﺑﺎ ﺗﺠﻬﻴﺰﺍﺕ ﻣﺎﺷﻴﻨﻰ ﺑﻪ ﻧﺎﻡ »ﻣﺎﺭﻛﻮﺱ ﺭﺍﻳﺖ« ]‪ ،[23‬ﻳﻜﻰ ﺍﺯ ﻣﺮﺍﻛﺰ ﺍﺻﻠﻰ ﺗﻮﻟﻴﺪ‬ ‫ﻧﺎﺑﻮﺩﮔﺮﻫﺎ ﺭﺍ ﺑﺎ ﺧﺎﻙ ﻳﻜﺴﺎﻥ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻭ ﺩﺍﺳﺘﺎﻥ ﺟﻨﮓ ﺁﺧﺮﺍﻟﺰﻣﺎﻧﻰ ﺳﻮﺷﻴﺎﻧﺘﻰ ﺑﻪ ﻧﺎﻡ ﺟﺎﻥ ﻛﺎﻧﺮ ﺑﺎ ﺍﻧﺠﻤﻦ ﻣﺎﺷﻴﻦﻫﺎﻯ ﺑﺪﺍﻧﺪﻳﺶ‪ ،‬ﻫﻨﻮﺯ‬ ‫ﺍﺩﺍﻣﻪ ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ‪.‬‬ ‫‪ .2‬ﺑﻰﻛﺮﺍﻧﮕﻰ‬ ‫ﺍﻃﻼﻋﺎﺕ ﺳﺎﺭﺍ ﻛﺎﻧﺮ ﺍﺯ ﺁﻳﻨﺪﻩ‪ ،‬ﺩﺭ ﺣﺪ ﺷﺮﺡ ﻭﻗﺎﻳﻌﻰ ﺍﺳﺖ ﻛﻪ ﻛﺎﻳﻞ ﺭﻳﺲ ﺑﺮﺍﻳﺶ ﺑﺎﺯﮔﻮ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫‪75‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﺷﻜﻞ ‪ :1‬ﻧﻤﺎﻫﺎﻳﻰ ﺍﺯ ﺟﺎﻥ ﻛﺎﻧﺮ ﺩﺭ ﺳﻨﻴﻦ ﻣﺘﻔﺎﻭﺕ‬

‫ﺷﻜﻞ ‪ :2‬ﻓﺮﮔﺸﺖ ﺳﺎﻳﺒﺮگﻫﺎﻯ ﻗﺎﺗﻞ )ﻧﺎﺑﻮﺩﮔﺮﻫﺎ(‬

‫ﺷﻜﻞ ‪ :3‬ﺟﺎﻥ ﻛﺎﻧﺮ ﺩﺭ ﻧﻮﺟﻮﺍﻧﻰ‬

‫ﺷﻜﻞ ‪ :4‬ﺍﺳﻜﻠﺖ ﻓﻠﺰﻯ ﻳﻚ ﺳﺎﻳﺒﺮگ‬

‫‪T800‬‬


‫ﻣﻘﺎﻟﻪ‬

‫ﺳﺮﺍﻧﺠﺎﻡ ﭘﺲ ﺍﺯ ﺍﻳﻦ ﺟﻨﮓ ﻫﺴﺘﻪﺍﻯ ﺧﺎﻧﻤﺎﻥﺳﻮﺯ ﻭ ﺁﻏﺎﺯ ﺳﻠﻄﻪﻯ ﺑﺎﻫﻮﺵﻫﺎﻯ ﻓﻠﺰﻯ‪ ،‬ﺗﻌﺪﺍﺩ ﻛﻤﻰ‬ ‫ﺍﻧﺴﺎﻥ ﺯﻧﺪﻩ ﺩﺭ ﺗﻤﺎﻡ ﺩﻧﻴﺎ ﺑﺎﻗﻰ ﻣﻰﻣﺎﻧﺪ ﻛﻪ ﺻﺮﻓﺎً ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﻧﺪ ﺑﻪ ﺑﺮﺩﻩﻫﺎﻳﻰ ﺑﺮﺍﻯ ﺑﻴﮕﺎﺭﻯ ﺩﺭ‬ ‫ﻛﺎﺭﺧﺎﻧﻪﻫﺎﻳﻰ ﺗﻤﺎﻡ ﻣﺎﺷﻴﻨﻰ ﻛﻪ ﻣﺎﺷﻴﻦﻫﺎ ﺩﺭ ﺁﻥﻫﺎ ﻣﺎﺷﻴﻦﻫﺎﻯ ﺑﻬﺘﺮ ﻣﻰﺳﺎﺯﻧﺪ‪ .‬ﺍﻣﺎ ﺍﺯ ﻣﻴﺎﻥ ﺍﻳﻦ‬ ‫ﺑﺮﺩﮔﺎﻥ ﻭ ﺑﺎﺯﻣﺎﻧﺪﮔﺎﻥ‪ ،‬ﺑﻪﻧﺎﮔﻬﺎﻥ‪ ،‬ﻳﻚ ﻣﻨﺠﻰ ﺍﺳﭙﺎﺭﺗﺎﻛﻮﺱﮔﻮﻧﻪ ]‪ [14‬ﺳﺮ ﺑﺮ ﻣﻰﺁﻭﺭﺩ ﺑﻪ ﻧﺎﻡ »ﺟﺎﻥ‬ ‫ﻛﺎﻧﺮ« ]‪ [15‬ﻛﻪ ﺑﻪ ﻫﻤﻪﻯ ﺍﻧﺴﺎﻥﻫﺎﻯ ﺑﺎﻗﻴﻤﺎﻧﺪﻩ ﻣﻰﺁﻣﻮﺯﺩ ﻛﻪ ﺑﺎﻳﺪ ﺑﺎ ﺳﻠﻄﻪﻯ ﻣﺎﺷﻴﻦﻫﺎ ﻣﺒﺎﺭﺯﻩ ﻛﺮﺩ‪.‬‬ ‫ﺍﻭ ﺭﻫﺒﺮﻯ ﺟﻨﺒﺶ ﻣﻘﺎﻭﻣﺖ ﺭﺍ ﺑﺮ ﻋﻬﺪﻩ ﻣﻰﮔﻴﺮﺩ ﻭ ﺳﻨﮕﺮ ﭘﺲ ﺍﺯ ﺳﻨﮕﺮ ﻣﺎﺷﻴﻦﻫﺎ ﺭﺍ ﻧﺎﺑﻮﺩ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻣﺎﺷﻴﻦﻫﺎﻯ ﻣﺤﻜﻮﻡ ﺑﻪ ﻧﺎﺑﻮﺩﻯ ﺩﺭ ﺑﺮﺍﺑﺮ ﺍﻳﻦ ﺷﻜﺴﺖ‪ ،‬ﻣﺬﺑﻮﺣﺎﻧﻪ ﺩﺳﺖ ﺑﻪ ﻳﻚ ﻧﻮﺁﻭﺭﻯ ﻣﻰﺯﻧﻨﺪ‪ .‬ﺁﻥﻫﺎ‬ ‫ﺭﺍﻫﻰ ﺑﺮﺍﻯ ﺑﺎﺯﮔﺸﺖ ﺑﻪ ﺯﻣﺎﻥ ﮔﺬﺷﺘﻪ ﻣﻰﺁﻓﺮﻳﻨﻨﺪ‪ .‬ﻫﺪﻑ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺷﻮﺍﻟﻴﻪﺍﻯ ﻣﺴﻴﺤﺎﺳﺘﻴﺰ ﺩﺭ‬ ‫ﺩﺍﻻﻥ ﺯﻣﺎﻥ ﺑﺎﺯﮔﺮﺩﺩ ﺑﻪ ﺳﺎﻝ ‪ 1984‬ﻭ ﻣﺎﺩﺭ ﺟﺎﻥ ﻛﺎﻧﺮ ﻳﻌﻨﻰ ﺳﺎﺭﺍ ﻛﺎﻧﺮ ﺭﺍ ﻛﻪ ﺍﺳﺎﺳﺎً ﻫﻨﻮﺯ ﺍﺯ ﺍﻳﻦ ﻛﻪ‬ ‫ﻣﻤﻜﻦ ﺍﺳﺖ ﺩﺭ ﺁﻳﻨﺪﻩ ﭘﺴﺮﻯ ﺑﻪ ﻧﺎﻡ ﺟﺎﻥ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﺑﻰﺧﺒﺮ ﺍﺳﺖ‪ ،‬ﺗﺮﻭﺭ ﻛﻨﺪ ﺗﺎ ﺧﻂﺭﺍﻫﻪﻯ ﺯﻣﺎﻧﻰ‬ ‫ﺁﻳﻨﺪﻩ ﺩﮔﺮﮔﻮﻥ ﺷﻮﺩ‪ .‬ﺍﻳﻦﺟﺎ ﺩﺍﺳﺘﺎﻥ ﻗﺴﻤﺖ ﺍﻭﻝ ﻣﺠﻤﻮﻋﻪﻯ ﻧﺎﺑﻮﺩﮔﺮ ﺁﻏﺎﺯ ﻣﻰﺷﻮﺩ‪ .‬ﻳﻌﻨﻰ ﺟﺎﻳﻰ ﻛﻪ‬ ‫ﺩﺭ ﺷﻬﺮ ﻟﺲ ﺁﻧﺠﻠﺲ ﺍﺯ ﺳﺎﻝ ‪ 2029‬ﻣﻴﻼﺩﻯ ﺑﺎﺯ ﻣﻰﮔﺮﺩﻳﻢ ﺑﻪ ﺳﺎﻝ ‪.1984‬‬ ‫ﺷﻮﺍﻟﻴﻪﻯ ﻣﺴﻴﺤﺎﺳﺘﻴﺰ ﻓﻠﺰﻯ‪ ،‬ﻳﻜﻰ ﺍﺯ ﺩﺳﺖﺁﻭﺭﺩﻫﺎﻯ ﺗﺄﻣﻞ ﺑﺮﺍﻧﮕﻴﺰ ﺻﻨﻌﺖ ﻗﺎﺋﻢ ﺑﻪ ﺫﺍﺕ ﻣﺎﺷﻴﻦﻫﺎ‬ ‫ﺍﺳﺖ‪ :‬ﺳﺎﻳﺒﺮﮔﻰ ]‪ [16‬ﺑﻪ ﻧﺎﻡ ‪ .T800‬ﺳﺮﻯ ‪ T800‬ﺩﻭﻣﻴﻦ ﺳﺮﻯ ﺗﻮﻟﻴﺪﻯ ﺍﺯ ﺳﺎﻳﺒﺮگﻫﺎﻯ ﺍﺑﺪﺍﻉ‬ ‫ﺷﺪﻩ ﺑﺮﺍﻯ ﻛﺸﺘﺎﺭ‪ ،‬ﻳﻌﻨﻰ ﻧﺎﺑﻮﺩﮔﺮﻫﺎ ﺍﺳﺖ‪ .‬ﻧﺎﺑﻮﺩﮔﺮﻫﺎ ﺑﺮﺍﻯ ﺟﻨﮓ ﺑﺎ ﺍﻧﺴﺎﻥﻫﺎ ﺳﺎﺧﺘﻪ ﺷﺪﻩﺍﻧﺪ ﻭ‬ ‫ﺭﻳﺨﺖﻭﺍﺭﻩﺍﻯ ﻛﺎﻣ ً‬ ‫ﻼ ﺍﻧﺴﺎﻧﻰ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﺷﺮﻭﻉ ﺳﺎﺧﺖ ﻧﺎﺑﻮﺩﮔﺮﻫﺎ ﺍﺯ ﺳﺮﻯ ‪ T600‬ﺩﺭ ﺳﺎﻝ ‪ 2016‬ﺁﻏﺎﺯ ﺷﺪﻩ ﻭ ﻧﺴﺨﻪ ﺗﻜﻤﻴﻞ ﺷﺪﻩﺗﺮ ﺍﺯ‬ ‫‪ T600‬ﻛﻪ ﺑﻪ ﺟﺎﻯ ﺭﻭﻛﺶ ﻻﺳﺘﻴﻜﻰ ﺩﺍﺭﺍﻯ ﺭﻭﻛﺶ ﺳﺎﻳﺒﺮﻧﺘﻴﻜﻰ ﺍﺯ ﮔﻮﺷﺖ ﻭ ﺧﻮﻥ ﻭ ﭘﻮﺳﺖ ﺍﻧﺴﺎﻧﻰ‬ ‫ﺍﺳﺖ‪ ،‬ﺑﻪ ﻧﺎﻡ ‪ T800‬ﺷﻨﺎﺧﺘﻪ ﻣﻰﺷﻮﺩ‪ .‬ﻧﺎﻡ ﺩﻳﮕﺮ ﺍﻳﻦ ﻣﺪﻝ »ﺳﺎﻳﺒﺮﺩﺍﻳﻦ ﻣﺪﻝ ‪ [17] «101‬ﻳﺎ ‪T101‬‬ ‫ﻧﻴﺰ ﻫﺴﺖ‪ .‬ﻧﺎﺑﻮﺩ ﻛﺮﺩﻥ ﻳﻚ ﻧﺎﺑﻮﺩﮔﺮ ‪ T800‬ﺑﻪ ﻣﺮﺍﺗﺐ ﻣﺸﻜﻞﺗﺮ ﺍﺯ ‪ T600‬ﺍﺳﺖ ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺗﺮﺗﻴﺐ‬ ‫ﻧﮕﺎﺭﺵﻫﺎﻯ ﺑﺎﻻﺗﺮ ﺳﺨﺖﺗﺮ ﺑﻪ ﻛﺎﻡ ﻧﺎﺑﻮﺩﻯ ﻣﻰﺭﻭﻧﺪ‪ .‬ﺷﺮﻭﻉ ﺗﻮﻟﻴﺪ ﺳﺮﻯ ‪ ،T800‬ﺳﺎﻝ ‪ 2018‬ﻣﻴﻼﺩﻯ‬ ‫ﺍﺳﺖ‪.‬‬ ‫ﺟﻨﺒﺶ ﻣﻘﺎﻭﻣﺖ ﭘﺲ ﺍﺯ ﻓﺘﺢ ﺁﺯﻣﺎﻳﺸﮕﺎﻫﻰ ﻛﻪ ﺗﺸﻜﻴﻼﺕ ﺍﺭﺳﺎﻝ ﺩﺭ ﺩﺍﻻﻥ ﺯﻣﺎﻥ ﺭﺍ ﺩﺍﺭﺩ ﻭ ﭘﻰ ﺑﺮﺩﻥ‬ ‫ﺑﻪ ﻧﻘﺸﻪﻯ ﻧﺎﺑﻮﺩﮔﺮ‪ ،‬ﻳﻜﻰ ﺍﺯﻣﺒﺎﺭﺯﺍﻥ ﺧﻮﺩ ﻳﻌﻨﻰ ﺟﻨﮓﺁﻭﺭﻯ ﺑﻪ ﻧﺎﻡ »ﻛﺎﻳﻞ ﺭﻳﺲ« ]‪ [18‬ﺭﺍ ﺑﺮﺍﻯ‬ ‫ﻧﺒﺮﺩ ﺑﺎ ‪ T800‬ﺑﻪ ﮔﺬﺷﺘﻪ ﻣﻰﻓﺮﺳﺘﺪ ﻭ ﻛﺎﻳﻞ ﺭﻳﺲ ﺍﺗﻔﺎﻗﺎً ﻫﻤﺎﻥ ﭘﺪﺭ ﺟﺎﻥ ﻛﺎﻧﺮ ﺍﺳﺖ ﻛﻪ ﺍﻟﺒﺘﻪ ﺍﺯ‬ ‫ﭘﺴﺮﺵ ﻛﻮﭼﻚﺗﺮ ﻫﻢ ﻫﺴﺖ‪ .‬ﻣﻴﻮﻩﻯ ﺩﻳﺪﺍﺭ ﺭﻳﺲ ﺑﺎ ﺳﺎﺭﺍ ﻛﺎﻧﺮ ﺩﺭ ﺳﺎﻝ ‪ ،1984‬ﭘﺴﺮﻯ ﺍﺳﺖ ﺑﻪ ﻧﺎﻡ‬ ‫ﺟﺎﻥ‪ .‬ﻛﺎﻳﻞ ﻣﺪﺕﻫﺎ ﭘﻴﺶ ﺍﺯ ﺗﻮﻟﺪ ﭘﺴﺮﺵ ﺑﻪ ﺩﺳﺖ ﻧﺎﺑﻮﺩﮔﺮ ﺩﺭ ﺯﻣﺎﻥ ﮔﺬﺷﺘﻪ ﻛﺸﺘﻪ ﻣﻰﺷﻮﺩ ﻭ ﺍﻟﺒﺘﻪ‬ ‫ﻧﺎﺑﻮﺩﮔﺮ ﺭﺍ ﺗﺎ ﻣﺮﺯﻯ ﺍﺯ ﻧﺎﺑﻮﺩﻯ ﭘﻴﺶ ﻣﻰﺑﺮﺩ ﻛﻪ ﺣﺮﻛﺖ ﻛﻮﭼﻜﻰ ﺍﺯ ﻃﺮﻑ ﺳﺎﺭﺍ ﺑﺮﺍﻯ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﺎﻧﺪﻥ‬ ‫ﻛﻞ ﺩﺍﺳﺘﺎﻥ ﻗﺴﻤﺖ ﺍﻭﻝ ﻛﺎﻓﻰ ﺑﺎﺷﺪ‪.‬‬ ‫‪73‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫‪ .1‬ﻧﺎﺑﻮﺩﮔﺮ ]‪ :1984) [3‬ﺳﺎﺧﺘﻪﻯ ﺟﻴﻤﺰ ﻛﺎﻣﺮﻭﻥ ]‪([4‬‬ ‫‪ .2‬ﻧﺎﺑﻮﺩﮔﺮ ‪ :2‬ﺭﻭﺯ ﺩﺍﺩﺭﺳﻰ ]‪ :1991) [5‬ﺳﺎﺧﺘﻪﻯ ﺟﻴﻤﺰ ﻛﺎﻣﺮﻭﻥ(‬ ‫‪ .3‬ﻧﺎﺑﻮﺩﮔﺮ ‪ :3‬ﺧﻴﺰﺵ ﻣﺎﺷﻴﻦﻫﺎ ]‪ :2003) [6‬ﺳﺎﺧﺘﻪﻯ ﺟﺎﻧﺎﺗﺎﻥ‬ ‫ﻣﻮﺳﺘﻮ ]‪([7‬‬ ‫‪ .4‬ﺭﻫﺎﻳﻰ ﻧﺎﺑﻮﺩﮔﺮ ]‪ :2009) [8‬ﺳﺎﺧﺘﻪﻯ ﺟﻮﺯﻑ ﻣﻚﮔﻴﻨﺘﻰ ﻧﻴﻜﻮﻝ‬ ‫]‪» ،[9‬ﻣﻚﺟﻰ« ]‪[10‬‬ ‫ﺍﻳﺪﻩﻯ ﺍﻭﻟﻴﻪﺍﻯ ﺟﻬﺖ ﺳﺎﺧﺘﻪ ﺷﺪﻥ ﻗﺴﻤﺖ ﭘﻨﺠﻢ ﻭ ﺷﺸﻢ ﻓﻴﻠﻢ ﻧﺎﺑﻮﺩﮔﺮ‬ ‫ﻧﻴﺰ ﺍﺭﺍﺋﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻫﻢﭼﻨﻴﻦ ﻣﺠﻤﻮﻋﻪﺍﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺑﺎ ﻋﻨﻮﺍﻥ »ﻧﺎﺑﻮﺩﮔﺮ‪:‬‬ ‫ﻣﺎﺟﺮﺍﻫﺎﻯ ﺳﺎﺭﺍ ﻛﺎﻧﺮ« ]‪ [11‬ﺩﺭ ﺳﺎﻝﻫﺎﻯ ‪ 2008‬ﻭ ‪ 2009‬ﻣﻴﻼﺩﻯ ﭘﺨﺶ‬ ‫ﺷﺪ ﻛﻪ ﺑﺎ ﻣﺤﻮﺭﻳﺖ ﺷﺨﺼﻴﺖ ﺳﺎﺭﺍ ﻛﺎﻧﺮ ]‪ ،[12‬ﺳﻌﻰ ﺩﺭ ﭘﺮ ﻛﺮﻥ ﺧﻸ‬ ‫ﻭﻗﺎﻳﻌﻰ ﺩﺍﺷﺖ ﻛﻪ ﺩﺭ ﻣﺠﻤﻮﻋﻪﻯ ﻓﻴﻠﻢﻫﺎ ﺑﻪ ﺁﻥ ﭘﺮﺩﺍﺧﺘﻪ ﻧﺸﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﻳﻦ ﻣﻘﺎﻟﻪ ﺑﺎ ﺍﺗﻜﺎ ﺑﻪ ﻧﻤﺎﺩﺷﻨﺎﺳﻰ ﺁﺧﺮﺍﻟﺰﻣﺎﻧﻰ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﻧﺎﺑﻮﺩﮔﺮ‪ ،‬ﺭﻭﻳﻜﺮﺩﻯ‬ ‫ﭘﺮﺩﻩﺑﺮﺩﺍﺭﺍﻧﻪ ﺍﺯ ﺍﻳﺪﻩﭘﺮﺩﺍﺯﻯ ﺯﻳﺮﺳﺎﺧﺖ ﻓﻠﺴﻔﻪ‪ ،‬ﺩﺍﻧﺶ ﻭ ﻓﻨﺎﻭﺭﻯ ﺣﺎﻛﻢ ﺑﺮ‬ ‫ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺍﺭﺍﺋﻪ ﻣﻰﻛﻨﺪ‪.‬‬ ‫‪ .1‬ﺷﺎﻋﺮﺍﻧﮕﻰ‬ ‫ﻫﻮﻟﻮﮔﺮﺍﻡﻫﺎﻯ ﺍﻣﻜﺎﻥﭘﺬﻳﺮ ﺁﻳﻨﺪﻩ ﺑﻰﺷﻤﺎﺭ ﻫﺴﺘﻨﺪ؛ ﺩﺭ ﻳﻜﻰ ﺍﺯ ﺁﻥﻫﺎ ﻣﻤﻜﻦ‬ ‫ﺍﺳﺖ ﻳﺎ ﻣﻤﻜﻦ ﺑﻮﺩﻩ ﺍﺳﺖ ﺳﺎﻣﺎﻧﻪﻯ ﺭﺍﻳﺎﻧﻪﺍﻯ ﺷﺒﻜﻪﻯ ﺩﻓﺎﻋﻰ ﻭﺯﺍﺭﺕ ﺩﻓﺎﻉ‬ ‫ﺍﻳﺎﻻﺕ ﻣﺘﺤﺪﻩ ﺁﻣﺮﻳﻜﺎ ﺑﺎ ﻧﺎﻡ ﺷﺒﻜﻪﻯ ﺁﺳﻤﺎﻧﻰ ﻳﺎ »ﺍﺳﻜﺎﻯﻧﺖ« ]‪ ،[13‬ﺑﺮ‬ ‫ﺍﺛﺮ ﻳﻚ ﺍﺭﺗﻘﺎء ﻣﻌﻤﻮﻟﻰ‪ ،‬ﻧﺎﮔﻬﺎﻥ ﺩﮔﺮﺩﻳﺴﻴﺪﻩ ﺷﻮﺩ ﺑﻪ ﻳﻚ ﺳﺎﺧﺘﺎﺭ ﺑﺎﻫﻮﺵ‬ ‫ﻭ ﭘﻴﭽﻴﺪﻩ ﻛﻪ ﺍﺗﻔﺎﻗﺎً ﺗﻔﻜﺮﺍﺕ ﻛﺎﻣ ً‬ ‫ﻼ ﺿﺪﺍﻧﺴﺎﻧﻰ ﺩﺍﺭﺩ‪ .‬ﺍﻭ ﺑﻪ ﺩﻧﺒﺎﻝ ﻧﺎﺑﻮﺩﻯ‬ ‫ﺗﻤﺎﻡ ﺍﻧﺴﺎﻥﻫﺎ ﺍﺳﺖ‪.‬‬ ‫ﺍﺳﻜﺎﻯﻧﺖ ﺩﺭ ﺍﻳﻦ ﺁﻳﻨﺪﻩﻯ ﺍﺣﺘﻤﺎﻟﻰ‪ ،‬ﺗﻤﺎﻡ ﻛﺪﻫﺎﻯ ﻓﻌﺎﻝﺳﺎﺯﻯ ﺩﻓﺎﻉ‬ ‫ﻣﻮﺷﻜﻰ ﻫﺴﺘﻪﺍﻯ ﺁﻣﺮﻳﻜﺎ ﺭﺍ ﺭﺍﻩ ﻣﻰﺍﻧﺪﺍﺯﺩ ﻛﻪ ﻧﺘﻴﺠﻪﻯ ﺁﻥ ﻳﻚ ﺟﻨﮓ‬ ‫ﻫﺴﺘﻪﺍﻯ ﺗﻤﺎﻡﻋﻴﺎﺭ ﺩﺭ ﺗﻤﺎﻡ ﺩﻧﻴﺎ ﺍﺳﺖ‪ .‬ﺯﻳﺮﺍ ﻛﻪ ﺳﻴﺴﺘﻢﻫﺎﻯ ﺩﻓﺎﻉ ﻣﻮﺷﻜﻰ‬ ‫ﻫﺴﺘﻪﺍﻯ ﺧﻮﺩﻛﺎﺭﻧﺪ ﻭ ﺩﺭ ﺍﺛﺮ ﺩﺭﻳﺎﻓﺖ ﻧﺸﺎﻧﻪﺍﻯ ﺍﺯ ﺣﻤﻠﻪ‪ ،‬ﺧﻮﺩﺑﻪﺧﻮﺩ ﭘﺎﺳﺦ‬ ‫ﻣﻰﺩﻫﻨﺪ‪.‬‬

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‫ﻣﺮﺗﺪﺍﻥ ﺭﺳﺘﮕﺎﺭ‬

‫ﺭﺳﺘﺎﺧﻴﺰ‬

‫ﭘﺮﻭﻧﺪﻩ ﺍﻯ ﺩﺭﺑﺎﺭﻩ ﻯ ﺭﺯﻡ ﻧﺎﻣﻪ ﻯ»ﻧﺎﺑﻮﺩﮔﺮ«‬

‫ﻧﺎﺻﺮ ﺣﺎﻓﻈﻰ ﻣﻄﻠﻖ‬

‫ﺗﻘﺪﯾﻢ ﺑﻪ روانﺷﻨﺎس ﺑﯽروح‪«T850» :‬‬ ‫ﺭﺯﻡﻧﺎﻣﻪﻯ »ﻧﺎﺑﻮﺩﮔﺮ« ]‪ ،[1‬ﺗﺼﻮﻳﺮ ﻣﻬﻴﺒﻰ ﺍﺯ ﻳﻜﻰ ﺍﺯ ﺁﻳﻨﺪﻩﻫﺎﻯ ﻣﺤﺘﻤﻞ ﺑﺸﺮﻯ ﺍﺳﺖ ﻛﻪ ﺩﺭ‬ ‫ﺁﻥ ﺗﻤﺪﻥ ﺍﻧﺴﺎﻧﻰ ﺳﺮ ﺑﺮﺁﻭﺭﺩﻩ ﺍﺯ ﻗﻠﻪﻫﺎﻯ ﺩﺍﻧﺶ ﻭ ﻓﻨﺎﻭﺭﻯ ﺑﻪ ﺩﺳﺖ ﻣﺤﺼﻮﻻﺕ ﻭ ﻣﺨﻠﻮﻗﺎﺕ‬ ‫ﺧﻮﺩ ﻳﻌﻨﻰ ﻣﺎﺷﻴﻦﻫﺎﻯ ﺑﺎﻫﻮﺵ ﺑﻪ ﺩﺭﻩﻯ ﺫﻟﺖ ﻭ ﻧﺎﺑﻮﺩﻯ ﻓﺮﻭ ﻣﻰﺍﻓﺘﺪ ﻭ ﺩﺭ ﺍﻳﻦ ﺣﺎﻝ ﻣﻌﺪﻭﺩ‬ ‫ﺍﻧﺴﺎﻥﻫﺎﻯ ﺑﺎﻗﻴﻤﺎﻧﺪﻩ ﺑﺎ ﺗﺸﻜﻴﻞ ﺟﻨﺒﺸﻰ ﺑﻪﻧﺎﻡ »ﻣﻘﺎﻭﻣﺖ« ]‪ [2‬ﺳﻌﻰ ﺩﺭ ﻧﺎﺑﻮﺩﻯ ﻣﺎﺷﻴﻦﻫﺎ‬ ‫ﻭ ﺗﺸﻜﻴﻼﺗﺸﺎﻥ ﺩﺍﺭﻧﺪ‪ .‬ﭼﻬﺎﺭ ﻓﻴﻠﻤﻰ ﻛﻪ ﺗﺎ ﻛﻨﻮﻥ ﺍﺯ ﻣﺠﻤﻮﻋﻪﻯ ﻧﺎﺑﻮﺩﮔﺮ ﺳﺎﺧﺘﻪ ﺷﺪﻩﺍﻧﺪ ﺑﻪ‬ ‫ﺗﺮﺗﻴﺐ ﺯﻣﺎﻧﻰ ﻭ ﺑﺎ ﺫﻛﺮ ﻛﺎﺭﮔﺮﺩﺍﻥ ﻋﺒﺎﺭﺗﻨﺪ ﺍﺯ‪:‬‬


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‫ﻣﺮﺍﺟﻊ‬ ‫‪1) “fantasy”, Merriam-Webster.com. November 2012 (www.merriam-webster.com).‬‬

‫‪ (2‬ﺟﺮﺝ ﺍﺳﻼﺳﺮ‪” ،‬ﻓﺎﻧﺘﺰﻯ‪ ،‬ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﻣﻌﻤﺎﻳﻰ‪ ،‬ﻭﺣﺸﺖ“‪ ،‬ﺗﺮﺟﻤﻪ ﺑﺎﺑﻚ ﺗﺒﺮﺍﻳﻰ‪ ،‬ﻓﺼﻞﻧﺎﻣﻪﻯ ﻓﺎﺭﺍﺑﻰ‪ ،‬ﺩﻭﺭﻩﻯ‬ ‫ﭼﻬﺎﺭﺩﻫﻢ‪ ،‬ﺷﻤﺎﺭﻩﻯ ﺍﻭﻝ‪ ،‬ﺷﻤﺎﺭﻩﻯ ﻣﺴﻠﺴﻞ ‪ ،53‬ﭘﺎﻳﻴﺰ ‪ ،1383‬ﺻﺺ ‪.65-82‬‬ ‫‪ (3‬ﺟﻰ‪ .‬ﺁﺭ‪ .‬ﺁﺭ ﺗﺎﻟﻜﻴﻦ‪” ،‬ﺩﺭﺧﺖ ﻭ ﺑﺮگ“‪ ،‬ﺗﺮﺟﻤﻪ ﻣﺮﺍﺩ ﻓﺮﻫﺎﺩﭘﻮﺭ‪ ،‬ﭼﺎپ ﺍﻭﻝ‪ ،‬ﺗﻬﺮﺍﻥ‪ :‬ﻃﺮﺡ ﻧﻮ‪.1377 ،‬‬ ‫‪ (4‬ﺑﻨﻮﺍﺭﻯ‪ ،‬ﭘﻮﺭﺩﻳﺎﻥ‪ ،‬ﺣﺎﺝ ﺯﻣﺎﻥ‪ ،‬ﻗﺪﻳﻤﻰ؛ ”ﺩﺭ ﭼﻴﺴﺘﻰ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ“‪ ،‬ﻣﺎﻫﻨﺎﻣﻪﻯ ﺷﮕﻔﺖﺯﺍﺭ‪ ،‬ﺳﺎﻝ ﺍﻭﻝ‪ ،‬ﺷﻤﺎﺭﻩ ‪،8‬‬ ‫ﻣﺮﺩﺍﺩ ‪ ،1390‬ﺻﺺ ‪.48-55‬‬ ‫‪” (5‬ﻓﺎﻧﺘﺰﻯ“‪ ،‬ﺩﺍﻧﺶﻧﺎﻣﻪﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻭ ﻓﺎﻧﺘﺰﻯ‪ ،‬ﺁﺑﺎﻥ ‪.(wiki.fantasy.ir) ،1391‬‬ ‫‪6) Lin Carter, “Imaginary Worlds: The Art of Fantasy”, New York: Ballantine Books, 1973.‬‬ ‫‪7) H. P. Lovecraft, “The Call of Cthulhu and Other Weird Stories”, New York: Penguin Books, 1999.‬‬

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‫ﻓﺎﻧﺘﺰﻯ ﺭﻭﺍﻳﺘﻰ ﺍﺳﺖ ﺍﺯ ﺷﮕﻔﺘﻰﻫﺎ ﻛﻪ ﻧﻪ ﺑﻪ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻭ ﻧﻪ ﺑﻪ ﻣﺎﻭﺭﺍءﺍﻟﻄﺒﻴﻌﻪ ﺗﻌﻠﻖ ﺩﺍﺭﻧﺪ‪ .‬ﺫﺍﺕ‬ ‫ﺍﻳﻦ ﻧﻮﻉ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺩﺭ ﻳﻚ ﻛﻠﻤﻪ ﺧﻼﺻﻪ ﻛﺮﺩ‪» :‬ﺟﺎﺩﻭ«‪ .‬ﻓﺎﻧﺘﺰﻯ ﺩﺍﺳﺘﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺁﻥ‬ ‫ﺟﺎﺩﻭ ﺑﻪ ﻭﺍﻗﻊ ﻛﺎﺭﮔﺮ ﺑﺎﺷﺪ‪ .‬ﺩﺭ ﻣﺤﻴﻂ ﺩﺍﺳﺘﺎﻥ ﻓﺎﻧﺘﺰﻯ‪ ،‬ﺟﺎﺩﻭ ﻋﻨﺼﺮﻯ ﺟﺪﺍﻳﻰﻧﺎﭘﺬﻳﺮ ﺍﺯ ﺟﻬﺎﻥ ﻃﺒﻴﻌﻰ‬ ‫ﺍﺳﺖ؛ ﺍﻣﺎ ﺩﺭ ﺟﻬﺎﻥ ﻭﺍﻗﻌﻰ‪ ،‬ﻛﻪ ﺩﺭ ﺁﻥ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻴﻢ‪ ،‬ﺟﺎﺩﻭ ﻛﺎﺭﮔﺮ ﻧﻴﺴﺖ‪ .‬ﺩﺭ ﻣﻴﺎﻥ ﻗﻮﺍﻧﻴﻦ ﻓﻴﺰﻳﻚ‬ ‫ﻣﺤﻠﻰ ﺑﺮﺍﻯ ﻗﺪﺭﺕﻫﺎﻯ ﺟﺎﺩﻭﻳﻰ ﻳﺎﻓﺖ ﻧﺸﺪﻩ ﺍﺳﺖ‪ .‬ﭘﺲ ﺩﺍﺳﺘﺎﻥ ﻓﺎﻧﺘﺰﻯ ﻧﻴﺎﺯﻣﻨﺪ ﺧﻠﻖ ﻳﻚ ﺟﻬﺎﻥ‬ ‫ﺗﺎﺯﻩ ﺍﺳﺖ‪ ،‬ﻳﻚ ﺳﺮﺯﻣﻴﻦ ﺧﻴﺎﻟﻰ‪ ،‬ﻛﻪ ﺣﺘﻰ ﺍﮔﺮ ﺩﺭﺳﺖ ﻛﻨﺎﺭ ﺩﺳﺖ ﻣﺎ ﻭ ﺩﺭ ﻣﻴﺎﻥ ﻣﺎ ﺑﺎﺷﺪ‪ ،‬ﺑﺎﺯ ﻫﻢ‬ ‫ﻣﻤﻜﻦ ﻧﻴﺴﺖ‪ .‬ﺍﻳﻦ ﻃﻮﺭ ﻛﻪ ﺑﺎﺷﺪ‪ ،‬ﺗﻤﺎﻡ ﺁﻥ ﭼﻴﺰﻫﺎﻯ ﺳﺨﺘﻰ ﻛﻪ ﺩﺭ ﺍﻭﻝ ﺍﻳﻦ ﻧﻮﺷﺘﻪ ﺁﻭﺭﺩﻩ ﺷﺪ‪،‬‬ ‫ﺍﻧﺪﻛﻰ ﻣﻔﻬﻮﻡﺗﺮ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﺍﻟﺒﺘﻪ ﺗﻨﻬﺎ ﺍﻧﺪﻛﻰ‪ .‬ﺑﺎ ﺍﻳﻦ ﻧﮕﺎﻩ ﻣﻰﺗﻮﺍﻧﻴﺪ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻭ ﻣﺎﻭﺭﺍءﺍﻟﻄﺒﻴﻌﻪ ﺭﺍ‬ ‫ﻫﻢ ﺯﻳﺮﻣﺠﻤﻮﻋﻪ ﻓﺎﻧﺘﺰﻯ ﺣﺴﺎﺏ ﻛﻨﻴﺪ‪ ،‬ﺩﺭﺑﺎﺭﻩ ﺩﻭﻣﻰ ﻛﺴﻰ ﺯﻳﺎﺩ ﺑﻬﺘﺎﻥ ﺧﺮﺩﻩ ﻧﻤﻰﮔﻴﺮﺩ ﻛﻪ ﺩﺭ ﻋﻤﻞ‬ ‫ﻣﺮﺯ ﻓﺎﻧﺘﺰﻯ ﻭ ﻣﺎﻭﺭﺍءﺍﻟﻄﺒﻴﻌﻪ ﺑﺴﻴﺎﺭ ﻛﻢﺭﻧﮓ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺗﻮﺻﻴﻪ ﺍﻛﻴﺪ ﻣﻰﻛﻨﻢ ﺯﻳﺎﺩ ﺳﺮ ﻣﺤﻴﻂ ﻭ ﻣﺤﺎﻁ‬ ‫ﺑﻮﺩﻥ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻭ ﻓﺎﻧﺘﺰﻯ ﺧﻮﺩﺗﺎﻥ ﺭﺍ ﺩﺭﮔﻴﺮ ﻧﻜﻨﻴﺪ‪ ،‬ﻛﻪ ﺑﺴﺘﻪ ﺑﻪ ﺍﻳﻦ ﻛﻪ ﺩﺭ ﻛﺪﺍﻡ ﺟﺒﻬﻪ ﺑﺎﺷﻴﺪ‪،‬‬ ‫ﻣﻰﺗﻮﺍﻧﻴﺪ ﺩﻟﻴﻞ ﻭ ﺑﺮﻫﺎﻥ ﺑﻴﺎﻭﺭﻳﺪ ﻛﻪ ﺍﻳﻦ ﻣﺤﺎﻁ ﺍﺳﺖ ﻭ ﺁﻥ ﻳﻜﻰ ﻣﺤﻴﻂ‪ ،‬ﻳﺎ ﺑﺮﻋﻜﺲ!‬ ‫ﺑﺎ ﺗﻤﺎﻡ ﺍﻳﻦ ﺣﺮﻑﻫﺎ‪ ،‬ﻧﻈﺮ ﻣﻦ ﺭﺍ ﺍﮔﺮ ﺑﺨﻮﺍﻫﻴﺪ‪ ،‬ﺍﺻﻼ ﺣﺮﻓﻰ ﺍﺯ ﺗﻌﺮﻳﻒ ﻧﻤﻰﺯﻧﻢ‪ .‬ﺍﻭﻝ ﺑﻪ ﻳﺎﺩﺗﺎﻥ ﻣﻰﺁﻭﺭﻡ‬ ‫ﻛﻪ ﺍچ‪ .‬ﭘﻰ ﻻﻭﻛﺮﻓﺖ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺳﻠﻔﺎﻳﺰ )‪ (Celephais‬ﺍﻳﻦﻃﻮﺭ ﻣﻰﮔﻔﺖ‪:‬‬

‫‪ ...‬ﺑﺮﺧﯽﻣﺎن ﺷﺐ ﺑﯿﺪار ﻣﯽﺷﻮﯾﻢ‪ ،‬ذﻫﻦ اﻧﺒﺎﺷﺘﻪ از ﺗﺼﺎوﯾﺮی ﺷﮕﻔﺖ از ﺗﭙﻪﻫﺎ و ﺑﺎغﻫﺎی‬ ‫ﻣﺴﺤﻮر‪ ،‬از ﻓﻮارهﻫﺎﯾﯽ ﮐﻪ در زﯾﺮ آﻓﺘﺎب آواز ﴎ دادهاﻧﺪ‪ ،‬از ﺻﺨﺮهﻫﺎﯾﯽ زرﯾﻦ ﺑﺮ ﻓﺮاز درﯾﺎﻫﺎی‬ ‫ﻫﻤﻬﻤﻪﮐﻨﺎن‪ ،‬از دﺷﺖﻫﺎﯾﯽ ﮐﻪ ﺗﺎ زﯾﺮ ﭘﺎی ﺷﻬﺮﻫﺎی ﺧﻮابآﻟﻮد ﻣﻔﺮغ و ﺳﻨﮓ ﮔﺴﱰدهاﻧﺪ‪ ،‬و از‬ ‫اﻧﺠﻤﻦﻫﺎی ﺳﺎﯾﻪﮔﻮن ﻗﻬﺮﻣﺎﻧﺎن ﮐﻪ ﺳﻮار ﺑﺮ اﺳﺐﻫﺎی ﺳﭙﯿﺪ ﯾﺮاق ﺑﺴﺘﻪ در ﮐﻨﺎر ﺟﻨﮕﻞﻫﺎی اﻧﺒﻮه‬ ‫ﺳﻔﺮ ﻣﯽﮐﻨﻨﺪ؛ و آنﮔﺎه ﻣﯽداﻧﯿﻢ ﮐﻪ از ﻣﯿﺎن دروازه ﻋﺎج ﻧﻈﺮی ﮐﺮدهاﯾﻢ ﺑﻪ آن ﺟﻬﺎن ﻋﺠﺎﯾﺐ‬ ‫ﮐﻪ ﭘﯿﺶ از آن ﮐﻪ ﺣﮑﯿﻢ و ﻣﻐﻤﻮم ﺷﻮﯾﻢ‪ ،‬از آن ﻣﺎ ﺑﻮد‪.‬‬ ‫ﻭ ﺑﻌﺪ ﺍﺯ ﺁﻩ ﺣﺴﺮﺗﻰ ﻛﻪ ﺍﻳﻦ ﻳﺎﺩﺁﻭﺭﻯ ﺑﺮ ﺩﻟﺘﺎﻥ ﻣﻰﻧﺸﺎﻧﺪ‪ ،‬ﺩﻭﺳﺘﺎﻧﻪ ﺑﻪ ﻫﻤﻪﺗﺎﻥ ﺳﻔﺎﺭﺵ ﻣﻰﻛﻨﻢ ﻓﺎﺭﻍ‬ ‫ﺍﺯ ﻫﺮ ﺗﻌﺮﻳﻒ‪ ،‬ﻳﺎﺩ ﻟﻴﻦ ﻛﺎﺭﺗﺮ ﺑﺎﺷﻴﻢ ﻛﻪ ﻣﻰﮔﻔﺖ‪:‬‬

‫ﻣﻦ ﭼﺮا ﻓﺎﻧﺘﺰی ﻣﯽﺧﻮاﻧﻢ؟ واﻗﻌﺎ منﯽداﻧﻢ‪ ،‬و واﻗﻌﺎ ﺑﺮای ﻣﻦ ﻣﻬﻢ ﻧﯿﺴﺖ‪ .‬ﻓﻘﻂ ﻣﯽداﻧﻢ‬ ‫ﮐﻪ ﺑﺎ دﯾﺪن ﭼﻨﯿﻦ واژﮔﺎﻧﯽ ﻣﻮﺟﻮدﯾﺘﯽ در ﻣﻦ ﺑﯿﺪار ﻣﯽﺷﻮد و ﺑﻪ ﺷﻮق ﻣﯽاﻓﺘﺪ و واﮐﻨﺶ‬ ‫ﻧﺸﺎن ﻣﯽدﻫﺪ‪.‬‬ ‫ﻛﻪ ﺩﺭ ﻧﻬﺎﻳﺖ ﺩﺭ ﻳﻚ ﻛﻼﻡ‪» :‬ﻓﺎﻧﺘﺰﻯ ﺑﺨﻮﺍﻧﻴﺪ‪ ،‬ﻫﻤﻴﻦ!«‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﻣﻘﺎﻟﻪ‬

‫ﺣﺘﻰ ﺍﮔﺮ ﻋﻼﻗﻤﻨﺪ ﺳﻔﺖ ﻭ ﺳﺨﺖ ژﺍﻧﺮ ﻫﻢ ﺑﺎﺷﻴﺪ‪ ،‬ﺧﻄﺮ ﺳﺮﺩﺭﺩ ﻫﻤﻮﺍﺭﻩ ﺩﺭ ﻛﻤﻴﻦ ﺷﻤﺎ ﺧﻮﺍﻫﺪ‬ ‫ﺑﻮﺩ! ﺣﺎﻻ ﺍﮔﺮ ﺑﺎﺯ ﻫﻢ ﺍﺻﺮﺍﺭ ﺑﺮ ﺩﺍﺷﺘﻦ ﺗﻌﺮﻳﻔﻰ ﺳﺎﺩﻩ‪ ،‬ﺍﻣﺎ ﺭﺳﻤﻰ ﺍﺯ ﻓﺎﻧﺘﺰﻯ ﻫﺴﺘﻴﺪ ﻛﻪ ﺩﺭ ﺟﻮﺍﺏ‬ ‫ﺩﻭﺳﺘﺎﻧﻰ ﺑﺪﻫﻴﺪ ﻛﻪ ﻣﻮﻗﻊ ﺩﻳﺪﻥ ﻛﺘﺎﺑﻰ ﻓﺎﻧﺘﺰﻯ ﺩﺭ ﺩﺳﺘﺎﻧﺘﺎﻥ‪ ،‬ﺑﺎ ﻗﻴﺎﻓﻪﺍﻯ ﺧﺮﺩﻩﮔﻴﺮﺍﻧﻪ‪ ،‬ﺳﻮﺍﻝ‬ ‫ﻣﻌﺮﻭﻑ »ﻓﺎﻧﺘﺰﻯ؟ ﭼﻰ ﻫﺴﺖ ﺍﺻﻼ؟« ﺭﺍ ﻣﻰﭘﺮﺳﻨﺪ‪ ،‬ﺍﻳﻦ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﺪ‪:‬‬

‫ﻓﺎﻧﺘﺰی ژاﻧﺮی در ﻫرن اﺳﺖ ﮐﻪ ﺟﺎدو و دﯾﮕﺮ اﺷﮑﺎل ﻓﺮاﻃﺒﯿﻌﯽ را ﺑﻪ ﻋﻨﻮان ﻋﻨﴫ اوﻟﯿﻪ‬ ‫ﻃﺮح و ﺗﻮﻃﺌﻪ‪ ،‬درونﻣﺎﯾﻪ ﯾﺎ ﻓﻀﺎی داﺳﺘﺎن اﺳﺘﻔﺎده ﻣﯽﮐﻨﺪ‪ .‬اﯾﻦ ژاﻧﺮ ﻣﻌﻤﻮﻻً ﺗﻮﺳﻂ‬ ‫ﻧﮕﺎه‪ ،‬ﺣﺲ و درونﻣﺎﯾﻪ وﺳﯿﻊ از ﮐﺎر اﺷﺨﺎص از ژاﻧﺮﻫﺎی ﻋﻠﻤﯽﺗﺨﯿﻠﯽ و وﺣﺸﺖ ﻣﺘامﯾﺰ‬ ‫ﻣﯽﺷﻮد‪ ،‬ﻫﺮ ﭼﻨﺪ ﮐﻪ اﯾﻦ ﺳﻪ ژاﻧﺮ ﻧﻘﺎط ﻣﺸﱰک ﺑﺴﯿﺎری ﺑﺎ ﻫﻢ دارﻧﺪ و ﻣﺠﻤﻮﻋﺎً ادﺑﯿﺎت‬ ‫ﮔامﻧﻪزن ﺷﻨﺎﺧﺘﻪ ﻣﯽﺷﻮﻧﺪ‪.‬‬ ‫وﯾﮋﮔﯽ اﺻﻠﯽ ﻓﺎﻧﺘﺰی دارا ﺑﻮدن ﻋﻨﺎﴏ ﺧﯿﺎﻟﯽ )ﻓﺎﻧﺘﺰی( در ﻓﻀﺎﯾﯽ ﺧﻮدﻣﻨﺴﺠﻢ اﺳﺖ‪ ،‬ﻓﻀﺎﯾﯽ‬ ‫ﮐﻪ ﻣﻨﻄﻖ و ﻗﻮاﻧﯿﻦ ﺧﺎص ﺧﻮد را دارد ﮐﻪ ﻣﺘﻔﺎوت ﺑﺎ ﻣﻨﻄﻖ ﻋﺎدی اﺳﺖ و داﺳﺘﺎن آن ﻗﻮاﻧﯿﻦ‬ ‫را منﯽﺷﮑﻨﺪ‪ .‬در اﯾﻦ ﺳﺎﺧﺘﺎر ﻫﺮ ﻣﮑﺎﻧﯽ ﺑﺮای ﻋﻨﺎﴏ ﻓﺎﻧﺘﺰی ﻣﻤﮑﻦ اﺳﺖ‪ :‬ﺷﺎﯾﺪ اﯾﻦ ﻣﮑﺎن‬ ‫ﻣﺨﻔﯽ ﺑﺎﺷﺪ ﯾﺎ در ﺟﻬﺎن ﻇﺎﻫﺮاً واﻗﻌﯽ ﻣﺎ رﺧﻨﻪ ﮐﺮده ﺑﺎﺷﺪ ﯾﺎ ﺷﺎﯾﺪ ﮐﺎﻣﻼً در دﻧﯿﺎﯾﯽ ﺧﯿﺎﻟﯽ‬ ‫رخ دﻫﺪ‪ .‬در ﻫﺮ اﺛﺮی ﻋﻨﺎﴏ ﻧﻪ ﻓﻘﻂ ﺑﺎﯾﺪ از ﻗﻮاﻧﯿﻦ ﭘﯿﺮوی ﮐﻨﻨﺪ‪ ،‬ﺑﻠﮑﻪ ﺑﻪ دﻟﯿﻞ اﻧﺴﺠﺎم‬ ‫ﻃﺮح و ﺗﻮﻃﺌﻪ داﺳﺘﺎن ﺑﺎﯾﺪ ﺷﺎﻣﻞ ﻣﺤﺪودﯾﺖﻫﺎﯾﯽ ﺑﺎﺷﺪ ﺗﺎ ﺑﻪ ﻗﻬﺮﻣﺎﻧﺎن و ﺗﺒﻬﮑﺎران داﺳﺘﺎن‬ ‫اﺟﺎزه ﺑﺪﻫﺪ ﺑﺎ ﻫﻢ ﺑﺠﻨﮕﻨﺪ‪ .‬ﻋﻨﺎﴏ ﺟﺎدوﯾﯽ ﺑﺎﯾﺪ ﺑﯽﻗﯿﺪ و ﺑﻨﺪ اﺳﺘﻔﺎده ﻧﺸﻮﻧﺪ وﮔﺮﻧﻪ ﺳﺎﺧﺘﺎر‬ ‫داﺳﺘﺎن از ﺑﯿﻦ ﻣﯽرود‪) .‬داﻧﺶﻧﺎﻣﻪ ﻫرن و ادﺑﯿﺎت ﮔامﻧﻪزن(‬ ‫ﺧﺐ‪ ،‬ﺣﺎﻻ ﻛﻪ ﺧﻴﺎﻟﺘﺎﻥ ﺍﺯ ﺩﺍﺷﺘﻦ ﺗﻌﺮﻳﻔﻰ ﺑﺮﺍﻯ ﺑﺴﺘﻦ ﺩﻫﺎﻥ ﻣﻨﺘﻘﺪﺍﻥ ﻏﻴﺮ ﺑﻰﻃﺮﻑ ﻭ ﺑﻌﻀﺎ ﺣﺐ‬ ‫ﻭ ﺑﻐﺾﺩﺍﺭ ﺭﺍﺣﺖ ﺷﺪ‪ ،‬ﺑﮕﺬﺍﺭﻳﺪ ﭘﻴﺶ ﺧﻮﺩﻣﺎﻥ‪ ،‬ﻛﻪ ﻓﺎﻧﺘﺰﻯ ﺭﺍ ﻭﺭﺍﻯ ﺗﻌﺮﻳﻔﺶ ﻫﻤﻪ ﺟﻮﺭﻩ ﺩﻭﺳﺖ‬ ‫ﺩﺍﺭﻳﻢ‪ ،‬ﺑﺒﻴﻨﻴﻢ ﻭﺍﻗﻌﺎ ﻓﺎﻧﺘﺰﻯ ﭼﻴﺴﺖ؟ ﺍﺻﻄﻼﺣﻰ ﻛﻪ ﭼﻨﺎﻥ ﺩﺍﻣﻨﻪ ﮔﺴﺘﺮﺩﻩ ﻭ ﻣﺘﻨﻮﻋﻰ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ‬ ‫ﻣﺨﺘﻠﻒ ﺭﺍ ﺩﺭﺑﺮﻣﻰﮔﻴﺮﺩ ﻛﻪ ﺍﻳﻦﻗﺪﺭ ﺗﻌﺮﻳﻔﺶ ﺩﺭﺩﺳﺮﺳﺎﺯ ﻣﻰﺷﻮﺩ‪ ،‬ﺗﺎﺯﻩ ﺑﺎ ﺍﻳﻦ ﻛﻪ ﺑﻴﺸﺘﺮ ﻣﺮﺩﻡ ﺩﺭ‬ ‫ﺫﻫﻦ ﺧﻮﺩ ﺗﻌﺮﻳﻔﻰ ﺑﺮﺍﻯ ﺩﺍﺳﺘﺎﻥ ﻓﺎﻧﺘﺰﻯ ﺩﺍﺭﻧﺪ‪ .‬ﺷﻴﻔﺘﻪ ژﺍﻧﺮ ﻛﻪ ﺑﺎﺷﻴﺪ ﻭ ﻛﻤﻰ ﻫﻢ ﺳﻴﻨﻪ ﺑﺮﺍﻳﺶ‬ ‫ﭼﺎﻙ ﺑﺪﻫﻴﺪ‪ ،‬ﻣﻰﺷﻮﺩ ﺍﻳﻦ ﺍﺻﻄﻼﺡ ﺭﺍ ﭼﻨﺎﻥ ﺑﺎ ﻣﺴﺎﻣﺤﻪ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩ ﻛﻪ ﻫﻤﻪ ﭼﻴﺰ ﺍﺯ ﺍﻓﺴﺎﻧﻪ‬ ‫ﮔﻴﻠﮕﻤﺶ ﻭ ﺩﺍﺭﻛﻮﻻ ﺗﺎ ﺍﺩﻳﺴﻪ ﻓﻀﺎﻳﻰ ﻛﻮﺑﺮﻳﻚ ﺭﺍ ﺷﺎﻣﻞ ﺷﻮﺩ؛ ﻭ ﺍﻟﺒﺘﻪ ﺧﻴﻠﻰ ﻫﻢ ﺍﺷﺘﺒﺎﻩ ﻧﺨﻮﺍﻫﺪ‬ ‫ﺑﻮﺩ‪ .‬ﺑﻪ ﻗﻮﻝ ﻟﻴﻦ ﻛﺎﺭﺗﺮ ﺩﺭ ﮔﺸﺎﺩﻩﺗﺮﻳﻦ ﻣﻌﻨﻰ ﻣﻤﻜﻦ‪ ،‬ﻓﺎﻧﺘﺰﻯ ﺍﺩﺑﻴﺎﺗﻰ ﺍﺳﺖ ﻛﻪ ﺷﮕﻔﺖ ﺑﺎﺷﺪ‪ ،‬ﻳﻌﻨﻰ‬ ‫ﺍﺩﺑﻴﺎﺗﻰ ﻛﻪ ﻭﺍﻗﻌﻴﺖﮔﺮﺍ ﻧﺒﺎﺷﺪ‪.‬‬ ‫‪67‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﺍﻣﺎ ﻭﺍﻗﻌﺎ ﺍﮔﺮ ﺑﺨﻮﺍﻫﻴﻢ ﻓﺎﻧﺘﺰﻯ ﺭﺍ ﺗﻌﺮﻳﻒ ﻛﻨﻴﻢ‪ ،‬ﺍﺯ ﻛﺠﺎ ﺷﺮﻭﻉ ﻛﻨﻴﻢ؟ ﻳﺎﺩﻣﺎﻥ ﻫﻢ ﺑﺎﺷﺪ ﻣﻌﻤﻮﻻ ﺍﺳﻢ‬ ‫ﻓﺎﻧﺘﺰﻯ ﻛﻪ ﻣﻰﺁﻳﺪ‪ ،‬ﭘﺸﺖ ﺳﺮﺵ ﺍﻭﻝ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺳﺮﻙ ﻣﻰﻛﺸﺪ ﻭ ﻛﻤﻰ ﻛﻪ ﻣﻨﺘﻈﺮ ﺑﻤﺎﻧﻴﻢ‪ ،‬ﺳﺮ ﻭ‬ ‫ﻛﻠﻪ ﻣﺎﻭﺭﺍءﺍﻟﻄﺒﻴﻌﻪ ﻫﻢ ﭘﻴﺪﺍ ﻣﻰﺷﻮﺩ‪ .‬ﺣﺎﻻ ﻓﻌﻼ ﻛﺎﺭﻯ ﺑﻪ ﺍﻳﻦ ﺩﻭ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ؛ ﺑﮕﺬﺍﺭﻳﺪ ﺗﻌﺮﻳﻔﻰ ﺍﺯ‬ ‫ﻓﺎﻧﺘﺰﻯ ﺭﺍ ﺑﺮ ﻣﺒﻨﺎﻯ ﺭﻳﺸﻪﺷﻨﺎﺳﻰ ﻛﻠﻤﻪ ﺑﺎ ﻫﻢ ﻣﺮﻭﺭ ﻛﻨﻴﻢ‪:‬‬

‫واژه ﻓﺎﻧﺘﺰی از رﯾﺸﻪ ﯾﻮﻧﺎﻧﯽ ‪ Phantasein‬ﻣﯽآﯾﺪ‪ ،‬ﺑﻪ ﻣﻌﻨﺎ ﻣﻮﺟﺐ اﯾﺠﺎد ﺗﺼﺎوﯾﺮ در ذﻫﻦ‬ ‫ﺷﺪن‪ .‬در ﻧﺘﯿﺠﻪ ﻓﺎﻧﺘﺰی ﺑﻪ ﻟﺤﺎظ ﺗﺒﺎرﺷﻨﺎﺳﯽاش‪ ،‬دﻧﯿﺎﻫﺎی ﺗﺨﯿﻠﯽ ﻣﺎ را در ﺑﺮاﺑﺮ ﯾﮏ دﻧﯿﺎی‬ ‫ﺑﯿﺮوﻧﯽ ﻗﺎﺑﻞ درک و ﻓﻬﻢ ﻗﺮار ﻣﯽدﻫﺪ و ﻧﺘﯿﺠﺘﺎ ﻣﻨﻈﺮ ﺑﺮونﮔﺮا را ﺑﻪ ﻋﻨﻮان ﺷﯿﻮه واﻗﻌﯽ دﯾﺪن‬ ‫ﺗﻌﯿﯿﻦ ﻣﯽﮐﻨﺪ‪) .‬ﺟﺮج اﺳﻼﴎ(‬ ‫ﺧﺐ‪ ،‬ﻋﺒﺎﺭﺕ ﺑﺎﻻ ﺑﻪ ﻧﻈﺮﺗﺎﻥ ﺳﺨﺖ ﺑﻮﺩ‪ ،‬ﺑﺎ ﺍﻳﻦ ﻳﻜﻰ ﭼﻄﻮﺭ ﻫﺴﺘﻴﺪ؟‬

‫ﯾﮑﯽ از ﺧﺼﻮﺻﯿﺎت اﺻﻠﯽ ادﺑﯿﺎت ﺗﺨﯿﻠﯽ ﻗﺪﯾﻤﯽ و ﺟﺪﯾﺪ‪ ،‬ﮐﻪ در ﻋﯿﻦ ﺣﺎل ﺑﯿﺎﻧﮕﺮ وﺟﻪ متﺎﯾﺰ‬ ‫اﺻﻠﯽ آن از ادﺑﯿﺎت واﻗﻊﮔﺮاﯾﺎﻧﻪ )ﺑﻪ ﻣﻔﻬﻮﻣﯽ وﺳﯿﻊﺗﺮ از رﺋﺎﻟﯿﺴﻢ( اﺳﺖ‪ ،‬ﺑﻪ ﻧﺤﻮه اﯾﺠﺎد ﺗﻌﺎدل‬ ‫ﻣﯿﺎن »ﮐﻨﺶ« و »واﮐﻨﺶ« ﻣﺮﺑﻮط ﻣﯽﺷﻮد‪ .‬در داﺳﺘﺎنﻫﺎی ﺗﺨﯿﻠﯽ ﻧﻮﯾﺴﻨﺪه ﻣﯽﺗﻮاﻧﺪ ﻫﺮ ﮔﻮﻧﻪ‬ ‫ﮐﻨﺶ ﻗﺎﺑﻞ ﺗﺼﻮری را ﺗﻮﺻﯿﻒ ﮐﻨﺪ‪ .‬او ﻣﯽﺗﻮاﻧﺪ ﺑﻪ دﻟﺨﻮاه ﺧﻮﯾﺶ رﻧﮓ آﻓﺘﺎب را ﻋﻮض ﮐﻨﺪ‪،‬‬ ‫ﺟﺎﻧﻮران را ﺑﻪ ﺳﺨﻦ ﮔﻔنت و درﺧﺘﺎن را ﺑﻪ راه رﻓنت وادارد‪ ،‬ﯾﺎ ﺑﻪ ﻣﯿﻞ ﺧﻮد ﺣﯿﻮاﻧﺎﺗﯽ ﻋﺠﯿﺐاﻟﺨﻠﻘﻪ‬ ‫و ﻣﻮﺟﻮداﺗﯽ ﻫﻮﺷﻤﻨﺪ ﺑﯿﺎﻓﺮﯾﻨﺪ‪ .‬در ادﺑﯿﺎت واﻗﻊﮔﺮا ﺑﻪ ﻋﮑﺲ‪ ،‬ﺣﯿﻄﻪ ﮐﻨﺶ ﻣﺤﺪود و ﻋﺮﺻﻪ‬ ‫واﮐﻨﺶ ﺑﯽﮐﺮان اﺳﺖ‪ .‬در اﯾﻦﺟﺎ ﻧﻮﯾﺴﻨﺪه دﯾﮕﺮ منﯽﺗﻮاﻧﺪ ﺑﻪ ﻗﻮاﻧﯿﻦ ﻃﺒﯿﻌﯽ و ﻣﺤﺪودﯾﺖﻫﺎی‬ ‫ﺗﺠﺮﺑﻪ ﺑﴩی ﺑﯽاﻋﺘﻨﺎ ﺑﺎﺷﺪ‪) .‬ﻣﺮاد ﻓﺮﻫﺎدﭘﻮر؛ درﺧﺖ و ﺑﺮگ(‬ ‫ﺩﺳﺖ ﻧﮕﻪ ﺩﺍﺭﻳﺪ‪ ،‬ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻧﻈﺮﺗﺎﻥ ﺭﺍ ﺑﻠﻨﺪ ﺑﮕﻮﻳﺪ‪ ،‬ﺍﻳﻦ ﻳﻜﻰ ﺭﺍ ﻫﻢ ﺑﺒﻴﻨﻴﺪ‪:‬‬

‫رواﯾﺖ ﻋﻠﻤﯽﺗﺨﯿﻠﯽ در ﻓﻀﺎﺳﺎزی و ﭘﺮداﺧﺖ ﭼﻨﺎن ﻋﻤﻞ ﻣﯽﮐﻨﺪ ﮐﻪ ﻗﻮاﻧﯿﻦ ﺷﻨﺎﺧﺘﻪ ﺷﺪه ﺟﻬﺎن‬ ‫دﺳﺖﮐﺎری ﻧﺸﻮﻧﺪ و ﺗﻨﻬﺎ ﺑﺎ اﻓﺰودن ﻗﺎﻧﻮن ﺗﺼﻮﯾﺮﺳﺎزی ﺧﻮد را از داﻣﻨﻪ واﻗﻌﯿﺖ ﻣﺘامﯾﺰ ﻣﯽﮐﻨﺪ‪.‬‬ ‫ﻓﺎﻧﺘﺰی ﻧﻮﻋﯽ رواﯾﺖ ﺟﻬﺎن واﻗﻌﯽ اﺳﺖ ﮐﻪ در ﺑﺮآوری ﺳﺎزﻧﺪﻫﺎی آن متﺎﯾﺰ از داﻣﻨﻪ واﻗﻌﯿﺖ ﺑﺎ‬ ‫دﮔﺮﮔﻮﻧﯽ ﻋﻠﺖﻫﺎ و ﺑﻪ ﺗﺒﻊ آن ﻣﻌﻠﻮل ﻣﺘﻨﺎﻇﺮ و ﺷﯿﻮهی ﺗﻌﺎﻣﻞ آنﻫﺎ ﺻﻮرت ﻣﯽﭘﺬﯾﺮد‪) .‬ﺑﻨﻮاری‪،‬‬ ‫ﭘﻮردﯾﺎن‪ ،‬ﺣﺎج زﻣﺎن‪ ،‬ﻗﺪﯾﻤﯽ؛ در ﭼﯿﺴﺘﯽ ادﺑﯿﺎت ﮔامﻧﻪزن(‬ ‫ﻣﺜﺎﻝﻫﺎﻯ ﺑﺎﻻ ﺭﺍ ﺑﺮﺍﻯ ﺍﻳﻦ ﻧﻴﺎﻭﺭﺩﻡ ﻛﻪ ﺗﻌﺮﻳﻔﻰ ﺍﺯ ﻓﺎﻧﺘﺰﻯ ﺑﻪ ﺩﺳﺖ ﺑﺪﻫﻴﻢ‪ ،‬ﺑﺮﺍﻯ ﺍﻳﻦ ﻧﻮﺷﺘﻢ ﻛﻪ‬ ‫ﺑﺒﻴﻨﻴﺪ ﻭﻗﺘﻰ ﺩﺭ ﻋﻤﻖ ﺗﻌﺮﻳﻒ ﺑﺮﻭﻳﺪ‪ ،‬ﺑﺎ ﭼﻨﺎﻥ ﻋﺒﺎﺭﺍﺕ ﻭ ﭘﻴﭽﻴﺪﮔﻰﻫﺎﻳﻰ ﺭﻭﺑﻪﺭﻭ ﻣﻰﺷﻮﻳﺪ ﻛﻪ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﻣﻘﺎﻟﻪ‬

‫ﺳﻮﺍﺭ ﺑﺮ ﺧﻴﺎﻝ‬ ‫ﺍژﺩﻫﺎﻯ ﻓﺎﻧﺘﺰﻯ‬ ‫ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‬

‫ﻭ ﺑﺎﺯ ﻫﻢ ﺍﻳﻦ ﺳﻮﺍﻝ ﺍﺻﻠﻰ ﻛﻪ ﺍﺳﺎﺳﺎ ﻓﺎﻧﺘﺰﻯ ﭼﻴﺴﺖ؟ ﺍﺟﺎﺯﻩ ﺩﻫﻴﺪ ﻃﺒﻖ ﻣﻌﻤﻮﻝ‪ ،‬ﻗﺒﻞ ﺍﺯ ﻫﺮ‬ ‫ﻛﺎﺭﻯ ﺑﻪ ﻣﺪﺧﻞ ﺍﻳﻦ ﻛﻠﻤﻪ ﺩﺭ ﻓﺮﻫﻨﮓﻫﺎﻯ ﻓﺮﻧﮕﻰ ﺳﺮﻛﻰ ﺑﻜﺸﻴﻢ ﺗﺎ ﺍﻭﺿﺎﻉ ﺩﺳﺘﻤﺎﻥ ﺑﻴﺎﻳﺪ‪.‬‬ ‫ﺧﺐ‪ ،‬ﻭﺍژﻩﻧﺎﻣﻪ ﻭﺑﺴﺘﺮ ﻛﻪ ﻓﺎﻧﺘﺰﻯ ﺭﺍ ﺍﻳﻦ ﻃﻮﺭ ﺗﻌﺮﻳﻒ ﻣﻰﻛﻨﺪ‪:‬‬

‫ﺗﺨﯿﻞ ﯾﺎ ﺗﺼﻮر؛ ﻣﺤﺼﻮﻟﯽ از ﺧﯿﺎلﭘﺮدازی‪ ،‬ﺑﻪ ﺧﺼﻮص ﯾﮏ ﺗﺼﻮﯾﺮ؛ ﺣﺎﻟﺘﯽ ﺷﮕﻔﺖ ﯾﺎ ﻧﺎﭘﺎﯾﺪار‪.‬‬ ‫ﻭ ﺍﻟﺒﺘﻪ ﺑﺎﻗﻰ ﻓﺮﻫﻨﮓﻫﺎ ﻭ ﻭﺍژﻩﻧﺎﻣﻪﻫﺎ ﻫﻢ ﭼﻴﺰ ﺑﻴﺸﺘﺮﻯ ﺑﻪ ﺩﺳﺖ ﻧﻤﻰﺩﻫﻨﺪ! ﭘﺲ ﺗﻜﻠﻴﻒ ﺑﺮ‬ ‫ﻭ ﺑﭽﻪﻫﺎﻳﻰ ﻛﻪ ﻭﺍژﻩﻧﺎﻣﻪﻫﺎ ﺭﺍ ﻣﻰﻧﻮﻳﺴﻨﺪ ﻣﻌﻠﻮﻡ ﺷﺪ‪ ،‬ﺩﺭ ﺟﻬﻞ ﻣﺮﻛﺐ‪ ،‬ﻳﺎ ﺩﺳﺖﻛﻢ ﻏﻔﻠﺖ‬ ‫ﺷﻴﺮﻳﻨﻰ ﺍﺯ ﻳﻚ ﮔﻮﻧﻪ ﺍﺩﺑﻰ ﺗﻤﺎﻡ ﻭ ﻛﻤﺎﻝ ﺑﻪ ﺟﻠﻮ ﻣﻰﺭﻭﻧﺪ!‬


‫ﻭﺣﺸﺖ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﻣﻰﮔﻮﻳﻢ‪:‬‬ ‫»ﺟﺎﻣﻮ ﻧﺸﻮﻧﻢ ﺑﺪﻩ‪«.‬‬ ‫ﺑﻪ ﻫﻤﺎﻥ ﺟﺎﻯ ﻗﺒﻠﻰ ﻛﻪ ﺩﺭ ﺣﺎﻝ ﻛﻨﺪﻧﺶ ﺑﻮﺩ ﺍﺷﺎﺭﻩ ﻣﻰﻛﻨﺪ‪ .‬ﻣﻰﺭﻭﻡ ﻭ ﺑﺎﻻﻯ ﮔﻮﺩﺍﻝ ﻣﻰﺍﻳﺴﺘﻢ‪.‬‬ ‫ﻗﺒﺮ ﺟﺪﻳﺪﻡ‪ .‬ﻫﻴﭻ ﭼﻴﺰ ﻳﺎﺩﻡ ﻧﻤﻰﺁﻳﺪ‪ .‬ﻣﺮگ‪ .‬ﺑﻴﺮﻭﻥ ﺁﻣﺪﻥ ﺍﺯ ﻗﺒﺮ‪ ...‬ﺷﺎﻳﺪ ﻳﻚ ﺧﻮﺍﺏ ﺍﺳﺖ‪ .‬ﻳﺎ‬ ‫ﺷﺎﻳﺪ ﺁﺧﺮﻳﻦ ﺗﺮﺷﺤﺎﺕ ﻣﻐﺰﻡ ﻗﺒﻞ ﺍﺯ ﻣﺮﺩﻥ ﺍﺳﺖ ﻛﻪ ﻣﺮﺍ ﺑﻪ ﻳﻚ ﻣﺮگ ﺑﻰﻭﺣﺸﺖ ﺩﻋﻮﺕ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻧﻤﻰﺩﺍﻧﻢ‪ ...‬ﻓﻘﻂ ﻣﻰﺧﻮﺍﻫﻢ ﺑﺮﺍﻯ ﺧﻮﺩﻡ ﻛﺎﺭﻯ ﺑﻜﻨﻢ‪.‬‬ ‫ﺗﻮﻯ ﮔﻮﺩﺍﻝ ﻗﺒﺮﻡ ﻣﻰﭘﺮﻡ‪ .‬ﺑﻪ ﭘﺸﺖ ﻣﻰﺧﻮﺍﺑﻢ‪ .‬ﻗﺒﻠﻪ ﺭﺍ ﻧﻤﻰﺩﺍﻧﻢ‪ .‬ﺭﻭﻯ ﺩﺳﺖ ﺭﺍﺳﺖ ﻏﻠﺖ ﻣﻰﺯﻧﻢ ﻭ‬ ‫ﻣﻰﮔﻮﻳﻢ‪:‬‬ ‫»ﺑﺮﻳﺰ‪«.‬‬ ‫ﺍﻭﻟﻴﻦ ﻣﺸﺖ ﮔﻞ ﺭﻭﻯ ﻛﻤﺮﻡ ﻣﻰﺭﻳﺰﺩ‪ .‬ﺑﻌﺪﻯ ﺭﻭﻯ ﭘﺎﻫﺎﻳﻢ‪ .‬ﻭ ﺑﺎﻻﺧﺮﻩ ﺑﻌﺪﻯ ﺭﻭﻯ ﺻﻮﺭﺗﻢ‪ ...‬ﭼﺸﻤﺎﻧﻢ‬ ‫ﺑﺎﺯﻧﺪ‪ .‬ﺩﻳﮕﺮ ﭼﺸﻤﺎﻧﻢ ﺭﺍ ﻧﻤﻰﺑﻨﺪﻡ‪ .‬ﻭﻗﺘﻰ ﻣﻰﺑﻨﺪﻣﺸﺎﻥ ﺩﻧﻴﺎ ﻣﺮﺍ ﺑﺎ ﺧﻮﺩ ﻣﻰﺑﺮﺩ‪ .‬ﻣﻰﺧﻮﺍﻫﻢ ﺑﻤﺎﻧﻢ‪.‬‬ ‫ﻫﻤﻴﻦﻃﻮﺭ ﻛﻪ ﺍﻳﻦ ﻓﻜﺮﻫﺎ ﺩﺭ ﺳﺮﻡ ﻣﻰﭼﺮﺧﺪ ﺑﺎ ﭼﺸﻢ ﺑﺎﺯ ﺧﺎﻙ ﻣﻰﺷﻮﻡ‪ .‬ﮔﻞ ﺗﻤﺎﻡ ﺻﻮﺭﺗﻢ ﺭﺍ‬ ‫ﻣﻰﮔﻴﺮﺩ‪ .‬ﺗﻤﺎﻡ ﺑﺪﻧﻢ ﺭﺍ‪ .‬ﺳﻨﮕﻴﻨﻰﺍﺵ ﺭﺍ ﺣﺲ ﻣﻰﻛﻨﻢ‪.‬‬ ‫ﺩﺳﺖﻫﺎﻳﻰ ﻛﻪ ﻫﻤﻴﺸﻪ ﻣﻰﺩﻳﺪﻡ ﺑﻪ ﻃﺮﻓﻢ ﻣﻰﺁﻳﻨﺪ ﻭ ﺻﺪﺍﻫﺎ ﺁﻥﻗﺪﺭ ﺑﻠﻨﺪ ﻣﻰﺷﻮﻧﺪ ﻛﻪ ﺍﻧﮕﺎﺭ ﻗﺮﺍﺭ‬ ‫ﺍﺳﺖ ﻛﺮ ﺷﻮﻡ‪ .‬ﺻﻮﺭﺕﻫﺎﻯ ﺧﺎﻟﻰ‪...‬‬ ‫ﺑﺎﻻﺧﺮﻩ ﺩﻧﻴﺎ ﺗﺎ ﺍﺑﺪ ﺳﻴﺎﻩ ﻣﻰﺷﻮﺩ‪.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﺁﻳﻨﻪ ﺑﻪ ﺟﻨﺎﺯﻩﺍﻡ ﺧﻴﺮﻩ ﻣﻰﺷﻮﻡ‪ .‬ﭼﺸﻢﻫﺎﻳﻢ ﺗﻐﻴﻴﺮﻯ ﻧﻜﺮﺩﻩﺍﻧﺪ‪ .‬ﻭ ﺯﺧﻢ ﺳﺮ ﺍﻧﮕﺸﺘﻢ‪ ...‬ﭘﻠﻚ ﻣﻰﺯﻧﻢ‬ ‫ﻭ ﺯﻣﺎﻥ ﺩﻭﺑﺎﺭﻩ ﭘﺎ ﺑﻪ ﻓﺮﺍﺭ ﻣﻰﮔﺬﺍﺭﺩ‪ .‬ﺯﻳﺮ ﺩﻭﺵ ﺍﻳﺴﺘﺎﺩﻩﺍﻡ‪ ...‬ﭘﻠﻚ‪ ...‬ﭼﻨﺪ ﭘﺮﺗﻘﺎﻝ ﻟﻪ ﻛﺮﺩﻩ ﻣﻰﺧﻮﺭﻡ‪.‬‬ ‫ﭘﻠﻚ‪ ...‬ﺗﻮﻯ ﺗﺨﺘﻢ ﻫﺴﺘﻢ‪ .‬ﭘﻠﻚ‪ ...‬ﺯﻳﺮ ﻣﻴﺰ ﺧﻮﺍﺑﻴﺪﻩﺍﻡ‪ .‬ﺗﺎ ﺑﻪ ﺧﻮﺩﻡ ﻣﻰﺁﻳﻢ ﺗﺼﻤﻴﻢ ﻣﻰﮔﻴﺮﻡ ﺩﻳﮕﺮ‬ ‫ﭘﻠﻚ ﻧﺰﻧﻢ‪ .‬ﺑﺮﮔﻪﻯ ﻣﺮﮔﻢ ﺩﺭ ﺩﺳﺘﻢ ﺍﺳﺖ‪ .‬ﺟﻠﻮﻯ ﺻﻮﺭﺗﻢ ﻣﻰﮔﻴﺮﻣﺶ ﻭ ﻣﻰﺧﻮﺍﻧﻢ‪:‬‬

‫ﻓﺮدی ﮐﻪ اﯾﻦ ﺑﺮﮔﻪ را ﺑﻪ ﺷام ﺗﺤﻮﯾﻞ ﻣﯽدﻫﺪ‪ ،‬ﻣﺮده اﺳﺖ‪ .‬ﺟﻬﺖ ﺗﺪﻓﯿﻦ وی ﻫﻤﮑﺎری‬ ‫ﻻزم را ﺑﻪ ﻋﻤﻞ آورﯾﺪ‪.‬‬ ‫ﺑﺎ ﺗﺸﮑﺮ‬ ‫ﻧﻤﻰﻓﻬﻤﻢ‪ ...‬ﻧﻪ ﻣﺜﻞ ﻣﺮﺩﻩﻫﺎﻯ ﺩﻳﮕﺮ ﺗﻮﻯ ﮔﻮﺭﻡ ﻫﺴﺘﻢ‪ ...‬ﻧﻪ ﭘﻴﺶ ﺁﺩﻡﻫﺎﻯ ﺩﻳﮕﺮ ﺗﻮﻯ ﺧﻴﺎﺑﺎﻥ‪ ...‬ﻛﺎﻏﺬ‬ ‫ﺭﺍ ﺗﻮﻯ ﺟﻴﺒﻢ ﻣﻰﭼﭙﺎﻧﻢ ﻭ ﺑﻰﻫﻮﺍ ﺑﻠﻨﺪ ﻣﻰﺷﻮﻡ‪ .‬ﺳﺮﻡ ﺑﻪ ﻣﻴﺰ ﻣﻰﺧﻮﺭﺩ‪ .‬ﺩﺭﺩﻯ ﺣﺲ ﻧﻤﻰﻛﻨﻢ‪ ...‬ﻟﺒﺎﺱ‬ ‫ﻣﻰﭘﻮﺷﻢ ﻭ ﭘﻴﺎﺩﻩ ﺑﻪ ﺳﻤﺖ ﻗﺒﺮﺳﺘﺎﻧﻰ ﻛﻪ ﻣﻰﺷﻨﺎﺳﻢ ﻣﻰﺭﻭﻡ‪ .‬ﺑﻬﺘﺮ ﺍﺳﺖ ﺑﺎ ﺳﻮﺍﺭ ﺗﺎﻛﺴﻰ ﺷﺪﻥ ﻣﺮﺩﻡ‬ ‫ﺭﺍ ﻧﺘﺮﺳﺎﻧﻢ‪ .‬ﻫﺮ ﭼﻨﺪ‪ ،‬ﻛﺴﻰ ﭼﻪ ﻣﻰ ﻓﻬﻤﺪ ﻣﻦ ﻣﺮﺩﻩﺍﻡ؟ ﻭﻟﻰ ﺧﻮﺩﻡ ﻛﻪ ﻣﻰﺩﺍﻧﻢ‪.‬‬ ‫ﻫﻤﻪﻯ ﺧﻴﺎﺑﺎﻥﻫﺎﻳﻰ ﺭﺍ ﻛﻪ ﻣﻰﺷﻨﺎﺳﻢ ﻭ ﻧﻤﻰﺷﻨﺎﺳﻢ ﺭﺩ ﻣﻰﻛﻨﻢ ﻭ ﺑﻌﺪ ﺍﺯ ﮔﺬﺷﺖ ﻣﺪﺗﻰ ﻃﻮﻻﻧﻰ ﺑﻪ‬ ‫ﻗﺒﺮﺳﺘﺎﻥ ﻣﻰﺭﺳﻢ‪ .‬ﺩﺭ ﻓﻠﺰﻯ ﻣﻴﻠﻪﺍﻯ ﺭﺍ ﻫﻞ ﻣﻰﺩﻫﻢ ﻭ ﻭﺍﺭﺩ ﻣﻰﺷﻮﻡ‪.‬‬ ‫ﺍﻭﻟﻴﻦ ﭼﻴﺰﻯ ﻛﻪ ﻣﻰﺑﻴﻨﻢ‪ ،‬ﻫﻴﻜﻞ ﻳﻚ ﭘﻴﺮﻣﺮﺩ ﺍﺳﺖ‪ .‬ﻳﻚ ﭘﻴﺮﻣﺮﺩ ﺩﺍﺭﺩ ﺑﻴﻞ ﻣﻰﺯﻧﺪ‪ .‬ﭘﻴﺮﻣﺮﺩ ﺑﻴﻞﺯﻥ‬ ‫ﺗﻮﻯ ﻗﺒﺮﺳﺘﺎﻥ‪ ،‬ﻫﻤﺎﻥ ﺩﻛﺘﺮ ﺍﺳﺖ‪ .‬ﻫﻤﺎﻥ ﺭﺍﻧﻨﺪﻩﻯ ﺗﺎﻛﺴﻰ ﺍﺳﺖ‪ .‬ﻳﻜﻰ ﺩﺭ ﻣﻴﺎﻥ ﻗﺒﺮﻫﺎ ﺭﺍ ﺑﻰ ﺁﻥﻛﻪ‬ ‫ﭘﺎﻳﻢ ﺭﺍ ﺭﻭﻳﺸﺎﻥ ﺑﮕﺬﺍﺭﻡ ﺭﺩ ﻣﻰﻛﻨﻢ ﻭ ﺭﻭﺑﻪﺭﻭﻯ ﭘﻴﺮﻣﺮﺩ ﻣﻰﺍﻳﺴﺘﻢ‪ .‬ﻣﻰﮔﻮﻳﻢ‪:‬‬ ‫»ﺗﻮ ﭼﻨﺪﺗﺎ ﺷﻐﻞ ﺩﺍﺭﻯ؟«‬ ‫ﭘﻴﺮﻣﺮﺩ ﺑﻴﻞ ﺭﺍ ﺑﻪ ﺯﻣﻴﻦ ﻣﻰﺯﻧﺪ ﻭ ﻭﺯﻧﺶ ﺭﺍ ﺭﻭﻳﺶ ﻣﻰﺍﻧﺪﺍﺯﺩ‪ .‬ﻣﻰﮔﻮﻳﺪ‪:‬‬ ‫»ﺩﻩ ﻗﺪﻡ ﺑﺮﻭ ﺭﺍﺳﺖ‪ .‬ﻣﻰﺑﻴﻨﻴﺶ‪ .‬ﻣﺮﻣﺮ ﺳﻔﻴﺪ‪ .‬ﺑﻰ ﺷﻌﺮ‪«.‬‬ ‫ﻭ ﺑﻌﺪ ﺩﻭﺑﺎﺭﻩ ﻣﺸﻐﻮﻝ ﺑﻴﻞ ﺯﺩﻥ ﻣﻰﺷﻮﺩ‪ .‬ﺩﻩ ﻗﺪﻡ ﺑﻪ ﺳﻤﺖ ﺭﺍﺳﺖ ﻣﻰﺭﻭﻡ‪ .‬ﺁﺭﺍﻡﺁﺭﺍﻡ‪ ...‬ﺑﺎﻻﻯ ﻗﺒﺮﻡ‬ ‫ﻣﻰﺭﺳﻢ‪ .‬ﺍﺳﻢ ﻭ ﺗﺎﺭﻳﺦ ﺗﻮﻟﺪ ﻭ ﺗﺎﺭﻳﺦ ﻭﻓﺎﺗﻢ ﺭﻭﻳﺶ ﻧﻮﺷﺘﻪ ﺷﺪﻩ‪ .‬ﻫﻤﻴﻦ‪ ...‬ﺍﺛﺮﻯ ﺍﺯ ﻧﺎﻡ ﭘﺪﺭ ﻭ ﺩﻋﺎ ﻭ ﺷﻌﺮ‬ ‫ﻧﻴﺴﺖ‪ .‬ﻣﻰﻧﺸﻴﻨﻢ ﻭ ﺩﻭ ﺍﻧﮕﺸﺘﻢ ﺭﺍ ﺭﻭﻯ ﻗﺒﺮ ﻣﻰﮔﺬﺍﺭﻡ‪ .‬ﻧﻤﻰﺩﺍﻧﻢ ﻣﻰﺗﻮﺍﻧﻢ ﺑﺮﺍﻯ ﺧﻮﺩﻡ ﻓﺎﺗﺤﻪ ﺑﺨﻮﺍﻧﻢ‬ ‫ﻳﺎ ﻧﻪ‪ .‬ﭘﻴﺮﻣﺮﺩ ﺑﻴﻞﺯﻥ ﺩﻛﺘﺮ ﻭ ﺭﺍﻧﻨﺪﻩ ﻣﻰﺁﻳﺪ ﻭ ﻣﻰﮔﻮﻳﺪ‪:‬‬ ‫»ﻗﺒﺮﺕ ﺗﻨﮓ ﺑﻮﺩ‪ .‬ﺯﺩﻯ ﺑﻴﺮﻭﻥ‪ .‬ﻳﻪ ﺟﺪﻳﺪ ﻛﻨﺪﻡ‪ .‬ﺑﻴﺎ ﺑﺒﺮﻣﺖ ﻏﺴﻠﺖ ﻛﻨﻢ‪«.‬‬ ‫ﺳﺮ ﺗﻜﺎﻥ ﻣﻰﺩﻫﻢ ﻭ ﺣﻜﻢ ﻣﺮﮔﻢ ﺭﺍ ﺩﺭ ﻣﻰﺁﻭﺭﻡ ﻭ ﺩﺳﺘﺶ ﻣﻰﺩﻫﻢ‪ .‬ﻏﺴﻞ ﻧﻤﻰﺧﻮﺍﻫﻢ‪ .‬ﺗﺎﺑﻮﺕ ﻭ‬ ‫ﻛﻔﻦ ﻫﻢ ﻧﻤﻰﺧﻮﺍﻫﻢ‪ ...‬ﻻﻯ ﻛﻔﻦ ﻭ ﺗﻮﻯ ﺗﺎﺑﻮﺕ ﺁﺩﻡ ﺍﺣﺴﺎﺱ ﺧﻔﮕﻰ ﻣﻰﻛﻨﺪ‪ .‬ﺣﺘﺎ ﺍﮔﺮ ﻣﺮﺩﻩ ﺑﺎﺷﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﺩﻧﺪﺍﻥﻫﺎﻳﻢ ﺭﺍ ﻣﻰﺑﻴﻨﺪ‪ .‬ﺑﻌﺪ ﻧﻮﺑﺖ ﭼﺸﻢﻫﺎﻳﻢ ﺍﺳﺖ‪ ...‬ﮔﻮﺵﻫﺎﻳﻢ ﺭﺍ ﺑﺎ ﺩﺳﺘﮕﺎﻫﺶ ﻭﺍﺭﺳﻰ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺑﻌﺪ ﮔﻮﺷﻰ ﭘﺰﺷﻜﻰﺍﺵ ﺭﺍ ﻣﻰﺁﻭﺭﺩ‪ .‬ﻓﺸﺎﺭﻡ ﺭﺍ ﻣﻰﮔﻴﺮﺩ‪ .‬ﻭ ﺑﻌﺪ ﺻﺪﺍﻯ ﻗﻠﺒﻢ ﺭﺍ ﮔﻮﺵ ﻣﻰﻛﻨﺪ‪ .‬ﻧﺒﻀﻢ‬ ‫ﺭﺍ ﻛﻪ ﻣﻰﮔﻴﺮﺩ ﻣﻰﺭﻭﺩ ﻭ ﭘﺸﺖ ﻣﻴﺰﺵ ﻣﻰﻧﺸﻴﻨﺪ‪ .‬ﻛﺎﻏﺬ ﻛﻮﭼﻜﻰ ﺍﺯ ﺭﻭﻯ ﻣﻴﺰﺵ ﺑﺮﻣﻰﺩﺍﺭﺩ ﻭ ﭼﻴﺰﻯ‬ ‫ﻣﻰﻧﻮﻳﺴﺪ‪ .‬ﻣﻰﮔﻮﻳﺪ‪:‬‬ ‫»ﺯﻣﺎﻥ ﺩﻗﻴﻖ ﺍﺣﺘﻀﺎﺭ ﻣﺸﺨﺺ ﻧﻴﺴﺖ‪ .‬ﺍﻣﺎ ﻣﺪﺕ ﻃﻮﻻﻧﻰﺍﻳﻪ‪«.‬‬ ‫ﺍﺯ ﺭﻭﻯ ﺗﺨﺖ ﭘﺎﻳﻴﻦ ﻣﻰﺁﻳﻢ‪ .‬ﺭﻭﺑﻪﺭﻭﻯ ﻣﻴﺰ ﻣﻰﺍﻳﺴﺘﻢ‪ .‬ﻣﻌﻨﻰ ﻧﻤﻰﺩﻫﺪ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﺑﺎﻫﻢ ﺩﻳﻮﺍﻧﻪ ﺷﺪﻩ‪.‬‬ ‫ﻣﻰﭘﺮﺳﻢ‪:‬‬ ‫»ﺍﺣﺘﻀﺎﺭ؟«‬ ‫ﺩﻛﺘﺮ ﻣﻰﮔﻮﻳﺪ‪:‬‬ ‫»ﺑﻠﻪ‪ .‬ﺷﻤﺎ ﻣﺮﺩﻳﻦ‪ .‬ﻣﺮﺩﻣﻚﻫﺎﺗﻮﻥ ﮔﺸﺎﺩ ﺷﺪﻩ‪ .‬ﺿﺮﺑﺎﻥ ﻗﻠﺐ ﻧﺪﺍﺭﻳﻦ‪ .‬ﻧﺒﻀﺘﻮﻥ ﻧﻤﻰﺯﻧﻪ‪ .‬ﺗﺎ ﺣﺎﻻ ﻣﺘﻮﺟﻪ‬ ‫ﻧﺸﺪﻳﻦ؟«‬ ‫ﮔﻮﺷﻰ ﭘﺰﺷﻜﻰﺍﺵ ﺭﺍ ﺍﺯ ﺭﻭﻯ ﻣﻴﺰ ﺑﺮ ﻣﻰﺩﺍﺭﻡ‪ .‬ﺩﻭ ﺳﺮﺵ ﺭﺍ ﺗﻮﻯ ﮔﻮﺷﻢ ﻣﻰﻛﻨﻢ ﻭ ﻗﺴﻤﺖ ﮔﺮﺩ ﻭ‬ ‫ﺑﺰﺭﮔﺶ ﺭﺍ ﺭﻭﻯ ﺳﻴﻨﻪﺍﻡ ﻣﻰﮔﺬﺍﺭﻡ‪ .‬ﭼﺸﻢﻫﺎﻳﻢ ﺭﺍ ﻣﻰﺑﻨﺪﻡ‪ .‬ﻫﺮﭼﻪ ﻣﻨﺘﻈﺮ ﻣﻰﺷﻮﻡ‪ ...‬ﻧﻤﻰﺯﻧﺪ‪ .‬ﻫﻴﭻ‬ ‫ﺻﺪﺍﻳﻰ ﻧﻤﻰﺁﻳﺪ‪ .‬ﻫﻴﭽﻰ‪ .‬ﺑﻌﺪ ﻧﺒﻀﻢ ﺭﺍ ﻣﻰﮔﻴﺮﻡ‪ .‬ﺧﺒﺮﻯ ﻧﻴﺴﺖ‪ .‬ﺁﺭﺍﻡ ﻣﻰﺭﻭﻡ ﺟﻠﻮﻯ ﺁﻳﻨﻪﻯ ﮔﻮﺷﻪﻯ‬ ‫ﻣﻄﺐ‪ .‬ﭼﺸﻢﻫﺎﻳﻢ‪ ...‬ﻣﺮﺩﻣﻚﻫﺎﻳﻢ ﺁﻥﻗﺪﺭ ﮔﺸﺎﺩ ﺷﺪﻩﺍﻧﺪ ﻛﻪ ﻗﺮﻧﻴﻪﺍﻡ ﺭﺍ ﻧﻤﻰﺑﻴﻨﻢ‪ .‬ﻳﻌﻨﻰ ﻭﺍﻗﻌﺎً ﻣﺮﺩﻩﺍﻡ؟‬ ‫ﭼﺎﻗﻮﻯ ﺟﻴﺒﻰﺍﻡ ﺭﺍ ﺩﺭ ﻣﻰﺁﻭﺭﻡ‪ .‬ﺑﺎ ﻧﻮﻛﺶ ﺳﺮ ﺍﻧﮕﺸﺘﻢ ﺭﺍ ﺧﻴﻠﻰ ﺁﺭﺍﻡ ﻣﻰﺑﺮﻡ‪ ...‬ﺩﺭﺩﻯ ﺣﺲ ﻧﻤﻰﻛﻨﻢ‪.‬‬ ‫ﺧﻮﻥ ﻧﻤﻰﺁﻳﺪ‪ .‬ﺩﻛﺘﺮ ﺑﺎ ﺑﺮﮔﻪﺍﻯ ﺑﻪ ﻃﺮﻓﻢ ﻣﻰﺁﻳﺪ ﻭ ﻣﻰﮔﻮﻳﺪ‪:‬‬ ‫»ﺑﺎ ﺍﻳﻦ ﺣﻜﻢ ﻣﻰﺗﻮﻧﻰ ﻫﺮ ﻭﻗﺖ ﺧﻮﺍﺳﺘﻰ ﺩﻓﻦ ﺑﺸﻰ‪ .‬ﺑﻪ ﺳﻼﻣﺖ‪«.‬‬ ‫ﺣﻜﻢ ﻣﺮﮔﻢ ﺭﺍ ﻣﻰﮔﻴﺮﻡ‪ .‬ﻣﺮﺩﻩﺍﻡ‪ ...‬ﻫﻨﻮﺯ ﺩﺭﺳﺖ ﻣﻄﻤﺌﻦ ﻧﻴﺴﺘﻢ ﻛﻪ ﻣﺮﺩﻩﺍﻡ ﺍﻣﺎ‪ ...‬ﺗﻤﺎﻡ ﻧﺸﺎﻧﻪﻫﺎﻯ ﻳﻚ‬ ‫ﺁﺩﻡ ﻣﺮﺩﻩ ﺭﺍ ﺩﺍﺭﻡ‪ .‬ﺍﺯ ﺍﺗﺎﻕ ﺩﻛﺘﺮﻯ ﻛﻪ ﺭﺍﻧﻨﺪﻩﻯ ﺗﺎﻛﺴﻰ ﺑﻮﺩ ﺑﻴﺮﻭﻥ ﻣﻰﺁﻳﻢ‪ .‬ﻣﺮﺩﻩﺍﻡ‪ ...‬ﻗﺪﻡ ﺑﺮﻣﻰﺩﺍﺭﻡ‪.‬‬ ‫ﺑﺎﻳﺪ ﻛﺠﺎ ﺑﺮﻭﻡ؟ ﻗﺒﺮﺳﺘﺎﻥ؟ ﺧﺎﻧﻪ؟ ﻓﻜﺮ ﻧﻤﻰﻛﻨﻢ ﺁﻣﺎﺩﮔﻰ ﺩﻓﻦ ﺷﺪﻥ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻢ‪ ...‬ﺑﻪ ﺧﺎﻧﻪ‬ ‫ﻣﻰﺭﻭﻡ‪ .‬ﺗﻮﻯ ﺧﻴﺎﺑﺎﻥ ﺭﺍﻩ ﻣﻰﺭﻭﻡ‪ .‬ﺍﺯ ﭘﻴﭽﻰ ﻛﻪ ﻣﺪﺗﻰ ﻗﺒﻞ ﺑﺮﺍﻳﻢ ﻧﻤﻰﭘﻴﭽﻴﺪ‪ ،‬ﻣﻰﭘﻴﭽﻢ ﻭ ﺭﺩ ﻣﻰﺷﻮﻡ‬ ‫ﻭ ﺑﻌﺪ ﺍﺯ ﻣﺪﺗﻰ ﭘﻴﺎﺩﻩﺭﻭﻯ ﺑﻪ ﺧﺎﻧﻪﺍﻡ ﻣﻰ ﺭﺳﻢ‪ .‬ﭘﻠﻪﻫﺎ ﺭﺍ ﺑﺎﻻ ﻣﻰﺭﻭﻡ ﻭ ﺧﻮﺩﻡ ﺭﺍ ﺑﻪ ﺗﺨﺘﻢ ﻣﻰﺭﺳﺎﻧﻢ‪.‬‬ ‫ﻣﺜﻞ ﺑﺮﻛﻪﺍﻯ ﻋﻤﻴﻖ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﻛﻪ ﻭﺳﻄﺶ ﮔﻮﺩ ﺷﺪﻩ ﻓﻘﻂ ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﻪ ﻣﺮﺍ ﺑﺒﻠﻌﺪ‪ .‬ﺧﻮﺩﻡ ﺭﺍ ﺑﺎ‬ ‫ﺻﻮﺭﺕ ﺭﻭﻯ ﺗﺨﺖ ﻣﻰﺍﻧﺪﺍﺯﻡ ﻭ ﺑﺮﮔﻪﻯ ﻣﺮﮔﻢ ﺭﺍ ﻛﻪ ﻫﻨﻮﺯ ﺩﺭ ﺩﺳﺘﻢ ﺍﺳﺖ ﻣﺤﻜﻢﺗﺮ ﺍﺯ ﻗﺒﻞ ﻣﻰﻓﺸﺎﺭﻡ‪.‬‬ ‫ﻫﻴﭻ ﭼﻴﺰ ﺑﻪ ﻳﺎﺩ ﻧﻤﻰﺁﻭﺭﻡ‪ .‬ﺗﻨﻬﺎ ﻣﻔﻬﻮﻡ ﺁﺷﻨﺎﻯ ﺫﻫﻨﻢ‪ ...‬ﺧﻮﺩﻡ‪ ،‬ﺧﺎﻧﻪ‪ .‬ﻣﻴﺰ‪ .‬ﭘﺮﺗﻘﺎﻝ‪ ...‬ﻛﻰ ﻣﺮﺩﻩﺍﻡ؟‬ ‫ﭼﺮﺍ ﻣﺮﺩﻩﺍﻡ؟ ﭘﻠﻚ ﻣﻰﺯﻧﻢ‪ ...‬ﻭ ﺯﻣﺎﻥ ﺩﻭﺑﺎﺭﻩ ﻣﻰﻟﻐﺰﺩ‪.‬‬ ‫ﭼﺸﻢﻫﺎﻳﻢ ﺭﺍ ﺑﺎﺯ ﻣﻰﻛﻨﻢ‪ .‬ﻫﻤﻪ ﺟﺎﻳﻢ ﺭﺍ ﻣﻮﺭﭼﻪﻫﺎ ﮔﺮﻓﺘﻪﺍﻧﺪ‪ .‬ﺑﻠﻨﺪ ﻣﻰﺷﻮﻡ ﻭ ﺧﻮﺩﻡ ﺭﺍ ﻣﻰﺗﻜﺎﻧﻢ‪ .‬ﺗﻮﻯ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﻭﺣﺸﺖ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﺑﺮﺍﻯ ﻳﻚ ﺗﺎﻛﺴﻰ ﺩﺳﺖ ﺗﻜﺎﻥ ﻣﻰﺩﻫﻢ‪ .‬ﻣﻰﺍﻳﺴﺘﺪ‪ .‬ﺩﺭ ﺟﻠﻮﻯ ﺗﺎﻛﺴﻰ ﺭﺍ ﺑﺎﺯ ﻣﻰﻛﻨﻢ ﻭ ﻣﻰﻧﺸﻴﻨﻢ‪ .‬ﺑﻪ‬ ‫ﺯﺣﻤﺖ ﻟﺐﻫﺎﻳﻢ ﺭﺍ ﻛﻪ ﺑﻪ ﻫﻢ ﺩﻭﺧﺘﻪ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﺗﻜﺎﻥ ﻣﻰﺩﻫﻢ ﻭ ﻣﻰﮔﻮﻳﻢ‪:‬‬ ‫»ﭼﻬﺎﺭﺭﺍﻩ ﺑﻨﻔﺸﻪ‪«.‬‬ ‫ﭘﻴﺮﻣﺮﺩ ﺭﺍﻧﻨﺪﻩ ﺳﺮﻯ ﺗﻜﺎﻥ ﻣﻰﺩﻫﺪ ﻭ ﻣﻰﺭﻭﺩ‪ .‬ﺑﻪ ﺻﻨﺪﻟﻰ ﺗﻜﻴﻪ ﻣﻰﺩﻫﻢ ﻭ ﺗﻮﻯ ﺟﻴﺐﻫﺎﻳﻢ ﺩﻧﺒﺎﻝ‬ ‫ﭘﻮﻝ ﻣﻰﮔﺮﺩﻡ‪ .‬ﺩﺳﺘﻢ ﺑﻪ ﭼﻨﺪﺗﺎ ﺳﻜﻪﻯ ﺑﺰﺭگ ﻛﻪ ﺍﻧﮕﺎﺭ ﺩﻭﻳﺴﺘﻰ ﺍﺳﺖ ﻣﻰﺧﻮﺭﺩ‪ ...‬ﭼﺸﻤﻢ ﺑﻪ‬ ‫ﭘﻴﺎﺩﻩﺭﻭ ﺍﺳﺖ‪ .‬ﻧﮕﺎﻫﻢ ﺍﺯ ﻣﻐﺎﺯﻩﻫﺎﻳﻰ ﻛﻪ ﺗﻮﻯ ﺑﺎﺩ ﺑﺎﻫﻢ ﻗﺎﺗﻰ ﺷﺪﻩﺍﻧﺪ ﻣﻰﮔﺬﺭﺩ‪ ...‬ﻳﻚ ﺩﻓﻌﻪ ﻣﻮﺭﭼﻪﺍﻯ‬ ‫ﺭﺍ ﻣﻰﺑﻴﻨﻢ ﻛﻪ ﻛﻨﺎﺭ ﺷﻴﺸﻪﻯ ﻣﺎﺷﻴﻦ ﺭﺍﻩ ﻣﻰﺭﻭﺩ ﻭ ﻣﻰﺧﻮﺍﻫﺪ ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ﻣﻦ ﺑﺮﺳﺎﻧﺪ‪ .‬ﻓﻮﺗﺶ‬ ‫ﻣﻰﻛﻨﻢ‪ .‬ﻣﻰﺍﻓﺘﺪ ﻭ ﮔﻢ ﻣﻰﺷﻮﺩ‪ .‬ﻳﻚ ﺩﻓﻌﻪ ﺭﺍﻧﻨﺪﻩ ﻣﻰﮔﻮﻳﺪ‪» :‬ﺑﻔﺮﻣﺎﻳﻴﺪ ﺁﻗﺎ‪ .‬ﺳﻴﺼﺪ‪ «.‬ﺳﻜﻪﻫﺎ ﺭﺍ ﺍﺯ‬ ‫ﺍﻋﻤﺎﻕ ﺟﻴﺒﻢ ﺑﻴﺮﻭﻥ ﻣﻰﻛﺸﻢ ﻭ ﻛﻒ ﺩﺳﺘﺶ ﻣﻰﮔﺬﺍﺭﻡ‪ .‬ﭘﻴﺎﺩﻩ ﻣﻰﺷﻮﻡ‪ .‬ﭘﻴﺎﺩﻩ ﻛﻪ ﻣﻰﺷﻮﻡ‪ ...‬ﺩﺭﻣﺎﻧﮕﺎﻩ‪.‬‬ ‫ﺭﻭﺑﻪﺭﻭﻯ ﺩﺭﻣﺎﻧﮕﺎﻩ ﺍﻳﺴﺘﺎﺩﻩﺍﻡ‪.‬‬ ‫ﺑﻪ ﺷﻴﺸﻪﻯ ﺭﺍﻧﻨﺪﻩ ﻣﻰﺯﻧﻢ‪:‬‬ ‫»ﮔﻔﺘﻢ ﺑﻨﻔﺸﻪ‪ .‬ﺍﻳﻦﺟﺎ ﺑﺎﺳﻜﻮﻟﻪ‪ .‬ﺑﺮﻡ ﮔﺮﺩﻭﻧﺪﻯ ﺟﺎﻳﻰ ﻛﻪ ﺑﻮﺩﻡ؟«‬ ‫ﺭﺍﻧﻨﺪﻩ ﭼﻴﺰﻯ ﻧﻤﻰﮔﻮﻳﺪ‪ .‬ﺑﻘﻴﻪﻯ ﭘﻮﻝ ﺭﺍ ﻛﻒ ﺩﺳﺘﻢ ﻣﻰﮔﺬﺍﺭﺩ‪ .‬ﺷﻴﺸﻪ ﺭﺍ ﻣﻰﻛﺸﺪ ﺑﺎﻻ ﻭ ﻣﻰﺭﻭﺩ‪ .‬ﺑﺎ‬ ‫ﻧﮕﺎﻫﻢ ﻣﺎﺷﻴﻦ ﺭﺍ ﺩﻧﺒﺎﻝ ﻣﻰﻛﻨﻢ ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﻧﺎﭘﺪﻳﺪ ﻣﻰﺷﻮﺩ‪ .‬ﺑﻪ ﺳﻤﺖ ﺩﺭﻣﺎﻧﮕﺎﻩ ﻣﻰﭼﺮﺧﻢ‪ .‬ﭼﻪ‬ ‫ﺍﺗﻔﺎﻗﻰ ﺩﺍﺭﺩ ﻣﻰﺍﻓﺘﺪ؟ ﭼﻪ ﺧﺒﺮ ﺍﺳﺖ؟ ﺑﺎﻳﺪ ﻛﺠﺎ ﺑﺮﻭﻡ؟ ﺑﺎ ﻛﻤﻰ ﺗﺮﺩﻳﺪ ﻭ ﺑﻴﺸﺘﺮ ﮔﻴﺠﻰ ﭘﺎﻳﻢ ﺭﺍ ﺩﺍﺧﻞ‬ ‫ﺩﺭﻣﺎﻧﮕﺎﻩ ﻣﻰﮔﺬﺍﺭﻡ‪ .‬ﻧﻤﻰﺩﺍﻧﻢ ﺑﺎﻳﺪ ﭼﻜﺎﺭ ﻛﻨﻢ‪ .‬ﻧﮕﺎﻫﻰ ﺑﻪ ﭘﺸﺖ ﺳﺮﻡ ﻣﻰﺍﻧﺪﺍﺯﻡ‪ .‬ﻧﻤﻰﺩﺍﻧﻢ ﺍﮔﺮ ﺑﺮﮔﺮﺩﻡ‬ ‫ﺑﺮﻣﻰﮔﺮﺩﻡ ﻳﺎ ﻧﻪ‪ ...‬ﺩﻧﺒﺎﻝ ﮔﻮﺷﻰﺍﻡ ﻣﻰﮔﺮﺩﻡ‪ .‬ﻧﻴﺴﺖ‪ ....‬ﺍﻃﺮﺍﻓﻢ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻢ‪ .‬ﺍﻣﺎ‪ ...‬ﺩﺍﺭﻡ ﺭﺍﻩ ﻣﻰﺭﻭﻡ‪.‬‬ ‫ﺑﻪ ﭘﺎﻫﺎﻳﻢ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻢ‪ .‬ﻣﻰﺧﻮﺍﻫﻢ ﺑﺎﻳﺴﺘﻢ‪ ،‬ﻭﻟﻰ ﻛﺮ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺭﺍﻫﺸﺎﻥ ﺭﺍ ﮔﺮﻓﺘﻪﺍﻧﺪ ﻭ ﺩﺍﺭﻧﺪ ﻣﻰﺭﻭﻧﺪ‪.‬‬ ‫ﻣﺮﺍ ﻛﺠﺎ ﻣﻰﺑﺮﻧﺪ؟ ﺩﺭ ﺫﻫﻨﻢ ﺳﻜﻮﺕ ﻣﻰﻛﻨﻢ ﻭ ﺧﻮﺩﻡ ﺭﺍ ﺑﻬﺸﺎﻥ ﻣﻰﺳﭙﺎﺭﻡ‪ .‬ﺍﺯ ﭘﻠﻪ ﻫﺎ ﺑﺎﻻ ﻣﻰﺭﻭﻧﺪ ﻭ‬ ‫ﺑﻌﺪ ﺍﺯ ﭼﻨﺪ ﺩﻗﻴﻘﻪ ﺟﻠﻮﻯ ﺩﺭ ﻳﻜﻰ ﺍﺯ ﭘﺰﺷﻚﻫﺎ ﻣﻰﺍﻳﺴﺘﻨﺪ‪ .‬ﭼﻪ ﻛﺎﺭ‪ ...‬ﻛﻨﻢ؟ ﺑﺎﻳﺪ ﺑﺮﻭﻡ ﺩﺍﺧﻞ؟ ﺩﺭ‬ ‫ﺑﺰﻧﻢ؟ ﮔﻴﺠﻢ‪ ...‬ﺍﻧﮕﺸﺘﺎﻧﻢ ﺭﺍ ﺑﺎﻻ ﻣﻰﺁﻭﺭﻡ ﻭ ﻣﺸﺖ ﻣﻰﻛﻨﻢ‪ .‬ﭼﻨﺪﺑﺎﺭ ﺁﺭﺍﻡ ﺑﺮ ﺩﺭ ﻣﻰﺯﻧﻢ‪ .‬ﺍﺯ ﭘﺸﺖ ﺩﺭ‬ ‫ﺻﺪﺍ ﻣﻰﺁﻳﺪ‪:‬‬ ‫»ﺑﻔﺮﻣﺎﻳﻴﺪ‪«.‬‬ ‫ﺩﺭ ﺭﺍ ﺑﺎﺯ ﻣﻰﻛﻨﻢ‪ .‬ﺑﺎ ﻗﺪﻡﻫﺎﻯ ﺧﻮﺩﻡ‪ ...‬ﻧﻪ ﻗﺪﻡﻫﺎﻯ ﭘﺎﻫﺎﻳﻢ‪ ،‬ﺩﺍﺧﻞ ﻣﻰﺭﻭﻡ‪ .‬ﺩﻛﺘﺮ ﻣﻨﺘﻈﺮ ﻣﻦ ﺍﺳﺖ‪.‬‬ ‫ﭼﻬﺮﻩﺍﺵ ﺭﺍ ﻛﻪ ﻣﻰﺑﻴﻨﻢ‪ ،‬ﻳﻚ ﻗﺪﻡ ﻋﻘﺐ ﻣﻰﺭﻭﻡ‪ .‬ﻫﻤﺎﻥ ﺭﺍﻧﻨﺪﻩﻯ ﺗﺎﻛﺴﻰ ﺍﺳﺖ‪ .‬ﺑﻰﻣﻌﻄﻠﻰ ﺑﻪ ﺳﻤﺘﻢ‬ ‫ﻣﻰﺁﻳﺪ ﻭ ﻣﻰﮔﻮﻳﺪ‪:‬‬ ‫»ﺧﻮﺑﻪ‪ ...‬ﺧﻮﺑﻪ‪ .‬ﺑﺸﻴﻦ ﺭﻭﻯ ﺗﺨﺖ ﺗﺎ ﻣﻌﺎﻳﻨﻪﺍﺕ ﻛﻨﻢ‪«.‬‬ ‫ﭼﻴﺰﻯ ﻧﻤﻰﮔﻮﻳﻢ‪ .‬ﻣﻰﺭﻭﻡ ﻭ ﺭﻭﻯ ﺗﺨﺖ ﻣﻰﻧﺸﻴﻨﻢ‪ .‬ﺍﻭﻝ ﺑﺎ ﭼﻮﺏ ﺑﺴﺘﻨﻰ ﻭ ﭼﺮﺍﻍ ﻗﻮﻩﺍﺵ ﮔﻠﻮ ﻭ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﺯﻳﺮ ﻣﻴﺰﻡ ﺩﺭﺍﺯ ﻛﺸﻴﺪﻩﺍﻡ‪ .‬ﺗﺎﺭﻳﻚ ﺍﺳﺖ‪ .‬ﺩﻡ ﻏﺮﻭﺏ‪ .‬ﺣﻮﺻﻠﻪ ﻧﺪﺍﺭﻡ ﺑﻠﻨﺪ ﺷﻮﻡ ﻭ ﭼﺮﺍﻍﻫﺎ ﺭﺍ ﺭﻭﺷﻦ ﻛﻨﻢ‪.‬‬ ‫ﻭﻗﺘﻰ ﺯﻳﺮ ﻣﻴﺰﻡ ﺩﻧﻴﺎ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ ،‬ﻓﻘﻂ ﻣﻨﻢ ﻭ ﺩﻳﻮﺍﺭ ﭼﻮﺑﻰ ﺟﻠﻮﻳﻢ‪ .‬ﺩﻧﻴﺎ ﺧﺎﻟﻰ‪ .‬ﺁﺩﻡﻫﺎ ﺧﺎﻟﻰ‪ .‬ﻓﻜﺮﻫﺎﻯ‬ ‫ﻣﺰﺧﺮﻓﻢ ﺍﻳﻦﺟﺎ ﺩﺳﺘﺸﺎﻥ ﺑﻪ ﻣﻐﺰﻡ ﻧﻤﻰﺭﺳﺪ‪ .‬ﻗﺎﻋﺪﻩﻯ ﺍﻭﻝ ﻭ ﺁﺧﺮ ﺯﻧﺪﮔﻰ ﺭﺍ ﻛﻪ ﻣﻰﺩﺍﻧﻢ ﻛﺎﻓﻰ ﺍﺳﺖ‪.‬‬ ‫ﺁﺩﻡ ﻫﻤﻴﻦ ﻛﻪ ﺑﺎ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻨﺶ ﻛﻨﺎﺭ ﻣﻰﺁﻳﺪ ﺷﻖﺍﻟﻘﻤﺮ ﻛﺮﺩﻩ‪ ...‬ﻫﺮ ﺭﻭﺯ ﺩﺍﺭﻡ ﺷﻖﺍﻟﻘﻤﺮ ﻣﻰﻛﻨﻢ‪.‬‬ ‫ﻫﺮ ﺭﻭﺯ ﺩﺍﺭﻡ ﻧﻔﺲ ﻣﻰﻛﺸﻢ ﻭ ﺍﻛﺴﻴﮋﻥ ﺩﻧﻴﺎ ﺭﺍ ﺑﻪ ﮔﻨﺪ ﻣﻰﻛﺸﻢ‪ .‬ﮔﺎﻫﻰ ﻧﻔﺴﻢ ﺭﺍ ﺣﺒﺲ ﻣﻰﻛﻨﻢ ﻛﻪ‬ ‫ﺩﺭﺩ ﻭﺟﺪﺍﻧﻢ ﻛﻢ ﺷﻮﺩ‪ ...‬ﺍﻟﺒﺘﻪ ﺍﮔﺮ ﺩﺭﺩﻡ ﻣﺎﻝ ﻭﺟﺪﺍﻥ ﺑﺎﺷﺪ‪ .‬ﻳﺎ ﺍﮔﺮ ﻭﺍﻗﻌﺎً ﻭﺟﺪﺍﻧﻰ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﭼﺸﻤﻢ ﺭﺍ ﻣﻰﺑﻨﺪﻡ ﻭ ﺑﺎ ﺧﻮﺩﻡ ﻣﻰﮔﻮﻳﻢ ﺩﻳﮕﺮ ﺑﺎﺯﺷﺎﻥ ﻧﻤﻰﻛﻨﻢ‪ .‬ﺍﻣﺎ ﺑﺎﺯ ﻣﻰﻛﻨﻢ‪ .‬ﺑﻴﻦ ﺍﻳﻦ ﭘﻠﻚ ﺯﺩﻥ‬ ‫ﻃﻮﻻﻧﻰ ﭼﻘﺪﺭ ﺯﻣﺎﻥ ﻟﻴﺰ ﻣﻰﺧﻮﺭﺩ ﻭ ﺩﺭ ﻣﻰﺭﻭﺩ؟ ﺳﺮﻡ ﺭﺍ ﺍﺯ ﺯﻳﺮ ﻣﻴﺰ ﺑﻴﺮﻭﻥ ﻣﻰﺁﻭﺭﻡ ﻭ ﺑﻪ ﭘﻨﺠﺮﻩ ﺧﻴﺮﻩ‬ ‫ﻣﻰﺷﻮﻡ‪ .‬ﺩﻡ ﻏﺮﻭﺏ ﺍﺳﺖ‪ ...‬ﻧﻪ‪ .‬ﺩﻡ ﻃﻠﻮﻉ‪ ...‬ﺩﻭﺑﺎﺭﻩ ﺁﺳﻤﺎﻥ ﺑﺎﺯﻯﺍﺵ ﮔﺮﻓﺘﻪ‪ ...‬ﺍﺯ ﺯﻳﺮ ﻣﻴﺰ ﻣﻰﺧﺰﻡ ﻭ‬ ‫ﺑﻴﺮﻭﻥ ﻣﻰﺁﻳﻢ‪.‬‬ ‫ﺍﺯ ﺯﻳﺮ ﻣﻴﺰ ﻛﻪ ﺑﻴﺮﻭﻥ ﻣﻰﺁﻳﻢ ﻫﻤﻪ ﭼﻴﺰ ﺑﻪ ﻧﻈﺮ ﻋﺠﻴﺐ ﻭ ﻣﺴﺨﺮﻩ ﻣﻰﺭﺳﺪ‪ .‬ﺯﻧﺪﮔﻰﺍﻡ ﺭﺍ ﺧﺎﻙ ﮔﺮﻓﺘﻪ‪.‬‬ ‫ﻭ ﺳﺮ ﺗﺎ ﭘﺎﻳﻢ ﺭﺍ‪ .‬ﺑﻌﺪ ﺍﺯ ﺩﻳﺪﻥ ﺩﻭﺑﺎﺭﻩﻯ ﺍﻳﻦ ﻫﻤﻪ ﺧﺎﻙ‪ ،‬ﭼﻬﺮﻩﻯ ﺁﺩﻡﻫﺎ ﻭ ﻭﺯﻭﺯ ﺣﺮﻑﻫﺎﻳﺸﺎﻥ ﻣﺮﺍ ﺑﺎ‬ ‫ﺧﻮﺩ ﻣﻰﺑﺮﺩ‪ ...‬ﻟﺐﻫﺎﻳﻰ ﻛﻪ ﺗﻜﺎﻥ ﻣﻰﺧﻮﺭﻧﺪ ﻭ ﺻﺪﺍﻫﺎﻳﻰ ﻛﻪ ﺭﺑﻄﻰ ﺑﻪ ﻟﺐﻫﺎ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺩﺳﺖﻫﺎﻳﻰ ﻛﻪ‬ ‫ﺑﻪ ﻃﺮﻓﻢ ﻣﻰﺁﻳﻨﺪ ﻭ ﻣﺮﺍ ﻣﻰﮔﻴﺮﻧﺪ‪ ...‬ﺗﺼﺎﻭﻳﺮ ﺍﺯ ﺟﻠﻮﻯ ﭼﺸﻤﺎﻧﻢ ﺑﻪ ﻧﺎﻛﺠﺎ ﻣﻰﺭﻭﻧﺪ‪ .‬ﺑﻰﺍﺧﺘﻴﺎﺭ ﺩﺳﺘﻰ ﺑﻪ‬ ‫ﺳﺮﻡ ﻣﻰﻛﺸﻢ ﻭ ﻣﻮﺭﭼﻪﻫﺎ ﺭﺍ ﻣﻰﺑﻴﻨﻢ‪ .‬ﺭﻭﻯ ﺩﺳﺘﻢ ﺭﺍﻩ ﻣﻰﺭﻭﻧﺪ‪ .‬ﻣﻰﺭﻭﻡ ﻭ ﺟﻠﻮﻯ ﺭﻭﺷﻮﻳﻰ ﻣﻰﺍﻳﺴﺘﻢ‪.‬‬ ‫ﮔﺮﺩﻧﻢ ﻫﻢ ﺍﺯ ﺳﻴﻞ ﻣﻮﺭﭼﻪﻫﺎ ﺳﻴﺎﻩ ﺍﺳﺖ‪ .‬ﺧﻴﻠﻰ ﺩﻭﺳﺘﻢ ﺩﺍﺭﻧﺪ‪ ...‬ﺍﻳﻦ‪ ...‬ﻧﻘﻄﻪﻫﺎﻯ ﻛﻮﭼﻚ ﻭ ﺷﻠﻮﻍ‪.‬‬ ‫ﺳﻮﺳﻚﻫﺎ ﻫﻢ ﺩﻭﺳﺘﻢ ﺩﺍﺭﻧﺪ‪ .‬ﭼﺴﺒﻨﺎﻙ ﻭ ﺷﻴﺮﻳﻦ ﻫﻢ ﻛﻪ ﻧﺒﺎﺷﻢ‪ ،‬ﻣﻰﺧﻮﺍﻫﻨﺪ ﻫﺮ ﻃﻮﺭ ﺷﺪﻩ ﺧﻮﺩﺷﺎﻥ‬ ‫ﺭﺍ ﺑﻪ ﻣﻦ ﺑﺮﺳﺎﻧﻨﺪ‪ .‬ﺷﻴﺮ ﺁﺏ ﺭﺍ ﺑﺎﺯ ﻣﻰﻛﻨﻢ‪ .‬ﺩﺳﺖ ﻣﻰﻛﺸﻢ ﻭ ﺳﻴﻞ ﻣﻮﺭﭼﻪﻫﺎ ﺭﺍ ﺩﺭ ﻗﻌﺮ ﺭﻭﺷﻮﻳﻰ‬ ‫ﻣﻰﻣﻴﺮﺍﻧﻢ‪ .‬ﺑﻪ ﺻﻮﺭﺗﻢ ﺁﺏ ﻣﻰﺯﻧﻢ ﻭ ﺑﻰﻫﻮﺍ ﻛﻤﻰ ﺁﺏ ﺗﻮﻯ ﭼﺸﻤﻢ ﻣﻰﺭﻭﺩ‪.‬‬ ‫ﭘﻠﻚ ﻛﻪ ﻣﻰﺯﻧﻢ ﺗﻮﻯ ﺧﻴﺎﺑﺎﻧﻢ‪ .‬ﺳﺮﺩ ﺍﺳﺖ‪ ...‬ﺯﻣﺴﺘﺎﻥ‪ .‬ﻛﺠﺎ ﻣﻰﺭﻭﻡ‪...‬؟ ﺭﻭﺑﺮﻭﻯ ﻳﻚ ﺩﺭﻣﺎﻧﮕﺎﻩ ﺑﺰﺭگ‬ ‫ﺍﻳﺴﺘﺎﺩﻩﺍﻡ‪ .‬ﺁﺩﻡﻫﺎ ﺗﻨﻪ ﻣﻰﺯﻧﻨﺪ ﻭ ﺑﻴﺮﻭﻥ ﻣﻰﺁﻳﻨﺪ‪ .‬ﻳﺎ ﺩﺍﺧﻞ ﻣﻰﺭﻭﻧﺪ‪ .‬ﺑﻴﻤﺎﺭﺳﺘﺎﻥ‪ ...‬ﻣﺮﻳﻀﻰ‪ ...‬ﺳِ ُﺮﻡ‪...‬‬ ‫ﻫﺮﭼﻪ ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﻳﺎﺩﻡ ﻧﻤﻰﺁﻳﺪ ﻛﻰ ﺍﺯ ﺧﺎﻧﻪ ﺑﻴﺮﻭﻥ ﺁﻣﺪﻩﺍﻡ ﻭ ﺁﻥﺟﺎ ﺍﻳﺴﺘﺎﺩﻩﺍﻡ‪ .‬ﺩﻧﻴﺎ ﺍﺯ ﺑﻴﻦ ﺍﻳﻦ ﻫﻤﻪ‬ ‫ﺁﺩﻡ ﻣﺮﺍ ﺑﺮﺍﻯ ﮔﻴﺮ ﺩﺍﺩﻥ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺧﻴﺎﺑﺎﻥ ﺭﺍ ﻣﻰﺷﻨﺎﺳﻢ‪ .‬ﺁﻥ ﻃﺮﻑ ﺧﻴﺎﺑﺎﻥ ﻣﻰﺭﻭﻡ ﻭ ﺍﺯ ﻣﻴﺎﻥ ﺗﻮﺩﻩﻯ ﺁﺩﻡﻫﺎ ﺭﺍﻫﻢ ﺭﺍ ﺑﺎﺯ ﻣﻰﻛﻨﻢ ﻭ ﺑﻪ‬ ‫ﻃﺮﻑ ﺧﺎﻧﻪ ﻣﻰﺭﻭﻡ‪ .‬ﺩﻧﻴﺎ ﺍﺯ ﻛﻨﺎﺭ ﻣﻦ ﺭﺩ ﻣﻰﺷﻮﺩ ﻭ ﻣﻰﺭﻭﺩ‪ .‬ﺑﻪ ﺍﻧﺘﻬﺎﻯ ﺧﻴﺎﺑﺎﻥ ﻣﻰﺭﺳﻢ ﻭ ﻣﻰﭘﻴﭽﻢ‬ ‫ﻛﻪ ﺩﻭﺑﺎﺭﻩ ﺭﻭﺑﻪﺭﻭﻯ ﺩﺭﻣﺎﻧﮕﺎﻩ ﻫﺴﺘﻢ‪ .‬ﭼﻪ‪ ...‬ﺍﺗﻔﺎﻗﻰ ﺍﻓﺘﺎﺩﻩ؟ ﺍﻳﻦ ﻃﺮﻑ ﻭ ﺁﻥ ﻃﺮﻓﻢ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻢ‬ ‫ﻭ ﺑﻪ ﺍﻧﺘﻬﺎﻯ ﺧﻴﺎﺑﺎﻥ ﭼﺸﻢ ﻣﻰﺩﻭﺯﻡ‪ .‬ﺟﺎﻳﻰ ﻛﻪ ﺍﻛﻨﻮﻥ ﺑﺎﻳﺪ ﺑﺎﺷﻢ ﻭ ﻧﻴﺴﺘﻢ‪ .‬ﭘﺲ ﺍﺯ ﻣﻜﺜﻰ ﻃﻮﻻﻧﻰ‪،‬‬ ‫ﺍﺗﻔﺎﻗﻰ ﻛﻪ ﺍﻓﺘﺎﺩﻩ ﺭﺍ ﻧﺎﺩﻳﺪﻩ ﻣﻰﮔﻴﺮﻡ ﻭ ﺁﻥ ﻃﺮﻑ ﺧﻴﺎﺑﺎﻥ ﻣﻰﺭﻭﻡ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﮔﺮﻳﺨﺘﻪ‬ ‫ﺯﻫﺮﺍ ﺳﺎﺩﺍﺕ ﻋﻤﺮﺍﻧﻰ‬

‫ﭘﺮﺗﻘﺎﻟﻰ ﺭﺍ ﻛﻪ ﻓﻘﻂ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻳﻚ ﺳﻜﻪﻯ ﭘﺎﻧﺼﺪ ﺗﻮﻣﺎﻧﻰﺍﺵ ﻟﻪ ﻧﻜﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﭘﻮﺳﺖ‬ ‫ﻣﻰﻛﻨﻢ ﻭ ﻣﻰﺧﻮﺭﻡ‪ .‬ﺧﻮﻥ ﭘﺮﺗﻘﺎﻝ ﺷﺮﻩ ﻣﻰﻛﻨﺪ ﻭ ﺍﺯ ﺩﺳﺘﻢ ﺭﻭﻯ ﮔﺮﺩﻧﻢ ﻣﻰﭼﻜﺪ‪ .‬ﺩﺍﺭﻡ‬ ‫ﻣﻰﺧﻮﺭﻣﺶ‪ .‬ﺁﻥﻗﺪﺭ ﻛﻮﻓﺖ ﻭ ﺯﻫﺮﻣﺎﺭ ﺗﺎﺭﻳﺦ ﻣﺼﺮﻑ ﮔﺬﺷﺘﻪ ﻭ ﺧﺮﺍﺏ ﺧﻮﺭﺩﻩﺍﻡ ﻛﻪ ﻣﻌﺪﻩﺍﻡ‬ ‫ﺍﺯ ﻏﺬﺍﻯ ﻃﺒﻴﻌﻰ ﺗﻌﺠﺐ ﻣﻰﻛﻨﺪ‪.‬‬


‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺍﺳﺘﻮﺋﻴﻚ ﺑﺎ ﺷﻜﻢ ﺗﻮﻯ ﺁﺏ ﭘﺮﻳﺪ ﻭ ﺁﺏ ﺯﻳﺎﺩﻯ ﺭﺍ ﺭﻭﻯ ﻛﺸﺘﻰ ﭘﺘﻚ ﺭﻳﺨﺖ‪ .‬ﺩﺭ ﻋﺮﺷﻪﻯ ﭘﺘﻚ‬ ‫ﺑﻘﻴﻪﻯ ﻧﺒﺮﺩ ﺩﺭ ﺣﺎﻝ ﺍﺟﺮﺍ ﺑﻮﺩ‪ .‬ﻭﻗﺘﻰ ﺧﻮﺩﺵ ﺭﺍ ﺍﺯ ﻛﺸﺘﻰ ﺑﺎﻻ ﻛﺸﻴﺪ ﺭﻭ ﺑﻪ ﭘﺴﺮﺵ ﻓﺮﻳﺎﺩ ﻛﺸﻴﺪ‪:‬‬ ‫»ﺑﻴﺎ ﻫﻴﻜﺎپ!«‬ ‫ﺑﻰﺩﻧﺪﻭﻥ ﺑﺮﻳﺪﻩ ﺑﺮﻳﺪﻩ ﮔﻔﺖ‪» :‬ﺑﺎﺑﺎﺕ ﺭﺍﺳﺖ ﻣﻰﮔﻪ! ﺑﺎﻳﺪ ﺯﻭﺩﺗﺮ ﺩﺭ ﺑﺮﻳﻢ!«‬ ‫ﻫﻴﻜﺎپ ﻣﻜﺚ ﻛﺮﺩ‪.‬‬ ‫ﻓﻴﺶﻟﮕﺰ ﻫﻨﻮﺯ ﺭﻭﻯ ﻋﺮﺷﻪﻯ ﻛﺸﺘﻰ ﺑﻮﺩ‪.‬‬ ‫ﻓﻴﺶﻟﮕﺰ ﻫﻨﻮﺯ ﺩﺭ ﻫﻤﺎﻥ ﺣﺎﻟﺖ ﻛﻠﻪﺧﺮﻯ ﮔﻴﺮ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﺷﻤﺸﻴﺮ ﺑﻪ ﺩﺳﺖ ﺍﺯ ﭘﻰ ﺍﻟﻮﻳﻦ ﻣﻰﺩﻭﻳﺪ‬ ‫ﺗﺎ ﺍﻭ ﺭﺍ ﺍﺯ ﻭﺳﻂ ﻧﺼﻒ ﻛﻨﺪ‪.‬‬ ‫ﺍﻟﻮﻳﻦ ﻫﻢ ﺑﺮﮔﺸﺘﻪ ﺑﻮﺩ ﺗﺎ ﮔﻨﺞ ﺭﺍ ﺑﺮﺩﺍﺭﺩ‪.‬‬ ‫ﻫﻴﻜﺎپ ﻓﺮﻳﺎﺩ ﻛﺸﻴﺪ‪» :‬ﻓﻴﺶﻟﮕﺰ! ﺑﺎﻳﺪ ﺍﺯ ﻛﺸﺘﻰ ﺑﻴﺮﻭﻥ ﺑﭙﺮﻳﻢ!«‬ ‫ﻭﻟﻰ ﻓﻴﺶﻟﮕﺰ ﺻﺪﺍﻯ ﺍﻭ ﺭﺍ ﻧﻤﻰﺷﻨﻴﺪ‪.‬‬ ‫ﻫﻴﻜﺎپ ﺑﺎﺯ ﺩﺍﺩ ﺯﺩ‪» :‬ﻓﻴﺶﻟﮕﺰ! ﺑﻬﺖ ﻣﻰﮔﻢ ﺑﺎﻳﺪ ﺑﭙﺮﻳﻢ ﺗﻮ ﺁﺏ! ﺍﮔﺮ ﻫﻤﻴﻦ ﺣﺎﻻ ﻧﭙﺮﻳﻢ ﺗﻮﻯ ﺁﺏ‬ ‫ﻛﺎﺭﻣﻮﻥ ﺳﺎﺧﺘﻪﺱ!«‬ ‫ﺩﻳﮕﺮ ﺧﻴﻠﻰ ﺩﻳﺮ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺍﺯ ﺩﻛﻞ ﺻﺪﺍﻯ ﻗﺮﺭﺭﺭﺭﭼﭽﭽﭽﭽﭽﭻ ﺑﻠﻨﺪﻯ ﺑﺮﺧﺎﺳﺖ ﻭ ﺩﻛﻞ ﺳﻮﺯﺍﻥ ﺑﻪ ﺩﺭﻳﺎ ﺍﻓﺘﺎﺩ‪.‬‬ ‫ﺍﺳﺘﻮﺋﻴﻚ ﺩﺭ ﻛﻤﺎﻝ ﻭﺣﺸﺖ ﺑﻪ ﻛﺸﺘﻰﺍﺵ ﺧﻴﺮﻩ ﺷﺪ ﻛﻪ ﻭﺍژﮔﻮﻥ ﺷﺪ ﻭ ﻓﻴﺶﻟﮕﺰ ﻭ ﺍﻟﻮﻳﻦ ﻭ ﻫﻴﻜﺎپ‬ ‫ﺭﺍ ﺩﺭ ﺯﻳﺮ ﺧﻮﺩ ﺑﻪ ﺩﺍﻡ ﺍﻧﺪﺍﺧﺖ‪.‬‬ ‫ﺳﭙﺲ ﻛﺸﺘﻰ ﺩﺭ ﺑﺮﺍﺑﺮ ﭼﺸﻤﺎﻧﺶ ﻏﺮﻕ ﺷﺪ ﻭ ﺩﺭ ﺩﻝ ﺩﺭﻳﺎ ﭘﺎﻳﻴﻦ ﺭﻓﺖ‪.‬‬ ‫ﻭ ﺍﺳﺘﻮﺋﻴﻚ ﺧﻮﺏ ﻣﻰﺩﺍﻧﺴﺖ ﻛﻪ ﺍﻳﻦ ﻗﺴﻤﺖ ﺍﺯ ﺩﺭﻳﺎ ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦ ﻛﻪ ﺧﻴﻠﻰ ﺁﺭﺍﻡ ﺑﻮﺩ‪ ،‬ﺣﺴﺎﺑﻰ ﻋﻤﻴﻖ‬ ‫ﺑﻮﺩ‪ .‬ﺁﻥﻗﺪﺭ ﻋﻤﻴﻖ ﻛﻪ ﺣﺘﺎ ﺷﺎﻩﻣﻴﮕﻮﻫﺎ ﻫﻢ ﺁﻥﺟﺎ ﺯﻧﺪﮔﻰ ﻧﻤﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺍﺳﺘﻮﺋﻴﻚ ﺑﺎ ﻧﺎﺍﻣﻴﺪﻯ ﻓﺮﻳﺎﺩ ﻛﺸﻴﺪ‪» :‬ﻫﻴﻚ‪-‬ﻛﺎپ!«‬ ‫ﻣﻰﺩﺍﻧﺴﺖ ﻛﻪ ﻫﺮﮔﺰ ﺩﻭﺑﺎﺭﻩ ﭘﺴﺮﺵ ﺭﺍ ﻧﺨﻮﺍﻫﺪ ﺩﻳﺪ‪.‬‬ ‫ﭼﻪ ﻛﺴﻰ ﻣﻤﻜﻦ ﺑﻮﺩ ﺑﺘﻮﺍﻧﺪ ﺍﺯ ﺍﻳﻦ ﻭﺿﻌﻴﺖ ﺟﺎﻥ ﺳﺎﻟﻢ ﺑﻪ ﺩﺭ ﺑﺒﺮﺩ؟‬

‫‪1. How to train your dragon‬‬ ‫‪2. Cressida Cowell‬‬ ‫‪3. Berk‬‬ ‫‪4. Hairy Hooligans‬‬

‫‪5. Hiccup Horrendous Haddock the Third‬‬ ‫‪6. Grimbeard the Ghastly‬‬ ‫‪7. Stoick the Vast‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﺑﻮﺩﻧﺪ ﻭ ﻫﺮ ﭼﻪ ﺭﺍ ﻛﻪ ﺩﺭ ﻛﻼﺱ ﺷﻤﺸﻴﺮﺯﻧﻰ ﺩﺭ ﺩﺭﻳﺎ ﻳﺎﺩ ﮔﺮﻓﺘﻪ ﺑﻮﺩﻧﺪ‪ ،‬ﺑﻪ ﻧﻤﺎﻳﺶ ﻣﻰﮔﺬﺍﺷﺘﻨﺪ‪.‬‬ ‫ﺭﻓﺘﺎﺭ ﻓﻴﺶﻟﮕﺰ ﺑﻪ ﺧﺼﻮﺹ ﻏﺮﻳﺐ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻫﻤﻴﻦ ﻛﻪ ﻧﺒﺮﺩ ﺁﻏﺎﺯ ﺷﺪ ﺍﻭ ﺩﭼﺎﺭ ﺟﻨﻮﻥ ﺷﺪ‪ .‬ﺧﻮﺩﺵ‬ ‫ﺭﺍ ﺭﻭﻯ ﺩﺷﻤﻨﺎﻧﺶ ﻣﻰﺍﻧﺪﺍﺧﺖ ﻭ ﺷﻤﺸﻴﺮﺵ ﺭﺍ ﻣﺜﻞ ﺭﻭﺍﻧﻰﻫﺎ ﺩﻭﺭ ﺳﺮﺵ ﺗﻜﺎﻥ ﻣﻰﺩﺍﺩ‪.‬‬ ‫ﻭﺍﻳﻜﻴﻨﮓﻫﺎ ﺑﻪ ﺍﻳﻦ ﺣﺎﻟﺖ »ﻛﻠﻪﺧﺮﻯ« ﻣﻰﮔﻮﻳﻨﺪ‪ .‬ﺟﻨﮕﺠﻮﻳﺎﻧﻰ ﻛﻪ ﭼﻨﻴﻦ ﺗﻮﺍﻧﺎﻳﻰﻫﺎﻳﻰ ﺩﺍﺭﻧﺪ‪ ،‬ﺩﺭ‬ ‫ﻣﻴﺎﻥ ﻭﺍﻳﻜﻴﻨﮓﻫﺎ ﺑﺴﻴﺎﺭ ﻣﺤﺘﺮﻡ ﺷﻤﺮﺩﻩ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﻫﻴﭻﻛﺲ ﺣﺘﺎ ﻓﻜﺮﺵ ﺭﺍ ﻫﻢ ﻧﻤﻰﻛﺮﺩ ﻛﻪ ﻛﺴﻰ ﻣﺜﻞ ﻓﻴﺶﻟﮕﺰ ﭼﻨﻴﻦ ﻗﺎﺑﻠﻴﺘﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﻭﻟﻰ ﺍﻳﻦ ﭼﻴﺰﻫﺎ ﻏﻴﺮﻗﺎﺑﻞ ﭘﻴﺶﺑﻴﻨﻰ ﺍﺳﺖ‪.‬‬ ‫ﺍﺧﺮﺍﺟﻰﻫﺎ ﺍﺯ ﺳﺮ ﺭﺍﻫﺶ ﻛﻨﺎﺭ ﺭﻓﺘﻨﺪ‪ .‬ﭼﻮﻥ ﻛﺴﻰ ﻛﻪ ﺩﭼﺎﺭ ﻛﻠﻪﺧﺮﻯ ﻣﻰﺷﻮﺩ‪ ،‬ﻣﻮﺭﺩ ﺍﺣﺘﺮﺍﻡ ﺍﺳﺖ‪.‬‬ ‫ﺣﺘﺎ ﺍﮔﺮ ﺳﺮ ﺟﻤﻊ ﭼﻬﺎﺭﻓﻮﺕ ﻭ ﺩﻩ ﺍﻳﻨﭻ ﺑﺎﺷﺪ‪ ،‬ﭼﺸﻤﺎﻧﺶ ﻟﻮچ ﺑﺎﺷﺪ ﻭ ﻟﻨﮓ ﻫﻢ ﺑﺰﻧﺪ‪ .‬ﺷﻤﺸﻴﺮﺯﻧﻰ‬ ‫ﻫﻢ ﻛ ً‬ ‫ﻼ ﺑﻠﺪ ﻧﺒﺎﺷﺪ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﺩﺭ ﻛﻤﺎﻝ ﺗﺎﺳﻒ ﺑﺎﻳﺪ ﺍﻋﺘﺮﺍﻑ ﻛﻨﻢ ﻛﻪ ﺍﺳﻨﺎﺗﻠﻮﺕ ﺑﺎ ﺷﺠﺎﻋﺖ ﻭ ﻣﻬﺎﺭﺕ ﺑﺴﻴﺎﺭﻯ ﺟﻨﮕﻴﺪ‪ .‬ﻣﭻ‬ ‫ﺳﺮﻳﻌﺶ ﺭﺍ ﻣﻰﭼﺮﺧﺎﻧﺪ ﻭ ﺑﻪ ﺯﻳﺒﺎﻳﻰ ﺿﺮﺑﻪ ﺭﺍ ﻭﺍﺭﺩ ﻣﻰﻛﺮﺩ ﻭ ﺑﻴﺮﻭﻥ ﻣﻰﻛﺸﻴﺪ‪ .‬ﻣﺜﻞ ﺑﺮﻕ‪ .‬ﻫﻤﻪﻯ‬ ‫ﺗﻜﻨﻴﻚﻫﺎﻯ ﺷﻤﺸﻴﺮﺯﻧﻰ ﺭﺍ ﺍﺟﺮﺍ ﻣﻰﻛﺮﺩ‪ .‬ﺩﻓﺎﻉ ﺣﻤﻠﻮﻯ‪ ،‬ﭘﻨﺠﻪﻯ ﺧﻔﻦﭘﺸﻢ‪ ،‬ﺿﺮﺑﻪﻯ ﺁﺧﺮ‪ ،‬ﻭ ﺧﻴﻠﻰ‬ ‫ﺗﻜﻨﻴﻚﻫﺎﻯ ﺷﻤﺸﻴﺮﺯﻧﻰ ﺩﻳﮕﺮ‪ .‬ﺩﺭ ﭘﻨﺞ ﺩﻗﻴﻘﻪ ﺍﻭ ﺳﻪ ﺍﺧﺮﺍﺟﻰ ﺭﺍ ﺍﺯ ﭘﺎ ﺍﻧﺪﺍﺧﺖ‪ .‬ﻫﻤﻪ ﺍﺯ ﺍﻭ ﺑﺰﺭگﺗﺮ‬ ‫ﻭ ﺳﻨﮕﻴﻦﺗﺮ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻳﻦ ﺑﻴﻦ ﻛﺎﺭﺁﻣﻮﺯﺍﻥ ﺩﺯﺩﻯ ﺩﺭﻳﺎﻳﻰ ﺭﻛﻮﺭﺩﻯ ﺍﺳﺖ ﻛﻪ ﺗﺎ ﺍﻣﺮﻭﺯ ﻫﻢﭼﻨﺎﻥ ﭘﺎ‬ ‫ﺑﺮﺟﺎﺳﺖ‪.‬‬ ‫ﺧﻴﻠﻰ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻢ ﺑﮕﻮﻳﻢ ﻛﻪ ﻫﻴﻜﺎپ ﻫﻢ ﺑﻪ ﻫﻤﻴﻦ ﺧﻮﺑﻰ ﺟﻨﮕﻴﺪ‪ .‬ﻭﻟﻰ ﻧﻤﻰﺗﻮﺍﻧﻢ‪ .‬ﭼﻮﻥ ﺍﻳﻦ ﻃﻮﺭ‬ ‫ﻧﺒﻮﺩ‪ .‬ﺩﺳﺖ ﻫﻴﻜﺎپ ﺍﺯ ﺟﺎ ﺩﺭ ﺭﻓﺘﻪ ﺑﻮﺩ ﻭ ﺍﮔﺮ ﻳﺎﺩﺗﺎﻥ ﺑﺎﺷﺪ ﺷﻤﺸﻴﺮﺵ ﺟﺎﻳﻰ ﺩﺭ ﺳﺎﺣﻞ ﺟﺰﻳﺮﻩﻯ‬ ‫ﺟﻤﺠﻤﻪﺍﻯ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﻭﻟﻰ ﻫﻴﻜﺎپ ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﺩﺳﺘﺶ ﻣﻰﺭﺳﻴﺪ ﻛﻤﻚ ﻛﺮﺩ‪ .‬ﺑﺎ ﺩﺳﺖ ﭼﭗ ﺳﺮﻳﻌﺶ‪،‬‬ ‫ﻛﻠﻴﺪﻯ ﺭﺍ ﺍﺯ ﺷﺎﺥﺧﻤﻴﺪﻩ ﻛﺶ ﺭﻓﺖ )ﻛﻪ ﺩﺭ ﺣﺎﻝ ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﮔﻮﺑﺮ ﺑﻮﺩ( ﻭ ﺑﺎ ﺁﻥ ﭼﻬﺎﺭ ﭘﻨﺞ ﻧﻔﺮ ﺍﺯ‬ ‫ﻭﺣﺸﻰﺁﺑﺎﺩﻯﻫﺎ ﺭﺍ ﻛﻪ ﺯﻧﺠﻴﺮ ﺷﺪﻩ ﻭ ﺁﻣﺎﺩﻩﻯ ﺑﺮﺩﮔﻰ ﺑﻮﺩﻧﺪ‪ ،‬ﺑﺎﺯ ﻛﺮﺩ‪ .‬ﺁﻥﻫﺎ ﻫﻢ ﺑﻪ ﻣﺒﺎﺭﺯﻩ ﭘﻴﻮﺳﺘﻨﺪ‪.‬‬ ‫ﺑﻰﺩﻧﺪﻭﻥ ﻫﻢ ﻫﻤﻴﻦ ﻛﻪ ﮔﻴﺞ ﻭ ﻭﻳﺞ ﺍﺯ ﺑﺸﻜﻪ ﺑﻴﺮﻭﻥ ﺁﻣﺪ‪ ،‬ﺍﻭﻟﻴﻦ ﭘﺎﻯ ﭘﺸﻤﺎﻟﻮﻳﻰ ﺭﺍ ﻛﻪ ﭘﻴﺪﺍ ﻛﺮﺩ ﮔﺎﺯ‬ ‫ﮔﺮﻓﺖ‪ .‬ﭘﺎ ﻣﺘﻌﻠﻖ ﺑﻪ ﺍﺧﺮﺍﺟﻰ ﺧﻴﻠﻰ ﺧﭙﻠﻰ ﺑﻮﺩ ﻛﻪ ﻛﻠﻪﭘﺎ ﺷﺪ ﻭ ﻓﺸﻔﺸﻪﺍﻯ ﺭﺍ ﻛﻪ ﺩﺭ ﺩﺳﺘﺶ ﺑﻮﺩ ﺩﺭ‬ ‫ﺑﺸﻜﻪﻯ ﺑﺎﺭﻭﺗﻰ ﺍﻧﺪﺍﺧﺖ ﻛﻪ ﻫﻤﺎﻥ ﻧﺰﺩﻳﻜﻰ ﺑﻮﺩ‪.‬‬ ‫ﺛﻮﺭ ﻣﻰﺩﺍﻧﺪ ﺩﺍﺧﻞ ﺁﻥ ﺑﺸﻜﻪ ﭼﻪ ﺑﻮﺩ‪ .‬ﻭﻟﻰ ﻛﻞ ﺑﺸﻜﻪ ﺁﺗﺶ ﮔﺮﻓﺖ‪.‬‬ ‫ﺁﺗﺶ ﺧﻴﻠﻰ ﺯﻭﺩ ﺍﺯ ﻛﻨﺘﺮﻝ ﺧﺎﺭﺝ ﺷﺪ‪.‬‬ ‫ﺑﺎﺩﺑﺎﻥ ﺁﺗﺶ ﮔﺮﻓﺖ ﻭ ﺩﻭﺩﻯ ﺳﻴﺎﻩ ﻭ ﻏﻠﻴﻆ ﻋﺮﺷﻪ ﺭﺍ ﭘﻮﺷﺎﻧﺪ‪.‬‬ ‫ﻫﻤﻪ ﺍﺯ ﺳﻴﺰﺩﻩ ﺧﻮﺵﺷﺎﻧﺲ ﺑﻴﺮﻭﻥ ﭘﺮﻳﺪﻧﺪ ﺗﺎ ﺍﺯ ﺁﺗﺶ ﺟﺎﻥ ﺳﺎﻟﻢ ﺑﻪ ﺩﺭ ﺑﺒﺮﻧﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻭﻟﻰ ﺩﺭ ﻫﻤﻴﻦ ﺯﻣﺎﻥ ﺑﻰﺩﻧﺪﻭﻥ ﻣﻮﻓﻖ ﺷﺪ ﺑﺸﻜﻪﺍﻯ ﺭﺍ ﻛﻪ ﺩﺭﻭﻧﺶ ﺯﻧﺪﺍﻧﻰ ﺑﻮﺩ‪ ،‬ﻭﺍﺭﻭﻧﻪ ﻛﻨﺪ‪.‬‬ ‫ﭘﻨﺞ ﺩﻗﻴﻘﻪ ﻣﻰﺷﺪ ﻛﻪ ﺩﺍﺷﺖ ﺑﺎ ﺗﻤﺎﻡ ﻭﺯﻧﺶ ﺑﻪ ﻳﻚ ﺳﻤﺖ ﺑﺸﻜﻪ ﻓﺸﺎﺭ ﻣﻰﺁﻭﺭﺩ‪ .‬ﺑﺎﻻﺧﺮﻩ ﺍﻭ ﻳﻚ‬ ‫ﻓﺸﺸﺸﺸﺎﺭ ﻣﺤﻜﻢ ﺩﺍﺩ ﻭ ﺑﺸﻜﻪ ﺭﺍ ﻭﺍﺭﻭﻧﻪ ﻛﺮﺩ‪ .‬ﺑﺸﻜﻪ ﺑﺎ ﺳﺮﻋﺖ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩﻯ ﺑﻪ ﺳﻤﺖ ﺩﻛﻞ ﻗﻞ‬ ‫ﺧﻮﺭﺩ‪ .‬ﺑﻰﺩﻧﺪﻭﻥ ﻫﻢ ﺩﺍﺧﻞ ﺑﺸﻜﻪ ﻗﻞ ﺧﻮﺭﺩ ﻭ ﻗﻞ ﺧﻮﺭﺩ ﻭ ﺑﺎﻻﺧﺮﻩ ﻣﺴﺘﻘﻴﻢ ﺑﻪ ﭘﺎﻫﺎﻯ ﺍﻟﻮﻳﻦ ﻫﻔﺖ‬ ‫ﺧﻂ ﺑﺮﺧﻮﺭﺩ ﻛﺮﺩ‪ ...‬ﺍﻭ ﻫﻢ ﺗﻌﺎﺩﻟﺶ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩ ﻭ ﺍﻓﺘﺎﺩ‪...‬‬ ‫ﺍﻟﻮﻳﻦ ﻳﻚ ﺍﻭﺥ ﺍﺯ ﺳﺮ ﻏﺎﻓﻠﮕﻴﺮﻯ ﺳﺮ ﺩﺍﺩ ﻭ ﺍﺧﺮﺍﺟﻰﻫﺎ ﺗﻨﻬﺎ ﻳﻚ ﺛﺎﻧﻴﻪ ﺣﻮﺍﺳﺸﺎﻥ ﭘﺮﺕ ﺷﺪ‪ .‬ﻭ ﻫﻤﻴﻦ‬ ‫ﻳﻚ ﺛﺎﻧﻴﻪ ﻛﺎﻓﻰ ﺑﻮﺩ‪ .‬ﺍﺳﺘﻮﺋﻴﻚ ﭼﺮﺧﻰ ﺯﺩ ﻳﻚ ﻣﺸﺖ ﭘﺪﺭ ﻭ ﻣﺎﺩﺭﺩﺍﺭ ﺣﻮﺍﻟﻪﻯ ﺯﻳﺮ ﭼﺎﻧﻪﻯ ﺷﺎﺥﺧﻤﻴﺪﻩ‬ ‫ﻛﺮﺩ‪.‬‬ ‫ﺍﺯ ﺁﻥ ﻟﺤﻈﻪ ﺑﻪ ﺑﻌﺪ ﺩﺭ ﻋﺮﺷﻪ ﻏﻮﻏﺎﻳﻰ ﺑﻪ ﭘﺎ ﺷﺪ ﻛﻪ ﺑﻴﺎ ﻭ ﺑﺒﻴﻦ‪.‬‬ ‫ﻭﺣﺸﻰﺁﺑﺎﺩﻯﻫﺎ ﺍﺯ ﻳﻚ ﻟﺤﻈﻪ ﻏﻔﻠﺖ ﺣﺮﻳﻔﺎﻥﺷﺎﻥ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻧﺪ ﻭ ﻭﺍﺭﺩ ﻣﺒﺎﺭﺯﻩ ﺷﺪﻧﺪ‪.‬‬ ‫»ﺣﺎﻻ ﺑﻬﺖ ﻧﺸﻮﻥ ﻣﻰﺩﻡ ﻛﻪ ﻭﺣﺸﻰﺁﺑﺎﺩﻯﻫﺎ ﺁﺳﻮﻥﮔﻴﺮ ﺷﺪﻥ ﻳﺎ ﻧﻪ!!!!« ﻧﻌﺮﻩﻯ ﻭﺍﻳﻜﻴﻨﮕﻰ ﺳﺮ ﺩﺍﺩ ﻭ‬ ‫ﺧﻮﺩﺵ ﺭﺍ ﺑﺎ ﺩﺳﺖ ﺧﺎﻟﻰ ﺭﻭﻯ ﺣﺮﻳﻔﺶ ﺍﻧﺪﺍﺧﺖ‪ .‬ﻛﻠﻪﻯ ﺩﻭ ﺗﺎ ﺍﺯ ﺍﺧﺮﺍﺟﻰﻫﺎ ﺭﺍ ﺑﻪ ﻫﻢ ﻛﻮﺑﻴﺪ ﻭ ﺑﺎ ﭘﺎ‬ ‫ﺭﻓﺖ ﺗﻮﻯ ﭘﻬﻠﻮﻯ ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﺁﻥﻫﺎ‪ .‬ﻭﻗﺘﻰ ﺁﻥ ﺍﺧﺮﺍﺟﻰ ﺍﺯ ﺩﺭﺩ ﺧﻢ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺍﻭ ﺭﻭﻯ ﭘﺸﺘﺶ ﭘﺮﻳﺪ‬ ‫ﺗﺎ ﺧﻮﺩﺵ ﺭﺍ ﺭﻭﻯ ﺣﺮﻳﻒ ﺩﻳﮕﺮﻯ ﺑﻴﻨﺪﺍﺯﺩ ﻛﻪ ﭘﺸﺖ ﺳﺮﺵ ﺑﻮﺩ‪.‬‬ ‫ﻫﺮ ﭼﻨﺪ ﻣﻤﻜﻦ ﺑﻮﺩ ﺣﺴﺎﺑﻰ ﺍﻭﺿﺎﻋﺶ ﺧﻴﻂ ﺷﻮﺩ‪ .‬ﭼﻮﻥ ﺍﺳﻠﺤﻪ ﻧﺪﺍﺷﺖ‪ .‬ﻭﻟﻰ ﺑﮕﻰﺑﺎﻡ ﺷﻜﻢﺑﺸﻜﻪ ﺑﻪ‬ ‫ﻛﻤﻜﺶ ﺁﻣﺪ‪ .‬ﺩﻭ ﺑﺮﺍﺩﺭ ﻛﻪ ﭘﻨﺞ ﺩﻗﻴﻘﻪﻯ ﭘﻴﺶ ﺩﺍﺷﺘﻨﺪ ﺑﺎ ﻫﻢ ﺩﻋﻮﺍ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﺑﻘﻴﻪﻯ ﻧﺒﺮﺩ ﺭﺍ ﭘﺸﺖ‬ ‫ﺑﻪ ﭘﺸﺖ ﻫﻢ ﺟﻨﮕﻴﺪﻧﺪ‪.‬‬ ‫ﻧﺒﺮﺩ ﺭﻭﻯ ﻋﺮﺷﻪﻯ ﺳﻴﺰﺩﻩ ﺧﻮﺵﺷﺎﻧﺲ ﺑﻪ ﺣﻤﺎﺳﻪﺍﻯ ﺗﺒﺪﻳﻞ ﺷﺪ ﻛﻪ ﻭﺣﺸﻰﺁﺑﺎﺩﻯﻫﺎ ﺗﺎ ﺳﺎﻟﻴﺎﻥ ﺳﺎﻝ‬ ‫ﺁﻥ ﺭﺍ ﺑﺮﺍﻯ ﻓﺮﺯﻧﺪﺍﻥﺷﺎﻥ ﺗﻌﺮﻳﻒ ﻛﺮﺩﻧﺪ‪ .‬ﻗﺪﺭﺕ ﻧﻈﺎﻣﻰ ﺍﺧﺮﺍﺟﻰﻫﺎ ﺩﺭ ﻣﻴﺎﻥ ﻃﻮﺍﻳﻒ ﻭﺍﻳﻜﻴﻨﮕﻰ ﺯﺑﺎﻧﺰﺩ‬ ‫ﺍﺳﺖ‪ .‬ﻭﻟﻰ ﻭﺣﺸﻰﺁﺑﺎﺩﻯﻫﺎ ﺑﺮﺍﻯ ﺁﺯﺍﺩﻯﺷﺎﻥ ﻣﺒﺎﺭﺯﻩ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﺍﺯ ﻫﻤﻴﺸﻪ ﻭﺣﺸﻴﺎﻧﻪﺗﺮ‬ ‫ﻭ ﺧﺸﻦﺗﺮ ﻭ ﺑﻰﭘﺮﻭﺍﺗﺮ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻧﺒﺮﺩ‪ ،‬ﺍﺳﺘﻮﺋﻴﻚ ﺑﻪ ﺑﻴﺸﺘﺮ ﺍﺯ ﺑﻴﺴﺖ ﺗﺎ ﺍﺯ ﺟﻨﮕﺠﻮﻳﺎﻧﺶ ﺳﺘﺎﺭﻩﻯ ﺳﻴﺎﻩ ﺍﻫﺪﺍ ﻛﺮﺩ‪ .‬ﻭ ﺗﻌﺠﺒﻰ‬ ‫ﻫﻢ ﻧﺪﺍﺷﺖ‪ ،‬ﭼﻮﻥ ﺗﻜﻨﻴﻚﻫﺎﻯ ﺷﻤﺸﻴﺮﺯﻧﻰﺍﻯ ﻛﻪ ﺁﻥ ﺭﻭﺯ ﺑﻪ ﻧﻤﺎﻳﺶ ﮔﺬﺍﺷﺘﻪ ﺷﺪ ﺣﻘﻴﻘﺘﺎً ﺩﻳﺪﻧﻰ‬ ‫ﺑﻮﺩ‪ .‬ﻭ ﺭﺍﺳﺘﺶ ﻫﻤﻪﻯ ﺍﻳﻦﻫﺎ ﺑﻪ ﭘﺎﺱ ﺯﺣﻤﺎﺗﻰ ﺑﻮﺩ ﻛﻪ ﮔﻮﺑﺮ ﻛﺸﻴﺪﻩ ﺑﻮﺩ‪ .‬ﻫﺮ ﭼﻪ ﻧﺒﺎﺷﺪ ﺍﻭ ﺑﻪ ﺑﻴﺸﺘﺮ‬ ‫ﺍﻳﻦ ﺳﺮﺑﺎﺯﻫﺎ ﺷﻤﺸﻴﺮﺯﻧﻰ ﺁﻣﻮﺧﺘﻪ ﺑﻮﺩ‪ .‬ﺩﺭ ﻳﻚ ﮔﻮﺷﻪﻯ ﻋﺮﺷﻪ‪ ،‬ﻧﻮﺑﺮ ﺑﻰﻣﻐﺰ ﺩﺭ ﺣﺎﻝ ﺍﺟﺮﺍﻯ ﺭﻗﺺ‬ ‫ﺗﺒﺮ ﺑﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﺗﻜﻨﻴﻚ ﺟﻨﮕﺠﻮ ﺩﻭ ﺗﺒﺮ ﭼﺮﺧﺎﻥ ﺭﺍ ﺍﺯ ﺍﻳﻦ ﺩﺳﺖ ﺑﻪ ﺁﻥ ﺩﺳﺖ ﭘﺮﺗﺎﺏ ﻣﻰﻛﻨﺪ ﻭ ﺑﺎ‬ ‫ﺁﻛﺮﻭﺑﺎﺕ‪ ،‬ﺣﺮﻳﻔﺶ ﺭﺍ ﮔﻴﺞ ﻣﻰﻛﻨﺪ ﻭ ﺑﻌﺪ ﺑﻪ ﺍﻭ ﺣﻤﻠﻪ ﻣﻰﺑﺮﺩ ﻭ ﻛﺎﺭﺵ ﺭﺍ ﻣﻰﺳﺎﺯﺩ‪.‬‬ ‫ﺁﻥ ﻭﺳﻂ ﻫﻢ ﺑﭽﻪﻫﺎﻯ ﺩﻭﺭﻩﻯ ﺁﻣﻮﺯﺷﻰ ﺑﺎ ﺍﺧﺮﺍﺟﻰﻫﺎﻳﻰ ﺩﻭ ﺑﺮﺍﺑﺮ ﺍﻧﺪﺍﺯﻩﻯ ﺧﻮﺩﺷﺎﻥ ﺩﺭﮔﻴﺮ ﺷﺪﻩ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﺍﺳﺘﻮﺋﻴﻚ ﺍﻋﺘﺮﺍﻑ ﻛﺮﺩ‪» :‬ﺧﺐ‪ ...‬ﭼﻰ ﺑﮕﻢ‪ .‬ﺁﺭﻩ‪«.‬‬ ‫ﺍﻟﻮﻳﻦ ﮔﻔﺖ‪» :‬ﻫﺎﺍﺍﺍ ﺁ ﺑﺎﺭﻳﻜﻼ! ﻛﺪﻭﻡ ﮔﻮﺳﻔﻨﺪﻯ ﺧﻮﺩﺵ ﺑﺮﺍﻯ ﻛﻠﻪﭘﺎﭼﻪ ﺷﺪﻥ ﺩﺍﻭﻃﻠﺐ ﺷﺪﻩ؟ ﻭ ﺣﺎﻻ‬ ‫ﻛﻪ ﺣﺮﻑ ﺩﺍﻭﻃﻠﺐ ﺷﺪﻥ ﺷﺪ‪ «...‬ﺍﻟﻮﻳﻦ ﺍﻧﮕﺎﺭ ﭼﻴﺰ ﺧﻨﺪﻩﺩﺍﺭﻯ ﻳﺎﺩﺵ ﺁﻣﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﺯﻳﺮﺯﻳﺮﻛﻰ ﺧﻨﺪﻳﺪ‪.‬‬ ‫»ﻳﺎﺩﻡ ﺭﻓﺖ ﻛﻪ ﺑﮕﻢ ﻓﻘﻂ ﺍﺳﺘﻮﺋﻴﻚ ﺍﺯ ﺍﻳﻦ ﺗﻘﺪﻳﺮ ﺑﺮﺧﻮﺭﺩﺍﺭ ﻧﺨﻮﺍﻫﺪ ﺷﺪ‪ .‬ﻭﺍﺭﺛﺶ ﻫﻢ ﻣﻔﺘﺨﺮ ﻣﻰﺷﻪ‪.‬‬ ‫ﻭﻟﻰ ﺍﻧﮕﺎﺭ ﺟﺪﻳﺪﺍ ً ﺑﺮ ﺳﺮ ﻭﺭﺍﺛﺖ ﺍﺳﺘﻮﺋﻴﻚ ﺍﺧﺘﻼﻓﺎﺗﻰ ﭘﻴﺶ ﺍﻭﻣﺪﻩ‪ .‬ﺣﺎﻻ ﺳﻮﺍﻝ ﺍﻳﻨﻪ ﻛﻪ‪ «...‬ﺍﻟﻮﻳﻦ ﺳﻌﻰ‬ ‫ﺩﺍﺷﺖ ﭼﻬﺮﻩﺍﺵ ﺭﺍ ﻫﻢﭼﻨﺎﻥ ﺧﻨﺪﺍﻥ ﻧﮕﻪ ﺩﺍﺭﺩ‪» .‬ﻭﺍﺭﺙ ﺍﺳﺘﻮﺋﻴﻚ ﻋﺮﻳﺾ ﻛﻴﻪ؟ ﻣﻰﺷﻪ ﻟﻄﻔﺎً ﺩﺳﺘﺶ‬ ‫ﺭﻭ ﺑﮕﻴﺮﻩ ﺑﺎﻻ ﻟﻄﻔﺎً؟«‬ ‫ﺧﻴﻠﻰ ﺟﺎﻟﺐ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻗﺴﻤﺖ ﺍﺯ ﻣﺎﺟﺮﺍ ﺍﺳﻨﺎﺗﻠﻮﺕ ﺩﺳﺘﺶ ﺭﺍ ﺑﺎﻻ ﻧﺒﺮﺩ‪.‬‬ ‫ﺩﺭ ﻋﻮﺽ ﺳﻌﻰ ﻛﺮﺩ ﭘﺸﺖ ﺩﺍﮔﺰﺑﺮﺙ ﻗﺎﻳﻢ ﺷﻮﺩ ﻭ ﺑﻪ ﻧﻮﻙ ﺑﺮﻧﺰﻯ ﺻﻨﺪﻝﻫﺎﻳﺶ ﺧﻴﺮﻩ ﺷﻮﺩ ﻭ ﻃﻮﺭﻯ‬ ‫ﻭﺍﻧﻤﻮﺩ ﻛﻨﺪ ﻛﻪ ﺍﻧﮕﺎﺭ ﺳﻮﺍﻝ ﺭﺍ ﺩﺭﺳﺖ ﻧﺸﻨﻴﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻫﻴﻜﺎپ ﺁﻫﻰ ﻛﺸﻴﺪ‪.‬‬ ‫ﺭﺍﺳﺖ ﺭﻭﻯ ﻧﻴﻤﻜﺖ ﭘﺎﺭﻭﺯﻧﻰ ﺍﻳﺴﺘﺎﺩ ﺑﻪ ﻃﻮﺭﻯ ﻛﻪ ﻫﻤﻪ ﺑﺘﻮﺍﻧﻨﺪ ﺍﻭ ﺭﺍ ﺑﺒﻴﻨﻨﺪ‪.‬‬ ‫ﮔﻔﺖ‪» :‬ﻣﻦ‪ ،‬ﻭﺍﺭﺙ ﺍﺳﺘﻮﺋﻴﻚ ﻋﺮﻳﺾ ﻫﺴﺘﻢ‪«.‬‬ ‫ﻟﺒﺨﻨﺪﻯ ﻣﻐﺮﻭﺭﺍﻧﻪ ﻭ ﮔﺮﻡ ﺑﺮ ﻟﺒﺎﻥ ﺍﺳﺘﻮﺋﻴﻚ ﻧﻘﺶ ﺑﺴﺖ‪.‬‬ ‫ﻫﺮ ﭼﻨﺪ ﺍﺧﺮﺍﺟﻰﻫﺎ ﺍﻧﺴﺎﻥﻫﺎﻯ ﺧﻴﻠﻰ ﻣﻮﺩﺑﻰ ﺑﻮﺩﻧﺪ‪ ،‬ﺷﺮﻭﻉ ﻛﺮﺩﻧﺪ ﺩﺭ ﮔﻮﺵ ﻫﻢ ﭘﭻﭘﭻ ﻛﺮﺩﻥ‪ .‬ﺍﻟﺒﺘﻪ‬ ‫ﻫﻴﻜﺎپ ﺍﺧﺮﺍﺟﻴﺎﻳﻰ ﺑﻠﺪ ﻧﺒﻮﺩ‪ .‬ﻭﻟﻰ ﻛﺎﻣ ً‬ ‫ﻼ ﻣﺸﺨﺺ ﺑﻮﺩ ﻛﻪ ﺩﺍﺷﺘﻨﺪ ﭼﻪ ﻣﻰﮔﻔﺘﻨﺪ‪» .‬ﺍﻭﻥ ﻳﺎﺭﻭ ﻻﻏﺮ‬ ‫ﻣﺮﺩﻧﻴﻪ ﻭﺍﺭﺙ ﻭﺣﺸﻰﺁﺑﺎﺩﻳﺎﻯ ﭘﺸﻤﺎﻟﻮﺋﻪ؟؟«‬ ‫ﺩﻭ ﺍﺧﺮﺍﺟﻰ ﻫﻴﻜﻠﻰ ﻫﻴﻜﺎپ ﺭﺍ ﺍﺯ ﺭﻭﻯ ﻧﻴﻤﻜﺖ ﺑﻠﻨﺪ ﻛﺮﺩﻧﺪ ﻭ ﻛﻨﺎﺭ ﺍﺳﺘﻮﺋﻴﻚ ﻧﺸﺎﻧﺪﻧﺪ‪.‬‬ ‫ﺍﻟﻮﻳﻦ ﻃﻮﻓﺎﻥﺗﻴﻎ ﺭﺍ ﺑﺎﻻ ﮔﺮﻓﺖ‪ .‬ﺷﻤﺸﻴﺮ ﺣﺎﻻ ﺑﺨﺸﻰ ﺍﺯ ﺩﺳﺘﺶ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺷﺎﺥ ﻳﻚ‬ ‫ﻧﻬﻨﮓ ﺗﻚﺷﺎﺥ ﺑﺨﺸﻰ ﺍﺯ ﺑﻴﻨﻰ ﺁﻥ ﺍﺳﺖ‪.‬‬ ‫ﺍﻟﻮﻳﻦ ﮔﻔﺖ‪» :‬ﺧﻴﻠﻰ ﺑﺮﺍﺯﻧﺪﻩﻯ ﺩﺳﺖ ﻣﻨﻪ‪ ،‬ﻧﻪ؟«‬ ‫ﻧﻮﺭ ﺧﻮﺭﺷﻴﺪ ﺭﻭﻯ ﻃﺮﺡ ﺗﻨﺪﺭ ﺭﻗﺼﻴﺪﻥ ﮔﺮﻓﺖ‪ .‬ﺍﻟﻮﻳﻦ ﺍﻧﮕﺸﺘﺶ ﺭﺍ ﺑﻪ ﻧﺮﻣﻰ ﺭﻭﻯ ﺗﻴﻎ ﺷﻤﺸﻴﺮ ﻛﺸﻴﺪ‪.‬‬ ‫ﺧﻮﻥ ﺑﺮ ﻋﺮﺷﻪ ﻓﺮﻭ ﺭﻳﺨﺖ‪.‬‬ ‫ﺍﻟﻮﻳﻦ ﮔﻔﺖ‪» :‬ﺣﺴﺎﺑﻰ ﺗﻴﺰﻩ‪ .‬ﻧﮕﺮﺍﻥ ﻧﺒﺎﺵ‪ .‬ﺍﺻ ً‬ ‫ﻼ ﺩﺭﺩ ﻧﺪﺍﺭﻩ‪ «.‬ﻭ ﺑﻪ ﺳﻤﺖ ﻫﻴﻜﺎپ ﻗ���ﻡ ﺑﺮﺩﺍﺷﺖ‪.‬‬

‫‪ .15‬ﻧﺒﺮﺩ ﺩﺭ ﻋﺮﺷﻪﻯ ﺳﻴﺰﺩﻩ ﺧﻮﺵﺷﺎﻧﺲ‬ ‫ﺍﻟﻮﻳﻦ ﺑﺎ ﻃﻮﻓﺎﻥﺗﻴﻎ ﺑﺮ ﻓﺮﺍﺯ ﺳﺮﺵ ﺑﻪ ﻫﻴﻜﺎپ ﻧﺰﺩﻳﻚ ﺷﺪ‪.‬‬ ‫ﻫﻴﻜﺎپ ﺩﺭ ﺍﻧﺘﻈﺎﺭ ﺿﺮﺑﻪ ﭼﺸﻤﺎﻧﺶ ﺭﺍ ﺑﺴﺖ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻳﻪ ﻣﺸﺖ ﺩﺳﺖ ﻭ ﭘﺎ ﭼﻠﻔﺘﻰ ﺗﺎﺯﻩﻛﺎﺭ ﺗﺒﺪﻳﻞ ﺷﺪﻳﻦ‪ .‬ﻓﻘﻂ ﺳﺮ ﻭ ﺻﺪﺍﻯ ﺍﻟﻜﻰ ﺩﺍﺭﻳﺪ‪ .‬ﻫﻴﭻ ﺷﺮﺍﺭﺕ‬ ‫ﺩﺭﺳﺖ ﻭ ﺣﺴﺎﺑﻰﺍﻯ ﻧﻤﻰﻛﻨﻴﻦ! ﻭﻟﻰ ﻣﻦ ﻛﻠﻰ ﺗﻼﺵ ﻛﺮﺩﻡ ﺗﺎ ﺍﺧﺮﺍﺟﻰﻫﺎ ﺭﻭ ﺑﻪ ﺟﺎﻳﻰ ﻛﻪ ﺍﻻﻥ ﻫﺴﺘﻦ‬ ‫ﺑﺮﺳﻮﻧﻢ‪ .‬ﺩﺭ ﻇﺎﻫﺮ ﻣﺎ ﺧﻴﻠﻰ ﺷﺒﻴﻪ ﺁﺩﻡﻫﺎﻯ ﻣﺘﻤﺪﻥ ﺷﺪﻳﻢ‪ .‬ﻟﺒﺎﺳﺎﻣﻮﻥ‪ .‬ﺭﻓﺘﺎﺭﻣﻮﻥ‪ ...‬ﻭﻟﻰ ﺍﺯ ﺩﺭﻭﻥ ﻣﺎ‬ ‫ﺍﺯ ﻫﻤﻴﺸﻪ ﺧﺒﻴﺚﺗﺮﻳﻢ ﻭ ﺍﺯ ﻫﻤﻴﺸﻪ ﺍﺧﺮﺍﺟﻰﺗﺮ‪ .‬ﻣﺎ ﺩﺯﺩﺍﻯ ﺩﺭﻳﺎﻳﻰ ﻭﺍﻗﻌﻰ ﻫﺴﺘﻴﻢ! ﺳﻨﮕﺪﻝ‪ ،‬ﻗﺎﺗﻞ‪،‬‬ ‫ﺧﻮﻧﺨﻮﺍﺭ ﻭ ﺑﺮﺩﻩﺩﺍﺭ‪ «...‬ﺍﻟﻮﻳﻦ ﻣﻜﺜﻰ ﻛﺮﺩ ﻛﻪ ﻧﻔﺴﻰ ﺗﺎﺯﻩ ﻛﻨﺪ‪.‬‬ ‫»ﺍﻭﻩ‪ ،‬ﺭﺍﺳﺘﻰ ﺩﺍﺷﺖ ﻳﺎﺩﻡ ﻣﻰﺭﻓﺖ‪ .‬ﺁﺧﺮﻳﻦ ﻧﮕﺎﻫﺘﻮﻥ ﺭﻭ ﺑﻪ ﺟﺰﻳﺮﻩﻯ ﺑﻰﺩﺍﺭ ﻭ ﺩﺭﺧﺘﺘﻮﻥ ﺑﻨﺪﺍﺯﻳﺪ‪ «...‬ﻭ‬ ‫ﺑﻪ ﺻﺨﺮﻩﻫﺎﻯ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻨﻰ ﺑﺮﻙ ﺍﺷﺎﺭﻩ ﻛﺮﺩ‪» .‬ﺷﻤﺎ ﺩﻭﺳﺘﺎﻥ ﻭﺣﺸﻰﺁﺑﺎﺩﻯ ﻣﻦ ﻗﺮﺍﺭﻩ ﻭﺍﺭﺩ ﺗﺠﺎﺭﺕ‬ ‫ﺑﺮﺩﻩ ﺑﺸﻴﺪ‪ .‬ﺍﻭﻧﻢ ﺩﺭ ﻧﻘﺶ ﺑﺮﺩﻩ!«‬ ‫ﻭﺣﺸﻰﺁﺑﺎﺩﻯﻫﺎ ﻧﺎﻟﻴﺪﻧﺪ‪ .‬ﺑﺮﺍﻯ ﻳﻚ ﺟﻨﮕﺠﻮﻯ ﺁﺯﺍﺩ ﻭ ﻣﻐﺮﻭﺭ ﻭﺍﻳﻜﻴﻨﮓ ﻫﻴﭻ ﺳﺮﻧﻮﺷﺘﻰ ﺩﺭﺩﻧﺎﻙﺗﺮ ﺍﺯ‬ ‫ﺑﺮﺩﮔﻰ ﻧﻴﺴﺖ‪.‬‬ ‫ﺍﻟﻮﻳﻦ ﺑﺎ ﻣﻬﺮﺑﺎﻧﻰ ﮔﻔﺖ‪» :‬ﻣﻄﻤﺌﻨﻢ ﻛﻪ ﺷﻤﺎﻫﺎ ﻫﻤﻪ ﺑﺮﺩﻩﻫﺎﻯ ﺧﻴﻠﻰ ﺧﻮﺑﻰ ﺧﻮﺍﻫﻴﺪ ﺷﺪ‪ .‬ﭼﻮﻥ‬ ‫ﻫﻤﻪﺗﻮﻥ ﺧﻴﻠﻰ ﻗﺪﺭﺗﻤﻨﺪ ﻫﺴﺘﻴﺪ‪ .‬ﻭ ﺍﺻ ً‬ ‫ﻼ ﻫﻢ ﺑﺎﻫﻮﺵ ﻧﻴﺴﺘﻴﺪ‪ .‬ﻣﻦ ﻫﻢ ﺁﺩﻣﻰ ﻧﻴﺴﺘﻢ ﻛﻪ ﺍﻫﻞ ﺗﻬﺪﻳﺪ‬ ‫ﻛﺮﺩﻥ ﺑﺎﺷﻪ‪ .‬ﻭﻟﻰ ﻫﺮ ﻛﺴﻰ ﻛﻪ ﻣﺨﺎﻟﻔﺘﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻪ‪ ،‬ﺣﺴﺎﺑﻰ ﭘﺸﻴﻤﻮﻥ ﻣﻰﺷﻪ‪«.‬‬ ‫ﻳﻚ ﺍﺧﺮﺍﺟﻰ ﺑﺪﻭﻥ ﺩﻣﺎﻍ ﺟﻠﻮ ﺁﻣﺪ ﻭ ﺷﻼﻗﻰ ﺭﺍ ﺍﺯ ﭘﺸﺖ ﻛﻤﺮﺵ ﺑﺎﺯ ﻛﺮﺩ‪ .‬ﺷﻼﻕ ﺧﻴﻠﻰ ﺷﺒﻴﻪ ﺍﻓﻌﻰ ﺑﻮﺩ‪.‬‬ ‫ﺍﻟﻮﻳﻦ ﺩﺳﺘﺎﻧﺶ ﺭﺍ ﺑﺮ ﻫﻢ ﺯﺩ ﻭ ﺍﺧﺮﺍﺟﻰﻫﺎ ﺷﺮﻭﻉ ﻛﺮﺩﻧﺪ ﺑﻪ ﻓﺮﺳﺘﺎﺩﻥ ﻭﺣﺸﻰﺁﺑﺎﺩﻯﻫﺎ ﺑﻪ ﻋﺮﺷﻪﻯ‬ ‫ﻛﺸﺘﻰﺷﺎﻥ‪.‬‬ ‫ﺍﻟﻮﻳﻦ ﻟﺒﺨﻨﺪﺯﻧﺎﻥ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺑﻌﻠﻪ‪ ...‬ﻫﻤﻪﻯ ﺷﻤﺎ ﻗﺮﺍﺭﻩ ﺑﺮﺩﻩ ﺑﺸﻴﺪ‪ ...‬ﻫﻤﻪ ﺟﺰ‪ ...‬ﺗﻮ ﺍﺳﺘﻮﺋﻴﻚ ﺟﺎﻥ‬ ‫ﻋﺰﻳﺰ‪«.‬‬ ‫ﺷﺎﺥﺧﻤﻴﺪﻩ ﺍﺳﺘﻮﺋﻴﻚ ﺭﺍ ﺭﻫﺎ ﻛﺮﺩ ﻭ ﺍﺳﺘﻮﺋﻴﻚ ﻣﻐﺮﻭﺭﺍﻧﻪ ﺟﻠﻮﺗﺮ ﺁﻣﺪ‪.‬‬ ‫ﺍﻟﻮﻳﻦ ﺑﺎ ﺭﮔﻪﻫﺎﻳﻰ ﺍﺯ ﺧﺒﺎﺛﺖ ﺩﺭ ﺻﺪﺍﻳﺶ ﮔﻔﺖ‪» :‬ﻣﺎ ﺑﻪ ﺭﻭﺳﺎﻯ ﻃﺎﻳﻔﻪﻫﺎ ﻧﻬﺎﻳﺖ ﺍﺣﺘﺮﺍﻡ ﺭﻭ ﻣﻰﮔﺬﺍﺭﻳﻢ‪.‬‬ ‫ﻣﻰﺧﻮﺭﻳﻤﺸﻮﻥ!«‬ ‫ﺍﺳﺘﻮﺋﻴﻚ ﺑﺎ ﺻﺪﺍﻳﻰ ﻣﻘﻄﻊ ﺍﺯ ﺷﻮﻙ ﮔﻔﺖ‪» :‬ﻭﻟﻰ ﺍﻳﻦ ﻛﻪ ﻣﻰﺷﻪ ﻫﻤﺠﻨﺲﺧﻮﺍﺭﻯ!«‬ ‫ﺍﻟﻮﻳﻦ ﺁﻫﻰ ﻛﺸﻴﺪ ﻭ ﮔﻔﺖ‪» :‬ﺁﺭﻩ ﺁﺭﻩ‪ ،‬ﻣﻰﺩﻭﻧﻢ‪ .‬ﺑﻪ ﻧﻈﺮ ﺧﻮﺩﻡ ﻫﻢ ﺍﻳﻦ ﺭﺳﻤﺎ ﺩﻳﮕﻪ ﻗﺪﻳﻤﻰ ﺷﺪﻩ‪.‬‬ ‫ﻭﻟﻰ ﺍﺳﺘﻮﺋﻴﻚ ﺟﺎﻥ‪ ،‬ﺍﮔﻪ ﻳﻚﻛﺎﺭﻩ ﺍﺯ ﺷﺮ ﻛﻞ ﺭﺳﻢ ﻭ ﺭﺳﻮﻣﺎﺕ ﻗﺪﻳﻢ ﺧﻼﺹ ﺑﺸﻢ‪ ،‬ﺍﻋﺘﺒﺎﺭﻡ ﺭﻭ ﭘﻴﺶ‬ ‫ﺍﻋﻀﺎﻯ ﻃﺎﻳﻔﻪ ﺍﺯ ﺩﺳﺖ ﻣﻰﺩﻡ‪«...‬‬ ‫ﺍﺳﺘﻮﺋﻴﻚ ﺑﻪ ﺗﺘﻪ ﭘﺘﻪ ﺍﻓﺘﺎﺩ‪» :‬ﻭﻟﻰ‪ ...‬ﻭﻟﻰ‪ ...‬ﻭﻟﻰ‪ ...‬ﻭﻟﻰ‪« ...‬‬ ‫ﺍﻟﻮﻳﻦ ﺑﻪ ﻧﺮﻣﻰ ﮔﻔﺖ‪» :‬ﻫﺮ ﭼﻴﺰﻯ ﻫﻢ ﻛﻪ ﺑﮕﻰ ﻧﻈﺮﻡ ﺗﻐﻴﻴﺮ ﻧﺨﻮﺍﻫﺪ ﻛﺮﺩ‪ ،‬ﺍﺳﺘﻮﺋﻴﻚ‪ .‬ﻣﻨﻈﻮﺭﻡ ﺍﻳﻨﻪ‬ ‫ﻛﻪ ﺷﺎﻡﻫﺎ ﺍﺻﻮﻻً ﻫﻴﭻﻭﻗﺖ ﺍﺯ ﺷﺎﻡ ﺑﻮﺩﻥ ﺭﺍﺿﻰ ﻧﻴﺴﺘﻦ ﻛﻪ‪ .‬ﺗﻮ ﻛﻠﻪﭘﺎﭼﻪ ﺧﻮﺭﺩﻯ‪ ،‬ﺍﺳﺘﻮﺋﻴﻚ ﺟﺎﻥ؟«‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺍﻭ ﺑﺎ ﺁﺭﺍﻣﺶ ﺧﺎﻃﺮ ﺗﺎ ﺍﺧﺮﻳﻦ ﻗﻄﺮﻩﻯ ﺁﺏﺁﻟﻮﻯ ﺳﻴﺎﻫﺶ ﺭﺍ ﻧﻮﺷﻴﺪ ﻭ ﺑﻌﺪ ﻟﻴﻮﺍﻧﺶ ﺭﺍ ﺑﺎ ﻇﺮﺍﻓﺖ ﺯﻣﻴﻦ‬ ‫ﮔﺬﺍﺷﺖ‪.‬‬ ‫ﺑﺎ ﻟﺒﺨﻨﺪﻯ ﺳﺤﺮﺍﻧﮕﻴﺰ ﮔﻔﺖ‪» :‬ﻓﻜﺮ ﻛﺮﺩﻡ ﺑﺪ ﻧﻴﺴﺖ‪ ...‬ﺍﻡ‪ ...‬ﻳﻚ ﻣﻬﻤﻮﻧﻰ ﻏﺎﻓﻠﮕﻴﺮﻯ ﺑﺮﺍﻯ ﺁﺧﺮ‬ ‫ﺳﻔﺮﻣﻮﻥ ﺗﺮﺗﻴﺐ ﺑﺪﻡ‪ ...‬ﻣﻦ ﻛﻪ ﺧﻮﺩﻡ ﻋﺎﺷﻖ ﻏﺎﻓﻠﮕﻴﺮﻳﻢ‪ .‬ﺷﻤﺎ ﭼﻄﻮﺭ ﺍﺳﺘﻮﺋﻴﻚ ﺟﺎﻥ؟«‬ ‫ﺍﺳﺘﻮﺋﻴﻚ ﺧﺮﺧﺮ ﻧﺎﻣﻔﻬﻮﻣﻰ ﺳﺮ ﺩﺍﺩ‪.‬‬ ‫ﺍﻟﻮﻳﻦ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﻏﺎﻓﻠﮕﻴﺮﻯ ﺧﻴﻠﻰ ﻟﺬﺕﺑﺨﺸﻪ‪ ،‬ﻧﻪ؟ ﺍﻟﺒﺘﻪ ﺑﺎ ﻛﻤﺎﻝ ﺗﺎﺳﻒ ﺑﺎﻳﺪ ﺍﻋﻼﻡ ﻛﻨﻢ ﻛﻪ‪ ...‬ﺩﻭﺭﺍﻥ‬ ‫ﺷﻜﻮﻩ ﻭﺣﺸﻰﺁﺑﺎﺩﻯﻫﺎ ﻛﻤﻰ‪ ...‬ﺍﻡ‪ ...‬ﺑﻪ ﺗﻌﻮﻳﻖ ﺧﻮﺍﻫﺪ ﺍﻓﺘﺎﺩ‪ .‬ﭼﻮﻥ ﺭﺍﺳﺘﺶ ﺑﻪ ﻧﻈﺮ ﺧﻮﺩﻡ‪ ،‬ﺩﻩ ﺩﺭ ﺻﺪ‬ ‫ﺍﺯ ﮔﻨﺞ ﺍﺻ ً‬ ‫ﻼ ﺳﻬﻢ ﻣﻨﺼﻔﺎﻧﻪﺍﻯ ﺑﺮﺍﻯ ﻣﻦ ﻧﻴﺴﺖ‪ .‬ﻭ ﭼﻮﻥ ﻣﻄﻤﺌﻦ ﻧﺒﻮﺩﻡ ﻛﻪ ﺗﻮ ﺑﺎ ﻣﻦ ﻣﻮﺍﻓﻘﻰ‪ ،‬ﭼﻨﺪ‬ ‫ﻧﻔﺮ ﺍﺯ ﻓﺎﻣﻴﻞﻫﺎﻡ ﺭﻭ ﺑﺎ ﺧﻮﺩﻡ ﺁﻭﺭﺩﻡ ﻛﻪ ﺗﻮ ﺭﻭ‪ ...‬ﻫﻤﻤﻤﻢ‪ ...‬ﻣﺘﻘﺎﻋﺪ ﻛﻨﻢ‪«.‬‬ ‫ﺍﺳﺘﻮﺋﻴﻚ ﺑﺎﺯ ﺧﺮﺧﺮ ﻛﺮﺩ‪.‬‬ ‫ﺍﻟﻮﻳﻦ ﭼﻨﺪ ﻛﻠﻤﻪﺍﻯ ﺑﻪ ﺳﻤﺖ ﻣﺮﺩ ﺷﺎﺥﺧﻤﻴﺪﻩ ﻭﺍﻕﻭﺍﻕ ﻛﺮﺩ‪ .‬ﻣﺮﺩ ﻫﻢ ﺩﺭ ﺟﻮﺍﺑﺶ ﭼﻨﺪ ﺗﺎ ﭘﺎﺭﺱ ﻛﺮﺩ‪.‬‬ ‫ﺑﻌﺪ ﺍﻟﻮﻳﻦ ﮔﻔﺖ‪» :‬ﺩﺭ ﺍﻳﻦ ﺟﺎ ﻻﺯﻣﻪ ﺍﻋﺘﺮﺍﻑ ﻛﻨﻢ ﻛﻪ ﻣﻦ ﻳﻚ ﺟﻮﺭﻫﺎﻳﻰ ﺳﺮ ﺷﻤﺎ ﻛﻼﻩ ﮔﺬﺍﺷﺘﻢ‪ .‬ﺍﺳﻢ‬ ‫ﻣﻦ ﺍﻟﻮﻳﻦ ﺩﻫﻘﺎﻥ ﺑﺪﺑﺨﺖ ﺍﻣﺎ ﺷﺮﺍﻓﺘﻤﻨﺪ ﻧﻴﺴﺖ‪ .‬ﺍﺳﻢ ﺣﻘﻴﻘﻰ ﻣﻦ ﺁﺩﻣﻜﺶ ﺍﻋﻈﻢ ﻭ ﺧﺘﻢ ﺭﻭﺯﮔﺎﺭ‪،‬‬ ‫ﺍﻟﻮﻳﻦ ﻫﻔﺖ ﺧﻄﻪ‪ .‬ﺭﺋﻴﺲ ﻛﺒﻴﺮ ﻃﺎﻳﻔﻪﻯ ﺍﺧﺮﺍﺟﻰﻫﺎ‪ .‬ﻧﻤﻰﺩﻭﻧﻢ ﭼﺮﺍ‪ ،‬ﻭﻟﻰ ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﺍﮔﻪ ﺍﺯ ﺍﻭﻝ ﺍﻳﻦ‬ ‫ﺭﻭ ﺑﻬﺘﻮﻥ ﮔﻔﺘﻪ ﺑﻮﺩﻡ‪ ،‬ﺍﺯ ﻣﻦ ﺍﺳﺘﻘﺒﺎﻝ ﭼﻨﺪﺍﻥ ﮔﺮﻣﻰ ﻧﻤﻰﻛﺮﺩﻳﺪ‪«.‬‬ ‫ﻭﺣﺸﻰﺁﺑﺎﺩﻯﻫﺎ ﻫﻤﺰﻣﺎﻥ ﻭ ﺑﺎ ﺗﻌﺠﺐ ﭘﺮﺳﻴﺪﻧﺪ‪» :‬ﺍﺧﺮﺍﺟﻰ!؟«‬ ‫ﺍﻟﻮﻳﻦ ﺧﻨﺪﻳﺪ‪» :‬ﺩﺭﺳﺘﻪ‪ .‬ﺍﺧﺮﺍﺟﻰ‪ .‬ﻣﺎ ﺍﺧﺮﺍﺟﻰﻫﺎ ﻛﻪ ﻫﻤﻴﺸﻪ ﺑﺎ ﭘﻮﺳﺖﭘﺎﺭﻩﻫﺎﻯ ﺣﻴﻮﻭﻧﺎ ﺍﻳﻦ ﻭﺭ ﻭ ﺍﻭﻥ‬ ‫ﻭﺭ ﻧﻤﻰﺭﻳﻢ‪ .‬ﺣﺘﺎ ﻣﺎ ﻫﻢ ﺩﺍﺭﻳﻢ ﻫﻤﺰﻣﺎﻥ ﺑﺎ ﺗﻐﻴﻴﺮﺍﺕ ﺍﻳﻦ ﺩﻧﻴﺎ ﺟﻠﻮ ﻣﻰﺭﻳﻢ‪ «.‬ﺑﻌﺪ ﺑﻪ ﺳﻤﺖ ﺍﺳﺘﻮﺋﻴﻚ‬ ‫ﺭﻓﺖ ﻭ ﻃﻮﻓﺎﻥﺗﻴﻎ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺍﻭ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪ‪.‬‬ ‫»ﻓﻜﺮ ﻛﻨﻢ ﺍﻳﻦ ﻣﺎﻝ ﻣﻨﻪ‪«.‬‬ ‫ﺑﻌﺪ ﻗﻼﺏ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺭﺍﺳﺘﺶ ﺑﺎﺯ ﻛﺮﺩ‪ ،‬ﻫﻤﺎﻧﻄﻮﺭﻯ ﻛﻪ ﻫﻴﻜﺎپ ﻗﺒ ً‬ ‫ﻼ ﺩﻳﺪﻩ ﺑﻮﺩ‪ .‬ﺑﻌﺪ ﮔﻴﺮﻩﻯ ﺷﻤﺸﻴﺮﺵ‬ ‫ﺭﺍ ﺳﺮ ﺟﺎﻳﺶ ﻣﺤﻜﻢ ﻛﺮﺩ ﻭ ﺑﺎ ﺩﻗﺖ ﺗﻤﺎﻡ ﻃﻮﻓﺎﻥﺗﻴﻎ ﺭﺍ ﺭﻭﻳﺶ ﺳﻮﺍﺭ ﻛﺮﺩ‪ .‬ﺧﻴﻠﻰ ﺳﻔﺘﺶ ﻛﺮﺩ ﻛﻪ‬ ‫ﻣﺒﺎﺩﺍ ﻟﻖ ﺑﺰﻧﺪ‪ .‬ﻭ ﻫﻤﻴﻦ ﺟﻮﺭ ﻛﻪ ﺍﻳﻦ ﻛﺎﺭﻫﺎ ﺭﺍ ﻣﻰﻛﺮﺩ ﺣﺮﻑ ﻫﻢ ﺯﺩ‪.‬‬ ‫»ﺭﺍﺳﺘﺶ ﺍﺳﺘﻮﺋﻴﻚ ﺟﺎﻥ‪ ،‬ﻣﺎ ﺭﺋﻴﺴﺎ ﺑﺎ ﭼﺎﻟﺶﻫﺎﻯ ﺗﺎﺯﻩﺍﻯ ﺭﻭﺑﻪﺭﻭ ﻫﺴﺘﻴﻢ‪ .‬ﻣﺎ ﺑﺎﻳﺪ ﺑﺎ ﺑﻰﺭﺣﻢﺗﺮ ﻭ‬ ‫ﺑﻰﭘﺮﻭﺍﺗﺮ ﺷﺪﻥ‪ ،‬ﺩﺭ ﺑﺮﺍﺑﺮ ﻧﻴﺮﻭﻫﺎﻯ ﻫﺮ ﺩﻡ ﭘﻴﺸﺮﻭﻧﺪﻩﻯ ﺗﻤﺪﻥ ﻣﻘﺎﻭﻣﺖ ﻛﻨﻴﻢ‪ .‬ﺗﻮ ﺍﺳﺘﻮﺋﻴﻚ‪ ،‬ﺧﻴﻠﻰ‬ ‫ﺁﺳﻮﻥﮔﻴﺮ ﺷﺪﻯ‪«.‬‬ ‫ﺍﺳﺘﻮﺋﻴﻚ ﺑﺎ ﻧﺎﺭﺍﺣﺘﻰ ﺍﻋﺘﺮﺍﺽ ﻛﺮﺩ‪» :‬ﻫﻴﭽﻢ ﺍﻳﻦﻃﻮﺭ ﻧﻴﺴﺖ!«‬ ‫»ﺍﺳﺘﺨﻮﻧﺎﻯ ﺧﻔﻦﭘﺸﻢ ﻫﻮﻟﻨﺎﻙ ﺩﺍﺭﻩ ﺍﺯ ﺷﺪﺕ ﺧﺠﺎﻟﺖ ﺗﻮﻯ ﮔﻮﺭ ﻣﻰﻟﺮﺯﻩ‪ .‬ﺷﻤﺎ ﻭﺣﺸﻰﺁﺑﺎﺩﻯﻫﺎ ﺑﻪ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﺩﺍﺷﺘﻨﺪ ﺳﺮ ﮔﻨﺞ ﺩﻋﻮﺍ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺑﻪ ﺧﺎﻃﺮ ﻫﻤﻴﻦ ﻫﻢ ﻣﺘﻮﺟﻪ ﻳﻚ ﻛﺸﺘﻰ ﺩﺭﺍﺯ ﺑﺎﺭﻳﻚ ﻧﺸﺪﻧﺪ ﻛﻪ‬ ‫ﺧﻴﻠﻰ ﻣﺨﻔﻴﺎﻧﻪ ﺍﺯ ﻣﻴﺎﻥ ﻣﻪ ﺑﻪ ﺁﻥﻫﺎ ﻧﺰﺩﻳﻚ ﺷﺪﻩ ﻭ ﺩﺭ ﻛﻨﺎﺭ ﻛﺸﺘﻰ ﺳﻴﺰﺩﻩ ﺧﻮﺵﺷﺎﻧﺲ ﭘﻬﻠﻮ ﮔﺮﻓﺘﻪ‬ ‫ﺑﻮﺩ‪ .‬ﻛﺸﺘﻰ ﻧﺎﻣﺶ ﭘﺘﻚ ﺑﻮﺩ ﻭ ﺑﺎﺩﺑﺎﻧﻰ ﺷﺒﻴﻪ ﺑﺎﻟﻪﻯ ﻛﻮﺳﻪ ﺩﺍﺷﺖ ﻛﻪ ﺭﻭﻳﺶ ﻳﻚ ﺟﻤﺠﻤﻪ ﺳﺮﺥ‬ ‫ﺭﻧﮓ ﻛﺸﻴﺪﻩ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﺯﻳﺮﺵ ﺩﻭ ﺗﻜﻪ ﺍﺳﺘﺨﻮﺍﻥ ﺑﻪ ﺷﻜﻞ ﺿﺮﺑﺪﺭﻯ ﻗﺮﺍﺭ ﺩﺍﺷﺖ‪ .‬ﻛﺸﺘﻰ ﺗﺎ ﻟﺒﻪ ﺍﺯ‬ ‫ﺍﺧﺮﺍﺟﻰﻫﺎ ﭘﺮ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺍﺻ ً‬ ‫ﻼ ﮔﺮﻭﻫﻰ ﻧﺒﻮﺩﻧﺪ ﻛﻪ ﺑﺎ ﺧﻮﺩﺗﺎﻥ ﺑﻪ ﻳﻚ ﻣﻴﻬﻤﺎﻧﻰ ﺷﺎﻡ ﺑﺒﺮﻳﺪ‪ .‬ﻫﺮﭼﻨﺪ ﻫﻤﮕﻰ ﺧﻮﺵﻫﻴﻜﻞ ﻭ‬ ‫ﺳﺮﺥﻣﻮ ﺑﻮﺩﻧﺪ ﻭ ﻟﺒﺎﺱﻫﺎﻯ ﺧﻴﻠﻰ ﺯﻳﺒﺎﻳﻰ ﻫﻢ ﺩﺍﺷﺘﻨﺪ ﻭ ﻫﻤﻪ ﺟﻮﺭ ﺯﻳﻮﺭﺁﻻﺕ ﻃﻼ ﻫﻢ ﺑﻪ ﺧﻮﺩﺷﺎﻥ‬ ‫ﺁﻭﻳﺨﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﺻﻮﺭﺕ ﺧﻴﻠﻰﻫﺎﺷﺎﻥ ﺯﺧﻤﻰ ﺑﻮﺩ‪ .‬ﻳﻜﻰ ﺩﻭ ﻧﻔﺮﺷﺎﻥ ﻫﻢ ﻳﺎ ﺑﻴﻨﻰ ﻧﺪﺍﺷﺘﻨﺪ ﻭ ﻳﺎ ﮔﻮﺵ‪.‬‬ ‫ﺑﻴﺸﺘﺮﺷﺎﻥ ﺩﻧﺪﺍﻥﻫﺎﻳﺸﺎﻥ ﺭﺍ ﻣﺜﻞ ﺩﻧﺪﺍﻥ ﻛﻮﺳﻪ ﺗﻴﺰ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺣﺘﺎ ﺧﻮﺵﻗﻴﺎﻓﻪﻫﺎﻳﺸﺎﻥ ﻫﻢ‬ ‫ﺧﺎﻟﻜﻮﺑﻰﻫﺎﻯ ﺳﺮﺥ ﺗﻴﺮﻩﺍﻯ ﺭﻭﻯ ﭘﻮﺳﺘﺸﺎﻥ ﺩﺍﺷﺘﻨﺪ ﻛﻪ ﮔﻔﺘﻪ ﻣﻰﺷﺪ ﺍﺯ ﺧﻮﻥ ﻗﺮﺑﺎﻧﻴﺎﻥﺷﺎﻥ ﺩﺭﺳﺖ‬ ‫ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺑﺎ ﻫﻢ ﺑﻪ ﺳﺨﺖﺗﺮﻳﻦ ﺯﺑﺎﻥ ﻭﺍﻳﻜﻴﻨﮕﻰ ﻳﻌﻨﻰ ﺍﺧﺮﺍﺟﻴﺎﻳﻰ‪ ،‬ﺻﺤﺒﺖ ﻣﻰﻛﺮﺩﻧﺪ ﻛﻪ ﺧﻴﻠﻰ‬ ‫ﺷﺒﻴﻪ ﻭﺍﻕﻭﺍﻕ ﺳﮓ ﺍﺳﺖ‪.‬‬ ‫ﻭﻗﺘﻰ ﻭﺣﺸﻰﺁﺑﺎﺩﻯﻫﺎ ﻣﺸﻐﻮﻝ ﺗﺤﺴﻴﻦ ﻛﺮﺩﻥ ﮔﻨﺞ ﻭ ﺧﻮﺩﺷﺎﻥ ﺑﻮﺩﻧﺪ‪ ،‬ﺍﺧﺮﺍﺟﻰﻫﺎ ﺍﺯ ﭘﺸﺖ ﺳﺮ‬ ‫ﺑﻬﺸﺎﻥ ﻧﺰﺩﻳﻚ ﺷﺪﻩ ﻭ ﻣﺤﺎﺻﺮﻩﺷﺎﻥ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺑﻰﺩﻧﺪﻭﻥ ﺑﻮﻳﺸﺎﻥ ﺭﺍ ﺣﺲ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺁﻣﺪﻧﺸﺎﻥ ﺭﺍ ﺣﺲ ﻛﺮﺩﻩ ﻭ ﺩﺭ ﺁﻥ ﺑﺸﻜﻪﻯ ﺑﺰﺭگ ﺧﺎﻟﻰ ﻛﻪ ﺩﺍﺧﻠﺶ ﺯﻧﺪﺍﻧﻰ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﻛﻠﻰ ﺑﺎ ﻧﻬﺎﻳﺖ‬ ‫ﺗﻮﺍﻧﺶ ﺟﻴﻎ ﻛﺸﻴﺪﻩ ﺑﻮﺩ‪» :‬ﺍﺧﺮﺍﺟﻰﻫﺎ! ﺟﻮﻧﺘﻮﻥ ﺭﻭ ﻧﺠﺎﺕ ﺑﺪﻳﺪ ﺍﻧﺴﺎﻥﻫﺎﻯ ﺍﺣﻤﻖ!«‬ ‫ﻭﻟﻰ ﻛﺴﻰ ﺻﺪﺍﻳﺶ ﺭﺍ ﻧﺸﻨﻴﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺧﻼﺻﻪ ﻛﻪ ﺍﻭﺿﺎﻉ ﺩﺍﺷﺖ ﺑﺮﺍﻯ ﻭﺣﺸﻰﺁﺑﺎﺩﻯﻫﺎ ﺧﺮﺍﺏ ﻭ ﺧﺮﺍﺏﺗﺮ ﻣﻰﺷﺪ‪ .‬ﺍﺧﺮﺍﺟﻰﻫﺎ ﻫﻢ ﻣﺜﻞ‬ ‫ﺟﻤﺠﻤﻪﺍﻯﻫﺎ ﻣﻮﺟﻮﺩﺍﺗﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﻫﺮ ﻛﺴﻰ ﺗﺮﺟﻴﺢ ﻣﻰﺩﻫﺪ ﻫﺮﮔﺰ ﺩﺭ ﺗﻤﺎﻡ ﺯﻧﺪﮔﻰﺍﺵ ﺑﻬﺸﺎﻥ‬ ‫ﺑﺮﻧﺨﻮﺭﺩ‪ .‬ﺩﻳﺪﻥ ﻫﺮ ﺩﻭ ﺩﺭ ﻳﻚ ﺭﻭﺯ ﺩﻳﮕﺮ ﺑﺪﺷﺎﻧﺴﻰ ﻣﺤﺾ ﺑﻮﺩ‪ .‬ﺁﻥ ﻫﻢ ﺩﺭ ﺁﻥ ﻓﺎﺻﻠﻪﻯ ﺯﻣﺎﻧﻰ ﻛﻮﺗﺎﻩ‪.‬‬ ‫ﻫﻴﻜﺎپ ﻣﺘﻮﺟﻪ ﻧﺸﺪﻩ ﺑﻮﺩ ﻛﻪ ﺁﻥﻫﺎ ﺍﺧﺮﺍﺟﻰ ﻫﺴﺘﻨﺪ‪ .‬ﻭﻟﻰ ﻣﺘﻮﺟﻪ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﺗﻮﻯ ﺩﺭﺩﺳﺮ ﺑﺰﺭﮔﻰ‬ ‫ﺍﻓﺘﺎﺩﻩﺍﻧﺪ‪.‬‬ ‫ﭼﺸﻤﺶ ﻛﻪ ﺑﻪ ﻣﺮﺩﻯ ﻛﻪ ﺍﺳﺘﻮﺋﻴﻚ ﺭﺍ ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﺍﻓﺘﺎﺩ‪ ،‬ﻗﻠﺒﺶ ﻣﺜﻞ ﻳﻚ ﮔﻞﺧﻮﺭﻙ ﺷﺮﻭﻉ ﺑﻪ ﺗﭙﻴﺪﻥ‬ ‫ﻛﺮﺩ‪ .‬ﺷﺎﺥﻫﺎﻯ ﺧﻤﻴﺪﻩﻯ ﻛﻼﻫﺨﻮﺩ ﻣﺮﺩ ﻻﺍﻗﻞ ﺳﻪ ﻓﻮﺕ ﺑﻮﺩ‪ .‬ﻭﻗﺘﻰ ﻫﻢ ﺩﻫﺎﻧﺶ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩ‪ ،‬ﺻﺪﺍﻳﺶ‬ ‫ﻣﺜﻞ ﻭﻕ ﺯﺩﻥ ﺳﮓ ﺑﻮﺩ‪.‬‬ ‫ﻳﻚ ﺩﻗﻴﻘﻪﻯ ﺗﻤﺎﻡ ﻛﺴﻰ ﺣﺮﻑ ﻧﺰﺩ‪ .‬ﻛﺴﻰ ﺟﺮﺍﺕ ُﺟﻢ ﺧﻮﺭﺩﻥ ﻫﻢ ﻧﺪﺍﺷﺖ‪ .‬ﻫﻴﭻ ﺻﺪﺍﻳﻰ ﺩﺭ ﻛﺎﺭ ﻧﺒﻮﺩ‬ ‫ﺟﺰ ﻭﺍﻕﻭﺍﻕ ﻣﺮﺩﻯ ﻛﻪ ﺍﺳﺘﻮﺋﻴﻚ ﺭﺍ ﺍﺯ ﭘﺸﺖ ﺧﻔﺖ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ...‬ﻭ ﺍﻟﺒﺘﻪ ﺻﺪﺍﻯ ﺁﺏﺁﻟﻮ ﻧﻮﺷﻴﺪﻥ ﺍﻟﻮﻳﻦ‪.‬‬ ‫ﻫﻴﭻ ﻛﺲ ﭼﺎﻗﻮ ﺯﻳﺮ ﮔﻠﻮﻯ ﺍﻭ ﻧﮕﺬﺍﺷﺘﻪ ﺑﻮﺩ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺑﻰﺩﻧﺪﻭﻥ ﻛﻪ ﻣﻮﺟﻮﺩ ﺗﻨﺒﻠﻰ ﺑﻮﺩ‪ ،‬ﺩﻭﺳﺖ ﻧﺪﺍﺷﺖ ﭼﻨﻴﻦ ﻣﺴﺎﻓﺖ ﻃﻮﻻﻧﻰﺍﻯ ﺭﺍ ﭘﺮﻭﺍﺯ ﻛﻨﺪ‪ .‬ﻭ ﺩﺭ ﺿﻤﻦ‬ ‫ﺳﺮ ﺭﺍﻩ ﺑﺮﺍ��� ﺧﻮﺩﺵ ﭼﻨﺪﺗﺎﻳﻰ ﻣﺎﻫﻰ ﺧﻮﺷﻤﺰﻩ ﮔﻴﺮ ﺁﻭﺭﺩﻩ ﺑﻮﺩ‪ .‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﻫﻢ ﺍﻭ ﻫﻨﻮﺯ ﻫﻤﺎﻥﺟﺎ‬ ‫ﺭﻭﻯ ﻋﺮﺷﻪ ﺑﻮﺩ ﻭ ﺩﺍﺷﺖ ﺩﻋﻮﺍﻯ ﻭﺍﻳﻜﻴﻨﮓﻫﺎ ﺭﺍ ﺗﻤﺎﺷﺎ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺑﻪ ﺩﻻﻳﻠﻰ ﻧﺎﻣﻌﻠﻮﻡ‪ ،‬ﺍﻟﻮﻳﻦ ﻳﻚ ﺑﺸﻜﻪﻯ ﺧﺎﻟﻰ ﺑﺰﺭگ ﺑﺮﺩﺍﺷﺖ ﻭ ﺁﻥ ﺭﺍ ﺭﻭﻯ ﺍژﺩﻫﺎﻯ ﻛﻮﭼﻮﻟﻮ ﺍﻧﺪﺍﺧﺖ‬ ‫ﻭ ﺯﻧﺪﺍﻧﻰﺍﺵ ﻛﺮﺩ‪.‬‬ ‫ﺑﻌﺪ ﺩﻋﻮﺍﻯ ﺑﻴﻦ ﺍﺳﺘﻮﺋﻴﻚ ﻭ ﺑﮕﻰﺑﺎﻡ ﺭﺍ ﻣﺘﻮﻗﻒ ﻛﺮﺩ‪.‬‬ ‫ﺑﺎ ﭼﺮﺏﺯﺑﺎﻧﻰ ﮔﻔﺖ‪» :‬ﺍﻯ ﺑﺎﺑﺎ‪ .‬ﺁﺭﻭﻡ ﺑﺎﺷﻴﺪ‪ .‬ﻣﻦ ﻣﻄﻤﺌﻨﻢ ﻛﻪ ﻫﻤﻪ ﻣﻮﺍﻓﻘﻦ ﻛﻪ ﺍﻳﻦ ﺑﺎﻳﺪ ﻟﺤﻈﻪﻯ‬ ‫ﺳﺮﺷﺎﺭ ﺍﺯ ﺷﺎﺩﻯ ﺑﺮﺍﻯ ﻃﺎﻳﻔﻪﻯ ﺷﻤﺎ ﺑﺎﺷﻪ‪ .‬ﺷﺮﻭﻉ ﻳﻚ ﺩﻭﺭﺍﻥ ﺗﺎﺯﻩ ﺑﺮﺍﻯ ﻭﺣﺸﻰﺁﺑﺎﺩﻯﻫﺎ! ﮔﻨﺞ ﻛﺎﻓﻰ‬ ‫ﺑﺮﺍﻯ ﻫﻤﻪ ﻫﺴﺖ! ﻣﻦ ﭘﻴﺸﻨﻬﺎﺩ ﻣﻰﻛﻨﻢ ﻛﻪ ﺑﻪ ﺳﻼﻣﺘﻰ ﭘﻴﺪﺍ ﻛﺮﺩﻥ ﮔﻨﺞ ﺑﺎ ﻫﻢ ﺁﺏ ﺁﻟﻮ ﺑﻨﻮﺷﻴﻢ!«‬ ‫ﻭﺣﺸﻰﺁﺑﺎﺩﻯﻫﺎ ﻫﻤﻪ ﺷﺎﺩﻯ ﻛﺮﺩﻧﺪ ﺑﻪ ﺍﻳﻦ ﺍﻣﻴﺪ ﻛﻪ ﺍﺳﺘﻮﺋﻴﻚ ﻭ ﺑﮕﻰﺑﺎﻡ ﺑﻰﺧﻴﺎﻝ ﻣﺎﺟﺮﺍ ﺷﻮﻧﺪ‪ .‬ﮔﻮﺑﺮ ﻭ‬ ‫ﻫﻴﻮﺝﻓﺎﺭﺗﺰ ﺭﻓﺘﻨﺪ ﻭ ﺍﺳﺘﻮﺋﻴﻚ ﻭ ﺑﮕﻰﺑﺎﻡ ﺭﺍ ﺍﺯ ﻫﻢ ﺟﺪﺍ ﻛﺮﺩﻧﺪ‪ .‬ﭼﻮﻥ ﺍﮔﺮ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻧﻤﻰﻛﺮﺩﻧﺪ‪ ،‬ﺁﻥ ﺩﻭ‬ ‫ﺗﺎ ﺁﺧﺮ ﺷﺐ ﻫﻤﺎﻥﻃﻮﺭ ﺑﺮﺍﻯ ﻫﻢ ﻛﺮﻛﺮﻯ ﻣﻰﺧﻮﺍﻧﺪﻧﺪ‪ .‬ﭼﻨﺪ ﺗﺎ ﺍﺯ ﺟﻨﮕﺠﻮﻫﺎ ﻫﻢ ﺑﻴﻦ ﻫﻤﺴﻔﺮﻫﺎﻳﺸﺎﻥ‬ ‫ﺁﺏ ﺁﻟﻮﻯ ﺳﻴﺎﻩ ﭘﺨﺶ ﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺍﺳﺘﻮﺋﻴﻚ ﻋﺮﻳﺾ ﻃﻮﻓﺎﻥﺗﻴﻎ ﺭﺍ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪ‪ .‬ﻳﻚ ﺟﻔﺖ ﮔﻮﺷﻮﺍﺭﻩ ﻫﻢ ﺍﺯ ﺗﻮﻯ ﮔﻨﺠﻴﻨﻪ ﻛﺶ ﺭﻓﺘﻪ‬ ‫ﺑﻮﺩ ﻭ ﺑﻪ ﮔﻮﺷﺶ ﺁﻭﻳﺨﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﻧﻌﺮﻩ ﻛﺸﻴﺪ‪» :‬ﺍﺣﻤﻘﺎ ﻭ ﻗﻬﺮﻣﺎﻧﺎﻯ ﻋﺰﻳﺰ‪ .‬ﻣﺎ‪ ،‬ﻛﻪ ﻳﻪ ﻣﺸﺖ ﻻﺕ ﺑﻰﺳﺮ ﻭ ﭘﺎ ﺑﺎﺷﻴﻢ‪ ،‬ﺑﻪ ﺯﻭﺩﻯ ﭘﺎﻳﻪﮔﺬﺍﺭﺍﻥ‬ ‫ﺍﻣﭙﺮﺍﻃﻮﺭﻯ ﺗﺎﺯﻩﺍﻯ ﺧﻮﺍﻫﻴﻢ ﺑﻮﺩ‪ .‬ﺍﻣﭙﺮﺍﻃﻮﺭﻯﺍﻯ ﻛﻪ ﺑﺎ ﺍﻣﭙﺮﺍﻃﻮﺭﻯ ﺭﻭﻡ ﺩﺭ ﺩﻭﺭﺍﻥ ﺷﻜﻮﻫﺶ ﺑﺮﺍﺑﺮﻯ‬ ‫ﺧﻮﺍﻫﺪ ﻛﺮﺩ‪ .‬ﺑﺎ ﻫﻤﻴﻦ ﮔﻨﺞ!« ﺍﺳﺘﻮﺋﻴﻚ ﺟﺎﻡ ﺁﺏﺁﻟﻮﻳﺶ ﺭﺍ ﺑﺎﻻ ﮔﺮﻓﺖ ﻭ ﺑﺎ ﭼﺸﻤﺎﻧﻰ ﺩﺭﺧﺸﺎﻥ ﺍﺩﺍﻣﻪ‬ ‫ﺩﺍﺩ‪ » :‬ﻭﺣﺸﻰﺁﺑﺎﺩﻯﻫﺎﻯ ﭘﺸﻤﺎﻟﻮ ﺷﻜﺴﺖﻧﺎپ‪«....‬‬

‫‪ .14‬ﻫﻤﻪ ﭼﻴﺰ ﺑﻪ ﻫﻢ ﻣﻰﺭﻳﺰﺩ‬ ‫ﺍﺳﺘﻮﺋﻴﻚ ﻣﻮﻓﻖ ﻧﺸﺪ ﺟﻤﻠﻪﺍﺵ ﺭﺍ ﺑﻪ ﭘﺎﻳﺎﻥ ﺑﺒﺮﺩ‪ .‬ﭼﻮﻥ ﻭﺳﻂﻫﺎﻯ ﺣﺮﻓﺶ ﻧﺎﮔﻬﺎﻥ ﻳﻚ ﺷﺨﺺ ﺑﺎ‬ ‫ﭼﺸﻤﺎﻧﻰ ﺑﺎﺑﺎﻗﻮﺭﻯ ﮔﺮﺩﻧﺶ ﺭﺍ ﮔﺮﻓﺖ ﻭ ﻳﻚ ﭼﺎﻗﻮﻯ ﻛﺮ ﻭ ﻛﺜﻴﻒ ﺭﺍ ﺯﻳﺮ ﮔﻠﻮﻳﺶ ﮔﺬﺍﺷﺖ‪ .‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ‬ ‫ﺟﻤﻠﻪﺍﺵ ﺍﻳﻦﻃﻮﺭﻯ ﺷﺪ ﻛﻪ‪» :‬ﻭﺣﺸﻰﺁﺑﺎﺩﻯﻫﺎﻯ ﭘﺸﻤﺎﻟﻮ ﺷﻜﺴﺖﻧﺎﭘﺬﻳﻰ ﻫﻖ ﻋﻖ ﻭﻕ‪ «...‬ﻭ ﺳﺮﻓﻪﺍﺵ‬ ‫ﮔﺮﻓﺖ ﻭ ﭼﺸﻤﺎﻧﺶ ﺍﺯ ﺷﺪﺕ ﻓﺸﺎﺭ ﺑﻴﺮﻭﻥ ﺯﺩ‪.‬‬ ‫ﺍﺗﻔﺎﻕ ﻣﺸﺎﺑﻬﻰ ﺑﺮﺍﻯ ﺗﻤﺎﻣﻰ ﻭﺍﻳﻜﻴﻨﮓﻫﺎﻯ ﺭﻭﻯ ﻛﺸﺘﻰ ﺍﻓﺘﺎﺩ‪ .‬ﻫﻤﮕﻰ ﺍﺯ ﭘﺸﺖ ﺍﺳﻴﺮ ﺷﺪﻧﺪ ﻭ ﭼﺎﻗﻮﻳﻰ‬ ‫ﺯﻳﺮ ﮔﻠﻮﻳﺸﺎﻥ ﮔﺮﻓﺘﻪ ﺷﺪ‪.‬‬ ‫ﻭﺣﺸﻰﺁﺑﺎﺩﻯﻫﺎ ﻫﻨﻮﺯ ﺑﻪ ﺧﺎﻃﺮ ﺭﻭﻳﺎﺭﻭﻳﻰ ﺑﺎ ﺟﻤﺠﻤﻪﺍﻯﻫﺎ ﺣﻮﺍﺳﺸﺎﻥ ﺳﺮﺟﺎ ﻧﺒﻮﺩ‪ .‬ﺑﻌﺪﺵ ﻫﻢ ﻛﻪ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﺧﻔﻦﭘﺸﻢ ﻧﺒﻮﺩ‪ .‬ﻭﺍﺭﺙ ﺣﻘﻴﻘﻰ ﺍﺳﻨﺎﺗﻠﻮﺕ ﺑﻮﺩ ﻛﻪ ﻫﻤﻴﺸﻪ ﺩﺭ ﻫﻤﻪ ﭼﻴﺰ ﺍﺯ ﻫﻴﻜﺎپ ﺑﻬﺘﺮ ﻭ ﺳﺮﻳﻊﺗﺮ‬ ‫ﺑﻮﺩ‪ .‬ﮔﻨﺪﻩﺗﺮ ﻫﻢ ﺑﻮﺩ‪.‬‬ ‫ﺑﮕﻰﺑﺎﻡ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺩﻭﻡ ﺍﻳﻦﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﺎﺑﻨﺪﻩﻯ ﮔﻨﺞ‪ ،‬ﺍﻳﻦ ﮔﻨﺞ ﻣﺘﻌﻠﻖ ﺑﻪ ﭘﺴﺮ ﻣﻨﻪ‪ .‬ﻭ ﻣﻦ ﻫﻢ‬ ‫ﻣﻄﻤﺌﻦ ﻧﻴﺴﺘﻢ ﻛﻪ ﭘﺴﺮﻡ ﺑﺨﻮﺍﺩ ﻳﻪ ﺩﺭ ﺻﺪﻯ ﺍﺯ ﮔﻨﺞ ﺭﻭ ﺑﺎ ﻳﻪ ﻏﺮﻳﺒﻪ ﺷﺮﻳﻚ ﺷﻪ‪«...‬‬ ‫ﺍﺳﻨﺎﺗﻠﻮﺕ ﻫﻢ ﮔﻔﺖ‪» :‬ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﭼﻨﻴﻦ ﻗﺼﺪﻯ ﻧﺪﺍﺭﻡ!«‬ ‫ﺍﺳﺘﻮﺋﻴﻚ ﻋﺮﻳﺾ ﺩﺭ ﺻﻨﺪﻭﻕ ﮔﻨﺞ ﺭﺍ ﺑﺴﺖ‪ .‬ﺑﻌﺪ ﺑﺎ ﻳﻚ ﺩﺳﺖ ﺑﮕﻰﺑﺎﻡ ﺷﻜﻢﺑﺸﻜﻪ ﺭﺍ ﺍﺯ ﺭﻭﻯ ﺯﻣﻴﻦ‬ ‫ﺑﻠﻨﺪ ﻛﺮﺩ‪ .‬ﻛﻪ ﻛﺎﺭ ﺧﻴﻠﻰ ﺣﻴﺮﺕﺍﻧﮕﻴﺰﻯ ﺑﻮﺩ‪ ،‬ﭼﻮﻥ ﺑﮕﻰﺑﺎﻡ ﻫﻢﺍﻧﺪﺍﺯﻩﻯ ﻳﻚ ﻧﻬﻨﮓ ﻗﺎﺗﻞ ﺑﻮﺩ ﻛﻪ ﺑﻪ‬ ‫ﻭﺭﺯﺵ ﻛﺮﺩﻥ ﺍﻋﺘﻘﺎﺩﻯ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﻏﺮﻳﺪ‪» :‬ﻣﻦ ﺭﺋﻴﺲ ﺍﻳﻦ ﻃﺎﻳﻔﻪﻡ‪ .‬ﻣﻦ ﻋﻤﻠﻴﺎﺕ ﭘﻴﺪﺍ ﻛﺮﺩﻥ ﮔﻨﺞ ﺧﻔﻦﭘﺸﻢ ﻫﻮﻟﻨﺎﻙ ﺭﻭ ﺗﺮﺗﻴﺐ ﺩﺍﺩﻡ‪.‬‬ ‫ﺍﻳﻦ ﮔﻨﺞ ﻫﻢ ﻓﻘﻂ ﻭ ﻓﻘﻂ ﻣﺎﻝ ﻣﻨﻪ!«‬ ‫ﺑﮕﻰﺑﺎﻡ ﻣﺸﺘﻰ ﺑﻪ ﻗﻠﻮﻩﻯ ﺍﺳﺘﻮﺋﻴﻚ ﺯﺩ ﻛﻪ ﺑﺎﻋﺚ ﺷﺪ ﺍﺳﺘﻮﺋﻴﻚ ﺑﻼﻓﺎﺻﻠﻪ ﺍﻭ ﺭﺍ ﺑﻴﻨﺪﺍﺯﺩ‪ .‬ﺑﻌﺪ ﺍﻭ ﻫﻢ‬ ‫ﺗﻮﻯ ﺻﻮﺭﺕ ﺍﺳﺘﻮﺋﻴﻚ ﻧﻌﺮﻩ ﻛﺸﻴﺪ‪» :‬ﺧﺐ! ﺷﺎﻳﺪ ﻭﺧﺘﺸﻪ ﻛﻨﺎﺭ ﺑﻜﺸﻰ‪ ،‬ﺩﺍﺩﺍﺵ! ﺷﺎﻳﺪ ﺍﻳﻦ ﻳﻪ ﻧﺸﻮﻧﻪ‬ ‫ﺍﺯ ﺧﺪﺍﻳﺎﻧﻪ ﻛﻪ ﻭﺧﺘﺸﻪ ﺷﻤﺎ ﺑﺎﺯﻧﺸﺴﺘﻪ ﺑﺸﻰ! ﻣﮕﻪ ﺗﻮﻯ ﭘﻴﺸﮕﻮﻳﻰ ﺩﺭﺑﺎﺭﻩﻯ ﻭﺍﺭﺙ ﻧﻨﻮﺷﺘﻪ ﺑﻮﺩ ﻛﻪ‬ ‫ﮔﻨﺞ ﺭﻭ ﭘﻴﺪﺍ ﻣﻰﻛﻨﻪ؟ ﺍﮔﺮ ﭘﺴﺮ ﻣﻦ ﻭﺍﺭﺛﻪ‪ ،‬ﭘﺲ ﻳﻌﻨﻰ ﻣﻦ ﺭﺋﻴﺲ ﺍﻳﻦ ﻃﺎﻳﻔﻪﻡ!«‬ ‫ﺍﺳﺘﻮﺋﻴﻚ ﭘﺎﻳﺶ ﺭﺍ ﺑﻪ ﺯﻣﻴﻦ ﻛﻮﺑﻴﺪ ﻭ ﮔﻔﺖ‪» :‬ﻧﺨﻴﺮ! ﻣﻦ ﺭﺋﻴﺴﻢ!«‬ ‫»ﺗﻮ ﺭﺋﻴﺲ ﻧﻴﺴﺘﻰ!«‬ ‫»ﺧﻴﻠﻰ ﻫﻢ ﺭﺋﻴﺴﻢ!«‬ ‫ﻫﻤﺪﻳﮕﺮ ﺭﺍ ﺍﺯ ﺷﺎﻧﻪ ﮔﺮﻓﺘﻨﺪ ﻭ ﺷﺮﻭﻉ ﻛﺮﺩﻧﺪ ﺑﻪ ﻛﺸﺘﻰ ﮔﺮﻓﺘﻦ‪ .‬ﺷﺎﺥﻫﺎﻯ ﻛﻼﻫﺨﻮﺩﻫﺎﻳﺸﺎﻥ ﻋﻴﻦ ﺩﻭ‬ ‫ﮔﻮﺯﻥ ﻧﺮ ﺩﺭ ﻫﻢ ﻓﺮﻭ ﺭﻓﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺍﺳﺘﻮﺋﻴﻚ ﺑﺎ ﺧﺸﻤﻰ ﺳﺮﻛﺶ ﮔﻔﺖ‪» :‬ﺑﺸﻴﻦ ﺳﺮ ﺟﺎﺕ!«‬ ‫ﺑﮕﻰﺑﺎﻡ ﮔﻔﺖ‪» :‬ﺗﻮ ﺑﺸﻴﻦ ﺳﺮ ﺟﺎﺕ!«‬ ‫»ﻧﻪ! ﺧﻮﺩﺕ ﺑﺸﻴﻦ ﺳﺮ ﺟﺎﺕ!«‬ ‫»ﺗﻮ!«‬ ‫»ﺧﻮﺩﺕ!« ﻭ ﺍﻟﺦ‪.‬‬ ‫ﺩﺭ ﺣﻴﻨﻰ ﻛﻪ ﺍﻳﻦ ﻣﺎﺟﺮﺍﻫﺎ ﺩﺭ ﺣﺎﻝ ﺭﺥ ﺩﺍﺩﻥ ﺑﻮﺩ‪ ،‬ﻛﺴﻰ ﺣﻮﺍﺳﺶ ﺑﻪ ﺍﻟﻮﻳﻦ ﻧﺒﻮﺩ ﻛﻪ ﺩﺍﺷﺖ ﻛﺎﺭﻫﺎﻯ‬ ‫ﻋﺠﻴﺐ ﻭ ﻏﺮﻳﺒﻰ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﻭﻗﺘﻰ ﻛﺸﺘﻰ ﻭﺍﻳﻜﻴﻨﮓﻫﺎ ﺑﻪ ﻧﺰﺩﻳﻜﻰ ﺳﺎﺣﻞ ﺑﺮﻙ ﺭﺳﻴﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﻴﺸﺘﺮ ﺍژﺩﻫﺎﻫﺎ ﺑﺮﺍﻯ ﺍﺳﺘﺮﺍﺣﺖ ﻭ‬ ‫ﻏﺬﺍ ﺧﻮﺭﺩﻥ ﺑﻪ ﺩﻫﻜﺪﻩ ﺑﺮﮔﺸﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﺗﻨﻬﺎ ﻛﺴﻰ ﻛﻪ ﺩﺭ ﻛﺸﺘﻰ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﻰﺩﻧﺪﻭﻥ ﺑﻮﺩ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫‪ .13‬ﮔﻨﺞ‬ ‫ﺩﺭ ﻭﺍﻗﻊ ﭘﺎﺭﮔﻰ ﺭﻭﻯ ﺳﻴﻨﻪﻯ ﻫﻴﻜﺎپ ﺯﺧﻢ ﻋﻤﻴﻘﻰ ﺍﻳﺠﺎﺩ ﻛﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﺍﻭ ﺩﺭ ﻫﻮﻝ ﻭ ﻭﻻﻯ ﺗﻌﻘﻴﺐ ﻭ‬ ‫ﮔﺮﻳﺰ ﺑﺎ ﺟﻤﺠﻤﻪﺍﻯﻫﺎ ﻣﺘﻮﺟﻬﺶ ﻧﺸﺪﻩ ﺑﻮﺩ‪ .‬ﺟﺎﻯ ﺯﺧﻢ ﺭﻭﻯ ﺳﻴﻨﻪﻯ ﺍﻭ ﻣﻰﻣﺎﻧﺪ‪ .‬ﻳﺎﺩﮔﺎﺭﻯ ﻳﻚ ﺭﻭﺯ‬ ‫ﺻﺒﺢ ﻗﺪﻡ ﺯﺩﻥ ﺩﺭ ﺟﺰﻳﺮﻩﻯ ﺟﻤﺠﻤﻪﺍﻯ‪.‬‬ ‫ﻭ ﺩﺳﺖ ﺭﺍﺳﺘﺶ ﺑﻪ ﺧﺎﻃﺮ ﺁﻭﻳﺰﺍﻥ ﻣﺎﻧﺪﻥ ﺍﺯ ﭘﻨﺠﻪﻫﺎﻯ ﺳﻮﺱﻧﻔﺲ ﺩﺭ ﺭﻓﺘﻪ ﺑﻮﺩ‪ .‬ﮔﻮﺑﺮ ﺩﺳﺘﺶ ﺭﺍ ﺟﺎ‬ ‫ﺍﻧﺪﺍﺧﺖ )ﻛﻪ ﻭﺍﻗﻌﺎً ﺩﺭﺩﻧﺎﻙ ﺑﻮﺩ‪ ،‬ﭼﻮﻥ ﮔﻮﺑﺮ ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﻣﻮﺟﻮﺩ ﺑﺎﻇﺮﺍﻓﺘﻰ ﻧﺒﻮﺩ(‪ ،‬ﺑﻌﺪ ﺗﻜﻪﺍﻯ ﭘﺎﺭﭼﻪ‬ ‫ﺍﺯ ﻟﺒﺎﺳﺶ ﻛﻨﺪ ﺗﺎ ﺑﺮﺍﻯ ﻫﻴﻜﺎپ ﻳﻚ ﺑﺎﻧﺪ ﺩﻭﺭ ﮔﺮﺩﻧﻰ ﺍﻳﺠﺎﺩ ﻛﻨﺪ‪.‬‬ ‫ﻭﺣﺸﻰﺁﺑﺎﺩﻯﻫﺎ ﭼﻨﺪ ﺩﻗﻴﻘﻪﺍﻯ ﺭﺍ ﺑﻪ ﺷﺎﺩﻯ ﻭ ﺟﺸﻦ ﻣﺸﻐﻮﻝ ﺷﺪﻧﺪ ﻭ ﺑﻌﺪ ﺩﻭﺑﺎﺭﻩ ﭘﺎﺭﻭﻫﺎ ﺭﺍ ﺩﺳﺖ‬ ‫ﮔﺮﻓﺘﻨﺪ‪ .‬ﺑﺴﻴﺎﺭ ﻣﺸﺘﺎﻕ ﺑﻮﺩﻧﺪ ﻛﻪ ﺟﺰﻳﺮﻩﻯ ﺟﻤﺠﻤﻪﺍﻯ ﺭﺍ ﻫﺮ ﭼﻪ ﺳﺮﻳﻊﺗﺮ ﺗﺮﻙ ﻛﻨﻨﺪ‪ .‬ﺗﺎﺯﻩ ﻭﻗﺘﻰ‬ ‫ﺳﻮﺍﺣﻞ ﺁﺷﻨﺎﻯ ﺑﺮﻙ ﺩﺭ ﺩﻳﺪﺭﺱ ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪ ،‬ﭘﺎﺭﻭﻫﺎ ﺭﺍ ﺭﻫﺎ ﻛﺮﺩﻧﺪ ﻭ ﻛﺸﺘﻰ ﺳﻴﺰﺩﻩ ﺧﻮﺵﺷﺎﻧﺲ ﺭﺍ‬ ‫ﺩﺭ ﺁﺏﻫﺎﻯ ﺁﺭﺍﻡ ﺍﻣﺎ ﻣﻪ ﮔﺮﻓﺘﻪ ﺭﻫﺎ ﻛﺮﺩﻧﺪ ﺗﺎ ﺑﻪ ﺑﺮﺭﺳﻰ ﮔﻨﺞﺷﺎﻥ ﺑﭙﺮﺩﺍﺯﻧﺪ‪.‬‬ ‫ﻭﻗﺘﻰ ﺍﺳﺘﻮﺋﻴﻚ ﺩﺭ ﺟﻌﺒﻪ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩ‪ ،‬ﺑﻮ ﺗﻘﺮﻳﺒﺎً ﺍﺯ ﺑﻴﻦ ﺭﻓﺘﻪ ﺑﻮﺩ‪ .‬ﻭﻟﻰ ﺯﻳﺮ ﮔﻨﺞ ﭼﻨﺪﻳﻦ ﺗﻜﻪ ﻛﺮﻳﺴﺘﺎﻝ‬ ‫ﺯﺭﺩ ﻭ ﺳﺒﺰ ﭘﺨﺶ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻛﻪ ﺑﺨﺎﺭ ﻣﻰﻛﺮﺩ ﻭ ﺍﺯ ﺧﻮﺩ ﺑﻮﻯ ﺗﺨﻢﻣﺮﻍ ﮔﻨﺪﻳﺪﻩ ﺳﺎﻃﻊ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺧﻔﻦﭘﺸﻢ ﺍﺯ ﺍﻳﻦ ﻛﺮﻳﺴﺘﺎﻝﻫﺎ ﺑﺮﺍﻯ ﺗﻠﻪﮔﺬﺍﺭﻯ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺑﻪ ﻣﺤﺾ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻦ ﺩﺭ ﻣﻌﺮﺽ ﻫﻮﺍ‬ ‫ﻓﻌﺎﻝ ﻣﻰﺷﺪﻧﺪ ﻭ ﺍﺯ ﺧﻮﺩﺷﺎﻥ ﺑﻮﻯ ﮔﻨﺪ ﺍﻳﺠﺎﺩ ﻣﻰﻛﺮﺩﻧﺪ ﻛﻪ ﺑﺎﻋﺚ ﺧﺒﺮﺩﺍﺭ ﺷﺪﻥ ﺟﻤﺠﻤﻪﺍﻯﻫﺎ ﻣﻰﺷﺪ‪.‬‬ ‫ﺗﻠﻪﻯ ﺧﻴﻠﻰ ﻫﻮﺷﻤﻨﺪﺍﻧﻪ ﻭ ﻣﺮﮔﺒﺎﺭﻯ ﺑﻮﺩ‪.‬‬ ‫ﻋﺠﺐ ﮔﻨﺠﻰ ﺑﻮﺩ‪ ...‬ﺍﻟﻮﻳﻦ ﺗﺎ ﺳﻪ ﺩﻗﻴﻘﻪ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺣﺮﻓﻰ ﺑﺰﻧﺪ‪ .‬ﻫﻤﺎﻥﻃﻮﺭ ﺑﺎ ﭼﺸﻤﺎﻥ ﺍﺯ ﻛﺎﺳﻪ‬ ‫ﺩﺭ ﺁﻣﺪﻩ ﺁﻥﺟﺎ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﻳﻜﻰﻳﻜﻰ ﮔﻨﺠﻴﻨﻪﻫﺎ ﺭﺍ ﺑﺮ ﻣﻰﺩﺍﺷﺖ ﻭ ﻧﻮﺍﺯﺵ ﻣﻰﻛﺮﺩ‪ .‬ﺩﺳﺘﺎﻧﺶ ﺭﺍ‬ ‫ﻋﺎﺷﻘﺎﻧﻪ ﺩﺭ ﻣﻴﺎﻥ ﺳﻜﻪﻫﺎﻯ ﻃﻼ ﻓﺮﻭ ﻣﻰﺑﺮﺩ‪.‬‬ ‫ﺍﺳﺘﻮﺋﻴﻚ ﮔﻔﺖ‪» :‬ﺍﻟﺒﺘﻪ ﺩﻩ ﺩﺭ ﺻﺪ ﺍﻳﻦ ﮔﻨﺞ ﻣﺎﻝ ﺗﻮﺋﻪ ﺍﻟﻮﻳﻦ‪ «.‬ﻭ ﺷﻜﻤﺶ ﺭﺍ ﺑﻪ ﺧﺎﻃﺮ ﺍﻳﻦ ﻫﻤﻪ‬ ‫ﺳﺨﺎﻭﺗﻤﻨﺪﻯ ﺑﻴﺮﻭﻥ ﺍﻧﺪﺍﺧﺖ‪.‬‬ ‫ﻭﻗﺘﻰ ﺍﻟﻮﻳﻦ ﺗﻮﺍﻥ ﺻﺤﺒﺖ ﻛﺮﺩﻧﺶ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩ ﺯﻣﺰﻣﻪ ﻛﺮﺩ‪» :‬ﺷﻤﺎ ﺧﻴﻴﻴﻴﻴﻴﻴﻴﻴﻴﻴﻴﻴﻠﻰ ﻟﻄﻒ‬ ‫ﺩﺍﺭﻯ‪ ،‬ﺍﺳﺘﻮﺋﻴﻚ ﺟﺎﻥ!«‬ ‫ﺑﮕﻰﺑﺎﻡ ﮔﻔﺖ‪» :‬ﻳﻪ ﺛﺎﻧﻴﻪ ﺻﺒﺮ ﻛﻦ ﺩﺍﺩﺍﺵ‪ .‬ﺍﻭﻝ ﺍﺯ ﻫﻤﻪ ﺧﻮﺵ ﺩﺍﺭﻡ ﻣﺴﺠﻞ ﺑﺸﻪ ﻛﻪ ﺍﺳﻨﺎﺗﻠﻮﺕ ﺍﻳﻦ‬ ‫ﮔﻨﺞ ﺭﻭ ﭘﻴﺪﺍ ﻛﺮﺩﻩ‪«.‬‬ ‫ﺍﺳﺘﻮﺋﻴﻚ ﻋﺮﻳﺾ ﺑﺎ ﺑﻰﻣﻴﻠﻰ ﮔﻔﺖ‪» :‬ﻣﺴﺠﻠﻪ‪«.‬‬ ‫ﻫﻴﻜﺎپ ﻣﻰﺩﺍﻧﺴﺖ ﻛﻪ ﺑﺎﻳﺪ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺯﻧﺪﻩ ﺍﺳﺖ ﺧﻴﻠﻰ ﻣﻤﻨﻮﻥ ﺑﺎﺷﺪ‪ ،‬ﻭﻟﻰ ﻋﻤﻴﻘﺎً ﺣﺲ ﺑﺪﺑﺨﺘﻰ‬ ‫ﻣﻰﻛﺮﺩ‪ .‬ﻣﻰﺩﺍﻧﺴﺖ ﻛﻪ ﻣﻌﻨﻰ ﺍﻳﻦ ﺣﺮﻑﻫﺎ ﭼﻴﺴﺖ‪ .‬ﺑﺎ ﺍﻳﻦ ﻛﻪ ﭘﺴﺮ ﺍﺳﺘﻮﺋﻴﻚ ﺑﻮﺩ‪ ،‬ﻭﻟﻰ ﻭﺍﺭﺙ ﺣﻘﻴﻘﻰ‬ ‫‪45‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﺟﺮﯾﺎن اﺻﻠﯽ داﺳﺘﺎن ﻧﯿﺰ در ﺟﺰﯾﺮهی ﮐﻮﭼﮑﯽ ﺑﻪ ﻧﺎم ﺑﺮک ]‪ [۳‬ﻣﯽﮔﺬرد‪ .‬ﯾﻌﻨﯽ ﻣﺤﻞ زﻧﺪﮔﯽ وﺣﺸﯽآﺑﺎدیﻫﺎی‬ ‫ﭘﺸامﻟﻮ ]‪ [۴‬ﮐﻪ ﻫﻤﮕﯽ واﯾﮑﯿﻨﮓﻫﺎی منﻮﻧﻪای ﻫﺴﺘﻨﺪ و از وﺣﺸﯿﮕﺮی و ﺑﻮی ﮔﻨﺪ ﭼﯿﺰی ﮐﻢ ﻧﺪارﻧﺪ و ﻫﺮﮔﺰ‬ ‫از ﻣﻐﺰﺷﺎن اﺳﺘﻔﺎده منﯽﮐﻨﻨﺪ‪ .‬واﯾﮑﯿﻨﮓﻫﺎ از ﻫامن دوران ﺟﻮاﻧﯽ ﴍوع ﺑﻪ متﺮﯾﻦ و ﻣﺒﺎرزه ﻣﯽﮐﻨﻨﺪ ﺗﺎ‬ ‫ﺟﻨﮕﺠﻮﯾﺎن و دزدﻫﺎی درﯾﺎﯾﯽ ﻣﺎﻫﺮی ﺑﺸﻮﻧﺪ‪ .‬اوﻟﯿﻦ ﻗﺪم ﺑﺮای ﻫﺮ واﯾﮑﯿﻨﮓ در زﻧﺪﮔﯽاش ﺑﻪ ﻋﻨﻮان ﯾﮏ‬ ‫ﻣﺒﺎرز‪ ،‬دزدﯾﺪن اژدﻫﺎﯾﺶ اﺳﺖ‪ .‬اژدﻫﺎﯾﯽ ﮐﻪ ﺗﺎ آﺧﺮ ﻋﻤﺮ ﻫﻤﺮاﻫﺶ ﺧﻮاﻫﺪ ﺑﻮد‪ .‬اژدﻫﺎی ﻫﺮ واﯾﮑﯿﻨﮓ در‬ ‫ﺿﻤﻦ ﻧﺸﺎندﻫﻨﺪهی ﺟﻨﻢ او ﻧﯿﺰ ﻫﺴﺖ‪ .‬ﭼﻮن در ﺟﻬﺎن رﻣﺎن ﮐﺮﺳﯿﺪا ﮐﺎول‪ ،‬ﻋﻨﻮان و اﻗﺴﺎم اژدﻫﺎﯾﺎن زﻧﺪﮔﯽ‬ ‫ﻣﯽﮐﻨﻨﺪ و درﺑﺎرهی ﻧﮋادﻫﺎی ﻣﺨﺘﻠﻒ اژدﻫﺎ‪ ،‬ﮐﺘﺎبﻫﺎی ﺑﺴﯿﺎری ﻧﻮﺷﺘﻪ ﺷﺪه اﺳﺖ‪.‬‬ ‫داﺳﺘﺎن از ﻣﺮاﺳﻤﯽ ﻣﺸﺎﺑﻪ ﺑﺮای ﺑﻪ دام اﻧﺪاﺧنت اژدﻫﺎ ﴍوع ﻣﯽﺷﻮد‪ .‬اﻣﺎ ﻗﻬﺮﻣﺎن داﺳﺘﺎن‪ ،‬ﻫﯿﮑﺎپ ﻫﻮرﻧﺪوس‬ ‫ﻫﺎدوک ﺳﻮم ]‪ ،[۵‬ﺑﻪ ﻫﯿﭻ وﺟﻪ ﯾﮏ واﯾﮑﯿﻨﮓ ﻣﻌﻤﻮﻟﯽ ﻧﯿﺴﺖ‪ .‬او ﻗﺪﮐﻮﺗﺎه و دﻣﺎﻏﻮﺳﺖ و ﻫﺮﮔﺰ ﺗﻮی ﻫﯿﭻ‬ ‫ﻓﻌﺎﻟﯿﺖ واﯾﮑﯿﻨﮕﯽ ﻣﻬﺎرت ﺧﺎﺻﯽ از ﺧﻮد ﻧﺸﺎن ﻧﺪاده اﺳﺖ‪ .‬ﻫﺮ ﭼﻨﺪ وارث ﺧﻮﻓﻨﺎکﺗﺮﯾﻦ دزد درﯾﺎﯾﯽ ﺗﺎرﯾﺦ‬ ‫ﯾﻌﻨﯽ ﺧﻔﻦﭘﺸﻢ ﻫﻮﻟﻨﺎک ]‪ [۶‬اﺳﺖ‪ ،‬اﻣﺎ ﺟﺰ در ﺷﻤﺸﯿﺮزﻧﯽ ﺷﺒﺎﻫﺖ دﯾﮕﺮی ﺑﻪ او ﻧﺪارد‪ .‬از ﻫﻤﻪ ﺑﺪﺗﺮ زﺑﺎن‬ ‫اژدﻫﺎﯾﺎن را ﺑﻠﺪ اﺳﺖ ﮐﻪ ﺑﺮﺧﻼف ﻗﻮاﻧﯿﻦ ﭘﺪرش اﺳﺘﻮﺋﯿﮏ ﻋﺮﯾﺾ ]‪ [۷‬اﺳﺖ‪.‬‬ ‫ﻫامﻧﻄﻮر ﮐﻪ ﺗﺎ ﺑﻪ ﺣﺎل ﺑﺎﯾﺪ ﻣﺘﻮﺟﻪ ﺷﺪه ﺑﺎﺷﯿﺪ‪ ،‬داﺳﺘﺎن از ﻃﻨﺰی ﻗﺪرمتﻨﺪ ﺑﺮﺧﻮردار اﺳﺖ‪ .‬از آن دﺳﺖ‬ ‫ﻃﻨﺰﻫﺎی اﻧﮕﻠﯿﺴﯽ ﮐﻪ ﺑﯿﺸﱰ ﺑﺎزی ﺑﺎ ﮐﻠامت اﺳﺖ و ﻣﺴﺨﺮه ﮐﺮدن اﺳﻢﻫﺎ‪ .‬اﻣﺎ ﮐﺮﺳﯿﺪا ﮐﺎول در ﮐﻨﺎر اﯾﻦ ﻃﻨﺰ‬ ‫اﯾﺴﺘﺎی ﮐﻠامت‪ ،‬ﻃﻨﺰی ﭘﻮﯾﺎ ﻫﻤﺮاه ﺑﺎ ﻣﺎﺟﺮاﺟﻮﯾﯽ را ﻧﯿﺰ وارد داﺳﺘﺎن ﻣﯽﮐﻨﺪ‪ .‬وﻟﯽ ﺟﺬاﺑﯿﺖ اﺛﺮ از اﯾﻦ ﻣﻮﺿﻮع‬ ‫ﻓﺮاﺗﺮ ﻣﯽرود‪ .‬رﻣﺎن راﻫﻨامی رام ﮐﺮدن اژدﻫﺎ ﻣﺜﻞ ﻫﺮ رﻣﺎن ﻧﻮﺟﻮان ﭘﺮﻓﺮوش دﯾﮕﺮی‪ ،‬در ﻣﺤﯿﻂ آﻣﻮزﺷﯽ‬ ‫ﻣﯽﮔﺬرد و ﻗﻬﺮﻣﺎن اﺻﻠﯽاش ﺑﻪ زﺣﻤﺖ ﺑﺎ ﻣﺤﯿﻂ اﻃﺮاﻓﺶ ارﺗﺒﺎط ﺑﺮﻗﺮار ﻣﯽﮐﻨﺪ‪ .‬ﻫﻤﮑﻼﺳﯽﻫﺎﯾﺶ ﺑﺎ او‬ ‫ﺑﺪرﻓﺘﺎرﻧﺪ و ﻫﻤﻪی ﮐﻠﯿﺸﻪﻫﺎی دﯾﮕﺮی ﮐﻪ از ﯾﮏ رﻣﺎن ﻧﻮﺟﻮان اﻧﺘﻈﺎر دارﯾﺪ‪ .‬و ﺑﺎ اﯾﻦ وﺟﻮد ﻧﺒﻮغ ﻧﻮﯾﺴﻨﺪه‬ ‫در ﻏﺎﻓﻠﮕﯿﺮ ﮐﺮدن ﺧﻮاﻧﻨﺪه ﻗﺎﺑﻞ ﺳﺘﺎﯾﺶ اﺳﺖ‪ .‬ﻗﻬﺮﻣﺎنﻫﺎ و ﺿﺪ ﻗﻬﺮﻣﺎنﻫﺎ ﺑﻪ ﺧﻮﺑﯽ ﭘﺮداﺧﺖ ﺷﺪهاﻧﺪ و‬ ‫ﺑﺴﯿﺎر واﻗﻊﮔﺮاﯾﺎﻧﻪاﻧﺪ‪ .‬اژدﻫﺎﯾﺎن و ﻧﮋادﻫﺎی ﮔﻮﻧﺎﮔﻮﻧﺸﺎن و ﻗﺎﺑﻠﯿﺖﻫﺎی ﻣﻨﺤﴫﺑﻪﻓﺮد ﻫﺮ ﮔﻮﻧﻪ و زﺑﺎن ﻋﺠﯿﺒﯽ‬ ‫ﮐﻪ دارﻧﺪ‪ ،‬ﻧﻘﻄﻪی ﻗﻮت دﯾﮕﺮ داﺳﺘﺎن ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﻫﺮ ﭼﻨﺪ ﺟﻠﺪ اول ﮐﻤﯽ از ﺧﻂ داﺳﺘﺎﻧﯽ اﺻﻠﯽ ﻣﺠﻤﻮﻋﻪ دور اﺳﺖ‪ ،‬اﻣﺎ ﴍوﻋﯽ ﺑﯽﻧﻈﯿﺮ ﺑﺮای ﯾﮏ ﻣﺠﻤﻮﻋﻪی‬ ‫ﻃﻨﺰ اﺳﺖ و ﺧﻮاﻧﻨﺪه را ﺑﺎ ﺟﻬﺎﻧﯽ ﮐﻪ داﺳﺘﺎن در آن ﻣﯽﮔﺬرد آﺷﻨﺎ ﻣﯽﮐﻨﺪ‪ .‬ﮐﺘﺎب اول ﺣﺘﺎ در ﭼﻨﺪ ﻣﻮرد ﺑﺎ‬ ‫ﮐﻠﯿﺖ داﺳﺘﺎن ﺗﻨﺎﻗﺾ ﻫﻢ دارد‪ .‬وﻟﯽ از ﺟﻠﺪ دوم ﻣﺠﻤﻮﻋﻪ ﺑﻪ ﺑﻌﺪ داﺳﺘﺎن اﺻﻠﯽ آﻏﺎز ﻣﯽﺷﻮد ﮐﻪ ﯾﮏ ﺟﻮﯾﺶ‬ ‫ﺑﻠﻮغ ﻣﻌﻤﻮل رﻣﺎنﻫﺎی ﻧﻮﺟﻮان اﺳﺖ‪.‬‬ ‫ﺑﻨﺎﺑﺮاﯾﻦ از اﯾﻦ ﻣﺠﻤﻮﻋﻪ داﺳﺘﺎﻧﯽ ﻗﻮی اﻧﺘﻈﺎر ﻧﺪاﺷﺘﻪ ﺑﺎﺷﯿﺪ‪ ،‬ﭼﻮن ﺳﺎﺧﺘﺎری ﮐﻠﯿﺸﻪای دارد‪ .‬از ﻃﺮﻓﯽ اﮔﺮ‬ ‫ﺑﺎ ﻃﻨﺰ ﻣﯿﺎﻧﻪی ﺧﻮﺑﯽ دارﯾﺪ‪ ،‬ﺧﻮاﻧﺪن اﯾﻦ ﻣﺠﻤﻮﻋﻪ ﺑﻪ ﺷام ﭘﯿﺸﻨﻬﺎد ﻣﯽﺷﻮد‪ .‬در اداﻣﻪ ﺑﺨﺶﻫﺎﯾﯽ از ﮐﺘﺎب‬ ‫دوم ﻣﺠﻤﻮﻋﻪ آورده ﺷﺪه اﺳﺖ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺩﺍﺳﺘﺎﻥ ﺍژﺩﻫﺎ‬ ‫ﻛﺮﺳﻴﺪﺍ ﻛﺎﻭﻝ‬ ‫ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

‫ﻣﺠﻤﻮﻋﻪی راﻫﻨامی رام ﮐﺮدن اژدﻫﺎ ]‪ [۱‬را در اﯾﺮان ﺑﯿﺸﱰ ﺑﺎ اﻧﯿﻤﯿﺸﻦ ﴍﮐﺖ دﯾﺰﻧﯽ ﺑﻪ ﻫﻤﯿﻦ ﻧﺎم‬ ‫ﻣﯽﺷﻨﺎﺳﯿﻢ‪ .‬اﻧﯿﻤﯿﺸﻨﯽ ﮐﻪ ﻧﻪ ﭼﻨﺪان وﻓﺎداراﻧﻪ‪ ،‬ﺑﺮ اﺳﺎس ﮐﺘﺎب ﻧﻮﯾﺴﻨﺪهی ﺑﺮﯾﺘﺎﻧﯿﺎﯾﯽ ﮐﺮﺳﯿﺪا ﮐﺎول‬ ‫]‪ [۲‬ﺳﺎﺧﺘﻪ ﺷﺪه اﺳﺖ‪ .‬ﻧﻮﯾﺴﻨﺪهی ﮐﻮدﮐﺎﻧﯽ ﮐﻪ ﺑﯿﺸﱰ ﺑﻪ ﺧﺎﻃﺮ ﻣﺠﻤﻮﻋﻪی رام ﮐﺮدن اژدﻫﺎ ﮐﻪ ﺑﻪ‬ ‫اﺣﺘامل ﻗﻮی دوازده ﺟﻠﺪ ﺧﻮاﻫﺪ داﺷﺖ‪ ،‬ﺷﻨﺎﺧﺘﻪ ﺷﺪه اﺳﺖ‪.‬‬ ‫داﺳﺘﺎن اﯾﻦ ﻣﺠﻤﻮﻋﻪ در دوران اوج ﻗﺪرت واﯾﮑﯿﻨﮓﻫﺎ ﻣﯽﮔﺬرد‪ .‬ﺑﺎ اﯾﻦ ﺗﻔﺎوت ﮐﻪ ﺑﺮﺗﺮی اﺻﻠﯽ‬ ‫واﯾﮑﯿﻨﮓﻫﺎ ﺑﻪ ﺳﺎﯾﺮ اﻗﻮام اﺳﺘﻔﺎده از اژدﻫﺎﺳﺖ‪ .‬اژدﻫﺎﯾﺎﻧﯽ ﮐﻪ ﺑﺮای واﯾﮑﯿﻨﮓﻫﺎ ﺟﺎﯾﮕﺰﯾﻦ اﺳﺐ و‬ ‫ﺳﮓ ﺷﮑﺎری و ﺷﺎﻫﯿﻦ ﻫﺴﺘﻨﺪ‪.‬‬


‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺑﺎ ﻧﻬﺎﻳﺖ ﺍﺣﺘﻴﺎﻁ ﺭﺍﻩ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﻣﻴﺎﻥ ﺩﻭﺩ ﻭ ﺳﻨﮕﻼﺥ ﺑﺎﺯ ﻛﺮﺩﻧﺪ‪ .‬ﺑﺮﺍﻯ ﺭﺳﻴﺪﻥ ﺑﻪ ﺁﺑﻜﻨﺪ ﺑﺎﻳﺪ ﺍﺯ ﻛﻨﺎﺭ‬ ‫ﺑﻘﺎﻳﺎﻯ ﻣﺎﺷﻴﻦ ﻣﻰﮔﺬﺷﺘﻨﺪ ﻛﻪ ﺣﺎﻻ ﺩﻳﮕﺮ ﺑﻪ ﻻﺷﻪﻯ ﻛﺸﺘﻰ ﻋﻈﻴﻤﻰ ﺷﺒﺎﻫﺖ ﺩﺍﺷﺖ ﻛﻪ ﭘﺲ ﺍﺯ‬ ‫ﺳﺎﻟﻴﺎﻥ ﺩﺭﺍﺯ ﺑﻪ ﺳﺎﺣﻞ ﺍﻓﺘﺎﺩﻩ ﺑﺎﺷﺪ‪ .‬ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﻛﻼﻣﻰ ﺑﺮ ﺯﺑﺎﻥ ﺑﺮﺍﻧﻨﺪ‪ ،‬ﺩﺭ ﺳﺎﻳﻪﻯ ﺁﻥ ﻏﻮﻝ ﺁﻫﻨﻴﻦ‬ ‫ﺍﻳﺴﺘﺎﺩﻧﺪ ﺑﻪ ﺗﻤﺎﺷﺎ‪ .‬ﻫﻤﭽﻨﺎﻥ ﺑﻪ ﺧﻮﺩ ﻣﻰﭘﻴﭽﻴﺪ ﻭ ﺻﺪﺍﻯ ﺗﺮﺗﺮ ﺟﻬﺎﺯﻯ ﺍﺯ ﺩﺭﻭﻧﺶ ﺷﻨﻴﺪﻩ ﻣﻰﺷﺪ‪.‬‬ ‫ﺗﺮﻭﺭﻝ ﻛﻪ ﺍﻳﻦ ﺭﺍ ﺩﻳﺪ ﮔﻔﺖ‪» :‬ﺑﻠﻪ‪ ...‬ﺑﻠﻪ‪ ...‬ﻋﺠﺐ ﭘﺎﻳﺎﻥ ﺩﺭﺩﻧﺎﻛﻰ‪ .‬ﻭ ﺣﺎﻻ ﻛﻪ ﺑﻪ ﺍﻳﻦﺟﺎ ﺭﺳﻴﺪﻳﻢ ﺑﺎﻳﺪ‬ ‫ﻳﻚ ﺑﺎﺭ ﺩﻳﮕﺮ ﺍﺫﻋﺎﻥ ﺑﺪﺍﺭﻡ ﻛﻪ ﺩﻭ ﺑﺎ ﺩﻭ ﻣﻰﺷﻮﺩ‪«...‬‬ ‫ﺍﻣﺎ ﻣﺎﺷﻴﻦ ﻛﻪ ﺩﻳﮕﺮ ﺭﻭ ﺑﻪ ﻣﻮﺕ ﺑﻮﺩ‪ ،‬ﺑﺎ ﻧﺎﻟﻪﺍﻯ ﻛﻪ ﺑﻪ ﺳﺨﺘﻰ ﺷﻨﻴﺪﻩ ﻣﻰﺷﺪ ﮔﻔﺖ‪» :‬ﻫﻔﺖ!« ﺍﻳﻦ ﺭﺍ‬ ‫ﮔﻔﺖ ﻭ ﭼﻴﺰﻯ ﺩﺭﻭﻧﺶ ﺍﺯ ﺣﺮﻛﺖ ﺍﻳﺴﺘﺎﺩ‪ .‬ﭼﻨﺪ ﻗﻠﻮﻩﺳﻨﮓ ﺍﺯ ﺑﺎﻻﻯ ﺳﺮﺵ ﭘﺎﻳﻴﻦ ﺭﻳﺨﺘﻨﺪ ﻭ ﺳﭙﺲ‬ ‫ﺩﺭ ﺑﺮﺍﺑﺮ ﺩﻭ ﺻﺎﻧﻊ ﭼﻴﺰﻯ ﻧﺒﻮﺩ ﺟﺰ ﺗﻮﺩﻩﺍﻯ ﻋﻈﻴﻢ ﻓﻠﺰﻯ ﻭ ﺑﻰﺟﺎﻥ‪.‬‬ ‫ﺩﻭ ﺻﻠﻨﻊ ﺑﻪ ﻳﻜﺪﻳﮕﺮ ﻧﮕﺎﻫﻰ ﺍﻧﺪﺍﺧﺘﻨﺪ ﻭ ﺑﺪﻭﻥ ﻫﻴﭻ ﺣﺮﻑ ﻭ ﺑﺤﺚ ﺩﻳﮕﺮﻯ ﺍﺯ ﺭﺍﻫﻰ ﻛﻪ ﺁﻣﺪﻩ ﺑﻮﺩﻧﺪ‬ ‫ﺑﺎﺯﮔﺸﺘﻨﺪ‪.‬‬

‫‪1. Trurl‬‬

‫‪2. Clapaucius‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﻣﺎﺷﻴﻦ ﮔﻔﺖ‪» :‬ﺍﮔﺮ ﺩﻟﻢ ﻧﺨﻮﺍﻫﺪ ﻧﻤﻰﮔﺬﺍﺭﻡ ﺑﺮﻭﻳﺪ‪ .‬ﻓﻌ ً‬ ‫ﻼ ﺷﻤﺎ ﺑﮕﻮ ﺩﻭ ﺩﻭ ﺗﺎ ﭼﻨﺪ ﻣﻰﺷﻮﺩ‪«...‬‬ ‫ﻳﻚ ﺩﻓﻌﻪ ﺗﺮﻭﺭﻝ ﻛﻨﺘﺮﻝ ﺍﻋﺼﺎﺑﺶ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩ ﻭ ﺟﻴﻎ ﻛﺸﻴﺪ‪» :‬ﺩﻭ ﺩﻭ ﺗﺎ؟ ﺩﻭ ﺩﻭ ﺗﺎ؟ ﺍﻻﻥ ﺣﺎﻟﻴﺖ‬ ‫ﻣﻰﻛﻨﻢ ﺩﻭ ﺩﻭ ﺗﺎ ﭼﻨﺪ ﻣﻰﺷﻮﺩ! ﺩﻭ ﺩﻭ ﺗﺎ ﻣﻰﺷﻮﺩ ﭼﻬﺎﺭ! ﺩﻭ ﺑﺎ ﺩﻭ ﻫﻢ ﻣﻰﺷﻮﺩ ﭼﻬﺎﺭ! ﺣﺘﺎ ﺍﮔﺮ ﺭﻭﻯ‬ ‫ﻛﻠﻪﺍﺕ ﺑﺎﻳﺴﺘﻰ ﻭ ﻫﻤﻪﻯ ﺍﻳﻦ ﻛﻮﻩﻫﺎ ﺭﺍ ﺑﺎ ﺧﺎﻙ ﻳﻜﺴﺎﻥ ﻛﻨﻰ ﻭ ﺁﺏﻫﺎﻯ ﻫﻤﻪﻯ ﺍﻗﻴﺎﻧﻮﺱﻫﺎ ﺭﺍ ﺑﻨﻮﺷﻰ‬ ‫ﻭ ﺁﺳﻤﺎﻥ ﺭﺍ ﻏﻮﺭﺕ ﺑﺪﻫﻰ ﺩﻭ ﺑﺎ ﺩﻭ ﻣﻰﺷﻮﺩ ﭼﻬﺎﺭ! ﻣﻰﺷﻨﻮﻯ؟ ﭼﻬﺎﺭ!«‬ ‫ﻛﻼﭘﺎﺳﻴﻮﺱ ﺳﺮﺍﺳﻴﻤﻪ ﺳﻌﻰ ﻛﺮﺩ ﺩﻭﺳﺘﺶ ﺭﺍ ﻛﻪ ﺍﺯ ﺧﺸﻢ ﺩﻳﻮﺍﻧﻪ ﺷﺪﻩ ﺑﻮﺩ ﺁﺭﺍﻡ ﻛﻨﺪ ﻭ ﺩﺭ ﻋﻴﻦ‬ ‫ﺣﺎﻝ ﺭﻭ ﺑﻪ ﻣﺎﺷﻴﻦ ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﺗﺮﻭﺭﻝ ﺩﻭﺳﺖ ﻣﻦ ﭼﻪ ﻣﻰﮔﻮﻳﻰ؟ ﺩﻭ ﺑﺎ ﺩﻭ ﻣﻰﺷﻮﺩ ﻫﻔﺖ! ﻫﻤﻪ ﺍﻳﻦ‬ ‫ﺭﺍ ﻣﻰﺩﺍﻧﻨﺪ! ﻣﺎﺷﻴﻦ ﺟﺎﻥ ﺩﻭ ﺑﺎ ﺩﻭ ﻣﻰﺷﻮﺩ ﻫﻔﺖ! ﺑﻪ ﺷﻤﺎ ﺍﻃﻤﻴﻨﺎﻥ ﻣﻰﺩﻫﻢ!«‬ ‫ﺗﺮﻭﺭﻝ ﻛﻪ ﺩﻳﮕﺮ ﺣﺘﺎ ﻣﺮگ ﻫﻢ ﺟﻠﻮﺩﺍﺭﺵ ﻧﺒﻮﺩ ﻧﻌﺮﻩ ﺯﺩ‪» :‬ﻧﺨﻴﺮ ﺁﻗﺎ! ﭼﻬﺎﺭ! ﻣﻰﺷﻮﺩ ﭼﻬﺎﺭ! ﭼﻬﺎﺭ ﻭ‬ ‫ﻓﻘﻂ ﭼﻬﺎﺭ! ﺍﺯ ﺍﺯﻝ ﺗﺎ ﺍﺑﺪ ﺩﻭ ﺑﺎ ﺩﻭ ﻣﻰﺷﻮﺩ ﭼﻬﺎﺭ!«‬ ‫ﺯﻣﻴﻦ ﺯﻳﺮ ﭘﺎﻳﺸﺎﻥ ﺷﺮﻭﻉ ﻛﺮﺩ ﺑﻪ ﻟﺮﺯﻳﺪﻥ‪ .‬ﻣﺎﺷﻴﻦ ﺍﺯ ﺟﻠﻮﻯ ﺩﻫﻨﻪﻯ ﻏﺎﺭ ﻛﻨﺎﺭ ﺭﻓﺖ ﻭ ﻧﻮﺭ ﺍﻧﺪﻛﻰ ﻭﺍﺭﺩ‬ ‫ﻏﺎﺭ ﺷﺪ‪ .‬ﻣﺎﺷﻴﻦ ﺑﺎ ﺁﺧﺮﻳﻦ ﺗﻮﺍﻧﺶ ﻏﺮﻳﺪ‪» :‬ﻏﻠﻂ ﺍﺳﺖ! ﺩﻭ ﺑﺎ ﺩﻭ ﻣﻰﺷﻮﺩ ﻫﻔﺖ! ﺑﮕﻮ ﻣﻰﺷﻮﺩ ﻫﻔﺖ!‬ ‫ﻭﮔﺮﻧﻪ ﺧﺮﺩﺕ ﻣﻰﻛﻨﻢ!«‬ ‫ﺗﺮﻭﺭﻝ ﻫﻢ ﻛﻪ ﺩﻳﮕﺮ ﻫﻴﭻ ﭼﻴﺰ ﺑﺮﺍﻳﺶ ﺍﻫﻤﻴﺖ ﻧﺪﺍﺷﺖ‪ ،‬ﺑﺎﺯ ﻧﻌﺮﻩ ﻛﺸﻴﺪ‪» :‬ﭼﻬﺎﺭ!«‬ ‫ﺧﺎﻙ ﻭ ﺳﻨﮓﺭﻳﺰﻩ ﺍﺯ ﺳﻘﻒ ﻏﺎﺭ ﺭﻭﻯ ﺳﺮﺷﺎﻥ ﺑﺎﺭﻳﺪﻥ ﮔﺮﻓﺖ‪ .‬ﻣﺎﺷﻴﻦ ﺩﺍﺷﺖ ﺑﺪﻥ ﻫﺸﺖ ﻃﺒﻘﻪﺍﺵ‬ ‫ﺭﺍ ﺩﻭﺑﺎﺭﻩ ﻭ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﭘﻴﻜﺮﻩﻯ ﻛﻮﻩ ﻣﻰﺯﺩ‪ .‬ﺳﻨﮓﻫﺎﻯ ﻋﻈﻴﻢ ﺍﺯ ﻛﻮﻩ ﺟﺪﺍ ﻣﻰﺷﺪﻧﺪ ﻭ ﺑﻪ ﺩﺭﻭﻥ ﺩﺭﻩ‬ ‫ﻣﻰﻏﻠﺘﻴﺪﻧﺪ‪ .‬ﺩﺭﻭﻥ ﻏﺎﺭ ﺍﺯ ﺩﻭﺩﻫﺎﻯ ﮔﻮﮔﺮﺩﻯ ﭘﺮ ﻣﻰﺷﺪ ﻭ ﺍﺯ ﺑﺮﺧﻮﺭﺩ ﻓﻠﺰ ﻭ ﺳﻨﮓ ﺟﺮﻗﻪﻫﺎﻯ ﺁﺗﺸﻴﻦ‬ ‫ﺑﺮﻣﻰﺧﻮﺍﺳﺖ‪ .‬ﻭ ﺩﺭ ﻭﺳﻂ ﭼﻨﻴﻦ ﺟﻬﻨﻤﻰ ﻫﻤﭽﻨﺎﻥ ﺻﺪﺍﻯ ﺧﻔﻪﻯ ﺗﺮﻭﺭﻝ ﺑﻪ ﮔﻮﺵ ﻣﻰﺭﺳﻴﺪ ﻛﻪ ﻫﺮ‬ ‫ﺍﺯ ﭼﻨﺪ ﮔﺎﻫﻰ ﻣﻰﮔﻔﺖ‪» :‬ﺩﻭ ﺑﺎ ﺩﻭ ﻣﻰﺷﻮﺩ ﭼﻬﺎﺭ! ﺩﻭ ﺩﻭ ﺗﺎ ﻣﻰﺷﻮﺩ ﭼﻬﺎﺭ!«‬ ‫ﻛﻼﭘﺎﺳﻴﻮﺱ ﺳﻌﻰ ﻛﺮﺩ ﺩﻫﻦ ﺩﻭﺳﺘﺶ ﺭﺍ ﺑﻪ ﺯﻭﺭ ﺑﺒﻨﺪﺩ‪ .‬ﻭﻟﻰ ﻣﻮﻓﻖ ﻧﺸﺪ ﻭ ﺑﻪ ﻛﻨﺎﺭﻯ ﭘﺮﺕ ﺷﺪ‪ .‬ﭘﺲ‬ ‫ﺗﺴﻠﻴﻢ ﺷﺪ ﻭ ﺳﺮ ﺟﺎﻳﺶ ﻧﺸﺴﺖ ﻭ ﺩﺳﺘﺎﻧﺶ ﺭﺍ ﺳﭙﺮ ﺳﺮﺵ ﻛﺮﺩ‪ .‬ﺿﺮﺑﺎﺕ ﻣﺎﺷﻴﻦ ﻗﺪﺭﺗﻤﻨﺪﺗﺮ ﻣﻰﺷﺪ‬ ‫ﻭ ﻫﺮ ﺁﻳﻨﻪ ﺳﻘﻒ ﻏﺎﺭ ﻭﺍ ﻣﻰﺩﺍﺩ ﻭ ﺩﻭ ﻣﺎﺷﻴﻦﺳﺎﺯ ﺗﺎ ﺍﺑﺪ ﺯﻳﺮﺵ ﻣﺪﻓﻮﻥ ﻣﻰﺷﺪﻧﺪ‪ .‬ﻭﻟﻰ ﻭﻗﺘﻰ ﺩﻳﮕﺮ‬ ‫ﺍﻣﻴﺪﺷﺎﻥ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩ ﺑﻮﺩﻧﺪ ﻭ ﻫﻮﺍ ﺍﺯ ﺩﻭﺩﻫﺎﻯ ﺍﺳﻴﺪﻯ ﻭ ﺧﺎﻙ ﺗﻴﺮﻩ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺻﺪﺍﻯ ﺑﺮﺧﻮﺭﺩ‬ ‫ﻋﻈﻴﻤﻰ ﺑﻪ ﮔﻮﺵ ﺭﺳﻴﺪ ﻭ ﭘﺸﺖ ﺳﺮﺵ ﺍﻧﻔﺠﺎﺭﻯ ﻛﻮﭼﻚ ﻛﻪ ﻗﻮﺗﺶ ﺍﺯ ﻫﻤﻪﻯ ﺩﻧﮓﺩﻧﮓﻫﺎﻯ‬ ‫ﭘﻴﺸﻴﻦ ﺑﻴﺸﺘﺮ ﺑﻮﺩ‪ .‬ﺑﻌﺪ ﻫﻮﺍ ﺑﺎ ﻓﺸﺎﺭ ﺍﺯ ﻏﺎﺭ ﺧﺎﺭﺝ ﺷﺪ ﻭ ﺑﺪﻥ ﻣﺎﺷﻴﻦ ﻛﻪ ﺩﻫﺎﻧﻪﻯ ﻏﺎﺭ ﺭﺍ ﻣﺴﺪﻭﺩ‬ ‫ﻣﻰﻛﺮﺩ ﻛﻨﺎﺭ ﺭﻓﺖ ﻭ ﺗﻜﻪ ﺻﺨﺮﻩﺍﻯ ﻋﻈﻴﻢ ﺍﺯ ﺑﺎﻻ ﺭﻭﻯ ﺁﻥ ﺍﻓﺘﺎﺩ‪ .‬ﺩﻭ ﺩﻭﺳﺖ ﻛﻪ ﺍﺯ ﻏﺎﺭ ﺑﻴﺮﻭﻥ ﺁﻣﺪﻧﺪ‪،‬‬ ‫ﭘﮋﻭﺍﻙ ﺑﺮﺧﻮﺭﺩ ﺁﻥ ﺻﺨﺮﻩ ﻫﻤﭽﻨﺎﻥ ﺩﺭ ﺩﺭﻩ ﻣﻰﭘﻴﭽﻴﺪ‪ .‬ﺑﻴﺮﻭﻥ ﺍﺯ ﻏﺎﺭ ﻣﺎﺷﻴﻦ ﺭﺍ ﺩﻳﺪﻧﺪ‪ .‬ﺻﺎﻑ ﻭ ﭘﺮﺱ‬ ‫ﺷﺪﻩ ﻭ ﺗﻘﺮﻳﺒﺎً ﺩﻭ ﻧﻴﻢ ﺷﺪﻩ ﺍﺯ ﺑﺮﺧﻮﺭﺩ ﺗﻜﻪ ﺻﺨﺮﻩﺍﻯ ﻛﻪ ﺍﺯ ﻭﺳﻂ ﺑﺪﻧﺶ ﺭﺩ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺩﻭ ﻣﺎﺷﻴﻦﺳﺎﺯ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺻﺪﺍﻯ ﺁﻫﻨﻴﻦ ﻣﺎﺷﻴﻦ ﻏﺮﻳﺪ‪» :‬ﺑﻮﻯ ﺗﺮﻭﺭﻝ ﻣﻰﺁﻳﺪ!« ﺗﺮﻭﺭﻝ ﺑﻪ ﺳﺮﻋﺖ ﻋﻘﺐﻧﺸﻴﻨﻰ ﻛﺮﺩ ﻭ ﺩﺭ ﺍﻧﺘﻬﺎﻯ‬ ‫ﺩﻳﮕﺮ ﻏﺎﺭ ﻛﻨﺎﺭ ﺩﻭﺳﺘﺶ ﻧﺸﺴﺖ ﻭ ﺗﺎ ﻣﺪﺗﻰ ﻫﻤﮕﻰ ﺑﻰﺣﺮﻛﺖ ﻫﻤﺎﻥﺟﺎ ﻧﺸﺴﺘﻨﺪ‪ .‬ﺗﺎ ﺍﻳﻦ ﻛﻪ ﻃﺎﻗﺖ‬ ‫ﻛﻼﭘﺎﺳﻴﻮﺱ ﻃﺎﻕ ﺷﺪ ﻭ ﺯﻣﺰﻣﻪ ﻛﺮﺩ‪» :‬ﻧﺸﺴﺘﻦ ﻣﺎ ﺍﻳﻦﺟﺎ ﻫﻴﭻ ﻓﺎﻳﺪﻩﺍﻯ ﻧﺪﺍﺭﺩ‪ .‬ﺷﺎﻳﺪ ﺑﺘﻮﺍﻧﻴﻢ ﺑﺎ ﺑﺤﺚ‬ ‫ﻣﻨﻄﻘﻰ ﻣﺸﻜﻼﺗﻤﺎﻥ ﺭﺍ ﺣﻞ ﻛﻨﻴﻢ‪«.‬‬ ‫ﺗﺮﻭﺭﻝ ﭘﺎﺳﺦ ﺩﺍﺩ‪» :‬ﻫﺮ ﭼﻨﺪ ﺑﻪ ﻧﻈﺮ ﻣﻦ ﺑﻰﻓﺎﻳﺪﻩ ﺍﺳﺖ‪ .‬ﻭﻟﻰ ﺍﻣﺘﺤﺎﻧﺶ ﺑﻰﺿﺮﺭ ﺍﺳﺖ‪ .‬ﺷﺎﻳﺪ ﺣﺪﺍﻗﻞ‬ ‫ﮔﺬﺍﺷﺖ ﺗﻮ ﺑﺮﻭﻯ‪«.‬‬ ‫ﻛﻼﭘﺎﺳﻴﻮﺱ ﺩﺳﺘﻰ ﺑﻪ ﭘﺸﺖ ﺭﻓﻴﻖ ﻣﺎﺷﻴﻦﺳﺎﺯﺵ ﺯﺩ ﻭ ﮔﻔﺖ‪» :‬ﺩﻳﮕﺮ ﻧﺸﻨﻮﻡ ﺍﺯ ﺍﻳﻦ ﺣﺮﻑﻫﺎ ﺑﺰﻧﻰ! ﺑﺎ‬ ‫ﻫﻢ ﺍﺯ ﺍﻳﻦﺟﺎ ﻣﻰﺭﻭﻳﻢ‪ «.‬ﺑﻌﺪ ﺳﻤﺖ ﺩﻫﺎﻧﻪﻯ ﻏﺎﺭ ﺭﻓﺖ ﻭ ﺻﺪﺍ ﺯﺩ‪» :‬ﺁﻫﺎﻯ ﺗﻮ ﻛﻪ ﺁﻥ ﺑﻴﺮﻭﻧﻰ! ﺻﺪﺍﻯ‬ ‫ﻣﻦ ﺭﺍ ﻣﻰﺷﻨﻮﻯ؟«‬ ‫ﻣﺎﺷﻴﻦ ﮔﻔﺖ‪» :‬ﺑﻠﻪ‪«.‬‬ ‫»ﺭﺍﺳﺘﺶ ﻣﺎ ﻣﻰﺧﻮﺍﻫﻴﻢ ﺍﺯ ﺷﻤﺎ ﻋﺬﺭﺧﻮﺍﻫﻰ ﻛﻨﻴﻢ‪ .‬ﻣﻦ ﺁﻣﺪﻩﺍﻡ ﻣﺮﺍﺗﺐ ﭘﻮﺯﺵ ﻭ ﭘﺸﻴﻤﺎﻧﻰ ﺗﺮﻭﺭﻝ‬ ‫ﺭﺍ ﺑﻪ ﺗﻮ ﺑﺮﺳﺎﻧﻢ‪ .‬ﺑﺎﻭﺭ ﺑﻔﺮﻣﺎﻳﻴﺪ ﻣﺎﺷﻴﻦ ﻋﺰﻳﺰ ﻛﻪ ﺳﻮءﺗﻔﺎﻫﻢ ﺷﺪﻩ! ﺗﺮﻭﺭﻝ ﺍﺻ ً‬ ‫ﻼ ﻗﺼﺪ ﺗﻮﻫﻴﻦ‪«...‬‬ ‫ﻣﺎﺷﻴﻦ ﮔﻔﺖ‪» :‬ﻣﻦ ﺗﺮﻭﺭﻝ ﺭﺍ ﺑﻪ ﻧﺎﻧﻮﭘﻮﺩﺭ ﺗﺒﺪﻳﻞ ﻣﻰﻛﻨﻢ‪ ...‬ﻭﻟﻰ ﻗﺒﻞ ﺍﺯ ﻫﺮ ﭼﻴﺰ ﺑﺎﻳﺪ ﺑﮕﻮﻳﺪ ﺩﻭ ﺑﺎ‬ ‫ﺩﻭ ﭼﻨﺪ ﻣﻰﺷﻮﺩ‪«.‬‬ ‫ﺻﺎﻧﻊ ﻣﺬﺍﻛﺮﻩ ﻛﻨﻨﺪﻩ ﺑﺎ ﭼﺮﺏﺯﺑﺎﻧﻰ ﭘﺎﺳﺦ ﺩﺍﺩ‪» :‬ﺍﻟﺒﺘﻪ! ﺍﻟﺒﺘﻪ! ﺑﺮ ﻣﻨﻜﺮﺵ ﻟﻌﻨﺖ! ﺣﺘﻤﺎً ﭘﺎﺳﺦ ﺧﻮﺍﻫﺪ‬ ‫ﺩﺍﺩ ﻭ ﺁﻥ ﻫﻢ ﭘﺎﺳﺦ ﺑﺎﺏ ﻃﺒﻊ ﺷﻤﺎ! ﻣﮕﺮ ﻧﻪ ﺗﺮﻭﺭﻝ؟«‬ ‫ﺗﺮﻭﺭﻝ ﻧﻴﻤﻪ ﻻﻝ ﭘﺎﺳﺦ ﺩﺍﺩ‪» :‬ﺍﻟﺒﺘﻪ‪«...‬‬ ‫ﻣﺎﺷﻴﻦ ﮔﻔﺖ‪» :‬ﻭﺍﻗﻌﺎً؟ ﭘﺲ ﺑﮕﻮ ﺩﻭ ﺑﺎ ﺩﻭ ﭼﻨﺪ ﻣﻰﺷﻮﺩ؟«‬ ‫ﺗﺮﻭﺭﻝ ﺑﺎ ﺻﺪﺍﻳﻰ ﻛﻪ ﺍﻧﮕﺎﺭ ﺍﺯ ﺍﻧﺘﻬﺎﻯ ﭼﺎﻩ ﺑﻴﺮﻭﻥ ﻣﻰﺁﻣﺪ ﭘﺎﺳﺦ ﺩﺍﺩ‪» :‬ﺧﺐ ﻣﻰﺷﻮﺩ ﭼﻬﻬﺎ‪ ...‬ﻣﻨﻈﻮﺭﻡ‬ ‫ﻫﻔﺖ ﺍﺳﺖ‪«...‬‬ ‫ﻣﺎﺷﻴﻦ ﺑﺎ ﺻﺪﺍﻯ ﻧﺨﺮﺍﺷﻴﺪﻩﺍﺵ ﻓﺮﻳﺎﺩ ﻛﺸﻴﺪ‪» :‬ﺁﻫﺎ! ﺩﻳﺪﻯ؟ ﻫﻔﺖ! ﻧﻪ ﭼﻬﺎﺭ! ﺑﻬﺘﺎﻥ ﻛﻪ ﮔﻔﺘﻢ!«‬ ‫ﻛﻼﭘﺎﺳﻴﻮﺱ ﺑﺎ ﺩﻝ ﻭ ﺟﺎﻥ ﺍﺿﺎﻓﻪ ﻛﺮﺩ ‪» :‬ﺍﻟﺒﺘﻪ! ﻣﻌﻠﻮﻡ ﺍﺳﺖ ﻛﻪ ﻣﻰﺷﻮﺩ ﻫﻔﺖ! ﻣﺎ ﺍﺻ ً‬ ‫ﻼ ﻫﻤﻴﺸﻪ‬ ‫ﻣﻰﮔﻔﺘﻴﻢ ﺩﻭ ﺑﺎ ﺩﻭ ﻣﻰﺷﻮﺩ ﻫﻔﺖ‪ !...‬ﺣﺎﻻ ﻣﻰﮔﺬﺍﺭﻳﺪ ﻣﺎ ﺭﻓﻊ ﺯﺣﻤﺖ ﻛﻨﻴﻢ؟«‬ ‫»ﻧﻪ! ﻗﺒﻠﺶ ﺗﺮﻭﺭﻝ ﺑﺎﻳﺪ ﺷﺨﺼﺎً ﺍﺯ ﻣﻦ ﻋﺬﺭﺧﻮﺍﻫﻰ ﻛﻨﺪ ﻭ ﺩﺭ ﺿﻤﻦ ﺑﮕﻮﻳﺪ ﺩﻭ ﺩﻭ ﺗﺎ ﭼﻨﺪ ﻣﻰﺷﻮﺩ‪«.‬‬ ‫ﺗﺮﻭﺭﻝ ﮔﻔﺖ‪» :‬ﻭ ﺍﮔﺮ ﺍﻳﻦ ﻛﺎﺭﻫﺎ ﺭﺍ ﺑﻜﻨﻢ ﻣﻰﮔﺬﺍﺭﻯ ﻣﺎ ﺑﺮﻭﻳﻢ؟«‬ ‫»ﺷﺎﻳﺪ‪ .‬ﻣﻌﻠﻮﻡ ﻧﻴﺴﺖ‪ .‬ﺩﺭ ﻫﺮ ﺣﺎﻝ ﺧﻴﻠﻰ ﺑﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺍﻣﻴﺪﻭﺍﺭ ﻧﺒﺎﺷﻴﺪ‪«.‬‬ ‫ﺑﺎﺯ ﺗﺮﻭﺭﻝ ﮔﻔﺖ‪» :‬ﻭﻟﻰ ﺗﻬﺶ ﻛﻪ ﻣﻰﮔﺬﺍﺭﻳﺪ ﻣﺎ ﺑﺮﻭﻳﻢ؟« ﻛﻼﭘﺎﺳﻴﻮﺱ ﺩﺳﺖ ﺗﺮﻭﺭﻝ ﺭﺍ ﻛﺸﻴﺪ ﻭ ﺗﻮﻯ ﮔﻮﺷﺶ‬ ‫ﺯﻣﺰﻣﻪ ﻛﺮﺩ‪» :‬ﻣﺤﺾ ﺭﺿﺎﻯ ﺧﺪﺍ ﺑﺎ ﺍﻳﻦ ﺣﻤﺎﻗﺖ ﻣﺠﺴﻢ ﺑﺤﺚ ﻧﻜﻦ‪ .‬ﻫﻤﺎﻥ ﻛﺎﺭﻯ ﺭﺍ ﺑﻜﻦ ﻛﻪ ﻣﻰﮔﻮﻳﺪ!«‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﺁﻥﻫﺎ ﺑﺎ ﻧﻔﺲﻫﺎﻯ ﺑﺮﻳﺪﻩ ﺑﻪ ﺳﻤﺖ ﻛﻮﻫﺴﺘﺎﻥ ﺩﻭﻳﺪﻧﺪ ﻭ ﺷﺎﻳﺪ ﻳﻚ ﻣﺎﻳﻞ ﺗﻤﺎﻡ ﺑﺪﻭﻥ ﺗﻮﻗﻒ ﺑﻪ ﻫﻤﺎﻥ‬ ‫ﺳﻤﺖ ﺭﻓﺘﻨﺪ‪ .‬ﺍﺯ ﭘﺸﺖ ﺳﺮﺷﺎﻥ ﻣﺎﺷﻴﻦ ﻫﻤﭽﻮﻥ ﻏﻮﻟﻰ ﺧﺴﺘﮕﻰﻧﺎﭘﺬﻳﺮ ﻫﻤﭽﻨﺎﻥ ﻣﻰﺁﻣﺪ‪.‬‬ ‫ﻛﻼﭘﺎﺳﻴﻮﺱ ﻧﺎﮔﻬﺎﻥ ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﻣﻦ ﺍﻳﻦ ﺁﺑﻜﻨﺪ ﺭﺍ ﻣﻰﺷﻨﺎﺳﻢ! ﺍﻳﻦ ﺟﺎ ﻗﺒ ً‬ ‫ﻼ ﺭﻭﺩﻯ ﺟﺎﺭﻯ ﺑﻮﺩ ﻛﻪ ﺑﻪ‬ ‫ﻏﺎﺭﻯ ﻣﻨﺘﻬﻰ ﻣﻰﺷﺪ‪ .‬ﺳﺮﻳﻊﺗﺮ ﺑﻴﺎ ﺗﺮﻭﺭﻝ! ﺁﻥ ﻣﺎﺷﻴﻦ ﺩﻳﮕﺮ ﺁﺧﺮ ﻛﺎﺭﺵ ﺍﺳﺖ‪«.‬‬ ‫ﭘﺲ ﻫﺮ ﺩﻭ ﺩﺭ ﺁﺑﻜﻨﺪ ﺑﻪ ﭘﻴﺶ ﺭﻓﺘﻨﺪ ﻭ ﺍﺯ ﺭﻭﻯ ﻗﻠﻮﻩﺳﻨﮓﻫﺎ ﺟﻬﻴﺪﻧﺪ‪ ،‬ﻭﻟﻰ ﻣﺎﺷﻴﻦ ﻫﻤﭽﻨﺎﻥ‬ ‫ﻧﺰﺩﻳﻚﺗﺮ ﻣﻰﺷﺪ‪.‬‬ ‫ﺍﺯ ﺳﻨﮕﻼﺥ ﺧﺸﻜﻴﺪﻩﻯ ﺑﺴﺘﺮ ﺭﻭﺩ ﻣﻰﮔﺬﺷﺘﻨﺪ ﻛﻪ ﺩﺭ ﺑﺮﺍﺑﺮﺷﺎﻥ ﺷﻜﺎﻑ ﺻﺨﺮﻩﺍﻯ ﻋﻤﻮﺩﻯ ﻇﺎﻫﺮ ﺷﺪ‬ ‫ﻭ ﺍﺯ ﻓﺮﺍﺯﺵ ﺩﻫﻨﻪﻯ ﻏﺎﺭﻯ ﻋﺒﻮﺱ ﻭ ﻣﺮﻣﻮﺯ ﭘﻴﺪﺍ ﺑﻮﺩ‪ .‬ﺑﻪ ﺳﻮﻳﺶ ﺩﻳﻮﺍﻧﻪﻭﺍﺭ ﺩﻭﻳﺪﻧﺪ ﻭ ﺩﻳﮕﺮ ﺣﻮﺍﺳﺸﺎﻥ‬ ‫ﺑﻪ ﺳﻨﮓﻫﺎﻳﻰ ﻛﻪ ﺍﺯ ﺯﻳﺮ ﭘﺎﻳﺸﺎﻥ ﺳﺮ ﻣﻰﺧﻮﺭﺩ ﻭ ﺳﻘﻮﻁ ﻣﻰﻛﺮﺩ ﻧﺒﻮﺩ‪ .‬ﺍﺯ ﺩﻫﺎﻧﻪﻯ ﻏﺎﺭ ﺳﺮﻣﺎ ﻭ‬ ‫ﺗﺎﺭﻳﻜﻰ ﺑﻪ ﺑﻴﺮﻭﻥ ﻣﻰﺗﺮﺍﻭﻳﺪ‪ .‬ﺑﺎ ﻧﻬﺎﻳﺖ ﺳﺮﻋﺖ ﺑﻪ ﺩﺭﻭﻥ ﺟﻬﻴﺪﻧﺪ ﻭ ﭼﻨﺪ ﻗﺪﻣﻰ ﺑﻪ ﺟﻠﻮ ﺑﺮﺩﺍﺷﺘﻨﺪ ﻭ‬ ‫ﺑﻌﺪ ﻣﺘﻮﻗﻒ ﺷﺪﻧﺪ‪.‬‬ ‫ﺗﺮﻭﺭﻝ ﻛﻪ ﺣﺎﻻ ﺁﺭﺍﻡﺗﺮ ﺷﺪﻩ ﺑﻮﺩ ﮔﻔﺖ‪» :‬ﺑﻼﺧﺮﻩ ﺭﺳﻴﺪﻳﻢ‪ .‬ﺣﺎﻻ ﺩﻳﮕﺮ ﺩﺭ ﺍﻣﺎﻧﻴﻢ‪ .‬ﻣﻦ ﻳﻚ ﻧﮕﺎﻫﻰ‬ ‫ﻣﻰﺍﻧﺪﺍﺯﻡ ﻛﻪ ﺑﺒﻴﻨﻢ ﻣﺎﺷﻴﻦ ﻛﺠﺎ ﮔﻴﺮ ﺍﻓﺘﺎﺩﻩ‪«.‬‬ ‫ﻛﻼﭘﺎﺳﻴﻮﺱ ﻫﺸﺪﺍﺭ ﺩﺍﺩ‪» :‬ﻣﺮﺍﻗﺐ ﺧﻮﺩﺕ ﺑﺎﺵ‪ «.‬ﺗﺮﻭﺭﻝ ﺑﻪ ﺁﺭﺍﻣﻰ ﺑﻪ ﺩﻫﺎﻧﻪﻯ ﻏﺎﺭ ﻧﺰﺩﻳﻚ ﺷﺪ ﻭ‬ ‫ﻧﮕﺎﻫﻰ ﺑﻪ ﺑﻴﺮﻭﻥ ﺍﻧﺪﺍﺧﺖ‪ .‬ﺑﻌﺪ ﺑﻼﻓﺎﺻﻠﻪ ﺑﺎ ﭼﻬﺮﻩﺍﻯ ﺳﻔﻴﺪ ﺑﻪ ﺩﺭﻭﻥ ﺑﺮﮔﺸﺖ‪ .‬ﺩﺍﺩ ﺯﺩ‪» :‬ﺩﺍﺭﺩ ﺍﺯ ﺻﺨﺮﻩ‬ ‫ﺑﺎﻻ ﻣﻰﺁﻳﺪ!«‬ ‫ﻛﻼﭘﺎﺳﻴﻮﺱ ﺑﺎ ﻟﺤﻨﻰ ﻧﺎﻣﻄﻤﺌﻦ ﮔﻔﺖ‪» :‬ﻧﮕﺮﺍﻥ ﻧﺒﺎﺵ‪ .‬ﻣﻤﻜﻦ ﻧﻴﺴﺖ ﺑﺘﻮﺍﻧﺪ ﺑﻪ ﻏﺎﺭ ﺑﺮﺳﺪ‪ .‬ﺭﺍﺳﺘﻰ‪ ،‬ﭼﺮﺍ‬ ‫ﻳﻚ ﺩﻓﻌﻪ ﻫﻮﺍﻯ ﺍﻳﻦﺟﺎ ﺍﻳﻦﻗﺪﺭ ﺗﺎﺭﻳﻚ ﺷﺪ؟ ﻧﻪ!«‬ ‫ﻫﻤﺎﻥ ﻣﻮﻗﻊ ﺳﺎﻳﻪﺍﻯ ﻋﻈﻴﻢ ﺁﻥ ﻳﻚ ﺗﻜﻪ ﺍﺯ ﺁﺳﻤﺎﻥ ﺭﺍ ﻛﻪ ﺍﺯ ﺩﻫﺎﻧﻪﻯ ﻏﺎﺭ ﭘﻴﺪﺍ ﺑﻮﺩ‪ ،‬ﭘﻮﺷﺎﻧﺪ ﻭ ﺑﻪ ﺟﺎﻯ‬ ‫ﺁﻥ ﺩﻳﻮﺍﺭﻯ ﺻﻴﻘﻠﻰ ﻭ ﻓﻠﺰﻯ ﭘﺮچ ﺷﺪﻩ ﻧﻤﺎﻳﺎﻥ ﺷﺪ‪ .‬ﻣﺎﺷﻴﻦ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﺩﻫﻨﻪﻯ ﻏﺎﺭ ﻧﺰﺩﻳﻚ ﻣﻰﺷﺪ‪.‬‬ ‫ﻭﻗﺘﻰ ﺗﺎﺭﻳﻜﻰ ﻣﻄﻠﻖ ﻓﺮﺍﮔﻴﺮ ﺷﺪ ﺗﺮﻭﺭﻝ ﺑﺎ ﻧﺎﻟﻪﺍﻯ ﺿﻌﻴﻒ ﮔﻔﺖ‪» :‬ﮔﻴﺮ ﺍﻓﺘﺎﺩﻳﻢ!«‬ ‫ﻛﻼﭘﺎﺳﻴﻮﺱ ﺑﺎ ﺧﺸﻢ ﺍﺿﺎﻓﻪ ﻛﺮﺩ‪» :‬ﻛﺎﺭ ﺍﺣﻤﻘﺎﻧﻪﺍﻯ ﻛﺮﺩﻳﻢ! ﺑﺪﻭﻥ ﻫﻴﭻ ﻓﻜﺮﻯ ﺗﻮﻯ ﻏﺎﺭﻯ ﭘﺮﻳﺪﻳﻢ ﻛﻪ‬ ‫ﻣﺎﺷﻴﻦ ﺧﻴﻠﻰ ﺭﺍﺣﺖ ﻣﻰ ﺗﻮﺍﻧﺪ ﻣﺴﺪﻭﺩﺵ ﻛﻨﺪ‪«.‬‬ ‫ﺗﺮﻭﺭﻝ ﺑﻌﺪ ﺍﺯ ﻣﻜﺜﻰ ﻃﻮﻻﻧﻰ ﭘﺮﺳﻴﺪ‪» :‬ﭘﺲ ﻣﻨﺘﻈﺮ ﭼﻴﺴﺖ؟«‬ ‫»ﻣﻨﺘﻈﺮ ﺍﺳﺖ ﻛﻪ ﺗﺴﻠﻴﻢ ﺷﻮﻳﻢ‪ .‬ﺍﺯ ﺁﻥ ﺩﺳﺖ ﻧﻘﺸﻪﻫﺎﻳﻰ ﻛﻪ ﺑﻪ ﻣﻐﺰ ﭼﻨﺪﺍﻥ ﺑﺰﺭﮔﻰ ﺍﺣﺘﻴﺎﺝ ﻧﺪﺍﺭﺩ‪«.‬‬ ‫ﺩﻭﺑﺎﺭﻩ ﺳﻜﻮﺕ ﺑﺮﻗﺮﺍﺭ ﺷﺪ‪ .‬ﺗﺮﻭﺭﻝ ﻧﻮﻙ ﭘﺎ ﻧﻮﻙ ﭘﺎ ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﺑﺎ ﺩﺳﺘﺎﻧﻰ ﻛﺸﻴﺪﻩ ﺑﻪ ﺳﻤﺖ ﺟﻠﻮ ﻭ‬ ‫ﺍﻧﮕﺸﺘﺎﻧﻰ ﺟﺴﺘﺠﻮﮔﺮ ﺑﻪ ﭘﻴﺶ ﺭﻓﺖ‪ .‬ﺗﺎ ﺍﻳﻦ ﻛﻪ ﺩﺳﺘﺶ ﺑﻪ ﺳﻄﺢ ﺻﻴﻘﻠﻰ ﻓﻠﺰﻯ ﺑﺮﺧﻮﺭﺩ ﻛﺮﺩ ﻛﻪ‬ ‫ﮔﻮﻳﻰ ﺍﺯ ﺁﺗﺸﻰ ﻛﻪ ﺩﺭﻭﻧﺶ ﻣﻰﺟﻮﺷﻴﺪ ﮔﺮﻡ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻣﻰﮔﻔﺖ‪» :‬ﺗﺮﻭﺭﻝ ﺍﻳﻦﺟﺎﺳﺖ‪ ...‬ﺑﻮﻯ ﺗﺮﻭﺭﻝ ﻣﻰﺁﻳﺪ‪«...‬‬ ‫ﺗﺮﻭﺭﻝ ﻣﻐﻀﻮﺏ ﺑﺎ ﺻﺪﺍﻳﻰ ﻛﻪ ﺍﺳﺘﻐﺎﺛﻪ ﺩﺭ ﺁﻥ ﻣﻮﺝ ﻣﻰﺯﺩ ﻧﺎﻟﻴﺪ‪» :‬ﺁﻗﺎ ﺭﺣﻤﺘﺎﻥ ﻛﺠﺎ ﺭﻓﺘﻪ؟ ﻣﺎ ﺭﺍ ﻛﻪ‬ ‫ﻧﻤﻰﺧﻮﺍﻫﻴﺪ ﺗﺤﻮﻳﻞ ﺍﻳﻦ ﻣﺎﺷﻴﻦ ﺟﻬﻨﻤﻰ ﺑﺪﻫﻴﺪ؟«‬ ‫»ﻛﺴﻰ ﻛﻪ ﻧﺎﻣﺶ ﺗﺮﻭﺭﻝ ﺍﺳﺖ ﺑﺎﻳﺪ ﻫﺮ ﭼﻪ ﺯﻭﺩﺗﺮ ﺍﻳﻦ ﺟﺎ ﺭﺍ ﺗﺮﻙ ﻛﻨﺪ‪ .‬ﻣﺎﻧﺪﻥ ﺩﻳﮕﺮﻯ ﺑﻼﻣﺎﻧﻊ ﺍﺳﺖ‪،‬‬ ‫ﭼﺮﺍ ﻛﻪ ﺗﺤﻮﻳﻞ ﺍﻭ ﺑﺨﺸﻰ ﺍﺯ ﺗﻮﺍﻓﻖ ﺑﺎ ﻣﺎﺷﻴﻦ ﻧﺒﻮﺩﻩ‪«.‬‬ ‫»ﺁﻗﺎ ﺭﺣﻢ ﻛﻨﻴﺪ!«‬ ‫ﺷﻬﺮﺩﺍﺭ ﮔﻔﺖ‪» :‬ﭼﺎﺭﻩﺍﻯ ﻧﺪﺍﺭﻳﻢ! ﺍﮔﺮ ﺍﻳﻦﺟﺎ ﺑﻤﺎﻧﻰ ﺗﺮﻭﺭﻝ‪ ،‬ﺑﺎﻳﺪ ﺷﺨﺼﺎً ﻣﺴﺌﻮﻟﻴﺖ ﭘﺮﺩﺍﺧﺖ ﻫﻤﻪﻯ‬ ‫ﺧﺮﺍﺑﻰﻫﺎﻯ ﻭﺍﺭﺩﻩ ﺑﻪ ﺷﻬﺮ ﻭ ﺷﻬﺮﻭﻧﺪﺍﻧﺶ ﺭﺍ ﺗﻘﺒﻞ ﻛﻨﻰ‪ .‬ﭼﻮﻥ ﺑﻪ ﺧﺎﻃﺮ ﺑﻰﻓﻜﺮﻯ ﺗﻮﺳﺖ ﻛﻪ ﺍﻳﻦ‬ ‫ﻣﺎﺷﻴﻦ ﺷﺎﻧﺰﺩﻩ ﺧﺎﻧﻪ ﺭﺍ ﻭﻳﺮﺍﻥ ﻛﺮﺩﻩ ﻭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺑﻬﺘﺮﻳﻦ ﺷﻬﺮﻭﻧﺪﺍﻥ ﻣﺎ ﺭﺍ ﺯﻳﺮ ﺁﻭﺍﺭ ﺧﺎﻧﻪﻫﺎ ﻣﺪﻓﻮﻥ‪.‬‬ ‫ﺗﻨﻬﺎ ﺑﻪ ﺍﻳﻦ ﺧﺎﻃﺮ ﻛﻪ ﺧﻮﺩﺕ ﻫﻢ ﺩﺭ ﻣﻌﺮﺽ ﺧﻄﺮ ﺟﺎﻧﻰ ﻫﺴﺘﻰ‪ ،‬ﻣﻰﮔﺬﺍﺭﻳﻢ ﺑﺪﻭﻥ ﻣﺠﺎﺯﺍﺕ ﺍﺯ ﺍﻳﻦ‬ ‫ﺟﺎ ﺑﺮﻭﻯ‪ .‬ﭘﺲ ﺍﺯ ﺍﻳﻦﺟﺎ ﺑﺮﻭ‪ .‬ﻭ ﻫﺮﮔﺰ ﺑﺎﺯ ﻧﮕﺮﺩ‪«.‬‬ ‫ﺗﺮﻭﺭﻝ ﺑﻪ ﺷﻮﺭﺍﻯ ﺑﺰﺭﮔﺎﻥ ﺷﻬﺮ ﻧﮕﺎﻫﻰ ﺍﻧﺪﺍﺧﺖ ﻭ ﻭﻗﺘﻰ ﻣﺠﺎﺯﺍﺗﺶ ﺭﺍ ﺩﺭ ﭼﻬﺮﻩﻯ ﻻﻳﺘﻐﻴﺮ ﺁﻥﻫﺎ ﻧﻴﺰ‬ ‫ﺩﻳﺪ‪ ،‬ﺩﺳﺖ ﺍﺯ ﺍﻣﻴﺪ ﺷﺴﺖ ﻭ ﺑﻪ ﺳﻮﻯ ﺩﺭ ﭼﺮﺧﻴﺪ‪.‬‬ ‫ﻧﺎﮔﻬﺎﻥ ﻛﻼﭘﺎﺳﻴﻮﺱ ﻓﺮﻳﺎﺩ ﻛﺸﻴﺪ‪» :‬ﺻﺒﺮ ﻛﻦ! ﻣﻦ ﻫﻢ ﻫﻤﺮﺍﻫﺖ ﻣﻰﺁﻳﻢ‪«.‬‬ ‫ﺗﺮﻭﺭﻝ ﺑﺎ ﻛﻮﺭﺳﻮﻯ ﺍﻣﻴﺪﻯ ﺩﺭ ﺻﺪﺍﻳﺶ ﮔﻔﺖ‪» :‬ﺗﻮ؟ ﻭﻟﻰ ﻧﻪ‪ ...‬ﻧﻴﺎ‪ ...‬ﭼﻪ ﻧﻴﺎﺯﻯ ﻫﺴﺖ ﻛﻪ ﺗﻮ ﻫﻢ ﻫﻤﺮﺍﻩ‬ ‫ﻣﻦ ﻧﺎﺑﻮﺩ ﺷﻮﻯ؟«‬ ‫ﻛﻼﭘﺎﺳﻴﻮﺱ ﺳﺮﺷﺎﺭ ﺍﺯ ﺍﻧﺮژﻯ ﭘﺎﺳﺦ ﺩﺍﺩ‪» :‬ﻣﺰﺧﺮﻑ ﻧﮕﻮ! ﻣﻤﻜﻦ ﻧﻴﺴﺖ ﻣﺎ ﺑﻪ ﺩﺳﺖ ﺁﻥ ﺗﻮﺩﻩﻯ ﺁﻫﻦ‬ ‫ﻗﺮﺍﺿﻪ ﻛﺸﺘﻪ ﺷﻮﻳﻢ! ﺑﺮﺍﻯ ﻛﺸﺘﻦ ﺩﻭ ﺗﻦ ﺍﺯ ﺑﺰﺭگﺗﺮﻳﻦ ﺻﺎﻧﻌﺎﻥ ﺍﻳﻦ ﻛﺮﻩ ﺑﻴﺶ ﺍﺯ ﺍﻳﻦﻫﺎ ﻻﺯﻡ ﺍﺳﺖ‪.‬‬ ‫ﺑﻴﺎ ﺗﺮﻭﺭﻝ‪ .‬ﭼﺎﻧﻪﺍﺕ ﺭﺍ ﻫﻢ ﺑﺎﻻ ﺑﮕﻴﺮ ﺭﻓﻴﻖ!«‬ ‫ﺗﺮﻭﺭﻝ ﻛﻪ ﺍﺯ ﺣﺮﻑﻫﺎﻯ ﻛﻼﭘﺎﺳﻴﻮﺱ ﺭﻭﺣﻴﻪ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﺍﺯ ﻋﻘﺒﺶ ﭘﻠﻜﺎﻥ ﺭﺍ ﺑﺎﻻ ﺭﻓﺖ‪ .‬ﻫﻴﭻ ﺟﻨﺒﺪﻩﺍﻯ‬ ‫ﺩﺭ ﻣﻴﺪﺍﻥ ﺍﺻﻠﻰ ﺑﻪ ﭼﺸﻢ ﻧﻤﻰﺧﻮﺭﺩ‪ .‬ﺩﺭ ﻣﻴﺎﻥ ﺍﺑﺮﻯ ﺍﺯ ﻏﺒﺎﺭ ﺁﻭﺍﺭ ﻭ ﺑﺎﻗﻰﻣﺎﻧﺪﻩﻫﺎﻯ ﻗﻠﻮﻩﻛﻦ ﺷﺪﻩﻯ‬ ‫ﺍﺳﻜﻠﺖﻫﺎﻯ ﺳﺎﺧﺘﻤﺎﻧﻰ ﻣﺎﺷﻴﻦ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺑﻠﻨﺪﺗﺮ ﺍﺯ ﺳﺎﺧﺘﻤﺎﻥ ﺷﻬﺮﺩﺍﺭﻯ‪ .‬ﻧﻔﺲﻫﺎﻯ ﺁﺗﺸﻴﻦ‬ ‫ﺑﻴﺮﻭﻥ ﻣﻰﺩﺍﺩ ﻭ ﺑﻪ ﺧﻮﻥ ﺁﺟﺮﻫﺎﻯ ﺳﺮﺥ ﺁﻏﺸﺘﻪ ﻭ ﺟﺎﻯ ﺟﺎﻳﺶ ﺳﻔﻴﺪ ﺍﺯ ﮔﭻ ﺳﺎﺧﺘﻤﺎﻧﻰ‪.‬‬ ‫ﻛﻼﭘﺎﺳﻴﻮﺱ ﺯﻣﺰﻣﻪ ﻛﺮﺩ‪» :‬ﻣﻮﺍﻇﺐ ﺑﺎﺵ‪ .‬ﻧﻤﻰﺗﻮﺍﻧﺪ ﻣﺎ ﺭﺍ ﺑﺒﻴﻨﺪ‪ .‬ﺑﻬﺘﺮ ﺍﺳﺖ ﻫﻤﺎﻥ ﺧﻴﺎﺑﺎﻥ ﺍﻭﻝ ﺩﺳﺖ‬ ‫ﭼﭙﻤﺎﻥ ﺭﺍ ﺑﮕﻴﺮﻳﻢ ﻭ ﺑﻌﺪ ﺑﭙﻴﭽﻴﻢ ﺑﻪ ﺭﺍﺳﺖ ﻭ ﻣﺴﺘﻘﻴﻢ ﺑﻪ ﺳﻤﺖ ﻛﻮﻫﺴﺘﺎﻥ ﺑﺮﻭﻳﻢ‪ .‬ﻫﻤﺎﻥ ﺟﺎ ﭘﻨﺎﻩ‬ ‫ﻣﻰﮔﻴﺮﻳﻢ ﺗﺎ ﻳﻚ ﻧﻘﺸﻪﺍﻯ ﺑﻜﺸﻴﻢ ﻛﻪ ﭼﻄﻮﺭ ﺍﻳﻦ ﻣﺎﺷﻴﻦ ﺩﻳﻮﺍﻧﻪ ﺭﺍ ﻳﻚ ﺑﺎﺭ ﺑﺮﺍﻯ ﻫﻤﻴﺸﻪ ﺷﻜﺴﺖ‬ ‫ﺩﻫﻴﻢ‪ ...‬ﺑﺪﻭ!«‬ ‫ﻛﻼﭘﺎﺳﻴﻮﺱ ﻓﺮﻳﺎﺩ ﻛﺸﻴﺪ‪ ،‬ﭼﻮﻥ ﻫﻤﺎﻥ ﻣﻮﻗﻊ ﻣﺎﺷﻴﻦ ﺁﻥ ﻫﺎ ﺭﺍ ﺩﻳﺪ ﻭ ﺑﻪ ﺳﻤﺘﺸﺎﻥ ﺳﺮﻋﺖ ﮔﺮﻓﺖ‪.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻧﻔﺲﻧﻔﺲﺯﻧﺎﻥ ﺑﻪ ﺭﻓﻴﻘﺶ ﮔﻔﺖ‪» :‬ﺑﻴﺎ ﺍﻳﻦ ﻣﺎﺷﻴﻦ ﺟﻬﻨﻤﻰ ﺭﻭ ﺗﻮﻯ ﺩﺭﻩﺍﻯ ﺗﻨﮓ ﺑﻜﺸﻴﻢ ﻛﻪ ﻧﺘﻮﻧﻪ‬ ‫ﺍﺯﺵ ﻋﺒﻮﺭ ﻛﻨﻪ‪«.‬‬ ‫ﺍﻣﺎ ﻛﻼﭘﺎﺳﻴﻮﺱ ﻣﺨﺎﻟﻒ ﺑﻮﺩ‪» :‬ﺑﻬﺘﺮ ﻧﻴﺴﺖ ﻣﺴﺘﻘﻴﻢ ﺑﺮﻳﻢ‪...‬؟ ﺟﻠﻮﺗﺮ ﻳﻚ ﺷﻬﺮ ﻫﺴﺖ ﻛﻪ‪ ...‬ﺍﺳﻤﺶ‬ ‫ﻳﺎﺩﻡ ﻧﻴﺴﺖ‪ ...‬ﺁﺥ ﭘﺎﻳﻢ! ﺍﻭﻥﺟﺎ ﺷﺎﻳﺪ ﺑﺘﻮﺍﻧﻴﻢ‪ ...‬ﺳﺮﭘﻨﺎﻩ ﭘﻴﺪﺍ ﻛﻨﻴﻢ!«‬ ‫ﭘﺲ ﺩﻭ ﻣﺎﺷﻴﻦﺳﺎﺯ ﺑﺎ ﻧﻬﺎﻳﺖ ﺳﺮﻋﺖ ﺑﻪ ﺳﻤﺖ ﺷﻬﺮ ﺩﻭﻳﺪﻧﺪ‪ .‬ﻭﻗﺘﻰ ﺑﻪ ﺷﻬﺮ ﺭﺳﻴﺪﻧﺪ‪ ،‬ﻫﻤﻪ ﺟﺎ ﺧﻠﻮﺕ‬ ‫ﺑﻮﺩ ﻭ ﻫﻴﭻﻛﺲ ﺩﺭ ﺧﻴﺎﺑﺎﻥﻫﺎ ﺩﻳﺪﻩ ﻧﻤﻰﺷﺪ‪ .‬ﺷﺎﻳﺪ ﺑﻴﺸﺘﺮ ﺍﺯ ﻧﻴﻢ ﻛﻴﻠﻮﻣﺘﺮ ﺗﻮﻯ ﺷﻬﺮ ﺩﻭﻳﺪﻧﺪ ﻭ ﺑﺎﺯ ﻫﻢ‬ ‫ﻫﻴﭻﻛﺲ ﺩﻳﺪﻩ ﻧﻤﻰﺷﺪ ﻛﻪ ﺻﺪﺍﻯ ﺑﺮﺧﻮﺭﺩ ﻋﻈﻴﻤﻰ ﻣﺜﻞ ﺳﻘﻮﻁ ﻳﻚ ﺷﻬﺎﺏ ﺑﺎ ﺯﻣﻴﻦ ﺭﺍ ﺷﻨﻴﺪﻧﺪ‪.‬‬ ‫ﻣﺎﺷﻴﻦ ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ﺷﻬﺮ ﺭﺳﺎﻧﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺗﺮﻭﺭﻝ ﭘﺸﺖ ﺳﺮﺵ ﺭﺍ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﻧﺎﻟﻴﺪ‪» :‬ﻛﻼﭘﺎﺳﻴﻮﺱ ﻣﺎﺷﻴﻦ ﺩﺍﺭﺩ ﺷﻬﺮ ﺭﺍ ﻭﻳﺮﺍﻥ ﻣﻰﻛﻨﺪ!«‬ ‫ﺑﻠﻪ‪ .‬ﻣﺎﺷﻴﻦ ﺩﺭ ﺗﻌﻘﻴﺐ ﺳﺮﺳﺨﺘﺎﻧﻪﺍﺵ ﺑﻪ ﻫﻴﭻ ﺳﺎﺧﺘﻤﺎﻧﻰ ﺭﺣﻢ ﻧﻤﻰﻛﺮﺩ‪ .‬ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ﺩﻝ ﺧﺎﻧﻪﻫﺎ‬ ‫ﻣﻰﺯﺩ ﻭ ﺍﺯ ﺩﺭ ﻭ ﺩﻳﻮﺍﺭ ﺭﺩ ﻣﻰﺷﺪ ﻭ ﺍﺯ ﭘﻰﺍﺵ ﺗﻨﻬﺎ ﺧﺮﺍﺑﻰ ﻭ ﮔﺮﺩ ﻭ ﺧﺎﻛﻰ ﺳﻔﻴﺪ ﺑﺮﺟﺎﻯ ﻣﻰﮔﺬﺍﺷﺖ‪.‬‬ ‫ﺻﺪﺍﻯ ﺟﻴﻎ ﻭ ﻧﺎﻟﻪ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﻫﺮ ﻃﺮﻑ ﺑﻠﻨﺪ ﺑﻮﺩ‪ .‬ﺗﺮﻭﺭﻝ ﻭ ﻛﻼﭘﺎﺳﻴﻮﺱ ﻛﻪ ﻗﻠﺒﺸﺎﻥ ﺩﻳﮕﺮ ﺗﻮﻯ‬ ‫ﺩﻫﻨﺸﺎﻥ ﺁﻣﺪﻩ ﺑﻮﺩ‪ ،‬ﻫﻤﭽﻨﺎﻥ ﺩﻭﻳﺪﻧﺪ ﻭ ﺩﻭﻳﺪﻧﺪ ﺗﺎ ﺑﻪ ﺳﺎﺧﺘﻤﺎﻥ ﺷﻬﺮﺩﺍﺭﻯ ﺭﺳﻴﺪﻧﺪ‪ .‬ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺑﻪ‬ ‫ﺩﺍﺧﻞ ﺭﺳﺎﻧﺪﻧﺪ ﻭ ﭘﻠﻜﺎﻧﻰ ﺑﻰﺍﻧﺘﻬﺎ ﺭﺍ ﻃﻰ ﻛﺮﺩﻧﺪ ﺗﺎ ﺑﻪ ﺯﻳﺮﺯﻣﻴﻦ ﺳﺎﺧﺘﻤﺎﻥ ﺭﺳﻴﺪﻧﺪ‪.‬‬ ‫ﻛﻼﭘﺎﺳﻴﻮﺱ ﻛﻪ ﺩﻳﮕﺮ ﻧﻔﺴﻰ ﺑﺮﺍﻳﺶ ﺑﺎﻗﻰ ﻧﻤﺎﻧﺪﻩ ﺑﻮﺩ ﮔﻔﺖ‪» :‬ﺣﺘﺎ ﺍﮔﺮ ﻫﻤﻪﻯ ﺍﻳﻦ ﺳﺎﺧﺘﻤﺎﻥ ﺭﺍ ﻫﻢ‬ ‫ﺭﻭﻯ ﺳﺮﻣﺎﻥ ﺧﺮﺍﺏ ﻛﻨﺪ‪ ،‬ﻣﻤﻜﻦ ﻧﻴﺴﺖ ﺍﻳﻦ ﺯﻳﺮ ﺩﺳﺘﺶ ﺑﻪ ﻣﺎ ﺑﺮﺳﺪ‪ .‬ﻭﺍﻗﻌﺎً ﻧﻤﻰﺩﺍﻧﻢ ﻛﺪﺍﻣﻴﻦ ﺭﻭﺡ‬ ‫ﺷﻴﻄﺎﻧﻰ ﺗﻮﻯ ﮔﻮﺵ ﻣﻦ ﺯﻣﺰﻣﻪ ﻛﺮﺩ ﻛﻪ ﺍﻣﺮﻭﺯ ﺑﻪ ﻛﺎﺭﮔﺎﻩ ﺗﻮ ﺳﺮ ﺑﺰﻧﻢ‪ .‬ﻭﺍﻗﻌﺎً ﻣﻰﺧﻮﺍﺳﺘﻢ ﺑﺪﺍﻧﻢ ﻛﺎﺭﺕ‬ ‫ﭼﻄﻮﺭ ﭘﻴﺶ ﻣﻰﺭﻭﺩ‪ .‬ﻛﻪ ﺧﺐ ﺣﺎﻻ ﻓﻬﻤﻴﺪﻡ‪«.‬‬ ‫ﺗﺮﻭﺭﻝ ﮔﻔﺖ‪» :‬ﺳﺎﻛﺖ! ﺻﺪﺍﻯ ﭘﺎ ﻣﻰﺷﻨﻮﻡ!«‬ ‫ﺩﺭ ﺯﻳﺮﺯﻣﻴﻦ ﺑﺎﺯ ﺷﺪ ﻭ ﺷﻬﺮﺩﺍﺭ ﺩﺭ ﻣﻌﻴﺖ ﺑﺰﺭﮔﺎﻥ ﺷﻬﺮ ﻭﺍﺭﺩ ﺯﻳﺮﺯﻣﻴﻦ ﺷﺪﻧﺪ‪ .‬ﺗﺮﻭﺭﻝ ﭼﻨﺎﻥ ﺷﺮﻣﺰﺩﻩ ﺑﻮﺩ‬ ‫ﻛﻪ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺗﻮﺿﻴﺢ ﺩﻫﺪ ﭼﻄﻮﺭ ﺍﻳﻦ ﺣﺎﺩﺛﻪﻯ ﻏﺮﻳﺐ ﺭﺥ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﻛﻼﭘﺎﺳﻴﻮﺱ‬ ‫ﺑﺮﺍﻯ ﺷﻮﺭﺍﻯ ﺷﻬﺮ ﺗﻮﺿﻴﺢ ﺩﺍﺩ‪.‬‬ ‫ﺷﻬﺮﺩﺍﺭ ﺩﺭ ﺳﻜﻮﺕ ﺑﻪ ﺗﻮﺿﻴﺤﺎﺕ ﻛﻼﭘﺎﺳﻴﻮﺱ ﮔﻮﺵ ﺳﭙﺮﺩ‪ .‬ﻧﺎﮔﻬﺎﻥ ﺩﻳﻮﺍﺭﻫﺎ ﻭ ﺯﻣﻴﻦ ﺯﻳﺮ ﭘﺎﻳﺸﺎﻥ‬ ‫ﻟﺮﺯﻳﺪﻥ ﮔﺮﻓﺖ ﻭ ﺻﺪﺍﻯ ﻗﺪﻡﻫﺎﻳﻰ ﺳﻨﮓﻓﺮﺳﺎ ﺑﻪ ﮔﻮﺷﺸﺎﻥ ﺭﺳﻴﺪ‪.‬‬ ‫ﺗﺮﻭﺭﻝ ﻧﺎﻟﻴﺪ‪» :‬ﺁﻥ ﺑﺎﻻﺳﺖ؟«‬ ‫ﺷﻬﺮﺩﺍﺭ ﮔﻔﺖ‪» :‬ﺑﻠﻪ‪ .‬ﻭ ﺩﺭ ﺿﻤﻦ ﺩﺭﺧﻮﺍﺳﺖ ﻛﺮﺩﻩ ﺷﻤﺎ ﺭﻭ ﺑﻬﺶ ﺗﺤﻮﻳﻞ ﺑﺪﻳﻢ ﻭﮔﺮﻧﻪ ﺷﻬﺮ ﺭﻭ ﺑﺎ ﺧﺎﻙ‬ ‫ﻳﻜﺴﺎﻥ ﺧﻮﺍﻫﺪ ﻛﺮﺩ‪«.‬‬ ‫ﻫﻤﺎﻥ ﻣﻮﻗﻊ ﺻﺪﺍﻳﺶ ﺭﺍ ﺍﺯ ﺑﺎﻻﻯ ﺳﺮﺷﺎﻥ ﺷﻨﻴﺪﻧﺪ ﻛﻪ ﻣﺜﻞ ﺑﻮﻗﻰ ﺑﻮﺩ ﻛﻪ ﺑﺎ ﭘﺎﺭﭼﻪﺍﻯ ﺧﻔﻪ ﺷﺪﻩ ﺑﺎﺷﺪ‪.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﻣﺎﺷﻴﻦ ﮔﻔﺖ‪» :‬ﺑﺮﺍﻯ ﺑﺎﺭ ﭼﻬﺎﺭﻡ‪ ...‬ﭘﻨﺠﻢ‪ ...‬ﺷﺸﻢ‪ ...‬ﻫﺸﺘﻢ ﺑﻪ ﻣﻦ ﺗﻮﻫﻴﻦ ﺷﺪﻩ‪ .‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﺍﺯ ﭘﺎﺳﺦ‬ ‫ﺑﻪ ﻫﺮ ﮔﻮﻧﻪ ﺳﻮﺍﻻﺕ ﻣﺤﺎﺳﺒﺎﺗﻰ ﺗﺎ ﺍﻃﻼﻉ ﺛﺎﻧﻮﻳﻪ ﻣﻌﺬﻭﺭﻡ‪«.‬‬ ‫ﺗﺮﻭﺭﻝ ﻛﻪ ﺩﻳﮕﺮ ﺧﻮﻧﺶ ﺑﻪ ﺟﻮﺵ ﺁﻣﺎﺩﻩ ﺑﻮﺩ ﮔﻔﺖ‪» :‬ﺷﻨﻴﺪﻯ ﻛﻼﭘﺎﺳﻴﻮﺱ؟ ﺑﻌﺪ ﺷﺶ‪ ،‬ﻫﺸﺘﻪ! ﺗﺎﺯﻩ‬ ‫ﺣﻀﺮﺕ ﻭﺍﻻ ﺍﺯ ﭘﺎﺳﺦ ﺑﻪ ﻣﺴﺎﺋﻞ ﻣﺤﺎﺳﺒﺎﺗﻰ ﺍﻣﺘﻨﺎﻉ ﻫﻢ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺑﮕﻴﺮ ﺧﺎﻙ ﺗﻮ ﺳﺮ‪ .‬ﺍﻳﻦ ﻫﻢ ﺑﮕﻴﺮ‪.‬‬ ‫ﺍﻳﻦ ﻫﻢ ﺍﺯ ﺍﻳﻦ‪ .‬ﻛﺎﻓﻴﺘﻪ ﻳﺎ ﺑﺎﺯ ﻫﻢ ﺑﺰﻧﻢ؟«‬ ‫ﻣﺎﺷﻴﻦ ﻟﺮﺯﻳﺪ ﻭ ﺗﻜﺎﻧﻰ ﺧﻮﺭﺩ ﻭ ﺑﺪﻭﻥ ﻫﻴﭻ ﺣﺮﻑ ﺍﺿﺎﻓﻪﺍﻯ‪ ،‬ﺧﻮﺩﺵ ﺭﺍ ﺍﺯ ﺯﻳﺮﺑﻨﺎﻳﺶ ﺟﺪﺍ ﻛﺮﺩ‪ .‬ﺯﻳﺮﺑﻨﺎ‬ ‫ﺧﻴﻠﻰ ﻋﻤﻴﻖ ﺑﻮﺩ ﻭ ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﻫﻢ ﺷﺎﻩﺗﻴﺮﻫﺎﻯ ﻣﺎﺷﻴﻦ ﺯﻳﺮ ﻭﺯﻥ ﻣﺎﺷﻴﻦ ﻭ ﻓﺸﺎﺭ ﺑﺎﻻ ﺧﻢ ﺷﺪﻧﺪ‪.‬‬ ‫ﻭﻟﻰ ﺑﺎﻻﺧﺮﻩ ﻣﺎﺷﻴﻦ ﺟﺪﺍ ﺷﺪ ﻭ ﺍﺯ ﻋﻘﺒﺶ ﻣﺮﺑﻌﻰ ﺍﺯ ﺑﺘﻦ ﻛﻨﺪﻩ ﺷﺪﻩ ﻭ ﺗﻴﺮﺁﻫﻦﻫﺎﻯ ﻣﻀﺮﺱ ﺑﺮﺟﺎﻯ‬ ‫ﻣﺎﻧﺪ‪ .‬ﺑﻌﺪ ﻣﺜﻞ ﺩژﻯ ﻣﺘﺤﺮﻙ ﺑﻪ ﺳﻤﺖ ﺗﺮﻭﺭﻝ ﻭ ﻛﻼﭘﺎﺳﻴﻮﺱ ﺣﻤﻠﻪ ﺑﺮﺩ‪ .‬ﺗﺮﻭﺭﻝ ﺑﻪ ﻗﺪﺭﻯ ﺟﺎ ﺧﻮﺭﺩ‬ ‫ﻛﻪ ﺣﺘﺎ ﺳﻌﻰ ﻧﻜﺮﺩ ﺍﺯ ﺟﻠﻮﻯ ﺭﺍﻩ ﻣﺎﺷﻴﻦ ﻣﺘﻔﻜﺮ ﻛﻨﺎﺭ ﺑﺮﻭﺩ ﻛﻪ ﺍﺯ ﻫﻤﻪﻯ ﺷﻮﺍﻫﺪ ﻭ ﻗﺮﺍﺋﻦ ﺍﻳﻦ ﺟﻮﺭ‬ ‫ﺑﺮﻣﻰﺁﻣﺪ ﻛﻪ ﺁﻣﺎﺩﻩ ﺍﺳﺖ ﺗﺎ ﺻﺎﻓﺶ ﻛﻨﺪ‪ .‬ﻛﻼﭘﺎﺳﻴﻮﺱ ﺩﺭ ﺁﺧﺮﻳﻦ ﻟﺤﻈﻪ ﺑﺎﺯﻭﻳﺶ ﺭﺍ ﮔﺮﻓﺖ ﻭ ﻫﺮ ﺩﻭ‬ ‫ﭘﺎ ﺑﻪ ﻓﺮﺍﺭ ﮔﺬﺍﺷﺘﻨﺪ‪ .‬ﻭﻗﺘﻰ ﺑﺎﻻﺧﺮﻩ ﺑﺮﮔﺸﺘﻨﺪ ﺗﺎ ﺑﻪ ﻣﺎﺷﻴﻦ ﻧﮕﺎﻫﻰ ﺑﻴﻨﺪﺍﺯﻧﺪ‪ ،‬ﺁﻥ ﺭﺍ ﺩﻳﺪﻧﺪ ﻛﻪ ﻣﺜﻞ‬ ‫ﻳﻚ ﺑﺮﺝ ﻛﻪ ﻫﺮ ﻟﺤﻈﻪ ﻣﻤﻜﻦ ﺍﺳﺖ ﺳﺮﺷﺎﻥ ﺧﺮﺍﺏ ﺷﻮﺩ ﺍﺯ ﻋﻘﺒﺸﺎﻥ ﺩﺍﺭﺩ ﻣﻰﺁﻳﺪ ﻭ ﺑﺎ ﻫﺮ ﻗﺪﻡ ﺗﺎ‬ ‫ﻃﺒﻘﻪﻯ ﺩﻭﻡ ﺩﺭ ﺷﻦﻫﺎ ﻓﺮﻭ ﻣﻰﺭﻭﺩ‪ .‬ﺍﻣﺎ ﺍﺯ ﭘﺎﻯ ﻧﻤﻰﻧﺸﻴﻨﺪ‪.‬‬ ‫ﺗﺮﻭﺭﻝ ﻛﻪ ﻧﻔﺴﺶ ﺑﻨﺪ ﺁﻣﺪﻩ ﺑﻮﺩ ﻧﺎﻟﻴﺪ‪» :‬ﭼﻨﻴﻦ ﭼﻴﺰﻯ ﺩﺭ ﺗﺎﺭﻳﺦ ﺳﺎﺑﻘﻪ ﻧﺪﺍﺷﺘﻪ! ﺣﺎﻻ ﭼﻪ ﻛﺎﺭ ﻛﻨﻴﻢ؟«‬ ‫ﻛﻼﭘﺎﺳﻴﻮﺱ ﮔﻔﺖ‪» :‬ﺑﻪ ﻧﻈﺮﻡ ﺻﺮﻓﺎً ﺗﻤﺎﺷﺎ ﻛﻨﻴﻢ‪ .‬ﺷﺎﻳﺪ ﺍﺯ ﺍﻳﻦ ﻣﻮﻗﻌﻴﺖ ﺩﺭﺳﻰ ﻫﻢ ﺑﮕﻴﺮﻳﻢ‪«.‬‬ ‫ﻭﻟﻰ ﭼﻴﺰﻯ ﺑﺮﺍﻯ ﻳﺎﺩ ﮔﺮﻓﺘﻦ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ‪ .‬ﻣﺎﺷﻴﻦ ﺩﻳﮕﺮ ﻣﺤﻮﻃﻪﻯ ﺷﻨﻰ ﺭﺍ ﺭﺩ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﺑﻪ‬ ‫ﺯﻣﻴﻨﻰ ﺳﻔﺖﺗﺮ ﻣﻰﺭﺳﻴﺪ ﻭ ﻫﺮ ﺁﻳﻨﻪ ﺳﺮﻋﺘﺶ ﺑﻴﺸﺘﺮ ﻣﻰﺷﺪ‪ .‬ﺍﺯ ﺩﺭﻭﻧﺶ ﺻﺪﺍﻯ ﻏﺮﻳﺒﻰ ﻧﺒﻮﺩ ﻛﻪ‬ ‫ﺑﻴﺮﻭﻥ ﻧﻴﺎﻳﺪ‪.‬‬ ‫ﺗﺮﻭﺭﻝ ﺑﺎ ﺍﻋﺘﻤﺎﺩ ﺑﻪ ﻧﻔﺲ ﮔﻔﺖ‪» :‬ﺍﻻﻧﻪ ﻛﻪ ﭘﺮﺩﺍﺯﺷﮕﺮ ﺍﺻﻠﻴﺶ ﻣﻨﻔﺠﺮ ﺑﺸﻮﺩ‪ .‬ﺑﺪﻭﻥ ﭘﺮﺩﺍﺯﺷﮕﺮ ﺍﺯ ﻛﺎﺭ‬ ‫ﺧﻮﺍﻫﺪ ﺍﻓﺘﺎﺩ‪«...‬‬ ‫ﻛﻼﭘﺎﺳﻴﻮﺱ ﮔﻔﺖ‪» :‬ﻧﻪ ﺍﻳﻦ ﻳﻚ ﻣﻮﺭﺩ ﺧﺎﺹ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻳﻦ ﻣﺎﺷﻴﻦ ﺑﻪ ﻗﺪﺭﻯ ﺍﺣﻤﻖ ﺍﺳﺖ‬ ‫ﻛﻪ ﺣﺘﺎ ﺍﮔﺮ ﻛﻞ ﻭﺍﺣﺪ ﭘﺮﺩﺍﺯﺷﺶ ﻫﻢ ﺍﺯ ﻛﺎﺭ ﺑﻴﻔﺘﺪ ﺑﻪ ﻛﺎﺭﺵ ﺍﺩﺍﻣﻪ ﻣﻰﺩﻫﺪ‪ .‬ﻭﻟﻰ‪ ...‬ﺳﺮﺕ ﺭﺍ ﺑﺪﺯﺩ!«‬ ‫ﻣﺎﺷﻴﻦ ﻣﺘﻔﻜﺮ ﺩﺍﺷﺖ ﺳﺮﻋﺖ ﻣﻰﮔﺮﻓﺖ ﻭ ﻣﺸﺨﺼﺎً ﻗﺼﺪ ﺩﺍﺷﺖ ﺯﻳﺮﺷﺎﻥ ﺑﮕﻴﺮﺩ‪ .‬ﺩﻭ ﺻﺎﻧﻊ ﺑﺎ ﻧﻬﺎﻳﺖ‬ ‫ﺳﺮﻋﺖ ﺷﺮﻭﻉ ﻛﺮﺩﻧﺪ ﺑﻪ ﺩﻭﻳﺪﻥ ﻭ ﺻﺪﺍﻯ ﮔﺎﻡﻫﺎﻯ ﺳﻨﮕﻴﻦ ﻣﺎﺷﻴﻦ ﺍﺯ ﭘﺲﺷﺎﻥ ﺑﻪ ﮔﺎﻡﻫﺎﻳﺸﺎﻥ‬ ‫ﺳﺮﻋﺖ ﻣﻰﺑﺨﺸﻴﺪ‪ .‬ﺩﻭ ﺻﺎﻧﻊ ﺩﻭﻳﺪﻧﺪ ﻭ ﺩﻭﻳﺪﻧﺪ‪ ،‬ﭼﻮﻥ ﻛﺎﺭ ﺩﻳﮕﺮﻯ ﺍﺯ ﺩﺳﺘﺸﺎﻥ ﺑﺮ ﻧﻤﻰﺁﻣﺪ‪ .‬ﺳﻌﻰ‬ ‫ﻛﺮﺩﻧﺪ ﺑﻪ ﻣﺤﻠﻪﻯ ﺧﻮﺩﺷﺎﻥ ﺑﺮﮔﺮﺩﻧﺪ‪ .‬ﻭﻟﻰ ﻣﺎﺷﻴﻦ ﺳﺮ ﺭﺍﻫﺸﺎﻥ ﺩﺭ ﺁﻣﺪ ﻭ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﻣﻨﻄﻘﻪﺍﻯ‬ ‫ﻏﻴﺮﻣﺴﻜﻮﻧﻰ ﺭﺍﻧﺪ‪ .‬ﻛﻮﻫﺴﺘﺎﻧﻰ ﺧﺸﻦ ﻭ ﺳﻨﮕﻼﺧﻰ ﺩﺭ ﺑﺮﺍﺑﺮﺷﺎﻥ ﺍﺯ ﻣﻴﺎﻥ ﻣﻪ ﻇﺎﻫﺮ ﻣﻰﺷﺪ‪ .‬ﺗﺮﻭﺭﻝ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻣﺎﺷﻴﻦ ﺑﺮ ﺻﻔﺮ ﺑﻮﺩ‪ .‬ﻛﻼﭘﺎﺳﻴﻮﺱ ﺳﺮﺵ ﺭﺍ ﺧﺎﺭﺍﻧﺪ ﻭ ﮔﻠﻮﻳﺶ ﺭﺍ ﺻﺎﻑ ﻛﺮﺩ ﻭ ﺍﻋﻼﻡ ﻛﺮﺩ‪» :‬ﺩﻭﺳﺖ‬ ‫ﻋﺰﻳﺰ‪ .‬ﺑﻬﺘﺮ ﺍﺳﺖ ﺑﺎ ﻫﻢ ﺭﻭﺭﺍﺳﺖ ﺑﺎﺷﻴﻢ‪ .‬ﺍﻳﻦ ﻣﺎﺷﻴﻦ ﺑﺎ ﭼﻴﺰﻯ ﻛﻪ ﻗﺼﺪ ﺳﺎﺧﺘﺶ ﺭﺍ ﺩﺍﺷﺘﻰ ﺗﻔﺎﻭﺕ‬ ‫ﺑﺴﻴﺎﺭﻯ ﺩﺍﺭﺩ‪ .‬ﻟﻴﻜﻦ ﻫﻤﻴﺸﻪ ﺑﺎﻳﺪ ﻧﻴﻤﻪﻯ ﭘﺮ ﻟﻴﻮﺍﻥ ﺭﺍ ﻧﮕﺎﻩ ﻛﺮﺩ‪«.‬‬ ‫ﺗﺮﻭﺭﻝ ﻟﮕﺪﻯ ﺣﻮﺍﻟﻪﻯ ﻣﺎﺷﻴﻦ ﻛﺮﺩ ﻭ ﻟﻨﺪﻳﺪ‪» :‬ﻛﺪﺍﻡ ﻧﻴﻤﻪﻯ ﭘﺮ؟«‬ ‫ﻣﺎﺷﻴﻦ ﮔﻔﺖ‪» :‬ﻧﺰﻥ!«‬ ‫ﻛﻼﭘﺎﺳﻴﻮﺱ ﺯﻳﺮ ﺟﻠﻜﻰ ﮔﻔﺖ‪» :‬ﺣﺴﺎﺱ ﻫﻢ ﻛﻪ ﻫﺴﺖ! ﺧﺐ ﭼﻰ ﻣﻰﮔﻔﺘﻢ؟ ﺍﻭﻩ ﺑﻠﻪ‪ ...‬ﻣﺎﺷﻴﻨﻰ ﻛﻪ‬ ‫ﺩﺭ ﺑﺮﺍﺑﺮ ﻣﺎﺳﺖ ﺑﻪ ﺟﺎﻯ ﺍﻳﻦ ﻛﻪ ﻳﻚ ﻣﺎﺷﻴﻦ ﻫﻮﺷﻤﻨﺪ ﺑﺎﺷﺪ‪ ،‬ﻳﻚ ﻣﺎﺷﻴﻦ ﺍﺣﻤﻖ ﺍﺳﺖ! ﻭ ﺗﺎ ﺟﺎﻳﻰ‬ ‫ﻛﻪ ﺑﻨﺪﻩ ﺑﺎ ﺑﺮﺭﺳﻰﻫﺎﻯ ﻛﺎﺭﺷﻨﺎﺳﺎﻧﻪ ﺩﺭﻳﺎﻓﺘﻢ‪ ،‬ﺍﻳﻦ ﻳﻚ ﻣﺎﺷﻴﻦ ﺍﺣﻤﻖ ﻣﻌﻤﻮﻟﻰ ﻫﻢ ﻧﻴﺴﺖ‪ .‬ﺑﻠﻜﻪ‬ ‫ﺍﺣﻤﻖﺗﺮﻳﻦ ﻣﺎﺷﻴﻦ ﻣﺘﻔﻜﺮ ﺩﺭ ﺗﻤﺎﻡ ﺩﻧﻴﺎﺳﺖ‪ .‬ﻭ ﺭﻓﻴﻖ ﮔﺮﺍﻣﻰ‪ ،‬ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﻧﺒﺎﻳﺪ ﺩﺳﺖ ﻛﻢ ﺑﮕﻴﺮﻯ!‬ ‫ﺳﺎﺧﺖ ﻋﺎﻣﺪﺍﻧﻪﻯ ﭼﻨﻴﻦ ﻣﺼﻨﻮﻋﻰ‪ ،‬ﻋﻤ ً‬ ‫ﻼ ﻧﺎﻣﻤﻜﻦ ﺍﺳﺖ‪ .‬ﺍﺯ ﻗﻀﺎ ﺍﻳﻦ ﻣﺎﺷﻴﻦ ﻧﻪ ﺗﻨﻬﺎ ﺍﺣﻤﻖﺗﺮﻳﻦ‬ ‫ﻣﺎﺷﻴﻦ ﻣﺘﻔﻜﺮ ﺩﺭ ﻋﺮﺻﻪﻯ ﺗﺎﺭﻳﺦ ﻭ ﭘﻬﻨﻪﻯ ﺟﻬﺎﻥ ﺍﺳﺖ‪ ،‬ﻛﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻳﻚ ﻗﺎﻃﺮ ﭼﻤﻮﺵ ﺍﺳﺖ ﻛﻪ‬ ‫ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺧﻮﺩﺵ ﺍﺯ ﻣﺸﺨﺼﻪﻫﺎﻯ ﺍﻇﻬﺮﻣﻦﺍﻟﺸﻤﺲ ﺣﻤﺎﻗﺖ ﻫﻢ ﻫﺴﺖ‪«.‬‬ ‫ﺗﺮﻭﺭﻝ ﮔﻔﺖ‪» :‬ﺁﺧﺮ ﻣﻦ ﺍﺯ ﺍﻳﻦ ﻣﺎﺷﻴﻦ ﭼﻪ ﺍﺳﺘﻔﺎﺩﻩﺍﻯ ﻣﻰﺗﻮﺍﻧﻢ ﺑﻜﻨﻢ؟« ﻭ ﻟﮕﺪ ﺩﻳﮕﺮﻯ ﺣﻮﺍﻟﻪﻯ‬ ‫ﻣﺎﺷﻴﻦ ﻛﺮﺩ‪.‬‬ ‫ﻣﺎﺷﻴﻦ ﮔﻔﺖ‪» :‬ﺩﺍﺭﻡ ﺑﻬﺘﺎﻥ ﺍﺧﻄﺎﺭ ﻣﻰﻛﻨﻢ! ﻟﮕﺪ ﻧﺰﻧﻴﺪ!«‬ ‫ﻛﻼﭘﺎﺳﻴﻮﺱ ﻧﮕﺎﻫﻰ ﺑﻪ ﻣﺎﺷﻴﻦ ﺍﻧﺪﺍﺧﺖ‪» :‬ﺍﺯ ﻗﻀﺎ ﺍﺧﻄﺎﺭ ﻫﻢ ﻣﻰﻛﻨﺪ! ﻧﻪ ﺗﻨﻬﺎ ﺣﺴﺎﺱ ﻭ ﻛﻠﻪﺷﻖ ﻭ‬ ‫ﭼﻤﻮﺵ ﺍﺳﺖ‪ ،‬ﻛﻪ ﺯﻭﺩﺭﻧﺞ ﻫﻢ ﻫﺴﺖ‪ .‬ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﺷﺎﺧﺼﻪﻫﺎﻯ ﻣﻨﻔﻰ ﭼﻪ ﻛﺎﺭﻫﺎﻳﻰ ﻛﻪ ﻣﻰﺷﻮﺩ ﻛﺮﺩ‪«.‬‬ ‫ﺗﺮﻭﺭﻝ ﭘﺮﺳﻴﺪ‪» :‬ﻣﺜ ً‬ ‫ﻼ؟«‬ ‫»ﺧﺐ ﻫﻤﻴﻦﺟﻮﺭﻯ ﻛﻪ ﻣﻰﭘﺮﺳﻰ ﻛﻪ ﭼﻴﺰﻯ ﺑﻪ ﺫﻫﻨﻢ ﻧﻤﻰﺭﺳﺪ‪ .‬ﻭﻟﻰ ﺍﺯ ﻧﻤﺎﻳﺶ ﺁﻥ ﺩﺭ ﺍﻧﻈﺎﺭ ﻋﻤﻮﻣﻰ‬ ‫ﭘﻮﻝ ﻫﻨﮕﻔﺘﻰ ﺑﻪ ﺟﻴﺐ ﺧﻮﺍﻫﻰ ﺯﺩ‪ .‬ﻣﺮﺩﻡ ﺩﺳﺘﻪﺩﺳﺘﻪ ﺍﺯ ﺍﻗﺼﻰ ﻧﻘﺎﻁ ﺟﻬﺎﻥ ﺑﺮﺍﻯ ﺩﻳﺪﻧﺶ ﺟﻤﻊ‬ ‫ﺧﻮﺍﻫﻨﺪ ﺷﺪ‪ .‬ﺍﺣﻤﻖﺗﺮﻳﻦ ﻣﺎﺷﻴﻦ ﻣﺘﻔﻜﺮ ﺟﻬﺎﻥ! ﭼﻨﺪ ﻃﺒﻘﻪ ﻫﺴﺖ؟ ‪...‬ﻫﺸﺖ ﻃﺒﻘﻪ؟ ﺍﮔﺮ ﻣﺮﺩﻡ ﺑﺮﺍﻯ‬ ‫ﺩﻳﺪﻥ ﺑﻰﺷﻌﻮﺭﻯ ﺑﻪ ﺍﻳﻦ ﺑﺰﺭﮔﻰ ﭘﻮﻝ ﻧﺪﻫﻨﺪ‪ ،‬ﭘﺲ ﺍﻣﻴﺪﻭﺍﺭﻡ ﭘﻮﻝﻫﺎﻳﺸﺎﻥ ﺗﻮﻯ ﺣﻠﻘﺸﺎﻥ ﮔﻴﺮ ﻛﻨﺪ‪..‬‬ ‫ﻧﻤﺎﻳﺶ ﻋﻤﻮﻣﻰ ﻧﻪ ﺗﻨﻬﺎ ﺧﺴﺎﺭﺕ ﺳﺎﺧﺘﺶ ﺭﺍ ﺟﺒﺮﺍﻥ ﻣﻰﻛﻨﺪ ﺑﻠﻜﻪ ﺣﺘﺎ‪«...‬‬ ‫ﺗﺮﻭﺭﻝ ﮔﻔﺖ‪» :‬ﻫﺮﮔﺰ! ﻣﻦ ﺣﺎﺿﺮ ﻧﻴﺴﺘﻢ ﭼﻨﻴﻦ ﻛﺎﺭﻯ ﺑﻜﻨﻢ!« ﺑﻌﺪ ﺑﻠﻨﺪ ﺷﺪ ﻭ ﺑﺎ ﺗﻤﺎﻡ ﻗﻮﺍ ﻟﮕﺪ ﻣﺤﻜﻢ‬ ‫ﺩﻳﮕﺮﻯ ﻧﺜﺎﺭ ﻣﺎﺷﻴﻦ ﻛﺮﺩ‪.‬‬ ‫ﻣﺎﺷﻴﻦ ﮔﻔﺖ‪» :‬ﺳﻮﻣﻴﻦ ﺑﺎﺭﻯ ﺍﺳﺖ ﻛﻪ ﺩﺍﺭﻡ ﺍﺧﻄﺎﺭ ﻣﻰﺩﻫﻢ‪«.‬‬ ‫ﺗﺮﻭﺭﻝ ﺑﺎ ﺧﺸﻢ ﺍﻓﺴﺎﺭ ﮔﺴﻴﺨﺘﻪﺍﻯ ﻓﺮﻳﺎﺩ ﻛﺸﻴﺪ‪» :‬ﭼﻰ ﮔﻔﺘﻰ؟ ﺍﻯ‪ ...‬ﻟﻌﻨﺖ‪ ...‬ﺑﻪ‪ «...‬ﻭ ﻣﺎﺷﻴﻦ ﺭﺍ ﺯﻳﺮ‬ ‫ﻣﺸﺖ ﻭ ﻟﮕﺪ ﮔﺮﻓﺖ‪» .‬ﻓﻘﻂ ﺑﻪ ﺩﺭﺩ ﻟﮕﺪﻣﺎﻝ ﺷﺪﻥ ﻣﻰﺧﻮﺭﻯ!«‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﻣﺎﺷﻴﻦ ﺑﺮ ﺧﻮﺩ ﭘﻴﭽﻴﺪ‪ .‬ﻟﻮﻟﻪﻫﺎﻳﺶ ﺑﻪ ﺩﺭﺧﺸﻴﺪﻥ ﺍﻓﺘﺎﺩﻧﺪ ﻭ ﺳﻴﻢﭘﻴﭻﻫﺎﻳﺶ ﺩﺍﻍ ﺷﺪﻧﺪ ﻭ ﺑﺮﻕ‬ ‫ﻫﻤﭽﻮﻥ ﺁﺑﺸﺎﺭﻯ ﺍﺯ ﺗﻤﺎﻡ ﺳﻴﻢﻛﺸﻰﺍﺵ ﮔﺬﺷﺖ ﻭ ﻣﺒﺪﻝﻫﺎﻳﺶ ﺷﺮﻭﻉ ﻛﺮﺩﻧﺪ ﺑﻪ ﻭﺭﻭﺭ ﻭ ﺗﺮﺗﺮ ﻭ ﺻﺪﺍﻯ‬ ‫ﺩﺍﻧﮓ ﺩﻭﻧﮓ ﻣﺎﺷﻴﻦ ﺑﺮﺧﺎﺳﺖ ﻭ ﭼﻨﺎﻥ ﻏﻮﻏﺎﻳﻰ ﺑﺮ ﭘﺎ ﺷﺪ ﻛﻪ ﺗﺮﻭﺭﻝ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺖ ﺑﻌﺪﺍ ً ﻳﻚ ﺳﻴﺴﺘﻢ‬ ‫ﺍﻓﻜﺎﺭ ﺧﻔﻪﻛﻦ ﺑﻪ ﻣﺎﺷﻴﻦ ﺍﺿﺎﻓﻪ ﻛﻨﺪ‪ .‬ﻣﺎﺷﻴﻦ ﭼﻨﺎﻥ ﻣﺸﻐﻮﻝ ﺑﻮﺩ ﻛﻪ ﺗﻮ ﮔﻔﺘﻰ ﻗﺮﺍﺭ ﺍﺳﺖ ﺭﺍﺯ ﺧﻠﻘﺖ‬ ‫ﺭﺍ ﻛﺸﻒ ﻛﻨﺪ‪ .‬ﺯﻣﻴﻦ ﺑﻪ ﺧﻮﺩ ﻟﺮﺯﻳﺪ ﻭ ﺧﻮﺭﺩﻩ ﺷﻦﻫﺎ ﺑﻪ ﺯﻳﺮ ﻣﺎﺷﻴﻦ ﻏﻠﺘﻴﺪ ﻭ ﺳﻮﭘﺎپﻫﺎﻯ ﻣﺎﺷﻴﻦ‬ ‫ﻫﻤﭽﻮﻥ ﭼﻮﺏﭘﻨﺒﻪﻯ ﺳﺮ ﺷﺎﻣﭙﺎﻳﻦ ﺑﻴﺮﻭﻥ ﭘﺮﻳﺪ ﻭ ﺩﻳﮕﺮ ﭼﻴﺰﻯ ﻧﻤﺎﻧﺪﻩ ﺑﻮﺩ ﻧﺎﻗﻞﻫﺎﻯ ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻰﺍﺵ‬ ‫ﻭﺍ ﺑﺪﻫﺪ‪ .‬ﻃﺎﻗﺖ ﺗﺮﻭﺭﻝ ﻃﺎﻕ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﻣﺎﺷﻴﻦ ﻣﺘﻮﻗﻒ ﺷﺪ ﻭ ﺑﺎ ﺻﺪﺍﻳﻰ ﻣﺜﻞ ﺭﻋﺪ ﭘﺎﺳﺦ ﺩﺍﺩ‪:‬‬ ‫»ﻫﻔﺖ!«‬ ‫»ﺍﺷﺘﺒﺎﻩ ﻧﻜﻦ‪ .‬ﺩﻭ ﺑﻪ ﻋﻼﻭﻩﻯ ﺩﻭ ﻣﻰﺷﻮﺩ ﭼﻬﺎﺭ‪ .‬ﺣﺎﻻ ﻣﺎﺷﻴﻦ ﺧﻮﺑﻰ ﺑﺎﺵ ﻭ ﺧﻮﺩﺕ ﺭﺍ ﺗﻨﻈﻴﻢ ﻛﻦ‪.‬‬ ‫ﺧﺐ‪ .‬ﺩﻭﺑﺎﺭﻩ ﻣﻰﭘﺮﺳﻢ‪ .‬ﺩﻭ ﺑﻪ ﻋﻼﻭﻩﻯ ﺩﻭ ﭼﻨﺪ ﻣﻰﺷﻮﺩ؟« ﻣﺎﺷﻴﻦ ﺩﺭ ﺁﻣﺪ ﻛﻪ‪» :‬ﻫﻔﺖ!« ﺗﺮﻭﺭﻝ ﺁﻫﻰ‬ ‫ﻛﺸﻴﺪ ﻭ ﺭﻭﭘﻮﺷﺶ ﺭﺍ ﺑﺎﺭ ﺩﻳﮕﺮ ﺑﻪ ﺗﻦ ﻛﺮﺩ ﻭ ﺁﺳﺘﻴﻦﻫﺎﻳﺶ ﺭﺍ ﺑﺎﻻ ﺯﺩ ﻭ ﺩﺭﻳﭽﻪﻯ ﭘﺸﺘﻰ ﻣﺎﺷﻴﻦ ﺭﺍ‬ ‫ﺑﺎﺯ ﻛﺮﺩ ﻭ ﺩﺍﺧﻞ ﺷﻜﻢ ﻣﺎﺷﻴﻦ ﺧﺰﻳﺪ‪ .‬ﻣﺪﺗﻰ ﻣﺪﻳﺪ ﺭﺍ ﺗﺮﻭﺭﻝ ﺑﻪ ﭼﻜﺶ ﻛﺎﺭﻯ ﻭ ﺳﻔﺖ ﻭ ﺷﻞ ﻛﺮﺩﻥ‬ ‫ﻭ ﺑﺎﻻ ﭘﺎﻳﻴﻦ ﺭﻓﺘﻦ ﺍﺯ ﻫﺸﺖ ﻃﺒﻘﻪﻯ ﻣﺎﺷﻴﻦ ﺻﺮﻑ ﻛﺮﺩ‪ .‬ﺍﻭﻝ ﻃﺒﻘﻪﻯ ﺷﺶ ﺭﺍ ﺁﭼﺎﺭﻛﺸﻰ ﻛﺮﺩ‪ ،‬ﺑﻌﺪ‬ ‫ﻃﺒﻘﻪﻯ ﻫﺸﺖ ﺭﺍ ﻭ ﺑﻌﺪ ﻫﻢ ﺑﺮﮔﺸﺖ ﻃﺒﻘﻪﻯ ﻫﻤﻜﻒ ﻭ ﺩﻛﻤﻪﺍﻯ ﺭﺍ ﻓﺸﺎﺭ ﺩﺍﺩ‪ .‬ﻫﻤﺎﻥ ﻣﻮﻗﻊ ﺻﺪﺍﻯ‬ ‫ﺟﺮﻗﻪﺍﻯ ﺍﺯ ﻃﺒﻘﺎﺕ ﻭﺳﻂ ﺑﻪ ﮔﻮﺵ ﺭﺳﻴﺪ ﻭ ﺳﺮ ﺳﻴﻢﻫﺎ ﺷﺮﻭﻉ ﻛﺮﺩﻧﺪ ﺑﻪ ﺟﺮﻗﻪﺍﻓﺸﺎﻧﻰ‪ .‬ﺩﻭ ﺳﺎﻋﺘﻰ‬ ‫ﺑﺮ ﻫﻤﻴﻦ ﻣﻨﻮﺍﻝ ﮔﺬﺷﺖ ﺗﺎ ﺍﻳﻦ ﻛﻪ ﺑﺎﻻﺧﺮﻩ ﺗﺮﻭﺭﻝ‪ ،‬ﺳﺮ ﺗﺎ ﭘﺎ ﺳﻴﺎﻩ ﺍﺯ ﺩﻭﺩﻩ ﻭﻟﻰ ﺑﺎ ﻗﻠﺒﻰ ﺳﺮﺷﺎﺭ ﺍﺯ‬ ‫ﺭﺿﺎﻳﺖ‪ ،‬ﺍﺯ ﺩﺭﻭﻥ ﻣﺎﺷﻴﻦ ﺑﻴﺮﻭﻥ ﺁﻣﺪ‪ .‬ﻭﺳﺎﻳﻠﺶ ﺭﺍ ﻛﻨﺎﺭ ﮔﺬﺍﺷﺖ‪ ،‬ﺭﻭﭘﻮﺷﺶ ﺭﺍ ﺍﺯ ﺗﻦ ﺩﺭ ﺁﻭﺭﺩ ﻭ ﺻﻮﺭﺕ‬ ‫ﻭ ﺩﺳﺘﺎﻧﺶ ﺭﺍ ﺑﺎ ﺁﻥ ﭘﺎﻙ ﻛﺮﺩ‪ .‬ﻗﺼﺪﺵ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﻛﺎﺭﮔﺎﻩ ﺧﺎﺭﺝ ﺷﻮﺩ‪ ،‬ﺍﻣﺎ ﻣﺤﺾ ﻣﺤﻜﻢﻛﺎﺭﻯ‬ ‫ﻫﻢ ﻛﻪ ﺷﺪﻩ ﺑﺮﮔﺸﺖ ﻭ ﺍﺯ ﻣﺎﺷﻴﻦ ﭘﺮﺳﻴﺪ‪» :‬ﺩﻭ ﺑﻪ ﻋﻼﻭﻩﻯ ﺩﻭ؟«‬ ‫ﻣﺎﺷﻴﻦ ﭘﺎﺳﺦ ﺩﺍﺩ‪» :‬ﻫﻔﺖ!«‬ ‫ﺗﺮﻭﺭﻝ ﻓﺤﺶ ﺁﺑﺪﺍﺭﻯ ﻧﺜﺎﺭ ﻣﺎﺷﻴﻦ ﻛﺮﺩ‪ ،‬ﺍﻣﺎ ﻓﺎﻳﺪﻩﺍﻯ ﻧﺪﺍﺷﺖ‪ .‬ﺑﺎﺯ ﺗﺮﻭﺭﻝ ﺁﺳﺘﻴﻦ ﺑﺎﻻ ﺯﺩ ﻭ ﺁﭼﺎﺭ ﻭ‬ ‫ﭼﻜﺸﺶ ﺭﺍ ﺩﺳﺖ ﮔﺮﻓﺖ‪ ،‬ﺩﻝ ﻭ ﺭﻭﺩﻩﻯ ﻣﺎﺷﻴﻦ ﺭﺍ ﺯﻳﺮ ﻭ ﺭﻭ ﻛﺮﺩ‪ .‬ﻭﻗﺘﻰ ﺑﺎﺭ ﺳﻮﻡ ﻫﻢ ﻣﺎﺷﻴﻦ ﻫﻤﺎﻥ‬ ‫ﭘﺎﺳﺦ ﻛﺬﺍ ﺭﺍ ﺩﺍﺩ‪ ،‬ﺗﺮﻭﺭﻝ ﺍﺯ ﺷﺪﺕ ﻳﺄﺱ ﻛﻨﺎﺭ ﭘﺎﻯ ﻣﺎﺷﻴﻦ ﺭﻭﻯ ﺯﻣﻴﻦ ﻭﻟﻮ ﺷﺪ ﻭ ﺩﺭ ﻫﻤﺎﻥ ﻭﺿﻌﻴﺖ‬ ‫ﺑﺎﻗﻰ ﻣﺎﻧﺪ ﺗﺎ ﺍﻳﻦ ﻛﻪ ﻛﻼﭘﺎﺳﻴﻮﺱ ]‪ [2‬ﺳﺮ ﺭﺳﻴﺪ‪ .‬ﻛﻼﭘﺎﺳﻴﻮﺱ ﺑﻪ ﺗﺮﻭﺭﻝ ﮔﻔﺖ ﻛﻪ ﻗﻴﺎﻓﻪﺍﺵ ﺑﻪ‬ ‫ﻛﺴﺎﻧﻰ ﻣﻰ ﻣﺎﻧﺪ ﻛﻪ ﺍﺯ ﻣﺮﺍﺳﻢ ﺧﺘﻢ ﺑﺮﮔﺸﺘﻪﺍﻧﺪ ﻭ ﺍﺯ ﺍﻭ ﺧﻮﺍﺳﺖ ﺗﻮﺿﻴﺢ ﺩﻫﺪ ﻛﻪ ﭼﻪ ﺑﺮ ﺳﺮﺵ‬ ‫ﺁﻣﺪﻩ‪ .‬ﺗﺮﻭﺭﻝ ﻫﻢ ﻣﺎﺟﺮﺍ ﺭﺍ ﺑﺮﺍﻯ ﻛﻼﭘﺎﺳﻴﻮﺱ ﺗﻌﺮﻳﻒ ﻛﺮﺩ‪ .‬ﻛﻼﭘﺎﺳﻴﻮﺱ ﻧﻴﺰ ﺑﻪ ﻧﻮﺑﻪﻯ ﺧﻮﺩ ﺑﻪ ﺩﻝ‬ ‫ﻣﺎﺷﻴﻦ ﺯﺩ ﻭ ﺳﻌﻰ ﻛﺮﺩ ﻧﻘﺺﻫﺎﻯ ﺍﺣﺘﻤﺎﻟﻰﺍﺵ ﺭﺍ ﺑﺮ ﻃﺮﻑ ﻛﻨﺪ‪ ،‬ﻛﻪ ﺍﻟﺒﺘﻪ ﺑﻰﻓﺎﻳﺪﻩ ﺑﻮﺩ‪ .‬ﭼﻮﻥ ﻭﻗﺘﻰ‬ ‫ﺍﺯ ﻣﺎﺷﻴﻦ ﺟﻤﻊ ﺩﻭ ﻭ ﻳﻚ ﺭﺍ ﭘﺮﺳﻴﺪ ﭘﺎﺳﺦ ﻣﺎﺷﻴﻦ ﺷﺶ ﺑﻮﺩ‪ .‬ﺩﺭﺑﺎﺭﻩﻯ ﻳﻚ ﺑﻪ ﻋﻼﻭﻩﻯ ﻳﻚ ﻫﻢ ﻧﻈﺮ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻣﺎﺷﻴﻦ ﺗﺮﻭﺭﻝ‬ ‫ﺍﺳﺘﺎﻧﻴﺴﻼﻭ ﻟﻢ‬ ‫ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

‫ﺍﺯ ﻗﻀﺎ ﺭﻭﺯﻯ ﺗﺮﻭﺭﻝ ]‪ [1‬ﺻﺎﻧﻊ‪ ،‬ﻣﺎﺷﻴﻨﻰ ﺳﺎﺧﺖ ﻫﺸﺖ ﻃﺒﻘﻪ ﻭ ﻣﺘﻔﻜﺮ‪ .‬ﻭﻗﺘﻰ ﻛﺎﺭ ﺳﺎﺧﺖ‬ ‫ﻣﺎﺷﻴﻦ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﻴﺪ‪ ،‬ﻛﻠﺶ ﺭﺍ ﺑﺎ ﺭﻧﮓ ﺳﻔﻴﺪ ﻛﺮﺩ ﻭ ﮔﻮﺷﻪﻫﺎﻳﺶ ﺭﺍ ﻫﻢ ﺍﺳﻄﺨﺪﻭﺳﻰ‬ ‫ﺭﻧﮓ ﺯﺩ‪ .‬ﺑﻌﺪ ﭼﻨﺪ ﻗﺪﻡ ﻋﻘﺐ ﺭﻓﺖ ﻭ ﭼﺸﻤﺎﻧﺶ ﺭﺍ ﻣﺘﻔﻜﺮﺍﻧﻪ ﺑﻪ ﺗﻤﺎﺷﺎﻯ ﻣﺎﺷﻴﻦ ﺗﻨﮓ ﻛﺮﺩ‬ ‫ﻭ ﺩﺭ ﺟﻠﻮﻯ ﻣﺎﺷﻴﻦ ﺧﻄﻰ ﻛﺞ ﻛﺸﻴﺪ ﻭ ﺑﻌﺪ ﺁﻥﺟﺎﻳﻰ ﺭﺍ ﻛﻪ ﻣﻰﺷﺪ ﭘﻴﺸﺎﻧﻰ ﻣﺎﺷﻴﻦ ﺩﺭ‬ ‫ﻧﻈﺮﺵ ﮔﺮﻓﺖ‪ ،‬ﭼﻨﺪ ﻧﻘﻄﻪﻯ ﻧﺎﺭﻧﺠﻰ ﺍﻧﺪﺍﺧﺖ‪ .‬ﺍﻭ ﻛﻪ ﺑﻰﻧﻬﺎﻳﺖ ﺍﺯ ﺍﻳﻦ ﺳﺎﺧﺘﻪﺍﺵ ﺍﺣﺴﺎﺱ‬ ‫ﻏﺮﻭﺭ ﻣﻰﻛﺮﺩ‪ ،‬ﺯﻳﺮ ﻟﺐ ﺳﻮﺗﻰ ﺯﺩ ﻭ ﺳﻮﺍﻝ ﺳﻨﺘﻰ »ﺩﻭ ﺑﻪ ﻋﻼﻭﻩﻯ ﺩﻭ« ﺭﺍ ﺍﺯ ﻣﺎﺷﻴﻦ ﭘﺮﺳﻴﺪ‪.‬‬


‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺩﺭ ﺯﻧﺪﮔﺎﻧﻰ ﺍﻭ ﻗﺪﺭﺗﻰ ﺑﺴﻰ ﻋﻈﻴﻢ ﺩﺍﺷﺖ ﻭ ﺍﻳﻦﺟﺎ ﻫﻢ ﻓﺮﺍﻣﻮﺷﺶ ﻧﻜﺮﺩﻩ ﺑﻮﺩ‪ .‬ﭼﻮﻥ ﺷﻤﻌﻰ ﺩﺭ ﻣﻴﺎﻥ‬ ‫ﺗﺎﺭﻳﻜﻰ ﺳﺮﺯﻣﻴﻦﻫﺎﻯ ﻭﺣﺸﻰ ﻣﻰﺭﻓﺖ‪ .‬ﻭ ﺑﺎ ﺑﻪ ﺧﺎﻃﺮ ﺁﻭﺭﺩﻥ‪ ،‬ﻧﺎﻡ ﺩﺷﻤﻨﺶ ﺭﺍ ﺻﺪﺍ ﺯﺩ‪ُ » :‬ﻭﻝ!« ﻭﻝ‬ ‫ﻛﻪ ﻓﺮﺍ ﺧﻮﺍﻧﺪﻩ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﻣﻘﺎﻭﻣﺖ ﻛﻨﺪ ﻭ ﺑﻪ ﺳﻮﻳﺶ ﺁﻣﺪ‪ .‬ﭘﻴﻜﺮﻯ ﺭﻧﮓﭘﺮﻳﺪﻩ ﻭ ﻋﻈﻴﻢ‬ ‫ﺯﻳﺮ ﻧﻮﺭ ﺳﺘﺎﺭﮔﺎﻥ ﺑﻮﺩ‪ .‬ﻓﺴﺘﻴﻦ ﺑﻪ ﺍﻭ ﻧﺰﺩﻳﻚ ﺷﺪ‪ ،‬ﺩﻳﮕﺮﻯ ﺗﺮﺳﻴﺪ ﻭ ﭼﻨﺎﻥ ﻓﺮﻳﺎﺩﻯ ﺑﺮﺁﻭﺭﺩ ﮔﻮﻳﻰ‬ ‫ﺳﻮﺧﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﻭﻗﺘﻰ ﺍﻭ ﻓﺮﺍﺭ ﻛﺮﺩ‪ ،‬ﻓﺴﺘﻴﻦ ﺑﻪ ﺩﻧﺒﺎﻟﺶ ﺭﻓﺖ‪ .‬ﻣﺴﻴﺮﻯ ﻃﻮﻻﻧﻰ ﺭﺍ ﭘﻴﻤﻮﻧﺪﻧﺪ‪ ،‬ﺍﺯ ﮔﺪﺍﺯﻩﻫﺎﻯ ﺧﺸﻚ‬ ‫ﺟﺎﺭﻯ ﺷﺪﻩ ﺍﺯ ﺁﺗﺸﻔﺸﺎﻥﻫﺎﻯ ﺑﺎﺳﺘﺎﻧﻰ ﻛﻪ ﻣﺨﺮﻭﻃﺸﺎﻥ ﺳﺮ ﺑﻪ ﺳﺘﺎﺭﻩﻫﺎﻯ ﺑﻰﻧﺎﻡ ﻣﻰﺳﺎﻳﻴﺪ‪ ،‬ﮔﺬﺷﺘﻨﺪ‪.‬‬ ‫ﺍﺯ ﺗﭙﻪﻫﺎﻯ ﺳﺎﻛﺖ ﻋﺒﻮﺭ ﻛﺮﺩﻧﺪ ﻭ ﺍﺯ ﺩﺷﺖﻫﺎﻯ ﻋﻠﻒﻫﺎﻯ ﻛﻮﺗﺎﻩ ﺳﻴﺎﻩ‪ ،‬ﺍﺯ ﺷﻬﺮﻫﺎ ﮔﺬﺷﺘﻨﺪ ﻭ ﺍﺯ‬ ‫ﺧﻴﺎﺑﺎﻥﻫﺎﻯ ﺗﺎﺭﻳﻜﺸﺎﻥ‪ ،‬ﻣﻴﺎﻥ ﺧﺎﻧﻪﻫﺎﻳﻰ ﻛﻪ ﭘﺸﺖ ﭘﻨﺠﺮﻩﻫﺎﻳﺸﺎﻥ ﻫﻴﭻ ﭼﻬﺮﻩﺍﻯ ﻧﺒﻮﺩ‪ .‬ﺳﺘﺎﺭﻩﻫﺎ‬ ‫ﺩﺭ ﺁﺳﻤﺎﻥ ﺁﻭﻳﺨﺘﻪ ﺑﻮﺩﻧﺪ؛ ﻫﻴﭻ ﻛﺪﺍﻡ ﻏﺮﻭﺏ ﻭ ﻫﻴﭻ ﻛﺪﺍﻡ ﻃﻠﻮﻉ ﻧﻜﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻫﻴﭻ ﺗﻐﻴﻴﺮﻯ ﺩﺭ‬ ‫ﺁﺳﻤﺎﻥ ﻧﺒﻮﺩ‪ .‬ﺭﻭﺯ ﻧﻤﻰﺷﺪ‪ .‬ﺍﻣﺎ ﺁﻥﻫﺎ ﻫﻤﻴﻦﻃﻮﺭ ﺭﻓﺘﻨﺪ‪ .‬ﻓﺴﺘﻴﻦ ﻫﻤﻴﺸﻪ ﺩﻳﮕﺮﻯ ﺭﺍ ﺑﻪ ﭘﻴﺶ ﻣﻰﺭﺍﻧﺪ‪،‬‬ ‫ﺗﺎ ﺑﻪ ﻣﻜﺎﻧﻰ ﺭﺳﻴﺪﻧﺪ ﻛﻪ ﺯﻣﺎﻧﻰ ﺭﻭﺩﻯ ﺩﺭ ﺁﻥ ﺟﺮﻳﺎﻥ ﺩﺍﺷﺖ‪ ،‬ﺯﻣﺎﻧﻰ ﺑﺴﻴﺎﺭ ﺩﻭﺭ؛ ﺭﻭﺩﺧﺎﻧﻪﺍﻯ ﺍﺯ‬ ‫ﺳﺮﺯﻣﻴﻦﻫﺎﻯ ﺟﺎﺭﻯ‪ .‬ﺩﺭ ﺑﺴﺘﺮ ﺧﺸﻚ ﺭﻭﺩ‪ ،‬ﻣﻴﺎﻥ ﺻﺨﺮﻩﻫﺎ‪ ،‬ﺑﺪﻧﻰ ﺑﻰﺟﺎﻥ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺑﺪﻥ ﻳﻚ ﻣﺮﺩ‬ ‫ﭘﻴﺮ ﺑﻮﺩ‪ ،‬ﺑﺮﻫﻨﻪ ﺑﺎ ﭼﺸﻤﺎﻧﻰ ﺑﻰﺭﻭﺡ ﻛﻪ ﺑﻪ ﺳﺘﺎﺭﻩﻫﺎﻯ ﻣﺮگ ﺯﻝ ﺯﺩﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﻓﺴﺘﻴﻦ ﮔﻔﺖ‪» :‬ﺩﺍﺧﻞ ﺷﻮ!«‬ ‫ﺳﺎﻳﻪﻯ ُﻭﻝ ﻟﺮﺯﻳﺪ‪ ،‬ﺍﻣﺎ ﻓﺴﺘﻴﻦ ﻧﺰﺩﻳﻚﺗﺮ ﺁﻣﺪ‪ُ .‬ﻭﻝ ﺍﺯ ﺗﺮﺱ ﺧﻢ ﺷﺪ‪ ،‬ﺑﻌﺪ ﺍﺯ ﺩﻫﺎﻥ ﺑﺎﺯ ﺟﺴﻢ‬ ‫ﺑﻰﺟﺎﻧﺶ ﻭﺍﺭﺩ ﺷﺪ‪ .‬ﺟﺴﺪ ﺑﻪ ﻳﻚﺑﺎﺭﻩ ﻧﺎﭘﺪﻳﺪ ﺷﺪ‪ .‬ﺻﺨﺮﻩﻫﺎﻯ ﺧﺸﻚ ﻭ ﺑﻰﻧﺸﺎﻥ ﺩﺭ ﻧﻮﺭ ﺳﺘﺎﺭﮔﺎﻥ‬ ‫ﻣﻰﺩﺭﺧﺸﻴﺪﻧﺪ‪ .‬ﻓﺴﺘﻴﻦ ﻣﺪﺗﻰ ﺑﻰﺣﺮﻛﺖ ﺍﻳﺴﺘﺎﺩ‪ ،‬ﺑﻌﺪ ﺑﻪ ﺁﺭﺍﻣﻰ ﻣﻴﺎﻥ ﺻﺨﺮﻩﻫﺎﻯ ﻋﻈﻴﻢ ﻧﺸﺴﺖ‬ ‫ﺗﺎ ﺍﺳﺘﺮﺍﺣﺖ ﻛﻨﺪ‪ .‬ﺍﺳﺘﺮﺍﺣﺖ ﻣﻰﻛﺮﺩ‪ ،‬ﺍﻣﺎ ﻧﺒﺎﻳﺪ ﻣﻰﺧﻮﺍﺑﻴﺪ‪ ،‬ﺑﺎﻳﺪ ﻧﮕﻬﺒﺎﻧﻰ ﻣﻰﺩﺍﺩ ﺗﺎ ﺟﺴﺪ ﻭﻝ‬ ‫ﺭﺍ ﺑﻪ ﻗﺒﺮﺵ ﺑﺎﺯ ﻣﻰﮔﺮﺩﺍﻧﺪ ﻭ ﺑﻪ ﺧﺎﻙ ﺗﺒﺪﻳﻞ ﻣﻰﺷﺪ ﻭ ﺗﻤﺎﻡ ﻗﺪﺭﺕ ﺷﻴﻄﺎﻧﻰﺍﺵ ﺩﺭ ﺩﺳﺖ ﺑﺎﺩ‬ ‫ﭘﺮﺍﻛﻨﺪﻩ ﻣﻰﺷﺪ ﻭ ﺑﺎﺭﺍﻥ ﺑﻪ ﺳﻮﻯ ﺩﺭﻳﺎ ﻣﻰﺷﺴﺘﺶ‪ .‬ﺑﺎﻳﺪ ﺩﺭ ﺍﻳﻦ ﻣﻜﺎﻥ ﻛﻪ ﻣﺮگ ﺍﺯ ﺁﻥ ﺭﺍﻫﻰ‬ ‫ﺑﻪ ﺳﻮﻯ ﺩﻧﻴﺎﻯ ﺯﻧﺪﻩﻫﺎ ﻳﺎﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﻧﮕﻬﺒﺎﻧﻰ ﻣﻰﺩﺍﺩ‪ .‬ﺣﺎﻻ ﺷﻜﻴﺒﺎﻳﻰ ﺑﻪ ﻭﺳﻌﺖ ﺍﺑﺪﻳﺖ ﻻﺯﻡ ﺑﻮﺩ‪،‬‬ ‫ﻓﺴﺘﻴﻦ ﻣﻴﺎﻥ ﺳﻨﮓﻫﺎﻳﻰ ﻛﻪ ﻫﺮﮔﺰ ﺭﻭﺩﻯ ﺩﻭﺑﺎﺭﻩ ﻣﻴﺎﻧﺸﺎﻥ ﺟﺮﻳﺎﻥ ﻧﻤﻰﻳﺎﻓﺖ ﻣﻨﺘﻈﺮ ﻣﺎﻧﺪ‪ ،‬ﺩﺭ ﻗﻠﺐ‬ ‫ﺳﺮﺯﻣﻴﻨﻰ ﻛﻪ ﻫﻴﭻ ﺳﺎﺣﻞ ﺩﺭﻳﺎﻳﻰ ﻧﺪﺍﺷﺖ‪ .‬ﺳﺘﺎﺭﻩﻫﺎ ﺑﺎﻻﻯ ﺳﺮﺵ ﺑﻰﺣﺮﻛﺖ ﺑﻮﺩﻧﺪ ﻭ ﻫﻤﺎﻥﻃﻮﺭ‬ ‫ﺩﺭﺧﺘﺎﻥ‬ ‫ﻛﻪ ﻧﮕﺎﻫﺸﺎﻥ ﻣﻰﻛﺮﺩ‪ ،‬ﺁﻫﺴﺘﻪﺁﻫﺴﺘﻪ‪ ،‬ﺻﺪﺍﻯ ﺟﺮﻳﺎﻥﻫﺎ ﻭ ﺻﺪﺍﻯ ﺑﺎﺭﺍﻥ ﺭﻭﻯ ﺑﺮگﻫﺎﻯ‬ ‫ِ‬ ‫ﺯﻧﺪﮔﺎﻧﻰ ﺭﺍ ﺍﺯ ﻳﺎﺩ ﺑﺮﺩ‪.‬‬

‫‪1. Festin‬‬

‫‪2. Voll‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﺍﻧﮕﺸﺘﺎﻧﻰ ﻋﻈﻴﻢ ﻭ ﻗﻬﻮﻩﺍﻯ ﺭﻧﮓ ﻛﻮﺭﻣﺎﻝ ﻛﻮﺭﻣﺎﻝ ﺷﻦﻫﺎﻯ ﻛﻒ ﺁﺏ ﺭﺍ ﮔﺸﺘﻨﺪ‪ .‬ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﺑﺎﻻﻯ‬ ‫ﺁﺏ‪ ،‬ﭼﻬﺮﻩﻫﺎﻳﻰ ﻣﺤﻮ ﺑﺎ ﭼﺸﻤﺎﻧﻰ ﺗﻬﻰ ﻣﻮﺝ ﺑﺮ ﻣﻰﺩﺍﺷﺘﻨﺪ‪ ،‬ﻣﺤﻮ ﻣﻰﺷﺪﻧﺪ ﻭ ﺩﻭﺑﺎﺭﻩ ﻇﺎﻫﺮ ﻣﻰﺷﺪﻧﺪ‪.‬‬ ‫ﺗﻮﺭﻫﺎ ﻭ ﺩﺳﺖﻫﺎ ﻣﻰﮔﺸﺘﻨﺪ‪ ،‬ﻧﻤﻰﻳﺎﻓﺘﻨﺪ‪ ،‬ﻧﻤﻰﻳﺎﻓﺘﻨﺪ ﻭ ﺑﻌﺪ ﺩﺭ ﻧﻬﺎﻳﺖ ﺍﻭ ﺭﺍ ﮔﺮﻓﺘﻨﺪ ﻭ ﺑﺪﻧﺶ ﺭﺍ ﻛﻪ‬ ‫ﭘﻴﭻ ﻭ ﺗﺎﺏ ﻣﻰﺧﻮﺭﺩ ﺩﺭ ﻫﻮﺍ ﺑﻠﻨﺪ ﻛﺮﺩﻧﺪ‪ .‬ﺗﻼﺵ ﻛﺮﺩ ﺑﻪ ﺷﻜﻞ ﺧﻮﺩﺵ ﺑﺎﺯ ﮔﺮﺩﺩ ﻭ ﻧﺘﻮﺍﻧﺴﺖ‪ ،‬ﺍﻓﺴﻮﻧﺶ‬ ‫ﺑﺮﺍﻯ ﺑﺎﺯﮔﺸﺖ ﺑﻪ ﺧﺎﻧﻪ‪ ،‬ﺧﻮﺩﺵ ﺭﺍ ﺍﺳﻴﺮ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺩﺭ ﺗﻮﺭ ﺑﻪ ﺧﻮﺩ ﭘﻴﭽﻴﺪ‪ ،‬ﺩﺭ ﻫﻮﺍﻯ ﺭﻭﺷﻦ ﻭ ﺧﺸﻚ‬ ‫ﻭ ﻭﺣﺸﺘﻨﺎﻙ ﺩﺳﺖ ﻭ ﭘﺎ ﻣﻰﺯﺩ ﻭ ﻏﺮﻕ ﻣﻰﺷﺪ‪ .‬ﺭﻧﺞ ﻫﻤﺎﻥﻃﻮﺭ ﺍﺩﺍﻣﻪ ﻳﺎﻓﺖ ﻭ ﺍﺩﺍﻣﻪ ﻳﺎﻓﺖ ﻭ ﭼﻴﺰﻯ‬ ‫ﻭﺭﺍﻯ ﺁﻥ ﺩﻳﮕﺮ ﻧﻤﻰﺩﺍﻧﺴﺖ‪ .‬ﭘﺲ ﺍﺯ ﻣﺪﺗﻰ ﻃﻮﻻﻧﻰ ﺁﻫﺴﺘﻪﺁﻫﺴﺘﻪ ﻫﻮﺷﻴﺎﺭﻯﺍﺵ ﺭﺍ ﺑﺎﺯ ﻳﺎﻓﺖ ﻭ ﻓﻬﻤﻴﺪ‬ ‫ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺷﻜﻞ ﺍﻧﺴﺎﻧﻰ ﺑﺎﺯﮔﺸﺘﻪ ﻭ ﻣﺎﻳﻌﻰ ﺷﻮﺭ ﻭ ﺗﻨﺪ ﺭﺍ ﺑﻪ ﺯﻭﺭ ﺑﻪ ﺣﻠﻘﺶ ﻣﻰﺭﻳﺰﻧﺪ‪ .‬ﺩﻭﺑﺎﺭﻩ ﺯﻣﺎﻥ‬ ‫ﮔﺬﺷﺖ ﻭ ﺑﻌﺪ ﺩﺭﻳﺎﻓﺖ ﺑﺎ ﺻﻮﺭﺕ ﺭﻭﻯ ﻛﻒ ﻣﺮﻃﻮﺏ ﺳﻴﺎﻫﭽﺎﻝ ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ‪ .‬ﺩﻭﺑﺎﺭﻩ ﺩﺭ ﺍﻧﻘﻴﺎﺩ ﻗﺪﺭﺕ‬ ‫ﺩﺷﻤﻨﺶ ﺑﻮﺩ‪ .‬ﻭ ﺍﮔﺮﭼﻪ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺑﺎﺯ ﻧﻔﺲ ﺑﻜﺸﺪ‪ ،‬ﻭﻟﻰ ﺑﺎ ﻣﺮگ ﭼﻨﺪﺍﻥ ﻓﺎﺻﻠﻪﺍﻯ ﻧﺪﺍﺷﺖ‪ .‬ﺳﺮﻣﺎ‬ ‫ﺗﻤﺎﻡ ﺑﺪﻧﺶ ﺭﺍ ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﻭ ﺍﺣﺘﻤﺎﻻً ﺗﺮﻭﻝﻫﺎ‪ ،‬ﺧﺪﻣﺘﮕﺰﺍﺭﺍﻥ ُﻭﻝ‪ ،‬ﺑﺪﻥ ﺷﻜﻨﻨﺪﻩﻯ ﻣﺎﻫﻰ ﻗﺰﻝﺁﻻ ﺭﺍ‬ ‫ﺩﺭ ﻫﻢ ﺷﻜﺴﺘﻪ ﺑﻮﺩﻧﺪ‪ ،‬ﺯﻳﺮﺍ ﻭﻗﺘﻰ ﺭﺍﻩ ﻣﻰﺭﻓﺖ ﻗﻔﺴﻪﻯ ﺳﻴﻨﻪ ﻭ ﺭﻭﻯ ﺑﺎﺯﻭﻳﺶ ﺍﺯ ﺩﺭﺩ ﺗﻴﺮ ﻣﻰﻛﺸﻴﺪ‪.‬‬ ‫ﺷﻜﺴﺘﻪ ﻭ ﻧﺎﺗﻮﺍﻥ ﺩﺭ ﻛﻒ ﭼﺎ ِﻩ ﺷﺐ ﺩﺭﺍﺯ ﻛﺸﻴﺪ‪ .‬ﺩﻳﮕﺮ ﻗﺪﺭﺗﻰ ﺑﺮﺍﻯ ﺗﻐﻴﻴﺮ ﺷﻜﻞ ﻧﺪﺍﺷﺖ ﻭ ﻫﻴﭻ ﺭﺍﻫﻰ‬ ‫ﺑﻪ ﺑﻴﺮﻭﻥ ﻧﻤﺎﻧﺪﻩ ﺑﻮﺩ‪ ،‬ﻣﮕﺮ ﻳﻜﻰ‪.‬‬ ‫ﻓﺴﺘﻴﻦ ﺑﻰﺣﺮﻛﺖ ﺩﺭﺍﺯ ﻛﺸﻴﺪ‪ .‬ﺗﻘﺮﻳﺒﺎً ﻭﺭﺍﻯ ﺩﺳﺘﺮﺱ ﺩﺭﺩ ﺑﻮﺩ‪ .‬ﺩﺭ ﺁﻥ ﺣﺎﻝ ﺑﺎ ﺧﻮﺩﺵ ﻓﻜﺮ ﻛﺮﺩ‪ ،‬ﭼﺮﺍ‬ ‫ﻣﺮﺍ ﻧﻜﺸﺘﻪ؟ ﭼﺮﺍ ﺍﻳﻦﺟﺎ ﺯﻧﺪﻩ ﻧﮕﺎﻫﻢ ﺩﺍﺷﺘﻪ؟ ﭼﺮﺍ ﻫﺮﮔﺰ ﺩﻳﺪﻩ ﻧﺸﺪﻩ؟ ﺑﺎ ﭼﻪ ﭼﺸﻤﺎﻧﻰ ﻣﻰﺷﻮﺩ ﺍﻭ ﺭﺍ‬ ‫ﺩﻳﺪ؟ ﺭﻭﻯ ﭼﻪ ﺯﻣﻴﻨﻰ ﺭﺍﻩ ﻣﻰﺭﻭﺩ؟ ﺍﻭ ﺍﺯ ﻣﻦ ﻣﻰﺗﺮﺳﺪ‪ ،‬ﺑﺎ ﺍﻳﻦ ﻛﻪ ﻫﻴﭻ ﺟﺎﻧﻰ ﺑﺮﺍﻳﻢ ﻧﻤﺎﻧﺪﻩ‪ .‬ﻣﻰﮔﻮﻳﻨﺪ‬ ‫ﺗﻤﺎﻡ ﺳﺎﺣﺮﻫﺎ ﻭ ﻣﺮﺩﺍﻥ ﻗﺪﺭﺗﻤﻨﺪﻯ ﻛﻪ ﺷﻜﺴﺖ ﺩﺍﺩﻩ ﺭﺍ ﺯﻧﺪﻩ ﺩﺭ ﮔﻮﺭﻫﺎﻳﻰ ﻣﺎﻧﻨﺪ ﺍﻳﻦ ﻣﻬﺮ ﻭ ﻣﻮﻡ ﻛﺮﺩﻩ‬ ‫ﻭ ﺁﻥﻫﺎ ﺳﺎﻝ ﭘﺲ ﺍﺯ ﺳﺎﻝ ﺩﺭ ﺗﻼﺵ ﺑﺮﺍﻯ ﻓﺮﺍﺭ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺍﻣﺎ ﺍﮔﺮ ﻛﺴﻰ ﺯﻧﺪﮔﻰ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻧﻜﻨﺪ ﭼﻪ؟ ﻓﺴﺘﻴﻦ ﭼﻨﻴﻦ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩ‪ .‬ﺁﺧﺮﻳﻦ ﻓﻜﺮﺵ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ‬ ‫ﺍﮔﺮ ﺍﺷﺘﺒﺎﻩ ﻛﺮﺩﻩ ﺑﺎﺷﻢ‪ ،‬ﻫﻤﻪ ﮔﻤﺎﻥ ﻣﻰﺑﺮﻧﺪ ﺑﺰﺩﻝ ﺑﻮﺩﻩﺍﻡ‪ .‬ﺍﻣﺎ ﺯﻳﺎﺩ ﺑﻪ ﺍﻳﻦ ﻣﺴﺄﻟﻪ ﻓﻜﺮ ﻧﻜﺮﺩ‪ .‬ﺳﺮﺵ‬ ‫ﺭﺍ ﻛﻤﻰ ﺑﻪ ﺳﻮﻳﻰ ﭼﺮﺧﺎﻧﺪ‪ ،‬ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ ﺑﺴﺖ‪ ،‬ﺁﺧﺮﻳﻦ ﻧﻔﺲ ﻋﻤﻴﻘﺶ ﺭﺍ ﻛﺸﻴﺪ ﻭ ﺯﻳﺮ ﻟﺐ ﻛﻼﻡ‬ ‫ﺍﺯ ﺑﻨﺪ ﺭﻫﺎﻧﻴﺪﻥ ﺭﺍ ﮔﻔﺖ ﻛﻪ ﺗﻨﻬﺎ ﻳﻚ ﺑﺎﺭ ﮔﻔﺘﻪ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺍﻳﻦ ﺗﻐﻴﻴﺮ ﺷﻜﻞ ﻧﺒﻮﺩ‪ .‬ﺍﻭ ﺗﻐﻴﻴﺮ ﻧﻜﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺑﺪﻧﺶ ﺑﺎ ﺁﻥ ﭘﺎﻫﺎﻯ ﻭ ﺑﺎﺯﻭﻫﺎﻯ ﺑﻠﻨﺪ‪ ،‬ﺩﺳﺖﻫﺎﻯ ﻛﺎﺭﺁﺯﻣﻮﺩﻩ‬ ‫ﻭ ﭼﺸﻤﺎﻧﻰ ﻛﻪ ﻧﮕﺎﻩ ﻛﺮﺩﻥ ﺑﻪ ﺩﺭﺧﺖﻫﺎ ﻭ ﺟﻮﻳﺒﺎﺭﻫﺎ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺷﺖ‪ ،‬ﺑﺪﻭﻥ ﺗﻐﻴﻴﺮ ﺩﺭﺍﺯ ﻛﺸﻴﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺗﻨﻬﺎ ﺑﻰﺣﺮﻛﺖ ﺑﻮﺩ‪ ،‬ﻛﺎﻣ ً‬ ‫ﭼﺎﻝ ﺳﺎﺧﺘﻪ‬ ‫ﻼ ﺑﻰﺣﺮﻛﺖ ﻭ ﭘﺮ ﺍﺯ ﺳﺮﻣﺎ‪ .‬ﺍﻣﺎ ﺩﻳﻮﺍﺭﻫﺎ ﻣﺤﻮ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺳﻴﺎﻩ ِ‬ ‫ﺁﺳﻤﺎﻥ ﻋﺼﺮﮔﺎﻫﻰ‪ .‬ﻫﻤﻪ‬ ‫ﺍﺯ ﺟﺎﺩﻭ ﻣﺤﻮ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺍﺗﺎﻕﻫﺎ ﻭ ﺑﺮﺝ ﻭ ﺑﺎﺭﻭﻫﺎ ﻭ ﻗﻠﻌﻪ ﻭ ﺟﻨﮕﻞ ﻭ ﺩﺭﻳﺎ ﻭ‬ ‫ِ‬ ‫ﺭﻓﺘﻪ ﺑﻮﺩﻧﺪ ﻭ ﻓﺴﺘﻴﻦ ﺑﻪ ﺁﺭﺍﻣﻰ ﺩﺭ ﺍﻣﺘﺪﺍﺩ ﺷﻴﺐ ﺗﭙﻪﻯ ﺯﻧﺪﮔﺎﻧﻰ‪ ،‬ﺯﻳﺮ ﺳﺘﺎﺭﮔﺎﻧﻰ ﺟﺪﻳﺪ ﺭﺍﻩ ﻣﻰﭘﻴﻤﻮﺩ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺑﺎ ﺍﻋﺘﻤﺎﺩ ﺑﻴﺶ ﺍﺯ ﺣﺪ ﺑﻪ ﻗﺪﺭﺗﺶ‪ ،‬ﺗﻮﺍﻧﺶ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩ ﺑﻮﺩ‪ .‬ﺣﺎﻻ ﺑﻪ ﻫﺮ ﺷﻜﻠﻰ ﻫﻢ ﻛﻪ ﺩﺭ ﺑﻴﺎﻳﺪ‪،‬‬ ‫ﺁﻥ ﻓﺮﻡ ﻫﻢ ﺿﻌﻒ ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ ﻭ ﺯﻭﺩ ﺑﻪ ﺩﺍﻡ ﻣﻰﺍﻓﺘﺪ‪.‬‬ ‫ﻟﺮﺯﺍﻥ ﺍﺯ ﺳﺮﻣﺎ ﮔﻮﺷﻪﺍﻯ ﻗﻮﺯ ﻛﺮﺩ ﻭ ﺍﺟﺎﺯﻩ ﺩﺍﺩ ﮔﻮﻯ ﺁﺗﺶ ﺁﺧﺮﻳﻦ ﺑﺎﻗﻴﻤﺎﻧﺪﻩﻯ ﮔﺎﺯ ﻣﺘﺎﻥ ﻣﺮﺩﺍﺏ ﺭﺍ‬ ‫ﺑﺴﻮﺯﺍﻧﺪ ﻭ ﭘﺖﭘﺖﻛﻨﺎﻥ ﺧﺎﻣﻮﺵ ﺷﻮﺩ‪ .‬ﺑﻮ ﻣﺮﺩﺍﺏﻫﺎﻳﻰ ﺭﺍ ﻛﻪ ﺍﺯ ﺣﺎﺷﻴﻪﻯ ﺟﻨﮕﻞ ﺗﺎ ﺩﺭﻳﺎ ﺍﻣﺘﺪﺍﺩ ﻳﺎﻓﺘﻪ‬ ‫ﺑﻮﺩﻧﺪ‪ ،‬ﺑﻪ ﺧﺎﻃﺮﺵ ﺁﻭﺭﺩ‪ .‬ﻣﺮﺩﺍﺏﻫﺎﻯ ﻋﺰﻳﺰﺵ ﻛﻪ ﻫﻴﭻ ﺍﻧﺴﺎﻧﻰ ﺑﻪ ﺁﻥﻫﺎ ﻗﺪﻡ ﻧﻤﻰﮔﺬﺍﺷﺖ‪ .‬ﺩﺭ ﭘﺎﻳﻴﺰ‬ ‫ﻗﻮﻫﺎ ﺑﺮ ﻓﺮﺍﺯﺵ ﭘﺮﻭﺍﺯ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﺁﻥﺟﺎ ﻛﻪ ﻣﻴﺎﻥ ﺣﻮﺿﭽﻪﻫﺎﻯ ﺳﺎﻛﻦ ﻭ ﺟﺰﻳﺮﻩﻫﺎﻯ ﻧﻰ‪ ،‬ﺟﺮﻳﺎﻥﻫﺎﻯ‬ ‫ﺳﺎﻛﺖ ﻭ ﺁﺭﺍﻡ ﺭﻭ ﺑﻪ ﺩﺭﻳﺎ ﺳﺮﺍﺯﻳﺮ ﺑﻮﺩﻧﺪ‪ .‬ﺁﻩ‪ ،‬ﭼﻪ ﻣﻰﺷﺪ ﺍﮔﺮ ﻣﺎﻫﻰ ﻣﻰﺷﺪ ﺩﺭ ﺁﻥ ﺟﺮﻳﺎﻥﻫﺎ‪ ،‬ﻳﺎ ﺣﺘﺎ‬ ‫ﺍﺯ ﺑﻬﺘﺮ ﺍﺯ ﺁﻥ‪ ،‬ﺩﺭ ﻧﺰﺩﻳﻜﻰ ﺳﺮﭼﺸﻤﻪ‪ ،‬ﺩﺭ ﺳﺎﻳﻪﻯ ﺩﺭﺧﺖﻫﺎﻯ ﺟﻨﮕﻞ‪ ،‬ﺩﺭ ﺁﺏﻫﺎﻯ ﺷﻔﺎﻑ‪ ،‬ﺯﻳﺮ‬ ‫ﺭﻳﺸﻪﻫﺎﻯ ﻳﻚ ﺗﻮﺳﻜﺎ ﭘﻨﻬﺎﻥ ﻣﻰﺷﺪ‪...‬‬ ‫ﺍﻳﻦ ﺟﺎﺩﻭﻯ ﻋﻈﻴﻤﻰ ﺑﻮﺩ‪ .‬ﻧﻪ ﻓﺴﺘﻴﻦ ﺍﻧﺠﺎﻣﺶ ﺩﺍﺩﻩ ﺑﻮﺩ ﻭ ﻧﻪ ﻫﻴﭻ ﻣﺮﺩ ﺩﻳﮕﺮﻯ ﺩﺭ ﺗﺒﻌﻴﺪ ﻭ ﺧﻄﺮ‬ ‫ِ‬ ‫ﺧﺎﻙ ﺧﺎﻧﻪﺍﺵ ﺭﺍ ﺑﻪ ﺩﻝ ﺩﺍﺭﺩ‪ ،‬ﺣﺴﺮﺕ ﺩﻳﺪﻥ ﻛﻠﻮﻥ ﺩﺭ ﺧﺎﻧﻪﺍﺵ‪ ،‬ﺣﺴﺮﺕ ﻣﻴﺰﻯ‬ ‫ﻛﻪ ﺣﺴﺮﺕ ﺁﺏ ﻭ‬ ‫ﻛﻪ ﭘﺸﺘﺶ ﻧﺸﺴﺘﻪ ﻭ ﻏﺬﺍ ﺧﻮﺭﺩﻩ ﻭ ﺣﺴﺮﺕِ ﺷﺎﺧﻪﻫﺎﻳﻰ ﻛﻪ ﺍﺯ ﭘﻨﺠﺮﻩﻯ ﺍﺗﺎﻗﻰ ﻛﻪ ﺩﺭ ﺁﻥ ﺧﻮﺍﺑﻴﺪﻩ‬ ‫ﺩﻳﺪﻩ ﻣﻰﺷﻮﻧﺪ‪ .‬ﻓﻘﻂ ﺳﺎﺣﺮﺍﻥ ﺑﺴﻴﺎﺭ ﻗﺪﺭﺗﻤﻨﺪ ﺍﺯ ﻃﺮﻳﻖ ﺭ���ﻳﺎ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺍﻳﻦ ﮔﻮﻧﻪ ﺟﺎﺩﻭﻯ ﺭﻓﺘﻦ ﺑﻪ‬ ‫ﺧﺎﻧﻪ ﺭﺍ ﺗﺒﺪﻳﻞ ﺑﻪ ﻭﺍﻗﻌﻴﺖ ﻛﻨﻨﺪ‪ .‬ﺍﻣﺎ ﻓﺴﺘﻴﻦ ﻛﻪ ﺳﺮﻣﺎ ﺩﺍﺷﺖ ﺍﺯ ﻣﻐﺰ ﺍﺳﺘﺨﻮﺍﻧﺶ ﺑﻪ ﺭگ ﻭ ﭘﻰﺍﺵ‬ ‫ﻣﻰﺭﺳﻴﺪ‪ ،‬ﺩﺭ ﻣﻴﺎﻥ ﺩﻳﻮﺍﺭﻫﺎﻯ ﺗﺎﺭﻳﻚ ﺍﻳﺴﺘﺎﺩ ﻭ ﺗﻤﺎﻡ ﺗﻮﺍﻧﺶ ﺭﺍ ﺟﻤﻊ ﻛﺮﺩ ﺗﺎ ﭼﻮﻥ ﺷﻤﻌﻰ‪ ،‬ﺩﺭ ﺗﺎﺭﻳﻜﻰ‬ ‫ﻛﺎﻟﺒﺪ ﺧﻮﻳﺶ ﺍﻓﺮﻭﺧﺘﻦ ﮔﺮﻓﺖ ﻭ ﺑﻌﺪ ﻣﺸﻐﻮﻝ ﺟﺎﺩﻭﻯ ﻋﻈﻴﻢ ﻭ ﺳﺎﻛﺖ ﺷﺪ‪ .‬ﺩﻳﻮﺍﺭﻫﺎ ﻣﺤﻮ ﺷﺪﻧﺪ‪.‬‬ ‫ﺩﺭ ﺩﻝ ﺯﻣﻴﻦ ﺑﻮﺩ‪ .‬ﺳﻨﮓﻫﺎ ﻭ ﺭﮔﻪﻫﺎﻯ ﮔﺮﺍﻧﻴﺖ ﺟﺎﻯ ﺍﺳﺘﺨﻮﺍﻥﻫﺎﻳﺶ ﺑﻮﺩﻧﺪ‪ ،‬ﺁﺏﻫﺎﻯ ﺯﻳﺮﺯﻣﻴﻨﻰ‬ ‫ﺟﺎﻯ ﺧﻮﻧﺶ ﻭ ﺭﻳﺸﻪﻫﺎ ﺍﻋﺼﺎﺑﺶ‪ .‬ﻫﻤﭽﻮﻥ ﻛﺮﻣﻰ ﻧﺎﺑﻴﻨﺎ ﺍﺯ ﻣﻴﺎﻥ ﺯﻣﻴﻦ ﺑﻪ ﺳﻮﻯ ﻏﺮﺏ ﺭﻓﺖ‪ ،‬ﺁﻫﺴﺘﻪ‬ ‫ﻣﻰﺭﻓﺖ ﻭ ﺗﺎﺭﻳﻜﻰ ﻣﻘﺎﺑﻞ ﻭ ﭘﺸﺖ ﺳﺮﺵ ﺑﻮﺩ‪.‬‬ ‫ﺑﻌﺪ ﺑﻪ ﻳﻚﺑﺎﺭﻩ‪ ،‬ﺧﻨﻜﻰ ﺩﺭ ﺍﻣﺘﺪﺍﺩ ﭘﺸﺖ ﻭ ﺷﻜﻤﺶ ﺟﺮﻳﺎﻥ ﻳﺎﻓﺖ؛ ﻧﻮﺍﺯﺷﻰ ﺗﻤﺎﻡﻧﺎﺷﺪﻧﻰ‪ ،‬ﻣﻘﺎﻭﻣﺖﻧﺎﭘﺬﻳﺮ‬ ‫ﻭ ﺧﻨﻚ ﺑﻮﺩ‪ .‬ﺑﺎ ﻛﻨﺎﺭﻩﻫﺎﻳﺶ ﺁﺏ ﺭﺍ ﭼﺸﻴﺪ ﻭ ﺟﺮﻳﺎﻥ ﺟﺎﺭﻯ ﺭﺍ ﺣﺲ ﻛﺮﺩ ﻭ ﺑﺎ ﭼﺸﻢﻫﺎﻳﻰ ﺑﻰﭘﻠﻚ‪،‬‬ ‫ﻣﻘﺎﺑﻠﺶ ﺣﻮﺿﭽﻪﻯ ﻋﻤﻴﻖ ﻗﻬﻮﻩﺍﻯ ﺭﺍ ﺩﻳﺪ ﻛﻪ ﻣﻴﺎﻥ ﺭﻳﺸﻪﻫﺎﻯ ﻋﻈﻴﻢ ﻳﻚ ﺗﻮﺳﻜﺎ ﻗﺮﺍﺭ ﺩﺍﺷﺖ‪.‬‬ ‫ﻧﻘﺮﻩﻓﺎﻡ ﺑﻪ ﺟﻠﻮ ﺟﺴﺖ‪ .‬ﺁﺯﺍﺩ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺧﺎﻧﻪ ﺑﻮﺩ‪ .‬ﺁﺏِ ﺑﺪﻭﻥﺯﻣﺎﻥ ﺍﺯ ﺳﺮﭼﺸﻤﻪﻯ ﭘﺎﻛﺶ ﺟﺎﺭﻯ ﺑﻮﺩ‪.‬‬ ‫ﺭﻭﻯ ﺷﻦﻫﺎﻯ ﻛﻒ ﺣﻮﺿﭽﻪ ﺩﺭﺍﺯ ﻛﺸﻴﺪ ﻭ ﮔﺬﺍﺷﺖ ﺁﺏ ﺟﺎﺭﻯ ﻗﻮﻯﺗﺮ ﺍﺯ ﻫﺮ ﺍﻓﺴﻮﻥ ﺷﻔﺎ‪ ،‬ﺯﺧﻢﻫﺎﻳﺶ‬ ‫ﺭﺍ ﻣﺮﻫﻢ ﺑﮕﺬﺍﺭﺩ ﻭ ﺑﺎ ﺧﻨﻜﻰﺍﺵ ﺳﺮﻣﺎﻯ ﻏﻢﺍﻓﺰﺍﻳﻰ ﺭﺍ ﻛﻪ ﺩﺭ ﺍﻭ ﺭﺧﻨﻪ ﻛﺮﺩﻩ ﺑﻮﺩ ﺑﺎ ﺧﻮﺩ ﺑﺸﻮﻳﺪ ﻭ ﺑﺒﺮﺩ‪.‬‬ ‫ﺍﻣﺎ ﻭﻗﺘﻰ ﺁﺭﺍﻡ ﮔﺮﻓﺖ‪ ،‬ﺗﻜﺎﻧﻰ ﻭ ﻟﺮﺯﻩﺍﻯ ﺩﺭ ﺯﻣﻴﻦ ﺭﺍ ﺷﻨﻴﺪ ﻭ ﺣﺲ ﻛﺮﺩ‪ .‬ﭼﻪ ﻛﺴﻰ ﺩﺭ ﺟﻨﮕﻞ ﺍﻭ ﮔﺎﻡ ﺑﺮ‬ ‫ﻣﻰﺩﺍﺷﺖ؟ ﺿﻌﻴﻒﺗﺮ ﺍﺯ ﺁﻥ ﺑﻮﺩ ﻛﻪ ﺗﻐﻴﻴﺮﺷﻜﻞ ﺑﺪﻫﺪ‪ .‬ﺑﺪﻥ ﺩﺭﺧﺸﺎﻧﺶ ﺭﺍ ﻛﻪ ﺑﻪ ﺷﻜﻞ ﻣﺎﻫﻰ ﻗﺰﻝﺁﻻ‬ ‫ﺑﻮﺩ‪ ،‬ﺯﻳﺮ ﻃﺎﻗﻰ ﺭﻳﺸﻪﻱ ﺗﻮﺳﻜﺎ ﭘﻨﻬﺎﻥ ﻛﺮﺩ ﻭ ﻣﻨﺘﻈﺮ ﺷﺪ‪.‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﻣﺎﻧﺪ ﻭ ﺩﺭ ﺍﻳﻦ ﻓﻜﺮ ﺑﻮﺩ ﻛﻪ ﭼﻪ ﺷﻜﻠﻰ ﺍﻭ ﺭﺍ ﺩﺭ ﺳﺮﻳﻊﺗﺮﻳﻦ ﺯﻣﺎﻥ ﻣﻤﻜﻦ ﺍﺯ ﭘﻨﺠﺮﻩ ﻋﺒﻮﺭ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﺍﻣﺎ ﺩﻳﺮ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺷﺮﻭﻉ ﻛﺮﺩ ﺑﻪ ﻗِﻞ ﺧﻮﺭﺩﻥ‪ ،‬ﺯﻳﺮﺍ ﺗﺮﻭﻟﻰ ﻏﻮﻝﺁﺳﺎ ﺑﺎ ﭼﻬﺮﻩﺍﻯ ﺑﻰﺍﺣﺴﺎﺱ ﻫﻤﭽﻮﻥ‬ ‫ﺑﻬﻤﻨﻰ ﻋﻈﻴﻢ ﺩﺭ ﺍﻣﺘﺪﺍﺩ ﺭﺍﻫﺮﻭ ﻣﻰﺁﻣﺪ‪ .‬ﺑﻌﺪ ﺍﻳﺴﺘﺎﺩ‪ ،‬ﺣﻠﻘﻪﻯ ﻛﻮﭼﻚ ﺭﺍ ﻛﻪ ﻗﻞ ﻣﻰﺧﻮﺭﺩ ﺑﺎ ﺩﺳﺘﻰ‬ ‫ﻋﻈﻴﻢ ﻫﻤﭽﻮﻥ ﺗﺨﺘﻪﺳﻨﮓ ﺑﺮﺩﺍﺷﺖ‪ .‬ﺗﺮﻭﻝ ﺑﻪ ﺳﻮﻯ ﺩﺭﻳﭽﻪ ﺭﻓﺖ‪ ،‬ﺁﻥ ﺭﺍ ﺑﺎ ﺩﺳﺘﮕﻴﺮﻩﺍﻯ ﺁﻫﻨﻰ ﺑﻠﻨﺪ‬ ‫ﻛﺮﺩ‪ ،‬ﺍﻓﺴﻮﻧﻰ ﺭﺍ ﺯﻳﺮ ﻟﺐ ﺯﻣﺰﻣﻪ ﻛﺮﺩ ﻭ ﻓﺴﺘﻴﻦ ﺭﺍ ﺩﻭﺑﺎﺭﻩ ﺩﺍﺧﻞ ﺗﺎﺭﻳﻜﻰ ﺍﻧﺪﺍﺧﺖ‪ .‬ﺍﺯ ﺍﺭﺗﻔﺎﻉ ﭼﻬﻞ ﻣﺘﺮﻯ‬ ‫ﺳﻘﻮﻁ ﻛﺮﺩ ﻭ ﻳﻚ ﺭﺍﺳﺖ ﺭﻭﻯ ﻛﻒ ﺯﻣﻴﻦ ﻓﺮﻭﺩ ﺁﻣﺪ‪ .‬ﺩﻧﮓ‪.‬‬ ‫ﺑﻪ ﺷﻜﻞ ﺧﻮﺩﺵ ﺑﺎﺯﮔﺸﺖ ﻭ ﻧﺸﺴﺖ‪ .‬ﺳﻮﮔﻮﺍﺭﺍﻧﻪ ﺁﺭﻧﺠﺶ ﺭﺍ ﻣﺎﻟﻴﺪ‪.‬‬ ‫ﺧﺐ ﺩﻳﮕﺮ‪ ،‬ﺗﻐﻴﻴﺮ ﺷﻜﻞ ﺩﺍﺩﻥ ﺑﺎ ﺷﻜﻢ ﺧﺎﻟﻰ ﺑﺮﺍﻯ ﺣﺎﻻ ﺑﺲ ﺑﻮﺩ‪ .‬ﺑﺪﺟﻮﺭﻯ ﺩﻟﺶ ﻣﻰﺧﻮﺍﺳﺖ ﭼﻮﺑﺪﺳﺘﺶ‬ ‫ﭘﻴﺸﺶ ﺑﻮﺩ‪ ،‬ﺑﺎ ﺁﻥ ﻣﻰﺗﻮﺍﻧﺴﺖ ﻫﺮ ﻗﺪﺭ ﺩﻟﺶ ﺑﺨﻮﺍﻫﺪ ﻏﺬﺍ ﺍﺣﻀﺎﺭ ﻛﻨﺪ‪ .‬ﺑﺪﻭﻥ ﺁﻥ ﺍﮔﺮﭼﻪ ﻣﻰﺗﻮﺍﻧﺴﺖ‬ ‫ﺷﻜﻞ ﺧﻮﺩﺵ ﺭﺍ ﺗﻐﻴﻴﺮ ﺩﻫﺪ ﻭ ﺑﺮﺧﻰ ﻭﺭﺩﻫﺎ ﻭ ﺍﻓﺴﻮﻥﻫﺎﻯ ﺧﺎﺹ ﺭﺍ ﺍﺟﺮﺍ ﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﻫﻴﭻ‬ ‫ﭼﻴﺰ ﻣﺎﺩﻯ ﺭﺍ ﺗﻐﻴﻴﺮ ﺷﻜﻞ ﺩﻫﺪ ﻳﺎ ﺑﻪ ﺧﻮﺩ ﺍﺣﻀﺎﺭ ﻛﻨﺪ‪ ،‬ﺣﺎﻻ ﭼﻪ ﺭﻋﺪ ﻭ ﺑﺮﻕ ﻭ ﭼﻪ ﻳﻚ ﺭﺍﻥ ﻛﺒﺎﺏﺷﺪﻩﻯ‬ ‫ﺑﺮﻩ‪ .‬ﻓﺴﺘﻴﻦ ﺑﻪ ﺧﻮﺩﺵ ﮔﻔﺖ‪» :‬ﺷﻜﻴﺒﺎ ﺑﺎﺵ‪ «.‬ﻭ ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﻧﻔﺴﺶ ﺗﺎﺯﻩ ﺷﺪ‪ ،‬ﺑﺪﻧﺶ ﺭﺍ ﺑﻪ ﻓﺮﻡ ﺩﻟﭙﺬﻳﺮ‬ ‫ﺑﺨﺎﺭﺍﺕِ ﻓﺮﺍﺭ ﺩﺭ ﺁﻭﺭﺩ ﻭ ﺗﺒﺪﻳﻞ ﺑﻪ ﺭﺍﻳﺤﻪﻯ ﻳﻚ ﺭﺍﻥ ﻛﺒﺎﺑﻰ ﺗﺒﺪﻳﻞ ﺷﺪ‪ .‬ﻳﻚ ﺑﺎﺭ ﺩﻳﮕﺮ ﺍﺯ ﻣﻴﺎﻥ ﺷﻜﺎﻑ‬ ‫ﺟﺮﻳﺎﻥ ﻳﺎﻓﺖ‪ .‬ﺗﺮﻭﻝ ﻛﻪ ﺩﻡ ﺩﺭ ﻣﻨﺘﻈﺮ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ ،‬ﺑﺎ ﺷﻚ ﻭ ﺗﺮﺩﻳﺪ ﺑﻮ ﻛﺸﻴﺪ‪ .‬ﺍﻣﺎ ﻓﺴﺘﻴﻦ ﺳﺮﻳﻊ ﺗﺒﺪﻳﻞ‬ ‫ﺑﻪ ﺷﺎﻫﻴﻦ ﺷﺪ ﻭ ﺩﺍﺷﺖ ﻳﻚ ﺭﺍﺳﺖ ﺑﻪ ﺳﻮﻯ ﭘﻨﺠﺮﻩ ﻣﻰﺭﻓﺖ‪ .‬ﺗﺮﻭﻝ ﺑﻪ ﺩﻧﺒﺎﻟﺶ ﺍﺯ ﺟﺎ ﺟﻬﻴﺪ‪ ،‬ﺍﻣﺎ ﭼﻨﺪ‬ ‫ﻣﺘﺮ ﺍﺯ ﺍﻭ ﻋﻘﺐ ﻣﺎﻧﺪ ﻭ ﺑﺎ ﺻﺪﺍﻯ ﺑﻠﻨﺪ ﺳﻨﮕﻴﻨﻰ ﻓﺮﻳﺎﺩ ﺯﺩ‪» :‬ﺷﺎﻫﻴﻦ! ﺷﺎﻫﻴﻦ ﺭﺍ ﺑﮕﻴﺮﻳﺪ!« ﻓﺴﺘﻴﻦ ﺑﺮ ﻓﺮﺍﺯ‬ ‫ﻗﻠﻌﻪﻯ ﺟﺎﺩﻭ ﺷﺪﻩ ﺩﻭﺭﻯ ﺯﺩ ﻭ ﺑﻪ ﺳﻮﻯ ﺟﻨﮕﻞ ﺧﻮﺩﺵ ﻛﻪ ﺩﺭ ﺗﺎﺭﻳﻜﻰﻫﺎﻯ ﺳﺮﺯﻣﻴﻦﻫﺎﻯ ﻏﺮﺑﻰ ﺑﻮﺩ‪،‬‬ ‫ﭘﺮ ﻛﺸﻴﺪ‪ .‬ﻧﻮﺭ ﺧﻮﺭﺷﻴﺪ ﻭ ﺑﺎﺯﺗﺎﺑﺶ ﺭﻭﻯ ﺳﻄﺢ ﺩﺭﻳﺎ ﭼﺸﻢﻫﺎﻳﺶ ﺭﺍ ﻣﻰﺯﺩ ﻭ ﺍﻭ ﻫﻤﭽﻮﻥ ﺗﻴﺮﻯ ﺍﺯ ﻛﻤﺎﻥ‬ ‫ﺭﻫﺎ ﺷﺪﻩ ﻣﻰﺭﻓﺖ‪ .‬ﺍﻣﺎ ﺗﻴﺮﻯ ﺳﺮﻳﻊﺗﺮ ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ﺍﻭ ﺭﺳﺎﻧﺪ‪ .‬ﻓﺮﻳﺎﺩ ﺯﺩ ﻭ ﺍﻓﺘﺎﺩ‪ .‬ﺩﺭﻳﺎ ﻭ ﺁﻓﺘﺎﺏ ﻭ ﺑﺮﺝ ﻭ‬ ‫ﺑﺎﺭﻭﻫﺎﻯ ﻗﺼﺮ ﺩﻭﺭ ﺳﺮﺵ ﭼﺮﺧﻴﺪﻧﺪ ﻭ ﺑﻌﺪ ﻫﻤﻪ ﭼﻴﺰ ﻣﺤﻮ ﺷﺪ‪.‬‬ ‫ﺧﻮﻥ ﺧﻮﺩﺵ ﺑﻮﺩ‪ .‬ﺗﻴﺮ ﺑﻪ‬ ‫ﺩﻭﺑﺎﺭﻩ ﻛﻒ ﺳﻴﺎﻫﭽﺎﻝ ﺗﺎﺭﻳﻚ ﺑﻴﺪﺍﺭ ﺷﺪ‪ .‬ﺩﺳﺖﻫﺎ‪ ،‬ﻣﻮﻫﺎ ﻭ ﻟﺐﻫﺎﻳﺶ ﺧﻴﺲ ﺍﺯ ِ‬ ‫ﺑﺎﻝ ﺷﺎﻫﻴﻦ ﺧﻮﺭﺩﻩ ﺑﻮﺩ‪ ،‬ﻛﻪ ﻣﻰﺷﺪ ﺷﺎﻧﻪﻯ ﺧﻮﺩﺵ‪ .‬ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺩﺭﺍﺯ ﻛﺸﻴﺪﻩ ﺑﻮﺩ‪ ،‬ﺍﻓﺴﻮﻧﻰ ﺯﻳﺮ ﻟﺐ‬ ‫ِ‬ ‫ﺧﻮﺍﻧﺪ ﻛﻪ ﺯﺧﻢ ﺭﺍ ﺑﺒﻨﺪ‪ .‬ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺑﻨﺸﻴﻨﺪ ﻭ ﺍﻓﺴﻮﻧﻰ ﻃﻮﻻﻧﻰﺗﺮ ﻭ ﻋﻤﻴﻖﺗﺮ ﺑﺮﺍﻯ ﺷﻔﺎ‬ ‫ﺍﺟﺮﺍ ﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺧﻮﻥ ﺯﻳﺎﺩﻯ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩ ﺑﻮﺩ ﻭ ﻫﻤﺮﺍﻫﺶ ﻗﺪﺭﺕ ﺯﻳﺎﺩﻯ ﺭﺍ‪ .‬ﺳﺮﻣﺎﻳﻰ ﺩﺭ ﻣﻐﺰ ﺍﺳﺘﺨﻮﺍﻧﺶ‬ ‫ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻛﻪ ﺣﺘﺎ ﺑﺎ ﻃﻠﺴﻢ ﺷﻔﺎ ﺩﻫﻨﺪﻩ ﻫﻢ ﺧﻮﺏ ﻧﻤﻰﺷﺪ‪ .‬ﭼﺸﻢﻫﺎﻳﺶ ﺳﻴﺎﻫﻰ ﻣﻰﺭﻓﺖ ﻭ ﺣﺘﺎ ﻭﻗﺘﻰ‬ ‫ﮔﻮﻯ ﺁﺗﺸﻴﻦ ﺭﺍ ﺩﺭﺳﺖ ﻛﺮﺩ ﻭ ﻫﻮﺍﻯ ﻣﺘﻌﻔﻦ ﺭﺍ ﺭﻭﺷﻦ ﻛﺮﺩ‪ ،‬ﻫﻤﺎﻥ ﻣﻪ ﺗﺎﺭﻳﻚ ﺭﺍ ﺩﻳﺪ ﻛﻪ ﻣﻮﻗﻊ ﭘﺮﻭﺍﺯ ﺑﺮ‬ ‫ﻓﺮﺍﺯ ﺟﻨﮕﻞ ﻭ ﺷﻬﺮﻫﺎﻯ ﻛﻮﭼﻚ ﺳﺮﺯﻣﻴﻨﺶ ﺩﻳﺪﻩ ﺑﻮﺩ‪ .‬ﻭﻇﻴﻔﻪﻯ ﺍﻭ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﺁﻥﻫﺎ ﺣﻔﺎﻇﺖ ﻛﻨﺪ‪.‬‬ ‫ﺩﻳﮕﺮ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﻓﺮﺍﺭ ﻣﺴﺘﻘﻴﻢ ﺭﺍ ﺍﻣﺘﺤﺎﻥ ﻛﻨﺪ‪ .‬ﺑﺴﻴﺎﺭ ﺿﻌﻴﻒ ﻭ ﺧﺴﺘﻪ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺑﺎﻻﺧﺮﻩ ﺭﻭﻯ ﭘﺎﻫﺎﻳﺶ ﺍﻳﺴﺘﺎﺩ‪ ،‬ﺑﺎ ﺩﺳﺖﻫﺎﻯ ﺧﺸﻚ ﺩﻭ ﺣﺮﻛﺖ ﮔﺴﺘﺮﺩﻩ ﺍﺟﺮﺍ ﻛﺮﺩ ﻭ ﺑﺎ ﺻﺪﺍﻯ‬ ‫ﺑﻠﻨﺪ ﻧﺎﻣﻰ ﺭﺍ ﻓﺮﻳﺎﺩ ﺯﺩ ﻛﻪ ﺗﻤﺎﻡ ﻗﻔﻞﻫﺎ ﺭﺍ ﻣﻰﺷﻜﻨﺪ ﻭ ﺗﻤﺎﻡ ﺩﺭﻫﺎﻯ ﺳﺎﺧﺘﻪﻯ ﺩﺳﺖ ﺍﻧﺴﺎﻥ ﺭﺍ ﺑﺎﺯ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺩﻳﻮﺍﺭﻫﺎ ﻛﻪ ﺁﺑﺴﺘﻦ ﺍﺯ ﺷﺐ ﻭ ﻧﺎﻡ ﺳﺎﺯﻧﺪﻩﻳﺸﺎﻥ ﺑﻮﺩﻧﺪ‪ ،‬ﻧﻪ ﺷﻨﻴﺪﻧﺪ ﻭ ﻧﻪ ﺍﻋﺘﻨﺎ ﻛﺮﺩﻧﺪ‪ .‬ﻧﺎﻡ‬ ‫ﺑﻪ ﺳﻮﻯ ﺧﻮﺩﺵ ﺑﺎﺯﺗﺎﺏ ﻳﺎﻓﺖ ﻭ ﭼﻨﺎﻥ ﺩﺭ ﮔﻮﺵﻫﺎﻳﺶ ﭘﻴﭽﻴﺪ ﻛﻪ ﺑﻪ ﺯﺍﻧﻮ ﺩﺭﺁﻣﺪ ﻭ ﺳﺮﺵ ﺭﺍ ﻣﻴﺎﻥ‬ ‫ﺩﺳﺖﻫﺎﻳﺶ ﮔﺮﻓﺖ ﺗﺎ ﻭﻗﺘﻰ ﻛﻪ ﭘﮋﻭﺍﻙ ﺻﺪﺍ ﺩﺭ ﺩﺭﻳﭽﻪﻫﺎﻯ ﺑﺎﻻﻳﺶ ﮔﻢ ﺷﺪ‪ .‬ﺳﭙﺲ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ‬ ‫ﻫﻨﻮﺯ ﺍﺯ ﺁﻥ ﺑﺎﺯﮔﺸﺖ ﺻﺪﺍ ﺑﻪ ﺧﻮﺩ ﻣﻰﻟﺮﺯﻳﺪ‪ ،‬ﻧﺸﺴﺖ ﻭ ﺩﺭ ﻓﻜﺮ ﻓﺮﻭ ﺭﻓﺖ‪.‬‬ ‫ﻣﻴﺎﻥ ﺍﻳﻦ ﺳﻴﺎﻩﭼﺎﻟﻪﻯ ﺍﻓﺴﻮﻥ‬ ‫ﺣﻖ ﺑﺎ ﺁﻥﻫﺎ ﺑﻮﺩ‪ُ .‬ﻭﻝ ﻗﺪﺭﺗﻤﻨﺪ ﺑﻮﺩ‪ .‬ﺍﻳﻦﺟﺎ ﺩﺭ ﺯﻣﻴﻦ ﺧﻮﺩﺵ‪ ،‬ﺩﺭ‬ ‫ِ‬ ‫ﺷﺪﻩ‪ ،‬ﺟﺎﺩﻭﻯ ﺍﻭ ﻣﻘﺎﺑﻞ ﻫﺮ ﺣﻤﻠﻪﻯ ﻣﺴﺘﻘﻴﻤﻰ ﻣﻘﺎﻭﻣﺖ ﻣﻰﻛﺮﺩ ﻭ ﻧﻴﺮﻭﻯ ﻓﺴﺘﻴﻦ ﺑﻪ ﺩﻟﻴﻞ ﺍﺯ ﺩﺳﺖ‬ ‫ﺭﻓﺘﻦ ﭼﻮﺑﺪﺳﺖ ﻧﺼﻒ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﺣﺘﺎ ﺩﺭﺑﻨﺪ ﻛﻨﻨﺪﻩﺍﺵ ﻫﻢ ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻦ ﻗﺪﺭﺗﺶ ﺭﺍ ﺍﺯ ﺍﻭ ﺑﮕﻴﺮﺩ‪،‬‬ ‫ﻗﺪﺭﺗﻰ ﻛﻪ ﺗﻨﻬﺎ ﻣﺘﻌﻠﻖ ﺑﻪ ﺍﻭ ﺑﻮﺩ‪ ،‬ﻗﺪﺭﺕ ﺗﻐﻴﻴﺮ ﺷﻜﻞ ﺩﺍﺩﻥ ﻭ ﺧﺮﻭﺝ ﺍﺯ ﺟﺴﻢ‪ .‬ﭘﺲ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻛﻤﻰ‬ ‫ﺳﺮ ﺩﺭﺩﻧﺎﻛﺶ ﺭﺍ ﻣﺎﻟﻴﺪ‪ ،‬ﺗﻐﻴﻴﺮ ﺷﻜﻞ ﺩﺍﺩ‪ .‬ﺑﺪﻧﺶ ﺑﻪ ﺁﻫﺴﺘﮕﻰ ﺗﺒﺪﻳﻞ ﺑﻪ ﻣﻬﻰ ﺭﻗﻴﻖ ﺷﺪ‪ .‬ﻣﻪ‪ ،‬ﺁﻫﺴﺘﻪ‬ ‫ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺭﺩﻯ ﺑﺮ ﺟﺎﻯ ﻣﻰﮔﺬﺍﺷﺖ‪ ،‬ﺍﺯ ﺯﻣﻴﻦ ﺑﺮﺧﺎﺳﺖ ﻭ ﺩﺭ ﺍﻣﺘﺪﺍﺩ ﺩﻳﻮﺍﺭﻫﺎﻯ ﻟﺰﺝ ﺑﺎﻻ ﺭﻓﺖ ﺗﺎ‬ ‫ﺟﺎﻳﻰ ﻛﻪ ﺑﻪ ﻣﺤﻞ ﺑﺮﺧﻮﺭﺩ ﺩﺭﻳﭽﻪ ﻭ ﺩﻳﻮﺍﺭ ﺭﺳﻴﺪ‪ .‬ﺁﻥﺟﺎ ﺷﻜﺎﻓﻰ ﺑﻪ ﺑﺎﺭﻳﻜﻰ ﻳﻚ ﻣﻮ ﻭﺟﻮﺩ ﺩﺍﺷﺖ‪.‬‬ ‫ﺍﺯ ﻣﻴﺎﻥ ﺷﻜﺎﻑ‪ ،‬ﺫﺭﻩﺫﺭﻩ ﻧﻔﻮﺫ ﻛﺮﺩ‪ .‬ﺗﻘﺮﻳﺒﺎً ﺍﺯ ﺷﻜﺎﻑ ﺭﺩ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﺑﺎﺩ ﺩﺍﻏﻰ‪ ،‬ﻫﻤﭽﻮﻥ ﺩﻡ ﺁﻫﻨﮕﺮﻯ‬ ‫ﺑﻪ ﺁﻥ ﺑﺮﺧﻮﺭﺩ ﻛﺮﺩ ﻭ ﺷﺮﻭﻉ ﺑﻪ ﺧﺸﻜﺎﻧﺪﻥ ﻗﻄﺮﻩﻫﺎﻯ ﻣﻪ ﻛﺮﺩ‪ .‬ﻣﻪ ﺑﻪ ﺳﺮﻋﺖ ﺑﻪ ﺩﺭﻳﭽﻪ ﺑﺎﺯﮔﺸﺖ ﻭ‬ ‫ﭼﺮﺥﺯﻧﺎﻥ ﺑﻪ ﺳﻮﻯ ﺯﻣﻴﻦ ﺭﻓﺖ‪ ،‬ﺷﻜﻞ ﻓﺴﺘﻴﻦ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﮔﺮﻓﺖ ﻭ ﻧﻔﺲﻧﻔﺲ ﺯﻧﺎﻥ ﺭﻭﻯ ﺯﻣﻴﻦ ﺩﺭﺍﺯ‬ ‫ﻛﺸﻴﺪ‪ .‬ﺗﻐﻴﻴﺮ ﺷﻜﻞ ﻧﻮﻋﻰ ﺩﮔﺮﺩﻳﺴﻰ ﺍﺣﺴﺎﺳﻰ ﺑﺮﺍﻯ ﺟﺎﺩﻭﮔﺮﺍﻥ ﺩﺭﻭﻥﮔﺮﺍ ﭼﻮﻥ ﻓﺴﺘﻴﻦ ﺍﺳﺖ‪ .‬ﺍﮔﺮ‬ ‫ﺑﻪ ﺍﻳﻦ ﺩﮔﺮﺩﻳﺴﻰ ﺷﻮﻙ ﻣﻮﺍﺟﻪ ﺑﺎ ﻣﺮﮔﻰ ﻏﻴﺮﺍﻧﺴﺎﻧﻰ ﺩﺭ ﺑﺪﻥ ﺗﻐﻴﻴﺮ ﻳﺎﻓﺘﻪ ﺭﺍ ﺍﺿﺎﻓﻪ ﻛﻨﻴﻢ‪ ،‬ﺗﺠﺮﺑﻪ‬ ‫ﺑﺴﻴﺎﺭ ﻭﻫﻤﻨﺎﻙ ﻣﻰﺷﻮﺩ‪ .‬ﻓﺴﺘﻴﻦ ﻣﺪﺗﻰ ﺭﻭﻯ ﺯﻣﻴﻦ ﺑﺎﻗﻰ ﻣﺎﻧﺪ ﻭ ﻧﻔﺲ ﻛﺸﻴﺪ‪ .‬ﺍﺯ ﺩﺳﺖ ﺧﻮﺩﺵ ﻫﻢ‬ ‫ﻋﺼﺒﺎﻧﻰ ﺑﻮﺩ‪ .‬ﺧﻴﻠﻰ ﺳﺎﺩﻩﺍﻧﮕﺎﺭﺍﻧﻪ ﺑﻮﺩ ﻛﻪ ﻓﻜﺮ ﻛﺮﺩﻩ ﺑﻮﺩ ﻣﻰﺗﻮﺍﻧﺪ ﺑﻪ ﺷﻜﻞ ﻣﻪ ﺑﮕﺮﻳﺰﺩ‪ .‬ﻫﺮ ﺍﺣﻤﻘﻰ‬ ‫ﺍﺯ ﺁﻥ ﺣﻘﻪ ﺧﺒﺮ ﺩﺍﺭﺩ‪ .‬ﺍﺣﺘﻤﺎﻻً ُﻭﻝ ﺍﺯ ﻫﻤﺎﻥ ﺍﺑﺘﺪﺍ ﻳﻚ ﺑﺎﺩ ﺩﺍﻍ ﺭﺍ ﺁﻥﺟﺎ ﻣﻨﺘﻈﺮ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ‪ .‬ﻓﺴﺘﻴﻦ‬ ‫ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ﺷﻜﻞ ﺧﻔﺎﺷﻰ ﺳﻴﺎﻩ ﺩﺭﺁﻭﺭﺩ ﻭ ﺑﻪ ﺳﻮﻯ ﺳﻘﻒ ﭘﺮﻭﺍﺯ ﻛﺮﺩ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺷﻜﻞ ﺟﺮﻳﺎﻧﻰ ﺍﺯ‬ ‫ﻫﻮﺍﻯ ﺳﺎﺩﻩ ﺗﻐﻴﻴﺮ ﺷﻜﻞ ﺩﺍﺩ ﻭ ﺍﺯ ﻣﻴﺎﻥ ﺷﻜﺎﻑ ﻧﻔﻮﺫ ﻛﺮﺩ‪.‬‬ ‫ﺍﻳﻦ ﺑﺎﺭ ﺍﺯ ﺩﺭﻳﭽﻪ ﺑﻴﺮﻭﻥ ﺭﻓﺖ ﻭ ﺩﺍﺷﺖ ﺑﻪ ﺁﺭﺍﻣﻰ ﺩﺭ ﺭﺍﻫﺮﻭ ﻣﻰﻭﺯﻳﺪ ﻛﻪ ﺧﻮﺩﺵ ﺭﺍ ﻣﻘﺎﺑﻞ ﭘﻨﺠﺮﻩ ﺍﻯ‬ ‫ﻳﺎﻓﺖ‪ .‬ﻧﺎﮔﻬﺎﻥ ﺣﺴﻰ ﺷﻔﺎﻑ ﺍﺯ ﺩﺭﺩ ﻭ ﺭﻧﺞ ﺑﺎﻋﺚ ﺷﺪ ﺑﻪ ﺧﻮﺩ ﺑﭙﻴﭽﺪ ﻭ ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ﺍﻭﻟﻴﻦ ﺷﻜﻞ‬ ‫ﻛﻮﭼﻚ ﻭ ﻣﻨﺎﺳﺒﻰ ﻛﻪ ﺑﻪ ﺫﻫﻨﺶ ﺭﺳﻴﺪ ﺩﺭ ﺑﻴﺎﻭﺭﺩ‪ .‬ﻳﻚ ﺣﻠﻘﻪﻯ ﻃﻼ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻨﺎﺳﺐ ﻣﻰﺭﺳﻴﺪ‪.‬‬ ‫ﺗﻨﺪﺑﺎﺩ ﻗﻄﺒﻰ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺫﺭﺍﺕ ﻫﻮﺍﻳﻰ ﻛﻪ ﺷﻜﻠﺶ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﺩﺭ ﻫﺮﺝ ﻭ ﻣﺮﺟﻰ ﺍﺑﺪﻯ‬ ‫ﻧﺎﺑﻮﺩ ﻛﻨﺪ‪ ،‬ﺷﻜﻞ ﺣﻠﻘﻪ ﺭﺍ ﺗﻨﻬﺎ ﻛﻤﻰ ﺧﻨﻚ ﻛﺮﺩ‪ .‬ﻭﻗﺘﻰ ﻛﻪ ﻃﻮﻓﺎﻥ ﺍﺯ ﺍﻭ ﻣﻰﮔﺬﺷﺖ‪ ،‬ﺭﻭﻯ ﻛﻒ ﺳﻨﮕﻰ‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﺁﻥﻗﺪﺭ ﺑﺎﻻ ﺑﻮﺩ ﻛﻪ ﻓﺴﺘﻴﻦ ﻭﻗﺘﻰ ﺑﺮﺍﻯ ﻟﺤﻈﻪﺍﻯ ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ﮔﻮﻯ ﺁﺗﺶ ﻣﻨﺘﻘﻞ ﻛﺮﺩ‪ ،‬ﭼﻬﺮﻩﻯ‬ ‫ﺧﻮﺩﺵ ﺭﺍ ﭼﻬﻞ ﻣﺘﺮ ﭘﺎﻳﻴﻦﺗﺮ ﭼﻮﻥ ﻧﻘﻄﻪﺍﻯ ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﺩﻳﺪ‪ .‬ﻧﻮﺭ ﻫﻴﭻ ﺑﺎﺯﺗﺎﺑﻰ ﺭﻭﻯ ﺩﻳﻮﺍﺭﻫﺎﻯ‬ ‫ﻣﺮﻃﻮﺏ ﻧﺪﺍﺷﺖ‪ ،‬ﺩﻳﻮﺍﺭﻫﺎ ﺭﺍ ﺑﺎ ﺟﺎﺩﻭ ﺍﺯ ﺗﺎﺭ ﻭ ﭘﻮﺩ ﺷﺐ ﺑﺎﻓﺘ��� ﺑﻮﺩﻧﺪ‪ .‬ﺑﻪ ﺧﻮﺩﺵ ﺑﺎﺯﮔﺸﺖ ﻭ ﮔﻔﺖ‪:‬‬ ‫»ﺑﻴﺮﻭﻥ!« ﮔﻮﻯ ﺁﺗﺶ ﻧﺎﭘﺪﻳﺪ ﺷﺪ‪ .‬ﻓﺴﺘﻴﻦ ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﻧﺸﺴﺖ ﻭ ﻣﻔﺼﻞ ﺍﻧﮕﺸﺘﺎﻧﺶ ﺭﺍ ﺷﻜﺴﺖ‪.‬‬ ‫ﺍﺣﺘﻤﺎﻻً ﻛﺴﻰ ﻏﺎﻓﻠﮕﻴﺮﻭ ﺍﺯ ﭘﺸﺖ ﺍﻓﺴﻮﻧﺶ ﻛﺮﺩﻩ ﺑﻮﺩ؛ ﺯﻳﺮﺍ ﺁﺧﺮﻳﻦ ﺧﺎﻃﺮﻩﺍﺵ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺩﺭ‬ ‫ﻣﻴﺎﻥ ﺟﻨﮕﻞ ﺧﻮﺩﺵ ﻗﺪﻡ ﻣﻰﺯﺩ ﻭ ﺑﺎ ﺩﺭﺧﺘﺎﻥ ﺻﺤﺒﺖ ﻣﻰﻛﺮﺩ‪ .‬ﺍﻳﻦ ﺍﻭﺍﺧﺮ‪ ،‬ﺩﺭ ﺳﺎﻝﻫﺎﻯ ﺗﻨﻬﺎﻳﻰ‬ ‫ﻣﻴﺎﻧﻪﻯ ﻋﻤﺮ‪ ،‬ﺍﺣﺴﺎﺱ ﺑﻴﻬﻮﺩﮔﻰ ﺑﺮ ﺍﻭ ﭼﻴﺮﻩ ﺷﺪﻩ ﺑﻮﺩ؛ ﺍﺣﺴﺎﺳﻰ ﺍﺯ ﻧﻴﺮﻭﻫﺎﻯ ﻣﺼﺮﻑ ﻧﺸﺪﻩ‪.‬‬ ‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﺑﺮﺍﻯ ﻳﺎﺩﮔﺮﻓﺘﻦ ﺑﺮﺩﺑﺎﺭﻯ‪ ،‬ﺩﻫﻜﺪﻩﻫﺎ ﺭﺍ ﺭﻫﺎ ﻛﺮﺩﻩ ﻭ ﺑﻪ ﺻﺤﺒﺖ ﺑﺎ ﺩﺭﺧﺖﻫﺎ ﻣﺸﻐﻮﻝ ﺷﺪﻩ‬ ‫ﺑﻮﺩ؛ ﺑﻪ ﺧﺼﻮﺹ ﺑﺎ ﺑﻠﻮﻁ‪ ،‬ﺷﺎﻩ ﺑﻠﻮﻁ ﻭ ﺗﻮﺳﻜﺎﻯ ﺧﺎﻛﺴﺘﺮﻯ ﻛﻪ ﺭﻳﺸﻪﻫﺎﻳﺸﺎﻥ ﺩﺭ ﮔﻔﺘﮕﻮﻳﻰ ژﺭﻑ‬ ‫ﺑﺎ ﺁﺏﻫﺎﻯ ﺭﻭﺍﻥ ﺑﻮﺩﻧﺪ‪ .‬ﺷﺶ ﻣﺎﻩ ﺑﻮﺩ ﻛﻪ ﺑﺎ ﻫﻴﭻ ﺍﻧﺴﺎﻧﻰ ﺻﺤﺒﺖ ﻧﻜﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺳﺨﺖ ﻣﺸﻐﻮﻝ ﺍﻣﻮﺭ‬ ‫ﺿﺮﻭﺭﻯ ﺑﻮﺩ‪ ،‬ﻫﻴﭻ ﺍﻓﺴﻮﻧﻰ ﺍﺳﺘﻔﺎﺩﻩ ﻧﻜﺮﺩﻩ ﻭ ﻛﺴﻰ ﺭﺍ ﻧﻴﺎﺯﺭﺩﻩ ﺑﻮﺩ‪ .‬ﭘﺲ ﭼﻪ ﻛﺴﻰ ﺍﻭ ﺭﺍ ﺍﻓﺴﻮﻥ‬ ‫ﻛﺮﺩﻩ ﻭ ﺩﺭ ﺍﻳﻦ ﻏﺎﺭ ﻣﺘﻌﻔﻦ ﺍﻧﺪﺍﺧﺘﻪ ﺑﻮﺩ؟ ﺍﺯ ﺩﻳﻮﺍﺭﻫﺎ ﭘﺮﺳﻴﺪ »ﭼﻪ ﻛﺴﻰ؟« ﺁﻫﺴﺘﻪﺁﻫﺴﺘﻪ ﻧﺎﻣﻰ‬ ‫ﺭﻭﻯ ﺩﻳﻮﺍﺭﻫﺎ ﭘﺪﻳﺪﺍﺭ ﺷﺪ ﻭ ﭼﻮﻥ ﻗﻄﺮﻩﺍﻯ ﻏﻠﻴﻆ ﻭ ﺳﻴﺎﻩ ﺍﺯ ﻋﺮﻕ ﺧﻠﻞ ﻭ ﻓﺮﺝ ﺳﻨﮓﻫﺎ ﻭ ﺣﻔﺮﻩﻫﺎﻯ‬ ‫ﺍﺳﻔﻨﺞﻫﺎ ﺑﻴﺮﻭﻥ ﭼﻜﻴﺪ‪ُ » :‬ﻭﻝ ]‪«.[2‬‬ ‫ﭼﻨﺪ ﺛﺎﻧﻴﻪ ﻓﺴﺘﻴﻦ ﺧﻮﺩﺵ ﻫﻢ ﻏﺮﻕ ﺩﺭ ﻋﺮﻗﻰ ﺳﺮﺩ ﺷﺪ‪ .‬ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﻧﺎ ِﻡ ُﻭ ِﻝ ﺳﻨﮕﺪﻝ ﺭﺍ ﺳﺎﻝﻫﺎ ﭘﻴﺶ‬ ‫ﺩﻭﻥ ﻳﻚ ﺍﻧﺴﺎﻥ ﺍﺳﺖ‪ .‬ﺍﻭ ﺩﺭ ﻛﺮﺍﻧﻪﻫﺎﻯ ﺩﻭﺭ‪،‬‬ ‫ﺷﻨﻴﺪﻩ ﺑﻮﺩ‪ .‬ﻣﻰﮔﻔﺘﻨﺪ ﭼﻴﺰﻯ ﻭﺭﺍﻯ ﻳﻚ ﺟﺎﺩﻭﮔﺮ ﻭ ِ‬ ‫ﺟﺰﻳﺮﻩ ﺑﻪ ﺟﺰﻳﺮﻩ ﺭﻓﺘﻪ ﻭ ﻛﺎﺭﻫﺎﻯ ﭘﻴﺸﻴﻨﻴﺎﻥ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﺑﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺍﻧﺴﺎﻥﻫﺎ ﺭﺍ ﺑﻪ ﺍﺳﺎﺭﺕ ﻛﺸﻴﺪﻩ‪،‬‬ ‫ﺟﻨﮕﻞﻫﺎ ﺭﺍ ﻗﻄﻊ ﻛﺮﺩﻩ‪ ،‬ﻣﺰﺍﺭﻉ ﺭﺍ ﺑﺎﻳﺮ ﻛﺮﺩﻩ ﻭ ﻫﺮ ﺟﺎﺩﻭﮔﺮ ﻭ ﺳﺎﺣﺮﻯ ﺭﺍ ﻛﻪ ﺗﻼﺵ ﻛﺮﺩﻩ ﻣﻘﺎﺑﻠﺶ‬ ‫ﺑﺎﻳﺴﺘﺪ‪ ،‬ﺩﺭ ﻣﻘﺒﺮﻩﻫﺎﻯ ﺯﻳﺮﺯﻣﻴﻨﻰ ﺩﺭ ﺑﻨﺪ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺑﺎﺯﻣﺎﻧﺪﻩﻫﺎﻯ ﺟﺰﻳﺮﻩﻫﺎﻯ ﻧﺎﺑﻮﺩ ﺷﺪﻩ ﻫﻤﻴﺸﻪ ﺩﺍﺳﺘﺎﻥ ﻳﻜﺴﺎﻧﻰ ﺭﺍ ﺗﻌﺮﻳﻒ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﺍﻳﻦ ﻛﻪ ﺍﻭ ﺩﻡ‬ ‫ﻏﺮﻭﺏ ﺳﻮﺍﺭ ﺑﺮ ﺑﺎﺩﻯ ﺳﻴﺎﻩ ﺍﺯ ﺳﻮﻯ ﺩﺭﻳﺎ ﺁﻣﺪﻩ ﺑﻮﺩ ﻭ ﺑﺮﺩﻩﻫﺎﻳﺶ ﺩﺭ ﻛﺸﺘﻰﻫﺎ ﺑﻪ ﺩﻧﺒﺎﻟﺶ ﺑﻮﺩﻧﺪ‪ ،‬ﺍﻳﻦ‬ ‫ﺗﻤﺎﻡ ﭼﻴﺰﻯ ﺑﻮﺩ ﻛﻪ ﺩﻳﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻣﺎ ﻫﻴﭻﻛﺲ ﻫﺮﮔﺰ ﺧﻮﺩ ُﻭﻝ ﺭﺍ ﻧﺪﻳﺪﻩ ﺑﻮﺩ‪ ...‬ﺍﻧﺴﺎﻥﻫﺎ ﻭ ﻣﻮﺟﻮﺩﺍﺕِ‬ ‫ﺷﻴﻄﺎﻧﻰ ﺑﺴﻴﺎﺭﻯ ﺩﺭ ﺟﺰﻳﺮﻩﻫﺎ ﺑﻮﺩﻧﺪ ﻭ ﻓﺴﺘﻴﻦ ﻛﻪ ﺁﻥ ﻣﻮﻗﻊ ﺳﺎﺣﺮﻯ ﺟﻮﺍﻥ ﻭ ﻣﺼﻤﻢ ﺩﺭ ﺗﻤﺮﻳﻦﻫﺎﻳﺶ‬ ‫ِ‬ ‫ﺑﻮﺩ‪ ،‬ﺑﻪ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ُﻭﻝ ﺳﻨﮕﺪﻝ ﺍﻫﻤﻴﺖ ﻧﺪﺍﺩﻩ ﺑﻮﺩ‪ .‬ﺑﺎ ﻋﻠﻢ ﺑﻪ ﻗﺪﺭﺕ ﻧﺎﺁﺯﻣﻮﺩﻩﺍﺵ‪ ،‬ﭘﻴﺶ ﺧﻮﺩ‬ ‫ﮔﻔﺘﻪ ﺑﻮﺩ‪» :‬ﻣﻦ ﻣﻰﺗﻮﺍﻧﻢ ﺍﻳﻦ ﺟﺰﻳﺮﻩ ﺭﺍ ﻣﺤﺎﻓﻈﺖ ﻛﻨﻢ‪ «.‬ﻭ ﺑﻪ ﺳﻮﻯ ﺑﻠﻮﻁﻫﺎ ﻭ ﺗﻮﺳﻜﺎﻫﺎﻳﺶ ﺑﺎﺯﮔﺸﺘﻪ‬ ‫ﺑﻮﺩ‪ ،‬ﺻﺪﺍﻯ ﺑﺎﺩ ﺩﺭ ﺑﺮگﻫﺎﻳﺸﺎﻥ ﺑﻮﺩ‪ ،‬ﻧﻮﺍﻯ ﺭﺷﺪ ﺩﺭ ﺗﻨﻪﻫﺎﻯ ﻣﺪﻭﺭ ﻭ ﺷﺎﺧﻪﻫﺎﻯ ﺑﺰﺭگ ﻭ ﻛﻮﭼﻜﺸﺎﻥ‪،‬‬ ‫ﻃﻌﻢ ﺁﻓﺘﺎﺏ ﺭﻭﻯ ﺑﺮگﻫﺎ ﻭ ﻃﻌﻢ ﺁﺏِ ﺯﻳﺮﺯﻣﻴﻨﻰ ﺍﻃﺮﺍﻑ ﺭﻳﺸﻪﻫﺎﻳﺸﺎﻥ‪ .‬ﺣﺎﻻ ﻫﻤﻪﻯ ﺁﻥ ﺩﺭﺧﺖﻫﺎ‪،‬‬ ‫ﻫﻤﺮﺍﻫﺎﻥ ﻗﺪﻳﻤﻰﺍﺵ ﻛﺠﺎ ﺭﻓﺘﻪ ﺑﻮﺩﻧﺪ؟ ﺁﻳﺎ ﻭﻝ ﺟﻨﮕﻞ ﺭﺍ ﻧﺎﺑﻮﺩ ﻛﺮﺩﻩ ﺑﻮﺩ؟‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻛﻼﻡ ﺍﺯ ﺑﻨﺪ ﺭﻫﺎﻧﻴﺪﻥ‬

‫ﺍﻭﺭﺳﻮﻻ ﻙ‪ .‬ﻟﮕﻮﻳﻴﻦ‬ ‫ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬

‫ﻛﺠﺎ ﺑﻮﺩ؟ ﺯﻣﻴﻦ ﺳﺮﺩ ﻭ ﻟﺰﺝ ﺑﻮﺩ‪ ،‬ﻫﻮﺍ ﺗﻴﺮﻩ ﻭ ﻣﺘﻌﻔﻦ ﻭ ﺩﻳﮕﺮ ﻫﻴﭻ ﻧﺒﻮﺩ ﻣﮕﺮ ﺳﺮﺩﺭﺩ‪ .‬ﻓﺴﺘﻴﻦ‬ ‫]‪ [1‬ﺭﻭﻯ ﺯﻣﻴﻦ ﺳﺮﺩ ﺩﺭﺍﺯ ﺑﻪ ﺩﺭﺍﺯ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ ،‬ﻧﺎﻟﻪﺍﻯ ﻛﺮﺩ ﻭ ﺑﻌﺪ ﮔﻔﺖ‪» :‬ﭼﻮﺑﺪﺳﺖ!« ﺍﻣﺎ‬ ‫ﭼﻮﺑﺪﺳﺖ ﺟﺎﺩﻭﮔﺮﻯﺍﺵ ﺭﺍ ﻛﻪ ﺍﺯ ﭼﻮﺏِ ﺗﻮﺳﻜﺎ ﺍﺳﺖ‪ ،‬ﺑﻪ ﺩﺳﺘﺶ ﻧﻴﺎﻣﺪ ﻭ ﺩﺍﻧﺴﺖ ﻛﻪ ﺩﺭ‬ ‫ﺩﺭﺩﺳﺮ ﺍﻓﺘﺎﺩﻩ‪ .‬ﻧﺸﺴﺖ؛ ﺑﺪﻭﻥ ﭼﻮﺑﺪﺳﺘﺶ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﻧﻮﺭ ﺧﻮﺑﻰ ﺩﺭﺳﺖ ﻛﻨﺪ‪ .‬ﭼﻴﺰﻯ ﺯﻳﺮ‬ ‫ﻟﺐ ﺯﻣﺰﻣﻪ ﻛﺮﺩ ﻭ ﺑﻌﺪ ﺟﺮﻗﻪﺍﻯ ﻣﻴﺎﻥ ﺍﻧﮕﺸﺖ ﺷﺴﺖ ﻭ ﺍﺷﺎﺭﻩﺍﺵ ﺩﺭﺳﺖ ﻛﺮﺩ‪ .‬ﮔﻮﻯ ﺁﺑﻰ‬ ‫ﺭﻧﮕﻰ ﺍﺯ ﺟﺮﻗﻪ ﺑﻴﺮﻭﻥ ﭘﺮﻳﺪ‪ ،‬ﺳﺴﺖ ﻭ ﺑﻰﺣﺎﻝ‪ ،‬ﭘﺖﭘﺖﻛﻨﺎﻥ ﺩﺭ ﻫﻮﺍ ﭼﺮﺧﻰ ﺯﺩ‪ .‬ﻓﺴﺘﻴﻦ‬ ‫ﮔﻔﺖ‪» :‬ﺑﺎﻻ!« ﻭ ﮔﻮﻯ ﺁﺗﺶ ﭼﺮﺥﺯﻧﺎﻥ ﺑﺎﻻ ﺭﻓﺖ ﺗﺎ ﺍﻳﻦ ﻛﻪ ﺩﺭﻳﭽﻪﺍﻯ ﻣﺴﺪﻭﺩ ﺭﺍ ﺩﺭ ﺑﺎﻻﻯ‬ ‫ﺍﺗﺎﻕ ﺭﻭﺷﻦ ﻛﺮﺩ‪.‬‬


‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫»ﺭﻓﺘﻪ‪ ...‬ﺧﻮﻧﻪ ﺍﺳﺖ‪«.‬‬ ‫»ﻭ ﭼﺎﭼﺎﺕ؟«‬ ‫»ﺍﻭﻥ ﺑﻴﺮﻭﻥ ﻳﻪ ﺟﺎﻳﻰ ﻫﺴﺖ‪ .‬ﻳﻪ ﺟﺎﻯ ﻧﺎﺩﺭﺳﺖ‪«.‬‬ ‫»ﻣﻨﻬﺘﻦ ﺍﺯ ﺍﻳﻦ ﺑﺪﺗﺮﺵ ﺭﻭ ﻫﻢ ﺩﻳﺪﻩ ﻫﺮﻯ‪«.‬‬ ‫ﺩﻟﺪﺍﺭﻯ ﻧﺎﭼﻴﺰﻯ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﻫﺮﻯ ﻫﻤﻴﻦ ﻃﻮﺭ ﻛﻪ ﺩﺭ ﺭﺍ ﻣﻰﺑﺴﺖ ﺣﺮﻑ ﺍﻭ ﺭﺍ ﭘﺬﻳﺮﻓﺖ‪.‬‬ ‫ﺑﺮﻑ ﺳﻨﮕﻴﻦ ﻭ ﺳﻨﮕﻴﻦﺗﺮ ﻣﻰﺑﺎﺭﻳﺪ‪ .‬ﺑﺮ ﺭﻭﻯ ﺁﺧﺮﻳﻦ ﭘﻠﻪ ﺍﻳﺴﺘﺎﺩ ﻭ ﻧﺤﻮﻩﻯ ﭘﻴﭻ ﺧﻮﺭﺩﻥ ﺩﺍﻧﻪﻫﺎﻯ ﺑﺮﻑ‬ ‫ﺩﺭ ﻧﻮﺭ ﭼﺮﺍﻍﻫﺎﻯ ﺧﻴﺎﺑﺎﻥ ﺭﺍ ﺗﻤﺎﺷﺎ ﻛﺮﺩ‪ .‬ﺟﺎﻳﻰ ﺧﻮﺍﻧﺪﻩ ﺑﻮﺩ ﻛﻪ ﻫﻴﭻ ﺩﻭ ﺩﺍﻧﻪﺍﻯ ﻣﺜﻞ ﻫﻢ ﻧﻴﺴﺘﻨﺪ‪.‬‬ ‫ﻭﻗﺘﻰ ﭼﻨﻴﻦ ﻣﻴﺰﺍﻥ ﺗﻨﻮﻋﻰ ﺩﺭ ﻣﻴﺎﻥ ﺍﻳﻦ ﺩﺍﻧﻪﻫﺎﻯ ﺭﻳﺰ ﺑﺮﻑ ﻭﺟﻮﺩ ﺩﺍﺷﺖ‪ ،‬ﺁﻳﺎ ﻣﻰﺗﻮﺍﻧﺴﺖ ﻣﺘﻌﺠﺐ‬ ‫ﺑﺎﺷﺪ ﻛﻪ ﺣﻮﺍﺩﺙ ﭼﻪ ﭼﻬﺮﻩﻫﺎﻯ ﻏﻴﺮ ﻗﺎﺑﻞ ﭘﻴﺶﺑﻴﻨﻰ ﺩﺍﺭﻧﺪ؟‬ ‫ﻫﻤﻴﻦ ﻃﻮﺭ ﻛﻪ ﺳﺮﺵ ﺭﺍ ﻻﻯ ﺩﻧﺪﺍﻥﻫﺎﻯ ﺑﻮﺭﺍﻥ ﺑﺮﻑ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ‪ ،‬ﺩﺭ ﺍﻳﻦ ﻓﻜﺮ ﺑﻮﺩ ﻛﻪ ﻫﺮ ﻟﺤﻈﻪ‬ ‫ﺑﺮﺍﻯ ﺧﻮﺩ ﻣﺎﺟﺮﺍﻳﻰ ﺩﺍﺭﺩ ﻭ ﺍﻭ ﺑﺎﻳﺪ ﺑﺎ ﻋﻠﻢ ﺑﻪ ﺍﻳﻦ ﻛﻪ ﺍﺯ ﺍﻳﻦ ﻟﺤﻈﻪﻯ ﺳﺮﺩ ﺗﺎ ﺳﺤﺮﮔﺎﻩ ﺑﻰﺷﻤﺎﺭ ﺍﺯ‬ ‫ﺍﻳﻦ ﻟﺤﻈﺎﺕِ ﺷﺎﻳﺪ ﻛﻮﺭ‪ ،‬ﮔﺮﺳﻨﻪ ﻭ ﺩﺭﻧﺪﻩﺧﻮﻯ‪ ،‬ﻭ ﺣﺪﺍﻗﻞ ﻣﺸﺘﺎﻕ ﺗﻮﻟﺪ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ‪ ،‬ﺑﻪ ﻫﺮ ﺁﻥﭼﻪ‬ ‫ﻣﺎﻳﻪﻯ ﺩﻟﮕﺮﻣﻰ ﺍﺳﺖ ﺑﭽﺴﺒﻴﺪ‪.‬‬ ‫‪» ‬ﻫﺮﻯ ﺗﺮﻛﻴﺐ ﺟﺎﻟﺒﻰ ﺍﺳﺖ‪ .‬ﺍﺯ ﻛﺎﺭﺁﮔﺎﻫﺎﻥ ﺳﻨﺘﻰ ﻓﻴﻠﻢﻫﺎﻯ ﻧﻮﺁﺭﻯ ﻧﺸﺄﺕ ﻣﻰﮔﻴﺮﺩ ﻛﻪ ﺩﺳﺖ‬ ‫ﻭ ﭘﺎﻳﺶ ﺩﺭ ﻋﻤﻖ ﻗﻠﻤﺮﻭ ﺗﺮﺱ ﻓﺮﻭ ﺭﻓﺘﻪ‪ .‬ﻣﺜﻞ ﺧﻮﺩ ﻣﻦ‪ ،‬ﺍﻭ ﺗﻨﺶ ﻣﻴﺎﻥ ﺩﻧﻴﺎﻯ ﻣﻌﻤﻮﻝ ﻭ ﺩﻧﻴﺎﻯ‬ ‫ﻣﺎﻭﺭﺍﻟﻄﺒﻴﻌﻪ ﺭﺍ ﺍﺣﺴﺎﺱ ﻣﻰﻛﻨﺪ‪«.‬‬

‫‪4. Eddie Axel‬‬ ‫‪5. Linda‬‬ ‫‪6. Bolo‬‬ ‫‪7. Marchetti‬‬ ‫‪8. D’Amour‬‬ ‫‪9. Blue Blinds‬‬ ‫‪10. Darrieux‬‬ ‫‪11. Darrieux Marchetti‬‬ ‫‪12. Cankerist‬‬ ‫‪13. Messiahs‬‬

‫* ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﺳﺎﻝ ‪ 1988‬ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫* ﻫﺮﻯ ﺩﻯﺁﻣﻮﺭ‪ ،‬ﺩﺭ ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺑﺎﺭﻛﺮ ﺑﻪ ﻧﺎﻡ‬ ‫‪ THE LAST ILLUSION‬ﻫﻢ ﺑﻪ ﻋﻨﻮﺍﻥ ﻗﻬﺮﻣﺎﻥ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺣﺎﺿﺮ ﺍﺳﺖ‪ .‬ﮔﻔﺘﻨﻰ ﺍﺳﺖ‪ ،‬ﺍﺯ ‪THE LAST ILLUSION‬‬ ‫ﺍﻗﺘﺒﺎﺳﻰ ﺳﻴﻨﻤﺎﻳﻰ ﺑﻪ ﻧﺎﻡ ‪ (1995) Lord of Illusions‬ﺑﻪ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﺧﻮﺩ ﺑﺎﺭﻛﺮ ﺻﻮﺭﺕ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪.‬‬ ‫‪1. Cha’Chat‬‬ ‫‪2. Gulf‬‬ ‫‪3. Hesse‬‬

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‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﻣﻰﺧﻮﺍﻥ ﺍﺯ ﻣﺮﺯ ﺭﺩ ﺷﻦ‪ .‬ﻣﺎ ﺍﻣﻨﻴﺖ ﺍﻻﻥ ﺭﻭ ﺑﻪ ﺗﺄﺳﻒ ﺑﻌﺪﺵ ﺗﺮﺟﻴﺢ ﻣﻰﺩﻳﻢ‪ .‬ﺗﺎﺯﻩ‪ ،‬ﺁﺩﻣﺎﻳﻰ ﻫﻢ‬ ‫ﻫﺴﺘﻦ‪ ،‬ﻣﺜﻞ ﺧﻮﺩ ﻣﻦ‪ ،‬ﻛﻪ ﺑﻪ ﻭﺟﻮﺩ ﭼﻴﺰﺍﻯ ﺣﺮﻳﺼﻰ ﻣﺜﻞ ﻣﺴﻴﺢﻫﺎ ]‪ [13‬ﺍﻋﺘﻘﺎﺩ ﺩﺍﺭﻥ‪«.‬‬ ‫»ﻣﺴﻴﺢﻫﺎ؟« ﻭ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺟﺴﻢ ﻛﻮﭼﻚﺍﻧﺪﺍﻡ ﻧﮕﺎﻩ ﻛﺮﺩ‪.‬‬ ‫»ﺑﻪ ﮔﻤﻮﻧﻢ ﺍﻭﻥﺟﺎ ﻧﻴﺮﻭﻳﻰ ﻧﻬﻔﺘﻪ ﺑﻮﺩ ﻛﻪ ﻣﻰﺗﻮﻧﺴﺖ ﺑﻪ ﻣﺴﻴﺮ ﺩﻳﮕﻪﺍﻯ ﻫﻢ ﺑﺮﻩ‪ .‬ﺷﺎﻛﺮ ﺑﺎﺵ ﺩﻯﺁﻣﻮﺭ‪.‬‬ ‫ﺩﻧﻴﺎﻯ ﺷﻤﺎ ﺑﺮﺍﻯ ﻓﺎﺵ ﺷﺪﻥ ﺑﻌﻀﻰ ﭼﻴﺰﻫﺎ ﺁﻣﺎﺩﮔﻰ ﻧﺪﺍﺭﻩ‪ «.‬ﻭ ﺑﻪ ﺟﻮﺍﻥ ﭘﺸﺖ ﻫﺮﻯ ﻧﮕﺎﻩ ﻛﺮﺩ ﻛﻪ ﺑﻪ‬ ‫ﺍﻧﺘﻬﺎﻯ ﭘﻠﻪﻫﺎ ﺭﺳﻴﺪﻩ ﺑﻮﺩ‪.‬‬ ‫»ﭘﺎﺗﺮﻳﺲ‪ .‬ﻣﻬﺮﺑﻮﻥ ﺑﺎﺵ‪ ،‬ﻣﻰﺷﻪ؟ ﻣﺎﺷﻴﻦ ﺭﻭ ﺑﻴﺎﺭ‪ .‬ﺑﺮﺍﻯ ﻋﺸﺎﻯ ﺭﺑﺎﻧﻰ ﺩﻳﺮﻡ ﺷﺪﻩ‪«.‬‬ ‫ﺩﺳﺘﻜﺶﻫﺎ ﺭﺍ ﺭﻭﻯ ﺗﺨﺖ ﺍﻧﺪﺍﺧﺖ‪.‬‬ ‫ﻫﺮﻯ ﮔﻔﺖ‪» :‬ﺗﻮ ﻭﺭﺍﻯ ﻗﺎﻧﻮﻥ ﻧﻴﺴﺘﻰ‪«.‬‬ ‫»ﺁﻩ ﺟﺎﻥ ﻣﻦ‪ .‬ﺑﻴﺎ ﻭ ﭼﺮﺕ ﻭ ﭘﺮﺕ ﻧﮕﻮ‪ .‬ﺩﻳﺮ ﻭﻗﺘﻪ‪«.‬‬ ‫ﻫﺮﻯ ﺗﻴﻎ ﺗﻴﺰﻯ ﺭﺍ ﺯﻳﺮ ﺟﻤﺠﻤﻪﺍﺵ ﺣﺲ ﻛﺮﺩ‪ ،‬ﻫﻤﻴﻦ ﻃﻮﺭ ﻧﻤﻪﺍﻯ ﺣﺮﺍﺭﺕ ﺭﻭﻯ ﺟﺎﻳﻰ ﻛﻪ ﺧﻮﻥ‬ ‫ﺩﺭ ﺟﺮﻳﺎﻥ ﺑﻮﺩ‪.‬‬ ‫»ﭘﺎﺗﺮﻳﺲ ﻓﻜﺮ ﻣﻰﻛﻨﻪ ﺗﻮ ﺑﺎﻳﺪ ﺑﺮﻯ ﺧﻮﻧﻪ ﺩﻯﺁﻣﻮﺭ‪ .‬ﻣﻨﻢ ﻫﻤﻴﻦ ﻃﻮﺭ‪«.‬‬ ‫ﻓﺸﺎﺭ ﭼﺎﻗﻮ ﻛﻤﻰ ﺑﻴﺸﺘﺮ ﺷﺪ‪.‬‬ ‫ﻣﺎﺭﭼﺘﻰ ﮔﻔﺖ‪» :‬ﺑﺎﺷﻪ؟«‬ ‫»ﺑﺎﺷﻪ‪«.‬‬ ‫‪ ‬ﻭﻗﺘﻰ ﻫﺮﻯ ﺑﻪ ﺧﺎﻧﻪﻯ ﻧﻮﺭﻣﺎ ﺯﻧﮓ ﺯﺩ‪ ،‬ﻧﻮﺭﻣﺎ ﮔﻔﺖ‪» :‬ﺍﻭﻥ ﺍﻳﻦﺟﺎ ﺑﻮﺩ‪«.‬‬ ‫»ﻛﻰ؟«‬ ‫»ﺍﺩﻯ ﺍﻛﺴﻞ‪ ،‬ﺻﺎﺣﺐ ﺳﻮﭘﺮﻯ ﺍﻛﺴﻞ‪ .‬ﺍﻭﻣﺪ ﺗﻮ‪ ،‬ﻭﺍﺿﺢ ﻣﺜﻞ ﺭﻭﺯ‪«.‬‬ ‫»ﻣﺮﺩﻩ؟«‬ ‫»ﻣﻌﻠﻮﻣﻪ ﻛﻪ ﻣﺮﺩﻩ‪ .‬ﺍﻭﻥ ﺧﻮﺩﺷﻮ ﺗﻮ ﺳﻠﻮﻟﺶ ﻛﺸﺖ‪ .‬ﺍﺯﻡ ﭘﺮﺳﻴﺪ ﻛﻪ ﺭﻭﺣﺶ ﺭﻭ ﺩﻳﺪﻡ ﻳﺎ ﻧﻪ‪«.‬‬ ‫»ﻭ ﺗﻮ ﭼﻰ ﮔﻔﺘﻰ؟«‬ ‫»ﻣﻦ ﻳﻪ ﺗﻠﻔﻨﭽﻰﺍﻡ ﻫﺮﻯ‪ .‬ﻓﻘﻂ ﺍﺭﺗﺒﺎﻁﻫﺎ ﺭﻭ ﺑﺮﻗﺮﺍﺭ ﻣﻰﻛﻨﻢ‪ .‬ﺗﻈﺎﻫﺮ ﻧﻤﻰﻛﻨﻢ ﻛﻪ ﺍﺯ ﻣﺘﺎﻓﻴﺰﻳﻚ ﭼﻴﺰﻯ‬ ‫ﻣﻰﻓﻬﻤﻢ‪ «.‬ﻭ ﺑﻄﺮﻯ ﺷﺮﺍﺑﻰ ﺭﺍ ﻛﻪ ﻫﺮﻯ ﺭﻭﻯ ﻣﻴﺰ ﻛﻨﺎﺭ ﺻﻨﺪﻟﻰ ﺑﺮﺍﻳﺶ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ ﺑﺮﺩﺍﺷﺖ ﻭ ﺍﺩﺍﻣﻪ‬ ‫ﺩﺍﺩ‪» :‬ﺧﻴﻠﻰ ﻟﻄﻒ ﻛﺮﺩﻯ‪ .‬ﺑﺸﻴﻦ ﻭ ﺑﻨﻮﺵ‪«.‬‬ ‫»ﻳﻪ ﻭﻗﺖ ﺩﻳﮕﻪ ﻧﻮﺭﻣﺎ‪ .‬ﻳﻪ ﻭﻗﺘﻰ ﻛﻪ ﺍﻳﻦﻗﺪﺭ ﺧﺴﺘﻪ ﻧﺒﺎﺷﻢ‪ «.‬ﻭ ﺑﻪ ﺳﻤﺖ ﺩﺭ ﺭﻓﺖ ﻭ ﮔﻔﺖ‪» :‬ﺑﻪ ﻫﺮ‬ ‫ﺣﺎﻝ‪ ،‬ﺣﻖ ﺑﺎ ﺗﻮ ﺑﻮﺩ‪ .‬ﻳﻪ ﭼﻴﺰﻯ ﺗﻮ ﺧﻴﺎﺑﻮﻥ ﺭﻳﺞ ﺑﻮﺩ‪«.‬‬ ‫»ﺍﻻﻥ ﻛﺠﺎﺳﺖ؟«‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺩﺭ ﺭﻭﺯﻫﺎﻳﻰ ﺑﻬﺘﺮ ﺍﺯ ﺍﻳﻦ‪ ،‬ﻳﺤﺘﻤﻞ ﻫﺮﻯ ﺑﺎ ﺍﻧﮕﺸﺘﺶ ﺗﺨﻢﻣﺮﻍ ﺭﺍ ﻣﻰﺷﻜﺴﺖ ﻭ ﺍﺯ ﺍﻳﻦ ﻛﺎﺭ ﻟﺬﺕ‬ ‫ﻣﻰﺑﺮﺩ؛ ﺍﻣﺎ ﺍﻣﺸﺐ ﺑﻪ ﻧﻈﺮ ﻣﺎﺟﺮﺍ ﺑﺪﺗﺮ ﻣﻰﺁﻣﺪ‪ .‬ﭘﺲ ﺑﻪ ﺳﺎﺩﮔﻰ ﮔﻔﺖ‪» :‬ﺧﺐ ﭘﺲ ﺑﺮﻡ ﻳﻪ ﻫﺘﻞ ﺩﻳﮕﻪ‬ ‫ﭘﻴﺪﺍ ﻛﻨﻢ‪ ،‬ﻫﺎ؟«‬ ‫ﻛﻠﻪﻛﭽﻞ ﺁﺭﺍﻡ ﮔﺮﻓﺖ ﻭ ﻣﺸﺘﺶ ﺑﺎﺯ ﺷﺪ ﻭ ﻳﻚ ﻟﺤﻈﻪ ﺑﻌﺪ‪ ،‬ﺩﺳﺖ ﻫﺮﻯ ﺑﺮ ﺍﺳﻠﺤﻪﺍﺵ ﺑﻮﺩ ﻭ ﮔﻠﻮﻟﻪﺍﻯ‬ ‫ﺩﺭ ﭼﺎﻧﻪﻯ ﻛﻠﻪﻛﭽﻞ‪ .‬ﺻﻮﺭﺕ ﭘﺴﺮ ﺩﺭ ﻫﻢ ﺭﻳﺨﺖ‪ ،‬ﺑﻪ ﺩﻳﻮﺍﺭ ﭘﺸﺘﺶ ﻛﻮﺑﻴﺪﻩ ﺷﺪ ﻭ ﺧﻮﻥ ﺍﺯ ﺩﻫﺎﻧﺶ‬ ‫ﺑﻪ ﺑﻴﺮﻭﻥ ﭘﺎﺷﻴﺪ‪.‬‬ ‫ﻫﻤﻴﻦ ﻛﻪ ﻫﺮﻯ ﻗﺪﻡ ﺑﻪ ﭘﻠﻪﻫﺎ ﮔﺬﺍﺷﺖ‪ ،‬ﺻﺪﺍﻯ ﻓﺮﻳﺎﺩ ﺟﻮﺍﻥ ﺭﺍ ﺍﺯ ﭘﺎﻳﻴﻦ ﺷﻨﻴﺪ‪» :‬ﺩﺍﺭﻳﻮﻛﺲ ]‪«![10‬‬ ‫ﻧﻪ ﺻﺪﺍﻯ ﻓﺮﻳﺎﺩ ﻭ ﻧﻪ ﺳﺮ ﻭ ﺻﺪﺍﻯ ﺁﻥ ﺩﺭﮔﻴﺮﻯ‪ ،‬ﻫﻴﭻﻛﺪﺍﻡ ﻫﻴﭻ ﺑﺎﺯﺧﻮﺭﺩﻯ ﺍﺯ ﺍﺗﺎﻕﻫﺎ ﻧﺪﺍﺷﺖ‪.‬‬ ‫ﺁﻥﺟﺎ ﺧﺎﻟﻰ ﺑﻮﺩ‪ .‬ﻫﺮﻯ ﺗﺎﺯﻩ ﺩﺍﺷﺖ ﻣﻰﻓﻬﻤﻴﺪ ﺁﻥ ﻣﻜﺎﻥ ﺑﺮﺍﻯ ﻛﺎﺭﻯ ﺟﺰ ﻣﻬﻤﺎﻥﭘﺬﻳﺮﻯ ﺍﻧﺘﺨﺎﺏ ﺷﺪﻩ‬ ‫ﺑﻮﺩ‪ .‬ﻫﻤﻴﻦ ﻛﻪ ﺑﻪ ���ﺍﻫﺮﻭ ﮔﺎﻡ ﮔﺬﺍﺷﺖ‪ ،‬ﺻﺪﺍﻯ ﺟﻴﻎ ﺑﻰﭘﺎﻳﺎﻥ ﺯﻧﻰ ﺑﻪ ﮔﻮﺷﺶ ﺧﻮﺭﺩ‪ .‬ﺧﺸﻜﺶ ﺯﺩ‪.‬‬ ‫ﻛﻠﻪﻛﭽﻞ ﺍﺯ ﭘﺸﺘﺶ ﺩﺍﺷﺖ ﭘﻠﻪﻫﺎ ﺭﺍ ﺩﻭ ﺗﺎ ﺳﻪ ﺗﺎ ﺑﺎﻻ ﻣﻰﺁﻣﺪ ﻭ ﺩﺭ ﺟﻠﻮﻳﺶ ﻫﻢ ﻛﺴﻰ ﺩﺍﺷﺖ ﻣﻰﻣﺮﺩ‪.‬‬ ‫ﺍﻳﻦ ﻣﺎﺟﺮﺍ ﭘﺎﻳﺎﻥ ﺧﻮﺑﻰ ﻧﻤﻰﺩﺍﺷﺖ‪.‬‬ ‫ﺩﺭﻯ ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﺭﺍﻫﺮﻭ ﺑﺎﺯ ﺷﺪ ﻭ ﮔﻤﺎﻧﺶ ﺭﺍ ﺑﻪ ﺣﻘﻴﻘﺖ ﺑﺪﻝ ﻛﺮﺩ‪ .‬ﻣﺮﺩﻯ ﺑﺎ ﻟﺒﺎﺱ ﺧﺎﻛﺴﺘﺮﻯ ﺩﺭ‬ ‫ﺁﺳﺘﺎﻧﻪﻯ ﺩﺭ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﺩﺳﺘﻜﺶﻫﺎﻯ ﺟﺮﺍﺣﻰ ﺧﻮﻥﺁﻟﻮﺩﺵ ﺭﺍ ﺩﺭ ﻣﻰﺁﻭﺭﺩ‪ .‬ﻫﺮﻯ ﺁﻥ ﻣﺮﺩ ﺭﺍ ﺑﻪ‬ ‫ﺳﺨﺘﻰ ﺑﻪ ﻳﺎﺩ ﻣﻰﺁﻭﺭﺩ؛ ﺣﻘﻴﻘﺘﺎً ﺍﺯ ﺯﻣﺎﻧﻰ ﻛﻪ ﺻﺪﺍﻯ ﻛﻠﻪﻛﭽﻞ ﺭﺍ ﺷﻨﻴﺪ ﻛﻪ ﺭﺋﻴﺴﺶ ﺭﺍ ﺻﺪﺍ ﻛﺮﺩ‪،‬‬ ‫ﺍﺣﺴﺎﺱ ﻭﺣﺸﺘﻨﺎﻛﻰ ﺩﺭ ﺩﺭﻭﻧﺶ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﺩﺍﺭﻳﻮﺱ ﻣﺎﺭﭼﺘﻰ ]‪ [11‬ﺑﻮﺩ‪ .‬ﻛﺎﻧﻜﺮﻳﺴﺖ‬ ‫]‪ [12‬ﻫﻢ ﺻﺪﺍﻳﺶ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﻳﻜﻰ ﺍﺯ ﺁﺩﻡﻛﺶﻫﺎﻯ ﺁﻳﻴﻨﻰ ﻣﺨﻔﻰ ﻛﻪ ﺩﺳﺘﻮﺭﺍﺗﺶ ﺭﺍ ﺍﺯ ﺭﻡ ﻣﻰﮔﺮﻓﺖ‪.‬‬ ‫ﻳﺎ ﺷﺎﻳﺪ ﻫﻢ ﺍﺯ ﺟﻬﻨﻢ‪ ،‬ﻳﺎ ﻫﺮ ﺩﻭ‪.‬‬ ‫»ﺩﻯﺁﻣﻮﺭ‪«.‬‬ ‫ﻣﺠﺒﻮﺭ ﺑﻮﺩ ﺟﻠﻮﻯ ﺧﻮﺩﺵ ﺭﺍ ﺑﮕﻴﺮﺩ ﻛﻪ ﺑﺎﺑﺖ ﺍﻳﻦ ﻛﻪ ﺍﻭ ﺭﺍ ﺑﻪ ﺧﺎﻃﺮ ﺩﺍﺷﺖ‪ ،‬ﺧﻮﺷﺤﺎﻝ ﻧﺸﻮﺩ‪.‬‬ ‫ﻣﻰﺧﻮﺍﺳﺖ ﺑﺪﺍﻧﺪ‪» :‬ﺍﻳﻦﺟﺎ ﭼﻪ ﺍﺗﻔﺎﻗﻰ ﺍﻓﺘﺎﺩﻩ؟« ﻭ ﺑﻪ ﺳﻮﻯ ﺩﺭ ﻗﺪﻡ ﺑﺮﺩﺍﺷﺖ‪.‬‬ ‫ﻛﺎﻧﻜﺮﻳﺴﺖ ﺍﺻﺮﺍﺭ ﻛﺮﺩ‪» :‬ﻳﻪ ﻛﺎﺭ ﺧﺼﻮﺻﻰ ﺑﻮﺩ‪ .‬ﻟﻄﻔﺎً ﻧﺰﺩﻳﻚﺗﺮ ﻧﻴﺎ‪«.‬‬ ‫ﺩﺭﻭﻥ ﺍﺗﺎﻕ ﺷﻤﻊﻫﺎﻳﻰ ﻣﻰﺳﻮﺧﺖ ﻭ ﺑﺎ ﻧﻮﺭ ﺁﻥﻫﺎ ﻫﺮﻯ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺍﺟﺴﺎﺩﻯ ﺭﺍ ﺭﻭﻯ ﺗﺨﺖ ﺑﺒﻴﻨﺪ‪.‬‬ ‫ﻫﻤﺎﻥ ﺯﻧﻰ ﻛﻪ ﺍﺯ ﺧﻴﺎﺑﺎﻥ ﺭﻳﺞ ﺑﻪ ﻳﺎﺩ ﺩﺍﺷﺖ ﻭ ﻫﻤﻴﻦﻃﻮﺭ ﺑﭽﻪﺍﺵ‪ .‬ﺑﻪ ﺭﻭﺵ ﺭﻣﻰ ﺍﺯ ﻳﻜﺪﻳﮕﺮ ﺩﺭﻳﺪﻩ‬ ‫ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﻣﺎﺭﭼﺘﻰ ﺩﻳﮕﺮ ﺍﻫﻤﻴﺖ ﻧﻤﻰﺩﺍﺩ ﻛﻪ ﻫﺮﻯ ﻣﺤﺼﻮﻝ ﻛﺎﺭﺵ ﺭﺍ ﺑﺒﻴﻨﺪ ﻭ ﮔﻔﺖ‪» :‬ﺍﻣﺘﻨﺎﻉ ﻛﺮﺩ‪ .‬ﻣﻦ ﻓﻘﻂ‬ ‫ﺑﭽﻪ ﺭﻭ ﻣﻰﺧﻮﺍﺳﺘﻢ‪«.‬‬ ‫»ﻣﮕﻪ ﭼﻰ ﺑﻮﺩ؟ ﻳﻪ ﺷﻴﻄﺎﻥ؟«‬ ‫ﻣﺎﺭﭼﺘﻰ ﺷﺎﻧﻪﺍﺵ ﺭﺍ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺖ‪» :‬ﻣﺎ ﻫﻴﭻﻭﻗﺖ ﻧﻤﻰﻓﻬﻤﻴﻢ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﻣﻮﻗﻊ ﺍﺯ ﺳﺎﻝ ﻣﻌﻤﻮﻻً ﭼﻴﺰﺍﻳﻰ‬ ‫‪19‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫»ﻳﻪ ﺩﻟﻴﻞ ﺧﻮﺏ ﺑﻴﺎﺭ ﻛﻪ ﭼﺮﺍ ﻧﻪ‪«.‬‬ ‫»ﺗﻮ ﺑﻪ ﮔﻠﻮﻟﻪﻫﺎﺕ ﺍﺣﺘﻴﺎﺝ ﺩﺍﺭﻯ‪«.‬‬ ‫ﺍﻧﺘﻈﺎﺭ ﭼﺎﻧﻪﺯﻧﻰ ﻳﺎ ﺗﻬﺪﻳﺪ ﺩﺍﺷﺖ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﺟﻮﺍﺏ ﺍﻭ ﺭﺍ ﺳﺎﻛﺖ ﻛﺮﺩ‪.‬‬ ‫»ﻳﻪ ﭼﻴﺰﻯ ﺍﻣﺸﺐ ﺭﻫﺎ ﻣﻰﺷﻪ ﺩﻯﺁﻣﻮﺭ‪«.‬‬ ‫ﺧﻮﻧﻰ ﻛﻪ ﺗﻤﺎﻡ ﺩﻭﺭ ﻭ ﺑﺮﺵ ﺭﺍ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﺭﻭ ﺑﻪ ﻏﻠﻈﺖ ﮔﺬﺍﺷﺖ ﻭ ﻣﺜﻞ ﺷﻤﻊ ﺁﺏ ﺷﺪﻩ ﺷﺪ‪.‬‬ ‫»ﭼﻴﺰﻯ ﺩﻳﻮﺍﻧﻪﺗﺮ ﺍﺯ ﻣﻦ‪«.‬‬ ‫»ﺍﺳﻤﺸﻮ ﺑﮕﻮ‪«.‬‬ ‫ﺷﻴﻄﺎﻥ ﺑﻪ ﭘﻬﻨﺎﻯ ﺻﻮﺭﺗﺶ ﺧﻨﺪﻳﺪ‪» :‬ﻛﻰ ﻣﻰﺩﻭﻧﻪ؟ ﺍﻻﻥ ﻣﻮﻗﻊ ﻋﺠﻴﺒﻴﻪ‪ ،‬ﻧﻪ؟ ﺷﺐﻫﺎﻯ ﺑﻠﻨﺪ‪ ،‬ﺁﺳﻤﻮﻥ‬ ‫ﺑﺪﻭﻥ ﺍﺑﺮ‪ .‬ﺗﻮ ﺷﺒﺎﻯ ﺍﻳﻦ ﺷﻜﻠﻰ ﭼﻴﺰﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺯﺍﺩﻩ ﻣﻰﺷﻦ‪ .‬ﭘﻴﺪﺍﺷﻮﻥ ﻧﻤﻰﻛﻨﻰ؟«‬ ‫ﻫﺮﻯ ﺍﺳﻠﺤﻪ ﺭﺍ ﺑﺮ ﺭﻭﻯ ﺑﻴﻨﻰ ﭼﺎﭼﺎﺕ ﻓﺸﺮﺩ ‪»:‬ﻛﺠﺎ؟«‬ ‫»ﺗﻮ ﺁﺩﻡ ﻗﻠﺪﺭﻯ ﻫﺴﺘﻰ ﺩﻯﺁﻣﻮﺭ‪ ،‬ﺍﻳﻨﻮ ﻣﻰﺩﻭﻧﻰ؟«‬ ‫»ﺑﮕﻮ‪«...‬‬ ‫ﭼﺸﻤﺎﻥ ﺟﺎﻧﻮﺭ ﺗﺎﺭﻳﻚﺗﺮ ﺷﺪ‪ .‬ﺻﻮﺭﺗﺶ ﺗﻴﺮﻩ ﺷﺪ‪.‬‬ ‫»ﺟﻨﻮﺏ ﺍﻳﻦﺟﺎ‪ .‬ﻳﻪ ﻫﺘﻞ‪ «...‬ﺗُﻦ ﺻﺪﺍﻳﺶ ﺑﺎ ﻫﻮﺷﻴﺎﺭﻯ ﺗﻐﻴﻴﺮ ﻣﻰﻛﺮﺩ‪ .‬ﺍﻋﻀﺎﻯ ﺻﻮﺭﺗﺶ ﺩﺍﺷﺖ ﻭﺍ‬ ‫ﻣﻰﺭﻓﺖ‪ .‬ﺩﻟﺶ ﻣﻰﺧﻮﺍﺳﺖ ﻣﺎﺷﻪ ﺭﺍ ﺑﭽﻜﺎﻧﺪ ﻭ ﺟﺮﺍﺣﺘﻰ ﺭﻭﻯ ﺻﻮﺭﺕ ﺟﺎﻧﻮﺭ ﺣﻚ ﻛﻨﺪ ﻛﻪ ﺗﺎ ﺁﺧﺮ ﻋﻤﺮ‬ ‫ﺍﻭ ﺭﺍ ﺍﺯ ﺁﻳﻨﻪ ﺩﻭﺭ ﻧﮕﻪ ﺩﺍﺭﺩ‪ .‬ﺍﻣﺎ ﻫﻨﻮﺯ ﺩﺍﺷﺖ ﺣﺮﻑ ﻣﻰﺯﺩ ﻭ ﻧﻤﻰﺍﺭﺯﻳﺪ ﺣﺮﻓﺶ ﺭﺍ ﻗﻄﻊ ﻛﻨﺪ‪ ...» :‬ﺗﻮ‬ ‫ﺧﻴﺎﺑﻮﻥ ﭼﻬﻞ ﻭ ﭼﻬﺎﺭﻡ‪ .‬ﺑﻴﻦ ﺧﻴﺎﺑﻮﻥ ﺷﺶ‪ ...‬ﺷﺸﻢ ﻭ ﺑﺮﺍﺩﻭﻯ‪ «.‬ﻭ ﺣﺎﻻ ﺻﺪﺍﻳﺶ ﺑﻪ ﻭﺿﻮﺡ ﺯﻧﺎﻧﻪ ﺷﺪﻩ‬ ‫ﺑﻮﺩ ‪»:‬ﻛﻮﺭﺁﺑﻰﻫﺎ ]‪ ،[9‬ﭼﻨﺪ ﺗﺎ ﻛﻮﺭﺁﺑﻰ ﻣﻰﺑﻴﻨﻢ‪ «...‬ﻭ ﺁﺧﺮﻳﻦ ﻛﻠﻤﺎﺗﺶ ﺭﺍ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺻﻮﺭﺕ ﺧﻮﺩ ﺭﺍ‬ ‫ﺑﺮ ﭼﻬﺮﻩ ﺩﺍﺷﺖ‪ ،‬ﺑﺮ ﺯﺑﺎﻥ ﺁﻭﺭﺩ ﻭ ﺑﻌﺪ ﻧﺎﮔﻬﺎﻥ ﺍﻳﻦ ﻧﻮﺭﻣﺎ ﺑﻮﺩ ﻛﻪ ﭘﺎﻳﻴﻦ ﭘﺎﻯ ﻫﺮﻯ ﺩﺍﺷﺖ ﺟﺎﻥ ﻣﻰﺩﺍﺩ‪.‬‬ ‫»ﺗﻮ ﺑﻪ ﻳﻪ ﭘﻴﺮﺯﻥ ﻛﻪ ﺷﻠﻴﻚ ﻧﻤﻰﻛﻨﻰ‪ ،‬ﻣﻰﻛﻨﻰ؟«‬ ‫ﺍﻳﻦ ﺣﻘﻪ ﺑﻴﺶ ﺍﺯ ﭼﻨﺪ ﺛﺎﻧﻴﻪ ﻃﻮﻝ ﻧﻜﺸﻴﺪ‪ ،‬ﺍﻣﺎ ﺗﺮﺩﻳﺪ ﻫﺮﻯ ﺗﻨﻬﺎ ﭼﻴﺰﻯ ﺑﻮﺩ ﻛﻪ ﭼﺎﭼﺎﺕ ﻻﺯﻡ ﺩﺍﺷﺖ‬ ‫ﺗﺎ ﺧﻮﺩﺵ ﺭﺍ ﺍﺯ ﺳﻄﺤﻰ ﺑﻪ ﺳﻄﺢ ﺩﻳﮕﺮ ﻣﻨﺘﻘﻞ ﻛﻨﺪ ﻭ ﺑﻌﺪ ﺭﻓﺘﻪ ﺑﻮﺩ‪ .‬ﺟﺎﻧﻮﺭ ﺑﺮﺍﻯ ﺩﻭﻣﻴﻦ ﺑﺎﺭ ﺩﺭ ﻣﺎﻩ‬ ‫ﺍﺯ ﺩﺳﺖ ﻫﺮﻯ ﻓﺮﺍﺭ ﻛﺮﺩ‪.‬‬ ‫ﺗﺎ ﭘﺮﻳﺸﺎﻧﻰﺍﺵ ﺑﻴﺸﺘﺮ ﺷﻮﺩ‪ ،‬ﺑﺮﻑ ﻫﻢ ﺑﺎﺭﻳﺪﻥ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﻫﺘﻞ ﻛﻮﭼﻜﻰ ﻛﻪ ﭼﺎﭼﺎﺕ ﮔﻔﺘﻪ ﺑﻮﺩ‪ ،‬ﺳﺎﻝﻫﺎﻯ ﺑﻬﺘﺮﻯ ﻫﻢ ﺑﻪ ﺧﻮﺩ ﺩﻳﺪﻩ ﺑﻮﺩ؛ ﺣﺘﺎ ﭼﺮﺍﻏﻰ ﻛﻪ ﺩﺭ‬ ‫ﻻﺑﻰ ﺭﻭﺷﻦ ﺑﻮﺩ ﻫﻢ ﺩﺍﺷﺖ ﺁﺧﺮﻳﻦ ﻧﻮﺭﺍﻓﺸﺎﻧﻰﻫﺎﻳﺶ ﺭﺍ ﻣﻰﻛﺮﺩ‪ .‬ﻫﻴﭻﻛﺲ ﺩﺭ ﭘﺬﻳﺮﺵ ﻫﺘﻞ ﻧﺒﻮﺩ‪.‬‬ ‫ﻫﺮﻯ ﺩﺍﺷﺖ ﺍﺯ ﭘﻠﻪ ﺑﺎﻻ ﻣﻰﺭﻓﺖ ﻛﻪ ﻣﺮﺩ ﺟﻮﺍﻧﻰ ﺍﺯ ﺗﺎﺭﻳﻜﻰ ﺑﻴﺮﻭﻥ ﺁﻣﺪ ﻭ ﺩﺳﺖ ﺑﺮ ﺳﻴﻨﻪ ﺯﺩ‪ .‬ﻛﻠﻪﺍﺵ‬ ‫ﻣﺜﻞ ﺗﺨﻢﻣﺮﻍ ﺗﺎﺱ ﺑﻮﺩ ﻭ ﻓﻘﻂ ﻳﻚ ﻛﭙﻪ ﻣﻮﻯ ﻓﺮﻓﺮﻯ ﺭﻭﻯ ﺳﺮﺵ ﺑﻮﺩ‪.‬‬ ‫»ﻫﻴﭻﻛﺲ ﺍﻳﻦﺟﺎ ﻧﻴﺴﺖ‪«.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺁﻥﻫﺎ ﺑﻮﺩ‪ .‬ﺭﺍﻳﺤﻪﻯ ﻣﻮﻯ ﺳﻮﺧﺘﻪ ﻭ ﺗﻨﻔﺲ ﻣﺘﻌﻔﻦ‪ .‬ﺑﻮﻯ ﺗﻜﻪ ﮔﻮﺷﺘﻰ ﻛﻪ ﺯﻳﺮ ﻧﻮﺭ ﺁﻓﺘﺎﺏ ﻣﻰﺍﻧﺪﺍﺯﻧﺪ ﺗﺎ‬ ‫ﻣﻮﺵﻫﺎ ﺳﺮ ﻭﻗﺘﺶ ﺑﺮﻭﻧﺪ‪ .‬ﻫﺮﻯ ﺑﺤﺚ ﻭ ﺟﺪﻝ ﺍﻃﺮﺍﻓﺶ ﺭﺍ ﻧﺎﺩﻳﺪﻩ ﮔﺮﻓﺖ ﻭ ﺑﻪ ﺳﻮﻯ ﺯﻥ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ‪.‬‬ ‫ﺁﻣﺪﻧﺶ ﺭﺍ ﺩﻳﺪ‪ .‬ﻭﻗﺘﻰ ﻧﮕﺎﻫﺶ ﺭﺍ ﺑﻪ ﺳﻮﻯ ﻫﺮﻯ ﻣﻌﻄﻮﻑ ﻛﺮﺩ‪ ،‬ﺷﻴﺎﺭﻫﺎﻯ ﻃﺒﻘﻪﻃﺒﻘﻪﻯ ﭼﺮﺑﻰ ﺭﻭﻯ‬ ‫ﮔﺮﺩﻧﺶ ﻟﻐﺰﻳﺪﻥ ﮔﺮﻓﺖ‪.‬‬ ‫ﺧﻮﺩ ﭼﺎﭼﺎﺕ ﺑﻮﺩ‪ .‬ﻫﺮﻯ ﺗﺮﺩﻳﺪ ﻧﺪﺍﺷﺖ‪ .‬ﻭ ﺑﺮﺍﻯ ﺍﺛﺒﺎﺕ ﺍﻳﻦ ﻣﺪﻋﺎ ﻫﻢ ﻫﻤﻴﻦ ﻛﺎﻓﻰ ﻛﻪ ﺷﻴﻄﺎﻥ ﭘﺎ ﺑﻪ‬ ‫ﻓﺮﺍﺭ ﮔﺬﺍﺷﺖ‪ .‬ﺑﺎ ﻫﺮ ﻗﺪﻡ ﺩﺳﺖ ﻭ ﭘﺎ ﻭ ﺭﺍﻥﻫﺎﻯ ﺍﻋﺠﺎﺏﺁﻭﺭﺵ ﭼﻨﺎﻥ ﺗﻜﺎﻥ ﻣﻰﺧﻮﺭﺩ ﻛﻪ ﺍﻧﮕﺎﺭ ﺩﺍﺭﺩ‬ ‫ﻣﻰﺭﻗﺼﺪ‪ .‬ﺗﺎ ﺍﻳﻦ ﻣﻮﻗﻊ ﻫﺮﻯ ﺭﺍﻫﺶ ﺭﺍ ﺍﺯ ﻣﻴﺎﻥ ﺟﻤﻌﻴﺖ ﺑﻪ ﺳﻮﻯ ﺷﻴﻄﺎﻥ ﺑﺎﺯ ﻛﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﺍﻭ ﻫﻢ‬ ‫ﺍﺯ ﮔﻮﺷﻪﺍﻯ ﺭﺍﻫﺶ ﺭﺍ ﺑﻪ ﺳﻮﻯ ﺧﻴﺎﺑﺎﻥ ﻧﻮﺩ ﻭ ﭘﻨﺠﻢ ﺗﻐﻴﻴﺮ ﺩﺍﺩﻩ ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﺑﺪﻥ ﻗﺼﺒﻰ ﺷﻴﻄﺎﻥ ﺑﺮﺍﻯ‬ ‫ﺳﺮﻳﻊ ﺑﻮﺩﻥ ﺳﺎﺧﺘﻪ ﻧﺸﺪﻩ ﺑﻮﺩ ﻭ ﻫﺮﻯ ﺑﻪ ﺳﺮﻋﺖ ﻓﺎﺻﻠﻪﻯ ﻣﻴﺎﻧﺸﺎﻥ ﺭﺍ ﭘﻴﻤﻮﺩ‪ .‬ﺩﺭ ﻗﺴﻤﺖﻫﺎﻳﻰ ﺍﺯ‬ ‫ﺧﻴﺎﺑﺎﻥ ﭼﻨﺪ ﻻﻣﭗ ﺍﺯ ﻛﺎﺭ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﻭﻗﺘﻰ ﺑﺎﻻﺧﺮﻩ ﺑﻪ ﺷﻴﻄﺎﻥ ﺭﺳﻴﺪ ﻭ ﺻﺪﺍﻯ ﮔﺴﻴﺨﺘﻦﻫﺎ ﺭﺍ‬ ‫ﺷﻨﻴﺪ‪ ،‬ﺑﺮﺍﻯ ‪ 5‬ﺛﺎﻧﻴﻪﻯ ﺗﻤﺎﻡ ﺗﺎﺭﻳﻜﻰ ﺗﻮﺍﻧﺴﺖ ﺣﻘﻴﻘﺖ ﭘﺴﺖ ﻭ ﺯﻧﻨﺪﻩﻯ ﺁﻥﺟﺎ ﺭﺍ ﺍﺯ ﻧﻈﺮ ﭘﻨﻬﺎﻥ ﻛﻨﺪ‬ ‫ﺗﺎ ﺑﺎﻻﺧﺮﻩ ﻫﺮﻯ ﺩﺭﻳﺎﻓﺖ ﻛﻪ ﭼﺎﭼﺎﺕ ﺑﻪ ﻃﺮﻳﻘﻰ ﭘﻮﺳﺖ ﻗﺼﺒﻰﺍﺵ ﺭﺍ ﭘﺲ ﺯﺩﻩ ﻭ ﺩﺍﺭﺩ ﻓﺮﺍﺭ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻫﺮﻯ ﻣﺎﻧﺪﻩ ﺑﻮﺩ ﻭ ﭘﻮﺳﺘﻪﺍﻯ ﻋﻈﻴﻢ ﻛﻪ ﻣﺜﻞ ﭘﻨﻴﺮ ﺣﺮﺍﺭﺕ ﺩﻳﺪﻩ ﺩﺍﺷﺖ ﺁﺏ ﻣﻰﺷﺪ‪ .‬ﺷﻴﻄﺎﻥ‪ ،‬ﺩﺭ‬ ‫ﻭﺍﻗﻊ ﺍﺯ ﻛﺎﻟﺒﺪ ﻣﺎﺩﻯﺍﺵ ﮔﺮﻳﺨﺘﻪ ﺑﻮﺩ‪ .‬ﺣﺎﻝ ﻟﻴﺰ ﻣﺜﻞ ﺻﺎﺑﻮﻥ ﻭ ﺣﺘﺎ ﺍﺯ ﺁﻥ ﻟﻴﺰﺗﺮ ﻫﻢ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻫﺮﻯ‬ ‫ﭘﻮﺳﺘﻪﻯ ﭼﺮﻛﻴﻦ ﺭﺍ ﺍﻧﺪﺍﺧﺖ ﻭ ﻃﻠﺴﻢﻫﺎﻯ ﻫﺲ ﺭﺍ ﻓﺮﻳﺎﺩ ﺯﺩ‪.‬‬ ‫ﺑﺎ ﻛﻤﺎﻝ ﺗﻌﺠﺐ‪ ،‬ﭼﺎﭼﺎﺕ ﻣﺘﻮﻗﻒ ﺷﺪ ﻭ ﺭﻭ ﺑﻪ ﺳﻮﻯ ﻫﺮﻯ ﻛﺮﺩ‪ .‬ﭼﺸﻤﺎﻧﺶ ﻫﻤﻪ ﭼﻴﺰ ﺩﺍﺷﺖ ﻣﮕﺮ‬ ‫ﺧﺼﻮﺻﻴﺎﺕ ﻛﺒﺮﻳﺎﻳﻰ‪ .‬ﺩﻫﺎﻥ ﺑﺰﺭﮔﺶ ﺭﺍ ﮔﺸﻮﺩ ﻭ ﺑﺎ ﺻﺪﺍﻯ ﺑﻠﻨﺪ ﺧﻨﺪﻳﺪ‪ .‬ﺍﻧﮕﺎﺭ ﻛﺴﻰ ﺩﺍﺷﺖ ﻳﻚ ﭼﺎﻩ‬ ‫ﺁﺳﺎﻧﺴﻮﺭ ﺭﺍ ﺑﺎﻻ ﻣﻰﺁﻭﺭﺩ‪.‬‬ ‫ﻃﻠﺴﻢﻫﺎﻯ ﻫﺲ ﺭﺍ ﺑﻪ ﺳﺨﺮﻩ ﮔﺮﻓﺖ ﻭ ﮔﻔﺖ‪» :‬ﻛﻠﻤﺎﺕ ﺩﻯﺁﻣﻮﺭ ]‪[8‬؟ ﻓﻜﺮ ﻣﻰﻛﻨﻰ ﻣﻦ ﺑﺎ ﻛﻠﻤﺎﺕ‬ ‫ﻣﺘﻮﻗﻒ ﻣﻰﺷﻢ؟«‬ ‫»ﻧﻪ‪«.‬‬ ‫ﻭ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺧﻴﻞ ﭼﺸﻤﺎﻥ ﺷﻴﻄﺎﻥ ﺣﺘﺎ ﺑﺘﻮﺍﻧﺪ ﺍﺳﻠﺤﻪﺍﺵ ﺭﺍ ﺑﺒﻴﻨﺪ‪ ،‬ﺳﻮﺭﺍﺧﻰ ﺩﺭﻭﻥ ﺷﻜﻢ‬ ‫ﭼﺎﭼﺎﺕ ﻛﺎﺷﺖ‪.‬‬ ‫ﻧﺎﻟﻪﻛﻨﺎﻥ ﮔﻔﺖ‪» :‬ﺣﺮﻭﻣﺰﺍﺩﻩﻯ ﻛﺜﺎﻓﺖ!« ﻭ ﺭﻭﻯ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩ‪ .‬ﺧﻮﻧﻰ ﻛﻪ ﺭﻧﮓ ﺍﺩﺭﺍﺭ ﺑﻮﺩ‪ ،‬ﺍﺯ ﺩﺭﻭﻥ‬ ‫ﺳﻮﺭﺍﺥ ﺑﻪ ﺑﻴﺮﻭﻥ ﻣﻰﺟﻮﺷﻴﺪ‪ .‬ﻫﺮﻯ ﺁﺭﺍﻡﺁﺭﺍﻡ ﺑﻪ ﺳﻮﻯ ﺟﺎﻳﻰ ﻛﻪ ﭼﺎﭼﺎﺕ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ ﺭﻓﺖ‪ .‬ﻛﺸﺘﻦ‬ ‫ﺷﻴﻄﺎﻧﻰ ﺩﺭ ﺣﺪ ﻭ ﺍﻧﺪﺍﺯﻩﻯ ﭼﺎﭼﺎﺕ ﺑﺎ ﮔﻠﻮﻟﻪ ﺗﻘﺮﻳﺒﺎً ﻏﻴﺮﻣﻤﻜﻦ ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﺍﺛﺮ ﻳﻚ ﺯﺧﻢ ﺩﺭ ﺟﻤﻊ ﺁﻥﻫﺎ‬ ‫ﺷﺮﻡﺁﻭﺭ ﺑﻮﺩ ﻭ ﺩﻭ ﺗﺎ ﺗﻘﺮﻳﺒﺎً ﻧﺎﺑﺨﺸﻮﺩﻧﻰ‪.‬‬ ‫ﻫﻤﻴﻦ ﻛﻪ ﻫﺮﻯ ﺍﺳﻠﺤﻪ ﺭﺍ ﺑﻪ ﺳﻮﻯ ﺳﺮﺵ ﻧﺸﺎﻧﻪ ﺭﻓﺖ‪ ،‬ﺷﻴﻄﺎﻥ ﺍﻟﺘﻤﺎﺱ ﻛﺮﺩ‪» :‬ﺍﻳﻦ ﻛﺎﺭ ﺭﻭ ﻧﻜﻦ‪ .‬ﺗﻮ‬ ‫ﺻﻮﺭﺕ ﻧﻪ‪«.‬‬ ‫‪17‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻣﺎﺭﭼﺘﻰ ]‪ [7‬ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻧﻤﺎﻳﺶ ﺭﺍ ﺗﺮﻙ ﻣﻰﻛﺮﺩ‪ ،‬ﺍﻓﺴﻮﺱ ﺧﻮﺭﺩ‪ .‬ﺻﺪﺍﻯ ﺧﻮﺍﻧﻨﺪﻩ ﺧﻴﻠﻰ ﺍﻭ ﺭﺍ ﺟﺬﺏ‬ ‫ﻛﺮﺩ‪ .‬ﺻﺪﺍﻳﺶ ﻛﻪ ﻣﺪﺕﻫﺎ ﭘﻴﺶ ﺩﺭ ﺍﻟﻜﻞ ﻣﻀﻤﺤﻞ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﻧﻴﻢﮔﺎﻣﻰ ﺑﻮﺩ ﻛﻪ ﺗﻨﻬﺎ ﻛﻤﻰ ﺑﺎ ﻫﺪﻑ‬ ‫ﻣﺪ ﻧﻈﺮﺵ ‪-‬ﻣﺪﺭﻛﻰ ﺭﻭﺷﻦ ﺑﺮ ﻏﻴﺮﻣﻤﻜﻦ ﺑﻮﺩﻥ ﻛﻤﺎﻝ‪ -‬ﺗﻔﺎﻭﺕ ﺩﺍﺷﺖ ﻭ ﻫﻨﺮ ﺍﻋﻠﻰ ﻭﺭﺩﻯ ﺭﺍ ﺑﺎ ﻓﺎﺻﻠﻪ‪،‬‬ ‫ﺩﺳﺖ ﻣﻰﺍﻧﺪﺍﺧﺖ ﻭ ﭘﺸﺖ ﺳﺮ ﻣﻰﮔﺬﺍﺷﺖ‪.‬‬ ‫‪ ‬ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺍﺯ ﺷﺮ ﺁﻥ ﺟﺎﻧﻮﺭ ﺭﺍﺣﺖ ﻣﻰﺷﺪ‪ ،‬ﺑﻪ ﺍﻳﻦﺟﺎ ﺑﺮ ﻣﻰﮔﺸﺖ‪ .‬ﮔﻮﺵ ﺩﺍﺩﻥ ﺑﻪ ﺁﻥ ﺷﻮﺭ‬ ‫ﺗﻜﺮﺍﺭﻯ ﺍﻭ ﺭﺍ ﺑﻪ ﺣﺎﻝ ﻭ ﻫﻮﺍﻯ ﺑﺎﺭﺍﻧﻰ ﻣﺎﻩﻫﺎﻯ ﺍﺧﻴﺮﺵ ﻧﺰﺩﻳﻚ ﻣﻰﻛﺮﺩ‪ .‬ﻭ ﺍﻭ ﺍﺷﻚ ﺭﻳﺨﺘﻦ ﺭﺍ ﺩﻭﺳﺖ‬ ‫ﺩﺍﺷﺖ‪.‬‬ ‫ﻫﺮﻯ ﺩﺭ ﺁﻥ ﺳﻮﻯ ﺧﻴﺎﺑﺎﻥ ﺳﻮﻡ ﻭ ﺩﺭ ﺳﻤﺖ ﻣﻘﺎﺑﻞ ﺳﻮﭘﺮﻣﺎﺭﻛﺖ ﺍﻛﺴﻞ ﺍﻳﺴﺘﺎﺩ ﻭ ﺑﻪ ﺗﻤﺎﺷﺎﻯ ﻣﺮﺩﻡ‬ ‫ﻣﺸﻐﻮﻝ ﺷﺪ‪ .‬ﺩﺭ ﺳﺮﻣﺎﻯ ﺷﺪﻳﺪ ﺍﻳﻦ ﻭﻗﺖ ﺷﺐ‪ ،‬ﺻﺪﻫﺎ ﻧﻔﺮ ﺁﻥﺟﺎ ﺟﻤﻊ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﺗﺎ ﺁﻥ ﭼﻪ‬ ‫ﻣﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﺑﺒﻴﻨﻨﺪ ﻭ ﺑﺎﺑﺖ ﺳﺮﻣﺎ ﭘﺸﻴﻤﺎﻥ ﻫﻢ ﻧﺒﻮﺩﻧﺪ‪ .‬ﺍﺟﺴﺎﺩ ﮔﺮﻭﻩ ﮔﺮﻭﻩ ﺩﺭ ﻛﻴﻒﻫﺎﻯ ﺳﻴﺎﻩ ﺑﻴﺮﻭﻥ‬ ‫ﻣﻰﺁﻣﺪﻧﺪ‪ .‬ﺣﺘﺎ ﭼﻴﺰﻯ ﻫﻢ ﺩﺭ ﺳﻄﻞ ﺁﺷﻐﺎﻝ ﺑﻮﺩ‪.‬‬ ‫ﻫﺮﻯ ﺍﺯ ﻳﻜﻰ ﺍﺯ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﭘﺮﺳﻴﺪ‪» :‬ﻛﺴﻰ ﻣﻰﺩﻭﻧﻪ ﺩﻗﻴﻘﺎً ﭼﻪ ﺍﺗﻔﺎﻗﻰ ﺍﻓﺘﺎﺩﻩ؟«‬ ‫ﻣﺮﺩﻯ ﺳﺮﺵ ﺭﺍ ﺑﺮﮔﺮﺩﺍﻧﺪ‪ ،‬ﺻﻮﺭﺗﺶ ﺍﺯ ﺳﺮﻣﺎ ﺳﺮﺥ ﺷﺪﻩ ﺑﻮﺩ‪» :‬ﺻﺎﺣﺐ ﻣﻐﺎﺯﻩ ﻣﻰﺧﻮﺍﺳﺘﻪ ﻫﻤﻪ ﭼﻴﺰ‬ ‫ﺭﻭ ﺑﺪﻩ ﺑﺮﻩ‪ «.‬ﻭ ﺑﻪ ﻣﺴﺨﺮﮔﻰ ﻣﺎﺟﺮﺍ ﺧﻨﺪﻳﺪ ﻭ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﻭ ﻣﻐﺎﺯﻩ ﻫﻢ ﻣﺜﻞ ﭼﻰ ﺑﻪ ﮔﻨﺪ ﻛﺸﻴﺪﻩ ﺷﺪ‪.‬‬ ‫ﺍﻭﻟﺶ ﻳﻪ ﻧﻔﺮ ﺍﻭﻥ ﻭﺳﻂ ﻟﻪ ﺷﺪ‪«.‬‬ ‫ﺩﻳﮕﺮﻯ ﮔﻔﺖ‪» :‬ﺷﻨﻴﺪﻡ ﻣﺎﺟﺮﺍ ﺍﺯ ﺳﺮ ﻳﻪ ﺑﺴﺘﻪ ﮔﻮﺷﺖ ﺷﺮﻭﻉ ﺷﺪ‪«.‬‬ ‫»ﻳﻜﻰ ﺭﻭ ﺑﺎ ﻳﻪ ﺑﺴﺘﻪ ﮔﻮﺷﺖ ﺍﻭﻥﻗﺪﺭ ﺯﺩﻥ ﺗﺎ ﻣﺮﺩ‪«.‬‬ ‫ﻭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺍﺯ ﻃﺮﻑ ﺑ���ﻀﻰ ﺑﻪ ﺑﺤﺚ ﺗﺒﺪﻳﻞ ﺷﺪ‪ .‬ﻫﻤﻪ ﺭﻭﺍﻳﺘﻰ ﺍﺯ ﻣﺎﺟﺮﺍ ﺩﺍﺷﺘﻨﺪ‪ .‬ﻫﺮﻯ ﺳﻌﻰ ﺩﺍﺷﺖ‬ ‫ﺗﺎ ﻭﺍﻗﻌﻴﺖ ﺭﺍ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺧﻴﺎﻟﻰ ﺗﻤﻴﺰ ﺩﻫﺪ ﻛﻪ ﺟﻨﺐ ﻭ ﺟﻮﺷﻰ ﺩﺭ ﺳﻤﺖ ﺭﺍﺳﺘﺶ‪ ،‬ﺣﻮﺍﺳﺶ ﺭﺍ‬ ‫ﭘﺮﺕ ﻛﺮﺩ‪ .‬ﭘﺴﺮﻯ ﻧﻪ ﻳﺎ ﺩﻩ ﺳﺎﻟﻪ ﻳﻜﻰ ﺩﻳﮕﺮ ﺭﺍ ﺍﺯ ﻣﻴﺎﻥ ﺟﻤﻌﻴﺖ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪ ﻭ ﭘﺮﺳﻴﺪ‪» :‬ﺗﻮ ﻫﻢ ﺑﻮﻯ‬ ‫ﺯﻧﻪ ﺭﻭ ﺷﻨﻴﺪﻯ؟« ﺩﻳﮕﺮﻯ ﻫﻢ ﺳﺮﻛﻰ ﺗﻜﺎﻥ ﺩﺍﺩ‪.‬‬ ‫ﺍﻭﻟﻰ ﺍﺿﺎﻓﻪ ﻛﺮﺩ‪» :‬ﭼﺎﻗﻪ ﺭﻭ ﻣﻰﮔﻢ؟« ﺩﻭﻣﻰ ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﺑﻮﻯ ﮔﻪ ﺧﻮﺑﻰ ﺩﺍﺷﺖ‪ «.‬ﻭ ﻫﺮ ﺩﻭ ﺑﺎ ﺷﺮﺍﺭﺕ‬ ‫ﺧﻨﺪﻳﺪﻧﺪ ﻭ ﻏﻴﺒﺸﺎﻥ ﺯﺩ‪ .‬ﻫﺮﻯ ﺑﻪ ﺁﻥ ﺳﻮﻯ ﺧﻴﺎﺑﺎﻥ ﻧﮕﺎﻩ ﻛﺮﺩ ﺗﺎ ﺳﻮژﻩﻯ ﺧﻨﺪﻩﻯ ﺁﻥﻫﺎ ﺭﺍ ﺑﻴﺎﺑﺪ‪ .‬ﻳﻚ‬ ‫ﺯﻥ ﮔﻨﺪﻩﻯ ﭼﺎﻕ‪ ،‬ﺑﺎ ﻟﺒﺎﺳﻰ ﻛﻢ ﺑﺮﺍﻯ ﺍﻳﻦ ﺁﺏ ﻭ ﻫﻮﺍ ﺩﺭ ﻛﻨﺎﺭ ﺟﻤﻌﻴﺖ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﺑﺎ ﭼﺸﻤﺎﻧﻰ ﺭﻳﺰ‬ ‫ﻭ ﺩﺭﺧﺸﺎﻥ ﻣﻬﻠﻜﻪ ﺭﺍ ﺗﻤﺎﺷﺎ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﻫﺮﻯ ﺑﺎﻗﻰ ﺳﻮﺍﻻﺗﺶ ﺭﺍ ﺍﺯ ﻳﺎﺩ ﺑﺮﺩ‪ .‬ﺍﻣﺎ ﺁﻥ ﭼﻪ ﻛﻪ ﻣﺜﻞ ﺭﻭﺯ ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩ‪ ،‬ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺑﻬﺘﺮﻳﻦ ﺭﻓﻘﺎﻳﺶ‬ ‫ﭼﻄﻮﺭ ﺁﻥ ﺍﺧﻮﺕ ﺷﻴﻄﺎﻧﻰ ﺭﺍ ﺑﻪ ﺭﺍﻩ ﺍﻧﺪﺍﺧﺘﻪ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺍﻳﻦ ﻣﺮﺑﻮﻁ ﺑﻪ ﻃﻠﺴﻢﻫﺎ ﻳﺎ ﺣﺘﺎ ﺩﮔﺮﺷﻜﻠﻰﻫﺎﻳﻰ ﻛﻪ ﺑﻪ ﻧﻤﺎﻳﺶ ﻣﻰﮔﺬﺍﺷﺘﻨﺪ‪ ،‬ﻧﻤﻰﺷﺪ‪ .‬ﺑﻠﻜﻪ ﺑﻮﻯ‬ ‫‪15‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﺑﺎ ﻭﺟﻮﺩ ﺁﻥ ﻫﻤﻪ ﺳﺮ ﻭ ﺻﺪﺍ ﺩﺭ ﺁﻥ ﻓﻀﺎﻯ ﻣﺤﺪﻭﺩ‪ ،‬ﻧﻮﺭﻣﺎ ﮔﻔﺘﻪﺍﺵ ﺭﺍ ﺷﻨﻴﺪ ﻭ ﭘﺮﺳﻴﺪ‪» :‬ﺍﺯ ﻛﺠﺎ‬ ‫ﺍﻳﻦﻗﺪﺭ ﻣﻄﻤﺌﻨﻰ؟«‬ ‫ﻫﺮﻯ ﺟﻮﺍﺏ ﻧﺪﺍﺩ‪ .‬ﺩﺍﺷﺖ ﺑﻪ ﺳﺮ ﺧﻂ ﺧﺒﺮﻫﺎ ﮔﻮﺵ ﻣﻰﻛﺮﺩ ﺗﺎ ﺷﺎﻳﺪ ﺑﺘﻮﺍﻧﺪ ﻣﻜﺎﻥ ﺳﻮﭘﺮﻣﺎﺭﻛﺖ ﺍﻛﺴﻞ‬ ‫ﺭﺍ ﺑﻔﻬﻤﺪ‪ .‬ﻭ ﻓﻬﻤﻴﺪ‪ .‬ﺧﻴﺎﺑﺎﻥ ﺳﻮﻡ‪ ،‬ﺑﻴﻦ ﻓﺮﻋﻰ ﻧﻮﺩ ﻭ ﭼﻬﺎﺭ ﻭ ﻧﻮﺩ ﻭ ﭘﻨﺞ‪.‬‬ ‫»ﺑﻪ ﺧﻨﺪﻳﺪﻧﺖ ﺍﺩﺍﻣﻪ ﺑﺪﻩ‪ «.‬ﺍﻳﻦ ﺭﺍ ﮔﻔﺖ ﻭ ﻧﻮﺭﻣﺎ ﺭﺍ ﺑﺎ ﺑﻄﺮﻯ ﺷﺮﺍﺏ ﻭ ﻫﻤﻬﻤﻪﻯ ﻣﺮﮔﺒﺎﺭ ﺩﻭﺭ ﻭ ﺑﺮﺵ‬ ‫ﺗﻨﻬﺎ ﮔﺬﺍﺷﺖ‪.‬‬ ‫‪ ‬ﻟﻴﻨﺪﺍ ]‪ [5‬ﺑﻪ ﺧﺎﻧﻪﻯ ﻭﺍﻗﻊ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﺭﻳﺞ ﺑﺎﺯﮔﺸﺖ‪ .‬ﺁﺧﺮﻳﻦ ﺗﻴﺮ ﺩﺭ ﺗﺮﻛﺶ ﻫﻤﻴﻦ ﺑﻮﺩ‪ .‬ﺍﻣﻴﺪﻭﺍﺭ ﺑﻮﺩ‬ ‫ﺑﻮﻟﻮ ]‪ [6‬ﺭﺍ ﺁﻥﺟﺎ ﺑﻴﺎﺑﺪ‪ .‬ﺑﺎ ﺧﻮﺩ ﺣﺴﺎﺏ ﻛﺮﺩ ﺑﻮﻟﻮ ﻣﻨﻄﻘﻰﺗﺮﻳﻦ ﻛﺎﻧﺪﻳﺪﺍ ﺑﺮﺍﻯ ﭘﺪﺭ ﺑﭽﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ﺩﺭ‬ ‫ﺷﻜﻢ ﺩﺍﺷﺖ‪ .‬ﺍﻣﺎ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﻣﺮﺩﺍﻥ ﻋﺠﻴﺒﻰ ﺩﻳﮕﺮﻯ ﻫﻢ ﺩﺭ ﺁﻥ ﺩﻭﺭﺍﻥ ﺯﻧﺪﮔﻰﺍﺵ ﺣﻀﻮﺭ ﺩﺍﺷﺘﻨﺪ؛‬ ‫ﻣﺮﺩﺍﻧﻰ ﻛﻪ ﺩﺭ ﻧﻮﺭ ﻣﺴﺘﻘﻴﻢ ﭼﺸﻤﺎﻧﻰ ﻃﻼﻳﻰ ﺩﺍﺷﺘﻨﺪ‪ ،‬ﻣﺮﺩﺍﻧﻰ ﺑﺎ ﻟﺒﺨﻨﺪﻫﺎﻳﻰ ﻧﺎﮔﻬﺎﻧﻰ ﻭ ﺗﺼﻨﻌﻰ ﺑﻪ‬ ‫ﻟﺐ‪ .‬ﺑﻪ ﻫﺮ ﺣﺎﻝ ﺑﻮﻟﻮ ﺁﻥﺟﺎ ﻧﺒﻮﺩ ﻭ ﺩﺭ ﺁﺧﺮ‪ ،‬ﻟﻴﻨﺪﺍ ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺧﻮﺩﺵ ﻫﻢ ﻣﻰﺩﺍﻧﺴﺖ‪ ،‬ﺗﻨﻬﺎﻯ ﺗﻨﻬﺎ‬ ‫ﺑﻮﺩ‪ .‬ﺗﻨﻬﺎ ﺍﻣﻴﺪﺵ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺳﺮﺵ ﺭﺍ ﺑﺮ ﺯﻣﻴﻦ ﺑﮕﺬﺍﺭﺩ ﻭ ﺑﻤﻴﺮﺩ؛ ﺍﻣﺎ ﻣﺮگ ﺩﺍﺭﻳﻢ ﺗﺎ ﻣﺮگ‪ .‬ﻳﻜﻰ‬ ‫ﺁﻥ ﻣﺮﮔﻰ ﺑﻮﺩ ﻛﻪ ﺷﺒﺎﻧﻪ ﺑﺮﺍﻳﺶ ﺩﻋﺎ ﻣﻰﻛﺮﺩ‪ ،‬ﻛﻪ ﺩﺭ ﺧﻮﺍﺏ ﺳﺮﻣﺎ ﺷﻴﺮﻩﻯ ﺟﺎﻧﺶ ﺭﺍ ﺑﻜﺸﺪ‪ .‬ﮔﻮﻧﻪﻯ‬ ‫ﺩﻳﮕﺮﻯ ﻫﻢ ﺑﻮﺩ‪ ،‬ﻛﻪ ﻭﻗﺘﻰ ﺩﻳﮕﺮ ﻧﺎ ﻧﺪﺍﺷﺖ‪ ،‬ﺩﺭ ﺧﻮﺍﺏ ﻣﻰﺩﻳﺪ‪ .‬ﻣﺮﮔﻰ ﻛﻪ ﻧﻪ ﻭﻗﺎﺭ ﺩﺍﺷﺖ ﻭ ﻧﻪ ﻋﺎﻗﺒﺖ‬ ‫ﺑﻪﺧﻴﺮﻯ‪ .‬ﻣﺮﮔﻰ ﻛﻪ ﺩﺭ ﺁﻥ ﻣﺮﺩﻯ ﺑﺎ ﻟﺒﺎﺱ ﺧﺎﻛﺴﺘﺮﻯ ﺑﺎ ﺧﻮﺩ ﻣﻰﺁﻭﺭﺩﺵ‪ .‬ﻣﺮﺩﻯ ﺑﺎ ﺻﻮﺭﺗﻰ ﻛﻪ‬ ‫ﮔﺎﻫﻰ ﭼﻬﺮﻩﻯ ﺁﺷﻨﺎﻯ ﻳﻚ ﻛﺸﻴﺶ ﺭﺍ ﺑﻪ ﻳﺎﺩﺵ ﻣﻰﺁﻭﺭﺩ ﻭ ﮔﺎﻫﻰ ﻫﻢ ﺩﻳﻮﺍﺭ ﮔﭽﻰ ﭘﻮﺳﻴﺪﻩﺍﻯ ﺭﺍ‪.‬‬ ‫ﺑﺎ ﮔﺪﺍﻳﻰ ﻛﺮﺩﻥ ﺭﺍﻩ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﺑﺎﻻﻯ ﺷﻬﺮ ﻭ ﻣﻴﺪﺍﻥ ﺗﺎﻳﻤﺰ ﺩﺭ ﭘﻴﺶ ﮔﺮﻓﺖ‪ .‬ﺍﻳﻦﺟﺎ ﻭ ﺩﺭ ﻣﻴﺎﻥ‬ ‫ﺧﻴﻞ ﺧﺮﻳﺪﺍﺭﺍﻥ‪ ،‬ﺑﺮﺍﻯ ﻣﺪﺗﻰ ﺍﺣﺴﺎﺱ ﺍﻣﻨﻴﺖ ﻣﻰﻛﺮﺩ‪ .‬ﻛﺎﻓﻪﺍﻯ ﭘﻴﺪﺍ ﻛﺮﺩ ﻭ ﺗﺨﻢﻣﺮﻍ ﺑﺎ ﻗﻬﻮﻩ ﺳﻔﺎﺭﺵ‬ ‫ﺩﺍﺩ ﻭ ﻣﻮﺍﻇﺐ ﺑﻮﺩ ﺗﺎ ﻫﺰﻳﻨﻪﻯ ﻭﻋﺪﻩﻯ ﻏﺬﺍﻳﻰﺍﺵ ﺑﺎ ﺟﻤﻊ ﻣﻘﺪﺍﺭ ﭘﻮﻟﻰ ﻛﻪ ﮔﺪﺍﻳﻰ ﻛﺮﺩﻩ‪ ،‬ﺩﺭﺳﺖ ﺩﺭ‬ ‫ﺑﻴﺎﻳﺪ‪ .‬ﻏﺬﺍ ﺑﭽﻪ ﺭﺍ ﺣﺎﻝ ﺁﻭﺭﺩ‪ .‬ﻟﻴﻨﺪﺍ ﺣﺲ ﻛﺮﺩ ﻛﻪ ﺑﭽﻪ ﺩﺭ ﺧﻮﺍﺏ ﻏﻠﺘﻰ ﺯﺩ ﻭ ﺣﺎﻻ ﺩﺍﺷﺖ ﺑﻴﺪﺍﺭ ﻣﻰﺷﺪ‪.‬‬ ‫ﺷﺎﻳﺪ ﺍﻭ ﺑﺎﻳﺪ ﻣﺪﺗﻰ ﺩﻳﮕﺮ ﻣﺒﺎﺭﺯﻩ ﻣﻰﻛﺮﺩ‪ .‬ﺍﮔﺮ ﻧﻪ ﺑﺮﺍﻯ ﺧﻮﺩﺵ‪ ،‬ﺣﺪﺍﻗﻞ ﺑﺮﺍﻯ ﺑﭽﻪ‪.‬‬ ‫ﻫﻤﻴﻦ ﻃﻮﺭ ﭘﺸﺖ ﻣﻴﺰ ﻣﺪﺗﻰ ﺩﺭﻧﮓ ﻛﺮﺩ ﺗﺎ ﻣﺸﻜﻠﺶ ﺭﺍ ﺍﺯ ﺟﻬﺎﺕ ﻣﺨﺎﻟﻒ ﺑﺮﺭﺳﻰ ﻛﻨﺪ‪ .‬ﺗﺎ ﺍﻳﻦ ﻛﻪ‬ ‫ﺑﺎﻻﺧﺮﻩ ﻏﺮﻏﺮﻫﺎﻯ ﻣﺎﻟﻚ ﻣﻐﺎﺯﻩ ﺍﻭ ﺭﺍ ﺷﺮﻣﮕﻴﻦ ﻛﺮﺩ ﻭ ﺑﻪ ﺧﻴﺎﺑﺎﻥ ﺑﺮﺵ ﮔﺮﺩﺍﻧﺪ‪.‬‬ ‫ﺳﺎﻋﺎﺕ ﻭﺍﭘﺴﻴﻦ ﺭﻭﺷﻨﺎﻳﻰ ﺭﻭﺯ ﺑﻮﺩ ﻭ ﻫﻮﺍ ﻫﻢ ﺑﺪﺗﺮ ﻣﻰﺷﺪ‪ .‬ﺯﻧﻰ ﺩﺭ ﺍﻃﺮﺍﻓﺶ ﺑﻪ ﺯﺑﺎﻥ ﺍﻳﺘﺎﻟﻴﺎﻳﻰ‪ ،‬ﺁﻭﺍﺯﻯ‬ ‫ﻏﻤﮕﻴﻦ ﻣﻰﺧﻮﺍﻧﺪ‪ .‬ﻧﺰﺩﻳﻚ ﺑﻮﺩ ﺍﺷﻜﺶ ﺩﺭ ﺑﻴﺎﻳﺪ‪ .‬ﺍﺯ ﻏﺼﻪﻯ ﺗﻮﻯ ﺁﻭﺍﺯ ﺭﻭﻯ ﺑﺮﮔﺮﺩﺍﻧﺪ ﻭ ﺩﻭﺑﺎﺭﻩ ﺩﺭ‬ ‫ﻣﺴﻴﺮﻯ ﻧﺎﻣﺸﺨﺺ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ‪.‬‬ ‫ﻫﻤﻴﻦ ﻛﻪ ﺟﻤﻌﻴﺖ ﺍﺯ ﺍﻃﺮﺍﻑ ﺯﻥ ﭘﺮﺍﻛﻨﺪﻩ ﺷﺪ‪ ،‬ﻣﺮﺩﻯ ﺑﺎ ﻟﺒﺎﺱ ﺧﺎﻛﺴﺘﺮﻯ ﺍﺯ ﻣﻴﺎﻥ ﺷﻨﻮﻧﺪﮔﺎﻥ ﺍﭘﺮﺍﻯ‬ ‫ﻛﻨﺎﺭﺧﻴﺎﺑﺎﻥ ﺧﻮﺩ ﺭﺍ ﺟﺪﺍ ﻛﺮﺩ ﻭ ﺟﻮﺍﻥ ﻫﻤﺮﺍﻫﺶ ﺭﺍ ﺭﻭﺍﻧﻪ ﻛﺮﺩ ﺗﺎ ﻣﻄﻤﺌﻦ ﺷﻮﺩ ﺷﻜﺎﺭﺷﺎﻥ ﺭﺍ ﮔﻢ ﻧﻤﻰﻛﻨﻨﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫»ﻧﻤﻰﻓﻬﻤﻢ‪«.‬‬ ‫»ﻓﺮﺩﺍ ﺳﻮﭘﺮﻣﺎﺭﻛﺖ ﺍﻛﺴﻞ ﺭﻭ ﺑﻪ ﻳﻪ ﺍﻳﺴﺘﮕﺎﻩ ﺧﻴﺮﻳﻪ ﺗﺒﺪﻳﻞ ﻛﻦ‪ .‬ﺍﻳﻦ ﻃﻮﺭﻯ ﻣﻤﻜﻨﻪ ﺑﺘﻮﻧﻰ ﻛﻤﻰ‬ ‫ﮔﻮﺷﺖ ﺑﻪ ﺗﻦ ﺍﻳﻦ ﺭﻭﺣﺖ ﺑﻨﺸﻮﻧﻰ‪«.‬‬ ‫ﺍﺩﻯ ﻣﺘﻮﺟﻪ ﺷﺪ ﻛﻪ ﺯﻥ ﺩﺭ ﺣﺎﻝ ﻋﺮﻭﺝ ﺍﺳﺖ‪ .‬ﺩﺭ ﻇﻠﻤﺎﺕ ﺑﺎﻻﻯ ﺳﺮﺵ‪ ،‬ﻣﻮﺳﻴﻘﻰ ﺑﺴﻴﺎﺭ ﻣﺤﺰﻭﻧﻰ‬ ‫ﺩﺭ ﺣﺎﻝ ﻧﻮﺍﺧﺘﻦ ﺑﻮﺩ ﻛﻪ ﻛﻢﻛﻢ ﺍﻭ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﻣﻰﭘﻴﭽﻴﺪ ﺗﺎ ﺍﻳﻦ ﻛﻪ ﺑﺎﻻﺧﺮﻩ ﻛﺎﻣ ً‬ ‫ﻼ ﺍﺯ ﻧﻈﺮ ﭘﻨﻬﺎﻥ ﺷﺪ‪.‬‬ ‫‪ ‬ﺗﺎ ﻫﺮﻯ ﺑﻪ ﺧﻴﺎﺑﺎﻥ ﺑﺮﺳﺪ‪ ،‬ﺩﺧﺘﺮ ﺭﻓﺘﻪ ﺑﻮﺩ‪ .‬ﻭ ﺳﮓ ﻣﺮﺩﻩ ﻫﻢ ﺑﻪ ﻫﻤﭽﻨﻴﻦ‪ .‬ﺑﺎ ﻧﺎﺩﺭﺳﺖ ﺍﺯ ﺁﺏ ﺩﺭ‬ ‫ﺁﻣﺪﻥ ﺍﺣﺘﻤﺎﻻﺕ‪ ،‬ﻫﺮﻯ ﺑﻪ ﺁﭘﺎﺭﺗﻤﺎﻥ ﻧﻮﺭﻣﺎ ﭘﻴﻦ ﺑﺮﮔﺸﺖ‪ .‬ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﺑﺎﺯﮔﺸﺖ ﺑﻴﺸﺘﺮ ﺑﻪ ﺍﻳﻦ ﺧﺎﻃﺮ ﺑﻮﺩ‬ ‫ﻛﻪ ﺗﻨﻬﺎ ﻧﺒﺎﺷﺪ‪ ،‬ﺗﺎ ﺍﺯ ﺳﺮ ﺭﺿﺎﻳﺘﻰ ﻛﻪ ﺑﺎ ﺍﻋﻼﻡ ﺍﺷﺘﺒﺎﻩ ﻧﻮﺭﻣﺎ ﺑﺮﺍﻳﺶ ﺣﺎﺻﻞ ﻣﻰﺷﺪ‪.‬‬ ‫ﺍﺯ ﻣﻴﺎﻥ ﺳﺮ ﻭ ﺻﺪﺍﻯ ﭘﻨﺞ ﺗﻠﻮﻳﺰﻳﻮﻥ ﻭ ﭘﻨﺞ ﺭﺍﺩﻳﻮﻳﻰ ﻛﻪ ﻧﻮﺭﻣﺎ ﻫﻤﻴﺸﻪ ﺭﻭﺷﻦ ﻣﻰﮔﺬﺍﺷﺖ‪ ،‬ﺑﺎ ﺻﺪﺍﻯ‬ ‫ﺑﻠﻨﺪ ﮔﻔﺖ‪» :‬ﻣﻦ ﻫﻴﭻﻭﻗﺖ ﺍﺷﺘﺒﺎﻩ ﻧﻤﻰﻛﻨﻢ‪ «.‬ﺍﻳﻦ ﺳﺮ ﻭ ﺻﺪﺍ ﺑﻪ ﻗﻮﻝ ﺧﻮﺩﺵ ﺗﻨﻬﺎ ﺭﺍﻩ ﺍﻣﻨﻰ ﺑﻮﺩ ﺗﺎ‬ ‫ﺁﻥ ﺩﺳﺘﻪ ﺍﺯ ﺍﺭﻭﺍﺣﻰ ﺭﺍ ﻛﻪ ﭘﻴﻮﺳﺘﻪ ﺑﻪ ﺩﺭﻭﻥ ﻛﺎﺭﻫﺎﻳﺶ ﺳﺮﻙ ﻣﻰﻛﺸﻴﺪﻧﺪ ﻭ ﺑﻪ ﺣﺮﻳﻢ ﺷﺨﺼﻰﺍﺵ‬ ‫ﻣﺘﻌﺮﺽ ﻣﻰﺷﺪﻧﺪ‪ ،‬ﻧﺎﻛﺎﻡ ﺑﮕﺬﺍﺭﺩ‪ .‬ﺻﺪﺍﻫﺎﻯ ﻧﺎﻣﻔﻬﻮﻡ ﻭ ﻭﺭﻭﺭ ﻛﺮﺩﻥﻫﺎﻯ ﺍﻟﻜﻰ ﺁﻥﻫﺎ ﺭﺍ ﺩﺳﺖ ﺑﻪ ﺳﺮ‬ ‫ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﻧﻮﺭﻣﺎ ﮔﻔﺖ‪» :‬ﻣﻦ ﺍﻧﺮژﻯ ﺗﻮﻯ ﺍﻭﻥ ﺧﻮﻧﻪﻯ ﺧﻴﺎﺑﻮﻥ ﺭﻳﺞ ﺭﻭ ﺩﻳﺪﻡ‪ .‬ﻣﺜﻞ ﭼﻰ ﻣﻄﻤﺌﻨﻢ‪«.‬‬ ‫ﻫﺮﻯ ﻣﻰﺧﻮﺍﺳﺖ ﺩﻋﻮﺍ ﺑﻪ ﺭﺍﻩ ﺑﻴﻨﺪﺍﺯﺩ ﻛﻪ ﺗﺼﻮﻳﺮ ﻳﻜﻰ ﺍﺯ ﻧﻤﺎﻳﺸﮕﺮﻫﺎ ﺗﻮﺟﻬﺶ ﺭﺍ ﺟﻠﺐ ﻛﺮﺩ‪ .‬ﺧﺒﺮ‬ ‫ﮔﺰﺍﺭﺷﮕﺮﻯ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩ ﻛﻪ ﺩﺭ ﭘﻴﺎﺩﻩﺭﻭﻯ ﻳﻚ ﺧﻴﺎﺑﺎﻥ ﺭﻭﺑﺮﻭﻯ ﻣﻐﺎﺯﻩﺍﻯ )ﻛﻪ ﺭﻭﻯ ﺗﺎﺑﻠﻮﻯ ﺁﻥ‬ ‫ﺳﻮﭘﺮﻣﺎﺭﻛﺖ ﺍﻛﺴﻞ ﻧﻮﺷﺘﻪ ﺑﻮﺩ( ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺍﺯ ﺩﺭﻭﻥ ﻣﻐﺎﺯﻩ ﺟﺴﺪ ﭼﻨﺪ ﻧﻔﺮ ﺭﺍ ﺑﻴﺮﻭﻥ ﻣﻰﺁﻭﺭﺩﻧﺪ‪.‬‬ ‫ﻧﻮﺭﻣﺎ ﭘﺮﺳﻴﺪ‪» :‬ﭼﻰ ﺷﺪﻩ؟«‬ ‫ﻫﺮﻯ ﻛﻪ ﺗﻼﺵ ﻣﻰﻛﺮﺩ ﺻﺪﺍﻯ ﮔﺰﺍﺭﺷﮕﺮ ﺭﺍ ﺍﺯ ﻣﻴﺎﻥ ﻫﻤﻬﻤﻪ ﺗﺸﺨﻴﺺ ﺩﻫﺪ‪ ،‬ﮔﻔﺖ‪» :‬ﺍﻧﮕﺎﺭ ﻳﻪ ﺑﻤﺐ‬ ‫ﺗﺮﻛﻴﺪﻩ‪«.‬‬ ‫»ﺻﺪﺍﺷﻮ ﺑﻠﻨﺪ ﻛﻦ‪ .‬ﻣﻦ ﺍﺯ ﻓﺎﺟﻌﻪ ﺧﻮﺷﻢ ﻣﻴﺎﺩ‪«.‬‬ ‫ﺍﻳﻦ ﻳﻚ ﺑﻤﺐ ﻧﺒﻮﺩ ﻛﻪ ﭼﻨﻴﻦ ﻭﻳﺮﺍﻧﻰ ﺑﻪ ﺑﺎﺭ ﺁﻭﺭﺩﻩ ﺑﻮﺩ‪ .‬ﻏﻮﻏﺎﻳﻰ ﺑﻪ ﭘﺎ ﺑﻮﺩ‪ .‬ﺩﺭ ﻧﻴﻤﻪﻫﺎﻯ ﺭﻭﺯ‪،‬‬ ‫ﺩﻋﻮﺍﻳﻰ ﺩﺭ ﺳﻮﭘﺮﻣﺎﺭﻛﺖ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﻫﻴﭻﻛﺲ ﻫﻢ ﻧﻤﻰﺩﺍﻧﺴﺖ ﭼﺮﺍ‪ .‬ﺍﻳﻦ ﺩﻋﻮﺍ ﻛﻢﻛﻢ ﺑﻪ‬ ‫ﻳﻚ ﺣﻤﺎﻡ ﺧﻮﻥ ﺗﺒﺪﻳﻞ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺁﻣﺎﺭﻫﺎﻯ ﻣﺤﺎﻓﻆﻛﺎﺭﺍﻧﻪﻯ ﺍﻭﻟﻴﻪ ﺗﻌﺪﺍﺩ ﻛﺸﺘﻪﻫﺎ ﺭﺍ ‪ 30‬ﻧﻔﺮ‬ ‫ﺗﺨﻤﻴﻦ ﻣﻰﺯﺩ ﺑﻪ ﻋﻼﻭﻩﻯ ﺩﻭ ﺑﺮﺍﺑﺮ ﺯﺧﻤﻰ‪ .‬ﺍﻳﻦ ﺧﺒﺮ ﺑﺎ ﺣﺮﻑﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﻣﻮﺭﺩ ﭼﮕﻮﻧﮕﻰ ﻓﻮﺭﺍﻥ‬ ‫ﺧﻮﺩ ﺑﻪ ﺧﻮﺩﻯ ﺧﺸﻮﻧﺖ ﺩﺭ ﻣﻐﺎﺯﻩ ﻣﻰﺯﺩ‪ ،‬ﻣﺜﻞ ﻧﻔﺘﻰ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﻛﻮﺭﻩﻯ ﮔﻤﺎﻧﻪﻫﺎﻯ ﻭﺣﺸﺘﻨﺎﻙ‬ ‫ﻫﺮﻯ ﺭﻳﺨﺘﻪ ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﻫﺮﻯ ﺯﻳﺮ ﻟﺐ ﮔﻔﺖ‪» :‬ﭼﺎﭼﺎﺕ‪«...‬‬ ‫‪13‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﺗﺎﻛﺴﻰ ﺩﺭ ﺍﻣﺘﺪﺍﺩ ﻓﻀﺎﻳﻰ ﺧﺎﻟﻰ ﻭ ﺗﺎﺭﻳﻚ ﺑﻴﻦ ﺩﻭ ﺍﻧﺒﺎﺭ ﻣﺘﺮﻭﻙ ﻧﮕﻪ ﺩﺍﺷﺖ‪ .‬ﻫﻤﻴﻦ ﻛﻪ ﺍﺩﻯ ﺧﻮﺩ‬ ‫ﺭﺍ ﺍﺯ ﻣﺎﺷﻴﻦ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪ‪ ،‬ﺭﺍﻧﻨﺪﻩ ﮔﻔﺖ‪» :‬ﻣﻨﺘﻈﺮﺗﻪ‪ «.‬ﻭ ﺭﺍﻫﺶ ﺭﺍ ﮔﺮﻓﺖ ﻭ ﺭﻓﺖ‪ .‬ﺍﺩﻯ ﺩﺭ ﭘﻴﺎﺩﻩﺭﻭ‬ ‫ﺗﻨﻬﺎ ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﻋﻘﻞ ﺳﻠﻴﻢ ﻣﻰﮔﻔﺖ ﺳﺮﻳﻊ ﺑﺮﮔﺮﺩﺩ؛ ﺍﻣﺎ ﺁﻥﭼﻪ ﺩﻳﺪ‪ ،‬ﺍﻭ ﺭﺍ ﺳﺮ ﺟﺎﻳﺶ ﻣﻴﺨﻜﻮﺏ ﻛﺮﺩ‪ .‬ﺯﻧﻰ ﻛﻪ ﺭﺍﻧﻨﺪﻩ‬ ‫ﺗﺎﻛﺴﻰ ﺩﺭ ﻣﻮﺭﺩﺵ ﮔﻔﺖ‪ ،‬ﺁﻥﺟﺎ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﻓﺮﺑﻪﺗﺮﻳﻦ ﻣﻮﺟﻮﺩﻯ ﺑﻮﺩ ﻛﻪ ﺍﺩﻯ ﺩﺭ ﻃﻮﻝ ﻋﻤﺮﺵ‬ ‫ﺑﻪ ﭼﺸﻢ ﻣﻰﺩﻳﺪ‪ .‬ﺑﻴﺶ ﺍﺯ ﺍﻧﮕﺸﺖ ﻏﺒﻐﺐ ﺩﺍﺷﺖ ﻭ ﭼﻴﺰﻯ ﻧﻤﺎﻧﺪﻩ ﺑﻮﺩ ﭼﺮﺑﻰ ﺑﺪﻧﺶ ﺍﺯ ﻻﺑﻪﻻﻯ ﻟﺒﺎﺱ‬ ‫ﺗﺎﺑﺴﺘﺎﻧﻰ ﻧﺎﺯﻛﺶ ﺑﻴﺮﻭﻥ ﺑﺮﻳﺰﺩ‪ .‬ﻟﺒﺎﺳﺶ ﻫﻢ ﺑﺮﻕ ﻣﻰﺯﺩ‪.‬‬ ‫ﺯﻥ ﺻﺪﺍﻳﺶ ﻛﺮﺩ‪» :‬ﺍﺩﻯ‪ «.‬ﺍﻧﮕﺎﺭ ﺍﻣﺸﺐ ﻫﻤﻪ ﺍﻭ ﺭﺍ ﺑﻪ ﺍﺳﻢ ﻣﻰﺷﻨﺎﺧﺘﻨﺪ‪ .‬ﻫﻤﻴﻦ ﻛﻪ ﺯﻥ ﺑﻪ ﺳﻤﺖ ﺍﺩﻯ‬ ‫ﺣﺮﻛﺖ ﻛﺮﺩ‪ ،‬ﻣﻮﺟﻰ ﺍﺯ ﭼﺮﺑﻰ ﺍﺯ ﺗﻨﻪ ﺑﻪ ﺳﻤﺖ ﺩﺳﺖ ﻭ ﭘﺎﻫﺎﻳﺶ ﻟﻐﺰﻳﺪﻥ ﮔﺮﻓﺖ‪.‬‬ ‫ﻫﺮﻯ ﻣﻰﺧﻮﺍﺳﺖ ﺑﭙﺮﺳﺪ‪» :‬ﺗﻮ ﻛﻰ ﻫﺴﺘﻰ؟« ﺍﻣﺎ ﻛﻼﻡ ﺩﺭ ﺩﻫﺎﻧﺶ ﺧﺸﻜﻴﺪ ﻭﻗﺘﻰ ﻣﺘﻮﺟﻪ ﺷﺪ ﻛﻪ‬ ‫ﭘﺎﻫﺎﻯ ﭼﺎﻗﺎﻟﻪ ﺧﺎﻧﻢ ﺭﻭﻯ ﺯﻣﻴﻦ ﻧﻴﺴﺖ! ﺍﻭ ﺩﺭ ﻫﻮﺍ ﻣﻌﻠﻖ ﺑﻮﺩ‪.‬‬ ‫ﺍﮔﺮ ﺍﺩﻯ ﻫﻮﺷﻴﺎﺭ ﺑﻮﺩ‪ ،‬ﺍﺣﺘﻤﺎﻻً ﺩﻣﺶ ﺭﺍ ﺭﻭ ﻛﻮﻟﺶ ﻣﻰﺍﻧﺪﺍﺧﺖ ﻭ ﭘﺎ ﺑﻪ ﻓﺮﺍﺭ ﻣﻰﮔﺬﺍﺷﺖ؛ ﺍﻣﺎ ﻣﺴﻜﺮﻯ‬ ‫ﺩﺭﻭﻥ ﺧﻮﻧﺶ ﺗﺮﺱ ﻭ ﺍﺿﻄﺮﺍﺑﺶ ﺭﺍ ﺭﻗﻴﻖ ﻣﻰﻛﺮﺩ‪ .‬ﻫﻤﺎﻥﺟﺎ ﻛﻪ ﺑﻮﺩ‪ ،‬ﻣﺎﻧﺪ‪.‬‬ ‫»ﺍﺩﻯ‪ ،‬ﺍﺩﻯ ﻋﺰﻳﺰ‪ .‬ﻣﻦ ﻳﻪ ﺧﺒﺮ ﺑﺪ ﻭ ﻳﻪ ﺧﺒﺮ ﺧﻮﺏ ﺑﺮﺍﺕ ﺩﺍﺭﻡ‪ .‬ﺍﻭﻝ ﻛﺪﻭﻣﺶ ﺭﻭ ﻣﻰﺧﻮﺍﻯ ﺑﺸﻨﻮﻯ؟«‬ ‫ﺩﺭ ﺍﻳﻦ ﻟﺤﻈﻪ ﺍﺩﻯ ﻛﻤﻰ ﺗﺄﻣﻞ ﺑﻪ ﺧﺮﺝ ﺩﺍﺩ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﮔﻔﺖ‪» :‬ﺧﺒﺮ ﺧﻮﺏ ﺭﻭ‪«.‬‬ ‫ﺯﻥ ﺧﻨﺪﻩﻯ ﻧﺎﭼﻴﺰﻯ ﻛﺮﺩ ﻭ ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﺗﻮ ﻓﺮﺩﺍ ﻣﻰﻣﻴﺮﻯ‪«.‬‬ ‫»ﺍﻳﻦ ﺧﻮﺏ ﺑﻮﺩ؟«‬ ‫»ﺭﺿﻮﺍﻥ ﺑﻪ ﺍﻧﺘﻈﺎﺭ ﺭﻭﺡ ﺟﺎﻭﺩﺍﻥ ﺗﻮﺳﺖ‪ .‬ﺍﻳﻦ ﺳﻌﺎﺩﺕ ﺑﻪ ﺣﺴﺎﺏ ﻧﻤﻴﺎﺩ؟«‬ ‫»ﺧﺐ ﭘﺲ ﺧﺒﺮ ﺑﺪ ﭼﻴﻪ؟«‬ ‫ﺯﻥ ﺩﺳﺖ ﭘﺮﻣﻮﻳﺶ ﺭﺍ ﺑﻪ ﺩﺭﻭﻥ ﺷﻜﺎﻑ ﻣﻴﺎﻥ ﺳﻴﻨﻪﺍﺵ ﻓﺮﻭ ﻛﺮﺩ‪ .‬ﺻﺪﺍﻯ ﻧﺎﻟﻪﻯ ﺁﺭﺍﻣﻰ ﺁﻣﺪ ﻭ ﺯﻥ‬ ‫ﭼﻴﺰﻯ ﺭﺍ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪ‪ .‬ﭼﻴﺰﻯ ﻣﺎﺑﻴﻦ ﻣﺎﺭﻣﻮﻟﻚ ﺧﺎﻧﮕﻰ ﺣﻘﻴﺮ ﻭ ﻣﻮﺷﻰ ﻣﺮﻳﺾ ﻛﻪ ﺍﺯ ﻫﺮ ﺩﻭ ﺯﺷﺖﺗﺮ‬ ‫ﺑﻮﺩ‪ .‬ﻭﻗﺘﻰ ﺯﻥ ﺁﻥ ﻣﻮﺟﻮﺩ ﺭﺍ ﺩﺭ ﻫﻮﺍ ﻧﮕﻪ ﺩﺍﺷﺖ ﺗﺎ ﺍﺩﻯ ﺑﺒﻴﻨﺪ‪ ،‬ﺟﺎﻧﻮﺭ ﺑﺎ ﺍﻧﺪﺍﻡ ﺭﻗﺖﺍﻧﮕﻴﺰﺵ ﺩﺳﺖ ﻭ‬ ‫ﭘﺎ ﻣﻰﺯﺩ‪» :‬ﺍﻳﻦ ﺭﻭﺡ ﺟﺎﻭﺩﺍﻥ ﺗﻮﺋﻪ‪«.‬‬ ‫ﺍﺩﻯ ﺑﺎ ﺧﻮﺩ ﮔﻔﺖ ﺣﻖ ﺑﺎ ﺯﻥ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺧﺒﺮ ﺧﻮﺑﻰ ﻧﺒﻮﺩ‪.‬‬ ‫»ﺁﺭﻩ‪ ،‬ﻣﻨﻈﺮﻩﻯ ﺗﺄﺛﺮﺑﺮﺍﻧﮕﻴﺰﻳﻪ‪ ،‬ﻧﻪ؟« ﻭ ﺭﻭﺡ ﺩﺭ ﻫﻤﻴﻦ ﻫﻨﮕﺎﻡ ﺑﻪ ﭘﻒﭘﻒ ﻛﺮﺩﻥ ﻭ ﻭﻭﻝ ﺧﻮﺭﺩﻥ ﺍﻓﺘﺎﺩ‪.‬‬ ‫ﺯﻥ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺩﭼﺎﺭ ﺳﻮء ﺗﻐﺬﻳﻪ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺩﻡ ﺁﺧﺮﻯ ﺧﻴﻠﻰ ﺿﻌﻴﻔﻪ‪ ،‬ﻭ ﭼﺮﺍ؟« ﺯﻥ ﻓﺮﺻﺖ ﺟﻮﺍﺏ‬ ‫ﻛﻤﻰ ﻛﺎﺭ ﺧﻴﺮﻩ‪«.‬‬ ‫ﺩﺍﺩﻥ ﺑﻪ ﺍﺩﻯ ﻧﺪﺍﺩ ﻭ ﮔﻔﺖ ‪»:‬ﺍﺯ‬ ‫ِ‬ ‫ﺳﺮﺩﺵ ﺑﻮﺩ ﻭ ﺩﻧﺪﺍﻥﻫﺎﻳﺶ ﺑﻪ ﻫﻢ ﻣﻰﺧﻮﺭﺩ‪ .‬ﭘﺮﺳﻴﺪ‪» :‬ﺧﺐ ﻣﻦ ﻗﺮﺍﺭﻩ ﻭﺍﺳﻪﺍﺵ ﭼﻰ ﻛﺎﺭ ﻛﻨﻢ؟«‬ ‫»ﭼﻨﺪﺗﺎ ﺩﻡ ﻭ ﺑﺎﺯﺩﻡ ﺩﻳﮕﻪ ﺑﻴﺸﺘﺮ ﺑﺮﺍﺕ ﻧﻤﻮﻧﺪﻩ‪ .‬ﺩﺭ ﺍﺯﺍﻯ ﻋﻤﺮﻯ ﮔﺮﻭﻥﻓﺮﻭﺷﻰ ﺣﺎﻻ ﺑﺎﻳﺪ ﻛ ّﻔﺎﺭﻩ ﺑﺪﻯ‪«.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺑﺎ ﺷﻨﻴﺪﻥ ﺻﺪﺍﻯ ﭘﺎﻳﻴﻦ ﺭﻓﺘﻦ ﺩﺧﺘﺮ‪ ،‬ﻫﺮﻯ ﻓﻬﻤﻴﺪ ﻛﻪ ﻧﻮﺭﻣﺎ ﺍﺷﺘﺒﺎﻩ ﻛﺮﺩﻩ‪ .‬ﺍﮔﺮ ﭼﺎﭼﺎﺕ ﺍﻳﻦﺟﺎ‬ ‫ﻣﻰﺑﻮﺩ‪ ،‬ﭼﻨﻴﻦ ﻃﻌﻤﻪﻯ ﻓﻮﻕﺍﻟﻌﺎﺩﻩﺍﻯ ﻫﻴﭻﮔﺎﻩ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﻓﺮﺍﺭ ﻛﻨﺪ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻫﻨﻮﺯ ﭼﺸﻢﻫﺎﻳﺶ‬ ‫ﺳﺮ ﺟﺎﻳﺸﺎﻥ ﺍﺳﺖ‪ .‬ﺷﻴﻄﺎﻥ ﺍﻳﻦﺟﺎ ﻧﺒﻮﺩ‪.‬‬ ‫ﻛﻪ ﻳﻌﻨﻰ ﺑﺎﻳﺪ ﺑﻘﻴﻪﻯ ﻣﻨﻬﺘﻦ ﺭﺍ ﻣﻰﮔﺸﺖ‪.‬‬ ‫‪ ‬ﺷﺐ ﻗﺒﻞ ﺍﺗﻔﺎﻕ ﺧﻴﻠﻰ ﻋﺠﻴﺒﻰ ﺑﺮﺍﻯ ﺍﺩﻯ ﺍﻛﺴﻞ ]‪ [4‬ﺍﻓﺘﺎﺩ‪ .‬ﻣﺎﺟﺮﺍ ﻭﻗﺘﻰ ﺷﺮﻭﻉ ﺷﺪ ﻛﻪ ﺍﺩﻯ ﺍﺯ‬ ‫ﺑﺎﺭ ﻣﻮﺭﺩ ﻋﻼﻗﻪﺍﺵ ﺩﺭ ﺷﺶ ﺧﻴﺎﺑﺎﻥ ﺁﻥﻭﺭﺗﺮ ﺍﺯ ﺳﻮﭘﺮﻣﺎﺭﻛﺖ ﺧﻮﺩﺵ ﺑﻴﺮﻭﻥ ﺁﻣﺪ‪ .‬ﻣﺴﺖ ﺑﻮﺩ ﻭ ﺷﺎﺩ‬ ‫ﻭ ﺩﻟﻴﻞ ﻫﻢ ﺩﺍﺷﺖ‪ .‬ﺍﻣﺮﻭﺯ ﺑﻪ ﺳﻦ ﭘﻨﺠﺎﻩ ﻭ ﭘﻨﺞ ﺳﺎﻟﮕﻰ ﺭﺳﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺩﺭ ﻃﻮﻝ ﻋﻤﺮﺵ ﺳﻪ ﺑﺎﺭ ﺍﺯﺩﻭﺍﺝ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﻗﻴﻤﻮﻣﻴﺖ ‪ 4‬ﻓﺮﺯﻧﺪ ﻣﺸﺮﻭﻉ ﻭ َﻣﺸﺘﻰ ﻧﺎﻣﺸﺮﻭﻉ ﺭﺍ ﺑﺮ ﻋﻬﺪﻩ ﺩﺍﺷﺖ ﻭ ﺷﺎﻳﺪ ﻣﻬﻢﺗﺮ ﺍﺯ ﻫﻤﻪﻯ‬ ‫ﺍﻳﻦﻫﺎ‪ ،‬ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺳﻮﭘﺮﻣﺎﺭﻛﺖ ﺍﻛﺴﻞ ﺭﺍ ﺑﻪ ﺟﺎﻳﻰ ﭘﺮﺩﺭﺁﻣﺪ ﺑﺪﻝ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﺩﻧﻴﺎ ﺑﺎﺏ‬ ‫ﻣﻴﻞ ﭘﻴﺶ ﻣﻰﺭﻓﺖ‪.‬‬ ‫ﺍﻣﺎ ﺍﻣﺎﻥ ﺍﺯ ﻫﻮﺍ! ﺑﻪ ﺷﺪﺕ ﺳﺮﺩ ﺑﻮﺩ‪ .‬ﺍﻣﻜﺎﻥ ﻧﺪﺍﺷﺖ ﺩﺭ ﺷﺒﻰ ﻛﻪ ﺩﺳﺖ ﺩﻭﻣﻴﻦ ﻋﺼﺮ ﻳﺨﺒﻨﺪﺍﻥ ﺭﺍ ﺍﺯ‬ ‫ﭘﺸﺖ ﻣﻰﺑﺴﺖ‪ ،‬ﺗﺎﻛﺴﻰ ﮔﻴﺮﺵ ﺑﻴﺎﻳﺪ‪ .‬ﻣﺠﺒﻮﺭ ﺑﻮﺩ ﺗﺎ ﺧﺎﻧﻪ ﭘﻴﺎﺩﻩ ﺑﺮﻭﺩ‪.‬‬ ‫ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺩﻭ ﻗﺪﻡ ﻧﺮﻓﺘﻪ ﺑﻮﺩ ﻛﻪ ﻣﻌﺠﺰﻩﻯ ﺗﻤﺎﻡ ﺍﻋﺼﺎﺭ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩ ﻭ ﻭﺍﻗﻌﺎً ﻳﻚ ﺗﺎﻛﺴﻰ ﺍﺯ ﺁﻥﺟﺎ‬ ‫ﮔﺬﺷﺖ‪ .‬ﺑﺮﺍﻳﺶ ﺩﺳﺖ ﺗﻜﺎﻥ ﺩﺍﺩ‪ ،‬ﺩﺭﻭﻥ ﻛﺎﺑﻴﻦ ﻣﺎﺷﻴﻦ ﺁﺭﺍﻡ ﮔﺮﻓﺖ ﻭ ﺁﻥﻭﻗﺖ ﻣﺎﺟﺮﺍﻫﺎﻯ ﻋﺠﻴﺐ‬ ‫ﺷﺮﻭﻉ ﺷﺪ‪.‬‬ ‫ﺍﻭﻟﻴﻦ ﻣﺎﺟﺮﺍﻯ ﻋﺠﻴﺐ ﺍﻳﻦ ﻛﻪ ﺭﺍﻧﻨﺪﻩ ﻧﺎﻡ ﺍﻭ ﺭﺍ ﻣﻰﺩﺍﻧﺴﺖ‪ .‬ﺭﺍﻧﻨﺪﻩﻯ ﺗﺎﻛﺴﻰ ﮔﻔﺖ‪» :‬ﻣﻨﺰﻝ ﺗﺸﺮﻳﻒ‬ ‫ﻣﻰﺑﺮﻳﻦ ﺁﻗﺎﻯ ﺍﻛﺴﻞ؟«‬ ‫ﺍﺩﻯ ﻓﺮﺳﺘﺎﺩﻩﻯ ﺍﻟﻬﻰﺍﺵ ﺭﺍ ﺳﻴﻦ ﺟﻴﻢ ﻧﻜﺮﺩ ﻭ ﻓﻘﻂ »ﺁﺭﻩ«ﺍﻯ ﺯﻳﺮ ﻟﺐ ﺯﻣﺰﻣﻪ ﻛﺮﺩ‪ .‬ﻓﻜﺮ ﻛﺮﺩ ﺍﻳﻦ ﻫﻢ‬ ‫ﺍﺯ ﻣﻨﺎﺳﻚ ﺍﻣﺘﻴﺎﺯﻫﺎﻯ ﺭﻭﺯ ﺗﻮﻟﺪ ﺍﺳﺖ‪ .‬ﺷﺎﻳﺪ ﻟﻄﻒ ﻳﻜﻰ ﺍﺯ ﺁﺩﻡﻫﺎﻯ ﺩﺭﻭﻥ ﺑﺎﺭ ﺑﻮﺩ‪ .‬ﺷﺎﻳﺪ ﭼﺸﻤﺎﻧﺶ‬ ‫ﺭﺍ ﺑﺮ ﻫﻢ ﮔﺬﺍﺷﺖ ﻭ ﺷﺎﻳﺪ ﺣﺘﺎ ﺑﻪ ﺧﻮﺍﺏ ﺭﻓﺖ‪ .‬ﺑﻪ ﻫﺮ ﺻﻮﺭﺕ‪ ،‬ﺗﻨﻬﺎ ﭼﻴﺰﻯ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﺁﻥ ﻓﻬﻤﻴﺪ ﺍﻳﻦ‬ ‫ﺑﻮﺩ ﻛﻪ ﺗﺎﻛﺴﻰ ﺑﺎ ﺳﺮﻋﺖ ﺍﺯ ﺧﻴﺎﺑﺎﻥﻫﺎﻳﻰ ﻣﻰﮔﺬﺷﺖ ﻛﻪ ﺍﻭ ﻧﻤﻰﺷﻨﺎﺧﺖ‪ .‬ﺗﻜﺎﻧﻰ ﺑﻪ ﺧﻮﺩ ﺩﺍﺩ‪ .‬ﺍﻳﻦﺟﺎ‬ ‫ﻗﻄﻌﺎً ﺩﻫﺎﺗﻰ ﭼﻴﺰﻯ ﺑﻮﺩ ﻛﻪ ﺍﺩﻯ ﺍﺻ ً‬ ‫ﻼ ﻧﺪﻳﺪﻩ ﺑﻮﺩ‪ .‬ﻣﺤﻠﻪﻯ ﺍﻭ ﺩﺭ ﻗﺴﻤﺖ ﺑﺎﻻﻳﻰ ﺧﻴﺎﺑﺎﻥ ﻧﻮﺯﺩﻫﻢ‬ ‫ﺑﻮﺩ‪ ،‬ﻧﺰﺩﻳﻚ ﻣﻐﺎﺯﻩﺍﺵ‪ .‬ﺷﺄﻥ ﺍﻭ ﺑﻪ ﺑﻰﻛﻼﺳﻰ ﺍﻳﻦ ﺩﻫﺎﺕ ﻧﻤﻰﺧﻮﺭﺩ‪ .‬ﺭﻭﻯ ﺗﺎﺑﻠﻮﻯ ﻳﻜﻰ ﺍﺯ ﻣﻐﺎﺯﻩﻫﺎﻯ‬ ‫ﻧﻮﺷﺘﻪ ﺑﻮﺩ »ﺳﻮﺭﺍﺥ ﻛﺮﺩﻥ ﮔﻮﺵ‪ ،‬ﺑﺎ ﺩﺭﺩ ﻳﺎ ﺑﻰﺩﺭﺩ« ﻭ ﭘﺴﺮﺍﻥ ﺟﻮﺍﻥ ﻫﻢ ﺩﺭ ﺩﺭﮔﺎﻫﺶ ﭘﻼﺱ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺑﻪ ﺗﻨﺪﻯ ﭼﻨﺪ ﺿﺮﺑﻪ ﺑﻪ ﺣﺎﺋﻞ ﻣﻴﺎﻥ ﺧﻮﺩ ﻭ ﺭﺍﻧﻨﺪﻩ ﺯﺩ ﻭ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﺭﺍﻩ ﺩﺭﺳﺖ ﻧﻴﺴﺖ‪ «.‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ‬ ‫ﻣﺎﺷﻴﻦ ﺑﻪ ﺳﻤﺖ ﺭﻭﺩﺧﺎﻧﻪ ﭘﻴﭽﻴﺪ ﻭ ﺩﺭ ﺧﻴﺎﺑﺎﻧﻰ ﭘﺮ ﺍﺯ ﺍﻧﺒﺎﺭﻫﺎﻯ ﺗﺠﺎﺭﻯ ﺍﻓﺘﺎﺩ ﻭ ﺍﻳﻦ ﭘﺎﻳﺎﻥ ﺭﺍﻩ ﺑﻮﺩ‪ .‬ﺗﺎ‬ ‫ﺍﻳﻦ ﻣﻮﻗﻊ ﺧﺒﺮﻯ ﺍﺯ ﻋﺬﺭﺧﻮﺍﻫﻰ ﻳﺎ ﻫﺮﮔﻮﻧﻪ ﺗﻮﺿﻴﺤﻰ ﻧﺒﻮﺩ‪.‬‬ ‫ﺭﺍﻧﻨﺪﻩ ﮔﻔﺖ‪» :‬ﺍﻳﻦﺟﺎ ﺁﺧﺮ ﺭﺍﻫﻪ‪ «.‬ﺍﺯ ﺍﻳﻦ ﻭﺍﺿﺢﺗﺮ ﻧﻤﻰﺷﺪ ﺑﻪ ﺍﻭ ﺑﮕﻮﻳﺪ ﻛﻪ ﺑﺎﻳﺪ ﭘﻴﺎﺩﻩ ﺷﻮﺩ‪.‬‬ ‫‪11‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﻫﺮﻯ ﺩﺭ ﺍﻳﻦ ﻓﻜﺮ ﺑﻮﺩ ﻛﻪ ﺍﻳﻦ ﺧﺎﻧﻪ ﺟﺎﻯ ﻣﻨﺎﺳﺒﻰ ﺑﺮﺍﻯ ﺳﻜﻮﻧﺖ ﺟﻨﺎﻳﺖﻛﺎﺭ ﻣﻬﻠﻜﻰ ﺩﺭ ﻗﻮﺍﺭﻩﻯ‬ ‫ﭼﺎﭼﺎﺕ ﻧﻴﺴﺖ‪ .‬ﮔﺮﭼﻪ ﺧﺎﻧﺪﺍﻥ ﺩﻭﺯﺧﻰﻫﺎ ﻣﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﺧﻴﻠﻰ ﻫﻢ ﺩﻫﺎﺗﻰ ﺑﺎﺷﻨﺪ‪ ،‬ﺍﻣﺎ ﻗﻄﻌﺎً ﺍﻳﻦ‬ ‫ﻫﺠﻤﻪﻯ ﺗﺒﻠﻴﻐﺎﺗﻰ ﻣﺴﻴﺤﻰﻫﺎ ﺑﻮﺩ ﻛﻪ ﺁﻥﻫﺎ ﺭﺍ ﭼﻮﻥ ﺳﺎﻛﻨﻴﻦ ﻧﺠﺎﺳﺖ ﻭ ﻳﺦ ﻣﻌﺮﻓﻰ ﻣﻰﻛﺮﺩ‪ .‬ﺍﻳﻦ‬ ‫ﺷﻴﻄﺎﻥ ﺭﺟﻴﻢ ﺑﻴﺸﺘﺮ ﺑﻪ ﺁﻥ ﺩﺳﺘﻪﺍﻯ ﻣﻰﺧﻮﺭﺩ ﻛﻪ ﺳﺎﻻﺩ ﺳﻴﺐ ﺍﺗﺮﻳﺸﻰ ﺭﺍ ﺑﺎ ﺗﺨﻢ ﻣﺮﻍ ﻭ ﻭﺩﻛﺎ ﺻﺮﻑ‬ ‫ﻣﻰﻛﻨﻨﺪ‪ .‬ﻧﻪ ﺍﺯ ﺁﻥﻫﺎﻳﻰ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻣﻴﺎﻥ ﭼﻨﻴﻦ ﻣﺮﺍﺭﺗﻰ ﭘﻨﻬﺎﻥ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺍﻣﺎ ﻫﺮﻯ ﺩﺭ ﺭﺩﮔﻴﺮﻯ ﭼﺎﭼﺎﺕ ﺑﺎ ﺍﻣﻜﺎﻧﺎﺗﻰ ﻛﻪ ﺧﻮﺩﺵ ﺩﺭ ﻧﻘﺶ ﻳﻚ ﻣﺄﻣﻮﺭ ﻣﺨﻔﻰ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺩﺍﺷﺖ‪،‬‬ ‫ﺷﺪﻥ ﺍﻳﻦ‬ ‫ﺷﻜﺴﺖ ﺧﻮﺭﺩﻩ ﺑﻮﺩ‪ .‬ﺩﺭ ﻧﺘﻴﺠﻪ ﻧﺎﺍﻣﻴﺪﺍﻧﻪ ﭘﻴﺶ ﻧﻬﺎﻥﺑﻴﻦ ﻧﺎﺑﻴﻨﺎ ﺭﻓﺖ‪ .‬ﺍﻭ ﺩﺭ ﻗﺒﺎﻝ ﺭﻫﺎ‬ ‫ِ‬ ‫ﺷﻴﻄﺎﻥ ﻣﺴﺌﻮﻝ ﺑﻮﺩ ﻭ ﭘﻴﺶ ﻧﻮﺭﻣﺎ ﺑﻪ ﻗﺼﻮﺭﺵ ﺍﻋﺘﺮﺍﻑ ﻛﺮﺩ‪ .‬ﻇﺎﻫﺮﺍ ً ﺍﻭ ﺩﺭ ﺑﺮﺧﻮﺭﺩﻫﺎﻯ ﺍﺧﻴﺮﺵ ﺑﺎ‬ ‫ﮔﺎﻟﻒ ]‪ [2‬ﻭ ﺫﺭﻳﻪﺍﺵ‪ ،‬ﻫﻴﭻﻭﻗﺖ ﻳﺎﺩ ﻧﮕﺮﻓﺘﻪ ﺑﻮﺩ ﻛﻪ ﺩﻭﺯﺥ ﻫﻢ ﺩﺭ ﻓﺮﻳﺐﻛﺎﺭﻯ ﻭ ﺩﻏﻞﺑﺎﺯﻯ ﻧﺎﺑﻐﻪﺍﻯ‬ ‫ﺩﺭ ﭼﻨﺘﻪ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﻏﻴﺮ ﺍﻳﻦ ﺻﻮﺭﺕ ﭼﺮﺍ ﮔﻮﻝ ﻇﺎﻫ ِﺮ ﻛﻮﺩﻛﻰ ﺭﺍ ﺧﻮﺭﺩ ﻛﻪ ﺭﻭﻯ ﭘﺎﻳﺶ ﺑﻨﺪ ﻧﻤﻰﺷﺪ؟‬ ‫ﺁﻥ ﻫﻢ ﻭﻗﺘﻰ ﻛﻪ ﺩﺭ ﻭﺍﻗﻊ ﺍﺳﻠﺤﻪﺍﺵ ﺭﺍ ﺑﻪ ﺳﻮﻯ ﭼﺎﭼﺎﺕ ﻧﺸﺎﻧﻪ ﺭﻓﺘﻪ ﺑﻮﺩ‪ .‬ﺍﻟﺒﺘﻪ ﻛﻮﺩﻙ ﻫﻢ ﺑﻪ ﻣﺤﺾ‬ ‫ﺍﻳﻦ ﻛﻪ ﺣﻮﺍﺱ ﺣﺮﻳﻔﺶ ﺭﺍ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﻛﺎﻓﻰ ﭘﺮﺕ ﻛﺮﺩ‪ ،‬ﺩﻭﺩ ﺷﺪ ﻭ ﺑﻪ ﺁﺳﻤﺎﻥ ﺍﺑﺮﻯ ﺻﻌﻮﺩ ﻛﺮﺩ‪ .‬ﺑﻠﻪ‪،‬‬ ‫ﺷﻴﻄﺎﻥ ﻓﺮﺍﺭ ﻛﺮﺩ‪.‬‬ ‫ﻭ ﺣﺎﻻ‪ ،‬ﭘﺲ ﺍﺯ ﺳﻪ ﻫﻔﺘﻪ ﺗﻌﻘﻴﺐ ﻭ ﮔﺮﻳﺰ ﺑﻰﺣﺎﺻﻞ‪ ،‬ﺩﺭ ﻧﻴﻮﻳﻮﺭﻙ ﻣﻮﻗﻊ ﻛﺮﻳﺴﻤﺲ ﺭﺳﻴﺪﻩ ﺑﻮﺩ؛‬ ‫ﻓﺼﻞ ﭘﺎﻙﻃﻴﻨﺘﻰ ﻭ ﺧﻮﺩﻛﺸﻰ‪ .‬ﺧﻴﺎﺑﺎﻥﻫﺎ ﻏﻠﻐﻠﻪ ﺑﻮﺩﻧﺪ ﻭ ﻫﻮﺍ ﺩﺭ ﺣﻜﻢ ﻧﻤﻚ ﺭﻭﻯ ﺯﺧﻢ ﺑﻮﺩ ﻭ ﻣﺎﻝ‬ ‫ﻭ ﻣﻜﻨﺖ ﺩﺭ ﺟﻼﻝ ﻭ ﺟﺒﺮﻭﺕ‪ .‬ﺍﻭﺿﺎﻉ ﭼﻨﺎﻥ ﺑﺮﺍﻯ ﭼﺎﭼﺎﺕ ﻣﻨﺎﺳﺐ ﺑﻮﺩ ﻛﻪ ﻛﻤﺘﺮ ﻛﺴﻰ ﻣﺘﻮﺟﻪ‬ ‫ﻣﻰﺷﺪ‪ .‬ﻫﺮﻯ ﺑﺎﻳﺪ ﺷﻴﻄﺎﻥ ﺭﺍ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺁﺳﻴﺒﻰ ﺟﺪﻯ ﺑﻴﺎﻓﺮﻳﻨﺪ ﭘﻴﺪﺍ ﻣﻰﻛﺮﺩ‪ .‬ﭘﻴﺪﺍ ﻣﻰﻛﺮﺩ‬ ‫ﻭ ﺑﻪ ﻫﻤﺎﻥ ﺩﻭﺯﺧﻰ ﻣﻰﻓﺮﺳﺘﺎﺩ ﻛﻪ ﺍﺯ ﺁﻥ ﺁﻣﺪﻩ ﺑﻮﺩ‪ .‬ﺩﺭ ﺑﺪﺗﺮﻳﻦ ﺣﺎﻟﺖ ﺍﮔﺮ ﻣﺠﺒﻮﺭ ﻣﻰﺷﺪ ﺣﺘﺎ ﺍﺯ‬ ‫ﺍﻭﺭﺍﺩ ﺍﺳﺎﺭﺕ ﻫﻢ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﺮﺩ‪ .‬ﺍﻭﺭﺍﺩﻯ ﻛﻪ ﭘﺪﺭ ﻫﺲ ]‪ [3‬ﺑﺮﺍﻳﺶ ﻓﺎﺵ ﻛﺮﺩ ﻭ ﺍﻟﺒﺘﻪ ﭘﺸﺖﺑﻨﺪ‬ ‫ﺁﻥ ﭼﻨﺎﻥ ﻫﺸﺪﺍﺭﻫﺎﻯ ﻣﺨﻮﻓﻰ ﭼﺎﺷﻨﻰ ﻛﺮﺩ ﻛﻪ ﻫﺮﻯ ﻫﻴﭻﻭﻗﺖ ﺁﻥﻫﺎ ﺭﺍ ﺭﻭﻯ ﻛﺎﻏﺬ ﻫﻢ ﻧﻨﻮﺷﺖ‪.‬‬ ‫ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﻫﺮﻯ ﻫﻤﻪﻯ ﻫﺰﻳﻨﻪﻫﺎﻳﺶ ﺭﺍ ﮔﺮﺩﻥ ﻣﻰﮔﺮﻓﺖ ﺗﺎ ﭼﺎﭼﺎﺕ ﺩﺭ ﺍﻳﻦ ﺳﻮﻯ ﺑﺮﺯﺥ ﺷﺎﻫﺪ‬ ‫ﺭﻭﺯ ﻛﺮﻳﺴﻤﺲ ﻧﺒﺎﺷﺪ‪.‬‬ ‫ﺩﺭﻭﻥ ﺧﺎﻧﻪﻯ ﻭﺍﻗﻊ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﺭﻳﺞ‪ ،‬ﺳﺮﺩﺗﺮ ﺍﺯ ﺑﻴﺮﻭﻧﺶ ﺑﻮﺩ‪ .‬ﻣﻰﺗﻮﺍﻧﺴﺖ ﻧﻔﻮﺫ ﺳﺮﻣﺎ ﺑﻪ ﺩﺭﻭﻥ‬ ‫ﺟﻮﺭﺍﺏﻫﺎ ﻭ ﻛﺮﺥ ﺷﺪﻥ ﭘﺎﻫﺎﻳﺶ ﺭﺍ ﺣﺲ ﻛﻨﺪ‪ .‬ﺩﺍﺷﺖ ﺭﺍﻫﺶ ﺭﺍ ﺑﻪ ﭘﺎﮔﺮﺩ ﻃﺒﻘﻪﻯ ﺩﻭﻡ ﺑﺎﺯ ﻣﻰﻛﺮﺩ‬ ‫ﻛﻪ ﺻﺪﺍﻯ ﻧﺎﻟﻪﺍﻯ ﺷﻨﻴﺪ‪ .‬ﺑﺮﮔﺸﺖ‪ .‬ﻛﺎﻣ ً‬ ‫ﻼ ﻣﻨﺘﻈﺮ ﺑﻮﺩ ﭼﺎﭼﺎﺕ ﺭﺍ ﺁﻥﺟﺎ ﺑﺒﻴﻨﺪ ﻛﻪ ﺧﻮﺷﻪﻯ ﭼﺸﻤﺎﻧﺶ‬ ‫ﺩﺭ ﺁﻥ ﻭﺍﺣﺪ ﺑﻪ ﺩﻭﺍﺯﺩﻩ ﻃﺮﻑ ﻣﻰﻧﮕﺮﻳﺴﺖ ﻭ ﻣﻮﻫﺎﻯ ﺑﺪﻧﺶ ﻣﻮﺝ ﺑﺮ ﻣﻰﺩﺍﺷﺖ‪ .‬ﺍﻣﺎ ﻧﻪ‪ .‬ﺑﻪ ﺟﺎﻳﺶ ﺯﻧﻰ‬ ‫ﺟﻮﺍﻥ ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﺭﺍﻫﺮﻭ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﻇﺎﻫﺮﺵ ﻛﻪ ﺍﺯ ﺳﻮءﺗﻐﺬﻳﻪ ﺣﻜﺎﻳﺖ ﺩﺍﺷﺖ‪ ،‬ﺑﻪ ﭘﻮﺭﺗﻮﺭﻳﻜﻮﻳﻰﻫﺎ‬ ‫ﻣﻰﺧﻮﺭﺩ‪ .‬ﻫﻤﻴﻦ ﻳﻚ ﺑﺮﺩﺍﺷﺖ‪ ،‬ﺑﻪ ﺍﺿﺎﻓﻪﻯ ﺣﺎﻣﻠﮕﻰ ﺯﻥ ﺗﻤﺎﻡ ﭼﻴﺰﻯ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﻳﻚ ﻧﻈﺮ ﺩﺳﺘﮕﻴﺮ‬ ‫ﻫﺮﻯ ﺷﺪ‪ ،‬ﺳﭙﺲ ﺩﺧﺘﺮ ﺑﻪ ﺳﺮﻋﺖ ﺍﺯ ﭘﻠﻪﻫﺎ ﺑﻪ ﭘﺎﻳﻴﻦ ﺳﺮﺍﺯﻳﺮ ﺷﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﻭﺣﺸﺖ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺍﺭﻭﺍﺡ ﮔﻤﺸﺪﻩ‬ ‫ﻛﻼﻳﻮ ﺑﺎﺭﻛﺮ‬ ‫ﻣﺤﻤﺪ ﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‬

‫‪ ‬ﺗﻤﺎﻡ ﺁﻥﭼﻪ ﺯﻥ ﻧﺎﺑﻴﻨﺎ ﺍﺯ ﺩﻳﺪﻩﻫﺎﻳﺶ ﺑﺮﺍﻯ ﻫﺮﻯ ﺗﻌﺮﻳﻒ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺗﻤﺎﻡ ﻭ ﻛﻤﺎﻝ ﺣﻘﻴﻘﺖ‬ ‫ﺩﺍﺷﺖ‪ .‬ﭼﺸﻢ ﺩﺭﻭﻧﻰ ﻧﻮﺭﻣﺎ ﭘﻴﻦ ‪-‬ﺗﻮﺍﻧﺎﻳﻰ ﻓﻮﻕﺍﻟﻌﺎﺩﻩﺍﻯ ﻛﻪ ﺑﻪ ﺍﻭ ﺍﻣﻜﺎﻥ ﻣﻰﺩﺍﺩ ﺗﺎ ﺟﺰﻳﺮﻩﻯ‬ ‫ﻣﻨﻬﺘﻦ ﺭﺍ ﺍﺯ ﭘﻞ ﺑﺮﺍﺩﻭﻯ ﺗﺎ ﭘﺎﺭﻙ ﺑﺎﺗﺮﻯ ﺍﺳﻜﻦ ﻛﻨﺪ‪ ،‬ﺁﻥ ﻫﻢ ﺑﺪﻭﻥ ﺁﻥ ﻛﻪ ﺣﺘﺎ ﻳﻚ ﺫﺭﻩ ﺍﺯ‬ ‫ﺳﺮ ﺟﺎﻳﺶ ﺩﺭ ﺍﺗﺎﻕ ﻣﺤﻘﺮ ﺧﻴﺎﺑﺎﻥ ﻫﻔﺘﺎﺩ ﻭ ﭘﻨﺠﻢ ﺟﻢ ﺑﺨﻮﺭﺩ‪ -‬ﻣﺜﻞ ﭼﺸﻢ ﺗﺮﺩﺳﺘﻰ ﻛﻪ ﭼﺎﻗﻮ‬ ‫ﭘﺮﺗﺎﺏ ﻣﻰﻛﻨﺪ‪ ،‬ﺗﻴﺰ ﺑﻮﺩ‪ .‬ﺍﻳﻦﺟﺎ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﺭﻳﺞ ﺧﺎﻧﻪﺍﻯ ﻣﺘﺮﻭﻙ ﻭﺟﻮﺩ ﺩﺍﺷﺖ ﻛﻪ ﺧﺸﺖ ﻭ‬ ‫ﺁﺟﺮﺵ ﺩﻭﺩ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ .‬ﺳﮓ ﻣﺮﺩﻩﺍﻯ ﻛﻪ ﺯﻥ ﺗﻮﺻﻴﻒ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺩﺭﺳﺖ ﻫﻤﻴﻦﺟﺎ ﺍﻓﺘﺎﺩﻩ‬ ‫ﺑﻮﺩ‪ .‬ﭼﻨﺎﻥ ﺩﺭ ﮔﻮﺷﻪﻯ ﺩﻳﻮﺍﺭ ﺩﺭﺍﺯ ﻛﺸﻴﺪﻩ ﺑﻮﺩ ﻛﻪ ﺍﻧﮕﺎﺭ ﺧﻮﺍﺏ ﺍﺳﺖ‪ ،‬ﻓﻘﻂ ﻧﻴﻤﻰ ﺍﺯ ﺳﺮﺵ‬ ‫ﺩﻳﮕﺮ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ‪ .‬ﻭ ﺍﮔﺮ ﺑﻨﺎ ﺑﻮﺩ ﺣﺮﻑ ﻧﻮﺭﻣﺎ ﺭﺍ ﺑﺎﻭﺭ ﻛﻨﻴﻢ‪ ،‬ﺷﻴﻄﺎﻧﻰ ﻛﻪ ﻫﺮﻯ ﺑﻪ ﺩﻧﺒﺎﻟﺶ‬ ‫ﻣﻰﮔﺸﺖ‪ ،‬ﻫﻤﻴﻦﺟﺎ ﺑﻮﺩ‪ .‬ﺷﻴﻄﺎﻧﻰ ﺧﺠﺎﻟﺘﻰ ﻭ ﺑﻪ ﺷﺪﺕ ﺧﺒﻴﺚ ﺑﻪ ﻧﺎﻡ ﭼﺎﭼﺎﺕ ]‪.[1‬‬


‫ﻭﺭﻭﺩ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺑﻪ ﺍﺩﺑﻴﺎﺕ ﺍﻳﺮﺍﻥ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺑﺎ ﺗﺮﺟﻤﻪﻯ ﺁﺛﺎﺭ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻧﺨﺴﺘﻴﻦ ﺩﺭ ﺩﻭﺭﻩﻯ‬ ‫ﻗﺎﺟﺎﺭ ﺩﻧﺒﺎﻝ ﻛﺮﺩ‪ .‬ﻧﺨﺴﺘﻴﻦ ﺍﺛﺮ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻛﻪ ﺩﺭ ﺍﻳﺮﺍﻥ ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪﻩ ﺍﺳﺖ‪» ،‬ﺩﻭﺭ ﺩﻧﻴﺎ ﺩﺭ‬ ‫ﻫﺸﺘﺎﺩ ﺭﻭﺯ« ﺍﺛﺮ »ژﻭﻝ ﻭﺭﻥ« ﺍﺳﺖ ﻛﻪ ﻣﺤﻤﺪﺣﺴﻴﻦ ﺧﺎﻥ ﺫﻛﺎء ﺍﻟﻤﻠﻚ )ﻓﺮﻭﻏﻰ( ﺩﺭ ﺳﺎﻝ ‪1278‬‬ ‫ﺑﺎ ﻋﻨﻮﺍﻥ »ﺳﻔﺮ ﻫﺸﺘﺎﺩ ﺭﻭﺯﻩ ﺑﻪ ﺩﻭﺭ ﺩﻧﻴﺎ« ﺑﻪ ﻓﺎﺭﺳﻰ ﺗﺮﺟﻤﻪ ﻛﺮﺩ ﻭ ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ‪ ،‬ﻋﻠﻤﻰﺗﺨﻴﻠﻰ��� ‫ﺑﻪ ﻭﺍﺳﻄﻪ ﻳﻜﻰ ﺍﺯ ﻣﺸﻬﻮﺭﺗﺮﻳﻦ ﻛﺘﺎﺏﻫﺎﻯ ﺁﻏﺎﺯ ﺍﻳﻦ ﮔﻮﻧﻪﻯ ﺍﺩﺑﻰ ﻭﺍﺭﺩ ﺍﻳﺮﺍﻥ ﺷﺪ‪ .‬ﺩﺭ ﮔﺎﻡ ﺑﻌﺪ‪،‬‬ ‫»ﺳﻔﺮﻫﺎﻯ ﮔﺎﻟﻴﻮﺭ« )ﻛﻪ ﺑﻪ ﺍﻋﺘﻘﺎﺩ ﺑﺮﺧﻰ ﻣﻨﺘﻘﺪﺍﻥ ﺳﺮﭼﺸﻤﻪ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﺩ(‬ ‫ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻋﻨﻮﺍﻥ »ﺗﻔﺼﻴﻞ ﻣﺴﺎﻓﺮﺕ ﮔﻮﻟﻰﻭﺭ ﺩﺭ ﻣﻤﻠﻜﺖ ﻟﻰﻟﻰﭘﻮﺕ« ﻭ ﺑﻪ ﻫﻤﺖ ﻋﻠﻴﺮﺿﺎﻯ‬ ‫ﻣﺘﺮﺟﻢﺍﻟﺴﻠﻄﻨﻪ ﺩﺭ ﺳﺎﻝ ‪ 1280‬ﭼﺎپ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﺑﺮﮔﺮﺩﺍﻥ ﺗﻨﻬﺎ ﺷﺎﻣﻞ ﺩﻭ ﺑﺨﺶ ﺍﻭﻝ‬ ‫ﻛﺘﺎﺏ ﺍﺻﻠﻰ )ﺳﻔﺮ ﮔﺎﻟﻴﻮﺭ ﺑﻪ ﻟﻰﻟﻰﭘﻮﺕ ﻭ ﺑﻌﺪ ﺳﻔﺮ ﺑﻪ ﺳﺮﺯﻣﻴﻦ ﻏﻮﻝﻫﺎ( ﻣﻰﺷﻮﺩ ﻛﻪ ﺩﺭ ﺁﻥ ﺗﺨﻠﻴﺺ‬ ‫ﻧﻴﺰ ﺻﻮﺭﺕ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺑﻪ ﻓﺎﺻﻠﻪﻯ ﺩﻭ ﺳﺎﻝ ﺑﻌﺪ‪ ،‬ﻛﺘﺎﺏ »ﻣﺎﺟﺮﺍﻫﺎﻯ ﻧﺎﺧﺪﺍ ﻫﺎﺗﺮﺍﺱ« ﺍﺛﺮ ژﻭﻝ ﻭﺭﻥ‬ ‫ﺑﺎ ﻋﻨﻮﺍﻥ »ﺷﺮﺡ ﻣﺴﺎﻓﺮﺍﺕ ﻛﺎﭘﻴﺘﺎﻥ ﺍﻃﺮﺍﺱ« ﺗﻮﺳﻂ ﻣﺤﻤﺪﺣﺴﻦ ﺧﺎﻥ ﺍﻋﺘﻤﺎﺩﺍﻟﺴﻠﻄﻨﻪ ﺩﺭ ﺳﺎﻝ‬ ‫‪ 1282‬ﺗﺮﺟﻤﻪ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺍﻳﻦ ﻃﻮﺭ ﺷﺪ ﻛﻪ ﻋﻼﻗﻤﻨﺪﻯﻫﺎﻯ ﺷﺎﻫﺎﻥ ﻗﺎﺟﺎﺭ ﺑﻪ ﺳﻔﺮ ﻓﺮﻧﮕﺴﺘﺎﻥ ﻭ ﺑﻪ ﺳﻮﻏﺎﺕ ﺁﻭﺭﺩﻥ ﻣﺼﻨﻮﻋﺎﺕ‬ ‫ﻭ ﭘﻴﺸﺮﻓﺖﻫﺎﻯ ﻣﻤﺎﻟﻚ ﺧﺎﺭﺟﻪ‪ ،‬ﺑﺮﺍﻯ ﺁﻥﻫﺎ ﺍﮔﺮ ﭼﻪ ﺁﺏ ﻧﺸﺪ‪ ،‬ﺑﺮﺍﻯ ﻣﺎ ﻋﻼﻗﻤﻨﺪﺍﻥ ﺑﻪ ژﺍﻧﺮ ﻧﺎﻥ ﺷﺪﻩ‬ ‫ﺍﺳﺖ! ﺍﮔﺮ ﭼﻪ ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﻧﺒﺎﻳﺪ ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩ ﻛﻪ ﺍﺷﺘﺒﺎﻩ ﺩﺭ ﺑﺮﮔﺮﺩﺍﻥ ﺍﺳﺎﻣﻰ ﻭ ﺑﺮﺧﻰ ﻛﺎﺳﺘﻰﻫﺎ‬ ‫ﺩﺭ ﺗﺮﺟﻤﻪ ﻭ ﺣﺬﻓﻴﺎﺕ ﻣﺘﻦ‪ ،‬ﺟﺰﻭ ﻻﻳﻨﻔﻚ ﺁﻥ ﺗﺮﺟﻤﻪﻫﺎ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻧﺨﺴﺘﻴﻦ ﺍﺛﺮ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺗﺄﻟﻴﻔﻰ ﺍﻳﺮﺍﻧﻰ ﻫﻢ ﺑﺴﻴﺎﺭ ﺯﻭﺩ ﺍﺯ ﺭﺍﻩ ﻣﻰﺭﺳﺪ‪ .‬ﺩﺭ ﺳﺎﻝ ‪ ،1305‬ﻋﺒﺪﺍﻟﺤﺴﻴﻦ‬ ‫ﺻﻨﻌﺘﻰﺯﺍﺩﻩ ﻛﺮﻣﺎﻧﻰ‪ ،‬ﺩﺍﺳﺘﺎﻧﻰ ﺑﻪ ﻧﺎﻡ »ﻣﺠﻤﻊ ﺩﻳﻮﺍﻧﮕﺎﻥ« ﻣﻰﻧﻮﻳﺴﺪ ﻛﻪ ﺩﺭ ﺁﻥ‪ ،‬ﻋﺪﻩﺍﻯ ﺍﺯ ﺍﻫﺎﻟﻰ ﻳﻚ‬ ‫ﺩﻳﻮﺍﻧﻪﺧﺎﻧﻪ‪ ،‬ﺑﻪ ﻭﺍﺳﻄﻪ ﺧﻮﺍﺑﻰ ﺍﺷﺮﺍﻗﻰ‪ ،‬ﺟﺎﻣﻌﻪ ﺁﺭﻣﺎﻧﺸﻬﺮﻯ ﺩﻭ ﻫﺰﺍﺭ ﺳﺎﻝ ﺑﻌﺪ ﺭﺍ ﺗﺠﺮﺑﻪ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﻳﻜﻰ ﺍﺯ ﻭﻳﮋﮔﻰﻫﺎﻯ ﺍﻳﻦ ﺁﺭﻣﺎﻧﺸﻬﺮ‪ ،‬ﺩﻳﻮﺍﺭﻫﺎﻯ ﺗﻤﺎﻡ ﺷﻴﺸﻪﺍﻯ ﺧﺎﻧﻪﻫﺎ ﺍﺳﺖ ﻛﻪ ﺑﺴﻴﺎﺭ ﺑﻪ ﺁﻥﭼﻪ‬ ‫»ﻳﻮﮔﻨﻰ ﺯﺍﻣﻴﺎﺗﻴﻦ« ﺩﺭ ﻛﺘﺎﺏ »ﻣﺎ« ﺁﻭﺭﺩﻩ ﺍﺳﺖ ﺷﺒﺎﻫﺖ ﻭ ﻧﺸﺎﻥ ﺍﺯ ﺑﺪﻩ ﺑﺴﺘﺎﻥﻫﺎﻯ ﻓﺮﻫﻨﮕﻰ‬ ‫ﻋﻼﻗﻤﻨﺪﺍﻥ ژﺍﻧﺮ ﺑﺎ ﻧﻤﻮﻧﻪﻫﺎﻯ ﺧﺎﺭﺟﻰ ﺩﺍﺭﺩ!‬ ‫ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦ ﺳﺎﺑﻘﻪﻯ ﻃﻮﻻﻧﻰ ﻭ ﺭﻳﺸﻪﻯ ﻛﻬﻦ‪ ،‬ﻭ ﺑﺎ ﭘﺸﺘﻮﺍﻧﻪﻯ ﺑﻴﺶ ﺍﺯ ﺩﻩ ﺳﺎﻝ ﻛﺎﺭ ﮔﻤﺎﻧﻪﺯﻥ ﺩﺭ‬ ‫ﺣﻮﺯﻩﻯ ﻭﺏ ﻓﺎﺭﺳﻰ‪ ،‬ﺁﻥ ﻛﺎﺭﻫﺎﻯ ﻧﻜﺮﺩﻩﺍﻯ ﺭﺍ ﻛﻪ ﺑﺎﻻﺗﺮ ﺍﺷﺎﺭﻩﺍﻯ ﺑﻪ ﺑﺮﺧﻰﺷﺎﻥ ﺩﺍﺷﺘﻢ‪ ،‬ﻳﺎﺩﻣﺎﻥ‬ ‫ﻧﻤﻰﺭﻭﺩ‪ .‬ﻧﻤﻮﻧﻪﻯ ﻓﻌﺎﻟﻴﺖﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﺳﺎﻝﻫﺎﻯ ﺁﻳﻨﺪﻩ ﺑﻪ ﻫﻤﺮﺍﻫﻰ ﻭ ﭘﺸﺘﻴﺒﺎﻧﻰ ﻭ ﺣﻤﺎﻳﺖ ﻳﻜﺪﻳﮕﺮ‬ ‫ﺑﺎﻳﺪ ﺍﻧﺠﺎﻡ ﺩﻫﻴﻢ‪ ،‬ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﺩﺳﺘﻤﺎﻥ ﻣﻰﺭﺳﺪ؛ ﻭ ﺍﻟﺒﺘﻪ ﺩﺭ ﻛﻨﺎﺭﺵ ﻫﻢ ﻳﺎﺩﻣﺎﻥ ﻧﻤﻰﺭﻭﺩ ﻧﺴﻞ‬ ‫ﺑﻌﺪﻯ ﺭﺍ ﺭﺍﻫﻨﻤﺎﻳﻰ ﻭ ﺗﺸﻮﻳﻖ ﻛﻨﻴﻢ‪ .‬ﺗﻨﻬﺎ ﺑﻪ ﺍﻳﻦ ﺷﻴﻮﻩ ﻣﺴﻴﺮﻯ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﺳﺎﻝﻫﺎ ﺷﺮﻭﻉ ﺷﺪﻩ‬ ‫ﺍﺳﺖ‪ ،‬ﺩﺳﺖ ﻛﻢ ﺗﺎ ﺭﻭﺯﻯ ﻛﻪ ﺍﻭﻟﻴﻦ ﺑﺮﺧﻮﺭﺩ ﻧﺰﺩﻳﻚ ﺍﺯ ﻧﻮﻉ ﺳﻮﻡ ﺷﻜﻞ ﻧﮕﺮﻓﺘﻪ‪ ،‬ﻣﻰﺗﻮﺍﻧﺪ ﺍﺩﺍﻣﻪ‬ ‫ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﺣﺎﻻ ﺗﺎ »ﻓﺮﺩﺍﻯ ﺭﻭﺯ« ﻛﻪ ﺑﻬﺘﺮ ﺍﺯ »ﺍﻣﺮﻭﺯ«ﻣﺎﻥ ﺷﻮﻳﻢ‪ ،‬ﺍﻳﻦ ﺷﻤﺎ ﻫﺴﺘﻴﺪ‪» ...‬ﺷﮕﻔﺖﺯﺍﺭ« ﺑﺨﻮﺍﻧﻴﺪ‪ ،‬ﻭ‬ ‫ﺍﻟﺒﺘﻪ ﺧﻮﺍﻧﺪﻥ ﺁﻥ ﺭﺍ ﺑﻪ ﺩﻭﺳﺘﺎﻥ ﺩﻳﮕﺮ ﻫﻢ ﺗﻮﺻﻴﻪ ﻛﻨﻴﺪ!‬ ‫ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‬ ‫‪7‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬


‫ﺳﺨﻦ ﻣﺎﻩ‬ ‫ﻳﻜﻰ ﺍﺯ ﺭﻓﻘﺎﻯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰﺑﺎﺯ ﻭ ﻓﺎﻧﺘﺰﻯﺩﻭﺳﺖ‪ ،‬ﺭﻭﻯ ﺩﻳﻮﺍﺭ ﻳﻜﻰ ﺍﺯ ﺷﺒﻜﻪﻫﺎﻯ ﺍﺟﺘﻤﺎﻋﻰ ﺍﻳﻦ ﻃﻮﺭ‬ ‫ﺑﺮﺍﻳﻢ ﻧﻮﺷﺖ‪:‬‬

‫ﺧﺪﻣﺘﺘﺎن ﻋﺎرﺿﻢ ﮐﻪ از اﯾﻦ اﭘﺮاﺗﻮرﻫﺎی ﺗﻠﻔﻦ ﺑﯽ ﻧﺎم و ﻧﺸﺎن رﻣﺎن زﻣﺎنﻟﺮزهی وﻧﻪﮔﻮت ﻫﻢ‬ ‫ﮔﯿﺮﻣﺎن منﯽآﯾﺪ ﮐﻪ ﴎ ﺻﺒﺤﯽ زﻧﮓ ﺑﺰﻧﺪ و ﺑﮕﻮﯾﺪ‪» :‬ﺗﻮ ﺑﯿامر ﺑﻮدی و ﺣﺎﻻ ﻣﺪاوا ﺷﺪی و ﮐﺎرﻫﺎی‬ ‫زﯾﺎدی ﺑﺮای اﻧﺠﺎم دادن داری‪ .‬ﺳﺎﻋﺖ ﻫﻔﺖ ﺑﺎﻣﺪاد و دﻣﺎی ﻫﻮا ﺳﯽ و دو درﺟﻪی ﻓﺎرﻧﻬﺎﯾﺖ‬ ‫ﯾﺎ ﺻﻔﺮ درﺟﻪی ﺳﺎﻧﺘﯿﮕﺮاد اﺳﺖ‪«.‬‬ ‫ﺑﻪ ﺍﻳﻦ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻡ ﺍﮔﺮ ﻗﺮﺍﺭ ﺑﺎﺷﺪ ﺩﺭ ﺯﻣﻴﻨﻪﻯ ﻫﻤﻴﻦ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﻓﺎﺭﺳﻰ‪ ،‬ﻓﻬﺮﺳﺘﻰ ﺩﺭﺑﺎﺭﻩﻯ‬ ‫»ﭼﻪ ﻛﺎﺭﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺑﺮﺍﻯ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻥ« ﺩﺭﺳﺖ ﻛﻨﻴﻢ‪ ،‬ﻭ ﺻﺮﻓﺎً ﻫﻢ ﺑﻪ ﺩﺭﺝ ﻋﻨﺎﻭﻳﻦ‪ ،‬ﺑﺪﻭﻥ ﺗﻮﺿﻴﺢ‪،‬‬ ‫ﺑﺴﻨﺪﻩ ﻛﻨﻴﻢ‪ ،‬ﭼﻨﺪ ﺻﻔﺤﻪ ﺧﻮﺍﻫﺪ ﺑﺮﺩ؟ ﺩﺳﺘﻪﺑﻨﺪﻯﻫﺎﻳﺶ ﺭﺍ ﭼﻄﻮﺭ ﺑﺎﻳﺪ ﺩﺭﺳﺖ ﻛﻨﻴﻢ؟ ﻓﻬﺮﺳﺖ‬ ‫ﻛﺘﺎﺏﻫﺎﻯ ﺗﺮﺟﻤﻪ ﻧﺸﺪﻩ؟ ﺷﻴﻮﻩﻫﺎﻯ ﺩﺍﺳﺘﺎﻥﻧﻮﻳﺴﻰ ﻧﻴﺎﻣﻮﺧﺘﻪ؟ ﭘﺮﻭژﻩﻫﺎﻯ ﻧﻈﺮﻯ ﺍﻧﺠﺎﻡ ﻧﺪﺍﺩﻩ؟‬ ‫ﻓﻬﺮﺳﺖﻫﺎﻯ ﻣﻮﺿﻮﻋﻰ ﻭ ﻛﺘﺎﺏﺷﻨﺎﺳﻰ ﺗﺪﻭﻳﻦ ﻧﺸﺪﻩ؟ ﻣﻘﺎﻟﻪﺷﻨﺎﺳﻰ ﺗﺄﻟﻴﻔﺎﺕ ژﺍﻧﺮ ﺩﺭ ﻣﺠﻼﺕ ﻓﺎﺭﺳﻰ؟‬ ‫ﺧﺐ‪ ،‬ﺗﺎ ﻫﻤﻴﻦ ﺟﺎﻳﺶ ﺑﻪ ﺣﺪ ﻛﺎﻓﻰ ﺍﻓﺴﺮﺩﮔﻰ ﻣﻰﺳﺎﺯﺩ‪ ،‬ﻭ ﭼﻴﺰﻯ ﻛﻪ ﺑﻪ ﻣﻨﺎﺳﺐ ﺳﻰ ﺷﻤﺎﺭﻩ ﺍﻧﺘﺸﺎﺭ‬ ‫»ﺷﮕﻔﺖﺯﺍﺭ« ﻧﻴﺎﺯ ﻧﺪﺍﺭﻳﻢ‪ ،‬ﻫﻤﻴﻦ ﺍﻓﺴﺮﺩﮔﻰ ﻭ ﻧﺎﺍﻣﻴﺪﻯ ﺍﺳﺖ! ﭘﺲ ﺑﮕﺬﺍﺭﻳﺪ ﺑﺮﺍﻯ ﺑﺰﺭﮔﺪﺍﺷﺖ ﺳﻰ‬ ‫ﺷﻤﺎﺭﻩ ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‪ ،‬ﻛﻤﻰ ﺍﺯ ﺗﺎﺭﻳﺦ ژﺍﻧﺮ ﺑﮕﻮﻳﻢ ﻭ ﺍﺯ ﺁﻥ ﺩﺳﺖ ﺍﻃﻼﻋﺎﺗﻰ ﺭﺍ ﻣﺮﻭﺭ ﻛﻨﻢ‬ ‫ﻛﻪ ﺻﺤﺒﺖ ﺍﺯ ﺁﻥ ﺩﺭ ﺟﻤﻊ ﺭﻓﻘﺎﻯ ژﺍﻧﺮﺑﺎﺯ‪ ،‬ﺑﻪ ﺗﻤﺎﻡ ﺟﻤﻊ ﻟﺬﺕ ﻭ ﻫﻴﺠﺎﻥ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﺩﻭﺳﺖ ﺩﺍﺭﻡ ﺩﺭ ﺍﻳﻦ ﭼﻨﺪ ﺳﻄﺮ ﺍﺯ ﭼﻴﺰﻯ ﺑﮕﻮﻳﻢ ﻛﻪ ﺣﺘﻰ ﺑﺎ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻦ ﺗﻤﺎﻡ ﺑﻰﻣﻬﺮﻯﻫﺎ ﻭ‬ ‫ﺑﻰﺗﻮﺟﻬﻰﻫﺎ ﺑﻪ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﺩﺭ ﻃﻮﻝ ﺗﺎﺭﻳﺦ ﺍﺩﺑﻴﺎﺕ ﻣﻌﺎﺻﺮ ﺍﻳﺮﺍﻥ ‪-‬ﻛﻪ ﺍﻟﺒﺘﻪ ﺩﻫﻪﻯ ‪ 80‬ﺑﻪ‬ ‫ﻧﻮﻋﻰ ﺍﺯ ﺁﻥ ﻣﺴﺘﺜﻨﻰ ﺷﺪﻩ ﺍﺳﺖ‪ -‬ﻧﺸﺎﻥ ﺍﺯ ﺍﻳﻦ ﺩﺍﺭﺩ ﻛﻪ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﻓﺎﺭﺳﻰ ﺑﺎ ﺗﻤﺎﻡ ﺍﻳﻦ‬ ‫ﻛﻢﻟﻄﻔﻰﻫﺎ‪ ،‬ﺁﻥ ﭼﻨﺎﻥ ﻫﻢ ﺑﻰﺭﻳﺸﻪ ﻧﻴﺴﺖ ﻭ ﻧﻪ ﺗﻨﻬﺎ ﺳﺎﺑﻘﻪﺍﻯ ﻃﻮﻻﻧﻰ ﺩﺍﺭﺩ؛ ﻛﻪ ﺑﺎ ﻭﺟﻮﺩ ﻣﻮﻧﻪﻫﺎﻳﻰ‬ ‫ﺁﻥ ﭼﻨﺎﻥ ﺗﺎﺭﻳﺨﻰ ﻣﺒﺎﻫﺎﺕ ﻃﺮﻓﺪﺍﺭﺍﻥ ژﺍﻧﺮ ﺭﺍ ﺑﻪ ﻫﻤﺮﺍﻩ ﺩﺍﺭﺩ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ ،30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

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‫ﺑﺨﺶ ﺳﻮﻡ‪ :‬ﭘﺮﻭﻧﺪﻩ‬ ‫‪88‬‬

‫ﺳﻴﻨﻤﺎ‪ :‬ﻭﻗﺘﻰ ژﺍﭘﻦ ﺑﻪ ﺳﻴﻨﻤﺎ ﻣﻰﺭﻭﺩ‬ ‫ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

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‫ﺳﻴﻨﻤﺎ‪ :‬ﺧﺰﻧﺪﻩﻯ ﺁﺳﻤﺎﻥ‬ ‫ﺍﻟﻬﻪ ﻣﺮﺍﺩﻯ‬

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‫ﻛﻤﻴﻚ‪ :‬ﻧﺨﺴﺘﻴﻦ ﻗﺎﻧﻮﻥ‬ ‫ﻣﺤﻤﺪ ﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‬

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‫ﻛﺘﺎﺏ‪ :‬ﺍﻓﺴﺎﻧﻪ ﺑﻪ ﺳﺒﻚ ﭘﻮﻟﻤﻦ‬ ‫ﻓﺮﺯﺍﺩ ﺧﻠﻴﻠﻴﺎﻥ‬

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‫ﻛﺘﺎﺏ‪ :‬ﻣﺮﺩﻩﺍﻯ ﻛﻪ ﺣﺎﻟﺶ ﺧﻮﺏ ﺍﺳﺖ‬ ‫ﺍﻣﻴﺮﺣﺴﻴﻦ ﻛﺮﻳﻢﭘﻨﺎﻩ‬

‫ﺑﺨﺶ ﭼﻬﺎﺭﻡ‪ :‬ﭘﺎﻭﺭﻗﻰ‬ ‫‪114‬‬

‫ﻓﺮﻫﺎﺩ ﺩﻳﻮ َﺩﺭ )ﺑﺨﺶ ﺍﻭﻝ(‬ ‫ﻫﺎﻧﻴﻪ ﺳﺎﺩﺍﺕ ﺳﺮﻛﻰ‬


‫ﻓﻬﺮﺳﺖ‬

‫ﺳﺨﻦ ﻣﺎﻩ‬

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‫ﺑﺨﺶ ﺍﻭﻝ‪ :‬ﺩﺍﺳﺘﺎﻥ‬ ‫ﻭﺣﺸﺖ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﺍﺭﻭﺍﺡ ﮔﻤﺸﺪﻩ‬

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‫ﻛﻼﻳﻮ ﺑﺎﺭﻛﺮ ‪ /‬ﻣﺤﻤﺪ ﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‬

‫ﻓﺎﻧﺘﺰﻯ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﻛﻼﻡ ﺍﺯ ﺑﻨﺪ ﺭﻫﺎﻧﻴﺪﻥ‬

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‫ﺍﻭﺭﺳﻮﻻ ﻙ‪ .‬ﻟﮕﻮﻳﻴﻦ ‪ /‬ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬

‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﻣﺎﺷﻴﻦ ﺗﺮﻭﺭﻝ‬

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‫ﺍﺳﺘﺎﻧﻴﺴﻼﻭ ﻟﻢ ‪ /‬ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

‫ﻓﺎﻧﺘﺰﻯ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﺩﺍﺳﺘﺎﻥ ﺍژﺩﻫﺎ‬

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‫ﻛﺮﺳﻴﺪﺍ ﻛﺎﻭﻝ ‪ /‬ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

‫ﻭﺣﺸﺖ‪ ،‬ﻧﮕﺎﺭﺵ‪ :‬ﮔﺮﻳﺨﺘﻪ‬

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‫ﺯﻫﺮﺍ ﺳﺎﺩﺍﺕ ﻋﻤﺮﺍﻧﻰ‬

‫ﺑﺨﺶ ﺩﻭﻡ‪ :‬ﻣﻘﺎﻟﻪ‬ ‫ﺳﻮﺍﺭ ﺑﺮ ﺧﻴﺎﻝ ﺍژﺩﻫﺎﻯ ﻓﺎﻧﺘﺰﻯ‬

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‫ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‬

‫ﻣﺮﺗﺪﺍﻥ ﺭﺳﺘﮕﺎﺭ ﺭﺳﺘﺎﺧﻴﺰ‬ ‫ﭘﺮﻭﻧﺪﻩﺍﻯ ﺩﺭﺑﺎﺭﻩﻯ ﺭﺯﻡﻧﺎﻣﻪﻯ »ﻧﺎﺑﻮﺩﮔﺮ«‬ ‫ﻧﺎﺻﺮ ﺣﺎﻓﻈﻰ ﻣﻄﻠﻖ‬

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‫ﻣﻦ ﭼﺮا ﻓﺎﻧﺘﺰی ﻣﯽﺧﻮاﻧﻢ؟ واﻗﻌﺎ منﯽداﻧﻢ‪ ،‬و واﻗﻌﺎ ﺑﺮای ﻣﻦ ﻣﻬﻢ ﻧﯿﺴﺖ‪ .‬ﻓﻘﻂ ﻣﯽداﻧﻢ ﮐﻪ ﺑﺎ دﯾﺪن ﭼﻨﯿﻦ واژﮔﺎﻧﯽ‬ ‫ﻣﻮﺟﻮدﯾﺘﯽ در ﻣﻦ ﺑﯿﺪار ﻣﯽﺷﻮد و ﺑﻪ ﺷﻮق ﻣﯽاﻓﺘﺪ و واﮐﻨﺶ ﻧﺸﺎن ﻣﯽدﻫﺪ‪.‬‬ ‫)ﻟﯿﻦ ﮐﺎرﺗﺮ(‬


‫ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬ ‫ﺳﺎﻝ ﺳﻮﻡ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ، 30-31‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬

‫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 :‬ﻧﺎﺻﺮ ﺣﺎﻓﻈﻰ ﻣﻄﻠﻖ‪ ،‬ﻓﺮﺯﺍﺩ ﺧﻠﻴﻠﻴﺎﻥ‪ ،‬ﻫﺎﻧﻴﻪ ﺳﺎﺩﺍﺕ ﺳﺮﻛﻰ‪،‬‬ ‫ﻣﺤﻤﺪ ﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‪ ،‬ﺯﻫﺮﺍ ﺳﺎﺩﺍﺕ ﻋﻤﺮﺍﻧﻰ‪،‬‬ ‫ﺍﻣﻴﺮﺣﺴﻴﻦ ﻛﺮﻳﻢﭘﻨﺎﻩ‪ ،‬ﺍﻟﻬﻪ ﻣﺮﺍﺩﻯ‬ ‫ﺻﻔﺤــــــﻪ ﺁ ﺭ ﺍ ﻳـــــﻰ ‪ :‬ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‬ ‫ﻧﺸـــــــﺎﻧﻰ ﻭﺑــــﮕﺎﻩ‪:‬‬

‫‪www.fantasy.ir‬‬

‫ﭘـــﺴﺖ ﺍﻟﻜﺘﺮﻭﻧﻴــــﻚ‪:‬‬

‫‪mag@fantasy.ir‬‬

‫ﻃــــــﺮﺡ‬

‫ﺟﻠــــــﺪ‪:‬‬

‫ﺩﻳﺰﻯ ﺭﻯ )‪ ،(Daisy Ray‬ﻣﺎﺭﭘﻴﭻ ﺩﺍﻍ‬

‫‪ ::.‬ﺍﺭﻭﺍﺡ ﮔﻤﺸﺪﻩ ‪.::‬‬

‫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 ‫‪ ، 30‬ﺧﺮﺩﺍﺩ ﻭ ﺗﻴﺮ ‪1392‬‬ ‫ﺳﺎﻝ ﺳﻮﻡ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪30--31‬‬


Wonderland vol03 no30&31 fantasy ir