Issuu

‫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

‫ﺑﺮﮔﺰﻳﺪﻩﻯ ﻓﻨﺰﻳﻦ‬

‫ﺁﺧﺮﻳﻦ ﻳﺨﺒﻨﺪﺍﻥ ﺑﺰﺭگ ﺗﺎ ﺍﻣﺸﺐ ﭼﻨﻴﻦ ﺁﺷﻜﺎﺭ‬ ‫ﻧﺒﻮﺩﻩ‪ .‬ﭼﻨﻴﻦ ﻣﺮﺍ ﮔﺮﺳﻨﻪ ﻧﻜﺮﺩﻩ‪ .‬ﺍﻣﺸﺐ ﺭﺍ ﺑﻪ‬ ‫ﻳﺎﺩ ﻗﺪﻳﺴﺎﻧﻰ ﻛﻪ ﺧﻮﻧﺸﺎﻥ ﺭﺍ ﻧﻮﺷﻴﺪﻩﺍﻡ‪ ،‬ﺑﻪ‬ ‫ﺑﺎﺯﻣﺎﻧﺪﻫﻰ ﺍﻧﺴﺎﻥ ﻣﻰﻧﮕﺮﻡ‪ .‬ﭘﺮ ﺍﺳﭙﺮﺍ ﺍﺩ ﺍﺳﺘﺮﺍ‪.‬‬ ‫ﺍﺯ ﺭﺍﻩﻫﺎﻯ ﺧﺎﻛﻰ ﺗﺎ ﺳﺘﺎﺭﮔﺎﻥ‪ .‬ﻭ ﺑﻪ ﻳﺎﺩ ﻫﻤﻪﻯ‬ ‫ﺳﺘﺎﺭﻩﻫﺎﻯ ﺭﺍﻛﻰ ﻛﻪ ﺩﻧﺪﺍﻥﻫﺎﻳﻢ ﺭﺍ ﺩﺭ ﮔﺮﺩﻧﺸﺎﻥ ﺍﺳﺖ‪ .‬ﻣﺎ ﻣﻮﺭﻓﻴﻦ ﺑﺸﺮ ﺧﻮﺍﻫﻴﻢ ﺷﺪ‪.‬‬ ‫ﻓﺮﻭ ﻛﺮﺩﻩﺍﻡ‪ .‬ﺑﻪ ﺩﺭﻭﻥ ﻗﻠﺒﻢ ﻛﻪ ﻣﻰﻧﮕﺮﻡ‪ ،‬ﺍﻣﺸﺐ ﺑﻪ ﺁﺧﺮﻳﻦﻫﺎﻳﺸﺎﻥ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻢ‪ .‬ﺷﺎﻳﺪ‬ ‫ﺳﻴﺎﻫﻰﺍﺵ ﺭﺍ ﻣﻰﻓﻬﻤﻢ‪ .‬ﻭ ﻫﻤﻪﻯ ﺩﻧﻴﺎ ﺍﻳﻦ ﺧﻮﻥ ﻳﻜﻰ ﺩﻭ ﺗﺎ ﺭﺍ ﺑﻤﻜﻢ؛ ﺍﻧﺪﻛﻰ ﺍﺷﻚ ﺑﺮﻳﺰﻡ‪.‬‬ ‫ﺧﺎﺻﻴﺖ ﭘﮕﺎﻧﻰ ﺭﺍ ﭘﻴﺪﺍ ﻛﺮﺩﻩ‪ .‬ﻣﺘﺮﺻﺪ ﺁﻧﻢ ﻛﻪ ﺑﻌﺪ ﺑﻪ ﺗﺎﺑﻮﺗﻢ ﺑﺎﺯ ﺧﻮﺍﻫﻢ ﮔﺸﺖ‪ .‬ﻓﺮﺩﺍ ﺑﻪ ﺳﻤﺖ‬ ‫ﺧﺪﺍﻳﺎﻥ ﻭ ﺍﻳﺰﺩﺍﻥ ﺧﺮﺩ ﻭ ﺩﺭﺷﺖ ﻛﻤﻜﻢ ﺍﺯ ﺧﻮﺍﺏ ﻟﻨﻴﻨﮕﺮﺍﺩ ﺣﺮﻛﺖ ﻣﻰﻛﻨﻢ‪.‬‬ ‫ﺑﻴﺪﺍﺭ ﺷﻮﻧﺪ ﻭ ﺑﺎﺭ ﺩﻳﮕﺮ ﺩﺭ ﺟﻨﮕﻞﻫﺎﻯ ﺗﺎﺯﻩ‬ ‫ﺭﻳﺸﻪ ﺩﻭﺍﻧﺪﻩ‪ ،‬ﺩﻭﺭ ﺑﻴﻔﺘﻨﺪ‪ .‬ﺑﺎﻛﻮﺱ ﻭ ﻧﻴﻤﻒﻫﺎ‬ ‫ﻭ ﺩﺭﻳﺎﺩﻫﺎﻳﺶ‪.‬‬ ‫ﺍﺯ ﺍﻳﻦﺟﺎ‪ ،‬ﺗﭙﻪﻫﺎﻯ ﻧﻮﺭﻣﺎﻧﺪﻯ‪ ،‬ﺑﻪ ﺳﻤﺖ ﺳﻨﺖ‬ ‫ﭘﻴﺘﺮﺯﺑﻮﺭگ ﻣﻰﺭﻭﻡ‪ .‬ﻣﻰﺧﻮﺍﻫﻢ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ‬ ‫ﻓﺮﺻﺖ ﺍﺯ ﺩﺳﺖ ﺑﺮﻭﺩ‪ ،‬ﻗﺒﺮ ﻟﻨﻴﻦ ﺭﺍ ﺑﺒﻴﻨﻢ‪ .‬ﭼﻮﻥ‬ ‫ﻫﻴﭻﻭﻗﺖ ﻣﻄﻤﺌﻦ ﻧﺒﻮﺩﻡ ﻛﻪ ﺑﺪﻧﺶ ﺳﺎﻟﻢ ﻣﺎﻧﺪﻩ‪.‬‬ ‫ﺩﻭﺳﺖ ﺩﺍﺭﻡ ﺁﻥﺟﺎ ﺑﺎﻳﺴﺘﻢ ﻭ ﻛﻠﻤﺎﺕ ژﻭﻟﻴﻮﺱ‬ ‫ﺳﺰﺍﺭ ﺩﺭﺑﺎﺭﻩﻯ ﺍﺳﻜﻨﺪﺭ ﺭﺍ ﺑﻪ ﺍﻭ ﺑﮕﻮﻳﻢ‪ .‬ﺍﻳﻦ ﺭﻭﺵ‬ ‫ﺗﺴﻠﻴﺖ ﻣﻦ ﺑﻪ ﺑﺸﺮﻳﺖ ﺑﺮﺍﻯ ﭘﺎﻳﺎﻧﺶ ﺍﺳﺖ‪ .‬ﺍﻳﻦ‬ ‫ﺧﺪﺍﺣﺎﻓﻈﻰ ﻣﻦ ﺍﺳﺖ‪ .‬ﺩﻭﺳﺖ ﻧﺪﺍﺭﻡ ﻛﺴﻰ‬ ‫ﺗﺼﻮﺭ ﻛﻨﺪ ﺍﻳﻦ ﺧﺪﺍﺣﺎﻓﻈﻰ‪ ،‬ﺷﺒﻴﻪ ﺧﺪﺍﺣﺎﻓﻈﻰ‬ ‫ﻣﺮﺩﻯ ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﻯ ﻫﻤﻴﺸﻪ ﮔﻮﺭﻣﻰ ﺭﺍ ﻛﻨﺎﺭ‬ ‫ﮔﺬﺍﺷﺘﻪ‪ .‬ﺍﻳﻦ ﺧﺪﺍﺣﺎﻓﻈﻰ ﺑﺒﺮﻯ ﺑﺎ ﮔﻠﻪﻯ ﻏﺰﺍﻝﻫﺎ‬ ‫ﻧﻴﺴﺖ‪ .‬ﻣﻦ ﻣﺮﺩﻯ ﻫﺴﺘﻢ ﻛﻪ ﺍﺯ ﺳﺎﻟﻦ ﺍﭘﺮﺍﻯ‬ ‫ﻓﻴﻼﺭﻣﻮﻧﻴﻚ ﻣﻮﻧﻴﺦ ﺧﺎﺭﺝ ﻣﻰﺷﻮﺩ ﻭ ﺍﺯ ﻋﻘﺒﺶ‬ ‫ﺁﻥ ﺭﺍ ﺑﻪ ﺳﺎﻥ ﺭﻭﻡ‪ ،‬ﺑﻪ ﺁﺗﺶ ﻣﻰﻛﺸﺪ‪ .‬ﺍﺯ ﻓﺮﺩﺍ‬ ‫ﺑﺮﺍﺩﺭﺍﻧﻢ ﺩﺳﺖ ﺑﻪ ﺟﻬﺎﺩﻯ ﺧﻮﺍﻫﻨﺪ ﺯﺩ ﺗﺎ ﺍﻳﻦ‬

‫ﺗﻘﻼﻯ ﺑﻴﻬﻮﺩﻩ ﺭﺍ ﻳﻚ ﺑﺎﺭ ﺑﺮﺍﻯ ﻫﻤﻴﺸﻪ ﺑﻪ ﭘﺎﻳﺎﻥ‬ ‫ﺑﺮﺳﺎﻧﻨﺪ‪ .‬ﻭ ﻭﻗﺘﻰ ﺳﻪ ﺭﻭﺯ ﺩﻳﮕﺮ ﺧﻮﺭﺷﻴﺪ ﺳﺮﺥ‬ ‫ﺳﺮ ﺑﺰﻧﺪ‪ ،‬ﺍﻧﺴﺎﻥ ﺑﻪ ﺍﺗﻤﺎﻡ ﺭﺳﻴﺪﻩ ﺍﺳﺖ‪ .‬ﭘﺮ‬ ‫ﻋﻈﻤﺖﺍﻧﺪ ﺳﺘﺎﺭﮔﺎﻥ ﻭ ﺍﻧﺴﺎﻥ ﺩﺭ ﺑﺮﺍﺑﺮﺷﺎﻥ ﻫﻴﭻ‬ ‫ﺍﺳﺖ‪ .‬ﺍﻧﺴﺎﻥ ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩﻩ ﻭ ﺩﺭ ﺣﺎﻝ ﭘﻮﺳﻴﺪﻥ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ | 22-23‬ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫‪188‬‬

‫ﻣﻦ ﺑﻪ ﻳﺎﺩ ﻣﻰﺁﻭﺭﻡ ﺩﻳﻮﺍﺭﻫﺎﻯ ﺳﻬﮕﻮﺱ ﺩژ‬ ‫ﻛﻨﺴﺘﺎﻧﺘﻴﻨﺎﭘﻮﻟﻰ ﺭﺍ‪ .‬ﻭ ﺗﻤﺎﻡ ﺑﺎﺭﻫﺎﻳﻰ ﺭﺍ ﻛﻪ ﺩژ‬ ‫ﺗﺴﻠﻴﻢ ﻧﻴﺮﻭﻳﻰ ﻣﺘﺨﺎﺻﻢ ﺷﺪ‪ .‬ﻭ ﺩﺍﻣﺎﺳﻜﻮﺱ‬ ‫ﺭﺍ ﻛﻪ ﺑﺎﺭﻫﺎ ﺩﺳﺖ ﺑﻪ ﺩﺳﺖ ﮔﺸﺖ ﻭ ﻫﻴﭻﻭﻗﺖ‬ ‫ﺭﻧﮓ ﺁﺭﺍﻣﺶ ﺑﻪ ﺧﻮﺩ ﻧﺪﻳﺪ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﺩﺭ ﺑﺮﺍﺑﺮ‬ ‫ﺩﻳﺪﻩﻫﺎﻯ ﻣﻦ ﺑﻪ ﺳﺎﻥ ﺭﻭﻳﺎﻳﻰ ﺍﺳﺖ‪ .‬ﺷﺎﻳﺪ ﺧﻮﺍﺏ‬ ‫ﺍﻳﻦ ﺑﺎﺭﺍﻥ ﺁﺑﻰﺭﻧﮓ ﺭﺍ ﺑﺎﺭﻫﺎ ﺩﻳﺪﻩﺍﻡ‪ .‬ﺧﻮﺍﺏ ﺭﻭﺯﻯ‬ ‫ﻛﻪ ﺳﻄﺢ ﺯﻣﻴﻦ ﺭﺍ ﻭﻳﺮﺍﻧﻪﻫﺎﻯ ﺗﻤﺪﻥ ﺍﻧﺴﺎﻥ‬ ‫ﺑﭙﻮﺷﺎﻧﻨﺪ ﻭ ﺩﺭ ﺑﻴﻦ ﺳﺘﻮﻥﻫﺎﻯ ﺑﺘﻨﻰ ﻭ ﻓﻮﻻﺩﻯ‪،‬‬ ‫ﺗﻨﻪﻯ ﺧﻤﻴﺪﻩ ﻭ ﭘﻴﭽﻨﺪﻫﻰ ﭘﻴﭽﻚ ﺑﺨﺰﺩ‪.‬‬ ‫ﺍﺯ ﺭﻭﻯ ﺗﭙﻪﺍﻯ ﻛﻪ ﺑﺮ ﺁﻥ ﻫﺴﺘﻢ‪ ،‬ﺑﺮﺝﻫﺎﻯ‬ ‫ﺑﺴﻴﺎﺭﻯ ﺭﺍ ﻣﻰﺑﻴﻨﻢ ﻭ ﺧﺎﻛﺴﺘﺮﻯ ﻛﻪ ﺍﺯ ﺁﻥﻫﺎ‬ ‫ﺑﻠﻨﺪ ﻣﻰﺷﻮﺩ‪ .‬ﻫﻤﻪ ﭼﻴﺰ‪ ،‬ﻫﻤﻴﺸﻪ ﺣﺘﺎ ﺍﮔﺮ ﻳﻚ‬ ‫ﺍﻳﻨﭻ ﺩﺭ ﺳﺎﻋﺖ‪ ،‬ﻣﻰﺳﻮﺯﺩ‪.‬‬ ‫ﺍﻧﺴﺎﻥﻫﺎ ﻳﺎ ﺁﻥﭼﻪ ﺍﺯ ﺁﻥﻫﺎ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻩ‪ ،‬ﺩﺭ ﻣﻴﺎﻥ‬ ‫ﺧﺮﺍﺑﻪﻫﺎﻯ ﭘﺪﺭﺍﻧﺸﺎﻥ‪ ،‬ﺑﻰﺷﺒﺎﻫﺖ ﺑﻪ ﺍﻭﻟﻴﻦ‬ ‫ﺳﻠﺴﻠﻪﺷﺎﻥ ﻧﻴﺴﺘﻨﺪ‪ .‬ﻧﻪ ﺯﺑﺎﻧﻰ ﻫﺴﺖ ﻭ ﻧﻪ‬ ‫ﺍﻳﺪﻩﺍﻯ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﺧﺸﻜﻴﺪﻩ‪.‬‬ ‫ﮔﺎﻫﻰ ﺑﻪ ﺍﻳﻦ ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﻛﻪ ﻭﻗﺘﻰ ﺍﻧﺴﺎﻥ ﺍﺯ‬ ‫ﺭﻭﻯ ﺯﻣﻴﻦ ﻣﺤﻮ ﺷﻮﺩ‪ ،‬ﭼﻪ ﺑﺮ ﺳﺮ ﻣﺎ ﻣﻰﺁﻳﺪ‪.‬‬ ‫ﻣﺎ ﻭﺍﺭﺙ ﺍﮔﺮ ﻧﻪ ﺗﻤﺪﻧﺸﺎﻥ‪ ،‬ﺍﻣﺎ ﻫﻨﺮﺷﺎﻥ ﺧﻮﺍﻫﻴﻢ‬ ‫ﺑﻮﺩ‪ .‬ﺣﺘﺎ ﺍﮔﺮ ﺩﺭ ﺁﺧﺮﻳﻦ ﻟﺤﻈﻪ ﻫﻴﭻ ﻛﺪﺍﻡ ﺑﻪ‬ ‫ﻳﺎﺩ ﺍﻳﻦ ﻧﺒﻮﺩﻩﺍﻧﺪ ﻛﻪ ﺍﻧﺴﺎﻥ ﺑﻮﺩﻥ ﻳﻌﻨﻰ ﻧﻐﻤﻪﺍﻯ‬ ‫ﺩﻟﻨﺸﻴﻦ ﺩﺭ ﻣﺘﻦ ﺳﻤﻔﻮﻧﻰ ﻛﻤﺎﻝ‪ .‬ﭼﻮﻥ ﺍﻳﻦ‬ ‫ﻣﺮگﻫﺎﻯ ﺑﺴﻴﺎﺭ ﻭ ﺍﻳﻦ ﺧﺮﺍﺑﻰﻫﺎ‪ ،‬ﺭﻧﮓ ﺗﺮﺍژﺩﻯ‬ ‫ﺭﺍ ﺍﺯ ﻫﻤﻪ ﭼﻴﺰ ﺯﺩﻭﺩﻩ‪ .‬ﺍﻳﻦ ﺟﻬﺎﻥ ﺑﻪ ﻟﺤﻨﻰ‬ ‫ﻛﻤﺪﻯﻭﺍﺭ‪ ،‬ﺑﻪ ﭘﺎﻳﺎﻥ ﺧﻮﺩﺵ ﻧﺰﺩﻳﻚ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻫﻤﻪ ﭼﻴﺰ ﺁﺷﻮﺏ ﺍﺳﺖ‪ .‬ﻭ ﺷﺎﻳﺪ ﻣﺴﻴﺮ ﺩﺭﺳﺖ‬

‫‪187‬‬

‫ﻫﻢ ﻫﻤﻴﻦ ﺍﺳﺖ‪ .‬ﻣﺎ ﭘﻴﺶ ﺍﺯ ﺁﻥﻫﺎ ﺑﻮﺩﻩﺍﻳﻢ‪ .‬ﻣﺎ ﺑﻪ‬ ‫ﺧﻮﺑﻰ ﺑﻪ ﻳﺎﺩ ﺩﺍﺭﻳﻢ ﻛﻪ ﺍﻳﻦ ﺍﺗﻔﺎﻗﺎﺕ ﺗﻨﻬﺎ ﺗﻜﺮﺍﺭﻯ‬ ‫ﭼﺮﺧﻪﻭﺍﺭ ﺍﺯ ﭼﻴﺰﻫﺎﻳﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﻮﺩﻩﺍﻧﺪ ﻭ ﺑﺎﺯ‬ ‫ﺧﻮﺍﻫﻨﺪ ﺑﻮﺩ‪.‬‬ ‫ﻳﻌﻨﻰ ﺑﻌﺪ ﺍﺯ ﺁﻥﻫﺎ ﭼﻪ ﻛﺴﻰ ﺑﺮﺧﻮﺍﻫﺪ ﺧﻮﺍﺳﺖ؟‬ ‫ﺑﻮﺯﻳﻨﻪﻫﺎ؟ ﺩﻟﻔﻴﻦﻫﺎ؟ ﮔﺮﺑﻪﻫﺎ ﻳﺎ ﺷﺎﻳﺪ ﺣﺸﺮﺍﺕ؟‬ ‫ﻫﺮ ﭼﻴﺰﻯ ﻛﻪ ﺍﺯ ﺧﺮﺍﺑﻪﻫﺎﻯ ﺍﻳﻦ ﺗﻤﺪﻥ ﺑﻴﺮﻭﻥ‬ ‫ﺑﺨﺰﺩ‪ ،‬ﻣﺎ ﺷﺎﻫﺪﺵ ﺧﻮﺍﻫﻴﻢ ﺑﻮﺩ‪ .‬ﻣﺎ ﺗﺎ ﺭﻭﺯﻯ‬ ‫ﻛﻪ ﺧﻮﺭﺷﻴﺪ ﺍﺯ ﺑﻴﻦ ﺑﺮﻭﺩ‪ ،‬ﻳﺎ ﺁﻥﻃﻮﺭ ﻛﻪ ﻭﻳﻠﻴﺎﻡ‬ ‫ﺍﻭﻻﻑ ﺍﺳﺘﺎﭘﻠﺪﻭﻥ ﮔﻤﺎﻧﻪﺯﻧﻰ ﻣﻰﻛﺮﺩ‪ ،‬ﺍﺭﻏﻮﺍﻧﻰ‬ ‫ﺷﻮﺩ‪ ،‬ﻭﻗﺖ ﺩﺍﺭﻳﻢ‪ .‬ﻣﺎ ﺷﺎﻫﺪ ﻫﺴﺘﻴﻢ‪ .‬ﻫﻤﺎﻥ ﻃﻮﺭ‬ ‫ﻛﻪ ﺷﺎﻫﺪ ﺑﻮﺩﻳﻢ ﻣﺮﺩﻩﻫﺎﻯ ﺍﻳﺸﺘﺮ ﺍﺯ ﺩﺭﻭﺍﺯﻩﻫﺎﻯ‬ ‫ﻫﺎﺩﺱ ﮔﺬﺷﺘﻨﺪ ﻭ ﺍﺯ ﺯﻧﺪﻩﻫﺎ ﭘﺮﺗﻌﺪﺍﺩﺗﺮ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺧﻮﻧﺸﺎﻥ ﻃﻌﻢ ﺑﺪﻯ ﺩﺍﺭﺩ‪ .‬ﺧﻮﻧﺸﺎﻥ ﻃﻌﻢ ﻓﺴﺎﺩ‬ ‫ﻛﺎﻏﺬ ﻭ ﺣﺸﺮﻩﺍﻯ ﺩﺭ ﻣﻴﺎﻥ ﻛﺘﺎﺑﻰ ﺭﺍ ﻣﻰﺩﻫﺪ‬ ‫ﻛﻪ ﺳﺎﻝﻫﺎ ﺑﻪ ﺩﻧﺒﺎﻟﺶ ﮔﺸﺘﻪﺍﻯ ﻭ ﻭﻗﺘﻰ ﺩﺭ‬ ‫ﺯﻳﺮﺷﻴﺮﻭﺍﻧﻰ ﺧﺎﻧﻪﺍﻯ ﻗﺪﻳﻤﻰ ﻣﻰﻳﺎﺑﻰﺍﺵ‪،‬‬ ‫ﺷﻔﻴﺮﻩﺍﻯ ﺍﻫﺮﻳﻤﻨﻰ ﺩﺭ ﻣﻴﺎﻧﺶ ﻣﻰﻳﺎﺑﻰ‪ .‬ﺗﺼﻮﺭ‬ ‫ﻛﻨﻴﺪ ﺁﻥ ﺣﺸﺮﻩ ﭼﻪ ﻭﺣﺸﺖ ﻋﻈﻴﻤﻰ ﺍﺳﺖ‪.‬‬ ‫ﻣﺮﺩﻩﻫﺎﻯ ﺍﻳﺸﺘﺮ ﻃﻌﻢ ﭘﺎﻳﺎﻥ ﻣﻰﺩﻫﻨﺪ‪ .‬ﺍﻳﻦ‬ ‫ﺍﺳﻤﻰ ﺍﺳﺖ ﻛﻪ ﺑﺮ ﺁﻥﻫﺎ ﮔﺬﺍﺷﺘﻪﺍﻳﻢ‪ .‬ﭼﻮﻥ ﺍﻳﻦ‬ ‫ﻃﺎﻋﻮﻥ ﺑﻪ ﭘﺎﻳﻪﺍﻯ ﺑﻰﺭﺣﻤﺎﻧﻪ ﻭ ﻏﻴﺮﻣﻨﻄﻘﻰ ﺍﺳﺖ‬ ‫ﻭ ﭘﺎﻳﺪﺍﺭ ﻛﻪ ﺑﻪ ﻋﺬﺍﺑﻰ ﺗﻮﺭﺍﺗﻰ ﻣﻰﻣﺎﻧﺪ‪ .‬ﺍﻧﺴﺎﻥﻫﺎ‬ ‫ﺧﻴﻠﻰ ﺳﺎﺩﻩ ﺍﺳﻤﺸﺎﻥ ﺭﺍ ﺯﺍﻣﺒﻰ ﮔﺬﺍﺷﺘﻪﺍﻧﺪ‪.‬‬ ‫ﺍﻣﺸﺐ ﻛﻪ ﺭﻭﻯ ﺍﻳﻦ ﺗﭙﻪ ﺍﻳﺴﺘﺎﺩﻩﺍﻡ‪ ،‬ﭼﻮﻥ ﺑﺎ‬ ‫ﺑﻮﺩﻧﺸﺎﻥ ﻳﺎ ﺍﺯ ﺑﻴﻦ ﺭﻓﺘﻨﺸﺎﻥ ﻣﺎ ﺯﻧﺪﺍﻧﻴﺎﻥ ﺷﺐ‬ ‫ﻫﺴﺘﻴﻢ‪ ،‬ﺁﺳﻤﺎﻥ ﺑﺴﻴﺎﺭ ﺯﻳﺒﺎﺳﺖ‪ .‬ﺳﺮﺧﻰ ﺧﻮﻥ‬ ‫ﺑﺴﺘﺮ ﺧﺪﺍﻳﺎﻥ ﻭ ﺍﺳﻄﻮﺭﻫﻪﺍﻯ ﺑﺸﺮ ﻫﺮﮔﺰ ﺍﺯ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ | 22-23‬ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺍﻳﻦ ﺭﻭ ﺍﻻﻥ ﻣﻰﻓﻬﻤﻢ‪ ...‬ﺑﺎﻳﺪ ﻣﺪﺕﻫﺎﻯ ﭘﻴﺶ‬ ‫ﻣﻰﺫﺍﺷﺘﻢ ﺑﺮﻩ‪ ...‬ﻫﻴﭻ ﺩﺍﺳﺘﺎﻥ ﺣﺰﻗﻴﻞ ﻧﺒﻰ ﺭﻭ‬ ‫ﺷﻨﻴﺪﻯ؟«‬ ‫ﻣﻦ ﺳﻜﻮﺕ ﻛﺮﺩﻡ‪ .‬ﺍﻭ ﻣﻨﺘﻈﺮ ﺟﻮﺍﺑﻢ ﻧﺸﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﻗﺒﻠﺶ ﺭﻓﺘﻪ ﺑﻮﺩ‪ .‬ﻓﺎﺟﻌﻪ ﻧﺒﻮﺩ ﻛﻪ ﺣﺎﻟﻰﺍﻡ ﻛﺮﺩ‬ ‫ﻛﻪ ﺯﻧﺪﮔﻰﺍﻡ ﻫﻤﻴﺸﻪ ﭼﻘﺪﺭ ﺧﺎﻟﻰ ﺑﻮﺩﻩ‪ .‬ﺯﻣﺎﻧﻰ‬ ‫ﺑﺎﻳﺪ ﺩﺭ ﻓﺎﺟﻌﻪ ﺯﻧﺪﮔﻰ ﻛﻨﻰ ﺗﺎ ﺑﻔﻬﻤﻰ ﺯﻧﺪﮔﻴﺎﺕ‬ ‫ﻫﻴﭻ ﺑﻮﺩﻩ‪ .‬ﺳﺎﻳﻪﻫﺎﻳﻰ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﺣﺰﻗﻴﻞ ﻧﺒﻰ ﺭﺍ‬ ‫ﺑﻪ ﺧﺎﻃﺮ ﺁﻭﺭﺩﻡ‪ .‬ﻭﻗﺘﻰ ﻛﻪ ﺑﺮ ﻗﻮﻣﺶ ﺧﺸﻤﻨﺎﻙ‬ ‫ﻣﻰﺷﻮﺩ ﻭ ﻫﻤﻪﻯ ﺁﻥﻫﺎ ﺭﺍ ﻣﻰﻣﻴﺮﺍﻧﺪ‪ .‬ﺩﺭ ﻧﻬﺎﻳﺖ‬ ‫ﺑﻪ ﺯﻧﺪﮔﻰ ﺑﺮﺷﺎﻥ ﻣﻰﮔﺮﺩﺍﻧﺪ‪ .‬ﺍﻣﺎ ﺁﻳﺎ ﺁﻧﺎﻥ ﺑﻌﺪ‬

‫ﺍﺯ ﺑﺎﺯﮔﺸﺖ ﺑﻪ ﺣﻴﺎﺕ‪ ،‬ﺯﻧﺪﻩﺍﻧﺪ؟ ﺧﻮﺩ ﺣﺰﻗﻴﻞ‬ ‫ﭼﻄﻮﺭ؟ ﺍﻭ ﻧﻤﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﻳﺎ ﺗﻨﻬﺎ ﺷﺒﺤﻰ ﺍﺯ ﭼﻴﺰﻯ‬ ‫ﺑﻮﺩ ﻛﻪ ﺯﻧﺪﻩ ﻣﻰﺧﻮﺍﻧﺪﻧﺪﺵ؟‬ ‫ﺑﻪ ﺣﺮﻛﺎﺕ ﺧﺸﻚ ﺣﺰﻗﻴﻞ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻢ ﻛﻪ‬ ‫ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﺣﺮﻑ ﺑﺰﻧﺪ‪ ،‬ﺳﻌﻰ ﻣﻰﻛﻨﺪ ﺑﺎ‬ ‫ﺯﺣﻤﺖ ﺗﻴﻐﻪﻯ ﻓﻠﺰﻯ ﮔﺮﺩﻭﻧﻪ ﺭﺍ ﺑﭽﺮﺧﺎﻧﺪ‪.‬‬ ‫ﻣﻰﺧﻮﺍﻫﻢ ﺑﺨﻮﺍﻧﻤﺶ‪ ،‬ﺍﻣﺎ ﻣﻨﺼﺮﻑ ﻣﻰﺷﻮﻡ‪.‬‬ ‫ﺗﻮﺟﻬﻢ ﺭﺍ ﭼﻴﺰﻯ ﺟﻠﺐ ﻣﻰﻛﻨﺪ ﻛﻪ ﻣﺪﺕﻫﺎﺳﺖ‬ ‫ﺩﺭ ﭼﺸﻢﺍﻡ ﺟﺎ ﺧﻮﺵ ﻛﺮﺩﻩ‪ .‬ﻧﻮﻙ ﺗﻴﺰ ﻭ‬ ‫ﺩﺭﺧﺸﺎﻥ ﺗﻴﻐﻪ ﻛﻪ ﻫﺮ ﻗﻠﺒﻰ ﺭﺍ ﺍﺯ ﻫﻢ ﻣﻰﺩﺭﺩ‪.‬‬ ‫ﺭﻭﻯ ﺑﺮﻣﻰﮔﺮﺩﺍﻧﻢ‪ .‬ﺩﻳﮕﺮ ﻧﻤﻰﺧﻮﺍﻧﻤﺶ‪.‬‬

‫ﺧﻮﺍﺏ ﻭ ﺑﻴﺪﺍﺭﻯ ﺧﻮﻥﺁﺷﺎﻣﻰ‬ ‫ﻓﺮﺍﺯ ﺗﭙﻪﻫﺎﻯ ﻧﻮﺭﻣﺎﻧﺪﻯ ﺑﺮ ﺳﺮ ﺑﺎﻟﻴﻦ ﺍﻧﺴﺎﻥ‬ ‫ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬ ‫ﻣﻦ ﺍﺯ ﺯﻣﺎﻧﻰ ﻛﻪ ﺍﻧﺴﺎﻧﻬﺎ ﺑﺮﻫﻨﻪ ﺑﻪ ﺩﻭﺭ ﺁﺗﺶ‬ ‫ﻣﻰﺭﻗﺼﻴﺪﻧﺪ‪ ،‬ﺗﺎ ﻭﻗﺘﻰ ﺭﺍ ﻛﻪ ﺷﭙﺶ ﺩﺭ ﺟﺒﻬﻪﻯ‬ ‫ﻭﺍﺗﺮﻟﻮ ﺍﺯ ﺗﻨﺸﺎﻥ ﺑﺎﻻ ﻣﻰﺭﻓﺖ‪ ،‬ﺑﻪ ﺧﺎﻃﺮ ﻣﻰﺁﻭﺭﻡ‪.‬‬ ‫ﻣﻦ ﻳﺎﺩﻡ ﻫﺴﺖ ﻭﻗﺘﻰ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﮔﺘﺴﺒﻰ‬ ‫ِ‬ ‫ﺑﺰﺭگ ﺍﺳﻜﺎﺕ ﻓﻴﺘﺰﺟﺮﺍﻟﺪ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﮔﺮﻓﺘﻢ ﻭ‬ ‫ﺍﻓﺴﺎﻧﻪﻫﺎﻯ ﻣﺮﻳﺨﻰ ﺑﺮﺩﺑﺮﻯ ﺭﺍ ﻭﺭﻕ ﺯﺩﻡ‪.‬‬ ‫ﺍﺯ ﺗﭙﻪﺍﻯ ﻛﻪ ﻣﻦ ﺍﻳﺴﺘﺎﺩﻩﺍﻡ‪ ،‬ﻣﺜﻞ ﺭﻭﻳﺎﻯ ﻓﻮﺕ‬ ‫ﻛﺮﺩﻥ ﻗﺎﺻﺪﻙ ﺩﺭ ﺑﺎﺩﻯ ﻛﻪ ﻓﺮﺍﻣﻮﺷﻰ ﻣﻰﺁﻭﺭﺩ‪،‬‬ ‫ﻧﻘﺎﻃﻰ ﺁﺑﻰﺭﻧﮓ ﺭﺍ ﻣﻰﺑﻴﻨﻢ ﻛﻪ ﺍﺯ ﺁﺳﻤﺎﻥ ﻓﺮﻭ‬ ‫ﻣﻰﺭﻳﺰﻧﺪ‪ .‬ﺍﻳﻦﻫﺎ ﻣﺎﻫﻮﺍﺭﻩ ﻫﺴﺘﻨﺪ‪ .‬ﻣﺎﻫﻮﺍﺭﻩﻫﺎﻳﻰ‬ ‫ﻛﻪ ﺍﺯ ﻣﺪﺍﺭ ﺧﺎﺭﺝ ﻣﻰﺷﻮﻧﺪ ﻭ ﺑﺎﻻﺧﺮﻩ ﺑﻪ ﻭﻃﻨﺸﺎﻥ‬ ‫‪186‬‬

‫ﺑﺎﺯﻣﻰﮔﺮﺩﻧﺪ‪ .‬ﻭﻃﻨﻰ ﻛﻪ ﻣﻘﺮﺭ ﺷﺪﻩ ﺑﻮﺩ ﻫﺮﮔﺰ ﺑﻪ‬ ‫ﺁﻥ ﺑﺎﺯﻧﮕﺮﺩﻧﺪ‪ .‬ﺁﻥﻫﺎ ﺍﺯ ﻓﻮﺍﺻﻞ ﻣﺨﺘﻠﻔﻰ ﺑﻪ ﺧﺎﻧﻪ‬ ‫ﺑﺎﺯﻣﻰﮔﺮﺩﻧﺪ‪ .‬ﺑﺮﺧﻰ ﻓﻘﻂ ﺭﻧﮕﻰ ﺩﺭ ﺍﻓﻖ ﻫﺴﺘﻨﺪ‬ ‫ﻭ ﻛﻤﺘﺮ ﺯﺧﻤﻰ ﻫﺴﺘﻨﺪ ﺑﺮ ﺑﺪﻥ ﺯﻣﻴﻦ‪.‬‬ ‫ﺯﺧﻢﻫﺎﻯ ﺁﺧﺮ‪ .‬ﺍﻳﻦﻫﺎ ﭘﺎﻳﺎﻧﺎﻧﺪ‪ .‬ﻳﻜﻰ ﻫﺴﺖ ﻛﻪ ﺍﺯ‬ ‫ﺩﻳﮕﺮﺍﻥ ﺑﺎﺭﻫﺎ ﺑﺰﺭگﺗﺮ ﺍﺳﺖ ﻭ ﻭﻗﺘﻰ ﻓﺮﻭﺩ ﻣﻰﺁﻳﺪ‪،‬‬ ‫ﻟﺮﺯﺷﻰ ﺍﻳﺠﺎﺩ ﻣﻰﻛﻨﺪ ﻛﻪ »ﺑﺎﻗﻴﻤﺎﻧﺪﻩﻫﺎ«‪،‬‬ ‫»ﭘﻮﻛﻪﻫﺎ« ﻳﺎ ﻫﻤﺎﻥ ﻣﺮﺩﻩﻫﺎﻯ ﺍﻳﺸﺘﺮ‪ ،‬ﻫﻤﮕﻰ‬ ‫ﺑﻪ ﺳﻮﻳﺶ ﺗﻠﻮﺗﻠﻮ ﻣﻰﺧﻮﺭﻧﺪ‪ .‬ﺳﺘﺎﺭﻫﺎﻯ ﻛﻪ ﻛﻠﻴﺪ‬ ‫ﭼﺎﻫﻰ ﺭﺍ ﺩﺍﺭﺩ ﻛﻪ ﺍﻧﺘﻬﺎ ﻧﺪﺍﺭﺩ ﻭ ﻣﻠﺦﻫﺎﻳﻰ ﺭﺍ ﺁﺯﺍﺩ‬ ‫ﻣﻰﻛﻨﺪ ﻛﻪ ﺑﺮﺍﻯ ﺟﻨﮓ ﺁﺭﺍﺳﺘﻪ ﺷﺪﻩﺍﻧﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ | 22-23‬ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺑﺮﮔﺰﻳﺪﻩﻯ ﻓﻨﺰﻳﻦ‬

‫ﻣﺪﺕﻫﺎ ﻗﺒﻞ ﺍﺯ ﺭﻭﺯ ﻣﺮﺩﻩﻫﺎ‪.‬‬ ‫ﻣﺮﺩ ﺑﺎ ﺍﻧﮕﺸﺖ ﺍﺷﺎﺭﻩﺍﺵ ﺍﺳﻤﺎﻋﻴﻞ ﺭﺍ ﻧﺸﺎﻧﻪ ﺭﻓﺘﻪ‬ ‫ﺑﻮﺩ ﻭ ﺑﺎ ﻧﮕﺎﻩ ﻣﺒﻬﻮﺕ‪ ،‬ﻭ ﺑﺎ ﻟﺤﻦ ﺳﺮﺩﺵ‪.‬‬ ‫»ﺍﻳﻦ ﺍﺯ ﺍﻭﻥ ﻣﺮﺩﻩﻫﺎﻯ ﺑﻴﺮﻭﻥ ﻧﻴﺴﺖ؟«‬ ‫»ﻧﮕﺮﺍﻥ ﻧﺒﺎﺷﻴﻦ ﺁﻗﺎ‪ .‬ﺍﻫﻠﻰ ﻧﻴﺴﺖ‪ ،‬ﻭﻟﻰ ﺑﻰﺁﺯﺍﺭﻩ‪.‬‬ ‫ﺍﻣﺎ ﺣﺮﻓﻢ ﻧﻤﻰﺯﻧﻪ‪ .‬ﮔﺎﻫﻰ ﺍﻳﻦﻗﺪﺭ ﺣﺮﻑ ﻧﻤﻰﺯﻧﻪ‬ ‫ﻛﻪ ﺩﻟﻢ ﺍﺯ ﺻﺪﺍﻯ ﺗﻠﻖﺗﻮﻟﻮﻕ ﺁﻫﻦ ﻏﻤﺒﺎﺩ‬ ‫ﻣﻰﮔﻴﺮﻩ‪ ...‬ﭼﻴﺰﻯ ﻣﻰﺧﻮﺍﺳﺘﻴﻦ؟«‬ ‫ﻣﺮﺩ ﻧﮕﺎﻫﺶ ﺭﺍ ﺍﺯ ﺭﻭﻯ ﺁﺳﺘﻴﻦﻫﺎﻯ ﭘﺎﺭﻩﻯ‬ ‫ﺍﺳﻤﺎﻋﻴﻞ ﺭﻭﻯ ﺻﻮﺭﺕ ﺍﺯ ﺭﻳﺨﺖ ﺍﻓﺘﺎﺩﻩﺍﺵ‬ ‫ﮔﺮﺩﺍﻧﺪ‪ .‬ﺑﻪ ﻣﻦ ﻧﮕﺎﻩ ﻧﻤﻰﻛﺮﺩ‪ ،‬ﭼﻮﻥ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ‬ ‫ﻣﻦ ﻧﻴﺴﺖ‪ .‬ﺍﺳﻤﺎﻋﻴﻞ ﺗﻴﻐﻪﻯ ﺁﻫﻨﻰ ﺭﺍ ﻫﻢﭼﻨﺎﻥ‬ ‫ﻣﻰﭼﺮﺧﺎﻧﺪ‪ .‬ﺍﻭ ﺍﺳﻤﺎﻋﻴﻞ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‪ ،‬ﺍﻧﮕﺎﺭ‬ ‫ﻛﺘﺎﺑﻰ ﺭﺍ ﺍﺯ ﺭﻭ ﺑﺨﻮﺍﻧﺪ‪.‬‬ ‫»ﻏﺬﺍﻳﻰ ﺍﻭﻥ ﺑﻴﺮﻭﻥ ﻧﻴﺴﺖ‪ .‬ﺍﻟﺒﺘﻪ ﺑﺮﺍﻯ ﻣﺎ‪ .‬ﻧﻪ‬ ‫ﺑﺮﺍﻯ ﺍﻭﻧﺎ ﻛﻪ ﻣﺎ ﺑﺮﺍﺷﻮﻥ ﺣﻜﻢ ﻏﺬﺍ ﺭﻭ ﺩﺍﺭﻳﻢ‪.‬‬ ‫ﻣﻰﺩﻭﻧﻢ ﺍﮔﺮ ﭼﻴﺰﻯ ﺑﺨﻮﺍﻳﻢ‪ ،‬ﺑﻬﺎﻳﻰ‪«...‬‬ ‫»ﻧﻪ ﻟﺰﻭﻣﺎً‪ .‬ﺷﺎﻳﺪ ﭼﺮﺍ‪ .‬ﺑﺎﻳﺪ ﺑﺎﺯﻯ ﻛﻨﻰ‪«...‬‬ ‫»ﻣﻦ ﺑﺎﺯﻯ ﻣﻰﻛﺮﺩﻡ‪ ،‬ﺧﻴﻠﻰ ﻭﻗﺖ ﭘﻴﺶ‪ ...‬ﺯﻣﺎﻧﻰ‬ ‫ﻛﻪ‪«...‬‬ ‫»ﺭﻓﻴﻖ‪ ،‬ﮔﺬﺷﺘﻪﻫﺎ ﺗﺎﺭﻳﺨﻪ‪ ...‬ﺑﻰﺧﻴﺎﻟﺶ‪...‬‬ ‫ﻣﻰﺧﻮﺍﻯ ﻗﻮﺍﻋﺪ ﺭﻭ ﺑﮕﻢ؟«‬ ‫»ﺗﺎﺭﻳﺨﻪ ﻛﻪ ﭘﺪﺭ ﺁﺩﻡ ﺭﻭ ﺩﺭﻣﻴﺎﺭﻩ‪ .‬ﺑﮕﻮ‪«.‬‬ ‫ﻟﺤﻈﻪﺍﻯ ﺑﻪ ﺻﻮﺭﺕ ﺩﺧﺘﺮﻙ ﻧﮕﺎﻩ ﻛﺮﺩﻡ‪ .‬ﺍﺯ‬ ‫ﺳﺮﻣﺎ ﺗﻜﻴﺪﻩ ﺑﻮﺩ ﻭ ﺑﺎﻳﺪ ﺭﻭﻯ ﺑﺮﻣﻰﮔﺮﺩﺍﻧﺪﻡ‪ .‬ﺑﺎﻳﺪ‬ ‫ﺑﻪ ﺍﺳﻤﺎﻋﻴﻞ ﮔﺎﻩ ﻣﻰﻛﺮﺩﻡ‪ ،‬ﭼﻮﻥ ﺍﻧﮕﺎﺭ ﻭﺯﻧﻪﻯ‬ ‫ﻣﺮﻛﺰﻯ ﺗﻤﺎﻡ ﺍﺗﺎﻕ ﺍﺳﻤﺎﻋﻴﻞ ﺑﻮﺩ‪ .‬ﺩﺧﺘﺮ ﺣﺮﻑ‬ ‫ﻧﻤﻰﺯﺩ‪ .‬ﻣﺜﻞ ﺍﺳﻤﺎﻋﻴﻞ‪ .‬ﺩﺭ ﺑﺪﻧﺶ ﺧﻮﻥ ﺟﺮﻳﺎﻥ‬ ‫ﺩﺍﺷﺖ؛ ﺍﻣﺎ ﺁﻫﺴﺘﻪ ﻭ ﺁﻫﺴﺘﻪﺗﺮ ﻣﻰﺷﺪ‪ .‬ﭘﺲ‬ ‫ﻟﻌﻨﺘﻰ‪ ،‬ﭼﻪ ﻓﺮﻗﻰ ﻣﻴﺎﻥ ﻣﺮﺩﻩ ﻭ ﺯﻧﺪﻩ ﺑﻮﺩ؟‬

‫ﺟﻮﺍﺏ ﺩﺍﺩﻡ‪» :‬ﺍﺳﻤﺶ ﺍﺳﻤﺎﻋﻴﻠﻪ‪ ...‬ﻳﻌﻨﻰ‬ ‫ﺍﺳﻤﺎﻋﻴﻠﺶ ﺑﺨﻮﻥ‪ .‬ﺗﻮ ﺍﻧﺘﺨﺎﺏ ﻣﻰﻛﻨﻰ‪ .‬ﺯﻭﺝ ﻳﺎ‬ ‫ﻓﺮﺩ‪ ...‬ﻭ ﺍﺳﻤﺎﻋﻴﻞ ﮔﺮﺩﻭﻧﻪ ﺭﻭ ﻣﻰﭼﺮﺧﻮﻧﻪ‪ ...‬ﺩﺭ‬ ‫ﺻﻮﺭﺗﻰ ﺑﺮﻧﺪﻩ ﻣﻰﺷﻰ ﻛﻪ‪«...‬‬ ‫»ﻧﻪ‪ .‬ﺍﮔﻪ ﺑﺒﺎﺯﻡ ﭼﻰ؟«‬ ‫ﻣﻜﺜﻰ ﻛﺮﺩﻡ‪ .‬ﺍﻧﺘﻈﺎﺭ ﻧﺪﺍﺷﺘﻢ ﺍﻳﻦ ﺭﺍ ﺑﭙﺮﺳﺪ‪.‬‬ ‫»ﺧﺐ‪ ،‬ﻣﻦ ﻳﻪ ﺧﻮﻥﺁﺷﺎﻣﻢ‪ ...‬ﺩﻧﺪﻭﻧﻢ ﺭﻭ ﻣﻰﺫﺍﺭﻡ‬ ‫ﺭﻭﻯ ﺭگ ﮔﺮﺩﻧﺖ ﻭ ﺍﻭﻧﻘﺪﺭ ﻣﻰﻣﻜﻢ ﺗﺎ ﺗﻤﻮﻡ‬ ‫ﺑﺪﻧﺖ ﺍﺯ ﺧﻮﻥ ﺧﺸﻚ ﺑﺸﻪ‪«.‬‬ ‫»ﻧﻪ‪ ،‬ﻣﻦ ﺑﺎﺯﻯ ﻧﻤﻰﻛﻨﻢ‪«.‬‬ ‫ﻋﺼﺒﺎﻧﻰ ﺷﺪﻩ ﺑﻮﺩﻡ‪ .‬ﺍﻭ ﺟﻮﺍﺏ ﺭﺍ ﺍﺯ ﻗﺒﻞ‬ ‫ﻣﻰﺩﺍﻧﺴﺖ ﻭ ﺍﺯ ﻟﺒﺨﻨﺪ ﺗﻠﺨﺶ ﻫﺮﺍﺳﻴﺪﻩ ﺑﻮﺩﻡ‪.‬‬ ‫ﻓﺮﻳﺎﺩ ﺯﺩﻡ‪» :‬ﭼﻮﻥ ﻣﻦ ﻳﻪ ﺧﻮﻥﺁﺷﺎﻣﻢ؟ ﭼﻮﻥ‬ ‫ﻳﻪ ﻫﻴﻮ‪«...‬‬ ‫»ﻧﻪ‪ .‬ﻳﻪ ﮔﺮگ ﺭﻭ ﺑﻪﺧﺎﻃﺮ ﮔﺮگ ﺑﻮﺩﻧﺶ ﻣﺠﺎﺯﺍﺕ‬ ‫ﻧﻤﻰﻛﻨﻦ‪ .‬ﻣﺎﺟﺮﺍ ﺍﻳﻨﻪ ﻛﻪ ﻫﻤﻪ ﭼﻴﺰ ﺗﻤﻮﻡ ﺷﺪﻩ‪.‬‬ ‫ﺍﻳﻦ ﺩﺧﺘﺮﻙ ﺭﻭ ﻣﻰﺑﻴﻨﻰ‪«...‬‬ ‫ﺩﺳﺘﺎﻧﺶ ﺭﻭ ﺩﺭﻭﻥ ﮔﻮﺷﺖ ﭘﺸﺖ ﮔﺮﺩﻥ‬ ‫ﺩﺧﺘﺮﻙ ﻓﺮﻭ ﺑﺮﺩ‪ .‬ﻫﺮ ﭼﻬﺎﺭ ﺍﻧﮕﺸﺘﺶ ﺭﺍ‪ .‬ﭘﻮﺳﺖ‬ ‫ﺩﺧﺘﺮﻙ ﺍﻧﮕﺎﺭ ﺧﻤﻴﺮﻯ ﻟﺰﺝ ﺑﺎﺷﺪ‪ ،‬ﺩﺳﺖ ﺑﻴﮕﺎﻧﻪ‬ ‫ﺭﺍ ﺑﻪ ﺩﺭﻭﻥ ﺧﻮﺩ ﭘﺬﻳﺮﻓﺖ‪ .‬ﻟﺒﺨﻨﺪ ﺑﺮ ﻟﺒﺎﻧﺶ‬ ‫ﻧﻘﺶ ﺑﺴﺖ ﻭ ﺑﻌﺪ ﺩﺳﺖ ﺭﺍﺳﺖ ﺧﻮﺩ ﺭﺍ ﺑﺎﻻ ﺑﺮﺩ‬ ‫ﻭ ﺗﻜﺎﻥ ﺩﺍﺩ‪ .‬ﺍﻣﺎ ﺑﻪ ﻣﺤﺾ ﺍﻳﻦ ﻛﻪ ﺩﺳﺘﺶ ﺭﺍ‬ ‫ﺑﻴﺮﻭﻥ ﺁﻭﺭﺩ‪ ،‬ﺩﺧﺘﺮﻙ ﺩﻭﺑﺎﺭﻩ ﻭﺍ ﺭﻓﺖ ﻭ ﻫﻤﺎﻥ‬ ‫ﺻﻮﺭﺕ ﺳﺮﺩ ﻭ ﺳﻨﮕﻰ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﮔﺮﻓﺖ‪.‬‬ ‫»ﻣﻰﺑﻴﻨﻰ‪ ،‬ﻳﻪ ﻋﺮﻭﺳﻜﻪ‪ .‬ﻫﻴﭻ ﭼﻴﺰ ﺯﻧﺪﻩﺍﻯ ﺍﻳﻦﺟﺎ‬ ‫ﻧﻴﺴﺖ‪ .‬ﺧﻮﺩﺕ ﺭﻭ ﺗﻮ ﺁﻳﻨﻪ ﺩﻳﺪﻯ‪ ،‬ﺑﺎ ﺭگﻫﺎﻯ‬ ‫ﻭﺍﺭﻳﺲﺯﺩﻩﺍﻯ ﻛﻪ ﺍﻧﮕﺎﺭ ﻣﺪﺕﻫﺎﺳﺖ ﺭﻧﮓ ﺧﻮﻥ‬ ‫ﺭﻭ ﺑﻪ ﺧﻮﺩﺷﻮﻥ ﻧﺪﻳﺪﻥ‪ .‬ﺍﻧﺘﻈﺎﺭ ﺩﺍﺷﺘﻢ ﭼﻴﺰ‬ ‫ﺯﻧﺪﻩﺍﻯ ﺍﻳﻦﺟﺎ ﺑﺎﺷﻪ‪ ،‬ﺍﻣﺎ ﻧﻴﺴﺖ‪ .‬ﻧﻪ ﻣﻦ ﻧﻪ ﺗﻮ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ | 22-23‬ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫‪185‬‬

‫ﺧﻮﺍﻧﺶ ﺍﺳﻤﺎﻋﻴﻞ‬ ‫ﻓﺮﺯﺍﺩ ﺧﻠﻴﻠﻴﺎﻥ‬ ‫ﺍﺳﻤﺎﻋﻴﻠﺶ ﺑﺨﻮﺍﻥ‪ .‬ﺍﻭ ﺭﺍ‪ .‬ﻧﻪ ﻣﻦ‪ .‬ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﻣﻦ‬ ‫ﻧﻴﺴﺖ‪ .‬ﺧﺎﻣﻮﺵ ﺍﻯ ﺩﻭﻥﺻﻔﺘﺎﻥ ﺑﻰﻣﺎﻳﻪ‪ .‬ﺍﻳﻦ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺷﻤﺎ ﻫﻢ ﻧﻴﺴﺖ‪ .‬ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺍﻭﺳﺖ‪.‬‬ ‫ﻣﺮﺩﻯ ﻛﻪ ﻣﺮﺩ ﻭ ﺍﻛﻨﻮﻥ ﮔﺮﺩﻭﻧﻪ ﺭﺍ ﻣﻰﭼﺮﺧﺎﻧﺪ‪،‬‬ ‫ﺑﺎ ﺍﻫﺮﻣﻰ ﻓﻠﺰﻯ ﻭ ﻧﻮﻙ ﺗﻴﺰ ﻛﻪ ﻫﺮ ﺑﺎﺭ ﺑﻴﺸﺘﺮ‬ ‫ﮔﻮﺷﺖ ﺑﺮﻫﻨﻪ ﺍﺯ ﭘﻮﺳﺖ ﺍﻭ ﺭﺍ ﺧﺮﺍﺵ ﻣﻰﺩﻫﺪ ﻭ‬ ‫ﺩﺭﻭﻥ ﻣﻮﻳﺮگﻫﺎﻯ ﻣﻤﻠﻮ ﺍﺯ ﺧﻮﻥ ﺧﺸﻚ ﺷﺪﻩﻯ‬ ‫ﺍﻭ ﻓﺮﻭ ﻣﻰﺭﻭﺩ‪.‬‬ ‫ﺍﺳﻤﺎﻋﻴﻠﺶ ﺑﺨﻮﺍﻥ‪ .‬ﻣﺜﻞ ﺁﻥ ﻛﺴﻰ ﻛﻪ ﺣﻜﺎﻳﺖ‬ ‫ﻧﺎﺧﺪﺍﻳﻰ ﺭﺍ ﺗﻌﺮﻳﻒ ﻛﺮﺩ ﻛﻪ ﺑﻪ ﺟﺴﺘﺠﻮﻯ‬ ‫ﻧﻬﻨﮕﻰ ﺷﺘﺎﻓﺖ‪ .‬ﺍﻭ ﺯﻧﺪﻩ ﻣﺎﻧﺪ‪ ،‬ﻭﻟﻰ ﺩﺭ ﻧﻬﺎﻳﺖ‬ ‫ﻣﺮﺩ ﻫﻨﮕﺎﻣﻰ ﻛﻪ‪ ...‬ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﻛﺎﺭﺩ ﺑﺮ ﮔﻠﻮﻳﺶ‬ ‫ﮔﺬﺍﺷﺘﻨﺪ ﻭ ﺧﻮﻥ ﺩﻟﻤﻪ ﺷﺪﻩ ﻫﻤﭽﻮﻥ ﮔﻮﺷﺖ‬ ‫ﭘﻮﺳﻴﺪﻩﺍﻯ ﻛﻪ ﺳﺮ ﺍﺳﺘﺨﻮﺍﻥ ﺑﺎﺯﻭﺭ ﺭﺍ ﺑﺮﻫﻨﻪ‬ ‫ﮔﺬﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺑﺮ ﺭﻭﻯ ﺳﻨﮓ ﻣﺮﻣﺮﻳﻦ ﻗﺮﺑﺎﻧﮕﺎﻩ‬ ‫ﺩﻟﻤﻪ ﺑﺴﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺍﺳﻤﺎﻋﻴﻠﺶ ﺑﺨﻮﺍﻥ‪ .‬ﺭﻭﺯﮔﺎﺭﻯ ﻗﺒﻞ ﺍﺯ ﺭﻭﺯ‬ ‫ﻣﺮﺩﮔﺎﻥ‪ ،‬ﺭﻭﺯﮔﺎﺭﻯ ﻛﻪ ﺍﻛﻨﻮﻥ ﺩﺭ ﻣﻴﺎﻥ ﻣﻴﺮﺍﻳﺎﻥ‬ ‫ﻭ ﻧﺎﻣﻴﺮﺍﻳﺎﻥ ﺗﻨﻬﺎ ﺑﻪ ﺍﻓﺴﺎﻧﻪﺍﻯ ﻛﻬﻦ ﻣﻰﻣﺎﻧﺪ‪،‬‬ ‫ﻧﺎﻣﺶ ﺍﺳﻤﺎﻋﻴﻞ ﺑﻮﺩ‪ ،‬ﻛﺎﺭﻣﻨﺪﻯ ﺟﺰ ﻭ ﺩﻭﻥﭘﺎﻳﻪ‪.‬‬ ‫ﻗﺪﻡﻫﺎﻳﺶ ﺭﺍ ﻣﻰﺷﻤﺮﺩ ﻭ ﺁﻫﺴﺘﻪ ﺑﺮﻣﻰﺩﺍﺷﺖ‪،‬‬ ‫ﺍﻣﺎ ﻧﻪ ﺑﻪ ﺁﻫﺴﺘﮕﻰ ﺍﻛﻨﻮﻥ ﻛﻪ ﻣﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻣﺠﺮﺩ‬ ‫ﺑﻮﺩ‪ .‬ﻛﺖ ﺧﺎﻛﺴﺘﺮﻯ ﻣﻰﭘﻮﺷﻴﺪ ﺑﺪﻭﻥ ﻛﺮﺍﻭﺍﺕ‪.‬‬ ‫ﺑﺎ ﭘﻴﺮﺍﻫﻦ ﺳﻔﻴﺪ ﺁﻫﺎﺭﺩﺍﺭ ﻫﻤﻴﺸﻪﻯ ﺧﺪﺍ ﺍﺗﻮ‬ ‫ﻧﻜﺸﻴﺪﻩﺍﻯ ﻛﻪ ﺯﻳﺮﺵ ﻣﻰﭘﻮﺷﻴﺪ ﻭ ﻳﻘﻪﺍﺵ‬ ‫‪184‬‬

‫ﺧﺮ ﮔﻠﻮﻳﺶ ﺧﻔﺖ ﻣﻰﻛﺮﺩ ﻭ ﭘﻨﺠﻪ ﻣﻰﻛﺸﻴﺪ‪.‬‬ ‫ﻫﻤﺎﻥﻃﻮﺭ ﺧﻔﻪ ﺍﺯ ﺳﺤﺮ ﺗﺎ ﺷﺐ ﻛﻪ ﻋﻴﻦ‬ ‫ﻣﺮﺩﻩﻫﺎﻯ ﻣﺘﺤﺮﻙ‪ ،‬ﻣﺮﺩﻩﺍﻯ ﻛﻪ ﺍﻻﻥ ﻫﺴﺖ‪ ،‬ﺑﻪ‬ ‫ﺧﺎﻧﻪ ﺑﺎﺯﻣﻰﮔﺸﺖ‪ .‬ﺍﺯ ﻭﻗﺘﻰ ﻛﻪ ﻳﺎﺩﺵ ﻣﻰﺁﻣﺪ‪،‬‬ ‫ﺩﺭ ﺣﺎﻝ ﺍﺣﺘﻀﺎﺭ ﺑﻮﺩ‪.‬‬ ‫ﺍﻣﺎ ﺍﺯ ﺭﻭﺯ ﻣﺮﺩﮔﺎﻥ ﺍﻧﮕﺎﺭ ﻫﻤﻪ ﭼﻴﺰ ﺗﻐﻴﻴﺮ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺍﻭ ﺭﺍ ﺁﻭﺭﺩﻩ ﺑﻮﺩﻧﺪ ﻛﻨﺎﺭ ﮔﺮﺩﻭﻧﻪ‪ .‬ﺍﻭ‬ ‫ﺑﺎﻳﺪ ﮔﺮﺩﻭﻧﻪ ﺭﺍ ﻣﻰﭼﺮﺧﺎﻧﺪ‪ .‬ﺍﻭﻝ ﮔﺮﺩﻭﻧﻪ ﺭﺍ ﺑﺎ‬ ‫ﺩﺭﺩﻯ ﻭﺻﻒﻧﺎﭘﺬﻳﺮ ﻣﻰﭼﺮﺧﺎﻧﺪ‪ .‬ﺍﻣﺎ ﺑﻌﺪ ﻓﻬﻤﻴﺪ‬ ‫ﺍﻳﻦ ﺩﺭﺩ ﺗﻨﻬﺎ ﺯﺍﻳﻴﺪﻩﻯ ﺫﻫﻦ ﺍﻭﺳﺖ‪ .‬ﺍﻣﺎ ﻫﻤﻪ‬ ‫ﭼﻴﺰ ﺯﺍﺩﻩﻯ ﺍﻭﻫﺎﻡ ﻧﺒﻮﺩ‪ .‬ﺗﻮﺍﻧﺎﻳﻰﺍﺵ ﻧﻘﺼﺎﻥ‬ ‫ﻣﻰﮔﺮﻓﺖ‪ .‬ﻟﺒﺎﺱﻫﺎﻳﺶ ﭘﺎﺭﻩ ﻣﻰﺷﺪ‪ .‬ﭘﻮﺳﺖ‬ ‫ﺗﻨﺶ ﻣﻰﭘﻮﺳﻴﺪ ﻭ ﺗﺎﻧﺪﻭﻥﻫﺎﻯ ﻋﻀﻼﺕ ﻻﻏﺮ‬ ‫ﻭ ﺑﺮﻫﻨﻪﺍﺵ ﺩﺭ ﻛﺸﺸﻰ ﻋﺬﺍﺏﺁﻭﺭ‪ ،‬ﻣﻨﻘﺒﺾ ﻭ‬ ‫ﻣﻨﺒﺴﻂ ﻣﻰﺷﺪ‪.‬‬ ‫ﺁﻥ ﺭﻭﺯ ﺩﻭ ﻣﺸﺘﺮﻯ ﺩﺍﺷﺘﻴﻢ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﻳﻚ‬ ‫ﻣﺸﺘﺮﻯ‪ ،‬ﭼﻮﻥ ﺩﺧﺘﺮﺑﭽﻪ ﺑﻪ ﺣﺴﺎﺏ ﻧﻤﻰﺁﻣﺪ‪.‬‬ ‫ﺩﻩ ﺳﺎﻟﻪ ﺑﻮﺩ ﻭ ﺩﺭﻭﻥ ﻛﺘﻰ ﺑﻠﻨﺪ ﻭ ﻗﻬﻮﻩﺍﻯ ﻣﭽﺎﻟﻪ‬ ‫ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺑﻪ ﺧﻮﺩ ﻣﻰﻟﺮﺯﻳﺪ‪ .‬ﻣﻮﻫﺎﻯ ﺳﻴﺎﻩ‬ ‫ﻛﻮﺗﺎﻫﺶ ﺍﺯ ﺍﻃﺮﺍﻑ ﺑﻴﺮﻭﻥ ﺯﺩﻩ ﺑﻮﺩ‪ .‬ﺷﺎﻧﻪﺍﺵ ﺭﺍ‬ ‫ﺩﻭ ﺩﺳﺖ ﺑﺰﺭگ ﻣﺮﺩﻯ ﺩﺭ ﺁﻏﻮﺵ ﮔﺮﻓﺘﻪ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺳﻰ ﺳﺎﻝ ﺩﺍﺷﺖ‪ .‬ﻧﻪ‪ ،‬ﺑﻴﺸﺘﺮ ﻣﻰﺯﺩ‪ .‬ﺍﻣﺎ ﺳﻦ‬ ‫ﺯﻣﺎﻧﻰ ﺍﻫﻤﻴﺖ ﺩﺍﺭﺩ ﻛﻪ ﺯﻧﺪﻩ ﺑﺎﺷﻰ‪ ،‬ﻧﻪ ﺯﻣﺎﻧﻰ‬ ‫ﻛﻪ ﻫﻴﭻ ﺧﻂ ﺑﺎﺭﻳﻜﻰ ﺑﻴﻦ ﺗﻮ ﻭ ﻣﺮﺩﻩﻫﺎ ﻧﺒﺎﺷﺪ‪.‬‬ ‫ﺣﺪﺍﻗﻞ ﺑﺮﺍﻯ ﻣﻦ ﺍﻳﻦ ﻓﺎﺻﻠﻪ ﺍﺯ ﺩﺳﺖ ﺭﻓﺘﻪ ﺑﻮﺩ‪.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ | 22-23‬ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺑﺮﮔﺰﻳﺪﻩﻯ ﻓﻨﺰﻳﻦ‬

‫ﻭ ﻗﺒﻞ ﺍﺯ ﺁﻥ ﻛﻪ ﺩﻳﮕﺮﻯ ﺟﻮﺍﺑﻰ ﺑﺪﻫﺪ‪ ،‬ﺍﺯ ﺍﺗﺎﻕ‬ ‫ﺑﻴﺮﻭﻥ ﺟﻬﻴﺪ‪.‬‬ ‫ﻣﺮﺩ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻓﺮﻳﺎﺩ ﻣﻰﺯﺩ‪» :‬ﻟﻌﻨﺘﻰ!« ﺍﺯ ﺟﺎ‬ ‫ﭘﺮﻳﺪ ﻭ ﺩﻧﺒﺎﻟﺶ ﺩﻭﻳﺪ‪ .‬ﺑﻴﺮﻭﻥ ﺍﺯ ﺍﺗﺎﻕ‪ ،‬ﺭﺍﻫﺮﻭﻯ‬ ‫ﺑﺎﺭﻳﻜﻰ ﺑﻮﺩ ﻭ ﺩﺭ ﺍﻧﺘﻬﺎﻳﺶ ﭘﻠﻜﺎﻧﻰ ﻛﻪ ﺑﻪ ﺳﻤﺖ‬ ‫ﭘﺎﻳﻴﻦ ﻣﻰﺭﻓﺖ‪ .‬ﺳﻪ ﻃﺒﻘﻪ ﭘﺎﻳﻴﻦﺗﺮ ﺩﺭ ﺧﺮﻭﺟﻰ‬ ‫ﺑﻮﺩ ﻛﻪ ﺑﻪ ﺧﻴﺎﺑﺎﻥ ﺑﺎ ﻣﻰﺷﺪ‪ .‬ﺷﺐ ﺑﻮﺩ‪ .‬ﭼﺮﺍﻍﻫﺎﻯ‬ ‫ﺧﻴﺎﺑﺎﻥ ﻫﻤﻪ ﺧﺎﻣﻮﺵ ﺑﻮﺩﻧﺪ ﻭ ﺗﻨﻬﺎ ﻧﻮﺭ ﺧﻴﺎﺑﺎﻥ‪،‬‬ ‫ﻧﻮﺭ ﻣﺎﻩ ﺑﻮﺩ‪ .‬ﻣﺮﺩ ﻟﺤﻈﻪﺍﻯ ﻣﻜﺚ ﻛﺮﺩ ﻭ ﺑﻪ ﺩﻭ‬ ‫ﻃﺮﻑ ﺧﻴﺎﺑﺎﻥ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﺑﻌﺪ ﺑﻪ ﺳﻤﺖ ﺭﺍﺳﺖ‬ ‫ﺩﻭﻳﺪ‪ .‬ﭼﻨﺪ ﭼﻬﺎﺭﺭﺍﻩ ﺁﻥﻃﺮﻑﺗﺮ ﭘﺴﺮ ﺭﺍ ﺩﻳﺪ ﻛﻪ‬ ‫ﺭﻭﻯ ﺩﻭ ﺯﺍﻧﻮ ﺭﻭﻯ ﺯﻣﻴﻦ ﻧﺸﺴﺘﻪ ﺍﺳﺖ‪ .‬ﺭﻭﺑﻪﺭﻭﻯ‬ ‫ﭘﺴﺮ ﻛﺴﻰ ﺭﻭﻯ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﻣﺮﺩ ﺑﻪ‬ ‫ﺳﺮﻋﺖ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﭘﺴﺮ ﺭﺳﺎﻧﺪ ﻭ ﺍﻭ ﺭﺍ ﭼﺮﺧﺎﻧﺪ ﺗﺎ‬ ‫ﺗﻮﻯ ﺻﻮﺭﺗﺶ ﺭﺍ ﺑﺒﻴﻨﺪ‪ .‬ﺍﺯ ﺩﻫﺎﻧﺶ ﺧﻮﻥ ﺟﺎﺭﻯ‬ ‫ﺑﻮﺩ‪ .‬ﺭﻭﺑﻪﺭﻭﻯ ﭘﺴﺮ ﺟﻨﺎﺯﻩﻯ ﺑﻰﺳﺮﻯ ﺭﻭﻯ ﺯﻣﻴﻦ‬ ‫ﺧﻮﺍﺑﻴﺪﻩ ﺑﻮﺩ ﻭ ﺳﺮﺵ ﭼﻨﺪ ﮔﺎﻡ ﺁﻥﻃﺮﻑﺗﺮ‬ ‫ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﻣﺮﺩ ﻟﺤﻈﻪﺍﻯ ﺩﺭ ﺑﻬﺖ ﺍﻳﺴﺘﺎﺩ‪ ،‬ﺗﻮﻯ‬ ‫ﭼﺸﻢﻫﺎﻯ ﭘﺴﺮ ﺧﻴﺮﻩ ﺷﺪ؛ ﺍﻧﮕﺎﺭ ﻛﻪ ﺑﺨﻮﺍﻫﺪ‬ ‫ﻣﻄﻤﺌﻦ ﺷﻮﺩ ﭘﺴﺮ ﺗﻐﻴﻴﺮﻯ ﻛﺮﺩﻩ ﺍﺳﺖ ﻳﺎ ﻧﻪ‪.‬‬ ‫ﺯﻳﺮ ﻟﺐ ﺯﻣﺰﻣﻪ ﻛﺮﺩ‪» :‬ﺟﻮﻭﻧﻚ ﺍﺣﻤﻖ‪«.‬‬ ‫ﭘﺴﺮ ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﺧﻮﺩﺗﻰ‪ «.‬ﭼﻨﺪ ﻟﺤﻈﻪ ﺻﺒﺮ‬ ‫ﻛﺮﺩ ﻭ ﺑﻌﺪ ﮔﻔﺖ‪» :‬ﺧﻮﻧﺸﻮﻥ ﺗﺮﺷﻪ‪ .‬ﻳﺎﺩﺗﻪ ﺁﺏ‬ ‫ﺁﻟﺒﺎﻟﻮ ﭼﻄﻮﺭ ﺑﻮﺩ؟«‬

‫ﺷﻤﺎﺭﻩﻯ ‪ | 22-23‬ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫‪183‬‬

‫ﺑﺪﻭﻥ ﻋﻨﻮﺍﻥ‬ ‫ﻋﻠﻴﺮﺿﺎ ﻓﺘﻮﺣﻰ ﺳﻴﺎﻩﭘﻴﺮﺍﻧﻰ‬ ‫»ﺍﮔﻪ ﺍﻳﻨﻢ ﺯﺍﻣﺒﻰ ﺷﻪ‪ ،‬ﭼﻰ؟«‬ ‫»ﻧﻤﻰﺷﻪ‪«.‬‬ ‫»ﺍﮔﻪ ﺷﺪ ﭼﻰ؟«‬ ‫»ﻣﻰﮔﻢ ﻧﻤﻰﺷﻪ‪«.‬‬ ‫»ﺍﺯ ﻛﺠﺎ ﻣﻰﺩﻭﻧﻰ؟«‬ ‫»ﻣﻰﺩﻭﻧﻢ‪«.‬‬ ‫ﺍﺗﺎﻕ ﻛﻮﭼﻚ ﻭ ﺗﺎﺭﻳﻚ ﺍﺳﺖ‪ .‬ﻭﺳﻂ ﺍﺗﺎﻕ ﻣﺮﺩﻯ‬ ‫ﺭﺍ ﺑﻪ ﺻﻨﺪﻟﻰ ﺑﺴﺘﻪﺍﻧﺪ‪ .‬ﺧﻮﺍﺏ ﺍﺳﺖ‪ .‬ﺩﻫﺎﻧﺶ ﺭﺍ‬ ‫ﺑﺎ ﭘﺎﺭﭼﻪﺍﻯ ﺑﺴﺘﻪﺍﻧﺪ‪ .‬ﻋﺮﻕﮔﻴﺮﻯ ﺭﻛﺎﺑﻰ ﺑﻪ ﺗﻦ‬ ‫ﺩﺍﺭﺩ ﻛﻪ ﺭﻧﮕﺶ ﺑﻪ ﻗﻬﻮﻩﺍﻯ ﻣﻰﺯﻧﺪ‪ .‬ﻣﻮﻫﺎﻳﺶ‬ ‫ژﻭﻟﻴﺪﻩ ﻭ ﻛﺜﻴﻔﻨﺪ ﻭ ﺗﻨﺶ ﭘﺮ ﺍﺯ ﺯﺧﻢ ﻭ ﻛﺒﻮﺩﻯ‬ ‫ﺍﺳﺖ‪ .‬ﺩﻭ ﻧﻔﺮ ﺭﻭ ﺑﻪ ﺭﻭﻯ ﻣﺮﺩ ﺑﻪ ﺩﻳﻮﺍﺭ ﺗﻜﻴﻪ‬ ‫ﺩﺍﺩﻩ ﻭ ﺭﻭﻯ ﺯﻣﻴﻦ ﻧﺸﺴﺘﻪﺍﻧﺪ‪ .‬ﻳﻜﻰ ﭘﺴﺮ ﺟﻮﺍﻧﻰ‬ ‫ﺍﺳﺖ‪ .‬ﭘﺎﻧﺰﺩﻩ‪-‬ﺷﺎﻧﺰﺩﻩ ﺳﺎﻟﻪ‪ .‬ﺑﺎﺭﺍﻧﻰ ﭼﺮﻣﻰ ﺑﻠﻨﺪﻯ‬ ‫ﺑﻪ ﺗﻦ ﺩﺍﺭﺩ ﻭ ﺷﻠﻮﺍﺭﻯ ﺟﻴﻦ‪ ،‬ﻭﻟﻰ ﭘﻴﺮﺍﻫﻨﻰ ﺑﻪ‬ ‫ﺗﻦ ﻧﺪﺍﺭﺩ‪ .‬ﻣﻮﻫﺎﻯ ﺳﻴﺎﻫﺶ ژﻭﻟﻴﺪﻩﺍﻧﺪ ﻭ ﺻﻮﺭﺗﺶ‬ ‫ﺭﻧﮓﭘﺮﻳﺪﻩ‪ .‬ﺩﻳﮕﺮﻯ ﻣﺮﺩ ﺟﻮﺍﻧﻰ ﺍﺳﺖ‪ ،‬ﺣﺪﻭﺩﺍ ً‬ ‫ﺳﻰ ﺳﺎﻟﻪ‪ .‬ﻣﻮﻫﺎﻳﺶ ﺳﻴﺎﻩ ﻭ ﻛﻮﺗﺎﻫﻨﺪ‪ .‬ﺗﻰﺷﺮﺕ‬ ‫ﺗﻴﺮﻩﺍﻯ ﺑﻪ ﺗﻦ ﺩﺍﺭﺩ ﻭ ﺷﻠﻮﺍﺭ ﺳﻴﺎﻩ ﭼﺮﻣﻰ‪.‬‬ ‫ﭘﺴﺮ ﺟﻮﺍﻥﺗﺮ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺁﺧﺮﺵ ﻛﻪ ﭼﻰ؟‬ ‫ﻓﺮﺿﺎً ﻫﻢ ﻛﻪ ﺯﺍﻣﺒﻰ ﻧﺸﻪ! ﺗﺎ ﺁﺧﺮ ﺩﻧﻴﺎ ﻛﻪ ﺯﻧﺪﻩ‬ ‫ﻧﻤﻰﻣﻮﻧﻪ‪ .‬ﺑﻌﺪﺵ ﭼﻰ؟«‬ ‫»ﺑﻘﻴﻪ ﺭﻭ ﭘﻴﺪﺍ ﻣﻰﻛﻨﻴﻢ‪ .‬ﺍﻭﻧﺎ ﻫﻢ ﺣﺘﻤﺎً ﻳﻪ ﺳﺮﻯ‬

‫‪182‬‬

‫ﺁﺩﻡ ﭘﻴﺪﺍ ﻛﺮﺩﻥ‪ .‬ﺷﺎﻳﺪ ﺑﺸﻪ ﻳﻪ ﺩﻩ ﻛﻮﭼﻴﻚ ﺍﺯ‬ ‫ﺁﺩﻣﺎ ﺩﺭﺳﺖ ﻛﺮﺩ‪«.‬‬ ‫»ﺍﮔﻪ ﻫﻤﻪﻯ ﺁﺩﻣﺎ ﻣﺮﺩﻩ ﺑﺎﺷﻦ ﭼﻰ؟ ﺍﮔﻪ ﺑﻘﻴﻪﻯ‬ ‫ﻣﺎ ﻫﻢ ﻣﺮﺩﻩ ﺑﺎﺷﻦ ﭼﻰ؟«‬ ‫»ﺍﮔﻪ ﻣﻰﻣﺮﺩﻥ ﻣﻰﻓﻬﻤﻴﺪﻳﻢ‪ .‬ﺯﻧﺪﻩﺍﻥ‪ .‬ﭘﻴﺪﺍﺷﻮﻥ‬ ‫ﻣﻰﻛﻨﻴﻢ‪«.‬‬ ‫»ﺁﺩﻣﺎ ﭼﻰ؟ ﺷﺎﻳﺪ ﻫﻤﻪﻯ ﺁﺩﻣﺎ ﺯﺍﻣﺒﻰ ﺷﺪﻥ‪«.‬‬ ‫»ﺧﻮﻥ ﺣﻴﻮﻭﻧﺎ ﺭﻭ ﻣﻰﺧﻮﺭﻳﻢ‪«.‬‬ ‫ﺍﺯ ﺟﺎ ﺟﻬﻴﺪ ﻭ ﮔﻔﺖ‪» :‬ﺍﮔﻪ ﺣﻴﻮﻭﻧﺎ ﻫﻢ ﻣﺮﺩﻥ‬ ‫ﭼﻰ؟ ﺍﮔﺮ ﺣﻴﻮﻭﻧﺎ ﻫﻢ ﺯﺍﻣﺒﻰ ﺷﺪﻥ ﭼﻰ؟«‬ ‫ﺩﻳﮕﺮﻯ ﻫﻨﻮﺯ ﺁﺭﺍﻡ ﺑﻮﺩ‪» :‬ﻳﻪ ﻛﻢ ﺍﺯ ﺧﻮﻧﺶ ﺑﺨﻮﺭ‪،‬‬ ‫ﺁﺭﻭﻡﺗﺮ ﻣﻰﺷﻰ‪«.‬‬ ‫ﭘﺴﺮﻙ ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﻫﻤﻪﺍﺵ ﻣﻰﮔﻰ ﺩﺭﺳﺖ‬ ‫ﻣﻰﺷﻪ! ﻫﻤﻪﺍﺵ ﻣﻰﮔﻰ ﺩﺭﺳﺖ ﻣﻰﺷﻪ! ﺁﺧﺮﺵ‬ ‫ﻳﻜﻰ ﺑﺎﻳﺪ ﺧﻮﻥ ﻳﻪ ﺯﺍﻣﺒﻰ ﺭﻭ ﺑﺨﻮﺭﻩ ﺑﺒﻴﻨﻪ ﭼﻰ‬ ‫ﻣﻰﺷﻪ‪«.‬‬ ‫ﻣﺮﺩ ﺍﺧﻢ ﻛﺮﺩ‪» :‬ﻣﺎ ﻧﻤﻰﺩﻭﻧﻴﻢ ﺍﮔﻪ ﺧﻮﻧﺸﻮﻥ‬ ‫ﺭﻭ ﺑﺨﻮﺭﻯ ﭼﻰ ﺑﻪ ﺳﺮﺕ ﻣﻴﺎﺩ‪ .‬ﺍﮔﻪ ﺯﺍﻣﺒﻰ ﺷﻰ‬ ‫ﭼﻰ؟«‬ ‫»ﺍﮔﻪ ﻧﺸﻢ ﭼﻰ؟«‬ ‫ﭘﺴﺮ ﺟﻮﺍﻥ ﺑﻪ ﺁﺭﺍﻣﻰ ﺩﻭﺭ ﺍﺗﺎﻕ ﻣﻰﭼﺮﺧﻴﺪ‪ .‬ﺑﻪ ﺩﺭ‬ ‫ﻭﺭﻭﺩﻯ ﻛﻪ ﺭﺳﻴﺪ‪ ،‬ﺍﻳﺴﺘﺪ‪ .‬ﻟﺤﻈﻪﺍﻯ ﻣﻜﺚ ﻛﺮﺩ ﻭ‬ ‫ﺑﻌﺪ ﮔﻔﺖ‪» :‬ﺗﻨﻬﺎ ﺭﺍﻩ ﺍﻳﻨﻪ ﻛﻪ ﻳﻜﻰ ﺍﻣﺘﺤﺎﻥ ﻛﻨﻪ‪«.‬‬

‫ﺷﻤﺎﺭﻩﻯ ‪ | 22-23‬ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺑﺮﮔﺰﻳﺪﻩﻯ ﻓﻨﺰﻳﻦ‬

‫ﭼﻨﺪ ﻭﻗﺖ ﭘﻴﺶ ﺩﺭ ﺳﺎﻳﺖ ﻫﻮﺍﺩﺍﺭﻯ ﻓﻨﺰﻳﻦ‪ ،‬ﻛﻪ ﺑﺮﺍﺩﺭ ﺷﮕﻔﺖﺯﺍﺭ ﻣﺎ ﺑﺎﺷﺪ‪ ،‬ﻣﺴﺎﺑﻘﻪﺍﻯ ﺑﺮﮔﺰﺍﺭ ﺷﺪ ﻛﻪ ﺑﺎ‬ ‫ﺍﺟﺎﺯﻩ ﺍﺯ ﺩﺍﺩﻥ ﮔﺰﺍﺭﺵﻫﺎﻯ ﺁﻣﺎﺭﻯ ﺩﺭ ﺑﺎﺏ ﺁﻥ ﺧﻮﺍﻫﻢ ﮔﺬﺷﺖ‪ .‬ﺍﻣﺎ ﻣﻮﺿﻮﻉ ﻣﺴﺎﺑﻘﻪ ﺩﺭﺑﺎﺭﻩﻯ ﺯﺍﻣﺒﻰﻫﺎ‬ ‫ﺑﻮﺩ‪ .‬ﻳﺎ ﺍﮔﺮ ﺩﻗﻴﻖﺗﺮ ﺑﮕﻮﻳﻢ ﻣﻮﺿﻮﻉ ﻣﺴﺎﺑﻘﻪ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺩﺍﺳﺘﺎﻧﻰ ﺑﻨﻮﻳﺴﻴﺪ ﻛﻪ ﺩﺭ ﺁﻥ ﺑﻪ ﻃﻮﺭ ﻫﻢﺯﻣﺎﻥ‪،‬‬ ‫ﺯﺍﻣﺒﻰﻫﺎ ﻭ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺣﻀﻮﺭ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ .‬ﺷﺎﻳﺪ ﺩﺭ ﻧﮕﺎﻩ ﺍﻭﻝ ﺧﻴﻠﻰ ﻏﺮﻳﺐ ﺑﻪ ﻧﻈﺮ ﺑﺮﺳﺪ ﻭ ﺍﻳﻦ‬ ‫ﻣﻮﺿﻮﻉ ﺭﺍ ﺑﻪ ﺩﺑﻴﺮ ﻣﺴﺎﺑﻘﻪ ﻳﻌﻨﻰ ﺁﻗﺎﻯ ﺳﻴﻨﺎ ﻓﺮﺧﻰ ﻫﻢ ﮔﻮﺷﺰﺩ ﻛﺮﺩﻳﻢ! ﻭﻟﻰ ﻗﺮﺍﺭ ﺑﺮ ﺍﻳﻦ ﺷﺪ ﻛﻪ ﻫﺮ‬ ‫ﭼﻨﺪ ﻏﺮﻳﺐ ﻭ ﺩﻭﺭ ﺍﺯ ﺫﻫﻦ‪ ،‬ﺩﺍﺳﺘﺎﻧﻰ ﺑﻨﻮﻳﺴﻴﻢ ﻛﻪ ﭼﻨﻴﻦ ﺑﺎﺷﺪ‪.‬‬ ‫ﺩﺭ ﺍﺑﺘﺪﺍ ﺧﻴﻠﻰ ﺍﺯ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻓﻨﺰﻳﻦ ﻣﻌﺘﻘﺪ ﺑﻮﺩﻧﺪ ﺑﻪ ﺧﺎﻃﺮ ﻏﺎﻟﺒﺎً ﻓﺎﻧﺘﺰﻯ ﺑﻮﺩﻥ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻭ ﻏﺎﻟﺒﺎً‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺑﻮﺩﻥ ﺯﺍﻣﺒﻰﻫﺎ‪ ،‬ﺍﻳﻦ ﺩﻭ ﺩﺭ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﺟﻤﻊﭘﺬﻳﺮ ﻧﻴﺴﺘﻨﺪ‪ .‬ﻛﻤﺎ ﺍﻳﻦ ﻛﻪ ﻣﻰﺩﺍﻧﻴﻢ ﻫﺮ‬ ‫ﺩﻭ ﺑﻪ ﺭﺳﺘﻪﻯ ﻣﺮﺩﮔﺎﻥ ﻣﺘﺤﺮﻙ ﻳﺎ ‪Undead‬ﻫﺎ ﺗﻌﻠﻖ ﺩﺍﺭﻧﺪ‪ .‬ﻭ ﻧﻬﺎﻳﺘﺎً ﻫﻢ ﻫﻤﻴﻦ ﻣﻮﺿﻮﻉ ﻭ ﺍﺷﺘﺮﺍﻙ‬ ‫ﺩﻳﮕﺮ ﺍﻳﻦ ﺩﻭ ﻛﻪ ﻫﻤﺎﻥ ﺩﺭﻭﻥﻣﺎﻳﻪﻯ ﻭﺣﺸﺖ ﺑﺎﺷﺪ‪ ،‬ﺑﺎﻋﺚ ﺷﺪ ﺑﺴﻴﺎﺭﻯ ﺩﻝ ﺑﻪ ﺩﺭﻳﺎ ﺑﺰﻧﻨﺪ ﻭ ﺑﻨﻮﻳﺴﻨﺪ‬ ‫ﻭ ﻧﺘﻴﺠﻪﻯ ﺗﻼﺵ ﺩﻭﺳﺘﺎﻥ ﺑﺮﺍﻯ ﻧﮕﺎﺷﺘﻦ ﺩﺍﺳﺘﺎﻧﻰ ﭼﻨﺎﻥ ﺭﺍ ﺩﺭ ﺍﺩﺍﻣﻪ ﺧﻮﺍﻫﻴﺪ ﺩﻳﺪ ﻛﻪ ﺍﻣﻴﺪﻭﺍﺭﻡ ﺍﺯ‬ ‫ﺧﻮﺍﻧﺪﻧﺸﺎﻥ ﻟﺬﺕ ﺑﺒﺮﻳﺪ‪.‬‬ ‫ﺍﻳﻦ ﺳﻪ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﻳﻌﻨﻰ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺑﺮﺗﺮ ﺍﻳﻦ ﻣﺴﺎﺑﻘﻪ‪ ،‬ﻛﻪ ﺑﺎ ﺍﻳﺪﻩﻫﺎﻳﻰ ﮔﻮﻧﺎﮔﻮﻥ ﻭ ﺩﺭﻭﻥﻣﺎﻳﻪﻫﺎﻳﻰ‬ ‫ﻣﺘﻔﺎﻭﺕ‪ ،‬ﺍﺯ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﮔﺮﻓﺘﻪ ﺗﺎ ﻓﺎﻧﺘﺰﻯ ﻧﻮﺷﺘﻪ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﻫﻤﺎﻧﻨﺪ ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻰ ﻛﻪ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺩﺭ‬ ‫ﺑﺨﺶ ﺩﺍﺳﺘﺎﻥ ﺍﻳﻦ ﻭﻳﮋﻩﻧﺎﻣﻪ ﺧﻮﺍﻧﺪﻩﺍﻳﺪ‪ ،‬ﻧﺸﺎﻥ ﻣﻰﺩﻫﻨﺪ ﻛﻪ ﻣﺮﺩﮔﺎﻥ ﻣﺘﺤﺮﻙ ﺑﺮ ﺧﻼﻑ ﺗﻔﻜﺮ ﻏﺎﻟﺒﻰ‬ ‫ﻛﻪ ﺩﺭﺑﺎﺭﻩﺷﺎﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﺑﺴﻴﺎﺭ ﺍﻧﻌﻄﺎﻑﭘﺬﻳﺮﻧﺪ ﻭ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺩﺳﺖﻣﺎﻳﻪﻯ ﺩﺍﺳﺘﺎﻥﭘﺮﺩﺍﺯﻯﻫﺎﻯ ﺣﺘﺎ‬ ‫ﺑﺪﻳﻊ ﺷﻮﻧﺪ‪ .‬ﻳﻌﻨﻰ ﺷﺎﻳﺪ ﻫﻨﻮﺯ ﻫﻢ ﻣﻰﺗﻮﺍﻥ ﺩﺍﺳﺘﺎﻧﻰ ﻧﻮﺷﺖ ﻭ ﺯﺍﻣﺒﻰﻫﺎ ﺭﺍ ﺩﺭ ﺁﻥ ﻭﺍﺭﺩ ﻛﺮﺩ ﻭ ﭼﻴﺰﻯ‬ ‫ﻧﻮ ﺑﺮﺍﻯ ﮔﻔﺘﻦ ﺩﺍﺷﺖ‪.‬‬ ‫ﺍﻳﻦ ﻣﺴﺎﺑﻘﻪﻯ ﺩﺍﺳﺘﺎﻥﻧﻮﻳﺴﻰ‪ ،‬ﺩﻭﻣﻴﻦ ﺩﻭﺭﻩ ﺍﺯ ﭼﻨﻴﻦ ﻣﺴﺎﺑﻘﺎﺗﻰ ﺑﻮﺩ ﻭ ﺳﺎﻳﺖ ﻓﻨﺰﻳﻦ ﻗﺼﺪ ﺩﺍﺭﺩ ﺑﺎ‬ ‫ﺑﺮﻧﺎﻣﻪﺍﻯ ﻣﻨﻈﻢ ﻣﺴﺎﺑﻘﺎﺕ ﺩﺍﺳﺘﺎﻧﻚﻧﻮﻳﺴﻰ ﺭﺍ ﺍﺩﺍﻣﻪ ﺩﻫﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﺭﻭ ﺍﺯ ﻫﻤﻪﻯ ﺩﻭﺳﺘﺎﻥ ﻋﻼﻗﻤﻨﺪ ﺑﻪ‬ ‫ﻧﻮﺷﺘﻦ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﮔﻤﺎﻧﻪﺯﻥ ﺑﺎ ﻣﻮﺿﻮﻋﺎﺕ ﻏﻴﺮ ﻣﻌﻤﻮﻝ )!( ﺩﻋﻮﺕ ﻣﻰﻛﻨﻢ ﺳﺮﻯ ﺑﻪ ﺍﻳﻦ ﺳﺎﻳﺖ ﺑﺰﻧﻨﺪ‬ ‫ﻭ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺍﺷﺘﺮﺍﻙ ﺑﮕﺬﺍﺭﻧﺪ ﻭ ﺩﺭ ﻣﺴﺎﺑﻘﺎﺕ ﻧﻴﺰ ﺷﺮﻛﺖ ﻛﻨﻨﺪ‪.‬‬ ‫ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

‫ﺷﻤﺎﺭﻩﻯ ‪ | 22-23‬ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫‪181‬‬

‫ﺑﺮﮔﺰﯾﺪهی ﻓﻨﺰﯾﻦ‬ ‫ﻣﺴﺎﺑﻘﻪی داﺳﺘﺎنﻧﻮﯾﺴﯽ زاﻣﺒﯽﻫﺎ‬

‫ﻛﺘﺎﺏ‬

‫»ﺑﮕﺬﺍﺭﻳﺪ ﺑﻪ ﺍﻭﻝ ﻣﺎﺟﺮﺍ ﺑﺮﮔﺮﺩﻳﻢ‪ .‬ﺑﻪ ﺍﻳﻦ ﺳﻮﺍﻝ ﻛﻪ ﭼﺮﺍ ﺯﺍﻣﺒﻰﻫﺎ ﺍﻳﻦﻗﺪﺭ ﺧﻮﺍﺳﺘﻨﻰﺍﻧﺪ؟‬ ‫ﺍﻳﻦ ﻳﻜﻰ ﺍﺯ ﺁﻥ ﺳﻮﺍﻝﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﺍﻧﺘﺸﺎﺭ ﻗﺴﻤﺖ ﺍﻭﻝ‪ ،‬ﺑﺴﻴﺎﺭ ﺍﺯ ﻣﻦ ﭘﺮﺳﻴﺪﻩﺍﻧﺪ‪ .‬ﻳﻚ‬ ‫ﺟﻮﺭﻫﺎﻳﻰ ﻣﺸﻜﻮﻙ ﻫﻢ ﺍﺳﺖ‪ ،‬ﺍﻧﮕﺎﺭ ﺍﺻ ً‬ ‫ﻼ ﺩﻟﻴﻠﻰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺯﺍﻣﺒﻰﻫﺎ ﻧﺒﺎﻳﺪ ﻣﺤﺒﻮﺏ ﺑﺎﺷﻨﺪ‪ .‬ﺁﺧﺮ‬ ‫ﻣﮕﺮ ﻛﺴﻰ ﺍﺯ ﻳﻚ ﺑﺎﺯﻳﻜﻦ ﻓﻮﺗﺒﺎﻝ ﻣﻰﭘﺮﺳﺪ ﭼﺮﺍ ﻓﻮﺗﺒﺎﻝ ﺍﻳﻦﻗﺪﺭ ﻣﺤﺒﻮﺏ ﺍﺳﺖ؟‬ ‫ﻧﻤﻰﺗﻮﺍﻧﻢ ﺍﺩﻋﺎ ﻛﻨﻢ ﺩﻗﻴﻘﺎً ﻣﻰﺩﺍﻧﻢ ﭼﺮﺍ ﻣﺮﺩﻡ ﺍﻳﻦﻗﺪﺭ ﺯﺍﻣﺒﻰﻫﺎ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺭﻧﺪ‪ ،‬ﺍﻣﺎ ﭼﻨﺪ ﻧﻈﺮ ﻋﻤﺪﻩ‬ ‫ﺩﺭ ﻣﻮﺭﺩ ﺍﻳﻦ ﻣﺤﺒﻮﺑﻴﺖ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪.‬‬ ‫ﺯﺍﻣﺒﻰﻫﺎ ﭼﻨﻴﻦﺍﻧﺪ‪:‬‬ ‫• ﺩﺷﻤﻨﻰ ﻛﻪ ﻗﺒ ً‬ ‫ﻼ ﺍﺯ ﺧﻮﺩ ﻣﺎ ﺑﻮﺩﻩ ﻭ ﻫﺮ ﺁﻥ ﻣﻤﻜﻦ ﺍﺳﺖ ﻣﺎ ﻣﺜﻞ ﺍﻭ ﺷﻮﻳﻢ‪.‬‬ ‫• ﻣﻮﺿﻮﻋﻰ ﻛﻪ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺫﻳﻞ ﺁﻥ ﺩﺭ ﻣﻮﺭﺩ ﻫﺮ ﭼﻴﺰﻯ ﻛﻪ ﺧﻮﺍﺳﺘﻨﺪ ﺣﺮﻑ ﺑﺰﻧﻨﺪ‪.‬‬ ‫• ﺭﺍﻫﻰ ﺑﻰﺍﺧﻼﻕ ﺑﺮﺍﻯ ﺗﺤﻘﻖ ﻧﺎﺑﻮﺩﻯ ﻓﺎﻧﺘﺰﻯ ﺩﻧﻴﺎ‪.‬‬ ‫• ﻫﻴﻮﻻﻳﻰ ﻛﻪ ﻫﻤﻴﺸﻪ ﺗﺮﺳﻨﺎﻙ ﺍﺳﺖ ﻭ ﺳﺨﺖ ﺑﺸﻮﺩ ﺭﻣﺎﻧﺘﻴﻜﺶ ﻛﺮﺩ‪.‬‬ ‫ﻣﻄﻤﺌﻨﻢ ﺍﻳﻦﻫﺎﻳﻰ ﻛﻪ ﮔﻔﺘﻢ ﺑﺨﺸﻰ ﺍﺯ ﻣﺎﺟﺮﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﻣﻰﺗﻮﺍﻧﻴﻢ ﺁﻥ ﻗﺪﺭ ﺳﺮ ﻫﻤﻴﻦﻫﺎ ﺑﺤﺚ ﻛﻨﻴﻢ‬ ‫ﺗﺎ ﺑﺎﻻ ﺑﻴﺎﻭﺭﻳﻢ‪ .‬ﻭ ﻣﻄﻤﺌﻨﻢ ﻫﻤﻴﻦ ﻃﻮﺭ ﻛﻪ ﺩﺍﺭﻳﻢ ﺭﻭﻯ ﺍﻳﻦ ﻣﺴﺎﺋﻞ ﺳﺮ ﻭ ﻛﻠﻪ ﻣﻰﺯﻧﻴﻢ‪ ،‬ﻛﻠﻰ ﭘﺎﻳﺎﻥﻧﺎﻣﻪ‬ ‫ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﺩﺭ ﺣﺎﻝ ﻧﻮﺷﺘﻪ ﺷﺪﻥ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺻﺮﻑﻧﻈﺮ ﺍﺯ ﺗﻤﺎﻡ ﺍﻳﻦﻫﺎ‪ ،‬ﻳﻚ ﭼﻴﺰ ﻣﺒﺮﻫﻦ ﺍﺳﺖ‪:‬‬ ‫ﺯﺍﻣﺒﻰﻫﺎ ﺑﻪ ﺍﻳﻦ ﺯﻭﺩﻯﻫﺎ ﻧﻤﻰﻣﻴﺮﻧﺪ ﻭ ﺑﻬﺘﺮ ﺍﺳﺖ ﻣﺎ ﻳﺎﺩ ﺑﮕﻴﺮﻳﻢ ﭼﮕﻮﻧﻪ ﺩﺭ ﻛﻨﺎﺭﺷﺎﻥ ﺯﻧﺪﮔﻰ ﻛﻨﻴﻢ‪«.‬‬ ‫ﺩﺭ ﺍﻧﺘﻬﺎ ﺗﺎ ﻳﺎﺩﻡ ﻧﺮﻓﺘﻪ ﺍﺳﺖ‪ ،‬ﺍﻳﻦ ﻣﮋﺩﻩ ﺭﺍ ﻫﻢ ﺑﻪ ﺩﻭﺳﺖﺩﺍﺭﺍﻥ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺣﻤﺎﺳﻰ ﺑﺪﻫﻢ‪ ،‬ﻛﻪ ﺁﺩﺍﻣﺰ‬ ‫ﻣﺠﻤﻮﻋﻪﺍﻯ ﻣﺘﺸﻜﻞ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺍﻳﻦ ﺯﻳﺮﮔﻮﻧﻪ ﺭﺍ ﺩﺭ ﺩﺳﺖ ﺍﻧﺘﺸﺎﺭ ﺩﺍﺭﺩ ﻛﻪ ﻗﺮﺍﺭ ﺍﺳﺖ ﺗﺎ ﺁﺧﺮ ﺳﺎﻝ‬ ‫‪ 2012‬ﻣﻴﻼﺩﻯ ﻣﻨﺘﺸﺮ ﺷﻮﺩ‪ .‬ﺧﺪﺍ ﺭﺍ ﭼﻪ ﺩﻳﺪﻳﺪ‪ ،‬ﺷﺎﻳﺪ ﺍﺯ ﺁﻥ ﻫﻢ ﺧﻴﺮﻯ ﺑﻪ ﻣﺎ ﺭﺳﻴﺪ‪.‬‬

‫‪1. John Joseph Adams‬‬

‫‪ :LightSpeed Magazine .2‬ﻧﺴﺨﻪﻯ ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻰ‬ ‫ﺍﻳﻦ ﻣﺎﻫﻨﺎﻣﻪ ﺭﺍ ﻣﻰﺗﻮﺍﻧﻴﺪ ﺁﺧﺮ ﻫﺮ ﻣﺎﻩ ﺑﺮ ﺭﻭﻯ ﻧﺸﺎﻧﻰ‬ ‫‪ lightspeedmagazine.com‬ﺑﺒﻴﻨﻴﺪ‪.‬‬ ‫‪ :Fantasy Magazine .3‬ﻗﺒﻞ ﺍﺯ ﺍﻧﺘﺸﺎﺭ ﺳﺮﻋﺖ ﻧﻮﺭ‪ ،‬ﺁﺩﺍﻣﺰ ﭼﻨﺪ‬

‫ﺳﺎﻝ ﺍﻳﻦ ﻣﺠﻠﻪ ﺭﺍ ﺳﺮﺩﺑﻴﺮﻯ ﻣﻰﻛﺮﺩ ﻭ ﺑﺮﺧﻼﻑ ﺍﺳﻤﺶ‪ ،‬ﻓﻘﻂ‬ ‫ﺩﺍﺳﺘﺎﻥ ﻓﺎﻧﺘﺰﻯ ﻫﻢ ﻣﻨﺘﺸﺮ ﻧﻤﻰﻛﺮﺩ‪ .‬ﺁﺭﺷﻴﻮ ﺷﻤﺎﺭﻩﻫﺎﻯ ﺁﻥ ﺭﺍ‬ ‫ﻣﻰﺗﻮﺍﻧﻴﺪ ﺩﺭ ﻧﺸﺎﻧﻰ ‪ www.fantasy-magazine.com‬ﺑﺒﻴﻨﻴﺪ‪.‬‬ ‫‪4. By Blood We Live‬‬ ‫‪5. Robert Kirkman‬‬

‫‪179‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻛﺘﺎﺏ‬

‫ﻧﺪﺍﺭﻧﺪ‪ .‬ﺩﺭ ﺑﻌﻀﻰﺷﺎﻥ ﺯﺍﻣﺒﻰﻫﺎ ﻓﻘﻂ ﺑﻬﺎﻧﻪﺍﻧﺪ‪ ،‬ﻣﺜﻞ ﺧﻴﻠﻰ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻯ ﻫﺎﻟﻴﻮﻭﺩﻯ‪ .‬ﻣﻨﺘﻬﻰ ﻫﺴﺘﻨﺪ‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻰ ﻛﻪ ﺯﺍﻣﺒﻰﻫﺎ ﺭﺍ ﺍﺯ ﻣﻨﻈﺮ ﺩﻳﮕﺮﻯ ﻧﮕﺮﻳﺴﺘﻪ ﺑﺎﺷﻨﺪ‪ .‬ﺩﺭ ﺟﻠﺪ ﺍﻭﻝ ﺗﻤﺎﻡ ﺩﺍﺳﺘﺎﻥﻫﺎ ﺑﻪ ﺟﺰ‬ ‫ﻳﻜﻰ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﻣﻨﺘﺸﺮ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺩﺭ ﻧﺘﻴﺠﻪ ﻣﺠﻠﺪ ﺍﻭﻝ ﺗﺎﺑﻊ ﺁﺛﺎﺭ ﻧﻪ ﭼﻨﺪﺍﻥ ﻛﻢﺗﻌﺪﺍﺩﻯ ﺍﺳﺖ ﻛﻪ ﺁﺩﺍﻣﺰ ﺍﺯ‬ ‫ﻗﺒﻞ ﺑﺎ ﺁﻥﻫﺎ ﺭﻭﺑﺮﻭ ﺑﻮﺩﻩ‪ .‬ﻣﻨﺘﻬﻰ ﺩﺭ ﻣﺠﻠﺪ ﺩﻭﻡ‪ ،‬ﻭﺿﻌﻴﺖ ﻛﻤﻰ ﻓﺮﻕ ﻣﻰﻛﻨﺪ‪ .‬ﺑﻴﺴﺖ ﻭ ﭘﻨﺞ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺍﺯ ﻣﺠﻤﻮﻉ ‪ 44‬ﺩﺍﺳﺘﺎﻥ ﺍﻳﻦ ﻣﺠﻠﺪ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﻣﻨﺘﺸﺮ ﺷﺪﻩﺍﻧﺪ ﻭ ﺑﻪ ﻋﺒﺎﺭﺗﻰ ﺍﺻﻞ ﻫﺴﺘﻨﺪ‪ .‬ﺩﺭ‬ ‫ﺍﻳﻦ ﻣﺠﻠﺪ ﺁﺩﺍﻣﺰ ﺗﻼﺵ ﻛﺮﺩﻩ ﺗﺎ ﺍﺯ ﺍﺳﺎﻣﻰ ﺟﺪﻳﺪﺗﺮ ﻣﻄﺮﺡ ﺩﺭ ﭘﻰﺭﻧﮓ ﺯﺍﻣﺒﻰ‪ ،‬ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻛﻮﺗﺎﻩ‬ ‫ﺟﺪﻳﺪ ﺑﮕﻴﺮﺩ‪ .‬ﻣﺜ ً‬ ‫ﻼ ﺍﺯ ﺍﻳﻦ ﺯﻣﺮﻩ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺭﺍﺑﺮﺕ ﻛﻴﺮﻛﻤﻦ ]‪ ،[5‬ﻧﻮﻳﺴﻨﺪﻩﻯ ﻣﺠﻤﻮﻋﻪﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ‬ ‫‪ The Walking Dead‬ﺍﺷﺎﺭﻩ ﻛﺮﺩ‪ .‬ﺑﻪ ﮔﻮﺍﻩ ﺧﻮﺩ ﺁﺩﺍﻣﺰ ﺍﻭ ﺩﺭ ﻣﺠﻠﺪ ﺍﻭﻝ ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻰ ﺭﺍ ﺑﺮﮔﺰﻳﺪﻩ‬ ‫ﻛﻪ ﺑﻪ ﻧﻈﺮﺵ ﺑﻬﺘﺮﻳﻦ ﺑﻬﺘﺮﻳﻦﻫﺎ ﺑﻮﺩﻩﺍﻧﺪ ﻭ ﻭﻳﺘﺮﻳﻨﻰ ﺷﻴﻚ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻣﻮﺟﻮﺩ ﺗﺎ ﺁﻥ ﺯﻣﺎﻥ ﻭ‬ ‫ﻇﺮﻓﻴﺖﻫﺎﻯ ﺯﺍﻣﺒﻰﻫﺎ ﺭﺍ ﺑﻪ ﻧﻤﺎﻳﺶ ﮔﺬﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺩﺭ ﻣﺠﻠﺪ ﺩﻭﻡ‪ ،‬ﺑﺮ ﺭﻭﻯ ﺑﻬﺘﺮﻳﻦ ﻣﻨﺎﻇﺮ ﺟﺪﻳﺪ‬ ‫ﺗﻤﺮﻛﺰ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻭ ﺗﻼﺵ ﻛﺮﺩﻩ ﺗﺎ ﺑﻬﺘﺮﻳﻦ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺟﺪﻳﺪ ﺭﺍ ﻛﻪ ﺗﺎ ﻗﺒﻞ ﺍﺯ ﺁﻥ ﺧﻴﻠﻰ ﻇﻬﻮﺭ‬ ‫ﻭ ﺑﺮﻭﺯ ﻧﺪﺍﺷﺘﻪﺍﻧﺪ‪ ،‬ﺩﺭ ﻣﺠﻤﻮﻋﻪﺍﺵ ﮔﺮﺩ ﻫﻢ ﺁﻭﺭﺩ‪ .‬ﺍﻳﻦ ﺭﻭﻳﻜﺮﺩ ﺑﺎﻋﺚ ﺷﺪﻩ ﺗﺎ ﺑﺎ ﻭﺟﻮﺩ ﺍﻧﺘﺸﺎﺭ ﻣﺠﺪﺩ‬ ‫‪ 19‬ﺍﺛﺮ ﺩﺭ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ‪ ،‬ﺗﻤﺎﻡ ﺁﻥﻫﺎ ﺑﻪ ﺟﺪﻳﺪ ﺑﻪ ﻧﻈﺮ ﺑﺮﺳﻨﺪ‪.‬‬ ‫ﺁﺩﺍﻣﺰ ﺧﻮﺩ ﻣﺪﻋﻰ ﺍﺳﺖ ﺑﺮﺍﻯ ﺟﻤﻊﺁﻭﺭﻯ ﺍﻳﻦ ﺩﻭ ﻣﺠﻤﻮﻋﻪ‪ ،‬ﺟﻤﻊ ﺑﻴﺶ ﺍﺯ ﺁﻥ ﭼﻪ ﺑﻪ ﺫﻫﻦ ﻣﻦ ﻭ ﺷﻤﺎ‬ ‫ﺑﺮﺳﺪ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺯﺍﻣﺒﻰﺩﺍﺭ ﺧﻮﺍﻧﺪﻩ‪ ،‬ﺍﺯ ﻫﻤﻪ ﻧﻮﻉ ﻭ ﺍﺯ ﻫﻤﻪ ﺭﻧﮓ‪ .‬ﭼﻨﺪﺍﻥ ﺍﺩﻋﺎﻯ ﮔﺰﺍﻑ ﻭ ﺑﻌﻴﺪﻯ‬ ‫ﻫﻢ ﻧﻴﺴﺖ‪ .‬ﻭ ﺍﻳﻦ ﺧﻮﺩ ﺑﻪ ﺗﻨﻬﺎﻳﻰ ﻋﻼﻗﻪﻯ ﻭﺍﻓﺮ ﺍﻭ ﺭﺍ ﺑﻪ ﺍﻳﻦ ﻣﻘﻮﻟﻪ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪ .‬ﻣﻨﺘﻬﻰ ﭼﻪ ﭼﻴﺰ‬ ‫ﺍﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ ﻟﻨﮕﺎﻥﻟﻨﮕﺎﻥ ﺑﺪﻗﻴﺎﻓﻪ ﺍﺳﺖ ﻛﻪ ﺁﻥﻫﺎ ﺭﺍ ﺑﺮﺍﻯ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﺑﺴﺘﺮ ﻓﺮﻫﻨﮕﻰ ﻧﺰﺩﻳﻚ ﺑﺎ‬ ‫ﺁﺩﺍﻣﺰ ﺟﺬﺍﺏ ﻣﻰﻛﻨﺪ؟ ﺁﺩﺍﻣﺰ ﺑﺮﺍﻯ ﻫﺮ ﻣﺠﻤﻮﻋﻪ ﻳﻚ ﻣﻘﺪﻣﻪ ﻣﻰﻧﻮﻳﺴﺪ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺗﻼﺵ ﺩﺳﺖ ﻭ‬ ‫ﭘﺎ ﺷﻜﺴﺘﻪﺍﻯ ﺑﺮﺍﻯ ﭘﺎﺳﺦ ﺑﻪ ﺍﻳﻦ ﺳﻮﺍﻝ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﺪ‪ .‬ﺩﺭ ﻣﻘﺪﻣﻪﻯ ﺍﻭﻝ‪ ،‬ﺍﻭ ﺯﺍﻣﺒﻰﻫﺎﻯ ﺩﺍﺳﺘﺎﻧﻰ ﻭ‬ ‫ﻭﻳﮋﮔﻰﻫﺎﻳﺸﺎﻥ ﺭﺍ ﺑﺮﺭﺳﻰ ﻣﻰﻛﻨﺪ‪ .‬ﻧﻜﺘﻪﻯ ﻣﺜﺒﺖ ﻭ ﻣﻬﻢ ﺍﻳﻦ ﻣﻘﺪﻣﻪ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺭﻳﺸﻪﻯ ﻭﺍژﻩﻯ‬ ‫ﺯﺍﻣﺒﻰ ﻫﻢ ﺷﺮﻭﻉ ﻧﻤﻰﻛﻨﺪ ﺗﺎ ﺗﺤﻠﻴﻠﻰ ﻛﻠﻴﺸﻪﺍﻯ ﺍﺭﺍﺋﻪ ﺩﻫﺪ‪ .‬ﺑﻠﻜﻪ ﺑﻴﺸﺘﺮ ﺑﻪ ﻧﻈﺮﺍﺕ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎ ﻣﻰﭘﺮﺩﺍﺯﺩ ﺗﺎ ﺗﺤﻠﻴﻞ ﺁﻥﻫﺎ ﺭﺍ ﺍﺯ ﺍﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ ﺟﻮﻳﺎ ﺷﻮﺩ‪ .‬ﺍﺯ ﺍﻳﻦ ﻧﻈﺮ ﻫﺮ ﭼﻨﺪ ﺍﻳﻦ ﻣﻘﺪﻣﻪ‬ ‫ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺷﻤﺎ ﻗﺮﺍﺭ ﻧﮕﺮﻓﺘﻪ )ﻣﺜ ً‬ ‫ﻼ ﺑﻪ ﺻﻮﺭﺕ ﻳﻚ ﻣﻘﺎﻟﻪﻯ ﻣﺴﺘﻘﻞ( ﻭ ﺑﻪ ﺩﻟﻴﻞ ﺷﻴﻮﻩﻯ ﻧﮕﺎﺭﺵ ﺩﻗﺖ‬ ‫ﻧﻈﺮﻯ ﭼﻨﺪﺍﻧﻰ ﻧﺪﺍﺭﺩ‪ ،‬ﺍﻣﺎ ﻣﻄﺎﻟﻌﻪﻯ ﺁﻥ ﺷﺪﻳﺪﺍ ً ﺑﻪ ﺩﻭﺳﺖﺩﺍﺭﺍﻥ ﺯﺍﻣﺒﻰﻫﺎ ﺗﻮﺻﻴﻪ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺭ ﺍﻧﺘﻬﺎﻯ‬ ‫ﻣﻘﺪﻣﻪﻯ ﺩﻭﻡ‪ ،‬ﺁﺩﺍﻣﺰ ﺗﺤﻠﻴﻞ ﺧﻮﺩ ﺭﺍ ﻧﻴﺰ ﺍﺯ ﭼﺮﺍﻳﻰ ﺍﻳﻦ ﻋﻼﻗﻪ ﺷﺮﺡ ﻣﻰﺩﻫﺪ‪ .‬ﺍﮔﺮﭼﻪ ﻣﻮﺍﺭﺩ ﻧﻘﺾ‬ ‫ﺗﺤﻠﻴﻠﺶ ﺭﺍ ﺩﺭ ﻫﻤﺎﻥ ﻣﺠﻠﺪ ﺩﻭﻡ ﻣﻰﺗﻮﺍﻥ ﻳﺎﻓﺖ ﻭ ﻫﺮﭼﻨﺪ ﺗﺤﻠﻴﻠﺶ ﺧﻴﻠﻰ ﺟﺪﻯ ﻧﻴﺴﺖ‪ ،‬ﺍﻣﺎ ﺑﺮﺍﻯ‬ ‫ﺣﺴﻦ ﺧﺘﺎﻡ ﺍﻳﻦ ﻧﻮﺷﺘﻪ ﺫﻛﺮ ﺁﻥ ﺧﺎﻟﻰ ﺍﺯ ﻟﻄﻒ ﻧﻴﺴﺖ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺩﺭ ﺯﻳﺮ ﺑﺨﺶ ﭘﺎﻳﺎﻧﻰ ﻣﻘﺪﻣﻪﻯ‬ ‫ﺩﻭﻡ ﺭﺍ ﺑﺮﺍﻳﺘﺎﻥ ﺁﻭﺭﺩﻩﺍﻡ‪:‬‬ ‫‪177‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺑﮕﺬﺍﺭﻳﺪ ﻳﻚ ﺑﺎﺭ ﻫﻢ ﻛﻪ ﺷﺪﻩ ﻣﻨﺒﻊ ﺭﺍ ﺑﺮﺍﻳﺘﺎﻥ ﻣﻌﺮﻓﻰ ﻛﻨﻢ‪ .‬ﺭﻙ ﻭ ﺭﺍﺳﺖ‪ .‬ﺟﻨﺎﺏ ﺁﺩﺍﻣﺰ ﻳﻜﻰ ﺍﺯ‬ ‫ﺁﺩﻡﻫﺎﻯ ﻣﻮﺭﺩ ﻋﻼﻗﻪﻯ ﻣﻦ ﺩﺭ ﺣﻮﺯﻩﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﺍﺳﺖ‪ .‬ﺿﻤﻨﺎً ﺍﻭ ﻧﻮﻳﺴﻨﺪﻩ‪ ،‬ﻣﻨﺘﻘﺪ ﻭ ﺳﺮﺩﺑﻴﺮ‬ ‫ﻣﺎﻫﻨﺎﻣﻪﻯ »ﺳﺮﻋﺖ ﻧﻮﺭ«]‪ [2‬ﻫﻢ ﻫﺴﺖ‪ ،‬ﻣﻨﺘﻬﻰ ﺁﻏﺎﺯ ﻋﻼﻗﻪﻯ ﻣﻦ ﺑﻪ ﺍﻭ ﺑﻪ ﻗﺒﻞ ﺍﺯ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻥ‬ ‫ﺳﺮﻋﺖ ﻧﻮﺭ ﺑﺮ ﻣﻰﮔﺮﺩﺩ )ﺁﻥ ﻣﻮﻗﻊ ﻫﻨﻮﺯ ﻣﺠﻠﻪﻯ »ﻓﺎﻧﺘﺰﻯ«]‪ [3‬ﺭﺍ ﻣﻰﮔﺮﺩﺍﻧﺪ(‪،‬ﻳﻌﻨﻰ ﺑﻪ ﺗﻮﺭﻕ ﻣﺠﺎﺯﻯ‬ ‫ﻣﺠﻤﻮﻋﻪﻫﺎﻳﻰ ﻛﻪ ﮔﺮﺩﺁﻭﺭﻯ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﻧﮕﺎﻫﻰ ﺑﻪ ﻛﺎﺭﻧﺎﻣﻪﻯ ﺍﻭ ﺑﻴﻨﺪﺍﺯﻳﺪ‪ ،‬ﺿﺮﺭ ﻧﻤﻰﻛﻨﻴﺪ‪ .‬ﻫﺮ‬ ‫ﭼﻨﺪ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﻫﻢ ﺩﺭ ﻛﺎﺭﺵ ﻫﺴﺖ‪ ،‬ﻣﻨﺘﻬﻰ ﻧﺴﺒﺘﺎً ﺧﻮﺵﺳﻠﻴﻘﻪ ﺍﺳﺖ ﻭ ﻣﺠﻤﻮﻋﻪﻫﺎﻯ ﺗﻤﺎﺗﻴﻚ‬ ‫ﺧﻮﺑﻰ ﮔﺮﺩﺁﻭﺭﻯ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﺯ ﭘﺴﺎﺁﺧﺮﺍﻟﺰﻣﺎﻧﻰ ﻭ ﺍﭘﺮﺍﻯ ﻓﻀﺎﻳﻰ ﺑﮕﻴﺮﻳﺪ‪ ،‬ﺗﺎ ﺟﺎﺩﻭﮔﺮﻯ ﻭ ﺧﻮﻥﺁﺷﺎﻣﻰ‬ ‫ﻭ ﺣﺘﺎ ﻳﻚ ﻣﺠﻤﻮﻋﻪ ﻣﺨﺘﺺ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺷﺮﻟﻮﻙ ﻫﻠﻤﺰ ﻛﻪ ﺩﺭ ﺁﻥ ﻫﻠﻤﺰ ﺑﻪ ﺩﻧﺒﺎﻝ ﺍﺭﻭﺍﺡ‪ ،‬ﺑﻴﮕﺎﻧﮕﺎﻥ‪،‬‬ ‫ﺩﺍﻳﻨﺎﺳﻮﺭﻫﺎ ﻭ ﺗﻐﻴﻴﺮﺷﻜﻞﺩﻫﻨﺪﻩﻫﺎ ﻣﻰﺭﻭﺩ! ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻛﻮﺗﺎﻩ ﻭ ﺑﻠﻨﺪ ﺍﺯ ﺍﺳﺎﻣﻰ ﺑﺰﺭگ ﻭ ﻛﻮﭼﻜﻰ‬ ‫ﭼﻮﻥ ﺍﺳﺘﻴﻔﻦ ﻛﻴﻨﮓ‪ ،‬ﻧﻴﻞ ﮔﻴﻤﻦ‪ ،‬ﺟﺮﺝ ﻣﺎﺭﺗﻴﻦ‪ ،‬ﻛﻠﻰ ﻟﻴﻨﻚ‪ ،‬ﻛﻼﻳﻮ ﺑﺎﺭﻛﺮ‪ ،‬ﻛﻠﻰ ﺁﺭﻣﺴﺘﺮﺍﻧﮓ ﻭ‬ ‫ﻣﻜﺲ ﺑﺮﻭﻛﺲ‪ .‬ﻋﻤ ً‬ ‫ﻼ ﻣﺠﻤﻮﻋﻪﻫﺎﻳﺶ ﺳﻔﺮﻩﺍﻯ ﺍﺳﺖ ﻛﻪ ﺗﻨﻮﻉ ﻏﺬﺍﻳﻰ ﺑﺎﻻﻳﻰ ﺩﺍﺭﺩ‪.‬‬ ‫ﮔﻔﺘﻨﻰ ﺍﺳﺖ ﺟﻨﺎﺏ ﺁﺩﺍﻣﺰ ﭼﻨﺪ ﺑﺎﺭﻯ ﻫﻢ ﺩﺭ ﺑﺨﺶ ﮔﺮﺩﺁﻭﺭﻧﺪﮔﺎﻥ ﻣﺠﻤﻮﻋﻪﻯ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ‪ ،‬ﺑﺮﺍﻯ‬ ‫ﺟﻮﺍﻳﺰ ﻫﻮﮔﻮ ﻭ ﻧﺒﻴﻮﻻ ﻛﺎﻧﺪﻳﺪﺍ ﺷﺪﻩ‪ .‬ﻣﻨﺘﻬﻰ ﻫﺮ ﺑﺎﺭ ﻣﺜﻞ ﺍﻣﺴﺎﻝ ﺑﺎ ﻧﺎﺩﺍﻭﺭﻯ ﺟﺎﻳﺰﻩ ﺭﺍ ﺑﻪ ﺍﻭ ﻧﺪﺍﺩﻧﺪ!‬ ‫ﻣﻨﺘﻬﻰ ﺍﻳﻦﻫﺎ ﻫﻴﭻﻛﺪﺍﻡ ﺍﺯ ﺍﺭﺯﺵ ﺍﻭ ﻧﻤﻰﻛﺎﻫﺪ‪.‬‬ ‫ﺣﺎﻻ ﺍﻳﻦﻫﺎ ﺑﻪ ﻛﻨﺎﺭ‪ ،‬ﻣﻬﻢ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺷﮕﻔﺖﺯﺍﺭ ﻫﻢ ﺍﺯ ﻗﻀﺎ ﻣﺪﺗﻰ ﺍﺳﺖ ﺑﻪ ﻣﺠﻤﻮﻋﻪﻫﺎﻯ ﺍﻳﻦ ﻓﺮﺩ‬ ‫ﻋﻼﻗﻤﻨﺪ ﺷﺪﻩ‪ .‬ﺩﻟﻴﻠﺶ ﺭﺍ ﻫﻢ ﻧﭙﺮﺳﻴﺪ‪ ،‬ﻧﻤﻰﺩﺍﻧﻢ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﺟﻨﺎﺏ ﻣﺠﻤﻮﻋﻪﺍﻯ ﺑﺮﺍﻯ ﺧﻮﻥﺁﺷﺎﻡﺟﻤﺎﻋﺖ‬ ‫ﺟﻤﻊ ﻛﺮﺩﻩ‪ ،‬ﺑﻪ ﻧﺎﻡ »ﺑﺎ ﺧﻮﻥ ﺯﻧﺪﻩﺍﻳﻢ«]‪ .[4‬ﺍﮔﺮ ﻧﮕﺎﻫﻰ ﺑﻪ ﺁﻥ ﺑﻴﻨﺪﺍﺯﻳﺪ‪ ،‬ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺁﺷﻨﺎﻳﻰ ﺩﺭ ﺁﻥ‬ ‫ﻣﻰﺑﻴﻨﻴﺪ ﻛﻪ ﺍﺣﺘﻤﺎﻻً‪ ،‬ﻭ ﻓﻘﻂ ﺍﺣﺘﻤﺎﻻً‪ ،‬ﺩﺭ ﺷﮕﻔﺖﺯﺍﺭ ﻫﻢ ﺧﻮﺍﻧﺪﻩﺍﻳﺪ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺗﺮﺗﻴﺐ ﺣﺪﺱ ﻣﻰﺯﻧﻢ‬ ‫ﺍﮔﺮ ﻛﺴﻰ ﺑﻌﺪ ﺍﺯ ﺧﻮﺍﻧﺪﻥ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺍﻳﻦ ﻭﻳﮋﻩﻧﺎﻣﻪ‪ ،‬ﺑﻪ ﻟﻴﺴﺖ ﺍﺳﺎﻣﻰ ﻭ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺩﻭ ﻣﺠﻤﻮﻋﻪﻯ‬ ‫ﺣﺎﺿﺮ ﻫﻢ ﻧﮕﺎﻫﻰ ﺑﻴﻨﺪﺍﺯﺩ ﺑﺎ ﺧﻮﺩ ﻣﻰﮔﻮﻳﺪ‪» :‬ﻋﺠــــــﺐ‪ .‬ﭼﻘﺪﺭ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥﻫﺎ ﺁﺷﻨﺎﺳﺖ! ﻧﻤﻰﺩﺍﻧﻢ‬ ‫ﭼﺮﺍ ﺣﺲ ﻣﻰﻛﻨﻢ ﻗﺒ ً‬ ‫ﻼ ﺟﺎﻳﻰ ﺁﻥﻫﺎ ﺭﺍ ﺧﻮﺍﻧﺪﻩﺍﻡ‪ «.‬ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﭼﻨﺪﺍﻥ ﺩﻟﻴﻠﻰ ﻧﺪﺍﺭﺩ ﻛﻪ ﻣﻮﺿﻮﻉ‬ ‫ﻫﺮ ﻛﺪﺍﻡ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎ ﺭﺍ ﺑﺮﺍﻳﺘﺎﻥ ﺑﻨﻮﻳﺴﻢ‪ .‬ﺍﺯ ﺁﻥ ﮔﺬﺷﺘﻪ‪ ،‬ﺁﺧﺮ ﺍﻳﻦ ﺩﻭ ﻣﺠﻤﻮﻋﻪ ﺭﻭﻯ ﻫﻢ ‪ 74‬ﺩﺍﺳﺘﺎﻥ‬ ‫ﺩﺭ ﺧﻮﺩ ﺩﺍﺭﺩ! ﺍﻧﺼﺎﻑ ﺩﻫﻴﺪ ﻛﻪ ﺻﺮﻑ ﺑﺮﺷﻤﺮﺩﻧﺸﺎﻥ ﻫﻢ ﭼﻨﺪﺍﻥ ﻋﺎﻗﻼﻧﻪ ﻧﻴﺴﺖ ﻭ ﺷﺎﻳﺪ ﺍﺯ ﻣﺤﺪﻭﺩﻩﻯ‬ ‫ﻧﻮﺷﺘﻦ ﻣﺎ ﭘﺎ ﺑﻴﺮﻭﻥ ﺑﮕﺬﺍﺭﺩ‪ .‬ﭘﺲ ﺑﮕﺬﺍﺭﻳﺪ ﺑﻪ ﮔﻮﻧﻪﻯ ﺩﻳﮕﺮﻯ ﺑﻪ ﺁﻥ ﺑﭙﺮﺩﺍﺯﻳﻢ‪.‬‬ ‫ﺍﻳﻦ ﺩﻭ ﻣﺠﻤﻮﻋﻪ ﺟﺪﺍ ً ﻣﻠﻐﻤﻪﺍﻯ ﺍﺳﺖ! ﺍﮔﺮ ﺫﺭﻩﺍﻯ ﻋﻼﻗﻪ ﺑﻪ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺯﺍﻣﺒﻰﺩﺍﺭ ﺩﺍﺭﻳﺪ‪ ،‬ﺑﻌﻴﺪ ﺍﺳﺖ‬ ‫ﺍﺯ ﺍﻳﻦ ﺩﻭ ﻣﺠﻤﻮﻋﻪ ﺑﻬﺮﻩﺍﻯ ﻧﺒﺮﻳﺪ‪ .‬ﺍﺯ ﺯﺍﻣﺒﻰﻫﺎﻯ ﻛﺮ ﻭ ﻛﻮﺭ ﻭ ﻛﭽﻞ‪ ،‬ﺧﻨﮓ ﻭ ﻫﻮﺷﻴﺎﺭ‪ ،‬ﺑﺪ ﻭ ﺧﻮﺏ ﻫﻤﻪ‬ ‫ﻭ ﻫﻤﻪ ﺩﺭ ﺍﻳﻦ ﺩﻭ ﻣﺠﻤﻮﻋﻪ ﭘﻴﺪﺍ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎ‪ ،‬ﻗﻬﺮﻣﺎﻥﻫﺎ ﺯﺍﻣﺒﻰﺍﻧﺪ‪ .‬ﻧﻘﻄﻪﻯ‬ ‫ﺍﺷﺘﺮﺍﻙ ﻫﺮ ‪ 74‬ﺩﺍﺳﺘﺎﻥ ﻃﺒﻴﻌﺘﺎً ﺣﻀﻮﺭ ﺯﺍﻣﺒﻰﻫﺎ ﺍﺳﺖ‪ ،‬ﻣﻨﺘﻬﻰ ﻫﻤﻪﻯ ﺩﺍﺳﺘﺎﻥﻫﺎ ﻣﺴﺎﻟﻪﻯ ﺯﺍﻣﺒﻰ‬ ‫‪176‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻛﺘﺎﺏ‬

‫ﻫﺮ ﺁﻥﭼﻪ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ‬ ‫ﺯﺍﻣﺒــﻰﺩﺍﺭ ﻣﻰﺧﻮﺍﻫﻴﺪ!‬ ‫ﻣﺤﻤﺪﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‬

‫ﻋﻨﻮﺍﻥ‪The Living Dead :‬‬

‫ﮔﺮﺩﺁﻭﺭﻯ‪ :‬ﺟﺎﻥ ﺟﻮﺯﻑ ﺁﺩﺍﻣﺰ ]‪[1‬‬ ‫ﻧﺎﺷﺮ‪Night Shade Books :‬‬ ‫ﺳﺎﻝ ﺍﻧﺘﺸﺎﺭ‪2008 :‬‬

‫ﻋﻨﻮﺍﻥ‪The Living Dead 2 :‬‬

‫ﮔﺮﺩﺁﻭﺭﻧﺪﻩ‪ :‬ﺟﺎﻥ ﺟﻮﺯﻑ ﺁﺩﺍﻣﺰ‬ ‫ﻧﺎﺷﺮ‪Night Shade Books :‬‬ ‫ﺳﺎﻝ ﺍﻧﺘﺸﺎﺭ‪2010 :‬‬

‫ﻛﺘﺎﺏ‬

‫اﯾﻦ ﮐﻪ ﺣﺪس ﻣﯽزدم ﻫﻤﯿﻦ ﮔﺎز ﻣﻨﺸﺎ ﻋﻔﻮﻧﺖ ﺑﺎﺷﺪ‪ ،‬اﻣﺎ ﺧﻮد زﺧﻢ ﺑﻪ ﺷﮑﻞ ﻋﺠﯿﺒﯽ متﯿﺰ ﺑﻮد‪ .‬دوﺑﺎره‬ ‫از روﺳﺘﺎﯾﯽﻫﺎ ﭘﺮﺳﯿﺪم ﭼﻪ ﮐﺴﯽ از اﯾﻦ ﺑﯿامران ﻣﺮاﻗﺒﺖ ﮐﺮده اﺳﺖ و آنﻫﺎ دوﺑﺎره ﮔﻔﺘﻨﺪ ﻫﯿﭻﮐﺲ‪.‬‬ ‫وﻟﯽ ﻣﯽداﻧﺴﺘﻢ ﭼﻨﯿﻦ ﭼﯿﺰی ﻣﺤﺎل اﺳﺖ‪ .‬دﻫﺎن اﻧﺴﺎن ﭘﺮ از ﺑﺎﮐﱰی اﺳﺖ؛ آنﻗﺪر زﯾﺎد ﮐﻪ ﺗﻌﺪاد‬ ‫ﺑﺎﮐﱰیﻫﺎی ﯾﮏ ﺳﮓ ﮐﺜﯿﻒ ﻫﻢ ﺑﻪ ﭘﺎی آن منﯽرﺳﺪ‪ .‬ﭘﺲ اﮔﺮ ﮐﺴﯽ زﺧﻢ اﯾﻦ زن را متﯿﺰ ﻧﮑﺮده ﺑﻮد‪،‬‬ ‫ﭼﻄﻮر ﺑﺮ اﺛﺮ ﻋﻔﻮﻧﺖ ﺗﭙﺶ ﻧﺪاﺷﺖ؟«‬

‫‪5. The Zombie Survival Guide‬‬ ‫‪6. The Good War: An Oral History of World War II‬‬ ‫‪7. Studs Terkel‬‬ ‫‪8. Solanum‬‬ ‫‪9. Yonkers‬‬

‫‪1. World War Z‬‬ ‫‪2. Max Brooks‬‬ ‫‪3. Crown‬‬ ‫‪4. World War Z: An Oral History of the Zombie‬‬ ‫‪War‬‬

‫‪173‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫• ﺗﺮﺱ ﻭ ﺗﺮﺩﻳﺪ‬ ‫ﺑﺮﻭﻛﺰ ﻣﺴﺎﻟﻪﻯ ﺗﺮﺱ ﻭ ﺗﺮﺩﻳﺪ ﺭﺍ ﻫﺴﺘﻪﻯ ﺍﺻﻠﻰ ژﺍﻧﺮ ﺯﺍﻣﺒﻰﻫﺎ ﻣﻰﺩﺍﻧﺪ‪ .‬ﺑﻪ ﻧﻈﺮ ﺍﻭ‪ ،‬ﺯﺍﻣﺒﻰﻫﺎ ﻣﻰﺗﻮﺍﻧﻨﺪ‬ ‫ﺍﻧﺴﺎﻥﻫﺎ ﺭﺍ ﻭﺍﺩﺍﺭ ﻛﻨﻨﺪ ﺗﺎ ﺑﺎ ﺗﺮﺱﻫﺎ ﻭ ﺗﺮﺩﻳﺪﻫﺎﻯ ﺩﺭﻭﻧﻰ ﺧﻮﺩ ﺭﻭﺑﺮﻭ ﺷﻮﻧﺪ‪ .‬ﺍﻭ ﻣﻰﮔﻮﻳﺪ‪» :‬ﻣﻦ ﺍﺯ‬ ‫ﺯﺍﻣﺒﻰﻫﺎ ﺑﻴﺸﺘﺮ ﺍﺯ ﺑﺎﻗﻰ ﻣﻮﺟﻮﺩﺍﺕ ﺧﻴﺎﻟﻰ ﻣﻰﺗﺮﺳﻢ‪ ،‬ﭼﻮﻥ ﺁﻥﻫﺎ ﺗﻤﺎﻣﻰ ﻗﻮﺍﻧﻴﻦ ﺭﺍ ﺯﻳﺮ ﭘﺎ ﻣﻰﮔﺬﺍﺭﻧﺪ‪.‬‬ ‫ﮔﺮﮔﻴﻨﻪﻫﺎ ﻭ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻭ ﻛﻮﺳﻪﻫﺎﻯ ﻏﻮﻝﭘﻴﻜﺮ ﻫﻢ ﻫﺴﺘﻨﺪ‪ ،‬ﺍﻣﺎ ﺑﺮﺍﻯ ﺭﻭ ﺩﺭ ﺭﻭﻳﻰ ﺑﺎ ﺁﻥﻫﺎ‪ ،‬ﺑﺎﻳﺪ‬ ‫ﺑﻪ ﺩﻧﺒﺎﻟﺸﺎﻥ ﺑﺮﻭﻳﺪ ﻭ ﻭﻗﺘﻰ ﻫﻢ ﻛﻪ ﺭﻓﺘﻴﺪ‪ ،‬ﻧﺘﻴﺠﻪﻯ ﻛﺎﺭ ﭘﺎﻯ ﺧﻮﺩﺗﺎﻥ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﻭﻟﻰ ﺯﺍﻣﺒﻰﻫﺎ‬ ‫ﺧﻮﺩ ﺑﻪ ﺳﺮﺍﻍ ﺷﻤﺎ ﻣﻰﺁﻳﻨﺪ‪ .‬ﺁﻥﻫﺎ ﻣﺜﻞ ﺩﺭﻧﺪﻩﻫﺎ ﺭﻓﺘﺎﺭ ﻧﻤﻰﻛﻨﻨﺪ؛ ﺑﻴﺸﺘﺮ ﻳﻚ ﺟﻮﺭ ﻭﻳﺮﻭﺱ ﻫﺴﺘﻨﺪ‬ ‫ﻭ ﺗﺮﺳﻰ ﻣﺸﺎﺑﻪ ﺁﻥﻫﺎ ﺭﺍ ﺑﺎ ﺧﻮﺩ ﺑﻪ ﻫﻤﺮﺍﻩ ﻣﻰﺁﻭﺭﻧﺪ‪ .‬ﺩﺭﻧﺪﻩﻫﺎ ﻫﻮﺷﻤﻨﺪ ﻫﺴﺘﻨﺪ ﻭ ﻣﻰﺩﺍﻧﻨﺪ ﭼﻄﻮﺭ‬ ‫ﻣﻨﺒﻊ ﺗﻐﺬﻳﻪﻯ ﺧﻮﺩ ﺭﺍ ﺯﻭﺩ ﺑﻪ ﭘﺎﻳﺎﻥ ﻧﺒﺮﻧﺪ؛ ﺁﻥﻫﺎ ﻓﻜﺮ ﻓﺮﺩﺍ ﺭﺍ ﻫﻢ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻭﻟﻰ ﻳﻚ ﻭﻳﺮﻭﺱ ﻓﻘﻂ‬ ‫ﮔﺴﺘﺮﺵ ﻣﻰﻳﺎﺑﺪ‪ ،‬ﺁﻟﻮﺩﻩ ﻣﻰﻛﻨﺪ‪ ،‬ﻣﻰﺑﻠﻌﺪ‪ ،‬ﻭ ﻫﻴﭻ ﭼﻴﺰ ﺑﺮﺍﻳﺶ ﻣﻬﻢ ﻧﻴﺴﺖ‪ .‬ﺗﺮﺱ ﺍﺯ ﺯﺍﻣﺒﻰ‪ ،‬ﺗﺮﺱ ﺍﺯ‬ ‫ﻫﻤﻴﻦ ﺑﻰﻓﻜﺮﻯ ﻭ ﺑﻰﻣﻨﻄﻘﻰ ﺁﻥ ﺍﺳﺖ‪«.‬‬ ‫ﺍﺳﺘﻘﺒﺎﻝ ﺍﺯ ﺟﻨﮓ ﺟﻬﺎﻧﻰ ﺯﻯ‬ ‫ﺗﻘﺮﻳﺒﺎً ﺗﻤﺎﻣﻰ ﻧﻘﺪﻫﺎﻳﻰ ﻛﻪ ﺑﺮ ﺍﻳﻦ ﻛﺘﺎﺏ ﻧﻮﺷﺘﻪ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﻣﺜﺒﺖ ﻫﺴﺘﻨﺪ‪ .‬ﺑﺴﻴﺎﺭﻯ ﺗﻤﺮﻛﺰ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ‬ ‫ﻭ ﻫﻤﻪﺳﻮﻳﻪﻯ ﺍﻭ ﺑﺮ ﻣﺴﺎﻟﻪ ﺭﺍ‪ ،‬ﻧﻘﻄﻪﻯ ﻗﻮﺕ ﺩﺍﺳﺘﺎﻥ ﺩﺍﻧﺴﺘﻪﺍﻧﺪ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺗﻮﺍﻧﺎﻳﻰ ﺍﻭ ﺩﺭ ﺑﻴﺎﻥ ﻣﻨﻄﻘﻰ‬ ‫ﻭ ﻋﻠﻤﻰ ﺍﻳﻦ ﻛﻪ ﭼﻄﻮﺭ ﻣﻰﺗﻮﺍﻥ ﺩﺭ ﻣﻘﺎﺑﻞ ﺯﺍﻣﺒﻰﻫﺎ ﺍﻳﺴﺘﺎﺩﮔﻰ ﻛﺮﺩ‪ ،‬ﻣﻮﺭﺩ ﺳﺘﺎﻳﺶ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﺑﺮﺧﻰ ﮔﻔﺘﻪﺍﻧﺪ ﻛﻪ ﺑﻪ ﻋﻠﺖ ﺑﺨﺶﺑﺨﺶ ﺑﻮﺩﻥ ﻛﺘﺎﺏ‪ ،‬ﺭﺳﻴﺪﻥ ﺑﻪ ﺍﻭﺝ ﻭ ﻧﻘﻄﻪﻯ ﻋﻄﻔﻰ ﺩﺭ‬ ‫ﺩﺍﺳﺘﺎﻥ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ ،‬ﻭﻟﻰ ﺩﺭ ﻋﻮﺽ ﻫﺮ ﺧﺎﻃﺮﻩ ﻧﻘﻄﻪﻯ ﺍﻭﺝ ﺷﺨﺼﻰ ﺧﻮﺩ ﺭﺍ ﺩﺍﺭﺍ ﺍﺳﺖ‪ .‬ﻫﻤﭽﻨﻴﻦ‬ ‫ﺑﺴﻴﺎﺭﻯ ﺍﻳﻦ ﻃﻮﺭ ﮔﻔﺘﻪﺍﻧﺪ ﻛﻪ ﻣﻮﻓﻘﻴﺖ ﺑﺮﻭﻛﺰ ﺩﺭ ﺑﻴﺎﻥ ﺩﺍﺳﺘﺎﻥ ﺧﻮﺩ‪ ،‬ﺍﺯ ﺍﻳﻦ ﻧﺎﺷﻰ ﻣﻰﺷﻮﺩ ﻛﻪ ﻣﺜﻞ‬ ‫ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﺧﻴﺎﻟﻰ ﻭ ﻏﻴﺮﻣﻤﻜﻦ ﺑﺎ ﺁﻥ ﺭﻓﺘﺎﺭ ﻧﻜﺮﺩﻩ ﺍﺳﺖ؛ ﺍﻧﮕﺎﺭ ﺑﺮﻭﻛﺰ ﺍﺯ ﻫﻤﺎﻥ ﺍﻭﻝ ﺑﺎ ﺧﻮﺍﻧﻨﺪﻩ ﻗﺮﺍﺭ‬ ‫ﻣﻰﮔﺬﺍﺭﺩ ﻛﻪ ﺍﻳﻦ ﺍﺗﻔﺎﻗﺎﺕ ﺭﻳﺸﻪ ﺩﺭ ﺣﻘﻴﻘﺖ ﺩﺍﺭﻧﺪ‪ .‬ﺩﺭ ﻧﻬﺎﻳﺖ‪ ،‬ﺑﺴﻴﺎﺭﻯ ﻛﺎﺭ ﺑﺮﻭﻛﺰ ﺩﺭ ﺍﻳﻦ ﺭﻣﺎﻥ ﺭﺍ‪،‬‬ ‫ﺗﻼﺵ ﺑﺮﺍﻯ ﺟﺪﻯ ﻧﺸﺎﻥ ﺩﺍﺩﻥ ﻣﺴﺎﻟﻪﻯ ﺯﺍﻣﺒﻰﻫﺎ ﺩﺍﻧﺴﺘﻪﺍﻧﺪ‪.‬‬ ‫ﻗﻄﻌﻪﺍﻯ ﺍﺯ ﻣﺘﻦ ﻛﺘﺎﺏ‬

‫»روی زﻣﯿﻦ زاﻧﻮ زدم و ﺑﻪ ﺑﺮرﺳﯽ اوﻟﯿﻦ ﺑﯿامر ﭘﺮداﺧﺘﻢ‪ .‬زن ﺗﺒﯽ ﺑﺎﻻی ﭼﻬﻞ درﺟﻪ داﺷﺖ و ﺑﻪ ﺷﺪت‬ ‫ﻣﯽﻟﺮزﯾﺪ‪ .‬وﻗﺘﯽ ﺧﻮاﺳﺘﻢ دﺳﺘﺶ را ﺑﻠﻨﺪ ﮐﻨﻢ‪ ،‬زﯾﺮﻟﺒﯽ ﻧﺎﻟﻪی ﻧﺎﻣﻔﻬﻮﻣﯽ ﮐﺮد‪ .‬روی ﺑﺎزوی راﺳﺘﺶ‬ ‫زﺧﻤﯽ دﯾﺪه ﻣﯽﺷﺪ؛ اﻧﮕﺎر ﺟﺎی ﮔﺎز ﺑﻮد‪ .‬وﻗﺘﯽ زﺧﻢ را ﺑﺎ دﻗﺖ ﺑﺮرﺳﯽ ﮐﺮدم‪ ،‬ﻣﺘﻮﺟﻪ ﺷﺪم ﮐﺎر ﻫﯿﭻ‬ ‫ﺣﯿﻮاﻧﯽ منﯽﺗﻮاﻧﺪ ﺑﺎﺷﺪ‪ .‬ﻣﺤﺪود و ﺟﺎی دﻧﺪانﻫﺎ ﻣﺘﻌﻠﻖ ﺑﻪ ﯾﮏ اﻧﺴﺎن رﯾﺰﻧﻘﺶ ﯾﺎ ﮐﻮدکﺳﺎل ﺑﻮد‪ .‬ﺑﺎ‬ ‫‪172‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻛﺘﺎﺏ‬

‫ﻫﻢ ﺑﻪ ﺩﺳﺖ ﺯﺍﻣﺒﻰﻫﺎ ﻭ ﻫﻢ ﺑﻪ ﺩﺳﺖ ﺍﻧﺴﺎﻥﻫﺎﻳﻰ ﻛﻪ ﻗﺼﺪ ﺣﻔﺎﻇﺖ ﺍﺯ ﺟﺎﻥ ﺧﻮﺩ ﺭﺍ ﺩﺍﺷﺘﻪﺍﻧﺪ‪،‬‬ ‫ﻣﻨﻘﺮﺽ ﺷﺪﻩﺍﻧﺪ‪.‬‬ ‫ﺗﻢ‬ ‫• ﻣﻮﺿﻮﻋﺎﺕ ﺍﺟﺘﻤﺎﻋﻰ‬ ‫ﻳﻜﻰ ﺍﺯ ﺍﺻﻠﻰﺗﺮﻳﻦ ﺗﻼﺵﻫﺎﻯ ﺑﺮﻭﻛﺰ ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺏ‪ ،‬ﺯﻳﺮ ﺳﻮﺍﻝ ﺑﺮﺩﻥ ﻣﺸﻜﻼﺕ ﺩﻭﻟﺘﻰ‪ ،‬ﻓﺴﺎﺩ ﺳﺎﺯﻣﺎﻧﻰ‬ ‫ﻭ ﻛﻮﺗﻪﻓﻜﺮﻯ ﺟﻤﻊﻫﺎﻯ ﺍﻧﺴﺎﻧﻰ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﻃﻮﻝ ﻛﺘﺎﺏ‪ ،‬ﮔﺎﻫﻰ ﺑﺎ ﺷﺨﺼﻴﺖﻫﺎﻳﻰ ﺭﻭﺑﺮﻭ ﻣﻰﺷﻮﻳﻢ‬ ‫ﻛﻪ ﺑﻪ ﺩﻟﻴﻞ ﻧﻔﻊ ﺷﺨﺼﻰ‪ ،‬ﺣﺎﺿﺮ ﺑﻪ ﭘﺬﻳﺮﺵ ﺑﺤﺮﺍﻥ ﻧﻴﺴﺘﻨﺪ ﻭ ﺁﻥ ﺭﺍ ﺗﻮﻃﺌﻪﺍﻯ ﺍﺯ ﺳﻮﻯ ﺍﻳﻦ ﻳﺎ ﺁﻥ‬ ‫ﻣﻰﺩﺍﻧﻨﺪ‪ .‬ﮔﺎﻫﻰ ﺷﺨﺼﻴﺖﻫﺎ ﺑﻬﺎﻧﻪ ﻣﻰﺁﻭﺭﻧﺪ ﻛﻪ ﺍﻧﻜﺎﺭ ﺣﻘﻴﻘﺖ ﺑﺮﺍﻯ ﺟﻠﻮﮔﻴﺮﻯ ﺍﺯ ﺑﺮﻭﺯ ﻭﺣﺸﺖ‬ ‫ﺟﻤﻌﻰ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺑﺮﻭﻛﺰ ﺣﻘﻴﻘﺖ ﺭﺍ ﻧﺎﺗﻮﺍﻧﻰ ﺁﻥﻫﺎ ﺩﺭ ﻳﺎﻓﺘﻦ ﺭﺍﻫﻜﺎﺭ ﻣﻰﺩﺍﻧﺪ ﻭ ﻣﻰﮔﻮﻳﺪ ﭼﻮﻥ ﺩﺭ ﺣﻞ‬ ‫ﻧﺎﺗﻮﺍﻧﻨﺪ‪ ،‬ﺻﻮﺭﺕ ﻣﺴﺎﻟﻪ ﺭﺍ ﭘﺎﻙ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﻣﺎﺟﺮﺍﻯ ﺟﻨﮓ ﺟﻬﺎﻧﻰ ﺯﻯ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺑﺎ ﻣﺴﺎﻟﻪﻯ‬ ‫ﻃﻮﻓﺎﻥ ﻛﺎﺗﺮﻳﻨﺎ ﻣﻘﺎﻳﺴﻪ ﻛﺮﺩ‪ .‬ﺩﺭ ﻣﺴﺎﻟﻪﻯ ﺍﻳﻦ ﻃﻮﻓﺎﻥ ﻫﻢ ﺍﺯ ﺍﺧﻄﺎﺭ ﻭ ﺍﻃﻼﻉﺭﺳﺎﻧﻰ ﺑﻪ ﻣﻮﻗﻊ ﺧﺒﺮﻯ‬ ‫ﻧﺒﻮﺩ‪ ،‬ﮔﺰﺍﺭﺵﻫﺎﻯ ﻭﺍﻗﻌﻰ ﺑﻪ ﺑﻬﺎﻧﻪﻯ ﺗﻠﺦ ﺑﻮﺩﻥ ﭘﺨﺶ ﻧﻤﻰﺷﺪﻧﺪ‪ ،‬ﺳﻮﺩﺟﻮﻳﺎﻥ ﺑﺎ ﻓﺮﻭﺵ ﺍﺑﺰﺍﺭ ﺗﻘﻠﺒﻰ‬ ‫ﻭ ﺩﺭﻭﻏﻴﻦ ﭘﻮﻝ ﭘﺎﺭﻭ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﺍﺭﺗﺶ ﺑﺎ ﺗﺎﻛﺘﻴﻚﻫﺎ ﻭ ﺳﻼﺡﻫﺎﻯ ﻋﻘﺐ ﺍﻓﺘﺎﺩﻩ ﻗﺼﺪ ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﺑﺤﺮﺍﻥ‬ ‫ﺭﺍ ﺩﺍﺷﺖ ﻭ ﺟﻤﻌﻴﺖ ﻫﻢ ﺑﻪ ﻃﻮﺭ ﻛﻠﻰ ﺗﺎ ﺯﻣﺎﻧﻰ ﻛﻪ ﺑﺎ ﺧﻮﺩ ﻃﻮﻓﺎﻥ ﺭﻭﺑﺮﻭ ﻧﺸﺪﻩ ﺑﻮﺩ‪ ،‬ﭼﻴﺰﻯ ﺍﺯ ﻣﺎﺟﺮﺍ‬ ‫ﻧﻤﻰﺩﺍﻧﺴﺖ؛ ﺩﺭ ﻭﺍﻗﻊ ﻃﻮﻓﺎﻥ ﻛﺎﺗﺮﻳﻨﺎ‪ ،‬ﻳﻚ ﺟﻨﮓ ﺟﻬﺎﻧﻰ ﺯﻯ ﺩﺭ ﻣﻘﻴﺎﺱ ﻛﻮﭼﻚﺗﺮ ﺑﻮﺩ‪.‬‬ ‫• ﺗﻼﺵ ﺑﺮﺍﻯ ﺑﻘﺎ‬ ‫ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﻣﻮﺿﻮﻋﺎﺕ ﺍﺻﻠﻰ ﻛﺘﺎﺏ‪ ،‬ﻧﻴﺎﺯ ﺑﻪ ﺁﻣﻮﺯﺵ ﻭ ﺁﻣﺎﺩﻩﺳﺎﺯﻯ ﺍﻓﺮﺍﺩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ‬ ‫ﻣﺼﺎﺣﺒﻪﻫﺎﻯ ﺑﺮﻭﻛﺰ ﺑﺎ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺧﻴﺎﻟﻰ ﺩﺍﺳﺘﺎﻧﺶ‪ ،‬ﺑﻪ ﺍﻳﻦ ﻧﻴﺎﺯ ﺑﺮ ﻣﻰﺧﻮﺭﻳﻢ ﻛﻪ ﮔﺎﻫﻰ ﺑﺎﻳﺪ‬ ‫ﻗﻮﺍﻧﻴﻦ ﺭﺍ ﻋﻮﺽ ﻛﺮﺩ ﻭ ﺍﻓﺮﺍﺩ ﺭﺍ ﺑﺮﺍﻯ ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﺯﺍﻣﺒﻰﻫﺎ ﻭ ﺑﺎﺯﺳﺎﺯﻯ ﻭﻳﺮﺍﻧﻰﻫﺎ‪ ،‬ﺑﻪ ﺷﻜﻞ ﺻﺤﻴﺢ‬ ‫ﺁﻣﻮﺯﺵ ﺩﺍﺩ‪ .‬ﻣﺜ ً‬ ‫ﻼ ﺩﺭ ﺭﺍﻩ ﺳﻨﮕﺮﺑﻨﺪﻯ ﻳﻚ ﺷﻬﺮ ﺩﺭ ﻣﻘﺎﺑﻞ ﺳﻴﻞ ﺯﺍﻣﺒﻰﻫﺎ‪ ،‬ﺑﺎﻳﺪ ﺩﺍﻧﺴﺖ ﻛﻪ ﻣﻘﺎﻡ‬ ‫ﻟﻮﻟﻪﻛﺶ ﻭ ﺑﻨﺎ ﺍﺯ ﺭﻳﻴﺲ ﻭ ﻣﻌﺎﻭﻥ ﺑﺎﻻﺗﺮ ﺍﺳﺖ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﻣﻨﻈﻮﺭ‪ ،‬ﺑﺮﻭﻛﺰ ﻛﻮﺷﻴﺪﻩ ﺗﺎ ﻧﻴﺎﺯﻣﻨﺪﻯﻫﺎﻯ‬ ‫ﻓﻴﺰﻳﻜﻰ ﻭ ﺫﻫﻨﻰ ﻣﻮﺭﺩ ﻧﻴﺎﺯ ﺑﺮﺍﻯ ﺟﺎﻥ ﺑﻪ ﺩﺭ ﺑﺮﺩﻥ ﺍﺯ ﭼﻨﻴﻦ ﺑﺤﺮﺍﻧﻰ ﺭﺍ ﻧﺸﺎﻥ ﺩﻫﺪ‪ .‬ﺍﻭ ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﺎﺭ‪،‬‬ ‫ﺩﺳﺖ ﺑﻪ ﺗﺤﻘﻴﻘﺎﺕ ﮔﺴﺘﺮﺩﻩ ﻭ ﻋﻤﻴﻘﻰ ﺯﺩﻩ ﻭ ﺍﺯ ﻣﺘﺨﺼﺼﻴﻦ ﺑﺴﻴﺎﺭﻯ ﻛﻤﻚ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﻫﻤﭽﻨﻴﻦ‬ ‫ﺑﻪ ﻧﻈﺮ ﺍﻭ ﺁﻣﺮﻳﻜﺎﻳﻰﻫﺎ ﺑﻪ ژﺍﻧﺮ ﺯﺍﻣﺒﻰ ﻋﻼﻗﻪ ﺩﺍﺭﻧﺪ‪ ،‬ﭼﻮﻥ ﻓﻜﺮ ﻣﻰﻛﻨﻨﺪ ﺩﺭ ﺻﻮﺭﺕ ﺑﺮﻭﺯ ﺁﺧﺮﺍﻟﺰﻣﺎﻥ‬ ‫ﺯﺍﻣﺒﻰﻫﺎ‪ ،‬ﻣﻰﺗﻮﺍﻧﻨﺪ ﺑﺎ ﺍﺑﺰﺍﺭ ﻣﻨﺎﺳﺐ ﺩﺭ ﻣﻘﺎﺑﻞ ﺁﻥﻫﺎ ﺍﻳﺴﺘﺎﺩﮔﻰ ﻛﻨﻨﺪ‪.‬‬

‫‪171‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻛﺘﺎﺏ‬

‫ﭘﻼﺕ ﺩﺍﺳﺘﺎﻧﻰ‬ ‫ﺑﺮﻭﻛﺰ ﻛﻪ ﻳﻜﻰ ﺍﺯ ﻣﺎﻣﻮﺭﻳﻦ ﺳﺎﺯﻣﺎﻥ ﻣﻠﻞ ﻣﺘﺤﺪ ﺍﺳﺖ‪ ،‬ﺍﺯ ﻃﺮﻳﻖ ﻣﺼﺎﺣﺒﻪﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺑﻪ ﺷﺮﺡ‬ ‫ﻣﺎﺟﺮﺍﻯ ﺟﻨﮓ ﻣﻰﭘﺮﺩﺍﺯﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﻛﻪ ﻧﻘﻄﻪﻯ ﺷﺮﻭﻉ ﺷﻴﻮﻉ ﺯﺍﻣﺒﻰﻫﺎ ﻣﺸﺨﺺ ﻧﻴﺴﺖ‪ ،‬ﺍﻣﺎ ﻫﻤﻪ ﭼﻴﺰ‬ ‫ﺍﺯ ﭼﻴﻦ ﺷﺮﻭﻉ ﻣﻰﺷﻮﺩ؛ ﺩﺭ ﺍﻳﻦﺟﺎ ﻳﻚ ﺯﺍﻣﺒﻰ ﭘﺴﺮﺑﭽﻪﺍﻯ ﺭﺍ ﻣﻰﮔﺰﺩ ﻭ ﺍﻭ ﺭﺍ ﺗﺒﺪﻳﻞ ﺑﻪ »ﺑﻴﻤﺎﺭ ﺻﻔﺮ«‬ ‫ﻳﺎ ﻧﻘﻄﻪﻯ ﺷﻴﻮﻉ ﻣﻰﻛﻨﺪ‪ .‬ﺩﻭﻟﺖ ﭼﻴﻦ ﻣﻰﻛﻮﺷﺪ ﺑﺎ ﺍﻳﻦ ﻋﻔﻮﻧﺖ ﻣﻘﺎﺑﻠﻪ ﻛﻨﺪ ﻭ ﺑﺎ ﺭﺍﻩ ﺍﻧﺪﺍﺧﺘﻦ ﺑﺤﺮﺍﻧﻰ‬ ‫ﺑﺮ ﺳﺮ ﺗﺎﻳﻮﺍﻥ‪ ،‬ﺳﻌﻰ ﺩﺭ ﭘﻨﻬﺎﻥ ﺳﺎﺧﺘﻦ ﻣﺴﺎﻟﻪ ﺩﺍﺭﺩ‪ .‬ﺍﻣﺎ ﻋﻔﻮﻧﺖ ﺑﺮ ﺍﺛﺮ ﺑﺎﺯﺍﺭ ﺳﻴﺎﻩ ﻗﺎﭼﺎﻕ ﺍﻋﻀﺎﻯ ﺑﺪﻥ‬ ‫ﺍﻧﺴﺎﻥ ﻭ ﻣﻬﺎﺟﺮﻳﻦ ﻏﻴﺮﻗﺎﻧﻮﻧﻰ‪ ،‬ﺑﻪ ﺳﺮﻋﺖ ﮔﺴﺘﺮﺵ ﻣﻰﻳﺎﺑﺪ ﻭ ﺯﻣﺎﻧﻰ ﻛﻪ ﺁﻓﺮﻳﻘﺎﻯ ﺟﻨﻮﺑﻰ ﺭﺍ ﺩﺭ ﻛﺎﻡ‬ ‫ﺧﻮﺩ ﻓﺮﻭ ﻣﻰﺑﺮﺩ‪ ،‬ﺑﺎﻻﺧﺮﻩ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺑﺤﺮﺍﻥ ﺟﻬﺎﻧﻰ ﭘﺬﻳﺮﻓﺘﻪ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺑﺎ ﺷﺪﺕ ﮔﺮﻓﺘﻦ ﺑﻴﻤﺎﺭﻯ‪ ،‬ﺍﺳﺮﺍﺋﻴﻞ ﺳﺮﻳﻌﺎً ﻭﺍﺭﺩ ﻋﻤﻞ ﺷﺪﻩ ﻭ ﻣﺮﺯﻫﺎﻯ ﺧﻮﺩ ﺭﺍ ﻣﻰﺑﻨﺪﺩ ﻭ ﺍﺯ ﻭﺭﻭﺩ ﻫﺮ‬ ‫ﮔﻮﻧﻪ ﻣﻮﺭﺩ ﻣﺸﻜﻮﻙ ﺟﻠﻮﮔﻴﺮﻯ ﺑﻪ ﻋﻤﻞ ﻣﻰﺁﻭﺭﺩ؛ ﺑﻪ ﺍﻳﻦ ﺷﻜﻞ ﺍﻭﻟﻴﻦ ﻗﺮﻧﻄﻴﻨﻪﻯ ﺍﻧﺴﺎﻧﻰ ﺑﻪ ﻭﺟﻮﺩ‬ ‫ﻣﻰﺁﻳﺪ‪ .‬ﺍﺯ ﺳﻮﻯ ﺩﻳﮕﺮ‪ ،‬ﺍﻳﺮﺍﻥ ﻛﻪ ﺩﺭ ﺗﻼﺵ ﺍﺳﺖ ﺍﺯ ﻭﺭﻭﺩ ﻣﻬﺎﺟﺮﻳﻦ ﺁﻟﻮﺩﻩﻯ ﭘﺎﻛﺴﺘﺎﻧﻰ ﺑﻪ ﻛﺸﻮﺭ‬ ‫ﺟﻠﻮﮔﻴﺮﻯ ﻛﻨﺪ‪ ،‬ﺑﺎ ﺁﻥ ﺩﺭﮔﻴﺮ ﺟﻨﮓ ﺷﺪﻩ ﻭ ﺗﻠﻔﺎﺕ ﻓﺮﺍﻭﺍﻧﻰ ﺑﻪ ﺑﺎﺭ ﻣﻰﺁﻳﺪ‪ .‬ﺁﻣﺮﻳﻜﺎ ﻫﻢ ﻭﺿﻊ ﺧﻮﺑﻰ‬ ‫ﻧﺪﺍﺭﺩ؛ ﺍﻭﻻً ﺩﻭﻟﺖ ﺩﭼﺎﺭ ﭼﻨﺪﮔﺎﻧﮕﻰ ﺳﻴﺎﺳﺘﻰ ﻣﻰﺷﻮﺩ ﻭ ﺍﺯ ﺳﻮﻯ ﺩﻳﮕﺮ ﺗﺒﻠﻴﻎ ﺩﺍﺭﻭﻳﻰ ﺗﻘﻠﺒﻰ‪ ،‬ﺣﺴﻰ‬ ‫ﺍﺯ ﺍﻣﻨﻴﺖ ﻛﺎﺫﺏ ﺑﻪ ﻭﺟﻮﺩ ﻣﻰﺁﻭﺭﺩ ﻭ ﻣﺮﺩﻡ ﻭﻗﺘﻰ ﺑﻪ ﺧﻮﺩ ﻣﻰﺁﻳﻨﺪ ﻛﻪ ﺩﻳﮕﺮ ﻛﺎﺭ ﺍﺯ ﻛﺎﺭ ﮔﺬﺷﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﭘﺲ ﺍﺯ ﺳﻘﻮﻁ ﻧﻴﻮﻳﻮﺭﻙ‪ ،‬ﺍﺭﺗﺶ ﭘﺎﻳﮕﺎﻫﻰ ﺩﺭ ﻳﻮﻧﻜﺮﺯ ]‪ [9‬ﺑﺮ ﭘﺎ ﻣﻰﻛﻨﺪ ﻭ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺗﺎﻛﺘﻴﻚﻫﺎﻯ‬ ‫ﺟﻨﮓ ﺳﺮﺩ ﻭ ﺳﻼﺡﻫﺎﻯ ﺿﺪﺗﺎﻧﻚ ﻣﺸﻐﻮﻝ ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﺯﺍﻣﺒﻰﻫﺎ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻣﺎ ﻇﺎﻫﺮﺍ ً ﻫﻤﻪ ﭼﻴﺰ ﺑﻰﻓﺎﻳﺪﻩ‬ ‫ﺍﺳﺖ ﻭ ﺑﺸﺮ ﺑﻪ ﻣﺮﺯ ﺍﻧﻘﺮﺍﺽ ﻛﺸﻴﺪﻩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻫﻔﺖ ﺳﺎﻝ ﭘﺲ ﺍﺯ ﺷﺮﻭﻉ ﺟﻨﮓ ﺯﺍﻣﺒﻰﻫﺎ‪ ،‬ﻛﻨﻔﺮﺍﻧﺲ ﻣﻠﻞ ﻣﺘﺤﺪ ﺩﺭ ﻫﺎﻭﺍﻳﻰ ﺑﺮﮔﺰﺍﺭ ﻣﻰﺷﻮﺩ ﻭ ﺗﻤﺎﻡ‬ ‫ﺩﻭﻟﺖﻫﺎ ﺭﺍﻯ ﺑﻪ ﺍﻳﻦ ﻣﻰﺩﻫﻨﺪ ﻛﻪ ﭘﻨﻬﺎﻥ ﺷﺪﻩ ﻭ ﻣﻨﺘﻈﺮ ﻧﺎﺑﻮﺩ ﺷﺪﻥ ﺧﻮﺩﺑﺨﻮﺩ ﺯﺍﻣﺒﻰﻫﺎ ﺑﻤﺎﻧﻨﺪ‪ .‬ﺍﻣﺎ‬ ‫ﺁﻣﺮﻳﻜﺎ ﻣﺨﺎﻟﻔﺖ ﻛﺮﺩﻩ ﻭ ﺑﺎ ﺍﺭﺍﺋﻪﻯ ﺑﺮﻧﺎﻣﻪﻯ ﻧﺎﺑﻮﺩﻯ ﺯﺍﻣﺒﻰﻫﺎ ﭘﻴﺶ ﺍﺯ ﺁﻥ ﻛﻪ ﺁﻥﻫﺎ ﺍﻧﺴﺎﻥﻫﺎ ﺭﺍ ﻧﺎﺑﻮﺩ‬ ‫ﻛﻨﻨﺪ‪ ،‬ﻣﻮﺍﻓﻘﺎﻥ ﺑﺴﻴﺎﺭﻯ ﺭﺍ ﺑﻪ ﺳﻮﻯ ﺧﻮﺩ ﺟﻠﺐ ﻣﻰﻛﻨﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﺑﻪ ﺑﻌﺪ‪ ،‬ﺍﻧﺴﺎﻥﻫﺎ ﺍﺯ ﻻﻙ ﺧﻮﺩ ﺑﻴﺮﻭﻥ‬ ‫ﺁﻣﺪﻩ ﻭ ﻣﺸﻐﻮﻝ ﻧﺎﺑﻮﺩ ﻛﺮﺩﻥ ﺯﺍﻣﺒﻰﻫﺎ ﺩﺭ ﺳﺮﺗﺎﺳﺮ ﺟﻬﺎﻥ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﺩﺭ ﻃﻮﻝ ﺟﻨﮓ ﺩﻩ ﺳﺎﻟﻪﻯ ﺯﺍﻣﺒﻰﻫﺎ‪ ،‬ﺗﻐﻴﻴﺮﺍﺕ ﻓﻮﻕﺍﻟﻌﺎﺩﻩﺍﻯ ﺩﺭ ﺳﺮﺗﺎﺳﺮ ﺟﻬﺎﻥ ﺑﻪ ﻭﻗﻮﻉ ﻣﻰﭘﻴﻮﻧﺪﺩ‪.‬‬ ‫ﺟﻤﻬﻮﺭﻯ ﺩﻣﻮﻛﺮﺍﺗﻴﻚ ﻛﻮﺑﺎ ﺗﺒﺪﻳﻞ ﺑﻪ ﻗﺪﺭﺕ ﺍﻗﺘﺼﺎﺩﻯ ﺟﻬﺎﻥ ﻣﻰﺷﻮﺩ؛ ﺩﻭﻟﺖ ﭼﻴﻦ ﺳﻘﻮﻁ ﻛﺮﺩﻩ‬ ‫ﻭ ﻳﻚ ﺣﻜﻮﻣﺖ ﺩﻣﻮﻛﺮﺍﺳﻰ ﺑﺮ ﺳﺮ ﻛﺎﺭ ﻣﻰﺁﻳﺪ؛ ﺗﺒﺖ ﭘﺲ ﺍﺯ ﺁﺯﺍﺩ ﺷﺪﻥ ﺍﺯ ﺩﺳﺖ ﭼﻴﻦ‪ ،‬ﺗﺒﺪﻳﻞ ﺑﻪ‬ ‫ﭘﺮﺟﻤﻌﻴﺖﺗﺮﻳﻦ ﻧﻘﻄﻪﻯ ﺟﻬﺎﻥ ﻣﻰﺷﻮﺩ؛ ﻛﺮﻩﻯ ﺷﻤﺎﻟﻰ ﺭﺍ ﻛﺎﻣ ً‬ ‫ﻼ ﺧﺎﻟﻰ ﭘﻴﺪﺍ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ‬ ‫ﻣﺸﺨﺺ ﺷﻮﺩ ﻣﺮﺩﻡ ﺁﻥ ﻛﺠﺎ ﺭﻓﺘﻪﺍﻧﺪ ﻭ ﭼﻪ ﺷﺪﻩﺍﻧﺪ؛ ﺁﻳﺴﻠﻨﺪﻯﻫﺎ ﺗﻤﺎﻣﺎً ﺗﺒﺪﻳﻞ ﺑﻪ ﺯﺍﻣﺒﻰ ﺷﺪﻩﺍﻧﺪ ﻭ ﺩﺭ‬ ‫ﺳﺮﺗﺎﺳﺮ ﺁﻥ ﺟﺰﻳﺮﻩ‪ ،‬ﺣﺘﺎ ﻳﻚ ﺍﻧﺴﺎﻥ ﻫﻢ ﺑﺎﻗﻰ ﻧﻤﺎﻧﺪﻩ ﺍﺳﺖ؛ ﻭ ﺩﺭ ﺧﻼﻝ ﺍﻳﻦ ﻣﺪﺕ‪ ،‬ﺣﻴﻮﺍﻧﺎﺕ ﺑﺴﻴﺎﺭﻯ‬ ‫‪169‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫»ﺟﻨﮓ ﺟﻬﺎﻧﻰ ﺯﻯ‪ :‬ﺗﺎﺭﻳﺦ ﺯﺑﺎﻧﻰ ﺟﻨﮓ ﺯﺍﻣﺒﻰﻫﺎ« ]‪ ،[4‬ﺭﻣﺎﻥ ﺗﺮﺳﻨﺎﻙ ﻭ ﭘﺴﺎﺁﺧﺮﺍﻟﺰﻣﺎﻧﻰ ﻣﻜﺲ‬ ‫ﺑﺮﻭﻛﺰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺳﺎﻝ ‪ 2006‬ﻣﻨﺘﺸﺮ ﺷﺪ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﺍﻳﻦ ﻛﺘﺎﺏ ﺩﻧﺒﺎﻟﻪﻯ »ﭼﻄﻮﺭ ﺩﺭ ﻳﻚ ﺩﻧﻴﺎﻯ‬ ‫ﺯﺍﻣﺒﻰﺯﺩﻩ ﺯﻧﺪﻩ ﺑﻤﺎﻧﻴﻢ« ]‪ [5‬ﺍﺯ ﻫﻤﻴﻦ ﻧﻮﻳﺴﻨﺪﻩ ﺍﺳﺖ ﻛﻪ ﺳﺎﺑﻘﺎً ﺩﺭ ‪ 2003‬ﺑﻪ ﺑﺎﺯﺍﺭ ﺁﻣﺪﻩ ﺑﻮﺩ‪.‬‬ ‫»ﺟﻨﮓ ﺟﻬﺎﻧﻰ ﺯﻯ« ﺑﻪ ﺟﺎﻯ ﻳﻚ ﺭﻭﺍﻳﺖ ﻳﻚﺩﺳﺖ ﻭ ﻳﻜﭙﺎﺭﭼﻪ‪ ،‬ﺍﺯ ﻣﺠﻤﻮﻋﻪﺍﻯ ﺧﺎﻃﺮﻩ ﺗﺸﻜﻴﻞ‬ ‫ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﻫﻤﮕﻰ ﺍﺯ ﺯﺑﺎﻥ ﺍﻭﻝ ﺷﺨﺺ ﺗﻌﺮﻳﻒ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺧﻮﺩ ﺑﺮﻭﻛﺰ ﻧﻘﺶ ﻣﺎﻣﻮﺭ ﻛﻤﻴﺴﻴﻮﻥ‬ ‫ﭘﺲ ﺍﺯ ﺟﻨﮓ ﺳﺎﺯﻣﺎﻥ ﻣﻠﻞ ﻣﺘﺤﺪ ﺭﺍ ﺑﺎﺯﻯ ﻣﻰﻛﻨﺪ ﻛﻪ ﻳﻚ ﺩﻫﻪ ﭘﺲ ﺍﺯ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﻴﺪﻥ ﺟﻨﮓ‬ ‫ﺩﻩ ﺳﺎﻟﻪ ﺑﺎ ﺯﺍﻣﺒﻰﻫﺎ‪ ،‬ﮔﺰﺍﺭﺵﻫﺎﻯ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻗﺎﻟﺐ ﺍﻳﻦ ﻛﺘﺎﺏ ﻣﻨﺘﺸﺮ ﻣﻰﺳﺎﺯﺩ‪ .‬ﻇﺎﻫﺮﺍ ً ﺳﺎﺯﻣﺎﻥ ﻣﻠﻞ‬ ‫ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥﻫﺎ ﺭﺍ ﺍﺯ ﮔﺰﺍﺭﺵ ﺍﺻﻠﻰ ﺧﻮﺩ ﺣﺬﻑ ﻣﻰﻛﻨﺪ ﺗﺎ ﺗﻨﻬﺎ ﺑﺮ ﺍﻋﺪﺍﺩ ﻭ ﺍﺭﻗﺎﻡ ﺗﻤﺮﻛﺰ‬ ‫ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻭ ﺩﺭ ﻋﻮﺽ ﺧﻮﺩ ﺑﺮﻭﻛﺰ‪ ،‬ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥﻫﺎ ﺭﺍ ﺩﺭ ﻛﺘﺎﺏ ﺧﻮﺩ ﻣﻨﺘﺸﺮ ﻣﻰﺳﺎﺯﺩ ﻭ ﺍﺯ ﻃﺮﻳﻖ‬ ‫ﺧﻮﺍﻧﺪﻥ ﻣﺼﺎﺣﺒﻪﻫﺎﻯ ﺑﺮﻭﻛﺰ ﺑﺎ ﺍﻓﺮﺍﺩ ﻣﺨﺘﻠﻒ ﺍﺳﺖ ﻛﻪ ﺧﻮﺍﻧﻨﺪﻩ ﻛﻢﻛﻢ ﺑﻪ ﺟﺰﻳﻴﺎﺕ ﺟﻨﮓ ﺩﻩ ﺳﺎﻟﻪ‬ ‫ﺑﺎ ﺯﺍﻣﺒﻰﻫﺎ ﭘﻰ ﻣﻰﺑﺮﺩ‪.‬‬ ‫ﺍﻳﻦ ﻛﺘﺎﺏ ﺍﺯ ﺳﺒﻚ »ﺟﻨﮓ ﺧﻮﺏ‪ :‬ﺗﺎﺭﻳﺦ ﺯﺑﺎﻧﻰ ﺟﻨﮓ ﺟﻬﺎﻧﻰ ﺩﻭﻡ« ]‪ [6‬ﺍﺯ ﺍﺳﺘﺎﺩﺯ ﺗﺮﻛﻞ ]‪ [7‬ﺍﻟﻬﺎﻡ‬ ‫ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺑﺮﻭﻛﺰ ﺍﺯ ﻃﺮﻳﻖ ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﻪ ﺍﺭﺍﺋﻪﻯ ﻧﻈﺮﺍﺕ ﺧﻮﺩ ﺩﺭ ﻣﻮﺭﺩ ﻋﺪﻡ ﺻﻼﺣﻴﺖ ﺩﻭﻟﺖﻫﺎﻳﻰ‬ ‫ﭼﻮﻥ ﺁﻣﺮﻳﻜﺎ ﺩﺭ ﻗﺒﺎﻝ ﺑﺤﺮﺍﻥﻫﺎﻯ ﻋﻈﻴﻢ ﻭ ﻏﻴﺮﻗﺎﺑﻞ ﭘﻴﺶﺑﻴﻨﻰ ﭘﺮﺩﺍﺧﺘﻪ ﺍﺳﺖ‪ .‬ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻣﻨﺘﻘﺪﻳﻦ‬ ‫ﺍﻳﻦ ﻛﺘﺎﺏ ﺭﺍ ﺑﻪ ﺩﻟﻴﻞ ﺳﺒﻚ ﻣﺘﻔﺎﻭﺕ ﺁﻥ ﻭ ﺍﻳﺠﺎﺩ ﻧﻮﺁﻭﺭﻯ ﺩﺭ ﺯﻳﺮژﺍﻧﺮ ﺯﺍﻣﺒﻰ‪ ،‬ﻣﻮﺭﺩ ﺗﻘﺪﻳﺮ ﻗﺮﺍﺭ ﺩﺍﺩﻩﺍﻧﺪ؛‬ ‫ﻧﺴﺨﻪﻯ ﺻﻮﺗﻰ ﻛﺘﺎﺏ ﻫﻢ ﻛﻪ ﺑﺎ ﺣﻀﻮﺭ ﺻﺪﺍﭘﻴﺸﮕﺎﻥ ﻣﺸﻬﻮﺭ ﺑﺴﻴﺎﺭﻯ ﺩﺭ ﺳﺎﻝ ‪ 2007‬ﻣﻨﺘﺸﺮ ﺷﺪ‪،‬‬ ‫ﺗﻮﺍﻧﺴﺖ ﺩﺭ ﻫﻤﺎﻥ ﺳﺎﻝ ﺟﺎﻳﺰﻩﻯ ‪ Audie‬ﺭﺍ ﺑﺮﻧﺪﻩ ﺷﻮﺩ‪ .‬ﻫﻤﭽﻨﻴﻦ ﻗﺮﺍﺭ ﺍﺳﺖ ﻓﻴﻠﻤﻰ ﺑﺮ ﺍﺳﺎﺱ ﺍﻳﻦ‬ ‫ﻛﺘﺎﺏ ﺳﺎﺧﺘﻪ ﺷﻮﺩ ﻛﻪ ﺗﺎﺭﻳﺦ ﺍﺣﺘﻤﺎﻟﻰ ﺍﻛﺮﺍﻥ ﺁﻥ‪ ،‬ﺗﺎﺑﺴﺘﺎﻥ ‪ 2013‬ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫ﺍﺭﺗﺒﺎﻁ ﺩﻭ ﻛﺘﺎﺏ‬ ‫ﺑﺮﻭﻛﺰ »ﺟﻨﮓ ﺟﻬﺎﻧﻰ ﺯﻯ« ﺭﺍ ﻃﻮﺭﻯ ﺩﺭ ﺩﻧﺒﺎﻟﻪﻯ »ﭼﮕﻮﻧﻪ ﺩﺭ ﺩﻧﻴﺎﻳﻰ ﺯﺍﻣﺒﻰﺯﺩﻩ ﺯﻧﺪﻩ ﺑﻤﺎﻧﻴﻢ« ﻗﺮﺍﺭ ﺩﺍﺩﻩ‬ ‫ﺍﺳﺖ‪ ،‬ﻣﺜﻞ ﺍﻳﻦ ﻛﻪ ﺍﻳﻦ ﺭﺍﻫﻨﻤﺎ ﻭﺍﻗﻌﺎً ﺩﺭ ﺩﻧﻴﺎﻯ ﺧﻴﺎﻟﻰ ﺭﻣﺎﻥ ﺩﻭﻡ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺯﺍﻣﺒﻰﻫﺎﻯ ﻛﺘﺎﺏ ﺍﻭﻝ‬ ‫)ﺯﻧﺪﻩ ﻣﺎﻧﺪﻥ ﺩﺭ ﺩﻧﻴﺎﻯ ﺯﺍﻣﺒﻰﺯﺩﻩ( ﺍﻧﺴﺎﻥﻫﺎﻯ ﻧﺎﻣﺮﺩﻩﺍﻯ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﺮ ﺍﺛﺮ ﻳﻚ ﻭﻳﺮﻭﺱ ﻏﻴﺮﻗﺎﺑﻞ ﺩﺭﻣﺎﻥ‬ ‫ﺑﻪ ﻧﺎﻡ ﺳﻮﻻﻧﻮﻡ ]‪ [8‬ﺁﻟﻮﺩﻩ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺍﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ ﻫﺸﻴﺎﺭﻯ ﻧﺪﺍﺭﻧﺪ ﻭ ﺗﻨﻬﺎ ﻋﻄﺶ ﺑﻪ ﮔﻮﺷﺖ ﺗﻦ ﺍﻧﺴﺎﻥ‬ ‫ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﺣﺮﻛﺖ ﻭﺍ ﻣﻰﺩﺍﺭﺩ‪ .‬ﺗﻨﻬﺎ ﺭﺍﻩ ﻧﺎﺑﻮﺩ ﻛﺮﺩﻥ ﺁﻥﻫﺎ ﻧﻴﺰ‪ ،‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻫﺮ ﻃﺮﻳﻖ ﻣﻤﻜﻦ ﻣﻐﺰ‬ ‫ﺁﻥﻫﺎ ﻣﺘﻼﺷﻰ ﺷﻮﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﻛﻪ ﻗﺪﺭﺕ ﺯﺍﻣﺒﻰﻫﺎ ﺍﺯ ﺍﻧﺴﺎﻥﻫﺎ ﺑﻴﺸﺘﺮ ﻧﻴﺴﺖ‪ ،‬ﺍﻣﺎ ﺁﻥﻫﺎ ﺗﻮﺍﻧﺎﻳﻰ ﺁﻟﻮﺩﻩﺳﺎﺯﻯ‬ ‫ﺩﺍﺭﻧﺪ ﻭ ﺧﺴﺘﮕﻰ ﻫﻢ ﻧﻤﻰﺷﻨﺎﺳﻨﺪ؛ ﺁﻥﻫﺎ ﻛﻨﺪ ﺣﺮﻛﺖ ﻣﻰﻛﻨﻨﺪ ﻭ ﻗﺪﺭﺕ ﻫﻤﻜﺎﺭﻯ ﻭ ﺑﺮﻧﺎﻣﻪﺭﻳﺰﻯ ﺑﺮﺍﻯ‬ ‫ﺣﻤﻠﻪﻫﺎﻯ ﻣﺸﺘﺮﻙ ﺭﺍ ﻧﺪﺍﺭﻧﺪ‪ .‬ﻭ ﺍﻟﺒﺘﻪ ﺣﻀﻮﺭﺷﺎﻥ ﺑﺎ ﺻﺪﺍﻯ ﻧﺎﻟﻪﻫﺎﻯ ﻣﺪﺍﻭﻣﺸﺎﻥ ﭘﻴﺶﺩﺳﺘﻰ ﻣﻰﺷﻮﺩ‪.‬‬ ‫‪168‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻛﺘﺎﺏ‬

‫ﺟﻨﮓ ﺟﻬﺎﻧﻰ ﺯﻯ‬ ‫ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

‫ﺷﻨﺎﺳﻨﺎﻣﻪ‬ ‫ﻧﺎﻡ ﻛﺘــﺎﺏ‪ :‬ﺟﻨﮓ ﺟﻬﺎﻧﻰ ﺯﻯ ]‪[1‬‬ ‫ﻧﻮﻳﺴﻨــﺪﻩ‪ :‬ﻣﻜﺲ ﺑﺮﻭﻛـــﺰ ]‪[2‬‬ ‫ژ ﺍ ﻧـــــﺮ ‪ :‬ﻭﺣﺸﺖ‪،‬‬

‫ﺯﺍﻣﺒﻰ‪،‬‬

‫ﭘﺴﺎﺁﺧــﺮﺍﻟـﺰﻣﺎﻧﻰ‬ ‫ﻧـﺎﺷــــﺮ‪ :‬ﻛـــــــــﺮﺍﻭﻥ‬ ‫ﺗﺎﺭﻳﺦ ﻧﺸـﺮ‪ :‬ﺳﭙﺘـﺎﻣﺒـﺮ ‪2 0 0 6‬‬

‫ﻛﺘﺎﺏ‬

‫‪ .4‬ﻫﻴﭻ ﻣﻮﻗﻌﻴﺖ ﺩﻓﺎﻋﻰ ﺛﺎﻧﻮﻯ‪ ،‬ﻃﺒﻘﺎﺕ ﺩﻳﮕﺮ ﻳﺎ ﺯﻳﺮﺷﻴﺮﻭﺍﻧﻰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ؟‬ ‫‪ .5‬ﻣﻰﺗﻮﺍﻥ ﺍﻣﻨﻴﺖ ﺳﺎﺧﺘﻤﺎﻥ ﺭﺍ ﺗﺎﻣﻴﻦ ﻛﺮﺩ؟‬ ‫‪ .6‬ﺭﺍﻩ ﻓﺮﺍﺭ ﺑﺎﻟﻘﻮﻩﺍﻯ ﻭﺟﻮﺩ ﺩﺍﺭﺩ؟‬ ‫‪ .7‬ﻭﺿﻌﻴﺖ ﺁﺫﻭﻗﻪﺗﺎﻥ ﭼﻪﮔﻮﻧﻪ ﺍﺳﺖ؟‬ ‫‪ .8‬ﺁﻳﺎ ﻟﻮﻟﻪﻛﺸﻰ ﺁﺏ ﻭﺟﻮﺩ ﺩﺍﺭﺩ؟‬ ‫‪ .9‬ﺍﮔﺮ ﺍﺣﺘﻴﺎﺟﻰ ﭘﻴﺪﺍ ﺷﺪ‪ ،‬ﺳﻼﺡ ﻭ ﺍﺑﺰﺍﺭﻯ ﻭﺟﻮﺩ ﺩﺍﺭﺩ؟‬ ‫‪ .10‬ﺁﻳﺎ ﻣﺼﺎﻟﺢ ﺑﺮﺍﻯ ﻣﺴﺪﻭﺩ ﻛﺮﺩﻥ ﻭﺭﻭﺩﻯﻫﺎ ﻭﺟﻮﺩ ﺩﺍﺭﺩ؟‬ ‫‪ .11‬ﻭﺳﺎﻳﻞ ﺍﺭﺗﺒﺎﻃﻰ ﭼﻄﻮﺭ‪ :‬ﺗﻠﻔﻦ‪ ،‬ﺭﺍﺩﻳﻮ‪،‬ﺍﻳﻨﺘﺮﻧﺖ‪ ،‬ﻭ ﻏﻴﺮﻩ‪...‬؟‬ ‫‪ .12‬ﺑﺎ ﺗﻤﺎﻡ ﻣﻮﺍﺭﺩ ﺑﺎﻻ‪ ،‬ﺗﺎ ﭼﻪ ﻣﺪﺗﻰ ﺷﻤﺎ ﻳﺎ ﮔﺮﻭﻫﺘﺎﻥ ﻣﻰﺗﻮﺍﻧﻴﺪ ﺩﺭ ﻳﻚ ﻣﺤﺎﺻﺮﻩﻯ ﻣﺴﺘﻤﺮ‬ ‫ﺩﻭﺍﻡ ﺑﻴﺎﻭﺭﻳﺪ؟‬ ‫ﺣﺘﻤﺎً ﻫﻨﮕﺎﻡ ﺍﻧﺘﺨﺎﺏ ﻗﺮﺍﺭﮔﺎﻫﺘﺎﻥ ﺗﻤﺎﻡ ﺍﻳﻦ ﺳﻮﺍﻻﺕ ﺭﺍ ﻣﺪ ﻧﻈﺮ ﻗﺮﺍﺭ ﺩﻫﻴﺪ‪ .‬ﺩﺭ ﺑﺮﺍﺑﺮ ﻭﺳﻮﺳﻪﻯ ﺩﻭﻳﺪﻥ‬ ‫ﺑﻪ ﻧﺰﺩﻳﻚﺗﺮﻳﻦ ﺳﺎﺧﺘﻤﺎﻥ ﻣﻤﻜﻦ ﺍﻳﺴﺘﺎﺩﮔﻰ ﻛﻨﻴﺪ‪.‬‬ ‫ﺑﻪ ﺧﺎﻃﺮ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﺪ ﻛﻪ ﻓﺮﻗﻰ ﻧﺪﺍﺭﺩ ﺷﺮﺍﻳﻂ ﭼﻘﺪﺭ ﺑﻐﺮﻧﺞ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ‪ ،‬ﺯﻣﺎﻧﻰ ﻛﻪ‬ ‫ﺑﺮﺍﻯ ﻓﻜﺮ ﻛﺮﺩﻥ ﺳﭙﺮﻯ ﻣﻰﻛﻨﻴﺪ ﻫﺮﮔﺰ ﺯﻣﺎﻧﻰ ﺗﻠﻒ ﺷﺪﻩ ﻧﻴﺴﺖ‪.‬‬

‫‪1. Max Brooks‬‬ ‫‪2. World War Z‬‬ ‫‪3. Zombie Survival Guide‬‬

‫‪ .4‬ﻳﻜﻰ ﺍﺯ ﺯﺑﺎﻥﻫﺎﻯ ﺭﺍﻳﺞ ﺁﻧﮕﻮﻻﻳﻰ‬ ‫‪ .5‬ﺭﻭﺣﺎﻧﻰ‬ ‫‪ .6‬ﻣﺎﺩﻩﺍﻯ ﻛﻪ ﺑﺮ ﺳﻴﺴﺘﻢ ﻋﺼﺒﻰ ﺗﺎﺛﻴﺮ ﻣﻰﮔﺬﺍﺭﺩ‪.‬‬

‫‪ .7‬ﻣﻮﺟﻮﺩﻯ ﻛﻪ ﻋﻤﺪﺗﺎً ﺍﺯ ﺟﻨﺎﺯﻩﻫﺎﻯ ﺩﺭﻭﻥ ﻗﺒﺮ ﺗﻐﺬﻳﻪ ﻣﻰﻛﻨﺪ؛‬ ‫ﺍﻣﺎ ﺑﻪ ﻃﻮﺭ ﻛﻠﻰ ﺑﻪ ﻫﺮ ﻣﻮﺟﻮﺩ ﻣﺎﻭﺭﺍﻃﺒﻴﻌﻰ ﻛﻪ ﻣﺮﺩﺍﺭﺧﻮﺍﺭ ﺑﺎﺷﺪ‪،‬‬ ‫ﻏﻮﻝ ﻣﻰﮔﻮﻳﻨﺪ‪.‬‬ ‫‪ .8‬ﺣﻤﻞ ﻭ ﻧﻘﻞ ﻭ ﺟﺎﺑﻪﺟﺎﻳﻰ‬

‫‪165‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺗﺎﺯﻩ‪ ،‬ﺗﺎ ﺣﺪ ﻗﺎﺑﻞ ﻗﺒﻮﻟﻰ ﺩﺳﺖ ﻧﺨﻮﺭﺩﻩ ﻭ ﺁﻟﻮﺩﻩ ﺑﻪ ﻭﻳﺮﻭﺱ ﺑﺎﺷﻨﺪ‪ .‬ﺁﻳﺎ ﺍﻳﻦ ﺗﻮﺻﻴﻒ ﻳﻚ ﺟﻨﺎﺯﻩﻯ‬ ‫ﺑﺴﻴﺎﺭ ﻗﺪﻳﻤﻰ ﺍﺳﺖ؟ ﻫﻤﭽﻨﻴﻦ ﺍﻳﻦ ﺗﺼﻮﻳﺮﻯ ﺍﺳﺖ ﻣﻌﺮﻑ ﻣﺮﺩﮔﺎﻥ ﺯﻧﺪﻩ‪ ،‬ﻣﺜﻞ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﻛﻪ ﺍﺯ‬ ‫ﺧﻮﻥ ﺗﻐﺬﻳﻪ ﻣﻰﻛﻨﻨﺪ ﻭ ﮔﺮگﺍﻧﺴﺎﻥﻫﺎ ﻛﻪ ﺑﺎ ﻛﺎﻣﻞ ﺷﺪﻥ ﻣﺎﻩ ﺯﻭﺯﻩ ﻣﻰﻛﺸﻨﺪ؛ ﺣﻘﻴﻘﺘﻰ ﻣﺴﻠﻢ ﻛﻪ‬ ‫ﺯﺍﻣﺒﻰﻫﺎ ﻫﺮﮔﺰ ﺍﺯ ﮔﻮﺭ ﺑﺮ ﻧﻤﻰﺧﻴﺰﻧﺪ‪.‬‬ ‫‪ .13‬ﻋﻤﺎﺭﺕﻫﺎﻯ ﭘﺎﺭﻟﻤﺎﻥ ﺍﻳﺎﻟﺘﻰ ﻭ ﻓﺮﻣﺎﻧﺪﺍﺭﻯﻫﺎ‪ :‬ﻫﻤﺎﻥ ﻗﻮﺍﻋﺪ ﻣﺮﺗﺒﻂ ﺑﺎ ﭘﺎﺳﮕﺎﻩ ﭘﻠﻴﺲ‪،‬‬ ‫ﺑﻴﻤﺎﺭﺳﺘﺎﻥﻫﺎ‪ ،‬ﻭ ﻋﺒﺎﺩﺗﮕﺎﻩﻫﺎ ﺭﺍ ﺑﺮﺍﻯ ﺳﺎﺧﺘﻤﺎﻥﻫﺎﻯ ﺍﻳﺎﻟﺘﻰ‪ ،‬ﺷﻬﺮﺩﺍﺭﻯ‪ ،‬ﻭ ﺩﻭﻟﺖ ﻓﺪﺭﺍﻝ ﺭﻋﺎﻳﺖ‬ ‫ﻧﻤﺎﻳﻴﺪ‪ .‬ﺑﻴﺸﺘﺮﺷﺎﻥ ﻣﺮﻛﺰ ﻓﻌﺎﻟﻴﺖﻫﺎﻯ ﺍﻧﺴﺎﻧﻰ ﻫﺴﺘﻨﺪﻛﻪ ﺁﻥﻫﺎ ﺭﺍ ﺗﺒﺪﻳﻞ ﺑﻪ ﻣﺮﺍﻛﺰ ﺁﺷﻮﺏ ﻭ ﺗﺠﻤﻊ‬ ‫ﮔﺮﻭﻫﻰ ﺯﺍﻣﺒﻰﻫﺎ ﻣﻰﻧﻤﺎﻳﺪ‪ .‬ﺍﮔﺮ ﺍﻣﻜﺎﻥ ﺩﺍﺭﺩ ﺍﺯ ﺗﻤﺎﻡ ﺳﺎﺧﺘﻤﺎﻥﻫﺎﻯ ﺩﻭﻟﺘﻰ ﺩﻭﺭ ﺑﻤﺎﻧﻴﺪ‪.‬‬

‫ﻗﻮﺍﻧﻴﻦ ﻋﻤﻮﻣﻰ‬ ‫ﺳﺎﺧﺘﻤﺎﻥﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﻣﺤﻠﻪﻫﺎﻯ ﺳﻄﺢ ﭘﺎﻳﻴﻦ ﻭﺍﻗﻌﻨﺪ‪ ،‬ﺍﻣﻦﺗﺮ ﺍﺯ ﺑﻘﻴﻪ ﻫﺴﺘﻨﺪ‪ .‬ﻣﺠﻬﺰ ﺑﻮﺩﻥ ﺁﻥﻫﺎ ﺑﻪ‬ ‫ﺣﺼﺎﺭﻫﺎﻯ ﺑﻠﻨﺪ‪ ،‬ﺳﻴﻢﺧﺎﺭﺩﺍﺭ‪ ،‬ﭘﻨﺠﺮﻩﻫﺎﻯ ﻧﺮﺩﻩﺩﺍﺭ‪ ،‬ﻭ ﺩﻳﮕﺮ ﺧﺼﺎﻳﺺ ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﻣﺠﺮﻣﻴﻨﺸﺎﻥ ﺁﻥﻫﺎ ﺭﺍ‬ ‫ﺑﻪ ﺳﻬﻮﻟﺖ ﻗﺎﺑﻞ ﺩﻓﺎﻉ ﻣﻰﻛﻨﺪ‪ .‬ﻣﻨﺎﻃﻖ ﻣﺘﻮﺳﻂ ﻳﺎ ﭘﺮﺩﺭﺁﻣﺪ ﺗﺎﻛﻴﺪ ﺑﻴﺸﺘﺮﻯ ﺑﺮ ﺯﻳﺒﺎﻳﻰ ﻣﺤﻴﻂ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﻛﺪﺍﻡ ﺷﻮﺭﺍﻯ ﺷﻬﺮ ﻣﺘﻤﻮﻟﻰ ﺧﻮﺍﺳﺘﺎﺭ ﭼﻨﻴﻦ ﭼﻴﺰﻫﺎﻯ ﺑﺪﻧﻤﺎﻳﻰ ﺩﺭ ﻣﺤﻠﻪﻯ ﺧﻮﺩ ﻣﻰﺷﻮﺩ؟ ﺑﻪ ﺟﺎﻯ‬ ‫ﻧﻤﺎﻫﺎﻯ ﺯﺷﺖ ﻭ ﺑﺪﺗﺮﻛﻴﺐ ﺣﻔﺎﻇﺘﻰ‪ ،‬ﺍﻳﻦ ﻣﺮﺩﻡ ﺛﺮﻭﺗﻤﻨﺪ ﺑﻴﺸﺘﺮ ﻣﺘﻜﻰ ﺑﺮ ﻧﻴﺮﻭﻫﺎﻯ ﻗﺎﻧﻮﻧﻰ ﻭ ﺍﻣﻨﻴﺘﻰ‬ ‫ﺧﺼﻮﺻﻰ ﻣﻰﺑﺎﺷﻨﺪ‪) .‬ﻧﻴﺮﻭﻫﺎﻳﻰ ﻛﻪ ﻏﻴﺮﻗﺎﺑﻞ ﺍﻋﺘﻤﺎﺩ ﺑﻮﺩﻧﺸﺎﻥ ﺛﺎﺑﺖ ﺷﺪﻩﺍﺳﺖ‪ (.‬ﺑﻪ ﺍﻳﻦ ﺩﻻﻳﻞ‪ ،‬ﻭ ﺍﮔﺮ‬ ‫ﺷﺮﺍﻳﻂ ﻣﺤﻴﺎ ﺑﻮﺩ‪ ،‬ﺍﺯ ﺣﻮﺍﺷﻰ ﺷﻬﺮ ﺑﻪ ﻣﻨﺎﻃﻖ ﻓﻘﻴﺮﻧﺸﻴﻦ ﻧﻘﻞ ﻣﻜﺎﻥ ﻛﻨﻴﺪ‪.‬‬ ‫ﺍﺯ »ﺍﺗﻔﺎﻗﺎﺕ ﺩﺭ ﻛﻤﻴﻦ ﻧﺸﺴﺘﻪ« ﺑﭙﺮﻫﻴﺰﻳﺪ‪ .‬ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺳﺎﺧﺘﻤﺎﻥﻫﺎﻯ ﺻﻨﻌﺘﻰ ﺑﺎ ﺍﻳﻦ ﺷﺮﺍﻳﻂ ﻣﻌﻤﻮﻻً‬ ‫ﺩﺭ ﻣﻨﺎﻃﻖ ﺟﻨﻮﺑﻰ ﻭ ﻣﺮﻛﺰ ﺷﻬﺮ ﻳﺎﻓﺖ ﻣﻰﺷﻮﻧﺪ ﻛﻪ ﺟﺎﻳﮕﺎﻩ ﻣﻮﺍﺩ ﻣﻨﻔﺠﺮﻩ ﻳﺎ ﻗﺎﺑﻞ ﺍﺷﺘﻌﺎﻝ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺩﺭﻭﻥ ﺁﻥﻫﺎ ﻫﻤﻴﻦﻃﻮﺭ ﻣﻤﻜﻦ ﺍﺳﺖ ﻣﺎﺷﻴﻦﺁﻻﺗﻰ ﭘﻴﭽﻴﺪﻩ ﻣﺜﻞ ﻣﻮﻟﺪﻫﺎﻯ ﺑﺮﻕ ﻭ ﺭﮔﻮﻻﺗﻮﺭﻫﺎﻯ‬ ‫ﻣﺤﻴﻄﻰ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺩﺳﺘﮕﺎﻩﻫﺎﻳﻰ ﻛﻪ ﻧﻴﺎﺯﻣﻨﺪ ﻧﻈﺎﺭﺕ ﺩﺍﺋﻤﻰ ﻫﺴﺘﻨﺪ‪ .‬ﺍﻳﻦ ﺩﻭ ﺭﺍ ﺑﻪ ﻫﻢ‬ ‫ﻧﺰﺩﻳﻚ ﻛﻨﻴﺪ ﻭ ﻓﺎﺟﻌﻪ ﺗﻀﻤﻴﻦ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻧﺰﺩﻳﻚ ﻳﺎ ﺩﺍﺧﻞ ﻣﻨﺎﻃﻖ ﺻﻨﻌﺘﻰ‪ ،‬ﻣﺮﺍﻛﺰ ﺫﺧﻴﺮﻩﻯ‬ ‫ﺳﻮﺧﺖ‪ ،‬ﻓﺮﻭﺩﮔﺎﻩﻫﺎ ﻳﺎ ﻫﺮ ﺟﺎﻯ ﺩﻳﮕﺮﻯ ﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﻨﻄﻘﻪﻯ ﺧﻄﺮﻧﺎﻙ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﭘﻨﺎﻩ‬ ‫ﻧﮕﻴﺮﻳﺪ‪ .‬ﻫﻨﮕﺎﻡ ﺍﻧﺘﺨﺎﺏ ﭘﻨﺎﻫﮕﺎﻩ ﺍﻳﻦ ﺳﻮﺍﻝﻫﺎ ﺭﺍ ﺑﺎ ﺩﻗﺖ ﻣﺪﻧﻈﺮﺗﺎﻥ ﻗﺮﺍﺭ ﺩﻫﻴﺪ‪:‬‬ ‫‪ .1‬ﺁﻳﺎ ﺍﻃﺮﺍﻑ ﺁﻥ ﺩﻳﻮﺍﺭ‪ ،‬ﺣﺼﺎﺭ ﻳﺎ ﺩﻳﮕﺮ ﻣﻮﺍﻧﻊ ﻣﺤﻴﻄﻰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ؟‬ ‫‪ .2‬ﺩﺭ ﺁﻥﺟﺎ ﭼﻨﺪ ﺭﺍﻩ ﻭﺭﻭﺩﻯ‪/‬ﺧﺮﻭﺟﻰ ﺑﺎﻟﻘﻮﻩ ﻭﺟﻮﺩ ﺩﺍﺭﺩ؟‬ ‫‪ .3‬ﺁﻳﺎ ﺍﻓﺮﺍﺩ ﻫﻤﺮﺍﻫﺘﺎﻥ ﻣﻰﺗﻮﺍﻧﻨﺪ ﻫﻤﺰﻣﺎﻥ ﺍﺯ ﺗﻤﺎﻡ ﺣﺼﺎﺭﻫﺎ ﻭ ﺧﺮﻭﺟﻰﻫﺎ ﺩﻓﺎﻉ ﻛﻨﻨﺪ؟‬ ‫‪164‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻛﺘﺎﺏ‬

‫‪ .11‬ﺑﺎﻧﻚﻫﺎ‪ :‬ﭼﻪ ﭼﻴﺰﻯ ﻣﻰﺗﻮﺍﻧﺪ ﺍﺯ ﻳﻚ ﺳﺎﺧﺘﻤﺎﻥ ﺑﺎﻟﻘﻮﻩ ﻣﺴﺘﺤﻜﻢ ﻛﻪ ﺍﺭﺯﺷﻤﻨﺪﺗﺮﻳﻦ ﻛﺎﻻﻯ ﺭﻭﻯ‬ ‫ﺯﻣﻴﻦ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﻧﮕﻪ ﻣﻰﺩﺍﺭﺩ‪ ،‬ﺍﻣﻦﺗﺮ ﺑﺎﺷﺪ؟ ﺁﻳﺎ ﺑﺎﻧﻚ ﺟﺎﻳﻰ ﻣﻨﻄﻘﻰ ﺑﺮﺍﻯ ﺁﻣﺎﺩﮔﻰ ﭘﺪﺍﻓﻨﺪﻯ ﻧﻴﺴﺖ؟‬ ‫ﺁﻳﺎ ﺍﻗﺪﺍﻣﺎﺕ ﺍﻣﻨﻴﺘﻰ ﺁﻥ ﺑﺮﺍﻯ ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﮔﺮﻭﻩ ﻣﺮﺩﮔﺎﻥ ﻣﺘﺤﺮﻙ ﻛﺎﻓﻰ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ؟‬ ‫ﺑﻪﻫﻴﭻ ﻭﺟﻪ‪ .‬ﺣﺘﺎ ﺳﺮﺳﺮﻯﺗﺮﻳﻦ ﻧﮕﺎﻩ ﺑﻪ ﺑﺎﻧﻚﻫﺎ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﻛﻪ ﺑﺨﺶ ﺍﻋﻈﻢ ﺑﻪ ﺍﺻﻄﻼﺡ »ﺍﻣﻨﻴﺖ«‬ ‫ﺁﻥﻫﺎ ﻭﺍﺑﺴﺘﻪ ﺑﻪ ﻧﻴﺮﻭﻫﺎﻯ ﭘﻠﻴﺲ ﻭ‪/‬ﻳﺎ ﻧﻴﺮﻭﻫﺎﻯ ﺣﺮﺍﺳﺘﻰ ﺑﻴﺮﻭﻧﻰ ﺁﻥﻫﺎﺳﺖ‪ .‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﭘﻠﻴﺲ ﻭ‬ ‫ﺗﻤﺎﻡ ﻧﻴﺮﻭﻫﺎﻯ ﻣﺨﺼﻮﺹ ﺩﻳﮕﺮ ﺩﺭ ﻃﻰ ﺷﻴﻮﻉ ﺩﺭﮔﻴﺮﻧﺪ‪ ،‬ﺍﻋﻼﻥ ﺧﻄﺮ ﻣﺨﻔﻰ‪ ،‬ﺩﻭﺭﺑﻴﻦﻫﺎﻯ ﻧﻈﺎﺭﺗﻰ‪،‬‬ ‫ﻭ ﺩﺭﻭﺍﺯﻩﻫﺎﻯ ﻗﻔﻠﻰ ﻛﻪ ﺗﺎ ﻛﻤﺮ ﺑﻴﺸﺘﺮ ﻧﻤﻰﺭﺳﻨﺪ‪ ،‬ﻭﻗﺘﻰ ﻛﻪ ﻣﺮﺩﻩﻫﺎﻯ ﮔﺮﺳﻨﻪ ﺑﻪ ﮔﻮﺷﺖ ﺍﻧﺴﺎﻥ‬ ‫ﺍﺯ ﻣﻴﺎﻥ ﭘﻨﺠﺮﻩﻫﺎﻯ ﻗﺪﻯ ﺑﮕﺬﺭﻧﺪ‪ ،‬ﺑﻰﻓﺎﻳﺪﻩ ﺧﻮﺍﻫﻨﺪ ﺑﻮﺩ‪ .‬ﺍﻟﺒﺘﻪ ﺩﺭﻭﻥ ﮔﺎﻭﺻﻨﺪﻭﻕ ﺍﻣﻦ ﺍﺳﺖ‪ .‬ﺍﻳﻦ‬ ‫ﺳﺎﺧﺘﻤﺎﻥﻫﺎﻯ ﻋﻈﻴﻢ ﺣﺘﺎ ﺩﺭﺑﺮﺍﺑﺮ ﺯﺍﻣﺒﻰﻫﺎﻳﻰ ﻣﺴﻠﺢ ﺑﻪ ﻣﻮﺷﻚﺍﻧﺪﺍﺯ ﻫﻢ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺩﻭﺍﻡ ﺑﻴﺎﻭﺭﻧﺪ‪.‬‬ ‫)ﻧﻪ‪ ،‬ﺯﺍﻣﺒﻰﻫﺎ ﻧﻤﻰﺩﺍﻧﻨﺪ ﭼﻪﻃﻮﺭ ﻣﻮﺷﻚﺍﻧﺪﺍﺯﻫﺎ ﺭﺍ ﺷﻠﻴﻚ ﻛﻨﻨﺪ‪ (.‬ﻫﺮ ﭼﻨﺪ‪ ،‬ﻭﻗﺘﻰ ﺭﻓﺘﻴﺪ ﺩﺍﺧﻞ‬ ‫ﮔﺎﻭﺻﻨﺪﻭﻕ‪ ،‬ﺑﻌﺪ ﺍﺯ ﺁﻥ ﭼﻪ ﻣﻰﻛﻨﻴﺪ؟ ﺍﺯ ﺁﻥ ﺭﻭ ﻛﻪ ﺩﺭ ﺁﻥﺟﺎ ﻧﻪ ﻏﺬﺍ ﻫﺴﺖ‪ ،‬ﻧﻪ ﺁﺏ ﻭ ﻧﻪ ﺍﻛﺴﻴﮋﻥ‪،‬‬ ‫ﭘﻨﺎﻩ ﺟﺴﺘﻦ ﺩﺭ ﻳﻚ ﮔﺎﻭﺻﻨﺪﻭﻕ ﺯﻣﺎﻧﻰ ﺑﻴﺸﺘﺮ ﺍﺯ ﺍﻳﻦ ﻧﺼﻴﺒﺘﺎﻥ ﻧﻤﻰﻛﻨﺪ ﻛﻪ ﺳﻼﺣﻰ ﺳﻤﺖ ﺳﺮﺗﺎﻥ‬ ‫ﺑﮕﻴﺮﻳﺪ‪ ،‬ﺍﺯ ﭘﺮﻭﺭﺩﮔﺎﺭﺗﺎﻥ ﻃﻠﺐ ﺑﺨﺸﺶ ﻧﻤﻮﺩﻩ ﻭ ﻣﺎﺷﻪ ﺭﺍ ﺑﻜﺸﻴﺪ‪.‬‬ ‫‪ .12‬ﻗﺒﺮﺳﺘﺎﻥﻫﺎ‪ :‬ﺑﻪ ﻃﺮﺯﻯ ﻃﻌﻨﻪﺁﻣﻴﺰ‪ ،‬ﻭ ﺑﺮﺧﻼﻑ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺍﻓﺴﺎﻧﻪﻫﺎﻯ ﺭﺍﻳﺞ‪ ،‬ﻭﻗﺘﻰ ﻣﺮﺩﻩﻫﺎ ﺑﺮ‬ ‫ﻣﻰﺧﻴﺰﻧﺪ‪ ،‬ﻗﺒﺮﺳﺘﺎﻥﻫﺎ ﺧﻄﺮﻧﺎﻙﺗﺮﻳﻦ ﻣﺤﻞ ﺑﺮﺍﻯ ﺑﻮﺩﻥ ﻧﻴﺴﺘﻨﺪ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﺁﻥﻫﺎ ﻣﻰﺗﻮﺍﻧﻨﺪ ﻣﺤﻠﻰ‬ ‫ﺑﺮﺍﻯ ﺍﺳﺘﺮﺍﺣﺖ ﻣﻮﻗﺖ ﺑﺎﺷﻨﺪ‪ .‬ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﻗﺒﻞﺗﺮ ﻫﻢ ﮔﻔﺘﻪ ﺷﺪ‪ ،‬ﺑﺪﻥﻫﺎﻯ ﺁﻟﻮﺩﻩ ﺷﺪﻩ ﺑﻪ ﻣﻴﻜﺮﻭﺏ‬ ‫ﺑﻴﺸﺘﺮ ﺑﻪ ﺑﻴﻤﺎﺭﺳﺘﺎﻥﻫﺎ ﻳﺎ ﻣﻮﺳﺴﻪﻫﺎﻯ ﻛﻔﻦ ﻭ ﺩﻓﻦ ﻣﻰﺭﻭﻧﺪ ﻭ ﺧﻴﻠﻰ ﭘﻴﺶ ﺍﺯ ﺁﻥﻛﻪ ﺑﺮﺍﻯ ﺗﺪﻓﻴﻦ‬ ‫ﺳﻨﺘﻰ ﺑﻪ ﻗﺒﺮﺳﺘﺎﻥ ﺑﻴﺎﻳﻨﺪ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﺯﻧﺪﻩ ﺷﺪﻩﺍﻧﺪ‪ .‬ﻭ ﺍﮔﺮ ﺑﻪﻃﺮﺯﻯ ﻣﻌﺠﺰﻩﺁﺳﺎ ﻣﺮﺩﻩﺍﻯ ﺩﺭﻭﻥ ﺗﺎﺑﻮﺗﺶ‬ ‫ﺑﻪ ﺣﻴﺎﺕ ﺑﺎﺯﮔﺮﺩﺩ‪ ،‬ﻭﺍﻗﻌﺎً ﻣﻰﺗﻮﺍﻧﺪ»ﺍﺯ ﮔﻮﺭ ﺑﺮﺧﻴﺰﺩ؟« ﺑﺮﺍﻯ ﭘﺎﺳﺦ ﺑﻪ ﺍﻳﻦ ﺳﻮﺍﻝ ﺑﺎﻳﺪ ﺳﻮﺍﻝ ﺩﻳﮕﺮﻯ‬ ‫ﺭﺍ ﭘﺮﺳﻴﺪ‪ :‬ﭼﻄﻮﺭﻯ؟ ﭼﻄﻮﺭ ﺑﺪﻧﻰ ﺑﺎ ﻧﻴﺮﻭﻯ ﺍﻧﺴﺎﻧﻰ ﻣﻌﻤﻮﻟﻰ ﻣﻰﺗﻮﺍﻧﺪ ﺑﺎ ﭼﻨﮓ ﻭ ﻧﺎﺧﻦ ﺭﺍﻫﺶ ﺭﺍ ﺍﺯ‬ ‫ﺗﺎﺑﻮﺗﻰ ﺑﻪ ﺑﻴﺮﻭﻥ ﺑﻴﺎﺑﺪ ﻛﻪ ﺍﺣﺘﻤﺎﻻً ﺳﺎﺧﺘﻪ ﺍﺯ ﻓﻮﻻﺩ ﺍﺳﺖ‪ ،‬ﺍﺣﺘﻤﺎﻻً ﺩﺭ ﺟﻌﺒﻪﺍﻯ ﻣﺤﻜﻢ ﻗﻔﻞ ﺷﺪﻩ ﻗﺮﺍﺭ‬ ‫ﺩﺍﺭﺩ ﻭ ﺷﺶ ﭘﺎ ﺯﻳﺮ ﺯﻣﻴﻦ ﺍﺳﺖ؟ ﺍﮔﺮ ﻛﺴﻰ ﺑﻪ ﺭﻭﺵﻫﺎﻯ ﺣﻔﺎﻇﺘﻰ ﺗﺪﻓﻴﻦ ﺍﺳﺘﺎﻧﺪﺍﺭﺩ ﺁﻣﺮﻳﻜﺎﻳﻰ ﺗﻮﺟﻪ‬ ‫ﻛﻨﺪ‪ ،‬ﻛﺎﻣ ً‬ ‫ﻼ ﺑﺮﺍﻳﺶ ﺭﻭﺷﻦ ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﻛﻪ ﻫﺮ ﻛﺲ‪ ،‬ﭼﻪ ﻣﺮﺩﻩ ﻭ ﭼﻪ ﻏﻴﺮ ﺁﻥ ﻣﻤﻜﻦ ﻧﻴﺴﺖ ﺑﺘﻮﺍﻧﺪ ﺑﺎ‬ ‫ﭼﻨﮓ ﻭ ﻧﺎﺧﻦ ﻭ ﺑﺎ ﺧﺰﻳﺪﻥ ﺭﺍﻫﺶ ﺭﺍ ﺑﻪ ﺑﻴﺮﻭﻥ ﺑﺎﺯ ﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺍﮔﺮ ﺗﺎﺑﻮﺕ ﺍﺯ ﻓﻮﻻﺩ ﺳﺎﺧﺘﻪ ﻧﺸﺪﻩ ﺑﺎﺷﺪ‬ ‫ﭼﻪ؟ ﺣﺘﺎ ﻳﻚ ﺗﺎﺑﻮﺕ ﺟﻨﺲ ﭼﻮﺏ ﻛﺎﺝ ﻧﻴﺰ ﻣﻰﺗﻮﺍﻧﺪ ﺳﺮﺳﺨﺖﺗﺮﻳﻦ ﺯﺍﻣﺒﻰﻫﺎ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﺯﻧﺪﺍﻧﻰ ﻧﮕﻪ‬ ‫ﺩﺍﺭﺩ‪ .‬ﺍﮔﺮ ﺗﺎﺑﻮﺕ ﭼﻮﺑﻰ ﭘﻮﺳﻴﺪﻩ ﺑﺎﺷﺪ ﭼﻪ؟ ﺩﺭ ﺍﻳﻦ ﺷﺮﺍﻳﻂ‪ ،‬ﺑﺪﻥ ﺁﻥﻗﺪﺭ ﻣﺪﺕ ﺯﻳﺎﺩﻯ ﺩﻓﻦ ﺷﺪﻩ ﻛﻪ‬ ‫ﻣﻐﺰﺵ ﻫﻢ ﺗﺎ ﺁﻥﺯﻣﺎﻥ ﭘﻮﺳﻴﺪﻩ ﺍﺳﺖ‪ .‬ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﻳﺪ‪ :‬ﺑﺪﻥﻫﺎﻳﻰ ﻛﻪ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺣﺮﻛﺖ ﺩﺭ ﻣﻰﺁﻳﻨﺪ ﺑﺎﻳﺪ‬ ‫‪163‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻛﺘﺎﺏ‬

‫ﺟﻌﺒﻪﻫﺎﻯ ﭼﻮﺑﻰ ﺑﺰﺭگ ﻭ ﻣﺤﻜﻢ ﻧﮕﻬﺪﺍﺭﻯ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﺷﺎﻧﺲ ﺁﻭﺭﺩﻩﺍﻳﺪ‪ .‬ﺍﻳﻦ ﺟﻌﺒﻪﻫﺎ ﺭﺍ ﻣﻰﺗﻮﺍﻥ‬ ‫ﺑﺮﺍﻯ ﻣﺤﻜﻢ ﻛﺮﺩﻥ ﺩﺭﻫﺎﻯ ﻭﺭﻭﺩﻯ‪ ،‬ﺳﺎﺧﺘﻦ ﺍﺗﺎﻕﻫﺎﻯ ﺧﺼﻮﺻﻰ‪ ،‬ﻳﺎ ﺣﺘﺎ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺩﺭ ﺩﻭﺭﺍﻥ‬ ‫ﻛﻮﺩﻛﻴﻤﺎﻥ ﺍﻧﺠﺎﻡ ﻣﻰﺩﺍﺩﻳﻢ‪ ،‬ﻳﻚ ﺧﻂ ﺩﻭﻡ ﺩﻓﺎﻋﻰ ﻳﺎ ﺳﻨﮕﺮﻯ ﺩﺭ ﻣﻨﻄﻘﻪﻯ ﺍﺻﻠﻰ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻴﻢ‪.‬‬ ‫ﺍﺣﺘﻤﺎﻝ ﺁﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﺣﺎﻝ ﻫﺮ ﭼﻘﺪﺭ ﻫﻢ ﺑﻌﻴﺪ‪ ،‬ﻛﻪ ﻛﺎﻻﻫﺎﻯ ﺍﻧﺒﺎﺭ ﺷﺪﻩ ﺑﺘﻮﺍﻧﻨﺪ ﺑﺮﺍﻯ ﻧﺠﺎﺕ ﺟﺎﻧﺘﺎﻥ‬ ‫ﻣﻔﻴﺪ ﺑﺎﺷﻨﺪ‪ .‬ﺑﺮﺍﻯ ﺗﻤﺎﻡ ﺍﻳﻦ ﺩﻻﻳﻞ‪ ،‬ﺍﻧﺒﺎﺭﻫﺎ ﺭﺍ ﺩﺭ ﻟﻴﺴﺖ ﺑﻬﺘﺮﻳﻦ ﻣﺨﻔﻴﮕﺎﻩﻫﺎﻳﺘﺎﻥ ﻗﺮﺍﺭ ﺩﻫﻴﺪ‪.‬‬ ‫ﻳﻚ ﺍﺧﻄﺎﺭ ﺩﺭﺑﺎﺭﻩﻯ ﻣﻮﻗﻌﻴﺖ‪ 50 :‬ﺩﺭﺻﺪ ﺍﻭﻗﺎﺕ‪ ،‬ﺍﻳﻦ ﺳﺎﺧﺘﻤﺎﻥﻫﺎ ﻧﺰﺩﻳﻚ ﺑﻪ ﻛﺎﺭﮔﺎﻩﻫﺎﻯ ﻛﺸﺘﻰﺳﺎﺯﻯ‪،‬‬ ‫ﻛﺎﺭﺧﺎﻧﻪﻫﺎ‪ ،‬ﻳﺎ ﺩﻳﮕﺮ ﻣﻨﺎﻃﻖ ﺻﻨﻌﺘﻰ ﻫﺴﺘﻨﺪ‪ .‬ﺍﮔﺮ ﭼﻨﻴﻦ ﺷﺮﺍﻳﻄﻰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﮔﻮﺵﺑﻪﺯﻧﮓ‪ ،‬ﻫﻮﺷﻴﺎﺭ‬ ‫ﻭ ﻫﻤﻴﺸﻪ ﺁﻣﺎﺩﻩﻯ ﻓﺮﺍﺭ ﺑﺎﺷﻴﺪ‪ .‬ﻫﻤﻴﻦﻃﻮﺭ ﻣﺮﺍﻗﺐ ﺍﻧﺒﺎﺭﻫﺎﻯ ﺳﺮﺩﺧﺎﻧﻪ ﻛﻪ ﻛﺎﻻﻫﺎﻯ ﻗﺎﺑﻞ ﻓﺴﺎﺩ ﺭﺍ‬ ‫ﻧﮕﻪ ﻣﻰﺩﺍﺭﻧﺪ ﻧﻴﺰ ﺑﺎﺷﻴﺪ‪ .‬ﺑﻪ ﻣﺤﺾ ﺁﻥ ﻛﻪ ﺑﺮﻕ ﻗﻄﻊ ﺷﻮﺩ‪ ،‬ﻓﺴﺎﺩ ﺳﺮﻳﻌﺸﺎﻥ ﻣﻰ ﺗﻮﺍﻧﺪ ﺧﻄﺮ ﺟﺎﻧﻰ‬ ‫ﺷﺪﻳﺪﻯ ﺍﻳﺠﺎﺩ ﻛﻨﺪ‪.‬‬ ‫‪ .9‬ﺍﺳﻜﻠﻪﻫﺎ ﻭ ﻟﻨﮕﺮﮔﺎﻩﻫﺎ‪ :‬ﺑﺎ ﻛﻤﻰ ﺍﺻﻼﺡ‪ ،‬ﺗﻬﻴﻪﻯ ﻣﻨﺎﺑﻊ ﻭ ﺁﺫﻭﻗﻪ‪ ،‬ﻭ ﻣﻜﺎﻥﻳﺎﺑﻰ ﻣﻨﺎﺳﺐ‪ ،‬ﻫﺮ ﺍﺳﻜﻠﻪ‬ ‫ﻳﺎ ﻟﻨﮕﺮﮔﺎﻫﻰ ﻣﻰﺗﻮﺍﻧﺪ ﻋﻤ ً‬ ‫ﻼ ﺩﺳﺖﻧﻴﺎﻓﺘﻨﻰ ﺷﻮﺩ‪ .‬ﺯﻳﺮﺍ ﺯﺍﻣﺒﻰﻫﺎ ﻧﻪ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺷﻨﺎ ﻛﻨﻨﺪ ﻭ ﻧﻪ ﻣﻰﺗﻮﺍﻧﻨﺪ‬ ‫ﺍﺯ ﺟﺎﻳﻰ ﺑﺎﻻ ﺑﺮﻭﻧﺪ‪ ،‬ﺗﻨﻬﺎ ﺳﻄﺢ ﺩﺳﺘﺮﺳﻴﺸﺎﻥ ﺍﺯ ﺭﻭﻯ ﺳﻄﺢ ﺯﻣﻴﻦ ﺍﺳﺖ‪ .‬ﻧﺎﺑﻮﺩ ﻛﺮﺩﻥ ﺁﻥ ﺗﻨﻬﺎ ﻧﻘﻄﻪﻯ‬ ‫ﺩﺳﺘﺮﺳﻰ‪ ،‬ﺷﻤﺎ ﺭﺍ ﺑﺮ ﺭﻭﻯ ﻳﻚ ﺟﺰﻳﺮﻩﻯ ﻣﺼﻨﻮﻋﻰ ﻗﺮﺍﺭ ﻣﻰﺩﻫﺪ‪.‬‬ ‫‪ .10‬ﻛﺸﺘﻰﺳﺎﺯﻯﻫﺎ‪ :‬ﺑﺮ ﺧﻼﻑ ﺍﻳﻦ ﺣﻘﻴﻘﺖ ﻛﻪ ﺁﻥﻫﺎ ﺍﻛﺜﺮ ﺍﻭﻗﺎﺕ ﺍﻧﺒﺎﺭﻫﺎﻳﻰ ﺑﺮﺍﻯ ﺯﺍﺋﺪﺍﺕ ﺻﻨﻌﺘﻰ‬ ‫ﻭ ﻣﻮﺍﺩ ﺧﻄﺮﻧﺎﻙ ﻫﺴﺘﻨﺪ‪ ،‬ﻛﺸﺘﻰﺳﺎﺯﻯﻫﺎ ﻓﺮﺻﺖﻫﺎﻳﻰ ﻏﻴﺮﻗﺎﺑﻞ ﺍﻧﻜﺎﺭ ﺑﺮﺍﻯ ﻧﺠﺎﺕﻳﺎﻓﺘﮕﺎﻥ ﭘﺪﻳﺪ‬ ‫ﻣﻰﺁﻭﺭﻧﺪ‪ .‬ﻣﺜﻞ ﺍﻧﺒﺎﺭﻫﺎ‪ ،‬ﻛﺎﻧﺘﻴﻨﺮﻫﺎﻯ ﺁﻥﻫﺎ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺗﺒﺪﻳﻞ ﺑﻪ ﻣﻮﺍﻧﻊ‪ ،‬ﻳﺎ ﺣﺘﺎ ﺩﺭ ﺑﻌﻀﻰ ﻣﻮﺍﺭﺩ ﺳﻼﺡ‬ ‫ﺷﻮﻧﺪ‪ .‬ﺧﻮﺩ ﻛﺸﺘﻰﻫﺎ ﺑﻪ ﻣﺤﺾ ﺍﻳﻦ ﻛﻪ ﮔﺬﺭﮔﺎﻩ ﻭﺭﻭﺩﻳﺸﺎﻥ ﺍﻣﻦ ﺷﻮﺩ‪ ،‬ﻣﻰﺗﻮﺍﻧﻨﺪ ﺗﺒﺪﻳﻞ ﺑﻪ ﭘﻨﺎﻫﮕﺎﻩ‬ ‫ﺷﻮﻧﺪ‪ .‬ﺍﻣﺎ ﭘﻴﺶ ﺍﺯ ﺳﻮﺍﺭ ﺷﺪﻥ‪ ،‬ﻣﻄﻤﺌﻦ ﺷﻮﻳﺪ ﻛﻪ ﺍﻳﻦ ﺩژﻫﺎﻯ ﺁﺑﻰ ﺣﺎﻣﻞ ﺧﺪﻣﻪﻯ ﺁﻟﻮﺩﻩ ﺑﻪ ﺑﻴﻤﺎﺭﻯ‬ ‫ﻧﺒﺎﺷﻨﺪ‪ ،‬ﻋﻠﻰﺍﻟﺨﺼﻮﺹ ﺩﺭ ﺗﻔﺮﺟﮕﺎﻩﻫﺎﻯ ﺳﺎﺣﻠﻰ ﻛﻮﭼﻚ‪ .‬ﺩﺭ ﺍﻭﻟﻴﻦ ﻣﺮﺍﺣﻞ ﻳﻚ ﺩﺭﮔﻴﺮﻯ‪ ،‬ﺷﻬﺮﻭﻧﺪﺍﻥ‬ ‫ﺑﻰ ﻫﻴﭻ ﺷﻚ ﺩﺭ ﺍﻣﻴﺪ ﺍﺳﺘﻔﺎﺩﻩ )ﻳﺎ ﺩﺯﺩﻳﺪﻥ( ﻫﺮ ﻛﺸﺘﻰ ﻣﻮﺗﻮﺭﻯ ﻣﻮﺟﻮﺩﻯ ﺑﻪ ﺣﺪﻭﺩ ﺳﺎﺣﻠﻰ ﻫﺠﻮﻡ‬ ‫ﻣﻰﺁﻭﺭﻧﺪ‪ .‬ﭼﻮﻥ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺗﻔﺮﺟﮕﺎﻩﻫﺎ ﺩﺭ ﺁﺏﻫﺎﻯ ﻧﺴﺒﺘﺎً ﻛﻢﻋﻤﻖ ﺳﺎﺧﺘﻪ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﺁﻥﻫﺎ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ‬ ‫ﻛﺎﻓﻰ ﻋﻤﻴﻖ ﻧﻴﺴﺘﻨﺪ ﺗﺎ ﺯﺍﻣﺒﻰﻫﺎ ﺭﺍ ﻛﺎﻣ ً‬ ‫ﻼ ﻏﺮﻕ ﻛﻨﻨﺪ‪ .‬ﺑﻴﺶ ﺍﺯ ﻳﻚ ﺑﺎﺭ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻩ ﻛﻪ ﻳﻚ ﺩﺭﻳﺎﻧﻮﺭﺩ‬ ‫ﻧﺎﻭﺍﺭﺩ ﻭ ﺑﻰﺍﺣﺘﻴﺎﻁ ﺑﻪ ﻛﺸﺘﻰﺍﺵ ﺳﻮﺍﺭ ﺷﺪﻩ ﻭ ﭼﻨﺪﻳﻦ ﺯﺍﻣﺒﻰ ﮔﺮﺳﻨﻪ ﻭ ﺧﻴﺲ ﺁﺏ ﺭﺍ ﻣﻨﺘﻈﺮ ﺧﻮﺩ‬ ‫ﻳﺎﻓﺘﻪ ﺍﺳﺖ‪.‬‬

‫‪161‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻧﻜﻨﻴﺪ‪ .‬ﻓﺮﻭﺷﮕﺎﻩﻫﺎﻯ ﺑﺪﻭﻥ ﻛﺮﻛﺮﻩ ﺭﺍ ﻧﺒﺎﻳﺪ ﻣﺪﻧﻈﺮ ﻗﺮﺍﺭ ﺩﺍﺩ‪ .‬ﻭﻳﺘﺮﻳﻦﻫﺎﻯ ﺁﻥﻫﺎ ﻛﺎﺭﻯ ﺑﻬﺘﺮ ﺍﺯ ﻋﺮﺿﻪﻯ‬ ‫ﺷﻤﺎ ﺑﺮﺍﻯ ﺯﺍﻣﺒﻰﻫﺎ ﺍﻧﺠﺎﻡ ﻧﻤﻰﺩﻫﻨﺪ‪.‬‬ ‫‪ .6‬ﺳﻮﭘﺮﻣﺎﺭﻛﺖﻫﺎ‪ :‬ﺍﮔﺮﭼﻪ ﺳﻮﭘﺮﻣﺎﺭﻛﺖﻫﺎ ﻏﺬﺍﻯ ﻛﺎﻓﻰ ﺑﺮﺍﻯ ﺣﻔﻆ ﮔﺮﻭﻫﺘﺎﻥ ﺗﺎ ﺳﺎﻝﻫﺎ ﺭﺍ ﺩﺍﺭﻧﺪ‪،‬‬ ‫ﺁﻥﻫﺎ ﺧﻄﺮﻧﺎﻙ ﻫﻢ ﻫﺴﺘﻨﺪ‪ .‬ﺩﺭﻫﺎﻯ ﺷﻴﺸﻪﺍﻯ ﺑﺰﺭگ ﺁﻥﻫﺎ‪ ،‬ﺣﺘﺎ ﻭﻗﺘﻰ ﻛﻪ ﻗﻔﻞ ﺑﺎﺷﻨﺪ‪ ،‬ﺍﻣﻨﻴﺖ ﻛﻤﻰ‬ ‫ﺭﺍ ﻣﺘﻀﻤﻦ ﻫﺴﺘﻨﺪ‪ .‬ﭘﻮﺷﺶ ﭼﻨﻴﻦ ﻭﺭﻭﺩﻯﻫﺎﻳﻰ ﺳﺨﺖ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﺍﺻﻮﻻً ﺗﺼﻮﻳﺮﻯ ﻛﻪ ﺳﻮﭘﺮﻣﺎﺭﻛﺖ‬ ‫ﺑﻪ ﺫﻫﻦ ﻣﺘﺒﺎﺩﺭ ﻣﻰﻛﻨﺪ‪ ،‬ﻭﻳﺘﺮﻳﻨﻰ ﺍﺳﺖ ﻋﻈﻴﻢ ﺑﺮﺍﻯ ﻧﻤﺎﻳﺶ ﻏﺬﺍﻯ ﺗﺎﺯﻩ ﻭ ﺧﻮﺷﻤﺰﻩﻯ ﺩﺍﺧﻞ ﺁﻥ‪.‬‬ ‫ﻭﻗﺘﻰ ﺍﻧﺴﺎﻥﻫﺎ ﺩﺍﺧﻞ ﺑﺎﺷﻨﺪ ﻭ ﺯﺍﻣﺒﻰﻫﺎ ﺁﻥ ﺑﻴﺮﻭﻥ‪ ،‬ﺍﺗﻔﺎﻗﻰ ﻛﻪ ﻣﻰﺍﻓﺘﺪ ﺩﻗﻴﻘﺎً ﺑﻪ ﻫﻤﻴﻦ ﮔﻮﻧﻪ ﺧﻮﺍﻫﺪ‬ ‫ﺑﻮﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﻫﻤﻪﻯ ﻏﺬﺍﻓﺮﻭﺷﻰﻫﺎ ﻫﻢ ﺗﻠﻪﻯ ﻣﺮگ ﻧﻴﺴﺘﻨﺪ‪ .‬ﻣﻐﺎﺯﻩﻫﺎﻯ ﻛﻮﭼﻚﺗﺮ‪ ،‬ﺑﺎ ﻛﺴﺐ ﻭ‬ ‫ﻛﺎﺭ ﺧﺎﻧﻮﺍﺩﮔﻰ ﻭ ﺍﻏﺬﻳﻪﻓﺮﻭﺷﻰﻫﺎﻯ ﻣﺮﻛﺰ ﺷﻬﺮ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺑﻪﺧﻮﺑﻰ ﺩﺭ ﺟﺎﻳﮕﺎﻩ ﻳﻚ ﭘﻨﺎﻫﮕﺎﻩ ﻣﻮﻗﺘﻰ‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﺷﻮﻧﺪ‪ .‬ﺁﻥﻫﺎ ﺑﺮﺍﻯ ﺟﻠﻮﮔﻴﺮﻯ ﺍﺯ ﺳﺮﻗﺖ ﻭ –ﺍﺧﻴﺮﺍ ً‪ -‬ﺁﺷﻮﺏ‪ ،‬ﻫﻤﮕﻰ ﺣﺼﺎﺭﻫﺎﻯ ﻓﻮﻻﺩﻯ‬ ‫ﻣﺤﻜﻤﻰ ﺩﺍﺭﻧﺪ‪ ،‬ﺑﻌﻀﻰ ﺣﺘﺎ ﻛﺮﻛﺮﻩ ﻧﻴﺰ ﺩﺍﺭﻧﺪ‪ .‬ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﻓﺮﻭﺷﮕﺎﻩﻫﺎ‪ ،‬ﺍﻳﻦ ﺳﻮﭘﺮﻣﺎﺭﻛﺖﻫﺎﻯ‬ ‫ﻛﻮﭼﻚ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺑﺮﺍﻯ ﻛﻮﺗﺎﻩ ﻣﺪﺕ ﺣﻔﺎﻇﺖ ﻣﻨﺎﺳﺒﻰ ﺭﺍ ﺩﺭ ﺑﺮﺍﺑﺮ ﺣﻤﻼﺕ ﻛﻢﺩﺍﻣﻨﻪ ﻓﺮﺍﻫﻢ ﻛﻨﻨﺪ‪ .‬ﺍﮔﺮ‬ ‫ﺧﻮﺩﺗﺎﻥ ﺭﺍ ﺩﺭ ﭼﻨﻴﻦ ﺷﺮﺍﻳﻄﻰ ﻳﺎﻓﺘﻴﺪ‪ ،‬ﺍﻭﻝ ﻓﺎﺳﺪﺷﺪﻧﻰﻫﺎ ﺭﺍ ﺑﺨﻮﺭﻳﺪ ﻭ ﺑﻪ ﻣﺤﺾ ﺍﻳﻦﻛﻪ ﺑﺮﻕ ﻗﻄﻊ‬ ‫ﺷﺪ‪ ،‬ﻣﺎﺑﻘﻰﺷﺎﻥ ﺭﺍ ﺩﻭﺭ ﺑﺮﻳﺰﻳﺪ‪.‬‬ ‫‪ .7‬ﻣﺮﺍﻛﺰ ﻓﺮﻭﺵ‪ :‬ﺩﺭﻭﺍﻗﻊ ﺳﺎﺧﺘﻤﺎﻧﻰ ﺍﺳﺖ ﻏﻴﺮﻗﺎﺑﻞ ﺩﻓﺎﻉ‪ .‬ﻣﺮﺍﻛﺰ ﻓﺮﻭﺵ ﺑﺰﺭگ ﻫﻤﻴﺸﻪ ﻫﺪﻓﻰ ﺑﺮﺍﻯ‬ ‫ﻫﻢ ﺍﻧﺴﺎﻥﻫﺎ ﻭ ﻫﻢ ﺯﺍﻣﺒﻰﻫﺎ ﻫﺴﺘﻨﺪ‪ .‬ﺍﻳﻦ ﻣﻮﺭﺩ ﻫﻤﻴﺸﻪ ﺑﺎ ﺍﺧﺘﻼﻻﺕ ﺍﺟﺘﻤﺎﻋﻰ ﻫﻤﺮﺍﻩ ﺍﺳﺖ‪ :‬ﺑﺎ ﺍﻭﻟﻴﻦ‬ ‫ﻧﺸﺎﻧﻪﻯ ﻣﺸﻜﻞ‪ ،‬ﺍﻳﻦ ﻣﺮﺍﻛﺰ ﺛﺮﻭﺕ ﻣﻤﻠﻮ ﺍﺯ ﻧﻴﺮﻭﻫﺎﻯ ﺍﻣﻨﻴﺘﻰ ﺧﺼﻮﺻﻰ‪ ،‬ﭘﻠﻴﺲ ﻭ ﺣﺘﺎ ﺻﺎﺣﺐﻣﻠﻚﻫﺎﻯ‬ ‫ﺑﺴﻴﺎﺭ ﭘﺮﺷﻮﺭ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺍﮔﺮ ﺑﺤﺮﺍﻥ ﻧﺎﮔﻬﺎﻥ ﺑﺎﻻ ﺑﮕﻴﺮﺩ‪ ،‬ﻣﺸﺘﺮﻯﻫﺎﻯ ﺯﻳﺎﺩﻯ ﻣﻤﻜﻦ ﺍﺳﺖ ﺩﺭﻭﻥ ﻣﺮﻛﺰ‬ ‫ﻓﺮﻭﺵ ﮔﻴﺮ ﺑﻴﻔﺘﻨﺪ ﻛﻪ ﻣﺸﻜﻼﺗﻰ ﺍﺯ ﻗﺒﻴﻞ ﺗﺠﻤﻊ ﺑﻴﺶ ﺍﺯ ﺣﺪ‪ ،‬ﺯﻳﺮ ﺩﺳﺖ ﻭ ﭘﺎ ﻣﺎﻧﺪﻥ ﻭ ﻟﮕﺪﻣﺎﻝ ﺷﺪﻥ‪،‬‬ ‫ﻭ ﺧﻔﮕﻰ ﺑﻪ ﻫﻤﺎﻥ ﺍﻧﺪﺍﺯﻩﻯ ﺟﻠﺐ ﺗﻮﺟﻪ ﻣﺮﺩﻩﻫﺎ ﺍﻳﺠﺎﺩ ﻣﻰﻛﻨﺪ‪ .‬ﺩﺭ ﺩﺭﮔﻴﺮﻯﻫﺎﻯ ﺍﺯ ﻫﺮ ﺭﺩﻩ‪ ،‬ﺭﻓﺘﻦ ﺑﻪ‬ ‫ﺳﻮﻯ ﻳﻚ ﻣﺮﻛﺰ ﻓﺮﻭﺵ ﺑﻪ ﻣﻌﻨﺎﻯ ﺣﺮﻛﺖ ﺑﻪ ﺳﻤﺖ ﺁﺷﻮﺏ ﺍﺳﺖ‪.‬‬ ‫‪ .8‬ﺍﻧﺒﺎﺭﻫﺎ‪ :‬ﻧﻈﺮ ﺑﻪ ﻋﺪﻡ ﻭﺟﻮﺩ ﭘﻨﺠﺮﻩ‪ ،‬ﻭﺭﻭﺩﻯ ﻛﻪ ﺑﻪ ﺳﺎﺩﮔﻰ ﺑﺘﻮﺍﻥ ﺍﺯ ﺁﻥ ﺣﻔﺎﻇﺖ ﻛﺮﺩ ﻭ ﻛ ً‬ ‫ﻼ‬ ‫ﻓﻀﺎﻯ ﻭﺳﻴﻊ ﺁﻥ‪ ،‬ﺍﻧﺒﺎﺭﻫﺎ ﻣﻰﺗﻮﺍﻧﻨﺪ ﻣﺤﻠﻰ ﺁﺭﻣﺎﻧﻰ ﺑﺮﺍﻯ ﻧﺠﺎﺕﻳﺎﻓﺘﮕﺎﻥ ﺩﺭ ﻣﺪﺕ ﺯﻣﺎﻧﻰ ﻃﻮﻻﻧﻰ‬ ‫ﺑﺎﺷﻨﺪ‪ .‬ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺍﻧﺒﺎﺭﻫﺎ ﻳﻚ ﺩﻓﺘﺮ ﺣﺮﺍﺳﺖ ﺩﺍﺭﻧﺪ‪ ،‬ﻛﻪ ﻣﻌﻤﻮﻻً ﺑﻪ ﺳﺮﻭﻳﺲ ﺑﻬﺪﺍﺷﺘﻰ ﻭ ﺍﺯ ﺍﻳﻦ ﺭﻭ‬ ‫ﺑﻪ ﺫﺧﻴﺮﻩﻯ ﺁﺏ ﺍﺿﻄﺮﺍﺭﻯ ﻣﺠﻬﺰﻧﺪ‪ .‬ﺍﮔﺮ ﻛﺎﻻﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﺁﻥ ﺍﻧﺒﺎﺭ ﺷﺪﻩﺍﻧﺪ ﻫﻢ ﺳﻨﮕﻴﻨﻨﺪ ﻭ ﻫﻢ ﺩﺭ‬ ‫‪160‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻛﺘﺎﺏ‬

‫ﻣﻲﺭﺳﺪ‪ ،‬ﺩﺭ ﻭﺍﻗﻊ ﻳﻜﻰ ﺍﺯ ﺑﺪﺗﺮﻳﻦ ﺟﺎﻫﺎﻯ ﻣﻤﻜﻦ ﺍﺳﺖ‪ .‬ﺑﻠﻪ‪ ،‬ﺑﻴﻤﺎﺭﺳﺘﺎﻥﻫﺎ ﻣﻤﻜﻦ ﺍﺳﺖ ﻣﻤﻠﻮ ﺍﺯ ﻏﺬﺍ‪،‬‬ ‫ﺗﺠﻬﻴﺰﺍﺕ ﺩﺭﻣﺎﻧﻰ ﻭ ﻛﺎﺭﻛﻨﺎﻥ ﻣﺘﺨﺼﺺ ﺑﺎﺷﺪ‪ .‬ﺑﻠﻪ‪ ،‬ﺑﻨﺎﻯ ﺳﺎﺧﺘﻤﺎﻥ ﺑﻪﺧﻮﺩﻯ ﺧﻮﺩ ﺩﺭﺳﺖ ﻣﺎﻧﻨﺪ‬ ‫ﻫﺮ ﺍﺩﺍﺭﻩ ﻳﺎ ﺁﭘﺎﺭﺗﻤﺎﻧﻰ ﻣﻤﻜﻦ ﺍﺳﺖ ﺍﻣﻦ ﺑﺎﺷﺪ‪ .‬ﺑﻠﻪ‪ ،‬ﻣﻤﻜﻦ ﺍﺳﺖ ﺁﻥﻫﺎ ﻧﻴﺮﻭﻯ ﺍﻣﻨﻴﺘﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪،‬‬ ‫ﺣﺘﺎ ﺑﻪﻃﻮﺭ ﻣﻨﻈﻢ ﺩﺭ ﺁﻥ ﭘﻠﻴﺲﻫﺎ ﺣﺎﺿﺮ ﺑﺎﺷﻨﺪ‪ .‬ﺩﺭ ﻫﺮ ﻓﺎﺟﻌﻪﻯ ﺩﻳﮕﺮﻯ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﺑﺎﻳﺪ ﺩﺭ ﺟﺎﻳﮕﺎﻩ‬ ‫ﺍﻭﻝ ﻟﻴﺴﺖ ﭘﻨﺎﻫﮕﺎﻩﻫﺎﻯ ﺷﻤﺎ ﻗﺮﺍﺭ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺍﻣﺎ ﻧﻪ ﻭﻗﺘﻰ ﻛﻪ ﻣﺮﺩﮔﺎﻥ ﺑﺮﺧﺎﺳﺘﻪﺍﻧﺪ‪ .‬ﺣﺘﺎ ﺑﺎ ﻭﺟﻮﺩ‬ ‫ﺍﻓﺰﺍﻳﺶ ﺁﮔﺎﻫﻰ ﺩﺭﺑﺎﺭﻩﻯ ﺯﺍﻣﺒﻰﻫﺎ‪ ،‬ﻫﻨﻮﺯ ﻫﻢ ﻋﻔﻮﻧﺖﻫﺎﻯ ﺳﻮﻻﻧﻴﻮﻣﻰ ﺑﻪ ﺍﺷﺘﺒﺎﻩ ﺗﺸﺨﻴﺺ ﺩﺍﺩﻩ‬ ‫ﻣﻰﺷﻮﻧﺪ‪ .‬ﺍﻧﺴﺎﻥﻫﺎﻳﻰ ﻛﻪ ﮔﺎﺯ ﮔﺮﻓﺘﻪ ﺷﺪﻩﺍﻧﺪ ﻭ ﺟﻨﺎﺯﻩﻫﺎﻯ ﺗﺎﺯﻩ ﻛﺸﺘﻪ ﺷﺪﻩ ﻫﻤﻴﺸﻪ ﺑﻪ ﺑﻴﻤﺎﺭﺳﺘﺎﻥﻫﺎ‬ ‫ﺁﻭﺭﺩﻩ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺍﻛﺜﺮﻳﺖ ﻣﻮﺝ ﺍﻭﻝ ﺣﻤﻠﻪﻯ ﺯﺍﻣﺒﻰﻫﺎ )ﺩﺭ ﺑﻌﻀﻰ ﻣﻮﺍﺭﺩ ‪ 90‬ﺩﺭﺻﺪ( ﺭﺍ ﺧﺪﻣﻪﻯ‬ ‫ﺩﺭﻣﺎﻧﮕﺎﻩﻫﺎ ﻳﺎ ﻛﺴﺎﻧﻰ ﺗﺸﻜﻴﻞ ﻣﻰﺩﻫﻨﺪ ﻛﻪ ﺑﻪ ﻣﻌﺎﻟﺠﻪﻯ ﺍﺟﺴﺎﺩ ﭘﺮﺩﺍﺧﺘﻪﺍﻧﺪ‪ .‬ﺟﺪﻭﻝﻫﺎﻯ ﺗﺮﺗﻴﺐ‬ ‫ﻭﻗﻮﻉ ﺣﻮﺍﺩﺙ ﺩﺭﮔﻴﺮﻯ ﺑﺎ ﺯﺍﻣﺒﻰﻫﺎ ﻋﻤ ً‬ ‫ﻼ ﺑﻴﺎﻧﮕﺮ ﺍﻳﻦ ﻣﻮﺭﺩﻧﺪ ﻛﻪ ﺁﻥﻫﺎ ﺍﺯ ﺍﻳﻦ ﺍﻣﺎﻛﻦ ﭘﺨﺶ ﺷﺪﻩﺍﻧﺪ‪.‬‬ ‫‪ .4‬ﭘﺎﺳﮕﺎﻩ ﭘﻠﻴﺲ‪ :‬ﺑﺮﺧﻼﻑ ﺑﻴﻤﺎﺭﺳﺘﺎﻥﻫﺎ‪ ،‬ﺩﻭﺭﻯ ﻛﺮﺩﻥ ﺍﺯ ﭘﺎﺳﮕﺎﻩ ﭘﻠﻴﺲ ﺑﻴﺸﺘﺮ ﺑﻪ ﺍﻧﺴﺎﻥﻫﺎ‬ ‫ﺭﺑﻂ ﺩﺍﺭﺩ ﺗﺎ ﺯﺍﻣﺒﻰﻫﺎ‪ .‬ﺑﻪ ﺍﺣﺘﻤﺎﻝ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩ‪ ،‬ﻣﺮﺩﻣﻰ ﻛﻪ ﺩﺭ ﺷﻬﺮ ﺷﻤﺎ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ ﺑﻪ ﺳﻮﻯ‬ ‫ﭘﺎﺳﮕﺎﻩﻫﺎﻯ ﻣﺤﻠﻰ ﭘﻠﻴﺲ ﻫﺠﻮﻡ ﻣﻰﺁﻭﺭﻧﺪ‪ ،‬ﻛﻪ ﺁﻥ ﺟﺎ ﺭﺍ ﻛﺎﻧﻮﻥ ﺁﺷﻮﺏ‪ ،‬ﻧﻔﺮﺍﺕ ﻭ ﺍﺣﺘﻤﺎﻻً ﺧﻮﻥ‬ ‫ﺁﻟﻮﺩﻩ ﺧﻮﺍﻫﺪ ﻧﻤﻮﺩ‪ .‬ﮔﺮﻭﻫﻰ ﺍﺯ ﻣﺮﺩﻡ ﻫﺮﺍﺳﺎﻥ ﻭ ﺩﺭ ﻫﻢ ﺗﻨﻴﺪﻩ ﺭﺍ ﺗﺼﻮﺭ ﻛﻨﻴﺪ‪ ،‬ﺑﺴﻴﺎﺭ ﺑﻴﺸﺘﺮ ﺍﺯ ﺁﻥ ﻛﻪ‬ ‫ﺑﺘﻮﺍﻥ ﺁﻥﻫﺎ ﺭﺍ ﻛﻨﺘﺮﻝ ﻛﺮﺩ‪ ،‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻫﻤﮕﻰ ﺳﻌﻰ ﻣﻰﻛﻨﻨﺪ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺑﻪ ﺳﺎﺧﺘﻤﺎﻧﻰ ﺑﺮﺳﺎﻧﻨﺪ‬ ‫ﻛﻪ ﺧﻴﺎﻝ ﻣﻰﻛﻨﻨﺪ ﺑﻬﺘﺮﻳﻦ ﺍﻣﻨﻴﺖ ﺭﺍ ﻣﻰﺗﻮﺍﻧﺪ ﺑﺮﺍﻳﺸﺎﻥ ﺗﺎﻣﻴﻦ ﻛﻨﺪ‪ .‬ﻻﺯﻡ ﻧﻴﺴﺖ ﻛﺴﻰ ﺑﺮﺍﻯ ﻣﺮﺩﻥ‬ ‫ﺗﻮﺳﻂ ﺯﺍﻣﺒﻰﻫﺎ ﮔﺎﺯ ﮔﺮﻓﺘﻪ ﺷﻮﺩ‪ ،‬ﺩﺭ ﺟﺎﻳﻰ ﻛﻪ ﺿﺮﺏ ﻭ ﺷﺘﻢ‪ ،‬ﭼﺎﻗﻮ ﺧﻮﺭﺩﻥ‪ ،‬ﺗﻴﺮﺍﻧﺪﺍﺯﻯ ﺍﺗﻔﺎﻗﻰ ﻭ ﺣﺘﺎ‬ ‫ﻟﻪ ﺷﺪﻥ ﺯﻳﺮ ﺩﺳﺖ ﻭ ﭘﺎ ﻫﻢ ﻣﻰﺗﻮﺍﻧﺪ ﻫﻤﻴﻦ ﻛﺎﺭ ﺭﺍ ﺑﺎ ﺁﻥﻫﺎ ﺑﻜﻨﺪ‪ .‬ﭘﺲ ﻭﻗﺘﻰ ﻛﻪ ﻣﺮﺩﮔﺎﻥ ﺑﺮﺧﺎﺳﺘﻨﺪ‪،‬‬ ‫ﻣﺤﻞ ﭘﺎﺳﮕﺎﻩ ﭘﻠﻴﺲ ﻣﺤﻠﻴﺘﺎﻥ ﺭﺍ ﺷﻨﺎﺳﺎﻳﻰ ﻛﺮﺩﻩ ﻭ ﺩﺭ ﻣﺴﻴﺮ ﻣﺨﺎﻟﻒ ﺁﻥ ﺑﻪﺭﺍﻩ ﺑﻴﻔﺘﻴﺪ‪.‬‬ ‫‪ .5‬ﻓﺮﻭﺷﮕﺎﻩﻫﺎ‪ :‬ﺑﺮﺍﻯ ﻗﻴﺎﻡﻫﺎﻯ ﺭﺩﻩﻯ ‪ ،1‬ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺍﻧﻮﺍﻉ ﻓﺮﻭﺷﮕﺎﻩﻫﺎ ﭘﻨﺎﻫﮕﺎﻩﻫﺎﻯ ﻣﻨﺎﺳﺒﻰ‬ ‫ﺧﻮﺍﻫﻨﺪ ﺑﻮﺩ‪ .‬ﺁﻥﻫﺎﻳﻰ ﻛﻪ ﻛﺮﻛﺮﻩﻯ ﻣﺤﻜﻤﻰ ﺩﺍﺭﻧﺪ‪ ،‬ﻣﻰﺗﻮﺍﻧﻨﺪ ﺑﺮﺍﻯ ﭼﻨﺪﻳﻦ ﺭﻭﺯ ﺟﻠﻮﻯ ﺑﻴﺶ ﺍﺯ ﺩﻩ‬ ‫ﺯﺍﻣﺒﻰ ﺭﺍ ﺑﮕﻴﺮﻧﺪ‪ .‬ﺍﮔﺮ ﻣﺤﺎﺻﺮﻩ ﺑﻴﺶﺗﺮ ﺍﺯ ﺍﻳﻦ ﻃﻮﻝ ﺑﻜﺸﺪ ﻳﺎ ﺍﮔﺮ ﺯﺍﻣﺒﻰﻫﺎﻯ ﺑﻴﺸﺘﺮﻯ ﺍﺯ ﺭﺍﻩ ﺑﺮﺳﻨﺪ‪،‬‬ ‫ﻣﻤﻜﻦ ﺍﺳﺖ ﺍﻭﺿﺎﻉ ﺑﻪﻃﺮﺯ ﻏﻢﺍﻧﮕﻴﺰﻯ ﺗﻐﻴﻴﺮ ﻛﻨﺪ‪ .‬ﻣﺸﺖ ‪ ،‬ﺗﻘﻼ ﻭ ﺗﻜﺎﻥﺗﻜﺎﻥﺩﺍﺩﻥﻫﺎﻯ ﻛﺎﻓﻰ ﺭﻭﻯ‬ ‫ﻛﺮﻛﺮﻩﻫﺎ ﺑﺎﻻﺧﺮﻩ ﺑﺎﻋﺚ ﺩﺭ ﻫﻢ ﺷﻜﺴﺘﻦ ﺁﻥﻫﺎ ﻣﻰﺷﻮﺩ‪ .‬ﻫﻤﻴﺸﻪ ﻳﻚ ﻧﻘﺸﻪﻯ ﻓﺮﺍﺭ ﺟﺎﻳﮕﺰﻳﻦ ﻫﻢ‬ ‫ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﺪ‪ ،‬ﺑﻪ ﺍﻳﻦ ﻃﺮﻳﻖ ﺍﮔﺮ ﺳﻨﮕﺮﺗﺎﻥ ﺳﻘﻮﻁ ﻛﺮﺩ‪ ،‬ﻣﻰﺗﻮﺍﻧﻴﺪ ﺳﺮﻳﻌﺎً ﻓﺮﺍﺭ ﻛﻨﻴﺪ‪ .‬ﺍﮔﺮ ﻧﻤﻰﺗﻮﺍﻧﻴﺪ‬ ‫ﻳﻚ ﻧﻘﺸﻪﻯ ﺩﻭﻡ ﻗﺎﺑﻞ ﺍﻃﻤﻴﻨﺎﻥ ﺭﺍ ﭘﺎﻳﻪﺭﻳﺰﻯ ﻛﻨﻴﺪ‪ ،‬ﺭﻭﻯ ﺍﻳﻦ ﻣﻜﺎﻥ ﺑﻪﻋﻨﻮﺍﻥ ﻳﻚ ﭘﻨﺎﻫﮕﺎﻩ ﺣﺴﺎﺏ‬ ‫‪159‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻛﺘﺎﺏ‬

‫ﻓﺎﺻﻠﻪﺍﺵ ﺍﺯ ﺧﻮﺩﺗﺎﻥ ﺗﻮﺟﻪ ﻛﻨﻴﺪ‪ .‬ﺩﻧﺒﺎﻝ ﺍﺗﻔﺎﻗﺎﺕ ﻣﺸﺎﺑﻪ ﺍﻃﺮﺍﻑ ﻳﺎ ﻧﺰﺩﻳﻚ ﻣﻜﺎﻥ ﺍﺻﻠﻰ ﺑﮕﺮﺩﻳﺪ‪ .‬ﺍﮔﺮ‬ ‫ﻃﻰ ﭼﻨﺪ ﺭﻭﺯ ﻳﺎ ﻫﻔﺘﻪ ﺍﻳﻦ ﺍﺗﻔﺎﻗﺎﺕ ﺭﻭﻯ ﺩﻫﻨﺪ‪ ،‬ﺑﺎ ﺩﻗﺖ ﺁﻥﻫﺎ ﺭﺍ ﻣﺪﻧﻈﺮ ﻗﺮﺍﺭ ﺩﻫﻴﺪ‪ .‬ﺑﻪ ﻭﺍﻛﻨﺶ‬ ‫ﻧﻴﺮﻭﻫﺎﻯ ﻗﺎﻧﻮﻧﻰ ﻭ ﺩﻳﮕﺮ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﺩﻭﻟﺘﻰ ﺗﻮﺟﻪ ﻛﻨﻴﺪ‪ .‬ﺍﮔﺮ ﺩﺭ ﻫﺮ ﺭﻭﻳﺪﺍﺩ ﻭﺍﻛﻨﺶ ﺷﺪﻳﺪﺗﺮﻯ ﻧﺸﺎﻥ‬ ‫ﺩﻫﻨﺪ‪ ،‬ﺍﺣﺘﻤﺎﻝ ﺁﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺷﻴﻮﻋﻰ ﺁﻏﺎﺯ ﺷﺪﻩ ﺑﺎﺷﺪ‪.‬‬

‫ﺍﻣﺎﻛﻦ ﻋﻤﻮﻣﻰ‬ ‫ﺩﺭﺳﺖ ﻣﺎﻧﻨﺪ ﺧﺎﻧﻪﻫﺎﻯ ﺷﺨﺼﻰ‪ ،‬ﺍﻣﻨﻴﺖ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺑﻴﺮﻭﻥ ﻳﺎ ﺩﺭﻭﻥ ﺳﺎﺧﺘﻤﺎﻥﻫﺎﻯ ﻏﻴﺮﻣﺴﻜﻮﻧﻰ ﻧﻴﺰ‬ ‫ﻳﺎﻓﺖ‪ .‬ﺩﺭ ﺑﻌﻀﻰ ﻣﻮﺍﺭﺩ‪ ،‬ﺍﻧﺪﺍﺯﻩ ﻭ ﻧﻘﺸﻪﻯ ﻣﻜﺎﻥ ﻣﻤﻜﻦ ﺍﺳﺖ ﺣﻔﺎﻇﺖ ﺑﻴﺸﺘﺮﻯ ﺭﺍ ﻧﺴﺒﺖ ﺑﻪ ﺍﻣﻦﺗﺮﻳﻦ‬ ‫ﺍﻗﺎﻣﺘﮕﺎﻩﻫﺎ ﺍﻳﺠﺎﺩ ﻛﻨﺪ‪ .‬ﺩﺭ ﻣﺎﺑﻘﻰ ﻣﻮﺍﺭﺩ‪ ،‬ﺩﻗﻴﻘﺎً ﺧﻼﻑ ﺍﻳﻦ ﺩﺭﺳﺖ ﺍﺳﺖ‪ .‬ﺯﻳﺮﺍ ﺗﺠﻬﻴﺰ ﻭ ﺗﺴﻠﻴﺢ ﺍﻳﻦ‬ ‫ﺳﺎﺧﺘﻤﺎﻥﻫﺎ ﺑﻪ ﻫﻤﺎﻥ ﺭﻭﺵ ﺧﺎﻧﻪﻫﺎﻯ ﺷﺨﺼﻰ ﺍﺳﺖ‪ ،‬ﺍﮔﺮﭼﻪ ﺩﺭ ﻣﻘﻴﺎﺳﻰ ﺑﺰﺭﮔﺘﺮ‪ .‬ﺗﻤﺮﻛﺰ ﺍﻳﻦ ﺑﺨﺶ‬ ‫ﺑﺮ ﺭﻭﻯ ﺑﻬﺘﺮﻳﻦ ﻭ ﺑﺪﺗﺮﻳﻦ ﭘﻨﺎﻩﮔﺎﻩﻫﺎ ﺍﺳﺖ‪.‬‬ ‫‪ .1‬ﺳﺎﺧﺘﻤﺎﻥﻫﺎﻯ ﺍﺩﺍﺭﻯ‪ :‬ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻗﻮﺍﻧﻴﻨﻰ ﺭﺍ ﻛﻪ ﺑﺮﺍﻯ ﺧﺎﻧﻪﻫﺎﻯ ﺁﭘﺎﺭﺗﻤﺎﻧﻰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﻣﻰﺗﻮﺍﻥ‬ ‫ﺑﺮﺍﻯ ﺳﺎﺧﺘﻤﺎﻥﻫﺎﻯ ﺍﺩﺍﺭﻯ ﻧﻴﺰ ﺫﻛﺮ ﻧﻤﻮﺩ‪ .‬ﺑﻪ ﻣﺤﺾ ﺍﻳﻦ ﻛﻪ ﻃﺒﻘﻪﻯ ﻫﻤﻜﻒ ﺗﺨﻠﻴﻪ ﺷﺪ‪ ،‬ﺭﺍﻩﭘﻠﻪ‬ ‫ﺗﺨﺮﻳﺐ ﺷﺪ ﻭ ﺁﺳﺎﻧﺴﻮﺭ ﺍﺯ ﻛﺎﺭ ﺍﻓﺘﺎﺩ‪ ،‬ﻳﻚ ﺳﺎﺧﺘﻤﺎﻥ ﺍﺩﺍﺭﻯ ﻣﻰﺗﻮﺍﻧﺪ ﺑﻪ ﻳﻚ ﺑﺮﺝ ﺑﻰﺧﻄﺮ ﺗﺒﺪﻳﻞ‬ ‫ﮔﺮﺩﺩ‪.‬‬ ‫‪ .2‬ﻣﺪﺍﺭﺱ‪ :‬ﺍﺯ ﺁﻥﺟﺎ ﻛﻪ ﻧﻘﺸﻪﺑﻨﺎﻯ ﻳﻜﺴﺎﻧﻰ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﺗﺼﻤﻴﻢﮔﻴﺮﻯ ﺑﺮﺍﻯ ﺍﻳﻨﻜﻪ ﻳﻚ ﻣﺪﺭﺳﻪﻯ‬ ‫ﻋﻤﻮﻣﻰ ﺟﺎﻯ ﺧﻮﺑﻰ ﺑﺮﺍﻯ ﻣﺨﻔﻰ ﺷﺪﻥ ﺍﺳﺖ ﻳﺎ ﻧﻪ‪ ،‬ﻛﻤﻰ ﻣﺸﻜﻞ ﺍﺳﺖ‪ .‬ﻗﻮﺍﻧﻴﻦ ﻋﻤﻮﻣﻰ ﺩﻓﺎﻉ ﺭﺍ‬ ‫ﺑﻪﺧﺎﻃﺮ ﺁﻭﺭﻳﺪ )ﺑﻪ »ﻗﻮﺍﻧﻴﻦ ﻋﻤﻮﻣﻰ«‪ ،‬ﺻﻔﺤﻪﻯ ‪ 87-86‬ﻣﺮﺍﺟﻌﻪ ﻛﻨﻴﺪ(‪ .‬ﺑﺪﺑﺨﺘﺎﻧﻪ ﺑﺮﺍﻯ ﺟﺎﻣﻌﻪﻣﺎﻥ‬ ‫ﺍﻣﺎ ﺧﻮﺷﺒﺨﺘﺎﻧﻪ ﺑﺮﺍﻯ ﻳﻚ ﻣﺤﺎﺻﺮﻩ ﺗﻮﺳﻂ ﺯﺍﻣﺒﻰﻫﺎ‪ ،‬ﻣﺪﺍﺭﺱ ﻣﺮﻛﺰﺷﻬﺮ ﻓﻀﺎﻳﻰ ﭼﻮﻥ ﻳﻚ ﺩژ ﻧﻈﺎﻣﻰ‬ ‫ﺭﺍ ﺑﻪﺧﻮﺩ ﮔﺮﻓﺘﻪﺍﻧﺪ‪ .‬ﻧﻪﺗﻨﻬﺎ ﺧﻮﺩ ﺑﻨﺎﻯ ﺳﺎﺧﺘﻤﺎﻥﻫﺎ ﺳﺎﺧﺘﻪ ﺷﺪﻩﺍﻧﺪ ﺗﺎ ﺩﺭ ﺑﺮﺍﺑﺮ ﺁﺷﻮﺏ ﻣﻘﺎﻭﻣﺖ ﻛﻨﻨﺪ‪،‬‬ ‫ﺑﻠﻜﻪ ﺣﺼﺎﺭﻫﺎﻯ ﺗﻮﺭﻯ ﻓﻠﺰﻯ ﺍﻃﺮﺍﻓﺸﺎﻥ‪ ،‬ﺍﻳﻦ ﻋﻤﺎﺭﺕﻫﺎﻯ ﺗﻌﻠﻴﻢ ﻭ ﺗﺮﺑﻴﺖ ﺭﺍ ﻫﺮ ﭼﻪ ﺑﻴﺸﺘﺮ ﺷﺒﻴﻪ‬ ‫ﺑﻪ ﻣﺤﻮﻃﻪﻫﺎﻯ ﻧﻈﺎﻣﻰ ﻣﻰﻛﻨﺪ‪ .‬ﻏﺬﺍ ﻭ ﺗﺠﻬﻴﺰﺍﺕ ﺩﺭﻣﺎﻧﻰ ﺑﺎﻳﺪ ﺑﻪ ﺳﻬﻮﻟﺖ ﺩﺭ ﺳﺎﻟﻦ ﻏﺬﺍﺧﻮﺭﻯ‪ ،‬ﺍﺗﺎﻕ‬ ‫ﭘﺮﺳﺘﺎﺭ ﻳﺎ ﺩﻓﺘﺮ ﺗﺮﺑﻴﺖﺑﺪﻧﻰ ﻳﺎﻓﺖ ﺷﻮﺩ‪ .‬ﺍﻏﻠﺒﺎً ﻣﺪﺭﺳﻪ ﺑﻬﺘﺮﻳﻦ ﺍﻧﺘﺨﺎﺏ ﺷﻤﺎﺳﺖ‪ ،‬ﺷﺎﻳﺪ ﻧﻪ ﺑﺮﺍﻯ‬ ‫ﺗﺤﺼﻴﻞ ﺑﻠﻜﻪ ﻣﻄﻤﺌﻨﺎً ﺑﺮﺍﻯ ﺣﻔﺎﻇﺘﺘﺎﻥ ﺩﺭﺑﺮﺍﺑﺮ ﺣﻤﻠﻪﻯ ﺯﺍﻣﺒﻰﻫﺎ‪.‬‬ ‫‪ .3‬ﺑﻴﻤﺎﺭﺳﺘﺎﻥﻫﺎ‪ :‬ﻣﻜﺎﻧﻰ ﻛﻪ ﺑﻪﻧﻈﺮ ﺍﻣﻦﺗﺮﻳﻦ ﻭ ﻣﻌﻘﻮﻝﺗﺮﻳﻦ ﺟﺎ ﺑﺮﺍﻯ ﻓﺮﺍﺭ ﺩﺭ ﺯﻣﺎﻥ ﺷﻴﻮﻉ ﺑﻪﻧﻈﺮ‬ ‫‪157‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻛﺎﻭﺷﮕﺮﺍﻥ ﮔﻢ ﺷﺪﻧﺪ‪ ،‬ﻛﻤﺎﻝ ﺩﻗﺖ ﺭﺍ ﻣﺒﺬﻭﻝ ﻧﻤﺎﻳﻴﺪ‪ .‬ﺍﮔﺮ ﺍﺯ ﻣﺎﺟﺮﺍ ﺗﺼﻮﻳﺮﺑﺮﺩﺍﺭﻯ ﻳﺎ ﻋﻜﺎﺳﻰ ﻣﻰﺷﻮﺩ‪،‬‬ ‫ﻧﮕﺎﻩ ﻛﻨﻴﺪ ﻛﻪ ﺑﺒﻴﻨﻴﺪ ﭼﻘﺪﺭ ﻣﻬﻤﺎﺕ ﺑﺎ ﺧﻮﺩﺷﺎﻥ ﺣﻤﻞ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻭﺟﻮﺩ ﺑﻴﺸﺘﺮ ﺍﺯ ﻳﻚ ﺗﻔﻨﮓ ﺑﺮﺍﻯ‬ ‫ﻫﺮ ﮔﺮﻭﻩ ﻣﻰﺗﻮﺍﻧﺪ ﺑﺪﻳﻦ ﻣﻌﻨﺎ ﺑﺎﺷﺪ ﻛﻪ ﺍﻳﻦ ﭼﻴﺰﻯ ﻓﺮﺍﺗﺮ ﺍﺯ ﺗﻨﻬﺎ ﻳﻚ ﻋﻤﻠﻴﺎﺕ ﻧﺠﺎﺕ ﺳﺎﺩﻩ ﺍﺳﺖ‪.‬‬ ‫‪ .3‬ﻣﻮﺍﺭﺩ »ﺟﻨﻮﻥ ﭘﺮﺧﺎﺷﺠﻮﻳﺎﻧﻪ« ﻛﻪ ﺷﺨﺺ ﺩﺭ ﺁﻥ ﺑﺪﻭﻥ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺳﻼﺡ‪ ،‬ﺑﻪ ﺧﺎﻧﻮﺍﺩﻩ‬ ‫ﻭ ﺩﻭﺳﺘﺎﻥ ﺣﻤﻠﻪ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺟﺴﺘﺠﻮ ﻛﻨﻴﺪ ﻛﻪ ﺁﻳﺎ ﻣﻬﺎﺟﻢ ﻗﺮﺑﺎﻧﻴﺎﻧﺶ ﺭﺍ ﮔﺎﺯ ﮔﺮﻓﺘﻪ ﻳﺎ ﺗﻼﺵ‬ ‫ﺑﺮﺍﻯ ﮔﺎﺯ ﮔﺮﻓﺘﻨﺸﺎﻥ ﻛﺮﺩﻩ ﺍﺳﺖ؟ ﺍﮔﺮ ﭼﻨﻴﻦ ﺑﻮﺩﻩ‪ ،‬ﺁﻳﺎ ﻫﻨﻮﺯ ﻛﺴﻰ ﺍﺯ ﻣﻴﺎﻥ ﻗﺮﺑﺎﻧﻴﺎﻥ ﺩﺭ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ‬ ‫ﻫﺴﺖ؟ ﺳﻌﻰ ﻛﻨﻴﺪ ﺑﻔﻬﻤﻴﺪ ﻛﻪ ﺁﻳﺎ ﻫﻴﭻﻛﺪﺍﻡ ﺍﺯ ﺍﻳﻦ ﻗﺮﺑﺎﻧﻴﺎﻥ ﻃﻰ ﭼﻨﺪ ﺭﻭﺯ ﺑﻌﺪ ﺩﺭ ﺍﺛﺮ ﮔﺎﺯﮔﺮﻓﺘﮕﻰ‬ ‫ﺑﻪﻃﺮﺯ ﻣﺮﻣﻮﺯﻯ ﻣﺮﺩﻩﺍﻧﺪ ﻳﺎ ﻧﻪ‪.‬‬ ‫‪ .4‬ﺁﺷﻮﺏ ﻳﺎ ﺩﻳﮕﺮ ﺍﺧﺘﻼﻻﺕ ﻛﻪ ﺑﺪﻭﻥ ﻫﻴﭻ ﺗﺤﺮﻳﻚ ﻭ ﺩﻟﻴﻞ ﻣﻨﻄﻘﻰ ﺩﻳﮕﺮﻯ ﺷﺮﻭﻉ ﺷﻮﺩ‪.‬‬ ‫ﻋﺮﻑ ﺍﻳﺠﺎﺏ ﻣﻰﻛﻨﺪ ﻛﻪ ﺧﺸﻮﻧﺖ ﺩﺭ ﻫﺮ ﺳﻄﺤﻰ ﺍﺯ ﺟﺎﻣﻌﻪ ﺑﺪﻭﻥ ﻋﻮﺍﻣﻞ ﺷﺘﺎﺏ ﺩﻫﻨﺪﻩﺍﻯ ﻣﺜﻞ‬ ‫ﺗﻨﺶﻫﺎﻯ ﻧﮋﺍﺩﻯ‪ ،‬ﺍﻗﺪﺍﻣﺎﺕ ﺳﻴﺎﺳﻰ ﻳﺎ ﻣﻘﺎﺻﺪ ﺣﻘﻮﻗﻰ ﺭﻭﻯ ﻧﺪﻫﺪ‪ .‬ﺣﺘﺎ ﻣﻰﺗﻮﺍﻥ ﺁﻥ ﭼﻪ ﺭﺍ ﻛﻪ ﺑﻪ‬ ‫ﻋﻨﻮﺍﻥ »ﻏﻠﻴﺎﻥ ﺍﺣﺴﺎﺳﺎﺕ ﻋﻤﻮﻣﻰ« ﻣﻰﺷﻨﺎﺳﻴﻢ‪ ،‬ﻫﻤﻴﺸﻪ ﺭﻳﺸﻪﻳﺎﺑﻰ ﻧﻤﺎﻳﻴﻢ‪ .‬ﺍﮔﺮ ﻫﻴﭻﻛﺪﺍﻣﺸﺎﻥ ﺭﺍ‬ ‫ﻧﺘﻮﺍﻥ ﻳﺎﻓﺖ‪ ،‬ﻣﻤﻜﻦ ﺍﺳﺖ ﺟﻮﺍﺏ ﺟﺎﻯ ﺩﻳﮕﺮﻯ ﺑﺎﺷﺪ‪.‬‬ ‫‪ .5‬ﻣﺮگ ﺑﺮ ﺍﺛﺮ ﺑﻴﻤﺎﺭﻯ ﻛﻪ ﺩﻟﻴﻞ ﺁﻥ ﻧﺎﻣﺸﺨﺺ ﻳﺎ ﺑﺴﻴﺎﺭ ﻣﺸﻜﻮﻙ ﺍﺳﺖ‪ .‬ﻣﺮگ ﺑﻪﻋﻠﺖ‬ ‫ﺑﻴﻤﺎﺭﻯﻫﺎﻯ ﻋﻔﻮﻧﻰ ﺩﺭ ﺩﻧﻴﺎﻯ ﺻﻨﻌﺘﻰ ﻧﺴﺒﺖ ﺑﻪ ﻳﻚ ﻗﺮﻥ ﭘﻴﺶ ﺑﺴﻴﺎﺭ ﻧﺎﺩﺭ ﺍﺳﺖ‪ .‬ﺑﻪ ﺍﻳﻦ ﺩﻟﻴﻞ‪،‬‬ ‫ﺷﻴﻮﻉﻫﺎﻯ ﺟﺪﻳﺪ ﻫﻤﻴﺸﻪ ﺑﻪ ﺍﺧﺒﺎﺭ ﺭﺍﻩ ﻣﻰﻳﺎﺑﻨﺪ‪ .‬ﺑﻪ ﺩﻧﺒﺎﻝ ﻣﻮﺍﺭﺩﻯ ﺑﮕﺮﺩﻳﺪ ﻛﻪ ﺩﺭﺑﺎﺭﻩﻯ ﻣﺎﻫﻴﺖ‬ ‫ﺩﻗﻴﻖ ﺑﻴﻤﺎﺭﻯ ﺗﻮﺿﻴﺤﻰ ﺩﺍﺩﻩ ﻧﺸﺪﻩ ﺍﺳﺖ‪ .‬ﻫﻤﻴﻦﻃﻮﺭ ﻣﻮﺍﻇﺐ ﺗﻮﺿﻴﺤﺎﺕ ﻣﺸﻜﻮﻛﻰ ﻣﺜﻞ ﻭﻳﺮﻭﺱ‬ ‫ﻭﺳﺖﻧﺎﻳﻞ ﻳﺎ ﺑﻴﻤﺎﺭﻯ ﺟﻨﻮﻥ ﮔﺎﻭﻯ ﺑﺎﺷﻴﺪ‪ .‬ﻫﺮ ﺩﻭ ﻣﻤﻜﻦ ﺍﺳﺖ ﺳﺮﭘﻮﺷﻰ ﺑﺮ ﺧﺒﺮ ﺑﺎﺷﻨﺪ‪.‬‬ ‫‪ .6‬ﺩﺭ ﻫﺮﻛﺪﺍﻡ ﺍﺯ ﻣﻮﺍﺭﺩ ﺑﺎﻻ ﻛﻪ ﭘﻮﺷﺶ ﺧﺒﺮﻯ ﺁﻥ ﻗﺪﻏﻦ ﺷﺪﻩ ﺑﺎﺷﺪ‪ .‬ﻳﻚ ﺳﺎﻧﺴﻮﺭﺧﺒﺮﻯ‬ ‫ﻛﺎﻣﻞ ﺩﺭ ﺍﻳﺎﻻﺕ ﻣﺘﺤﺪﻩ ﻧﺎﺩﺭ ﺍﺳﺖ‪ .‬ﻭﻗﻮﻉ ﭼﻨﻴﻦ ﺍﺗﻔﺎﻗﻰ ﺭﺍ ﺑﺎﻳﺪ ﭼﻮﻥ ﻳﻚ ﺯﻧﮓ ﺧﻄﺮ ﻗﻠﻤﺪﺍﺩ ﻛﺮﺩ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﻣﻤﻜﻦ ﺍﺳﺖ ﺩﻻﻳﻞ ﺑﺴﻴﺎﺭ ﺩﻳﮕﺮﻯ ﺑﻪ ﺟﺰ ﺣﻤﻠﻪﻯ ﺯﻧﺪﮔﺎﻥ ﻣﺮﺩﻩ ﭘﺸﺖ ﺁﻥ ﺑﺎﺷﺪ‪ .‬ﺍﻣﺎ ﺑﺎﺯ ﻫﻢ‪،‬‬ ‫ﻫﺮ ﺍﺗﻔﺎﻗﻰ ﻛﻪ ﺑﺎﻋﺚ ﺷﻮﺩ ﻳﻚ ﺩﻭﻟﺖ ﺑﺮ ﻋﻤﻠﻜﺮﺩ ﺭﺳﺎﻧﻪﻫﺎ ﺣﺴﺎﺱ ﺷﻮﺩ‪ ،‬ﺍﺭﺯﺵ ﺁﻥ ﺭﺍ ﺩﺍﺭﺩ ﻛﻪ ﺩﻗﻴﻖ‬ ‫ﺑﻪ ﺁﻥ ﺗﻮﺟﻪ ﻛﻨﻴﻢ‪ .‬ﺣﻘﻴﻘﺖ ﺁﻥ ﻛﻪ ﻣﻮﺿﻮﻉ ﺻﺮﻑﻧﻈﺮ ﺍﺯ ﻫﺮ ﺁﻧﭽﻪ ﻛﻪ ﻫﺴﺖ‪ ،‬ﻧﻤﻰﺗﻮﺍﻧﺪ ﭼﻴﺰ ﺧﻮﺑﻰ‬ ‫ﺑﺎﺷﺪ‪ .‬ﻭﻗﺘﻰ ﻛﻪ ﺍﺗﻔﺎﻗﻰ ﺷﺎﺧﻚﻫﺎﻯ ﺷﻤﺎ ﺭﺍ ﺗﺤﺮﻳﻚ ﻛﺮﺩ‪ ،‬ﺭﺩ ﺁﻥ ﺭﺍ ﺩﻧﺒﺎﻝ ﻛﻨﻴﺪ‪ .‬ﺑﻪ ﻣﻜﺎﻥ ﺁﻥ ﻭ‬ ‫‪156‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻛﺘﺎﺏ‬

‫ﻧﻈﺎﻣﻰ ﻣﻌﻤﻮﻟﻰ ﻣﻰﺷﻮﺩ‪ .‬ﺑﺮﺍﻯ ﻣﻨﻄﻘﻪﻯ ﺗﺤﺖ ﺣﻤﻠﻪ ﻭ ﻣﻨﺎﻃﻖ ﺍﻃﺮﺍﻑ ﺍﻋﻼﻡ ﻭﺿﻌﻴﺖ ﺍﺿﻄﺮﺍﺭﻯ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﺍﻧﺘﻈﺎﺭ ﻭﺿﻌﻴﺖ ﺟﻨﮕﻰ‪ ،‬ﺳﻔﺮﻫﺎﻯ ﻣﺤﺪﻭﺩ‪ ،‬ﺟﻴﺮﻩﺑﻨﺪﻯ ﺩﺭ ﻣﻨﺎﺑﻊ‪ ،‬ﺧﺪﻣﺎﺕ ﺗﺤﺖ ﻛﻨﺘﺮﻝ‬ ‫ﺩﻭﻟﺖ ﻓﺪﺭﺍﻝ ﻭ ﺍﺭﺗﺒﺎﻃﺎﺕ ﺷﺪﻳﺪﺍ ً ﻛﻨﺘﺮﻝ ﺷﺪﻩ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﺪ‪ .‬ﺑﻪ ﻫﺮ ﺣﺎﻝ ﺗﻤﺎﻡ ﺍﻳﻦ ﺍﻗﺪﺍﻣﺎﺕ ﺯﻣﺎﻥ‬ ‫ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﻣﻰﺑﺮﻧﺪ ﺗﺎ ﺑﻪ ﺍﺟﺮﺍ ﺩﺭ ﺑﻴﺎﻳﻨﺪ‪ .‬ﻓﺎﺯ ﺍﻭﻟﻴﻪﻯ ﺁﻥ ﺍﻏﺘﺸﺎﺵ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ ،‬ﺗﺎ ﺁﻥ ﺯﻣﺎﻥ ﻛﻪ‬ ‫ﻣﺴﺌﻮﻻﻥ ﻣﺮﺑﻮﻃﻪ ﺍﻗﺪﺍﻣﺎﺗﺸﺎﻥ ﺭﺍ ﺩﺭ ﺟﻬﺖ ﺷﺮﺍﻳﻂ ﺑﺤﺮﺍﻧﻰ ﺁﻏﺎﺯ ﻛﻨﻨﺪ‪ .‬ﺁﺷﻮﺏ‪ ،‬ﻏﺎﺭﺕ ﻭ ﻭﺣﺸﺖ‬ ‫ﻓﺮﺍﮔﻴﺮ ﺑﺮ ﻣﺸﻜﻼﺗﺸﺎﻥ ﻣﻰﺍﻓﺰﺍﻳﺪ‪ ،‬ﭼﻴﺰﻯ ﻛﻪ ﺩﺭ ﺍﺩﺍﻣﻪ ﻭﺍﻛﻨﺶﻫﺎﻯ ﻣﻮﺛﺮ ﺭﺍ ﺑﻪ ﺗﺎﺧﻴﺮ ﻣﻰﺍﻧﺪﺍﺯﺩ‪.‬‬ ‫ﺩﺭﺣﺎﻟﻰ ﻛﻪ ﺍﻳﻦ ﺍﺗﻔﺎﻗﺎﺕ ﺭﻭﻯ ﻣﻰﺩﻫﺪ‪ ،‬ﺯﻧﺪﻩﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﻣﻨﻄﻘﻪﻯ ﻣﻮﺭﺩ ﻫﺠﻮﻡ ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ ﺩﺭ ﻣﻌﺮﺽ‬ ‫ﺣﻤﻠﻪﻯ ﻧﺎﻣﺮﺩﮔﺎﻥ ﻗﺮﺍﺭ ﺧﻮﺍﻫﻨﺪ ﺩﺍﺷﺖ‪ .‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻣﺤﺼﻮﺭ ﺷﺪﻩ‪ ،‬ﺭﻫﺎ ﺷﺪﻩ ﻭ ﺩﺭ ﻣﻴﺎﻥ ﮔﺮﻭﻩ ﻏﻮﻝﻫﺎ‬ ‫ﮔﺮﻓﺘﺎﺭ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﺑﻪﻛﺴﻰ ﺟﺰ ﺧﻮﺩﺷﺎﻥ ﻧﻤﻰﺗﻮﺍﻧﻨﺪ ﺍﺗﻜﺎ ﻛﻨﻨﺪ‪.‬‬ ‫ﺭﺩﻩﻯ ‪4‬‬ ‫)ﺑﻪ »ﺯﻧﺪﮔﻰ ﺩﺭ ﺩﻧﻴﺎﻯ ﻧﺎﻣﺮﺩﮔﺎﻥ«‪،‬ﺻﻔﺤﻪﻯ ‪ 154-81‬ﻣﺮﺍﺟﻌﻪ ﻛﻨﻴﺪ‪(.‬‬

‫ﻧﺎﺑﻮﺩ ﻛﺮﺩﻥ‬ ‫ﺗﻤﺎﻡ ﺩﺭﮔﻴﺮﻯﻫﺎ ﺑﺎ ﺯﺍﻣﺒﻰﻫﺎ‪ ،‬ﺻﺮﻑﻧﻈﺮ ﺍﺯ ﺭﺩﻩﻯ ﺁﻥ ﻧﻘﻄﻪﻯ ﺁﻏﺎﺯﻯ ﺩﺍﺭﻧﺪ‪ .‬ﺣﺎﻝ ﻛﻪ ﺩﺷﻤﻦ ﺗﻌﺮﻳﻒ‬ ‫ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﻗﺪﻡ ﺑﻌﺪﻯ ﻫﺸﻴﺎﺭﻯ ﺍﻭﻟﻴﻪ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﻧﺘﻮﺍﻧﻴﺪ ﻳﻚ ﺷﻴﻮﻉ ﺭﺍ ﭘﻴﺶ ﺍﺯ ﺁﻥ ﻛﻪ ﺧﻴﻠﻰ ﺩﻳﺮ‬ ‫ﺷﻮﺩ ﺗﺸﺨﻴﺺ ﺩﻫﻴﺪ‪ ،‬ﺍﻳﻦ ﻛﻪ ﺑﺪﺍﻧﻴﺪ ﺯﺍﻣﺒﻰ ﭼﻴﺴﺖ ﻛﻤﻜﻰ ﺑﻪ ﺷﻤﺎ ﻧﺨﻮﺍﻫﺪ ﻛﺮﺩ‪ .‬ﺍﻳﻦ ﺍﻣﺮ ﺷﺎﻣﻞ‬ ‫ﺳﺎﺧﺖ »ﻳﻚ ﻣﺮﻛﺰ ﻓﺮﻣﺎﻧﺪﻫﻰ ﻭ ﻛﻨﺘﺮﻝ ﻧﮕﻬﺒﺎﻧﻰ ﺑﺮﺍﻯ ﺯﺍﻣﺒﻰﻫﺎ« ﺩﺭ ﺯﻳﺮﺯﻣﻴﻦ‪ ،‬ﻋﻼﻣﺘﮕﺬﺍﺭﻯ ﺑﺎ‬ ‫ﺳﻮﺯﻥ ﺩﺭ ﻧﻘﺸﻪ ﻳﺎ ﺍﺟﺘﻤﺎﻉ ﺣﻮﻝ ﻣﺮﻛﺰ ﺭﺍﺩﻳﻮﻳﻰ ﺑﺎ ﻃﻮﻝ ﻣﻮﺝ ﻛﻮﺗﺎﻩ ﻧﻤﻰﺷﻮﺩ‪ .‬ﺗﻤﺎﻡ ﺁﻥ ﭼﻪ ﻧﻴﺎﺯ‬ ‫ﺍﺳﺖ‪ ،‬ﮔﺸﺘﻦ ﺑﻪ ﺩﻧﺒﺎﻝ ﻋﻼﺋﻤﻰ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻧﻈﺮ ﺍﻓﺮﺍﺩ ﻧﺎﺁﺷﻨﺎ ﺑﻪ ﺍﻳﻦ ﻣﺴﺎﺋﻞ ﺩﻭﺭ ﻣﻰﻣﺎﻧﻨﺪ‪ .‬ﺍﻳﻦ ﻋﻼﺋﻢ‬ ‫ﺷﺎﻣﻞ ﺍﻳﻦ ﻣﻮﺍﺭﺩ ﻣﻰﺷﻮﻧﺪ‪:‬‬ ‫‪ .1‬ﻗﺘﻞﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﺁﻥ ﻗﺮﺑﺎﻧﻴﺎﻥ ﺑﺎ ﺷﻠﻴﻚ ﺑﻪ ﺳﺮ ﻳﺎ ﺑﺮﻳﺪﻩ ﺷﺪﻥ ﺳﺮﺷﺎﻥ ﻛﺸﺘﻪ ﺷﺪﻩﺍﻧﺪ‪.‬‬ ‫ﺍﻳﻦ ﺍﺗﻔﺎﻕ ﺑﺎﺭﻫﺎ ﺭﻭﻯ ﺩﺍﺩﻩ ﺍﺳﺖ‪ :‬ﻣﺮﺩﻡ ﺍﺯ ﭼﻨﺪ ﻭ ﭼﻮﻥ ﻳﻚ ﺩﺭﮔﻴﺮﻯ ﺁﮔﺎﻩ ﺷﺪﻩﺍﻧﺪ ﻭ ﺳﻌﻰ ﻣﻰﻛﻨﻨﺪ‬ ‫ﻛﻪ ﺍﻭﺿﺎﻉ ﺭﺍ ﺧﻮﺩﺷﺎﻥ ﺑﻪ ﺩﺳﺖ ﺑﮕﻴﺮﻧﺪ‪ .‬ﺗﻘﺮﻳﺒﺎً ﺩﺭ ﺗﻤﺎﻡ ﻣﻮﺍﺭﺩ ﺍﻳﻦﮔﻮﻧﻪ ﺍﺷﺨﺎﺹ ﺗﻮﺳﻂ ﺍﻭﻟﻴﺎﻯ ﺍﻣﻮﺭ‬ ‫ﻣﺤﻠﻰ ﺑﻪﻋﻨﻮﺍﻥ ﻗﺎﺗﻞ ﺷﻨﺎﺧﺘﻪ ﻣﻰﺷﻮﻧﺪ ﻭ ﺗﺤﺖ ﭘﻴﮕﺮﺩ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﻧﺪ‪.‬‬ ‫‪ .2‬ﺍﻓﺮﺍﺩ ﮔﻤﺸﺪﻩ‪ ،‬ﻋﻠﻰﺍﻟﺨﺼﻮﺹ ﺩﺭ ﻣﻨﺎﻃﻖ ﻧﺎﻣﺴﻜﻮﻥ ﻳﺎ ﻣﺘﺮﻭﻛﻪ‪ .‬ﺍﮔﺮ ﻳﻜﻰ ﻳﺎ ﺑﻴﺸﺘﺮ ﺍﺯ‬ ‫‪155‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻣﻰﺑﺎﺷﻨﺪ‪ .‬ﻋﻜﺲﺍﻟﻌﻤﻞ ﻧﺴﺒﺖ ﺑﻪ ﺁﻥ ﻧﻴﺰ ﻣﺨﺘﺼﺮ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ ،‬ﺧﻮﺍﻩ ﻣﻨﺤﺼﺮﺍ ً ﺍﺯ ﺟﺎﻧﺐ ﺷﻬﺮﻭﻧﺪﺍﻥ‬ ‫ﻋﺎﺩﻯ ﺑﺎﺷﺪ ﻭ ﺧﻮﺍﻩ ﺑﺎ ﻛﻤﻚ ﻧﻴﺮﻭﻫﺎﻯ ﻗﺎﻧﻮﻧﻰ ﻣﺤﻠﻰ‪ .‬ﭘﻮﺷﺶ ﺭﺳﺎﻧﻪﺍﻯ ﺁﻥ ﻛﻢ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ ،‬ﺍﮔﺮ‬ ‫ﺍﺻ ً‬ ‫ﻼ ﭘﻮﺷﺸﻰ ﺍﺗﻔﺎﻕ ﺑﻴﻔﺘﺪ‪ .‬ﺍﮔﺮ ﺭﺳﺎﻧﻪﻫﺎ ﺣﻀﻮﺭ ﻳﺎﺑﻨﺪ‪ ،‬ﺑﻪﺩﻧﺒﺎﻝ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻣﻌﻤﻮﻟﻰ ﻣﺎﻧﻨﺪ ﻗﺘﻞ ﻳﺎ‬ ‫»ﺣﻮﺍﺩﺙ« ﻣﻰﮔﺮﺩﻧﺪ‪ .‬ﺍﻳﻦ ﺭﺍﻳﺞﺗﺮﻳﻦ ﻧﻮﻉ ﺷﻴﻮﻉ ﺍﺳﺖ ﻭ ﺍﻟﺒﺘﻪ ﺭﺍﺣﺖﺗﺮﻳﻦ ﻧﻮﻉ ﺑﺮﺍﻯ ﻧﺎﺩﻳﺪﻩ ﻣﺎﻧﺪﻥ‪.‬‬ ‫ﺭﺩﻩ ‪2‬‬ ‫ﻣﻨﺎﻃﻖ ﺷﻬﺮﻯ ﻳﺎ ﭘﺮﺟﻤﻌﻴﺖ ﺩﺭ ﺍﻳﻦ ﺩﺳﺘﻪ ﻃﺒﻘﻪﺑﻨﺪﻯ ﻣﻰﺷﻮﻧﺪ‪ .‬ﻣﺠﻤﻮﻉ ﺯﺍﻣﺒﻰﻫﺎﻯ ﺁﻥ ﭼﻴﺰﻯ ﺑﻴﻦ‬ ‫ﺑﻴﺴﺖ ﺗﺎ ﺻﺪ ﻋﺪﺩ ﺍﺳﺖ‪ .‬ﻣﺠﻤﻮﻉ ﺗﻠﻔﺎﺕ ﺍﻧﺴﺎﻧﻰ ﺁﻥ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﻪ ﭼﻨﺪ ﺻﺪ ﻧﻔﺮ ﺑﺮﺳﺪ‪ .‬ﻃﻮﻝ ﻣﺪﺕ‬ ‫ﻳﻚ ﺣﻤﻠﻪﻯ ﺭﺩﻩ ‪ 2‬ﭼﻴﺰﻯ ﺑﻴﺶ ﺍﺯ ﻣﺪﺕ ﻳﻚ ﺩﺭﮔﻴﺮﻯ ﺭﺩﻩ ‪ 1‬ﻧﻤﻰﺷﻮﺩ‪ .‬ﺩﺭ ﺑﻌﻀﻰ ﻣﻮﺍﺭﺩ‪ ،‬ﺯﻳﺎﺩ ﺑﻮﺩﻥ‬ ‫ﺗﻌﺪﺍﺩ ﺯﺍﻣﺒﻰﻫﺎ ﻭﺍﻛﻨﺸﻰ ﺳﺮﻳﻊ ﺭﺍ ﻣﻮﺟﺐ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺭ ﻳﻚ ﻣﻨﻈﻘﻪﻯ ﺭﻭﺳﺘﺎﻳﻰ ﺑﺎ ﺟﻤﻌﻴﺖ ﭘﺮﺍﻛﻨﺪﻩ‪،‬‬ ‫ﺷﻌﺎﻉ ﺩﺭﮔﻴﺮﻯ ﻣﻤﻜﻦ ﺍﺳﺖ ﺗﺎ ﺻﺪﻫﺎ ﻣﺎﻳﻞ ﮔﺴﺘﺮﺩﻩ ﺷﻮﺩ‪ ،‬ﺩﺭﺣﺎﻟﻰ ﻛﻪ ﻳﻚ ﺩﺭﮔﻴﺮﻯ ﺷﻬﺮﻯ ﻣﻤﻜﻦ‬ ‫ﺍﺳﺖ ﺗﻨﻬﺎ ﺑﻪ ﭼﻨﺪ ﺑﻠﻮﻙ ﻣﺤﺪﻭﺩ ﺷﻮﺩ‪ .‬ﺍﻃﻔﺎء ﺁﻥ ﻧﻴﺰ ﺑﻪ ﺍﺣﺘﻤﺎﻝ ﻧﺰﺩﻳﻚ ﺑﻪﻳﻘﻴﻦ‪ ،‬ﺳﺎﺯﻣﺎﻥ ﻳﺎﻓﺘﻪ‬ ‫ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﮔﺮﻭﻩﻫﺎﻯ ﻏﻴﺮﻧﻈﺎﻣﻰ ﺟﺎﻳﮕﺰﻳﻦ ﻧﻴﺮﻭﻫﺎﻯ ﻗﺎﻧﻮﻧﻰ ﻣﺤﻠﻰ‪ ،‬ﺍﻳﺎﻟﺘﻰ ﻳﺎ ﺣﺘﺎ ﻓﺪﺭﺍﻝ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﻣﻀﺎﻑ ﺑﺮ ﺁﻥ ﺍﺣﺘﻤﺎﻝ ﺩﺍﺭﺩ ﻛﻪ ﺩﺭ ﺳﻄﺢ ﭘﺎﻳﻴﻨﻰ ﺍﺭﺗﺶ ﻭﺍﻛﻨﺶ ﻧﺸﺎﻥ ﺩﻫﺪ‪ ،‬ﻫﻤﻴﻦﻃﻮﺭ ﮔﺎﺭﺩ ﻣﻠﻰ ﺩﺭ‬ ‫ﺍﻳﺎﻻﺕ ﻣﺘﺤﺪﻩ ﻭ ﺩﻳﮕﺮ ﻧﻴﺮﻭﻫﺎﻯ ﻣﻌﺎﺩﻝ ﺁﻥ ﺩﺭ ﺩﻳﮕﺮ ﻛﺸﻮﺭﻫﺎ‪ .‬ﺑﻴﺸﺘﺮ ﺍﺯ ﺍﻳﻦ ﺟﻬﺖ ﻛﻪ ﺟﻠﻮﻯ ﻭﺣﺸﺖ‬ ‫ﻋﻤﻮﻣﻰ ﺭﺍ ﺑﮕﻴﺮﻧﺪ‪ ،‬ﺍﻳﻦ ﻭﺍﺣﺪﻫﺎ ﻧﻘﺸﻰ ﻏﻴﺮﻧﻈﺎﻣﻰ ﺍﻳﻔﺎ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﻛﻤﻚﻫﺎﻯ ﭘﺰﺷﻜﻰ ﺍﺭﺍﺋﻪ ﻣﻰﺩﻫﻨﺪ‪،‬‬ ‫ﺟﻤﻌﻴﺖ ﺭﺍ ﻛﻨﺘﺮﻝ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﻭ ﭘﺸﺘﻴﺒﺎﻧﻰ ﻟﺠﺴﺘﻴﻜﻰ )‪ (8‬ﻣﻰﻛﻨﻨﺪ‪ .‬ﻗﺮﻳﺐ ﺑﻪ ﺍﺗﻔﺎﻕ ﺩﺭﮔﻴﺮﻯﻫﺎﻯ‬ ‫ﺭﺩﻩ‪ 2‬ﺭﺳﺎﻧﻪﻫﺎ ﺭﺍ ﺟﺬﺏ ﺧﻮﺩ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻣﮕﺮ ﺁﻥ ﻛﻪ ﺣﻤﻠﻪ ﺩﺭ ﻣﻨﻄﻘﻪﺍﻯ ﻭﺍﻗﻌﺎً ﻣﻨﺰﻭﻯ ﺩﺭ ﺩﻧﻴﺎ ﺍﺗﻔﺎﻕ‬ ‫ﺑﻴﻔﺘﺪ‪ ،‬ﻳﺎ ﺟﺎﻳﻰ ﻛﻪ ﺭﺳﺎﻧﻪﻫﺎ ﻭ ﺁﻥ ﭼﻪ ﮔﺰﺍﺭﺵ ﻣﻰﻛﻨﻨﺪ ﺷﺪﻳﺪﺍ ً ﻛﻨﺘﺮﻝ ﻣﻰﺷﻮﺩ‪ .‬ﺑﺎﺯ ﻫﻢ ﺑﻪ ﺍﻳﻦ ﻣﻌﻨﻰ‬ ‫ﻧﻴﺴﺖ ﻛﻪ ﮔﺰﺍﺭﺵ ﺩﻗﻴﻘﻰ ﻣﺨﺎﺑﺮﻩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺭﺩﻩﻯ ‪3‬‬ ‫ﻳﻚ ﺑﺤﺮﺍﻥ ﺑﺰﺭگ‪ .‬ﺑﻴﺶ ﺍﺯ ﺑﻘﻴﻪﻯ ﺭﺩﻩﻫﺎ‪ ،‬ﺩﺭﮔﻴﺮﻯ ﺭﺩﻩﻯ ‪ 3‬ﺍﺳﺖ ﻛﻪ ﻧﺸﺎﻥﺩﻫﻨﺪﻩﻯ ﺧﻄﺮﻯ‬ ‫ﻧﻤﺎﻳﺎﻥ ﺍﺯ ﺟﺎﻧﺐ ﻣﺮﺩﮔﺎﻥ ﺯﻧﺪﻩ ﺍﺳﺖ‪ .‬ﺗﻌﺪﺍﺩ ﺯﺍﻣﺒﻰﻫﺎ ﺑﻪ ﻫﺰﺍﺭﺍﻥ ﻋﺪﺩ ﻣﻰﺭﺳﺪ ﻭ ﮔﺴﺘﺮﻩﻯ ﺣﻀﻮﺭﺷﺎﻥ‬ ‫ﭼﻨﺪﺻﺪ ﻣﺎﻳﻞ ﺭﺍ ﺩﺭ ﺑﺮ ﻣﻰﮔﻴﺮﺩ‪ .‬ﻣﺪﺕ ﺣﻤﻠﻪ ﻭ ﻣﺪﺕ ﺯﻣﺎﻧﻰ ﻛﻪ ﺑﺮﺍﻯ ﭘﺎﻛﺴﺎﺯﻯ ﻃﻮﻝ ﻣﻰﻛﺸﺪ‪،‬‬ ‫ﻣﻤﻜﻦ ﺍﺳﺖ ﭼﻨﺪﻳﻦ ﻣﺎﻩ ﺑﻪﻃﻮﻝ ﺑﻴﺎﻧﺠﺎﻣﺪ‪ .‬ﺩﺭ ﺁﻥ ﻫﻴﭻ ﺍﺣﺘﻤﺎﻟﻰ ﺑﺮﺍﻯ ﺳﺎﻧﺴﻮﺭ ﺧﺒﺮﻯ ﻭ ﻣﺨﻔﻰﻛﺎﺭﻯ‬ ‫ﺑﺎﻗﻰ ﻧﻤﻰﻣﺎﻧﺪ‪ .‬ﺣﺘﺎ ﺑﺪﻭﻥ ﺗﻮﺟﻪ ﺭﺳﺎﻧﻪﻫﺎ ﻧﻴﺰ‪ ،‬ﻋﻈﻤﺖ ﺍﻳﻦ ﺣﻤﻠﻪ ﺷﺎﻫﺪﺍﻥ ﻋﻴﻨﻰ ﺯﻳﺎﺩﻯ ﺭﺍ ﺑﺮ ﺟﺎ‬ ‫ﺧﻮﺍﻫﺪ ﮔﺬﺍﺷﺖ‪ .‬ﺍﻳﻦ ﻧﺒﺮﺩﻯ ﺗﻤﺎﻡ ﻭ ﻛﻤﺎﻝ ﺍﺳﺖ‪ ،‬ﻛﻪ ﺩﺭ ﺁﻥ ﻧﻴﺮﻭﻫﺎﻯ ﻗﺎﻧﻮﻧﻰ ﺟﺎﻳﮕﺰﻳﻦ ﻳﮕﺎﻥﻫﺎﻯ‬ ‫‪154‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻛﺘﺎﺏ‬

‫ﻛﻪ ﺁﻥﻫﺎ ﻣﻤﻜﻦ ﺍﺳﺖ ﺩﺭ ﻳﻚ ﺭﻭﻳﺎﺭﻭﻳﻰ ﻭﺍﻗﻌﻰ ﻛﺸﺘﻪ ﺷﻮﻧﺪ‪ .‬ﺍﻳﻦ ﺍﺗﻬﺎﻣﺎﺕ ﺟﺪﻯ ﻧﻴﺎﺯ ﺑﻪ ﺩﻓﺎﻋﻰ ﺑﻪ‬ ‫ﻫﻤﺎﻥﺍﻧﺪﺍﺯﻩ ﺟﺪﻯ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺑﻌﻀﻰ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻯ ﺯﺍﻣﺒﻰ ﺑﺮﻣﺒﻨﺎﻯ ﻭﻗﺎﻳﻊ ﻭﺍﻗﻌﻰ ﻫﺴﺘﻨﺪ‪ ،‬ﺍﻣﺎ‬ ‫ﺩﺭ ﺍﺻﻞ ﻫﺪﻑ ﺍﺯ ﺗﻘﺮﻳﺒﺎً ﺗﻤﺎﻣﻰ ﻓﻴﻠﻢﻫﺎ ﺩﺭ ﻫﻤﻪﻯ ژﺍﻧﺮﻫﺎ‪ ،‬ﻣﻬﻢﺗﺮ ﺍﺯ ﻫﺮﭼﻴﺰ ﺩﻳﮕﺮﻯ ﻫﻤﻴﺸﻪ ﺳﺮﮔﺮﻡ‬ ‫ﻛﺮﺩﻥ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻣﮕﺮ ﺁﻥ ﻛﻪ ﺑﺤﺜﻤﺎﻥ ﺩﺭﺑﺎﺭﻩﻯ ﻓﻴﻠﻢﻫﺎﻯ ﻣﺴﺘﻨﺪ ﻣﺤﺾ ﺑﺎﺷﺪ )ﻭ ﺣﺘﺎ ﺑﻌﻀﻰ ﺍﺯ‬ ‫ﺁﻥﻫﺎ ﻧﻴﺰ »ﻣﻼﻳﻢﺗﺮ« ﺷﺪﻩﺍﻧﺪ‪ ،(.‬ﻓﻴﻠﻢﺳﺎﺯﺍﻥ ﺑﺎﻳﺪ ﻣﻬﺎﺭﺕﻫﺎﻯ ﻫﻨﺮﻯ ﺑﻪﻛﺎﺭ ﺑﺮﻧﺪ ﺗﺎ ﺍﺛﺮﺷﺎﻥ ﺭﺍ ﺑﻴﺸﺘﺮ‬ ‫ﻣﻘﺒﻮﻝ ﻃﺒﻊ ﻣﺨﺎﻃﺒﺎﻧﺸﺎﻥ ﺩﺭﺁﻭﺭﻧﺪ‪ .‬ﺣﺘﺎ ﻓﻴﻠﻢﻫﺎﻳﻰ ﺑﺮ ﺍﺳﺎﺱ ﺣﻮﺍﺩﺙ ﻭﺍﻗﻌﻰ ﻧﻴﺰ ﺣﻘﻴﻘﺖ ﻣﺤﺾ ﺭﺍ‬ ‫ﺑﺮﺍﻯ ﻗﺼﻪﮔﻮﻳﻰ ﺑﻬﺘﺮ ﻓﺪﺍ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺷﺨﺼﻴﺖﻫﺎﻯ ﺍﺻﻠﻰ ﻣﻠﻐﻤﻪﺍﻯ ﺍﺯ ﺍﺷﺨﺎﺹ ﺣﻘﻴﻘﻰ ﻫﺴﺘﻨﺪ‪ .‬ﺑﻘﻴﻪ ﻣﻤﻜﻦ ﺍﺳﺖ ﻛﺎﻣ ً‬ ‫ﻼ ﺳﺎﺧﺘﮕﻰ ﺑﺎﺷﻨﺪ‬ ‫ﺗﺎ ﻭﻗﺎﻳﻊ ﺍﺻﻠﻰ ﺭﺍ ﺷﺮﺡ ﺩﻫﻨﺪ‪ ،‬ﺑﻪ ﺧﻂ ﺩﺍﺳﺘﺎﻧﻰ ﻛﻤﻚ ﻛﻨﻨﺪ‪ ،‬ﻳﺎ ﺧﻴﻠﻰ ﺳﺎﺩﻩ ﻓﻘﻂ ﺭﻧﮓ ﻭ ﺑﻮﻳﻰ ﺑﻪ‬ ‫ﺻﺤﻨﻪ ﺑﺪﻫﻨﺪ‪ .‬ﺑﻌﻀﻰﻫﺎ ﻣﻤﻜﻦ ﺍﺳﺖ ﺍﻋﺘﺮﺍﺽ ﻛﻨﻨﺪ ﻛﻪ ﻧﻘﺶ ﺑﺎﺯﻳﮕﺮ ﺑﻪ ﭼﺎﻟﺶ ﻛﺸﻴﺪﻥ‪ ،‬ﺗﻌﻠﻴﻢﺩﺍﺩﻥ‬ ‫ﻭ ﺭﻭﺷﻦﻛﺮﺩﻥ ﻣﺨﺎﻃﺒﺶ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻣﻤﻜﻦ ﺍﺳﺖ ﺩﺭﺳﺖ ﺑﺎﺷﺪ‪ ،‬ﺍﻣﺎ ﺳﻌﻰ ﻛﻨﻴﺪ ﺍﻳﻦ ﺭﺍ ﺑﻪ ﺁﻥ ﺩﺳﺘﻪ‬ ‫ﺍﺯ ﻣﺨﺎﻃﺒﺎﻥ ﺑﻔﻬﻤﺎﻧﻴﺪ ﻛﻪ ﺩﺭ ﻫﻤﺎﻥ ﺩﻩ ﺩﻗﻴﻘﻪﻯ ﺍﻭﻝ ﻓﻴﻠﻢ ﻳﺎ ﺳﺎﻟﻦ ﺭﺍ ﺗﺮﻙ ﻣﻰﻛﻨﻨﺪ ﻳﺎ ﺑﻪ ﺧﻮﺍﺏ‬ ‫ﻣﻰﺭﻭﻧﺪ‪ .‬ﺑﺎ ﭘﺬﻳﺮﻓﺘﻦ ﺍﻳﻦ ﻗﺎﻧﻮﻥ ﺍﺳﺎﺳﻰ ﺩﺭ ﻓﻴﻠﻢﺳﺎﺯﻯ ﺧﻮﺍﻫﻴﺪ ﻓﻬﻤﻴﺪ ﻛﻪ ﭼﺮﺍ ﻓﻴﻠﻢﻫﺎﻯ ﺯﺍﻣﺒﻰ‬ ‫ﻫﺎﻟﻴﻮﻭﺩﻯ ﺩﺭ ﺑﻌﻀﻰ ﻣﻮﺍﻗﻊ ﺍﺯ ﺣﻘﻴﻘﺘﻰ ﻛﻪ ﺍﺯ ﺁﻥ ﺳﺮﻣﻨﺸﺎ ﮔﺮﻓﺘﻪﺍﻧﺪ‪ ،‬ﻋﺪﻭﻝ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺧﻼﺻﻪ ﺍﻳﻨﻜﻪ ﺍﻳﻦ ﺍﻫﺪﺍﻑ ﺭﺍ ﺑﻪﻋﻨﻮﺍﻥ ﻣﻘﺎﺻﺪ ﺳﺎﺯﻧﺪﮔﺎﻧﺶ ﺩﺭ ﻧﻈﺮ ﺑﮕﻴﺮﻳﺪ‪ :‬ﺑﻪﻋﻨﻮﺍﻥ ﻳﻚ ﻣﻨﺒﻊ ﻣﻮﻗﺘﻰ‬ ‫ﻭ ﻣﻔﺮﺡ ﺳﺮﮔﺮﻡﻛﻨﻨﺪﻩ‪ ،‬ﻧﻪ ﻳﻚ ﺭﺍﻫﻨﻤﺎﻯ ﺗﺼﻮﻳﺮﻯ ﺑﺮﺍﻯ ﻧﺠﺎﺕ ﺟﺎﻧﺘﺎﻥ‪.‬‬

‫ﺷﻴﻮﻉ‬ ‫ﺍﮔﺮﭼﻪ ﺣﻤﻠﻪﻯ ﺯﺍﻣﺒﻰﻫﺎ ﺍﺯ ﻧﻈﺮ ﻧﻔﺮﺍﺕ‪ ،‬ﻋﻮﺍﺭﺽ ﻣﻨﻄﻘﻪ‪ ،‬ﻭﺍﻛﻨﺶ ﺗﻮﺩﻩﻯ ﻣﺮﺩﻡ ﻭ ﻏﻴﺮﻩ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ‪،‬‬ ‫ﺍﻣﺎ ﺳﻄﺢ ﺷﺪﺕ ﺍﻳﻦ ﺣﻤﻼﺕ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺩﺭ ﭼﻬﺎﺭ ﺭﺩﻩﻯ ﻣﺠﺰﺍ ﻗﺮﺍﺭ ﺩﺍﺩ‪.‬‬ ‫ﺭﺩﻩ‪1‬‬ ‫ﺍﻳﻦ ﻳﻚ ﺩﺭﮔﻴﺮﻯ ﺳﻄﺢ ﭘﺎﻳﻴﻦ ﺍﺳﺖ‪ ،‬ﻣﻌﻤﻮﻻً ﺩﺭ ﻛﺸﻮﺭﻯ ﺟﻬﺎﻥ ﺳﻮﻣﻰ ﻳﺎ ﻣﻨﻄﻘﻪﺍﻯ ﺭﻭﺳﺘﺎﻳﻰ ﺍﺯ‬ ‫ﺟﻬﺎﻥ ﺍﻭﻝ ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﺪ‪ .‬ﺗﻌﺪﺍﺩ ﺯﺍﻣﺒﻰﻫﺎﻯ ﺍﻳﻦ ﺭﺩﻩ ﭼﻴﺰﻯ ﺑﻴﻦ ﻳﻚ ﺗﺎ ﺑﻴﺴﺖ ﻋﺪﺩ ﺍﺳﺖ‪ .‬ﻣﺠﻤﻮﻉ‬ ‫ﺗﻠﻔﺎﺕ ﺍﻧﺴﺎﻧﻰ ﺁﻥ )ﻛﻪ ﺷﺎﻣﻞ ﻣﺒﺘﻼﻳﺎﻥ ﻭﻳﺮﻭﺳﻰ ﺍﻭﻟﻴﻪ ﻧﻴﺰ ﻣﻰﺷﻮﺩ( ﭼﻴﺰﻯ ﺑﻴﻦ ﻳﻚ ﺗﺎ ﭘﻨﺠﺎﻩ ﻋﺪﺩ‬ ‫ﺍﺳﺖ‪ .‬ﻃﻮﻝ ﻣﺪﺕ ﺁﻥ‪ ،‬ﺍﺯ ﺍﻭﻟﻴﻦ ﻣﻮﺭﺩ ﺗﺎ ﺁﺧﺮﻳﻦ ﻧﻔﺮ )ﺷﻨﺎﺧﺘﻪﺷﺪﻩ(‪ ،‬ﺑﻴﻦ ‪ 24‬ﺳﺎﻋﺖ ﺗﺎ ‪ 14‬ﺭﻭﺯ‬ ‫ﻃﻮﻝ ﻣﻰﻛﺸﺪ‪ .‬ﻣﻨﻄﻘﻪﻯ ﻣﻮﺭﺩ ﺣﻤﻠﻪ ﻛﻮﭼﻚ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ ،‬ﺷﻌﺎﻉ ﺁﻥ ﺑﻪ ﭼﻴﺰﻯ ﺑﻴﺶ ﺍﺯ ﺑﻴﺴﺖ ﻣﺎﻳﻞ‬ ‫)‪32‬ﻛﻴﻠﻮﻣﺘﺮ( ﻧﻤﻰﺭﺳﺪ‪ .‬ﺩﺭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻣﻮﺍﺭﺩ‪ ،‬ﻋﻮﺍﺭﺽ ﻃﺒﻴﻌﻰ ﺗﻌﻴﻴﻦ ﻛﻨﻨﺪﻩﻯ ﻣﺤﺪﻭﺩﻩﻯ ﺁﻥ‬ ‫‪153‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻛﺘﺎﺏ‬

‫ﻧﻴﺴﺖ‪ ،‬ﺍﻣﺎ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺍﻳﻦ ﺍﺷﺨﺎﺹ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺑﻪ ﻋﻼﺋﻢ ﺷﻨﻴﺪﺍﺭﻯ ﭘﺎﺳﺦ ﺩﻫﻨﺪ‪ .‬ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺁﻥﻫﺎ‬ ‫ﻛﻠﻤﺎﺕ ﺭﺍ ﻣﺘﻮﺟﻪ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﺣﺘﺎ ﺑﻌﻀﻰﻫﺎﻳﺸﺎﻥ ﺟﻤﻼﺕ ﺳﺎﺩﻩ ﺭﺍ ﻧﻴﺰ ﺩﺭﻙ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺑﺴﻴﺎﺭﻯ ﺍﺯ‬ ‫ﺯﺍﻣﺒﻰﻫﺎﻯ ﻭﻭﺩﻭ ﺗﻮﺍﻧﺎﻳﻰ ﺻﺤﺒﺖ ﻛﺮﺩﻥ ﺭﺍ ﺩﺍﺭﺍ ﻣﻰﺑﺎﺷﻨﺪ‪ ،‬ﺍﻟﺒﺘﻪ ﺑﺴﻴﺎﺭ ﺍﺑﺘﺪﺍﻳﻰ ﻭ ﺑﻪﻧﺪﺭﺕ ﺑﺮﺍﻯ ﻳﻚ‬ ‫ﻣﻜﺎﻟﻤﻪﻯ ﻃﻮﻻﻧﻰ‪.‬‬ ‫‪ .8‬ﺯﺍﻣﺒﻰﻭﻭﺩﻭ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﻛﻨﺘﺮﻝ ﻛﺮﺩ‪ .‬ﮔﺮﭼﻪ ﺩﺭ ﻫﻤﻪﻯ ﻣﻮﺍﺭﺩ ﺻﺪﻕ ﻧﻤﻰﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﺑﺴﻴﺎﺭﻯ‬ ‫ﺍﺯ ﺍﻧﺴﺎﻥﻫﺎﻯ ﺁﺳﻴﺐﻣﻐﺰﻯﺩﻳﺪﻩ ﺍﻛﺜﺮ ﺍﺩﺭﺍﻙ ﻧﻔﺴﺸﺎﻥ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩﺍﻧﺪ ﻛﻪ ﺍﻳﻦ ﺁﻥﻫﺎ ﺭﺍ ﻣﺴﺘﻌﺪ‬ ‫ﭘﺬﻳﺮﺵ ﻫﺮ ﭘﻴﺸﻨﻬﺎﺩﻯ ﻣﻰﻛﻨﺪ‪ .‬ﺑﻪﺳﺎﺩﮔﻰ ﺩﺍﺩ ﺯﺩﻥ ﺑﺮ ﺳﺮ ﻳﻜﻰ ﺍﺯ ﺁﻥﻫﺎ ﻛﻪ ﺑﺎﻳﺴﺘﺪ ﻳﺎ ﺣﺘﺎ ﺍﺯ‬ ‫ﺁﻥﺟﺎ ﺑﺮﻭﺩ‪ ،‬ﻣﻰﺗﻮﺍﻧﺪ ﺑﺮﺍﻯ ﺧﻼﺹ ﺷﺪﻥ ﺍﺯ ﺷﺮ ﻳﻚ ﺯﺍﻣﺒﻰ ﻭﻭﺩﻭ ﻛﺎﻓﻰ ﺑﺎﺷﺪ‪ .‬ﺍﻳﻦ ﺑﺎﻋﺚ ﺩﺭﺳﺖ‬ ‫ﺷﺪﻥ ﺷﺮﺍﻳﻂ ﺧﻄﺮﻧﺎﻙ ﺑﺮﺍﻯ ﺍﻧﺴﺎﻥﻫﺎﻳﻰ ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﺑﺎﻻﺷﺘﺒﺎﻩ ﺑﺎﻭﺭ ﺩﺍﺭﻧﺪ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺯﺍﻣﺒﻰﻫﺎﻯ‬ ‫ﻭﺍﻗﻌﻰ ﺭﺍ ﻛﻨﺘﺮﻝ ﻛﺮﺩﻩ ﻳﺎ ﺁﻣﻮﺯﺵ ﺑﺪﻫﻨﺪ‪ .‬ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺍﻭﻗﺎﺕ ﺁﺩﻡﻫﺎﻯ ﻛﻠﻪﺷﻖ ﺍﺻﺮﺍﺭ ﻛﺮﺩﻩﺍﻧﺪ ﻛﻪ‬ ‫ﺑﻪﺳﺎﺩﮔﻰ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺑﺎ ﺩﺳﺘﻮﺭ ﺩﺍﺩﻥ ﺑﻪ ﻣﻬﺎﺟﻤﺎﻥ ﻧﺎﻣﻴﺮﺍﻳﺸﺎﻥ‪ ،‬ﺁﻥﻫﺎ ﺭﺍ ﻣﺘﻮﻗﻒ ﻛﻨﻨﺪ‪ .‬ﺍﻣﺎ ﻫﻨﮕﺎﻣﻰ ﻛﻪ‬ ‫ﺩﺳﺖﻫﺎﻯ ﺳﺮﺩ ﻭ ﺩﺭ ﺣﺎﻝ ﭘﻮﺳﻴﺪﻥ ﺁﻥﻫﺎ ﺭﺍ ﮔﺮﻓﺘﻪ ﻭ ﺩﻧﺪﺍﻥﻫﺎﻯ ﻛﺜﻴﻒ ﻭ ﻛﺮﻡﺧﻮﺭﺩﻩ ﻭﺍﺭﺩ ﮔﻮﺷﺖ‬ ‫ﺗﻨﺸﺎﻥ ﺷﺪﻧﺪ‪ ،‬ﺍﻳﻦ ﺍﻓﺮﺍﺩ ﻓﻬﻤﻴﺪﻧﺪ‪ ،‬ﻛﻪ ﺑﺎ ﭼﻪ ﭼﻴﺰﻯ ﺳﺮ ﻭ ﻛﺎﺭ ﺩﺍﺭﻧﺪ‪ .‬ﺍﻳﻦ ﺭﺍﻫﻨﻤﺎ ﺑﺎﻳﺪ ﺑﺘﻮﺍﻧﺪ ﺑﻪﺧﻮﺑﻰ‬ ‫ﺑﻪﺷﻤﺎ ﻛﻤﻚ ﻛﻨﺪ ﺗﺎ ﻳﻚ ﺯﺍﻣﺒﻰ ﻭﻭﺩﻭ ﺭﺍ ﺍﺯ ﻳﻚ ﺯﺍﻣﺒﻰ ﻭﺍﻗﻌﻰ ﺗﺸﺨﻴﺺ ﺩﻫﻴﺪ‪.‬‬ ‫ﺗﺬﻛﺮ ﭘﺎﻳﺎﻧﻰ‪ :‬ﺯﺍﻣﺒﻰﻫﺎﻯ ﻭﻭﺩﻭ ﺭﺍ ﺗﻘﺮﻳﺒﺎً ﻫﻤﻴﺸﻪ ﺩﺭ ﭘﺎﻳﻴﻦﺗﺮ ﺍﺯ ﺻﺤﺮﺍﻯ ﺁﻓﺮﻳﻘﺎ‪ ،‬ﻛﺎﺭﺍﺋﻴﺐ‪ ،‬ﻣﺮﻛﺰ ﻭ‬ ‫ﺟﻨﻮﺏ ﺁﻣﺮﻳﻜﺎ‪ ،‬ﻭ ﺟﻨﻮﺏ ﺍﻳﺎﻻﺕ ﻣﺘﺤﺪﻩ ﻣﻰﺗﻮﺍﻥ ﻳﺎﻓﺖ‪ .‬ﺗﻘﺮﻳﺒﺎً ﻏﻴﺮﻣﻤﻜﻦ ﺍﺳﺖ ﻛﻪ ﻛﺴﻰ ﺭﺍ ﺩﺭ ﺟﺎﻯ‬ ‫ﺩﻳﮕﺮﻯ ﭘﻴﺪﺍ ﻛﻨﻴﺪ ﻛﻪ ﺑﻪ ﺩﺳﺖ ﻳﻚ ﻫﻮﻧﮕﺎﻥ ﺑﻪ ﺯﺍﻣﺒﻰ ﺗﺒﺪﻳﻞ ﺷﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﺷﺎﻧﺲ ﺑﺮﺧﻮﺭﺩ ﺑﺎ ﭼﻨﻴﻦ‬ ‫ﭼﻴﺰﻯ ﺑﺴﻴﺎﺭ ﺿﻌﻴﻒ ﺍﺳﺖ‪.‬‬

‫ﺯﺍﻣﺒﻰ ﻫﺎﻟﻴﻮﻭﺩﻯ‬ ‫ﺍﺯ ﺁﻥ ﺯﻣﺎﻥ ﻛﻪ ﻣﺮﺩﮔﺎﻥ ﺯﻧﺪﻩ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﭘﺎ ﺑﺮ ﭘﺮﺩﻩﻯ ﻧﻘﺮﻩﺍﻯ ﮔﺬﺍﺷﺘﻨﺪ‪ ،‬ﺑﺰﺭﮔﺘﺮﻳﻦ ﺩﺷﻤﻨﺎﻧﺸﺎﻥ‬ ‫ﺷﻜﺎﺭﭼﻴﺎﻥ ﻧﺒﻮﺩﻧﺪ‪ ،‬ﺑﻠﻜﻪ ﻣﻨﺘﻘﺪﺍﻥ ﺑﻮﺩﻧﺪ‪ .‬ﭘﮋﻭﻫﺸﮕﺮﺍﻥ‪ ،‬ﺩﺍﻧﺸﻤﻨﺪﺍﻥ‪ ،‬ﺣﺘﺎ ﺷﻬﺮﻭﻧﺪﺍﻥ ﻣﻄﻠﻊ ﻫﻤﮕﻰ‬ ‫ﻣﺪﻋﻰ ﺷﺪﻧﺪ ﻛﻪ ﺍﻳﻦ ﮔﻮﻧﻪ ﻓﻴﻠﻢﻫﺎ‪ ،‬ﻣﺮﺩﮔﺎﻥ ﺯﻧﺪﻩ ﺭﺍ ﺑﻪﺭﻭﺷﻰ ﻏﻴﺮﻭﺍﻗﻌﻰ ﻭ ﺗﺨﻴﻠﻰ ﺑﻪﻧﻤﺎﻳﺶ‬ ‫ﻣﻰﮔﺬﺍﺭﻧﺪ‪ .‬ﺳﻼﺡﻫﺎﻯ ﭼﺸﻢﮔﻴﺮ‪ ،‬ﺳﻠﺴﻠﻪ ﺍﺗﻔﺎﻗﺎﺕ ﻏﻴﺮﻣﻤﻜﻦ ﺍﺯ ﻟﺤﺎﻅ ﻓﻴﺰﻳﻜﻰ‪ ،‬ﺷﺨﺼﻴﺖﻫﺎﻯ‬ ‫ﺍﻧﺴﺎﻧﻰ ﻓﺮﺍﻃﺒﻴﻌﻰ‪ ،‬ﻭ ﻓﺮﺍﺗﺮ ﺍﺯ ﻫﻤﻪ‪ ،‬ﻏﻮﻝﻫﺎﻳﻰ )‪ (7‬ﺟﺎﺩﻭﻳﻰ‪ ،‬ﺷﻜﺴﺖﻧﺎﭘﺬﻳﺮ ﻭ ﺣﺘﺎ ﻣﻀﺤﻚ‪ ،‬ﻫﻤﮕﻰ‬ ‫ﺭﻧﮓ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺍﻳﻦ ﺭﻧﮕﻴﻦ ﻛﻤﺎﻥ ﻗﺎﺑﻞ ﺍﻧﺘﻘﺎﺩﻯ ﻛﻪ »ﻓﻴﻠﻢ ﺯﺍﻣﺒﻰ« ﺑﺎﺷﺪ ﺩﺍﺩﻩﺍﻧﺪ‪ .‬ﻧﻘﺪﻫﺎﻯ ﺩﻳﮕﺮ ﺑﺮ‬ ‫ﺍﻳﻦ ﻭﺍﺭﺩ ﺷﺪﻧﺪ ﻛﻪ ﺍﻳﻦ ﺭﻭﻳﻜﺮﺩ ﻣﺠﺎﺏﻛﻨﻨﺪﻩ ﺑﻪ ﺳﻴﻨﻤﺎﻯ ﻭﺣﺸﺖ ﺯﺍﻣﺒﻰ ﺑﻪ ﺑﻴﻨﻨﺪﮔﺎﻥ ﻣﻰﺁﻣﻮﺯﺩ‬ ‫‪151‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺳﺮ ﺩﻫﺪ ﻭ ﺗﻠﻮﺗﻠﻮﺧﻮﺭﺍﻥ ﻣﺴﺘﻘﻴﻢ ﺑﻪ ﺳﻮﻯ ﺷﻤﺎ ﺑﻴﺎﻳﺪ‪.‬‬ ‫‪.3‬ﺯﺍﻣﺒﻰ ﻭﻭﺩﻭ ﺩﺭﺩ ﺭﺍ ﺍﺣﺴﺎﺱ ﻣﻰﻛﻨﺪ‪ .‬ﻳﻚ ﺯﺍﻣﺒﻰ ﻭﻭﺩﻭ ﻛﻪ ﺳﻜﻨﺪﺭﻯ ﺧﻮﺭﺩﻩ ﻭ ﺑﺮ ﺯﻣﻴﻦ ﺑﻴﻔﺘﺪ‪،‬‬ ‫ﺑﻰﺷﻚ ﺯﺍﻧﻮﻯ ﺿﺮﺏﺩﻳﺪﻩﺍﺵ ﺭﺍ ﻣﻰﮔﻴﺮﺩ ﻭ ﻧﺎﻟﻪ ﻣﻰﻛﻨﺪ‪ .‬ﻋﻼﻭﻩ ﺑﺮ ﺁﻥ‪ ،‬ﺍﮔﺮ ﻳﻜﻰﺷﺎﻥ ﺍﺯ ﻗﺒﻞ ﺟﺮﺍﺣﺘﻰ‬ ‫ﺑﺮﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﺍﺯ ﺁﻥ ﻣﺮﺍﻗﺒﺖ ﻣﻰﻛﻨﺪ ﻳﺎ ﺣﺪﺍﻗﻞ ﺍﺯ ﻭﺟﻮﺩ ﺁﻥ ﺯﺧﻢ ﺁﮔﺎﻫﻰ ﺩﺍﺭﺩ‪ .‬ﺯﺍﻣﺒﻰﻫﺎﻯ ﻭﻭﺩﻭ‬ ‫ﺯﺧﻢﻫﺎﻯ ﻋﻤﻴﻖ ﺩﺭ ﺑﺪﻧﺸﺎﻥ ﺭﺍ ﻣﺜﻞ ﺯﺍﻣﺒﻰﻫﺎﻯ ﻭﺍﻗﻌﻰ ﻧﺎﺩﻳﺪﻩ ﻧﻤﻰﮔﻴﺮﻧﺪ‪.‬‬ ‫‪.4‬ﺯﺍﻣﺒﻰﻫﺎﻯ ﻭﻭﺩﻭ ﺁﺗﺶ ﺭﺍ ﺗﺸﺨﻴﺺ ﻣﻰﺩﻫﻨﺪ‪ .‬ﻣﻨﻈﻮﺭ ﺁﻥ ﻧﻴﺴﺖ ﻛﻪ ﺁﻥﻫﺎ ﺍﺯ ﺷﻌﻠﻪﻫﺎﻯ ﺁﺗﺶ‬ ‫ﻣﻰﺗﺮﺳﻨﺪ‪ .‬ﺑﻌﻀﻰ ﺍﺯ ﺁﻥﻫﺎﻳﻰ ﻛﻪ ﺩﭼﺎﺭ ﺁﺳﻴﺐ ﻣﻐﺰﻯ ﺷﺪﻳﺪ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﻪ ﺧﺎﻃﺮ ﻧﻴﺎﻭﺭﻧﺪ‬ ‫ﻛﻪ ﺁﺗﺶ ﭼﻴﺴﺖ‪ .‬ﺁﻥﻫﺎ ﻣﻰﺍﻳﺴﺘﻨﺪ ﺗﺎ ﺁﻥ ﺭﺍ ﺁﺯﻣﺎﻳﺶ ﻛﻨﻨﺪ‪ ،‬ﺣﺘﺎ ﻣﻤﻜﻦ ﺍﺳﺖ ﺩﺳﺖ ﺩﺭﺍﺯ ﻛﻨﻨﺪ ﺗﺎ‬ ‫ﺑﻪ ﺁﻥ ﺩﺳﺖ ﺑﺰﻧﻨﺪ‪ .‬ﺍﻣﺎ ﺑﻪ ﻣﺤﺾ ﺁﻥ ﻛﻪ ﻣﺘﻮﺟﻪ ﺷﻮﻧﺪ ﺑﺎﻋﺚ ﺩﺭﺩ ﻣﻰﺷﻮﺩ‪ ،‬ﻋﻘﺐﻧﺸﻴﻨﻰ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫‪.5‬ﺯﺍﻣﺒﻰﻫﺎﻯ ﻭﻭﺩﻭ ﻣﺤﻴﻂ ﺍﻃﺮﺍﻓﺸﺎﻥ ﺭﺍ ﻣﻰﺷﻨﺎﺳﻨﺪ‪ .‬ﺑﺮﺧﻼﻑ ﺯﺍﻣﺒﻰﻫﺎﻯ ﻭﺍﻗﻌﻰ ﻛﻪ ﺗﻨﻬﺎ‬ ‫ﻛﺸﺘﺎﺭ ﺭﺍ ﻣﻰﺷﻨﺎﺳﻨﺪ‪ ،‬ﺯﺍﻣﺒﻰﻫﺎﻯ ﻭﻭﺩﻭ ﺑﻪ ﺗﻐﻴﻴﺮﺍﺕ ﻧﺎﮔﻬﺎﻧﻰ ﻧﻮﺭ‪ ،‬ﺻﺪﺍ‪ ،‬ﻣﺰﻩ ﻭ ﺑﻮ ﻭﺍﻛﻨﺶ ﻧﺸﺎﻥ‬ ‫ﻣﻰﺩﻫﻨﺪ‪ .‬ﻣﺸﺎﻫﺪﻩ ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﺯﺍﻣﺒﻰﻫﺎﻯ ﻭﻭﺩﻭ ﺗﻠﻮﺯﻳﻮﻥ ﺗﻤﺎﺷﺎ ﺑﻜﻨﻨﺪ ﻳﺎ ﭼﺮﺍﻍ ﺭﺍ ﺭﻭﺷﻦ ﻭ‬ ‫ﺧﺎﻣﻮﺵ ﻛﻨﻨﺪ‪ ،‬ﺑﻪ ﻣﻮﺳﻴﻘﻰ ﮔﻮﺵ ﺩﻫﻨﺪ‪ ،‬ﺑﺎ ﺻﺪﺍﻯ ﺻﺎﻋﻘﻪ ﺍﺯ ﺟﺎ ﺑﭙﺮﻧﺪ‪ ،‬ﻭ ﺣﺘﺎ ﺑﻪ ﻳﻜﺪﻳﮕﺮ ﺗﻮﺟﻪ‬ ‫ﻧﺸﺎﻥ ﺩﻫﻨﺪ‪ .‬ﺍﻳﻦ ﻣﻮﺭﺩ ﺁﺧﺮﻯ ﺩﺭ ﺑﺴﻴﺎﻯ ﺍﺯ ﻧﻤﻮﻧﻪﻫﺎﻯ ﺍﺷﺘﺒﺎﻩ ﺩﺭ ﺗﻤﻴﺰ ﻣﻬﻢ ﺑﻮﺩﻩﺍﺳﺖ‪ .‬ﺯﺍﻣﺒﻰﻫﺎﻯ‬ ‫ﻣﻮﺭﺩ ﺑﺤﺜﻰ ﻛﻪ ﺑﻪ ﻫﻤﺪﻳﮕﺮ ﻭﺍﻛﻨﺶ ﻧﺸﺎﻥ ﻧﺪﺍﺩﻩﺍﻧﺪ )ﺁﻥﻫﺎ ﺑﻪ ﻫﻤﺪﻳﮕﺮ ﻧﮕﺎﻩ ﻛﺮﺩﻧﺪ‪ ،‬ﺳﺮ ﻭ ﺻﺪﺍ ﺑﻪﭘﺎ‬ ‫ﻛﺮﺩﻧﺪ‪ ،‬ﺣﺘﺎ ﺑﻪ ﺳﺮ ﻭ ﺻﻮﺭﺕ ﻫﻤﺪﻳﮕﺮ ﻫﻢ ﺩﺳﺖ ﻛﺸﻴﺪﻧﺪ(‪ ،‬ﻣﻤﻜﻦ ﺍﺳﺖ ﺗﺼﺎﺩﻓﺎً ﻧﺎﺑﻮﺩ ﺷﺪﻩ ﺑﺎﺷﻨﺪ‪.‬‬ ‫‪.6‬ﺯﺍﻣﺒﻰﻫﺎﻯ ﻭﻭﺩﻭ ﺣﻮﺍﺱ ﻓﻮﻕﺍﻧﺴﺎﻧﻰ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺍﻧﺴﺎﻧﻰ ﻛﻪ ﺍﺯ ﺗﺎﺛﻴﺮﺍﺕ ﻧﺎﺗﻮﺍﻥ ﻛﻨﻨﺪﻩﻯ ﭘﻮﺩﺭ‬ ‫ﺁﺳﻴﺐ ﺩﻳﺪﻩ‪ ،‬ﻫﻤﭽﻨﺎﻥ ﻭﺍﺑﺴﺘﻪ ﺑﻪ ﺣﺲ ﺑﻴﻨﺎﻳﻰﺍﺵ ﺍﺳﺖ‪ .‬ﺍﻭ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﺑﻪ ﻧﺤﻮ ﺍﺣﺴﻦ‬ ‫ﻛﺎﺭﻯ ﺍﻧﺠﺎﻡ ﺩﻫﺪ‪ ،‬ﺍﺯ ﻓﺎﺻﻠﻪﻯ ﭘﺎﻧﺼﺪ ﻳﺎﺭﺩﻯ ﺻﺪﺍﻯ ﻗﺪﻡﻫﺎ ﺭﺍ ﺗﺸﺨﻴﺺ ﺩﻫﺪ ﻳﺎ ﺑﻮﻯ ﻳﻚ ﻣﻮﺟﻮﺩ‬ ‫ﺯﻧﺪﻩ ﺭﺍ ﺩﺭ ﺑﺎﺩ ﻣﺘﻮﺟﻪ ﺷﻮﺩ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﻪﻭﺳﻴﻠﻪﻯ ﻛﺴﻰ ﻛﻪ ﺍﺯ ﭘﺸﺖ ﺳﺮ ﺑﻪ ﺁﻥﻫﺎ ﻧﺰﺩﻳﻚ‬ ‫ﻣﻰﺷﻮﺩ‪ ،‬ﻏﺎﻓﻠﮕﻴﺮ ﺷﻮﺩ‪ .‬ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﻛﺎﺭ ﺗﻮﺻﻴﻪ ﻧﻤﻰﺷﻮﺩ‪ ،‬ﭼﻮﻥ ﻳﻚ ﺯﺍﻣﺒﻰ ﺗﺮﺳﻴﺪﻩ ﻣﻤﻜﻦ ﺍﺳﺖ‬ ‫ﻭﺍﻛﻨﺸﻰ ﺧﺸﻮﻧﺖﺁﻣﻴﺰ ﻧﺸﺎﻥ ﺩﻫﺪ‪.‬‬ ‫‪ .7‬ﺯﺍﻣﺒﻰﻫﺎﻯ ﻭﻭﺩﻭ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺍﺭﺗﺒﺎﻁ ﺑﺮﻗﺮﺍﺭ ﻛﻨﻨﺪ‪ .‬ﺍﮔﺮﭼﻪ ﺍﻳﻦ ﻳﻚ ﻣﻮﺭﺩ ﻫﻤﻴﺸﻪ ﺻﺎﺩﻕ‬ ‫‪150‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻛﺘﺎﺏ‬

‫ﻣﻬﻢ ﺍﺯ ﻣﺬﻫﺐ ﺁﻓﺮﻳﻘﺎﻳﻰ‪-‬ﻛﺎﺭﺍﺋﻴﺒﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻧﺎﻡ ﻭﻭﺩﻭ ﻣﻌﺮﻭﻑ ﺍﺳﺖ‪ .‬ﺑﻪ ﻫﺮ ﺟﻬﺖ‪ ،‬ﺧﺎﺳﺘﮕﺎﻩ ﻧﺎﻡ‬ ‫ﺁﻥﻫﺎ ﺗﻨﻬﺎ ﻭﺟﻪ ﺍﺷﺘﺮﺍﻙ ﺑﻴﻦ ﺯﺍﻣﺒﻰﻫﺎﻯ ﻭﻭﺩﻭ ﻭ ﺯﺍﻣﺒﻰﻫﺎﻯ ﻭﻳﺮﻭﺳﻰ ﺍﺳﺖ‪.‬‬ ‫ﻫﻤﻴﻦﻃﻮﺭ ﭼﻨﻴﻦ ﻣﻰﮔﻮﻳﻨﺪ ﻛﻪ ﻫﻮﻧﮕﺎﻥﻫﺎﻯ )‪ (5‬ﻭﻭﺩﻭ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺍﻧﺴﺎﻥﻫﺎ ﺭﺍ ﺑﺎ ﺟﺎﺩﻭ ﺑﻪ ﺯﺍﻣﺒﻰ‬ ‫ﺗﺒﺪﻳﻞ ﻛﻨﻨﺪ‪ ،‬ﻛﻪ ﺍﻳﻦ ﻋﻤﻞ ﺑﻰﻫﻴﭻ ﺑﺤﺜﻰ ﺭﻳﺸﻪﻯ ﻋﻠﻤﻰ ﺩﺍﺭﺩ‪» .‬ﭘﻮﺩﺭ ﺯﺍﻣﺒﻰ«‪ ،‬ﻭﺳﻴﻠﻪﺍﻯ ﻛﻪ‬ ‫ﻫﻮﻧﮕﺎﻥﻫﺎ ﺑﺮﺍﻯ ﺯﺍﻣﺒﻰﻛﺮﺩﻥ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﻣﺤﺘﻮﻯ ﻳﻚﻧﻮﻉ ﻧﻮﺗﺮﻭﻛﺴﻴﻦ )‪ (6‬ﺑﺴﻴﺎﺭ ﻗﻮﻯ ﺍﺳﺖ‬ ‫)ﺗﺮﻛﻴﺒﺎﺕ ﺩﻗﻴﻖ ﺁﻥ ﺍﺯ ﺍﺳﺮﺍﺭ ﺑﺴﻴﺎﺭ ﺣﻔﺎﻇﺖ ﺷﺪﻩ ﺍﺳﺖ(‪.‬‬ ‫ﺍﻳﻦ ﺳﻢ ﺑﺎ ﺍﻳﺠﺎﺩ ﺷﺮﺍﻳﻂ ﺧﻮﺍﺏﺯﻣﺴﺘﺎﻧﻰ ﺷﺪﻳﺪ‪ ،‬ﺑﻪ ﻃﻮﺭ ﻣﻮﻗﺖ ﺳﻴﺴﺘﻢ ﺍﻋﺼﺎﺏ ﺑﺪﻥ ﺍﻧﺴﺎﻥ ﺭﺍ ﻓﻠﺞ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﺑﺎ ﻭﺟﻮﺩ ﻋﻤﻠﻜﺮﺩ ﺩﺭ ﻛﻤﺘﺮﻳﻦ ﺳﻄﺢ ﻣﻤﻜﻦ ﻗﻠﺐ‪ ،‬ﺭﻳﻪﻫﺎ ﻭ ﺩﻳﮕﺮ ﻋﻤﻠﻜﺮﻫﺎﻯ ﺑﺪﻧﻰ‪ ،‬ﻗﺎﺑﻞ‬ ‫ﺩﺭﻙ ﺍﺳﺖ ﻛﻪ ﻳﻚ ﭘﺰﺷﻚ ﻗﺎﻧﻮﻧﻰ ﺑﻰﺗﺠﺮﺑﻪ‪ ،‬ﻣﻮﺭﺩ ﻓﻠﺞﺷﺪﻩ ﺭﺍ ﻣﺮﺩﻩ ﺍﻋﻼﻡ ﻛﺮﺩﻩ ﺑﺎﺷﺪ‪ .‬ﺁﺩﻡﻫﺎﻯ‬ ‫ﺯﻳﺎﺩﻯ ﺩﺭ ﺍﻳﻦ ﺷﺮﺍﻳﻂ ﺩﻓﻦ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﺗﺎ ﺍﻳﻦ ﻛﻪ ﺟﻴﻎﻛﺸﺎﻥ ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﻣﻄﻠﻖ ﺗﺎﺑﻮﺗﺸﺎﻥ ﺑﻴﺪﺍﺭ ﺷﻮﻧﺪ‪.‬‬ ‫ﭼﻪ ﭼﻴﺰﻯ ﭼﻨﻴﻦ ﺍﻧﺴﺎﻥ ﺯﻧﺪﻩﺍﻯ ﺭﺍ ﺗﺒﺪﻳﻞ ﺑﻪ ﺯﺍﻣﺒﻰ ﻣﻰﻛﻨﺪ؟ ﭘﺎﺳﺦ ﺁﻥ ﺳﺎﺩﻩ ﺍﺳﺖ‪ :‬ﺁﺳﻴﺐ ﻣﻐﺰﻯ‪.‬‬ ‫ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺁﻥﻫﺎ ﻛﻪ ﺯﻧﺪﻩﺑﻪﮔﻮﺭ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﺑﻪ ﺳﺮﻋﺖ ﺗﻤﺎﻡ ﻫﻮﺍﻯ ﺩﺍﺧﻞ ﺗﺎﺑﻮﺗﺸﺎﻥ ﺭﺍ ﻣﺼﺮﻑ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺁﻥﻫﺎﻳﻰ ﻛﻪ ﻧﺠﺎﺕ ﭘﻴﺪﺍ ﻣﻰﻛﻨﻨﺪ )ﺍﮔﺮ ﺷﺎﻧﺲ ﺑﻴﺎﻭﺭﻧﺪ(‪ ،‬ﺗﻘﺮﻳﺒﺎً ﻫﻤﮕﻰ ﺑﻪ ﺧﺎﻃﺮ ﻛﻤﺒﻮﺩ ﺍﻛﺴﻴﮋﻥ‬ ‫ﺩﭼﺎﺭ ﺁﺳﻴﺐ ﻣﻐﺰﻯ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺁﻥ ﺑﻰﻧﻮﺍﻫﺎ ﺗﻠﻮﺗﻠﻮﺧﻮﺭﺍﻥ ﺭﺍﻩ ﻣﻰﺭﻭﻧﺪ ﻭ ﺗﻮﺍﻥ ﺍﺩﺭﺍﻛﻰ ﻛﻤﻰ ﺩﺍﺭﻧﺪ‪،‬‬ ‫ﻳﺎ ﻓﻰﺍﻟﻮﺍﻗﻊ‪ ،‬ﺍﺧﺘﻴﺎﺭﻯ ﺍﺯ ﺧﻮﺩ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﻭ ﻣﻌﻤﻮﻻً ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺮﺩﮔﺎﻥ ﺯﻧﺪﻩ ﺍﺷﺘﺒﺎﻩ ﮔﺮﻓﺘﻪ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﭼﻪﻃﻮﺭ ﻣﻰﺗﻮﺍﻥ ﻳﻚ ﺯﺍﻣﺒﻰ ﻭﻭﺩﻭ ﺭﺍ ﺍﺯ ﺍﺻﻞ ﺗﺸﺨﻴﺺ ﺩﺍﺩ؟ ﻧﺸﺎﻧﻪﻫﺎﻯ ﺁﻥ ﻭﺍﺿﺢ ﻫﺴﺘﻨﺪ‪.‬‬ ‫‪.1‬ﺯﺍﻣﺒﻰﻫﺎﻯ ﻭﻭﺩﻭ ﺍﺣﺴﺎﺳﺎﺕ ﺑﺮﻭﺯ ﻣﻰﺩﻫﻨﺪ‪ .‬ﻣﺮﺩﻣﻰ ﻛﻪ ﺑﻪ ﺧﺎﻃﺮ ﭘﻮﺩﺭ ﺩﭼﺎﺭ ﺁﺳﻴﺐ ﻣﻐﺰﻯ‬ ‫ﺷﺪﻩﺍﻧﺪ‪ ،‬ﻫﻤﭽﻨﺎﻥ ﺗﻤﺎﻡ ﺍﺣﺴﺎﺳﺎﺕ ﺍﻧﺴﺎﻧﻰ ﺭﺍ ﺩﺍﺭﺍ ﻣﻰﺑﺎﺷﻨﺪ‪ .‬ﺁﻥﻫﺎ ﻟﺒﺨﻨﺪ ﻣﻰﺯﻧﻨﺪ‪ ،‬ﮔﺮﻳﻪ ﻣﻰﻛﻨﻨﺪ‪،‬‬ ‫ﺣﺘﺎ ﺍﮔﺮ ﺻﺪﻣﻪ ﺑﺒﻴﻨﻨﺪ ﻳﺎ ﺑﻪ ﻫﺮ ﻧﺤﻮ ﺩﻳﮕﺮﻯ ﺗﺤﺮﻳﻚ ﺷﻮﻧﺪ‪ ،‬ﺍﺯ ﺧﺸﻢ ﻣﻰﻏﺮﻧﺪ‪) .‬ﻛﺎﺭﻯ ﻛﻪ ﺯﺍﻣﺒﻰﻫﺎﻯ‬ ‫ﻭﺍﻗﻌﻰ ﻫﺮﮔﺰ ﺍﻧﺠﺎﻡ ﻧﻤﻰﺩﻫﻨﺪ‪(.‬‬ ‫‪.2‬ﺯﺍﻣﺒﻰﻫﺎﻯ ﻭﻭﺩﻭ ﺍﻓﻜﺎﺭﺷﺎﻥ ﺭﺍ ﺑﺮﻭﺯ ﻣﻰﺩﻫﻨﺪ‪ .‬ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﻗﺒﻞﺗﺮ ﻫﻢ ﮔﻔﺘﻪ ﺷﺪ‪ ،‬ﻭﻗﺘﻰ ﻛﻪ‬ ‫ﻳﻚ ﺯﺍﻣﺒﻰ ﻭﺍﻗﻌﻰ ﺑﺎ ﺷﻤﺎ ﺭﻭﺩﺭﺭﻭ ﻣﻰﺷﻮﺩ‪ ،‬ﺑﻼﻓﺎﺻﻠﻪ ﻣﺎﻧﻨﺪ ﻳﻚ ﻣﻮﺷﻚ ﻫﺪﺍﻳﺖﺷﻮﻧﺪﻩ ﺭﻓﺘﺎﺭ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻳﻚ ﺩﻗﻴﻘﻪ ﻃﻮﻝ ﻣﻰﻛﺸﺪ ﺗﺎ ﺯﺍﻣﺒﻰ ﻭﻭﺩﻭ ﺗﺸﺨﻴﺺ ﺩﻫﺪ ﻛﻪ ﺷﻤﺎ ﭼﻪﻛﺴﻰ ﻳﺎ ﭼﻪ ﭼﻴﺰﻯ ﻫﺴﺘﻴﺪ‪.‬‬ ‫ﺷﺎﻳﺪ ﺑﻪ ﺳﻮﻯ ﺷﻤﺎ ﺑﻴﺎﻳﺪ‪ ،‬ﺷﺎﻳﺪ ﭘﺲ ﺑﻨﺸﻴﻨﺪ‪ ،‬ﺷﺎﻳﺪ ﻫﻤﭽﻨﺎﻥ ﺑﻪ ﻧﮕﺎﻩ ﻛﺮﺩﻧﺶ ﺍﺩﺍﻣﻪ ﺩﻫﺪ ﺗﺎ ﺯﻣﺎﻧﻰ‬ ‫ﻛﻪ ﻣﻐﺰ ﺁﺳﻴﺐ ﺩﻳﺪﻩﺍﺵ ﺑﺘﻮﺍﻧﺪ ﺍﻃﻼﻋﺎﺗﻰ ﺩﺭﻳﺎﻓﺘﻰ ﺭﺍ ﺗﺠﺰﻳﻪ ﻭ ﺗﺤﻠﻴﻞ ﻛﻨﺪ‪ .‬ﻛﺎﺭﻯ ﻛﻪ ﺯﺍﻣﺒﻰ ﻭﻭﺩﻭ‬ ‫ﺍﻧﺠﺎﻡ ﻧﺨﻮﺍﻫﺪ ﺩﺍﺩ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ ﺑﺎﻻ ﺑﺒﺮﺩ‪ ،‬ﺁﺭﻭﺍﺭﻩﺍﺵ ﺭﺍ ﺑﺎﺯ ﻛﻨﺪ‪ ،‬ﻧﻌﺮﻩﺍﻯ ﻭﺣﺸﺘﻨﺎﻙ‬ ‫‪149‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻳﺎ ﺩﺳﺘﮕﺎﻩ ﺗﻨﻔﺴﻰ ﺗﺎﺛﻴﺮﻯ ﺑﺮ ﺭﻭﻯ ﻣﺮﺩﮔﺎﻥ ﻣﺘﺤﺮﻙ ﻧﺪﺍﺭﺩ‪ ،‬ﺯﻳﺮﺍ ﺍﻳﻦ ﺍﺭﮔﺎﻥﻫﺎ ﺩﻳﮕﺮ ﺍﺭﺗﺒﺎﻃﺸﺎﻥ ﺭﺍ‬ ‫ﺑﺎ ﻣﻐﺰ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩﺍﻧﺪ‪ .‬ﺑﻪ ﺑﻴﺎﻥ ﺳﺎﺩﻩﺗﺮ‪ ،‬ﻫﺰﺍﺭﺍﻥ ﺭﺍﻩ ﺑﺮﺍﻯ ﻛﺸﺘﻦ ﻳﻚ ﺍﻧﺴﺎﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ؛ ﺍﻣﺎ ﺑﺮﺍﻯ‬ ‫ﺯﺍﻣﺒﻰﻫﺎ ﺗﻨﻬﺎ ﻳﻚ ﺭﺍﻩ ﻣﻮﺟﻮﺩ ﺍﺳﺖ‪ .‬ﻣﻐﺰ ﺑﺎﻳﺪ ﻣﻌﺪﻭﻡ ﺷﻮﺩ‪ ،‬ﺣﺎﻝ ﺑﻪ ﻫﺮ ﻧﺤﻮﻯ ﻛﻪ ﺍﻣﻜﺎﻧﺶ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪.‬‬ ‫ﺏ‪ .‬ﻧﺎﺑﻮﺩ ﻛﺮﺩﻥ‬ ‫ﻣﻄﺎﻟﻌﺎﺕ ﻧﺸﺎﻥ ﺩﺍﺩﻩﺍﻧﺪ ﻛﻪ »ﺳﻮﻻﻧﻴﻮﻡ« ﻣﻰﺗﻮﺍﻧﺪ ﺗﺎ ﭼﻬﻞ ﻭ ﻫﺸﺖ ﺳﺎﻋﺖ ﻫﻢ ﺩﺭ ﺑﺪﻥ ﻳﻚ ﺯﺍﻣﺒﻰ‬ ‫ﻛﺸﺘﻪ ﺷﺪﻩ ﺑﺎﻗﻰ ﺑﻤﺎﻧﺪ‪ .‬ﻧﻬﺎﻳﺖ ﺩﻗﺖ ﺭﺍ ﺩﺭ ﻫﻨﮕﺎﻡ ﻧﺎﺑﻮﺩ ﻛﺮﺩﻥ ﺟﻨﺎﺯﻩﻯ ﻧﺎﻣﺮﺩﮔﺎﻥ ﺑﻪﺧﺮﺝ ﺩﻫﻴﺪ‪.‬‬ ‫ﻋﻠﻰﺍﻟﺨﺼﻮﺹ ﺳﺮ ﻛﻪ ﺑﻴﺸﺘﺮﻳﻦ ﺧﻄﺮ ﺟﺪﻯ ﺭﺍ ﺩﺍﺭﺩ‪ ،‬ﺯﻳﺮﺍ ﻣﺤﻞ ﺗﺠﻤﻊ ﻭﻳﺮﻭﺱ ﺍﺳﺖ‪ .‬ﻫﺮﮔﺰ ﺟﻨﺎﺯﻩﻯ‬ ‫ﻳﻚ ﻧﺎﻣﺮﺩﻩ ﺭﺍ ﺑﺪﻭﻥ ﻟﺒﺎﺱﻫﺎﻯ ﻣﺤﺎﻓﻆ ﻟﻤﺲ ﻧﻜﻨﻴﺪ‪ .‬ﺑﺎ ﺁﻥ ﻫﻤﺎﻥ ﺭﻓﺘﺎﺭﻯ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﺪ ﻛﻪ ﺑﺎ‬ ‫ﻫﺮ ﻣﺎﺩﻩﻯ ﺳﻤﻰ ﻭ ﺷﺪﻳﺪﺍ ً ﻛﺸﻨﺪﻩ ﺩﺍﺭﻳﺪ‪ .‬ﺳﻮﺯﺍﻧﺪﻥ ﺍﻣﻦﺗﺮﻳﻦ ﻭ ﻣﻮﺛﺮﺗﺮﻳﻦ ﺭﺍﻩ ﺑﺮﺍﻯ ﻧﺎﺑﻮﺩ ﻛﺮﺩﻥ‬ ‫ﺁﻥﻫﺎﺳﺖ‪ .‬ﺑﺮﺧﻼﻑ ﺷﺎﻳﻌﺎﺗﻰ ﻛﻪ ﻣﻰﮔﻮﻳﺪ ﺗﻮﺩﻩﺍﻯ ﺍﺯ ﺟﻨﺎﺯﻩﻫﺎﻯ ﺳﻮﺯﺍﻥ ﺳﻮﻻﻧﻴﻮﻡ ﺭﺍ ﺩﺭ ﺍﺑﺮﻯ ﺍﺯ‬ ‫ﺩﻭﺩﻫﺎﻯ ﺑﻴﻤﺎﺭﻯﺯﺍ ﭘﺨﺶ ﻣﻰﻛﻨﺪ‪ ،‬ﻋﻘﻞ ﺳﻠﻴﻢ ﻣﻰﮔﻮﻳﺪ ﻛﻪ ﻫﻴﭻ ﻭﻳﺮﻭﺳﻰ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺩﺭ ﺩﻣﺎﻯ ﺑﺎﻻ‬ ‫ﺩﻭﺍﻡ ﺑﻴﺎﻭﺭﺩ ﻭ ﺩﺭ ﺑﺮﺍﺑﺮ ﺁﺗﺶ ﺣﺮﻓﻰ ﺑﺮﺍﻯ ﮔﻔﺘﻦ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﺝ‪ .‬ﺭﺍﻡﻛﺮﺩﻥ؟‬ ‫ﺗﻜﺮﺍﺭ ﻣﻰﻛﻨﻢ‪ ،‬ﺗﺎﻛﻨﻮﻥ ﻣﻄﺎﻟﻌﺎﺕ ﺭﻭﻯ ﻣﻐﺰ ﺯﺍﻣﺒﻰﻫﺎ ﺛﺎﺑﺖ ﻛﺮﺩﻩ ﺍﺳﺖ ﻛﻪ ﻧﻤﻰﺷﻮﺩ ﺳﺮ ﺑﻪ ﺳﺮ ﺁﻥﻫﺎ‬ ‫ﮔﺬﺍﺷﺖ‪ .‬ﻧﺘﻴﺠﻪﻯ ﻫﻤﻪﻯ ﺁﺯﻣﺎﻳﺸﺎﺕ ﺍﺯ ﺷﻴﻤﻴﺎﻳﻰ ﮔﺮﻓﺘﻪ ﺗﺎ ﻋﻤﻞ ﺟﺮﺍﺣﻰ ﻭ ﺍﻣﻮﺍﺝ ﺍﻟﻜﺘﺮﻭﻣﻐﻨﺎﻃﻴﺴﻰ‪،‬‬ ‫ﻣﻨﻔﻰ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻣﻌﺎﻟﺠﻪﻯ ﺭﻓﺘﺎﺭﺩﺭﻣﺎﻧﻰ ﻭ ﻛﻮﺷﺶﻫﺎﻳﻰ ﺍﺯ ﺍﻳﻦ ﺩﺳﺖ ﺑﺮﺍﻯ ﺗﺮﺑﻴﺖ ﻛﺮﺩﻥ ﻣﺮﺩﮔﺎﻥ‬ ‫ﺯﻧﺪﻩ‪ ،‬ﺩﺭﺳﺖ ﻣﺎﻧﻨﺪ ﺑﻌﻀﻰ ﮔﻮﻧﻪﻫﺎﻯ ﺣﻴﻮﺍﻧﺎﺗﻰ ﻛﻪ ﺩﺭ ﮔﻠﻪ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ ﺑﺎ ﺷﻜﺴﺖ ﻣﻮﺍﺟﻪ ﺷﺪﻩ‬ ‫ﺍﺳﺖ‪ .‬ﺑﺎﺯ ﺗﺼﺮﻳﺢ ﻣﻰﻛﻨﻢ ﻛﻪ ﺍﻳﻦ ﻣﺎﺷﻴﻦ ﺭﺍ ﻧﻤﻰﺗﻮﺍﻥ ﺩﻭﺑﺎﺭﻩ ﺳﻴﻢﻛﺸﻰ ﻛﺮﺩ‪ .‬ﻳﺎ ﻫﻤﺎﻥﻃﻮﺭﻯ ﻛﻪ‬ ‫ﺍﻻﻥ ﻫﺴﺖ ﺑﺎﻗﻰ ﺧﻮﺍﻫﺪ ﻣﺎﻧﺪ‪ ،‬ﻳﺎ ﺍﺻ ً‬ ‫ﻼ ﻭﺟﻮﺩ ﻧﺨﻮﺍﻫﺪ ﺩﺍﺷﺖ‪.‬‬

‫ﺯﺍﻣﺒﻰﻫﺎﻯ ﺟﺎﺩﻭﻯ ﻭﻭﺩﻭ‬ ‫ﺍﮔﺮ ﺯﺍﻣﺒﻰﻫﺎ ﻣﺨﻠﻮﻕ ﻳﻚ ﻭﻳﺮﻭﺳﻨﺪ ﻭ ﻧﻪ ﻳﻚ ﺟﺎﺩﻭﻯ ﺳﻴﺎﻩ‪ ،‬ﭘﺲ ﺍﻳﻦ ﭼﻪﻃﻮﺭ ﻣﻰﺗﻮﺍﻧﺪ ﺁﻥﭼﻪ ﺭﺍ ﻛﻪ‬ ‫»ﺯﺍﻣﺒﻰ ﻭﻭﺩﻭ« ﻣﻰﺧﻮﺍﻧﻴﻢ ﺗﻮﺟﻴﻪ ﻛﻨﺪ‪ ،‬ﻛﺴﻰ ﻛﻪ ﻣﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺍﺯ ﮔﻮﺭﺵ ﺑﺮﺧﻴﺰﺍﻧﺪﻩ ﺷﺪﻩ ﻭ ﻧﻔﺮﻳﻦ‬ ‫ﺷﺪﻩ ﻛﻪ ﺗﺎ ﺍﺑﺪ ﺑﺮﺩﻩﻯ ﺯﻧﺪﮔﺎﻥ ﺑﺎﺷﺪ؟‬ ‫ﺑﻠﻪ‪ ،‬ﺍﻳﻦ ﺩﺭﺳﺖ ﺍﺳﺖ ﻛﻪ ﻛﻠﻤﻪﻯ ﺯﺍﻣﺒﻰ ﺭﻳﺸﻪ ﺩﺭ ﻛﻠﻤﻪﻯ ‪ nzumbe‬ﺍﺯ ﺯﺑﺎﻥ ﻛﻴﻤﺒﻮﻧﺪﻭ )‪ (4‬ﺩﺍﺭﺩ‪،‬‬ ‫ﻛﻠﻤﻪﺍﻯ ﻛﻪ ﺗﻮﺻﻴﻒﻛﻨﻨﺪﻩﻯ ﺭﻭﺡ ﻳﻚ ﺍﻧﺴﺎﻥ ﻣﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﻭ ﺑﻠﻪ‪ ،‬ﺯﺍﻣﺒﻰﻫﺎ ﻭ ﺯﺍﻣﺒﻰﺷﺪﻥ ﺑﺨﺶﻫﺎﻳﻰ‬ ‫‪148‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻛﺘﺎﺏ‬

‫ﭼﮕﻮﻧﻪ ﺩﺭ ﺩﻧﻴﺎﻳﻰ ﺯﺍﻣﺒﻰﺯﺩﻩ‬

‫ﺯﻧﺪﻩ ﺑﻤﺎﻧﻴــﻢ‬ ‫ﺍﺣﺴﺎﻥ ﻣﺤﻤﺪﺯﺍﺩﻩ‬

‫ﻧﺎﻡ ﻣﻜﺲ ﺑﺮﻭﻛﺰ )‪ (1‬ﺑﺮﺍﻯ ﻃﺮﻓﺪﺍﺭﺍﻥ ﻭﺍﻗﻌﻰ ﺯﺍﻣﺒﻰﻫﺎ ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﻧﺎﺷﻨﺎﺱ ﻧﻴﺴﺖ‪ .‬ﺍﻭ‬ ‫ﻧﻮﻳﺴﻨﺪﻩﻯ ﺩﺍﺳﺘﺎﻥ ﻣﺤﺒﻮﺏ ﺟﻨﮓ ﺟﻬﺎﻧﻰ ﺯﺩ )‪ (2‬ﺍﺳﺖ‪ .‬ﺷﺎﻳﺪ ﺑﺘﻮﺍﻥ ﮔﻔﺖ ﺍﻭ ﻳﻜﻰ ﺍﺯ‬ ‫ﺯﺑﺮﺩﺳﺖﺗﺮﻳﻦ ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺗﺎﺭﻳﺦ ﺑﺪﻳﻞ ﺯﺍﻣﺒﻰ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦﺟﺎ ﺑﺨﺸﻰ ﺍﺯ ﻣﺘﻦ‬ ‫ﻛﺘﺎﺏ ﻣﻌﺮﻭﻑ ﺍﻭ ﻳﻌﻨﻰ »ﭼﮕﻮﻧﻪ ﺩﺭ ﺩﻧﻴﺎﻳﻰ ﺯﺍﻣﺒﻰﺯﺩﻩ ﺯﻧﺪﻩ ﺑﻤﺎﻧﻴﻢ« )‪ (3‬ﺭﺍ ﺑﺎ ﻫﻢ ﻣﻰﺧﻮﺍﻧﻴﻢ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺏ ﻛﻪ ﺑﺎ ﻟﺤﻨﻰ ﺑﺴﻴﺎﺭ ﺟﺪﻯ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﻣﻜﺲ ﺑﺮﻭﻛﺰ ﺑﻪ ﻣﺎ ﻋﻴﻨﺎً ﻧﺸﺎﻥ‬ ‫ﻣﻰﺩﻫﺪ ﻛﻪ ﭼﮕﻮﻧﻪ ﻣﻰﺗﻮﺍﻥ ﺩﺭ ﺩﻧﻴﺎﻳﻰ ﭘﺮ ﺍﺯ ﺯﺍﻣﺒﻰ‪ ،‬ﺗﺎ ﻧﺎﺑﻮﺩﻯ ﻛﺎﻣﻞ ﺯﺍﻣﺒﻰﻫﺎ ﺯﻧﺪﻩ ﻣﺎﻧﺪ‪.‬‬ ‫ﺍﻟﻒ‪ .‬ﻛﺸﺘﻦ ﻣﺮﺩﻩﻫﺎ‬ ‫ﺷﺎﻳﺪ ﻓﺮﺁﻳﻨﺪ ﻧﺎﺑﻮﺩ ﻛﺮﺩﻥ ﺯﺍﻣﺒﻰﻫﺎ ﺑﻪﻧﻈﺮ ﺳﺎﺩﻩ ﺑﺮﺳﺪ‪ ،‬ﺍﻣﺎ ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﻛﺎﺭ ﺁﺳﺎﻧﻰ ﻧﻴﺴﺖ‪.‬‬ ‫ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺩﻳﺪﻩﺍﻳﻢ‪ ،‬ﺯﺍﻣﺒﻰﻫﺎ ﺑﻪ ﻫﻴﭻ ﻳﻚ ﺍﺯ ﻧﻴﺎﺯﻫﺎﻯ ﻓﻴﺰﻳﻮﻟﻮژﻳﻜﻰ ﻛﻪ ﺍﻧﺴﺎﻥ ﺑﺮﺍﻯ ﺑﻘﺎ‬ ‫ﻣﺤﺘﺎﺝ ﺁﻥﻫﺎﺳﺖ‪ ،‬ﻧﻴﺎﺯﻯ ﻧﺪﺍﺭﺩ‪ .‬ﻧﺎﺑﻮﺩﻯ ﻳﺎ ﺻﺪﻣﻪﻯ ﺟﺪﻯ ﺑﻪ ﺳﻴﺴﺘﻢ ﺧﻮﻥﺭﺳﺎﻧﻰ‪ ،‬ﮔﻮﺍﺭﺷﻰ‪،‬‬

‫ﻛﻤﻴﻚ‬

‫ﺍﻳﻦ ﻛﻤﻴﻚ ﻣﻮﺟﻮﺩﻯ ﺑﻪ ﻧﺎﻡ ﻧﻜﺮﻭﻥ ﻗﺼﺪ ﺩﺍﺭﺩ ﺑﺎ ﺯﻧﺪﻩ ﻛﺮﺩﻥ ﺍﺟﺴﺎﺩ ﺍﺑﺮﻗﻬﺮﻣﺎﻧﺎﻥ‪ ،‬ﺣﻴﺎﺕ ﻭ ﺍﺣﺴﺎﺱ‬ ‫ﺭﺍ ﺩﺭ ﺟﻬﺎﻥ ﻧﺎﺑﻮﺩ ﻛﻨﺪ‪ .‬ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺍﺑﺮﻗﻬﺮﻣﺎﻥ ﺍﺯ ﺟﻤﻠﻪ ﺑﺖﻣﻦ ]‪ [27‬ﻭ ﻣﺎﺭﺷﻦ ﻣﻦﻫﺎﻧﺘﺮ ]‪[28‬‬ ‫ﻛﺸﺘﻪ ﺷﺪﻩﺍﻧﺪ‪ .‬ﮔﺮﻳﻦ ﻟﻨﺘﺮﻥ ]‪ [29‬ﻭ ﻓﻠﺶ ]‪ [30‬ﻛﻪ ﺍﺧﻴﺮﺍ ً ﺯﻧﺪﻩ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﺍﺯ ﻣﻌﺪﻭﺩ ﺍﺑﺮﻗﻬﺮﻣﺎﻥﻫﺎﻯ‬ ‫ﺑﺎﻗﻴﻤﺎﻧﺪﻩﻯ ﺯﻣﻴﻦ ﻫﺴﺘﻨﺪ‪ .‬ﺟﺎﻧﺰ ﻛﻪ ﺑﻪ ﺍﻧﺘﻘﺎﻝ ﺑﺴﻴﺎﺭ ﻣﺎﻫﺮﺍﻧﻪ ﺍﺣﺴﺎﺳﺎﺕ ﺩﺭ ﻛﻤﻴﻚﻫﺎ ﻣﻌﺮﻭﻑ ﺍﺳﺖ‪،‬‬ ‫ﺩﺭ ﺍﻳﻦ ﻛﻤﻴﻚ ﺳﺮﺍﻍ ﻣﺎﻫﻴﺖ »ﺍﺣﺴﺎﺱ« ﻣﻰﺭﻭﺩ‪.‬‬ ‫ﺣﺎﻻ ﻧﻪ ﺳﺎﻝ ﺍﺯ ﺍﻧﺘﺸﺎﺭ ﻣﺮﺩﻩﻫﺎﻯ ﻣﺘﺤﺮﻙ ﮔﺬﺷﺘﻪ ﻭ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺍﺯ ﻣﻌﺪﻭﺩ ﻛﻤﻴﻚﻫﺎﻯ ﻣﺴﺘﻘﻠﻰ‬ ‫ﺍﺳﺖ ﻛﻪ ﺷﻤﺎﺭ ﻓﺼﻞﻫﺎﻯ ﺁﻥ ﺍﺯ ﺻﺪ ﻣﻰﮔﺬﺭﺩ‪ .‬ﺍﻧﺘﺸﺎﺭ ﻣﺠﻤﻮﻋﻪﻫﺎﻯ ﻣﻮﻓﻘﻰ ﻣﺎﻧﻨﺪ »ﻣﻦ‪ ،‬ﺯﺍﻣﺒﻰ«‬ ‫]‪ [31‬ﻭ ‪ The New Deadwardians‬ﺗﻮﺳﻂ ﺍﻧﺘﺸﺎﺭ ﻭﺭﺗﻴﮕﻮ ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩﻯ ﺍﻓﺰﺍﻳﺶ ﻣﺤﺒﻮﺑﻴﺖ‬ ‫ﻛﻤﻴﻚﻫﺎﻯ ژﺍﻧﺮ ﻭﺣﺸﺖ ﺩﺭ ﭼﻨﺪ ﺳﺎﻝ ﺍﺧﻴﺮ ﺍﺳﺖ‪.‬‬

‫‪1. Eerie Comics‬‬ ‫‪2.Adventures into the Unknown‬‬ ‫‪3. Tales from the Crypt‬‬ ‫‪4. Stan Lee‬‬ ‫‪5. Bill Everett‬‬ ‫‪6. Anthology Comic Book‬‬ ‫‪7. Menace‬‬ ‫‪8. Simon William Garth‬‬ ‫‪9. Voodoo Cult‬‬ ‫‪10. Steve Gerber‬‬ ‫‪11. Pablo Marcos‬‬ ‫‪12. Zombie Tales‬‬ ‫‪13. The Walking Dead‬‬ ‫‪14. Robert Kirkman‬‬ ‫‪15. The Goon‬‬ ‫‪16. Mark Millar‬‬

‫‪17. Fantastic Four‬‬ ‫‪18. Marvel‬‬ ‫‪19. Magneto‬‬ ‫‪20. Silver Surfer‬‬ ‫‪21. Galactus‬‬ ‫‪22. Fred Van Lente‬‬ ‫‪23. Deadpool‬‬ ‫‪24. Blackest Night‬‬ ‫‪25. Geoff Johns‬‬ ‫‪26. Ivan Reis‬‬ ‫‪27. Batman‬‬ ‫‪28. Martian Manhunter‬‬ ‫‪29. Green Lantern‬‬ ‫‪30. Flash‬‬ ‫‪31. I, Zombie‬‬

‫‪145‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫‪144‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻛﻤﻴﻚ‬

‫ﻣﻰﺩﻫﻨﺪ ﻭ ﭼﮕﻮﻧﻪ ﺗﻐﻴﻴﺮ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﻣﺮﺩﻩﻫﺎﻯ ﻣﺘﺤﺮﻙ ﺗﺒﺪﻳﻞ ﺑﻪ ﻳﻜﻰ ﺍﺯ ﺑﻬﺘﺮﻳﻦ‬ ‫ﻛﻤﻴﻚﻫﺎﻯ ﺗﺮﺳﻨﺎﻙ ﺷﺪ‪ .‬ﺍﻳﻦ ﻛﻤﻴﻚ ﺩﺭ ﺳﺎﻝ ‪ 2010‬ﺑﺮﻧﺪﻩﻯ ﺟﺎﻳﺰﻩﻯ ﺁﻳﺰﻧﺮ ﺑﺮﺍﻯ ﺑﻬﺘﺮﻳﻦ ﺳﺮﻯ‬ ‫ﺩﻧﺒﺎﻟﻪﺩﺍﺭ ﺷﺪ ﻭ ﻣﺤﺒﻮﺑﻴﺖ ﺑﺎﻻﻯ ﺁﻥ ﺑﺎﻋﺚ ﺷﺪ ﺩﺭ ﻫﻤﺎﻥ ﺳﺎﻝ ﻳﻚ ﻣﺠﻤﻮﻋﻪﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺑﺮ ﺍﺳﺎﺱ‬ ‫ﺁﻥ ﭘﺨﺶ ﺷﻮﺩ‪.‬‬ ‫ﺗﻘﺮﻳﺒﺎً ﺩﺭ ﻫﻤﺎﻥ ﺯﻣﺎﻥ ﺷﺮﻭﻉ ﺍﻧﺘﺸﺎﺭ ﻣﺮﺩﻩﻫﺎﻯ ﻣﺘﺤﺮﻙ‪ ،‬ﻛﻤﻴﻚ ﻣﻮﻓﻖ ﺩﻳﮕﺮﻯ ﺩﺭ ﻣﻮﺭﺩ ﺯﺍﻣﺒﻰﻫﺎ‬ ‫ﺗﻮﺳﻂ ﺍﻧﺘﺸﺎﺭﺍﺕ ﺩﺍﺭﻙﻫﻮﺭﺱ ﻣﻨﺘﺸﺮ ﺷﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﺗﻔﺎﻭﺕ ﻛﻪ ﻓﻀﺎﻯ ﺍﻳﻦ ﻛﻤﻴﻚ ﺑﻪ ﺟﺎﻯ ﺗﺮﺳﻨﺎﻙ‬ ‫ﺑﻮﺩﻥ‪ ،‬ﻣﺨﻠﻮﻃﻰ ﺍﺯ ﻃﻨﺰ ﻭ ﺧﺸﻮﻧﺖ ﺑﻮﺩ ﻭ ﻓﻀﺎﻳﻰ ﺷﺒﻴﻪ ﺑﺎﺯﻯﻫﺎﻯ »ﺳﺎﻡ ﻭ ﻣﻜﺲ« ﺩﺍﺷﺖ‪ .‬ﺍﻳﻦ‬ ‫ﻛﻤﻴﻚ ﻛﻪ »ﺍﺑﻠﻪ« ]‪ [15‬ﻧﺎﻡ ﺩﺍﺭﺩ‪ ،‬ﺩﺭ ﻣﻮﺭﺩ ﻛﺸﻴﺸﻰ ﺩﻳﻮﺍﻧﻪ ﺍﺳﺖ ﻛﻪ ﻗﺼﺪ ﺩﺍﺭﺩ ﺍﺭﺗﺸﻰ ﺍﺯ ﻧﺎﻣﺮﺩﻩﻫﺎ‬ ‫ﺭﺍ ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﺍﻳﺠﺎﺩ ﻛﻨﺪ ﻭ ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﺷﺨﺼﻰ ﺑﻪ ﻧﺎﻡ ﮔﻮﻥ ﺳﻌﻰ ﺩﺍﺭﺩ ﺍﻳﻦ ﻛﺸﻴﺶ ﻭ ﺳﭙﺎﻫﻴﺎﻧﺶ‬ ‫ﺭﺍ ﺳﺮ ﺟﺎﻳﺸﺎﻥ ﺑﻨﺸﺎﻧﺪ‪.‬‬ ‫ﺣﺪﻭﺩ ﺩﻭ ﺳﺎﻝ ﺑﻌﺪ ﻭ ﺩﺭ ﺳﺎﻝ ‪ ،2007‬ﻣﺎﺭﻙ ﻣﻴﻼﺭ ]‪ [16‬ﻛﻤﻴﻜﻰ ﺑﺎ ﻣﺤﻮﺭﻳﺖ ﮔﺮﻭﻩ »ﭼﻬﺎﺭ‬ ‫ﺷﮕﻔﺖﺍﻧﮕﻴﺰ« ]‪ [17‬ﻧﻮﺷﺖ ﻛﻪ ﺩﺭ ﺁﻥ ﺍﻋﻀﺎﻯ ﺍﻳﻦ ﮔﺮﻭﻩ ﺑﻪ ﺟﻬﺎﻥ ﻣﻮﺍﺯﻯ ﺳﻔﺮ ﻣﻰﻛﻨﻨﺪ ﻛﻪ ﺩﺭ‬ ‫ﺁﻥ ﻗﻬﺮﻣﺎﻧﺎﻥ ﺑﻪ ﺯﺍﻣﺒﻰ ﺗﺒﺪﻳﻞ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ ﺍﻳﺪﻩﻯ ﺍﻭﻟﻴﻪﻯ ﻣﺠﻤﻮﻋﻪ ﺯﺍﻣﺒﻰﻫﺎﻯ‬ ‫ﻣﺎﻭﺭﻝ ﺷﺪ‪ .‬ﺭﺍﺑﺮﺕ ﻛﺮﻳﻜﻤﻦ ﻛﻪ ﺗﻮﺍﻧﺴﺘﻪ ﺑﻮﺩ ﺩﺭ ﻃﻰ ﺍﻳﻦ ﻣﺪﺕ ﺷﻬﺮﺗﻰ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩ‪ ،‬ﻧﻮﻳﺴﻨﺪﻩﻯ‬ ‫ﺳﺮﻯﻫﺎﻯ ﺍﻭﻝ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺷﺪ‪ .‬ﺩﺭ ﺳﺮﻯ ﺍﻭﻝ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ ﻫﻤﻪﻯ ﺍﺑﺮﻗﻬﺮﻣﺎﻥﻫﺎﻯ‬ ‫ﻣﺎﺭﻭﻝ ]‪ [18‬ﺑﺎ ﭘﺨﺶ ﻭﻳﺮﻭﺳﻰ ﺭﻭﻯ ﻛﺮﻩﻯ ﺯﻣﻴﻦ ﺗﺒﺪﻳﻞ ﺑﻪ ﺯﺍﻣﺒﻰ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺗﻔﺎﻭﺕ ﺁﻥﻫﺎ ﺑﺎ‬ ‫ﺯﺍﻣﺒﻰﻫﺎﻯ ﻣﻌﻤﻮﻟﻰ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻫﻢ ﻗﺪﺭﺕﻫﺎﻯ ﺧﺎﺹ ﺧﻮﺩ ﺭﺍ ﺩﺍﺭﻧﺪ ﻭ ﻫﻢ ﻫﻮﺵ ﻭ ﻋﻘﻞ ﺍﻧﺴﺎﻧﻰ‬ ‫ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﻧﺪﺍﺩﻩﺍﻧﺪ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﻛﻪ ﻣﮕﻨﻴﺘﻮ ]‪ [19‬ﺗﻨﻬﺎ ﺷﺨﺼﻰ ﺍﺳﺖ ﻛﻪ ﻫﻨﻮﺯ ﺗﺒﺪﻳﻞ‬ ‫ﺑﻪ ﺯﺍﻣﺒﻰ ﻧﺸﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﻣﻮﺝ ﺳﻮﺍﺭ ﻧﻘﺮﻩﺍﻯ ]‪ [20‬ﺍﺯ ﺭﺍﻩ ﻣﻰﺭﺳﺪ ﻭ ﺍﻋﻼﻡ ﻣﻰ ﻛﻨﺪ ﻛﻪ‬ ‫ﮔﺎﻻﻛﺘﻮﺱ ]‪ [21‬ﻗﺮﺍﺭ ﺍﺳﺖ ﺑﻪ ﺯﻭﺩﻯ ﺍﺯ ﺭﺍﻩ ﺑﺮﺳﺪ ﻭ ﻛﻞ ﺳﻴﺎﺭﻩ ﺍﺯ ﻣﺘﻼﺷﻰ ﻛﻨﺪ‪.‬‬ ‫ﺍﺯ ﺳﺎﻝ ‪ 2005‬ﻫﺮ ﺳﺎﻟﻪ ﺣﺪﻭﺩ ﻳﻚ ﻳﺎ ﺩﻭ ﻛﻤﻴﻚ ﺍﺯ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﻣﻨﺘﺸﺮ ﻣﻰﺷﻮﺩ‪ ،‬ﻭﻟﻰ ﻫﻴﭻ ﻛﺪﺍﻡ‬ ‫ﺍﺯ ﺁﻥﻫﺎ ﻧﺘﻮﺍﻧﺴﺘﻪ ﻣﺎﻧﻨﺪ ﻣﺠﻤﻮﻋﻪﻫﺎﻯ ﺩﻭﻡ ﻭ ﺳﻮﻡ ﻛﻪ ﻧﻮﺷﺘﻪﻯ ﻓﺮﺩ ﻭﻥﻟﻨﺘﻪ ]‪ [22‬ﻫﺴﺘﻨﺪ‪ ،‬ﻧﻈﺮ‬ ‫ﻣﺨﺎﻃﺒﺎﻥ ﺭﺍ ﺟﻠﺐ ﻛﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﺩﻭ ﻣﺠﻤﻮﻋﻪ ﺩﺩﭘﻮﻝ ]‪ [23‬ﻛﻪ ﺗﺒﺪﻳﻞ ﺑﻪ ﺯﺍﻣﺒﻰ ﺷﺪﻩ‪ ،‬ﻭﺍﺭﺩ ﺟﻬﺎﻥ‬ ‫ﺍﺻﻠﻰ ﻣﺎﺭﻭﻝ ﻣﻰﺷﻮﺩ ﻭ ﺑﻌﻀﻰ ﺍﺯ ﺍﺑﺮﻗﻬﺮﻣﺎﻧﺎﻥ ﺭﺍ ﺗﺒﺪﻳﻞ ﺑﻪ ﺯﺍﻣﺒﻰ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺍﻣﺎ ﺷﺎﻳﺪ ﻣﻌﺮﻭﻑﺗﺮﻳﻦ ﻛﻤﻴﻚ ﺩﺭ ﻣﻮﺭﺩ ﺯﺍﻣﺒﻰﻫﺎ‪» ،‬ﺳﻴﺎﻩﺗﺮﻳﻦ ﺷﺐ« ]‪ [24‬ﺑﻪ ﻧﻮﻳﺴﻨﺪﮔﻰ ﺟﻒ ﺟﺎﻧﺰ‬ ‫]‪ [25‬ﻭ ﺑﺎ ﻃﺮﺍﺣﻰﻫﺎﻯ ﺍﻳﻮﺍﻥ ﺭﻳﺲ ]‪ [26‬ﺑﺎﺷﺪ‪ .‬ﺍﻳﻦ ﻛﻤﻴﻚ ﻛﻪ ﻳﻜﻰ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻣﺘﻘﺎﻃﻊ ﺑﺰﺭگ‬ ‫ﺩﻯﺳﻰ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﺩ‪ ،‬ﺩﺭ ﺣﻘﻴﻘﺖ ﺑﺨﺸﻰ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﻃﻮﻻﻧﻰ ﺟﻒ ﺟﺎﻧﺰ ﻭ ﭘﺎﻳﺎﻧﻰ ﺑﺮ ﺳﻪﮔﺎﻧﻪﻯ‬ ‫ﺍﺳﺖ ﻛﻪ ﺑﺎ »ﮔﺮﻳﻦ ﻟﻨﺘﺮﻥ‪ :‬ﺗﻮﻟﺪ ﺩﻭﺑﺎﺭﻩ« ﺷﺮﻭﻉ ﺷﺪ ﻭ ﺩﺭ ﺟﻨﮓ ﺳﭙﺎﻩ ﺳﻴﻨﺴﺘﺮﻭ ﺍﺩﺍﻣﻪ ﻳﺎﻓﺖ‪ .‬ﺩﺭ‬ ‫‪143‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺗﻮﺍﻧﺴﺘﻨﺪ ﻣﺨﺎﻃﺒﺎﻥ ﺯﻳﺎﺩﻯ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﻧﺪ؛ ﺍﻣﺎ ﺍﻋﺘﺮﺍﺽ ﻭﺍﻟﺪﻳﻦ‪ ،‬ﻣﻌﻠﻤﺎﻥ ﻭ ﺭﻭﺣﺎﻧﻴﻮﻥ ﺩﺭ ﺍﻭﺍﻳﻞ‬ ‫ﺩﻫﻪﻯ ﭘﻨﺠﺎﻩ ﺍﻧﺘﺸﺎﺭ ﺍﻳﻦ ﻛﻤﻴﻚﻫﺎ ﺭﺍ ﺑﺎ ﻣﺸﻜﻞ ﺭﻭﺑﺮﻭ ﻛﺮﺩ‪ .‬ﺁﻥﻫﺎ ﻣﻌﺘﻘﺪ ﺑﻮﺩﻧﺪ ﺍﻳﻦ ﻛﺘﺎﺏﻫﺎ ﺑﺎﻋﺚ‬ ‫ﮔﺴﺘﺮﺵ ﺑﻰﺳﻮﺍﺩﻯ ﻭ ﺳﺮﭘﻴﭽﻰ ﺍﺯ ﻗﺎﻧﻮﻥ ﺩﺭ ﺑﻴﻦ ﺟﻮﺍﻧﺎﻥ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺩﺭ ﻧﻬﺎﻳﺖ ﺣﻜﻢ ﻣﺠﻠﺲ ﺳﻨﺎ‬ ‫ﺍﻧﺘﺸﺎﺭ ﺍﻳﻦ ﻛﻤﻴﻚﻫﺎ ﺭﺍ ﺑﺎ ﻣﺸﻜﻞ ﻣﻮﺍﺟﻪ ﻛﺮﺩ ﻭ ‪ EC‬ﺍﻧﺘﺸﺎﺭ ﻛﻤﻴﻚ ﻫﺎﻯ ﺗﺮﺳﻨﺎﻙ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻫﻤﺮﺍﻩ‬ ‫ﻛﻤﻴﻚﻫﺎﻯ ﺟﻨﺎﻳﻰ ﻭ ﻋﻠﻤﻰﺗﺨﻴﻠﻰﺍﺵ ﻣﺘﻮﻗﻒ ﻛﺮﺩ‪.‬‬ ‫ﻫﻤﭽﻨﻴﻦ ﺩﺭ ﺳﺎﻝ ‪ 1953‬ﺩﺍﺳﺘﺎﻧﻰ ﻳﻚ ﻗﺴﻤﺘﻰ ﺑﻪ ﻧﺎﻡ »ﺯﺍﻣﺒﻰ« ﻧﻮﺷﺘﻪﻯ ﺍﺳﺘﻦ ﻟﻰ ]‪ [4‬ﻭ ﺑﺎ‬ ‫ﻃﺮﺍﺣﻰﻫﺎﻯ ﺑﻴﻞ ﺍﻭﺭﺕ ]‪ [5‬ﺩﺭ »ﻛﻤﻴﻚ ﺁﻧﺘﻮﻟﻮژﻯ« ]‪ [6‬ﺑﺎ ﻧﺎﻡ »ﺗﻬﺪﻳﺪ« ]‪ [7‬ﻣﻨﺘﺸﺮ ﺷﺪ‪ .‬ﺩﺍﺳﺘﺎﻥ‬ ‫ﺩﺭ ﻣﻮﺭﺩ ﺷﺨﺼﻰ ﺑﻪ ﻧﺎﻡ ﺳﻴﻤﻮﻥ ﻭﻳﻠﻴﺎﻡ ﮔﺎﺭﺙ ]‪ [8‬ﺍﺳﺖ ﻛﻪ ﺩﺯﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ ﻭ ﻗﺮﺍﺭ ﺍﺳﺖ ﺗﻮﺳﻂ‬ ‫ﻳﻚ ﮔﺮﻭﻩ ﻛﺎﻟﺖ ﻭﻭﺩﻭ ]‪ [9‬ﻗﺮﺑﺎﻧﻰ ﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺩﺧﺘﺮﻯ ﺑﻪ ﻧﺎﻡ ﻻﻳﻼ ﻛﻪ ﺍﺯ ﻛﺎﺭﻣﻨﺪﺍﻥ ﺳﻴﻤﻮﻥ ﺑﻮﺩﻩ ﻭ‬ ‫ﻋﺎﺷﻖ ﺍﻭﺳﺖ‪ ،‬ﺧﻮﺩ ﺭﺍﻫﺒﻪﻯ ﺍﻳﻦ ﻛﺎﻟﺖ ﺑﻮﺩﻩ ﻭ ﺳﻌﻰ ﻣﻰﻛﻨﺪ ﺍﻭ ﺭﺍ ﻧﺠﺎﺕ ﺩﻫﺪ‪ .‬ﺗﻼﺵ ﻫﺎﻯ ﻻﻳﻼ‬ ‫ﺑﻰﻧﺘﻴﺠﻪ ﻣﻰﻣﺎﻧﺪ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺍﻭ ﻣﺠﺒﻮﺭ ﻣﻰﺷﻮﺩ ﺳﻴﻤﻮﻥ ﺭﺍ ﺗﺒﺪﻳﻞ ﺑﻪ ﺯﺍﻣﺒﻰ ﻛﻨﺪ‪ .‬ﺩﺭ ﻃﻰ ﺩﺍﺳﺘﺎﻥ‬ ‫ﻻﻳﻼ ﺳﻌﻰ ﺩﺍﺭﺩ ﺑﻪ ﺳﻴﻤﻮﻥ ﻛﻤﻚ ﻛﻨﺪ ﺗﺎ ﺑﺘﻮﺍﻧﺪ ﺑﻪ ﺁﺭﺍﻣﺶ ﺍﺑﺪﻯ ﺑﺮﺳﺪ‪ .‬ﺩﺭ ﺍﻭﺍﻳﻞ ﺩﻫﻪﻯ ﻫﻔﺘﺎﺩ‪،‬‬ ‫ﺍﺳﺘﻴﻮ ﮔﺮﺑﺮ ]‪ [10‬ﻭ ﭘﺎﺑﻠﻮ ﻣﺎﺭﻛﻮﺱ ]‪ [11‬ﺍﺯ ﺍﻳﻦ ﺷﺨﺼﻴﺖ ﺩﺭ ﻛﻤﻴﻚ »ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺯﺍﻣﺒﻰ« ]‪[12‬‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻧﺪ‪ .‬ﺍﻳﻦ ﻛﻤﻴﻚ ﺑﺎ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻦ ﺩﺍﺳﺘﺎﻥ ﺧﻮﺏ ﻧﺘﻮﺍﻧﺴﺖ ﺩﺭ ﻛﻨﺎﺭ ﻋﻨﺎﻭﻳﻦ ﻣﻮﻓﻘﻰ ﻣﺎﻧﻨﺪ‬ ‫»ﺁﺭﺍﻣﮕﺎﻩ ﺩﺭﺍﻛﻮﻻ« ﻭ »ﮔﺮﮔﻴﻨﻪ ﺩﺭ ﻧﻴﻤﻪﺷﺐ« ﻣﺨﺎﻃﺒﺎﻥ ﺯﻳﺎﺩﻯ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﻌﺪ ﺍﺯ ‪2‬‬ ‫ﺳﺎﻝ ﺍﻧﺘﺸﺎﺭ ﺁﻥ ﻣﺘﻮﻗﻒ ﺷﺪ‪.‬‬ ‫ﺩﺭ ﻃﻮﻝ ﺩﻫﻪﻫﺎﻯ ﻫﺸﺘﺎﺩ ﻭ ﻧﻮﺩ ﻫﻢ ﻛﻤﻴﻚﻫﺎﻳﻰ ﺩﺭ ﻣﻮﺭﺩ ﺯﺍﻣﺒﻰﻫﺎ ﻣﻨﺘﺸﺮ ﺷﺪﻧﺪ‪ .‬ﺍﺯ ﺟﻤﻠﻪ ﺍﻗﺘﺒﺎﺱ‬ ‫ﻛﻤﻴﻜﻰ »ﺍﺭﺗﺶ ﺗﺎﺭﻳﻜﻰ« ﻛﻪ ﺳﻢ ﺭﻳﻤﻰ ﻧﻮﻳﺴﻨﺪﻩﻯ ﻣﺠﻤﻮﻋﻪﻯ ﺍﻭﻝ ﺁﻥ ﺑﻮﺩ‪ .‬ﻛﻤﻴﻚ ﻫﺎﻯ ﺩﻳﮕﺮﻯ‬ ‫ﻧﻴﺰ ﺩﺭ ﻣﻮﺭﺩ ﺯﺍﻣﺒﻰﻫﺎ ﻣﻨﺘﺸﺮ ﺷﺪﻧﺪ ﻛﻪ ﻫﻴﭻ ﻛﺪﺍﻡ ﻣﻮﻓﻘﻴﺖ ﭼﻨﺪﺍﻧﻰ ﺑﻪ ﺩﺳﺖ ﻧﻴﺎﻭﺭﺩﻧﺪ‪.‬‬ ‫ﺍﻣﺎ ﺩﺭ ﺳﺎﻝ ‪ 2003‬ﻛﻤﻴﻜﻰ ﻣﻨﺘﺸﺮ ﺷﺪ ﻛﻪ ﻧﻪ ﺗﻨﻬﺎ ﺑﻪ ﻳﻜﻰ ﺍﺯ ﻣﻮﻓﻖﺗﺮﻳﻦ ﻛﻤﻴﻚﻫﺎﻯ ﻣﺴﺘﻘﻞ‬ ‫ﺗﺒﺪﻳﻞ ﺷﺪ‪ ،‬ﺑﻠﻜﻪ ﺑﺎﻋﺚ ﺍﻳﺠﺎﺩ ﻣﻮﺝ ﺟﺪﻳﺪﻯ ﺩﺭ ﻛﻤﻴﻚﻫﺎﻯ ژﺍﻧﺮ ﻭﺣﺸﺖ ﻭ ﺑﻪ ﺧﺼﻮﺹ ﺯﺍﻣﺒﻰﻫﺎ ﺷﺪ‪.‬‬ ‫»ﻣﺮﺩﻩﻫﺎﻯ ﻣﺘﺤﺮﻙ« ]‪ [13‬ﻧﻮﺷﺘﻪﻯ ﺭﺍﺑﺮﺕ ﻛﺮﻳﻜﻤﻦ ]‪ [14‬ﺩﺭ ﻣﻮﺭﺩ ﭘﻠﻴﺴﻰ ﺑﻪ ﻧﺎﻡ ﺭﻳﻚ ﮔﺮﻳﻤﺰ‬ ‫ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺣﻴﻦ ﺍﻧﺠﺎﻡ ﻣﺎﻣﻮﺭﻳﺘﻰ ﺯﺧﻤﻰ ﺷﺪﻩ ﻭ ﺑﻪ ﺍﻏﻤﺎ ﻣﻰﺭﻭﺩ‪ .‬ﺭﻳﻚ ﺑﻌﺪﺍ ً ﺩﺭ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﺑﻴﺪﺍﺭ‬ ‫ﻣﻰﺷﻮﺩ ﻭ ﺧﻮﺩ ﺭﺍ ﺗﻨﻬﺎ ﻭ ﺩﺭ ﻣﻴﺎﻥ ﺍﺟﺴﺎﺩ ﺯﻧﺪﻩ ﻣﻰﻳﺎﺑﺪ‪ .‬ﺍﻭ ﭘﺲ ﺍﺯ ﺍﻧﺪﻛﻰ ﺟﺴﺘﺠﻮ ﻣﻰﺗﻮﺍﻧﺪ ﻫﻤﺴﺮ‬ ‫ﻭ ﭘﺴﺮﺵ ﺭﺍ ﺩﺭ ﮔﺮﻭﻩ ﻛﻮﭼﻜﻰ ﭘﻴﺪﺍ ﻛﻨﺪ ﻭ ﺧﻴﻠﻰ ﺯﻭﺩ ﻣﻰﺗﻮﺍﻧﺪ ﺍﻋﺘﻤﺎﺩ ﺑﻘﻴﻪ ﺍﻋﻀﺎﻯ ﮔﺮﻭﻩ ﺭﺍ ﺑﻪ ﺧﻮﺩ‬ ‫ﺟﻠﺐ ﻛﺮﺩﻩ ﻭ ﺭﻫﺒﺮ ﺍﻳﻦ ﮔﺮﻭﻩ ﻛﻮﭼﻚ ﺷﻮﺩ‪.‬‬ ‫ﺭﺍﺑﺮﺕ ﻛﺮﻳﻜﻤﻦ ﺧﻮﺩ ﮔﻔﺘﻪ ﻛﻪ ﺍﻳﻦ ﻛﻤﻴﻚ ﻗﺮﺍﺭ ﻧﻴﺴﺖ ﺗﺮﺳﻨﺎﻙ ﺑﺎﺷﺪ ﻭ ﻫﺪﻑ ﺍﺻﻠﻰ ﺍﻭ ﺍﻳﻦ ﺍﺳﺖ‬ ‫ﻛﻪ ﻧﺸﺎﻥ ﺩﻫﺪ ﺟﻮﺍﻣﻊ ﭼﻪ ﻣﺸﻜﻼﺗﻰ ﺩﺍﺭﻧﺪ ﻭ ﺍﻧﺴﺎﻥ ﻫﺎ ﺩﺭ ﺷﺮﺍﻳﻂ ﺳﺨﺖ ﭼﻪ ﻭﺍﻛﻨﺶﻫﺎﻳﻰ ﻧﺸﺎﻥ‬ ‫‪142‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻛﻤﻴﻚ‬

‫ﺯﺍﻣﺒﻰ ﻛﻤﻴﻚ‬ ‫ﺍﺣﻤﺪ ﺑﺎﺑﺎﻳﻰ‬

‫ﭘﺲ ﺍﺯ ﭘﺎﻳﺎﻥ ﻳﺎﻓﺘﻦ ﺟﻨﮓ ﺟﻬﺎﻧﻰ ﺩﻭﻡ ﻣﺮﺩﺍﻥ ﺟﻮﺍﻥ ﻛﻪ ﻣﺨﺎﻃﺒﺎﻥ ﺍﺻﻠﻰ ﻛﻤﻴﻚﻫﺎ ﺑﻮﺩﻧﺪ‪،‬‬ ‫ﻋﻼﻗﻪﻯ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺍﺑﺮﻗﻬﺮﻣﺎﻧﻰ ﻳﺎ ﺑﻪ ﻋﺒﺎﺭﺗﻰ ﻣﺒﺎﺭﺯﺍﻥ ﻧﻘﺎﺏﺩﺍﺭ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻧﺪ‪.‬‬ ‫ﻣﺮﺩﻡ ﺧﻮﺍﻫﺎﻥ ﺧﺸﻮﻧﺖ ﺑﻴﺸﺘﺮ ﺩﺭ ﻛﻤﻴﻚﻫﺎ ﺑﻮﺩﻧﺪ ﻭ ﺩﺭ ﻫﻤﻴﻦ ﺳﺎﻝﻫﺎ ﺑﻮﺩ ﻛﻪ ﻭﺣﺸﺖ ﺑﻪ‬ ‫ﻋﻨﻮﺍﻥ ژﺍﻧﺮﻯ ﺟﺪﻳﺪ ﻭﺍﺭﺩ ﺭﺳﺎﻧﻪﻯ ﻛﻤﻴﻚ ﺷﺪ‪ .‬ﺍﺣﺘﻤﺎﻻ ﻭﺍﻥ ﺷﺎﺕ »ﻛﻤﻴﻚﻫﺎﻯ ﻭﻫﻢﺁﻭﺭ« ]‪[1‬‬ ‫ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺩﺭ ﺳﺎﻝ ‪ ،1947‬ﺍﻭﻟﻴﻦ ﻛﻤﻴﻚ ﺗﺮﺳﻨﺎﻙ ﺑﻮﺩﻩ ﺍﺳﺖ‪» .‬ﺳﻔﺮﻫﺎﻳﻰ ﺑﻪ ﻧﺎﺷﻨﺎﺧﺘﻪ«‬ ‫]‪ [2‬ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪ 1948‬ﺁﻏﺎﺯ ﺷﺪ‪ ،‬ﺍﻭﻟﻴﻦ ﻣﺠﻤﻮﻋﻪ ﻛﻤﻴﻚ ﻭﺣﺸﺖ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺣﺪﻭﺩ ﺩﻭ ﺳﺎﻝ‬ ‫ﺍﻧﺘﺸﺎﺭﺵ ﻣﺤﺒﻮﺑﻴﺖ ﺯﻳﺎﺩﻯ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩ‪.‬‬ ‫ﺍﺯ ﺳﺎﻝ ‪ 1950‬ﺗﺎ ‪ 1955‬ﺍﻧﺘﺸﺎﺭﺍﺕ ‪ EC Comics‬ﻛﻤﻴﻚ ﺗﺮﺳﻨﺎﻙ »ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻰ ﺍﺯ ﺳﺮﺩﺍﺑﻪ«‬ ‫]‪ [3‬ﺭﺍ ﻣﻨﺘﺸﺮ ﻛﺮﺩ ﻛﻪ ﺗﻮﺟﻪ ﺍﺻﻠﻰ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺁﻥ ﺍﺭﻭﺍﺡ‪ ،‬ﻣﺮﺩﮔﺎﻥ ﻭ ﺯﺍﻣﺒﻰﻫﺎ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺑﺮﺧﻰ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺍﻗﺘﺒﺎﺱﻫﺎﻳﻰ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺁﻟﻦ ﭘﻮ‪ ،‬ﻻﻭﻛﺮﺍﻓﺖ ﻭ ﺩﻳﮕﺮ‬ ‫ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻭﺣﺸﺖ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺑﻪ ﻫﻤﺮﺍﻩ ﺩﻭ ﻛﻤﻴﻚ ﺗﺮﺳﻨﺎﻙ ﺩﻳﮕﺮ ﺍﻧﺘﺸﺎﺭﺕ ‪،EC‬‬

‫ﺳﻴﻨﻤﺎ‬

‫ﻧﻮ ﺳﺎﺧﺘﻪ ﺷﺪﻥ ﺟﻬﺎﻥ ﺑﺎﻗﻰ ﺑﻤﺎﻧﺪ‪ ،‬ﺑﻪ ﻫﺮﺣﺎﻝ ﺁﺧﺮ ﻓﻴﻠﻢ ﺑﺮﺍﻳﺘﺎﻥ ﺣﺮﻑﻫﺎﻳﻰ ﺩﺍﺭﺩ‪.‬‬ ‫ﺩﻳﺪﮔﺎﻩ‬ ‫ﻳﻜﻰ ﺍﺯ ﻧﻜﺎﺗﻰ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢﻫﺎ ﻣﻄﺮﺡ ﻣﻰﺷﻮﺩ‪ ،‬ﺷﻜﻨﻨﺪﻩ ﺑﻮﺩﻥ ﺳﺎﺧﺘﺎﺭ ﺯﻧﺪﮔﻰ ﺍﺟﺘﻤﺎﻋﻰ ﻣﺎ‬ ‫ﺍﻧﺴﺎﻥﻫﺎ ﺍﺳﺖ‪ .‬ﺑﺎ ﺩﻳﺪﻥ ﻓﻴﻠﻢﻫﺎﻳﻰ ﺍﺯ ﺍﻳﻦ ﺩﺳﺖ‪ ،‬ﻫﻤﻴﺸﻪ ﺍﻳﻦ ﺳﻮﺍﻝ ﺩﺭ ﮔﻮﺷﻪﻯ ﺫﻫﻦ ﻣﻄﺮﺡ‬ ‫ﻣﻰﺷﻮﺩ ﻛﻪ ﺍﮔﺮ ﻭﺍﻗﻌﺎً ﺭﻭﺯﻯ ﭼﻨﻴﻦ ﺷﻮﺩ ﭼﻪ؟ ﻫﺮ ﺍﺯ ﮔﺎﻫﻰ ﺧﺒﺮ ﺷﺎﻳﻊ ﺷﺪﻥ ﺑﻴﻤﺎﺭﻯﻫﺎﻳﻰ ﻧﻈﻴﺮ ﻳﻚ‬ ‫ﻧﻮﻉ ﺁﻧﻔﻮﻻﻧﺰﺍ ﺭﺍ ﻣﻰﺷﻨﻮﻳﻢ ﻭ ﺩﭼﺎﺭ ﻭﺣﺸﺖ ﻣﻰﺷﻮﻳﻢ‪ .‬ﻫﺮ ﺭﻭﺯ ﻛﻪ ﺁﻣﺎﺭ ﻗﺮﺑﺎﻧﻰﻫﺎ ﺭﺍ ﻣﻰﺷﻨﻮﻳﻢ ﺑﻪ‬ ‫ﻭﺣﺸﺘﻤﺎﻥ ﺍﻓﺰﻭﺩﻩ ﻣﻰﺷﻮﺩ‪ ،‬ﻭﻟﻰ ﺍﺯ ﺑﺨﺖ ﺧﻮﺏ ﻣﺎ ﺍﻳﻦ ﻧﻮﻉ ﺑﻴﻤﺎﺭﻯﻫﺎ ﻗﺎﺑﻞ ﻛﻨﺘﺮﻝ ﻫﺴﺘﻨﺪ ﻭ ﺍﮔﺮﭼﻪ‬ ‫ﺁﻣﺎﺭ ﺗﻠﻔﺎﺕ ﺑﺎﻻ ﺍﺳﺖ‪ ،‬ﻭﻟﻰ ﺑﺎﻻﺧﺮﻩ ﻳﻚ ﺟﺎﻳﻰ ﻭﻳﺮﻭﺱ ﻛﻨﺘﺮﻝ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺍﮔﺮ ﺭﻭﺯﻯ ﻭﻳﺮﻭﺳﻰ ﻣﺎﻧﻨﺪ‬ ‫ﺁﻥﭼﻪ ﺩﺭ ‪ 28‬ﺭﻭﺯ ﺑﻌﺪ ﺩﺍﺷﺘﻴﻢ‪ ،‬ﺍﺯ ﻳﻚ ﺁﺯﻣﺎﻳﺸﮕﺎﻩ ﺑﻴﺮﻭﻥ ﺭﻓﺖ ﭼﻪ؟ ﻭﻳﺮﻭﺳﻰ ﻛﻪ ﺗﻨﻬﺎ ‪ 20‬ﺛﺎﻧﻴﻪ ﺑﻌﺪ‬ ‫ﺍﺯ ﺍﻧﺘﻘﺎﻝ ﺑﻪ ﺑﺪﻥ ﻗﺮﺑﺎﻧﻰ ﻓﻌﺎﻝ ﻣﻰﺷﻮﺩ ﻭ ﺍﻭ ﺭﺍ ﺩﺭﮔﻴﺮ ﻣﻰﻛﻨﺪ‪ .‬ﭼﻨﻴﻦ ﻭﻳﺮﻭﺳﻰ ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﻪ ﻛﻞ‬ ‫ﻛﺮﻩﻯ ﺯﻣﻴﻦ ﺭﺍ ﻧﺎﺑﻮﺩ ﻛﻨﺪ ﭼﻘﺪﺭ ﺯﻣﺎﻥ ﻻﺯﻡ ﺩﺍﺭﺩ؟ ﻭ ﺑﻌﺪ ﭼﻪ ﻣﻰﺷﻮﺩ؟ ﺍﻧﺴﺎﻥﻫﺎ ﻫﻤﺪﻳﮕﺮ ﺭﺍ ﻣﻰﺩﺭﻧﺪ‬ ‫ﻭ ﺑﻌﺪ ﻻﺑﺪ ﺑﻪ ﺩﺭﻧﺪﮔﺎﻥ ﺩﻳﮕﺮ ﺍﻳﻦ ﺳﻴﺎﺭﻩ ﺣﻤﻠﻪ ﻣﻰﺑﺮﻧﺪ ﻭ ﺑﻌﺪ ﭼﻪ؟‬ ‫ﺁﻳﺎ ﺩﺭ ﺗﻤﺎﻣﻰ ﻣﺮﺍﺣﻞ ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﺑﺤﺮﺍﻥ ﻛﻪ ﻳﻚ ﺟﺎﻳﻰ ﺩﺭ ﻛﺸﻮﻯ ﻳﻚ ﺳﺎﺯﻣﺎﻧﻰ ﺧﺎﻙ ﻣﻰﺧﻮﺭﺩ‪ ،‬ﺑﻪ‬ ‫ﺭﺍﺳﺘﻰ ﺑﻪ ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﻳﻚ ﭼﻨﻴﻦ ﻣﻮﻗﻌﻴﺖﻫﺎﻳﻰ ﻓﻜﺮ ﺷﺪﻩ ﺍﺳﺖ؟ ﮔﻤﺎﻥ ﻛﻨﻢ ﻫﻤﻪﻯ ﻣﺎ ﺍﺯ ﺑﺲ ﻛﻪ ﺍﺯ‬ ‫ﺍﻳﻦ ﻓﻴﻠﻢﻫﺎ ﺩﻳﺪﻩﺍﻳﻢ‪ ،‬ﻫﻴﭻ ﺗﺮﺩﻳﺪﻯ ﻧﺪﺍﺭﻳﻢ ﻛﻪ ﺁﺯﻣﺎﻳﺶﻫﺎﻳﻰ ﺍﺯ ﺍﻳﻦ ﺩﺳﺖ ﻳﺎ ﺍﺯ ﺁﻥ ﮔﻮﻧﻪ ﻛﻪ ﻛﺮﺍﻳﺘﻮﻥ‬ ‫ﺩﺭ ﻛﺘﺎﺏﻫﺎﻳﺶ ﻣﻰﻧﻮﺷﺖ‪ ،‬ﻳﻚ ﺟﺎﻳﻰ ﺩﺭ ﺯﻳﺮ ﻳﻚ ﻛﻮﻩ ﻳﺎ ﺑﻴﺎﺑﺎﻥ ﻧﺎﺷﻨﺎﺧﺘﻪﺍﻯ ﺩﺭ ﺟﺮﻳﺎﻥ ﺍﺳﺖ ﻭ‬ ‫ﺑﺎﻻﺧﺮﻩ ﺍﻣﺮﻭﺯ ﻭ ﻓﺮﺩﺍﺳﺖ ﻛﻪ ﻭﻳﺮﻭﺱ ﻳﺎ ﻓﺮﺍﻧﻜﺸﺘﺎﻳﻦ ﻣﺪﺭﻥ ﺍﺯ ﻳﻚ ﺟﺎﻳﻰ ﻓﺮﺍﺭ ﻛﻨﺪ ﻭ ﻛﻞ ﺗﻤﺪﻥ ﻣﺎ‬ ‫ﺭﺍ ﺭﻭﻯ ﺍﻳﻦ ﺳﻴﺎﺭﻩ ﺑﻪ ﭼﺎﻟﺶ ﺑﻜﺸﺪ‪.‬‬ ‫ﻣﺘﺎﺳﻔﺎﻧﻪ ﺳﺎﺧﺘﺎﺭ ﺯﻧﺪﮔﻰ ﻗﺮﻥ ﺑﻴﺴﺖ ﻭ ﻳﻜﻤﻰ ﻣﺎ ﻫﻤﻴﻦﻗﺪﺭ ﻣﺘﺰﻟﺰﻝ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﻛﻪ ﺩﺭ ﺍﻳﻦ‬ ‫ِ‬ ‫ﻭﺣﺸﺖ ﺍﺻﻠﻰ‪ ،‬ﺗﺎﺯﻩ ﺑﻌﺪ ﺍﺯ ﺗﻤﺎﻡ ﺷﺪﻥ ﻓﻴﻠﻢ ﻭ ﺑﺎﻻ ﺭﻓﺘﻦ ﺗﻴﺘﺮﺍژ ﺩﺭ ﺩﻟﻤﺎﻥ‬ ‫ﻓﻴﻠﻢﻫﺎ ﻣﻰﺑﻴﻨﻴﻢ ﻭ ﺷﺎﻳﺪ‬ ‫ﺯﻧﺪﻩ ﺷﻮﺩ‪ .‬ﺑﻪ ﮔﻤﺎﻥ ﻣﻦ ﻫﻤﻪﻯ ﻣﺎ ﭼﻨﺪ ﺳﺎﻋﺘﻰ ﺑﻌﺪ ﺍﺯ ﺩﻳﺪﻥ ﻓﻴﻠﻢ‪ ،‬ﺷﺮﺍﻳﻂ ﺑﺴﻴﺎﺭ ﻧﺎﺧﻮﺷﺎﻳﻨﺪ ﺁﻥ‬ ‫ﺭﺍ ﺩﺭ ﺫﻫﻨﻤﺎﻥ ﺑﺎﻻ ﭘﺎﻳﻴﻦ ﻣﻰﻛﻨﻴﻢ ﻭ ﺁﺧﺮ ﺳﺮ ﺑﻪ ﺧﻮﺩﻣﺎﻥ ﻣﻰﮔﻮﻳﻴﻢ »ﻧﺘﺮﺱ‪ ،‬ﺍﺗﻔﺎﻕ ﻧﻤﻰﺍﻓﺘﺪ« ﻳﺎ‬ ‫»ﺣﺘﻤﺎً ﻳﻚ ﻓﻜﺮﻯ ﺑﻪ ﺣﺎﻟﺶ ﻣﻰﻛﻨﻨﺪ ﺩﻳﮕﺮ«‪.‬‬

‫‪139‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻋﻨﺎﺻﺮ ﻫﻢ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ ،‬ﺍﻣﺎ ﺁﻥﭼﻪ ﻛﻪ ﺩﺭ ﻭﺍﻗﻊ ﺍﺑﺰﺍﺭ ﺍﺻﻠﻰ ﺍﻧﺘﻘﺎﻝ ﻭﺣﺸﺖ ﺑﻪ ﺑﻴﻨﻨﺪﻩ ﺍﺳﺖ‪،‬‬ ‫ﺻﺤﻨﻪﻫﺎﻯ ﺧﻮﻥﺑﺎﺭ ﺩﺭﻳﺪﻩ ﺷﺪﻥ‪ ،‬ﺗﻜﻪﺗﻜﻪ ﺷﺪﻥ‪ ،‬ﺷﻜﻨﺠﻪ ﺷﺪﻥ ﻭ ﺍﻣﺜﺎﻟﻬﻢ ﺍﺳﺖ‪ .‬ﻣﻘﺎﻳﺴﻪ ﻛﻨﻴﺪ‬ ‫ﻓﻴﻠﻢ ﺗﺮﺳﻨﺎﻙ »ﺩﺭﺧﺸﺶ« ﺍﺛﺮ ﺍﺳﺘﻨﻠﻰﻛﻮﺑﺮﻳﻚ ﺭﺍ ﺑﺎ ﻫﻤﻴﻦ ﻓﻴﻠﻢ ‪ 28‬ﺭﻭﺯ‪ .‬ﻫﺮ ﺩﻭ ﻓﻴﻠﻢ ﺩﺭ ﮔﻮﻧﻪﻯ‬ ‫ﺗﺮﺳﻨﺎﻙ ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ‪ .‬ﺗﺮﺱ ﺩﺭ ﻳﻜﻰ ﺍﺯ ﻃﺮﻳﻖ ﺍﻳﺠﺎﺩ ﻓﻀﺎﻫﺎﻯ ﻭﻫﻤﻨﺎﻙ ﻭ ﻣﻮﺳﻴﻘﻰ ﺍﻳﺠﺎﺩ ﻣﻰﺷﻮﺩ ﻭ‬ ‫ﺩﺭ ﺩﻳﮕﺮﻯ ﺍﺯ ﺭﺍﻩ ﺻﺤﻨﻪﻫﺎﻯ ﺍﻛﺸﻦ‪ ،‬ﺗﻌﻘﻴﺐ ﻭ ﮔﺮﻳﺰ ﻭ ﺍﻟﺒﺘﻪ ﺧﻮﻥ ﻭ ﺧﻮﻥﺭﻳﺰﻯ ﺷﺪﻳﺪ‪.‬‬ ‫ﺑﺴﻴﺎﺭ ﺧﺐ‪ ،‬ﻛﺴﺎﻧﻰ ﻫﻢ ﻫﺴﺘﻨﺪ ﻛﻪ ﺍﺯ ﺍﻳﻦ ﺧﻮﻥ ﻭ ﺧﻮﻥﺭﻳﺰﻯ ﻟﺬﺕ ﻣﻰﺑﺮﻧﺪ! ‪ 28‬ﺭﻭﺯ ﺑﻌﺪ ﺩﺭ‬ ‫ﺯﻣﻴﻨﻪﻯ ﺭﺍﺿﻰ ﻛﺮﺩﻥ ﺍﻳﻦ ﺩﺳﺘﻪ ﺍﺯ ﻃﺮﻓﺪﺍﺭﺍﻥ ﺳﻴﻨﻤﺎ‪ ،‬ﻓﻴﻠﻢ ﻣﻮﻓﻘﻰ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﺩ‪ .‬ﺳﻜﺎﻧﺴﻰ‬ ‫ﻛﻪ ﺩﺭ ﺁﻥ ﺟﻴﻢ ﺑﻪ ﺧﻴﺎﺑﺎﻥﻫﺎﻯ ﺷﻬﺮ ﻭﺍﺭﺩ ﻣﻰﺷﻮﺩ‪ ،‬ﺩﺭ ﺍﺑﺘﺪﺍ ﺑﺎ ﺳﻜﻮﺗﻰ ﺳﻨﮕﻴﻦ ﻭ ﺩﻫﺸﺘﻨﺎﻙ ﻣﻮﺍﺟﻪ‬ ‫ﻣﻰﺷﻮﻳﻢ ﻛﻪ ﺩﺭ ﺗﻀﺎﺩ ﺑﺎ ﺻﺤﻨﻪﻫﺎﻯ ﺍﻛﺸﻨﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺩﻧﺒﺎﻝ ﺁﻥ ﻣﻰﺁﻳﺪ‪ .‬ﺍﻣﺎ ﻫﻤﺎﻥ ﺳﻜﻮﺕ ﻭ‬ ‫ﺑﻮﺩﻥ ﻳﻚ ﻣﺘﺮﻭﭘﻮﻟﻴﺲ ﻋﻈﻴﻢ‪ ،‬ﻛﺎﻓﻰ ﺍﺳﺖ ﻛﻪ ﻫﺮﺍﺱ ﺭﺍ ﺑﻪ ﺟﺎﻥ ﺑﻴﻨﻨﺪﻩ ﺑﻴﻨﺪﺍﺯﺩ ﻭ ﺍﻭ ﺭﺍ ﺑﺮﺍﻯ‬ ‫ﺧﺎﻟﻰ‬ ‫ِ‬ ‫ﺩﻳﺪﻥ ﺩﻧﺒﺎﻟﻪﻯ ﻣﺨﻮﻑ ﺩﺍﺳﺘﺎﻥ ﺁﻣﺎﺩﻩ ﻛﻨﺪ‪ .‬ﻳﻜﻰ ﺍﺯ ﻋﻨﺎﺻﺮ ﻣﻮﻓﻖ ﺩﺭ ﺭﺍﻩ ﺍﻳﺠﺎﺩ ﺍﺿﻄﺮﺍﺏ ﻭ ﻫﻴﺠﺎﻥ‬ ‫ﻻﺯﻡ‪ ،‬ﺍﻳﻦ ﺣﻘﻴﻘﺖ ﺍﺳﺖ ﻛﻪ ﻭﻳﺮﻭﺱ ﻇﺮﻑ ‪ 20‬ﺛﺎﻧﻴﻪ ﻋﻤﻞ ﻣﻰﻛﻨﺪ‪ .‬ﺗﻤﺎﺷﺎﭼﻰ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺩﺭ ﻫﻨﮕﺎﻡ‬ ‫ﻫﺮ ﺑﺮﺧﻮﺭﺩﻯ ﻳﻚ ﺷﻤﺎﺭﺵ ﺫﻫﻨﻰ ﺍﺯ ﻳﻚ ﺗﺎ ﺑﻴﺴﺖ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﺪ ﻭ ﺩﺭ ﻫﻤﻴﻦ ﺯﻣﺎﻥ ﺍﺳﺖ ﻛﻪ ﻳﻜﻰ‬ ‫ﺍﺯ ﻗﻬﺮﻣﺎﻥﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ ﻓﺮﺻﺖ ﺩﺍﺭﺩ ﺍﺯ ﺧﻮﺩﺵ ﺩﻓﺎﻉ ﻛﻨﺪ ﻭ ﻭﮔﺮﻧﻪ ﺍﻭ ﻫﻢ ﺑﻪ ﺳﭙﺎﻩ ﺯﺍﻣﺒﻰﻫﺎ ﭘﻴﻮﺳﺘﻪ‬ ‫ﺍﺳﺖ‪.‬‬ ‫ﻳﻜﻰ ﺍﺯ ﻧﻘﺎﻁ ﻗﻮﺕ ﻓﻴﻠﻢ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﻓﻴﻠﻢﻫﺎﻯ ﺩﻳﮕﺮ ﺍﺯ ﺍﻳﻦ ﻧﻮﻉ‪ ،‬ﺗﻤﺮﻛﺰ ﺭﻭﻯ ﺷﺨﺼﻴﺖﻫﺎ ﺍﺳﺖ‪.‬‬ ‫ﺳﻪ ﺷﺨﺼﻴﺖ ﺍﺻﻠﻰ ﺩﺍﺳﺘﺎﻥ ﻳﻌﻨﻰ ﺟﻴﻢ‪ ،‬ﺳﻠﻨﺎ ﻭ ﻣﺎﺭﻙ ﺑﻪ ﺧﻮﺑﻰ ﭘﺮﺩﺍﺧﺖ ﺷﺪﻩﺍﻧﺪ ﻭ ﺣﺘﺎ ﺁﻥ ﻧﻴﻤﭽﻪ‬ ‫ﻣﺎﺟﺮﺍﻯ ﺭﻭﻣﺎﻧﺘﻴﻜﻰ ﻛﻪ ﺩﺭ ﺑﺤﺒﻮﺣﻪﻯ ﺧﻮﻥ ﻭ ﺧﻮﻥﺭﻳﺰﻯ ﺟﺮﻳﺎﻥ ﺩﺍﺭﺩ ﻫﻢ ﺑﻪﺟﺎ ﺍﺳﺖ‪ .‬ﺩﺭ ﺑﺴﻴﺎﺭﻯ‬ ‫ﺍﺯ ﻓﻴﻠﻢﻫﺎﻳﻰ ﺩﺭ ﺍﻳﻦ ﮔﻮﻧﻪ‪ ،‬ﻣﺎﻧﻨﺪ »ﻣﻦ ﺍﻓﺴﺎﻧﻪ ﻫﺴﺘﻢ« ﻭ »‪ ،«Resident evil‬ﻓﻘﻂ ﻳﻚ ﺷﺨﺼﻴﺖ‬ ‫ﻣﺮﻛﺰﻯ ﺩﺍﺭﻳﻢ ﻛﻪ ﺩﺭ ﻧﺒﺮﺩ ﺑﺎ ﻧﻴﺮﻭﻯ ﺷﺮ ﺩﺍﺳﺘﺎﻥ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺩﺭ ‪ 28‬ﺭﻭﺯ ﺑﻌﺪ ﻳﻚ ﮔﺮﻭﻩ ﺭﺍ ﺩﺭ ﺍﺧﺘﻴﺎﺭ‬ ‫ﺩﺍﺭﻳﻢ ﻭ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺩﺍﺧﻞ ﮔﺮﻭﻩ ﺑﻪ ﺧﻮﺑﻰ ﭘﺮﺩﺍﺧﺖ ﺷﺪﻩﺍﻧﺪ‪.‬‬ ‫ﺻﺤﻨﻪﻫﺎﻯ ﺗﻌﻘﻴﺐ ﻭ ﮔﺮﻳﺰ ﻣﻴﺎﻥ ﺯﺍﻣﺒﻰﻫﺎ ﻭ ﻧﺠﺎﺕﻳﺎﻓﺘﻪﻫﺎ‪ ،‬ﺻﺤﻨﻪﻫﺎﻯ ﻧﻔﺲﮔﻴﺮ ﻭ ﺍﻟﺒﺘﻪ ﺻﺤﻨﻪﻫﺎﻯ‬ ‫ﺧﻮﻥ ﻭ ﺧﻮﻥﺭﻳﺰﻯ ﺑﻪ ﺷﻜﻞ ﻣﻨﺎﺳﺒﻰ ﻣﻴﺎﻥ ﺁﺭﺍﻣﺶﻫﺎﻯ ﮔﺎﻩ ﻭ ﺑﻰﮔﺎﻩ ﮔﺮﻭﻩ ﭘﺨﺶ ﺷﺪﻩﺍﻧﺪ ﻭ ﺿﺮﺑﺎﻫﻨﮓ‬ ‫ﻣﻨﺎﺳﺒﻰ ﺑﻪ ﻓﻴﻠﻢ ﻣﻰﺩﻫﻨﺪ‪.‬‬ ‫ﭘﺎﻳﺎﻥﺑﻨﺪﻯ ﻓﻴﻠﻢ ﻫﻢ ﺗﻌﻠﻴﻖ ﻣﻨﺎﺳﺒﻰ ﺩﺍﺭﺩ‪ .‬ﺩﺭﺳﺖ ﻛﻪ ﺑﺎ ﻛﺸﺘﻪ ﺷﺪﻥ ﺗﻤﺎﻡ ﺷﺨﺼﻴﺖﻫﺎ ﺗﻤﺎﻡ‬ ‫ﻧﻤﻰﺷﻮﺩ‪ ،‬ﺍﻣﺎ ﺑﻪ ﻫﺮ ﺣﺎﻝ ﺑﺮﺍﻯ ﻛﺴﺎﻧﻰ ﻛﻪ ﭘﺎﻳﺎﻥﻫﺎﻯ ﻣﺎﻳﻮﺱﻛﻨﻨﺪﻩ ﻭ ﻏﺮﻕ ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﺭﺍ ﺑﺮﺍﻯ ﺍﻳﻦ‬ ‫ﻧﻮﻉ ﻓﻴﻠﻢﻫﺎ ﻣﻰﭘﺴﻨﺪﻧﺪ ﻫﻢ ﺭﺍﺿﻰ ﻛﻨﻨﺪﻩ ﻣﺤﺴﻮﺏ ﻣﻰﺷﺪ‪ .‬ﺍﮔﺮ ﻫﻢ ﺍﺯ ﺁﻥ ﮔﺮﻭﻩ ﺗﻤﺎﺷﺎﭼﻰﻫﺎ ﻫﺴﺘﻴﺪ‬ ‫ﻛﻪ ﺩﻭﺳﺖ ﺩﺍﺭﻳﺪ ﺁﺧﺮ ﻓﻴﻠﻢﻫﺎﻯ ﭘﺴﺎﺁﺧﺮﺍﻟﺰﻣﺎﻧﻰ ﻫﻤﻴﺸﻪ ﻳﻚ ﺑﺎﺭﻳﻜﻪ ﻧﻮﺭ ﺍﻣﻴﺪﻯ ﺑﺮﺍﻯ ﺑﻬﺮﻭﺯﻯ ﻭ ﺍﺯ‬ ‫‪138‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺳﻴﻨﻤﺎ‬

‫ﻓﻴﻠﻢﻫﺎﻳﻰ ﻧﻈﻴﺮ »ﺷﺐ ﻣﺮﺩﮔﺎﻥ ﺯﻧﺪﻩ« ﻭ »ﻃﻠﻮﻉ ﻣﺮﺩﮔﺎﻥ«‪ .‬ﺍﻣﺎ ﺯﺍﻣﺒﻰﻫﺎﻯ ﻓﻴﻠﻢ ‪ 28‬ﺭﻭﺯ ﺑﻌﺪ ﻭ ﻳﺎ‬ ‫ﺯﺍﻣﺒﻰﻫﺎﻯ ﻓﻴﻠﻢ »‪ «Resident evil‬ﺍﺯ ﺍﻳﻦ ﮔﻮﻧﻪ ﻧﻴﺴﺘﻨﺪ‪ .‬ﺍﻳﻦ ﺯﺍﻣﺒﻰﻫﺎ ﺣﺎﺻﻞ ﺟﺎﺩﻭﻯ ﺑﻪ ﺧﻄﺎ‬ ‫ﺭﻓﺘﻪﻯ ﻓﻨﺎﻭﺭﻯ ﻫﺴﺘﻨﺪ ﻭ ﻣﻌﻤﻮﻻً ﺩﺭ ﺍﺛﺮ ﻳﻚ ﻭﻳﺮﻭﺱ ﺑﻪ ﻭﺟﻮﺩ ﻣﻰﺁﻳﻨﺪ ﻭ ﺍﺯ ﺁﻥﺟﺎ ﻛﻪ ﻭﻳﺮﻭﺱ‬ ‫ﻭﺍﮔﻴﺮﺩﺍﺭ ﺍﺳﺖ‪ ،‬ﻣﺜﻞ ﺯﺍﻣﺒﻰﻫﺎﻯ ﺑﺎ ﺳﺤﺮ ﻭ ﺟﺎﺩﻭ ﺍﺯ ﻣﺮگ ﺑﺮﺧﺎﺳﺘﻪ‪ ،‬ﺍﻳﻦﻫﺎ ﻫﻢ ﺑﻪ ﻫﺮ ﻛﺲ ﺣﻤﻠﻪ‬ ‫ﻣﻰﻛﻨﻨﺪ ﻭ ﺍﻭ ﺭﺍ ﻣﺜﻞ ﺧﻮﺩ ﻣﻰﺳﺎﺯﻧﺪ‪.‬‬ ‫ﺍﻣﺎ ﭼﺮﺍ ﺯﺍﻣﺒﻰ؟ ﭼﺮﺍ ﺑﻪ ﺍﻳﻦ ﻣﺤﺼﻮﻻﺕِ ﻓﻨﺎﻭﺭﻯ ﺯﺍﻣﺒﻰ ﮔﻔﺘﻪ ﻣﻰﺷﻮﺩ؟ ﺍﻳﻦﻫﺎ ﻛﻪ ﺍﺯ ﻣﺮگ ﺑﺮﻧﺨﺎﺳﺘﻪﺍﻧﺪ!‬ ‫ﺯﺍﻣﺒﻰﻫﺎﻯ ﻓﻴﻠﻢ ‪ 28‬ﺭﻭﺯ ﺑﻌﺪ ‪-‬ﻃﺒﻖ ﮔﻔﺘﻪﻯ ﻓﻴﻠﻢ‪ -‬ﺁﻟﻮﺩﻩ ﺑﻪ ﻭﻳﺮﻭﺱ ﺧﺸﻮﻧﺖ ﻫﺴﺘﻨﺪ‪ .‬ﺍﺯ ﻋﻼﺋﻢ‬ ‫ﺁﻥﻫﺎ‪ ،‬ﻣﺮﺩﻣﻚﻫﺎﻯ ﮔﺸﺎﺩ ﻭ ﭼﺸﻢﻫﺎﻯ ﺧﻮﻧﻴﻦ ﺍﺳﺖ‪ .‬ﭘﺎﺳﺦ ﺍﻳﻦ ﺳﻮﺍﻝ ﺩﺭ ﺍﺭﺯﺵ ﻭ ﺑﻬﺎﻯ ﺧﺮﺩ ﺑﺸﺮﻯ‬ ‫ﺍﺳﺖ‪ .‬ﻭﻳﺮﻭﺱ ﻋﻘﻞ ﻭ ﺧﺮﺩ ﺭﺍ ﺯﺍﺋﻞ ﻣﻰﻛﻨﺪ ﻭ ﺁﻥﭼﻪ ﻛﻪ ﺑﺮ ﺟﺎﻯ ﻣﻰﻣﺎﻧﺪ‪ ،‬ﻣﻮﺟﻮﺩﻯ ﺍﺳﺖ ﻛﻪ ﺩﻳﮕﺮ‬ ‫ﻗﺪﺭﺕ ﺗﻔﻜﺮ ﻧﺪﺍﺭﺩ‪ ،‬ﺍﺭﺯﺵ ﻭ ﻫﻨﺠﺎﺭﻯ ﻧﺪﺍﺭﺩ‪ ،‬ﻋﺸﻖ‪ ،‬ﻣﺤﺒﺖ ﻭ ﺳﺎﻳﺮ ﺍﺣﺴﺎﺳﺎﺕ ﻭ ﻋﻮﺍﻃﻒ ﺍﻧﺴﺎﻧﻰ ﺭﺍ‬ ‫ﻧﻴﺰ ﺩﻳﮕﺮ ﺣﺲ ﻧﻤﻰﻛﻨﺪ‪ .‬ﺣﺘﺎ ﻧﻤﻰﺷﻮﺩ ﮔﻔﺖ ﻛﻪ ﻧﻔﺮﺕ ﺩﺍﺭﺩ‪ ،‬ﺑﻠﻜﻪ ﺗﻨﻬﺎ ﺟﺴﻤﻰ ﺍﺳﺖ ﻣﺘﺤﺮﻙ ﻛﻪ‬ ‫ﺗﺤﺖ ﺗﺎﺛﻴﺮ ﺑﻴﻤﺎﺭﻯ ﺣﺮﻛﺖ ﻣﻰﻛﻨﺪ ﻭ ﻣﻰ َﺩ َﺭﺩ‪.‬‬ ‫ﺩﺭ ‪ 28‬ﺭﻭﺯ ﺑﻌﺪ‪ ،‬ﻭﻳﺮﻭﺱ »ﺧﺸﻢ« ﻧﺎﻡ ﺩﺍﺭﺩ‪ .‬ﻓﺮﺩ ﺁﻟﻮﺩﻩ ﺑﻪ ﺁﻥ ﺗﻨﻬﺎ ﻳﻚ ﻣﻮﺗﻮﺭ ﻣﺘﺤﺮﻙ ﺧﺸﻢ ﺍﺳﺖ‪.‬‬ ‫ﺧﺸﻢ ﺩﺭ ﺑﺎﻻﺗﺮﻳﻦ ﻭ ﺷﺪﻳﺪﺗﺮﻳﻦ ﺣ ِﺪ ﺁﻥ ﻛﻪ ﺩﺭ ﺻﺤﻨﻪﻫﺎﻯ ﺧﻮﻧﻴﻦ ﻭ ﺧﺸﻮﻧﺖﺑﺎﺭ ﻓﻴﻠﻢ ﺑﻪ ﺧﻮﺑﻰ ﺑﻪ‬ ‫ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪﻩ ﺍﺳﺖ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺯﺍﻣﺒﻰﻫﺎﻯ ﻣﺪﺭﻥ‪ ،‬ﺍﻧﺴﺎﻥﻫﺎﻳﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﻪ ﻧﺤﻮﻯ ﺍﻧﺴﺎﻧﻴﺖﺷﺎﻥ ﺍﺯ‬ ‫ﺁﻥﻫﺎ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﻭ ﺣﺎﺻﻞ ﻛﺎﺭ‪ ،‬ﺟﺴﻤﻰ ﺍﺳﺖ ﻣﺘﺤﺮﻙ ﻭ ﺗﺮﺳﻨﺎﻙ‪ .‬ﺑﻪ ﻫﻤﺎﻥ ﺗﺮﺳﻨﺎﻛﻰ ﺯﺍﻣﺒﻰﻫﺎﻯ‬ ‫ﺣﺎﺻﻞ ﺟﺎﺩﻭﻯ ﺳﻴﺎﻩ‪.‬‬ ‫ﺩﺭﻭﻥﻣﺎﻳﻪﻫﺎ‬ ‫‪ 28‬ﺭﻭﺯ ﺑﻌﺪ ﻳﻚ ﻓﻴﻠﻢ ﻋﻠﻤﻰﺗﺨﻴﻠﻰ ﺩﺭ ﺯﻳﺮﮔﻮﻧﻪﻯ ﭘﺴﺎﺁﭘﻮﻛﺎﻟﻴﭙﺘﻴﻚ ﺍﺳﺖ‪ .‬ﺍﺗﻔﺎﻕ ﺍﺻﻠﻰ ﺩﺭ ﺑﺮﻳﺘﺎﻧﻴﺎ‬ ‫ﺭﺥ ﺩﺍﺩﻩ ﻭ ﻣﺎ ﻭﺍﻗﻌﺎً ﺳﺮﻧﺨﻰ ﻧﺪﺍﺭﻳﻢ ﻛﻪ ﺁﻳﺎ ﺗﻤﺎﻡ ﺩﻧﻴﺎ ﺁﻟﻮﺩﻩ ﺷﺪﻩ ﻳﺎ ﺧﻴﺮ‪ ،‬ﺍﻣﺎ ﻫﻤﺎﻥ ﭼﺸﻢﺍﻧﺪﺍﺯﻯ ﻛﻪ‬ ‫ﺍﺯ ﺑﺮﻳﺘﺎﻧﻴﺎﻯ ﺗﺴﺨﻴﺮ ﺷﺪﻩ ﻣﻰﺑﻴﻨﻴﻢ‪ ،‬ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﻪ ﺑﺘﻮﺍﻧﻴﻢ ﻳﻚ ﺁﺧﺮﺍﻟﺰﻣﺎﻥ ﺩﻫﺸﺘﻨﺎﻙ ﺭﺍ ﺗﺼﻮﺭ ﻛﻨﻴﻢ‪،‬‬ ‫ﻛﺎﻓﻰ ﺍﺳﺖ‪ .‬ﻓﻴﻠﻢ ﻛﻪ ﻣﺤﺼﻮﻝ ﺳﺎﻝ ‪ 2002‬ﺍﺳﺖ‪ ،‬ﺩﺭ ﺯﻣﺎﻥ ﺧﻮﺩﺵ ﺑﻪ ﻗﺪﺭﻯ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﺑﻮﺩ ﻛﻪ ﭘﺲ‬ ‫ﺍﺯ ﺁﻥ ﺷﺎﻫﺪ ﺗﻌﺪﺍﺩ ﺯﻳﺎﺩﻯ ﻓﻴﻠﻢ ﺩﻳﮕﺮ ﺍﺯ ﺍﻳﻦ ﻧﻮﻉ ﺑﻮﺩﻳﻢ‪.‬‬ ‫ﮔﻔﺘﻪ ﻣﻰﺷﻮﺩ ﺩﺭ ﺁﺩﻣﻰ ﻧﻴﺎﺯ ﺑﻪ ﺗﺮﺳﻴﺪﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻭ ﺍﻳﻦ ﻫﻤﻪ ﻓﻴﻠﻢﻫﺎﻯ ﺗﺮﺳﻨﺎﻙ ﺍﺯ ﻫﻤﻴﻦ ﻧﻴﺎﺯ‬ ‫ﺳﺎﺩﻩﻯ ﺍﻧﺴﺎﻧﻰ ﺳﺮﭼﺸﻤﻪ ﮔﺮﻓﺘﻪﺍﻧﺪ‪ .‬ﻓﻴﻠﻢﻫﺎﻯ ﺗﺮﺳﻨﺎﻙ ﺧﻮﺩ ﺍﻧﻮﺍﻉ ﻭ ﺯﻳﺮﮔﻮﻧﻪﻫﺎﻯ ﻣﺘﻔﺎﻭﺕ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﻳﻜﻰ ﺍﺯ ﺯﻳﺮﮔﻮﻧﻪﻫﺎﻯ ﻇﺎﻫﺮﺍ ً ﭘﺮﻃﺮﻓﺪﺍﺭ ﺍﻳﻦ ﻧﻮﻉ ﻓﻴﻠﻢﻫﺎ‪ ،‬ﺍﺳﻠﺸﺮ ﺍﺳﺖ‪ .‬ﻓﻴﻠﻢﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﺁﻥﻫﺎ ﻋﺎﻣﻞ‬ ‫ﺍﺻﻠﻰ ﺍﻳﺠﺎﺩ ﺗﺮﺱ‪ ،‬ﻣﺎﺟﺮﺍﻫﺎﻯ ﻣﺮﻣﻮﺯ ﻭ ﻣﺎﻭﺭﺍﻟﻄﺒﻴﻌﻪ ﻭ ﺍﺟﻨﻪ ﻭ ﺷﻴﺎﻃﻴﻦ ﻧﻴﺴﺘﻨﺪ‪ .‬ﻣﻤﻜﻦ ﺍﺳﺖ ﺍﻳﻦ‬ ‫‪137‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺧﻼﺻﻪﻯ ﻓﻴﻠﻢ‬ ‫ﻋﺪﻩﺍﻯ ﺍﺯ ﻓﻌﺎﻻﻥ ﺩﻓﺎﻉ ﺍﺯ ﺣﻘﻮﻕ ﺣﻴﻮﺍﻧﺎﺕ ﺑﻪ ﻳﻚ ﺁﺯﻣﺎﻳﺸﮕﺎﻩ ﺩﺭ ﻛﻤﺒﺮﻳﺞ ﺣﻤﻠﻪ ﻣﻰﻛﻨﻨﺪ ﻭ ﺗﻼﺵ‬ ‫ﻣﻰﻛﻨﻨﺪ ﺗﻌﺪﺍﺩﻯ ﺍﺯ ﺷﺎﻣﭙﺎﻧﺰﻩﻫﺎﻳﻰ ﺭﺍ ﻛﻪ ﺭﻭﻯ ﺁﻥﻫﺎ ﺁﺯﻣﺎﻳﺶ ﺷﺪﻩ‪ ،‬ﺁﺯﺍﺩ ﻛﻨﻨﺪ‪ .‬ﻛﺎﺭﻣﻨﺪﺍﻥ ﺁﺯﻣﺎﻳﺸﮕﺎﻩ‬ ‫ﺑﻪ ﺁﻥﻫﺎ ﻫﺸﺪﺍﺭ ﻣﻰﺩﻫﻨﺪ ﻛﻪ ﺩﺭ ﺣﺎﻝ ﺁﺯﻣﺎﻳﺶ ﻧﻮﻋﻰ ﻭﻳﺮﻭﺱ ﺑﻪ ﻧﺎﻡ »ﺧﺸﻢ« ﺭﻭﻯ ﺍﻳﻦ ﺣﻴﻮﺍﻧﺎﺕ‬ ‫ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﺴﻴﺎﺭ ﻭﺍﮔﻴﺮﺩﺍﺭ ﺍﺳﺖ ﻭ ﻫﻨﻮﺯ ﺩﺭﻣﺎﻧﻰ ﻫﻢ ﺑﺮﺍﻳﺶ ﭘﻴﺪﺍ ﻧﻜﺮﺩﻩﺍﻧﺪ‪ .‬ﺣﻤﻠﻪﻛﻨﻨﺪﻩﮔﺎﻥ ﺑﺪﻭﻥ‬ ‫ﺗﻮﺟﻪ ﺑﻪ ﺍﺧﻄﺎﺭ‪ ،‬ﺣﻴﻮﺍﻧﺎﺕ ﺭﺍ ﺭﻫﺎ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻳﻜﻰ ﺍﺯ ﺣﻴﻮﺍﻧﺎﺕ ﺁﺯﺍﺩ ﺷﺪﻩ‪ ،‬ﺯﻧﻰ ﺍﺯ ﺍﻋﻀﺎﻯ ﮔﺮﻭﻩ ﺭﺍ ﮔﺎﺯ‬ ‫ﻣﻰﮔﻴﺮﺩ‪ ،‬ﺯﻥ ﺑﻼﻓﺎﺻﻠﻪ ﺁﻟﻮﺩﻩ ﻣﻰﺷﻮﺩ ﻭ ﺑﻪ ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﻫﻢﻗﻄﺎﺭﺍﻧﺶ ﺣﻤﻠﻪ ﻣﻰﻛﻨﺪ ﻭ‪...‬‬ ‫‪ 28‬ﺭﻭﺯ ﺑﻌﺪ‪ ،‬ﺟﻴﻢ ﻛﻪ ﺷﻐﻠﺶ ﻧﺎﻣﻪﺭﺳﺎﻧﻰ ﺑﺎ ﺩﻭﭼﺮﺧﻪ ﺍﺳﺖ‪ ،‬ﺩﺭ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﺳﻨﺖ ﺗﻮﻣﺎﺱ ﻟﻨﺪﻥ ﺍﺯ‬ ‫ﻛﻤﺎ ﺑﻴﺮﻭﻥ ﻣﻰﺁﻳﺪ‪ .‬ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﺑﻪ ﻧﻈﺮ ﺧﺎﻟﻰ ﻣﻰﺭﺳﺪ‪ .‬ﺍﺯ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﻛﻪ ﺧﺎﺭﺝ ﻣﻰﺷﻮﺩ‪ ،‬ﺷﻬﺮ ﻟﻨﺪﻥ‬ ‫ﻧﻴﺰ ﺧﺎﻟﻰ ﺍﺯ ﺳﻜﻨﻪ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ‪ ،‬ﻣﺜﻞ ﺗﻤﺎﻡ ﺗﺼﺎﻭﻳﺮ ﭘﺴﺎﺁﺧﺮﺍﻟﺰﻣﺎﻧﻰ ﻛﻪ ﺑﺎﺭﻫﺎ ﺧﻮﺍﻧﺪﻩ ﻭ ﺩﻳﺪﻩﺍﻳﻢ‪.‬‬ ‫ﺟﻴﻢ ﻋﺪﻩﺍﻯ ﺭﺍ ﻣﺸﻐﻮﻝ ﺧﻮﺭﺩﻥ ﮔﻮﺷﺖ ﺍﻧﺴﺎﻥ ﻣﻰﺑﻴﻨﺪ‪ ،‬ﺁﻥﻫﺎ ﺑﻪ ﺟﻴﻢ ﺣﻤﻠﻪ ﻣﻰﻛﻨﻨﺪ ﻭ ﭼﻴﺰﻯ‬ ‫ﻧﻤﺎﻧﺪﻩ ﺍﻭ ﺭﺍ ﺑﮕﻴﺮﻧﺪ ﻛﻪ ﺯﻧﻰ ﺑﻪ ﻧﺎﻡ ﺳﻠﻨﺎ ﻭ ﻣﺮﺩﻯ ﺑﻪ ﻧﺎﻡ ﻣﺎﺭﻙ ﺑﺎ ﺑﻄﺮﻯ ﺁﺗﺸﻴﻦ ﺑﻪ ﺁﻥﻫﺎ ﺣﻤﻠﻪ‬ ‫ﻣﻰﻛﻨﻨﺪ ﻭ ﺟﻴﻢ ﺭﺍ ﻧﺠﺎﺕ ﻣﻰ ﺩﻫﻨﺪ‪ .‬ﻣﺎﺭﻙ ﻭ ﺳﻠﻨﺎ ﺑﻪ ﺟﻴﻢ ﻣﻰﮔﻮﻳﻨﺪ ﺩﺭ ﺯﻣﺎﻧﻰ ﻛﻪ ﺑﻴﻬﻮﺵ ﺑﻮﺩﻩ‪،‬‬ ‫ﻧﻮﻋﻰ ﻭﻳﺮﻭﺱ ﻭﺍﮔﻴﺮﺩﺍﺭ ﺍﺯ ﻳﻚ ﺁﺯﻣﺎﻳﺸﮕﺎﻩ ﺑﻪ ﺑﻴﺮﻭﻥ ﺭﺍﻩﻳﺎﻓﺘﻪ ﻭ ﻇﺎﻫﺮﺍ ً ﺑﻴﺸﺘﺮ ﺍﻫﺎﻟﻰ ﺑﺮﻳﺘﺎﻧﻴﺎ )ﺍﮔﺮ ﻧﻪ‬ ‫ﺯﻣﺎﻥ ﺑﺴﻴﺎﺭ ﻛﻮﺗﺎﻩ ﺑﻴﺴﺖ ﺛﺎﻧﻴﻪ ﻋﻤﻞ ﻣﻰﻛﻨﺪ ﻭ ﺷﺨﺺ ﺭﺍ‬ ‫ﺟﻬﺎﻥ( ﺭﺍ ﺁﻟﻮﺩﻩ ﺳﺎﺧﺘﻪ‪ .‬ﻭﻳﺮﻭﺱ ﺩﺭ ﻣﺪﺕ‬ ‫ِ‬ ‫ﺗﺒﺪﻳﻞ ﺑﻪ ﻣﻮﺟﻮﺩﻯ ﺑﺴﻴﺎﺭ ﺧﻮﻧﺨﻮﺍﺭ ﻭ ﺧﺸﻤﮕﻴﻦ ﻣﻰﻛﻨﺪ ﻛﻪ ﺩﻳﮕﺮ ﻫﺪﻓﻰ ﺩﺭ ﺳﺮ ﻧﺪﺍﺭﺩ‪ ،‬ﻣﮕﺮ ﺩﺭﻳﺪﻥ‬ ‫ﻭ ﻭﻳﺮﺍﻥﺳﺎﺧﺘﻦ‪ .‬ﺟﻴﻢ ﻭ ﺩﻳﮕﺮ ﻧﺠﺎﺕﻳﺎﻓﺘﮕﺎﻥ ﻳﻚ ﭘﻴﻐﺎﻡ ﺭﺍﺩﻳﻮﻳﻰ ﺍﺯ ﭘﻴﺶ ﺿﺒﻂ ﺷﺪﻩ ﺭﺍ ﻣﻰﺷﻨﻮﻧﺪ‬ ‫ِ‬ ‫ﺩﺳﺖ ﺍﻳﻦ ﻭﻳﺮﺍﻧﮕﺮﺍﻥ ﺭﺍ ﻣﻰﺩﻫﺪ‪ ،‬ﭘﺲ ﭘﻮﻳﺶ ﺧﻮﺩ ﺑﻪ ﺳﻮﻯ ﺭﻫﺎﻳﻰ ﺭﺍ‬ ‫ﻛﻪ ﺑﻪ ﺁﻥﻫﺎ ﻧﻮﻳﺪ ﺭﻫﺎﻳﻰ ﺍﺯ‬ ‫ﺍﻳﻦﭼﻨﻴﻦ ﺁﻏﺎﺯ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺯﺍﻣﺒﻰﻫﺎﻯ ﻋﺼﺮ ﻧﻮﻳﻦ‬ ‫ﺯﺍﻣﺒﻰﻫﺎ ﻫﻢ ﺍﺯ ﺁﻥ ﻣﻮﺟﻮﺩﺍﺕ ﺷﺐﺯﻯ ﻫﺴﺘﻨﺪ ﻛﻪ ﺍﺯ ﺩﻳﺮﺑﺎﺯ ﺩﺭ ﺩﻧﻴﺎﻯ ﺍﺩﺑﻴﺎﺕ ﻓﺎﻧﺘﺰﻯ ﻭ ﺳﻴﻨﻤﺎ ﺑﺎ‬ ‫ﺭﻭﺡ ﺑﻪ ﺯﻧﺪﮔﻰ ﺑﺎﺯﮔﺮﺩﺍﻧﺪﻩ ﺷﺪﻩ ﻫﺴﺘﻨﺪ ﻛﻪ ﺩﺭ ﺟﺴﺘﺠﻮﻯ‬ ‫ﺁﻥﻫﺎ ﺁﺷﻨﺎ ﻫﺴﺘﻴﻢ‪ .‬ﺁﻥﻫﺎ ﺍﺟﺴﺎ ِﺩ ﺑﺪﻭﻥ ِ‬ ‫ﮔﺮﻣﺎﻯ ﺯﻧﺪﮔﻰ‪ ،‬ﺑﻪ ﺍﻧﺴﺎﻥﻫﺎﻯ ﺯﻧﺪﻩ ﺣﻤﻠﻪ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺍﻏﻠﺐ ﻫﻢ ﭼﻨﻴﻦ ﺍﺳﺖ ﻛﻪ ﻭﻗﺘﻰ ﻛﺴﻰ ﻣﻮﺭﺩ‬ ‫ﺣﻤﻠﻪﻯ ﻳﻚ ﺯﺍﻣﺒﻰ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ ﻭ ﻣﻰﻣﻴﺮﺩ‪ ،‬ﺑﻌﺪ ﺍﺯ ﭼﻨﺪ ﺳﺎﻋﺘﻰ ﺑﻪ ﺷﻜﻞ ﺯﺍﻣﺒﻰ ﺑﺎﺯ ﻣﻰﮔﺮﺩﺩ‪.‬‬ ‫ﻣﻌﻤﻮﻻً ﺯﺍﻣﺒﻰﻫﺎ ﺣﺎﺻﻞ ﻫﻨﺮﻧﻤﺎﻳﻰ ﺷﻴﻄﺎﻧﻰ ﻳﻚ ﺟﺎﺩﻭﮔﺮ ﭘﻠﻴﺪ ﻫﺴﺘﻨﺪ ﻭ ﺑﻪ ﺍﻫﺪﺍﻓﻰ ﭘﻠﻴﺪ ﺑﻪ ﺍﻳﻦ‬ ‫ﭼﻨﻴﻦ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻯ ﺍﺯ ﺯﻧﺪﮔﺎﻧﻰ ﺑﺎﺯ ﮔﺮﺩﺍﺩﻧﺪﻩ ﺷﺪﻩﺍﻧﺪ‪.‬‬ ‫ﺩﺭ ﺳﻴﻨﻤﺎ ﻫﻢ ﭼﻨﺪ ﺗﺎﻳﻰ ﻓﻴﻠﻢ ﻣﻌﺮﻭﻑ ﺩﺍﺭﻳﻢ ﻛﻪ ﺯﺍﻣﺒﻰﻫﺎﻳﻰ ﺍﺯ ﻫﻤﻴﻦ ﺩﺳﺖ ﺭﺍ ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪﻩﺍﻧﺪ‪،‬‬ ‫‪136‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺳﻴﻨﻤﺎ‬

‫‪ 28‬ﺭﻭﺯ ﺑﻌﺪ‬ ‫ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬

‫ﺷﻨﺎﺳﻨﺎﻣﻪ‬ ‫ﺑﺎ ﺯ ﻳﮕـــﺮ ﺍ ﻥ ‪ :‬ﺳﻴﻠﻴﺎﻥ ﻣﻮﺭﻓﻰ‪ ،‬ﻧﺎﺋﻮﻣﻰ ﻫﺮﻳﺲ‪ ،‬ﻛﺮﻳﺴﺘﻮﻓﺮ ﺍﻛﻠﺴﺘﻮﻥ‪،‬‬ ‫ﻛﺎﺭﮔـــﺮﺩﺍﻥ‪:‬‬

‫ﺩﻧﻰ ﺑﻮﻳﻞ‬

‫ﻓﻴﻠﻢﻧﺎﻣﻪﻧﻮﻳﺲ‪:‬‬

‫ﺁﻟﻜﺲ ﮔﺎﺭﻟﻨﺪ‬

‫ﺗﻬﻴــﻪ ﻛﻨﻨﺪﻩ‪:‬‬

‫ﺍﻧﺪﺭﻭ ﻣﻚﺩﺍﻧﻠﺪ‪ ،‬ﺭﺍﺑﺮﺕ ﻫﺎﻭ‬

‫ﻣﻮﺳﻴــــﻘﻰ‪:‬‬

‫ﺟﺎﻥ ﻣﻮﺭﻓﻰ‬

‫ﺗﺎﺭﻳﺦ ﺍﻧﺘﺸـﺎﺭ‪:‬‬

‫‪ 1‬ﻧﻮﺍﻣﺒﺮ ‪) 2002‬ﺍﻧﮕﻠﺴﺘﺎﻥ(‬ ‫‪ 27‬ژﻭﺋﻦ ‪) 2003‬ﺍﻳﺎﻻﺕ ﻣﺘﺤﺪﻩ(‬

‫ﺯﻣـــــــﺎﻥ‪:‬‬

‫‪ 113‬ﺩﻗﻴﻘﻪ‬

‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﻛﻨﺪ‪ .‬ﺍﺯ ﺍﻭ ﺟﺰ ﺍﻋﻤﺎﻝ ﺩﺭﺳﺖ ﻭ ﺍﻧﺴﺎﻧﻰ ﺍﻧﺘﻈﺎﺭ ﻧﻤﻰﺭﻭﺩ‪.‬‬ ‫ﮔﻠﻦ‪ :‬ﭘﺴﺮ ﺟﻮﺍﻥ ﻛﺮﻩﺍﻯﺍﻻﺻﻞ ﻛﻪ ﭼﺎﺑﻚﺗﺮﻳﻦ ﻋﻀﻮ ﮔﺮﻭﻩ ﺍﺳﺖ‪ .‬ﻣﺘﺨﺼﺺ ﻭﺭﻭﺩ ﺑﻪ ﺷﻬﺮ ﻭ ﻣﻨﺎﻃﻖ‬ ‫ﺯﺍﻣﺒﻰﺯﺩﻩ‪ .‬ﺑﺮﺍﻯ ﺁﻭﺭﺩﻥ ﺁﺫﻭﻗﻪ ﻭ ﻣﻬﻤﺎﺕ ﺑﻪ ﺍﻭ ﻭﺍﺑﺴﺘﻪﺍﻧﺪ ﻭ ﻫﻢ ﺍﻭﺳﺖ ﻛﻪ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺭﻳﻚ ﺭﺍ‬ ‫ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﻭ ﺑﻪ ﮔﺮﻭﻩ ﻣﻰﺁﻭﺭﺩ‪.‬‬ ‫ﺩﺭﻳﻞ ﻭ ﻣﺮﻝ‪ :‬ﺩﻭ ﺑﺮﺍﺩﺭ ﻛﻪ ﻫﺮ ﻛﺪﺍﻡ ﺑﻪ ﻧﺤﻮﻯ ﺳﻬﻢ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺧﺸﻮﻧﺖ ﺑﺮﺩﻩﺍﻧﺪ‪ .‬ﺍﻟﺒﺘﻪ ﻣﺮﻝ‬ ‫ﺳﺮﻛﺶﺗﺮ ﺍﺳﺖ ﻛﻪ ﻣﻨﺠﺮ ﺑﻪ ﺁﺯﺍﺭ ﺩﻳﮕﺮﺍﻥ ﻣﻰﺷﻮﺩ ﻭ ﺩﺭ ﻗﺒﺎﻝ ﺗﻰﺩﺍگ ﻛﻪ ﺳﻴﺎﻩﭘﻮﺳﺖ ﺍﺳﺖ‪ ،‬ﺭﻓﺘﺎﺭﻯ‬ ‫ﻧﮋﺍﺩﭘﺮﺳﺘﺎﻧﻪ ﺩﺍﺭﺩ؛ ﻭﻟﻰ ﻋﺼﻴﺎﻥ ﺩﺭﻳﻞ ﻣﺨﺮﺏ ﻧﻴﺴﺖ ﻭ ﺩﺭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻣﻮﺍﺭﺩ ﺑﻪ ﻛﻤﻚ ﮔﺮﻭﻩ ﻫﻢ‬ ‫ﻣﻰﺁﻳﺪ‪ .‬ﺩﺭﻳﻞ ﻣﺘﺨﺼﺺ ﺗﻴﺮﺍﻧﺪﺍﺯﻯ ﺑﺎ ﻛﻤﺎﻥ ﺍﺳﺖ ﻭ ﺩﻭﺳﺖ ﺩﺍﺭﺩ ﮔﺮﺩﻧﺒﻨﺪﻯ ﺍﺯ ﮔﻮﺵ ﺯﺍﻣﺒﻰﻫﺎﻳﻰ‬ ‫ﻛﻪ ﻣﻰﻛﺸﺪ ﺩﺭﺳﺖ ﻛﻨﺪ‪ .‬ﺗﺎ ﺣﺎﻻ ﻣﺤﺒﻮﺏﺗﺮﻳﻦ ﺷﺨﺼﻴﺖ ﺩﺍﺳﺘﺎﻥ ﺑﺮﺍﻯ ﻣﻦ ﺑﻮﺩﻩ ﺍﺳﺖ‪ ،‬ﮔﺮﭼﻪ ﺩﺭ‬ ‫ﻓﺼﻞ ﺩﻭﻡ ﺁﻥﭼﻪ ﺭﺍ ﺍﺯ ﺍﻭ ﺍﻧﺘﻈﺎﺭ ﺩﺍﺷﺘﻢ ﺑﺮﺁﻭﺭﺩﻩ ﻧﻜﺮﺩ‪ .‬ﺷﺮﺍﻳﻂ ﺩﺍﺭﺩ ﺍﻭ ﺭﺍ ﻧﺮﻡﺗﺮ ﺍﺯ ﮔﺬﺷﺘﻪ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺗﻰﺩﺍگ‪ :‬ﺳﻴﺎﻩﭘﻮﺳﺖ ﻋﻈﻴﻢﺍﻟﺠﺜﻪﺍﻯ ﻛﻪ ﺑﻪﺭﺍﺣﺘﻰ ﻣﻰﺗﻮﺍﻧﻴﺪ ﺣﻀﻮﺭﺵ ﺭﺍ ﻓﺮﺍﻣﻮﺵ ﻛﻨﻴﺪ‪ ،‬ﭼﻮﻥ ﺑﻮﺩ‬ ‫ﻭ ﻧﺒﻮﺩﺵ ﭼﻨﺪﺍﻥ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﻓﺮﻗﻰ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﺍﻣﻴﺪ ﺍﺳﺖ ﺩﺭ ﻓﺼﻞ ﺟﺪﻳﺪ ﺷﺎﻫﺪ ﺳﻴﺮ ﺗﺤﻮﻝ ﺑﻬﺘﺮﻯ ﺑﺮﺍﻯ ﺭﻳﻚ‪ ،‬ﺁﻧﺪﺭﻩﺁ ﻭ ﺩﺭﻳﻞ ﺑﺎﺷﻴﻢ ﻭ ﺷﺨﺼﻴﺖﻫﺎﻯ‬ ‫ﺟﺪﻳﺪ ﻭ ﺟﺬﺍﺏﺗﺮﻯ ﺑﻪ ﺗﻴﻢ ﻣﺮﺩﻩﻯ ﻣﺘﺤﺮﻙ ﺍﺿﺎﻓﻪ ﺷﻮﻧﺪ‪ .‬ﺍﻣﻴﺪﻯ ﻛﻪ ﺑﺎ ﺣﻀﻮﺭ ﺭﺍﺑﺮﺕ ﻛﻴﺮﻛﻤﻦ ﺩﺭ‬ ‫ﺟﻤﻊ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺳﺮﻳﺎﻝ‪ ،‬ﭼﻨﺪﺍﻥ ﺩﻭﺭ ﺍﺯ ﺫﻫﻦ ﺑﻪﻧﻈﺮ ﻧﻤﻰﺭﺳﺪ‪.‬‬

‫‪133‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺷﺨﺼﻴﺖﻫﺎ‬ ‫ﺭﻳﻚ‪ ،‬ﻛﻼﻧﺘﺮ ﺍﻳﺎﻟﺘﻰ‪ :‬ﺷﺨﺼﻴﺖ ﺍﺻﻠﻰ ﺩﺍﺳﺘﺎﻥ‪ .‬ﭘﺲ ﺍﺯ ﻣﺠﺮﻭﺡ ﺷﺪﻥ ﺩﺭ ﺗﻌﻘﻴﺐ ﭼﻨﺪ ﻣﺠﺮﻡ‪،‬‬ ‫ﻫﻤﻜﺎﺭﺵ ﺷﻴﻦ ﺍﻭ ﺭﺍ ﺑﻪ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﻣﻨﺘﻘﻞ ﻣﻰﻛﻨﺪ‪ .‬ﻭﻗﺘﻰ ﺑﻪ ﻫﻮﺵ ﻣﻰﺁﻳﺪ‪ ،‬ﺧﻮﺩ ﺭﺍ ﺑﺮ ﺗﺨﺖ‬ ‫ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﺗﻨﻬﺎ ﻣﻰﺑﻴﻨﺪ‪ .‬ﺩﻳﺮﻯ ﻧﻤﻰﮔﺬﺭﺩ ﻛﻪ ﻣﺘﻮﺟﻪ ﻣﻰﺷﻮﺩ ﺟﻬﺎﻧﻰ ﻛﻪ ﻣﻰﺷﻨﺎﺧﺘﻪ ﺩﺳﺖﺧﻮﺵ‬ ‫ﺗﻐﻴﻴﺮﺍﺕ ﻭﺳﻴﻌﻰ ﺷﺪﻩ ﻭ ﻣﺮﺩﮔﺎﻥ ﺣﺎﻛﻤﺎﻥ ﺁﻥ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺑﻪ ﻫﺮ ﺯﺣﻤﺘﻰ ﻛﻪ ﻫﺴﺖ‪ ،‬ﺭﺍﻩ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﻣﻴﺎﻥ‬ ‫ﺧﻴﺎﺑﺎﻥﻫﺎﻯ ﻣﻤﻠﻮ ﺍﺯ ﻣﺮﺩﮔﺎﻥ ﺁﺩﻡﺧﻮﺍﺭ ﺑﻪ ﺳﻮﻯ ﺧﺎﻧﻪ ﭘﻴﺪﺍ ﻣﻰﻛﻨﺪ؛ ﺍﻣﺎ ﻫﻤﺴﺮ ﻭ ﭘﺴﺮﺵ ﺭﺍ ﺁﻥﺟﺎ‬ ‫ﻧﻤﻰﻳﺎﺑﺪ‪ .‬ﺩﺭ ﻧﻬﺎﻳﺖ ﺩﺭ ﭘﻰ ﺷﺎﻳﻌﻪﻯ ﻭﺟﻮﺩ ﺍﺭﺩﻭﮔﺎﻩ ﻧﺠﺎﺕ ﻳﺎﻓﺘﮕﺎﻥ ﺩﺭ ﺁﺗﻼﻧﺘﺎ‪ ،‬ﺭﻫﺴﭙﺎﺭ ﺁﻥﺟﺎ ﻣﻰﺷﻮﺩ‬ ‫ﻛﻪ ﺩﺭ ﻧﻬﺎﻳﺖ ﻫﻤﺴﺮ‪ ،‬ﭘﺴﺮ ﻭ ﻫﻤﻜﺎﺭﺵ ﺷﻴﻦ ﺭﺍ ﺩﺭ ﻳﻚ ﻛﻤﭗ ﻣﻰﻳﺎﺑﺪ ﻭ ﺭﻓﺘﻪﺭﻓﺘﻪ ﺭﻫﺒﺮﻯ ﺁﻥ ﮔﺮﻭﻩ‬ ‫ﺑﺎﺯﻣﺎﻧﺪﮔﺎﻥ ﺭﺍ ﺑﺮ ﻋﻬﺪﻩ ﻣﻰﮔﻴﺮﺩ‪.‬‬ ‫ﻟﻮﺭﻯ‪ :‬ﻫﻤﺴﺮﺣﺎﻣﻠﻪﻯ ﺭﻳﻚ‪ .‬ﻧﻘﺸﺶ ﭼﻴﺰﻯ ﻓﺮﺍﺗﺮ ﺍﺯ ﻳﻚ ﻣﺎﺩﺭ ﻧﮕﺮﺍﻥ ﻧﺮﻓﺘﻪ ﻭ ﺩﺭ ﺑﺮﺍﺑﺮ ﺍﻛﺜﺮ ﺍﺗﻔﺎﻗﺎﺕ‬ ‫ﻣﻨﻔﻌﻞ ﺍﺳﺖ‪ .‬ﺗﻨﻬﺎ ﻭﻇﻴﻔﻪﺍﺵ ﺣﻔﻆ ﭘﺴﺮﺵ‪ ،‬ﻓﺮﺯﻧﺪ ﺑﻪﺩﻧﻴﺎ ﻧﻴﺎﻣﺪﻩﺍﺵ ﻭ ﺩﺭ ﺁﺧﺮ ﺍﻳﻦ ﺻﻒ‪ ،‬ﻫﻤﺴﺮﺵ‬ ‫ﺍﺳﺖ ﻭ ﺑﺲ‪ .‬ﺍﺯ ﻣﻬﻢﺗﺮﻳﻦ ﻓﻌﺎﻟﻴﺖﻫﺎﻳﺶ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺷﺴﺘﺸﻮﻯ ﻟﺒﺎﺱﻫﺎ ﻭ ﭘﺨﺖ ﻭ ﭘﺰ ﺍﺷﺎﺭﻩ ﻛﺮﺩ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﺍﮔﺮ ﺍﺯ ﻣﻮﺍﺭﺩﻯ ﻛﻪ ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ﺩﺭﺩﺳﺮ ﻣﻰﺍﻧﺪﺍﺯﺩ ﺗﺎ ﺷﻮﻫﺮﺵ ﻭ ﺍﻟﺒﺘﻪ ﺷﻴﻦ ﺑﻪ ﻧﺠﺎﺗﺶ ﺑﺸﺘﺎﺑﻨﺪ‪،‬‬ ‫ﺻﺮﻑﻧﻈﺮ ﻛﻨﻴﻢ!‬ ‫ﻛﺎﺭﻝ‪ :‬ﭘﺴﺮ ﻛﻢﺳﻦ ﻭ ﺳﺎﻝ ﻭ ﺷﻴﺮﻳﻦ ﺭﻳﻚ ﻭ ﻟﻮﺭﻯ‪ .‬ﺍﻧﺘﻈﺎﺭ ﻳﻚ ﭘﺴﺮﺑﭽﻪﻯ ﺗﺮﺳﻮ ﺭﺍ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﻴﺪ‪.‬‬ ‫ﻣﺸﺘﺎﻕ ﻳﺎﺩ ﮔﺮﻓﺘﻦ ﺗﻴﺮﺍﻧﺪﺍﺯﻯ ﺍﺳﺖ ﻭ ﺩﺭ ﻏﻴﺎﺏ ﭘﺪﺭﺵ ﺍﺭﺗﺒﺎﻃﻰ ﻋﺎﻃﻔﻰ ﺑﺎ ﺷﻴﻦ ﺑﺮﻗﺮﺍﺭ ﻛﺮﺩﻩ‪.‬‬ ‫ﺷﻴﻦ‪ :‬ﻫﻤﻜﺎﺭ ﺳﺎﺑﻖ ﺭﻳﻚ ﻛﻪ ﺩﺭ ﻏﻴﺎﺏ ﺍﻭ ﺑﺮﺍﻯ ﻧﺠﺎﺕ ﺧﺎﻧﻮﺍﺩﻩﺍﺵ ﺑﻪ ﺧﺎﻧﻪﻯ ﺁﻥﻫﺎ ﻣﻰﺭﻭﺩ ﻭ ﺩﺭ ﺭﺍﻩ‬ ‫ﺁﺗﻼﻧﺘﺎ ﺑﻪ ﮔﺮﻭﻫﻰ ﺍﺯ ﻧﺠﺎﺕﻳﺎﻓﺘﮕﺎﻥ ﻣﻰﭘﻴﻮﻧﺪﻧﺪ‪ .‬ﻗﺼﺪ ﺩﺍﺭﺩ ﺑﺮﺍﻯ ﻟﻮﺭﻯ ﻭ ﻛﺎﺭﻝ ﺟﺎﻳﮕﺰﻳﻦ ﺭﻳﻚ ﺷﻮﺩ‬ ‫ﻛﻪ ﮔﻤﺎﻥ ﻣﻰﺭﻭﺩ ﺍﺯ ﺩﺳﺖ ﺭﻓﺘﻪ ﺑﺎﺷﺪ؛ ﺍﻣﺎ ﺑﺎ ﺑﺎﺯﮔﺸﺖ ﺍﻭ ﺷﺮﺍﻳﻂ ﻛﻤﻰ ﺑﻐﺮﻧﺞ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻛﺎﺭﻭﻝ‪ ،‬ﺳﻮﻓﻴﺎ‪ ،‬ﻣﻮﺭﺍﻟﺰ‪ :‬ﺧﺎﻧﻮﺍﺩﻩﺍﻯ ﺩﺭ ﺟﻤﻊ ﻧﺠﺎﺕﻳﺎﻓﺘﮕﺎﻥ‪ .‬ﻣﻮﺭﺍﻟﺰ ﺑﺎ ﻫﻤﺴﺮﺵ ﺑﺪﺭﻓﺘﺎﺭ ﺍﺳﺖ ﻭ‬ ‫ﭼﻨﺪ ﺑﺎﺭﻯ ﺍﻗﺪﺍﻡ ﺑﻪ ﺿﺮﺏ ﻭ ﺟﺮﺡ ﺍﻭ ﻣﻰﻛﻨﺪ ﻛﻪ ﺑﺎﻋﺚ ﻭﺍﻛﻨﺶ ﺷﻴﻦ ﻣﻰﺷﻮﺩ‪ .‬ﺳﻮﻓﻴﺎ‪ ،‬ﺩﺧﺘﺮﺷﺎﻥ‪،‬‬ ‫ﻫﻢﺳﻦ ﻭ ﺳﺎﻝ ﻛﺎﺭﻝ ﺍﺳﺖ‪.‬‬ ‫ﺟﻴﻢ‪ :‬ﻣﺮﺩ ﺟﻮﺍﻧﻰ ﻛﻪ ﻫﻤﺴﺮ ﻭ ﺩﻭ ﭘﺴﺮﺵ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺁﻧﺪﺭﻩﺁ ﻭ ﺍﻳﻤﻰ‪ :‬ﺩﻭ ﺧﻮﺍﻫﺮ ﻛﻪ ﻫﻤﺪﻳﮕﺮ ﺭﺍ ﺣﻤﺎﻳﺖ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺍﻳﻤﻰ ﺩﺧﺘﺮﻯ ﻭﺣﺸﺘﺰﺩﻩ ﺍﺳﺖ ﻭ‬ ‫ﺁﻧﺪﺭﻩﺁ ﺗﻨﻬﺎ ﺯﻧﻰ ﺍﺳﺖ ﻛﻪ ﻋﻼﻗﻪﺍﻯ ﺑﻪ ﻳﺎﺩ ﮔﺮﻓﺘﻦ ﺗﻴﺮﺍﻧﺪﺍﺯﻯ ﺩﺍﺭﺩ‪ .‬ﻫﻤﻴﻦ ﺑﺎﻋﺚ ﻧﺰﺩﻳﻚ ﺷﺪﻧﺶ ﺑﻪ‬ ‫ﺷﻴﻦ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻭ ﺑﻰﺷﻚ ﺑﻬﺘﺮﻳﻦ ﻛﺎﺭﺍﻛﺘﺮ ﺯﻥ ﺩﺍﺳﺘﺎﻥ ﺍﺳﺖ‪.‬‬ ‫ﺩﻳﻞ‪ :‬ﭘﻴﺮﻣﺮﺩﻯ ﻛﻪ ﺍﺯ ﻣﻜﺎﻧﻴﻜﻰ ﺳﺮﺭﺷﺘﻪ ﺩﺍﺭﺩ ﻭ ﺍﻟﺒﺘﻪ ﻭﻇﻴﻔﻪﻯ ﺍﺻﻠﻴﺶ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻧﺎﻇﺮﻯ‬ ‫ﺧﺎﻣﻮﺵ ﺑﺮ ﺍﻋﻤﺎﻝ ﺍﻋﻀﺎﻯ ﮔﺮﻭﻩ ﺑﺎﺷﺪ ﻭ ﺩﺭ ﺗﻤﺎﻡ ﺻﺤﻨﻪﻫﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﺳﻨﺠﻪﻯ ﺍﺧﻼﻗﻰ ﺍﻳﻔﺎﻯ ﻧﻘﺶ‬ ‫‪132‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﺑﺎﺷﺪ‪ .‬ﺑﺮﺍﻯ ﺣﻔﻆ ﺗﻌﺎﺩﻝ ﺳﺮﻳﺎﻝ ﺩﺭ ﻣﻘﺎﺑﻞ ﺭﻳﻚ‪ ،‬ﺗﻨﻬﺎ ﺷﻴﻦ ﺭﺍ ﺩﺍﺭﻳﻢ ﻭ ﺷﻴﻦ ﻫﻢ ﻳﻚ ﺿﺪﻗﻬﺮﻣﺎﻥ ﺑﻪ‬ ‫ﺗﻤﺎﻡ ﻣﻌﻨﺎ ﻧﻴﺴﺖ ﻭ ﺳﻴﺮ ﺗﺼﻤﻴﻤﺎﺗﺶ ﺩﺭ ﻓﺎﺯﻯ ﺳﻴﻨﻮﺳﻰ ﺣﺮﻛﺖ ﻣﻰﻛﻨﺪ‪ .‬ﺗﺎ ﺣﺪﻭﺩ ﺯﻳﺎﺩﻯ ﻋﻼﻗﻪﺍﺵ‬ ‫ﺑﻪ ﻫﻤﻘﻄﺎﺭ ﺳﺎﺑﻘﺶ –ﺭﻳﻚ‪ -‬ﻣﺎﻧﻌﻰ ﻣﺤﻜﻢ ﺩﺭ ﺑﺮﺍﺑﺮ ﺍﻭ ﺍﻳﺠﺎﺩ ﻛﺮﺩﻩ‪ ،‬ﮔﺮﭼﻪ ﺟﺰء ﻣﻌﺪﻭﺩ ﻛﺎﺭﺍﻛﺘﺮﻫﺎﻯ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺍﺳﺖ ﻭ ﺳﻴﺮ ﺗﻐﻴﻴﺮﺍﺕ ﺷﺨﺼﻴﺘﻴﺶ ﺭﺍ ﺍﺯ ﻫﻤﻪ ﺑﻬﺘﺮ ﻣﻰﺗﻮﺍﻥ ﺩﻧﺒﺎﻝ ﻛﺮﺩ‪ .‬ﺍﻣﻴﺪ ﺍﺳﺖ ﺑﺎ ﻭﺭﻭﺩ‬ ‫ﺑﺎﺷﻠﻖﭘﻮﺵ ﻣﺮﻣﻮﺯﻯ ﻛﻪ ﺩﺭ ﻟﺤﻈﺎﺕ ﺁﺧﺮ ﻗﺴﻤﺖ ﻧﻬﺎﻳﻰ ﻓﺼﻞ ﮔﺬﺷﺘﻪ ﻣﻘﺎﺑﻞ ﺁﻧﺪﺭﻩﺁ ﻇﺎﻫﺮ ﺷﺪ‪،‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﺟﺬﺍﺏﺗﺮﻯ ﺭﺍ ﺷﺎﻫﺪ ﺑﺎﺷﻴﻢ‪.‬‬ ‫ﻓﺮﺍﻧﻚ ﺩﺍﺭﺍﺑﻮﻧﺖ ﻧﻮﻳﺴﻨﺪﻩ‪ ،‬ﻛﺎﺭﮔﺮﺩﺍﻥ ﻭ ﺗﻬﻴﻪﻛﻨﻨﺪﻩﻯ ﺑﺎ ﺳﺎﺑﻘﻪ ﻭ ﻧﺴﺒﺘﺎً ﻛﻢﻛﺎﺭ ﺗﻠﻮﺯﻳﻮﻥ ﻭ ﺳﻴﻨﻤﺎﺳﺖ‬ ‫ﻛﻪ ﺑﻴﺸﺘﺮ ﺍﻭ ﺭﺍ ﺑﺎ ﻓﻴﻠﻢﻫﺎﻯ ﺷﺒﻪﺭﻭﺷﻨﻔﻜﺮﻳﺶ »ﺭﺳﺘﮕﺎﺭﻯ ﺩﺭ ﺷﺎﻭﺷﻨﮓ« )‪» ،(1994‬ﻣﺴﻴﺮ ﺳﺒﺰ«‬ ‫)‪ (1999‬ﻭ ﻓﻴﻠﻢ ﺿﻌﻴﻒ »ﻣﻪ« )‪ (2007‬ﻣﻰﺷﻨﺎﺳﻴﻢ‪ .‬ﺑﺎﺯﻳﮕﺮﺍﻥ ﺳﺮﻳﺎﻝ ﺑﻪﺟﺰ ﺟﻔﺮﻯ ﺩﻣﺎﻥ‪ ،‬ﺍﻳﻔﺎ‬ ‫ﻛﻨﻨﺪﻩﻯ ﺷﺨﺼﻴﺖ »ﺩﻳﻞ« ﻛﻪ ﻧﻘﺶ ﭘﻴﺮﻣﺮﺩﻯ ﺧﺮﺩﻣﻨﺪ ﻭ ﻣﺮﺷﺪ ﺭﺍ ﺑﺎﺯﻯ ﻣﻰﻛﻨﺪ ﻭ ﺗﻘﺮﻳﺒﺎً ﺩﺭ‬ ‫ﺗﻤﺎﻡ ﻛﺎﺭﻫﺎﻯ ﺩﺍﺭﺍﺑﻮﻧﺖ ﻫﻤﺮﺍﻩ ﺍﻭ ﺑﻮﺩﻩ‪ ،‬ﺍﻛﺜﺮﺍ ً ﺑﺮﺍﻯ ﻣﻦ ﻧﺎﺷﻨﺎﺳﻨﺪ ﻭ ﺑﻪ ﻧﻈﺮﻡ ﺑﺎﺯﻯ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻰ ﺍﺭﺍﺋﻪ‬ ‫ﻧﻤﻰﺩﻫﻨﺪ‪ .‬ﺁﻥﻫﺎ ﺣﺮﻓﻪﺍﻯ ﻫﺴﺘﻨﺪ‪ ،‬ﺍﻣﺎ ﺗﻮﺍﻥ ﺟﺬﺍﺏﻛﺮﺩﻥ ﺷﺨﺼﻴﺖﻫﺎ ﺭﺍ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺗﺎﺛﻴﺮ ﻓﻴﻠﻢ »ﻣﻪ«‬ ‫ﺑﺮ ﺍﻳﻦ ﺳﺮﻳﺎﻝ ﻏﻴﺮﻗﺎﺑﻞ ﺍﻧﻜﺎﺭ ﺍﺳﺖ‪ .‬ﺑﻪﻧﻈﺮﻡ ﺩﺍﺭﺍﺑﻮﻧﺖ ﻋﻼﻗﻪﺍﺵ ﺑﻪ ﺳﺎﺧﺖ ﺳﺮﻳﺎﻝ ﺩﺭ ﻓﻀﺎﻯ ﻓﺎﺟﻌﻪ‬ ‫ﺭﺍ ﺍﺯ ﻫﻤﻴﻦ ﻓﻴﻠﻢ ﺑﻪﺩﺳﺖ ﺁﻭﺭﺩ‪ .‬ﺍﻭ ﻟﻮﺭﻯ ﻫﻮﻟﺪﻥ )ﺁﻧﺪﺭﻩﺁ(‪ ،‬ﺟﻔﺮﻯ ﺩﻣﺎﻥ )ﺩﻳﻞ( ﺧﻮﺁﻥ ﮔﺎﺑﺮﻳﻞ ﭘﺮﻩﺁ‬ ‫)ﻣﻮﺭﺍﻟﺰ( ﻫﻤﺴﺮ ﻛﺎﺭﻭﻝ ﻛﻪ ﺩﺭ ﻣﻪ ﻫﻢ ﻫﻤﻴﻦ ﻧﺎﻡ ﺭﺍ ﺩﺍﺷﺖ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺷﺨﺼﻴﺖ ﻣﻠﻴﺴﺎ ﻣﻚﺑﺮﺍﻳﺪ‬ ‫)ﻛﺎﺭﻭﻝ(‪ ،‬ﻣﺎﺩﺭﻯ ﺩﺭ ﺟﺴﺘﺠﻮﻯ ﻓﺮﺯﻧﺪﺍﻥ ﺟﺪﺍ ﺍﻓﺘﺎﺩﻩﺍﺵ ﺭﺍ ﻋﻴﻨﺎً ﺑﺎ ﺧﻮﺩ ﺍﺯ ﻓﻴﻠﻢ ﻣﻪ ﺑﻪ ﺳﺮﻳﺎﻝ ﺁﻭﺭﺩﻩ‬ ‫ﺍﺳﺖ‪ .‬ﺩﺭ ﻣﻴﺎﻥ ‪ 20‬ﻧﻔﺮﻯ ﻛﻪ ﺩﺭ ﻛﻤﭗ ﺍﻭﻝ ﺳﺮﻳﺎﻝ ﺣﻀﻮﺭ ﺩﺍﺷﺘﻨﺪ‪ ،‬ﺗﻨﻬﺎ ﺩﻩ ﻧﻔﺮﺷﺎﻥ ﺩﺭ ﻛﻤﻴﻚ‬ ‫ﺑﻮﺩﻧﺪ‪ .‬ﺭﻳﻚ‪ ،‬ﻟﻮﺭﻯ‪ ،‬ﻛﺎﺭﻝ‪ ،‬ﺷﻴﻦ‪ ،‬ﻛﺎﺭﻭﻝ‪ ،‬ﺳﻮﻓﻴﺎ‪ ،‬ﺟﻴﻢ‪ ،‬ﺁﻧﺪﺭﻩﺁ‪ ،‬ﺍﻳﻤﻰ‪ ،‬ﺩﻳﻞ ﻭ ﮔﻠﻦ‪ .‬ﺍﮔﺮ ﺩﻗﺖ ﻛﺮﺩﻩ‬ ‫ﺑﺎﺷﻴﺪ‪ ،‬ﺑﺮﺍﺩﺭﺍﻥ ﺩﺭﻳﻞ ﻭ ﻣﺮﻝ ﺑﻪ ﻫﻤﺮﺍﻩ ﺗﻰﺩﺍگ ﻣﻬﻢﺗﺮﻳﻦ ﺷﺨﺼﻴﺖﻫﺎﻳﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺩﺍﺭﺍﻣﻮﻧﺖ ﺑﻪ‬ ‫ﺳﺮﻳﺎﻝ ﺍﺿﺎﻓﻪ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﻋﺠﻴﺐﺗﺮﻳﻦ ﻧﻜﺘﻪ ﺑﺮﺍﻯ ﻣﻦ ﺩﺭ ﺍﻳﻦ ﺳﺮﻳﺎﻝ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻭﺟﻮﺩ‬ ‫ﻣﺪﺕ ﺯﻣﺎﻥ ﻧﻤﺎﻳﺶ ﻃﻮﻻﻧﻰ ﺁﻥ‪ ،‬ﺷﺨﺼﻴﺖﭘﺮﺩﺍﺯﻯ ﻧﺴﺒﺖ ﺑﻪ ﻓﻴﻠﻢﻫﺎﻳﻰ ﭼﻮﻥ »‪ 28‬ﺭﻭﺯ ﺑﻌﺪ«‪» ،‬ﻃﻠﻮﻉ‬ ‫»ﺷﺎﻥ ﻣﺮﺩﻩ« ﻭ »ﺯﺍﻣﺒﻰﺁﺑﺎﺩ«‬ ‫ﻣﺮﺩﮔﺎﻥ«‪» ،‬ﺳﺮﺯﻣﻴﻦ ﻣﺮﺩﮔﺎﻥ«‪ 28» ،‬ﻫﻔﺘﻪ ﺑﻌﺪ«‪» ،‬ﻣﺮﺩﮔﺎﻥ ﺯﻧﺪﻩ«‪،‬‬ ‫ِ‬ ‫ﺿﻌﻴﻒﺗﺮ ﻭ ﻧﺎﭘﺨﺘﻪﺗﺮ ﺍﺳﺖ‪ .‬ﻣﺜ ً‬ ‫ﻼ ﻛﻤﺒﻮﺩ ﺷﺨﺼﻴﺘﻰ ﻃﻌﻨﻪﺯﻥ‪ ،‬ﺗﻨﺒﻞ‪ ،‬ﭘﻮچﮔﺮﺍ ﻭ ﺩﺭ ﻳﻚ ﻛﻼﻡ ﻋﻮﺿﻰ‬ ‫ﻣﺜﻞ ﺍﺳﺘﻴﻮ ﺩﺭ ﻃﻠﻮﻉ ﻣﺮﺩﮔﺎﻥ‪ ،‬ﺷﺨﺼﻴﺖﻫﺎﻳﻰ ﺗﺮﺳﻮ‪ ،‬ﻓﻠﺞ ﺷﺪﻩ ﺍﺯ ﺗﺮﺱ‪ ،‬ﺩﻭﺳﺖﻫﺎﻯ ﺻﻤﻴﻤﻰ‪،‬‬ ‫ﻣﺘﻬﻮﺭ ﻭ ﺑﻪ ﺍﺻﻄﻼﺡ ﻛﻠﻪﺧﺮ‪ ،‬ﺩﺭ ﺍﻳﻦ ﺳﺮﻳﺎﻝ ﺷﺪﻳﺪﺍ ً ﺍﺣﺴﺎﺱ ﻣﻰﺷﻮﺩ‪ .‬ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎ ﺩﺭ ﺍﻳﻦ‬ ‫ﺳﺮﻳﺎﻝ ﻛﭙﻰ ﻳﻜﺪﻳﮕﺮ ﻫﺴﺘﻨﺪ‪ .‬ﺩﺭ ﺍﺩﺍﻣﻪ‪ ،‬ﻧﻈﺮﻯ ﻛﻮﺗﺎﻩ ﺑﺮ ﺷﺨﺼﻴﺖﻫﺎﻯ ﻣﻬﻢ ﻭ ﻧﻘﺸﺸﺎﻥ ﺩﺭ ﭘﻴﺸﺒﺮﺩ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺧﻮﺍﻫﻴﻢ ﺩﺍﺷﺖ‪.‬‬

‫‪131‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻣﻬﻢﺗﺮﻳﻦ ﻧﻘﻄﻪﻯ ﻗﻮﺕ ﺍﻳﻦ ﺳﺮﻳﺎﻝ‪ ،‬ﺑﻰﺷﻚ ﻃﺮﺍﺣﻰ ﮔﺮﻳﻢ ﺯﺍﻣﺒﻰﻫﺎﻯ ﺁﻥ ﺍﺳﺖ‪ .‬ﺑﻪ ﺟﺮﺍﺕ ﻣﻰﺗﻮﺍﻥ‬ ‫ﮔﻔﺖ ﺩﺭ ﻫﻴﭻ ﻓﻴﻠﻢ ﺩﻳﮕﺮﻯ ﭼﻨﻴﻦ ﺯﺍﻣﺒﻰﻫﺎﻯ ﺧﺎﺭﻕﺍﻟﻌﺎﺩﻩﺍﻯ ﻧﺪﻳﺪﻩﺍﻡ‪ .‬ﻭﺳﻌﺖ ﺑﻪ ﻛﺎﺭﮔﻴﺮﻯ ﺁﻥﻫﺎ ﻫﻢ‬ ‫ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩ ﺍﺳﺖ ﻭ ﺯﺣﻤﺘﻰ ﻛﻪ ﺑﺮﺍﻯ ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪﻥ ﺁﻥ ﻣﺘﺤﻤﻞ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﺩﺭ ﺫﻫﻦ ﻧﻤﻰﮔﻨﺠﺪ‪.‬‬ ‫ﺑﺎﺯﻳﮕﺮﺍﻥ ﻧﻘﺶ ﺯﺍﻣﺒﻰﻫﺎ ﺑﺮﺍﻯ ﻫﺮ ﭼﻪ ﺑﻬﺘﺮ ﺍﻳﻔﺎ ﻛﺮﺩﻥ ﻧﻘﺸﺸﺎﻥ‪ ،‬ﺑﻪ ﻛﻼﺱﻫﺎﻯ ﺁﻣﻮﺯﺷﻰ ﻣﻰﺭﻓﺘﻨﺪ ﺗﺎ‬ ‫ﻧﺤﻮﻩﻯ ﺭﺍﻩ ﺭﻓﺘﻦ ﻣﺜﻞ ﺯﺍﻣﺒﻰﻫﺎ ﺭﺍ ﺑﻴﺎﻣﻮﺯﻧﺪ‪ .‬ﺑﻰﺟﻬﺖ ﻧﻴﺴﺖ ﻛﻪ ﺍﻳﻦ ﺳﺮﻳﺎﻝ‪ ،‬ﺍﻭﻟﻴﻦ ﺩﺭ ﻧﻮﻉ ﺧﻮﺩ ﺩﺭ‬ ‫ﺗﺎﺭﻳﺦ ﺯﻳﺮژﺍﻧﺮ ﺯﺍﻣﺒﻰ ﺍﺳﺖ‪ .‬ﺣﺮﻛﺘﻰ ﻣﺘﻬﻮﺭﺍﻧﻪ ﻛﻪ ﺟﺴﺎﺭﺕ ﺍﻣﺜﺎﻝ ﺩﺍﺭﺍﺑﻮﻧﺖ ﺭﺍ ﻧﻴﺎﺯ ﺩﺍﺷﺖ‪.‬‬ ‫ﺩﺍﺳﺘﺎﻥ ﺣﻮﻝ ﻣﺤﻮﺭ ﻳﻚ ﻛﻼﻧﺘﺮ ﺍﻳﺎﻟﺘﻰ ﺑﻪ ﻧﺎﻡ ﺭﻳﻚ ﮔﺮﻳﻤﺰ ﻭ ﺩﺭ ﺍﺩﺍﻣﻪ ﺧﺎﻧﻮﺍﺩﻩﺍﺵ ﻣﻰﮔﺬﺭﺩ ﻭ ﺍﻳﻦﻛﻪ‬ ‫ﻛﻪ ﭼﻄﻮﺭ ﻣﻰﺗﻮﺍﻧﺪ ﺑﺎ ﺩﻳﮕﺮ ﻫﻤﺮﺍﻫﺎﻧﺶ ﺩﺭ ﺭﺳﺘﺎﺧﻴﺰ ﻣﺮﺩﮔﺎﻥ ﺟﺎﻥ ﺑﻪ ﺩﺭ ﺑﺮﺩﻧﺪ‪ .‬ﺩﺭ ﺧﻼﻝ ﺭﻭﺍﻳﺖ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﺳﻴﺎﻕ ﺍﻛﺜﺮ ﻓﻴﻠﻢﻫﺎﻯ ﺯﻳﺮژﺍﻧﺮ ﺯﺍﻣﺒﻰ ﻭ ﺭﻭﺍﻳﺖ ﻓﺎﺟﻌﻪ‪ ،‬ﺍﺧﻼﻗﻴﺎﺕ ﻭ ﺍﻟﺘﺰﺍﻡ ﻋﻤﻠﻰ ﺑﺮﺍﻯ‬ ‫ﻭﻓﺎﺩﺍﺭﻯ ﺑﻪ ﺁﻥ ﻣﻬﻤﺘﺮﻳﻦ ﭼﺎﻟﺸﻰ ﺍﺳﺖ ﻛﻪ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ ﺑﺎ ﺁﻥ ﺩﺳﺖ ﺑﻪ ﮔﺮﻳﺒﺎﻥ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﺩﺭ ﭼﻨﻴﻦ ﺷﺮﺍﻳﻂ ﺑﺤﺮﺍﻧﻰ ﻛﻪ ﺧﻄﺮ ﻣﺮﮔﻰ ﻗﺮﻳﺐﺍﻟﻮﻗﻮﻉ ﺩﺭ ﺳﺮﺗﺎﺳﺮ ﺩﺍﺳﺘﺎﻥ ﺑﺮ ﺳﺮ ﺷﺨﺼﻴﺖﻫﺎ ﺳﺎﻳﻪ‬ ‫ﺍﻓﻜﻨﺪﻩ‪ ،‬ﭘﺎﻳﺒﻨﺪ ﺑﻮﺩﻥ ﺑﻪ ﺍﺻﻮﻝ ﺍﺧﻼﻗﻰ ﻭ ﻋﺪﻡ ﺗﺨﻄﻰ ﺍﺯ ﺍﺭﺯﺵﻫﺎﻳﻰ ﻛﻪ ﺑﺎﻋﺚ ﺗﻔﺎﻭﺕ ﺯﻧﺪﻩﻫﺎ ﺍﺯ »ﺁﻥ‬ ‫ﺯﺍﻣﺒﻰﻫﺎﻯ ﺑﻴﺮﻭﻥ« ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﻣﻰﺗﻮﺍﻧﺪ ﻣﻬﻢﺗﺮﻳﻦ ﺩﻟﻴﻞ ﺭﻭﺍﻳﺖ ﭼﻨﺪﻳﻦ ﻭ ﭼﻨﺪ ﺑﺎﺭﻩﻯ ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻰ‬ ‫ﺍﺯ ﺍﻳﻦ ﺩﺳﺖ ﺑﺎﺷﺪ‪ .‬ﻳﻜﻰ ﺍﺯ ﺑﺮﺗﺮﻯﻫﺎﻯ ﺍﻳﻦ ﺳﺮﻳﺎﻝ ﺑﻪ ﻓﻴﻠﻢﻫﺎﻯ ﺩﻳﮕﺮ ژﺍﻧﺮ ﺯﺍﻣﺒﻰ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ‬ ‫ﭘﻴﻐﺎﻡﻫﺎﻯ ﺍﺧﻼﻗﻴﺶ ﺭﺍ ﺧﻴﻠﻰ ﺭﻭ ﺑﻪ ﺑﻴﻨﻨﺪﻩ ﺗﺤﻤﻴﻞ ﻧﻤﻰﻛﻨﺪ‪ .‬ﺩﺭ ﻓﻴﻠﻢﻫﺎﻯ ﻣﺸﺎﺑﻪ‪ ،‬ﺧﻄﺎﻛﺎﺭﺍﻥ ﺧﻴﻠﻰ‬ ‫ﺯﻭﺩ ﺑﻪ ﻣﻜﺎﻓﺎﺕ ﻋﻤﻠﺸﺎﻥ ﻣﻰﺭﺳﻨﺪ‪ .‬ﻣﺜ ً‬ ‫ﻼ ﺩﺭ ﺁﺧﺮﻳﻦ ﻓﻴﻠﻢ »ﺭﺯﻳﺪﻧﺖ ﺍﻭﻳﻞ«‪ ،‬ﻣﺮﺩﻯ ﻛﻪ ﺩﺍﺭﺩ ﻣﺨﻔﻴﺎﻧﻪ‬ ‫ﺑﻪ ﺣﻤﺎﻡ ﻛﺮﺩﻥ ﺁﻟﻴﺲ ﻧﮕﺎﻩ ﻣﻰﻛﻨﺪ‪ ،‬ﺑﻼﻓﺎﺻﻠﻪ ﻃﻌﻤﻪﻯ ﺯﺍﻣﺒﻰﻫﺎ ﻣﻰﺷﻮﺩ‪ .‬ﻳﺎ ﺩﺭ »ﻃﻠﻮﻉ ﻣﺮﺩﮔﺎﻥ«‬ ‫)‪ ،(2004‬ﺁﻧﺎ ﻭﻋﺪﻩﺍﻯ ﺭﺍ ﻛﻪ ﺑﻪ ﺍﺳﺘﻴﻮ ﺩﺍﺩﻩ ﺑﻮﺩ ﻣﺤﻘﻖ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﺳﺮﻳﺎﻝ ﻣﻤﻠﻮ ﺍﺯ ﺟﻨﺎﻳﺎﺕ‬ ‫ﺑﻰﻣﻜﺎﻓﺎﺕ ﺍﺳﺖ‪ .‬ﻣﺮﻝ )ﺑﺮﺍﺩﺭ ﺩﺭﻳﻞ( ﺟﺎﻥ ﺑﻪ ﺩﺭ ﻣﻰﺑﺮﺩ‪ ،‬ﺍﻣﺎ ﺩﺭ ﻣﻴﺎﻥ ﺯﺍﻣﺒﻰﻫﺎ ﻣﻰﺗﻮﺍﻧﻴﻢ ﻛﻮﺩﻛﺎﻥ ﺭﺍ‬ ‫ﻫﻢ ﺑﺒﻴﻨﻴﻢ‪ ،‬ﻳﺎ ﻛﺎﻟﺴﻜﻪﻯ ﺧﻮﻥﺁﻟﻮﺩ ﻧﻮﺯﺍﺩﻫﺎ ﺭﺍ‪.‬‬ ‫ﺍﺯ ﻣﺸﻜﻼﺕ ﺍﻳﻦ ﺳﺮﻳﺎﻝ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺍﻳﻦ ﻧﻜﺘﻪ ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻛﻪ ﺯﻥﻫﺎ ﻫﻴﭻ ﻛﺪﺍﻡ ﻧﻪ ﺷﺨﺼﻴﺖ ﺟﺬﺍﺑﻰ‬ ‫ﺩﺍﺷﺘﻪﺍﻧﺪ ﻭ ﻧﻪ ﺍﻣﻴﺪﻯ ﺑﻪ ﺟﺬﺍﺏ ﺷﺪﻥ ﺷﺨﺼﻴﺖ ﺑﻴﺸﺘﺮﺷﺎﻥ ﻣﻰﺭﻭﺩ‪ .‬ﺍﻟﺒﺘﻪ ﺍﺣﺘﻤﺎﻻً ﺁﻧﺪﺭﻩﺁ ﺩﺭ ﺍﻳﻦ‬ ‫ﻣﻴﺎﻥ ﻳﻚ ﺍﺳﺘﺜﻨﺎ ﺑﺎﺷﺪ‪ .‬ﺗﻰﺩﺍگ ﺗﻨﻬﺎ ﺳﻴﺎﻩﭘﻮﺳﺖ ﺩﺍﺳﺘﺎﻥ ﺍﺳﺖ ﻭ ﺍﺣﺘﻤﺎﻻً ﺩﻟﻴﻠﺶ ﺍﻳﻦ ﺑﺎﺷﺪ ﻛﻪ‬ ‫ﺑﺮﺍﻯ ﺳﺎﺧﺖ ﺳﺮﻳﺎﻟﻰ ﺩﺭ ژﺍﻧﺮ ﻭﺣﺸﺖ ﻳﺎ ﺳﺎﻯﻓﺎﻯ‪ ،‬ﺑﺎﻳﺪ ﺑﺎ ﺣﻀﻮﺭ ﺳﻔﻴﺪﭘﻮﺳﺘﺎﻥ ﻛﻼﺱﺑﺎﻻ ﺑﺘﻮﺍﻥ‬ ‫ﺟﻠﻮﻩﻫﺎﻯ ﺑﺼﺮﻯ ﺑﻪ ﺳﺮﻳﺎﻝ ﺍﻓﺰﻭﺩ‪ .‬ﺍﻣﺎ ﺑﺰﺭﮔﺘﺮﻳﻦ ﺍﺷﻜﺎﻟﻰ ﻛﻪ ﺑﻪ ﺍﻳﻦ ﺳﺮﻳﺎﻝ ﻭﺍﺭﺩ ﺍﺳﺖ‪ ،‬ﺑﻴﺶ ﺍﺯ ﺣﺪ‬ ‫ﺩﻭﺳﺖﺩﺍﺷﺘﻨﻰ ﺑﻮﺩﻥ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺁﻥ ﺍﺳﺖ‪ .‬ﺷﺨﺼﻴﺖﻫﺎﻳﻰ ﭘﻴﭽﻴﺪﻩﺗﺮ‪ ،‬ﺧﺎﻛﺴﺘﺮﻯﺗﺮ ﻳﺎ ﺣﺘﺎ ﺳﻴﺎﻩ‪،‬‬ ‫ﺧﻮﻧﺴﺮﺩ ﻭ ﺗﻤﺎﻣﻴﺖﺧﻮﺍﻩ ﻛﻪ ﺣﻀﻮﺭﺷﺎﻥ ﻣﺴﺘﻠﺰﻡ ﻭﺭﻭﺩ ﺑﺎﺯﻳﮕﺮﺍﻧﻰ ﺣﺮﻓﻪﺍﻯ ﺑﻪ ﺟﻤﻊ ﺑﺎﺯﻳﮕﺮﺍﻥ ﺍﺳﺖ‪،‬‬ ‫ﻣﻰﺗﻮﺍﻧﺪ ﺑﺮﺍﻯ ﺑﻬﺒﻮﺩ ﻳﻜﻨﻮﺍﺧﺘﻰ ﻭ ﺍﻳﻦ ﻃﻴﻒ ﻭﺳﻴﻊ ﺷﺨﺼﻴﺖﻫﺎﻯ ﻗﺎﺑﻞ ﺑﻪ ﻫﻢﺫﺍﺕﭘﻨﺪﺍﺭﻯ ﻣﻮﺛﺮ‬ ‫‪130‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺗﻠﻮﻳﺰﻳﻮﻥ‬

‫ﻣﺮﺩﻩﻯ ﻣﺘﺤﺮﻙ؛‬ ‫ﺟﻬﺎﻥ ﺩﺭ ﺩﺳﺖ ﻣﺮﺩﮔﺎﻥ‬ ‫ﺍﺣﺴﺎﻥ ﻣﺤﻤﺪﺯﺍﺩﻩ‬

‫ﺳﺮﻳﺎﻝ ﻣﺮﺩﻩﻯ ﻣﺘﺤﺮﻙ ﺩﺭﺍﻣﻰ ﭘﺴﺎﺁﺧﺮﺍﻟﺰﻣﺎﻧﻰ ﺩﺭ ژﺍﻧﺮ ﻭﺣﺸﺖ ﺍﺳﺖ ﺳﺎﺧﺘﻪﻯ ﻓﺮﺍﻧﻚ‬ ‫ﺩﺍﺭﺍﺑﻮﻧﺖ ‪ ،‬ﺩﺭ ﺷﺒﻜﻪﻯ ‪ AMC‬ﺍﻣﺮﻳﻜﺎ ﻭ ﺑﺮ ﺍﺳﺎﺱ ﺳﺮﻯ ﻛﺘﺎﺏﻫﺎﻯ ﻛﻤﻴﻜﻰ ﺑﻪ ﻫﻤﻴﻦ ﻧﺎﻡ ﺑﻪ‬ ‫ﻗﻠﻢ ﺭﺍﺑﺮﺕ ﻛﻴﺮﻛﻤﻦ‪ ،‬ﺗﻮﻧﻰ ﻣﻮﺭ ﻭ ﭼﺎﺭﻟﻰ ﺁﻟﺪﺍﺭﺩ‪ .‬ﺍﻟﺒﺘﻪ ﺳﺮﻳﺎﻝ ﺗﻔﺎﻭﺕﻫﺎﻳﻰ ﺑﺎ ﻛﻤﻴﻚ ﺩﺍﺭﺩ‬ ‫ﻛﻪ ﺩﺭ ﺍﺩﺍﻣﻪ ﺑﻪ ﺁﻥﻫﺎ ﺧﻮﺍﻫﻴﻢ ﭘﺮﺩﺍﺧﺖ‪ .‬ﺍﻳﻦ ﺳﺮﻳﺎﻝ ﺍﺯ ﺳﺎﻝ ‪ 2010‬ﺩﺭ ﺩﻭ ﻓﺼﻞ ‪ 6‬ﻭ ‪13‬‬ ‫ﻗﺴﻤﺘﻰ ﭘﺨﺶ ﺷﺪﻩ ﻭ ﺗﺎﺭﻳﺦ ﭘﺨﺶ ﻓﺼﻞ ﺳﻮﻡ ﺁﻥ ‪ 14‬ﺍﻛﺘﺒﺮ ﺍﻣﺴﺎﻝ‪ ،‬ﻣﺸﺘﻤﻞ ﺑﺮ ‪ 9‬ﻗﺴﻤﺖ‬ ‫ﺍﻋﻼﻡ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﺳﻴﻨﻤﺎ‬

‫ﻗﺴﻤﺖ ﭘﻨﺠﻢ‬ ‫ﻗﺴﻤﺖ ﭘﻨﺠﻢ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﺎ ﻧﺎﻡ ﺷﻴﻄﺎﻥ ﻣﻘﻴﻢ‪ :‬ﺗﺎﻭﺍﻥ ‪ Resident Evil: Retribution‬ﻣﺎﻧﻨﺪ ﺳﺮﻯ ﺍﻭﻝ ﻭ‬ ‫ﭼﻬﺎﺭﻡ ﺑﺎ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﻭ ﻧﻮﻳﺴﻨﺪﮔﻰ ﭘﻞ ﺍﻧﺪﺭﺳﻮﻥ ﺩﺭ ﺣﺎﻝ ﺳﺎﺧﺖ ﺍﺳﺖ ﻭ ﻗﺮﺍﺭ ﺍﺳﺖ ﺩﺭ ‪ 26‬ﺳﭙﺘﺎﻣﺒﺮ‬ ‫‪ 2012‬ﭘﺨﺶ ﺷﻮﺩ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻭﻳﺮﻭﺱ ‪ T‬ﺷﺮﻛﺖ ﺁﻣﺒﺮﻻ ﺩﺭ ﺣﺎﻝ ﻧﺎﺑﻮﺩ ﻛﺮﺩﻥ ﺯﻣﻴﻦ ﻭ ﺗﺒﺪﻳﻞ ﺁﻥ ﺑﻪ ﺟﻤﻌﻴﺘﻰ ﻋﻈﻴﻢ‬ ‫ﺍﺯ ﺯﺍﻣﺒﻰﻫﺎﻯ ﺭﻭﺍﻥ ﺑﺮﺍﻯ ﺧﻮﺭﺩﻥ ﮔﻮﺷﺖ ﺗﺎﺯﻩ ﺍﺳﺖ‪ ،‬ﺁﻟﻴﺲ‪ ،‬ﺗﻨﻬﺎ ﺍﻣﻴﺪ ﺣﻴﺎﺕ ﺑﺸﺮﻯ ﺩﺭ ﻗﻠﺐ ﺷﺮﻛﺖ‬ ‫ﺁﻣﺒﺮﻻ ﺍﺳﺖ ﻭ ﺭﺍﺯﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺍﺯ ﮔﺬﺷﺘﻪ ﺁﻥ ﻭ ﺁﻳﻨﺪﻩﻯ ﭘﻴﭽﺪﻩﻯ ﭘﻴﺶ ﺭﻭ ﺑﺮﻣﻼ ﻣﻰﺷﻮﺩ‪.‬‬

‫ﻛﺎﺭﺍﻛﺘﺮ ﺍﺻﻠﻰ ﺁﻟﻴﺲ‬ ‫ﻳﻜﻰ ﺍﺯ ﻧﻮﺁﻭﺭﻯﻫﺎﻯ ﻓﻴﻠﻢ ﻛﻪ ﺷﺎﻳﺪ ﺑﺎﺏ ﻃﺒﻊ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻋﻼﻗﻤﻨﺪﺍﻥ ﺑﻪ ﺳﺮﻯ ﺑﺎﺯﻯﻫﺎﻯ‬ ‫‪ Resident Evil‬ﻧﺒﺎﺷﺪ‪ ،‬ﺍﺿﺎﻓﻪ ﻛﺮﺩﻥ ﺷﺨﺼﻴﺘﻰ ﺑﻪ ﻧﺎﻡ ﺁﻟﻴﺲ ﺑﺎ ﺑﺎﺯﻯ ﻣﻴﻼ ﻳﻮﻭﻳﭻ ﺍﺳﺖ‪ .‬ﺍﻧﺘﺨﺎﺏ‬ ‫ﺍﻳﻦ ﺑﺎﺯﻳﮕﺮ ﻭ ﺍﻳﺪﻩﻫﺎﻯ ﺧﺎﺹ ﺍﻭ ﺩﺭ ﺯﻣﺎﻥ ﻓﻴﻠﻢﺑﺮﺩﺍﺭﻯ ﻭ ﻣﺒﺎﺭﺯﺍﺕ ﺩﻳﺪﻧﻰ ﺍﻭ‪ ،‬ﺗﺎﺛﻴﺮ ﺧﻴﻠﻰ ﺯﻳﺎﺩﻯ ﺩﺭ‬ ‫ﺟﺬﺍﺑﻴﺖ ﻓﻴﻠﻢ ﮔﺬﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺁﻟﻴﺲ ﻳﻚ ﺯﻥ ﺑﺎ ﻭﻳﮋﮔﻰﻫﺎﻯ ﻓﺮﺍﻓﻴﺰﻳﻜﻰ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩ ﺍﺳﺖ ﻛﻪ ﺑﻪ‬ ‫ﻛﻤﻚ ﻭﻳﺮﻭﺱ ‪ T‬ﺍﻳﺠﺎﺩ ﺷﺪﻩﺍﻧﺪ ﻭ ﺑﺮﺍﻯ ﺯﻧﺪﻩ ﻧﮕﻪ ﺩﺍﺷﺘﻦ ﻧﺴﻞ ﺑﺸﺮ ﻭ ﻧﺎﺑﻮﺩﻯ ﻋﺎﻣﻠﻴﻦ ﻓﺎﺟﻌﻪ ﻭﻳﺮﻭﺱ‬ ‫‪ T‬ﺩﺳﺖ ﺑﻪ ﻫﺮ ﻛﺎﺭﻯ ﻣﻰﺯﻧﺪ‪ .‬ﺍﻭ ﺗﻨﻬﺎ ﻛﺴﻰ ﺍﺳﺖ ﻛﻪ ژﻧﺘﻴﻜﺶ ﺑﺮ ﻭﻳﺮﻭﺱ ‪ T‬ﻏﻠﺒﻪ ﻛﺮﺩﻩ ﺍﺳﺖ ﻭ ﺍﺯ‬ ‫ﺍﻳﻦ ﺭﻭ ﻫﻢ ﺑﺮﺍﻯ ﺷﺮﻛﺖ ﺁﻣﺒﺮﻻ ﻭ ﻫﻢ ﺑﺮﺍﻯ ﺁﻳﻨﺪﻩﻯ ﺑﺸﺮ ﺍﻫﻤﻴﺖ ﺑﻪﺳﺰﺍﻳﻰ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﺍﺩﺍﻣﻪﻯ ﺍﻳﻦ‬ ‫ﻣﺠﻤﻮﻋﻪ ﺑﺎﻳﺪ ﺩﻳﺪ ﻛﻪ ﺳﺮﺍﻧﺠﺎﻡ ﺁﻟﻴﺲ ﭼﻪ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬

‫‪1. Capcom‬‬ ‫‪2. Shinji Mikami‬‬ ‫‪3. Arthur Ashford‬‬ ‫‪4. Umbrella‬‬ ‫‪5. Albert Wesker‬‬ ‫‪6. Brian Irons‬‬ ‫‪7. Chris Redfield‬‬ ‫‪8. Jill Valentine‬‬

‫‪9. Rebecca Chambers‬‬ ‫‪10. Leon S. Kennedy‬‬ ‫‪11. Clair Redfield‬‬ ‫‪12. Ada Wung‬‬ ‫‪13. Operation Raccoon City‬‬ ‫‪14. Tricell‬‬ ‫‪15. Dr. Isaacs‬‬ ‫‪16. Carlos Oliveira‬‬

‫‪127‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻗﺴﻤﺖ ﭼﻬﺎﺭﻡ‬ ‫ﻗﺴﻤﺖ ﭼﻬﺎﺭﻡ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺩﺭ ﺳﺎﻝ ‪ 2010‬ﺑﺎ ﻧﺎﻡ ﺷﻴﻄﺎﻥ ﻣﻘﻴﻢ‪ :‬ﺯﻧﺪﮔﻰ ﭘﺲ ﺍﺯ ﻣﺮگ‬ ‫‪ Evil: Afterlife‬ﻣﺎﻧﻨﺪ ﺳﺮﻯ ﺍﻭﻝ ﺑﺎ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﻭ ﻧﻮﻳﺴﻨﺪﮔﻰ ‪ Paul W.S. Anderson‬ﺑﺎ ﺑﻮﺩﺟﻪ ‪60‬‬ ‫‪Resident‬‬

‫ﻣﻴﻠﻴﻮﻥ ﺩﻻﺭ ﺳﺎﺧﺘﻪ ﺷﺪ ﻭ ﺗﻮﺍﻧﺴﺖ ‪ 296‬ﻣﻴﻠﻴﻮﻥ ﺩﻻﺭ ﻓﺮﻭﺵ ﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﺍﻣﺘﻴﺎﺯ ﭘﺎﻳﻴﻦﺗﺮﻯ ﺭﺍ ﻧﺴﺒﺖ‬ ‫ﺑﻪ ﺑﻪ ﺳﺮﻯﻫﺎﻯ ﻗﺒﻞ ﺍﺯ ﺑﻴﻨﻨﺪﮔﺎﻥ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩ‪.‬‬ ‫ﺧﻼﺻﻪ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺩﻧﻴﺎ ﺗﻮﺳﻂ ﻭﻳﺮﻭﺱ ‪ T‬ﺑﺎ ﺯﻧﺪﻩ ﻛﺮﺩﻥ ﻣﺮﺩﮔﺎﻥ ﺩﺭ ﺣﺎﻝ ﺗﻐﻴﻴﺮ ﺍﺳﺖ‪ ،‬ﺁﻟﻴﺲ ﻫﻨﻮﺯ ﺩﺭ‬ ‫ﺗﻼﺵ ﺑﺮﺍﻯ ﻳﺎﻓﺘﻦ ﻧﺠﺎﺕ ﻳﺎﻓﺘﮕﺎﻥ ﺍﺳﺖ ﻭ ﻣﺒﺎﺭﺯﻩ ﺁﻟﻴﺲ ﺑﺮﺍﻯ ﺍﺯ ﺑﻴﻦ ﺑﺮﺩﻥ ﺷﺮﻛﺖ ﺁﻣﺒﺮﻻ ﻭﺍﺭﺩ‬ ‫ﻣﺮﺣﻠﻪﺍﻯ ﺟﺪﻳﺪ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺁﻟﻴﺲ ﭘﻴﺎﻡ ﻛﻤﻚ ﻏﻴﺮﻣﻨﺘﻈﺮﻩﺍﻯ ﺍﺯ ﻳﻚ ﺩﻭﺳﺖ ﻗﺪﻳﻤﻰ ﻣﻰﺷﻨﻮﺩ ﻛﻪ‬ ‫ﺧﺒﺮ ﺍﺯ ﻣﻜﺎﻧﻰ ﺍﻳﻤﻦ ﺑﺎ ﻏﺬﺍ ﻭ ﺍﻣﻜﺎﻧﺎﺕ ﺩﺭ ﻟﺲﺁﻧﺠﻠﺲ ﻣﻰﺩﻫﺪ‪ .‬ﺍﻣﺎ ﺯﻣﺎﻧﻰ ﻛﻪ ﺑﻪ ﺁﻥﺟﺎ ﻣﻰﺭﺳﺪ‪ ،‬ﺷﻬﺮ‬ ‫ﺩﺭ ﺍﻧﺒﻮﻫﻰ ﺍﺯ ﻧﺎﻣﺮﺩﮔﺎﻥ ﻏﺮﻕ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺁﻟﻴﺲ ﻭ ﻫﻢﺗﻴﻤﻰﻫﺎﻳﺶ ﺩﺭ ﻳﻚ ﺗﻠﻪ ﮔﺮﻓﺘﺎﺭ ﻣﻰﺷﻮﻧﺪ ﻭ‬ ‫ﺑﺎﻳﺪ ﺭﺍﻫﻰ ﺑﺮﺍﻯ ﻧﺠﺎﺕ ﺧﻮﺩ ﭘﻴﺪﺍ ﻛﻨﺪ‪.‬‬ ‫ﻧﻘﺪ ﻓﻴﻠﻢ‬ ‫ﺍﻳﻦ ﻗﺴﻤﺖ ﺍﺯ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺑﺎ ﺑﻬﺮﻩﮔﻴﺮﻯ ﺍﺯ ﺗﻜﻨﻮﻟﻮژﻯ ﺳﻪ ﺑﻌﺪﻯ‪ ،‬ﻓﻀﺎﺳﺎﺯﻯ ﻭ ﺻﺤﻨﻪﻫﺎﻯ ﺧﻴﺮﻩ‬ ‫ﻛﻨﻨﺪﻩﺍﻯ ﺭﺍ ﺧﻠﻖ ﻛﺮﺩﻩ ﺍﺳﺖ ﻛﻪ ﺑﺎﻋﺚ ﺟﺬﺍﺑﻴﺖ ﻓﻴﻠﻢ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺭ ﻫﻤﺎﻥ ﺍﺑﺘﺪﺍ ﻣﺒﺎﺭﺯﻩﻯ ﺁﻟﻴﺲ ﺑﺎ‬ ‫ﻣﺎﻣﻮﺭﻳﻦ ﺍﻣﻨﻴﺘﻰ ﺷﺮﻛﺖ ﺁﻣﺒﺮﻻ ﻭ ﻗﺪﺭﺕﻫﺎﻯ ﻓﻮﻕﺑﺸﺮﻯ ﺍﻭ ﺭﺍ ﻣﻰﺑﻴﻨﻴﻢ ﻭ ﺑﻌﺪ ﺍﺯ ﭼﻨﺪ ﻟﺤﻈﻪ‪ ،‬ﺻﺪﻫﺎ‬ ‫ﺁﻟﻴﺲ ﺩﺭ ﺣﺎﻝ ﻧﺎﺑﻮﺩﻯ ﻛﻞ ﭘﺎﻳﮕﺎﻩ ﺯﻳﺮﺯﻣﻴﻨﻰ ﺁﻣﺒﺮﻻﻯ ژﺍﭘﻦ‪ ،‬ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺩﺭ ﺍﺩﺍﻣﻪ ﻓﻴﻠﻢ‬ ‫ﻣﺘﻮﺟﻪ ﺍﺗﻔﺎﻗﺎﺗﻰ ﭘﻨﻬﺎﻥ ﻣﻰﺷﻮﻳﻢ ﻛﻪ ﻛﻠﻴﺮ ﺭﺍ ﺗﺤﺖ ﺗﺎﺛﻴﺮ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﻭ ﺣﻜﺎﻳﺖ ﺍﺯ ﻋﺪﻡ ﻧﺎﺑﻮﺩﻯ ﻛﺎﻣﻞ‬ ‫ﺁﻣﺒﺮﻻ ﺩﺍﺭﺩ؛ ﺍﻣﺎ ﻓﻴﻠﻢ ﺍﻃﻼﻋﺎﺕ ﺯﻳﺎﺩﻯ ﺭﺍ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﻣﺎ ﻧﻤﻰﮔﺬﺍﺭﺩ‪ .‬ﺩﺭ ﺣﻘﻴﻘﺖ ﺩﺭ ﻧﮕﺎﻫﻰ ﻛﻠﻰ‪،‬‬ ‫ﺍﻳﻦ ﻗﺴﻤﺖ ﺑﻴﺸﺘﺮ ﻣﻘﺪﻣﻪ ﻭ ﺯﻣﻴﻨﻪﺳﺎﺯ ﺑﺮﺍﻯ ﻗﺴﻤﺖ ﺑﻌﺪﻯ ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﻭ ﺭﻭﺍﻳﺖ ﺩﺍﺳﺘﺎﻥ ﭘﻴﺸﺮﻓﺖ‬ ‫ﭼﻨﺪﺍﻧﻰ ﻧﺪﺍﺭﺩ‪ .‬ﻫﺪﻑ ﺍﺻﻠﻰ ﻓﻴﻠﻢ ﺧﻠﻖ ﺻﺤﻨﻪﻫﺎﻯ ﺍﻛﺸﻦ ﺳﻪ ﺑﻌﺪﻯ ﺍﺳﺖ ﻛﻪ ﺷﺎﻳﺪ ﺑﺰﺭگﺗﺮﻳﻦ‬ ‫ﺿﻌﻒ ﺍﻳﻦ ﻗﺴﻤﺖ ﺑﺎﺷﺪ‪ .‬ﺍﻣﺎ ﺑﺎ ﺍﻳﻦ ﻭﺟﻮﺩ ﻓﻴﻠﻢ ﺑﺴﻴﺎﺭ ﻣﻮﺭﺩ ﺍﺳﺘﻘﺒﺎﻝ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ ﻭ ﻋﻨﻮﺍﻥ‬ ‫ﺍﻭﻟﻴﻦ ﻓﻴﻠﻢ ﺳﻪ ﺑﻌﺪﻯ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺑﺮ ﺍﺳﺎﺱ ﻳﻚ ﺑﺎﺯﻯ ﺭﺍ ﺑﺮﺍﻯ ﺧﻮﺩ ﺛﺒﺖ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻗﺴﻤﺖ‬ ‫ﺍﻃﻼﻋﺎﺕ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻰ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﻗﺴﻤﺖ ﺑﻌﺪﻯ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﻣﺎ ﻗﺮﺍﺭ ﻣﻰﺩﻫﺪ ﻭ ﺻﺤﻨﻪﻫﺎﻯ ﭘﺎﻳﺎﻧﻰ‬ ‫ﺧﺒﺮ ﺍﺯ ﺩﺭﮔﻴﺮﻯﻫﺎﻯ ﺟﺪﻳﺪﺗﺮ ﺁﻟﻴﺲ ﺑﺎ ﮔﺮﻭﻩ ﺁﻣﺒﺮﻻ ﺭﺍ ﻣﻰﺩﻫﺪ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺩﺭ ﺍﻳﻦ ﻗﺴﻤﺖ ﺍﺳﺖ ﻛﻪ‬ ‫ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺁﻟﻴﺲ ﻭ ﺁﻟﺒﺮﺕ ﻭﺳﻜﺮﺯ ﺩﺭ ﺑﺮﺍﺑﺮ ﻫﻢ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﻧﺪ‪.‬‬ ‫‪126‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺳﻴﻨﻤﺎ‬

‫ﺑﺎ ﻧﻮﻳﺴﻨﺪﮔﻰ ﭘﻞ ﺍﻧﺪﺭﺳﻮﻥ ﻭ ﺍﻳﻦ ﺑﺎﺭ ﺑﺎ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﺭﺍﺳﻞ ﻣﻮﻟﻜﻰ ﺑﺎ ﺑﻮﺩﺟﻪﻯ ‪ 45‬ﻣﻴﻠﻴﻮﻥ ﺩﻻﺭ‬ ‫ﺳﺎﺧﺘﻪ ﺷﺪ ﻭ ﺗﻮﺍﻧﺴﺖ ‪ 147‬ﻣﻴﻠﻴﻮﻥ ﺩﻻﺭ ﻓﺮﻭﺵ ﻛﻨﺪ ﻭ ﺍﻣﺘﻴﺎﺯ ﺑﻬﺘﺮﻯ ﺭﺍ ﺍﺯ ﻧﻈﺮ ﺑﻴﻨﻨﺪﮔﺎﻥ ﻧﺴﺒﺖ‬ ‫ﺑﻪ ﻗﺴﻤﺖ ﺩﻭﻡ ﺑﮕﻴﺮﺩ‪.‬‬ ‫ﺧﻼﺻﻪﻯ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺳﺎﻝﻫﺎ ﺑﻌﺪ ﺍﺯ ﻓﺎﺟﻌﻪﻱ ﺷﻬﺮ ﺭﺍﻛﻮﻥ‪ ،‬ﺗﻤﺎﻡ ﺯﻣﻴﻦ ﺑﻪ ﻭﻳﺮﻭﺱ ‪ T‬ﺁﻟﻮﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺁﻟﻴﺲ ﺑﻪ ﺧﻮﺑﻰ ﺍﺯ‬ ‫ﺍﺳﺘﻌﺪﺍﺩ ﺧﺎﺹ ﺧﻮﺩ ﺑﺎﺧﺒﺮ ﺍﺳﺖ ﻭ ﻣﻰﺩﺍﻧﺪ ﻛﻪ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﺎﻋﺚ ﺻﺪﻣﻪ ﺑﻪ ﺍﻃﺮﺍﻓﻴﺎﻥ ﺧﻮﺩ ﺷﻮﺩ؛‬ ‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﺑﻪ ﺻﻮﺭﺗﻰ ﺍﻧﻔﺮﺍﺩﻯ ﺩﺭ ﺗﻼﺵ ﺑﺮﺍﻯ ﺯﻧﺪﻩ ﻧﮕﻪ ﺩﺍﺷﺘﻦ ﺑﺎﺯﻣﺎﻧﺪﻩﻫﺎ ﻭ ﻧﺎﺑﻮﺩﻯ ﺷﺮﻛﺖ ﺁﻣﺒﺮﻻ‬ ‫ﻛﻪ ﻫﻢ ﺍﻛﻨﻮﻥ ﺗﻮﺳﻂ ﺁﻟﺒﺮﺕ ﻭﺳﻜﺮﺯ ﻭ ﺳﺮ ﻣﺤﻘﻖ ﺩﻛﺘﺮ ﺍﻳﺴﻜﺎﺱ )‪ (15‬ﺭﻫﺒﺮﻯ ﻣﻰﺷﻮﺩ‪ ،‬ﺍﺳﺖ‪ .‬ﺩﺭ‬ ‫ﻫﻤﻴﻦ ﺣﺎﻝ ﻋﺪﻩﺍﻯ ﺍﺯ ﺑﺎﺯﻣﺎﻧﺪﮔﺎﻥ ﺍﺯ ﺟﻤﻠﻪ ﻛﺎﺭﻟﺲ ﺍﻟﻴﻮﺭﻳﺎ )‪ (16‬ﻭ ﻛﻠﻴﺮ ﺭﺩﻓﻴﻠﺪ ﺩﺭ ﺣﺎﻝ ﻋﺒﻮﺭ ﺍﺯ‬ ‫ﺻﺤﺮﺍﻯ ﻧﻮﺍﺩﺍ ﻭ ﺧﺮﺍﺑﻪﻫﺎﻯ ﻻﺱﻭﮔﺎﺱ ﻫﺴﺘﻨﺪ ﻭ ﺑﺎ ﻫﺰﺍﺭﺍﻥ ﺯﺍﻣﺒﻰ‪ ،‬ﻛﻼﻍﻫﺎﻯ ﻗﺎﺗﻞ ﻭ ﺍﻧﻮﺍﻉ ﻣﻮﺟﻮﺩﺍﺕ‬ ‫ﻋﺠﻴﺒﻰ ﻛﻪ ﺗﻮﺳﻂ ﻭﻳﺮﻭﺱ ‪ T‬ﺗﻮﻟﻴﺪ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﺑﺮﺍﻯ ﺯﻧﺪﻩ ﻣﺎﻧﺪﻥ ﻣﻰﺟﻨﮕﻨﺪ‪.‬‬ ‫ﻧﻘﺪ ﻓﻴﻠﻢ‬ ‫ﻗﺒﻞ ﺍﺯ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ‪ ،‬ﺑﻴﺸﺘﺮ ﺑﻴﻨﻨﺪﻩﻫﺎ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺭﻭﻧﺪ ﻣﺠﻤﻮﻋﻪﻫﺎﻯ ﻗﺒﻠﻰ ﺍﻧﺘﻈﺎﺭ ﻳﻚ ﻓﻴﻠﻢ‬ ‫ﺧﺴﺘﻪﻛﻨﻨﺪﻩ ﻭ ﺗﻜﺮﺍﺭﻯ ﺭﺍ ﺩﺍﺷﺘﻨﺪ‪ .‬ﺍﻣﺎ ﻓﻴﻠﻢ ﺑﺮ ﺧﻼﻑ ﺍﻧﺘﻈﺎﺭ ﻗﺒﻠﻰ ﺍﺯ ﻛﺎﺭ ﺩﺭ ﺁﻣﺪ‪ .‬ﻧﻮﻳﺴﻨﺪﻩ ﺍﻃﻼﻋﺎﺕ‬ ‫ﺧﺴﺘﻪ ﻛﻨﻨﺪﻩﺍﻯ ﻧﻈﻴﺮ ﺍﻳﻦ ﻛﻪ ﮔﺮﻭﻩ ﻧﺠﺎﺕﻳﺎﻓﺘﻪ ﭼﻄﻮﺭ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺑﻪ ﻭﺳﻂ ﺻﺤﺮﺍ ﺭﺳﺎﻧﺪﻩﺍﻧﺪ ﻳﺎ‬ ‫ﺍﻳﻦ ﻛﻪ ﭼﻄﻮﺭ ﺩﻭﺭ ﻫﻢ ﺟﻤﻊ ﺷﺪﻧﺪ ﻭ ﮔﺬﺷﺘﻪﻯ ﻛﺎﺭﺍﻛﺘﺮﻫﺎﻳﻰ ﭼﻮﻥ ﻛﻠﻴﺮ ﺭﺍ ﻛﻪ ﺩﺭ ﺑﺎﺯﻯ ﺑﻴﺸﺘﺮ‬ ‫ﺩﺭ ﻣﻮﺭﺩﺵ ﺻﺤﺒﺖ ﺷﺪﻩ‪ ،‬ﺣﺬﻑ ﻛﺮﺩﻩ ﺍﺳﺖ ﺗﺎ ﺍﻳﻦ ﺍﺣﺴﺎﺱ ﺭﺍ ﺑﻪ ﻭﺟﻮﺩ ﺁﻭﺭﺩ ﻛﻪ ﭼﻴﺰﻫﺎﻯ ﺧﻴﻠﻰ‬ ‫ﻣﻬﻢﺗﺮﻯ ﺑﺮﺍﻯ ﻧﻤﺎﻳﺶ ﻭﺟﻮﺩ ﺩﺍﺭﺩ؛ ﺍﻳﻦ ﻛﻪ ﭼﻄﻮﺭ ﺍﻳﻦ ﻋﺪﻩ ﻣﻰﺧﻮﺍﻫﻨﺪ ﺍﺯ ﺍﻳﻦ ﻭﺿﻌﻴﺖ ﻧﺠﺎﺕ ﭘﻴﺪﺍ‬ ‫ﻛﻨﻨﺪ‪ .‬ﻓﻴﻠﻢ ﺑﻪ ﺷﺪﺕ ﺍﻛﺸﻦ ﻭ ﺳﺮﻳﻊ ﺍﺳﺖ ﻭ ﻣﺒﺎﺭﺯﺍﺕ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻰ ﺭﺍ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭ ﻣﻰﺁﻭﺭﺩ ﻛﻪ ﺑﻪ‬ ‫ﺷﺪﺕ ﻓﻴﻠﻢ ﺭﺍ ﺟﺬﺍﺏ ﻣﻰﻛﻨﺪ‪ .‬ﺩﺭ ﺻﺤﻨﻪﻫﺎﻯ ﺍﺑﺘﺪﺍﻳﻰ ﻓﻴﻠﻢ ﻭﻗﺘﻰ ﺁﻟﻴﺲ ﺭﺍ ﺩﺭ ﺳﻜﺎﻧﺴﻰ ﻣﺸﺎﺑﻪ ﺁﻏﺎﺯ‬ ‫ﻣﺠﻤﻮﻋﻪﻯ ﺍﻭﻝ ﻣﻰﺑﻴﻨﻴﻢ ﺩﭼﺎﺭ ﺗﺮﺩﻳﺪ ﻣﻰﺷﻮﻳﻢ‪ ،‬ﺍﻣﺎ ﺧﻴﻠﻰ ﺯﻭﺩ ﻣﺘﻮﺟﻪ ﺍﺗﻔﺎﻗﺎﺕ ﺟﺎﻟﺐﺗﺮﻯ ﻣﻰﺷﻮﻳﻢ‪.‬‬ ‫ﺩﺭ ﺳﻜﺎﻧﺴﻰ ﺍﺯ ﻓﻴﻠﻢ ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ ﺁﻟﻴﺲ ﺑﺎ ﺍﻳﻦ ﻛﻪ ﻣﻰﺧﻮﺍﻫﺪ ﺑﻪ ﺑﺎﺯﻣﺎﻧﺪﮔﺎﻥ ﻛﻤﻚ ﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﻣﻮﺭﺩ‬ ‫ﺁﺯﺍﺭ ﺍﺫﻳﺖ ﺑﻌﻀﻰ ﺍﺯ ﺁﻥﻫﺎ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ‪ .‬ﺩﺭ ﺍﺩﺍﻣﻪﻯ ﻓﻴﻠﻢ ﻭﻗﺘﻰ ﻗﺪﺭﺕ ﺧﺎﺭﺝ ﺍﺯ ﻛﻨﺘﺮﻝ ﺁﻟﻴﺲ ﻧﺸﺎﻥ‬ ‫ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ ﺳﺮﻧﻮﺷﺖ ﺳﺎﻳﺮ ﻛﺎﺭﺍﻛﺘﺮﻫﺎ ﻛﻢﺍﻫﻤﻴﺖﺗﺮ ﻣﻰﺷﻮﺩ ﻭ ﺑﻪ ﺩﻧﺒﺎﻝ ﺳﺮﻧﻮﺷﺖ ﺁﻟﻴﺲ ﻣﻰﺭﻭﻳﻢ‪.‬‬ ‫ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﺟﺬﺍﺑﻴﺖﻫﺎﻯ ﻓﻴﻠﻢ‪ ،‬ﺳﻜﺎﻧﺲ ﭘﺎﻳﺎﻧﻰ ﻣﺘﻔﺎﻭﺕ ﻓﻴﻠﻢ ﺍﺳﺖ‪ .‬ﻫﺰﺍﺭﺍﻥ ﺁﻟﻴﺲ ﺑﺮﺍﻯ ﺍﺯ ﺑﻴﻦ‬ ‫ﺑﺮﺩﻥ ﺗﺸﻜﻴﻼﺕ ﺷﺮﻛﺖ ﺁﻣﺒﺮﻻ ﺩﺳﺖ ﺑﻪ ﻛﺎﺭ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫‪125‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻣﻰﺩﺯﺩﺩ ﻭ ﺑﺮﺍﻯ ﻓﺮﺍﺭ ﺭﺍﺣﺖﺗﺮ‪ ،‬ﻳﻜﻰ ﺍﺯ ﺑﺴﺘﻪﻫﺎ ﺭﺍ ﺩﺭ ﻫﻮﺍ ﻣﻨﺘﺸﺮ ﻣﻰﻛﻨﺪ‪ .‬ﺳﻴﺴﺘﻢ ﻫﻮﺵ ﻣﺼﻨﻮﻋﻰ‬ ‫ﺷﺮﻛﺖ ﺑﻪ ﻧﺎﻡ ﻣﻠﻜﻪﻯ ﺳﺮﺥ ﺑﺮﺍﻯ ﺟﻠﻮﮔﻴﺮﻯ ﺍﺯ ﺍﻧﺘﺸﺎﺭ ﺁﻟﻮﺩﮔﻰ‪ ،‬ﺍﻗﺪﺍﻡ ﺑﻪ ﻛﺸﺘﻦ ﻫﻤﻪﻯ ﻛﺎﺭﻛﻨﺎﻥ‬ ‫ﺷﺮﻛﺖ ﻣﻰﻛﻨﺪ؛ ﺍﻣﺎ ﻣﺸﻜﻞ ﺍﻳﻦﺟﺎﺳﺖ ﻛﻪ ﺁﻥﻫﺎ ﻣﺮﺩﻩ ﺑﺎﻗﻰ ﻧﻤﻰﻣﺎﻧﻨﺪ ﻭ ﻭﻳﺮﻭﺱ ‪ T‬ﻫﻤﻪﻯ ﺁﻥﻫﺎ‬ ‫ﺭﺍ ﺑﺮﻣﻰﺧﻴﺰﺍﻧﺪ‪ .‬ﺁﻟﻴﺲ ﻳﻜﻰ ﺍﺯ ﻣﺎﻣﻮﺭﻫﺎﻯ ﺣﻔﺎﻇﺘﻰ ﺷﺮﻛﺖ ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﻯ ﻧﺠﺎﺕ ﺑﺎﺯﻣﺎﻧﺪﻩﻫﺎ ﺗﻼﺵ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﺍﻭ ﺑﻪ ﻫﻤﺮﺍﻩ ﻳﻚ ﺗﻴﻢ ﺍﻣﻨﻴﺘﻰ ﺩﺭ ﺗﻼﺵ ﺑﺮﺍﻯ ﻧﺠﺎﺕ ﻛﺴﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻓﺎﺟﻌﻪ ﺟﺎﻥ ﺳﺎﻟﻢ‬ ‫ﺑﻪ ﺩﺭ ﺑﺮﺩﻩﺍﻧﺪ‪ .‬ﺍﻣﺎ‪...‬‬ ‫ﻧﻘﺪ ﻭ ﺑﺮﺭﺳﻰ‬ ‫ﺩﺭ ﺳﺮﻯ ﺍﻭﻝ ﻓﻴﻠﻢ‪ ،‬ﺑﺎﺯﻯ ﻗﺎﺑﻞ ﻗﺒﻮﻝ ﻭ ﻣﺒﺎﺭﺯﺍﺕ ﺑﺴﻴﺎﺭ ﺧﻮﺏ ﺁﻟﻴﺲ ﻭ ﻧﺤﻮﻩﻯ ﻧﻮﺭﭘﺮﺩﺍﺯﻯ ﺻﺤﻨﻪﻫﺎ‪،‬‬ ‫ﻧﻘﺶ ﺑﺴﻴﺎﺭ ﻣﻬﻤﻰ ﺩﺭ ﺟﺬﺍﺑﻴﺖ ﺍﻳﻦ ﻓﻴﻠﻢ ﺩﺍﺷﺖ ﻭ ﺣﺲ ﺗﺮﺱ ﻭ ﻭﺣﺸﺖ ﺭﺍ ﺑﻪ ﺧﻮﺑﻰ ﺑﻪ ﺑﻴﻨﻨﺪﻩ‬ ‫ﺍﻧﺘﻘﺎﻝ ﻣﻰﺩﺍﺩ‪ .‬ﺍﻣﺎ ﺑﺎ ﻣﻘﺎﻳﺴﻪﻯ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﺎ ﻗﺴﻤﺖﻫﺎﻯ ﺑﻌﺪﻯ ﺁﻥ‪ ،‬ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺿﻌﻒ ﺩﺭ ﮔﺮﻳﻢ‬ ‫ﺯﺍﻣﺒﻰﻫﺎ ﻭ ﻃﺮﺍﺣﻰ ﺻﺤﻨﻪﻫﺎ ﭘﻰ ﺑﺮﺩ ﻛﻪ ﺑﻪ ﻋﻠﺖ ﺳﺮﻋﺖ ﺑﺎﻻ ﺩﺭ ﻓﻴﻠﻢ ﻛﻤﺘﺮ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻗﺮﺍﺭ‬ ‫ﻣﻰﮔﻴﺮﺩ‪ .‬ﺩﺭ ﻣﺠﻤﻮﻉ ﻣﻰﺗﻮﺍﻥ ﮔﻔﺖ ﻛﻪ ﺍﻭﻟﻴﻦ ﻗﺴﻤﺖ ﺍﻳﻦ ﻓﻴﻠﻢ ﺗﻮﺍﻧﺴﺖ ﺑﺎ ﻭﺟﻮﺩ ﻧﻘﺪﻫﺎﻯ ﻣﻨﻔﻰ‬ ‫ﺑﺴﻴﺎﺭ‪ ،‬ﺭﺿﺎﻳﺖ ﻫﻮﺍﺩﺍﺭﺍﻥ ﺑﺎﺯﻯ ﺭﺍ ﺟﻠﺐ ﻛﻨﺪ‪.‬‬

‫ﻗﺴﻤﺖ ﺩﻭﻡ‬ ‫ﺩﻭﻣﻴﻦ ﻣﺠﻤﻮﻋﻪ ﺍﻳﻦ ﻓﻴﻠﻢ ﺩﺭ ﺳﺎﻝ ‪ 2004‬ﺑﺎ ﻧﺎﻡ ﺷﻴﻄﺎﻥ ﻣﻘﻴﻢ‪ :‬ﺁﺧﺮﺍﻟﺰﻣﺎﻥ‬ ‫‪ Apocalypse‬ﺑﺎ ﻧﻮﻳﺴﻨﺪﮔﻰ ﭘﻞ ﺍﻧﺪﺭﺳﻮﻥ‪ ،‬ﺍﻣﺎ ﺑﺎ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﺍﻟﻜﺴﺎﻧﺪﺭ ﻭﻳﺘﺲ ﺳﺎﺧﺘﻪ ﺷﺪ ﻭ ﺗﻮﺍﻧﺴﺖ‬ ‫‪ 129‬ﻣﻴﻠﻴﻮﻥ ﺩﻻﺭ ﻓﺮﻭﺵ ﻛﻨﺪ‪ .‬ﺍﻣﺎ ﻧﺘﻮﺍﻧﺴﺖ ﺍﺯ ﻧﻈﺮ ﺑﻴﻨﻨﺪﮔﺎﻥ ﺍﻣﺘﻴﺎﺯ ﻗﺴﻤﺖ ﺍﻭﻝ ﺭﺍ ﺑﮕﻴﺮﺩ‪.‬‬ ‫‪Resident Evil:‬‬

‫ﺧﻼﺻﻪﻯ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺳﺮﻯ ﺩﻭﻡ ﺩﻗﻴﻘﺎً ﺍﺯ ﭘﺎﻳﺎﻥ ﺳﺮﻯ ﻗﺒﻞ ﺷﺮﻭﻉ ﻣﻰﺷﻮﺩ ﺁﻟﻴﺲ ﺑﻌﺪ ﺍﺯ ﺩﺳﺘﮕﻴﺮ ﺷﺪﻥ ﺗﻮﺳﻂ ﺗﻴﻢ‬ ‫ﺁﻣﺒﺮﻻ‪ ،‬ﺑﺎ ﻭﺿﻌﻰ ﻋﺠﻴﺐ ﺍﺯ ﺍﺗﺎﻗﻰ ﻣﺮﻣﻮﺯ ﻓﺮﺍﺭ ﻣﻰﻛﻨﺪ‪ .‬ﻭﻳﺮﻭﺱ ﺗﻰ ﻫﻤﻪ ﺟﺎ ﺭﺍ ﮔﺮﻓﺘﻪ ﻭ ﻧﻴﻤﻰ ﺍﺯ ﺷﻬﺮ‬ ‫ﺯﺍﻣﺒﻰ ﺷﺪﻩﺍﻧﺪ ﻭ ﻛﻤﭙﺎﻧﻰ ﺁﻣﺒﺮﻻ ﺩﺭ ﺣﺎﻝ ﺁﻣﺎﺩﻩﺳﺎﺯﻯ ﺑﺮﺍﻯ ﺑﻤﺒﺎﺭﺍﻥ ﺷﻬﺮ ﺑﺮﺍﻯ ﺟﻠﻮﮔﻴﺮﻯ ﺍﺯ ﺍﻧﺘﺸﺎﺭ‬ ‫ﻭﻳﺮﻭﺱ ﺍﺳﺖ ﻭ ﺁﻟﻴﺲ ﺑﺎﻳﺪ ﻫﺮﭼﻪ ﺯﻭﺩﺗﺮ ﺍﺯ ﺷﻬﺮ ﻓﺮﺍﺭ ﻛﻨﺪ‪...‬‬

‫ﻗﺴﻤﺖ ﺳﻮﻡ‬ ‫ﻗﺴﻤﺖ ﺳﻮﻡ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺩﺭ ﺳﺎﻝ ‪ 2007‬ﺑﺎ ﻧﺎﻡ ﺷﻴﻄﺎﻥ ﻣﻘﻴﻢ‪ :‬ﺍﻧﻘﺮﺍﺽ ‪Resident Evil: Extinction‬‬

‫‪124‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺳﻴﻨﻤﺎ‬

‫ﺩﺭ ﺩﻭ ﻗﺴﻤﺖ ﺑﻌﺪﻯ ﺑﺎﺯﻯ ﻧﻴﺰ ﻛﻪ ﺑﺎﺭ ﺩﻳﮕﺮ ﺑﺎﻳﺪ ﺩﺭ ﻧﻘﺶ ﻟﻴﻮﻥ ﻭ ﻛﺮﻳﺲ ﺑﻪ ﭘﻴﺶ ﺑﺮﻭﻳﻢ‪ ،‬ﻫﺮ ﭼﻪ‬ ‫ﺑﻴﺸﺘﺮ ﺑﻪ ﺍﺳﺮﺍﺭ ﻣﺨﻔﻰ ﺁﻣﺒﺮﻻ ﭘﻰ ﻣﻰﺑﺮﻳﻢ‪ .‬ﺍﻣﺎ ﺣﺎﻻ ﺷﺮﻛﺖ ﺗﺮﺍﻳﺴﻞ )‪ (14‬ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺟﺎﻯ ﺁﻣﺒﺮﻻ‬ ‫ﻛﻪ ﺗﻘﺮﻳﺒﺎً ﺍﺯ ﺑﻴﻦ ﺭﻓﺘﻪ‪ ،‬ﻭﺍﺭﺩ ﻋﻤﻞ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺩﺭ ﻗﺴﻤﺖ ﺷﺸﻢ ﺑﺎﺯﻯ ﻛﻪ ﻗﺮﺍﺭ ﺍﺳﺖ ﺩﺭ ﻣﺎﻩ ﺩﺳﺎﻣﺒﺮ ﺳﺎﻝ ‪ 2012‬ﻣﻨﺘﺸﺮ ﺷﻮﺩ‪ ،‬ﺗﻘﺮﻳﺒﺎً ﻫﻤﻪﻯ‬ ‫ﺷﺨﺼﻴﺖﻫﺎﻯ ﺍﺻﻠﻰ ﺩﺍﺳﺘﺎﻥ ﺣﻀﻮﺭ ﺩﺍﺭﻧﺪ ﻭ ﻗﺮﺍﺭ ﺍﺳﺖ ﻣﺎﺟﺮﺍﻯ ﺑﺎﺯﻯ‪ ،‬ﺑﻪ ﭘﺎﻳﺎﻧﻰ ﻣﺸﺨﺺ ﻭ ﻣﺴﺘﻘﻞ‬ ‫ﺑﺮﺳﺪ‪.‬‬ ‫ﻭ ﺍﻣﺎ ﺩﺭ ﺑﺎﺏ ﺑﺎﺯﻯ ﺑﺎﻳﺪ ﮔﻔﺖ ﻫﺮ ﭼﻨﺪ ﻓﻀﺎﻫﺎ ﻭ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺑﺎﺯﻯ ﺑﻪ ﺷﺪﺕ ﺍﻧﻴﻤﻪﺍﻯ ﻫﺴﺘﻨﺪ ﻭ‬ ‫ﺩﺭ ﻛﻞ ﺑﺎﺯﻯ ﺑﺎ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺍﺳﺘﺮﻳﻮﺗﺎﻳﭗﻫﺎﻯ ﻭﺣﺸﺘﻰ ﻛﻪ ﺑﻪ ﻃﻮﺭ ﻣﻌﻤﻮﻝ ﺑﺎ ﺁﻥﻫﺎ ﺭﻭﺑﻪﺭﻭ ﻫﺴﺘﻴﻢ‬ ‫ﺑﺴﻴﺎﺭ ﻓﺮﻕ ﻣﻰﻛﻨﺪ‪ ،‬ﺑﺎﺯﻯ ﻫﻤﭽﻨﺎﻥ ﺩﺭ ﺍﻟﻘﺎﻯ ﺣﺎﻟﺖ ﺗﺮﺱ ﻭ ﻧﻴﺎﺯ ﺑﻪ ﺯﻧﺪﻩ ﻣﺎﻧﺪﻥ ﻣﻮﻓﻖ ﺍﺳﺖ‪ .‬ﺷﺎﻳﺪ‬ ‫ﻫﻴﭻ ﻳﻚ ﺍﺯ ﺳﺎﻳﺮ ﺳﺎﺧﺘﻪ ﻫﺎﻯ ﺷﺮﻛﺖ ﻛﭙﻜﺎﻡ ﺑﻪ ﻣﻮﻓﻘﻴﺘﻰ ﺍﻳﻦ ﭼﻨﻴﻦ ﻭ ﺍﺳﺘﻘﺒﺎﻟﻰ ﺟﻬﺎﻧﻰ ﺭﻭﺑﻪﺭﻭ‬ ‫ﻧﺸﺪﻩ ﺍﺳﺖ‪ .‬ﺍﺯ ﺳﻮﻳﻰ ﺷﺮﻛﺖ ﻛﭙﻜﺎﻡ ﻧﻴﺰ ﺑﻴﺸﺘﺮﻳﻦ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻯﻫﺎﻯ ﻣﻤﻜﻦ ﺭﺍ ﺭﻭﻯ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ‬ ‫ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﺑﻪ ﻃﻮﺭ ﻣﺜﺎﻝ ﻧﺴﺨﻪﻯ ﭘﻨﺠﻢ ﺑﺎﺯﻯ ﺩﺭ ﺯﻣﺎﻥ ﻭﺭﻭﺩﺵ ﺑﻪ ﺑﺎﺯﺍﺭ‪ ،‬ﺑﺎﻻﺗﺮﻳﻦ ﮔﺮﺍﻓﻴﻚ‬ ‫ﻣﻤﻜﻦ ﺩﺭ ﺑﺎﺯﻯﻫﺎﻯ ﻛﺎﻣﭙﻴﻮﺗﺮﻯ ﺭﺍ ﺩﺍﺷﺖ ﻭ ﻧﺴﺨﻪﻯ ﺷﺸﻢ ﺑﺎﺯﻯ ﻃﺒﻖ ﮔﻔﺘﻪﻯ ﻛﭙﻜﺎﻡ‪ ،‬ﺍﻧﻘﻼﺑﻰ ﺩﺭ‬ ‫ﺑﺎﺯﻯﻫﺎﻯ ﺭﺍﻳﺎﻧﻪﺍﻯ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫ﻭ ﺍﻣﺎ ﺧﺎﻟﻰ ﺍﺯ ﻟﻄﻒ ﻧﻴﺴﺖ ﻧﮕﺎﻫﻰ ﺑﻪ ﻓﻴﻠﻢﻫﺎﻯ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ ﻛﻪ ﻫﺮ ﭼﻨﺪ ﺩﺭ ﭼﻴﻨﺸﻰ‬ ‫ﻣﺸﺎﺑﻪ ﺑﺎ ﺩﺍﺳﺘﺎﻥ ﺭﺥ ﻣﻰﺩﻫﻨﺪ ﻭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺑﺎﺯﻯ ﻧﻴﺰ ﺩﺭ ﺁﻥ ﺣﻀﻮﺭ ﺩﺍﺭﻧﺪ‪ ،‬ﺭﻭﺍﻳﺘﻰ‬ ‫ﻣﺴﺘﻘﻞ ﺩﺍﺭﻧﺪ‪.‬‬

‫ﻗﺴﻤﺖ ﺍﻭﻝ‬ ‫ﺍﻭﻟﻴﻦ ﻗﺴﻤﺖ ﺍﻳﻦ ﻓﻴﻠﻢ ﺩﺭ ﺳﺎﻝ ‪ 2002‬ﺑﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﻭ ﻧﻮﻳﺴﻨﺪﮔﻰ ﭘﻞ ﺍﻧﺪﺭﺳﻮﻥ ﻭ ﺑﺎﺯﻳﮕﺮﻯ ﻣﻴﻼ‬ ‫ﻳﻮﻭﻳﭻ ﻭ ﻣﻴﺸﻞ ﺭﻭﺩﺭﻳﮕﺰ ﺳﺎﺧﺘﻪ ﺷﺪ‪ .‬ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﻪ ﺩﻟﻴﻞ ﺍﺭﺗﺒﺎﻁ ﺗﻨﮕﺎﺗﻨﮓ ﻓﻴﻠﻢ ﺑﺎ ﺑﺎﺯﻯ‪ ،‬ﻋﻼﻗﻤﻨﺪﺍﻥ‬ ‫ﺯﻳﺎﺩﻯ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﺟﺬﺏ ﻛﺮﺩ ﻭ ﺩﺭ ﻫﻤﺎﻥ ﺳﺎﻝ ﺑﻪ ﻓﺮﻭﺵ ‪ 102‬ﻣﻴﻠﻴﻮﻥ ﺩﻻﺭﻯ ﺭﺳﻴﺪ‪ .‬ژﺍﻧﺮ ﺍﺻﻠﻰ ﺍﻳﻦ‬ ‫ﻓﻴﻠﻢ ﺗﺮﺳﻨﺎﻙ‪ ،‬ﺍﻛﺸﻦ ﻭ ﻣﺎﺟﺮﺍﺟﻮﻳﺎﻧﻪ ﻣﻰﺑﺎﺷﺪ‪.‬‬ ‫ﺧﻼﺻﻪﻯ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺩﺭ ﻛﻮﻫﺎﻯ ﺁﺭﻛﻠﻰ ﺧﺎﺭﺝ ﺍﺯ ﺷﻬﺮ ﺭﺍﻛﻮﻥ‪ ،‬ﻳﻚ ﺍﻳﺴﺘﮕﺎﻩ ﺗﺤﻘﻴﻘﺎﺕ ژﻧﺘﻴﻜﻰ ﺑﺎ ﻧﺎﻡ ﻛﻨﺪﻭ )ﻫﺎﻳﻮ( ﻭﺟﻮﺩ‬ ‫ﺩﺍﺭﺩ‪ ،‬ﺟﺎﻳﻰ ﻛﻪ ﺗﻮﺳﻂ ﺷﺮﻛﺖ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﺁﻣﺒﺮﻻ ‪-‬ﻳﻜﻰ ﺍﺯ ﺑﺰﺭﮔﺘﺮﻳﻦ ﺷﺮﻛﺖﻫﺎﻯ ﺩﺍﺭﻭﺳﺎﺯﻯ‬ ‫ﺟﻬﺎﻥ‪ -‬ﻛﻨﺘﺮﻝ ﻭ ﺍﺩﺍﺭﻩ ﻣﻰﺷﻮﺩ‪ .‬ﻳﻚ ﺩﺯﺩ ﻭﺍﺭﺩ ﺷﺮﻛﺖ ﺷﺪﻩ ﻭ ﺑﺴﺘﻪﻫﺎﻯ ﻭﻳﺮﻭﺱ ژﻧﺘﻴﻜﻰ ‪ T‬ﺭﺍ‬ ‫‪123‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺳﻴﻨﻤﺎ‬

‫ﺧﻮﺩ ﻳﻜﻰ ﺍﺯ ﻣﺪﻳﺮﺍﻥ ﺍﺭﺷﺪ ﺁﻣﺒﺮﻻﺳﺖ‪ ،‬ﺑﻪ ﻣﺤﻞ ﺣﺎﺩﺛﻪ ﻓﺮﺳﺘﺎﺩﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﺯﻣﺎﻥ ﺍﺳﺖ ﻛﻪ‬ ‫ﻣﺎﺟﺮﺍﻯ ﺧﺎﻧﻪﻯ ﺩﻛﺘﺮ ﺍﺳﭙﻨﺴﺮ ﺭﺥ ﻣﻰﺩﻫﺪ‪ .‬ﺧﺎﻧﻪﺍﻯ ﻛﻪ ﺩﺭ ﺁﻥ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺍﺻﻠﻰ ﺩﺍﺳﺘﺎﻥ ﻳﻌﻨﻰ‬ ‫ﻛﺮﻳﺲ ﻭ ﺟﻴﻞ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺑﺎ ﺯﺍﻣﺒﻰﻫﺎ ﺭﻭﺑﻪﺭﻭ ﻣﻰﺷﻮﻧﺪ ﻭ ﺑﺎ ﭘﻴﺪﺍ ﻛﺮﺩﻥ ﻣﺪﺍﺭﻛﻰ‪ ،‬ﺑﻪ ﺟﻨﺎﻳﺖﻫﺎﻯ‬ ‫ﺁﻣﺒﺮﻻ ﻭ ﺧﻴﺎﻧﺖ ﻭﺳﻜﺮﺯ ﭘﻰ ﻣﻰﺑﺮﻧﺪ‪.‬‬ ‫ﺩﺭ ﻗﺴﻤﺖ ﺩﻭﻡ ﺑﺎﺯﻯ‪ ،‬ﺩﻭ ﺷﺨﺼﻴﺖ ﺑﻪ ﺩﺍﺳﺘﺎﻥ ﺍﺿﺎﻓﻪ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺍﻭﻟﻰ ﻟﻴﻮﻥ ﺍﺱ‪ .‬ﻛﻨﺪﻯ )‪ (10‬ﺍﺳﺖ‬ ‫ﻛﻪ ﺑﻪ ﺍﺣﺘﻤﺎﻝ ﺯﻳﺎﺩ ﻣﺤﺒﻮﺏﺗﺮﻳﻦ ﺷﺨﺼﻴﺖ ﻛﻞ ﺳﺮﻯ ﺍﺳﺖ ﻭ ﺩﻳﮕﺮﻯ ﻛﻠﻴﺮ ﺭﺩﻓﻴﻠﺪ )‪ (11‬ﺧﻮﺍﻫﺮ‬ ‫ﻛﺮﻳﺲ ﺍﺳﺖ‪ .‬ﻛﻠﻴﺮ ﺑﻪ ﺩﻧﺒﺎﻝ ﺑﺮﺍﺩﺭﺵ ﺑﻪ ﺷﻬﺮ ﺭﺍﻛﻮﻥ ﻣﻰﺁﻳﺪ ﻭ ﻟﻴﻮﻥ ﻫﻢ ﭘﻠﻴﺲ ﺟﻮﺍﻧﻰ ﺍﺳﺖ ﻛﻪ‬ ‫ﺭﻭﺯ ﺍﻭﻟﻰ ﺧﺪﻣﺖ ﺧﻮﺩ ﺩﺭ ﻧﻴﺮﻭﻯ ﭘﻠﻴﺲ ﺷﻬﺮ ﺭﺍﻛﻮﻥ ﺭﺍ ﺗﺠﺮﺑﻪ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻳﻦ ﺩﻭ ﺧﻴﻠﻰ ﺯﻭﺩ ﻣﺘﻮﺟﻪ‬ ‫ﻣﻰﺷﻮﻧﺪ ﻛﻪ ﺗﻤﺎﻣﻰ ﺷﻬﺮ ﺭﺍﻛﻮﻥ ﺑﻪ ﺯﺍﻣﺒﻰﻫﺎﻳﻰ ﺁﺩﻡﺧﻮﺍﺭ ﺗﺒﺪﻳﻞ ﺷﺪﻩﺍﻧﺪ ﻭ ﺳﻌﻰ ﻣﻰﻛﻨﻨﺪ ﻫﺮ ﭼﻪ‬ ‫ﺳﺮﻳﻊﺗﺮ ﺍﺯ ﺷﻬﺮ ﺧﺎﺭﺝ ﺷﻮﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﺴﻴﺮ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺑﺎ ﺁﻳﺪﺍ ﻭﺍﻧﮓ )‪ (12‬ﻧﻴﺰ ﺁﺷﻨﺎ ﻣﻰﺷﻮﻳﻢ ﻛﻪ‬ ‫ﻳﻜﻰ ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎﻯ ﻣﺮﻣﻮﺯ ﻛﻞ ﺳﺮﻯ ﺍﺳﺖ ﻭ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﻣﺎﻣﻮﺭ ﺁﻣﺒﺮﻻ ﺑﺎﺷﺪ‪.‬‬ ‫ﺁﻳﺪﺍ ﻣﺎﻣﻮﺭ ﻣﻰﺷﻮﺩ ﻟﻴﻮﻥ ﺭﺍ ﺳﺮ ﺑﻪ ﻧﻴﺴﺖ ﻛﻨﺪ‪ ،‬ﻭﻟﻰ ﺩﺭ ﺍﻳﻦ ﻧﺴﺨﻪ ﺍﺯ ﺑﺎﺯﻯ ﻭ ﺑﻪ ﺧﺼﻮﺹ ﺩﺭ ﺑﺎﺯﻯ‬ ‫ﭼﻬﺎﺭﻡ ﻣﺸﺨﺺ ﻣﻰﺷﻮﺩ ﺍﻳﻦ ﻛﺎﺭ ﺑﺮﺍﻳﺶ ﻣﻤﻜﻦ ﻧﻴﺴﺖ؛ ﭼﻮﻥ ﺭﺍﺑﻄﻪﻯ ﻟﻴﻮﻥ ﻭ ﺁﻳﺪﺍ ﻛﻢﻛﻢ ﺷﻜﻞ‬ ‫ﺟﺪﻯﺗﺮﻯ ﺑﻪ ﺧﻮﺩ ﻣﻰﮔﻴﺮﺩ‪.‬‬ ‫ﻣﺎﺟﺮﺍﻯ ﺑﺎﺯﻯ ﺑﺎ ﻧﺎﺑﻮﺩﻯ ﺷﻬﺮ ﺭﺍﻛﻮﻥ ﻭ ﺩﺭﮔﻴﺮﻯﻫﺎﻯ ﺍﻋﻀﺎﻯ ﺍﺳﺘﺎﺭﺯ ﺑﺎ ﺗﻴﻢ ﺩﻟﺘﺎﻯ ﺍﻣﻨﻴﺘﻰ ﺁﻣﺒﺮﻻ ﻳﺎ‬ ‫ﻭﻭﻟﻒ ﭘﻚ ﻭ ﻣﻮﺟﻮﺩﻯ ﻫﻴﻮﻻﻳﻰ ﺑﻪ ﻧﺎﻡ ﺗﺎﻳﺮﻧﺖ ﻛﻪ ﻣﺎﻣﻮﺭﻳﺘﺶ ﻧﺎﺑﻮﺩﻯ ﺍﺳﺘﺎﺭﺯ ﺍﺳﺖ‪ ،‬ﺍﺩﺍﻣﻪ ﻣﻰﻳﺎﺑﺪ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﺑﺮﻫﻪ ﺍﺯ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﺷﻬﺮ ﺭﺍﻛﻮﻥ ﺗﺒﺪﻳﻞ ﺑﻪ ﺯﻣﻴﻦ ﺑﺎﺯﻯ ﺁﻣﺒﺮﻻ ﻣﻰﺷﻮﺩ ﻭ ﺁﻣﺒﺮﻻ ﺗﺎ ﺟﺎﻯ ﻣﻤﻜﻦ‬ ‫ﺑﻪ ﺟﻤﻊﺁﻭﺭﻯ ﺍﻃﻼﻋﺎﺕ ﻭ ﺁﺯﻣﺎﻳﺶ ﺍﺷﻜﺎﻝ ﻣﺨﺘﻠﻒ ﻭﻳﺮﻭﺱ ‪ T‬ﻭ ‪) G‬ﻛﻪ ﻧﺴﺨﻪﻯ ﭘﻴﺸﺮﻓﺘﻪﺗﺮﻯ ﺍﺯ‬ ‫ﻭﻳﺮﻭﺱ ﻗﺒﻠﻰ ﺍﺳﺖ( ﻣﻰﭘﺮﺩﺍﺯﺩ ﻭ ﺍﻧﻮﺍﻉ ‪B.O.W‬ﻫﺎ ﻳﺎ ﺳﻼﺡﻫﺎﻯ ﺑﻴﻮﺍﻭﺭﮔﺎﻧﻴﻚ ﺭﺍ ﺩﺭ ﺷﻬﺮ ﺭﻫﺎ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺣﺎﻻ ﻧﻴﺮﻭﻫﺎﻯ ﺩﻭﻟﺘﻰ ﻭ ﺍﻋﻀﺎﻯ ﺍﺳﺘﺎﺭﺯ ﺩﺭ ﻳﻚ ﺳﻮ ﻭ ﻭﻭﻟﻒ ﭘﻚ ﻭ ﻣﺎﻣﻮﺭﻳﻦ ﺁﻣﺒﺮﻻ ﺩﺭ ﺳﻮﻯ ﺩﻳﮕﺮ ﻗﺮﺍﺭ‬ ‫ﻣﻰﮔﻴﺮﻧﺪ‪ .‬ﻭ ﺯﺍﻣﺒﻰﻫﺎ ﻫﻤﻴﺸﻪ ﻭ ﻫﻤﻪ ﺟﺎ ﺣﻀﻮﺭ ﺩﺍﺭﻧﺪ‪ .‬ﺍﻳﻦ ﺯﻣﻴﻦ ﺑﺎﺯﻯ ﺑﻪ ﺗﺎﺯﮔﻰ ﺩﺭ ﺑﺎﺯﻯ ﻋﻤﻠﻴﺎﺕ‬ ‫ﺷﻬﺮ ﺭﺍﻛﻮﻥ )‪ (13‬ﺳﺎﺧﺖ ﺷﺮﻛﺖ ﻛﭙﻜﺎﻡ‪ ،‬ﺑﻪ ﺧﻮﺑﻰ ﺑﻪ ﻧﻤﺎﻳﺶ ﮔﺬﺍﺷﺘﻪ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺑﺎﺯﻯ ﺳﻮﻡ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺑﻪ ﺟﻴﻞ ﻭﻟﻨﺘﺎﻳﻦ ﻭ ﺟﺴﺖﻭﺟﻮﻯ ﺍﻭ ﺑﺮﺍﻯ ﻳﺎﻓﺘﻦ ﻛﺮﻳﺲ ﻣﻰﭘﺮﺩﺍﺯﺩ‪ .‬ﺍﻳﻦ ﺑﺎﺯﻯ‬ ‫ﺑﻪ ﺧﺎﻃﺮ ﺻﺤﻨﻪﻫﺎﻯ ﺗﺮﺳﻨﺎﻙ ﺗﻌﻘﻴﺐ ﻭ ﮔﺮﻳﺰ ﺑﺎ ﺗﺎﻳﺮﻧﺖ ﻭ ﺑﺎﺯﮔﺸﺖ ﺑﻪ ﺑﺮﺧﻰ ﻣﻜﺎﻥﻫﺎﻯ ﺑﺎﺯﻯ ﺩﻭﻡ‬ ‫ﻭ ﻫﻤﭽﻨﻴﻦ ﻓﻀﺎﻫﺎﻯ ﺳﻴﺎﻩ ﻭ ﻣﺨﺮﻭﺑﻪﻯ ﺷﻬﺮﻯ‪ ،‬ﻳﻜﻰ ﺍﺯ ﺑﻬﺘﺮﻳﻦﻫﺎﻯ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺍﺳﺖ‪ .‬ﻣﻮﺳﻴﻘﻰ‬ ‫ﺍﻳﻦ ﺑﺎﺯﻯ ﺑﻪ ﺧﻮﺑﻰ ﺗﺮﺱ ﺭﺍ ﺑﻪ ﻧﻤﺎﻳﺶ ﻣﻰﮔﺬﺍﺭﺩ ﻭ ﺩﻣﻮﻫﺎﻯ ﺑﺎﺯﻯ ﺍﺯ ﮔﺮﺍﻓﻴﻚ ﻗﺎﺑﻞ ﻗﺒﻮﻟﻰ ﺑﺮﺧﻮﺭﺩﺍﺭ‬ ‫ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﺑﺎﺯﻯ ﺍﺳﺖ ﻛﻪ ﺷﻬﺮ ﺭﺍﻛﻮﻥ ﻧﺎﺑﻮﺩ ﻣﻰﺷﻮﺩ ﻭ ﺟﻬﺎﻥ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺑﻌﺪ ﺍﺯ ﺳﺎﻧﺴﻮﺭ‬ ‫ﺧﺒﺮﻯ ﺷﺪﻳﺪ ﺁﻣﺒﺮﻻ‪ ،‬ﺑﺎ ﻭﺍﻗﻌﻴﺖ ﺣﻮﺍﺩﺙ ﺷﻬﺮ ﺭﺍﻛﻮﻥ ﺭﻭﺑﻪﻭﺭ ﻣﻰﺷﻮﺩ‪.‬‬ ‫‪121‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻛﻤﺘﺮ ﻛﺴﻰ ﺍﺯ ﻣﺨﺎﻃﺒﻴﻦ ﻓﺎﺭﺳﻰﺯﺑﺎﻥ ﻋﻼﻗﻤﻨﺪ ﺑﻪ ﺯﺍﻣﺒﻰﻫﺎ ﺑﺎ ﺩﺍﺳﺘﺎﻥ ﺍﻳﻦ ﺑﺎﺯﻯ ﻧﺎﺁﺷﻨﺎﺳﺖ‪ .‬ﺍﻳﻦ‬ ‫ﺑﺎﺯﻯ ﺩﺭ ﻃﻮﻝ ﻧﺴﻞﻫﺎ ﻫﻤﻴﺸﻪ ﻣﺨﺎﻃﺒﻴﻦ ﺧﻮﺩﺵ ﺭﺍ ﺟﺬﺏ ﻭ ﺑﺎﺯﺟﺬﺏ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺑﺪ ﻧﻴﺴﺖ‬ ‫ﺧﻼﺻﻪﺍﻯ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﺑﺎﺯﻯ ﺭﺍ ﺑﺎ ﻫﻢ ﻣﺮﻭﺭ ﻛﻨﻴﻢ‪.‬‬ ‫ﮔﺮﻓﺘﻦ ﻛﺘﺎﺏ ﺗﻚﻧﮕﺎﺭﻯ ﻳﻚ ﻣﺎﺟﺮﺍﺟﻮﻯ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺑﺎﺯﻯ ﺍﺯ ﻧﻴﻤﻪﻫﺎﻯ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ ﻭ ﺑﺎ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻗﺮﺍﺭ‬ ‫ِ‬ ‫ﺁﻓﺮﻳﻘﺎﮔﺮﺩ ﺁﻏﺎﺯ ﻣﻰﮔﺮﺩﺩ‪ .‬ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺏ ﺩﺭ ﻣﻮﺭﺩ ﮔﻠﻰ ﺑﻪ ﻧﺎﻡ ﻧﺮﺩﺑﺎﻡ ﺑﻬﺸﺖ ﺻﺤﺒﺖ‬ ‫ﻣﻰﺷﻮﺩ ﻛﻪ ﻗﺒﻴﻠﻪﺍﻯ ﺁﻓﺮﻳﻘﺎﻳﻰ ﺍﺯ ﺁﻥ ﺑﺮﺍﻯ ﺗﻘﻮﻳﺖ ﺟﻨﮕﺠﻮﻳﺎﻧﺶ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻳﻦ ﮔﻴﺎﻩ ﺧﻴﻠﻰ‬ ‫ﺯﻭﺩ ﺗﻮﺟﻪ ﺁﺭﺗﻮﺭ ﺍﺷﻔﻮﺭﺩ )‪ (3‬ﺭﺍ ﺑﻪ ﺧﻮﺩ ﺟﻠﺐ ﻣﻰﻛﻨﺪ ﻛﻪ ﺩﺍﻧﺸﻤﻨﺪﻯ ﺍﺯ ﺧﺎﻧﺪﺍﻧﻰ ﺛﺮﻭﺗﻤﻨﺪ ﻭ ﭘﺮﻗﺪﺭﺕ‬ ‫ﺍﺳﺖ‪ .‬ﺑﺎ ﺳﺮﻣﺎﻳﻪﻫﺎﻯ ﺧﺎﻧﺪﺍﻥ ﺍﺷﻔﻮﺭﺩ‪ ،‬ﺷﻬﺮﻯ ﺩﺭ ﻛﻮﻫﭙﺎﻳﻪﻫﺎﻯ ﺁﺭﻛﻠﻰ ﺗﺎﺳﻴﺲ ﻣﻰﺷﻮﺩ ﺑﻪ ﻧﺎﻡ ﺷﻬﺮ‬ ‫ﺭﺍﻛﻮﻥ‪ .‬ﻭﻯ ﺩﺭ ﻫﻤﻴﻦ ﺷﻬﺮ ﺷﺮﻛﺖ ﺩﺍﺭﻭﺳﺎﺯﻯ ﺯﻳﺮﺯﻣﻴﻨﻰﺍﻯ ﺑﻪ ﻧﺎﻡ ﺁﻣﺒﺮﻻ )‪ (4‬ﺭﺍ ﺗﺎﺳﻴﺲ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺩﺭ ﺯﻣﺎﻥ ﻭﺍﺭﺛﺎﻥ ﺍﺷﻔﻮﺭﺩ‪ ،‬ﺷﺮﻛﺖ ﺁﻣﺒﺮﻻ ﻣﻮﻓﻖ ﻣﻰﺷﻮﺩ ﻭﻳﺮﻭﺱ ﻫﻢﺯﻳﺴﺖ ﺑﺎ ﮔﻴﺎﻩ ﻧﺮﺩﺑﺎﻡ ﺑﻬﺸﺖ ﺭﺍ ﺑﺎ‬ ‫ﺩﺳﺘﻜﺎﺭﻯ ژﻧﺘﻴﻜﻰ ﺑﻪ ﻭﻳﺮﻭﺱ ‪ T‬ﺗﺒﺪﻳﻞ ﻛﻨﺪ‪ .‬ﻫﺪﻑ ﻧﻬﺎﻳﻰ ﺍﻳﻦ ﻭﻳﺮﻭﺱ ﺍﻳﺠﺎﺩ ﺍﺑﺮﺳﺮﺑﺎﺯﻫﺎﻳﻰ ﺑﻮﺩ ﻛﻪ‬ ‫ﺑﺘﻮﺍﻧﻨﺪ ﺗﺎ ﺣﺪ ﺯﻳﺎﺩﻯ ﻣﺤﺪﻭﺩﻳﺖﻫﺎﻯ ﻓﻴﺰﻳﻜﻰ ﻭ ﻓﻴﺰﻳﻮﻟﻮژﻳﻜﻰ ﺍﻧﺴﺎﻧﻰ ﺭﺍ ﭘﺸﺖ ﺳﺮ ﺑﮕﺬﺍﺭﻧﺪ‪.‬‬ ‫ﺩﺭ ﻫﻤﻴﻦ ﺣﻴﻦ ﺁﻣﺒﺮﻻ ﺩﺳﺖ ﺑﻪ ﺗﺮﺑﻴﺖ ﺗﻴﻢﻫﺎﻯ ﺍﻣﻨﻴﺘﻰ ﻣﺨﺘﻠﻔﻰ ﻣﻰﺯﻧﺪ‪ .‬ﺍﺯ ﺟﻤﻠﻪ ﺗﻴﻢﻫﺎﻯ ﺁﻟﻔﺎ ﻭ‬ ‫ﺩﻟﺘﺎﻯ ﻭﺍﺣﺪ ﻣﺤﺎﻓﻈﺖ ﺁﻣﺒﺮﻻ ﻭ ﺗﻴﻢ ﺍﺳﺘﺎﺭﺯ ﻛﻪ ﺗﺤﺖ ﻓﺮﻣﺎﻧﺪﻫﻰ ﺍﻟﺒﺮﺕ ﻭﺳﻜﺮ )‪ (5‬ﻭ ﺑﺮﺍﻳﺎﻥ ﺁﻳﺮﻭﻧﺰ‬ ‫)‪ (6‬ﺗﺮﺑﻴﺖ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﺗﻴﻢ ﺑﺎ ﭼﻬﺮﻩﻫﺎﻯ ﺁﺷﻨﺎﻯ ﺑﺴﻴﺎﺭﻯ ﺭﻭﺑﻪﺭﻭ ﻣﻰﺷﻮﻳﻢ‪ .‬ﺍﺯ ﺟﻤﻠﻪ ﻛﺮﻳﺲ‬ ‫ﺭﺩﻓﻴﻠﺪ )‪ (7‬ﻛﻪ ﺷﺨﺼﻴﺖ ﺍﺻﻠﻰ ﻗﺴﻤﺖﻫﺎﻯ ﺍﻭﻝ ﻭ ﭘﻨﺠﻢ ﻭ ﺷﺸﻢ ﺑﺎﺯﻯ ﺍﺳﺖ ﻭ ﺟﻴﻞ ﻭﻟﻨﺘﺎﻳﻦ )‪(8‬‬ ‫ﻛﻪ ﺷﺨﺼﻴﺖ ﺍﺻﻠﻰ ﺑﺎﺯﻯﻫﺎﻯ ﺍﻭﻝ ﻭ ﺳﻮﻡ ﺍﺳﺖ ﻭ ﺣﻀﻮﺭ ﻛﻮﺗﺎﻫﻰ ﻫﻢ ﺩﺭ ﺑﺎﺯﻯ ﭘﻨﺠﻢ ﺩﺍﺭﺩ‪ .‬ﻫﺪﻑ‬ ‫ﺍﺻﻠﻰ ﺁﻣﺒﺮﻻ ﺍﺯ ﺗﺮﺑﻴﺖ ﺍﻳﻦ ﺗﻴﻢﻫﺎ‪ ،‬ﻣﺤﻚ ﺯﺩﻥ ﻗﺪﺭﺕ ﺍﺑﺮﺳﺮﺑﺎﺯﺍﻧﺶ ﺩﺭ ﺑﺮﺍﺑﺮ ﺑﻬﺘﺮﻳﻦ ﺳﺮﺑﺎﺯﺍﻥ ﻋﺎﺩﻯ‬ ‫ﺍﺳﺖ‪.‬‬ ‫ﺍﻣﺎ ﻧﻘﺸﻪﻯ ﺁﻣﺒﺮﻻ ﺑﻪ ﻓﺠﻴﻊﺗﺮﻳﻦ ﺷﻜﻞ ﻣﻤﻜﻦ ﺑﺎ ﺷﻜﺴﺖ ﺭﻭﺑﻪﺭﻭ ﻣﻰﺷﻮﺩ‪ .‬ﻭﻳﺮﻭﺱ ﺗﻨﻬﺎ ﺑﺎ ﻳﻚ‬ ‫ﺩﺭﺻﺪ ﺍﺯ ﻣﻴﺰﺑﺎﻧﺎﻥ ﺧﻮﺩ ﺗﻄﺎﺑﻖ ﻛﺎﻣﻞ ﻣﻰﻳﺎﺑﺪ‪ .‬ﺩﺭ ﻧﻮﺩ ﻭ ﻧﻪ ﺩﺭﺻﺪ ﺩﻳﮕﺮ‪ ،‬ﻣﻴﺰﺑﺎﻧﺎﻥ ﺩﭼﺎﺭ ﻣﺴﺨﻰ ﻓﺠﻴﻊ‬ ‫ﻣﻰﺷﻮﻧﺪ ﻭ ﺑﻪ ﻣﻮﺟﻮﺩﺍﺗﻰ ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﻧﺪ ﻛﻪ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﺁﻥﻫﺎ ﺯﺍﻣﺒﻰ ﮔﻔﺘﻪ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺍﻭﻟﻴﻦ ﺷﻴﻮﻉ ﻭﻳﺮﻭﺱ ﺩﺭ ﻗﻄﺎﺭ ﺍﻛﻠﻴﭙﺲ ﺷﺮﻛﺖ ﺁﻣﺒﺮﻻ ﺭﺥ ﻣﻰﺩﻫﺪ ﻛﻪ ﻳﻚ ﻗﻄﺎﺭ ﺍﺩﺍﺭﻯ ﺑﻴﻦ ﺩﻭ‬ ‫ﺁﺯﻣﺎﻳﺸﮕﺎﻩ ﺯﻳﺮﺯﻣﻴﻨﻰ ﺁﻣﺒﺮﻻ ﺩﺭ ﻣﻨﻄﻘﻪﻯ ﺭﺍﻛﻮﻥ ﺍﺳﺖ‪ .‬ﺗﻴﻢ ﺑﺮﺍﻭﻭ ﺍﺳﺘﺎﺭﺯ ﺑﻪ ﻣﺤﻞ ﺣﺎﺩﺛﻪ ﻓﺮﺳﺘﺎﺩﻩ‬ ‫ﻣﻰﺷﻮﺩ ﻭ ﺭﺑﻜﺎ ﭼﻤﺒﺮﺯ )‪ (9‬ﻛﻪ ﺩﺭ ﺍﻳﻦ ﺯﻣﺎﻥ ﺗﻨﻬﺎ ﻫﺠﺪﻩ ﺳﺎﻝ ﺩﺍﺭﺩ ﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﭘﺰﺷﻚ ﺗﻴﻢ ﺁﻟﻔﺎ ﺑﻪ‬ ‫ﻣﺤﻞ ﻓﺮﺳﺘﺎﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﻃﻰ ﻣﺎﺟﺮﺍﻫﺎﻳﻰ ﺑﻪ ﻣﺎﻫﻴﺖ ﺣﺎﺩﺛﻪﺍﻯ ﻛﻪ ﺩﺭ ﺣﺎﻝ ﺭﺥ ﺩﺍﺩﻥ ﺍﺳﺖ ﭘﻰ‬ ‫ﻣﻰﺑﺮﺩ‪.‬‬ ‫ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺍﺭﺗﺒﺎﻁ ﭘﺎﻳﮕﺎﻩ ﺑﺎ ﺗﻴﻢ ﺑﺮﺍﻭﻭ ﻗﻄﻊ ﻣﻰﺷﻮﺩ‪ ،‬ﺗﻴﻢ ﺁﻟﻔﺎ ﺑﻪ ﻓﺮﻣﺎﻧﺪﻫﻰ ﺁﻟﺒﺮﺕ ﻭﺳﻜﺮﺯ ﻛﻪ‬ ‫‪120‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺳﻴﻨﻤﺎ‬

‫‪Re s i dent E vil‬‬ ‫ﻋﻠﻰ ﻛﻤﺎﻟﻰ‪ ،‬ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

‫ﺩﺭ ﺑﺎﺏ ﺩﺍﺳﺘﺎﻥ ‪ Resident Evil‬ﻣﻰﺗﻮﺍﻥ ﺑﺴﻴﺎﺭ ﺻﺤﺒﺖ ﻛﺮﺩ‪ .‬ﭼﻪ ﺍﺯ ﻧﻘﻄﻪ ﻧﻈﺮ ﺩﺍﺳﺘﺎﻧﻰ ﻭ‬ ‫ﭼﻪ ﺍﺯ ﻧﻘﻄﻪ ﻧﻈﺮ ﻓﻨﻰ ﻭ ﮔﺮﺍﻓﻴﻜﻰ ﭼﻨﺎﻥﭼﻪ ﻗﺼﺪ ﺑﺮﺭﺳﻰ ﺑﺎﺯﻯﻫﺎﻳﺶ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ‪ .‬ﻭﻟﻰ‬ ‫ﺩﺭ ﺍﻳﻦ ﺑﺨﺶ ﺳﻌﻰ ﺷﺪﻩ ﺑﻴﺶ ﺍﺯ ﻫﺮ ﭼﻴﺰ ﺟﻨﺒﻪﻯ ﺭﻭﺍﻳﻰ ﻭ ﺩﺍﺳﺘﺎﻥ ﻗﺪﺭﺗﻤﻨﺪ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪﻯ‬ ‫ﺭﺳﺎﻧﻪﺍﻯ ﻣﻮﺭﺩ ﺑﺮﺭﺳﻰ ﻗﺮﺍﺭ ﮔﻴﺮﺩ‪ .‬ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺗﻮﺳﻂ ﺷﺮﻛﺖ ﻛﭙﻜﺎﻡ )‪ (1‬ﻭ ﺑﻪ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﺷﻴﻨﺠﻰ ﻣﻴﻜﺎﻣﻰ )‪ (2‬ﺑﻪ ﺩﻧﻴﺎﻯ ﺑﺎﺯﻯﻫﺎﻯ ﺭﺍﻳﺎﻧﻪﺍﻯ ﻭ ﻃﺮﻓﺪﺍﺭﺍﻧﺶ ﻣﻌﺮﻓﻰ ﺷﺪ‪.‬‬ ‫ﻳﻌﻨﻰ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﻛﻪ ﺑﺎﺯﻯ ‪ DinoChrisis‬ﺭﺍ ﻧﻴﺰ ﺩﺭ ﭘﺮﻭﻧﺪﻩ ﺩﺍﺭﺩ‪ .‬ﺍﺯ ﻫﻤﺎﻥ ﺍﺑﺘﺪﺍ ﮔﺮﺍﻓﻴﻚ‬ ‫ﺗﻴﺮﻩﻯ ﺑﺎﺯﻯ ﻭ ﻧﺤﻮﻩﻯ ﻫﺪﺍﻳﺖ ﺷﺨﺼﻴﺖ ﺩﺭ ﺻﺤﻨﻪﻫﺎﻯ ﺛﺎﺑﺖ ﺑﺎﺯﻯ‪ ،‬ﺗﻮﺟﻪ ﺑﺴﻴﺎﺭﻯ ﺭﺍ ﺑﻪ‬ ‫ﺧﻮﺩ ﺟﻤﻊ ﻛﺮﺩ‪ .‬ﺷﺎﻳﺪ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺍﻭﻟﻴﻦ ﺑﺎﺯﻯ ﺩﺭ ﮔﻮﻧﻪﻯ ﻭﺣﺸﺖ ﻭ ‪ Survival‬ﻧﺒﺎﺷﺪ‪ ،‬ﻭﻟﻰ‬ ‫ﻣﻄﻤﺌﻨﺎً ﭘﺮﺍﻫﻤﻴﺖﺗﺮﻳﻦ ﺍﺳﺖ‪.‬‬

‫ﺳﻴﻨﻤﺎ‬

‫ﺍﻳﻦ ﺟﻤﻠﻪ ﺭﺍ ﻣﻰﺷﻮﺩ ﭼﻜﻴﺪﻩﻯ ﺍﻧﺪﻳﺸﻪﻯ ﭘﺸﺖ ﺷﺶﮔﺎﻧﻪﻯ »ﻣﺮﺩﮔﺎﻥ« ﺩﺍﻧﺴﺖ‪ .‬ﺩﺍﺳﺘﺎﻥﻫﺎﻯ‬ ‫ﻫﻮﻟﻨﺎﻙ ﺟﻬﺎﻧﻰ ﺁﺧﺮﺍﻟﺰﻣﺎﻧﻰ ﻛﻪ ﺩﺭ ﺁﻥ ﺯﺍﻣﺒﻰﻫﺎ ﺑﺎﻋﺚ ﺷﺪﻩﺍﻧﺪ ﻧﻴﻤﻪﻯ ﺗﺎﺭﻳﻚ ﻭ ﺧﺮﺩﺳﺘﻴﺰ ﺍﻧﺴﺎﻥﻫﺎ‬ ‫ﺑﻴﺸﺘﺮ ﺑﻪ ﭼﺸﻢ ﺑﻴﺎﻳﺪ‪ .‬ﺟﻬﺎﻧﻰ ﻛﻪ ﺩﺭ ﺁﻥ ﺣﺘﺎ ﺯﺍﻣﺒﻰﻫﺎ ﻫﻢ ﺍﺯ ﺷﻜﻨﺠﻪ ﻭ ﺁﺯﺍﺭ ﻗﻠﺪﺭﻫﺎﻯ ﻣﺴﻠﺢ ﻭ‬ ‫ﺳﻄﻠﻪﺟﻮ ﺩﺭ ﺍﻣﺎﻥ ﻧﻤﻰﻣﺎﻧﻨﺪ‪.‬‬ ‫‪ ‬ﺭﻭﻣﺮﻭ ﮔﻔﺘﻪ‪» :‬ﻣﻦ ﺷﺒﻴﻪ ﺯﺍﻣﺒﻰﻫﺎﻳﻢ ﻫﺴﺘﻢ‪ .‬ﻣﺮﺩﻩ ﺑﺎﻗﻰ ﻧﻤﻰﻣﺎﻧﻢ«‪ .‬ﺍﻭ ﻭ ﺯﺍﻣﺒﻰﻫﺎﻳﺶ ﺑﻰﺭﺣﻤﺎﻧﻪ‬ ‫ﺑﻪ ﻗﺮﺑﺎﻧﻴﺎﻥﺷﺎﻥ ﺣﻤﻠﻪ ﻣﻰﺑﺮﻧﺪ‪ .‬ﺯﺍﻣﺒﻰﻫﺎ ﺑﻪ ﺯﻧﺪﮔﺎﻧﻰ ﻧﻪﭼﻨﺪﺍﻥ ﻻﻳﻖﺗﺮ ﻭ ﺧﺮﺩﻣﻨﺪﺗﺮ ﺍﺯ ﺧﻮﺩﺷﺎﻥ‪ ،‬ﻭ‬ ‫ﺭﻭﻣﺮﻭ ﺑﻪ ﺗﺎﺑﻮﻫﺎ‪ ،‬ﺗﻌﺼﺒﺎﺕ ﻭ ﻗﺪﺭﺕ‪ .‬ﺍﺯ ﻳﻚ ﺷﺒﺎﻫﺖ ﺩﻳﮕﺮ ﻫﻢ ﻧﻤﻰﺷﻮﺩ ﮔﺬﺷﺖ‪ :‬ﻓﻴﻠﻢﻫﺎﻯ ﺭﻭﻣﺮﻭ ﻫﻢ‬ ‫ﺷﺒﻴﻪ ﺍﭘﻴﺪﻣﻰ ﻣﺮگﺑﺎﺭﺷﺎﻥ ﻫﺴﺘﻨﺪ‪ .‬ﺭﻭﻣﺮﻭ ﻭﺍﻗﻌﺎً ﭘﺪﺭﺧﻮﺍﻧﺪﻩﻯ ﺗﻤﺎﻡ ﺯﺍﻣﺒﻰﻫﺎﺳﺖ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺗﻘﺮﻳﺒﺎً‬ ‫ﺗﻤﺎﻡ ﻓﻴﻠﻢﻫﺎﻯ ﻗﺎﺑﻞﺗﻮﺟﻪ ﺳﺎﺧﺘﻪﺷﺪﻩ ﺩﺭ ﺍﻳﻦ ﺯﻳﺮﮔﻮﻧﻪ ﺑﻪ ﻧﻮﻋﻰ ﻭﺍﻣﺪﺍﺭ ﺍﻳﺪﻩﻫﺎﻯ ﺍﻭ ﺩﺭ »ﻣﺮﺩﮔﺎﻥ«‬ ‫ﻭ »ﺩﻳﻮﺍﻧﮕﺎﻥ« ﻫﺴﺘﻨﺪ؛ ﻓﻴﻠﻢﻫﺎﻳﻰ ﭼﻮﻥ »ﺑﻴﺴﺖ ﻭ ﻫﺸﺖ ﺭﻭﺯ ﺑﻌﺪ«‪» ،‬ﺷﺎﻥ ﻣﺮﺩﮔﺎﻥ«‪» ،‬ﻓﺎﻳﺪﻭ« ﻭ‪...‬‬ ‫ﻣﻬﻢﺗﺮﻳﻦ ﻧﻜﺘﻪ ﺍﺩﺍﻣﻪ ﻳﺎﻓﺘﻦ ﺳﻨﺖ ﺭﻭﻣﺮﻭ ﺩﺭ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺁﺧﺮﺍﻟﺰﻣﺎﻥ ﺯﺍﻣﺒﻰﺯﺩﻩ ﺑﻪﻋﻨﻮﺍﻥ ﻣﺤﻤﻠﻰ ﺑﺮﺍﻯ‬ ‫ﻧﻘﺪ ﺍﺟﺘﻤﺎﻋﻰ ﺍﺳﺖ؛ ﺍﻭ ﻫﻴﻮﻻﻫﺎﻯ ﺑﺪﻣﻨﻈﺮ ﺭﺍ ﺑﻪ ﺣﺎﺷﻴﻪ ﺭﺍﻧﺪ ﺗﺎ ﻧﮕﺎﻫﻰ ﺑﻰﺭﺣﻤﺎﻧﻪ ﺑﻪ ﻫﻴﻮﻻﻫﺎﻳﻰ‬ ‫ﺑﻴﻨﺪﺍﺯﺩ ﻛﻪ ﭘﺸﺖ ﻧﻘﺎﺏ ﺍﻧﺴﺎﻥ ﻣﺨﻔﻰ ﺷﺪﻩﺍﻧﺪ‪ .‬ﮔﻤﺎﻥ ﻧﻤﻰﻛﻨﻢ ﺑﻰﺍﻧﺼﺎﻓﻰ ﺑﺎﺷﺪ ﺍﮔﺮ ﺑﮕﻮﻳﻴﻢ ﺭﻭﻣﺮﻭ‬ ‫ﭼﻨﺎﻥ ﺯﻳﺮﮔﻮﻧﻪﻯ ﺯﺍﻣﺒﻰ ﺭﺍ ﺳﺎﺧﺖ ﻭ ﮔﺴﺘﺮﺵ ﺩﺍﺩ ﻛﻪ ﻫﻨﻮﺯ ﺗﻤﺎﻡ ﺯﺍﻣﺒﻰﻫﺎ ﺩﺭ ﺯﻣﻴﻦ ﻣﺮﺩﮔﺎﻥ ﺍﻭﺳﺖ‬ ‫ﻛﻪ ﺑﺎﺯﻯ ﻣﻰﻛﻨﻨﺪ‪.‬‬

‫‪117‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺍﻭﺳﺖ‪ .‬ﮔﻔﺘﮕﻮﻯ ﻛﻮﺗﺎﻫﻰ ﺑﻴﻦ ﺍﻳﻦ ﺩﻭ ﺷﺎﻳﺪ ﺑﻪ ﺑﻬﺘﺮﻳﻦ ﺷﻜﻞ ﺑﺘﻮﺍﻧﺪ ﻭﺿﻌﻴﺖ ﺭﺍ ﺗﻮﺻﻴﻒ ﻛﻨﺪ؛ ﻭﻗﺘﻰ‬ ‫ﺩﺭ ﺑﻴﻤﺎﺭﺳﺘﺎﻥ ﺩﻧﺒﺎﻝ ﭘﺰﺷﻜﻰ ﺑﺮﺍﻯ ﻧﺠﺎﺕ ﺩﻭﺳﺘﺸﺎﻥ ﻣﺮﻯ ﻛﻪ ﺧﻮﺩﻛﺸﻰ ﻛﺮﺩﻩ‪ ،‬ﻣﻰﮔﺮﺩﻧﺪ ﻭ ﺟﻴﺴﻮﻥ‬ ‫ﻣﻰﮔﻮﻳﺪ‪» :‬ﺩﻭﺭﺑﻴﻦ ﻣﻬﻢﺗﺮﻳﻦ ﭼﻴﺰﻩ« ﻭ ﺩﺑﺮﺍ ﭘﺎﺳﺦ ﻣﻰﺩﻫﺪ‪» :‬ﻛﻤﻚ ﭘﻴﺪﺍ ﻛﺮﺩﻥ ﻣﻬﻢﺗﺮﻳﻦ ﭼﻴﺰﻩ«‪.‬‬ ‫»ﺭﻭﺯﻧﮕﺎﺭ‪ «...‬ﺩﺭ ﻭﺍﻗﻊ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﻣﺴﺘﻨﺪﻯ ﺍﺳﺖ ﺑﻪ ﻧﺎﻡ »ﺯﻭﺍﻝ ﻣﺮگ«؛ ﻓﻴﻠﻤﻰ ﻛﻪ ﺟﻴﺴﻮﻥ ﻛﺮﻳﺪ‪،‬‬ ‫ﺑﻪﺭﻏﻢ ﺍﻋﺘﺮﺍﺽ ﺩﻭﺳﺘﺎﻧﺶ‪ ،‬ﺍﺯ ﺗﺠﺮﺑﻪﻫﺎﻳﺸﺎﻥ ﺩﺭ ﮔﺮﻳﺰ ﺍﺯ ﺣﻤﻠﻪﻯ ﺯﺍﻣﺒﻰﻫﺎ ﺳﺎﺧﺘﻪ‪ ،‬ﻭ ﺩﺭ ﺩﻓﺎﻉ ﺍﺯ ﺁﻥ‬ ‫ﺑﻌﺪ ﺍﺯ ﺩﻳﺪﻥ ﺍﺧﺒﺎﺭ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺗﺤﺮﻳﻒﺷﺪﻩﺍﻯ ﺩﺭﺑﺎﺭﻩﻯ ﻓﺎﺟﻌﻪ‪ -‬ﺑﻪ ﺩﺑﺮﺍ ﻣﻰﮔﻮﻳﺪ‪» :‬ﻣﺮﺩﻡ ﺑﺎ ﺩﻳﺪﻥ‬‫ﺍﻳﻦ ﻛﻪ ﻣﺎ ﭼﻄﻮﺭﻯ ﺗﻮﻧﺴﺘﻴﻢ ﻧﺠﺎﺕ ﭘﻴﺪﺍ ﻛﻨﻴﻢ‪ ،‬ﻳﺎﺩ ﻣﻰﮔﻴﺮﻥ ﻛﻪ ﭼﻄﻮﺭ ﺧﻮﺩﺷﻮﻥ ﺭﻭ ﻧﺠﺎﺕ ﺑﺪﻥ«‪.‬‬ ‫ﺳﺮﺍﻧﺠﺎﻡ ﺩﺑﺮﺍ ﻫﻢ ﺗﺼﻤﻴﻢ ﻣﻰﮔﻴﺮﺩ ﻓﻴﻠﻢ ﺍﻭ ﺭﺍ‪ ،‬ﺑﺎ ﺍﺿﺎﻓﻪ ﻛﺮﺩﻥ ﺻﺤﻨﻪﻫﺎﻳﻰ ﻛﻪ ﺟﻴﺴﻮﻥ ﺩﺭ ﺍﻳﻨﺘﺮﻧﺖ‬ ‫ﺑﻪﺩﺳﺖ ﺁﻭﺭﺩﻩ ﻭ ﻫﻤﻴﻦﻃﻮﺭ ﺗﻚﮔﻮﻳﻰﻫﺎﻯ ﺧﻮﺩﺵ‪ ،‬ﻛﺎﻣﻞ ﻭ ﺩﺭ ﺍﻳﻨﺘﺮﻧﺖ ﭘﺨﺶ ﻛﻨﺪ‪ .‬ﺩﺭ ﻳﻜﻰ ﺍﺯ ﺍﻳﻦ‬ ‫ﺗﻚﮔﻮﻳﻰﻫﺎﺳﺖ ﻛﻪ ﺩﺑﺮﺍ ﺷﺎﻳﺪ ﻛﻠﻴﺪﻯﺗﺮﻳﻦ ﺳﻮﺍﻝ ﻓﻴﻠﻢ ﺭﺍ ﻣﻰﭘﺮﺳﺪ‪» :‬ﭼﻰ ﺗﻮ ﺳﺮ ﻣﺎ ﻣﻰﮔﺬﺭﻩ ﻭﻗﺘﻰ‬ ‫ﭼﻴﺰﻯ ﻫﻮﻟﻨﺎﻙ ﺭﻭ ﻣﻰﺑﻴﻨﻴﻢ؟ ﻳﻪ ﺗﺼﺎﺩﻑ ﻫﻮﻟﻨﺎﻙ ﺗﻮﻯ ﺑﺰﺭﮔﺮﺍﻩ‪ ...‬ﻳﻪﭼﻴﺰﻯ ﻣﺎ ﺭﻭ ﻧﮕﻪ ﻣﻰﺩﺍﺭﻩ‪ .‬ﻣﺎ‬ ‫ﻧﻤﻰﺍﻳﺴﺘﻴﻢ ﺑﺮﺍﻯ ﻛﻤﻚ ﻛﺮﺩﻥ‪ .‬ﺑﺮﺍﻯ ﺗﻤﺎﺷﺎ ﻛﺮﺩﻧﻪ ﻛﻪ ﺗﻮﻗﻒ ﻣﻰﻛﻨﻴﻢ‪«.‬‬ ‫ﻭ ﺩﺭ ﭘﺎﻳﺎﻥ ﻓﻴﻠﻢ‪ ،‬ﺑﻌﺪ ﺍﺯ ﻧﻤﺎﻳﺶ ﺻﺤﻨﻪﺍﻯ ﻣﺨﻮﻑ ﺍﺯ ﻛﺸﺘﺎﺭ ﺳﺎﺩﻳﺴﺘﻰ ﺯﺍﻣﺒﻰﻫﺎ‪ ،‬ﺳﻮﺍﻟﻰ ﻣﻬﻢﺗﺮ ﺭﺍ‬ ‫ﻣﻄﺮﺡ ﻣﻰﻛﻨﺪ‪» :‬ﻣﺎ ﺍﺭﺯﺵ ﻧﺠﺎﺕ ﭘﻴﺪﺍ ﻛﺮﺩﻥ ﺭﻭ ﺩﺍﺭﻳﻢ؟«‬ ‫‪» ‬ﺑﻘﺎﻯ ﻣﺮﺩﮔﺎﻥ« )‪ (2009‬ﺗﺎ ﺍﻣﺮﻭﺯ ﺁﺧﺮﻳﻦ ﻓﻴﻠﻤﻰ ﺍﺳﺖ ﻛﻪ ﺭﻭﻣﺮﻭ ﺳﺎﺧﺘﻪ‪ ،‬ﻭ ﺭﺍﻭﻯ ﺁﻥ ﮔﺮﻭﻫﺒﺎﻥ‬ ‫ﻛﺮﺍﻛﺖ ﺍﺳﺖ ﻛﻪ ﺩﺭ »ﺭﻭﺯﻧﮕﺎﺭ‪ «...‬ﻛﺎﺭﻭﺍﻥ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺍﺻﻠﻰ ﺭﺍ ﻏﺎﺭﺕ ﻛﺮﺩﻩ ﺑﻮﺩ‪» .‬ﺑﻘﺎ‪ «...‬ﻛﻪ ﺣﺎﻝ‬ ‫ﻭ ﻫﻮﺍﻳﻰ ﻭﺳﺘﺮﻥ ﻫﻢ ﺩﺍﺭﺩ‪ ،‬ﺣﻮﻝ ﺩﺭﮔﻴﺮﻯﻫﺎﻯ ﻋﻘﻴﺪﺗﻰ ﻭ ﻗﻮﻣﻰ ﻣﻰﮔﺮﺩﺩ‪ .‬ﻣﻚﺍﻭﻓﻠﻴﻦﻫﺎ ﻭ ﻣﺎﻟﺪﻭﻥﻫﺎ‪،‬‬ ‫ﺩﻭ ﺧﺎﻧﺪﺍﻥ ﺑﺰﺭگ ﺳﺎﻛﻦ ﺟﺰﻳﺮﻩﻳﻰ ﺁﺭﺍﻡ‪ ،‬ﺩﺭ ﻣﻮﺭﺩ ﻣﺴﺎﻟﻪﻯ ﺑﺮﺧﻮﺭﺩ ﺑﺎ ﺯﺍﻣﺒﻰﻫﺎ ﺍﺧﺘﻼﻑﻧﻈﺮ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﭘﺎﺗﺮﻳﻚ ﻣﻚﺍﻭﻓﻠﻴﻦ ﻣﻌﺘﻘﺪ ﺍﺳﺖ ﻣﺮﺩﻩﻫﺎ ﺑﺎﻳﺪ ﻣﺮﺩﻩ ﺑﺎﻗﻰ ﺑﻤﺎﻧﻨﺪ ﻭ ﻣﻰﺧﻮﺍﻫﺪ ﺗﻤﺎﻡ ﺯﺍﻣﺒﻰﻫﺎ ﺭﺍ ﺑﻜﺸﺪ‪.‬‬ ‫ﺩﺭ ﻣﻘﺎﺑﻞ ﺍﻭ ﺷﻴﻤﻮﺱ ﻣﺎﻟﺪﻭﻥ ﻣﺘﻌﺼﺐ‪ ،‬ﺩﺭ ﭘﻰ ﻧﮕﻪ ﺩﺍﺷﺘﻦ ﻣﺮﺩﻩﮔﺎﻥ ﻭ ُﻣﺼﺮ ﺑﺮ ﺍﻳﻦ ﻋﻘﻴﺪﻩ ﺍﺳﺖ ﻛﻪ‬ ‫ﻣﻰﺗﻮﺍﻧﺪ ﺑﻪ ﺯﺍﻣﺒﻰﻫﺎ ﻳﺎﺩ ﺑﺪﻫﺪ ﭼﻴﺰﻯ ﻏﻴﺮ ﺍﺯ ﺍﻧﺴﺎﻥ ﺑﺨﻮﺭﻧﺪ‪ ،‬ﻫﺮ ﭼﻨﺪ ﺍﻳﻦ ﺭﻓﺘﺎﺭﺵ ﺑﻴﺶ ﺍﺯ ﺁﻥﻛﻪ‬ ‫ﺩﻏﺪﻏﻪﺍﻯ ﺍﻧﺴﺎﻧﻰ ﺑﺎﺷﺪ ﺑﺮﺧﺎﺳﺘﻪ ﺍﺯ ﺍﻋﺘﻘﺎﺩﺍﺕ ﻣﺘﻌﺼﺒﺎﻧﻪﺍﺵ ﺍﺳﺖ‪ .‬ﺩﺭ ﮔﻴﺮ ﻭ ﺩﺍﺭ ﻫﻤﻴﻦ ﺍﺧﺘﻼﻓﺎﺕ‬ ‫ﺍﺳﺖ ﻛﻪ ﻛﺮﺍﻛﺖ ﻭ ﻫﻢﻗﻄﺎﺭﺍﻥﺍﺵ ﻭﺍﺭﺩ ﺟﺰﻳﺮﻩ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﺩﺭﮔﻴﺮ ﺟﻨﮓ ﺑﻴﻦ ﺩﻭ ﺧﺎﻧﻮﺍﺩﻩ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﺩﺭ ﭘﺎﻳﺎﻥ ﻓﻴﻠﻢ‪ ،‬ﻭ ﺑﻌﺪ ﺍﺯ ﻗﺘﻞ ﻋﺎﻡ ﺍﻓﺮﺍﺩ ﺟﺰﻳﺮﻩ ﻭ ﺯﺍﻣﺒﻰﻫﺎ‪ ،‬ﮔﺮﻭﻫﺒﺎﻥ ﻣﻰﮔﻮﻳﺪ‪» :‬ﺩﺭ ﺩﻧﻴﺎﻯ ﻣﺎ ﻋﻠﻴﻪ‬ ‫ﺍﻭﻥﻫﺎ‪ ،‬ﻳﻜﻰ ﭘﺮﭼﻤﻰ ﺭﻭ ﺑﻠﻨﺪ ﻣﻰﻛﻨﻪ ﻭ ﻳﻜﻰ ﺩﻳﮕﻪ ﺍﻭﻥ ﭘﺮﭼﻢ ﺭﻭ ﭘﺎﻳﻴﻦ ﻣﻰﻛﺸﻪ ﻭ ﭘﺮﭼﻢ ﺧﻮﺩﺵ ﺭﻭ‬ ‫ﺟﺎﺵ ﻣﻰﺫﺍﺭﻩ‪ ...‬ﺧﻴﻠﻰ ﺯﻭﺩ‪ ،‬ﻫﻴﭻﻛﺲ ﺑﻪﺧﺎﻃﺮ ﻧﻤﻰﺁﺭﻩ ﺍﺻ ً‬ ‫ﻼ ﺍﺯ ﺍﻭﻝ ﺟﻨﮓ ﺑﻪﺧﺎﻃﺮ ﭼﻰ ﺷﺮﻭﻉ ﺷﺪﻩ‬ ‫ﺑﻮﺩ ﻭ ﻧﺒﺮﺩ ﺗﻤﺎﻣﺎً ﺗﺒﺪﻳﻞ ﻣﻰﺷﻪ ﺑﻪ ﺟﻨﮕﻰ ﺳﺮ ﺍﻭﻥ ﭘﺮﭼﻢﻫﺎﻯ ﺍﺣﻤﻘﺎﻧﻪ‪«.‬‬ ‫‪116‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺳﻴﻨﻤﺎ‬

‫ﺟﻮﺭﺝ ﺭﻭﻣﺮﻭ ﺩﺭ ﻭﺻﻒ »ﺭﻭﺯ ﻣﺮﺩﮔﺎﻥ« ﮔﻔﺘﻪ‪» :‬ﻳﻚ ﺗﺮﺍژﺩﻯ ﺩﺭﺑﺎﺭﻩﻯ ﺍﻳﻦ ﻛﻪ ﭼﮕﻮﻧﻪ ﺣﺘﺎ ﺩﺭ ﺗﻜﻪﻯ‬ ‫ﺑﺴﻴﺎﺭﺑﺴﻴﺎﺭ ﻛﻮﭼﻜﻰ ﺍﺯ ﺟﺎﻣﻌﻪ‪ ،‬ﻓﻘﺪﺍﻥ ﺍﺭﺗﺒﺎﻁ ﺍﻧﺴﺎﻧﻰ ﺑﺎﻋﺚ ﺑﻪ ﻭﺟﻮﺩ ﺁﻣﺪﻥ ﺁﺷﻮﺏ ﻭ ﻓﺮﻭﭘﺎﺷﻰ‬ ‫ﻣﻰﺷﻮﺩ‪«.‬‬ ‫‪» ‬ﺯﻣﻴﻦ ﻣﺮﺩﮔﺎﻥ« )‪ (2005‬ﺑﺎﺯﮔﺸﺖ ﺩﻭﺑﺎﺭﻩﻯ ﺯﺍﻣﺒﻰﻫﺎﻯ ﺭﻭﻣﺮﻭ ﺍﺳﺖ‪ .‬ﭘﻴﺸﮕﻮﻳﻰ ﻛﺸﻴﺶ‬ ‫»ﻃﻠﻮﻉ‪ «...‬ﻛﻪ ﮔﻔﺘﻪ ﺑﻮﺩ‪» :‬ﻭﻗﺘﻰ ﻣﺮﺩﻩﻫﺎ ﺭﺍﻩ ﻣﻰﺭﻥ‪ ...‬ﺑﺎﻳﺪ ﻛﺸﺘﻦ ﺭﻭ ﻣﺘﻮﻗﻒ ﻛﻨﻴﻢ‪ ،‬ﻭﮔﺮﻧﻪ ﺟﻨﮓ‬ ‫ﺭﻭ ﻣﻰﺑﺎﺯﻳﻢ« ﺑﻪ ﺣﻘﻴﻘﺖ ﭘﻴﻮﺳﺘﻪ‪ :‬ﺯﺍﻣﺒﻰﻫﺎ ﻫﻤﻪﺟﺎ ﻫﺴﺘﻨﺪ‪ .‬ﮔﺮﻭﻫﻰ ﺍﺯ ﻧﺠﺎﺕﻳﺎﻓﺘﻪﮔﺎﻥ ﺩﺭ ﺷﻬﺮﻯ‬ ‫ﺣﺼﺎﺭﺑﻨﺪﻯﺷﺪﻩ ﭘﻨﺎﻩ ﮔﺮﻓﺘﻪﺍﻧﺪ‪ .‬ﻗﺪﺭﺕ ﻭ ﺍﻣﻜﺎﻧﺎﺕ ﺭﻓﺎﻫﻰ ﺩﺭ ﺩﺳﺖ ﺍﻗﻠﻴﺖ ﺛﺮﻭﺗﻤﻨﺪ ﺍﺳﺖ ﻭ ﺑﺎﻗﻰ‬ ‫ﻣﺮﺩﻡ ﺩﺭ ﺷﺮﺍﻳﻄﻰ ﺳﺨﺖ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﻫﺮﭼﻨﺪ ﺑﻪ ﻗﻮﻝ ﻛﺎﻓﻤﻦ ‪-‬ﺭﺋﻴﺲ ﺷﻬﺮ ﻛﻪ ﺟﻤﻠﻪﻯ »ﻣﺎ‬ ‫ﺑﺎ ﺗﺮﻭﺭﻳﺴﺖﻫﺎ ﻣﺬﺍﻛﺮﻩ ﻧﻤﻰﻛﻨﻴﻢ«ﺍﺵ ﺁﺷﻨﺎ ﺑﻪ ﻧﻈﺮ ﻣﻰﺁﻳﺪ‪ -‬ﭼﻴﺰﻫﺎﻳﻰ ﺑﺮﺍﻯ ﺳﺮﮔﺮﻣﻰ ﻭ ﺳﺮ ﺟﺎﻯ‬ ‫ﺧﻮﺩ ﻧﮕﻪﺩﺍﺷﺘﻦﺷﺎﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ؛ ﻣﺜ ً‬ ‫ﻼ ﻣﺒﺎﺭﺯﻩﻯ ﮔﻼﺩﻳﺎﺗﻮﺭﻯ ﺯﺍﻣﺒﻰﻫﺎ ﺣﺘﺎ ﺑﺎ ﺁﺩﻣﻰ ﺯﻧﺪﻩ‪ .‬ﺩﺭ ﺁﻥﺳﻮ‬ ‫ﺯﺍﻣﺒﻰﻫﺎ ﻫﻢ ﻛﻢ ﻭ ﺑﻴﺶ ﺑﺎﻫﻮﺵﺗﺮ ﺷﺪﻩﺍﻧﺪ ﻭ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﺍﺭﺗﺒﺎﻁ ﺑﺮﻗﺮﺍﺭ ﻛﻨﻨﺪ‪.‬‬ ‫ﺩﺭ »ﺯﻣﻴﻦ‪ «...‬ﻣﻰﺷﻮﺩ ﺷﺒﺎﻫﺖﻫﺎﻳﻰ ﺑﻴﻦ ﻭﺿﻌﻴﺖ ﺯﺍﻣﺒﻰﻫﺎ ﻭ ﻣﺮﺩﻡ ﻓﺮﻭﺩﺳﺖ ﺩﻳﺪ‪ :‬ﮔﺮﻭﻩﻫﺎﻯ ﻣﺴﻠﺢ‬ ‫ﻫﻢ ﻛﻪ ﺑﺮﺍﻯ ﺟﻤﻊﺁﻭﺭﻯ ﻣﻮﺍﺩ ﻣﻮﺭﺩ ﻧﻴﺎﺯ ﻭﺍﺭﺩ ﻣﻨﻄﻘﻪﻯ ﺧﻄﺮ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﺑﺮﺍﻯ ﭘﺮﺕ ﻛﺮﺩﻥ ﺣﻮﺍﺱ‬ ‫ﺯﺍﻣﺒﻰﻫﺎ ﺁﺗﺶﺑﺎﺯﻯ ﺭﺍﻩ ﻣﻰﺍﻧﺪﺍﺯﻧﺪ؛ ﺍﻳﻦ ﺁﺗﺶﺑﺎﺯﻯ ﻧﻪﺗﻨﻬﺎ ﺷﺒﻴﻪ ﺟﺸﻦﻫﺎﻳﻰ ﻣﻠﻰ ﭼﻮﻥ »ﭼﻬﺎﺭﻡ‬ ‫ﺟﻮﻻﻯ«‪ ،‬ﻛﻪ ﻳﺎﺩﺁﻭﺭ ﺗﻤﺎﻡ ﺁﺗﺶﺑﺎﺯﻯﻫﺎﻯ ﺑﺰﺭگ ﻭ ﻛﻮﭼﻜﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻗﺼﺪ ﭘﺮﺕ ﻛﺮﺩﻥ ﺣﻮﺍﺱ‬ ‫ﺟﻤﺎﻋﺖ ﺍﺯ ﺣﻮﺍﺩﺙ ﺍﻃﺮﺍﻓﺸﺎﻥ ﺭﺍﻩ ﺍﻧﺪﺍﺧﺘﻪ ﻣﻰﺷﻮﺩ )ﺍﻟﺒﺘﻪ ﺭﺍﺟﺮ ﺍﺑﺮﺕ ﺍﻳﻦ ﺁﺗﺶﺑﺎﺯﻯﻫﺎﻯ ﺧﻴﺮﻩﻛﻨﻨﺪﻩ‬ ‫ﺭﺍ ﻳﺎﺩﺁﻭﺭ ﺗﺎﻛﺘﻴﻚ »ﺷﻮﻙ ﻭ ﻭﺣﺸﺖ« ﺩﺭ ﺟﻨﮓ ﻋﺮﺍﻕ ﻣﻰﺩﺍﻧﺪ(‪ .‬ﻧﺎﮔﻔﺘﻪ ﻧﻤﺎﻧﺪ ﺗﻨﻬﺎ ﺯﺍﻣﺒﻰﺍﻯ ﻛﻪ‬ ‫ﺗﻮﺟﻬﻰ ﺑﻪ ﺁﺗﺶﺑﺎﺯﻯ ﻧﻤﻰﻛﻨﺪ ﻭ ﺣﺘﺎ ﺳﻌﻰ ﻣﻰﻛﻨﺪ ﺩﻳﮕﺮ ﺯﺍﻣﺒﻰﻫﺎ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﺑﻴﺎﻭﺭﺩ‪ ،‬ﺳﻴﺎﻩﭘﻮﺳﺘﻰ‬ ‫ﺍﺳﺖ ﺩﺭ ﻟﺒﺎﺱ ﻛﺎﺭﮔﺮﻯ؛ ﻭ ﺗﻨﻬﺎ ﺁﺩﻣﻰ ﻛﻪ ﺟﺬﺏ ﺁﺗﺶﺑﺎﺯﻯﻫﺎ ﻣﻰﺷﻮﺩ‪ ،‬ﭼﺎﺭﻟﻰ ﻭﻓﺎﺩﺍﺭ ﺍﻣﺎ ﺳﺎﺩﻩﻟﻮﺡ‬ ‫ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺑﻬﺸﺖ ﺍﻋﺘﻘﺎﺩ ﺩﺍﺭﺩ‪.‬‬ ‫ﺑﻰﺩﻟﻴﻞ ﻧﻴﺴﺖ ﻛﻪ ﺭﻭﻣﺮﻭ ﺩﺭ ﻣﺼﺎﺣﺒﻪﻳﻰ ﻣﻰﮔﻮﻳﺪ‪» :‬ﺷﺎﻳﺪ ﻣﻦ ﻣﺎﻳﻜﻞ ﻣﻮﺭ ﺳﻴﻨﻤﺎﻯ ﻭﺣﺸﺖ ﺑﺎﺷﻢ‪«.‬‬ ‫‪ ‬ﻓﻴﻠﻢ ﺑﻌﺪﻯ‪» ،‬ﺭﻭﺯﻧﮕﺎﺭ ﻣﺮﺩﮔﺎﻥ« )‪ (2007‬ﺭﺍ ﻣﻰﺷﻮﺩ ﺁﻏﺎﺯﻯ ﺩﻭﺑﺎﺭﻩ ﻭ ﻣﺴﺘﻘﻞ ﺩﺭ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ‬ ‫ﺩﺍﻧﺴﺖ‪ .‬ﻓﻴﻠﻤﻰ ﻣﺴﺘﻨﺪﻧﻤﺎ ﻛﻪ ﺭﻭﻣﺮﻭ ﺩﺭ ﺁﻥ ﺑﺮ ﻣﺴﺎﻟﻪﻯ ﺭﺳﺎﻧﻪﻫﺎﻯ ﻧﻮﻳﻦ ﻭ ﺍﺧﻼﻕ ﺭﺳﺎﻧﻪﻳﻰ ﺗﻤﺮﻛﺰ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺟﺎﺩﻩﺍﻯ ﺩﺭﺑﺎﺭﻩﻯ ﮔﺮﻭﻫﻰ ﺍﺯ ﺩﺍﻧﺸﺠﻮﻳﺎﻥ ﺳﻴﻨﻤﺎﺳﺖ ﻛﻪ ﻣﻰﺧﻮﺍﻫﻨﺪ ﺍﺯ ﻣﻴﺎﻥ‬ ‫ﻛﺮﺩﻩ‪ .‬ﺍﻳﻦ‬ ‫ِ‬ ‫ﻓﺎﺟﻌﻪﻯ ﻧﻮﺧﺎﺳﺘﻪ ﺟﺎﻥ ﺑﻪ ﺩﺭ ﺑﺮﻧﺪ ﻭ ﺑﻪ ﺧﺎﻧﻪ ﻳﺎ ﻣﺤﻠﻰ ﺍﻣﻦ ﺑﺮﺳﻨﺪ‪ .‬ﺟﻴﺴﻮﻥ‪ ،‬ﻛﺎﺭﮔﺮﺩﺍﻥ ﮔﺮﻭﻩ‪،‬‬ ‫ﺗﺼﻤﻴﻢ ﻣﻰﮔﻴﺮﺩ ﻣﺎﺟﺮﺍﻫﺎﻯ ﭘﻴﺶ ﺁﻣﺪﻩ ﺭﺍ ﺑﺎ ﺩﻭﺭﺑﻴﻦﺍﺵ ﺛﺒﺖ ﻛﻨﺪ ﻭ ﺩﺑﺮﺍ‪ ،‬ﺩﻭﺳﺘﺶ‪ ،‬ﻣﺨﺎﻟﻒ ﺳﺮﺳﺨﺖ‬ ‫‪115‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺩﻧﺒﺎﻝ ﻣﺎ[‪ .‬ﻧﻤﻰﺩﻭﻧﻦ ﭼﺮﺍ؛ ﻓﻘﻂ‪ ...‬ﺑﻪ ﻳﺎﺩ ﻣﻰﺁﺭﻥ ﻛﻪ ﻣﻰﺧﻮﺍﻥ ﺍﻳﻦﺟﺎ ﺑﺎﺷﻦ‪ «.‬ﻓﺮﺍﻧﺴﻴﻦ ﻣﻰﭘﺮﺳﺪ‪:‬‬ ‫»ﺁﺧﻪ ﺍﻭﻧﺎ ﭼﻪ ﻛﻮﻓﺘﻰﺍﻥ؟« ﻭ ﭘﻴﺘﺮ ﭘﺎﺳﺦ ﻣﻰﺩﻫﺪ‪» :‬ﺍﻭﻥﻫﺎ ﻣﺎ ﻫﺴﺘﻨﺪ«‪.‬‬ ‫ﺩﺭ ﭘﺎﻳﺎﻥ ﺩﺍﺳﺘﺎﻥ‪ ،‬ﻣﻮﺟﻮﺩﺍﺗﻰ ﺧﻄﺮﻧﺎﻙﺗﺮ ﺍﺯ ﺯﺍﻣﺒﻰﻫﺎ ﺳﺮ ﻣﻰﺭﺳﻨﺪ‪ :‬ﻣﻮﺗﻮﺭﺳﻮﺍﺭﻫﺎﻯ ﻣﺴﻠﺢ »ﺳﺎﻟﻢ«‬ ‫ﺑﻪ ﻓﺮﻭﺷﮕﺎﻩ ﺣﻤﻠﻪ ﻣﻰﺑﺮﻧﺪ ﻭ ﻏﺎﺭﺗﻰ ﻭﺣﺸﻴﺎﻧﻪ ﺭﺍ ﺳﺮ ﻣﻰﮔﻴﺮﻧﺪ‪ .‬ﺍﻳﻦ ﺻﺤﻨﻪ ﺷﺎﻳﺪ ﻳﻜﻰ ﺍﺯ ﺟﺬﺍﺏﺗﺮﻳﻦ‬ ‫ﺑﺨﺶﻫﺎﻯ ﻓﻴﻠﻢ ﺑﺎﺷﺪ؛ ﻧﻤﺎﻳﺸﻰ ﮔﺮﻭﺗﺴﻚ ﺑﺎ ﻣﺎﻳﻪﻫﺎﻯ ﺍﺳﻠﭗﺍﺳﺘﻴﻚ )ﻏﺎﺭﺗﮕﺮﺍﻥ ﻇﺮﻑﻫﺎﻯ ﻛﻴﻚ ﺭﺍ‬ ‫ﺗﻮﻯ ﺻﻮﺭﺕ ﺯﺍﻣﺒﻰﻫﺎ ﻣﻰﻛﻮﺑﻨﺪ( ﻛﻪ ﺯﺍﻣﺒﻰﻫﺎ ﺭﺍ ﻣﻮﺟﻮﺩﺍﺗﻰ ﻣﻌﺼﻮﻡ ﺟﻠﻮﻩ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﻧﻜﺎﺕ ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﺍﻳﻦ ﻓﻴﻠﻢ‪ ،‬ﻭ ﺍﻟﺒﺘﻪ ﺩﻳﮕﺮ ﻓﻴﻠﻢﻫﺎﻯ ﺍﻳﻦ ﺷﺶﮔﺎﻧﻪ‪ ،‬ﺷﺨﺼﻴﺖﭘﺮﺩﺍﺯﻯ‬ ‫ﺯﻧﺎﻥ ﺩﺍﺳﺘﺎﻥﻫﺎﺳﺖ‪ .‬ﺯﻧﺎﻥ ﻣﺠﻤﻮﻋﻪﻯ »ﻣﺮﺩﮔﺎﻥ« ﻧﻪ ﻓﻘﻂ ﺗﻜﺮﺍﺭ ﺷﺨﺼﻴﺖﻫﺎﻯ ﻭﺍﺑﺴﺘﻪ ﻭ ﺷﻜﻨﻨﺪﻩﻯ‬ ‫ﻫﺎﻟﻴﻮﻭ ِﺩ ﻛﻼﺳﻴﻚ ﻧﻴﺴﺘﻨﺪ‪ ،‬ﻛﻪ ﺑﺴﻴﺎﺭ ﻣﺴﺘﻘﻞ ﻭ ﻣﺤﻜﻢ ﻇﺎﻫﺮ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺩﺭ ﻫﻤﻴﻦ ﻓﻴﻠﻢ ﻓﺮﺍﻧﺴﻴﻦ‬ ‫ﺑﻪ ﺍﻳﻦ ﻛﻪ ﺑﻪﺧﺎﻃﺮ ﺑﺎﺭﺩﺍﺭﻯ ﻭ ﺯﻥ ﺑﻮﺩﻥ ﺍﺯ ﺗﺼﻤﻴﻢﮔﻴﺮﻯﻫﺎ ﻛﻨﺎﺭ ﮔﺬﺍﺷﺘﻪ ﺷﻮﺩ‪ ،‬ﺍﻋﺘﺮﺍﺽ ﻣﻰﻛﻨﺪ ﻭ‬ ‫ﺩﺭ ﺣﻮﺍﺩﺙ ﭘﻴﺶﺭﻭ ﻫﻢﭘﺎﻯ ﻣﺮﺩﺍﻥ ﭘﻴﺶ ﻣﻰﺭﻭﺩ ﻭ ﺑﺎﺭﻫﺎ ﺑﻪ ﺭﻓﺘﺎﺭ ﻣﺮﺩﺳﺎﻻﺭﺍﻧﻪﻯ ﻫﻤﺮﺍﻫﺎﻧﺶ ﻃﻌﻨﻪ‬ ‫ﻣﻰﺯﻧﺪ‪ .‬ﺩﺭ ﻓﻴﻠﻢ »ﺭﻭﺯ ﻣﺮﺩﮔﺎﻥ« )‪ (1985‬ﻫﻢ ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ ﻳﻜﻰ ﺍﺯ ﻣﺮﺩﻫﺎ‪ ،‬ﻣﻴﮕﻞ ﻧﻈﺎﻣﻰ‪ ،‬ﺩﻟﺨﻮﺭﺍﻧﻪ‬ ‫ﻣﻰﮔﻮﻳﺪ ﻛﻪ ﺳﺎﺭﺍ‪ ،‬ﻳﻜﻰ ﺍﺯ ﺩﺍﻧﺸﻤﻨﺪﺍﻥ ﻭ ﺗﻨﻬﺎ ﺯﻥ ﮔﺮﻭﻩ‪ ،‬ﺗﻨﻬﺎ ﻛﺴﻰ ﺍﺳﺖ ﻛﻪ ﺩﭼﺎﺭ ﺍﺿﻄﺮﺍﺏ ﻭ‬ ‫ﻓﺮﻭﭘﺎﺷﻰ ﻧﺸﺪﻩ ﻭ ﻣﺤﻜﻢ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻩ ﺍﺳﺖ‪.‬‬ ‫‪» ‬ﺭﻭﺯ ﻣﺮﺩﮔﺎﻥ« ﺁﺧﺮﻳﻦ ﻓﻴﻠﻢ ﺍﺯ ﺳﻪﮔﺎﻧﻪﻯ ﺍﻭﻟﻴﻪﻯ ﺭﻭﻣﺮﻭ‪ ،‬ﻣﺤﻞ ﺩﺭﮔﻴﺮﻯ ﻋﻠﻢ ﻭ ﻧﻈﺎﻣﻰﮔﺮﻯ ﺍﺳﺖ‪.‬‬ ‫ﮔﺮﻭﻫﻰ ﺍﺯ ﺩﺍﻧﺸﻤﻨﺪﺍﻥ ﺩﺭ ﭘﻨﺎﻫﮕﺎﻫﻰ ﺯﻳﺮﺯﻣﻴﻨﻰ ﻣﺎﻣﻮﺭ ﺷﺪﻩﺍﻧﺪ ﺗﺎ ﺭﻭﻯ ﺯﺍﻣﺒﻰﻫﺎ ﺗﺤﻘﻴﻖ ﻛﻨﻨﺪ ﻭ ﺭﺍﻫﻰ‬ ‫ﺑﺮﺍﻯ ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﻓﺎﺟﻌﻪ ﺑﻴﺎﺑﻨﺪ ﻭ ﺗﻌﺪﺍﺩﻯ ﻧﻈﺎﻣﻰ ﻫﻢ ﻣﺎﻣﻮﺭ ﻣﺤﺎﻓﻈﺖ ﺍﺯ ﺍﻳﻦ ﮔﺮﻭﻩ ﻫﺴﺘﻨﺪ‪ .‬ﺩﺭﮔﻴﺮﻯ‬ ‫ﺍﺯ ﺟﺎﻳﻰ ﺁﻏﺎﺯ ﻣﻰﺷﻮﺩ ﻛﻪ ﺭﻭﺩﺯ‪ ،‬ﻓﺮﻣﺎﻧﺪﻩﻯ ﻧﻈﺎﻣﻰﻫﺎ‪ ،‬ﻗﺪﺭﺕ ﺭﺍ ﺑﻪﺩﺳﺖ ﻣﻰﮔﻴﺮﺩ ﻭ ﺍﺯ ﺩﺍﻧﺸﻤﻨﺪﺍﻥ‬ ‫ﻣﻰﺧﻮﺍﻫﺪ ﻫﺮﭼﻪ ﺯﻭﺩﺗﺮ ﺑﻪ ﻧﺘﻴﺠﻪ ﺑﺮﺳﻨﺪ ﻳﺎ ﺁﺯﻣﺎﻳﺸﺎﺕ ﺭﺍ ﺗﻌﻄﻴﻞ ﻛﻨﻨﺪ‪.‬‬ ‫ﻫﻴﻮﻻﻫﺎﻯ ﻭﺍﻗﻌﻰ »ﺭﻭﺯ‪ «...‬ﻧﻪ ﺯﺍﻣﺒﻰﻫﺎ‪ ،‬ﻛﻪ ﻧﻈﺎﻣﻰﻫﺎ ﻫﺴﺘﻨﺪ‪ .‬ﺟﺎﻳﻰ ﺭﻭﺩﺯ ﺟﻮﺭﻯ ﺳﺎﺭﺍ ﺭﺍ ﺗﻬﺪﻳﺪ‬ ‫ﻣﻰﻛﻨﻨﺪ ﻛﻪ ﻓﻴﺸﺮ‪ ،‬ﻫﻤﻜﺎﺭﺵ‪ ،‬ﺑﻪ ﺍﻭ ﻣﻰﮔﻮﻳﺪ‪» :‬ﺑﻬﺘﺮﻩ ﻣﺮﺍﻗﺐ ﺧﻮﺩﺕ ﺑﺎﺷﻰ‪ ...‬ﻣﻨﻈﻮﺭﻡ ﺍﻳﻨﻪ ﻛﻪ‬ ‫ﺑﺪﻧﻰ ﻣﺮﺍﻗﺐ ﺧﻮﺩﺕ ﺑﺎﺷﻰ‪ «.‬ﻭ ﻛﻤﻰ ﺑﻌﺪ ﻫﻢ ﺍﻭ ﺳﺎﺭﺍ ﺭﺍ ﺗﻬﺪﻳﺪ ﺑﻪ ﻣﺮگ ﻣﻰﻛﻨﺪ‪ .‬ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ‬ ‫ﻗﺪﺭﺕﻧﻤﺎﻳﻰﻫﺎﺳﺖ ﻛﻪ ﺟﺎﻥ‪ ،‬ﺧﻠﺒﺎﻥ ﺳﻴﺎﻩﭘﻮﺳﺖ‪ ،‬ﺩﺭﺑﺎﺭﻩﻯ ﺭﻭﺩﺯ ﻣﻰﮔﻮﻳﺪ‪» :‬ﺍﻭﻥ ﺍﻧﺴﺎﻧﻪ‪ ،‬ﻭ ﻫﻤﻴﻦ‬ ‫ﻣﻦ ﺭﻭ ﻣﻰﺗﺮﺳﻮﻧﻪ«‪.‬‬ ‫ﺍﻳﻦ ﻓﻴﻠﻢ ﺭﺍ ﺷﺎﻳﺪ ﺑﺸﻮﺩ ﻧﻮﻋﻰ ﺍﺩﺍﻯ ﺩﻳﻦ ﻭ ﺭﻭﺍﻳﺘﻰ ﻣﺘﻔﺎﻭﺕ ﺍﺯ ﺩﺍﺳﺘﺎﻥ »ﻓﺮﺍﻧﻜﻨﺸﺘﺎﻳﻦ« ﻫﻢ ﺩﺍﻧﺴﺖ‪.‬‬ ‫ﻟﻮﮔﺎﻥ ﻧﻴﻤﻪﺩﻳﻮﺍﻧﻪ ﻭ ﻧﺎﺑﻐﻪ‪ ،‬ﺩﻛﺘﺮ ﻓﺮﺍﻧﻜﻨﺸﺘﺎﻳﻦ ﺧﻄﺎﺏ ﻣﻰﺷﻮﺩ ﻭ ﻣﺨﻠﻮﻗﺶ ﻫﻢ ﻳﻚ ﺯﺍﻣﺒﻰ‬ ‫ﺩﻛﺘﺮ‬ ‫ِ‬ ‫ﺗﺮﺑﻴﺖﺷﺪﻩ ﺍﺳﺖ ﺑﻪ ﻧﺎﻡ »ﺑﺎﺏ«‪.‬‬ ‫‪114‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺳﻴﻨﻤﺎ‬

‫ﺷﺮﺍﻳﻂ ﺑﺤﺮﺍﻧﻰ ﻧﻈﻢ ﺳﻨﺘﻰ ﺭﺍ ﺩﺭ ﺍﻳﻦ ﺟﺎﻣﻌﻪﻯ ﻛﻮﭼﻚ ﻛﺎﻣ ً‬ ‫ﻼ ﺗﻐﻴﻴﺮ ﺩﺍﺩﻩ‪ :‬ﻫﺮﻯ‪ ،‬ﻣﺮﺩ ﻣﻴﺎﻧﺴﺎﻝ‬ ‫ﺳﻔﻴﺪﭘﻮﺳﺖ‪ ،‬ﺩﻳﮕﺮ ﺭﻫﺒﺮ ﻧﻴﺴﺖ‪ .‬ﺑﻦ ِ‬ ‫ﺟﻮﺍﻥ ﺳﻴﺎﻩﭘﻮﺳﺖ ﻧﻘﺶ ﺭﻫﺒﺮ ﺭﺍ ﺑﻪ ﻋﻬﺪﻩ ﮔﺮﻓﺘﻪ ﻭ ﺩﻭ ﺟﻮﺍﻥ‬ ‫ِ‬ ‫ﺳﻔﻴﺪﭘﻮﺳﺖ ﺩﻳﮕﺮ ﻫﻢ ﺗﺮﺟﻴﺢ ﻣﻰﺩﻫﻨﺪ ﺑﺎ ﺑﻦ ﻫﻤﻜﺎﺭﻯ ﻛﻨﻨﺪ‪ .‬ﺣﺘﺎ ﻫﻤﺴﺮ ﻫﺮﻯ ﺗﺤﻤﻞ ﺳﻠﻄﻪﺟﻮﻳﻰ‬ ‫ﺷﻮﻫﺮﺵ ﺭﺍ ﻧﺪﺍﺭﺩ‪ .‬ﻧﻤﺎﻳﺶ ﺍﻳﻦ ﻓﺮﻭﭘﺎﺷﻰ ﻧﻈﺎﻡ ﺳﻨﺘﻰ ﺧﺎﻧﻮﺍﺩﻩﻯ ﻣﺮﺩﺳﺎﻻﺭ ﺗﺎ ﺟﺎﻳﻰ ﭘﻴﺶ ﻣﻰﺭﻭﺩ ﻛﻪ‬ ‫ﻛﺎﺭﻥ ﻏﻮﻝﺷﺪﻩ ﭘﺪﺭﺵ ﺭﺍ ﻣﻰﺧﻮﺭﺩ ﻭ ﻣﺎﺩﺭﺵ ﺭﺍ ﺑﻪ ﻗﺘﻞ ﻣﻰﺭﺳﺎﻧﺪ‪ .‬ﺑﺎ ﺗﻤﺎﻡ ﺍﻳﻦﻫﺎ‪ ،‬ﺑﻰﺍﻧﺼﺎﻓﻰ ﺍﺳﺖ‬ ‫ِ‬ ‫ﺍﮔﺮ »ﺷﺐ‪ «...‬ﺭﺍ ﻓﻴﻠﻤﻰ ﺳﺎﺩﻳﺴﺘﻴﻚ ﺑﺪﺍﻧﻴﻢ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺗﻤﺎﻡ ﺍﻳﻦ ﺭﻓﺘﺎﺭﻫﺎﻯ ﺧﺸﻮﻧﺖﺑﺎﺭ ﺍﺳﺘﻌﺎﺭﻩﺍﻯ‬ ‫ﺍﺳﺖ ﺍﺯ ﺁﻥﭼﻪ ﺩﺭ ﺟﻬﺎﻥ ﻭﺍﻗﻌﻰ ﻣﻰﮔﺬﺭﺩ؛ ﺷﺎﻳﺪ ﻓﺮﺯﻧﺪﻯ ﻛﻪ ﭘﺪﺭ ﻭ ﻣﺎﺩﺭﺵ ﺭﺍ ﻣﻰﺧﻮﺭﺩ ﻧﻤﺎﻳﺶ‬ ‫ﻛﺎﺑﻮﺱ ﻫﻤﺎﻥ ﭘﺪﺭ ﻭ ﻣﺎﺩﺭﻯ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺗﺮﺍﻧﻪﻯ »ﺍﻭ ﺧﺎﻧﻪ ﺭﺍ ﺗﺮﻙ ﻣﻰﻛﻨﺪ« ﮔﺮﻭﻩ ﺑﻴﺘﻠﺰ‪ ،‬ﺩﺭ ﺍﻧﺪﻭﻩ‬ ‫ﻓﺮﺍﺭ ﻛﺮﺩﻥ ﺩﺧﺘﺮﺷﺎﻥ‪ ،‬ﻧﺎﻟﻪ ﺳﺮ ﺩﺍﺩﻩﺍﻧﺪ‪ .‬ﺍﺯ ﺳﻮﻯ ﺩﻳﮕﺮ‪ ،‬ﺍﻳﻦ ﻓﻴﻠﻢ ﺭﺍ ﻧﻤﻰﺷﻮﺩ ﺑﻴﺎﻧﻴﻪﺍﻯ ﺧﻮﺵﺑﻴﻨﺎﻧﻪ‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﻃﻐﻴﺎﻥ ﻭ ﺗﻐﻴﻴﺮ ﻫﻢ ﺩﺍﻧﺴﺖ‪ .‬ﭘﺎﻳﺎﻥ ﺗﺮﺍژﻳﻚ ﺩﺍﺳﺘﺎﻥ ﺟﺪﺍﻯ ﺍﺯ ﺑﻪ ﺭﺥ ﻛﺸﻴﺪﻥ ﺑﺪﺑﻴﻨﻰ ﺭﻭﻣﺮﻭ‪،‬‬ ‫ﺷﺎﻳﺪ ﺯﻫﺮﺁﮔﻴﻦﺗﺮﻳﻦ ﻛﻨﺎﻳﻪﻯ ﺍﻭ ﺑﻪ ﻗﺪﺭﺕﻣﺪﺍﺭﺍﻥ ﺑﺎﺷﺪ؛ ﺟﺎﻳﻰﻛﻪ ﮔﺮﻭﻩﻫﺎﻯ ﻧﻈﺎﻣﻰ ﺳﺮ ﻣﻰﺭﺳﻨﺪ‬ ‫ﻭ ﺑﻦ‪ ،‬ﺗﻨﻬﺎ ﻧﺠﺎﺕﻳﺎﻓﺘﻪﻯ ﺷﺐ ﻓﺎﺟﻌﻪ ﺭﺍ ﺑﺎ ﺷﻠﻴﻚ ﮔﻠﻮﻟﻪﻳﻰ ﺩﺭ ﺳﺮﺵ ﻣﻰﻛﺸﻨﺪ‪ ،‬ﭼﻮﻥ ﺍﺯ ﺩﻭﺭ ﺑﻦ‬ ‫ﺳﻴﺎﻩﭘﻮﺳﺖ ﺭﺍ ﺑﺎ ﻳﻜﻰ ﺍﺯ ﻏﻮﻝﻫﺎ ﺍﺷﺘﺒﺎﻩ ﮔﺮﻓﺘﻪﺍﻧﺪ‪.‬‬ ‫ﻓﺮﺍﻣﻮﺵ ﻧﻜﻨﻴﻢ ﻛﻪ »ﺷﺐ‪ «...‬ﻣﺤﺼﻮﻝ ﺩﻫﻪﻯ ﺷﺼﺖ ﻣﻴﻼﺩﻯ ﺍﺳﺖ‪ .‬ﺯﻣﺎﻧﻪﺍﻯ ﻛﻪ ﺩﺭ ﻳﻚ ﺳﻮ‬ ‫ﺟﻮﺷﺶ ﺭﺍﻙﻥﺭﻭﻝ ﻭ ﻫﻴﭙﻰﮔﺮﻯ ﻭ ﺧﻴﺰﺵ ﺟﻮﺍﻧﺎﻥ ﺻﻠﺢﻃﻠﺐ ﻭ ﺗﻈﺎﻫﺮﺍﺕ ﺿﺪﺟﻨﮓ ﺳﺎﻝ ‪68‬‬ ‫ﺭﺍ ﺩﺍﺷﺖ ﻭ ﺩﺭ ﺳﻮﻯ ﺩﻳﮕﺮ ﺟﻨﮓ ﻭﻳﺘﻨﺎﻡ‪ ،‬ﺟﻨﮓ ﺳﺮﺩ ﻭ ﻧﮋﺍﺩﭘﺮﺳﺘﻰ‪ .‬ﺍﺳﺘﺎﺩﻛﺎﺭﻯ ﺭﻭﻣﺮﻭ ﺩﺭ ﻫﻤﻴﻦ‬ ‫ﮔﺎﻡ ﻧﺨﺴﺖ ﺁﻥﺟﺎ ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ ﻛﻪ ﺑﺪﻭﻥ ﺍﺷﺎﺭﺍﺕ ﺧﻮﺩﻧﻤﺎﻳﺎﻧﻪﻯ ﻣﺴﺘﻘﻴﻢ‪ ،‬ﺍﻳﻦ ﺩﺭﮔﻴﺮﻯﻫﺎ ﺭﺍ ﺩﺭ‬ ‫ﺩﺍﺳﺘﺎﻧﻰ ﺍﺳﺘﻌﺎﺭﻯ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭ ﻣﻰﺁﻭﺭﺩ‪.‬‬ ‫‪ ‬ﺩﻩ ﺳﺎﻝ ﺑﻌﺪ ﺭﻭﻣﺮﻭ ﺑﺎ ﻓﻴﻠﻢ »ﻃﻠﻮﻉ ﻣﺮﺩﮔﺎﻥ« ﺩﻭﺑﺎﺭﻩ ﺯﺍﻣﺒﻰﻫﺎ ﺭﺍ ﺑﻪ ﻣﻴﺪﺍﻥ ﻣﻰﻓﺮﺳﺘﺪ‪ .‬ﺣﺎﻻ‬ ‫ﻓﺎﺟﻌﻪ ﮔﺴﺘﺮﺩﻩﺗﺮ ﺷﺪﻩ ﻭ ﺷﺮﺍﻳﻂ ﺁﺧﺮﺍﻟﺰﻣﺎﻧﻰ ﺍﺯ ﻫﻤﺎﻥ ﺁﻏﺎﺯ ﺑﻪ ﭼﺸﻢ ﻣﻰﺁﻳﺪ؛ ﺍﻟﺒﺘﻪ ﻧﻪ ﺩﺭ ﻧﻤﺎﻫﺎﻳﻰ‬ ‫ﺍﺯ ﺧﻴﺎﺑﺎﻥﻫﺎﻯ ﻣﻤﻠﻮ ﺍﺯ ﺯﺍﻣﺒﻰﻫﺎ‪ ،‬ﻛﻪ ﺑﺎ ﻧﻤﺎﻳﺶ ﻳﻚ ﺑﺮﻧﺎﻣﻪﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺁﺷﻮﺏﺯﺩﻩ‪ .‬ﺳﻪ ﻣﺮﺩ ﻭ ﻳﻚ‬ ‫ﺯﻥ ﺑﻪ ﺍﻣﻴﺪ ﻳﺎﻓﺘﻦ ﺟﺎﻳﻰ ﺍﻣﻦﺗﺮ ﺑﺎ ﻫﻠﻰﻛﻮﭘﺘﺮ ﺍﺯ ﻣﻬﻠﻜﻪ ﻣﻰﮔﺮﻳﺰﻧﺪ ﻭ ﺑﻪ ﻓﺮﻭﺷﮕﺎﻫﻰ ﺑﺰﺭگ ﻭ ﻣﺠﻬﺰ‬ ‫ﻣﻰﺭﺳﻨﺪ ﻭ ﺗﺼﻤﻴﻢ ﻣﻰﮔﻴﺮﻧﺪ ﺗﺎ ﺑﻬﺘﺮ ﺷﺪﻥ ﺍﻭﺿﺎﻉ ﻫﻤﺎﻥﺟﺎ ﺑﻤﺎﻧﻨﺪ‪ .‬ﺩﺭ ﻫﻤﻴﻦ ﻓﺮﻭﺷﮕﺎﻩ ﺍﺳﺖ ﻛﻪ‬ ‫ﺭﻭﻣﺮﻭ »ﻣﺼﺮﻑﮔﺮﺍﻳﻰ« ﺭﺍ ﻫﺪﻑ ﻣﻰﮔﻴﺮﺩ‪ .‬ﺟﺎﻳﻰ ﻓﺮﺍﻧﺴﻴﻦ‪ ،‬ﺗﻨﻬﺎ ﺯﻥ ﮔﺮﻭﻩ‪ ،‬ﻣﻰﭘﺮﺳﺪ‪» :‬ﺍﻭﻧﺎ ]ﺯﺍﻣﺒﻰﻫﺎ[‬ ‫ﭼﻪ ﻛﺎﺭ ﻣﻰﻛﻨﻦ؟ ﺑﺮﺍﻯ ﭼﻰ ﺍﻭﻣﺪﻥ ﺍﻳﻦﺟﺎ ]ﻓﺮﻭﺷﮕﺎﻩ[؟« ﻭ ﺍﺳﺘﻔﻦ‪ ،‬ﺩﻭﺳﺖﭘﺴﺮ ﺧﻠﺒﺎﻧﺶ‪ ،‬ﺟﻮﺍﺏ‬ ‫ﻣﻰﺩﻫﺪ‪» :‬ﻳﻪ ﺟﻮﺭ ﻏﺮﻳﺰﻩ‪ .‬ﺧﺎﻃﺮﻩﻯ ﻛﺎﺭﻯ ﻛﻪ ﻋﺎﺩﺕ ﺩﺍﺷﺘﻦ ﺍﻧﺠﺎﻡ ﺑﺪﻥ‪ .‬ﺍﻳﻦ ﻣﺤﻞ ﺗﻮﻯ ﺯﻧﺪﮔﻰﺷﻮﻥ‬ ‫ﺟﺎﻯ ﻣﻬﻤﻰ ﺑﻮﺩﻩ‪ «.‬ﻭ ﺑﻌﺪﺗﺮ ﭘﻴﺘﺮ‪ ،‬ﻧﻈﺎﻣﻰ ﺳﻴﺎﻩﭘﻮﺳﺖ‪ ،‬ﻣﻰﮔﻮﻳﺪ‪» :‬ﺍﻭﻧﺎ ﺩﻧﺒﺎﻝ ﺍﻳﻦﺟﺎ ﻫﺴﺘﻦ ]ﻧﻪ‬ ‫‪113‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫‪ ‬ﺑﻪ ﺭﻭﻣﺮﻭ »ﭘﺪﺭﺧﻮﺍﻧﺪﻩﻯ ﺗﻤﺎﻡ ﺯﺍﻣﺒﻰﻫﺎ« ﻟﻘﺐ ﺩﺍﺩﻩﺍﻧﺪ‪ .‬ﺁﻗﺎﻯ »ﻣﺮﺩﮔﺎﻥ« ﺭﺍ ﻧﻤﻰﺷﻮﺩ »ﭘﺪﺭ ﺗﻤﺎﻡ‬ ‫ﺯﺍﻣﺒﻰﻫﺎ« ﻧﺎﻣﻴﺪ‪ ،‬ﭼﻮﻥ ﭘﻴﺶ ﺍﺯ ﺍﻭ ﭼﻪ ﺩﺭ ﺳﻴﻨﻤﺎ ﻭ ﭼﻪ ﺩﺭ ﺍﻓﺴﺎﻧﻪﻫﺎ ﻭ ﺍﺳﺎﻃﻴﺮ‪ ،‬ﺯﺍﻣﺒﻰﻫﺎ ﻭﺟﻮﺩ‬ ‫ﺩﺍﺷﺘﻪﺍﻧﺪ‪ .‬ﺣﺘﺎ ﺧﻮﺩ ﺭﻭﻣﺮﻭ ﺩﺭ ﻓﻴﻠﻢ ﺍﻭﻟﺶ ﻫﻴﻮﻻﻫﺎﻯ ﺁﺩﻡﺧﻮﺍﺭ ﺭﺍ »ﻏﻮﻝ« ﻧﺎﻣﻴﺪﻩ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺯﺍﻣﺒﻰﻫﺎﻯ‬ ‫ﺍﻓﺴﺎﻧﻪﺍﻯ ﺑﺮﺩﻩﻫﺎﻳﻰ ﺑﻮﺩﻩﺍﻧﺪ ﻓﺮﻣﺎﻥﺑﺮ ﺍﺭﺑﺎﺑﻰ ﺟﺎﺩﻭﮔﺮ؛ ﻓﻘﻂ ﺩﺭ ﺍﻭﺍﺧﺮ ﺩﻭﻣﻴﻦ ﻓﻴﻠﻢ‪» ،‬ﻃﻠﻮﻉ ﻣﺮﺩﮔﺎﻥ«‬ ‫ﺍﺳﺖ ﻛﻪ »ﺁﻥ ﭼﻴﺰﻫﺎ« ﻳﻚ ﺑﺎﺭ ﺯﺍﻣﺒﻰ ﺧﻄﺎﺏ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺯﺍﻣﺒﻰﻫﺎﻯ ﺭﻭﻣﺮﻭ ﺍﻣﺮﻭﺯ‬ ‫ﺍﻓﺴﺎﻧﻪﻫﺎﻳﻰ ﻣﺪﺭﻥ ﺷﺪﻩﺍﻧﺪ‪ ،‬ﺷﺎﻳﺪ ﺑﺴﻴﺎﺭ ﻣﻌﺮﻭﻑﺗﺮ ﺍﺯ ﭘﻴﺸﻴﻨﻴﺎﻥ ﻫﻢﻧﺎﻣﺸﺎﻥ‪.‬‬ ‫ﺁﺧﺮﺍﻟﺰﻣﺎﻧﻰ ﺯﺍﻣﺒﻰﺯﺩﻩﺍﺵ ﺳﺮﻙ‬ ‫ﺟﻬﺎﻥ‬ ‫ﺟﺮﺝ ﺭﻭﻣﺮﻭ ﺩﺭ ﻫﺮ ﻓﻴﻠﻢ ﺍﻳﻦ ﺷﺶﮔﺎﻧﻪ ﺑﻪ ﮔﻮﺷﻪﻳﻰ ﺍﺯ‬ ‫ِ‬ ‫ِ‬ ‫ﻛﺸﻴﺪﻩ‪ ،‬ﺩﺍﺳﺘﺎﻧﻰ ﻧﻮ ﭘﺪﻳﺪ ﺁﻭﺭﺩﻩ ﻭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻗﻮﺍﻋﺪﻯ ﺭﺍ ﻛﻪ ﺍﻣﺮﻭﺯ ﺩﺭ ﻓﻴﻠﻢﻫﺎﻯ ﺯﻳﺮﮔﻮﻧﻪﻯ ﺯﺍﻣﺒﻰ‬ ‫ﺭﻋﺎﻳﺖ ﻣﻰﺷﻮﻧﺪ ﺑﻨﻴﺎﺩ ﮔﺬﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺻﺪﺍﻟﺒﺘﻪ ﺭﻭﻣﺮﻭ ﻧﻪ ﻓﻘﻂ ﺑﺮ ﺯﻳﺮﮔﻮﻧﻪﻯ ﺯﺍﻣﺒﻰ‪ ،‬ﻛﻪ ﺑﺮ ﻛﻞ‬ ‫ﺳﻴﻨﻤﺎﻯ ﻭﺣﺸﺖ ﺍﺛﺮ ﮔﺬﺍﺷﺘﻪ ﺍﺳﺖ ﻭ ﻳﻜﻰ ﺍﺯ ﻓﻴﻠﻢﺳﺎﺯﺍﻥ ﭘﻴﺸﺮﻭﻯ ﺍﻳﻦ ژﺍﻧﺮ ﺍﺳﺖ ﻛﻪ ﻧﮕﺎﻩ ﻣﻨﺘﻘﺪﺍﻧﻪﻯ‬ ‫ﺍﺟﺘﻤﺎﻋﻰ‪/‬ﺳﻴﺎﺳﻰ ﺭﺍ ﺩﺭ ﺳﻴﻨﻤﺎﻯ ﻭﺣﺸﺖ ﻗﻮﺍﻡ ﺑﺨﺸﻴﺪ‪ .‬ﺍﻭ ﺩﺭ ﻣﺼﺎﺣﺒﻪﻳﻰ ﮔﻔﺘﻪ ﺍﺯ ﺯﺍﻣﺒﻰﻫﺎ ﻧﻪ ﻓﻘﻂ‬ ‫ﺑﻪﺧﺎﻃﺮ ﻫﻮﻟﻨﺎﻙ ﺑﻮﺩﻧﺸﺎﻥ‪ ،‬ﻛﻪ ﺑﻪﻋﻨﻮﺍﻥ ﻣﺤﻤﻠﻰ ﺑﺮﺍﻯ ﻧﻘﺪ ﺑﻴﻤﺎﺭﻯﻫﺎﻯ ﺍﺟﺘﻤﺎﻋﻰ ﺟﻬﺎﻥ ﻭﺍﻗﻌﻰ‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﻨﺪ‪ ،‬ﺑﻴﻤﺎﺭﻯﻫﺎﻳﻰ ﭼﻮﻥ ﻧﺎﻛﺎﺭﺁﻣﺪﻯ ﻭ ﺑﻰﻟﻴﺎﻗﺘﻰ ﺳﻴﺎﺳﺘﻤﺪﺍﺭﺍﻥ‪ ،‬ﺑﻬﺮﻩﻛﺸﻰ‪ ،‬ﻃﻤﻊﻛﺎﺭﻯ‬ ‫ﻭ ﺍﺳﺘﺜﻤﺎﺭ ﻭ‪...‬‬ ‫ﺳﻮﺍﻝ ﺍﻳﻦﺟﺎﺳﺖ ﻛﻪ ﺁﻳﺎ ﺗﻤﺎﻡ ﺍﻳﻦﻫﺎ ﻭﺍﻗﻌﻴﺖ ﺩﺍﺭﺩ؟ ﻭﺍﻗﻌﺎً ﭘﺸﺖ ﺁﻥ ﻫﻤﻪ ﺧﻮﻥ ﻭ ﺑﺪﻥﻫﺎﻯ ﺗﻜﻪﺗﻜﻪ‬ ‫ﻭ ﭘﻮﺳﻴﺪﻩ‪ ،‬ﭘﻴﺎﻣﻰ ﻧﻬﻔﺘﻪ؟‬ ‫‪» ‬ﺷﺐ ﻣﺮﺩﮔﺎﻥ ﺯﻧﺪﻩ« )‪ (1968‬ﺍﻭﻟﻴﻦ ﻓﻴﻠﻢ ﺳﺮﻯ ﻣﺮﺩﮔﺎﻥ ﺍﺳﺖ‪ .‬ﺩﺍﺳﺘﺎﻥ ﮔﺮﻭﻫﻰ ﻧﺠﺎﺕﻳﺎﻓﺘﻪ ﺍﺯ‬ ‫ﻓﺎﺟﻌﻪﻳﻰ ﻧﺎﺷﻨﺎﺧﺘﻪ ‪-‬ﺑﺮﺧﺎﺳﺘﻦ ﻣﺮﺩﮔﺎﻥ‪ -‬ﻛﻪ ﺑﻪ ﻛﻠﺒﻪﻳﻰ ﺗﻚﺍﻓﺘﺎﺩﻩ ﭘﻨﺎﻩ ﺑﺮﺩﻩﺍﻧﺪ‪ .‬ﺭﻭﻣﺮﻭ ﺩﺭ ﺍﻳﻦ‬ ‫ﻓﻴﻠﻢ ﺍﺯ ﻏﻮﻝ‪/‬ﺯﺍﻣﺒﻰﻫﺎ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻩ ﺗﺎ ﻭﺿﻌﻴﺖ ﺟﺎﻣﻌﻪﻳﻰ ﻧﻤﻮﻧﻪ ﺭﺍ ﺩﺭ ﺷﺮﺍﻳﻂ ﺑﺤﺮﺍﻧﻰ ﻧﻤﺎﻳﺶ ﺩﻫﺪ‪.‬‬ ‫ﺩﺭ ﺗﻤﺎﻡ ﻓﻴﻠﻢ ﺍﻃﻼﻋﺎﺕ ﻛﻤﻰ ﺩﺭﺑﺎﺭﻩﻯ ﻣﻨﺸﺎء ﻓﺎﺟﻌﻪ ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ )ﺍﺣﺘﻤﺎﻻً ﺗﺸﻌﺸﺎﺗﻰ ﺳﻮﻏﺎﺕ‬ ‫ﻛﺎﻭﺵﮔﺮ ﺳﻴﺎﺭﻩﻯ ﺯﻫﺮﻩ( ﻭ ﺻﺤﻨﻪﻫﺎﻯ ﺣﻤﻠﻪﻯ ﻏﻮﻝﻫﺎ ﻫﻢ‪ ،‬ﻫﺮﭼﻨﺪ ﺧﺸﻦ‪ ،‬ﭼﻨﺪﺍﻥ ﭘﺮﺗﻌﺪﺍﺩ ﻧﻴﺴﺖ‪.‬‬ ‫ﻣﻮﺿﻮﻉ ﺍﺻﻠﻰ ﺷﺨﺼﻴﺖﻫﺎ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺑﺎﺭﺑﺎﺭﺍ ﺍﻭﻟﻴﻦ ﻛﺴﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺧﺎﻧﻪ ﻣﻰﺭﺳﺪ؛ ﻭﺍﻣﺎﻧﺪﻩ ﺍﺯ ﺷﻮﻙ ﻣﺮگ ﺑﺮﺍﺩﺭﺵ ﺑﻪﺩﺳﺖ ﻳﻜﻰ ﺍﺯ ﻏﻮﻝﻫﺎ‪.‬‬ ‫ﺗﺎﻡ ﻭ ﺟﻮﺩﻯ ﺯﻭﺝ ﺟﻮﺍﻧﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﺷﻨﻴﺪﻥ ﮔﺰﺍﺭﺵ ﺍﻭﻟﻴﻦ ﺣﻤﻠﻪﻫﺎ ﺑﻪ ﺁﻥ ﻛﻠﺒﻪ ﺭﺳﻴﺪﻩﺍﻧﺪ؛‬ ‫ﺁﺩﻡﻫﺎﻳﻰ ﺁﺭﺍﻡ ﻭ ﺍﻫﻞ ﻫﻤﻜﺎﺭﻯ‪ .‬ﻣﻰﺷﻮﺩ ﮔﻔﺖ ﻗﻬﺮﻣﺎﻥ ﺍﺻﻠﻰ ﺩﺍﺳﺘﺎﻥ ﺑﻦ ﺳﻴﺎﻩﭘﻮﺳﺖ ﺍﺳﺖ ﻛﻪ ﻣﻰﺧﻮﺍﻫﺪ‬ ‫ﺭﺍﻫﻰ ﺑﺮﺍﻯ ﺟﺎﻥ ﺑﻪ ﺩﺭ ﺑﺮﺩﻥ ﺍﺯ ﻓﺎﺟﻌﻪ ﭘﻴﺪﺍ ﻛﻨﺪ ﻭ ﺩﺭ ﺑﺮﺍﺑﺮ ﺍﻭ ﻫﺮﻯ ﻛﻮﭘﺮ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ‪ :‬ﺳﻔﻴﺪﭘﻮﺳﺘﻰ‬ ‫ﺳﻠﻄﻪﺟﻮ؛ ﻫﻤﺮﺍﻩ ﻫﻤﺴﺮﺵ ﻫﻠﻦ ﻭ ﺩﺧﺘﺮﺷﺎﻥ ﻛﺎﺭﻥ‪ ،‬ﻛﻪ ﻏﻮﻝﻫﺎ ﺯﺧﻤﻰ ﻭ ﻣﺒﺘﻼﻳﺶ ﻛﺮﺩﻩﺍﻧﺪ‪.‬‬ ‫‪112‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺳﻴﻨﻤﺎ‬

‫ﻣﻨﺘﻘﺪِ ﻣﺮﺩﮔﺎﻥ‬ ‫ﺳﺎﺳﺎﻥ ﻡ‪.‬ﻙ‪ .‬ﻋﺎﺻﻰ‬

‫ﺟﺮج اﻧﺪرو روﻣﺮو )ﮐﺎرﮔﺮدان‪ ،‬ﻓﯿﻠﻢﻧﺎﻣﻪﻧﻮﯾﺲ‪ ،‬ﺗﺪوﯾﻦﮔﺮ و ﺗﻬﯿﻪﮐﻨﻨﺪه( ﺳﺎل ‪ ۱۹۴۰‬در‬ ‫ﻧﯿﻮﯾﻮرک ﻣﺘﻮﻟﺪ ﺷﺪ و ﺗﺎ ﺳﺎل ‪ ۱۹۶۰‬ﮐﻪ از داﻧﺸﮕﺎه ﮐﺎرﻧﮕﯽ ﻣﻠﻮن ﭘﯿﺘﺰﺑﻮرگ در رﺷﺘﻪﻫﺎی‬ ‫ﻫرن و ﻃﺮاﺣﯽ و درام ﻓﺎرغاﻟﺘﺤﺼﯿﻞ ﺷﺪ‪ ،‬ﮐﺎر ﺧﺎﺻﯽ ﺑﺎ زاﻣﺒﯽﻫﺎ و ﻣﻮﺟﻮدات ﻫﻮﻟﻨﺎک‬ ‫ﻧﺪاﺷﺖ‪ .‬ﺑﻌﺪ از ﻓﺎرغاﻟﺘﺤﺼﯿﻠﯽ ﺗﺎ ﺳﺎل ‪ ۱۹۶۸‬درﮔﯿﺮ ﺳﺎﺧﺖ ﻓﯿﻠﻢﻫﺎی ﺗﺒﻠﯿﻐﺎﺗﯽ و ﮐﻮﺗﺎه‬ ‫ﺑﻮد و در آن ﺳﺎل اوﻟﯿﻦ ﻓﯿﻠﻢ ﺑﻠﻨﺪش »ﺷﺐ ﻣﺮدﮔﺎن زﻧﺪه« را ﺳﺎﺧﺖ و ﭘﺎ ﺑﻪ دﻧﯿﺎی‬ ‫ﻫﺮاس و ﻣﺨﻠﻮﻗﺎت ﻫﻮﻟﻨﺎک ﮔﺬاﺷﺖ‪ .‬روﻣﺮو ﺗﺎ ﺳﺎل ‪ ۲۰۰۹‬ﻏﺮاﯾﺐ ﺑﯽﻫﻤﺘﺎﯾﯽ ﺧﻠﻖ ﮐﺮده‪،‬‬ ‫در ﻓﯿﻠﻢﻫﺎﯾﯽ ﭼﻮن »ﻣﺎرﺗﯿﻦ«‪» ،«Knightrider» ،‬ﻣﯿﻤﻮن ﺟﻠﻮه ﻣﯽﮐﻨﺪ«‪» ،‬دﯾﻮاﻧﮕﺎن«‪،‬‬ ‫»ﻣﻮﺳﻢ ﺳﺎﺣﺮه«‪» ،‬ﻧﯿﻤﻪی ﺗﺎرﯾﮏ« و ﺷﺎﯾﺪ از ﻫﻤﻪ ﻣﻬﻢﺗﺮ‪ ،‬زاﻣﺒﯽﻫﺎی ﮐﻨﺪروی آدمﺧﻮار‬ ‫در ﺷﺶﮔﺎﻧﻪی »ﻣﺮدﮔﺎن«‪.‬‬

‫ﺩﻳﺪﮔﺎﻩ‬

‫‪ ،‬ﺁﻥﻫﺎ ﺍﺣﺴﺎﺱ ﻣﻰﻛﻨﻨﺪ ﻛﻪ ﺑﻪ ﻣﺮگ ﭼﻴﺮﻩ ﺷﺪﻩﺍﻧﺪ ﻭ ﺑﻪ ﺳﻮﻯ ﻓﻨﺎﻧﺎﭘﺬﻳﺮﻯ ﺣﺮﻛﺖ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺁﻳﺎ‬ ‫ﺁﺭﺯﻭﻳﻰ ﺍﺯ ﺍﻳﻦ ﻛﻬﻦﺗﺮ ﻫﻢ ﻫﺴﺖ؟‬ ‫ ﺑﻰﺷﻌﻮﺭﻯ‬‫ﻋﻨﻮﺍﻥ ﺍﻳﻦ ﻗﺴﻤﺖ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺍﻳﻦ ﺑﺎﺷﺪ‪» :‬ﻫﺮ ﻛﺎﺭﻯ ﻛﻪ ﺩﻟﺘﺎﻥ ﻣﻰﺧﻮﺍﻫﺪ ﺑﻜﻨﻴﺪ‪ .«.‬ﻳﺎ ﺣﺘﺎ‪» :‬ﺁﺯﺍﺩﻯ‬ ‫ﻣﻄﻠﻖ«‪ .‬ﺧﻴﻠﻰ ﻣﻮﺩﺑﺎﻧﻪﺗﺮ ﻫﻢ ﻫﺴﺖ‪ .‬ﺍﻣﺎ ﺁﻥ ﻣﻔﻬﻮﻣﻰ ﺭﺍ ﻛﻪ ﻣﺪ ﻧﻈﺮ ﺍﺳﺖ‪ ،‬ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﺑﻴﺎﻥ‬ ‫ﻧﻤﻰﻛﻨﺪ‪.‬‬ ‫ﻭﻗﺘﻰ ﻛﻪ ﺗﺎ ﻛﻴﻠﻮﻣﺘﺮﻫﺎ ﻛﺴﻰ ﻧﻴﺴﺖ ﻛﻪ ﺷﻤﺎ ﺭﺍ ﺑﺒﻴﻨﺪ‪ ،‬ﻭﻗﺘﻰ ﻛﻪ ﺩﻳﮕﺮ ﭼﻴﺰﻯ ﺑﻪ ﻋﻨﻮﺍﻥ ﻗﺎﻧﻮﻥ ﻭﺟﻮﺩ‬ ‫ﻧﺪﺍﺭﺩ ﺗﺎ ﺟﻠﻮﻯ ﺭﻓﺘﺎﺭﺗﺎﻥ ﺭﺍ ﺑﮕﻴﺮﺩ‪ ،‬ﻭﻗﺘﻰ ﻛﻪ ﺗﻤﺎﻡ ﺍﺻﻮﻝ ﺍﺧﻼﻗﻰ ﺍﺭﺯﺵ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩﺍﻧﺪ‪،‬‬ ‫ﭘﺲ ﻫﺮ ﭼﻴﺰﻯ ﻣﺠﺎﺯ ﺍﺳﺖ‪.‬‬ ‫ﻫﺮ ﻛﺎﺭﻯ ﺭﺍ ﻛﻪ ﺩﺭ ﺯﻧﺪﮔﻴﺘﺎﻥ ﺑﻪ ﺧﺎﻃﺮ ﺗﺮﺱ ﺍﺯ ﺣﺮﻑ ﻣﺮﺩﻡ ﻭ ﻋﻮﺍﻗﺐ ﺁﻥ ﺍﻧﺠﺎﻡ ﻧﺪﺍﺩﻩﺍﻳﺪ‪ ،‬ﺍﻛﻨﻮﻥ‬ ‫ﻣﻰﺗﻮﺍﻧﻴﺪ ﺑﺎ ﺑﻰﺧﻴﺎﻟﻰ ﻛﺎﻣﻞ ﺍﻧﺠﺎﻡ ﺩﻫﻴﺪ‪ .‬ﻣﻰﺗﻮﺍﻧﻴﺪ ﺁﻥ ﺷﺨﺼﻴﺘﻰ ﺭﺍ ﻛﻪ ﺳﺎﻝ ﻫﺎ ﭘﺸﺖ ﻧﻘﺎﺏ‬ ‫ﻟﺒﺨﻨﺪﻫﺎﻯ ﻣﻮﺩﺑﺎﻧﻪ ﭘﻨﻬﺎﻥ ﻛﺮﺩﻩ ﺑﻮﺩﻳﺪ‪ ،‬ﺁﺯﺍﺩ ﻛﻨﻴﺪ‪ .‬ﺑﺎﻻﺧﺮﻩ ﻣﻰﺗﻮﺍﻧﻴﺪ ﺧﻮﺩﺗﺎﻥ ﺑﺎﺷﻴﺪ‪.‬‬ ‫ﺷﺎﻧﺲ ﺑﻘﺎ‬ ‫ﺩﺭ ﺑﻴﻦ ﺗﻤﺎﻡ ﺁﺧﺮﺍﻟﺰﻣﺎﻥﻫﺎﻳﻰ ﻛﻪ ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪﻩ ﺷﺪﻩﺍﺳﺖ‪ ،‬ﺩﺭ ﺁﺧﺮﺍﻟﺰﻣﺎﻥ ﺑﺎ ﺯﺍﻣﺒﻰﻫﺎ ﺷﺎﻧﺲ‬ ‫ﺑﻴﺸﺘﺮﻯ ﺑﺮﺍﻯ ﺑﻘﺎ ﺩﺍﺭﻳﻢ‪ .‬ﺑﺮﺍﻯ ﻣﺜﺎﻝ ﺍﮔﺮ ﻗﺮﺍﺭ ﺑﺎﺷﺪ ﺷﻬﺎﺏﺳﻨﮕﻰ ﺑﻪ ﺯﻣﻴﻦ ﺑﺮﺧﻮﺭﺩ ﻛﻨﺪ‪ ،‬ﻫﻴﭻ ﻛﺎﺭﻯ‬ ‫ﺟﺰ ﺍﻧﺘﻈﺎﺭ ﺑﺮﺍﻯ ﻣﺮﮔﻰ ﻗﺮﻳﺐﺍﻟﻮﻗﻮﻉ ﺍﺯ ﺩﺳﺘﻤﺎﻥ ﺳﺎﺧﺘﻪ ﻧﻴﺴﺖ‪ .‬ﺍﻣﺎ ﺑﺎ ﺩﻧﻴﺎﻳﻰ ﭘﺮ ﺍﺯ ﺯﺍﻣﺒﻰ ﺷﺎﻧﺲ‬ ‫ﺯﻳﺎﺩﻯ ﺑﺮﺍﻯ ﺯﻧﺪﮔﻰ ﺩﺍﺭﻳﻢ‪ .‬ﺣﺘﺎ ﻻﺯﻡ ﻧﻴﺴﺖ ﺍﺯ ﻗﺪﺭﺕ ﺑﺪﻧﻰ ﻓﻮﻕﺍﻟﻌﺎﺩﻩﺍﻯ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺑﺎﺷﻴﻢ‪ .‬ﻛﻤﻰ‬ ‫ﺳﺮﻋﺖ ﻋﻤﻞ ﻭ ﻛﻤﻰ ﻫﻮﺵ ﻣﻰﺗﻮﺍﻧﺪ ﺟﺎﻧﻤﺎﻥ ﺭﺍ ﻧﺠﺎﺕ ﺩﻫﺪ‪.‬‬ ‫)ﺷﺎﻳﺪ ﺑﺸﻮﺩ ﮔﻔﺖ ﻛﻪ ﺍﻳﻦ ﺁﺧﺮﺍﻟﺰﻣﺎﻥ ﻣﺤﺒﻮﺏﺗﺮﻳﻦ ﺩﺭﻣﻴﺎﻥ ﮔﻴﻚﻫﺎﺳﺖ‪ .‬ﺯﻣﺎﻧﻰ ﻛﻪ ﺑﻘﻴﻪ ﺑﺎ ﭼﻴﺴﺘﻰ‬ ‫ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺩﺳﺖ ﻭ ﭘﻨﺠﻪ ﻧﺮﻡ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﮔﻴﻚﻫﺎﻳﻰ ﻛﻪ ﺍﺯ ﭘﻴﺶ ﺁﻣﺎﺩﻩ ﺷﺪﻩﺍﻧﺪ ﺩﺭ ﺣﺎﻝ ﻣﺘﻼﺷﻰ‬ ‫ﻛﺮﺩﻥ ﻣﻐﺰ ﺯﺍﻣﺒﻰﻫﺎ ﻫﺴﺘﻨﺪ‪(.‬‬ ‫ﻭ ﺩﺭ ﭘﺎﻳﺎﻥ ﺑﺎﻳﺪ ﺍﺿﺎﻓﻪ ﻛﻨﻢ ﻛﻪ‪:‬‬ ‫ﺩﻧﻴﺎﻯ ﺯﺍﻣﺒﻰﻫﺎ ﺗﻨﻬﺎ ﺁﺧﺮﺍﻟﺰﻣﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺁﻥ ﺑﻪ ﺑﺎﺯﻣﺎﻧﺪﮔﺎﻥ ﺧﻮﺵ ﻣﻰﮔﺬﺭﺩ‪.‬‬

‫‪109‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺩﻳﺪﮔﺎﻩ‬

‫ﺍﺣﺘﻤﺎﻝ ﻭﻗﻮﻉ‬ ‫ﻳﻜﻰ ﺍﺯ ﻣﻨﺸﺎءﻫﺎﻯ ﺗﺮﺱ ﻭ ﻭﺣﺸﺖ‪ ،‬ﻧﺎﺁﮔﺎﻫﻰ ﺍﺳﺖ‪ .‬ﺗﺮﺱ ﺍﺯ ﻧﺎﺷﻨﺎﺧﺘﻪﻫﺎ‪ .‬ﻋﺪﻡ ﺁﮔﺎﻫﻰ ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ‬ ‫ﻛﻪ ﭼﻴﺰﻫﺎ ﺩﺭ ﻧﻈﺮ ﻣﺎ ﺗﺮﺳﻨﺎﻙﺗﺮ ﺷﻮﻧﺪ‪.‬‬ ‫ﺍﻣﺎ ﭼﺮﺍ ﺯﺍﻣﺒﻰﻫﺎ ﺑﺮﺍﻯ ﻣﺜﺎﻝ ﺑﻴﺶ ﺍﺯ ﺧﻮﻥ ﺁﺷﺎﻡﻫﺎ ﻭ ﻳﺎ ﮔﺮﮔﻴﻨﻪﻫﺎ ﺑﺎﻋﺚ ﺗﺮﺱ ﻣﻰﺷﻮﻧﺪ؟‬ ‫ﺩﻟﻴﻞ ﺍﻳﻦ ﺍﻣﺮ ﺩﺭ ﺍﺣﺘﻤﺎﻝ ﺑﻴﺸﺘﺮ ﻭﻗﻮﻉ ﺁﺧﺮﺍﻟﺰﻣﺎﻥ ﺑﺎ ﺯﺍﻣﺒﻰﻫﺎ ﻧﻬﻔﺘﻪ ﺍﺳﺖ‪ .‬ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻣﻰ‬ ‫ﺧﻮﺏ ﻫﺴﺘﻨﺪ‪ .‬ﺍﺯ ﺧﻮﺍﻧﺪﻧﺸﺎﻥ ﻟﺬﺕ ﻣﻰﺑﺮﻳﻢ‪ ،‬ﺍﻣﺎ ﻣﻰﺩﺍﻧﻴﻢ ﻛﻪ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥﻫﺎ ﺩﺭ ﻫﻤﺎﻥ ﻛﺘﺎﺏ ﻗﺼﻪ‬ ‫ﺑﺎﻗﻰ ﻣﻰﻣﺎﻧﻨﺪ ﻭ ﺭﺍﻫﻰ ﺑﻪ ﺩﻧﻴﺎﻯ ﺑﻴﺮﻭﻥ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺍﻣﺎ ﺩﺭ ﻣﻘﺎﺑﻞ ﺯﺍﻣﺒﻰﻫﺎ ﻛﺎﻣ ً‬ ‫ﻼ ﺩﺭ ﺩﺳﺘﺮﺱ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺯﺍﻣﺒﻰﻫﺎ ﻫﻢ ﺗﺮﺱ ﺍﺯ ﻧﺎﺷﻨﺎﺧﺘﻪﻫﺎ ﺭﺍ ﺍﻟﻘﺎ ﻣﻰﻛﻨﻨﺪ ﻭ ﻫﻢ ﻣﺤﺘﻤﻞﺗﺮ ﻫﺴﺘﻨﺪ‪ .‬ﭘﺲ ﺑﺎﻳﺪ ﺍﺯ ﺁﻥﻫﺎ ﺗﺮﺳﻴﺪ!‬ ‫ﻫﻤﻪ ﭼﻴﺰ ﻣﺠﺎﻧﻰ ﺍﺳﺖ‬ ‫ﻫﻤﻪ ﻣﺮﺩﻩﺍﻧﺪ‪ .‬ﻫﻴﭻ ﭼﻴﺰ ﻣﺎﻟﻜﻰ ﻧﺪﺍﺭﺩ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﻣﺎﻝ ﺷﻤﺎﺳﺖ‪ .‬ﺷﻤﺎ ﻣﻰﺗﻮﺍﻧﻴﺪ ﺑﺪﻭﻥ ﻫﻴﭻ ﻛﺎﺭ ﻭ‬ ‫ﺗﻼﺷﻰ‪ ،‬ﺩﺭ ﺑﻬﺘﺮﻳﻦ ﺧﺎﻧﻪﻫﺎ ﻭ ﻫﺘﻞﻫﺎ ﺑﺨﻮﺍﺑﻴﺪ‪ .‬ﺑﻬﺘﺮﻳﻦ ﻣﺎﺷﻴﻦﻫﺎ ﺭﺍ ﺳﻮﺍﺭ ﺷﻮﻳﺪ ﻭ ﻫﺮ ﭼﻴﺰ ﺩﻳﮕﺮﻯ‬ ‫ﺭﺍ ﻛﻪ ﻻﺯﻡ ﺩﺍﺭﻳﺪ‪ ،‬ﺍﺯ ﻓﺮﻭﺷﮕﺎﻩﻫﺎ ﺑﺮﺩﺍﺭﻳﺪ‪ .‬ﻫﺮ ﭼﻴﺰ ﺭﺍ ﻛﻪ ﺍﺭﺍﺩﻩ ﻛﻨﻴﺪ ﻣﺎﻝ ﺷﻤﺎ ﻣﻰﺷﻮﺩ‪ .‬ﺍﺳﻤﺶ ﻫﻢ‬ ‫ﺩﺯﺩﻯ ﻧﻴﺴﺖ‪ .‬ﺁﻳﺎ ﺍﻧﺴﺎﻧﻰ ﻫﺴﺖ ﻛﻪ ﺍﺯ ﭼﻨﻴﻦ ﺭﻓﺎﻫﻰ ﻟﺬﺕ ﻧﺒﺮﺩ؟‬ ‫ﺗﻤﺎﻳﻞ ﺑﻪ ﺁﺷﻮﺏ‬ ‫ﺑﺎﻳﺪ ﻗﺒﻮﻝ ﻛﻨﻴﻢ‪ ...‬ﺁﻥ ﭘﺎﻳﻴﻦ‪ ،‬ﺩﺭ ﻧﻬﺎﻥﺗﺮﻳﻦ ﻻﻳﻪﻫﺎﻯ ﺷﺨﺼﻴﺘﻤﺎﻥ‪ ،‬ﻫﻤﻪﻯ ﻣﺎ ﺩﻭﺳﺖ ﺩﺍﺭﻳﻢ ﻛﻪ ﺩﻧﻴﺎ‬ ‫ﻧﺎﺑﻮﺩ ﺷﻮﺩ ﻭ ﺩﻟﻴﻠﺶ ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﻧﻔﺮﺕ ﺍﺯ ﺩﻧﻴﺎ ﻳﺎ ﻧﺎﺭﺿﺎﻳﺘﻰ ﻧﻴﺴﺖ‪ .‬ﻏﺮﻳﺰﻩﺍﻯ ﻃﺒﻴﻌﻰ ﺩﺭﻭﻥ ﺍﻧﺴﺎﻥ‬ ‫ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻧﺎﺑﻮﺩﻯ ﻭ ﺁﺷﻮﺏ ﺗﻤﺎﻳﻞ ﺩﺍﺭﺩ‪ .‬ﻏﺮﻳﺰﻩﺍﻯ ﻛﻪ ﻓﺮﻭﻳﺪ ﻧﺎﻡ ﺗﺎﻧﺎﺗﻮﺱ ﻳﺎ ﻏﺮﻳﺰﻩﻯ ﻣﺮگ ﺑﺮ ﺁﻥ ﻧﻬﺎﺩ‪.‬‬ ‫ﺳﺎﺧﺘﺎﺭ ﻣﻐﺰ‬ ‫ﺗﺮﺱ ﻭ ﻧﻔﺮﺕ ﻫﺮ ﺩﻭ ﺑﻪ ﻭﺳﻴﻠﻪﻯ ﻗﺪﻳﻤﻰﺗﺮﻳﻦ ﺑﺨﺶ ﻣﻐﺰ ﻛﻪ ﺁﻣﻴﮕﺪﺍﻟﻮﺱ ﻧﺎﻡ ﺩﺍﺭﺩ‪ ،‬ﻛﻨﺘﺮﻝ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﻫﺮ ﺩﻭﻯ ﺍﻳﻦ ﺍﺣﺴﺎﺳﺎﺕ ﺑﺴﻴﺎﺭ ﻧﺨﺴﺘﻴﻦ ﻭ ﺳﺎﺩﻩ ﻫﺴﺘﻨﺪ ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺍﺳﺖ ﻛﻪ ﻣﻰﺗﻮﺍﻧﻴﻢ ﺁﻥﻫﺎ ﺭﺍ‬ ‫ﻭﺍﺿﺢﺗﺮ ﺍﺯ ﺣﺲﻫﺎﻯ ﺩﻳﮕﺮﻣﺎﻥ ﺩﺭﻙ ﻛﻨﻴﻢ‪ .‬ﻭ ﺯﺍﻣﺒﻰﻫﺎ ﻫﺮ ﺩﻭﻯ ﺍﻳﻦ ﺣﺲﻫﺎ ﺭﺍ ﺩﺭ ﻣﺎ ﺑﻪ ﻭﺟﻮﺩ ﻣﻰﺁﻭﺭﻧﺪ‪.‬‬ ‫ﻣﺮگ ﺭﺍ ﺑﻜﺸﻴﺪ‬ ‫ﺩﺭ ﻧﻈﺮ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻃﺮﻓﺪﺍﺭﺍﻥ‪ ،‬ﺯﺍﻣﺒﻰﻫﺎ ﻧﻤﺎﺩﻯ ﺍﺯ ﻣﺮگ ﻫﺴﺘﻨﺪ‪ .‬ﺷﻜﻠﻰ ﻓﻴﺰﻳﻜﻰ ﺍﺯ ﻣﺮگ ﻛﻪ ﺩﺍﺭﺩ‬ ‫ﺑﻪ ﺁﻥﻫﺎ ﺣﻤﻠﻪ ﻣﻰﻛﻨﺪ‪ .‬ﺷﻜﻠﻰ ﺍﺯ ﻣﺮگ ﻛﻪ ﻣﻰﺷﻮﺩ ﺁﻥ ﺭﺍ ﻛﺸﺖ ﻭ ﺍﺯ ﺑﻴﻦ ﺑﺮﺩ‪ .‬ﺑﺎ ﻛﺸﺘﻦ ﺯﺍﻣﺒﻰﻫﺎ‬ ‫‪107‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻣﺎ ﺷﺒﻴﻪ ﺯﺍﻣﺒﻰﻫﺎ ﻫﺴﺘﻴﻢ‬ ‫ﺯﻧﺪﮔﻰ ﻣﺪﺭﻥ ﺑﺎ ﺗﻤﺎﻡ ﺍﻣﻜﺎﻧﺎﺗﻰ ﻛﻪ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﻣﺎ ﻗﺮﺍﺭ ﻣﻰﺩﻫﺪ‪ ،‬ﻣﺎ ﺭﺍ ﺑﻪ ﺳﻮﻯ ﻓﻌﺎﻟﻴﺖﻫﺎﻯ ﻧﺎﻫﺸﻴﺎﺭ ﻭ‬ ‫ﺑﻰﺍﻧﺪﻳﺸﻪ ﺳﻮﻕ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﻣﺎ ﻫﺮ ﺭﻭﺯ ﺻﺒﺢ ﺑﻴﺪﺍﺭ ﻣﻰﺷﻮﻳﻢ‪ .‬ﺩﻭﺵ ﻣﻰﮔﻴﺮﻳﻢ‪ .‬ﺻﺒﺤﺎﻧﻪ ﻣﻰﺧﻮﺭﻳﻢ‪ .‬ﻟﺒﺎﺱ‬ ‫ﻣﻰﭘﻮﺷﻴﻢ ﻭ ﺳﺮ ﻛﺎﺭ ﻣﻰﺭﻭﻳﻢ‪ .‬ﻫﻤﻪﻯ ﺍﻳﻦﻫﺎ ﻫﻢ ﺑﻪ ﺻﻮﺭﺕ ﺧﻮﺩﻛﺎﺭ ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﺪ‪ .‬ﺩﺭ ﻣﺘﺮﻭ ﻫﻨﺪﺯﻓﺮﻯ‬ ‫ﮔﻮﺷﻰ ﻣﻮﺑﺎﻳﻠﻤﺎﻥ ﺭﺍ ﺩﺭ ﮔﻮﺷﻤﺎﻥ ﻣﻰﮔﺬﺍﺭﻳﻢ ﻭ ﺭﺍﻩ ﻫﺮﮔﻮﻧﻪ ﻣﺤﺮﻙ ﺧﺎﺭﺟﻰ ﺭﺍ ﺳﺪ ﻣﻰﻛﻨﻴﻢ‪ .‬ﻭﻗﺘﻰ‬ ‫ﻛﻪ ﻣﺘﺮﻭ ﺍﻳﺴﺘﺎﺩ ﻭ ﺍﺯ ﺁﻥ ﺧﺎﺭﺝ ﺷﺪﻳﻢ‪ ،‬ﻫﻤﺮﺍﻩ ﺑﺎ ﺟﻤﻌﻴﺖ ﺣﺮﻛﺖ ﻣﻰﻛﻨﻴﻢ‪ .‬ﻣﺜﻞ ﻳﻚ ﮔﻠﻪ‪ .‬ﻭ ﺗﻤﺎﻡ ﺭﻭﺯ‬ ‫ﻛﺎﺭﻫﺎﻯ ﺭﻭﺯﻣﺮﻩ ﺧﻮﺩ ﺭﺍ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﻴﻢ‪ .‬ﺑﺪﻭﻥ ﺫﺭﻩﺍﻯ ﺗﻐﻴﻴﺮ ﻭ ﺑﺪﻭﻥ ﺫﺭﻩﺍﻯ ﺧﻼﻗﻴﺖ‪ .‬ﻭ ﺑﻌﺪ ﺯﺍﻣﺒﻰﻫﺎ ﺭﺍ‬ ‫ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ ﺑﻪ ﻧﻮﻋﻰ ﺑﺎﺯﺗﺎﺏ ﺭﻓﺘﺎﺭ ﺧﻮﺩ ﻣﺎ ﻫﺴﺘﻨﺪ‪ .‬ﭼﻴﺰﻯ ﻛﻪ ﺩﺍﺭﻳﻢ ﺑﻪ ﺁﻥ ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﻳﻢ‪.‬‬ ‫ﭘﺲ ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﺯﺍﻣﺒﻰﻫﺎ ﺭﺍ ﺩﺭ ﺗﺨﻴﻞ ﺧﻮﺩﻣﺎﻥ ﻣﻰﺳﺎﺯﻳﻢ؛ ﺑﻪ ﺁﻥﻫﺎ ﺷﻠﻴﻚ ﻛﺮﺩﻩ ﻭ ﺑﻪ ﻓﺠﻴﻊﺗﺮﻳﻦ ﺷﻜﻞ‬ ‫ﻣﻤﻜﻦ ﺳﺮﺷﺎﻥ ﺭﺍ ﻗﻄﻊ ﻣﻰﻛﻨﻴﻢ‪ .‬ﻫﻤﻪ ﻭ ﻫﻤﻪ ﺑﺮﺍﻯ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻳﻚ ﺍﺭﺿﺎﻯ ﺩﺭﻭﻧﻰ ﺑﺮﺳﻴﻢ‪ .‬ﺑﺮﺍﻯ‬ ‫ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﭼﻴﺰﻯ ﻛﻪ ﺍﺟﺘﻨﺎﺏﻧﺎﭘﺬﻳﺮ ﺍﺳﺖ ﺑﺠﻨﮕﻴﻢ ﻭ ﺑﺮﺍﻯ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺧﻮﺩﻣﺎﻥ ﺑﻘﺒﻮﻻﻧﻴﻢ ﻛﻪ‬ ‫ﻣﻰﺗﻮﺍﻧﻴﻢ ﺁﻥ ﺑﺨﺶ ﺍﺯ ﻭﺟﻮﺩﻣﺎﻥ ﺭﺍ ﺍﺯ ﺑﻴﻦ ﺑﺒﺮﻳﻢ‪.‬‬ ‫ﺯﺍﻣﺒﻰﻫﺎ ﻣﺎ ﺭﺍ ﻣﺘﺤﺪ ﻣﻰﻛﻨﻨﺪ‬ ‫ﺷﻴﺎﻃﻴﻦ‪ ،‬ﻓﻀﺎﻳﻰﻫﺎ‪ ،‬ﺭﻭﺑﺎﺕﻫﺎﻳﻰ ﺍﺯ ﺁﻳﻨﺪﻩ ﻭ ﻫﻤﻴﻦ ﻃﻮﺭ ﺯﺍﻣﺒﻰﻫﺎ‪ .‬ﻭﻗﺘﻰ ﻫﻤﻪﻯ ﺍﻧﺴﺎﻥﻫﺎ ﺑﺎ ﻳﻚ‬ ‫ﺧﻄﺮ ﻣﺸﺘﺮﻙ ﺭﻭﺑﺮﻭ ﻫﺴﺘﻨﺪ‪ ،‬ﻣﺘﺤﺪ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻮﺍﻗﻊ ﺟﻨﺲ‪ ،‬ﻗﻮﻣﻴﺖ‪ ،‬ﻧﮋﺍﺩ‪ ،‬ﻣﻠﻴﺖ ﻭ ﻫﺮ ﭼﻴﺰ‬ ‫ﺩﻳﮕﺮﻯ ﻛﻪ ﺍﻧﺴﺎﻥﻫﺎ ﺭﺍ ﺍﺯ ﻫﻤﺪﻳﮕﺮ ﻣﺘﻤﺎﻳﺰ ﻣﻰﻛﻨﺪ‪ ،‬ﺍﺯ ﻣﻴﺎﻥ ﺑﺮﺩﺍﺷﺘﻪ ﻣﻰﺷﻮﺩ ﻭ ﻓﻘﻂ ﻳﻚ ﭼﻴﺰ ﺑﺎﻗﻰ‬ ‫ﻣﻰﻣﺎﻧﺪ‪ :‬ﺍﻧﺴﺎﻧﻴﺖ‪ .‬ﻭ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺁﺭﺯﻭﻯ ﻗﻠﺒﻰ ﺍﻛﺜﺮ ﺍﻧﺴﺎﻥﻫﺎﺳﺖ‪.‬‬ ‫ﺧﺸﻮﻧﺖ ﺑﺪﻭﻥ ﻋﺬﺍﺏ ﻭﺟﺪﺍﻥ‬ ‫ﻫﻤﻪﻯ ﺍﻧﺴﺎﻥﻫﺎ ﺩﺭ ﻻﻳﻪﻫﺎﻯ ﺯﻳﺮﻳﻦ ﺷﺨﺼﻴﺘﺸﺎﻥ ﻧﻴﺎﺯﻯ ﺩﺭﻭﻧﻰ ﺑﻪ ﺧﺸﻮﻧﺖ ﺭﺍ ﺍﺣﺴﺎﺱ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺍﻣﺎ‬ ‫ﺣﺘﺎ ﺩﺭ ﺯﻣﺎﻥ ﺟﻨﮓ ﻫﻢ‪ ،‬ﻛﺸﺘﻦ ﻳﻚ ﻫﻤﻨﻮﻉ ﺍﻣﺮﻯ »ﺧﻮﺏ« ﻃﺒﻘﻪﺑﻨﺪﻯ ﻧﻤﻰﺷﻮﺩ‪ .‬ﺍﻣﺎ ﻛﺸﺘﻦ ﻳﻚ‬ ‫ﻫﻴﻮﻻ ﻛﻪ ﻗﺼﺪ ﻧﺎﺑﻮﺩ ﻛﺮﺩﻥ ﺷﻤﺎ ﻭ ﺑﻘﻴﻪﻯ ﻣﺮﺩﻡ ﺟﻬﺎﻥ ﺭﺍ ﺩﺍﺭﺩ‪ ،‬ﺧﻴﻠﻰ ﻫﻢ ﺧﻮﺏ ﺍﺳﺖ‪ .‬ﭼﺮﺍ ﻛﻪ ﺩﻳﮕﺮ‬ ‫ﺍﻧﺴﺎﻥ ﻧﻴﺴﺖ‪ .‬ﻳﻚ ﻫﻴﻮﻻﺳﺖ‪ .‬ﻳﻚ ﺟﺴﺪ ﻣﺘﺤﺮﻙ ﺍﺳﺖ‪ .‬ﻭ ﺷﻤﺎ ﻛﺎﻣ ً‬ ‫ﻼ ﺣﻖ ﺩﺍﺭﻳﺪ ﺍﺯ ﺁﻥ ﻣﺘﻨﻔﺮ ﺑﺎﺷﻴﺪ‪.‬‬ ‫ﺯﺍﻣﺒﻰﻫﺎ ﺑﻪ ﻣﺎ ﺍﻳﻦ ﺍﻣﻜﺎﻥ ﺭﺍ ﻣﻰﺩﻫﻨﺪ ﻛﻪ ﺑﺪﻭﻥ ﺫﺭﻩﺍﻯ ﻋﺬﺍﺏ ﻭﺟﺪﺍﻥ ﺑﻪ ﻣﻮﺟﻮﺩﺍﺗﻰ ﺍﻧﺴﺎﻥﻧﻤﺎ ﺷﻠﻴﻚ‬ ‫ﻛﻨﻴﻢ ﻭ ﺁﻥﻫﺎ ﺭﺍ ﺑﻜﺸﻴﻢ‪ .‬ﺯﺍﻣﺒﻰﻫﺎ ﺣﺲ ﺧﺸﻮﻧﺖ ﺩﺭﻭﻧﻰ ﻣﺎ ﺭﺍ ﺍﺭﺿﺎ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻧﻤﻰﺗﻮﺍﻧﻴﻢ ﻛﺴﻰ ﺭﺍ ﻛﻪ‬ ‫ﺍﺯ ﺍﻭ ﻣﺘﻨﻔﺮﻳﻢ ﺗﻜﻪﺗﻜﻪ ﻛﻨﻴﻢ‪ ،‬ﺍﻣﺎ ﻭﻗﺘﻰ ﻛﻪ ﺯﺍﻣﺒﻰ ﺷﺪﻩ ﺑﺎﺷﺪ ﻣﻮﺿﻮﻉ ﻓﺮﻕ ﻣﻰﻛﻨﺪ‪ .‬ﺍﺯ ﺳﺮ »ﺩﻟﺮﺣﻤﻰ«‬ ‫ﺍﻧﺘﻘﺎﻡ ﻣﻰﮔﻴﺮﻳﻢ‪ .‬ﻭﻗﺘﻰ ﻛﻪ ﺯﺍﻣﺒﻰﻫﺎ ﻣﻰﺁﻳﻨﺪ‪ ،‬ﺯﻣﺎﻥ ﺗﺼﻔﻴﻪ ﺣﺴﺎﺏﻫﺎﻯ ﺷﺨﺼﻰ ﻧﻴﺰ ﻓﺮﺍ ﻣﻰﺭﺳﺪ‪.‬‬ ‫‪106‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺩﻳﺪﮔﺎﻩ‬

‫ﺑﺮﺭﺳﻰ ﺭﻭﺍﻧﺸﻨﺎﺧﺘﻰ ﺩﻟﻴﻞ ﻋﻼﻗﻪ ﺑﻪ ﺯﺍﻣﺒﻰﻫﺎ‬

‫ﻳﺎ ﭼﺮﺍ ﺯﺍﻣﺒﻰﻫﺎ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺭﻳﻢ؟‬ ‫ﭘﻮﺭﻳﺎ ﺗﻘﻮﻯ‬

‫ﺯﺍﻣﺒﻰﻫﺎ ﻃﺮﻓﺪﺍﺭﺍﻥ ﺑﺴﻴﺎﺭﻯ ﺩﺍﺭﻧﺪ‪ .‬ﺩﺭ ﻫﺮ ﺳﺎﻝ ﭼﻨﺪﻳﻦ ﻭ ﭼﻨﺪ ﻓﻴﻠﻢ ﺑﺎ ﻣﻮﺿﻮﻉ ﺯﺍﻣﺒﻰﻫﺎ ﺳﺎﺧﺘﻪ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﺗﻴﺮﺍﻧﺪﺍﺯﻯ ﺑﻪ ﺯﺍﻣﺒﻰﻫﺎ ﺑﻦﻣﺎﻳﻪﻯ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺑﺎﺯﻯﻫﺎﻯ ﻛﺎﻣﭙﻴﻮﺗﺮﻯ ﺍﺳﺖ‪ .‬ﻛﻤﺘﺮ ﺷﻬﺮﻯ‬ ‫ﺭﺍ ﺩﺭ ﺍﺭﻭﭘﺎ ﻳﺎ ﺁﻣﺮﻳﻜﺎ ﻣﻰﺗﻮﺍﻥ ﻳﺎﻓﺖ ﻛﻪ ﻓﺴﺘﻴﻮﺍﻝ ﺯﺍﻣﺒﻰﻫﺎ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﻫﻤﻴﻦ ﻃﻮﺭ ﺑﺴﻴﺎﺭﻯ‬ ‫ﺍﺯ ﺍﻓﺮﺍﺩ )ﮔﻴﻚﻫﺎ( ﺍﺯ ﻫﻢﺍﻛﻨﻮﻥ ﺑﺮﺍﻯ ﺁﺧﺮﺍﻟﺰﻣﺎﻥ ﺯﺍﻣﺒﻰﻫﺎ ﻭ ﺣﻔﻆ ﺑﻘﺎﻯ ﺧﻮﺩ ﺁﻣﺎﺩﻩ ﺷﺪﻩﺍﻧﺪ‪.‬‬ ‫ﺍﻣﺎ ﺯﺍﻣﺒﻰﻫﺎ ﻧﻪ ﻣﺎﻧﻨﺪ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺑﺎﻫﻮﺷﻨﺪ ﻭ ﻧﻪ ﻗﺪﺭﺕ ﮔﺮﮔﻴﻨﻪﻫﺎ ﺭﺍ ﺩﺍﺭﻧﺪ‪ .‬ﻧﻪ ﻣﺎﻧﻨﺪ ﭘﺮﻯﻫﺎﻯ‬ ‫ﺩﺭﻳﺎﻳﻰ ﺯﻳﺒﺎﻳﻨﺪ ﻭ ﻧﻪ ﻣﺜﻞ ﺗﻚﺷﺎﺥﻫﺎ ﺍﺻﻴﻠﻨﺪ‪ .‬ﻧﻪ ﻣﺜﻞ ﺍﻟﻒﻫﺎ ﻋﻤﺮ ﺟﺎﻭﺩﺍﻥ ﺩﺍﺭﻧﺪ ﻭ ﻧﻪ ﻣﺜﻞ‬ ‫ﺩﻭﺭﻑﻫﺎ ﺛﺮﻭﺗﻤﻨﺪﻧﺪ‪ .‬ﻧﻪ ﻣﺎﻧﻨﺪ ﻗﻘﻨﻮﺱﻫﺎ ﭘﺎﻙﺍﻧﺪ ﻭ ﻧﻪ ﺑﻪ ﺟﺬﺑﻪﻯ ﺍژﺩﻫﺎﻳﺎﻥ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺁﻥﻫﺎ ﻓﻘﻂ ﻣﻮﺟﻮﺩﺍﺗﻰ ﺑﻰﻣﻐﺰ ﻫﺴﺘﻨﺪ ﻛﻪ ﻫﻤﻴﺸﻪ ﻧﺎﻟﻪ ﻣﻰﻛﻨﻨﺪ ﻭ ﺍﻳﻦﺳﻮ ﻭ ﺁﻥﺳﻮ ﺑﻪ ﺩﻧﺒﺎﻝ‬ ‫ﻏﺬﺍ ﻣﻰﮔﺮﺩﻧﺪ‪ .‬ﻧﻪ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺣﺮﻑ ﺑﺰﻧﻨﺪ ﻭ ﻧﻪ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺳﺮﻳﻊ ﺣﺮﻛﺖ ﻛﻨﻨﺪ‪ .‬ﺧﻴﻠﻰ ﻫﻢ ﺍﺣﻤﻖ‬ ‫ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﭘﺲ ﭼﻪ ﭼﻴﺰﻯ ﺑﺎﻋﺚ ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﺯﺍﻣﺒﻰﻫﺎ ﺍﻳﻦ ﻗﺪﺭ ﻣﺤﺒﻮﺏ ﺑﺎﺷﻨﺪ؟‬

‫ﻣﻘﺎﻟﻪ‬

‫ ﮔﺎﻫﻰ ﻓﺮﺩ ﺭﺍ ﺑﻪ ﺍﻳﻦ ﻓﻜﺮ ﻓﺮﻭ ﻣﻰﺑﺮﺩ ﻛﻪ ﺷﺎﻳﺪ‬،‫ﺍﻳﻦ ﺣﺠﻢ ﺍﻃﻼﻋﺎﺕ ﻣﺮﺑﻮﻁ ﺑﻪ ﺯﺍﻣﺒﻰ ﺩﺭ ﺯﻧﺪﮔﻰ ﺭﻭﺯﻣﺮﻩ‬ !‫ﻫﻤﻴﻦ ﺍﻻﻥ ﻫﻢ ﺗﺤﺖ ﻫﺠﻮﻡ ﺗﻤﺎﻡﻋﻴﺎﺭ ﺯﺍﻣﺒﻰﻫﺎ ﻫﺴﺘﻴﻢ ﻭ ﻓﻘﻂ ﺧﻮﺩﻣﺎﻥ ﺧﺒﺮ ﻧﺪﺍﺭﻳﻢ‬

1. Epic of Gilgamesh 2. Draugr 3. Mary Shelley 4. The Death of Halpin Frayser 5. Ambrose Bierce 6. H. P. Lovecraft 7. Herbert West-Reanimator 8. Things to Come 9. Tales from the Vault 10. Richard Matheson 11. I am Legend 12. The Last Man on Earth 13. The Magic Island 14. W. B. Searbook 15. Victor Halperin 16. White Zombie 17. Bela Lugosi

18. I Walked with a Zombie 19. Plan 9 from Outer Space 20. Book of the Dead 21. Still Dead: Book of the Dead2 22. John Skipp 23. Craig Spector 24. Stephen King 25. Katy Hershbereger 26. St. Martin’s Press 27. Cell 28. World War Z 29. Max Brooks 30. Thriller 31. Zombies vs. Plants 32. Blackest Night 33. DC Comics

103 1391 ‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ‬

22-23 ‫ﺷﻤﺎﺭﻩﻯ‬

‫ﺍﻳﻦ ﻣﻮﺍﺭﺩ‪ ،‬ﺗﻮﺍﻧﺎﻳﻰ ﺍﻧﺴﺎﻥﻫﺎ ﺭﺍ ﺑﺮﺍﻯ ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﺧﻄﺮ ﭘﻴﺶﺭﻭ ﻛﺎﻫﺶ ﻣﻰﺩﻫﺪ‪.‬‬ ‫‪ .2‬ﭘﺎﺳﺦ ﺩﻭﻟﺖﻫﺎﻯ ﺟﻬﺎﻧﻰ ﺑﻪ ﺧﻄﺮ ﺭﻭ ﺑﻪ ﮔﺴﺘﺮﺵ‪ ،‬ﺁﻫﺴﺘﻪﺗﺮ ﺍﺯ ﺳﺮﻋﺖ ﺭﺷﺪ ﺍﻳﻦ ﺧﻄﺮ ﺍﺳﺖ‬ ‫ﻭ ﺑﻨﺎﺑﺮﺍﻳﻦ ﺯﺍﻣﺒﻰﻫﺎ ﻓﺮﺻﺖ ﻛﺎﻓﻰ ﺑﺮﺍﻯ ﺭﺷﺪﻯ ﺧﺎﺭﺝ ﺍﺯ ﺣﺪ ﻛﻨﺘﺮﻝ ﺭﺍ ﺧﻮﺍﻫﻨﺪ ﺩﺍﺷﺖ‪ .‬ﺍﻳﻦ‬ ‫ﻣﺴﺎﻟﻪ ﺧﻮﺩ ﻣﻨﺠﺮ ﺑﻪ ﺳﻘﻮﻁ ﺩﻭﻟﺖﻫﺎﻯ ﻣﺬﻛﻮﺭ ﻣﻰﺷﻮﺩ؛ ﺩﺭ ﻧﻬﺎﻳﺖ ﺯﺍﻣﺒﻰﻫﺎ ﻛﻨﺘﺮﻝ ﺭﺍ ﺑﻪ ﺩﺳﺖ‬ ‫ﻣﻰﮔﻴﺮﻧﺪ ﻭ ﺗﻨﻬﺎ ﮔﺮﻭﻩﻫﺎﻯ ﻛﻮﭼﻜﻰ ﺍﺯ ﺍﻧﺴﺎﻥﻫﺎﻯ ﺟﺪﺍ ﺍﻓﺘﺎﺩﻩ ﺑﺎﻗﻰ ﻣﻰﻣﺎﻧﻨﺪ ﻛﻪ ﺑﺎﻳﺪ ﺑﺮﺍﻯ ﺑﻘﺎﻯ‬ ‫ﺧﻮﺩ ﺑﻪ ﺳﺨﺘﻰ ﺗﻼﺵ ﻛﻨﻨﺪ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﮔﻮﻧﻪ ﺩﺍﺳﺘﺎﻥﻫﺎ‪ ،‬ﺍﻏﻠﺐ ﺑﺎ ﺟﻤﻌﻰ ﺍﺯ ﺍﻧﺴﺎﻥﻫﺎﻯ ﺑﺎﺯﻣﺎﻧﺪﻩ ﺭﻭﺑﺮﻭ ﻫﺴﺘﻴﻢ ﻛﻪ ﺩﺭ ﻣﻴﺎﻧﻪﻯ ﺑﺤﺮﺍﻥ‬ ‫ﺑﻪ ﺩﺍﻡ ﺍﻓﺘﺎﺩﻩﺍﻧﺪ‪ .‬ﺭﻭﺍﻳﺖ ﻣﻌﻤﻮﻻً ﺍﺯ ﺷﺮﻭﻉ ﺁﺧﺮﺍﻟﺰﻣﺎﻥ ﺯﺍﻣﺒﻰﻫﺎ ﺷﺮﻭﻉ ﻣﻰﺷﻮﺩ ﻭ ﺑﺎ ﺍﻭﻟﻴﻦ ﺗﻼﺵﻫﺎ ﺑﺮﺍﻯ‬ ‫ﺑﺎﺧﺒﺮ ﺳﺎﺧﺘﻦ ﺩﻭﻟﺖ‪ ،‬ﺷﻜﺴﺖ ﺩﻭﻟﺖ ﺩﺭ ﭘﺎﺳﺦ ﺑﻪ ﺧﻄﺮ ﻭ ﺳﭙﺲ ﻓﺮﻭﭘﺎﺷﻰ ﻧﻬﺎﻳﻰ ﺗﻤﺪﻥ ﺍﻧﺴﺎﻧﻰ ﺍﺩﺍﻣﻪ‬ ‫ﻣﻰﻳﺎﺑﺪ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺗﻼﺵ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ ﺑﺮﺍﻯ ﺑﻘﺎ ﺩﺭ ﺍﻳﻦ ﺟﻬﺎﻥ ﻧﺎﺑﻪﺳﺎﻣﺎﻥ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﻧﻘﻄﻪﻯ ﺗﻤﺮﻛﺰ ﺍﻏﻠﺐ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥﻫﺎ‪ ،‬ﻧﺤﻮﻩﻯ ﻋﻜﺲﺍﻟﻌﻤﻞ ﺍﻧﺴﺎﻥﻫﺎ ﺩﺭ ﻣﻘﺎﺑﻞ ﺑﺤﺮﺍﻥ ﺍﺳﺖ ﻭ ﺍﻳﻦ ﻛﻪ‬ ‫ﺍﻧﺴﺎﻥﻫﺎ ﺩﺭ ﻣﻘﺎﺑﻞ ﺍﺳﺘﺮﺱ‪ ،‬ﭼﻄﻮﺭ ﻓﺮﻭ ﻣﻰﭘﺎﺷﻨﺪ ﻭ ﺑﻪ ﺧﺼﻮﺻﻴﺎﺕ ﺑﺪﻭﻯﺗﺮ ﺧﻮﺩ ﭼﻮﻥ ﺗﺮﺱ ﻭ ﺧﻴﺎﻧﺖ‬ ‫ﺑﺮﺍﻯ ﻧﻔﻊ ﺷﺨﺼﻰ ﺑﺎﺯ ﻣﻰﮔﺮﺩﻧﺪ‪.‬‬ ‫ﺯﺍﻣﺒﻰﻫﺎ ﺗﺎ ﻛﺠﺎ ﺧﻮﺍﻫﻨﺪ ﺭﻓﺖ؟‬ ‫ﺩﺭ ﺳﺎﻝﻫﺎﻯ ﺍﺧﻴﺮ‪ ،‬ﺯﺍﻣﺒﻰﻫﺎ ﺩﻭﺑﺎﺭﻩ ﻣﻮﺭﺩ ﺍﻗﺒﺎﻝ ﻭ ﺗﻮﺟﻪ ﻋﻤﻮﻣﻰ ﻭﺍﻗﻊ ﺷﺪﻩﺍﻧﺪ‪ .‬ﻣﺜ ً‬ ‫ﻼ ﻛﺘﻰ ﻫﺮﺵﺑﺮﮔﺮ‬ ‫]‪ [25‬ﺍﺯ ﺍﻧﺘﺸﺎﺭﺍﺕ ﺳﻨﺖﻣﺎﺭﺗﻴﻦ ]‪ [26‬ﭼﻨﻴﻦ ﮔﻔﺘﻪ ﺍﺳﺖ‪» :‬ﺩﺭ ﺟﻬﺎﻧﻰ ﺳﺮﺷﺎﺭ ﺍﺯ ﺗﺮﺱﻫﺎ ﻭ ﻭﺣﺸﺖﻫﺎﻯ‬ ‫ﻼ ﻫﻴﭻ ﭼﻴﺰ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﺯﺍﻣﺒﻰﻫﺎ ﻣﺤﺒﻮﺑﻴﺖ ﻧﺪﺍﺭﺩ ‪ ...‬ﻣﺮﺩﮔﺎﻥ ﺯﻧﺪﻩ ﺁﻣﺪﻩﺍﻧﺪ ﻭ ﻓﻌ ً‬ ‫ﻛﻼﺳﻴﻚ‪ ،‬ﻓﻌ ً‬ ‫ﻼ ﺟﺎﻳﻰ‬ ‫ﻧﺨﻮﺍﻫﻨﺪ ﺭﻓﺖ!«‬ ‫ﺣﺎﻻ ﺯﺍﻣﺒﻰﻫﺎ ﺩﺭ ﺩﻧﻴﺎﻯ ﺍﺩﺑﻴﺎﺕ )ﺑﺎ ﻛﺘﺎﺏﻫﺎﻳﻰ ﭼﻮﻥ »ﺳﻠﻮﻝ« ]‪ [27‬ﺍﺯ ﺍﺳﺘﻴﻮﻥ ﻛﻴﻨﮓ ﻭ »ﺟﻨﮓ‬ ‫ﺟﻬﺎﻧﻰ ﺯﻯ« ]‪ [28‬ﺍﺯ ﻣﻜﺲ ﺑﺮﻭﻛﺰ ]‪ ([29‬ﻣﻮﺳﻴﻘﻰ )ﻛﻪ ﺑﺎﺭﺯﺗﺮﻳﻦ ﻧﻤﻮﻧﻪﻯ ﺁﻥ‪» ،‬ﺗﺮﻳﻠﺮ« ]‪ [30‬ﺍﺯ‬ ‫ﻣﺎﻳﻜﻞ ﺟﻜﺴﻮﻥ ﺍﺳﺖ(‪ ،‬ﺑﺎﺯﻯﻫﺎﻯ ﻛﺎﻣﭙﻴﻮﺗﺮﻯ )»ﺭﺯﻳﺪﻧﺖ ﺍﻭﻳﻞ« ﻭ »ﺯﺍﻣﺒﻰﻫﺎ ﺩﺭ ﻣﻘﺎﺑﻞ ﮔﻴﺎﻫﺎﻥ«‬ ‫]‪ ،([31‬ﻛﻤﻴﻚ )»ﻣﺮﺩﻩﻯ ﻣﺘﺤﺮﻙ« ﺍﺯ ﺭﺍﺑﺮﺕ ﻛﻴﺮﻛﻤﻦ –ﻛﻪ ﺩﺭ ﻫﻤﻴﻦ ﺷﻤﺎﺭﻩ ﺑﻪ ﺁﻥ ﭘﺮﺩﺍﺧﺘﻪ ﺷﺪﻩ‬ ‫ﺍﺳﺖ‪ -‬ﻭ »ﺗﺎﺭﻳﻚﺗﺮﻳﻦ ﺷﺐ ﺟﻬﺎﻥ« ]‪ [32‬ﺍﺯ ﺩﻯﺳﻰﻛﺎﻣﻴﻜﺰ ]‪ ([33‬ﻭ ﺳﻴﻨﻤﺎ ﻭ ﺗﻠﻮﺯﻳﻮﻥ )»ﻣﺮﺩﻩﻯ‬ ‫ﻣﺘﺤﺮﻙ« ﺍﺯ ﻓﺮﺍﻧﻚ ﺩﺍﺭﺍﺑﻮﻧﺖ ‪-‬ﻛﻪ ﺑﺎﺯ ﻫﻢ ﺩﺭ ﻫﻤﻴﻦ ﺷﻤﺎﺭﻩ ﺑﻪ ﺁﻥ ﭘﺮﺩﺍﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ (-‬ﺣﻀﻮﺭ ﺩﺍﺭﻧﺪ‬ ‫ﻭ ﺣﺘﺎ ﺳﺎﺯﻣﺎﻥ ﻏﺬﺍ ﻭ ﺩﺍﺭﻭﻯ ﺁﻣﺮﻳﻜﺎﻯ )‪ (CDC‬ﻫﻢ ﺍﺯ ﺁﻥﻫﺎ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻩ ﺍﺳﺖ! ﺍﻳﻦ ﺳﺎﺯﻣﺎﻥ ﺩﺭ ﺳﺎﻝ‬ ‫‪ 2011‬ﻛﺘﺎﺑﭽﻪﺍﻯ ﺑﺎ ﻋﻨﻮﺍﻥ »ﺁﻣﺎﺩﮔﻰ ‪ :101‬ﺁﺧﺮﺍﻟﺰﻣﺎﻥ ﺯﺍﻣﺒﻰﻫﺎ« ﻣﻨﺘﺸﺮ ﺳﺎﺧﺖ ﻭ ﺩﺭ ﺁﻥ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ‬ ‫ﺍﺯ ﺗﻢ ﻫﺠﻮﻡ ﺯﺍﻣﺒﻰﻫﺎ‪ ،‬ﺑﻪ ﺷﻜﻠﻰ ﺗﺎﺯﻩ ﺑﻪ ﺑﻴﺎﻥ ﻣﻔﺎﻫﻴﻢ ﺁﻣﺎﺩﮔﻰ ﭘﻴﺶ ﺍﺯ ﺑﺤﺮﺍﻥ ﭘﺮﺩﺍﺧﺖ‪.‬‬ ‫‪102‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻣﻘﺎﻟﻪ‬

‫ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺗﺎﻛﻴﺪ ﻣﻰﻛﺮﺩ ﻭ ﺑﺴﻴﺎﺭﻯ ﺁﻥ ﺭﺍ ﺍﻭﻟﻴﻦ ﻓﻴﻠﻢ ژﺍﻧﺮ ﺯﺍﻣﺒﻰ ﻣﻰﺩﺍﻧﻨﺪ‪ .‬ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﺯﺍﻣﺒﻰﻫﺎ‬ ‫ﺩﺭ ﻭﺍﻗﻊ ﻧﻮﭼﻪﻫﺎﻯ ﻧﺎﻫﺸﻴﺎﺭ ﻭ ﺑﺪﻭﻥ ﺗﻔﻜﺮﻯ ﻫﺴﺘﻨﺪ ﻛﻪ ﺗﺤﺖ ﻃﻠﺴﻢ ﻳﻚ ﺟﺎﺩﻭﮔﺮ ﺷﻴﻄﺎﻧﻰ ﻭﺍﻗﻊ‬ ‫ﺷﺪﻩﺍﻧﺪ‪ .‬ﺯﺍﻣﺒﻰﻫﺎ‪ ،‬ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻫﻤﻴﻦ ﻣﻨﻄﻖ ﻭﻭﺩﻭ ﻭ ﺟﺎﺩﻭ‪ ،‬ﭼﻨﺪﺍﻥ ﺩﺭ ﺳﻴﻨﻤﺎ ﻃﺮﻓﺪﺍﺭ ﻧﺪﺍﺷﺘﻨﺪ ﻭ‬ ‫ﺗﻜﺮﺍﺭ ﻧﻤﻰﺷﺪﻧﺪ؛ ﻭﻟﻰ ﺣﻀﻮﺭ ﺁﻥﻫﺎ ﺑﻴﻦ ﺩﻫﻪﻫﺎﻯ ‪ 30‬ﺗﺎ ‪ 60‬ﺑﻪ ﺷﻜﻞ ﭘﺮﺍﻛﻨﺪﻩ ﺍﺩﺍﻣﻪ ﺩﺍﺷﺖ ﻭ ﺩﺭ ﺍﻳﻦ‬ ‫ﺩﻭﺭﻩ‪ ،‬ﺷﺎﻳﺪ ﻣﻬﻢﺗﺮﻳﻦﻫﺎ »ﻣﻦ ﺑﺎ ﻳﻚ ﺯﺍﻣﺒﻰ ﭘﻴﺎﺩﻩﺭﻭﻯ ﻛﺮﺩﻡ« )‪ [18] (1943‬ﻭ »ﻧﻘﺸﻪﻯ ‪ 9‬ﺍﺯ ﻓﻀﺎﻯ‬ ‫ﺑﻴﺮﻭﻧﻰ« )‪ [19] (1959‬ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﺯﺍﻣﺒﻰﻫﺎﻯ ﭼﺎﭘﻰ‬ ‫ﺑﻌﺪ ﺍﺯ ﻓﻴﻠﻢ »ﺷﺐ ﻣﺮﺩﮔﺎﻥ ﺯﻧﺪﻩ«‪ ،‬ﻛﺘﺎﺏﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺑﺎ ﻣﻮﺿﻮﻋﻴﺖ ﺯﺍﻣﺒﻰﻫﺎ ﻣﻨﺘﺸﺮ ﺷﺪﻧﺪ؛ ﺍﻣﺎ ﺗﺎ‬ ‫ﺩﻫﻪﻯ ‪ ،1990‬ﺍﻳﻦ ﻣﺮﺩﮔﺎﻥ ﺑﻪ ﭘﺎ ﺧﺎﺳﺘﻪ ﺗﺒﺪﻳﻞ ﺑﻪ ﺯﻳﺮژﺍﻧﺮﻯ ﻣﺠﺰﺍ ﻧﺸﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻣﺎ ﺩﺭ ﺳﺎﻝ ‪1990‬‬ ‫ﻭ ﺑﺎ ﺍﻧﺘﺸﺎﺭ »ﻛﺘﺎﺏ ﻣﺮﺩﮔﺎﻥ« ]‪ [20‬ﻭ ﺩﻧﺒﺎﻟﻪﻯ ﺁﻥ »ﻫﻤﭽﻨﺎﻥ ﻣﺮﺩﻩ‪ :‬ﻛﺘﺎﺏ ﻣﺮﺩﮔﺎﻥ‪ [21] «2‬ﻛﻪ ﺍﺯ‬ ‫ﺳﻮﻯ ﺟﺎﻥ ﺍﺳﻜﻴﭗ ]‪ [22‬ﻭ ﻛﺮﻳﮓ ﺍﺳﭙﻜﺘﻮﺭ ]‪ [23‬ﻭﻳﺮﺍﺳﺖ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺍﻳﻦ ﻣﻬﻢ ﺑﻪ ﻭﻗﻮﻉ ﭘﻴﻮﺳﺖ‪.‬‬ ‫ﻛﺘﺎﺏ ﻣﺮﺩﮔﺎﻥ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺯﺍﻣﺒﻰ ﺭﺍ ﻛﻪ ﺍﻏﻠﺐ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻯ ﺭﻭﻣﺮﻭ ﺍﻟﻬﺎﻡ ﮔﺮﻓﺘﻪ ﺑﻮﺩﻧﺪ ﻭ ﺍﺯ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ‬ ‫ﻣﺸﻬﻮﺭﻯ ﭼﻮﻥ ﺍﺳﺘﻴﻮﻥ ﻛﻴﻨﮓ ]‪ [24‬ﺑﻮﺩﻧﺪ‪ ،‬ﻛﻨﺎﺭ ﻫﻢ ﺟﻤﻊ ﻛﺮﺩ ﻭ ﺑﻨﺎﺑﺮﺍﻳﻦ ﺩﺭ ﺍﻣﺮ ﺗﻌﻴﻴﻦ ﺣﺪﻭﺩ‬ ‫ﺯﻳﺮژﺍﻧﺮ ﺍﺩﺑﻰ ﺯﺍﻣﺒﻰ‪ ،‬ﻳﻜﻰ ﺍﺯ ﺳﻨﮓﺑﻨﺎﻫﺎﻯ ﻣﻬﻢ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺯﺍﻣﺒﻰﻫﺎ ﺟﻬﺎﻥ ﺭﺍ ﺑﻪ ﭘﺎﻳﺎﻥ ﺧﻮﺍﻫﻨﺪ ﺑﺮﺩ‬ ‫ﻳﻜﻰ ﺍﺯ ﻣﻌﺮﻭﻑﺗﺮﻳﻦ ﻧﻈﺮﻳﻪﻫﺎﻯ ﺟﺎﻧﺒﻰ ﺯﺍﻣﺒﻰﻫﺎ‪ ،‬ﺁﺧﺮﺍﻟﺰﻣﺎﻥ ﺯﺍﻣﺒﻰﻫﺎ ﺍﺳﺖ ﻛﻪ ﺑﺮ ﺍﺛﺮ ﺭﻫﺎ ﺷﺪﻥ‬ ‫ﻳﻚ ﺯﺍﻣﺒﻰ ﺍﻭﻟﻴﻪ ﻭ ﺑﻌﺪ ﺷﻴﻮﻉ ﺍﻳﻦ ﭘﺪﻳﺪﻩ ﺻﻮﺭﺕ ﻣﻰﮔﻴﺮﺩ‪ .‬ﺍﻳﻦ ﻧﻤﻮﻧﻪﻯ ﺧﺎﺹ ﺁﺧﺮﺍﻟﺰﻣﺎﻧﻰ‪ ،‬ﻳﻜﻰ ﺍﺯ‬ ‫ﺯﻳﺮژﺍﻧﺮﻫﺎﻯ ﺍﺩﺑﻴﺎﺕ ﺁﺧﺮﺍﻟﺰﻣﺎﻧﻰ ﺍﺳﺖ ﻭ ﺩﺭ ﺭﺳﺎﻧﻪﻫﺎﻯ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺁﻥ ﺍﺳﺘﻔﺎﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﭼﻨﻴﻦ‬ ‫ﺁﺧﺮﺍﻟﺰﻣﺎﻧﻰ‪ ،‬ﺑﺮﺧﺎﺳﺘﻦ ﮔﺴﺘﺮﺩﻩ ﻭ ﻣﻌﻤﻮﻻً ﺟﻬﺎﻧﻰ ﺯﺍﻣﺒﻰﻫﺎ ﺍﺯ ﻗﺒﺮ‪ ،‬ﺑﺎﻋﺚ ﻫﺠﻮﻡ ﺁﻥﻫﺎ ﺑﻪ ﺗﻤﺪﻥ‬ ‫ﺑﺸﺮﻯ ﻭ ﺩﺭ ﺧﻄﺮ ﺍﻓﺘﺎﺩﻥ ﺍﻧﺴﺎﻥﻫﺎ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺭ ﺑﺮﺧﻰ ﻣﻮﺍﺭﺩ‪ ،‬ﻗﺮﺑﺎﻧﻴﺎﻥ ﺯﺍﻣﺒﻰﻫﺎ ﺧﻮﺩ ﺩﻭﺑﺎﺭﻩ ﺯﺍﻣﺒﻰ‬ ‫ﻣﻰﺷﻮﻧﺪ‪ .‬ﺍﻳﻦ ﻣﺴﺎﻟﻪ ﺑﺎﻋﺚ ﺭﺷﺪ ﺻﻌﻮﺩﻯ ﻣﺴﺎﻟﻪﻯ ﺗﻬﺎﺟﻢ ﻣﻰﺷﻮﺩ‪ ،‬ﻧﻴﺮﻭﻫﺎﻯ ﻧﻈﺎﻣﻰ ﻭ ﺳﺎﺯﻣﺎﻧﻰ ﺭﺍ‬ ‫ﺩﭼﺎﺭ ﺁﺷﻮﺏ ﻣﻰﻛﻨﺪ‪ ،‬ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﻣﻨﺠﺮ ﺑﻪ ﻭﺣﺸﺖ ﻋﻤﻮﻣﻰ‪ ،‬ﺍﺯ ﻫﻢ ﭘﺎﺷﻴﺪﻥ ﺟﺎﻣﻌﻪﻯ ﺑﺸﺮﻯ ﻭ ﺑﺎﻗﻰ‬ ‫ﻣﺎﻧﺪﻥ ﮔﺮﻭﻩﻫﺎﻯ ﺟﺪﺍ ﺍﻓﺘﺎﺩﻩﻯ ﺍﻧﺴﺎﻧﻰ ﻣﻰﺷﻮﺩ ﻛﻪ ﺩﺭ ﺟﻬﺎﻧﻰ ﺑﺎﺯﮔﺸﺘﻪ ﺑﻪ ﺗﻮﺣﺶ ﺍﻭﻟﻴﻪﻯ ﺧﻮﺩ ﻭ ﺣﺘﺎ‬ ‫ﺧﻄﺮﻧﺎﻙﺗﺮ‪ ،‬ﺑﻪ ﺩﻧﺒﺎﻝ ﺑﺮﺁﻭﺭﺩﻥ ﻧﻴﺎﺯﻫﺎﻯ ﺍﻭﻟﻴﻪﻯ ﺧﻮﺩ ﻫﺴﺘﻨﺪ‪ .‬ﺍﻟﻤﺎﻥﻫﺎﻳﻰ ﻛﻪ ﻣﻨﺠﺮ ﺑﻪ ﻳﻚ ﺁﺧﺮﺍﻟﺰﻣﺎﻥ‬ ‫ﺯﺍﻣﺒﻰﻫﺎ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﺍﻏﻠﺐ ﻋﺒﺎﺭﺗﻨﺪ ﺍﺯ‪:‬‬ ‫‪ .1‬ﺑﺮﺧﻮﺭﺩ ﺍﻭﻟﻴﻪ ﺑﺎ ﺯﺍﻣﺒﻰﻫﺎ ﻣﻰﺗﻮﺍﻧﺪ ﺑﺎﻋﺚ ﻭﺣﺸﺖ‪ ،‬ﺷﻮﻙ‪ ،‬ﻧﺎﺑﺎﻭﺭﻯ ﻭ ﺣﺘﺎ ﺍﻧﻜﺎﺭ ﻣﺴﺎﻟﻪ ﺷﻮﺩ ﻭ ﺧﻮﺩ‬ ‫‪101‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻣﻘﺎﻟﻪ‬

‫ﺯﺍﻣﺒﻰﻫﺎ ﺩﺭ ﺍﻭﺍﻳﻞ ﺩﻫﻪﻯ ‪ 50‬ﻣﻴﻼﺩﻯ‪ ،‬ﺩﺭ ﻛﻤﻴﻚﻫﺎﻳﻰ ﻣﺎﻧﻨﺪ »ﺍﻓﺴﺎﻧﻪﻫﺎﻳﻰ ﺍﺯ ﺩﺭﻭﻥ ﺩﺧﻤﻪ« ]‪ [9‬ﻧﻴﺰ‬ ‫ﻇﺎﻫﺮ ﺷﺪﻧﺪ ﻭ ﺍﻟﺒﺘﻪ ﺑﺮﺧﻰ ﺍﺯ ﺍﻳﻦ ﻛﻤﻴﻚﻫﺎ ﺧﻮﺩ ﺍﻗﺘﺒﺎﺳﻰ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻻﻭﻛﺮﻓﺖ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺭﻣﺎﻥ ﺳﺎﻝ ‪ 1954‬ﺭﻳﭽﺎﺭﺩ ﻣﺎﺗﻴﺴﻦ ]‪ [10‬ﺑﺎ ﻧﺎﻡ »ﻣﻦ ﺍﻓﺴﺎﻧﻪﺍﻡ« ]‪ [11‬ﮔﺮﭼﻪ ﺟﺰ ﺭﻣﺎﻥﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻣﻰ‬ ‫ﺭﺩﻩﺑﻨﺪﻯ ﻣﻰﺷﻮﺩ ﻭ ﺑﺴﻴﺎﺭﻯ ﺁﻥ ﺭﺍ ﺍﻭﻟﻴﻦ ﺭﻣﺎﻥ ﻣﺪﺭﻥ ﺧﻮﻥﺁﺷﺎﻣﻰ ﻣﻰﺩﺍﻧﻨﺪ‪ ،‬ﺍﻣﺎ ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺍﻳﻦ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺑﺮ ﺭﻭﻯ ژﺍﻧﺮ ﺯﺍﻣﺒﻰ ﻫﻢ ﺗﺎﺛﻴﺮ ﺑﻪﺳﺰﺍﻳﻰ ﺩﺍﺷﺖ‪ .‬ﺍﻳﻦ ﺭﻣﺎﻥ ﻭ ﻧﺴﺨﻪﻯ ﺳﻴﻨﻤﺎﻳﻰ ﺁﻥ‪ ،‬ﺳﺎﺧﺘﻪ‬ ‫ﺷﺪﻩ ﺑﻪ ﺳﺎﻝ ‪ 1964‬ﺑﺎ ﻋﻨﻮﺍﻥ »ﺁﺧﺮﻳﻦ ﺍﻧﺴﺎﻥ ﺭﻭﻯ ﺯﻣﻴﻦ« ]‪ ،[12‬ﺑﺎ ﺍﻳﻦ ﻛﻪ ﺩﺭ ﻣﻮﺭﺩ ﺗﻨﻬﺎ ﺍﻧﺴﺎﻥ‬ ‫ﺑﺎﺯﻣﺎﻧﺪﺩﻩ ﺩﺭ ﺩﻧﻴﺎﻳﻰ ﭘﺮ ﺍﺯ ﺧﻮﻥﺁﺷﺎﻡ ﻫﺴﺘﻨﺪ‪ ،‬ﺍﻣﺎ ﺑﺮ ﺭﻭﻯ ﭘﺮﭼﻢﺩﺍﺭﺍﻥ ﺁﻳﻨﺪﻩﻯ ژﺍﻧﺮ ﺯﺍﻣﺒﻰ ﺗﺎﺛﻴﺮ ﺑﻪﺳﺰﺍ‬ ‫ﻭ ﻏﻴﺮﻗﺎﺑﻞ ﺍﻧﻜﺎﺭﻯ ﺩﺍﺷﺘﻨﺪ‪.‬‬ ‫ﭼﺮﺍ »ﺯﺍﻣﺒﻰ«؟‬ ‫ﻛﺎﻣ ً‬ ‫ﻼ ﻣﺸﺨﺺ ﻧﻴﺴﺖ ﻛﻪ ﭼﻄﻮﺭ ﺍﻳﻦ ﻣﻮﺟﻮﺩﺍﺕ ﺯﺍﻣﺒﻰ ﻧﺎﻡ ﮔﺮﻓﺘﻨﺪ‪ .‬ﺩﺭ ﻓﻴﻠﻢ »ﺷﺐ ﻣﺮﺩﮔﺎﻥ ﺯﻧﺪﻩ«‬ ‫ﻛﻪ ﺩﺭ ﻫﻤﻴﻦ ﺷﻤﺎﺭﻩ‪ ،‬ﺑﻪ ﻃﻮﺭ ﻣﻔﺼﻞ ﺑﻪ ﺁﻥ ﭘﺮﺩﺍﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ -‬ﺍﺷﺎﺭﻩﺍﻯ ﺑﻪ ﺍﻳﻦ ﻧﺎﻡ ﻧﻤﻰﺷﻮﺩ ﻭ‬‫ﻣﻮﺟﻮﺩﺍﺕ ﻧﺎﻣﺮﺩﻩﻯ ﺁﻥ ﺗﻨﻬﺎ ﺑﺎ ﻋﻨﻮﺍﻥ »ﻏﻮﻝ« ﺑﻪ ﻣﻌﻨﻰ ﻫﻴﻮﻻﻯ ﺍﻧﺴﺎﻥﺧﻮﺍﺭ ﻳﺎﺩ ﻣﻰﺷﻮﻧﺪ؛ ﮔﺮﭼﻪ ﺩﺭ‬ ‫ﺍﻳﻦ ﻧﻮﻉ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻋﺒﺎﺭﺕ »ﻏﻮﻝ« ﻛﻪ ﺭﻳﺸﻪﻯ ﻋﺮﺑﻰ ﺩﺍﺭﺩ ﻧﻴﺰ ﺍﻳﺮﺍﺩ ﻭﺍﺭﺩ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﺩﺭ ﻓﻬﺮﺳﺖ‬ ‫ﺩﺳﺖﺍﻧﺪﺭﻛﺎﺭﺍﻥ ﺍﻳﻦ ﻓﻴﻠﻢ ﺑﻪ ﻋﺒﺎﺭﺕ »ﺯﺍﻣﺒﻰ« ﺍﺷﺎﺭﻩ ﺷﺪﻩ ﺑﻮﺩ؛ ﻣﺜ ً‬ ‫ﻼ ﺑﻴﺎﻥ ﺷﺪﻩ ﺑﻮﺩ ﺑﺎﺯﻳﮕﺮ ﻧﻘﺶ »ﺯﺍﻣﺒﻰ‬ ‫ﮔﻮﺭﺳﺘﺎﻥ« ﺷﺨﺼﻰ ﺑﻪ ﻧﺎﻡ ﺑﻴﻞ ﻫﻴﻨﺰﻣﻦ ﺑﻮﺩﻩ ﻭ ﺑﻨﺎﺑﺮﺍﻳﻦ ﺑﻌﻴﺪ ﻧﻴﺴﺖ ﻫﻤﻴﻦ ﺍﺷﺎﺭﺍﺕ‪ ،‬ﻃﺮﻓﺪﺍﺭﺍﻥ ﻓﻴﻠﻢ‬ ‫ﺭﺍ ﺑﻪ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻛﻠﻤﻪﻯ ﺯﺍﻣﺒﻰ ﺗﺮﻏﻴﺐ ﻛﺮﺩﻩ ﺑﺎﺷﺪ‪ .‬ﺧﻮﺩ ﺭﻭﻣﺮﻭﻯ ﻛﺎﺭﮔﺮﺩﺍﻥ ﻫﻢ ﮔﺮﭼﻪ ﺩﺭ ﻓﻴﻠﻢ ﺍﺯ‬ ‫ﻛﻠﻤﻪﻯ ﻏﻮﻝ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﺩﺭ ﻣﺼﺎﺣﺒﻪﻫﺎﻯ ﺑﻌﺪﻯ ﺑﺪﻭﻥ ﻫﻴﭻ ﺩﻟﻴﻠﻰ‪ ،‬ﺷﺮﻭﻉ ﺑﻪ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ‬ ‫ﻛﻠﻤﻪﻯ ﺯﺍﻣﺒﻰ ﻛﺮﺩ‪ .‬ﺧﺼﻮﺻﺎً ﺩﺭ ﻓﻴﻠﻤﻨﺎﻣﻪﻯ »ﻃﻠﻮﻉ ﻣﺮﺩﮔﺎﻥ« ﺭﻭﻣﺮﻭ ﺑﻪ ﺳﺎﻝ ‪ ،1978‬ﺑﻪ ﻛﺮﺍﺕ ﺍﺯ ﺍﻳﻦ‬ ‫ﻛﻠﻤﻪ ﺍﺳﺘﻔﺎﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻛﻠﻤﻪ ﺍﺷﺎﺭﻩﻯ ﻣﺴﺘﻘﻴﻤﻰ ﺑﻪ ﻣﻮﺿﻮﻉ ﺯﺍﻣﺒﻰ ﺩﺭ ﻓﻮﻟﻜﻠﻮﺭ ﻭﻭﺩﻭﻯ ﻫﺎﺋﻴﺘﻰ‬ ‫ﺩﺍﺷﺖ؛ ﮔﺮﭼﻪ ﺑﺴﻴﺎﺭﻯ ﺑﺤﺚ ﻣﻰﻛﻨﻨﺪ ﻛﻪ ﺯﺍﻣﺒﻰﻫﺎﻯ ﻓﻮﻟﻜﻠﻮﺭﻳﻚ ﻫﺎﺋﻴﺘﻰ ﻣﺮﺩﮔﺎﻥ ﺑﻪ ﭘﺎ ﺧﺎﺳﺘﻪ ﻭ‬ ‫ﻭﺣﺸﻰ ﻧﻴﺴﺘﻨﺪ‪ ،‬ﺑﻠﻜﻪ ﻗﺮﺑﺎﻧﻴﺎﻧﻰ ﺑﻰﺁﺯﺍﺭ ﻭ ﻣﻨﻔﻌﻞ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺍﺯ ﺍﻭﻟﻴﻦ ﻛﺘﺎﺏﻫﺎﻳﻰ ﻛﻪ ﻓﺮﻫﻨﮓ ﻏﺮﺏ ﺭﺍ ﺑﺎ ﻣﻔﻬﻮﻡ ﺯﺍﻣﺒﻰﻫﺎﻯ ﻫﺎﺋﻴﺘﻰ ﺁﺷﻨﺎ ﻛﺮﺩ‪ ،‬ﻛﺘﺎﺏ »ﺟﺰﻳﺮﻩﻯ‬ ‫ﺟﺎﺩﻭﻳﻰ« ]‪ [13‬ﻭ‪ .‬ﺏ‪ .‬ﺳﻴﺮﺑﻮﻙ ]‪ [14‬ﺑﻪ ﺳﺎﻝ ‪ 1929‬ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﻛﺘﺎﺏ ﻳﻚ ﻭﻗﺎﻳﻊﻧﮕﺎﺭﻯ ﻣﻬﻴﺞ ﺍﺯ ﺭﺍﻭﻯ‬ ‫ﺍﻭﻝ ﺷﺨﺺ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻫﺎﺋﻴﺘﻰ ﺑﺎ ﻭﻭﺩﻭ ﻭ ﺑﺮﺩﮔﺎﻥ ﺑﻪ ﺯﻧﺪﮔﻰ ﺑﺎﺯﮔﺸﺘﻪﻯ ﺁﻥ ﺭﻭﺑﺮﻭ ﻣﻰﺷﻮﺩ‪ .‬ﻣﺠﻠﻪﻯ‬ ‫ﺗﺎﻳﻢ ﺍﺩﻋﺎ ﻛﺮﺩ‪» :‬ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﻛﻠﻤﻪﻯ »ﺯﺍﻣﺒﻰ« ﺭﺍ ﺑﻪ ﺯﺑﺎﻥ ﺍﻳﺎﻻﺕ ﻣﺘﺤﺪﻩ ﻭﺍﺭﺩ ﺳﺎﺧﺖ‪«.‬‬ ‫ﺩﺭ ‪ 1932‬ﻫﻢ ﻭﻳﻜﺘﻮﺭ ﻫﺎﻟﭙﺮﻳﻦ ]‪ ،[15‬ﻓﻴﻠﻢ ﺗﺮﺳﻨﺎﻙ »ﺯﺍﻣﺒﻰ ﺳﻔﻴﺪ« ]‪ [16‬ﺑﺎ ﺑﺎﺯﻯ ﺑﻼ ﻟﻮﮔﻮﺳﻰ‬ ‫]‪ [17‬ﺭﺍ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﻛﺮﺩ‪ .‬ﺍﻳﻦ ﻓﻴﻠﻢ ﻫﻢ ﺑﺮ ﻣﻔﺎﻫﻴﻢ ﻣﺸﺎﺑﻪ ﻛﺘﺎﺏ ﺳﻴﺮﺑﻮﻙ ﻛﻪ ﺳﻪ ﺳﺎﻝ ﭘﻴﺶ ﻣﻨﺘﺸﺮ‬ ‫‪99‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺍﻓﺴﺎﻧﻪ ﺩﺭ ﻣﻮﺭﺩ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ‪ ،‬ﻳﺎ ﻣﺮﺩﮔﺎﻧﻰ ﻛﻪ ﺩﻓﻦ ﻣﻰﺷﺪﻧﺪ ﻭ ﺑﻌﺪ ﺑﺎ ﺑﺪﻥﻫﺎﻯ ﭘﻮﺳﻴﺪﻩ ﺍﺯ ﻗﺒﺮ ﺑﺮ‬ ‫ﻣﻰﺧﺎﺳﺘﻨﺪ‪ ،‬ﺑﺮﺍﻯ ﻗﺮﻥﻫﺎ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﻧﺎﻣﺮﺩﮔﺎﻥ ﺩﺭ ﺍﺳﺎﻃﻴﺮ ﻧﻮﺭﺱ ﻫﻢ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ ﻭ »ﺩﺭﺍﻭﮔﺮ«‬ ‫]‪ [2‬ﻧﺎﻡ ﺩﺍﺭﻧﺪ؛ ﺩﺭﺍﻭﮔﺮﻫﺎ ﻧﺎﻣﺮﺩﮔﺎﻧﻰ ﺑﻮﺩﻧﺪ ﻛﻪ ﺍﺯ ﻗﺒﺮ ﺑﺮ ﻣﻰﺧﺎﺳﺘﻨﺪ ﻭ ﺍﻃﺮﺍﻑ ﺁﻥ‪ ،‬ﺑﻪ ﺯﻧﺪﮔﺎﻥ ﺣﻤﻠﻪ‬ ‫ﻣﻰﻛﺮﺩﻧﺪ ﻭ ﮔﻮﺷﺖ ﺗﻦ ﺁﻥﻫﺎ ﺭﺍ ﻣﻰﺑﻠﻌﻴﺪﻧﺪ‪ .‬ﺯﻧﺪﻩﺍﻯ ﻛﻪ ﺑﻪ ﺩﺳﺖ ﻳﻚ ﺩﺭﺍﻭﮔﺮ ﻛﺸﺘﻪ ﻣﻰﺷﺪ‪ ،‬ﺧﻮﺩ ﺑﻪ‬ ‫ﺷﻜﻞ ﻳﻚ ﺩﺭﺍﻭﮔﺮ ﺍﺯ ﻗﺒﺮ ﺑﺮ ﻣﻰﺧﺎﺳﺖ ﻭ ﺑﻪ ﺩﻧﺒﺎﻝ ﺯﻧﺪﮔﺎﻥ ﻣﻰﺭﻓﺖ‪.‬‬ ‫ﺍﺯ ﺳﻮﻯ ﺩﻳﮕﺮ‪ ،‬ﻓﺮﺍﻧﻜﻦﺍﺷﺘﺎﻳﻦ ﻣﺎﺭﻯ ﺷﻠﻰ ]‪ [3‬ﮔﺮﭼﻪ ﻳﻚ ﺭﻣﺎﻥ ﺯﺍﻣﺒﻰ ﺗﻤﺎﻡﻋﻴﺎﺭ ﻧﻴﺴﺖ‪ ،‬ﻭﻟﻰ ﺑﺮﺍﻯ‬ ‫ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺍﻳﺪﻩﻫﺎﻯ ﻣﺮﺑﻮﻁ ﺑﻪ ﺭﺳﺘﺎﺧﻴﺰ ﻣﺮﺩﮔﺎﻥ ﺭﺍ ﺑﻪ ﺷﻜﻞ ﻳﻚ ﻓﺮﺁﻳﻨﺪ ﻋﻠﻤﻰ ﻣﺸﺎﺑﻪ ﻗﺮﻥ ﺑﻴﺴﺘﻢ‬ ‫ﺑﻴﺎﻥ ﺳﺎﺧﺖ ﻭ ﺍﻳﻦ ﻃﻮﺭ ﺑﻴﺎﻥ ﻛﺮﺩ ﻛﻪ ﻣﺮﺩﮔﺎﻥ ﺑﺮﺧﺎﺳﺘﻪ‪ ،‬ﻭﺣﺸﻰﺗﺮ ﻭ ﭘﺴﺖﺗﺮ ﺍﺯ ﺯﻧﺪﮔﺎﻥ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﻓﺮﺍﻧﻜﻦﺍﺷﺘﺎﻳﻦ ﻛﻪ ﺳﺎﻝ ‪ 1818‬ﻣﻨﺘﺸﺮ ﺷﺪ‪ ،‬ﺍﺯ ﺍﺳﺎﻃﻴﺮ ﺍﺭﻭﭘﺎﻳﻰ ﺗﻐﺬﻳﻪ ﻛﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﻋﻼﻭﻩ ﺑﺮ ﺯﺍﻣﺒﻰ‪،‬‬ ‫ﺑﻪ ﻣﺎﺟﺮﺍﻫﺎﻯ ﻣﺮﺑﻮﻁ ﺑﻪ ﺧﻮﻥﺁﺷﺎﻣﺎﻥ ﻫﻢ ﭘﺮ ﻭ ﺑﺎﻝ ﻣﻰﺩﺍﺩ‪ .‬ﺷﺎﻳﺪ ﺑﺎﺭﺯﺗﺮﻳﻦ ﻧﻤﻮﻧﻪﻫﺎﻯ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻤﻰ‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺯﺍﻣﺒﻰ‪ ،‬ﻳﻜﻰ »ﻣﺮگ ﻫﺎﻟﭙﻴﻦ ﻓﺮﻳﺰﺭ« ]‪ [4‬ﺍﺯ ﺁﻣﺒﺮﻭﺯ ﺑﻴﺮﺱ ]‪ [5‬ﻭ ﺩﻳﮕﺮﻯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ‬ ‫ﮔﻮﺗﻴﻚ‪-‬ﺭﻣﺎﻧﺘﻴﻚ ﺍﺩﮔﺎﺭ ﺁﻟﻦ ﭘﻮ ﺑﺎﺷﺪ‪ .‬ﮔﺮﭼﻪ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥﻫﺎ ﺩﺭ ﺯﻣﺎﻥ ﺧﻮﺩ ژﺍﻧﺮ ﺯﺍﻣﺒﻰ ﻣﺤﺴﻮﺏ‬ ‫ﻧﻤﻰﺷﺪﻧﺪ‪ ،‬ﺍﻣﺎ ﺑﻌﺪﻫﺎ ﺑﺮ ﺭﻭﻯ ﺍﻓﺮﺍﺩﻯ ﭼﻮﻥ ﻻﻭﻛﺮﻓﺖ ]‪ [6‬ﺗﺎﺛﻴﺮ ﮔﺬﺍﺷﺘﻨﺪ ﻭ ﺑﻪ ﺑﺎﺭ ﻧﺸﺴﺘﻨﺪ‪.‬‬ ‫ﻻﻭﻛﺮﻓﺖ ﺩﺭ ﺩﻫﻪﻫﺎﻯ ‪ 20‬ﻭ ‪ 30‬ﭼﻨﺪﻳﻦ ﻧﻮﻭﻟﺖ ﻧﻮﺷﺖ ﻛﻪ ﺍﺯ ﺯﻭﺍﻳﺎﻯ ﻣﺨﺘﻠﻒ‪ ،‬ﺑﻪ ﺑﺮﺭﺳﻰ ﻣﺴﺎﻟﻪﻯ‬ ‫ﻧﺎﻣﺮﺩﮔﺎﻥ ﻣﻰﭘﺮﺩﺍﺧﺖ‪» .‬ﻫﻮﺍﻯ ﺧﻨﻚ«‪» ،‬ﺩﺭﻭﻥ ﺩﺧﻤﻪ« ﻭ »ﺑﻴﮕﺎﻧﻪ« ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻰ ﺑﺎ ﺣﻀﻮﺭ ﺯﺍﻣﺒﻰﻫﺎ‬ ‫ﻫﺴﺘﻨﺪ؛ ﻭﻟﻰ ﺷﺎﻳﺪ ﻣﻬﻢﺗﺮﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺯﺍﻣﺒﻰﮔﻮﻧﻪﻯ ﻻﻭﻛﺮﻓﺖ‪» ،‬ﻫﺮﺑﺮﺕ ﻭﺳﺖ‪-‬ﺯﻧﺪﻩﺳﺎﺯ« ]‪ [7‬ﺑﺎﺷﺪ‬ ‫ﻛﻪ ﺩﺭ ‪ 1921‬ﻣﻨﺘﺸﺮ ﺷﺪ ﻭ ﺗﺎﺛﻴﺮ ﻋﻈﻴﻤﻰ ﺩﺭ ﺗﻌﺮﻳﻒ ﻭ ﺗﻌﻴﻴﻦ ﻣﻔﻬﻮﻡ ﺯﺍﻣﺒﻰ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﺩﺍﺷﺖ‪ .‬ﺩﺭ ﺍﻳﻦ‬ ‫ﺩﺍﺳﺘﺎﻥ ﻓﺮﺍﻧﻜﻦﺍﺷﺘﺎﻳﻦﻭﺍﺭ‪ ،‬ﺑﺎ ﻫﺮﺑﺮﺕ ﻭﺳﺖ ﺭﻭﺑﺮﻭ ﻣﻰﺷﻮﻳﻢ ﻛﻪ ﺩﺍﻧﺸﻤﻨﺪﻯ ﺩﻳﻮﺍﻧﻪ ﺍﺳﺖ ﻭ ﻣﻰﺧﻮﺍﻫﺪ‬ ‫ِ‬ ‫ﻣﺮﺩﮔﺎﻥ ﺭﺍ ﺯﻧﺪﻩ ﺳﺎﺯﺩ ﻭ ﺩﺭ ﺍﻳﻦ ﺭﺍﻩ‪ ،‬ﺑﺎ ﻧﺘﺎﻳﺞ ﻣﺨﺘﻠﻔﻰ ﺭﻭﺑﺮﻭ ﻣﻰﺷﻮﺩ‪ .‬ﻣﺮﺩﮔﺎﻥ ﺑﻪ ﺯﻧﺪﮔﻰ ﺑﺮﮔﺸﺘﻪ‬ ‫ﻣﺸﺨﺼﺎً ﻏﻴﺮﻗﺎﺑﻞ ﻛﻨﺘﺮﻝ‪ ،‬ﻣﻌﻤﻮﻻً ﮔﻨﮓ‪ ،‬ﺑﺪﻭﻯ ﻭ ﺷﺪﻳﺪﺍ ً ﻭﺣﺸﻰ ﻭ ﺧﺸﻦ ﻫﺴﺘﻨﺪ؛ ﺑﺎ ﺍﻳﻦ ﻛﻪ ﺍﻳﻦ‬ ‫ﻣﻮﺟﻮﺩﺍﺕ ﺑﺎ ﻋﺒﺎﺭﺕ »ﺯﺍﻣﺒﻰ« ﻧﺎﻣﻴﺪﻩ ﻧﻤﻰﺷﻮﻧﺪ‪ ،‬ﺍﻣﺎ ﺗﻮﺻﻴﻒ ﺁﻥﻫﺎ ﺩﻗﻴﻖ ﺍﺳﺖ ﻭ ﺍﻭﻟﻴﻦ ﭘﻴﺶﺑﻴﻨﻰ ﺩﺭ‬ ‫ﻣﻮﺭﺩ ﻇﻬﻮﺭ ﺯﺍﻣﺒﻰ ﺩﺭ ﺩﻫﻪﻫﺎﻯ ﺑﻌﺪ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺩﺭ ﺳﺎﻝ ‪ 1936‬ﻓﻴﻠﻤﻰ ﺑﺎ ﻋﻨﻮﺍﻥ »ﭼﻴﺰﻫﺎﻳﻰ ﻛﻪ ﺍﺯ ﺭﺍﻩ ﺧﻮﺍﻫﻨﺪ ﺭﺳﻴﺪ« ]‪ [8‬ﺑﺮ ﺍﺳﺎﺱ ﺭﻣﺎﻧﻰ ﺍﺯ ﺍچ‪ .‬ﺟﻰ‪.‬‬ ‫ﻭﻟﺰ ﺳﺎﺧﺘﻪ ﺷﺪ ﻭ ﺑﺎ ﺳﻨﺎﺭﻳﻮﻯ ﺧﻮﺩ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﻳﻚ ﺑﻴﻤﺎﺭﻯ ﻭﺍﮔﻴﺮﺩﺍﺭ ﻛﻪ ﻣﻨﺠﺮ ﺑﻪ ﻇﻬﻮﺭ ﺑﻴﻤﺎﺭﺍﻧﻰ‬ ‫ﺳﺮﮔﺮﺩﺍﻥ ﻭ ﺁﻟﻮﺩﻩ ﻣﻰﺷﺪ‪ ،‬ﻧﻮﻳﺪﻯ ﺑﺮ ﻇﻬﻮﺭ ﺯﺍﻣﺒﻰ ﺩﺭ ﺳﺎﻝﻫﺎﻯ ﺁﻳﻨﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻳﻦ ﻓﻴﻠﻢ ﻳﻜﻰ ﺍﺯ ﺍﻭﻟﻴﻦ‬ ‫ﻧﻤﻮﻧﻪﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺁﻥ ﮔﺮﻭﻫﻰ ﻛﻮﭼﻚ ﺍﺯ ﺍﻧﺴﺎﻥﻫﺎﻯ ﺑﺎﺯﻣﺎﻧﺪﻩ‪ ،‬ﺩﺭ ﻣﻘﺎﺑﻞ ﺩﻧﻴﺎﻳﻰ ﺧﺸﻦ ﻭ ﻭﺣﺸﻰ‪،‬‬ ‫ﺳﻌﻰ ﺑﻪ ﺑﻘﺎ ﻭ ﻧﺠﺎﺕ ﺩﺍﺷﺘﻨﺪ ﻭ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﻓﻴﻠﻢﻫﺎﻯ ﺯﺍﻣﺒﻰ ﺍﻣﺮﻭﺯﻯ‪ ،‬ﻧﻤﻮﻧﻪﻯ ﺧﻮﺑﻰ ﻣﺤﺴﻮﺏ‬ ‫ﻣﻰﺷﻮﺩ‪.‬‬ ‫‪98‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻣﻘﺎﻟﻪ‬

‫ﻣﻮﺿﻮﻉ ﺍﻧﺸﺎء‪:‬‬ ‫ﺯﺍﻣﺒﻰ ﭼﻪ ﺑﻮﺩ ﻭ ﭼﻪ ﻛﺮﺩ؟!‬ ‫ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

‫ﺯﺍﻣﺒﻰ ﻣﻮﺟﻮﺩﻯ ﻧﺎﻣﺮﺩﻩ ﺍﺳﺖ؛ ﺫﻫﻦ ﻭ ﻫﺸﻴﺎﺭﻯ ﻧﺪﺍﺭﺩ ﻭ ﻓﻘﻂ ﻣﺮﺩﻩﺍﻯ ﺍﺳﺖ ﻛﻪ ﺑﺮﺧﺎﺳﺘﻪ‬ ‫ﻭ ﺍﻛﻨﻮﻥ ﻋﻄﺶ ﮔﻮﺷﺖ ﺗﻦ ﺍﻧﺴﺎﻥ‪ ،‬ﺧﺼﻮﺻﺎً ﻣﻐﺰ ﺍﻭ ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﻛﻪ ﺯﺍﻣﺒﻰﻫﺎﻯ ﺍﺩﺑﻰ‬ ‫ﺷﺒﺎﻫﺖﻫﺎﻯ ﺧﺎﺻﻰ ﺑﺎ ﻧﻤﻮﻧﻪﻫﺎﻯ ﻓﻮﻟﻜﻠﻮﺭﻳﻚ ﺩﺭ ﻫﺎﺋﻴﺘﻰ ﺩﺍﺭﻧﺪ‪ ،‬ﺍﻣﺎ ﺍﺭﺗﺒﺎﻁ ﺍﻳﻦ ﺩﻭ ﻧﻮﻉ ﺯﺍﻣﺒﻰ‬ ‫ﺑﺎ ﻫﻢ ﻧﺎﻣﺸﺨﺺ ﺍﺳﺖ‪.‬‬ ‫ﺷﺎﻳﺪ ﺍﻭﻟﻴﻦ ﺍﺷﺎﺭﻩ ﺑﻪ ﻣﻮﺟﻮﺩﻯ ﻧﺎﻣﺮﺩﻩ ﻭ ﺗﺸﻨﻪﻯ ﮔﻮﺷﺖ ﺍﻧﺴﺎﻥ‪ ،‬ﺩﺭ ﺍﻓﺴﺎﻧﻪﻯ ﮔﻴﻠﮕﻤﺶ ]‪[1‬‬ ‫ﺑﺎﺷﺪ‪ .‬ﺩﺭ ﺟﺎﻳﻰ ﺍﻟﻬﻪﻯ ﺍﻳﺸﺘﺎﺭ ﭼﻨﻴﻦ ﻭﻋﺪﻩ ﻣﻰﺩﻫﺪ‪:‬‬

‫»دروازهﻫﺎی ﺟﻬﺎن زﯾﺮﯾﻦ را ﺑﺮ ﺧﻮاﻫﻢ اﻧﺪاﺧﺖ‬ ‫ﭼﺎرﭼﻮبﻫﺎ را از ﺟﺎ در آورده و درﻫﺎ را ﺑﻪ زﻣﯿﻦ ﺧﻮاﻫﻢ اﻧﺪاﺧﺖ‬ ‫و ﻣﺮدهﻫﺎ را ﺑﺮ ﻣﯽﺧﯿﺰاﻧﻢ ﺗﺎ زﻧﺪهﻫﺎ را ﺑﺒﻠﻌﻨﺪ!‬ ‫و ﻣﺮدﮔﺎن از زﻧﺪﮔﺎن ﻓﺰوﻧﯽ ﺧﻮاﻫﻨﺪ ﮔﺮﻓﺖ!«‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫* ﺗﺮﺟﻤﻪﻯ ﻛﺎﻣﻞ ﺗﺮﺍﻧﻪ ﻯ ﺯﺍﻣﺒﻰ )‪ (Zombie‬ﺍﺯ ﮔﺮﻭﻩ ﻛﺮﻳﻨﺒﺮﻳﺰ )‪ (Cranberries‬ﻛﻪ ﺩﺭ ﺩﺍﺳﺘﺎﻥ ﺁﻭﺭﺩﻩ ﺷﺪﻩ‪ ،‬ﭼﻨﻴﻦ ﺍﺳﺖ‪:‬‬

‫ﴎ دﯾﮕﺮی از ﻃﻨﺎب دار آوﯾﺰون ﻣﯽﺷﻪ‬ ‫ﮐﻮدﮐﯽ ﺑﻪ آﻫﺴﺘﮕﯽ ﮔﺮﻓﺘﻪ ﻣﯽﺷﻪ‬ ‫و ﺧﺸﻮﻧﺖ ﮐﻪ ﺑﺎﻋﺚ ﭼﻨﯿﻦ ﺳﮑﻮﺗﯿﻪ‬ ‫ﻣﺎ ﺑﺎ ﮐﯽ اﺷﺘﺒﺎه ﮔﺮﻓﺘﻪ ﺷﺪﯾﻢ؟‬ ‫وﻟﯽ ﺗﻮ ﻣﯽﺑﯿﻨﯽ‪ ،‬اون ﻣﻦ ﻧﯿﺴﺘﻢ‪ ،‬اون ﮐﺲ و ﮐﺎر ﻣﻦ ﻧﯿﺴﺖ‬ ‫ﺗﻮی ﴎت‪ ،‬ﺗﻮی ﮐﻠﻪات‪ ،‬اوﻧﺎ دارن ﻣﯽﺟﻨﮕﻦ‬ ‫ﺑﺎ ﺗﺎﻧﮏﻫﺎﺷﻮن و مبﺐﻫﺎﺷﻮن‬ ‫ﺗﻮی ﴎت‪ ،‬ﺗﻮی ﮐﻠﻪات‪ ،‬ﮔﺮﯾﻪ ﻣﯽﮐﻨﻦ‬ ‫ﺗﻮی ﴎت‪ ،‬ﺗﻮی ﮐﻠﻪات‬ ‫آﻫﺎی زاﻣﺒﯽ‪ ،‬ﻫﯽ زاﻣﺒﯽ‪ ،‬زاﻣﺒﯽ‬ ‫ﭼﯽ ﺗﻮ ﴎﺗﻪ؟‬ ‫ﻫﯽ! ﻫﯽ! ﻫﯽ! ﺗﻮی ﴎت‬ ‫آﻫﺎی زاﻣﺒﯽ‪ ،‬ﻫﯽ زاﻣﺒﯽ‪ ،‬زاﻣﺒﯽ؟‬ ‫ﻣﺎدر دﯾﮕﻪای ﺧُﺮد ﻣﯽﺷﻪ‬ ‫ﻗﻠﺐ دﯾﮕﻪای دور اﻧﺪاﺧﺘﻪ‬ ‫زﻣﺎﻧﯽ ﮐﻪ ﺧﺸﻮﻧﺖ ﭼﻨﯿﻦ ﺳﮑﻮﺗﯽ رو ﺑﺎر آورده‬ ‫ﺣﺘام اﺷﺘﺒﺎه ﮔﺮﻓنت‬ ‫ﻣﺎ رو ً‬ ‫ﻫﻤﻪش ﻫﻤﻮﻧﻄﻮره ﮐﻪ از ‪ ۱۹۱۶‬ﺑﻮده‬ ‫ﺗﻮی ﮐﻠﻪات‪ ،‬ﺗﻮی ﴎت‪ ،‬اوﻧﺎ ﻫﻤﭽﻨﺎن ﻣﯽﺟﻨﮕﻦ‬ ‫ﺑﺎ ﺗﺎﻧﮏﻫﺎﺷﻮن و مبﺐﻫﺎﺷﻮن‬ ‫و مبﺐ ﻫﺎﺷﻮن‪ ،‬ﺗﻔﻨﮓﻫﺎﺷﻮن‬ ‫ﺗﻮی ﴎت‪ ،‬ﺗﻮی ﮐﻠﻪت‪ ،‬اوﻧﺎ ﻣﯽﻣﯿﺮن‬ ‫ﺗﻮی ﴎت‪ ،‬ﺗﻮ ﮐﻠﻪات‬ ‫آﻫﺎی زاﻣﺒﯽ‪ ،‬ﻫﯽ زاﻣﺒﯽ‪ ،‬زاﻣﺒﯽ‬ ‫ﭼﯽ ﺗﻮ ﴎﺗﻪ؟‬ ‫ﻫﯽ! ﻫﯽ! ﻫﯽ! ﺗﻮی ﴎت‬ ‫آﻫﺎی زاﻣﺒﯽ‪ ،‬ﻫﯽ زاﻣﺒﯽ‪ ،‬زاﻣﺒﯽ؟‬

‫‪95‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺫﻫﻦ ﻣﺼﻄﻔﻰ ﺧﺴﺘﻪ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﺩﻳﮕﺮ ﺩﻟﺶ ﻧﻤﻰﺧﻮﺍﺳﺖ ﺑﻪ ﻫﻴﭻ ﭼﻴﺰ ﻓﻜﺮ ﻛﻨﺪ‪ .‬ﻧﻤﻰﺧﻮﺍﺳﺖ ﺑﻪ‬ ‫ﺭﻭﺯﻫﺎﻯ ﺧﻮﺑﻰ ﻛﻪ ﺑﻮﺩﻩ ﺍﺳﺖ ﻓﻜﺮ ﻛﻨﺪ‪ ،‬ﻧﻤﻰﺧﻮﺍﺳﺖ ﺑﻪ ﺭﻭﺯﻫﺎﻳﻰ ﻛﻪ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺧﻮﺏ ﺑﺎﺷﻨﺪ ﻓﻜﺮ‬ ‫ﻛﻨﺪ‪ .‬ﺷﻴﺸﻪﻫﺎ ﺗﻘﻰ ﻛﺮﺩﻧﺪ ﻭ ﺑﻌﺪ ﺑﺎ ﺣﺎﻟﺘﻰ ﺍﻧﻔﺠﺎﺭﻯ ﺧﺮﺩ ﺷﺪﻧﺪ ﻭ ﺑﺮ ﺳﺮ ﻭ ﺻﻮﺭﺕ ﻣﺼﻄﻔﻰ ﭘﺎﺷﻴﺪﻧﺪ‪.‬‬ ‫ﻫﻤﺰﻣﺎﻥ ﺳﻴﺎﻫﻰﻫﺎ ﺑﻪ ﺩﺍﺧﻞ ﺁﻣﺪﻧﺪ ﻭ ﺍﺯ ﺗﻤﺎﻣﻰ ﺳﻮﺭﺍﺥﻫﺎﻯ ﻛﻠﻪ ﻭﺍﺭﺩ ﺳﺮﺵ ﺷﺪﻧﺪ‪.‬‬ ‫ﺍﺗﻮﻣﺒﻴﻞ ﺑﻪ ﺟﺎﻳﻰ ﻧﺎﻣﻌﻠﻮﻡ ﺑﺮﺧﻮﺭﺩ ﻛﺮﺩ‪ .‬ﻧﻪ ﻣﺜﻞ ﻓﻴﻠﻢﻫﺎﻯ ﺳﻴﻨﻤﺎﻳﻰ ﺑﻠﻨﺪ ﺷﺪ ﻭ ﻣﻌﻠﻖ ﺯﺩ ﻭ ﻧﻪ‬ ‫ﺁﺗﺶ ﮔﺮﻓﺖ ﻭ ﻣﻨﻔﺠﺮ ﮔﺸﺖ‪ .‬ﺗﻖ! ﺻﺪﺍﻯ ﻣﭽﺎﻟﻪ ﺷﺪﻥ ﺁﻫﻦ ﺑﻪ ﮔﻮﺵ ﺭﺳﻴﺪ‪ ،‬ﺳﺮ ﻣﺼﻄﻔﻰ ﺭﻭ ﻓﺮﻣﺎﻥ‬ ‫ﻛﻮﺑﻴﺪﻩ ﺷﺪ ﻭ ﺩﻳﮕﺮ ﭼﺸﻤﺎﻧﺶ ﺭﺍ ﺑﺎﺯ ﻧﻜﺮﺩ‪ .‬ﺻﺪﺍﻯ ﻣﻮﺳﻴﻘﻰ ﻗﻄﻊ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫‪ ‬ﺻﺒﺢ‪ ،‬ﺧﺴﺘﻪ ﻭ ﺑﻰﺭﻣﻖ ﺧﻮﺩﺵ ﺭﺍ ﺍﺯ ﭘﺸﺖ ﭘﺮﺩﻩﻫﺎﻯ ﺍﺗﺎﻕ ﺑﻪ ﺩﺭﻭﻥ ﺧﺎﻧﻪ ﺍﻧﺪﺍﺧﺖ‪ .‬ﻣﺼﻄﻔﻰ‪ ،‬ﺑﺎ‬ ‫ﺧﻠﻘﻰ ﺗﻨﮓ ﺍﺯ ﺭﺧﺘﺨﻮﺍﺏ ﺑﻠﻨﺪ ﺷﺪ‪ ،‬ﺭﻭﻯ ﻟﺒﻪﻯ ﺗﺨﺖ ﻧﺸﺴﺖ ﻭ ﺍﺯ ﺁﺏ ﻭﻟﺮﻣﻰ ﻛﻪ ﺗﻮﻯ ﭘﺎﺭچ ﻛﻨﺎﺭ‬ ‫ﺗﺨﺘﺶ ﺑﻮﺩ‪ ،‬ﻟﻴﻮﺍﻧﻰ ﻧﻮﺷﻴﺪ‪ .‬ﺻﺪﺍﻯ ﺍﺗﻮﻣﺒﻴﻞﻫﺎ ﺑﻪ ﻃﻮﺭ ﻣﺪﺍﻭﻡ ﻫﻤﭽﻮﻥ ﺳﺮﺗﺎﺳﺮ ﻃﻮﻝ ﺷﺐ ﺍﺯ ﺧﻴﺎﺑﺎﻥ‬ ‫ﺑﻪ ﮔﻮﺵ ﻣﻰﺭﺳﻴﺪ‪ .‬ﻣﺼﻄﻔﻰ ﺩﻛﻤﻪﻯ ﻛﺘﺮﻯ ﺑﺮﻗﻰ ﺭﺍ ﺯﺩ ﻭ ﺗﺎ ﺁﺏ ﺟﻮﺵ ﺑﻴﺎﻳﺪ ﺩﺭ ﺟﺎ ﺍﻳﺴﺘﺎﺩ‪ .‬ﭼﺎﻯ‬ ‫ﻛﻴﺴﻪﺍﻯ ﺭﺍ ﺩﺍﺧﻞ ﻟﻴﻮﺍﻥ ﺍﻧﺪﺍﺧﺖ ﻭ ﺁﺏ ﺟﻮﺵ ﺭﺍ ﺭﻭﻳﺶ ﺭﻳﺨﺖ‪ .‬ﺑﺨﺎﺭ ﺁﺏ ﺩﺍﻍ ﺍﺯ ﺭﻭﻯ ﻟﻴﻮﺍﻥ ﺑﻠﻨﺪ‬ ‫ﻣﻰﺷﺪ‪ ،‬ﺍﻣﺎ ﻧﮕﺎﻩ ﺑﻰﺭﻭﺡ ﻣﺮﺩﻯ ﻛﻪ ﭼﻨﺪﺍﻥ ﺟﻮﺍﻥ ﺑﻪ ﻧﻈﺮ ﻧﻤﻰﺭﺳﻴﺪ ﺑﻪ ﺟﺎﻳﻰ ﻧﺎﻣﻌﻠﻮﻡ ﺩﻭﺧﺘﻪ ﺷﺪﻩ‬ ‫ﺑﻮﺩ‪ .‬ﺩﻭ ﺩﻗﻴﻘﻪ ﺻﺒﺮ ﻛﺮﺩ ﻭ ﺑﻌﺪ ﻃﺒﻖ ﻋﺎﺩﺕ ﺑﺪﻭﻥ ﻗﻨﺪ ﭼﺎﻳﻰﺍﺵ ﺭﺍ ﺳﺮ ﻛﺸﻴﺪ‪ ،‬ﻟﺒﺎﺱ ﭘﻮﺷﻴﺪ ﻭ ﺑﻪ‬ ‫ﺳﻤﺖ ﻣﺤﻞ ﻛﺎﺭﺵ ﻋﺎﺯﻡ ﺷﺪ‪.‬‬ ‫ﺻﺪﺍﻯ ﺍﺭﻩﺑﺮﻗﻰ ﻛﻞ ﻛﻮﭼﻪ ﺭﺍ ﺑﺮﺩﺍﺷﺘﻪ ﺑﻮﺩ‪ .‬ﺗﺎﺑﻠﻮﻯ ﺯﺭﺩ ﺭﻧﮕﻰ ﻛﻪ ﺭﻭﻳﺶ ﻋﻨﻮﺍﻥ ﻳﻚ ﻣﺮﻛﺰ ﺗﺠﺎﺭﻯ ﺭﺍ‬ ‫ﻧﻮﺷﺘﻪ ﺑﻮﺩﻧﺪ‪ ،‬ﺟﻠﻮﻯ ﻭﺭﻭﺩﻯ ﺑﺎﻍ ﻗﺪﻳﻤﻰ ﺯﺩﻩ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺩﺭﺧﺖﻫﺎﻯ ﺑﺎﻍ ﻳﻚ ﺑﻪ ﻳﻚ ﻓﺮﻭ ﻣﻰﺍﻓﺘﺎﺩﻧﺪ‪.‬‬ ‫ﺩﺭﺧﺖ ﺧﺮﻣﺎﻟﻮﻯ ﭘﻴﺮ ﺑﺎﻍ‪ ،‬ﭘﻴﺶ ﺍﺯ ﻓﺮﻭ ﺍﻓﺘﺎﺩﻥ ﻣﻴﻮﻩﻫﺎﻳﺶ ﺭﺍ ﺑﺮ ﺭﻭﻯ ﺯﻣﻴﻦ ﺭﻫﺎ ﻣﻰﻛﺮﺩ‪ .‬ﺧﺮﻣﺎﻟﻮﻳﻰ‬ ‫ﭘﻴﺶ ﭘﺎﻯ ﻣﺼﻄﻔﻰ ﺍﻓﺘﺎﺩ‪ ،‬ﺍﻣﺎ ﻧﺘﺮﻛﻴﺪ‪ .‬ﻣﺼﻄﻔﻰ‪ ،‬ﺭﺍﻩ ﻛﺞ ﻛﺮﺩ ﻭ ﺍﺯ ﻛﻨﺎﺭ ﺁﻥ ﮔﺬﺷﺖ‪ .‬ﺩﺭ ﺍﺑﺘﺪﺍﻯ‬ ‫ﺧﻴﺎﺑﺎﻥ ﻭﻟﻰﻋﺼﺮ ﺑﻪ ﺍﻳﺴﺘﮕﺎﻩ ﺍﺗﻮﺑﻮﺱ ﺭﻓﺖ ﻭ ﻣﻨﺘﻈﺮ ﺑﻰ‪.‬ﺁﺭ‪.‬ﺗﻰﻫﺎﻯ ﻣﻴﺪﺍﻥ ﺭﺍﻩﺁﻫﻦ ﺷﺪ‪ .‬ﻳﺎﺩﺵ ﻧﻤﻰ‬ ‫ﺁﻣﺪ ﻛﻰ‪ ،‬ﺍﻣﺎ ﺯﻣﺎﻧﻰ ﻫﺮ ﺭﻭﺯ ﺍﻳﻦ ﻣﺴﻴﺮ ﺭﺍ ﭘﻴﺎﺩﻩ ﻣﻰﺭﻓﺖ‪ .‬ﺳﺮ ﭘﺎ ﻛﻨﺎﺭ ﺁﺩﻡﻫﺎﻳﻰ ﺍﻳﺴﺘﺎﺩ ﻛﻪ ﺳﺮﺷﺎﻥ ﺩﺭ‬ ‫ﻻﻙ ﺧﻮﺩﺷﺎﻥ ﺑﻮﺩ ﻭ ﺑﻪ ﻣﺤﻞ ﻛﺎﺭ ﻣﻰﺭﻓﺘﻨﺪ‪ .‬ﺁﺩﻡﻫﺎﻳﻰ ﺑﺎ ﭼﻬﺮﻩﻫﺎﻯ ﺗﻜﻴﺪﻩ ﻭ ﭘﻴﺮﺍﻫﻦﻫﺎﻯ ﻳﻚﺩﺳﺖ‬ ‫ﺧﺎﻛﺴﺘﺮﻯ‪ .‬ﺩﺭ ﻳﻚ ﺍﻳﺴﺘﮕﺎﻩ ﺳﻮﺍﺭ ﻣﻰﺷﺪﻧﺪ ﻭ ﺩﺭ ﺍﻳﺴﺘﮕﺎﻫﻰ ﺩﻳﮕﺮ ﭘﻴﺎﺩﻩ‪ ...‬ﺩﻩ ﺩﻗﻴﻘﻪﻯ ﺑﻌﺪ ﺍﺗﻮﺑﻮﺱ‬ ‫ﺩﺭ ﺍﻳﺴﺘﮕﺎﻩ ﻣﻨﻴﺮﻳﻪ ﺗﺮﻣﺰ ﺯﺩ ﻭ ﻣﺼﻄﻔﻰ ﺍﺯ ﺁﻥ ﭘﻴﺎﺩﻩ ﺷﺪ‪ .‬ﻣﻘﺎﺑﻞ ﺳﺎﺧﺘﻤﺎﻥ ﺩﻓﺘﺮ ﻧﻘﺸﻪﻛﺸﻰ ﻟﺤﻈﻪﺍﻯ‬ ‫ﺩﺭﻧﮓ ﻛﺮﺩ‪ .‬ﺑﻪ ﭘﺸﺖ ﺳﺮﺵ‪ ،‬ﺑﻪ ﺧﻴﺎﺑﺎﻥ ﭘﺎﻳﻴﺰ ﺯﺩﻩﻯ ﻭﻟﻰﻋﺼﺮ ﻛﻪ ﻣﻰﺧﻮﺍﻧﺪﺵ ﻧﮕﺎﻫﻰ ﺍﻧﺪﺍﺧﺖ‪ ،‬ﺑﻌﺪ‬ ‫ﺍﻣﺎ ﺳﺮﮔﺮﺩﺍﻧﺪ ﻭ ﭘﻠﻪﻫﺎﻯ ﻣﺤﻞ ﻛﺎﺭﺵ ﺭﺍ ﺑﺮﺍﻯ ﺑﺎﺭ ﻧﺎﻣﻌﻠﻮﻣﻰ ﺑﺎﻻ ﺭﻓﺖ‪.‬‬

‫‪94‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﻧﻤﻰﺧﻮﺍﻡ ﻣﻐﺰﻡ ﺍﺯﺷﻮﻥ ﭘﺮ ﺑﺸﻪ‪ ،‬ﻧﻤﻰﺧﻮﺍﻡ ﺯﺍﻣﺒﻰ ﺑﺸﻢ‪ .‬ﺩﺳﺖ ﺑﺮﺩﺍﺭ‪ ،‬ﻭﻟﻢ ﻛﻦ‪ ،‬ﺯﺍﻣﺒﻰ‪ ،‬ﺯﺍﻣﺒﻰ‪،‬‬ ‫ﺯﺍﻣﺒﻰ‪«...‬‬ ‫ﻭ ﺻﺪﺍﻳﻰ ﺭﺍ ﺩﺭ ﮔﻮﺷﺶ ﺷﻨﻴﺪ‪:‬‬ ‫‪But you see, it's not me, it's not my family‬‬ ‫‪In your head, in your head they are fighting‬‬ ‫‪With their tanks and their bombs‬‬ ‫‪And their bombs and their guns‬‬ ‫‪In your head, in your head, they are crying...‬‬

‫ﺻﺪﺍ ﺑﺴﻴﺎﺭ ﻭﺍﺿﺢ ﻭ ﻧﺰﺩﻳﻚ ﺑﻮﺩ‪ .‬ﻧﮕﺎﻫﻰ ﺑﻪ ﺿﺒﻂ ﻣﺎﺷﻴﻦ ﺍﻧﺪﺍﺧﺖ ﺍﻣﺎ ﺧﺎﻣﻮﺵ ﺑﻮﺩ‪ .‬ﺩﻧﺪﻩ ﺭﺍ ﻋﻮﺽ‬ ‫ﻛﺮﺩ ﻭ ﺑﻴﺸﺘﺮ ﮔﺎﺯ ﺩﺍﺩ‪...‬‬ ‫‪In your head, in your head‬‬ ‫‪Zombie, zombie, zombie‬‬ ‫?‪Hey! Hey! Hey! What's in your head‬‬ ‫‪In your head‬‬ ‫?‪Zombie, zombie, zombie‬‬ ‫!‪Hey! Hey! Hey! Hey! Oh! Dou! Dou! Dou! Dou! Dou‬‬

‫ﺳﺎﺏﻭﻭﻓﺮ ﺧﺎﻣﻮﺵ ﻛﻞ ﻣﺎﺷﻴﻦ ﺭﺍ ﻣﻰﻟﺮﺯﺍﻧﺪ‪ .‬ﻣﺼﻄﻔﻰ ﻫﺮ ﻟﺤﻈﻪ ﺳﺮﻋﺘﺶ ﺭﺍ ﺑﻴﺸﺘﺮ ﻣﻰﻛﺮﺩ ﻭ ﺍﺯ‬ ‫ﻣﻘﺎﺑﻞ ﺧﺎﻧﻪﻯ ﺁﺩﻡﻫﺎﻯ ﻓﻘﻴﺮ‪ ،‬ﺁﺩﻡﻫﺎﻯ ﻣﺘﻮﺳﻂ ﻭ ﺁﺩﻡﻫﺎﻯ ﺛﺮﻭﺗﻤﻨﺪ ﻣﻰﮔﺬﺷﺖ‪ .‬ﺧﺎﻧﻪﻫﺎﻳﻰ ﺍﺟﺎﺭﻩﺍﻯ‪،‬‬ ‫ﺭﻫﻨﻰ ﻭ ﺧﺮﻳﺪﺍﺭﻯ ﺷﺪﻩ‪...‬‬ ‫'‪Another mother's breakin‬‬ ‫‪Heart is taking over‬‬ ‫‪When the vi'lence causes silence‬‬ ‫‪We must be mistaken‬‬

‫ﺳﺎﻳﻪﻫﺎ ﺍﺯ ﻫﺮ ﻃﺮﻑ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺑﻪ ﻣﺎﺷﻴﻦ ﻣﻰﺭﺳﺎﻧﺪﻧﺪ ﻭ ﺑﺮ ﺑﺪﻧﻪﻯ ﺁﻥ ﻓﺸﺎﺭ ﻣﻰﺁﻭﺭﺩﻧﺪ‪ .‬ﺗﻨﻬﺎ ﻧﻮﺭﻫﺎ‬ ‫ﺑﻮﺩﻧﺪ ﻛﻪ ﺩﺭ ﺍﻃﺮﺍﻓﺶ ﻛﺸﻴﺪﻩ ﻣﻰﺷﺪﻧﺪ ﻭ ﺳﻴﺎﻫﻰﻫﺎﻳﻰ ﻛﻪ ﺍﺣﺎﻃﻪﺍﺵ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫?‪What's in your head‬‬ ‫‪In your head‬‬ ‫?‪Zombie, zombie, zombie‬‬

‫‪93‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﻫﻮﺍ ﺷﺪ‪ .‬ﭘﺲ ﭘﺎﻳﻴﺰ ﺩﻳﮕﺮ ﻛﺎﻣ ً‬ ‫ﻼ ﺍﺯ ﺭﺍﻩ ﺭﺳﻴﺪﻩ ﺑﻮﺩ‪.‬‬ ‫»ﺳﻴﮕﺎﺭ ﺩﺍﺭﻯ؟ ﺍﻛﺴﻴﮋﻥ ﺍﻳﻦ ﺑﺎﻻ ﺯﻳﺎﺩﻩ‪«...‬‬ ‫ﻣﺼﻄﻔﻰ ﺩﺳﺖ ﺩﺭ ﺟﻴﺒﺶ ﻛﺮﺩ ﻭ ﭘﺎﻛﺖ ﺑﻬﻤﻦ ﻛﻮﭼﻚ ﺭﺍ ﺑﻴﺮﻭﻥ ﺁﻭﺭﺩ ﻭ ﺭﻭ ﺑﻪ ﺍﻭ ﮔﺮﻓﺖ‪.‬‬ ‫»ﻣﺮﺳﻰ ﺭﻓﻴﻖ‪«.‬‬ ‫ﻣﻮﺟﻮﺩﻯ ﺑﻮﺩ ﺳﺮﺍﺳﺮ ﻳﺎﺱ ﻭ ﻧﺎﺍﻣﻴﺪﻯ ﻛﻪ ﺯﺑﺎﻥ ﺭﺍ ﺑﻨﺪ ﻣﻰﺁﻭﺭﺩ‪ .‬ﺑﺎ ﻓﻨﺪﻙ ﺳﻴﮕﺎﺭﺵ ﺭﺍ ﮔﻴﺮﺍﻧﺪ ﻭ ﺩﺭ‬ ‫ﺗﺎﺭﻳﻜﻰ ﭼﻨﺪ ﭘﻜﻰ ﺑﻪ ﺁﻥ ﺯﺩ‪ .‬ﻫﺮ ﺑﺎﺭ ﻛﻪ ﺩﻭﺩ ﺭﺍ ﻣﻰﺩﻣﻴﺪ‪ُ ،‬ﮔ ِﺮ ﺳﻴﮕﺎﺭ ﺳﺮﺥﺗﺮ ﻣﻰﺷﺪ ﻭ ﻣﺼﻄﻔﻰ ﺩﺭ‬ ‫ﻧﻮﺭ ﺁﻥ ﻣﻰﺗﻮﺍﻧﺴﺖ ﭼﻬﺮﻩﻯ ﺯﻳﺒﺎ ﻭ ﻫﺮﺍﺱﺍﻧﮕﻴﺰ ﺯﻥ ﺭﺍ ﺑﺒﻴﻨﺪ‪.‬‬ ‫»ﻭﻗﺖ ﺧﻮﺑﻰ ﺑﺮﺍﻯ ﻭﺍ ﺩﺍﺩﻧﻪ‪ ،‬ﻣﮕﻪ ﻧﻪ؟«‬ ‫ﺑﺮﺍﻯ ﻣﺼﻄﻔﻰ ﺳﺨﺖ ﻧﺒﻮﺩ ﺗﺎ ﻣﻨﻈﻮﺭ ﺯﻥ ﺭﺍ ﺑﻔﻬﻤﺪ‪ .‬ﭼﻮﻥ ﺧﻮﺩﺵ ﺑﻪ ﻫﻤﺎﻥ ﻓﻜﺮ ﻣﻰﻛﺮﺩ‪ .‬ﺍﺷﻚ ﺍﺯ‬ ‫ﮔﻮﺷﻪﻯ ﭼﺸﻤﺎﻧﺶ ﺳﺮﺍﺯﻳﺮ ﺷﺪ‪ ،‬ﺳﺮﺵ ﺭﺍ ﭘﺎﻳﻴﻦ ﺍﻧﺪﺍﺧﺖ ﻭ ﺑﺎ ﺻﺪﺍﻳﻰ ﻟﺮﺯﺍﻥ ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﺍﻭﻥﺟﺎ‬ ‫ﻫﻴﭻ ﭼﻰ ﻧﻴﺴﺖ‪«.‬‬ ‫ﻭﻗﺘﻰ ﺳﺮﺵ ﺭﺍ ﺑﻠﻨﺪ ﻛﺮﺩ‪ ،‬ﺯﻥ ﺩﻳﮕﺮ ﺁﻥﺟﺎ ﻧﺒﻮﺩ‪ .‬ﺟﺎﻯ ﺍﻭ ﺍﻣﺎ ﺳﺎﻳﻪﻫﺎﻳﻰ ﺑﻮﺩﻧﺪ ﻛﻪ ﺑﻠﻨﺪ ﻣﻰﺷﺪﻧﺪ‪.‬‬ ‫ﻭﻟﻰ ﺍﻭ ﻧﻤﻰﺧﻮﺍﺳﺖ ﺍﻳﻦ ﭼﻨﻴﻦ ﻭﺍ ﺑﺪﻫﺪ‪ .‬ﺩﻟﺶ ﺟﺎﻳﻰ ﮔﻴﺮ ﺑﻮﺩ‪ ،‬ﻫﻨﻮﺯ ﺩﻟﺶ ﻛﺴﻰ ﺭﺍ ﻣﻰﺧﻮﺍﺳﺖ‬ ‫ﻛﻪ ﺍﺯ ﺗﻪ ﺩﻝ ﺑﻪ ﺍﻭ ﺑﮕﻮﻳﺪ ﺩﻭﺳﺘﺶ ﺩﺍﺭﺩ‪ ،‬ﺩﺳﺘﺶ ﺭﺍ ﺑﮕﻴﺮﺩ‪ .‬ﺟﺎﻳﻰ ﺭﺍ ﻣﻰﺧﻮﺍﺳﺖ ﻛﻪ ﺁﺭﺍﻣﺶ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﺪ‪ ،‬ﺁﺩﻡﻫﺎﻯ ﺧﻮﺏ ﺯﻳﺎﺩﻯ ﺭﺍ ﺑﺒﻴﻨﺪ‪ ،‬ﺯﻧﺪﮔﻰ ﻛﻨﺪ ﻭ ﺗﺠﺮﺑﻪﻫﺎﻯ ﺑﺴﻴﺎﺭﻯ ﺭﺍ ﺍﺯ ﺳﺮ ﺑﮕﺬﺍﺭﺩ‪ .‬ﺟﺎﻳﻰ ﻛﻪ‬ ‫ﻫﻤﭽﻨﺎﻥ ﺍﺣﺴﺎﺱ ﻛﻨﺪ؛ ﺩﺭﺩ ﺭﺍ‪ ،‬ﻟﺬﺕ ﺭﺍ‪ ،‬ﻋﺸﻖ ﻭ ﻣﺮگ ﺭﺍ‪...‬‬ ‫ﻣﺼﻄﻔﻰ ﺑﺎ ﺳﺮﻋﺖ ﺍﺯ ﭘﺎﺭﻙ ﺑﻪ ﺳﻤﺖ ﺧﻴﺎﺑﺎﻥ ﺳﺮﺍﺯﻳﺮ ﺷﺪ‪ .‬ﺧﻮﺩﺵ ﻫﻢ ﻧﻔﻬﻤﻴﺪ ﻛﻪ ﭼﻄﻮﺭ ﭘﻴﺶ‬ ‫ﻣﻰﺭﻭﺩ‪ ،‬ﺍﻣﺎ ﺳﺎﻳﻪﻫﺎ ﺭﺍ ﺍﺣﺴﺎﺱ ﻣﻰﻛﺮﺩ ﻛﻪ ﺩﺭ ﭘﻰﺍﺵ ﺭﻭﺍﻧﻨﺪ ﻭ ﻫﺮ ﻟﺤﻈﻪ ﺍﺣﺎﻃﻪﺍﺵ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺭﻭﺑﻪﺭﻭﻯ ﺧﻮﺩ ﺍﺗﻮﻣﺒﻴﻞ ﭘﺮﺍﻳﺪﻯ ﺭﺍ ﺩﻳﺪ‪ ،‬ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺩﺳﺖ ﺑﺮ ﺩﺳﺘﮕﻴﺮﻩﺍﺵ ﺍﻧﺪﺍﺧﺖ‪ .‬ﺩﺭ ﻣﺎﺷﻴﻦ ﺑﺎﺯ‬ ‫ﺑﻮﺩ ﻭ ﺳﻮﻳﻴﭻ ﺭﻭﻳﺶ‪ .‬ﻋﺎﻟﻰ ﺑﻮﺩ! ﺳﻮﺍﺭ ﻣﺎﺷﻴﻨﻰ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﻣﺎﻝ ﺧﻮﺩﺵ ﻧﺒﻮﺩ‪ .‬ﭘﺎﻳﺶ ﺭﺍ ﺭﻭﻯ ﮔﺎﺯ‬ ‫ﮔﺬﺍﺷﺖ ﻭ ﺑﺎ ﺳﺮﻋﺖ ﺳﺮﺍﺷﻴﭙﻰ ﺟﻤﺸﻴﺪﻳﻪ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﻧﻴﺎﻭﺭﺍﻥ ﭘﺎﻳﻴﻦ ﺭﻓﺖ‪ .‬ﻫﺮ ﻛﺠﺎ ﺍﻣﺎ ﺳﺎﻳﻪﺍﻯ‬ ‫ﺑﻮﺩ‪ ،‬ﺍﺯ ﭘﺎﻯ ﺗﻴﺮﻫﺎﻯ ﭼﺮﺍﻍ ﺑﺮﻕ ﮔﺮﻓﺘﻪ ﺗﺎ ﺧﺎﻧﻪﻫﺎ ﻭ ﺩﺭﺧﺘﺎﻥ‪ ،‬ﺍﻣﺘﺪﺍﺩ ﻣﻰﻳﺎﻓﺖ ﻭ ﺑﻪ ﺳﻤﺖ ﺍﻭ ﻣﺴﺘﻮﻟﻰ‬ ‫ﻣﻰﺷﺪ ﻭ ﺍﻭ ﺑﻴﺸﺘﺮ ﭘﺪﺍﻝ ﮔﺎﺯ ﺭﺍ ﻓﺸﺎﺭ ﻣﻰﺩﺍﺩ‪ .‬ﺩﺍﺷﺖ ﺍﺯ ﺩﺳﺘﺸﺎﻥ ﻓﺮﺍﺭ ﻣﻰﻛﺮﺩ‪ ،‬ﺍﻣﺎ ﺁﻥﻫﺎ ﺑﻰﺍﻧﺘﻬﺎ‬ ‫ﺑﻮﺩﻧﺪ‪ .‬ﺍﺯ ﻫﺮ ﺧﻴﺎﺑﺎﻥ ﻛﻪ ﻣﻰﮔﺬﺷﺖ‪ ،‬ﺳﺎﻳﻪﻫﺎ ﺍﺯ ﺯﻳﺮ ﺩﺭ ﻣﻐﺎﺯﻩﻫﺎ ﺑﻴﺮﻭﻥ ﻣﻰﺧﺰﻳﺪﻧﺪ؛ ﺳﻮﭘﺮﻣﺎﺭﻛﺖﻫﺎ‪،‬‬ ‫ﻓﺮﻭﺷﮕﺎﻩﻫﺎﻯ ﻟﻮﺍﺯﻡ ﺍﻟﻜﺘﺮﻭﻧﻴﻚ‪ ،‬ﻛﺘﺎﺑﻔﺮﻭﺷﻰﻫﺎ‪ ... ،‬ﻭ ﺑﻪ ﺳﻤﺘﺶ ﻫﺠﻮﻡ ﻣﻰ ﺁﻭﺭﺩﻧﺪ‪ .‬ﺻﺪﺍﻯ ﻣﻮﺗﻮﺭ‬ ‫ﺑﻠﻨﺪ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﻣﺼﻄﻔﻰ ﺑﺎﺯ ﻫﻢ ﺑﻴﺸﺘﺮ ﮔﺎﺯ ﻣﻰﺩﺍﺩ‪.‬‬ ‫ﺳﺎﻳﻪﻫﺎﻯ ﻣﺮﺩﻣﻰ ﻛﻪ ﺩﻳﺮﻭﻗﺖ ﺑﻪ ﺧﺎﻧﻪﻫﺎﻳﺸﺎﻥ ﺩﺭﺍﺯ ﻣﻰﺷﺪﻧﺪ ﻭ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺩﺭﺏﻫﺎﻯ ﺍﺗﻮﻣﺒﻴﻞ‬ ‫ﻣﻰﺭﺳﺎﻧﺪﻧﺪ ﻭ ﺑﺮ ﭘﻨﺠﺮﻩﻫﺎﻳﺶ ﻣﻰﻛﻮﻓﺘﻨﺪ‪ .‬ﻣﺼﻄﻔﻰ ﺑﺎ ﺧﻮﺩﺵ ﮔﻔﺖ‪» :‬ﻧﻤﻰﺧﻮﺍﻡ ﺑﻰﺍﺣﺴﺎﺱ ﺑﺸﻢ‪،‬‬ ‫‪91‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺑﻤﺐﻫﺎ ﺑﺮ ﺳﺮ ﻣﺮﺩﻡ ﺭﺍ ﺑﺒﻴﻨﺪ ﻭ ﻛﻜﺶ ﻫﻢ ﻧﮕﺰﺩ‪ ،‬ﻳﺎ ﭘﺎﻯ ﻓﻴﺲﺑﻮﻙ ﭼﺮﻧﺪﻳﺎﺕ ﻓِﺮﻧﺪﻫﺎﻳﺶ ﺭﺍ ﻻﻳﻚ‬ ‫ﻛﻨﺪ‪ .‬ﻧﻪ! ﻫﻴﭻﻛﺪﺍﻡ ﺍﻳﻦﻫﺎ ﺑﺮﺍﻳﺶ ﺟﺬﺍﺑﻴﺘﻰ ﻧﺪﺍﺷﺘﻨﺪ‪ .‬ﺗﺮﺟﻴﺢ ﺩﺍﺩ ﺧﻮﺩﺵ ﺭﺍ ﻭﻝ ﻛﻨﺪ ﻭ ﺑﻪ ﭼﻨﺎﺭﻫﺎﻯ‬ ‫ﻭﻟﻴﻌﺼﺮ ﻧﮕﺎﻩ ﻛﻨﺪ ﻛﻪ ﻫﻨﻮﺯ ﻫﻢ ﺟﺎﻫﺎﻳﻰ ﺩﺭ ﺁﻥ ﺑﺎﻻ‪ ،‬ﺑﻪ ﻫﻢ ﻣﻰﺭﺳﻴﺪﻧﺪ ﻭ ﺑﺎ ﺷﺎﺧﻪﻫﺎﻯ ﻋﻮﺭﺷﺎﻥ‬ ‫ﺁﺳﻤﺎﻥ ﺭﺍ ﻣﺸﺒﻚ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺍﺗﻮﺑﻮﺱ ﺷﻴﺐ ﺷﻤﻴﺮﺍﻥ ﺭﺍ ﺯﻭﺭ ﻣﻰ ﺯﺩ ﻭ ﺑﺎﻻ ﻣﻰﺭﻓﺖ‪ ،‬ﺩﺭ ﺣﻮﺍﻟﻰ ﺑﺎﻍ ﻓﺮﺩﻭﺱ ﻛﻮﻩﻫﺎﻯ ﺷﻤﺎﻝ ﺷﻬﺮ‬ ‫ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺑﻴﺸﺘﺮ ﺍﺯ ﻫﺮ ﺟﺎ ﻧﺸﺎﻥ ﻣﻰﺩﻫﻨﺪ‪ ،‬ﺁﻥ ﻗﺪﺭ ﻧﺰﺩﻳﻚﺍﻧﺪ ﻛﻪ ﻧﮕﺎﻩ ﺁﺩﻡ ﺩﺭ ﺩﻟﺸﺎﻥ ﮔﻢ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺍﺗﻔﺎﻕ ﺧﻮﺑﻰ ﺑﻮﺩ‪ .‬ﺑﺮﻑ ﭘﺎﺋﻴﺰﻩ ﺭﻭﻯ ﻧﻮﻙ ﻛﻮﻩﻫﺎ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪ ،‬ﮔﺮﭼﻪ ﺑﺮﻑ ﻣﺪﺕﻫﺎ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﺍﻳﻦ ﺷﻬﺮ‬ ‫ﺯﻣﺴﺘﺎﻥ ﭘﻴﺶﺭﻭ ﺭﺍ ﻣﻰ ﺩﺍﺩ‪ .‬ﻣﺼﻄﻔﻰ ﻫﻨﻮﺯ‬ ‫ﺭﻧﮓ ﻭ ﺭﻭ ﺭﻓﺘﻪ ﭘﺎ ﻧﮕﺬﺍﺷﺘﻪ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﺍﻳﻦ ﺳﭙﻴﺪﻯ ﻧﻮﻳﺪ‬ ‫ِ‬ ‫ﺧﺎﻃﺮﺍﺕ ﺯﻣﺴﺘﺎﻥﻫﺎ ﺭﺍ ﺑﻪ ﺧﻮﺑﻰ ﺑﻪ ﺧﺎﻃﺮ ﺩﺍﺷﺖ‪ :‬ﮔﻠﻮﻟﻪﻯ ﺑﺮﻑﺑﺎﺯﻯ ﺑﺎ ﺑﭽﻪﻫﺎﻯ ﺩﻳﮕﺮ‪ ،‬ﺩﺳﺖﻫﺎﻯ‬ ‫ﻳﺦﺯﺩﻩﺍﺵ ﻛﻪ ﻭﻗﺘﻰ ﺯﻳﺮ ﺁﺏ ﮔﺮﻡ ﻣﻰﮔﺮﻓﺘﺸﺎﻥ ﺣﺲ ﻣﻰﻛﺮﺩ ﻫﺮ ﺁﻥ ﻣﻤﻜﻦ ﺍﺳﺖ ﺍﺯ ﺩﺭﺩ ﺍﻧﻘﺒﺎﺽ‬ ‫ﻣﻨﻔﺠﺮ ﺷﻮﻧﺪ‪ .‬ﺑﺎﻗﺎﻟﻰ! ﺧﺎﻧﻮﺍﺩﻩﺍﺵ ﻛﻪ ﻛﻨﺎﺭ ﻫﻢ ﺟﻤﻊ ﻣﻰﺷﺪﻧﺪ ﻭ ﻫﻤﮕﻰ ﭘﺎﻯ ﺳﺮﻳﺎﻝﻫﺎﻯ ﺗﻠﻮﺯﻳﻮﻥ‬ ‫ﺷﺐﻫﺎﻯ ﺯﻭﺩﺭﺱ ﺭﺍ ﺑﻪ ﻧﻴﻤﻪ ﻣﻰﺭﺳﺎﻧﺪﻧﺪ‪ .‬ﻭ ﺍﻧﺪﻭﻩ ﻣﺸﻖﻫﺎﻯ ﻓﺮﺩﺍ‪ ،‬ﺗﺮﺱ ﺍﺯ ﺁﻗﺎ ﻣﻌﻠﻢ‪ .‬ﺗﻤﺎﻡ ﺍﻳﻦ‬ ‫ﺧﺎﻃﺮﺍﺕ ﭼﻨﺎﻥ ﺧﻮﻥ ﺭﺍ ﺑﻪ ﮔﻮﻧﻪﻫﺎﻯ ﻣﺼﻄﻔﻰ ﺁﻭﺭﺩ ﻛﻪ ﻛﻢ ﻣﺎﻧﺪﻩ ﺑﻮﺩ ﻓﺮﻳﺎﺩ ﺑﺰﻧﺪ‪ .‬ﻣﻰﺧﻮﺍﺳﺖ‬ ‫ﻫﻤﺎﻥﺟﺎ ﺍﺯ ﺍﺗﻮﺑﻮﺱ ﭘﻴﺎﺩﻩ ﺷﻮﺩ ﻭ ﺑﺎ ﻛﻠﻪ ﺩﺭ ﺩﻝ ﺭﻭﺯﮔﺎﺭﺍﻥ ﮔﺬﺷﺘﻪ ﻓﺮﻭ ﺭﻭﺩ‪.‬‬ ‫ﺗﺮﻣﺰ ﺍﺗﻮﺑﻮﺱ ﺩﺭ ﺍﻳﺴﺘﮕﺎﻩ ﺁﺧﺮ ﺍﻣﺎ ﺍﻭ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﺁﻭﺭﺩ‪ .‬ﺑﺎﺭ ﺩﻳﮕﺮ ﺩﺭ ﻣﻴﺎﻧﻪﻯ ﺷﻬﺮﻯ ﺩﻭﺩ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺣﺘﺎ ﺷﻤﺎﻝ ﺷﻬﺮ ﻫﻢ ﺍﺯ ﻫﺠﻤﻪﻯ ﺑﺘﻦ ﻭ ﻓﻮﻻﺩ ﺩﺭ ﺍﻣﺎﻥ ﻧﻤﺎﻧﺪﻩ ﺑﻮﺩ‪ .‬ﮔﻮ ﻛﻪ ﻫﺮ ﺗﻼﺷﻰ ﺑﺮﺍﻯ ﺭﻫﺎﻳﻰ ﺍﺯ‬ ‫ﭼﻨﮕﺎﻝ ﺍﻓﺴﺮﺩﮔﻰ ﻣﺤﻜﻮﻡ ﺑﻪ ﻓﻨﺎ ﺑﻮﺩ‪ .‬ﻣﺼﻄﻔﻰ ﺯﻭﺭ ﺯﺩ ﻛﻪ ﺗﺴﻠﻴﻢ ﻧﺸﻮﺩ‪ .‬ﺑﺎ ﺩﻟﻰ ﺑﻰﻗﺮﺍﺭ ﻭ ﺧﺸﻢﺁﻟﻮﺩ‬ ‫ﺑﻪ ﺳﻤﺖ ﺍﻳﺴﺘﮕﺎﻩ ﺗﺎﻛﺴﻰﻫﺎﻯ ﻣﻴﺪﺍﻥ ﻗﺪﺱ ﺭﺍﻩ ﺍﻓﺘﺎﺩ‪ .‬ﺑﺎ ﺧﻮﺩﺵ ﻓﻜﺮ ﻛﺮﺩ ﻛﻪ ﺑﺎﻳﺪ ﺑﻪ ﺟﺎﻫﺎﻳﻰ ﺑﺮﻭﺩ‬ ‫ﻛﻪ ﺧﺎﻃﺮﺍﺗﻰ ﺁﻥﺟﺎ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺩﺭ ﻋﺮﺽ ﻧﻴﻢ ﺳﺎﻋﺖ ﻣﻘﺎﺑﻞ ﺩﺭﺏ ﻭﺭﻭﺩﻯ ﭘﺎﺭﻙ ﺳﻨﮕﻰ ﺟﻤﺸﻴﺪﻳﻪ‬ ‫ﺑﻮﺩ‪ .‬ﺑﺎ ﺍﻭﻟﻴﻦ ﻧﮕﺎﻩ ﻫﺠﻤﻪﺍﻯ ﺍﺯ ﺧﺎﻃﺮﺍﺕ ﺑﺮ ﺍﻭ ﻳﻮﺭﺵ ﺁﻭﺭﺩﻧﺪ‪ :‬ﺍﻧﻌﻜﺎﺱ ﺻﺪﺍﻯ ﺩﻭﻳﺪﻥﻫﺎﻳﺶ ﺑﺮ‬ ‫ﺩﻳﻮﺍﺭﻩﻫﺎﻯ ﺳﻨﮕﻰ ﭘﺎﺭﻙ‪ ،‬ﺑﺎﻏﭽﻪﻫﺎ ﻭ ﺳﻨﮓ ﻓﺮﺵﻫﺎﻯ ﻃﻮﻳﻞ‪ ،‬ﺗﻴﺮﻫﺎﻯ ﭼﺮﺍﻍ ﺑﺮﻕ‪ ،‬ﺍﺳﺘﺨﺮ ﻗﻮﻫﺎ ﻭ‬ ‫ﺭﻭﺯ ﻫﺎﻳﻰ ﺑﻬﺎﺭﻯ ﻛﻪ ﺯﻣﺎﻧﻰ ﺑﻪ ﺁﻥ ﺟﺎ ﺁﻣﺪﻩ ﺑﻮﺩ‪...‬‬ ‫ﻧﻴﻤﻜﺘﻰ ﭘﻴﺪﺍ ﻛﺮﺩ ﻭ ﻧﺸﺴﺖ ﻭ ﺩﺭ ﺑﺎﺏ ﺧﺎﻃﺮﺍﺗﺶ ﺗﺎﻣﻞ ﻛﺮﺩ‪ .‬ﺩﺭ ﺑﺎﺏ ﺯﻧﺪﮔﻰﺍﺵ‪ .‬ﻭ ﺩﺭ ﺑﺎﺏﻫﺎﻯ ﻛﻪ‬ ‫ﻫﺮ ﻛﺪﺍﻡ ﺭﺍ ﻣﻰﻛﻮﺑﻴﺪ ﮔﺸﻮﺩﻩ ﻧﻤﻰﺷﺪﻧﺪ‪ .‬ﺧﻮﺭﺷﻴﺪ ﺩﺭ ﭘﺲ ﺷﻬ ِﺮ ﺧﺎﻣﻮﺵ ﻏﺮﻭﺏ ﻣﻰﻛﺮﺩ‪ .‬ﻫﺮ ﻛﺠﺎ ﺭﺍ‬ ‫ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩﻯ ﭼﺮﺍﻍ ﻫﺎﻯ ﺳﺮﺥ ﻭ ﻧﺎﺭﻧﺠﻰ ﺭﻭﺷﻦ ﻣﻰﺷﺪ‪ .‬ﻫﻴﭻ ﺟﺸﻨﻰ ﺍﻣﺎ ﭘﻴﺶ ﺭﻭﻳﺶ ﻧﺒﻮﺩ‪ .‬ﺧﺎﻧﻪ‬ ‫ﺑﻮﺩ ﻭ ﻣﺤﻞ ﻛﺎﺭ‪ ،‬ﺩﻭﺳﺘﺎﻥ ﻭ ﺧﺎﻧﻮﺍﺩﻩﺍﻯ ﻛﻪ ﺩﻳﮕﺮ ﻣﺪﺕﻫﺎ ﺑﻮﺩ ﻧﻤﻰﺷﻨﺎﺧﺘﺸﺎﻥ‪.‬‬ ‫»ﻫﻮﺍ ﺳﺮﺩ ﺷﺪﻩ ﺭﻓﻴﻖ‪ ،‬ﻧﻪ؟«‬ ‫ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﭘﻴﻜﺮﻯ ﺭﺍ ﻛﻨﺎﺭ ﺧﻮﺩ ﺩﻳﺪ‪ .‬ﺻﺪﺍ ﻧﺎﺯﻙ ﻭ ﺯﻧﺎﻧﻪ ﺑﻮﺩ‪ .‬ﺑﺎ ﺷﻨﻴﺪﻥ ﺍﻳﻦ ﺟﻤﻠﻪ ﺗﺎﺯﻩ ﻣﺘﻮﺟﻪ ﺳﺮﺩﻯ‬ ‫‪90‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﺑﻬﺸﺖ ﻟﻮﺍﺯﻡ ﻭﺭﺯﺷﻰ‪ -‬ﺟﺎﻳﻰ ﻛﻪ ﻛﻮﭼﻚﺗﺮﻳﻦ ﺗﻜﺎﭘﻮﻳﻰ ﺭﻳﻪﻫﺎ ﺭﺍ ﺑﻪ ﺳﻮﺯﺵ ﻣﻰﺍﻧﺪﺍﺯﺩ‪ ،‬ﻣﺼﻄﻔﻰ ﺑﻪ‬‫ﻣﺤﻞ ﻛﺎﺭﺵ ﺭﺳﻴﺪ‪ .‬ﺟﻠﻮﻯ ﺩﺭ ﺳﺎﺧﺘﻤﺎﻥ ﺩﻓﺘﺮ ﻧﻘﺸﻪﻛﺸﻰ ﺍﻳﺴﺘﺎﺩ ﻭ ﻧﮕﺎﻫﻰ ﺑﻪ ﺭﺍﻩ ﭘﻠﻪﺍﻯ ﺍﻧﺪﺍﺧﺖ ﻛﻪ‬ ‫ﭼﻨﺪ ﺳﺎﻝ ﺑﻮﺩ ﻫﺮ ﺭﻭﺯ ﻗﺒﻞ ﺍﺯ ﻇﻬﺮ ﺁﻥ ﺭﺍ ﺑﺎﻻ ﻣﻰﺭﻓﺖ ﻭ ﺷﺐ ﭘﺎﻳﻴﻦ ﻣﻰﺁﻣﺪ‪ .‬ﺍﻭﻝﻫﺎ ﻛﺎﺭﺵ ﺭﺍ ﺻﺒﺢﻫﺎ‬ ‫ﺷﺮﻭﻉ ﻣﻰﻛﺮﺩ‪ ،‬ﺍﻣﺎ ﺭﻓﺘﻪﺭﻓﺘﻪ‪ ،‬ﻫﺮ ﭼﻘﺪﺭ ﻛﻪ ﺷﺐﻫﺎ ﺑﻴﺸﺘﺮ ﻣﺸﻐﻮﻝ ﻛﺎﻣﭙﻴﻮﺗﺮ ﻭ ﺍﻳﻨﺘﺮﻧﺖ ﻣﻰﺷﺪ ﻭ‬ ‫ﺑﻴﺪﺍﺭ ﻣﻰﻣﺎﻧﺪ‪ ،‬ﺳﺎﻋﺖ ﻛﺎﺭﺵ ﺭﺍ ﺑﺎ ﺗﻮﺍﻓﻖ ﺭﺋﻴﺴﺶ ﺟﻠﻮ ﻣﻰﻛﺸﻴﺪ ﻭ ﺑﻌﺪﺍﺯﻇﻬﺮﻫﺎ ﺩﻳﺮﺗﺮ ﺭﺍﻫﻰ ﺧﺎﻧﻪ‬ ‫ﻣﻰﺷﺪ‪ ...‬ﺍﻣﺎ ﺣﺎﻻ ﻫﻴﭻ ﺗﻤﺎﻳﻠﻰ ﺑﺮﺍﻯ ﺭﻓﺘﻦ ﺑﻪ ﺁﻥ ﺳﺎﺧﺘﻤﺎﻥ ﺁﺷﻨﺎ ﻧﺪﺍﺷﺖ‪ ،‬ﺣﺴﻰ ﺍﺯ ﺍﻧﺰﺟﺎﺭﻯ ﻭ‬ ‫ﺑﻴﻬﻮﺩﮔﻰ‪ ،‬ﺍﺯ ﺗﻜﺮﺍﺭ‪ ،‬ﻋﺬﺍﺑﺶ ﻣﻰﺩﺍﺩ‪.‬‬ ‫ﺑﺮﺍﻯ ﻗﺪﻡ ﺯﺩﻥ ﺧﻴﺎﺑﺎﻥ ﻭﻟﻰﻋﺼﺮ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﭘﺎﻳﻴﻦ ﭘﻴﺶ ﮔﺮﻓﺖ‪ .‬ﺍﺗﻮﺑﻮﺱﻫﺎﻯ ﺧﻂ ﻭﻳﮋﻩ ﺧﻴﺎﺑﺎﻥ ﺭﺍ‬ ‫ﺑﺎﻻ ﻭ ﭘﺎﻳﻴﻦ ﻣﻰﺭﻓﺘﻨﺪ ﻭ ﻣﺮﺩﻡ ﺭﺍ ﺩﺭ ﺩﺳﺘﻪﻫﺎﻯ ﭼﻨﺪ ﺩﻩﺗﺎﻳﻰ ﺑﺎ ﺧﻮﺩﺷﺎﻥ ﺍﻳﻦﻭﺭ ﻭ ﺁﻥﻭﺭ ﻣﻰﻛﺸﺎﻧﺪﻧﺪ‪.‬‬ ‫ﺩﺭﺧﺖﻫﺎﻯ ﭼﻨﺎﺭ ﺧﻴﺎﺑﺎﻥ ﻫﺮ ﺳﺎﻝ ﻛﻢﺗﺮ ﺍﺯ ﺳﺎﻝ ﻗﺒﻞ ﻣﻰﺷﺪﻧﺪ‪ .‬ﺭﺩ ﺗﺎﺯﻩﻯ ﺍﺭﻩﺑﺮﻗﻰ ﺭﺍ ﻣﻰﺷﺪ ﺑﺮ‬ ‫ﻛﻨﺪﻩﻫﺎﻳﻰ ﻛﻪ ﺑﺮﻳﺪﻩ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﺭﻧﮓ ﺭﻭﺷﻨﻰ ﺩﺍﺷﺘﻨﺪ ﺑﻪ ﺧﻮﺑﻰ ﺩﻳﺪ‪ .‬ﺑﺮﺧﻰ ﺍﺯ ﻛﻨﺪﻩﻫﺎ ﺩﺍﺧﻠﺸﺎﻥ‬ ‫ﭘﻮﺳﻴﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﻌﻀﻰﻫﺎ ﻫﻢ ﺑﺎ ﻇﺎﻫﺮﻯ ﺳﺎﻟﻢ ﺧﺸﻚ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﺍﺯ ﻛﻨﺎﺭ ﺑﻌﻀﻰﺷﺎﻥ ﻛﻪ ﺑﻌﺪ ﺍﺯ‬ ‫ﺧﺸﻚ ﺷﺪﻥ ﺷﻬﺮﺩﺍﺭﻯ ﻣﺠﻮﺯ ﻗﻄﻊﺷﺎﻥ ﺭﺍ ﺻﺎﺩﺭ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﭼﻨﺪ ﺷﺎﺧﻪﻯ ﺗﺎﺯﻩ ﻛﻪ ﻧﺸﺎﻥ ﺍﺯ ﺍﺩﺍﻣﻪﻯ‬ ‫ﺣﻴﺎﺗﺸﺎﻥ ﺩﺍﺷﺖ ﺭﺳﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﻧﺰﺩﻳﻜﻰﻫﺎﻯ ﺭﺍﻩﺁﻫﻦ ﻣﺼﻄﻔﻰ ﻳﺎﺩ ﺧﺎﻃﺮﺍﺕ ﺑﭽﮕﻰﺍﺵ ﺍﻓﺘﺎﺩ‪ ،‬ﺯﻣﺎﻧﻰ ﻛﻪ ﺑﺎ ﻣﺎﺩﺭﺵ ﺑﻪ ﺍﻳﺴﺘﮕﺎﻩ ﻗﻄﺎﺭ‬ ‫ﻣﻰﺭﻓﺘﻨﺪ ﺗﺎ ﻋﺎﺯﻡ ﺳﻔﺮ ﺷﻮﻧﺪ ﻭ ﺍﻭ ﺩﺭ ﺁﻥ ﺑﻌﺪﺍﺯﻇﻬﺮﻫﺎ ﺧﻮﺷﺒﺨﺖﺗﺮﻳﻦ ﺁﺩﻡ ﺩﻧﻴﺎ ﺑﻮﺩ‪ .‬ﺑﻠﻴﺖﻫﺎﻯ ﻣﻘﻮﺍﻳﻰ‬ ‫ﺯﺭﺩ ﻭ ﺳﺒﺰ ﻗﻄﺎﺭ ﻛﻪ ﺑﺎ ﭘﺎﻧﭻ ﺳﻮﺭﺍﺥ ﻣﻰﺷﺪﻧﺪ‪ ،‬ﻛﭙﻪﻫﺎﻯ ﺷﻠﻮﻍ ﺷﺶ ﻧﻔﺮﻩ‪ ،‬ﺧﺎﻧﻪﻯ ﻣﺎﺩﺭﺑﺰﺭﮔﺶ ﺩﺭ‬ ‫ﺷﻬﺮﺳﺘﺎﻥ ﻛﻪ ﺻﺒﺢ ﺯﻭﺩ ﻭﻗﺖ ﺭﺳﻴﺪﻥ ﺩﺭﺵ ﺑﻪ ﺭﻭﻯﺷﺎﻥ ﺑﺎﺯ ﻣﻰﺷﺪ ﻭ ﻫﻢ ﺑﺎﺯﻯﻫﺎﻳﺶ‪ ...‬ﻭ ﺻﺒﺢﻫﺎﻯ‬ ‫ﺯﻭﺩﻯ ﻛﻪ ﺑﻪ ﭘﺎﻳﺘﺨﺖ ﺑﺎﺯ ﻣﻰﮔﺸﺘﻨﺪ‪ :‬ﻛﺎﺭﺗﻦ ﺧﻮﺍﺏﻫﺎ ﺩﺭ ﻣﻴﺪﺍﻥ ﺭﺍﻩﺁﻫﻦ ﺑﻴﺪﺍﺭ ﻣﻰﺷﺪﻧﺪ ﻭ ﺍﻭ ﺩﺭ‬ ‫ﺍﺗﻮﺑﻮﺱ ﺷﺮﻛﺖ ﻭﺍﺣﺪ ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﺩﺭ ﻣﻴﺎﻥ ﺁﺩﻡﻫﺎﻯ ﺧﻤﻮﺩﻩ ﻣﺴﻴﺮ ﺑﺎﺯﮔﺸﺖ ﺑﻪ ﺧﺎﻧﻪ ﺭﺍ ﻣﻰﭘﻴﻤﻮﺩ‪،‬‬ ‫ﺷﻮﻗﻰ ﺑﻰﺍﻧﺪﺍﺯﻩ ﺑﺮﺍﻯ ﺍﺯ ﺳﺮ ﮔﺮﻓﺘﻦ ﺯﻧﺪﮔﻰ ﺭﻭﺯﻣﺮﻩﺍﺵ ﺩﺭ ﺩﻝ ﺩﺍﺷﺖ؛ ﺷﻮﻕ ﺑﭽﻪﻫﺎﻯ ﻣﺤﻞ‪،‬‬ ‫ﻗﺒﺮﺳﺘﺎﻥ ﻛﺎﻟﺒﺪ‬ ‫ﻣﻬﺪﻛﻮﺩﻙ‪ ،‬ﻣﺪﺭﺳﻪ ﻭ ‪ ...‬ﺣﺎﻻ ﺍﻣﺎ ﻣﻴﺪﺍﻥ ﺭﺍﻩ ﺁﻫﻦ ﺑﺮﺍﻳﺶ ﻫﻴﭻ ﻣﻌﻨﺎﻳﻰ ﻧﺪﺍﺷﺖ‪،‬‬ ‫ِ‬ ‫ﺧﺎﻃﺮﺍﺕ ﺑﻰﺭﻭﺣﻰ ﺑﻮﺩ ﻛﻪ ﺳﺎﻝﻫﺎ ﺍﺯ ﺯﻧﺪﻩ ﺑﻮﺩﻧﺸﺎﻥ ﻣﻰﮔﺬﺷﺖ‪ ،‬ﻳﺎﺩﻫﺎﻳﻰ ﻛﻪ ﻣﺪﺕﻫﺎ ﭘﻴﺶ ﮔﻨﺪﻳﺪﻩ‬ ‫ﺑﻮﺩﻧﺪ‪ ،‬ﭘﻮﺳﻴﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﺑﺎ ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩﻧﺸﺎﻥ ﻧﻪ ﺑﻪ ﻫﻴﺠﺎﻥ ﻣﻰﺁﻣﺪ‪ ،‬ﻭ ﻧﻪ ﺑﻪ ﺫﻭﻕ ﻭﺍ ﺩﺍﺷﺘﻪ ﻣﻰﺷﺪ‪.‬‬ ‫ﺑﻰ ﻫﻴﭻ ﺍﻧﮕﻴﺰﻩﺍﻯ ﺳﻮﺍﺭ ﺑﻰ‪.‬ﺁﺭ‪.‬ﺗﻰﻫﺎﻯ ﺗﺠﺮﻳﺶ ﺷﺪ‪ .‬ﺳﻮﺍﺭ ﺷﺪﻥ ﺩﺭ ﺍﻳﺴﺘﮕﺎﻩ ﻣﺒﺪﺍ ﺍﻳﻦ ﺍﻣﻜﺎﻥ ﺭﺍ ﺑﻪ‬ ‫ﺍﻭ ﻣﻰﺩﺍﺩ ﻛﻪ ﺭﻭﻯ ﻫﺮ ﺻﻨﺪﻟﻰ ﺧﺎﻟﻰﺍﻯ ﻛﻪ ﻣﻰﺧﻮﺍﻫﺪ ﺑﻨﺸﻴﻨﺪ ﻭ ﺍﻭ ﻣﻨﺘﻬﻰﺍﻟﻴﻪ ﻭﺍﮔﻦ ﺍﻭﻝ ﺩﺭ ﻛﻨﺎﺭ‬ ‫ﭘﻨﺠﺮﻩ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩ‪ .‬ﻓﻜﺮ ﻛﺮﺩ ﻛﻪ ﻳﻚ ﺩﻭﺳﺖ ﻗﺪﻳﻤﻰ ﺭﺍ ﺑﺒﻴﻨﺪ‪ ،‬ﺍﻣﺎ ﺣﺎﻝ ﻭ ﺣﻮﺻﻠﻪﻯ ﻫﻴﭻ ﻛﺴﻰ‬ ‫ﺭﺍ ﻧﺪﺍﺷﺖ‪ .‬ﻣﻰﺗﻮﺍﻧﺴﺖ ﺑﻪ ﺧﺎﻧﻪ ﺑﺮﻭﺩ ﻭ ﻛﻤﻰ ﺗﻠﻮﺯﻳﻮﻥ ﺗﻤﺎﺷﺎ ﻛﻨﺪ‪ ،‬ﺗﺼﻮﻳﺮ ﺩﻟﺨﺮﺍﺵ ﺭﻳﺨﺘﻪ ﺷﺪﻥ‬ ‫‪89‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫‪Another head hangs lowly‬‬ ‫‪Child is slowly taken‬‬ ‫‪And the violence caused such silence‬‬ ‫?‪Who are we mistaken‬‬

‫ﻣﺼﻄﻔﻰ ﭘﺮﺩﻩﻫﺎ ﺭﺍ ﺑﻪ ﻛﻨﺎﺭﻯ ﺯﺩ ﻭ ﺧﻴﺎﺑﺎﻥ ﺭﺍ ﻛﻪ ﺩﺭ ﻫﻤﻴﻦ ﺍﺭﺗﻔﺎﻉ ﻧﺎﭼﻴﺰ ﻻﻳﻪﺍﻯ ﺩﻭﺩ ﻣﻴﺎﻥ ﺁﻥ ﻭ‬ ‫ﭘﻨﺠﺮﻩ ﺣﺎﺋﻞ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺍﺗﻮﻣﺒﻴﻞﻫﺎ ﭘﺸﺖ ﭼﺮﺍﻍ ﻗﺮﻣﺰ ﺑﻨﺪ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﻛﺴﻰ ﻟﻨﮓ ﻗﺮﻣﺰﺵ‬ ‫ﺭﺍ ﺑﻪ ﺯﻭﺭ ﺭﻭﻯ ﺷﻴﺸﻪﻯ ﻛﺜﻴﻒ ﺁﻥﻫﺎ ﻣﻰﺍﻧﺪﺍﺧﺖ ﺑﻠﻜﻪ ﭘﻮﻟﻰ ﺑﮕﻴﺮﺩ‪ .‬ﺑﭽﻪﻫﺎ ﺩﺭ ﺣﻴﺎﻁ ﻣﺪﺭﺳﻪﺍﻯ ﻛﻪ‬ ‫ﺩﺭ ﺁﻥ ﺳﻮ ﺑﻮﺩ‪ ،‬ﺑﺎﺯﻯ ﻣﻰﻛﺮﺩﻧﺪ ﻭ ﻣﺮﺩﻣﻰ ﻣﻌﻤﻮﻟﻰ ﺩﺭ ﻃﻮﻝ ﭘﻴﺎﺩﻩﺭﻭﻫﺎ ﻣﺸﻐﻮﻝ ﺭﻓﺖ ﻭ ﺁﻣﺪ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﺻﺪﺍﻯ ﻓﺮﻳﺎﺩ ﺩﻟﻮﺭﺱ ﺍﻭﺭﻳﻮﺭﺩﻥ ﺍﺯ ﻃﺮﻳﻖ ﺍﺳﭙﻴﻜﺮﻫﺎﻯ ﻛﺎﻣﭙﻴﻮﺗﺮ ﺑﻪ ﮔﻮﺵ ﻣﻰﺭﺳﻴﺪ ﻛﻪ‪:‬‬ ‫‪In your head, in your head‬‬ ‫‪Zombie, zombie, zombie‬‬ ‫?‪Hey, hey, hey, What's in your head‬‬ ‫‪In your head‬‬ ‫?‪Zombie, zombie, zombie‬‬

‫ﻣﺼﻄﻔﻰ ﺑﻪ ﺳﺮﺍﻍ ﻛﺘﺮﻯ ﺭﻓﺖ ﺗﺎ ﭼﺎﻳﻰ ﺭﺍ ﺩﻡ ﻛﻨﺪ‪ .‬ﺍﻧﺪﻛﻰ ﺑﻌﺪ‪ ،‬ﻧﺰﺩﻳﻚﻫﺎﻯ ﺳﺎﻋﺖ ﻳﺎﺯﺩﻩ ﺍﺯ ﺧﺎﻧﻪﺷﺎﻥ‬ ‫ﻭﺍﻗﻊ ﺩﺭ ﻣﻨﻄﻘﻪﻯ ﺟﻤﻬﻮﺭﻯ ﺧﺎﺭﺝ ﺷﺪ‪ .‬ﺍﻭﺍﺳﻂ ﭘﺎﻳﻴﺰ ﺑﻮﺩ ﻭ ﻫﻮﺍ ﻫﻨﻮﺯ ﺳﺮﺩ ﻧﺸﺪﻩ ﺑﻮﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ‬ ‫ﺑﻮﻯ ﭘﺎﻳﻴﺰ ﺩﺭ ﻫﻮﺍ ﭘﻴﭽﻴﺪﻩ ﺑﻮﺩ ﻛﻪ ﺣﺴﻰ ﺭﺍ ﺩﺭ ﺍﻋﻤﺎﻕ ﺫﻫﻦ ﺍﻭ ﺑﻴﺪﺍﺭ ﻣﻰﻛﺮﺩ‪ ،‬ﺍﻣﺎ ﻫﺮﭼﻪ ﺯﻭﺭ ﻣﻰﺯﺩ‬ ‫ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺁﻥ ﺭﺍ ﻓﻬﻢ ﻛﻨﺪ‪ .‬ﭼﻴﺰﻯ ﺑﻮﺩ ﻣﺮﺑﻮﻁ ﺑﻪ ﺩﻭﺭﺍﻥ ﻛﻮﺩﻛﻰ‪ ،‬ﺯﻣﺎﻧﻰ ﻛﻪ ﺩﺭ ﺣﻴﺎﻁ ﺧﺎﻧﻪﻯ‬ ‫ﻣﺎﺩﺭﺑﺰﺭﮔﺶ ﺑﺎ ﭼﻨﺪ ﺑﭽﻪﻯ ﻗﺪ ﻭ ﻧﻴﻢﻗﺪ ﺩﻳﮕﺮ ﺳﺎﻋﺖﻫﺎ ﻣﺸﻐﻮﻝ ﺑﺎﺯﻯ ﻣﻰﺷﺪﻧﺪ ﻭ ﻫﻴﭻﻛﺪﺍﻡ ﺍﺯ‬ ‫ﺩﻏﺪﻏﻪﻫﺎﻯ ﺍﻣﺮﻭﺯﺵ ﺁﻥﺟﺎ ﺟﺎﻳﻰ ﻧﺪﺍﺷﺖ‪ .‬ﺗﻨﻬﺎ ﺣﺴﻰ ﺑﻮﺩ ﻛﻪ ﺍﻛﻨﻮﻥ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﻟﻤﺴﺶ ﻛﻨﺪ ﻭ‬ ‫ﻫﻤﻴﻦ ﺑﺎﻋﺚ ﻣﻰﺷﺪ ﺍﺣﺴﺎﺱ ﻋﺠﺰ ﺗﻤﺎﻡ ﻭﺟﻮﺩﺵ ﺭﺍ ﻓﺮﺍ ﺑﮕﻴﺮﺩ‪ .‬ﺩﺭ ﻣﺴﻴﺮ ﻫﺮ ﺭﻭﺯﻩﺍﺵ ﺍﺯ ﻛﻨﺎﺭ ﻳﻜﻰ‬ ‫ﺍﺯ ﺁﺧﺮﻳﻦ ﺑﺎﻍﻫﺎﻯ ﻗﺪﻳﻤﻰ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻩ ﺩﺭ ﻣﺤﻠﻪﻯ ﺟﻤﻬﻮﺭﻯ ﻣﻰﮔﺬﺷﺖ‪ .‬ﭘﺎﺋﻴﺰ ﻛﺎﺭ ﺧﻮﺩﺵ ﺭﺍ ﻛﺮﺩﻩ‬ ‫ﺑﻮﺩ ﻭ ﺗﻨﻬﺎ ﺳﺒﺰ ﺭﻭ ﺑﻪ ﻣﺮگ ﻳﺎ ﺭﻧﮓ ﺯﺭﺩ ﻭ ﻧﺎﺭﻧﺠﻰ ﺳﻮﺧﺘﻪﺍﻯ ﺩﺭ ﺑﺮگﻫﺎﻯ ﺑﻌﻀﻰ ﺍﺯ ﺩﺭﺧﺖﻫﺎ ﺩﻳﺪﻩ‬ ‫ﻣﻰﺷﺪ‪ ،‬ﻣﺎﺑﻘﻰ ﻟﺨﺖ ﻭ ﻋﻮﺭ ﺑﻮﺩﻧﺪ ﻭ ﺭﻭﻯ ﺷﺎﺧﻪﻫﺎﻯ ﺑﺮﻫﻨﻪﻯ ﺩﺭﺧﺖ ﺧﺮﻣﺎﻟﻮ ﻣﻰﺷﺪ ﻣﻴﻮﻩﻫﺎﻯ ﺩﺭ‬ ‫ﺣﺎﻝ ﺭﺳﻴﺪﻥ ﺩﺭﺷﺖ ﻭ ﻧﺎﺭﻧﺠﻰ ﺭﻧﮓ ﺭﺍ ﺩﻳﺪ‪ .‬ﻣﺼﻄﻔﻰ ﺗﻌﺠﺐ ﻣﻰﻛﺮﺩ ﻛﻪ ﭼﻄﻮﺭ ﺩﺭﺧﺖﻫﺎﻯ ﺍﻳﻦ‬ ‫ﺑﺎﻍ ﺩﺭ ﺁﺏ ﻭ ﻫﻮﺍﻯ ﺗﻬﺮﺍﻥ ﻫﻨﻮﺯ ﺑﻪ ﺣﻴﺎﺗﺸﺎﻥ ﺍﺩﺍﻣﻪ ﻣﻰﺩﻫﻨﺪ‪ ...‬ﺍﻣﺘﺪﺍﺩ ﺧﻴﺎﺑﺎﻥ ﺟﻤﻬﻮﺭﻯ ﭘﺮ ﺑﻮﺩ ﺍﺯ‬ ‫ﻓﺮﻭﺷﮕﺎﻩﻫﺎﻯ ﻟﻮﺍﺯﻡ ﺻﻮﺗﻰ ﻭ ﺗﺼﻮﻳﺮﻯ ﺑﺎ ﺗﻠﻮﺯﻳﻮﻥﻫﺎﻯ ‪ 50 ،40‬ﻭ ‪ 60‬ﺍﻳﻨﭻ ﻛﻪ ﭘﺸﺖ ﻭﻳﺘﺮﻳﻦﻫﺎﻳﺸﺎﻥ‬ ‫ﺭﻭﺷﻦ ﺑﻮﺩ ﻭ ﻫﺮ ﻛﺪﺍﻡ ﺗﺼﻮﻳﺮﻯ ﺧﻮﺵ ﺁﺏ ﻭ ﺭﻧﮓ ﺭﺍ ﭘﺨﺶ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﻛﻤﻰ ﻣﺎﻧﺪﻩ ﺑﻪ ﻣﻨﻴﺮﻳﻪ‬ ‫‪88‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﻧﮕﺎﺭﺵ‬

‫ﺯﺍﻣﺒﻰ ﻧﺂﺑﺎﺩ‬ ‫ﻣﺤﻤﻮﺩ ﺍﻓﺸﺎﺭﻯ‬

‫‪ ‬ﺻﺒﺢ‪ ،‬ﺧﺴﺘﻪ ﻭ ﺑﻰﺭﻣﻖ ﺧﻮﺩﺵ ﺭﺍ ﺍﺯ ﭘﺸﺖ ﭘﺮﺩﻩﻫﺎﻯ ﺍﺗﺎﻕ ﺑﻪ ﺩﺭﻭﻥ ﺧﺎﻧﻪ ﺍﻧﺪﺍﺧﺖ‪.‬‬ ‫ﻣﺼﻄﻔﻰ‪ ،‬ﺑﺎ ﺧﻠﻘﻰ ﺗﻨﮓ ﺍﺯ ﺭﺧﺘﺨﻮﺍﺏ ﺑﻠﻨﺪ ﺷﺪ‪ ،‬ﺭﻭﻯ ﻟﺒﻪﻯ ﺗﺨﺖ ﻧﺸﺴﺖ ﻭ ﺍﺯ ﺁﺏ ﻭﻟﺮﻣﻰ‬ ‫ﻛﻪ ﺗﻮﻯ ﭘﺎﺭچ ﻛﻨﺎﺭ ﺗﺨﺘﺶ ﺑﻮﺩ ﻟﻴﻮﺍﻧﻰ ﻧﻮﺷﻴﺪ‪ .‬ﺑﺎ ﺍﻭﻟﻴﻦ ﺟﺮﻋﻪ ﺻﺪﺍﻯ ﺑﻮﻕ ﺍﺗﻮﻣﺒﻴﻞﻫﺎ ﺍﺯ‬ ‫ﺧﻴﺎﺑﺎﻥ ﻛﻪ ﺩﺭ ﺳﺮﺗﺎﺳﺮ ﻃﻮﻝ ﺷﺐ ﭘﻴﻮﺳﺘﻪ ﺑﻪ ﮔﻮﺷﺶ ﻣﻰﺭﺳﻴﺪ‪ ،‬ﻳﻚ ﺑﺎﺭﻩ ﻭﺍﺿﺢﺗﺮ ﺷﺪ‪.‬‬ ‫ﺳﺮﺍﻍ ﻳﺨﭽﺎﻝ ﺭﻓﺖ ﻭ ﭼﻮﻥ ﭼﻴﺰﻯ ﭘﻴﺪﺍ ﻧﻜﺮﺩ ﺑﻪ ﺩﻳﻮﺍﺭ ﺗﻜﻴﻪ ﺩﺍﺩ ﻭ ﺳﻌﻰ ﻛﺮﺩ ﺑﻪ ﻳﺎﺩ ﺑﻴﺎﻭﺭﺩ‬ ‫ﻛﻪ ﺍﻣﺮﻭﺯ ﭼﻪ ﻛﺎﺭﻫﺎﻳﻰ ﺑﺎﻳﺪ ﺍﻧﺠﺎﻡ ﺩﻫﺪ‪ .‬ﻣﻰﺗﻮﺍﻧﺴﺖ ﻓﻘﺪﺍﻥ ﻗﻨﺪ ﺭﺍ ﺩﺭ ﺷﺮﻳﺎﻥﻫﺎﻳﺶ ﺍﺣﺴﺎﺱ‬ ‫ﻛﻨﺪ ﻭ ﺍﻳﻦ ﻓﻜﺮ ﻛﺮﺩﻥ ﺭﺍ ﺑﺮﺍﻳﺶ ﺩﺷﻮﺍﺭ ﻣﻰﻛﺮﺩ‪ .‬ﺯﻳﺮ ﻛﺘﺮﻯ ﺭﺍ ﺭﻭﺷﻦ ﻛﺮﺩ ﻭ ﻫﻤﺰﻣﺎﻥ ﺩﻛﻤﻪﻯ‬ ‫ﭘﺎﻭﺭ ﻛﺎﻣﭙﻴﻮﺗﺮ ﺧﺎﻧﮕﻰﺍﺵ ﺭﺍ ﺯﺩ‪ .‬ﺻﺪﺍﻯ ﺟﺎﺑﻪﺟﺎ ﺷﺪﻥ ﻫﺪ ﺭﻭﻯ ﻫﺎﺭﺩ ﺩﻳﺴﻚ ﺑﻠﻨﺪ ﺷﺪ‪ ،‬ﺑﻌﺪ‬ ‫ﭼﻨﺪ ﺳﻄﺮ ﻧﻮﺷﺘﻪﻯ ﺳﻔﻴﺪﺭﻧﮓ ﺑﺮ ﭘﺲﺯﻣﻴﻨﻪﻯ ﺳﻴﺎﻩ ﻇﺎﻫﺮ ﺷﺪ ﻭ ﻧﺸﺎﻥ ﺁﺷﻨﺎﻯ ﻭﻳﻨﺪﻭﺯ ﺑﺮ‬ ‫ﺻﻔﺤﻪﻯ ﻣﻮﻧﻴﺘﻮﺭ ﺁﻣﺪ‪ .‬ﻣﺮﺩ ﺟﻮﺍﻥ ﺳﺮﺍﻍ ﭘﻮﺷﻪﻯ ﻣﻮﺳﻴﻘﻰ ﺭﻓﺖ ﻭ ﺭﻭﻯ ﻗﻄﻌﻪﻯ ﻣﺤﺒﻮﺑﺶ‬ ‫ﺩﺑﻞﻛﻠﻴﻚ ﻛﺮﺩ‪:‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺩﻳﮕﺮ ﻫﺮﮔﺰ ﻧﺨﻮﺍﻫﻨﺪ ﺗﻮﺍﻧﺴﺖ ﺑﻪﺩﺭﺳﺘﻰ ﻓﻜﺮ ﻛﻨﻨﺪ‪ ،‬ﻫﺮﮔﺰ ﻣﻌﻨﻰ ﻛﻠﻤﺎﺗﻰ ﺭﺍ ﻛﻪ ﺳﻌﻰ ﺩﺍﺭﻧﺪ ﺍﺩﺍ ﻛﻨﻨﺪ‬ ‫ﻧﻤﻰﻓﻬﻤﻨﺪ‪ ،‬ﺗﻨﻬﺎ ﺩﺭ ﺁﺳﺘﺎﻧﻪﻯ ﺑﻪﺧﺎﻃﺮ ﺁﻭﺭﺩﻥ ﺩﺭ ﻧﻮﺳﺎﻥ ﺧﻮﺍﻫﻨﺪ ﻣﺎﻧﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺁﻥﻫﺎ ﺗﻼﺵ‬ ‫ﻣﻰﻛﻨﻨﺪ ﺗﺎ ﺻﺤﺒﺖ ﻛﻨﻨﺪ‪ ،‬ﺁﻧﮕﺎﻩ ﻛﻪ ﺁﺭﻭﺍﺭﻩﻫﺎﻯ ﻓﺮﺳﻮﺩﻩﺷﺎﻥ ﺭﺍ ﺗﻜﺎﻥ ﻣﻰﺩﻫﻨﺪ ﺍﺳﺘﺨﻮﺍﻧﻰ ﺑﺮ ﺭﻭﻯ‬ ‫ﺍﺳﺘﺨﻮﺍﻥ ﺩﻳﮕﺮ ﺳﺎﻳﻴﺪﻩ ﻣﻰﺷﻮﺩ‪ ،‬ﻭ ﺁﻥﻫﺎ ﺩﻟﻴﻞ ﺁﻥ ﺭﺍ ﻧﻤﻰﺩﺍﻧﻨﺪ‪.‬‬ ‫ﺁﻥﻫﺎ ﻳﻚﺑﻪﻳﻚ ﺳﻘﻮﻁ ﺧﻮﺍﻫﻨﺪ ﻛﺮﺩ‪ .‬ﺩﺭ ﺧﻴﺎﺑﺎﻥﻫﺎ ﺧﻮﺍﻫﻨﺪ ﺍﻓﺘﺎﺩ‪ ،‬ﭘﺎﻫﺎ ﺩﻳﮕﺮ ﺑﻴﺶ ﺍﺯ ﺍﻳﻦ ﻛﺎﺭ‬ ‫ﻧﻤﻰﻛﻨﻨﺪ‪ ،‬ﺩﺳﺖﻫﺎ ﺷﻜﺴﺘﻪﺗﺮ ﺍﺯ ﺁﻥ ﻫﺴﺘﻨﺪ ﻛﻪ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﭘﻴﺶ ﺑﺮﺍﻧﻨﺪ‪ .‬ﺁﻥﻫﺎ ﺩﺭﻭﻥ ﺳﺎﺧﺘﻤﺎﻥﻫﺎ‬ ‫ﺳﻘﻮﻁ ﺧﻮﺍﻫﻨﺪ ﻛﺮﺩ‪ ،‬ﺑﻪ ﭘﺎﻳﻴﻦ ﺭﺍﻩﭘﻠﻪﻫﺎ ﺳﺮﻧﮕﻮﻥ ﺧﻮﺍﻫﻨﺪ ﺷﺪ ﻭ ﭘﺨﺶ ﺗﺎﻻﺭﻫﺎ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﺑﻪ ﺗﺨﺖﻫﺎ‬ ‫ﻭ ﻛﻤﺪﻫﺎ ﮔﻴﺮ ﻛﺮﺩﻩ ﻭ ﺳﻜﻨﺪﺭﻯ ﻣﻰﺧﻮﺭﺩﻧﺪ‪ ،‬ﺑﻴﻦ ﻓﺎﺻﻠﻪﻯ ﺗﻮﺍﻟﺖ ﻭ ﺩﻳﻮﺍﺭ ﭘﻴﭻ ﻭ ﺗﺎﺏ ﻣﻰﺧﻮﺭﻧﺪ‪ ،‬ﺍﺯ‬ ‫ﺍﻳﻦ ﺗﻠﻪﻫﺎ ﺩﺭ ﺟﺎﻫﺎﻳﻰ ﻛﻪ ﺯﻣﺎﻧﻰ ﺧﺎﻧﻪ ﻣﻰﺧﻮﺍﻧﺪﻧﺪ ﺧﺒﺮﻯ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﻧﻤﻰﺑﻴﻨﻨﺪ‪ ،‬ﻧﻤﻰﻓﻬﻤﻨﺪ‪ .‬ﺩﺭ ﺍﻋﻤﺎﻕ‬ ‫ﺭﻭﺩﻫﺎ ﻭ ﺍﻗﻴﺎﻧﻮﺱﻫﺎ ﻏﺮﻕ ﺧﻮﺍﻫﻨﺪ ﺷﺪ‪ ،‬ﺩﺭ ﻛﺸﺘﺰﺍﺭﻫﺎ ﺧﻮﺍﻫﻨﺪ ﺧﻔﺖ‪ ،‬ﺍﺯ ﻛﻮﻫﭙﺎﻳﻪﻫﺎ ﺑﻪ ﺯﻳﺮ ﺩﺭ ﺧﻮﺍﻫﻨﺪ‬ ‫ﻏﻠﺘﻴﺪ‪ ،‬ﻭ ﺩﺭ ﺣﺎﺷﻴﻪﻯ ﺷﻨﻰ ﺑﺰﺭﮔﺮﺍﻩﻫﺎ ﺑﻪ ﭘﺎﻳﻴﻦ ﺧﻮﺍﻫﻨﺪ ﺍﻓﺘﺎﺩ‪.‬‬ ‫ﺁﻥﻫﺎ ﻳﻚﺑﻪﻳﻚ ﺍﺯ ﺣﺮﻛﺖ ﺑﺎﺯﺧﻮﺍﻫﻨﺪ ﺍﻳﺴﺘﺎﺩ‪ ،‬ﮔﻮﺷﺖ ﻭ ﺍﺳﺘﺨﻮﺍﻥ ﻭ ﻣﻐﺰ ﺁﺳﻴﺐﺩﻳﺪﻩﺗﺮ ﺍﺯ ﺁﻥ ﺷﺪﻩﺍﻧﺪ‬ ‫ﻛﻪ ﺑﻴﺶ ﺍﺯ ﺍﻳﻦ ﺑﺘﻮﺍﻧﻨﺪ ﻛﺎﺭﻯ ﺍﺯ ﭘﻴﺶ ﺑﺮﻧﺪ‪ .‬ﻭ ﺩﺭ ﺁﻥ ﺳﻜﻮﺕ ﻭ ﺳﻜﻮﻥ ﺗﻘﻼ ﺧﻮﺍﻫﻨﺪ ﻛﺮﺩ‪ .‬ﮔﺮﻓﺘﺎﺭ ﻭ‬ ‫ﺩﺭ ﻫﻢ ﺷﻜﺴﺘﻪ‪ ،‬ﻫﻤﭽﻨﺎﻥ ﻣﺸﺘﺎﻕ‪ ،‬ﻫﻤﭽﻨﺎﻥ ﮔﺮﺳﻨﻪﺍﻧﺪ‪ ،‬ﻫﻤﻴﺸﻪ ﺩﺭ ﻃﻠﺐ ﺁﻥﭼﻴﺰﻯ ﻫﺴﺘﻨﺪ ﻛﻪ ﺍﺯ‬ ‫ﺁﻥﻫﺎ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺁﻥ ﭼﻪ ﻛﻪ ﺑﻪ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻣﺎ ﻋﻄﺎﻳﺶ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﺩﺭ ﭼﻨﻴﻦ ﺗﻌﺪﺍﺩ ﭘﺮﺷﻤﺎﺭﻯ‪.‬‬ ‫ﻛﻪ ﺑﺎﺯ ﺑﺎﻳﺴﺘﻨﺪ‪ .‬ﺑﺨﻮﺍﺑﻨﺪ‪ .‬ﺑﻴﺎﺳﺎﻳﻨﺪ‪ ،‬ﺗﻨﻬﺎ ﺑﻴﺎﺳﺎﻳﻨﺪ‪ ،‬ﻭ ﺑﮕﺬﺍﺭﻧﺪ ﺗﺎ ﺗﺎﺭﻳﻜﻰ ﺍﺯ ﺭﺍﻩ ﺑﺮﺳﺪ‪.‬‬

‫‪85‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺍﺯ ﺯﻳﺮ ﻛﺸﻴﺪﻩ ﻣﻰﺷﻮﺩ‪ ،‬ﺳﻄﺢ ﺁﺏ ﺭﺍ ﻧﺨﻮﺍﻫﺪ ﺷﻜﺎﻓﺖ‪ .‬ﻭﻗﺘﻰ ﺩﺭﻫﺎ ﺑﺸﻜﻨﻨﺪ‪ ،‬ﻛﺴﻰ ﭘﺸﺘﺸﺎﻥ ﻣﺨﻔﻰ‬ ‫ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫ﻧﻪ ﻣﺮﺩﻣﻰ ﺑﺮﺍﻯ ﺩﺭ ﻛﻤﻴﻦ ﻧﺸﺴﺘﻦ ﻭﺟﻮﺩ ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ‪ ،‬ﻧﻪ ﻏﺬﺍﻳﻰ ﺑﺮﺍﻯ ﺧﻮﺭﺩﻥ‪ ،‬ﻧﻪ ﺧﺎﻧﻪﺍﻯ ﺑﺮﺍﻯ‬ ‫ﺳﺎﺧﺘﻦ‪ ،‬ﻧﻪ ﺍﺟﻠﻰ ﺑﺮﺍﻯ ﻣﺮﺩﻥ‪ .‬ﺑﻰﻫﺪﻑ ﻭ ﮔﻤﮕﺸﺘﻪ ﺩﻭﺭ ﺧﻮﺩ ﻣﻰﮔﺮﺩﻧﺪ‪،‬ﮔﻮﻳﻰ ﺑﻪ ﺩﻧﺒﺎﻝ ﺭﺍﻫﻨﻤﺎﻳﻰ‬ ‫ﺭﻫﺒﺮﻯ ﻣﻰﮔﺮﺩﻧﺪ ﻭ ﻛﺴﻰ ﺭﺍ ﻧﻤﻰﻳﺎﺑﻨﺪ‪ .‬ﺩﺭ ﻣﻴﺎﻥ ﺯﺍﻣﺒﻰﻫﺎ‪ ،‬ﺗﻨﻬﺎ ﺭﻫﺒﺮ ﻛﺴﻰ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺳﺮ ﺍﺗﻔﺎﻕ‬ ‫ﻗﺒﻞ ﺍﺯ ﺑﻘﻴﻪ ﺑﻪ ﺳﻤﺘﻰ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻩ ﺑﺎﺷﺪ‪.‬‬ ‫ﭘﺲ ﺁﻥﻫﺎ ﺗﻨﻬﺎ ﺭﺍﻩ ﺧﻮﺍﻫﻨﺪ ﺭﻓﺖ‪ ،‬ﺗﻤﺎﻣﺸﺎﻥ ﺑﻪ ﺗﻨﻬﺎﻳﻰ‪ ،‬ﺑﻰﻫﻴﭻ ﻣﻘﺼﺪﻯ‪ ،‬ﺗﻨﻬﺎ ﻧﻴﺎﺯﺷﺎﻥ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ‬ ‫ﻳﻚ ﻗﺪﻡ ﻧﺎﺍﺳﺘﻮﺍﺭ ﺭﺍ ﺑﻌﺪ ﺍﺯ ﻗﺪﻡ ﺩﻳﮕﺮ ﺑﺮﺩﺍﺭﻧﺪ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﻭ ﺩﻭﺑﺎﺭﻩ ﺑﻰﻫﻴﭻ ﻓﺮﺟﺎﻣﻰ‪ .‬ﺩﻧﻴﺎ ﺟﺎﻯ ﺑﺰﺭﮔﻰ‬ ‫ﺍﺳﺖ ﺑﺮﺍﻯ ﭘﺮﺳﻪﺯﺩﻥ‪ ،‬ﺣﺘﺎ ﺍﮔﺮ ﺗﻨﻬﺎ ﺑﻪ ﺳﻜﻮﻧﺖ ﻣﺮﺩﮔﺎﻥ ﺩﺭﺁﻣﺪﻩ ﺑﺎﺷﺪ‪.‬‬ ‫ﻭﻗﺘﻰ ﺯﺍﻣﺒﻰﻫﺎ ﭘﻴﺮﻭﺯ ﺷﻮﻧﺪ‪ ،‬ﺁﻥﻫﺎ ﺑﻪ ﺁﻳﻨﺪﻩ ﻧﺨﻮﺍﻫﻨﺪ ﺍﻧﺪﻳﺸﻴﺪ‪ .‬ﻫﻴﭻ ﻧﺴﻞ ﺑﻌﺪﻯ ﺯﺍﻣﺒﻰﻫﺎﻳﻰ‬ ‫ﻭﺟﻮﺩ ﻧﺨﻮﺍﻫﺪ ﺩﺍﺷﺖ‪ ،‬ﻫﻴﭻ ﺯﺍﻣﺒﻰ ﻧﻮﺯﺍﺩﻯ ﺩﺭ ﺁﻏﻮﺵﻫﺎﻯ ﭘﻮﺳﻴﺪﻩ ﻧﮕﻬﺪﺍﺭﻯ ﻧﺨﻮﺍﻫﺪ ﺷﺪ‪ .‬ﺯﺍﻣﺒﻰﻫﺎ‬ ‫ﺁﺳﻮﺩﮔﻰ ﺭﺍ ﺑﻪ ﻣﻌﻨﻰ ﺩﺭ ﻛﻨﺎﺭ ﻫﻢ ﺑﻮﺩﻥ ﻧﺨﻮﺍﻫﻨﺪ ﻳﺎﻓﺖ‪ ،‬ﻣﻔﺎﻫﻴﻤﻰ ﭼﻮﻥ ﻣﺼﺎﺣﺒﺖ ﻭ ﺩﻭﺳﺘﻰ ﺭﺍ‬ ‫ﺩﻭﺑﺎﺭﻩ ﻛﺸﻒ ﻧﺨﻮﺍﻫﻨﺪ ﻛﺮﺩ‪ ،‬ﻫﻢﺩﺭﺩﻯ ﻭ ﻳﻚﺩﻟﻰ ﻳﺎ ﻣﺤﺒﺖ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﻧﺨﻮﺍﻫﻨﺪ ﺁﻭﺭﺩ‪ .‬ﻧﻪ ﻣﻰﺗﻮﺍﻧﻨﺪ‬ ‫ﺑﻴﺎﻣﻮﺯﻧﺪ ﻛﻪ ﭼﻄﻮﺭ ﺭﻭﻳﺎ ﺑﺒﻴﻨﻨﺪ ﻭ ﻧﻪ ﺣﺘﺎ ﺑﻪ ﺧﺎﻃﺮ ﻣﻰﺁﻭﺭﻧﺪ ﻛﻪ ﻗﺎﺩﺭ ﺑﻪ ﺍﻳﻦ ﻛﺎﺭ ﻧﻴﺴﺘﻨﺪ‪.‬‬ ‫ﺳﺎﺧﺘﻤﺎﻧﻰ ﻧﺨﻮﺍﻫﻨﺪ ﺳﺎﺧﺖ‪ ،‬ﻣﺎﺷﻴﻨﻰ ﺭﺍ ﺗﻌﻤﻴﺮ ﻧﺨﻮﺍﻫﻨﺪ ﻛﺮﺩ‪ ،‬ﺗﺎﺭﻳﺨﻰ ﻧﺨﻮﺍﻫﻨﺪ ﻧﻮﺷﺖ‪ ،‬ﺁﻭﺍﺯﻯ‬ ‫ﻧﺨﻮﺍﻫﻨﺪ ﺧﻮﺍﻧﺪ‪ .‬ﺁﻥﻫﺎ ﻋﺎﺷﻖ ﻧﺨﻮﺍﻫﻨﺪ ﺷﺪ‪ .‬ﺑﺮﺍﻯ ﺯﺍﻣﺒﻰﻫﺎ‪ ،‬ﺗﻨﻬﺎ ﻳﻚ ﺍﻣﺮﻭﺯ ﺑﻰﭘﺎﻳﺎﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺍﻳﻦ‬ ‫ﻟﺤﻈﻪ‪ ،‬ﺍﻳﻦ ﻣﻜﺎﻥ‪ ،‬ﺍﻳﻦ ﻗﺪﻡ‪ ،‬ﺍﻳﻦ ﻧﻴﺎﺯ‪ ،‬ﺍﻳﻦ ﺟﻮﻉ‪ ،‬ﺍﻳﻦ ﮔﺮﺳﻨﮕﻰ ﺑﻰﺍﻣﺎﻥ‪.‬‬ ‫ﻭ ﺧﻴﺎﺑﺎﻥﻫﺎ ﺷﺮﻭﻉ ﺑﻪ ﺧﺮﺍﺏ ﺷﺪﻥ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﭘﻨﺠﺮﻩﻫﺎ ﻣﻰﺷﻜﻨﻨﺪ‪ ،‬ﻭ ﺳﺎﺧﺘﻤﺎﻥﻫﺎ ﻓﺮﻭ ﻣﻰﺭﻳﺰﻧﺪ‪.‬‬ ‫ﺷﻬﺮﻫﺎ ﺩﺳﺖﺧﻮﺵ ﺁﺗﺶ ﻭ ﺳﻴﻞ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﺷﻬﺮﻫﺎ ﺗﺒﺪﻳﻞ ﺑﻪ ﺳﺒﺰﻩﺯﺍﺭ‪ ،‬ﺟﻨﮕﻞ‪ ،‬ﺑﻴﺎﺑﺎﻥ ﻭ ﺍﻗﻴﺎﻧﻮﺱ‬ ‫ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﺩﻧﻴﺎﻯ ﺍﻧﺴﺎﻥﻫﺎ ﺗﻜﻪﺗﻜﻪ ﻣﻰﺷﻮﺩ‪ ،‬ﺩﺭ ﺑﺮﺍﺑﺮ ﻧﮕﺎﻩ ﺧﻴﺮﻩﻯ ﭼﺸﻢﻫﺎﻳﻰ ﺑﻰﺍﺣﺴﺎﺱ ﺭﻭ ﺑﻪﺯﻭﺍﻝ ﻭ ﻧﻴﺴﺘﻰ‬ ‫ﻣﻰﺭﻭﺩ‪ .‬ﻭﻗﺘﻰ ﺯﺍﻣﺒﻰﻫﺎ ﭘﻴﺮﻭﺯ ﺷﻮﻧﺪ‪ ،‬ﺗﺮﺳﻰ ﺑﻪ ﺩﻝ ﺭﺍﻩ ﻧﺨﻮﺍﻫﻨﺪ ﺩﺍﺩ‪ .‬ﻧﺨﻮﺍﻫﻨﺪ ﺧﻨﺪﻳﺪ ﻳﺎ ﺷﺎﺩﻯ‬ ‫ﻧﺨﻮﺍﻫﻨﺪ ﻛﺮﺩ‪ ،‬ﭘﺸﻴﻤﺎﻧﻰ ﻧﺨﻮﺍﻫﻨﺪ ﺩﺍﺷﺖ ﻭ ﺷﻴﻮﻥ ﺳﺮ ﻧﺨﻮﺍﻫﻨﺪ ﺩﺍﺩ‪ .‬ﻭ ﺩﻧﻴﺎ ﻫﻤﭽﻨﺎﻥ ﺑﻪ ﮔﺮﺩﺵ ﺧﻮﺩ‬ ‫ﺍﺩﺍﻣﻪ ﺧﻮﺍﻫﺪ ﺩﺍﺩ‪ ،‬ﻓﺼﻮﻝ ﺳﻮﺯﺍﻥ ﻭ ﺳﺮﺩ ﻫﻤﻪﺟﺎ ﺭﺍ ﺯﻳﺮ ﭘﺎ ﺧﻮﺍﻫﻨﺪ ﻧﻮﺭﺩﻳﺪ‪ ،‬ﺧﻮﺭﺷﻴﺪ ﺍﺯ ﺁﺳﻤﺎﻥ ﺧﻮﺍﻫﺪ‬ ‫ﺗﺎﺑﻴﺪ ﻭ ﺁﻥﻫﺎ ﻫﻢ ﺑﻪ ﻛﺎﺭ ﺧﻮﺩ ﺍﺩﺍﻣﻪ ﺧﻮﺍﻫﻨﺪ ﺩﺍﺩ‪.‬‬ ‫ﻭﻗﺘﻰ ﺯﺍﻣﺒﻰﻫﺎ ﭘﻴﺮﻭﺯ ﺷﻮﻧﺪ‪ ،‬ﺁﻥﻫﺎ ﺑﺎﺯ ﻧﺨﻮﺍﻫﻨﺪ ﺍﻳﺴﺘﺎﺩ‪ .‬ﻫﻤﭽﻨﺎﻥ ﻓﺮﻳﺎﺩ ﺧﻮﺍﻫﻨﺪ ﺯﺩ‪ ،‬ﻧﻌﺮﻩ ﻛﺸﻴﺪﻩ ﻭ‬ ‫ﻧﺠﻮﺍ ﺧﻮﺍﻫﻨﺪ ﻛﺮﺩ‪ ،‬ﺗﺎ ﺁﻥ ﺣﺪ ﻛﻪ ﻟﺐﻫﺎ ﺍﺯ ﺻﻮﺭﺗﺸﺎﻥ ﻓﺮﻭ ﺑﻴﻔﺘﻨﺪ ﻭ ﺗﺎﺭﻫﺎﻯ ﺻﻮﺗﻴﺸﺎﻥ ﺍﺯ ﺑﻴﻦ ﺑﺮﻭﻧﺪ‪.‬‬ ‫‪83‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻭ ﺑﻌﺪ‪ :‬ﭘﻴﺮﻭﺯﻯ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺯﺍﻣﺒﻰﻫﺎ ﺭﻭ ﺑﻪ ﻫﻢ ﻏﺮﻳﻮ ﺷﺎﺩﻯ ﺳﺮ ﻧﺨﻮﺍﻫﻨﺪ ﺩﺍﺩ‪ ،‬ﻳﺎ ﺍﺯ ﺳﺮ ﺁﺳﻮﺩﮔﻰ‬ ‫ﻧﺨﻮﺍﻫﻨﺪ ﮔﺮﻳﺴﺖ‪ ،‬ﻳﺎ ﺩﺳﺖﻫﺎﻯ ﭘﻮﺳﻴﺪﻩﺷﺎﻥ ﺭﺍ ﭘﻴﺮﻭﺯﻣﻨﺪﺍﻧﻪ ﺑﻠﻨﺪ ﻧﺨﻮﺍﻫﻨﺪ ﻛﺮﺩ‪ .‬ﺁﻥﻫﺎ ﻛﻮﺭﻣﺎﻝﻛﻮﺭﻣﺎﻝ‬ ‫ﻭ ﺑﻰﺗﻮﺟﻪ‪ ،‬ﺯﻳﺮ ﺳﻴﻢﻫﺎﻯ ﺗﻠﻔﻦ ﻭ ﻣﻴﺎﻥ ﺗﻠﻔﻦﻫﺎ‪ ،‬ﻛﺎﻣﭙﻴﻮﺗﺮﻫﺎ ﻭ ﺭﺍﺩﻳﻮﻫﺎ ﺭﺍﻩ ﺧﻮﺍﻫﻨﺪ ﺭﻓﺖ‪ .‬ﺁﻥﻫﺎ‬ ‫ﺑﻰﺧﻴﺎﻝ ﻋﻼﻣﺖﺩﻫﻰ ﺑﺎ ﺩﻭﺩ‪ ،‬ﺍﺯ ﻣﻴﺎﻥ ﺩﻭﺩ ﻭ ﺩﻡ ﺧﺮﺍﺑﻪﻫﺎﻯ ﺳﻮﺯﺍﻥ ﻣﻰﮔﺬﺭﻧﺪ‪ ،‬ﺍﺯ ﻛﻨﺎﺭ ﺭﻭﺗﺨﺘﻰﻫﺎﻯ‬ ‫ﻣﻨﺪﺭﺱ ﻣﻰﮔﺬﺭﻧﺪ ﻭ ﺑﻪ ﻓﻜﺮ ﺳﺎﺧﺘﻦ ﭘﺮﭼﻢ ﻧﻤﻰﺍﻓﺘﻨﺪ‪.‬‬ ‫ﺁﻥﻫﺎ ﺯﺍﻣﺒﻰ ﻫﺴﺘﻨﺪ؛ ﺁﻥﻫﺎ ﺗﻨﻬﺎ ﺭﺍﻩ ﻣﻰﺭﻭﻧﺪ ﻭ ﺭﺍﻩ ﻣﻰﺭﻭﻧﺪ ﻭ ﺭﺍﻩ ﻣﻰﺭﻭﻧﺪ‪ ،‬ﺍﻳﻦ ﺧﺒﺮ ﮔﺎﻡ ﺑﻪ ﮔﺎﻡ ﺩﺭ‬ ‫ﺳﻄﺢ ﻗﺎﺭﻩﻫﺎ‪ ،‬ﺍﻗﻴﺎﻧﻮﺱﻫﺎ ﻭ ﺟﺰﺍﻳﺮ ﭘﺨﺶ ﻣﻰﺷﻮﺩ‪ ،‬ﺳﺎﻝ ﭘﺲ ﺍﺯ ﺳﺎﻝ‪ .‬ﻭ ﺍﻳﻦ ﺧﺒﺮ‪ ،‬ﺑﺮﺍﻯ ﺁﻥﻫﺎ ﻧﻮﻳﺪ‬ ‫ﮔﺮﺳﻨﮕﻰ ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ‪.‬‬ ‫ﻭﻗﺘﻰ ﺯﺍﻣﺒﻰﻫﺎ ﭘﻴﺮﻭﺯ ﺷﻮﻧﺪ‪ ،‬ﭘﻮﻳﺸﺸﺎﻥ ﺑﺮﺍﻯ ﺧﻮﺭﺩﻥ ﻭ ﺁﻟﻮﺩﻥ ﮔﻮﺷﺖ ﺍﻧﺴﺎﻥ ﻛﺎﺳﺘﻰ ﻧﺨﻮﺍﻫﺪ ﮔﺮﻓﺖ‪.‬‬ ‫ﺁﻥﻫﺎ ﺗﻨﻬﺎ ﺷﻜﻢﺑﺎﺭﮔﻰ ﺭﺍ ﻣﻰﺷﻨﺎﺳﻨﺪ‪ ،‬ﻓﻘﻂ ﭘﺮﺧﻮﺭﻯ ﺭﺍ؛ ﺁﻥﻫﺎ ﺍﺯ ﺩﻧﻴﺎ ﺩﺭﻛﻰ ﺟﺰ ﻏﺬﺍﻫﺎﻯ ﺟﻴﻎﻛﺸﺎﻥ‬ ‫ﻭ ﮔﺮﻳﺰﺍﻥ ﻧﺪﺍﺭﻧﺪ‪.‬‬ ‫ﺍﻣﺎ ﺩﻳﮕﺮ ﺩﺭ ﺟﺎﻳﻰ ﻛﻪ ﺯﻣﺎﻧﻰ ﻏﺬﺍ ﻭﺟﻮﺩ ﺩﺍﺷﺖ‪ ،‬ﺗﻨﻬﺎ ﺳﻜﻮﺕ ﻭ ﺍﺗﺎﻕﻫﺎﻯ ﺧﺎﻟﻰ ﺑﺎﻗﻰ ﺧﻮﺍﻫﺪ ﻣﺎﻧﺪ‪،‬‬ ‫ﻭ ﺯﺍﻣﺒﻰﻫﺎ ﺑﺎ ﺁﻥ ﮔﺎﻡﻫﺎﻯ ﺁﻫﺴﺘﻪ ﻭ ﻟﻐﺰﺍﻧﺸﺎﻥ ﺷﮕﻔﺖﺯﺩﻩ ﺧﻮﺍﻫﻨﺪ ﺷﺪ‪ .‬ﺷﻜﻢﻫﺎﻳﻰ ﻛﻪ ﺯﻣﺎﻧﻰ ﺩﺍﺋﻤﺎً‬ ‫ﻣﻤﻠﻮ ﺍﺯ ﻏﺬﺍ ﺑﻮﺩﻧﺪ ﮔﺮﺳﻨﻪ ﺧﻮﺍﻫﻨﺪ ﺷﺪ ﻭ ﻓﺮﻭ ﺭﻓﺘﻪ ﺑﻪ ﻛﻤﺮﺷﺎﻥ ﺧﻮﺍﻫﺪ ﭼﺴﺒﻴﺪ؛ ﺣﺘﺎ ﻧﻴﺮﻭﻯ‬ ‫ﺍﺟﺴﺎﺩ ﻣﺘﺤﺮﻙ ﻫﻢ ﺑﺪﻭﻥ ﺭﺳﻴﺪﻥ ﻏﺬﺍ ﺭﻭ ﺑﻪ ﻧﻘﺼﺎﻥ ﻣﻰﮔﺬﺍﺭﺩ‪ .‬ﺁﻥﻫﺎ ﺍﻃﺮﺍﻑ ﺭﺍ ﺟﺴﺘﺠﻮ ﻣﻰﻛﻨﻨﺪ‪،‬‬ ‫ﭼﺸﻤﺎﻥ ﻣﻪ ﮔﺮﻓﺘﻪ ﺧﻴﺮﻩﺧﻴﺮﻩ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﻧﺎﻟﻪ ﺳﺮ ﻣﻰﺩﻫﻨﺪ‪ ،‬ﺭﻳﻪﻫﺎﻳﻰ ﻛﻪ ﻧﻔﺲ ﻧﻤﻰﻛﺸﻨﺪ ﻫﻮﺍ‬ ‫ﺭﺍ ﺧﺲﺧﺲﻛﻨﺎﻥ ﺑﻴﺮﻭﻥ ﻣﻰﺩﻫﻨﺪ ﺗﺎ ﺑﻪﻛﻨﺪﻯ ﻭ ﺍﺯ ﺳﺮ ﮔﺮﺳﻨﮕﻰ ﭼﻴﺰﻯ ﺭﺍ ﻃﻠﺐ ﻛﻨﻨﺪ‪» :‬ﻣﻐﺰ؟«‬ ‫ﺍﻣﺎ ﺩﻳﮕﺮ ﻛﺴﻰ ﺑﺮﺍﻯ ﻳﺎﻓﺘﻦ ﻭﺟﻮﺩ ﻧﺨﻮﺍﻫﺪ ﺩﺍﺷﺖ‪ .‬ﻓﻘﻂ ﺧﻮﺩﺷﺎﻥ ﻫﺴﺘﻨﺪ ﻭ ﺧﻮﺩﺷﺎﻥ‪ .‬ﺯﺍﻣﺒﻰﻫﺎ‬ ‫ﺧﻮﺍﻫﻨﺪ ﺁﻣﻮﺧﺖ ﻛﻪ ﺩﻳﮕﺮ ﻏﺬﺍﻯ ﺧﻮﺷﻤﺰﻩﺍﻯ ﻧﺨﻮﺍﻫﻨﺪ ﭼﺸﻴﺪ‪.‬‬ ‫ﻭﻗﺘﻰ ﺯﺍﻣﺒﻰﻫﺎ ﭘﻴﺮﻭﺯ ﺷﻮﻧﺪ‪ ،‬ﺑﻰﻗﺮﺍﺭ ﺧﻮﺍﻫﻨﺪ ﺷﺪ‪ .‬ﻭﻗﺘﻰ ﻛﺴﻰ ﻣﺮﺩﻩ ﺑﺎﺷﺪ‪ ،‬ﻛﺎﺭﻫﺎﻯ ﻛﻤﻰ ﺑﺮﺍﻯ ﺍﻧﺠﺎﻡ‬ ‫ﺩﺍﺩﻥ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪.‬‬ ‫ﺩﻭﺭﺍﻥ ﮔﺬﺷﺘﻪﺷﺎﻥ‪ ،‬ﺩﻭﺭﺍﻥ ﺷﻴﺮﻳﻦ ﮔﺬﺷﺘﻪﺷﺎﻥ ﻣﺎﻳﻪﻯ ﺧﻮﺷﻨﻮﺩﻳﺸﺎﻥ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﺁﻥﻫﺎ ﺗﻠﻮﺗﻠﻮﺧﻮﺭﺍﻥ‬ ‫ﺍﺯ ﺧﻴﺎﺑﺎﻥﻫﺎ ﺧﻮﺍﻫﻨﺪ ﮔﺬﺷﺖ‪ ،‬ﻧﺎﻟﻪﺯﻧﺎﻥ ﻭ ﻓﺮﻳﺎﺩﻛﺸﺎﻥ ﺩﺳﺖﻫﺎﻳﺸﺎﻥ ﺭﺍ ﺑﻪ ﺍﻃﺮﺍﻑ ﻣﻰﮔﺸﺎﻳﻨﺪ‪ ،‬ﺍﻣﺎ‬ ‫ﻭﺣﺸﺘﻰ ﻧﻤﻰﭘﺮﺍﻛﻨﻨﺪ‪ .‬ﺑﺎ ﻫﻢ ﺑﺮ ﺩﺭﻫﺎ ﻣﻰﻛﻮﺑﻨﺪ‪ ،‬ﺑﺎ ﺩﺳﺖﻫﺎﻯ ﭘﻮﺳﻴﺪﻩﺷﺎﻥ ﺁﻥﻗﺪﺭ ﺑﺮ ﭘﻨﺠﺮﻩﻫﺎ‬ ‫ﻣﻰﻛﻮﺑﻨﺪ ﺗﺎ ﺷﻴﺸﻪﻫﺎ ﺩﺭ ﻫﻢ ﺑﺸﻜﻨﻨﺪ‪ ،‬ﺩﺭ ﺭﻭﺩﻫﺎ ﻭ ﺩﺭﻳﺎﭼﻪﻫﺎ ﻣﺨﻔﻰ ﺧﻮﺍﻫﻨﺪ ﺷﺪ‪ ،‬ﺗﻠﻮﺗﻠﻮﺧﻮﺭﺍﻥ ﺑﻪ‬ ‫ﺩﻧﺒﺎﻝ ﻣﺎﺷﻴﻦﻫﺎﻯ ﺑﺮ ﺭﻭﻯ ﺑﺰﺭﮔﺮﺍﻩﻫﺎ ﺧﻮﺍﻫﻨﺪ ﺭﻓﺖ‪ .‬ﺍﻣﺎ ﻣﺎﺷﻴﻦﻫﺎ ﺑﺮﺍﻯ ﻫﻤﻴﺸﻪ ﭘﺎﺭﻙ ﺷﺪﻩ ﺑﺎﻗﻰ‬ ‫ﺧﻮﺍﻫﻨﺪ ﻣﺎﻧﺪ‪ .‬ﺷﻜﺴﺘﻦ ﺷﻴﺸﻪﻫﺎ ﻓﺮﻳﺎﺩﻯ ﺭﺍ ﺑﺮ ﻧﺨﻮﺍﻫﺪ ﺍﻧﮕﻴﺨﺖ؛ ﻭ ﺩﺳﺖ ﻭ ﭘﺎﻯ ﻫﻴﭻ ﺷﻨﺎﮔﺮﻯ ﻛﻪ‬ ‫‪82‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻭﻗﺘﻰ ﺯﺍﻣﺒﻰﻫﺎ ﭘﻴﺮﻭﺯ ﺷﻮﻧﺪ‬

‫ﻛﺎﺭﻳﻨﺎ ﺳﺎﻣﺮ‬ ‫ﺍﺣﺴﺎﻥ ﻣﺤﻤﺪﺯﺍﺩﻩ‬

‫ﻭﻗﺘﻰ ﺯﺍﻣﺒﻰﻫﺎ ﭘﻴﺮﻭﺯ ﺷﻮﻧﺪ‪ ،‬ﺩﺭ ﺩﺭﻙ ﻣﻮﻓﻘﻴﺘﺸﺎﻥ ﻛﻨﺪ ﺧﻮﺍﻫﻨﺪ ﺑﻮﺩ‪ .‬ﺩﻧﻴﺎ ﺑﺎ ﮔﺎﻡﻫﺎﻳﻰ‬ ‫ﻧﺎﻣﻨﻈﻢ‪ ،‬ﺗﻠﻮﺗﻠﻮﺧﻮﺭﺍﻥ ﺑﻪ ﭘﻴﺶ ﺧﻮﺍﻫﺪ ﺭﻓﺖ‪.‬‬ ‫ﺳﺎﻝﻫﺎ ﺯﻣﺎﻥ ﻣﻰﺑﺮﺩ ﺗﺎ ﺑﺘﻮﺍﻥ ﻣﻄﻤﺌﻦ ﺷﺪ ﻛﻪ ﻫﻨﻮﺯ ﺍﻧﺴﺎﻥﻫﺎﻳﻰ ﺩﺭ ﺍﺭﺩﻭﮔﺎﻩﻫﺎﻳﻰ ﺩﺭ ﻛﻮﻩﻫﺎﻯ‬ ‫ﻣﺮﺗﻔﻊ ﻳﺎ ﺩﺭ ﺍﻋﻤﺎﻕ ﻣﻐﺎﻙﻫﺎﻯ ﭘﺮﭘﻴﭻ ﻭ ﺧﻢ ﺑﺎﻗﻰ ﻧﻤﺎﻧﺪﻩ ﺍﺳﺖ؛ ﻛﻪ ﺳﻨﮕﺮﻫﺎﻯ ﺻﺤﺮﺍﻳﻰ‬ ‫ﺧﺎﻟﻴﻨﺪ‪ ،‬ﭘﻨﺎﻫﮕﺎﻩﻫﺎﻯ ﺟﻨﮕﻠﻰ ﺳﻘﻮﻁ ﻛﺮﺩﻩﺍﻧﺪ؛ ﻛﻪ ﻛﺸﺘﻰﻫﺎﻯ ﻛﻤﺎﻛﺎﻥ ﺷﻨﺎﻭﺭ‪ ،‬ﺣﺎﻣﻞ ﻫﻴﭻ‬ ‫ﻣﺴﺎﻓﺮﻯ ﻧﻴﺴﺘﻨﺪ ﻛﻪ ﻗﺎﺩﺭ ﺑﻪ ﻧﻔﺲ ﻛﺸﻴﺪﻥ ﺑﺎﺷﺪ‪.‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻧﺘﻮﺍﻧﺪ ﺩﻧﺒﺎﻟﻤﺎﻥ ﺑﻴﺎﻳﺪ‪ .‬ﭘﺎﻫﺎﻯ ﻛﺎﭘﻴﺘﺎﻥ ﺭﺍ ﻫﻢ ﺷﻜﺴﺘﻴﻢ‪.‬‬ ‫ﺍﻓﺮﺍﺩ ﺑﺎﻗﻴﻤﺎﻧﺪﻩ ﺩﭼﺎﺭ ﺗﺮﺩﻳﺪ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺑﻪ ﺍﺩﺍﻣﻪﻯ ﺭﺍﻩ ﺗﺸﻮﻳﻘﺸﺎﻥ ﻛﺮﺩﻡ ﻭ ﻓﻌ ً‬ ‫ﻼ‪ ،‬ﻣﻮﺍﻓﻘﺖ‬ ‫ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﻣﻰﺁﻳﻨﺪ‪.‬‬

‫‪10‬‬ ‫ﻇﻬﺮ ﺍﻣﺮﻭﺯ ﺩﺭﺧﺸﺸﻰ ﻭ ﺣﺮﻛﺖ ﭘﻴﻜﺮﻫﺎﻳﻰ ﺭﺍ ﺍﺯ ﺩﻭﺭ ﺩﻳﺪﻳﻢ‪ .‬ﺟﻠﻮﺗﺮ ﺭﻓﺘﻴﻢ ﻭ ﭼﻴﺰﻯ ﺭﺍ ﭘﻴﺪﺍ ﻛﺮﺩﻳﻢ‬ ‫ﻛﻪ ﺑﻪ ﮔﻤﺎﻥ ﻣﻦ ﺑﺮﺍﻯ ﺁﻣﺎﺩﻩﺳﺎﺯﻯ ﺍﺟﺴﺎﺩ ﺑﻪ ﻛﺎﺭ ﻣﻰﺭﻭﺩ؛ ﻭﺳﻴﻠﻪ ﺭﺍ ﺑﺎ ﻋﺠﻠﻪ ﺭﻫﺎ ﻛﺮﺩﻩ ﻭ ﺭﻓﺘﻪ ﺑﻮﺩﻧﺪ‬ ‫ﻭ ﺍﻋﻀﺎﻯ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪﻩﻯ ﺭﻭﻯ ﺩﺳﺘﮕﺎﻩ‪ ،‬ﻫﻨﻮﺯ ﺍﺯ ﺧﻮﻥ ﺗﺎﺯﻩ ﻣﻰﺩﺭﺧﺸﻴﺪﻧﺪ‪.‬‬ ‫ﻭﺳﻴﻠﻪ ﺭﺍ ﺑﺎ ﺩﻗﺖ ﺯﻳﺎﺩ ﺑﺮﺭﺳﻰ ﻛﺮﺩﻡ‪ ،‬ﻭﻟﻰ ﺍﺯ ﻃﺮﺯ ﻛﺎﺭ ﺁﻥ ﺳﺮ ﺩﺭ ﻧﻴﺎﻭﺭﺩﻡ؛ ﺩﺭ ﻋﻮﺽ‪ ،‬ﺑﺎ ﺳﺮﺩﺭﮔﻤﻰ‬ ‫ﺑﺎﻋﺚ ﺷﺪﻡ ﻛﻒ ﺩﺳﺖ ﺧﻮﺩﻡ ﺗﺎ ﻋﻤﻖ ﺍﺳﺘﺨﻮﺍﻥ ﺯﺧﻤﻰ ﺷﻮﺩ‪ .‬ﺑﺎﻗﻰ ﺍﻓﺮﺍﺩ ﻛﻪ ﻭﺿﻌﻴﺖ ﺩﺳﺘﻢ ﺭﺍ ﺩﻳﺪﻧﺪ‪،‬‬ ‫ﺩﺳﺘﮕﺎﻩ ﺭﺍ ﻗﺒﻞ ﺍﺯ ﺁﻥ ﻛﻪ ﻣﻮﻓﻖ ﺑﻪ ﺑﺮﺭﺳﻰ ﺑﻴﺸﺘﺮ ﺁﻥ ﺷﻮﻡ‪ ،‬ﻧﺎﺑﻮﺩ ﻛﺮﺩﻧﺪ‪.‬‬

‫‪11‬‬ ‫ﻛﻒ ﺩﺳﺖ ﺯﺧﻤﻰﺍﻡ ﺑﺎﺩ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺩﻳﮕﺮ ﺁﺏ ﻭ ﻏﺬﺍﻳﻰ ﺑﺮﺍﻳﻢ ﻧﻤﺎﻧﺪﻩ ﺍﺳﺖ‪ .‬ﺑﻪ ﺟﺰ ﻣﻦ‪ ،‬ﺑﺎﻗﻰ ﺍﻓﺮﺍﺩ‬ ‫ﮔﺮﻭﻩ ﺑﺎﺯﮔﺸﺘﻨﺪ ﻭ ﺍﻣﻴﺪ ﺩﺍﺷﺘﻨﺪ ﻗﺒﻞ ﺍﺯ ﻣﺮگ‪ ،‬ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻟﺒﻪﻯ ﻣﺮﻏﺰﺍﺭ ﺑﺮﺳﺎﻧﻨﺪ‪ .‬ﻣﻦ ﺗﺼﻤﻴﻢ ﺩﺍﺭﻡ‬ ‫ﺍﺩﺍﻣﻪ ﺩﻫﻢ ﻭ ﺍﻣﻴﺪ ﺩﺍﺭﻡ ﺑﻪ ﻣﺮﻛﺰ ﻣﺮﻏﺰﺍﺭ ﺑﺮﺳﻢ ﻭ ﺍﮔﺮ ﻣﺮﻛﺰﻯ ﻭﺟﻮﺩ ﺩﺍﺷﺖ‪ ،‬ﺑﺒﻴﻨﻢ ﺁﻥﺟﺎ ﭼﻪ ﺧﺒﺮ‬ ‫ﺍﺳﺖ‪.‬‬ ‫ﺭﺍﻩ ﺩﻳﮕﺮﻯ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﺣﺎﻻ ﻣﻴﺎﻥ ﻣﺮﺩﮔﺎﻥ ﺭﺍﻩ ﻣﻰﺭﻭﻡ ﻭ ﻣﻨﺘﻈﺮ ﺁﻥ ﻟﺤﻈﻪﺍﻯ ﻫﺴﺘﻢ ﻛﻪ ﺑﻰﻫﻴﭻ‬ ‫ﺁﮔﺎﻫﻰ‪ ،‬ﺩﺭ ﺁﻥ ﺍﺯ ﺯﻧﺪﻩﺍﻯ ﺧﻤﻴﺪﻩ ﺗﺒﺪﻳﻞ ﺑﻪ ﻣﺮﺩﻩﺍﻯ ﺧﻤﻴﺪﻩ ﺧﻮﺍﻫﻢ ﺷﺪ‪.‬‬ ‫ﭘﺲ ﺑﻪ ﭘﻴﺶ‪.‬‬

‫‪1. Cabeza de Vaca‬‬ ‫‪2. Aguirre, the Wrath of God‬‬ ‫‪3. Werner Herzog‬‬

‫‪4. Latour‬‬ ‫‪5. Broch‬‬

‫‪79‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺮﻛﺐ ﺍﺯﺷﺎﻥ ﺑﻬﺮﻩ ﻣﻰﺑﺮﻳﻢ‪ .‬ﺩﻭ ﺗﺎﻳﺸﺎﻥ ﺭﺍ ﺟﻠﻮﻯ ﻫﻢ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﻭ ﺑﻪ ﻫﻢ ﻣﻰﺑﻨﺪﻳﻢ ﻭ‬ ‫ﺳﺮﻫﺎﻳﺸﺎﻥ ﺭﺍ ﻗﻄﻊ ﻣﻰﻛﻨﻴﻢ‪ .‬ﺑﻌﺪ ﺭﻭﻯ ﺷﺎﻧﻪﻫﺎ ﻭ ﮔﺮﺩﻥﻫﺎﻯ ﻫﻤﻮﺍﺭ ﺷﺪﻩ ﻣﻰﻧﺸﻴﻨﻴﻢ ﻭ ﺑﺎ ﻛﺸﻴﺪﻥ‬ ‫ﺑﺎﻗﻴﻤﺎﻧﺪﻩﻯ ﺭﻳﺸﻪﻯ ﻣﻐﺰﺷﺎﻥ‪ ،‬ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﺣﺮﻛﺖ ﻭﺍ ﻣﻰﺩﺍﺭﻳﻢ‪.‬‬

‫‪8‬‬ ‫ﻣﺮﻏﺰﺍﺭ ﭘﻮﺷﻴﺪﻩ ﺍﺯ ﺧﺎﻙ ﻭ ﺷﻦ ﺍﺳﺖ ﻭ ﭘﺎ ﺩﺭ ﺁﻥﻫﺎ ﻓﺮﻭ ﻣﻰﺭﻭﺩ‪ .‬ﻣﺮﺩﻩﻫﺎ ﻛﻤﺘﺮ ﻭ ﺗﺎﺯﻩﺗﺮ ﺷﺪﻩﺍﻧﺪ؛‬ ‫ﺑﺮﻳﺪﮔﻰﻫﺎﻳﺸﺎﻥ ﺩﻗﻴﻖﺗﺮ ﻭ ﺟﺪﻳﺪﺗﺮ ﺍﺳﺖ‪ .‬ﻫﻨﻮﺯ ﺍﺛﺮﻯ ﺍﺯ ﻛﺴﻰ ﻛﻪ ﺁﻥﻫﺎ ﺭﺍ ﭼﻨﻴﻦ ﺳﺎﺧﺘﻪ‪ ،‬ﺩﻳﺪﻩ‬ ‫ﻧﺸﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﻣﺮﻭﺯ ﺻﺒﺢ ﺩﺭ ﻓﺎﺻﻠﻪﻯ ﺩﻭﺭ ﭘﻴﻜﺮﻯ ﺭﺍ ﺩﻳﺪﻳﻢ ﻛﻪ ﻧﺰﺩﻳﻚ ﻣﻰﺷﺪ ﻭ ﺍﺯ ﺍﺭﺍﺩﻩ ﻭ ﻫﺪﻓﻤﻨﺪﻯ ﮔﺎﻡﻫﺎﻳﺶ‪،‬‬ ‫ﻣﺸﺨﺺ ﺑﻮﺩ ﺯﻧﺪﻩ ﺍﺳﺖ‪ .‬ﻭﻗﺘﻰ ﺟﻠﻮﺗﺮ ﺁﻣﺪ‪ ،‬ﺩﻳﺪﻳﻢ ﺑﺎﺭ ﺳﻨﮕﻴﻨﻰ ﺑﻪ ﭘﺸﺖ ﺩﺍﺭﺩ ﻭ ﺍﺯ ﻭﺯﻥ ﺯﻳﺎﺩ ﺁﻥ‪،‬‬ ‫ﺧﻤﻴﺪﻩ ﮔﺎﻡ ﺑﺮ ﻣﻰﺩﺍﺭﺩ‪.‬‬ ‫ﻣﺮﺩ ﺳﻌﻰ ﻛﺮﺩ ﺍﺯ ﺩﺳﺖ ﻣﺎ ﺑﮕﺮﻳﺰﺩ‪ ،‬ﻭﻟﻰ ﻣﺎﻳﻰ ﻛﻪ ﺳﻮﺍﺭ ﺑﺮ ﻣﺮﺩﮔﺎﻥ ﺑﻮﺩﻳﻢ‪ ،‬ﺧﻴﻠﻰ ﺯﻭﺩ ﺍﺳﻴﺮﺵ‬ ‫ﻛﺮﺩﻳﻢ‪ .‬ﻣﺮﺩﻙ ﺑﺎﺭﺵ ﺭﺍ ﺍﺯ ﺷﺎﻧﻪ ﺍﻧﺪﺍﺧﺖ ﻭ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺑﻜﺸﻴﻤﺶ‪ ،‬ﻻﺗﻮﺭ ﻭ ﺑﺮﺍچ ]‪ [5‬ﺭﺍ ﻛﺸﺖ‪.‬‬ ‫ﺁﺗﺸﻰ ﺭﻭﺷﻦ ﻛﺮﺩﻳﻢ ﻭ ﺁﻥ ﭼﻪ ﺭﺍ ﻛﻪ ﻣﻰﺷﺪ ﺍﺯ ﺯﻧﺪﻩﻯ ﺗﺎﺯﻩ ﻛﺸﺘﻪ ﺷﺪﻩ ﻛﺴﺐ ﻛﺮﺩ‪ ،‬ﭘﺨﺘﻴﻢ ﻭ‬ ‫ﺧﻮﺭﺩﻳﻢ‪ .‬ﺑﻌﺪ ﺳﺮﺍﻍ ﺑﺎﺭﺵ ﺭﻓﺘﻴﻢ ﻭ ﺳﺮ ﺁﻥ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩﻳﻢ‪ .‬ﺗﻮﻯ ﺑﺎﺭ‪ ،‬ﺩﻭ ﺯﻥ ﺧﺎﻛﺴﺘﺮﻯ ﻭ ﺩﺭ ﻫﻢ‬ ‫ﭘﻴﭽﻴﺪﻩ ﻗﺮﺍﺭ ﺩﺍﺷﺘﻨﺪ ﻛﻪ ﺑﻪ ﻣﺤﺾ ﺁﺯﺍﺩ ﺷﺪﻥ‪ ،‬ﺷﺮﻭﻉ ﺑﻪ ﺣﺮﻛﺖ ﻛﺮﺩﻧﺪ‪ .‬ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﺩﺍﻡ ﺍﻧﺪﺍﺧﺘﻴﻢ‬ ‫ﻭ ﺍﺳﺘﻔﺎﺩﻩﺷﺎﻥ ﻛﺮﺩﻳﻢ‪ .‬ﺑﻌﺪ ﻃﻨﺎﺏ ﺩﻭﺭ ﮔﺮﺩﻧﺸﺎﻥ ﺍﻧﺪﺍﺧﺘﻪ ﻭ ﺁﻥﻫﺎ ﺭﺍ ﻫﻤﺮﺍﻩ ﺑﺮﺩﻳﻢ‪ .‬ﻭ ﺑﻌﺪﺗﺮ‪ ،‬ﮔﻮﺷﺖ‬ ‫ﺑﺎﻗﻴﻤﺎﻧﺪﻩﻯ ﺗﻨﺸﺎﻥ ﺭﺍ ﺧﻮﺭﺩﻳﻢ‪.‬‬

‫‪9‬‬ ‫ﻫﺮ ﭼﻘﺪﺭ ﻫﻢ ﻛﻪ ﻋﻤﻖ ﺑﻴﺸﺘﺮﻯ ﺭﺍ ﻣﻰﻛﻨﻴﻢ‪ ،‬ﺑﻪ ﺁﺏ ﻧﻤﻰﺭﺳﻴﻢ‪ .‬ﺗﻤﺎﻣﻰ ﻣﻮﺍﺩ ﻏﺬﺍﻳﻰ ﺗﻤﺎﻡ ﺷﺪﻩﺍﻧﺪ‪،‬‬ ‫ﻣﺮﺩﻩﻫﺎ ﻫﻢ ﭼﻨﺎﻥ ﺳﻤﻰ ﺩﺭ ﻭﺟﻮﺩﺷﺎﻥ ﺩﺍﺭﻧﺪ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﺧﻮﺭﺩﻥ‪ ،‬ﺑﺎﻋﺚ ﻣﺮگ ﺍﻧﺴﺎﻥ ﺯﻧﺪﻩ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﻛﺸﻴﺶ ﺩﻳﻮﺍﻧﻪ ﺷﺪﻩ ﻭ ﺍﻳﻦ ﻃﺮﻑ ﻭ ﺁﻥ ﻃﺮﻑ ﭘﺮﺳﻪ ﻣﻰﺯﻧﺪ‪ .‬ﭘﺰﺷﻚ ﻭ ﺑﺎﻗﻰ ﺍﻓﺮﺍﺩ ﻫﻢ ﻣﺮﺩﻩﺍﻧﺪ ﻭ ﺣﺎﻻ‬ ‫ﻓﻘﻂ ﭘﻨﺞ ﻧﻔﺮ ﺍﺯ ﮔﺮﻭﻫﻤﺎﻥ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺟﺴﺪ ﭘﺰﺷﻚ ﺑﺎ ﭼﻨﺎﻥ ﺳﻤﺎﺟﺘﻰ ﺩﻧﺒﺎﻟﻤﺎﻥ ﻣﻰﺁﻣﺪ ﻛﻪ ﻗﺒ ً‬ ‫ﻼ ﺩﺭ ﻣﺮﺩﮔﺎﻥ ﺩﻳﮕﺮ ﻧﺪﻳﺪﻩ ﺑﻮﺩﻳﻢ‪ .‬ﺻﺒﺢ‬ ‫ﺩﻳﺮﻭﺯ ﺑﻴﺪﺍﺭ ﺷﺪﻳﻢ ﻭ ﺩﻳﺪﻳﻢ ﺭﻭﻯ ﺳﻴﻨﻪﻯ ﻛﺎﭘﻴﺘﺎﻥ ﻧﺸﺴﺘﻪ؛ ﺍﻭ ﺭﺍ ﻛﺸﺘﻪ ﺑﻮﺩ ﻭ ﺻﻮﺭﺗﺶ ﺭﺍ ﻣﻰﺟﻮﻳﺪ‪.‬‬ ‫ﭘﺰﺷﻚ ﺭﺍ ﺑﻪ ﻛﻨﺎﺭﻯ ﻛﺸﻴﺪﻳﻢ‪ ،‬ﭘﺎﻫﺎﻳﺶ ﺭﺍ ﺷﻜﺴﺘﻴﻢ ﻭ ﭼﺸﻤﺎﻧﺶ ﺭﺍ ﺍﺯ ﻛﺎﺳﻪ ﺩﺭ ﺁﻭﺭﺩﻳﻢ ﺗﺎ ﺩﻳﮕﺮ‬ ‫‪78‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺳﻨﮕﻴﻦ ﺩﺳﺖ‪ ،‬ﭘﻮﺳﺖ ﺑﺎﻗﻴﻤﺎﻧﺪﻩ ﺑﺮ ﺭﻭﻯ ﺟﻤﺠﻤﻪﺍﺵ ﺭﺍ ﻛﻨﺎﺭ ﺯﺩ ﻭ ﺑﻪ ﻛﻤﻚ ﻳﻚ ﺩﻳﻠﻢ‪ ،‬ﻗﺴﻤﺖ‬ ‫ﺑﺎﻻﻳﻰ ﻛﺎﺳﻪﻯ ﺳﺮﺵ ﺭﺍ ﺑﻠﻨﺪ ﻛﺮﺩ‪ .‬ﻣﻐﺰﺵ ﺭﺍ ﻗﺒ ً‬ ‫ﻼ ﺑﺮﺩﺍﺷﺘﻪ ﺑﻮﺩﻧﺪ ﻭ ﭼﺮﻙ ﻧﻘﺶ ﺑﺴﺘﻪ ﺩﺭﻭﻥ ﻓﻀﺎﻯ‬ ‫ﺧﺎﻟﻰ ﺳﺮﺵ‪ ،‬ﻣﺜﻞ ﻧﻘﺶ ﺧﻮﺷﻪﻫﺎﻯ ﺁﺳﻤﺎﻧﻰ ﺑﻮﺩ‪.‬‬ ‫ﭘﺰﺷﻚ ﻧﻜﺎﺗﻰ ﭼﻨﺪ ﺭﺍ ﻳﺎﺩﺩﺍﺷﺖ ﻛﺮﺩ ﻭ ﺑﻌﺪ ﺑﺮﺍﻯ ﺗﻜﻤﻴﻞ ﺁﺯﻣﺎﻳﺶ‪ ،‬ﺍﺯ ﺑﻘﻴﻪ ﺧﻮﺍﻫﺶ ﻛﺮﺩ ﻣﺮﺩﻩ ﺭﺍ‬ ‫ﺭﻫﺎ ﻛﻨﻨﺪ‪ .‬ﺟﺴﺪ ﺭﺍ ﺭﻭﻯ ﺯﻣﻴﻦ ﮔﺬﺍﺷﺘﻴﻢ ﻭ ﺗﻤﺎﺷﺎ ﻛﺮﺩﻳﻢ ﻛﻪ ﭼﻄﻮﺭ ﭼﻨﺪ ﻟﺤﻈﻪ ﺑﻌﺪ ﺑﻠﻨﺪ ﺷﺪ ﻭ‬ ‫ﺗﻠﻮﺗﻠﻮ ﺧﻮﺭﺍﻥ ﺭﻓﺖ‪.‬‬

‫‪5‬‬ ‫ﺩﺭ ﻃﻮﻝ ﺷﺐ‪ ،‬ﻻﺗﻮﺭ ]‪ [4‬ﺯﻧﻰ ﺭﺍ ﺑﻪ ﺩﺍﻡ ﺍﻧﺪﺍﺧﺖ؛ ﭼﺮﺍ ﻛﻪ ﻣﺪﺕﻫﺎ ﺑﻮﺩ ﺍﺯ ﺗﻤﺪﻥ ﺑﻪ ﺩﻭﺭ ﺑﻮﺩﻳﻢ‪ .‬ﺯﻥ‬ ‫ﺑﺪﻭﻥ ﻫﻴﭻ ﻣﻘﺎﻭﻣﺘﻰ‪ ،‬ﺩﺭ ﻣﻘﺎﺑﻞ ﺍﻭ ﺗﺴﻠﻴﻢ ﺷﺪ‪ .‬ﻻﺗﻮﺭ ﺑﺎ ﭼﺸﻤﺎﻥ ﺑﺴﺘﻪ ﻫﻢ ﻟﺬﺗﻰ ﺍﺯ ﺗﺠﺮﺑﻪ ﻧﺒﺮﺩ ﻭ‬ ‫ﻛﺸﻴﺶ ﻫﻢ ﺣﺎﺿﺮ ﻧﺸﺪ ﺍﻋﺘﺮﺍﻓﺎﺕ ﺍﻭ ﺭﺍ ﺑﭙﺬﻳﺮﺩ‪.‬‬

‫‪6‬‬ ‫ﮔﺎﻫﻰ ﺍﻭﻗﺎﺕ ﻣﻴﺎﻥ ﻣﺮﺩﻩﻫﺎ‪ ،‬ﺯﻧﺪﻩﺍﻯ ﻫﻢ ﭘﻴﺪﺍ ﻣﻰﺷﻮﺩ ﻛﻪ ﺍﺯ ﺭﻧﮓ ﭘﻮﺳﺖ ﻭ ﻫﺸﻴﺎﺭﻯ ﺭﻓﺘﺎﺭﺵ‪ ،‬ﻧﺴﺒﺖ‬ ‫ﺑﻪ ﺑﻘﻴﻪ ﻣﺘﻤﺎﻳﺰ ﻣﻰﺷﻮﺩ‪ .‬ﺯﻧﺪﻩﻫﺎ ﺑﻴﺸﺘﺮ ﻭﺳﻂ ﮔﻠﻪﻯ ﻣﺮﺩﮔﺎﻥ ﻗﻮﺯ ﻣﻰﻛﻨﻨﺪ ﻭ ﺍﺟﺎﺯﻩ ﻣﻰﺩﻫﻨﺪ ﺟﺮﻳﺎﻥ‬ ‫ﺣﺮﻛﺘﺸﺎﻥ‪ ،‬ﺁﻥﻫﺎ ﺭﺍ ﺑﺎ ﺧﻮﺩ ﺑﺒﺮﺩ‪.‬‬ ‫ﻣﻮﻓﻖ ﺷﺪﻳﻢ ﻳﻜﻰﺷﺎﻥ ﺭﺍ ﺑﮕﻴﺮﻳﻢ‪ .‬ﻭﻗﺘﻰ ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ﻣﺮﺩﻥ ﺯﺩ‪ ،‬ﭘﺰﺷﻚ ﺁﻥ ﻗﺪﺭ ﺍﺑﺰﺍﺭ ﻛﺎﺭﺵ ﺭﺍ ﺑﻪ‬ ‫ﺗﻦ ﻣﺮﺩ ﻓﺮﻭ ﻛﺮﺩ ﺗﺎ ﺑﺎﻻﺧﺮﻩ ﺧﻮﻧﻴﻦ ﻭ ﺯﺧﻤﻰ‪ ،‬ﻓﺮﻳﺎﺩﺵ ﺑﻪ ﻫﻮﺍ ﺭﻓﺖ‪.‬‬ ‫ﺩﺳﺖ ﻭ ﭘﺎﻫﺎﻳﺶ ﺭﺍ ﺟﺪﺍ ﻛﺮﺩﻳﻢ ﻭ ﺗﻮﻯ ﻇﺮﻑ ﻧﻤﻚ ﺍﻧﺪﺍﺧﺘﻴﻢ‪ .‬ﻛﻤﻰ ﺑﻌﺪ‪ ،‬ﭘﻠﻚﻫﺎﻯ ﻣﺮﺩ ﻟﺮﺯﻳﺪ ﻭ‬ ‫ﺁﺭﺍﻡ ﭼﺸﻤﺎﻧﺶ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩ ﻭ ﺑﺎﻗﻴﻤﺎﻧﺪﻩﻯ ﺑﺪﻧﺶ ﺑﺎ ﺣﺎﻟﺘﻰ ﻟﺨﺖ ﺑﻪ ﺣﺮﻛﺖ ﺍﻓﺘﺎﺩ‪ .‬ﺑﻪ ﺗﻤﺎﺷﺎ ﺍﻳﺴﺘﺎﺩﻳﻢ‬ ‫ﻛﻪ ﺟﺴﻤﺶ ﭼﻄﻮﺭ ﺗﻘﻼﻛﻨﺎﻥ ﺍﺯ ﻣﺎ ﺩﻭﺭ ﺷﺪ‪ .‬ﺩﺳﺖ ﻭ ﭘﺎﻫﺎﻯ ﺟﺪﺍ ﺷﺪﻩﺍﺵ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺑﺪﻧﻪﻯ ﻇﺮﻑ‬ ‫ﻣﻰﻛﻮﺑﻴﺪﻧﺪ ﻭ ﻧﻤﻚ ﺭﺍ ﻣﻰﺳﺎﺑﻴﺪﻧﺪ‪.‬‬

‫‪7‬‬ ‫ﺁﺧﺮﻳﻦ ﺟﻴﺮﻩﻯ ﻏﺬﺍﻳﻴﻤﺎﻥ ﻫﻢ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﻴﺪ‪ .‬ﻫﺮ ﻭﻗﺖ ﺯﻧﺪﻩﺍﻯ ﻣﻰﻳﺎﺑﻴﻢ‪ ،‬ﺧﻮﺭﺍﻛﻰ ﺍﺯ ﺁﻥ ﻣﻰﺳﺎﺯﻳﻢ‬ ‫ﻭ ﺍﺳﺐﻫﺎﻳﻤﺎﻥ ﺭﺍ ﻫﻢ ﺧﻮﺭﺩﻩﺍﻳﻢ‪ .‬ﺍﻣﺎ ﻣﺮﻏﺰﺍﺭ ﻫﻤﭽﻨﺎﻥ ﺑﺪﻭﻥ ﻫﻴﭻ ﺗﻐﻴﻴﺮﻯ ﺍﺩﺍﻣﻪ ﺩﺍﺭﺩ‪.‬‬ ‫ﻣﺮﺩﻩﻫﺎ ﭼﻨﺎﻥ ﮔﻨﺪﻳﺪﻩ ﻭ ﺁﻟﻮﺩﻩﺍﻧﺪ ﻛﻪ ﻧﻤﻰﺗﻮﺍﻥ ﺁﻥﻫﺎ ﺭﺍ ﺧﻮﺭﺩ‪ .‬ﺩﺭ ﻋﻮﺽ‪ ،‬ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﺩﺍﻡ ﺍﻧﺪﺍﺧﺘﻪ‬ ‫‪77‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺧﻮﺩﺵ ﺗﻜﻪﻫﺎﻯ ﭘﻮﺳﺖ ﭘﺸﺘﺶ ﺭﺍ ﺧﺸﻚ ﻛﺮﺩﻩ ﻭ ﻛﻤﺮﺑﻨﺪﻯ ﺳﺎﺧﺘﻪ ﺑﻮﺩ ﻛﻪ ﺣﺎﻻ ﺑﻪ ﺗﻦ ﺩﺍﺷﺖ؛‬ ‫ﻛﺎﭘﻴﺘﺎﻥ ﻛﻮﺷﻴﺪ ﻛﻤﺮﺑﻨﺪ ﻣﺬﻛﻮﺭ ﺭﺍ ﺑﻪ ﻫﺮ ﻗﻴﻤﺘﻰ ﻛﻪ ﺷﺪﻩ ﺍﺯ ﺍﻭ ﺑﺨﺮﺩ‪ ،‬ﺍﻣﺎ ﻣﻮﻓﻖ ﻧﺸﺪ‪ .‬ﭘﺰﺷﻚ ﮔﺮﻭﻩ‬ ‫ﺩﺭ ﻣﻮﺭﺩ ﺧﺼﻮﺻﻴﺎﺕ ﻛﺴﻰ ﭘﺮﺳﻴﺪ ﻛﻪ ﺍﻳﻦ ﺑﻼ ﺭﺍ ﺑﻪ ﺳﺮﺵ ﺁﻭﺭﺩﻩ ﺍﺳﺖ؛ ﻣﺮﺩ ﺩﺭ ﺟﻮﺍﺏ‪ ،‬ﻭﺭﻗﻪﺍﻯ‬ ‫ﭘﻮﺳﺘﻰ ﺍﺯ ﻛﻮﻟﻪﺍﺵ ﺩﺭ ﺁﻭﺭﺩ ﻛﻪ ﭘﻴﻨﻪﺍﻯ ﺩﺭﺷﺖ ﻭ ﺧﺸﻚ ﺩﺭ ﻳﻚ ﺳﺮﺵ ﻗﺮﺍﺭ ﺩﺍﺷﺖ؛ ﺑﺎ ﺩﻗﺖ ﺑﻴﺸﺘﺮ‬ ‫ﻛﻪ ﺑﺮﺭﺳﻰ ﻛﺮﺩﻳﻢ‪ ،‬ﻣﻌﻠﻮﻡ ﺷﺪ ﭘﻴﻨﻪ ﺻﻮﺭﺕ ﺧﺸﻚ ﺷﺪﻩ ﻭ ﺭﻧﮓ ﺑﺎﺧﺘﻪﻯ ﻳﻚ ﺍﻧﺴﺎﻥ ﺍﺳﺖ‪.‬‬

‫‪2‬‬ ‫ﻛﺸﻴﺶ ﮔﺮﻭﻩ ﺟﺪﻳﺪﺍ ً ﺑﻪ ﻫﺮ ﭼﻪ ﻣﻰﺭﺳﻴﻢ‪ ،‬ﺁﻥ ﺭﺍ ﺗﻄﻬﻴﺮ ﻣﻰﻛﻨﺪ ﻭ ﻗﺒﻞ ﺍﺯ ﻛﺸﺘﻦ‪ ،‬ﺧﺼﻮﺻﻴﺎﺕ‬ ‫ﺁﻥﻫﺎ ﺭﺍ ﺑﺮ ﺭﻭﻯ ﻃﻮﻣﺎﺭﻫﺎﻯ ﭘﺮ ﭘﻴﭻ ﻭ ﺗﺎﺑﻰ ﻣﻰﻧﻮﻳﺴﺪ‪ .‬ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺭﺍﻩ ﻣﻰﺭﻭﻳﻢ‪ ،‬ﺍﺳﺎﻣﻰ ﻭ ﻋﺮﺽ‬ ‫ﺣﺎﻝﻫﺎﻳﻰ ﺭﺍ ﺑﻠﻨﺪ ﺑﻠﻨﺪ ﻣﻰﺧﻮﺍﻧﺪ ﻛﻪ ﺑﻌﺪﺍ ً ﺑﻪ ﻋﻨﻮﺍﻥ ﻟﻴﺴﺖ ﺑﻪ ﺁﻳﻴﻦ ﺩﺭ ﺁﻣﺪﻩﻫﺎ ﺑﻪ ﻛﻠﻴﺴﺎ ﺗﺴﻠﻴﻢ ﻛﺮﺩﻩ‬ ‫ﻭ ﺩﺭ ﻋﻮﺽ ﺩﺭﺧﻮﺍﺳﺖ ﻣﻘﺎﻡ ﻗﺪﻳﺴﻰ ﺧﻮﺍﻫﺪ ﻛﺮﺩ‪.‬‬

‫‪3‬‬ ‫ﻫﻮﺍ ﮔﺮﻓﺘﻪ ﻭ ﺧﻔﻘﺎﻥﺁﻭﺭ ﺍﺳﺖ‪ .‬ﻣﻴﺎﻧﻪﻫﺎﻯ ﺭﻭﺯ ﺑﻪ ﻣﺮﺩﻯ ﺑﺮﺧﻮﺭﺩﻳﻢ ﻛﻪ ﺍﺩﻋﺎ ﻣﻰﻛﺮﺩ ﻣﻰﺗﻮﺍﻧﺪ ﻣﺮﺩﻩﻫﺎ‬ ‫ﺭﺍ ﺯﻧﺪﻩ ﻛﻨﺪ‪ .‬ﻛﺎﭘﻴﺘﺎﻥ ﺷﻤﺸﻴﺮ ﺍﺯ ﻏﻼﻑ ﻛﺸﻴﺪ ﻭ ﺳﺮ ﻛﺎﺭﮔﺮﻯ ﺭﺍ ﺯﺩ ﻛﻪ ﺍﺯ ﺍﺑﺘﺪﺍﻯ ﺳﻔﺮ ﺑﺎ ﺍﻭ ﻣﺸﻜﻞ‬ ‫ِ‬ ‫ﻣﺮﺩﻙ ﺧﻮﺩ‪-‬ﻣﺴﻴﺢ ﺑﻴﻨﻨﺪﻩ‪ ،‬ﺳﺮ ﻣﺮﺩﻩ ﺭﺍ‬ ‫ﺩﺍﺷﺖ؛ ﺑﻌﺪ ﻣﺮﺩ ﺭﺍ ﺑﻪ ﻣﺒﺎﺭﺯﻩ ﻃﻠﺒﻴﺪ ﺗﺎ ﻣﺮﺩﻩ ﺭﺍ ﺯﻧﺪﻩ ﻛﻨﺪ‪.‬‬ ‫ﺑﻪ ﺑﺪﻥ ﺩﻭﺧﺖ ﻭ ﺑﻌﺪ ﺑﺎ ﺍﻧﮕﺸﺘﺎﻧﻰ ﻟﺮﺯﺍﻥ‪ ،‬ﻭﺭﺩﻫﺎﻯ ﺑﻰ ﺳﺮ ﻭ ﺗﻬﻰ ﺑﻪ ﺯﺑﺎﻥ ﺁﻭﺭﺩ‪ .‬ﺑﻌﺪ ﺍﺯ ﻭﻗﻔﻪﺍﻯ ﻧﺴﺒﺘﺎً‬ ‫ﻃﻮﻻﻧﻰ‪ ،‬ﻛﺎﭘﻴﺘﺎﻥ ﺩﺳﺘﻮﺭ ﺩﺍﺩ ﺳﺮ ﺍﻭ ﺭﺍ ﻫﻢ ﺑﺰﻧﻨﺪ‪.‬‬ ‫ﺳﺮﻫﺎ ﺭﺍ ﻧﻮﻙ ﻧﻴﺰﻩ ﺯﺩﻳﻢ ﻭ ﻣﺴﻴﺮ ﺭﺍ ﺍﺩﺍﻣﻪ ﺩﺍﺩﻳﻢ‪ .‬ﻧﺰﺩﻳﻜﻰﻫﺎﻯ ﻣﺮﻏﺰﺍﺭ‪ ،‬ﺳﺮﻫﺎ ﺑﻪ ﺯﻣﺰﻣﻪ ﻭ ﻧﺎﻟﻪ ﺍﻓﺘﺎﺩﻧﺪ؛‬ ‫ﻧﻴﺰﻩﻫﺎ ﺭﺍ ﺩﺭ ﺷﻦ ﻓﺮﻭ ﻛﺮﺩﻳﻢ ﻭ ﻫﻤﺎﻥﺟﺎ ﺭﻫﺎﻳﺸﺎﻥ ﻛﺮﺩﻳﻢ ﻭ ﺭﻓﺘﻴﻢ‪.‬‬

‫‪4‬‬ ‫ﺑﻪ ﻣﺮﻏﺰﺍﺭ ﺭﺳﻴﺪﻩﺍﻳﻢ ﻭ ﮔﻠﻪﻫﺎﻯ ﻣﺮﺩﻩ‪ ،‬ﻣﻴﺎﻥ ﻋﻠﻒﻫﺎﻯ ﺧﺸﻚ ﺭﺍﻩ ﺑﺎﺯ ﻣﻰﻛﻨﻨﺪ ﻭ ﭘﻴﺶ ﻣﻰﺭﻭﻧﺪ‪.‬‬ ‫ﻳﻜﻰﺷﺎﻥ ﺭﺍ ﮔﺮﻓﺘﻴﻢ ﻛﻪ ﺑﺎ ﺗﻘﻼﻯ ﻛﻤﻰ ﺗﺴﻠﻴﻢ ﺷﺪ ﻭ ﻫﻤﻴﻦ ﻛﻪ ﺍﺯ ﺯﻣﻴﻦ ﺑﻠﻨﺪﺵ ﻛﺮﺩﻳﻢ‪ ،‬ﺑﻰﺣﺎﻝ‬ ‫ﻭ ﺳﺴﺖ ﺷﺪ‪ .‬ﭘﻮﺳﺖ ﺳﻴﺎﻩ ﻭ ﺑﺪﺑﻮﻳﻰ ﺩﺍﺷﺖ‪ .‬ﻟﺒﺎﺱﻫﺎﻳﺶ ﺭﺍ ﺑﺮﺭﺳﻰ ﻛﺮﺩﻳﻢ ﻭ ﺻﻮﺭﺗﺶ ﺭﺍ ﻛﻪ ﺩﺭ‬ ‫ﺁﻥ‪ ،‬ﺩﻫﺎﻧﺶ ﺭﺍ ﺑﻪ ﻫﻢ ﺩﻭﺧﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﭘﻮﺳﺖ ﺳﻴﻨﻪﺍﺵ ﺭﺍ ﻛﻪ ﻛﻨﺎﺭ ﺯﺩﻳﻢ‪ ،‬ﺩﻳﺪﻳﻢ ﺍﻣﻌﺎ ﻭ ﺍﺣﺸﺎﻳﺶ‬ ‫ﺭﺍ ﺑﺎ ﻇﺮﺍﻓﺖ ﺧﺎﺭﺝ ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﺭﻭﺯﻧﻪﻫﺎﻯ ﺧﺮﻭﺟﻰ ﺑﺪﻧﺶ ﺭﺍ ﺑﺴﺘﻪﺍﻧﺪ‪ .‬ﭘﺰﺷﻚ ﺑﺎ ﺿﺮﺑﻪﻯ ﻧﻪ ﭼﻨﺪﺍﻥ‬ ‫‪76‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻣﺮﻏـــﺰﺍﺭ‬ ‫ﺑﺮﺍﻳﺎﻥ ﺍﻭﻧﺴﻮﻥ‬ ‫ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

‫داﺳﺘﺎن زﯾﺮ ﺑﺮ اﺳﺎس ﺧﺎﻃﺮات ﻗﺮن ﺷﺎﻧﺰدﻫﻤﯽ ﮐﺎﺑﺘﺰا دو واﭼﺎ ]‪ [۱‬ﻧﻮﺷﺘﻪ ﺷﺪه ﮐﻪ ﭘﺲ از‬ ‫ﻏﺮق ﺷﺪن ﮐﺸﺘﯽ‪ ،‬ﭘﺎی ﭘﯿﺎده آﻣﺮﯾﮑﺎی ﺷامﻟﯽ را ﭘﺸﺖ ﴎ ﻧﻬﺎد‪ .‬ﻫﻤﭽﻨﯿﻦ داﺳﺘﺎن از ﻓﯿﻠﻢ‬ ‫»آﮔﻮار‪ ،‬ﺧﺸﻢ ﺧﺪا« ]‪ ،[۲‬ﺳﺎﺧﺘﻪی ورﻧﺮ ﻫﺮﺗﺰوگ ]‪ [۳‬ﻧﯿﺰ اﻟﻬﺎم ﮔﺮﻓﺘﻪ اﺳﺖ‪.‬‬

‫‪1‬‬ ‫ﺍﻭﺍﻳﻞ ﻋﺼﺮ‪ ،‬ﻭﻗﺘﻰ ﻫﻨﻮﺯ ﻣﺴﺎﻓﺖ ﺯﻳﺎﺩﻯ ﺗﺎ ﻣﺮﻏﺰﺍﺭ ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﻪ ﻣﺮﺩﻯ ﺑﺮﺧﻮﺭﺩﻳﻢ ﻛﻪ ﭘﻮﺳﺖ‬ ‫ﭘﺸﺘﺶ ﺗﺎ ﻧﻴﻤﻪ ﺍﺯ ﺑﺪﻥ ﺁﻭﻳﺰﺍﻥ ﺑﻮﺩ‪ .‬ﺧﻮﺩﺵ ﺍﺟﺎﺯﻩ ﺩﺍﺩ ﺍﻳﻦ ﻗﺴﻤﺖ ﺍﺯ ﺑﺪﻧﺶ ﺭﺍ ﺑﺒﻴﻨﻴﻢ؛ ﺯﻳﺮ‬ ‫ﭘﻮﺳﺖ‪ ،‬ﭼﻴﺰﻯ ﺍﺭﻏﻮﺍﻧﻰ ﻭ ﭼﺮﻭﻛﻴﺪﻩ ﻭ ﺩﺭ ﻫﻢ ﭘﻴﭽﻴﺪﻩ ﻗﺮﺍﺭ ﺩﺍﺷﺖ ﻛﻪ ﺣﺎﻟﺖ ﻣﻐﺰ ﺍﻧﺴﺎﻥ ﺭﺍ‬ ‫ﻳﺎﺩﺁﻭﺭﻯ ﻣﻰﻛﺮﺩ‪.‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺩﺭ ﺍﺑﺘﺪﺍ ﺟﻮﺍﺏ ﺁﺭﺍﻣﻰ ﺁﻣﺪﻩ‪ ،‬ﭼﻮﻥ ﻓﻘﻂ ﻧﻴﺮﻭﻫﺎﻯ ﻗﺪﻳﻤﻰﺍﺵ ﺟﻮﺍﺏ ﺩﺍﺩﻧﺪ‪ .‬ﺩﺳﺖ ﺁﺧﺮ ﺻﺪﺍﻫﺎﻯ‬ ‫ﺩﻳﮕﺮﻯ ﻫﻢ ﺑﻪ ﺁﻥﻫﺎ ﭘﻴﻮﺳﺖ‪ ،‬ﺳﺮﺑﺎﺯﺍﻥ ﺟﺪﻳﺪ ﻫﻢ ﺟﻮﺍﺏ ﻣﻰﺩﺍﺩﻧﺪ‪ .‬ﻓﺮﻳﺎﺩﻫﺎﺷﺎﻥ ﺍﻋﺘﻤﺎﺩ ﺑﻪ ﻧﻔﺲ‬ ‫ﺩﻳﮕﺮﺍﻥ ﺭﺍ ﺗﺤﺮﻳﻚ ﻣﻰﻛﺮﺩ ﺗﺎ ﺑﺎﻻﺧﺮﻩ ﻓﺮﻳﺎﺩ ﻫﻤﻪ ﻛﻞ ﺩژ ﺭﺍ ﺩﺭ ﻧﻮﺭﺩﻳﺪ‪.‬‬ ‫ﮔﺮﺕ ﭘﺸﺘﺶ ﺁﻣﺪ‪ .‬ﺍﻧﮕﺸﺘﺎﻧﺶ ﺑﺮ ﻛﻤﺮ ﻣﻮﻧﻴﻜﺎ ﻟﻴﺰ ﻣﻰﺧﻮﺭﺩ‪ ،‬ﺳﺮﺩ ﻣﺜﻞ ﻳﺦ‪.‬‬ ‫ﮔﺮﺕ ﮔﻔﺖ‪» :‬ﺗﻮ ﺑﻪ ﺍﻭﻧﺎ ﺍﻣﻴﺪ ﺩﺍﺩﻯ‪ .‬ﻳﻪ ﻓﺮﺻﺖ ﺩﻳﮕﻪ‪«.‬‬ ‫ﻣﻮﻧﻴﻜﺎ ﺑﺎ ﺣﺮﻛﺖ ﺳﺮ ﺗﺄﻳﻴﺪ ﻛﺮﺩ‪ .‬ﭼﻴﺰ ﺯﻳﺎﺩﻯ ﻧﺒﻮﺩ‪ ،‬ﺍﻣﺎ ﺑﻬﺘﺮﻳﻦ ﻛﺎﺭﻯ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﺩﺳﺘﺶ ﺑﺮ ﻣﻰﺁﻣﺪ‪.‬‬ ‫ﺷﺎﻳﺪ‪ ،‬ﻭ ﻓﻘﻂ ﺷﺎﻳﺪ‪ ،‬ﻫﻤﻴﻦ ﻛﺎﻓﻰ ﺑﺎﺷﺪ‪.‬‬

‫‪4. Hendrix‬‬

‫‪1. Kelley Armstrong‬‬ ‫‪2. The Summoning‬‬ ‫‪3. Darkest Powers‬‬

‫‪ .5‬ﺍﺷﺎﺭﻩ ﺩﺍﺭﺩ ﺑﻪ ﺟﻤﻠﻪﺍﻯ ﺍﺯ ﺷﻌﺮﻯ ﺍﺯ ﺗﻰ‪ .‬ﺍﺱ‪ .‬ﺍﻟﻴﻮﺕ ﺑﻪ ﻧﺎﻡ‬ ‫‪The Hollow Man‬‬

‫‪73‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻣﻰﺩﺍﺩ‪ .‬ﻭ ﺣﺎﻻ‪ ،‬ﺩﻭ ﺭﻭﺯ ﺑﻌﺪ‪ ،‬ﺍﺭﺗﺸﻰ ﺗﺤﺖ ﻓﺮﻣﺎﻥ ﻣﺤﻴﺎ ﺑﻮﺩ‪.‬‬ ‫ﻣﻮﻧﻴﻜﺎ ﺳﺨﻨﺮﺍﻧﻰﺍﺵ ﺭﺍ ﺑﺎ ﺩﺭﺱ ﺗﺎﺭﻳﺦ ﺷﺮﻭﻉ ﻛﺮﺩ‪ .‬ﺍﻳﻦ ﻛﻪ ﭼﻄﻮﺭ ﺩﻳﮕﺮﺍﻥ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﺍﻳﻦ ﻣﻜﺎﻥ ﺭﺍﻧﺪﻩ‬ ‫ﺑﻮﺩﻧﺪ‪ ،‬ﭼﻄﻮﺭ ﺩﺭ ﭼﻨﺪ ﻳﻮﺭﺵ ﭘﺮﺍﻛﻨﺪﻩ ﺟﻨﮕﻴﺪﻩ ﻭ ﺗﻨﻬﺎ ﻛﺴﺎﻧﻰ ﺭﺍ ﻛﺸﺘﻪ ﺑﻮﺩﻧﺪ ﻛﻪ ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻨﺪ‬ ‫ﺩﺳﺘﮕﻴﺮ ﻛﻨﻨﺪ‪ .‬ﻛﻪ ﭼﻄﻮﺭ ﺑﺎ ﺍﺳﻴﺮﺍﻥ ﺟﻨﮕﻰ ﺍﻧﺴﺎﻧﻰ ﺑﺮﺧﻮﺭﺩ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺗﻤﺎﻡ ﻣﺮﺩﺍﻥ ﻭ ﺯﻧﺎﻥ ﺣﺎﺿﺮ‬ ‫ﺩﺭ ﺁﻥﺟﺎ ﻣﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﺷﻬﺎﺩﺕ ﺩﻫﻨﺪ‪ .‬ﺍﻣﺎ ﺣﺎﻻ‪ ،‬ﮔﺮگﻫﺎ ﭘﺸﺖ ﺩﺭ ﺧﺎﻧﻪﺷﺎﻥ ﺑﻮﺩﻧﺪ ﻭ ﺣﺎﺿﺮ ﺑﻪ ﻣﺬﺍﻛﺮﻩ‬ ‫ﻫﻢ ﻧﻤﻰﺷﺪﻧﺪ ﻭ ﺁﻥﻫﺎ ﺭﺍ ﻭﺍﺩﺍﺭ ﻣﻰﻛﺮﺩﻧﺪ ﻛﺎﺭﻫﺎﻯ ﻏﻴﺮﻗﺎﺑﻞ ﺗﺼﻮﺭ ﺍﻧﺠﺎﻡ ﺩﻫﻨﺪ‪.‬‬ ‫ﺻﺪﺍﻯ ﻣﻮﻧﻴﻜﺎ ﻓﻀﺎﻯ ﺟﺎﻥﭘﻨﺎﻩ ﺭﺍ ﺗﺎ ﺍﻧﺘﻬﺎ ﻣﻰﺷﻜﺎﻓﺖ‪» :‬ﻣﺎ ﺑﺮﺍﻯ ﺟﻨﮓ ﺳﺮﺑﺎﺯ ﻣﻰﺧﻮﺍﻳﻢ‪ .‬ﻣﻰﺩﻭﻧﻢ ﺩﺭ‬ ‫ﺣﺎﻝ ﺣﺎﺿﺮ ﺷﻤﺎ ﺧﻴﻠﻰ ﻣﺎﻳﻞ ﻧﻴﺴﺘﻴﻦ ﺑﻪ ﻣﺎ ﻛﻤﻚ ﻛﻨﻴﻦ‪ .‬ﺍﻣﺎ ﺷﻤﺎ ﺑﺮﺍﻯ ﻣﺎ ﻧﺨﻮﺍﻫﻴﺪ ﺟﻨﮕﻴﺪ‪ ،‬ﺑﺮﺍﻯ‬ ‫ﺧﻮﺩﺗﻮﻧﻪ ﻛﻪ ﻣﻰﺟﻨﮕﻴﺪ‪ .‬ﺷﻤﺎ ﺍﻻﻥ ﺍﺯ ﻣﺎﻳﻴﺪ‪ .‬ﻣﺒﺘﻼ ﺷﺪﻳﻦ‪ .‬ﻫﺮ ﻛﺴﻰ ﺍﺯ ﺷﻤﺎ ﺍﮔﻪ ﺧﻮﺍﺳﺖ‪ ،‬ﺁﺯﺍﺩﻩ‬ ‫ﺗﺎ ﺍﺯ ﺩﺭﻭﺍﺯﻩﻯ ﻭﺭﻭﺩﻯ ﺩژ ﺧﺎﺭﺝ ﺷﻪ‪ .‬ﺍﻣﺎ ﺷﻤﺎ ﺍﻳﻦ ﻛﺎﺭ ﺭﻭ ﻧﻤﻰﻛﻨﻴﺪ‪ ،‬ﭼﻮﻥ ﻣﻰﺩﻭﻧﻴﺪ ﺍﻭﻥﻫﺎ ﺑﻬﺘﻮﻥ‬ ‫ﺍﺟﺎﺯﻩ ﻧﻤﻰﺩﻥ‪ .‬ﺍﮔﻪ ﭘﺎﺗﻮﻥ ﺭﻭ ﺍﺯ ﺍﻳﻦﺟﺎ ﺑﺬﺍﺭﻳﺪ ﺑﻴﺮﻭﻥ ﻭ ﺑﺮﻳﺪ ﺑﻪ ﺍﺭﺩﻭﮔﺎﻩ ﺍﻭﻥﻫﺎ‪ ،‬ﻫﻢﺭﺯﻣﺎ‪ ،‬ﺩﻭﺳﺘﺎ ﻭ‬ ‫ﺧﺎﻧﻮﺍﺩﻩﺗﻮﻥ‪ ،‬ﺳﺮﺗﻮﻥ ﺭﻭ ﻣﻰﺯﻧﻦ؛ ﭼﻮﻥ ﺷﻤﺎ ﺩﻳﮕﻪ ﺍﻧﺴﺎﻥ ﻧﻴﺴﺘﻴﺪ‪ .‬ﺷﻤﺎ ﻣﺒﺘﻼ ﺷﺪﻳﻦ‪«.‬‬ ‫‪She paused to let her words sink in‬‬

‫ﻣﻜﺚ ﻛﺮﺩ ﺗﺎ ﺣﺮﻑﻫﺎﻳﺶ ﺭﺍ ﻫﻀﻢ ﻛﻨﻨﺪ‪ .‬ﭘﺸﺖ ﺳﺮﺵ ﮔﺮﺕ ﺗﻜﺎﻧﻰ ﺧﻮﺩ‪ .‬ﺑﺎ ﺧﻮﺩﺵ ﻛﻠﻨﺠﺎﺭ ﻣﻰﺭﻓﺖ‬ ‫ﺗﺎ ﺳﺮﭘﺎ ﺑﺎﻳﺴﺘﺪ‪ .‬ﻣﻮﻧﻴﻜﺎ ﺑﻪ ﺍﻭ ﻧﮕﺎﻫﻰ ﺍﻧﺪﺍﺧﺖ‪ .‬ﺍﻭ ﻫﻢ ﺑﺎ ﻟﺒﺨﻨﺪﻯ ﭘﺎﺳﺨﺶ ﺭﺍ ﺩﺍﺩ ﻭ ﺁﺭﺍﻡ ﮔﻔﺖ ﻛﻪ‬ ‫ﺩﺍﺭﺩ ﺧﻮﺏ ﭘﻴﺶ ﻣﻰﺭﻭﺩ‪.‬‬ ‫ﻣﻮﻧﻴﻜﺎ ﺭﻭ ﺑﻪ ﻧﻴﺮﻭﻫﺎﻳﺶ ﺑﺮﮔﺸﺖ‪» :‬ﺑﺮﺍﻯ ﻫﺮ ﺍﻭﻥ ﻛﺴﻰ ﻛﻪ ﺗﺮﻛﺶ ﻛﺮﺩﻳﻦ‪ ،‬ﺍﻻﻥ ﺷﻤﺎ ﻣﺮﺩﻩ ﺑﻪ ﺣﺴﺎﺏ‬ ‫ﻣﻰﺍﻳﺪ‪ .‬ﺁﻳﺎ ﺍﺣﺴﺎﺱ ﻣﺮﺩﻩ ﺑﻮﺩﻥ ﻣﻰﻛﻨﻴﺪ؟«‬ ‫ﺳﺮ ﺟﺎﻳﺸﺎﻥ ﺗﻜﺎﻧﻰ ﺧﻮﺭﺩﻧﺪ ﻭ ﻧﺪﺍﻯ ﻣﻮﻧﻴﻜﺎ ﻣﻮﺟﻰ ﺩﺭ ﺟﺎﻥﭘﻨﺎﻩ ﺑﻪ ﺭﺍﻩ ﺍﻧﺪﺍﺧﺖ ﻛﻪ ﺗﺎ ﺗﻪ ﺳﺎﻟﻦ ﺭﻓﺖ‪.‬‬ ‫»ﺑﺮﺍﻯ ﻫﺮ ﺍﻭﻥ ﻛﺴﻰ ﻛﻪ ﺗﺮﻛﺶ ﻛﺮﺩﻳﻦ‪ ،‬ﺷﻤﺎ ﺍﻻﻥ ﻫﻴﻮﻻ ﻫﺴﺘﻴﻦ‪ .‬ﺁﻳﺎ ﻓﻜﺮ ﻣﻰﻛﻨﻴﻦ ﻫﻴﻮﻻﻳﻴﻦ؟«‬ ‫ﺗﻜﺎﻥﻫﺎ ﻭ ﺳﺮ ﺻﺪﺍﻫﺎﻯ ﺑﻴﺸﺘﺮﻯ ﺑﻪ ﮔﻮﺵ ﺭﺳﻴﺪ‪.‬‬ ‫»ﺑﺮﺍﻯ ﻫﺮ ﺍﻭﻥ ﻛﺴﻰ ﻛﻪ ﺗﺮﻛﺶ ﻛﺮﺩﻳﻦ‪ ،‬ﺷﻤﺎ ﺩﻳﮕﻪ ﺣﻘﻰ ﺑﺮﺍﻯ ﺯﻧﺪﮔﻰ ﻧﺪﺍﺭﻳﻦ‪«.‬‬ ‫ﻧﮕﺎﻫﻰ ﺩﻳﮕﺮ ﺑﻪ ﮔﺮﺕ ﻛﺮﺩ‪ .‬ﺣﺎﻻ ﺳﺮ ﭘﺎﺗﺮ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﺻﻮﺭﺗﺶ ﺭﺍ ﺑﺎﻻ ﮔﺮﻓﺖ‪ .‬ﺩﺍﺷﺖ ﻣﻰﻣﺮﺩ‪.‬‬ ‫ﻫﻤﻪﺷﺎﻥ ﺩﺍﺷﺘﻨﺪ ﻣﻰﻣﺮﺩﻧﺪ ﻭ ﺑﻪ ﺍﻳﻦ ﺷﻜﻞ ﺑﺎﻳﺪ ﺑﺎ ﺁﻥ ﺭﻭﺑﻪﺭﻭ ﻣﻰﺷﺪﻧﺪ‪ :‬ﺑﺎﻳﺪ ﺗﻤﺎﻡ ﻗﺪ ﺑﺎﻳﺴﺘﻨﺪ ﻭ‬ ‫ﻧﮕﺬﺍﺭﻧﺪ ﻣﺮگ ﺑﻪ ﺍﻳﻦ ﺭﺍﺣﺘﻰ ﭘﻴﺮﻭﺯ ﺷﻮﺩ‪ .‬ﻗﺒ ً‬ ‫ﻼ ﻫﻢ ﺳﺮ ﻣﺮگ ﻛﻼﻩ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﺣﺎﻻ ﺩﻭﺑﺎﺭﻩ ﺑﺎﻳﺪ‬ ‫ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺗﻜﺮﺍﺭ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫ﻣﻮﻧﻴﻜﺎ ﺭﻭ ﺑﻪ ﺟﻤﻌﻴﺖ ﺯﻳﺮ ﭘﺎﻳﺶ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﻣﻰﺧﻮﺍﻳﺪ ﺯﻧﺪﻩ ﺑﻤﻮﻧﻴﻦ؟« ﻣﻜﺜﻰ ﻛﺮﺩ ﻭ ﺩﻭﺑﺎﺭﻩ ﺍﺩﺍﻣﻪ‬ ‫ﺩﺍﺩ‪» :‬ﻣﻰﺧﻮﺍﻳﺪ ﺑﺮﺍﻯ ﺯﻧﺪﮔﻰﺗﻮﻥ ﺑﺠﻨﮕﻴﺪ؟«‬ ‫‪72‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺩﻫﺪ‪ .‬ﻣﻄﻤﺌﻦ ﻧﺒﻮﺩ ﺩﻳﮕﺮ ﻫﻤﭽﻴﻦ ﭼﻴﺰﻯ ﻣﻤﻜﻦ ﺑﺎﺷﺪ‪ .‬ﻓﻘﻂ ﻣﻰﺧﻮﺍﺳﺖ ﺗﻤﺎﻡ ﻓﺮﺻﺖﻫﺎﻯ ﻣﻤﻜﻦ‬ ‫ﺭﺍ ﺑﻬﺸﺎﻥ ﺑﺪﻫﺪ ﺗﺎ ﺑﻠﻜﻪ ﺯﻧﺪﻩ ﺑﻤﺎﻧﻨﺪ‪.‬‬ ‫ﺗﺎ ﻛﺠﺎ ﺣﺎﺿﺮ ﺑﻮﺩ ﭘﻴﺶ ﺑﺮﻭﺩ؟ ﺗﺎ ﺁﻥﺟﺎ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺴﺖ‪.‬‬ ‫ﺳﻪ ﺭﻭﺯ ﺑﻌﺪ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﺭﻭﻯ ﺍﻳﻮﺍﻥ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﺑﻪ ﺟﺎﻥﭘﻨﺎﻩ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‪ .‬ﮔﺮﺕ ﻫﻢ ﻛﻨﺎﺭﺵ ﺍﻳﺴﺘﺎﺩﻩ‬ ‫ﺑﻮﺩ‪.‬‬ ‫ﮔﻔﺘﻪ ﺑﻮﺩ‪»:‬ﻣﻦ ﺑﺎﻳﺪ ﺍﻭﻥﺟﺎ ﺑﺎﺷﻢ‪ .‬ﺑﺎﻳﺪ ﻣﻦ ﺭﻭ ﺍﻭﻥ ﺑﺎﻻ ﺑﺒﻴﻨﻦ ﻛﻪ ﺍﻳﺴﺘﺎﺩﻡ‪«.‬‬ ‫ﺩﺭ ﻧﺘﻴﺠﻪ ﺩﻛﺘﺮﻫﺎ ﻫﻢ ﻫﺮ ﺁﻥ ﭼﻪ ﺍﺯ ﺩﺳﺘﺸﺎﻥ ﺑﺮ ﻣﻰﺁﻣﺪ‪ ،‬ﺍﻧﺠﺎﻡ ﺩﺍﺩﻧﺪ ﻭ ﺍﻭ ﺭﺍ ﺑﺎﻧﺪﭘﻴﭽﻰ ﻛﺮﺩﻧﺪ‪ .‬ﻣﻮﻧﻴﻜﺎ‬ ‫ﻫﻢ ﻫﺮ ﺁﻥ ﭼﻪ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺍﻧﺠﺎﻡ ﺩﺍﺩ‪ .‬ﺑﺪﻥ ﮔﺮﺕ ﺭﺍ ﺷﺴﺖ ﺗﺎ ﺗﻌﻔﻦ ﮔﻨﺪﻳﺪﮔﻰﻫﺎﻯ ﺯﺧﻢﻫﺎﻳﺶ ﺭﺍ‬ ‫ﭘﺎﻙ ﻛﻨﺪ‪ .‬ﺁﻥﻫﺎ ﺳﺮﺳﺮﺍ ﺭﺍ ﺧﺎﻟﻰ ﻛﺮﺩﻧﺪ ﻭ ﮔﺮﺕ ﺭﺍ ﺗﺎ ﺩﻡ ﺩﺭ ﺟﺎﻥﭘﻨﺎﻩ ﺑﺎ ﺑﺮﺍﻧﻜﺎﺭﺩ ﺁﻭﺭﺩﻧﺪ‪ .‬ﺍﺯ ﺁﻥﺟﺎ‬ ‫ﺑﻪ ﺑﻌﺪﺵ ﺭﺍ ﺧﻮﺩﺵ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪ .‬ﻗﻮﺍﻳﺶ ﺭﺍ ﺑﺎﺯ ﻳﺎﻓﺖ ﻭ ﺑﻠﻨﺪ ﺷﺪ ﻭ ﺗﺎ ﺩﺭ ﻧﮕﻬﺒﺎﻧﻰ ﭘﻴﺎﺩﻩ ﺭﻓﺖ‪ .‬ﺟﻠﻮﻯ‬ ‫ﻳﻚ ﺳﺘﻮﻥ ﺍﻳﺴﺘﺎﺩ‪ .‬ﻣﻮﻧﻴﻜﺎ ﻣﻰﺩﺍﻧﺴﺖ ﺑﻪ ﺁﻥ ﺗﻜﻴﻪ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺑﺮﺍﻯ ﺁﻥﻫﺎ ﻛﻪ ﺁﻥ ﭘﺎﻳﻴﻦ ﺑﻮﺩﻧﺪ‪،‬‬ ‫ﻗﻬﺮﻣﺎﻧﺸﺎﻥ ﺳﺮﭘﺎ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻭ ﺣﺎﻻ ﺑﺎ ﺍﻳﻦ ﺍﻣﻴﺪ ﺗﺎﺯﻩﺍﻯ ﻛﻪ ﻣﻮﻧﻴﻜﺎ ﺑﻪ ﺁﻥﻫﺎ ﻣﻰﺩﺍﺩ‪ ،‬ﺁﻥﻫﺎ ﺍﻣﻴﺪﻭﺍﺭ‬ ‫ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﻳﻚ ﺑﺎﺭ ﺩﻳﮕﺮ ﺑﻪ ﻣﺮﺩﺍﻥ ﻭ ﺯﻧﺎﻧﻰ ﻛﻪ ﺩﺭ ﺍﺗﺎﻕ ﺯﻳﺮ ﭘﺎﻳﺶ ﺟﻤﻊ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﻓﻘﻂ ﻓﺮﻗﺶ ﺍﻳﻦ‬ ‫ﺑﻮﺩ ﻛﻪ ﺍﻳﻦ ﺑﺎﺭ ﺁﻥﻫﺎ ﻫﻢ ﺑﻪ ﺍﻭ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺑﻴﺶ ﺍﺯ ﺻﺪ ﻭ ﭘﻨﺠﺎﻩ ﺳﺮﺑﺎﺯ ﺁﻣﻮﺯﺵ ﺩﻳﺪﻩﻯ ﺑﺮ ﭘﺎ ﺑﻪ‬ ‫ﺍﻭ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺩﺭ ﺻﻮﺭﺕﻫﺎﻳﺸﺎﻥ ﺗﺮﺱ ﻭ ﺗﺮﺩﻳﺪ ﻣﻰﺩﻳﺪ‪ .‬ﺗﻨﻔﺮ ﻫﻢ ﻣﻰﺩﻳﺪ‪ ،‬ﺍﻣﺎ ﻛﻤﺘﺮ ﺍﺯ ﻗﺒﻞ‪ .‬ﺧﻴﻠﻰ ﻛﻤﺘﺮ‪.‬‬ ‫ﻧﮕﻬﺒﺎﻥﻫﺎ ﺍﺗﺎﻕ ﺭﺍ ﺩﻭﺭﻩ ﻛﺮﺩﻧﺪ‪ .‬ﻏﻴﺮﻧﻈﺎﻣﻰﻫﺎ ﻫﻢ ﺳﻴﻨﻰ ﮔﻮﺷﺖ ﺩﺭ ﺩﺳﺖ ﻣﻰﺭﻓﺘﻨﺪ ﻭ ﻣﻰﺁﻣﺪﻧﺪ‪.‬‬ ‫ﮔﻮﺷﺖ ﭘﺨﺘﻪ ﺑﻮﺩ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ ﺧﻮﺭﺩﻥ ﺍﻳﻦ ﮔﻮﺷﺖ ﺑﺮﺍﻳﺸﺎﻥ ﺭﺍﺣﺖﺗﺮ ﺑﻮﺩ‪ .‬ﺑﻪ ﮔﺮﻭﮔﺎﻥﻫﺎ‬ ‫ﻫﺮ ﻗﺪﺭ ﺧﻮﺩﺷﺎﻥ ﻣﻰﺧﻮﺍﺳﺘﻨﺪ ﮔﻮﺷﺖ ﺩﺍﺩﻧﺪ‪ .‬ﺍﻳﻦ ﻛﺎﺭ ﻫﻢ ﺑﺮﺍﻳﺸﺎﻥ ﺧﻮﺏ ﺑﻮﺩ‪ .‬ﺩﻛﺘﺮﻫﺎ ﻫﻢ ﺑﻪ ﺩﻧﺒﺎﻝ‬ ‫ﻧﺸﺎﻧﻪﺍﻯ ﺍﺯ ﻣﺸﻜﻞ ﻳﺎ ﺩﺭﺩ ﻣﺜﻞ ﺷﺒﺢ ﺑﻰﺳﺮ ﻭ ﺻﺪﺍ ﺍﻳﻦ ﻭﺭ ﻭ ﺁﻥ ﻭﺭ ﻣﻰﺭﻓﺘﻨﺪ‪ .‬ﺑﻘﻴﻪﺷﺎﻥ ﻫﻢ ﺩﺭ ﺍﺗﺎﻕ‬ ‫ﭘﺸﺘﻰ ﺑﻮﺩﻧﺪ ﻭ ﺑﻪ ﮔﻮﺷﺖﻫﺎ ﺁﺭﺍﻡﺑﺨﺶﻫﺎﻯ ﻣﻼﻳﻢ ﺗﺰﺭﻳﻖ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺣﺎﻻ ﺩﻳﮕﺮ ﻓﺮﺁﻳﻨﺪ ﻣﺒﺘﻼ ﺷﺪﻥ ﺭﺍﺣﺖﺗﺮ ﺍﺯ ﺣﺪ ﺍﻧﺘﻈﺎﺭ ﻣﻮﻧﻴﻜﺎ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺩﻛﺘﺮﻫﺎ ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﺑﻪ‬ ‫ﺍﻭ ﺍﻃﻤﻴﻨﺎﻥ ﺩﺍﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺍﻣﺎ ﻣﻮﻧﻴﻜﺎ ﺁﻥ ﻗﺪﺭ ﻣﺮﺩﻥ ﻭ ﻣﺘﻮﻟﺪ ﺷﺪﻥﻫﺎﻯ ﺳﺨﺖ ﺩﻳﺪﻩ ﺑﻮﺩ ﻛﻪ ﻭﺍﻗﻌﺎً‬ ‫ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺣﺮﻑ ﺩﻛﺘﺮﻫﺎ ﺭﺍ ﺑﺎﻭﺭ ﻛﻨﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺣﻖ ﺑﺎ ﺩﻛﺘﺮﻫﺎ ﺑﻮﺩ‪ .‬ﺑﻌﺪ ﺍﺯ ﮔﺬﺷﺖ ﺍﻳﻦ ﻫﻤﻪ‬ ‫ﺳﺎﻝ‪ ،‬ﻭﻳﺮﻭﺱ ﺗﻐﻴﻴﺮ ﻳﺎﻓﺘﻪ ﺑﻮﺩ‪ .‬ﻭﻳﺮﻭﺱ ﺳﺮﻋﺖ ﻓﺮﺁﻳﻨﺪ ﺗﺒﺪﻳﻞ ﺭﺍ ﺳﺮﻳﻊﺗﺮ ﻭ ﺩﺭﺩ ﻭ ﻋﺬﺍﺑﺶ ﺭﺍ ﻛﻤﺘﺮ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩ ﺗﺎ ﺯﻧﺪﻩ ﻣﺎﻧﺪﻥ ﺧﻮﺩﺵ ﺭﺍ ﺗﻀﻤﻴﻦ ﻛﻨﺪ‪ .‬ﺗﺰﺭﻳﻖ ﻣﻘﺪﺍﺭ ﺍﻧﺪﻛﻰ ﺍﺯ ﻭﻳﺮﻭﺱ ﻛﺎﻓﻰ ﺑﻮﺩ‪ .‬ﻭ ﺑﻌﺪ‬ ‫ﺗﺰﺭﻳﻖ ﺍﺟﺒﺎﺭﻯ ﺁﺭﺍﻡﺑﺨﺶ ﻛﻪ ﻣﺮگ ﺭﺍ ﺑﻪ ﺩﻧﺒﺎﻝ ﺩﺍﺷﺖ‪ .‬ﺑﺎ ﮔﺬﺷﺖ ﻳﻚ ﺭﻭﺯ‪ ...‬ﺗﻮﻟﺪﻯ ﺩﻭﺑﺎﺭﻩ ﺭﻭﻯ‬ ‫‪71‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺟﻨﮕﺠﻮﻳﺸﺎﻥ‪ ،‬ﻫﻤﺎﻥ ﻛﺴﻰ ﻛﻪ ﺩﺳﺖﺗﻨﻬﺎ ﺍﻧﺒﻮﻫﻰ ﺍﺯ ﺩﻳﮕﺮﺍﻥ ﺭﺍ ﺑﻪ ﺩﺭﻙ ﻭﺍﺻﻞ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺑﺎ‬ ‫ﻳﻚ ﺗﻠﻪﻯ ﺍﻧﻔﺠﺎﺭﻯ ﺳﺎﺩﻩ ﻛﺸﺘﻪ ﻣﻰﺷﺪ؟ ﺍﻳﻦ ﺣﺮﻑ ﺭﻭﺣﻴﻪﻯ ﻫﻤﻪ ﺭﺍ ﺑﻪ ﻫﻢ ﻣﻰﺭﻳﺨﺖ ﻭ ﺁﻥﻫﺎ‬ ‫ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﺍﺯ ﭘﺴﺶ ﺑﺮﺑﻴﺎﻳﻨﺪ‪.‬‬ ‫ﺍﻣﺪﺍﺩﮔﺮ ﺳﻴﻨﻪﻯ ﮔﺮﺕ ﺭﺍ ﺑﺴﺖ ﻭ ﺳﺮﺑﺎﺯﺍﻥ ﻫﻢ ﺑﺎ ﺷﺎﺥ ﻭ ﺑﺮگ ﺩﺭﺧﺘﺎﻥ ﻭ ﺗﻜﻪﻫﺎﻯ ﻟﺒﺎﺱ ﻳﻚ ﺑﺮﺍﻧﻜﺎﺭﺩ‬ ‫ﺩﺭﺳﺖ ﻛﺮﺩﻧﺪ ﻭ ﮔﺮﺕ ﺭﺍ ﺑﻪ ﺩژ ﺑﺮﮔﺮﺩﺍﻧﺪﻧﺪ‪.‬‬ ‫ﻣﻮﻧﻴﻜﺎ ﻟﺒﻪﻯ ﻧﺮﺩﻩﻫﺎﻯ ﻣﺤﺎﻓﻆ ﺍﻳﻮﺍﻥ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﺑﻪ ﺟﺎﻥﭘﻨﺎﻩ ﻛﻪ ﻟﺐ ﺑﻪ ﻟﺐ ﭘﺮ ﺍﺯ ﺩﻳﮕﺮﺍﻥ ﺷﺪﻩ‬ ‫ﺑﻮﺩ‪ ،‬ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‪ .‬ﺁﻥﻫﺎ ﺯﻧﺪﺍﻧﻴﺎﻥ ﺟﻨﮕﻰ ﺑﻮﺩﻧﺪ‪ .‬ﺳﻴﺎﺳﺖ ﺍﻭ ﺍﺯ ﺍﺑﺘﺪﺍ ﻫﻤﻴﻦ ﺑﻮﺩ‪ .‬ﺗﺎ ﺁﻥﺟﺎ ﻛﻪ ﻣﻰﺷﺪ‪،‬‬ ‫ﺩﺷﻤﻦ ﺭﺍ ﺯﻧﺪﻩ ﻧﮕﻪ ﻣﻰﺩﺍﺷﺖ‪ .‬ﺑﻪ ﺍﻳﻦﺟﺎ ﻣﻰﺁﻭﺭﺩﺷﺎﻥ‪ .‬ﺯﻧﺪﻩ ﻭ ﺭﺍﺣﺘﺸﺎﻥ ﻣﻰﮔﺬﺍﺷﺖ‪ .‬ﺍﺯ ﺁﻥﻫﺎ ﺑﻪ‬ ‫ﻋﻨﻮﺍﻥ ﺑﺮگ ﺑﺮﻧﺪﻩ ﺑﺮﺍﻯ ﭼﺎﻧﻪﺯﻧﻰ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﻛﺮﺩ ﺗﺎ ﺩﻳﮕﺮﺍﻥ ﺑﻔﻬﻤﻨﺪ ﺁﻥﻫﺎ ﻫﻴﻮﻻ ﻧﻴﺴﺘﻨﺪ‪.‬‬ ‫ﺍﻣﺎ ﺗﺄﺛﻴﺮﻯ ﻧﺪﺍﺷﺖ‪ .‬ﻧﺎﻣﻪﻫﺎﻳﺶ ﺑﻪ ﺩﻭﻟﺖ ﻣﺜﻞ ﻫﻤﻴﺸﻪ ﺑﻰﺟﻮﺍﺏ ﻣﺎﻧﺪ‪.‬‬ ‫ﺳﺎﻝﻫﺎ ﺗﻼﺵ ﻛﺮﺩ ﺑﺎ ﺩﻳﮕﺮﺍﻥ ﺳﺮ ﻳﻚ ﻣﻴﺰ ﺑﻨﺸﻴﻨﺪ‪ .‬ﺍﻭﻝ ﺑﺮﺍﻯ ﻣﺬﺍﻛﺮﻩ ﻭ ﺑﻌﺪ ﻛﻪ ﺟﻤﻌﻴﺘﺸﺎﻥ ﺗﺤﻠﻴﻞ‬ ‫ﺭﻓﺖ‪ ،‬ﺑﺮﺍﻯ ﺍﻟﺘﻤﺎﺱ‪ .‬ﻓﻬﻤﻴﺪ ﻛﻪ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﺗﻬﺪﻳﺪ ﺑﻪ ﺷﻤﺎﺭ ﻣﻰﺁﻭﺭﻧﺪ‪ .‬ﭘﺲ ﺭﻓﺘﻨﺪ ﻭ ﺍﺯ ﺯﻧﺪﻩﻫﺎ‬ ‫ﺩﻭﺭ ﺷﺪﻧﺪ‪.‬‬ ‫ﺍﺯ ﺁﻥ ﺳﻮ ﻫﻢ‪ ،‬ﺍﻧﮕﺎﺭ ﺩﻳﮕﺮﺍﻥ ﺍﺯ ﻋﺪﻩﺍﻯ ﻣﻮﺵ ﺑﻴﻤﺎﺭ ﻧﺎﻣﻪ ﻣﻰﮔﺮﻓﺘﻨﺪ‪ .‬ﺩﺭ ﻧﻬﺎﻳﺖ ﺍﻭ ﺩﺭﻳﺎﻓﺖ ﺩﻳﮕﺮﺍﻥ‬ ‫ﺁﻥﻫﺎ ﺭﺍ ﺩﻗﻴﻘﺎً ﺑﻪ ﻫﻤﻴﻦ ﭼﺸﻢ ﻣﻰﺩﻳﺪﻧﺪ‪ .‬ﻣﻮﺵﻫﺎﻯ ﺑﻴﻤﺎﺭﻯ ﻛﻪ ﺣﺎﻻ ﺑﻪ ﻧﺤﻮﻯ ﻗﺪﺭﺕ ﺗﻤﺎﺱ ﺑﺮﻗﺮﺍﺭ‬ ‫ﻛﺮﺩﻥ ﺩﺍﺭﻧﺪ‪ ،‬ﺍﻣﺎ ﺩﺭ ﻧﻬﺎﻳﺖ ﻫﻤﺎﻥ ﻣﻮﺵﻫﺎﻯ ﻣﺮﻳﻀﻨﺪ‪ ،‬ﺍﻧﺴﺎﻥﻫﺎﻯ ﭘﺴﺖ ﻭ ﺧﻄﺮﻧﺎﻙ‪ .‬ﺗﻬﺪﻳﺪﻯ ﻛﻪ‬ ‫ﻧﻴﺎﺯﻣﻨﺪ ﭘﺎﻛﺴﺎﺯﻯ ﺳﺮﻳﻊ ﻭ ﺗﻤﺎﻡ ﻭ ﻛﻤﺎﻝ ﺍﺳﺖ‪.‬‬ ‫ﺑﻪ ﺩﻳﮕﺮﺍﻥ ﻧﮕﺎﻩ ﺍﻧﺪﺍﺧﺖ ﻭ ﺑﻪ ﻓﻜﺮ ﮔﻔﺘﻪﻯ ﮔﺮﺕ ﺍﻓﺘﺎﺩ‪ ،‬ﮔﺰﻳﻨﻪﻯ ﺁﺧﺮ‪ .‬ﺁﻥ ﺯﻣﺎﻥ ﻛﻪ ﻣﻮﻧﻴﻜﺎ ﺑﺮ ﺳﺮ‬ ‫ﺯﻧﺪﻩ ﻧﮕﻪ ﺩﺍﺷﺘﻦ ﺯﻧﺪﺍﻧﻴﺎﻥ ﺑﺤﺚ ﻭ ﺟﺪﻝ ﻣﻰﻛﺮﺩ‪ ،‬ﺑﺎﻗﻰ ﻓﺮﻣﺎﻧﺪﻫﺎﻥ ﺷﺮﺍﻳﻂ ﺍﺣﺘﻤﺎﻟﻰ ﺭﺍ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ‬ ‫ﺑﻮﺩﻧﺪ‪ .‬ﺍﻭ ﻫﻢ ﻭﺣﺸﺖﺯﺩﻩ ﺁﻥ ﻗﺪﺭ ﺟﻨﮕﻴﺪ ﺗﺎ ﺍﻳﻦ ﮔﺰﻳﻨﻪ ﺍﺯ ﺩﺳﺘﻮﺭ ﻛﺎﺭ ﺧﺎﺭﺝ ﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺩﺭ ﻭﺍﻗﻊ ﺍﻳﻦ‬ ‫ﻃﻮﺭ ﻧﺸﺪ‪ .‬ﻫﻴﭻﻭﻗﺖ ﻧﺸﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﻣﻮﻧﻴﻜﺎ ﺍﺯ ﺍﺗﺎﻕ ﻧﮕﻬﺒﺎﻥ ﺑﻴﺮﻭﻥ ﺁﻣﺪ ﻭ ﺩﺭﻭﻥ ﺩژ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ‪ .‬ﺍﺯ ﺍﺗﺎﻕﻫﺎﻯ ﺳﺮﺑﺎﺯﺍﻥ ﮔﺬﺷﺖ ﻛﻪ ﺩﺍﺷﺘﻨﺪ‬ ‫ﻛﺎﺭﺕﺑﺎﺯﻯ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﺍﺯ ﺍﺗﺎﻕﻫﺎﻯ ﻣﺮﺩﻡ ﻋﺎﺩﻯ ﮔﺬﺷﺖ ﻛﻪ ﻟﺒﺎﺱﻫﺎﻳﺸﺎﻥ ﺭﺍ ﺗﺎ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﻏﺬﺍ‬ ‫ﻣﻰﭘﺨﺘﻨﺪ‪ ،‬ﺑﭽﻪﻫﺎ ﭘﺎﻯ ﻗﺼﻪﻯ ﭘﻴﺮﺗﺮﻫﺎ ﻧﺸﺴﺘﻪ ﺑﻮﺩﻧﺪ ﻭ ﮔﻮﺵ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺑﻪ ﻫﺮ ﻃﺮﻑ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‪،‬‬ ‫ﻣﺮﺩﻡ ﺩﺍﺷﺘﻨﺪ ﻫﻤﭽﻨﺎﻥ ﺳﺮ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﺗﺮﺳﺸﺎﻥ ﺭﺍ ﭘﻨﻬﺎﻥ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﻣﻰﮔﻔﺘﻨﺪ ﻭ ﻣﻰﺧﻨﺪﻳﺪ‪ .‬ﻓﻘﻂ‬ ‫ﺗﻼﺵ ﻣﻰﻛﺮﺩﻧﺪ ﺯﻧﺪﮔﻰ ﻛﻨﻨﺪ‪.‬‬ ‫ﻓﻘﻂ ﻣﻰﺧﻮﺍﺳﺘﻨﺪ ﺯﻧﺪﮔﻰ ﻛﻨﻨﺪ‪ .‬ﺍﻳﻦ ﺗﻤﺎﻡ ﺧﻮﺍﺳﺘﻪﺷﺎﻥ ﺑﻮﺩ ﻭ ﺗﻤﺎﻡ ﺁﻥ ﭼﻴﺰﻯ ﺑﻮﺩ ﻛﻪ ﻣﻮﻧﻴﻜﺎ‬ ‫ﺑﺮﺍﻳﺸﺎﻥ ﻣﻰﺧﻮﺍﺳﺖ‪ .‬ﺑﺮﺍﻯ ﺍﻳﻦ ﺧﻮﺍﺳﺘﻪ ﺗﺎ ﻛﺠﺎ ﺣﺎﺿﺮ ﺑﻮﺩ ﭘﻴﺶ ﺑﺮﻭﺩ؟ ﻧﻪ ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﻪ ﻧﺠﺎﺗﺸﺎﻥ‬ ‫‪70‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻭ ﺁﺧﺮﺵ ﻛﺎﺭ ﺑﻪ ﻫﻤﻴﻦ ﺟﺎ ﻣﻰﻛﺸﻴﺪ‪ .‬ﺁﻥﻫﺎ ﺣﺘﻤﺎً ﻣﻰﺟﻨﮕﻴﺪﻧﺪ‪ ،‬ﺑﺎﺍﻣﻴﺪ ﻳﺎ ﺑﻰﺍﻣﻴﺪ‪.‬‬ ‫ﺑﻪ ﺳﻤﺖ ﺩژ ﺧﻮﺩﺷﺎﻥ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻧﺪ‪ .‬ﻣﻮﻧﻴﻜﺎ ﺭﺍﻫﺒﺮﻯ ﺭﺍ ﺑﻪ ﮔﺮﺕ ﺳﭙﺮﺩ ﻭ ﺫﻫﻨﺶ ﺑﺎ ﻓﻜﺮ ﻛﺎﺭﻫﺎﻳﻰ‬ ‫ﻛﻪ ﺑﺎﻳﺪ ﺍﻧﺠﺎﻡ ﻣﻰﺩﺍﺩ‪ ،‬ﺩﺭﮔﻴﺮ ﺷﺪ‪ .‬ﺁﻥ ﻗﺪﺭ ﺩﺭ ﻓﻜﺮ ﻓﺮﻭ ﺭﻓﺖ ﻛﻪ ﻣﺘﻮﺟﻪ ﻧﺸﺪ ﺍﺯ ﻣﺴﻴﺮ ﻣﻨﺤﺮﻑ ﺷﺪﻩ‪.‬‬ ‫ﻣﺘﻮﺟﻪ ﺳﻴﻢ ﭼﺎﺷﻨﻰ ﻧﺸﺪ‪ .‬ﻣﺘﻮﺟﻬﺶ ﻧﺸﺪ ﺗﺎ ﺯﻣﺎﻧﻰ ﻛﻪ ﭘﺎﻳﺶ ﺁﻥ ﺭﺍ ﭘﺎﺭﻩ ﻛﺮﺩ ﻭ ﻓﺮﻳﺎﺩ ﮔﺮﺕ ﺭﺍ ﺷﻨﻴﺪ‬ ‫ﻭ ﺍﻭ ﺭﺍ ﺩﻳﺪ ﻛﻪ ﺑﻪ ﺳﻤﺘﺶ ﺧﻴﺰ ﺑﺮ ﻣﻰﺩﺍﺭﺩ ﺗﺎ ﺍﻭ ﺭﺍ ﻛﻨﺎﺭ ﺑﺰﻧﺪ‪ .‬ﺻﺪﺍﻯ ﺍﻧﻔﺠﺎﺭ ﺭﺍ ﺷﻨﻴﺪ‪ ،‬ﭘﺮﻭﺍﺯ ﺧﺮﺕ‬ ‫ﻭ ﭘﺮﺕﻫﺎﻯ ﺭﻭﻯ ﺯﻣﻴﻦ ﺭﺍ ﺩﻳﺪ ﻭ ﮔﺮﺕ ﺭﺍ ﺩﻳﺪ ﻛﻪ ﺑﻪ ﻋﻘﺐ ﭘﺮﺕ ﺷﺪ‪ .‬ﮔﺮﺕ ﺁﻥ ﻗﺪﺭ ﺳﺨﺖ ﺑﺮ ﺯﻣﻴﻦ‬ ‫ﺧﻮﺩ ﻛﻪ ﺯﻣﻴﻦ ﻟﺮﺯﻳﺪ‪.‬‬ ‫ﻣﻮﻧﻴﻜﺎ ﺍﺯ ﺟﺎ ﭘﺮﻳﺪ ﻭ ﺧﻮﺩ ﺭﺍ ﻛﻨﺎﺭ ﮔﺮﺕ ﺭﻭﻯ ﺯﻣﻴﻦ ﺍﻧﺪﺍﺧﺖ‪.‬‬ ‫ﮔﺮﺕ ﺭﻭﻯ ﺁﺭﻧﺠﺶ ﺑﻠﻨﺪ ﺷﺪ ﺗﺎ ﺳﻴﻨﻪﺍﺵ ﺭﺍ ﺑﺒﻴﻨﺪ‪ .‬ﻟﺒﺎﺳﺶ ﭘﺎﺭﻩ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﮔﻮﺷﺖ ﺯﻳﺮﺵ ﻫﻢ ﻫﻤﻴﻦ‬ ‫ﻃﻮﺭ‪ .‬ﺁﺵ ﻭ ﻻﺵ ﺑﻮﺩ‪ .‬ﮔﺮﺕ ﮔﻔﺖ‪» :‬ﻛﺜﺎﻓﺖ‪ ...‬ﺍﻳﻦ ﺍﺻ ً‬ ‫ﻼ ﺧﻮﺏ ﻧﻴﺴﺖ‪«.‬‬ ‫ﺻﺪﺍﻯ ﺧﻔﻪﺍﻯ ﺍﺯ ﮔﻠﻮﻯ ﻣﻮﻧﻴﻜﺎ ﺑﻴﺮﻭﻥ ﭘﺮﻳﺪ ﻛﻪ ﻗﺮﺍﺭ ﺑﻮﺩ ﺧﻨﺪﻩ ﺑﺎﺷﺪ‪ ،‬ﺍﻣﺎ ﻣﺜﻞ ﺑﻐﺾ ﺑﻴﺮﻭﻥ ﺁﻣﺪ‪.‬‬ ‫ﺍﻧﻔﺠﺎﺭ ﻛﻮﭼﻜﻰ ﺑﻮﺩ‪ .‬ﺑﻤﺒﻰ ﺩﺳﺖﺳﺎﺯ ﻛﻪ ﻗﺮﺍﺭ ﺑﻮﺩ ﻓﻘﻂ ﭼﻨﺪ ﺗﺮﻛﺶ ﺑﻪ ﺍﻳﻦ ﺳﻮ ﻭ ﺁﻥ ﺳﻮ ﭘﺮﺕ ﻛﻨﺪ‪.‬‬ ‫ﺍﻣﺎ ﺍﺯ ﻗﻀﺎ ﺗﻤﺎﻡ ﺁﻥ ﺗﺮﻛﺶﻫﺎ ﺑﻪ ﺳﻴﻨﻪﻯ ﮔﺮﺕ ﺧﻮﺭﺩﻩ ﺑﻮﺩ ﻭ ﺁﻥ ﺭﺍ ﺩﺭﻳﺪﻩ ﺑﻮﺩ‪ .‬ﺍﮔﺮ ﺍﺯ ﻣﺒﺘﻼﺷﺪﮔﺎﻥ‬ ‫ﻧﺒﻮﺩ‪ ،‬ﻗﺒﻞ ﺍﺯ ﺁﻥ ﻛﻪ ﺯﻣﻴﻦ ﺑﺮﺳﺪ ﻣﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﻣﻮﻧﻴﻜﺎ ﺍﻣﺪﺍﺩﮔﺮﺷﺎﻥ ﺭﺍ ﻓﺮﺍﺧﻮﺍﻧﺪ‪ ،‬ﺍﻣﺎ ﺑﺎ ﻳﻚ ﻧﮕﺎﻩ ﺑﻪ ﺻﻮﺭﺕ ﺍﻣﺪﺍﺩﮔﺮ ﺗﻤﺎﻡ ﺁﻥﭼﻪ ﺭﺍ ﻛﻪ ﻻﺯﻡ ﺑﻮﺩ‬ ‫ﻓﻬﻤﻴﺪ‪ .‬ﺁﻥﻫﺎ ﺍﺯ ﭘﺲ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺟﺮﺍﺣﺎﺕ ﺑﺮﻣﻰﺁﻣﺪﻧﺪ‪ ،‬ﺍﻣﺎ ﺍﮔﺮ ﺻﺪﻣﻪ ﺯﻳﺎﺩ ﻭ ﺳﻨﮕﻴﻦ ﻣﻰﺷﺪ‪...‬‬ ‫ﺁﻩ ﺧﺪﺍﻳﺎ‪ ،‬ﮔﺮﺕ ﺭﻭ ﺍﺯ ﻣﻦ ﻧﮕﻴﺮ‪ .‬ﺍﻳﻦ ﻳﻜﻰ ﺭﻭ ﺍﺯ ﻣﻦ ﻧﮕﻴﺮ‪.‬‬ ‫ﺑﻬﻴﺎﺭ ﺁﻣﺪ ﻭ ﺍﺯ ﻧﺰﺩﻳﻚ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﻣﻮﻧﻴﻜﺎ ﻫﻢ ﻫﻤﺎﻥﺟﺎ ﭘﻴﺶ ﮔﺮﺕ ﻣﺎﻧﺪ‪ .‬ﺳﺮﺑﺎﺯﺍﻥ ﺑﻪ ﺩﻭﺭ ﺁﻥﻫﺎ ﺣﻠﻘﻪ‬ ‫ﺯﺩﻧﺪ‪ .‬ﺣﺎﻟﺖ ﭼﻬﺮﻩﺷﺎﻥ ﺟﺪﻯ ﺑﻮﺩ‪ .‬ﭼﻨﺪ ﻧﻔﺮﺷﺎﻥ ﻣﻰﻟﺮﺯﻳﺪﻧﺪ‪ .‬ﺑﺎﺯﻭ ﺩﺭ ﺑﺎﺯﻭﻯ ﻫﻢ ﺍﻧﺪﺍﺧﺘﻪ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﻭﻗﺘﻰ ﺑﻬﻴﺎﺭ ﺻﻮﺭﺗﺶ ﺭﺍ ﺑﺎﻻ ﻛﺮﺩ ﺗﺎ ﮔﺰﺍﺭﺵ ﺩﻫﺪ‪ ،‬ﮔﺮﺕ ﺑﻪ ﺳﺮﺑﺎﺯﺍﻥ ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﺗﺎ ﺍﺯ ﻣﺤﺪﻭﺩﻩﻯ‬ ‫ﺻﺪﺍﺭﺱ ﺧﺎﺭﺝ ﺷﻮﻧﺪ‪ .‬ﺁﻥﻫﺎ ﺗﺮﺩﻳﺪ ﻛﺮﺩﻧﺪ‪ ،‬ﺍﻣﺎ ﺑﺎ ﺷﻨﻴﺪﻥ ﺻﺪﺍﻯ ﺧﺸﻤﮕﻴﻨﺶ ﺍﻃﺎﻋﺖ ﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺑﻬﻴﺎﺭ ﺯﻣﺰﻣﻪ ﻛﺮﺩ‪» :‬ﻣﻦ ﻣﻰﺗﻮﻧﻢ ﺁﺭﻭﻣﺶ ﻛﻨﻢ‪ .‬ﺑﻪ ﺩژ ﺑﺮﺵ ﮔﺮﺩﻭﻧﻴﻦ‪«...‬‬ ‫ﮔﺮﺕ ﮔﻔﺖ‪» :‬ﻭﻗﺖ ﺗﻠﻒ ﻛﺮﺩﻧﻪ‪ .‬ﻳﻪ ﻧﻔﺮ ﺑﺎﻳﺪ ﺍﻳﻦ ﺩﻭﺭ ﻭ ﺑﺮﻫﺎ ﺻﺪﺍﻯ ﺍﻧﻔﺠﺎﺭ ﺭﻭ ﺷﻨﻴﺪﻩ ﺑﺎﺷﻪ‪ .‬ﺍﻭﻧﺎ ﺭﻭ‬ ‫ﺯﻭﺩﺗﺮ ﺑﻔﺮﺳﺖ‪«...‬‬ ‫ﻣﻮﻧﻴﻜﺎ ﺟﻮﺍﺏ ﺩﺍﺩ‪» :‬ﻧﻪ‪ .‬ﺗﻮ ﻫﻢ ﻣﻴﺎﻯ‪ .‬ﺍﮔﻪ ﻻﺯﻡ ﺑﺎﺷﻪ ﺧﻮﺩﻡ ﻛﻮﻟﺖ ﻣﻰﻛﻨﻢ‪«.‬‬ ‫ﻣﻮﻧﻴﻜﺎ ﺍﻧﺘﻈﺎﺭ ﺩﺍﺷﺖ ﮔﺮﺕ ﺟﺮ ﻭ ﺑﺤﺚ ﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﻓﻘﻂ ﺑﺎ ﺗﻜﺎﻥ ﺳﺮ ﺣﺮﻓﺶ ﺭﺍ ﺗﺄﻳﻴﺪ ﻛﺮﺩ‪» :‬ﺭﺍﺳﺖ‬ ‫ﻣﻰﮔﻰ‪ .‬ﺍﻭﻧﺎ ﻧﺒﺎﻳﺪ ﺍﻳﻦ ﺭﻭ ﺑﺒﻴﻨﻦ‪ .‬ﺍﻻﻥ ﻧﻪ‪ .‬ﺑﺮﻡ ﮔﺮﺩﻭﻥ ﻋﻘﺐ‪ .‬ﺑﻬﺸﻮﻥ ﺑﮕﻮ ﺭﻭ ﺑﻪ ﺭﺍﻩ ﻣﻰﺷﻢ‪«.‬‬ ‫ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﺍﺻ ً‬ ‫ﻼ ﻣﻨﻈﻮﺭ ﻣﻮﻧﻴﻜﺎ ﻧﺒﻮﺩ‪ ،‬ﺍﻣﺎ ﮔﺮﺕ ﺍﺯ ﺍﻳﻦ ﺣﺮﻑ ﻣﻨﻈﻮﺭﻯ ﺩﺍﺷﺖ‪ .‬ﺁﺧﺮ ﻳﻌﻨﻰ ﺑﻬﺘﺮﻳﻦ‬ ‫‪69‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺑﻮﺩﻧﺪ‪ .‬ﺑﻪ ﺟﺰ ﻣﻮﺍﺭﺩﻯ ﻣﻌﺪﻭﺩ‪ ،‬ﭼﻴﺰﻯ ﺑﺮﺍﻳﺸﺎﻥ ﻛﺸﻨﺪﻩ ﻧﺒﻮﺩ‪ .‬ﺍﻣﺎ ﺟﺮﺍﺣﺎﺕ ﺑﻪ ﻛﻨﺪﻯ ﺧﻮﺏ ﻣﻰﺷﺪﻧﺪ‪،‬‬ ‫ﺁﻥ ﻫﻢ ﻧﻪ ﺑﻪ ﺻﻮﺭﺕ ﻛﺎﻣﻞ‪ ،‬ﻣﺜﻞ ﭘﺎﻯ ﺷﻜﺴﺘﻪ ﻭ ﺻﻮﺭﺕ ﺯﺧﻤﻰ ﮔﺮﺕ‪ .‬ﻣﺜﻞ ﻫﺮ ﭼﻴﺰ ﺩﻳﮕﺮ‪ ،‬ﺍﻳﻦ ﻫﻢ‬ ‫ﻳﻚ ﺟﻮﺭ ﺑﺪﻩ ﺑﺴﺘﺎﻥ ﺑﻮﺩ‪ .‬ﺍﺯ ﺑﻌﻀﻰ ﻟﺤﺎﻅ ﺑﻬﺘﺮ ﺍﺯ ﺯﻧﺪﮔﻰ ﻗﺒﻠﺸﺎﻥ ﺑﻮﺩ ﻭ ﺍﺯ ﺑﻌﻀﻰ ﻟﺤﺎﻅ ﺑﺪﺗﺮ‪.‬‬ ‫ﻣﻮﻧﻴﻜﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻣﻌﻠﻢ ﺑﻪ ﻫﻤﺮﺍﻩ ﺧﺎﻧﻮﺍﺩﻩﺍﺵ ﺍﺯ ﺍﻭﻟﻴﻦ ﻛﺴﺎﻧﻰ ﺑﻮﺩ ﻛﻪ ﻣﺎﻳﻊﻛﻮﺑﻰ ﻣﻰﺷﺪ‪ .‬ﺍﺯ‬ ‫ﺍﻭﻟﻴﻦ ﻛﺴﺎﻧﻰ ﻛﻪ ﻭﺍﻛﺴﻴﻨﻪ ﺷﺪ‪ ،‬ﺍﺯ ﺍﻭﻟﻴﻦ ﻛﺴﺎﻧﻰ ﻛﻪ ﻣﺒﺘﻼ ﺷﺪ ﻭ ﺍﺯ ﺍﻭﻟﻴﻦ ﻛﺴﺎﻧﻰ ﻛﻪ ﻣﺮﺩ‪ .‬ﻭﻳﺮﻭﺱ‬ ‫ﺑﻪ ﺳﺮﻋﺖ ﻧﻮﺭ ﻛﺎﺭﮔﺮ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻭ ﺑﻪ ﺗﺐ ﻭ ﺗﺸﻨﺞ ﺍﻓﺘﺎﺩ‪ .‬ﺻﺪﺍﻯ ﮔﺮﻳﻪﻯ ﺩﺧﺘﺮﺵ ﺭﺍ ﻣﻰﺷﻨﻴﺪ‪ ،‬ﺍﻣﺎ‬ ‫ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺍﻭ ﺭﺍ ﺩﺭ ﺁﻏﻮﺵ ﺑﮕﻴﺮﺩ‪.‬‬ ‫ﺑﻌﺪ ﻣﻌﺠﺰﻩﺍﻯ ﺭﺥ ﺩﺍﺩ‪ .‬ﻳﺎ ﺣﺪﺍﻗﻞ ﺁﻥ ﻣﻮﻗﻊ ﺍﻳﻦ ﻃﻮﺭ ﺑﻪ ﻧﻈﺮ ﺭﺳﻴﺪ‪ .‬ﻣﺮگ ﻭ ﺑﻌﺪ ﺗﻮﻟﺪﻯ ﺩﻭﺑﺎﺭﻩ‪.‬‬ ‫ﻗﺒﻞ ﺍﺯ ﺁﻥ ﻛﻪ ﺗﺼﻤﻴﻢ ﺑﮕﻴﺮﻧﺪ ﭼﻪ ﻛﺎﺭ ﻛﻨﻨﺪ‪ ،‬ﺳﺮﺑﺎﺯﻫﺎ ﺍﺯ ﺭﺍﻩ ﺭﺳﻴﺪﻧﺪ‪ .‬ﺍﻭﻟﻴﻦ ﺗﻴﻢﻫﺎ ﺩﺳﺘﻮﺭ ﺩﺍﺷﺘﻨﺪ‬ ‫ﻣﺒﺘﻼﻳﺎﻥ ﺭﺍ ﻧﺎﺑﻮﺩ ﻛﻨﻨﺪ‪ .‬ﺁﻥﻫﺎ ﻫﻢ ﺑﻪ ﺧﻔﺎ ﺭﻓﺘﻨﺪ‪ .‬ﻫﻤﻴﺸﻪ ﻳﻚ ﻗﺪﻡ ﺟﻠﻮﺗﺮ ﺍﺯ ﺗﻴﻢﻫﺎﻯ ﻣﺮگ ﺩﺭ‬ ‫ﺧﺎﻧﻪﻫﺎﻯ ﻣﺘﺮﻭﻙ ﭘﻨﺎﻩ ﻣﻰﮔﺮﻓﺘﻨﺪ ﻭ ﭘﻴﺶ ﺧﻮﺩ ﻣﻄﻤﺌﻦ ﺑﻮﺩﻧﺪ ﺍﮔﺮ ﻣﺪﺗﻰ ﺭﺍ ﺍﻳﻦ ﮔﻮﻧﻪ ﺑﻪ ﺳﺮ ﻛﻨﻨﺪ‪،‬‬ ‫ﻋﺎﻗﺒﺖ ﻣﻘﺎﻣﺎﺕ ﺑﻪ ﺍﺷﺘﺒﺎﻫﺸﺎﻥ ﭘﻰ ﺑﺮﺩﻩ ﻭ ﺑﻪ ﻛﻤﻜﺸﺎﻥ ﻣﻰﺁﻳﻨﺪ‪ .‬ﺍﻣﺎ ﺩﺳﺘﻮﺭ ﻧﺎﺑﻮﺩﻯ ﻣﺒﺘﻼﻳﺎﻥ ﺑﻪ‬ ‫ﻗﻮﺕ ﺧﻮﺩ ﺑﺎﻗﻰ ﻣﺎﻧﺪ‪ .‬ﺑﻌﺪ ﺍﺯ ﺁﻥ ﺟﺎﻳﺰﻩ ﺑﮕﻴﺮﺍﻥ ﺍﺯ ﺭﺍﻩ ﺭﺳﻴﺪﻧﺪ‪ ،‬ﺍﻭﺑﺎﺵ ﺧﻮﻥﺭﻳﺰ ﺟﺎﻳﺰﻩ ﺑﮕﻴﺮ‪ .‬ﺍﺯ ﺩﺳﺖ‬ ‫ﺗﻴﻢﻫﺎﻯ ﻣﺮگ ﻓﺮﺍﺭ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺍﻣﺎ ﺍﺯ ﺩﺳﺖ ﺍﻳﻦ ﻳﻜﻰ ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﺑﮕﺮﻳﺰﻧﺪ‪.‬‬ ‫ﺟﻴﻢ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺍﺯ ﭼﺸﻢ ﻓﻴﻠﻢﻫﺎﻯ ﺯﺍﻣﺒﻰﺩﺍﺭ ﻣﻰﺩﻳﺪ‪ .‬ﻭﻗﺘﻰ ﻣﺮﺩﻩﻫﺎ ﺩﻭﺑﺎﺭﻩ ﺑﺮ ﻣﻰﺧﺎﺳﺘﻨﺪ‪ ،‬ﻣﺮﺩﻡ‬ ‫ﻣﻄﻤﺌﻦ ﺑﻮﺩﻧﺪ ﻛﻪ ﺑﺎ ﭼﻪ ﭼﻴﺰﻯ ﺭﻭﺑﻪﺭﻭ ﻣﻰﺷﻮﻧﺪ؛ ﺑﻼﻳﻰ ﺑﻪ ﻧﺎﻡ ﻧﺎﻣﺮﺩﮔﺎﻥ ﻛﻪ ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺍﺯ ﻗﺒﻞ‬ ‫ﺩﺭ ﻓﻴﻠﻢﻫﺎ ﺩﻳﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺟﺎﻧﺸﺎﻥ ﺭﺍ ﻣﻰﮔﺮﻓﺘﻨﺪ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﺗﻌﺪﺍﺩﻯ ﺍﺯ ﺁﻥ ﺩﺍﺳﺘﺎﻥﻫﺎ ﻫﻢ ﺭﺍﺳﺖ ﺑﻮﺩ‪ .‬ﻣﺒﺘﻼﺷﺪﮔﺎﻥ ﺭﺍ ﺑﻪ ﺭﺍﺣﺘﻰ ﻧﻤﻰﺷﺪ ﻛﺸﺖ‪ .‬ﺁﻥﻫﺎ‬ ‫ﺭﺍﻳﺤﻪﻯ ﻣﺮگ ﺑﺎ ﺧﻮﺩ ﺩﺍﺷﺘﻨﺪ‪ ،‬ﺑﻮﻯ ﺭﻗﻴﻖ ﭘﻮﺳﻴﺪﮔﻰ ﻭ ﺗﻌﻔﻦ‪ .‬ﺑﺎ ﮔﺎﺯ ﮔﺮﻓﺘﻦ‪ ،‬ﺯﻧﺪﻫﺎ ﺭﺍ ﻫﻢ ﻣﺒﺘﻼ‬ ‫ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﮔﻮﺷﺖ ﻣﻰﺧﻮﺭﺩﻧﺪ‪ ،‬ﺁﻥ ﻫﻢ ﺗﺮﺟﻴﺤﺎً ﺧﺎﻣﺶ ﺭﺍ‪ .‬ﻭ ﺑﺎ ﺁﻥ ﻛﻪ ﺍﺷﺘﻬﺎﻯ ﺧﺎﺻﻰ ﺑﺮﺍﻯ ﮔﻮﺷﺖ‬ ‫ﺍﻧﺴﺎﻥ ﻧﺪﺍﺷﺘﻨﺪ‪ ،‬ﺍﻣﺎ ﺍﮔﺮ ﺍﺯ ﻓﺮﻁ ﮔﺮﺳﻨﮕﻰ ﺩﻳﻮﺍﻧﻪ ﻣﻰﺷﺪﻧﺪ ﻛﺎﺭﻫﺎﻳﻰ ﻣﻰﻛﺮﺩﻧﺪ ﻛﻪ ﺩﺭ ﺷﺮﺍﻳﻂ ﻋﺎﺩﻯ‬ ‫ﺍﺻ ً‬ ‫ﻼ ﺑﻪ ﺁﻥﻫﺎ ﻓﻜﺮ ﻫﻢ ﻧﻤﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺍﻣﺎ ﺑﺮﺧﻼﻑ ﻗﺼﻪﻫﺎ ﻭ ﺧﺮﺍﻓﺎﺕ ﺭﺍﻳﺞ‪ ،‬ﺁﻥﻫﺎ ﺍﺯ ﻫﺮ ﻟﺤﺎﻅ ﺯﻧﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻫﻮﺷﻴﺎﺭ ﻭ ﻣﻨﻄﻘﻰ‪ .‬ﻣﻰﺷﺪ ﺑﺎ‬ ‫ﺁﻥﻫﺎ ﺣﺮﻑ ﺯﺩ‪ .‬ﭼﻴﺰﻯ ﻛﻪ ﺩﺭ ﻣﻮﺭﺩ ﺯﻧﺪﻩﻫﺎ –ﺩﺭ ﻣﻮﺭﺩ ﺩﻳﮕﺮﺍﻥ‪ -‬ﺻﺎﺩﻕ ﻧﺒﻮﺩ‪.‬‬ ‫ﻣﺒﺘﻼﺷﺪﮔﺎﻥ ﺗﺎ ﺳﺮ ﺣﺪ ﻧﺎﺑﻮﺩﻯ ﻛﺎﻣﻞ ﻛﺸﺘﻪ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﺣﺎﻻ‪ ،‬ﻭﻗﺘﻰ ﻣﻮﻧﻴﻜﺎ ﺑﻪ ﺍﺭﺩﻭﮔﺎﻩ ﺩﻳﮕﺮﺍﻥ‪،‬‬ ‫ﻫﻤﺎﻥ ﺷﻤﺎﺭ ﺑﻰﺷﻤﺎﺭ ﭼﺎﺩﺭﻫﺎ ﭼﺸﻢ ﺩﻭﺧﺖ‪ ،‬ﻣﻰﺩﺍﻧﺴﺖ ﺑﻪ ﺁﺧﺮ ﻛﺎﺭ ﺭﺳﻴﺪﻩﺍﻧﺪ‪.‬‬ ‫ﺁﺭﺍﻡ ﺑﻪ ﮔﺮﺕ ﮔﻔﺖ‪» :‬ﻧﻤﻰﺗﻮﻧﻴﻢ ﺑﺎﻫﺎﺷﻮﻥ ﺑﺠﻨﮕﻴﻢ‪«.‬‬ ‫»ﺍﻣﺎ ﺍﻳﻦ ﻛﺎﺭ ﺭﻭ ﺧﻮﺍﻫﻴﻢ ﻛﺮﺩ‪«.‬‬ ‫‪68‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪ‪ .‬ﻣﻮﻧﻴﻜﺎ ﻣﺎﻫﺮﺍﻧﻪ ﺑﺎ ﭘﺎ ﺑﻪ ﭘﺎﻯِ ﺑﻪ ﺍﺻﻄﻼﺡ ﻣﺠﺮﻭﺡ ﺩﺧﺘﺮ ﻟﮕﺪﻯ ﺯﺩ‪ .‬ﺩﺧﺘﺮ ﺍﺯ ﻛﻤﺮ ﺧﻢ‬ ‫ﺷﺪ ﻭ ﭼﺎﻗﻮ ﺍﺯ ﺩﺳﺘﺶ ﺍﻓﺘﺎﺩ‪ .‬ﺩﺧﺘﺮ ﺩﺳﺖ ﺩﺭﺍﺯ ﻛﺮﺩ ﺗﺎ ﭼﺎﻗﻮ ﺭﺍ ﺑﺮﺩﺍﺭﺩ‪ ،‬ﺍﻣﺎ ﻣﻮﻧﻴﻜﺎ ﺁﻥ ﺭﺍ ﺑﺎ ﺿﺮﺑﻪﺍﻯ ﺑﻪ‬ ‫ﻛﻨﺎﺭﻯ ﺍﻧﺪﺍﺧﺖ‪ .‬ﺿﺮﺑﻪﻯ ﺩﻳﮕﺮﻯ ﻫﻢ ﺑﻪ ﺷﻜﻢ ﺩﺧﺘﺮ ﺯﺩ ﻭ ﺍﻭ ﺭﺍ ﻧﻘﺶ ﺯﻣﻴﻦ ﻛﺮﺩ‪ .‬ﺩﺧﺘﺮ ﺍﺯ ﻧﻔﺲ ﺍﻓﺘﺎﺩ‪.‬‬ ‫ﻧﻔﺲﻧﻔﺲﺯﻧﺎﻥ ﺑﺎ ﻏﻀﺐ ﮔﻔﺖ‪» :‬ﺟﺪﺍ ً ﻓﻜﺮ ﻛﺮﺩﻳﺪ ﻧﻤﻰﺩﻭﻧﻢ ﺷﻤﺎ ﭼﻰ ﻫﺴﺘﻴﺪ؟ ﻓﻜﺮ ﻛﺮﺩﻳﺪ ﺑﻮﺗﻮﻥ‬ ‫ﺭﻭ ﺣﺲ ﻧﻤﻰﻛﻨﻢ؟«‬ ‫ﮔﺮﺕ ﺟﻠﻮ ﺁﻣﺪ‪ .‬ﻗﺪﺍﺭﻩﺍﺵ ﺑﻪ ﭘﺎﻳﺶ ﻣﻰﺳﺎﻳﻴﺪ ﻭ ﺧﺶﺧﺶ ﻣﻰﻛﺮﺩ‪» :‬ﻧﻪ‪ .‬ﺗﻮ ﻫﻢ ﻓﻜﺮ ﻣﻰﻛﻨﻰ ﻣﺎ‬ ‫ﻧﻤﻰﺗﻮﻧﻴﻢ ﻛﻤﻴﻦ ﺭﻭ ﺗﺸﺨﻴﺺ ﺑﺪﻳﻢ؟«‬ ‫ﮔﺮﺕ ﻗﺪﺍﺭﻩﺍﺵ ﺭﺍ ﭼﺮﺧﺎﻧﺪ‪ .‬ﺟﻨﮕﻞ ﺍﻃﺮﺍﻓﺸﺎﻥ ﺑﻪ ﺟﻨﺐ ﻭ ﺟﻮﺵ ﺍﻓﺘﺎﺩ ﻭ ﺩﻳﮕﺮﺍﻥ ﺍﺯ ﻣﺨﻔﻰﮔﺎﻩﺷﺎﻥ‬ ‫ﺑﻴﺮﻭﻥ ﺁﻣﺪﻧﺪ‪ .‬ﺩﺧﺘﺮ ﺗﻼﺵ ﻛﺮﺩ ﺧﻮﺩ ﺭﺍ ﻋﻘﺐ ﺑﻜﺸﺪ‪ ،‬ﺍﻣﺎ ﮔﺮﺕ ﺧﻴﻠﻰ ﺳﺮﻳﻊ ﺑﻮﺩ‪ .‬ﺳﺮ ﺩﺧﺘﺮ ﺍﺯ ﺗﻨﺶ‬ ‫ﺟﺪﺍ ﺷﺪ‪ .‬ﺧﻮﻥ ﺍﺯ ﺣﻨﺠﺮﻩﺍﺵ ﻓﻮﺍﺭﻩ ﺯﺩ ﻭ ﺗﻨﺶ ﺑﻪ ﻟﺮﺯﻩ ﺍﻓﺘﺎﺩ‪ .‬ﺩﻳﮕﺮﺍﻥ ﻫﻤﺎﻥﺟﺎ ﺧﺸﻜﺸﺎﻥ ﺯﺩ ﻭ ﺧﻴﺮﻩ‬ ‫ﺳﺮ ﺟﺎ ﺍﻳﺴﺘﺎﺩﻧﺪ‪.‬‬ ‫ﮔﺮﺕ ﻗﺪﺍﺭﻩﻯ ﺧﻮﻥﺁﻟﻮﺩﺵ ﺭﺍ ﺑﺎﻻ ﺁﻭﺭﺩ ﻭ ﻧﻌﺮﻩ ﺯﺩ‪» :‬ﭼﻴﻪ؟ ﻣﮕﻪ ﺍﻳﻦ ﻫﻤﻮﻥ ﻛﺎﺭﻯ ﻧﻴﺴﺖ ﻛﻪ ﺷﻤﺎ‬ ‫ﺑﺎ ﻣﺎ ﻣﻰﻛﻨﻴﺪ؟ ﺳﺮﻫﺎﻣﻮﻥ ﺭﻭ ﻧﻤﻰﺯﻧﻴﺪ؟ ﺗﻨﻬﺎ ﺭﺍﻫﻴﻪ ﻛﻪ ﻣﻄﻤﺌﻦ ﻣﻰﺷﻴﺪ ﻣﺮﺩﻳﻢ‪ ،‬ﻫﺎ؟ ﺧﺐ ﺍﺗﻔﺎﻗﺎً‬ ‫ﺑﺮﺍﻯ ﺧﻮﺩﺗﻮﻥ ﻫﻢ ﺟﻮﺍﺏ ﻣﻰﺩﻩ‪ «.‬ﻟﺒﺨﻨﺪ ﺯﺩ‪ .‬ﺷﺒﺤﻰ ﺍﺯ ﻣﺮگ ﺑﺮ ﺻﻮﺭﺕ ﺭﻧﮓﭘﺮﻳﺪﻩﺍﺵ ﻧﺸﺴﺘﻪ ﺑﻮﺩ‪:‬‬ ‫»ﺩﻳﮕﻪ ﻛﺴﻰ ﻧﻤﻰﺧﻮﺍﺩ ﺍﻣﺘﺤﺎﻥ ﻛﻨﻪ؟«‬ ‫ﺻﺪﺍﻯ ﺁﺭﺍﻡ ﻣﻮﻧﻴﻜﺎ ﺳﻜﻮﺕ ﺭﺍ ﺩﺭ ﻫﻢ ﺷﻜﺴﺖ‪» :‬ﺑﻬﺘﺮﻩ ﺑﻬﺶ ﻓﻜﺮ ﻛﻨﻴﺪ‪ .‬ﭼﻮﻥ ﺍﮔﻪ ﻳﻪ ﻧﮕﺎﻩ ﭘﺸﺘﺘﻮﻥ‬ ‫ﺑﻨﺪﺍﺯﻳﺪ‪ ،‬ﻣﻰﺑﻴﻨﻴﺪ ﻣﺎ ﺗﻨﻬﺎ ﻧﻴﺴﺘﻴﻢ‪ .‬ﺍﻭﻧﺎ ﺷﻤﺎ ﺭﻭ ﻧﻤﻰﻛﺸﻦ‪ .‬ﺑﻠﻜﻪ ﻣﺒﺘﻼﺗﻮﻥ ﻣﻰﻛﻨﻦ‪ «.‬ﺑﻪ ﺍﻃﺮﺍﻑ ﻧﮕﺎﻩ‬ ‫ﻛﺮﺩ‪ .‬ﻣﺴﺘﻘﻴﻢ ﺩﺭ ﻫﺮ ﺟﻔﺖ ﭼﺸﻢ ﺧﻴﺮﻩ ﺷﺪ‪» :‬ﻣﺒﺘﻼﺗﻮﻥ ﻣﻰﻛﻨﻦ‪«.‬‬ ‫ﮔﺮﺕ ﻓﺮﻳﺎﺩﻯ ﻛﺸﻴﺪ ﻭ ﺑﺎ ﺍﻳﻦ ﻛﺎﺭ ﺑﺮﺍﻯ ﺣﻤﻠﻪ ﻋﻼﻣﺖ ﺩﺍﺩ‪ .‬ﺟﻨﮕﻞ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺟﻨﺐ ﻭ ﺟﻮﺵ ﺍﻓﺘﺎﺩ ﻭ‬ ‫ﺳﺮﺑﺎﺯﻫﺎ ﺍﺯ ﭘﺸﺖ ﺑﻮﺗﻪﻫﺎ ﻭ ﺭﻭﻯ ﺩﺭﺧﺖﻫﺎ ﺣﻤﻠﻪﻭﺭ ﺷﺪﻧﺪ‪ .‬ﺩﺭ ﺍﻭﻟﻴﻦ ﻣﻮﺝ ﺣﻤﻠﻪ‪ ،‬ﭼﻨﺪ ﺗﻦ ﺍﺯ ﺩﻳﮕﺮﺍﻥ‬ ‫ﻫﻤﺎﻥ ﺍﻭﻝ ﭘﺎ ﺑﻪ ﻓﺮﺍﺭ ﮔﺬﺍﺷﺘﻨﺪ‪ .‬ﭼﻨﺪ ﺗﺎﻯ ﺩﻳﮕﺮ ﻫﻢ ﺑﻌﺪ ﺍﺯ ﭼﻨﺪ ﺷﻤﺸﻴﺮﺑﺎﺯﻯ ﻧﺼﻔﻪ ﻭ ﻧﻴﻤﻪ ﻓﺮﺍﺭ‬ ‫ﻛﺮﺩﻧﺪ‪ .‬ﻣﻮﻧﻴﻜﺎ ﺑﻪ ﺑﻬﺘﺮﻳﻦ ﺳﻼﺣﺸﺎﻥ ﻣﺘﻮﺳﻞ ﺷﺪﻩ ﺑﻮﺩ؛ ﺗﺮﺱ!‬ ‫ﺗﺮﺱ ﺍﺯ ﻣﺒﺘﻼ ﺷﺪﻥ‪ .‬ﺗﺮﺱ ﺍﺯ ﻳﻜﻰ ﺍﺯ ﻣﺎ ﺷﺪﻥ‪.‬‬ ‫ﺑﺪﻭﻥ ﺍﻳﻦ ﺳﻼﺡ‪ ،‬ﺁﻥﻫﺎ ﻗﺘﻞ ﻋﺎﻡ ﻣﻰﺷﺪﻧﺪ‪ .‬ﺣﺘﺎ ﺑﺎ ﻭﺟﻮﺩ ﺁﻥ ﻫﻢ‪ ،‬ﻧﺒﺮﺩ ﻃﻮﻻﻧﻰ ﻭ ﺧﻮﻧﻴﻦ ﺷﺪ‪ .‬ﺩﺭ‬ ‫ﻧﻬﺎﻳﺖ ﺁﻥﻫﺎ ﻣﺎﻧﺪﻧﺪ ﻭ ﺍﺟﺴﺎﺩﺷﺎﻥ‪ .‬ﭼﻨﺪﺗﺎﻳﻰ ﺍﺯ ﺧﻮﺩﺷﺎﻥ ﺑﻮﺩﻧﺪ‪ ،‬ﺍﻣﺎ ﺑﻴﺸﺘﺮﺷﺎﻥ ﺍﺯ ﺣﺮﻳﻒ‪ .‬ﻭ ﺍﻳﻦ‬ ‫ﻫﻤﺎﻥ ﭼﻴﺰﻯ ﺑﻮﺩ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﺑﻪ ﺁﻥ ﺍﻣﻴﺪﻭﺍﺭ ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﺑﻪ ﺭﺍﻫﺸﺎﻥ ﺍﺩﺍﻣﻪ ﺩﺍﺩﻧﺪ‪ .‬ﺁﻥﻫﺎ ﺑﺮﺍﻯ ﺩﻳﺪﻥ ﺍﺭﺩﻭﮔﺎﻩ ﺩﻳﮕﺮﺍﻥ ﺁﻣﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﭘﺎ ﻋﻘﺐ ﻧﻤﻰﮔﺬﺍﺷﺘﻨﺪ‪.‬‬ ‫ﺣﺎﻻ ﺁﺭﺍﻡﺗﺮ ﭘﻴﺶ ﻣﻰﺭﻓﺘﻨﺪ‪ .‬ﺑﻪ ﺯﺣﻤﺖ ﺍﺯ ﻣﻴﺎﻥ ﺟﻨﮕﻞ ﺭﺍﻫﺸﺎﻥ ﺭﺍ ﺑﺎﺯ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﭼﻨﺪﺗﺎﺷﺎﻥ ﻣﺠﺮﻭﺡ‬ ‫‪67‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺭﺍ ﺍﺯ ﺟﻠﻮﻳﺸﺎﻥ ﺷﻨﻴﺪﻧﺪ‪ .‬ﺍﺯ ﻫﻢ ﺟﺪﺍ ﺷﺪﻧﺪ‪ .‬ﻣﻮﻧﻴﻜﺎ ﻭ ﮔﺮﺕ ﻣﺴﺘﻘﻴﻢ ﭘﻴﺶ ﺭﻓﺘﻨﺪ‪ ،‬ﺑﻘﻴﻪ ﻫﻢ ﺩﺭ ﺍﻃﺮﺍﻑ‬ ‫ﭘﺨﺶ ﺷﺪﻧﺪ‪.‬‬ ‫ﺻﺪﺍ ﺩﺭﺳﺖ ﺍﺯ ﭘﺸﺖ ﺍﻭﻟﻴﻦ ﺭﺩﻳﻒ ﺩﺭﺧﺘﺎﻥ ﻣﻰﺁﻣﺪ‪ .‬ﺑﻪ ﺻﺪﺍﻯ ﺑﭽﻪ ﻣﻰﻣﺎﻧﺪ‪ ،‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺁﻥﻫﺎ ﺑﺎ‬ ‫ﺍﺣﺘﻴﺎﻁ ﭘﻴﺶ ﺭﻓﺘﻨﺪ‪ .‬ﮔﺮﺕ ﻗﺪﺍﺭﻩﺍﺵ ﺭﺍ ﻛﺸﻴﺪﻩ ﺑﻮﺩ ﻭ ﺟﻠﻮ ﻣﻰﺭﻓﺖ‪ .‬ﺑﻬﺘﺮﻳﻦ ﺍﺳﻠﺤﻪﺷﺎﻥ ﻫﻤﻴﻦﻫﺎ‬ ‫ﺑﻮﺩ‪ .‬ﺧﻨﺠﺮ‪ ،‬ﻧﻴﺰﻩ ﻭ ﺷﻤﺸﻴﺮﻫﺎﻯ ﺩﺳﺖﺳﺎﺯ‪ .‬ﺍﺳﻠﺤﻪﻯ ﮔﺮﻡ ﻫﻢ ﺩﺍﺷﺘﻨﺪ‪ ،‬ﺍﻣﺎ ﻣﻬﻤﺎﺗﻰ ﺩﺭ ﻛﺎﺭ ﻧﺒﻮﺩ ﻭ ﺑﺎ‬ ‫ﺍﻳﻦ ﺣﺴﺎﺏ ﻫﻤﺎﻥﻫﺎ ﭼﻴﺰﻯ ﺩﺭ ﻣﺎﻳﻪﻯ ﭼﻤﺎﻕ ﺑﻮﺩﻧﺪ‪ .‬ﻭﺿﻊ ﺩﻳﮕﺮﺍﻥ ﻫﻢ ﺑﻬﺘﺮ ﻧﺒﻮﺩ‪ .‬ﺍﻳﻦ ﻧﺒﺮﺩ ﺑﺪﻭﻯ‬ ‫ﺩﻧﺪﺍﻥ ﻭ ﺁﺭﻭﺍﺭﻩ ﻭ ﺁﻫﻦ ﺑﻮﺩ‪ .‬ﺳﺎﻝﻫﺎ ﻣﻰﺷﺪ ﻛﻪ ﻭﺿﻌﻴﺖ ﺑﻪ ﺍﻳﻦ ﺻﻮﺭﺕ ﺑﻮﺩ‪ ،‬ﻛﺎﺭﺧﺎﻧﺠﺎﺕ ﺍﺳﻠﺤﻪ ﻭ‬ ‫ﻣﻬﻤﺎﺕ ﺍﺯ ﺍﻭﻟﻴﻦ ﺟﺎﻫﺎﻳﻰ ﺑﻮﺩﻧﺪ ﻛﻪ ﻧﺎﺑﻮﺩ ﺷﺪﻧﺪ‪.‬‬ ‫ﺳﻼﺡ ﻣﻨﺘﺨﺐ ﻣﻮﻧﻴﻜﺎ ﭼﺎﻗﻮﻯ ﭘﺮﺗﺎﺑﻰ ﺑﻮﺩ ﻭ ﻫﻤﻴﻦ ﻃﻮﺭ ﻛﻪ ﭘﺸﺖ ﮔﺮﺕ ﻣﻰﺭﻓﺖ‪ ،‬ﺩﺭ ﻫﺮ ﺩﺳﺘﺶ ﻳﻚ‬ ‫ﭼﺎﻗﻮ ﺩﺍﺷﺖ‪ .‬ﮔﺮﺕ ﺑﺎ ﺷﻨﻴﺪﻥ ﺻﺪﺍﻯ ﺧﺶﺧﺶ‪ ،‬ﻧﺮﺳﻴﺪﻩ ﺑﻪ ﺩﺭﺧﺘﺎﻥ ﺍﻳﺴﺘﺎﺩ‪ .‬ﻣﻮﻧﻴﻜﺎ ﻛﻨﺎﺭﺵ ﺭﻓﺖ‬ ‫ﻭ ﺍﺯ ﻣﻴﺎﻥ ﺩﺭﺧﺘﺎﻥ ﻫﻴﻜﻠﻰ ﺭﺍ ﺩﻳﺪ ﻛﻪ ﺑﺮ ﻣﻰﺧﻴﺰﺩ‪.‬‬ ‫ﺻﺪﺍﻯ ﺩﺧﺘﺮﻯ ﺁﻣﺪ‪» :‬ﺁﻩ ﺧﺪﺍ ﺭﻭ ﺷﻜﺮ‪ .‬ﺧﺪﺍ ﺭﻭ ﺷﻜﺮ‪«.‬‬ ‫ﺗﻠﻮﺗﻠﻮ ﺧﻮﺭﺩ ﻭ ﺑﺎ ﮔﺮﻳﻪ ﺭﻭﻯ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩ‪ .‬ﺭﻭﻯ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩﻩ ﻭ ﭘﺎﻳﺶ ﺭﺍ ﻣﻰﻓﺮﺷﺪ‪ .‬ﺩﺧﺘﺮ ﻓﺎﻧﻮﺳﻰ‬ ‫ﺭﻭﺷﻦ ﻛﺮﺩ‪ 18 .‬ﺳﺎﻝ ﺑﻴﺸﺘﺮ ﺑﻪ ﺍﻭ ﻧﻤﻰﺧﻮﺭﺩ ﻭ ﺻﻮﺭﺗﻰ ﺗﻜﻴﺪﻩ ﻭ ﺭﻧﮓﭘﺮﻳﺪﻩ ﺩﺍﺷﺖ‪.‬‬ ‫ﺍﺯ ﭘﺲ ﻧﻔﺲﻫﺎﻯ ﻋﻤﻴﻘﺶ ﮔﻔﺖ‪» :‬ﻓﻜﺮ ﻛﺮﺩﻡ ﺷﻤﺎ ﺍﺯ ﻣﺒﺘﻼ ﺷﺪﻩﻫﺎ ﻫﺴﺘﻴﻦ‪ .‬ﺍﻭﻧﺎ ﺑﻘﻴﻪﻯ ﻫﻤﺮﺯﻡﻫﺎﻯ‬ ‫ﻣﻦ ﺭﻭ ﮔﺮﻓﺘﻦ‪ .‬ﻣﻦ‪ ...‬ﻣﻦ ﺳﻌﻰ ﻛﺮﺩﻡ ﺑﺠﻨﮕﻢ‪«...‬‬ ‫ﻣﻮﻧﻴﻜﺎ ﺟﻠﻮﺗﺮ ﺭﻓﺖ‪» :‬ﺷﺸﺸﺶ‪ ،‬ﺁﺭﻭﻡ‪«.‬‬ ‫ﺩﺧﺘﺮ ﺑﺎﻻ ﺭﺍ ﻧﮕﺎﻩ ﻛﺮﺩ‪ .‬ﺑﺎ ﺩﻳﺪﻥ ﺻﻮﺭﺕ ﺯﺧﻢ ﺑﺮﺩﺍﺷﺘﻪﻯ ﮔﺮﺕ ﺍﺯ ﺗﺮﺱ ﺗﻜﺎﻧﻰ ﺧﻮﺭﺩ‪ ،‬ﺍﻣﺎ ﻣﻮﻧﻴﻜﺎ ﮔﺮﺕ‬ ‫ﺭﺍ ﻋﻘﺐ ﺭﺍﻧﺪ‪ .‬ﺍﻭ ﻫﻢ ﺑﻪ ﺩﺭﻭﻥ ﺳﺎﻳﻪﻫﺎ ﻟﻐﺰﻳﺪ‪.‬‬ ‫»ﺍﻭﻧﺎ ﺑﻘﻴﻪ ﺭﻭ ﮔﺮﻓﺘﻦ‪ .‬ﻫﻤﻪﺷﻮﻥ ﺭﻭ ﮔﺮﻓﺘﻦ‪«.‬‬ ‫ﻣﻮﻧﻴﻜﺎ ﻛﻨﺎﺭ ﺩﺧﺘﺮ ﺯﺍﻧﻮ ﺯﺩ‪» :‬ﻣﺎ ﺗﻮ ﺭﻭ ﺑﻪ ﺍﺭﺩﻭﮔﺎﻫﺖ ﺑﺮ ﻣﻰﮔﺮﺩﻭﻧﻴﻢ‪ .‬ﺧﻮﺩﻣﻮﻥ ﻫﻢ ﺗﺎﺯﻩ ﺭﺳﻴﺪﻳﻢ‪ .‬ﻣﺎ‬ ‫ﻧﻴﺮﻭﻯ ﻛﻤﻜﻰ ﻫﺴﺘﻴﻢ‪«.‬‬ ‫ﺍﻃﻤﻴﻨﺎﻥﺑﺨﺶﺗﺮﻳﻦ ﻟﺒﺨﻨﺪﺵ ﺭﺍ ﻧﺜﺎﺭ ﺩﺧﺘﺮﻙ ﻛﺮﺩ ﻭ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﺍﮔﺮ ﺍﻭﻧﺎ ﻫﻤﻴﻦ ﺩﻭﺭ ﻭ ﺑﺮﻫﺎ ﻫﺴﺘﻦ‪،‬‬ ‫ﺗﻮ ﺑﺎﻳﺪ ﺑﻬﺘﺮﻳﻦ ﺭﺍﻩ ﺧﺮﻭﺝ ﺭﻭ ﺑﻬﻤﻮﻥ ﻧﺸﻮﻥ ﺑﺪﻯ‪«.‬‬ ‫ﺩﺧﺘﺮ ﺳﺮﻯ ﺗﻜﺎﻥ ﺩﺍﺩ ﻭ ﺩﺳﺖ ﺩﺭﺍﺯ ﻛﺮﺩ ﺗﺎ ﺑﻠﻨﺪ ﺷﻮﺩ‪ .‬ﻣﻮﻧﻴﻜﺎ ﭼﺎﻗﻮﻯ ﭘﺮﺗﺎﺑﻰﺍﺵ ﺭﺍ ﺩﺍﺧﻞ ﻏﻼﻑ‬ ‫ﻛﻤﺮﻯﺍﺵ ﮔﺬﺍﺷﺖ ﻭ ﺧﻮﺍﺳﺖ ﺩﺳﺖ ﺩﺧﺘﺮ ﺭﺍ ﺑﮕﻴﺮﺩ ﻛﻪ ﺩﺧﺘﺮ ﺩﺳﺘﺶ ﺭﺍ ﺩﺭ ﭘﻨﺠﻪﻯ ﻣﻮﻧﻴﻜﺎ ﻗﻼﺏ‬ ‫ﻛﺮﺩ‪ .‬ﺍﻧﮕﺸﺘﺎﻧﺶ ﺭﺍ ﺳﻔﺖ ﻛﺮﺩ ﻭ ﺁﻫﺴﺘﻪ ﺑﻠﻨﺪ ﺷﺪ‪.‬‬ ‫ﺑﻌﺪ ﺩﺧﺘﺮ ﻣﻮﻧﻴﻜﺎ ﺭﺍ ﺑﻪ ﺳﻤﺖ ﺧﻮﺩ ﻛﺸﻴﺪ‪ .‬ﺑﺮﻗﻰ ﻧﻘﺮﻩﺍﻯ ﺩﺭﺧﺸﻴﺪ ﻭ ﺩﺧﺘﺮ ﺍﺯ ﺯﻳﺮ ﻟﺒﺎﺳﺶ ﭼﺎﻗﻮﻳﻰ‬ ‫‪65‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫»ﻣﻰﺩﻭﻧﻢ‪«.‬‬ ‫»ﻣﺎ ﺁﻣﺎﺩﻩﺍﻳﻢ‪ ،‬ﺁﻣﺎﺩﻩﺗﺮ ﺍﺯ ﻫﺮ ﻭﻗﺖ ﺩﻳﮕﻪ‪«.‬‬ ‫»ﻣﻰﺩﻭﻧﻢ‪«.‬‬ ‫»ﻫﻨﻮﺯ ﻳﻪ ﮔﺰﻳﻨﻪﻯ ﺩﻳﮕﻪ ﺩﺍﺭﻳﻢ‪«.‬‬ ‫»ﻧﻪ‪«.‬‬ ‫»ﻓﻘﻂ ﻣﻰﮔﻢ‪«...‬‬ ‫»ﻭ ﻣﻦ ﻫﻢ ﻣﻰﮔﻢ ﻛﻪ ﻣﻰﺩﻭﻧﻢ ﻳﻪ ﮔﺰﻳﻨﻪﻯ ﺩﻳﮕﻪ ﺩﺍﺭﻳﻢ‪ .‬ﻳﺎﺩﻡ ﻫﻢ ﻣﻰﻣﻮﻧﻪ ﻛﻪ ﻳﻪ ﮔﺰﻳﻨﻪﻯ ﺩﻳﮕﻪ‬ ‫ﺩﺍﺭﻳﻢ‪ ،‬ﺍﻣﺎ‪«...‬‬ ‫ﻧﻔﺲ ﻋﻤﻴﻘﻰ ﻛﺸﻴﺪ ﻭ ﺳﺮﺵ ﺭﺍ ﺗﻜﺎﻥ ﺩﺍﺩ‪ .‬ﮔﺮﺕ ﺍﻭ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﭼﺴﺒﺎﻧﺪ ﻭ ﭼﺎﻧﻪﺍﺵ ﺭﻭﻯ ﺳﺮ ﻣﻮﻧﻴﻜﺎ‬ ‫ﮔﺬﺍﺷﺖ‪ .‬ﻣﻮﻧﻴﻜﺎ ﻫﻢ ﺑﺎ ﺗﻜﻴﻪ ﺑﺮ ﺩﻳﻮﺍﺭ ﻣﺴﺘﺤﻜﻢ ﺳﻴﻨﻪﻯ ﮔﺮﺕ ﺁﺭﺍﻡ ﮔﺮﻓﺖ‪.‬‬ ‫ﭼﺮﺧﺶ ﮔﺮﺩﻥ ﮔﺮﺕ ﺭﺍ ﺣﺲ ﻛﺮﺩ ﻛﻪ ﺳﺮﻯ ﭼﺮﺧﺎﻧﺪ ﺗﺎ ﺍﺯ ﺗﻨﻬﺎ ﺑﻮﺩﻧﺸﺎﻥ ﻣﻄﻤﺌﻦ ﺷﻮﺩ ﻭ ﺑﻌﺪ ﺳﺮﺵ‬ ‫ﺭﺍ ﺧﻢ ﻛﺮﺩ ﻭ ﮔﺮﺩﻥ ﻣﻮﻧﻴﻜﺎ ﺭﺍ ﺑﻮﺳﻴﺪ‪ .‬ﻟﺒﺎﻧﺶ ﺭﻭﻯ ﭘﻮﺳﺖ ﻣﻮﻧﻴﻜﺎ ﺳﺮﺩ ﺑﻮﺩ‪ .‬ﺁﻥﻫﺎﻳﻰ ﻛﻪ ﻣﺪﺕﻫﺎ ﺑﺎ‬ ‫ﺍﻳﻦ ﺩﻭ ﺑﻮﺩﻧﺪ‪ ،‬ﻣﻰﺩﺍﻧﺴﺘﻨﺪ ﺍﻳﻦﻫﺎ ﻋﺎﺷﻖ ﻳﻜﺪﻳﮕﺮﻧﺪ‪ .‬ﺳﺎﻝﻫﺎ ﻋﺎﺷﻖ ﻳﻜﺪﻳﮕﺮ ﺑﻮﺩﻧﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﻛﻪ ﺑﺴﻴﺎﺭ‬ ‫ﻣﺤﺘﺎﻁ ﺑﻮﺩﻧﺪ‪ ،‬ﺍﻣﺎ ﻭﻗﺘﻰ ﺁﻥﻗﺪﺭ ﻫﻤﻪ ﻧﺰﺩﻳﻚ ﺑﻪ ﻫﻢ ﺯﻧﺪﮔﻰ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﻧﻤﻰﺷﺪ ﺍﻳﻦ ﺟﻮﺭ ﭼﻴﺰﻫﺎ ﺭﺍ‬ ‫ﭘﻨﻬﺎﻥ ﻛﺮﺩ‪ .‬ﺍﻣﺎ ﺑﻪ ﻫﺮ ﺣﺎﻝ ﻫﻨﻮﺯ ﺑﺴﻴﺎﺭ ﻣﺤﺘﺎﻁ ﺑﻮﺩﻧﺪ‪ ،‬ﻣﺨﺼﻮﺻﺎً ﺑﻪ ﺧﺎﻃﺮ ﻛﺴﺎﻧﻰ ﻣﺜﻞ ﺩﻳﺪﻩﺑﺎﻥﻫﺎ‬ ‫ﻛﻪ ﺍﺯ ﻧﻴﺮﻭﻫﺎﻯ ﻣﺴﻠﺢ ﺑﻪ ﺁﻥﻫﺎ ﭘﻴﻮﺳﺘﻪ ﺑﻮﺩﻧﺪ‪ ،‬ﺟﺎﻳﻰ ﻛﻪ ﭼﻴﺰﻫﺎﻳﻰ ﻣﺜﻞ ﺍﻳﻦ‪ ،‬ﻣﺴﺎﻟﻪﺍﻯ ﺟﺪﻯ‬ ‫ﻣﺤﺴﻮﺏ ﻣﻰﺷﺪ‪.‬‬ ‫ﺩﻳﮕﺮ ﺗﻌﺪﺍﺩ ﺯﻳﺎﺩﻯ ﺍﺯ ﺁﻥ ﺳﺮﺑﺎﺯﺍﻥ ﻭﺍﻗﻌﻰ ﺩﻭﺭﻩ ﺩﻳﺪﻩ ﺑﺎﻗﻰ ﻧﻤﺎﻧﺪﻩ ﺑﻮﺩ‪ .‬ﻓﺮﻣﺎﻧﺪﻫﻰ ﻧﻈﺎﻣﻰ ﻫﻴﭻﻭﻗﺖ‬ ‫ﻛﺎﺭ ﻣﻮﻧﻴﻜﺎ ﻧﺒﻮﺩ‪ .‬ﺳﺎﻝﻫﺎ ﭘﻴﺶ ﻭﻗﺘﻰ ﺗﺎﺯﻩ ﺑﻪ ﮔﺮﻭﻩﻫﺎﻯ ﺑﺎﺯﻣﺎﻧﺪﻩ ﺑﺮ ﻣﻰﺧﻮﺭﺩﻧﺪ‪ ،‬ﻣﻮﻧﻴﻜﺎ ﺑﺎ ﺁﻥﻫﺎ ﻃﻰ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﺎﺭ ﺳﺎﺧﺘﻪ ﻧﺸﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻭ ﻣﺴﺌﻮﻟﻴﺖ ﻏﻴﺮﻧﻈﺎﻣﻰﻫﺎ ﺭﺍ ﺑﺮ ﻋﻬﺪﻩ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺑﻪ ﮔﺮﺕ ﻫﻢ ﻓﺮﻣﺎﻧﺪﻫﻰ ﻭﺍﺣﺪﻯ ﻧﻈﺎﻣﻰ ﭘﻴﺸﻨﻬﺎﺩ ﺷﺪ‪ ،‬ﺍﻣﺎ ﺍﻭ ﺑﺎ ﻣﻮﻧﻴﻜﺎ ﻣﺎﻧﺪ ﻭ ﻏﻴﺮﻧﻈﺎﻣﻰﻫﺎ ﺭﺍ ﺁﻣﻮﺯﺵ‬ ‫ﺩﺍﺩ ﺗﺎ ﺍﺯ ﺧﻮﺩﺷﺎﻥ ﻣﺤﺎﻓﻈﺖ ﻛﻨﻨﺪ‪ .‬ﺳﭙﺲ ﺑﻪ ﻣﺮﻭﺭ ﺗﻚﺗﻚ ﻧﻈﺎﻣﻰﻫﺎ ﺍﺯ ﭘﺎ ﺍﻓﺘﺎﺩﻧﺪ‪ .‬ﺑﺎﺯﻣﺎﻧﺪﮔﺎﻥ ﺭﺍﻩ‬ ‫ﺧﻮﺩ ﺭﺍ ﺑﻪ ﮔﺮﻭﻩ ﻣﻮﻧﻴﻜﺎ ﺑﺎﺯ ﻣﻰﻛﺮﺩﻧﺪ ﺗﺎ ﺩﺭ ﻧﻬﺎﻳﺖ ﻓﻘﻂ ﻫﻤﺎﻥ ﮔﺮﻭﻩ ﺑﺎﻗﻰ ﻣﺎﻧﺪ‪ .‬ﻭ ﺣﺎﻻ ﺁﻥﻫﺎ ﺑﻪ‬ ‫ﻣﻮﻧﻴﻜﺎ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩﻧﺪ ﻭ ﺍﺯ ﺍﻭ ﺍﻧﺘﻈﺎﺭ ﺩﺍﺷﺘﻨﺪ ﺗﺎ ﺍﺯﺷﺎﻥ ﻣﺤﺎﻓﻈﺖ ﻛﻨﺪ‪ ،‬ﻭ ﻣﻮﻧﻴﻜﺎ ﻣﻄﻤﺌﻦ ﻧﺒﻮﺩ ﺑﺘﻮﺍﻧﺪ‪.‬‬ ‫ﻭﻗﺘﻰ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻧﺪ‪ ،‬ﻫﻮﺍ ﺗﺎﺭﻳﻚ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺗﺼﺎﺩﻓﻰ ﻫﻢ ﻧﺒﻮﺩ‪ .‬ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﻣﻰﺷﺪ ﺷﺒﺎﻧﻪ ﺳﻔﺮ ﻣﻰﻛﺮﺩﻧﺪ‬ ‫ﻭ ﺑﻰﺻﺪﺍ ﺍﺯ ﺑﻴﻦ ﺯﻣﻴﻦﻫﺎﻯ ﺳﻮﺧﺘﻪ ﺣﺮﻛﺖ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺩﺷﺖﻫﺎﻯ ﺻﺎﻑ ﺩﺭ ﻃﻮﻝ ﺭﻭﺯ ﺍﺯ ﺗﻚﻫﺎﻯ‬ ‫ﻧﺎﮔﻬﺎﻧﻰ ﻣﺤﺎﻓﻈﺖﺷﺎﻥ ﻣﻰﻛﺮﺩ ﻭ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺯﻧﺪﺍﻧﻰﺷﺎﻥ ﻫﻢ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﻳﻚ ﺳﺎﻋﺖ ﭘﻴﺎﺩﻩ ﺗﺎ ﺣﺎﺷﻴﻪﻯ ﺟﻨﮕﻞ ﺭﺍﻩ ﺑﻮﺩ‪ .‬ﺗﺎﺯﻩ ﺑﻪ ﺁﻥﺟﺎ ﺭﺳﻴﺪﻩ ﺑﻮﺩﻧﺪ ﻛﻪ ﻧﺎﻟﻪﻯ ﺧﻔﻪﺍﻯ ﺍﺯ ﺩﺭﺩ‬ ‫‪64‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻛﻪ ﮔﻤﺎﻥ ﻣﻰﺭﻓﺖ ﺁﺧﺮﻳﻦ ﺑﺎﺯﻣﺎﻧﺪﮔﺎﻥ ﻧﻮﻉ ﺧﻮﺩﺷﺎﻥ ﺑﺎﺷﻨﺪ ﻭ ﺑﻪ ﺍﻧﺘﻈﺎﺭ ﺁﺧﺮﻳﻦ ﻧﺒﺮﺩ ﻧﺸﺴﺘﻪ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﻧﺒﺮﺩﻯ ﻛﻪ ﻣﻰﺩﺍﻧﺴﺘﻨﺪ ﻧﻤﻰﺗﻮﺍﻧﻨﺪ ﭘﻴﺮﻭﺯ ﻣﻴﺪﺍﻧﺶ ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﺍﺧﺒﺎﺭ ﺩﻳﺪﻩﺑﺎﻥﻫﺎ ﺩﻗﻴﻘﺎً ﻫﻤﺎﻧﻰ ﺑﻮﺩ ﻛﻪ ﻣﻮﻧﻴﻜﺎ ﺍﻧﺘﻈﺎﺭ ﺩﺍﺷﺖ‪ .‬ﺩﻳﮕﺮﺍﻥ ﺩﺍﺷﺘﻨﺪ ﺁﻥ ﺳﻮﻯ ﺟﻨﮕﻠﻰ‬ ‫ﺩﺭ ﺷﺮﻕ ﺟﻤﻊ ﻣﻰﺷﺪﻧﺪ‪ .‬ﺗﻨﻬﺎ ﺟﺎﻳﻰ ﺑﻮﺩ ﻛﻪ ﻧﻤﻰﺷﺪ ﺍﺯ ﺭﻭﻯ ﺑﺮﺝ ﺩﻳﺪﻩﺑﺎﻧﻰ ﺩﻳﺪ‪ .‬ﻭﻗﺘﻰ ﻣﻮﻧﻴﻜﺎ ﺑﻪ‬ ‫ﻧﻴﺮﻭﻫﺎﻳﺶ ﺩﺳﺘﻮﺭ ﺩﺍﺩﻩ ﺑﻮﺩ ﺯﻣﻴﻦﻫﺎﻯ ﺍﻃﺮﺍﻑ ﺭﺍ ﻛﭽﻞ ﻛﻨﻨﺪ‪ ،‬ﺁﻥﻫﺎ ﺳﺮﺍﻍ ﺟﻨﮕﻞ ﻫﻢ ﺭﻓﺘﻪ ﺑﻮﺩﻧﺪ‬ ‫ﻭ ﺑﻌﺪ ﭘﻰ ﺑُﺮﺩﻩ ﺑﻮﺩﻧﺪ ﺍﺯ ﭘﺲ ﺍﻳﻦ ﻛﺎﺭ ﺑﺮ ﻧﻤﻰﺁﻳﻨﺪ‪ .‬ﺍﺯ ﺳﻮﻳﻰ ﻣﻮﻧﻴﻜﺎ ﺍﻳﻦ ﮔﻮﻧﻪ ﻧﺘﻴﺠﻪ ﮔﺮﻓﺖ ﻛﻪ‬ ‫ﺩﻳﮕﺮﺍﻥ ﺁﻥ ﻣﻨﻄﻘﻪ ﺭﺍ ﺑﺮﺍﻯ ﺍﺳﺘﻘﺮﺍﺭ ﺍﺭﺩﻭﮔﺎﻩ ﺧﻮﺩ ﺍﻧﺘﺨﺎﺏ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺩﺭ ﻧﺘﻴﺠﻪ ﺍﻭ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺗﻤﺎﻡ‬ ‫ﻗﻮﺍﻯ ﻧﻈﺎﺭﺗﻰﺍﺵ ﺭﺍ ﺑﺮ ﺭﻭﻯ ﺁﻥ ﻣﻨﻄﻘﻪ ﻣﺘﻤﺮﻛﺰ ﻛﻨﺪ‪.‬‬ ‫ﻗﻮﺍﻯ ﻧﻈﺎﺭﺗﻰ‪ .‬ﭼﻘﺪﺭ ﺍﺳﺘﺮﺍﺗﮋﻳﻚ! ﺍﻧﮕﺎﺭ ﻛﺎﻣ ً‬ ‫ﻼ ﺑﺮﺍﻯ ﺭﻭﺑﻪﺭﻭﻳﻰ ﺑﺎ ﺩﺷﻤﻦ ﺁﻣﺎﺩﻩﺍﻧﺪ ﻭ ﻓﻘﻂ ﻣﻨﺘﻈﺮ‬ ‫ﻓﺮﺻﺖﺍﻧﺪ‪ .‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺩﺭ ﺣﻘﻴﻘﺖ ﺁﻥﻫﺎ ﻫﻤﺎﻥ ﺭﻭﺑﺎﻫﺎﻧﻰ ﺑﻮﺩﻧﺪ ﻛﻪ ﺩﺭ ﻳﻚ ﻻﻧﻪ ﻛﺰ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﻭ‬ ‫ﺍﻧﺘﻈﺎﺭ ﺁﻣﺪﻥ ﮔﺮگﻫﺎ ﺭﺍ ﻣﻰﻛﺸﻴﺪﻧﺪ‪.‬‬ ‫ﻣﻮﻧﻴﻜﺎ ﺁﻥﻫﺎ ﺭﺍ ﺑﺮﺍﻯ ﻣﺮﺩﻥ ﺍﻳﻦﺟﺎ ﻧﻴﺎﻭﺭﺩﻩ ﺑﻮﺩ‪ .‬ﺍﻣﻴﺪﻭﺍﺭ ﺑﻮﺩ ﺑﺘﻮﺍﻧﻨﺪ ﭘﻴﺎﻣﻰ ﺑﺮﺍﻯ ﺩﻳﮕﺮﺍﻥ ﺑﻔﺮﺳﺘﻨﺪ‪:‬‬ ‫»ﺑﺒﻴﻨﻴﺪ! ﺷﻤﺎ ﺑﺮﺩﻳﺪ‪ .‬ﻣﺎ ﺍﻳﻦﺟﺎ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻦ ﺑﺎﻳﺮ ﺟﻤﻊ ﺷﺪﻩﺍﻳﻢ ﻭ ﻫﻤﻴﻦﺟﺎ ﻫﻢ ﻣﻰﻣﺎﻧﻴﻢ‪ .‬ﺣﺎﻻ ﺷﻤﺎ‬ ‫ﻫﻢ ﻣﺎ ﺭﺍ ﺑﻪ ﺣﺎﻝ ﺧﻮﺩﻣﺎﻥ ﺑﮕﺬﺍﺭﻳﺪ‪ .‬ﺧﻮﺍﻫﺶ ﻣﻰﻛﻨﻢ ﻣﺎ ﺭﺍ ﺑﻪ ﺣﺎﻝ ﺧﻮﺩﻣﺎﻥ ﺑﮕﺬﺍﺭﻳﺪ‪«.‬‬ ‫ﻭ ﺍﻳﻦ ﺁﺧﺮﻳﻦ ﺿﺠﻪ ﺑﺮﺍﻯ ﺑﺮﺍﻧﮕﻴﺨﺘﻦ ﺗﺮﺣﻢ ﺑﻮﺩ‪ .‬ﻣﻨﺘﻬﻰ ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺩﻳﺪﻩﺑﺎﻥﻫﺎ ﮔﺰﺍﺭﺵ ﻣﻰﺩﺍﺩﻧﺪ‪،‬‬ ‫ﻣﻮﻧﻴﻜﺎ ﻓﻬﻤﻴﺪ ﻛﻪ ﺩﺭ ﭘﻰ ﺍﻣﻴﺪﻯ ﻭﺍﻫﻰ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺗﻪ ﺩﻟﺶ ﻫﻤﻴﺸﻪ ﺍﻳﻦ ﺭﺍ ﻣﻰﺩﺍﻧﺴﺖ‪.‬‬ ‫ﻫﻤﻴﻦ ﻛﻪ ﺍﺯ ﭘﺸﺖ ﻣﻴﺰ ﺑﻠﻨﺪ ﻣﻰﺷﺪ ﮔﻔﺖ‪» :‬ﻳﻪ ﺗﻴﻢ ﺷﻨﺎﺳﺎﻳﻰ ﺁﻣﺎﺩﻩ ﺷﻪ‪ .‬ﺑﺎ ﺯﻧﮓ ﺍﻭﻝ ﺷﺐ ﺭﺍﻩ‬ ‫ﻣﻰﺍﻓﺘﻴﻢ‪«.‬‬ ‫ﺩﻭ ﻧﻔﺮ ﺍﺯ ﺩﻳﺪﻩﺑﺎﻥﻫﺎﻯ ﺁﻣﻮﺯﺵﺩﻳﺪﻩﺷﺎﻥ‪ ،‬ﻧﮕﺎﻩﻫﺎﻯ ﻧﺎﺭﺍﺣﺘﻰ ﺑﻴﻦ ﻫﻢ ﺭﺩ ﻭ ﺑﺪﻝ ﻛﺮﺩﻧﺪ‪ .‬ﺁﻥﻫﺎ ﺍﺯ‬ ‫ﮔﺮﻭﻩﻫﺎﻯ ﻧﻈﺎﻣﻰ ﻭﺍﻗﻌﻰ ﻣﻰﺁﻣﺪﻧﺪ ﻛﻪ ﻣﺪﺕﻫﺎ ﭘﻴﺶ ﻣﻨﺤﻞ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺟﺎﻳﻰ ﻛﻪ ﻓﺮﻣﺎﻧﺪﻫﺎﻥ ﭘﺸﺖ‬ ‫ﺧﻂ ﻣﻘﺪﻡ ﻣﻰﻣﺎﻧﺪﻧﺪ‪ .‬ﺁﻥﻫﺎ ﺑﻪ ﮔﺮﺕ ﻧﮕﺎﻩ ﻛﺮﺩﻧﺪ ﻭ ﺍﻣﻴﺪﻭﺍﺭ ﺑﻮﺩﻧﺪ ﺍﻭ ﺑﻪ ﻣﻮﻧﻴﻜﺎ ﺗﻮﺻﻴﻪ ﻛﻨﺪ ﻋﻘﺐ‬ ‫ﺑﻤﺎﻧﺪ‪.‬‬ ‫ﮔﺮﺕ ﻫﻢ ﮔﻔﺖ‪» :‬ﺷﻨﻴﺪﻳﺪ ﻛﻪ ﻓﺮﻣﺎﻧﺪﻩ ﺭﺍﺙ ﭼﻰ ﮔﻔﺖ‪ .‬ﺗﻴﻢ ﺭﻭ ﺁﻣﺎﺩﻩ ﻛﻨﻴﺪ‪«.‬‬ ‫ﻣﻮﻧﻴﻜﺎ ﺑﺮﮔﺸﺘﻪ ﺑﻮﺩ ﺭﻭﻯ ﺑﺎﺭﻭﻫﺎ ﻭ ﺑﻪ ﺯﻣﻴﻦﻫﺎﻯ ﺑﺎﻳﺮ ﺁﻥ ﺳﻮﻯ ﺩﻳﻮﺍﺭﻫﺎ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ ﻭ ﻣﻨﺘﻈﺮ ﺑﻮﺩ‬ ‫ﺗﺎ ﺗﻴﻢ ﺷﻨﺎﺳﺎﻳﻰ ﺁﻥ ﭘﺎﻳﻴﻦ ﺩﻭﺭ ﻫﻢ ﺟﻤﻊ ﺷﻮﻧﺪ‪ .‬ﺻﺪﺍﻯ ﺁﺭﺍﻡ ﺧﺶﺧﺶ ﻛﺸﻴﺪﻩ ﺷﺪﻥ ﭘﻮﺗﻴﻦ ﮔﺮﺕ‬ ‫ﺭﻭﻯ ﺯﻣﻴﻦ ﺁﻣﺪ‪ ،‬ﺍﻣﺎ ﺍﻭ ﺑﺮﻧﮕﺸﺖ‪ .‬ﻫﻤﺎﻥ ﻃﻮﺭ ﺍﻳﺴﺘﺎﺩ ﻭ ﺑﻴﺮﻭﻥ ﺭﺍ ﻧﮕﺎﻩ ﻛﺮﺩ ﺗﺎ ﺑﺎﺯﻭﺍﻥ ﮔﺮﺕ ﺭﺍ ﺑﻪ ﺩﻭﺭ‬ ‫ﻛﻤﺮﺵ ﺣﺲ ﻛﺮﺩ‪.‬‬ ‫ﮔﺮﺕ ﮔﻔﺖ‪» :‬ﻣﺎ ﻣﻰﺩﻭﻧﺴﺘﻴﻢ ﺍﻳﻦﺟﻮﺭﻯ ﻣﻴﺸﻪ‪«.‬‬ ‫‪63‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻧﻪ‪ ،‬ﺍﻳﻦ ﺩﺭﺳﺖ ﻧﺒﻮﺩ‪ .‬ﺍﮔﺮ ﻫﺪﻑ ﻭﺍﻛﺴﻴﻨﺎﺳﻴﻮﻥ ﺣﺼﻮﻝ ﺍﻃﻤﻴﻨﺎﻥ ﺍﺯ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﻣﺮﺩﻡ ﺍﺯ ﺁﻧﻔﻠﻮﺍﻧﺰﺍ ﺟﺎﻥ‬ ‫ﺳﺎﻟﻢ ﺑﻪ ﺩﺭ ﻣﻰﺑﺮﻧﺪ‪ ،‬ﭘﺲ ﻭﺍﻛﺴﻦ ﺧﻴﻠﻰ ﻫﻢ ﺧﻮﺏ ﻛﺎﺭﮔﺮ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻣﺮﺩﻣﻰ ﻛﻪ ﻭﺍﻛﺴﻦ ﺯﺩﻩ ﺑﻮﺩﻧﺪ‪،‬‬ ‫ﺑﻪ ﻭﻳﺮﻭﺱ ﻣﺒﺘﻼ ﺷﺪﻧﺪ‪ .‬ﺁﻥﻫﺎ ﻣﺮﺩﻧﺪ ﻭ ﺑﻌﺪ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﺯﻧﺪﻩ ﺷﺪﻧﺪ‪.‬‬ ‫ﻭ ﺣﺘﺎ ﭘﻴﺶ ﺍﺯ ﺁﻥ ﻛﻪ ﺩﻭﺑﺎﺭﻩ ﺑﻠﻨﺪ ﺷﻮﻧﺪ‪ ،‬ﺑﺪﻭﻥ ﺁﻥ ﻛﻪ ﺑﺪﺍﻧﻨﺪ‪ ،‬ﻭﻳﺮﻭﺱ ﺩﻳﮕﺮﻯ ﺩﺍﺷﺘﻨﺪ ﻛﻪ ﺁﻥ ﺭﺍ‬ ‫ﺭﺍ ﺍﺯ ﻃﺮﻳﻖ ﺭﻭﺍﺑﻂ ﺯﻧﺎﺷﻮﻳﻰ‪ ،‬ﻣﺼﺮﻑ ﻣﻮﺍﺩ ﻣﺨﺪﺭ ﻭ ﺍﻫﺪﺍﻯ ﺧﻮﻥ ﻣﻨﺘﻘﻞ ﻛﺮﺩﻧﺪ‪ .‬ﺯﻣﺎﻧﻰ ﻛﻪ ﻣﻘﺎﻣﺎﺕ‬ ‫ﻣﺘﻮﺟﻪ ﻣﺴﺎﻟﻪ ﺷﺪﻧﺪ‪ ،‬ﻳﻚ ﭼﻬﺎﺭﻡ ﺟﻤﻌﻴﺖ ﻣﺒﺘﻼ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺑﻌﺪ ﺍﺯ ﺗﻮﻗﻒ ﻭﺍﻛﺴﻴﻨﺎﺳﻴﻮﻥ‪ ،‬ﻳﻚ‬ ‫ﭼﻬﺎﺭﻡ ﺩﻳﮕﺮ ﻫﻢ ﺑﻪ ﺧﺎﻃﺮ ﻫﻤﺎﻥ ﺁﻧﻔﻮﻻﻧﺰﺍ ﻣﺮﺩﻧﺪ‪ .‬ﻫﺮ ﺩﻭ ﻭﻳﺮﻭﺱ ﻫﻤﻴﻦﻃﻮﺭ ﮔﺴﺘﺮﺵ ﻣﻰﻳﺎﻓﺖ‪.‬‬ ‫ﻭ ﺗﻘﺴﻴﻢ ﺑﺰﺭگ ﻫﻤﻴﻦ ﺑﻮﺩ‪ .‬ﻧﮋﺍﺩ ﺍﻧﺴﺎﻥ ﺩﻭ ﺑﺨﺶ ﺷﺪ‪ .‬ﻳﻜﻰ ﺑﺮﺍﻯ ﺑﺮﺗﺮﻯ ﻣﻰﺟﻨﮕﻴﺪ‪ ،‬ﺁﻥ ﻳﻜﻰ ﺑﺮﺍﻯ‬ ‫ﺯﻧﺪﻩ ﻣﺎﻧﺪﻥ‪.‬‬ ‫ﺩﻧﻴﺎ ﺑﻪ ﭘﺎﻳﺎﻥ ﺧﻮﺍﻫﺪ ﺭﺳﻴﺪ‪ ،‬ﺍﻣﺎ ﻧﻪ ﺑﺎ ﺻﺪﺍﻯ ﻳﻚ ﺍﻧﻔﺠﺎﺭ‪ ،‬ﺑﻠﻜﻪ ﺑﺎ ﻳﻚ َﺩﻡ ﻓﺮﻭ ﺩﺍﺩﻥ! ]‪[5‬‬ ‫ﻳﺎ ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻗﻴﻖﺗﺮ‪ ،‬ﺑﺎ ﺧﻄﺮ ﺩﻡ ﻓﺮﻭ ﺩﺍﺩﻥ‪.‬‬ ‫ﺑﻌﺪ ﺍﺯ ﺁﻥ ﻛﻪ ﻣﻮﻧﻴﻜﺎ ﺍﺯ ﺩﺳﺖ ﺍﺳﻴﺮﻛﻨﻨﺪﮔﺎﻧﺶ ﮔﺮﻳﺨﺖ‪ ،‬ﺗﻤﺎﻡ ﻓﻜﺮ ﻭ ﺫﻛﺮﺵ ﺗﻨﻬﺎ ﻭ ﺗﻨﻬﺎ ﺯﻧﺪﻩ ﻣﺎﻧﺪﻥ‬ ‫ﺑﻮﺩ‪ .‬ﺯﻧﺪﻩ ﻣﺎﻧﺪﻥ ﺧﻮﺩﺵ‪ .‬ﺍﻣﺎ ﻫﻤﻴﻦ ﻃﻮﺭ ﻛﻪ ﺍﺯ ﺩﺳﺖ ﮔﺮﻭﻫﻚﻫﺎﻯ ﺍﻧﺴﺎﻥﻫﺎ ﻣﻰﮔﺮﻳﺨﺖ‪ ،‬ﻣﺜﻞ‬ ‫ﺁﻫﻦﺭﺑﺎﻳﻰ ﻛﻪ ﺑﺮﺍﺩﻩﻫﺎﻯ ﺁﻫﻦ ﺭﺍ ﺟﺬﺏ ﻣﻰﻛﻨﺪ‪ ،‬ﺑﻘﻴﻪ ﺭﺍ ﺑﺎ ﺧﻮﺩ ﻫﻤﺮﺍﻩ ﻛﺮﺩ‪ .‬ﻫﻤﻪﺷﺎﻥ ﺗﻨﻬﺎ ﺑﻮﺩﻧﺪ ﻭ‬ ‫ﻫﻤﻪﺷﺎﻥ ﺑﻪ ﻛﻤﻚ ﻧﻴﺎﺯ ﺩﺍﺷﺘﻨﺪ‪ .‬ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻣﺎﺩﺭ‪ ،‬ﻣﻮﻧﻴﻜﺎ ﻣﻰﺧﻮﺍﺳﺖ ﺍﺯ ﺁﻥﻫﺎ ﻣﺤﺎﻓﻈﺖ ﻛﻨﺪ‪ .‬ﺑﻪ‬ ‫ﻋﻨﻮﺍﻥ ﻳﻚ ﻣﻌﻠﻢ ﻣﻰﺧﻮﺍﺳﺖ ﺭﺍﻫﻨﻤﺎﻳﻰﺷﺎﻥ ﻛﻨﺪ‪ .‬ﻭ ﺑﻌﺪ ﺍﺯ ﻳﻚ ﺳﺎﻝ‪ ،‬ﻓﺮﻣﺎﻧﺪﻩﻯ ﻳﻚ ﮔﺮﻭﻩ ﺑﻴﺴﺖ‬ ‫ﻧﻔﺮﻯ ﺍﺯ ﻧﺠﺎﺕﻳﺎﻓﺘﮕﺎﻥ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻭ ﺑﻌﺪ ﺑﻪ ﮔﺮﺕ ﺑﺮﺧﻮﺭﺩﻧﺪ‪.‬‬ ‫ﺍﻭ ﺭﺍ ﺩﺭ ﻣﻴﺎﻧﻪﻯ ﺟﺎﻳﻰ ﻛﻪ ﺯﻣﺎﻧﻰ ﻣﻴﺪﺍﻥ ﺷﻬﺮ ﺑﻮﺩ‪ ،‬ﺩﺭ ﺣﺎﻝ ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﺷﺶ ﻫﻔﺖ ﻧﻔﺮ ﺍﺯ ﺩﻳﮕﺮﺍﻥ‬ ‫ﻳﺎﻓﺘﻨﺪ‪ .‬ﺍﻭ ﺷﺒﻴﻪ ﮔﺮﺩﺑﺎﺩﻯ ﺍﺯ ﺧﻮﻥ ﻭ ﺁﻫﻦ ﺑﻮﺩ ﻭ ﺩﻟﻴﺮﺍﻧﻪ ﻣﻰﺟﻨﮕﻴﺪ‪ ،‬ﺍﻣﺎ ﻣﺠﺮﻭﺡ ﺑﻮﺩ ﻭ ﺩﺭ ﻣﻘﺎﺑﻞ‬ ‫ﺁﻧﺎﻥ ﺑﺴﻴﺎﺭ ﻛﻢ‪.‬‬ ‫ﻣﻮﻧﻴﻜﺎ ﻭ ﮔﺮﻭﻫﺶ ﮔﺮﺕ ﺭﺍ ﻧﺠﺎﺕ ﺩﺍﺩﻧﺪ‪ .‬ﺩﺍﺳﺘﺎﻥ ﺍﻭ ﺍﺯ ﺁﻥ ﺳﺎﺩﻩﻫﺎﻳﺶ ﺑﻮﺩ‪ .‬ﺧﺎﻧﻮﺍﺩﻩﺍﻯ ﺟﻠﻮﻯ‬ ‫ﭼﺸﻤﺶ ﻗﺘﻞ ﻋﺎﻡ ﻧﺸﺪﻩ ﺑﻮﺩ‪ .‬ﻓﻘﻂ ﻳﻚ ﻧﻔﺮ ﺑﻮﺩ ﻭ ﺯﻧﺪﮔﻰ ﻣﻌﻤﻮﻟﺶ ﺭﺍ ﻣﻰﻛﺮﺩ‪ ،‬ﺗﺎ ﺭﻭﺯﻯ ﻛﻪ ﺩﻳﮕﺮ‬ ‫ﺍﻳﻦ ﻃﻮﺭ ﻧﺒﻮﺩ‪ .‬ﺗﻼﺵ ﻛﺮﺩﻩ ﺑﻮﺩ ﺗﺎ ﺑﻪ ﺁﻥﭼﻪ ﺑﻠﺪ ﺑﻮﺩ ﺑﭽﺴﺒﺪ‪ ،‬ﻳﻌﻨﻰ ﭘﻠﻴﺲ ﺑﻮﺩﻥ‪ .‬ﻛﺎﺭﺵ ﻣﺤﺎﻓﻈﺖ‬ ‫ﺍﺯ ﺑﻰﮔﻨﺎﻩﻫﺎ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺁﻥ ﻣﻮﻗﻊ ﻳﻌﻨﻰ ﭘﺮﺳﻪﺯﺩﻥ ﺩﺭ ﺣﻮﻣﻪﻯ ﺷﻬﺮﻫﺎ ﻭ ﺟﻨﮓ ﺗﻦ ﺑﻪ ﺗﻦ ﺑﺎ ﻣﺸﺘﻰ‬ ‫ﺍﺯ ﺩﻳﮕﺮﺍﻥ ﺗﺎ ﺑﻘﻴﻪ ﺑﺘﻮﺍﻧﻨﺪ ﻓﺮﺍﺭ ﻛﻨﻨﺪ‪ .‬ﺧﻴﻠﻰ ﻃﺮﺡ ﺑﻪ ﺩﺭﺩﺑﺨﻮﺭﻯ ﻧﺒﻮﺩ‪ ،‬ﺍﻣﺎ ﺑﻪ ﻫﺮ ﺣﺎﻝ ﺷﺮﺍﻓﺘﻤﻨﺪﺍﻧﻪ‬ ‫ﺑﻮﺩ‪ .‬ﻣﻮﻧﻴﻜﺎ ﺑﻪ ﺍﻭ ﭘﻴﺸﻨﻬﺎﺩ ﻛﺮﺩﻩ ﺑﻮﺩ ﺍﮔﺮ ﻭﺍﻗﻌﺎً ﻣﻰﺧﻮﺍﻫﺪ ﺍﺯ ﻣﺮﺩﻡ ﺣﻔﺎﻇﺖ ﻛﻨﺪ‪ ،‬ﺑﻴﺎﻳﺪ ﻭ ﻣﺮﺍﻗﺐ‬ ‫ﺁﻥﻫﺎ ﺑﺎﺷﺪ‪.‬‬ ‫ﻭ ﻣﺎﺟﺮﺍ ﺍﻳﻦﻃﻮﺭﻯ ﺷﺮﻭﻉ ﺷﺪ‪ .‬ﻭ ﺣﺎﻻ ﭘﺲ ﺍﺯ ﺩﻩ ﺳﺎﻝ‪ ،‬ﺍﻳﻦﺟﺎ ﺑﻮﺩﻧﺪ ﻭ ﻋﺪﻩﺍﻯ ﺭﺍ ﻓﺮﻣﺎﻧﺪﻫﻰ ﻣﻰﻛﺮﺩﻧﺪ‬ ‫‪62‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻣﺤﻜﻢ ﺑﺄﻳﺴﺖ ﻋﺰﻳﺰﻡ‪ .‬ﺗﻮ ﺍﻻﻥ ﻣﺴﺌﻮﻟﻰ‪ .‬ﻻﺷﻪﻫﺎﺷﻮﻥ ﺩﺳﺖ ﺗﻮﺋﻪ‪ .‬ﻧﺬﺍﺭ ﺍﻳﻦ ﻳﺎﺩﺷﻮﻥ ﺑﺮﻩ‪.‬‬ ‫ﺣﺎﻻ ﺍﻭ ﺯﻧﺪﺍﻧﻴﺎﻧﻰ ﻏﺮﻳﺒﻪ ﺭﺍ ﻣﻰﺩﻳﺪ‪ ،‬ﻧﻪ ﺁﻥ ﻫﻴﻮﻻﻫﺎﻳﻰ ﻛﻪ ﺧﺎﻧﻮﺍﺩﻩﺍﺵ ﺭﺍ ﻗﺘﻞﻋﺎﻡ ﻛﺮﺩﻩ ﺑﻮﻧﺪ‪ ،‬ﺧﻮﺩﺵ‬ ‫ﺭﺍ ﺷﻜﻨﺠﻪ ﻛﺮﺩﻩ ﻭ ﺑﻪ ﺍﻭ ﺗﺠﺎﻭﺯ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻗﻤﺎﺷﻰ ﺩﺭ ﻫﻢ ﺷﻜﺴﺘﻪ ﻭ ﺩﺍﻏﺎﻥ ﻭ ﻛﺜﻴﻒ ﻛﻪ ﺗﻠﻮﺗﻠﻮﺧﻮﺭﺍﻥ‬ ‫ﺩﺭ ﺍﻣﺘﺪﺍﺩ ﺻﻒ ﺳﺮﺑﺎﺯﺍﻥ ﭘﻴﺶ ﻣﻰﺁﻣﺪﻧﺪ‪.‬‬ ‫ﺑﺪﻥ ﮔﺮﺕ ﻣﻨﻘﺒﺾ ﺷﺪ‪ .‬ﻣﻮﻧﻴﻜﺎ ﺭﻳﺰﺑﻴﻨﺎﻧﻪ ﺗﻤﺎﻡ ﺯﻧﺪﺍﻧﻴﺎﻥ ﺭﺍ ﺍﺯ ﻧﻈﺮ ﮔﺬﺭﺍﻧﺪ ﺗﺎ ﺑﺒﻴﻨﺪ ﻛﺪﺍﻡ ﻳﻜﻰﺷﺎﻥ‬ ‫ﺷﻢ ﭘﻠﻴﺴﻰ ﮔﺮﺕ ﺭﺍ ﺑﺮﺍﻧﮕﻴﺨﺘﻪ ﺍﺳﺖ‪ .‬ﻭﺍﺿﺢ ﺑﻮﺩ‪ ،‬ﻫﻤﺎﻥ ﺁﺧﺮﻯ‪ .‬ﻣﻮﻫﺎﻯ ﺑﻠﻨﺪ ﻭ ﭼﺮﺑﺶ ﺭﻭﻯ ﺻﻮﺭﺗﺶ‬ ‫ّ‬ ‫ﺭﻳﺨﺘﻪ ﺑﻮﺩ ﺍﻣﺎ ﻧﮕﺎﻩﻫﺎﻳﺶ ﺭﺍ ﻛﻪ ﺑﻪ ﻣﻮﻧﻴﻜﺎ ﻣﻨﺘﻬﻰ ﻣﻰﺷﺪ‪ ،‬ﭘﻨﻬﺎﻥ ﻧﻤﻰﻛﺮﺩ‪.‬‬ ‫ﻣﻮﻧﻴﻜﺎ ﺻﺎﻑ ﺍﻳﺴﺘﺎﺩ ﻭ ﻣﺴﺘﻘﻴﻢ ﺁﻥ ﺯﻧﺪﺍﻧﻰ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰﻛﺮﺩ‪ .‬ﺍﻭ ﻫﻢ ﻭﻗﺘﻰ ﺍﺯ ﺭﻭﺑﻪﺭﻭﻯ ﻣﻮﻧﻴﻜﺎ ﮔﺬﺷﺖ‬ ‫ﺭﻭﻳﺶ ﺭﺍ ﺑﺮﮔﺮﺩﺍﻧﺪ‪ ،‬ﺳﭙﺲ ﭼﺮﺧﻴﺪ ﻭ ﺑﻪ ﺳﻮﻯ ﻣﻮﻧﻴﻜﺎ ﺧﻴﺰ ﺑﺮﺩﺍﺷﺖ‪.‬‬ ‫ﮔﺮﺕ ﺟﻠﻮ ﭘﺮﻳﺪ ﻭ ﺁﻥ ﻗﺪﺭ ﺳﺮﻳﻊ ﻋﻤﻞ ﻛﺮﺩ ﻛﻪ ﻣﻮﻧﻴﻜﺎ ﻓﻘﻂ ﺑﺮﻗﻰ ﻧﻘﺮﻩﺍﻯ ﺭﻧﮓ ﺩﻳﺪ‪ .‬ﺳﺮ ﺯﻧﺪﺍﻧﻰ ﺍﺯ‬ ‫ﺗﻦ ﺟﺪﺍ ﺷﺪ ﻭ ﺍﺯ ﺭﻭﻯ ﺷﺎﻧﻪﻫﺎﻳﺶ ﺑﻪ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩ‪ .‬ﺗﭙﻰ ﺻﺪﺍ ﻛﺮﺩ ﻭ ﺭﻭﻯ ﺯﻣﻴﻦ ﻏﻠﺘﻴﺪ ﻭ ﻭﻗﺘﻰ ﺟﻠﻮﻯ‬ ‫ﭘﺎﻯ ﺳﺮﺑﺎﺯﻯ ﻣﺘﻮﻗﻒ ﺷﺪ‪ ،‬ﺯﻥ ﺟﻮﺍﻥ ﺷﻮﺗﺶ ﻛﺮﺩ‪ .‬ﻣﻮﺝ ﺧﻨﺪﻩﺍﻯ ﻛﻪ ﺩﺍﺷﺖ ﺑﺮﻣﻰﺧﻮﺍﺳﺖ ﺑﺎ ﻳﻚ‬ ‫»ﻧﻪ« ﺳﺎﺩﻩ ﺍﺯ ﺳﻮﻯ ﻣﻮﻧﻴﻜﺎ ﺩﺭ ﻧﻄﻔﻪ ﺧﻔﻪ ﺷﺪ‪.‬‬ ‫ﻣﻮﻧﻴﻜﺎ ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﺗﺎ ﻛﺴﻰ ﺑﻴﺎﻳﺪ ﺧﻮﻥﻫﺎ ﺭﺍ ﭘﺎﻙ ﻛﻨﺪ‪ .‬ﺻﻒ ﺯﻧﺪﺍﻧﻴﺎﻥ ﺑﻪ ﺭﺍﻩ ﺧﻮﺩ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪ .‬ﻫﻴﭻﻛﺪﺍﻡ‬ ‫ﺣﺘﺎ ﻧﺸﺎﻥ ﻧﻤﻰﺩﺍﺩ ﻛﻪ ﭼﻴﺰﻯ ﺩﻳﺪﻩ‪ .‬ﻓﻘﻂ ﺑﺎ ﺳﺮﻫﺎﻯ ﭘﺎﻳﻴﻦ ﺭﺍﻫﺸﺎﻥ ﺭﺍ ﭘﻴﻤﻮﺩﻧﺪ ﺗﺎ ﺍﺯ ﻧﻈﺮ ﻣﺤﻮ ﺷﺪﻧﺪ‪.‬‬ ‫ﺑﻌﺪ ﻫﻢ ﺧﺒﺮﺵ ﺭﺳﻴﺪ ﻛﻪ ﺩﻳﺪﻩﺑﺎﻥﻫﺎ ﺭﺍ ﺩﻳﺪﻩﺍﻧﺪ‪ .‬ﺳﺮﻳﻊ ﻣﻰﺁﻣﺪﻧﺪ ﻭ ﺍﻳﻦ ﻳﻌﻨﻰ ﺧﺒﺮﻫﺎ ﺑﺪﻯ ﺩﺍﺷﺘﻨﺪ‪.‬‬ ‫ﻣﻮﻧﻴﻜﺎ ﻭ ﮔﺮﺕ ﺳﺮﺳﺮﺍ ﺭﺍ ﺗﺮﻙ ﻛﺮﺩﻧﺪ ﻭ ﺭﻓﺘﻨﺪ ﺗﺎ ﺩﺭ ﺍﺗﺎﻕ ﺟﻠﺴﺎﺕ ﻣﻨﺘﻈﺮ ﺭﺳﻴﺪﻥ ﺩﻳﺪﻩﺑﺎﻥﻫﺎ ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﻫﻤﻴﻦ ﻃﻮﺭ ﻛﻪ ﺍﺯ ﻛﻨﺎﺭ ﺳﺎﻟﻦ ﻫﻤﺎﻳﺶ ﻣﻰﮔﺬﺷﺘﻨﺪ‪ ،‬ﻣﻮﻧﻴﻜﺎ ﺻﺪﺍﻯ ﻣﻌﻠﻢ ﺭﺍ ﺷﻨﻴﺪ ﻛﻪ ﺑﻪ ﺑﭽﻪﻫﺎ ﺩﺭﺱ‬ ‫ﺗﺎﺭﻳﺦ ﻣﻰﺩﺍﺩ‪ .‬ﺑﭽﻪﻫﺎﻳﻰ ﻛﻪ ﻫﻤﻪ ﺑﻌﺪ ﺍﺯ ﺗﻘﺴﻴﻢ ﺑﺰﺭگ ﺑﻪ ﺩﻧﻴﺎ ﺁﻣﺪﻩ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺩﺭ ﺩﻫﻪﺍﻯ ﻛﻪ ﺑﻪ ﺗﻘﺴﻴﻢ ﺑﺰﺭگ ﻣﻨﺘﻬﻰ ﻣﻰﺷﺪ‪ ،‬ﺳﻪ ﻫﻤﻪﮔﻴﺮﻯ ﺁﻧﻔﻮﻻﻧﺰﺍ ﺩﻧﻴﺎ ﺭﺍ ﺗﻬﺪﻳﺪ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺍﺯ ﻫﺮ ﺳﻪ ﻛﻤﺎﺑﻴﺶ ﺟﺎﻥ ﺑﻪ ﺩﺭ ﺑﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺍﻣﺎ ﻣﺘﺨﺼﺼﺎﻥ ﻗﺴﻢ ﻣﻰﺧﻮﺭﺩﻧﺪ ﻛﻪ ﺍﺯ ﭼﺎﻟﻪ ﻓﺮﺍﺭ ﻛﺮﺩﻩ‬ ‫ﻭ ﺑﻪ ﭼﺎﻩ ﺍﻓﺘﺎﺩﻩﺍﻧﺪ‪.‬‬ ‫ﻭﻳﺮﻭﺱ »ﺍچ‪5‬ﺍﻥ‪ «3‬ﺍﺯ ﺍﻧﺪﻭﻧﺰﻯ ﺷﺮﻭﻉ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻳﻜﻰ ﺩﻭ ﺍﻓﺘﻀﺎﺡ ﻫﻢ ﺑﻪ ﺑﺎﺭ ﺁﻭﺭﺩ ﻛﻪ ﺗﻮﺳﻂ ﻣﻘﺎﻣﺎﺕ‬ ‫ﻣﺴﺌﻮﻝ ﺳﺮ ﻭ ﺻﺪﺍﻳﺶ ﺧﻮﺍﺑﻴﺪ‪ ،‬ﺗﺎ ﺯﻣﺎﻧﻰ ﻛﻪ ﺁﻥﻫﺎ ﺍﻋﻼﻡ ﻛﺮﺩﻧﺪ ﺑﺮﺍﻯ ﻭﻳﺮﻭﺱ ﻭﺍﻛﺴﻨﻰ ﺗﻮﻟﻴﺪ‬ ‫ﻛﺮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﺍﻣﺎ ﺷﻔﺎ ﺑﻪ ﻧﻔﺮﻳﻦ ﺑﺪﻝ ﺷﺪ‪ .‬ﺑﻌﻀﻰ ﮔﻔﺘﻨﺪ ﻭﺍﻛﺴﻦ ﻋﻤﺪﺍ ً ﺩﺳﺘﻜﺎﺭﻯ ﺷﺪﻩ‪ .‬ﺑﻘﻴﻪ ﺁﺯﻣﺎﻳﺶﻫﺎﻯ ﻧﺎﻛﺎﻓﻰ‬ ‫ﻭ ﻧﺎﻣﻨﺎﺳﺐ ﺭﺍ ﺳﺒﺐ ﻣﺎﺟﺮﺍﻫﺎﻯ ﺑﻌﺪﻯ ﺑﺮ ﻣﻰﺷﻤﺮﺩﻧﺪ‪ .‬ﺁﻥﻫﺎ ﻓﻘﻂ ﻣﻰﺩﺍﻧﺴﺘﻨﺪ ﻛﻪ ﻭﺍﻛﺴﻦ ﻛﺎﺭﮔﺮ‬ ‫ﻧﻴﻔﺘﺎﺩﻩ‪.‬‬ ‫‪61‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫»ﺑﻴﺨﻮﺩ!«‬ ‫ﻣﻮﺟﻰ ﺍﺯ ﺳﺮ ﺗﺎ ﺗﻪ ﺻﻒ‪ ،‬ﻣﺮﺩﺍﻥ ﻭ ﺯﻧﺎﻥ ﺭﺍ ﭘﻴﻤﻮﺩ‪ .‬ﺁﻥﻫﺎ ﻛﻪ ﺍﺯ ﻓﺎﺻﻠﻪﻯ ﺩﻭﺭ ﺍﻳﻦ ﮔﻔﺖ ﻭ ﺷﻨﻮﺩ ﺭﺍ‬ ‫ﺷﻨﻴﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺩﺭ ﺗﺄﻳﻴﺪﺵ ﺳﺮﻯ ﺗﻜﺎﻥ ﻣﻰﺩﺍﺩﻧﺪ ﻭ ﺯﻣﺰﻣﻪ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﻭ ﺁﻥﻫﺎ ﻫﻢ ﻛﻪ ﻧﺸﻨﻴﺪﻩ ﺑﻮﺩﻧﺪ‬ ‫ﭘﭻﭘﭻ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﻣﻮﻧﻴﻜﺎ ﺷﻴﻄﻨﺖﺁﻣﻴﺰ ﺑﺎ ﺧﻮﺩ ﮔﻔﺖ ﺑﺎﺯ ﻫﻢ ﻳﻜﻰ ﺍﺯ ﻫﻤﺎﻥ ﻛﺎﺭﻫﺎﻯ ﺟﻤﻊﭘﺴﻨﺪﺍﻧﻪ‪.‬‬ ‫ﮔﺮﺕ ﺑﺎ ﭘﻴﺸﻨﻬﺎﺩﺵ ﺗﺄﻳﻴﺪ ﺩﻳﮕﺮﺍﻥ ﺭﺍ ﺑﺮﺍﻯ ﺧﻮﺩ ﻣﻰﺧﺮﻳﺪ ﻭ ﻣﻮﻧﻴﻜﺎ ﺑﺎ ﺭﺩ ﺁﻥ‪.‬‬ ‫ﻫﻤﻴﻦ ﻛﻪ ﻭﺍﺭﺩ ﺳﺮﺳﺮﺍ ﺷﺪﻧﺪ‪ ،‬ﮔﺮﺕ ﺷﺎﻧﻪﻫﺎﻳﺶ ﺭﺍ ﺻﺎﻑ ﻛﺮﺩ ﻭ ﺗﻤﺎﻡ ﻗﺪ ﺍﻳﺴﺘﺎﺩ‪ .‬ﺩﻳﮕﺮ ﻟﻨﮓ ﻧﻤﻰﺯﺩ‪.‬‬ ‫ﺧﻴﻞ ﺳﺮﺑﺎﺯﺍﻥ ﺑﺮﺍﻳﺸﺎﻥ ﺭﺍﻩ ﺑﺎﺯ ﻛﺮﺩﻧﺪ‪ .‬ﺁﻥﻫﺎﻳﻰ ﻛﻪ ﺳﺮﻳﻊ ﻧﺠﻨﺒﻴﺪﻧﺪ‪ ،‬ﻧﮕﺎﻩ ﺧﻴﺮﻩﻯ ﮔﺮﺕ ﻧﺼﻴﺒﺸﺎﻥ‬ ‫ﺷﺪ ﻭ ﺳﺮﻳﻊ ﻭ ﺳﺮﺍﺳﻴﻤﻪ ﺩﺳﺖ ﻭ ﭘﺎﻳﺸﺎﻥ ﺭﺍ ﺟﻤﻊ ﻛﺮﺩﻧﺪ‪ .‬ﺍﺯ ﮔﺮﺕ ﻣﻰﺗﺮﺳﻴﺪﻧﺪ ﻭ ﺑﻪ ﺍﻭ ﺍﺣﺘﺮﺍﻡ‬ ‫ﻣﻰﮔﺬﺍﺷﺘﻨﺪ‪ ،‬ﻣﻮﻧﻴﻜﺎ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻨﺪ ﻭ ﺑﻪ ﺍﻭ ﺍﺣﺘﺮﺍﻡ ﻣﻰﮔﺬﺍﺷﺘﻨﺪ‪ .‬ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﻫﻤﺎﻥ ﺭﻭﺍﻝﻫﺎﻯ‬ ‫ﻫﻤﻴﺸﮕﻰ‪ .‬ﻣﻮﻧﻴﻜﺎ ﺑﻪ ﺟﺎﻯ ﻫﻤﻴﺸﮕﻰﺍﺵ ﺩﺭ ﺍﻭﻟﻴﻦ ﻛﻨﺞ ﺭﻓﺖ‪ .‬ﻭﻗﺘﻰ ﺯﻧﺪﺍﻧﻴﺎﻥ ﺑﻪ ﺩﺍﺧﻞ ﻣﻰﺁﻣﺪﻧﺪ‪،‬‬ ‫ﻣﻮﻧﻴﻜﺎ‪ ،‬ﺍﻳﺴﺘﺎﺩﻩ ﺩﺭ ﺍﻧﺘﻬﺎﻯ ﻣﺴﻴﺮ‪ ،‬ﺍﻭﻟﻴﻦ ﻛﺴﻰ ﺑﻮﺩ ﻛﻪ ﻣﻰﺩﻳﺪﻧﺪ‪.‬‬ ‫ﻣﻰﺗﻮﺍﻧﺴﺖ ﺻﺪﺍﻳﺸﺎﻥ ﺭﺍ ﺍﺯ ﺁﻥ ﺳﻮﻯ ﺩﺭﻫﺎ ﺑﺸﻨﻮﺩ‪ .‬ﺍﻳﻦ ﺳﺨﺖﺗﺮﻳﻦ ﺑﺨﺶ ﺑﻮﺩ‪ .‬ﺗﻘﺮﻳﺒﺎً ﺗﻤﺎﻡ ﺯﻧﺎﻥ ﻭ‬ ‫ﻣﺮﺩﺍﻥ ﺣﺎﺿﺮ ﺩﺭ ﺳﺮﺳﺮﺍ ﭘﻴﺶﺗﺮ ﻫﻢ ﺩﺭ ﺍﻳﻦ ﻭﺿﻌﻴﺖ ﺑﻮﺩﻩﺍﻧﺪ‪ .‬ﺩﺭ ﻣﺨﻔﻴﮕﺎﻩﻫﺎﻳﺸﺎﻥ ﻣﻨﺘﻈﺮ ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺻﺪﺍﻯ ﻧﺰﺩﻳﻚ ﺷﺪﻥ ﺩﻳﮕﺮﺍﻥ ﺭﺍ ﻣﻰﺷﻨﻴﺪﻧﺪ ﻭ ﺧﺪﺍﺧﺪﺍ ﻣﻰﻛﺮﺩﻧﺪ ﻛﻪ ﺁﻥﻫﺎ ﺑﮕﺬﺭﻧﺪ‪ .‬ﺧﺪﺍ ﻛﻨﻪ ﺭﺩ ﺷﻦ‪.‬‬ ‫ﮔﺮﺕ ﺭﻓﺖ ﻭ ﭘﺸﺘﺶ ﺍﻳﺴﺘﺎﺩ‪ .‬ﺩﻭﺭ ﺍﺯ ﭼﺸﻢ ﺳﺮﺑﺎﺯﺍﻥ ﻣﻮﻧﻴﻜﺎ ﺭﺍ ﻧﻮﺍﺯﺵ ﻛﺮﺩ‪.‬‬ ‫ﻭﻗﺘﻰ ﺻﺪﺍﻯ ﭘﺎﻫﺎ ﺩﺭﺳﺖ ﭘﺸﺖ ﺩﺭ ﻣﺘﻮﻗﻒ ﺷﺪ‪ ،‬ﭼﻨﺪ ﺗﻦ ﺍﺯ ﺳﺮﺑﺎﺯﺍﻥ ﺍﺯ ﺻﻒ ﺑﻴﺮﻭﻥ ﺭﻓﺘﻨﺪ‪ ،‬ﺳﭙﺲ‬ ‫ﺑﺎ ﺻﻮﺭﺕﻫﺎﻯ ﺷﺮﻣﮕﻴﻦ ﺳﺮ ﺟﺎﻳﺸﺎﻥ ﺑﺮﮔﺸﺘﻨﺪ‪ .‬ﻫﻨﻮﺯ ﻫﻢ ﺗﺤﻤﻠﺶ ﺭﺍ ﻧﺪﺍﺷﺘﻨﺪ‪ .‬ﺧﺎﻃﺮﺍﺗﺸﺎﻥ ﻫﻨﻮﺯ‬ ‫ﺧﻴﻠﻰ ﺗﺎﺯﻩ ﻭ ﻭﺍﺿﺢ ﺑﻮﺩ‪.‬‬ ‫ﺩﺭ ﺭﻭﻯ ﭘﺎﺷﻨﻪ ﻣﻰﭼﺮﺧﻴﺪ ﻛﻪ ﺧﺎﻃﺮﺍﺕ ﻣﻮﻧﻴﻜﺎ ﺩﻭﺑﺎﺭﻩ ﺯﻧﺪﻩ ﺷﺪ‪ .‬ﺩﺭ ﺁﻥ ﻟﺤﻈﻪ ﻣﻮﻧﻴﻜﺎ ﺳﺮﺑﺎﺯﻫﺎ‬ ‫ﻭ ﺯﻧﺪﺍﻧﻴﺎﻥ ﺭﺍ ﻧﻤﻰﺩﻳﺪ‪ ،‬ﺑﻠﻜﻪ ﺩﺳﺘﻪﺍﻯ ﺍﺯ ﺩﻳﮕﺮﺍﻥ ﺭﺍ ﺩﻳﺪ ﻛﻪ ‪ 10‬ﺳﺎﻝ ﭘﻴﺶ ﺑﻪ ﺟﺎﻥﭘﻨﺎﻩ ﺧﻮﺩﺵ‬ ‫ﻫﺠﻮﻡ ﺁﻭﺭﺩﻧﺪ‪ .‬ﻧﻌﺮﻩﻯ ﺧﺸﻤﺎﮔﻴﻦ ﺟﻴﻢ ﺭﺍ ﺷﻨﻴﺪ ﻛﻪ ﺟﻠﻮ ﭘﺮﻳﺪ ﺗﺎ ﺍﺯ ﺁﻧﺎﻥ ﻣﺤﺎﻓﻈﺖ ﻛﻨﺪ‪ ،‬ﺑﺮ ﺳﺮ‬ ‫ﻣﻮﻧﻴﻜﺎ ﺩﺍﺩ ﻣﻰﺯﺩ ﺗﺎ ﻟﻴﻠﻰ ﺭﺍ ﺑﺮﺩﺍﺭﺩ ﻭ ﻓﺮﺍﺭ ﻛﻨﻨﺪ‪ .‬ﺟﻴﻎﻫﺎﻯ ﺟﻴﻢ ﺭﺍ ﺷﻨﻴﺪ ﻭﻗﺘﻰ ﺑﺮ ﺳﺮﺵ ﺭﻳﺨﺘﻨﺪ‪.‬‬ ‫ﺟﻴﻎﻫﺎﻯ ﻟﻴﻠﻰ ﺭﺍ ﺷﻨﻴﺪ ﻭﻗﺘﻰ ﺟﻠﻮﻯ ﭼﺸﻤﺎﻧﺶ ﭘﺪﺭﺵ ﺭﺍ ﺁﺵ ﻭ ﻻﺵ ﻛﺮﺩﻧﺪ‪ .‬ﺟﻴﻎﻫﺎﻯ ﺧﻮﺩﺵ‬ ‫ﺭﺍ ﺷﻨﻴﺪ ﻭﻗﺘﻰ ﻟﻴﻠﻰ ﺭﺍ ﺑﺮﺩﺍﺷﺘﻪ ﺑﻮﺩ ﻭ ﺑﻪ ﺳﻤﺖ ﺯﻳﺮﺯﻣﻴﻦ ﻣﻰﺩﻭﻳﺪ‪ ،‬ﻭﻗﺘﻰ ﻟﻴﻠﻰ ﺭﺍ ﺑﻪ ﺯﻭﺭ ﺍﺯ ﺩﺳﺘﺶ‬ ‫ﻣﻰﻛﺸﻴﺪﻧﺪ‪ .‬ﺟﻴﻎﻫﺎﻯ ﺧﻮﺩﺵ ﺭﺍ ﺷﻨﻴﺪ ﻭﻗﺘﻰ ﺍﺯ ﺁﻥﻫﺎ ﻣﻰﺧﻮﺍﺳﺖ ﺭﺣﻢ ﻛﻨﻨﺪ‪ ،‬ﺁﺧﺮ ﻟﻴﻠﻰ ﻓﻘﻂ ﻳﻚ‬ ‫ﺑﭽﻪ ﺑﻮﺩ‪ ،‬ﻳﻚ ﺩﺧﺘﺮ ﻛﻮﭼﻮﻟﻮ‪ .‬ﻭ ﺁﻥﻫﺎ ﮔﻮﺵ ﻧﻜﺮﺩﻧﺪ‪.‬‬ ‫ﮔﺮﺕ ﺟﻠﻮﺗﺮ ﺭﻓﺖ ﺗﺎ ﻣﻮﻧﻴﻜﺎ ﺑﻪ ﺍﻭ ﺗﻜﻴﻪ ﻛﻨﺪ‪ .‬ﺳﺮﺵ ﺭﺍ ﺧﻢ ﻛﺮﺩ ﺗﺎ ﺣﺮﻑﻫﺎﻯ ﺍﻃﻤﻴﻨﺎﻥﺑﺨﺸﺶ ﺭﺍ‬ ‫ﺩﻭﺑﺎﺭﻩ ﺩﺭ ﮔﻮﺵ ﻣﻮﻧﻴﻜﺎ ﺯﻣﺰﻣﻪ ﻛﻨﺪ‪ .‬ﻣﻮﻧﻴﻜﺎ ﺁﺭﺍﻡ ﺷﺪ ﻭ ﺯﻣﺰﻣﻪﻫﺎ ﺑﻪ ﻳﺎﺩﺁﻭﺭﻯ ﺑﺪﻝ ﺷﺪ‪ .‬ﺭﺍﺳﺖ ﻭ‬ ‫‪60‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺧﻮﺏ ﻧﺸﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﮔﺮﺕ ﺣﺮﻓﻰ ﺑﺰﻧﺪ‪ ،‬ﻣﻮﻧﻴﻜﺎ ﺩﺳﺘﺶ ﺭﺍ ﺑﺎﻻ ﺑﺮﺩ‪.‬‬ ‫»ﺍﻋﺘﺮﺍﺿﺖ ﺭﻭ ﺷﻨﻴﺪﻡ ﺳﺘﻮﺍﻥ‪«.‬‬ ‫»ﻣﻦ ﻛﻪ ﭼﻴﺰﻯ ﻧﮕﻔﺘﻢ ﻓﺮﻣﺎﻧﺪﻩ‪«.‬‬ ‫»ﻻﺯﻡ ﻧﻴﺴﺖ ﭼﻴﺰﻯ ﺑﮕﻰ‪ .‬ﺷﻨﻴﺪﻯ ﺩﺍﺭﻳﻢ ﻳﻚ ﻋﺪﻩﻯ ﺟﺪﻳﺪ ﻣﻰﺁﺭﻳﻢ ﻭ ﻣﻰﺧﻮﺍﺳﺘﻰ ﺩﻭﺑﺎﺭﻩ ﺑﻬﻢ‬ ‫ﺑﮕﻰ ﻛﻪ ﺍﺯ ﭘﺲ ﺯﻧﺪﺍﻧﻰ ﺑﻴﺸﺘﺮ ﺑﺮ ﻧﻤﻰﺁﻳﻴﻢ‪.‬ﻛﻪ ﺟﺎﻥﭘﻨﺎﻩ ﺑﻴﺶ ﺍﺯ ﻇﺮﻓﻴﺘﺶ ﭘﺮ ﺷﺪﻩ‪ .‬ﻛﻪ ﺩﺍﺭﻳﻢ ﻧﻴﺮﻭﻯ‬ ‫ﺍﻧﺴﺎﻧﻰﻣﻮﻥ ﺭﻭ ﭘﺎﻯ ﻣﺮﺍﻗﺒﺖ ﺍﺯ ﺍﻭﻥﻫﺎ ﻫﺪﺭ ﻣﻰﺩﻳﻢ‪ .‬ﻛﻪ ﺩﺍﺭﻳﻢ ﺩﻛﺘﺮﺍﻣﻮﻥ ﺭﻭ ﭘﺎﻯ ﺍﻭﻧﺎ ﺣﺮﻭﻡ ﻣﻰﻛﻨﻴﻢ‪.‬‬ ‫ﻛﻪ ﺑﺎﻳﺪ ﺑﺒﺮﻳﻤﺸﻮﻥ ﻭﺳﻂ ﺩﺷﺖ ﻭ ﺑﻜﺸﻴﻤﺸﻮﻥ ﻭ ﺟﺴﺪﺍﺷﻮﻧﻢ ﺳﺮ ﻧﻴﺰﻩ ﻛﻨﻴﻢ ﺗﺎ ﺩﻳﮕﺮﺍﻥ ﺑﺒﻴﻨﻦ‪«.‬‬ ‫»ﻓﻜﺮ ﻧﻜﻨﻢ ﺁﺧﺮﻳﻪ ﺭﻭ ﭘﻴﺸﻨﻬﺎﺩ ﻛﺮﺩﻩ ﺑﺎﺷﻢ‪ .‬ﻭﻟﻰ ﻋﺠﺐ ﺍﻳﺪﻩﻯ ﻣﺤﺸﺮﻯ ﺑﻮﺩ‪ .‬ﻳﻪ ﮔﺮﻭﻩ ﻣﻰﻓﺮﺳﺘﻢ ﺗﺎ‬ ‫ﺑﺮﺍﻯ ﻧﻴﺰﻩﻫﺎ ﭼﻮﺏ ﺧﻮﺏ ﭘﻴﺪﺍ ‪«...‬‬ ‫ﻣﻮﻧﻴﻜﺎ ﻧﮕﺎﻫﻰ ﺧﺸﻤﮕﻴﻦ ﺑﻪ ﺍﻭ ﺍﻧﺪﺍﺧﺖ‪ .‬ﮔﺮﺕ ﻫﻢ ﻓﻘﻂ ﺑﺎ ﻧﻴﺶﺑﺎﺯ ﺧﻨﺪﻳﺪ‪.‬‬ ‫»ﻣﺎ ﺣﻴﻮﻭﻥ ﻧﻴﺴﺘﻴﻢ ﺳﺘﻮﺍﻥ‪ .‬ﺧﻮﺩﻣﻮﻥ ﺭﻭ ﺗﺎ ﺣﺪ ﺍﻭﻥﻫﺎ ﭘﺎﻳﻴﻦ ﻧﻤﻴﺎﺭﻳﻢ‪«.‬‬ ‫ﺻﺪﺍﻟﺒﺘﻪ ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﻣﻮﻧﻴﻜﺎ ﺍﺯ ﻗﺒﻞ ﺷﻜﺎﻳﺖ ﺍﻭ ﺭﺍ ﻣﻰﺩﺍﻧﺴﺖ‪ ،‬ﮔﺮﺕ ﻫﻢ ﺍﺯ ﻗﺒﻞ ﻣﻰﺩﺍﻧﺴﺖ ﻣﻮﻧﻴﻜﺎ‬ ‫ﭼﻨﻴﻦ ﭼﻴﺰﻯ ﺟﻮﺍﺑﻰ ﻣﻰﺩﻫﺪ‪ .‬ﺍﻟﺒﺘﻪ ﮔﺮﺕ ﻫﻢ ﻓﻘﻂ ﺩﻭﺳﺖ ﺩﺍﺷﺖ ﺍﻓﻜﺎﺭﺵ ﺭﺍ ﺑﻴﺮﻭﻥ ﺑﺮﻳﺰﺩ‪ ،‬ﺁﻥ ﻫﻢ‬ ‫ﺑﻠﻨﺪﺑﻠﻨﺪ ﻭ ﺑﻪ ﺻﻮﺭﺕ ﻣﺪﺍﻭﻡ‪ .‬ﻣﻮﻧﻴﻜﺎ ﻫﻢ ﻓﻘﻂ ﺑﻪ ﺧﺎﻃﺮ ﻧﻮﺁﻣﻮﺯﺍﻥ ﺗﺤﺖ ﻓﺮﻣﺎﻧﺪﻫﻴﺶ‪ ،‬ﺟﻮﺍﺏ ﮔﺮﺕ‬ ‫ﺭﺍ ﻣﻰﺩﺍﺩ‪.‬‬ ‫ﻭﻗﺘﻰ ﺑﻪ ﺳﺮﺳﺮﺍﻯ ﺍﺻﻠﻰ ﺭﺳﻴﺪﻧﺪ‪ ،‬ﺻﺪﺍﻯ ﻓﺮﻳﺎﺩﻯ ﺷﻨﻴﺪ‪» :‬ﺯﻧﺪﺍﻧﻰﻫﺎ ﺭﻭﻯ ﺯﻣﻴﻦ ﺑﺨﻮﺍﺑﻨﺪ!« ﺑﺮﺍﻯ‬ ‫ﺟﺪﻳﺪﺗﺮﻫﺎ ﺍﻳﻦ ﻣﺜﻞ ﺍﺧﻄﺎﺭ ﺑﻮﺩ‪ .‬ﺁﻥﻫﺎ ﺩﺭ ﻫﻤﻪ ﺟﻬﺖ ﭘﺨﺶ ﻭ ﭘﻼ ﻣﻰﺷﺪﻧﺪ‪ .‬ﻣﻮﻧﻴﻜﺎ ﻫﻴﭻﻭﻗﺖ‬ ‫ﻣﺠﺒﻮﺭﺷﺎﻥ ﻧﻤﻰﻛﺮﺩ ﺳﺮ ﺟﺎﻳﺸﺎﻥ ﺑﺎﻳﺴﺘﻨﺪ‪ .‬ﺑﻪ ﺧﻮﺑﻰ ﻣﻰﻓﻬﻤﻴﺪ ﺍﻳﻦ ﺗﺮﺱ ﺍﺯ ﻛﺠﺎ ﻣﻰﺁﻳﺪ‪ .‬ﺍﺯ ﺁﻥ‬ ‫ﺳﺎﻝﻫﺎﻯ ﻃﻮﻻﻧﻰ ﭘﻨﻬﺎﻥ ﺷﺪﻥ‪ ،‬ﻣﺮﺍﻗﺐ ﺑﻮﺩﻥ ﻭ ﺍﻧﺘﻈﺎﺭ ﺑﺮﺍﻯ ﻓﺮﺍﺭ ﻣﺠﺪﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺑﻪ ﺍﻓﺴﺮﺍﻧﺶ‬ ‫ﮔﻔﺘﻪ ﺑﻮﺩ ﺗﻤﺎﻡ ﻛﺴﺎﻧﻰ ﺭﺍ ﻛﻪ ﻓﺮﺍﺭ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺩﺭ ﻧﻈﺮ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ .‬ﺑﻌﺪ ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﺟﺎﻥﭘﻨﺎﻩﻫﺎ‬ ‫ﻣﻰﺑﺮﺩﻧﺪ ﺗﺎ ﺁﻥﺟﺎ ﺑﺒﻴﻨﻨﺪ ﻛﻪ ﺩﻳﮕﺮﺍﻥ ﺑﻪ ﻫﻴﭻﻭﺟﻪ ﺁﻥ ﻫﻴﻮﻻﻫﺎﻯ ﻗﺪﺭ ﻗﺪﺭﺕ ﻛﺎﺑﻮﺱﻫﺎﻳﺸﺎﻥ ﻧﻴﺴﺘﻨﺪ‪.‬‬ ‫ﻗﺎﻧﻊ ﻛﻪ ﻣﻰﺷﺪﻧﺪ‪ ،‬ﺩﻳﮕﺮ ﺑﻪ ﺁﻥ ﻓﺮﻳﺎﺩ ﻭﺍﻛﻨﺶ ﻣﺘﻔﺎﻭﺗﻰ ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩﻧﺪ‪ .‬ﺁﻥ ﻭﻗﺖ ﺑﻪ ﺩﻳﮕﺮ ﺳﺮﺑﺎﺯﺍﻥ‬ ‫ﻣﻰﭘﻴﻮﺳﺘﻨﺪ ﻭ ﺩﺭ ﺳﺮﺳﺮﺍ ﺑﻪ ﺧﻂ ﻣﻰﺷﺪﻧﺪ ﺗﺎ ﺍﺯ ﺯﻧﺪﺍﻧﻴﺎﻥ ﺳﺎﻥ ﺑﺒﻴﻨﻨﺪ‪ .‬ﭘﻮﺯﺧﻨﺪ ﻧﻤﻰﺯﺩﻧﺪ ﻭ ﺩﻳﮕﺮ‬ ‫ﺻﺪﺍﻳﻰ ﺍﺯﺷﺎﻥ ﺑﻴﺮﻭﻥ ﻧﻤﻰﺁﻣﺪ‪ .‬ﻓﻘﻂ ﻫﻤﺎﻥ ﻃﻮﺭ ﺻﺎﻑ ﻣﻰﺍﻳﺴﺘﺎﺩﻧﺪ ﻭ ﺗﻤﺎﺷﺎ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﻣﻤﻠﻮ ﺍﺯ‬ ‫ﺗﻨﻔﺮﻯ ﭼﻨﺎﻥ ﺳﺘﺮگ ﺑﻮﺩﻧﺪ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺴﺘﻰ ﺑﻮﻳﺶ ﺭﺍ ﺣﺲ ﻛﻨﻰ‪ ،‬ﺳﻨﮕﻴﻦ ﻭ ﺧﻔﻪ ﻛﻨﻨﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﻫﻤﻴﻦ ﻛﻪ ﻭﺍﺭﺩ ﺳﺮﺳﺮﺍﻯ ﻣﺤﺼﻮﺭ ﺑﻴﻦ ﺳﺮﺑﺎﺯﺍﻥ ﺷﺪﻧﺪ‪ ،‬ﮔﺮﺕ ﮔﻔﺖ‪» :‬ﺷﻤﺎ ﻣﻰﺗﻮﻧﻴﺪ ﺍﺯ ﻃﺒﻘﻪﻯ ﺑﺎﻻ‬ ‫ﺗﻤﺎﺷﺎ ﻛﻨﻴﺪ‪ ،‬ﻓﺮﻣﺎﻧﺪﻩ‪«.‬‬ ‫‪59‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻣﻮﻧﻴﻜﺎ ﻓﻜﺮ ﻣﻰﻛﺮﺩ ﺍﮔﺮ ﻻﺯﻡ ﺑﺎﺷﺪ ﺗﺎ ﺁﺧﺮﻳﻦ ﻗﻄﺮﻩﻯ ﺧﻮﻥ ﺑﺮﺍﻯ ﻧﺠﺎﺕ ﻧﮋﺍﺩ ﻭ ﻫﻢﻧﻮﻋﺎﻧﺖ ﻣﻘﺎﻭﻣﺖ‬ ‫ﻛﻨﻰ‪ ،‬ﻣﻤﻜﻦ ﺑﻮﺩ ﺩﺭ ﺟﺎﻯ ﺑﺪﺗﺮﻯ ﻫﻢ ﻣﺠﺒﻮﺭ ﺑﻪ ﺍﻳﻦ ﺍﻳﺴﺘﺎﺩﮔﻰ ﺑﺸﻮﻯ‪ .‬ﺑﻪ ﺁﻥ ﺳﻮﻯ ﺩﻳﻮﺍﺭﻫﺎﻯ ﺩژ‬ ‫ﺧﻴﺮﻩ ﺷﺪ ﻭ ﻣﺰﺭﻋﻪﻫﺎﻯ ﺳﺒﺰ ﻭ ﻃﻼﻳﻰ ﺫﺭﺕﻫﺎﻳﻰ ﺭﺍ ﻛﻪ ﺩﺭ ﻧﺴﻴﻢ ﺗﻜﺎﻥ ﻣﻰﺧﻮﺭﺩﻧﺪ‪ ،‬ﺗﺼﻮﺭ ﻛﺮﺩ‪.‬‬ ‫ﺍﺯ ﺁﺧﺮﻳﻦ ﺑﺎﺭﻯ ﻛﻪ ﺫﺭﺕ ﺧﻮﺭﺩﻩ ﺑﻮﺩ ﭼﻘﺪﺭ ﻣﻰﮔﺬﺷﺖ؟ ﭼﺸﻤﺎﻧﺶ ﺭﺍ ﺑﺴﺖ ﻭ ﻛﺒﺎﺏﭘﺰﻫﺎﻯ ﺗﺎﺑﺴﺘﺎﻧﻰ‬ ‫ﺩﺭ ﺣﻴﺎﻁ ﭘﺸﺘﻰ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩ‪ .‬ﺑﻮﻯ ﺧﻮﺵ ﺩﻧﺪﻩﻛﺒﺎﺏ ﺭﻭﻯ ﺍﺟﺎﻕ‪ ،‬ﺧﻨﻜﺎﻯ ﻗﻮﻃﻰ ﺁﺏﺟﻮﻳﻰ ﻛﻪ‬ ‫ﺟﻴﻢ ﺑﻪ ﭘﺸﺘﺶ ﻣﻰﻓﺸﺮﺩ ﻭ ﺻﺪﺍﻯ ﺧﻨﺪﻩﻫﺎﻯ ﻟﻴﻠﻰ ﻛﻪ ﺩﻭﺭﺷﺎﻥ ﻣﻰﺯﺩ ﻭ ﺑﺎ ﺗﻔﻨﮓ ﺁﺏﭘﺎﺵ ﺑﻪ ﺩﻧﺒﺎﻝ‬ ‫ﺑﺎﻗﻰ ﺑﭽﻪﻫﺎ ﻣﻰﺩﻭﻳﺪ‪ .‬ﻫﻤﻪ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩ‪.‬‬ ‫ﭼﺸﻤﺎﻧﺶ ﺭﺍ ﺑﻪ ﺭﻭﻯ ﺩﺷﺖﻫﺎﻯ ﺳﻮﺧﺘﻪﻯ ﺁﻥ ﺳﻮ ﺑﺎﺯ ﻛﺮﺩ‪ .‬ﺧﻮﺩﺵ ﺩﺳﺘﻮﺭ ﺩﺍﺩﻩ ﺑﻮﺩ ﺗﺎ ﻣﻴﺎﻧﺸﺎﻥ‬ ‫ﺁﺗﺶ ﺑﻴﻨﺪﺍﺯﻧﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺳﺎﻝﻫﺎ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﺁﻥﻫﺎ ﺩﻳﮕﺮ ﺫﺭﺗﻰ ﻧﺮﻭﻳﻴﺪﻩ ﺑﻮﺩ ﻭ ﺗﻨﻬﺎ ﻣﺮﺍﺗﻌﻰ ﺑﻮﺩﻧﺪ ﺑﺎ‬ ‫ﻋﻠﻒﻫﺎﻯ ﻫﺮﺯ ﻛﻪ ﺩﺷﻤﻦ ﺭﺍ ﭘﻨﻬﺎﻥ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﻫﻤﺎﻥ ﺑﻬﺘﺮ ﻛﻪ ﺳﻮﺯﺍﻧﺪﺷﺎﻥ‪.‬‬ ‫ﺻﺪﺍﻳﻰ ﺍﺯ ﭘﺸﺖ ﮔﻔﺖ‪» :‬ﻓﺮﻣﺎﻧﺪﻩ‪«.‬‬ ‫ﻣﻮﻧﻴﻜﺎ ﺑﺮﮔﺸﺖ‪ .‬ﺟﻮﺍﻧﻰ ﺑﺎ ﺻﻮﺭﺕ ﭘﺮﺟﻮﺵ‪ ،‬ﭘﺎﺷﻨﻪﻫﺎﻳﺶ ﺭﺍ ﺑﻪ ﻫﻢ ﻛﻮﺑﻴﺪ ﻭ ﺳﻼﻡ ﺩﺍﺩ‪ .‬ﺟﺪﻳﺪﺗﺮﻫﺎﻳﺸﺎﻥ‬ ‫ﻫﺮﺍﺯﮔﺎﻫﻰ ﺍﻳﻦ ﻛﺎﺭ ﻣﻰﻛﺮﺩﻧﺪ ﻭ ﻣﻮﻧﻴﻜﺎ ﻫﻢ ﺩﻳﮕﺮ ﺗﻼﺵ ﻧﻤﻰﻛﺮﺩ ﺍﻳﻦ ﻋﺎﺩﺕ ﺭﺍ ﺍﺯ ﺳﺮﺷﺎﻥ ﺑﻴﻨﺪﺍﺯﺩ‪.‬‬ ‫ﻻﺯﻡ ﺑﻮﺩ ﺑﺎﻭﺭ ﻛﻨﻨﺪ ﻛﻪ ﺩﺭ ﺍﺭﺗﺸﻰ ﺩﺭﺳﺖ ﺑﺎ ﻗﻮﺍﻧﻴﻦ ﺩﺭﺳﺖ ﺣﻀﻮﺭ ﺩﺍﺭﻧﺪ‪ ،‬ﺣﺘﺎ ﺍﮔﺮ ﻗﺒ ً‬ ‫ﻼ ﻳﻚ ﺑﺎﺭ‬ ‫ﻫﻢ ﻳﻮﻧﻴﻔﺮﻡ ﻧﭙﻮﺷﻴﺪﻩ ﺑﺎﺷﻨﺪ‪ .‬ﺍﺻ ً‬ ‫ﻼ ﻫﻤﻴﻦ ﺁﻥﻫﺎ ﺭﺍ ﺳﺮ ﭘﺎ ﻧﮕﻪ ﻣﻰﺩﺍﺷﺖ‪ ،‬ﻭ ﻣﻰﮔﺬﺍﺷﺖ ﺑﺎﻭﺭ ﻛﻨﻨﺪ‬ ‫ﻣﻰﺗﻮﺍﻧﻨﺪ ﭘﻴﺮﻭﺯ ﺍﻳﻦ ﻧﺒﺮﺩ ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﺟﻮﺍﻥ ﮔﻔﺖ‪» :‬ﻫﻨﺪﺭﻳﻜﺲ ]‪ [4‬ﻫﻤﻴﻦ ﺍﻻﻥ ﺑﻰﺳﻴﻢ ﺯﺩ‪ .‬ﺩﺍﺭﻩ ﺁﺧﺮﻳﻦ ﮔﺮﻭﻩ ﺯﻧﺪﺍﻧﻰﻫﺎ ﺭﻭ ﻣﻴﺎﺭﻩ‪«.‬‬ ‫ﻣﻮﻧﻴﻜﺎ ﺳﺮ ﺗﻜﺎﻥ ﺩﺍﺩ ﻭ ﺑﻪ ﺩﻧﺒﺎﻝ ﺍﻭ ﺍﺯ ﺑﺎﺭﻭ ﭘﺎﻳﻴﻦ ﺭﻓﺖ‪ .‬ﺍﺯ ﻛﻨﺎﺭ ﺩﻭ ﺩﺧﺘﺮ ﺩﺭ ﻳﻮﻧﻴﻔﺮﻡﻫﺎﻯ ﻧﮕﻬﺒﺎﻧﻰ‬ ‫ﮔﺬﺷﺘﻨﺪ‪ .‬ﺩﺧﺘﺮﻫﺎ ﺳﺮ ﺗﻜﺎﻥ ﺩﺍﺩﻧﺪ‪ ،‬ﻧﮕﺎﻫﺸﺎﻥ ﺭﺍ ﭘﺎﻳﻴﻦ ﺍﻧﺪﺍﺧﺘﻨﺪ ﻭ ﻣﻮﺩﺑﺎﻧﻪ ﺳﻼﻡ ﻛﺮﺩﻧﺪ‪ .‬ﻣﻮﻧﻴﻜﺎ‬ ‫ﻟﺒﺨﻨﺪﺵ ﺭﺍ ﭘﻨﻬﺎﻥ ﻛﺮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﻓﻜﺮ ﺑﻮﺩ ﻛﻪ ﺯﻣﺎﻧﻰ ﺧﻮﺩ ﺭﺍ ﻣﻰﻛﺸﺖ ﺑﻠﻜﻪ ﭘﻴﺶ ﺩﺧﺘﺮﺍﻥ ﻫﻢ ﺳﻦ‬ ‫ﻭ ﺳﺎﻝ ﺍﻳﻦ ﺩﻭ ﭼﻨﻴﻦ ﺍﺣﺘﺮﺍﻣﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺯﻣﺎﻧﻰ ﺑﻮﺩ ﻛﻪ ﺳﺮ ﻛﻼﺱ ﺩﺭﺱ ﻣﻰﺍﻳﺴﺘﺎﺩ‪.‬‬ ‫ﺑﻪ ﻓﻜﺮ ﺗﻤﺎﻣﻰ ﺑﭽﻪﻫﺎﻳﻰ ﺍﻓﺘﺎﺩ ﻛﻪ ﺑﻪ ﺁﻥﻫﺎ ﺩﺭﺱ ﺩﺍﺩﻩ ﺑﻮﺩ‪ .‬ﻣﻰﺧﻮﺍﺳﺖ ﺑﺪﺍﻧﺪ ﺍﻻﻥ ﻛﺠﺎ ﻫﺴﺘﻨﺪ‪ ،‬ﭼﻨﺪ‬ ‫ﻧﻔﺮﺷﺎﻥ ﺍﺯ ﺩﻳﮕﺮﺍﻥ ﺷﺪﻩﺍﻧﺪ ﻭ ﭼﻨﺪ ﻧﻔﺮﺷﺎﻥ ﻣﺮﺩﻩﺍﻧﺪ‪ ...‬ﻣﻄﻤﺌﻦ ﺑﻮﺩ ﻛﻪ ﺧﻴﻠﻰﻫﺎﺷﺎﻥ ﺩﺭ ﮔﺮﻭﻩ ﺩﻭﻡ‬ ‫ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ‪ .‬ﺍﮔﺮ ﻣﻌﻠﻢ ﺷﻴﻤﻰﺷﺎﻥ ﺭﺍ ﻣﻰﺩﻳﺪﻧﺪ ﻛﻪ ﺁﺧﺮﻳﻦ ﺣﻠﻘﻪﻯ ﻣﻘﺎﻭﻣﺖ ﺭﺍ ﻓﺮﻣﺎﻧﺪﻫﻰ ﻣﻰﻛﻨﺪ‪،‬‬ ‫ﻭﺍﻗﻌﺎً ﭼﻪ ﻣﻰﻛﺮﺩﻧﺪ؟ ﺍﺻ ً‬ ‫ﻼ ﻣﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﭼﻨﻴﻦ ﭼﻴﺰﻯ ﺭﺍ ﺗﺼﻮﺭ ﻛﻨﻨﺪ؟ ﺑﻌﻀﻰ ﺭﻭﺯﻫﺎ ﺧﻮﺩﺵ ﻫﻢ‬ ‫ﻧﻤﻰﺗﻮﺍﻧﺴﺖ‪.‬‬ ‫ﻫﻤﻴﻦ ﻛﻪ ﭘﺸﺖ ﺳﺮ ﺟﻮﺍﻥ ﻭﺍﺭﺩ ﺩژ ﺷﺪ‪ ،‬ﮔﺮﺕ ﺍﺯ ﺳﺎﻳﻪﻫﺎ ﺑﻴﺮﻭﻥ ﺁﻣﺪ‪ .‬ﺑﺎ ﻓﺎﺻﻠﻪﻯ ﻳﻚ ﻗﺪﻡ‪ ،‬ﻛﻨﺎﺭﺵ‬ ‫ﮔﺎﻡ ﺑﺮ ﻣﻰﺩﺍﺷﺖ‪ .‬ﭘﺎﻯ ﭼﭙﺶ ﺭﺍ ﺭﻭﻯ ﺯﻣﻴﻦ ﻣﻰﻛﺸﻴﺪ‪ .‬ﭘﺎﻯ ﺷﻜﺴﺘﻪﺍﻯ ﻛﻪ ﻫﻴﭻﻭﻗﺖ ﻫﻢ ﻛﺎﻣ ً‬ ‫ﻼ‬ ‫‪58‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻭﺍﭘﺴﻴﻦ ﭘﺎﻳﺪﺍﺭﻯ‬ ‫ﻛﻠﻰ ﺁﺭﻣﺴﺘﺮﺍﻧﮓ‬ ‫ﻣﺤﻤﺪﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‬

‫ﮐﻠﯽ آرﻣﺴﱰاﻧﮓ ]‪ [۱‬ﻧﻮﯾﺴﻨﺪهی ﻣﻌﺮوف ﻣﺠﻤﻮﻋﻪﻫﺎی ﻓﺎﻧﺘﺰی ﺷﻬﺮی اﺳﺖ‪ .‬داﺳﺘﺎنﻫﺎی‬ ‫او ﮐﻪ ﻋﻤﻮﻣﺎً ﺑﺮای ﻧﻮﺟﻮاﻧﺎن ﻧﻮﺷﺘﻪ ﺷﺪهاﻧﺪ‪ ،‬از ﻣﻮﻓﻘﯿﺖ ﻧﺴﺒﺘﺎً ﺧﻮﺑﯽ ﺑﺮﺧﻮردار ﺑﻮده‬ ‫اﺳﺖ‪ .‬از اﯾﻦ ﻧﻮﯾﺴﻨﺪه در ﮐﺸﻮر ﺗﺎ ﺑﻪ ﺣﺎل داﺳﺘﺎن »وﻗﺘﯽ اﺷﺒﺎح ﺑﯿﺪار ﻣﯽﺷﻮﻧﺪ« ]‪[۲‬‬ ‫ﻣﻨﺘﴩ ﺷﺪه ﮐﻪ اوﻟﯿﻦ ﻗﺴﻤﺖ از ﺳﻪﮔﺎﻧﻪی ﻗﺪرتﻫﺎی ﺳﯿﺎه ]‪ [۳‬اﺳﺖ‪ .‬اﯾﻦ ﮐﺘﺎب ﺑﻪ‬ ‫ﻫﻤﺖ ﻧﺪا ﺷﺎدﻧﻈﺮ ﺗﺮﺟﻤﻪ ﺷﺪه و ﻧﴩ اﯾﺮانﺑﺎن آن را ﺑﻪ ﺑﺎزار ﮐﺘﺎب ﻋﺮﺿﻪ ﮐﺮده اﺳﺖ‪.‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺍﻳﻦ ﻧﻮﺍﺭ ﺩﺭﺳﻰ ﮔﺮﻓﺖ‪ .‬ﺷﺎﻳﺪ ﻭﻗﺘﻰ ﻛﻪ ﻳﺎﺩﺁﻭﺭﻯ ﻛﺎﺭ ﺩﺭﺳﺖﺗﺮ ﺍﺳﺖ‪ ،‬ﻣﺮﺩﻡ ﺗﺼﻤﻴﻢ ﺑﮕﻴﺮﻧﺪ ﻫﻤﻪ ﭼﻴﺰ‬ ‫ﺭﺍ ﻓﺮﺍﻣﻮﺵ ﻛﻨﻨﺪ‪ .‬ﭼﻮﻥ ﺑﺎ ﺧﻮﺩﻡ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻡ ﻛﻪ ﺑﺪﺗﺮﻳﻦ ﻛﺎﺭﻯ ﻛﻪ ﺁﻥﻫﺎ ﺑﺎ ﻣﺎ ﻛﺮﺩﻩﺍﻧﺪ‪ ،‬ﻛﺸﺘﻦ ﻣﺎ‬ ‫ﻧﻴﺴﺖ‪ .‬ﺑﻠﻜﻪ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺩﺍﺭﻧﺪ ﻣﺎ ﺭﺍ ﻣﺜﻞ ﺧﻮﺩﺷﺎﻥ ﻣﻰﻛﻨﻨﺪ – ﺩﺍﺭﻧﺪ ﻣﺎ ﺭﺍ ﻃﻮﺭﻯ ﺗﻐﻴﻴﺮ ﻣﻰﺩﻫﻨﺪ‬ ‫ﻛﻪ ﺩﻳﮕﺮ ﻫﻴﭻ ﭼﻴﺰ ﺣﺲ ﻧﻜﻨﻴﻢ‪ .‬ﺩﺳﺘﺸﺎﻥ ﺑﻪ ﻣﺎ ﺑﺮﺳﺪ ﻳﺎ ﻧﺮﺳﺪ‪ ،‬ﻫﺮ ﺭﻭﺯ ﺍﻧﺴﺎﻧﻴﺖ ﻣﺎ ﻛﻤﺘﺮ ﻣﻰﺷﻮﺩ‬ ‫ﻭ ﺭﻭﺯ ﺑﻪ ﺭﻭﺯ‪ ،‬ﺍﺯ ﺩﺭﻭﻥ ﻣﻰﻣﻴﺮﻳﻢ‪.‬‬ ‫ﻳﺎ ﺷﺎﻳﺪ‪ ،‬ﻧﻤﻰﺩﺍﻧﻢ‪ ،‬ﺷﺎﻳﺪ ﻣﻦ ﺍﺯ ﺍﻭﻟﺶ ﻫﻢ ﻫﻤﻴﻦ ﻃﻮﺭ ﺑﻮﺩﻡ‪ .‬ﺗﺎ ﺍﻻﻥ‪ ،‬ﺣﺘﺎ ﻳﻚ ﺑﺎﺭ ﻫﻢ ﺑﺮﺍﻯ ﺑﺎﺭﺑﺎﺭﺍ‬ ‫ﻭ ﺩﺧﺘﺮ ﻛﻮﭼﻮﻟﻮﻳﻢ ﮔﺮﻳﻪ ﻧﻜﺮﺩﻩﺍﻡ‪ ،‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺩﻟﺘﻨﮕﻰﺷﺎﻥ ﺑﺮﺍﻳﻢ ﺯﺟﺮﺁﻭﺭ ﺍﺳﺖ – ﻭﻟﻰ ﺑﺨﺸﻰ‬ ‫ﺍﺯ ﻭﺟﻮﺩﻡ ﻧﻤﻰﺗﻮﺍﻧﺪ ﮔﺮﻳﻪ ﻛﻨﺪ‪ .‬ﺍﻣﺎ ﺧﻮﺏ‪ ،‬ﻣﻦ ﺑﺮﺍﻯ ﺑﻴﻠﻰ ﻫﻢ ﮔﺮﻳﻪ ﻧﻜﺮﺩﻡ – ﻭﻗﺘﻰ ﺩﺍﺷﺘﻨﺪ ﺗﻮﻯ‬ ‫ﺯﻣﻴﻦ ﺩﻓﻨﺶ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﻓﻘﻂ ﻋﺼﺒﺎﻧﻰ ﺑﻮﺩﻡ ﻭ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻡ ﭼﺮﺍ ﺑﺎﻳﺪ ﭼﻨﻴﻦ ﻛﺎﺭ ﺍﺣﻤﻘﺎﻧﻪ ﻭ‬ ‫ﺧﻮﺩﺧﻮﺍﻫﺎﻧﻪﺍﻯ ﺑﻜﻨﺪ‪ .‬ﻟﻌﻨﺖ ﺧﺪﺍ‪ ،‬ﺧﻮﺩﻡ ﺧﻮﺏ ﻣﻰﺩﺍﻧﻢ ﻛﻪ ﭘﺪﺭ ﺧﻮﺑﻰ ﺑﺮﺍﻳﺶ ﻧﺒﻮﺩﻡ‪ ،‬ﻭﻟﻰ ﺍﮔﺮ ﺑﺎ ﻣﻦ‬ ‫ﺣﺮﻑ ﻣﻰﺯﺩ‪ ،‬ﺑﺎﻻﺧﺮﻩ ﻳﻚ ﭼﻴﺰﻯ ﺩﺭ ﺟﻮﺍﺑﺶ ﻣﻰﮔﻔﺘﻢ‪.‬‬ ‫ﻭﻟﻰ ﺣﺎﻻ ﺑﻴﻠﻰ ﺭﺍ ﻛﻤﻰ ﺑﻴﺸﺘﺮ ﺩﺭﻙ ﻣﻰﻛﻨﻢ – ﺍﻯ ﻛﺎﺵ ﺍﻻﻥ ﺍﻳﻦﺟﺎ ﺑﻮﺩ ﻭ ﺑﻪ ﺟﺎﻯ ﺣﺮﻑ ﺯﺩﻥ ﺑﺎ‬ ‫ﺍﻳﻦ ﻣﺎﺷﻴﻦ ﺍﺣﻤﻖ‪ ،‬ﻣﻰﺗﻮﺍﻧﺴﺘﻢ ﺍﻳﻦﻫﺎ ﺭﺍ ﺑﻪ ﺧﻮﺩﺵ ﺑﮕﻮﻳﻢ‪ .‬ﻳﻜﻰ ﺍﺯ ﺍﻓﺮﺍﺩ ﭘﻠﻴﺲ ﮔﻔﺖ ﻛﻪ ﺍﺣﺘﻤﺎﻻً‬ ‫ﺑﻴﻠﻰ ﺧﻮﺩﺵ ﻫﻢ ﻧﻤﻰﺩﺍﻧﺴﺘﻪ ﺩﺍﺭﺩ ﭼﻪ ﻛﺎﺭ ﻣﻰﻛﻨﺪ؛ ﭼﻮﻥ ﻫﻴﭻ ﻛﺲ ﺑﻪ ﺳﻴﻨﻪﻯ ﺧﻮﺩﺵ ﺷﻠﻴﻚ‬ ‫ﻧﻤﻰﻛﻨﺪ – ﻣﻰﮔﻔﺖ ﺭﺍﻫﺶ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻟﻮﻟﻪﻯ ﺗﻔﻨﮓ ﺭﺍ ﺑﮕﺬﺍﺭﻯ ﺗﻮ ﺩﻫﺎﻧﺖ ﻭ ﺳﺮﺵ ﺭﺍ ﺑﻪ ﻃﺮﻑ‬ ‫ﺳﻘﻒ ﺩﻫﺎﻥ ﻧﺸﺎﻧﻪ ﺑﮕﻴﺮﻯ؛ ﻣﻰﮔﻔﺖ ﺑﻬﺘﺮﻳﻦ ﺭﺍﻫﺶ ﻫﻤﻴﻦ ﺍﺳﺖ‪.‬‬ ‫ﺑﺎ ﺗﻔﻨﮓ ﺩﻭﺭﺑﻴﻦﺩﺍﺭ ﻛﺎﺭ ﺳﺨﺖ ﻣﻰﺷﺪ‪ ،‬ﺍﻣﺎ ﺧﻮﺷﺒﺨﺘﺎﻧﻪ ﺭﻭﻟﻮﺭﻡ ﻫﻨﻮﺯ ﮔﻠﻮﻟﻪ ﺩﺍﺭﺩ – ﻭ ﺑﺮﺍﻯ ﻣﻦ‪،‬‬ ‫ﻳﻚ ﮔﻠﻮﻟﻪ ﺑﺲ ﺍﺳﺖ‪.‬‬ ‫ﻓﻜﺮ ﻛﻨﻢ ﺁﻥ ﭼﻴﺰﻯ ﻛﻪ ﻗﺒ ً‬ ‫ﻼ ﻣﻰﺧﻮﺍﺳﺘﻢ ﺑﮕﻮﻳﻢ‪ ،‬ﺁﻥ ﭼﻴﺰﻯ ﻛﻪ ﺁﻥﻫﺎ ﺑﻪ ﻣﺎ ﻳﺎﺩ ﺩﺍﺩﻩﺍﻧﺪ – ﺍﻳﻦ ﺍﺳﺖ‬ ‫ﻛﻪ ﺯﻧﺪﮔﻰ ﻛﺮﺩﻥ ﺑﻪ ﻣﻌﻨﺎﻯ ﺯﻧﺪﻩ ﺑﻮﺩﻥ ﻧﻴﺴﺖ‪ .‬ﻭ ﻣﻦ ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﻫﻤﻴﻦ ﺣﺎﻻ ﻫﻢ ﻣﺮﺩﻩﺍﻡ‪.‬‬ ‫ﺣﺪﺍﻗﻞ ﺣﺎﻻ ﻣﻰﺗﻮﺍﻧﻢ ﺑﻤﻴﺮﻡ ﻭ ﻣﺮﺩﻩ ﺑﻤﺎﻧﻢ‪.‬‬

‫‪55‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺑﺮﺍﻯ ﺍﻭ ﺍﺯ ﺩﺳﺘﻢ ﺳﺎﺧﺘﻪ ﻧﺒﻮﺩ‪ .‬ﺍﮔﺮ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺗﻮﻯ ﺍﻳﻮﺍﻥ ﭘﺮﻳﺪﻩ ﻭ ﺑﻌﺪ ﻭﺍﺭﺩ ﺧﻴﺎﺑﺎﻥ ﺷﻮﺩ‪ ،‬ﺷﺎﻳﺪ ﺁﻥ‬ ‫ﻭﻗﺖ ﻛﺎﺭﻯ ﺍﺯ ﺩﺳﺘﻢ ﺑﺮ ﻣﻰﺁﻣﺪ؛ ﻭﻟﻰ ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻢ ﺍﻳﻦ ﺭﺍ ﺑﻬﺶ ﺑﮕﻮﻳﻢ‪ .‬ﺩﻭﺑﺎﺭﻩ ﺗﻔﻨﮓ ﺭﺍ ﺑﺮﺩﺍﺷﺘﻢ؛‬ ‫ﺧﻮﺩﻡ ﻫﻢ ﻧﻤﻰﺩﺍﻧﻢ ﭼﺮﺍ‪ .‬ﺷﺎﻳﺪ ﻣﻰﺧﻮﺍﺳﺘﻢ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺩﺳﺖ ﺑﻘﻴﻪ ﺑﻪ ﺍﻭ ﺑﺮﺳﺪ‪ ،‬ﺩﺧﻠﺸﺎﻥ ﺭﺍ‬ ‫ﺑﻴﺎﻭﺭﻡ ﻳﺎ ﺯﻭﺩﺗﺮ ﺑﭽﻪ ﺭﺍ ﺭﺍﺣﺖ ﻛﻨﻢ‪ .‬ﺍﺣﺘﻤﺎﻻً ﺑﺎﻳﺪ ﻫﻤﻴﻦ ﻛﺎﺭ ﺭﺍ ﻣﻰﻛﺮﺩﻡ – ﻭﻟﻰ ﺍﺣﺘﻤﺎﻻً ﺁﻥ ﻣﻮﻗﻊ‬ ‫ﺍﻳﻦﻫﺎ ﺑﻪ ﻓﻜﺮﻡ ﻧﺮﺳﻴﺪ‪ .‬ﻓﻜﺮ ﻛﺮﺩﻥ ﻛﺎﺭ ﺳﺨﺘﻰ ﺍﺳﺖ‪.‬‬ ‫ﻭ ﻣﻰﺩﺍﻧﻴﺪ‪ ،‬ﺣﺲ ﻣﻰﻛﺮﺩﻡ ﺑﻴﻠﻰ ﺍﻭﻟﻴﻦ ﻛﺴﻰ ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﺍﻭ ﻣﻰﺭﺳﺪ ﻭ ﺑﺎﺑﺖ ﻫﻤﻴﻦ ﻭﻗﺘﻰ‬ ‫ﺑﻴﻠﻰ ﺩﺭ ﺍﺗﺎﻕ ﻇﺎﻫﺮ ﺷﺪ‪ ،‬ﺍﺻ ً‬ ‫ﻼ ﺗﻌﺠﺐ ﻧﻜﺮﺩﻡ‪ .‬ﺩﺧﺘﺮ ﭼﻨﺎﻥ ﻣﺸﻐﻮﻝ ﺟﻴﻎ ﺯﺩﻥ ﺑﻮﺩ ﻛﻪ ﺣﺘﺎ ﻣﺘﻮﺟﻪ ﺍﺯ‬ ‫ﺭﺍﻩ ﺭﺳﻴﺪﻥ ﺍﻭ ﻫﻢ ﻧﺸﺪ‪ .‬ﭘﻨﺠﺮﻩﻯ ﺍﺗﺎﻕ ﻗﺪﻯ ﻭ ﺩﻭ ﻟﻨﮕﻪ ﺑﻮﺩ ﻭ ﻫﻨﻮﺯ ﭼﻨﺪ ﻣﺘﺮﻯ ﺑﻴﻨﺸﺎﻥ ﻓﺎﺻﻠﻪ ﻭﺟﻮﺩ‬ ‫ﺩﺍﺷﺖ‪ .‬ﺑﻴﻠﻰ ﻃﻮﺭﻯ ﺟﻠﻮ ﻣﻰﺭﻓﺖ‪ ،‬ﺍﻧﮕﺎﺭ ﺗﺎ ﺁﺧﺮ ﺩﻧﻴﺎ ﻭﻗﺖ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺩﻳﺪ ﻣﻦ ﺑﺮﺍﻯ ﺷﻠﻴﻚ ﻋﺎﻟﻰ‬ ‫ﺑﻮﺩ؛ ﻣﻰﺗﻮﺍﻧﺴﺘﻢ ﺩﺭ ﺟﺎ ﺳﺮﺵ ﺭﺍ ﺑﭙﺮﺍﻧﻢ‪.‬‬ ‫ﻣﺎﺷﻪ ﺭﺍ ﻓﺸﺮﺩﻡ – ﻭ ﺑﻌﺪ ﻣﺘﻮﻗﻒ ﺷﺪﻡ‪ .‬ﻓﻘﻂ ﺩﺍﺷﺘﻢ ﺑﻪ ﺍﻳﻦ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻡ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﻭﺍﺭﺩ ﺷﺪﻥ ﺑﻴﻠﻰ‬ ‫ﺑﻪ ﺧﻴﺎﺑﺎﻥ ﺍﺻﻠﻰ‪ ،‬ﺯﻧﺪﮔﻰ ﭼﻘﺪﺭ ﺑﺮﺍﻳﻢ ﺟﺎﻟﺐﺗﺮ ﺷﺪﻩ ﻭ ﺍﻳﻦ ﻛﻪ ﺍﻭ ﭼﻘﺪﺭ ﺷﺒﻴﻪ ﭘﺴﺮﻡ ﺍﺳﺖ‪ .‬ﺷﺎﻳﺪ ﺍﻭ‬ ‫ﻫﻢ ﻳﻜﻰ ﺍﺯ ﺁﻥﻫﺎ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﺑﺎﻫﻮﺵ ﺑﻮﺩ ﻭ ﻣﻦ ﭼﻪ ﺣﻘﻰ ﺑﺮﺍﻯ ﻛﺸﺘﻦ ﺍﻭ ﺩﺍﺷﺘﻢ؟ ﻭ ﺟﺎﻳﻰ ﺩﺭ ﺳﺮﻡ‪،‬‬ ‫ﺻﺪﺍﻳﻰ ﻣﻰﮔﻔﺖ ﻛﻪ ﻧﻤﻰﺗﻮﺍﻧﻢ ﻫﻤﻪﺷﺎﻥ ﺭﺍ ﺑﺰﻧﻢ؛ ﮔﻠﻮﻟﻪﻫﺎﻳﻢ ﻛﺎﻓﻰ ﻧﻴﺴﺖ ﻭ ﺑﺎﻻﺧﺮﻩ ﺩﺳﺖ ﻳﻜﻰ‬ ‫ﺍﺯ ﺁﻥﻫﺎ ﺑﻪ ﺍﻳﻦ ﺑﭽﻪ ﻣﻰﺭﺳﺪ ﻭ ﭼﺮﺍ ﺁﻥ ﻳﻚ ﻧﻔﺮ‪ ،‬ﺑﻴﻠﻰ ﻧﺒﺎﺷﺪ؟ ﻣﻰﺩﺍﻧﻢ ﻛﻪ ﺍﺷﺘﺒﺎﻩ ﻣﻰﻛﺮﺩﻡ – ﺍﮔﺮ‬ ‫ﻭﻗﺖﻛﺸﻰ ﻣﻰﻛﺮﺩﻡ‪ ،‬ﺷﺎﻳﺪ ﺑﭽﻪ ﺳﺮ ﻋﻘﻞ ﻣﻰﺁﻣﺪ ﻭ ﺗﻮﻯ ﺍﻳﻮﺍﻥ ﻣﻰﭘﺮﻳﺪ‪.‬‬ ‫ﺗﻔﻨﮓ ﺭﺍ ﺑﻠﻨﺪ ﻛﺮﺩﻡ ﻛﻪ ﺩﻭﺑﺎﺭﻩ ﺷﻠﻴﻚ ﻛﻨﻢ‪ ،‬ﻭﻟﻰ ﺩﻳﮕﺮ ﺩﻳﺮ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺑﻴﻠﻰ ﺑﻪ ﺟﻠﻮ ﭘﺮﻳﺪ ﻭ ﺑﺎ ﺍﻧﺘﻬﺎﻯ ﺧﻮﻧﻴﻦ ﻭ ﺁﺷﻔﺘﻪﻯ ﺩﺳﺖﻫﺎﻳﺶ‪ ،‬ﺳﺮ ﺑﭽﻪ ﺭﺍ ﮔﺮﻓﺖ ﻭ ﮔﻮﻧﻪﺍﺵ ﺭﺍ‬ ‫ﺩﺭﻳﺪ‪ .‬ﺑﻌﺪ ﻫﻤﺎﻥ ﻃﻮﺭ ﺁﻥﺟﺎ ﺍﻳﺴﺘﺎﺩ؛ ﺩﻫﺎﻧﺶ ﺻﻮﺭﺕ ﺑﭽﻪ ﺭﺍ ﭘﻮﺷﺎﻧﺪﻩ ﺑﻮﺩ – ﻭ ﺍﮔﺮ ﺟﺮﻳﺎﻥ ﺧﻮﻧﻰ ﻛﻪ‬ ‫ﺭﻭﻯ ﻛﺖ ﻭ ﺷﻠﻮﺍﺭﺵ ﻣﻰﺭﻳﺨﺖ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ‪ ،‬ﺣﺲ ﻣﻰﻛﺮﺩﻯ ﺩﺍﺭﺩ ﺍﻭ ﺭﺍ ﻣﻰﺑﻮﺳﺪ‪ .‬ﺑﺎ ﺩﻭﺭﺑﻴﻦ ﺗﻜﺎﻥ‬ ‫ﺧﻮﺭﺩﻥ ﺁﺭﻭﺍﺭﻩﺍﺵ ﺭﺍ ﻣﻰﺩﻳﺪﻡ‪ .‬ﻭ ﻧﺎﮔﻬﺎﻥ‪ ،‬ﺍﻭ ﺩﻳﮕﺮ ﺷﺒﻴﻪ ﭘﺴﺮﻡ ﻧﺒﻮﺩ؛ ﺣﺎﻻ ﻓﻘﻂ ﻳﻚ ﻫﻴﻮﻻ ﺑﻮﺩ‪ .‬ﻣﺎﺷﻪ‬ ‫ﺭﺍ ﻓﺸﺮﺩﻡ – ﻭ ﺳﺮﺵ ﺗﺒﺪﻳﻞ ﺑﻪ ﺑﺨﺎﺭﻯ ﺳﺮﺥ ﺷﺪ ﻭ ﺧﻮﻥ ﺭﻭﻯ ﻫﻤﻪ ﭼﻴﺰ ﭘﺎﺷﻴﺪ‪ .‬ﻭﻗﺘﻰ ﺑﺨﺎﺭ ﻓﺮﻭ‬ ‫ﻧﺸﺴﺖ‪ ،‬ﺍﻭ ﻫﻨﻮﺯ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﺻﻮﺭﺗﺶ ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﺑﻪ ﭼﻴﺰﻯ ﻭﺻﻞ ﺑﺎﺷﺪ‪ ،‬ﻫﻨﻮﺯ ﺩﺍﺷﺖ ﺻﻮﺭﺕ‬ ‫ﺑﭽﻪ ﺭﺍ ﻣﻰﺟﻮﻳﺪ‪ .‬ﺩﻭﺑﺎﺭﻩ ﺷﻠﻴﻚ ﻛﺮﺩﻡ ﻭ ﺍﻳﻦ ﺑﺎﺭ ﻫﺮ ﺩﻭ ﺑﺎ ﻫﻢ ﺑﻪ ﺯﻣﻴﻦ ﺍﻓﺘﺎﺩﻧﺪ‪ .‬ﻣﻰﺩﺍﻧﺴﺘﻢ ﻛﻪ ﺑﭽﻪ‬ ‫ﻣﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺍﻳﻦ ﻓﻜﺮ ﺣﺎﻟﻢ ﺭﺍ ﺑﻬﺘﺮ ﻧﻤﻰﻛﺮﺩ‪.‬‬ ‫ﺑﻨﺎﺑﺮﺍﻳﻦ‪ ،‬ﺍﻳﻦ ﺁﺧﺮ ﺩﺍﺳﺘﺎﻥ ﺑﻴﻠﻰ ﺍﺳﺖ‪ .‬ﻭ ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﺁﺧﺮ ﺩﺍﺳﺘﺎﻥ ﻣﻦ ﻫﻢ ﺑﺎﺷﺪ‪ .‬ﺩﻳﺮﻭﺯ ﺍﻳﻦ ﺩﺳﺘﮕﺎﻩ‬ ‫ﺿﺒﻂ ﻗﺪﻳﻤﻰ ﺭﺍ ﭘﻴﺪﺍ ﻛﺮﺩﻡ ﻭ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺘﻢ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺑﮕﻮﻳﻢ ﻭ ﺧﻮﺩﻡ ﺭﺍ ﺗﺨﻠﻴﻪ ﻛﻨﻢ‪ .‬ﺍﺣﺘﻤﺎﻻً ﻫﻴﭻ‬ ‫ﻭﻗﺖ ﻫﻴﭻ ﻛﺲ ﺍﻳﻦ ﻧﻮﺍﺭ ﺭﺍ ﻧﺨﻮﺍﻫﺪ ﺷﻨﻴﺪ‪ .‬ﻭﻟﻰ ﺷﺎﻳﺪ ﻳﻚ ﺭﻭﺯ ﻫﻤﻪ ﭼﻴﺰ ﺗﻤﺎﻡ ﺷﻮﺩ ﻭ ﺷﺎﻳﺪ ﺑﺸﻮﺩ ﺍﺯ‬ ‫‪54‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻣﻰﻛﺮﺩ – ﺑﻪ ﻧﻈﺮ ﺗﺎﺭﻳﻜﻰ ﺍﺛﺮﻯ ﺑﺮ ﺭﻭﻯ ﺍﻭ ﻧﺪﺍﺷﺖ‪.‬‬ ‫ﺭﻭﺯ ﺑﻌﺪ ﺯﻭﺩ ﺍﺯ ﺧﻮﺍﺏ ﺑﻴﺪﺍﺭ ﺷﺪﻡ ﻭ ﺗﻤﺎﻡ ﻭﺳﺎﻳﻠﻢ ﺭﺍ ﺑﻪ ﻫﻤﺮﺍﻩ ﺍﺟﺎﻕ ﻛﻮﭼﻜﻰ ﻛﻪ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺑﻮﺩﻡ‪ ،‬ﺑﻪ‬ ‫ﺍﺗﺎﻕ ﺷﻴﺮﻭﺍﻧﻰ ﺑﺮﺩﻡ‪ .‬ﺍﻧﮕﺎﺭ ﻳﻚ ﺩﻓﻌﻪ ﺑﻴﻠﻰ ﻣﺮﻛﺰ ﺯﻧﺪﮔﻰﺍﻡ ﺷﺪﻩ ﺑﻮﺩ – ﺑﺎ ﺧﻮﺩﻡ ﻓﻜﺮ ﻛﺮﺩﻡ ﻣﻦ ﻫﻢ‬ ‫ﻣﺜﻞ ﻳﻜﻰ ﺍﺯ ﺁﻥ ﺁﺷﻐﺎﻝﻫﺎﻯ ﺑﻰﺯﺑﺎﻧﻰ ﺷﺪﻩﺍﻡ ﻛﻪ ﺗﻮﻯ ﭼﻤﻦ ﺟﻠﻮﻯ ﺧﺎﻧﻪ ﻧﺸﺴﺘﻪﺍﻧﺪ ﻭ ﺍﻭ ﺭﺍ ﺍﻧﮕﺎﺭ ﻛﻪ‬ ‫ﺳﺘﺎﺭﻩﻯ ﻧﻤﺎﻳﺶ ﺑﺎﺷﺪ‪ ،‬ﺯﻳﺮ ﻧﻈﺮ ﮔﺮﻓﺘﻪﺍﻧﺪ‪.‬‬ ‫ﺍﻣﺎ ﻭﻗﺘﻰ ﺭﻭﻯ ﻟﺒﻪﻯ ﭘﻨﺠﺮﻩﻯ ﺯﻳﺮ ﺷﻴﺮﻭﺍﻧﻰ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻢ‪ ،‬ﺩﻳﺪﻡ ﺩﻳﮕﺮ ﻛﺴﻰ ﻧﻨﺸﺴﺘﻪ ﺍﺳﺖ‪ .‬ﺣﺎﻻ‬ ‫ﺗﺒﺪﻳﻞ ﺑﻪ ﺗﻮﺩﻩﺍﻯ ﻋﻈﻴﻢ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﺑﻴﻞ ﺑﺎ ﺁﻥ ﻛﺖ ﻭ ﺷﻠﻮﺍﺭ ﺁﻥﭼﻨﺎﻧﻰﺍﺵ ﻣﺮﻛﺰ ﺣﺮﻛﺘﺸﺎﻥ ﺑﻮﺩ‬ ‫ﻭ ﺗﻚﺗﻚﺷﺎﻥ ﺩﺭ ﺗﻼﺵ ﺑﺮﺍﻯ ﭼﻨﮓ ﺍﻧﺪﺍﺧﺘﻦ ﺑﻪ ﭘﻨﺠﺮﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺣﺪﻭﺩ ﺑﻴﺴﺖ ﻧﻔﺮﺷﺎﻥ ﻩﻣﺰﻣﺎﻥ ﺑﻪ‬ ‫ﺗﺨﺘﻪﻫﺎ ﭼﻨﮓ ﻣﻰﻛﺸﻴﺪﻧﺪ ﻭ ﺑﻼﻓﺎﺻﻠﻪ ﻣﺘﻮﺟﻪ ﺷﺪﻡ ﺧﺎﻧﻮﺍﺩﻩﻯ ﺳﺎﻛﻦ ﻫﺮ ﺗﻘﻮﻳﺘﻰ ﻫﻢ ﻛﻪ ﺍﺯ ﺩﺍﺧﻞ‬ ‫ﺍﻧﺠﺎﻡ ﺩﻫﺪ‪ ،‬ﺟﻠﻮﺩﺍﺭ ﺣﺮﻛﺖ ﺁﻥﻫﺎ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ – ﻭﺯﻥ ﻭ ﺗﻼﺵ ﺁﻥ ﻫﻤﻪ ﭘﻴﻜﺮ ﺑﺎ ﻫﻢ‪ ،‬ﻗﺎﺑﻞ ﺗﻮﻗﻒ ﻧﺒﻮﺩ‪.‬‬ ‫ﻭ ﺩﻗﻴﻘﺎً‪ ،‬ﺣﺪﻭﺩ ﻳﻚ ﺩﻗﻴﻘﻪ ﺑﻌﺪ ﺍﺯ ﻧﺸﺴﺘﻦ ﻣﻦ ﺭﻭﻯ ﻟﺒﻪ‪ ،‬ﭘﻨﺠﺮﻩ ﻭﺍ ﺩﺍﺩ ﻭ ﺗﻤﺎﻣﻰ ﺗﺨﺘﻪﻫﺎ ﻭ ﭘﻴﻜﺮﻫﺎ‬ ‫ﺑﻪ ﺩﺍﺧﻞ ﺳﻘﻮﻁ ﻛﺮﺩﻧﺪ – ﻳﺎﺩﻡ ﻫﺴﺖ ﻛﻪ ﺩﺭ ﺁﻥ ﻟﺤﻈﻪ ﺑﺨﺶ ﺩﻳﻮﺍﻧﻪﺍﻯ ﺍﺯ ﻣﻐﺰﻡ ﺣﺲ ﻣﻰﻛﺮﺩ ﺑﻴﻠﻰ‬ ‫ﺑﺮﺍﻯ ﻭﺭﻭﺩ ﺑﻪ ﺧﺎﻧﻪ‪ ،‬ﻣﻨﺘﻈﺮ ﻣﻦ ﺑﻮﺩﻩ ﺍﺳﺖ؛ ﺍﻧﮕﺎﺭ ﻣﻨﺘﻈﺮ ﺑﻮﺩﻩ ﺣﺪﺍﻗﻞ ﻳﻚ ﺗﻤﺎﺷﺎﭼﻰ ﺑﺮﺍﻯ ﻛﺎﺭﺵ‬ ‫ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﻣﻦ ﻫﻴﭻ ﻛﺎﺭﻯ ﻧﻜﺮﺩﻡ‪ .‬ﻓﺎﻳﺪﻩﺍﺵ ﭼﻪ ﺑﻮﺩ؟ ﺍﮔﺮ ﻛﺴﻰ ﺩﺭﻭﻥ ﺧﺎﻧﻪ ﺑﻮﺩ‪ ،‬ﻛﻪ ﻣﻰﺩﺍﻧﺴﺘﻢ ﻫﺴﺖ‪ ،‬ﺩﺭ‬ ‫ﻟﺤﻈﻪﻯ ﻓﺮﻭ ﺭﻳﺨﺘﻦ ﺗﺨﺘﻪﻫﺎ ﻣﺮﺩﻩ ﻣﺤﺴﻮﺏ ﻣﻰﺷﺪ‪ .‬ﺣﺲ ﺧﺎﺻﻰ ﻧﺪﺍﺷﺘﻢ – ﺍﺣﺘﻤﺎﻻً ﺷﻮﻛﻪ ﺷﺪﻩ‬ ‫ﺑﻮﺩﻡ‪ .‬ﺁﻥﻫﺎ ﻫﻤﻴﻦ ﻃﻮﺭ ﺍﺯ ﭘﻨﺠﺮﻩ ﺩﺍﺧﻞ ﻣﻰﺭﻓﺘﻨﺪ ﻭ ﺑﻪ ﻳﻜﺪﻳﮕﺮ ﭼﻨﮓ ﻣﻰﺍﻧﺪﺍﺧﺘﻨﺪ ﻭ ﺩﻋﻮﺍ ﻣﻰﻛﺮﺩﻧﺪ‬ ‫ﺗﺎ ﻭﺍﺭﺩ ﺷﻮﻧﺪ؛ ﺍﻧﮕﺎﺭ ﺩﺭ ﺩﻧﻴﺎ ﻫﻴﭻ ﭼﻴﺰ ﻣﻬﻢﺗﺮ ﺍﺯ ﻭﺍﺭﺩ ﺷﺪﻥ ﺑﻪ ﺍﻳﻦ ﺧﺎﻧﻪ ﻧﺒﻮﺩ‪ .‬ﺣﺘﺎ ﻭﻗﺘﻰ ﺗﻤﺎﻡ ﺍﺗﺎﻕ‬ ‫ﭘﺮ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﺎﺯ ﻫﻢ ﻓﺸﺎﺭ ﻣﻰﺁﻭﺭﺩﻧﺪ ﻭ ﻓﻘﻂ ﭼﻨﺪ ﺗﺎﻳﻰ ﺗﻮﻯ ﺣﻴﺎﻁ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻩ ﺑﻮﺩﻧﺪ ﻛﻪ ﺁﻥﻫﺎ ﻫﻢ‬ ‫ﺗﻼﺵ ﻣﻰﻛﺮﺩﻧﺪ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺑﻪ ﺯﻭﺭ ﺩﺭ ﺍﺗﺎﻕ ﺟﺎﻯ ﺩﻫﻨﺪ‪.‬‬ ‫ﻫﻤﻪ ﺟﺎ ﺳﺎﻛﺖ ﺑﻮﺩ‪ ،‬ﺟﻮﺭ ﻏﺮﻳﺒﻰ ﺳﺎﻛﺖ ﺑﻮﺩ؛ ﻭﻟﻰ ﻭﻗﺘﻰ ﺻﺪﺍﻯ ﺟﻴﻎ ﺑﻠﻨﺪ ﺷﺪ‪ ،‬ﭼﻨﺪ ﻟﺤﻈﻪ ﻃﻮﻝ‬ ‫ﻛﺸﻴﺪ ﺗﺎ ﺁﻥ ﺭﺍ ﺩﺭ ﺫﻫﻨﻢ ﺣﺲ ﻛﻨﻢ‪ .‬ﻭ ﺑﻌﺪ ﺍﻳﻦ ﺳﺮ ﻭ ﺻﺪﺍ ﺑﻪ ﻧﻈﺮﻡ ﻏﺮﻳﺐ ﺭﺳﻴﺪ؛ ﭼﻮﻥ ﺑﻴﺶ ﺍﺯ ﺣﺪ‬ ‫ﺑﻪ ﺳﻜﻮﺕ ﻫﻤﻴﺸﮕﻰ ﻋﺎﺩﺕ ﻛﺮﺩﻩ ﺑﻮﺩﻡ‪ .‬ﻣﺠﺒﻮﺭ ﺷﺪﻡ ﺗﻔﻨﮓ ﺭﺍ ﺑﺮﺍﻯ ﻟﺤﻈﻪﺍﻯ ﺯﻣﻴﻦ ﺑﮕﺬﺍﺭﻡ ﻭ ﻧﮕﺎﻫﻰ‬ ‫ﺑﻪ ﺍﻃﺮﺍﻑ ﺑﻴﻨﺪﺍﺯﻡ ﻭ ﺑﺒﻴﻨﻢ ﺻﺪﺍﻯ ﺟﻴﻎ ﺍﺯ ﻛﺠﺎﺳﺖ‪ .‬ﺻﺪﺍ ﺍﺯ ﻃﺒﻘﻪﻯ ﺩﻭﻡ ﺑﻮﺩ؛ ﺩﺭﺳﺖ ﺳﻤﺖ ﻣﻘﺎﺑﻞ‬ ‫ﭘﻨﺠﺮﻩﺍﻯ ﻛﻪ ﺁﻥﻫﺎ ﺍﺯﺵ ﻭﺍﺭﺩ ﺷﺪﻩ ﺑﻮﺩﻧﺪ – ﻳﻚ ﺩﺧﺘﺮ ﻛﻮﭼﻚ‪ ،‬ﺍﺣﺘﻤﺎﻻً ﺩﻩ ﺩﻭﺍﺯﺩﻩ ﺳﺎﻟﻪ‪ ،‬ﺗﻮﻯ ﺍﺗﺎﻕ‬ ‫ﺑﻮﺩ‪ .‬ﻻﺑﺪ ﺑﻘﻴﻪ ﺩﺭ ﺍﺗﺎﻕ ﺣﺒﺴﺶ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﺗﺎ ﺩﺭ ﺍﻣﺎﻥ ﺑﺎﺷﺪ‪ .‬ﺣﺎﻻ ﺑﭽﻪ ﺗﺎ ﻧﻴﻤﻪ ﺍﺯ ﭘﻨﺠﺮﻩ ﺁﻭﻳﺰﺍﻥ‬ ‫ﺑﻮﺩ ﻭ ﺟﻴﻎ ﻣﻰﻛﺸﻴﺪ – ﻣﻦ ﺭﺍ ﻧﮕﺎﻩ ﻧﻤﻰﻛﺮﺩ‪ ،‬ﻓﻜﺮ ﻛﻨﻢ ﺣﺘﺎ ﻧﻤﻰﺩﺍﻧﺴﺖ ﻣﻦ ﻫﻢ ﺗﻤﺎﺷﺎﭼﻰ ﻫﺴﺘﻢ؛‬ ‫ﻧﻤﻰﺩﺍﻧﺴﺘﻢ ﺩﺍﺭﺩ ﺑﺮﺍﻯ ﺩﺭﺧﻮﺍﺳﺖ ﻛﻤﻚ ﺟﻴﻎ ﻣﻰﻛﺸﺪ ﻳﺎ ﺩﻟﻴﻠﻰ ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﺎﺭﺵ ﻧﺪﺍﺭﺩ‪ .‬ﻫﻴﭻ ﻛﺎﺭﻯ‬ ‫‪53‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻣﻰﭼﺮﺧﻴﺪ‪ .‬ﺍﻳﻦ ﻓﻜﺮ ﻳﻚ ﺟﻮﺭﻫﺎﻳﻰ ﻧﺎﺭﺍﺣﺘﻢ ﻣﻰﻛﺮﺩ‪ .‬ﺍﻟﺒﺘﻪ ﺧﺪﺍ ﻣﻰﺩﺍﻧﺪ ﻛﻪ ﺩﻟﻢ ﻧﻤﻰﺧﻮﺍﺳﺖ ﻣﻮﻓﻖ‬ ‫ﻳﺎ ﻫﻤﭽﻴﻦ ﭼﻴﺰﻯ ﺷﻮﺩ – ﺍﻣﺎ ﺩﻟﻢ ﻧﻤﻰﺧﻮﺍﺳﺖ ﺗﺴﻠﻴﻢ ﺷﺪﻧﺶ ﺭﺍ ﻫﻢ ﺑﺒﻴﻨﻢ‪ .‬ﻟﻌﻨﺖ ﺧﺪﺍ‪ ،‬ﻧﻤﻰﺩﺍﻧﻢ‪،‬‬ ‫ﺷﺎﻳﺪ ﺩﻟﻢ ﻣﻰﺧﻮﺍﺳﺖ ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﻛﺴﻰ ﺑﺸﻮﺩ؛ ﺩﻟﻢ ﻧﻤﻰﺧﻮﺍﺳﺖ ﺁﺧﺮ ﻭ ﻋﺎﻗﺒﺘﺶ ﻣﺜﻞ ﺑﻴﻠﻰ ﻣﻦ‬ ‫ﺑﺸﻮﺩ‪ .‬ﺑﻠﻪ‪ ،‬ﺧﻴﻠﻰ ﺍﺣﻤﻘﺎﻧﻪ ﺍﺳﺖ‪ ،‬ﺧﻮﺩﻡ ﻫﻢ ﻣﻰﺩﺍﻧﻢ‪ .‬ﻧﻤﻰﺩﺍﻧﻢ ﺁﻥ ﻣﻮﻗﻊ ﺗﻮﻯ ﺳﺮﻡ ﭼﻰ ﻣﻰﮔﺬﺷﺖ‬ ‫– ﻓﻘﻂ ﺣﺲ ﻣﻰﻛﺮﺩﻡ ﻛﻪ ﺣﻴﻒ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺻﺒﺢ ﺭﻭﺯ ﺑﻌﺪ ﻛﻪ ﺑﻴﺪﺍﺭ ﺷﺪﻡ‪ ،‬ﺑﻴﻠﻰ ﻫﻤﭽﻨﺎﻥ ﻣﺸﻐﻮﻝ ﺑﻮﺩ‪ .‬ﻭﻟﻰ ﻧﻪ ﺗﻨﻬﺎ ﺍﻳﻦ – ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﻛﻠﻰ‬ ‫ﺗﻤﺎﺷﺎﭼﻰ ﻫﻢ ﺩﺳﺖ ﻭ ﭘﺎ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺗﻌﺪﺍﺩ ﺯﻳﺎﺩﻯ ﺍﺯ ﺑﻘﻴﻪ –ﺷﺎﻳﺪ ﺻﺪ ﻧﻔﺮ ﻳﺎ ﺑﻴﺸﺘﺮ– ﺗﻮﻯ ﺣﻴﺎﻁ‬ ‫ﺧﺎﻧﻪ ﺟﻤﻊ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺑﻌﻀﻰﻫﺎﻳﺸﺎﻥ ﺳﺮ ﭘﺎ ﺑﻮﺩﻧﺪ‪ ،‬ﺍﻣﺎ ﺗﻌﺪﺍﺩ ﺯﻳﺎﺩﻳﺸﺎﻥ ﻧﺸﺴﺘﻪ ﺑﻮﺩﻧﺪ ﻭ ﺍﻭﺿﺎﻉ‬ ‫ﻃﻮﺭﻯ ﺑﻮﺩ ﺍﻧﮕﺎﺭ ﺍﻭ ﺑﺮﺍﻳﺸﺎﻥ ﻧﻤﺎﻳﺸﻰ ﭼﻴﺰﻯ ﺭﺍﻩ ﺍﻧﺪﺍﺧﺘﻪ ﺑﺎﺷﺪ‪ .‬ﻫﻨﻮﺯ ﻧﻤﻰﺩﺍﻧﺴﺘﻢ ﺑﻴﻠﻰ ﺩﻗﻴﻘﺎً ﻗﺼﺪ‬ ‫ﭼﻪ ﻛﺎﺭﻯ ﺩﺍﺭﺩ‪ .‬ﺧﻴﻠﻰ ﺍﻋﺼﺎﺏ ﺧﺮﺩ ﻛﻦ ﺑﻮﺩ – ﻣﮕﺮ ﺩﺍﺷﺖ ﭼﻪ ﻛﺎﺭ ﻣﻰﻛﺮﺩ ﻛﻪ ﺍﻳﻦ ﻗﺪﺭ ﺗﻤﺎﺷﺎﭼﻰ‬ ‫ﺑﺮﺍﻳﺶ ﺟﻤﻊ ﺷﺪﻩ ﺑﻮﺩ؟ ﺑﻌﺪ ﺍﺯ ﻣﺪﺗﻰ‪ ،‬ﺷﺮﻭﻉ ﺑﻪ ﮔﺸﺘﻦ ﺑﺮﺍﻯ ﻧﻘﻄﻪﺍﻯ ﻛﺮﺩﻡ ﻛﻪ ﺩﻳﺪ ﺧﻮﺑﻰ ﺑﻪ ﺁﻥ‬ ‫ﺳﻤﺖ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻭ ﻳﺎﺩ ﻧﺮﺩﺑﺎﻥ ﺍﺗﺎﻕ ﺯﻳﺮ ﺷﻴﺮﻭﺍﻧﻰ ﺍﻓﺘﺎﺩﻡ ﻭ ﺑﻪ ﻳﺎﺩ ﺁﻭﺭﺩﻡ ﻛﻪ ﻭﻗﺘﻰ ﺍﺯ ﺭﺍﻩ ﺭﺳﻴﺪﻡ‪،‬‬ ‫ﭘﻨﺠﺮﻩﻯ ﺑﺰﺭﮔﻰ ﺩﺭ ﺷﻴﺮﻭﺍﻧﻰ ﺭﻭ ﺑﻪ ﺧﻴﺎﺑﺎﻥ ﺩﻳﺪﻩ ﺑﻮﺩﻡ‪ .‬ﺍﺗﺎﻕ ﺯﻳﺮ ﺷﻴﺮﻭﺍﻧﻰ ﺭﺍ ﺗﻐﻴﻴﺮ ﻛﺎﺭﺑﺮﻯ ﺩﺍﺩﻩ‬ ‫ﺑﻮﺩﻧﺪ؛ ﻇﺎﻫﺮﺍ ً ﺍﺗﺎﻕ ﺧﻮﺍﺏ ﺑﭽﻪﺍﻯ ﺑﻮﺩ ﻛﻪ ﺑﺰﺭگ ﺷﺪﻩ ﻭ ﺭﻓﺘﻪ ﺑﻮﺩ ﻭ ﭘﺪﺭ ﻭ ﻣﺎﺩﺭﺵ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺘﻪ‬ ‫ﺑﻮﺩﻧﺪ ﺁﻥ ﺭﺍ ﺑﻪ ﻫﻤﺎﻥ ﺷﻜﻞ ﺣﻔﻆ ﻛﻨﻨﺪ‪.‬‬ ‫ﭘﻨﺠﺮﻩﻯ ﺁﻥ ﺑﺎﻻ ﺁﻥ ﻗﺪﺭ ﺑﺰﺭگ ﺑﻮﺩ ﻛﻪ ﻣﻰﺷﺪ ﻟﺒﻪﺍﺵ ﻧﺸﺴﺖ‪ .‬ﻭ ﺍﺯ ﺁﻥﺟﺎ ﻣﻰﺷﺪ ﺑﻴﻠﻰ ﺭﺍ ﺑﻪ ﺧﻮﺑﻰ‬ ‫ﺩﻳﺪ‪ .‬ﺷﻮﻛﻪ ﺷﺪﻩ ﺑﻮﺩﻡ‪ .‬ﺗﺎ ﺑﻪ ﺣﺎﻝ ﻧﺪﻳﺪﻩ ﺑﻮﺩﻡ ﻳﻜﻰ ﺍﺯ ﺁﻥﻫﺎ ﺑﺎ ﭼﻨﺎﻥ ﺍﺭﺍﺩﻩﺍﻯ ﺑﻪ ﻛﺎﺭﻯ ﻣﺸﻐﻮﻝ‬ ‫ﺷﻮﺩ – ﺍﻭ ﺩﻭﺑﺎﺭﻩ ﻭ ﺩﻭﺑﺎﺭﻩ‪ ،‬ﺑﻰﻫﻴﭻ ﺗﻮﻗﻔﻰ‪ ،‬ﺑﻪ ﺗﺨﺘﻪﻫﺎ ﭼﻨﮓ ﻣﻰﻛﺸﻴﺪ‪ .‬ﺗﻤﺎﻡ ﺍﻧﮕﺸﺘﺎﻧﺶ ﺧﻮﻥﺁﻟﻮﺩ‬ ‫ﺑﻮﺩﻧﺪ؛ ﺑﺎ ﺩﻭﺭﺑﻴﻦ ﺑﻪ ﻧﻈﺮﻡ ﺭﺳﻴﺪ ﺳﻔﻴﺪﻯ ﺍﺳﺘﺨﻮﺍﻥ ﺍﻧﮕﺸﺖﻫﺎﻳﺶ‪ ،‬ﺟﺎﻳﻰ ﻛﻪ ﺑﺎ ﻛﺸﻴﺪﻥ ﭘﻴﺎﭘﻰ ﺁﻥﻫﺎ‬ ‫ﺭﺍ ﺳﺎﺑﻴﺪﻩ ﺑﻮﺩ‪ ،‬ﻣﻰﺑﻴﻨﻢ‪ .‬ﺩﺳﺖﻫﺎﻳﺶ ﺁﺵ ﻭ ﻻﺵ ﺑﻮﺩﻧﺪ‪ ،‬ﻭﻟﻰ ﺍﻳﻦ ﻣﺴﺎﻟﻪ ﺫﺭﻩﺍﻯ ﺍﺯ ﺳﺮﻋﺘﺶ ﻛﻢ‬ ‫ﻧﻤﻰﻛﺮﺩ – ﻓﻜﺮ ﻛﻨﻢ ﺧﻮﺩﺵ ﻭﺿﻊ ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ ﺩﺭﻙ ﻧﻤﻰﻛﺮﺩ‪ .‬ﻓﻘﻂ ﺑﻪ ﺗﺨﺘﻪﻫﺎ ﭼﻨﮓ ﻣﻰﻛﺸﻴﺪ‬ ‫ﻭ ﺑﻪ ﻫﻴﭻ ﭼﻴﺰ ﺩﻳﮕﺮﻯ ﺗﻮﺟﻪ ﻧﺪﺍﺷﺖ‪ .‬ﺗﺎ ﺁﻥ ﻟﺤﻈﻪ‪ ،‬ﭼﻨﺪ ﺗﺎﻳﻰ ﺗﺨﺘﻪ ﺭﺍ ﻛﻨﺪﻩ ﺑﻮﺩ ﻛﻪ ﺭﻭﻯ ﭼﻤﻦ‬ ‫ﻛﻨﺎﺭ ﭘﺎﻳﺶ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻣﺎ ﺑﻪ ﻧﻈﺮﻡ ﺍﻳﻦﻫﺎ ﺑﻪ ﺣﺎﻟﺶ ﻓﺎﻳﺪﻩﺍﻯ ﻧﺪﺍﺷﺖ – ﺧﺎﻧﻮﺍﺩﻩ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺩﺍﺧﻞ‬ ‫ﺗﺨﺘﻪﻫﺎﻯ ﺧﻴﻠﻰ ﺧﻴﻠﻰ ﺑﻴﺸﺘﺮﻯ ﺑﻜﻮﺑﺪ‪ .‬ﻭ ﺍﮔﺮ ﺍﻭ ﻳﻚ ﺗﺨﺘﻪ ﻣﻰﻛﻨﺪ‪ ،‬ﺁﻥﻫﺎ ﭼﻨﺪ ﺗﺎ ﺗﺨﺘﻪ ﺍﺿﺎﻓﻪ‬ ‫ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺑﺎ ﺍﻳﻦ ﻛﻪ ﻛﻤﻰ ﺑﺎﻫﻮﺵﺗﺮ ﻭ ﻗﻮﻯﺗﺮ ﺍﺯ ﺑﻘﻴﻪ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺑﻪ ﭘﺎﻯ ﺍﻧﺴﺎﻥﻫﺎ ﺑﺮﺳﺪ‪.‬‬ ‫ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ‪ ،‬ﺁﻥ ﻃﻮﺭ ﻛﻪ ﺍﻭ ﺑﻰﺗﻮﻗﻒ ﺑﻪ ﻛﺎﺭﺵ ﺍﺩﺍﻣﻪ ﻣﻰﺩﺍﺩ‪ ،‬ﻧﻤﻰﺷﺪ ﭼﺸﻢ ﺍﺯ ﺗﻼﺷﺶ ﺑﺮﺩﺍﺭﻯ‪ .‬ﺑﻪ‬ ‫ﺟﺰ ﻭﻗﺖ ﻧﺎﻫﺎﺭ‪ ،‬ﺗﻤﺎﻡ ﺭﻭﺯ ﺑﻴﻠﻰ ﺭﺍ ﺯﻳﺮ ﻧﻈﺮ ﺩﺍﺷﺘﻢ ﺗﺎ ﺍﻳﻦ ﻛﻪ ﻫﻮﺍ ﺗﺎﺭﻳﻚ ﺷﺪ‪ .‬ﺁﺧﺮﻳﻦ ﺑﺎﺭﻯ ﻛﻪ ﺍﻭ‬ ‫ﺭﺍ ﺩﻳﺪﻡ‪ ،‬ﺗﺎ ﻧﻴﻤﻪﻯ ﺗﺨﺘﻪﻫﺎﻯ ﺑﻴﺮﻭﻧﻰ ﭘﻴﺶ ﺭﻓﺘﻪ ﺑﻮﺩ‪ .‬ﻭﻗﺘﻰ ﭘﺎﻳﻴﻦ ﻣﻰﺭﻓﺘﻢ‪ ،‬ﻫﻨﻮﺯ ﺩﺍﺷﺖ ﺗﻼﺵ‬ ‫‪51‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻛﻪ ﻗﺒ ً‬ ‫ﻼ ﮔﻔﺘﻢ‪ ،‬ﺧﻮﺩﺷﺎﻥ ﺩﻳﮕﺮ ﺗﻼﺷﻰ ﺑﺮﺍﻯ ﺑﺎﺯ ﻛﺮﺩﻥ ﺭﺍﻫﻰ ﺑﻪ ﺩﺍﺧﻞ ﻧﺸﺎﻥ ﻧﻤﻰﺩﺍﺩﻧﺪ‪ .‬ﻭﻟﻰ ﺍﺯ ﺍﻭﺿﺎﻉ‬ ‫ﺧﺎﻧﻮﺍﺩﻩﻯ ﺁﻥ ﻃﺮﻑ ﺧﻴﺎﺑﺎﻥ ﺧﺒﺮﻯ ﻧﺪﺍﺷﺘﻢ؛ ﻧﻤﻰﺩﺍﻧﺴﺘﻢ ﻧﻜﺎﺕ ﺍﺣﺘﻴﺎﻃﻰ ﺭﺍ ﺭﻋﺎﻳﺖ ﻣﻰﻛﻨﻨﺪ ﻳﺎ ﻧﻪ‪.‬‬ ‫ﺧﺎﻧﻪﺷﺎﻥ ﺍﺯ ﺑﻴﺮﻭﻥ ﺭﻭ ﺑﻪ ﺭﺍﻩ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ‪ .‬ﺣﺎﻻ ﺩﻳﮕﺮ ﺍﺣﻤﻘﺎﻧﻪ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ‪ ،‬ﺍﻣﺎ ﺧﻮﺩﻡ ﺩﻭﺳﺖ‬ ‫ﻧﺪﺍﺷﺘﻢ ﺗﻮﻯ ﻛﺎﺭﺷﺎﻥ ﻓﻀﻮﻟﻰ ﻛﻨﻢ‪ .‬ﻓﻘﻂ ﻣﻰﺩﺍﻧﺴﺘﻢ ﭼﻬﺎﺭ ﻧﻔﺮﻧﺪ‪ ،‬ﻳﻚ ﺯﻥ ﻭ ﺷﻮﻫﺮ ﻭ ﺩﻭ ﺑﭽﻪ‪ ،‬ﻭ ﺟﺰ‬ ‫ﺍﻳﻦ ﭼﻴﺰ ﺩﻳﮕﺮﻯ ﻧﻤﻰﺩﺍﻧﺴﺘﻢ‪ .‬ﺧﻴﺎﺑﺎﻥ ﺍﺻﻠﻰ ﺧﻴﻠﻰ ﭘﻬﻦ ﺑﻮﺩ ﻭ ﺑﺪﻭﻥ ﺩﻭﺭﺑﻴﻦ ﻧﻤﻰﺷﺪ ﭼﻴﺰ ﺯﻳﺎﺩﻯ‬ ‫ﺩﻳﺪ ﻭ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺩﻭﺭﺑﻴﻦ ﻫﻢ ﻳﻚ ﺟﻮﺭﻫﺎﻳﻰ – ﻫﻴﺰﻯ ﻭ ﭼﺸﻢﭼﺮﺍﻧﻰ ﺑﻪ ﻧﻈﺮﻡ ﻣﻰﺭﺳﻴﺪ‪ .‬ﺣﺘﺎ ﺣﺎﻻ‬ ‫ﻛﻪ ﺍﻭﺿﺎﻉ ﺍﻳﻦ ﻃﻮﺭ ﮔﻨﺪ ﺧﻮﺭﺩﻩ ﺍﺳﺖ‪ ،‬ﺑﺎﺯ ﺁﺩﻡﻫﺎ ﺣﻖ ﺩﺍﺭﻧﺪ ﺧﻠﻮﺕ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ ،‬ﻧﻪ؟‬ ‫ﺭﺍﻫﻰ ﺑﺮﺍﻯ ﺻﺤﺒﺖ ﺑﺎ ﻫﻢ ﻧﺪﺍﺷﺘﻴﻢ؛ ﺍﮔﺮ ﺗﻠﻔﻦﻫﺎ ﻛﺎﺭ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﻣﻰﺗﻮﺍﻧﺴﺘﻢ ﺷﻤﺎﺭﻩﺷﺎﻥ ﺭﺍ ﺍﺯ ﺗﻮﻯ‬ ‫ﺩﻓﺘﺮﭼﻪﻯ ﺭﺍﻫﻨﻤﺎ ﺩﺭ ﺑﻴﺎﻭﺭﻡ‪ .‬ﻳﺎ ﺷﺎﻳﺪ ﻣﻰﺗﻮﺍﻧﺴﺘﻢ ﻋﻼﻣﺘﻰ ﭼﻴﺰﻯ ﺭﺍﻩ ﺑﻴﻨﺪﺍﺯﻡ‪ ،‬ﻭﻟﻰ ﻧﻤﻰﺩﺍﻧﺴﺘﻢ‬ ‫ﺁﻥﻫﺎ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺁﻥ ﺭﺍ ﺑﺒﻴﻨﻨﺪ ﻭ ﺑﺨﻮﺍﻧﻨﺪ ﻳﺎ ﻧﻪ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ‪ ،‬ﺗﺼﻤﻴﻢ ﮔﺮﻓﺘﻢ ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﻣﻰﺷﻮﺩ‬ ‫ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﺣﺎﻝ ﺧﻮﺩﺷﺎﻥ ﺑﮕﺬﺍﺭﻡ‪.‬‬ ‫ﻇﺎﻫﺮﺍ ً ﺑﻴﻠﻰ ﺑﻪ ﺍﻳﻦ ﻧﺘﻴﺠﻪ ﺭﺳﻴﺪﻩ ﺑﻮﺩ ﻛﻪ ﺁﻥﻫﺎ ﮔﺮﻭﻩ ﺑﻬﺘﺮﻯ ﻫﺴﺘﻨﺪ؛ ﭼﻮﻥ ﺑﻌﺪ ﺍﺯ ﺭﻭﺯ ﺍﻭﻝ‪ ،‬ﺩﻳﮕﺮ‬ ‫ﻛﺎﺭﻯ ﺑﻪ ﻣﻦ ﻧﺪﺍﺷﺖ‪ .‬ﺍﻣﺎ ﻣﻦ ﺩﺭ ﻣﻘﺎﺑﻞ ﺍﻭ ﺭﺍ ﺯﻳﺮ ﻧﻈﺮ ﺩﺍﺷﺘﻢ‪ ،‬ﭼﻮﻥ ﺧﻴﻠﻰ ﺟﺎﻟﺐ ﺑﻮﺩ – ﺍﻟﺒﺘﻪ ﺩﺭ‬ ‫ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﺑﻘﻴﻪ‪ ،‬ﻭ ﭼﻮﻥ ﻫﻤﻪ ﺟﺎ‪ ،‬ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﭼﺸﻢ ﻛﺎﺭ ﻣﻰﻛﺮﺩ‪ ،‬ﻓﻘﻂ ﺑﻘﻴﻪ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻨﺪ ﻭ ﺑﺲ‪.‬‬ ‫ﻣﻮﺿﻮﻉ ﺑﺮﺍﻯ ﺁﻥﻫﺎ ﻫﻢ ﻫﻤﻴﻦ ﻃﻮﺭ ﺑﻮﺩ؛ ﭼﻮﻥ ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﺍﺯ ﺩﺳﺘﺸﺎﻥ ﺑﺮ ﻣﻰﺁﻣﺪ ﻛﻨﺠﻜﺎﻭ ﺷﺪﻩ‬ ‫ﺑﻮﺩﻧﺪ – ﺣﺘﻤﺎً ﻣﻰﺧﻮﺍﺳﺘﻨﺪ ﺑﺪﺍﻧﺪ ﺍﻳﻦ ﺗﺎﺯﻩﻭﺍﺭﺩ ﻛﻴﺴﺖ ﻛﻪ ﻳﻚ ﺟﻮﺭﻫﺎﻳﻰ ﺍﻧﮕﺎﺭ ﻣﺼﻤﻢ ﻭ ﺑﺎ ﻫﺪﻑ‬ ‫ﺭﺍﻩ ﻣﻰﺭﻭﺩ؟‬ ‫ﺩﺭ ﻧﻬﺎﻳﺖ‪ ،‬ﺑﻴﻠﻰ ﭘﺮﻭژﻩﻯ ﺧﻮﺩﺵ ﺭﺍ ﺗﻌﺮﻳﻒ ﻛﺮﺩ – ﺭﻭﺯ ﺩﻭﻡ ﺑﻌﺪ ﺍﺯ ﻭﺭﻭﺩﺵ ﺑﻪ ﺷﻬﺮ‪ ،‬ﻳﻚ ﭘﻨﺠﺮﻩﻯ‬ ‫ﻣﺸﺨﺺ ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﺩﺭ ﺳﻤﺖ ﺭﺍﺳﺖ ﺧﺎﻧﻪﻯ ﺁﻥ ﻃﺮﻑ ﺧﻴﺎﺑﺎﻥ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩ؛ ﭘﻨﺠﺮﻩ ﺩﺭﺳﺖ ﺑﻌﺪ‬ ‫ﺍﺯ ﺍﻧﺘﻬﺎﻯ ﺍﻳﻮﺍﻥ ﺧﺎﻧﻪ ﻗﺮﺍﺭ ﺩﺍﺷﺖ‪ .‬ﺣﺘﺎ ﺑﺎ ﺩﻭﺭﺑﻴﻦ ﻫﻢ ﺑﻪ ﺯﺣﻤﺖ ﻣﻰﺗﻮﺍﻧﺴﺘﻢ ﺩﺭ ﺁﻥ ﻗﺴﻤﺖ ﺑﺒﻴﻨﻤﺶ‪.‬‬ ‫ﺳﺮ ﺭﺍﻩ ﺩﻳﺪ ﻣﻦ‪ ،‬ﺍﻳﻮﺍﻥ ﻭ ﻳﻚ ﺩﺭﺧﺖ ﻏﻮﻝﭘﻴﻜﺮ ﻗﺮﺍﺭ ﺩﺍﺷﺖ ﻭ ﻓﻘﻂ ﻣﻰﺗﻮﺍﻧﺴﺘﻢ ﺗﻜﺎﻥ ﺧﻮﺭﺩﻥ ﺑﻴﻠﻰ ﺭﺍ‬ ‫ﺗﺸﺨﻴﺺ ﺩﻫﻢ ﻭ ﺑﺲ‪ .‬ﺍﻟﺒﺘﻪ ﺧﻮﺏ ﺣﺪﺱ ﻣﻰﺯﺩﻡ ﻛﻪ ﻣﺸﻐﻮﻝ ﭼﻪ ﻛﺎﺭﻯ ﺍﺳﺖ – ﺍﺣﺘﻤﺎﻻً ﺑﺎ ﺧﻮﺩﺵ‬ ‫ﺑﻪ ﺍﻳﻦ ﻧﺘﻴﺠﻪ ﺭﺳﻴﺪﻩ ﺑﻮﺩ ﻛﻪ ﺁﻥ ﭘﻨﺠﺮﻩ ﻧﻘﻄﻪﻯ ﺿﻌﻒ ﺧﺎﻧﻪ ﺍﺳﺖ ﻭ ﺍﮔﺮ ﺭﻭﻳﺶ ﻭﻗﺖ ﺑﮕﺬﺍﺭﺩ‪ ،‬ﺩﻳﺮ‬ ‫ﻳﺎ ﺯﻭﺩ ﻣﻰﺗﻮﺍﻧﺪ ﺭﺍﻫﻰ ﺑﻪ ﺩﺍﺧﻞ ﺑﺎﺯ ﻛﻨﺪ‪ .‬ﻣﻦ ﻛﻪ ﺷﺎﻧﺲ ﭼﻨﺪﺍﻧﻰ ﺑﺮﺍﻳﺶ ﻗﺎﻳﻞ ﻧﺒﻮﺩﻡ‪ .‬ﺍﻣﻜﺎﻥ ﻧﺪﺍﺷﺖ‬ ‫ﺳﺎﻛﻨﻴﻦ ﺧﺎﻧﻪ ﺻﺪﺍﻯ ﺣﺮﻛﺎﺗﺶ ﺭﺍ ﺩﺭ ﺁﻥ ﻗﺴﻤﺖ ﻧﺸﻨﻮﻧﺪ ﻭ ﺍﮔﺮ ﺣﺲ ﻣﻰﻛﺮﺩﻧﺪ ﺍﺣﺘﻤﺎﻝ ﻭﺭﻭﺩ ﻭﺟﻮﺩ‬ ‫ﺩﺍﺭﺩ‪ ،‬ﺑﺎﺑﺖ ﻫﺮ ﺗﺨﺘﻪﺍﻯ ﻛﻪ ﺑﻴﻠﻰ ﭘﺎﻳﻴﻦ ﻣﻰﺁﻭﺭﺩ‪ ،‬ﺩﻭ ﺗﺨﺘﻪ ﺍﺯ ﺩﺍﺧﻞ ﺑﻪ ﺍﺳﺘﺤﻜﺎﻣﺎﺕ ﭘﻨﺠﺮﻩ ﺍﺿﺎﻓﻪ‬ ‫ﻣﻰﻛﺮﺩﻧﺪ – ﺣﺪﺍﻗﻞ ﺍﮔﺮ ﻣﻦ ﺑﻮﺩﻡ ﻛﻪ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻣﻰﻛﺮﺩﻡ‪.‬‬ ‫ﺍﺣﺘﻤﺎﻻً ﺑﻌﺪ ﺍﺯ ﻳﻜﻰ ﺩﻭ ﺭﻭﺯ‪ ،‬ﺍﻭ ﻫﻢ ﺧﺴﺘﻪ ﻣﻰﺷﺪ ﻭ ﻣﺜﻞ ﺑﻘﻴﻪ ﺳﺮﮔﺮﺩﺍﻥ ﻭ ﻋﺎﻃﻞ ﻭ ﺑﺎﻃﻞ ﺁﻥ ﺍﻃﺮﺍﻑ‬ ‫‪50‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻛﻨﺴﺮﻭ ﻭ ﻫﻤﻪ ﺟﻮﺭ ﻭﺳﻴﻠﻪﻯ ﺩﻳﮕﺮﻯ ﭘﻴﺪﺍ ﻛﺮﺩﻡ‪ .‬ﻇﺎﻫﺮﺍ ً ﺻﺎﺣﺐﻫﺎﻯ ﻗﺒﻠﻰ ﺧﺎﻧﻪ ﻛﺎﻣ ً‬ ‫ﻼ ﺁﻣﺎﺩﻩﻯ‬ ‫ﺍﻧﺘﻈﺎﺭ ﺑﺰﺭگ ﺑﻮﺩﻩﺍﻧﺪ‪ ،‬ﻭﻟﻰ ﺑﻌﺪ ﺣﻮﺍﺱﭘﺮﺗﻰ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﻛﻪ ﺍﻟﺒﺘﻪ ﭘﻴﺶ ﻣﻰﺁﻳﺪ‪ .‬ﻛﺎﺭ ﺳﺨﺘﻰ ﺍﺳﺖ ﻛﻪ‬ ‫ﺑﺨﻮﺍﻫﻰ ﺗﻤﺎﻡ ﻣﺪﺕ ﺣﻮﺍﺳﺖ ﺭﺍ ﺟﻤﻊ ﺁﻥﻫﺎ ﻛﻨﻰ ﻭ ﻳﺎﺩ ﺭﻭﺯ ﻭ ﺭﻭﺯﮔﺎﺭ ﮔﺬﺷﺘﻪ ﻧﻴﻔﺘﻰ‪ .‬ﺳﻌﻰ ﻛﺮﺩﻡ‬ ‫ﺧﻴﻠﻰ ﺑﻪ ﻭﺳﺎﻳﻠﺸﺎﻥ ﺩﺳﺖ ﻧﺰﻧﻢ – ﭼﻮﻥ ﻛﺎﺭ ﺩﺭﺳﺘﻰ ﻧﺒﻮﺩ‪ .‬ﺗﻔﻨﮓ ﻭ ﻛﻨﺴﺮﻭﻫﺎ ﺗﻤﺎﻡ ﭼﻴﺰﻯ ﺍﺳﺖ‬ ‫ﻛﻪ ﻻﺯﻡ ﺩﺍﺷﺘﻢ‪.‬‬ ‫ﺑﺎﺯ ﺩﺍﺭﻡ ﺍﺯ ﻣﻮﺿﻮﻉ ﺩﻭﺭ ﻣﻰﺍﻓﺘﻢ – ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ ﺑﻴﻠﻰ ﺍﺳﺖ‪ ،‬ﻧﻪ ﺩﺍﺳﺘﺎﻥ ﻣﻦ‪ .‬ﻭ ﺟﺮﻳﺎﻥ ﺍﻳﻦ ﻃﻮﺭ ﺍﺳﺖ‬ ‫ﻛﻪ ﺑﻪ ﻣﺤﺾ ﻇﺎﻫﺮ ﺷﺪﻥ ﺑﻴﻠﻰ ﺩﺭ ﺧﻴﺎﺑﺎﻥ‪ ،‬ﻣﻌﻠﻮﻡ ﺑﻮﺩ ﻳﻚ ﭼﻴﺰﻯ ﺑﺎ ﻗﺒﻞ ﻓﺮﻕ ﺩﺍﺭﺩ‪ .‬ﺍﺣﺘﻤﺎﻻً ﺑﺎﻳﺪ‬ ‫ﻓﻜﺮﺵ ﺭﺍ ﻣﻰﻛﺮﺩﻡ ﻛﻪ ﺑﻴﻠﻰ ﺁﺧﺮﺵ ﺩﺭﺩﺳﺮﺳﺎﺯ ﻣﻰﺷﻮﺩ؛ ﻭﻟﻰ ﻭﻗﺘﻰ ﺗﻤﺎﻡ ﺭﻭﺯ ﻛﺎﺭﻯ ﺑﺮﺍﻯ ﺍﻧﺠﺎﻡ‬ ‫ﺩﺍﺩﻥ ﻧﺪﺍﺭﻯ ﻭ ﺭﺍﺩﻳﻮ ﻭ ﺗﻠﻮﺯﻳﻮﻥ ﻫﻢ ﻓﻘﻂ ﺑﺮﻓﻚ ﭘﺨﺶ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺣﻮﺻﻠﻪﺍﺕ ﺳﺮ ﻣﻰﺭﻭﺩ‪ .‬ﺑﺎﻳﺪ ﻫﻤﺎﻥ‬ ‫ﻣﻮﻗﻊ ﻳﻚ ﮔﻠﻮﻟﻪ ﺗﻮﻯ ﻣﻐﺰﺵ ﺧﺎﻟﻰ ﻣﻰﻛﺮﺩﻡ‪ .‬ﻣﻰﺩﺍﻧﻴﺪ‪ ،‬ﺍﻭﺍﻳﻞ ﻛﺎﺭ ﺗﻚﺗﻚ ﺁﻥﻫﺎﻳﻰ ﺭﺍ ﻛﻪ ﺟﻠﻮﻳﺖ‬ ‫ﻇﺎﻫﺮ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﺑﺎ ﺗﻴﺮ ﻣﻰﺯﻧﻰ – ﻭﻟﻰ ﺑﻌﺪ ﺍﺯ ﻣﺪﺗﻰ ﺑﻪ ﺍﻳﻦ ﻧﺘﻴﺠﻪ ﻣﻰﺭﺳﻰ ﻛﻪ ﺗﻌﺪﺍﺩ ﺁﻥﻫﺎ ﻫﻤﻴﺸﻪ‬ ‫ﺑﻴﺸﺘﺮ ﺍﺯ ﺗﻌﺪﺍﺩ ﮔﻠﻮﻟﻪﻫﺎﻳﺖ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﻫﺮ ﭼﻨﺪ ﺗﺎ ﮔﻠﻮﻟﻪ ﻫﻢ ﻛﻪ ﺧﺮﺟﺸﺎﻥ ﻛﻨﻰ‪ ،‬ﺁﻥﻫﺎ ﺑﺎﺯ ﻫﻢ‬ ‫ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﺑﻨﺎﺑﺮﺍﻳﻦ ﺷﺎﻳﺪ ﻭﻗﺘﻰ ﺗﺼﻤﻴﻢ ﮔﺮﻓﺘﻢ ﺑﻴﻠﻰ ﺭﺍ ﻧﺰﻧﻢ‪ ،‬ﻫﻤﻴﻦ ﻓﻜﺮﻫﺎ ﺩﺭ ﺳﺮﻡ ﺑﻮﺩ‪ .‬ﻳﺎ ﺷﺎﻳﺪ ﻭﻗﺘﻰ ﺗﻮﻯ‬ ‫ﺧﻴﺎﺑﺎﻥ ﺍﺻﻠﻰ ﺭﺍﻩ ﻣﻰﺭﻓﺖ‪ ،‬ﺑﻴﺶ ﺍﺯ ﺍﻧﺪﺍﺯﻩ ﻗﻴﺎﻓﻪﺍﺵ ﺷﺒﻴﻪ ﭘﺴﺮﻡ ﺑﻮﺩ‪ .‬ﻳﺎ ﺷﺎﻳﺪ ﻓﻘﻂ ﺣﻮﺻﻠﻪﺍﻡ ﺳﺮ‬ ‫ﺭﻓﺘﻪ ﺑﻮﺩ ﻭ ﺣﺎﻻ ﺗﺎﺯﻩ ﺩﺍﺷﺖ ﻳﻚ ﺍﺗﻔﺎﻗﺎﺗﻰ ﻣﻰﺍﻓﺘﺎﺩ‪ .‬ﺑﻪ ﻧﻈﺮﻡ ﺍﻳﻦ ﺩﻻﻳﻞ ﻓﺮﻕ ﭼﻨﺪﺍﻧﻰ ﻫﻢ ﺑﺎ ﻫﻢ‬ ‫ﻧﺪﺍﺭﻧﺪ‪.‬‬ ‫ﺩﺭ ﻫﺮ ﺣﺎﻝ‪ ،‬ﻛﺎﻣ ً‬ ‫ﻼ ﻣﺸﺨﺺ ﺑﻮﺩ ﻛﻪ ﺍﻳﻦ ﻳﻜﻰ ﺑﺎﻫﻮﺵﺗﺮ ﺍﺳﺖ ﻭ ﻧﻤﻰﺧﻮﺍﻫﺪ ﻭﻗﺘﺶ ﺭﺍ ﺑﻪ ﭘﺮﺳﻪ ﺯﺩﻥ‬ ‫ﻭ ﺳﺮﮔﺮﺩﺍﻧﻰ ﺑﺎ ﺑﻘﻴﻪ ﺑﮕﺬﺭﺍﻧﺪ‪ .‬ﺍﻭﻝ ﺍﺯ ﻫﻤﻪ‪ ،‬ﮔﺸﺘﻰ ﺩﻭﺭ ﺧﺎﻧﻪﻯ ﺁﻥ ﻃﺮﻑ ﺧﻴﺎﺑﺎﻥ ﺯﺩ ﻭ ﻫﺮ ﺍﺯ ﮔﺎﻫﻰ‬ ‫ﻫﻢ ﺿﺮﺑﻪﺍﻯ ﺑﻪ ﺗﺨﺘﻪﻫﺎ ﻣﻰﺯﺩ‪ ،‬ﺍﻧﮕﺎﺭ ﻛﻪ ﺑﺨﻮﺍﻫﺪ ﻗﺪﺭﺕ ﺁﻥﻫﺎ ﺭﺍ ﺗﺴﺖ ﻛﻨﺪ‪ .‬ﺑﻌﺪ‪ ،‬ﻭﻗﺘﻰ ﻛﺎﺭﺵ ﺑﺎ ﺁﻥ‬ ‫ﻃﺮﻑ ﺗﻤﺎﻡ ﺷﺪ‪ ،‬ﻫﻤﻴﻦ ﺑﺮﻧﺎﻣﻪ ﺭﺍ ﺑﺮﺍﻯ ﺧﺎﻧﻪﻯ ﻣﻦ ﭘﻴﺎﺩﻩ ﻛﺮﺩ – ﺧﻮﺏ ﺻﺪﺍﻳﺶ ﺭﺍ ﻣﻰﺷﻨﻴﺪﻡ ﻛﻪ‬ ‫ﺭﻭﻯ ﺗﺨﺘﻪﻫﺎﻯ ﭘﻨﺠﺮﻩﺍﻯ ﻛﻪ ﺍﺯ ﺁﻥ ﻭﺍﺭﺩ ﺧﺎﻧﻪ ﺷﺪﻩ ﺑﻮﺩﻡ‪ ،‬ﻧﺎﺧﻦ ﻣﻰﻛﺸﻴﺪ‪ .‬ﻭ ﺑﺎﻳﺪ ﺑﮕﻮﻳﻢ ﻛﻪ ﺣﺴﺎﺑﻰ‬ ‫ﺷﮕﻔﺖﺯﺩﻩﺍﻡ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﺁﺩﻡ ﺍﺯ ﺭﻓﺘﺎﺭ ﺍﺣﻤﻘﺎﻧﻪﻯ ﺁﻥﻫﺎ ﺧﺴﺘﻪ ﻭ ﺩﻝﺯﺩﻩ ﻣﻰﺷﻮﺩ؛ ﺍﻳﻦ ﻛﻪ ﻣﺜﻞ ﻳﻚ‬ ‫ﻣﺸﺖ ﺑﭽﻪﻯ ﺧﻨﮓ ﻭ ﺗﻨﺒﻞ ﻫﺴﺘﻨﺪ ﻭ ﺍﻳﻦ ﺧﺼﻮﺻﻴﺘﺸﺎﻥ ﺑﻌﺪ ﺍﺯ ﻣﺪﺗﻰ‪ ،‬ﺣﺎﻟﺖ ﺭﺍ ﺑﻪ ﻫﻢ ﻣﻰﺯﻧﺪ‪.‬‬ ‫ﺣﺎﻻ ﺟﺎﻟﺐ ﺑﻮﺩ ﻛﻪ ﻣﻰﺩﻳﺪﻡ ﻳﻜﻰﺷﺎﻥ ﺩﺍﺭﺩ ﻧﺒﻮﻍ ﺍﺯ ﺧﻮﺩﺵ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ؛ ﺣﺘﺎ ﺍﮔﺮ ﺍﻳﻦ ﻧﺒﻮﻍ ﻗﺮﺍﺭ‬ ‫ﺑﻮﺩ ﻣﺎﻳﻪﻯ ﺩﺭﺩﺳﺮ ﺷﻮﺩ‪.‬‬ ‫ﻧﮕﺮﺍﻥ ﺧﻮﺩﻡ ﻧﺒﻮﺩﻡ – ﻫﺮ ﺭﻭﺯ ﺻﺒﺢ ﺗﺨﺘﻪﻫﺎﻯ ﻛﻮﺑﻴﺪﻩ ﺷﺪﻩ ﺭﺍ ﭼﻚ ﻣﻰﻛﺮﺩﻡ ﻭ ﻫﺮ ﺍﺯ ﮔﺎﻫﻰ ﭼﻨﺪ‬ ‫ﺗﺎ ﺗﺨﺘﻪ ﺍﺿﺎﻓﻰ ﻫﻢ ﭼﻜﺶﻛﺎﺭﻯ ﻣﻰﻛﺮﺩﻡ ﻛﻪ ﺩﻟﻴﻠﺶ ﺑﻴﺸﺘﺮ ﺳﺮﮔﺮﻣﻰ ﺧﻮﺩﻡ ﺑﻮﺩ؛ ﭼﻮﻥ ﻫﻤﺎﻥ ﻃﻮﺭ‬ ‫‪49‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺑﻌﻀﻰﻫﺎﻳﺸﺎﻥ ﺳﺮ ﻭ ﻭﺿﻊ ﻛﺎﻣ ً‬ ‫ﻼ ﻃﺒﻴﻌﻰ ﻭ ﻣﻌﻘﻮﻟﻰ ﺩﺍﺭﻧﺪ‪ .‬ﻭﻟﻰ ﻣﺪﻝ ﺭﺍﻩ ﺭﻓﺘﻨﺸﺎﻥ‪ ،‬ﭘﺎﻫﺎﻳﺸﺎﻥ ﻛﻪ‬ ‫ﺭﻭﻯ ﺯﻣﻴﻦ ﻛﺸﻴﺪﻩ ﻣﻰﺷﻮﺩ ﻭ ﮔﺎﻡﻫﺎﻯ ﺁﻫﺴﺘﻪ‪ ،‬ﻣﺜﻞ ﺗﺎﺗﻰﺗﺎﺗﻰ ﺑﭽﻪﺍﻯ ﻧﻮﭘﺎ ﻭ ﺍﻳﻦ ﻛﻪ ﺗﻤﺎﻡ ﻣﺪﺕ‬ ‫ﺣﻮﺍﺳﺸﺎﻥ ﺑﻪ ﻗﺪﻡ ﺑﻌﺪﻯ ﺍﺳﺖ‪ ،‬ﻫﻤﻴﻦﻫﺎﺳﺖ ﻛﻪ ﺑﺎﻋﺚ ﺗﻔﺎﻭﺗﺸﺎﻥ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻟﺒﺘﻪ ﺑﻘﻴﻪ‪ ،‬ﻫﻤﺎﻥﻫﺎﻳﻰ‬ ‫ﻛﻪ ﻧﺴﻞ ﺍﻭﻝ ﺧﺪﻣﺘﺸﺎﻥ ﺭﺳﻴﺪ‪ ،‬ﺑﻌﻀﻰﻫﺎﻳﺸﺎﻥ ﺣﺴﺎﺑﻰ ﺩﺭﺏ ﻭ ﺩﺍﻏﺎﻥ ﻫﺴﺘﻨﺪ؛ ﺗﻜﻪﻫﺎﻯ ﮔﻮﺷﺘﺸﺎﻥ‬ ‫ﺁﻭﻳﺰﺍﻥ ﺍﺳﺖ ﻭ ﺯﺧﻢﻫﺎﻯ ﺑﺪﺭﻳﺨﺖ ﻭ ﺑﺰﺭﮔﻰ ﺗﻤﺎﻡ ﻫﻴﻜﻠﺸﺎﻥ ﺭﺍ ﻓﺮﺍ ﮔﺮﻓﺘﻪ ﻭ ﮔﺎﻫﻰ ﺍﻭﻗﺎﺕ ﻧﺼﻒ‬ ‫ﺻﻮﺭﺗﺸﺎﻥ ﻧﻴﺴﺖ‪ .‬ﺍﻳﻦﻫﺎ ﻣﺜﻞ ﺟﻨﺎﺯﻩﻫﺎﻳﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﻳﻚ ﺩﻓﻌﻪ ﺑﻠﻨﺪ ﺷﺪﻩ ﻭ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻩ ﺑﺎﺷﻨﺪ‪ .‬ﺑﻪ‬ ‫ﻧﻈﺮ ﻣﻦ ﺳﺮ ﻭ ﻛﻠﻪ ﺯﺩﻥ ﺑﺎ ﺍﻳﻦﻫﺎ ﺭﺍﺣﺖﺗﺮ ﺍﺳﺖ‪ ،‬ﮔﺮﭼﻪ ﺍﻳﻦ ﻃﻮﺭ ﺩﺳﺘﻪﺑﻨﺪﻯ ﻛﺮﺩﻧﺸﺎﻥ ﻣﺴﺨﺮﻩ ﻭ‬ ‫ﺍﺣﻤﻘﺎﻧﻪ ﺍﺳﺖ‪ .‬ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ‪ ،‬ﺣﺪﺍﻗﻞ ﺁﺩﻡ ﻣﻰﺩﺍﻧﺪ ﻛﺠﺎﻯ ﻛﺎﺭ ﺍﺳﺖ‪.‬‬ ‫ﺩﺭ ﻫﺮ ﺣﺎﻝ‪ ،‬ﺩﺍﺷﺘﻢ ﺩﺭ ﻣﻮﺭﺩ ﺑﻴﻠﻰ ﺣﺮﻑ ﻣﻰﺯﺩﻡ‪ .‬ﺑﻴﻠﻰ‪ ،‬ﺍﺯ ﺳﺮ ﻭ ﻭﺿﻌﺶ ﻣﻌﻠﻮﻡ ﺑﻮﺩ ﻛﻪ ﻳﻚ ﻧﺴﻞ‬ ‫ﺍﻭﻟﻰ ﺩﺭﺟﻪ ﻳﻚ ﺍﺳﺖ‪ .‬ﻧﻤﻰﺩﺍﻧﻢ ﺟﺮﻳﺎﻥ ﺯﻧﺪﮔﻰﺍﺵ ﭼﻰ ﺑﻮﺩﻩ‪ ،‬ﻭﻟﻰ ﺩﻭ ﻫﻔﺘﻪ ﭘﻴﺶ ﻛﻪ ﺳﺮ ﻭ ﻛﻠﻪﺍﺵ‬ ‫ﭘﻴﺪﺍ ﺷﺪ‪ ،‬ﻛﺖ ﻭ ﺷﻠﻮﺍﺭ ﻣﺮﺗﺒﻰ ﺗﻨﺶ ﺑﻮﺩ ﻭ ﺣﺘﺎ ﻳﻚ ﮔﻞ ﻣﻴﺨﻚ ﻫﻢ ﺑﻪ ﻳﻘﻪ ﻛﺘﺶ ﻭﺻﻞ ﺑﻮﺩ‪.‬‬ ‫ﻧﻤﻰﺩﺍﻧﻢ‪ ،‬ﺷﺎﻳﺪ ﻣﻮﻗﻊ ﺷﺮﻭﻉ ﻣﺎﺟﺮﺍ‪ ،‬ﺩﺍﺷﺘﻨﺪ ﺩﻓﻨﺶ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺁﺩﻡ ﺑﺎ ﺧﻮﺩﺵ ﻓﻜﺮ ﻣﻰﻛﻨﺪ ﺍﻃﺮﺍﻓﻴﺎﻥ‬ ‫ﭼﻪ ﺣﺎﻟﻰ ﭘﻴﺪﺍ ﻛﺮﺩﻩﺍﻧﺪ ﻭﻗﺘﻰ ﺟﻨﺎﺯﻩ ﻭﺳﻂ ﻣﺮﺍﺳﻢ ﺑﻠﻨﺪ ﺷﺪﻩ ﻭ ﻧﺸﺴﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺧﻼﺻﻪ‪ ،‬ﻭﻗﺘﻰ ﺑﺎ ﺁﻥ ﻛﺖ ﻭ ﺷﻠﻮﺍﺭ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﺍﺻﻠﻰ ﻇﺎﻫﺮ ﺷﺪ‪ ،‬ﻳﻚ ﺳﺮ ﻭ ﮔﺮﺩﻥ ﺑﺎ ﺑﻘﻴﻪ ﻓﺮﻕ ﺩﺍﺷﺖ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﺭﺍﻩ ﻛﻪ ﻧﻤﻰﺭﻓﺖ‪ ،‬ﻣﻰﺩﺍﻧﻴﺪ ﻛﻪ؛ ﺑﻪ ﻧﻈﺮ ﻣﻦ ﺑﻪ ﺍﻧﺪﺍﺯﻩﻯ ﺑﻘﻴﻪ ﻛﺞ ﻭ ﻛﻮﻟﻪ ﺭﺍﻩ ﻣﻰﺭﻓﺖ‪ .‬ﺑﺎ ﺍﻳﻦ‬ ‫ﺣﺎﻝ ﺑﺎﻫﻮﺵﺗﺮ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ – ﺣﻮﺍﺳﺶ ﺟﻤﻊﺗﺮ ﺑﻮﺩ‪ .‬ﻭ ﺑﺎ ﺁﻥ ﻛﺖ ﻭ ﺷﻠﻮﺍﺭ‪ ،‬ﻣﻦ ﺭﺍ ﻳﺎﺩ ﭘﺴﺮﻡ‬ ‫ﺗﻮﻯ ﻣﺮﺍﺳﻢ ﺧﺘﻤﺶ ﻣﻰﺍﻧﺪﺍﺧﺖ‪ .‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﺍﺳﻢ ﺑﻴﻠﻰ ﺭﺍ ﺭﻭﻳﺶ ﮔﺬﺍﺷﺘﻢ‪.‬‬ ‫ﺑﻴﻠﻰ ﺧﻴﻠﻰ ﺯﻭﺩ ﺑﺎ ﻣﺤﻴﻂ ﺧﻮ ﮔﺮﻓﺖ‪ .‬ﻫﻨﻮﺯ ﻫﻴﭽﻰ ﻧﺸﺪﻩ ﺑﻮﺩ ﻛﻪ ﻓﻬﻤﻴﺪ ﺩﻭ ﺗﺎ ﺍﺯ ﺧﺎﻧﻪﻫﺎﻯ ﺧﻴﺎﺑﺎﻥ‪،‬‬ ‫ﺁﺩﻡ ﺩﺍﺭﻧﺪ؛ ﺧﺎﻧﻪﻯ ﻣﻦ ﻭ ﺧﺎﻧﻪﻯ ﺁﻥ ﻃﺮﻑ ﺧﻴﺎﺑﺎﻥ‪ .‬ﻫﺮ ﺩﻭ ﺧﺎﻧﻮﺍﺩﻩ‪ ،‬ﺧﻮﺩﻣﺎﻥ ﺭﺍ ﺧﻮﺏ ﺗﻮﻯ ﺧﺎﻧﻪﻫﺎ‬ ‫ﻣﻬﺮ ﻭ ﻣﻮﻡ ﻛﺮﺩﻩ ﺑﻮﺩﻳﻢ‪ .‬ﺍﻟﺒﺘﻪ ﺍﻓﺘﺨﺎﺭ ﻣﻬﺮ ﻭ ﻣﻮﻡ ﻛﺮﺩﻥ ﺍﻳﻦ ﺧﺎﻧﻪ ﺑﻪ ﻣﻦ ﻧﻤﻰﺭﺳﺪ – ﻣﺎﺷﻴﻦ ﻣﻦ‬ ‫ﭼﻨﺪ ﻣﺎﻳﻠﻰ ﺍﻳﻦﺟﺎ ﺍﺯ ﻛﺎﺭ ﺍﻓﺘﺎﺩ ﻭ ﻭﻗﺘﻰ ﺍﺯ ﺭﺍﻩ ﺭﺳﻴﺪﻡ‪ ،‬ﺧﺎﻧﻪ ﺭﺍ ﺑﺎ ﻫﻤﻴﻦ ﺳﺮ ﻭ ﻭﺿﻊ ﭘﻴﺪﺍ ﻛﺮﺩﻡ‪ .‬ﭼﻨﺪ‬ ‫ﺗﺎﻳﻰﺷﺎﻥ ﺍﺯ ﺭﺍﻩ ﭘﻨﺠﺮﻩ ﺭﻓﺘﻪ ﺑﻮﺩﻧﺪ ﺗﻮ ﻭ ﭘﻨﺠﺮﻩ ﻫﻨﻮﺯ ﺑﺎﺯ ﺑﻮﺩ – ﺩﻭ ﺗﺎ ﺭﻓﺘﻪ ﺑﻮﺩﻧﺪ ﺗﻮ ﻭ ﺣﺪﺱ ﻣﻰﺯﺩﻡ‬ ‫ﺩﻭ ﺗﺎ ﻣﻮﺭﺩ ﺟﺪﻳﺪﺗﺮ‪ ،‬ﺑﺎﻳﺪ ﺻﺎﺣﺒﺎﻥ ﻗﺒﻠﻰ ﺧﺎﻧﻪ ﺑﺎﺷﻨﺪ‪ .‬ﺩﺭ ﺑﺮﺧﻮﺭﺩ ﻧﺰﺩﻳﻚ‪ ،‬ﭼﻬﺎﺭ ﻧﻬﺎﻳﺖ ﺗﻌﺪﺍﺩﻯ‬ ‫ﺍﺳﺖ ﻛﻪ ﻳﻚ ﻧﻔﺮ ﺩﺳﺖﺗﻨﻬﺎ ﺍﺯ ﭘﺴﺸﺎﻥ ﺑﺮ ﻣﻰﺁﻳﺪ – ﻭ ﺧﻮﺷﺒﺨﺘﺎﻧﻪ ﺭﻭﻟﻮﺭﻡ ﻫﻤﺮﺍﻫﻢ ﺑﻮﺩ‪ .‬ﺍﻟﺒﺘﻪ ﺷﺎﻧﺲ‬ ‫ﻫﻢ ﺁﻭﺭﺩﻡ ﻛﻪ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺁﻥﻫﺎ ﺧﺪﻣﺘﻢ ﺑﺮﺳﻨﺪ‪ ،‬ﺩﺧﻠﺸﺎﻥ ﺭﺍ ﺁﻭﺭﺩﻡ‪ .‬ﺍﺻ ً‬ ‫ﻼ ﺑﻌﻴﺪ ﻧﺒﻮﺩ ﻛﻪ ﻣﺎﺟﺮﺍ‬ ‫ﺑﺮﻋﻜﺲ ﺗﻤﺎﻡ ﺷﻮﺩ‪.‬‬ ‫ﻋﺎﻗﺒﺖ ﺟﻨﺎﺯﻩﻫﺎ ﺭﺍ ﺍﺯ ﭘﻨﺠﺮﻩ ﺑﻴﺮﻭﻥ ﺍﻧﺪﺍﺧﺘﻢ ﻭ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺑﻘﻴﻪ ﺑﻔﻬﻤﻨﺪ ﺍﻭﺿﺎﻉ ﺍﺯ ﭼﻪ ﻗﺮﺍﺭ ﺍﺳﺖ‪،‬‬ ‫ﭘﻨﺠﺮﻩ ﺭﺍ ﺩﺭﺯﮔﻴﺮﻯ ﻛﺮﺩﻡ‪ .‬ﺩﺭ ﻛﻞ‪ ،‬ﺧﻴﻠﻰ ﺷﺎﻧﺲ ﺁﻭﺭﺩﻡ – ﺍﻳﻦﺟﺎ ﻳﻚ ﺗﻔﻨﮓ ﺩﻭﺭﺑﻴﻦﺩﺍﺭ ﻭ ﻛﻠﻰ‬ ‫‪48‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺳﻨﺪﺭﻭﻡ ﺍﺳﺘﻜﻬﻠﻢ‬ ‫ﺩﻳﻮﻳﺪ ﺗﺎﻟﺮﻣﻦ‬ ‫ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

‫ﻳﻜﻰﺷﺎﻥ –ﻛﻪ ﺑﻴﻠﻰ ﺻﺪﺍﻳﺶ ﻣﻰﺯﺩﻡ‪ -‬ﻳﻚ ﺟﻮﺭﻫﺎﻳﻰ ﺑﻴﺸﺘﺮ‪ ...‬ﺑﻴﺸﺘﺮ ﭼﻰ ﺑﻮﺩ؟ ﻓﻜﺮ ﻛﻨﻢ‬ ‫ﺑﻴﺸﺘﺮ ﻫﺸﻴﺎﺭ ﺑﻮﺩ‪ .‬ﻫﻤﮕﻰﺷﺎﻥ ﻓﻘﻂ ﺑﻰﻫﺪﻑ ﭘﺮﺳﻪ ﻣﻰﺯﺩﻧﺪ‪ .‬ﮔﺎﻫﻰ ﭼﻴﺰﻯ ﺭﺍ ﺍﺯ ﺯﻣﻴﻦ ﺑﺮ‬ ‫ﻣﻰﺩﺍﺷﺘﻨﺪ ﻭ ﺑﻌﺪ ﻛﻪ ﺣﻮﺻﻠﻪﺷﺎﻥ ﺳﺮ ﻣﻰﺭﻓﺖ‪ ،‬ﺁﻥ ﺭﺍ ﺩﻭﺑﺎﺭﻩ ﺯﻣﻴﻦ ﻣﻰﮔﺬﺍﺷﺘﻨﺪ ﻭ ﭘﺮﺳﻪ‬ ‫ﻭ ﺗﻠﻮﺗﻠﻮ ﺧﻮﺭﺩﻧﺸﺎﻥ ﺭﺍ ﺍﺯ ﺳﺮ ﻣﻰﮔﺮﻓﺘﻨﺪ‪ .‬ﺻﺪﺍﻯ ﺯﻳﺎﺩﻯ ﻫﻢ ﺗﻮﻟﻴﺪ ﻧﻤﻰﻛﺮﺩﻧﺪ‪ .‬ﻓﻜﺮ ﻛﻨﻢ‬ ‫ﻣﻰﺩﺍﻧﺴﺘﻨﺪ ﻛﻪ ﺩﻭﺭ ﻭ ﺍﻃﺮﺍﻑ ﻫﻨﻮﺯ ﻫﻢ ﺍﻧﺴﺎﻥﻫﺎﻳﻰ ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ؛ ﺭﻭﺯﻫﺎﻯ ﺍﻭﻝ ﺑﻪ ﺗﺨﺘﻪﻫﺎﻯ‬ ‫ﻛﻮﺑﻴﺪﻩ ﺷﺪﻩ ﺭﻭﻯ ﭘﻨﺠﺮﻩﻫﺎ ﺩﺳﺖ ﻣﻰﻛﺸﻴﺪﻧﺪ ﻭ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺩﺭﻫﺎ ﻣﻰﺯﺩﻧﺪ‪ .‬ﻭﻟﻰ ﻧﻤﻰﺗﻮﺍﻧﻨﺪ‬ ‫ﺍﺯ ﭼﻴﺰﻯ ﺑﺎﻻ ﺑﺮﻭﻧﺪ ﻭ ﻗﺪﺭﺕ ﭼﻨﺪﺍﻧﻰ ﻫﻢ ﻧﺪﺍﺭﻧﺪ؛ ﺑﻨﺎﺑﺮﺍﻳﻦ ﺩﺭ ﻧﻬﺎﻳﺖ ﺩﺳﺖ ﺍﺯ ﺗﻼﺵ ﺑﻴﻬﻮﺩﻩ‬ ‫ﺑﺮﺩﺍﺷﺘﻨﺪ‪ .‬ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ‪ ،‬ﺣﺎﻻ ﻳﺎ ﺑﻰﻫﺪﻑ ﺍﻳﻦ ﺍﻃﺮﺍﻑ ﻣﻰﭼﺮﺧﻨﺪ ﻳﺎ ﮔﺎﻫﻰ ﺍﻭﻗﺎﺕ ﺩﺭﺍﺯﻛﺶ‬ ‫ﺭﻭﻯ ﺯﻣﻴﻦ ﺑﺎﻗﻰ ﻣﻰﻣﺎﻧﻨﺪ‪.‬‬ ‫ﻣﺴﺨﺮﻩ ﺍﺳﺖ ﻛﻪ ﭼﻄﻮﺭ ﮔﺎﻫﻰ ﺷﺒﻴﻪ ﺁﺩﻣﻴﺰﺍﺩ ﻫﺴﺘﻨﺪ ﻭ ﮔﺎﻫﻰ ﻧﻪ‪ .‬ﺍﻭﻟﻰﻫﺎ‪ ،‬ﻫﻤﺎﻥﻫﺎﻳﻰ ﻛﻪ‬ ‫ﺍﺯ ﺯﻣﻴﻦ ﻳﺎ ﻫﻤﭽﻴﻦ ﺟﺎﻳﻰ ﺑﻴﺮﻭﻥ ﺁﻣﺪﻧﺪ ﻭ ﻓﻜﺮ ﻛﻨﻢ ﺑﺎﻳﺪ ﺍﺳﻤﺸﺎﻥ ﺭﺍ ﻧﺴﻞ ﺍﻭﻝ ﮔﺬﺍﺷﺖ‪،‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺩﺧﺘﺮ ﻻﻏﺮ ﻭ ﻛﻮﭼﻚ ﺑﻮﺩ ﻭ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ ﺑﻴﺸﺘﺮ ﺍﺯ ﺷﺶ ﺳﺎﻝ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﭼﺸﻢﻫﺎﻳﺶ ﺍﻧﮕﺎﺭ‬ ‫ﻣﺒﺘﻼ ﺑﻪ ﺁﺏ ﻣﺮﻭﺍﺭﻳﺪ ﺑﻮﺩﻧﺪ‪ .‬ﭘﻮﺳﺘﺶ ﻛﻪ ﺯﻣﺎﻧﻰ ﻗﻬﻮﻩﺍﻯ ﺑﻮﺩﻩ‪ ،‬ﺧﺎﻛﺴﺘﺮﻯ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻟﻴﻮﺍﻥ ﺳﻔﻴﺪ‬ ‫ﻫﺘﻞ ﺭﺍ ﺑﻪ ﻃﺮﻓﻢ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﺁﻥ ﺭﺍ ﺑﺎ ﺍﺣﺘﻴﺎﻁ ﻧﮕﺎﻩ ﺩﺍﺷﺘﻪ ﺑﻮﺩ‪ ،‬ﻳﻚ ﺩﺳﺘﺶ ﺭﻭﻯ ﺩﺳﺘﻪ ﺑﻮﺩ ﻭ ﺩﺳﺖ‬ ‫ﺩﻳﮕﺮﺵ ﺯﻳﺮ ﻧﻌﻠﺒﻜﻰ‪ .‬ﻟﻴﻮﺍﻥ ﺗﺎ ﻧﻴﻤﻪ ﺑﺎ ﻣﺎﻳﻊ ﮔِﻠﻰ ﺭﻧﮕﻰ ﻛﻪ ﺍﺯ ﺁﻥ ﺑﺨﺎﺭ ﺑﻠﻨﺪ ﻣﻰﺷﺪ ﭘﺮ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺧﻢ ﺷﺪﻡ ﻛﻪ ﻟﻴﻮﺍﻥ ﺭﺍ ﺍﺯ ﺍﻭ ﺑﮕﻴﺮﻡ ﻭ ﻳﻚ ﻗﻠﭗ ﺍﺯ ﺁﻥ ﭼﺸﻴﺪﻡ‪ .‬ﻧﻮﺷﻴﺪﻧﻰ ﺗﻠﺨﻰ ﺑﻮﺩ ﻭ ﺑﺴﻴﺎﺭ ﮔﺮﻡ ﻭ‬ ‫ﻣﻦ ﺭﺍ ﻛﺎﻣ ً‬ ‫ﻼ ﺑﻴﺪﺍﺭ ﻛﺮﺩ‪.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﻣﺘﺸﻜﺮﻡ‪«.‬‬ ‫ﻛﺴﻰ ﺟﺎﻳﻰ ﺩﺍﺷﺖ ﻧﺎﻣﻢ ﺭﺍ ﺻﺪﺍ ﻣﻰﺯﺩ‪ .‬ﺩﺧﺘﺮ ﺻﺒﻮﺭﺍﻧﻪ ﻣﻨﺘﻈﺮ ﻣﺎﻧﺪ ﺗﺎ ﻗﻬﻮﻩ ﺭﺍ ﺗﻤﺎﻡ ﻛﻨﻢ‪ .‬ﻓﻨﺠﺎﻥ ﺭﺍ ﺭﻭﻯ‬ ‫ﺯﻣﻴﻦ ﮔﺬﺍﺷﺘﻢ ﻭ ﺑﻌﺪ ﺩﺳﺘﻢ ﺭﺍ ﺭﻭﻯ ﺷﺎﻧﻪﺍﺵ ﮔﺬﺍﺷﺘﻢ‪ .‬ﺩﺳﺘﺶ ﺭﺍ ﺩﺭﺍﺯ ﻛﺮﺩ ﻭ ﺑﺎ ﺍﻧﮕﺸﺖﻫﺎﻯ ﻛﻮﭼﻚ‬ ‫ﺧﺎﻛﺴﺘﺮﻯ ﺩﺳﺖ ﻣﻦ ﺭﺍ ﮔﺮﻓﺖ‪ .‬ﻣﻰﺩﺍﻧﺴﺖ ﺑﺎ ﺍﻭ ﻫﺴﺘﻢ‪ .‬ﺍﺯ ﺣﺎﻻ ﻫﺮ ﻛﺠﺎ ﻛﻪ ﻣﻰﺭﻓﺘﻴﻢ ﺑﺎ ﻫﻢ ﺑﻮﺩﻳﻢ‪.‬‬ ‫ﭼﻴﺰﻯ ﺭﺍ ﻛﻪ ﻛﺴﻰ ﺯﻣﺎﻧﻰ ﺑﻪ ﻣﻦ ﮔﻔﺘﻪ ﺑﻮﺩ ﺑﻪ ﺧﺎﻃﺮ ﺁﻭﺭﺩﻡ ﻭ ﺑﻪ ﺍﻭ ﮔﻔﺘﻢ‪» :‬ﻫﺮ ﺭﻭﺯ ﻳﻚ ﺭﻭﺯ ﺗﺎﺯﻩ ﺍﺳﺖ‪«.‬‬ ‫ﺣﺎﻟﺖ ﭼﻬﺮﻩﻯ ﺩﺧﺘﺮﻙ ﻗﻬﻮﻩﻓﺮﻭﺵ ﺗﻐﻴﻴﺮﻯ ﻧﻜﺮﺩ‪ ،‬ﺍﻣﺎ ﺳﺮ ﺗﻜﺎﻥ ﺩﺍﺩ‪ ،‬ﺍﻧﮕﺎﺭ ﺻﺪﺍﻯ ﻣﻦ ﺭﺍ ﺷﻨﻴﺪﻩ ﺑﻮﺩ‬ ‫ﻭ ﺿﺮﺑﻪﺍﻯ ﺑﻪ ﺑﺎﺯﻭﻳﻢ ﺯﺩ‪ .‬ﺩﺳﺘﻢ ﺭﺍ ﻣﺤﻜﻢ ﺑﺎ ﺍﻧﮕﺸﺖﻫﺎﻯ ﺳﺮﺩﺵ ﻧﮕﺎﻩ ﺩﺍﺷﺖ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ‪ ،‬ﻣﺎ ﺩﺭ ﻛﻨﺎﺭ‬ ‫ﻫﻢ ﻗﺪﻡ ﺑﻪ ﺩﺭﻭﻥ ﻣﻪ ﺻﺒﺢﮔﺎﻫﻰ ﮔﺬﺍﺷﺘﻴﻢ‪.‬‬

‫‪7. Hopewell‬‬ ‫‪8. Campbell Lakh‬‬ ‫‪9. Norwood and Streatham‬‬ ‫‪ :Eugène Henri Paul Gauguin .10‬ﻧﻘﺎﺵ ﺳﺒﻚ‬

‫‪1. Night’s Out‬‬ ‫‪2. Port.au.Prince‬‬

‫‪ :Chicory .3‬ﻧﻮﻋﻰ ﮔﻴﺎﻩ ﻛﻪ ﻣﺼﺮﻑ ﺩﺍﺭﻭﻳﻰ ﺩﺍﺭﺩ ﻭ ﺑﻪ ﻋﻨﻮﺍﻥ‬ ‫ﺟﺎﻳﮕﺰﻳﻦ ﻗﻬﻮﻩ ﺍﺯ ﺁﻥ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﺷﻮﺩ‪ ،‬ﻳﻌﻨﻰ ﺩﺭ ﻭﺍﻗﻊ ﺑﻪ ﺟﺎﻯ‬ ‫ﻗﻬﻮﻩ ﻓﺮﻭﺧﺘﻪ ﻣﻰﺷﻮﺩ‪.‬‬

‫ﭘﺴﺖﺍﻣﭙﺮﺳﻴﻮﻧﻴﺴﺘﻰ ﻓﺮﺍﻧﺴﻮﻯ‪.‬‬

‫‪4. Jackson Anderton‬‬

‫‪11. Santeria‬‬

‫‪ :Zora Neal Hurston .5‬ﺍﻧﺴﺎﻥﺷﻨﺎﺱ‪ ،‬ﻧﻮﻳﺴﻨﺪﻩ ﻭ‬ ‫ﻓﻮﻟﻜﻮﺭﻳﺴﺖ‪ .‬ﺍﺯ ﺍﻭ ﺑﻴﺶ ﺍﺯ ﭘﻨﺠﺎﻩ ﺍﺛﺮ ﻣﻨﺘﺸﺮ ﺷﺪﻩ‪ .‬ﺍﻭ ﺭﻧﮕﻴﻦ‬ ‫ﭘﻮﺳﺖ ﺑﻮﺩ‪.‬‬ ‫‪ :William Claude Dukenfield .6‬ﻛﻤﺪﻳﻦ ﻣﻌﺮﻭﻑ‬ ‫ﺁﻣﺮﻳﻜﺎﻳﻰ ﻛﻪ ﻧﻘﺶ ﻣﻌﺮﻭﻓﺶ ﺷﺨﺼﻴﺘﻰ ﺍﻟﻜﻠﻰ ﻭ ﺍﺯ ﺍﻧﺴﺎﻥ ﺑﻴﺰﺍﺭ‬ ‫ﺑﻮﺩ‪.‬‬

‫‪) :Mardi Gras .12‬ﺑﻪ ﻓﺮﺍﻧﺴﻪ ﻳﻌﻨﻰ ﺳﻪﺷﻨﺒﻪ ﭼﺎﻕ( ﻧﻮﻋﻰ ﺭﻭﺯ‬ ‫ﻋﻴﺪ ﻭ ﻓﺴﺘﻴﻮﺍﻝ ﺍﺳﺖ‪.‬‬ ‫‪ :Anne Rice .13‬ﻧﻮﻳﺴﻨﺪﻩ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺧﻮﻥﺁﺷﺎﻣﻰ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ‬ ‫»ﻣﺼﺎﺣﺒﻪ ﺑﺎ ﺧﻮﻥﺁﺷﺎﻡ«‪.‬‬ ‫‪14. Audubon Room‬‬ ‫‪15. Shanelle Gravely.King‬‬

‫‪45‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻭ ﺑﻪ ﺍﻭ ﮔﻔﺘﻨﺪ ﺑﻪ ﺍﻭ ﻧﻤﻰﻓﺮﻭﺷﻨﺪ‪ .‬ﺍﻣﺎ ﺍﮔﺮ ﺑﺮﺍﻳﺸﺎﻥ ﻛﺎﺭ ﻛﻨﺪ‪ ،‬ﻛﻤﻰ ﭘﻮﺩﺭ ﺯﺍﻣﺒﻰ ﺑﻪ ﺍﻭ ﻣﻰ ﺩﻫﻨﺪ ﻛﻪ‬ ‫ﺑﻜﺸﺪ ﻭ ﺑﻪ ﻟﺜﻪﻫﺎﻳﺶ ﺑﻤﺎﻟﺪ ﻭ ﻗﻮﺭﺕ ﺑﺪﻫﺪ‪ .‬ﺑﺮﺧﻰ ﺍﻭﻗﺎﺕ ﻫﻢ ﻛﺎﺭﻫﺎﻳﻰ ﺑﻪ ﺍﻭ ﻣﻰ ﺩﺍﺩﻧﺪ ﻛﻪ ﻫﻴﭻﻛﺲ‬ ‫ﺩﻳﮕﺮ ﺣﺎﺿﺮ ﺑﻪ ﺍﻧﺠﺎﻣﺸﺎﻥ ﻧﺒﻮﺩ‪ .‬ﺑﺮﺧﻰ ﺍﻭﻗﺎﺕ ﻓﻘﻂ ﺍﻭ ﺭﺍ ﺗﺤﻘﻴﺮ ﻣﻰﻛﺮﺩﻧﺪ‪ ،‬ﭼﻮﻥ ﻣﻰﺗﻮﺍﻧﺴﺘﻨﺪ‪،‬‬ ‫ﻣﺠﺒﻮﺭﺵ ﻣﻰﻛﺮﺩﻧﺪ ﻛﺜﺎﻓﺖ ﺳﮓ ﺭﺍ ﺍﺯ ﺗﻮﻯ ﻓﺎﺿﻼﺏ ﺑﺨﻮﺭﺩ‪ ،‬ﺑﺮﺍﻳﺸﺎﻥ ﺁﺩﻡ ﺑﻜﺸﺪ ﻭ ﻛﺎﺭﻫﺎﻳﻰ ﺍﺯ ﺍﻳﻦ‬ ‫ﺩﺳﺖ‪ .‬ﻫﺮ ﻛﺎﺭﻯ ﺑﻜﻨﺪ ﻣﮕﺮ ﻣﺮﺩﻥ‪ .‬ﭘﻮﺳﺖ ﻭ ﺍﺳﺘﺨﻮﺍﻥ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺑﺮﺍﻯ ﭘﻮﺩﺭ ﺯﺍﻣﺒﻰ ﻫﺮ ﻛﺎﺭﻯ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﻭ ﻫﻨﻮﺯ ﺩﺭ ﺑﺎﻗﻰﻣﺎﻧﺪﻩﻫﺎﻯ ﻣﻐﺰﺵ ﺧﻴﺎﻝ ﻣﻰﻛﻨﺪ ﺧﻮﺩﺵ ﺍﺳﺖ ﻭ ﺯﺍﻣﺒﻰ ﻧﺸﺪﻩ‪ .‬ﻛﻪ ﻧﻤﺮﺩﻩ ﻭ ﻳﻚ‬ ‫ﻣﺮﺯﻯ ﻫﺴﺖ ﻛﻪ ﻫﻨﻮﺯ ﺍﺯ ﺁﻥ ﻋﺒﻮﺭ ﻧﻜﺮﺩﻩ‪ .‬ﺍﻣﺎ ﺧﻴﻠﻰ ﻭﻗﺖ ﭘﻴﺶ ﺍﺯ ﺁﻥ ﻋﺒﻮﺭ ﻛﺮﺩﻩ‪«.‬‬ ‫ﺩﺳﺘﻢ ﺭﺍ ﺩﺭﺍﺯ ﻛﺮﺩﻡ ﻭ ﻟﻤﺴﺶ ﻛﺮﺩﻡ‪ .‬ﺑﺪﻧﺶ ﺑﺎﺭﻳﻚ ﻭ ﺳﻔﺖ ﻭ ﻻﻏﺮ ﺑﻮﺩ‪ ،‬ﻣﺜﻞ ﺑﺪﻥﻫﺎﻳﻰ ﺑﻮﺩ ﻛﻪ‬ ‫ﮔﻮﮔﺎﻥ ﻣﻰﻛﺸﻴﺪ‪ .‬ﺩﻫﺎﻧﺶ ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﻧﺮﻡ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ‪.‬‬ ‫ﻣﺮﺩﻡ ﺑﻪ ﻳﻚ ﺩﻟﻴﻠﻰ ﻭﺍﺭﺩ ﺯﻧﺪﮔﻰﺍﺕ ﻣﻰﺷﻮﻧﺪ‪.‬‬

‫‪4‬‬ ‫»ﺁﻥﻫﺎ ﺑﺎﻳﺪ ﺑﺪﺍﻧﻨﺪ ﻣﺎ ﭼﻪ ﻛﺴﻰ ﻫﺴﺘﻴﻢ ﻭ ﺑﺪﺍﻧﻨﺪ ﺍﻳﻦﺟﺎﻳﻴﻢ‪«.‬‬ ‫ﻭﻗﺘﻰ ﺑﻴﺪﺍﺭ ﺷﺪﻡ‪ ،‬ﻫﻨﻮﺯ ﺗﺎﺭﻳﻚ ﺑﻮﺩ ﻭ ﺍﺗﺎﻕ ﺳﺎﻛﺖ ﺑﻮﺩ‪ .‬ﭼﺮﺍﻍ ﺭﺍ ﺭﻭﺷﻦ ﻛﺮﺩﻡ ﻭ ﺭﻭﻯ ﭘﺘﻮ ﺩﻧﺒﺎﻝ ﺭﻭﺑﺎﻥ‬ ‫ﺳﻔﻴﺪ ﻳﺎ ﻗﺮﻣﺰ ﻳﺎ ﮔﻮﺷﻮﺍﺭﻩﺍﻯ ﺑﻪ ﺷﻜﻞ ﺟﻤﺠﻤﻪﻯ ﻣﻮﺵ ﮔﺸﺘﻢ‪ .‬ﺍﻣﺎ ﭼﻴﺰﻯ ﻧﺒﻮﺩ ﻛﻪ ﻧﺸﺎﻥ ﺑﺪﻫﺪ ﺗﻤﺎﻡ‬ ‫ﺷﺐ ﻛﺴﻰ ﺑﻪ ﺟﺰ ﻣﻦ ﺩﺭ ﺗﺨﺖ ﺑﻮﺩﻩ‪.‬‬ ‫ﺑﻠﻨﺪ ﺷﺪﻡ ﻭ ﭘﺮﺩﻩﻫﺎ ﺭﺍ ﻛﻨﺎﺭ ﺯﺩﻡ ﻭ ﺍﺯ ﭘﻨﺠﺮﻩ ﺑﻴﺮﻭﻥ ﺭﺍ ﻧﮕﺎﻩ ﻛﺮﺩﻡ‪ .‬ﺁﺳﻤﺎﻥ ﺩﺭ ﺷﺮﻕ ﻫﻨﻮﺯ ﺧﺎﻛﺴﺘﺮﻯ‬ ‫ﺭﻧﮓ ﺑﻮﺩ‪ .‬ﺑﻪ ﺭﻓﺘﻦ ﺑﻪ ﺳﻮﻯ ﺟﻨﻮﺏ ﻭ ﺍﺩﺍﻣﻪﺩﺍﺩﻥ ﻓﺮﺍﺭ ﻓﻜﺮ ﻛﺮﺩﻡ‪ ،‬ﺑﻪ ﺍﻳﻦ ﻛﻪ ﻫﻤﭽﻨﺎﻥ ﻭﺍﻧﻤﻮﺩ ﻛﻨﻢ‬ ‫ﻣﻦ ﺯﻧﺪﻩﺍﻡ‪ .‬ﺍﻣﺎ ﺣﺎﻻ ﻣﻰﺩﺍﻧﺴﺘﻢ ﻛﻪ ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﺎﺭ ﺑﺴﻴﺎﺭ ﺩﻳﺮ ﺷﺪﻩ‪ .‬ﺩﺭﻫﺎﻳﻰ ﻣﻴﺎﻥ ُﻣﺮﺩﻩﻫﺎ ﻭ ﺯﻧﺪﻩﻫﺎ‬ ‫ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ ﻭ ﺍﻳﻦ ﺩﺭﻫﺎ ﺍﺯ ﻫﺮ ﺩﻭ ﺟﻬﺖ ﺑﺎﺯ ﻭ ﺑﺴﺘﻪ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﻣﻦ ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﻣﻤﻜﻦ ﺑﻮﺩ ﭘﻴﺶ ﺁﻣﺪﻩ ﺑﻮﺩﻡ‪.‬‬ ‫ﻛﺴﻰ ﺑﻪ ﺩﺭ ﺯﺩ ﻭ ﺻﺪﺍﻯ ﺗﭗ ﺗﭗ ﺧﻔﻪﺍﻯ ﺩﺭ ﺍﺗﺎﻕ ﻫﺘﻞ ﭘﻴﭽﻴﺪ‪ .‬ﺷﻠﻮﺍﺭ ﻭ ﺗﻰﺷﺮﺗﻢ ﺭﺍ ﭘﻮﺷﻴﺪﻡ ﻭ ﭘﺎ‬ ‫ﺑﺮﻫﻨﻪ ﺩﺭ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩﻡ‪.‬‬ ‫ﺩﺧﺘﺮﻙ ﻗﻬﻮﻩﺍﻯ ﻣﻨﺘﻈﺮ ﻣﻦ ﺑﻮﺩ‪.‬‬ ‫ﻫﻤﻪ ﭼﻴﺰ ﺑﻴﺮﻭﻥ ﻏﺮﻕ ﺩﺭ ﻧﻮﺭ ﺑﻮﺩ؛ ﻧﻮ ِﺭ ﺩﻟﺒﺎﺯ ﻭ ﺷﮕﻔﺖﺍﻧﮕﻴ ِﺰ ﭘﻴﺶ ﺍﺯ ﺳﭙﻴﺪﻩ ﺑﻮﺩ ﻭ ﺻﺪﺍﻯ ﭘﺮﻧﺪﻩﻫﺎ‬ ‫ﺩﺭ ﻫﻮﺍﻯ ﺻﺒﺢﮔﺎﻫﻰ ﺑﻪ ﮔﻮﺵ ﻣﻰﺭﺳﻴﺪ‪ .‬ﺧﻴﺎﺑﺎﻥ ﺭﻭﻯ ﻳﻚ ﺗﭙﻪ ﺑﻮﺩ ﻭ ﺧﺎﻧﻪﻫﺎﻳﻰ ﻛﻪ ﺭﻭ ﺑﻪ ﻣﻦ ﻗﺮﺍﺭ‬ ‫ﺩﺍﺷﺘﻨﺪ‪ ،‬ﻛﻠﺒﻪﻫﺎﻳﻰ ﻛﻮﭼﻚ ﺑﻮﺩﻧﺪ‪ .‬ﻣﻪ ﻧﺰﺩﻳﻚ ﺑﻪ ﺯﻣﻴﻦ ﺑﻮﺩ ﻭ ﻣﺜﻞ ﻓﻴﻠﻢﻫﺎﻯ ﺳﻴﺎﻩ ﺳﻔﻴﺪ ﻗﺪﻳﻤﻰ‬ ‫ﺣﻠﻘﻪﺣﻠﻘﻪ ﻣﻰﺷﺪ‪ ،‬ﺍﻣﺎ ﺗﺎ ﻇﻬﺮ ﻣﻪ ﺭﻓﺘﻪ ﺑﻮﺩ‪.‬‬ ‫‪44‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺻﺤﺒﺖﻫﺎﻯ ﺭﻭﺯﻣﺮﻩ ﻧﻜﻨﻴﻢ‪ «.‬ﻭ ﺍﻭ ﺑﺎ ﻣﻦ ﻣﻮﺍﻓﻘﺖ ﻛﺮﺩ ﻭ ﮔﻔﺖ ﻓﻘﻂ ﺍﺣﻤﻖﻫﺎ ﺳﺮ ﻣﻴﺰ ﺷﺎﻡ ﺩﺭﺑﺎﺭﻩﻯ‬ ‫ﭼﻴﺰﻫﺎﻯ ﺭﻭﺯﻣﺮﻩ ﺻﺤﺒﺖ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﭘﺲ ﻣﺎ ﺩﺭﺑﺎﺭﻩﻯ ﮔﺮﻭﻩﻫﺎﻯ ﺭﺍﻙ ﻛﻪ ﺍﺟﺮﺍﻯ ﺯﻧﺪﻩ ﺍﺯ ﺁﻥﻫﺎ ﺩﻳﺪﻩ‬ ‫ﺑﻮﺩﻳﻢ‪ ،‬ﺭﻭﺵﻫﺎﻯ ﻛﺎﻫﺶ ﺳﺮﻋﺖ ﭘﻮﺳﻴﺪﻥ ﺟﺴﺪ ﺍﻧﺴﺎﻥ ﻭ ﺷﺮﻳﻚ ﺍﻭ ﻛﻪ ﺯﻧﻰ ﻣﺴﻦﺗﺮ ﺍﺯ ﺍﻭ ﻭ ﺻﺎﺣﺐ‬ ‫ﻳﻚ ﺭﺳﺘﻮﺭﺍﻥ ﺑﻮﺩ‪ ،‬ﺻﺤﺒﺖ ﻛﺮﺩﻳﻢ ﻭ ﺑﻌﺪ ﺑﻪ ﺍﺗﺎﻕ ﻣﻦ ﺭﻓﺘﻴﻢ‪ .‬ﺍﻭ ﺑﻮﻯ ﭘﻮﺩﺭ ﺑﭽﻪ ﻭ ﻳﺎﺳﻤﻦ ﻣﻰﺩﺍﺩ ﻭ‬ ‫ﭘﻮﺳﺘﺶ ﭼﺴﺒﻨﺎﻙ ﺑﻮﺩ‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﭼﻴﺰﻫﺎﻳﻰ ﻛﻪ ﺁﻧﺪﺭﺗﻮﻥ ﻧﻮﺷﺘﻪ ﺑﻮﺩ ﻓﻜﺮ ﻛﺮﺩﻡ‪ ،‬ﻫﻤﺎﻥﻫﺎ ﻛﻪ ﺑﺎ ﺩﺳﺖ ﭘﺸﺖ ﺻﻔﺤﺎﺕ ﻧﻮﺷﺘﻪ‬ ‫ﺑﻮﺩ‪ .‬ﻣﻰﺧﻮﺍﺳﺘﻢ ﺁﻥﻫﺎ ﺭﺍ ﺑﺨﻮﺍﻧﻢ‪ ،‬ﺍﻣﺎ ﺧﻮﺍﺑﻢ ﻣﻰﺁﻣﺪ‪.‬‬ ‫ﭘﺲ ﺍﺯ ﻧﻴﻤﻪﺷﺐ ﺍﺯ ﺭﻭﻳﺎﻳﻰ ﺑﻴﺪﺍﺭ ﺷﺪﻡ ﻭ ﺻﺪﺍﻯ ﺯﻧﺎﻧﻪﺍﻯ ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﻧﺠﻮﺍ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﮔﻔﺖ‪» :‬ﭘﺲ ﺑﻪ ﺷﻬﺮ ﺁﻣﺪ‪ ،‬ﺑﺎ ﻛﺎﺳﺖﻫﺎﻯ ﺩﻭﺭﺯ ﻭ ﻛﺘﺎﺏﻫﺎﻯ ﻛﺮﺍﻭﻟﻰ ﻭ ﻓﻬﺮﺳﺖ ﺩﺳﺖﻧﻮﺷﺘﻪﻯ ﺁﺩﺭﺱ‬ ‫ﻭﺏﺳﺎﻳﺖﻫﺎﻳﻰ ﺩﺭﺑﺎﺭﻩﻯ ﺟﺎﺩﻭ ﻭ ﺁﺷﻮﺏ‪ ،‬ﻫﻤﻪ ﭼﻴﺰ ﺧﻮﺏ ﭘﻴﺶ ﻣﻰﺭﻓﺖ‪ .‬ﺣﺘﺎ ﭼﻨﺪ ﺗﺎﻳﻰ ﭘﻴﺮﻭ ﭘﻴﺪﺍ‬ ‫ﻛﺮﺩ‪ ،‬ﻓﺮﺍﺭﻯﻫﺎﻳﻰ ﻣﺜﻞ ﺧﻮﺩﺵ ﺑﻮﺩﻧﺪ ﻭ ﻫﺮ ﻛﺠﺎ ﻣﻰﺷﺪ ﻋﺸﻖ ﻭ ﺣﺎﻝ ﻣﻰﻛﺮﺩ ﻭ ﺩﻧﻴﺎ ﺧﻮﺏ ﺑﻪ ﻧﻈﺮ‬ ‫ﻣﻰﺭﺳﻴﺪ‪.‬‬ ‫ﺑﻌﺪ ﺍﻭ ﻧﻮﺷﺘﻪﻫﺎﻯ ﺧﻮﺩﺵ ﺭﺍ ﺭﺍﺳﺖ ﺭﺍﺳﺘﻰ ﺑﺎﻭﺭ ﻛﺮﺩ‪ .‬ﻓﻜﺮ ﻛﺮﺩ ﺍﺻﻞ ﻣﺎﺟﺮﺍ ﺧﻮﺩ ﺍﻭﺳﺖ‪ .‬ﻛﻪ ﺍﻭ ﺷﺨﺺ‬ ‫ﺍﺻﻠﻰ ﺍﺳﺖ‪ .‬ﻓﻜﺮ ﻣﻰﻛﺮﺩ ﻳﻚ ﺑﺒﺮ ﺷﻜﺎﺭﻯ ﺑﺰﺭگ ﺍﺳﺖ‪ ،‬ﻧﻪ ﻳﻚ ﮔﺮﺑﻪﻯ ﻛﻮﭼﻚ‪ .‬ﭘﺲ ﭼﻴﺰﻯ ﺭﺍ ﺑﻴﺮﻭﻥ‬ ‫ﻛﺸﻴﺪ ﻛﻪ ﻳﻚ ﻧﻔﺮ ﺩﻳﮕﺮ ﻣﻰﺧﻮﺍﺳﺖ‪.‬‬ ‫ﻓﻜﺮ ﻛﺮﺩ ﭼﻴﺰﻯ ﻛﻪ ﺑﻴﺮﻭﻥ ﺁﻭﺭﺩﻩ ﺍﺯ ﺍﻭ ﻣﺤﺎﻓﻈﺖ ﻣﻰﻛﻨﺪ‪ .‬ﭘﺴﺮ ﺍﺣﻤﻖ‪ .‬ﻭ ﺁﻥ ﺷﺐ‪ ،‬ﺩﺭ ﻣﻴﺪﺍﻥ ﺟﻜﺴﻮﻥ‬ ‫ﻧﺸﺴﺖ ﻭ ﺑﺎ ﺗﺎﺭﻭﺕﺧﻮﺍﻥﻫﺎ ﺻﺤﺒﺖ ﻣﻰﻛﺮﺩ ﻭ ﺑﻬﺸﺎﻥ ﺩﺭﺑﺎﺭﻩﻯ ﺟﻴﻢ ﻣﻮﺭﻳﺴﻮﻥ ﻭ ﻛﺎﺑﺎﻻ ﻣﻰﮔﻔﺖ‪،‬‬ ‫ﻫﻤﺎﻥ ﻣﻮﻗﻊ ﻛﺴﻰ ﺑﻪ ﺷﺎﻧﻪﺍﺵ ﺯﺩ‪ ،‬ﺑﺮﮔﺸﺖ ﻭ ﻛﺴﻰ ﭘﻮﺩﺭﻯ ﺭﺍ ﺑﻪ ﺻﻮﺭﺗﺶ ﭘﺎﺷﻴﺪ ﻭ ﺍﻭ ﺁﻥ ﺭﺍ ﻧﻔﺲ‬ ‫ﻛﺸﻴﺪ‪.‬‬ ‫ﻧﻪ ﻫﻤﻪﺍﺵ ﺭﺍ‪ .‬ﻗﺼﺪ ﺩﺍﺷﺖ ﻳﻚ ﻛﺎﺭﻳﺶ ﺑﻜﻨﺪ‪ ،‬ﺍﻣﺎ ﻛﺎﺭﻯ ﺍﺯ ﺩﺳﺘﺶ ﺳﺎﺧﺘﻪ ﻧﺒﻮﺩ‪ ،‬ﭼﻮﻥ ﺍﻭ ﻓﻠﺞ ﺷﺪﻩ‬ ‫ﺑﻮﺩ‪ .‬ﺩﺭ ﺁﻥ ﭘﻮﺩﺭ‪ ،‬ﻣﺎﻫﻰ ﺳﻤﻰ ﻭ ﭘﻮﺳﺖ ﻗﻮﺭﺑﺎﻏﻪ ﻭ ﺍﺳﺘﺨﻮﺍﻥ ﻭ ﺧﻴﻠﻰ ﭼﻴﺰﻫﺎﻯ ﺩﻳﮕﺮ ﺑﻮﺩ‪ .‬ﻭ ﺍﻭ ﺁﻥ‬ ‫ﺭﺍ ﻧﻔﺲ ﻛﺸﻴﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺍﻭ ﺭﺍ ﺑﻪ ﺍﻭﺭژﺍﻧﺲ ﺑﺮﺩﻧﺪ‪ .‬ﺍﻣﺎ ﺩﺭ ﺍﻭﺭژﺍﻧﺲ ﻫﻢ ﻛﺎﺭ ﺯﻳﺎﺩﻯ ﺍﺯ ﺩﺳﺘﺸﺎﻥ ﺳﺎﺧﺘﻪ ﻧﺒﻮﺩ‪ ،‬ﺑﻪ ﻧﻈﺮﺷﺎﻥ ﻳﻚ‬ ‫ﻣﻮﺵ ﺧﻴﺎﺑﺎﻧﻰ ﺑﻮﺩ ﻛﻪ ﺯﻳﺎﺩﻯ ﺩﺍﺭﻭ ﻣﺼﺮﻑ ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺭﻭﺯ ﺑﻌﺪ ﻣﻰﺗﻮﺍﻧﺴﺖ ﺩﻭﺑﺎﺭﻩ ﺣﺮﻛﺖ ﻛﻨﺪ‪ .‬ﺍﻣﺎ‬ ‫ﺩﻭ ﺳﻪ ﺭﻭﺯﻯ ﻃﻮﻝ ﻛﺸﻴﺪ ﺗﺎ ﺑﺘﻮﺍﻧﺪ ﺣﺮﻑ ﺑﺰﻧﺪ‪ .‬ﻣﺸﻜﻞ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﻭ ﺑﻪ ﺁﻥ ﺍﺣﺘﻴﺎﺝ ﺩﺍﺭﺩ‪ .‬ﺁﻥ ﺭﺍ‬ ‫ﻣﻰﺧﻮﺍﻫﺪ‪ .‬ﻣﻰ ﺩﺍﻧﺪ ﺭﺍﺯﻫﺎﻯ ﺑﺰﺭﮔﻰ ﺩﺭ ﭘﻮﺩﺭ ﺯﺍﻣﺒﻰ ﻧﻬﻔﺘﻪ ﺍﺳﺖ ﻭ ﺍﻭ ﺗﻘﺮﻳﺒﺎً ﺑﻪ ﺁﻥﻫﺎ ﺩﺳﺖ ﻳﺎﻓﺘﻪ‪.‬‬ ‫ﺑﺮﺧﻰ ﻣﻰﮔﻮﻳﻨﺪ ﻫﺮﻭﻳﻴﻦ ﻳﺎ ﻳﻚ ﺁﺷﻐﺎﻟﻰ ﺍﺯ ﺁﻥ ﺩﺳﺖ ﻗﺎﻃﻰ ﺁﻥ ﭘﻮﺩﺭ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺍﻣﺎ ﺣﺘﺎ ﻧﻴﺎﺯﻯ ﺑﻪ‬ ‫ﺁﻥ ﻧﺒﻮﺩﻩ‪ .‬ﺍﻭ ﺁﻥ ﺭﺍ ﻣﻰﺧﻮﺍﻫﺪ‪.‬‬ ‫‪43‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺁﻧﺪﺭﺗﻮﻥ ﺍﺯ ﺍﻳﻦﺟﺎ ﺑﻪ ﺑﻌﺪ ﺍﺩﺍﻣﻪ ﺩﺍﺩﻩ ﺑﻮﺩ‪ ،‬ﻧﻘﻞﻗﻮﻝﻫﺎﻳﻰ ﺍﺯ ﻫﻢﻋﺼﺮﻫﺎﻯ ﻫﻮﺭﺳﺘﻮﻥ ﺁﻭﺭﺩﻩ ﺑﻮﺩ ﻭ ﭼﻨﺪ‬ ‫ﺗﻜﻪﻯ ﺩﻳﮕﺮ ﺍﺯ ﻣﺼﺎﺣﺒﻪﻫﺎﻯ ﻗﺪﻳﻤﻰ ﺑﺎ ﺩﻳﮕﺮ ﻫﺎﻳﺘﻰﻫﺎ‪ .‬ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﻣﻦ ﻣﻰﺗﻮﺍﻧﺴﺘﻢ ﻗﻀﺎﻭﺕ ﻛﻨﻢ‪،‬‬ ‫ﻧﻮﺷﺘﻪﺍﺵ ﺍﺯ ﻳﻚ ﻧﺘﻴﺠﻪﮔﻴﺮﻯ ﺑﻪ ﻧﺘﻴﺠﻪﮔﻴﺮﻯ ﺩﻳﮕﺮ ﭘﺮﻳﺪﻩ ﺑﻮﺩ‪ ،‬ﺣﺪﺱ ﻭ ﮔﻤﺎﻥﻫﺎ ﺭﺍ ﺑﻪ ﻫﻢ ﮔﺮﻩ ﺯﺩﻩ‬ ‫ﻭ ﺍﺯ ﺁﻥﻫﺎ ﺣﻘﻴﻘﺖ ﺑﺎﻓﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺩﺭ ﻧﻴﻤﻪﻫﺎﻯ ﻣﻘﺎﻟﻪ ﺑﻮﺩﻡ ﻛﻪ ﺯﻥ ﻗﺪ ﺑﻠﻨ ِﺪ ﺑﺪﻭﻥ ﺩﻭﭼﺮﺧﻪ ﺁﻣﺪ ﻭ ﺑﻪ ﻣﻦ ﺯﻝ ﺯﺩ‪ .‬ﻓﻜﺮ ﻛﺮﺩﻡ ﻣﻰﺩﺍﻧﺪ ﻣﻦ‬ ‫ﺍﻭ ﻧﻴﺴﺘﻢ‪ .‬ﻣﻰﺩﺍﻧﺪ‪ .‬ﻣﻦ ﻫﻤﻴﻦ ﻃﻮﺭ ﺑﻪ ﺧﻮﺍﻧﺪﻥ ﺍﺩﺍﻣﻪ ﺩﺍﺩﻡ‪ .‬ﭼﻪ ﻛﺎﺭ ﺩﻳﮕﺮﻯ ﺍﺯﻡ ﺳﺎﺧﺘﻪ ﺑﻮﺩ؟ ﺩﺭ ﺍﻧﺘﻬﺎ‬ ‫ﭘﺮﺳﻴﺪﻡ ﻛﺴﻰ ﺳﻮﺍﻟﻰ ﺩﺍﺭﺩ‪ .‬ﻳﻚ ﻧﻔﺮ ﺍﺯ ﻣﻦ ﺩﺭﺑﺎﺭﻩﻯ ﺗﺤﻘﻴﻘﺎﺕ ﺯﻭﺭﺍ ﻧﻴﻞ ﻫﻮﺭﺳﺘﻮﻥ ﭘﺮﺳﻴﺪ‪ .‬ﮔﻔﺘﻢ‬ ‫ﺳﻮﺍﻝ ﺑﺴﻴﺎﺭ ﺧﻮﺑﻰ ﺍﺳﺖ ﻭ ﺩﺭ ﻧﺴﺨﻪﻯ ﺗﻤﺎﻡ ﺷﺪﻩﻯ ﺍﻳﻦ ﻣﻘﺎﻟﻪ ﺑﻪ ﻃﻮﺭ ﻛﺎﻣﻞ ﺑﻪ ﺁﻥ ﭘﺮﺩﺍﺧﺘﻪﺍﻡ ﻭ‬ ‫ﺍﻳﻦ ﻣﻘﺎﻟﻪ ﻳﻚ ﺑﺨﺶ ﺑﺮﮔﺰﻳﺪﻩ ﻭ ﻭﻳﺮﺍﻳﺶ ﺷﺪﻩﻯ ﺁﻥ ﺍﺳﺖ‪.‬‬ ‫ﻳﻚ ﻧﻔﺮ ﺩﻳﮕﺮ‪ ،‬ﺯﻧﻰ ﭼﺎﻕ ﻭ ﻗﺪﻛﻮﺗﺎﻩ‪ ،‬ﺍﻳﺴﺘﺎﺩ ﻭ ﮔﻔﺖ ﺍﻣﻜﺎﻥ ﻧﺪﺍﺭﺩ ﺩﺧﺘﺮﻫﺎﻯ ﺯﺍﻣﺒﻰ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﻨﺪ‪ .‬ﺩﺍﺭﻭﻫﺎﻯ ﺯﺍﻣﺒﻰﺳﺎﺯ ﺁﺩﻡ ﺭﺍ ﺑﻰﺣﺲ ﻣﻰﻛﻨﻨﺪ ﻭ ﻧﻮﻋﻰ ﺧﻠﺴﻪﻯ ﻣﺮگ ﻣﻰﺁﻭﺭﻧﺪ‪ ،‬ﺍﻣﺎ ﻫﻨﻮﺯ‬ ‫ﻫﻢ ﺩﺭ ﺍﺳﺎﺱ ﺑﻪ ﺍﻋﺘﻘﺎﺩ ﺑﺴﺘﮕﻰ ﺩﺍﺭﻧﺪ‪ ،‬ﺑﻪ ﺍﻳﻦ ﺍﻋﺘﻘﺎﺩ ﻛﻪ ﺣﺎﻻ ﻳﻜﻰ ﺍﺯ ُﻣﺮﺩﻩﻫﺎ ﻫﺴﺘﻰ ﻭ ﺍﺭﺍﺩﻩﺍﻯ‬ ‫ﺍﺯ ﺧﻮﺩﺕ ﻧﺪﺍﺭﻯ‪ .‬ﭼﻄﻮﺭ ﻣﻰﺷﻮﺩ ﺑﻪ ﻳﻚ ﺑﭽﻪﻯ ﭼﻬﺎﺭ ﭘﻨﺞ ﺳﺎﻟﻪ ﻫﻤﭽﻮﻥ ﺩﺍﺭﻭﻳﻰ ﺩﺍﺩ؟ ﺍﻭ ﮔﻔﺖ ﻧﻪ‪،‬‬ ‫ﺩﺧﺘﺮﻫﺎﻯ ﻗﻬﻮﻩﻓﺮﻭﺵ ﻓﻘﻂ ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﺍﻓﺴﺎﻧﻪﻫﺎﻯ ﺷﻬﺮﻯ ﮔﺬﺷﺘﻪ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺑﻪ ﺷﺨﺼﻪ ﺑﺎ ﺍﻭ ﻣﻮﺍﻓﻖ ﺑﻮﺩﻡ‪ ،‬ﺍﻣﺎ ﺳﺮﻯ ﺗﻜﺎﻥ ﺩﺍﺩﻡ ﻭ ﮔﻔﺘﻢ ﺑﻪ ﻧﻜﺎﺕ ﺧﻮﺑﻰ ﺍﺷﺎﺭﻩ ﻛﺮﺩﻩ ﻭ ﺍﺯ ﺩﻳﺪ ﻣﻦ‬ ‫)ﻛﻪ ﺍﻣﻴﺪﻭﺍﺭ ﺑﻮﺩﻡ ﻳﻚ ﺩﻳﺪ ﺍﻧﺴﺎﻥﺷﻨﺎﺳﺎﻧﻪﻯ ﻫﻮﺷﻤﻨﺪ ﺑﺎﺷﺪ(‪ ،‬ﻣﻬﻢ ﻧﺒﻮﺩ ﺑﺎﻭﺭ ﻛﺮﺩﻥ ﭼﻪ ﭼﻴﺰﻯ ﺁﺳﺎﻥ‬ ‫ﺍﺳﺖ‪ ،‬ﻣﻬﻢ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺣﻘﻴﻘﺖ ﭼﻴﺴﺖ‪.‬‬ ‫ﺁﻥﻫﺎ ﻛﻒ ﺯﺩﻧﺪ ﻭ ﺑﻌﺪ ﻣﺮﺩﻯ ﺭﻳﺸﻮ ﺍﺯ ﻣﻦ ﭘﺮﺳﻴﺪ ﻛﻪ ﺁﻳﺎ ﻣﻰﺗﻮﺍﻧﺪ ﻳﻚ ﻧﺴﺨﻪ ﺍﺯ ﻣﻘﺎﻟﻪﺍﻡ ﺭﺍ ﺑﺮﺍﻯ‬ ‫ﺭﻭﺯﻧﺎﻣﻪﺍﻯ ﻛﻪ ﺩﺭ ﺁﻥ ﻛﺎﺭ ﻣﻰﻛﻨﺪ ﺑﮕﻴﺮﺩ‪ .‬ﺑﺎ ﺧﻮﺩﻡ ﻓﻜﺮ ﻛﺮﺩﻡ ﭼﻪ ﺧﻮﺏ ﺷﺪ ﺑﻪ ﻧﻴﻮﺍﻭﺭﻟﺌﺎﻥ ﺁﻣﺪﻡ‪،‬‬ ‫ﻏﻴﺎﺏ ﺁﻧﺪﺭﺗﻮﻥ ﺩﺭ ﻛﻨﻔﺮﺍﻧﺲ ﺑﺎﻋﺚ ﻧﺸﺪ ﺑﻪ ﺷﻐﻠﺶ ﻟﻄﻤﻪﺍﻯ ﻭﺍﺭﺩ ﺷﻮﺩ‪.‬‬ ‫ﺯﻥ ﭼﺎﻕ ﻛﻪ ﺭﻭﻯ ﻧﺸﺎﻧﺶ ﻧﺎﻣﺶ ﺭﺍ ﺷﺎﻧﻞ ﮔﺮﻳﻮﻟﻰ ﻛﻴﻨﮓ ]‪ [15‬ﻧﻮﺷﺘﻪ ﺑﻮﺩ‪ ،‬ﺩﻡ ﺩﺭ ﻣﻨﺘﻈﺮ ﻣﻦ ﺑﻮﺩ‪.‬‬ ‫ﮔﻔﺖ‪» :‬ﻣﻦ ﻭﺍﻗﻌﺎً ﻟﺬﺕ ﺑﺮﺩﻡ‪ ،‬ﺧﻴﺎﻝ ﻧﻜﻨﻴﺪ ﺍﻳﻦ ﻃﻮﺭ ﻧﺒﻮﺩﻩ‪«.‬‬ ‫ﻛﻤﺒﻞ ﺑﺮﺍﻯ ﺍﺭﺍﺋﻪﻯ ﺳﺨﻨﺮﺍﻧﻰﺍﺵ ﻧﻴﺎﻣﺪ‪ .‬ﻫﻴﭻﻛﺲ ﺩﻭﺑﺎﺭﻩ ﺍﻭ ﺭﺍ ﻧﺪﻳﺪ‪.‬‬ ‫ﻣﺎﺭﮔﺎﺭﺕ ﻣﻦ ﺭﺍ ﺑﻪ ﻛﺴﻰ ﺍﺯ ﻧﻴﻮﻳﻮﺭﻙ ﻣﻌﺮﻓﻰ ﻛﺮﺩ ﻭ ﮔﻔﺖ ﺯﻭﺭﺍ ﻧﻴﻞ ﻫﻮﺭﺳﺘﻮﻥ ﺭﻭﻯ ﮔﺘﺴﺒﻰ ﺑﺰﺭگ‬ ‫ﻛﺎﺭ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻣﺮﺩ ﮔﻔﺖ ﺑﻠﻪ ﺩﻳﮕﺮ‪ ،‬ﺍﻳﻦ ﺭﻭﺯﻫﺎ ﻫﻤﻪ ﺍﻳﻦ ﺭﺍ ﻣﻰﺩﺍﻧﺪ‪ .‬ﺩﺭ ﻓﻜﺮ ﺑﻮﺩﻡ ﻛﻪ ﺁﻳﺎ ﺑﻪ ﭘﻠﻴﺲ‬ ‫ﺯﻧﮓ ﺯﺩﻩ ﻳﺎ ﻧﻪ‪ ،‬ﺍﻣﺎ ﻛﺎﻣ ً‬ ‫ﻼ ﺩﻭﺳﺘﺎﻧﻪ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ‪ .‬ﺩﻳﮕﺮ ﺩﺍﺷﺖ ﺗﺮﺱ ﺑﺮﻡ ﻣﻰﺩﺍﺷﺖ‪ .‬ﻓﻜﺮ ﻛﺮﺩﻡ‬ ‫ﻛﺎﺵ ﺗﻠﻔﻨﻢ ﺭﺍ ﺩﻭﺭ ﻧﺮﻳﺨﺘﻪ ﺑﻮﺩﻡ‪.‬‬ ‫ﺷﺎﻧﻞ ﮔﺮﻳﻮﻟﻰ ﻛﻴﻨﮓ ﻭ ﻣﻦ ﻳﻚ ﺷﺎﻡ ﺯﻭﺩﺗﺮ ﺍﺯ ﻣﻮﻗﻊ ﺩﺭ ﻫﺘﻞ ﺧﻮﺭﺩﻳﻢ‪ .‬ﻫﻤﺎﻥ ﺍﺑﺘﺪﺍ ﮔﻔﺘﻢ‪» :‬ﺑﻴﺎ‬ ‫‪42‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﭼﻨﺪ ﻧﻔﺮﻯ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻧﺪ‪ .‬ﻳﻚ ﺩﺧﺘﺮ ﺟﻮﺍﻥ ﺩﺍﺷﺖ ﺩﺭ ﺭﺍﻩﺁﺏ ﺍﺳﺘﻔﺮﺍﻍ ﻣﻰﻛﺮﺩ ﻭ ﻣﺮﺩ ﺟﻮﺍﻧﻰ ﺑﺎ ﻧﮕﺮﺍﻧﻰ‬ ‫ﻛﻨﺎﺭﺵ ﺍﻳﺴﺘﺎﺩﻩ ﻭ ﻛﻴﻒ ﺩﺳﺘﻰ ﻭ ﻟﻴﻮﺍﻥ ﭘﻼﺳﺘﻴﻜﻰ ﻣﺸﺮﻭﺑﺶ ﺭﺍ ﻧﮕﺎﻩ ﺩﺍﺷﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺯﻧﻰ ﻛﻪ ﺭﻭﺑﺎﻥ ﻗﺮﻣﺰ ﺑﻪ ﻣﻮﻫﺎﻳﺶ ﺑﺴﺘﻪ ﺑﻮﺩ ﺭﻓﺘﻪ ﺑﻮﺩ‪ .‬ﻓﻜﺮ ﻛﺮﺩﻡ ﻛﺎﺵ ﻧﺎﻣﺶ ﺭﺍ ﻳﺎ ﻧﺎﻡ ﺑﺎﺭﻯ ﻛﻪ ﺍﻭ ﺭﺍ‬ ‫ﺩﺭ ﺁﻥ ﻣﻼﻗﺎﺕ ﻛﺮﺩﻩ ﺑﻮﺩﻡ ﻣﻰﺩﺍﻧﺴﺘﻢ‪.‬‬ ‫ﻗﺼﺪ ﺩﺍﺷﺘﻢ ﺁﻥ ﺷﺐ ﺍﺯ ﺁﻥ ﺷﻬﺮ ﺑﺮﻭﻡ‪ ،‬ﺍﺯ ﺗﻘﺎﻃﻊ ﺑﻪ ﺳﻤﺖ ﻫﻮﺳﺘﻮﻥ ﻭ ﺍﺯ ﺁﻥﺟﺎ ﺑﻪ ﺳﻤﺖ ﻣﻜﺰﻳﻚ‬ ‫ﻣﻰﺭﻓﺘﻢ‪ .‬ﺍﻣﺎ ﺧﺴﺘﻪ ﺑﻮﺩﻡ ﻭ ﻧﻴﻤﻪﻣﺴﺖ‪ ،‬ﭘﺲ ﺑﻪ ﺍﺗﺎﻗﻢ ﺑﺎﺯﮔﺸﺘﻢ‪ .‬ﻭﻗﺘﻰ ﺻﺒﺢ ﺷﺪ‪ ،‬ﻣﻦ ﻫﻨﻮﺯ ﺩﺭ ﻫﻤﺎﻥ‬ ‫ﻫﺘﻞ ﺑﻮﺩﻡ‪ .‬ﺗﻤﺎﻡ ﻟﺒﺎﺱﻫﺎﻳﻰ ﻛﻪ ﺩﻳﺸﺐ ﺑﺮ ﺗﻦ ﺩﺍﺷﺘﻢ ﺑﻮﻯ ﻋﻄﺮ ﻭ ﭘﻮﺳﻴﺪﮔﻰ ﻣﻰﺩﺍﺩﻧﺪ‪.‬‬ ‫ﺗﻰﺷﺮﺕ ﻭ ﺷﻠﻮﺍﺭ ﭘﻮﺷﻴﺪﻡ‪ ،‬ﺑﻪ ﻣﻐﺎﺯﻩﻯ ﺳﻮﻏﺎﺗﻰﻓﺮﻭﺷﻰ ﻫﺘﻞ ﺭﻓﺘﻢ ﻭ ﭼﻨﺪ ﺗﺎﻳﻰ ﺗﻰﺷﺮﺕ ﻭ ﺷﻠﻮﺍﺭﻙ‬ ‫ﺧﺮﻳﺪﻡ‪ .‬ﺯﻥ ﻗﺪ ﺑﻠﻨﺪ ﻛﻪ ﺩﻭﭼﺮﺧﻪ ﻧﺪﺍﺷﺖ‪ ،‬ﺁﻥﺟﺎ ﺑﻮﺩ ﻭ ﺩﺍﺷﺖ ﺧﺮﻳﺪ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﮔﻔﺖ‪» :‬ﻣﺤﻞ ﺍﺭﺍﺋﻪﻯ ﺳﺨﻨﺮﺍﻧﻰ ﺗﻮ ﺭﺍ ﺗﻐﻴﻴﺮ ﺩﺍﺩﻩﺍﻧﺪ‪ .‬ﺑﻴﺴﺖ ﺩﻗﻴﻘﻪﻯ ﺩﻳﮕﺮ ﺩﺭ ﺍﺗﺎﻕ ﺁﻭﺩﻭﺑﻮﻥ ]‪[14‬‬ ‫ﺷﺮﻭﻉ ﻣﻰﺷﻮﺩ‪ .‬ﺷﺎﻳﺪ ﺑﻬﺘﺮ ﺑﺎﺷﺪ ﺩﻧﺪﺍﻥﻫﺎﻳﺖ ﺭﺍ ﺗﻤﻴﺰ ﻛﻨﻰ‪ .‬ﺩﻭﺳﺘﺎﻥ ﻧﺰﺩﻳﻜﺖ ﺷﺎﻳﺪ ﺍﻳﻦ ﺣﺮﻑ ﺭﺍ‬ ‫ﺑﻪ ﺗﻮ ﻧﺰﻧﻨﺪ‪ ،‬ﺍﻣﺎ ﻣﻦ ﺗﻘﺮﻳﺒﺎً ﻧﻤﻰﺷﻨﺎﺳﻤﺖ ﺁﻗﺎﻯ ﺁﻧﺪﺭﺗﻮﻥ؛ ﭘﺲ ﺍﺯ ﻧﻈﺮ ﻣﻦ ﺍﺷﻜﺎﻟﻰ ﻧﺪﺍﺭﺩ ﻛﻪ ﺑﻬﺘﺎﻥ‬ ‫ﺑﮕﻮﻳﻢ‪«.‬‬ ‫ﻳﻚ ﻣﺴﻮﺍﻙ ﻭ ﺧﻤﻴﺮﺩﻧﺪﺍﻥ ﻣﺴﺎﻓﺮﺗﻰ ﺑﻪ ﭼﻴﺰﻫﺎﻳﻰ ﻛﻪ ﺧﺮﻳﺪﻩ ﺑﻮﺩﻡ ﺍﺿﺎﻓﻪ ﻛﺮﺩﻡ‪ .‬ﺍﻟﺒﺘﻪ ﺩﻭﺳﺖ‬ ‫ﻧﺪﺍﺷﺘﻢ ﻭﺳﺎﻳﻠﻢ ﺭﺍ ﺯﻳﺎﺩ ﻛﻨﻢ‪ .‬ﻓﻜﺮ ﻛﺮﺩﻡ ﺑﺎﻳﺪ ﺩﻭﺭ ﺑﺮﻳﺰﻣﺸﺎﻥ‪ .‬ﻣﻰﺧﻮﺍﺳﺘﻢ ﺷﻔﺎﻑ ﺑﺎﺷﻢ ﻭ ﻫﻴﭻ ﭼﻴﺰ‬ ‫ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﻢ‪.‬‬ ‫ﺑﻪ ﺍﺗﺎﻕ ﺑﺮﮔﺸﺘﻢ ﻭ ﺩﻧﺪﺍﻧﻢ ﺭﺍ ﺗﻤﻴﺰ ﻛﺮﺩﻡ‪ ،‬ﺗﻰﺷﺮﺕ ﻓﺴﺘﻴﻮﺍﻝ ﺟﺎﺯ ﺭﺍ ﭘﻮﺷﻴﺪﻡ‪ .‬ﺑﻌﺪ ﺍﺯ ﺁﻥﺟﺎ ﻛﻪ ﻫﻴﭻ‬ ‫ﭼﺎﺭﻩﻯ ﻧﺪﺍﺷﺘﻢ ﻭ ﺷﺎﻳﺪ ﻫﻢ ﻣﺤﻜﻮﻡ ﺑﻮﺩﻡ ﻛﻪ ﺳﺨﺮﺍﻧﻰ ﻛﻨﻢ‪ ،‬ﻣﺸﻮﺭﺕ ﻛﻨﻢ ﻭ ﭼﺮﺕ ﻭ ﭘﺮﺕ ﺑﺒﺎﻓﻢ‪،‬‬ ‫ﻳﺎ ﺷﺎﻳﺪ ﭼﻮﻥ ﻣﻄﻤﺌﻦ ﺑﻮﺩﻡ ﻛﻤﺒﻞ ﻣﻴﺎﻥ ﺣﺎﺿﺮﺍﻥ ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﻭ ﻣﻰﺧﻮﺍﺳﺘﻢ ﭘﻴﺶ ﺍﺯ ﺭﻓﺘﻦ ﺍﺯ ﺍﻭ‬ ‫ﺧﺪﺍﺣﺎﻓﻈﻰ ﻛﻨﻢ‪ ،‬ﻣﻘﺎﻟﻪ ﺭﺍ ﺑﺮﺩﺍﺷﺘﻢ ﻭ ﺑﻪ ﺍﺗﺎﻕ ﺁﺩﻭﺑﻮﻥ ﺭﻓﺘﻢ‪ .‬ﭘﻨﺠﺎﻩ ﻧﻔﺮ ﺁﻥﺟﺎ ﻣﻨﺘﻈﺮ ﺑﻮﺩﻧﺪ‪ ،‬ﺍﻣﺎ‬ ‫ﻛﻤﺒﻞ ﻣﻴﺎﻧﺸﺎﻥ ﻧﺒﻮﺩ‪.‬‬ ‫ﻧﺘﺮﺳﻴﺪﻩ ﺑﻮﺩﻡ‪ .‬ﮔﻔﺘﻢ ﺳﻼﻡ ﻭ ﺑﻪ ﺑﺎﻻﻯ ﺻﻔﺤﻪﻯ ﺍﻭﻝ ﺭﺍ ﻧﮕﺎﻩ ﻛﺮﺩﻡ‪.‬‬ ‫ﺑﺎ ﻳﻚ ﻧﻘﻞﻗﻮﻝ ﺩﻳﮕﺮ ﺍﺯ ﺯﻭﺭﺍ ﻧﻴﻞ ﻫﻮﺭﺳﺘﻮﻥ ﺷﺮﻭﻉ ﻣﻰﺷﺪ‪.‬‬ ‫»ﺍﺯ ﺯﺍﻣﺒﻰﻫﺎﻯ ﺻﺤﺒﺖ ﺷﺪﻩ ﻛﻪ ﺷﺐﻫﺎ ﺑﻴﺮﻭﻥ ﻣﻰﺁﻳﻨﺪ ﻭ ﺧﺒﻴﺚ ﻫﺴﺘﻨﺪ‪ .‬ﻫﻤﻴﻦﻃﻮﺭ ﺍﺯ ﺩﺧﺘﺮﻫﺎﻯ‬ ‫ﻛﻮﭼﻚ ﺯﺍﻣﺒﻰ ﻛﻪ ﺻﺎﺣﺒﺎﻧﺸﺎﻥ ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﭘﻴﺶ ﺍﺯ ﺳﭙﻴﺪﻩﺩﻡ ﺁﻥﻫﺎ ﺭﺍ ﺑﻴﺮﻭﻥ ﻣﻰﻓﺮﺳﺘﻨﺪ ﺗﺎ‬ ‫ﭘﺎﻛﺖﻫﺎﻯ ﻛﻮﭼﻚ ﻗﻬﻮﻩ ﺑﻔﺮﻭﺷﻨﺪ‪ .‬ﻓﺮﻳﺎﺩﻫﺎﻯ »ﻗﻬﻮﻩﻯ ﺳﺮﺥﺷﺪﻩ«ﻯ ﺁﻥﻫﺎ ﺭﺍ ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﭘﻴﺶ ﺍﺯ‬ ‫ﻃﻠﻮﻉ ﺧﻮﺭﺷﻴﺪ ﻣﻰﺷﻮﺩ ﺍﺯ ﻣﻜﺎﻥﻫﺎﻯ ﺗﺎﺭﻳﻚ ﺧﻴﺎﺑﺎﻥﻫﺎ ﺷﻨﻴﺪ ﻭ ﻓﻘﻂ ﻛﺴﻰ ﻣﻰﺗﻮﺍﻧﺪ ﺑﺒﻴﻨﺪﺷﺎﻥ ﻛﻪ‬ ‫ﺁﻥﻫﺎ ﺭﺍ ﺑﺮﺍﻯ ﺧﺮﻳﺪ ﺻﺪﺍ ﻛﻨﺪ‪ .‬ﺑﻌﺪ ُﻣﺮﺩﻩﻯ ﻛﻮﭼﻚ ﺧﻮﺩﺵ ﺭﺍ ﻣﺮﺋﻰ ﻣﻰﺳﺎﺯﺩ ﻭ ﺍﺯ ﭘﻠﻪﻫﺎ ﺑﺎﻻ ﻣﻰﺁﻳﺪ‪«.‬‬ ‫‪41‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫»ﺣﺎﻻ ﺑﮕﻮ‪«.‬‬ ‫ﺩﺭ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺟﻰ ﻟﻨﻮ ﺩﺍﺷﺖ ﺑﺎ ﺯﻥ ﻻﻏﺮ ﺑﻠﻮﻧﺪﻯ ﺻﺤﺒﺖ ﻣﻰﻛﺮﺩ ﻭ ﻣﻰﮔﻔﺖ ﺍﻳﻦ ﻓﻘﻂ ﻓﻴﻠﻢ ﻧﻴﺴﺖ‪.‬‬ ‫ﺍﻛﺸﻦ ﻓﻴﮕﻮﺭ ﺭﺍ ﺩﻳﺪﻩﺍﻯ؟ ﻳﻚ ﺍﺳﺒﺎﺏﺑﺎﺯﻯ ﻛﻮﭼﻚ ﺍﺯ ﺭﻭﻯ ﻣﻴﺰﺵ ﺑﺮﺩﺍﺷﺖ ﻭ ﻭﺍﻧﻤﻮﺩ ﻛﺮﺩ ﺩﺍﺭﺩ ﺯﻳﺮ‬ ‫ﺩﺍﻣﻨﺶ ﺭﺍ ﺑﺮﺭﺳﻰ ﻣﻰﻛﻨﺪ ﻛﻪ ﻣﻄﻤﺌﻦ ﺷﻮﺩ ﺍﺯ ﻧﻈﺮ ﺁﻧﺎﺗﻮﻣﻰ ﻛﺎﻣﻞ ﺍﺳﺖ‪ .‬ﺑﻌﺪ ﺻﺪﺍﻯ ﺧﻨﺪﻩ ﺑﻠﻨﺪ ﺷﺪ‪.‬‬ ‫ﺩﺧﺘﺮ ﺭﻭﺑﺎﻥ ﻗﺮﻣﺰ ﮔﺎﻣﺒﻮﻳﺶ ﺭﺍ ﺗﻤﺎﻡ ﻛﺮﺩ ﻭ ﻗﺎﺷﻖ ﺭﺍ ﺑﺎ ﺯﺑﺎﻧﻰ ﺳﺮﺥ ﺳﺮﺥ ﻟﻴﺴﻴﺪ ﻭ ﻛﻨﺎﺭ ﮔﺬﺍﺷﺖ‪.‬‬ ‫»ﺑﭽﻪﻫﺎﻯ ﺯﻳﺎﺩﻯ ﺑﻪ ﻧﻴﻮﺍﻭﺭﻟﺌﺎﻥ ﻣﻰﺁﻳﻨﺪ‪ .‬ﺑﺮﺧﻰ ﺍﺯ ﺁﻥﻫﺎ ﻛﺘﺎﺏﻫﺎﻯ ﺁﻥ ﺭﺍﻳﺲ ]‪ [12‬ﺭﺍ ﻣﻰﺧﻮﺍﻧﻨﺪ ﻭ‬ ‫ﻳﺎﺩ ﻣﻰﮔﻴﺮﻧﺪ ﭼﻄﻮﺭﻯ ﺧﻮﻥﺁﺷﺎﻡ ﺷﻮﻧﺪ‪ .‬ﺑﺮﺧﻰ ﺍﺯ ﺁﻥﻫﺎ ﭘﺪﺭﻣﺎﺩﺭﻫﺎﻳﻰ ﺩﺍﺭﻧﺪ ﻛﻪ ﺍﺯﺷﺎﻥ ﺳﻮﺍﺳﺘﻔﺎﺩﻩ‬ ‫ﻣﻰﻛﻨﻨﺪ‪ .‬ﺑﺮﺧﻰ ﻫﻢ ﻓﻘﻂ ﺣﻮﺻﻠﻪﺷﺎﻥ ﺳﺮ ﺭﻓﺘﻪ‪ .‬ﻣﺜﻞ ﮔﺮﺑﻪﻫﺎﻯ ﻭﻟﮕﺮﺩﻯ ﻛﻪ ﺗﻮﻯ ﺟﻮﻯ ﺯﻧﺪﮔﻰ‬ ‫ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺑﻪ ﺍﻳﻦﺟﺎ ﻣﻰﺁﻳﻨﺪ‪ .‬ﺩﺭ ﻧﻴﻮﺍﻭﺭﻟﺌﺎﻥ ﻳﻚ ﮔﺮﻭﻩ ﻛﺎﻣ ً‬ ‫ﻼ ﺟﺪﻳﺪ ﺍﺯ ﮔﺮﺑﻪﻫﺎ ﺭﺍ ﻛﺸﻒ ﻣﻰﻛﻨﻨﺪ ﻛﻪ‬ ‫ﺩﺭ ﺟﻮﻯﻫﺎ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻣﻰﺩﺍﻧﻰ ﻣﻨﻈﻮﺭﻡ ﭼﻴﺴﺖ؟«‬ ‫»ﻧﻪ‪«.‬‬ ‫ﺻﺪﺍﻯ ﺧﻨﺪﻩ ﺑﻠﻨﺪ ﺷﺪ‪ .‬ﺟﻰ ﻫﻨﻮﺯ ﺩﺍﺷﺖ ﻧﻴﺸﺨﻨﺪ ﻣﻰﺯﺩ ﻭ »ﺷﻮﻯ ﺍﻣﺸﺐ« ﺑﻪ ﻳﻚ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻣﺎﺷﻴﻦ‬ ‫ﺭﻓﺖ‪.‬‬ ‫»ﺍﻭ ﻫﻢ ﻳﻜﻰ ﺍﺯ ﺑﭽﻪﻫﺎﻯ ﺧﻴﺎﺑﺎﻧﻰ ﺑﻮﺩ‪ ،‬ﻓﻘﻂ ﺍﻳﻦ ﻛﻪ ﺷﺐﻫﺎ ﺟﺎﻳﻰ ﺑﺮﺍﻯ ﺧﻮﺍﺑﻴﺪﻥ ﺩﺍﺷﺖ‪ .‬ﺍﺯ‬ ‫ﻟﺲﺁﻧﺠﻠﺲ ﺗﺎ ﻧﻴﻮﺍﻭﺭﻟﺌﺎﻥ ﺳﻮﺍﺭﻯ ﻣﺠﺎﻧﻰ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ .‬ﻣﻰﺧﻮﺍﺳﺖ ﺗﻨﻬﺎﻳﺶ ﺑﮕﺬﺍﺭﻧﺪ ﻛﻪ ﻛﻤﻰ ﻋﻠﻒ‬ ‫ﺑﻜﺸﺪ ﻭ ﺑﻪ ﺁﻫﻨﮓﻫﺎﻯ ﺩﻭﺭﺯ ﮔﻮﺵ ﻛﻨﺪ ﻭ ﺩﺭﺑﺎﺭﻩﻯ ﺁﺷﻮﺏ ﻭ ﺟﺎﺩﻭ ﻣﻄﺎﻟﻌﻪ ﻛﻨﺪ ﻭ ﻛﻞ ﻛﺎﺭﻫﺎﻯ‬ ‫ﺁﻟﻴﺴﺘﺮ ﻛﺮﺍﻭﻟﻰ ﺭﺍ ﺑﺨﻮﺍﻧﺪ‪ .‬ﮔﺎﻫﻰ ﻫﻢ ﻋﺸﻖ ﻭ ﺣﺎﻝ ﻣﻰﻛﺮﺩ‪ .‬ﺑﺮﺍﻳﺶ ﻣﻬﻢ ﻧﺒﻮﺩ ﺑﺎ ﭼﻪ ﻛﺴﻰ ﺑﺎﺷﺪ‪،‬‬ ‫ﭼﺸﻢﻫﺎﻯ ﺭﻭﺷﻦ ﻭ ﻣﻮﻫﺎﻯ ﭘﺮﭘﺸﺖ‪«.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﻫﻰ‪ ،‬ﺍﻭ ﻛﻤﺒﻞ ﺑﻮﺩ‪ .‬ﺍﺯ ﺁﻥﺟﺎ ﮔﺬﺷﺖ‪ .‬ﺁﻥ ﺑﻴﺮﻭﻥ‪«.‬‬ ‫»ﻛﻤﺒﻞ؟«‬ ‫»ﺩﻭﺳﺘﻢ‪«.‬‬ ‫ﺑﺎ ﻟﺒﺨﻨﺪﻯ ﺑﺮ ﻟﺐ ﮔﻔﺖ‪» :‬ﻫﻤﺎﻥ ﺗﻮﻟﻴﺪ ﻛﻨﻨﺪﻩﻯ ﺁﻫﻨﮓ؟« ﺑﺎ ﺧﻮﺩﻡ ﻓﻜﺮ ﻛﺮﺩﻡ ﺍﻭ ﻣﻰﺩﺍﻧﺪ ﻛﻪ ﻛﻤﺒﻞ‬ ‫ﺩﺭﻭﻍ ﮔﻔﺘﻪ‪ .‬ﺍﻭ ﻣﻰﺩﺍﻧﺪ ﻛﻤﺒﻞ ﻛﻴﺴﺖ‪.‬‬ ‫ﻳﻚ ﺑﻴﺴﺖﺩﻻﺭﻯ ﺑﻪ ﻫﻤﺮﺍﻩ ﻳﻚ ﺩﻩ ﺩﻻﺭﻯ ﺭﻭﻯ ﻣﻴﺰ ﮔﺬﺍﺷﺘﻢ ﻭ ﺑﻪ ﺧﻴﺎﺑﺎﻥ ﺭﻓﺘﻴﻢ ﻛﻪ ﭘﻴﺪﺍﻳﺶ ﻛﻨﻴﻢ‪.‬‬ ‫ﺍﻣﺎ ﺍﻭ ﺭﻓﺘﻪ ﺑﻮﺩ‪ .‬ﺑﻪ ﺩﺧﺘﺮ ﮔﻔﺘﻢ‪» :‬ﻓﻜﺮ ﻛﺮﺩﻡ ﺑﺎ ﺧﻮﺍﻫﺮﺕ ﺍﺳﺖ‪«.‬‬ ‫ﮔﻔﺖ‪» :‬ﺧﻮﺍﻫﺮﻯ ﺩﺭ ﻛﺎﺭ ﻧﻴﺴﺖ‪ .‬ﻓﻘﻂ ﻣﻦ ﻫﺴﺘﻢ‪«.‬‬ ‫ﺍﺯ ﻳﻚ ﭘﻴﭻ ﻋﺒﻮﺭ ﻛﺮﺩﻳﻢ ﻭ ﺑﻪ ﻳﻚ ﮔﺮﻭﻩ ﭘﺮ ﺳﺮ ﻭ ﺻﺪﺍ ﺍﺯ ﺗﻮﺭﻳﺴﺖﻫﺎ ﺑﺮﺧﻮﺭﺩﻳﻢ‪ .‬ﺍﻧﮕﺎﺭ ﻳﻚ ﻣﻮﺝ‬ ‫ﺑﺰﺭگ ﻧﺎﮔﻬﺎﻥ ﺩﺭ ﺳﺎﺣﻞ ﺩﺭ ﻫﻢ ﺷﻜﺴﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺑﻌﺪ ﺑﻪ ﻫﻤﺎﻥ ﺳﺮﻋﺘﻰ ﻛﻪ ﺁﻣﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﺭﻓﺘﻨﺪ ﻭ ﻓﻘﻂ‬ ‫‪39‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻛﺪﺍﻡ ﻳﻚ ﻛﺎﺳﻪ ﮔﺎﻣﺒﻮ ﺳﻔﺎﺭﺵ ﺩﺍﺩﻳﻢ‪.‬‬ ‫ﺍﻧﺘﻈﺎﺭﻡ ﺍﺯ ﺑﻬﺘﺮﻳﻦ ﮔﺎﻣﺒﻮﻯ ﻧﻴﻮﺍﻭﺭﻟﺌﺎﻥ ﺑﻴﺸﺘﺮ ﺑﻮﺩ‪ .‬ﺗﻘﺮﻳﺒﺎً ﺑﻰﻣﺰﻩ ﺑﻮﺩ‪ ،‬ﺑﺎ ﺍﻳﻦﺣﺎﻝ ﭼﻮﻥ ﻣﻰﺩﺍﻧﺴﺘﻢ‬ ‫ﻧﻴﺎﺯ ﺑﻪ ﻏﺬﺍ ﺩﺍﺭﻡ ﺧﻮﺭﺩﻣﺶ‪ ،‬ﺗﻤﺎﻡ ﺁﻥ ﺭﻭﺯ ﭼﻴﺰﻯ ﻧﺨﻮﺭﺩﻩ ﺑﻮﺩﻡ‪.‬‬ ‫ﺳﻪ ﻣﺮﺩ ﺩﺍﺧﻞ ﺑﺎﺭ ﺷﺪﻧﺪ‪ .‬ﻳﻜﻰﺷﺎﻥ ﻳﻚ ﻭﺭﻯ ﺭﺍﻩ ﻣﻰﺭﻓﺖ‪ ،‬ﺩﻳﮕﺮﻯ ﻣﻰﺧﺮﺍﻣﻴﺪ ﻭ ﺁﺧﺮﻯ ﻟﻨﮓ ﻣﻰﺯﺩ‪.‬‬ ‫ﺁﻥ ﻛﻪ ﻳﻚ ﻭﺭﻯ ﺭﺍﻩ ﻣﻰﺭﻓﺖ‪ ،‬ﻣﺜﻞ ﻳﻚ ﻣﺴﺌﻮﻝ ﻛﻔﻦ ﻭ ﺩﻓﻦ ﺩﻭﺭﻩﻯ ﻭﻳﻜﺘﻮﺭﻳﺎ ﻟﺒﺎﺱ ﭘﻮﺷﻴﺪﻩ ﺑﻮﺩ؛‬ ‫ﻛﻼﻩﺳﻴﻠﻨﺪﺭﻯ ﻭ ﺑﺎﻗﻰ ﭼﻴﺰﻫﺎ‪ .‬ﭘﻮﺳﺘﺶ ﻣﺜﻞ ﻣﺎﻫﻰ ﺭﻧﮓﭘﺮﻳﺪﻩ ﺑﻮﺩ‪ ،‬ﻣﻮﻫﺎﻳﺶ ﺑﻠﻨﺪ ﻭ ﺭﺷﺘﻪ ﺭﺷﺘﻪ‬ ‫ﺑﻮﺩ‪ ،‬ﺭﻳﺶﺍﺵ ﻫﻢ ﺑﻠﻨﺪ ﺑﻮﺩ ﻭ ﺁﺭﺍﺳﺘﻪ ﺑﻪ ﻣﻬﺮﻩﻫﺎﻯ ﻧﻘﺮﻩﺍﻯ‪ .‬ﻣﺮﺩ ﺧﺮﺍﻣﻨﺪﻩ ﻛﺖ ﺑﻠﻨﺪ ﭼﺮﻣﻰ ﺑﺮ ﺗﻦ‬ ‫ﺩﺍﺷﺖ ﻭ ﺯﻳﺮﺵ ﻟﺒﺎﺱﻫﺎﻯ ﺗﻴﺮﻩ‪ .‬ﭘﻮﺳﺘﺶ ﺑﺴﻴﺎﺭ ﺗﻴﺮﻩ ﺑﻮﺩ‪ .‬ﺁﺧﺮﻯ‪ ،‬ﺁﻥ ﻛﻪ ﻣﻰﻟﻨﮕﻴﺪ‪ ،‬ﻋﻘﺐ ﺍﻳﺴﺘﺎﺩ ﻭ‬ ‫ﺩﺭ ﺭﺍ ﺑﺎﺯ ﻧﮕﺎﻩ ﺩﺍﺷﺘﻪ ﺑﻮﺩ‪ .‬ﭼﻬﺮﻩﺍﺵ ﺭﺍ ﺩﺭﺳﺖ ﻧﻤﻰﺩﻳﺪﻡ ﻭ ﻧﻤﻰﺗﻮﺍﻧﺴﺘﻢ ﺑﻔﻬﻤﻢ ﻛﺠﺎﻳﻰ ﺍﺳﺖ‪ ،‬ﻓﻘﻂ‬ ‫ﻣﻰﺩﻳﺪﻡ ﻛﻪ ﭘﻮﺳﺘﺶ ﺧﺎﻛﺴﺘﺮﻯ ﺍﺳﺖ‪ .‬ﻣﻮﻫﺎﻯ ﻛﻢﭘﺸﺘﺶ ﺭﻭﻯ ﺻﻮﺭﺗﺶ ﺭﻳﺨﺘﻪ ﺑﻮﺩ‪ .‬ﺍﺯ ﺩﻳﺪﻧﺶ‬ ‫ﺑﺮ ﺧﻮﺩﻡ ﻟﺮﺯﻳﺪﻡ‪ .‬ﺩﻭ ﻣﺮﺩ ﺍﻭﻟﻰ ﻳﻚ ﺭﺍﺳﺖ ﺳﺮﺍﻍ ﻣﻴﺰ ﻣﺎ ﺁﻣﺪﻧﺪ ﻭ ﻣﻦ ﻳﻚ ﻟﺤﻈﻪ ﺍﺯ ﺟﺎﻧﻢ ﺗﺮﺳﻴﺪﻡ‪،‬‬ ‫ﻭﻟﻰ ﺁﻥ ﻫﺎ ﺗﻮﺟﻬﻰ ﺑﻪ ﻣﻦ ﻧﺪﺍﺷﺘﻨﺪ‪ .‬ﺑﻪ ﺯﻧﻰ ﻛﻪ ﺭﻭﺑﺎﻥ ﻗﺮﻣﺰ ﺑﻪ ﻣﻮﻫﺎﻳﺶ ﺑﺴﺘﻪ ﺑﻮﺩ ﻧﮕﺎﻩ ﻛﺮﺩﻧﺪ‪ ،‬ﻫﺮ‬ ‫ﺩﻭ ﻣﺮﺩ ﮔﻮﻧﻪﺍﺵ ﺭﺍ ﺑﻮﺳﻴﺪﻧﺪ‪ .‬ﺩﺭﺑﺎﺭﻩﻯ ﺩﻭﺳﺖﻫﺎﻳﻰ ﻛﻪ ﻧﺪﻳﺪﻩ ﺑﻮﺩﻧﺪ ﺳﻮﺍﻝ ﻛﺮﺩﻧﺪ‪ ،‬ﺩﺭﺑﺎﺭﻩ ﺍﻳﻦ ﻛﻪ‬ ‫ﭼﻪ ﻛﺴﻰ ﺩﺭ ﭼﻪ ﺑﺎﺭﻯ ﭼﻪ ﻛﺎﺭ ﻛﺮﺩﻩ ﻭ ﺍﺯ ﺍﻳﻦ ﺩﺳﺖ ﺣﺮﻑﻫﺎ‪ .‬ﻣﻦ ﺭﺍ ﻳﺎﺩ ﮔﺮﺑﻪﻧﺮﻩ ﻭ ﺭﻭﺑﺎﻩ ﺩﺍﺳﺘﺎﻥ‬ ‫ﭘﻴﻨﻮﻛﻴﻮ ﻣﻰﺍﻧﺪﺍﺧﺘﻨﺪ‪.‬‬ ‫ﺯﻥ ﺍﺯ ﻣﺮﺩ ﺳﻴﺎﻩ ﭘﺮﺳﻴﺪ‪» :‬ﭘﺲ ﺩﻭﺳﺖﺩﺧﺘﺮ ﻛﻮﭼﻴﻜﺖ ﭼﻪ ﺷﺪ؟«‬ ‫ﻣﺮﺩ ﻟﺒﺨﻨﺪﻯ ﺯﺩ ﻭ ﺑﺪﻭﻥ ﺷﻮﺧﻰ ﮔﻔﺖ‪» :‬ﺩﻡ ﻳﻚ ﺳﻨﺠﺎﺏ ﺭﺍ ﺭﻭﻯ ﻗﺒﺮ ﺧﺎﻧﻮﺍﺩﻩﻯ ﻣﻦ ﮔﺬﺍﺷﺖ‪«.‬‬ ‫ﻟﺐﻫﺎﻳﺶ ﺭﺍ ﺑﻪ ﻫﻢ ﻓﺸﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﭘﺲ ﻫﻤﺎﻥ ﺑﻬﺘﺮ ﻛﻪ ﺭﻓﺖ‪«.‬‬ ‫»ﻣﻦ ﻫﻢ ﻫﻤﻴﻦ ﺭﺍ ﻣﻰﮔﻮﻳﻢ‪«.‬‬ ‫ﻧﮕﺎﻫﻰ ﺑﻪ ﺁﻧﻰ ﺍﻧﺪﺍﺧﺘﻢ ﻛﻪ ﺍﺯﺵ ﻣﻰﺗﺮﺳﻴﺪﻡ‪ .‬ﻣﻮﺟﻮﺩ ﻛﺜﻴﻔﻰ ﺑﻮﺩ‪ ،‬ﻣﺜﻞ ﻣﻌﺘﺎﺩﻫﺎ ﻻﻏﺮ ﺑﻮﺩ ﻭ ﻟﺐﻫﺎﻳﺶ‬ ‫ﺧﺎﻛﺴﺘﺮﻯ‪ .‬ﭼﺸﻢﻫﺎﻳﺶ ﻓﺮﻭ ﺭﻓﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﺧﻴﻠﻰ ﻛﻢ ﺣﺮﻛﺖ ﻣﻰﻛﺮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﻓﻜﺮ ﺑﻮﺩﻡ ﻛﻪ ﺍﻳﻦ ﺳﻪ‬ ‫ﻣﺮﺩ ﺑﺎ ﻫﻢ ﭼﻪ ﻛﺎﺭ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺭﻭﺑﺎﻩ ﻭ ﮔﺮﺑﻪ ﻭ ﺭﻭﺡ‪ .‬ﺑﻌﺪ ﻣﺮﺩ ﺳﻔﻴﺪ ﺩﺳﺖ ﺯﻥ ﺭﺍ ﮔﺮﻓﺖ ﻭ ﺑﻮﺳﻴﺪ‪ ،‬ﺩﺭ‬ ‫ﻣﻘﺎﺑﻞ ﺍﻭ ﺗﻌﻈﻴﻢ ﻛﺮﺩ‪ ،‬ﺩﺳﺘﺶ ﺭﺍ ﺑﺎ ﻣﺴﺨﺮﮔﻰ ﺑﻪ ﻋﻼﻣﺖ ﺳﻼﻡ ﻧﻈﺎﻣﻰ ﺑﺮﺍﻯ ﻣﻦ ﺑﻠﻨﺪ ﻛﺮﺩ ﻭ ﺑﻌﺪ‬ ‫ﻫﺮ ﺳﻪ ﺭﻓﺘﻨﺪ‪.‬‬ ‫»ﺩﻭﺳﺖﻫﺎﻯ ﺗﻮ ﺑﻮﺩﻧﺪ؟«‬ ‫ﮔﻔﺖ‪» :‬ﺁﺩﻡﻫﺎﻯ ﺑﺪﻯ ﻫﺴﺘﻨﺪ‪ ،‬ﻣﺎﻛﻮﻣﺒﺎ‪ .‬ﺩﻭﺳﺖ ﻛﺴﻰ ﻧﻴﺴﺘﻨﺪ‪«.‬‬ ‫»ﺁﻥ ﻣﺮﺩﻯ ﻛﻪ ﻛﻨﺎﺭ ﺩﺭ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﭼﻪ ﻣﺮﮔﺶ ﺑﻮﺩ؟ ﻣﺮﻳﺾ ﺍﺳﺖ؟«‬ ‫ﺩﺧﺘﺮ ﻣﻜﺚ ﻛﺮﺩ ﻭ ﺑﻌﺪ ﺳﺮﺵ ﺭﺍ ﺗﻜﺎﻥ ﺩﺍﺩ‪» .‬ﻧﻪ ﻭﺍﻗﻌﺎً‪ .‬ﻭﻗﺘﻰ ﺁﻣﺎﺩﮔﻰﺍﺵ ﺭﺍ ﺩﺍﺷﺘﻰ ﺑﻬﺖ ﻣﻰﮔﻮﻳﻢ‪«.‬‬ ‫‪38‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺩﻳﻮﻳﺪﺳﻮﻥ ﭘﺸﺖ ﺳﺮ ﻳﻚ ﻣﺮﺩ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﺭﺍﻩ ﻣﻰﺭﻭﺩ‪ ،‬ﻫﻴﭻﻛﺲ ﺩﻳﮕﺮ ﺑﻪ ﺟﺰ ﻣﻦ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ‬ ‫ﺑﺒﻴﻨﺪﺵ‪ .‬ﻭﻗﺘﻰ ﺑﻪ ﻣﺎﺩﺭﻡ ﮔﻔﺘﻢ‪ ،‬ﺍﻭ ﺑﻪ ﻣﺎﺩﺭﺑﺰﺭﮔﻢ ﮔﻔﺖ ﻭ ﺁﻥﻫﺎ ﮔﻔﺘﻨﺪ ﺑﺎﻳﺪ ﺑﺪﺍﻧﻢ ﻭ ﻳﺎﺩ ﺑﮕﻴﺮﻡ‪.‬‬ ‫ﻛﺴﺎﻧﻰ ﻫﻢ ﺑﻮﺩﻧﺪ ﻛﻪ ﺍﺯ ﻫﻤﺎﻥ ﻛﻮﭼﻜﻰ ﺑﻪ ﻣﻦ ﺩﺭﺱ ﺩﺍﺩﻧﺪ‪ .‬ﻫﻴﭻﻭﻗﺖ ﺍﺯ ﻣﺮﺩﻩﻫﺎ ﻧﺘﺮﺳﻴﺪﻡ‪ .‬ﻣﻰﺩﺍﻧﻰ‪،‬‬ ‫ﺁﻥﻫﺎ ﻧﻤﻰﺗﻮﺍﻧﻨﺪ ﺁﺳﻴﺒﻰ ﺑﻪ ﺗﻮ ﺑﺮﺳﺎﻧﻨﺪ‪ .‬ﺧﻴﻠﻰ ﭼﻴﺰﻫﺎ ﺗﻮﻯ ﺍﻳﻦ ﺷﻬﺮ ﻫﺴﺖ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺪ ﺑﻪ ﺁﺩﻡ‬ ‫ﺁﺳﻴﺐ ﺑﺮﺳﺎﻧﻨﺪ‪ ،‬ﺍﻣﺎ ﻣﺮﺩﻩﻫﺎ ﻧﻪ‪ .‬ﺁﺩﻡﻫﺎﻯ ﺯﻧﺪﻩ ﺁﺳﻴﺐ ﻣﻰﺭﺳﺎﻧﻨﺪ‪ .‬ﺁﻥﻫﺎ ﺑﺪﺟﻮﺭﻯ ﺁﺳﻴﺐ ﻣﻰﺭﺳﺎﻧﻨﺪ‪«.‬‬ ‫ﺷﺎﻧﻪﺍﻯ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺘﻢ‪.‬‬ ‫»ﺍﻳﻦﺟﺎ ﺷﻬﺮﻯ ﺍﺳﺖ ﻛﻪ ﻣﺮﺩﻡ ﺑﺎ ﻫﻢ ﻣﻰﺧﻮﺍﺑﻨﺪ‪ .‬ﻣﺎ ﺑﺎ ﻫﻢ ﻋﺸﻖﺑﺎﺯﻯ ﻣﻰﻛﻨﻴﻢ‪ .‬ﺍﻳﻦ ﻛﺎﺭﻯ ﺍﺳﺖ ﻛﻪ‬ ‫ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﻴﻢ ﺗﺎ ﻧﺸﺎﻥ ﺩﻫﻴﻢ ﺯﻧﺪﻩ ﻫﺴﺘﻴﻢ‪«.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﻓﻜﺮ ﺑﻮﺩﻡ ﻛﻪ ﺁﻳﺎ ﺍﻳﻦ ﺣﺮﻑ ﻳﻚ ﺟﻮﺭ ﺩﻋﻮﺕ ﺍﺳﺖ ﻳﺎ ﺧﻴﺮ‪ .‬ﺑﻪ ﻧﻈﺮ ﺍﻳﻦ ﻃﻮﺭ ﻧﻤﻰﺭﺳﻴﺪ‪.‬‬ ‫ﮔﻔﺖ‪» :‬ﮔﺮﺳﻨﻪ ﻧﻴﺴﺘﻰ؟«‬ ‫ﮔﻔﺘﻢ‪» :‬ﻛﻤﻰ‪«.‬‬ ‫ﮔﻔﺖ‪» :‬ﻳﻚ ﺟﺎﻳﻰ ﻫﻤﻴﻦ ﻧﺰﺩﻳﻚﻫﺎ ﻫﺴﺖ ﻛﻪ ﺑﻬﺘﺮﻳﻦ ﺳﻮپ ﮔﺎﻣﺒﻮﻯ ﻧﻴﻮﺍﻭﺭﻟﺌﺎﻥ ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﺑﻴﺎ ﺑﺮﻭﻳﻢ‪«.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﺷﻨﻴﺪﻡ ﺑﻬﺘﺮ ﺍﺳﺖ ﺁﺩﻡ ﺩﺭ ﺍﻳﻦ ﺷﻬﺮ ﺷﺐﻫﺎ ﺑﺮﺍﻯ ﺧﻮﺩﺵ ﺍﻳﻦ ﻃﺮﻑ ﺁﻥ ﻃﺮﻑ ﻧﺮﻭﺩ‪«.‬‬ ‫ﮔﻔﺖ‪» :‬ﺩﺭﺳﺖ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﻣﻦ ﺑﺎ ﺗﻮ ﻫﺴﺘﻢ‪ .‬ﺩﺭ ﺍﻣﺎﻧﻰ‪«.‬‬ ‫ﺩﺭ ﺧﻴﺎﺑﺎﻥ‪ ،‬ﺩﺧﺘﺮﻫﺎﻯ ﺩﺑﻴﺮﺳﺘﺎﻧﻰ ﺩﺍﺷﺘﻨﺪ ﺑﺮﺍﻯ ﻣﺮﺩﻡ ﺭﻭﻯ ﺍﻳﻮﺍﻥﻫﺎﻯ ﻏﺬﺍﺧﻮﺭﻯﻫﺎ ﺧﻮﺩﻧﻤﺎﻳﻰ‬ ‫ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺗﻤﺎﺷﺎﭼﻰﻫﺎ ﺑﺎ ﺩﻳﺪﻥ ﻫﺮ ﻗﺴﻤﺖ ﺍﺯ ﺑﺪﻥ ﺁﻥﻫﺎ ﻓﺮﻳﺎﺩﻯ ﺍﺯ ﺳﺮ ﺷﺎﺩﻯ ﻣﻰﻛﺸﻴﺪﻧﺪ ﻭ‬ ‫ﻣﻬﺮﻩﻫﺎﻯ ﭘﻼﺳﺘﻴﻜﻰ ﭘﺮﺗﺎﺏ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﺳﺮ ﺷﺐ ﺍﺳﻢ ﺯﻧﻰ ﻛﻪ ﺭﻭﺑﺎﻥ ﻗﺮﻣﺰ ﺩﺍﺷﺖ ﺭﺍ ﻣﻰﺩﺍﻧﺴﺘﻢ‪ ،‬ﻭﻟﻰ‬ ‫ﺣﺎﻻ ﺍﺯ ﺫﻫﻨﻢ ﭘﺮﻳﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﮔﻔﺖ‪»:‬ﻳﻚ ﺯﻣﺎﻧﻰ ﻣﻦ ﻫﻢ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻣﻰﻛﺮﺩﻡ‪ ،‬ﻭﻟﻰ ﻓﻘﻂ ﺩﺭ ﺳﻪﺷﻨﺒﻪﻯ ﭼﺎﻕ ]‪ .[12‬ﺣﺎﻻ‬ ‫ﺗﻮﺭﻳﺴﺖﻫﺎ ﺍﻧﺘﻈﺎﺭﺵ ﺭﺍ ﺩﺍﺭﻧﺪ‪ ،‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺗﻮﺭﻳﺴﺖﻫﺎ ﺑﺮﺍﻯ ﺗﻮﺭﻳﺴﺖﻫﺎ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻣﺤﻠﻰﻫﺎ‬ ‫ﺍﻫﻤﻴﺖ ﻧﻤﻰﺩﻫﻨﺪ‪ .‬ﻭﻗﺘﻰ ﺧﻮﺍﺳﺘﻰ ﺑﺮﻯ ﺩﺳﺘﺸﻮﻳﻰ ﺑﻪ ﻣﻦ ﺑﮕﻮ‪«.‬‬ ‫»ﺑﺎﺷﺪ‪ ،‬ﭼﺮﺍ؟«‬ ‫»ﭼﻮﻥ ﺑﻴﺸﺘﺮ ﺗﻮﺭﻳﺴﺖﻫﺎ ﻭﻗﺘﻰ ﺩﺍﺧﻞ ﻛﻮﭼﻪﻫﺎ ﻣﻰﺭﻭﻧﺪ ﻛﻪ ﻛﺎﺭﺷﺎﻥ ﺭﺍ ﺑﻜﻨﻨﺪ‪ ،‬ﻳﻘﻪ ﻣﻰﺷﻮﻧﺪ‪ .‬ﻳﻚ‬ ‫ﺳﺎﻋﺖ ﺑﻌﺪ ﺑﺎ ﺟﻴﺐ ﺧﺎﻟﻰ ﻭ ﺳﺮﺩﺭﺩ ﺩﺭ ﻛﻮﭼﻪﻯ ﺭﺍﻫﺰﻥﻫﺎ ﺑﻴﺪﺍﺭ ﻣﻰﺷﻮﻧﺪ‪«.‬‬ ‫»ﻳﺎﺩﻡ ﻣﻰﻣﺎﻧﺪ‪«.‬‬ ‫ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﻣﻰﺭﻓﺘﻴﻢ‪ ،‬ﺑﻪ ﻳﻚ ﻛﻮﭼﻪﻯ ﺗﺎﺭﻳﻚ ﻭ ﺧﻠﻮﺕ ﺍﺷﺎﺭﻩ ﻛﺮﺩ‪ .‬ﮔﻔﺖ‪» :‬ﺁﻥﺟﺎ ﻧﺮﻭ‪«.‬‬ ‫ﺟﺎﻳﻰ ﻛﻪ ﺍﺯ ﺁﻥ ﺳﺮ ﺩﺭ ﺁﻭﺭﺩﻳﻢ‪ ،‬ﻳﻚ ﺑﺎﺭ ﺑﺎ ﻣﻴﺰ ﺑﻮﺩ‪ .‬ﻳﻚ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺑﺎﻻﻯ ﺑﺎﺭ ﺑﺮﻧﺎﻣﻪﻯ »ﺷﻮﻯ ﺍﻣﺸﺐ«‬ ‫ﺭﺍ ﺑﺪﻭﻥ ﺻﺪﺍ ﻧﻤﺎﻳﺶ ﻣﻰﺩﺍﺩ‪ ،‬ﺯﻳﺮﻧﻮﻳﺴﺶ ﻓﻌﺎﻝ ﺑﻮﺩ ﻭﻟﻰ ﺯﻳﺮﻧﻮﻳﺲ ﺗﻜﻪﺗﻜﻪ ﻭ ﻧﺎﺧﻮﺍﻧﺎ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻫﺮ‬ ‫‪37‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻧﻘﺮﻩﺍﻯ ﺑﺎ ﻃﺮﺡ ﺍﺳﻜﻠﺖ ﻣﻮﺵ‪ .‬ﺁﻥﻫﺎ ﺧﻴﻠﻰ ﻣﻰﺧﻨﺪﻳﺪﻧﺪ‪.‬‬ ‫ﻳﻚ ﺑﺎﺭ ﮔﺮﻭﻫﻰ ﺍﺯ ﺍﺳﺎﺗﻴﺪ ﺭﺍ ﺩﻳﺪﻳﺪﻡ ﻛﻪ ﺍﺯ ﺟﻠﻮﻯ ﺑﺎﺭ ﻋﺒﻮﺭ ﻛﺮﺩﻧﺪ‪ ،‬ﻳﻚ ﺭﺍﻫﻨﻤﺎ ﺑﺎ ﭼﺘﺮﻯ ﺳﻴﺎﻩ‬ ‫ﻫﺪﺍﻳﺘﺸﺎﻥ ﻣﻰﻛﺮﺩ‪ .‬ﺁﻥﻫﺎ ﺭﺍ ﺑﻪ ﻛﻤﺒﻞ ﻧﺸﺎﻥ ﺩﺍﺩﻡ‪.‬‬ ‫ﺯﻧﻰ ﻛﻪ ﺭﻭﺑﺎﻥ ﻗﺮﻣﺰ ﺑﻪ ﻣﻮﻫﺎﻳﺶ ﺑﺴﺘﻪ ﺑﻮﺩ‪ ،‬ﺍﺑﺮﻭﻳﺶ ﺭﺍ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺖ ﻭ ﮔﻔﺖ‪» :‬ﺁﻥﻫﺎ ﺑﻪ ﺗﻮﺭﻫﺎﻯ‬ ‫ﺗﺎﺭﻳﺨﻰ ﺗﺴﺨﻴﺮ ﺷﺪﻩ ﻣﻰﺭﻭﻧﺪ ﻭ ﺩﻧﺒﺎﻝ ﺍﺭﻭﺍﺡ ﻣﻰﮔﺮﺩﻧﺪ‪ .‬ﺁﺩﻡ ﺩﻟﺶ ﻣﻰﺧﻮﺍﻫﺪ ﺑﻬﺸﺎﻥ ﺑﮕﻮﻳﺪ ﺑﺒﻴﻦ‬ ‫ﻳﺎﺭﻭ‪ ،‬ﺍﺭﻭﺍﺡ ﺍﺯ ﺍﻳﻦﺟﺎ ﻣﻰﺁﻳﻨﺪ‪ ،‬ﺍﻳﻦﺟﺎ ُﻣﺮﺩﻩ ﺑﺎﻗﻰ ﻣﻰﻣﺎﻧﻨﺪ‪ ،‬ﺩﻧﺒﺎﻝ ﺯﻧﺪﻩﻫﺎ ﮔﺸﺘﻦ ﺁﺳﺎﻥﺗﺮ ﻧﻴﺴﺖ؟«‬ ‫ﺩﻳﮕﺮﻯ ﻛﻪ ﻗﻴﺎﻓﻪﻯ ﻣﺴﺨﺮﻩﺍﻯ ﺑﻪ ﺧﻮﺩ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﮔﻔﺖ‪» :‬ﻳﻌﻨﻰ ﻣﻰﮔﻮﻳﻰ ﺗﻮﺭﻳﺴﺖﻫﺎ ﺯﻧﺪﻩ‬ ‫ﻫﺴﺘﻨﺪ؟«‬ ‫ﺍﻭﻟﻰ ﮔﻔﺖ‪» :‬ﻭﻗﺘﻰ ﺑﻪ ﺍﻳﻦﺟﺎ ﻣﻰﺭﺳﻨﺪ ﺑﻠﻪ‪ «.‬ﻭ ﻫﺮ ﺩﻭ ﺑﺎ ﻫﻢ ﺧﻨﺪﻳﺪﻧﺪ‪.‬‬ ‫ﺁﻥﻫﺎ ﺧﻴﻠﻰ ﻣﻰﺧﻨﺪﻳﺪﻧﺪ‪.‬‬ ‫ﺁﻧﻰ ﻛﻪ ﺭﻭﺑﺎﻥ ﺳﻔﻴﺪ ﺩﺍﺷﺖ ﺑﻪ ﻫﺮ ﭼﻪ ﻛﻤﺒﻞ ﻣﻰﮔﻔﺖ‪ ،‬ﻣﻰﺧﻨﺪﻳﺪ‪ .‬ﺑﻪ ﺍﻭ ﻣﻰﮔﻔﺖ‪» :‬ﻳﻚ ﺑﺎﺭ ﺩﻳﮕﻪ‬ ‫ﺑﮕﻮ ﻟﻌﻨﺖ‪ «.‬ﻭ ﻛﻤﺒﻞ ﻛﻠﻤﻪ ﺭﺍ ﻣﻰﮔﻔﺖ ﻭ ﺯﻥ ﺩﺭ ﺗﻼﺵ ﺑﺮﺍﻯ ﺗﻘﻠﻴﺪ ﺍﺯ ﺍﻭ ﻣﻰﮔﻔﺖ‪» :‬ﻟﻮﻧﺖ! ﻟﻮﻧﺖ!«‬ ‫ﻭ ﻛﻤﺒﻞ ﻣﻰﮔﻔﺖ‪» :‬ﻟﻮﻧﺖ ﻧﻴﺴﺖ‪ ،‬ﻟﻌﻨﺖ!« ﻭ ﺯﻥ ﺗﻔﺎﻭﺗﺸﺎﻥ ﺭﺍ ﻣﺘﻮﺟﻪ ﻧﻤﻰﺷﺪ ﻭ ﺩﻭﺑﺎﺭﻩ ﻣﻰﺧﻨﺪﻳﺪ‪.‬‬ ‫ﺑﻌﺪ ﺍﺯ ﺩﻭ ﺳﻪ ﻧﻮﺷﻴﺪﻧﻰ‪ ،‬ﻛﻤﺒﻞ ﺩﺳﺖ ﺍﻭ ﺭﺍ ﮔﺮﻓﺖ ﻭ ﭘﺸﺖ ﺑﺎﺭ ﺑﺮﺩ‪ ،‬ﺁﻥﺟﺎ ﻣﻮﺯﻳﻚ ﻣﻰﻧﻮﺍﺧﺘﻨﺪ ﻭ‬ ‫ﺗﺎﺭﻳﻚ ﺑﻮﺩ‪ ،‬ﭼﻨﺪ ﻧﻔﺮ ﺩﻳﮕﺮ ﻫﻢ ﺍﺯ ﻗﺒﻞ ﺁﻥﺟﺎ ﺑﻮﺩﻧﺪ‪ ،‬ﻧﻤﻰﺭﻗﺼﻴﺪﻧﺪ ﻭﻟﻰ ﺣﺮﻛﺖ ﻣﻰﻛﺮﺩﻧﺪ‪ .‬ﻣﻦ‬ ‫ﻫﻤﺎﻥﺟﺎ ﻛﻪ ﺑﻮﺩﻡ‪ ،‬ﻛﻨﺎﺭ ﺯﻧﻰ ﻛﻪ ﺭﻭﺑﺎﻥ ﻗﺮﻣﺰ ﺩﺍﺷﺖ‪ ،‬ﻣﻨﺘﻈﺮ ﻣﺎﻧﺪﻡ‪.‬‬ ‫ﺯﻥ ﮔﻔﺖ‪» :‬ﭘﺲ ﺗﻮ ﻫﻢ ﺗﻮﻯ ﺷﺮﻛﺖ ﺿﺒﻂ ﻛﺎﺭ ﻣﻰﻛﻨﻰ؟«‬ ‫ﺳﺮ ﺗﻜﺎﻥ ﺩﺍﺩﻡ‪ .‬ﻛﻤﺒﻞ ﺑﻪ ﺧﺎﻧﻢﻫﺎ ﺍﻳﻦ ﻃﻮﺭﻯ ﮔﻔﺘﻪ ﺑﻮﺩ‪ .‬ﻭﻗﺘﻰ ﺁﻥ ﺩﻭ ﺭﻓﺘﻪ ﺑﻮﺩﻧﺪ ﺩﺳﺘﺸﻮﻳﻰ‪ ،‬ﺑﺮﺍﻯ‬ ‫ﻣﻦ ﺩﻟﻴﻞ ﺁﻭﺭﺩﻩ ﺑﻮﺩ ﻛﻪ‪» :‬ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺑﻪ ﻣﺮﺩﻡ ﺑﮕﻮﻳﻢ ﺍﺳﺘﺎﺩ ﺩﺍﻧﺸﮕﺎﻫﻢ ﻣﺘﻨﻔﺮﻡ‪ «.‬ﺩﺭ ﻋﻮﺽ ﺑﻪ ﺁﻥﻫﺎ‬ ‫ﮔﻔﺘﻪ ﺑﻮﺩ ﮔﺮﻭﻩ ﻣﻮﺳﻴﻘﻰ ﺍﻭﺁﺳﻴﺲ ﺭﺍ ﻛﺸﻒ ﻛﺮﺩﻩ‪.‬‬ ‫»ﺗﻮ ﭼﻄﻮﺭ‪ ،‬ﺷﻐﻠﺖ ﺩﺭ ﺍﻳﻦ ﺩﻧﻴﺎ ﭼﻴﺴﺖ؟«‬ ‫ﺯﻥ ﮔﻔﺖ‪» :‬ﻣﻦ ﻛﺎﻫﻨﻪﻯ ﺳﺎﻧﺘﺮﻳﺎ ]‪ [11‬ﻫﺴﺘﻢ‪ .‬ﺩﺭ ﺧﻮﻧﻢ ﺟﺎﺭﻯ ﺍﺳﺖ‪ ،‬ﭘﺪﺭﻡ ﺑﺮﺯﻳﻠﻰ ﺑﻮﺩ‪ ،‬ﻣﺎﺩﺭﻡ‬ ‫ﺍﻳﺮﻟﻨﺪﻯ‪-‬ﭼﺮﻭﻛﻰ‪ .‬ﺩﺭ ﺑﺮﺯﻳﻞ ﻫﻤﻪ ﺑﺎ ﻫﻢ ﻋﺸﻖﺑﺎﺯﻯ ﻣﻰﻛﻨﻨﺪ ﻭ ﺑﻬﺘﺮﻳﻦ ﺑﭽﻪﻫﺎﻯ ﻗﻬﻮﻩﺍﻯ ﻧﺼﻴﺒﺸﺎﻥ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﻫﻤﻪ ﺧﻮﻥ ﺳﻴﺎﻩ ﺑﺮﺩﮔﻰ ﺩﺍﺭﻧﺪ‪ .‬ﻫﻤﻪ ﺧﻮﻥ ﺳﺮﺥﭘﻮﺳﺘﻰ ﺩﺍﺭﻧﺪ‪ .‬ﭘﺪﺭﻡ ﺣﺘﺎ ﻛﻤﻰ ﺧﻮﻥ ژﺍﭘﻨﻰ‬ ‫ﻫﻢ ﺩﺍﺷﺖ‪ .‬ﺑﺮﺍﺩﺭﺵ ‪-‬ﻋﻤﻮﻯ ﻣﻦ‪ -‬ﺷﺒﻴﻪ ژﺍﭘﻨﻰﻫﺎ ﺑﻮﺩ‪ .‬ﭘﺪﺭﻡ ﻣﺮﺩ ﺧﻮﺵﻗﻴﺎﻓﻪﺍﻯ ﺍﺳﺖ‪ .‬ﻣﺮﺩﻡ ﺧﻴﺎﻝ‬ ‫ﻣﻰﻛﻨﻨﺪ ﻛﺎﻫﻨﮕﻰ ﺭﺍ ﺍﺯ ﭘﺪﺭﻡ ﺑﻪ ﺍﺭﺙ ﺑﺮﺩﻡ‪ ،‬ﺍﻣﺎ ﺍﻳﻦ ﻃﻮﺭ ﻧﻴﺴﺖ؛ ﺁﻥ ﺭﺍ ﺍﺯ ﻣﺎﺩﺭﺑﺰﺭﮔﻢ ﺑﻪ ﺍﺭﺙ ﺑﺮﺩﻡ‪.‬‬ ‫ﺍﻭ ﻫﻢ ﭼﺮﻭﻛﻰ ﺑﻮﺩ‪ ،‬ﻭﻗﺘﻰ ﻋﻜﺲﻫﺎﻯ ﻗﺪﻳﻤﻰ ﺭﺍ ﺩﻳﺪﻡ ﻓﻬﻤﻴﺪﻡ‪ .‬ﺍﺯ ﻭﻗﺘﻰ ﺳﻪ ﺳﺎﻟﻢ ﺑﻮﺩ ﺣﺮﻑ ﺯﺩﻥ‬ ‫ﺑﺎ ُﻣﺮﺩﻩﻫﺎ ﺭﺍ ﺷﺮﻭﻉ ﻛﺮﺩﻡ‪ .‬ﻭﻗﺘﻰ ﭘﻨﺞ ﺳﺎﻟﻢ ﺑﻮﺩ؛ ﺩﻳﺪﻡ ﻳﻚ ﺳﮓ ﺳﻴﺎﻩ ﻋﻈﻴﻢ‪ ،‬ﺍﻧﺪﺍﺯﻩﻯ ﻳﻚ ﻫﺎﺭﻟﻰ‬ ‫‪36‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻛﻤﺒﻞ ﺩﻧﺒﺎﻟﺶ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩ ﻭ ﮔﻔﺖ‪» :‬ﻭﻗﺘﻰ ﺑﺰﺭگ ﺷﺪﻡ‪ ،‬ﺩﻟﻢ ﻣﻰﺧﻮﺍﻫﺪ ﺟﺎﻯ ﺍﻭ ﺑﺎﺷﻢ‪«.‬‬ ‫»ﭼﺮﺍ؟«‬ ‫ﺑﻪ ﻣﻦ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﺑﻠﻪ‪ ،‬ﺭﻭﺣﻴﻪﻯ ﺁﺩﻡ ﺑﺎﻳﺪ ﺍﻳﻦ ﮔﻮﻧﻪ ﺑﺎﺷﺪ‪ .‬ﺣﻖ ﺑﺎ ﺗﻮ ﺍﺳﺖ‪ .‬ﺑﺮﺧﻰ ﺍﺯ ﻣﺎ ﺁﺛﺎﺭ‬ ‫ﭘﺮﻓﺮﻭﺵ ﻣﻰﻧﻮﻳﺴﻢ‪ ،‬ﺑﺮﺧﻰ ﺍﺯ ﻣﺎ ﺁﻥﻫﺎ ﺭﺍ ﻣﻰﺧﻮﺍﻧﻴﻢ‪ .‬ﺑﺮﺧﻰ ﺍﺯ ﻣﺎ ﺟﺎﻳﺰﻩ ﻣﻰﺑﺮﻳﻢ ﻭ ﺑﺮﺧﻰ ﺍﺯ ﻣﺎ ﺟﺎﻳﺰﻩ‬ ‫ﻧﻤﻰﺑﺮﻳﻢ‪ .‬ﺁﻥﭼﻪ ﻛﻪ ﻣﻬﻢ ﺍﺳﺖ‪ ،‬ﺍﻧﺴﺎﻥ ﺑﻮﺩﻥ ﺍﺳﺖ‪ ،‬ﻣﮕﺮ ﻧﻪ؟ ﻣﻬﻢ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﻧﺴﺎﻥ ﺧﻮﺑﻰ ﺑﺎﺷﻰ‬ ‫ﻭ ﺯﻧﺪﻩ ﺑﺎﺷﻰ‪«.‬‬ ‫ﺑﻪ ﺑﺎﺯﻭﻯ ﻣﻦ ﺿﺮﺑﻪ ﺯﺩ‪.‬‬ ‫»ﺑﻴﺎ‪ .‬ﺍﻣﺸﺐ ﻣﻔﺎﻫﻴﻢ ﺟﺎﻟﺐ ﺍﻧﺴﺎﻥﺷﻨﺎﺳﻰ ﺭﺍ ﺑﻪ ﺗﻮ ﻧﺸﺎﻥ ﻣﻰﺩﻫﻢ ﻛﻪ ﺩﺭ ﺍﻳﻨﺘﺮﻧﺖ ﺩﺭﺑﺎﺭﻩﺷﺎﻥ‬ ‫ﺧﻮﺍﻧﺪﻩﺍﻡ‪ ،‬ﺍﺯ ﺁﻥﺟﻮﺭ ﭼﻴﺰﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﻛﻨﺘﺎﻛﻰ ﻧﻤﻰﺑﻴﻨﻰ‪ .‬ﺯﻥﻫﺎﻳﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺩﺭ ﺷﺮﺍﻳﻂ‬ ‫ﻋﺎﺩﻯ ﺑﺎ ﺻﺪ ﺩﻻﺭ ﻫﻢ ﺣﺎﺿﺮ ﻧﻴﺴﺘﻨﺪ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﻧﺸﺎﻥ ﺑﺪﻫﻨﺪ‪ ،‬ﺍﻣﺎ ﺑﺮﺍﻯ ﻳﻚ ﻣﺸﺖ ﻣﺮﻭﺍﺭﻳﺪ‬ ‫ﻣﺼﻨﻮﻋﻰ ﺟﻠﻮﻯ ﺟﻤﻊ ﺧﻮﺩﻧﻤﺎﻳﻰ ﻣﻰﻛﻨﻨﺪ‪«.‬‬ ‫ﺟﻬﺎﻧﻰ ﺗﺠﺎﺭﺕ‪«.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﻣﺮﻭﺍﺭﻳﺪ! ﺭﺳﺎﻧﻪﻯ‬ ‫ِ‬ ‫ﮔﻔﺖ‪» :‬ﻟﻌﻨﺖ‪ .‬ﻳﻚ ﻣﻘﺎﻟﻪ ﻫﻢ ﺩﺭﺑﺎﺭﻩﺍﺵ ﻧﻮﺷﺘﻪ ﺷﺪﻩ‪ .‬ﺗﺎ ﺑﻪ ﺣﺎﻝ ژﻟﻪﻯ ﺍﻟﻜﻠﻰ ﺧﻮﺭﺩﻯ؟«‬ ‫»ﻧﻪ«‬ ‫»ﻣﻦ ﻫﻢ ﻫﻤﻴﻦﻃﻮﺭ‪ ،‬ﻧﻔﺮﺕﺍﻧﮕﻴﺰﻧﺪ‪ .‬ﺑﻴﺎ ﺑﺮﻭﻳﻢ ﺑﺒﻴﻨﻴﻢ‪«.‬‬ ‫ﭘﻮﻝ ﻧﻮﺷﻴﺪﻧﻰﻫﺎﻳﻤﺎﻥ ﺭﺍ ﭘﺮﺩﺍﺧﺘﻴﻢ‪ .‬ﺑﺎﻳﺪ ﺑﻪ ﺍﻭ ﻳﺎﺩﺁﻭﺭﻯ ﻣﻰﻛﺮﺩﻡ ﺍﻧﻌﺎﻡ ﺑﺪﻫﺪ‪.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﺭﺍﺳﺘﻰ‪ ،‬ﺍﺳﻢ ﻫﻤﺴﺮ ﺍﺳﻜﺎﺕ ﻓﻴﺘﺰ ﺟﺮﺍﻟﺪ ﭼﻪ ﺑﻮﺩ؟«‬ ‫»ﺯﻟﺪﺍ؟ ﭼﻄﻮﺭ ﻣﮕﺮ؟«‬ ‫ﮔﻔﺘﻢ‪» :‬ﻫﻴﭽﻰ‪«.‬‬ ‫ﺯﻭﺭﺍ‪ .‬ﺯﻭﺭﺍ‪ .‬ﻫﺮ ﭼﻪ‪ .‬ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻳﻢ‪.‬‬

‫‪3‬‬ ‫ﻫﻴﭽﻰ ﻣﺜﻞ ﭼﻴﺰ ﺩﻳﮕﺮ ﻫﻴﭻﻛﺠﺎ ﺍﺗﻔﺎﻕ ﻧﻤﻰﺍﻓﺘﺪ‪.‬‬ ‫ﻛﻤﺎﺑﻴﺶ ﻧﻴﻤﻪ ﺷﺐ ﺑﻮﺩ‪ .‬ﻣﺎ‪ ،‬ﻳﻌﻨﻰ ﻣﻦ ﻭ ﭘﺮﻭﻓﺴﻮﺭ ﺍﻧﺴﺎﻥﺷﻨﺎﺳﻰ ﺩﺭ ﻳﻚ ﺑﺎﺭ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﺑﻮﺭﺑﻮﻥ ﺑﻮﺩﻳﻢ‬ ‫ﻭ ﺍﻭ ﺩﺍﺷﺖ ﺑﺮﺍﻯ ﭼﻨﺪ ﺯﻥ ﻣﻮﻣﺸﻜﻰ ﭘﺸﺖ ﺑﺎﺭ‪ ،‬ﻧﻮﺷﻴﺪﻧﻰ ﻣﻰﺧﺮﻳﺪ‪ .‬ﻧﻮﺷﻴﺪﻧﻰﻫﺎﻯ ﻭﺍﻗﻌﻰ‪ ،‬ﺍﻳﻦﺟﺎ‬ ‫ژﻟﻪ ﺍﻟﻜﻠﻰ ﻧﺪﺍﺷﺘﻨﺪ‪ .‬ﺯﻥﻫﺎ ﺁﻥﻗﺪﺭ ﺷﺒﻴﻪ ﺑﻪ ﻫﻢ ﺑﻮﺩﻧﺪ ﻛﻪ ﺁﺩﻡ ﻓﻜﺮ ﻣﻰﻛﺮﺩ ﺧﻮﺍﻫﺮ ﻫﺴﺘﻨﺪ‪ .‬ﻳﻜﻰﺷﺎﻥ‬ ‫ﺭﻭﺑﺎﻥ ﻗﺮﻣﺰ ﺑﻪ ﻣﻮﻫﺎﻳﺶ ﺑﺴﺘﻪ ﺑﻮﺩ ﻭ ﺩﻳﮕﺮﻯ ﺭﻭﺑﺎﻥ ﺳﻔﻴﺪ‪ .‬ﺍﻧﮕﺎﺭ ﻳﻜﻰ ﺍﺯ ﻧﻘﺎﺷﻰﻫﺎﻯ ﮔﻮﮔﺎﻥ ]‪[10‬‬ ‫ﺑﻮﺩﻧﺪ‪ ،‬ﻓﻘﻂ ﺍﮔﺮ ﻛﺎﺭ ﮔﻮﮔﺎﻥ ﺑﻮﺩﻧﺪ ﺁﻥﻫﺎ ﺭﺍ ﺑﺎ ﺑﺎﻻﺗﻨﻪﻯ ﺑﺮﻫﻨﻪ ﻣﻰﻛﺸﻴﺪ ﻭ ﺍﻟﺒﺘﻪ ﺑﺪﻭﻥ ﮔﻮﺷﻮﺍﺭﻩﻫﺎﻯ‬ ‫‪35‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﮔﻔﺘﻢ‪» :‬ﺭﺍﺳﺘﺶ ﺭﺍ ﺑﮕﻮﻳﻢ ﺧﻴﻠﻰ ﺩﺭ ﭼﺮﺕ ﻭ ﭘﺮﺕ ﺑﺎﻓﻰ ﺧﻮﺏ ﻧﻴﺴﺘﻢ‪«.‬‬ ‫»ﭘﺲ ﺳﺮ ﺗﻜﺎﻥ ﺑﺪﻩ ﻭ ﺑﮕﻮ ﺳﻮﺍﻝ ﻫﻮﺷﻤﻨﺪﺍﻧﻪﺍﻯ ﺍﺳﺖ ﻭ ﺩﺭ ﻧﺴﺨﻪﻯ ﻛﺎﻣﻞﺗﺮ ﻣﻘﺎﻟﻪ ﺑﻪ ﻃﻮﺭ ﻛﺎﻣﻞ‬ ‫ﺷﺮﺡ ﺩﺍﺩﻩ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺍﻳﻦ ﻣﻘﺎﻟﻪ ﻳﻚ ﻧﺴﺨﻪﻯ ﺧﻼﺻﻪ ﻭ ﻭﻳﺮﺍﻳﺶ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﻫﻢ ﻛﺴﻰ‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﭼﻴﺰﻯ ﻛﻪ ﺍﺷﺘﺒﺎﻩ ﻛﺮﺩﻯ ﺧﻴﻠﻰ ﻣﻮﻯ ﺩﻣﺎﻏﺖ ﺷﺪ‪ ،‬ﻓﻘﻂ ﺑﮕﻮ ﻣﻮﺿﻮﻉ ﺍﻳﻦ ﻧﻴﺴﺖ ﻛﻪ ﭼﻪ‬ ‫ﭼﻴﺰﻫﺎﻳﻰ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺭﻳﻢ ﺑﺎﻭﺭ ﻛﻨﻴﻢ‪ ،‬ﺣﻘﻴﻘﺖ ﺑﺎﻻﺗﺮ ﺍﺯ ﺍﻳﻦ ﺣﺮﻑﻫﺎ ﺍﺳﺖ‪«.‬‬ ‫»ﻳﻌﻨﻰ ﻣﻮﺛﺮ ﻭﺍﻗﻊ ﻣﻰﺷﻮﺩ؟«‬ ‫»ﺑﻪ ﺧﺪﺍ ﻗﺴﻢ ﻛﻪ ﺑﻠﻪ‪ .‬ﭼﻨﺪ ﺳﺎﻝ ﭘﻴﺶ ﻣﻘﺎﻟﻪﺍﻯ ﺩﺭﺑﺎﺭﻩﻯ ﺧﺎﺳﺘﮕﺎﻩ ﮔﺮﻭﻩﻫﺎﻯ ﺁﺩﻡﻛﺸﻰ ﺩﺭ‬ ‫ﺩﺳﺘﻪﻫﺎﻯ ﺍﺭﺗﺸﻰ ﺍﻳﺮﺍﻧﻰ ﺍﺭﺍﺋﻪ ﺩﺍﺩﻡ‪ .‬ﻣﺘﻮﺟﻪ ﻫﺴﺘﻰ ﻛﻪ‪ ،‬ﺍﻳﻦ ﻃﻮﺭﻯ ﻣﻰﺗﻮﺍﻧﻰ ﻫﻨﺪﻯﻫﺎ ﻭ ﻣﺴﻠﻤﺎﻥﻫﺎ‬ ‫ﺭﺍ ﺑﻪ ﺻﻮﺭﺕ ﻳﻜﺴﺎﻥ ﺁﺩﻡﻛﺶ ﻧﺸﺎﻥ ﺩﻫﻰ‪ .‬ﺑﻪ ﭘﺮﺳﺘﺶﻛﻨﻨﺪﮔﺎﻥ ﻛﺎﻟﻰ ﺑﻌﺪﺍ ً ﺣﻤﻠﻪ ﺷﺪ‪ .‬ﺁﻥ ﻛﺎﺭ ﻫﻢ‬ ‫ﻣﻨﺠﺮ ﺑﻪ ﺗﺸﻜﻴﻞ ﻳﻚ ﺟﻮﺭ ﻓﺮﻗﻪﻯ ﭘﻨﻬﺎﻧﻰ ﻣﺎﻧﻴﻜﺎﺋﺌﺎﻥ ﻣﻰﺷﺪ‪«...‬‬ ‫»ﻫﻨﻮﺯ ﻫﻢ ﺩﺍﺭﻯ ﭼﺮﻧﺪ ﻣﻰﺑﺎﻓﻰ؟« ﺯﻥ ﻗﺪ ﺑﻠﻨﺪ ﺑﻮﺩ ﻭ ﺭﻧﮓﭘﺮﻳﺪﻩ ﺑﺎ ﻣﻮﻫﺎﻯ ﺳﻔﻴﺪ‪ ،‬ﻟﺒﺎﺱﻫﺎﻳﻰ ﺑﻪ ﺗﻦ‬ ‫ﺩﺍﺷﺖ ﻛﻪ ﺑﻪ ﺷﻜﻠﻰ ﺯﻧﻨﺪﻩ ﻭ ﮔﺴﺘﺎﺧﺎﻧﻪ ﺳﻨﺖﺷﻜﻨﺎﻧﻪ ﺑﻮﺩﻧﺪ ﻭ ﺍﺯ ﺳﻮﻳﻰ ﺑﺮﺍﻯ ﺁﻥ ﺁﺏ ﻭ ﻫﻮﺍ‪ ،‬ﺑﺴﻴﺎﺭ‬ ‫ﮔﺮﻡ‪ .‬ﻣﻰﺗﻮﺍﻧﺴﺘﻢ ﺗﺼﻮﺭﺵ ﻛﻨﻢ ﺳﻮﺍﺭ ﻳﻜﻰ ﺍﺯ ﺁﻥ ﺩﻭﭼﺮﺧﻪﻫﺎ ﺍﺳﺖ ﻛﻪ ﺟﻠﻮﻳﺶ ﺳﺒﺪ ﺩﺍﺭﺩ‪.‬‬ ‫ﻣﺮﺩ ﺍﻧﮕﻠﻴﺴﻰ ﮔﻔﺖ‪» :‬ﭼﺮﻧﺪ ﻣﻰﺑﺎﻓﻢ؟ ﺩﺍﺭﻡ ﺩﺭﺑﺎﺭﻩﺍﺵ ﻛﺘﺎﺏ ﻣﻰﻧﻮﻳﺴﻢ‪ .‬ﺍﻣﺎ‪ ،‬ﻣﻰﺧﻮﺍﻫﻢ ﺑﺪﺍﻧﻢ ﭼﻪ‬ ‫ﻛﺴﻰ ﺑﺎ ﻣﻦ ﺑﻪ ﺑﺎﺭ ﻓﺮﺍﻧﺴﻮﻯ ﻣﻰﺁﻳﺪ ﺗﺎ ﻫﺮ ﺁﻥﭼﻪ ﻧﻴﻮﺍﻭﺭﻟﺌﺎﻥ ﺩﺭ ﭼﻨﺘﻪ ﺩﺍﺭﺩ ﺑﺎ ﻫﻢ ﺑﭽﺸﻴﻢ‪«.‬‬ ‫ﺯﻥ ﺑﺪﻭﻥ ﻟﺒﺨﻨﺪ ﮔﻔﺖ‪» :‬ﻣﻦ ﻣﻰﺁﻳﻢ‪ .‬ﺩﻭﺳﺖ ﺟﺪﻳﺪﺕ ﭼﻪ ﻛﺴﻰ ﺍﺳﺖ؟«‬ ‫»ﺍﻳﺸﺎﻥ ﺟﻜﺴﻮﻥ ﺁﻧﺪﺭﺗﻮﻥ ﺍﺯ ﻛﺎﻟﺞ ﻫﻮپﻭﻝ ﻫﺴﺘﻨﺪ‪«.‬‬ ‫ﺯﻥ ﻟﺒﺨﻨﺪﻯ ﺯﺩ‪» :‬ﻣﻘﺎﻟﻪﻯ ﻣﺮﺑﻮﻁ ﺑﻪ ﺩﺧﺘﺮﻫﺎﻯ‬ ‫ﺯﺍﻣﺒﻰ ﻗﻬﻮﻩﻓﺮﻭﺵ؟ ﺗﻮﻯ ﺑﺮﻧﺎﻣﻪ ﺍﺳﻤﺶ ﺭﺍ ﺩﻳﺪﻡ‪.‬‬ ‫ِ‬ ‫ﺧﻴﻠﻰ ﺟﺎﻟﺐ ﺑﻪ ﻧﻈﺮ ﻣﻰﺁﻳﺪ‪ .‬ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﺁﻥ ﭼﻴﺰﻫﺎ ﻛﻪ ﻣﺪﻳﻮﻥ ﺯﻭﺭﺍ ﻫﺴﺘﻴﻢ‪ ،‬ﻧﻪ؟«‬ ‫ﮔﻔﺘﻢ‪» :‬ﻋﻼﻭﻩ ﺑﺮ ﮔﺘﺴﺒﻰ ﺑﺰﺭگ؟«‬ ‫ﺯﻥ ﺩﻭﭼﺮﺧﻪﺍﻯ ﮔﻔﺖ‪» :‬ﻫﻮﺭﺳﺘﻮﻥ ﺍﺳﻜﺎﺕ ﻓﻴﺘﺰ ﺟﺮﺍﻟﺪ ﺭﺍ ﻣﻰﺷﻨﺎﺧﺘﻪ؟ ﻧﻤﻰﺩﺍﻧﺴﺘﻢ! ﻳﺎﺩﻣﺎﻥ ﺭﻓﺘﻪ‬ ‫ﺩﻧﻴﺎﻯ ﺍﺩﺑﻴﺎﺕ ﻧﻴﻮﻳﻮﺭﻙ ﺁﻥ ﺯﻣﺎﻥﻫﺎ ﭼﻘﺪﺭ ﺑﺴﺘﻪ ﺑﻮﺩ ﻭ ﭼﻄﻮﺭ ﻧﺎﺑﻐﻪﻫﺎ ﺭﺍ ﺑﻪ ﺧﺎﻃﺮ ﺭﻧﮓ ﭘﻮﺳﺘﺸﺎﻥ‬ ‫ﺗﺤﻘﻴﺮ ﻣﻰﻛﺮﺩﻧﺪ‪«.‬‬ ‫ﻣﺮﺩ ﺍﻧﮕﻠﻴﺴﻰ ﻏﺮﻏﺮ ﻛﺮﺩ‪» :‬ﺗﺤﻘﻴﺮ ﻣﻰﻛﺮﺩﻧﺪ؟ ﺭﻧﺞ ﻭ ﻣﺸﻘﺖ ﺑﺴﻴﺎﺭ ﻣﻰﻛﺸﻴﺪﻧﺪ‪ .‬ﺁﻥ ﺯﻥ ﺩﺭ ﻓﻘﺮ ﻭ‬ ‫ﺗﻨﮕﺪﺳﺘﻰ ﺩﺭ ﻓﻠﻮﺭﻳﺪﺍ ُﻣﺮﺩ‪ ،‬ﻧﻈﺎﻓﺘﭽﻰ ﺑﻮﺩ‪ .‬ﻫﻴﭻﻛﺲ ﺍﺯ ﭼﻴﺰﻫﺎﻳﻰ ﻛﻪ ﺍﻭ ﻧﻮﺷﺘﻪ ﺑﻮﺩ ﺧﺒﺮ ﻧﺪﺍﺷﺖ‪ ،‬ﭼﻪ‬ ‫ﺑﺮﺳﺪ ﺑﻪ ﺍﻳﻦ ﻛﻪ ﺑﺎ ﻓﻴﺘﺰﺟﺮﺍﻟﺪ ﺩﺭ ﻧﻮﺷﺘﻦ ﮔﺘﺴﺒﻰ ﺑﺰﺭگ ﻫﻤﻜﺎﺭﻯ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻣﺎﺭﮔﺎﺭﺕ ﺭﻗﺖﺍﻧﮕﻴﺰ‬ ‫ﺍﺳﺖ‪«.‬‬ ‫ﺯﻥ ﻗﺪﺑﻠﻨﺪ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺩﻭﺭ ﻣﻰﺷﺪ ﮔﻔﺖ‪» :‬ﺁﻳﻨﺪﮔﺎﻥ ﺭﺍﻫﻰ ﺑﺮﺍﻯ ﺑﻪ ﺣﺴﺎﺏ ﺁﻭﺭﺩﻥ ﺍﻳﻦ ﭼﻴﺰﻫﺎ ﺩﺍﺭﻧﺪ‪«.‬‬ ‫‪33‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﮔﻔﺘﻢ‪» :‬ﺍﻳﻦ ﺍﻭﻟﻴﻦ ﻛﻨﻔﺮﺍﻧﺴﻰ ﺍﺳﺖ ﻛﻪ ﺷﺮﻛﺖ ﻣﻰﻛﻨﻢ‪«.‬‬ ‫ﮔﻔﺖ‪» :‬ﭘﺲ ﺑﻪ ﻣﻦ ﺑﭽﺴﺐ‪ .‬ﺣﻮﺍﺳﻢ ﺑﻬﺖ ﻫﺴﺖ‪ .‬ﺍﻭﻟﻴﻦ ﻛﻨﻔﺮﺍﻧﺲ ﺧﻮﺩﻡ ﻳﺎﺩﻡ ﻫﺴﺖ‪ ،‬ﻫﻤﻪﺍﺵ‬ ‫ﻣﻰﺗﺮﺳﻴﺪﻡ ﻧﻜﻨﺪ ﻳﻚ ﻛﺎﺭ ﺷﺮﻡﺁﻭﺭﻯ ﺑﻜﻨﻢ‪ .‬ﺩﺭ ﻧﻴﻢﻃﺒﻘﻪ ﺗﻮﻗﻒ ﻣﻰﻛﻨﻴﻢ‪ ،‬ﻭﺳﺎﻳﻠﻤﺎﻥ ﺭﺍ ﻣﻰﮔﻴﺮﻳﻢ‬ ‫ﻭ ﺑﻌﺪ ﺧﻮﺩﻣﺎﻥ ﺭﺍ ﻣﺮﺗﺐ ﻣﻰﻛﻨﻴﻢ‪ .‬ﺑﻪ ﺧﺪﺍ ﻗﺴﻢ ﺗﻮﻯ ﻫﻮﺍﭘﻴﻤﺎﻳﻰ ﻛﻪ ﻣﻦ ﺑﺎﻫﺎﺵ ﺁﻣﺪﻡ‪ ،‬ﺻﺪ ﺗﺎ ﺑﭽﻪ‬ ‫ﺑﻴﺸﺘﺮ ﺑﻮﺩ‪ .‬ﻧﻮﺑﺘﻰ ﺟﻴﻎ ﻣﻰﻛﺸﻴﺪﻧﺪ‪ ،‬ﻛﺜﺎﻓﺖﻛﺎﺭﻯ ﻣﻰﻛﺮﺩﻧﺪ ﻭ ﻏﻴﺮﻩ‪ .‬ﻫﻤﻴﺸﻪ ﻫﻢ ﺣﺪﺍﻗﻞ ﺩﻩ ﺗﺎﻳﺸﺎﻥ‬ ‫ﺑﺎ ﻫﻢ ﺩﺍﺷﺘﻨﺪ ﺟﻴﻎ ﻣﻰﻛﺸﻴﺪﻧﺪ‪«.‬‬ ‫ﺩﺭ ﻧﻴﻢﻃﺒﻘﻪ ﺗﻮﻗﻒ ﻛﺮﺩﻳﻢ‪ ،‬ﻧﺸﺎﻥﻫﺎ ﻭ ﺑﺮﻧﺎﻣﻪﻫﺎﻳﻤﺎﻥ ﺭﺍ ﮔﺮﻓﺘﻴﻢ‪ .‬ﺯﻧﻰ ﻛﻪ ﭘﺸﺖ ﻣﻴﺰ ﺑﻮﺩ ﺑﺎ ﻟﺒﺨﻨﺪ‬ ‫ﮔﻔﺖ‪» :‬ﻳﺎﺩﺗﺎﻥ ﻧﺮﻭﺩ ﺑﺮﺍﻯ ﭘﻴﺎﺩﻩﺭﻭﻯ ﺍﺭﻭﺍﺡ ﺛﺒﺖﻧﺎﻡ ﻛﻨﻴﺪ‪ .‬ﭘﻴﺎﺩﻩﺭﻭﻯ ﺍﺭﻭﺍﺡ ﺩﺭ ﻧﻴﻮﺍﻭﺭﻟﺌﺎﻥ ﻗﺪﻳﻢ‪ ،‬ﻫﺮ‬ ‫ﺷﺐ ﻓﻘﻂ ﭘﺎﻧﺰﺩﻩ ﻧﻔﺮ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺷﺮﻛﺖ ﻛﻨﻨﺪ‪ ،‬ﭘﺲ ﺳﺮﻳﻊ ﺍﺳﻢ ﺑﻨﻮﻳﺴﻴﺪ‪«.‬‬ ‫ﺣﻤﺎﻡ ﻛﺮﺩﻡ ﻭ ﻟﺒﺎﺱﻫﺎﻳﻢ ﺭﺍ ﺩﺭ ﻭﺍﻥ ﺷﺴﺘﻢ‪ ،‬ﺑﻌﺪ ﺁﻥﻫﺎ ﺭﺍ ﺩﺭ ﺣﻤﺎﻡ ﺁﻭﻳﺰﺍﻥ ﻛﺮﺩﻡ ﻛﻪ ﺧﺸﻚ ﺷﻮﻧﺪ‪.‬‬ ‫ﺑﺪﻭﻥ ﻟﺒﺎﺱ ﺭﻭﻯ ﺗﺨﺖ ﻧﺸﺴﺘﻢ ﻭ ﻛﺎﻏﺬﻫﺎﻳﻰ ﺭﺍ ﻛﻪ ﺩﺭ ﺳﺎﻙﺩﺳﺘﻰ ﺁﻧﺪﺭﺗﻮﻥ ﺑﻮﺩﻧﺪ ﺑﺮﺭﺳﻰ ﻛﺮﺩﻡ‪.‬‬ ‫ﻧﮕﺎﻫﻰ ﺑﻪ ﻣﻘﺎﻟﻪﺍﻯ ﻛﻪ ﺍﻭ ﻗﺼﺪ ﺩﺍﺷﺖ ﺍﺭﺍﺋﻪ ﺩﻫﺪ ﺍﻧﺪﺍﺧﺘﻢ‪ ،‬ﻭﻟﻰ ﺑﻪ ﻣﺤﺘﻮﺍﻳﺶ ﺩﻗﺖ ﻧﻜﺮﺩﻡ‪.‬‬ ‫ﭘﺸﺖ ﺻﻔﺤﻪﻯ ﭘﻨﺞ ﺑﺎ ﺩﺳﺖﺧﻄﻰ ﺧﺮﭼﻨﮓ ﻗﻮﺭﺑﺎﻏﻪ ﺍﻣﺎ ﻛﻤﺎﺑﻴﺶ ﺧﻮﺍﻧﺎ ﻧﻮﺷﺘﻪ ﺑﻮﺩ ﺩﺭ ﻳﻚ ﺩﻧﻴﺎﻯ‬ ‫ﺑﻰﻧﻘﺺ ﻣﻰﺗﻮﺍﻧﻰ ﺑﺎ ﻣﺮﺩﻡ ﻋﺸﻖ ﻭ ﺣﺎﻝ ﻛﻨﻰ‪ ،‬ﺑﻰ ﺁﻥ ﻛﻪ ﻣﺠﺒﻮﺭ ﺑﺎﺷﻰ ﻳﻚ ﺗﻜﻪ ﺍﺯ ﻗﻠﺒﺖ ﺭﺍ ﺑﻪ ﺁﻥﻫﺎ‬ ‫ﺑﺪﻫﻰ‪ .‬ﻭ ﻫﺮ ﺑﻮﺳﻪ ﻭ ﻫﺮ ﻟﻤﺲ ﺑﺪﻥ‪ ،‬ﻳﻚ ﺗﻜﻪﻯ ﺩﻳﮕﺮ ﺍﺯ ﻗﻠﺒﺖ ﺍﺳﺖ ﻛﻪ ﻫﺮﮔﺰ ﻧﺨﻮﺍﻫﻰ ﺩﻳﺪ‪ .‬ﺗﺎ ﺯﻣﺎﻧﻰ‬ ‫ﻛﻪ ﺑﻪ ﺍﺧﺘﻴﺎﺭ ﺧﻮﺩﺕ ﺭﺍﻩ ﺭﻓﺘﻦ )ﺑﻴﺪﺍﺭ ﺷﺪﻥ؟ ﻓﺮﺍﺧﻮﺍﻧﺪﻩ ﺷﺪﻥ؟( ﻧﺎﻣﻤﻜﻦ ﺷﻮﺩ‪.‬‬ ‫ﻭﻗﺘﻰ ﻟﺒﺎﺱﻫﺎﻳﻢ ﺧﺸﻚ ﺷﺪﻧﺪ ﺁﻥﻫﺎ ﺭﺍ ﭘﻮﺷﻴﺪﻡ ﻭ ﺑﻪ ﻻﺑﻰ ﺭﻓﺘﻢ‪ .‬ﻛﻤﺒﻞ ﺯﻭﺩﺗﺮ ﺭﺳﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺩﺍﺷﺖ‬ ‫ﺟﻴﻦ ﻭ ﺗﻮﻧﻴﻚ ﻣﻰﻧﻮﺷﻴﺪ ﻭ ﻳﻚ ﺟﻴﻦ ﻭ ﺗﻮﻧﻴﻚ ﻫﻢ ﺑﻐﻞ ﺩﺳﺘﺶ ﺑﻮﺩ‪.‬‬ ‫ﻳﻚ ﻧﺴﺨﻪ ﺍﺯ ﺑﺮﻧﺎﻣﻪﻯ ﻛﻨﻔﺮﺍﻧﺲ ﻛﻨﺎﺭ ﺩﺳﺘﺶ ﺑﻮﺩ ﻭ ﻛﻨﺎﺭ ﺳﺨﻨﺮﺍﻧﻰﻫﺎ ﻭ ﻣﻘﺎﻟﻪﻫﺎﻳﻰ ﻛﻪ ﻣﻰﺧﻮﺍﺳﺖ‬ ‫ﺩﺭ ﺁﻥﻫﺎ ﺷﺮﻛﺖ ﻛﻨﺪ‪ ،‬ﺩﺍﻳﺮﻩ ﻛﺸﻴﺪﻩ ﺑﻮﺩ‪ .‬ﮔﻔﺖ‪» :‬ﻗﺎﻧﻮﻥ ﺷﻤﺎﺭﻩﻯ ﻳﻚ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﮔﺮ ﺑﺮﻧﺎﻣﻪﺍﻯ‬ ‫ﭘﻴﺶ ﺍﺯ ﻇﻬﺮ ﺍﺳﺖ‪ ،‬ﺑﻬﺘﺮ ﺍﺳﺖ ﺑﺮﻭﺩ ﺑﻪ ﺟﻬﻨﻢ‪ ،‬ﻣﮕﺮ ﺍﻳﻦ ﻛﻪ ﺑﺮﻧﺎﻣﻪﻯ ﺧﻮﺩﺕ ﺑﺎﺷﺪ‪ «.‬ﻭ ﺳﺨﻨﺮﺍﻧﻰ ﻣﻦ‬ ‫ﺭﺍ ﻧﺸﺎﻧﻢ ﺩﺍﺩ ﻛﻪ ﺩﻭﺭﺵ ﺩﺍﻳﺮﻩ ﻛﺸﻴﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺑﻪ ﺍﻭ ﮔﻔﺘﻢ‪» :‬ﻣﻦ ﻗﺒ ً‬ ‫ﻼ ﺩﺭ ﻳﻚ ﻛﻨﻔﺮﺍﻧﺲ ﺳﺨﻨﺮﺍﻧﻰ ﻧﻜﺮﺩﻩﺍﻡ‪«.‬‬ ‫ﮔﻔﺖ‪» :‬ﺟﻜﺴﻮﻥ ﺍﻳﻦ ﻛﺎﺭ ﺍﻓﺘﻀﺎﺣﻪ‪ .‬ﺍﻓﺘﻀﺎﺡ‪ ،‬ﻣﻰﺩﺍﻧﻰ ﻛﻪ ﭼﻪ ﻣﻰﮔﻮﻳﻢ؟«‬ ‫ﮔﻔﺘﻢ‪» :‬ﻧﻪ‪«.‬‬ ‫ﮔﻔﺖ‪» :‬ﻣﻦ ﻣﻰﺭﻭﻡ ﻭ ﺍﺯ ﺭﻭﻯ ﻣﻘﺎﻟﻪ ﻣﻰﺧﻮﺍﻧﻢ‪ ،‬ﺑﻌﺪ ﻣﺮﺩﻡ ﺳﻮﺍﻝ ﻣﻰﭘﺮﺳﻨﺪ ﻭ ﻣﻦ ﻫﻢ ﭼﺮﺕ ﻭ ﭘﺮﺕ‪،‬‬ ‫ﭼﺮﺕ ﻭ ﭘﺮﺕ ﻭﺍﻗﻌﻰ ﭘﺎﺳﺦ ﻣﻰﺩﻫﻢ‪ ،‬ﻓﻘﻂ ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﻪ ﻛﺎﺭﻯ ﻛﺮﺩﻩ ﺑﺎﺷﻢ‪ .‬ﺍﻳﻦ ﺑﻬﺘﺮﻳﻦ ﻛﺎﺭﻯ ﺍﺳﺖ‬ ‫ﻛﻪ ﻣﻰﺷﻮﺩ ﻛﺮﺩ‪ .‬ﭼﺮﺕ ﻭ ﭘﺮﺕ ﮔﻮﻳﻰ‪ .‬ﻛﻠﺶ ﻛﺜﺎﻓﺖﻛﺎﺭﻯ ﺍﺳﺖ‪«.‬‬ ‫‪32‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫‪2‬‬ ‫ﺯﺑﺎﻥ ﻣﻦ ﺭﺍ ﺑﻪ ﺍﻳﻦﺟﺎ ﺁﻭﺭﺩ‪.‬‬ ‫ﺩﺭ ﻧﻴﻮﺍﻭﺭﻟﺌﺎﻥ ﻳﺎ ﺍﻃﺮﺍﻓﺶ ﻫﻴﭻ ﻫﺘﻠﻰ ﺍﺗﺎﻕ ﺧﺎﻟﻰ ﻧﺪﺍﺷﺖ‪ .‬ﻳﻚ ﻓﺴﺘﻴﻮﺍﻝ ﺟﺎﺯ ﺑﺮﭘﺎ ﺑﻮﺩ ﻭ ﻫﻤﻪﻯ ﺍﺗﺎﻕﻫﺎ‬ ‫ﺭﺍ ﮔﺮﻓﺘﻪ ﺑﻮﺩﻧﺪ‪ ،‬ﻫﻤﻪﺷﺎﻥ ﺭﺍ‪ .‬ﻫﻮﺍ ﮔﺮﻡﺗﺮ ﺍﺯ ﺁﻥ ﺑﻮﺩ ﻛﻪ ﺑﺸﻮﺩ ﺗﻮﻯ ﻣﺎﺷﻴﻦ ﺧﻮﺍﺑﻴﺪ ﻭ ﺣﺘﺎ ﺍﮔﺮ ﻳﻚ‬ ‫ﭘﻨﺠﺮﻩ ﺭﺍ ﻛﻤﻰ ﺑﺎﺯ ﻣﻰﻛﺮﺩﻡ ﻭ ﺣﺎﺿﺮ ﻣﻰﺷﺪﻡ ﺭﻧﺞ ﮔﺮﻣﺎ ﺭﺍ ﺗﺤﻤﻞ ﻛﻨﻢ‪ ،‬ﺁﻥﻭﻗﺖ ﺍﺣﺴﺎﺱ ﺍﻣﻨﻴﺖ‬ ‫ﻧﺪﺍﺷﺘﻢ‪ .‬ﻧﻴﻮﺍﻭﺭﻟﺌﺎﻥ ﻳﻚ ﻣﻜﺎﻥ ﻭﺍﻗﻌﻰ ﺍﺳﺖ‪ ،‬ﻭﺍﻗﻌﻰﺗﺮ ﺍﺯ ﺗﻤﺎﻡ ﺷﻬﺮﻫﺎﻳﻰ ﻛﻪ ﻣﻦ ﺩﺭ ﺁﻥﻫﺎ ﺯﻧﺪﮔﻰ‬ ‫ﻛﺮﺩﻩﺍﻡ‪ ،‬ﺍﻣﺎ ﻣﻜﺎﻥ ﺍﻣﻨﻰ ﻧﻴﺴﺖ‪ ،‬ﺩﻭﺳﺘﺎﻧﻪ ﻫﻢ ﻧﻴﺴﺖ‪.‬‬ ‫ﺑﻮﻯ ﺑﺪ ﻣﻰﺩﺍﺩﻡ ﻭ ﺗﻨﻢ ﻣﻰﺧﺎﺭﻳﺪ‪ .‬ﻣﻰﺧﻮﺍﺳﺘﻢ ﺣﻤﺎﻡ ﻛﻨﻢ ﻭ ﺑﺨﻮﺍﺑﻢ‪ ،‬ﺩﻟﻢ ﻣﻰﺧﻮﺍﺳﺖ ﺩﻧﻴﺎ ﺩﺳﺖ ﺍﺯ‬ ‫ﺣﺮﻛﺖ ﺑﺮﺩﺍﺭﺩ‪.‬‬ ‫ﺍﺯ ﻳﻚ ﻣﺴﺎﻓﺮﺧﺎﻧﻪﻯ ﺑﻴﻦ ﺭﺍﻫﻰ ﺑﻪ ﻳﻜﻰ ﺩﻳﮕﺮ ﻣﻰﺭﻓﺘﻢ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﻓﻜﺮﺵ ﺭﺍ ﻛﺮﺩﻩ‬ ‫ﺑﻮﺩﻡ‪ ،‬ﺑﻪ ﭘﺎﺭﻛﻴﻨﮓ ﻳﻚ ﻣﺴﺎﻓﺮﺧﺎﻧﻪﻯ ﭘﺎﻳﻴﻦﺷﻬﺮﻯ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﻛﺎﻧﺎﻝ ﺭﻓﺘﻢ‪ .‬ﻣﻰﺩﺍﻧﺴﺘﻢ ﻳﻚ ﺍﺗﺎﻕ‬ ‫ﺧﺎﻟﻰ ﺩﺍﺭﻧﺪ‪ .‬ﻗﺒﻀﺶ ﺭﺍ ﺩﺭ ﭘﻮﺷﻪﻯ ﻣﻘﺎﻟﻪ ﺩﺍﺷﺘﻢ‪.‬‬ ‫ﺑﻪ ﻳﻜﻰ ﺍﺯ ﺯﻥﻫﺎﻯ ﭘﺸﺖ ﭘﻴﺸﺨﻮﺍﻥ ﮔﻔﺘﻢ‪» :‬ﻳﻚ ﺍﺗﺎﻕ ﻣﻰﺧﻮﺍﻫﻢ‪«.‬‬ ‫ﺣﺘﺎ ﻧﮕﺎﻫﻢ ﻫﻢ ﻧﻜﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﺗﻤﺎﻡ ﺍﺗﺎﻕﻫﺎ ﺭﺯﺭﻭ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺗﺎ ﺳﻪﺷﻨﺒﻪ ﺟﺎﻯ ﺧﺎﻟﻰ ﻧﺪﺍﺭﻳﻢ‪«.‬‬ ‫ﻧﻴﺎﺯ ﺑﻪ ﺍﺳﺘﺮﺍﺣﺖ‪ ،‬ﺣﻤﺎﻡ ﻭ ﺍﺻﻼﺡ ﺩﺍﺷﺘﻢ‪ .‬ﺑﺎ ﺧﻮﺩﻡ ﻓﻜﺮ ﻛﺮﺩﻡ ﺑﺪﺗﺮﻳﻦ ﭼﻴﺰﻯ ﻛﻪ ﻣﻰﺗﻮﺍﻧﺪ ﺑﮕﻮﻳﺪ‬ ‫ﭼﻴﺴﺖ؟ ﺑﺒﺨﺸﻴﺪ ﻭﻟﻰ ﺷﻤﺎ ﻗﺒ ً‬ ‫ﻼ ﺍﺗﺎﻗﺘﺎﻥ ﺭﺍ ﮔﺮﻓﺘﻪﺍﻳﺪ؟‬ ‫»ﻣﻦ ﻳﻚ ﺍﺗﺎﻕ ﺭﺯﺭﻭ ﻛﺮﺩﻡ‪ .‬ﺩﺍﻧﺸﮕﺎﻩ ﻣﺒﻠﻎ ﺭﺍ ﭘﺮﺩﺍﺧﺘﻪ‪ .‬ﺑﻪ ﺍﺳﻢ ﺁﻧﺪﺭﺗﻮﻥ ﺍﺳﺖ‪«.‬‬ ‫ﺳﺮﻯ ﺗﻜﺎﻥ ﺩﺍﺩ ﻭ ﺭﻭﻯ ﻳﻚ ﻛﻴﺒﻮﺭﺩ ﺗﺎﻳﭗ ﻛﺮﺩ‪ ،‬ﭘﺮﺳﻴﺪ‪» :‬ﺟﻜﺴﻮﻥ؟« ﺑﻌﺪ ﻛﻠﻴﺪ ﺍﺗﺎﻕ ﺭﺍ ﺑﻪ ﻣﻦ ﺩﺍﺩ ﻭ‬ ‫ﻣﻦ ﻣﺒﻠﻎ ﺍﻭﻟﻴﻪﻯ ﺍﺗﺎﻕ ﺭﺍ ﭘﺮﺩﺍﺧﺘﻢ‪ .‬ﺑﻪ ﺳﻮﻯ ﺁﺳﺎﻧﺴﻮﺭ ﺍﺷﺎﺭﻩ ﻛﺮﺩ‪.‬‬ ‫ﺩﺭ ﻫﻤﺎﻥ ﺣﺎﻝ ﻛﻪ ﻛﻨﺎﺭ ﺁﺳﺎﻧﺴﻮﺭ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩﻳﻢ‪ ،‬ﻣﺮﺩﻯ ﻛﻮﺗﺎﻩ ﺑﺎ ﻣﻮﻫﺎﻯ ﺩﻡ ﺍﺳﺒﻰ‪ ،‬ﺻﻮﺭﺕ ﻋﻘﺎﺑﻰ‬ ‫ﻭ ﺗﻪﺭﻳﺸﻰ ﺯﺑﺮ‪ ،‬ﮔﻠﻮﻳﺶ ﺭﺍ ﺻﺎﻑ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﺗﻮ ﺁﻧﺪﺭﺗﻮﻥ ﺍﺯ ﻫﻮﭘﻮﻝ ]‪ [7‬ﻫﺴﺘﻰ‪ .‬ﺩﺭ ﻧﺸﺮﻳﻪﻯ‬ ‫ﻛﺞﺭﻭﻯﻫﺎﻯ ﺍﻧﺴﺎﻥﺷﻨﺎﺳﻰ ﻣﺎ ﻫﻤﺴﺎﻳﻪ ﺑﻮﺩﻳﻢ‪ «.‬ﺗﻰﺷﺮﺗﻰ ﺳﻔﻴﺪ ﺑﻪ ﺗﻦ ﺩﺍﺷﺖ ﻛﻪ ﺭﻭﻳﺶ ﻧﻮﺷﺘﻪ ﺑﻮﺩ‪:‬‬ ‫»ﺍﻧﺴﺎﻥﺷﻨﺎﺱﻫﺎ ﻭﻗﺘﻰ ﺑﻬﺸﺎﻥ ﺩﺭﻭﻍ ﻣﻰﮔﻮﻳﻨﺪ‪ ،‬ﻛﺎﺭﺷﺎﻥ ﺭﺍ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﻨﺪ‪«.‬‬ ‫»ﻭﺍﻗﻌﺎً؟«‬ ‫»ﺑﻠﻪ ﻭﺍﻗﻌﺎً‪ .‬ﻣﻦ ﻛﻤﺒﻞ ﻻﺥ ﻫﺴﺘﻢ ]‪ [8‬ﺍﺯ ﺩﺍﻧﺸﮕﺎﻩ ﻧﻮﺭﻭﻭﺩ ﻭ ﺍﺳﺘﺮﻳﺘﺎﻡ ]‪ .[9‬ﭘﻴﺶﺗﺮ ﺩﺭ ﭘﻠﻰﺗﻜﻨﻴﻚ‬ ‫ﻛﺮﻭﻳﺪﻭﻥ ﺷﻤﺎﻟﻰ ﺑﻮﺩﻡ‪ ،‬ﺩﺭ ﺍﻧﮕﻠﺴﺘﺎﻥ‪ .‬ﻣﻘﺎﻟﻪﺍﻯ ﺩﺭﺑﺎﺭﻩﻯ ﺍﺭﻭﺍﺡ ﻣﺘﺤﺮﻙ ﺍﻳﺴﻠﻨﺪﻯ ﻧﻮﺷﺘﻢ‪«.‬‬ ‫ﮔﻔﺘﻢ‪»:‬ﺍﺯ ﺁﺷﻨﺎﻳﻰ ﺑﺎ ﺷﻤﺎ ﺧﻮﺵﻭﻗﺘﻢ‪ «.‬ﻭ ﺩﺳﺘﺶ ﺭﺍ ﻓﺸﺮﺩﻡ‪» .‬ﻟﻬﺠﻪﻯ ﻟﻨﺪﻧﻰ ﻧﺪﺍﺭﻳﺪ‪«.‬‬ ‫ﮔﻔﺖ‪» :‬ﻣﻦ ﺍﻫﻞ ﺑﻴﺮﻣﻨﮕﺎﻡ ﻫﺴﺘﻢ‪ .‬ﻗﺒ ً‬ ‫ﻼ ﻫﻴﭻﻭﻗﺖ ﺩﺭ ﻳﻜﻰ ﺍﺯ ﺍﻳﻦ ﻛﻨﻔﺮﺍﻧﺲﻫﺎ ﻧﺪﻳﺪﻩ ﺑﻮﺩﻣﺘﺎﻥ‪«.‬‬ ‫‪31‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺧﻮﺩﺕ ﻣﻰﺩﺍﻧﻰ‪ ،‬ﺍﻭ ﺭﺍ ﭼﺮﺧﺎﻧﺪﻯ ﻭ ﺁﻥﻫﻤﻪ ﭼﻴﺰ ﺍﺯ ﺩﻣﺎﻏﺶ ﺑﻴﺮﻭﻥ ﺭﻳﺨﺖ‪ ،‬ﺍﺯ ﺧﻨﺪﻩ ﺩﺍﺷﺘﻢ ﻣﻨﻔﺠﺮ‬ ‫ﻣﻰﺷﺪﻡ‪...‬‬ ‫ﺍﮔﺮ ﺍﻣﺸﺐ ﺑﻪ ﺧﺎﻧﻪ ﺑﺎﺯﮔﺮﺩﻯ‪ ،‬ﻣﻦ ﺩﺭ ﺗﺎﺭﻳﻜﻰ ﺑﺎ ﺑﻄﺮﻯ ﻭ ﺗﻔﻨﮕﻢ ﺍﻧﺘﻈﺎﺭ ﺯﻧﻢ ﺭﺍ ﺧﻮﺍﻫﻢ ﻛﺸﻴﺪ‪..‬‬ ‫ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﻋﻴﺴﻰ ﻣﻰﮔﻮﻳﺪ ﺁﻥﺟﺎ ﺧﻮﺍﻫﻰ ﺑﻮﺩ‪ ،‬ﺁﻳﺎ ﺁﻥﺟﺎ ﺣﺎﺿﺮ ﺧﻮﺍﻫﻰ ﺷﺪ؟ ﻫﻴﭻ ﺍﻧﺴﺎﻧﻰ ﺭﻭﺯ ﻭ‬ ‫ﺳﺎﻋﺘﺶ ﺭﺍ ﻧﻤﻰﺩﺍﻧﺪ‪ ،‬ﺍﻣﺎ ﺁﻥﺟﺎ ﺧﻮﺍﻫﻰ ﺑﻮﺩ‪...‬‬ ‫ﺍﻣﺮﻭﺯ ﺭﻳﻴﺲﺟﻤﻬﻮﺭ ﺍﺯ ﻳﻚ ﻋﻤﻠﻴﺎﺕ ﭘﺮﺩﻩﺑﺮﺩﺍﺭﻯ ﻛﺮﺩ‪...‬‬ ‫ﺩﻡﺷﺪﻩﻯ ﺗﺎﺯﻩ ﺩﺭ ﺻﺒﺢ‪ .‬ﺑﺮﺍﻯ ﺗﻮ‪ ،‬ﺑﺮﺍﻯ ﻣﻦ‪ ،‬ﺑﺮﺍﻯ ﻫﺮ ﺭﻭﺯ‪ .‬ﭼﻮﻥ ﻫﺮ ﺭﻭﺯ ﻳﻚ ﺁﻏﺎﺯ ﺗﺎﺯﻩ ﺍﺳﺖ‪«...‬‬ ‫ﺩﻭﺑﺎﺭﻩ ﻭ ﺩﻭﺑﺎﺭﻩ‪ ،‬ﺻﺪﺍﻫﺎ ﻣﻦ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﻏﺮﻕ ﻛﺮﺩﻧﺪ‪ ،‬ﺩﺭ ﻃﻮﻝ ﺭﻭﺯ ﺩﺭ ﺟﺎﺩﻩﻫﺎﻯ ﺍﻧﺤﺮﺍﻓﻰ ﻣﻰﺭﺍﻧﺪﻡ‪.‬‬ ‫ﻓﻘﻂ ﻭ ﻓﻘﻂ ﺭﺍﻧﻨﺪﮔﻰ ﻣﻰﻛﺮﺩﻡ‪ .‬ﺑﻪ ﻃﺮﻑ ﺟﻨﻮﺏ ﻛﻪ ﻣﻰﺭﻭﻯ‪ ،‬ﻣﺮﺩﻡ ﺟﺎﻟﺐﺗﺮ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺗﻮﻯ ﻳﻚ‬ ‫ﻏﺬﺍﺧﻮﺭﻯ ﻣﻰﻧﺸﻴﻨﻰ ﻭ ﻫﻤﺮﺍﻩ ﻗﻬﻮﻩ ﻭ ﻏﺬﺍﻳﺖ‪ ،‬ﺑﺮﺍﻳﺖ ﺳﻮﺍﻝ ﻭ ﻟﺒﺨﻨﺪ ﻭ ﺍﻇﻬﺎﺭﻧﻈﺮ ﻫﻢ ﻣﻰﺁﻭﺭﻧﺪ ﻭ‬ ‫ﺳﺮ ﺗﻜﺎﻥ ﻣﻰﺩﻫﻨﺪ‪.‬‬ ‫ﻋﺼﺮ ﺑﻮﺩ‪ ،‬ﺟﻮﺟﻪﺳﻮﺧﺎﺭﻯ ﻣﻰﺧﻮﺭﺩﻡ ﺑﺎ ﻛﻠﻢﭘﻴﭻ ﻭ ﻧﺎﮔﺖ ﺫﺭﺕ‪ ،‬ﻳﻚ ﺧﺪﻣﺘﻜﺎﺭ ﻫﻢ ﺑﻪ ﻣﻦ ﻟﺒﺨﻨﺪ‬ ‫ﻣﻰﺯﺩ‪ .‬ﻏﺬﺍ ﺑﻪ ﻧﻈﺮﻡ ﺑﻰﻣﺰﻩ ﺑﻮﺩ‪ ،‬ﻭﻟﻰ ﺣﺪﺱ ﺯﺩﻡ ﺍﻳﻦ ﺑﺎﻳﺪ ﻣﺸﻜﻞ ﻣﻦ ﺑﺎﺷﺪ ﻧﻪ ﺁﻥﻫﺎ‪.‬‬ ‫ﻣﻮﺩﺑﺎﻧﻪ ﺳﺮﻯ ﺑﺮﺍﻳﺶ ﺗﻜﺎﻥ ﺩﺍﺩﻡ ﻭ ﺍﻭ ﮔﻤﺎﻥ ﻛﺮﺩ ﻣﻨﻈﻮﺭﻡ ﺍﻳﻦ ﺑﻮﺩﻩ ﻛﻪ ﺑﻴﺎﻳﺪ ﻭ ﺑﺮﺍﻳﻢ ﻗﻬﻮﻩ ﺑﺮﻳﺰﺩ‪.‬‬ ‫ﻗﻬﻮﻩ ﺗﻠﺦ ﺑﻮﺩ ﻛﻪ ﻣﻦ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻢ‪ .‬ﺣﺪﺍﻗﻞ ﺍﻳﻦ ﻛﻪ ﻣﺰﻩﻯ ﻳﻚ ﭼﻴﺰﻯ ﻣﻰﺩﺍﺩ‪.‬‬ ‫ﮔﻔﺖ‪» :‬ﺑﺎ ﻗﻀﺎﻭﺕ ﺍﺯ ﺭﻭﻯ ﻇﺎﻫﺮ ﺑﺎﻳﺪ ﺑﮕﻮﻳﻢ ﻳﻚ ﺁﺩﻡ ﺣﺮﻓﻪﺍﻯ ﻫﺴﺘﻰ‪ .‬ﻣﻰﺷﻮﺩ ﺑﭙﺮﺳﻢ ﺷﻐﻞ ﺷﻤﺎ‬ ‫ﭼﻴﺴﺖ؟«‬ ‫ﺍﻳﻦ ﺩﻗﻴﻘﺎً ﻫﻤﺎﻥ ﭼﻴﺰﻯ ﺑﻮﺩ ﻛﻪ ﮔﻔﺖ‪ ،‬ﻛﻠﻤﻪ ﺑﻪ ﻛﻠﻤﻪ‪.‬‬ ‫ﺍﺣﺴﺎﺱ ﻣﻰﻛﺮﺩﻡ ﭼﻴﺰﻯ ﺗﺴﺨﻴﺮﻡ ﻛﺮﺩﻩ‪ ،‬ﭼﻴﺰﻯ ﻣﻬﺮﺑﺎﻥ ﻭ ﺑﺎﺷﻜﻮﻩ ﻣﺜﻞ ﺩﺑﻠﻴﻮ‪ .‬ﺳﻰ‪ .‬ﻓﻴﻠﺪﺯ ]‪ [6‬ﻳﺎ‬ ‫ﭘﺮﻭﻓﺴﻮﺭ ﺩﻳﻮﺍﻧﻪ )ﺟﺮﻯ ﻟﻮﻳﻴﺲ ﻧﻪ‪ ،‬ﺁﻥ ﻳﻜﻰ ﻛﻪ ﭼﺎﻕ ﺑﻮﺩ ﻭ ﺩﺭ ﻭﺍﻗﻊ ﻭﺯﻥ ﻣﻦ ﺑﺮﺍﻯ ﻗﺪﻡ ﻣﻨﺎﺳﺐ‬ ‫ﺍﺳﺖ‪ (.‬ﮔﻔﺘﻢ‪» :‬ﺍﻟﺒﺘﻪ ﻛﻪ ﻣﻰﺗﻮﺍﻧﻰ‪ .‬ﻣﻦ‪ ...‬ﻳﻚ ﺍﻧﺴﺎﻥﺷﻨﺎﺱ ﻫﺴﺘﻢ‪ .‬ﺩﺍﺭﻡ ﺑﻪ ﻧﻴﻮﺍﻭﺭﻟﺌﺎﻥ ﻣﻰﺭﻭﻡ ﻛﻪ ﺑﺎ‬ ‫ﻫﻤﻜﺎﺭﺍﻧﻢ ﻣﺸﺎﻭﺭﻩ ﻭ ﮔﻔﺘﮕﻮ ﻭ ﺻﺤﺒﺖ ﻛﻨﻴﻢ‪«.‬‬ ‫ﮔﻔﺖ‪» :‬ﻣﻰﺩﺍﻧﺴﺘﻢ‪ .‬ﺍﺯ ﻇﺎﻫﺮﺗﺎﻥ ﻣﻌﻠﻮﻡ ﺍﺳﺖ‪ .‬ﺣﺪﺱ ﻣﻰﺯﺩﻡ ﭘﺮﻭﻓﺴﻮﺭ ﺑﺎﺷﻴﺪ‪ .‬ﻳﺎ ﺩﻧﺪﺍﻥﭘﺰﺷﻚ‪ ،‬ﻳﺎ‬ ‫ﭼﻴﺰﻯ ﺷﺒﻴﻪ ﺑﻪ ﺁﻥ‪«.‬‬ ‫ﻳﻚ ﺑﺎﺭ ﺩﻳﮕﺮ ﺑﻪ ﻣﻦ ﻟﺒﺨﻨﺪ ﺯﺩ‪ .‬ﺑﻪ ﻣﺎﻧﺪﮔﺎﺭ ﺷﺪﻥ ﺩﺭ ﺁﻥ ﺷﻬﺮ ﻛﻮﭼﻚ ﻓﻜﺮ ﻛﺮﺩﻡ ﻭ ﺍﻳﻦ ﻛﻪ ﻫﺮ ﺻﺒﺢ‬ ‫ﻭ ﺷﺐ ﺩﺭ ﺁﻥ ﻏﺬﺍﺧﻮﺭﻯ‪ ،‬ﻏﺬﺍ ﺑﺨﻮﺭﻡ‪ .‬ﻗﻬﻮﻩﻯ ﺗﻠﺨﺸﺎﻥ ﺭﺍ ﺑﺨﻮﺭﻡ ﻭ ﺍﻭ ﺑﻪ ﻣﻦ ﻟﺒﺨﻨﺪ ﺑﺰﻧﺪ ﺗﺎ ﺍﻳﻦ ﻛﻪ‬ ‫ﻗﻬﻮﻩ ﻭ ﭘﻮﻝ ﻭ ﺭﻭﺯﮔﺎﺭﻡ ﺑﻪ ﺳﺮ ﺑﺮﺳﺪ‪.‬‬ ‫ﺑﻌﺪ ﻳﻚ ﺍﻧﻌﺎﻡ ﺧﻮﺏ ﺑﺮﺍﻳﺶ ﮔﺬﺍﺷﺘﻢ ﻭ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺳﻮﻯ ﺟﻨﻮﺏ ﻭ ﻏﺮﺏ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻡ‪.‬‬ ‫‪30‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺟﺮﺍﺛﻘﻴﻞ ﺭﺍ ﺳﺮﮔﺮﻡ ﻣﻰﻛﻨﻢ‪ .‬ﭘﻨﺞ ﺩﻗﻴﻘﻪ ﺑﻴﺸﺘﺮ ﺑﺮﺍﻳﺖ ﻃﻮﻝ ﻧﻤﻰﻛﺸﺪ‪ «.‬ﺍﺣﺘﻤﺎﻻً ﻣﺘﻮﺟﻪ ﺣﺎﻟﺖ‬ ‫ﭼﻬﺮﻩﻯ ﻣﻦ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﭼﻮﻥ ﮔﻔﺖ‪» :‬ﻳﺎﺩﺕ ﺑﺎﺷﺪ ﺁﺩﻡﻫﺎ ﺑﻪ ﺩﻟﻴﻞ ﺧﺎﺻﻰ ﻭﺍﺭﺩ ﺯﻧﺪﮔﻰﺍﺕ ﻣﻰﺷﻮﻧﺪ‪«.‬‬ ‫ﺷﺎﻧﻪﺍﻯ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺘﻢ‪ ،‬ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻭﺍﺭﺩ ﺩﺍﺳﺘﺎﻥ ﺯﻧﺪﮔﻰ ﻛﺲ ﺩﻳﮕﺮﻯ ﺷﺪﻩ ﺑﻮﺩﻡ‪ ،‬ﻋﺼﺒﺎﻧﻰ ﺑﻮﺩﻡ‪.‬‬ ‫ﺑﻌﺪ ﺩﺭ ﻣﺎﺷﻴﻦ ﺭﺍ ﺑﺴﺖ ﻭ ﻋﻼﻣﺖ ﭘﻴﺮﻭﺯﻯ ﺑﻪ ﻣﻦ ﻧﺸﺎﻥ ﺩﺍﺩ‪.‬‬ ‫ﺁﺭﺯﻭ ﻛﺮﺩﻡ ﻛﺎﺵ ﻣﻰﺷﺪ ﺑﮕﺬﺍﺭﻡ ﻭ ﺑﺮﻭﻡ‪ ،‬ﺍﻣﺎ ﺩﻳﮕﺮ ﺩﻳﺮ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺩﺍﺷﺘﻢ ﺑﻪ ﺳﻮﻯ ﻣﺴﺎﻓﺮﺧﺎﻧﻪ ﺑﺎﺯ‬ ‫ﻣﻰﮔﺸﺘﻢ‪ .‬ﻣﺴﺌﻮﻝ ﭘﺬﻳﺮﺵ ﺷﻴﻔﺖ ﺷﺐ ﻛﻴﻒ ﺭﺍ ﻛﻪ ﺭﻭﻯ ﭘﻴﺸﺨﻮﺍﻥ ﺟﺎ ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﻪ ﻣﻦ ﺩﺍﺩ‪ .‬ﮔﻔﺖ‬ ‫ﭼﻨﺪ ﻟﺤﻈﻪ ﭘﺲ ﺍﺯ ﺭﻓﺘﻦ ﻣﺎ ﻣﺘﻮﺟﻬﺶ ﺷﺪﻩ‪ .‬ﻛﻴﻒ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩﻡ‪ .‬ﻛﺎﺭﺕﻫﺎﻯ ﺍﻋﺘﺒﺎﺭﻯ ﺑﻪ ﻧﺎﻡ ﺟﻜﺴﻮﻥ‬ ‫ﺁﻧﺪﺭﺗﻮﻥ ]‪ [4‬ﺑﻮﺩﻧﺪ‪.‬‬ ‫ﺁﺳﻤﺎﻥ ﺍﺯ ﺧﺎﻛﺴﺘﺮﻯ ﺑﻪ ﺭﻭﺷﻨﺎﻳﻰ ﺭﻭﺯ ﺗﻐﻴﻴﺮ ﺭﻧﮓ ﻣﻰﺩﺍﺩ‪ ،‬ﻧﻴﻢﺳﺎﻋﺘﻰ ﻃﻮﻝ ﻛﺸﻴﺪ ﺗﺎ ﺭﺍﻩ ﺭﺍ ﭘﻴﺪﺍ‬ ‫ﻛﺮﺩﻡ ﻭ ﺑﺎﺯﮔﺸﺘﻢ‪ .‬ﺟﺮﺍﺛﻘﻴﻞ ﺭﻓﺘﻪ ﺑﻮﺩ‪ .‬ﭘﻨﺠﺮﻩﻯ ﻋﻘﺐ ﻫﻮﻧﺪﺍ ﺁﻛﻮﺭﺩ ﺷﻜﺴﺘﻪ ﺑﻮﺩ ﻭ ﺩﺭ ﺳﻤﺖ ﺭﺍﻧﻨﺪﻩ‬ ‫ﺑﺎﺯ ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪ .‬ﺩﺭ ﻓﻜﺮ ﺑﻮﺩﻡ ﻛﻪ ﻧﻜﻨﺪ ﺍﻳﻦ ﻣﺎﺷﻴﻦ ﺩﻳﮕﺮﻯ ﺑﺎﺷﺪ‪ ،‬ﺷﺎﻳﺪ ﺍﺷﺘﺒﺎﻫﻰ ﺑﻪ ﻣﻜﺎﻥ ﺩﻳﮕﺮﻯ‬ ‫ﺁﻣﺪﻩ ﺑﻮﺩﻡ‪ ،‬ﺍﻣﺎ ﺗﻪﺳﻴﮕﺎﺭﻫﺎﻯ ﺭﺍﻧﻨﺪﻩﻯ ﺟﺮﺍﺛﻘﻴﻞ ﺭﻭﻯ ﺯﻣﻴﻦ ﻟﻪ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﺩﺭ ﭼﺎﻟﻪﺍﻯ ﺁﻥ ﻧﺰﺩﻳﻜﻰ‬ ‫ﻳﻚ ﺳﺎﻙﺩﺳﺘﻰ ﺑﺎﺯ ﻭ ﺧﺎﻟﻰ ﭘﻴﺪﺍ ﻛﺮﺩﻡ‪ .‬ﻛﻨﺎﺭﺵ ﺩﺭ ﻳﻚ ﭘﻮﺷﻪ‪ ،‬ﻳﻚ ﺩﺳﺖ ﻧﻮﺷﺘﻪﻯ ﭘﺎﻧﺰﺩﻩﺻﻔﺤﻪﺍﻯ‬ ‫ﻭ ﻗﺒﺾ ﭘﻴﺶﭘﺮﺩﺍﺧﺖ ﺭﺯﺭﻭ ﻫﺘﻞ ﺩﺭ ﻣﺎﺭﻳﻮﺕِ ﻧﻴﻮﺍﻭﺭﻟﺌﺎﻥ ﺑﻪ ﻧﺎﻡ ﺟﻜﺴﻮﻥ ﺁﻧﺪﺭﺗﻮﻥ ﻗﺮﺍﺭ ﺩﺍﺷﺖ‪.‬‬ ‫ﻋﻨﻮﺍﻥ ﻣﻘﺎﻟﻪ ﻧﻮﺷﺘﻪ ﺑﻮﺩ‪:‬‬ ‫ﺭﻭﻯ ﺻﻔﺤﻪﻯ‬ ‫ِ‬ ‫»ﺍﻳﻦﮔﻮﻧﻪ ﺍﺯ ﺯﺍﻣﺒﻰﻫﺎ ﻳﺎﺩ ﻣﻰﺷﻮﺩ‪ :‬ﺁﻥﻫﺎ ﺑﺪﻥﻫﺎﻯ ﺑﺪﻭﻥ ﺭﻭﺡ ﻫﺴﺘﻨﺪ‪ .‬ﺯﻧﺪﻩﻫﺎﻯ ُﻣﺮﺩﻩ‪ .‬ﻳﻚ ﺑﺎﺭ‬ ‫ﻣﺮﺩﻩﺍﻧﺪ ﻭ ﺑﻌﺪ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺯﻧﺪﮔﻰ ﻓﺮﺍﺧﻮﺍﻧﺪﻩ ﺷﺪﻩﺍﻧﺪ‪.‬‬ ‫ﻫﻮﺭﺳﺘﻮﻥ ]‪ ،[5‬ﺍﺯ ﻛﺘﺎﺏِ ﺑﻪ ﺍﺳﺒﻢ ﺑﮕﻮﻳﻴﺪ‪«.‬‬ ‫ﭘﻮﺷﻪ ﺭﺍ ﺑﺮﺩﺍﺷﺘﻢ ﻭ ﺳﺎﻙﺩﺳﺘﻰ ﺭﺍ ﻫﻤﺎﻥﺟﺎ ﻛﻪ ﺑﻮﺩ ﺭﻫﺎ ﻛﺮﺩﻡ‪ .‬ﺯﻳﺮ ﺁﺳﻤﺎﻥ ﻣﺮﻭﺍﺭﻳﺪ ﺭﻧﮓ ﺑﻪ ﺳﻮﻯ‬ ‫ﺟﻨﻮﺏ ﺭﺍﻧﻨﺪﮔﻰ ﻛﺮﺩﻡ‪.‬‬ ‫ﻣﺮﺩﻡ ﺑﻪ ﻳﻚ ﺩﻟﻴﻠﻰ ﻭﺍﺭﺩ ﺯﻧﺪﮔﻰ ﻣﺎ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺩﺭﺳﺖ ﺍﺳﺖ‪.‬‬ ‫ﻧﺘﻮﺍﻧﺴﺘﻢ ﻳﻚ ﺍﻳﺴﺘﮕﺎﻩ ﺭﺍﺩﻳﻮ ﭘﻴﺪﺍ ﻛﻨﻢ ﻛﻪ ﺳﻴﮕﻨﺎﻟﺶ ﺛﺎﺑﺖ ﺑﻤﺎﻧﺪ‪ .‬ﺑﺎﻻﺧﺮﻩ‪ ،‬ﺩﻛﻤﻪﻯ ﺟﺴﺘﺠﻮﻯ‬ ‫ﺧﻮﺩﻛﺎﺭ ﺭﺍﺩﻳﻮ ﺭﺍ ﻓﺸﺎﺭ ﺩﺍﺩﻡ ﻭ ﮔﺬﺍﺷﺘﻢ ﻫﻤﺎﻥﻃﻮﺭ ﺑﻤﺎﻧﺪ‪ ،‬ﺩﺭ ﭘﻮﻳﺸﻰ ﺑﻰﺧﺴﺘﮕﻰ ﺑﻪ ﺟﺴﺘﺠﻮﻯ ﻳﻚ‬ ‫ﺳﻴﮕﻨﺎﻝ ﺍﺯ ﻛﺎﻧﺎﻟﻰ ﺑﻪ ﻛﺎﻧﺎﻝ ﺩﻳﮕﺮ ﻣﻰﺭﻓﺖ‪ ،‬ﺍﺯ ﻗﺮﺍﺋﺖ ﻛﺘﺎﺏ ﻣﻘﺪﺱ ﺑﻪ ﻛﻬﻨﻪﻫﺎ‪ ،‬ﺍﺯ ﮔﻔﺘﮕﻮﻯ ﺍﻧﺠﻴﻞ ﺗﺎ‬ ‫ﮔﻔﺘﮕﻮﻫﺎﻯ ﻫﺮﺯﻩ‪ ،‬ﺁﻥ ﻭﺳﻂﻫﺎ ﻫﺮ ﺍﺯ ﮔﺎﻫﻰ ﻳﻚ ﻛﺎﻧﺎﻝ ﺑﺎ ﺧﺶﺧﺶ ﺧﺎﻟﻰ‪.‬‬ ‫»ﻻﺯﺍﺭﻭﺱ ﻛﻪ ُﻣﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺩﺭ ﺍﻳﻦ ﺑﺎﺭﻩ ﻛﺎﻣ ً‬ ‫ﻼ ﺣﻖ ﺑﺎ ﺗﻮ ﺍﺳﺖ‪ ،‬ﺍﻭ ﻣﺮﺩﻩ ﺑﻮﺩ ﻭ ﻋﻴﺴﻰ ﺍﻭ ﺭﺍ ﺑﻪ ﺯﻧﺪﮔﺎﻧﻰ‬ ‫ﺑﺎﺯﮔﺮﺩﺍﻧﺪ ﻛﻪ ﺑﻪ ﻣﺎ ﻧﺸﺎﻥ ﺩﻫﺪ‪ ،‬ﻣﻰﮔﻮﻳﻢ ﻛﻪ ﺑﻪ ﻣﺎ ﻧﺸﺎﻥ ﺩﻫﺪ‪...‬‬ ‫ﺁﻥﭼﻪ ﻛﻪ ﺍژﺩﻫﺎﻯ ﭼﻴﻨﻰ ﻧﺎﻣﻴﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﻣﻰﺗﻮﺍﻧﻢ ﺍﻳﻦ ﺭﺍ ﺩﺭ ﺑﺮﻧﺎﻣﻪ ﺑﮕﻮﻳﻢ؟ ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﺧﻮﺩﺕ‪،‬‬ ‫‪29‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﮔﻔﺖ‪» :‬ﻣﺮﺩﻡ ﺧﻴﺎﻝ ﻣﻰﻛﺮﺩﻧﺪ ﺁﻥﻫﺎ ﺯﺍﻣﺒﻰ ﻫﺴﺘﻨﺪ‪ .‬ﻣﻰﺩﺍﻧﻴﺪ ﺩﻳﮕﺮ‪ُ ،‬ﻣﺮﺩﻩﻫﺎﻳﻰ ﻛﻪ ﺭﺍﻩ ﻣﻰﺭﻭﻧﺪ‪ .‬ﻓﻜﺮ‬ ‫ﻛﻨﻢ ﺍﻳﻦﺟﺎ ﺑﺎﻳﺪ ﺑﻪ ﺭﺍﺳﺖ ﺑﭙﻴﭽﻴﺪ‪«.‬‬ ‫»ﻭﺍﻗﻌﺎً ﺯﺍﻣﺒﻰ ﺑﻮﺩﻧﺪ؟«‬ ‫ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺳﻮﺍﻝ ﭘﺮﺳﻴﺪﻩ ﺑﻮﺩﻡ‪ ،‬ﺧﻮﺷﺤﺎﻝ ﺷﺪﻩ ﺑﻮﺩ‪» .‬ﺧﺐ‪ ،‬ﺍﺯ ﻧﻈﺮ ﺍﻧﺴﺎﻥﺷﻨﺎﺳﻰ‬ ‫ﭼﻨﺪﻳﻦ ﻧﻈﺮﻳﻪ ﺩﺭﺑﺎﺭﻩﻯ ﺯﺍﻣﺒﻰﻫﺎ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺁﻥ ﻃﻮﺭ ﻛﻪ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﻋﺎﻣﻪﭘﺴﻨﺪﻯ ﻧﻈﻴﺮ »ﺧﺪﻣﺘﻜﺎﺭ‬ ‫ﻭ ﺭﻧﮕﻴﻦﻛﻤﺎﻥ« ﺗﻼﺵ ﻣﻰﻛﻨﻨﺪ ﻧﺸﺎﻥ ﺩﻫﻨﺪ‪ ،‬ﺗﺮ ﻭ ﺗﻤﻴﺰ ﻧﻴﺴﺖ‪ .‬ﺍﻭﻝ ﺑﺎﻳﺪ ﻋﺒﺎﺭﺍﺕ ﺭﺍ ﻣﻌﻨﻰ ﻛﻨﻴﻢ‪.‬‬ ‫ﺁﻳﺎ ﺩﺍﺭﻳﻢ ﺍﺯ ﺑﺎﻭﺭﻫﺎﻯ ﻓﻮﻟﻜﻮﺭﻳﻚ ﺣﺮﻑ ﻣﻰﺯﻧﻴﻢ ﻳﺎ ﺧﺎﻛﺴﺘﺮ ﺯﺍﻣﺒﻰ ﻳﺎ ﻣﺮﺩﻩﻫﺎﻳﻰ ﻛﻪ ﺭﺍﻩ ﻣﻰﺭﻭﻧﺪ؟«‬ ‫ﮔﻔﺘﻢ »ﻧﻤﻰﺩﺍﻧﻢ‪ «.‬ﻣﻄﻤﺌﻦ ﺑﻮﺩﻡ ﺧﺪﻣﺘﻜﺎﺭ ﻭ ﺭﻧﮕﻴﻦﻛﻤﺎﻥ ﻳﻚ ﻓﻴﻠﻢ ﺗﺮﺳﻨﺎﻙ ﺑﻮﺩﻩ‪.‬‬ ‫»ﺁﻥﻫﺎ ﺑﭽﻪ ﺑﻮﺩﻧﺪ‪ ،‬ﺩﺧﺘﺮﻫﺎﻯ ﻛﻮﭼﻚ ﺑﻴﻦ ﭘﻨﺞ ﺗﺎ ﺩﻩ ﺳﺎﻝ ﻛﻪ ﺩﻳﻮﺍﺭ ﺑﻪ ﺩﻳﻮﺍﺭ ﭘﻮﺭﺕ ﺍﻭ ﭘﺮﻧﺲ‪ ،‬ﺩﺭﺳﺖ‬ ‫ﺩﺭ ﻳﻚ ﺯﻣﺎﻧﻰ ﺍﺯ ﺭﻭﺯ ﻣﺜﻞ ﺣﺎﻻ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺧﻮﺭﺷﻴﺪ ﺑﺎﻻ ﺑﻴﺎﻳﻴﺪ‪ ،‬ﻣﺨﻠﻮﻁ ﻗﻬﻮﻩﻯ ﭼﻴﻜﻮﺭﻯ ]‪[3‬‬ ‫ﻣﻰﻓﺮﻭﺧﺘﻨﺪ‪ .‬ﻫﻤﻪ ﻣﺘﻌﻠﻖ ﺑﻪ ﻳﻚ ﺯﻥ ﭘﻴﺮ ﺑﻮﺩﻧﺪ‪ .‬ﺩﺭﺳﺖ ﭘﻴﺶ ﺍﺯ ﭘﻴﭻ ﺑﻌﺪﻯ ﺑﻪ ﭼﭗ ﺑﭙﻴﭻ‪ .‬ﻭﻗﺘﻰ ﺯﻥ‬ ‫ُﻣﺮﺩ‪ ،‬ﺩﺧﺘﺮﻫﺎ ﻧﺎﭘﺪﻳﺪ ﺷﺪﻧﺪ‪ .‬ﻛﺘﺎﺏﻫﺎ ﺍﻳﻦ ﻃﻮﺭﻯ ﻣﻰﮔﻮﻳﻨﺪ‪«.‬‬ ‫ﭘﺮﺳﻴﺪﻡ‪» :‬ﺧﺐ ﺷﻤﺎ ﭼﻪ ﻓﻜﺮ ﻣﻰﻛﻨﻴﺪ؟«‬ ‫ﮔﻔﺖ ‪» :‬ﺁﻥ ﻣﺎﺷﻴﻦ ﻣﻦ ﺍﺳﺖ‪ «.‬ﮔﻮﻳﻰ ﺑﺎﺭﻯ ﺍﺯ ﺩﻭﺵﺍﺵ ﺑﺮﺩﺍﺷﺘﻪ ﺑﻮﺩﻧﺪ‪ .‬ﻳﻚ ﻫﻮﻧﺪﺍ ﺁﻛﻮﺭﺩ ﻗﺮﻣﺰ‬ ‫ﺭﻧﮓ ﺩﺭ ﻛﻨﺎﺭﻩﻯ ﺟﺎﺩﻩ ﺑﻮﺩ‪ .‬ﻳﻚ ﺟﺮﺍﺛﻘﻴﻞ ﻛﻨﺎﺭﺵ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ ﻭ ﻓﻼﺷﺮ ﻣﻰﺯﺩ‪ ،‬ﻣﺮﺩﻯ ﻛﻨﺎﺭ ﺟﺮﺍﺛﻘﻴﻞ‬ ‫ﺳﻴﮕﺎﺭ ﻣﻰﻛﺸﻴﺪ‪ .‬ﭘﺸﺖ ﺟﺮﺍﺛﻘﻴﻞ ﻣﺘﻮﻗﻒ ﺷﺪﻳﻢ‪.‬‬ ‫ﺭﺍﻧﻨﺪﻩﻯ ﺟﺮﺍﺛﻘﻴﻞ ﮔﻔﺖ‪» :‬ﻗﺼﺪ ﺩﺍﺷﺘﻢ ﭘﻨﺞ ﺩﻗﻴﻘﻪﻯ ﺩﻳﮕﺮ ﻫﻢ ﻣﻨﺘﻈﺮ ﺑﻤﺎﻧﻢ ﻭ ﺑﺮﻭﻡ‪ «.‬ﺳﻴﮕﺎﺭﺵ‬ ‫ﺭﺍ ﺩﺭ ﭼﺎﻟﻪﺍﻯ ﻛﻨﺎﺭ ﺟﺎﺩﻩﻯ ﺁﺳﻔﺎﻟﺖ ﺍﻧﺪﺍﺧﺖ‪» .‬ﺑﺴﻴﺎﺭ ﺧﺐ ﻳﻚ ﻛﺎﺭﺕ ﺍﻋﺘﺒﺎﺭﻯ ﻭ ﻛﺎﺭﺕ ﺳﻪﻧﺸﺎﻧﺖ‬ ‫ﺭﺍ ﺑﺪﻩ‪«.‬‬ ‫ﻣﺮﺩ ﺩﺳﺘﺶ ﺭﺍ ﺩﺭ ﺟﻴﺐ ﺑﺮﺩ ﻛﻪ ﻛﻴﻔﺶ ﺭﺍ ﺑﻴﺮﻭﻥ ﺑﻴﺎﻭﺭﺩ‪ .‬ﻗﻴﺎﻓﻪﺍﺵ ﻣﺘﻌﺠﺐ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪ‪.‬‬ ‫ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ ﺭﻭﻯ ﺟﻴﺐﻫﺎﻳﺶ ﮔﺬﺍﺷﺖ‪ .‬ﮔﻔﺖ‪» :‬ﻛﻴﻔﻢ!« ﺑﻪ ﺳﻤﺖ ﻣﺎﺷﻴﻦ ﺑﺎﺯﮔﺸﺖ‪ ،‬ﺩﺭ ﺳﻤﺖ‬ ‫ﻣﺴﺎﻓﺮ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩ ﻭ ﺑﻪ ﺩﺍﺧﻞ ﺧﻢ ﺷﺪ‪ .‬ﭼﺮﺍﻍ ﺭﺍ ﺭﻭﺷﻦ ﻛﺮﺩﻡ‪ .‬ﺑﻪ ﺻﻨﺪﻟﻰ ﺧﺎﻟﻰ ﺿﺮﺑﻪ ﺯﺩ‪ .‬ﺩﻭﺑﺎﺭﻩ ﮔﻔﺖ‪:‬‬ ‫»ﻛﻴﻔﻢ‪ «.‬ﺻﺪﺍﻳﺶ ﻧﺎﺭﺍﺣﺖ ﻭ ﻣﻌﺘﺮﺽ ﺑﻮﺩ‪.‬‬ ‫ﺑﻪ ﺍﻭ ﻳﺎﺩﺁﻭﺭﻯ ﻛﺮﺩﻡ ﻛﻪ ‪»:‬ﺗﻮﻯ ﻣﺴﺎﻓﺮﺧﺎﻧﻪ ﻫﻤﺮﺍﻫﺖ ﺑﻮﺩ‪ .‬ﺗﻮﻯ ﺩﺳﺖﺍﺕ ﺑﻮﺩ‪«.‬‬ ‫ﮔﻔﺖ‪» :‬ﻟﻌﻨﺖ‪ .‬ﻟﻌﻨﺖ ﺧﺪﺍ «‬ ‫ﺭﺍﻧﻨﺪﻩﻯ ﺟﺮﺍﺛﻘﺎﻝ ﭘﺮﺳﻴﺪ‪» :‬ﻫﻤﻪ ﭼﻰ ﺭﻭ ﺑﻪ ﺭﺍﻫﻪ؟«‬ ‫ﺍﻧﺴﺎﻥﺷﻨﺎﺱ ﺑﺎ ﻋﺠﻠﻪ ﺧﻄﺎﺏ ﺑﻪ ﻣﻦ ﮔﻔﺖ‪» :‬ﺑﺴﻴﺎﺭ ﺧﺐ‪ .‬ﺑﻬﺖ ﻣﻰﮔﻮﻳﻢ ﭼﻪ ﻛﺎﺭ ﻛﻨﻰ‪ .‬ﺑﻪ ﻣﺴﺎﻓﺮﺧﺎﻧﻪ‬ ‫ﺑﺎﺯﮔﺮﺩ‪ .‬ﺍﺣﺘﻤﺎﻻً ﻛﻴﻒ ﺭﺍ ﺭﻭﻯ ﻣﻴﺰ ﺟﺎ ﮔﺬﺍﺷﺘﻪﺍﻡ‪ .‬ﺁﻥ ﺭﺍ ﺑﺮﺍﻳﻢ ﺑﻴﺎﻭﺭ ﻭ ﻣﻦ ﻫﻢ ﺩﺭ ﺍﻳﻦ ﻣﺪﺕ ﺭﺍﻧﻨﺪﻩ‬ ‫‪27‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺭﺳﻴﺪﻡ‪ ،‬ﺷﻤﺎ ﺭﺍ ﺑﺮﺍﻯ ﻳﻜﻰ ﺍﺯ ﺩﻭﺳﺘﺎﻧﻢ ﺗﻮﺻﻴﻒ ﻣﻰﻛﻨﻢ ﻭ ﺍﻭ ﺑﻪ ﻣﻦ ﻣﻰﮔﻮﻳﺪ ﺷﻤﺎ ﺩﻩ ﺳﺎﻝ ﻗﺒﻞ‬ ‫ُﻣﺮﺩﻩﺍﻳﺪ ﻭ ﺣﺎﻻ ﻣﺮﺩﻡ ﺭﺍ ﺑﻪ ﻣﻘﺼﺪ ﻣﻰﺭﺳﺎﻧﻴﺪ‪«.‬‬ ‫»ﺭﺍﻩ ﺧﻮﺑﻰ ﺑﺮﺍﻯ ﻣﻼﻗﺎﺕ ﺑﺎ ﻣﺮﺩﻡ ﺍﺳﺖ‪«.‬‬ ‫ﺯﻳﺮﻟﺒﻰ ﺧﻨﺪﻳﺪ‪» :‬ﺷﻐﻞ ﺷﻤﺎ ﭼﻴﺴﺖ؟«‬ ‫ﮔﻔﺘﻢ‪» :‬ﻣﻰﺷﻮﺩ ﺍﻳﻦ ﻃﻮﺭﻯ ﮔﻔﺖ ﻛﻪ ﺩﻧﺒﺎﻝ ﻛﺎﺭ ﻣﻰﮔﺮﺩﻡ‪ .‬ﺷﻤﺎ؟«‬ ‫ﻣﻜﺜﻰ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﻣﻦ ﺍﺳﺘﺎﺩ ﺍﻧﺴﺎﻥﺷﻨﺎﺳﻰ ﻫﺴﺘﻢ‪ .‬ﻓﻜﺮ ﻛﻨﻢ ﺑﺎﻳﺪ ﺧﻮﺩﻡ ﺭﺍ ﻣﻌﺮﻓﻰ ﻣﻰﻛﺮﺩﻡ‪.‬‬ ‫ﺩﺭ ﻛﺎﻟﺞ ﻣﺴﻴﺤﻴﺎﻥ ﺩﺭﺱ ﻣﻰﺩﻫﻢ‪ .‬ﻣﺮﺩﻡ ﺑﺎﻭﺭﺷﺎﻥ ﻧﻤﻰﺷﻮﺩ ﺩﺭ ﻛﺎﻟﺞ ﻣﺴﻴﺤﻰﻫﺎ ﺍﻧﺴﺎﻥﺷﻨﺎﺳﻰ ﻫﻢ‬ ‫ﺗﺪﺭﻳﺲ ﺷﻮﺩ‪ ،‬ﻭﻟﻰ ﺧﺐ ﺑﺮﺧﻰ ﺍﺯ ﻣﺎ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻣﻰﻛﻨﻴﻢ‪«.‬‬ ‫»ﺑﺎﻭﺭ ﻣﻰﻛﻨﻢ‪«.‬‬ ‫ﻳﻚ ﻣﻜﺚ ﺩﻳﮕﺮ ﻭ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪» :‬ﻣﺎﺷﻴﻨﻢ ﺧﺮﺍﺏ ﺷﺪ‪ .‬ﮔﺸﺖ ﺟﺎﺩﻩ ﻣﻦ ﺭﺍ ﺑﻪ ﻣﺴﺎﻓﺮﺧﺎﻧﻪ ﺭﺳﺎﻧﺪ ﻭ ﮔﻔﺖ‬ ‫ﺗﺎ ﺻﺒﺢ ﻫﻴﭻ ﺟﺮﺍﺛﻘﻴﻠﻰ ﺍﺯ ﺁﻥﺟﺎ ﻧﻤﻰﮔﺬﺭﺩ‪ .‬ﺩﻭ ﺳﺎﻋﺖ ﺧﻮﺍﺑﻴﺪﻡ‪ ،‬ﺑﻌﺪ ﮔﺸﺖ ﺟﺎﺩﻩ ﺗﻤﺎﺱ ﮔﺮﻓﺖ‬ ‫ﻭ ﮔﻔﺖ ﻳﻚ ﺟﺮﺍﺛﻘﻴﻞ ﺩﺭ ﺭﺍﻩ ﺍﺳﺖ‪ .‬ﺑﺎﻳﺪ ﻭﻗﺘﻰ ﻣﻰﺭﺳﻨﺪ‪ ،‬ﺁﻥﺟﺎ ﺑﺎﺷﻢ‪ .‬ﺑﺎﻭﺭﺗﺎﻥ ﻣﻰﺷﻮﺩ؟ ﺍﮔﺮ ﺁﻥﺟﺎ‬ ‫ﻧﺒﺎﺷﻢ ﻣﺎﺷﻴﻦ ﺭﺍ ﻧﻤﻰﺑﺮﻧﺪ‪ ،‬ﻣﻰﮔﺬﺍﺭﻧﺪ ﻭ ﻣﻰﺭﻭﻧﺪ‪ .‬ﺯﻧﮓ ﺯﺩﻡ ﺗﺎﻛﺴﻰ ﺑﻴﺎﻳﺪ‪ .‬ﺗﺎﻛﺴﻰ ﻧﻴﺎﻣﺪ‪ .‬ﺧﻼﺻﻪ‬ ‫ﺍﻣﻴﺪﻭﺍﺭﻡ ﻛﻪ ﻗﺒﻞ ﺍﺯ ﺟﺮﺍﺛﻘﻴﻞ ﺑﺮﺳﻴﻢ‪«.‬‬ ‫»ﺗﻼﺷﻢ ﺭﺍ ﻣﻰﻛﻨﻢ‪«.‬‬ ‫»ﻓﻜﺮ ﻛﻨﻢ ﺑﺎﻳﺪ ﺑﺎ ﻫﻮﺍﭘﻴﻤﺎ ﻣﻰﺁﻣﺪﻡ‪ .‬ﻓﻜﺮ ﻧﻜﻨﻴﺪ ﺍﺯ ﭘﺮﻭﺍﺯ ﻣﻰﺗﺮﺳﻢ‪ .‬ﺍﻣﺎ ﺭﻭﻯ ﭘﻮﻝ ﺑﻠﻴﺖ ﺣﺴﺎﺏ ﻛﺮﺩﻡ‪.‬‬ ‫ﻣﻦ ﺩﺭ ﺭﺍﻩ ﺭﻓﺘﻦ ﺑﻪ ﻧﻴﻮﺍﻭﺭﻟﺌﺎﻥ ﻫﺴﺘﻢ‪ .‬ﻗﻴﻤﺖ ﺑﻠﻴﺖ ﻫﻮﺍﭘﻴﻤﺎ ﭼﻬﺎﺭﺻﺪ ﻭ ﭼﻬﻞ ﺩﻻﺭ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﺧﺮﺝ‬ ‫ﻳﻚ ﺭﻭﺯ ﺭﺍﻧﻨﺪﮔﻰ ﻣﻰﺷﻮﺩ ﺳﻰ ﺩﻻﺭ‪ .‬ﺍﻳﻦ ﻃﻮﺭﻯ ﭼﻬﺎﺭﺻﺪ ﻭ ﺩﻩ ﺩﻻﺭ ﺻﺮﻓﻪﺟﻮﻳﻰ ﻛﺮﺩﻩﺍﻡ ﻭ ﻻﺯﻡ‬ ‫ﻫﻢ ﻧﻴﺴﺖ ﺑﺎﺑﺘﺶ ﺑﻪ ﻛﺴﻰ ﭘﺎﺳﺨﮕﻮ ﺑﺎﺷﻢ‪ .‬ﭘﻨﺠﺎﻩ ﺩﻻﺭ ﺩﺭ ﻣﺴﺎﻓﺮﺧﺎﻧﻪ ﭘﺮﺩﺍﺧﺘﻢ‪ ،‬ﺍﻣﺎ ﺧﺐ ﺍﻭﺿﺎﻉ‬ ‫ﺍﻳﻦ ﺟﻮﺭﻯ ﺍﺳﺖ ﺩﻳﮕﺮ‪ .‬ﻛﻨﻔﺮﺍﻧﺲ ﺩﺍﻧﺸﮕﺎﻫﻰ ﺍﺳﺖ‪ .‬ﺍﻭﻟﻴﻦ ﻛﻨﻔﺮﺍﻧﺲ ﻣﻦ ﺍﺳﺖ‪ .‬ﺩﺍﻧﺸﻜﺪﻩ ﭼﻨﺪﺍﻥ‬ ‫ﻣﻮﺍﻓﻖ ﺍﻳﻦ ﻛﻨﻔﺮﺍﻧﺲﻫﺎ ﻧﻴﺴﺖ‪ .‬ﺍﻣﺎ ﺍﻭﺿﺎﻉ ﺗﻐﻴﻴﺮ ﻣﻰﻛﻨﺪ‪ .‬ﻣﻦ ﻛﻪ ﭼﺸﻢ ﺑﻪ ﺭﺍﻩ ﻛﻨﻔﺮﺍﻧﺴﻢ‪ .‬ﻫﻤﻪﻯ‬ ‫ﺍﻧﺴﺎﻥﺷﻨﺎﺱﻫﺎ ﺍﺯ ﺳﺮﺍﺳﺮ ﺩﻧﻴﺎ ﻣﻰﺁﻳﻨﺪ‪ «.‬ﭼﻨﺪ ﻧﻔﺮﻯ ﺭﺍ ﻧﺎﻡ ﺑﺮﺩ ﻭﻟﻰ ﻧﺎﻡﻫﺎ ﺑﺮﺍﻳﻢ ﻫﻴﭻ ﻣﻌﻨﺎﻳﻰ‬ ‫ﻧﺪﺍﺷﺘﻨﺪ‪.‬‬ ‫»ﻣﻦ ﻳﻚ ﻣﻘﺎﻟﻪ ﺩﺭﺑﺎﺭﻩﻯ ﺩﺧﺘﺮﻫﺎﻯ ﻗﻬﻮﻩﺍﻯ ﻫﺎﻳﻴﺘﻰ ﺩﺍﺭﻡ‪«.‬‬ ‫»ﻗﻬﻮﻩ ﺭﺍ ﭘﺮﻭﺭﺵ ﻣﻰﺩﻫﻨﺪ ﻳﺎ ﻣﻰﻧﻮﺷﻨﺪ؟«‬ ‫»ﻫﻴﭻﻛﺪﺍﻡ‪ .‬ﻗﻬﻮﻩ ﻣﻰﻓﺮﻭﺧﺘﻨﺪ‪ .‬ﺩﺭﺳﺖ ﺩﻳﻮﺍﺭ ﺑﻪ ﺩﻳﻮﺍﺭ ﭘﻮﺭﺕ ﺍﻭ ﭘﺮﻧﺲ ]‪ ،[2‬ﺻﺒﺢﻫﺎﻯ ﺯﻭﺩ ﺩﺭ ﺍﻭﻟﻴﻦ‬ ‫ﺳﺎﻝﻫﺎﻯ ﻗﺮﻥ‪«.‬‬ ‫ﺣﺎﻻ ﻫﻮﺍ ﺩﺍﺷﺖ ﺭﻭﺷﻦ ﻣﻰﺷﺪ‪.‬‬ ‫‪26‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺩﺭ ﻧﻴﻤﻪ ﺭﺍﻩ ﺗﻨﺴﻰ ﺑﻮﺩﻡ ﻛﻪ ﻧﺎﮔﻬﺎﻥ ﭘﻰ ﺑﺮﺩﻡ ﺑﺪﺟﻮﺭﻯ ﺑﻪ ﺣﻤﺎﻡ ﻧﻴﺎﺯ ﺩﺍﺭﻡ؛ ﺁﻥﻗﺪﺭ ﻧﻴﺎﺯ ﺩﺍﺷﺘﻢ ﻛﻪ‬ ‫ﺣﺎﺿﺮ ﺑﻮﺩﻡ ﺑﺮﺍﻳﺶ ﭘﻮﻝ ﺑﭙﺮﺩﺍﺯﻡ‪ .‬ﺑﻪ ﻳﻚ ﻣﺴﺎﻓﺮﺧﺎﻧﻪ ﺭﻓﺘﻢ‪ ،‬ﺩﺍﺧﻞ ﻭﺍﻥ ﺩﺭﺍﺯ ﻛﺸﻴﺪﻡ ﻭ ﺧﻮﺍﺑﻴﺪﻡ ﺗﺎ‬ ‫ﺍﻳﻦ ﻛﻪ ﺁﺑﺶ ﺳﺮﺩ ﺷﺪ ﻭ ﺍﺯ ﺳﺮﻣﺎ ﺑﻴﺪﺍﺭ ﺷﺪﻡ‪ .‬ﺑﺎ ﻳﻚ ﺗﻴﻎ ﭘﻼﺳﺘﻴﻜﻰ ﻭ ﻣﻘﺪﺍﺭﻯ ﻛﻒ ﺍﺻﻼﺡ ﻛﺮﺩﻡ‪.‬‬ ‫ﺑﻌﺪ ﺩﺍﺧﻞ ﺗﺨﺖ ﺍﻓﺘﺎﺩﻡ ﻭ ﺧﻮﺍﺑﻴﺪﻡ‪.‬‬ ‫ﺳﺎﻋﺖ ﭼﻬﺎﺭ ﺻﺒﺢ ﺑﻴﺪﺍﺭ ﺷﺪﻡ ﻭ ﻣﻰﺩﺍﻧﺴﺘﻢ ﺯﻣﺎﻥ ﺑﺎﺯﮔﺸﺘﻦ ﺑﻪ ﺟﺎﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺑﻪ ﻻﺑﻰ ﺭﻓﺘﻢ‪ .‬ﻭﻗﺘﻰ ﺭﺳﻴﺪﻡ ﻳﻚ ﻣﺮﺩ ﭘﺸﺖ ﻣﻴﺰ ﺍﻳﺴﺘﺎﺩﻩ ﺑﻮﺩ‪ .‬ﻣﻮﻫﺎﻯ ﻧﻘﺮﻩﺍﻯ ﺩﺍﺷﺖ‪ ،‬ﺍﮔﺮﭼﻪ ﺑﻪ ﻧﻈﺮ‬ ‫ﻣﻦ ﻫﻨﻮﺯ ﺩﺭ ﺩﻫﻪﻯ ﭼﻬﺎﺭﻡ ﺯﻧﺪﮔﻰﺍﺵ ﺑﻮﺩ؛ ﻟﺐﻫﺎﻳﺶ ﺑﺎﺭﻳﻚ ﺑﻮﺩﻧﺪ ﻭ ﻛﺘﺶ ﭼﺮﻭﻙ ﺑﻮﺩ‪ ،‬ﺩﺍﺷﺖ‬ ‫ﻣﻰﮔﻔﺖ‪» :‬ﻣﻦ ﻳﻚ ﺳﺎﻋﺖ ﭘﻴﺶ ﺗﺎﻛﺴﻰ ﺧﻮﺍﺳﺘﻢ‪ .‬ﻳﻚ ﺳﺎﻋﺖ ﭘﻴﺶ‪ «.‬ﺑﺎ ﻛﻴﻔﺶ ﺭﻭﻯ ﻣﻴﺰ ﻛﻮﺑﻴﺪ‬ ‫ﺗﺎ ﺭﻭﻯ ﻛﻠﻤﺎﺗﺶ ﺗﺎﻛﻴﺪ ﻛﻨﺪ‪.‬‬ ‫ﻣﺴﺌﻮﻝ ﭘﺬﻳﺮﺵ ﺷﺐ ﺷﺎﻧﻪﺍﻯ ﺑﺎﻻ ﺍﻧﺪﺍﺧﺖ ﻭ ﮔﻔﺖ‪» :‬ﺩﻭﺑﺎﺭﻩ ﺗﻤﺎﺱ ﻣﻰﮔﻴﺮﻳﻢ‪ .‬ﺍﻣﺎ ﺍﮔﺮ ﻣﺎﺷﻴﻦ ﻧﺪﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﻨﺪ‪ ،‬ﺧﺐ ﻣﺎﺷﻴﻨﻰ ﻫﻢ ﻧﻤﻰﻓﺮﺳﺘﻨﺪ‪«.‬‬ ‫ﺷﻤﺎﺭﻩﺍﻯ ﮔﺮﻓﺖ ﻭ ﮔﻔﺖ‪» :‬ﺍﺯ ﻣﻬﻤﺎﻥﺧﺎﻧﻪﻯ ﺑﻴﺮﻭﻥ ﺷﺐ ]‪ [1‬ﺗﻤﺎﺱ ﻣﻰﮔﻴﺮﻡ‪ ...‬ﺑﻠﻪ‪ ...‬ﺑﻪ ﺍﻳﺸﺎﻥ‬ ‫ﮔﻔﺘﻢ‪ ...‬ﺑﻠﻪ‪ ...‬ﺑﻬﺸﺎﻥ ﮔﻔﺘﻢ‪«.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﺳﻼﻡ‪ .‬ﻣﻦ ﺭﺍﻧﻨﺪﻩ ﺗﺎﻛﺴﻰ ﻧﻴﺴﺘﻢ‪ ،‬ﺍﻣﺎ ﻋﺠﻠﻪﺍﻯ ﻫﻢ ﻧﺪﺍﺭﻡ‪ ،‬ﺟﺎﻯ ﺧﺎﺻﻰ ﻣﻰﺧﻮﺍﻫﻴﺪ ﺑﺮﻳﺪ؟«‬ ‫ﻳﻚ ﻟﺤﻈﻪ ﻣﺮﺩ ﻃﻮﺭﻯ ﻧﮕﺎﻫﻢ ﻛﺮﺩ ﺍﻧﮕﺎﺭ ﻣﻦ ﺩﻳﻮﺍﻧﻪ ﺑﺎﺷﻢ‪ ،‬ﻭ ﻛﻤﻰ ﻫﻢ ﺗﺮﺱ ﺩﺭ ﭼﺸﻤﺎﻧﺶ ﺑﻮﺩ‪ .‬ﺑﻌﺪ‬ ‫ﻃﻮﺭﻯ ﻧﮕﺎﻫﻢ ﻛﺮﺩ ﺍﻧﮕﺎﺭ ﻓﺮﺷﺘﻪﻯ ﻧﺠﺎﺗﺶ ﺑﺎﺷﻢ ﻭ ﮔﻔﺖ‪» :‬ﺧﺪﺍﻯ ﻣﻦ‪ ،‬ﺑﻠﻪ ﺟﺎﻳﻰ ﻣﻰﺭﻭﻡ‪«.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﺑﻪ ﻣﻦ ﺑﮕﻮﻳﻴﺪ ﻛﺠﺎ ﻣﻰﺭﻭﻳﺪ‪ ،‬ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﮔﻔﺘﻢ ﻋﺠﻠﻪ ﻧﺪﺍﺭﻡ ﻭ ﺷﻤﺎ ﺭﺍ ﻣﻰﺭﺳﺎﻧﻢ‪«.‬‬ ‫ﻣﺮﺩ ﻣﻮﻧﻘﺮﻩﺍﻯ ﺑﻪ ﻣﺴﺌﻮﻝ ﭘﺬﻳﺮﺵ ﺷﺐ ﮔﻔﺖ‪» :‬ﺁﻥ ﺗﻠﻔﻦ ﺭﺍ ﺑﺪﻩ ﺑﻪ ﻣﻦ‪ «.‬ﻭ ﮔﻮﺷﻰ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺍﻭ‬ ‫ﮔﺮﻓﺖ ﻭ ﮔﻔﺖ‪» :‬ﺩﻳﮕﺮ ﻧﻴﺎﺯﻯ ﺑﻪ ﺗﺎﻛﺴﻰ ﺷﻤﺎ ﻧﻴﺴﺖ‪ ،‬ﺧﺪﺍ ﻫﻤﻴﻦ ﺍﻻﻥ ﺑﺮﺍﻳﻢ ﻳﻚ ﺳﺎﻣﺮﻯ ﻧﻴﻜﻮﻛﺎﺭ‬ ‫ﻓﺮﺳﺘﺎﺩ‪ .‬ﻣﺮﺩﻡ ﺑﻪ ﻳﻚ ﺩﻟﻴﻠﻰ ﻭﺍﺭﺩ ﺯﻧﺪﮔﻰ ﺷﻤﺎ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺍﻳﻦ ﺣﻘﻴﻘﺖ ﺩﺍﺭﺩ ﻭ ﻣﻰﺧﻮﺍﻫﻢ ﺩﺭﺑﺎﺭﻩﺵ‬ ‫ﻓﻜﺮ ﻛﻨﻰ‪«.‬‬ ‫ﺳﺎﻙﺩﺳﺘﻰﺍﺵ ﺭﺍ ﺑﺮﺩﺍﺷﺖ‪ ،‬ﺍﻭ ﻫﻢ ﻣﺜﻞ ﻣﻦ ﭼﻤﺪﺍﻥ ﻧﺪﺍﺷﺖ‪ .‬ﺑﺎ ﻫﻢ ﺑﻪ ﭘﺎﺭﻛﻴﻨﮓ ﺭﻓﺘﻴﻢ‪ .‬ﺩﺭ ﺗﺎﺭﻳﻜﻰ‬ ‫ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻳﻢ‪ .‬ﻳﻚ ﻧﻘﺸﻪﻯ ﺩﺳﺘﻰ ﺭﺍ ﺭﻭﻯ ﭘﺎﻳﺶ ﺑﺎﺯ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ ﺑﺎ ﭼﺮﺍﻍﻗﻮﻩﺍﻯ ﻛﻪ ﺑﻪ ﺩﺳﺘﻪ ﻛﻠﻴﺪﺵ‬ ‫ﻭﺻﻞ ﺑﻮﺩ‪ ،‬ﻣﺸﻐﻮﻝ ﺧﻮﺍﻧﺪﻥ ﺁﻥ ﺑﻮﺩ‪ .‬ﺑﻌﺪ ﻣﻰﮔﻔﺖ‪» :‬ﺑﻪ ﭼﭗ ﺑﭙﻴﭻ‪ «.‬ﻳﺎ‪» :‬ﺍﺯ ﺍﻳﻦ ﻃﺮﻑ‪«.‬‬ ‫ﮔﻔﺖ‪» :‬ﺷﻤﺎ ﻟﻄﻒ ﺩﺍﺭﻳﺪ‪«.‬‬ ‫»ﻣﺸﻜﻠﻰ ﻧﻴﺴﺖ‪ .‬ﻭﻗﺖ ﺩﺍﺷﺘﻢ‪«.‬‬ ‫»ﺑﺴﻴﺎﺭ ﺳﭙﺎﺳﮕﺰﺍﺭﻡ‪ .‬ﻣﻰﺩﺍﻧﻰ‪ ،‬ﺣﺎﻝ ﻭ ﻫﻮﺍﻯ ﻳﻚ ﺍﻓﺴﺎﻧﻪﻯ ﺷﻬﺮﻯ ﻧﺎﺏ ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﺭﺍﻧﻨﺪﮔﻰ ﺩﺭ ﺟﺎﺩﻩﻫﺎﻯ‬ ‫ﺑﻴﺮﻭﻥ ﺷﻬﺮﻯ ﺑﺎ ﻳﻚ ﻧﻴﻜﻮﻛﺎﺭ ﻣﺮﻣﻮﺯ‪ ،‬ﺷﺒﻴﻪ ﺑﻪ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﺍﺭﻭﺍﺡ ﻣﻰﺷﻮﺩ‪ .‬ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺑﻪ ﻣﻘﺼﺪ‬ ‫‪25‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫»داﻧﻪﻫﺎی ﺗﻠﺦ« اوﻟﯿﻦ ﺑﺎر در آﻧﺘﻮﻟﻮژی ﻓﺎﻧﺘﺰی ﺑﻪ ﻧﺎم »ﻣﻮﺟﻮ‪ :‬داﺳﺘﺎنﻫﺎی ﺟﺎدوﯾﯽ« ﻣﻨﺘﴩ‬ ‫ﺷﺪ‪ .‬ﮔﯿﻤﻦ در وﺑﻼﮔﺶ ﺑﻪ آدرس ‪ journal.neilgaiman.com‬درﺑﺎرهی اﯾﻦ داﺳﺘﺎن ﭼﻨﯿﻦ ﻧﻮﺷﺘﻪ‪:‬‬ ‫»ﺧﻮاﻧﻨﺪهی ﺧﻮب اﯾﻦ داﺳﺘﺎن‪ ،‬آن را ﯾﮏ ﺑﺎر ﻣﯽﺧﻮاﻧﺪ و ﻣﯽﮔﻮﯾﺪ ﭘﻮوف‪ ،‬ﺳﭙﺲ ﺣﺪود ﯾﮏ‬ ‫ﻫﻔﺘﻪ ﺑﻌﺪ ﻣﯽﺑﯿﻨﺪ ﮐﻪ داﺳﺘﺎن دارد ذﻫﻨﺶ را ﻗﻠﻘﻠﮏ ﻣﯽدﻫﺪ؛ ﭘﺲ ﺑﺮ ﻣﯽﮔﺮدد و دوﺑﺎره آن را‬ ‫ﻣﯽﺧﻮاﻧﺪ و ﻣﺘﻮﺟﻪ ﻣﯽﺷﻮد ﮐﻪ ﺗﺒﺪﯾﻞ ﺑﻪ داﺳﺘﺎﻧﯽ ﮐﺎﻣﻼً ﻣﺘﻔﺎوت ﺷﺪه اﺳﺖ‪«.‬‬

‫‪1‬‬ ‫»ﻳﺎ ﺯﻭﺩ ﺑﻴﺎ ﻳﺎ ﻫﺮﮔﺰ ﺑﺎﺯﻧﮕﺮﺩ‪«.‬‬ ‫ﻫﺮ ﺟﻮﺭ ﻛﻪ ﺣﺴﺎﺏ ﻛﻨﻴﻢ‪ُ ،‬ﻣﺮﺩﻩ ﺑﻮﺩﻡ‪ .‬ﺷﺎﻳﺪ ﻳﻚ ﺟﺎﻳﻰ ﺩﺭ ﺍﻋﻤﺎﻕ ﻭﺟﻮﺩﻡ ﺩﺍﺷﺘﻢ ﺟﻴﻎ ﻣﻰﻛﺸﻴﺪﻡ ﻭ‬ ‫ﺯﺍﺭ ﻣﻰﺯﺩﻡ ﻭ ﻫﻤﭽﻮﻥ ﻳﻚ ﺟﺎﻧﻮﺭ ﺯﻭﺯﻩ ﻣﻰﻛﺸﻴﺪﻡ؛ ﺍﻣﺎ ﺩﺭ ﺁﻥ ﺍﻋﻤﺎﻕ ﺍﻭ ﺷﺨﺺ ﺩﻳﮕﺮﻯ ﺑﻮﺩ‪ ،‬ﺷﺨﺺ‬ ‫ﺩﻳﮕﺮﻯ ﻛﻪ ﻫﻴﭻ ﺩﺳﺘﺮﺳﻰ ﺑﻪ ﺍﻳﻦ ﭼﻬﺮﻩ‪ ،‬ﻟﺐﻫﺎ‪ ،‬ﺩﻫﺎﻥ ﻭ ﺳﺮ ﻧﺪﺍﺷﺖ‪ .‬ﭘﺲ ﺩﺭ ﻇﺎﻫﺮ ﺷﺎﻧﻪﺍﻯ ﺑﺎﻻ‬ ‫ﺍﻧﺪﺍﺧﺘﻢ‪ ،‬ﻟﺒﺨﻨﺪﻯ ﺯﺩﻡ ﻭ ﺑﻪ ﺭﺍﻫﻢ ﺍﺩﺍﻣﻪ ﺩﺍﺩﻡ‪ .‬ﺍﮔﺮ ﻣﻰﺷﺪ ﺑﻪ ﻟﺤﺎﻅ ﻓﻴﺰﻳﻮﻟﻮژﻳﻜﻰ ﺍﻳﻦ ﻗﺪﺭ ﺭﺍﺣﺖ‬ ‫ﺑﻤﻴﺮﻳﻢ‪ ،‬ﻳﻌﻨﻰ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺑﮕﺬﺍﺭﻳﻢ ﻭ ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﻫﻴﭻ ﻛﺎﺭ ﺧﺎﺻﻰ ﺍﻧﺠﺎﻡ ﻫﻴﻢ‪ ،‬ﺩﺭﺳﺖ ﻫﻤﺎﻥﻃﻮﺭ‬ ‫ﻛﻪ ﺍﺯ ﻳﻚ ﺩﺭ ﺑﻴﺮﻭﻥ ﻣﻰﺭﻭﻳﻢ ﺍﺯ ﺯﻧﺪﮔﻰ ﺑﺮﻭﻳﻢ ﺑﻴﺮﻭﻥ‪ ،‬ﻣﻦ ﻛﻪ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻣﻰﻛﺮﺩﻡ‪ .‬ﺍﻣﺎ ﻗﺮﺍﺭ ﺑﻮﺩ‬ ‫ﺷﺐﻫﺎ ﺑﺨﻮﺍﺑﻢ ﻭ ﺻﺒﺢﻫﺎ ﺍﺯ ﺧﻮﺍﺏ ﺑﻴﺪﺍﺭ ﺷﻮﻡ‪ ،‬ﻧﺎﺍﻣﻴﺪ ﺷﺪﻩ ﺑﻮﺩﻡ ﻭ ﺍﺯ ﻫﺴﺘﻰ ﺍﺳﺘﻌﻔﺎ ﺩﺍﺩﻩ ﺑﻮﺩﻡ‪.‬‬ ‫ﺑﺮﺧﻰ ﺍﻭﻗﺎﺕ ﺑﻪ ﺍﻭ ﺗﻠﻔﻦ ﻣﻰﻛﺮﺩﻡ‪ ،‬ﻣﻰﮔﺬﺍﺷﺘﻢ ﺗﻠﻔﻦ ﻳﻜﻰ ﺩﻭ ﺑﺎﺭﻯ ﺯﻧﮓ ﺑﺨﻮﺭﺩ ﻭ ﺑﻌﺪ ﻗﻄﻊ‬ ‫ﻣﻰﻛﺮﺩﻡ‪ .‬ﺁﻥ ﻣﻨﻰ ﻛﻪ ﺩﺍﺷﺖ ﻓﺮﻳﺎﺩ ﻣﻰﻛﺸﻴﺪ‪ ،‬ﺁﻥﻗﺪﺭ ﺩﺭ ﺍﻋﻤﺎﻕ ﺑﻮﺩ ﻛﻪ ﻫﻴﭻﻛﺲ ﺣﺘﺎ ﺍﺯ ﻭﺟﻮﺩﺵ‬ ‫ﺧﺒﺮ ﻧﺪﺍﺷﺖ‪ .‬ﺣﺘﺎ ﺧﻮﺩﻡ ﻫﻢ ﻭﺟﻮﺩﺵ ﺭﺍ ﻓﺮﺍﻣﻮﺵ ﻛﺮﺩﻩ ﺑﻮﺩﻡ‪ .‬ﺗﺎ ﺍﻳﻦ ﻛﻪ ﻳﻚ ﺭﻭﺯ ﺳﻮﺍﺭ ﻣﺎﺷﻴﻦ‬ ‫ﺷﺪﻡ؛ ﻣﺠﺒﻮﺭ ﺑﻮﺩﻡ ﺑﻪ ﻣﻐﺎﺯﻩ ﺑﺮﻡ‪ ،‬ﺗﺼﻤﻴﻢ ﮔﺮﻓﺘﻪ ﺑﻮﺩﻡ ﻣﻘﺪﺍﺭﻯ ﺳﻴﺐ ﺑﺎ ﺧﻮﺩﻡ ﺑﻴﺎﻭﺭﻡ ﻭ ﺍﺯ ﻣﻐﺎﺯﻩﺍﻯ‬ ‫ﻛﻪ ﺳﻴﺐ ﻣﻰﻓﺮﻭﺧﺖ ﺭﺩ ﺷﺪﻡ ﻭ ﻫﻤﻴﻦ ﻃﻮﺭ ﺑﻪ ﺭﺍﻧﻨﺪﮔﻰ ﺍﺩﺍﻣﻪ ﺩﺍﺩﻡ ﻭ ﺍﺩﺍﻣﻪ ﺩﺍﺩﻡ‪ .‬ﺑﻪ ﺳﻤﺖ ﺟﻨﻮﺏ‬ ‫ﻭ ﻏﺮﺏ ﻣﻰﺭﻓﺘﻢ‪ ،‬ﭼﻮﻥ ﺍﮔﺮ ﺑﻪ ﺳﻤﺖ ﺷﻤﺎﻝ ﻭ ﺷﺮﻕ ﻣﻰﺭﻓﺘﻢ ﺧﻴﻠﻰ ﺯﻭﺩ ﺩﻧﻴﺎ ﺑﻪ ﺁﺧﺮ ﻣﻰﺭﺳﻴﺪ‪.‬‬ ‫ﭼﻨﺪ ﺳﺎﻋﺘﻰ ﺩﺭ ﺑﺰﺭﮔﺮﺍﻩ ﺭﺍﻧﻨﺪﮔﻰ ﻛﺮﺩﻩ ﺑﻮﺩﻡ ﻛﻪ ﺗﻠﻔﻦ ﻫﻤﺮﺍﻫﻢ ﺯﻧﮓ ﺧﻮﺭﺩ‪ .‬ﭘﻨﺠﺮﻩ ﺭﺍ ﭘﺎﻳﻴﻦ ﺩﺍﺩﻡ ﻭ‬ ‫ﺗﻠﻔﻦ ﺭﺍ ﺑﻪ ﺑﻴﺮﻭﻥ ﭘﺮﺕ ﻛﺮﺩﻡ‪ .‬ﺩﺭ ﺍﻳﻦ ﻓﻜﺮ ﺑﻮﺩﻡ ﻛﻪ ﭼﻪ ﻛﺴﻰ ﭘﻴﺪﺍﻳﺶ ﻣﻰﻛﻨﺪ ﻭ ﺁﻳﺎ ﺗﻠﻔﻦ ﺭﺍ ﭘﺎﺳﺦ‬ ‫ﻣﻰﺩﻫﻨﺪ ﻭ ﺯﻧﺪﮔﻰ ﻣﻦ ﺭﺍ ﭘﻴﺪﺍ ﻣﻰﻛﻨﻨﺪ ﻳﺎ ﺧﻴﺮ‪.‬‬ ‫ﻭﻗﺘﻰ ﺑﺮﺍﻯ ﺑﻨﺰﻳﻦ ﺯﺩﻥ ﺍﻳﺴﺘﺎﺩﻡ‪ ،‬ﺍﺯ ﺗﻤﺎﻡ ﻛﺎﺭﺕﻫﺎﻯ ﺍﻋﺘﺒﺎﺭﻯ ﻛﻪ ﺩﺍﺷﺘﻢ‪ ،‬ﺑﻴﺸﺘﺮﻳﻦ ﻣﺒﻠﻐﻰ ﺭﺍ ﻛﻪ‬ ‫ﻣﻰﺷﺪ ﺑﺮﺩﺍﺷﺖ ﻛﺮﺩﻡ‪ .‬ﺗﺎ ﭼﻨﺪ ﺭﻭﺯ ﻫﻤﻴﻦ ﻛﺎﺭ ﺭﺍ ﺗﻜﺮﺍﺭ ﻣﻰﻛﺮﺩﻡ‪ ،‬ﺧﻮﺩﭘﺮﺩﺍﺯ ﺑﻪ ﺧﻮﺩﭘﺮﺩﺍﺯ ﻫﻤﻪﻯ‬ ‫ﻛﺎﺭﺕﻫﺎ ﺭﺍ ﺍﻣﺘﺤﺎﻥ ﻛﺮﺩﻡ ﺗﺎ ﺍﺯ ﻛﺎﺭ ﺍﻓﺘﺎﺩﻧﺪ‪.‬‬ ‫ﺩﻭ ﺷﺐ ﺍﻭﻝ ﺩﺭ ﻣﺎﺷﻴﻦ ﺧﻮﺍﺑﻴﺪﻡ‪.‬‬ ‫‪24‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺩﺍﻧﻪﻫﺎﻯ ﺗﻠﺦ‬ ‫ﻧﻴﻞ ﮔﻴﻤﻦ‬ ‫ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬

‫ﻧﯿﻞ ﮔﯿﻤﻦ ﺧﺎﻟﻖ آﺛﺎری ﭼﻮن »ﺧﺪاﯾﺎن آﻣﺮﯾﮑﺎﯾﯽ«‪» ،‬ﮐﻮراﻻﯾﻦ« و »ﭘﴪﻫﺎی آﻧﺎﻧﺴﯽ«‬ ‫اﺳﺖ ﮐﻪ در ردﯾﻒ ﭘﺮﻓﺮوشﺗﺮﯾﻦﻫﺎی آﻣﺮﯾﮑﺎ ﻗﺮار ﮔﺮﻓﺘﻪاﻧﺪ‪ .‬او ﻧﻮﯾﺴﻨﺪهی ﴎی ﮐﻤﯿﮏ‬ ‫ﻣﺤﺒﻮب »ﻣﺮد ﺷﻨﯽ« اﺳﺖ و در زﻣﯿﻨﻪی ﺳﯿﻨام و ﺗﻠﻮﯾﺰﯾﻮن ﻫﻢ ﮐﺎر ﮐﺮده اﺳﺖ‪ .‬ﭘﺮوژهﻫﺎی‬ ‫ﺗﻠﻮﯾﺰﯾﻮﻧﯽ او ﻋﺒﺎرﺗﻨﺪ از ﯾﮏ ﻣﺠﻤﻮﻋﻪی ﮐﻮﺗﺎه ﺑﻪ ﻧﺎم »‪ «Neverwhere‬ﮐﻪ ﺑﻌﺪﻫﺎ آن را در‬ ‫ﻗﺎﻟﺐ ﯾﮏ رﻣﺎن درآورد و ﻧﻮﺷﺘﻪای ﺑﺮای ﺑﺎﺑﯿﻠﻮن ‪ .۵‬در زﻣﯿﻨﻪی ﻓﯿﻠﻢ‪ ،‬در ﻧﮕﺎرش ﺳﻨﺎرﯾﻮی‬ ‫ﻓﯿﻠﻢﻫﺎی »ﺑﺌﻮوﻟﻒ« و »ﻣﺎﺳﮏ آﯾﻨﻪای« ﺑﻪ ﺻﻮرت اﺷﱰاﮐﯽ ﻫﻤﮑﺎری ﮐﺮده و ﺳﻨﺎرﯾﻮی‬ ‫اﻧﮕﻠﯿﺴﯽ اﻧﯿﻤﻪی »ﭘﺮﻧﺴﺲ ﻣﻮﻧﻮﻧﻮﮐﻪی« ﻣﯿﺎزاﮐﯽ را ﻧﻮﺷﺘﻪ اﺳﺖ‪ .‬از روی رﻣﺎن او ﺑﻪ ﻧﺎم‬ ‫»‪ «Stardust‬در ﺳﺎل ‪ ۲۰۰۷‬ﻓﯿﻠﻤﯽ ﺑﻪ ﻫﻤﯿﻦ ﻧﺎم ﺳﺎﺧﺘﻪ ﺷﺪه اﺳﺖ‪.‬‬ ‫ﮔﯿﻤﻦ ﺗﻘﺮﯾﺒﺎً متﺎم ﺟﻮاﯾﺰ ﻣﻬﻢ زﻣﯿﻨﻪی ادﺑﯿﺎت ﻋﻠﻤﯽﺗﺨﯿﻠﯽ و وﺣﺸﺖ را ﺑﺮﻧﺪه ﺷﺪه ﮐﻪ‬ ‫ﺑﺮﺧﯽ از اﯾﻦ ﺟﻮاﯾﺰ ﻋﺒﺎرﺗﻨﺪ از ﺳﻪ ﺑﺎر ﻫﻮﮔﻮ‪ ،‬دو ﺑﺎر ﻧﺒﯿﻮﻻ‪ ،‬ﺟﺎﯾﺰهی ﻓﺎﻧﺘﺰی ﺟﻬﺎن‪ ،‬ﭼﻬﺎر‬ ‫ﺑﺎر ﺑﺮام اﺳﺘﻮﮐﺮ و ﯾﺎزده ﺑﺎر ﺟﺎﯾﺰهی ﻟﻮﮐﺎس‪.‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺑﻮﺩﻧﺪ‪ ،‬ﺟﻠﻮﻯ ﻣﻦ ﻛﻪ ﻧﻪ؛ ﺍﻣﺎ ﻣﻰﺩﺍﻧﺴﺘﻢ‪ .‬ﺍﻳﻦ ﻗﻀﻴﻪ ﻧﺒﺎﻳﺪ ﺍﺫﻳﺘﻢ ﻣﻰﻛﺮﺩ؛ ﺍﻣﺎ ﻛﺮﺩ‪.‬‬ ‫ﺟﻮﺳﻰ ﺍﺯ ﻣﻦ ﺧﻮﺍﺳﺖ ﺑﺮﻭﻡ ﺑﻴﺮﻭﻥ‪ .‬ﻧﮕﺎﻫﻰ ﻛﻪ ﻣﻮﻗﻊ ﺑﺴﺘﻦ ﺩﺭ ﺑﻪ ﻣﻦ ﺍﻧﺪﺍﺧﺖ ﻣﻰﮔﻔﺖ ﻛﻪ ﻣﻰﺩﺍﻧﺪ‬ ‫ﭼﻪ ﺍﺣﺴﺎﺳﻰ ﺩﺍﺭﻡ‪ .‬ﭼﺸﻢﻫﺎﻳﺶ ﺧﻴﺲ ﺑﻮﺩ‪ ،‬ﺍﺯ ﺳﺮ ﺍﺷﺘﻴﺎﻕ‪ ،‬ﻳﺎ ﺷﺎﻳﺪ ﺍﺯ ﺳﺮ ﺍﻧﺪﻭﻩ‪ ،‬ﻳﺎ ﺷﺎﻳﺪ ﻫﻢ ﻧﻴﺎﺯ‪.‬‬ ‫ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﺟﻠﻮﻯ ﺧﻮﺩﺵ ﺭﺍ ﺑﮕﻴﺮﺩ‪ ،‬ﺳﻌﻰ ﻣﻰﻛﺮﺩ ﺍﻳﻦ ﺭﺍ ﺑﻪ ﻣﻦ ﺑﮕﻮﻳﺪ‪.‬‬ ‫ﻣﻮﻗﻌﻰ ﻛﻪ ﻣﻨﺘﻈﺮ ﺑﻮﺩﻡ ﺗﺎ ﺩﺭ ﺭﺍ ﺑﺎﺯ ﻛﻨﺪ‪ ،‬ﻗﺪﻡ ﺯﺩﻡ‪ .‬ﺩﻟﻢ ﻣﻰﺧﻮﺍﺳﺖ ﺍﺳﻤﺶ ﺭﺍ ﺩﺍﺩ ﺑﺰﻧﻢ –ﺍﺳﻢ‬ ‫ﻭﺍﻗﻌﻰﺍﺵ ﺭﺍ‪ -‬ﺍﻣﺎ ﺗﻨﻬﺎ ﻛﺴﻰ ﻛﻪ ﺍﺳﻢ ﻭﺍﻗﻌﻰﺍﺵ ﻳﺎﺩﻡ ﻣﻰﺁﻣﺪ‪ ،‬ﻛﻠﻰ ﺑﻮﺩ‪ .‬ﺩﻫﺎﻧﻢ ﺭﺍ ﺑﺎﺯ ﻛﺮﺩﻡ ﺗﺎ ﺻﺪﺍﻳﺶ‬ ‫ﺑﺰﻧﻢ‪ ،‬ﻓﻘﻂ ﺍﺯ ﺳﺮ ﺍﺣﺘﻴﺎﻁ‪ .‬ﺁﻥ ﻭﻗﺖ ﺑﻮﺩ ﻛﻪ ﺻﺪﺍ ﺭﺍ ﺷﻨﻴﺪﻡ؛ ﺧﺮﺧﺮ ﻭ ﻧﺎﻟﻪ ﻭ ﻣﻠﭻﻣﻠﻮﭼﻰ ﺁﺑﺪﺍﺭ‪.‬‬

‫‪1. Kelly‬‬ ‫‪2. Niña‬‬

‫ﺑﺮﺍﻯ ﺍﺷﺎﺭﻩ ﺑﻪ ﺳﻤﺖ ﭼﭗ ﻭ ﺭﺍﺳﺖ ﺑﺪﻧﻪﻯ ﻛﺸﺘﻰ ﺑﻪ ﻛﺎﺭ‬ ‫ﻣﻰﺭﻭﺩ‪ .‬ﺟﻬﺖﻫﺎ ﺍﺯ ﻣﻨﻈﺮ ﻧﺎﻇﺮ ﺍﻳﺴﺘﺎﺩﻩ ﺑﺮ ﺭﻭﻯ ﻋﺮﺷﻪﻯ ﻛﺸﺘﻰ‪،‬‬ ‫ﻛﻪ ﺭﻭ ﺑﻪ ﺩﻣﺎﻏﻪﻯ ﺁﻥ ﺩﺍﺭﺩ‪ ،‬ﺗﻌﺮﻳﻒ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺳﺘﻮﺭﻫﺎﻯ ﺻﺤﻨﻪ‬ ‫)‪ (stage directions‬ﺟﻬﺖﻫﺎﻯ ﻗﺮﺍﺭﺩﺍﺩﻯ ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﻯ‬ ‫ﻣﺸﺨﺺ ﺷﺪﻥ ﺟﻬﺖ ﺣﺮﻛﺖ ﺑﺎﺯﻳﮕﺮ ﺭﻭﻯ ﺻﺤﻨﻪ‪ ،‬ﺩﺭ ﺍﺧﺘﻴﺎﺭ‬ ‫ﺍﻭ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ‪.‬‬ ‫‪ .20‬ﺍﺻﻄﻼﺡ »ﻧﻘﺶ ﺯﻣﻴﻦ ﺷﺪﻥ« ﻣﻌﺎﺩﻝ ‪ hit the deck‬ﺩﺭ‬ ‫ﺯﺑﺎﻥ ﺍﻧﮕﻠﻴﺴﻰ ﺍﺳﺖ‪ deck .‬ﺧﻮﺩ ﺑﻪ ﻣﻌﻨﺎﻯ »ﻋﺮﺷﻪﻯ ﻛﺸﺘﻰ«‬ ‫ﺍﺳﺖ‪ .‬ﺭﺍﻭﻯ ﺩﺍﺳﺘﺎﻥ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻭﻟﻮ ﺷﺪﻥ ﺭﻭﻯ ﻋﺮﺷﻪﻯ ﻛﺸﺘﻰ‪،‬‬ ‫ﺍﺯ ﺫﻫﻨﺶ ﻣﻰﮔﺬﺭﺩ ﻧﻜﻨﺪ ﺁﻥ ﻋﺒﺎﺭﺕ ‪ hit the deck‬ﺍﺯ ﭼﻨﻴﻦ‬ ‫ﻭﺿﻴﻌﺘﻰ ﺭﻳﺸﻪ ﮔﺮﻓﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺑﺎﺯﻯ ﻛﻼﻣﻰ ﺍﻳﻦ ﺑﺨﺶ ﺩﺭ‬ ‫ﺑﺮﮔﺮﺩﺍﻥ ﺍﺯ ﺩﺳﺖ ﻣﻰﺭﻭﺩ‪.‬‬

‫‪ :Trader Joe’s .3‬ﻳﻜﻰ ﺍﺯ ﻣﺸﻬﻮﺭﺗﺮﻳﻦ ﻓﺮﻭﺷﮕﺎﻩﻫﺎﻯ ﺧﻮﺍﺭﺑﺎﺭ‬ ‫ﻓﺮﻭﺷﻰ ﺯﻧﺠﻴﺮﻩﺍﻯ ﺩﺭ ﺍﻳﺎﻻﺕ ﻣﺘﺤﺪﻩ‪.‬‬ ‫‪4. Emeryville‬‬ ‫‪5. Bay Bridge‬‬ ‫‪6. Treasure Island‬‬ ‫‪7. Grinch‬‬ ‫‪8. Juicy Liu‬‬ ‫‪9. Highwater Mark‬‬ ‫‪10. Justin Case‬‬

‫‪ .11‬ﺑﺨﺸﻰ ﺍﺯ ﺗﺮﺍﻧﻪﻯ ﺗﻴﺘﺮﺍژ ﺳﺮﻳﺎﻝ ﻛﻤﺪﻯ ﺁﻣﺮﻳﻜﺎﻳﻰ ﺑﺎ ﻧﺎﻡ‬ ‫»ﺟﺰﻳﺮﻩﻯ ﮔﻴﻠﻴﮕﺎﻥ« ﻛﻪ ﺩﺭ ﺩﻫﻪﻯ ﻫﻔﺘﺎﺩ ﻣﻴﻼﺩﻯ ﭘﺨﺶ‬ ‫ﻣﻰﺷﺪ‪ .‬ﺍﻳﻦ ﺗﺮﺍﻧﻪ ﻋﻨﻮﺍﻥ »ﺗﺼﻨﻴﻒ ﺟﺰﻳﺮﻩﻯ ﮔﻴﻠﻴﮕﺎﻥ« ﺭﺍ ﺑﺮ‬ ‫ﺧﻮﺩ ﺩﺍﺷﺖ‪.‬‬ ‫‪ .12‬ﺑﺨﺸﻰ ﺍﺯ ﺗﺮﺍﻧﻪﻯ ﻛﻮﺩﻛﺎﻧﻪﺍﻯ ﺑﻪ ﻫﻤﻴﻦ ﻧﺎﻡ‪.‬‬

‫‪21. Incredible Hulk‬‬

‫‪ :L. L. Bean .22‬ﻳﻜﻰ ﺍﺯ ﻣﺎﺭﻙﻫﺎﻯ ﻣﻌﺮﻭﻑ ﭘﻮﺷﺎﻙ ﻭ‬ ‫ﺗﺠﻬﻴﺰﺍﺕ ﺗﻔﺮﻳﺤﺎﺕ ﻓﻀﺎﻯ ﺑﺎﺯ ﺩﺭ ﺍﻳﺎﻻﺕ ﻣﺘﺤﺪﻩ‪.‬‬ ‫‪23. SuperBall‬‬

‫‪13. James Taylor‬‬ ‫‪14. The Beatles‬‬ ‫‪15. Dylan‬‬ ‫‪16. In da Club‬‬ ‫‪17. 50 Cent‬‬

‫‪ :Homer and Marge .24‬ﺷﺨﺼﻴﺖﻫﺎﻯ ﺍﺻﻠﻰ ﺍﻧﻴﻤﻴﺸﻦ‬ ‫ﺧﺎﻧﻮﺍﺩﻩﻯ ﺳﻴﻤﭙﺴﻮﻥ‪.‬‬ ‫‪ :O Brother, Where Art Thou? .25‬ﻓﻴﻠﻤﻰ ﺑﺎ ﻧﻘﺶﺁﻓﺮﻳﻨﻰ‬ ‫ﺟﻮﺭﺝ ﻛﻠﻮﻧﻰ‪ ،‬ﺟﺎﻥ ﺗﺎﺭﺗﻮﺭﻭ‪ ،‬ﺗﻴﻢ ﺑﻠﻴﻚ ﻧﻠﺴﻮﻥ‪ ،‬ﺟﺎﻥ ﮔﻮﺩﻣﻦ‬ ‫ﻭ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﺟﻮﺋﻞ ﻛﻮﺋﻦ‪ ،‬ﻣﺤﺼﻮﻝ ﺳﺎﻝ ‪ .2000‬ﺍﻳﻦ ﻓﻴﻠﻢ‬ ‫ﺑﺮﺩﺍﺷﺖ ﺁﺯﺍﺩﻯ ﺍﺯ ﻛﺘﺎﺏ ﺍﻭﺩﻳﺴﻪ ﺍﺛﺮ ﻫﻮﻣﺮ ﺍﺳﺖ‪.‬‬

‫‪ :Long John Silver .18‬ﺩﺯﺩ ﺩﺭﻳﺎﻳﻰ ﭘﻴﺮ ﻭ ﻣﺎﺟﺮﺍﺟﻮﻳﻰ ﺑﺎ‬ ‫ﭘﺎﻯ ﭼﻮﺑﻰ ﻛﻪ ﻳﻜﻰ ﺍﺯ ﺷﺨﺼﻴﺖ ﻫﺎﻯ ﺍﺻﻠﻰ ﻛﺘﺎﺏ ﺟﺰﻳﺮﻩ ﮔﻨﺞ‬ ‫ﻧﻮﺷﺘﻪ ﺭﺍﺑﺮﺕ ﻟﻮﻳﻴﺲ ﺍﺳﺘﻴﻮﻧﺴﻮﻥ ﺍﺳﺖ‪.‬‬ ‫‪ Port .19‬ﻭ ‪ starboard‬ﺩﻭ ﺍﺻﻄﻼﺡ ﺩﺭﻳﺎﻧﻮﺭﺩﻯ ﺍﺳﺖ ﻛﻪ‬

‫‪26. Lordi‬‬ ‫‪27. The Night of the Loving Dead‬‬

‫‪21‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻳﻜﻰ ﺍﺯ ﺩﺳﺘﮕﺎﻩﻫﺎﻯ ﺍﻝ‪ .‬ﺍﻝ‪ .‬ﺑﻴﻦ ]‪ [22‬ﺑﻪ ﺷﻜﻞ ﺍﻓﺘﻀﺎﺣﻰ ﺍﻳﺮﺍﺩ ﭘﻴﺪﺍ ﻛﻨﺪ؛ ﻟﺒﺎﺱﻫﺎ ﺩﺭﻳﺪﻩ ﻣﻰﺷﺪﻧﺪ‬ ‫ﻭ ﻛﻔﺶﻫﺎ ﺑﻪ ﭘﺮﻭﺍﺯ ﺩﺭﻣﻰﺁﻣﺪﻧﺪ‪.‬‬ ‫ﻭﻗﺘﻰ ﻛﻠﻰ ﻣﺸﻐﻮﻝ ﺧﻮﺭﺩﻥ ﺑﻮﺩ‪ ،‬ﺳﺮ ﺍﻳﻦ ﻛﻪ ﺑﺎﻳﺪ ﺟﻮﺭﻯ ﺩﻳﮕﺮﻯ ﻋﻤﻞ ﻣﻰﻛﺮﺩﻳﻢ ﺑﺤﺜﻤﺎﻥ ﺷﺪ‪.‬‬ ‫ﺍﺳﻢ ﺧﺎﻧﻪﻯ ﺟﺪﻳﺪﻣﺎﻥ ﺭﺍ ﺳﻮﭘﺮﺑﺎﻝ ]‪ [23‬ﮔﺬﺍﺷﺘﻴﻢ‪ .‬ﻗﺒ ً‬ ‫ﻼ ﺍﺳﻢ ﺩﻳﮕﺮﻯ ﺩﺍﺷﺖ؛ ﺍﻣﺎ ﻭﻗﺘﻰ ﺟﻮﺳﻰ‬ ‫ﻗﺎﻳﻖ ﺭﺍ ﺑﻪ ﻛﻨﺎﺭ ﻧﻴﻨﺎ ﻛﺸﻴﺪ‪ ،‬ﺭﻧﮓ ﻧﻮﺷﺘﻪﺍﺵ ﺑﻪ ﮔﻨﺪ ﻛﺸﻴﺪﻩ ﺷﺪ‪ .‬ﻫﻴﭻ ﻭﻗﺖ ﭘﺎﺭﻙ ﺩﻭﺑﻠﺶ ﺧﻮﺏ‬ ‫ﻧﺒﻮﺩ‪ .‬ﺍﻣﺎ ﺑﺎﻳﺪ ﺍﻭ ﺭﺍ ﻣﻰﺩﻳﺪﻳﺪ‪ ،‬ﺑﺎ ﺷﻼﻗﻰ ﻣﻴﺎﻥ ﺩﻧﺪﺍﻥﻫﺎﻳﺶ‪ ،‬ﺟﺴﻮﺭﺍﻧﻪ ﺷﻨﺎ ﻛﺮﺩ ﺗﺎ ﻗﺎﻳﻖ ﺭﺍ ﺑﮕﻴﺮﺩ‪.‬‬ ‫ﺗﻤﺎﻡ ﻟﺒﺎﺱﻫﺎﻳﺶ ﺧﻴﺲ ﺷﺪﻩ ﻭ ﺑﻪ ﺗﻨﺶ ﭼﺴﺒﻴﺪﻩ ﺑﻮﺩ‪ .‬ﺑﻪ ﻣﺤﺾ ﺍﻳﻦﻛﻪ ﻣﻦ ﻭ ﻫﺎﻯﻭﺍﺗﺮ ﺭﻭﻯ‬ ‫ﻗﺎﻳﻖ ﺭﻓﺘﻴﻢ‪ ،‬ﻫﻤﻪﻯ ﺯﻭﺭﻣﺎﻥ ﺭﺍ ﺯﺩﻳﻢ ﻛﻪ ﺭﻭﻯ ﺍﻭ ﻧﭙﺮﻳﻢ‪ .‬ﺩﻳﺪﻡ ﻛﻪ ﻫﺎﻯﻭﺍﺗﺮ ﭼﻄﻮﺭ ﺟﻮﺳﻰ ﺭﺍ ﻧﮕﺎﻩ‬ ‫ﻣﻰﻛﺮﺩ‪ ،‬ﺍﻭ ﻫﻢ ﺩﻳﺪ ﻣﻦ ﭼﻄﻮﺭ ﺟﻮﺳﻰ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻢ‪ .‬ﻫﺮ ﺩﻭﻳﻤﺎﻥ ﺍﺯ ﺧﻮﺩﻣﺎﻥ ﺧﺠﺎﻟﺖ ﻛﺸﻴﺪﻳﻢ‬ ‫ﻛﻪ ﭼﺸﻢﻣﺎﻥ ﺩﻧﺒﺎﻝ ﺩﺧﺘﺮﻙ ﻛﻠﻰ ﺍﺳﺖ‪ ،‬ﺍﮔﺮﭼﻪ ﺑﻪ ﻧﻈﺮ ﻧﻤﻰﺭﺳﻴﺪ ﻛﻠﻰ ﺩﻳﮕﺮ ﺍﻫﻤﻴﺘﻰ ﺑﻪ ﺍﻭ ﺑﺪﻫﺪ‪.‬‬ ‫ﺗﺎﺯﻩ ﺍﻭ ﻫﻤﻴﺸﻪ ﺑﺎ ﺑﻘﻴﻪﻯ ﺩﺧﺘﺮﻫﺎ ﻻﺱ ﻣﻰﺯﺩ‪ .‬ﺷﺎﻳﻌﺎﺕ ﻛﻪ ﻣﻰﮔﻔﺖ ﺳﺮ ﻭ ﮔﻮﺵﺍﺵ ﺍﻳﻦ ﻃﺮﻑ ﻭ‬ ‫ﺁﻥ ﻃﺮﻑ ﻣﻰﺟﻨﺒﻴﺪ‪.‬‬ ‫ﮔﺬﺍﺷﺘﻴﻢ ﺯﻭﺝ ﭘﻴﺮ ﺑﻤﺎﻧﻨﺪ‪ .‬ﻣﺜﻞ ﻛﻠﻰ ﺍﺯ ﺷﻼﻕ ﺣﺮﻑﺷﻨﻮﻯ ﺩﺍﺷﺘﻨﺪ ﻭ ﺍﺯ ﺍﻳﻦ ﮔﺬﺷﺘﻪ‪ ،‬ﻗﺎﻳﻖ ﺧﻮﺩﺷﺎﻥ‬ ‫ﺑﻮﺩ‪ .‬ﺍﺳﻤﺸﺎﻥ ﺭﺍ ﻫﻮﻣﺮ ﻭ ﻣﺎﺭﺝ ]‪ [24‬ﮔﺬﺍﺷﺘﻴﻢ‪ ،‬ﻛﻪ ﺍﻟﺒﺘﻪ ﻭﻗﺘﻰ ﻓﻜﺮﺵ ﺭﺍ ﻣﻰﻛﻨﻰ‪ ،‬ﻣﻰﺑﻴﻨﻰ ﻫﺮ ﺩﻭ‬ ‫ﺍﺳﻢ ﺑﻪ ﻃﺮﺯ ﺍﻓﺘﻀﺎﺣﻰ ﻗﺪﻳﻤﻰ ﻭ ﺍﺯ ﻣﺪ ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ‪ .‬ﻣﻮﻫﺎﻳﺸﺎﻥ ﻧﺎﺯﻙ ﻭ ﻧﺮﻡ ﻭ ﺭﻧﮓﭘﺮﻳﺪﻩ ﺑﻮﺩ ﻭ ﻫﺮ‬ ‫ﺟﻔﺘﺸﺎﻥ ﺩﺍﺷﺘﻨﺪ ﻛﭽﻞ ﻣﻰﺷﺪﻧﺪ‪ .‬ﻧﺎﻟﻪﻛﻨﺎﻥ ﺭﻭﻯ ﻋﺮﺷﻪ ﺍﻳﻦ ﻃﺮﻑ ﻭ ﺁﻥ ﻃﺮﻑ ﻣﻰﺭﻓﺘﻨﺪ‪ .‬ﻫﻤﻴﺸﻪ ﺑﺎ‬ ‫ﻫﻢ ﺑﻮﺩﻧﺪ‪ .‬ﺣﺘﺎ ﺑﺎ ﻫﻢ ﻭﺭ ﻣﻰﺭﻓﺘﻨﺪ‪ .‬ﻛﻠﻰ ﺩﻧﺒﺎﻟﺸﺎﻥ ﺭﺍﻩ ﻣﻰﺍﻓﺘﺎﺩ؛ ﺍﻣﺎ ﻧﺪﻳﺪﻩﺍﺵ ﻣﻰﮔﺮﻓﺘﻨﺪ‪.‬‬ ‫ﻣﺎ ﺩﺯﺩﺍﻥ ﺩﺭﻳﺎﻳﻰ ﺩﺍﺧﻞ ﻛﺎﺑﻴﻦ ﻣﺎﻧﺪﻳﻢ‪ .‬ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﻫﻤﻪﻯ ﻗﺎﻳﻖﻫﺎﻯ ﺩﻳﮕﺮﻯ ﻛﻪ ﺍﺯ ﻛﻨﺎﺭﻣﺎﻥ‬ ‫ﻣﻰﮔﺬﺷﺘﻨﺪ‪ ،‬ﺧﻴﺎﻝ ﻣﻰﻛﺮﺩﻧﺪ ﭘﻴﺶﺗﺮ ﺑﻪ ﻛﺸﺘﻰ ﺍﺭﻭﺍﺡ ﺑﺪﻝ ﺷﺪﻩﺍﻳﻢ ﻭ ﺍﻳﻦﻃﻮﺭ ﺩﺭ ﺍﻣﺎﻥ ﺑﻮﺩﻳﻢ‪.‬‬ ‫ﺁﻥﺟﺎ ﺩﺭ ﺳﺎﺣﻞ‪ ،‬ﺑﺎﻳﺪ ﻣﺜﻞ ﻫﻤﻪﻯ ﺁﻥ ﻓﻴﻠﻢﻫﺎﻯ ﺯﺍﻣﺒﻰﺍﻯ ﺑﺎﺷﺪ ﻛﻪ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺩﻳﺪﻩﺍﻳﺪ‪ .‬ﺍﻳﻦﺟﺎ ﺩﺭ‬ ‫ﺁﺭﺍﻣﺶ ﺑﻮﺩ‪ .‬ﺑﺎ ﺗﺨﺘﻪﻯ ﺍﺣﻀﺎﺭ ﺍﺭﻭﺍﺣﻰ ﻛﻪ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺑﻮﺩﻳﻢ‪ ،‬ﺑﺎﺯﻯ ﻣﻰﻛﺮﺩﻳﻢ؛ ﺍﻣﺎ ﻧﺘﻮﺍﻧﺴﺘﻴﻢ ﺑﺎ ﻫﻴﭻ‬ ‫ﺭﻭﺣﻰ ﺗﻤﺎﺱ ﺑﮕﻴﺮﻳﻢ‪ .‬ﮔﻤﺎﻥ ﻣﻰﻛﺮﺩﻳﻢ ﺑﺎ ﺁﻥ ﻫﻤﻪ ﺁﺩﻡ ﻣﺮﺩﻩﻯ ﺩﻭﺭ ﻭ ﺑﺮﻣﺎﻥ‪ ،‬ﺭﻭﺣﻰ ﺭﺍ ﭘﻴﺪﺍ ﻣﻰﻛﻨﻴﻢ‬ ‫ﻛﻪ ﺩﻟﺶ ﺑﺨﻮﺍﻫﺪ ﺣﺮﻑ ﺑﺰﻧﺪ‪ .‬ﺑﺎ ﺑﻰﺳﻴﻢ ﻫﻢ ﻭﺭ ﺭﻓﺘﻴﻢ‪ ،‬ﺍﻣﺎ ﺍﺯ ﺁﻥ ﻃﺮﻳﻖ ﻫﻢ ﻛﺴﻰ ﺑﺎ ﻣﺎ ﺣﺮﻑ ﻧﺰﺩ‪.‬‬ ‫ﺷﺎﻳﺪ ﻫﻢ ﺑﺎﺗﺮﻯﻫﺎﻳﺶ ﺗﻤﺎﻡ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﭼﻨﺪﺗﺎﻳﻰ ﺳﺮﻭﺩ ﻣﺬﻫﺒﻰ ﻛﻪ ﺍﺯ ﻓﻴﻠﻢ »ﺍﻯ ﺑﺮﺍﺩﺭ‪ ،‬ﻛﺠﺎﻳﻰ؟«‬ ‫]‪ [25‬ﻳﺎﺩﻡ ﺑﻮﺩ ﺑﻪ ﺟﻮﺳﻰ ﻳﺎﺩ ﺩﺍﺩﻡ‪ .‬ﺭﻳﺘﻢ ﻳﻜﻰ ﺍﺯ ﺁﻥ ﺟﻴﻎ ﻭ ﻭﻳﻎﻫﺎﻯ ﮔﺮﻭﻩ ﻟﻮﺭﺩﻯ ]‪ [26‬ﺭﺍ ﻫﻢ‪،‬‬ ‫ﻛﻪ ﺍﺳﻤﺶ ﺭﺍ ﺷﺐ ﻣﺮﺩﮔﺎﻥ ﻣﺤﺒﻮﺏ ]‪ [27‬ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩﻧﺪ‪ ،‬ﻳﺎﺩﺵ ﺩﺍﺩﻡ‪ .‬ﻫﻴﭻ ﺑﺨﺶ ﺁﻫﻨﮓ ﺑﻪ ﺟﺰ‬ ‫ﺍﺳﻤﺶ ﺭﺍ ﻳﺎﺩﻡ ﻧﻤﻰﺁﻣﺪ؛ ﺍﻣﺎ ﺧﻮﺍﻧﺪﻡ ﻭ ﺍﻭ ﻫﻢ ﻟﺒﺨﻨﺪ ﺯﺩ‪.‬‬ ‫ﺣﺘﺎ ﺁﻥ ﻣﻮﻗﻊ ﻫﻢ ﻣﻰﺩﺍﻧﺴﺘﻢ‪ .‬ﺍﺯ ﻗﺒﻞ ﻫﺎﻯﻭﺍﺗﺮ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻫﻨﻮﺯ ﺣﺘﺎ ﻫﻤﺪﻳﮕﺮ ﺭﺍ ﻧﺒﻮﺳﻴﺪﻩ‬ ‫‪20‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺍﺳﺎﺳﻰ ﺁﺷﻜﺎﺭﺳﺎﺯﻫﺎﻯ ﻣﺰﺧﺮﻓﺸﺎﻥ ﺗﺎ ﺣﺎﻻ ﺩﻳﮕﺮ ﺑﺎﻳﺪ ﺯﺍﻣﺒﻰ ﺷﺪﻩ ﺑﺎﺷﻨﺪ‪ .‬ﺍﻣﺎ ﺁﻥﻗﺪﺭ ﺗﺸﻨﻪ ﺑﻮﺩﻳﻢ‬ ‫ﻛﻪ ﻫﺮ ﭼﻴﺰﻯ ﺭﺍ ﺍﻣﺘﺤﺎﻥ ﻛﻨﻴﻢ‪ .‬ﺟﻮﺳﻰ ﺷﻼﻕ ﺭﺍ ﺍﺯ ﺩﺳﺘﻢ ﮔﺮﻓﺖ ﻭ ﺑﺪﻭﻥ ﺍﻳﻦ ﻛﻪ ﺧﻮﺩﺵ ﺭﺍ ﺑﺰﻧﺪ‪،‬‬ ‫ﺻﺪﺍﻳﺶ ﺭﺍ ﺩﺭﺁﻭﺭﺩ‪ .‬ﻣﺜﻞ ﺯﻣﺎﻧﻰ ﻛﻪ ﺍﻳﻨﺪﻳﺎﻧﺎ ﺟﻮﻧﺰ ﺻﺪﺍﻳﺶ ﺭﺍ ﺩﺭﻣﻰﺁﻭﺭﺩ‪ ،‬ﺻﺪﺍ ﻛﺮﺩ‪ .‬ﻛﻠﻰ ﺭﺍ ﻓﺮﺍ ﺧﻮﺍﻧﺪ‪.‬‬ ‫ﭼﻨﺪ ﺩﻗﻴﻘﻪ ﺑﻌﺪ ﻛﻠﻰ ﺍﺯ ﺁﺏ ﺑﻴﺮﻭﻥ ﺁﻣﺪ‪ .‬ﭘﺲ ﺷﺎﻳﺪ ﺯﺍﻣﺒﻰﻫﺎ ﺑﺘﻮﺍﻧﻨﺪ ﺷﻨﺎ ﻛﻨﻨﺪ‪ .‬ﺷﺎﻳﺪ ﻓﻘﻂ ﺗﻨﺒﻠﻰﺷﺎﻥ‬ ‫ﻣﻰﺁﻳﺪ ﻭ ﻣﺤﺮﻙ ﺑﻴﺮﻭﻧﻰ ﻻﺯﻡ ﺩﺍﺭﻧﺪ‪ .‬ﺟﻮﺳﻰ‪ ،‬ﻛﻪ ﺍﺯ ﺷﻼﻕ ﺑﺮﺍﻯ ﺗﺄﻛﻴﺪ ﺭﻭﻯ ﺻﺤﺒﺖﻫﺎﻳﺶ ﺍﺳﺘﻔﺎﺩﻩ‬ ‫ﻣﻰﻛﺮﺩ‪ ،‬ﺑﺎ ﻛﻠﻰ ﺣﺮﻑ ﺯﺩ‪ .‬ﺍﺳﻤﺶ ﺭﺍ ﺑﺮﺩ‪ .‬ﻫﻨﻮﺯ ﺑﻪ ﺁﻥ ﻭﺍﻛﻨﺶ ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩ‪ ،‬ﻛﻪ ﺍﻟﺒﺘﻪ ﻫﻴﭻ ﻛﺪﺍﻡﻣﺎﻥ‬ ‫ﺭﺍ ﺍﺫﻳﺖ ﻧﻤﻰﻛﺮﺩ‪ ،‬ﻫﺮ ﭼﻨﺪ ﺷﺎﻳﺪ ﺑﺎﻳﺪ ﻣﻰﻛﺮﺩ‪ .‬ﻳﻚ ﺯﻣﺎﻥ ﺍﺳﻢ ﻫﻤﻪﻣﺎﻥ ﺭﺍ ﻣﻰﺩﺍﻧﺴﺖ‪.‬‬ ‫ﻛﻠﻰ ﺍﺯ ﻃﻨﺎﺑﻰ ﻛﻪ ﺑﺮﺍﻳﺶ ﭘﺎﻳﻴﻦ ﻓﺮﺳﺘﺎﺩﻩ ﺑﻮﺩﻳﻢ ﺑﺎﻻ ﺁﻣﺪ‪ .‬ﺍﻳﺴﺘﺎﺩ‪ ،‬ﺁﺏ ﺍﺯ ﺗﻨﺶ ﺭﻭﻯ ﻋﺮﺷﻪ ﻣﻰﭼﻜﻴﺪ‪،‬‬ ‫ﻃﻮﺭﻯ ﻧﮕﺎﻫﻤﺎﻥ ﻣﻰﻛﺮﺩ ﺍﻧﮕﺎﺭ ﺻﺪ ﺗﺎﻳﻰ ﺑﺎﻛﺮﻩﻯ ﺗﺮ ﻭ ﺗﺎﺯﻩ ﻫﺴﺘﻴﻢ‪.‬‬ ‫ﻫﻤﻪﻣﺎﻥ ﺭﺍ ﻫﻤﺎﻥ ﻃﻮﺭ ﺍﺯ ﺯﻳﺮ ﻧﮕﺎﻩ ﮔﺬﺭﺍﻧﺪ‪ ،‬ﻛﻪ ﺍﺣﺘﻤﺎﻻً ﺟﻮﺳﻰ ﺭﺍ ﻧﺎﺭﺍﺣﺖ ﻛﺮﺩ‪ .‬ﺑﻪ ﻧﻈﺮ ﻧﻤﻰﺁﻣﺪ‬ ‫ﻳﺎﺩﺵ ﺑﺎﺷﺪ ﻳﻚ ﺯﻣﺎﻥ ﺑﺎ ﻫﻢ ﺑﻮﺩﻩﺍﻧﺪ‪ .‬ﺧﻮﺏ ﺑﻮﺩ ﻛﻪ ﻣﻰﺩﻳﺪﻳﻢ ﺑﺮﮔﺸﺘﻪ‪ ،‬ﻣﻦ ﻛﻪ ﺍﻳﻦ ﻃﻮﺭ ﺑﻪ ﺍﻭ ﮔﻔﺘﻢ‪،‬‬ ‫ﺍﻣﺎ ﺍﻭ ﭼﻴﺰ ﺯﻳﺎﺩﻯ ﻧﮕﻔﺖ‪.‬‬ ‫ﺟﻮﺳﻰ ﮔﻔﺖ‪» :‬ﺍﺯﺕ ﻣﻰﺧﻮﺍﻫﻴﻢ ﺑﻪ ﺍﻭﻥﻫﺎ ﺣﻤﻠﻪ ﻛﻨﻰ‪ «.‬ﻗﺎﻳﻖ ﻣﻮﺗﻮﺭﻯ ﻛﻮﭼﻚ ﺯﻳﺒﺎﻳﻰ ﺭﺍ ﺍﻧﺘﺨﺎﺏ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺍﺯ ﺁﻥﻫﺎﻳﻰ ﻛﻪ ﻛﺎﺑﻴﻨﻰ ﻣﺠﻬﺰ ﺑﻪ ﻳﺨﭽﺎﻝ ﻭ ﺗﺨﺖﺧﻮﺍﺏ ﻭ ﻣﺨﺰﻥ ﺁﺏ ﮔﻨﺪﻩﺍﻯ ﺩﺍﺭﻧﺪ‪ .‬ﻛﻠﻰ‬ ‫ﺻﺪﺍﻳﻰ ﻣﺜﻞ ﻫﺎﻟﻚ ﺍﻓﺴﺎﻧﻪﺍﻯ ]‪ [21‬ﺍﺯ ﺧﻮﺩﺵ ﺩﺭﺁﻭﺭﺩ ﻭ ﻛﻔﻞﻫﺎﻳﺶ ﺭﺍ ﻣﺜﻞ ﺍﻟﻮﻳﺲ ﭘﺮﻳﺴﻠﻰ ﺟﻨﺒﺎﻧﺪ‪.‬‬ ‫ﮔﻤﺎﻧﻢ ﻫﻨﻮﺯ ﻋﺎﺷﻖ ﺟﻮﺳﻰ ﺑﻮﺩ‪.‬‬ ‫ﺟﻮﺳﻰ ﮔﻔﺖ ﺑﺮﻭﺩ ﻭ ﺩﺭ ﺁﺏ ﻣﻨﺘﻈﺮ ﺑﻤﺎﻧﺪ ﻭ ﺟﻮﺭﻯ ﻭﺍﻧﻤﻮﺩ ﻛﻨﺪ ﺍﻧﮕﺎﺭ ﻏﺮﻕ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﺷﺎﻧﺲ‬ ‫ﻣﻰﺁﻭﺭﺩﻳﻢ‪ ،‬ﺍﻳﻦ ﻃﻮﺭﻯ ﻣﻌﻠﻮﻡ ﻧﻤﻰﺷﺪ ﻣﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻟﺒﺨﻨﺪﻯ ﺑﻪ ﺟﻮﺳﻰ ﺯﺩ ﻭ ﺭﻓﺖ‪.‬‬ ‫ﻛﺎﺭﻯ ﻛﻪ ﻣﻰﻛﺮﺩﻳﻢ ﺑﻪ ﺑﻴﻮﺗﺮﻭﺭﻳﺴﻢ ﻣﻰﻣﺎﻧﺪ‪ .‬ﻣﺜﻞ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﺑﻮﻣﻴﺎﻥ ﺁﻣﺮﻳﻜﺎﻳﻰ ﭘﺘﻮﻯ ﺁﻏﺸﺘﻪ ﺑﻪ‬ ‫ﻭﻳﺮﻭﺱ ﺁﺑﻠﻪ ﺑﺪﻫﻴﻢ‪ .‬ﻣﺜﻞ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﺣﻮﻟﻪﻯ ﻳﻚ ﻧﻔﺮ ﺩﻳﮕﺮ ﺭﺍ ﻭﻗﺘﻰ ﺯﻳﺮ ﺩﻭﺵ ﺍﺳﺖ‪ ،‬ﺍﺯ ﻗﻼﺏ ﺩﻳﻮﺍﺭ‬ ‫ﺭﺧﺘﻜﻦ ﺑﺮﺩﺍﺭﻯ‪ ،‬ﺑﻪ ﺍﻳﻦ ﺑﻬﺎﻧﻪ ﻛﻪ ﺣﻮﻟﻪﻯ ﺧﻮﺩﺕ ﺧﻴﺲ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺻﺮﻓﺎً ﭘﺴﺖﻓﻄﺮﺗﻰ ﻣﺤﺾ ﺑﻮﺩ‪.‬‬ ‫ﺑﻪ ﺳﻤﺖ ﻗﺎﻳﻖ ﻣﻮﺗﻮﺭﻯ ﺭﺍﻧﺪﻳﻢ‪ .‬ﻛﻠﻰ ﺭﺍ ﻧﺸﺎﻥ ﺩﺍﺩﻳﻢ‪ .‬ﺑﻌﺪ ﺩﻛﻞ ﺭﺍ ﻧﺸﺎﻥ ﺩﺍﺩﻳﻢ‪ ،‬ﻳﺎ ﺩﻳﺮﻙ ﺭﺍ‪ ،‬ﻳﺎ ﺩﻛﻞ‬ ‫ﭘﺎﺷﻨﻪ ﺭﺍ‪ .‬ﻫﺮ ﻛﻮﻓﺘﻰ ﻛﻪ ﺑﺎﺩﺑﺎﻥ ﺑﻪ ﺁﻥ ﻭﺻﻞ ﺑﻮﺩ‪ .‬ﺑﺎﺩﻯ ﻧﻤﻰﻭﺯﻳﺪ‪.‬‬ ‫ﺯﻭﺝ ﭘﻴﺮ ﻣﺘﻮﺟﻪ ﺷﺪﻧﺪ‪ .‬ﻣﻮﺗﻮﺭﺷﺎﻥ ﺭﺍ ﺭﻭﺷﻦ ﻛﺮﺩﻧﺪ ﻭ ﺑﻪ ﺳﻤﺘﻰ ﻛﻪ ﻛﻠﻰ ﺍﺯ ﺁﺏ ﺑﻴﺮﻭﻥ ﺯﺩﻩ ﺑﻮﺩ ﻭ ﻣﻮﺝ‬ ‫ﻣﻰﺧﻮﺭﺩ ﺭﻓﺘﻨﺪ‪ .‬ﭼﻨﻴﻦ ﺁﺩﻡﻫﺎﻯ ﺧﻮﺑﻰ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪﻧﺪ ﻛﻪ ﺑﻪ ﻏﺮﻳﺒﻪﺍﻯ ﻣﺜﻞ ﺍﻭ ﻛﻤﻚ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫ﻳﺎﺩ ﺧﻮﺩﻣﺎﻥ ﺍﻧﺪﺍﺧﺘﻴﻢ ﻛﻪ ﻳﺎ ﻣﺎ ﺯﻧﺪﻩ ﻣﻰﻣﺎﻧﻴﻢ‪ ،‬ﻳﺎ ﺁﻥﻫﺎ‪.‬‬ ‫ﺁﻥ ﺯﻭﺝ ﻃﻨﺎﺑﻰ ﺭﺍ ﺩﺍﺧﻞ ﺁﺏ ﭘﺮﺕ ﻛﺮﺩﻧﺪ ﻭ ﻛﻠﻰ ﺭﺍ ﺍﺯ ﺁﺏ ﺗﻴﺮﻩ ﺑﻴﺮﻭﻥ ﻛﺸﻴﺪﻧﺪ‪ .‬ﺑﻪ ﻣﺤﺾ ﺍﻳﻦ ﻛﻪ‬ ‫ﻃﻨﺎﺏ ﺭﺍ ﺍﻧﺪﺍﺧﺘﻨﺪ ﻭ ﺁﻥ ﺭﺍ ﻋﻘﺐ ﻛﺸﻴﺪﻧﺪ‪ ،‬ﻛﻠﻰ ﺭﻭﻯ ﻋﺮﺷﻪ ﻗﺎﻳﻘﺸﺎﻥ ﭘﺮﻳﺪ‪ .‬ﺑﻘﻴﻪﺍﺵ ﻣﺜﻞ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ‬ ‫‪19‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﻫﺎﻯﻭﺍﺗﺮ ﮔﻔﺖ‪» :‬ﺑﺎﺷﻪ ﺑﺎﺷﻪ‪ .‬ﻳﻚ ﺩﻗﻴﻘﻪ ﺑﻪ ﻣﺎ ﻓﺮﺻﺖ ﺑﺪﻩ‪ «.‬ﺩﺭ ﻓﻜﺮ ﻛﺮﺩﻥ ﻫﻤﻴﺸﻪ ﻓﺮﺯﺗﺮ ﺑﻮﺩ‪ .‬ﺯﻳﺮ‬ ‫ﻟﺐ ﮔﻔﺖ‪» :‬ﭼﻪ ﻏﻠﻄﻰ ﺑﻜﻨﻴﻢ؟«‬ ‫ﻣﺘﻮﺟﻪ ﺷﺪﻡ ﺑﻪ ﺷﺪﺕ ﺗﺸﻨﻪﺍﻡ‪ .‬ﮔﻔﺘﻢ‪» :‬ﻣﺎ ﺩﺯﺩ ﺩﺭﻳﺎﻳﻰ ﻫﺴﺘﻴﻢ‪«.‬‬ ‫ﺟﻮﺳﻰ ﺯﻳﺮ ﻟﺐ ﮔﻔﺖ‪» :‬ﺧﺐ ﻛﻪ ﭼﻰ؟ ﻣﺬﺍﻛﺮﻩ ﻛﻨﻴﻢ؟«‬ ‫ﺍﺯ ﻛﻴﺴﻪﻯ ﺧﻮﺍﺏ ﺑﻴﺮﻭﻥ ﺧﺰﻳﺪﻡ ﻭ ﺑﻪ ﻟﺒﻪﻯ ﻗﺎﻳﻖ ﺭﻓﺘﻢ‪ .‬ﺩﺍﺩ ﺯﺩﻡ‪» :‬ﻣﺮﺩ‪ ،‬ﺑﻴﺎ ﻣﺘﺤﺪ ﺑﺸﻴﻢ‪ .‬ﻣﺎ ﺁﺩﻡﻫﺎﻯ‬ ‫ﻣﺒﺘﻜﺮﻯ ﻫﺴﺘﻴﻢ‪ ،‬ﺍﺯ ﺍﻭﻥ ﺁﺩﻡﻫﺎﻳﻰ ﻣﻰﺧﻮﺍﻯ ﻃﺮﻑ ﺗﻮ ﺑﺎﺷﻦ‪ .‬ﻫﻤﻪﻯ ﺍﻳﻦ ﭼﻴﺰﻫﺎ ﺭﻭ ﺧﻮﺩﻣﻮﻥ ﺩﺯﺩﻳﻢ‪،‬‬ ‫ﻭ ﺳﻪ ﺗﺎ ﺍﺯ‪ ...‬ﺧﻮﺩﺕ ﻛﻪ ﻣﻰﺩﻭﻧﻰ‪ ،‬ﺳﻪ ﺗﺎ ﺍﺯ ﺍﻭﻥ ﭼﻴﺰﻫﺎ ﺭﻭ ﻓﺮﺳﺘﺎﺩﻳﻢ ﺑﻪ ﺩﺭﻙ‪ «.‬ﻫﻴﭻ ﻛﺪﺍﻡﻣﺎﻥ ﺗﺎ‬ ‫ﺣﺎﻻ ﺁﻥ ﻛﻠﻤﻪ »ﺯ«ﺩﺍﺭ ﺭﺍ ﻧﮕﻔﺘﻪ ﺑﻮﺩ ﻭ ﻧﻤﻰﺧﻮﺍﺳﺘﻢ ﻣﻦ ﺍﻭﻟﻴﻦ ﻧﻔﺮﻯ ﺑﺎﺷﻢ ﻛﻪ ﺑﮕﻮﻳﻢ‪.‬‬ ‫ﻣﺮﺩ ﺗﻔﻨﮓ ﻛﻮﭼﻜﺶ ﺭﺍ ﺷﻠﻴﻚ ﻛﺮﺩ‪ .‬ﻫﺮ ﺳﻪﺗﺎﻳﻤﺎﻥ ﺭﻭﻯ ﻧﻴﻨﺎ ﻧﻘﺶ ﺯﻣﻴﻦ ﺷﺪﻳﻢ –ﻧﻜﻨﺪ ﺍﻳﻦ ﻋﺒﺎﺭﺕ‬ ‫ﺍﺯ ﻫﻤﻴﻦ ﺟﺎ ﻣﻰﺁﻣﺪ؟ ]‪ -[20‬ﻭ ﻣﻨﺘﻈﺮ ﻣﺎﻧﺪﻳﻢ‪ .‬ﮔﻮﺵﻫﺎﻳﻢ ﺯﻧﮓ ﻣﻰﺯﺩ‪.‬‬ ‫ﻣﺮﺩ ﺭﻳﺰﻩ ﮔﻔﺖ‪» :‬ﮔﺮﻓﺘﻴﻦ؟«‬ ‫ﺩﺍﺩ ﺯﺩﻡ‪» :‬ﺑﺎﺷﻪ‪ ،‬ﺗﻮ ﺑﺮﺩﻯ‪«.‬‬ ‫ﺍﻳﻦ ﻃﻮﺭ ﺷﺪ ﻛﻪ ﺁﺫﻭﻗﻪﻣﺎﻥ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻳﻢ ﻭ ﻣﺮﺩ ﮔﺎﺯﺵ ﺭﺍ ﮔﺮﻓﺖ ﻭ ﺭﻓﺖ‪.‬‬ ‫ﺟﻮﺳﻰ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﻳﻚ ﻛﺸﺘﻰ ﺗﻤﺎﻡ ﻋﻴﺎﺭ ﻧﻴﺴﺖ‪ .‬ﺳﺮ ﺗﺎ ﺗﻬﺶ ﺩﻩ‪-‬ﺩﻭﺍﺯﺩﻩ ﻗﺪﻡ ﻣﻰﺷﻪ‪«.‬‬ ‫ﮔﻔﺘﻢ‪» :‬ﺷﺎﻳﺪ ﻳﻚ ﻧﺴﺨﻪﻯ ﻣﺪﻝ ﺑﺎﺷﻪ‪«.‬‬ ‫ﺩﺍﺷﺘﻴﻢ ﺍﺯ ﺗﺸﻨﮕﻰ ﻣﻰﻣﺮﺩﻳﻢ‪ .‬ﻣﮕﺮ ﺍﻳﻦ ﻛﻪ ﻳﻜﻰﻣﺎﻥ ﺍﺯ ﻧﺎﻛﺠﺎ ﺑﻪ ﺯﺍﻣﺒﻰ ﺗﺒﺪﻳﻞ ﻣﻰﺷﺪ‪ ،‬ﻫﻤﺎﻥ ﻃﻮﺭ‬ ‫ﻛﻪ ﻛﻠﻰ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﻭ ﺁﻥ ﻭﻗﺖ ﺍﺯ ﺯﺍﻣﺒﻰ ﺑﻮﺩﻥ ﻣﻰﻣﺮﺩﻳﻢ‪ .‬ﺷﺎﻳﺪ ﻣﺮﺩﻥ ﺍﺯ ﺗﺸﻨﮕﻰ ﺑﺪﺗﺮﻳﻦ ﺭﺍﻩ ﻣﺮﺩﻥ‬ ‫ﻧﺒﻮﺩ‪ .‬ﭘﻴﺶ ﺧﻮﺩﻡ ﮔﻔﺘﻢ ﺑﺪﺗﺮﻳﻦ ﺭﺍﻩ ﻣﺮﺩﻥ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﺳﻜﻠﺘﻰ ﺍﺯ ﻫﻢ ﭘﺎﺷﻴﺪﻩ ﺷﺎﺥ ﺑﻪ ﺷﺎﺥ ﺑﻪ‬ ‫ﺟﺎﻧﺖ ﺑﻴﻔﺘﺪ ﻭ ﻭﻟﺖ ﻛﻨﺪ ﺍﺯ ﮔﺮﺳﻨﮕﻰ ﺑﻤﻴﺮﻯ‪ .‬ﺑﻌﻀﻰ ﭘﺎﺩﺷﺎﻫﺎﻥ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺑﺎ ﺩﺷﻤﻨﺎﻧﺸﺎﻥ ﻣﻰﻛﺮﺩﻧﺪ‪،‬‬ ‫ﺁﻥ ﺭﻭﺯﮔﺎﺭ ﻗﺪﻳﻢ ﻛﻪ ﺁﺩﻡﻫﺎ ﻣﻰﺗﻮﺍﻧﺴﺘﻨﺪ ﻛﺎﺭﻫﺎﻳﻰ ﻣﺜﻞ ﺍﻳﻦ ﺭﺍ ﺑﻜﻨﻨﺪ ﻭ ﺑﻪ ﺟﺮﻡ ﺗﺮﻭﺭﻳﺴﺖ ﺑﻮﺩﻥ‬ ‫ﻣﺤﺎﻛﻤﻪ ﻧﺸﻮﻧﺪ‪ .‬ﻫﺮ ﭼﻨﺪ ﺍﺣﺘﻤﺎﻻً ﺑﺎﺯ ﻫﻢ ﺍﺯ ﺗﺸﻨﮕﻰ ﻣﻰﻣﺮﺩﻳﺪ‪.‬‬ ‫ﺣﺎﻻ ﻛﻪ ﻧﻮﺭ ﺭﻭﺯ ﺭﺍ ﺩﺍﺷﺘﻴﻢ‪ ،‬ﻛﺸﺘﻰ ﺭﺍ ﺯﻳﺮ ﻭ ﺭﻭ ﻛﺮﺩﻳﻢ‪ .‬ﺁﺏ ﭘﻴﺪﺍ ﻧﻜﺮﺩﻳﻢ‪ ،‬ﺍﻣﺎ ﻋﻮﺿﺶ ﺷﻼﻗﻰ ﭘﻴﺪﺍ‬ ‫ﻛﺮﺩﻳﻢ ﻛﻪ ﺑﻪ ﺩﻳﻮﺍﺭ ﺯﻳﺮ ﻋﺮﺷﻪ ﺁﻭﻳﺰﺍﻥ ﺑﻮﺩ‪.‬‬ ‫ﻳﻚ ﺷﻼﻕ ﺗﻤﺎﻡ ﻋﻴﺎﺭ ﺑﻮﺩ ﻳﺎ ﺗﻨﻬﺎ ﻳﻚ ﻣﺪﻝ‪ ،‬ﻧﻤﻰﺩﺍﻧﻢ‪ .‬ﺑﺰﺭگ ﺑﻮﺩ‪ .‬ﺧﻮﺍﺳﺘﻢ ﺧﻮﺩﻧﻤﺎﻳﻰ ﻛﻨﻢ ﻛﻪ ﺗﻮﻯ‬ ‫ﮔﻮﺵ ﺧﻮﺩﻡ ﺯﺩﻡ‪ .‬ﺣﺘﺎ ﺻﺪﺍ ﻫﻢ ﻧﻜﺮﺩ‪.‬‬ ‫ﻗﺒﻞﺗﺮ‪ ،‬ﻭﻗﺘﻰ ﺗﻠﻔﻦ ﻭ ﺍﻳﻨﺘﺮﻧﺖ ﻫﻨﻮﺯ ﻛﺎﺭ ﻣﻰﻛﺮﺩ‪ ،‬ﻣﺮﺩﻡ ﺗﻮﻯ ﺗﻮﺋﻴﺘﺮ ﻧﻮﺷﺘﻪ ﺑﻮﺩﻧﺪ ﻛﻪ ﺑﺎ ﺷﻼﻕ‬ ‫ﻣﻰﺷﻮﺩ ﺯﺍﻣﺒﻰﻫﺎ ﺭﺍ ﻛﻨﺘﺮﻝ ﻛﺮﺩ‪ .‬ﺍﻳﻦ ﻗﻀﻴﻪ‪ ،‬ﻭ ﺍﻳﻦ ﻛﻪ ﭼﻄﻮﺭ ﺯﺍﻣﺒﻰﺍﻳﺴﻢ ﺑﻴﻤﺎﺭﻯ ﻣﻘﺎﺭﺑﺘﻰ ﺍﺳﺖ‪،‬‬ ‫ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﻗﺮﺑﺎﻧﻰﻫﺎﻳﺶ ﺭﺍ ﺗﺒﺪﻳﻞ ﻛﻨﺪ ﺍﺯ ﺫﻫﻦ ﻣﻠﺖ ﻣﻰﮔﺬﺷﺖ‪ .‬ﺁﻥ ﻣﺮﺩﻡ ﺑﻪ ﺧﺎﻃﺮ ﻛﻤﺒﻮﺩ‬ ‫‪17‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺭﺳﻴﺪ ﻛﻠﻰ ﺑﺎ ﻣﻦ ﻫﻤﺮﺍﻫﻰ ﻣﻰﻛﻨﺪ‪ .‬ﻣﻤﻜﻦ ﻧﺒﻮﺩ‪ ،‬ﺍﻣﺎ ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ ﺑﻪ ﺩﻧﺒﺎﻟﺶ ﭼﺸﻢ ﭼﺮﺧﺎﻧﺪﻡ‪ .‬ﺁﺏ‬ ‫ﺻﺎﻑ ﻭ ﺁﺭﺍﻡ ﺑﻮﺩ‪.‬‬ ‫ﺁﺳﻤﺎﻥ ﺭﻧﮓ ﺁﺑﻰ ﺩﻭﺳﺖﺩﺍﺷﺘﻨﻰﺍﻯ ﺑﻪ ﺧﻮﺩ ﻣﻰﮔﺮﻓﺖ ﻛﻪ ﻫﺎﻯﻭﺍﺗﺮ ﺭﺍ ﺑﻴﺪﺍﺭ ﻛﺮﺩﻡ‪ .‬ﺩﻩ ﺳﺎﻝ ﻳﺎ ﺑﻴﺸﺘﺮ‬ ‫ﻣﻰﺷﺪ ﻃﻠﻮﻉ ﺧﻮﺭﺷﻴﺪ ﺭﺍ ﻧﺪﻳﺪﻩ ﺑﻮﺩﻡ‪ ،‬ﺍﺯ ﺯﻣﺎﻥ ﺗﻤﺮﻳﻨﺎﺕ ﺻﺒﺢﻫﺎﻯ ﺯﻭﺩ ﺩﺳﺘﻪﻯ ﺭژﻩﻯ ﺩﻭﺭﻩﻯ‬ ‫ﺩﺑﻴﺮﺳﺘﺎﻥ‪ .‬ﻫﻤﻴﻦ ﻃﻮﺭ ﻛﻪ ﺩﺭ ﻛﻴﺴﻪﻯ ﺧﻮﺍﺏ ﻫﺎﻯﻭﺍﺗﺮ ﺩﺭﺍﺯ ﻛﺸﻴﺪﻩ ﺑﻮﺩﻡ‪ ،‬ﮔﺮﻡ ﺷﺪﻥ ﺁﺳﻤﺎﻥ ﺭﺍ‬ ‫ﺗﻤﺎﺷﺎ ﻣﻰﻛﺮﺩﻡ‪ .‬ﻳﺎﺩﻡ ﺁﻣﺪ ﭼﻄﻮﺭ ﻫﻤﻪ‪ ،‬ﺣﺘﺎ ﺩﺧﺘﺮﻫﺎﻯ ﺯﻳﺒﺎ‪ ،‬ﺑﺎ ﻳﻮﻧﻴﻔﻮﺭﻡﻫﺎﻯ ﺭژﻩ ﺩﺭﺏ ﻭ ﺩﺍﻏﺎﻥ‬ ‫ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻴﺪﻧﺪ‪ .‬ﺩﺧﺘﺮﻫﺎ ﺑﺎ ﻣﻮﻫﺎﻳﻰ ﻛﻪ ﺩﺍﺧﻞ ﻛﻼﻩﻫﺎﻯ ﻳﻮﻧﻴﻔﻮﺭﻣﺸﺎﻥ ﺟﻤﻊ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻣﺜﻞ‬ ‫ﻛﺘﺎﺑﺪﺍﺭﻫﺎ‪ .‬ﻛﺘﺎﺑﺪﺍﺭﻫﺎﻳﻰ ﺑﺎ ﺑﻨﺪ ﺯﻳﺮ ﭼﺎﻧﻪ ﻛﻪ ﺑﻪ ﺟﺎﻯ ﻛﻼﺭﻳﻨﺖ‪ ،‬ﺑﺎ ﻛﺘﺎﺏﻫﺎﻳﻰ ﺩﺭ ﺩﻫﺎﻧﺸﺎﻥ ﺑﻪ ﺻﻒ‬ ‫ﺭژﻩ ﻣﻰﺭﻓﺘﻨﺪ‪.‬‬ ‫ﺟﻮﺳﻰ ﮔﻔﺖ‪» :‬ﺭﺍﻩ ﻧﺪﺍﺭﻩ ﻛﺮﻳﺴﺘﻒ ﻛﻠﻤﺐ ﭘﻬﻨﻪﻯ ﺍﻗﻴﺎﻧﻮﺱ ﺭﻭ ﺳﻮﺍﺭ ﻫﻤﭽﻴﻦ ﭼﻴﺰﻯ ﻃﻰ ﻛﺮﺩﻩ‬ ‫ﺑﺎﺷﻪ‪ .‬ﻣﻦ ﺍﺻ ً‬ ‫ﻼ ﻛﺴﻰ ﺭﻭ ﻧﻤﻰﺷﻨﺎﺳﻢ ﻛﻪ ﺑﺘﻮﻧﻪ ﻳﻚ ﻛﺸﺘﻰ ﺑﺎﺩﺑﺎﻧﻰ ﺭﻭ ﻫﺪﺍﻳﺖ ﻛﻨﻪ‪ .‬ﺑﺎﻳﺪ ﻣﻮﺗﻮﺭﻯ‬ ‫ﭼﻴﺰﻯ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻪ‪«.‬‬ ‫ﭼﺸﻤﺎﻧﻢ ﺭﺍ ﺟﻠﻮﻯ ﻧﻮﺭ ﺗﻨﮓ ﻛﺮﺩﻡ‪ .‬ﺟﻮﺳﻰ ﺯﺑﻴﺎ ﺑﻮﺩ‪ .‬ﺧﻨﺪﻩﺩﺍﺭ ﺑﻮﺩ‪ ،‬ﺍﺳﻢ ﻗﺒﻠﻰﺍﺵ ﺭﺍ ﻳﺎﺩﻡ ﻧﻤﻰﺁﻣﺪ ﻭ‬ ‫ﺧﻮﺵ ﻧﺪﺍﺷﺘﻢ ﻳﺎﺩﻡ ﻫﻢ ﺑﻴﺎﻳﺪ‪.‬‬ ‫ﺍﺳﻤﺶ ﻫﺮ ﭼﻪ ﻛﻪ ﺑﻮﺩ‪ ،‬ﺑﻪ ﺍﻭ ﻧﻤﻰﺁﻣﺪ‪.‬‬ ‫»ﻣﮕﻪ ﻗﺮﺍﺭﻩ ﻛﺠﺎ ﺑﺮﻳﻢ؟« ﻫﺎﻯﻭﺍﺗﺮ ﺁﻓﺘﺎﺏ ﺳﻮﺧﺘﻪ‪ ،‬ﺑﻮﻳﻰ ﻣﺜﻞ ﺑﻮﻯ ﺁﺧﺮ ﺷﺐ ﺁﺷﭙﺰﺧﺎﻧﻪﻯ ﻛﺸﺘﻰ‬ ‫ﻻﻧﮓ ﺟﺎﻥ ﺳﻴﻠﻮﺭ ]‪ [18‬ﺭﺍ ﻣﻰﺩﺍﺩ‪.‬‬ ‫ﻫﻨﻮﺯ ﺑﺎﺭﺍﻧﺪﺍﺯ ﺧﺎﻟﻰ ﺭﺍ ﻣﻰﺩﻳﺪﻡ‪ ،‬ﺧﻴﻠﻰ ﺩﻭﺭ ﺍﺯ ﺳﻤﺖ ﺭﺍﺳﺖ ﺑﺪﻧﻪ‪ .‬ﺑﻪ ﻏﻴﺮ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺍﻟﺒﺘﻪ ﺳﻤﺖ‬ ‫ﭼﭗ ﺑﺪﻧﻪ ﺑﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﻓﻜﺮ ﺑﻮﺩﻡ ﻛﺪﺍﻣﺶ ﺩﺭﺳﺖ ﺍﺳﺖ‪ ،‬ﺷﺎﻳﺪ ﻣﺜﻞ ﺍﺳﻢﮔﺬﺍﺭﻯ ﺩﺳﺘﻮﺭﻫﺎﻯ ﺻﺤﻨﻪ‬ ‫ﺑﻮﺩ ]‪.[19‬‬ ‫ﺻﺪﺍﻳﻰ ﺁﻣﺪ‪» :‬ﺍﻳﺴﺖ!« ﺁﻥ ﭘﺎﻳﻴﻦ‪ ،‬ﺩﺍﺧﻞ ﺁﺏ‪ ،‬ﻣﺮﺩ ﺭﻳﺰﻩﺍﻯ ﺩﺭ ﻗﺎﻳﻖ ﻣﻮﺗﻮﺭﻯ ﻛﻮﭼﻜﻰ ﺑﻮﺩ‪ .‬ﺗﭙﺎﻧﭽﻪﺍﻯ‬ ‫ﺭﺍ ﺑﻪ ﺳﻤﺖ ﻣﺎ ﻧﺸﺎﻧﻪ ﺭﻓﺘﻪ ﺑﻮﺩ‪.‬‬ ‫ﺩﺳﺖﻫﺎﻳﻤﺎﻥ ﺭﺍ‪ ،‬ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻯ ﭘﻠﻴﺴﻰ ﻳﺎﺩ ﮔﺮﻓﺘﻪ ﺑﻮﺩﻳﻢ‪ ،‬ﺑﺎﻻ ﺑﺮﺩﻳﻢ‪.‬‬ ‫»ﺩﺳﺖﻫﺎﺗﻮﻥ ﺭﻭ ﺑﻴﺎﺭﻳﻦ ﭘﺎﻳﻴﻦ‪ .‬ﺧﻴﺎﻝ ﻛﺮﺩﻳﻦ ﺍﮔﻪ ﻓﻜﺮ ﻣﻰﻛﺮﺩﻡ ﺳﻼﺡ ﺩﺍﺭﻳﻦ‪ ،‬ﻣﺰﺍﺣﻤﺘﻮﻥ ﻣﻰﺷﺪﻡ؟«‬ ‫ﻣﺜﻞ ﺳﮓ ﺷﻜﺎﺭﻯ ﺭﻭﻯ ﺻﻮﺭﺗﺶ ﻟﺒﺨﻨﺪﻯ ﺩﺍﺷﺖ‪.‬‬ ‫ﮔﻔﺖ‪» :‬ﻓﻘﻂ ﺁﺫﻭﻗﻪﺗﻮﻥ ﺭﻭ ﺑﻔﺮﺳﺘﻴﺪ ﺑﻴﺎﺩ‪ .‬ﺁﺏ‪ ،‬ﻏﺬﺍ‪ ،‬ﭘﺘﻮ‪ ،‬ﻛﻤﻚﻫﺎﻯ ﺍﻭﻟﻴﻪ‪ ،‬ﻫﺮ ﭼﻰ ﻛﻪ ﺩﺍﺭﻳﻦ‪.‬‬ ‫ﻣﺨﺼﻮﺻﺎً ﻛﺮﻡ ﺿﺪ ﺁﻓﺘﺎﺏ‪ «.‬ﺣﺮﺍﻣﺰﺍﺩﻩ ﻋﻴﻨﻚ ﺁﻓﺘﺎﺑﻰ ﺯﺩﻩ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﻛﻠﻪﻯ ﻛﭽﻠﺶ ﺑﻪ ﺭﻧﮓ ﺻﻮﺭﺗﻰ‬ ‫ﺗﻴﺮﻩ ﻭ ﺩﺭﺩﻧﺎﻛﻰ ﺑﻮﺩ‪» .‬ﻣﻰﮔﻴﺮﻳﻦ ﻛﻪ‪ ،‬ﺩﻟﻢ ﻧﻤﻰﺧﻮﺍﺩ ﻣﻬﻤﺎﺗﻢ ﺭﻭ ﻫﺪﺭ ﺑﺪﻡ‪«.‬‬ ‫‪16‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺍﺯ ﻣﺎ ﺁﻣﺎﺩﻩ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻭ ﺑﺒﻴﻦ ﺣﺎﻻ ﭼﻪ ﺑﻼﻳﻰ ﺳﺮﺷﺎﻥ ﺁﻣﺪﻩ ﺑﻮﺩ‪ .‬ﺑﻪ ﻫﻢ ﻧﮕﺎﻫﻰ ﺍﻧﺪﺍﺧﺘﻴﻢ‪ ،‬ﺍﻣﺎ‬ ‫ﺗﺼﻤﻴﻤﺎﻥ ﺭﺍ ﺍﺯ ﻗﺒﻞ ﮔﺮﻓﺘﻪ ﺑﻮﺩﻳﻢ‪ .‬ﻛﻤﻜﻰ ﺩﺭ ﺭﺍﻩ ﻧﺒﻮﺩ‪ .‬ﺍﮔﺮ ﻣﻰﺧﻮﺍﺳﺘﻴﻢ ﺯﻧﺪﻩ ﺑﻤﺎﻧﻴﻢ‪ ،‬ﺑﺎﻳﺪ ﺳﻄﺢ‬ ‫ﺗﻮﻗﻌﻤﺎﻥ ﺭﺍ ﭘﺎﻳﻴﻦ ﻣﻰﺁﻭﺭﺩﻳﻢ‪.‬‬ ‫ﻃﻨﺎﺑﻰ ﺭﺍ ﭘﺎﻳﻴﻦ ﺩﺍﺩﻳﻢ ﻭ ﺯﺍﻣﺒﻰﻫﺎ ﺭﺍ ﺻﺪﺍ ﺯﺩﻳﻢ‪ .‬ﻛﻠﻰ ﻃﻨﺎﺏ ﺭﺍ ﭼﺴﺒﻴﺪ ﻭ ﺷﺮﻭﻉ ﻛﺮﺩ ﺑﻪ ﺑﺎﻻ ﺁﻣﺪﻥ‪.‬‬ ‫ﻋﻴﻨﻜﺶ ﺭﺍ ﮔﻢ ﻛﺮﺩﻩ ﺑﻮﺩ؛ ﺍﻣﺎ ﺷﺎﻳﺪ ﺯﺍﻣﺒﻰﻫﺎ ﻧﺰﺩﻳﻚﺑﻴﻦ ﻧﺒﻮﺩﻧﺪ‪ .‬ﻃﻨﺎﺏ ﺭﺍ ﺑﻪ ﻓﺎﺻﻠﻪ ﺍﺯ ﻗﺎﻳﻖ ﺗﺎﺏ‬ ‫ﺩﺍﺩﻳﻢ ﻭ ﻭﻟﺶ ﻛﺮﺩﻳﻢ ﻭ ﻛﻠﻰ ﺭﺍ ﺩﺍﺧﻞ ﺁﺏ ﺍﻧﺪﺍﺧﺘﻴﻢ‪.‬‬ ‫ﺯﺍﻣﺒﻰﻫﺎﻯ ﺩﻣﺮ ﺷﺪﻩ ﻧﻤﻰﺗﻮﺍﻧﻨﺪ ﺷﻨﺎ ﻛﻨﻨﺪ‪ .‬ﻫﻤﻴﻦ ﺷﺪ ﻛﻪ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺑﺎ ﺯﺍﻣﺒﻰﻫﺎﻯ ﺩﻳﮕﺮ ﻫﻢ‬ ‫ﻛﺮﺩﻳﻢ‪ .‬ﻏﺮﻕ ﺷﺪﻧﺪ‪ .‬ﺍﻳﻦ ﺗﻨﻬﺎ ﭼﻴﺰﻯ ﺑﻮﺩ ﻛﻪ ﺩﺍﺧﻞ ﻗﺎﻳﻖ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺑﻮﺩﻳﻢ‪ :‬ﻃﻨﺎﺏ‪ .‬ﻧﻮﺑﺘﻰ ﺍﺯ ﻃﻨﺎﺏ‬ ‫ﭘﺎﻳﻴﻦ ﺭﻓﺘﻴﻢ ﻭ ﺁﺏ ﻭ ﻭﺳﺎﻳﻞ ﺭﺍ ﺍﺯ ﺩﺍﺧﻞ ﻗﺎﻳﻖ ﻛﻮﭼﻚ ﺑﺮﺩﺍﺷﺘﻴﻢ‪ ،‬ﺩﺭﺳﺖ ﻫﻤﺎﻥ ﻃﻮﺭﻯ ﻛﻪ ﮔﺮﻳﻨﭻ‬ ‫]‪ [7‬ﻛﺮﻳﺴﻤﺲ ﺭﺍ ﺩﺯﺩﻳﺪ‪ .‬ﺑﺎﻻﺧﺮﻩ ﺣﺲ ﻭ ﺣﺎﻝ ﻛﺮﻳﺴﻤﺲ ﺭﺍ ﺩﺍﺷﺖ؛ ﺁﻥﻗﺪﺭﻯ ﺁﺫﻭﻗﻪ ﺩﺍﺷﺘﻴﻢ ﻛﻪ‬ ‫ﭼﻨﺪ ﺭﻭﺯﻯ ﺭﺍ ﺩﻭﺍﻡ ﺑﻴﺎﻭﺭﻳﻢ‪ ،‬ﺿﻤﻦ ﺍﻳﻦﻛﻪ ﻫﻴﭻ ﻛﺪﺍﻡﻣﺎﻥ ﺭﺍ ﺩﺍﺧﻞ ﺁﺏ ﻧﻴﻨﺪﺍﺧﺘﻪ ﺑﻮﺩﻳﻢ‪ .‬ﺧﻮﺩﻣﺎﻥ ﺭﺍ‬ ‫ﺗﻤﻴﺰ ﻛﺮﺩﻳﻢ ﻭ ﺑﻌﺪ‪ ،‬ﻛﺎﺭ ﻣﺨﻔﻴﺎﻧﻪﺍﻯ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻳﻢ‪ .‬ﺭﻭﻯ ﺧﻮﺩﻣﺎﻥ ﺍﺳﺎﻣﻰ ﺩﺯﺩﺍﻥ ﺩﺭﻳﺎﻳﻰ ﺭﺍ ﮔﺬﺍﺷﺘﻴﻢ‪.‬‬ ‫ﺟﻮﺳﻰ ﻟﻴﻮ] ‪ ،[8‬ﻫﺎﻯﻭﺍﺗﺮ ﻣﺎﺭﻙ ]‪ [9‬ﻭ ﺟﺎﺳﺘﻴﻦ ﻛﻴﺲ ]‪ .[10‬ﺑﻪ ﻧﻈﺮ ﻛﺎﺭ ﺑﺠﺎﻳﻰ ﺑﻮﺩ‪ .‬ﻳﻚ ﻗﺎﻳﻖ‬ ‫ﺩﺯﺩﻳﺪﻩ ﺑﻮﺩﻳﻢ‪ .‬ﻛﻠﻰ ﺭﺍ ﻛﺸﺘﻪ ﺑﻮﺩﻳﻢ )ﺩﻭ ﺑﺎﺭ(‪ .‬ﺍﻳﻦﻫﺎ ﻣﺎ ﺭﺍ ﺩﺯﺩ ﺩﺭﻳﺎﻳﻰ ﻣﻰﻛﺮﺩ‪.‬‬ ‫ﺩﻳﮕﺮ ﺁﻥ ﺁﺩﻡﻫﺎﻳﻰ ﻧﺒﻮﺩﻳﻢ ﻛﻪ ﺧﻴﺎﻝ ﻣﻰﻛﺮﺩﻳﻢ‪ ،‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﺑﺎﻳﺪ ﺍﺯ ﭼﻴﺰﻯ ﺩﺳﺖ ﻣﻰﻛﺸﻴﺪﻳﻢ‪.‬‬ ‫ﺟﻮﺳﻰ ﺩﺍﻭﻃﻠﺐ ﭘﺎﺱ ﺍﻭﻝ ﺷﺪ‪ .‬ﺩﺭ ﻫﺮ ﺻﻮﺭﺕ ﺧﻮﺍﺑﺶ ﻧﻤﻰﺑﺮﺩ‪ .‬ﺧﻮﺩﺵ ﻛﻪ ﺍﻳﻦ ﻃﻮﺭ ﮔﻔﺖ؛ ﺍﻣﺎ‬ ‫ﺑﻌﺪﺵ ﻣﻦ ﻭ ﻫﺎﻯﻭﺍﺗﺮ ﺭﺍ ﺑﻴﺪﺍﺭ ﻧﮕﻪ ﺩﺍﺷﺖ‪ .‬ﭘﺸﺖ ﺳﺮ ﻫﻢ »ﮔﺮﺩﺵ ﺳﻪ ﺳﺎﻋﺘﻪ« ]‪ [11‬ﺭﺍ ﺯﻣﺰﻣﻪ‬ ‫ﻣﻰﻛﺮﺩ‪ .‬ﺑﺎﻗﻰ ﺗﺮﺍﻧﻪ ﺭﺍ ﻳﺎﺩﺵ ﻧﻤﻰﺁﻣﺪ‪ ،‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﻣﺪﺍﻡ ﺑﻪ ﺧﻮﺍﻧﺪﻥ ﻫﻤﺎﻥ ﺗﻜﻪ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪ .‬ﻭﻗﺘﻰ ﺍﺯ‬ ‫ﺧﻮﺍﻧﺪﻧﺶ ﺧﺴﺘﻪ ﺷﺪ ﺍﻳﻦ ﻳﻜﻰ ﺭﺍ ﺧﻮﺍﻧﺪ‪» :‬ﺑﺮﺍﻥ‪ ،‬ﺑﺮﺍﻥ‪ ،‬ﺑﺮﺍﻥ ﻗﺎﻳﻘﺖ ﺭﺍ« ]‪ .[12‬ﺻﺪﺍﻫﺎﻳﻰ ﺍﺯ ﻗﺎﻳﻖﻫﺎﻯ‬ ‫ﺩﻭﺭ ﻭ ﺑﺮ ﻫﻤﺮﺍﻫﻰﻣﺎﻥ ﻛﺮﺩ‪ .‬ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺩﺭ ﺍﻳﻦ ﻣﺪﺕ‪ ،‬ﺑﺎﻋﺚ ﺷﺪ ﺑﺎﻭﺭ ﻛﻨﻢ ﺍﻧﺴﺎﻧﻴﺖ ﻣﻰﺗﻮﺍﻧﺪ‬ ‫ﺩﻭﺍﻡ ﺑﻴﺎﻭﺭﺩ‪.‬‬ ‫ﭼﺮﺗﻢ ﺑﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﻭﻗﺘﻰ ﺟﻮﺳﻰ ﺑﺎ ﭘﺎﻳﺶ ﺳﻘﻠﻤﻪﺍﻯ ﻧﺜﺎﺭﻡ ﻛﺮﺩ ﺑﻴﺪﺍﺭ ﺷﺪﻡ‪ .‬ﺻﺪﺍﻯ ﺁﻭﺍﺯ ﺧﻮﺍﻧﺪﻥ‬ ‫ﻧﻤﻰﺁﻣﺪ‪ .‬ﺟﻮﺳﻰ ﺩﺭﻭﻥ ﻛﻴﺴﻪﻯ ﺧﻮﺍﺏ ﻣﻦ ﺧﺰﻳﺪ‪ .‬ﺭﻭﻯ ﻋﺮﺷﻪ ﻗﺪﻡ ﻣﻰﺯﺩﻡ ﻭ ﺗﺎﺯﻩ ﻣﻰﻓﻬﻤﻴﺪﻡ ﭼﺮﺍ‬ ‫ﺑﻌﻀﻰﻫﺎ ﺁﻭﺍﺯ ﻣﻰﺧﻮﺍﻧﻨﺪ‪ .‬ﻣﺜﻞ ﺻﺪﺍ ﺩﺭ ﺁﻭﺭﺩﻥ ﻣﻮﻗﻊ ﭘﻴﺎﺩﻩﺭﻭﻯ ﺍﺳﺖ ﺗﺎ ﻣﺎﺭﻫﺎﻯ ﺯﻧﮕﻰ ﺭﺍ ﺧﺒﺮ ﻛﻨﻰ‪.‬‬ ‫ﺍﮔﺮ ﺁﻭﺍﺯ ﺑﺨﻮﺍﻧﻰ‪ ،‬ﺑﺎﻳﺪ ﺧﻴﻠﻰ ﺍﺣﻤﻖ ﺑﺎﺷﻰ ﻛﻪ ﺑﻪ ﺩﺭﺩﺳﺮ ﺑﻴﻔﺘﻰ‪.‬‬ ‫ﻫﻤﻴﻦ ﺷﺪ ﻛﻪ ﺷﺮﻭﻉ ﺑﻪ ﺧﻮﺍﻧﺪﻥ ﻛﺮﺩﻡ‪ .‬ﺳﺮﻭﺩﻫﺎﻯ ﻛﺮﻳﺴﻤﺲ ﺭﺍ ﻣﻰﺧﻮﺍﻧﺪﻡ‪ ،‬ﺁﺧﺮ ﺁﻫﻨﮓ ﺩﻳﮕﺮﻯ‬ ‫ﻳﺎﺩﻡ ﻧﻤﻰﺁﻣﺪ‪ .‬ﺑﻌﺪ ﺟﻴﻤﺰ ﺗﻴﻠﻮﺭ ]‪ ،[13‬ﺑﻴﺘﻠﺰ ]‪ [14‬ﻭ ﺩﻳﻠﻦ ]‪ .[15‬ﻣﺘﻮﺟﻪ ﺷﺪﻡ ﺗﻤﺎﻡ ﺗﺮﺍﻧﻪﻫﺎﻯ »ﺩﺭ‬ ‫ﻛﻠﻮﺏ« ]‪ [16‬ﭘﻨﺠﺎﻩ ﺳﻨﺖ ]‪ [17‬ﺭﺍ ﺑﻠﺪﻡ‪ ،‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﭼﻨﺪ ﺩﻗﻴﻘﻪﺍﻯ ﺁﻥﻫﺎ ﺭﺍ ﺩﺍﺩ ﺯﺩﻡ‪ .‬ﺑﻪ ﺧﻴﺎﻟﻢ‬ ‫‪15‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺟﻔﺖ ﺁﺩﻡﻫﺎﻯ ﺗﻮ ﻗﺎﻳﻖ ﭘﺎﺭﻭﻳﻰ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺑﻤﻴﺮﻧﺪ ﺑﻪ ﻫﻮﺵ ﺁﻣﺪﻧﺪ‪ .‬ﺟﻴﻎ ﻛﺸﻴﺪﻧﺪ‪ ،‬ﻣﺎ ﻫﻢ ﺟﻴﻎ‬ ‫ﻛﺸﻴﺪﻳﻢ‪ .‬ﺑﻌﺪ ﺍﺯ ﺑﺎﻻﻯ ﻟﺒﻪﻯ ﻛﺸﺘﻰ ﺑﺎﻻ ﺁﻭﺭﺩﻳﻢ‪ ،‬ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﺭﻭﺩﻩﻫﺎﻳﻤﺎﻥ ﺑﺎﻻ ﺁﻣﺪ‪ ،‬ﺁﺏ ﺩﻣﺎﻏﻤﺎﻥ‬ ‫ﺭﺍﻩ ﺍﻓﺘﺎﺩ ﻭ ﺍﺷﻜﻤﺎﻥ ﺩﺭﺁﻣﺪ‪.‬‬ ‫ﺍﺯ ﻳﻜﺪﻳﮕﺮ ﭘﺮﺳﻴﺪﻳﻢ‪» :‬ﺑﺎ ﺧﻮﺩﺕ ﺁﺏ ﺁﻭﺭﺩﻯ؟ ﺑﻄﺮﻯ ﺁﺏ ﻛﺠﺎ ﺍﺳﺖ؟ ﻛﻰ ﺩﺳﺘﻤﺎﻝ ﻛﺎﻏﺬﻯ ﺩﺍﺭﻩ؟«‬ ‫ﭘﺮﺳﻴﺪﻳﻢ‪» :‬ﻛﻰ ﺑﺎﻳﺪ ﺑﺎ ﺧﻮﺩﻡ ﺁﺏ ﺑﺮﻣﻰﺩﺍﺷﺘﻢ؟ ﻗﺒﻞ ﺍﺯ ﺍﻳﻦﻛﻪ ﻣﺸﺘﺮﻯﻫﺎ ﻗﺸﻘﺮﻕ ﺭﺍﻩ ﺑﻨﺪﺍﺯﻥ ﻳﺎ‬ ‫ﺑﻌﺪﺵ؟ ﻭﻗﺘﻰ ﺩﺍﺷﺘﻴﻢ ﺳﻤﺖ ﻣﺎﺷﻴﻦ ﻣﻰﺩﻭﻳﺪﻳﻢ؟ ﻳﺎ ﻭﻗﺘﻰ ﺳﻤﺖ ﺍﺳﻜﻠﻪ ﻣﻰﺩﻭﻳﺪﻳﻢ؟«‬ ‫ﻛﺸﺘﻰ ﺭﺍ ﺑﺮﺍﻧﺪﺍﺯ ﻛﺮﺩﻳﻢ‪ .‬ﺳﺮ ﺗﺎ ﺗﻬﺶ ﺩﻩ ﻗﺪﻡ ﻣﻰﺷﺪ‪ .‬ﺑﺪﻭﻥ ﻛﺎﺑﻴﻦ‪ ،‬ﺑﺪﻭﻥ ﺁﺫﻭﻗﻪ‪ .‬ﺑﺪﻭﻥ ﺁﺏ‪ .‬ﺗﻨﻬﺎ‬ ‫ﻛﺸﺘﻰ ﺑﺎﻗﻰﻣﺎﻧﺪﻩ ﺑﻮﺩ‪ .‬ﻛﭙﻰ ﺑﺮﺍﺑﺮ ﺍﺻﻞ ﻧﻴﻨﺎ ]‪ ،[2‬ﻛﺸﺘﻰ ﻛﺮﻳﺴﺘﻒ ﻛﻠﻤﺐ‪ .‬ﻭﻗﺘﻰ ﺩﺯﺩﻳﺪﻩ ﺑﻮﺩﻳﻤﺶ‪،‬‬ ‫ﻧﻮﺷﺘﻪﻯ ﺭﻭﻯ ﺑﺪﻧﻪﺍﺵ ﻛﻪ ﺍﻳﻦ ﻃﻮﺭ ﻣﻰﮔﻔﺖ‪.‬‬ ‫ﺗﻠﻔﻦﻫﺎﻯ ﻫﻤﺮﺍﻫﻤﺎﻥ ﻛﺎﺭ ﻧﻤﻰﻛﺮﺩ‪ .‬ﻫﻴﭻ ﻛﺲ ﺧﺒﺮ ﻧﺪﺍﺷﺖ ﻣﺎ ﺍﻳﻦ ﺑﻴﺮﻭﻥ ﻫﺴﺘﻴﻢ‪ .‬ﺻﻮﺭﺕﻫﺎﻳﻤﺎﻥ ﺭﺍ‬ ‫ﺑﺎ ﮔﺘﺮ ﻭ ﺳﺮﺁﺳﺘﻴﻦﻫﺎﻳﻤﺎﻥ ﺧﺸﻚ ﻛﺮﺩﻳﻢ‪ .‬ﻳﻜﻰﻣﺎﻥ ﺑﺎ ﺧﻮﺩﺵ ﺗﻴﻎ ﻣﻮﻛﺖﺑﺮﻯ ﺩﺍﺷﺖ‪ .‬ﺍﺯ ﺫﻫﻨﻤﺎﻥ‬ ‫ﮔﺬﺷﺖ ﺍﮔﺮ ﻣﺠﺒﻮﺭ ﻣﻰﺷﺪﻳﻢ‪ ،‬ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺁﻥ ﻣﻰﺷﺪ ﺭگ ﻣﭻ ﺩﺳﺘﻤﺎﻥ ﺭﺍ ﺑﺰﻧﻴﻢ‪ .‬ﺑﻪ ﺍﻧﺘﻈﺎﺭ ﻛﻤﻚ‬ ‫ﻧﺸﺴﺘﻴﻢ‪ .‬ﺧﻮﺭﺷﻴﺪ ﺩﺍﺷﺖ ﻏﺮﻭﺏ ﻣﻰﻛﺮﺩ ﻭ ﺷﺐ ﺳﺮﺩﻯ ﭘﻴﺶ ﺭﻭ ﺩﺍﺷﺘﻴﻢ‪.‬‬ ‫ﺧﻮﺭﺩﻥ ﻳﻚ ﺁﺩﻡ ﻛﻤﻰ ﺯﻣﺎﻥ ﻣﻰﺑﺮﺩ‪ .‬ﺍﻳﻦ ﺁﺧﺮﻳﻦ ﭼﻴﺰﻯ ﺑﻮﺩ ﻛﻪ ﻛﻠﻰ ﻳﺎﺩﻣﺎﻥ ﺩﺍﺩ‪ .‬ﺩﺭ ﺑﺎﺯﺭﮔﺎﻧﻰ ﺟﻮ‬ ‫]‪ [3‬ﺁﻣﻮﺯﺷﻤﺎﻥ ﺩﺍﺩﻩ ﺑﻮﺩ‪ ،‬ﺍﻃﺮﺍﻑ ﺭﺍ ﻧﺸﺎﻧﻤﺎﻥ ﺩﺍﺩ ﻭ ﮔﺬﺍﺷﺖ ﺩﻭﺳﺖ ﻭ ﺩﺷﻤﻦ ﺭﺍ ﺍﺯ ﻫﻢ ﺗﺸﺨﻴﺺ‬ ‫ﺩﻫﻴﻢ‪ .‬ﺑﻌﺪ ﺍﺯ ﺍﻳﻦ ﻛﻪ ﺁﺩﻡﻫﺎ ﺩﺍﺧﻞ ﺭﺩﻳﻒ ﻗﻔﺴﻪﻫﺎﻯ ﻗﻬﻮﻩ ﺷﺮﻭﻉ ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ ﺑﻪ ﺯﺍﻣﺒﻰ ﺷﺪﻥ‪،‬‬ ‫ﺧﻮﺩﺵ ﻣﺎ ﺭﺍ ﺑﻪ ﺧﻠﻴﺞ ﺁﻭﺭﺩﻩ ﺑﻮﺩ‪ .‬ﮔﻔﺖ ﺷﺎﻳﺪ ﺯﺍﻣﺒﻰﻫﺎ ﺑﺘﻮﺍﻧﻨﺪ ﺷﻨﺎ ﻛﻨﻨﺪ‪ ،‬ﺍﻣﺎ ﺩﻓﺎﻉ ﻛﺮﺩﻥ ﺍﺯ ﻗﻠﻤﺮﻭ‬ ‫ﺭﻭﻯ ﻳﻚ ﻗﺎﻳﻖ ﺧﻴﻠﻰ ﺭﺍﺣﺖﺗﺮ ﺍﺳﺖ‪.‬‬ ‫ﺣﺎﻻ ﺩﺍﺧﻞ ﻗﺎﻳﻖ ﭘﺎﺭﻭﻳﻰ ﺳﻪ ﺗﺎ ﺯﺍﻣﺒﻰ ﺑﻮﺩ‪ .‬ﺳﺎﻛﺖ ﺑﻮﺩﻧﺪ‪ ،‬ﺍﻣﺎ ﻫﺮ ﺍﺯ ﮔﺎﻫﻰ ﻧﺎﻟﻪﻯ ﺁﺭﺍﻣﻰ ﺷﻨﻴﺪﻩ‬ ‫ﻣﻰﺷﺪ‪ ،‬ﻣﺜﻞ ﺻﺪﺍﻫﺎﻳﻰ ﻛﻪ ﻫﻤﻪﻣﺎﻥ ﻣﻮﻗﻊ ﺧﻤﺎﺭﻯ ﺑﻌﺪ ﻣﺴﺘﻰ ﺩﺭﻣﻰﺁﻭﺭﻳﻢ‪ .‬ﺻﺪﺍﻯ ﺟﻴﻎ ﺗﻤﺎﻡ ﺧﻠﻴﺞ‬ ‫ﺭﺍ ﺁﺷﻔﺘﻪ ﻛﺮﺩﻩ ﺑﻮﺩ‪ .‬ﻗﺎﻳﻖﻫﺎﻳﻰ ﺍﺯ ﻫﺮ ﺍﻧﺪﺍﺯﻩ‪ ،‬ﻣﻮﺗﻮﺭﻯ ﻳﺎ ﭘﺎﺭﻭﻳﻰ‪ ،‬ﺭﻭﻯ ﺁﺏ ﺷﻨﺎﻭﺭ ﺑﻮﺩﻧﺪ‪ .‬ﺍﺯ ﺳﻤﺖ‬ ‫ﺳﺎﺣﻞ ﺍﻣﺮﻯﻭﻳﻞ ]‪ [4‬ﺻﺪﺍﻯ ﺟﻴﻎ ﻣﻰﺁﻣﺪ‪ ،‬ﻫﻤﻴﻦ ﻃﻮﺭ ﺍﺯ ﺳﺎﺣﻞ ﺑﺮﻛﻠﻰ‪ ،‬ﻭ ﺍﺯ ﺍُﻛﻠﻨﺪ‪ ،‬ﺍﺯ ﺁﻥ ﭘﺎﻳﻴﻦ‬ ‫ﺳﻤﺖ ﺟﻨﻮﺏ‪ ،‬ﻭ ﺍﺯ ﺳﻤﺖ ﺧﺸﻜﻰ‪ .‬ﺑﻪ ﺧﻴﺎﻟﻤﺎﻥ ﺻﺪﺍﻫﺎﻳﻰ ﺭﺍ ﻫﻢ ﺍﺯ ﺳﻤﺖ ﭘﻞ ﺧﻠﻴﺞ ]‪ ،[5‬ﺗﺮژﺭ ﺁﻳﻠﻨﺪ‬ ‫]‪ [6‬ﻭ ﺁﺏﻫﺎﻯ ﺁﻥ ﻃﺮﻑ ﺳﺎﻥﻓﺮﺍﻧﺴﻴﺴﻜﻮ ﻣﻰﺷﻨﻴﺪﻳﻢ‪ .‬ﺩﻧﻴﺎ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﻴﺪﻩ ﻭ ﻫﻨﻮﺯ ﺣﺘﺎ ﺳﺎﻝ ‪2012‬‬ ‫ﻫﻢ ﻧﺸﺪﻩ ﺑﻮﺩ‪.‬‬ ‫ﺗﺸﻨﻪﻣﺎﻥ ﺑﻮﺩ‪ .‬ﺍﺯ ﻟﺒﻪﻯ ﻛﺸﺘﻰ ﺑﻪ ﻗﺎﻳﻖ ﭘﺎﺭﻭﻳﻰ ﻧﮕﺎﻫﻰ ﺍﻧﺪﺍﺧﺘﻴﻢ‪ .‬ﻛﻢﻛﻢ ﺩﺍﺷﺖ ﺩﻭﺭ ﻣﻰﺷﺪ‪ .‬ﮔﺎﻟﻦﻫﺎﻯ‬ ‫ﺁﺏ ﺩﺍﺧﻠﺶ ﺑﻮﺩ‪ ،‬ﮔﺎﻟﻦﻫﺎﻯ ﺩﺳﺖﻧﺨﻮﺭﺩﻩﻯ ﭘﻼﺳﺘﻴﻜﻰ‪ .‬ﺑﻪ ﻋﻼﻭﻩﻯ ﻛﻮﻟﻪﭘﺸﺘﻪﻫﺎﻳﻰ ﻛﻪ ﺑﺪﻭﻥ ﺷﻚ‬ ‫ﺩﺍﺧﻠﺸﺎﻥ ﻟﺒﺎﺱ ﻭ ﺟﻌﺒﻪﻯ ﻛﻤﻚﻫﺎﻯ ﺍﻭﻟﻴﻪ ﻭ ﻏﺬﺍ ﺑﻮﺩ‪ .‬ﻛﻴﺴﻪﻯ ﺧﻮﺍﺏ‪ ،‬ﭘﺎﺭﻭ‪ .‬ﺁﻥ ﺩﻭ ﻧﻔﺮ ﺧﻴﻠﻰ ﺑﻬﺘﺮ‬ ‫‪14‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻓﺎﻧﺘﺰﻯ ‪ -‬ﺗﺮﺟﻤﻪ‬

‫ﺩﺯﺩﺍﻥ ﺩﺭﻳﺎﻳﻰ‬ ‫ﻋﻠﻴﻪ ﺯﺍﻣﺒﻰﻫﺎ‬ ‫ﺁﻣﻠﻴﺎ ﺑﻴﻤﺮ‬ ‫ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‬

‫ﺳﺮ ﻭ ﺻﺪﺍﻳﻰ ﻛﻪ ﻳﻚ ﺯﺍﻣﺒﻰ ﻣﻮﻗﻊ ﺧﻮﺭﺩﻥ ﻛﺴﻰ ﺭﺍﻩ ﻣﻰﺍﻧﺪﺍﺯﺩ‪ ،‬ﺧﻴﻠﻰ ﺷﺒﻴﻪ ﺻﺪﺍﻯ‬ ‫ﻣﺴﺖﻫﺎﻯ ﻣﺸﻐﻮﻝ ﻋﺸﻖﺑﺎﺯﻯ ﻻﻗﻴﺪﺍﻧﻪ ﺍﺳﺖ؛ ﻫﻤﺮﺍﻩ ﺧﺮﺧﺮ ﻭ ﻧﺎﻟﻪ ﻭ ﻣﻠﭻﻣﻠﻮﭼﻰ ﺁﺑﺪﺍﺭ‪.‬‬ ‫ﻛﻠﻰ ]‪ [1‬ﺩﺭ ﻗﺎﻳﻖ ﭘﺎﺭﻭﻳﻰ ﭘﺎﻳﻴﻨﻰ ﻣﻠﺖ ﺭﺍ ﻣﻰﺧﻮﺭﺩ‪ .‬ﺟﺰ ﺷﻨﻴﺪﻥ ﺻﺪﺍﻳﺶ‪ ،‬ﻛﻪ ﺑﺎ ﻭﺟﻮﺩ ﺁﺑﻰ‬ ‫ﻛﻪ ﺑﻪ ﻛﺸﺘﻰ ﻣﻰﺧﻮﺭﺩ‪ ،‬ﺑﺎﺯ ﻫﻢ ﺑﻪ ﮔﻮﺵ ﻣﻰﺭﺳﻴﺪ‪ ،‬ﻛﺎﺭﻯ ﺍﺯ ﺩﺳﺘﺎﻥ ﺑﺮﻧﻤﻰﺁﻣﺪ‪.‬‬ ‫ﻧﻔﻬﻤﻴﺪﻩ ﺑﻮﺩﻳﻢ ﻳﻚ ﻗﺎﻳﻖ ﭘﺎﺭﻭﻳﻰ ﺁﻥ ﭘﺎﻳﻴﻦ ﺍﺳﺖ‪ .‬ﻧﻔﻬﻤﻴﺪﻩ ﺑﻮﺩﻳﻢ ﺯﺍﻣﺒﻰ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﭼﻪ‬ ‫ﻛﺎﺭﻯ ﺍﺯ ﺩﺳﺘﻤﺎﻥ ﺑﺮﻣﻰﺁﻣﺪ؟ ﻭﻗﺘﻰ ﺩﻭﺳﺖﺗﺎﻥ ﺯﺍﻣﺒﻰ ﻣﻰﺷﻮﺩ‪ ،‬ﺑﺎﻳﺪ ﻛﺎﺭﻯ ﺑﻜﻨﻴﺪ‪ .‬ﺩﺳﺖ ﻭ‬ ‫ﭘﺎﻳﺶ ﺭﺍ ﮔﺮﻓﺘﻴﻢ ﻭ ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺑﭽﻪﻯ ﻛﻮﭼﻜﻰ ﺭﺍ ﺗﺎﺏ ﻣﻰﺩﻫﻴﺪ‪ ،‬ﺗﺎﺑﺶ ﺩﺍﺩﻳﻢ‪ .‬ﺑﻌﺪ ﻭﺳﻂ‬ ‫ﺁﺏ ﭘﺮﺗﺶ ﻛﺮﺩﻳﻢ‪ .‬ﻓﻘﻂ ﺍﻳﻦ ﻛﻪ ﭼﻠﭗ ﺻﺪﺍ ﻧﺪﺍﺩ‪ .‬ﺗﭗ ﺧﻔﻪﺍﻯ ﻛﺮﺩ‪ .‬ﺍﺯ ﻟﺒﻪﻯ ﻛﺸﺘﻰ ﭘﺎﻳﻴﻦ‬ ‫ﺭﺍ ﻧﮕﺎﻩ ﻛﺮﺩﻳﻢ ﻭ ﻓﺤﺶ ﺭﺍ ﺑﻪ ﺯﻣﻴﻦ ﻭ ﺯﻣﺎﻥ ﻛﺸﻴﺪﻳﻢ‪ .‬ﻛﺴﻰ ﻛﻪ ﻛﻠﻰ ﺭﻭﻳﺶ ﻓﺮﻭﺩ ﺁﻣﺪﻩ ﺑﻮﺩ‪،‬‬ ‫ﭼﻨﺎﻥ ﺧﺮﺩ ﻭ ﺧﺎﻛﺸﻴﺮ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﻧﻤﻰﺷﺪ ﺑﻔﻬﻤﻴﻢ ﺯﻥ ﺑﻮﺩﻩ ﻳﺎ ﻣﺮﺩ‪ .‬ﺁﻥ ﻳﻜﻰ ﺁﺩﻡ ﺗﻮﻯ‬ ‫ﻗﺎﻳﻖ ﭘﺎﺭﻭﻳﻰ ﻏﺶ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﺩﺍﺩ ﺯﺩﻳﻢ‪» :‬ﺷﺮﻣﻨﺪﻩ!«‬

‫ﻋﺸﺎﻕ‬ ‫ﭘﺸﺖ ﻟﺒﺨﻨﺪﻫﺎﻯ ﻧﻤﺎﻳﺸﻰ ﺩﻧﺪﺍﻥﻫﺎﻳﻰ ﺩﺭﻧﺪﻩ ﻇﺎﻫﺮ ﻣﻰﺷﻮﺩ‪ .‬ﻗﻬﺮﻣﺎﻧﺎﻥ ﺁﺩﻡﻓﺮﻭﺵ ﻣﻰﺷﻮﻧﺪ‪،‬‬ ‫ِ‬ ‫ﻭﻓﺎﺩﺍﺭ ﻫﻤﺪﻳﮕﺮ ﺭﺍ ﻫﻮﻝ ﻣﻰﺩﻫﻨﺪ ﺟﻠﻮﻯ ﺁﺩﻡﺧﻮﺍﺭﻫﺎ ﻭ ﺳﻴﺎﺳﺖﻣﺪﺍﺭﻫﺎ ﺩﺭﻭﻍ ﻣﻨﺎﺳﺒﻰ ﭘﻴﺪﺍ ﻧﻤﻰﻛﻨﻨﺪ‬ ‫ﺑﺮﺍﻯ ﻻﭘﻮﺷﺎﻧﻰ ﺁﺷﻮﺏ‪ .‬ﺯﺍﻣﺒﻰﻫﺎ ﺩﺷﻤﻨﺎﻧﻰ ﺑﻴﮕﺎﻧﻪ ﻭ ﺗﺮﻭﺭﻳﺴﺖ ﻧﻴﺴﺘﻨﺪ‪ ،‬ﻭ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺑﺮﺍﻯ ﻫﻤﻪ‬ ‫ﺳﺨﺖ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺍﻧﮕﺎﺭ ﺯﺍﻣﺒﻰﻫﺎ ﻃﺮﻓﺪﺍﺭﺍﻥ ﭘﺮﻭﭘﺎﻗﺮﺹ ﺍﻳﻦ ﺣﻘﻴﻘﺖﺍﻧﺪ ﻛﻪ ﺑﺸﺮ ﻧﻪ ّ‬ ‫ﺑﺎﻟﺬﺍﺕ ﻣﻬﺮﺑﺎﻥ ﺍﺳﺖ ﻭ ﻧﻪ ﻧﻮﻉﺩﻭﺳﺖ‪.‬‬ ‫»ﺁﻥ ﭼﻴﺰﻫﺎ« ﻗﻠﺐ ﻳﺎ ﺭﻭﺩﻩﺑﻪﺩﻫﺎﻥ ﮔﻮﺷﻪﺍﻯ ﻣﻰﺍﻳﺴﺘﻨﺪ ﻭ ﻣﻰﮔﺬﺍﺭﻧﺪ ﺁﺩﻡﻫﺎ ﺧﻮﺩ ﻭﺍﻗﻌﻰﺷﺎﻥ ﺭﺍ ﻧﺸﺎﻥ‬ ‫ﺑﺪﻫﻨﺪ‪ .‬ﺯﺍﻣﺒﻰﻫﺎ ﺭﻭﻯ ﺍﻳﻦ ﻧﻜﺘﻪ ﺍﻧﮕﺸﺖ ﻣﻰﮔﺬﺍﺭﻧﺪ ﻛﻪ ﺑﺸﺮ ﻋﻤﻮﻣﺎً ﺗﺮﺟﻴﺢ ﻣﻰﺩﻫﺪ ﺑﺎﺑﺖ ﻗﻮﻯﺗﺮ‬ ‫ﺑﻮﺩﻥ ﻭ ﻭﺣﺸﻰﺗﺮ ﺑﻮﺩﻧﺶ‪ ،‬ﺍﺯ ﺩﻳﮕﺮ ﺣﻴﻮﺍﻧﺎﺕ ﺟﺪﺍ ﺑﺸﻮﺩ‪ .‬ﺍﻟﺒﺘﻪ ﻧﺒﺎﻳﺪ ﺧﻴﻠﻰ ﻫﻢ ﺑﺪﺑﻴﻦ ﺑﻮﺩ؛ ﻫﻤﺎﻥﻃﻮﺭ‬ ‫ﻛﻪ ﺯﺍﻣﺒﻰﻫﺎﻳﻰ ﻣﺜﻞ »ﺑﺎﺏ« ﺭﻭﺯ ﻣﺮﺩﮔﺎﻥ ﻫﺴﺘﻨﺪ‪ ،‬ﺁﺩﻡﻫﺎﻯ ﺧﻮﺏ ﻫﻢ ﭘﻴﺪﺍ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﻳﻚ ﻧﻜﺘﻪﻯ )ﺷﻴﻄﻨﺖﺁﻣﻴ ِﺰ( ﺩﻳﮕﺮ ﻫﻢ ﻧﺒﺎﻳﺪ ﻓﺮﺍﻣﻮﺵ ﺷﻮﺩ‪ .‬ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺷﺪﻩ ﺁﺭﺯﻭ ﻛﻨﻴﺪ ﺍﺯ ﺭﻭﻯ ﺍﻳﻦ‬ ‫ﺟﻬﺎﻥ ﺭﻭﺯﻣﺮﻩﻯ ﺑﻪﺍﺻﻄﻼﺡ ﻭﺍﻗﻌﻰ ﻣﺤﻮ ﺷﻮﻳﺪ ﻭ ﻳﻚﺭﺍﺳﺖ ﺑﺮﻭﻳﺪ ﺑﻪ ﻣﺜ ً‬ ‫ﻼ ﺟﻬﺎﻧﻰ ﺟﺎﻥ ﻛﺮﻳﺴﺘﻮﻓﺮﻯ‬ ‫ﻳﺎ ﻫﺎﮔﻮﺍﺭﺗﺰ؟ ﺟﺎﻳﻰ ﻛﻪ ﻛﻤﺎﺑﻴﺶ ﺗﻜﻠﻴﻒ ﺣﻖ ﻭ ﺑﺎﻃﻞ ﻣﻌﻠﻮﻡ ﺍﺳﺖ ﻭ ﻫﻴﭻ ﻗﺎﻧﻮﻥ ﺩﺳﺖﻛﺎﺭﻯ ﺷﺪﻩﺍﻯ‬ ‫ﻧﻤﻰﺗﻮﺍﻧﺪ ﺍﺭﺑﺎﺑﺎﻥ ﺗﺎﺭﻳﻜﻰ ﺭﺍ ﺍﺯ ﻣﻴﻠﻪﻫﺎﻯ ﺯﻧﺪﺍﻥ ﻧﺠﺎﺕ ﺑﺪﻫﺪ‪ .‬ﺷﺪﻩ ﺁﺭﺯﻭ ﻛﻨﻴﺪ ﻛﺎﺵ ﻗﻮﺍﻧﻴﻦ ﺟﻬﺎﻥ‬ ‫ﻃﻮﺭ ﺩﻳﮕﺮﻯ ﺑﻮﺩﻧﺪ؟ ﻭ ﭘﻴﺶ ﺁﻣﺪﻩ ﺁﺭﺯﻭ ﻛﻨﻴﺪ ﺑﺮﻭﻳﺪ ﺑﻪ ﻓﺮﻭﺷﮕﺎﻫﻰ ﺑﺰﺭگ ﻭ ﻫﺮ ﭼﻴﺰﻯ ﺧﻮﺍﺳﺘﻴﺪ‬ ‫ﻣﺠﺎﻧﻰ ﺑﺮﺩﺍﺭﻳﺪ؟ ﺻﺪ ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﺁﺧﺮﻯ ﻛﺎﺭ ﺩﺭﺳﺘﻰ ﻧﻴﺴﺖ ﻭ ﺍﻣﻴﺪﻭﺍﺭﻡ ﻭﻗﺘﻰ ﺯﺍﻣﺒﻰﻫﺎ ﺣﻤﻠﻪ ﻛﺮﺩﻧﺪ‪،‬‬ ‫ﺣﺴﺎﺑﻰ ﻣﻨﺘﻈﺮ ﺑﻤﺎﻧﻴﺪ ﺗﺎ ﺻﻨﺪﻭﻕﺩﺍﺭ ﺳﺮ ﺑﺮﺳﺪ‪ ،‬ﻭ ﺍﻣﻴﺪﻭﺍﺭ ﺑﺎﺷﻴﺪ ﻛﻪ ﭘﻮﻟﺘﺎﻥ ﺭﺍ ﺑﺨﻮﺍﻫﺪ ﻧﻪ ﺟﺎﻧﺘﺎﻥ‪...‬‬ ‫ﺍﻣﺎ ﺩﺭ ﻣﻮﺭﺩ ﺟﻬﺎﻥ؛ ﺯﺍﻣﺒﻰﻫﺎ ﺁﺭﺯﻭﻯﺗﺎﻥ ﺭﺍ ﺗﻘﺮﻳﺒﺎً ﺑﺮﺁﻭﺭﺩﻩ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺷﺨﺼﺎً ﻭﻗﺖ ﻧﺪﺍﺭﻧﺪ ﺑﺮﺍﻯ ﺍﺻﻼﺡ‬ ‫ﻗﻮﺍﻧﻴﻦ ‪-‬ﺑﻴﺸﺘﺮ ﺑﻪ ﺗﺸﺮﻳﺢ ﻋﻼﻗﻪﻣﻨﺪﻧﺪ؛ ﺑﺎ ﺍﻳﻦﺣﺎﻝ‪ ،‬ﺑﺎ ﻗﻮﺍﻧﻴﻦ ﻫﻤﺎﻥ ﻛﺎﺭﻯ ﺭﺍ ﻣﻰﻛﻨﻨﺪ ﻛﻪ ﺑﺎ ﺁﺩﻡﻫﺎﻯ‬ ‫ﻗﻮﺍﻧﻴﻦ ﺧﻮﺩﺗﺎﻥ ﺭﺍ ﺑﻨﻮﻳﺴﻴﺪ‪ .‬ﻫﺮﭼﻨﺪ ﺩﺭ‬ ‫ﺯﻧﺪﻩ؛ ﺑﻘﻴﻪﻯ ﭼﻴﺰﻫﺎ ﺑﻪ ﻋﻬﺪﻩﻯ ﺧﻮﺩﺗﺎﻥ ﺍﺳﺖ‪ :‬ﻣﻰﺗﻮﺍﻧﻴﺪ‬ ‫ِ‬ ‫ﺟﻬﺎﻥ ﺯﺍﻣﺒﻰﺯﺩﻩ ﻫﻢ ﮔﺮﺩﻥﻛﻠﻔﺖﻫﺎ ﺑﺨﺖ ﺑﻴﺸﺘﺮﻯ ﺩﺍﺭﻧﺪ ﺑﺮﺍﻯ ﺩﻳﻜﺘﻪ ﻛﺮﺩﻥ ﺧﻮﺍﺳﺘﻪﻫﺎﻳﺸﺎﻥ؛ ﺍﻣﺎ‪،‬‬ ‫ﺩﻳﮕﺮ ﭘﻠﻴﺲ‪ ،‬ﺗﻠﻮﻳﺰﻳﻮﻥ‪ ،‬ﺗﺒﻠﻴﻐﺎﺕﭼﻰ ﻭ‪ ...‬ﻧﺪﺍﺭﻧﺪ‪ ،‬ﺩﺳﺖﻛﻢ ﺯﻳﺎﺩ ﻧﺪﺍﺭﻧﺪ‪ .‬ﻫﻢﺍﻳﻦ ﺑﻪ ﻣﺎ ‪-‬ﻗﻬﺮﻣﺎﻥ ﺑﻌﺪ‬ ‫ﺍﺯ ﺍﻳﻦﻫﺎﻯ ﺷﺎﻳﺪ ﺑﺸﺮﺩﻭﺳﺖ ﻭ ﭘﺎﻙﻧﻬﺎﺩ‪ -‬ﻓﺮﺻﺖ ﻣﻰﺩﻫﺪ ﻛﻪ ﺑﺮﺍﻯ ﺧﻮﺍﺳﺘﻪﻫﺎﻯ ﻧﻴﻜﻤﺎﻥ )ﺍﻳﻦﻃﻮﺭ‬ ‫ﺍﻣﻴﺪﻭﺍﺭ ﺑﺎﺷﻴﻢ( ﺑﺠﻨﮕﻴﻢ‪ ،‬ﻫﻤﺎﻥﻃﻮﺭ ﻛﻪ ﻣﻤﻜﻦ ﺑﻮﺩ ﺑﺎ ﻟﺮﺩ ﺳﻴﺎﻩ ﺑﺠﻨﮕﻴﻢ‪...‬‬ ‫ﻭ ﺗﺎﺯﻩ ﺍﻳﻦﻫﺎ ﺗﻤﺎﻡ ﺩﻻﻳﻞ ﻣﺤﺒﻮﺑﻴﺖ ﺯﺍﻣﺒﻰﻫﺎ ﻧﻴﺴﺖ‪ .‬ﺑﺮﺍﻯ ﺑﻴﺸﺘﺮ ﺍﺯ ﺍﻳﻦ‪ ،‬ﺑﺎﻳﺪ ﺧﻮﺩﺗﺎﻥ ﺑﻪ ﺗﻤﺎﺷﺎﻯ‬ ‫ﺁﻥﻫﺎ ﺑﻨﺸﻴﻨﻴﺪ‪ ،‬ﻭ ﺳﺎﻋﺖﻫﺎﻯ ﻃﻮﻻﻧﻰ ﺑﻪ ﺍﻳﻦ ﻓﻜﺮ ﻛﻨﻴﺪ ﻛﻪ ﺍﮔﺮ ﺯﺍﻣﺒﻰﻫﺎ ﺣﻤﻠﻪ ﻛﺮﺩﻧﺪ ﭼﻪ ﺧﻮﺍﻫﻴﺪ‬ ‫ﻛﺮﺩ‪ ...‬ﺁﺥ ﻛﻪ ﺍﻳﻦ ﺟﺬﺍﺏﺗﺮﻳﻦ ﻧﻜﺘﻪ ﺩﺭ ﺟﻬﺎﻥ ﺯﺍﻣﺒﻰﻫﺎﺳﺖ‪ ،‬ﻫﻤﻴﻦ ﺳﻮﺍﻝ‪ :‬ﺍﮔﺮ ﺯﺍﻣﺒﻰﻫﺎ ﺣﻤﻠﻪ ﻛﺮﺩﻧﺪ‬ ‫ﭼﻪﻛﺎﺭ ﻛﻨﻢ؟‬ ‫ﺳﺎﺳﺎﻥ ﻡ‪.‬ﻙ‪ .‬ﻋﺎﺻﻰ‬ ‫‪11‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻳﺎﺩﺩﺍﺷﺖ ﻣﻴﻬﻤﺎﻥ‬

‫‪ ‬ﻣﻦ ﺯﺍﻣﺒﻰﻫﺎ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺭﻡ‪...‬‬ ‫ﺗﻮﺿﻴﺢ ﺩﺍﺩﻥ ﺍﻳﻦﻛﻪ ﭼﺮﺍ ﺭﻭﺑﺎﺕﻫﺎ‪ ،‬ﺟﺎﺩﻭﮔﺮﻫﺎ‪ ،‬ﻏﻮﻝﻫﺎ ﻭ ﺍﺑﺮﻗﻬﺮﻣﺎﻥﻫﺎ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺭﻡ‪ ،‬ﭼﻨﺪﺍﻥ ﺩﺷﻮﺍﺭ‬ ‫ﻧﻴﺴﺖ‪ .‬ﺣﺘﺎ ﮔﺎﻫﻰ ﻣﻰﺗﻮﺍﻧﻢ ﻓﻘﻂ ﺑﮕﻮﻳﻢ‪» :‬ﻧﻤﻰﻓﻬﻤﻢ ﭼﻄﻮﺭ ﻣﻰﺷﻪ ﺑﺘﻤﻦ ﺭﻭ ﺩﻭﺳﺖ ﻧﺪﺍﺷﺖ!« ﻭ‬ ‫ﺧﻴﺎﻝ ﺧﻮﺩﻡ ﺭﺍ ﺭﺍﺣﺖ ﻛﻨﻢ‪ .‬ﺍﻣﺎ ﺩﺭ ﻣﻮﺭﺩ ﺯﺍﻣﺒﻰﻫﺎ‪ ...‬ﺭﻭﺷﻦ ﻛﺮﺩﻥ ﺍﻳﻦﻛﻪ ﭼﺮﺍ ﮔﻠﻪﺍﻯ ﻣﺮﺩﻩﻯ ﺁﺩﻡﺧﻮﺍﺭ‬ ‫ﭘﻮﺳﻴﺪﻩ ﻣﻰﺗﻮﺍﻧﻨﺪ ﺩﻭﺳﺖﺩﺍﺷﺘﻨﻰ ﻫﻢ ﺑﺎﺷﻨﺪ ﻛﺎﺭ ﺳﺎﺩﻩﺍﻯ ﻧﻴﺴﺖ‪ .‬ﺟﺪﺍ ً ﭼﺮﺍ ﺯﺍﻣﺒﻰﻫﺎ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺭﻡ؟‬ ‫ﭼﺮﺍ ﮔﺎﻫﻰ ﺯﻣﺎﻧﻰ ﺩﺭﺍﺯ ﺑﻪ ﺁﺧﺮﺍﻟﺰﻣﺎﻧﻰ ﺯﺍﻣﺒﻰﺯﺩﻩ ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﻭ ﻗﻨﺪ ﺗﻮﻯ ﺩﻟﻢ ﺁﺏ ﻣﻰﺷﻮﺩ؟‬ ‫‪ ‬ﺑﺎﻳﺪ ﺍﻋﺘﺮﺍﻑ ﻛﻨﻢ ﻣﻦﻳﻜﻰ ﻛﻪ ﺩﻗﻴﻘﺎً ﺷﻴﻔﺘﻪﻯ ﺧﻮﺩ ﺯﺍﻣﺒﻰﻫﺎ ﻧﻴﺴﺘﻢ‪ .‬ﻳﻚ ﻧﻔﺮ ﺯﺍﻣﺒﻰ ﻫﻤﺎﻥﻗﺪﺭ‬ ‫ﻣﻰﺗﻮﺍﻧﺪ ﺑﺮﺍﻳﻢ ﺩﻭﺳﺖﺩﺍﺷﺘﻨﻰ ﺑﺎﺷﺪ ﻛﻪ ﻳﻚ ﺍُﺭﻙ‪ .‬ﺣﺪﺱ ﻫﻢ ﻣﻰﺯﻧﻢ ﻛﻢﺗﺮ ﻃﺮﻓﺪﺍﺭ ﺳﻴﻨﻪﭼﺎﻛﻰ‬ ‫ﺣﺎﺿﺮ ﺑﺎﺷﺪ ﺳﺮ ﺻﺤﺒﺖ ﺭﺍ ﺑﺎ ﻳﻚ ﺯﺍﻣﺒﻰ ﺑﺎﺯ ﻛﻨﺪ‪ .‬ﺯﺍﻣﺒﻰﻫﺎ ﺍﻋﺼﺎﺏ ﻧﺪﺍﺭﻧﺪ ﻭ ﺑﺎ ﺍﻳﻦﻛﻪ ﮔﺮﻭﻫﻰ ﺣﻤﻠﻪ‬ ‫ﻣﻰﻛﻨﻨﺪ‪ ،‬ﺑﻪﻧﻈﺮ ﻧﻤﻰﺭﺳﺪ ﻣﻮﺟﻮﺩﺍﺗﻰ ﺍﺟﺘﻤﺎﻋﻰ ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﺁﻥﭼﻪ ﺯﺍﻣﺒﻰﻫﺎ ﺭﺍ ﺟﺬﺍﺏ ﻣﻰﻛﻨﺪ ﻧﻪ ﺧﻮﺩﺷﺎﻥ‪ ،‬ﻛﻪ ﺗﺒﻌﺎﺕ ﻇﻬﻮﺭ ﻭ ﺣﻀﻮﺭﺷﺎﻥ ﺍﺳﺖ‪ .‬ﺯﺍﻣﺒﻰﻫﺎ ﺣﺒﺎﺏِ‬ ‫»ﺟﻬﺎﻥ ﺯﻳﺒﺎﻯ ﻣﺎ« ﺭﺍ ﻣﻰﺷﻜﻨﻨﺪ‪ ،‬ﺑﺰﻛﺶ ﺭﺍ ﭘﺎﻙ ﻣﻰﻛﻨﻨﺪ ﻭ ﻫﻤﺎﻥ ﺟﻮﺭ ﻧﺸﺎﻧﺶ ﻣﻰﺩﻫﻨﺪ ﻛﻪ ﻭﺍﻗﻌﺎً‬ ‫ﻫﺴﺖ‪ .‬ﺍﻧﮕﺎﺭ ﺯﺍﻣﺒﻰﻫﺎﻯ ﺍﻣﺮﻭﺯﻯ ﻫﻢ‪ ،‬ﭼﻮﻥ ﺍﺟﺪﺍﺩﺷﺎﻥ‪ ،‬ﺍﺭﺗﺒﺎﻃﻰ ﺑﺎ ﺟﺎﺩﻭ ﺩﺍﺭﻧﺪ‪ :‬ﭘﻨﺠﻪﻫﺎﺷﺎﻥ ﺭﺍ ﺩﺭ‬ ‫ﻫﻮﺍ ﻣﻰﭼﺮﺧﺎﻧﻨﺪ ﻭ ﺑﻪ ﺟﻬﺎﻥ ﻣﻰﮔﻮﻳﻨﺪ‪» :‬ﺧﻮﺩﺕ ﺭﺍ ﻧﺸﺎﻥ ﺑﺪﻩ« ﻭ ﺑﻌﺪ ﻫﻤﻪ ﭼﻴﺰ ﺑﻪﻫﻢ ﻣﻰﺭﻳﺰﺩ‪.‬‬ ‫‪10‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺑﻴﺸﺘﺮ ﺧﻮﺍﻫﻨﺪ ﺑﻮﺩ‪ .‬ﺩﺭ ﺍﺳﻜﺎﻧﺪﻳﻨﺎﻭﻯ ﻧﻴﺰ ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻰ ﺍﺯ ﻣﻮﺟﻮﺩﺍﺗﻰ ﺩﺭ ﮔﻮﺭﺳﺘﺎﻥ ﺩﺍﺭﻳﻢ ﻛﻪ ﺍﮔﺮ ﻛﺴﻰ‬ ‫ﺭﺍ ﮔﺎﺯ ﺑﮕﻴﺮﻧﺪ‪ ،‬ﺍﻭ ﺭﺍ ﻣﺜﻞ ﺧﻮﺩﺷﺎﻥ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺍﻣﺎ ﻛﻠﻤﻪﻯ ﺯﺍﻣﺒﻰ ﺭﻳﺸﻪ ﺩﺭ ﻓﺮﻫﻨﮓ ﻛﺎﻟﻴﭙﺴﻰ ﻭ ﻛﺎﺭﺍﻳﻴﺒﻰ ﺩﺍﺭﺩ‪ .‬ﺑﻪ ﻗﻮﻝ »ﻣﻜﺲ ﺑﺮﻭﻛﺲ« ﻳﻜﻰ ﺍﺯ ﺑﺰﺭﮔﺎﻥ‬ ‫ژﺍﻧﺮ ﺯﺍﻣﺒﻰ‪ ،‬ﺯﺍﻣﺒﻰﻫﺎﻯ ﻭﻭﺩﻭ‪ ،‬ﺑﺮﺧﻼﻑ ﺯﺍﻣﺒﻰﻫﺎﻯ ﻫﺎﻟﻴﻴﻮﻭﺩﻯ‪ ،‬ﻣﻮﺟﻮﺩﺍﺗﻰ ﺑﻰﺁﺯﺍﺭ ﻫﺴﺘﻨﺪ ﻭ ﺑﻴﺸﺘﺮ ﺑﻪ‬ ‫ﺑﻴﻤﺎﺭﺍﻥ ﺩﭼﺎﺭ ﺿﺮﺑﻪﻯ ﺟﺒﺮﺍﻥﻧﺎﭘﺬﻳﺮ ﻣﻐﺰﻯ ﻣﻰﻣﺎﻧﻨﺪ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﺍﻳﻦﻫﺎ ﺭﻭﺡﺷﺎﻥ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩﺍﻧﺪ‪.‬‬ ‫ﺩﺭ ﺩﻭﺭﺍﻥ ﺟﺪﻳﺪ ﻫﻢ ﭼﻨﺪ ﺍﺗﻔﺎﻕ ﺧﺎﺹ ﺑﻮﺩﻧﺪ ﻛﻪ ﺯﺍﻣﺒﻰﻫﺎ ﺭﺍ ﺑﺮﺍﻯ ﻫﻤﻴﺸﻪ ﭘﺮ ﻃﺮﻓﺪﺍﺭ ﻛﺮﺩﻧﺪ‪ .‬ﺍﺯ ﺟﻤﻠﻪ‬ ‫ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺍچ‪ .‬ﭘﻰ‪ .‬ﻻﻭﻛﺮﻓﺖ ﺩﺭﺑﺎﺭﻩﻯ ﺯﺍﻣﺒﻰﻫﺎ ﻭ ﻛﺎﻣﻴﻚﻫﺎﻳﻰ ﻛﻪ ﺑﺮ ﺍﺳﺎﺱ ﺁﻥﻫﺎ ﻧﻮﺷﺘﻪ ﺷﺪﻧﺪ‪ .‬ﺑﻪ‬ ‫ﺗﺒﻊ ﺁﻥ ﻓﻴﻠﻢﻫﺎﻯ ﺟﺮﺝ ﺍﻯ ﺭﻭﻣﺮﻭ ﻛﻪ ﺧﻮﺩ ﺑﺮﺍﺳﺎﺱ ﻣﺠﻤﻮﻋﻪ ﻛﺎﻣﻴﻚﻫﺎﻯ ﻣﺨﺘﻠﻔﻰ ﺑﻮﺩﻧﺪ ﻧﻴﺰ‪ ،‬ﻣﻮﺝ‬ ‫ﻋﻈﻴﻢ ﻃﺮﻓﺪﺍﺭﻯ ﺭﺍ ﺑﻪ ﺭﺍﻩ ﺍﻧﺪﺍﺧﺘﻨﺪ‪ .‬ﭘﺲ ﺍﺯ ﺁﻥ ﺯﺍﻣﺒﻰﻫﺎ ﺩﺭ ﺍﻳﻦ ﺳﻪ ﺭﺳﺎﻧﻪ ﺑﻪ ﺑﻠﻮﻍ ﻧﺴﺒﻰ ﺭﺳﻴﺪﻧﺪ‪ .‬ﺣﺘﺎ‬ ‫ﺑﺴﻴﺎﺭﻯ ﻣﻌﺘﻘﺪﻧﺪ‪ ،‬ﺯﺍﻣﺒﻰﻫﺎ ﺑﺪﻭﻥ ﻫﻴﭻﮔﻮﻧﻪ ﻧﻮﺁﻭﺭﻯ ﻭ ﺑﺎ ﻫﻤﺎﻥ ﻣﻀﺎﻣﻴﻦ ﺗﻜﺮﺍﺭﻯ‪ ،‬ﭘﺎﻛﺸﺎﻥ ﺑﻪ ﺟﻠﻮ ﺭﻓﺘﻨﺪ‬ ‫ﻭ ﺗﻨﻬﺎ ﻭﻓﺎﺩﺍﺭﺗﺮﻳﻦ ﻫﻮﺍﺩﺍﺭﺍﻧﺸﺎﻥ ﺑﺎ ﺁﻥﻫﺎ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻧﺪ‪.‬‬ ‫ﺗﺎ ﺍﻳﻦ ﻛﻪ ﺑﻼﺧﺮﻩ ﺭﺳﺎﻧﻪﻯ ﺑﺎﺯﻯﻫﺎﻯ ﺭﺍﻳﺎﻧﻪﺍﻯ ﭘﺎ ﮔﺮﻓﺖ‪ .‬ﻫﻨﻮﺯ ﻓﻨﺎﻭﺭﻯ ﺗﺼﺎﻭﻳﺮ ﺳﻪ ﺑﻌﺪﻯ ﺧﻮﺏ ﺳﺮ ﻭ ﺳﺎﻣﺎﻥ‬ ‫ﻧﮕﺮﻓﺘﻪ ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﺷﺒﻴﻪﺳﺎﺯﻯ ﺍﻳﻦ ﻓﻀﺎﻫﺎ ﺑﺎ ﺍﻳﺠﺎﺩ ﺗﺼﺎﻭﻳﺮ ﺛﺎﺑﺘﻰ ﻛﻪ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺁﻥ ﺣﺮﻛﺖ ﻣﻰ ﻛﺮﺩﻧﺪ‪،‬‬ ‫ﺻﻮﺭﺕ ﻣﻰﭘﺬﻳﺮﻓﺖ‪ .‬ﭘﻴﺸﺮﻭ ﺍﻳﻦ ﺍﻣﺮ ﻫﻢ ﺷﺮﻛﺖ ﺑﺎﺯﻯﺳﺎﺯﻯ »ﻛﭙﻜﺎﻡ«‪ .‬ﻳﻌﻨﻰ ﺷﺮﻛﺘﻰ ﻛﻪ ﺳﺮﻯ ﺑﺎﺯﻯﻫﺎﻯ‬ ‫»ﺭﺯﻳﺪﻧﺖ ﺍﻳﻮﻝ« ﺭﺍ ﺑﻪ ﻭﺟﻮﺩ ﺁﻭﺭﺩ‪ .‬ﺑﺎﺯﻯﺍﻯ ﻛﻪ ﺑﺎ ﻧﻮﺁﻭﺭﻯﻫﺎﻯ ﺑﺴﻴﺎﺭﺵ‪ ،‬ﻳﻚ ﺑﺎﺭ ﺩﻳﮕﺮ ﺯﺍﻣﺒﻰﻫﺎ ﺭﺍ ﺑﻪ ﺍﻭﺝ ﺑﺮﺩ‪.‬‬ ‫ﻧﻬﺎﻳﺘﺎً ﺍﻳﻦ ژﺍﻧﺮ ﺟﺎﻳﮕﺎﻩ ﺧﻮﺩﺵ ﺭﺍ ﺩﺭ ﻧﻮﺷﺘﺎﺭﻫﺎﻯ ﻫﻢﻋﺼﺮﺳﺎﺯﻯ ﻳﺎ ‪ Contemporary writings‬ﻣﻰﻳﺎﺑﺪ‪.‬‬ ‫ﻫﻢﻋﺼﺮﻯ ﺯﺍﻣﺒﻰﻫﺎ ﺑﺎ ﺁﺭﺗﻮﺭ ﻛﻤﻠﻮﺗﻰ ﻭ ﻫﻴﺘﻠﺮ ﺩﻫﻪﻯ ﺳﻰ ﻭ ﭼﻬﻞ‪ ،‬ﻟﺬﺕ ﺩﻭ ﭼﻨﺪﺍﻧﻰ ﺑﺎ ﺍﻳﻦ ﮔﻮﻧﻪﻯ ﺍﺩﺑﻰ‬ ‫ﻣﻰﺩﻫﺪ‪ .‬ﭼﻮﻥ ﺯﺍﻣﺒﻰﻫﺎ ﻛﻪ ﻧﻤﺎﺩﻯ ﺍﺯ ﻓﺮﻭﭘﺎﺷﻰ ﻧﻈﻢ ﻭ ﻣﻨﻄﻖ ﻫﺴﺘﻨﺪ‪ ،‬ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﺑﻪ ﺷﻜﻠﻰ ﻛﻤﺪﻯ ﺑﻪ‬ ‫ﺑﺎﺯﻯ ﻣﻰﮔﻴﺮﻧﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻧﺎﻓﻰ ﻣﺤﺼﻮﻻﺕ ﺍﻳﻦ ﮔﻮﻧﻪ ﺩﺭ ﺑﺨﺶ ﻭﺣﺸﺖ ﻧﻴﺴﺖ‪ .‬ﻛﺎﻣﻴﻚ »ﻣﺮﺩﮔﺎﻥ‬ ‫ﻣﺘﺤﺮﻙ« ﻭ ﺳﺮﻳﺎﻝ ﺍﻯ‪ .‬ﺍﻡ‪ .‬ﺳﻰ‪ .‬ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺑﺮﺍﺳﺎﺱ ﺍﻳﻦ ﻛﻤﻴﻚ ﻭ ﻓﻴﻠﻢﻫﺎﻳﻰ ﻧﻈﻴﺮ »ﺑﻴﺴﺖ ﻭ ﻫﺸﺖ‬ ‫ﺭﻭﺯ ﺑﻌﺪ«‪ ،‬ﺑﻪ ﺧﻮﺑﻰ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﻫﻨﺪ‪.‬‬ ‫ﺯﺍﻣﺒﻰﻫﺎ ﻫﻢ ﺑﻪ ﺍﻧﺪﺍﺯﻩ ﻯ ﺧﻮﻥﺁﺷﺎﻡﻫﺎ ﺑﺤﺚ ﺑﺮﺍﻧﮕﻴﺰ ﻫﺴﺘﻨﺪ‪ .‬ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺑﺮﺍﻯ ﺗﻤﺎﻣﻰ ﻫﻴﻮﻻﻫﺎﻳﻰ ﻛﻪ‬ ‫ﺯﻣﺎﻧﻰ ﺍﻧﺴﺎﻥ ﺑﻮﺩﻧﺪ ﻧﻴﺰ ﻣﻄﺮﺡ ﺍﺳﺖ‪ .‬ﺑﺨﺸﻰ ﺍﺯ ﺟﺬﺍﺑﻴﺖ ﺍﻳﻦ ژﺍﻧﺮ ﺑﻪ ﺭﻳﺸﻪﻫﺎﻯ ﺳﺎﺩﻳﺴﻤﻰ ﻭ ﻣﺎﺯﻭﺧﻴﺴﻤﻰ‬ ‫ﻧﻬﻔﺘﻪ ﺩﺭ ﺁﻥ ﺑﺮﻣﻰﮔﺮﺩﺩ ﻭ ﺑﻌﻀﻰ ﻭﻗﺖﻫﺎ ﺩﺭﮔﻴﺮ ﺁﻥ ﺟﺪﻝ ﻫﻤﻴﺸﮕﻰ ﻫﻴﻮﻻ ﺩﺭ ﺑﺮﺍﺑﺮ ﺍﻧﺴﺎﻥ ﻣﻰﺷﻮﻳﻢ‬ ‫ﻭ ﺍﻳﻦ ﻛﻪ ﺍﺻ ً‬ ‫ﻼ ﺁﺩﻡﻫﺎ ﺣﻖ ﺣﺎﻛﻤﻴﺖ ﺑﺮ ﺍﻳﻦ ﺳﻴﺎﺭﻩ ﺭﺍ ﺩﺍﺭﻧﺪ؟ ﺍﻣﺎ ﺑﺮﺍﻯ ﺧﻮﺩ ﻣﻦ ﻭ ﺧﻴﻠﻰ ﺍﺯ ﻃﺮﻓﺪﺍﺭﺍﻥ‬ ‫ژﺍﻧﺮ‪ ،‬ﺍﻳﻦ ژﺍﻧﺮ ﺑﻴﺸﺘﺮ ﺍﺯ ﻫﺮ ﭼﻴﺰ ﺩﺭﺑﺎﺭﻩﻯ ﻣﻨﻔﺠﺮ ﻛﺮﺩﻥ ﻛﻠﻪﻯ ﻳﻚ ﻣﺸﺖ ﺯﺍﻣﺒﻰ ﺑﺎ ﻳﻚ ﻭﻳﻨﭽﺴﺘﺮ ﺧﻮﺵ‬ ‫ﺩﺳﺖ ﺍﺳﺖ‪...‬‬ ‫ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬ ‫‪9‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﻳﺎﺩﺩﺍﺷﺖ ﻭﻳﮋﻩ‬

‫ﺍﻭﻟﻴﻦ ﺭﻭﻳﺎﺭﻭﻳﻰ ﻣﻦ ﺑﺎ ﺯﺍﻣﺒﻰﻫﺎ ﺩﺭ ﺳﻦ ﭼﻬﺎﺭ ﺳﺎﻟﮕﻰ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩ‪ .‬ﻭﻗﺘﻰ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﻭ ﺑﻪ ﻃﻮﺭ ﺍﺗﻔﺎﻗﻰ‬ ‫ﺑﺎ ﻓﻴﻠﻢ »ﺷﺐ ﻣﺮﺩﮔﺎﻥ ﺯﻧﺪﻩ«ﻯ ﺟﻮﺭﺝ ﺍﻯ‪ .‬ﺭﻭﻣﺮﻭ ﺭﻭﺑﻪﺭﻭ ﺷﺪﻡ‪ .‬ﻧﻤﻰﺗﻮﺍﻧﻢ ﺑﮕﻮﻳﻢ ﭼﻴﺰ ﺧﺎﺻﻰ ﺍﺯ ﺍﻳﻦ‬ ‫ﺍﻭﻟﻴﻦ ﺭﻭﻳﺎﺭﻭﻳﻰ ﺑﻪ ﻳﺎﺩ ﺩﺍﺭﻡ‪ .‬ﺧﻴﻠﻰ ﺳﺮﻳﻊ ﻭﺟﻮﺩﻡ ﻛﺸﻒ ﺷﺪ ﻭ ﺍﺯ ﺍﺗﺎﻕ ﺍﺧﺮﺍﺝ ﺷﺪﻡ ﻭ ﺗﻮﺳﻂ ﻭﺍﻟﺪﻳﻦ‬ ‫ﻫﺮﺍﺳﺎﻧﻢ‪ ،‬ﻣﺸﺎﻭﺭﻩﻯ ﺭﻭﺍﻧﻰ ﺷﺪﻡ‪ .‬ﺍﻟﺒﺘﻪ ﺗﺎﺛﻴﺮﻯ ﻧﺪﺍﺷﺖ‪ .‬ﺩﻳﮕﺮ ﺩﻳﺮ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻣﻦ ﺑﻪ ﺗﺐ ﺯﺍﻣﺒﻰ ﺩﭼﺎﺭ ﺷﺪﻩ‬ ‫ﺑﻮﺩﻡ‪ .‬ﺍﻳﻦ ﺗﺐ ﺭﺍﻫﺶ ﺭﺍ ﺑﻪ ﺟﻨﻮﻥ ﺑﺎﺯ ﻛﺮﺩ‪ .‬ﻭﻗﺘﻰ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﭘﺎﻯ ﻳﻚ ﭘﻠﻰﺍﺳﺘﻴﺸﻦ ﻳﻚ ﻧﺸﺴﺘﻢ ﻭ‬ ‫»ﺭﺯﻳﺪﻧﺖ ﺍﻳﻮﻝ« ﺳﻪ ﺭﺍ ﺑﺎﺯﻯ ﻛﺮﺩﻡ‪ .‬ﻣﻮﺳﻴﻘﻰ ﺩﻳﻮﺍﻧﻪﻭﺍﺭ ﺑﺎﺯﻯ ﺑﻪ ﻫﻤﺮﺍﻩ ﻓﻀﺎﻫﺎﻯ ﺷﻬﺮﻯ ﺑﺴﺘﻪ ﻭ ﻣﺒﺎﺭﺯﻩﻯ‬ ‫ﺑﺴﻴﺎﺭ ﺣﻘﻴﻘﻰ ﺑﺮ ﺳﺮ ﻣﺮگ ﻭ ﺯﻧﺪﮔﻰ ﻭ ﺍﺯ ﻫﻤﻪ ﺑﺪﺗﺮ‪ ،‬ﻧﻤﺴﻴﺲ ﻛﻪ ﺳﺮ ﻫﺮ ﭘﻴﭻ ﻣﻨﺘﻈﺮ ﺑﻮﺩ‪ ،‬ﻫﻤﻪ ﭼﻴﺰ‬ ‫ﺭﺍ ﺑﻪ ﺻﻮﺭﺕ ﺟﻨﻮﻧﻰ ﺩﺭ ﺁﻭﺭﺩ ﻛﻪ ﺗﺎ ﺍﻣﺮﻭﺯ ﺩﺭ ﺧﻮﺍﺏﻫﺎﻯ ﻣﻦ ﺭﻳﺸﻪ ﺩﻭﺍﻧﺪﻩ‪ .‬ﺑﺎ ﺍﻓﺘﺨﺎﺭ ﺍﻋﻼﻡ ﻣﻰﻛﻨﻢ‬ ‫ﺍﻻﻥ ﺑﻴﺸﺘﺮ ﺍﺯ ﺩﻩ ﺳﺎﻝ ﻫﺴﺖ ﻛﻪ ﺯﺍﻣﺒﻰﻫﺎ ﺍﺯ ﺍﺭﻛﺎﻥ ﺟﺪﺍﻳﻰ ﻧﺎﭘﺬﻳﺮ ﺭﻭﻳﺎﻫﺎﻯ ﻣﻦ ﻫﺴﺘﻨﺪ ﻭ ﺩﺳﺘﻤﺎﻳﻪﻯ‬ ‫ﺩﺍﺳﺘﺎﻥﭘﺮﺩﺍﺯﻯﻫﺎﻯ ﻣﺘﻌﺪﺩﻯ ﺷﺪﻩﺍﻧﺪ‪.‬‬ ‫ﺯﺍﻣﺒﻰﻫﺎ ﺍﺯ ﻛﺠﺎ ﻣﻰﺁﻳﻨﺪ؟ ﺍﺯ ﭼﻪ ﺗﺎﺭﻳﺨﻰ ﻭﺍﺭﺩ ﺍﺩﺑﻴﺎﺕ ﻣﻰﺷﻮﻧﺪ ﻭ ﺍﺯ ﻛﺠﺎ ﺍﻳﻦ ﭼﻨﻴﻦ ﻫﻤﻪ ﺟﺎﻧﺒﻪ‪ ،‬ﻣﻮﺭﺩ‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﻭ ﺍﺳﺘﻘﺒﺎﻝ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﻧﺪ؟ ﭼﻪ ﭼﻴﺰ ﺍﻳﻦ ﻣﺮﺩﻩﻫﺎﻯ ﻣﺘﺤﺮﻙ ﻛﻪ ﻛﺸﺎﻥﻛﺸﺎﻥ ﺑﻪ ﺳﻤﺘﻤﺎﻥ‬ ‫ﻣﻰﺁﻳﻨﺪ ﻭ ﺧﻴﻠﻰ ﻭﻗﺖﻫﺎ ﺧﻨﺪﻩﺩﺍﺭ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻨﺪ‪ ،‬ﭼﻨﻴﻦ ﺗﺄﺛﻴﺮﮔﺬﺍﺭ ﺍﺳﺖ؟ ﻣﻔﻬﻮﻡ ﻭ ﻧﻪ ﻛﻠﻤﻪﻯ ﺯﺍﻣﺒﻰ‪،‬‬ ‫ﻗﺪﻣﺘﻰ ﺑﻪ ﻃﻮﻝ ﻓﺮﻫﻨﮓ ﻭ ﺍﺳﺎﻃﻴﺮ ﺑﺎﺑﻞ ﺩﺍﺭﺩ‪ .‬ﺁﻥﺟﺎ ﻛﻪ ﺍﻳﺸﺘﺮ ﻧﻔﺮﻳﻦ ﻣﻰﻛﻨﺪ ﻭ ﺳﺎﻳﺮ ﺧﺪﺍﻳﺎﻥ ﺭﺍ ﺗﻬﺪﻳﺪ‬ ‫ﻣﻰﻛﻨﺪ ﻛﻪ ﺩﺭ ﺩﺭﻭﺍﺯﻩﻫﺎﻯ ﺩﻭﺯﺥ ﺭﺍ ﺑﺎﺯ ﺧﻮﺍﻫﺪ ﻛﺮﺩ ﻭ ﻣﺮﺩﮔﺎﻥ ﺍﺯ ﺁﻥ ﺧﺎﺭﺝ ﺧﻮﺍﻫﻨﺪ ﺷﺪ ﻭ ﺍﺯ ﺯﻧﺪﮔﺎﻥ‬ ‫‪8‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺑﻪ ﻧﻘﻞ از ﺳﺎﯾﺖ رﺳﻤﯽ ﺟﺎﯾﺰه‬ ‫‪www.sffaward.ir‬‬

‫‪7‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺳﺨﻦ ﻣـــﺎﻩ‬ ‫ﺷﮕﻔﺖﺯﺍﺭ ﺭﺳﺎﻧﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ ﺍﺳﺖ‪ .‬ﻫﺪﻓﻰ ﻧﺪﺍﺭﺩ ﺟﺰ ﺑﺮﺁﻭﺭﺩﻥ ﻋﻄﺶ ﺧﻮﺍﻧﻨﺪﻩﻯ ﻓﺎﺭﺳﻰﺯﺑﺎﻥ ﺑﻪ‬ ‫ﻋﻠﻤﻰﺗﺨﻴﻠﻰ‪ ،‬ﻓﺎﻧﺘﺰﻯ ﻭ ﻭﺣﺸﺖ‪ .‬ﺷﮕﻔﺖﺯﺍﺭ ﻣﺜﻞ ﻳﻚ ﺩﻭﺯ ﻣﺎﻫﺎﻧﻪ ﺍﺯ ﺩﺍﺭﻭﻯ ﺷﻔﺎﺑﺨﺶ ﻉﺕﻑﻭ ﻣﻰﻣﺎﻧﺪ!‬ ‫ﻭ ﺣﺎﻻ ﺷﮕﻔﺖﺯﺍﺭ ﻣﺮﻭﺝ ﺑﺮﺗﺮ ﻉﺕﻑﻭ ﻫﻢ ﻫﺴﺖ‪.‬‬ ‫ﺣﺪﻭﺩ ﺳﻪ ﺳﺎﻝ ﺍﺳﺖ ﻛﻪ ﺷﮕﻔﺖﺯﺍﺭ ﻣﻨﺘﺸﺮ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻳﻦ ﺷﻤﺎﺭﻩﻯ ‪ 22‬ﻭ ‪ 23‬ﺍﺳﺖ ﻭ ﺷﻤﺎﺭﻩﻯ ‪ 24‬ﻫﻢ‬ ‫ﺩﺭ ﺗﻨﻮﺭ‪ ،‬ﺁﻣﺎﺩﻩﻯ ﭘﺨﺖ‪ .‬ﺗﺎ ﺑﻪ ﺣﺎﻝ ﻭﻳﮋﻩﻧﺎﻣﻪ ﻓﺮﺍﻭﺍﻥ ﺩﺍﺷﺘﻪ ﺍﺳﺖ –ﻧﻤﻮﻧﻪﺍﺵ ﻫﻤﻴﻦ ﺷﻤﺎﺭﻩ‪ -‬ﻭ ﺧﻮﺍﻫﺪ‬ ‫ﺩﺍﺷﺖ‪ .‬ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﺑﺰﺭﮔﻰ ﻫﻢ ﺩﺭ ﺳﺮ ﺩﺍﺭﺩ‪ .‬ﺷﮕﻔﺖﺯﺍﺭ ﻣﻰﺧﻮﺍﻫﺪ ﺑﺰﺭﮔﺘﺮ ﻫﻢ ﺑﺸﻮﺩ‪.‬‬ ‫ﻫﻤﻜﺎﺭﺍﻥ ﺷﮕﻔﺖﺯﺍﺭ ﺗﻨﻬﺎ ﺑﺎ ﺳﻮﺧﺖ ﻋﻼﻗﻪ ﺍﺳﺖ ﻛﻪ ﻛﺎﺭ ﻣﻰﻛﻨﻨﺪ‪ .‬ﻭ ﺁﻥ ﭼﻴﺰﻯ ﻛﻪ ﺧﺴﺘﮕﻰﺷﺎﻥ ﺭﺍ ﺩﺭ‬ ‫ﻣﻰﻛﻨﺪ‪ ،‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﮔﺎﻫﻰ ﻛﺴﻰ ﺍﻳﻤﻴﻠﻰ ﺑﺰﻧﺪ‪ ،‬ﺣﻀﻮﺭﺍ ً ﺑﻴﺎﻳﺪ ﻳﺎ ﺣﺘﺎ ﭘﻴﻐﺎﻡ ﺑﻔﺮﺳﺘﺪ ﻛﻪ ﺷﮕﻔﺖﺯﺍﺭ ﺭﺍ‬ ‫ﺩﺭ ﻳﻚ ﮔﻮﺷﻪﺍﻯ ﺍﺯ ﺍﻳﻦ ﺟﻬﺎﻥ ﻣﻰﺧﻮﺍﻧﺪ‪ .‬ﺑﻌﺪ ﻫﻢ ﺍﻳﻦﻃﻮﺭ ﺑﺸﻮﺩ ﻛﻪ ﺑﻬﺶ ﺑﮕﻮﻳﻨﺪ ﻣﺮﻭﺝ ﺍﺳﺖ ﻭ ﺑﺮﺗﺮ‬ ‫ﻣﺮﻭﺟﺎﻥ ﺍﺳﺖ ﻭ ﺑﺮﺍﻳﺶ ﻛﻒ ﺑﺰﻧﻨﺪ‪ .‬ﻫﻤﻴﻦ ﺳﻮﺧﺖ ﻣﻮﺷﻜﻰ ﺍﺳﺖ ﻛﻪ ﻣﺎ ﺭﺍ ﺗﺎ ﻣﺮﻳﺦ ﻫﻢ ﺧﻮﺍﻫﺪ ﻓﺮﺳﺘﺎﺩ‪.‬‬ ‫ﺷﮕﻔﺖﺯﺍﺭ ﻣﻮﻓﻘﻴﺖ ﺧﻮﺩ ﺭﺍ ﻣﺪﻳﻮﻥ ﻫﻴﺎﺕ ﺗﺤﺮﻳﺮﻳﻪ‪ ،‬ﻫﻤﻜﺎﺭﺍﻥ ﭘﻴﺪﺍ ﻭ ﭘﻨﻬﺎﻥ ﻭ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﻫﻤﻴﺸﮕﻰﺍﺵ‬ ‫ﺍﺳﺖ ﻭ ﺩﺭ ﻛﻨﺎﺭ ﺁﻥﻫﺎﺳﺖ ﻛﻪ ﺗﺸﻮﻳﻖ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺷﮕﻔﺖﺯﺍﺭ ﺍﻣﻴﺪﻭﺍﺭ ﺍﺳﺖ ﺑﻪ ﺁﻳﻨﺪﻩ ﻭ ﻣﻮﻓﻘﻴﺖﻫﺎﻯ‬ ‫ﺑﻴﺸﺘﺮ! ﺷﮕﻔﺖﺯﺍﺭ ﺍﻳﻦﺟﺎﺳﺖ ﺗﺎ ﺑﻤﺎﻧﺪ!‬ ‫ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬ ‫‪6‬‬ ‫ﺷﻤﺎﺭﻩﻯ ‪22-23‬‬

‫ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﺑﺨﺶ ﺩﻭﻡ‪ :‬ﻣﻘﺎﻟﻪ‬ ‫‪96‬‬

‫ﻣﻘﺎﻟﻪ‪ :‬ﺯﺍﻣﺒﻰ ﭼﻪ ﺑﻮﺩ ﻭ ﭼﻪ ﻛﺮﺩ؟!‬ ‫ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

‫‪104‬‬

‫ﺩﻳﺪﮔﺎﻩ‪ :‬ﺑﺮﺭﺳﻰ ﺭﻭﺍﻧﺸﻨﺎﺧﺘﻰ ﺩﻟﻴﻞ ﻋﻼﻗﻪ ﺑﻪ ﺯﺍﻣﺒﻰﻫﺎ‬ ‫ﻳﺎ ﭼﺮﺍ ﺯﺍﻣﺒﻰﻫﺎ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺭﻳﻢ؟‬ ‫ﭘﻮﺭﻳﺎ ﺗﻘﻮﻯ‬

‫ﺑﺨﺶ ﺳﻮﻡ‪ :‬ﭘﺮﻭﻧﺪﻩ‬ ‫‪110‬‬

‫ﺳﻴﻨﻤﺎ‪ :‬ﻣﻨﺘﻘﺪِ ﻣﺮﺩﮔﺎﻥ‬ ‫ﺳﺎﺳﺎﻥ ﻡ‪.‬ﻙ‪ .‬ﻋﺎﺻﻰ‬

‫‪118‬‬

‫ﺳﻴﻨﻤﺎ‪Resident Evil :‬‬ ‫ﻋﻠﻰ ﻛﻤﺎﻟﻰ‪ ،‬ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‬

‫‪128‬‬

‫ﺗﻠﻮﻳﺰﻳﻮﻥ‪ :‬ﻣﺮﺩﻩﻯ ﻣﺘﺤﺮﻙ؛ ﺟﻬﺎﻥ ﺩﺭ ﺩﺳﺖ ﻣﺮﺩﮔﺎﻥ‬ ‫ﺍﺣﺴﺎﻥ ﻣﺤﻤﺪﺯﺍﺩﻩ‬

‫‪ 133‬ﺳﻴﻨﻤﺎ‪ 28 :‬ﺭﻭﺯ ﺑﻌﺪ‬ ‫ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬

‫‪140‬‬

‫ﻛﻤﻴﻚ‪ :‬ﺯﺍﻣﺒﻰﻛﻤﻴﻚ‬ ‫ﺍﺣﻤﺪ ﺑﺎﺑﺎﺑﻰ‬

‫‪146‬‬

‫ﻛﺘﺎﺏ‪ :‬ﭼﮕﻮﻧﻪ ﺩﺭ ﺩﻧﻴﺎﻳﻰ ﺯﺍﻣﺒﻰﺯﺩﻩ ﺯﻧﺪﻩ ﺑﻤﺎﻧﻴﻢ‬ ‫ﺍﺣﺴﺎﻥ ﻣﺤﻤﺪﺯﺍﺩﻩ‬

‫‪166‬‬

‫ﻛﺘﺎﺏ‪ :‬ﺟﻨﮓ ﺟﻬﺎﻧﻰ ﺯﻯ‬ ‫ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

‫‪174‬‬

‫ﻛﺘﺎﺏ‪ :‬ﻫﺮ ﺁﻥﭼﻪ ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ ﺯﺍﻣﺒﻰﺩﺍﺭ ﻣﻰﺧﻮﺍﻫﻴﺪ!‬ ‫)ﻣﻌﺮﻓﻰ ﻛﺘﺎﺏ ‪(The Living Dead‬‬ ‫ﻣﺤﻤﺪﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‬

‫ﺑﺨﺶ ﻣﻬﻤﺎﻥ‪ :‬ﮔﺰﻳﺪﻩﻯ ﻓﻨﺰﻳﻦ‬

‫ﻓﻬﺮﺳﺖ‬ ‫ﺳﺨﻦ ﻣﺎﻩ‬

‫‪6‬‬

‫ﻳﺎﺩﺩﺍﺷﺖ ﻭﻳﮋﻩ‬

‫‪8‬‬

‫ﻳﺎﺩﺩﺍﺷﺖ ﻣﻴﻬﻤﺎﻥ‬

‫‪10‬‬

‫ﺑﺨﺶ ﺍﻭﻝ‪ :‬ﺩﺍﺳﺘﺎﻥ‬ ‫ﻓﺎﻧﺘﺰﻯ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﺩﺯﺩﺍﻥ ﺩﺭﻳﺎﻳﻰ ﻋﻠﻴﻪ ﺯﺍﻣﺒﻰﻫﺎ‬

‫‪12‬‬

‫ﺁﻣﻠﻴﺎ ﺑﻴﻤﺮ ‪ /‬ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‬

‫ﻓﺎﻧﺘﺰﻯ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﺩﺍﻧﻪﻫﺎﻯ ﺗﻠﺦ‬

‫‪22‬‬

‫ﻧﻴﻞ ﮔﻴﻤﻦ ‪ /‬ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬

‫ﻓﺎﻧﺘﺰﻯ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﺳﻨﺪﺭﻡ ﺍﺳﺘﻜﻬﻠﻢ‬

‫‪46‬‬

‫ﺩﻳﻮﻳﺪ ﺗﺎﻟﺮﻣﻦ ‪ /‬ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

‫ﻓﺎﻧﺘﺰﻯ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﻭﺍﭘﺴﻴﻦ ﭘﺎﻳﺪﺍﺭﻯ‬

‫‪56‬‬

‫ﻛﻠﻰ ﺁﺭﻣﺴﺘﺮﺍﻧﮓ ‪ /‬ﻣﺤﻤﺪﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‬

‫ﻓﺎﻧﺘﺰﻯ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﻣﺮﻏﺰﺍﺭ‬

‫‪74‬‬

‫ﺑﺮﺍﻳﺎﻥ ﺍ ِ ِﻭﻧﺴﻮﻥ ‪ /‬ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬

‫ﻓﺎﻧﺘﺰﻯ‪ ،‬ﺗﺮﺟﻤﻪ‪ :‬ﻭﻗﺘﻰ ﺯﺍﻣﺒﻰﻫﺎ ﭘﻴﺮﻭﺯ ﺷﻮﻧﺪ‬

‫‪80‬‬

‫ﻛﺎﺭﻳﻨﺎ ﺳﺎﻣﺮ ‪ /‬ﺍﺣﺴﺎﻥ ﻣﺤﻤﺪﺯﺍﺩﻩ‬

‫ﻓﺎﻧﺘﺰﻯ‪ ،‬ﻧﮕﺎﺭﺵ‪ :‬ﺯﺍﻣﺒﻰ ﻧﺂﺑﺎﺩ‬ ‫ﻣﺤﻤﻮﺩ ﺍﻓﺸﺎﺭﻯ‬

‫‪86‬‬

‫ﻣﺎﻫﻨﺎﻣﻪﻯ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬ ‫ﺳﺎﻝ ﺩﻭﻡ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪ ، 22-23‬ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬

‫ﮔﺮﻭﻩ ﺍﺩﺑﻴﺎﺕ ﮔﻤﺎﻧﻪﺯﻥ‬

‫ﺩﺑﻴﺮ ﺷﻮﺭﺍﻯ ﺳﻴﺎﺳﺖﮔﺬﺍﺭﻯ‪ :‬ﻣﻬﺪﻯ ﺑﻨﻮﺍﺭﻯ‬ ‫ﺳﺮﺩﺑﻴـــــﺮ ﻣﺠﻠـــــﻪ‪ :‬ﺷﻴﺮﻳﻦ ﺳﺎﺩﺍﺕ ﺻﻔﻮﻯ‬ ‫ﻫﻴــــﺄﺕ ﺗﺤﺮﻳﺮﻳـــــﻪ‪ :‬ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‪ ،‬ﻓﺮﺯﻳﻦ ﺳﻮﺭﻯ‪ ،‬ﺳﻤﻴﻪ ﻛﺮﻣﻰ‬ ‫ﻫﻤﻜــﺎﺭﺍﻥ ﺍﻳـﻦ ﺷــﻤﺎﺭﻩ‪ :‬ﻣﺤﻤﻮﺩ ﺍﻓﺸﺎﺭﻯ‪ ،‬ﺍﺣﻤﺪ ﺑﺎﺑﺎﻳﻰ‪ ،‬ﭘﻮﺭﻳﺎ ﺗﻘﻮﻯ‪ ،‬ﻓﺮﺯﺍﺩ ﺧﻠﻴﻠﻴﺎﻥ‪،‬‬ ‫ﺳﺎﺳﺎﻥ ﻡ‪.‬ﻙ‪ .‬ﻋﺎﺻﻰ‪ ،‬ﻣﺤﻤﺪ ﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻬﻰ ﺛﺎﺑﺖ‪،‬‬ ‫ﻋﻠﻴﺮﺿﺎ ﻓﺘﻮﺣﻰ ﺳﻴﺎﻩ ﭘﻴﺮﺍﻧﻰ‪ ،‬ﻋﻠﻰ ﻛﻤﺎﻟﻰ‪ ،‬ﺍﺣﺴﺎﻥ ﻣﺤﻤﺪﺯﺍﺩﻩ‬ ‫ﺻﻔﺤــــــﻪ ﺁ ﺭ ﺍ ﻳـــــﻰ ‪ :‬ﻣﺤﻤﺪ ﺣﺎﺝ ﺯﻣﺎﻥ‬ ‫ﻧﺸـــــــﺎﻧﻰ ﻭﺑــــﮕﺎﻩ‪:‬‬

‫‪www.fantasy.ir‬‬

‫ﭘـــﺴﺖ ﺍﻟﻜﺘﺮﻭﻧﻴــــﻚ‪:‬‬

‫‪mag@fantasy.ir‬‬

‫ﻃــــــﺮﺡ‬

‫ﺟﻠــــــﺪ‪:‬‬

‫‪Resident Evil: Outbreak‬‬

‫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 ‫‪ ، 22‬ﻣﻬﺮ ﻭ ﺁﺑﺎﻥ ‪1391‬‬ ‫ﺳﺎﻝ ﺩﻭﻡ‪ ،‬ﺷﻤﺎﺭﻩﻯ ‪22--23‬‬