Page 12 - (کیهان لندن - سال سى و سوم ـ شماره ۲۷ (دوره جديد

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‫ﺍﻣﻴﺮﺣﺴﻦ ﭼﻬﻠﺘﻦ‪:‬‬
‫ﺍﺩﺑﻴﺎﺕ ﻛﻨﻮﻧﻰ ﺍﻳﺮﺍﻥ ﺳﺮ ﻭ ﺗﻪ ﺑﺮﻳﺪﻩ ﺍﺳﺖ‬
‫ﻣﻀﻄﺮﺏ« ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪ 2013‬ﻣﻨﺘﺸﺮ‬
‫ﺷﺪ‪ ،‬ﺳﺨﻨﺮﺍﻧﻰ ﻛﺮﺩ‪ .‬ﺍﻳﻦ ﻛﺘﺎﺏ ﺣﺎﺻﻞ‬
‫ﺗﺠﺮﺑﻪ ﺳﻔﺮ ﺍﻳﻦ ﻧﻮﻳﺴﻨﺪﻩ ﺑﻪ ﻛﺸﻮﺭﻫﺎﻯ‬
‫ﺍﻓﻐﺎﻧﺴﺘﺎﻥ‪ ،‬ﺍﻳﺮﺍﻥ‪ ،‬ﻛﺸﻤﻴﺮ‪ ،‬ﭘﺎﻛﺴﺘﺎﻥ ﻭ‬
‫ﺳﻮﺭﻳﻪ ﺍﺳﺖ‪.‬‬
‫ﻋﻠﻰ ﻗﻨﺪﭼﻰ ﻋﻜﺎﺱ ﺍﻳﺮﺍﻧﻰ ﻧﻴﺰ ﺩﺭ‬
‫ﺍﻳﻦ ﻓﺴﺘﻴﻮﺍﻝ ﺷﺮﻛﺖ ﺩﺍﺷﺖ ﻭ ﺩﺭﺑﺎﺭﻩ‬
‫ﻛﺘﺎﺏ »ﺍﺳﺮﺍﺋﻴﻞ ﻣﻦ« ﻛﻪ ﻣﺠﻤﻮﻋﻪ‬
‫ﻋﻜﺲﻫﺎﻯ ﺍﻳﻦ ﻫﻨﺮﻣﻨﺪ ﺍﺯ ﺗﺠﺮﺑﻪ‬
‫ﺳﻔﺮ ﺑﻪ ﺍﺳﺮﺍﺋﻴﻞ ﺍﺳﺖ‪ ،‬ﺳﺨﻦ ﮔﻔﺖ‪.‬‬
‫ﺍﻳﻦ ﻋﻜﺎﺱ ﺗﺎ ﻛﻨﻮﻥ ﺩﺭ ﻛﺸﻮﺭﻫﺎﻳﻰ‬
‫ﭼﻮﻥ ﺗﺮﻛﻴﻪ‪ ،‬ﻣﺼﺮ‪ ،‬ﮔﺮﺟﺴﺘﺎﻥ‪ ،‬ﭼﻚ‪،‬‬
‫ﺗﺎﻳﻠﻨﺪ‪ ،‬ﺍﻳﺮﺍﻥ‪ ،‬ﻭﻳﺘﻨﺎﻡ‪ ،‬ﺁﻓﺮﻳﻘﺎﻯ ﺟﻨﻮﺑﻰ‬
‫ﻭ ﺁﻣﺮﻳﻜﺎ ﻋﻜﺎﺳﻰ ﻛﺮﺩﻩ ﻭ ﺍﺯ ﭼﻬﺮﻩ‬
‫ﺷﺨﺼﻴﺖﻫﺎﻯ ﺳﺮﺷﻨﺎﺳﻰ ﻫﻤﭽﻮﻥ‬
‫ﺳﻠﻤﺎﻥ ﺭﺷﺪﻯ‪ ،‬ﻟﻴﺎﺋﻮ ﻳﻰ ﻭﻯ ﻭﻯ‪،‬‬
‫ﺍﻭﺭﻫﺎﻥ ﭘﺎﻣﻮﻙ‪ ،‬ژﺍﻥ ﺭﻧﻮ‪ ،‬ﺟﺎﺳﺘﻴﻦ ﺑﻴﺒﺮ‬
‫ﺍﺯ ﺍﻣﻴﺮﺣﺴﻦ ﭼﻬﻠﺘﻦ ﻣﺠﻤﻮﻋﻪ‬
‫ﻭ… ﻋﻜﺲ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪.‬‬
‫ﻓﺴﺘﻴﻮﺍﻝ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﺍﺩﺑﻴﺎﺕ ﺑﺮﻟﻴﻦ‬
‫ﻣﺤﻠﻰ ﺑﺮﺍﻯ ﺍﺭﺍﺋﻪ ﺁﺛﺎﺭ ﺍﺩﺑﻰ ﺷﺎﻣﻞ ﻧﻈﻢ‬
‫ﻭ ﻧﺜﺮ ﻣﻌﺎﺻﺮ ﺍﺯ ﺳﺮﺍﺳﺮ ﺟﻬﺎﻥ ﺍﺳﺖ‪.‬‬
‫ﺩﺭ ﭘﺎﻧﺰﺩﻫﻤﻴﻦ ﺩﻭﺭﻩ ﺍﻳﻦ ﻓﺴﺘﻴﻮﺍﻝ‬
‫‪ 400‬ﻧﻮﻳﺴﻨﺪﻩ ﺍﺯ ‪ 40‬ﻛﺸﻮﺭ ﺩﻧﻴﺎ‬
‫ﮔﺮﺩ ﻫﻢ ﺁﻣﺪﻧﺪ‪ .‬ﻣﻮﺿﻮﻉ ﺍﺻﻠﻰ ﺍﻣﺴﺎﻝ‬
‫ﺍﻳﻦ ﻓﺴﺘﻴﻮﺍﻝ ﻭﺿﻌﻴﺖ ﭘﻨﺎﻫﻨﺪﮔﺎﻥ ﻭ‬
‫ﭘﻨﺎﻩﺟﻮﻳﺎﻥ ﺩﺭ ﺍﺭﻭﭘﺎ ﻭ ﺳﺮﺍﺳﺮ ﺟﻬﺎﻥ ﺑﻮﺩ‪.‬‬
‫ﻧﻤﺎﻳﺶﻫﺎﻯ ﻣﻮﺯﻳﻜﺎﻝ ﺍﻗﺘﺒﺎﺳﻰ‪،‬‬
‫ﺟﻠﺴﻪﻫﺎﻯ ﻛﺘﺎﺏﺧﻮﺍﻧﻰ ﻭ ﺷﻌﺮﺧﻮﺍﻧﻰ‪،‬‬
‫ﻧﺸﺴﺖﻫﺎﻯ ﻧﻘﺪ ﺍﺩﺑﻰ ﻭ ﺟﻠﺴﻪﻫﺎﻯ‬
‫ﺳﺨﻨﺮﺍﻧﻰ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻭ ﺭﻭﺯﻧﺎﻣﻪﻧﮕﺎﺭﺍﻥ‬
‫ﺍﺯ ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﻭﻳﮋﻩ ﺍﻳﻦ ﻓﺴﺘﻴﻮﺍﻝ‬
‫ﺻﺎﺣﺐ ﻧﻔﻮﺫ ﺩﺭ ﺟﺎﻣﻌﻪ ﻓﺮﻫﻨﮕﻰ ﺍﺳﺖ‪،‬‬
‫ﺑﻴﻦﺍﻟﻤﻠﻠﻰﺍﺳﺖ‪.‬‬
‫ﺍﺯ ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﺟﻨﺒﻰ ﺍﻳﻦ ﻓﺴﺘﻴﻮﺍﻝ‬
‫ﺩﺭ ﺩﻭﺭﻩ ﭘﺎﻧﺰﺩﻫﻢ ﺑﺮﺭﺳﻰ ﻃﺮﺡ ﺟﻠﺪ‬
‫ﻭ ﮔﺮﺍﻓﻴﻚ ﻛﺘﺎﺏﻫﺎ ﺑﻮﺩ‪ .‬ﺿﻤﻦ ﺍﻳﻨﻜﻪ‬
‫ﻃﺒﻖ ﺭﻭﺍﻝ ﻫﻤﻴﺸﮕﻰ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻭ‬
‫ﺗﺼﻮﻳﺮﮔﺮﺍﻥ ﺩﺭﺑﺎﺭﻩ ﺁﺛﺎﺭ ﺧﻮﺩ ﺑﺎ ﺷﺮﻛﺖ‬
‫ﻛﻨﻨﺪﮔﺎﻥ ﺑﻪ ﮔﻔﺘﮕﻮ ﭘﺮﺩﺍﺧﺘﻨﺪ ﻭ ﺑﺨﺸﻰ‬
‫ﺍﺯ ﻛﺘﺎﺏ ﻧﻮﻳﺴﻨﺪﻩ ﺗﻮﺳﻂ ﻳﻚ ﺑﺎﺯﻳﮕﺮ ﺑﺎ‬
‫»ﻓﺮﺍﻧﻜﻔﻮﺭﺗﺮ ﺁﻟﮕﻤﺎﻳﻨﻪ« ﻭ »ﺯﻭﺩ ﺩﻭﻳﭽﻪ‬
‫ﺣﺲ ﻭ ﺣﺎﻝ ﻣﺘﻦ ﺧﻮﺍﻧﺪﻩ ﻣﻰﺷﺪ‪.‬‬
‫ﺩﺭ ﭘﺎﻧﺰﺩﻫﻤﻴﻦ ﺩﻭﺭﻩ ﻓﺴﺘﻴﻮﺍﻝ ﺍﺩﺑﻴﺎﺕ‬
‫ﺑﺮﻟﻴﻦ ﻧﻮﻳﺴﻨﺪﮔﺎﻧﻰ ﺍﺯ ﻛﺸﻮﺭﻫﺎﻳﻰ‬
‫ﭼﻮﻥ ﻫﻨﺪ‪ ،‬ﺁﻣﺮﻳﻜﺎ‪ ،‬ﺁﻟﻤﺎﻥ‪ ،‬ﺳﻮﺋﻴﺲ‪،‬‬
‫ﺑﺮﺯﻳﻞ‪ ،‬ﺍﻳﺮﻟﻨﺪ‪ ،‬ﻟﻬﺴﺘﺎﻥ‪ ،‬ﺍﺳﺘﺮﺍﻟﻴﺎ‪،‬‬
‫ﺍﺳﺮﺍﺋﻴﻞ‪ ،‬ﺍﻟﺴﺎﻟﻮﺍﺩﻭﺭ‪ ،‬ﺁﺭژﺍﻧﺘﻴﻦ‪ ،‬ﻛﻠﻤﺒﻴﺎ‪،‬‬
‫ﭘﺎﻛﺴﺘﺎﻥ‪ ،‬ﻟﻴﺒﻰ‪ ،‬ﺁﻓﺮﻳﻘﺎﻯ ﺟﻨﻮﺑﻰ‪،‬‬
‫ﺍﺭﻣﻨﺴﺘﺎﻥ ﻭ ﻳﻮﻧﺎﻥ ﺷﺮﻛﺖ ﺩﺍﺷﺘﻨﺪ‪.‬‬
‫ﻫﺎﻧﺲ ﺩﻳﺘﺮ ﺑﺎﺧﻤﺎﻥ‪ ،‬ﺳﻠﻤﺎﻥ ﺭﺷﺪﻯ‪،‬‬
‫ﻣﺎﻳﻜﻞ ﻛﺎﻧﻴﻨﮕﻬﺎﻡ‪ ،‬ﻧﻮﻳﺪ ﻛﺮﻣﺎﻧﻰ‪،‬‬
‫ﺭﻳﭽﺎﺭﺩ ﻓﻼﻧﺎﮔﺎﻥ‪ ،‬ﺩﻳﻮﻳﺪ ﻓﻮﺋﻨﻜﻴﻨﻮ‪،‬‬
‫ﻫﻠﻮﻥﻫﺎﺑﻴﻼ‪ ،‬ﻓﺮﺍﻧﻚﻫﺎﻳﺒﺮﺕ‪ ،‬ﻛﺎﺯﻭﺋﻮ‬
‫ﺍﻳﺸﻰ ﮔﻮﺭﻭ‪،‬ﻫﺎ ﺟﻴﻦ‪ ،‬ﺭﻭﺕ ﭘﺎﺩﻝ‪،‬‬
‫ﺧﺎﻭﻳﺮ ﻣﺎﺭﻳﺎﺱ‪ ،‬ﭘﺎﻧﻜﺎﺝ ﻣﻴﺸﺮﺍ‪ ،‬ﺁﺩﺍﻡ‬
‫ﺗﻴﺮﻟﻮﻝ‪ ،‬ﻭﺍﺭﻭژﺍﻥ ﻭﺳﻜﺎﻧﻴﺎﻥ‪ ،‬ﺯﻳﮕﺮﻳﺪ‬
‫ﻭﺍﻳﮕﻞ ﺍﺯ ﺟﻤﻠﻪ ﻧﻮﻳﺴﻨﺪﮔﺎﻧﻰ ﺑﻮﺩﻧﺪ ﻛﻪ‬
‫ﺩﺭ ﺍﻳﻦ ﻓﺴﺘﻴﻮﺍﻝ ﺁﺛﺎﺭ ﺧﻮﺩ ﺭﺍ ﺧﻮﺍﻧﺪﻧﺪ‪.‬‬
‫ﻧﻜﺘﻪ ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﺩﺭ ﺍﻳﻦ ﻓﺴﺘﻴﻮﺍﻝ‪،‬‬
‫ﺣﻀﻮﺭ ﻧﻮﻳﺴﻨﺪﻩ ﻧﺎﻣﺪﺍﺭ ﺍﻧﮕﻠﻴﺴﻰ‪-‬‬
‫ﻫﻨﺪﻯ ﺳﻠﻤﺎﻥ ﺭﺷﺪﻯ ﺑﻮﺩ ﻛﻪ‬
‫ﺗﺎﺯﻩﺗﺮﻳﻦ ﺭﻣﺎﻥ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﻋﻨﻮﺍﻥ »ﺩﻭ‬
‫ﺳﺎﻝ‪ ،‬ﻫﺸﺖ ﻣﺎﻩ ﻭ ‪ 28‬ﺷﺐ« ﺭﺍ ﺩﺭ ﺍﻳﻦ‬
‫ﻫﻢﭼﻨﻴﻦ ﺩﺭﺑﺎﺭﻩ ﻛﺘﺎﺏ »ﺳﻔﺮ ﺑﻪ ﺟﻬﺎﻥ‬
‫ﺟﺸﻨﻮﺍﺭﻩ ﺍﺩﺑﻰ ﺭﻭﻧﻤﺎﻳﻰ ﻛﺮﺩ‪.‬‬
‫ﺟﻤﻌﻪ ‪ 3‬ﺗﺎ ﭘﻨﺠﺸﻨﺒﻪ‪ 9‬ﻣﻬﺮ ﻣﺎﻩ ‪1394‬ﺧﻮﺭﺷﻴﺪﻯ‬
‫ﺍﻧﺘﺨﺎﺏﻫﺎﻯ ﺑﺰﺭگ ﻭ ﺳﺮﻧﻮﺷﺖﺳﺎﺯ‬
‫ﺍﺷﻜﺎﻥ ﺁﻭﻳﺸﻦ‪ -‬ﺟﻮﻥ ﺑﻴﺲ‬
‫‪ Joan Baez‬ﺧﻮﺍﻧﻨﺪﻩ ﻭ ﮔﻴﺘﺎﺭﻳﺴﺖ‬
‫ﺗﺌﺎﺗﺮ ﺍﺳﺖ ﻭ ﺍﺯ ﻃﺮﻳﻖ ﺍﻭ‪ ،‬ﻳﻚ ﺑﺎﺭ ﺩﻳﮕﺮ‬ ‫ﺁﺯﺍﺩﻩ ﻛﺮﻳﻤﻰ‪ ،‬ﻋﻠﻰ ﺍﺷﺘﻴﺎﻕ‪-‬‬ ‫ﺟﻮﺍﻥ ﺑﻴﺲ‬ ‫ﺟﻤﻠﻪ ﺍﻳﻦ ﺧﺎﻧﻢ ﺧﻮﺍﻧﻨﺪﻩ ﺁﻣﺮﻳﻜﺎﻳﻰ‪،‬‬ ‫ﻣﺸﻬﻮﺭ ﺁﻣﺮﻳﻜﺎﻳﻰ ﻭ ﺍﺯ ﻣﺪﺍﻓﻌﺎﻥ ﺣﻘﻮﻕ‬
‫ﺩﻭﺭﻩ ﻓﺎﺧﺮ ﺗﺌﺎﺗﺮ ﺍﻳﺮﺍﻥ ﺩﺭ ﺁﻥ ﺳﺎﻝﻫﺎ‬ ‫ﺍﻣﻴﺮﺣﺴﻦ ﭼﻬﻠﺘﻦ‪ ،‬ﻧﻮﻳﺪ ﻛﺮﻣﺎﻧﻰ ﻭ‬ ‫ﺑﺎ ﻭﺟﻮﺩ ﺳﺎﺩﻩ ﺑﻮﺩﻥ‪ ،‬ﺍﺯ ﻋﻤﻖ ﻓﺮﺍﻭﺍﻧﻰ‬ ‫ﺷﻬﺮﻭﻧﺪﻯ ﻭ ﺻﻠﺢ ﺩﺭ ﺩﻫﻪﻫﺎﻯ ﺷﺼﺖ‬
‫ﺑﺎﺯﺳﺎﺯﻯ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻳﺮﺝ ﺍﻟﺒﺘﻪ ﻳﻜﻰ ﺩﻭ‬ ‫ﻋﻠﻰ ﻗﻨﺪﭼﻰ ﺍﻳﺮﺍﻧﻴﺎﻥ ﺷﺮﻛﺖﻛﻨﻨﺪﻩ‬ ‫ﻭ ﻣﺤﺮﻭﻣﻴﺖ ﺳﺎﻟﻴﺎﻥ ﺑﺴﻴﺎﺭ ﺩﺭ ﺯﻧﺪﺍﻥ ﺭﺍ‬ ‫ﺑﺮﺧﻮﺭﺩﺍﺭ ﺍﺳﺖ‪ .‬ﺍﻭ ﻧﺨﺴﺘﻴﻦ ﻛﺴﻰ‬ ‫ﻭ ﻫﻔﺘﺎﺩ ﻣﻴﻼﺩﻯ‪ ،‬ﺟﻤﻠﻪﺍﻯ ﺩﺍﺭﺩ ﺑﺪﻳﻦ‬
‫ﻣﺎﻩ ﺑﻌﺪ ﺍﻳﺮﺍﻥ ﺭﺍ ﺑﺮﺍﻯ ﻫﻤﻴﺸﻪ ﺗﺮﻙ‬ ‫ﺩﺭ ﭘﺎﻧﺰﺩﻫﻤﻴﻦ ﺩﻭﺭﻩ ﻓﺴﺘﻴﻮﺍﻝ ﺍﺩﺑﻴﺎﺕ‬ ‫ﺩﺍﺷﺖ ﻛﻪ ﻛﺴﻰ ﻧﺘﻮﺍﻧﺴﺖ ﺟﺮﺃﺕﻛﻨﺪ‬ ‫ﻧﻴﺴﺖ ﻛﻪ ﭼﻨﻴﻦ ﻣﻔﻬﻮﻣﻰ ﺭﺍ ﺑﻴﺎﻥ‬ ‫ﻣﻀﻤﻮﻥ‪» :‬ﺍﻧﺴﺎﻥ ﺩﺭ ﻣﺠﻤﻮﻉ‪ ،‬ﻧﻤﻰﺗﻮﺍﻧﺪ‬
‫ﺑﺮﻟﻴﻦ ﺑﻮﺩﻧﺪ‪ ،‬ﻛﻪ ﺁﺛﺎﺭ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻫﻤﺮﺍﻩ‬ ‫ﺍﻭ ﺭﺍ ﻓﺮﺩﻯ »ﺳﺎﺯﺷﻜﺎﺭ« ﺍﺯ ﻧﻮﻉ ﻣﻨﻔﻰ‬ ‫ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﻧﮕﺎﻫﻰ ﺑﻪ ﮔﻔﺘﻪﻫﺎﻯ‬ ‫ﺯﻣﺎﻥ ﻭ ﭼﮕﻮﻧﮕﻰ ﻣﺮگ ﺧﻮﺩ ﺭﺍ ﺍﻧﺘﺨﺎﺏ‬
‫ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺳﻠﻤﺎﻥ ﺭﺷﺪﻯ‪ ،‬ﺭﻳﭽﺎﺭﺩ ﻓﻼﻧﺎﮔﺎﻥ ﻭ‬ ‫ﻭ ﻭﻳﺮﺍﻧﮕﺮ ﺁﻥ ﺗﻠﻘﻰ ﻧﻤﺎﻳﺪ‪ .‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ‬ ‫ﺷﺨﺼﻴﺖﻫﺎﻯ ﻓﻜﺮﻯ ﻭ ﻫﻨﺮﻯ ﺟﻬﺎﻥ‬ ‫ﻛﻨﺪ‪ .‬ﺍﻣﺎﻣﻰﺗﻮﺍﻧﺪ ﺗﺼﻤﻴﻢ ﺑﮕﻴﺮﺩ ﻛﻪ‬
‫ﺍﺯ ﺁﺧﺮﻳﻦ ﺍﻧﺘﺸﺎﺭ ﻛﺘﺎﺑﻰ ﺍﺯ ﺍﻣﻴﺮﺣﺴﻦ‬ ‫ﻣﺎﻳﻜﻞ ﻛﺎﻧﻴﻨﮕﻬﺎﻡ ﺩﺭ ﺍﻳﻦ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﺩﺭ ﻫﻤﺎﻥ ﺯﻣﺎﻥ‪ ،‬ﻫﺰﺍﺭﺍﻥ ﻭ ﺻﺪﻫﺰﺍﺭﺍﻥ‬ ‫ﺑﻴﻨﺪﺍﺯﻳﻢ‪ ،‬ﻣﻀﺎﻣﻴﻨﻰ ﺍﺯ ﺍﻳﻦ ﺩﺳﺖ ﻭ ﻳﺎ‬
‫ﭼﻬﻠﺘﻦ ﺩﺭ ﺍﻳﺮﺍﻥ ‪ 10‬ﺳﺎﻝ ﻣﻰﮔﺬﺭﺩ‪.‬‬ ‫ﺭﻭﻧﻤﺎﻳﻰ ﻛﺮﺩﻧﺪ‪ .‬ﺍﻳﻦ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻪ ﻣﺪﺕ‬ ‫ﻧﻔﺮ ﺍﺯ ﻫﻮﺍﺩﺍﺭﺍﻥ ﻛﻨﮕﺮﻩ ﻣﻠﻰ ﺁﻓﺮﻳﻘﺎ ﺍﺯ‬ ‫ﺷﺒﻴﻪ ﺁﻥ ﺭﺍ ﺑﺴﻴﺎﺭ ﭘﻴﺪﺍ ﻣﻰﻛﻨﻴﻢ‪ .‬ﻣﻦ‬ ‫ﭼﮕﻮﻧﻪﺯﻧﺪﮔﻰﻛﻨﺪ‪«.‬‬
‫ﺁﺛﺎﺭ ﺍﻳﻦ ﻧﻮﻳﺴﻨﺪﻩ ﻛﻪ ﺑﺎ ﺳﺎﻧﺴﻮﺭ ﻭ‬ ‫ﺩﻩ ﺭﻭﺯ ﺍﺯ ‪ 9‬ﺗﺎ ‪ 19‬ﺳﭙﺘﺎﻣﺒﺮ ﺩﺭ ﭘﺎﻳﺘﺨﺖ‬ ‫ﺷﻨﻴﺪﻥ ﺻﺤﺒﺖﻫﺎﻯ ﻧﻠﺴﻮﻥ ﻣﺎﻧﺪﻻ‬ ‫ﺩﺭ ﺍﻳﻨﺠﺎ ﻣﻴﻞ ﺩﺍﺭﻡ ﻧﮕﺮﺵ ﻣﺨﺎﻟﻔﺎﻥ ﺍﻳﻦ‬
‫ﺣﺬﻑ ﺑﺴﻴﺎﺭ ﻣﻮﺍﺟﻪ ﺷﺪﻩ‪ ،‬ﻭﻯ ﺭﺍ ﺑﺮ‬ ‫ﻫﺎﺝ ﻭ ﻭﺍﺝ ﻣﺎﻧﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﭼﻪ ﺑﺴﺎ ﺁﻧﺎﻥ‪،‬‬ ‫ﻃﺮﺯ ﺗﻔﻜﺮ ﺭﺍ ﺑﻴﺸﺘﺮ ﺑﺎﺯ ﻛﻨﻢ‪ .‬ﺑﻪ ﺍﻋﺘﻘﺎﺩ‬ ‫ﺗﺮﺩﻳﺪ ﻧﺪﺍﺭﻡ ﻛﻪ ﺍﻳﻦ ﻧﻮﻉ ﻧﮕﺮﺵ‪،‬‬
‫ﺍﻳﻦ ﺩﺍﺷﺖ ﺗﺎ ﺭﻣﺎﻥﻫﺎﻯ ﺧﻮﺩ ﺭﺍ ﺩﺭ‬ ‫ﺁﻟﻤﺎﻥ ﺑﺮﮔﺰﺍﺭ ﺷﺪ‪.‬‬ ‫ﺍﻧﺘﻈﺎﺭ ﺩﺍﺷﺘﻨﺪ ﻛﻪ ﻭﻯ‪ ،‬ﻧﻪ ﺣﻤﺎﻡ ﺧﻮﻥ‬ ‫ﺁﻧﺎﻥ‪ ،‬ﻛﺴﺎﻧﻰ ﻛﻪ ﺩﺭ ﻧﻴﻤﻪ ﺭﺍﻩ ﺯﻧﺪﮔﻰ ﻭ‬ ‫ﻣﺨﺎﻟﻔﺎﻥﻭﻣﻮﺍﻓﻘﺎﻥﺑﺴﻴﺎﺭﺩﺍﺭﺩ‪.‬ﻣﺨﺎﻟﻔﺎﻥ‬
‫ﺧﺎﺭﺝ ﺍﺯ ﺍﻳﺮﺍﻥ ﻣﻨﺘﺸﺮ ﻛﻨﺪ‪ .‬ﺗﺎ ﻛﻨﻮﻥ‬ ‫ﺑﻪ ﮔﺰﺍﺭﺵ ﻛﻴﻬﺎﻥ ﻟﻨﺪﻥ‪ ،‬ﺍﻣﺴﺎﻝ ﺩﺭ‬ ‫ﻛﻪ ﺭﻭﺩﺧﺎﻧﻪ ﺧﺮﻭﺷﺎﻧﻰ ﺍﺯ ﺟﻨﺎﺯﻩ ﻛﺴﺎﻧﻰ‬ ‫ﻳﺎ ﺩﺭ ﺁﻏﺎﺯ ﻭ ﻳﺎ ﭘﺎﻳﺎﻥ ﺁﻥ‪ ،‬ﺭﺍﻩ ﻣﺮگ ﺭﺍ‬ ‫ﺍﻧﺘﺨﺎﺏ ﺯﻣﺎﻥ ﻭ ﭼﮕﻮﻧﮕﻰ ﻣﺮگ‪ ،‬ﺑﻴﺸﺘﺮ‬
‫ﺩﺍﺳﺘﺎﻥﻫﺎﻳﻰ ﺍﺯ ﭼﻬﻠﺘﻦ ﺑﻪ ﺯﺑﺎﻥﻫﺎﻯ‬ ‫ﻓﺴﺘﻴﻮﺍﻝ ﺍﺩﺑﻴﺎﺕ ﺑﺮﻟﻴﻦ ﺩﻭ ﻧﻮﻳﺴﻨﺪﻩ ﻭ‬ ‫ﺭﺍﻩ ﺑﻴﻨﺪﺍﺯﺩ ﻛﻪ ﺳﺎﻟﻴﺎﻧﻰ ﺑﺲ ﺩﺭﺍﺯ‪ ،‬ﺧﻮﻥ‬ ‫ﺑﺮﻣﻰﮔﺰﻳﻨﻨﺪ ﺗﺎ ﺩﺭ ﺍﻳﻦ ﺑﺎﻭﺭ‪ ،‬ﺑﺎ ﺭﺿﺎﻳﺖ‬ ‫ﻛﺴﺎﻧﻰ ﻫﺴﺘﻨﺪ ﻛﻪ ﺳﻌﻰ ﻛﺮﺩﻩ ﻭ‬
‫ﺍﻧﮕﻠﻴﺴﻰ‪ ،‬ﻓﺮﺍﻧﺴﻮﻯ‪ ،‬ﺁﻟﻤﺎﻧﻰ‪ ،‬ﺍﻳﺘﺎﻟﻴﺎﻳﻰ‪،‬‬ ‫ﻳﻚ ﻋﻜﺎﺱ ﺍﻳﺮﺍﻧﻰ ﺣﻀﻮﺭ ﺩﺍﺷﺘﻨﺪ ﻛﻪ‬ ‫ﺧﺎﻃﺮ ﺑﻤﻴﺮﻧﺪ ﻭ ﺍﻃﻤﻴﻨﺎﻥ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‬ ‫ﻣﻰﻛﻨﻨﺪ ﺁﮔﺎﻫﺎﻧﻪ ﺩﺭ ﺭﺍﻩ ﺍﺳﺘﻘﺮﺍﺭ ﻋﺪﺍﻟﺖ‬
‫ﺁﺛﺎﺭ ﺧﻮﺩ ﺭﺍ ﻣﻌﺮﻓﻰ ﻛﺮﺩﻩ ﻭ ﺑﺎ ﻣﺨﺎﻃﺒﺎﻥ‬ ‫ﻣﺮﺩﻡ ﺭﺍ ﺩﺭ ﺷﻴﺸﻪ ﻛﺮﺩﻩﺑﻮﺩﻧﺪ‪.‬‬ ‫ﻛﻪ ﻓﺪﺍﻛﺎﺭﻯ ﻳﺎ »ﺟﺎﻧﺒﺎﺯﻯ« ﺧﺎﻟﺼﺎﻧﻪ‬ ‫ﻭ ﺩﻣﻜﺮﺍﺳﻰ ﺩﺭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻛﺸﻮﺭﻫﺎﻯ‬
‫ﺳﻮﺋﺪﻯ‪ ،‬ﻋﺮﺑﻰ‪ ،‬ﺍﺭﻣﻨﻰ‪ ،‬ﺗﺮﻛﻰ‪ ،‬ﭼﻴﻨﻰ ﻭ‬ ‫ﺗﺮﺩﻳﺪ ﻧﺒﺎﻳﺪ ﺩﺍﺷﺖ ﻛﻪ ﺍﮔﺮ ﻣﺎﻧﺪﻻ‬ ‫ﺁﻧﺎﻥ‪ ،‬ﺩﻳﺮ ﻳﺎ ﺯﻭﺩ‪ ،‬ﺑﻪ ﺛﻤﺮ ﺧﻮﺍﻫﺪ‬ ‫ﻏﻴﺮﺩﻣﻜﺮﺍﺕ ﺟﻬﺎﻥ‪ ،‬ﺧﺎﺻﻪ ﺩﺭ ﺁﺳﻴﺎ‬
‫ﻛﺮﺩﻯ ﺗﺮﺟﻤﻪ ﻭ ﻣﻨﺘﺸﺮ ﺷﺪﻩﺍﻧﺪ‪.‬‬ ‫ﺑﻪ ﮔﻔﺘﮕﻮ ﭘﺮﺩﺍﺧﺘﻨﺪ‪.‬‬ ‫ﭼﻨﺎﻥ ﻧﻜﺮﺩﻩﺑﻮﺩ‪ ،‬ﻭﺿﻊ ﺁﻓﺮﻳﻘﺎﻯ ﺟﻨﻮﺑﻰ‪،‬‬ ‫ﻧﺸﺴﺖ ﻭ ﺩﺭ ﺁﻥ ﺳﺮﺯﻣﻴﻦ ﻣﻌﻴﻦ‪،‬‬ ‫ﻭ ﺁﻓﺮﻳﻘﺎ‪ ،‬ﺑﺎ ﺭژﻳﻢﻫﺎﻯ ﺣﺎﻛﻢ ﺑﺮ ﺍﻳﻦ‬
‫ﺍﻣﻴﺮﺣﺴﻦ ﭼﻬﻠﺘﻦ ﻳﻜﻰ ﺍﺯ‬ ‫ﺩﺭ ﺧﻼﻝ ﺍﻳﻦ ﺩﻭ ﺩﻫﻪ ﻛﻪ ﺍﺯ ﻗﻴﺪ ﺭژﻳﻢ‬ ‫ﻋﺪﺍﻟﺖ‪ ،‬ﺭﻓﺎﻩ ﻭ ﺁﺯﺍﺩﻯ‪ ،‬ﭼﻬﺮﻩ ﺧﻮﻳﺶ ﺭﺍ‬ ‫ﻛﺸﻮﺭﻫﺎ ﻣﺒﺎﺭﺯﻩ ﻛﻨﻨﺪ‪ .‬ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺍﻳﻨﺎﻥ‪،‬‬
‫ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺍﻳﺮﺍﻧﻰ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ‬ ‫ﻧﮋﺍﺩﭘﺮﺳﺖ ﺭﻫﺎ ﺷﺪﻩ‪ ،‬ﻫﻨﻮﺯ ﺩﺭ ﺑﺤﺮﺍﻥ‬ ‫ﻧﺸﺎﻥ ﺧﻮﺍﻫﺪﺩﺍﺩ‪ ،‬ﺩﺭ ﻣﺤﺎﺳﺒﻪ ﺧﻮﻳﺶ‪،‬‬ ‫ﺑﺎ ﺁﮔﺎﻫﻰ‪ ،‬ﺟﺎﻥ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻛﻒ ﺩﺳﺖ‬
‫ﺩﺍﺳﺘﺎﻥﻫﺎﻯ »ﺻﻴﻐﻪ«‪» ،‬ﺩﻳﮕﺮ ﻛﺴﻰ‬ ‫ﺩﺭ ﺟﻬﺎﻥ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﺩ ﻛﻪ‬ ‫ﻛﻴﻦﻭﺭﺯﻯﻫﺎ ﻭ ﺍﻧﺘﻘﺎﻡﺟﻮﻳﻰﻫﺎﻯ ﺧﻮﻧﻴﻦ‬ ‫ﺭﺍﻩ ﭼﻨﺪﺍﻥ ﻣﺆﺛﺮﻯ ﺑﺮﻧﮕﺰﻳﺪﻩﺍﻧﺪ‪ .‬ﺑﻴﺎﻥ‬ ‫ﮔﺬﺍﺷﺘﻪﺍﻧﺪ‪ .‬ﺍﺳﺘﺪﻻﻝ ﺁﻧﻬﺎ ﺍﻳﻨﺴﺖ ﻛﻪ‬
‫ﺻﺪﺍﻳﻢ ﻧﺰﺩ«‪» ،‬ﭼﻴﺰﻯ ﺑﻪ ﻓﺮﺩﺍ ﻧﻤﺎﻧﺪﻩ‬ ‫ﺑﺮﺍﻯ ﭼﻬﺎﺭﻣﻴﻦ ﺑﺎﺭ ﺩﺭ ﺍﻳﻦ ﻓﺴﺘﻴﻮﺍﻝ‬ ‫ﻭ ﻏﻢﺍﻧﮕﻴﺰ ﻏﺮﻕ ﺑﻮﺩ‪ .‬ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦ‪ ،‬ﺻﺮﻑ‬ ‫ﺍﻳﻦ ﺍﻧﺪﻳﺸﻪ‪ ،‬ﺑﻪ ﻣﻌﻨﻰ ﺑﻰﺣﺮﻣﺘﻰ‬ ‫ﺩﺭ ﺗﻮﻟﺪ ﺧﻮﻳﺶ‪ ،‬ﺩﺭ ﺯﻣﺎﻥ ﻭ ﻣﻜﺎﻥ ﺁﻥ‬
‫ﺍﺳﺖ«‪» ،‬ﺳﺎﻋﺖ ﭘﻨﺞ ﺑﺮﺍﻯ ﻣﺮﺩﻥ ﺩﻳﺮ‬ ‫ﺍﺩﺑﻰ ﺷﺮﻛﺖ ﺩﺍﺷﺖ ﻭ ﺗﺮﺟﻤﻪ‬ ‫ﻧﻈﺮ ﺍﺯ ﺩﮔﺮﮔﻮﻧﻰﻫﺎﻳﻰ ﺩﺭ ﺳﺎﺧﺘﺎﺭ‬ ‫ﺑﻪ ﻋﻤﻞ ﭼﻨﻴﻦ ﺍﻓﺮﺍﺩﻯ ﻧﻴﺴﺖ ﺑﻠﻜﻪ‬ ‫ﻭ ﺩﺭﺍﻧﺘﺨﺎﺏ ﭘﺪﺭ ﻭ ﻣﺎﺩﺭ ﺧﻮﻳﺸﺘﻦ‪ ،‬ﻫﻴﭻ‬
‫ﺍﺳﺖ« ﻭ ﺭﻣﺎﻥﻫﺎﻯ »ﺭﻭﺿﻪ ﻗﺎﺳﻢ«‪،‬‬ ‫ﺁﻟﻤﺎﻧﻰ ﻛﺘﺎﺏﻫﺎﻯ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﻋﻨﻮﺍﻥ‬ ‫ﺳﻴﺎﺳﻰ ﻭ ﺍﻗﺘﺼﺎﺩﻯ ﺍﻳﻦ ﻛﺸﻮﺭ‪ ،‬ﻫﻨﻮﺯ‬ ‫ﺻﺤﺒﺖ ﺑﺮ ﺳﺮ ﺁﻧﺴﺖ ﻛﻪ ﺍﻳﻨﺎﻥ‪ ،‬ﺗﺼﻮﺭ‬ ‫ﻧﻘﺸﻰ ﻧﺪﺍﺷﺘﻪﺍﻧﺪ‪ .‬ﺍﻣﺎ ﺣﺎﻻ ﻛﻪ ﺑﻪ ﺁﮔﺎﻫﻰ‬
‫»ﺗﺎﻻﺭ ﺁﻳﻨﻪ«‪» ،‬ﻣﻬﺮ ﮔﻴﺎﻩ«‪» ،‬ﺗﻬﺮﺍﻥ‪،‬‬ ‫»ﺧﻮﺷﻨﻮﻳﺲ ﺍﺻﻔﻬﺎﻥ« ﻭ »ﺳﭙﻴﺪﻩﺩﻡ‬ ‫ﺑﺮﺍﻯ ﺗﺤﻘﻖ ﺗﻐﻴﻴﺮﺍﺗﻰ ﻛﻪ ﺑﺘﻮﺍﻧﺪ ﺫﻫﻦ‬ ‫ﻛﺮﺩﻩﺍﻧﺪ ﺑﺎ ﻗﺮﺑﺎﻧﻰ ﻛﺮﺩﻥ ﺟﺎﻥ ﺧﻮﺩ ﻭ‬ ‫ﺭﺳﻴﺪﻩﺍﻧﺪ‪ ،‬ﺟﺎﻥ ﺧﻮﺩ ﺭﺍ ﻳﮕﺎﻧﻪ ﻫﺪﻳﻪﺍﻯ‬
‫ﺷﻬﺮ ﺑﻰ ﺁﺳﻤﺎﻥ«‪» ،‬ﻋﺸﻖ ﻭ ﺑﺎﻧﻮﻯ‬ ‫ﻭ ﺭﻓﺘﺎﺭ ﻣﺮﺩﻡ ﺭﺍ ﭼﻪ ﺑﺎ ﺗﺒﺎﺭ ﺍﺭﻭﭘﺎﻳﻰ ﻭ‬ ‫ﺩﻳﮕﺮ ﻛﺴﺎﻧﻰ ﻛﻪ ﮔﺎﻩ ﻫﺰﺍﺭﺍﻥ ﻫﺰﺍﺭ ﺍﺯ‬ ‫ﻣﻰﺩﺍﻧﻨﺪ ﻛﻪ ﻣﻰﺧﻮﺍﻫﻨﺪ ﺁﮔﺎﻫﺎﻧﻪ ﻧﺜﺎﺭ‬
‫ﻧﺎﺗﻤﺎﻡ«‪ ،‬ﻓﻴﻠﻢ‪ -‬ﺩﺍﺳﺘﺎﻥ »ﻛﺎﺕ‪ ،‬ﻣﻨﻄﻘﻪ‬ ‫ﺍﻳﺮﺍﻧﻰ« ﻣﻌﺮﻓﻰ ﻛﺮﺩ‪.‬‬ ‫ﭼﻪ ﺑﺎ ﺗﺒﺎﺭ ﺁﻓﺮﻳﻘﺎﻳﻰ ﺩﮔﺮﮔﻮﻥ ﻛﻨﺪ‪ ،‬ﺭﺍﻩ‬ ‫ﺁﻧﺎﻥ ﺗﺒﻌﻴﺖ ﺧﻮﺍﻫﻨﺪ ﻛﺮﺩ‪ ،‬ﺟﺎﻣﻌﻪ‬ ‫ﻣﺮﺩﻡ ﻛﺸﻮﺭ ﺧﻮﻳﺶ ﺳﺎﺯﻧﺪ‪ .‬ﺷﻤﺎﺭﻯ‬
‫ﻣﻤﻨﻮﻋﻪ«‪» ،‬ﺳﭙﻴﺪﻩ ﺩﻡ ﺍﻳﺮﺍﻧﻰ«‪،‬‬ ‫»ﺧﻮﺵﻧﻮﻳﺲ ﺍﺻﻔﻬﺎﻥ« ﻛﻪ ﻧﺴﺨﻪ‬ ‫ﺁﺭﺯﻭﻳﻰ ﺁﻧﻬﺎ‪» ،‬ﺩﻳﺮ« ﻳﺎ »ﺯﻭﺩ«‪ ،‬ﺷﻜﻞ‬ ‫ﺣﺘﻰ ﻣﻌﺘﻘﺪﻧﺪ ﻛﻪ ﺑﺮﺍﻯ ﺁﻧﺎﻥ‪ ،‬ﺍﻧﺘﺨﺎﺏ‬
‫»ﺍﺧﻼﻕ ﻣﺮﺩﻡ ﺧﻴﺎﺑﺎﻥ ﺍﻧﻘﻼﺏ«‪،‬‬ ‫ﻓﺎﺭﺳﻰﺍﺵ ﺍﻧﺘﺸﺎﺭ ﻧﻴﺎﻓﺘﻪ ﺍﺳﺖ‪ ،‬ﺗﻮﺳﻂ‬ ‫ﻧﻠﺴﻮﻥ ﻣﺎﻧﺪﻻ‬ ‫ﺧﻮﺍﻫﺪﮔﺮﻓﺖ‪ .‬ﺣﺘﻰ ﺍﻳﻦ ﺧﻮﺵﺑﻴﻨﻰ‬ ‫ﻣﺮگ ﻭ ﺯﻧﺪﮔﻰ‪ ،‬ﺍﻧﺘﺨﺎﺏ ﻭﺍﺣﺪﻯ ﺍﺳﺖ‬
‫»ﺁﻣﺮﻳﻜﺎﻳﻰﻛﺸﻰ ﺩﺭ ﺗﻬﺮﺍﻥ« ﺍﻧﺘﺸﺎﺭ‬ ‫»ﻛﻮﺭﺕ ﺷﺎﺭﻑ« ﺑﻪ ﺯﺑﺎﻥ ﺁﻟﻤﺎﻧﻰ‬ ‫ﺩﺭ ﻣﻴﺎﻥ ﺁﻧﺎﻥ‪ ،‬ﻏﺎﻟﺒﺎً ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ‬ ‫ﺯﻳﺮﺍ ﻣﻰﺩﺍﻧﻨﺪ ﻛﻪ ﮔﺰﻳﻨﺶ ﭼﻨﻴﻦ‬
‫ﺗﺮﺟﻤﻪ ﻭ ﺩﺭ ﺍﻧﺘﺸﺎﺭﺍﺕ ‪C.H.Beck‬‬ ‫ﺩﺭﺍﺯﻯ ﻣﺎﻧﺪﻩ ﺍﺳﺖ‪ .‬ﻳﻚ ﻓﺮﺩ ﻧﮋﺍﺩﭘﺮﺳﺖ‪،‬‬ ‫ﺗﺤﻘﻖ ﭼﻨﺎﻥ ﺁﺭﺯﻭﻫﺎﻳﻰ‪ ،‬ﭼﻨﺪﺍﻥ ﺑﻪ‬ ‫ﺭﺍﻫﻰ ﭘﺮ ﻣﺨﺎﻃﺮﻩ‪ ،‬ﻣﺮﮔﻰ ﺯﻭﺩﺭﺱ ﻭ‬
‫ﻳﺎﻓﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﻣﺘﻌﺼﺐ ﻣﺬﻫﺒﻰ ﻭ ﻳﺎ ﺳﻨﺘﻰ‪ ،‬ﺗﻨﻬﺎ ﺁﻥ‬ ‫ﻏﻢﺍﻧﮕﻴﺰ ﺩﺭ ﭘﻰ ﺧﻮﺍﻫﺪﺩﺍﺷﺖ‪ .‬ﺍﻳﻨﺎﻥ ﺑﺮ‬
‫ﺍﻭ ﻛﻪ ﺑﻪ ﺍﻧﺘﺨﺎﺏ ﻣﺠﻠﻪ ﺁﻟﻤﺎﻧﻰ‬ ‫ﺍﻧﺘﺸﺎﺭ ﻳﺎﻓﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﻧﻴﺴﺖ ﻛﻪ ﺁﺷﻜﺎﺭﺍ ﺍﻧﺪﻳﺸﻪﻫﺎ ﻭ ﺑﺎﻭﺭﻫﺎﻯ‬ ‫ﺩﺭﺍﺯﺍ ﻧﺨﻮﺍﻫﺪ ﻛﺸﻴﺪ‪.‬‬ ‫ﺍﻳﻦ ﺑﺎﻭﺭﻧﺪ ﻛﻪ ﺑﺎ ﻣﺮگ ﺧﻮﻳﺶ ﺩﺭ ﺭﺍﻩ‬
‫»ﺯﻧﻴﺖ« ﻳﻜﻰ ﺍﺯ ﺩﻩ ﻧﻮﻳﺴﻨﺪﻩ ﺷﺮﻗﻰ‬ ‫ﺍﻳﻦ ﺭﻣﺎﻥ ﻋﺎﺷﻘﺎﻧﻪ ﻗﺼﻪ ﺷﺨﺼﻴﺘﻰ ﺑﺎ‬ ‫ﺧﻮﻳﺶ ﺭﺍ ﺑﺮﺯﺑﺎﻥ ﻣﻰﺁﻭﺭﺩ ﻭ ﻳﺎ ﺑﻪ‬ ‫ﺍﻟﺒﺘﻪ ﻻﺯﻡ ﺍﺳﺖ ﺭﻭﻯ ﻭﺍژﻩﻫﺎﻯ »ﺩﻳﺮ«‬ ‫ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﻧﻴﺮﻭﻫﺎﻯ ﻏﻴﺮﺩ ُﻣﻜﺮﺍ ِﺕ ﺣﺎﻛﻢ‬
‫ﻧﺎﻡ »ﺍﻟﻠﻬﻴﺎﺭ« ﺭﺍ ﺑﺮ ﭘﺲ ﺯﻣﻴﻨﻪ ﺗﺎﺭﻳﺨﻰ‬ ‫ﺩﻳﮕﺮﺍﻥ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪ .‬ﺑﻠﻜﻪ ﺁﻥﻛﺴﻰ‬ ‫ﻳﺎ »ﺯﻭﺩ«‪ ،‬ﺗﺄﻣﻞ ﺑﻴﺸﺘﺮﻯ ﺍﻧﺠﺎﻡ ﮔﻴﺮﺩ‪.‬‬ ‫ﺑﺮ ﺳﺮﺯﻣﻴﻦﻫﺎﻳﺸﺎﻥ‪ ،‬ﺟﺎﻥ ﺧﻮﺩ ﺭﺍ‬
‫ﺩﺭ ﻓﺴﺘﻴﻮﺍﻝﻫﺎﻯ ﺑﺰﺭگ ﺍﺩﺑﻰ ﺟﻬﺎﻥ‬ ‫ﺷﻬﺮ ﺍﺻﻔﻬﺎﻥ ﺩﺭ ﺩﻭﺭﻩ ﺻﻔﻮﻯ ﺭﻭﺍﻳﺖ‬ ‫ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺩﻧﻴﺎﻯ ﺩﺭﻭﻥ ﺧﻮﻳﺶ‪،‬‬ ‫ﺍﮔﺮ »ﺩﻳﺮ« ﻳﺎ »ﺯﻭﺩ« ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﻌﻴﺎﺭ‬ ‫ﺑﺪﻝ ﺑﻪ ﭼﺮﺍﻏﻰ ﻣﻰﺳﺎﺯﻧﺪ ﺗﺎ ﺑﺘﻮﺍﻧﺪ ﺩﺭ‬
‫ﻭ ﺗﻮﺭﻫﺎﻯ ﺩﺍﺳﺘﺎﻥﺧﻮﺍﻧﻰ ﻣﺘﻌﺪﺩﻯ‬ ‫ﻣﻰﻛﻨﺪ ﻭ ﻗﺤﻄﻰ ﻭ ﮔﺮﺳﻨﮕﻰ ﻧﺎﺷﻰ ﺍﺯ‬ ‫ﺩﺭ ﻣﻴﺎﻥ ﺗﺎﺭﻫﺎﻯ ﺍﻧﺪﻳﺸﻪﻫﺎﻯ ﺑﺪﺧﻴﻢ‬ ‫ﺯﻣﺎﻧﻰ ﻣﻄﺮﺡ ﺑﺎﺷﺪ ﻭ ﺩﺭ ﺍﻳﻦ ﻣﻌﻴﺎﺭ‬ ‫ﺗﺎﺭﻳﻜﻰ ﺑﻰﻋﺪﺍﻟﺘﻰ‪ ،‬ﻓﻘﺮ ﻭ ﻧﺒﻮﺩ ﺁﺯﺍﺩﻯ‪،‬‬
‫ﺷﺮﻛﺖ ﺩﺍﺷﺘﻪ ﻭ ﺑﺎﺭﻫﺎ ﺑﻮﺭﺳﻴﻪ ﺍﺩﺑﻰ‬ ‫ﻣﺤﺎﺻﺮﻩ ﺷﻬﺮ ﺍﺯ ﺳﻮﻯ ﺍﻓﻐﺎﻥﻫﺎ ﺭﺍ ﺑﺎﺯﮔﻮ‬ ‫ﻭ ﺩژﺁﻫﻨﮓ‪ ،‬ﺑﻪ ﺍﺳﺎﺭﺕ ﺩﺭ ﺁﻣﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺯﻣﺎﻧﻰ‪ ،‬ﺑﻪ ﮔﻮﻧﻪﺍﻯ ﺗﺠﺮﺑﻰ ﻭ ﻣﻨﻄﻘﻰ‪،‬‬ ‫ﺑﺮﺯﻧﺪﮔﻰ ﻣﺮﺩﻡ ﻣﺤﺮﻭﻡ‪ ،‬ﺭﻭﺷﻨﺎﻳﻰ‬
‫ﻣﻰﻧﻤﺎﻳﺪ‪ .‬ﺑﻪ ﮔﻔﺘﻪ ﻧﻮﻳﺴﻨﺪﻩ ﻛﺘﺎﺑﻰ‬ ‫ﺑﺮﺍﻯ ﺁﻧﻜﻪ ﭼﻨﺎﻥ ﺗﺤﻮﻟﻰ ﺩﺭ ﺍﻧﺪﻳﺸﻪ ﻭ‬ ‫ﭘﺪﻳﺪﻩ ﻫﻔﺘﻪ‪ ،‬ﻣﺎﻩ ﻭ ﺳﺎﻝ ﻧﮕﻨﺠﺪ ﻛﻪ‬ ‫ﺍﻧﺪﻛﻰ ﺑﺘﺎﺑﺎﻧﺪ‪ .‬ﺍﻳﻦ ﺷﻴﻮﻩ ﺯﻧﺪﮔﻰ ﺑﺪﺍﻥ‬
‫ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﺳﺖ ﺩﺭﺑﺎﺭﻩ ﺩﻻﻳﻞ ﺳﻘﻮﻁ ﺍﺻﻔﻬﺎﻥ ﻭ‬ ‫ﺭﻓﺘﺎﺭ ﻣﺮﺩﻣﺎﻥ ﺁﻓﺮﻳﻘﺎﻯ ﺟﻨﻮﺑﻰ ﻭ ﻳﺎ ﺑﻪ‬ ‫ﻣﻌﻤﻮﻻً ﭼﻨﻴﻦ ﺍﺳﺖ‪ ،‬ﺑﺎﻳﺪ ﺑﻪ ﻣﻌﻴﺎﺭ‬ ‫ﻣﻌﻨﺎﺳﺖ ﻛﻪ ﺁﻧﺎﻥ‪ ،‬ﺁﮔﺎﻫﺎﻧﻪ ﺗﺼﻤﻴﻢ‬
‫ﻫﻢﭼﻨﻴﻦ ﻣﻘﺎﻻﺕ ﭼﻬﻠﺘﻦ ﺩﺭﺑﺎﺭﻩ‬ ‫ﻃﻮﺭ ﻋﻤﺪﻩ ﺩﺭ ﻣﻴﺎﻥ ﺍﻓﺮﺍﺩ ﮔﻮﻧﺎﮔﻮﻥ‪،‬‬ ‫ﭼﻨﺪﻳﻦ ﺩﻫﻪ ﻭ ﻳﺎ ﺣﺘﻰ ﮔﺬﺷﺖ ﻳﻚ‬
‫ﻣﺴﺎﺋﻞ ﻓﺮﻫﻨﮕﻰ ﺟﺎﻣﻌﻪ ﺍﻳﺮﺍﻥ ﻣﻌﺎﺻﺮ‬ ‫ﺳﺘﺎﻳﺶﺧﻮﺵﻧﻮﻳﺴﻰ‪.‬‬ ‫ﻣﺘﻌﻠﻖ ﺑﻪ ﺍﻗﺸﺎﺭ ﻣﺘﻔﺎﻭﺕ ﺍﺟﺘﻤﺎﻋﻰ ﻭ‬ ‫ﻗﺮﻥ ﺍﻧﺪﻳﺸﻴﺪ‪ .‬ﺩﺭ ﺁﻥﺻﻮﺭﺕ ﺑﺎﻳﺪ ﺩﺭ‬ ‫ﺧﻮﺯﻩ ﺁﻟﺒﺮﺗﻮ ﻣﻮﺧﻴﻜﺎ‬
‫ﺩﺭ ﺭﻭﺯﻧﺎﻣﻪﻫﺎﻯ ﺁﻟﻤﺎﻧﻰ ﻣﻌﺘﺒﺮ ﻣﺎﻧﻨﺪ‬ ‫ﺩﺭ ﻓﺴﺘﻴﻮﺍﻝ ﺍﺩﺑﻰ ﺑﺮﻟﻴﻦ ﺑﺨﺸﻰ ﺍﺯ‬ ‫ﺍﻗﺘﺼﺎﺩﻯ ﺭﻭﻯ ﺩﻫﺪ‪ ،‬ﻧﻴﺎﺯ ﺑﻪ ﻛﺎﺭ ﻣﺪﺍﻭﻡ ﻭ‬ ‫ﺟﺴﺘﺠﻮﻯ ﻋﻮﺍﻣﻞ ﺩﻳﮕﺮﻯ ﺑﻮﺩ ﻛﻪ‬
‫ﺍﻳﻦ ﺭﻣﺎﻥ ﺗﻮﺳﻂ »ﻓﺮﻳﺮﺩﻫﻠﻢ ﺗﻚ«‬ ‫ﺗﻮﺍﻧﺴﺘﻪ ﺍﺳﺖ ﺩﻭﺭ ﺍﺯ ﭼﺸﻢ ﺁﺭﺯﻭﻣﻨﺪﺍﻧﻪ‬ ‫ﮔﺮﻓﺘﻪﺍﻧﺪ ﻭ ﻣﻰﮔﻴﺮﻧﺪ ﺗﺎ ﺯﻣﺎﻥ ﻣﺮگ‬
‫ﺑﺎﺯﻳﮕﺮ ﺁﻟﻤﺎﻧﻰ ﻭ ﺧﻮﺩ ﻧﻮﻳﺴﻨﺪﻩ ﺑﺮﺍﻯ‬ ‫ﺩﺍﺷﺘﻦ ﺯﻣﺎﻧﻰ ﺑﺴﻴﺎﺭ ﻃﻮﻻﻧﻰﺍﺳﺖ‪.‬‬ ‫ﺍﻳﻦ ﺍﻓﺮﺍﺩ‪ ،‬ﺭﻭﻧﺪ ﺣﺮﻛﺖ ﻭ ﺩﮔﺮﮔﻮﻧﻰ‬ ‫ﺧﻮﻳﺶ ﺭﺍ ﻗﺒﻞ ﺍﺯ ﻓﺮﺍﺭﺳﻴﺪﻥ ﭘﻴﺮﻯ ﻭ‬
‫ﺩﺭ ﻭﺍﻗﻊ‪ ،‬ﺍﻳﻦ ﻫﻤﺎﻥ ﺑﺨﺸﻰ ﺍﺯ ﭼﮕﻮﻧﻪ‬ ‫ﺫﻫﻨﻰ ﻣﺮﺩﻡ ﺭﺍ ﺗﺎ ﺁﻥ ﺣﺪ ُﻛﻨﺪ ﺳﺎﺯﺩ‬ ‫ﻳﺎ ﺩﺭﮔﻴﺮﺷﺪﻥ ﺑﺎ ﻳﻚ ﺑﻴﻤﺎﺭﻯ ﻏﻴﺮ ﻗﺎﺑﻞ‬
‫ﺣﺎﺿﺮﺍﻥ ﺧﻮﺍﻧﺪﻩ ﺷﺪ‪.‬‬ ‫ﺯﻧﺪﮔﻰ ﻛﺮﺩﻧﻰ ﺍﺳﺖ ﻛﻪ ﮔﻴﺘﺎﺭﻳﺴﺖ‬ ‫ﻛﻪ ﻣﻨﺘﻈﺮﺍﻥ ﺗﺤﻮﻻﺕ ﺭﻓﺘﺎﺭﻯ ﻭ ﻓﻜﺮﻯ‬ ‫ﻋﻼﺝ‪ ،‬ﺑﻪ ﺟﻠﻮ ﺑﻴﻨﺪﺍﺯﻧﺪ‪ .‬ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﻛﻪ‬
‫ﻧﺴﺨﻪ ﺁﻟﻤﺎﻧﻰ ﺭﻣﺎﻥ »ﺳﭙﻴﺪﻩﺩﻡ‬ ‫ﺁﻣﺮﻳﻜﺎﻳﻰ ﻣﻄﺮﺡ ﻣﻰﻛﻨﺪ‪ .‬ﻧﻤﻮﻧﻪ‬ ‫ﻣﺮﺩﻡ‪ ،‬ﺑﺎﻳﺪ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺟﺎﻣﻪ ﺍﺻﺤﺎﺏ‬ ‫ﺯﻣﺎﻥ ﺩﻗﻴﻖ ﻣﺮگ ﺧﻮﺩ ﺭﺍ ﺑﺪﺍﻧﻨﺪ ﻓﻘﻂ ﺍﺯ‬
‫ﺍﻳﺮﺍﻧﻰ« ﺩﻳﮕﺮ ﻛﺘﺎﺏ ﭼﻬﻠﺘﻦ ﻫﻢ ﺩﺭ‬ ‫ﺩﻳﮕﺮﻯ ﻛﻪ ﻣﻰﺗﻮﺍﻥ ﺫﻛﺮ ﻛﺮﺩ‪ ،‬ﺭﺋﻴﺲ‬ ‫َﻛﻬﻒ ﺩﺭ ﺁﻭﺭﻧﺪ ﺗﺎ ﺑﺘﻮﺍﻧﻨﺪ ﺭﻭﺯﻯ‪ ،‬ﺷﺎﻫﺪ‬ ‫ﺩﺳﺖ ﻛﺴﺎﻧﻰ ﺳﺎﺧﺘﻪﺍﺳﺖ ﻛﻪ ﻳﺎ ﺩﺳﺖ‬
‫ﻓﺴﺘﻴﻮﺍﻝ ﺍﺩﺑﻰ ﺑﺮﻟﻴﻦ ﺭﻭﻧﻤﺎﻳﻰ ﺷﺪ‪.‬‬ ‫ﺟﻤﻬﻮﺭﻯ ﺳﺎﺑﻖ ﻛﺸﻮﺭ ﺍﻭﺭﻭﮔﻮﺋﻪ‬ ‫ﺩﮔﺮﮔﻮﻧﻰ ﻓﻜﺮﻯ ﻭ ﺭﻓﺘﺎﺭﻯ ﻣﺮﺩﻡ ﺩﺭ‬ ‫ﺑﻪ ﺍﻧﻔﺠﺎﺭﻫﺎﻯ ﺍﻧﺘﺤﺎﺭﻯ ﻣﻰﺯﻧﻨﺪ ﻭ ﻳﺎ ﺩﺭ‬
‫ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﺎ ﺍﻳﻨﻜﻪ ﺩﺭ ﺳﺎﻝ ‪1384‬‬ ‫ﺧﻮﺯﻩ ﺁﻟﺒﺮﺗﻮ ﻣﻮﺧﻴﻜﺎ ﺍﺳﺖ ﻛﻪ ﺍﺯ‬ ‫ﺟﻬﺖ ﺷﻜﻮﻓﺎﻳﻰ ﻭ ﺩﺳﺖﺩﺍﺩﻥ ﻭﺻﺎ ِﻝ‬ ‫ﺗﻨﻬﺎﻳﻰ ﺧﻮﻳﺶ‪ ،‬ﺩﻭﺭ ﺍﺯ ﭼﺸﻢ ﺍﻃﺮﺍﻓﻴﺎﻥ‪،‬‬
‫ﻣﻨﺘﺸﺮ ﺷﺪ ﻭﻟﻰ ﺍﻧﺘﺸﺎﺭ ﺩﻭﺑﺎﺭﻩ ﺁﻥ‬ ‫ﻳﻚ ﭼﺮﻳﻚ ﺷﻬﺮﻯ‪ ،‬ﺑﻪ ﻋﻨﻮﺍﻥ ﻋﻀﻮ‬ ‫ﻋﺪﺍﻟﺖ‪ ،‬ﺭﻓﺎﻩ ﻭ ﺁﺯﺍﺩﻯ ﺑﺎﺷﻨﺪ‪ .‬ﭘﺮﺳﺸﻰ‬
‫ﻣﻤﻨﻮﻉ ﮔﺸﺖ‪ .‬ﻳﻮﺗﺎ ﻫﻴﻤﻞﺭﺍﻳﺶ‬ ‫ﺑﺮﺟﺴﺘﻪ ﺳﺎﺯﻣﺎﻥ ﭼﺮﻳﻜﻰ ﺗﻮﭘﺎﻣﺎﺭﻭ‬ ‫ﻛﻪ ﺷﻤﺎﺭﻯ ﻣﻄﺮﺡ ﻣﻰﻛﻨﻨﺪ ﺁﻧﺴﺖ ﻛﻪ‬ ‫ﺑﻪ ﺯﻧﺪﮔﻰ ﺧﻮﺩ ﺧﺎﺗﻤﻪ ﻣﻰﺩﻫﻨﺪ‪.‬‬
‫ﺭﻣﺎﻥ »ﺳﭙﻴﺪﻩﺩﻡ ﺍﻳﺮﺍﻧﻰ« ﺭﺍ ﺑﻪ ﺁﻟﻤﺎﻧﻰ‬ ‫ﺩﺭ ﺧﻼﻝ ﺳﺎﻝﻫﺎﻯ ﺷﺼﺖ ﻭ ﻫﻔﺘﺎﺩ‬ ‫ﺍﮔﺮ ﻓﺮﺳﺘﺎﺩﻥ ﺟﺎﻥ ﺑﻪ ﻗﺮﺑﺎﻧﮕﺎﻩ ﻣﺮگ‪،‬‬ ‫ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ‪ ،‬ﻣﻮﺍﻓﻘﺎﻥ ﻧﮕﺮﺵ ﺍﻳﻦ‬
‫ﺑﺮﮔﺮﺩﺍﻧﺪﻩ ﺍﺳﺖ‪ .‬ﺭﮔﻴﻨﺎ ﮔﻴﺴﺒﺮﺗﺲ‬ ‫ﻣﻴﻼﺩﻯ ﻛﻪ ﺧﺸﻮﻧﺖ ﺭﺍ ﻳﮕﺎﻧﻪ ﺭﺍﻩ‬ ‫ﺍﻳﻦ ﻗﺪﺭ ﺩﻳﺮ ﺑﻪ ﺑﺮگ ﻭ ﺑﺎﺭ ﻣﻰﻧﺸﻴﻨﺪ‪،‬‬ ‫ﺧﻮﺍﻧﻨﺪﻩ ﺁﻣﺮﻳﻜﺎﻳﻰ‪ ،‬ﻣﻌﺘﻘﺪﻧﺪ ﻛﻪ ﻣﺮگ‪،‬‬
‫ﺑﺨﺶﻫﺎﻳﻰ ﺍﺯ ﺁﻥ ﺭﺍ ﺩﺭ ﻓﺴﺘﻴﻮﺍﻝ ﺍﺩﺑﻰ‬ ‫ﺭﻫﺎﻳﻰ ﻛﺸﻮﺭﺵ ﺍﺯ ﭼﻨﮕﺎﻝ ﺭژﻳﻢ ﺣﺎﻛﻢ‬ ‫ﻛﺪﺍﻡ ﺷﻴﻮﻩ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺑﺮﮔﺰﻳﺪ ﻛﻪ ﺑﻬﺘﺮ‬ ‫ﺩﻳﺮ ﻳﺎ ﺯﻭﺩ‪ ،‬ﺑﻪ ﺷﻜﻠﻰ ﺍﺯ ﺷﻜﻞﻫﺎﻯ‬
‫ﺁﻥ ﻣﻰﺩﺍﻧﺴﺖ ﺑﻪ ﻓﺮﺩﻯ ﻓﺮﺍ ﺭﻭﺋﻴﺪ ﻛﻪ‬ ‫ﻭ ﻣﺆﺛﺮﺗﺮ ﺍﺯ ﺁﻥ ﺑﺎﺷﺪ‪ .‬ﺩﺭ ﺍﻳﻨﺠﺎﺳﺖ‬ ‫ﻣﺘﻔﺎﻭﺕ‪ ،‬ﺑﻪ ﺳﺮﺍﻍ ﺗﻚ ﺗﻚ ﺍﻧﺴﺎﻥﻫﺎ‬
‫ﺑﺮﻟﻴﻦ ﺑﺮﺍﻯ ﺣﺎﺿﺮﺍﻥ ﻗﺮﺍﺋﺖ ﻛﺮﺩ‪.‬‬ ‫ﻫﺰﺍﺭﺍﻥ ﻓﺮﺳﻨﮓ ﺍﺯ ﺑﺎﻭﺭﻫﺎﻯ ﺩﻳﺮﻳﻦ‬ ‫ﻛﻪ ﻣﻮﺍﻓﻘﺎﻥ ﻧﮕﺮﺵ ﺟﻮﻥ ﺑﻴﺲ‪،‬‬ ‫ﺧﻮﺍﻫﺪﺁﻣﺪ‪ .‬ﺧﺎﺻﻪ ﺁﻧﻜﻪ ﺑﻪ ﻗﻮﻝ ﺧﻴﺎﻡ‪:‬‬
‫ﺍﻳﻦ ﺍﺛﺮ ﺩﺭ ﺳﺎﻝ ﺍﻧﺘﺸﺎﺭﺵ ﻧﺎﻣﺰﺩ‬ ‫ﺧﻮﻳﺶ ﻓﺎﺻﻠﻪ ﮔﺮﻓﺖ‪ .‬ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ‬ ‫ﺍﻳﻦ ﻧﻜﺘﻪ ﺭﺍ ﻣﻄﺮﺡ ﻣﻰﺳﺎﺯﻧﺪ ﻛﻪ ﺗﺎ‬ ‫ﺑﺎﺯ ﺁﻣﺪﻧﺖ ﻧﻴﺴﺖ‪ ،‬ﭼﻮ ﺭﻓﺘﻰ‪ ،‬ﺭﻓﺘﻰ‪.‬‬
‫ﺩﺭﻳﺎﻓﺖ ﺟﺎﻳﺰﻩ ﻛﺘﺎﺏ ﺳﺎﻝ ﻫﻢ ﺷﺪ ﻭﻟﻰ‬ ‫ﻫﺮﮔﺰ ﺁﺭﻣﺎﻥ ﺍﻧﺴﺎﻥﺩﻭﺳﺘﺎﻧﻪ ﺧﻮﺩ ﺭﺍ‬ ‫ﻳﻚ ﺩﮔﺮﮔﻮﻧﻰ ﺑﺎﻭﺭﻣﻨﺪﺍﻧﻪ ﺩﺭ ﺭﻓﺘﺎﺭ ﻭ‬ ‫ﺑﻴﺸﺘﺮﻳﻦ ﺗﻜﻴﻪ ﺍﻳﻨﺎﻥ‪ ،‬ﺭﻭﻯ ﺯﻧﺪﮔﻰ‬
‫ﭼﻬﻠﺘﻦ ﺩﺭ ﺍﻋﺘﺮﺍﺽ ﺑﻪ ﻋﻤﻠﻜﺮﺩ ﻭﺯﺍﺭﺕ‬ ‫ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﻣﺮﺩﻡ ﻛﺸﻮﺭﺵ ﺍﺯ ﺩﺳﺖ‬ ‫ﺫﻫﻨﻴﺖ ﻣﺮﺩﻡ‪ ،‬ﺻﺮﻑ ﻧﻈﺮ ﺍﺯ ﺗﺤﺼﻴﻼﺕ‬ ‫ﻭ ﺑﺎﻻ ﺑﺮﺩﻥ ﻛﻴﻔﻴﺖ ﺁﻥ ﻭ ﺍﺭﺯﺵ‬
‫ﺍﺭﺷﺎﺩ ﻭ ﺳﺎﻧﺴﻮﺭ ﺁﺛﺎﺭ ﺍﺩﺑﻰ ﺩﺭ ﺍﻳﺮﺍﻥ ﺍﺯ‬ ‫ﻧﺪﺍﺩ‪ .‬ﺍﻭ ﺩﺭ ﺩﻭﺭﺍﻥ ﺯﻧﺪﮔﻰ ﭼﺮﻳﻜﻰ‪،‬‬ ‫ﻭ ﻭﺍﺑﺴﺘﮕﻰﻫﺎﻯ ﺍﻗﺘﺼﺎﺩﻯ ﺁﻧﺎﻥ ﺭﺥ‬ ‫ﺑﺨﺸﻴﺪﻥ ﺑﺪﺍﻥ ﺍﺳﺖ‪ .‬ﺁﻧﺎﻥ ﻛﻪ ﺍﺯ ﭼﻨﻴﻦ‬
‫ﻋﻤ ًﻼ ﺑﻪ ﺁﻥ ﻣﻰﺍﻧﺪﻳﺸﻴﺪ ﻛﻪ ﭼﮕﻮﻧﻪ ﺑﻪ‬ ‫ﻧﺪﻫﺪ‪ ،‬ﺍﻣﻴﺪ ﺑﺴﺘﻦ ﺑﻪ ﺗﻐﻴﻴﺮ ﻳﻚ ﺟﺎﻣﻌﻪ‬ ‫ﻧﮕﺮﺷﻰ ﺣﻤﺎﻳﺖ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﻣﻌﺘﻘﺪﻧﺪ‬
‫ﻧﺎﻣﺰﺩﻯ ﻛﺘﺎﺑﺶ ﺍﻧﺼﺮﺍﻑ ﺩﺍﺩ‪.‬‬ ‫ﺩﺷﻤﻦ ﺿﺮﺑﻪ ﺑﺰﻧﺪ ﻭ ﺩﺭ ﺩﺭﮔﻴﺮﻯ ﺑﺎ ﺁﻥ‪،‬‬ ‫ﺩﺭ ﻣﺴﻴﺮﻯ ﻛﻪ ﺍﻳﻨﺎﻥ ﻣﻰﺧﻮﺍﻫﻨﺪ‪،‬‬ ‫ﻫﻴﭻ ﭘﺪﻳﺪﻩﺍﻯ‪ ،‬ﺣﺘﻰ ﻣﻘﺪﺱﺗﺮﻳﻦ ﻭ‬
‫ﺷﺠﺎﻋﺎﻧﻪ ﺑﻤﻴﺮﺩ‪ .‬ﺍﻣﺎ ﺑﻌﺪﻫﺎ ﺑﺪﻳﻦ ﺑﺎﻭﺭ‬ ‫ﺍﺭﺯﺷﻤﻨﺪﺗﺮﻳﻦ ﺁﻧﻬﺎ ﺩﺭ ﺯﻧﺪﮔﻰ ﺍﻧﺴﺎﻥ‪،‬‬
‫ﺗﺴﺎﻳﺘﻮﻧﮓ« ﺍﻧﺘﺸﺎﺭ ﻳﺎﻓﺘﻪ ﺍﺳﺖ‪.‬‬ ‫ﺍﻳﻦ ﻛﺘﺎﺏ ﺭﻭﺍﻳﺖﮔﺮ ﺯﻧﺪﮔﻰ ﺍﻳﺮﺝ‪،‬‬ ‫ﺭﺳﻴﺪ ﻛﻪ ﺑﺎﻳﺪ ﺷﺠﺎﻋﺎﻧﻪ ﺯﻧﺪﮔﻰ ﻛﺮﺩ ﻭ‬ ‫ﭼﻨﺪﺍﻥ ﺑﺎﺯﺩﻫﻰ ﻧﺨﻮﺍﻫﺪﺩﺍﺷﺖ‪.‬‬ ‫ﺍﺭﺯﺵ ﺁﻥ ﺭﺍ ﻧﺪﺍﺭﺩ ﻛﻪ ﻳﻚ ﻓﺮﺩ‪ ،‬ﭼﻪ‬
‫ﻧﻮﻳﺪ ﻛﺮﻣﺎﻧﻰ ﺍﺯ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﺁﻟﻤﺎﻧﻰ‪،‬‬ ‫ﻣﺮﺩﻯ ﺣﺪﻭﺩﺍً ‪ 60‬ﺳﺎﻟﻪ ﺍﺳﺖ ﻛﻪ ﺑﺎ‬ ‫ﺑﻪ ﺯﻧﺪﮔﻰ ﻋﺸﻖﻭﺭﺯﻳﺪ ﻭ ﺑﻪ ﺩﻳﮕﺮﺍﻥ ﻧﻴﺰ‬ ‫ﺍﮔﺮ ﺍﺻﻞ ﺑﺮ ﺍﻳﻦ ﻗﺮﺍﺭ ﺑﮕﻴﺮﺩ ﻛﻪ‬ ‫ﺟﻮﺍﻥ ﻭ ﭼﻪ ﭘﻴﺮ‪ ،‬ﭼﻪ ﺯﻥ ﻭ ﭼﻪ ﻣﺮﺩ‪،‬‬
‫ﺍﻳﺮﺍﻧﻰ ﺗﺒﺎﺭ ﻭ ﺑﺮﻧﺪﻩ ﺟﺎﻳﺰﻩ ﺻﻠﺢ ﻧﺎﺷﺮﺍﻥ‬ ‫ﻭﻗﻮﻉ ﺍﻧﻘﻼﺏ ﻭ ﺑﻌﺪ ﺍﺯ ‪ 28‬ﺳﺎﻝ ﺗﺒﻌﻴﺪ‬ ‫ﺁﻣﻮﺧﺖ ﻛﻪ ﺑﻪ ﺯﻧﺪﮔﻰ ﺍﻧﺴﺎﻧﻰ‪ ،‬ﮔﺬﺷﺘﻪ‬ ‫ﺩﮔﺮﮔﻮﻧﻰﻫﺎﻯ ﺍﺟﺘﻤﺎﻋﻰ‪ ،‬ﺑﺨﻮﺍﻫﺪ ﺍﺯ ﭘﻞ‬ ‫ﺑﺎ ﻫﺮﺑﺎﻭﺭ ﻭ ﺗﻌﻠﻖ ﻧﮋﺍﺩﻯ ﻭ ﺟﻐﺮﺍﻓﻴﺎﻳﻰ‪،‬‬
‫ﺁﻟﻤﺎﻥ‪ ،‬ﺗﺎﺯﻩﺗﺮﻳﻦ ﻛﺘﺎﺏ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﻋﻨﻮﺍﻥ‬ ‫ﺑﻪ ﺍﻳﺮﺍﻥ ﺑﺮﻣﻰﮔﺮﺩﺩ ﻭ ﺍﻳﻦ ﺑﻪ ﺍﻭ ﻓﺮﺻﺘﻰ‬ ‫ﺍﺯ ﺁﻧﻜﻪ ﻫﻢ ﻣﺴﻠﻚ ﻣﺎ ﺑﺎﺷﻨﺪ ﻳﺎ ﻧﺒﺎﺷﻨﺪ‪،‬‬ ‫ﺧﻮﻥ ﻭ ﺧﺸﻮﻧﺖ‪ ،‬ﻛﻴﻦ ﻭ ﻛﺸﺘﺎﺭ ﺑﮕﺬﺭﺩ‪،‬‬ ‫ﺑﺨﻮﺍﻫﺪ ﺟﺎﻥ ﺗﭙﻨﺪﻩ ﻭ ﺍﻧﺪﻳﺸﻨﺪﻩ ﺧﻮﺩ ﺭﺍ‬
‫»ﻧﺎﺑﺎﻭﺭﻯ‪ ،‬ﺩﺭﺑﺎﺭﻩ ﻣﺴﻴﺤﻴﺖ« ﺩﺭ ﺍﻳﻦ‬ ‫ﻣﻰﺩﻫﺪ ﺗﺎ ﺑﻪ ﮔﺬﺷﺘﻪ ﻧﮕﺎﻩ ﻛﻨﺪ‪ ،‬ﺑﻪ‬ ‫ﮔﺬﺷﺘﻪ ﺍﺯ ﺁﻧﻜﻪ ﺩﻳﻦ ﻭ ﺁﻳﻴﻦ ﻣﺎ ﺭﺍ‬ ‫ﺁﻥ ﭘُﻞ‪ ،‬ﻣﺪﺗﻰ ﺑﻌﺪ‪ ،‬ﺗﻮﺳﻂ ﻛﺴﺎﻧﻰ‬ ‫ﺑﻪ ﻗﺮﺑﺎﻧﮕﺎﻩ ﻣﺮگ ﺑﻔﺮﺳﺘﺪ‪ .‬ﺑﻪ ﺑﺎﻭﺭ ﺁﻧﺎﻥ‪،‬‬
‫ﻓﺴﺘﻴﻮﺍﻝ ﺭﻭﻧﻤﺎﻳﻰ ﻛﺮﺩ‪ .‬ﺍﻳﻦ ﻧﻮﻳﺴﻨﺪﻩ‬ ‫ﺗﻬﺮﺍﻥ ﻭ ﺑﻪ ﺍﻟﺘﻬﺎﺏﻫﺎﻯ ﺳﻴﺎﺳﻰ ﺩﻫﻪ‬ ‫ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ ﻳﺎ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ ،‬ﺍﺣﺘﺮﺍﻡ‬ ‫ﺩﻳﮕﺮ ﻛﻪ ﻋﻄﺶ ﺍﻧﺘﻘﺎﻡ‪ ،‬ﺟﺎﻥﺷﺎﻥ ﺭﺍ‬ ‫ﺣﺘﻰ ﺩﺭ ﺗﺎﺭﻳﻚﺗﺮﻳﻦ ﻭ ﻭﺣﺸﺘﻨﺎﻙﺗﺮﻳﻦ‬
‫‪ 20‬ﺧﻮﺭﺷﻴﺪﻯ‪ .‬ﻫﻤﺴﺮ ﺍﻳﺮﺝ ﻫﻨﺮﭘﻴﺸﻪ‬ ‫ﺑﮕﺬﺍﺭﻧﺪ ﻭ ﺍﺟﺎﺯﻩ ﺑﺪﻫﻨﺪ ﻛﻪ ﺍﻧﺴﺎﻥﻫﺎ‬ ‫ﺷﻌﻠﻪﻭﺭ ﻛﺮﺩﻩﺍﺳﺖ‪ ،‬ﺩﺭﻫﻢ ﺧﻮﺍﻫﺪ‬ ‫ﻣﻨﺎﺳﺒﺎﺕ ﺳﻴﺎﺳﻰ ﻭ ﺍﺟﺘﻤﺎﻋﻰ ﺩﺭ‬
‫ﺩﻭﺭ ﺍﺯ ﻛﻴﻦ ﻭ ﺧﺸﻮﻧﺖ‪ ،‬ﺩﺭ ﻓﻀﺎﻳﻰ‬ ‫ﺷﻜﺴﺖ‪ .‬ﺁﻧﺎﻥ ﻛﻪ ﻗﻠﺒﻰ ﭼﻨﺎﻥ ﺑﺰﺭگ‬ ‫ﻳﻚ ﻛﺸﻮﺭ‪ ،‬ﺭﺍﻩﻫﺎﻳﻰ ﺑﺮﺍﻯ ﺭﻫﺎﻳﻰ‬
‫ﻣﺘﻌﺎﺩﻝ‪ ،‬ﺁﺭﺍﻡ ﻭ ﺑﻰ ﻧﻔﺮﺕ ﻭ ﺗﻨﺶ‪ ،‬ﺩﺭ‬ ‫ﺩﺍﺭﻧﺪ ﻛﻪ ﺣﺘﻰ ﻣﺮگ ﺩﺷﻤﻨﺎﻥ ﻣﺮﺩﻡ‬ ‫ﻭ ﮔﺴﺘﺮﺵ ﺁﮔﺎﻫﻰ ﺩﺭ ﻣﻴﺎﻥ ﺍﻗﺸﺎﺭ‬
‫ﺭﺍ ﻧﻴﺰ ﺁﺭﺯﻭ ﻧﻤﻰﻛﻨﻨﺪ‪ ،‬ﻫﻨﻮﺯ ﺩﺭ ﺑﺨﺶ‬ ‫ﮔﻮﻧﺎﮔﻮﻥ ﺍﺟﺘﻤﺎﻋﻰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﻫﺮﮔﺰ‬
‫ﺩﺍﻳﺮﻩ ﺗﻐﻴﻴﺮ ﻭ ﺗﺤﻮﻝ ﻗﺮﺍﺭﮔﻴﺮﻧﺪ‪.‬‬ ‫ﺑﺰﺭﮔﻰ ﺍﺯ ﺟﻬﺎﻥ ﻣﺎ ﻧﻪ ﺗﻨﻬﺎ ﺩﺭ ﺍﻛﺜﺮﻳﺖ‬ ‫ﺑﺎ ﺍﻧﺘﺨﺎﺏ ﻣﺮگ ﺧﻮﻧﻴﻦ ﻭ ﺷﻬﺎﺩﺕ‬
‫‪ 20‬ﺳﭙﺘﺎﻣﺒﺮ‪2015‬‬ ‫ﻧﻴﺴﺘﻨﺪ‪ ،‬ﺑﻠﻜﻪ ﺣﺘﻰ ﻳﻚ ﺍﻗﻠﻴﺖ ﻗﺎﺑﻞ‬ ‫ﻗﺪﻳﺴﺎﻧﻪ‪ ،‬ﻧﻤﻰﺗﻮﺍﻥ ﺑﻪ ﭼﻨﺎﻥ ﻫﺪﻑﻫﺎﻳﻰ‬
‫ﻣﻼﺣﻈﻪ ﺭﺍ ﻧﻴﺰ ﺗﺸﻜﻴﻞ ﻧﻤﻰﺩﻫﻨﺪ‪ .‬ﺍﮔﺮ‬ ‫ﺩﺳﺖ ﻳﺎﻓﺖ‪ .‬ﺍﻟﺒﺘﻪ ﻫﺮ ﻛﺴﻰ ﺩﺭ ﺍﻧﺘﺨﺎﺏ‬
‫ﻧﻠﺴﻮﻥ ﻣﺎﻧﺪﻻ ﺭﻫﺒﺮ ﺁﺯﺍﺩﻯﺧﻮﺍﻩ ﺁﻓﺮﻳﻘﺎﻯ‬ ‫ﺭﺍﻩ ﺧﻮﻳﺶ‪ ،‬ﭼﻪ ﺍﻳﻦ ﺍﻧﺘﺨﺎﺏ‪ ،‬ﺑﺮ ﻛﻮﻫﻰ‬
‫ﺟﻨﻮﺑﻰ ﺗﻮﺍﻧﺴﺖ ﺑﺎ ﺷﺠﺎﻋﺖ ﻭ ﺟﺴﺎﺭﺕ‬ ‫ﺍﺯ ﺍﺣﺴﺎﺱﺑﻨﺎ ﺷﺪﻩ ﺑﺎﺷﺪﻭ ﭼﻪﺑﺮ ﺗﭙﻪﺍﻯ‬
‫ﺗﻤﺎﻡ‪ ،‬ﺍﻋﻼﻡ ﺩﺍﺭﺩ ﻛﻪ ﺍﻭ ﺗﻤﺎﻣﻰ ﺩﺷﻤﻨﺎﻥ‬ ‫ﺍﺯ ﻣﻨﻄﻖ‪ ،‬ﺍﻳﻦ ﺁﺯﺍﺩﻯ ﻋﻤﻞ ﺭﺍ ﺩﺍﺭﺩ ﻛﻪ ﺑﺎ‬
‫ﻓﻜﺮﻯ ﻭ ﻃﺒﻘﺎﺗﻰ ﻣﺮﺩﻡ ﺭﺍ ﻛﻪ ﺩﺭ ﺭژﻳﻢ‬ ‫ﻣﺮگ ﻭ ﺯﻧﺪﮔﻰ ﺧﻮﺩ‪ ،‬ﻫﺮ ﭼﻪ ﻣﻰﺧﻮﺍﻫﺪ‬
‫ﻧﮋﺍﺩﭘﺮﺳﺖ ﻗﺒﻞ ﺍﺯ ﺭﻫﺎﻳﻰ‪ ،‬ﻓﻌﺎﻝ ﺑﻮﺩﻩﺍﻧﺪ‪،‬‬ ‫ﺍﻧﺠﺎﻡﺩﻫﺪ‪ .‬ﺍﻣﺎ ﺍﮔﺮ ﻗﺮﺍﺭ ﺑﺎﺷﺪ ﻛﻪ ﺍﻧﺴﺎﻥ‬
‫ﺧﻮﺍﻫﺪﺑﺨﺸﻴﺪ‪،‬ﭼﻨﺎﻥﭘﺸﺘﻮﺍﻧﻪﺍﻯﺍﺯﺩﺭﺩ‬ ‫ﺑﻪ ﺍﺭﺯﻳﺎﺑﻰ ﺭﻓﺘﺎﺭ ﺧﻮﻳﺶ ﻭ ﻳﺎ ﺍﺭﺯﻳﺎﺑﻰ‬
‫ﺍﻧﺪﻳﺸﻪﻫﺎﻳﻰ ﻛﻪ ﺍﻭ ﺭﺍ ﺑﻰﺗﺎﺑﺎﻧﻪ ﺑﻪ ﺭﺍﻩﻫﺎﻳﻰ‬
‫ﻣﺮگﺯﺍ ﻭ ﭘﺮ ﺧﻄﺮ ﻣﻰﻛﺸﺎﻧﺪ‪ ،‬ﺑﭙﺮﺩﺍﺯﺩ‪،‬‬
‫ﺩﺭ ﺁﻥ ﺻﻮﺭﺕ‪ ،‬ﻣﺎ ﻧﻤﻰﺑﺎﻳﺴﺖ ﺑﺎ ﺯﻧﺪﮔﻰ‬
‫ﺧﻮﺩ ﻭ ﻳﺎ ﺣﺘﻰ ﺑﺎ ﺯﻧﺪﮔﻰ ﺩﻳﮕﺮﺍﻥ‪ ،‬ﭼﻨﺎﻥ‬
‫ﺑﺎﺯﻯﻫﺎﻳﻰﺑﻜﻨﻴﻢ‪.‬‬