Page 5 - (کیهان لندن - سال سى و سوم ـ شماره ۹ (دوره جديد

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‫ﺟﻤﻌﻪ ‪ 22‬ﺗﺎ ﭘﻨﺠﺸﻨﺒﻪ ‪ 28‬ﻣﻰ ‪2015‬‬

‫ﻛﺘﺎﺑﮕﺰﺍﺭﻯ‬ ‫ﺳﻴﻠﻰ ﺑﻪﮔﻮﺵﺩﻛﺘﺮﺟﻬﺎﻧﺸﺎﻩﺻﺎﻟﺢ ﺳﺮﻧﻮﺷﺖﺳﻴﻤﻴﻦ ﻧﮕﺎﻫﻰ ﺑﻪ »ﺑﻌﺪ ﺍﺯ ﭘﺎﻳﺎﻥ«‬

‫)ﮔﻠﻨﺎﺯ ﻏﺒﺮﺍﻳﻰ(‬ ‫ﺑﻬﺒﻬﺎﻧﻰ ﺭﺍ ﺗﻐﻴﻴﺮﺩﺍﺩ‬

‫ﻓﺮﻳﺒﺎ ﻭﻓﻰ ﻭ ﻛﺘﺎﺏﺍﺵ‬ ‫»ﺑﻌﺪ ﺍﺯ ﭘﺎﻳﺎﻥ« ﺷﺸﻤﻴﻦ ﺭﻣﺎﻥ ﻓﺮﻳﺒﺎ‬ ‫‪ 1342‬ﺩﻭ ﺳﺎﻝ ﺁﺧﺮ ﺩﺍﻧﺸﻜﺪﻩ ﺍﻭ ﺩﺭ ﺭﺷﺘﻪ‬ ‫ﺭﺍﻫﻰ ﺁﻣﺮﻳﻜﺎ ﻭ ﻭﺍﺭﺩ ﻟﺲ ﺁﻧﺠﻠﺲ ﺷﺪ ﺩﺭ‬ ‫ﻫﻔﺘﺎﺩ ﻭ ﻫﺸﺘﻤﻴﻦ ﺷﻤﺎﺭﻩ ﻧﺸﺮﻳﻪ ﭘﺮ‬
‫ﻭﻓﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ ‪ 230‬ﺻﻔﺤﻪ ﺑﺎ ﺗﻴﺮﺍژ‬ ‫ﺣﻘﻮﻕ ﻗﻀﺎﺋﻰ ﺑﺎﻗﻰ ﻣﺎﻧﺪ ﻭ ﻣﻦ ﺑﻪ ﺭﺷﺘﻪ‬ ‫ﺍﻭﻟﻴﻦ ﻟﻴﺴﺖ ﺍﺳﺎﻣﻰ ﺑﺎﺯﺩﻳﺪﻛﻨﻨﺪﮔﺎﻧﺶ‬ ‫ﺑﺎﺭ ﻭ ﺧﻮﺍﻧﺪﻧﻰ ﺑﺮﺭﺳﻰ ﻛﺘﺎﺏ ﻛﻪ ﺑﻪ ﻫﻨﺮ‬
‫ﺧﻮﺵ ﻧﺪﺍﺭﺩ‪ .‬ﺩﺍﺳﺘﺎﻥ ﺍﻣﺎ ﭘﺎﻳﺎﻧﻰ ﺩﺍﺭﺩ‬ ‫ﺍﺳﺪ ﺁﺷﻨﺎ ﺷﻮﺩ ﻭ ﺣﺎﻻ ﺑﻪ ﺩﻧﺒﺎﻝ ﺁﻧﭽﻪ ﺍﻭ‬ ‫‪ 1800‬ﻧﺴﺨﻪ ﺩﺭ »ﻧﺸﺮ ﻣﺮﻛﺰ«‪ ،‬ﺗﻬﺮﺍﻥ‪،‬‬ ‫ﺣﻘﻮﻕ ﺳﻴﺎﺳﻰ ﺭﻓﺘﻢ ﻭ ﺩﺭ ﻫﻤﻴﻦ ﺳﺎﻝﻫﺎ‬ ‫ﻣﺠﻴﺪ ﺭﻭﺷﻨﮕﺮ ﺑﻪ ﭼﺸﻢ ﻣﻰﺧﻮﺭﺩ ﺗﺎ ﺑﺎ‬ ‫ﻭ ﺍﺩﺑﻴﺎﺕ ﻣﻰﭘﺮﺩﺍﺯﺩ ﻭ ﺩﺭ ﺁﻣﺮﻳﻜﺎ ﻣﻨﺘﺸﺮ‬
‫ﻛﻪ ﻣﻰﺷﻮﺩ ﺁﺭﺯﻭﻳﺶ ﺭﺍ ﺩﺍﺷﺖ‪ .‬ﺩﺭ ﺍﻧﺘﻬﺎ‬ ‫ﺟﺎ ﮔﺬﺍﺷﺘﻪ ﺑﻪ ﺗﺒﺮﻳﺰ ﺑﻴﺎﻳﺪ‪ .‬ﮔﺬﺷﺘﻪﺍﻯ‬ ‫ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪﻩ ﻭ ﺑﻪ ﻗﻴﻤﺖ ‪11500‬‬ ‫ﺑﻮﺩ ﻛﻪ ﺑﺎ ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﻫﻤﻜﻼﺳﻰﻫﺎﻯ‬ ‫ﺩﻳﺪﺍﺭ ﺍﻭ ﻧﻔﺴﻰ ﺗﺎﺯﻩ ﻛﻨﺪ ﻭ ﺑﺒﻴﻨﺪ ﺩﺭ‬ ‫ﻣﻰﺷﻮﺩ‪ ،‬ﻭﻳﮋﻩ ﺑﺎﻧﻮﻯ ﺷﻌﺮ ﻭ ﻏﺰﻝ‬
‫ﻫﻤﻪ ﻛﻤﻰ ﺳﺒﻜﺒﺎﺭﺗﺮﻧﺪ‪ .‬ﺣﺮﻑﻫﺎﻯ‬ ‫ﻛﻪ ﺭﺅﻳﺎ ﺭﺍ ﺑﻪ ﺗﻬﺮﺍﻥ ﻣﻰﻓﺮﺳﺘﺪ‪ ،‬ﺣﺴﻴﻦ‬ ‫ﻣﺎ‪ -‬ﻳﻌﻨﻰ ﻣﻨﻮﭼﻬﺮ ﻛﻮﺷﻴﺎﺭ ﺍﺯﺩﻭﺍﺝ ﻛﺮﺩ‬ ‫ﺑﻮﺳﺘﺎﻥ ﺍﺩﺏ ﺑﺮﺭﺳﻰ ﻛﺘﺎﺏ ﭼﻪ ﻛﺴﺎﻧﻰ‬ ‫ﺳﻴﻤﻴﻦ ﺑﻬﺒﻬﺎﻧﻰ ﺑﻮﺩ‪ .‬ﺑﺮﺭﺳﻰ ﻛﺘﺎﺏ‬
‫ﻧﮕﻔﺘﻪ ﻳﻚ ﻃﻮﺭﻯ ﺑﻪ ﺯﺑﺎﻥ ﺁﻣﺪﻩ ﻭﺍﮔﺮ‬ ‫ﺭﺍ ﺩﺭ ﻫﻴﺎﻫﻮﻯ ﺷﻬﺮ ﮔﻢ ﻣﻰﻛﻨﺪ‪،‬‬ ‫ﺗﻮﻣﺎﻥ ﺑﻪ ﻓﺮﻭﺵ ﻣﻰﺭﺳﺪ‪.‬‬ ‫ﻛﻪ ﻣﻨﻮﭼﻬﺮ ﭘﻴﺶ ﺍﺯ ﺍﻭ ﺑﻪ ﺁﺳﻤﺎﻥﻫﺎ‬ ‫ﺳﺮ ﺑﺮ ﺁﻭﺭﺩﻩﺍﻧﺪ ﻭ ﺁﻧﻬﺎ ﻛﻪ ﺍﺯ ﻗﺒﻞ ﺑﻮﺩﻧﺪ‬ ‫ﻧﺸﺮﻳﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ﻣﺠﻴﺪ ﺭﻭﺷﻨﮕﺮ‬
‫ﻛﺴﻰ ﻗﺎﻧﻊ ﻧﺸﺪﻩ‪ ،‬ﭼﻪ ﻏﻢ‪ .‬ﺗﻠﺨﻰ ﻛﻢ‬ ‫ﻓﺎﻃﻤﻪ ﺭﺍ ﺑﻪ ﻳﻚ ﺯﻧﺪﮔﻰ ﭘﺮ ﺍﺯ ﺗﺠﻤﻞ‬ ‫ﻓﺮﻳﺒﺎ ﻭﻓﻰ ﺭﺍ ﺍﺯ »ﺗﺮﻻﻥ« ﺗﺎ »ﺑﻌﺪ ﺍﺯ‬ ‫ﭘﺮﻭﺍﺯ ﻛﺮﺩ‪ .‬ﻧﺎﺯﻧﻴﻦ ﻣﺮﺩﻯ ﺑﻮﺩ ﻭ ﻣﺎ‬ ‫ﺩﺭ ﺁﻥ »ﺩﺳﺘﻪ ﮔﻞ ﺩﻣﺎﻍ ﭘﺮﻭﺭ ﭼﻪ ﻧﻬﺎﻝ‬ ‫ﻣﺪﻳﺮ ﺳﺨﺖﻛﻮﺵ ﺁﻥ‪ ،‬ﺳﺎﻟﻬﺎﺳﺖ‬
‫ﺷﺪﻩ ﻭﻗﺘﻰ ﻧﺴﺮﻳﻦ ﺑﻌﺪ ﺍﺯ ﺑﺎﺯ ﺷﺪﻥ‬ ‫ﻭ ﻭﺳﻮﺍﺱ ﻣﻰﻛﺸﺎﻧﺪ‪ .‬ﻣﻨﻈﺮ ﺁﻣﺪﻩ ﺗﺎ‬ ‫ﭘﺎﻳﺎﻥ« ﺩﻭﺳﺖ ﺩﺍﺭﻡ‪ .‬ﻫﻤﻴﺸﻪ ﻭﻗﺘﻰ‬ ‫ﻫﻤﻜﻼﺳﻰﻫﺎ ﺷﺎﻫﺪﻋﻮﺍﻃﻒ ﻋﺎﺷﻘﺎﻧﻪ‬ ‫ﺑﺎﻋﺸﻖ ﻭ ﻋﻼﻗﻪ ﻫﻤﺮﺍﻩ ﺑﺎ ﻣﻄﺎﻟﺐ ﻭ ﺁﺛﺎﺭ‬
‫ﻋﻘﺪﻩﻫﺎ ﻣﻰﮔﻮﻳﺪ‪» :‬ﭼﻄﻮﺭ ﻳﺎﺩﻡ ﺑﺮﻭﺩ‪.‬‬ ‫ﺭﺍﺑﻄﻪﺍﺵ ﺭﺍ ﺑﺎ ﺍﺳﺪ ﻧﺠﺎﺕ ﺩﻫﺪ‪ ،‬ﺁﻣﺪﻩ‬ ‫ﺩﺭ ﻣﻴﺎﻥ ﻛﺘﺎﺏﻫﺎﻯ ﺭﺳﻴﺪﻩ ﺍﺯ ﺍﻳﺮﺍﻥ‬ ‫ﺳﻴﻤﻴﻦ ﻭ ﻣﻨﻮﭼﻬﺮ ﺑﻮﺩﻳﻢ‪ .‬ﺩﺭ ﺗﻤﺎﻡ ﺁﻥ‬ ‫ﺷﻌﺮ ﻭ ﻧﺜﺮ ﺗﺎﺯﻩ‪ ،‬ﻛﺸﺖ ﻛﺮﺩﻩﺍﻧﺪ‪«.‬‬ ‫ﻣﺨﺘﻠﻒ ﺍﺯ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻭ ﺷﻌﺮﺍﻯ ﺍﻳﺮﺍﻥ‬
‫ﺁﺩﻡ ﻭﻗﺘﻰ ﻳﻚ ﺑﺎﺭ ﻳﻚ ﺭﺍﺑﻄﻪ ﺩﺭﺳﺖ‬ ‫ﺧﻮﺩﺵ ﺭﺍ ﻧﺠﺎﺕ ﺩﻫﺪ‪ ،‬ﺁﻣﺪﻩ ﺳﻜﻮﺕ‬ ‫ﭼﺸﻤﻢ ﺑﻪ ﻛﺘﺎﺏ ﺟﺪﻳﺪﻯ ﺍﺯ ﻭﻓﻰ‬ ‫ﺳﺎﻝﻫﺎﻯ ﺩﺍﻧﺸﺠﻮﺋﻰ‪ .‬ﻭ ﺳﻴﻤﻴﻦﺑﺎﻧﻮ ﺩﺭ‬ ‫ﺩﺭ ﺁﺧﺮﻳﻦ ﺷﻤﺎﺭﻩ ﺑﺮﺭﺳﻰ ﻛﺘﺎﺏ‬
‫ﻭ ﺣﺴﺎﺑﻰ ﺭﺍ ﺗﺠﺮﺑﻪ ﻣﻰﻛﻨﺪ‪ ،‬ﺑﺪﻝ ﺑﻮﺩﻥ‬ ‫ﺭﺍ ﺑﺸﻜﻨﺪ ﻭ ﻳﻚﺑﺎﺭﻩ »ﻫﻮﺍﻯ ﺗﺎﺯﻩ ﻧﻪ ﺍﺯ‬ ‫ﻣﻰﺍﻓﺘﺪ‪ ،‬ﺍﻭﻝ ﺁﻥ ﺭﺍ ﻣﻰ ﺧﻮﺍﻧﻢ‪ .‬ﮔﺎﻫﻰ‬ ‫ﻛﺘﺎﺏ »ﺁﻥ ﻣﺮﺩ‪ ،‬ﻣﺮﺩ ﻫﻤﺮﺍﻫﻢ« ﺗﻤﺎﻣﻰ‬ ‫”‪“78‬ﺗﺎﺑﺴﺘﺎﻥ ‪1393‬ﺩﺭ ﺑﺎﺏ ﻧﻘﺪ ﻭ‬ ‫ﻣﻨﺘﺸﺮ ﻣﻰﻛﻨﺪ‪.‬‬
‫ﺑﻘﻴﻪ ﺭﺍ ﺯﻭﺩ ﺗﺸﺨﻴﺺ ﻣﻰﺩﻫﺪ‪ .‬ﺩﻳﮕﺮ‬ ‫ﭘﻨﺠﺮﺓ ﺑﺎﺯ ﺑﻠﻜﻪ ﺍﺯ ﺁﺩﻣﻰ ﺗﺎﺯﻩ ﻣﻰﺁﻳﺪ‪«.‬‬ ‫ﺍﺣﺴﺎﺱ ﻣﻰﻛﻨﻢ ﺍﺩﺍﻣﻪ ﺯﻧﺪﮔﻰ ﻧﻜﺮﺩﺓ‬ ‫ﺍﻳﻦ ﻋﻮﺍﻃﻒ ﺭﺍﺑﻪ ﺭﺷﺘﻪ ﺗﺤﺮﻳﺮ ﻛﺸﺎﻧﺪﻩ‬ ‫ﺑﺮﺭﺳﻰ ﻛﺘﺎﺏ‪ ،‬ﺳﻴﺮﻭﺱ ﭘﺮﻫﺎﻡ‪ ،‬ﻋﺎﺭﻑ‬ ‫ﻣﺨﺎﻃﺒﺎﻥ ﺑﺮﺭﺳﻰ ﻛﺘﺎﺏ ﺩﺳﺖﭼﻴﻦ‬
‫ﺳﺮﺵ ﻛﻼﻩ ﻧﻤﻰﺭﻭﺩ « ﻭ ﺭﺅﻳﺎ ﻓﻜﺮ‬ ‫ﻣﻨﻈﺮ ﺑﺎ ﻫﻤﻪ ﺗﻔﺎﻭﺕﻫﺎﻳﻰ ﻛﻪ ﺑﺎ ﺧﻮﺩ‬ ‫ﺍﺳﺖ‪.‬ﻣﺠﻴﺪ ﺭﻭﺷﻨﮕﺮ ﺳﭙﺲ ﺑﻪ ﺩﺍﺳﺘﺎﻥ‬ ‫ﻣﺤﻤﺪﻯ‪ ،‬ﻧﻮﺭﺍﻟﺪﻳﻦ ﺯﺭﻳﻦ ﻛﻠﻚ‪،‬‬ ‫ﺷﺪﻩﺍﻧﺪ ﺯﻳﺮﺍ ﺑﻴﺶ ﺍﺯ ﻫﺮ ﻛﺴﻰ‪ ،‬ﺍﻫﺎﻟﻰ‬
‫ﻣﻰﻛﻨﺪ‪» :‬ﻧﺴﺮﻳﻦ ﺣﺮﻑ ﻣﻰﺯﺩ ﻭ ﻣﻦ‬ ‫ﺍﺯ ﺳﻮﺋﺪ ﺁﻭﺭﺩﻩ‪ ،‬ﺑﻪ ﺭﺅﻳﺎ ﻓﺮﺻﺖ ﻣﺨﻔﻰ‬ ‫ﻣﺮﺍ ﺩﺭ ﺍﻳﺮﺍﻥ ﻣﻰﻧﻮﻳﺴﺪ‪.‬‬ ‫ﺗﻐﻴﻴﺮ ﻣﺴﻴﺮ ﺳﺮﻧﻮﺷﺖ ﺳﻴﻤﻴﻦ ﺑﻬﺒﻬﺎﻧﻰ‬ ‫ﻣﺤﻤﻮﺩ ﻣﻌﺘﻘﺪﻯ‪ ،‬ﺩﺍﺭﻳﻮﺵ ﻣﻬﺮﺷﺎﻫﻰ‪،‬‬ ‫ﺷﻌﺮ ﻭ ﻛﺘﺎﺏ ﺑﺎ ﺁﻥ ﺳﺮ ﻭ ﻛﺎﺭ ﺩﺍﺭﻧﺪ‪.‬‬
‫ﺩﻟﻢ ﻣﻰﺧﻮﺍﺳﺖ ﺗﺎﺭﻳﻜﻰ ﺩﻳﺮ ﺑﻴﺎﻳﺪ ﺗﺎ‬ ‫ﺷﺪﻥ ﭘﺸﺖ ﭘﻨﻬﺎﻥﻛﺎﺭﻯ‪،‬ﺍﺣﺘﻴﺎﻁ ﻭ ﺑﻪ‬ ‫ﻗﻬﺮﻣﺎﻧﺎﻥ ﺩﺍﺳﺘﺎﻥ ﻭﻓﻰ ﺭﺍ ﻫﻤﻴﺸﻪ‬ ‫ﺍﻳﻦ ﮔﻮﻧﻪ ﺍﺷﺎﺭﻩ ﻣﻰﻛﻨﺪ‪:‬ﺍﺯ ﺩﺍﺳﺘﺎﻥﻫﺎﻯ‬ ‫ﻧﺼﺮﺕﺍﷲ ﻣﺴﻌﻮﺩﻯ‪ ،‬ﺟﺎﻥ ﺍﺳﻤﻴﺖ ﻭ‬ ‫ﺑﻪ ﻋﺒﺎﺭﺕ ﺑﻬﺘﺮ »ﺑﺮﺭﺳﻰ ﻛﺘﺎﺏ«‬
‫ﺻﻮﺭﺕﺍﺵ ﺭﺍ ﺑﻴﺸﺘﺮ ﺑﺒﻴﻨﻢ‪ .‬ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ‬ ‫ﻣﺴﺨﺮﻩ ﮔﺮﻓﺘﻦ ﮔﺬﺷﺘﻪ ﺭﺍ ﻧﻤﻰﺩﻫﺪ‪.‬‬ ‫ﺧﻴﻠﻰ ﺭﺍﺣﺖ ﺑﻪ ﺟﺎ ﻣﻰﺁﻭﺭﻡ‪ ،‬ﺍﻧﮕﺎﺭ‬ ‫ﺷﮕﻔﺘﻰ ﻛﻪ ﺩﺭ ﺩﻳﺪﺍﺭﻫﺎﻯ ﺩﺍﻧﺸﺠﻮﺋﻰ ﺍﺯ‬ ‫ﻧﺸﺮﻳﻪﺍﻯ ﺍﺳﺖ ﺑﺮﺍﻯ ﺁﻧﻬﺎ ﻛﻪ ﺑﻴﺶ‬
‫ﺑﺎﺭ ﺧﺠﻞ ﺑﻮﺩﻡ ﺍﺯ ﺍﻳﻨﻜﻪ ﺑﻴﺸﺘﺮ ﭼﻴﺰﻫﺎ‬ ‫ﺭﻭﻳﺎ »ﺩﺍﺭﺩ ﭘﺮﻭﻧﺪﻩ ﺗﺒﺮﻳﺰﻯﻫﺎ ﺭﺍ ﻣﻰﺑﻨﺪﺩ‬ ‫ﻫﻤﻴﻦ ﺗﺎﺯﮔﻰﻫﺎ ﺑﺎ ﺁﻧﻬﺎ ﺑﺮﺧﻮﺭﺩ ﻛﺮﺩﻩ‬ ‫ﺍﺭﺳﻼﻥ ﺯﻳﺎﺭﻯ ﺣﻀﻮﺭ ﻗﻠﻤﻰ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﺍﺯ ﺩﻳﮕﺮﺍﻥ ﻣﻰﺧﻮﺍﻧﻨﺪ ﻭ ﺑﻴﺶ ﺍﺯ‬
‫ﻳﺎﺩﻡ ﺭﻓﺘﻪ ﺑﻮﺩ‪ .‬ﻫﻤﻴﺸﻪ ﺩﻧﺒﺎﻝ ﺁﺩﻡﻫﺎﻯ‬ ‫ﻛﻪ ﺩﺭ ﺑﺎﻳﮕﺎﻧﻰ ﺑﺮﺍﻯ ﻳﻚ ﻟﺤﻈﻪ ﺑﺎﺯ‬ ‫ﺑﺎﺷﻢ‪ .‬ﺗﺼﻤﻴﻤﺎﺕ‪ ،‬ﻧﺤﻮﺓ ﺯﻧﺪﮔﻰ ﻭ ﺍﺯ‬ ‫ﺩﺭ ﺑﺨﺶ ﺟﺴﺘﺎﺭ‪ ،‬ﻣﺎﺭﻙ ﺗﻮﺍﻳﻦ‬
‫ﺗﺎﺯﻩ ﻭ ﺟﺎﻫﺎﻯ ﺗﺎﺯﻩ ﻭ ﺧﺎﻃﺮﻩﻫﺎﻯ ﺗﺎﺯﻩ‬ ‫ﻣﻰﺷﻮﺩ ﻭ ﺳﺎﻳﻪ ﻧﺴﺮﻳﻦ ﭘﺪﻳﺪﺍﺭ‪ .‬ﻧﻴﺶ‬ ‫ﻫﻤﻪ ﻣﻬﻢﺗﺮ ﺍﺷﺘﺒﺎﻫﺎﺕﺷﺎﻥ ﻣﺮﺍ ﺑﻪ ﻳﺎﺩ‬ ‫ﺳﻴﻤﻴﻦ ﺑﻬﺒﻬﺎﻧﻰ‬
‫ﺑﻮﺩﻡ ‪ .‬ﻫﻴﭻ ﻭﻗﺖ ﺑﺮ ﻧﻤﻰﮔﺸﺘﻢ ﺑﺒﻴﻨﻢ‬ ‫ﺳﻮﺯﻧﻰ ﺍﻋﺼﺎﺑﻢ ﺭﺍ ﺧﺮﺍﺷﻴﺪ ﻭ ﺩﺭ ﺭﺍ‬ ‫ﺧﻮﺩﻡ ﻣﻰﺍﻧﺪﺍﺯﺩ‪ .‬ﺩﺭﺳﺖ ﺑﺮﻋﻜﺲ‬ ‫ﻣﺠﻴﺪ ﺭﻭﺷﻨﮕﺮ‬ ‫ﺩﻳﮕﺮﺍﻥ ﻣﻰﻧﻮﻳﺴﻨﺪ ﻭ ﺑﻴﺶ ﺍﺯ ﺩﻳﮕﺮﺍﻥ‬
‫ﭼﻪ ﭼﻴﺰﻯ ﭘﺸﺖ ﺳﺮﻡ ﻫﺴﺖ‪ ،‬ﻳﻌﻨﻰ‬ ‫ﺯﻭﺩ ﺑﺴﺘﻢ‪ «.‬ﺑﻪ ﻳﺎﺩ ﺩﻭﺭﺍﻧﻰ ﻣﻰﺍﻓﺘﺪ ﻛﻪ‬ ‫ﻧﻮﻳﺴﻨﺪﻩﻫﺎﻯ ﺟﺪﻳﺪ ﺯﻥ ﺍﻳﺮﺍﻧﻰ ﻛﻪ‬ ‫ﻣﻰﺳﺮﺍﻳﻨﺪ‪.‬ﮔﺮﭼﻪ ﻣﺨﺎﻃﺒﺎﻥ ﺍﻳﻦ‬
‫ﺍﺭﺯﺵﺍﺵ ﺭﺍ ﺩﺍﺷﺖ؟ ﻧﺴﺮﻳﻦ ﻣﻰﮔﻔﺖ‬ ‫ﺳﻴﻤﻮﻥ ﺩﻭﺑﻮﻭﺍﺭ ﻣﻰﺧﻮﺍﻧﺪﻧﺪ ﻭﻟﻰ ﺑﻴﺶ‬ ‫ﺣﺘﻰ ﻳﻚ ﻟﺤﻈﻪ ﻧﻤﻰﺗﻮﺍﻧﻢ ﺧﻮﺩﻡ ﺭﺍ‬ ‫ﺳﻴﻤﻴﻦ ﺷﻨﻴﺪﻩ ﺑﻮﺩﻳﻢ ﻳﻜﻰ ﻫﻢ ﺩﺍﺳﺘﺎﻥ‬ ‫ﺗﺮﺟﻤﻪ ﺍﺣﻤﺪ ﺑﻰ ﻧﻈﻴﺮ ﻭ ﺩﺭ ﺷﻌﺮ‬ ‫ﻧﺸﺮﻳﻪ ﺭﺍ ﻋﻤﺪﺗﺎ ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻭ ﺷﻌﺮﺍ ﻭ‬
‫ﺩﺍﺷﺖ‪ .‬ﺧﻴﻠﻰ ﻫﻢ ﺩﺍﺷﺖ« ﻭ ﺍﺯ ﺯﺑﺎﻥ‬ ‫ﺍﺯ ﺁﻥ ﺑﻪ ﺟﺴﺘﺠﻮﻯ ﺳﺎﺭﺗﺮﻯ ﺑﻮﺩﻧﺪ ﻛﻪ‬ ‫ﺑﺎ ﻣﻌﻴﺎﺭﺷﺎﻥ ﺑﺴﻨﺠﻢ‪ .‬ﻫﻤﺔ ﺁﻥ ﺯﻥﻫﺎﻯ‬ ‫ﺑﻴﺮﻭﻥ ﻛﺮﺩﻥ ﺍﻭ ﺍﺯ ﻣﺪﺭﺳﻪ ﻣﺎﻣﺎﺋﻰ ﺑﻮﺩ‬ ‫ﻣﻌﻴﻨﻰ ﻛﺮﻣﺎﻧﺸﺎﻫﻰ‪ ،‬ﻣﺴﻌﻮﺩ ﻋﻄﺎﺋﻰ‪،‬‬ ‫ﺭﻭﺯﻧﺎﻣﻪﻧﮕﺎﺭﺍﻥ ﺗﺸﻜﻴﻞ ﻣﻰﺩﻫﻨﺪ ﻭ ﻃﺒﻌﺎ‬
‫ﺧﻮﺍﻫﺮ ﺍﺳﺪ ﻛﻪ ﻫﻤﻪ ﺍﻳﻦ ﺳﺎﻝﻫﺎ ﺩﺭ‬ ‫ﭘﻴﺪﺍ ﻧﺸﺪ ﻭ ﺁﻧﻬﺎ ﺭﺍ ﺑﻪ ﺍﻳﻦ ﻧﺘﻴﺠﻪ ﺭﺳﺎﻧﺪ‬ ‫ﺑﻰ ﺧﻮﻥ ﻭ ﺑﻰ ﺭﻣﻘﻰ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﺳﺎﻝﻫﺎ‬ ‫ﻛﻪ ﺩﺭ ﺁﻧﺠﺎ ﺑﻪ ﺗﺤﺼﻴﻞ ﻣﺸﻐﻮﻝ ﺑﻮﺩ‪.‬‬ ‫ﻋﻠﻴﺮﺿﺎ ﺯﺭﻳﻦ‪ ،‬ﻣﻴﻨﻮ ﻧﺼﺮﺕ‪ ،‬ﺭﻓﻌﺖ‬ ‫ﺧﻮﺍﻧﻨﺪﮔﺎﻧﺶ ﻛﻤﺘﺮ ﺍﺯ ﺳﺎﻳﺮ ﻧﺸﺮﻳﺎﺕ‬
‫ﺳﺎﻳﻪ ﺑﺮﺍﺩﺭﺍﻥ ﺳﻴﺎﺳﻰ ﻣﺎﻧﺪﻩ ﭘﺲ ﺍﺯ‬ ‫ﻛﻪ ﺣﺘﻤﺎً ﺧﻮﺩﺷﺎﻥ ﻟﻴﺎﻗﺖ ﺩﻭﺑﻮﻭﺍﺭ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺯﻧﺪﮔﻰﺷﺎﻥ ﺭﺍ ﺧﻮﺍﻧﺪﻩﺍﻡ ﻭ‬ ‫ﺩﺍﺳﺘﺎﻥ‪ ،‬ﺩﺍﺳﺘﺎﻥ ﺳﻴﻠﻰ ﻣﺤﻜﻤﻰ ﺑﻮﺩ‬ ‫ﺣﺴﻴﻨﻰ‪ ،‬ﭘﺮﻭﻳﺰ ﺍﺭﺷﺪ‪ ،‬ﻋﻠﻴﺮﺿﺎ ﻃﺒﻴﺐ‬ ‫ﺍﺳﺖ‪ ،‬ﺑﺎ ﺍﻳﻦ ﻫﻤﻪ ﺑﻴﺴﺖ ﻭ ﭼﻬﺎﺭ ﺳﺎﻝ‬
‫ﮔﻔﺘﻦ » ﺍﺳﺪ ﺑﻪ ﺧﺮﺍﺑﻰﻫﺎﻯ ﭘﺸﺖ‬ ‫ﺑﻮﺩﻥ ﺭﺍ ﻧﺪﺍﺭﻧﺪ ﻭ ﺑﻌﺪ ﻧﺴﺮﻳﻦ ﻓﺎﻣﻴﻞ‬ ‫ﻫﻤﻴﺸﻪ ﺩﺭﮔﻴﺮ ﻋﺸﻖ ﻣﺮﺩﻯ ﻫﺴﺘﻨﺪ‬ ‫ﻛﻪ ﺳﻴﻤﻴﻦ ﺑﻪ ﺻﻮﺭﺕ ﺩﻛﺘﺮ ﺟﻬﺎﻧﺸﺎﻩ‬ ‫ﺯﺍﺩﻩ‪ ،‬ﺍﺑﺮﺍﻫﻴﻢ ﻣﻜﻼ‪ ،‬ﻣﻨﻮﭼﻬﺮ ﻛﻬﻦ‪،‬‬ ‫ﺍﺳﺖ ﻛﻪ ﺑﻰ ﻭﻗﻔﻪ ﻣﻨﺘﺸﺮ ﻣﻰﺷﻮﺩ ﻭ‬
‫ﺳﺮﺵ ﻧﮕﺎﻩ ﻧﻜﺮﺩ‪ .‬ﺁﺑﺎ ﺳﻜﺘﻪ ﻛﺮﺩ ‪.‬‬ ‫ﺩﻭﺭ ﺭﺍ ﭘﻴﺪﺍ ﻛﺮﺩ ﻭ ﮔﻤﺎﻥ ﻛﺮﺩ ﺳﺎﺭﺗﺮ ﺭﺍ‬ ‫ﻛﻪ ﺭﻓﺘﻪ ﺧﺎﺭﺝ ﻭ ﺷﻮﻫﺮﻯ ﻛﻪ ﺍﺫﻳﺖﺷﺎﻥ‬ ‫ﺻﺎﻟﺢ‪ ،‬ﺭﺋﻴﺲ ﻣﺪﺭﺳﻪ ﻣﺎﻣﺎﺋﻰ ﺯﺩﻩ‬ ‫ﻣﻬﺮﺍﻥ ﺯﻧﮕﻨﻪ‪ ،‬ﺑﻬﻨﺎﻡ ﺑﺎﻭﻧﺪ ﭘﻮﺭ‪ ،‬ﻫﻤﺎ‬ ‫ﺍﻳﻦ ﻧﺸﺎﻧﻪ ﺍﺳﺘﻘﺒﺎﻝ ﺭﻭﺷﻨﻔﻜﺮﺍﻥ ﺍﺯ ﺁﻥ‬
‫ﻳﻜﻰ ﺑﺎﻳﺪ ﻫﺮ ﺭﻭﺯ ﺑﻠﻨﺪﺵ ﻣﻰﻛﺮﺩ‬ ‫ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩﻩ‪ .‬ﺑﻪ ﻳﺎﺩ ﺩﻭﺳﺘﻰﺷﺎﻥ ﻛﻪ‬ ‫ﻣﻰﻛﻨﺪ ﻭ ﻧﻤﻰﺗﻮﺍﻧﻨﺪ ﺍﺯ ﺧﻮﺩﺷﺎﻥ ﺩﺭ‬ ‫ﺑﻮﺩ‪ .‬ﻛﺴﻰ ﺩﺭ ﺭﻭﺯﻧﺎﻣﻪﻫﺎﻯ ﺷﻴﺮﺍﺯ‬ ‫ﻃﺮﺯﻯ‪ ،‬ﻣﺮﺗﻀﻰ ﻣﺤﻤﻮﺩﻯ‪ ،‬ﺍﺭﺩﺷﻴﺮ‬ ‫ﺍﺳﺖ‪ .‬ﺑﺎ ﺍﻳﻦ ﺗﻔﺎﻭﺕ ﻛﻪ ﻣﺠﻴﺪ ﺭﻭﺷﻨﮕﺮ‬
‫ﻣﻰﺑﺮﺩ ﺩﺳﺘﺸﻮﻳﻰ‪ .‬ﻗﺎﺷﻖ ﻗﺎﺷﻖ ﻏﺬﺍ‬ ‫ﻣﻘﺎﺑﻞﺍﺵ ﺩﻓﺎﻉ ﻛﻨﻨﺪ ﻭ ﺑﭽﻪﺍﻯ ﻛﻪ ﺗﺘﻬﺎ‬ ‫ﻣﻄﻠﺒﻰ ﺩﺭ ﺍﻧﺘﻘﺎﺩ ﺍﺯ ﺍﻭﺿﺎﻉ ﻣﺪﺭﺳﻪ‬ ‫ﻟﻄﻔﻌﻠﻴﺎﻥ‪ ،‬ﻓﺮﻳﺪﻩ ﻓﺮﺟﺎﻡ ﻭ ﻡ‪ .‬ﻩ‪ .‬ﺳﻌﻴﺪﻯ‬ ‫ﻫﻢ ﺧﻮﺩ ﻭ ﻫﻢ ﻛﻠﻴﻪ ﻛﺴﺎﻧﻰ ﻛﻪ ﻣﺜﻞ‬
‫ﻣﻰﺭﻳﺨﺖ ﺗﻮﻯ ﺩﻫﺎﻧﺶ‪ .‬ﺍﺣﻤﺪ ﻋﺬﺍﺏ‬ ‫ﮔﺬﺷﺘﻪ ﺍﺯ ﭼﻨﮓﺷﺎﻥ ﺑﻪ ﺩﺭ ﺁﻭﺭﺩﻩ‪...‬‬ ‫ﺍﺣﺴﺎﺱﺷﺎﻥ ﻧﺴﺒﺖ ﺑﻪ ﺍﻭ ﮔﻨﺎﻩ ﺍﺳﺖ‪.‬‬ ‫ﻣﺎﻣﺎﺋﻰ ﻧﻮﺷﺘﻪ ﺑﻮﺩ ﻭ ﺩﻛﺘﺮ ﺟﻬﺎﻧﺸﺎﻩ‬ ‫ﺳﺮﻭﺩﻩﻫﺎﻯ ﺧﻮﺩ ﺭﺍ ﻋﺮﺿﻪ ﺩﺍﺷﺘﻪﺍﻧﺪ‪.‬‬ ‫ﺍﻭ ﻣﻰﺍﻧﺪﻳﺸﻨﺪ ﺍﺯ ﺗﺒﺎﺭ ﺭﻭﺷﻨﻔﻜﺮﺍﻧﻰ‬
‫ﻭﺟﺪﺍﻥ ﮔﺮﻓﺖ ﻭ ﺭﻓﺖ ﻭ ﺯﻧﺶ ﻫﺮ ﻫﻔﺘﻪ‬ ‫ﺳﻔﺮ ﺳﻪ ﺭﻭﺯ ﻃﻮﻝ ﻣﻰﻛﺸﺪ ﻭ ﻫﺮ ﺭﻭﺯ‬ ‫ﺯﻥﻫﺎﻳﻰ ﻛﻪ ﺗﺤﺼﻴﻼﺕ ﺑﺎﻻ ﺩﺍﺭﻧﺪ ﻭﻟﻰ‬ ‫ﺻﺎﻟﺢ ﻛﻪ ﻣﻰﺩﺍﻧﺴﺖ ﭘﺪﺭ ﺳﻴﻤﻴﻦ‬ ‫ﮔﺰﺍﺭﺵ ﻣﺠﻠﺲ ﺑﺰﺭﮔﺪﺍﺷﺖ ﻧﺠﻒ‬ ‫ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﻪ ﺍﻋﺘﻼﻯ ﻧﻮﻳﺴﻨﺪﮔﻰ ﻭ‬
‫ﺑﭽﻪﻫﺎﻳﺶ ﺭﺍ ﻣﻰﮔﺬﺍﺷﺖ ﭘﻴﺶ ﻣﻦ ﻛﻪ‬ ‫ﺩﻓﺘﺮﻯ ﺍﺯ ﮔﺬﺷﺘﻪ ﻭﺭﻕ ﻣﻰﺧﻮﺭﺩ‪ ،‬ﻫﺮ‬ ‫ﺣﺘﻰ ﺍﺯ ﻋﻬﺪﻩ ﺍﺩﺍﺭﻩ ﻳﻚ ﺧﺎﻧﻪ ﻫﻢ‬ ‫ﻣﺪﻳﺮ ﺭﻭﺯﻧﺎﻣﻪ »ﺍﻗﺪﺍﻡ« ﺍﺳﺖ‪ ،‬ﺧﻴﺎﻝ‬ ‫ﺩﺭﻳﺎﺑﻨﺪﺭﻯ‪ ،‬ﻳﺎﺩﻧﺎﻣﻪ ﺍﻳﺮﺝ ﭘﺎﺭﺳﻰ ﻧﮋﺍﺩ‬ ‫ﺷﺎﻋﺮﻯ ﻓﻜﺮ ﻣﻰﻛﻨﻨﺪ ﻭ ﻧﻪ ﺳﺮﺳﭙﺮﺩﮔﻰ‬
‫ﺑﺮﻭﺩ ﺷﻮﻫﺮ ﻗﻬﺮﻣﺎﻥﺍﺵ ﺭﺍ ﺑﺒﻴﻨﺪ‪ .‬ﻫﺮ‬ ‫ﺭﻭﺯ ﺯﺧﻤﻰ ﺳﺮ ﺑﺎﺯ ﻣﻰﻛﻨﺪ ﻭ ﺑﺎ ﺍﻳﻦ‬ ‫ﺑﺮ ﻧﻤﻰﺁﻳﻨﺪ‪ .‬ﺯﻥﻫﺎﻯ ﺁﺷﭙﺰﺧﺎﻧﻪﻫﺎﻯ‬ ‫ﻛﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﺍﻧﺘﺸﺎﺭ ﺁﻥ ﻛﺎﺭ ﺳﻴﻤﻴﻦ‬ ‫ﻭ ﺩﺭ ﺑﺨﺶ ﺩﺍﺳﺘﺎﻥ ﻛﻮﺗﺎﻩ ﺁﺛﺎﺭﻯ ﺍﺯ‬ ‫ﺑﻪ ﺍﻳﻦ ﻳﺎ ﺁﻥ ﺩﻭﻟﺖ ﺧﻮﺩﻯ ﻭ ﺑﻴﮕﺎﻧﻪ ﺩﺭ‬
‫ﻛﺲ ﺑﻪ ﻫﺮ ﻛﺎﺭﻯ ﺩﺳﺖ ﻣﻰﺯﻧﺪ ﻛﻪ ﺑﺎﻭﺭ‬ ‫ﻫﻤﻪ ﺧﻮﺍﻧﻨﺪﻩ ﺣﺲ ﻣﻰﻛﻨﺪ ﻛﻪ ﺑﻨﺪﻯ‬ ‫ﺳﻮﺕ ﻭ ﻛﻮﺭ ﻭ ﻳﺨﭽﺎﻝﻫﺎﻯ ﺧﺎﻟﻰ‪.‬‬ ‫ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺳﻴﻤﻴﻦ ﺭﺍ‬ ‫ﻫﻮﺷﻨﮓ ﻋﺎﺷﻮﺭﺯﺍﺩﻩ‪ ،‬ﻓﺮﻳﺪﻩ ﺷﺒﺎﻧﻔﺮ‪،‬‬
‫ﻛﻨﺪ ﻣﻬﻢ ﺍﺳﺖ‪ .‬ﻳﻜﻰ ﺑﺎ ﺧﺎﺭﺝ ﺭﻓﺘﻦ‬ ‫ﺍﺯ ﭘﺎﻯ ﺣﻘﻴﻘﺖ ﮔﺸﻮﺩﻩ ﺷﺪﻩ‪ ،‬ﺣﻘﻴﻘﺖ‬ ‫ﺯﻥﻫﺎﻯ ﺑﻰ ﻣﺼﺮﻑ ﻛﻪ ﺩﺭ ﺍﻧﺘﻬﺎﻯ‬ ‫ﺑﻪ ﺩﻓﺘﺮ ﺧﻮﺩ ﺍﺣﻀﺎﺭ ﻣﻰﻛﻨﺪ ﻭ ﭘﺲ ﺍﺯ‬ ‫ﻭ ﺩﺭ ﺑﺨﺶ ﺷﻌﺮ ﺩﻳﮕﺮﺍﻥ ﺁﺛﺎﺭﻯ ﺍﺯ‬ ‫ﺍﻧﻬﺪﺍﻡ ﺳﺮﺯﻣﻴﻦ ﺧﻮﻳﺶ‪.‬‬
‫ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻛﺮﺩ‪ ،‬ﻳﻜﻰ ﺑﺎ ﺯﻧﺪﺍﻥ ﺭﻓﺘﻦ«‪،‬‬ ‫ﻛﻪ ﺩﺭﺑﻨﺪ ﺗﻚ ﺗﻚ ﺷﺨﺼﻴﺖﻫﺎﻯ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﮔﻮﺩﺍﻝ ﺳﺮﮔﺮﺩﺍﻧﻰ ﻓﺮﻭ‬ ‫ﺟﺮ ﻭ ﺑﺤﺚ ﻛﻮﺗﺎﻫﻰ‪ ،‬ﻳﻚ ﺳﻴﻠﻰ ﺗﻮﻯ‬ ‫ﻓﺮﺩﺭﻳﻚ ﻫﻮﻟﺪﺭﻳﻦ ﻭ ﺍﻟﻴﺰﺍﺑﺖ ﺁﻣﻮﺕ ﻭ ﻳﺎﺩ‬ ‫ﻫﺮ ﺍﻫﻞ ﻛﺘﺎﺏ ﻭ ﺷﻌﺮﻯ ﺩﺭ ﻓﺮﺻﺖ ﻭ‬
‫ﻣﻰﺷﻨﻮﻳﻢ ﻛﻪ »ﺧﻮﺩﻡ ﻫﻢ ﻧﻤﻰﺩﺍﻧﻢ‬ ‫ﺩﺍﺳﺘﺎﻥ ﺯﻧﺪﺍﻧﻰ ﺑﻮﺩﻩ‪ ،‬ﻛﻢ ﻛﻢ ﺑﻴﻦ‬ ‫ﻣﻰﺭﻭﻧﺪ ﻭ ﻣﻦ ﻫﻤﻴﺸﻪ ﺩﻟﻢ ﻣﻰﺧﻮﺍﻫﺪ‬ ‫ﮔﻮﺵ ﺳﻴﻤﻴﻦ ﻣﻰﺧﻮﺍﺑﺎﻧﺪ‪ ،‬ﺳﻴﻤﻴﻦ ﻫﻢ‬ ‫ﺳﻴﻤﻴﻦ ﺑﻬﺒﻬﺎﻧﻰ ﻣﺠﻤﻮﻋﻪ ﺍﻳﻦ ﺷﻤﺎﺭﻩ‬ ‫ﻣﺠﺎﻟﻰ ﻛﻪ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩ ﺣﺘﻰ ﺍﮔﺮ ﺍﺯ‬
‫ﭼﺮﺍ ﺁﻣﺪﻩﺍﻡ ﺍﻳﻨﺠﺎ‪ .‬ﺍﺻ ًﻼ ﻧﻤﻰﺩﺍﻧﻢ « ﻭ ﺑﺎ‬ ‫ﻫﻤﻪ ﺗﻘﺴﻴﻢ ﻣﻰﺷﻮﺩ‪ .‬ﺣﻘﻴﻘﺖ ﻫﻤﮕﺎﻧﻰ‬ ‫ﺩﺳﺖﺷﺎﻥ ﺭﺍﺑﮕﻴﺮﻡ‪ ،‬ﺗﻜﺎﻥﺷﺎﻥ ﺑﺪﻫﻢ ﺗﺎ‬ ‫ﻣﻌﻄﻞ ﻧﻤﻰﻛﻨﺪ ﻭ ﻛﺮﺍﻭﺍﺕ ﺍﻭ ﺭﺍ ﻣﻰﻛﺸﺪ‬ ‫ﺍﺯ »ﺑﺮﺭﺳﻰ ﻛﺘﺎﺏ« ﺭﺍ ﺗﺸﻜﻴﻞ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﻓﺎﺻﻠﻪ ﺩﻭﺭ ﺑﻪ ﻟﺲ ﺍﻧﺠﻠﺲ ﺑﻴﺎﻳﺪ ﺣﺘﻤﺎ‬
‫ﮔﺮﻳﻪ ﺣﺮﻑ ﺍﺳﺪ ﺭﺍ ﭘﺸﺖ ﺗﻠﻔﻦ ﺗﻜﺮﺍﺭ‬ ‫ﻣﻰﺷﻮﺩ ﻭ ﺷﻚ ﻭ ﺗﺮﺩﻳﺪ ﺟﺎﻯ ﺍﻃﻤﻴﻨﺎﻥ‬ ‫ﻭ ﺳﻴﻠﻰ ﻣﺤﻜﻤﻰ ﺑﺮ ﮔﻮﻧﻪ ﺩﻛﺘﺮ‬ ‫ﺳﻴﻤﻴﻦ ﺑﻬﺒﻬﺎﻧﻰ‪ /‬ﻋﻜﺲ ﺍﺯ ﻳﻐﻤﺎ‬ ‫ﺳﺮﻯ ﺑﻪ »ﻣﺠﻴﺪ« ﻣﻰﺯﻧﺪ‪ .‬ﺷﺎﺩﺭﻭﺍﻥ‬
‫ﻣﻰﻛﻨﺪ‪» :‬ﺑﺮﻭ ﻣﻨﻈﺮ ﺭﺍ ﺑﺒﻴﻦ‪ .‬ﻫﻤﻴﺸﻪ‬ ‫ﻭ ﻳﻘﻴﻦ ﺍﻭﻟﻴﻪ ﺭﺍ ﻣﻰﮔﻴﺮﺩ‪ .‬ﻭﻓﻰ ﺑﻪ‬ ‫ﺑﻪ ﺧﻮﺩ ﺑﻴﺎﻳﻨﺪ‪.‬‬ ‫ﻣﻰﺧﻮﺍﺑﺎﻧﺪ‪ .‬ﭘﺲ ﺍﻭ ﺭﺍ ﺍﺯ ﻣﺪﺭﺳﻪ ﺑﻴﺮﻭﻥ‬ ‫ﮔﻠﺮﻭﻳﻴﻤﺠﻴﺪ ﺭﻭﺷﻨﮕﺮ ﺩﺭ ﻧﺨﺴﺘﻴﻦ‬ ‫ﻣﺤﻤﺪ ﻋﺎﺻﻤﻰ ﺍﺩﻳﺐ ‪ ،‬ﺷﺎﻋﺮ‪ ،‬ﻧﻮﻳﺴﻨﺪﻩ‬
‫ﺩﻟﻢ ﻣﻰﺧﻮﺍﺳﺖ ﺩﻭﻧﻔﺮﻯ ﺑﻴﺎﻳﻴﻢ ﺗﻮ ﺭﺍ‬ ‫ﻳﻘﻴﻨﻰ ﻛﻪ ﺧﺎﺹ ﺷﺮﺍﻳﻂ ﺍﺧﺘﻨﺎﻕ ﻭ‬ ‫ﻭﻓﻰ ﺧﻮﺷﺒﺨﺘﺎﻧﻪ ﺑﺎ ﺍﻳﻦ ﺯﻥﻫﺎ‬ ‫ﻣﻰﻛﻨﻨﺪ ﻭ ﺍﻳﻦ ﺣﺎﺩﺛﻪ ﺍﺳﺖ ﻛﻪ ﺳﻴﻤﻴﻦ‬ ‫ﺑﺨﺶ ﺷﻤﺎﺭﻩ ‪ 78‬ﺑﺮﺭﺳﻰ ﻛﺘﺎﺏ ﺑﻪ‬ ‫ﻭ ﻣﺪﻳﺮ ﻓﺼﻠﻨﺎﻣﻪ ﺩﻭ ﺯﺑﺎﻧﻪ »ﻛﺎﻭﻩ« ﭼﻨﺪ‬
‫ﺑﺮﺩﺍﺭﻳﻢ ﺑﺮﻭﻳﻢ ﮔﺮﺩﺵ‪ .‬ﺣﺎﻻ ﻛﻪ ﻧﻴﺴﺘﻢ‬ ‫ﻓﺸﺎﺭ ﺍﺳﺖ ﻏﻠﺒﻪ ﻣﻰﻛﻨﺪ »ﺷﺎﻳﺪ ﻓﻜﺮ‬ ‫ﻛﺎﺭﻯ ﻧﺪﺍﺭﺩ‪ .‬ﻣﻰﺧﻮﺍﻫﺪ ﻣﺎ ﺭﺍ ﺑﺎ ﺧﻮﺩ‬ ‫ﺭﺍ ﺍﺯ ﺍﺩﺍﻣﻪ ﺗﺤﺼﻴﻞ ﻣﺎﻣﺎﺋﻰ ﺑﺎﺯ ﻣﻰﺩﺍﺭﺩ‪.‬‬ ‫ﺩﺭﮔﺬﺷﺖ ﺳﻴﻤﻴﻦ ﺑﻬﺒﻬﺎﻧﻰ ﻣﻰﭘﺮﺩﺍﺯﺩ‬ ‫ﺳﺎﻝ ﻗﺒﻞ ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﺑﺮﺍﻯ ﺑﺎﺯﺩﻳﺪ‬
‫ﺩﻭﻧﻔﺮﻯ ﺑﺮﻭﻳﺪ‪ .‬ﺑﺮﻭﻳﺪ ﭘﺎﺭﻙ ﻗﺪﻡ‬ ‫ﻛﺮﺩﻩﺍﻡ ﻛﻪ ﮔﻔﺘﻦ ﻓﺎﻳﺪﻩ ﻧﺪﺍﺭﺩ‪ .‬ﺁﺩﻡﻫﺎ‬ ‫ﺑﻪ ﺳﻔﺮﻯ ﺗﻤﺎﺷﺎﻳﻰ ﺑﺒﺮﺩ‪ .‬ﻣﻴﻞ ﻧﺪﺍﺭﻡ‬ ‫ﺳﻴﻤﺎﻯ ﺩﺭﺧﺸﺎﻥ ﺷﻌﺮ ﺳﻴﻤﻴﻦ‬ ‫ﻭ ﺯﻳﺮ ﻋﻨﻮﺍﻥ »ﺣﺮﻑ ﺍﻭﻝ« ﻣﻰﻧﻮﻳﺴﺪ‪:‬‬ ‫ﻛﻮﺗﺎﻫﻰ ﺍﺯ ﻣﺤﻞ ﺍﻗﺎﻣﺖ ﺧﻮﺩ‪ ،‬ﺁﻟﻤﺎﻥ‪،‬‬
‫ﻛﻪ ﻓﻘﻂ ﺑﺎ ﺗﻮﺿﻴﺢ ﺩﺍﺩﻥ ﺑﺮﺍﻯ ﻫﻢ ﻗﺎﺑﻞ‬ ‫ﻫﻤﺴﻔﺮﺍﻧﻢ ﺭﺍ ﺣﺘﻰ ﻳﻚ ﻟﺤﻈﻪ ﺗﺮﻙ‬ ‫ﺑﻬﺒﻬﺎﻧﻰ ﻣﺘﻌﻠﻖ ﺑﻪ ﺩﻭﺭﻩ ﺩﻭﻡ ﻛﺎﺭ‬ ‫ﻣﺠﻠﻪ ﺑﻪ ﺯﻳﺮ ﭼﺎپ ﺭﻓﺘﻪ ﺑﻮﺩ ﻛﻪ ﺧﺒﺮ‬
‫ﺑﺰﻧﻴﺪ‪«.‬‬ ‫ﻛﻨﻢ‪ .‬ﭼﻪ ﺧﻮﺏ ﻛﻪ ﺁﻳﺴﺎﻥ ﺩﻭﺳﺖ ﻭ‬ ‫ﺷﺎﻋﺮﺍﻧﻪ ﺍﻭﺳﺖ ﻛﻪ ﺍﺯ ﻧﻈﺮ ﺗﺎﺭﻳﺨﻰ ﺑﻪ‬ ‫ﭘﺮﻭﺍﺯ ﺳﻴﻤﻴﻦ ﺑﻬﺒﻬﺎﻧﻰ ﻋﺰﻳﺰ ﺑﻪ ﮔﻮﺵ‬ ‫ﺁﺗﺶ ﻧﻴﻢ ُﻣﺮﺩﻩ ﺭﺍ‬
‫ﺷﺎﻳﺪ ﻫﻤﻴﻦ ﺍﺷﺎﺭﻩ ﺧﻮﺍﻫﺮ‪ ،‬ﭘﺎﺭﻙ‬ ‫ﻗﺒﻮﻝ ﻧﻤﻰﺷﻮﻧﺪ‪«.‬‬ ‫ﺧﺎﻟﻪﺍﺵ ﺭﺍ ﺑﺎ ﻫﻢ ﺁﺷﻨﺎ ﻛﺮﺩ ﻭ ﺁﻧﻬﺎ ﺭﺍ‬ ‫ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺗﻌﻠﻖ ﺩﺍﺭﺩ‪ .‬ﺍﺯ ﺍﻳﻦ ﺗﺎﺭﻳﺦ ﺑﻪ‬ ‫ﻫﻤﮕﺎﻥ ﺭﺳﻴﺪ‪ .‬ﭘﺲ ﺑﺎﻳﺪ ﻣﺠﻠﻪ ﺍﺯ ﺯﻳﺮ‬ ‫ﺑﺎﺯ ﺑﻴﺎ! ﺑِ َﺪﻡ! ﺑِ َﺪﻡ!‬
‫ﺭﺍ ﺑﺮﺍﻯ ﻣﻨﻈﺮ ﻛﻪ ﺩﻳﮕﺮ ﺑﻪ ﻫﻴﭻ ﭼﻴﺰ‬ ‫»ﻗﺎﺑﻞ ﻓﻬﻢ ﻛﻪ ﻣﻰ ﺷﻮﻧﺪ« ﻭ‬ ‫ﺑﺎ ﻫﻢ ﺑﻪ ﺳﻔﺮ ﻓﺮﺳﺘﺎﺩ‪ .‬ﻳﻜﻰ ﻧﻴﻤﻰ ﺍﺯ‬ ‫ﺑﻌﺪ ﺍﺳﺖ ﻛﻪ ﺍﻭ ﺩﺭ ﻋﺎﻟﻢ ﺷﻌﺮ ﻭ ﺷﺎﻋﺮﻯ‬ ‫ﭼﺎپ ﺑﻴﺮﻭﻥ ﺁﻭﺭﺩﻩ ﻣﻰﺷﺪ ﻛﻪ ﺍﺯ ﺍﻳﻦ‬
‫ﺍﻃﻤﻴﻨﺎﻧﻰ ﻧﺪﺍﺭﺩ‪ ،‬ﺯﻳﺒﺎﺗﺮ ﻣﻰﻛﻨﺪ‪» :‬ﺟﺎﻯ‬ ‫ﺗﻤﺎﻡ ﺗﻼﺵ ﻧﻮﻳﺴﻨﺪﻩ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ‬ ‫ﺯﻧﺪﮔﻰﺍﺵ ﺭﺍ ﺩﺭ ﺳﻮﺋﺪ ﻭﺁﻥ ﻳﻜﻰ ﺩﺭ‬ ‫ﺩﺭﺧﺸﺸﻰ ﺟﺎﻭﺩﺍﻧﻪ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻭ‬ ‫)ﺭﺿﺎ ﻣﻘﺼﺪﻯ(‬
‫ﺧﻴﻠﻰ ﻗﺸﻨﮕﻰﺳﺖ‪ .‬ﺍﻯ ﻛﺎﺵ ﺭﻭﺯ ﺍﻭﻝ‬ ‫ﺷﺨﺼﻴﺖﻫﺎﻯ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﻗﺎﺑﻞ ﻓﻬﻢ‬ ‫ﺗﻬﺮﺍﻥ ﻭ ﺗﺒﺮﻳﺰ ﮔﺬﺭﺍﻧﺪﻩ‪ ،‬ﻳﻜﻰ ﭼﻪ ﮔﻮﺍﺭﺍ‬ ‫ﺧﻮﺷﺤﺎﻟﻢ ﺑﮕﻮﻳﻢ ﻛﻪ »ﮔﺰﻳﻨﻪ ﺍﺷﻌﺎﺭ« ﺍﻭ‬ ‫ﺑﺎﻧﻮﻯ ﻏﺰﻝ ﻣﻌﺎﺻﺮ ﻳﺎﺩ ﺷﻮﺩ‪.‬‬
‫ﺁﻣﺪﻩ ﺑﻮﺩﻳﻢ ﺍﻳﻨﺠﺎ« ﻭ ﺩﺭ ﭘﺎﻳﺎﻥ ﺍﺳﺐ‬ ‫ﻛﻨﺪ‪ .‬ﻫﻴﭻ ﻛﺲ ﺭﺍ ﺗﻮﺿﻴﺢ ﻧﻤﻰﺩﻫﺪ‬ ‫ﺧﻮﺍﻧﺪﻩ ﻭ ﻳﻜﻰ ﮔﺎﻧﺪﻯ‪ ،‬ﻳﻜﻰ ﺟﻨﮕﻴﺪﻩ‬ ‫ﺩﺭ ﺳﻠﺴﻠﻪ ﺍﻧﺘﺸﺎﺭﺍﺕ ﻣﺮﻭﺍﺭﻳﺪ ﭼﺎپ ﺷﺪﻩ‬ ‫ﻣﻦ ﺍﻳﻦ ﺍﻗﺒﺎﻝ ﺭﺍ ﺩﺍﺷﺘﻪﺍﻡ ﻛﻪ ﺑﺎ ﺳﻴﻤﻴﻦ‬ ‫ﭼﻬﺮﻩ ﺑﻪ ﭼﻬﺮﻩ ﮔﺸﺘﻪﺍﻡ‬
‫ﺧﺴﺘﻪ ﻭ ﻻﻏﺮ ﻛﻪ ﻣﺴﺎﻓﺮﺍﻥﺍﺵ ﺭﺍ ﺧﺎﻟﻰ‬ ‫ﻭ ﺩﻟﻴﻠﻰ ﺑﺮﺍﻯ ﺩﻓﺎﻉ ﺍﺯ ﺁﻧﺎﻥ ﻧﻤﻰﺑﻴﻨﺪ‪.‬‬ ‫ﻭ ﻓﺮﺍﺭ ﻛﺮﺩﻩ ﻭ ﺁﻥ ﺩﻳﮕﺮﻯ ﻓﺮﺍﺭ ﻛﺮﺩﻩ‬ ‫ﻛﻪ ﺗﺎ ‪ 1390‬ﺑﻪ ﭼﺎپ ﺷﺸﻢ ﺭﺳﻴﺪ‪...‬‬ ‫ﻋﺰﻳﺰ ﺩﺭ ﺩﺍﻧﺸﻜﺪﻩ ﺣﻘﻮﻕ ﺩﺍﻧﺸﮕﺎﻩ ﺗﻬﺮﺍﻥ‬ ‫ﺑﺎ ﻧ َﻔﺲ ﺳﭙﻴﺪﻩ ﺩﻡ‪.‬‬
‫ﻛﺮﺩﻩ ﺳﺒﻚﺑﺎﺭ ﺍﺯ ﻛﻨﺎﺭﺷﺎﻥ ﺭﺩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻓﻘﻂ ﺩﺭ ﺍﻳﻦ ﺩﻧﻴﺎﻯ ﻳﻚ ﺻﺪﺍﻳﻰ ﻗﺎﺑﻞ‬ ‫ﭼﻮﻥ ﺗﻮﺍﻥ ﺟﻨﮕﻴﺪﻥ ﻧﺪﺍﺷﺘﻪ ﻭ ﺣﺎﻻ‬ ‫ﻫﻤﻜﻼﺳﻰ ﺑﺎﺷﻢ‪ .‬ﺳﺎﻝﻫﺎﻯ ‪1338‬ﺗﺎ‬
‫ﻓﻬﻢﺷﺎﻥ ﻣﻰﻛﻨﺪ‪ .‬ﻧﻴﺎﺯﻯ ﺑﻪ ﭘﺎﻳﺎﻥ‬ ‫ﻳﻜﻰ ﺁﻣﺪﻩ ﺗﺎ ﺁﻥ ﺩﻳﮕﺮﻯ ﺭﺍ ﺑﺎ ﺧﻮﺩ‬ ‫ﭘﺮﺩﻩ ﺑﻪ ﭘﺮﺩﻩ‪ ،‬ﻣﻰ َﺩ َﺭﻡ‬
‫ﺑﻪ ﺳﻔﺮﻯ ﺑﺒﺮﺩ ﻛﻪ ﺩﺭ ﻃﻰ ﺁﻥ ﻣﻌﻠﻮﻡ‬ ‫ﻟﺤﻈﻪﻯ ﺍﺿﻄﺮﺍﺏ ﺭﺍ‪.‬‬
‫ﻣﻰﺷﻮﺩ ﺩﻭﻣﻰ ﺑﻴﺶ ﺍﺯ ﺍﻭﻟﻰ ﻣﺸﺘﺎﻕﺍﺵ‬
‫ﻣﺎﻩ ‪ ،‬ﺯ ﭘﻴ ِﺶ ﭼﺸﻢ ﻣﻦ‬
‫ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺩﻝﻧﮕﺮﺍﻥ‪ ،‬ﻋﺒﻮﺭ ﻛﺮﺩ‪.‬‬
‫ﻭﻓﻰ ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺏ ﻧﻘﺶ ﺍﻭﻝ ﻧﺪﺍﺭﺩ‪.‬‬
‫ﻫﻤﻪ ﺷﺨﺼﻴﺖﻫﺎ ﺑﻪ ﻳﻚ ﺍﻧﺪﺍﺯﻩ ﻣﻮﺭﺩ‬ ‫ﺁﻩ ‪ ،‬ﺩﺭﻭ ِﻥ ﺩﻓﺘﺮﻡ‬
‫ﺗﻮﺟﻪ ﻧﻮﻳﺴﻨﺪﻩ ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ‪ .‬ﻫﻴﭻ ﻛﺪﺍﻡ‬ ‫ﺷﺎﺩﻯ ِ ﺯﺧﻢ ﺧﻮﺭﺩﻩ ﺭﺍ‬
‫ﺩﺭ ﺳﺎﻳﻪ ﺁﻥ ﻳﻜﻰ ﻧﻴﺴﺖ ﻭ ﻫﻤﻪ‬ ‫ﺻﻔﺤﻪ ﺑﻪ ﺻﻔﺤﻪ‪ ،‬ﺩﻭﺭ ﻛﺮﺩ‪.‬‬
‫ﺯﻳﺮ ﺳﺎﻳﻪ ﮔﺬﺷﺘﻪﺍﻯ ﻧﺸﺴﺘﻪﺍﻧﺪ ﻛﻪ‬
‫ﺍﻓﺘﺎﺩﻩ ﺭﻭﻯ ﺯﻧﺪﮔﻰﺷﺎﻥ‪ .‬ﮔﺬﺷﺘﻪﺍﻯ‬ ‫ﭘﺮﺩﻩ ‪ ،‬ﻛﻨﺎﺭ ﻣﻰﺯﻧﻢ‬
‫ﻛﻪ ﻧﻮﻳﺴﻨﺪﻩ ﻓﻘﻂ ﮔﺬﺭﺍ ﺑﻪ ﺁﻥ ﺍﺷﺎﺭﻩ‬ ‫ﺍﺯ ُﮔ ِﻞ ﭘُﺸ ِﺖ ﭘﻨﺠﺮﻩ‪.‬‬
‫ﻣﻰﻛﻨﺪ ﻭ ﻫﻤﻴﻦ ﻫﻢ ﻛﺎﻓﻴﺴﺖ‪ .‬ﺍﻳﻦ‬
‫ﮔﺬﺷﺘﻪ ﺭﺍ ﻫﻤﻪ ﻣﻰﺷﻨﺎﺳﻴﻢ ﻭ ﺑﺎ ﺁﻥ‬ ‫ﺯﺭﺩﺗﺮﻳﻦ ﺗﺮﺍﻧﻪ ﺭﺍ‬
‫ﺯﻧﺪﮔﻰ ﻛﺮﺩﻩﺍﻳﻢ‪ .‬ﮔﺬﺷﺘﻪﺍﻯ ﻛﻪ ﻣﻨﻈﺮ‬ ‫ﻣﻰﺷﻨﻮﻡ ﺯ ﺣﻨﺠﺮﻩ‪.‬‬
‫ﺑﭽﻪ ﺧﺮﺩﺳﺎﻝﺍﺵ ﺭﺍ ﺑﺮ ﻣﻰﺩﺍﺭﺩ ﻭ ﺍﺯ‬
‫ﺩﺳﺖﺍﺵ ﺑﻪ ﺳﻮﺋﺪ ﭘﻨﺎﻩ ﻣﻰﺑﺮﺩ ﺗﺎ ﺑﺎ‬

‫ﺍﻫﻞ ﺗﺌﺎﺗﺮ ﺑﺮ ﻣﺰﺍﺭ ﻓﺮﻫﺎﺩ ﻣﺠﺪﺁﺑﺎﺩﻯ‬ ‫ﺗُﻨﺪ ﻭ ﻛﻮﺗﺎﻩ‪ .... :‬ﻣﺠﻴﺪ ﺷﻤﺲ‬

‫ﺭﻭﺯ ﺷﻨﺒﻪ ‪ 26‬ﺍﺭﺩﻳﺒﻬﺸﺖ )‪ 16‬ﻣﻪ ‪ (2015‬ﺩﻩ ﻫﺎ ﻫﻨﺮﻣﻨﺪ‬ ‫ﺍﻟﻨﻈﺎﻓﺖ )ﻏﻴﺮﺍﻟﻤﻌﻄﺮﺍﺕ( ﻣﻦ ﺍﻻﻳﻤﺎﻥ‬
‫ﺗﺌﺎﺗﺮ ﺍﺯ ﻛﺸﻮﺭﻫﺎﻯ ﺍﺭﻭﭘﺎﻳﻰ ﻭ ﻛﺎﻧﺎﺩﺍ ﺩﺭ ﺷﻬﺮ ﻓﺮﺍﻧﻜﻔﻮﺭﺕ‬ ‫ﻫﺮ ﭼﻪ ﺯﻥ ﺑﺪﺑﻮﺗﺮ ﻧﺰﺩ ﺧﺪﺍ ﻧﺰﺩﻳﻜﺘﺮ‬
‫ﮔﺮﺩ ﻫﻢ ﺁﻣﺪﻧﺪ ﺗﺎ ﺍﺯ ﻓﺮﻫﺎﺩ ﻣﺠﺪﺁﺑﺎﺩﻯ ﻫﻨﺮﻣﻨﺪ ﭘﻴﺶ‬
‫ﻛﺴﻮﺕ ﺗﺌﺎﺗﺮ ﺗﻘﺪﻳﺮ ﻛﻨﻨﺪ‪.‬ﻓﺮﻫﺎﺩ ﻣﺠﺪﺁﺑﺎﺩﻯ ﻣﺘﻮﻟﺪ ‪10‬‬
‫ﺍﺭﺩﻳﺒﻬﺸﺖ ‪ 1325‬ﺍﺯ ﭘﻴﺶﻛﺴﻮﺗﺎﻥ ﻫﻨﺮ ﺗﺌﺎﺗﺮ ﻭ ﻧﻤﺎﻳﺶ‬
‫ﺭﻭﺯ ‪ 15‬ﻣﺮﺩﺍﺩ ‪ 1393‬ﭘﺲ ﺍﺯ ﻳﻚ ﺑﻴﻤﺎﺭﻯ ﻛﻮﺗﺎﻩ ﻣﺪﺕ‬
‫ﺩﺭ ﺑﻴﻤﺎﺭﺳﺘﺎﻧﻰ ﺩﺭ ﻓﺮﺍﻧﻜﻔﻮﺭﺕ ﺩﺭﮔﺬﺷﺖ ﻭ ﺩﺭ ﻫﻤﺎﻥ‬

‫ﺷﻬﺮ ﺑﻪ ﺧﺎﻙ ﺳﭙﺮﺩﻩ ﺷﺪ‪.‬‬
‫ﻣﺠﺪﺁﺑﺎﺩﻯ ﺩﺭ ﺳﺎﻝ ‪ 1987‬ﺑﻪ ﺁﻟﻤﺎﻥ ﻣﻬﺎﺟﺮﺕ ﻛﺮﺩﻩ‬
‫ﺑﻮﺩ‪ .‬ﻭﻯ ﻋﻼﻭﻩ ﺑﺮ ﺗﺌﺎﺗﺮ ﻭ ﺳﻴﻨﻤﺎ‪ ،‬ﻓﻌﺎﻟﻴﺖ ﻣﻄﺒﻮﻋﺎﺗﻰ‬
‫ﺩﺍﺷﺖ ﻭ ﻣﺠﻠﻪ »ﺭﻧﮕﻴﻦ ﻛﻤﺎﻥ« ﺭﺍ ﻣﻨﺘﺸﺮ ﻣﻰﻛﺮﺩ‪.‬‬

‫ﺍﺧﺘﺮ ﻗﺎﺳﻤﻰ‬

‫ﭼﻬﺮﻩ ﺑﻪ ﭼﻬﺮﻩ ﮔﺸﺘﻪﺍﻡ‬
‫ﺑﺎ ﻧَﻔﺲ ﺳﭙﻴﺪﻩ ﺩﻡ‪.‬‬

‫ﺁﺗﺶ ﻧﻴﻢ ُﻣﺮﺩﻩ ﺭﺍ‬
‫ﺑﺎﺯ ﺑﻴﺎ! ﺑِ َﺪﻡ! ﺑ َﺪﻡ !‬