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‫ﺟﻤﻌﻪ ‪ 29‬ژﺍﻧﻮﻳﻪ ﺗﺎ ﭘﻨﺠﺸﻨﺒﻪ ‪ 4‬ﻓﻮﺭﻳﻪ ‪2016‬‬

‫ﺁﻧﺎﺭﺷﻴﺴﺖ ﻋﻠﻴﻪ ﺁﻧﺎﺭﺷﻴﺴﺖ‬                                                                                                ‫ﭘﺮﻭژﻩﻯ »ﺯﻧﺠﻴﺮ ﺻﻠﺢ«‪ 13:‬ﻣﺠﺴﻤﻪ ﺩﺭ‪ 13‬ﺷﻬﺮ ﺟﻬﺎﻥ‬

‫ﻧﻘﺪﻯ ﺑﺮ ﺭﻣﺎﻥ »ﺍﺛﺮ ﺍﻧﮕﺸﺖ« ﺍﺯ ﻣﺤﻤﺪﺭﺋﻮﻑ ﻣﺮﺍﺩﻯ‬                                                                                                                                                              ‫ﻛﺘﺎﻳﻮﻥ ﺣﻼﺟﺎﻥ ‪ -‬ﺩﺍﻧﺸﮕﺎﻩ ﺩﻭ ﻓﻴﻦ‬
                                                                                                                                                                                                        ‫ﭘﺎﺭﻳﺲ ﺩﺭ ‪ 14‬ژﺍﻧﻮﻳﻪ ﺿﻴﺎﻓﺘﻰ ﺭﺍ‬
‫ﻧﺸﺎﻧﻪﻯ ﺑﻴﻤﺎﺭﻯ ﺍﺟﺘﻤﺎﻉ ﺍﺳﺖ ﻛﻪ ﺩﺭ‬          ‫ﺻﻔﺤﺎﺕ ﻣﺎ ﺷﺎﻫﺪ ﺗﻀﺎﺩﻯ ﺑﻴﻦ ﺩﻧﻴﺎﻯ‬          ‫ﺁﻧﺎ ﺁﺭﻳﺎﻥ ‪ -‬ﺭﻣﺎ ِﻥ »ﺍﺛﺮ ﺍﻧﮕﺸﺖ«‬         ‫ﮔﺲ ﻧﻴﺰ ﺩﺭ ﺍﻳﻦ ﻣﺮﺍﺳﻢ ﺑﺎ ﺻﺤﺒﺖ‬                      ‫ﻫﻨﺮﻣﻨﺪ ﺍﻳﺮﺍﻧﻰ ﺍﻧﺠﺎﻡ ﻣﻰﺷﻮﺩ‪.‬‬       ‫ﺑﻪ ﺍﻓﺘﺨﺎﺭ ﮔﺲ ) ﻗﺎﺳﻢ ﺭﻭﺯ ﺧﻮﺵ(‬
‫ﺍﻳﻦ ﺭﻣﺎﻥ ﺑﻪ ﺧﻮﺑﻰ ﻭ ﺑﺎ ﺻﺮﺍﺣﺖ ﺑﻪ ﺁﻥ‬       ‫ﺫﻫﻨﻰ ﻭ ﻋﻴﻨﻰ ﺍﻭ ﻫﺴﺘﻴﻢ‪ .‬ﮔﻮﻳﺎ ﻧﻮﻳﺴﻨﺪﻩ‬     ‫ﻧﻮﺷﺘﻪﻯ ﻣﺤﻤﺪ ﺭﺋﻮﻑ ﻣﺮﺍﺩﻯ‪ ،‬ﻧﻮﻳﺴﻨﺪﻩ‪،‬‬       ‫ﻛﻮﺗﺎﻫﻰ ﻭﻇﻴﻔﻪ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ‬           ‫ﺩﺭ ﻣﺮﺍﺳﻢ ‪ 14‬ژﺍﻧﻮﻳﻪ‪ ،‬ﺭﺋﻴﺲ ﺩﺍﻧﺸﮕﺎﻩ‬        ‫ﻫﻨﺮﻣﻨ ِﺪ ﻧﻘﺎﺵ ﻭ ﻣﺠﺴﻤﻪﺳﺎﺯ ﺍﻳﺮﺍﻧﻰ ﺩﺭ‬
                                        ‫ﻣﻘﺼﺮ ﻣﺸﻜﻼﺕ ﺷﺨﺼﻴﺖ ﺩﺍﺳﺘﺎﻥ‬                ‫ﭘﮋﻭﻫﺸﮕﺮﻭﻣﺘﺮﺟﻢ ُﻛﺮﺩﺑﻪﺗﺎﺯﮔﻰﺍﺯﺳﻮﻯ‬         ‫ﻫﻨﺮﻣﻨﺪ ﻳﺎﺩﺁﻭﺭ ﺷﺪ ﻭ ﺗﺎﻛﻴﺪ ﻛﺮﺩ ﻳﻚ‬           ‫ﺩﻭﻓﻴﻦ )ﻟﻮﺭﺍﻥ ﺑﭻ( ﺿﻤﻦ ﻗﺪﺭﺍﻧﻰ ﺍﺯ‬
                ‫ﭘﺮﺩﺍﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬        ‫ﺭﺍ‪ ،‬ﺍﺟﺘﻤﺎﻋﻰ ﻣﻰﺩﺍﻧﺪ ﻛﻪ ﻗﺎﺩﺭ ﻧﻴﺴﺖ‬        ‫ﻧﺸﺮ ﻣﻬﺮﻯ ﺩﺭ ﻟﻨﺪﻥ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬        ‫ﻫﻨﺮﻣﻨﺪ ﻧﻤﻰﺗﻮﺍﻧﺪ ﭼﺸﻢ ﺧﻮﺩ ﺭﺍ ﺑﻪ‬             ‫ﺯﺣﻤﺎﺕ ﮔﺲ‪ ،‬ﺧﺎﻃﺮﻧﺸﺎﻥ ﻛﺮﺩ ﻛﻪ‬                      ‫ﺍﻳﻦ ﺩﺍﻧﺸﮕﺎﻩ ﺗﺮﺗﻴﺐ ﺩﺍﺩﻩ ﺑﻮﺩ‪.‬‬
‫ﺁﺭﺍﻡ ﻫﻮﺭﺍﻣﻰ ﺟﻮﺍﻥ ﻣﺒﺎﺭﺯ ﻛﺮﺩ ﺑﻪ‬           ‫ﺁﺭﺯﻭﻫﺎﻯ ﻛﻮﭼﻚ ﺍﻓﺮﺍﺩ ﺧﻮﺩ ﺭﺍ ﺑﺮﺁﻭﺭﺩﻩ‬      ‫ﺍﺛﺮ ﺍﻧﮕﺸﺘﺪﺭ ﺍﻳﻦ ﺭﻣﺎﻥ ﻧﻜﺎﺕ ﻗﺎﺑﻞ‬         ‫ﺭﻭﻯ ﺑﻰﻋﺪﺍﻟﺘﻰ ﻭ ﻧﺎﺑﺮﺍﺑﺮﻯ ﺑﺒﻨﺪﺩ ﻭ‬           ‫ﺍﻣﺮﻭﺯ ﺑﻴﺶ ﺍﺯ ﻫﺮ ﺯﻣﺎﻥ ﺩﻳﮕﺮﻯ ﻣﺎ ﺑﻪ‬        ‫ﺩﺭ ﺍﻳﻦ ﻣﺮﺍﺳﻢ ﺳﻪ ﺗﺎﺑﻠﻮ ﺍﺯ ﮔﺲ ﺩﺭ‬
‫ﺯﻭﺩﻯ ﺑﻪ ﻓﺮﺩﻯ ﺗﺒﺪﻳﻞ ﻣﻰﺷﻮﺩ ﻛﻪ ﺑﻪ‬                                                 ‫ﺗﻮﺟﻬﻰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﭘﺮﺩﺍﺧﺘﻦ ﺑﻪ‬          ‫ﺑﺎﻳﺪ ﺑﻪ ﻫﺮ ﺷﻜﻠﻰ ﻛﻪ ﻣﻰﺗﻮﺍﻧﻴﻢ ﻫﻤﻪ‬           ‫ﺍﻗﺪﺍﻣﺎﺗﻰ ﺍﻳﻦ ﮔﻮﻧﻪ ﺑﺮﺍﻯ ﻫﻤﺒﺴﺘﮕﻰ‬          ‫ﺳﺎﻟﻦ ﺍﺻﻠﻰ ﺍﻳﻦ ﺩﺍﻧﺸﮕﺎﻩ ﻧﻤﺎﻳﺶ ﺩﺍﺩﻩ‬
‫ﮔﻔﺘﻪﻯ ﻧﻮﻳﺴﻨﺪﻩ‪ :‬ﻧﺴﺒﺖ ﺑﻪ ﺟﺮﻳﺎﻧﺎﺕ‬                                      ‫ﻛﻨﺪ‪:‬‬       ‫ﺁﻥ ﺑﺮﺍﻯ ﺁﻧﻬﺎﻳﻰ ﻛﻪ ﺭﻣﺎﻥ ﺭﺍ ﺧﻮﺍﻧﺪﻩﺍﻧﺪ‬    ‫ﺩﺳﺖ ﺑﻪ ﺩﺳﺖ ﻫﻢ ﺩﺍﺩﻩ ﻭ ﺑﺮﺍﻯ ﺑﻬﺒﻮﺩ‬           ‫ﻭ ﺍﻳﺠﺎﺩ ﺻﻠﺢ ﻭ ﺩﻭﺳﺘﻰ ﺑﻴﻦ ﺍﻧﺴﺎﻥﻫﺎ‬         ‫ﺷﺪ‪ .‬ﻫﻤﭽﻨﻴﻦ ‪ 13‬ﺗﺎﺑﻠﻮﻯ ﻛﻮﭼﻚ ﺍﺯ‬
‫ﺳﻴﺎﺳﻰ ﺣﺲ ﺧﺎﺻﻰ ﻧﺪﺍﺷﺖ‪ ،‬ﺩﺭ ﻭﺍﻗﻊ‬            ‫ﺁﺭﺍﻡ ﮔﻔﺖ‪» :‬ﻭﻗﺘﻰ ﻋﺸﻖ ﺑﻪ ﺁﺯﺍﺩﻯ‬           ‫ﻭ ﻳﺎ ﻛﺴﺎﻧﻰ ﻛﻪ ﻭﺳﻮﺳﻪ ﻣﻰﺷﻮﻧﺪ ﺁﻥ ﺭﺍ‬       ‫ﺍﻭﺿﺎﻉ ﺟﻬﺎﻥ ﭼﺎﺭﻩ ﺑﻴﺎﻧﺪﻳﺸﻴﻢ ﻫﺮ ﻛﺲ‬           ‫ﻧﻴﺎﺯ ﺩﺍﺭﻳﻢ‪ .‬ﻭﻯ ﻫﻤﭽﻨﻴﻦ ﺑﺎ ﺍﺷﺎﺭﻩ ﺑﻪ‬       ‫ﻃﺮﺍﺣﻰﻫﺎﻯ ﻭﻯ ﺍﺯ ﻃﺮﻑ ﺍﻳﻦ ﺩﺍﻧﺸﮕﺎﻩ‬
‫ﻫﻤﻪﻯ ﺁﻧﻬﺎ ﺭﺍ ﻭﺭﺷﻜﺴﺘﻪﻫﺎﻯ ﺳﻴﺎﺳﻰ‬           ‫ﺩﺍﺷﺘﻢ ﺳﺮ ﺍﺯ ﺯﻧﺪﺍﻥ ﻭ ﺑﺪﺑﺨﺘﻰ ﺩﺭ‬                                                 ‫ﺑﻪ ﺳﻬﻢ ﺧﻮﺩ‪ ،‬ﻭ ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ ﻭﻇﻴﻔﻪ‬           ‫ﺍﺗﻔﺎﻗﺎﺕ ﻭﺣﺸﺘﻨﺎﻛﻰ ﻛﻪ ﺳﺎﻝ ﮔﺬﺷﺘﻪ‬           ‫ﺗﻘﺪﻳﻢ ﺷﺪ ﺑﻪ ﻧﻤﺎﻳﻨﺪﮔﺎﻥ ﻛﻤﭙﺎﻧﻰﻫﺎﻯ‬
‫ﻣﻰﺩﺍﻧﺴﺖ ﻛﻪ ﺩﺭ ﺗﻮﻫﻢ ﺯﻣﺎﻧﻰ ﺧﺎﺹ‬            ‫ﺁﻭﺭﺩﻡ! ﺑﻌﺪ ﻋﺸﻖ ﺑﻪ ﺯﻧﺪﮔﻰ ﭘﻴﺪﺍ ﻛﺮﺩﻡ‬         ‫ﺑﺨﻮﺍﻧﻨﺪ ﺷﺎﻳﺪ ﺧﺎﻟﻰ ﺍﺯ ﻓﺎﻳﺪﻩ ﻧﺒﺎﺷﺪ‪.‬‬                                             ‫ﺩﺭ ﭘﺎﺭﻳﺲ ﺍﻓﺘﺎﺩ ﺍﺯ ﺟﻤﻠﻪ ﺗﺮﻭﺭ‬             ‫ﺑﺰﺭگ ﻓﺮﺍﻧﺴﻮﻯ ﻣﺜﻞ‪ :‬ﺑﻴﻮﻙ‪ ، sa‬ﺑﺎﻧﻚ‬
‫ﮔﻴﺮ ﺍﻓﺘﺎﺩﻩﺍﻧﺪ ﻭ ﻓﻘﻂ ﻣﺮگ‪ ،‬ﺁﻧﻬﺎ ﺭﺍ ﺍﺯ‬     ‫ﻭ ﺑﻪ ﺍﻳﻨﺠﺎ ﺭﺳﻴﺪﻡ‪ .‬ﺗﻮﻯ ﺍﻳﻦ ﻣﻤﻠﻜﺖ ﻧﻪ‬     ‫»ﺍﺛﺮ ﺍﻧﮕﺸﺖ« ﺭﻣﺎﻧﻰ ﻣﺘﻔﺎﻭﺕ ﺑﺎ‬              ‫ﻫﻨﺮﻣﻨﺪﺍﻥ ﭼﻪ ﺑﺴﺎ ﺳﻨﮕﻴﻦﺗﺮ ﺍﺳﺖ‪.‬‬            ‫ﻛﺎﺭﺗﻮﻧﻴﺴﺖﻫﺎﻯ ﻓﺮﺍﻧﺴﻮﻯ ﻭ ﻛﺸﺘﻦ ﻭ‬           ‫ﭘﺎﺭﻳﺲ ‪ ، BNP‬ﺳﻮﺳﻴﻴﺘﻪ ﺟﻨﺮﺍﻝ ﻭ‬
‫ﺍﻳﻦ ﺗﻮﻫﻢ ﻧﺠﺎﺕ ﻣﻰﺩﻫﺪ‪ .‬ﺣﺘﻰ ﻓﺮﺍﺗﺮ‬                                                 ‫ﻓﺮﻡﺑﻨﺪﻯ ﺧﺎﺹ ﺍﺳﺖ‪ .‬ﻧﻮﻳﺴﻨﺪﻩ‪،‬‬              ‫ﮔﺲ ﻫﻤﭽﻨﻴﻦ ﺳﺎﻝ ﺟﺪﻳﺪ ﻣﻴﻼﺩﻯ‬                  ‫ﺁﺳﻴﺐ ﺑﻴﺶ ﺍﺯ ﺳﻴﺼﺪ ﺗﻦ ﺍﺯ ﺷﻬﺮﻭﻧﺪﺍﻥ‬         ‫ﭼﻨﺪ ﻛﻤﭙﺎﻧﻰ ﺩﻳﮕﺮ ﻛﻪ ﻗﺮﺍﺭ ﺍﺳﺖ ﺍﺯ‬
‫ﺭﻓﺘﻪ ﻭ ﺳﺎﺯﻣﺎﻥ ﻣﺠﺎﻫﺪﻳﻦ ﺭﺍ ﺑﻪ ﺍﺑﺘﺬﺍﻝ‬          ‫ﺯﻧﺪﮔﻰ ﻗﺪﺭ ﺩﺍﺭﻩ ﻧﻪ ﺁﺯﺍﺩﻯ ﺍﺭﺯﺵ«!‬     ‫ﺍﻧﮕﺸﺘﺎﻥ ﺩﺳﺖ ﺭﺍ ﺑﻪ ﺷﻮﺭﺵ ﻋﻠﻴﻪ ﻫﻤﻪ‬        ‫ﺭﺍ ﺳﺎﻟﻰ ﺑﻪ ﺩﻭﺭ ﺍﺯ ﺟﻨﮓ‪ ،‬ﺁﺷﻮﺏ‪،‬‬              ‫ﻋﺎﺩﻯ ﺩﺭ ﺳﻴﺰﺩﻫﻢ ﻧﻮﺍﻣﺒﺮ ‪ 2015‬ﻭ‬            ‫ﭘﺮﻭژﻩﻯ »ﺯﻧﺠﻴﺮ ﺻﻠﺢ« ﺣﻤﺎﻳﺖ ﻭ‬
‫ﻣﻰﻛﺸﺎﻧﺪ ﻭ ﺍﺯ ﺁﻧﻬﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﻓﺮﻗﻪ ﻭ‬       ‫ﻭ ﺑﻪ ﺩﻟﻴﻞ ﻫﻤﻴﻦ ﺍﺟﺘﻤﺎﻉ ﻧﺎﺍﻣﻴﺪ‬           ‫ﭼﻴﺰ ﺑﻪ ﻛﺎﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ ،‬ﺷﻮﺭﺵ ﻋﻠﻴﻪ‬        ‫ﻧﺎﺑﺮﺍﺑﺮﻯ ﻭ ﺯﻳﺮ ﭘﺎ ﮔﺬﺍﺷﺘﻦ ﺣﻘﻮﻕ‬             ‫ﻫﻤﻴﻦ ﻃﻮﺭ ﺷﺮﺍﻳﻂ ﻭﺧﻴﻢ ﭘﻨﺎﻫﻨﺪﻩﻫﺎ‬
‫ﻳﻚ ﺟﺮﻳﺎﻥ ﺿﺪ ﺑﺸﺮﻯ ﻧﺎﻡ ﻣﻰﺑﺮﺩ ﻭ‬            ‫ﻛﻨﻨﺪﻩ ﺍﺳﺖ ﻛﻪ ﺷﺨﺼﻴﺖ ﺩﺍﺳﺘﺎﻥ ﺑﻪ‬           ‫ﺍﺑﺘﺬﺍﻝ‪ ،‬ﺷﻮﺭﺵ ﻋﻠﻴﻪ ﺍﺧﻼﻕ‪ ،‬ﺍﺟﺘﻤﺎﻉ ﻭ‬                                                 ‫ﺑﻪ ﻭﻳﮋﻩ ﭘﻨﺎﻫﻨﺪﮔﺎﻥ ﺳﻮﺭﻳﻪ ﻛﻪ ﺍﺯ‬                             ‫ﭘﺸﺘﻴﺒﺎﻧﻰ ﺑﻜﻨﻨﺪ‪.‬‬
‫ﺑﻪ ﻛﻨﺎﻳﻪ ﭼﭙﻰﻫﺎ ﺭﺍ ﺑﻪ ﺧﺎﻃﺮ ﺍﻳﻨﻜﻪ ﺯﻳﺮ‬     ‫ﺳﻤﺖ ﻧﻮﻋﻰ ﺧﻮﺩﻭﻳﺮﺍﻧﻰ ﻭ ﺷﻮﺭﺵ ﻋﻠﻴﻪ‬         ‫ﺳﻴﺎﺳﺖ‪ .‬ﺍﻭ ﺍﺯ ﻧﻮﻋﻰ ﻟﺬﺕﮔﺮﺍﻳﻰ ﺟﻨﺴﻰ‬                          ‫ﺍﻧﺴﺎﻧﻰ ﺁﺭﺯﻭ ﻛﺮﺩ‪.‬‬        ‫ﺟﻨﮓ ﻣﻰﮔﺮﻳﺰﻧﺪ‪ ،‬ﻭ ﻧﻴﺰ ﻭﺿﻌﻴﺖ ﻭﺧﻴﻢ‬          ‫ﺯﻧﺠﻴﺮ ﺻﻠﺢ‪ ،‬ﻧﺎﻡ ﭘﺮﻭژﻩﺍﻯ ﺍﺳﺖ ﻛﻪ‬
‫ﺳﺎﻳﻪﻯ ﺍﺳﺘﺎﻟﻴﻦ ﺑﻮﺩﻩﺍﻧﺪ ﺑﻪ ﺑﺎﺩ ﺍﻧﺘﻘﺎﺩ‬                                            ‫ﺩﺭ ﻋﻴﻦ ﭘﻮﭼﻰ ﻭ ﺑﻴﻬﻮﺩﮔﻰ ﺑﻬﺮﻩ ﺑﺮﺩﻩ‬        ‫ﺩﺭ ﻃﻮﻝ ﺑﺮﻧﺎﻣﻪ ﻣﻬﻤﺎﻧﺎﻥ ﭘﺮﭼﻢﻫﺎﻯ‬             ‫ﺣﻘﻮﻕ ﺑﺸﺮ ﺩﺭ ﺧﺎﻭﺭﻣﻴﺎﻧﻪ‪ ،‬ﺗﺎﻛﻴﺪ ﻛﺮﺩ‬        ‫ﻗﺮﺍﺭ ﺍﺳﺖ ﺩﺭ ﺁﻥ ‪ 13‬ﻣﺠﺴﻤﻪ ﺳﺎﺧﺘﻪ‬
‫ﻣﻰﮔﻴﺮﺩ ﻃﻮﺭﻯ ﻛﻪ ﻭﻗﺘﻰ ﻣﻰﺧﻮﺍﻫﺪ‬                      ‫ﺧﻮﻳﺶ ﺳﻮﻕ ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ‪.‬‬          ‫ﺍﺳﺖ ﺗﺎ ﺑﺮﺍﻯ ﻗﻬﺮﻣﺎﻥ ﺩﺍﺳﺘﺎﻥ ﺭﺍﻩ‬          ‫ﻛﻮﭼﻜﻰ ﺭﺍ ﻛﻪ ﻧﺎﻡ ﺻﻠﺢ ﺑﺮ ﺁﻧﻬﺎ ﻧﻘﺶ‬           ‫ﻛﻪ ﻫﻤﻪ ﺍﻳﻨﻬﺎ ﻣﺎ ﺭﺍ ﺑﺮ ﺁﻥ ﻣﻰﺩﺍﺭﺩ ﻛﻪ‬      ‫ﮔﺲ ﺩﺭ ‪ 13‬ﺷﻬﺮ ﺟﻬﺎﻥ ﻧﺼﺐ ﺷﻮﺩ‪.‬‬
‫ﺑﺮﺍﻯ ﺷﺎﻫﺪ ﻃﻼﻕﺍﺵ ﭼﻬﺎﺭ ﻧﻔﺮ ﺑﻴﺎﻭﺭﺩ‬         ‫ﺁﺭﺍﻡ ﻣﺎﻧﻨﺪ ﻓﺮﺩﻯ ﻛﻪ ﺩﭼﺎﺭ ﺍﻳﻦ ﺗﻮﻫﻢ‬       ‫ﮔﺮﻳﺰﻯ ﺑﺮﺍﻯ ﺯﻳﺴﺘﻦ ﺩﺭ ﺟﻬﺎﻧﻰ ﺑﻴﺎﺑﺪ‬        ‫ﺑﺴﺘﻪ ﺑﻮﺩ ﺩﺭ ﺣﺮﻛﺘﻰ ﻧﻤﺎﺩﻳﻦ ﺩﺭ ﺣﺎﻟﻰ‬          ‫ﺑﻴﺶ ﺍﺯ ﮔﺬﺷﺘﻪ ﻓﻜﺮ ﻛﺮﺩﻩ ﻭ ﺍﺯ ﻫﺮ ﮔﻮﻧﻪ‬      ‫ﺷﻬﺮﻫﺎﻳﻰ ﻣﺜﻞ ﺑﺮﻟﻴﻦ‪ ،‬ﺑﺮﻭﻛﺴﻞ‪،‬‬
‫ﻛﺴﻰ ﻧﻤﻰﺁﻳﺪ ﻭ ﺍﻭ ﭘﻨﺎﻩ ﺑﻪ ﻛﺎﺭﮔﺮﺍﻧﻰ‬        ‫ﺗﺮﺳﻨﺎﻙ ﺍﺳﺖ ﻛﻪ ﺍﻋﺪﺍﻡﺍﺵ ﻧﺰﺩﻳﻚ ﺍﺳﺖ‬        ‫ﻛﻪ ﺟﻤﻊ ﺍﺿﺪﺍﺩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺭﻣﺎﻥ »ﺍﺛﺮ‬         ‫ﻛﻪ ﺁﻫﻨﮓ ﻣﺸﻬﻮﺭ »ﺗﺼﻮﺭ ﻛﻦ« ﺟﺎﻥ‬               ‫ﺣﺮﻛﺘﻰ ﺑﺮﺍﻯ ﺑﻬﺒﻮﺩ ﺷﺮﺍﻳﻂ ﻛﻨﻮﻧﻰ‬            ‫ﺳﺌﻮﻝ‪ ،‬ﺍﺳﺘﻜﻬﻠﻢ‪ ،‬ﻧﻴﻮﻳﻮﺭﻙ ﻭ ﺷﺎﻳﺪ‬
‫ﻣﻰﺑﺮﺩ ﻛﻪ ﺑﺎ ﻣﺒﻠﻎ ﭘﻴﺸﻨﻬﺎﺩﻯ ﺍﺯ‬            ‫ﻭ ﺍﻭ ﻫﻨﻮﺯ ﻧﺘﻮﺍﻧﺴﺘﻪ ﺁﻥ ﭼﻴﺰﻯ ﺑﺎﺷﺪ ﻛﻪ‬     ‫ﺍﻧﮕﺸﺖ« ﻛﻪ ﺑﻪ ﻧﺤﻮﻯ ﻧﻮﻋﻰ ﺗﺪﻭﻳﻦ‬           ‫ﻟﻨﻮﻥ ﺩﺭ ﻓﻀﺎ ﭘﺨﺶ ﻣﻰﺷﺪ ﺩﺭ ﭘﺎﻯ‬
‫ﺳﻮﻯ ﻭﻯ ﻧﺰﺩﻳﻚ ﺍﺳﺖ ﺯﻳﺮ ﺩﺳﺖ ﻭ‬              ‫ﻣﻰﺧﻮﺍﻫﺪ‪ ،‬ﺑﺮﺍﻯ ﻓﺮﺍﺭ ﺍﺯ ﺍﺿﻄﺮﺍﺏ ﺑﻪ ﻟﺬﺕ‬    ‫ﺳﻴﻨﻤﺎﻳﻰ ﺩﻳﻮﻳﺪ ﻟﻴﻨﭻ ﺑﺮ ﺁﻥ ﺣﺎﻛﻢ‬          ‫ﻣﺠﺴﻤﻪ ﮔﺲ ﺩﺭ ﺣﻴﺎﻁ ﺍﻳﻦ ﺩﺍﻧﺸﮕﺎﻩ‬                            ‫ﺟﻬﺎﻥ ﺣﻤﺎﻳﺖ ﻛﻨﻴﻢ‪.‬‬                                    ‫ﺗﻬﺮﺍﻥ‪.‬‬
‫ﭘﺎﻯ ﻫﻤﺪﻳﮕﺮ ﻟﻪ ﺑﺸﻮﻧﺪ‪ .‬ﺁﺭﺍﻡ ﻫﻮﺭﺍﻣﻰ‬        ‫ﺍﺯ ﺳﻜﺲ ﺭﻭﻯ ﻣﻰﺁﻭﺭﺩ‪ .‬ﺍﻣﺎ ﭼﻪ ﺍﺗﻔﺎﻗﻰ‬       ‫ﺍﺳﺖ‪ ،‬ﺧﻮﺍﻧﻨﺪﻩ ﺑﻰ ﺁﻧﻜﻪ ﺍﺣﺴﺎﺱ ﺑﻜﻨﺪ‪،‬‬                                                                                         ‫ﺍﻳﻦ ﻣﺠﺴﻤﻪﻫﺎ ﺑﺎ ﺷﻌﺎﺭ ﺻﻠﺢ‪ ،‬ﺁﺯﺍﺩﻯ‬
‫ﺍﻳﻦ ﺁﻧﺎﺭﺷﺴﻴﺖ ﭘﻮچﮔﺮﺍﻯ ﻟﺬﺕﻃﻠﺐ‬             ‫ﻣﻰﺍﻓﺘﺪ ﻭﻗﺘﻰ ﻛﻪ ﻳﻚ ﻓﺮﺩ ﻛﻞ ﻫﻮﻳﺖ‬          ‫ﺑﻪ ﺯﻣﺎﻥﻫﺎ ﻭ ﻣﻜﺎﻥﻫﺎﻯ ﻣﺘﻔﺎﻭﺗﻰ ﭘﺮﺗﺎﺏ‬                             ‫ﻗﺮﺍﺭ ﺩﺍﺩﻧﺪ‪.‬‬                                                ‫ﻭ ﺑﺮﺍﺑﺮﻯ‪ ،‬ﻫﻤﺒﺴﺘﮕﻰ ﻭ ﺭﻋﺎﻳﺖ ﻗﻮﺍﻧﻴﻦ‬
‫ﻭﻗﺘﻰ ﻛﺎﺭﮔﺮﻫﺎ ﭘﺎﻯ ﺳﻨﺪ ﻃﻼﻕ ﺭﺍ ﺍﻣﻀﺎ‬        ‫ﺧﻮﺩ ﺭﺍ ﺑﺮ ﻧﻘﺶ ﺟﻨﺴﻰﺍﺵ ﺑﻨﺎ ﻣﻰﻛﻨﺪ‪،‬‬        ‫ﻣﻰﺷﻮﺩ‪ .‬ﻭ ﺩﺭ ﻛﻨﺎﺭ ﺍﻳﻨﻬﺎ ﺑﺎ ﺁﻭﺭﺩﻥ‬                                                                                          ‫ﺣﻘﻮﻕ ﺑﺸﺮ‪ ،‬ﺩﺭ ﺷﻬﺮﻫﺎﻯ ﻣﺨﺘﻠﻒ ﻧﺼﺐ‬
‫ﻣﻰﻛﻨﻨﺪ ﻣﻰﮔﻮﻳﺪ ‪»:‬ﺑﺎﺭﺍﻻﻫﺎ ﺑﻪ ﺟﻤﺎﻋﺖ‬        ‫ﻭﻗﺘﻰ ﻛﻪ ﺳﻜﺲ ﺑﺮﺍﻯ »ﺍﺣﺴﺎﺱ ﺯﻧﺪﻩ‬           ‫ﻛﺎﺭﺍﻛﺘﺮﻫﺎﻳﻰ ﻣﺘﻔﺎﻭﺕ‪ ،‬ﻫﻢ ﮔﻨﮕﻰ ﻭ ﻫﻢ‬                                                                                         ‫ﺧﻮﺍﻫﻨﺪ ﺷﺪ‪ .‬ﺍﺭﺗﻔﺎﻉ ﺍﻳﻦ ﻣﺠﺴﻤﻪﻫﺎ ﺍﺯ‬
‫ﭘﺮﻭﻟﺘﺎﺭﻳﺎ ﻗﺪﺭﺕ ﺑﺎﺯﻭ ﻋﻨﺎﻳﺖ ﺑﻔﺮﻣﺎ ﻭ ﺍﺯ‬    ‫ﺑﻮﺩﻥ« ﺍﻭ ﺿﺮﻭﺭﺕ ﻣﻰﻳﺎﺑﺪ؟ ﺳﺎﺩﻩ ﺑﮕﻮﻳﻢ‪:‬‬     ‫ﺟﺬﺍﺑﻴﺖ ﻣﺘﻨﻰ ﺭﺍ ﺑﻪ ﺧﻮﺍﻧﻨﺪﻩ ﻣﻰﭼﺸﺎﻧﺪ‪.‬‬                                                                                       ‫‪ 8‬ﻣﺘﺮ ﺷﺮﻭﻉ ﺷﺪﻩ ﻭ ﺩﺭ ﺁﺧﺮﻳﻦ ﺷﻬﺮﻯ‬
‫ﻋﻘﻞ ﺳﻠﻴﻢ ﻣﺤﺮﻭﻡ ﻭ ﻣﺤﻔﻮﻅﺷﺎﻥ ﺑﺪﺍﺭ‬          ‫ﺍﻭ ﺗﻘﺎﺿﺎﻫﺎﻯ ﻏﻴﺮ ﻣﻤﻜﻨﻰ ﺭﺍ ﺑﺮ ﺑﺪﻥ‬        ‫ﺍﻳﻦ ﭘﻴﭻ ﻭﺧﻢ ﻭ ﺁﻣﺪ ﻭ ﺷﺪ ﻭ ﻓﻼﺵﺑﻚ‬                                                                                           ‫ﻛﻪ ﻧﺼﺐ ﺷﻮﺩ ﺍﺭﺗﻔﺎﻉ ﺁﻥ ﺑﻪ ‪ 13‬ﻣﺘﺮ‬
‫ﻭ ﺭﻭﺡ ﺍﺳﺘﺎﻟﻴﻦ ﺑﺰﺭگ‪ ،‬ﺭﻫﺒﺮ ﭘﺮﻭﻟﺘﺎﺭﻳﺎﻯ‬     ‫ﺧﻮﺩ ﺑﺎﺭ ﻣﻰﻛﻨﺪ ﻭ ﺑﻪ ﻫﻤﻴﻦ ﺳﺒﺐ ﺍﺳﺖ‬        ‫ﻭ ﻋﻮﺽ ﺷﺪﻥ ﺭﺍﻭﻯ ﺍﺯ ﺍﻭﻝ ﺷﺨﺺ ﺑﻪ‬                                                                                             ‫ﺧﻮﺍﻫﺪ ﺭﺳﻴﺪ‪ .‬ﺍﻭﻟﻴﻦ ﻣﺠﺴﻤﻪ ﺍﻳﻦ‬
‫ﺟﻬﺎﻥ ﺭﺍ ﻗﺮﻳﻦ ﺭﺣﻤﺖ ﺑﺪﺍﺭ!« ﺍﻭ ﻓﻘﻂ ﺑﻪ‬      ‫ﻛﻪ ﺩﺭ ﻣﻴﺎﻧﻪﻯ ﺩﺍﺳﺘﺎﻥ ﻭ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺑﺎ‬     ‫ﺳﻮﻡ ﺷﺨﺺ ﺑﺎ ﻧﺜﺮ ﭘﺎﻛﻴﺰﻩ ﻭ ﺳﺎﺩﻩ ﺍﻟﺒﺘﻪ‬                                                                                       ‫ﭘﺮﻭژﻩ ﺩﺭ ﭘﺎﺭﻳﺲ ﻭ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩ ﺩﻭﻓﻴﻦ‬
‫ﺁﻧﻬﺎ ﻧﻤﻰﭘﺮﺩﺍﺯﺩ‪ ،‬ﺩﺭ ﺑﺎﺯﺟﻮﻯﻫﺎﻯ ﺯﻳﺎﺩﻯ‬      ‫ﻫﻤﺴﺮﺵ ﺩﭼﺎﺭ ﻧﺎﺗﻮﺍﻧﻰ ﺟﻨﺴﻰ ﻣﻰﺷﻮﺩ‪.‬‬         ‫ﻛﻤﻰ ﻫﻢ ﺑﺎ ﻟﻬﺠﻪ ﺁﻭﺭﺩﻩ ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ‬
‫ﻛﻪ ﺍﺯ ﺍﻭ ﺷﺪﻩ ﺳﻴﺴﺘﻢ ﺣﻜﻮﻣﺘﻰ ﺭﺍ ﻫﻢ‬         ‫ﺩﺭ ﻭﺍﻗﻊ ﺳﻜﺲ ﺭﻭﻧﺪﻯ ﺗﺪﺭﻳﺠﻰ ﺑﻪ‬            ‫ﺧﻮﺩ ﻫﻤﻴﻦ ﻟﻬﺠﻪ ﻣﻰﺗﻮﺍﻧﺪ ﺧﻮﺍﻧﻨﺪﻩ ﺭﺍ ﺍﺯ‬                                                                                                        ‫ﻧﺼﺐ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬
                                        ‫ﺳﻮﻯ ﻣﺮگ ﻭ ﻧﺎﺑﻮﺩﻯ ﺷﺨﺼﻴﺖ ﻭ ﻫﻮﻳﺖ‬          ‫ﺧﺴﺘﮕﻰ ﺑﺮﻫﺎﻧﺪ ﻭ ﺑﻪ ﺍﻭ ﻟﺬﺕ ﻣﻀﺎﻋﻒ‬                                                                                           ‫ﺍﻳﻦ ﻧﺨﺴﺘﻴﻦ ﺣﺮﻛﺖ ﺑﺎ ﭼﻨﻴﻦ‬
         ‫ﺑﻰ ﺭﺣﻤﺎﻧﻪ ﺯﻳﺮﻭ ﺭﻭ ﻣﻰﻛﻨﺪ‪.‬‬       ‫ﺍﻧﺴﺎﻧﻰ ﺍﻭ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﺩ‪.‬ﺩﺭ ﺩﻧﻴﺎﻯ‬         ‫ﺑﺮﺳﺎﻧﺪ‪ .‬ﻃﻮﺭﻯ ﻛﻪ ﺧﻮﺍﻧﻨﺪﻩ ﻓﺮﺽ‬                                                                                              ‫ﺍﺑﻌﺎﺩ ﻭﺳﻴﻊ ﻭ ﻧﻤﺎﺩﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﻪ‬
‫ﻧﻮﻳﺴﻨﺪﻩ ﺍﺯ ﺯﺑﺎﻥ ﺁﺭﺍﻡ ﻫﻮﺭﺍﻣﻰ ﺩﺭ‬          ‫ﺁﺭﺍﻡ ﻫﻮﺭﺍﻣﻰ )ﺑﻪ ﻋﻨﻮﺍﻥ ﺟﻮﺍﻥ ﺍﻳﺮﺍﻧﻰ( ﺑﻪ‬  ‫ﺑﺪﺍﺭﺩ ﻛﻪ ﮔﻮﻳﺎ ﺭﺍﻭﻯ ﻏﺮﻳﺒﻪﺍﻯ ﺍﺳﺖ ﻛﻪ‬                                                                                        ‫ﻧﺎﻡ ﺍﻧﺴﺎﻥﺩﻭﺳﺘﻰ ﻭ ﺻﻠﺢ ﺗﻮﺳﻂ ﻳﻚ‬
‫ﺟﺎﻳﻰ ﺩﻳﮕﺮ ﺍﺯ ﺭﻣﺎﻥ ﺧﻄﺎﺏ ﺑﻪ ﻳﻜﻰ ﺍﺯ‬        ‫ﻗﺪﺭﻯ ﺯﻧﺪﮔﻰ ﻭﺍﻗﻌﻰ ﻛﻢﺭﻧﮓ ﺍﺳﺖ ﻛﻪ‬          ‫ﺑﺎ ﺩﻗﺖ ﺯﺑﺎﻥ ﻳﺎﺩ ﮔﺮﻓﺘﻪ ﺍﺳﺖ ﻭ ﻭﻯ‬
‫ﻣﺒﺎﺭﺯﺍﻥ ﻛﻪ ﺗﺎﺯﻩ ﺍﺯ ﺁﻣﺮﻳﻜﺎ ﺑﺮﮔﺸﺘﻪ ﺗﺎ ﺩﺭ‬  ‫ﺩﺭ ﻧﻬﺎﻳﺖ ﺳﻜﺲ ﻫﻢ ﺭﻭ ﺑﻪ ﺯﻭﺍﻝ ﺭﻓﺘﻪ ﻭ‬      ‫ﻣﻮﻗﻊ ﺧﻮﺍﻧﺪﻥ ﻛﺘﺎﺏ‪ ،‬ﻟﻬﺠﻪﺍﺵ ﺭﺍ ﻧﻴﺰ‬        ‫ﻧﻮﺳﺘﺎﻟﮋﻯ ﻭ ﻭﺍﻗﻌﻴﺖ ﺩﺭ »ﺁﺧﺮﻳﻦ ﺑﺎﺯﻯ«‬
‫ﻣﻴﺎﻥ ﻣﺠﺎﻫﺪﻳﻦ ﻣﺒﺎﺭﺯﻩ ﺑﻜﻨﺪ‪ ،‬ﺍﻣﺎ ﮔﻮﻳﺎ ﺍﺯ‬   ‫ﺩﺭ ﭘﺎﻳﺎﻥ ﺍﻭ ﺭﺍ ﺩﺭﮔﻴﺮ ﻭ ﺣﺘﻰ ﺗﻨﻬﺎﺗﺮ ﺍﺯ‬   ‫ﻣﻰﺷﻨﻮﺩ‪ .‬ﺑﺎ ﺷﻨﻴﺪﻥ ﺍﻳﻦ ﻟﻬﺠﻪ ﺧﻮﺍﻧﻨﺪﻩ‬
‫ﺁﻧﻬﺎ ﺑﺮﻳﺪﻩ ﻭ ﺑﻪ ﺑﭽﻪﻫﺎﻯ ﭼﭗ ﭘﻴﻮﺳﺘﻪ‬                                                                                      ‫ﺳﺮﺷﻨﺎﺱ ﺍﻳﺮﺍﻥ ﻭ ﻋﻀﻮ ﻛﺎﺭﮔﺎﻩ ﻧﻤﺎﻳﺶ‬           ‫ﻣﻴﺎﻥ ﻭﺳﺎﻳﻞ ﺳﻴﻨﻤﺎﻳﻰ ﻣﺎﻧﻨﺪ ﭘﺮﻭژﻛﺘﻮﺭ‬       ‫ﻣﺮﻛﺰ »ﺁﺭﺗﺰ ﺩﭘﻮ« ﺩﺭ ﺷﻤﺎﻝ ﻟﻨﺪﻥ ﺩﻳﮕﺮ‬
‫ﻣﻰﮔﻮﻳﺪ‪ :‬ﻣﻦ ﻓﻜﺮ ﻧﻜﻨﻢ ﺁﺩﻡ ﻋﺎﻗﻠﻰ‬                    ‫ﻗﺒﻞ ﺑﻪ ﺣﺎﻝ ﺧﻮﺩ ﻣﻰﮔﺬﺍﺭﺩ‪.‬‬                        ‫ﻣﺸﺘﺎﻕﺗﺮ ﻣﻰﺷﻮﺩ‪.‬‬        ‫ﻗﺒﻞﺍﺭﺍﻧﻘﻼﺏ‪ 57‬ﺑﻮﺩ‪.‬ﺍﻭﻛﻪﭘﺲﺍﺯﺍﻧﻘﻼﺏ‬            ‫ﻭ ﺩﻭﺭﺑﻴﻦ ﻓﻴﻠﻤﺒﺮﺩﺍﺭﻯ‪ .‬ﺯﻧﮓ ﺩﺭ ﺯﺩﻩ‬         ‫ﻣﺪﺕﻫﺎﺳﺖ ﺑﻪ ﻳﻜﻰ ﺍﺯ ﻣﻴﻌﺎﺩﮔﺎﻩﻫﺎﻯ‬
‫ﺁﻣﺮﻳﻜﺎ ﺭﺍ ﻭﻝ ﺑﻜﻨﺪ ﺑﻴﺎﻳﺪ ﺍﻳﻨﺠﺎ ﺑﺮﺍﻯ‬      ‫ﺍﺛﺮ ﺍﻧﮕﺸﺘﻘﻬﺮﻣﺎﻥ ﺑﻰ ﺗﻔﺎﻭﺕ ﻭ ﻣﻨﻔﻌﻠﻰ‬      ‫ﺑﻰ ﺗﺮﺩﻳﺪ ﻓﺮﻡ ﻭ ﺷﻜﻞ ﺭﻭﺍﻳﻰ ﺩﺍﺳﺘﺎﻥ‬        ‫ﺑﻪ ﻣﺪﺕ ‪ 12‬ﺳﺎﻝ ﺧﺎﺭﺝ ﺍﺯ ﺍﻳﺮﺍﻥ ﺯﻧﺪﮔﻰ‬         ‫ﻣﻰﺷﻮﺩ ﻭ ﭘﺮﺳﻮﻧﺎژ ﺩﻭﻡ »ﺣﻴﺪﺭ ﺍﺷﺘﻴﺎﻕ«‬       ‫ﺍﺻﻠﻰ ﺍﻳﺮﺍﻧﻴﺎﻥ ﻫﻨﺮﺩﻭﺳﺖ ﺩﺭ ﻟﻨﺪﻥ‬
‫ﻣﺒﺎﺭﺯﻩ! ﻣﺒﺎﺭﺯﻩ ﺑﺮﺍﻯ ﻛﻰ ﻭ ﺑﺮﺍﻯ ﭼﻰ؟‬       ‫ﻛﻪ ﺑﺮ ﺣﺴﺐ ﺍﺗﻔﺎﻕ ﺍﺯ ﻳﻚ ﺯﻥ ﺟﺪﺍ‬           ‫ﻣﺠﺎﻝ ﺭﺍ ﺍﺯ ﺧﻮﺍﻧﻨﺪﻩ ﻣﻰﮔﻴﺮﺩ ﻭ ﻧﻤﻰﮔﺬﺍﺭﺩ‬   ‫ﻛﺮﺩ‪ ،‬ﻧﻤﺎﻳﺸﻨﺎﻣﺔ »ﺁﺧﺮﻳﻦ ﺑﺎﺯﻯ« ﺭﺍ ﺩﺭ‬         ‫ﻭﺍﺭﺩ ﺻﺤﻨﻪ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻳﻦ ﺩﻭ ﻧﻔﺮﭼﻨﺪ ﺭﻭﺯ‬
‫ﺗﺎﺯﻩ ﺍﮔﺮ ﻣﺠﺎﻫﺪﻳﻦ ﻗﺪﺭﺕ ﺭﺍ ﺩﺭ ﺩﺳﺖ‬         ‫ﺷﺪﻩ ﻭ ﺑﻪ ﺳﻤﺖ ﺯﻥ ﺩﻳﮕﺮ ﻣﻰﺭﻭﺩ‪ .‬ﻳﻚ‬         ‫ﺍﻭ ﺑﻪ ﭼﻴﺰ ﺩﻳﮕﺮ ﻏﻴﺮ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﻓﻜﺮ ﺑﻜﻨﺪ‬  ‫ﺁﺧﺮﻳﻦ ﺳﺎﻝ ﺍﻗﺎﻣﺖ ﺧﻮﺩ ﺩﺭ ﻛﺎﻧﺎﺩﺍ ﻭ ﻗﺒﻞ‬       ‫ﭘﻴﺶ ﺩﺭ ﭘﺎﺭﻙ ﺑﺎ ﻫﻢ ﺁﺷﻨﺎ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺣﻴﺪﺭ‬                      ‫ﺗﺒﺪﻳﻞ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬
‫ﺑﮕﻴﺮﻧﺪ ﺑﺎﻳﺪ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﻛﻮﻩ ﻭ ﻛﻤﺮ ﺑﺰﻧﻴﻢ‬   ‫ﺩﻭﻥ ژﻭﺍﻥ ﻛﻪ ﺑﻪ ﻃﻮﺭ ﺿﻤﻨﻰ ﻣﻰﺗﻮﺍﻧﺪ‬        ‫ﻭ ﻳﺎ ﺣﺘﻰ ﺫﻫﻦﺍﺵ ﺍﺯ ﻣﻮﺿﻮﻉ ﺭﻣﺎﻥ ﺑﺮﺍﻯ‬      ‫ﺍﺯ ﺑﺎﺯﮔﺸﺖﺍﺵ ﺑﻪ ﺍﻳﺮﺍﻥ ﺩﺭ ﺳﺎﻝ ‪1376‬‬          ‫ﺍﺷﺘﻴﺎﻕ ﺑﺎ ُﺧﻠﻖ ﻭ ﺧﻮﻯ ﺧﻮﺩ ﺩﺭ ﻧﻘﻄﺔ‬        ‫ﺗﺎﻻﺭ ﺗﺌﺎﺗﺮ ﺍﻳﻦ ﻣﺮﻛﺰ‪ ،‬ﻋﺼﺮ ﺷﻨﺒﻪ ‪23‬‬
                                        ‫ﻫﻤﺠﻨﺲﮔﺮﺍ ﻫﻢ ﺑﺎﺷﺪ ﻭ ﻧﻮﻳﺴﻨﺪﻩ ﺑﻪ‬          ‫ﻟﺤﻈﻪﺍﻯ ﻫﺮﭼﻨﺪ ﻛﻮﺗﺎﻩ ﻏﺎﻓﻞ ﺑﺸﻮﺩ‪.‬‬          ‫ﻧﻮﺷﺖ ﻭ ﭘﺲ ﺍﺯ ﺑﺎﺯﮔﺸﺖ ﺩﺭ ﺍﻳﺮﺍﻥ ﺭﻭﻯ‬          ‫ﻣﻘﺎﺑﻞ ﻓﺮﺍﻣﺮﺯ ﺍﺭﺩﻻﻥ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪ .‬ﺍﻭ ﻛﻪ‬     ‫ژﺍﻧﻮﻳﻪ ﭘﺮ ﺍﺯ ﺗﻤﺎﺷﺎﮔﺮ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺍﻳﻨﺎﻥ‬
           ‫ﺗﺎ ﻋﻠﻴﻪ ﺁﻧﻬﺎ ﻣﺒﺎﺭﺯﻩ ﻛﻨﻴﻢ!‬    ‫ﻋﻨﻮﺍﻥ ﺁﺧﺮﻳﻦ ﺭﺍﻩ ﺗﺠﺮﺑﻪﻯ ﺟﻨﺴﻰ‪،‬‬           ‫ﺯﻳﺮﺍ ﺷﻴﻮﻩﻯ ﺭﻭﺍﻳﻰ ﺭﻣﺎﻥ ﺑﺎ ﺑﻪ ﻣﻴﺎﻥ‬       ‫ﺻﺤﻨﻪ ﺑﺮﺩ‪ .‬ﺑﻪ ﺍﻳﻦ ﻣﻌﻨﺎ »ﺁﺧﺮﻳﻦ ﺑﺎﺯﻯ«‬        ‫ﺍﺭﺍﺩﺗﻰ ﺧﺎﺹ ﺑﻪ ﻫﻨﺮﭘﻴﺸﺔ ﺑﺰﺭ ِگ ﻗﺒﻞ ﺍﺯ‬     ‫ﺁﻣﺪﻩ ﺑﻮﺩﻧﺪ ﻛﻪ ﺷﺎﻫﺪ ﺳﻮﻣﻴﻦ ﻛﺎﺭ ﺑﺮﺩﻳﺎ‬
‫ﻣﺤﻤﺪﺭﺋﻮﻑ ﻣﺮﺍﺩﻯ ﺩﺭ ﺟﻤﻼﺗﻰ‬                 ‫ﻗﻬﺮﻣﺎﻥ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺯﻧﺪﺍﻥ ﻣﻮﺭﺩ ﺗﺠﺎﻭﺯ‬      ‫ﺁﻭﺭﺩﻥ ﻣﺎﺟﺮﺍﻫﺎﻯ ﻣﺘﻔﺎﻭﺕ ﻧﻤﻰﮔﺬﺍﺭﺩ‬         ‫ﺑﻴﺎﻧﻴﻪﻯ ﺷﺨﺼﻰ ﺍﻭﺳﺖ‪ .‬ﺍﺳﺘﺎﺩﻣﺤﻤﺪ‬              ‫ﺍﻧﻘﻼﺏ ﺩﺍﺭﺩ‪ ،‬ﺻﺎﺣﺐ ﺗﻮﻟﻴﺪﻯ ﻗﻔﺴﻪﻫﺎﻯ‬         ‫ﺟﻼﻟﻰ‪» ،‬ﺁﺧﺮﻳﻦ ﺑﺎﺯﻯ« ﺍﺛﺮ ﻧﻮﻳﺴﻨﺪﺓ‬
‫ﺍﻋﺘﺮﺍﺽﺁﻣﻴﺰ »ﻭﻃﻦ« ﻧﺪﺍﺷﺘﻦ ﻣﺮﺩﻡ‬                                                   ‫ﺧﻮﺍﻧﻨﺪﻩ ﻧﻔﺲ ﺑﻜﺸﺪ ﻭ ﻣﻮﺿﻮﻉ ﺩﻳﮕﺮﻯ‬         ‫ﺩﺭﻳﺎﻓﺘﻪ ﺑﻮﺩ ﻛﻪ ﻗﺎﺩﺭ ﻧﻴﺴﺖ ﺧﺎﺭﺝ ﺍﺯ ﺍﻳﺮﺍﻥ‬    ‫ﺁﺷﭙﺰﺧﺎﻧﻪ ﺩﺭ ﻟﺲ ﺁﻧﺠﻠﺲ ﺍﺳﺖ ﻭﺩﺭ ﺍﻳﻦ‬        ‫ﻧﺎﻡﺁﻭﺭ‪ ،‬ﻣﺤﻤﻮﺩ ﺍﺳﺘﺎﺩﻣﺤﻤﺪ‪ ،‬ﺑﺎﺷﻨﺪ‪ .‬ﺩﻭ‬
‫ُﻛﺮﺩ ﺭﺍ ﻧﻴﺰ ﺑﻪ ﺗﻠﺨﻰ ﺗﺼﻮﻳﺮ ﻣﻰﻛﻨﺪ‪.‬‬                    ‫ﺟﻨﺴﻰ ﻫﻢ ﻗﺮﺍﺭ ﻣﻰﺩﻫﺪ‪.‬‬        ‫ﺣﻮﺍﺱﺍﺵ ﺭﺍ ﭘﺮﺕ ﻛﻨﺪ‪ .‬ﺣﺘﻰ ﺑﻪ‬              ‫ﺑﻪ ﻛﺎﺭﻫﻨﺮﻯ ﺍﺩﺍﻣﻪ ﺩﻫﺪ ﻭ ﺭﺍﻩ ﺑﺎﺯﮔﺸﺖ ﺑﻪ‬      ‫ﺭﺍﻩ ﺑﻪ ﻣﻮﻓﻘﻴﺖ ﻣﺎﻟﻰ ﻧﻴﺰ ﺭﺳﻴﺪﻩ ﺍﺳﺖ‪.‬‬       ‫ﻧﻤﺎﻳ ِﺶ ﻗﺒﻠ ِﻰ ﺑﺮﺩﻳﺎ ﺟﻼﻟﻰ ﺩﺭ ﻟﻨﺪﻥ‪ ،‬ﺍﻭ‬
‫ﺣﺘﻰ ﻗﻬﺮﻣﺎﻥ ﺩﺍﺳﺘﺎﻧﺶ ﺭﺍ ﻓﺎﻗﺪ »ﺍﺛﺮ‬         ‫ﺍﻣﺎ ﺍﻳﻦ ﺍﻓﺮﺍﻁﻫﺎﻯ ﺍﻏﺮﺍﻕﺁﻣﻴﺰ ﺩﺭﺑﺎﺭﻩﻯ‬     ‫ﺧﻮﺍﻧﻨﺪﻩ ﺍﺟﺎﺯﻩ ﻧﻤﻰﺩﻫﺪ ﺍﺯ ﺳﻄﺮﻯ ﻭ ﻳﺎ‬      ‫ﺍﻳﺮﺍﻥ ﺭﺍ ﺑﺮﮔﺰﻳﺪ ﻭ ﻣﺘﺎﺳﻔﺎﻧﻪ ﺩﺭ ﺳﺎﻝ ‪1392‬‬    ‫ﻫﺮﭼﻨﺪ ﺧﺎﻃﺮﺍﺕ ﺯﻧﺪﻩ ﻭ ﺩﻗﻴﻘﻰ ﺍﺯ ﺍﻳﺮﺍ ِﻥ‬    ‫ﺭﺍ ﺑﻪ ﻋﻨﻮﺍ ِﻥ ﻫﻨﺮﻣﻨﺪﻯ ﺁﮔﺎﻩ ﻭ ﻣﺴﻠﻂ ﺑﻪ‬
‫ﺍﻧﮕﺸﺖ« ﻣﻰﺩﺍﻧﺪ ﻛﻪ ﺩﺭ ﻓﺮﻭﺩﮔﺎﻩ ﻫﻴﺜﺮﻭ‬       ‫ﻣﻮﻗﻌﻴﺖﻫﺎﻯ ﺟﻨﺴﻰ ﺩﺭ ﻧﻬﺎﻳﺖ‪ ،‬ﻫﻢ ﺩﺭ‬         ‫ﺟﻤﻠﻪﺍﻯ ﻏﺎﻓﻞ ﺷﻮﺩ ﻭ ﺳﺮﺳﺮﻯ ﺑﮕﺬﺭﺩ‪.‬‬                                                   ‫ﻗﺒﻞ ﺍﺯﺍﻧﻘﻼﺏ ﻭ ﺗﻚ‪ -‬ﺗﻚ ﻓﻴﻠﻢﻫﺎ ِﻯ‬          ‫ﺍﻳﻦ ﺭﺳﺎﻧﻪ ﺑﻪ ﻋﻼﻗﻤﻨﺪﺍﻥ ﺗﺌﺎﺗﺮ ﺍﻳﺮﺍﻧﻰ‬
‫ﺩﺭ ﻟﻨﺪﻥ ﺑﺎﺯﺩﺍﺷﺖ ﺷﺪﻩ ﻭ ﺑﻪ ﻋﻠﺖ ﭘﺎﻙ‬        ‫ﻗﻬﺮﻣﺎﻥ ﻭ ﻫﻢ ﺩﺭ ﻣﺨﺎﻃﺐ ﻧﻮﻋﻰ ﻣﻼﻝ‬          ‫ﻧﻮﻳﺴﻨﺪﻩ ﭼﻨﺎﻥ ﺭﻭﺍﻳﺖﻫﺎﻯ ﺭﻣﺎﻥ ﺭﺍ ﺩﺭ‬             ‫ﺑﺮ ﺍﺛﺮ ﺑﻴﻤﺎﺭﻯ ﺳﺮﻃﺎﻥ ﺩﺭ ﮔﺬﺷﺖ‪.‬‬        ‫»ﺍﺑﺮ ﺳﺘﺎﺭﻩ« ﺩﺍﺭﺩ ﻭ ﺑﺎ ﺁﻧﻬﺎ ﺑﺴﻴﺎﺭ ﻫﻢ ﺑﻪ‬  ‫ﻣﻌﺮﻓﻰ ﻛﺮﺩﻩ ﻭ ﺁﻧﻬﺎ ﺭﺍ ﺩﺭ ﺍﻧﺘﻈﺎﺭ ﺩﻳﺪﻥ‬
‫ﺷﺪﻥ »ﺍﺛﺮ ﺍﻧﮕﺸﺖ«ﻫﺎﻯ ﺩﺳﺖﺍﺵ ﻣﻮﺭﺩ‬           ‫ﺑﻪ ﻭﺟﻮﺩ ﻣﻰﺁﻭﺭﺩ‪ .‬ﻭ ﺷﺎﻳﺪ ﺍﻳﻦ ﻣﻼﻝ ﻫﻢ‬      ‫ﻫﻢ ﺗﻨﻴﺪﻩ ﻛﻪ ﺑﺮﺍﻯ ﭘﻰ ﺑﺮﺩﻥ ﺑﻪ ﻣﺎﺟﺮﺍﻯ‬     ‫ﭘﺲ ﺍﺯ ﺍﺟﺮﺍﻯ ﻧﻤﺎﻳﺶ‪ ،‬ﺩﺭ ﺻﺤﺒﺘﻰ‬               ‫ﺍﺻﻄﻼﺡ »ﺣﺎﻝ ﻣﻰﻛﻨﺪ« ﻭﻟﻰ ﺑﺮﺧﻼﻑ‬             ‫ﻛﺎﺭﻫﺎﻯ ﺑﻌﺪﻯ ﺍﻭ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ‪ .‬ﺍﻳﻦ‬
‫ﺑﺎﺯﺧﻮﺍﺳﺖ ﻭ ﺑﺎﺯﺟﻮﻳﻰ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ‪.‬‬         ‫ﻧﻮﻋﻰﺷﮕﺮﺩﻧﻮﻳﺴﻨﺪﻩﺑﺎﺷﺪﻛﻪﻣﻰﺧﻮﺍﻫﺪ‬           ‫ﺭﻣﺎﻥ ﺧﻮﺍﻧﻨﺪﻩ ﺭﺍ ﻧﺎﭼﺎﺭ ﻣﻰﻛﻨﺪ ﺗﺎ ﺗﻤﺎﻡ‬    ‫ﻛﻪ ﻛﻴﻬﺎﻥ ﻟﻨﺪﻥ ﺑﺎ ﺑﺮﺩﻳﺎ ﺟﻼﻟﻰ‬               ‫ﺍﺭﺩﻻﻥ‪ ،‬ﺫﻫﻦﺍﺵ ﺩﺭ ﺧﺎﻃﺮﺍﺕ ﮔﺬﺷﺘﻪ‬            ‫ﺍﻧﺘﻈﺎﺭ ﺑﺎﻻﺧﺮﻩ ﻋﺼﺮ ﺷﻨﺒﻪ ﺑﻪ ﺳﺮ ﺁﻣﺪ‬
‫ﺍﻧﮕﺎﺭ ﻧﻤﻰﺩﺍﻧﻨﺪ ﺍﻭ ﺍﻫﻞ ﻛﺪﺍﻡ ﺩﻳﺎﺭ ﻭ ﻣﻠﺖ‬   ‫ﺑﮕﻮﻳﺪ ﺣﺘﻰ ﺩﺭ ﺩﻧﻴﺎﻯ ﻟﺬﺕﺑﺨﺶ‬              ‫ﺟﻤﻼﺕ ﻭ ﺳﻄﻮﺭ ﺭﻣﺎﻥ ﺭﺍ ﻣﻮ ﺑﻪ ﻣﻮ‬           ‫ﺩﺍﺷﺖ ﺍﻭ ﺗﺎﻛﻴﺪ ﻛﺮﺩ ﻛﻪ ﻫﺮﭼﻨﺪ ﻭﻯ‬             ‫ﻣﺤﺒﻮﺱ ﻧﻴﺴﺖ ﻭ ﺑﺎ ﻣﺤﻴﻂ ﺯﻧﺪﮔﻰ ﻧﻮﻳﻦ‬         ‫ﻭ ﺗﻤﺎﻣﻰﮔﻨﺠﺎﻳﺶ ‪ 170‬ﻧﻔﺮﻯ ﺗﺎﻻﺭ‬
‫ﺍﺳﺖ‪ .‬ﻭ ﻧﻮﻳﺴﻨﺪﻩ ﺑﺎ ﺍﻳﻦ ﺷﮕﺮﺩ »ﻭﻃﻦ«‬        ‫ﺳﻜﺲ ﻧﻴﺰ ﻫﺮﭼﻨﺪ ﺟﺎﺫﺑﻪﻯ ﺍﻧﻜﺎﺭﻧﺎﭘﺬﻳﺮ‬       ‫ﺑﺨﻮﺍﻧﺪ‪ .‬ﮔﻮﻳﺎ ﻗﺼﺪ ﻧﻮﻳﺴﻨﺪﻩ ﻫﻢ ﻫﻤﻴﻦ‬       ‫ﻭ ﻓﺮﺷﻴﺪ ﺟﻼﻟﻰ ﺭﻭﻯ ﺻﺤﻨﻪ ﺩﺭ‬                  ‫ﺧﻮﺩ ﻧﻴﺰ ﺍﺭﺗﺒﺎ ِﻁ ﻓﻌﺎﻝ ﺩﺍﺭﺩ‪ .‬ﺩﺭﻋﻴﻦ ﺣﺎﻝ‬   ‫ﺗﺌﺎﺗﺮ »ﺁﺭﺗﺰ ﺩﭘﻮ« ﺭﺍ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﺍﺷﻐﺎﻝ‬
‫ﻧﺪﺍﺷﺘﻦ ﺭﺍ‪ ،‬ﺳﺮﺯﻣﻴﻦ ﭘﺮﺍﻛﻨﺪﻩﺍﺵ ﺭﺍ‬          ‫ﺩﺍﺭﺩ ﺳﺮﺍﻧﺠﺎﻡ ﺍﻣﺎ ﻣﻼﻝﺍﻧﮕﻴﺮ ﻣﻰﺷﻮﺩ‪.‬‬       ‫ﺑﻮﺩﻩ ﺍﺳﺖ ﺗﺎ ﻧﮕﺬﺍﺭﺩ ﺧﻮﺍﻧﻨﺪﻩ‪ ،‬ﺭﻣﺎﻥﺍﺵ‬     ‫ﻣﻘﺎﺑﻞ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﺑﺎﺯﻯ ﻣﻰﻛﺮﺩﻧﺪ ﻭﻟﻰ‬          ‫ﺍﻣﺎ ﺑﺎ ﮔﻔﺘﺎﺭ ﻭ ﻛﺮﺩﺍﺭﺵ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‬        ‫ﻛﺮﺩﻧﺪ‪ .‬ﺩﺭ ﻣﻴﺎﻥ ﺍﻧﻬﺎ ﺑﺴﻴﺎﺭﺍﻧﻰ ﺍﺯ ﺩﺳﺖ‬
‫ﻭ ﻛﺮﺩﺳﺘﺎﻥ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﻛﻪ ﻃﻰ‬           ‫ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﺩﺭ ﺍﺟﺘﻤﺎﻋﻰ ﺑﻴﻤﺎﺭ‪،‬‬         ‫ﺭﺍ ﺑﺮﺍﻯ ﻟﺤﻈﻪﺍﻯ ﻫﺮﭼﻨﺪ ﻛﻮﺗﺎﻩ ﻛﻨﺎﺭ‬        ‫ﺍﻳﻦ ﻧﻤﺎﻳﺶ ﻣﺤﺼﻮﻝ ﻓﻌﺎﻟﻴﺖ ﺗﻴﻤﻰ ﻭ‬             ‫ﻛﻪ ﭘﻴﻮﻧﺪﻫﺎﻯ ﻋﻤﻴﻖﺍﺵ ﺭﺍ ﺑﺎ ﺳﺮﺯﻣﻴﻦ‬         ‫ﺍﻧﺪﺭﻛﺎﺭﺍﻥ ﺗﺌﺎﺗﺮ ﻭ ﻛﺎﺭﻭﺭﺯﺍﻥ ﻋﺮﺻﻪﻫﺎﻯ‬
‫ﺍﻳﻦ ﻫﻤﻪ ﺳﺎﻝ ﻣﺒﺎﺭﺯﻩ ﻫﻨﻮﺯ ﻧﺘﻮﺍﻧﺴﺘﻪ ﺑﻪ‬     ‫ﺟﻨﺴﻴﺖ ﺍﻧﺴﺎﻥ‪ ،‬ﺩﺭ ﻭﺍﻗﻊ ﻧﻮﻋﻰ ﺭﻭﺵ‬          ‫ﺑﮕﺬﺍﺭﺩ ﻭ ﺭﺷﺘﻪﻯ ﺍﺗﻔﺎﻗﺎﺕ ﺁﻥ ﻃﻮﺭ ﻛﻪ‬       ‫ﺗﻘﺴﻴﻢ ﻛﺎﺭ ﺣﺮﻓﻪﺍﻯ ﺑﻮﺩﻩ ﻭ ﻧﻘ ِﺶ ﺍﺻﻠﻰ‬         ‫ﻣﺎﺩﺭﻯ ﻭ ﻓﺮﻫﻨﮓ ﺁﻥ ﺣﻔﻆ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬
‫ﺁﺭﺯﻭﻳﺶ ﻛﻪ ﺩﺍﺷﺘﻦ ﻳﻚ ﻛﺸﻮﺭ ﻣﺴﺘﻘﻞ‬           ‫ﺑﺮﺍﻯ ﺟﺴﺖ ﻭ ﺟﻮﻯ ﺷﺄﻥ ﻭ ﻣﻨﺰﻟﺖ ﺍﺳﺖ‬         ‫ﻧﻮﻳﺴﻨﺪﻩ ﻗﺼﺪ ﺩﺍﺭﺩ ﺍﺯ ﺫﻫﻦ ﺧﻮﺍﻧﻨﺪﻩ‬        ‫ﺍﻭ ﺩﺭ ﺁﻥ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﻰ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻭﻯ‬          ‫ﺍﻣﺎ ﻓﺮﺍﻣﺮﺯ ﺍﺭﺩﻻﻥ ﺑﻪ ﻗﻌﺮ ﺍﻓﻼﺱ ﻭ‬              ‫ﺩﻳﮕﺮ ﻓﺮﻫﻨﮕﻰ ﻧﻴﺰ ﺣﻀﻮﺭ ﺩﺍﺷﺘﻨﺪ‪.‬‬
‫ﺍﺳﺖ ﺑﺮﺳﺪ‪ .‬ﻭ ﻳﻚ ُﻛﺮﺩ ﻧﻤﻰﺩﺍﻧﺪ ﺑﮕﻮﻳﺪ‬       ‫ﻛﻪ ﻫﺪﻑ ﺍﺯ ﺁﻥ ﺑﻴﺸﺘﺮﻳﻦ ﺭﻭﺍﺑﻂ ﻭ ﺍﻭﺝ‬                                              ‫ﺍﻓﺰﻭﺩ‪ ،‬ﺗﻬﻴﺔ ﺍﻳﻦ ﭘﺮﻭژﻩ ﻣﺘﻜﻰ ﺑﺮ ﺍﺳﺘﻔﺎﺩﻩ‬     ‫ﺑﺪﺑﺨﺘﻰ ﺧﻮﺩ ﺭﺳﻴﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻭ ﺑﺎ ﺩﻧﻴﺎﻯ‬       ‫ﻓﺮﺷﻴﺪ ﺁﺭﻳﺎﻥ ﻭ ﺑﺮﺩﻳﺎ ﺟﻼﻟﻰ ﺑﺎ‬
‫ﻛﻪ ﺍﻫﻞ ﻛﺠﺎﺳﺖ‪ .‬ﺍﮔﺮ ﺑﮕﻮﻳﺪ ﻛﺮﺩﺳﺘﺎﻥ‬         ‫ﻟﺬﺕ ﺟﻨﺴﻰ ﺍﺳﺖ ﻭ ﺗﻔﺎﻭﺗﻰ ﻧﻤﻰﻛﻨﺪ‬                               ‫ﮔﺴﺴﺘﻪ ﺑﺸﻮﺩ‪.‬‬        ‫ﺍﺯ ﺗﻤﺎﻣﻰ ﻧﻴﺮﻭﻫﺎﻯ ﻣﺜﺒﺖ ﻣﻮﺟﻮﺩ ﺩﺭ‬            ‫ﺧﻮﺩﺳﺎﺧﺘﺔ ﺫﻫﻨﻰ ﻫﻢ ﺧﻮﺩﺵ ﺭﺍ ﻓﺮﻳﺐ‬           ‫ﺗﺴﻠﻂ ﺣﺮﻓﻪﺍﻯ ﺧﻮﺩ ﺑﺮ ﻧﻘﺶﺁﻓﺮﻳﻨﻰ‬
‫ﺟﮕﺮﺵ ﭘﺎﺭﻩ ﭘﺎﺭﻩ ﻣﻰﺷﻮﺩ ﻛﻪ ﻛﺮﺩﺳﺘﺎ ِﻥ‬       ‫ﻛﻪ ﺍﻳﻦ ﻫﻤﻪ ﺍﺯ ﭼﻪ ﻃﺮﻳﻖ ﭘﺪﻳﺪ ﺁﻳﺪ‪.‬‬        ‫ﻋﻨﻮﺍﻥﻫﺎﻯ ﺍﻳﻦ ﺭﻣﺎﻥ‪ ،‬ﺑﺎ ﺍﻧﮕﺸ ِﺖ‬                                                    ‫ﻣﻰﺩﻫﺪ ﻭ ﻫﻢ ﺩﻳﮕﺮﺍﻥ ﺭﺍ‪ .‬ﺫﻫﻦﭘﺮﺩﺍﺯ ِﻯ‬       ‫ﻭ ﺷﺨﺼﻴﺖﭘﺮﺩﺍﺯﻯ‪ ،‬ﺩﻭ ﭘﺮﺳﻮﻧﺎژ‬
‫ﻛﺠﺎ؟ ﻭ ﺍﻭ ﭼﻪ ﺑﮕﻮﻳﺪ‪ .‬ﺍﻋﺘﺮﺍﻑ ﺑﻜﻨﺪ ﻭ‬       ‫ﻫﻤﮕﻰ ﺍﻳﻦ ﺭﻓﺘﺎﺭﻫﺎ ﺍﻣﺎ ﻧﺸﺎﻧﻪﻯ ﭼﻨﮓ‬        ‫ﻛﻮﭼﻚ ﺩﺳﺖ ﺭﺍﺳﺖ ﺷﺮﻭﻉ ﻣﻰﺷﻮﺩ ﻭ‬                    ‫ﺟﺎﻣﻌﺔ ﺍﻳﺮﺍﻧﻰ ﻟﻨﺪﻥ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬        ‫ﺍﻭ ﺩﻳﮕﺮ ﺑﻪ ﺩﺭﺟﻪﺍﻯ ﺭﺳﻴﺪﻩ ﺍﺳﺖ ﻛﻪ‬          ‫ﺍﺻﻠﻰ ﻧﻤﺎﻳﺶ »ﺁﺧﺮﻳﻦ ﺑﺎﺯﻯ«‪ ،‬ﻳﻌﻨﻰ‬
‫ﺭﻫﺎ ﺷﻮﺩ ﻭ ﻳﺎ ﺩﺭ ﻣﻈﺎﻥ ﺍﺗﻬﺎﻡ ﺑﻤﺎﻧﺪ ﻭ‬      ‫ﺯﺩﻥ ﻗﻬﺮﻣﺎﻥ ﻧﺎ ﺍﻣﻴﺪ ﻭ ﭘﻮچﮔﺮﺍﻯ ﺩﺍﺳﺘﺎﻥ‬    ‫ﺑﺎ ﺍﻧﮕﺸﺖ ﻣﻴﺎﻧﻪﻯ ﺩﺳﺖ ﭼﭗ ﺑﻪ ﭘﺎﻳﺎﻥ‬        ‫ﻋﻼﻭﻩ ﺑﺮﺑﺎﺯﻳﮕﺮﺍﻥ ﺭﻭﻯ ﺻﺤﻨﻪ‪ ،‬ﺍﺯ‬              ‫ﻣﺮﺯ ﺑﻴﻦ ﻧﻤﺎﻳﺶ ﻭ ﻭﺍﻗﻌﻴﺖ ﺑﺮﺍﻳﺶ ﺍﺯ ﺑﻴﻦ‬     ‫ﻓﺮﺍﻣﺮﺯ ﺍﺭﺩﻻﻥ ﻭ ﺣﻴﺪﺭ ﺍﺷﺘﻴﺎﻕ‪ ،‬ﺭﺍ ﺭﻭﻯ‬
‫ﻫﻤﭽﻨﻴﻦﺩﺭﺍﺫﻫﺎﻥ ﺷﻚﻭﺑﺎﺯﺩﺍﺷﺖ ﻗﺮﺍﺭ‬           ‫ﺑﻪ ﺳﻜﺲ ﺍﺳﺖ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺴ ّﻜﻨﻰ ﺑﺮﺍﻯ‬       ‫ﻣﻰﺭﺳﺪ‪ .‬ﺩﺭ ﻫﺮ ﺑﺨﺶ ﻧﻮﻳﺴﻨﺪﻩ ﺑﻪ ﻃﺮﺯ‬        ‫ﺻﺪﺍﻯ ﺑﺎﺯﻳﮕﺮﺍﻧﻰ ﻣﺎﻧﻨﺪ ﺳﺎﻣﺎﻥ ﺧﻼﻭﻩ‪،‬‬          ‫ﺭﻓﺘﻪ ﺍﺳﺖ‪.‬ﭘﺮﺩﺓ ﺍﻭﻝ ﻛﻪ ﺳﺮﺁﻏﺎﺯ ﺩﻭﺳﺘﻰ‬       ‫ﺻﺤﻨﻪ ﺗﺠﺴﻢ ﺑﺨﺸﻴﺪﻩ ﺑﻮﺩﻧﺪ‪ ِ.‬ﺑﻰ‬
‫ﺑﮕﻴﺮﺩ‪ .‬ﺍﻳﻦ ﺍﺳﺘﻴﺼﺎﻝ ﻗﻬﺮﻣﺎﻥ ﺩﺍﺳﺘﺎﻥ‬        ‫ﺭﺳﻴﺪﻥ ﺑﻪ ﺑﻰ ﺣﺴﻰ ﺩﺭﻭﻏﻴﻦ ﻛﻪ ﺍﻭ‬           ‫ﺟﺎﻟﺒﻰ ﻭﻗﺎﻳﻊ ﺯﻧﺪﮔﻰ ﺷﺨﺼﻴﺖ ﺍﺻﻠﻰ‬           ‫ﻓﺮﻫﺎﺩ ﺍﻋﻈﻢﭘﻨﺎﻩ‪ ،‬ﺗﺎﺭﺍ ﺗﺎﺑﺎﻥ ﻭ ﻧﻴﻨﺎ ﻧﻮﺭﻙ‬    ‫ﺍﻳﻦ ﺩﻭ ﭘﺮﺳﻮﻧﺎژ ﺍﺳﺖ ﻫﻤﺮﺍﻩ ﺍﺳﺖ ﺑﺎ‬         ‫ﺷﻚ ﺩﻳﺎﻟﻮگﻫﺎﻯ ﻗﻮﻯ ﺍﺳﺘﺎﺩﻣﺤﻤﺪ‬
‫ﻧﻴﺰ ﻫﺴﺖ‪ .‬ﮔﻮﻳﻰ ﺍﻳﻦ ﺗﻨﻬﺎ ﺩﻏﺪﻏﻪﺍﻯ‬          ‫ﺭﺍ ﺍﺯ ﺍﺿﻄﺮﺍﺏ ﻧﺎﺷﻰ ﺍﺯ ﺷﻜﻮﻓﺎ ﻧﺸﺪﻥ‬        ‫ﺩﺍﺳﺘﺎﻥ ﻳﻌﻨﻰ ﺁﺭﺍﻡ ﻫﻮﺭﺍﻣﻰ ﺭﺍ ﺑﻪ ﻳﻜﻰ‬      ‫ﺍﺳﺘﻔﺎﺩﻩ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﻃﺮﺍﺣﻰ ﺻﺤﻨﻪ ﻭ‬             ‫ﺑﺎﺯﺳﺎﺯ ِﻯ ﺻﺤﻨﻪﻫﺎﻳﻰ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻳﻰ‬          ‫ﻋﺎﻣﻞ ﻣﻬﻤﻰ ﺩﺭ ﻣﻮﻓﻘﻴﺖ ﻧﻤﺎﻳﺶ ﺑﻮﺩ‪.‬‬
‫ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻭﺟﻮﺩ ﻫﻤﻪﻯ ﮔﺮﻓﺘﺎﺭﻯﻫﺎ‬           ‫ﺍﺳﺘﻌﺪﺍﺩﻫﺎﻳﺶ ﺑﺮﺍﻯ ﻣﺪﺗﻰ ﻫﺮ ﭼﻨﺪ‬           ‫ﺍﺯ ﺍﻧﮕﺸﺘﺎﻥ ﺩﺳﺖ ﺍﺧﺘﺼﺎﺹ ﺩﺍﺩﻩ ﺍﺳﺖ‪.‬‬        ‫ﻟﺒﺎﺱ ﻛﺎ ِﺭ ﺗﺎﺭﺍ ﺗﺎﺑﺎﻥ ﺑﻮﺩ‪ .‬ﺗﻮﻟﻴﺪ ﻭﻳﺪﺋﻮﻫﺎ‬  ‫ﻛﻪ ﻓﺮﺍﻣﺮﺯ ﺍﺭﺩﻻﻥ ﺩﺭ ﺁﻧﻬﺎ ﻧﻘﺶ ﺍﻭﻝ‬         ‫ﺩﺭ ﻛﻨﺎﺭﺵ‪ ،‬ﺑﺮﺩﻳﺎ ﺟﻼﻟﻰ ﺑﻪ ﻋﻨﻮﺍﻥ‬
‫ﻫﻨﻮﺯ ﺩﺳﺖ ﺍﺯ ﺳﺮ ﺁﺭﺍﻡ ﻫﻮﺭﺍﻣﻰ‬                                                     ‫ﻣﺜﻼ ﻭﻗﺎﻳﻊ ﻣﺮﺑﻮﻁ ﺑﻪ ﺍﺯﺩﻭﺍﺝ ﻗﻬﺮﻣﺎﻥ‬       ‫ﻭ ﺗﺼﻮﻳﺮﺑﺮﺩﺍﺭﻯ ﺍﺯ ﺍﺟﺮﺍ ِﻯ ﺁﻥ ﺷﺐ ﺑﺮ‬         ‫ﺭﺍ ﺑﺎﺯﻯ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺣﻴﺪﺭ ﺍﺷﺘﻴﺎﻕ ﭘﺎ‬        ‫ﻛﺎﺭﮔﺮﺩﺍﻥ‪ ،‬ﻣﻴﺰﺍﻧﺴﻦﻫﺎﻳﻰ ﺭﺍ ﻃﺮﺍﺣﻰ‬
‫ﺑﺮﻧﺪﺍﺷﺘﻪ ﺍﺳﺖ‪ :‬ﺁﺭﺍﻡ ﺩﺭ ﺍﺭﻭﭘﺎ ﺩﺭﻳﺎﻓﺘﻪ‬                  ‫ﻛﻮﺗﺎﻩ ﺩﻭﺭ ﻧﮕﻪ ﻣﻰﺩﺍﺭﺩ‪.‬‬     ‫ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺩﺭ ﺍﻧﮕﺸﺖ ﺣﻠﻘﻪ ﺁﻭﺭﺩﻩ ﺍﺳﺖ‪.‬‬     ‫ﻋﻬﺪﻩﻯ ﻓﺮﻫﺎﺩ ﺍﻋﻈﻢﭘﻨﺎﻩ ﺑﻮﺩ ﻭ ﺿﺒﻂ‬            ‫ﺑﻪ ﭘﺎ ِﻯ ﺍﻭ ﻣﻰﺁﻳﺪ ﻭ ﺑﺎ ﺣﺎﻓﻈﺔ ﻗﻮﻯﺍﺵ‬      ‫ﻛﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﻓﺮﺍﺳﻮﻯ ﭼﻴﺪﻣﺎ ِﻥ‬
‫ﺑﻮﺩ ﺍﺯ ﻭﻗﺘﻰ ﺯﺍﺩﻩ ﺷﺪﻩ ﺗﺎ ﺑﻪ ﺍﻣﺮﻭﺯ ﺁﻭﺍﺭﻩ‬  ‫ﺩﺭ ﻭﺍﻗﻊ ﺩﺭ ﭘ ِﺲ ﻫﻴﺠﺎﻥ ﺳﻜﺴﻰ‬             ‫ﺑﺎ ﺍﻳﻨﻜﻪ ﺷﺨﺼﻴﺖ ﺍﺻﻠﻰ ﺩﺍﺳﺘﺎﻥ‪ُ ،‬ﻛﺮﺩ‬       ‫ﺻﺪﺍ ﺩﺭ ﻣﺴﺌﻮﻟﻴﺖ ﺁﺭﻭﻳﻦ ﺻﺤﺎﻓﺎ ﺑﻮﺩ‪.‬‬           ‫ﺗﻤﺎﻡ ﺩﻳﺎﻟﻮگﻫﺎ ﺭﺍ ﺑﺎﺯﮔﻮﻳﻰ ﻣﻰﻛﻨﺪ ﻭ ﺑﺎ‬     ‫ﻓﻴﺰﻳﻜﻰ ﺍﺷﻴﺎ ﻭ ﺣﺮﻛﺎﺕ ﺑﺎﺯﻳﮕﺮﺍﻥ‪،‬‬
‫ﺑﻮﺩﻩ ﻭ ﻫﻴﭻ ﺟﺎﻳﻰ ﻧﻴﺎﻓﺘﻪ ﺗﺎ ﺁﺭﺍﻡ ﺑﮕﻴﺮﺩ‪.‬‬   ‫ﻣﺤﺘﻮﺍﻯ ﺍﻳﻦ ﺭﻣﺎﻥ‪ ،‬ﺣﺰﻥ ﺭﻧﺞﺁﻭﺭﻯ‬           ‫ﻭ ﺍﺯ ﺩﻳﺎﺭ ﻛﺮﺩﺳﺘﺎﻥ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﺍﻳﻦ ﺭﻣﺎﻥ‬    ‫ﻧﺎﮔﻔﺘﻪ ﻧﻤﺎﻧﺪ ﻛﻪ ﺩﺭ ﺗﻴﺘﺮﺍژ ﭘﺎﻳﺎﻧ ِﻰ ﻧﻤﺎﻳﺶ‬  ‫ﺍﻳﻦ ﺑﺎﺯﺁﻓﺮﻳﻨﻰ ﺻﺤﻨﻪﻫﺎ‪ ،‬ﭘﻴﻮﻧﺪ ﺩﻭﺳﺘﻰ‬       ‫ﻻﻳﻪﻫﺎﻯ ﻣﻌﻨﺎﻳﻰ ﺩﻳﮕﺮﻯ ﺑﻪ ﺑﺨﺶﻫﺎﻯ‬
‫ﻭ ﺍﻳﻦ ﺣﻜﺎﻳﺖ ﺗﻠﺦ ﻣﺮﺩﻡ ﻛﺮﺩﺳﺘﺎﻥ‬            ‫ﻧﻬﻔﺘﻪ ﺍﺳﺖ‪ .‬ﻣﺎ ﺑﻪ ﺗﻠﺨﻰ ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ‬       ‫ﺭﺍﺟﻊ ﺑﻪ ﻓﺮﻫﻨﮓ ﺍﻳﺮﺍﻧﻰ ﻳﺎ ُﻛﺮﺩﻯ ﻧﻴﺴﺖ‪،‬‬    ‫ﺍﺯ ﺗﻤﺎﻣﻰﻣﺮﺍﻛﺰ‪ ،‬ﺭﺳﺎﻧﻪﻫﺎ ﻭ ﺍﻓﺮﺍﺩﻯ ﻛﻪ‬        ‫ﺑﻴﻦ ﺁﻥ ﺩﻭ ﺑﺮﻗﺮﺍﺭ ﻭ ﻣﺤﻜﻢ ﻣﻰﺷﻮﺩ‪.‬‬          ‫ﻣﺨﺘﻠﻒ ﻧﻤﺎﻳﺶ ﻣﻰﺑﺨﺸﻴﺪ ﻭ ﺑﻪ‬
‫ﺍﺳﺖ‪ .‬ﺣﻜﺎﻳﺘﻰ ﻛﻪ ﺑﻰ ﺷﺒﺎﻫﺖ ﺑﻪ‬              ‫ﻗﻬﺮﻣﺎﻥ ﺩﺍﺳﺘﺎﻥ ﭘﺲ ﺍﺯ ﺷﻜﺴﺖ ﺩﺭ‬            ‫ﺑﻠﻜﻪ ﺭﺍﺟﻊ ﺑﻪ ﺍﻧﺴﺎﻥ ﺍﺳﺖ‪ .‬ﺍﻧﺴﺎﻧﻰ ﻛﻪ‬      ‫ﻧﻘﺸﻰ ﺣﺘﻰ ﻛﻮﭼﻚ ﺩﺭ ﺗﺤﻘﻖ ﺍﻳﻦ‬                 ‫ﺍﻣﺎ ﺩﺭ ﭘﺎﻳﺎﻥ ﺍﻳﻦ ﭘﺮﺩﺓ ﭘُﺮ ﺍﺯ ﺟﻨﺐ ﻭ‬      ‫ﺗﻤﺎﺷﺎﮔﺮ ﻣﻨﺘﻘﻞ ﻣﻰﻛﺮﺩ‪ .‬ﺍﻓﺰﻭﻥ ﺑﺮ ﺍﻳﻦ‪،‬‬
                                        ‫ﻣﺒﺎﺭﺯﻩ ﺑﺮﺍﻯ ﺁﺯﺍﺩﻯ‪ ،‬ﺗﺨﻴﻼﺕ ﺟﻨﺴﻰ ﺭﺍ‬       ‫ﺩﺭ ﻣﻮﻗﻌﻴﺖﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺯﻧﺪﮔﻰ‬               ‫ﭘﺮﻭژﻩ ﻭ ﺟﻠﺐ ﺗﻤﺎﺷﺎﮔﺮ ﺩﺍﺷﺘﻪﺍﻧﺪ ﺗﺸﻜﺮ‬         ‫ﺟﻮﺵ ﻛﻪ ﺑﺎ ﺭﻳﺘﻤﻰ ﺳﺮﻳﻊ ﭘﻴﺶ ﺭﻓﺘﻪ‬           ‫ﺟﻼﻟﻰ ﺍﺯ ﻧﻮﺭ ﻭ ﺍﻓﻜﺖ ﺻﺪﺍ ﻭ ﻣﻮﺳﻴﻘﻰ ﻭ‬
          ‫ﺣﻜﺎﻳﺖ ﺯﻧﺎﻥ ﺭﻣﺎﻥ ﻧﻴﺴﺖ‪.‬‬         ‫ﺑﺮﺍﻯ ﻣﺤﺎﻓﻈﺖ ﺍﺯ ﺧﻮﺩ ﺩﺭ ﺑﺮﺍﺑﺮ ﺗﻀﺎﺩﻫﺎ ﻭ‬   ‫ﭘﺮﻣﺎﺟﺮﺍﻳﺶ ﺩﭼﺎﺭ ﺭﻧﺞﻫﺎ ﻭ ﻟﺬﺕﻫﺎﻯ‬           ‫ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﻳﺎﺩﺁﻭﺭﻯ ﺍﺭﺯﺷﻤﻨﺪﻯ ﺑﻮﺩ‪.‬‬         ‫ﺍﺳﺖ‪ ،‬ﺿﺮﺑﻪﺍﻯ ﻣﺤﻜﻢ ﻭﺍﺭﺩ ﻣﻰﺷﻮﺩ ﻭ‬           ‫ﻧﻴﺰ ﻛﻠﻴﭗﻫﺎﻯ ﻭﻳﺪﺋﻮﻳﻰ ﺑﺴﻴﺎﺭ ﺩﺭ ﺍﻳﻦ‬
                                        ‫ﺩﺭﺩﻫﺎﻯ ﺭﻭﺯﺍﻓﺰﻭﻥ ﻭ ﺗﻌﻬﺪ ﻛﺎﺭﻯ ﺑﻪ ﻋﻠﻢ‬     ‫ﺧﺎﺻﻰ ﻣﻰﺷﻮﺩ ﻭ ﺁﻧﻬﺎ ﺭﺍ ﺗﺠﺮﺑﻪ ﻣﻰﻛﻨﺪ‪.‬‬      ‫ﺑﺮﺩﻳﺎ ﺟﻼﻟﻰ ﺩﺭ ﮔﻔﺘﮕﻮ ﺑﺎ ﻛﻴﻬﺎﻥ ﻟﻨﺪﻥ‬         ‫ﻓﻀﺎﻯ ﺳﻨﮕﻴﻨﻰ ﺭﺍ ﺑﺮ ﻧﻤﺎﻳﺶ ﻣﺴﺘﻮﻟﻰ‬          ‫ﻧﻤﺎﻳﺶ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ‬
‫ﺍﺩﺍﻣﻪ ﺩﺭ ﺻﻔﺤﻪ ‪15‬‬                                                               ‫ﺗﺠﺮﺑﻴﺎﺕ ﺍﻳﻦ ﺍﻧﺴﺎﻥ ﻭﺳﻴﻊ ﻭ ﮔﺴﺘﺮﺩﻩ‬        ‫ﻫﻢﭼﻨﻴﻦ ﮔﻔﺖ‪ ،‬ﻭﺍﻛﻨﺶ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ‬
                                              ‫ﻫﻨﺮ ﻭ ﻳﺎ ﺟﺎﻣﻌﻪ ﺑﻪ ﻛﺎﺭ ﻣﻰﮔﻴﺮﺩ‪.‬‬    ‫ﺍﺳﺖ ﻭ ﺣﺘﻰ ﺍﺯ ﻧﻈﺮ ﺟﻐﺮﺍﻓﻴﺎﻳﻰ ﻫﻢ‬          ‫ﻧﺴﺒﺖ ﺑﻪ ﻧﻤﺎﻳﺶ ﺑﺴﻴﺎﺭ ﺧﻮﺏ ﺑﻮﺩﻩ‬                     ‫ﻣﻰﻛﻨﺪ‪ .‬ﺗﻠﻔﻦ ﺯﻧﮓ ﻣﻰﺯﻧﺪ…‬                 ‫ﺳﺒﻚ ﻛﺎﺭ ﺍﻭ ﺗﺜﺒﻴﺖ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬
                                        ‫ﺁﺭﺍﻡ ﻫﻮﺭﺍﻣﻰ ﻛﻪ ﺩﺭ ﺍﺑﺘﺪﺍ ﻳﻚ ﻣﺒﺎﺭﺯ‬                                              ‫ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺍﺳﺘﻘﺒﺎﻝ ﮔﺮﻭﻩ »ﺗﻢ ﺗﺌﺎﺗﺮ«‬          ‫ﺑﺮﺍﻯ ﺑﺎ ﺧﺒﺮ ﺷﺪﻥ ﺍﺯ ﻣﺎﺟﺮﺍ ﻣﻰﺑﺎﻳﺴﺖ‬        ‫ﺩﺍﺳﺘﺎﻥ ﻧﻤﺎﻳﺶ ﺩﺭﺑﺎﺭﺓ ﺷﺨﺼﻴﺘﻰ ﺑﻪ‬
                                        ‫ﺳﻴﺎﺳﻰ ﺍﺳﺖ ﺩﺭ ﭘﻰ ﺧﻮﺩﻭﻳﺮﺍﻧﮕﺮﻯ‬                ‫ﻣﺴﺎﺣﺖ ﺯﻳﺎﺩﻯ ﺭﺍ ﺩﺭ ﺑﺮ ﻣﻰﮔﻴﺮﺩ‪.‬‬       ‫ﺭﺍ ﺗﺸﻮﻳﻖ ﻣﻰﻛﻨﺪ ﻛﻪ ﺩﺭ ﻓﻜﺮ ﺍﺟﺮﺍﻯ‬            ‫ﻫﺮ ﻭﻗﺖ ﺍﻳﻦ ﻫﻨﺮﻣﻨﺪﺍﻥ »ﺁﺧﺮﻳﻦ ﺑﺎﺯﻯ«‬        ‫ﻧﺎﻡ ﻓﺮﺍﻣﺮﺯ ﺍﺭﺩﻻﻥ‪» ،‬ﺍﺑﺮﺳﺘﺎﺭﺓ« ﺳﻴﻨﻤﺎﻯ‬
                                        ‫ﻧﺎﺷﻰ ﺍﺯ ﺣﺲ ﭘﻮﭼﻰ ﻭ ﻧﺎﺍﻣﻴﺪﻯ‪،‬‬             ‫ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺏ ﺻﺮﺍﺣﺖ ﻋﺠﻴﺒﻰ ﺣﺎﻛﻢ‬           ‫ﻣﺠﺪﺩ ﺍﻳﻦ ﻧﻤﺎﻳﺶ ﺩﺭ ﺷﻬﺮﻫﺎﻳﻰ ﻣﺎﻧﻨﺪ‬           ‫ﺭﺍ ﺩﺭ ﺷﻬﺮ ﺷﻤﺎ ﺑﻪ ﺭﻭﻯ ﺻﺤﻨﻪ ﺁﻭﺭﺩﻧﺪ‪،‬‬       ‫ﻗﺒﻞ ﺍﺯ ﺍﻧﻘﻼﺏ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﭘﺮﺳﻮﻧﺎژ ﺍﻟﺒﺘﻪ‬
                                        ‫ﺍﻧﺮژﻯ ﺗﻨﺪﺧﻮﻳﺎﻧﻪﺍﺵ ﺭﺍ ﺑﻪ ﺟﺎﻯ ﺍﻳﻨﻜﻪ‬      ‫ﺍﺳﺖ‪ .‬ﻧﻮﻳﺴﻨﺪﻩ ﺑﺪﻭﻥ ﺁﻧﻜﻪ ﺳﻌﻰ ﺩﺭ‬          ‫ﻣﻨﭽﺴﺘﺮ‪ ،‬ﺑﻴﺮﻣﻨﮕﻬﺎﻡ‪ ،‬ﻟﻴﺪﺯ ﻭ ﺷﻔﻴﻠﺪ‬           ‫ﺑﻪ ﺗﻤﺎﺷﺎﻳﺶ ﺑﺮﻭﻳﺪ‪.‬ﻣﺤﻤﻮﺩ ﺍﺳﺘﺎﺩﻣﺤﻤﺪ‪،‬‬       ‫ﺷﺨﺼﻴﺘﻰ ﺣﻘﻴﻘﻰ ﻧﻴﺴﺖ ﻭ ﺗﻨﻬﺎ ﻣﺨﺮﺝ‬
                                        ‫ﺻﺮﻑ ﻫﺪﻓﻰ ﻭﺍﻻ ﻛﻨﺪ ﺩﺭ ﺟﺴﺖ ﻭ‬              ‫ﺗﻮﺟﻴﻪ ﺭﻓﺘﺎﺭ ﺷﺨﺼﻴﺖ ﺩﺍﺳﺘﺎﻥ ﺩﺍﺷﺘﻪ‬         ‫ﺩﺭ ﺑﺮﻳﺘﺎﻧﻴﺎ ﺑﺎﺷﺪ ﻛﻪ ﺩﺭ ﺁﻧﻬﺎ ﺍﻳﺮﺍﻧﻴﺎﻥ‬      ‫ﻳﻜﻰ ﺍﺯ ﺑﺎﺯﻳﮕﺮﺍﻥ‪ ،‬ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻭ ﻛﺎﺭﮔﺮﺩﺍﻥ‬   ‫ﻣﺸﺘﺮﻛﻰ ﺍﺳﺖ ﺍﺯﺧﺼﻮﺻﻴﺎﺕ ﺭﻭﺍﻧﻰ ﻭ‬
                                        ‫ﺟﻮﻯ ﺳﻴﺮﻯ ﻧﺎﭘﺬﻳﺮ ﺑﺮﺍﻯ ﺳﻜﺲ ﺑﻪ‬            ‫ﺑﺎﺷﺪ ﺭﻓﺘﺎﺭﻫﺎﻯ ﺍﻭ ﺭﺍ ﺑﺎ ﺳﺒﻚ ﺑﺴﻴﺎﺭ‬                                                                                         ‫ﺭﻓﺘﺎﺭﻯ ﺑﺨﺸﻰ ﺍﺯ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻭ ﻓﻌﺎﻻﻥ‬
                                        ‫ﻛﺎﺭ ﻣﻰﺍﻧﺪﺍﺯﺩ ﻛﻪ ﺩﺭ ﻧﻬﺎﻳﺖ ﻣﻮﺟﺐ‬          ‫ﺻﺮﻳﺢ ﺧﻮﺩ ﺑﻪ ﺗﺼﻮﻳﺮ ﻣﻰﻛﺸﺪ‪ .‬ﺩﺭ‬                       ‫ﺑﺴﻴﺎﺭﻯ ﺯﻧﺪﮔﻰ ﻣﻰﻛﻨﻨﺪ‪.‬‬                                                   ‫ﻓﺮﻫﻨﮕﻰ ﻛﻪ ﺑﻪ ﺩﻧﺒﺎﻝ ﺍﻧﻘﻼﺏ ﺟﻼﻯ‬
                                        ‫ﻧﺎﺗﻮﺍﻧﻰ ﺟﻨﺴﻰ ﺍﻭ ﻣﻰﺷﻮﺩ‪ .‬ﮔﻮﻳﺎ ﻃﺒﻴﻌﺖ‬      ‫ﻭﺍﻗﻊ ﻣﺎ ﺍﺯ ﺩﻧﻴﺎﻯ ﺫﻫﻨﻰ ﺁﺭﺍﻡ ﻫﻮﺭﺍﻣﻰ‬                                                                                        ‫ﻭﻃﻦ ﻛﺮﺩﻧﺪ‪ .‬ﺍﺭﺩﻻﻥ ﻫﻢ ﻛﻪ ﺩﺭ »ﺷﻬﺮ‬
                                        ‫ﻣﻰﺧﻮﺍﻫﺪ ﺑﻪ ﺍﻭ ﻫﺸﺪﺍﺭ ﺩﻫﺪ ﻛﻪ ﺁﻥ‬          ‫ﭼﻴﺰ ﺯﻳﺎﺩﻯ ﻧﻤﻰﺩﺍﻧﻴﻢ ﺑﻠﻜﻪ ﻧﻮﻳﺴﻨﺪﻩ‬                                                                                          ‫ﻣﻼﺋﻜﻪ«‪» ،‬ﻟﺲ ﺁﻧﺠﻠﺲ« ﺍﻗﺎﻣﺖ ﮔﺰﻳﺪﻩ‬
                                        ‫ﺍﺣﺴﺎﺱ ﻫﻮﻳﺖ ﺷﺨﺼﻰ ﻛﻪ ﻭﻯ ﺩﺭ‬               ‫ﺩﺭ ﺳﺮﺍﺳﺮ ﺩﺍﺳﺘﺎﻥ ﺑﻪ ﺩﻧﻴﺎﻯ ﻋﻴﻨﻰ ﺍﻭ ﻭ‬                                                                                       ‫ﺍﺳﺖ ﺁﺩﻣﻰﺍﺳﺖ ﻛﻪ ﺍﺯ ﺑﻰ ﺍﺭﺗﺒﺎﻃﻰ ﺑﺎ‬
                                        ‫ﺳﻜﺲ ﺑﻪ ﺩﻧﺒﺎﻝﺍﺵ ﻣﻰ ﮔﺮﺩﺩ ﭼﻴﺰﻯ‬            ‫ﺳﺎﻳﺮ ﺷﺨﺼﻴﺖﻫﺎ ﻣﻰﭘﺮﺩﺍﺯﺩ‪ .‬ﮔﻮﻳﺎ ﻗﺼﺪ‬                                                                                          ‫ﺷﺮﺍﻳﻂ ﻭ ﻭﺍﻗﻌﻴﺖ ﻧﻮﻳﻦ ﺯﻧﺪﮔﻰ ﺧﻮﺩ‬
                                        ‫ﺍﺳﺖ ﻛﻪ ﺳﻜﺲ ﺑﻪ ﺗﻨﻬﺎﻳﻰ ﻗﺎﺩﺭ ﻧﻴﺴﺖ‬         ‫ﺩﺍﺭﺩ ﺑﻪ ﺧﻮﺍﻧﻨﺪﻩ ﺑﻔﻬﻤﺎﻧﺪ ﻛﻪ ﺩﻧﻴﺎﻯ‬                                                                                         ‫ﻭﻋﺪﻡ ﺗﻮﺍﻧﺎﻳﻰ ﺩﺭ ﺍﻧﻄﺒﺎﻕ ﺑﺎ ﺁﻥ ﺭﻧﺞ‬
                                                                               ‫ﺫﻫﻨﻰ ﺩﻧﻴﺎﻳﻰ ﻛﺎﻣﻼ ﺷﺨﺼﻰ ﺍﺳﺖ ﻭ ﻫﺮ‬                                                                                           ‫ﻣﻰﺑﺮﺩ ﻭ ﺑﻪ ﮔﻮﺷﻪﻧﺸﻴﻨﻰ ﻭ ﻏﺮﻕ ﺷﺪﻥ‬
                                                            ‫ﺗﺎﻣﻴﻦﺍﺵ ﻛﻨﺪ‪.‬‬       ‫ﺍﻧﺴﺎﻧﻰ ﺟﻬﺎﻥ ﺫﻫﻨﻰ ﺧﺎﺹ ﺧﻮﺩﺵ ﺭﺍ‬                                                                                             ‫ﺩﺭ ﮔﺬﺷﺘﻪﻫﺎﻯ ﺗﺎﺑﻨﺎﻙ ﺧﻮﻳﺶ ﭘﻨﺎﻩ‬
                                        ‫ﺁﺭﺍﻡ ﻫﻮﺭﺍﻣﻰ ﻣﺒﺎﺭﺯ ﺳﻴﺎﺳﻰ ﻧﺎﺍﻣﻴﺪ‬         ‫ﺩﺍﺭﺩ ﻭ ﺍﻳﻦ ﺫﻫﻨﻴﺖ ﺍﻛﺜﺮ ﺍﺯ ﺩﻳﮕﺮﺍﻥ ﻧﻬﺎﻥ‬                                                                                     ‫ﺑﺮﺩﻩ ﺍﺳﺖ ﻭ ﺑﺎ ﻫﻤﻴﻦ ﺍﻧﺰﻭﺍ ﻓﺎﺻﻠﻪﺍﺵ ﺍﺯ‬
                                        ‫ﻭ ﺷﻜﺴﺖ ﺧﻮﺭﺩﻩﺍﻯ ﺍﺳﺖ ﻛﻪ ﺳﻌﻰ‬              ‫ﺍﺳﺖ ﻭ ﺍﻳﻦ ﺷﺨﺼﻴﺖ ﻋﻴﻨﻰ ﻓﺮﺩ ﺍﺳﺖ‬                                                                                             ‫ﻭﺍﻗﻌﻴﺖﭘﻴﺮﺍﻣﻮﻧﻰﺑﻴﺸﺘﺮﻭﺑﻴﺸﺘﺮﻣﻰﺷﻮﺩ‪.‬‬
                                        ‫ﻣﻰﻛﻨﺪ ﺑﺮﺍﻯ ﻓﺮﺍﺭ ﺍﺯ ﺍﺿﻄﺮﺍﺏ ﻭ‬            ‫ﻛﻪ ﻗﺎﺑﻞ ﺩﻳﺪﻥ ﻭ ﺗﻌﺮﻳﻒ ﻣﻰﺑﺎﺷﺪ‪ .‬ﺍﻣﺎ‬                                                                                         ‫ﻫﻤﻪ ﭼﻴﺰ ﺩﺭﻣﻨﺰﻝ ﻓﺮﺍﻣﺮﺯ ﺍﺭﺩﻻﻥ ﺍﺗﻔﺎﻕ‬
                                        ‫ﺍﻓﺴﺮﺩﮔﻰ ﻧﺎﺷﻰ ﺍﺯ ﺭﺳﻴﺪﻥ ﺑﻪ ﭘﻮﭼﻰ ﺑﻪ‬       ‫ﺩﺭ ﻣﻌﺪﻭﺩ ﺻﻔﺤﺎﺗﻰ ﻧﻮﻳﺴﻨﺪﻩ ﺑﻪ ﺩﻧﻴﺎﻯ‬                                                                                         ‫ﻣﻰﺍﻓﺘﺪ‪ .‬ﺍﺭﺩﻻﻥ ﺗﻨﻬﺎ ﺩﺭ ﺍﺗﺎﻕ ﺧﻮﺩ ﻧﺸﺴﺘﻪ‬
                                        ‫ﺗﻨﻬﺎ ﺟﺒﻬﻪﻯ ﮔﺸﻮﺩﻩ ﺷﺪﻩ ﺩﺭ ﻣﻘﺎﺑﻞﺍﺵ‬        ‫ﺫﻫﻨﻰ ﺁﺭﺍﻡ ﻧﻴﺰ ﻣﻰﭘﺮﺩﺍﺯﺩ ﻭ ﺩﺭ ﻫﻤﻴﻦ‬                                                                                         ‫ﺍﺳﺖ ﺑﺎ ﺁﻓﻴﺶﻫﺎﻯ ﻓﻴﻠﻢﻫﺎﻯ ﺍﻭ ﺩﺭ‬
                                                                                                                                                                                                        ‫ﺍﻳﺮﺍﻥ ﻗﺒﻞ ﺍﺯ ﺍﻧﻘﻼﺏ ﺑﺮ ﺩﻳﻮﺍﺭﻫﺎ‪ ،‬ﻭ ﺩﺭ‬
                                                     ‫ﻳﻌﻨﻰ ﺳﻜﺲ ﭘﻨﺎﻩ ﺑﺒﺮﺩ‪.‬‬
                                        ‫ﻣﺎ ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ ﺩﺭ ﺳﺎﻝﻫﺎﻯ ﺍﺧﻴﺮ‬
                                        ‫ﺟﺒﻬﻪﻯ ﺟﻨﺴﻰ ﺷﺎﻳﺪ ﮔﺴﺘﺮﺩﻩﺗﺮ ﺍﺯ ﺁﻥ‬
                                        ‫ﺷﺪﻩ ﻛﻪ ﺑﺘﻮﺍﻧﺪ ﺧﻼءﺍﻯ ﺭﺍ ﭘﺮ ﻛﻨﺪ‪.‬ﻭ ﺍﻳﻦ‬
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