‫ﻢ‪ ‬ﻳﺼﻠﺢ‪ ‬ﻟﺘﻌﻠّﻢ‪ ‬ﺍﻟﺮﻗﺺ‪  ‬‬

‫ْ‬ ‫ﻣﻤ ّﺮ‪ ‬ﻣﻌﺘِ‬

‫ﺇﻳﻤﺎﻥ‪ِ  ‬ﻣﺮﺳﺎﻝ‪  ‬‬

‫‪1995‬‬
 ‫ﺃﺗﻠﻔّﺖ‪  ‬‬
‫ﻛﺎﺋﻦ ﻳﻨﺘﻈ ُﺮ ﺍﻧﻬﻴﺎﺭﺍً ﻣﺎ‬
‫ٍ‬ ‫ﻓﻲ ﻳﻘﻈﺔُ‬
‫ﻋﺎﺩﺓً ﻣﺎ ﺃﺗﻠﻔّﺖ ﺣﻮﻟﻲ‬
‫ﺭﺑﻤﺎ ﻟﻬﺬﺍ‪...‬‬
‫ﻟﻌﻨﻘﻲ ﻗﻮﺓٌ ﻻ ﺗﻨﺎﺳﺐ ﺟﺴﺪﻱ‬
‫ُ‬
‫ﻭﺍﻟﻤﺪﻫﺶ‬
‫ﺃﻧﻨﻲ ﻻ ﺃﺗﻮﻗّﻊ ﺭﺻﺎﺻﺎ ً ﺣﻴﺎ ً‬
‫ﻣﻦ ﺍﻟﺸﻮﺍﺭﻉ ﺍﻟﺠﺎﻧﺒﻴﺔ ﺍﻟﺨﺎﻟﻴﺔ‬
‫ﺼﺎﺕ‬‫ﻭﻻ ﻣﻘ ّ‬
‫‪ -‬ﻛﻮﺳﻴﻠﺔ ﺻﺎﻣﺘﺔ ﻟﻠﻘﺘﻞ‪-‬‬
‫ﺑﻞ ﺍﻧﺘﺒﺎﻩ ﺧﺎﻁﻒ‬
‫ﻋﻴﻮﻥ ﺃﻛﺎﺩ ﺃﻋﺮﻓﻬﺎ‬ ‫ٍ‬ ‫ﻋﻠﻰ‬
‫ٌ‬
‫ﻭﻟﻜﻨﻬﺎ ﻗﺎﺩﺭﺓﻋﻠﻰ ﺍﻟﻘﻴﺎﻡ ﺑﺎﻟﻤﻬﻤﺔ‪.‬‬
 ‫ﻲ‪  ‬‬
‫ﻟﻲ‪ ‬ﺍﺳ ٌﻢ‪ ‬ﻣﻮﺳﻴﻘ ّ‪ ‬‬
‫ﺭُ ﺑّﻤﺎ ﺍﻟ ﱞﺸﺒﺎﻙ ﺍﻟﺬﻱ ُ‬
‫ﻛﻨﺖ ﺃﺟﻠﺲُ ﺑﺠﺎﻧﺒِ ِﻪ‬
‫ﻛﺎﻥ ﻳﻌُﺪﻧﻲ ﺑﻤﺠ ٍﺪ ﻏﻴﺮ ﻋﺎﺩ ّ‬
‫ﻱ‬
‫ﻛﺘﺒﺖ ﻋﻠﻰ ُﻛ ّﺮﺍﺳﺎﺗﻲ‬
‫ُ‬
‫ﺇﻳﻤﺎﻥ‪...‬‬
‫ﻁﺎﻟﺒﺔ ﺑﻤﺪﺭﺳﺔ‪ :‬ﺇﻳﻤﺎﻥ ﻣﺮﺳﺎﻝ ﺍﻻﺑﺘﺪﺍﺋﻴﺔ‬
‫ﻭﻟﻢ ﺗﺴﺘﻄﻊ ﻋﺼﺎ ﺍﻟﻤﺪﺭﱢ ﺱ ﺍﻟﻄﻮﻳﻞ‪٬‬‬
‫ﻭﻻ ﺍﻟﻀﺤﻜﺎﺕ ﺍﻟﺘﻲ ﺗﻨﻂ ﻣﻦ ﺍﻟﺪﱢﻛﺎﺕ ﺍﻟﺨﻠﻔﻴﺔ‬
‫ﺃﻥ ﺗﻨﺴﻴﻨﻲ ﺍﻷﻣﺮ‪.‬‬

‫ﻓ ﱠﻜﺮﺕ ﺃﻥ ﺃُﺳ ّﻤﻲ ﺷﺎﺭﻋﻨﺎ ﺑﺎﺳﻤﻲ‬

‫ﺷﺮﻁَ ﺗﻮﺳﻴﻊ ﺑﻴﻮﺗﻪ‪٬‬‬
‫ﻭﺇﻗﺎﻣﺔ ُﻏﺮﻑ ﺳﺮﻳﺔ‪٬‬‬
‫ﺃﺳﺮﱠﺗﻬﻢ‬
‫ﺑﻤﺎ ﻳﺴﻤﺢ ﻷﺻﺪﻗﺎﺋﻲ ﺑﺎﻟﺘﺪﺧﻴﻦ ﺩﺍﺧﻞ ِ‬
‫ﺩﻭﻥ ﺃﻥ ﻳﺮﺍﻫﻢ ﺃُﺧﻮﺗُﻬﻢ ﺍﻟﻜﺒﺎﺭ‪.‬‬

‫ﺑﻌﺪ ﻫَﺪﻡ ﺍﻟﺴﻘﻮﻑ‪ ٬‬ﻟﺘﺨﻔﻴﻒ ﺍﻟﻌﺐء ﻋﻦ ﺍﻟﺠﺪﺭﺍﻥ‬

‫ﺍﻟﺠﺪﺍﺕ ﺍﻟﻤﻴﺘﺎﺕ ﻭﺍﻷﻭﺍﻧﻲ‬
‫ﻭﻧَﻘ ِﻞ ﺃﺣﺬﻳﺔ َ‬
‫ﺧﺎﺭﺝ ﺍﻟﺤﻴﺎﺓ‬ ‫ُ‬
‫ﻣﻬﺎﺕ‬ ‫ﻭﺍﻟﻌُﻠﺐ ﺍﻟﻔﺎﺭﻏﺔ ﺍﻟﺘﻲ ﺃﺧﺮﺟﺘﻬﺎ ﺍﻷُ‬
‫ِ‬
‫ﺑﻌﺪ ﺧﺪﻣﺔ ﻁﻮﻳﻠﺔ ﺇﻟﻰ ﺷﺎﺭﻉ ﺁﺧﺮ‪.‬‬

‫ﻳُﻤﻜﻦ ﺃﻳﻀﺎ ً َﺩﻫﻦُ ﺍﻷﺑﻮﺍﺏ ﺑﺎﻷﻭﺭﻧﺞ‬

‫ﻛﺘﻌﺒﻴﺮ ﺭﻣﺰﻱ ﻋﻦ ﺍﻟﺒﻬﺠﺔ‪-‬‬
‫ٍ‬ ‫‪-‬‬
‫ﻣﻘﺎﺑﺾ ﻣﺨﺮﻭﻣﺔ‪ ٬‬ﺗُﺴﻬﱢﻞ ﻋﻠﻰ ﺃﻱ ﻭﺍﺣﺪ‬
‫َ‬ ‫ﻊ‬
‫ُ‬ ‫ﻭﻭﺿ‬
‫ﺍﻟﺘﻠﺼﱡ ﺺ ﻋﻠﻰ ﺍﻟﻌﺎﺋﻼﺕ ﻛﺒﻴﺮﺓ ﺍﻟﻌﺪﺩ‪٬‬‬
‫ﻭﺑﻬﺬﺍ ﻻ ﻳﻜﻮﻥ ﻫﻨﺎﻙ ﺷﺨﺺٌ ﻭﺣﻴ ٌﺪ ﻓﻲ ﺷﺎﺭﻋﻨﺎ‪.‬‬

‫"ﺍﻟﺘﺠﺎﺭﺏُ ﺍﻟﺮﺍﺋﺪﺓ‬
‫ﺗﺼﻨﻌﻬﺎ ﺍﻟﻌﻘﻮ ُﻝ ﺍﻟﻜﺒﻴﺮﺓ"‬
‫ﻫﻜﺬﺍ ﻛﺎﻥ ﻳُﻤﻜﻦ ﺃﻥ ﻳﺼﻔﻨﻲ ﻋﺎﺑﺮﻭﻥ‬
‫ﻭﻫﻢ ﻳﺘﻨﺰﻫﻮﻥ ﻋﻠﻰ ﺍﻟﺮﺻﻴﻒ ﺍﻷﺑﻴﺾ‬
‫ﻟﺸﺎﺭﻉ ﻳﺤﻤﻞ ﺍﺳﻤﻲ‪٬‬‬
‫ٍ‬
‫ﻭﻟﻜﻦ ﻟﻜﺮﺍﻫﻴ ٍﺔ ﻗﺪﻳﻤ ٍﺔ ﺑﻴﻨﻲ ﻭﺑﻴﻨﻪ‪٬‬‬
‫ﺗﺮﻛﺖ ﺃﺣﺠﺎ ُﺭﻩُ ﻋﻼﻣﺎﺗِﻬﺎ ﻓﻲ ﺭُﻛﺒﺘ ّﻲ‬
‫ﺟﺪﻳﺮ ﺑﺬﻟﻚ‬
‫ٍ‬ ‫ُ‬
‫ﻭﺭﺃﻳﺖ ﺃﻧﻪ ﻏﻴ ُﺮ‬

‫ُ‬
‫ﺍﻛﺘﺸﻔﺖ ﺃﻥ ﻟﻲ‬ ‫ﻻ ﺃﺫﻛ ُﺮ ‪.‬ﻣﺘﻰ‬
‫ﺍﺳﻤﺎ ً ﻣﻮﺳﻴﻘﻴﺎ‪ ٬‬ﻳﻠﻴﻖ ﺍﻟﺘﻮﻗﻴ ُﻊ ﺑﻪ‬
‫ً‬
‫ﻋﻠﻰ ﻗﺼﺎﺋ َﺪ ﻣﻮﺯﻭﻧ ٍﺔ‪ ٬‬ﻭﺭﻓﻌُﻪ ﻓﻲ‬
‫ﻭﺟﻪ ﺃﺻﺪﻗﺎء ﻟﻬﻢ ﺃﺳﻤﺎ ٌء ﻋﻤﻮﻣﻴﺔٌ‬
‫ﻭﻻ ﻳﻔﻬﻤﻮﻥ ﺍﻟﻤﻌﻨﻰ ﺍﻟﻌﻤﻴﻖ ﻷﻥ‬
‫ﺼﺪﻓﺔُ ﺍﺳﻤﺎ ً ﻣﻠﺘﺒﺴﺎً‬ ‫ﺗﻤﻨﺤﻚ ﺍﻟ ُ‬
‫ﻳﺜﻴ ُﺮ ﺍﻟﺸﺒﻬﺎﺕَ ﺣﻮﻟﻚ‬
‫ﻭﻳﻘﺘﺮﺡ ﻋﻠﻴﻚ ﺃﻥ ﺗﻜﻮﻥَ ﺷﺨﺼﺎ ً َ‬
‫ﺁﺧﺮ‬
‫ﻛﺄﻥ ﻳﺴﺄﻟﻚ ﻣﻌﺎﺭﻓُﻚ ﺍﻟﺠﺪ ُﺩ‬
‫ﻣﺴﻴﺤﻲ؟‬
‫ّ‬ ‫‪ -‬ﻫﻞ ﺃﻧﺖ‬
‫ﺃﻭ‬
‫‪ -‬ﻫﻞ ﻟﻚ ﺃﺻﻮ ٌﻝ ﻟُﺒﻨﺎﻧﻴّﺔ؟‬
 ‫ﻟﻸﺳﻒ‪ ٬‬ﺷﻲ ٌء ﻣﺎ ﺣﺪﺙ‬
‫ﻓﻌﻨﺪﻣﺎ ﻳﻨﺎﺩﻳﻨﻲ ﺃﺣ ٌﺪ ﻳﻌﺮﻓﻨﻲ‪٬‬‬
‫ﺖ ﺣﻮﻟﻲ‪٬‬‬ ‫ﺃﺭﺗﺒﻚُ‪ ٬‬ﻭﺃﺗﻠﻔّ ُ‬
‫ﻫﻞ ﻳُﻤﻜﻦ ﺃﻥ ﻳﻜﻮﻥ ﻟﺠﺴﺪ ﻛﺠﺴﺪﻱ‬
‫ﻭﻟﺼﺪﺭ ﺗﺰﺩﺍ ُﺩ ﺧﺸﻮﻧﺘُﻪ ﻓﻲ ﺍﻟﺘﻨﻔﱡﺲ‬
‫ٍ‬
‫ﻳﻮﻣﺎ ً ﺑﻌﺪ ﻳﻮﻡ‪ ٬‬ﺍﺳ ٌﻢ ﻛﻬﺬﺍ؟‬

‫ﺛﻢ ﺇﻧﻨﻲ ﺃﺭﻯ ﻧﻔﺴﻲ ﻛﺜﻴﺮﺍً‪٬‬‬

‫ﺑﻴﻦ ُﻏﺮﻓﺔ ﺍﻟﻨﻮﻡ ﻭﺍﻟﺤ ﱠﻤﺎﻡ‪٬‬‬
‫ﻱ ﻣﻌﺪﺓُ ﺣﻮ ٍ‬
‫ﺕ‪٬‬‬ ‫ﺣﻴﺚ ﻟﻴﺲ ﻟﺪ ﱠ‬
‫ﻹﻓﺮﺍﻍ ﻣﺎ ﺃﻋﺠ ُﺰ ﻋﻦ ﻫﻀﻤ ِﻪ‪.‬‬‫ِ‬

‫***‬
 ‫ﻓﺎﺗﺘﻨﻲ‪ ‬ﺃﺷﻴﺎء‪  ‬‬
‫ﺕ ﺑﻴﺘﻲ‬ ‫ﺃﻣﺎ َﻡ ﺍﻟﺒﻴﺖ ﺍﻟﺬﻱ ﻛﺎﻥ ﻟﺴﻨﻮﺍ ٍ‬
‫ﺳﺄﻋﺒﺮُ ﻳﻮﻣﺎ‬
‫ﺕ ﺃﺻﺪﻗﺎﺋﻲ‪٬‬‬
‫ِ‬ ‫ﺑﻴﻮ‬ ‫َﺇﻟﻰ‬ ‫ﺍﻟﻤﺴﺎﻓﺔ‬ ‫ﻣﻨﻪ‬ ‫ﺃﻗﻴﺲ‬
‫َ‬ ‫ﻣﺠﺮﱢ ﺑﺔً ﺃﻻ‬
‫ُ‬ ‫ً‬ ‫َ‬ ‫َ‬
‫ﺃﻥ ﺍﻷﺭﻣﻠﺔ ﺍﻟﺒﺪﻳﻨﺔ ﺍﻟﺘﻲ ﻛﺜﻴﺮﺍ ﻣﺎ ﺃﻳﻘﻈﻨﻲ ﺷﺒﻘﻬﺎ ﻓﻲ ﺍﻟﻠﻴﻞ‬
‫ﻟﻢ ﺗﻌُﺪ ﺟﺎﺭﺗﻲ‪.‬‬

‫ﺳﺄﺑﺘﻜﺮ ﺃﺷﻴﺎ َء ﻛﻲ ﻻ ﺃﺭﺗﺒﻚ‪٬‬‬

‫ﻛﺄﻥ ﺃﻋ ﱠﺪ ﺧﻄﻮﺍﺗﻲ‬
‫ﺃﻭ ﺃﻋﺾﱠ ﺷﻔﺘ ّﻲ ﻣﺘﻠﺬﺫﺓً ﺑﺎﻟﻮﺟﻊ ﺍﻟﺨﻔﻴﻒ‬
‫ﺐ ﻛﺎﻣﻠ ٍﺔ‬
‫ﻭﻗﺪ ﺃﺷﻐﻞ ﺃﺻﺎﺑﻌﻲ ﺑﺘﻤﺰﻳﻖ ﻋُﻠ ٍ‬
‫ﻣﻦ ﺍﻟﻤﻨﺎﺩﻳﻞ ﺍﻟﻮﺭﻗﻴﺔ‪.‬‬

‫ﻕ ﺟﺎﻧﺒﻴ ٍﺔ‬ ‫ﺃﺣﺎﻭﻝ ﺍﻛﺘﺸﺎﻑَ ﻁﺮ ٍ‬

‫َ‬ ‫ﻟﻦ‬
‫ﺗﺴﺎﻋﺪﻧﻲ ﻋﻠﻰ ﺗﻔﺎﺩﻱ ﺍﻷﻟﻢ‪٬‬‬
‫ﻭﻟﻦ ﺃﺣﺮ َﻡ ﻧﻔﺴﻲ ﻣﻦ ﺍﻟﺘﺴ ﱢﻜﻊ ﻓﻲ ﺛﻘ ٍﺔ‬
‫ﻭﺃﻧﺎ ﺃﺩﺭّﺏُ ﺃﺳﻨﺎﻧﻲ ﻋﻠﻰ ﻣﻀﻎ ﻛﺮﺍﻫﻴ ٍﺔ‬
‫ﺗﻘﻔﺰ ﻣﻦ ﺍﻟﺪﺍﺧﻞ‪.‬‬
‫ﻭﻓﻲ ﻣﺤﺎﻭﻟ ٍﺔ ﻟﻠﺘﺴﺎﻣﺢ‬
‫ﻣﻊ ﺍﻷﻳﺎﺩﻱ ﺍﻟﺒﺎﺭﺩ ِﺓ ﺍﻟﺘﻲ ﺩﻓﻌ ْﺘﻨﻲ ﺍﻟﻴﻪ‬
‫ﺳﺄﺗﺬ ّﻛﺮ‬
‫ﺃﺑﻴﺾ ﺍﻟﺤ ّﻤﺎﻡ‬
‫َ‬ ‫ﺃﻧﻨﻲ ﻟﻢ ﺃﺧﺪﺵ‬
‫ﺑﺪُﻛﻨ ٍﺔ ﺗﺨﺼﱡ ﻨﻲ‪.‬‬

‫ﻓﺎﺗﺘﻨﻲ ﺃﺷﻴﺎء ﺑﻼ ﺷﻚ‪٬‬‬

‫ﺍﻟﺠﺪﺭﺍﻥُ ‪ -‬ﻧﻔﺴﻬﺎ‪ -‬ﻟﻢ ﺗﺪﺧﻞ ﺃﺣﻼﻣﻲ‬
‫ﻓﻠﻢ ﺃﺗﺨﻴﻞ ﻟﻮﻥَ ﻁﻼ ٍء‬
‫ﻳﻨﺎﺳﺐُ ﺇﺿﺎءﺓً ﻓﺎﺟﻌﺔً‬

‫ﺕ ﺑﻴﺘﻲ‬ ‫ﻫﺬﺍ ﺍﻟﺒﻴﺖ‪ ٬‬ﻛﺎﻥ ﻟﺴﻨﻮﺍ ٍ‬

‫ﻟﻢ ﻳﻜﻦ ﻣﻌﺴﻜﺮﺍً ﻁﻼﺑﻴﺎ ً‬
‫ﺕ‬
‫ِ‬ ‫ﺍﻟﺤﻔﻼ‬ ‫ﺣﺘﻰ ﺃﺗﺮﻙ ﻓﺴﺘﺎﻥَ‬
‫ﻣﺴﻤﺎﺭ ﺧﻠﻒ ﺍﻟﺒﺎﺏ‪٬‬‬‫ٍ‬ ‫ﻋﻠﻰ‬
‫ﺖ‪.‬‬
‫ﺑﺼﻤﻎ ﻣﺆﻗ ٍ‬
‫ٍ‬ ‫ﻭﺃﻟﺼﻖ ﺻﻮﺭﻱ ﺍﻟﻘﺪﻳﻤﺔَ‬
‫ﺃﻅﻦﱡ ﺃﻥ ﺍﻟﺠُ ﻤﻞ ﺍﻟﻌﺎﻁﻔﻴﺔ‬
‫ﺍﻟﺘﻲ ﺃﺧﺮﺟﺘُﻬﺎ ﻣﻦ "ﺍﻟﺤُﺐ ﻓﻲ ﺯﻣﻦ ﺍﻟﻜﻮﻟﻴﺮﺍ"‬
‫ﻗﺪ ﺍﺧﺘﻠﻄﺖ ﻫﻨﺎﻙ‬
‫ﺃﺻﺒﺤﺖ ﻧﺼﺎ ً ﺑﺎﻟ َﻎ ﺍﻟﻜﻮﻣﻴﺪﻳﺎ‪.‬‬

‫ﻣﺎﺭﺱ ‪94‬‬

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 ‫ﺃﻣﻴﻨﺔ‪  ‬‬
‫ﺗﻄﻠﺒﻴﻦ ﺍﻟﺒﻴﺮﺓَ ﺑﺎﻟﺘﻠﻴﻔﻮﻥ‪٬‬‬
‫ﺕ‪٬‬‬ ‫َ‬
‫ﺛﻼﺙ ﻟﻐﺎ ٍ‬ ‫ﻓﻲ ﺛﻘﺔ ﺍﻣﺮﺃ ٍﺓ ﺗﻌﺮﻑ‬
‫ﺕ ﻣﻔﺎﺟﺌﺔ‪.‬‬ ‫ٍ‬ ‫ﺳﻴﺎﻗﺎ‬ ‫ﻭﺗﻮ ﱢﺭﻁُ ﺍﻟﻜﻠﻤﺎﺕ ﻓﻲ‬
‫ﻟﻚ ُﻛﻞﱡ ﻫﺬﺍ ﺍﻷﻣﺎﻥ‬ ‫ﻣﻦ ﺃﻳﻦ ِ‬
‫ﺃﺑﻴﻚ ﺃﺑﺪﺍً‬
‫ِ‬ ‫ﻚ ﻟﻢ ﺗﺘﺮﻛﻲ ﺑﻴﺖَ‬ ‫ﻛﺄﻧّ ِ‬
‫ﻭﻟﻤﺎﺫﺍ ﻟﺤﻀﻮﺭﻙ ﻫﺬﺍ ﺍﻟﺘﺨﺮﻳﺐ‬
‫ﺍﻟﺨﺎﻟﻲ ﻣﻦ ﺍﻟﻘﺼﺪ‬
‫ﻫﺬﻩ ﺍﻟﻮﻁﺄﺓ‬
‫ﺨﺮﺝ ﺣﻮﺍﺳّﻲ ﻣﻦ ﻋﺘﻤﺘﻬﺎ‬ ‫ﺍﻟﺘﻲ ﺗُ ِ‬

‫ﻭﻣﺎﺫﺍ ﻋﻠ ّﻲ‪٬‬‬
‫ﺍﻟﻔﻨﺪﻕ‬
‫ِ‬ ‫ُ‬ ‫ﻋﻨﺪﻣﺎ ﺗﻤﻨﺤﻨﻲ ﻏﺮﻓﺔ‬
‫ﺻﺪﻳﻘﺔً ﻛﺎﻣﻠﺔً ﺗﻤﺎﻣﺎً‬
‫ﻛﻮﺭ ﻓﻲ ﻭﺟﻬﻬﺎ‬ ‫ﺳﻮﻯ ﺃﻥ ﺃُ ﱢ‬
‫ﺳﻮﻗﻴﺔً ﺗﻠﻴ ُ‬
‫ﻖ ﺑﻲ‬
‫ﻭﺧﺸﻮﻧﺔً ﺃﻧﺘﻘﻴﻬﺎ‪.‬‬
‫ﺍﻧﺒﻬﺮﻱ ﺇﺫﻥ‬
‫ﺃﻧﺎ ﻋﺎﺩﻟﺔٌ‬
‫ﺃﻛﺜﺮ ﻣﻦ ﻧﺼﻒ ﻫﻮﺍء ﺍﻟﻐﺮﻓﺔ‬ ‫َ‬ ‫ﻚ‬
‫ﻙﻟ ِ‬ ‫ﻭﺃﺗﺮ ُ‬
‫ُﻣﻘﺎﺑ َﻞ ﺃﻥ ﺗﺮﻳﻨﻲ ﺑﺪﻭﻥ ﺃﺷﺒﺎﻩ‬
‫ﺖ ﺍﻟﺘﻲ ﺗﻜﺒﺮﻳﻦ ﺃُ ّﻣﻲ ﺑﻌﺸﺮﻳﻦ ﻋﺎﻣﺎ ً‬ ‫ﺃﻧ ِ‬
‫ﺗﻠﺒﺴﻴﻦ ﺃﻟﻮﺍﻧﺎ ً ﻣﺒﻬﺠﺔً‬
‫ﻭﻟﻦ ﺗﺸﻴﺒﻲ ﺃﺑﺪﺍً‪.‬‬

‫ﺻﺪﻳﻘﺘﻲ ﺍﻟﻜﺎﻣﻠﺔ ﺗﻤﺎﻣﺎً‬

‫ﻟﻤﺎﺫﺍ ﻻ ﺗﺨﺮﺟﻴﻦ ﺍﻵﻥ‪٬‬‬
‫ﻗﺪ ﺃُﺑ ﱢﺸ ُﺮ ﺑﺪﺧﻮﻟﻲ ﺍﻟﺼﻨﺎﺩﻳ َ‬
‫ﻖ ﺍﻟﺮﻣﺎﺩﻳﺔ‬
‫ﻭﺃﻧﺎ ﺃُﺟﺮﱢ ﺏُ ﺃﺷﻴﺎ َء ِﻙ ﺍﻷﻧﻴﻘﺔَ ﻓﻌﻼً‬

‫ﻟﻤﺎﺫﺍ ﻻ ﺗﺨﺮﺟﻴﻦ‪ ٬‬ﺗﺎﺭﻛﺔً ﻛ ﱠﻞ ﻫﺬﺍ ﺍﻷﻛﺴﺠﻴﻦ ﻟﻲ‬

‫ﻍ ﺍﻟﺬﻱ ﺧﻠﻔﻚ‬ ‫ﻗﺪ ﻳﺪﻓﻌﻨﻲ ﺍﻟﻔﺮﺍ ُ‬
‫ﻷﻥ ﺃﻋﺾّ ﺷﻔﺘ ﱠﻲ ﻧﺪﻣﺎ ً‬
‫ﻭﺃﻧﺎ ﺃﺭﻯ ﻓﺮﺷﺎﺓَ ﺃﺳﻨﺎﻧﻚ‬
‫ﺃﻟﻴﻔﺔً ‪ ..‬ﻭ ُﻣﺒﻠﱠﻠﺔ‪.‬‬

‫ﺳﺒﺘﻤﺒﺮ ‪92‬‬

‫***‬
 ‫ﺍﻟﺼﺎﻟﺤﻮﻥ‪ ‬ﻟﺼﺪﺍﻗﺘﻲ‪  ‬‬
‫ﺮﻭﺟﻮ ﺍﻟﺸﺎﺋﻌﺎﺕ‬ ‫ُﻣ ﱢ‬
‫ﻣﻦ ﺃﺟﻞ ﺍﻟﺮﺿﺎ ﻋﻦ ﺍﻟﻨﻔﺲ‬
‫ﺕ ﺍﻻﻋﺘﺮﺍﻑ‬‫ﻋﺎﺷﻘﻮ ﺍﻟﺒﺎﻧﺠﻮ ﻭﺟﻠﺴﺎ ِ‬
‫ﺍﻟﻤﻮﺗﻮﺭﻭﻥ ﺿ ّﺪ ﺍﻟﺪﻭﻟﺔ‬
‫ُﻣﻨﻈّﺮﻭ ﺍﻟﺨﻴﺎﻧﺎﺕ ﺍﻟﺰﻭﺟﻴﺔ‬
‫ﺍﻟﺒﺎﺣﺜﻮﻥ ﻓﻲ ﺃﺳﻤﺎء ﺟُﺪﻭﺩﻫﻢ‬
‫ﺏ ﻳﺴﻬُﻞ ﺣﻔﻈﻬﺎ‬ ‫ﻋﻦ ﺃﻟﻘﺎ ٍ‬
‫ﺍﻟ ُﻤﺼﻠﺤﻮﻥ ﻣﻦ ﺍﻟﺪﺍﺧﻞ‬
‫ﺍﻟﻤﺘﺸﺎﺋﻤﻮﻥ ﻋﻦ ﺑُﻌﺪ‬
‫ﺍﻟﺼﺮﺣﺎء ﻛﺎﻟﻘﻤﺎﻣﺔ‬
‫ﺍﻟﻄﻴﺒﻮﻥ ﻟﻌﺪﻡ ﻭﺟﻮﺩ ﺑﺪﻳﻞ‬
‫ﺃﺷﺒﺎﻫﻲ‪٬‬‬
‫ﺍﻟﺼﺎﻟﺤﻮﻥ ﻟﺼﺪﺍﻗﺘﻲ‪٬‬‬
‫ﺍﻟﺬﻳﻦ ﺗﺨﻠﻘﻬﻢ ﻣﻦ ﺃﺟﻠﻲ‪٬‬‬
‫ﻭﻓﻴﺮﻭﻥ ﻫﺬﺍ ﺍﻟﻌﺎﻡ‬
‫ﻳﺎ ﺇﻟﻬﻲ‬
‫ﺍﺭﻓﻊ ﻋﻄﺎﻳﺎﻙ ﻋﻨّﻲ‬
‫ﻙ ﻟﻲ‬ ‫ﻭﻻ ﺗُﺨﻠِﻒ ﻭﻋ َﺪ َ‬
‫ﺑﺄﻋﺪﺍ ٍء ﺟُ ﺪﺩ‪.‬‬

‫***‬
 ‫ُ‬
‫ﻳﺒﺪﻭ‪ ‬ﺃﻧﻨﻲ‪ ‬ﺃﺭﺙ‪ ‬ﺍﻟﻤﻮﺗﻰ‪  ‬‬
‫ﻋﺪﺕ ﻣﻊ ﺍﻷﻗﺪﺍﻡ ﺍﻟﻜﺒﻴﺮﺓ‬ ‫ُ‬ ‫ﻋﻨﺪﻣﺎ‬
‫ﻣﻦ ﺩﻓﻦ ﺃ ّﻣﻲ‬
‫ﻏﺎﻣﺾ‪٬‬‬
‫ٍ‬ ‫ﻣﻜﺎﻥ‬
‫ٍ‬ ‫ﻭﺗﺮﻛﺘُﻬﺎ ﺗُﺮﺑﱢﻲ ﺩﺟﺎﺟﺎﺗﻬﺎ ﻓﻲ‬
‫ﺗﻠﺼﱡﺺ ﺍﻟﺠﺎﺭﺍﺕ‬‫ِ‬ ‫ﺃﺣﺮﺱ ﺍﻟﺒﻴﺖَ ﻣﻦ‬‫َ‬ ‫ﻛﺎﻥ ﻋﻠ ّﻲ ﺃﻥ‬
‫ﺍﻟﺠﻠﻮﺱ ﻋﻠﻰ ﺍﻟﻌﺘﺒﺔ‬‫َ‬ ‫ﻭﺗﻌﻮ ُ‬
‫ﱠﺩﺕ‬
‫ﻓﻲ ﺍﻧﺘﻈﺎﺭ ﺍﻟﺒﻄﻠﺔ ‪ -‬ﺍﻟﺘﻲ ﻳﻈﻠﻤﻮﻧﻬﺎ ﺩﺍﺋﻤﺎً‪-‬‬
‫ﻓﻲ ﺍﻟﻤﺴﻠﺴﻞ ﺍﻹﺫﺍﻋ ّﻲ‪.‬‬
‫ﺣﺼﻠﺖ ﺻﺪﻳﻘﺘﻲ ﻋﻠﻰ ﺗﺄﺷﻴﺮ ٍﺓ‬ ‫ْ‬ ‫ﻭﻳﻮ َﻡ‬
‫ُ‬
‫ﻻﺧﺘﺒﺎﺭ ﺟﺴﺪﻫﺎ ﻓﻲ ﻗﺎﺭ ٍﺓ ﺃﺧﺮﻯ‪٬‬‬ ‫ِ‬
‫َﻨﺲ ‪ -‬ﻛﻌﺎﺩﺗِﻬﺎ‪-‬‬ ‫ﻭﺭﻏﻢ ﺃﻧﻬﺎ ﻟﻢ ﺗ َ‬
‫ﺳﺠﺎﺋﺮﻫﺎ ﻋﻠﻰ ﻣﺎﺋﺪﺗﻲ‪٬‬‬
‫ﺪﺕ ﺃﻥ ﺍﻟﺘﺪﺧﻴﻦَ ﺿﺮﻭﺭﺓٌ‬ ‫ﺗﺄ ّﻛ ُ‬
‫ﻱ ﺩُﺭ ٌﺝ ﺧﺎﺹٌ‬ ‫ﻭﺻﺎ َﺭ ﻟﺪ ّ‬
‫ﻱ‬ ‫ﻭﺭﺟ ٌﻞ ﺳﺮ ﱞ‬
‫ﻫﻮ ﺫﺍﺗُﻪ ﺣﺒﻴﺒُﻬﺎ ﺍﻟﻘﺪﻳﻢ‪.‬‬
‫ﺃﻳﻀﺎً‪٬‬‬
‫ْ‬
‫ﻋﻨﺪﻣﺎ ﻳﻔﺸﻞ ﺍﻷﻁﺒﺎ ُء ﻓﻲ ﺍﻟﻌﺜﻮﺭ ﻋﻠﻰ ِﻛﻠﻴ ٍﺔ‪٬‬‬
‫ﻻ ﻳﺮﻓﻀﻬﺎ ﺟﺴ ُﺪ ﺃُﺳﺎﻣﺔ‪٬‬‬
‫ﺃُﺳﺎﻣﺔ‪...‬‬
‫ﺍﻟﺬﻱ ﺗﻬﺮﱠﺃﺕ ِﻛﻠﻴﺘﺎﻩ‬
‫ﻟﻴﺼﻴﺮ ﺃﻛﺜَ َﺮ ﺭﺷﺎﻗﺔً‪٬‬‬
‫َ‬ ‫ﻷﻧﻪ ﻳﺴﺘﺒﻌﺪ ﻣﺮﺍﺭﺍﺗِﻪ‬
‫ﻗﺪ ﺃﺳﺘﺨﺪ ُﻡ ﺇﺑﻬﺎ َﻣﻪُ ﻓﻲ ﺗﺄﻛﻴﺪ ﺣﻀﻮﺭﻱ‬
‫ﺃﺛﻨﺎ َء ﺍﻟﺤﻜﻲ‪.‬‬

‫ُ‬
‫ﺃﺭﺙ ﺍﻟﻤﻮﺗﻰ‬ ‫ﻳﺒﺪﻭ ﺃﻧﻨﻲ‬
‫ﻭﻳﻮﻣﺎ ً ﻣﺎ‬
‫ﺳﺄﺟﻠﺲُ ﻭﺣﺪﻱ ﻋﻠﻰ ﺍﻟﻤﻘﻬﻰ‬
‫ﺕ ﺟﻤﻴﻊ َﻣﻦ ﺃُﺣﺒﱡﻬﻢ‬ ‫ﺑﻌﺪ ﻣﻮ ِ‬
‫ﺷﻌﻮﺭ ﺑﺎﻟﻔﻘﺪ‬
‫ٍ‬ ‫ﺩﻭﻥ ﺃ ّ‬
‫ﻱ‬
‫ﺣﻴﺚ ﺟﺴﺪﻱ ﺳﻠﺔٌ ﻛﺒﻴﺮﺓٌ‬ ‫ُ‬
‫ﺗﺮﻙ ﻓﻴﻬﺎ ﺍﻟﺮﺍﺣﻠﻮﻥ‬
‫ﻣﺎ ﻳﺪ ّﻝ ﻋﻠﻴﻬﻢ‪.‬‬

‫***‬
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‫ﺍﻟﺠ ْﻠﻄﺔ‪  ‬‬
‫َ‬
‫ﺇﻟﻰ ﺃﺑﻲ‬
 ‫ﻣﺠ ّﺮﺩ‪ ‬ﻧﻮﻡ‪  ‬‬

‫ﺐ‬‫ﻳﺰ ﱡﻡ ﺷﻔﺘﻴﻪ ﻋﻠﻰ ﻏﻀ ٍ‬

‫ﻟﻢ ﻳﻌُﺪ ﻳﺬﻛﺮ ﺳﺒﺒَﻪ‬
‫ﻳﻨﺎ ُﻡ ﻋﻤﻴﻘﺎ ً‬
‫ﺍﻟﻜﻔّﺎﻥ ﺗﺴﻨﺪﺍﻥ ﺍﻟﺮﺃﺱ‬
‫ﻓﻴُﺸﺒﻪ ﺟﻨﻮﺩ ﺍﻷﻣﻦ ﺍﻟﻤﺮﻛﺰ ّ‬
‫ﻱ‪٬‬‬
‫ﻓﻲ ﻋﺮﺑﺎﺕ ﺁﺧﺮ ﺍﻟﻠﻴﻞ‬
‫ُﻛﺎﻡ ﻣﻦ ﺍﻟﺼﱡ َﻮﺭ‬
‫ﺣﻴﻦ ﻳﻐﻤﻀﻮﻥ ﺍﻷﻋﻴﻦَ ﻋﻠﻰ ﺭ ٍ‬
‫ﺍﻟﻤﻨﺘﻈﻢ‬
‫ِ‬ ‫ﻟﻠﺪﻭﺭﺍﻥ‬
‫ِ‬ ‫ﺍﻟﺮﻭﺡ‬
‫َ‬ ‫ﺗﺎﺭﻛﻴﻦَ‬
‫ﻟﻴﺼﻴﺮﻭﺍ ﻣﻼﺋﻜﺔً ﻓﺠﺄﺓ‪.‬‬
 ‫ﺭﺳ ُﻢ‪ ‬ﺍﻟﻘﻠﺐ‪  ‬‬

‫ﺃﺻﻴﺮ ﻁﺒﻴﺒﺔ‬‫َ‬ ‫ﻛﺎﻥ ﻳﺠﺐ ﺃﻥ‬

‫ﺐ ﺑﻌﻴﻨ ّﻲ‬ ‫ﻷُﺗﺎﺑﻊ ﺭﺳ َﻢ ﺍﻟﻘﻠ ِ‬
‫ﺍﻟﺠ ْﻠﻄﺔ ﻣﺠﺮ ُﺩ ﺳﺤﺎﺑﺔ‪٬‬‬ ‫ﻭﺃﺅﻛ َﺪ ﺍﻥ َ‬
‫ﻚ ﺇﻟﻰ ﺩﻣﻮﻉ ﻋﺎﺩﻳﺔ‪٬‬‬ ‫ﺳﺘﻨﻔ ﱡ‬
‫ﺇﺫﺍ ﺗﻮﻓﺮ ﻗﻠﻴ ٌﻞ ﻣﻦ ﺍﻟﺪﻑء‬
‫ﻟﺴﺖ ﻧﺎﻓﻌﺔً ﻷﺣﺪ‬ ‫ُ‬ ‫ﻟﻜﻨﻲ‬
‫ﻭﺍﻷﺏُ ﺍﻟﻌﺎﺟﺰ ﻋﻦ ﺍﻟﻨﻮﻡ ﺧﺎﺭ َﺝ ﺳﺮﻳﺮﻩ ﺍﻟﺸﺨﺼ ّﻲ‬
‫ﻳﻨﺎ ُﻡ ﻋﻤﻴﻘﺎً‪ ٬‬ﻓﻮﻕ ﻁﺎﻭﻟ ٍﺔ‬
‫ﻓﻲ ﺑﻬ ٍﻮ ﻭﺍﺳﻊ‪.‬‬
 ‫ﺻﺮﺍﺥ‪  ‬‬

‫ﻧﺴﺎ ٌء ﺻﺎﻣﺘﺎﺕ‬
‫َﻣﻸﻥ ﺍﻟﻄﱡﺮﻗﺔَ ﺍﻟﺘﻲ ﺗﺆ ّﺩﻱ ﺇﻟﻴﻚ‬
‫ﻭﺟﻬ ّْﺰﻥ ﺍﻷﺟﺴﺎ َﺩ ﻟﻄﻘ ٍ‬
‫ﺲ‬
‫ﺣﻨﺎﺟﺮ‬
‫َ‬ ‫ﺳﻴﺰﻳﺢ ﺍﻟﺼﺪﺃَ ﺍﻟﻤﺘﺮﺍﻛ َﻢ ﻓﻮﻕ‬
‫ﻻ ﺗُﺠﺮﱢ ﺏ ﻧﻔﺴﻬﺎ‬
‫ﺇﻻ ﻓﻲ ﺍﻟﺼﺮﺍﺥ ﺍﻟﺠﻤﺎﻋ ّﻲ‪.‬‬

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 ‫ﻫﺬﺍ‪ ‬ﺟﻴّ ٌ‪ ‬ﺪ‪  ‬‬

‫ﺃﻛﺘﺎﻑُ ﺍﻟﻤﺘﻄﻮﻋﻴﻦ‬
‫ﺣﻤﻠﺖ ﺭﺟﻼً ﻣﻦ ﺍﻟﺴﺮﻳﺮ ﺍﻟﻤﺠﺎﻭﺭ‬ ‫ْ‬
‫ﺇﻟﻰ ﺍﻟﻤﻘﺎﺑﺮ ﺍﻟﻌﻤﻮﻣﻴﺔ‪.‬‬
‫ﻫﺬﺍ ﺟﻴّ ٌﺪ ﻷﺟﻠِﻚ‬
‫ُ‬
‫ﺍﻟﻤﻮﺕ ِﻓﻌﻠﺘَﻪ‬ ‫ﻻ ﻳُﻤﻜﻦ ﺃﻥ ﻳﻜﺮّ ﺭ‬
‫ﻓﻲ ﻧﻔﺲ ﺍﻟﻐﺮﻓﺔ‪ ٬‬ﻓﻲ ﻣﺴﺎ ٍء ﻭﺍﺣﺪ‪.‬‬

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 ‫ﺑﻮﺭﺗﺮﻳﻪ‪  ‬‬

‫ﻟﻢ ﻳﻜﻦ ﻗﻠﺒُﻪ ﺍﻟﻤﺮﻫﻮﻥُ ﺑﺨﻄﻮﺗﻲ ﻛﺎﻓﻴﺎ ً‬

‫ﺳﻮﻯ ﻟﺘﺬﻛﺮﻩ ﻛﺮﺍﺋﺤ ٍﺔ ﺣﻤﻴﻤ ٍﺔ ﻭﻋﻄﻨﺔ‪٬‬‬
‫ﺭﺑﻤﺎ ﻛﺎﻥ ﻳﻜﺮﻩ ﺑﻨﺎﻁﻴﻠﻲ ﺍﻟﺼﻴﻔﻴﺔ‬
‫ﻌﺮ ﺍﻟﺨﺎﻟﻲ ﻣﻦ ﺍﻟﻤﻮﺳﻴﻘﻰ‬‫ﻭﺍﻟ ﱢﺸ َ‬
‫ﺃﻛﺜﺮ ﻣﻦ ﻣﺮّﺓ‬
‫َ‬ ‫ﺿﺒﻄﺘﻪ‬ ‫ﻭﻟﻜﻨﻲ‬
‫ﻳَﺪﻭﺥ ﻓﻲ ﺿﺠّﺔ ﺃﺻﺪﻗﺎﺋﻲ‬
‫ﻭﻳﻨﺘﺸﻲ ﻣﻦ ﺍﻟﺪﺧﺎﻥ‬
‫ﺍﻟﺬﻱ ﻳﺘﺮﻛﻮﻧﻪ ﺧﻠﻔﻬﻢ‪.‬‬

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 ‫ﺗﺸﺎﺑُﻪ‪  ‬‬

‫ﻌﺮ ﺍﻟ ُﻤﺘﺮﺟﻢ"‬
‫ﺸ َ‬‫ﻣﻦ ﺃﺟﻞ ﺃﻥ ﺃﺷﺘﺮﻱ "ﺍﻟ ﱠ‬
‫ﺃﻗﻨﻌﻨﻲ ﻫﺬﺍ ﺍﻟﻨﺎﺋ ُﻢ ﻋﻤﻴﻘﺎً‬
‫ً‬
‫ﺙ ﺿﻐﻄﺎ ﻋﻠﻰ ﺑِﻨﺼﺮ ِﻩ‬ ‫ﺃﻥ ﺧﺎﺗ َﻢ ﺯﻭﺍﺟﻪ ﻳُﺤ ِﺪ ُ‬
‫ﻭﻅ ﱠﻞ ﻣﺒﺘﺴﻤﺎ ً ﻭﻧﺤﻦ ﻧﻐﺎ ِﺩﺭ ﺣ ّﻲ ﺍﻟﺼﺎﻏﺔ‪٬‬‬
‫ﺑﻴﻨﻤﺎ ﺃﻧﺎ ﺃﺧﺒﺮﻩ ﺑﺮﻓﻀﻲ ﻟﻠﺘﺸﺎﺑﻪ‬
‫ﺑﻴﻦ ﺃﻧﻔِﻪ ﻭﺃﻧﻔﻲ‪.‬‬

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 ‫ﺃﺗﻠﻘﱠﻰ‪ ‬ﻣﻮﺗَﻚ‪  ‬‬

‫ﺳﺄﺗﻠﻘﱠﻰ ﻣﻮﺗَﻚ‬
‫ﻋﻠﻰ ﺃﻧﻪ ﺁﺧﺮ ﻣﺎ ﻓﻌﻠﺘَﻪ ﺿ ّﺪﻱ‬
‫ﺃﺷﻌﺮ ﺑﺎﻟﺮﺍﺣﺔ ﻛﻤﺎ ُ‬
‫ﻛﻨﺖ ﺃﻅﻦ‪٬‬‬ ‫َ‬ ‫ﻭﻟﻦ‬
‫ﻭﺳﺄﺻ ّﺪﻕ ﺗﻤﺎﻣﺎ ً‬
‫ﻒ ﺍﻷﻭﺭﺍﻡ‬‫ﺃﻧﻚَ ﺣﺮﻣﺘَﻨﻲ ﻓﺮﺻﺔَ ﻛ ْﺸ ِ‬
‫ﺍﻟﺘﻲ ﺗﻨﺎﻣﺖ ﺑﻴﻨﻨﺎ‬
‫ﻭﻓﻲ ﺍﻟﺼﺒﺎﺡ‬
‫ﻗﺪ ﺃُﻓﺎﺟﺄ ﺑﺘﻮﺭﱡ ﻡ ﺟﻔﻮﻧﻲ‬
‫ﻭﺑﺄﻥ ﺍﻟﺘﻘﻮّﺱ ﻓﻲ ﻅﻬﺮﻱ‬
‫ﻗﺪ ﺍﺯﺩﺍﺩ ﺣ ّﺪﺓ‪.‬‬

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 ‫ﺑﻴﺖ‪ ‬ﺍﻟﻤﺮﺍﻳﺎ‪  ‬‬

‫ﺳﻨﺬﻫﺐ ﻣﻌﺎ ً ﺇﻟﻰ ﻣﺪﻳﻨﺔ ﺍﻟﻤﻼﻫﻲ‬

‫ﻭﻧﺪﺧ ُﻞ ﺑﻴﺖَ ﺍﻟﻤﺮﺍﻳﺎ‬
‫ﻚ ﺃﻁﻮ َﻝ ﻣﻦ ﻧﺨﻠﺔ ﺃﺑﻴﻚ‬ ‫ﻟﺘﺮﻯ ﻧﻔ َﺴ َ‬
‫ﻭﺗﺮﺍﻧﻲ ﺑﺠﺎﻧﺒﻚ ﻗﺼﻴﺮﺓً ﻭﻣﺤ ﱠﺪﺑﺔ‪.‬‬
‫ﺳﻨﻀﺤﻚ ﻛﺜﻴﺮﺍً ﺑﻼ ﺷﻚ‬
‫ﻭﺳﺘﻤﺘ ﱡﺪ ﺍﻟﺮﺣﻤﺔُ ﺑﻴﻨﻨﺎ‬
‫ﻭﺳﻴﻌﺮﻑ ُﻛ ﱞﻞ ﻣﻨﺎ‪٬‬‬
‫ﻅﻬﺮﻩ‬
‫ِ‬ ‫ﻓﻮﻕ‬ ‫ﺃﻥ ﺍﻵﺧﺮ ﻳﺤﻤﻞ‬
‫ﻁﻔﻮﻟﺔً ﺣُ ِﺮﻣﺖ ﻣﻦ ﺍﻟﺬﻫﺎﺏ‬
‫ﺇﻟﻰ ﻣﺪﻳﻨﺔ ﺍﻟﻤﻼﻫﻲ‪.‬‬

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 ‫ﺯﻳﺎﺭﺍﺕ‪  ‬‬

‫ﺍﻟﻤﻴﱢﺘﺔُ ﺃُﻣﻲ ﺗﺰﻭﺭﻧﻲ ﻓﻲ ﺍﻷﺣﻼﻡ ﻛﺜﻴﺮﺍً‬

‫ﺃﺣﻴﺎﻧﺎ ً ﺗﻨﻈﻒ ﻟﻲ ﺃﻧﻔﻲ ﻣ ّﻤﺎ ﺗﻈﻨﻪ ﺗﺮﺍﺑﺎ ً ﻣﺪﺭﺳﻴﺎ‪ً٬‬‬
‫ﻭﺃﺣﻴﺎﻧﺎ ً ﺗﻌﻘﺺُ ﺷَﻌﺮﻱ‪٬‬‬
‫ﺗﻀﻔﻴﺮ ﻁﻔﻠﺔ‪٬‬‬
‫ِ‬ ‫ﺑﻘﺴﻮﺓ ﻛﻔﻴﻦ ﻣﺪﺭﱠﺑﺘﻴﻦ ﻋﻠﻰ‬
‫ﺩﻭﻥ ﺃﻥ ﺗﻨﺘﺒﻪ‬
‫َ‬ ‫ْ‬
‫ﻟﻠﻤﻘﺼﱠﺎﺕ ﺍﻟﺘﻲ ﻣﺎﺭﺳﺖ ﺳُﻠﻄﺘﻬﺎ ﻋﻠﻴﻪ‬
‫ﻭﻻ ﻷﻁﺮﺍﻓ ِﻪ ﺍﻟﻤﺠﺰﻭﺯ ِﺓ ﻓﻲ ﺣ ّﺪﺓ‪.‬‬

‫ﺃﻧﺖَ ﺃﻳﻀﺎً‪٬‬‬
‫ﻗﺪ ﺗُﺜﺒﱢﺖ ﺍﻟﺪﻧﻴﺎ ﻋﻨﺪ ﻟﺤﻈﺔ ﻣﻮﺗﻚ‪٬‬‬
‫ُ‬
‫ﺍﻟﻮﻗﺖ‬ ‫ﻱ‬‫ﻭﺳﻴﻜﻮﻥ ﻟﺪ ّ‬
‫ﻷُﻧﺒﱢﻬﻚ‪.‬‬

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 ‫ﺕ‪ ‬ﻋﺪﻳﺪﺓ‪  ‬‬
‫ﻟﻤ ّﺮﺍ ٍ‬

‫ﺕ ﻋﺪﻳﺪﺓ‬ ‫ﻟﻤﺮّﺍ ٍ‬
‫ﻳﺪﺧ ُﻞ ﺍﻟﻄﺒﻴﺐُ ﺇﻟﻰ ﺑﻴﺘﻨﺎ ﻓﻴﻘﻮﻝ‪:‬‬
‫ﺗﺄ ّﺧﺮﺗﻢ ﻛﺜﻴﺮﺍً‪.‬‬
‫ﻣﻦ ﺃﺟﻞ ﻫﺬﺍ‬
‫ﺏ‬
‫ٍ‬ ‫ﻷﺣﺒﺎ‬ ‫ﺍﻟﻄﺒﻲ‬
‫ّ‬ ‫ﺍﻟﺘﺎﺭﻳﺦَ‬ ‫ﺃﻁﻤﺲُ‬
‫ﻻ ﻳُﺪﻓَﻨﻮﻥ ﺣﻴﻦ ﻳﻤﻮﺗﻮﻥ‬
‫ﻭﺃُﻗﻨ ُﻊ ﻧﻮﺍﻓ َﺬ ﻏﺮﻓﺘﻲ‬
‫ﺑﺈﺣﻜﺎﻡ‬
‫ٍ‬ ‫ﻟﺤﻈﺔَ ﺃُﻏﻠﻘﻬﺎ‬
‫ﺃﻥ ﻟﺪﻱّ ﺣﺪﺍﺩﺍً ﻳ ُﺨﺼﱡ ﻨﻲ‬
‫ﺃﻓﺮﺍﺡ ﻣﺠﺎﻭﺭﺓ‪.‬‬
‫ٍ‬ ‫ﺣﻴﻦ ﺗﻨﺪﻟﻊ ﻣﻮﺳﻴﻘﻰ‬

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 ‫ﻓَﻘَﺪْﺕَ ِ‬
‫‪ ‬ﺍﻟﺤﻜﻤﺔ‪  ‬‬

‫ﺃﺿ ﱡﻢ ﺷَﻌﺮﻱ ﻟﻠﺨﻠﻒ‬

‫ﺣﺘﻰ ﺃُﺷﺒﻪَ ﺑﻨﺘﺎ ً ﺃﺣﺒﺒﺘَﻬﺎ ﻣﻦ ﻗﺪﻳﻢ‪٬‬‬
‫ﻭﻷﻋﻮﺍﻡ‪٬‬‬
‫ٍ‬
‫ﺃﻏﺴ ُﻞ ﻓﻤﻲ ﻣﻦ ﺑﻴﺮﺓ ﺃﺻﺪﻗﺎﺋﻲ‬
‫ﻗﺒﻞ ﺍﻟﺮﺟﻮﻉ ﻟﻠﺒﻴﺖ‪٬‬‬
‫ﺣﻀﻮﺭﻙ‪.‬‬
‫ِ‬ ‫ﻛﻤﺎ ﺃﻧﻲ ﻻ ﺃﺻﻒ ﷲَ ﻓﻲ‬
‫ﻟﻴﺲ ﻫﻨﺎﻙ ﻣﺎ ﻳﺴﺘﺤﻖ ﻏﻔﺮﺍﻧَﻚَ ﺇﺫﻥ‪٬‬‬
‫ﺃﻧﺖَ ﻁﻴّﺐٌ ‪ ٬‬ﻭﻟﻜﻨﻚَ ﻓﻘﺪْﺕَ ﺍﻟﺤﻜﻤﺔ‬
‫ﻕ ﺃﻥ ﺍﻟﺪﻧﻴﺎ ﻣﺜﻞ َﻣ ْﺪﺭﺳﺔ ﺍﻟﺒﻨﺎﺕ‬ ‫ﺣﻴﻦ ﺟﻌﻠﺘَﻨﻲ ﺃُﺻ ّﺪ ُ‬
‫ﺃﺯﻳﺢ ﺭﻏﺒﺎﺗﻲ‬
‫َ‬ ‫ﻭﺃﻧﻨﻲ ﻳﺠﺐ ﺃﻥ‬
‫ﻷﻅ ﱠﻞ ﺃَ ْﻟﻔَﺔَ ﺍﻟﻔﺼﻞ‪.‬‬

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 ‫ﻓﻲ‪ ‬ﺣﻴﺎﺩ‪  ‬‬

‫ﺐ ﺍﻟﻤﺴ ﱢﻜﻨَﺔ‬
‫ﻱ ﻣﻦ ﺍﻷﻛﺎﺫﻳ ِ‬ ‫ﻓﺮ ُ‬
‫ﻍ ﻳﺪ ﱠ‬ ‫ُ‬
‫ﺳﺄ ِ‬
‫ﻭﺃﺣﺮ ُ‬
‫ﻕ ﺃﻣﺎﻡ ﻋﻴﻨﻴﻪ‬
‫ﺍﻟﺼﻠﺼﺎﻝ ﺍﻟﺬﻱ ﺃُﺷ ﱢﻜﻠﻪُ ﻋﻠﻰ ﻣﻘﺎﺱ ﺃﺣﻼﻣﻪ‪.‬‬
‫َ‬
‫ﻫﻮ‪..‬‬
‫ﺳﻴﺸﻴﺮ ﺇﻟﻰ ﺍﻟﺠﺎﻧﺐ ﺍﻷﻳﺴﺮ ﻣﻦ ﺻﺪﺭ ِﻩ‬
‫ﻭﺃﻧﺎ‪..‬‬
‫ﺳﺄﻭﻣﻲء ﺑﺮﺃﺳﻲ ﻓﻲ ﺣﻴﺎﺩ ﺍﻟ ُﻤﻤﺮﱢ ﺿﺎﺕ‬
‫ﻳﺠﺐ ﺃﻥ ﻳُﺼﺪﱢﻕ‪٬‬‬
‫ﺍﻟﺘﺎﺟﻲ‬
‫ّ‬ ‫ُ‬ ‫ﺔ‬‫ﻏﻴﺒﻮﺑ‬ ‫ﻗﺒﻞ ﺃﻥ ﺗﻨﺘﻬﻲ‬
‫ﺃﻥ ﺭﻏﺒﺘﻪ ﻓﻲ ﺍﻟﻤﻮﺕ‬
‫ﻟﻦ ﺗُﺨﻔﻲ ﺗﺸﻘﻘﺎﺕ ﺍﻻُﺳﺮﺓ‬

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 ‫ﺧﺎﻧﺎﺕ‪  ‬‬

‫ﻋﺎﺩﺓً ﻣﺎ ﺗﻜﻮﻥ ﺍﻟﻨﻮﺍﻓ ُﺬ ﺭﻣﺎﺩﻳّﺔ‪٬‬‬

‫ﻭﺟﻠﻴﻠﺔ ﻓﻲ ﺍﺗﺴﺎﻋﻬﺎ‪٬‬‬
‫ﺑﻤﺎ ﻳﺴﻤﺢ ﻟﻠﻤﻮﺟﻮﺩﻳﻦ ﺩﺍﺧﻞ ﺍﻷَ ِﺳﺮﱠﺓ‬
‫ﺑﺘﺄ ﱡﻣﻞ ﺳﻴﺮ ﺍﻟﻤﺮﻭﺭ‪٬‬‬
‫ﻭﺃﺣﻮﺍﻝ ﺍﻟﻄﻘﺲ ﺧﺎﺭ َﺝ ﺍﻟﻤﺒﻨﻰ‪.‬‬
‫ِ‬

‫ﻋﺎﺩﺓً ﻣﺎ ﻳﻜﻮﻥ ﻟﻸﻁﺒّﺎء ﺃﻧﻮﻑٌ ﺣﺎ ّﺩﺓٌ‪٬‬‬

‫ﻭﻧﻈﺎﺭﺍﺕ ﺯﺟﺎﺟﻴّﺔٌ‪٬‬‬
‫ٌ‬
‫ﺗﺜﺒﺖ ﺍﻟﻤﺴﺎﻓﺔ ﺑﻴﻨﻬﻢ ﻭﺑﻴﻦ ﺍﻷﻟﻢ‬

‫ﻋﺎﺩﺓً ﻣﺎ ﻳﺘﺮ ُ‬
‫ﻙ ﺍﻷﻗﺎﺭﺏُ‬
‫ﻣﺪﺍﺧﻞ ﺍﻟ ُﺤﺠﺮﺍﺕ‬
‫ِ‬ ‫ﻭﺭﻭﺩﺍً ﻋﻠﻰ‬
‫ﺍﻟﺼﻔﺢ ﻣﻦ ﻣﻮﺗﺎﻫُﻢ ﺍﻟﻘﺎﺩﻣﻴﻦ‪.‬‬
‫َ‬ ‫ﻁﺎﻟﺒﻴﻦ‬

‫ٌ‬
‫ﺳﻴﺪﺍﺕ ﻋﻠﻰ‬ ‫ﻋﺎﺩﺓً ﻣﺎ ﺗﻤﺮﱡ‬
‫ُﻣﺮﺑّﻌﺎﺕ ﺍﻟﺒﻼﻁ ﺑﻼ ﺯﻳﻨﺔ‪٬‬‬
‫ﻭﻳﻘﻒ ﺃﺑﻨﺎ ٌء ﺗﺤﺖ ﻣﺼﺎﺑﻴﺢ ﺍﻟﻜﻬﺮﺑﺎء‬
‫ُﻣﺤﺘﻀﻨﻴﻦَ ﻣﻠﻔﱠﺎﺕ ﺍﻷﺷﻌّﺔ‪٬‬‬
‫ﻭﻣﺆﻛﺪﻳﻦ ﺃﻥ ﺗﻤﺮﻳﺮ ﺍﻟﻘﺴﻮﺓ ُﻣﻤﻜﻦٌ‬
‫ﺇﺫﺍ ﺗ ََﻮﻓّﺮ ﻵﺑﺎﺋﻬﻢ ﺑﻌﺾُ ﺍﻟﻮﻗﺖ‪.‬‬

‫ﻋﺎﺩﺓً ﻛﻞ ﺷﻲء ﻳﺘﻜﺮﺭ‬

‫ﻭﺍﻟﺨﺎﻧﺎﺕ ﻣﻤﻠﻮءﺓٌ ﺑﺄﺟﺴﺎ ٍﺩ ﺟﺪﻳﺪﺓ‬
‫ﻛﺄﻥ ﺭﺋﺔً ﻣﺜﻘﻮﺑﺔً ﺗﺸﻔﻂ ﺃﻛﺴﺠﻴﻦَ ﺍﻟﺪُﻧﻴﺎ‬
‫ﺗﺎﺭﻛﺔً ﻛ ﱠﻞ ﻫﺬﻩ ﺍﻟﺼﺪﻭﺭ‬
‫ﻟﻀﻴﻖ ﺍﻟﺘﻨﻔﱡﺲ‪.‬‬
‫ِ‬

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 ‫ﻗﺪ‪ ‬ﻻ‪ ‬ﻳﺤﺪُﺙ‪  ‬‬

‫ﻗﺪ ﻻ ﻳﺤﺪُﺙ‬
‫ﺃﻥ ﺁﺧﺬ ﺃﺑﻲ ﻓﻲ ﺁﺧﺮ ﺍﻟﻌﺎﻡ ﺇﻟﻰ ﺍﻟﺒﺤﺮ‬
‫ﻟﻬﺬﺍ‬
‫ﺳﺮﻳﺮﻩ‬
‫ِ‬ ‫ﻣﻘﺎﺑﻞ‬ ‫ﻓﻲ‬ ‫ﻖ‬‫ﱢ‬ ‫ﻠ‬‫ﺳﺄﻋ‬
‫ﺻﻮﺭﺓَ ﻣﺼﻄﺎﻓﻴﻦ‪٬‬‬
‫ﺕ ﻻ ﺃﻋﻠﻤﻬﺎ‪.‬‬ ‫ﻭﺷﻄﻮﻁﺎ ً ﻣﻤﺘ ّﺪﺓ ﻟﺠﻬﺎ ٍ‬
‫ﻗﺪ ﻻ ﻳﺤﺪُﺙ ﺃﻥ ﻳﺮﺍﻫﺎ‬
‫ﻟﻬﺬﺍ‬
‫ﺳﺄﻛﺘُﻢ ﺻﻮﺕ ﺗﻨﻔﱡﺴﻲ‬
‫ﻭﺃﻧﺎ ﺃُﺑﻠﱢﻞ ﺃﻁﺮﺍﻑَ ﺃﺻﺎﺑِﻌﻪ ﺑﻤﻴﺎ ٍﻩ ﻣﺎﻟﺤﺔ‪٬‬‬
‫ﻭﺳﺄُﺻﺪﱢﻕ ﺑﻌﺪ ﺳﻨﻮﺍ ٍ‬
‫ﺕ‬
‫ﺃﻧﻨﻲ ﺳﻤﻌﺘُﻪُ ﻳﻘﻮﻝ‪:‬‬
‫"ﺃﺷ ﱡﻢ ﺭﺍﺋﺤﺔَ ﺍﻟﻴﻮﺩ"‬

‫ﻧﻮﻓﻤﺒﺮ‪94‬‬

‫***‬

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 ‫ﺍﺣﺘﺮﺍﻡ‪ ‬ﻣﺎﺭﻛﺲ‪  ‬‬
‫ﺃﻣﺎ َﻡ ﺍﻟﻔﺘﺮﻳﻨﺎﺕ ﺍﻟﻤﻀﻴﺌﺔ‬
‫ﺍﻟ ُﻤﺰﺩﻫﺮ ِﺓ ﺑﺎﻟﻤﻼﺑﺲ ﺍﻟﺪﺍﺧﻠﻴّﺔ‬
‫ﻻ ﺃﺳﺘﻄﻴ ُﻊ ﺃﻥ ﺃﻣﻨ َﻊ ﻧﻔﺴﻲ‬
‫ﻣﻦ ﺍﻟﺘﻔﻜﻴﺮ ﻓﻲ ﻣﺎﺭﻛﺲ‬

‫ﺍﺣﺘﺮﺍ ُﻡ ﻣﺎﺭﻛﺲ‬
‫ﻫﻮ ﺍﻟﺸﻲ ُء ﺍﻟﻮﺣﻴ ُﺪ ﺍﻟﻤﺸﺘﺮﻙ ﺑﻴﻦ َﻣﻦ ﺃﺣﺒّﻮﻧﻲ‪٬‬‬
‫ﺐ ﻣﺨﺘﻠﻔ ٍﺔ‪-‬‬
‫ﻭﺳﻤﺤﺖ ﻟﻬﻢ ﺃﻥ ﻳﺨﺪﺷﻮﺍ ‪ -‬ﺑﻨﺴ ٍ‬ ‫ُ‬
‫ﻄﻦ ﺍﻟ ُﻤﺨﺒّﺄﺓ ﻓﻲ ﺟﺴﺪﻱ‪.‬‬ ‫ُ‬
‫ﻋﺮﺍﺋﺲ ﺍﻟﻘ ِ‬‫َ‬
‫ﻣﺎﺭﻛﺲ‬
‫ﻣﺎﺭﻛﺲ‬
‫ﺳﺎﻣﺤﻪُ ﺃﺑﺪﺍ‪.‬‬
‫َ‬ ‫ﻟﻦ ﺃُ‬

‫***‬
 ‫ﺳﻘﻮﻁٌ‪ ‬ﻋﺎﺩ ّ‪ ‬‬
‫ﻱ‪  ‬‬
‫ﻟﻢ ﻳﻜﻦ ﻫﻨﺎﻙ ﻣﺎ ﺃﺗّﻜﻲء ﻋﻠﻴﻪ‬
‫ﻣﻔﺘﺎﺡ ﺍﻟﻜﻬﺮﺑﺎء‬
‫ِ‬ ‫ﻭﺃﻧﺎ ﺃُﻓﺘﱠﺶُ ﻋﻦ‬
‫ﻷُﺻﺪﱢﻕ‪٬‬‬
‫َ‬
‫ﺃﻥ ﺍﻟﺠﺜﺚ ﺍﻟﺘﻲ ﺃﻓﺸﻞُ ﻓﻲ ﻋﺪﱢﻫﺎ‬
‫ﻻ ﺗُﺸﺎﺭﻛﻨﻲ ﺳﺮﻳﺮﻱ‪.‬‬

‫ﺍﻟﺤﺎﺋﻂُ ﺃﺑﻌ ُﺪ ﻣ ّﻤﺎ ﻳﻨﺒﻐﻲ‬

‫ﻭﻟﻴﺲ ﻫﻨﺎﻙ ﻣﺎ ﺃﺗﻜﻲء ﻋﻠﻴﻪ‬
‫ﺳﻘﻮﻁٌ ﻋﺎﺩ ّ‬
‫ﻱ‬
‫ﺑﺤﻮﺍﻑ‬
‫ٍ‬ ‫ﻭﺍﺭﺗﻄﺎ ٌﻡ‬
‫ّﺮﺕ ﺃﻣﺎﻛﻨَﻬﺎ ﻓﻲ ﺍﻟﻌﺘﻤﺔ‪٬‬‬ ‫ﻏﻴ ْ‬
‫ﻛﻤﺎ ﺃﻥ ﺍﻟﺒﻼﻁَ‬
‫‪ -‬ﺍﻟﺬﻱ ﻛﺜﻴﺮﺍً ﻣﺎ ﻧﻈﱠ ْﻔﺘُﻪ ﻣﻦ ﺗﺮﺍ ِ‬
‫ﺏ ﺃﺣﺬﻳﺘﻬﻢ‪-‬‬
‫ﻟﻢ ﻳﻜﻦ ﺭﺣﻴﻤﺎ ً‪.‬‬

‫ﻛﻴﻒ ﺃﺳﻤ ُﺢ ﻟﻨﻔﺴﻲ‬

‫ﺃﻥ ﺃﻛﻮﻥَ ﻭﺣﻴﺪﺓً ﻗﺒﻞ ﺍﻟﺜﻼﺛﻴﻦ؟‬

‫ﺳﺘﺨﺘﺮﻕ ﺍﻟﻀﱠﺠﺔُ ﺟﺪﺭﺍﻥَ ﺍﻟﻐﺮﻓﺔ‬

‫ﻫﻨﺎﻙ ﺩﺍﺋﻤﺎً‪٬‬‬
‫ُ‬
‫ﺍﻷﻳﺎﺩﻱ ﺍﻟﻜﺎﻓﻴﺔ ﻟﺘﺪﺍﻭﻝ ﺃﺣﺸﺎﺋﻲ‪٬‬‬
‫ﻣﻦ ﺍﻷﻓﻀﻞ ﺃﻥ ﺃﺗﺄ ّﻣﻞ ﺍﻟﻤﺸﻬ َﺪ‬
‫ﻛﺄﻧﱠﻪ ﻻ ﻳ ُﺨﺼﱡ ﻨﻲ‪.‬‬

‫ﺗﺨﺮﺝ‬
‫َ‬ ‫ﻟﻤﺎﺫﺍ ﻻ ﺃﻓﺘ ُﺢ ﻟﻠﻜﺮﺍﻫﻴﺔ ﻛﻲ‬
‫ﺚ‬
‫ﻭﺗﻤﻸ ﺍﻟﻐﺮﻓﺔ ﺑﺠﺜ ٍ‬
‫ﺃُﺧﻄﻲ ُء ﻓﻲ ﻋ ّﺪﻫﺎ ﻓﺄﺑﺪﺃ ﻣﻦ ﺟﺪﻳﺪ‪-‬‬
‫ﻫﻞ ﻷﻥ ﺍﻟﺴﻘﻮﻁَ ﻟﻠﺤﻈ ٍﺔ ﻛﺎﻥ ﺣﺎﺳﻤﺎ ً‬
‫ﻭﻟﻠﺤﻈ ٍﺔ‪٬‬‬
‫ﻟﻢ ﺗﻜﻦ ﻫﻨﺎﻙ ﻏﻴﺮُ ﺍﻟﺮﺍﺣﺔ‬
‫ﻛﺄﻥ ﻛﻞ َﻣﻦ ﺃُﺣﺒﱡﻬﻢ ﻣﻌﻲ‬ ‫ّ‬
‫ﻴﺖ ﺧﺒ َﺮ ﻣﻮ ِﺗﻬﻢ‬‫ﺃﻭ ﻛﺄﻧّﻨﻲ ﺗﻠﻘّ ُ‬
‫ﺙ ﺟﻤﺎﻋ ّﻲ‪.‬‬ ‫ﻓﻲ ﺣﺎﺩ ٍ‬

‫***‬
 ‫ﻓﻲ‪ ‬ﻛﺎ ِﻣﻞ‪ ‬ﻓﺮ ِﺣﻬﻢ‪  ‬‬
‫ﺳﺄُﺩﺧ ُﻞ ﺍﻟﺘﻠﻴﻔﻮﻥَ ﺇﻟﻰ ﺳﺮﻳﺮﻱ‬
‫ﺃﻣﻮﺭ ﻛﺜﻴﺮﺓ‪٬‬‬
‫ٍ‬ ‫ﻭﺃُﺣﺪﱢﺛﻬﻢ ﻗﺒﻞ ﺍﻟﻨﻮﻡ ﻓﻲ‬
‫ﻷﺗﺄ ّﻛ َﺪ ﺃﻧّﻬﻢ ﻣﻮﺟﻮﺩﻭﻥ ﺑﺎﻟ ِﻔﻌﻞ‬
‫ﻭﺃﻥ ﻟﺪﻳﻬﻢ ﻣﻮﺍﻋﻴ َﺪ ﻟﻨﻬﺎﻳﺔ ﺍﻷﺳﺒﻮﻉ‪٬‬‬
‫ﻭﺃﻣﺎﻧﺎً‬
‫ﻳﺠﻌﻠﻬﻢ ﻳﺨﺎﻓﻮﻥ ﻣﻦ ﺍﻟﺸﻴﺨﻮﺧ ِﺔ‬
‫ﻭﻳﻜﺬﺑﻮﻥ ﺃﺣﻴﺎﻧﺎ ً‪.‬‬

‫ﺳﺄﺗﺄ ّﻛﺪ ﺃﻧﻬﻢ ﻣﻮﺟﻮﺩﻭﻥ ﺑﺎﻟﻔﻌﻞ‬

‫ﻓﺮﺣﻬﻢ‬
‫ﻓﻲ ﻛﺎ ِﻣﻞ ِ‬
‫ﻭﺃﻧﻨﻲ ﻭﺣﺪﻱ‬
‫ﺍﻟﺼﺒﺎﺡ ﻣﻤﻜﻦٌ‬
‫َ‬ ‫ﻭﺃﻥ‬
‫ﻁﺎﻟﻤﺎ ﻫﻨﺎﻙ ﺃﺣﻘﺎ ٌﺩ ﺟﺪﻳﺪﺓ‪.‬‬

‫***‬
 ‫ﺴﻜﻴﻨﺔُ‪ ‬ﻟﻦ‪ ‬ﺗَ ْ‬
‫ﺴﻘُﻂ‪  ‬‬ ‫ﺍﻟ ﱠ‬
‫ﻣﻊ ﺍﻟﻤﻮﺗﻰ‪٬‬‬
‫ﻧﻔﺲ ﺍﻟﺴﺮﻳﺮ‬ ‫ﺍﻟﺬﻳﻦ ﺷﺎﺭﻛﻮﻧﺎ َ‬
‫ﺳﺘﺒﻘﻰ‪.‬‬
‫ﺃﻛﺜﺮ‬ ‫ُ‬
‫ﻗﺪ ﺗﺘﺸﺒﱠﺚ َ‬
‫ﺕ ﻛﺒﻴﺮﺓ‪.‬‬ ‫ﻏﻴﺮ ﻓﺮﺍﻏﺎ ٍ‬ ‫ﺗﺮ ﻣﻨﻪ َ‬ ‫ﺑﻜﺎﺋﻦ ﻟﻢ َ‬
‫ٍ‬
‫ﺳﺘﻘﻒُ ﺣﻴﺚ ﻟﻢ ﺗﺘﻮﻗّﻊ ﺃﺑﺪﺍً‬
‫ُﻣﺮﺗﱢﺒﺎ ً ﺟﻐﺮﺍﻓﻴﺎ ﺟﺴﺪﻱ‬
‫ﺣﺴﺐ ﻗُﺪﺭﺗ َ‬
‫ﻚ‬ ‫َ‬
‫ﺕ ﻻ ﺗﺨﺼﱡ ﻚ‪٬‬‬ ‫ﻋﻠﻰ ﺗﺘﺒّﺜﻊ ﻋﻼﻣﺎ ٍ‬
‫ﻭﻗﺪ ﺗﺠﻤﻊ ﺗﺬﻛﺎﺭﺍﺗﻲ ﺍﻟ ُﻤﻀﻴﺌﺔ‬
‫ﻭﺗﻨ ُﺸﺮﻫﺎ ﺃﻣﺎﻣﻚَ‬
‫ﺍﻟﻮﺣﺪﺓ‬
‫ﻁﺎﻭﻟ ٍﺔ ﺗﺼﻠﺢ ﻷﻟﻌﺎﺏ ِ‬ ‫ﻋﻠﻰ ِ‬
‫ﻓﻲ ﻣﺤﺎﻭﻟ ٍﺔ ﻟﺘﺠﻤﻴﻞ ﺍﻷﻟﻢ‪٬‬‬
‫ﻭﺟ ْﻌﻠِﻪ ﻣﺸﺮﻭﻋﺎ ً ﻣﺴﺘﻘﺒﻠﻴّﺎً‪٬‬‬ ‫َ‬
‫ﻛﻤﺆﺭﱢﺥ ﺃﺧﻼﻗ ّﻲ‪-‬‬
‫ٍ‬ ‫‪-‬‬ ‫ﺗﺒﺤﺚ‬ ‫ﻭﻗﺪ‬
‫ﺏ ﺍﻗﺘﺼﺎﺩﻳﺔ ﻟﻠﺨﻄﻴﺌﺔ‪.‬‬ ‫ﻋﻦ ﺃﺳﺒﺎ ٍ‬

‫ﺍﻟﺴﻜﻴﻨﺔُ ﻟﻦ ﺗ ْﺴﻘُﻂ‬
‫ﻭﺗﺬﻛﺎﺭﺍﺗﻲ ﺍﻟ ُﻤﻀﻴﺌﺔ‬
‫ﺍﻟﺘﻲ ﺗﺠﻤﻌﻬﺎ ﻣﻦ ﺃﺟﻠﻲ‬
‫ﻻ ﺃﺭﻳﺪﻫﺎ‬
‫ﻳﺠﺐُ ﺃﻥ ﺗﻈ ّﻞ ﺧﻴﺎﺗﻨﻲ ُﻣﻌﻠّﻘﺔً‬
‫ﻓﻲ ﺳﻘﻒ ﺍﻟﺒﻴﺖ‪٬‬‬
‫ﻭﺃﻥ ﺗﺘﺤﺴّﺴﻬﺎ ﻣﻦ ﻭﻗﺖ ٍﻵﺧﺮ‬
‫ُﻣﺆ ﱢﻛﺪﺍً‬
‫ﻋﺐ‬
‫ﻟﻨﻔﺴﻚ ﺃﻥ ﺍﻟﺮﱡ َ‬ ‫ِ‬
‫ﻟﻴﺲ ﻓﻘﻂ‬ ‫َ‬
‫ﻓﻲ ﺳﻘﻮ ِﻁ ﺍﻷﺷﻴﺎ ِء ﻣﻦ ﺃﻋﻠﻰ‬

‫***‬
 ‫ﺗﻤﺎﺭﻳﻦ‪ ‬ﺍﻟ ِﻮ ْﺣﺪﺓ‪  ‬‬
‫ﻳﻨﺎﻡ ﻓﻲ ﺍﻟﻐﺮﻓﺔ ﺍﻟﻤﺠﺎﻭﺭﺓ‪ ٬‬ﺑﻴﻨﻨﺎ ﺟﺪﺍﺭ‬
‫ﺭﻣﻮﺯ ُﻣﺤﺘﻤﻠﺔ‬
‫ٍ‬ ‫ﻭﻻ ﺃﻗﺼﺪ ﺑﻬﺬﺍ ﺃ ّ‬
‫ﻱ‬
‫ﻓﻘﻂ ‪ ...‬ﺑﻴﻨﻨﺎ ﺟﺪﺍﺭٌ ‪ ٬‬ﺃﺳﺘﻄﻴ ُﻊ َﻣﻸﻩ ﺑﺼﻮﺭ ﺣﺒﻴﺒﻲ‪ ٬‬ﻭﻫﻮ ّ‬
‫ﻳﺪﺧﻦ ‪ ...‬ﺃﻭ ﻳﺘﺄ ّﻣ ُﻞ‬
‫ﺷﺮﻁَ ﺃﻥ ﺃﺟ َﺪ ﻟﻬﺎ ﻣﻜﺎﻧﺎ ً ُﻣﺤﺎﻳﺪﺍً‬
‫ﺍﺣﺘﺮﺍﻣﺎ ً ﻟﻠﻤﺴﺎﻓﺔ ﺍﻟﺘﻲ ﺑﻴﻨﻨﺎ‪.‬‬

‫ﻳﺒﺪﻭ ﺃﻥ ﷲ ﻻ ﻳﺤﺒﻨﻲ‬
‫ُﺮﺕ ﺑﻤﺎ ﻳﻜﻔﻲ ﻷُﺻ ﱠﺪﻕ‪ :‬ﷲ ﻻ ﻳﺤﺒﻨﻲ ﻣﻦ ﻗﺪﻳﻢ‪ُ ٬‬ﻣﻨﺬ ﻛﺎﻥ ﻳﺤﺐ ﺃﺳﺘﺎﺫ ﺍﻟﺤﺴﺎﺏ‪٬‬‬
‫َ‬ ‫ﻛﺒ ُ‬
‫ﻭﻳﻤﻨﺤﻪ ﺑﺼﺮﺍً ﺣﺎﺩﺍ‪ً٬‬‬
‫ﻭﻁﺒﺎﺷﻴﺮ ُﻣﻠﻮّﻧﺔً‬
‫َ‬
‫ﻭﻓﺮﺻﺎ ً ﻛﺜﻴﺮﺓً ﻟﺘﻌﺬﻳﺐ ﻁﻔﻠ ٍﺔ ﻣﺜﻠﻲ‬
‫ﻻ ﺗﺴﺘﻄﻴﻊ ﺗﺤﺪﻳ َﺪ ﻋﻼﻗ ٍﺔ‬
‫ﺑﻴﻦ ﺭﻗﻤﻴﻦ ﻏﻴﺮ ُﻣﺘﻼﺻﻘﻴﻦ‪.‬‬

‫ﻭﻟﻜﻦ ﻟﻴﺲ ُﻣﻬ ﱠﻤﺎ ً ﺃﻥ ﻳﺤﺒﻨﻲ ﷲ‬

‫ُ‬
‫ﺻﻠﺤﺖ ﺃﻋﻤﺎﻟﻬﻢ‪-‬‬
‫ﻻ ﺃﺣ َﺪ ﻓﻲ ﻫﺬﺍ ﺍﻟﻌﺎﻟﻢ‪ -‬ﺣﺘﻰ ِﻣ ّﻤﻦ َ‬
‫ﻳﺴﺘﻄﻴﻊ ﺃﻥ ﻳُﻘ ﱢﺪ َﻡ ﺩﻟﻴﻼً ﻭﺍﺣﺪﺍً‪ ٬‬ﻋﻠﻰ ﺃﻥ ﷲ ﻳﺤﺒﻪ‪.‬‬

‫ﺃﻓﺘﺢ ﺍﻟﺒﺎﺏ‪ ٬‬ﻭﺃُﻏﻠﻘَﻪ ﺧﻠﻔﻲ ﺑﻬﺪﻭء‪ ٬‬ﻛﻲ ﻻ ﻳﺴﺘﻴﻘﻆَ ﺣﺒﻴﺒﻲ‪.‬‬‫ﻳُﻤﻜﻨﻨﻲ ﺃﻥ َ‬

‫ٌ‬
‫ﺑﻨﺖ ﺗﻨﺰﻝ ﺍﻟﺸﺎﺭ َﻉ ﺑﺪﻭﻥ ﺃ ّ‬
‫ﻱ ﻣﻜﺎﻥ ﻳُﻤﻜﻨﻬﺎ ﺍﻟﻠﺠﻮء ﺇﻟﻴﻪ‬
‫ً‬
‫ﺃﻣ ٌﺮ ﻟﻴﺲ ﺩﺭﺍﻣﺎﺗﻴﻜﻴﺎ ﻋﻠﻰ ﺍﻹﻁﻼﻕ‪.‬‬

‫ﻋﻨﺪﻣﺎ ﻗﺎﻝ ﺩﻳﺴﺘﻮﻳﻔﺴﻜﻲ‪:‬‬

‫ﺍﻟﺬﻫﺎﺏ ﺇﻟﻴﻪ"‬
‫َ‬ ‫ﺖ ﻣﺎ‪ ٬‬ﻳﺴﺘﻄﻴﻊ‬
‫ﻟﻠﻮﺍﺣﺪ ِﻣﻦ ﺑﻴ ٍ‬
‫ِ‬ ‫"ﻻﺑﺪ‬
‫ﻛﺎﻥ ﻳﺘﺤ ﱠﺪﺙ ﻋﻦ ٍ‬
‫ﺑﺸﺮ ﻛﻼﺳﻴﻜﻴﻴﻦ‪٬‬‬
‫ﻟﻬﻢ ﺳﻮﺍﻟﻒُ ﻁﻮﻳﻠﺔ‬
‫ﻭﻣﻌﺎﻁﻒُ ﺗﺸﺒﻪ ِ‬
‫ﺍﻟﻮﺣﺪﺓ‪.‬‬

‫ﺃﻧﺎ ﻻ ﺃُﺣﺐ ﺍﻟﺪﺭﺍﻣﺎ‬

‫ﻟﺘﻔﺮﻳﻎ ﻭﺭﺩ ٍﺓ ﻣﻦ ﺑﻬﺠﺘﻬﺎ‪٬‬‬
‫ِ‬ ‫ﻭﻻ ﺃﺟﺪ ﺿﺮﻭﺭﺓً‬
‫ﺖ ﻋﺰﻳﺰ‬‫ﻖ ﺑﻤﻴ ٍ‬
‫ﻟﺘﻠﻴ َ‬

‫ﺧﺮﺟﺖ ﺍﻵﻥ ﻣﻦ ﻫﻨﺎ‬ ‫ُ‬ ‫ﻭﺇﺫﺍ‬

‫ﺷﺨﺺ ﻳﻘﺎﺑﻠﻨﻲ‬ ‫ﱠﻝ‬ ‫ﻭ‬‫ﺃ‬ ‫ﺪ‬
‫َ‬ ‫ﻳ‬ ‫ُ‬
‫ﻚ‬ ‫ﻣﺴ‬ ‫ﺳﺄ ُ‬
‫ٍ‬
‫ﺟﺎﻧﺒﻲ‪ ٬‬ﺳﺄﻗﻮﻝ ﻟﻪ ﺇﻥ ﺭﺟﻼً ﻳﻨﺎ ُﻡ ﻓﻲ ﻏﺮﻓ ٍﺔ ﻣﺠﺎﻭﺭ ٍﺓ‪ ٬‬ﺑﻼ ﻛﻮﺍﺑﻴﺲ‪ ٬‬ﻟﻢ ﺗﻜﻦ ﺭﺃﺳُﻪ ﻓﻲ‬ ‫ّ‬ ‫ﻭﺳﺄﺟﺒﺮﻩ ﻋﻠﻰ ﻣﺼﺎﺣﺒﺘﻲ ﺇﻟﻰ ﻣﻘﻬﻰ‬ ‫ٌ‬
‫ﺍﻟﺸﻮﺍﺭﻉ ﺍﻟﻌﻤﻮﻣﻴﺔ‪.‬‬
‫ِ‬ ‫ﺇﻟﻰ‬ ‫ﺮ‬
‫ّﺏُ‬ ‫ﻳﺘﺴ‬ ‫ء‬‫ﺷﻲ‬ ‫ﻞ‬‫ﱠ‬ ‫ﻛ‬ ‫ﻭﺗﺮﻙ‬ ‫ﻭﺍﺣﺪﺓ‪٬‬‬ ‫ﺓ‬
‫ٍ‬ ‫ﻟﻤﺮ‬ ‫ﻭﻟﻮ‬ ‫ﻟﻲ‪٬‬‬ ‫ﺔ‬
‫ٍ‬ ‫ﻗﻤﺎﻣ‬ ‫ﻕ‬
‫َ‬ ‫ﺻﻨﺪﻭ‬ ‫ﻣﺴﺘﻮﻯ ﺟﺴﺪﻱ‪ ٬‬ﻓﺸﻞ ﺃﻥ ﻳﻜﻮﻥ‬
‫ﻭﺃﻧﻨﻲ ﻳﺘﻴﻤﺔٌ‬
‫ﻛﺎﻑ ﻟﻜﺘﺎﺑﺔ ﻗﺼﺎﺋ َﺪ ﺟﻴﺪﺓ‪٬‬‬
‫ٍ‬ ‫ﻭﻛﻨﺖ ﺃﻅﻦ ﺃﻥ ﻫﺬﺍ‬ ‫ُ‬
‫ﺍﻷﻣ ُﺮ ﺍﻟﺬﻱ ﺛﺒﺖَ ﻓﺸﻠُﻪ‪٬‬‬
‫ﺃﻋﺘﻦ ﺑﻨﻔﺴﻲ ﻛﻤﺎ ﻳﺠﺐ‪٬‬‬ ‫ِ‬ ‫ﻭﺃﻧﻨﻲ ﻟﻢ‬
‫ً‬ ‫ً‬
‫ﻟﺪﺭﺟﺔ ﺃﻥ ﺍﻟﺘﻬﺎﺑﺎ ﺑﺴﻴﻄﺎ ﻓﻲ ﺟﻴﻮﺑﻲ ﺍﻷﻧﻔﻴّﺔ‬
‫ﺯﻟﺖ ﺃﻛﺬﺏُ ‪ ٬‬ﻭﺍﻟﻤﻔﺮﻭﺽُ ﺃﻥ ﻳﺼﻴ َﺮ ﺍﻟﻮﺍﺣ ُﺪ ﻣﻼﺋﻜﻴّﺎً‪ ٬‬ﻗﺒﻞ ﻣﻮﺗﻪ ﺑ ُﻤﺪ ٍﺓ ﻛﺎﻓﻴﺔ‪ ٬‬ﻛﻲ ﻻ‬‫ُ‬ ‫ﻳﻮﺷﻚ ﺃﻧﺖ ﻳﺘﺤ ّﻮﻝ ﺇﻟﻰ ﺳﺮﻁﺎﻥ‪ ٬‬ﻣﻊ ﺫﻟﻚ ﻣﺎ‬
‫ﺕ ﻧﺒﻴﻠ ٍﺔ ﻟﻪ‬
‫ﻳﺘﻌﺐ ﺃﺻﺪﻗﺎﺅﻩ ﻓﻲ ﺍﻟﺒﺤﺚ ﻋﻦ ﺻﻔﺎ ٍ‬ ‫َ‬
‫ﻭﺃﻥ ﻣﻮﺗﻲ ﺳﻴﻜﻮﻥ ﺃﺳﻬﻞ ﻣﻦ ﺗﺤﺮﻳﻚ ﻗﺪﻣﻲ ﺍﻟﻴُﻤﻨﻰ ﺇﺫﺍ ﺗﺮﻛﻨﻲ ﻭﺣﺪﻱ‪.‬‬

‫ﻓﻲ ﻣﻘﻬﻰ ﺟﺎﻧﺒ ّﻲ‪٬‬‬

‫ﻟﺮﺟﻞ ﻻ ﺃﻋﺮﻓﻪ ﺃﺷﻴﺎ َء ﻛﺜﻴﺮﺓً ﺩُﻓﻌﺔً ﻭﺍﺣﺪﺓ‪٬‬‬
‫ٍ‬ ‫ﺳﺄﺣﻜﻲ‬
 ‫ﻭﺳﺄﺿﻐﻂ ﺑﺄﺣﺒﺎﻟﻲ ﺍﻟﺼﻮﺗﻴّﺔ‪ ٬‬ﻋﻠﻰ ﺭﻏﺒﺘﻪ ﺍﻟﻘﺪﻳﻤﺔ ﻓﻲ ﺃﻥ ﻳﻜﻮﻥ ﻧﺎﻓﻌﺎً‪ ٬‬ﻓﻘﺪ ﻳﺄﺧﺬﻧﻲ ﻟﺒﻴﺘﻪ‪ ٬‬ﻭﻳﻮﻗﻆُ ﺯﻭﺟﺘَﻪ‪ ٬‬ﺳﺄُﺭﺍﻗﺐُ ﺧﻄﻮﺗَﻬﺎ‬
‫ﻟﻮﺩﺭ ﺃَ ْﻫﻠ ّﻲ‪ ٬‬ﻭﺃﺻﻄﻨ ُﻊ ﺣﻴﺎ ًء ﻳُﻄﻤﺌﻨﻬﺎ‪ ٬‬ﻭﻳﺠﻌﻠﻬﺎ ﺗﻔﺮﺡ ﺑﺰﻭﺟﻬﺎ‪ ٬‬ﻭﻫﻮ ﻳﻨﺼﺤﻨﻲ ﺃﻥ ﺃﺑﺪﺃ‬‫ٍ‬ ‫ﺍﻟﻘﺬﺭﻣﺜﻞ‬
‫َ‬ ‫ﻧﺤﻮﻱ ﻭﻫﻲ ﺗ ْﺪﻫﺲُ "ﺍﻟﻜﻠﻴﻢ"‬
‫ﺻﻐ ََﺮ ﺣﺠﻤﻲ‪ ٬‬ﻭﺃﻧﻨﺎ ﻗﺪ ﻧﺘﻘﺎﺑﻞ ﻓﻲ ﺃﺣ ِﺪ ﺍﻷﻓﺮﺍﺡ ﺍﻟﻌﺎﻣﺔ‪.‬‬
‫ِ‬ ‫ﻨﺎﺳﺐُ‬‫ُ‬ ‫ﺗ‬ ‫ﻣﻮﺳﻴﻘﻴﺔ‪٬‬‬ ‫ﺔ‬
‫ٍ‬ ‫ﺁﻟ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻌﺰﻑ‬
‫ِ‬ ‫ﻢ‬ ‫ﱡ‬ ‫ﻠ‬‫ﻣﻦ ﺟﺪﻳﺪ‪ ٬‬ﺑﻴﻨﻤﺎ ﺃﻧﺎ ﺃ ِﻋﺪُﻩ ﺑﺘﻌ‬

‫ﺩﺕ ُﻛ ﱠﻞ َﻣﻦ ﺃﺣﺒّﻮﻧﻲ‬

‫ﻫ ﱠﺪ ُ‬
‫ﺑﺎﻟﻤﻮﺕ ﺇﺫﺍ ﻓﻘﺪﺗُﻬﻢ‪٬‬‬
‫ﻷﺟﻞ ﺃﺣ ٍﺪ‪٬‬‬
‫ِ‬ ‫ﻭﻻ ﺃﻋﺘﻘﺪ ﺃﻧﻨﻲ ﺳﺄﻣﻮﺕ‬
‫ﻓﺎﻟﻤﻨﺘﺤﺮﻭﻥ‪ -‬ﺑﻼ ﺷﻚ‪-‬‬
‫ﺃﻛﺜﺮ ﻣ ّﻤﺎ ﻳﺠﺐ‪٬‬‬ ‫َﻭﺛﻘﻮﺍ ﻓﻲ ﺍﻟﺤﻴﺎﺓ َ‬
‫ﻣﻜﺎﻥ ﺁﺧﺮ‪.‬‬
‫ٍ‬ ‫ﻓﻲ‬ ‫ﻓﻈﻨﻮﺍ ﺃﻧﻬﺎ ﺗﻨﺘﻈﺮﻫﻢ‬
‫ﻭﺃﻧﺎ ﻟﻦ ﺃﺧﺮﺝ ﻣﻦ ﻫﻨﺎ‪ ٬‬ﻗﺒﻞ ﺃﻥ ﻳﻤﻮﺕ ﺃﻣﺎﻣﻲ‪٬‬‬
‫ﺳﺄﺿﻊ ﺃُﺫﻧﻲ ﻋﻠﻰ ﺻﺪﺭﻩ‪ ٬‬ﺣﺴﺚ ﺍﻟﺴﻜﻮﺕ ﺃَﻭﺿ ُﺢ ﻣﻦ ﺃﻥ ﺗُﺸﻜﻜﻨﻲ ﻓﻴﻪ ﻗِﻄﺔ ﻟﻬﺎ ﺃﻅﺎﻓ ُﺮ ﺍﻣﺮﺃ ٍﺓ ُﻣﺤﺒﻄﺔ‪ ٬‬ﺗﺤﺎﻭﻝ ﺑﻬﺴﺘﻴﺮﻳﺎ َ‬
‫ﻗﻠﺐ‬
‫ﺳﻠّﺔ ﺍﻟ ُﻤﻬﻤﻼﺕ‪ ٬‬ﺍﻟﻤﻠﻴﺌ ِﺔ ﺑﺒﻘﺎﻳﺎ ﻧﻬﺎﺭﻧﺎ ﻣﻌﺎً‪٬‬‬
‫ﺳﻠّﺔ ﺍﻟ ُﻤﻬﻤﻼﺕ‬
‫ﺍﻟﺘﻲ ﺃﺿﻌُﻬﺎ ﻓﻲ ﺃَ ْﻋﻠﻰ ﺍﻟﺴﱡﻠّﻢ‬
‫ﻷُﺛﺒﺖ ﻟﻠﺠﻴﺮﺍﻥ ﺃﻥ ﻟﺪﻱّ ﻋﺎﺋﻠﺔً ﺁﻣﻨﺔ‪.‬‬

‫ﺳﺄُﻣﺴﻚ ﺑﺄﺻﺎﺑﻌ َ‬
‫ﻚ‬
‫ﻟﻨﺰﻉ ﺍﻟﺒﺆﺭ ﺍﻟﺼﺪﻳﺪﻳﺔ ﻣﻦ ﺟﺴ ٍﺪ ﻳﺘﺂﻛﻞ ﺫﺍﺗﻴﺎً‪٬‬‬
‫ﻁﺒﻲ‪ْ ٬‬‬
‫ﱟ‬ ‫ﻟﻤﺸﺮﻁ‬
‫ٍ‬ ‫ﺑﺠﺮّﺍﺡ‪ ٬‬ﻟﻴﺲ ﺑﺤﺎﺟ ٍﺔ‬
‫ٍ‬ ‫ﻖ‬‫ﻭﺃﺗﺄﻣﻞ ﺩﻗّﺔً ﺗﻠﻴ ُ‬
‫َ‬
‫ﻭﺃﺿﻌﻬﺎ ﻓﻲ ﻭﻋﺎء ﺍﻟﺜﻠﺞ‪ ٬‬ﻭﺣﻴﺚ ﻻ ﺭﺟﻔﺔ ﻫﻨﺎﻙ‪..‬‬
‫ﺃﺧﺮﺝُ ﻣﻦ ﻫﻨﺎ‪...‬‬
‫ُﻣﺘّﺸﺤﺔً ﺑﺎﻟﻔَ ْﻘﺪ ﻭﺧﻔﻴﻔﺔ‪.‬‬

‫ﻻﺑﺪ ﺃﻥ ﺗﻤﻮﺕ ﺃﻣﺎﻣﻲ‪.‬‬

‫ﻟﻨﺒﺤﺚ ﻋﻦ ﺑﺪﺍﺋ َﻞ‪.‬‬‫َ‬ ‫ﻣﻮﺕ ﺃﺣﺒّﺎﺋﻨﺎ ﻓﺮﺻﺔٌ ﺭﺍﺋﻌﺔٌ‬
‫ُ‬
‫ﺃﺧﺘﺎﺭ ﺳﻴّﺪﺓً‬
‫َ‬ ‫ﱠﺩﺕ ﺃﻥ‬‫ﻓﻲ ﻗﻄﺎﺭﺍﺕ ﺷﺮﻕ ﺍﻟﺪﻟﺘﺎ‪ ٬‬ﺗﻌﻮ ُ‬
‫ﺕ ﺃُﻣﻲ ﻭﺃﻧﺎ ﻓﻲ ﺍﻟﺴﺎﺩﺳﺔ‪.‬‬
‫ِ‬ ‫ﺑﻤﻮ‬ ‫ﺧﺒﺮﻫﺎ‬ ‫ُ‬ ‫ﺃ‬ ‫ﻋﻨﺪﻣﺎ‬ ‫ﻔﻬﺎ‪٬‬‬‫ُﻣﻨﺎﺳﺒﺔ‪ ٬‬ﺗﻔﺘ ُﺢ ﻟﻲ ﺧﺰﺍﻧﺔَ ﺗﻌﺎﻁُ‬

‫ﻓﻲ ﺍﻟﺤﻘﻴﻘﺔ‬
‫ﺣﺪﺙ ﻫﺬﺍ ﻭﺃﻧﺎ ﻓﻲ ﺍﻟﺴﺎﺑﻌﺔ‪٬‬‬
‫ﺃﻛﺒﺮ ﺗﺄﺛﻴﺮﺍً‪٬‬‬
‫ﻭﻟﻜﻦ "ﺍﻟﺴﺎﺩﺳﺔ" ﺗﺒﺪﻭ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻲ َ‬
‫ﻣﻬﺎﺕ ﻓﻲ ﻣﻨﺘﺼﻒ ﺍﻟﻌﻤﺮ ﻳ ّ‬
‫ُﺪﻣﻦ ﺍﻟ ُﺤﺰﻥ‪٬‬‬ ‫ُ‬ ‫ﻓﺎﻷُ‬
‫ﻖ ﻷﻭﺍﻧِﻪ‪.‬‬ ‫ﻟﺘﺒﺮﻳﺮ ﺣﺪﺍ ٍﺩ ﺳﺎﺑ ٍ‬
‫ِ‬ ‫ﺭﺑﻤﺎ‬
‫ﺍﻟﺤ ْﻜﻲ‪٬‬‬
‫ﻭﺍﻟﺮﺗﻮﺵُ ﺍﻟﺒﺴﻴﻄﺔُ ﺃﺛﻨﺎ َء َ‬
‫ﻟﻬﺎ ِﺳﺤﺮٌ‪٬‬‬
‫ﻟﻦ ﻳﻔﻬ َﻤﻪ ﺃﺑﺪﺍً‬
‫ﺣﻨﺎﻥ ﺍﻵﺧﺮﻳﻦ‪.‬‬‫ِ‬ ‫َﻣﻦ ﻟﻢ ﻳﻀﻄﺮّﻭﺍ ﻟﺴﺮﻗﺔ‬

‫ﺃﺑﺮﻳﻞ ‪94‬‬

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‫ﻳﺤﺪﺙ ﻟﻚ ﺫﻟﻚ‪ .‬ﺇﻥ ﺍﻟﻄﺒﻴﻌﺔ ﺗﺼﻨ ُﻊ‬ ‫ﺃﻛﺜﺮ ﺗﻮﺍﺿﻌﺎ ً ﺑﻤﺎ ﻓﻴﻪ ﺍﻟﻜﻔﺎﻳﺔُ ﻟﺘﻨﺘﻈﺮ ﺑﻬﺪﻭء‪ ٬‬ﻭﺑﻐﻴﺮ ﺍﺳﺘﻔﺰﺍﺯ‪ ٬‬ﺩﻭ َﺭ َ‬
‫ﻙ ﻳﻮﻡ‬ ‫َ‬ ‫"‪ ٬...‬ﻓﻘﺪ ﺃﺻْ ﺒَﺤﺖَ‬
‫ﺍﻷﻣﻮﺭ ﺧﻴﺮﺍً ﻣﻨﻚَ ‪ ٬‬ﺃﻭ ﺃﻋﺪﺍﺅﻙ‪ ٬‬ﻓﻼ ﺗﺴﺘﻌﺠﻞْ ‪ ٬‬ﺇﻥ ﻟﺪﻳﻚ ُﻣﺘّﺴﻌﺎ ً ﻣﻦ ﺍﻟﻮﻗﺖ"‬
‫َ‬
‫ﺭﻳﺠﻴﺲ ﺩﻭﺑﺮﻳﻪ‬

‫ﺻﺪﺭﺕ ﺍﻟﻄﺒﻌﺔ ﺍﻷﻭﻟﻰ ﻣﻦ‬

‫"ﻣﻤﺮ ﻣﻌﺘﻢ ﻳﺼﻠﺢ ﻟﺘﻌﻠﻢ ﺍﻟﺮﻗﺺ"‬
‫‪ 1995‬ﻭﺍﻟﻄﺒﻌﺔ ﺍﻟﺜﺎﻧﻴﺔ ‪2004‬‬
‫ﻋﻦ ﺩﺍﺭ ﺷﺮﻗﻴﺎﺕ ﺑﺎﻟﻘﺎﻫﺮﺓ ‪.‬‬