تخليتُ عن قصتي لأجل السمراء

تخليتُ عن قصتي لأجل السمراء

تعثرت في إحدى خيام التضامن مع الأسرى الفلسطينيين المضربين عن الطعام في سجون الاحتلال بقصة صحفية اعتقدتُ أنها قوية ونادرة.

وقفت عند باب الخيمة المنصوبة على مدخل قرية نائية شرق الضفة الغربية المحتلة، ريثما ينتهي مسؤول في حزب فلسطيني من التقاط صور مع الأمهات المضربات للأسرى المضربين. وأثناء ذلك، ومن بين أكتاف مساعدي المسؤول الذين يخوضون على ما يبدو منافسة حامية في التقاط الصور لزعيمهم وهو يُسلم على القاعدات القائمات النائمات الصائمات في الخيمة، لمحتُ امرأة سمراء ساكتة تجلس في الزاوية عند المدخل من الداخل.

خرج المسؤول، وفتحَ مصوروه بابتعادهم عن باب الخيمة مجالا للهواء، فدلفت إلى الداخل مع زملائي، وأركنت الكاميرا جانبا، ريثما نتعرف إلى أمهات الأسرى وقصصهن قبل البدء بالتصوير.

وفيما كنت أسأل أخريات دون أن أرفع عيني عن السمراء الساكتة في الزاوية، بدا لي، وهي تُشيح بوجهها عن الكاميرا المطفأة، أنها لا تحب الظهور في الإعلام.

هناك اعتقاد مسبق أن الناس الذين يهربون من الصحفيين يكون لديهم في كثير من الأحيان قصص تُثري الصحافة، لقد بنيت توقعاتي على هذا الاعتقاد، وبدأت بحديث مقتضب وعام مع السمراء. كلمة من هنا وجملة من هناك، ونبشٌ بدأته خفيفا بمعول الأسئلة في تراب ماضيها، ثم نبشٌ أعمق، فثبتت توقعاتي، وقلت في نفسي "هذه قصة مدهشة إن نجحتُ في تخييط الأمس باليوم بغرز واضحة لإنتاج ثوب قصصي إخباري جذاب".

في الخيمة، وأثناء الحديث معها سرحتُ في مقدمة القصة التلفزيونية التي سأعمل عليها الآن، وسجَّلت في ذهني بداية راقت لي.. "هذه السمراء المنزوية التي أمضت شبابها في تلقيم المدافع بقذائف الهاون، لم تُلقِم معدتها بالطعام منذ أربعة أيام تضامنا مع ابنها المضرب.. إلخ".

شيئا فشيئا بدأت أخفض صوتي في طرح الأسئلة وأقتربت منها أكثر كي تخفض صوتها عندما تجيب، خوفا من أن يسمعنا أي من الصحفيين المنتشرين خارج الخيمة فيسبقني في إنجاز تقرير سريع أثناء إعدادي المتأني لقصتي التي سأضع فيها لقطات مصورة فجرا، بما أن السمراء تنام في الخيمة ذاتها.

أخذت كل المعلومات من السمراء المولودة في خيام اللاجئين الفلسطينيين في سوريا، والتي بدأت حياتها العسكرية في سبعينيات القرن الماضي بالانضمام إلى حركة فتح، والتدرب في معسكر عدرا شمال شرق دمشق على تلقيم المدافع بقذائف الهاون، وضرب الآر بي جي وإلقاء القنابل اليدوية وإطلاق النار بالكلاشينكوف والمسدس.

سحبت الكاميرا عن الأرض ونصبتها على الحامل الثلاثي، خشيت أن ترتبك السمراء من معدات التصوير، فخطر في بالي على الفور وأنا أضبط إعدادات الكاميرا افتتاحية ستخفف من خوفها، كدتُ أسألها "أعتقد أن الكاميرا عندما تُنصب على الحامل الثلاثي، فإنها تشبه نوعا من الأسلحة الرشاشة التي يتدلى من مقدمتها حامل مشابه.. لا أعرف اسم السلاح بالضبط.. هل تدربتِ على شيء مشابه في الماضي؟".

لكنها سبقتني بسؤال مرعب عندما قالت لي "معقول يمنعوني أزور ابني في السجن إذا شافوا (شاهدوا) التقرير على التلفزيون؟".

فكرت بالسمراء المضربة عن الطعام في الخيمة تضامنا مع ابنها الذي يتلوى من الجوع في السجن كي يحقق مطالب، من بينها زيادة الوقت الممنوح له ولرفاقه في مقابلة أمهاتهم وذويهم أثناء الزيارة، وتخيلت بأنني في قصة صحفية عن كل ذلك قد أتسبب بمنع الأم من زيارة ولدها بدعوى الرفض الأمني، فجمعت أغراضي مودعا السمراء ومضيت عائدا إلى المكتب وأنا أفكر كيف فاتتني نقطة الضرر الذي قد تسببه قصتي للمقصوص عنها.

كان بإمكاني إقناعها كذبا بأن القصة لن تؤثر عليها، لكني لا أريد ذلك. ومع أنني لا أعرف قواعد الحجب الإيجابي للمعلومات، إلا أنني في حالة مثل التي نويت تغطيتها أستطيع أن أختار بين التخلي عن قصة من المؤكد ستكون قوية ومؤثرة، وبين التخلي عن التسبب بضرر من المحتمل أن يقع على السمراء في زيارة ابنها.

 

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