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poema accompagnato da illustrazioni in tecnica mista su tela 40×60 cm
TERZI MOLARI
A Giuseppe “Fuoco” e a Lev, in me: uno salvò, uno sopravvisse, entrambi resistettero.
Sigillo rosso sull’atto mortuario dopo il tizzone. Scheggia di piombo che rode il margine. madri, cenere, senza numero. padri, senza numero, cenere. Una volta tramutai versi nel pane della bocca. Poi editti. Treni. Virgole di ferro-nero che forano la terra, righe intere, al fascicolo. Sopravvivemmo ai verbi soldati, morti allineati, preferiscono Morti — scheda pulita. Sì — colpevoli. Colpevoli di memoria. Colpevoli — nomi inghiaiati maneggiati di contrabbando. Colpevoli di fissare le ossa della parola che rifiutano di cedere.
Se guerra — arma: taglio di riga. Se crimine — respiro ostinato.
Sigilla. Rosso. Ufficiale. Tu custodisci il mondo che abbiamo aiutato a sollevare. Tu custodisci la parola che trasciniamo dalla cenere. Tu custodisci la legge che portiamo attraverso il bruciore, alla parete d’ascolto. E ancora — il marchio: crimine. Ruota — un avvoltoio sugli stessi arenili. La storia non cammina. Disfa le lettere della lingua. Taglia il molare-tav. Strofina il fiammifero. Squarcia le viscere di corda. Sventra i fossati dell’orchestra. Memoria: il nemico. Musica — memoria che parla. E ancora resta il testimone: una brace portata
in un’anfora d’argilla sopra quaranta torbiere di tempo. luce un tempo presa che rifiuta sepoltura. E questo è il nostro nome-crimine. Da qualche parte un bambino impara la prima lettera, il suono prima del giudizio.
THIRD MOLARS Helena Barbagelata 1
Stamped red on a form struck after the char. Lead-stub gnawing the margin. mothers — ash, unnumbered. fathers — unnumbered, ash. Once I set verses to the mouth's bread. Then edicts. Trains. Black-iron commas punctuating the land, Whole sentences— drawn to the docket. Survived. Held to verbs. They prefer the dead tidy. 1 Helena Barbagelata (Genoa, Italy, 1991), high-fashion model, multidisciplinary artist, filmmaker, writer, researcher, and activist, awarded in various fields of creation and innovation. She holds a PhD in Philosophy, Mathematics, and Cognitive Sciences from the University of Athens. She has received multiple artistic awards from the Onassis Foundation, the Academy of Fine Arts of St. Petersburg, the Ministry of Culture of Greece, among others. She is a member of the Israeli Artist Network, the America–Israel Cultural Foundation, the Society of Jewish Artists (SoJa), the Young Italian Artists Association (GAI), and the Organization for the Democratization of the Visual Arts (OBDK). Her work combines mixed media, sculpture, painting, video, dance, and sound art. She has participated in numerous solo and group exhibitions internationally. She is the author of several collections of poetry, short stories, essays, and plays, and has published articles in various magazines, publications, and anthologies. Among her most recent publications are the illustrated bilingual poetry collections Enlisted Youth (2024), Black Ink (2023), Steps in Time (2023), as well as the illustrated short-story collection Heartstrings (2024) and the visual-poetry book AHAVA (2022).
The dead—file clean. Yes— guilty. Guilty of memory. Guilty— buried names purloined past ash-gates. Guilty of setting the bones of speech refusing obedience. If war— our weapon: the line break. If crime— breath, stubborn. Stamp it again. Red. Official. You keep the world we helped raise. You keep the word we hauled from ash. You keep the law we bore through the burning— to a wall of ears. Still— the mark: crime. It wheels— a vulture over the same sand-wastes.
History does not walk. Unletter the tongue. Break the tav-molar. Strike the match. Snap the gut-strings. Gut the orchestra pits. Memory: the enemy. Music— memory speaking. Yet the witness abides: ember ferried in a clay jar across forty fens of time. light once taken refusing burial. And this you name crime. Somewhere a child learns the first letter, the sound before charge.
© Punto e Virgola ©
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