Osiem metrów wysokości.
Pośrodku szczelina.
Rzeźba dziecka z betonu
obok kontury ciała i pustka
po bezbronnej istocie,
której już nie ma.

Szorstka struktura szarości
rani delikatną skórę.
Głód. Choroby. Samotność.
Świat zapomina o tych,
co nie krzyczą głośno—
o tym co najbardziej boli:
o miażdżonej niewinności,
i olbrzymach pilnujących
orszak przestraszonych wielkich oczu
w małych, wychudzonych ciałach.

Pamięć nie jest wygodna.
Ona fizycznie boli.
Uparte rany nie goją się.
Było.
Jest.
Wije się w sąsiednich otchłaniach Tartaru.

Aksjomat przyjęty przez aklamację:
„Tak ma być!”

Cisza.

Na scenę wychodzi syn ocalałego.
Łamiącym się głosem szepcze:
Tata przeszedł piekło, ale kochał nas.
Przeżył, napisał pamiętniki.
Dał świadectwo.
Rozumiał ten wykolejony świat.


BROKEN HEARTS

Eight meters high.
A crevice in the center.

A concrete sculpture of a child
and the deep void.
Once there was another child,
now gone without a trace…

The rough grey texture
hurts fragile skin.
Hunger. Disease. Loneliness.

The world forgets
those who do not scream
and what hurts the most:
crushed innocence
guarded by the giants
watching the procession
of terrified wide eyes
in small, gaunt bodies.

Memory is not a peaceful place,
it brings physical pain.
It gnaws from underneath.

Stubborn,
festering wounds,
they refuse to heal.

It was.
It is.
It will happen again
by axiom,
accepted without question.

That is how it must be.

Like a venomous snake
slithering near the lands of Tartarus.
Endless sacrifice, leaden silence.

And then, the son of the survivor takes the stage.
He speaks in a whisper:

My Father went through hell, but he loved us.
He wrote it down—
a testimony of a derailed world.

He knew what it meant to be human
when it hurt.

He survived to love and to be loved.

Every day, I open my reality:
I wake up.
I feel.
I choose.
I decide—
knowing so many others
are crying behind the scenes,
and their trembling is raw.

Pain isn’t consolation—
it reinforces the structure of fragility
when the towers are crumbling.

At the core, we return,
squeezing black-and-white struggles
into our veins, into our memories.

To the only home
we never left
our own body.
The first and the last.

When my oldest brother, Todd,
came back for my mom's funeral,
he had this light about him.
His face was a poem.
Sure, he was the oldest, and he
had a healthy-looking tan from the
hot New Mexico sun, working
outside with turquoise, silver,
and bear claws to make
jewelry for the tourists, but there
was more than that.

He was an artist, and all artists have
a fractured ease about things, but he
lit up.  Something from the inside
projected out.
He comforted everyone else, we leaned
on him.  His eyes oozed serenity.

A few calendars later, when I traveled
back for his funeral, I saw the same
look on a few of his friends' faces.
His wife told me after the service
that Todd had gotten sober years before.

The Ogre does what ogres can,
Deeds quite impossible for Man,
But one prize is beyond his reach,
The Ogre cannot master Speech:
About a subjugated plain,
Among its desperate and slain,
The Ogre stalks with hands on hips,
While drivel gushes from his lips.

It’s hard to tell myself,
that I'm nothing more than
a collection of possibilities.

I judge myself for my feelings,
I restrict my attitude to formality,
to avoid being hurt.

When I think that I am above,
comprehensible, intellectual…
I feel immersed in cold waters,
floating on the surface of my thoughts.

I accept and reject what the world offers me.
I express concepts to peel off
a layer of myself,
until reaching the black core.

I’m just afraid to swim on my back
not to sink into the soft mud.
My muscles are numbing under gravity.

I don’t want to return to my mental cage.
Hide again? Pretend?
Yes, I think I’m closer to myself
than I could have imagined.