If the voice could come out in photographs
in the way shadow or tenderness does - even while
being more vulnerable realities - I would hear
once again my father telling me that, before
picking up a stone, you should roll it over
with your foot or a branch to scare away
the scorpions hiding underneath like dry thorns.
I never worried about that. Being six years old
was simple, simple as dying. In both cases,
there was no secret other than the air:
breathing it or not breathing it, as if the soul
were full of tiny alveoli that open
and close. The first scorpion I saw
was in the natural science book,
trapped forever in the severe pincers
of time. On occasion, though, books don't tell
the whole truth, as if they didn't know it
or had forgotten it on the way from the printer's.
Arachnid with body divided into abdomen
and cephalothorax. It said nothing of the burning
sun in the tongue, of fear, of the spike
pierced into the neck. I didn't know then
that words are immense icebergs
hiding beneath their icy waters much
more than they show. Like the word scorpion.
And now, as the phone insistently rings
- a sharp daybreak cry - as I get up,
turn on the light, move my hand to its white body
of plastic that shines like a stone in the sun,
as I pick it up and say yes? and someone tells me you're dead,
I only think of scorpions, of what
you wanted to tell me when you repeated roll
the stones over, please, roll the stones over.

Translated by Julie Wark