A roma woman, cradling a child, sits
cross-legged in a tie-and-dye dress and begs
from fur-coated women strolling beneath
the portico of the Pavaglione.
Enamelled photos of resistance fighters
are displayed on the side of the Town Hall.
Where the bomb blasted the station wall,
the crack has been crystallised in plate glass.
Nicolò Dell’Arca’s terracotta
pietà, its smug patron as Joseph
of Aramathea, with a concerned
angel as onlooker, portrays four women,
mothers petrified in distress, in despair,
in that grief which threatens breath and heartbeat.