Writing pieces for four hands simultaneously opens an intimate dialogue and a confrontation. A performance for four hands is a struggle in which bodies—physical and melodic—and their own agonies intertwine. On the same bench, both performers dance, cross hands, fall silent, and accompany or merge like a single mythological creature advancing toward death. In Black Residues, Alejandro Tarrab lays out the paper to write, alongside his grandmother, several series of suicide notes. Both—the lyrical self, "mother of my mother"—descend into the depths of language and pain: that territory where life and death, flesh and word, become one; that territory where there seems to be no language to describe the daring, the hand raised against oneself. This book, made of voices that break and fold back on themselves, is an elegy for language: the poet knows that it is necessary to keep speaking even when there is nothing left to say. In this fractured space, writing becomes ritual and exorcism. Tarrab explores a language of invocations, "if I had a god I would tear out his kidneys and put them where mine goes," and of images of sacrifice. The poem attempts to sustain the word when everything has shattered, and, at that threshold, the self fades into its own echo.