Showing posts with label art. Show all posts
Showing posts with label art. Show all posts

Monday, October 26, 2026

Cottonwoods: Free Verse

Yosemite National Park in the evening

Cottonwoods

By Armando Ortiz


At night 

the trunks of the cottonwood

resemble the surface of the moon


insects hover everywhere but

ignore that I’m there

I wonder where they sleep


the evening air is still

yet aspen leaves glow and move

as warm air rises from the campfire


along the stream and up to the lake

waters rush around white boulders

green leaves become moths that rest 


a giant obsidian arrowhead

seems to hold the stars within

bats flicker across the sky


the trees sway towards the valley 

as a cool wind falls from alpine canyons

the branches suddenly whisper something


everyone begins 

a quiet descent into the darkness

giving a collective exhale


at midnight 

the bark of the cottonwood 

turns into granite


the waters rush 

like broken glass 

through the creek


I sit beside the campfire

wondering if the flow

reflects the still moonlight


Tuesday, September 29, 2026

Reading Tristes Tropiques: Civilization, Culture, and Rivers of Encounter

Tristes Tropiques

Reading Tristes Tropiques: Civilization, Culture, and Rivers of Encounter

By Armando Ortiz


While scrolling through social media, I came upon a video of a man in Mexico City interviewing people at a book festival. A person he interviewed mentioned Tristes Tropiques by the French anthropologist Claude Lévi-Strauss. A seed of wonder was planted at that moment. So I began learning more about the author and the book. Unbeknownst to me, my friend Scott had a copy and gave it to me as a gift.


His introduction unfolds slowly, reflecting on life in Paris and the prospect of moving to Brazil. The chance to connect his studies with travel was a great opportunity. As he makes his way there, he talks about the French explorers who came to America in the 1500s. He also takes time to describe the oceanscape and life aboard a ship. Once in Brazil, an opportunity to explore further inland opens up. As he travels deeper into the interior, the people he encounters become increasingly varied: loggers, diamond seekers, immigrants, outlaws, and Indigenous communities.


He describes those parts of Brazil as an endless savannah of heat, with rains that flood vast stretches of the plains. In that environment he reflects on the lives of Indigenous communities living deep in the backcountry.


Rouen, France walking the streetAs I read his chronicles, I thought of how fortunate I was to have visited points of encounter like Lisbon, Portugal and Rouen, France. Those are places where people left their homes to explore new lands and returned with people, things, and ideas. As I read, I seemed to embark on a journey myself. The deeper his analysis became, the more his travels began connecting with places I had visited. The world that we inhabit today carries the consequences of those explorations and encounters.


Reading his chronicles, I suddenly found myself reliving my trip to Portugal, standing in front of the monument to the Age of Discovery. I recalled seeing South Asian people working in Lisbon. Lisbon was a departure point for many voyages of exploration, and yet the city itself had once been under Muslim rule. It makes me wonder how many untold stories a landscape can hold, and how many discoveries might still be waiting in places we think we already know.


I remembered the walking tour in Paris and listening to the guide tell us how Paris was divided into districts and how the floors of buildings reflected social standing. Then I also wandered through the old business area of Rouen where I saw a giant plaque dedicated to the explorer René-Robert Cavelier, Sieur de La Salle, who sailed the Mississippi River. I thought about what he might have seen in North America–the markets, the people, and the interactions taking place around him. As I stood there, a Scandinavian tour group walked by, headed toward the town square and the cathedral.


Ideas Spread Like Fire:

Lévi-Strauss talks about the literature produced in France during the Age of Discovery. Jean-Jacques Rousseau was influenced by accounts of the New World and its civilizations. Although he never visited those places, he encountered their civilizations through the accounts he read. It also made me realize why I had unknowingly encountered Rousseau’s tomb when I went to see Voltaire’s. The torch he holds seems to me like a symbol of knowledge carried from one person to another. Ideas can spread like fire, and they can flow like water. They cross boundaries without necessarily respecting them, moving far beyond the places where they began.


While in Paris, we stood in front of Delacroix’s Liberty Leading the People, the woman carrying the French flag rising above the crowd. Reading Lévi-Strauss made me wonder how much the accounts of societies in the Americas influenced European debates about society, human nature, and political organization.


The Americas contributed not only new vegetables and fruits to the world, but also ways of living and new ways of doing things. What kind of debates might have begun after Europeans learned that some Indigenous societies had councils that included women as decision makers. I also wondered about Voltaire’s story The Huron–what it meant to imagine an Indigenous character living in France, and what Voltaire himself imagined of America as he wrote that story.


It is a reminder that the seeds of civilization also originated in Mexico, Central America, the Andes, and the Amazon. The food we eat is not the product of one genius society or one culture, but the result of countless cultures sharing, adapting, and transforming what came before. Cultures themselves are full of seeds—ideas, food, traditions, stories—that travel farther than the people who first cultivated them. Their intended use might have completely changed over time. For example, in the Philippines there is a fabric called piña, made from pineapple fibers. The pineapple itself was domesticated in the Americas and later introduced to the Philippines by the Spanish.


Rivers:

Another connection I made was with his reflections on water and rivers, which reminded me again of the walking tour where our guide pointed out the difference between the left and right banks of the Seine River. One side of the river had been developed by the Romans and over time Parisians built over those vestiges. Later he explained that the city was designed to keep specific groups of people in certain places of the city. The river was a point of division, but that same body of water also carried voyages towards the Western Hemisphere.


Lévi-Strauss writes about people he observed in Brazil who organized themselves along a dividing line, describing where they lived, where they held their ceremonies, who sat where, and how that imaginary river divided the community. I began to wonder whether a river itself could become the basis of community organization, with families, clans, and tribes forming around it. At the river’s edge, people celebrated and battled with each other. Yet floods also divided people from each other, sometimes temporarily and at other times forever.


Deep in the Brazilian backcountry he watched children play with carved dolls. One was of a woman with two children, while another was an old man. Through those figures, children were taught a galaxy of ideas; they seemed to serve as memory tools. Interestingly, he noticed that a French explorer, about a hundred and fifty years before him, had observed similar groups using similar figurines.


I began to wonder if the river itself represented a woman, and the two banks were her children—clans and tribes—held together and separated by the same water. I was also curious to know what the old wooden man represented, whether he represented a shaman, an ancestor, or simply someone who had reached old age. I was left thinking about where I live and the importance of water as a life force and a means by which we travel. It gives life, yet it can also be a source of conflict.


Rivers, like springs and watering holes, are places of encounter. Although idyllic and verdant, they can also be dangerous places—as sources of food, celebration, meetings and conflict. Water is used to process food and give birth. It creates places of contemplation and meditation, and locations that are good for hunting. These places can become  marked with symbols–rock carvings, pictographs, and other traces of human presence. Bodies of water and their sources have been places where cultures are born, where they die, but also where they are reborn.


The Sun: 

Along his travels, he describes the heat he feels while crossing parts of Brazil. Yet he also takes time to describe the splendor of a sunset and the magnificence of a sunrise during his boat trips and expeditions. Although he does not dwell on it directly, the sun is everywhere in the landscape: giving life to plants, drying the land after the rains, and illuminating the world around him. The same sun that makes the journey exhausting also reveals the beauty of the landscape. A journey beneath the midday sun can be exhausting, even punishing. Yet sometimes it is in those moments, beneath the heat and glare, that new insights begin to emerge. Reading Lévi-Strauss had done exactly that for me.




Monday, August 24, 2026

A White Crane Performs: Free Verse

Pebble Beach California 

A White Crane Performs

By Armando Ortiz

A white crane stands on a hill

practicing tai-chi with the onshore flow

a performance as old as time


Feathers, filled with static energy

rise among the swaying orange poppies

that cover the ancient midden


A coastal gust lifts her wedding dress

she carefully steps over a branch

raising a black leg, keeping balance


A solitary figure

patiently searching

stealthily approaching


Neck swaying like a hypnotizing arm

emerging from the drying grass

creeping above the dune


Grey clouds block the sun

its body a snake above the brush

critters scurry, others motionless wait


Feathers flutter like tiny silk flags

flowers shudder at the waiting moment

the salty breeze reaches the hill


It meditates on the mound

Kali preparing for a dance

tall grass bent by the wind


The predator spirit repeats a pose

a Noh character on Nature's stage

the present moment becomes eternal


Thursday, July 30, 2026

Portugal and France: Where Rivers Meet History

Seine River boat cruise, Paris, France

Points of Encounter - Portugal and France: Where Rivers Meet History

By Armand Ortiz


Bookstore in Lisbon
In December 2024 Yeny and I visited Portugal. We mainly went for the food, and because Portugal is relatively compact, we were able to explore several different regions in just a few days. I was excited to visit Lisbon because I'd already experienced the city through Fernando Pessoa’s writings, long before I walked its streets. Yet the things we saw and experienced, as I later reflected, came to mean much more than I had expected.


In Lisbon we took a walking food tour and tasted bifanas which you could lather up with spicy oil called piri-piri. We also ate the iconic bolinhos de bacalhau, which are toasty, crunchy, soft and chewy all at the same time. The hot chocolate was like none that I had had before: creamy, thick, and deeply chocolaty.


Tagus River and Monument
As we strolled along the edge of the Tagus River we were greeted by a giant monument dedicated to the Age of Discovery and the men that set off from Lisbon to explore the world. In their attempts to have direct access to goods and spices they first sailed along the coast of Africa, then rounded the continent on their way to India. As a result, Portugal became one of the earliest European nations to launch an era of maritime exploration. Standing before it, I admired what it celebrated, though I had yet begun to understand the larger story it represented.


We learned of Henry the Navigator, Vasco da Gama, and Ferdinand Magellan. The Portuguese also explored and colonized South America, creating new networks of trade and cultural exchange while also contributing to systems of conquest, slavery and forced migration. Brazil would become Portugal’s largest and most significant colony. In Portugal it seemed that everything had a story, and that story often led somewhere else– a spice, a crop, a tradition, or a person who had crossed an ocean.


Sculpture to Surfers in Nazare, Portugal
We were fortunate enough to travel around Portugal, learning about its history and how its architecture, art, and cuisine were influenced by centuries of exploration and overseas connections. We visited places like Nazare, where a small chapel dramatically atop a coastal cliff. Today, the town is best known for the giant Atlantic waves that have made Nazare one of the world’s premier surfing destinations. At Sintra, we stopped to admire the architecture of Pena Castle, a building containing symbols of Portugal’s maritime history. Although we enjoyed every place we visited, Lisbon stayed with me the longest. It was also a place where a major battle between Crusader and Muslim armies took place, which reestablished a Christian kingdom in 1147.

At that time I had not fully understood the significance of our visit. It was not until we’d returned from our trip to France that things gelled in my mind.


French Restaurant
A few months later we went to France, spending most of our time exploring different parts of Paris. Walking through the Luxembourg Gardens allowed us to experience a city shaped by centuries of artists, writers and revolutions. We dined at one of the restaurants Ernest Hemingway once frequented, and at times I felt that his descriptions of Paris and its people were on point.


We also took several walking tours. One was a guided tour that had us tasting foods as we meandered through the Montmartre neighborhood. The tastiest dishes were the rich beef bourguignon and the cheese board. By the time we had crepes, we were full but still eager to taste the savory pastry, all under the backdrop of the Sacre Coeur. The other tour started on the Ile de la Cite, which is the historical center of Paris and is located in the middle of the Seine River. We were taken to different parts of the island and given brief descriptions of how Paris grew and evolved over the years.

Rouen, France and the Seine River

We managed to take a day trip to Rouen, a city along the Seine River where Viking, French and English influences converged. The city is closely connected to the Viking world and the Christianization of Scandinavia, and it is also remembered as the place where Joan of Arc was executed. From Rouen, Rene-Robert Cavelier, Sieur de La Salle, embarked on the expedition that eventually led him to explore the Mississippi River.


The circle of discovery continued after our return from France. I thought that we had traveled to see places. Only later did I realize we had been walking through places where worlds had collided. Soon after, I began to understand that France and Portugal were not simply destinations but meeting points– places where people, ideas, foods, religions and cultures crossed paths. Through those encounters, history continued to shape the world we live in today.


Looking back, I remember standing beside the Tagus River watching small sailboats drift quietly across the water. Now I see these memories differently. Rivers, ports, and crossroads are more than places on a map. They are places where civilizations meet, where ideas are exchanged, and where the traces of those encounters endure long after travelers have gone.

Dom Luis I bridge over the Douro river


Thursday, April 30, 2026

Hummingbird, Lingering: Free Verse

Photo of a hummingbird in Los Angeles, by Mando Mandolin

Hummingbird, Lingering

By Armando Ortiz


Humming hummingbird

where do you come from

and where do you go

you hover, pierce flowers

then vanish in a swirl


you rest on thin branches

flicker on by

coming and going

darting through silence

in a kaleidoscopic spin


humming hummingbird

ripe flowers nearby

under a city sky 

time slows as you hover above

tiny wings, a shimmering glow


zooming on down

shooting on through 

toward bell-shaped flowers

to drink their nectar

treasuring that open bloom


humming hummingbird

twitching and chattering

circling in a breath

dancing with yellow petals

brushing blue trumpets


where do you sleep

who makes your bed

two beings frozen in time

looking through my balcony door

your hum lingers in my ear


Friday, March 27, 2026

One Day of Life: The Rhythm of Survival

One Day of Life cover page, photo by Mando Mandolino

One Day of Life: The Rhythm of Survival

Reading One Day of Life by Manlio Argueta

By Armando Ortiz


Manlio Argueta is best known for his novel One Day of Life, a story centered on three generations of women from the same family. The men appear only at night or for a brief visit and then disappear into the mountains or the fields, leaving the women in charge of the daytime routines. Set during one of El Salvador’s most violent periods, the novel captures a country strained by conflict and survival. 


Argueta’s story unfolds over the course of a day, with chapters marked by the passing hours, each offering brief glimpses into what the characters do to survive and cope. At its center is the family matriarch, who rises before the rooster’s cry and quietly tends to her grandchildren and their home. 


The author also captures El Salvador’s natural environment, weaving bird sounds and landscape into the fabric of the story. Their presence is connected to religion and superstition, blurring the line between the natural and the spiritual. Nature becomes a character of its own–it sweats with its rain and breathes through the greenery. Within this living landscape, there is a tale of strong religious beliefs that struggle with ideological truths, and economic opportunity is very limited. 


Men on both sides are the aggressors. They are the ones trained to kill their opponents. On one side you have peasants siding with the guerrillas that hide in the mountains. On the other side you have the soldiers fighting for the country, trained to follow orders, and who also come from the same working-class background. In this way, the novel becomes a tragic drama—one in which a life of ease is denied to many, who instead endure a constant, daily struggle.


As I read the novel, I was reminded of Ulysses by James Joyce in its attention to the rhythms of a single day and the interior lives of its characters. Towards the end Mrs. Bloom becomes a principal character of the story, and her perspective is taken into account. But unlike Joyce’s work, Argueta’s novel is rooted in a very raw experience that many people live through today, the urgency of survival. This is not a story of reflection or wandering–it is a story of endurance.


The women at its center are not simply observers of life; they are its protectors, striving to shield the children in their care. Through their interactions and survival, you enter their minds briefly and experience what women endured during the civil war. The novel becomes a quiet, sorrowful symphony—revealing how ideology, myth, and conflict shape even the smallest moments of human life.


Friday, February 27, 2026

A Calendar in the Rock: Road-trip to Sedona

Singing Swallows Scenic Photography

A Calendar in the Rock: Road-trip to Sedona

By Armando Ortiz


We left Los Angeles thinking Sedona would be good for hikes and photographs. Red rock formations. Winter light. Trails that look romantic even before you adjust the colors on your phone. 


That was the plan — make Sedona our base and branch out. On a map, everything feels close. In the desert, distance widens. Hours stretch. Roads thin out. A day can disappear behind a windshield.


Pictograph of human figure
So we narrowed the circle. We would stay with Sedona. Let it be enough.


We arrived the first week of January. Rain had passed through the night before, and the air carried that cold clarity that follows a desert storm. The red earth looked darker than it does in photographs. The silence did not feel empty. It felt layered.


At Palatki, cliff dwellings rest inside sandstone walls as if they grew there. Pictographs remain — figures, markings, a silhouette that held my attention longer than I expected. I found myself wondering who it represented. The not knowing felt appropriate.


But it was at the Crane Petroglyph site where something shifted. 



The ranger pointed to a series of etched markings along the cliff wall. At first they looked like many of the others — lines, shapes, fragments of intention. Then he explained that some archaeologists believe they functioned as a calendar. A way of tracking seasons. Movement. Planting cycles.


He said it plainly. Not as a grand claim. Just as possibility.


I stood there looking at the stone differently.


A calendar is not decoration. It is attention stretched across years. It is someone watching the sun closely enough to notice patterns, and patient enough to record them. It requires repetition. It requires memory.

Crane Petroglyph Heritage Site, AZ



On the walk back, we talked about it — about seasons, about how much observation it would take to live that closely with land and sky. The conversation was easy. But something in me had gone quieter. 


We use the word primitive too easily.


The ranger hadn’t argued that point directly, but the idea hovered there. Ancient becomes simple. Simple becomes inferior. Entire civilizations are reduced to survival stories.


Yet what I had just seen was study. Deliberate marking. Knowledge fixed in stone.


The next day, driving north toward Wupatki National Monument, the land widened into lava fields and open sky. In the background, the ever-present San Francisco Peaks rose like silent beings. The pueblos rise there from volcanic soil in a landscape of extremes — scorching summers, freezing winters, little water, relentless wind. Stone construction was not accidental; it was intelligent. It held heat. It endured. It answered the climate.


We admire the terraces of China and the agricultural engineering of the Inca Empire in Peru. We call those remarkable adaptations to demanding landscapes. Here too, there are traces of altered terrain and cultivated maize – signs of people working carefully with soil, shadow, and season.


At Walnut Canyon National Monument, homes carved into limestone cliffs stretch along what is now called the Island Trail. One dwelling becomes several. Several become many. What first appears isolated reveals itself as community. I imagined late afternoon settling into the canyon – smoke rising gently, hovering at the edge of the plateau, voices carrying across stone, the ordinary rhythm of preparing a meal, a child crying at a distance.


The ordinary is what endures. 


What unsettled me was not the age of these places. It was the quiet evidence of attention — architectural, agricultural, communal – embedded in them.


Sedona did not become a launching point for somewhere else. It became a place that made me slow down long enough to reconsider a word I had rarely questioned. 


We arrived looking for scenery.


We left still thinking.



Tuesday, December 23, 2025

Under the Shadow: Free-verse

O'Melveny Trail, CA photo by Armando Ortiz

Under the Shadow

By Armando Ortiz


Under the shadow of an absent father I grew 

and the shade of mother’s embrace gave courage. 

The stars reminded me that life is a miracle, 

and even in darkness it guides our way.


Inside passing storms 

we weather floods, 

and below the shade of trees rest our feet 

as countless stars quench our droughts.


Wednesday, December 10, 2025

Wine, Waves and Change: Reading Steinbeck’s Tortilla Flat in Paris

 

Cafe next to Notre-Dame Cathedral of Paris, photo by Armando Ortiz

Wine, Waves and Change: Reading Steinbeck’s Tortilla Flat in Paris

By Armando Ortiz


I read John Steinbeck’s Tortilla Flat while traveling through France. Although I was there, his book transported me to a more familiar place. It took me back to the Central Coast of California where a crash of waves could be heard - Monterey. At one point I sat in a cafe facing the Notre Dame Cathedral as endless foreign voices drifted past, and yet I could feel that cool onshore wind.


Steinbeck introduces most of the gang of characters in the first few chapters; Danny, the indifferent property owner who inherits land from a relative; Pilon, the risk-taker always trying to get easy money– mostly for wine; and Pirate with his five dogs. Unlike his friends, he peddles bundles of wood and saves most of his earnings. He also survives by getting handouts. The money is kept safe under Danny's pillow.



Many scenes are absurd and outlandish. Reading this tragedy becomes just as enjoyable as reading Don Quixote. There is a scene that involves a vacuum. Later a Mexican soldier wanders into town having lost his wife to a captain and the gang give him a place to rest. 


Though they cheat and scheme, the gang remains loyal to each other. They seem to be characters from Don Quixote, people who go about their business, but in their doomed idealism find themselves in the midst of comic situations. The list of background characters adds more texture to Steinbeck’s story, becoming almost a representation of the painting that I stood in front of while visiting a museum.



At the Orsay Museum I found myself staring at a painting by Leon Frederic’s “Les ages de l’ouvrier” or The Ages of the Worker where a group of young homeless children are playing a game of cards. It seems as if they are gambling with each other's fate and meager earnings. 


I thought of Pilon and Danny who also risk their luck every day trying to find the easiest way to get drunk and fall asleep on a warm floor. For them — aside from Pirate — work is dishonorable.


The boy about to put down his card reminded me of Pilon who is always trying to take risks that favor him. He spends more energy, trying to think of easy ways to exploit people instead of getting a job. In stark contrast, the kid behind him holds a sack— a small and meaningful contrast that reminded me of Pirate’s honesty and willingness to work. Steinbeck’s images and emotions kept me in thought as I walked through Paris.


While walking along the Saint Martin Canal, and taking in the warm summer breeze I also saw a group of four friends across the water. They were drinking and laughing. As we reached a bridge I saw one of them plunge into the water from the top of the metal structure. People took quick glances as they ate their lunch and chatted with friends.


 Their muscles flexed as they pulled themselves up and out of the water. Their hair made them look like cholos from the 80's posted along a street in a Spanish speaking barrio. The guys passed their beer cans between them and talked loudly. 


A dog completed the pack. It would jump from the edge and eagerly chase them as they kept themselves afloat. One of them, probably its owner, pulled it up from its harness. They reminded me of Steinbeck’s characters- men who hadn’t fallen into the routine of work, rejected the accumulation of material goods, and although they led a solitary life they enjoyed each other’s company. I thought about the gang in the story, their unrestricted approach to imbibing red wine. It seemed as if time lasted forever for both the men across the canal and the men in the story.


Towards the end of the book, Danny’s homes had burned to the ground, culminating with him falling into a gulch. He’d completely squandered his inheritance and instead drank. The night of his fiesta fights break out and people get merry. Yet in his drunken stupor his fall ends in an untimely death.


The town is heartbroken and his friends are dejected. Although so close to the ocean, the town and the characters reflect the precarious relationship with nature. Just as a candle’s flame can start massive wildfires, excessive habits whether materialism or drunkenness if not controlled can lead to death. The real fire that the friends played with was excess wine. 


They find themselves without the right attire to go to the funeral, so they mourn from afar. Their rejection of common customs in order to indulge in their drunkenness comes at a cost, and like their unkept homes they have no control over the consequences of the fate that they chose. 


Nonetheless, watching the Parisian friends, and recalling the boys in the painting, I understood why Steinbeck treats their drunken camaraderie with such kindness — not as failure, but as a form of survival. Every day we take chances in the things we do, and the end can come in a flash. Yet it's with friends that we experience the best of times too, making life meaningful. Throughout my trip Steinbeck had me thinking that one doesn’t need to be versed in the best schools to appreciate those things. The memories we make should be with those that we love. Those that love us back will be there till the end, no matter how messy things might get. My trip to France blended perfectly with Steinbeck’s short novel.