William Adolphe Bouguereau (French, 1825-1905) La Vierge, l'enfant Jésus et Saint Jean Baptiste, 1881
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William Adolphe Bouguereau (French, 1825-1905) La Vierge, l'enfant Jésus et Saint Jean Baptiste, 1881

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Rebecca Solnit, Una guía sobre el arte de perderse, Capitán Swing, Madrid, 2020, pp. 20-21.
Enrique Segarra - Los novios, Puebla, México (1975)
Las crónicas de la bici: bitácora de cicloviajes.
Cygnus, 1a ed., Cuernavaca, 2025, 72 páginas.
-> [https://ursaminor.mx/lascronicas/las-cronicas-de-la-bici.pdf]

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Joy Sullivan, “My Mother Asks How I'm Doing with Just Whisky and Cats”, Instructions for Traveling West
Léon Bloy, El hijo de Luis XVI
Buena Vista del Monte. Cuernavaca, Morelos, México. 2025.
'melencolia,' engraving; overall: 23.8 x 18.6 cm; albrecht dürer, german c. 1514.
San Felipe del Agua/Parque Nacional Benito Juárez/Sierra de Juárez, Oaxaca, México, diciembre de 2024. Arriba: José María Velasco, 1889.

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Franik.
Coatetelco, Morelos, México, 2017.
🐦 Banshō zukan Tōkyō: Kobayashi Bunshichi, Meiji 34 [1901] Original source Image description: Two-page monochrome illustration from the 1901 “Banshō zukan” showing seven birds in flight over a coastal landscape. The left page depicts three birds flying above stylized hills and a patterned structure partially submerged in water. The right page shows four birds flying over curling ocean waves and a small rocky outcrop. The birds have detailed plumage with darker wings and lighter bodies, rendered in a traditional Japanese ink style with minimalist lines and shading. The scene conveys a serene coastal environment with dynamic movement in the birds and waves.
Paul: ¿Por qué no le gustan los coches?
Charles: Por muchas razones.
Paul: ¿Cuáles?
Charles: Bueno, en primer lugar, la posición del conductor es perjudicial para la salud. Corta la digestión y contribuye a la obesidad. En segundo lugar, el tráfico, se trata de un teatro para imbéciles. Los accidentes son una patética tragedia y los riesgos en carretera lo que nos queda de aventura. En tercer lugar, el automovilismo es un sistema de acumulación que no permite ningún intercambio, excepto, por supuesto, la grosería, y en vez de unir divide a la gente: esta fragmentación social, cada uno en su propia cajita. Y por último: a través del automóvil las empresas de petróleo y fabricantes de aceite y chapa han conseguido que se gasten fortunas en la construcción de carreteras y además, envenenan el mundo, y encima las personas todavía piensan que eso es la felicidad.
Paul: Bueno, viejo, ¡eres todo un filósofo! Ves, es igual que un profesor.
[…]
Paul: Te voy a hacer un regalo.
[…]
Adelina: ¿Qué estás haciendo?
[…]
Paul: ¿Ésta es su llave del coche?
Charles: Sí.
Paul: Se la devuelvo.
Charles: Ah, gracias.
"Charles, mort ou vif", de Alain Tanner (1969)
«Algunos de estos indígenas llevan a sus espaldas madera y carbón proveniente del bosque de pinos situado en la parte alta de las montañas, otros cargan canastos ligeros llenos de aves vivas o verduras, mientras que otros suben sapotes, mameyes, nísperos, granadinas, tamarindos y caña de azúcar fresca desde las tierras calientes situadas en la parte baja. Esta gente camina treinta o cuarenta millas para llegar al mercado con su carga; su raza ha sido utilizada como animales de carga durante siglos, pero esto parece no molestarles.»
Texto: Edward B. Taylor, Anahuac, or Mexico and The Mexicans, 1856.
Foto: Sebastião Salgado, Sierra Mazateca (Oaxaca), de la serie Otras Américas, 1980.
#SebastiãoSalgado
La 7, Café Tacvba

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«El tiempo se desgarra. ¿Dónde reencontrar los territorios borrosos de la infancia? ¿Los soles elípticos coagulados en el espacio negro? ¿Dónde reencontrar el camino volcado en el vacío? Las estaciones han perdido su significado. ¿Mañana, ayer, qué quieren decir esas palabras? No existe sino el presente. Unas veces, nieva. Otras, llueve. Luego hay sol, viento. Todo eso es ahora. Eso no ha sido, no será. Eso es. Siempre. De una vez. Porque las cosas viven en mí y no en el tiempo. Y, en mí, todo es presente».
— Agota Kristof.
For me, trees have always been the most penetrating preachers. I revere them when they live in tribes and families, in forests and groves. And even more I revere them when they stand alone. They are like lonely persons. Not like hermits who have stolen away out of some weakness, but like great, solitary men, like Beethoven and Nietzsche. In their highest boughs the world rustles, their roots rest in infinity; but they do not lose themselves there, they struggle with all the force of their lives for one thing only: to fulfill themselves according to their own laws, to build up their own form, to represent themselves. Nothing is holier, nothing is more exemplary than a beautiful, strong tree. When a tree is cut down and reveals its naked death-wound to the sun, one can read its whole history in the luminous, inscribed disk of its trunk: in the rings of its years, its scars, all the struggle, all the suffering, all the sickness, all the happiness and prosperity stand truly written, the narrow years and the luxurious years, the attacks withstood, the storms endured. And every young farmboy knows that the hardest and noblest wood has the narrowest rings, that high on the mountains and in continuing danger the most indestructible, the strongest, the ideal trees grow.
Trees are sanctuaries. Whoever knows how to speak to them, whoever knows how to listen to them, can learn the truth. They do not preach learning and precepts, they preach, undeterred by particulars, the ancient law of life.
A tree says: A kernel is hidden in me, a spark, a thought, I am life from eternal life. The attempt and the risk that the eternal mother took with me is unique, unique the form and veins of my skin, unique the smallest play of leaves in my branches and the smallest scar on my bark. I was made to form and reveal the eternal in my smallest special detail.
A tree says: My strength is trust. I know nothing about my fathers, I know nothing about the thousand children that every year spring out of me. I live out the secret of my seed to the very end, and I care for nothing else. I trust that God is in me. I trust that my labor is holy. Out of this trust I live.
When we are stricken and cannot bear our lives any longer, then a tree has something to say to us: Be still! Be still! Look at me! Life is not easy, life is not difficult. Those are childish thoughts. . . . Home is neither here nor there. Home is within you, or home is nowhere at all.
A longing to wander tears my heart when I hear trees rustling in the wind at evening. If one listens to them silently for a long time, this longing reveals its kernel, its meaning. It is not so much a matter of escaping from one’s suffering, though it may seem to be so. It is a longing for home, for a memory of the mother, for new metaphors for life. It leads home. Every path leads homeward, every step is birth, every step is death, every grave is mother.
So the tree rustles in the evening, when we stand uneasy before our own childish thoughts: Trees have long thoughts, long-breathing and restful, just as they have longer lives than ours. They are wiser than we are, as long as we do not listen to them. But when we have learned how to listen to trees, then the brevity and the quickness and the childlike hastiness of our thoughts achieve an incomparable joy. Whoever has learned how to listen to trees no longer wants to be a tree. He wants to be nothing except what he is. That is home. That is happiness.
Hermann Hesse (1877-1962)