Adobo Criollo Sergio Antonio Ortiz Rivera

On Assignment We met in the Secret Service, On our first assignment we were briefed on the case of the kidnapped shoe. At lunch Sebastian came over to talk about life, the one we see and the one we live but never evoke. He took his shoe off, demonstrated the kidnapping. Suddenly, he brushed my elbow with his finger. I found myself undressing, promising him every satisfaction. All he needed to do was allow me to care of him for one year. If his desires were not fulfilled by then he could be unfaithful with any woman. I would watch them ignite my bed, humiliated. John?   Sorry Sebastian, I was picturing the shoe on wet asphalt. ©  Sergio A. Ortiz, Publisher:  Flutter Press, 2009

Ronin Press will be publishing my next Chapbook.  I am so thrilled by this I had to let everyone know. Sergio

I too live in a death house. Root rot between sugar maple and dogwood burning my toes. But I'm not sad or thirsty, I've got the wind and a little piece of sky. When it thunders I stick my bones out, wait for rain, and smile. ©  Sergio A. Ortiz, Publisher:  Flutter Press, 2009

The Shop This afternoon it will rain and I will wrap my fingers around your throat to submerge you in the rising water. You will kick and wriggle, fight because you won't let go of life voluntarily. You are driven to wake up and turn on the coffee percolator in your newly remodeled kitchen. Driven to fill the pantry and read the New York Times. You must find out if the justice was confirmed, if swine flu mutated in North Korea. Driven to give your wife multiple orgasms. You're afraid she'll fuck another man, a neighbor, or the woman she talks to at the post office about how little you please her. I will tighten my fingers around your throat and cut off the air. Your eyes will bulge. You'll be seconds from pissing in your pants. This afternoon you'll give in to me for as long as I want, wherever I want. Here, in the Calvin Klein mannequin display. ©  Sergio A. Ortiz:  Publisher, Flutter Press, 2009

The shot was fired and the child, stripped of more than a veil, turned from the false honor of stones. Weeds bleeding in dead men's eyes splattered her flesh muzzling a nameless crowd amidst applause. Together, on the back of a pick-up, rushing through fields of split fig, they rested after walking up to a water place. At home I wrestle with striking teachers, careful not to get hit by flying Yucca, suspicious of terms: Latin lover, communist, slave, tranny.  And I don’t have a job, or a single dream, but rivers of words transgressing, drive me mad as I join the picket line taking my bath to the middle of the street. ©    Sergio A. Ortiz, Publisher, Flutter Press, 2009

I don´t need to visit Africa, climb Kilimanjaro, or bathe in the Limpopo River. On Friday she is in my ankles, travels to the knees whenever I stand in front of a Barbary Dove. Saturday night, Africa boogaloo’s her way to my waist. by mid Sunday she jabs a shoulder. Monday she gazelles to an elbow and later creeps down to the waist. On Tuesday, I hop on one foot, then another. Slowly, my arm rises and Africa is inside my fist. But at midnight, when Wednesday turns into Thursday she steals my heart and beats like rada drums in the ceremonies of the vodoum. ©   Sergio A. Ortiz, Publisher:   Flutter Press, 2009

Before Darkness: A Trilogy Above We decided to hunt for butterflies on the other side of the fence, between old statues of father, in overgrown grass, the place he kept his untamed calf. Rolling towards the pit, (where civets churn out musk, and the sky gives way to night) was father's code to play, the list of sanctions too long for me to write. We put our catch in glass jars, pushed, touched, and joked in such a way as not to break my father's code. But in the end you kissed another man. Below They rested on the shoulders of statues. He said they perfumed summer with a kind of musk. We took the beautiful ones out of the jar, pierced with a pin and let them dry. The ministry of their wings kept us awake. We disappeared to the other side of the fence where father kept the untamed calf. He unbuttoned my pants. I didn't care, father had been dead for years, dead and all I wanted was another kiss. Between Father's co...

A chorus of genuflections filtered through the kitchen ventilator and knelt beside my bed around midnight. I knew Georgina was dead. My rocking chair peeled its mahogany finish in her honor. There were loud knocks at the door: my neighbors standing outside packing axioms and any other thing they could find, guns, crucifixes, shovels. “Hi, we were wondering about the odor?” It’s not coming from here, I’m not quite dead yet. Occasionally, I see apparitions of myself standing by the window, or behind the shower curtain, but I still go fly fishing. Mother came to me in a dream last night, gave me the password to a house where boas reincarnate into possessed lizards catching mosquitoes on maracas. She said: everything spoken eventually becomes water and blends. I am going to stop talking for seven years, but first let me repeat this a few more times.  Harmonizing the sacred. Harmonizing the sacred. Sanctus Sanctus Sanctus ©   Sergio A. Ortiz, Publisher:   Flut...

. Abel was on the north corner of central plaza in El Paso when we met.  Eighteen, already adept at selling skin to one-eyed sirens. I am hard at it Ese , was his first answer. I do it for my family on the other side , was his pitch. Amigos? Amigos are dead presidents in my pocket. I like work, but breathing hurts when I don’t eat. Early the next morning, I passed through the plaza of poorly-paid services and noticed him lying on a bench resting the smile of a child who forgot who he was. He wanted Nikes, so I gave in. Bought him a suitcase, filled it with angry tears and a camera, then took him back to Chihuahua. I made him take snapshots of los hijos de puta . When his mother called, the constant fear of the 80s got in the backseat of my car. I didn’t want to know. It stayed until he died the following year. A few tears were gathered here and there; I sewed them each to each and made a rosary. Looking at it makes me think of a...

Te sigo esperando como la niebla espesa como el papel vació, espero al instante vivo,   como la muerte, como la muerte salió al camino de los amantes.   * Liviano te busco frágil bálsamo,   sutil te miro tenue dulzura,   sobre ti escribo mi desconsuelo como la muerte, como la muerte salió al camino de los amantes. * Todo lo escucho para mimarte, todo lo toco para obsequiarte, todo lo hago   por alagarte, como la muerte, como la muerte   salió al comino de los amantes. * Si yo lograse decir   cuanto te extraño, te lo diría así: urgente como la muerte,   como la muerte,   salió al camino   de los amantes.   ©   Sergio A. Ortiz 

Talking to Ron Ron spent mornings trying out words, Texture missing in his personal life. Routines didn’t matter anymore. It was the touch that was important, Recognition of strings, fiber and A cup of coffee. Comrades didn’t understand. He was tired of their Let’s Sell an Image shit. His tissues needed embossing. He was stepping out of suffocating outlines, Wearing dashiki, braiding his hair again. He wanted holograms of Marilyn on his lips. You see, he was honest about his affection. But what did it get him, a political conscience, An eye to eye conversation with God? I said: Ron calm down, it’s just a phase. And if it isn’t, get a house on the beach, swim, Breathe in the salt, pick up this trash, Go back to school, become an embalmer. You’re not listening, he said, words enter and exit Surface I haven’t explored. And he showed me out the door. ©  Sergio A. Ortiz, first published in Journal of Truth and Consequenc...

Twenty years amid palm trees, among guitarists playing ardent jungle beats to the moon, my wild orchid: Place your hand here, tense these strings. Tremulous fingers strum, strum, strum. Dawn stole your cinnamon-guava scent, filled me, bursting like a rumba. Put your hand here. ©  Sergio A. Ortiz, Published in Flutter Press 2009

This is now a cultural center, but my grandmother administered this hospital for many, many years.

I love Japanese art, specially from the Edo Period.

I really love doing these tv snap shots because they come out looking very surreal.  They go very well with my poetry which is also a bit surreal.  You are all welcome to visit my gallery at Flicker . Sergio A. Ortiz

Lighthouse at El Morro by Sergio Ortiz

TV snap shot by Sergio Ortiz March 19, 2010

tanto odio entre mangos escondidos casi maduros yo los como muy picantes y echo el corazón al olvido la vida es así entre los bosques y ríos irremediable locura que me llena de hastío allegada a los mares batiendo el cuerpo contra corales muertos fétido herido © Sergio A. Ortiz: Published in Letralia, 2009

El manjar de tu reclamo corrió sobre mi río hasta llegar a la arena fértil de la sabana donde se deslizó sobre troncos, piedras y alguna que otra hoja caída. El gemido matinal, la respiración de nuestros cuerpos, despertó la música de tu locura. Regresé a tus brazos inquietos acariciando las corrientes translúcidas de tu aroma, manchado por la fuerza torrencial de tu lujuria, en el sedimento de mi piel oscura. © Sergio A. Ortiz: first published in Letralía

Sorry I had to take the pic down, it has been accepted for publication. Sergio

No se pudo evitar el retraso. Anduve perdido con mí muerto a cuestas, El hombre de cincuenta y nueve veces nada Sobre el claro de cincuenta y nueve calles calladas.  Allí me asalto la cordura, Cincuenta y nueve amores perdidos, a patadas.  Y mi cuerpo desfigurado por la gordura Volvió a desfigurarse en tu mirada.  Es mejor no intentar predecirle al viento nada, Si te agarra por los pelos y te arrastra A la zona portuaria de cincuenta y nueve vidas, Pues la suma de mi vida llega a casi nada. ©   Sergio A. Ortiz 17 de marzo de 2010

Como parte de los eventos destacados de este semestre se encuentra  Artes palabrales: emprendiendo con la poesía , producido por la estudiante Taína X. Colón, perteneciente a la Organización de Estudiantes Emprendedores de la  UIPR , Recinto Metro. Este singular evento contará con la participación de figuras de la literatura puertorriqueña como: Mayra Santos Febres, gestora del Festival de la palabra  de Puerto Rico y el galardonado poeta Willie Perdomo, autor de  Where a Nickel Cost a Dime  y cofundador/ editor de Cypher Books.    Para Perdomo, "viajar a Puerto Rico y compartir con estudiantes universitarios es un gran intercambio cultural".  Los escritores tendrán a su cargo una charla para los estudiantes, la cual se llevará a cabo el jueves 18 de marzo a las 9:00 a.m., en el Centro de Estudiantes. 

¿De qué está hecho usted, mimo de palmas y pies pintados, descubiertos, sudorosos?   ¿Cuánto más puede aceptar el aire vacío que el da a respirar ese caimán? Marco frágil, afina la malla blanca de organza para la serigrafía que su imaginación busca pintar. Cuándo la lona seque no se olvide de limpiar la cárcel atestada donde siempre ha de morar. ©   Sergio A. Ortiz, marzo 16, 2010

Fue bolsillo de mesa de ocho negro para todas sus rayas, el único que ella no se molesto en tocar. Ablandó su permanente aparentando ser chico duro de campo que sabia las reglas del billar, periodista inverosímil de bailarinas y gongos, viaje bárbaro de peine fino, no hubo otra consecuencia posible que ser modificador de vida. . © Sergio A. Ortiz, 15 de marzo de 2010

On Family Days You don’t try hard enough, she’d say. All the while, his thoughts grow increasingly grisaille. She can’t smell the fear he inhabits, a macabre work of art from which he comes and goes, the run of wind at a deserted crime scene. She forgets, like he forgets, control will arrive soon enough, and that brachiated spectacle of blame and praise will dissipate like hurricanes weaken after touching land. They’ll both be left wondering about the pieces of debris, the river’s current, and how much to fix of whatever comes undone. ©  Sergio A. Ortiz, Published in Right Hand Pointing Issue # 31, 2010

Dedications To my enemies:   a  face-à-face .   To insomnia:   pears or apples, a carrot.   To landscapes:   a white South African security guard asleep  in a Kimberly diamond mine.   To classrooms:   a clock, the sobriety of water.   To distance:   what I remember about Omar,  the brightness of a sweaty, naked body. a stealthy light deep within my pupils.   To love: a truce, and then another truce. Divination, Photography, Labyrinth    First Movement: The Divination I am / you are / we are: This hemlock teardrop, if it makes  you love me a little longer / this fractured foam /  this island continent of death / this wavering weakness /  this burning carousel /  this casting of lots. Second Movement: The Photography I am / you are / we are: This uncertain space in the still-relief of birds / this song coming off the fused pistil ...