Under the overhang of a rock shelter was a pictograph that reminded me of a marrano, the pudgy gingerbread pig you can buy in every good Mexican bakery. For the (pigless and gingerless) pre-Columbian artist this may have represented a mountain sheep. It had been drawn in white, presumably gypsum, and outlined in red ochre. Each “slash” at the head was framed with yellow ochre.
I roamed off to snoop around a promontory over the creek, a flat expanse of red sandstone. Though there was a fallen, turn-of-the-century Hispanic ruin just west of it, the place felt untouched since earth’s morning. So quiet, so scoured by water and time—only flowers and the bending grass.