Sometimes in a nervous frenzy I just fling words as if I were flinging mud at a wall. Blurt out, heave out, babble out something — anything — as a fi… - John McPhee

Another mantra, which I still write in chalk on the blackboard, is “A Thousand Details Add Up to One Impression.” It’s actually a quote from Cary Grant.

You see the rivers running east. Then you see mountains rise. Rivers run off them to the west. Mountains come up like waves. They crest, break, and spread themselves westward. When they are spent, there is an interval of time, and then again you see the rivers running eastward. You look over the shoulder of the painter and you see all that in the landscape. You see it if first you have seen it in the rock. The composition is almost infinitely less than the sum of its parts, the flickers and glimpses of a thousand million years.

It has been Anita’s style as a geologist to begin with an outcrop and address herself to history from there — to begin with what she can touch, and then to reason her way back through time as far as she can go. A river conglomerate, as tangible rock, unarguably presents the river. The river speaks of higher ground. The volume of sediment that the river has carried can imply a range of mountains. To find Precambrian jaspers in the beds of younger rivers means that the Precambrian, the so-called basement rock, was lifted to form the mountains. These are sensible inferences drawn cleanly through an absence of alternatives. To go back in this way, retrospectively, from scene to shifting scene, is to go down the rock column, groping toward the beginning of the world. There is firm ground some of the way. Eventually, there comes a point where inference will shade into conjecture. In recesses even more remote, conjecture may usurp the original franchise of God.