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Jiten Ramlal _iten_amlal — When I borrowed this book from the library, I thought I was getting another "how soon will it take buildings to be replaced with rainforest if mankind were to vanish". There is a book about that, with a similar title, but this is not that book. This book is nominally "what fossils and other geological evidence would we leave for future paleontologists, a million years hence?" I say "nominally", because it's really only that in the last three or four chapters. Until then it's a fascinating introduction to geology. And I say these words as surprised to see them as you are to read them. "Fascinating"? "Geology"? I've never been bitten by geology, despite years of flirting with it: friends are geologists, the great teacher at my kids' school is a geologist, there are books on geology bouncing around the house, geology is part of learning about dinosaurs which we did with the kids for a year, .... But never before have I understood the awe that geologists feel at the beauty of it. The best books, I am guilty of repeatedly saying, teach you to see the world in a different light. You'll look at something you've seen before and now you'll see moving parts or relationships that you hadn't seen before. Mud, for example, is basically water-eroded rock. The sticky sludge you scrape off your boots on the doormat was once a boulder or peak. Zalasiewicz says, "you might think of the earth as a blue planet or a green planet, but you could equally well think of it as brown: it sits, partially covered in its own decay." This mud, this eroded rock, is the sediment in sedimentary rock, it's what fossils form in. Quartz doesn't erode with water the same way other minerals (rocks) do; the little bits of quartz that don't form mud are sand I'm sure real geologists are horrified by my Play-Skool level descriptions, but it's the beauty and integration of it that I love. Geology has always been a maze of random and cryptic thisolite and thatolite minerals and Wankozoic era names that leave me cold. They name eras after places in the world where classic rocks from that time are found: Jura mountains for Jurassic, Silure tribe from Wales for Silurian, Devon for Devonian, etc. But that's geology like memorizing sequences of kings is history: it's not names and dates, it's what happened and how and why that's interesting. It's not just the typical bits of geology either: in addition to mud, the author covers the unique nature of the Earth: the crust in motion, the atmosphere in balance, the history of temperature change, the effects of temperature change on the rock record, and the likely effects of climate change. The author writes like he's an elderly English academic who loves his field and forgives himself the occasional joke and aside. And, although I never thought I'd say it, I love it too.

Jiec Xiang jiec — Praise for Miss Etta and Dr. Claribel: "More than just the fascinating story of two sisters from Baltimore who amassed a remarkable collection of artwork by Matisse and his contemporaries, this is also the story of Matisse, Picasso, and Gertrude and Leo Stein, all of whom figure prominently. Fillion, who teaches drawing at the Baltimore Museum of Art (where the Cone sisters' collection can be seen today), contributes paintings in the style of Matisse to illustrate the major players, their encounters, and travels. The sisters' personalities and passions come through vividly in Fillion's prose, while many captioned reproductions of paintings and drawings (from the Cone collection and elsewhere) both inform and point to the excitement of the art world in the early 20th century. As Claribel Cone put it, 'I took beauty where I found it.'" Ages 10–up. (July) —Publishers Weekly, Starred Review "An affectionate, lively examination of the reciprocal relationship between a great artist and two great art lovers. . . . Fillion sketches her characters neatly and swiftly, following the women over the next decades as they amassed what became one of the most significant American collections of modern European art. Though this is not a beginner's text, she folds in economical explanations of early-20th-century European art, cogently contextualizing Matisse and his contemporaries. Their account is lavishly illustrated in full color by reproductions from the Cone Collection at the Baltimore Museum of Art and Matisse-inflected paintings by the author, who drew extensively on the Cone archive that is also housed at the museum. . . . This appealing work stands as both a portrait of two unconventional women and a celebration of the possibilities of arts patronage." —Kirkus Reviews Art exhibitions related to the book will open across the country in 2011: Collecting Matisse and Modern Masters: The Cone Sisters of Baltimore The Jewish Museum (May 8–Sept. 25, 2011); travels to Vancouver Catalogue: JM/Yale Seeing Gertrude Stein: Five Stories Contemporary Jewish Museum, San Francisco (May 12–Sept. 6, 2011) Catalogue: U. Cal. Press The Steins Collect: Matisse, Picasso and the Parisian Avant-Garde San Francisco MoMA (opens May 21, 2011); Grand Palais, Paris (Oct.11), The Met (Feb.12, 2012) Catalogue: Yale Seeing Gertrude Stein: Five Stories The National Portrait Gallery, Washington, DC (Oct 14–Jan. 22, 2012)