8
" To the north of them the great continental glacier had dipped southward, as though straining to encompass the beautiful icy mountains within its overwhelming frozen embrace. They were in the most frigid land on earth, between the glistening mountain tors and the immense northern ice, and it was the depths of winter. The air itself was sucked dry by the moisture-stealing glaciers greedily usurping every drop to increase their bloated, bedrock-crushing mass, building up reserves to withstand the onslaught of summer heat. The battle between glacial cold and melting warmth for control of the Great Mother Earth was almost at a standstill, but the tide was turning; the glacier was gaining. It would make one more advance, and reach its farthest southward point, before it was beaten back to polar lands. But even there, it would only bide its time. "
― Jean M. Auel , The Plains of Passage (Earth's Children #4)
10
" The figure, made by the woman standing in front of him, had not been manufactured by modifying—carving or shaping or polishing—a material that occurred naturally. It was made of ceramic, fired clay, and it was the first material ever created by human hand and human intelligence. The heating chamber was not a cooking oven, it was a kiln. And the first kiln ever devised was not invented for the purpose of making useful waterproof containers. Long before pottery, small ceramic sculptures were fired into impermeable hardness. The figures they had seen on the shelves resembled animals and humans, but the images of women—no men were made, only women—and other living creatures were not considered actual portrayals. They were symbols, metaphors, meant to represent more than they showed, to suggest an analogy, a spiritual similarity. They were art; art came before utility. "
― Jean M. Auel , The Plains of Passage (Earth's Children #4)
