“Of the range of images in Upper Paleolithic art, the most arresting are the therianthropes. There are not many… but they seize the imagination. The most famous is the so-called sorcerer… In a manner unusual for Upper Paleolithic images, the sorcerer is staring directly out of the wall, a full-face stare that transfixes the spectator.”

Origins Reconsidered: In Search of What Makes Us Human (1992)

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Richard Leakey39

Kenyan paleoanthropologist, conservationist, and politician 1944

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“The first major discovery of prehistoric art was the Spanish cave of Altamira, which, like Lascaux, is one of the most spectacular examples of Upper Paleolithic art yet known.”

Richard Leakey (1944) Kenyan paleoanthropologist, conservationist, and politician

Origins Reconsidered: In Search of What Makes Us Human (1992)

“The first era of the Upper Paleolithic, the Aurignacian, is notable for several reasons, one of which is the absence of painted caves. …One of the most evocative pieces from this era, from the Abri Blanchard in southwestern France, is a flute. Music must have been an integral part of Upper Paleolithic life too.”

Richard Leakey (1944) Kenyan paleoanthropologist, conservationist, and politician

Origins Reconsidered: In Search of What Makes Us Human (1992)

“Dots are just one example of an element in Lascaux art, and in all cave art… This is a profusion of nonrepresentational, geometric patterns. In addition to dots, there are grids and chevrons, curves and zigzags, and more. …The coincidence of these geometric motifs with representational images is one of the most puzzling aspects of Upper Paleolithic art. …images, six different kinds in all, are shimmering, incandescent, mercurial—and powerful. Called entoptic images—which means "within vision"—these phenomena are products of the basic neural architecture of the human brain.”

Richard Leakey (1944) Kenyan paleoanthropologist, conservationist, and politician

Origins Reconsidered: In Search of What Makes Us Human (1992)

“The question… is whether Upper Paleolithic art bears the telltale signs of Lewis-Williams' three stage neuropsychological model, and could thus be shamanistic art.”

Richard Leakey (1944) Kenyan paleoanthropologist, conservationist, and politician

Origins Reconsidered: In Search of What Makes Us Human (1992)

“As a poet I hold the most archaic values on earth. They go back to the upper Paleolithic: the fertility of the soil, the magic of animals, the power-vision in solitude, the terrifying initiation and rebirth, the love and ecstasy of the dance, the common work of the tribe. I try to hold both history and wilderness in mind, that my poems may approach the true measure of things and stand against the unbalance and ignorance of our times.”

Gary Snyder (1930) American poet

"Statement for the Paterson Society" (1961), as quoted in David Kherdian, Six Poets of the San Francisco Renaissance: Portraits and Checklists (1967), p. 52. Snyder repeated the first part of this quote (up to "… common work of the tribe.") in the introduction to the revised edition of Gary Snyder, Myths & Texts (1978), p. viii.

“Where there's no stop and go
a thought may wet your face,
a breath arrest your stare.”

Nathaniel Tarn (1928) American poet, essayist, anthropologist, and translator

Poem Markings published in: Nathaniel Tarn (1968) Where Babylon ends.