“I read somewhere once that we have the same handwriting whether or not we use our finger muscles, our wrists, or our shoulders. Peter Pettus’s Continental Drift brought this to mind, because whether Peter is making paintings, pottery, or photographs—as different as these are—he displays the same aesthetic handwriting. There is always the sense of urgent feeling offset by exquisite reticence and understatement, and the sense of fragile and tragic dignity. Continental Drift is also that rara avis, a richly designed book that is in absolute harmony with the art it presents.”