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Fossil Invertebrates
Paul D. Taylor and David N. Lewis
Harvard University Press, 2005

Fossil Invertebrates introduces readers to the biosphere as it was hundreds of millions of years ago, when seas teemed with animal forms both familiar and strange: ammonites and corals, mollusks and sponges, crinoids and trilobites. On land, terrestrial forms were beginning to make their mark, leaving behind traces such as burrows and track ways and other fossil evidence of the important transition to life on land. The plates in this book capture the incredibly detailed impressions and casts of ancient life, contrasting them with forms, such as the horseshoe crab and the chambered nautilus, that persist today virtually unchanged.

The shells and hard exoskeletons of invertebrates make them excellent candidates for fossilization, and the amateur fossil collectors are more likely to uncover an invertebrate fossil than any other kind. The fossilized remains of invertebrates dominate university collections and museum holdings worldwide and their study continues to yield important insights into the nature of evolutionary change and the impact of climate change on biodiversity, as great explosions of diversity were succeeded by mass extinctions. Paul D. Taylor and David N. Lewis, both of the Natural History Museum, London, have written a comprehensive and accessible resource, one that provides undergraduates and amateur fossil enthusiasts with a means to understand and interpret this rich fossil record.

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front cover of Private Domain
Private Domain
An Autobiography
Paul Taylor
University of Pittsburgh Press, 1999

Taylor explores aspects of himself that have affected his work. He delves into the creation of Aureole and From Sea to Shining Sea, from their initial inception to the ways in which specific dancers influenced the choreography, including such notables as Pina Bausch, Laura Dean, David Parsons, Twyla Tharp, Dan Wagoner, Senta Driver—all of whom went on to form their own companies—and others—Bettie de Jong, Nicholas Gunn, and Carolyn Adams—who remained as much a part of the Taylor style as the choreography itself. Taylor writes with sincerity, wit, and charm of his associations with Martha Graham, Merce Cunningham, Jerome Robbins, Anthony Tudor, George Balanchine, and many others.

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