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New Yorker magazine staff writer Paige Williams delves into the surprisingly perilous world of fossil collectors in this riveting true tale
In 2012, a New York auction catalogue boasted an unusual offering: 'a superb Tyrannosaurus skeleton'. In fact, Lot 49135 consisted of a nearly complete T. bataar — a close cousin to the more-famous T. rex — that had been unearthed in Mongolia. At 2.4 metres high and 7.3 metres long, the specimen was spectacular, and the winning bid was over $1 million.
Eric Prokopi, a 38-year-old Floridian, had brought this extraordinary skeleton to market. A one-time swimmer who'd spent his teenage years diving for shark teeth, Prokopi's singular obsession with fossils fuelled a thriving business, hunting for, preparing, and selling specimens to clients ranging from natural-history museums to avid private collectors like Leonardo DiCaprio.
But had Prokopi gone too far this time? As the T. bataar went to auction, a network of paleontologists alerted the government of Mongolia to the eye-catching lot. An international custody battle ensued, with Prokopi watching as his own world unravelled.
The Dinosaur Artist is a stunning work of narrative journalism about humans' relationship with natural history, and about a seemingly intractable conflict between science and commerce. A story that stretches from Florida's Land O' Lakes to the Gobi Desert, The Dinosaur Artist illuminates the history of fossil collecting — a murky, sometimes risky business, populated by eccentrics and obsessives, where the lines between poacher and hunter, collector and smuggler, and enthusiast and opportunist can easily blur.
New Yorker magazine staff writer Paige Williams delves into the surprisingly perilous world of fossil collectors in this riveting true tale
In 2012, a New York auction catalogue boasted an unusual offering: 'a superb Tyrannosaurus skeleton'. In fact, Lot 49135 consisted of a nearly complete T. bataar — a close cousin to the more-famous T. rex — that had been unearthed in Mongolia. At 2.4 metres high and 7.3 metres long, the specimen was spectacular, and the winning bid was over $1 million.
Eric Prokopi, a 38-year-old Floridian, had brought this extraordinary skeleton to market. A one-time swimmer who'd spent his teenage years diving for shark teeth, Prokopi's singular obsession with fossils fuelled a thriving business, hunting for, preparing, and selling specimens to clients ranging from natural-history museums to avid private collectors like Leonardo DiCaprio.
But had Prokopi gone too far this time? As the T. bataar went to auction, a network of paleontologists alerted the government of Mongolia to the eye-catching lot. An international custody battle ensued, with Prokopi watching as his own world unravelled.
The Dinosaur Artist is a stunning work of narrative journalism about humans' relationship with natural history, and about a seemingly intractable conflict between science and commerce. A story that stretches from Florida's Land O' Lakes to the Gobi Desert, The Dinosaur Artist illuminates the history of fossil collecting — a murky, sometimes risky business, populated by eccentrics and obsessives, where the lines between poacher and hunter, collector and smuggler, and enthusiast and opportunist can easily blur.
Due to publisher restrictions the library cannot purchase additional copies of this title, and we apologize if there is a long waiting list. Be sure to check for other copies, because there may be other editions available.
Due to publisher restrictions the library cannot purchase additional copies of this title, and we apologize if there is a long waiting list. Be sure to check for other copies, because there may be other editions available.
About the Author-
Paige Williams is a staff writer at The New Yorker and a Mississippi native. A National Magazine Award winner for feature writing, she has had her journalism anthologised in various volumes of the Best American series, including The Best American Magazine Writing and The Best American Crime Writing. She is the Laventhol/Newsday Visiting Professor at Columbia University's Graduate School of Journalism, and has taught at schools including the University of Mississippi, New York University, the Missouri School of Journalism, and, at MIT, in the Knight Science Journalism program. Williams has been a fellow of The MacDowell Colony and was a Nieman Fellow at Harvard. At The New Yorker, she has written about suburban politics in Detroit, the death penalty in Alabama, paleoanthropology in South Africa, and the theft of cultural palimony from the Tlingit peoples of Alaska.
Reviews-
Starred review from July 2, 2018 New Yorker staff writer Williams uses the story of fossil enthusiast Eric Prokopi to illuminate the murky world of modern fossil hunting in this fascinating account. The story begins with Eric’s discovery, around age five, of a fossilized shark tooth off the coast of Florida, which sparked a lifelong fascination with prehistoric life. Eric’s passion led him to take a cataloguing position with the Florida Museum of Natural History, and later to teach himself how to prepare fossils for exhibition. Williams carries this tale through Eric’s starting a business to sell his acquisitions, to his prosecution in 2012 by the federal government for smuggling into the U.S. and auctioning off Tarbosaurus bones deemed the rightful property of Mongolia, where they were found. Williams provides just the right amount of context, from the long-standing tensions between paleontologists and commercial fossil dealers, to Mongolia’s hardscrabble history since the days of Genghis Khan. To this foundation of solid research, she adds a vivid storytelling style. The combination results in a triumphant book that will appeal to a wide audience.
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Bahrain, Egypt, Hong Kong, Iraq, Israel, Jordan, Kuwait, Lebanon, Libya, Mauritania, Morocco, Oman, Palestine, Qatar, Saudi Arabia, the Sudan, the Syrian Arab Republic, Tunisia, Turkey, the United Arab Emirates, and Yemen
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