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Zach Fitzner - Tears for Crocodilia: Evolution, Ecology, and the Disappearance of One of the Worlds Most Ancient Animals

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Zach Fitzner Tears for Crocodilia: Evolution, Ecology, and the Disappearance of One of the Worlds Most Ancient Animals
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Tears for Crocodilia: Evolution, Ecology, and the Disappearance of One of the Worlds Most Ancient Animals: summary, description and annotation

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Seventy million years ago in what would become North America, a monstrous thirty-five-foot-long Cretaceous crocodile lurked on a marshy riverbank. Springing suddenly, its huge jaws trapped and crushed a juvenile hadrosaur. Today, the remains of that ancient crocodile are being painstakingly reconstructed in Colorado, where naturalist Zach Fitzner continues his life-long fascination with this amazing animal family.

In Tears for Crocodilia: Evolution, Ecology, and the Disappearance of One of the Worlds Most Ancient Animals, Fitzner tracks the evolution of crocodilians from prehistoric predators to modern endangered wildlife, using his own experiences with these reptiles as a lens to understanding wildlife conservation and our relationship with the natural world. Traveling the world to interact with crocodiles, from observing alligators in a wildlife refuge in Texas and paddling a canoe in the Everglades searching for crocodiles to trekking the jungles in Nepal to find endangered gharials, the author expresses a wonder in exploring these diverse ecosystems, making a connection between crocodilians and the lands they live in. As the story follows crocodilians, it also illuminates their often complicated relationship with humans, from crocodile cults in ancient Egypt to American alligators living on golf courses. Fitzner also closely examines the dark side of this relationship, including habitat destruction and poaching as well as the mechanistic view of traditional conservation that turns these magnificent animals into agricultural products. Tears for Crocodilia delves deeply into issues of wildlife conservation, ethics, and how we can coexist with other creatures. It is also a tribute to a magnificent group of animals, survivors from the age of dinosaurs.

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Copyright 2022 Zach Fitzner Maps by Paul Rossmann Westholme Publishing All - photo 1

Copyright 2022 Zach Fitzner
Maps by Paul Rossmann Westholme Publishing

All rights reserved under International and Pan-American Copyright Conventions. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review.

Westholme Publishing, LLC
904 Edgewood Road
Yardley, Pennsylvania 19067
Visit our Web site at www.westholmepublishing.com

ISBN: 978-1-59416-688-4
Also available in cloth.

Produced in the United States of America.

For Erin, who encouraged me to go chasing crocodiles and to all who love unlovely creatures.

ILLUSTRATIONS

MAPS AND DIAGRAMS

ILLUSTRATIONS

INTRODUCTION

THE INSPIRATION TO WRITE THIS BOOK came from my firsthand experiences with crocodilian fossils. I worked for years in a business where the skeleton of a giant crocodilian (Deinosuchus sp.) lurked in the corner of a side building. Occasionally when I passed by, I would stop and ponder this specter of the distant past. Another experience that haunted me was a childhood stop at the Okefenokee Swamp on a family road trip to Disney World. I remember little of Mickey Mouse, but I can still picture an enormous alligator lying in the water in the rain as the child I was stared with awe.

More recently, I was volunteering at Aransas Wildlife Refuge in Texas on my own time in exchange for a free RV spot and the opportunity to observe wild alligators and their habitat. While I was at Aransas I called up Tom Lindgren of Geo Dcor, a paleontology company in Tucson, Arizona, where I had done fossil preparation work in the past. Lindgren told me about a Eocene crocodilian just discovered that summer in Wyoming. That crocodilian ended up being a large fossil preparation project for me, taking up almost as much time and effort as writing this book.

Texas wasnt the last trip I made while researching this book. I traveled to Nepal to find the rare, long-snouted crocodilian gharials and mugger crocodiles in the jungle. In South Carolina I volunteered for alligator behavioral research on golf courses. I canoed Okefenokee in Georgia and I visited the Everglades to see the environment American alligators and American crocodiles share. This is the only place where knowing what is the difference between crocodiles and alligators is useful because you might see both animals. Even in the Everglades, crocodiles, with their more pointed snouts and toothier closed mouths, mostly stay out of alligators fresh water, opting for salt.

Most of the time I was writing this book, I was also working on the Wyoming crocodilian fossil at Geo Dcor in Tucson. Day after day I sat hunched before a vertical slab of stone higher and wider than I am tall, held in a steel support frame. First, with an air-powered chisel I chipped away at the tan-colored stone. Later I blasted the fossil clean with a stylus shooting a stream of white powderdolomiteto reveal bones ranging from milk chocolate to dark chocolate tones in color. The skull appeared bit by bit, teeth stabbing out at me. The twist of spine, curving and broken appeared like a dark pagan tattoo, thorned with chevrons inked into the pale flesh of rock. Day after day I sat by a garage door, fans blowing over me, forcing the dust outside; although much circled back, settled onto the floor, into my hair, onto my face, and all over my clothes.

The work was like a long road triplots of sitting with occasional small movements. There were also many things to discover beneath each layer of rock peeled back. Slowly, over long months stretching to more than half a year, the strange skeletal form of the crocodilian was revealed, a relic of a massive tropical Wyoming lake. Seeing the small details made all the work, the days of monotony, heat, and dust, worth it.

When I realized that my interest in crocodilians was leading to writing a book, I wanted to add to my firsthand experience of the subject. To that end, I traveled to places where crocodilians live today and where fossils have been found. I also dug out my oldjournals from a college field course in Ecuador where I observed caimans, tropical relatives of alligators, as well as worked with ancient crocodilians preserved in stone. I supplemented my own experiences with interviews I conducted with biologists, anthropologists, paleontologists, and zookeepers. Sources consulted for each chapterbooks, scientific papers, and websitesare listed at the back of this volume.

The truth is, crocodilians are beyond human understanding. We humans have a hard time understanding the unique struggles, triumphs, and stories of people with different skin colors, languages, or nationalities; how much harder is it to understand a different species entirely? In this book Ive used not only the narrow lens of biology and paleontology but also myth and anthropology. Perhaps imagination can bridge gaps that science alone cannot. I hope what Ive written here will inspire deeper reflection on the world we live in and the creatures we share it withespecially those that are scaly and dangerous.

This is Borealosuchus sp a crocodilian I prepared in Tucson Arizona viewed - photo 2

This is Borealosuchus sp., a crocodilian I prepared in Tucson, Arizona, viewed from the ventral side (except for the head which is twisted). At this point this side is only partially prepared as you can see from the tail. Borealosuchus is an extinct genus of crocodyliforms, this specimen lived in the Eocene of subtropical Wyoming. (Geo Dcor)

one
CROCODILIANSinSTONE

IN WESTERN COLORADO, in a small workshop huddled with other buildings, surrounded by old farm fields and large residential lawns, stands the form of a dead monster. Stripped of muscle and skin, ligaments and tendons, the thing is a skeleton reconstructed in plastic resin. Molded with and cast from high quality rubber, the individual bones are connected by pieces of metal hidden within. The skeleton, painted by hand, is as good a reconstruction as science and art can make.

This is the work carried out at Gaston Design, a commercial paleontology business I worked at on and off for years while going to college and traveling to different field locations as a biology intern. The skeleton is one Ive always been impressed with, part of what kept me coming back to Gaston Design.

Mouth agape, back speckled with bone plates (called osteoderms), the skeleton is a bony representation of a nightmare for many. The skeleton is Deinosuchus, a crocodilian thirty feet long; almost five feet of which is a peg-toothed killing, crushing, tearing machine of a head. The brown, bony legs bend slightly, flexing foraction, the head is raised as if bursting from a great lake upon the unwary; the tail lays behind in a sinuous pattern, like a meandering stream.

A skeleton like the Deinosuchus takes a long time to build. Ive helped carry the molds of the massive skull from a simple, unlit shed crowded with stacks of other molds to the work room. The outside of the mold is an off-white, hard fiberglass shell, ready to tear at the skin or clothes of the incautious. Around the sharp edges of the mold, holes have been drilled and fitted with bolts. These are circled in marker, lest a bolt be forgotten and the mold spill liquid resin.

After the bolts holding the mold together during storage are removed, the rubber inside is exposed. The soft rubber is similar to one used by jewelry makers. Its intention is to capture the minutia of bone texture and flaws. The rubber is dusted with brown paint powder and the excess removed by the blast of an air compressor hose. To get the skull mold under a fan it was carried into a cramped back room, one side of which is dominated by a hood. Another wall has a door that opens to the large fan pulling air through a screen to the outside. On hot summer days, looking outside through the whirring blades, I have watched horses grazing in the field behind Gaston Design. Its as if I were peering back to a time when equines first evolved in North America.

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