We all know about the birds and the bees, but what about the ancient placoderm fishes and the dinosaurs? The history of sex is as old as life itself—and as complicated and mysterious. And despite centuries of study there is always more to know. In 2008, paleontologist John A. Long and a team of researchers revealed their discovery of a placoderm fish fossil, known as “the mother fish,” which at 380 million years old revealed the oldest vertebrate embryo—the earliest known example of internal fertilization. As Long explains, this find led to the reexamination of countless fish fossils and the discovery of previously undetected embryos. As a result, placoderms are now considered to be the first species to have had intimate sexual reproduction or sex as we know it—sort of.

 

Inspired by this incredible find, Long began a quest to uncover the paleontological and evolutionary history of copulation and insemination. In The Dawn of the Deed, he takes readers on an entertaining and lively tour through the sex lives of ancient fish and exposes the unusual mating habits of arthropods, tortoises, and even a well-endowed (16.5 inches!) Argentine Duck. Long discusses these significant discoveries alongside what we know about reproductive biology and evolutionary theory, using the fossil record to provide a provocative account of prehistoric sex. The Dawn of the Deed also explores fascinating revelations about animal reproduction, from homosexual penguins to monogamous seahorses to the difficulties of dinosaur romance and how sexual organs in ancient shark-like fishes actually relate to our own sexual anatomy.

The Dawn of the Deed is Long’s own story of what it’s like to be a part of a discovery that rewrites evolutionary history as well as an absolutely rollicking guide to sex throughout the ages in the animal kingdom. It’s natural history with a naughty wink.

 

 

A deed is a governmental conveyance, a power asserted by the written, for, as William Carlos Williams wrote to Robert Creeley: “the government can never be more than the government of the words.” The question of ownership, of the words with which we define ourselves and each other, and of whose and what claims are legitimate is much at issue in Rod Smith’s Deed, a lyric, ambitious, rebellious work thoroughly grounded in the New American tradition of poets such as John Ashbery, Allen Ginsberg, and Charles Olson.

At the entrance to this collection stands an abode in the form of a long poem, “The Good House,” a comfortable, at times soothingly humorous place that is also a site of conflict. In “The Spider Poems,” the mythic spider, the maker of the alphabet, is a ?gure of fun and revelation. The third section of the book presents a series of shorter poems chosen for their stylistic variety. Deed ends with a nod to two masters, as Smith turns Jack Spicer’s “Homage to Creeley” into a double homage with “Homage to Homage to Creeley.” The gesture of choosing what one brings into one’s house, what one decides to love, closes the book.

Deed is about making as bequeathing, as celebration, and as impatience for the true democracy that is always yet to arrive. There is still joy inside and out, and by giving usDeed Rod Smith has captured that joy. In so doing he tells us where we as a people, a politik, and a poetic are going.

In A Deed To the Light Jeanne Murray Walker asks probing questions about the depth of grief, about letting go, and about the possibility of faith.  Her poems have been described by John Taylor, writing in Poetry, as "splendid, subtly erudite, uplifting, and funny."