Exhuming some fascinating facts from history, this anthology of "necro-biographies" chronicles the bizarre after-death exploits of several prominent corpses, including: * Joseph Haydn, whose head was fought over for 145 years; * Cardinal Richelieu, whose mummified face was kept as a family heirloom--in someone else's family! * Percy Bysshe Shelley, whose wife kept his heart pressed between the pages of his most famous work; * Oliver Cromwell, whose corpse was dug up so he could be "properly" hanged for treason; * John Barrymore, whose final performance took place several days after his death; * and Buffalo Bill Cody, whose casket was covered with cement to discourage grave robbers. From lost ashes to stolen corpses to wandering body parts--this collection of post-mortem exploits provides provocative postscripts to 35 famous lives. B&W photos.

    The Victorian Book of the Dead unearths extraordinary tales of Victorian funeral fads and fancies, ghost stories, bizarre deaths, mourning novelties, gallows humor, premature burial, post-mortem photographs, death omens, and funeral disasters. Resurrected from original sources, these accounts reveal the oddities and eccentricities of Victorian mourning. Packed with macabre anecdotes, this diverting, yet gruesome collection presents tales ranging from the paranormal and shocking to the heartbreaking.

    Murder in colonial Sydney was a surprisingly rare occurrence, so when it did happen it caused a great sensation. People flocked to the scene of the crime, to the coroner's court and to the criminal courts to catch a glimpse of the accused. Most of us today rarely see a dead body. In nineteenth century Sydney, when health was precarious and workplaces and the busy city streets were often dangerous, witnessing a death was rather common. And any death that was sudden or suspicious would be investigated by the coroner. Henry Shiell was the Sydney City Coroner from 1866 to 1889. In the course of his unusually long career he delved into the lives, loves, crimes, homes and workplaces of colonial Sydneysiders. He learnt of envies, infidelities, passions, and loyalties, and just how short, sad and violent some lives were. But his court was also, at times, instrumental in calling for new laws and regulations to make life safer. Catie Gilchrist explores the nineteenth century city as a precarious place of bustling streets and rowdy hotels, harbourside wharves and dangerous industries. With few safety regulations, the colourful city was also a place of frequent inquests, silent morgues and solemn graveyards. This is the story of life and death in colonial Sydney. PRAISE 'Catie Gilchrist draws back the veil on death in nineteenth-century Sydney to reveal life - ordinary, tragic and hopeful' David Hunt, author of Girt and True Girt

    When first published in 1963 this landmark of investigative journalism became a runaway bestseller and resulted in legislation to protect grieving families from the unscrupulous sales practices of those in "the dismal trade."Just before her death in 1996, Mitford thoroughly revised and updated her classic study. The American Way of Death Revisited confronts new trends, including the success of the profession's lobbyists in Washington, inflated cremation costs, the telemarketing of pay-in-advance graves, and the effects of monopolies in a death-care industry now dominated by multinational corporations. With its hard-nosed consumer activism and a satiric vision out of Evelyn Waugh's novel The Loved One, The American Way of Death Revisited will not fail to inform, delight, and disturb.

    Centred on 15 collections, with extensive interviews with each collector and specially shot imagery detailing their objects, this is a fascinating showcase of bizarre and intriguing objects.Included are collections of skulls, mummified body parts, occultic objects, and various carnival, side-show and criminal ephemera. Detailed captions tell the curious stories behind each object, many of which are being shown outside the private world of their collections for the first time.

    The desire to own the skulls of the famous, for study, for sale, for public (and private) display, seems to be instinctual and irresistible in some people. The rise of phrenology at the beginning of the 19th century only fed that fascination with the belief that genius leaves its mark on the very shape of the head.

    This far-reaching discussion considers mortality from the personal and the universal perspective, generously citing past and present poets and physicians from a diverse and telling range of traditions. Mims, who for two decades served as Professor of Microbiology at London's Guys Hospital, brings a humane, inquisitive, and learned sensibility to his topic. "This book is a light-hearted but wide-ranging survey of death, the causes of death, and the disposal of corpses," writes Mims. "It tells why we die and how we die, and what happens to the dead body and its bits and pieces. It describes the ways corpses are dealt with in different religions and in different parts of the world; the methods for preserving bodies; and the ways--fascinating in their diversity--in which corpses or parts of corpses are used and abused." The volume also explores such crucial death-based notions as the afterlife, the soul, and the prospect of immortality. By way of the book's main focus, Mims continues: "We should take a more matter-of-fact view of death [and] accept it and talk about it more than we do--as we have done with the once taboo subject of sex." This is a work that any student of social anthropology will find equally enlightening and essential.

    From church basements to hospital wards to prison cells, Neumann charts the social, political, religious, and medical landscape to explore how we die today. The Good Death weaves personal accounts with a historical exploration of the movements and developments that have changed the ways we experience death. With the diligence of a journalist and the compassion of a caregiver, Neumann provides a portrait of death in the United States that is humane, beautifully written, and essential to our greater understanding of the future of end-of-life care.

    But how did the funeral home come to hold such a position? What is its history? And is it guilty of the charges sometimes leveled against it? In Rest in Peace, Gary Laderman traces the origins of American funeral rituals, from the evolution of embalming techniques during and after the Civil War and the shift from home funerals to funeral homes at the turn of the century, to the increasing subordination of priests, ministers, and other religious figures to the funeral director throughout the twentieth century. In doing so he shows that far from manipulating vulnerable mourners, as Jessica Mitford claimed in her best-selling The American Way of Death (1963), funeral directors are highly respected figures whose services reflect the community's deepest needs and wishes. Indeed, Laderman shows that funeral directors generally give the people what they want when it is time to bury our dead. He reveals, for example, that the open casket, often criticized as barbaric, provides a deeply meaningful moment for friends and family who must say goodbye to their loved one. But he also shows how the dead often come back to life in the popular imagination to disturb the peace of the living. Drawing upon interviews with funeral directors, major historical events like the funerals of John F. Kennedy and Rudolf Valentino, films, television, newspaper reports, proposals for funeral reform, and other primary sources, Rest in Peace cuts through the rhetoric to show us the reality--and the real cultural value--of the American funeral.

    So opens the singular testimony of the poet Thomas Lynch who like many poets is inspired by death, but unlike the others, he is also hired to bury the dead or to cremate them and to tend to their families in a small Michigan town where he serves as the funeral director. In the conduct of these duties he has kept his eyes open, his ears tuned to the indispensable vernaculars of love and grief. Here is the voice of both witness and functionary. Lynch stands between the living and the living who have died with outrage and amazement, awe and calm, straining for the brief glimpse we all get of what mortality means to a vital species.

    In Written in Bones, significant discoveries are carefully brought together and analyzed. Readers learn how experts use modern scientific techniques to piece together the stories behind the bones. The data is used to create a picture of cultures and ritual beliefs. There are such astonishing discoveries as:Han Dynasty aristocrat preserved in an unknown red liquid Bog bodies in Europe The riddle of Tomb KV55 - where a male body was found inside a female coffin World's oldest dwarf The headless men and giant wolves of the Mesolithic cemetery in Siberia

    When the Branch Davidian compound in Waco caught fire, when a terrorist-flown plane crashed into the Pentagon, and when mass graves were uncovered in Croatia, the authorities called Owsley. Through cutting-edge science, instinctive artistry, and dogged tenacity, Owsley painstakingly rebuilds the skeleton, and helps identify it and determine the cause of death.A curator for the Smithsonian's Museum of Natural History, Doug Owsley has handled over ten thousand human skeletons, more than anyone else in America. He has worked with America's historic skeletons, from, colonial Jamestown burials to Plains Indians to Civil War soldiers to skeletons tens of thousands of years old.That includes the Kennewick Man, a 9,600-year-old human skeleton found in shallow water along the banks of Washington State's Columbia River. It was a skeleton that would turn Owsley's life upside down.Days before Owsley was scheduled to begin studying the skeleton, the U.S. Army Corps of Engineers seized it and announced they would repatriate Kennewick Man, burying his bones on the land of the Native American tribes who claimed him. Along with seven of America's leading scientists, Owsley sued the U.S. government over custody. At stake was a wide body of knowledge about our past and our history that would be lost forever if the bones were reburied. For six years, Owsley fought a legal and political battle that put everything at risk, jeopardizing his career and his reputation.

    "The Morbid Anatomy Anthology" collects some of the best of this work in 28 lavishly illustrated essays. Included are essays by Evan Michelson (star of Science Channel's hit show "Oddities") on the catacombs of Palermo; Simon Chaplin (head of the Wellcome Library in London) on public displays of corpses in Georgian England; mortician Caitlin Doughty on demonic children; and Paul Koudounaris (author of "Empire of Death") on a truck stop populated with human skulls. In addition are pieces on books bound in human skin, death-themed cafes in fin-de-siecle Paris, post-mortem photography, eroticized anatomical wax models, taxidermied humans and other animals, Santa Muerte, "artist of death" Frederik Ruysch, and much more.

    It happens to everyone, yet most of us don’t want to talk about this final chapter of existence. Sixth-generation funeral director Caleb Wilde intimately understands this reticence and fear. The son of an undertaker, he hesitated to embrace the legacy of running his family’s business. Yet he discovered that caring for the deceased and their loved ones profoundly changed his faith and his perspective on death—and life itself. "Yes, death can be bad. Yes, death can be negative," he acknowledges, "but it can also be beautiful. And that alternate narrative needs to be discussed."In Confessions of a Funeral Director, he talks about his experiences and pushes back against the death-negative ethos of our culture, opening a thoughtful, poignant conversation to help us see the end of life in a positive and liberating way. In the wry, compassionate, and honest voice that has charmed his growing legions of blog readers, Wilde offers an intimate look inside his business, offering information on unspoken practices around death such as the embalming process, beautiful and memorable stories about families in the wake of death, and, most importantly, a fresh and wise perspective on how embracing death can allow us to embrace life.Confessions of a Funeral Director is the story of one man learning how death illuminates and deepens the meaning of existence—insights that can help us all pursue and cherish full, rich lives.

    Instinctively we feel we should dim the lights, pull the curtains, and speak softly. But on a remote island off the coast of Ireland's County Mayo, death has a louder voice. Each day, along with reports of incoming Atlantic storms, the local radio runs a daily roll call of the recently departed. The islanders go in great numbers, young and old alike, to be with their dead. They keep vigil with the corpse and the bereaved company through the long hours of the night. They dig the grave with their own hands and carry the coffin on their own shoulders. The islanders cherish the dead--and amid the sorrow, they celebrate life, too. In My Father's Wake, acclaimed author and award-winning filmmaker Kevin Toolis unforgettably describes his own father's wake and explores the wider history and significance of this ancient and eternal Irish ritual. Perhaps we, too, can all find a better way to deal with our mortality -- by living and loving as the Irish do.