Fallen Bodies

Medieval clerics believed that original sin had rendered their "fallen bodies" vulnerable to corrupting impulses—particularly those of a sexual nature. They feared that their corporeal frailty left them susceptible to demonic forces bent on penetrating and polluting their bodies and souls. Drawing on a variety of canonical and other sources, Fallen Bodies examines a wide-ranging set of issues generated by fears of pollution, sexuality, and demonology. To maintain their purity, celibate clerics combated the stain of nocturnal emissions; married clerics expelled their wives onto the streets and out of the historical record; an exemplum depicting a married couple having sex in church was told and retold; and the specter of the demonic lover further stigmatized women's sexuality. Over time, the clergy's conceptions of womanhood became radically polarized: the Virgin Mary was accorded ever greater honor, while real, corporeal women were progressively denigrated. When church doctrine definitively denied the physicality of demons, the female body remained as the prime material presence of sin. Dyan Elliott contends that the Western clergy's efforts to contain sexual instincts—and often the very thought and image of woman—precipitated uncanny returns of the repressed. She shows how this dynamic ultimately resulted in the progressive conflation of the female and the demonic, setting the stage for the future persecution of witches.

A Traffic of Dead Bodies enters the sphere of bodysnatching medical students, dissection-room pranks, and anatomical fantasy. It shows how nineteenth-century American physicians used anatomy to develop a vital professional identity, while claiming authority over the living and the dead. It also introduces the middle-class women and men, working people, unorthodox healers, cultural radicals, entrepreneurs, and health reformers who resisted and exploited anatomy to articulate their own social identities and visions. The nineteenth century saw the rise of the American medical profession: a proliferation of practitioners, journals, organizations, sects, and schools. Anatomy lay at the heart of the medical curriculum, allowing American medicine to invest itself with the authority of European science. Anatomists crossed the boundary between life and death, cut into the body, reduced it to its parts, framed it with moral commentary, and represented it theatrically, visually, and textually. Only initiates of the dissecting room could claim the privileged healing status that came with direct knowledge of the body. But anatomy depended on confiscation of the dead--mainly the plundered bodies of African Americans, immigrants, Native Americans, and the poor. As black markets in cadavers flourished, so did a cultural obsession with anatomy, an obsession that gave rise to clashes over the legal, social, and moral status of the dead. Ministers praised or denounced anatomy from the pulpit; rioters sacked medical schools; and legislatures passed or repealed laws permitting medical schools to take the bodies of the destitute. Dissection narratives and representations of the anatomical body circulated in new places: schools, dime museums, popular lectures, minstrel shows, and sensationalist novels. Michael Sappol resurrects this world of graverobbers and anatomical healers, discerning new ligatures among race and gender relations, funerary practices, the formation of the middle-class, and medical professionalization. In the process, he offers an engrossing and surprisingly rich cultural history of nineteenth-century America.

Since 1989, scores of bodies across Eastern Europe have been exhumed and brought to rest in new gravesites. Katherine Verdery investigates why certain corpses—the bodies of revolutionary leaders, heroes, artists, and other luminaries, as well as more humble folk—have taken on a political life in the turbulent times following the end of Communist Party rule, and what roles they play in revising the past and reorienting the present. Enlivening and invigorating the dialogue on postsocialist politics, this imaginative study helps us understand the dynamic and deeply symbolic nature of politics—and how it can breathe new life into old bones.

In our culture, we rarely speak about death -- partly because it is seen as a sort of pornography, shrouded in indecency and immersed in taboos; and partly because we know so little about it. Yet nearly everyone at some point has questions about what happens after death. At long last, here is a book to answer many of those questions: What physical changes occur to a dead body?

What happens to members of the United States Armed Forces after they die? Why do soldiers endanger their lives to recover the remains of their comrades? Why does the military spend enormous resources and risk further fatalities to recover the bodies of the fallen, even decades after the cessation of hostilities? Soldier Dead is the first book to fully address the complicated physical, social, religious, economic, and political issues concerning the remains of men and women who die while serving their country. In doing so, Michael Sledge reveals the meanings of the war dead for families, soldiers, and the nation as a whole. Why does recovering the remains of servicepeople matter? Soldier Dead examines this question and provides a thorough analysis of the processes of recovery, identification, return, burial, and remembrance of the dead. Sledge traces the ways in which the handling of our Soldier Dead has evolved over time and how these changes have reflected not only advances in technology and capabilities but also the shifting attitudes of the public, government, and military. He also considers the emotional stress experienced by those who handle the dead; the continuing efforts to retrieve bodies from Korea and elsewhere; and how unresolved issues regarding the treatment of enemy dead continue to affect U.S. foreign relations. Skillfully incorporating excerpts from interviews, personal correspondence and diaries, military records, and journalistic accounts-as well as never-before-published photographs and his own reflections-Michael Sledge presents a clear, concise, and compassionate story about what the dead mean to the living. Throughout Soldier Dead, the voices of the fallen are heard, as are those of family members and military personnel responsible for the dead before final disposition. At times disturbing and at other times encouraging, they are always powerful as they speak of danger, duty, courage, commitment, and care.

Explores U.S. detective fiction's deep engagement with the shifting dynamics of race and labor in America

Discover a more lighthearted side of the funeral industry in this collection of real-life stories from the authors of Mortuary Confidential. Not knowing what to do, I sat on the church steps and waited. As the gravity of my failure began to well up in me, I began to cry . . . I Had Lost The Hearse! Funerals and the all the things that accompany them are traditionally somber, contemplative events in which the bereaved look to their undertaker to guide them through that most difficult of times. Of course, sometimes tradition gets thrown under the bus. From a dysfunctional family who turn their mother’s wake into a full-blown riot, to funeral crashers looking for free meals, to a horse-drawn hearse taking the dearly departed for the ride of their afterlife, these accounts from actual undertakers will have you laughing, thinking, and gasping in disbelief. A literal graveyard of wild coincidences, slapstick humor, and touching moments, Over Our Dead Bodies explores the lighter side of the dead, the living, and the lone undertaker who must make it all go as planned—even if it doesn’t. Praise for Mortuary Confidential “Outrageous funeral stories, dipped in beauty and morbid humor.” —Caleb Wilde, author of Confessions of a Funeral Director “Curious, wildly honest stories that need to be told, but just not at the dinner table.” —Dana Kollmann, author of Never Suck a Dead Man’s Hand “As unpredictable and lively as a bunch of drunks at a New Orleans funeral.” —Joe R. Lansdale, author of Moon Lake “Sick, funny, and brilliant! I love this book.” —Jonathan Maberry, Bram Stoker Award–winning author of They Bite! And Rot & Ruin “These true mortuary tales are poignant—and suddenly, gaspi

The New York Times bestselling novel – an unputdownable story of murder, revenge and betrayal from international number one bestseller Jeffrey Archer.

The fourth book in the hilarious chapter book series that tackles anxiety in a fun, kid-friendly way. Perfect for both beginning and reluctant readers, and fans of Diary of a Wimpy Kid! Alvin, an Asian American second grader who's afraid of everything, is facing something truly scary: the idea that someone he loves might die. When Alvin's GungGung loses his best friend, Alvin (gulp) volunteers to go with him to the funeral. A humorous and touching series about facing your fears and embracing new experiences—with a truly unforgettable character—from author Lenore Look and New York Times bestselling and Caldecott Honor winning illustrator LeUyen Pham. “Alvin’s a winner.” —New York Post

How to Do Things with Dead People studies human contrivances for representing and relating to the dead. Alice Dailey takes as her principal objects of inquiry Shakespeare's English history plays, describing them as reproductive mechanisms by which living replicas of dead historical figures are regenerated in the present and re-killed. Considering the plays in these terms exposes their affinity with a transhistorical array of technologies for producing, reproducing, and interacting with dead things—technologies such as literary doppelgängers, photography, ventriloquist puppetry, X-ray imaging, glitch art, capital punishment machines, and cloning. By situating Shakespeare's historical drama in this intermedial conversation, Dailey challenges conventional assumptions about what constitutes the context of a work of art and contests foundational models of linear temporality that inform long-standing conceptions of historical periodization and teleological order. Working from an eclectic body of theories, pictures, and machines that transcend time and media, Dailey composes a searching exploration of how the living use the dead to think back and look forward, to rule, to love, to wish and create.