A sophisticated and suspenseful novel about the poignant lives of two women living in different eras. On the day John F. Kennedy is inaugurated, Claire, an uncompromising young wife and mother obsessed with the glamour of Jackie O, struggles over the decision of whether to stay in a loveless marriage or follow the man she loves and whose baby she may be carrying. Decades earlier, in 1919, Vivien Lowe, an obituary writer, is searching for her lover who disappeared in the Great San Francisco Earthquake of 1906. By telling the stories of the dead, Vivien not only helps others cope with their grief but also begins to understand the devastation of her own terrible loss. The surprising connection between Claire and Vivien will change the life of one of them in unexpected and extraordinary ways. Part literary mystery and part love story, The Obituary Writer examines expectations of marriage and love, the roles of wives and mothers, and the emotions of grief, regret, and hope.

Like Everything I Really Needed to Know, I Learned in Kindergarten, or Tuesdays with Morrie, Obit is a wise and deeply moving book that illuminates the human condition. For ten years, Jim Sheeler has scoured Colorado looking for subjects whose stories he will tell for the last time. Most are unknowns, but that doesn't mean they're nobodies. Their obituaries are sometimes humorous, sometimes heartbreaking, and chock full of life lessons as taught by the people we all pass on the street every day. And thanks to Sheeler's brilliant and compassionate prose, it's not too late to meet them.

For 10 years, "The Economist" has included unique and original obituaries in a popular column. The selections are remarkable because of the people written about, the surprising lives they led, and the brilliant writing style. This volume gathers 200 of the best obituaries.

The New York Times 100 Notable Books of 2020 Time Magazine's 100 Must-Read Books of 2020 NPR's Best Books of 2020 National Book Award in Poetry, Longlist Frank Sanchez Book Award After her mother died, poet Victoria Chang refused to write elegies. Rather, she distilled her grief during a feverish two weeks by writing scores of poetic obituaries for all she lost in the world. In Obit, Chang writes of “the way memory gets up after someone has died and starts walking.” These poems reinvent the form of newspaper obituary to both name what has died (“civility,” “language,” “the future,” “Mother’s blue dress”) and the cultural impact of death on the living. Whereas elegy attempts to immortalize the dead, an obituary expresses loss, and the love for the dead becomes a conduit for self-expression. In this unflinching and lyrical book, Chang meets her grief and creates a powerful testament for the living. "When you lose someone you love, the world doesn’t stop to let you mourn. Nor does it allow you to linger as you learn to live with a gaping hole in your heart. Indeed, this daily indifference to being left behind epitomizes the unique pain of grieving. Victoria Chang captures this visceral, heart-stopping ache in Obit, the book of poetry she wrote after the death of her mother. Although Chang initially balked at writing an obituary, she soon found herself writing eulogies for the small losses that preceded and followed her mother’s death, each one an ode to her mother’s life and influence. Chang also thoughtfully examines how she will be remembered by her own children in time."—Time Magazine

Something just didn't seem right when Wallace McRae got word in the middle of the night that an eminent chemist he'd just interviewed had taken his own life by slashing his wrists with a straight razor in his bath tub.McRae's job, which he'd been forced to take after getting fired for drinking, was to prepare obituaries of famous, older people so his new employer, dead.com, could respond to a person's death with a quick story, ideally full of dirt and rumors that would attract online viewers - and advertising. His odious boss's motto on how far to go in writing an obituary was: "You can't libel a dead man."Taking the job was a Faustian bargain. McRae, known to all as just Mack, had traded his skills as a prize-winning investigative reporter for health insurance that covered the mounting medical bills of his dying wife.Mack had often interviewed the dead chemist, who was obsessed with winning the Nob el Prize for his breakthrough work on obesity and dementia. As he told his boss the night he got the news of the man's death: "He didn't have a suicidal bone in his body."Intrigued, his boss ordered him to dig into the matter, mostly because he saw the possibility of millions of eyeballs coming to his obituary website to read a juicy, viral story. Mack saw something different: a chance to redeem himself with a legitimate scoop that showed the man's official suicide had been something more sinister.As he would find, others with a huge financial interest in the true story were willing to resort to threats and even murder to muzzle Mack before he could print the truth.

NATIONAL BESTSELLER • A rollicking and hilarious novel from the bestselling author of Squeeze Me and “Florida’s most entertainingly indignant social critic” (New York Times Book Review). Jack Tagger’s years in exile at the obituaries desk of a South Florida daily haven’t dulled his investigative reporter’s nose for a good story. When Jimmy Stoma, the infamous front man of Jimmy and the Slut Puppies, dies in a fishy scuba accident, Jack sees his ticket back to page one—if only he can figure out what really happened. Standing in his way are, just for starters, his ambitious young editor, who hasn’t yet fired anyone but plans to “break her cherry” on Jack; the rock star’s pop-singer widow, who’s using the occasion of her husband’s death to relaunch her own career; and the soulless, profit-hungry owner of the newspaper, whom Jack once publicly humiliated at a stockholders’ meeting. Following clues from the late rock singer’s own music, Jack tries to unravel the lies surrounding Jimmy Stoma’s strange fate.

No city in America knows how to mark death with more funerary panache than New Orleans. The pageants commemorating departed citizens are often in themselves works of performance art. A grand obituary remains key to this Stygian passage. And no one writes them like New Orleanian John Pope. Collected here are not just simple, mindless recitations of schools and workplaces, marriages, and mourners bereft. These pieces in Getting Off at Elysian Fields: Obituaries from the New Orleans “Times-Picayune” are full-blooded life stories with accounts of great achievements, dubious dabblings, unavoidable foibles, relationships gone sour, and happenstances that turn out to be life-changing. To be sure, there are stories about Carnival monarchs, great philanthropists, and a few politicians. But because New Orleans embraces eccentric behavior, there are stories of people who colored way outside the lines. For instance, there was the doctor who used his plasma to make his flowers grow, and the philanthropist who took money she had put aside for a fur coat to underwrite the lawsuit that desegregated Tulane University. A letter carrier everyone loved turned out to have been a spy during World War II, and a fledgling lawyer changed his lifelong thoughts about race when he saw blind people going into a Christmas party through separate doors—one for white people and another for African Americans. Then there was the punctilious judge who got down on his hands and knees to edge his lawn—with scissors. Because New Orleans funerals are distinctive, the author includes accounts of four that he covered, complete with soulful singing and even some dancing. As a popular, local bumper sticker indisputably declares, “New Orleans—We Put the Fun in Funeral.”

When Lila Moore inherits her grandfather's house, she finds herself in a small Midwestern town where margarine is never an acceptable substitution for butter, a coveted family recipe can serve as currency, and the friend who will take your darkest secrets to the grave will still never give you the secret to her prize-winning begonias. Lila is charmed by the people of Auburn, from the blue-eyed lawyer with the southern drawl to the little old lady who unceasingly tries to set Lila up with her grandson. But when spooky things begin to happen, Lila realizes some of her new friends are guarding a secret like its a precious family heirloom. It's a dangerous secret, and it has come back to haunt them. Lila is caught in the middle, and her life may depend on uncovering it. But even if she can, can she stay in Auburn when not everyone is what they seem, and even the house wants her gone?

"An intelligent, moving read" (Pages) and "a testament to women’s friendship and to Ann Hood’s talent" (Hilma Wolitzer). After the loss of her only child, Mary Baxter finds herself unable to read or write, the activities that used to be her primary source of comfort. She reluctantly joins a knitting circle as a way to fill her lonely days—not knowing it will change her life. As they teach Mary new knitting techniques, the women in the circle also reveal their own secrets of loss, love, and hope. With time, Mary is finally able to tell her own story of grief, and in so doing finds the spark of life again.

New York Times best-selling author Ann Hood pens a poignant story of grief and resilience, perfect for readers of The Thing About Jellyfish. "A testament to the power of human connection.” —Jack Cheng, award-winning author of See You in the Cosmos Katie was Jude's favorite person in the world. And not many brothers say that about their sister and mean it. But to Jude, Katie was everything--the person who made him learn how to say "I love you" in every language, who performed dramatic readings of Romeo and Juliet, who obsessed over every item on the diner menu looking for the most authentic diner meal. The one who called him "Jude Banks, Superhero," because to her, Jude was the best. She was also the person who died. Out of nowhere, and without a goodbye. And Jude believes he was the one who killed her. Now, twelve-year-old Jude must figure out what life looks like without his favorite person. With Mom checked out, and Dad just trying to do his best, Jude enters a world of grief youth groups and dropped-off lasagnas. It's only when he meets a girl named Clementine, who also lost a sibling, that he begins to imagine a world where maybe things might be okay. But Clementine is also feeling a terrible guilt, and even though Katie called Jude a "superhero," he isn't sure he can save her. In her signature prose, Hood crafts an extraordinary story of grief and resilience, asking the important question: How does a family begin to heal? Praise for Jude Banks, Superhero: "Hood is brilliant at showing the ordinary moments of a family’s heartbreak… There are many readers who are navigating guilt and sorrow right now — for them, this book is a must. And for those lucky enough to take the journey only in their imaginations, this is a story of resilience in the face of devastating pain.”—New York Times Book Review "A tender story of grief and joy... a remarkable read."—School Library Connection (Starred Review) "Hood’s careful gardening of emotions makes this a striking read... Fans of Ali Benjamin's The Thing about Jellyfish will appreciate Jude’s search for meaning and reason as he learns to live around the hole his sister has left."—Booklist (Starred Review) “Ann Hood tells Jude’s story of grief without coating it in too much sugar; it’s real, and therein lies its power. Jude Banks is a mirror for anyone who’s experienced loss, and a testament to the power of human connection.”—Jack Cheng, award-winning author of See You in the Cosmos "Jude Banks is warm and inviting, even as it balances the difficult topics of loss and healing—a powerful and compelling story for anyone who has known loss."—Rex Ogle, award winning author of Free Lunch