Drawing on extensive historical and anthropological research, personal accounts, and interviews with people who work in the funeral industry, Penny Colman examines the compelling subjects of death and burial across cultures and societies. The text, enriched with stories both humorous and poignant, includes details about the decomposition and embalming processes (an adult corpse buried six feet deep without a coffin will usually take five to ten years to turn into a skeleton) and describes the various customs associated with containing remains (the Igala people in Nigeria have a custom of burying people in as many as twenty-seven layers of clothing). Intriguing facts are revealed at every turn; for example, in Madagascar winter was considered the corpse-turning season. This comprehensive book also includes a list of burial sites of famous people, images in the arts associated with death, fascinating epitaphs and gravestone carvings, a chronology and a glossary, and over a hundred black-and-white photographs, most of which were taken by the author. Penny Colman writes with compassion and intelligence and humanizes the difficult subjects of death and burial. The result is a powerful look at an inevitable part of life--death.

Documents the burial process throughout the centuries and in different cultures.

What will become of our earthly remains? What happens to our bodies during and after the various forms of cadaver disposal available? Who controls the fate of human remains? What legal and moral constraints apply? Legal scholar Norman Cantor provides a graphic, informative, and entertaining exploration of these questions. After We Die chronicles not only a corpse’s physical state but also its legal and moral status, including what rights, if any, the corpse possesses. In a claim sure to be controversial, Cantor argues that a corpse maintains a “quasi-human status" granting it certain protected rights—both legal and moral. One of a corpse’s purported rights is to have its predecessor’s disposal choices upheld. After We Die reviews unconventional ways in which a person can extend a personal legacy via their corpse’s role in medical education, scientific research, or tissue transplantation. This underlines the importance of leaving instructions directing post-mortem disposal. Another cadaveric right is to be treated with respect and dignity. After We Die outlines the limits that “post-mortem human dignity” poses upon disposal options, particularly the use of a cadaver or its parts in educational or artistic displays. Contemporary illustrations of these complex issues abound. In 2007, the well-publicized death of Anna Nicole Smith highlighted the passions and disputes surrounding the handling of human remains. Similarly, following the 2003 death of baseball great Ted Williams, the family in-fighting and legal proceedings surrounding the corpse’s proposed cryogenic disposal also raised contentious questions about the physical, legal, and ethical issues that emerge after we die. In the tradition of Sherwin Nuland's How We Die, Cantor carefully and sensitively addresses the post-mortem handling of human remains.

A rhyming retelling of the story of a young woman who finds her prince at a Halloween ball despite the efforts of her wicked stepmother. The main characters are skeletons.

Weaving events, quotations, personalities, and commentary into a page-turning narrative, Penny Colman's Elizabeth Cady Stanton and Susan B. Anthony vividly portrays a friendship that changed history. In the Spring of 1851 two women met on a street corner in Seneca Falls, New York—Elizabeth Cady Stanton, a thirty-five year old mother of four boys, and Susan B. Anthony, a thirty-one year old, unmarried, former school teacher. Immediately drawn to each other, they formed an everlasting and legendary friendship. Together they challenged entrenched beliefs, customs, and laws that oppressed women and spearheaded the fight to gain legal rights, including the right to vote despite fierce opposition, daunting conditions, scandalous entanglements and betrayal by their friends and allies.

Legends of abandoned old graveyards and some not so abandoned abound-the crying dog in the cemetary well, the wandering ghost of Long Tom March, who carries a deck of cards and won't rest until he finds a winning poker hand. Next to a graveyard where an arm is buried, the old piano in the fogotten church plays. These and other tales along with some more recent real-life experiences will intrigue you, skeptic or not. Read the tales with an open mind. They are for pleasure, a bit of paranormal, a little seriousness, and hopefully a laugh or two. If you are a nonbeliever in the supernatural, you may change your skepticism is etched in stone. Then again the author learned that nothing is etched in stone forever. This humorous book also includes some unusual coffins, tombstones, and epitaphs as well as some early Texas burial traditions.

From the earliest days of oral history to the present, the vampire myth persists among mankind's deeply-rooted fears. This encyclopedia, with entries ranging from "Abchanchu" to "Zmeus," includes nearly 600 different species of historical and mythological vampires, fully described and detailed.

In the tradition of Mary Roach’s bestselling Stiff and Jessica Mitford’s classic exposé The American Way of Death comes this meticulously researched, refreshingly irreverent, and lavishly illustrated look at death from acclaimed author Harold Schechter. With his trademark fearlessness and bracing sense of humor, Schechter digs deep into a wealth of sources to unearth a treasure trove of surprising facts, amusing anecdotes, practical information, and timeless wisdom about that undiscovered country to which we will all one day travel. Topics include • Death anxiety–is your fear of death normal or off the scale? • You can’t take it with you . . . or can you? Wacky wills and bizarre bequests • The hospice experience–going out in comfort and style • Deathbed and funeral etiquette–how to help the dying and mourn the dead with dignity • Death on demand–why the right-to-die movement may be the next big thing • “Good-bye everybody”–famous last words • The embalmer’s art–all dressed up and nowhere to go • Behind the scenes at your local funeral home • Alternative burial choices–from coral reefs to outer space From the cold, hard facts of death to lessons in the art of dying well, from what happens in the body’s last living moments to what transpires in the ground or in the furnace, from near-death experiences to speculation on the afterlife, The Whole Death Catalog leaves no gravestone unturned.

In the early nineteenth century, body snatching was rife because the only corpses available for medical study were those of hanged murderers. With the Anatomy Act of 1832, however, the bodies of those who died destitute in workhouses were appropriated for dissection. At a time when such a procedure was regarded with fear and revulsion, the Anatomy Act effectively rendered dissection a punishment for poverty. Providing both historical and contemporary insights, Death, Dissection, and the Destitute opens rich new prospects in history and history of science. The new afterword draws important parallels between social and medical history and contemporary concerns regarding organs for transplant and human tissue for research.

Winner, Lincoln Group of New York Award of Achievement 2019 From multiple personal tragedies to the terrible carnage of the Civil War, death might be alongside emancipation of the slaves and restoration of the Union as one of the great central truths of Abraham Lincoln’s life. Yet what little has been written specifically about Lincoln and death is insufficient, sentimentalized, or devoid of the rich historical literature about death and mourning during the nineteenth century. The Black Heavens: Abraham Lincoln and Death is the first in-depth account of how the sixteenth president responded to the riddles of mortality, undertook personal mourning, and coped with the extraordinary burden of sending hundreds of thousands of soldiers to be killed on battlefields. Going beyond the characterization of Lincoln as a melancholy, tragic figure, Brian R. Dirck investigates Lincoln’s frequent encounters with bereavement and sets his response to death and mourning within the social, cultural, and political context of his times. At a young age Lincoln saw the grim reality of lives cut short when he lost his mother and sister. Later, he was deeply affected by the deaths of two of his sons, three-year-old Eddy in 1850 and eleven-year-old Willie in 1862, as well as the combat deaths of close friends early in the war. Despite his own losses, Lincoln learned how to approach death in an emotionally detached manner, a survival skill he needed to cope with the reality of his presidency. Dirck shows how Lincoln gradually turned to his particular understanding of God’s will in his attempts to articulate the meaning of the atrocities of war to the American public, as showcased in his allusions to religious ideas in the Gettysburg Address and the Second Inaugural. Lincoln formed a unique approach to death: both intellectual and emotional, typical and yet atypical of his times. In showing how Lincoln understood and responded to death, both privately and publicly, Dirck paints a compelling portrait of a commander in chief who buried two sons and gave the orders that sent an unprecedented number of Americans to their deaths.