It’s midsummer in Wyoming and Alexandra Fuller is barely hanging on. Grieving her father and pining for her home country of Zimbabwe, reeling from a midlife breakup, freshly sober and piecing her way uncertainly through a volatile new relationship with a younger woman, Alexandra vows to get herself back on even keel.

And then – suddenly and incomprehensibly – her son Fi, at twenty-one years old, dies in his sleep.

No stranger to loss – young siblings, a parent, a home country – Alexandra is nonetheless levelled. At the same time, she is painfully aware that she cannot succumb and abandon her two surviving daughters as her mother before her had done. From a sheep wagon deep in the mountains of Wyoming to a grief sanctuary in New Mexico to a silent meditation retreat in Alberta, Canada, Alexandra journeys up and down the spine of the Rocky Mountains in an attempt to find how to grieve herself whole. There is no answer, and there are countless answers – in poetry, in rituals and routines, in nature and in the indigenous wisdom she absorbed as a child in Zimbabwe. By turns disarming, devastating and unexpectedly, blessedly funny, Alexandra recounts the wild medicine of painstakingly grieving a child in a culture that has no instructions for it.

A hair-raising account about the ins and outs of practising forensic pathology in Africa As a medical detective of the modern world, forensic pathologist Ryan Blumenthal's chief goal is to bring perpetrators to justice. He has performed thousands of autopsies, which have helped bring numerous criminals to book. In Autopsy he covers the hard lessons learnt as a rookie pathologist, as well as some of the most unusual cases he's encountered. During his career, for example, he has dealt with high-profile deaths, mass disasters, death by lightning and people killed by African wildlife. Blumenthal takes the reader behind the scenes at the mortuary, describing a typical autopsy and the instruments of the trade. He also shares a few trade secrets, like how to establish when a suicide is more likely to be a homicide. Even though they cannot speak, the dead have a lot to say - and Blumenthal is there to listen.

A compelling and agonising story.

Durban-based journalist Glynis Horning and her husband Chris woke up one Sunday morning almost two years ago to the devastating discovery of their 25-year-old son Spencer dead in his bed. Horning’s story chronicles a parent’s worst nightmare. Establishing that his death was suicide, Horning embarks on a journey of anguished self-recrimination.

Should she not have seen the signs? Could she somehow have prevented it? As she struggles with Spencer’s decision to end his life, she has to learn to understand what the depths of depression entail. We feel Horning’s pain, and learn to understand and feel Spencer’s pain, at a visceral level.

Surrounded by loving family and friends, Horning pieces together the puzzle of Spencer’s death, writing with a brutal and heart-searing intensity of grief and loss, but also of the joys of celebrating her son’s life. This book will touch anyone who has experienced a mental health journey directly or indirectly, or a searing loss. Her wisdom and insight are extraordinary.

Death, like most experiences that we think of as 'natural', is a product of the human imagination: all animals die, but only human beings suffer Death; and what they suffer is shaped by their own time and culture. Tragedy was one of the principal instruments through which the culture of early modern England imagined the encounter with mortality. The essays in this book approach the theatrical reinvention of Death from three perspectives. Those in Part 1 explore Death as a trope of apocalypse - a moment of un-veiling or dis-covery that is figured both in the fearful nakedness of the Danse Macabre and in the shameful 'openings' enacted in the new theatres of anatomy. Separate chapters explore the apocalyptic design of two of the period's most powerful tragedies - Shakespeare's Othello, and Middleton and Rowley's The Changeling. In Part 2, Neill explores the psychological and affective consequences of tragedy's fiercely end-driven narrative in a number of plays where a longing for narrative closure is pitched against a particularly intense dread of ending. The imposition of an end is often figured as an act of writerly violence, committed by the author or his dramatic surrogate. Extensive attention is paid to Hamlet as an extreme example of the structural consequences of such anxiety. The function of revenge tragedy as a response to the radical displacement of the dead by the Protestant abolition of purgatory - one of the most painful aspects of the early modern re-imagining of death - is also illustrated with particular clarity. Finally, Part 3 focuses on the way tragedy articulates its challenge to the undifferentiating power of death through conventions and motifs borrowed from the funereal arts. It offers detailed analyses of three plays - Shakespeare's Anthony and Cleopatra, Webster's The Duchess of Malfi, and Ford's The Broken Heart. Here, funeral is rewritten as triumph, and death becomes the chosen instrument of an heroic self-fashioning designed to dress the arbitrary abruption of mortal ending in a powerful aesthetic of closure.

Drawing upon a vast range of human experience and reflection, The Eternal Pity: Reflections on Dying demonstrates how people have tried to cope with the inevitability of death. Different cultures, informed by religious belief and sometimes desperate hope, teach people to respond to their own death and the death of others in modes as various as defiance, stoic resignation, and grief unbridled to the point of exhaustion. In addition to examples from literature, poetry, and religious texts, Father Richard John Neuhaus provides an intensely personal account of his encounter with death through emergency cancer surgery, and reflects on the changes that encounter has made in the way he lives.

While some contemporary writers have deplored the "denial of death" in our culture, The Eternal Pity shows how themes of death and dying are perennial and pervasive, although not always made entirely specific. Society may be viewed as a disorganized march of multitudes waving little banners of meaning in the face of the threat of non-being that is death. Some selections in this book reveal people utterly surprised by their mortality; others highlight how the whole of one's life can be a preparation for what used to be called "a good death." For some, life is a relentless effort to hold death at bay; for others, death is, although not welcomed, reflectively anticipated. Nothing so universally defines the human condition as the fact that we shall die. The Eternal Pity helps us to understand how the prospect of that final indignity compels a variety of decisions about how we might live.

A basic motivation for social and cultural life is the problem of death. By analysing the experiences of dying and bereaved people, as well as institutional responses to death, Clive Seale shows its importance for understanding the place of embodiment in social life. He draws on a comprehensive review of sociological, anthropological and historical studies, including his own research, to demonstrate the great variability that exists in human social constructions for managing mortality. Far from living in a 'death denying' society, dying and bereaved people in contemporary culture are often able to assert membership of an imagined community, through the narrative reconstruction of personal biography, drawing on a variety of cultural scripts emanating from medicine, psychology, the media and other sources. These insights are used to argue that the maintenance of the human social bond in the face of death is a continual resurrective practice, permeating everyday life.

The academic study of death rose to prominence during the 1960s. Courses on some aspect of death and dying can now be found at most institutions of higher learning. These courses tend to stress the psycho-social aspects of grief and bereavement, however, ignoring the religious elements inherent to the subject. This collection is the first to address the teaching of courses on death and dying from a religious-studies perspective.
The book is divided into seven sections. The hope is that this volume will not only assist teachers in religious studies departments to prepare to teach unfamiliar and emotionally charged material, but also help to unify a field that is now widely scattered across several disciplines.

Based on the Thomas More Lectures John Dunne delivered at Yale University in 1971, Time and Myth analyzes man's confrontation with the inevitability of death in the cultural, personal, and religious spheres, viewing each as a particular kind of myth shaped by the impact of time. With penetrating simplicity the author poses the timeless dilemma of the human condition and seeks to resolve it through stories of adventures, journeys, and voyages inspired by man's encounter with death; stories of childhood, youth, manhood, and age; and, finally, stories of God and of man wrestling with God and the unknown.

Everyone in the neighborhood was getting ready for the party.
Everyone knew somebody on the guest list. . . .
This was the day the dead returned.

There's a party tonight, but Cala doesn't want to go. While her family prepares for the celebration, Cala grieves her grandfather and tries to pretend she's not afraid.

But when she is separated from her family at the cemetery, Cala encounters four mysterious riders who will show her she is actually quite brave after all.

Brimming with magic and humor, The Invisible Parade is the first picture-book collaboration between award-winner John Picacio and New York Times bestselling Leigh Bardugo. Set on the night of Día de Muertos, Cala's story is one of love, loss, and the courage that can be found in unexpected places.

In the early hours before dawn on October 6, 1907, a raging fire illuminated the sky as the historic chapel that stood on the cemetery grounds for over half a century reduced to a pile of cinders and ash. Lit by sparks from a nearby barn ablaze from an act of arson, the fire destroyed priceless paintings, relics, statues, and artifacts that held sacrament to the area's earliest settlers. So ended the era of the cemetery's obscure past and launched a new era for the little mission?turned?graveyard nestled southwest of Detroit. Detroit's Holy Cross Cemetery is a collage of persons whose immigrant dreams landed them in an area budding with industry. The cemetery's evolution reflects the waves of immigration, from the early French to the Irish, Germans, Hungarians, Poles, and Hispanics. From its 1838 2-acre roots to its current 65-acre span, Holy Cross Cemetery filled the need for a Catholic cemetery on Detroit's west side.

Establishing a new set of international perspectives from around the world on and experiences of death, disposition and remembrance in urban environments, this book brings deathscapes - material, embodied and emotional places associated with dying and death - to life. It pushes the boundaries of established empirical and conceptual understandings of death in urban spaces through anthropological, geographical and ethnographic insights. Chapters reveal how urban deathscapes are experienced, used, managed and described in specific locales in varied settings; how their norms and values intersect and at times conflict with the norms of dominant and assumed practices; and how they are influenced by the dynamic practices, politics and demographics typical of urban spaces. Case studies from across Africa, Asia, Europe and North and South America highlight the differences between deathscapes, but also show their clear commonality in being as much a part of the world of the living as they are of the dead. With a people- and space-centred approach, this book will be an interesting read for human geography, death studies and urban studies scholars, as well as social and cultural anthropologists and sociologists. Its international and interdisciplinary nature will also make this a beneficial book for planning and landscape architecture, religious studies and courses on death practices.

Wills from lower social status shed light on religious, social and cultural history. Lincolnshire has an extensive archive of sixteenth-century probate material, preserved in the registers of the consistory and archdeaconry courts of Lincoln, the peculiar court of the Dean and Chapter of Lincoln Cathedral, and thearchdeaconry court of Stow. Unlike the wills proved by the archiepiscopal probate courts of Canterbury and York, those from Lincolnshire reflect a population of lower social status. The overwhelming majority come from the ranks of husbandmen, yeomen, or tradesmen, rather than the gentry. In this respect the wills offer a valuable source for the cultural and religious preoccupations of the 'middling sort' and those lower in the social spectrum on the eve of the Reformation. Equally, the detailed bequests of property, livestock and land provide an insight into the material culture and prosperity of the testators, as well as extensive genealogical and topographical information of interest to local, regional and family historians.

* PRE-ORDER YOUR COPY TODAY * The compelling and moving memoir of forensic psychiatrist Dr Duncan Harding