Here are 100 books that The American Way of Death Revisited fans have personally recommended if you like
The American Way of Death Revisited.
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I’ve been writing about birth for decades – how it became a medical process, managed by a surgical specialty in a factory-like setting. I’ve worked with contemporary midwives who are trying to reclaim birth, to move it back home, back to physiological and loving care. And over and over again, I see the similarities to the other gate of life – how death and dying also left home and went into the hospital, where people die, as they birth, pretty much alone – with perhaps a ‘visitor’ allowed. Covid made it worse – but in birth and death, it allowed the hospitals to return to what medicine considered essential: medical procedures, not human connections.
Sudnow is maybe the most-assigned book I use in teaching. I start every medical sociology course with Sudnow – if you can get students to understand that death itself is not just “real” and self-evident but socially constructed, then you can calm them down enough to listen to how birth or cancer or Attention Deficit Disorder is socially constructed. This short book – just 176 pages – was based on Sudnow’s dissertation (thus also good to share with anyone struggling through writing a dissertation!) The short message is that ‘social value’ affected attempts to revive people, to rescue them from death. The longer message is taking what I call the ‘watchwords of my faith’ as a sociologist, that ‘situations defined as real are real in their consequences,’ and putting them to work.
We can’t credit Sudnow with starting the Sociology of Death as an area but for me, he solidified…
I’ve been writing about birth for decades – how it became a medical process, managed by a surgical specialty in a factory-like setting. I’ve worked with contemporary midwives who are trying to reclaim birth, to move it back home, back to physiological and loving care. And over and over again, I see the similarities to the other gate of life – how death and dying also left home and went into the hospital, where people die, as they birth, pretty much alone – with perhaps a ‘visitor’ allowed. Covid made it worse – but in birth and death, it allowed the hospitals to return to what medicine considered essential: medical procedures, not human connections.
This is a brilliant, thoughtful analysis of how sudden death is managed and can be read as a response to Sudnow — and I do assign it for that reason. But what I really love is leaving it out in my office and seeing people’s reactions. “The myth of CPR? What?!” People are horrified. Timmermans clearly shows, and it has been well documented, that CPR works way better on television than it does in real life. But its use has become so standardized that EMTs, as well as family members, were horrified when CPR wasn’t attempted on every dead body picked up during the pandemic.
If your beloved 93-year-old great grandma was just finishing the last bites of her favorite food that you spent all day making when she slumped over – should you hold her tight, whisper that you love her, or quickly put her on her back, break…
Sudden Death and the Myth of CPR is for anyone who has taken a CPR course or who believes the images from television dramas. It is also for families of victims and survivors of CPR. It will engage emergency personnel, others in the medical field, and anyone concerned with ethical issues of death and dying. Anyone who has ever taken a CPR course has wondered, \u0022What would happen if I actually had to use CPR?\u0022 In Western societies, the lifesaving power of resuscitation has the status of a revered cultural myth. It promises life in the face of sudden death,…
I’ve been writing about birth for decades – how it became a medical process, managed by a surgical specialty in a factory-like setting. I’ve worked with contemporary midwives who are trying to reclaim birth, to move it back home, back to physiological and loving care. And over and over again, I see the similarities to the other gate of life – how death and dying also left home and went into the hospital, where people die, as they birth, pretty much alone – with perhaps a ‘visitor’ allowed. Covid made it worse – but in birth and death, it allowed the hospitals to return to what medicine considered essential: medical procedures, not human connections.
There was a death in my family years back, and somehow after a long and wrenching day at the hospital, we were sitting around my dining room table at a late-night long-delayed dinner – and we were laughing. My brother came into the kitchen, worried about the children present: what were they learning? I answered: They’re learning how to bury us. Death, even death – and I am heavily grieving a loss right now – can be a moment for laughter, the sheer absurdity of life, the grief and sorrow expressed in crying and in laughing. There are other good books that do this, that take a more intellectual approach – but honestly, I admire the chutzpah of Greenberg editing a book of cartoons on death.
The range is from the silly, the grim reaper at the door introducing the fat lady, ‘here to sing for you,' to ones that…
A volume of previously unpublished cartoons by top industry names celebrates the wayward experiences of the baby boomer generation with contributions by such artists as Leo Cullum, Jack Ziegler, and Lee Lorenz. 50,000 first printing.
I’ve been writing about birth for decades – how it became a medical process, managed by a surgical specialty in a factory-like setting. I’ve worked with contemporary midwives who are trying to reclaim birth, to move it back home, back to physiological and loving care. And over and over again, I see the similarities to the other gate of life – how death and dying also left home and went into the hospital, where people die, as they birth, pretty much alone – with perhaps a ‘visitor’ allowed. Covid made it worse – but in birth and death, it allowed the hospitals to return to what medicine considered essential: medical procedures, not human connections.
Sometimes I think people just don’t get smarter, or write smarter books, than Ehrenreich, so of course, in a 5 best list, I’m going to put one of hers up. The title of her book comes from obituaries – at a certain point, not entirely clear just when, a death does not have to be explained. When a 93-year-old dies, we don’t have to ask ‘of what?’ the way we do when a 47-year-old does. And yet – what about 73? We ask, and we blame: did they smoke? Not exercise? Eat poorly? Not get screened early enough?
While others have focused on the over-medicalization of dying, the repeated hospitalizations, the tubes, and wires, Ehrenreich is looking at the medicalization of living to be old – living from one wellness activity to the next, interspersed with medical testing. In a world in which ‘health’ means medicine, health care means insurance…
We tend to believe we have agency over our bodies, our minds and even our deaths. Yet emerging science challenges our assumptions of mastery: at the microscopic level, the cells in our bodies facilitate tumours and attack other cells, with life-threatening consequences.
In this revelatory book, Barbara Ehrenreich argues that our bodies are a battleground over which we have little control, and lays bare the cultural charades that shield us from this knowledge. Challenging everything we think we know about life and death, she also offers hope - that we find our place in a natural world teeming with animation…
I am an artist, writer, and director of The Wellspring Studio, LLC. When my husband and creative partner, the singer/songwriter Garrison Doles, died unexpectedly just a few years after we were married, I found that I very much did not want to read about grief. I especially did not want to read about managing it or coping with it. Still, there were books that mysteriously found their way to me and drew me in, not with strategies for getting through the grief but with creative, poetic, artful, sometimes offbeat tellings of living with sorrow. These are some of my favorites among them.
I first met this book on the last visit Gary and I made to a beloved bookstore in Seattle. After he died, I remembered it and tracked it down. It is an accordion book, its folded pages nested in a sturdy box. It was made, Carson writes, as an epitaph for her brother.
Among the folds, we find ephemera evoking his memory, and hers: fragments of notes, torn photos, drawings, paintings, scribbles. Running through the pages—a portion appears on the left side of each spread—is Carson’s translation of a poem by the Latin poet Catullus, written after the death of his own brother. The result is an assemblage that testifies to the chaos of grief and the curious beauty it can hold.
Nox is an epitaph in the form of a book, a facsimile of a handmade book Anne Carson wrote and created after the death of her brother. The poem describes coming to terms with his loss through the lens of her translation of Poem 101 by Catullus "for his brother who died in the Troad." Nox is a work of poetry, but arrives as a fascinating and unique physical object. Carson pasted old letters, family photos, collages and sketches on pages. The poems, typed on a computer, were added to this illustrated "book" creating a visual and reading experience so…
Before I turned twenty-five, I lost my father to illness, my brother to a car accident, and a cousin to murder. Experiencing this string of tragedies so young profoundly changed me. As a writer, I’ve often worried that my naked grief on the page would come across as soft, cloyingly sentimental, and wholly without bite. Over the years, I have looked to examples of books that deal with death, grief, and mourning with a kind of brutal honesty. I sought out writing that conveyed the reality of loss in all its messiness. Reading these beautiful, honest accounts of grief have always made me feel less alone in mine.
Writing about crime is understandably fraught. Some true crime stories are told with genuine care and attention to impact, while others are definitely…not.
In Jane, Nelson finds a way to grapple with the death of her aunt and the impact it is had on her and her family. It was a guiding light for me when I thought about ways to tell an unwieldy story about murder.
Nelsonleans on honesty, compassion, and curiosity to stay safely away from the most common true crime traps, and the result is a wonderful, affecting book.
Part elegy, part true crime story, this memoir-in-verse from the author of the award-winning The Argonauts expands the notion of how we tell stories and what form those stories take through the story of a murdered woman and the mystery surrounding her last hours.
Jane tells the spectral story of the life and death of Maggie Nelson’s aunt Jane, who was murdered in 1969 while a first-year law student at the University of Michigan. Though officially unsolved, Jane’s murder was apparently the third in a series of seven brutal rape-murders in the area between 1967 and 1969. Nelson was born…
Before I turned twenty-five, I lost my father to illness, my brother to a car accident, and a cousin to murder. Experiencing this string of tragedies so young profoundly changed me. As a writer, I’ve often worried that my naked grief on the page would come across as soft, cloyingly sentimental, and wholly without bite. Over the years, I have looked to examples of books that deal with death, grief, and mourning with a kind of brutal honesty. I sought out writing that conveyed the reality of loss in all its messiness. Reading these beautiful, honest accounts of grief have always made me feel less alone in mine.
Susan Howe always asks her reader to participate, to really show up.
That This is comprised of three sections. The first is an essay about the death of her husband. I love the way you can witness her grieving mind at work as it seeks connection and meaning. Then, the narrative gives way to sections of the book which become more abstracted.
Her focus, form, and topic shift, but the book is solidly grounded in the introductory essay so that you must navigate these more complex waters through the lens of grieving she has given you. I find That Thisremarkably comforting in its honesty and patience.
"What treasures of knowledge we cluster around." That This is a collection in three pieces. "Disappearance Approach," an essay about Howe's husband's sudden death-"land of darkness or darkness itself you shadow mouth"-begins the book with paintings by Poussin, an autopsy, Sarah Edwards and her sister-in-law Hannah, phantoms, and elusive remnants. "Frolic Architecture," the second section-inspired by visits to the vast 18th-century Jonathan Edwards archives at the Beinecke and accompanied by six photograms by James Welling-presents hauntingly lovely, oblique type-collages of Hannah Edwards Wetmore's diary entries that Howe (with scissors, "invisible" Scotch Tape, and a Canon copier) has twisted, flattened, and…
Before I turned twenty-five, I lost my father to illness, my brother to a car accident, and a cousin to murder. Experiencing this string of tragedies so young profoundly changed me. As a writer, I’ve often worried that my naked grief on the page would come across as soft, cloyingly sentimental, and wholly without bite. Over the years, I have looked to examples of books that deal with death, grief, and mourning with a kind of brutal honesty. I sought out writing that conveyed the reality of loss in all its messiness. Reading these beautiful, honest accounts of grief have always made me feel less alone in mine.
In I, Afterlife, Prevallet writes, “The text that is grieving has no thesis: only speculations.”
This short, sturdy book has been something of a roadmap for me when writing about grief. After her father commits suicide, Prevallet is left with many unanswerable questions, so she presents for her reader the questions, big and small, along with her speculations.
The subtitle, Essay in Mourning Time,points toward what I find so compelling about this work. The book is written from the place of grief—the way it shifts our relationship to time and truth and objects—and in the voice of mourning.
Poetry. Essays. Much admired by her contemporaries for her experiments in poetic form, Kristin Prevallet now turns those gifts to the most vulnerable moments of her own life, and in doing so, has produced a testament that is both disconsolate and powerful. Meditating on her father's unexplained suicide, Prevallet alternates between the clinical language of the crime report and the lyricism of the elegy. Throughout, she offers a defiant refusal of east consolations or redemptions. Driven by "the need to extend beyond the personal and out the toward the intolerable present," Prevallet brings herself and her readers to the chilling…
Raised alongside three feral younger brothers in the rash-inducing, subtropical climate of Cairo, Georgia, I am a lifelong resident of the South. A circumstance, no doubt, leaving an indelible mark on my voice as a writer. At this point in my writing career, I write what I know. As a reader, I enjoy exploring the rich stories woven by Southern authors, capturing other places, people, and experiences beyond my own frame of reference. Ultimately, as a Southerner, I endeavor to reconcile the South’s troubled past of racial and social oppression with the romanticized notion others have of this place I call home.
This gothic fairytale is a favorite. Exploring the universal themes of good and evil, William Gay’s prose poetically weaves a sinister tale of Fenton Breece, an undertaker who abuses the dead.
This novel takes the reader on an eerie backwoods odyssey lush with peril and a grotesque cast of characters. I am inspired in my writing by Gay’s assignment of myth to place as he has done with the wilderness he calls the Harrikin.
Suspecting that something is amiss with their father's burial, teenager Kenneth Tyler and his sister Corrie venture to his gravesite and make a horrific discovery: their father, a whiskey bootlegger, was not actually buried in the casket they bought for him. Worse, they learn that the undertaker, Fenton Breece, has been grotesquely manipulating the dead. Armed with incriminating photographs, Tyler becomes obsessed with bringing the perverse undertaker to justice. But first he must outrun Granville Sutter, a local strongman and convicted murderer hired by Fenton to destroy the evidence. What follows is an adventure through the Harrikin, an eerie backwoods…
I’ve been in the funeral profession my entire professional career, and my family has deep roots in the profession too. My great-great-great grandfather was a cabinet maker, or “tradesman undertaker” in rural Milford, Delaware prior to the Civil War. In addition to being a funeral director and embalmer, I’m a certified post-mortem reconstructionist and cremationist, and the president of the Delaware State Funeral Directors Association. I’ve written five books on the subject of the funeral profession and am an associate editor for Southern Calls, “The Journal of the Funeral Profession.”
As I said before, I love history, and Puckle’s book gives the reader a great look into the why of our funeral customs. As in: why do we send funeral flowers? (To which Puckle offers the glib answer, “the half sovereign he paid for it save him from the mental exercise of composing a suitable letter of condolence” before offering a serious explanation). Sure, the book was published almost a century ago, but that has no bearing on the contents. It’s an evergreen book and a highly recommended read for serious funereal scholars or those considering a career in funeral service.
Puckle's "Funeral Customs" is one of the more in-depth looks at death ever penned. Created in the early 20th century, it casts a rational and skeptical glance at the superstitions of burial practices and cremation alike, and lists in some detail the customs of death over time and changes to them during the black death and then-modernity among other eras. Not just a European work, it delves into Hinduism as well as Egyptian and Zoroastrian practices from antiquity.
From the memento mori to funeral feasts, its pages are filled with interesting folklore, astonishing history, and more than a few bits…
