All The Living And The Dead

A deeply compelling exploration of the death industry and the people—morticians, detectives, crime scene cleaners, embalmers, executioners—who work in it and what led them there. We are surrounded by death. It is in our news, our nursery rhymes, our true-crime podcasts. Yet from a young age, we are told that death is something to be feared. How are we supposed to know what we’re so afraid of, when we are never given the chance to look? Fueled by a childhood fascination with death, journalist Hayley Campbell searches for answers in the people who make a living by working with the dead. Along the way, she encounters mass fatality investigators, embalmers, and a former executioner who is responsible for ending sixty-two lives. She meets gravediggers who have already dug their own graves, visits a cryonics facility in Michigan, goes for late-night Chinese with a homicide detective, and questions a man whose job it is to make crime scenes disappear. Through Campbell’s incisive and candid interviews with these people who see death every day, she asks: Why would someone choose this kind of life? Does it change you as a person? And are we missing something vital by letting death remain hidden? A dazzling work of cultural criticism, All the Living and the Dead weaves together reportage with memoir, history, and philosophy, to offer readers a fascinating look into the psychology of Western death.

To hesitate on the edge of life or to plunge in and risk change -this is the dilemma explored in THE LIVING AND THE DEAD. Patrick White's second novel is set in thirties London and portrays the complex ebb and flow of relationships within the Standish family. Mrs Standish, ageing but still beautiful, is drawn into secret liaisons, while her daughter Eden experiments openly and impulsively with left-wing politics and love affairs. Only the son, Elyot, remains an aloof and scholarly observer - until dramatic events shock him into sudden self-knowledge.

Considered as one of the greatest short stories in the Western Canon, James Joyce's complex narrative "The Dead", explores the intricate issues of identity and power through the lens of language, patriarchy, and imperialism. These issues are directly tied to the longstanding political turmoil of his native Ireland and the social questions of his day. Joyce's story reveals that we often achieve what we tried to avoid by pretending to be what we are not. At 15,672 words The Dead is often considered a novella and the best of Joyce's shorter works. James Joyce (1882–1941) was an Irish novelist and poet, considered to be one of the most influential writers in the modernist avant-garde of the early 20th century. Joyce is best known for Ulysses (1922), a landmark work in which the episodes of Homer's Odyssey are paralleled in an array of contrasting literary styles, perhaps most prominent among these the stream of consciousness technique he perfected. Other major works are the short-story collection Dubliners (1914), and the novels A Portrait of the Artist as a Young Man (1916) and Finnegans Wake (1939). His complete oeuvre also includes three books of poetry, a play, occasional journalism, and his published letters.

The men and women of the Otherworld – witches, werewolves, demons, vampires – live unseen among us. Only now a reckless killer has torn down the wall, trapping one very human woman in the supernatural crossfire. Robyn moved to LA after her husband died to try to put some distance between herself and the life they had together. And the challenges of her job as the PR consultant to a Paris Hilton wannabe are pretty distracting. But then her celebutante is gunned down in a night club, and Robyn is suddenly the prime suspect. The two people most determined to clear her are her old friend, the half-demon tabloid reporter Hope Adams, and a homicide detective with an uncanny affinity for the dead. Soon Robyn finds herself in the heart of a world she never even knew existed – and which she was safer knowing nothing about . . .

When Duncan McKaskel decided to move his family west, he knew he would face dangers, and he was prepared for them. He knew about the exhausting terrain, and he was expecting the punishing elements. What he worried about was having to use violence against other men—men who would follow him and try to steal the riches that he didn’t even possess. Yet bandits were only part of McKaskel’s worries. For a mysterious stranger, Con Vallian, had appeared one night and saved his life. But was Vallian’s true interest Duncan’s wife, Susanna? And, more important, how did she feel about him? As they push on into the wilderness, Duncan must discover who is the greater threat—the thieves outside his camp or the enigmatic stranger within. . . .

The 1983 Lamont poetry selection of the Academy of American Poets.

A Pulitzer Prize Finalist from one of our most heralded writers—the “poetic, disturbing, yet very funny” (The Washington Post Book World) life-and-death adventures of three misfit teenagers in the American desert Alice, Corvus, and Annabel, each a motherless child, are an unlikely circle of friends. One filled with convictions, another with loss, the third with a worldly pragmatism, they traverse an air-conditioned landscape eccentric with signs and portents—from the preservation of the living dead in a nursing home to the presentation of the dead as living in a wildlife museum—accompanied by restless, confounded adults. A father lusts after his handsome gardener even as he's haunted (literally) by his dead wife; a heartbroken dog runs afoul of an angry neighbor; a young stroke victim drifts westward, his luck running from worse to awful; a sickly musician for whom Alice develops an attraction is drawn instead toward darker imaginings and solutions; and an aging big-game hunter finds spiritual renewal through his infatuation with an eight-year-old—the formidable Emily Bliss Pickless. With nature thoroughly routed and the ambiguities of existence on full display, life and death continue in directions both invisible and apparent. Gloriously funny and wonderfully serious, The Quick and the Dead limns the vagaries of love, the thirst for meaning, and the peculiar paths by which all creatures are led to their destiny. A panorama of contemporary life and an endlessly surprising tour de force: penetrating and magical, ominous and comic, this is the most astonishing book yet in Joy Williams's illustrious career. Joy Williams belongs, James Salter has written, "in the company of Céline, Flannery O'Connor, and Margaret Atwood."

A New York Times Book Review Editors’ Choice A BookPage Best Book of the Year "This exquisitely written book shows how recovery can come generations later through rebuilding connections—to people, the natural world, the past." —Robin Shulman, Washington Post "It’s long been assumed of the region where my grandmother was born…that at some point each year the dead will come home," Inara Verzemnieks writes in this exquisite story of war, exile, and reconnection. Her grandmother’s stories recalled one true home: the family farm left behind in Latvia, where, during WWII, her grandmother Livija and her grandmother’s sister, Ausma, were separated. They would not see each other again for more than 50 years. Raised by her grandparents in Washington State, Inara grew up among expatriates, scattering smuggled Latvian sand over the coffins of the dead, singing folk songs about a land she had never visited. When Inara discovers the scarf Livija wore when she left home, in a box of her grandmother’s belongings, this tangible remnant of the past points the way back to the remote village where her family broke apart. There it is said the suspend their exile once a year for a pilgrimage through forests and fields to the homes they left behind. Coming to know Ausma and the trauma of her exile to Siberia under Stalin, Inara pieces together Livija’s survival through years as a refugee. Weaving these two parts of the family story together in spellbinding, lyrical prose, she gives us a profound and cathartic account of loss, survival, resilience, and love.