Posts Tagged ‘Death’
“Death is not the opposite of life, but a part of it”*…
The line between life and death has never been clear—and, as Amanda Heidt reports, modern technology blurs it further…
Jimo Borjigin never intended to study death. Back in the mid-2010s, the consciousness researcher at the University of Michigan Medical School in Ann Arbor was instead interested in circadian rhythms, the internal cycles that regulate our physical, mental, and behavioral states throughout each day. The circadian clock is a bit of a black box, Borjigin says, so to study it she and her team developed an automated system to continuously monitor neurotransmitters that regulate circadian rhythms in rats.
Over the course of her research, the scientists tracked the animals for weeks at a time, and Borjigin began to notice something unusual. A few of the animals died while under observation, and when they did, the researchers’ sensors recorded a massive and unexpected spike in serotonin for up to 30 seconds after their hearts stopped beating. In humans, serotonin dysregulation has been linked to intense hallucinations, but Borjigin didn’t know what to make of such a finding in the context of rats. Or in death. Like any good scientist, she looked to the literature.
“I was sure we must know everything there is about the death process already, but when I went looking for evidence of this serotonin spike, I found nothing,” she says. “Looking into the research on death more broadly, I was shocked at how little we truly understand about this thing that happens to every one of us.”
The experience prompted a shift in Borjigin’s research focus, and today she studies consciousness in relation to death and near-death experiences. In 2023, she and her colleagues published a contentious finding: that humans, like her rats, also experience a dramatic shift in brain activity when we die. The team monitored four comatose patients as they were taken off life support, and in two cases, detected a spike in gamma waves—the fastest type of brain wave, most active during periods of intense focus or problem solving—in a part of the brain correlated with dreaming, visual hallucinations, and altered states of consciousness. “To me, this suggests a covert consciousness that is not usually observed by bystanders who might otherwise look at a person and think they are unresponsive,” she says. “If that’s true, it definitely makes me think we need to revisit our definition of death.”
While Borjigin acknowledges that her work is preliminary, her observations and others like them show just how blurry the line between life and death has become, and how much science still stands to learn about such a pivotal event. As technological advances increasingly allow researchers to study death—including interventions that now allow for the use of so-called living cadavers in scientific research—so too have they necessitated new, oftentimes fraught conversations about the nature of death, its biological and societal underpinnings, and whether existing legal definitions are in alignment with current medical standards.
“The somewhat contentious space that we’re in right now is that we have different ways that we can say that someone is dead, and not all of them agree with each other. There are legal definitions and medical ones, social definitions, and many different religious interpretations,” says L. Syd M. Johnson, a neuroethicist at SUNY Upstate Medical University in Syracuse. “It’s a surprisingly complicated question, but that also makes this an exciting time to be considering it.”
Read on to consider whether this work is a breakthrough, “a bane for bioethicists,” or both: “How To Tell If You’re Dead” (or here) from @scattercushion.bsky.social in @nautil.us.
* Haruki Murakami
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As we (attempt to) understand undoing, we might spare a thought for someone who crossed the threshold on this date in 1955: James Dean. An actor, he appeared in just three major films: Rebel Without a Cause (1955), East of Eden (1955), and Giant (1956), but became one of the most influential figures in Hollywood in the 1950s, and had a profound impact on cinema and popular culture.
Dean died in a traffic accident, when his 1955 Porsche 550 Spyder collided with a Ford near Cholame, California.
Actor Alec Guinness later claimed that, in a chance encounter with Dean at the Villa Capri a week before the crash, he had predicted the young actor’s death in his newly purchased sports car. In his autobiography, Guinness wrote that when Dean proudly showed him the vehicle, he found it “sinister” and recalled saying, in a voice he barely recognized, “Please, never get in it.” He then added, “It is now ten o’clock, Friday the 23rd of September, 1955. If you get in that car you will be found dead in it by this time next week.” Dean reportedly laughed and replied, “Oh, shucks! Don’t be so mean! “Author Jason Colavito argues that the story is “almost certainly Guinness’s ex post facto fabrication,” noting that at the time Guinness merely said Dean had told him that friends had begged him not to buy the car because they feared he would drive it too fast. – source
“There is nothing inherently gloomy about the newspaper obituary page. Done well, it should capture life rather than wallow in death.”*…
In an excerpt from his new book, veteran New York Times obituary writer Sam Roberts muses on the form and on how words give shape to legacies…
Tuck Everlasting is a cautionary tale about a family of the same surname who, by inadvertently discovering the proverbial Fountain of Youth, is forced to reconcile with eternity. When I was assigned to write the obituary of the book’s author, Natalie Babbitt, I wondered whether she had continued pondering immortality herself. It turned out she had. Not surprisingly, her own take on eternal life echoed that of the fictional family patriarch, Angus Tuck. “I think that living forever would be a terrible thing,” I quoted her as saying in her Times obituary. “It would be boring, sad and lonely.” Babbitt died when she was 84. But Tuck and her other novels endure as Babbitt’s legacy for readers. So does my obituary, which in 2016 revealed her motivation to become an author: She was inspired to write Tuck, she said, when her four-year-old daughter woke from a nap crying because she was scared of dying. Babbitt had intended to become an illustrator, not an author, but pivoted after taking one writing course in college. She had enrolled because her husband hoped to become a novelist and she wanted to understand the challenges he faced.
Back at the Daily News, obituaries weren’t the best way to achieve immortality. We mostly ran one-paragraph squibs for members of the paper’s family, of printers, pressmen, and their immediate relatives. Instead, like most tabloids, the News thrived on the reported details of murders, assassinations, and suicides. Few news stories generated more of a sensation than death in all its dimensions. No less an authority once defined “news” than the ancient newspaper deliverer—a beloved man known as Bo Gee, who was decades too old to be described as a newsboy—weaving up Second Avenue with a wire shopping cart brimming with Chinese-language newspapers, calling out the headlines as he delivered the papers to Chinese bars and restaurants on Manhattan’s East Side. He began his route in Chinatown, where the papers were printed. Subscribers on Manhattan’s Upper East Side were often a day or two behind the headlines because the last stop on his evening route depended largely on the number of drinks he had finagled from bartenders along the way before he was too wobbly to walk any farther. When a colleague of mine, the columnist Jimmy Breslin (who described him as “a small, thirsty man”), asked him which headlines sold the most papers, he responded unhesitatingly. He didn’t need a public opinion poll or a focus group of readers or a real-time digital analysis of clickbait: Two were surefire circulation boosters. One was war! The other: big guy dies!
Taken separately, obits constitute an individual’s legacy. In aggregate, they can capture the social and cultural currency of an era. Which people are worth remembering? Which values are worth celebrating? How do we measure success and failure, good and evil, achievement and defeat, social rank and professional standing? How many of the one hundred thousand people now immortalized in the periodically printed historical compilation Who Was Who were deemed worthy of obituaries at the time of their death? How many of the more than 33,000 contemporary notables included in the latest editions of Who’s Who will get obituaries when they die? (That the titles of those reference books don’t include question marks suggests that the listings themselves are indisputable, a questionable supposition when the price of inclusion by some publishers seems to be for the “whos” to buy at least one copy of the book. An entry for Michael Fowler Cullis, a former British diplomat, describes his recreation as “writing obituaries for friends.”)
People want to be remembered, and we want to remember them, or, at least, we do. “Obituaries commemorate a life at the point where it is completed by death. Yet the completion is also depletion, in the sense that the life is constructed as meaningful precisely at the point where it stops,” Professor Clare Brant, who teaches literature and culture at Kings College London, has written. “They act as the first version of a biography—sometimes the only one, although Wikipedia has closed the gap with each life story seemingly waiting for a death sentence.” But as valuable as Wikipedia can be, the New York Public Library notes, “Obituaries provide an important tool to researchers by offering biographical information on individuals that may not be readily available elsewhere. In many cases, the obituary supplies the only biographical data extant on a person.” Philip Sutton, a genealogy librarian at the library, told Legacy.com, the self-proclaimed world’s largest commercial provider of online memorials and guest books, that obituaries may reveal the married name of a daughter identified years earlier in the census only by her maiden name; that by identifying an immigrant’s specific birthplace, obituaries can also invigorate research on a family’s roots.
To me, obituaries evoke the heartrending backstories of the characters in Thornton Wilder’s play Our Town, the unfulfilled promise of Joe Crowell, who got a scholarship to the Massachusetts Institute of Technology and graduated first in his class: “Goin’ to be a great engineer, Joe was. But the war broke out and he died in France. All that education for nothing.” Emily is dead, too, but so consumed by nostalgia—before being persuaded that “live people don’t understand, do they?”—that she descends from the town’s cemetery and wants to return to her past life in Grover’s Corners, New Hampshire, until the Stage Manager reminds her, “You not only live it but you watch yourself living it. And as you watch it, you see the thing that they, down there, never know. You see the future. You know what’s going to happen afterwards.” “When I think of an obituary, it’s as objective as journalism can be, a story on someone’s life,” Holly Shreve Gilbert, a journalism instructor at Oakland University who was the interim president of the Funeral Consumers Information Society, told Molly Birnbaum of Atlas Obscura. But “hyper-local journalism is dying, and so is the obituary of the local person.” Gilbert added, “Now, if it’s on Legacy.com or Facebook or a blog, we’re basically whitewashing everyone’s lives. We’re all happy. Everyone is happy.”
Well, not everyone.
Obituaries are a reminder that when you die, someone else gets the last word on your legacy—or, at least, the first of the last words. And for all the beloved and respected and cherished and valued that punctuate paid obituaries, don’t forget that families can try to perpetuate irreverent descriptions unilaterally to settle scores when one is no longer in a position to retaliate or respond. In Shakespeare’s Macbeth, Malcolm declaims of the repentant Thane of Cawdor, who was executed for treason, “Nothing in his life became him like the leaving it.” If the Thane got the benefit of ambiguity, Florence Harrelson of Chelsea, Maine, had no such luck when she died in 2024 and her daughter, Christina Novak, placed a paid obituary in the Kennebec Journal. Wasting no words, the four-line obit read that the 65-year-old Henderson died “without family by her side due to burnt bridges and a wake of destruction left in her path.” It continued, “Florence did not want an obituary or anyone including family to know she died. That’s because even in death, she wanted those she terrorized to still be living in fear looking over their shoulders. So, this isn’t so much an obituary but more of a public service announcement.”…
Read on… The art of the obituary: “Speaking for the Dead,” from @longreads.com.
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As we remember, we might send healthy birthday greetings to William Oliver; he was born on this date in 1695. A physician and philanthropist, he was a founder of the Royal Mineral Water Hospital in Bath, England, which opened in 1742 and continued to serve patients until 2019, often with treatments involving the geothermal springs at the Roman Baths.
But Oliver is better remembered for a culinary contribution. In a search for food that would suit his dyspeptic patients, he created the Bath bun. But as that proved too fattening for his rheumatic patients, he invented the “Bath Oliver” biscuit, a hard, dry cracker made simply from flour, butter, yeast and milk, and often eaten with cheese. Shortly before his death, Oliver confided the recipe to his coachman Atkins, giving him at the same time £100 in money and ten sacks of the finest wheat-flour. The fortunate recipient opened a shop in Green Street, and soon acquired a large fortune. The “Bath Oliver” is still a well-known type of cracker.
“Sex and death are the only things that can interest a serious mind”*…
As Greg Woolf observed, “The Epic of Gilgamesh is one of the earliest examples of what is sometimes termed a “Mirror of Princes,” a book that illustrates the conduct of both bad and good rulers, and makes clear the difference between them.”
Nicolas Liney reviews a new verse translation of the 4,000-year-old text by Simon Armitage and considers its remarkable power, its extraordinary history, and its profound relevance to our moment…
There are two stories of Gilgamesh, the ancient Mesopotamian epic written in the second millennium BCE. First, there’s the story of Gilgamesh himself, the semidivine king of Uruk. He is 11 cubits tall and four cubits from nipple to nipple (roughly 16 by six feet). He is hyperactive and priapic. He is not a good ruler. The gods create the wild Enkidu out of clay to keep him in check. The pair clash mightily, and then become inseparable. Restless and hungry for glory, they journey to the Forest of Cedar to defeat the monster Humbaba. Then they slay the Bull of Heaven sent by Ishtar, the god of sex and war whose advances Gilgamesh rejects. The gods deem that Enkidu must die, and so he does, slowly and unheroically. Gilgamesh watches over Enkidu’s body until a maggot falls from his nostril, a fantastically intense image that drives home death’s finality.
At this point, the register of the poem shifts, and Gilgamesh’s triumphs are replaced by sorrow and an overwhelming awareness of his own mortality. Alone and anguished, he journeys to the underworld to visit Uta-napishti, the immortalized survivor of a cataclysmic flood, intent on unlocking the secret to eternal life. Inevitably, he is disappointed and returns to Uruk. Gilgamesh is an epic about power, about self-knowledge, about passionate companionship and the unquenchable pain of its loss. Fundamentally, it is an epic about death. Rilke labeled it “das Epos der Todesfurcht”—the epic of the fear of death—and this is what gave it its vital appeal: “It concerns me,” he confessed. “Thousands of years later death is no less bewildering to humankind,” the poet Simon Armitage says in the introduction to his new translation of the epic; “there is no more relatable subject.”
The second story of Gilgamesh is about the text itself, one of the world’s oldest surviving long-form poems. Like Homeric epic, its roots are most likely oral, and questions of authorship are futile. The earliest version was a Sumerian cycle of five poems from around 2100 BCE, probably part of a larger group of stories about the heroic dynasty of Uruk. Sumerian eventually died out, and the five episodes were replaced by one unified version in Akkadian. This was recorded in cuneiform script, often carved in clay tablets, and spread throughout Mesopotamia and the Levant. Sometime between 1300 and 1000 CE, a man called Sin-leqi-unninni created a heavily revised edition organized into 11 “tablets”—referred to now as the Standard Version—which was copied widely and included in the great library of Ashurbanipal, the Assyrian king, built in Nineveh in the seventh century.
And then … silence. By the new millennium, Akkadian was a defunct language, and Uruk and Nineveh were in ruins. As far as we know, Gilgamesh was not translated into other writing systems, so when cuneiform fell out of use, the epic seemed to go with it. For centuries it slept, until the Library of Ashurbanipal was discovered by Austen Henry Layard and Hormuzd Rassam in 1850, and what documents could be recovered were transported to the British Museum. Cuneiform was eventually deciphered, and in 1872, George Smith, an assistant curator working on the archive, came across a fragment of the epic describing a great flood—similar to the one in the Book of Genesis,but in a work significantly older than the Bible. This was too much for Smith, who began stripping his clothes off in excitement: “I am the first man to read that after more than two thousand years of oblivion.”
Critics like to say that Gilgamesh is both incredibly old and refreshingly young. Its sheer age staggers—for comparison, just try to imagine a current novel being rediscovered in the year 5120 CE. As a quasi-historical figure, Gilgamesh was considered by Babylonians to be even older: the Sumerian King List,a chronographic record,hyperbolically places his reign in 7800 BCE. Within the world of the epic itself, time reaches back further still: when Gilgamesh meets Uta-napishti, the Noah-type figure who survived the flood long before Gilgamesh, even he can speak of an “ancient city,” Shuruppak, on the banks of the Euphrates. The epic constantly forces us into these dizzying loops of deep time, forces us both to drastically exceed the limits of our brief lifespan and to be persistently reminded of them.
But Gilgamesh’s comparatively recent reentry into the modern imagination makes it feel fresh, not overburdened by centuries of interpretation and adaptation, like Homer or Virgil, and firmly outside Western literary traditions. There is no first looking into Chapman’s Gilgamesh.This can be dangerous for translators and adapters: there’s an urge to treat the epic like a blank canvas, to make it say something relevant to contemporary concerns, which can strip it of its strangeness and also cut it loose from its Iraqi heritage. But the subject matter of Gilgamesh also seems undeniably contemporary: how could a story about ecological destruction, poor leaders, and misogynist alphas not concern us here and now?…
Eminently worth reading in full. A classic which has survived, against all odds, and what it offers us today: “The Epic of the Fear of Death” from @lareviewofbooks.bsky.social.
* William Butler Yeats
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As we reach back, we might recall that it was on this date in 2004 that the discovery of what was (and is) believed to be the world’s oldest seat of learning (dating from 295 BCE), the Library of Alexandria, was announced by Zahi Hawass, president of Egypt’s Supreme Council of Antiquities during a conference at the University of California. A Polish-Egyptian team had uncovered 13 lecture halls featuring an elevated podium for the lecturer. Such a complex of lecture halls had never before been found on any Mediterranean Greco-Roman site. Alexandria may be regarded as the birthplace of western science, where Euclid discovered the rules of geometry, Eratosthenes measured the diameter of the Earth and Ptolemy wrote the Almagest, the most influential scientific book about the nature of the Universe for 1,500 years.
See also: “Oldest University Unearthed in Egypt“
“Death is not easily escaped, try it who will; but every living soul among the children of men dwelling upon the earth goeth of necessity unto his destined place, where the body, fast in its narrow bed, sleepeth after feast.”*…
London’s Highgate Cemetery (and here)– the resting place of Karl Marx, George Eliot, Michael Faraday, Henry Moore, George Michael and many other notables– shows us just how hard it is to keep the dead buried. Ralph Jones explains…
“A cemetery’s a really bad idea,” said Ian Dungavell. It’s not a sentence I expected from someone paid to run one. But Dungavell, chief executive of the Friends of Highgate Cemetery Trust, is just as idiosyncratic as the site he presides over. The pair of us were walking around North London’s Highgate Cemetery in late February, as the snowdrops were beginning to flower and rain threatened overhead. As we walked, visitors approached to ask Dungavell, who knows more about the cemetery than perhaps anyone else alive, about specific graves. One woman wanted to know exactly where 19th-century artist Lizzie Siddal was buried. Dungavell tried to explain the route. “It’s slightly tricky if you turn left too soon,” he said. “Then if you turn left too late, we might not see you till tomorrow.”
Dungavell, who is 58 and speaks with the calm precision of an English head teacher, wasn’t speaking ill of his beloved Highgate when he said that a cemetery is a bad idea. He meant that the business of running one has become almost unsustainable. Highgate is the only cemetery in the United Kingdom to charge the public for entry, yet upkeep remains a struggle, costing at least $1.9 million a year. Highgate Cemetery is particularly fascinating because its fortunes have run the gamut—from high to rock bottom, back to high again. It isn’t as easy as it looks, keeping people in the ground.
I was visiting Highgate at a crucial juncture in its history. More change is afoot for this most famous of cemeteries; this “Disneyland of the dead,” in the words of Kenneth Greenway, the cemetery park manager at nearby Tower Hamlets Cemetery Park. To put it bluntly: Highgate, which hosts the bodies and ashes of around 173,000 people, is running out of space. What do you do when you can’t create new graves? You reuse the old ones. In March 2022, the UK Parliament granted the cemetery the right to “disturb human remains”—dig up graves to make space for new bodies—in its mission to combat this problem…
The fascinating (if mildly macabre) details: “Disneyland of the Dead,” from @ohhiralphjones.bsky.social in @longreads.com.
* Beowulf
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As we ponder posterity, we might recall that it was on this date in 1968 that Gram Parsons quit the Byrds, allegedly over concerns about a planned tour of South Africa, citing his opposition to the country’s apartheid policies. Parsons headed to France, became acquainted with Mick Jagger and Keith Richards of the Rolling Stones (during the recording of Exiles On Main Street) and reintroduced Richards to country music. On returning to Los Angeles, Parsons formed The Flying Burrito Brothers.
Germanely to the piece featured above, Parsons died in 1973 of an overdose…
Although Parsons had said he wanted his body cremated at Joshua Tree and his ashes spread over the formation Cap Rock, Parsons’ stepfather organized a private ceremony in New Orleans and left the body in the care of a funeral home. But, to fulfill Parsons’ wishes, [Parson’s friend Phil] Kaufman and a friend stole both a hearse and his body and drove it to Joshua Tree. At Cap Rock Parking Lot, they poured gasoline into the open coffin and lit it, creating an enormous fireball. They were arrested and eventually fined $750.00, for stealing the coffin. What remained of Parsons’ body was buried in Garden of Memories Cemetery in Metairie, Louisiana.
The story brings Parsons fans out to a large rock flake known to rock climbers as ‘The Gram Parsons Memorial Hand Traverse’. At some point, someone added a slab that marked Parsons’ cremation to the memorial rock; that slab was removed by the U.S. National Park Service and is now at the Joshua Tree Inn. Joshua Tree park guides are given the option to tell the story of Parsons’ cremation during tours, but there is no mention of the act in official maps or brochures…
– source
“It’s a rotten job, but somebody’s got to do it”*…
All of us know the pains (and at least occasional pleasures) of work; but as Kayla Zhu and Sabrina Lam explain, some also know its danger…
Some jobs inherently carry significant risks due to factors such as hazardous working conditions, exposure to harmful substances, and the physical demands of the tasks.
Unfortunately, work injuries can sometimes be fatal, with the U.S. Bureau of Labor Statistics recording 5,486 fatal work injuries in 2022.
2022 saw a 5.7% increase from the 5,190 fatal work injuries in 2021, and meant that a worker died every 96 minutes from a work-related injury that year.
This graphic visualizes the six occupations in the U.S. with the highest rates of fatal work injuries per 100,000 full-time workers, and their number of fatal work injuries in 2022.
The figures come from the U.S. Bureau of Labor Statistics and are updated as of December 2023…
… While logging workers saw the highest fatal work injury rate, over 1,000 truck drivers died due to work injuries in 2022—the most fatalities out of any occupation…
“Ranked: The Most Dangerous Jobs in the United States,” from @kylzhu in @VisualCap.
* Agatha Christie, The Seven Dials Mystery
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As we take care, we might send carefully-conserved birthday greetings to Gifford Pinchot; he was born on this date in 1865. An American forester, he became the first chief of the Forest Service in 1905. By 1910, with President Theodore Roosevelt’s backing, he built 60 forest reserves covering 56 million acres into 150 national forests covering 172 million acres. Roosevelt’s successor, President Taft– no environmentalist– fired Pinchot, who went on to champion environmental causes (in particular, arguing against the wide-scale commercial logging of federal forests that was undertaken after he was ousted) and to serve two terms as Governor of Pennsylvania. In all, Pinchot’s efforts earned him the honorific, “the father of conservation.”
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