Quotes from: American Afterlives: Reinventing Death in the Twenty-First Century by Shannon Lee Dawdy

“Scholars and social commentators have pointed to the embalming ritual as evidence for a propensity to deny death by re-creating a lifelike body, another case of American exceptionalism. Historian David Sloane calls it the ‘death taboo.’ But Beverly told me that viewing or touching the embalmed body does quite the opposite–it helps overcome death denial. I will return to this puzzle and how I have come to doubt strong versions of the ‘death denial thesis,’ but first I want to dig into the historical roots of embalming to better understand how Americans became neo-Egyptians in the first place.

President Lincoln’s embalmed and cosmeticized body was placed on a funeral train that made several stops on its two-week journey from Washington…How much this corpse viewing was driven by respect for the martyred president, versus fascination with the novelty of embalming, is impossible to say. But the second motivation should not be discounted…During this same period, ‘Egyptomania’ had captured the American imagination. The display and ceremonial unwrapping of Egyptian mummies was itself a popular spectacle in the nineteenth century…The link between Egyptomania nd the rise of embalming is no trivial coincidence. Early embalmers I interviewed referred seriously to ancient Egyptians as their forerunners, if not forefathers.

When I started this project, I had no idea I was going to run into magicians and ancient Egyptians.

Despite his alter to the Egyptian gods (which we did not discuss), Michael say that modern embalming is not a form of mummification for eternity. The preservation it provides is temporary–a matter of years, maybe decades, but not centuries or millennia. I have come to realize that this is another big disconnect between professional and the public understandings of the embalming practice. Most laypeople seem to assume that the embalming will prevent decay of the body indefinitely. The actual time frame, as with any archaeological deposit, depends on local environmental condition…Materially, its primary purpose resides in the funeral ritual.

Cremation can be romantic. In 1822, the poet Percy Shelley was cremated on a pyre on a beach in Italy by Lord Byron and friends after a boating accident. In death as in life, Romantics wanted to bring back what they thought were the nobler practices of ancient Greece and Rome. The embrace of creation by educated Europeans started to chip away at cultural (and largely Christian) biases against it, but creation did not take off until the later nineteenth century…Historian David Arnold argues that another significant factor in its adoption was the strident defense of traditional cremation by Indian Hindus, Buddhists, and Sikhs against critiques of the colonial British government. The debate led to a greater public awareness of cremation and a practical need to accommodate the Indian diaspora.

Cremation as a human funerary practice runs deep into antiquity. Archaeological evidence indicates that ancient Australians were practicing cremation at least twenty thousand years ago, possibly much longer….In Bronze Age and Iron Age Europe, Anglo-Saxons and other ‘barbarians’ practiced cremation before Christianity and its peculiar cult of the revenant dead wiped out this form of disposition (it was thought that cremated bodies could not be resurrected on Judgment Day). Protestantism, neo-paganism, secularism, and the influence of immigrants from the colonies opened the way for cremation to return to Europe in the nineteenth century. The revival of cremation also meant the return of fancy Roman-style urns. Shelley would have been pleased.”

“one divinity may be taken for the manifestation of another.”

‘In ancient Egypt, the principle of “identity” had far wider application than in our culture, resulting in what Henri Frankfort called a “multiplicity of approaches.” Facts do not exclude one another, but are added in layers, doing justice to the multiple facets of reality. This art of combining rests on the capacity of an entity to manifest itself in different forms: one divinity may be taken for the manifestation of another.’


The ancient gods speak : a guide to Egyptian religion

“Homer’s description of these metallic ladies as accomplished, smart, and strong has surprisingly modern ring: they are…”

“In ancient Greece and Rome, small female figures made of clay, ivory, and even bone had articulated hands and legs fastened using pins or wire so that they could look animated when shaken or moved. In Greece, the figures were often too fragile to be toys; instead, they were used as votives or offerings to the gods placed in household shrines, temples, burial sites, and graves where they could also be protective devices or prized possessions of the deceased. Young girls offered the doll figures to Apollo, Artemis, and Aphrodite before their marriages to ensure that they would attain a healthy, functioning female body that produced and nourished children, the ideal of ancient Greek femininity.

The Idea of automatons – self-moving female and male figures – had been around since ancient times. The ancient Egyptians produced animated, hot air-driven statues used for religious and political purposes, and in Greece some of the oldest female figures were described in Homer’s epic poem The Iliad where Hephaestus, the blacksmith of the gods (later called Vulcan by the Romans) is helped by two maidservants as he goes about making a shield for Achilles. In Homer’s ancient Greece, women (apart from the great goddesses like Aphrodite and Athena) were largely consigned to loom and family, but Homer’s description of these metallic ladies as accomplished, smart, and strong has surprisingly modern ring: they are

all cast in was gold but a match for living breathing girls / Intelligence fills their hearts, voice, and strength their frames, / From the deathless gods they’ve learned their works of hand. “

From My Fair Ladies by Julie Wosk.

[“BLA and GB Gabbler” (really just a pen name – singular) are the Editor and Narrator behind THE AUTOMATION, vol. 1 of the Circo del Herrero series. They are on facebook, twitter, tumblr, goodreads, and Vulcan’s shit list.]

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