In the borderlands

 Posted by Jenny Uzzell

There is a very useful word frequently used by anthropologists and students of religion and mythology to describe something that is neither one thing nor the other; something that is ‘in between’. The word is ‘liminal’.

Classic examples of things that are ‘liminal’ are marshes or other places at the water’s edge, crossroads, twilight and, interestingly, people who are in any way trans-gender. Liminal things are very powerful and very dangerous. They create ‘thin’ places where the ‘Otherworld’ can bleed into this. This is, unless your shaman has deliberately created the situation and is very much ‘In Control’, generally considered to be a Bad Thing. 

Dead bodies are most definitely ‘liminal’. A dead body hanging around in the community belongs neither to the world of the living nor to the world of the dead. It is, both practically and ‘magically’ a very dangerous thing. It both is and is not your husband, mother, son, friend… Dead bodies, by their mere presence blur the boundaries between life and death and this is definitely a Bad Thing… things can become confused. Things can cross over. On a purely practical level there is disintegration and a very real risk of disease as time goes on. 

It is little wonder then that our ancestors sought to neutralise the risk of a dead body by rendering it, practically and ritually, into something that is stable and does not present a threat to the living. Before burial the body was treated with great care. In some cultures the body could not be left unattended between death and burial. Sometimes all mirrors in the house were covered. The shoes of the dead person removed. Doors opened. Always the purpose is to ensure that the dead remain dead, the living remain living and nothing leaves its appointed place. We saw a good example of this in the Vedic funeral mentioned last time in which Death is ritually restricted to the burial mound and a boundary drawn which it cannot cross. 

Whilst this may be very interesting to an archaeologist or an anthropologist, you could be forgiven for asking what it has to do with modern funerals. The answer, as it happens, is ‘quite a lot’. One of the major purposes of a funeral, ancient or modern, is to move the person who has died from ‘here’ to ‘there’. The body itself is removed from the community through burial, cremation, mummification or some other means. The ‘person’ is removed from the realm of the living to the realm of the dead. What this means will depend on the beliefs of the community which is carrying out the ritual. Where there is a clear belief in life after death in some form then the purpose is clear and I talked about this at length in the previous two articles here and here. Where there is a hope rather than a belief, then this will be expressed and affirmed by the community. Even where there is no hope at all of an afterlife, and the understanding is that the dead person has truly ceased to exist, there will still be a transition from the living person who was a part of the fabric of society and of the community to one who lives in the memory and imagination of those left behind and who will be different to each person who remembers.

This is one reason why for many people, myself included, it is so vital to have the body present at the funeral. The community gathers together to acknowledge and bear witness to the appalling fact of death in general and this death in particular. They stand with the body, accompanying it as far as the living are able on its journey from ‘this’ to ‘that; from; ‘here’ to ‘there’ and then they acknowledge not only that someone has gone from their midst, but also that they are still alive and can start the long and painful task of re-constructing the community without the missing member. 

Many people feel that the real journey of grief and healing cannot begin until after the funeral because it not until then that the person is really ‘gone’. 

It is in the case of secular, materialist funerals in particular that there is, perhaps, a need for new rituals and new ‘liturgy’ that effects and bears witness to this transition from one state of being to another. We do not do badly with the words, but the ritual, the ‘acting out’ of this transformation is still not fully recognised and acknowledged in many non-religious funerals and I suspect that over the next hundred years or so this will change. Humans are ritual animals, and where no ritual or tradition exists that fully expresses what we need to say or need to feel we will continue to use the old ones, even if they are irrelevant, for a very long time. Eventually, however, we will create new ones that reflect our own reality. 

Of course, the process of moving through and out of the liminal state does not entirely end with the funeral. Memories are still fresh and immediate; sometimes it is difficult to accept, even to remember that the person has gone. For this reason many religions and cultures have a second ritual about a year after the death that effectively moves the dead person into an ‘ancestral realm’. Regardless of whether this is seen as an actual thing which happens to the ‘soul’ or not, this is, I think, a healthy thing which could, usefully, be incorporated into modern funeral tradition. 

One modern development is likely to have a far reaching impact on this whole idea of the realms of life and death which as yet we cannot even begin to grasp. Online ‘personas’ on Facebook, Twitter and other social media sites, to say nothing of virtual worlds such as Second Life, may continue beyond physical death so that the ‘person’ remains in the virtual community in some form or other. This is an eventuality for which our ancestors could not prepare us, and it remains to be seen what its impact on the way we approach death will be in the coming centuries.

Calling all angels

When Ed Emsley, a film student at the University of Falmouth, rang me up to talk about his idea for a documentary about the death industry, I was struck by what a very nice fellow he was. I gave him all the help I could — a mouthful of wellmeaning advice and a list of nice people to ring. Over to you, Ed. 

He’s just emailed to say he’s all but finished the film and is looking forward to entering it for all sorts of competitions. He needs our help. 

We are putting the finishing touches to it and are currently running a crowdfunding campaign online to try and get help to fund the use of a Dylan song, When the Deal Goes Down. This is James [Showers’] chosen funeral song and he feels that it sums up the way he has tried to lead his life. 

Being Dylan, using the track is quite costly and as students, we are quite hard up. Therefore, we are trying to get the ‘teaser’ trailer of An Undertaking to be seen by as many people as possible. Would you possibly be able to share the Kickstarter page with as many people as possible to arouse interest and maybe support? I’d be so grateful.

You can see the teaser trailer and read what Ed has to say about the project here

I have a feeling that Ed is going places. And I’ve a feeling that a lot of readers would like to give him a leg-up to what will be a hugely impressive career. 

Judge for yourself. Watch the teaser. Listen to the Dylan song. Consider bunging him a tenner. All good causes lead to Heaven. 

ED’S NOTE: A cigar to the first person who spots the allusion in the title of this blog. If that’s you, Kitty, a pince-nez. 

Remains to be seen

So, a bad week, then, for dead heads of state. Hugo Chavez can’t after all be embalmed ‘like Lenin’. By the time the experts got there it was too late for the disembowelling and the deep marinade which would have made him, in death, the centre of a cult and an object of pilgrimage – as writer Edward Lucas has it:

‘at the centrepiece of a phoney religion where dead dictators brood over their subjects even in death. So long as they are unburied, their ideas still live.’

Meanwhile, here in the UK, the tug-of-war over the bones of Richard III has been lent intensity by the declared intention of the top chaps at Leicester to rebury him under a simple slab at the east end of the cathedral. Not good enough for a king, complain critics. “A king should not be buried under the floor,” said John Ashdown-Hill, leader of genealogical research for the Richard III Society. “He should have a tomb rather than being put back under the ground where he’s just been dug up.”

All of which focuses the mind on the significance we attach to dead bodies, the things we do to them and the reasons why we do them.

Different societies, different faiths do things differently. Some hurry their dead underground, the sooner that they might wake up in Paradise. Others, for a variety of reasons, proceed more slowly. Thanks to bureaucratic obstacles it can take up to three weeks to arrange a cremation in this country which, for the corpse, means a lot of time spent in fridges and cold rooms growing waxier and waxier.

Many undertakers reckon this to be no bad thing. ‘It’s okay, take your time,’ they say to bereaved people. So they can get their heads around it, they mean, and plan the sort of sendoff they need. And there’s a lot to be said for this. Most people don’t start thinking about this stuff til they absolutely have to.

Spending time with the dead body is reckoned also to be therapeutic. And this is why some undertakers are fans of embalming. It produces an emotionally valuable memory picture – a dead person at ease with their fate. It is the technological, artificial Good Death.

For reasons ranging from its invasiveness to the way it is reckoned to distance bereaved people from reality, embalming has its enemies among ‘ordinary’ people and also among the inhabitants of Funeralworld itself. The absolute sincerity of those at both poles of the argument is undoubtable.

Here is undertaker Caitlin Doughty:

“An embalmed body, … it is not an actual dead body in a way. It’s a strange wax effigy that the dead body has become. You’re not really seeing a dead person—you’re seeing an idea of a dead person, a metaphor for a dead person.”

But Doughty is no fan of direct cremation, either, which she sees as the legacy of the (very English) derision heaped by Jessica Mitford on the Great American Funeral:

“My main problem [with Jessica Mitford] is that she really brought on the direct cremation revolution. It is a valuable service. It is a less expensive service. It’s another way of saying, ‘Take the body away. … Don’t let it rot at all. Turn it to ash. … I don’t want to think about any of the processes that the body would actually go through in a natural way.'”

Doughty believes that the contemplation of an unembalmed dead body is important:

“The ecstasy of decay is … kind of like the idea of the sublime, in the sense that if you are really engaging with your mortality … it opens you up to a broader emotional spectrum than you normally have.”

We find these sentiments echoed by many thinking undertakers in this country. To observe the changes that take place in a dead person over a period of days enables the bereaved to comprehend what has happened and accept that it’s time, in the end, to let the dead person go.

The contemplation of the corpse also, to use the words of Jonathan Taylor, enables bereaved people to reconcile themselves to the new reality: that he or she is now an it; that whatever spirit or life force the corpse once embodied has gone. Elvis has left the building.

But even the let’s-get-real school of undertaking baulks at presenting the corpse as it really, actually is: gape-jawed, staring-eyed, aghast. These undertakers are prettifiers, too. Television mirrors this denial of reality. On a death porn programme like Silent Witness we are invited to gloat over hideous injuries… but all those mutilated corpses have perfectly closed mouths and eyes. Real, gape-jawed death is, it seems, an unbearable reality, a squirm too far.

How most living people feel dead people should be cared for, or not, and to what purpose, is mostly subjective, based in local cultural and/or faith norms. They tend not to ask why; they just go with what they feel to be, or are told is, right. And that may be perfectly okay. There’s no rational route through this.

What people understand about death is unlikely to stand still as they experience the deaths of friends and become aware of their own one-way journey as evidenced by irrevocable signs of ageing – except in the case of extreme deniers.

And for all of us it just got more complicated.

In the US, Sam Parnia, who has worked with Peter Fenwick to research continuing consciousness, or life after death, has been pioneering a technique for reviving the dead by cooling them in order to reverse the cellular processes that take place after death.

In this way, he was able to revive a woman who had been technically dead for up to 16 hours.

Parnia says:

In view of the rapidly evolving progress in the field of resuscitation science and the ever-expanding gray-zone period after death, I believe it is important to include what we would refer to as human consciousness, psyche or soul in future definitions and considerations regarding death. It would also perhaps be wise to concentrate some of our future research efforts on understanding the state of human consciousness after death has started, since the evidence currently suggests that it is not lost immediately after death but continues to exist for at least some time afterward.

In other words, if our mind continues to exist after death, how long does it exist for? And why?

This may give our contemplation of the dead a whole new lease of life.

Adios Noninos

Posted by Vale

In my very occasional series (see Song for my father by Horace Silver) here’s another piece written as a tribute to a much loved father. It’s a version of Adios Noninos by the great musician of the tango, Astor Piazzola.

Close thine eyes

Posted by Vale

I was at a funeral recently when this song by Purcell was played at the committal. We listened to the Treorchy Male Voice Choir, but I couldn’t find their version on You Tube so this is the Kirkintilloch Male Voice Choir instead.

Close thine eyes and sleep secure;
Thy soul is safe, thy body sure;
He that loves thee, He that how to buy a cialis keeps
never slumbers, never sleeps.

The quiet conscience in the breast
Has only peace, has only rest;
The music and the mirth of kings
Are out of tune unless she sings;
Then close thine eyes in peace and sleep secure.

There is a lovely, fuller version too. If you are keen you can listen to it here. Worth it to my mind.

Living dangerously

No one here at the GFG-Batesville Shard volunteered to do this gig, so we’ve sent along the work experience lad. Probably the last we’ll see of him. The venue is the Royal College of Art. Coco de Mer stock a range of mischiefmaking Valentine’s Day gifts — if you’re just waking up to the imminence of the Great Day of Lurve. 

Graveland

Carla Conte is holding an exhibition in late January 2013. The title is Graveland. The venue is the Crypt Gallery, London. 

Graveland takes a curious look at cemeteries and tributes from around the world, exploring ways we remember, through photography & art.

Photography, stories, objects and decorations will show some of the many different ways we commemorate a person worldwide, from the traditional to the the more unusual. This will be further explored by artwork including drawings, sculpture, installations, photographic art, film and craft.

During the week we will be making the most of the space by holding a music workshop, book club and Death Cafe, as well as holding an opening event with performances.

You can find out more on Carla’s web page. I’ll give you the link in a moment. Be patient, for heaven’s sake. 

Here’s the rub. Carla needs to raise £1000 to hold this exhibition, and she’s doing that by crowdfunding. 

We very much want you to support her because we think Carla’s terrific and we feel certain her show is going to be great. 

Please do this NOW. Just 100 tenners will see her home and dry.

Go to her web page, read all about it, then click on a Pledge button on the rhs. 

Together, we, the GFG readership, can help make something beautiful happen. 

LET’S DO IT!

Ed’s Note: Is the Kickstarter website safe? Yes it is. Type that question into Google and do your due diligence. 

Yet more exhumation news

Posted by Richard Rawlinson

Not Richard III this time but the remains of the woman believed to have inspired Leonardo da Vinci’s Mona Lisa, Lisa Gherardini.

A dig at the now-derelict Convent of St Orsola in Florence is said to be getting close to discovering the buried remains of the noblewoman with the enigmatic smile. But why? To reconstruct her face in order to see if her features match that of the painting at the Louvre, according to Silvano Vinceti, grandly titled the president of the National Committee for the Promotion of Historic and Cultural Heritage.

So much for Rest In Peace. More here 

Who Killed Cock Robin?

Posted by Vale

THE DEATH AND BURIAL OF POOR COCK ROBIN

Who killed Cock Robin?
“I,” said the sparrow,
“With my little bow and arrow,
I killed Cock Robin,”

Who saw him die?
“I,” said the fly,
“With my little eye,
I saw him die.”

Who caught his blood?
“I,” said the fish,
“With my little dish,
I caught his blood.”

Who’ll make his shroud?
“I,” said the beetle,
“With my thread and needle.
I’ll make his shroud.”

Who’ll carry the torch?
“I,” said the linnet,
“I’ll come in a minute,
I’ll carry the torch.”

Who’ll be the clerk?
“I,” said the lark,
“If it’s not in the dark,
I’ll be the clerk.”

Who’ll dig his grave?
“I,” said the owl,
“With my spade and trowel
I’ll dig his grave.”

Who’ll be the parson?
“I,” said the rook,
“With my little book,
I’ll be the parson.”

Who’ll be chief mourner?
“I,” said the dove,
“I mourn for my love,
I’ll be chief mourner.”

Who’ll sing a psalm?
“I,” said the thrush,
“As I sit in a bush.
I’ll sing a psalm.”

Who’ll carry the coffin?
“I,” said the kite,
“If it’s not in the night,
I’ll carry the coffin.”

Who’ll toll the bell?
“I,” said the bull,
“Because I can pull,
I’ll toll the bell.”

All the birds of the air
Fell sighing and sobbing,
When they heard the bell toll
For poor Cock Robin.

I came across some beautiful Victorian illustrations of the nursery rhyme on the Daily Undertaker The full set can be found here.

Buried in a ‘Wasp Rockery’

Posted by Vale

Gore Vidal died at the end of July aged 86. Although he would have wanted to be remembered as a writer and thinker, he was perhaps better known as a raconteur and wit with a vicious line in put downs. He had a long feud with writer Norman Mailer and once goaded the belligerent Mailer so much that he knocked Vidal down. As he fell to the floor Vidal managed to say ‘Ah, Norman, lost for words again’.

But then, with an insouciant air the GFG itself likes to sport, he believed that ‘Style is knowing who you are, what you want to say, and not giving a damn.’

Dick Cavett, who used to host a TV chat show, has said that ‘You can be sure of one thing. Gore Vidal hates being dead. Unless of course we die and go somewhere you write, drink, have sex, appear on TV and, above all else, talk.’

It’s less well known that he had chosen and laid out his final resting place many years ago. His headstone of polished granite, marked with his date of birth, was in place and waiting only for his own death and interment for its inscription to be completed. The headstone includes Gore’s lifelong companion, Howard Austen, who died in 2003.

It’s in Rock Creek Cemetery in Washington DC which dates back to the early 1700s. Christopher Hitchens called it a ‘WASP rockery’. You’d expect the patrician Vidal to want to keep distinguished company. Perhaps more unexpected is the suggestion that he chose his plot for another reason altogether. Nearby is the grave of Jimmie Trimble, a school friend and lover of Vidal’s who died on Iwo Jima. Jimmie was, the New York Times has suggested, ‘the only person with whom [Vidal] ever felt wholeness.’

Sources: Dick Cavett, Huffington Post