In 1912 an American “Lady Undertaker” addresses the question of why women are especially suited to work with the dead.
Social Historian, Sarah Hayes is the Collections and Exhibitions Manager at Newman Brothers Coffin Works in Birmingham. Discovering she had an ancestor working in the funeral trade in Birmingham over 150 years ago, and then of her daughter living on Fleet Street, just ten doors down from what was to become Newman Brothers Coffin Works is almostContinue reading “A Family Connection”
If death is most often anthropomorphised into a foreboding, grinning male does it not make sense that his companion is female? The current ‘trend’ for women in the death industry is not a trend, then, but merely an influx of women taking their rightful place back at death’s side and, once again, becoming the guardians of the dead.
The presence of a microscope in the morgue or the office of a forensic scientist seems to be a symbol to impress upon audiences the seriousness of the science being performed in that episode. But viewers are never shown “the pathologist’s view of the world”, so to speak – exactly what does the doctor see in that eyepiece and what does it mean for the case? One of the most intriguing aspects of forensic histology is the fundamental tension between the lovely images created from post-mortem specimens and the shock resulting from the realization of their source. However, the beauty of human tissue is undeniable, creating a complex interplay of light and cellular morphology in brilliant Technicolor.