Vince Locker's life is tragic. His comedy act for the LaughCom competition has just bombed, ruining any chance of the cash prize he desperately needed. His life is in tatters; abandoned by his father as a child, an estranged wife, Jessica, who he seems to disappoint just by his mere existence, and living in his mother's house with his bipolar brother and facing foreclosure. As he stands on Smith Avenue Bridge, suicide seems the only option until he is unexpectedly rescued by an old school mortician named Truss. Vince meets another of Truss's rescues, Winona. Although beyond social norms, the trio seize on a quick cash fix that just might help Vince meet his child support demands-comedic tributes for the dead. The eulogies are hilarious and off the wall, sometimes disastrous and sometimes enlightening. They propel Vince into the dark underworld of the funeral industry, life insurance scams, savage politics, a kidnapping, the murder investigation of a destitute unclaimed young woman and threats to Jessica and his young daughter. As details of the murdered young woman are slowly revealed, Vince realizes that he has many ghosts of his own to put to rest. The story is a brilliant thought-provoking exploration of grief and death nested in clever humor.

What will become of our earthly remains? What happens to our bodies during and after the various forms of cadaver disposal available? Who controls the fate of human remains? What legal and moral constraints apply? Legal scholar Norman Cantor provides a graphic, informative, and entertaining exploration of these questions. After We Die chronicles not only a corpse’s physical state but also its legal and moral status, including what rights, if any, the corpse possesses. In a claim sure to be controversial, Cantor argues that a corpse maintains a “quasi-human status" granting it certain protected rights—both legal and moral. One of a corpse’s purported rights is to have its predecessor’s disposal choices upheld. After We Die reviews unconventional ways in which a person can extend a personal legacy via their corpse’s role in medical education, scientific research, or tissue transplantation. This underlines the importance of leaving instructions directing post-mortem disposal. Another cadaveric right is to be treated with respect and dignity. After We Die outlines the limits that “post-mortem human dignity” poses upon disposal options, particularly the use of a cadaver or its parts in educational or artistic displays. Contemporary illustrations of these complex issues abound. In 2007, the well-publicized death of Anna Nicole Smith highlighted the passions and disputes surrounding the handling of human remains. Similarly, following the 2003 death of baseball great Ted Williams, the family in-fighting and legal proceedings surrounding the corpse’s proposed cryogenic disposal also raised contentious questions about the physical, legal, and ethical issues that emerge after we die. In the tradition of Sherwin Nuland's How We Die, Cantor carefully and sensitively addresses the post-mortem handling of human remains.

“Wise, vulnerable, and surprisingly relatable . . . funny in all the right places and enormously helpful throughout. It will change how you think about death.” —Rachel Held Evans, New York Times–bestselling author of Searching for Sunday We are a people who deeply fear death. While humans are biologically wired to evade death for as long as possible, we have become too adept at hiding from it, vilifying it, and—when it can be avoided no longer—letting the professionals take over. Sixth-generation funeral director Caleb Wilde understands this reticence and fear. He had planned to get as far away from the family business as possible. He wanted to make a difference in the world, and how could he do that if all the people he worked with were . . . dead? Slowly, he discovered that caring for the deceased and their loved ones was making a difference—in other people’s lives to be sure, but it also seemed to be saving his own. A spirituality of death began to emerge as he observed the family who lovingly dressed their deceased father for his burial; the nursing home that honored a woman’s life by standing in procession as her body was taken away; the funeral that united a conflicted community. Through stories like these, told with equal parts humor and poignancy, Wilde’s candid memoir offers an intimate look into the business of death and a new perspective on living and dying. “Open[s] up conversations about life’s ultimate concerns.” —The Washington Post “As a look behind the closed doors of the death industry, as well as a candid exploration of Wilde’s own faith journey, this book is fascinating and compelling.” —National Catholic Reporter “[A] stunner of a debut.” —Rachel Held Evans, author of Inspired

Have you ever been in a formal setting and needed to laugh but didn’t dare? Have you ever fought back a smile, a silent giggle that produced a tsunami of shaking that became contagious to those seated next to you? Life is full of these surprise moments as presented in YOU CAN’T MAKE THIS STUFF UP. This is a must-read if you have had these moments caused by the actions of others that made you want to scream, yell, or run out of the room before you exploded. This book is a collection of these kinds of moments which may remind you of your experiences where it wasn’t kosher to find the funny side of life. Although life has its many serious moments, it also has a funny side where many are afraid to advance. Try it, you’ll like it!

A View from the Fog recalls one womans struggle to accept the loss of both parents in a single automobile accident. It is an account of both grief and hope, darkness and light, love and loss. As a lay minister raised in the United Methodist Church, Jada still felt like a three-time orphan. Her mother and father are dead, and God has gone silent. With prayer support and loving friends, Jada heard God speak again, I love you and will never leave you. Jada has asked and wrestled with some of the questions you will probably face in the fog. She does not presume to offer answers, only hope in the presence of a loving God, the God who truly loves you and would never, ever leave you.

A Scottish undertaker's son questions the afterlife by turning funerals into personal theater, caskets into art, and death into a celebration of individuality.