Detectives Sam and Howie are sitting relaxed in their office enjoying full mugs of Jiffy Cola. They are proud of their professional assistance helping to solve this baffling mystery, THE THREE JEWELED CORPSES. The cooperative efforts of Sheriff Neverfine, Inspector Snooper, Captain Firmly and his supporting Indiana state troopers, all assisted in the effort to crack this demanding case. Will the detectives now be relaxed without an active case on their agenda seeking a solution?...... stay tuned.... I hear their telephone ringing.

An intriguing visual history of the veneration in European churches and monasteries of bejeweled and decorated skeletons Death has never looked so beautiful. The fully articulated skeleton of a female saint, dressed in an intricate costume of silk brocade and gold lace, withered fingers glittering with colorful rubies, emeralds, and pearls—this is only one of the specially photographed relics featured in Heavenly Bodies. In 1578 news came of the discovery in Rome of a labyrinth of underground tombs, which were thought to hold the remains of thousands of early Christian martyrs. Skeletons of these supposed saints were subsequently sent to Catholic churches and religious houses in German-speaking Europe to replace holy relics that had been destroyed in the wake of the Protestant Reformation. The skeletons, known as “the catacomb saints,” were carefully reassembled, richly dressed in fantastic costumes, wigs, crowns, jewels, and armor, and posed in elaborate displays inside churches and shrines as reminders to the faithful of the heavenly treasures that awaited them after death. Paul Koudounaris gained unprecedented access to religious institutions to reveal these fascinating historical artifacts. Hidden for over a century as Western attitudes toward both the worship of holy relics and death itself changed, some of these ornamented skeletons appear in publication here for the first time.

The Jewel of Seven Stars is a horror novel by Bram Stoker. An Egyptologist, attempting to raise from the dead the mummy of Tera, an ancient Egyptian queen, finds a fabulous gem and is stricken senseless by an unknown force. Amid bloody and eerie scenes, his daughter is possessed by Tera's soul, and her fate depends upon bringing Tera's mummified body to life.

Greetings in the name of our Lord and savior Jesus Christ! I trust that upon reading this page you are ready to be reminded of, or to learn and be taught the strong meat of the word of righteousness. For, he that attempts to study this work must be of an humble mind and teachable spirit. This work possesses many statements and scriptures sure to cause great controversy for babes in Christ and the carnal Christian alike. This work began through a prophecy from the Lord, to the writer, through another preacher, prophet. It has been through the obedience of the writer and his being taught directly by revelation of the Holy Ghost, that this work has proceeded this far. The writer declares to know nothing except what the Spirit of Christ has taught him and led him to place upon paper. This work is intended to help, remind, reprove, instruct, correct and provide a roadmap for those who dare to approach the way called Holiness.

This book sustains a critical glance at the ways in which we attend to the corpse, tracing a trajectory from encounter toward considering options for disposal: veneered mortuary internment, green burial and its attendant rot, cremation and alkaline hydrolysis, donation and display, and ecological burial. Through tracing the possible futures of the dead that haunt the living, through both the stories that we tell and physical manifestations following the end of life, we expose the workings of aesthetics that shape corpses, as well as the ways in which corpses spill over, resisting aestheticization. This book creates a space for ritualized practices surrounding death: corpse disposal; corpse aesthetics that shape both practices attendant upon and representations of the corpse; and literary, figural, and cultural representations that deploy these practices to tell a story about dead bodies—about their separation from the living, about their disposability, and ultimately about the living who survive the dead, if only for a while. There is an aesthetics of erasure persistently at work on the dead body. It must be quickly hidden from sight to shield us from the certain trauma of our own demise, or so the unspoken argument goes. Experts—scientists, forensic specialists, death-care professionals, and law enforcement—are the only ones qualified to view the dead for any extended period of time. The rest of us, with only brief doses, inoculate ourselves from the materiality of death in complex and highly ritualized ceremonies. Beyond participating in the project of restoring our sense of finitude, we try to make sense of the untouchable, unviewable, haunting, and taboo presence of the corpse itself.