The Book of Resting Places: A Personal History of Where We Lay the Dead
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Thomas Mira Y Lopez. (2017). The Book of Resting Places: A Personal History of Where We Lay the Dead. Catapult.

Thomas Mira Y Lopez. 2017. The Book of Resting Places: A Personal History of Where We Lay the Dead. Catapult.

Thomas Mira Y Lopez, The Book of Resting Places: A Personal History of Where We Lay the Dead. Catapult, 2017.

Thomas Mira Y Lopez. The Book of Resting Places: A Personal History of Where We Lay the Dead. Catapult, 2017.

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Book of Resting Places A Personal History of Where We Lay the Dead

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1. • value: Christian
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creators

1. • role: Author
   • fileAs: Mira Y Lopez, Thomas
   • bioText: Thomas Mira Y Lopez is from New York City. He earned an M.F.A. in creative nonfiction from the University of Arizona, and his work has appeared in The Georgia Review, Kenyon Review Online, and The Normal School, among other publications. He currently lives in North Carolina, where he is the 2017–2018 Kenan Visiting Writer at the University of North Carolina at Chapel Hill.
   • name: Thomas Mira Y Lopez

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title

The Book of Resting Places

fullDescription

"The Book of Resting Places is Mira y Lopez’s account of his travels, from a cemetery to a crematorium to a cryonics company . . . He’s looking for the good death, somewhere, anywhere." —The New Yorker
In the aftermath of his father’s untimely death and his family’s indecision over what to do with the remains, Thomas Mira y Lopez became obsessed with the type and variety of places where we lay the dead to rest. The result is a singular collection of essays that weaves together history, mythology, journalism, and personal narrative into the author’s search for a place to process grief.
Mira y Lopez explores unusual hallowed grounds—from the world’s largest cryonics institute in southern Arizona to a set of Roman catacombs being digested by modern bacteria, to his family’s burial plots in the mountains outside Rio de Janeiro to a nineteenth–century desert cemetery that was relocated for the building of a modern courthouse. The Book of Resting Places examines these overlooked spaces and what they tell us about ourselves and the passing of those we love—how we grieve them, and how we attempt to forget them.

reviews

1. • premium: False
   • source: The New Yorker
   • content: "The Book of Resting Places is Mira y Lopez’s account of his travels, from a cemetery to a crematorium to a cryonics company . . . He’s looking for the good death, somewhere, anywhere."
2. • premium: False
   • source: Publishers Weekly
   • content: "In this insightful collection of personal essays, Lopez proves a poetic, thoughtful, and at times surprisingly funny narrator in his quest for the most meaningful way to remember the dead . . . Lopez’s contemplation of mortality and memory makes for a collection of quietly profound essays."
3. • premium: False
   • source: Booklist
   • content: "At one point in this debut, a researcher compares excavation to arranging a tapestry--an apt analogy for Mira y Lopez’s essay collection itself . . . Each chapter alternates--or weaves--between his personal experience and history, myth, and societal practice."
4. • premium: False
   • source: Kirkus Reviews
   • content: "Mira y Lopez’s first book is a thoughtful, intriguing collection of 10 personal essays dealing with the dead and where they end up . . . These are wide–ranging and often tender meditations on death."
5. • premium: False
   • source: Jim Shepard, author of The World to Come and The Book of Aron
   • content: "The Book of Resting Places is admirable for the restlessness and fierceness of its need to work through both its own elegy and the nature of elegies in general. From defunct cemeteries to Canaletto’s genius for turning presence to absence to those museums of the self assembled by collectors or hoarders to the nature of parallax to cryonics, it’s wryly deft in its associative deployment of useful metaphors in its attempt to come to terms with loss, and shame: what is the safest way to preserve the dead, and to acknowledge the love we sometimes failed to reciprocate?"
6. • premium: True
   • source:
   • content:

     October 9, 2017
     In this insightful collection of personal essays, Lopez proves a poetic, thoughtful, and at times surprisingly funny narrator in his quest for the most meaningful way to remember the dead. In “Monument Valley,” about the valley on the Arizona-Utah border that came to represent the whole of the American West in film director John Ford’s work, Lopez poignantly asks, “What is the right memory in the face of all we’ll forget?” Lopez covers a range of subjects, including the science behind both astronomical and dermal sunspots (the latter in connection with the susceptibility toward skin cancer he inherited from his father), the largest U.S. time capsule in Kentucky, and a Tucson, Ariz., cryogenics center. He is at his best when finding emotional resonance in the intricacies of a scientific theory. In “Parallax,” he describes the source of sun spots on skin (“harmless if cared for,” mere signs “that the body they rest upon moves in time and space”), but also explains, in accessible prose, Galileo’s use of parallax to determine the displacement of celestial bodies. Despite the breadth of subject matter, at some point every essay returns back to the loss that looms over Lopez’s life: his father’s death from a brain tumor. Lopez’s contemplation of mortality and memory makes for a collection of quietly profound essays. Agent: Matt McGowan, Frances Goldin Literary.

7. • premium: True
   • source:
   • content:

     September 15, 2017
     A series of essays functions as a memento mori.Mira y Lopez's first book is a thoughtful, intriguing collection of 10 personal essays dealing with the dead and where they end up. Many have been previously published in a variety of publications, including the Georgia Review and the Alaska Quarterly Review. Throughout the book, the author delicately interweaves remembrances of his mother and dead father. "Overburden" is about Tucson's National Cemetery, created in the late 1800s and now defunct. "A city buries its dead just so it can keep on living," writes Mira y Lopez. "Whether exhumed or not, a grave doesn't maintain what's been lost so much as it concedes the ghost is never really coming back." Then it's off to the Catacombs of Priscilla in Rome. A bacteria discovered in the catacombs in 2008 was eating away the walls, creating a dilemma: "What is to be done when the only thing left alive in a place also destroys it?" The author's sharp, illuminating essay on the 18th-century Venetian painter Canaletto, employing a slightly modernist structure, doesn't deal with death at all except, briefly, the painter's. The artist who had produced nearly 600 paintings left behind some old clothes, household items, a smattering of paintings, and an incredible documentary record of a city both real and imagined. The longest and best piece, "The Eternal Comeback," is about the author's tour of the cryonics lab of the Alcor Life Extension Foundation, in Scottsdale, Arizona. Begun in 1972, the company houses nearly 150 bodies, and brains, all preserved at minus 196 degrees Celsius in liquid nitrogen. While outside Hutchinson, Kansas, 650 feet underground, in the "most secure underground vault in the world," rest memory boxes put together by their clients for when they return, "At least, if all goes according to plan." Some pieces register better than others, but these are wide-ranging and often tender meditations on death.

     COPYRIGHT(2017) Kirkus Reviews, ALL RIGHTS RESERVED.

8. • premium: True
   • source:
   • content:

     November 1, 2017
     At one point in this debut, a researcher compares excavation to arranging a tapestryan apt analogy for Mira y Lopez's essay collection itself. His mother believes that an Ohio buckeye tree planted by her deceased husband, the author's father, is his spiritual resting place. His mother's belief leads Mira y Lopez to thoughtfully observe the practice of laying the dead to rest across cultures. Each chapter alternatesor weavesbetween his personal experience and history, myth, and societal practice. In a standout chapter, Mira y Lopez visits the construction site of Tucson's new courthouse, built over a government cemetery after its inhabitants were exhumed and repatriated. How we lay the dead to rest has everything to do with what the living need and believe. The most shocking resting place belongs to the members of Alcor, a cryonics corporation Mira y Lopez visits. In addition to intact corpses, severed heads are stored with totem-pole practicality to allow the minds to choose new bodies when they are, hopefully, awakened with yet-to-be-invented technology.(Reprinted with permission of Booklist, copyright 2017, American Library Association.)

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"The Book of Resting Places is Mira y Lopez’s account of his travels, from a cemetery to a crematorium to a cryonics company . . . He’s looking for the good death, somewhere, anywhere." —The New Yorker
In the aftermath of his father’s untimely death and his family’s indecision over what to do with the remains, Thomas Mira y Lopez became obsessed with the type and variety of places where we lay the dead to rest. The result is a singular collection of essays that weaves together history, mythology, journalism, and personal narrative into the author’s search for a place to process grief.
Mira y Lopez explores unusual hallowed grounds—from the world’s largest cryonics institute in southern Arizona to a set of Roman catacombs being digested by modern bacteria, to his family’s burial plots in the mountains outside Rio de Janeiro to a nineteenth–century desert cemetery that was relocated for the...

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   • description: Religion / Essays