Bodies in Motion and at Rest: On Metaphor and Mortality [NOOK Book]


Masterful essays that illuminate not only how we die but also how we live.

Thomas Lynch, poet, funeral director, and author of the highly praised The Undertaking, winner of an American Book Award and finalist for the National Book Award, continues to examine the relations between the "literary and mortuary arts." "Lynch engages the reader with a mixture of poetic and funerary elements....his voice is rich and generous."—Richard Bernstein, New York Times "[W]hat makes him such a fine essayist is that it's just the...
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Bodies in Motion and at Rest: On Metaphor and Mortality

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Masterful essays that illuminate not only how we die but also how we live.

Thomas Lynch, poet, funeral director, and author of the highly praised The Undertaking, winner of an American Book Award and finalist for the National Book Award, continues to examine the relations between the "literary and mortuary arts." "Lynch engages the reader with a mixture of poetic and funerary elements....his voice is rich and generous."—Richard Bernstein, New York Times "[W]hat makes him such a fine essayist is that it's just the business of everyday life and death to him."—Los Angeles Times Book Review "Few readers will walk away from this volume less than stunned and grateful."—Jay Parini, author of Benjamin's Crossing "A luminous work of words."—Nicholas Delbanco, author of What Remains
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Editorial Reviews

From Barnes & Noble
The Barnes & Noble Review
July 2000

The Quick and the Dead

According to Thomas Lynch, we have funerals "not because it matters to the dead, but because it matters to the living." As author, poet, essayist, and possibly the most celebrated funeral director in America, Thomas Lynch should know. It is his job not only to care for the dead but also (and perhaps more dauntingly) to console and accompany the survivors, those who are left to grieve. His meditations on how we regard life and death have earned him a unique place in American letters. A finalist for the National Book Award for The Undertaking, Lynch now gives us Bodies in Motion and at Rest, a new exploration into what he calls the "literary and mortuary arts."

Hailed by The New York Times as "a cross between Garrison Keillor and William Butler Yeats," Lynch gives us glimpses of ordinary people and the ways they approach their own mortality. In stories about his close friends, and in discussions of sex and death, love and divorce, language and religion, commercial and spiritual consumerism, Lynch guides his readers effortlessly from the womb to the tomb with an inviting brand of wit and good humor, and with more than a few characteristic nods to the great poetry and literature of the ages.

Bodies in Motion and at Rest proves Thomas Lynch to be an essential author in a time when contemporary life encumbers us with constant reminders of change and choice, of millennial endings and beginnings. As it steers us through that existential midway between "Something and Nothingness," this indispensablebookoffers an artful and hopeful reflection on time and its treasures, on love and its power, and on birth, death, and, most importantly, what comes in between.

Los Angeles Times Book Review
[W]hat makes him such a fine essayist is that it's just the business of everyday life and death to him.
Richard Bernstein
Lynch engages the reader with a mixture of poetic and funerary elements....his voice is rich and generous. —New York Times
Jay Parini
Few readers will walk away from this volume less than stunned and grateful.
Nicholas Delbanco
A luminous work of words.
A Michigan funeral director and award-winning author of (1997) continues his quirky observations on the relations between the literary and mortuary arts, the sacred and profane. E.g. his Biblical studies piece begins: "It is always a choice [in a hotel] between the soft-porn movies and the Gideon's Bible." Includes equally quirky illustrations. Annotation c. Book News, Inc., Portland, OR (
[A] richly idiosyncratic new book of essays . . . As he comments on the big and the small things of life Mr. Lynch engages the reader with a mixture of poetic and funerary elements, of ephemera and durables both.
The New York Times
Sherie Posesorski
The essays in Bodies in Motion and at Rest are a thought-provoking, engaging hybrid of memoir, meditation and comic monologue. Whether writing about his Roman Catholic boyhood, fatherhood, the family legacy of alcoholism, the funeral trade or the integral relationship in his life between the ''mortuary and literary arts,'' Lynch approaches his subjects with a beautifully executed balance of irreverence with reverence, gallows humor with emotional delicacy and no-nonsense immanence with lyrical transcendence.
New York Times Book Review
Donna Seaman
Lynch, a poet, an essayist, and a funeral director, brings the incantatory beauty of poetry to his wryly philosophical and finely crafted prose in his second superb essay collection.
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Product Details

  • ISBN-13: 9780393344295
  • Publisher: Norton, W. W. & Company, Inc.
  • Publication date: 2/13/2012
  • Sold by: Barnes & Noble
  • Format: eBook
  • Pages: 192
  • Sales rank: 906,053
  • File size: 4 MB

Meet the Author

Thomas Lynch's The Undertaking was a finalist for the National Book Award. He lives in Michigan and Ireland.
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Read an Excerpt

Chapter One

Bodies in Motion and at Rest

So I'm over at the Hortons' with my stretcher and minivan and my able apprentice, young Matt Sheffler, because they found old George, the cemetery sexton, dead in bed this Thursday morning in ordinary time. And the police have been in to rule out foul play and the EMS team to run a tape so some ER doctor wired to the world can declare him dead at a safe distance. And now it's ours to do—Matt's and mine—to ease George from the bed to the stretcher, negotiate the sharp turn at the top of the stairs, and go out the front door to the dead wagon idling in the driveway and back to the funeral home from whence he'll take his leave—waked and well remembered—a Saturday service in the middle of April, his death observed, his taxes due.

    We are bodies in motion and at rest—there in George's master bedroom, in the gray light of the midmorning, an hour or so after his daughter found him because he didn't answer when she called this morning, and he always answers, and she always calls, so she got in the car and drove over and found him exactly as we find him here: breathless, unfettered, perfectly still, manifestly indifferent to all this hubbub. And he is here, assembled on his bed as if nothing had happened, still propped on his left shoulder, his left ear buried in his pillow, his right leg hitched up over the left one, his right hand tucked up under the far pillow his ex-wife used to sleep on, before she left him twenty years ago, and under the former Mrs. Horton's pillow, I lift to show Matt, is a littlepearl-handled .22 caliber that George always slept with since he has slept alone. "Security," he called it. He said it helped him sleep.

    And really there is nothing out of order, no sign of panic or struggle or pain, and except for the cardiac-blue tinting around his ears, the faint odor of body heat and a little early rigor in his limbs, which makes the moving of him easier, one'd never guess George wasn't just sleeping in this morning—catching the twenty extra winks—because maybe he'd been up late playing poker with the boys, or maybe he'd had a late dinner with his woman friend, or maybe he was just a little tired from digging graves and filling them, and anyway, he hadn't a grave to open this morning for one of the locals who was really dead.

    But this morning George Horton is really dead and he's really being removed from his premises by Matt and me after we swaddle him in his own bed linens, sidle him on to the stretcher, tip the stretcher up to make the tight turn at the top of the stairs and carefully ease it down, trying to keep the wheels from thumping each time the heavier head end of the enterprise takes a step. And it's really a shame, all things considered, because here's George, more or less in his prime, just south of sixty, his kids raised, his house paid off, a girlfriend still in her thirties with whom he maintained twice-weekly relations—"catch as catch can," he liked to say. And he's a scratch golfer and a small business owner with reliable employees and frequent flier miles that he spends on trips to Vegas twice a year, where he lets himself get a little crazy with the crap tables and showgirls. And he has his money tucked into rental homes and mutual funds, and a host of friends who'd only say good things about him, and a daughter about to make him a grandfather for the first time, and really old George seemed to have it made, and except for our moving him feet first down the stairs this morning, he has everything to live for, everything.

    And it is there, on the landing of the first floor, only a few feet from the front door out, that his very pregnant daughter waits in her warmup suit to tender her good-byes to the grandfather of her baby, not yet born. And Matt's face is flushed with the lifting, the huffing and puffing, or the weight of it all, or the sad beauty of the woman as she runs her hand along her father's cheek, and she is catching her breath and her eyes are red and wet and she lifts her face to ask me, "Why?"

    "His heart, Nancy ..." is what I tell her. "It looks like he just slept away. He never felt a thing." These are all the well-tested comforts one learns after twenty-five years of doing these things.

    "But why?" she asks me, and now it is clear that how it happened is not good enough. And here I'm thinking all the usual suspects: the cheeseburgers, the whiskey, the Lucky Strikes, the thirty extra pounds we, some of us, carry, the walks we didn't take, the preventive medicines we all ignore, the work and the worry and the tax man, the luck of the draw, the nature of the beast, the way of the world, the shit that happens because it happens.

    But Nancy is not asking for particulars. She wants to know why in the much larger, Overwhelming Question sense: why we don't just live forever. Why are we all eventually orphaned and heartbroken? Why we human beings cease to be. Why our nature won't leave well enough alone. Why we are not all immortal. Why this morning? Why George Horton? Why oh why oh why?

    No few times in my life as a funeral director have I been asked this. Schoolchildren, the newly widowed, musing clergy, fellow pilgrims—maybe they think it was my idea. Maybe they just like to see me squirm contemplating a world in which folks wouldn't need caskets and hearses and the likes of me always ready and willing and at their service. Or maybe, like me, sometimes they really wonder.

    "Do the math" is what George Horton would say. Or "Bottom line." Or "It's par for the course." Or "It's Biblical." If none of these wisdoms seemed to suit, then "Not my day to watch it" is what he'd say. Pressed on the vast adverbials that come to mind whilst opening or closing graves, George could be counted for tidy answers. Self-schooled in the Ways of the World, he confined his reading to the King James Bible, The Wall Street Journal, Golf Digest, the Victoria's Secret catalog and the Big Book of Alcoholics Anonymous. He watched C-SPAN, The Home Shopping Network and The Weather Channel. Most afternoons he'd doze off watching Oprah, with whom he was, quite helplessly, in love. On quiet days he'd surf the Web or check his portfolio on-line. On Sundays he watched talking heads and went to dinner and the movies with his woman friend. Weekday mornings he had coffee with the guys at the Summit Café before making the rounds of the half dozen cemeteries he was in charge of. Wednesdays and Saturdays he'd mostly golf.

    "Do the math" I heard him give out with once from the cab of his backhoe for no apparent reason. He was backfilling a grave in Milford Memorial. "You gonna make babies, you've gotta make some room; it's Biblical."

    Or once, leaning on a shovel, waiting for the priest to finish: "Copulation, population, inspiration, expiration. It's all arithmetic—addition, multiplication, subtraction and long division. That's all we're doing here, just the math. Bottom line, we're buried a thousand per acre, or burned into two quarts of ashes, give or take."

    There was no telling when such wisdoms would come to him.

But it came to me, embalming George later that morning, that the comfort in numbers is that they all add up. There is a balm in the known quantities, however finite. Any given year at this end of the millennium, 2.3 million Americans will die. Ten percent of pregnancies will be unintended. There'll be 60 million common colds. These are numbers you can take to the bank. Give or take, 3.9 million babies will be born. It's Biblical. They'll get a little more or a little less of their 76 years of life expectancy. The boys will grow to just over 69 inches, the girls to just under 64. Of them, 25 percent will be cremated, 35 percent will be overweight, 52 percent will drink. Every year 2 million will get divorced, 4 million will get married and there'll be 30,000 suicides. A few will win the lotto, a few will run for public office, a few will be struck by lightning. And any given day, par for the course, 6,300 of our fellow citizens, just like George, will get breathless and outstretched and spoken of in the past tense; and most will be dressed up the way I dress up George, in his good blue suit, and put him in a casket with Matt Sheffler's help, and assemble the 2 or 3 dozen floral tributes and the 100 or 200 family and friends and the 60 or 70 cars that will follow in the 15 mile per hour procession down through town to grave 4 of lot 17 of section C in Milford Memorial, which will become, in the parlance of our trade, his final resting place, over which a 24-by-12-by-4-inch Barre granite stone will be placed, into which we will have sandblasted his name and dates, one of which, subtracted from the other, will amount, more or less, to his life and times. The corruptible, according to the officiating clergy, will have put on incorruption, the mortal will have put on immortality. "Not my day to watch it" will be among the things we'll never hear George Horton say again.

    Nor can we see clearly now, looking into his daughter Nancy's eyes, the blue morning at the end of this coming May when she'll stand, upright as any walking wound, holding her newborn at the graveside of the man, her one and only father, for whom her baby will be named. Nor can we hear the promises she makes to keep him alive, to always remember, forever and ever, in her heart of hearts. Nor is there any math or bottom line or Bible verse that adds or subtracts or in any way accounts for the moment or the mystery she holds there.

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Table of Contents

Acknowledgments 13
Credits 17
Introduction 19
Bodies in Motion and at Rest 31
Sweeney Revisited 39
Bible Studies 51
Wombs 61
The Bang & Whimper and the Boom 81
The Way We Are 95
Notes on "A Note on the Rapture to His True Love" 117
Decca, Dinky, Benji & Me 125
The Dead Priest 139
Fish Stories 151
The Blindness of Love 161
Funerals-R-Us 167
Johnny, We Hardly Knew You 191
Y2Kat 199
The Big Enchilada 231
The Oak Grove Imbroglio 237
Nora 247
Reno 253
Afterword 269
Time Time Time 271
Notes on Frontispieces 275
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