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On bookshelves around the world, surrounded by ordinary books bound in paper and leather, rest other volumes of a distinctly strange and grisly sort: those bound in human skin. Would you know one if you held it in your hand? In Dark Archives, Megan Rosenbloom seeks out the historic and scientific truths behind anthropodermic bibliopegy—the practice of binding books in this most intimate covering. Dozens of such books live on in the world’s most famous libraries and museums. Dark Archives exhumes their origins and brings to life the doctors, murderers, and indigents whose lives are sewn together in this disquieting collection. Along the way, Rosenbloom tells the story of how her team of scientists, curators, and librarians test rumored anthropodermic books, untangling the myths around their creation and reckoning with the ethics of their custodianship. A librarian and journalist, Rosenbloom is a member of The Order of the Good Death and a cofounder of their Death Salon, a community that encourages conversations, scholarship, and art about mortality and mourning. In Dark Archives—captivating and macabre in all the right ways—she has crafted a narrative that is equal parts detective work, academic intrigue, history, and medical curiosity: a book as rare and thrilling as its subject.
Skin, Steven Connor argues, has never been more visible. The Book of Skin explores the multiple functions of the skin in the cultures of the West. In this vividly illustrated book, Connor draws on evidence from a variety of sources including literary and other forms of public and private writing, especially medical texts, as well as painting, photography, and film, folklore and popular song. Because of its newfound visibility, skin has never been at once so manifest and so in jeopardy as it is today. This dilemma becomes evident, in Connor's view, if we examine how skin is displayed and manipulated as a site of inscription. In order to trace our culture's anxious concerns with the materiality and mortality of skin, Connor's analysis ranges from the human body itself to photography, from Medieval leprosy, Renaissance flaying, and eternal syphilis to cosmetics, plastic surgery, and skin cancers. Connor examines the chromatics of skin color and pigmentation, blushing, suntanning, paleness, darkening, tattooing, cutting, the Turin shroud, the Mummy, and the Invisible Man. He also offers engaging explanations for why particular colors are ascribed to feelings and conditions such as green for envy, purple for rage, and yellow for cowardice. Connor's insights into the obvious and yet unfamiliar terrain of the skin and its place in Western culture ameliorates the intensities and attenuations of touch in cultural history. The Book of Skin bears out James Joyce's claim that "modern man has an epidermis rather than a soul."
A sweeping exploration of the shaping role of animal skins in written culture and human imagination over three millennia "Richly detailed and illustrated. . . . An engaging exploration of book history."--Kirkus Reviews For centuries, premodern societies recorded and preserved much of their written cultures on parchment: the rendered skins of sheep, cows, goats, camels, deer, gazelles, and other creatures. These remains make up a significant portion of the era's surviving historical record. In a study spanning three millennia and twenty languages, Bruce Holsinger explores this animal archive as it shaped the inheritance of the Euro-Mediterranean world, from the leather rolls of ancient Egypt to the Acts of Parliament in the United Kingdom. Holsinger discusses the making of parchment past and present, the nature of the medium as a biomolecular record of faunal life and environmental history, the knotty question of "uterine vellum," and the imaginative role of parchment in the works of St. Augustine, William Shakespeare, and a range of Jewish rabbinic writers of the medieval era. Closely informed by the handicraft of contemporary makers, painters, and sculptors, the book draws on a vast array of sources--codices and scrolls, documents and ephemera, works of craft and art--that speak to the vitality of parchment across epochs and continents. At the center of On Parchment is the vexed relationship of human beings to the myriad slaughtered beasts whose remains make up this vast record: a relationship of dominion and compassion, of brutality and empathy.
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"Like the air we breathe, we take our skin for granted . . . Yet it is remarkable; it mitigates and ameliorates the sometimes harsh world we dwell in, and is at the interface of so much of what we encounter. It is our border, the edge of ourselves, the point where we meet our universe." Original Skin is at times a scientific study, remarking on the biological magic behind the human body's largest organ. At others it becomes an anthropological survey, dissecting separate societies' attitudes towards bare bodies, and the motives behind cultural rituals such as tattoos. However, Original Skin is, above all, a celebration of the human body; its tone one of absolute awe for the simultaneously protective and fragile membrane that divides us all from the world that surrounds us. Maryrose Cuskelly's book—in its examinations of everything from tickling to Botox to books bound in human derma—is a delightful meditation on skin.