The obituary seems to be experiencing a renaissance. In her 2006 book The Dead Beat, Marilyn Johnson reveals a worldwide ring of rabid obituary enthusiasts—members of the Church of Obituaries, she calls them. They flip past the Sports and Business sections eager to read the day’s death roll. They “surf the dead beat” poring [:)] over blogs and newspapers searching for fascinating facts about Antoinette K-Doe, who turned a nightclub into a public shrine to her husband, or the guy who invented sea monkeys. Obituaries aren’t dirty little secrets as much as they used to be, lurking in hidden corners and ready to terrify those who cross their path. They are public, normal, interesting, fun. There’s howtowriteanobituary.com which involves everyday people in the writing process, and patrickswayzeobituary.com, a forum writing the demise of the movie star even as he lives. There’s even a glossy online magazine with the snappy name Obit. But the real change is with the obituary writers. Once shamed to the backs of periodicals to deliver dour, Margie Zellner-style obituaries, many are now part of this new movement to “out” death by making it more accessible and “natural.” They are reconsidering the obituary not as the final judgment, but as a way death can be presented as a sum total of its stories. Everyone has stories, everyone dies, and in writing about death, death and life become more of a circle. The obituary is not the period on the sentence of existence, but a mere interpretation.
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