Bloomsbury, £16.99 Order at a discount from the Independent Online Shop
How to Read a Graveyard, By Peter Stanford
Poetic and humane, this tour of resting-places turns the mind to last things, and to first principles.
Socrates said it was foolish to fear death. How, he asked, can you be afraid of something that you know nothing about? The power of imagination has come a long way since 400BC. Can even sceptical non-Catholics read James Joyce's excruciating description of the realms of hell in Portrait of the Artist as a Young Man without feeling, if only for a moment, that it might be terrifyingly true?
At the very least, we must wonder about the ton of earth that will be tamped down above our coffins, or the 90 minutes of flames at 900C required to reduce us to about 5lbs of cremulated fragments. Peter Stanford's How to Read a Graveyard is a humane, delicately religious attempt to celebrate the one fate we will all share, but probably think and talk the least about.
Walking around cemeteries "is rather like rummaging among the old socks that lie buried in frayed pillowcases. It sets us remembering, reflecting, and puzzling." Stanford visits ten graveyards – mostly famous, some quietly surprising – and gives us a stream of historical facts, detailed observations, conversations and speculations. This is a gentle, timely polemic against the marginalisation of graveyards as a symbol of our sense of existence, memory and the passage of time.
Stanford quotes James Stevens Curl, author of Death and Architecture, who suggests that in modern societies burials have become "suggestive of emotional amnesia." What do we think when confronted by the tombs in the via Appia Antica outside Rome? That they are sacred? Or just heritage stuff worth photographing, rather than thinking about in terms of our relationship with death?
Stanford examines an interesting range of burial places – High Church, Victorian commercial, culturally iconic, and what might be described as alt-organic at the Chiltern Woodland Burial Park. We follow him through the excavations beneath St Peter's basilica in Rome where the saint's bones are said to lie; we duck down into the chill of the catacomb of St Callixtus; we flinch, perhaps, at his slightly over-dramatic portrayal of Greyfriars' Kirkyard in Edinburgh, where Burke and Hare robbed graves; we "do" Jim Morrison's grave at Père Lachaise in Paris.
But it's not Stanford's assiduous fact-finding that resonates. It's those moments when he conveys impressions of graveyards that strike home with a poetic and humane weight. In his chapter on the cemeteries of the Commonwealth War Graves in France, which skilfully balances history and metaphysics, there's a fine passage on the small resting place for the Chinese and Indian coolies who died in the First World War: "Anyone who doubts the power of landscape will find here, where the public and private intertwine, proof of its ability to console."
How are we to reconcile this well cared-for sanctuary with the fact that almost every day, in London, at least one child of poor parents is deposited in an open-pit grave that already contains small bodies? This is a literal return to the medieval mass burial of commoners.
Stanford's book reminded me of a visit to the tent-shaped concrete mausoleum of the Victorian explorer, Sir Richard Burton, in the graveyard of St Mary Magdalene's Church in Mortlake, London. Near it is the burial plot of Charles Aloysius Barnewall, 19th Baron Lord Trimlestown, who died in 1990.
Hanging from a skimpy chain around the cross was a small white plastic plaque, like those you see in the windows of old-fashioned shops, announcing "Open" or "Closed". In black lettering: "Nick Barnewall, Dealer in Twentieth Century Objects 26.10.51 – 30.5.91".
Cryptic, plasticised words and an extraordinary little mausoleum, almost side by side: two very different expressions of death and memory that together, on that wet winter's day, breathed vivid life into an unremarkable London churchyard. If that image resonates in your mind, as it still does in mine, you'll find How to Read a Graveyard dead marvellous.
Ray Davies' Sunny Afternoon scoops the most awardsTheatre
Grace DentChannel 4 show proves there's no app for happiness
Arts & Ents blogs
- 1 Alan Rickman admits editing 'terrible' script with friends in Pizza Hut behind backs of writers on Robin Hood: Prince of Thieves
- 2 Rarest Beanie Baby of them all could be sold for £62,500 on eBay
- 3 Driving while dehydrated can be just as dangerous as drink driving, study suggests
- 4 Ben Affleck asked TV chiefs to hide slave-owning ancestry, new hacked Sony emails published by Wikileaks claim
- 5 Farmer told to tear down mock-Tudor castle after hiding construction behind hay bales
Better Call Saul creator Peter Gould on the creative concerns of a prequel, season 2 and the mind-numbing realities of the small courts
Britain's Got Talent 2015: RSPCA investigating Marc Metral's miming dog after cruelty complaints
Glastonbury 2015: Emily Eavis says Prince rumours 'completely untrue'
One Direction: Louis Tomlinson launching his own record label, has already 'signed two acts'
Star Wars 7: The Force Awakens: Luke Skywalker actor Mark Hamill admits he was suspicious of 'Star Trek guy' JJ Abrams
If I’m being racially abused I don’t need a stranger with a saviour complex to rescue me
The only black face in the Ukip manifesto is on the page about overseas aid
Ukip is the only main political party to not address LGBT rights in its manifesto
Food banks: One million Britons will soon be using them, according to Trussell Trust
Religion isn't growing, it is becoming vigorous in its demise, says philosopher AC Grayling
BBC election debate: The one photo that summed up the whole 90-minute leaders debate