Synopses & Reviews
The after-death stories of Franz Joseph Haydn, Ludwig Beethoven, Swedenborg, Sir Thomas Browne and many others have never before been told in such detail and vividness.
Fully illustrated with some surprising images, this is a fascinating and authoritative history of ideas carried along on the guilty pleasures of an anthology of real-after-life gothic tales.
Beginning dramatically with the opening of Haydn's grave in October 1820, Cranioklepty takes us on an extraordinary history of a peculiar kind of obsession. The desire to own the skulls of the famous, for study, for sale, for public (and private) display, seems to be instinctual and irresistible in some people. The rise of phrenology at the beginning of the 19th century only fed that fascination with the belief that genius leaves its mark on the very shape of the head.
Review
"Dickey spins these stories with a storyteller's grace and a historian's exactitude. Cranioklepty will join those books...that delve into the origins of eccentric intellectual lore, whether madness and lexicography...or inventions and visions by depressives, maniacs, and malcontents." Brooklyn Rail
Review
"Colin Dickey...has served up a fascinating book. Well-researched, clear and concise, this book is full of interesting historical anecdotes." ForeWord Magazine
Review
"Dickey fairly considers what motivated graveyard pilferers; generally, it was a potage of science, commemoration, and profit. Those with a taste for the macabre...will enjoy Dickey's eccentric tales."Booklist
Synopsis
The after-death stories of Franz Joseph Haydn, Ludwig Beethoven, Swedenborg, Sir Thomas Browne and many others have never before been told in such detail and vividness.
Fully illustrated with some surprising images, this is a fascinating and authoritative history of ideas carried along on the guilty pleasures of an anthology of real-after-life gothic tales.
Beginning dramatically with the opening of Haydn's grave in October 1820, cranioklepty takes us on an extraordinary history of a peculiar kind of obsession. The desire to own the skulls of the famous, for study, for sale, for public (and private) display, seems to be instinctual and irresistible in some people. The rise of phrenology at the beginning of the 19th century only fed that fascination with the belief that genius leaves its mark on the very shape of the head.
About the Author
Colin Dickey is the co-editor of Failure! Experiments in Aesthetic and Social Practices. His fiction and nonfiction have appeared in Cabinet, TriQuarterly, and the Santa Monica Review. A native of the San Francisco Bay Area, he now lives in Los Angeles.