Endnotes

1  These two studies are often cited as being at the origin of a spate of new work on death and death culture. David Cannadine, “War and Death, Grief and Mourning in Modern ,” Mirrors of Mortality: Studies in the Social History of Death, ed. Joachim Whaley (London: Europa, 1981), 187-242. and Philippe Ariès, The Hour of Our Death: , 2nd ed., (New York: Vintage, 1982).

2  Chadwick’s work is usefully, if differently read by any number of recent scholars, most notably Mary Poovey, Catherine Gallagher, Peter Logan, and Joseph Childers (the last two oddly uncited here).

3  See Jani Scandura, “Deadly Professions: Dracula, Undertakers and the Embalmed Corpse,” Victorian Studies 40.1 (1996): 1-30.

4  While expensive funerals were a way to delineate social status for many members of the middle class, they were by no means readily embraced by all members of the middle or upper classes. See Patricia Jalland, Death in the Victorian Family (New York: Oxford, 1996).

5  Gaskell marks Mary’s big transformational moment as being linked directly to her realization of her love of Jem Wilson and learning of Harry Carson’s lack of intention to marry her – in other words, in the novel’s turn to the romance plot long identified by literary critics as a turning point in the novel.

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