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C U T TO TH E B O N E
truly understand. It’s difficult to push away thoughts about life while
facing death. This is as true for us as it was for Tyrannosaurus.
Gently, insistently interrogating the remains of long‑dead crea‑
tures makes every tidbit of information drawn from their skeletons
a treasure. We don’t get to see them in life, so bones are most of what
we have. (Tracks and traces form a supplement to the skeletons.)
The entire paleontological discipline is based on resurrecting the ex‑
tinct, if only in our minds.
With our own bones, though, the connection flips. We intimately
experience life and are familiar with all the squishy tissues that skel‑
etons support. With the knowledge of the living, then, the meaning
of human bones is often pulled inside out. A skull is a death’s‑head,
reminding us of what awaits us all. “As I am now, so will you be. As
you are now, so once was I.” That’s what human skeletal remains re‑
peat to us over and over again. Just think of where we see skeletons
and skulls around us. A skull and crossbones marks the menacing
flutter of the Jolly Roger. A similar symbol warns us we’ll die if we’re
careless about what containers we drink from. Heavy metal album
covers are rife with skeletons, as are the ranks of fictional villains,
from Skeletor to the bony army in The 7th Voyage of Sinbad. Tat‑
tooed onto my left forearm, a werewolf grips the skull of one of her
victims in an anthropomorphic memento mori. Even Death itself
comes to us as a robed skeleton. One of the few positive cultural as‑
sociations with skeletons we seem to have is the Mexican Dia de los
Muertos, a holiday when sugar skulls and other osteological adorn‑
ments help keep the living in touch with the memory of those who
have left us. But that’s largely an exception to our modern relation‑
ship with bones. While prehistoric remains represent life resurrected
6 skeleton keys