"Prior to penicillin and medical research, death was an everyday occurrence. It was intimate"
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Dunn’s line lands like a cold glass of water: not a nostalgic sigh for simpler times, but a reminder that modern comfort is built on an edited reality. “Prior to penicillin and medical research” isn’t just a timestamp; it’s a boundary marker between two cultures. On one side, a world where a cut could kill you, childbirth could take a mother, a fever could erase a child. On the other, a world that increasingly treats death as a failure of the system rather than a default condition of life.
The phrasing does sly work. “Everyday occurrence” sounds banal, almost bureaucratic, and that’s the point: the shocking thing about pre-antibiotic life wasn’t occasional catastrophe, it was frequency. Then Dunn pivots to “It was intimate,” a word that drags death out of abstraction and back into the room. Intimate means proximate, domestic, unavoidable: bodies handled by family, vigils at home, grief folded into routine. It also hints at a kind of knowledge we’ve misplaced - not wisdom, exactly, but familiarity.
As a novelist, Dunn is interested in the emotional infrastructure of an era. She’s sketching how technology doesn’t just extend lifespan; it changes the texture of living. When death stops being common, it becomes spectacle or taboo, outsourced to hospitals and euphemisms. The subtext is accusatory without being moralistic: our distance from death is a privilege, and privileges reshape what we’re able to face, name, and endure.
The phrasing does sly work. “Everyday occurrence” sounds banal, almost bureaucratic, and that’s the point: the shocking thing about pre-antibiotic life wasn’t occasional catastrophe, it was frequency. Then Dunn pivots to “It was intimate,” a word that drags death out of abstraction and back into the room. Intimate means proximate, domestic, unavoidable: bodies handled by family, vigils at home, grief folded into routine. It also hints at a kind of knowledge we’ve misplaced - not wisdom, exactly, but familiarity.
As a novelist, Dunn is interested in the emotional infrastructure of an era. She’s sketching how technology doesn’t just extend lifespan; it changes the texture of living. When death stops being common, it becomes spectacle or taboo, outsourced to hospitals and euphemisms. The subtext is accusatory without being moralistic: our distance from death is a privilege, and privileges reshape what we’re able to face, name, and endure.
Quote Details
| Topic | Mortality |
|---|---|
| Source | Help us find the source |
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