Checkout The Art of the Obituary: An Interview with Margalit Fox from the Paris Review:
Does the work you do change the way you think about death?
This work does skew your worldview a bit. We all watch old movies with an eye toward who’s getting on in age. I watch the Oscars memorial presentation and sit there going, Did him, did her, didn’t do that one. For obit writers, the whole world is necessarily divided into the dead and the pre-dead. That’s all there is.
Sigmund became a Freudian when he created the model of an interpreter who showed how our actions and words indirectly expressed conflicts of desire of which we were unaware. The conflicts among our desires never disappeared; they became the fuel of our histories. Making sense of those conflicts, understanding our desires, he thought, gave us an opportunity to give our stories—our histories—meaning.
“It always strikes me as supremely odd that high culture venerates the written word on the one hand, and the fine visual arts on the other,” says Jonathan Hennessey, the author of The United States Constitution: A Graphic Adaptation. “Yet somehow putting the two together is dismissed as juvenilia. Why is that? Why can’t these forms of art go together like music and dance?”