This book of essays explores the relationship between photography and grief in Mexico. "The dead won't die here" is inspired by a chilhood anecdote of Melina Balcázar. Every year, on the Day of the Dead, the author and her brother were required to play outside the house as the deceased relatives in particular the older sister visited those who were still alive in the family home. The author explains what it meant to alternate between the Catholic Church, to which her mother went, and the Mexican Patriarchal Church, where she went with her father and that teach a spirituality made of syncretism, together with the conviction that bridges can be established, through trance, possession, and clairvoyance, with the dead. Unlike this spirituality lived in childhood, the spiritism that Balcázar explains used mechanical means such as photography to formalize, far from the principles of faith, a contact based on technique and reasoning with the hereafter.

This book of essays explores the relationship between photography and grief in Mexico. "The dead won't die here" is inspired by a chilhood anecdote of Melina Balcázar. Every year, on the Day of the Dead, the author and her brother were required to play outside the house as the deceased relatives in particular the older sister visited those who were still alive in the family home. The author explains what it meant to alternate between the Catholic Church, to which her mother went, and the Mexican Patriarchal Church, where she went with her father and that teach a spirituality made of syncretism, together with the conviction that bridges can be established, through trance, possession, and clairvoyance, with the dead. Unlike this spirituality lived in childhood, the spiritism that Balcázar explains used mechanical means such as photography to formalize, far from the principles of faith, a contact based on technique and reasoning with the hereafter.