Craniofacial Anatomy and Forensic Identification

by

Gloria Nusse

Fascinating dive into the structure and mechanics of the human body and how to use this information to recreate the identity of the deceased.

Not for the faint of heart nor the casual reader, Craniofacial Anatomy and Forensic Identification by Gloria Nusse is set to become the reference bible for those who work to recreate the faces of severely damaged or decomposed Jane and John Does. Both a science and an art, Nusse takes readers from the very basics of parts and principles to the advanced interpretation of skeletal clues to the production of plausible, recognizable likenesses for identification or historical reimaging. 

Nusse presents interesting and eminently readable discussions of the skeletal, muscular, nervous, and integumental systems of the skull and neck, familiarizing readers with the proper terminology and language to be used in the rest of the text and essential in the field. The functions of each anatomical part, and whether or not and how they can be used to pinpoint the individual's physical appearance, age, gender, race, and even culture, are described in obviously necessary detail without overwhelming the reader. Side notes on the etymology of some anatomical names were an interesting and delightful bonus, as were references to past cases that highlighted specific aspects under discussion. 

The text includes a generous number of clear anatomical photographs, side by side with black-and-white drawings with identifying labels for the same image. There were a couple of instances where some photos were a little small or somewhat obscured due to dark shadows, though. It was also difficult to refer to the images while reading the accompanying text on a different page in the ebook edition, so I recommend getting a physical copy of the book for this reason alone. 

After the general discussion of anatomy, the author discloses how molds are produced from physical bones. In many instances, the skull is no longer intact or complete due to damage at the time of the individual's death or post-mortem, deterioration from burial or exposure, or even loss of pieces during storage by law enforcement agencies. The artist must fill in the missing segments, if possible, before making the initial mold, using clues provided by what is still available. I was particularly intrigued by the many aspects the artist must consider before reconstructing a skull, including the circumstances of the death, items found with the body, the nature of the setting or location where the individual was found, the time period, and the culture. The author's personal experiences crafting models that ultimately led to a successful identification were fascinating and very inspirational. 

While the book covers the nuts and bolts and the step-by-step process of the author's work, it is as compelling as it is practical. Also, because of the book's nature, readers do not have to read each chapter in order but can skip to the areas they are most interested in or need as a refresher. The book would be great as a one-time deep dive or as a source to be consulted over and over again. 

I recommend CRANIOFACIAL ANATOMY AND FORENSIC IDENTIFICATION to criminology/criminal justice students and practitioners, mystery and thriller writers wanting to expand their knowledge of this area, and readers who have enjoyed the works of authors such as Kathy Reichs or the Eve Duncan series by Iris Johansen and have been fascinated by their main characters' careers and want to get the real story behind the fiction. 

I voluntarily reviewed this after receiving an Advance Review Copy from the author through Partners in Crime Virtual Book Tours.