The readings in Dinosaurs in the Attic introduced a view on the museum that I had not previously seen, and in doing so effectively aided in illuminating the character of the museum behind the collections themselves. In each of the chapters, Preston blends factual representation of the museum’s collection, in explaining to the reader the shear magnitude of the museum’s sampling of the natural world, with anecdotes that seek to expose the heart of the institution. The tale of Meshie, for example, is exemplary of how the museum does not seek to establish itself as a place that is separate from the natural world; instead, it portrays the love for nature that is inherent in the attitude of the museum. While the storerooms may be lined with alcoholics and animal bones, those who maintain the collections are eternally mindful that creatures do not exist to serve as specimens, but rather that specimens serve to aid our understanding of the living creatures. It can be easy to fall into the trap of assuming that entomologists do not even think of the insects that they study as creatures that exist outside of collections. This chapter, however, shows us academics with a desire to observe life for the enjoyment that results from witnessing another creature go about its habit. Preston on a whole, does a brilliant job of bringing life to an institution based around death, and convincing the reader that death, as an exhibition, is a celebration of life.