Did any American author write as forthrightly about death?

If it were possible for all of us to make our exits at great moments, swiftly, cleanly, decorously, and in fine attitudes, then the experience would be something to face heroically and with high and beautiful words. But we commonly go off in no such gorgeous, poetical way. Instead, we die in raucous prose--of arterio-sclerosis, of diabetes, of toxemia, of a noisome perforation in the ileo-caecal region, of carcinoma of the liver. The abominable acidosis . . . sneaks upon us, gradually paralyzing the adrenals, flabbergasting the thyroid, crippling the poor old liver, and throwing its fog upon the brain. Thus the ontogenetic process is recapitulated in reverse order, and we pass into the mental obscurity of infancy, and then into the blank unconsciousness of the prenatal state, and finally into the condition of undifferentiated protoplasm. A man does not die quickly and brilliantly, like a lightning stroke; he passes out by inches, hesitatingly and, one may almost add, gingerly. It is hard to say just when he is fully dead. Long after his heart has ceased to beat and his lungs have ceased to swell him up with the vanity of his species, there are remote and obscure parts of him that still live on, quite unconcerned about the central catastrophe. Dr. Alexis Carrel has cut them out and kept them alive for months. The hair keeps on growing for a long while. Every time another one of the corpses of Barbarossa or King James I is examined it is found that the hair is longer than it was the last time. No doubt there are many parts of the body, and perhaps even whole organs, which wonder what it is all about when they find that they are on the way to the crematory. Burn a man's mortal remains, and you inevitably burn a good portion of him alive, and no doubt that portion sends alarmed messages to the unconscious brain, like dissected tissue under anæsthesia, and the resultant shock brings the deceased before the hierarchy of heaven in a state of collapse, with his face white, sweat bespangling his forehead and a great thirst upon him. It would not be pulling the nose of reason to argue that many a cremated Sunday-school super-intendent thus confronting the ultimate tribunal in the aspect of a man taken with the goods, has been put down as suffering from an uneasy conscience when what actually ailed him was simply surgical shock. The cosmic process is not only incurably idiotic; it is also indecently unjust. . . . 

the finish of a civilian in a luxurious hospital, with trained nurses fluttering over him and his pastor whooping and heaving for him at the foot of his bed, is often quite as terrible as any form of exitus witnessed in war. It is, in fact, always an unpleasant business. Let the poets disguise it all they may and the theologians obscure the issue with promises of post-mortem felicity, the plain truth remains that it gives one pause to reflect that, on some day not far away, one must yield supinely to acidosis, sink into the mental darkness of an idiot, and so suffer a withdrawal from these engaging scenes. "No. 8," says the nurse in faded pink, tripping down the corridor with a hooch of rye for the diabetic in No. 2, "has just passed out." "Which is No. 8?" asks the new nurse. "The one whose wife wore that awful hat this afternoon?" ... But all the authorities, it is pleasant to know, report that the final scene is placid enough. . . . The dying man doesn't struggle much and he isn't much afraid. As his alkalies give out he succumbs to a blest stupidity. His mind fogs. His will power vanishes. He submits decently. He scarcely gives a damn. (Exeunt Omnes, 1921)