Review by New York Times Review
Zombies, traditionally, do not move with great speed or agility. As the sheriff in George A. Romero's classic 1968 movie, "Night of the Living Dead," astutely observes, "They're dead, they're all messed up." But they're also mighty persistent, and, apparently through sheer doggedness, the reanimated deceased have managed to occupy increasingly large areas of the popular imagination in the past few years. They don't, of course, reproduce in the usual way. The Romero-type zombie, very much the dominant form these days, multiplies by contagion, like a virus: it feeds on flesh, and its bite is lethal, so even those semi-fortunate humans who aren't wholly devoured, but merely gnawed upon, die and come back as shuffling, hollow-eyed flesh-eaters themselves. It was not always thus. Time was, the mere idea that a corpse could come back to life and walk the earth (however slowly) seemed sufficiently creepy. The monster in Mary Shelley's "Frankenstein" did have some anger-management issues, but until "Night of the Living Dead" most resurrected cadavers had been pretty placid. The title creature of Jacques Tourneur's weirdly lyrical 1943 movie, "I Walked With a Zombie," doesn't eat flesh and is entirely unthreatening to the living beings around her; all that's horrifying is the unnatural, unassimilable fact of her existence. That's not enough anymore: nature isn't what it used to be, after all. And to be repelled by a woman just because she has returned from the dead could be considered a tad judgmental. The thing about these newly empowered 21st-century zombies is that they keep coming at you, relentlessly, wave upon wave of necrotic, mindlessly voracious semi-beings. According to the current convention, the individual reanimatee can be dispatched by shooting or stabbing it in the brain, but the strength of this inexorably advancing zombie population is in its numbers: the ambulatory dead are, you might say, a fast-growing demographic. This sort of creature is an extremely convenient monster for low-budget filmmakers like Romero, who had the wit to realize that with zombies he wouldn't have to break the bank on highly skilled professional actors. Anybody can shamble along looking vacant. In fiction, however, these alarming entities have fewer obvious attractions because, unlike vampires, werewolves, demons, witches, goblins and shape-shifters, zombies can't plausibly be endowed with rich, complex inner lives. They don't even have personalities. Christopher Golden, in the preface to his anthology of zombie Stories, THE NEW DEAD (St. Martin's Griffin, paper, $14.99), owns up to a degree of puzzlement about the current popularity of these creatures. "I have never had any trouble understanding the fascination with vampires," he writes. "But zombies? Not so much." Undeterred, Golden has put together a hefty collection of zombiana to take its place on the sagging shelf next to John Joseph Adams's anthologies THE LIVING DEAD and THE LIVING DEAD 2 (Night Shade, paper, $15.95 and $15.99); Max Brooks's WORLD WAR Z: An Oral History of the Zombie War (Three Rivers, paper, $14.95); the freak best seller PRIDE AND PREJUDICE AND ZOMBIES, "by Jane Austen and Seth Grahame-Smith" (Quirk, paper, $12.95); and THE WALKING DEAD: Compendium One (Image Comics, paper, $59.99), which compiles the first 48 issues of the comic, written by Robert Kirkman, that was turned into a popular cable series last fall. All these literary products are, in varying degrees, worth reading, or at least dipping into on one of those days when you're not feeling unambiguously alive yourself. But taken as a whole the recent onslaught of zombie fiction is wearying. There's a certain monotony built into the genre: in too many of these tales, the flesh-chompers advance, are repelled, advance again and are repelled again, more or less ad infinitum. Modern-day zombie stories often read like plague narratives, in which a panicky populace struggles to deal with a threat that's overwhelming, unceasing and apparently uncontrollable. (This spring the Centers for Disease Control, in a playful attempt to stimulate interest in the dull subject of emergency preparedness, issued an online "Zombie Apocalypse Survival Guide." It got so many hits, the Web site crashed.) And because the ravening dead are, by definition, not interesting and are way too numerous ever to be defeated - at least in plague chronicles there's hope for a cure - even the more inventive zombie stories tend to be static: grim annals of hard-won, provisional survival. But that may be the secret of their popularity. With every fashion in horror, it's worth asking, Why do we choose to fear this, and why now? The answers can be more unsettling than the stories themselves. In the case of zombie fiction, you have to wonder whether our 21st-century fascination with these hungry hordes has something to do with a general anxiety, particularly in the West, about the planet's dwindling resources: a sense that there are too many people out there, with too many urgent needs, and that eventually these encroaching masses, dimly understood but somehow ominous in their collective appetites, will simply consume us. At this awful, pinched moment of history we look into the future and see a tsunami of want bearing down on us, darkening the sky. The zombie is clearly the right monster for this glum mood, but it's a little disturbing to think that these nonhuman creatures, with their slack, gaping maws, might be serving as metaphors for actual people - undocumented immigrants, say, or the entire populations of developing nations - whose only offense, in most cases, is that their mouths and bellies demand to be filled. Fear is a primitive impulse, brainless as hunger, and because the aim of horror fiction is the production of the deepest kinds of fears, the genre tends to reinforce some remarkably uncivilized ideas about' self-protection. In the current crop of zombie stories, the prevailing value for the beleaguered survivors is a sort of siege mentality, a vigilance so constant and unremitting that it's indistinguishable from the purest paranoia. This is not a state of mind to bring out the best in our old, tired human nature. It's astonishing, then, to come across a zombie tale like Alden Bell's novel THE REAPERS ARE THE ANGELS (Holt, paper, $15), in which a world that "has gone to black damnation" becomes, somehow, the occasion of a young woman's spiritual redemption. The heroine, 15-year-old Temple, moves easily and violently through a Deep South landscape infested with the menacing dead, living by her wits - which are formidable - and retaining, heroically, a sense of wonder at God's creation, "all that beauty in the suffered world." The zombies are plenty scary (she calls them "meatskins" or "slugs"), and some of the hard-nosed human survivors are barely less threatening. But Temple is blessed with an unearthly composure, in part because she's a post-apocalypse child: this is the only world she's ever known. And, she says, "you gotta look at the world that is and try not to get bogged down by what it ain't." Bell (the pseudonym of a New York writer named Joshua Gaylord) isn't much interested in shocking his readers with visions of zombie inundation, in stoking their primordial fears of the unknown or in spinning lurid fantasies of brute survival. Like his tough heroine, he's too busy looking at the world that is, the one he's imagined into existence. His sentences roll and dawdle, as if moving to the rhythm of the stilled, eerie environment. "The Reapers Are the Angels" isn't in any sense a didactic novel, but there's a lesson in its leisurely manner: if you take the time to see and feel and think, the world, dire as it is, can lose some of its terrors.
Copyright (c) The New York Times Company [July 31, 2011]
Review by Booklist Review
"The Crisis" nearly wiped out humanity. Brooks (son of Mel Brooks and author of The Zombie Survival Guide,0 2003) has taken it upon himself to document the "first hand" experiences and testimonies of those lucky to survive 10 years after the fictitious zombie war. Like a horror fan's version of Studs Terkel's The Good War0 (1984), the "historical account" format gives Brooks room to explore the zombie plague from numerous different views and characters. In a deadpan voice, Brooks exhaustively details zombie incidents from isolated attacks to full-scale military combat: "what if the enemy can't be shocked and awed? Not just won't, but biologically can't!" With the exception of a weak BAT-210 story in the second act, the "interviews" and personal accounts capture the universal fear of the collapse of society--a living nightmare in which anyone can become a mindless, insatiable predator at a moment's notice. Alas, Brad Pitt's production company has purchased the film rights to the book--while it does have a chronological element, it's more similar to a collection of short stories: it would make for an excellent 240 -style TV series or an animated serial. Regardless, horror fans won't be disappointed: like George Romero's Dead 0 trilogy, World War Z0 is another milestone in the zombie mythos. --Carlos Orellana Copyright 2006 Booklist
From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review
Brooks, the author of the determinedly straight-faced parody The Zombie Survival Guide (2003), returns in all seriousness to the zombie theme for his second outing, a future history in the style of Theodore Judson's Fitzpatrick's War. Brooks tells the story of the world's desperate battle against the zombie threat with a series of first-person accounts "as told to the author" by various characters around the world. A Chinese doctor encounters one of the earliest zombie cases at a time when the Chinese government is ruthlessly suppressing any information about the outbreak that will soon spread across the globe. The tale then follows the outbreak via testimony of smugglers, intelligence officials, military personnel and many others who struggle to defeat the zombie menace. Despite its implausible premise and choppy delivery, the novel is surprisingly hard to put down. The subtle, and not so subtle, jabs at various contemporary politicians and policies are an added bonus. (Sept.) (c) Copyright PWxyz, LLC. All rights reserved
(c) Copyright PWxyz, LLC. All rights reserved
Review by Library Journal Review
As the author of the deadpan Zombie Survival Guide, Brooks (son of filmmaker Mel) is clearly qualified to write this globe-spanning "global history" of a war that will begin sometime soon. The book owes a debt to George Romero's Living Dead films, with their hordes of moaning ghouls, but that kind of monster-movie action is secondary to the individual stories of both major world players and front-line grunts in the war against the undead. Woven through the narrative are an undercurrent of social commentary and musings on the nature of fear and hope. This infectious and compelling book will have nervous readers watching the streets for zombies. Recommended for all public libraries. Karl G. Siewert, Tulsa City-Cty. Lib. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Kirkus Book Review
An "oral history" of the global war the evil brain-chewers came within a hair of winning. Zombies are among us--turn on your television if you don't believe it. But, Brooks reassures us in this all-too-realistic novel, even today, human fighters are hunting down the leftovers, and we're winning. Brooks (The Zombie Survival Guide, not reviewed) seeds his mockumentary with smart nods to the chains of cause and effect that spring from today's headlines. Like the avian flu, one CIA agent tells the interviewer, the zombie plague began in China, whose government embarked on a campaign of "health and safety" sweeps ("Instead of lying about the sweeps themselves, they just lied about what they were sweeping for") to contain the endless armies of the moaning, walking dead. It didn't work. Ear to the ground, Israel quarantined itself--it helped that it had that tall new wall. Greece, Japan, England: Every center of world civilization was overrun, with notable pockets of resistance. In England, for example, the queen stayed in Windsor Castle, the most easily defended bastion in the realm, to steel the hearts of her subjects. Who says the royal family is a relic? Finally, the zombies come to North America, where, after the disastrous Battle of Yonkers, the humans regroup and take their pound of extremely icky flesh in vengeance; even Michael Stipe, the antiwar rock singer, signs up to kick zombie butt. Brooks's iron-jaw narrative is studded with practical advice on what to do when the zombies come, as they surely will. For one thing, check to see who doesn't blink ("Maybe because they don't have as much bodily fluid they can't keep using it to coat the eyes"), aim for the head and blast away. A literate, ironic, strangely tasty treat for fans of 28 Days Later, Dawn of the Dead, The Last Man on Earth and other treasures of the zombie/counterzombie genre. Copyright ©Kirkus Reviews, used with permission.
Copyright (c) Kirkus Reviews, used with permission.