An Explanation From the Author: In my first draft of Dead Mann Walking, a group of peacefully protesting chakz, pushed too far by the living, go feral, fulfilling the zombie stereotype. As chak-detective Hessius Mann helplessly watches the mess, he broods on the fictional history of the walking dead. Upon reading this, Ace editor, Jessica Wade, felt it pulled the reader out of the story-world. I agreed, lopping it out quicker than Ash with a chainsaw-hand. However, to celebrate Dead Mann’s Oct 4 release, what could be more appropriate than restoring it to half-life? So here ‘tis, a quick, quirky look at Z’s from the POV of a PI who should know.
Dead Mann Talking: A History of Zombies
Flashes of chak-bodies moved in elegant waves, like flocks of migrating birds. The livebloods, for all their higher functions, fled without grace. The big picture pulsed and throbbed. But the personal tragedies played out in tiny spaces, as if the two had nothing to do with one another. In the center of the swirls stood the fair-haired cop I’d seen from the window, bullets spitting from his AK-47. They tore some dead flesh. Mostly, he was hitting livebloods before the ferals took him down.
So was this Ezekiel and his dry-bones rising in the valley of death? Was it then, or later, now, or the future? The edges were arbitrary, the beginnings and endings likewise. But as I watched, this was the shit I remembered.
In 1929 W.B. Seabrook wrote about voodoo cults and resurrected slaves in a novel called The Magic Island. It made sense that Haiti, whose population had recently thrown off their shackles, would have plantation slaves for their monsters.
But these were early, proto-forms. There was no blood yet, not like there was on the Fort Hammer plaza. My eyes singled out a male teen, all buff and dressed to shock with Mohawk, tattoos and piercings. He ran half-heartedly, grabbing at the side of his head where his ear had been once. Red liquid dripped between his fingers. Eventually, he slowed and then, simply stopped.
In 1943 Jacques
Tournier’s I Walked With a Zombie gave us a dead-eyed scarecrow. It was
more a symbol. No savagery, just foreboding. It was Richard Matheson’s I Am
Legend in 1954 that took it up a notch. The book was sort of about vampires,
but they were so much like zombies that the 1964 Italian film version with
Vincent Price, The Last Man on Earth, became the prime inspiration for
George Romero’s Night of the Living Dead.
On the plaza, groups formed and collapsed like cauldron bubbles. I watched two families band together. The mothers carried the little ones, forcing the older children ahead. Weirdly, the fathers carried doors, using them as shields. Two danglers and a gleet banged at them. They even tried the knob.
Romero made it biblical again. Cannibal corpses, old friends and lovers among them, children chewing on parents. The condition spreading like plague, and no one knew why or who to shoot. His sequel, Dawn of the Dead, used the same idea, but more directly as social critique, played out in comic-book colors so gaudy you had to get the joke.
I hoped the family made it. Something should survive, and it didn’t look good for anyone else. The elegant swarms had surrounded the LBs, and as they squeezed in, began to lose their pretty shape. Together now, ferals and livebloods pushed and pulled en mass, so many, so close together, they could barely move. Limbs tangled, the center of the blob tumbled, all together, all at once, like football teams in a joint tackle.
After Romero, what could
you say? A horde of lesser efforts followed, Fulci’s Zombi 2 notable for
an underwater battle between zombie and shark. Then decades passed. 28 Days
Later brought some class back to the movies. That was more about plague than
the dead, but close enough, and its monsters were fast. The Dawn of the
Dead remake followed suit. The books and comics got better – Monster
Island by David Wellington, The Walking Dead 
by Robert Kirkman, Tony
Moore and later Charlie Adlard (now on
TV!). By then people played video games like Rebel Without A Pulse
and Left4Dead, shooting and being shot, eating and being eaten. The great
democracy of mass media.
I’d like to say all the books and movies fade against the reality, but maybe it’s the reality that fades. After all, who could forget the surprise hit, Pride and Prejudice and Zombies? This is the shit that gives us shape, that let’s us understand the world, even build it from scratch. Shakespeare told us. We are such stuff as nightmares are made on, and our little life is rounded with a scream.
The plaza had reached critical mass. The blob broke and scattered. Bodies, some moving, spilled across the street, then onto the long black hospital entrance ramp that had kept the scene arms distant. The tide was coming in.
# # #
Born in the Bronx , Stefan Petrucha spent his formative years moving
between the big city and the suburbs, both of which made him prefer
escapism.
A fan of comic books, science
fiction and horror since learning to read, in high school and college he added a
love for all sorts of literary work, eventually learning that the very best
fiction always brings you back to reality, so, really, there's no way out.
An obsessive compulsion to create
his own stories began at age ten and has since taken many forms, including
novels, comics and video productions. At times, the need to pay the bills made
him a tech writer, an educational writer, a public relations writer and an
editor for trade journals, but fiction, in all its forms, has always been his
passion. Every year he's made a living at that, he counts a lucky one.
Fortunately, there've been many.
You can visit Stefan Petrucha online at www.petrucha.com and follow him on Twitter
@SPetrucha.
