Zombie stories hold a special place in the American imagination. There’s something inherently creepy about the idea of your neighbors and loved ones suddenly becoming hostile, homicidal, and hungry – but it goes much further than that. King of the genre, writer/director George Romero, has used zombie movies to comment on race relations (1968’s Night of the Living
Dead), consumer culture (1978’s Dawn of the Dead), machismo and military research (1985’s Day of the Dead), terrorism (2005’s Land of the Dead), and citizen journalism (2007’s Diary of the Dead).
In his Masters of Horror entry, “Homecoming, ” director Joe Dante used dead soldiers turned zombies to shine a laser-light on voting integrity and unjust war. “Sean of the Dead” addresses pub culture and friendships. The “28 Days/28 Weeks Later…” movies address fears of genetic engineering and bio-war.
Just when you think nothing new can be said about zombies, Max Brooks (son of Hollywood legends Mel Brooks and Anne Bancroft) comes along with a fresh take on the subject of catastrophic zombie infection. In his 2006 novel “World War Z,” he uses the framework of oral history and social anthropology to take a global look at the many forces in play that make international response to a zombie epidemic catastrophically slow and ineffective. The oral history framework of the novel is unusual, and allows for great flexibility in characters and settings. In the introduction, his narrator explains, “I have tried to maintain as invisible a presence as possible. Those questions included in the text are only there to illustrate those that may have been posed by readers.”
The scope of the book is huge – it moves among China, Tibet, Greece, Brazil, Barbados, Israel, Palestine, Virginia, Finland, Antarctica, Texas, Montana, Tennessee, India, Kansas, Russia, Greenland, Colorado, Southern Africa, Ireland, Ukraine, Canada, New Mexico, Vermont, Washington, California, Bohemia, Micronesia, South Korea, Japan, Australia, Chile, Nebraska, Siberia. The globetrotting narrator has access to military leaders and soldiers, doctors, scientists, a corporate criminal, a famous movie director. Each short chapter is told by one of these different characters; it’s easy to visualize the narrator sitting quietly with microphone and recorder, taking in all the different stories that build a mosaic of apocalypse. The profusion of detail and characters, from craven to heroic, weave a dense fabric. The parallels between zombie invasion and the outbreak of a global disease are inescapable.
The issues addressed are similarly broad – greed in the medico-corporate culture, bravery and stupidity in the military, authoritarian and short-sighted government policy, manipulation of the news media, movies as a source of hope, international political and religious mistrust. Some of the episodes are a bit heavy-handed, but, hey, it is a zombie story.
Hollywood’s love affair with the undead makes the rumors of director Marc Forster taking this project on no surprise. One hopes that he will find a way to retain the narrator’s relative invisibility, and maintain the episodic, interwoven, structure of the book. It’s an epic tale that could make compelling watching. In the meantime, I’ll be looking forward to Brooks’ next book.