Rumi, a young man with schizophrenia who has a voice that narrates his life 24/7. Eve, an albino vampire who is running from the police. And the world—infested with flesh-eating zombies. In an apocalyptic world riddled with ruthless zombies, Rumi must fight the past that haunts him and survive if he wants to meet his family in Perak. But when the greatest enemy is not the zombies but Rumi himself… Will he make it?
The Beginner's Guide to Necromancy, Book 6Savannah has fallen to the vampires, and it's up to Grier to take out their leader, Gaspard Lacroix, and restore peace. Lacroix might be more powerful and immune to her magic, but she's got a plan. Too bad it's got holes big enough for a new threat to waltz through while the city is on her knees.Now Grier must risk her very soul if she hopes to slay her enemies and prevent her world from going up in flames. But salvation comes at a steep price, and she's not the only one who will pay. The cost just might break her, and the man who owns her heart.
From its looming above-ground cemeteries to the ghosts believed to haunt its stately homes, New Orleans is a city deeply entwined with death, the undead, and the supernatural. The reasons behind New Orleans’s reputation as America’s most haunted city are numerous. Its location near the mouth of the Mississippi River grants it a liminal status between water and land, while its Old World architecture and lush, moss-covered oak trees lend it an eerie beauty. Complementing the city’s mysterious landscape, spiritual beliefs and practices from Native American, African, African American, Caribbean, and European cultures mingle in a unique ferment of the paranormal. An extremely high death rate in the eighteenth and nineteenth centuries and a long history of enslavement and oppression have also produced fertile soil for stories of the undead. Focusing on three manifestations of the supernatural in New Orleans—Voodoo, ghosts, and vampires—Robin Roberts argues that the paranormal gives voice to the voiceless, including victims of racism and oppression, thus encouraging the living not to repeat the injustices of the past.
A group of unlikely heroes are all that stand in the way of humanity’s demise as the zombie apocalypse engulfs the kingdom in this high fantasy adventure set in the world of Zombicide: Black Plague. Witch Hunter Helchen mourns her dear friend, one of many heroes The Black Plague has sent to their grave as it consumes the kingdom. Yet she is determined to save what remains of humanity. Helchen and her companions travel to the labyrinthine canals of Zanice to obtain magical resources that would change the course of the zombie plague. Horrendous swaths of the undead mark their journey, and the companions are pursued relentlessly by necromantic forces of evil. When they discover a friend turned foe, Helchen must decide if all zombies are monsters… or if a new darkness is taking shape across the land.
Four novellas present different versions of the classic zombie invasion: a mob hitman in Aruba must hide from zombies, his fellow mobsters, and creatures in the water; a man awakens in a zombie-swarmed alley with no memory of his past; three art students are terrified by the legacy of what lives beneath a New England cemetary; and a CIA agent discovers that zombies are being controlled by someone with a new bio-weapon up for bid on the black market.
With a legacy stretching back into legend and folklore, the vampire in all its guises haunts the film and fiction of the twentieth century and remains the most enduring of all the monstrous threats that roam the landscapes of horror. In The Living and the Undead, Gregory A. Waller shows why this creature continues to fascinate us and why every generation reshapes the story of the violent confrontation between the living and the undead to fit new times. Examining a broad range of novels, stories, plays, films, and made-for-television movies, Waller focuses upon a series of interrelated texts: Bram Stoker's Dracula (1897); several film adaptations of Stoker's novel; F. W. Murnau's Nosferatu, A Symphony of Horror (1922); Richard Matheson's I Am Legend (1954); Stephen King's 'Salem's Lot (1975); Werner Herzog's Nosferatu the Vampyre (1979); and George Romero's Night of the Living Dead (1968) and Dawn of the Dead (1979). All of these works, Waller argues, speak to our understanding and fear of evil and chaos, of desire and egotism, of slavish dependence and masterful control. This paperback edition of The Living and the Undead features a new preface in which Waller positions his analysis in relation to the explosion of vampire and zombie films, fiction, and criticism in the past twenty-five years.
The vampire and the zombie, the two most popular incarnations of the undead, are brought together for a forensic critical investigation in Screening the Undead. Both have a long history in popular fiction, film, television, comics and games; the vampire also remains central to popular culture today, from literary 'paranormal romance' to cult TV and movie franchises - by turns romantic, tortured, grotesque, countercultural, a goth icon or lonely outsider. The zombie can shamble or, nowadays, sprint with alarming velocity, and even dance. It frequently lends itself to metaphor and can stand in for fascism or ecological disaster, but is perhaps most frequently a harbinger and instrument of the apocalypse. Leading writers on Horror and cult media consider the sexy vampire and the grotesque zombie, as well as hybrid figures who do not fit neatly into either category. These are examined across a range of contexts, from the Swedish vampire to the Afro-American Blacula, from the lesbian vampire to the gay zombie, from the Spanish Knights Templar riding skeletal horses to dancing Japanese zombies. Screening the Undead sheds new light on these two icons of terror - and desire - whose popular longevity has taken them 'Beyond Life'.
The academy and pop culture alike recognize the great symbolic and teaching value of the undead, whether vampires, zombies, or other undead or living-dead creatures. This has been explored variously from critiques of consumerism and racism, through explorations of gender and sexuality, to consideration of the breakdown of the nuclear family. Most academic examinations of the undead have been undertaken from the perspectives of philosophy and political theory, but another important avenue of exploration comes through theology. Through the vampire, the zombie, the Golem, and Cenobites, contributors address a variety of theological issues by way of critical reflection on the divine and the sacred in popular culture through film, television, graphic novels, and literature.
The zombie has cropped up in many forms—in film, in television, and as a cultural phenomenon in zombie walks and zombie awareness months—but few books have looked at what the zombie means in fiction. Tim Lanzendörfer fills this gap by looking at a number of zombie novels, short stories, and comics, and probing what the zombie represents in contemporary literature. Lanzendörfer brings together the most recent critical discussion of zombies and applies it to a selection of key texts including Max Brooks’s World War Z, Colson Whitehead’s Zone One, Junot Díaz’s short story “Monstro,” Robert Kirkman’s comic series The Walking Dead, and Seth Grahame-Smith’s Pride and Prejudice and Zombies. Within the context of broader literary culture, Lanzendörfer makes the case for reading these texts with care and openness in their own right. Lanzendörfer contends that what zombies do is less important than what becomes possible when they are around. Indeed, they seem less interesting as metaphors for the various ways the world could end than they do as vehicles for how the world might exist in a different and often better form.
