The Living Dead
A masterpiece of zombie horror
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- 8,99 €
Beschreibung des Verlags
A work of horror genius from the Godfather of zombie film-making, George A. Romero, and celebrated writer Daniel Kraus . . .
It begins with one body. A pair of medical examiners find themselves facing a dead man who won't stay dead.
It spreads quickly. In a Midwestern trailer park, an African American teenage girl and a Muslim immigrant battle newly-risen friends and family.
On a US aircraft carrier, living sailors hide from dead ones while a fanatic preaches the gospel of a new religion of death.
At a cable news station, a surviving anchor keeps broadcasting, not knowing if anyone is watching, while his undead colleagues try to devour him.
In DC, an autistic federal employee charts the outbreak, preserving data for a future that may never come.
Everywhere, people are targeted by both the living and the dead.
We think we know how this story ends. We. Are. Wrong.
'A horror landmark, a work of gory genius.' JOE HILL, author of NOS4A2
'A monumental achievement.' ADAM NEVILL, author of The Ritual
'Like a lost Romero classic.' CLIVE BARKER, author of Hellraiser
'A sprawling, timely, scary epic.' PAUL TREMBLAY, author of The Cabin at the End of the World
PUBLISHERS WEEKLY
Filmmaker Romero (1940 2017), best known for Night of the Living Dead, offers a sweeping look at the rise, fall, and rebirth of humanity in the face of a zombie menace in this long-winded horror novel, posthumously completed by Kraus (Bent Heavens). Patient zero appears in "the early months of the 21st century," when a John Doe is registered to the U.S. Census Bureau twice: once upon his death and again after the medical examiner shoots his reawakened body. From there the virus spreads, reaching a large but underdeveloped cast, among them a teenager living in a trailer park, a news anchor who sequesters himself in his studio to continuously broadcast news of the zombie panic even after he's no longer sure if anyone's watching, and a chaplain aboard the USS Olympia who slowly goes mad. Throughout, the zombie threat is granted its own, second-person perspective: "You are hungry. You wake up. In that order." In this innovation alone Romero paints a fresher picture of the zombie apocalypse, following the zombie's perspective 15 years into the future to examine the lifespan and evolution of the creatures. Otherwise, this doorstopper reads like an extended cut of Romero's horror films. This belabored amalgamation of zombie tropes is epic but familiar.
