Margo Collins and Elson Bond
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780823234462
- eISBN:
- 9780823241255
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823234462.003.0013
- Subject:
- Literature, Mythology and Folklore
This chapter probes the depiction of zombies in such contemporary novels as World War Z, Zombie Haiku, and the revisionist classic Pride and Prejudice and Zombies. Authors Margo Collins and Elson ...
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This chapter probes the depiction of zombies in such contemporary novels as World War Z, Zombie Haiku, and the revisionist classic Pride and Prejudice and Zombies. Authors Margo Collins and Elson Bond argue that the zombie is uniquely appealing to today's technologically savvy, fast-paced generation and, as such, can serve as a mirror for some of Generation Y's values and notions of identity. New millennium zombie-ism demonstrates an apparent divergence into what initially appears to be two distinct categories: zombie-as-comedy and zombie-as-threat, but as the chapter argues, time and again those two categories overlap in intriguing and symbolic ways. Ultimately, depictions of both kinds of zombies come to function as monstrous placeholders for potentially dangerous human interactions in an anomic society. Accustomed to instant communication with virtual strangers, insulated from the natural world and dependent on fragile transportation, communication, and power networks, millennial audiences have good reason to fear the chaotic anonymity of zombies.Less
This chapter probes the depiction of zombies in such contemporary novels as World War Z, Zombie Haiku, and the revisionist classic Pride and Prejudice and Zombies. Authors Margo Collins and Elson Bond argue that the zombie is uniquely appealing to today's technologically savvy, fast-paced generation and, as such, can serve as a mirror for some of Generation Y's values and notions of identity. New millennium zombie-ism demonstrates an apparent divergence into what initially appears to be two distinct categories: zombie-as-comedy and zombie-as-threat, but as the chapter argues, time and again those two categories overlap in intriguing and symbolic ways. Ultimately, depictions of both kinds of zombies come to function as monstrous placeholders for potentially dangerous human interactions in an anomic society. Accustomed to instant communication with virtual strangers, insulated from the natural world and dependent on fragile transportation, communication, and power networks, millennial audiences have good reason to fear the chaotic anonymity of zombies.
