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From Publishers Weekly
With tongue mostly in cheek and pen dipped in gore, horrormeister Schow (Eye) works gleefully ghoulish variations on the zombie theme in the four stories that make up this new collection. All are marinated in the mindset of George Romero's Night of the Living Dead movie trilogy, which, as the author notes in his introduction, turned its monsters into metaphors by drawing unsettling parallels between flesh-eating zombies and our mindless modern consumer culture. "Blossom," a tale of necrophilia, gives gruesome new meaning to the "biter-bit" tale of poetic justice in its account of a fetishist whose partner turns his kinky sexual appetites against him in mid act. In "Don't Walk," the living dead are just another element in a naturally macabre New York City street scene. "Jerry's Kids Meet Wormboy" is the collection's spiritual center, a splatterpunk mock epic set in an apocalyptic future where the living dead outnumber the living, and where a zombie-eating mortal misfit squares off against a fundamentalist preacher who has found the perfect congregation in the mindless monsters. "Dying Words" ends the book with a clever reflection on the mass production of escapist fiction-including zombie stories-to feed reader demand as its own form of zombification. Thanks to bouncy prose and an incisive wit, Schow makes even the outrageous and grisly morsels of Grand Guignol seem palatable.
Copyright 2003 Reed Business Information, Inc.
From Booklist
Veteran horror writer Schow treats his fans to a new collection of stories. "Zombie fiction . . . has arrived," Schow declares in the afterword to the collection. Well, at least he has devoted the entire collection to the undead among us. In "Blossom," a lovely young woman dines with an older man; when he takes her back to his condo, ties her up, and puts a leather mask on her face, it appears as though it's all over for her, but how quickly the tables turn. In "DONt/WALK," Evan arrives in New York and is shocked to see zombies walking among regular people, seemingly unnoticed; soon he realizes that to fit in, he will have to conform, for the zombies don't look kindly on being noticed. A series of interludes enforce the story's theme: "They're not a shock anymore. . . . They've become part of the landscape." People apparently can ignore anything, given enough exposure to it. Ghoulish fun. Kristine Huntley
Copyright © American Library Association. All rights reserved
Genre: Horror
With tongue mostly in cheek and pen dipped in gore, horrormeister Schow (Eye) works gleefully ghoulish variations on the zombie theme in the four stories that make up this new collection. All are marinated in the mindset of George Romero's Night of the Living Dead movie trilogy, which, as the author notes in his introduction, turned its monsters into metaphors by drawing unsettling parallels between flesh-eating zombies and our mindless modern consumer culture. "Blossom," a tale of necrophilia, gives gruesome new meaning to the "biter-bit" tale of poetic justice in its account of a fetishist whose partner turns his kinky sexual appetites against him in mid act. In "Don't Walk," the living dead are just another element in a naturally macabre New York City street scene. "Jerry's Kids Meet Wormboy" is the collection's spiritual center, a splatterpunk mock epic set in an apocalyptic future where the living dead outnumber the living, and where a zombie-eating mortal misfit squares off against a fundamentalist preacher who has found the perfect congregation in the mindless monsters. "Dying Words" ends the book with a clever reflection on the mass production of escapist fiction-including zombie stories-to feed reader demand as its own form of zombification. Thanks to bouncy prose and an incisive wit, Schow makes even the outrageous and grisly morsels of Grand Guignol seem palatable.
Copyright 2003 Reed Business Information, Inc.
From Booklist
Veteran horror writer Schow treats his fans to a new collection of stories. "Zombie fiction . . . has arrived," Schow declares in the afterword to the collection. Well, at least he has devoted the entire collection to the undead among us. In "Blossom," a lovely young woman dines with an older man; when he takes her back to his condo, ties her up, and puts a leather mask on her face, it appears as though it's all over for her, but how quickly the tables turn. In "DONt/WALK," Evan arrives in New York and is shocked to see zombies walking among regular people, seemingly unnoticed; soon he realizes that to fit in, he will have to conform, for the zombies don't look kindly on being noticed. A series of interludes enforce the story's theme: "They're not a shock anymore. . . . They've become part of the landscape." People apparently can ignore anything, given enough exposure to it. Ghoulish fun. Kristine Huntley
Copyright © American Library Association. All rights reserved
Genre: Horror
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