The Living Dead 2 (The Living Dead, #2)(25)
On the way back, the driver took a detour to pick something up from his house, so we ended up coming in on the same road we’d taken the day before from the train station in Ngaounderé. The remains of the dead gendarme our taxi had hit lay all over the road. The limbs still moved feebly.
Suddenly, I needed a really stiff drink, but we’d used up all my gin for disinfectant purposes. I’d have to go dry until we got back to the house.
“Arrêtez!” I shouted to the driver. “Stop! Stop the car!”
The driver thought I was nuts, but he pulled over. We hadn’t paid him the full fare yet. He wouldn’t leave.
“What’re you doing?” Josie said, getting out with me. Cyndi just huddled in the back seat of taxi.
“I’m not leaving that poor bastard in the road.” I started getting the kerosene and matches out.
“Ahhh,” she said, following my line of sight to the twitching arms and legs.
We didn’t even bother to gather the body parts together, too much risk of infection. We just went up and down the road in the noon heat, pouring kerosene on the pieces and setting them on fire. I hoped that somehow it gave that gendarme some peace. I hoped I’d never have to do the same thing to Josie. And I hoped that if I got unlucky, too, someone would give me the same mercy.
The Anteroom
By Adam-Troy Castro
Adam-Troy Castro’s work has been nominated for several awards, including the Hugo, Nebula, and Stoker. His novels include Emissaries from the Dead and The Third Claw of God, and two collaborations with artist Johnny Atomic: Z Is for Zombie, and V Is for Vampire, which comes out in October. Castro’s short fiction has appeared in such magazines as The Magazine of Fantasy & Science Fiction, Science Fiction Age, Analog, Cemetery Dance, and in a number of anthologies. I previously included his work in The Living Dead and in Lightspeed Magazine. His story collections include A Desperate, Decaying Darkness and Tangled Strings.
People throughout history have had many different conceptions of what an afterlife might look like. The Greeks imagined the sunny fields of Elysium and the unending drudgery of Hades. The Vikings imagined that great warriors would go to an endless kegger in Valhalla. Dante imagined Hell as a massive multi-tiered pit. (The image of the underworld as a place of fire may have been inspired by the volcanic island of Crete, and the word Gehenna, associated with Hell, is named after a fiery garbage pit outside Jerusalem.) But what sort of an afterlife might await those who have been transformed into zombies?
“The most bone-chilling horror of the zombie sub-genre has always been that the plague turns us into things we don’t want to be, things capable of committing depraved acts that would have appalled the people we used to be,” Castro says. “We laugh when the hero of a zombie story blows away the shambling rotter in his path...but we tend to forget that the rotter used to be a person, and might have even been a human paragon. Stephen King wrote about his rabid St. Bernard Cujo, from the novel of the same name. You can’t hate the dog. The dog always tried to be a good dog. But something got into him, something that eliminated free will from the equation. How would Cujo feel if somebody returned to him the capacity to understand what he’d done? How would a human being?”
Your mercy killer, who knew you well in life and weeps for you even as he does what he must, presses the rifle barrel against your forehead with a gentleness that renders the gesture more a goodbye kiss than a murder. He even apologizes to you, calling you by name and telling you how sorry he is. You do not understand the apology or recognize your name or even appreciate that you are being put out of your misery. You only know that you have been prevented from shuffling forward, the atavistic impulses that drive your rotting limbs still urging you toward the very man who is about to end you. You don’t attempt to evade the bullet, because that kind of problem-solving is beyond you. You simply moan in protest. And then he pulls the trigger and the world fills with fire and your head comes apart in an explosion of bone and blood and brains. The wall behind you drips with everything good you were in life and everything obscene you became in death.
Your best friend will tell himself that you’re in a better place now. And here we leave him, wishing him well, whether he manages to survive or at least dies without becoming infected. Because his story is unremarkable. There have been many thousands just like it, in the world plagued by the living dead.
But your own story is not yet done.
In fact, your story might never be done. And this is why.
You wake an infinite distance away, blinking on your back beneath a sky that is neither dark nor light, but rather a shade of gray that reminds you of sheets that have gone unwashed. You are naked, to the kind of air that raises goose bumps on your skin and assures you that you’re once again alive. You are hungry, but it is not the hunger that you have been feeling in the days since the contagion turned you into a thing neither alive nor dead; it is the hunger a human being feels, the hunger of skipped meals, the hunger of a body beginning to tremble from need but not yet forced to desperation. It is not pleasant, but it is better than what you felt as a corpse: a gnawing, painful emptiness powerful enough to drive ambulatory meat.
It’s cold. The air has the kind of chill only possible in caves. The dirt against your back feels dry, and so solid that it might as well be concrete, but there is no warmth in it, no sense that it has ever known sun or sprouted so much as a weed.