The Living Dead 2 (The Living Dead, #2)(37)
It had to be something in the water that brought the dead back. It had to be.
“Close your eyes, hon,” he said.
But she didn’t close her eyes. He knew she could sense his doubt. His fear. In fifty years, he could never keep a secret from her.
She might have known what was about to happen, too, because she reached out, gently pulled his face to hers, pressed her lips to his ear. And began to sing. For the first time in so, so long.
Her raspy, pain-etched voice scraped only the bottom of the notes she used to reach, but it soothed his spirit just the same, long enough and completely enough until the floodwater delivered them into their new beginning.
Living With The Dead
By Molly Brown
British Science Fiction Award-winner Molly Brown is the author of the novels Invitation to a Funeral and Virus. Her short fiction has appeared many times in Interzone, and in the Mammoth Book anthologies: Jules Verne Adventures, New Comic Fantasy, and Future Cops. Other anthology appearances include Steampunk, Time Machines, Celebration, Villains! and The Year’s Best Fantasy and Horror. Many of these stories have been gathered in her collection Bad Timing and Other Stories. In addition to writing prose fiction, Brown has written and appeared in a several short zombie films, and some of her stories have been optioned for film and/or television.
One of the challenges of assembling an anthology of zombie fiction is deciding exactly what constitutes a “zombie” story. The term originated in the Caribbean and originally referred to recently deceased individuals who had been brought back to life through magic to serve as slave workers. After the word zombie was used in connection with the marketing of George Romero’s 1978 film Dawn of the Dead, the term has mostly been associated with masses of mindless, hungry undead who kill and convert the living. In recent years, the film 28 Days Later and the video game Left 4 Dead have depicted zombies as belligerent infected who aren’t actually undead. However, they are otherwise so similar to Romero zombies that everyone calls them that, and they can really be classified no other way.
But where do you draw the line? In this anthology series we’ve chosen to take an inclusive view and expose readers to the broadest possible spectrum of zombie fiction. Which brings us to our next story. One thing that’s been interesting to watch is how the term “zombie” has fallen into colloquial usage—i.e., we often refer to people as zombies when they’re performing mindless tasks, or planted in front of the television, or in a state of emotional detachment, even if they’re not trying to kill anyone. On this view, the defining feature of zombies is that they’re animate but not present. Our next story is a quiet tale of suburban life that explores this side of zombiehood.
I went to the park today, and for the first time in five years, Alice looked at me as if she knew me.
Alice used to be my best friend. We were in the same class at school. We used to do each other’s hair and borrow each other’s clothes until one night when we were both sixteen, and everything changed.
The details don’t matter now. All you need to know is we were at a party in a basement, and we both snorted something that we thought was cocaine, but it wasn’t.
The next thing I remember is waking up in the hospital with everyone telling me it was a miracle I was alive because the other girl was dead.
There’d been a story in the local paper a couple of months earlier about a guy who’d collapsed in the park. He was declared dead on arrival at the hospital and was taken to the hospital mortuary. A few hours later, he woke up.
No one thought much about it at the time, everyone just assumed he’d been mistakenly declared dead when he was actually in a coma. These things happen. Not often—and never before in the kind of place where nobody dies without the whole town knowing about it—but they happen.
The man hadn’t spoken once since waking; they said he just stared into space.
I remember they interviewed some expert on the news who used a lot of big words just to say sometimes it’s like that when you wake up from a coma.
Alice had been dead a little over twenty-four hours when she opened her eyes. Like the guy before her, she never spoke or reacted to anyone or anything; she just seemed to stare into the distance as if she was looking at something no one else could see.
A few weeks later they sent her home, saying there was nothing they could do.
I wasn’t that well myself—as everyone kept reminding me, I was lucky to be alive—but I went to visit Alice every day. We would sit in her room with me talking and her staring straight ahead as if I wasn’t there. And every day as I left, her mother would beg me to come back again tomorrow: “You’re her best friend. Keep talking to her; maybe you can bring her back.”
When a forty-nine-year-old man named Sam Jenkins woke up the morning after he’d died of a heart attack, people finally began to suspect that something strange was going on. This man was definitely dead, the doctors insisted. They were being especially careful about who they declared dead these days; Sam Jenkins had been repeatedly checked—and double-checked—for any signs of life, and his body had been cold when they finally allowed it to be taken to the mortuary.
Like the previous two people to wake in the hospital mortuary, Sam Jenkins never spoke. Unlike the other two, Sam Jenkins had risen naked from his mortuary slab, walked home without being noticed (it was four a.m. and the streets were empty), and got into bed beside his wife.