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A book about despair, climate change, zombie films, multiple apocalypses, the everyday, city-dwelling, zombies, walking and walk-performance, imperialism, sex, zombie literature, refugees, popular culture and zombies.
"The Walking Dead" is both a hugely successful comics series and a popular TV show. This epic story of a zombie apocalypse is unique. It focuses on the long-term individual, social, and moral consequences of survival by small groups of humans in a world overrun by infected zombies. Guns, chainsaws, and machetes are not enough for survival: humans also need agreement on rules of conduct. Can equality or fairness have any polace in the post-apocalyptic world? Do theft or even assault and murder become okay under desperate circumstances? Who should be recognized as having political authority? What about eating human flesh? Should survivors have children?
On the surface, the zombie seems the polar opposite of the human--they are the living dead; we, in essence, are the dying alive. But the zombie is also "us." Although decaying, it looks like us, dresses like us, and sometimes (if rarely) acts like us. In this volume, essays by scholars from a range of disciplines examine the zombie as a thematic presence in literature, film, video games, legal language, and philosophy, exploring topics including zombies and the environment, litigation, the afterlife, capitalism, and the erotic. Through this wide-ranging examination of the zombie phenomenon, the authors seek to discover what the zombie can teach us about being human. Instructors considering this book for use in a course may request an examination copy here.
This book traces how The Walking Dead franchise narratively, visually, and rhetorically represents transgressions against heteronormativity and the nuclear family. The introduction argues that The Walking Dead reflects cultural anxiety over threats to the family. Chapter 1 examines the destructive competition created by heteronormativity, such as the conflict between Rick and Shane. Chapter 2 focuses on the actual or attempted participation of characters such as Carol and Negan in queer relationships. Chapter 3 interprets zombies as queer antagonists to heteronormativity, while Chapter 4 explores the incorporation of zombies into the lives of characters such as the Governor and the Whisperers. The conclusion asserts that The Walking Dead presents both queer alternatives to and damaging contradictions within the traditional heterosexual family model, helping to question this model and to consider the struggle of queer American families. Overall, this study holds special interest for students and scholars of queerness, zombies, and the family.
Attributed to Phil Smith ("the Crab Man") on the publisher's webite.
Stephenie Meyer meets John Green in this original supernatural romance! Love knows no boundaries . . . even death. Phoebe Kendall is just your typical goth girl with a crush. He's strong and silent . . . and dead. All over the country, a strange phenomenon is occurring. Some teenagers who die aren't staying dead. But when they come back to life, they are no longer the same. Feared and misunderstood, they are doing their best to blend into a society that doesn’t want them. The administration at Oakvale High attempts to be more welcoming of the 'differently biotic'. But the students don’t want to take classes or eat in the cafeteria next to someone who isn’t breathing. And there are no laws that exist to protect the 'living impaired' from the people who want them to disappear—for good. When Phoebe falls for Tommy Williams, the leader of the dead kids, no one can believe it; not her best friend, Margi, and especially not her neighbor, Adam, the star of the football team. Adam has feelings for Phoebe that run much deeper than just friendship; he would do anything for her. But what if protecting Tommy is the one thing that would make her happy? The first book in the bestselling Generation Dead series. Also by Daniel Waters: The Kiss of Life Passing Strange
This edited collection brings together an introduction and 13 original scholarly essays on AMC's The Walking Dead. The essays in the first section address the pervasive bloodletting of the series: What are the consequences of the series' unremitting violence? Essays explore violence committed in self-defense, racist violence, mass lawlessness, the violence of law enforcement, the violence of mourning, and the violence of history. The essays in the second section explore an equally urgent question: What does it mean to be human? Several argue that notions of the human must acknowledge the centrality of the body--the fact that we share a "blind corporeality" with the zombie. Others address how the human is closely aligned with language and time, the disappearance of which are represented by the aphasic, timeless zombie. Underlying each essay are the game-changing words of The Walking Dead's protagonist Rick Grimes to the other survivors: "We're all infected." The violence of the zombie is also our violence; their blind drives are also ours. The human characters of The Walking Dead may try to define themselves against the zombies but in the end their bodies harbor the zombie virus: they are the walking dead. Instructors considering this book for use in a course may request an examination copy here.
This practical, accessible and far-reaching guide to making site-specific theatre and performance emphasises the diversity of approaches to the practice, and explores key principles of space and site. Phil Smith draws on a wide range of interdisciplinary and international performance examples, and uses an innovative variety of exercises, to show students and aspiring performance-makers how to find a site and generate a performance beyond the theatre building.
A poetry pamphlet with one shoreline essay and one riverbank essay
A mythogeography of South Devon and how to walk it