In Alan Moore’s legendary graphic novel Watchmen, scientists watch in horror as one of their colleagues is accidentally obliterated by a piece of high-powered lab equipment. But as a result, the victim transcends material existence and obtains godlike powers. Later he reconstitutes his physical body, first as a walking circulatory system, then later adding bone, muscle, and finally flesh. Zombies are typically missing a lot of their skin and we can see right through to their innards. But what if, as with Watchmen’s Dr. Manhattan, they are in the process not of decomposing but coalescing? And what if, as the process continues, it becomes harder and harder to tell who’s human and who isn’t?
This sort of paranoia has inspired a lot of great science fiction, from Invasion of the Body Snatchers to the Philip K. Dick-inspired film Blade Runner, in which human-seeming replicants can only be identified by subtle variations in their emotional responses. In John Carpenter’s The Thing (based on a short story by John W. Campbell), a research team at a remote arctic compound realizes that some of them have been replaced by shapeshifting aliens, and the only way to know for sure who’s human is to jam a hot wire into samples of their blood and see if the blood tries to crawl away.
Our next story takes some of these notions and runs with them. But these zombies aren’t just out to eat your brains. They’ve got something bigger in mind. Much bigger.
Listen:
Don’t try to speak. Don’t try to move. Listen to me. Listen to my story.
Everyone remembers their first time. The first time they saw a zombie and knew it for what it was. But my first time was one of the first times ever. It was so early in the invasion that I wasn’t sure what was happening. So early we didn’t yet call them zombies.
It was in the churchyard of St Pancras Old Church, in the fabulous, long lost city of London. Oh, it’s still there, more or less; it’s one of the few big cities that didn’t get hit in the last, crazy days of global spasm. But it’s lost to us now because it belongs to them.
Anyway, St Pancras Old Church was one of the oldest sites of Christian worship in Europe. There’d been a church there, in one form or another, for one and a half thousand years; and although the railway lines to St Pancras station ran hard by its north side it was an isolated and slightly spooky place, full of history and romance. Mary Wollstonecraft Godwin was buried there, and it was at her graveside that her daughter, who later wrote Frankenstein, first confessed her love to the poet Shelley, and he to her. In his first career as an architect’s assistant, the novelist Thomas Hardy supervised the removal of bodies when the railway was run through part of the churchyard, and set some of the displaced gravestones around an ash tree that was later named after him.
I lived nearby. I was a freelance science journalist then, and when I was working at home and the weather was good I often ate my lunch in the churchyard. That’s where I was when I saw my first zombie.
I can see that you don’t understand much of this. It’s all right. You are young. Things had already changed when you were born and much that was known then is unknowable now. But I’m trying to set a mood. An emotional tone. Because it’s how you respond to the mood and emotions of my story that’s important. That’s why you have to listen carefully. That’s why you are gagged and bound, and wired to my machines.
Listen:
It was a hot day in June in that ancient and hallowed ground. I was sitting on a bench in the sun-dappled shade of Hardy’s ash tree and eating an egg-and-cress sandwich and thinking about the article I was writing on cosmic rays when I saw him. It looked like a man, anyway. A ragged man in a long black raincoat, ropy hair down around his face as he limped towards me with a slow and stiff gait. Halting and raising his head and looking all around, and then shambling on, the tail of his black coat dragging behind.