Zone One

( 103 )

Overview

In this wry take on the post-apocalyptic horror novel, a pandemic has devastated the planet. The plague has sorted humanity into two types: the uninfected and the infected, the living and the living dead.

Now the plague is receding, and Americans are busy rebuild­ing civilization under orders from the provisional govern­ment based in Buffalo. Their top mission: the resettlement of Manhattan. Armed forces have successfully reclaimed the island south of Canal Street—aka Zone ...

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Zone One

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Overview

In this wry take on the post-apocalyptic horror novel, a pandemic has devastated the planet. The plague has sorted humanity into two types: the uninfected and the infected, the living and the living dead.

Now the plague is receding, and Americans are busy rebuild­ing civilization under orders from the provisional govern­ment based in Buffalo. Their top mission: the resettlement of Manhattan. Armed forces have successfully reclaimed the island south of Canal Street—aka Zone One—but pockets of plague-ridden squatters remain. While the army has eliminated the most dangerous of the infected, teams of civilian volunteers are tasked with clearing out a more innocuous variety—the “malfunctioning” stragglers, who exist in a catatonic state, transfixed by their former lives.

Mark Spitz is a member of one of the civilian teams work­ing in lower Manhattan. Alternating between flashbacks of Spitz’s desperate fight for survival during the worst of the outbreak and his present narrative, the novel unfolds over three surreal days, as it depicts the mundane mission of straggler removal, the rigors of Post-Apocalyptic Stress Disorder, and the impossible job of coming to grips with the fallen world.

And then things start to go wrong.

Both spine chilling and playfully cerebral, Zone One bril­liantly subverts the genre’s conventions and deconstructs the zombie myth for the twenty-first century.

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Editorial Reviews

Glen Duncan
There will be grumbling from self-­appointed aficionados of the undead (Sir, I think the author will find that zombies actually…) and we'll have to listen for another season or two to critics batting around the notion that genre-slumming is a recent trend, but none of that will hurt Zone One, which is a cool, thoughtful and, for all its ludic violence, strangely tender novel, a celebration of modernity and a pre-emptive wake for its demise.
—The New York Times Book Review
Ron Charles
…what's most surprising about Zone One is how subtly [Whitehead] reanimates those old body parts for a post-9/11 world. Although the ambling, rotting hordes are still here, this is a night of the living dead lit by melancholy and nostalgia rather than violence and terror. Horror fans hungry for new thrills may find too little meat on these bones…but now that zombies have infected everyone from Jane Austen to the above-average folks at Lake Wobegon, perhaps quieter reflection is in order…Readers who wouldn't ordinarily creep into a novel festooned with putrid flesh might be lured by this certifiably hip writer who can spin gore into macabre poetry.
—The Washington Post
Publishers Weekly
While the revolution will not be televised, the apocalypse and what comes after, at least according to Whitehead (Sag Harbor), will have sponsors. It will even have an anthem, the brilliantly self-referential "Stop! Can You Hear the Eagle Roar?" (theme from Reconstruction). As we follow New Yorker and perpetual B-student "Mark Spitz" over three harrowing days, Whitehead dumpster dives genre tropes, using what he wants and leaving the rest to rot, turning what could have been another zombie-pocalypse gore-fest into the kind of smart, funny, pop culture–filled tale that would make George Romero proud. While many stories in this genre are set in a devastated nowheresville, Whitehead plants his narrative firmly in New York City, penning a love letter to a Manhattan still recognizable after the event referred to only as "Last Night." Far from the solemn affair so often imagined, the apocalypse in Whitehead's hands is filled with the kind of dark humor one imagines actual survivors adopting in order to stave off madness. The author sometimes lets the set pieces he's so good at run long, but otherwise succeeds brilliantly with a fresh take on survival, grief, 9/11, AIDS, global warming, nuclear holocaust, Katrina, Abu Ghraib, Pol Pot's Year Zero, Missouri tornadoes, and the many other disasters both natural and not that keep a stranglehold on our fears and dreams. (Oct.)
From the Publisher

PRAISE FOR ZONE ONE:
 
"THE BEST BOOK OF THE FALL...provides the chilling, fleshy pleasures of zombies who lurch, pursue, hunger...while brilliantly reformulating an old-hat genre."
--Esquire

“If you’re going to break down and read a zombie novel, make it this one.”
--The Wall Street Journal

[Whitehead] takes the genre of horror fiction, mines both its sense of humor and self-seriousness, and emerges with a brilliant allegory of New York living.”
-- New York Observer

"A zombie story with brains...Readers who wouldn't ordinarily creep into a novel festooned with putrid flesh might be lured by this certifiably hip writer who can spine gore into macabre poetry...Everything comes to life in this perfectly paced, horrific, 40-page finale shot through with grim comedy and desolate wisdom about the modern age in all its poisonous, contaminating rage. It's a remarkable episode, but elevated by the power of Whitehead's prose to the level of those other ash-covered nightmares imagined by T.S. Eliot, F. Scott Fitzgerald and Cormac MacCarthy.
--Ron Charles, The Washington Post

“Whitehead writes with a sharp, descriptive power, reeling off one pithy observation after the next in a way that invests this post-apocalyptic world with a surprisingly tactile presence.”
--The Associated Press
 
“Whitehead, himself a New Yorker, writes about Spitz’s travails in the brooding, vertical metropolis with a dark poetry, which makes this harrowing tale not just a juicy experiment in genre fiction but a brilliantly disguised meditation on a “flatlined culture” in need of its own rejuvenating psychic jolt.”
--The Seattle Times

"Highbrow novelist Colson Whitehead plunges into the unstoppable zombie genre in this subtle meditation on loss and love in a post-apocalyptic Manhattan, which has become the city that never dies."
--USA Today

"For-real literary -- gory, lyrical, human, precise."
--GQ

"A satirist so playful that you often don't even feel his scalpel, Whitehead toys with the shards of contemporary culture with an infectious glee. Here he upends the tropes of the zombie story in the canyons of lower Manhattan. Horror has rarely been so unsettling, and never so grimly funny."
--The Daily Beast

"Whitehead's uncommonly assured style and his observational gifts make the book a pleasure to read."
--Newsweek

"Whitehead writes with economy, texture and punch. He has a talent for sardonic aphorism and an ear for phonetic intrigue...[Zone One] is a cool, thoughtful and, for all its ludic violence, strangely tender novel, a celebration of modernity and a pre-emptive wake for its demise."
--Glen Duncan, for The New York Times Book Review

“As much as Whitehead was inspired by and occasionally references the ‘70s disaster movies that share DNA with Zone One, it’s his remarkable turns of phrase that lift the story above the gory rublle of a midday matinee. Whether charged with bleak sadness or bone-dry humor, sentences worth savoring pile up faster than the body count.”
--Los Angeles Times
 
Zone One takes in all the classic tropes of the zombie novel and blends them to create a novel both melancholy and feverishly exciting, one that is as much about our past and our present as any possible future.”
--Salon.com
 
“Whitehead writes in cinematic images, with a lucid command of language, a knack for comic invention and a blithe freedom.”
--The Kansas City Star
 
Zone One is an off-kilter love letter to a post-apocalypse Manhattan. It’s loaded with gallows survivor humor and absolutely stunning descriptions.”
--The Times-Picayune

“Cinematic in scope and nimble in its use of hard-core gore, [Zone One] is an absorbing read, crammed with thoughtful snapshots of the world the survivors have left behind…a sharp commentary on the rat race of contemporary life.”
--Houston Chronicle

"Colson Whitehead's ZONE ONE isn't your typical zombie novel; it trades fright-night fodder for empathy and chilling realism...yielding a haunting portrait of a lonely, desolate, and uncertain city."
--Elle

“A great read that’s snarky, scary, and profound.”--Parade

"Zone One is a smart, strange, engrossing novel about the end of metaphors and the way that, as Mark Spitz knows all to well, no barrier can hold forever against the armies of death."
--NPR.org

“The kind of smart, funny, pop culture-filled tale that would make George Romero proud…[Whitehead] succeeds brilliantly with a fresh take on survival, grief, 9/11, AIDS, global warming, nuclear holocaust, Katrina, Abu Ghraib, Pol Pot’s Year Zero, Missouri tornadoes, and the many other disasters both natural and not that keep a stranglehold on our fears.”
-- Publishers Weekly, starred review

"This diabolically smart, covertly sensitive, ruminative, and witty zombie nightmare prods us to think about how we dehumanize others, how society tramples and consumes individuals, how flimsy our notions of law and order are, and how easily deluded and profoundly vulnerable humankind is. A deft, wily, and unnerving blend of pulse-elevating action and sniper-precise satire."
--Booklist, starred review

"[Whitehead] sinks his teeth into a popular format and emerges with a literary feast, producing his most compulsively readable work to date...Whitehead transforms the zombie novel into an allegory of contemporary Manhattan (and, by extension, America)."
--Kirkus, starred review

"[Zone One] achieves a kind of miracle of tone. A fragile hope permeates these pages, one so painful and tender, it's heartbreaking...Colson Whitehead is in fresh, appealing and often very fine voice."
--The Guardian

"The stylistic exuberance on display would be overwhelming if it weren't so well controlled, shifting weightlessly from M*A*S*H-style battle narrative to a melancholic Blade Runner-like vision of Urban devastation...The smallest of details is marked by originality of language."
--The New Statesman

"Zone One is not the work of a serious novelist slumming it with some genre-novel cash-in, but rather a lovely piece of writing...Whitehead picks at our nervousness about order's thin grip, suggesting just how flimsy the societal walls are that make possible our hopes and dreams and overly complicated coffee orders. Pretty scary."
--Entertainment Weekly

“Colson Whitehead is quickly becoming one of the country’s most exciting young writers.”
--Rachel Syme for Monkey See, NPR.org

PRAISE FOR COLSON WHITEHEAD:

“[Whitehead’s] writing does what writing should do; it refreshes our sense of the world.”
John Updike, The New Yorker
 
“Colson Whitehead…[is] a large and vibrant talent…This is the voice of a writer who is watching America carefully.”
The New York Observer
 
“Whitehead is making a strong case for a new name of his own: that of the best of the new generation of American novelists.”
Boston Globe
 
“No novelist writing today is more engaging and entertaining when it comes to questions of race, class, and commercial culture than Colson Whitehead.”
USA Today
 
 “Whitehead has a David Foster Wallace-esque knack for punctuating meticulously figurative constructions with deadpan slacker wit….You can’t help but admire Whitehead’s writerly gifts.”
The Los Angeles Times
 
“Whitehead can write sentences like nobody’s business.”
Bloomberg

“Whitehead’s engaged eyes and precise prose show us the small details we overlook and the large ones we fail to absorb.”
The Miami Herald

“[Whitehead] writes wonderfully, commanding a lush, poetic, mellifluous prose instrument.”
The Nation
 
“Whitehead [is] one of the city’s and country’s finest young writers.”
Chicago Tribune
 
“Ebullient, supremely confident.”
San Diego Union Tribune
 
“A scientist of metropolitan encounters, he surveys places where the masses collide, knitting together hundreds of observations and calculations that usually remain unspoken.”
The Village Voice

Library Journal
The dead are stirring again! In the latest addition to the undead canon, a plague has decimated the earth and created hordes of suppurating, ravenous zombies. Zone One is Manhattan south of Canal Street, where the military has eradicated most of the dangerous zombies, but stragglers remain—lumbering living dead caught up in the mundane tasks of their former lives. Protagonist Mark Spitz is working with other volunteers to purge the stragglers from the city, and the narrative follows him over three harrowing days as he struggles with the aftereffects of Post-Apocalyptic Stress Disorder (PASD), his own loneliness, and the end of the world as he knows it. Things can't possibly get worse. Then, of course, they do. VERDICT MacArthur fellow Whitehead, known for his literary paeans to New York city and environs (The Colossus of New York; Sag Harbor), has fashioned a relentlessly bleak and decaying Big Apple made palatable by his biting wit and dark humor. Both gruesome and intelligent, this satiric take on the postapocalyptic horror genre offers the most literary nod to zombie-ism since Mary Shelley. [Twelve-city tour; see Prepub Alert, 4/11/11.]—Jeanne Bogino, New Lebanon Lib., NY
Kirkus Reviews

The zombie genre provides unlikely inspiration for the author's creative renewal.

Whitehead (Sag Harbor, 2009, etc.) never writes the same book twice, though his eclectic output had fallen short of the promise he flashed in his early novels(The Intuitionist,1998, etc.). Yet here he sinks his teeth into a popular format and emerges with a literary feast, producing his most compulsively readable work to date. Though there's enough chomp-and-spurt gorefest to satiate fans of the format, Whitehead transforms the zombie novel into an allegory of contemporary Manhattan (and, by extension, America), where "it was the business of the plague to reveal our family members, friends, and neighbors as the creatures they had always been" and the never-explained apocalypse "sentenced you to observe the world through the sad aperture of the dead, suffer the grossparody of your existence." The reader's guide through this particular circle of hell is a clean-up/extermination operative called Mark Spitz (for reasons that aren't worth the elaborate explanation the novel eventually gives). He was formerly employed as a social-network functionary for a Starbucks-style coffee chain, an occupation that seems even more ludicrous in the wake of a society transformed by hordes of organ-eating zombies. (A colleague's former occupation was "a sommelier at a high-end eatery in Cambridge that specialized in offal.")With its savage sense of humor and thematic ambitions, the narrative is to contemporary zombie novels what the movies of George Romero are to other zombie flicks.As survivors of the "Last Night" struggle through "PASD, or Post-Apocalyptic Stress Disorder," the government (located in Buffalo) peddles hope in the form of its "American Phoenix Rising" campaign, with its own power-ballad anthem: "Stop! Can You Hear the Eagle Roar? (Theme fromReconstruction)." When the protagonist was a child, he asked his father the meaning of the word "apocalypse." His father replied, "It means that in the future, things will be even worse than they are now." And, sure enough, they are.

The latest from a generation of literary novelists who are erasing the distinction between art and pulp.

The Barnes & Noble Review

Zombies eat human flesh, shamble, are bad conversationalists, and need to be shot through the head. Zombie epics usually end in a dismemberment frenzy or hard-won communal recovery. These things we know. Colson Whitehead knows them too — and much more — as exemplified by his nearly perfect new novel, Zone One, a sad, funny, and frightening tale that revitalizes a sometimes half-baked genre.

In Whitehead's version of the classic scenario, the world has just wakened from an extended nightmare: the spread of a zombie disease that has transformed millions and overwhelmed the rule of law. Hope has come in the form of a newly established central government in Buffalo and the creation of an experimental vaccine. Set over a period of three days, Zone One chronicles the efforts of a man nicknamed "Mark Spitz" and the other members of his Omega Unit to clear zombies from New York City.

Every good zombie story needs unique variations on its central subject matter, and Whitehead provides not one but two types of zombie: "skels" and "stragglers." Skels are the dangerous, fast, flesh-eating zombies — they provide the immediate sense of menace and terror in the novel. Stragglers are zombies lost in a memory loop who, oblivious to the wider world, perform some repetitive act, like making photocopies in the business that employed them prior to their transformation. They suggest more existential problems, especially the haunting and pointed descriptions of generic workplaces that force the reader to ask the uncomfortable question, "What was the point of all of this before the zombie attacks?"

As the Omega Unit terminates skels and stragglers alike, the novel also opens up to show how Spitz survived Last Night the name used for the moment the epidemic began, two years before the novel's action and dangerous encounters on his journeys thereafter. In a sample of the surreal wit Whitehead brings to the story, we learn that Spitz, a black man who can't swim, received his nickname on a prior mission when he shot his way out of a zombie trap rather than escape by diving into a river. Not that it bothers him: "No harm. Affront was a luxury like shampoo and affection." As the equation of affection with luxury suggests, the physical threat posed by the zombies is often not as dire as the emotional threat posed by other human beings. Spitz has survived by not allowing himself to become close to people who might soon rob him, try to kill him, or be devoured by zombies. He even has three versions of his personal Last Night story, each of which reveals more of the truth: the Silhouette, the Anecdote, and the Obituary.

These flashbacks deepen characterization but also allow Whitehead to deploy almost every possible zombie attack scenario. The novel teems with lovingly staged, truly terrifying scenes, from hiding out in a toy store while "necrotic multitudes" march past in a "sick procession" to a stand-off at a farm that is as much about the psychology of the besieged as about the zombies outside.

These are more than moments of suspense or straight-out horror, though Whitehead whose early novel The Intuitionist also deployed a fantastical scenario to raise stirringly real questions is interested in the consequences of the rise of the zombies, social and psychological. For example, survivors are diagnosed with Post-Apocalyptic Stress Disorder, which, in a darkly humorous passage, manifests through every possible symptom, from "being 'jumpy'" to "diarrhea." Although Whitehead skewers aspects of PASD's description by the government, he also takes the implications seriously. Spitz's fellow Omega Unit zombie killers are both damaged people. The devil-may-care Gary calls zombies "squares," "suckers," and "saps," as if they were the naïve victims of some elaborate con he would never fall for. The "stickler" Kaitlyn, who survived a terrible trauma on a train, keeps both Spitz and Gary in line as part of her coping mechanism. Other well-conceived touches include looting regulations that protect only those corporate brands that actively sponsor the government's efforts and the miraculous survival of three triplets born at a compromised outpost held up as both a symbol of hope and of an absurd and outdated sentimentality.

"Every race, color, and creed was represented in this [zombie] congregation that funneled down the avenue," writes Whitehead late in the novel, as Spitz encounters new threats. "As it had been before, per the myth of this melting-pot city. The city did not care for your story, the particular narrative of your reinvention; it took them all in." In a similar way, Zone One takes in all the classic tropes of the zombie novel and blends them to create a novel both melancholy and feverishly exciting, one that is as much about our past and our present as any possible future.

Jeff VanderMeer's latest book is The Steampunk Bible.

Reviewer: Jeff VanderMeer

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Product Details

  • ISBN-13: 9780307455178
  • Publisher: Knopf Doubleday Publishing Group
  • Publication date: 7/10/2012
  • Edition description: Reprint
  • Pages: 336
  • Sales rank: 122,547
  • Product dimensions: 5.20 (w) x 8.00 (h) x 0.70 (d)

Meet the Author

Colson Whitehead
COLSON WHITEHEAD is the author of the national best seller Sag Harbor and the novels The Intui tionist, John Henry Days, and Apex Hides the Hurt, as well as The Colossus of New York, a collection of essays. A recipient of a Whiting Writers’ Award and a MacArthur Fellowship, he lives in New York City.

Biography

Born in 1969 and raised in Manhattan, Colson Whitehead received his undergraduate degree from Harvard. After graduation, he went to work for the Village Voice as a book , television, and music reviewer.

Whitehead's first novel, The Intuitionist, was published in 1999 and was a finalist for the PEN/Hemingway and a winner of the Quality Paperback Book Club's New Voices Award. In 2001, he published John Henry Days, a startlingly original retelling of the famous story from American folklore. The novel received several honors and was shortlisted for the National Book Critics Circle Award and the Pulitzer Prize. In 2003, a collection of his essays, The Colossus of New York, was named a New York Times Notable Book of the year.

Whitehead's writing continues to attract awards, rave reviews, and a devoted, avid readership. In between books, he produces reviews, essays, short stories, and cultural commentary for a number of distinguished publications, including The New York Times, The New Yorker, Harper's, and Granta. He is the recipient of a coveted MacArthur Fellowship (dubbed the "genius grant") , a Whiting Writers Award, and a fellowship at the Cullman Center for Scholars and Writers

Good To Know

In our interview, Colson Whitehead shared some fascinating facts about himself:

"Where do I get my ideas? Usually I come across some strange fact in a book, or article, or tv show and think, That's weird, wouldn't it be kooky if...?"

"I like to write in the nude -- I find the gentle breezes tickle the fine hairs of creativity."

"Here are some of the things I like: staying in the house all day, screening phone calls, keeping the shades drawn. Deglazing. Oh, how I love to deglaze."

"Here's what I dislike: performance art, people who walk slowly in front of me, romantic comedies, panel discussions."

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    1. Hometown:
      Brooklyn, NY
    1. Date of Birth:
      November 6, 1969
    2. Place of Birth:
      New York, NY
    1. Education:
      Harvard College, BA in English & American Literature
    2. Website:

Read an Excerpt

He always wanted to live in New York. His Uncle Lloyd lived downtown on Lafayette, and in the long stretches between visits he daydreamed about living in his apartment. When his mother and father dragged him to the city for that season's agreed-upon exhibit or good-for-you Broadway smash, they usually dropped in on Uncle Lloyd for a quick hello. These afternoons were preserved in a series of photographs taken by strangers. His parents were holdouts in an age of digital multiplicity, raking the soil in lonesome areas of resistance: a coffee machine that didn't tell time, dictionaries made out of paper, a camera that only took pictures. The family camera did not transmit their coordinates to an orbiting satellite. It did not allow them to book airfare to beach resorts with close access to rain forests via courtesy shuttle. There was no prospect of video, high-def or otherwise. The camera was so backward that every lurching specimen his father enlisted from the passersby was able to operate it sans hassle, no matter the depth of cow-eyed vacancy in their tourist faces or local wretchedness inverting their spines. His family posed on the museum steps or beneath the brilliant marquee with the poster screaming over their left shoulders, always the same composition. The boy stood in the middle, his parents' hands dead on his shoulders, year after year. He didn't smile in every picture, only that percentage culled for the photo album. Then it was in the cab to his uncle's and up the elevator once the doorman screened them. Uncle Lloyd dangled in the doorframe and greeted them with a louche "Welcome to my little bungalow."

As his parents were introduced to Uncle Lloyd's latest girlfriend, the boy was down the hall, giddy and squeaking on the leather of the cappuccino sectional and marveling over the latest permutations in home entertainment. He searched for the fresh arrival first thing. This visit it was the wireless speakers haunting the corners like spindly wraiths, the next he was on his knees before a squat blinking box that served as some species of multimedia brainstem. He dragged a finger down their dark surfaces and then huffed on them and wiped the marks with his polo shirt. The televisions were the newest, the biggest, levitating in space and pulsing with a host of extravagant functions diagrammed in the unopened owner's manuals. His uncle got every channel and maintained a mausoleum of remotes in the storage space inside the ottoman. The boy watched TV and loitered by the glass walls, looking out on the city through smoky anti-UV glass, nineteen stories up.

The reunions were terrific and rote, early tutelage in the recursive nature of human experience. "What are you watching?" the girlfriends asked as they padded in bearing boutique seltzer and chips, and he'd say "The buildings," feeling weird about the pull the skyline had on him. He was a mote cycling in the wheels of a giant clock. Millions of people tended to this magnificent contraption, they lived and sweated and toiled in it, serving the mechanism of metropolis and making it bigger, better, story by glorious story and idea by unlikely idea. How small he was, tumbling between the teeth. But the girlfriends were talking about the monster movies on TV, the women in the monster movies bolting through the woods or shriveling in the closet trying not to make a sound or vainly flagging down the pickup that might rescue them from the hillbilly slasher. The ones still standing at the credit roll made it through by dint of an obscure element in their character. "I can't stand these scary stories," the girlfriends said before returning to the grown-ups, attempting an auntly emanation as if they might be the first of their number promoted to that office. His father's younger brother was fastidious when it came to expiration dates.

He liked to watch monster movies and the city churning below. He fixed on odd details. The ancient water towers lurking atop obstinate old prewars and, higher up, the massive central-air units that hunkered and coiled on the striving high-rises, glistening like extruded guts. The tar-paper pates of tenements. He spotted the occasional out-of-season beach chair jackknifed on gravel, seemingly gusted up from the street below. Who was its owner? This person staked out corners of the city and made a domain. He squinted at the slogans cantering along stairwell entrances, the Day-Glo threats and pidgin manifestos, a.k.a.'s of impotent revolutionaries. Blinds and curtains were open, half open, shut, voids in a punch card decipherable only by defunct mainframes lodged in the crust of unmarked landfills. Pieces of citizens were on display in the windows, arranged by a curator with a taste for non sequitur: the splayed pinstriped legs of an urban golfer putting into a colander; half a lady's torso, wrapped in a turquoise blazer, as glimpsed through a trapezoid; a fist trembling on a titanium desk. A shadow bobbed behind a bathroom's bumpy glass, steam slithering through the slit.

He remembered how things used to be, the customs of the skyline. Up and down the island the buildings collided, they humiliated runts through verticality and ambition, sulked in one another's shadows. Inevitability was mayor, term after term. Yesterday's old masters, stately named and midwifed by once-famous architects, were insulted by the soot of combustion engines and by technological advances in construction. Time chiseled at elegant stonework, which swirled or plummeted to the sidewalk in dust and chips and chunks. Behind the façades their insides were butchered, reconfigured, rewired according to the next era's new theories of utility. Classic six into studio honeycomb, sweatshop killing floor into cordoned cubicle mill. In every neighborhood the imperfect in their fashion awaited the wrecking ball and their bones were melted down to help their replacements surpass them, steel into steel. The new buildings in wave upon wave drew themselves out of rubble, shaking off the past like immigrants. The addresses remained the same and so did the flawed philosophies. It wasn't anyplace else. It was New York City.

The boy was smitten. His family stopped by Uncle Lloyd's every couple of months. He drank the seltzer, he watched monster movies, he was a sentry at the window. The building was a totem sheathed in blue metal, a changeling in the nest of old walk-ups. The zoning commission had tucked the bribes into their coats, and now there he was, floating over the tapering island. There was a message there, if he could teach himself the language. On rainy-day visits the surfaces of the buildings were pitiless and blank, as they were this day, years later. With the sidewalks hidden from view, the boy conjured an uninhabited city, where no one lived behind all those miles and miles of glass, no one caught up with loved ones in living rooms filled with tasteful and affirming catalog furniture, and all the elevators hung like broken puppets at the end of long cables. The city as ghost ship on the last ocean at the rim of the world. It was a gorgeous and intricate delusion, Manhattan, and from crooked angles on overcast days you saw it disintegrate, were forced to consider this tenuous creature in its true nature.

If you'd asked him on any of those childhood afternoons what he wanted to be when he grew up--tapping his shoulder as the family car inserted itself into the queue for the Midtown Tunnel or as they hummed toward their exit on the Long Island Expressway--he would have had nothing to offer with regards to profession or avocation. His father wanted to be an astronaut when he was a kid, but the boy had never been anything but earthbound, kicking pebbles. All he was truly sure of was that he wanted to live in a city gadget, something well-stocked and white-walled, equipped with rotating bosomy beauties. His uncle's apartment resembled the future, a brand of manhood waiting on the other side of the river. When his unit finally started sweeping beyond the wall--whenever that was--he knew he had to visit Uncle Lloyd's apartment, to sit on the sectional one last time and stare at the final, empty screen in the series. His uncle's building was only a few blocks past the barrier and he found himself squinting at it when it strode into view. He searched for the apartment, counting metallic blue stories and looking for movement. The dark glass relinquished nothing. He hadn't seen his uncle's name on any of the survivor rolls and prayed against a reunion, the slow steps coming down the hall.

If you'd asked him about his plans at the time of the ruin, the answer would have come easily: lawyering. He was bereft of attractive propositions, constitutionally unaccustomed to enthusiasm, and generally malleable when it came to his parents' wishes, adrift on that gentle upper-middle-class current that kept its charges cheerfully bobbing far from the shoals of responsibility. It was time to stop drifting. Hence, law. He was long past finding it ironic when his unit swept a building in that week's grid and they came upon a den of lawyers. They slogged through the blocks day after day and there had been too many firms in too many other buildings for it to have any novelty. But this day he paused. He slung his assault rifle over his shoulder and parted the blinds at the end of the corridor. All he wanted was a shred of uptown. He tried to orient himself: Was he looking north or south? It was like dragging a fork through gruel. The ash smeared the city's palette into a gray hush on the best of days, but introduce clouds and a little bit of precip and the city became an altar to obscurity. He was an insect exploring a gravestone: the words and names were crevasses to get lost in, looming and meaningless.

This was the fourth day of rain, Friday afternoon, and a conditioned part of him submitted to end-of-the-week lassitude, even if Fridays had lost their meaning. Hard to believe that reconstruction had progressed so far that clock-watching had returned, the slacker's code, the concept of weekend. It had been a humdrum couple of days, reaffirming his belief in reincarnation: everything was so boring that this could not be the first time he'd experienced it. A cheerful thought, in its way, given the catastrophe. We'll be back. He dropped his pack, switched off the torch in his helmet, and pushed his forehead to the glass as if he were at his uncle's, rearranging the architecture into a message. The towers emerged out of smudged charcoal, a collection of figments and notions of things. He was fifteen floors up, in the heart of Zone One, and shapes trudged like slaves higher and higher into midtown.

They called him Mark Spitz nowadays. He didn't mind.

Mark Spitz and the rest of Omega Unit were half done with 135 Duane Street, chugging down from the roof at a productive clip. All clear so far. Only a few signs of mayhem in the building. A ransacked petty cash drawer on eighteen, half-eaten takeout rotting on scattered desks: superannuated currency and the final lunches. As in most businesses they swept, the offices had shut their doors before things completely deteriorated. The chairs were snug at their desks, where they had been tucked by the maintenance crew on their last night of work, the last sane evening in the world, only a few askew and facing the doors in trample-exit disarray.

In the silence, Mark Spitz signed off on a rest period for himself. Who knew? If things had been otherwise, he might have taken a position in this very firm, once he completed the obstacles attendant to a law degree. He'd been taking prep classes when the curtain fell and hadn't worried about getting in somewhere, or graduating or getting some brand of job afterward. He'd never had trouble with the American checklist, having successfully executed all the hurdles of his life's stages, from preschool to junior high to college, with unwavering competence and nary a wobble into exceptionality or failure. He possessed a strange facility for the mandatory. Two days into kindergarten, for example, he attained the level of socialization deemed appropriate for those of his age and socioeconomic milieu (sharing, no biting, an almost soulful contemplation of instructions from people in authority) with a minimum of fuss. He nailed milestone after developmental milestone, as if every twitch were coached. Had they been aware of his location, child behaviorists would have cherished him, observing him through binoculars and scratching their ledgers as he confirmed their data and theories in his anonymous travails. He was their typical, he was their most, he was their average, receiving hearty thumbs-ups from the gents in the black van parked a discreet distance across the street. In this world, however, his reward was that void attending most human endeavor, with which all are well acquainted. His accomplishments, such as they were, gathered on the heap of the unsung.

Mark Spitz kept his eyes open and watched his environment for cues, a survivalist even at a tender age. There was a code in every interaction, and he tuned in. He adjusted easily to the introduction of letter grades, that first measure of one's facility with arbitrary contests. He staked out the B or the B chose him: it was his native land, and in high school and college he did not stray over the county line. At any rate his lot was irrevocable. He was not made team captain, nor was he the last one picked. He sidestepped detention and honor rolls with equal aplomb. Mark Spitz's high school had abolished the yearbook practice of nominating students the Most Likely to Do This or That, in the spirit of universal self-esteem following a host of acrimonious parent-teacher summits, but his most appropriate designation would have been Most Likely Not to Be Named the Most Likely Anything, and this was not a category. His aptitude lay in the well-executed muddle, never shining, never flunking, but gathering himself for what it took to progress past life's next random obstacle. It was his solemn expertise.

Got him this far.

He burped up some of that morning's breakfast paste, which had been concocted, according to the minuscule promises on the side of the tube, to replicate a nutritionist's concept of how mama's flapjacks topped with fresh blueberries tasted. His hand leaped to his mouth before he remembered he was alone. The attorneys had leased four floors, a sleek warren, and hadn't been doing too bad for themselves from the extent of their renovation. The floors above were chopped up into drab and modest suites, with dreary watercolors hooked into the spongy drywall of the waiting rooms and the same scuffed puke-pink tiles underfoot. Amenable leases made for a varied group of tenants, as motley as the collection found in the average rush-hour subway car. His unit swept consulting firms with fleet and efficient-sounding names, they poked through the supply rooms of prosthetics dealers and mail-order seed companies. They swept travel agencies nearly extinct in an internet age, the exhortations and invitations on the posters hitting shrill and desperate registers. On nineteen, they walked in formation through the soundproofed rooms of a movie-production house that specialized in straight-to-video martial arts flicks and in the gloom mistook a cardboard cutout of an action hero for a hostile. They were in the same kind of places day after day. Keys for the communal bathrooms down the hall hung on His and Hers hooks in Reception, affixed to broad plastic tongues. Recycled paper stretched expectantly across tables in doctors' examination rooms like a smear of oatmeal and the magazines in the waiting rooms described an exuberant age now remote and hard to reconcile. It was impossible to find a gossip magazine or newsweekly that had been published beyond a certain date. There was no more gossip and no more news.

When they stepped into the lawyers' suite they stumbled into a sophisticated grotto, as if the floors had been dealt into the building from some more upscale deck. In the waiting room, their helmet lights roved over the perplexing geometric forms in the carpet that they sullied with their combat boots, the broad panels of dark zebra wood covering the walls with elegant surety, and the low, sleek furniture that promised bruises yet, when tested, compressed one's body according to newly discovered principles of somatic harmony. Their three lights converged on the portrait of a man with flinty eyes and the narrowed mouth of a peckish fox--one of the founding fathers keeping watch from the great beyond. After a pause their lights diverged again, groping for movement in the corners and dark places.

Mark Spitz felt it the instant they pushed in the glass doors and saw the firm's name hovering in grim steel letters over the receptionist's desk: these guys will crush you. Tradition and hard deals, inviolable fine print that would outlast its framers. He didn't know the nature of their practice. Perhaps they only represented charities and nonprofits, but in that case he was sure their clients out-healed, out-helping-handed, overall out-charitied their competing charities, if it can be said that charities competed with one another. But of course they must, he thought. Even angels are animals.

Once inside, the unit split up and he swept solo through the workstations. The office furniture was hypermodern and toylike, fit for an app garage or a graphic-design firm keen on sketching the future. The surfaces of the desks were thick and transparent, hacked out of plastic and elevating the curvilinear monitors and keyboards in dioramas of productivity. The empty ergonomic chairs posed like amiable spiders, whispering a multiplicity of comfort and lumbar massage. He saw himself aloft on the webbing of the seat, wearing the suspenders and cuff links of his tribe, releasing wisps of unctuous cologne whenever he moved his body. Bring me the file, please. He goosed a leprechaun bobblehead with his assault rifle and sent it wiggling on its spring. Per his custom, he avoided looking at the family pictures.

He interpreted: We are studied in the old ways, and acolytes of what's to come. A fine home for a promising young lawyer. For all that had transpired outside this building in the great unraveling, the pure industry of this place still persisted. Insisting on itself. He felt it in his skin even though the people were gone and all the soft stuff was dead. Moldering lumps shot out tendrils in the common-area fridges, and the vicinities of the dry water-coolers were devoid of shit-shooting idlers, but the ferns and yuccas were still green because they were plastic, the awards and citations remained secure on the walls, and the portraits of the bigwigs preserved one afternoon's calculated poses. These things remained.

He heard three shots from the other end of the floor, in familiar staccato--Gary shooting open a door. Fort Wonton warned them repeatedly about brutalizing, vandalizing, or even extending the odd negative vibe toward the properties whenever possible, for obvious reasons. For convenience's sake, Buffalo printed up No-No Cards--laminated instruction squares that the sweepers were supposed to keep on their persons at all times. The broken window with the red circle and diagonal line across it was at the top of the deck. Gary couldn't restrain himself, however, future tenants and the grand design be damned. Why use the doorknob when you could light it up? "They can fix it when they move in," Gary said, as the smoke cleared from the C-4 he'd used to vaporize the door of an Italian restaurant's walk-in freezer. His crazy grin. As if cleaning up after semiautomatic fire were the same as touching up dings in the plaster where the previous tenants had hung their black-and-white landscapes. Gary dematerialized the half-closed curtains of department-store dressing rooms, converted expensive Japanese room dividers into twisting confetti, and woe to bathroom stalls with sticky hinges.

"Coulda been one of them in there trying to remember how to take a piss," Gary explained.

"Never heard of such a case," Kaitlyn said.

"This is New York City, man."

Kaitlyn rationed him to one unnecessary act of carnage per floor and Gary made the appropriate adjustments, even applying timeworn principles of suspense to when he attacked his targets. They never knew when he'd strike next. He had just made his selection for the fifteenth floor.

Mark Spitz got in gear. Gary was close and he wanted to look busy in order to head off any wisecracks about his work ethic. He turned from the window and briefly caught an edge of last night's dream--he was in the country, undulating farmland, perhaps at Happy Acres--before it squirmed away. He shook it off. He kicked in the door to Human Resources, thought "Maybe I'll come back and ask for a job when this is all over," and saw his error.

The door was not the issue. After all this time in the Zone, he knew the right place to slam these keypad doors so that they popped open, presto. The mistake lay in succumbing to the prevailing delusions. Giving in to that pandemic of pheenie optimism that was inescapable nowadays and made it hard to breathe, a contagion in its own right. They were on him in an instant.

They had been there since the beginning, the four of them. Perhaps one had been attacked down on the pavement by "some nut," that colorful metropolitan euphemism, and was sent home after getting a few stitches at the local underfunded ER--Do you have your insurance card handy?--before they understood the nature of the disaster. Then she turned feral and one lucky coworker made it out in time, locked the door, and left her cubicle-mates to fend for themselves. Some variation on that story. No one came back to help because they were overcome by their own situations.

He was the first live human being the dead had seen since the start, and the former ladies of HR were starving. After all this time, they were a thin membrane of meat stretched over bone. Their skirts were bunched on the floor, having slid off their shrunken hips long ago, and the dark jackets of their sensible dress suits were made darker still, and stiffened, by jagged arterial splashes and kernels of gore. Two of them had lost their high heels at some point during the long years of bumping around the room looking for an exit. One of them wore the same brand of panties his last two girlfriends had favored, with the distinctive frilled red edges. They were grimed and torn. He couldn't help but notice the thong, current demands on his attention aside. He'd made a host of necessary recalibrations but the old self made noises from time to time. Then that new self stepped in. He had to put them down.

The youngest one wore its hair in a style popularized by a sitcom that took as its subject three roommates of seemingly immiscible temperaments and their attempts to make their fortune in this contusing city. A crotchety super and a flamboyant neighbor rounded out the ensemble, and it was still appointment television, a top-ten show, at the time of the disaster. The hairdo was called a Marge, after Margaret Halstead, the charmingly klutzy actress who'd trademarked it in the old days of red carpets and flirty tête-à-têtes on late-night chat shows. She hadn't done anything for Mark Spitz--too skinny--but the legions of young ladies who fled their stunted towns and municipalities to reinvent themselves in the Big City recognized something in her flailings, and fetishized this piece of her. They had been reeled in by the old lie of making a name for oneself in the city; now they had to figure out how to survive. Hunt-and-gather rent money, forage ramen. In this week's written-up clubs and small-plate eateries, loose flocks of Marges were invariably underfoot, sipping cinnamon-rimmed novelty cocktails and laughing too eagerly.

The Marge nabbed Mark Spitz first, snatching his left bicep and taking it in its teeth. It never looked at his face, ferocious on the mesh of his fatigues and aware exclusively of the meat it knew was underneath. He'd forgotten how much it hurt when a skel tried to get a good chomp going; it had been some time since one had gotten this close. The Marge couldn't penetrate the intricate blend of plastic fibers--only an idiot cast aspersions on the new miracle fabric, born of plague-era necessity--but each rabid sally sent him howling. The rest of Omega would be here soon, tromping down the halls. He heard the sound of teeth splintering. The sweepers were supposed to stay together, the Lieutenant was firm about that, to prevent this very situation. But the last few grids had been so quiet, they hadn't stuck to orders.

The Marge was occupied for the moment--it took time for their diminished perceptions to catch on to the futility of the enterprise--so he directed his attention to the skel charging from two o'clock.

The bushy eyebrows, the whisper of a mustache--it was hard to avoid recognizing in this one his sixth-grade English teacher, Miss Alcott, who had diagrammed sentences in a soupy Bronx accent and fancied old-style torpedo bras. She smelled of jasmine when she passed his desk, plucking vocab quizzes. He'd always had a soft spot for Miss Alcott.

This one was probably the first infected. Everything below its eyes was a dark, gory muzzle, the telltale smear produced when a face burrowed deep into live flesh. Just another day at the office when she gets bit by some New York whacko while loading up on spring mix at the corner deli's Salad Lounge. Full of plague but unaware. That night the shivers came, and the legendary bad dreams everyone had heard about and prayed against--the harbingers, the nightmares that were the subconscious rummaging through a lifetime for some kind of answer to or escape from this trap. With those early strains, you might last a whole day without flipping. She returns to her cubicle the next day because she hadn't taken a sick day in years. Then transformation.

It happened every so often that he recognized something in these monsters, they looked like someone he had known or loved. Eighth-grade lab partner or lanky cashier at the mini-mart, college girlfriend spring semester junior year. Uncle. He lost time as his brain buzzed on itself. He had learned to get on with the business at hand, but on occasion Mark Spitz fixed on eyes or a mouth that belonged to someone lost, actively seeking concordance. He hadn't decided if conjuring an acquaintance or loved one into these creatures was an advantage or not. A "successful adaptation," as the Lieutenant put it. When Mark Spitz thought about it--when they were bivouacked at night in some rich fuck's loft or up to their chins in their sleeping bags on the floor of a Wall Street conference room--perhaps these recognitions ennobled his mission: He was performing an act of mercy. These things might have been people he knew, not-quites and almost-could-be's, they were somebody's family and they deserved release from their blood sentence. He was an angel of death ushering these things on their stalled journey from this sphere. Not a mere exterminator eliminating pests. He shot Miss Alcott in the face, converting resemblance to red mist, and then all the air was wrung from his chest and he was on the carpet.

The one in the candy-pink dress suit had tackled him--the Marge wrenched him off-balance with her aggressive pursuit, and he couldn't right himself once this new one rammed him. It straddled him and he felt the rifle grind into his back; he'd slung it over his shoulder during his pit stop by the window. He looked into the skel's spiderweb of gray hair. The jutting pins, the dumb thought: How long did it take for its wig to fall off? (Time slowed down in situations like this, to grant dread a bigger stage.) The thing on top of him clawed into his neck with its seven remaining fingers. The other fingers had been bitten off at the knuckle and likely jostled about in the belly of one of its former coworkers. He realized he'd dropped his pistol in the fall.

Surely this one possessed the determination befitting a true denizen of Human Resources, endowed by nature and shaped by nurture into its worthy avatar. The plague's recalibration of its faculties only honed the underlying qualities. Mark Spitz's first office job had involved rattling a mail cart down the corridors of a payroll company located in a Hempstead office park not too far from his house. As a child he'd decided the complex was some sort of clearinghouse for military intelligence, mistaking its impassive façades for clandestine power. The veil was lifted the first day. The other guys in the mail room were his age and when his boss shut the door to his office they got a splendid doofus chorus going. The only downer was the ogre head of Human Resources, who'd been relentless about Mark Spitz's paperwork, downright insidious about his W-this, W-that, the proper credentials. She served the places where human beings were paraphrased into numbers, components of bundled data to be shot out through fiber-optic cable toward meaning.

"Your check can't be processed without complete paperwork." How was he supposed to know where his Social Security card was? His bedroom was a dig. He needed special excavating tools to find socks. "You're not in the system. You might as well not exist." Where was The System now, after the calamity? It had been an invisible fist floating above them for so long and now the fingers were open, disjoined, and everything slipped through, everything escaped. By August he'd scurried back to the service industry, doling out pomegranate martinis on Ladies' Wednesdays. He tried to heave Human Resources off him. The skel's eyes dipped to the soft meat of his face. It went in for a bite.

Like most of the grunts in the sweeper units, he declined to wear his faceplate, despite the regulations, No-No Card, and all the times he'd witnessed that decision turn out poorly. You couldn't hump forty pounds of equipment up a New York City high-rise while fogging up a plastic faceplate. Supply lines were still a broken mess all around, and the sweepers were the lowest priority in everything except when it came to bullets. Everybody had enough bullets, from the Northeast Corridor to Omaha to Zone One, now that Buffalo had Barnes up and running, the former home-makers and chronic asthmatics and assorted old biddies on the assembly lines cranking out ammo day and night. Nowadays, Rosie the Riveter was a former soccer mom who had just opened her own catering business when Last Night came down and her husband and kids were eaten by a parking attendant at the local megamall's discount-appliance emporium.

Priorities: First Buffalo got what they needed, then the military, then civilian population, and finally the sweepers. Which meant Mark Spitz didn't have proper face gear, one of those fancy marine numbers with the lightweight impenetrable wire, proper ventilation, and neck sheathing. He'd seen one sad sack who patrolled in a goalie's mask--an affectation, really, because it was too easy for one of the skels to rip it off. Some of the guys in the other units had taken to drilling air holes into the thick plastic faceplate, and he made a note to try that last trick if he made it out of this mess. Face gear or no, however, you never wanted to get pinned.

First time he saw someone get pinned by a group of them was in the early days, must have been, because he was still trying to get out of his neighborhood. An invisible barrier surrounded his zip code, each opportunity for escape was undermined by his certainty that things were about to go back to normal, that this savage new reality could not hold. He was wending to the strip mall half a mile from his house--civilization's nearest representative consisted of the 24-7 gas-and-cigarette vendor, the famously grim pizza-and-sub place, and a moribund dry cleaner, that reliable exacerbator of stains. Mark Spitz had spent the night up in the arms of an oak, the first of many tree-limb slumber parties to come. It occurred to him that if anyone was equipped for this "new situation," it was Mr. Provenzano and the reputed arsenal he had stashed in the basement of the pizza shop. The basement weapons stash was a sturdy and beloved topic of speculation among mayhem-adoring kids and insinuating grown-ups alike, fed by rumors of mob-induction ceremonies and a robust lore centered around the meat grinder.

Mark Spitz didn't know if the pizza shop was accessible, but it was a better prospect than the silenced lanes of New Grove, the subdivision his parents had moved to thirty years before, their wedding gifts sitting in the foyer when they returned from their honeymoon. He waited for daylight and beat his numb legs and arms to get the blood into them. Then he cut through the clutch backyards, the hardwired shortcuts from his kid days, and crept and scrambled around the half-finished mini-mansion on Claremont trying to get the lay of the street before making a break for the main road. The construction company had lost liquidity the year before and his parents complained about the eyesore as if under contractual obligation. The plastic sheets rippling where there should have been walls, the great mounds of orange dirt that seeped out in defeat after every rain. It was a breeding ground for mosquitoes, his parents fussed. They spread sickness.

The old man came jogging down the asphalt. A gray cardigan flapped over his bare chest, and green plaid pants cut off a comical length above his slippers, which were secured to his feet with black electrical tape. Six of the devils congregated on the lawn of a mock Tudor halfway down the street, and they turned at the sound of him. The old man ran faster, veering to arc around them, but he didn't make it. Dark aviator glasses covered his eyes and he had a wireless rig stuck in his ear, into which he narrated his progress. Was the old man actually talking to someone? The phones were dead, all the stalwart and dependable networks had ceased to be, but maybe the authorities were fixing things out there, Mark Spitz remembered thinking, the government was getting control. Authority laying on hands. Two of them got the old man down and then all of them were on him like ants who received a chemical telegram about a lollipop on the sidewalk. There was no way the old man could get up. It was quick. They each grabbed a limb or convenient point of purchase while he screamed. They began to eat him, and his screaming brought more of them teetering down the street. All over the world this was happening: a group of them hears food at the same time and they twist their bodies in unison, that dumb choreography. A cord of blood zipped up out of their huddle, hanging--that's how he always recalled it, that's what he saw as he ducked down behind the cinder blocks and watched. A length of red string pinned briefly to the air, until the wind knocked it away. They didn't fight over the old man. They each got a piece. Of course there couldn't have been anyone at the other end of the call because the phones never came back on. The old man had been barking into the void.

Let them pin you and you were dead. Let them pin you and there was no way to stop them from ripping off whatever pitiful armor you'd wrapped yourself in, stuck your hopes to. They'd get you. He had wafted through damp summer afternoons at Long Beach, amid the chewy scent of fried clams. Cartoon lobster on the thin plastic bib, the stupefying melody of the predatory ice-cream truck. (Yes, time slowed down to give those competing factions in him room to rumble, the dark and the light.) They'd wrestle Mark Spitz out of his fatigues the way he'd pried meat out of claws, tails, shells. They were a legion of teeth and fingers. He grabbed Human Resources' wispy hair and yanked its head out of its advance toward his nose. He didn't have a free hand to grab his knife, but he pinpointed the place in its skull where he would have stuck it. He looked after his pistol. It lay near his waist. The Marge was on its knees, creeping down his arm to the gap between the mesh sleeve and glove. The light was such that he saw his face reflected in Human Resources' milky eyes, fixed in that mindless void. Then he felt the fourth skel grab his leg and he lost himself.

He had the forbidden thought.

He woke. He bucked Human Resources off his chest and it tumbled onto the Marge. Mark Spitz grabbed his pistol and shot it in the forehead.

The fourth one tried to grit down on his leg and was thwarted by his fatigues. Most of the meat in its face had been chewed away. (He'd seen, in that first week, a Samaritan administer chest compresses to a stricken fellow citizen, lean down to give mouth-to-mouth, and have his nose ripped off.) Thin, wide loops of gold dangled from its earlobes, chiming against each other as it scuttled up his body, and he aimed at a place at the top of its skull and put it down.

Gary said, "I got you." Gary kicked the Marge off him and held its shoulder down with his boot.

Mark Spitz turned his face to avoid the spray, squeezing his lips into a crack. He heard two shots. All four were down.

"Mark Spitz, Mark Spitz," Gary said. "We didn't know you liked the older ladies."

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Customer Reviews

Average Rating 3
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See All Sort by: Showing 1 – 20 of 103 Customer Reviews
  • Posted October 25, 2011

    Fiction or text book?

    I found this book to be very long winded and uninspired. I understand the need for background material but it seems to me the author got lost in detailing everything he saw as a remembrance of things past. I read fiction to escape and have experiences for the thrill of it, there was little escapism. The cerebral prose presented here seems to be more about the author being verbose and intellectual pursuits. I couldn't wait to get to the end of this book so I could read something else.

    11 out of 15 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted November 21, 2011

    Big letdown

    I like zombies and I like literatire, so why didnt I like this book?? Too slow, no real plot, flat characters and a somewhat pretentious writing style. Colson can write absolutely beautiful passages but the beauty gets bogged down and overdone. Reminds me a little bit of Tim Gunn telling Project Runway contestants to "edit, edit, edit" their work. Sadly even editing his excess wording wouldnt have been able to save this novel.. I'm giving up after reading the first third.

    9 out of 13 people found this review helpful.

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  • Anonymous

    Posted February 13, 2012

    Should have been better

    You can tell the author is a good writer, but the story kind of meanders nowhere There are awesome passages that lead to nothing I'd buy it on nook for four bucks but NOT 12. Disappointing, it could have been awesome.

    5 out of 6 people found this review helpful.

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  • Anonymous

    Posted February 9, 2012

    Had to quit

    I am only on page 34, but just cannot find the energy to go any further. The author drones on and on in this wandering stream of conscience prose that doesn't seem to ever end or even push you forward. Then it is like he snaps out of it and writes a couple of paragraphs of plot, but quickly falls back into poinless ramblings. I sure wish I had read these other warning reviews before spending money. Lesson learned!

    5 out of 6 people found this review helpful.

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  • Anonymous

    Posted November 10, 2011

    Disappointed

    I purchased Zone One after an interview with the author on NPR and was sadly disappointed. It was incredibly descriptive creating a grim image appropriate for the story but I felt like the author jumped around too much in the story without providing transitions. I was glad when it was over. However, the last 30 pages were nail-biting.

    4 out of 6 people found this review helpful.

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  • Posted March 20, 2012

    The writing style is an easy read, unfortunately the story isn't

    The writing style is an easy read, unfortunately the story isn't. I normally finish every book I start and I have trudged through some bad books, but the plot is so far completely fuzzy. There is no real fade in and out of flashbacks, the story is somewhat uninspired and painstakingly slow. If you are just interested in a study of of humanities thoughts during an epidemic then this is the book for you. If you are looking for an engrossing edge of your seat page turner then look somewhere else.

    3 out of 4 people found this review helpful.

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  • Anonymous

    Posted February 7, 2012

    A Hard Read

    I think I turned into a zombie after reading several pages. It did not take long to realize this book is slow and boring.

    3 out of 4 people found this review helpful.

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  • Posted December 22, 2011

    more from this reviewer

    Not Your Average Zombie Read

    While the pacing of the book is a bit drawn out at times it serves to make the actual zombie encounters that much more jarring and intense. Anyone looking for a "hack and slash", constant gore fest should look elsewhere. Otherwise, the genre can only be improved with stories such as Zone One.

    3 out of 4 people found this review helpful.

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  • Anonymous

    Posted October 31, 2011

    Not What I Expected

    And I just couldn't get through it. Only read about a third of it and quit.

    3 out of 6 people found this review helpful.

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  • Posted December 31, 2012

    I am usually open to nearly any work of fiction. However, I coul

    I am usually open to nearly any work of fiction. However, I could not get past the forced over-complication of this book. The author obviously made every attempt to prove that he not only owns a thesaurus, but also knows how to use it. Good luck trying to read this self-righteous drivel.  

    2 out of 3 people found this review helpful.

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  • Anonymous

    Posted September 16, 2012

    awful

    this was an extremely difficult book to read. the author constantly leaves the plotline to discuss tangential issues and character traits abouut the lead. About 100 pages in or so I finally had to stop reading it because it was just going nowhere. Nearly zero zombie action - so if you are fan of this genre - this book will disappoint you.

    2 out of 3 people found this review helpful.

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  • Anonymous

    Posted February 5, 2012

    No zombie fun here

    One of the rare times I did not finish a book, quitting after one quarter. I think I will keep it unarchived in case I have trouble sleeping.

    2 out of 4 people found this review helpful.

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  • Posted January 16, 2012

    more from this reviewer

    All about what we can lose

    Is Zone One Colson Whitehead's highly literate, stylistic take on the zombie genre? Well, yes. But Zone One is also a study on the memories, experiences, things, and culture that hold us together, and a frightening evaluation of what happens when it all falls apart. Whitehead's everyman protagonist tries to survive in a world threatened by "the dead" and to go forward with hope in the new society's Reconstruction. Yet he's constantly losing himself in the past, to what once was, to the world everyone lost on "Last Night."
    Whitehead's first novel The Intuitionist is one of my favorites because of its writing style. Happy to say I was not disappointed with Zone One!

    2 out of 3 people found this review helpful.

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  • Anonymous

    Posted January 14, 2012

    don't waste your time

    Slogging through this book was almost painful. Like others commented before, the writer comes off as snobbish and boring. By the end of the book I was so over the fact that the main character was "exceptionally average"... mostly because I didn't care about any single character to begin with. Terrible read.

    2 out of 3 people found this review helpful.

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  • Posted January 7, 2012

    So dull

    I kind of feel bad for the author. The book feels like he was attempting to write a serious piece. Unfortunately, when your subject matter is zombies, any true literary attempt comes across as ironic. I think the author is quite capable of writing a great work--he just forgot that zombies are supposed to be fun fluff.

    2 out of 3 people found this review helpful.

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  • Posted October 22, 2011

    I Also Recommend:

    Excellent read

    I didn't think I'd like it as much as I did to be perfectly honest but this is an excellent investment in the time spent reading it.

    2 out of 5 people found this review helpful.

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  • Posted August 5, 2013

    I Also Recommend:

    I believe I understand what whitehead was trying to do. He was u

    I believe I understand what whitehead was trying to do. He was using a method much like Faulkner did to try to illustrate the inability of his characters to escape their past. Their past in fact continues to happen in much like a present voice. It's not that the present moves forward with occasional flashbacks, but that the characters inhabit both their present and their inescapable past.

    I can completely understand people not enjoying it, as a matter of taste.

    I very much enjoyed it.

    TL:DR: If you like Faulkner and literary apocalyptic tales, you might like this one.

    If you don't like Faulkner but like literary apocalyptic tales, I would skip this one and read McCarthy's "The Road" instead.

    If you like non-literary (but well-written) apocalyptic fiction go with Brook's "World War Z."

    1 out of 2 people found this review helpful.

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  • Anonymous

    Posted January 10, 2013

    Excellent...kinda like The Walking Dead.

    I enjoyed this book. Looking forward to more tit,es by this author...

    1 out of 2 people found this review helpful.

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  • Anonymous

    Posted January 2, 2013

    Shockingly good-made me think, very well written.l couldn't put

    Shockingly good-made me think, very well written.l couldn't put it down. Extremely smart read.

    1 out of 2 people found this review helpful.

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  • Posted April 1, 2012

    This was hands down the best Zombie book I have ever read. I've

    This was hands down the best Zombie book I have ever read. I've been reading a bunch of zombie books lately and I forgot how much decent character development can add to a story. If you want more than 200 pages of people hitting zombies on the head, then this is the book for you.

    1 out of 2 people found this review helpful.

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