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The book of war, the one we’ve been writing since one ape slapped another, was completely useless in this situation. We had to write a new one from scratch.
I reread Brooks’ follow up to the Zombie Survival Guide just as news broke that Glasgow had been converted into downtown zombie besieged Philadelphia for the Brad Pitt film adaptation. That earlier book featured a series of tongue-in-cheek survival techniques for dealing with the imminent time of the undead rising to feed upon the flesh of the living. If you go into a bookstore you’ll like as not find the Guide in the humour section. But the interesting section in the book was its latter half when Brooks introduced a series of short ‘histories’ featuring zombies tropes being applied to a number of unfamiliar settings. My favourite was the zombies in the French Foreign Legion narrative.
For World War Z Brooks revealed that the zombie apocalypse has already happened and following years of hardship humanity is slowly rebuilding itself. This time the storytelling device is that our narrator is a bureaucrat traveling around the world assembling a report on the outbreak of the mysterious disease that caused the ghouls and how it led to the breakdown of civilized society.
The one and one interviews between the narrator and the individuals he meets allows Brooks to introduce a series of contrasting genres into the monotonous zombie horror format. There are military exercises, home invasions, scientific inquiries, political satire – World War Z becomes a wide-ranging critique of many aspects of contemporary culture.
With brain-munching on the side.
Given the variation between the interviews, the tone shifts drastically from ‘objective’ reportage, to comedy, tragedy – even psychological suspense. There has been much comment over the years in relation to the celebrity cameos hidden in the text, from an apathetic Paris Hilton, to Howard Dean and even Nelson Mandela. There is even something blackly comical about Brooks pitching that the only event that could lead the political parties of the United States to unite is the near annihilation of the human race. As such this functions in the best tradition of post-George Romero zombie horror, happy to indulge in both gore and allegory.
There is no plot as such in this book. Rather this is a fictional history of the events that follow the outbreak of World War Z. Brooks was apparently inspired by the documented history of the second world war. Despite this the book is genuinely powerful, avoiding the calculated phrasing of the official report it will come to create. Indeed the narrator frequently alludes to how the official account will exclude much of the personal detail included here. That is possibly the smartest aspect of the book, how it balances the immensity of the horror unleashed with the ‘official version of events’. Compare this to Seeing by José Saramago, the sequel to Blindness, where we discover the government has completely buried the spontaneous lose of sight of an entire city’s population. Ultimately the characters introduced by Brooks are left to deal with the sights they have witnessed and the tragedies they have experienced alone.
This is an instant horror classic, which rises above its brain-dead peers.