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Zone One, by Colson Whitehead
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A pandemic has devastated the planet, sorting humanity into two types: the uninfected and the infected, the living and the living dead. After the worst of the plague is over, armed forces stationed in Chinatown’s Fort Wonton have successfully reclaimed the island south of Canal Street—aka Zone One. Mark Spitz is a member of one of the three-person civilian sweeper units tasked with clearing lower Manhattan of the remaining feral zombies. Zone One unfolds over three surreal days in which Spitz is occupied with the mundane mission of straggler removal, the rigors of Post-Apocalyptic Stress Disorder (PASD), and the impossible task of coming to terms with a fallen world. And then things start to go terribly wrong…
At once a chilling horror story and a literary novel by a contemporary master, Zone One is a dazzling portrait of modern civilization in all its wretched, shambling glory.
- Sales Rank: #19041 in Books
- Published on: 2012-07-10
- Released on: 2012-07-10
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .70" w x 5.20" l, .56 pounds
- Binding: Paperback
- 336 pages
Amazon.com Review
Guest Reviewer: Justin Cronin on Zone One by Colson Whitehead
The phrase “the thinking person’s [something]” may be terminally overused, but surely that’s what Colson Whitehead has accomplished in Zone One--a savvy zombie classic, the best addition to the genre since George Romero’s Dawn of the Dead.
In a nutshell: Zone One is a story of three days in the life of one Mark Spitz and his squad of three “sweepers” moving through the eponymous Zone One of lower Manhattan, a walled-off enclave scheduled for resettlement in the aftermath of a zombie plague. The great masses of the undead, known as “skels” for their skeleton-like appearance, have been violently dispatched by a Marine detachment. It falls to Spitz and his fellows to take care of the handful that remain, as well as a second-tier of the infected known as “stragglers”: zombies who have bypassed the cannibalistic urges of their more lethal fellows in favor of a hollow-eyed, eerily nostalgic repetition of some mundane act. Surfing a vanished web. Switching the channels of a dead remote. Filling helium balloons in a ransacked party supply store. Running a photocopy machine, presumably for all eternity.
These trapped souls, like much in Whitehead’s novel, evoke a pure pathos. But Whitehead’s tale is as much a chronicle of the living as the dead. Survivorship is his true subject, and with its lower-Manhattan setting, Zone One’s suggestive nod to a post-9/11 New York is no accident. Part of the novel’s power flows from the reader’s uncomfortable sense that Whitehead’s apocalypse, for all its strangeness, also feels strangely familiar.
But what truly sets Zone One apart from the literary and filmic zombie hordes is the sheer quality of the writing. Whitehead’s language zings and soars. The zombie genre is an intrinsically playful blend of horror and slapstick, but Whitehead takes this maxim to vertiginous new heights, producing a shockingly full-throttle immediacy in the process. The distance between the real world of the reader and the imagined world of Whitehead’s skel-infested New York, in all its aching pity and graveyard comedy, collapses to nothing. In these pages, the world of the undead is brought vibrantly to life. Friends, you are there.
Readers of Whitehead’s previous novels may be surprised to find him traveling the halls of zombie horror. They shouldn’t. For a long time Whitehead has strutted his stuff as one of our smartest young writers, and Zone One is every inch the book he was born to write, a pop-culture thriller of the first order. It will make you think. It will make you want to bar the door and weapon up. It will make you miss the obliterated, lovely world for the duration of its reading, and for some time after. It’s that kind of book: a zombie novel with brains.
Review
“It's a book you want to read rather than one you should read…while still providing the chilling, fleshy pleasures of zombies who lurch, pursue, hunger. . . . One of the best books of the year.” —Esquire
"Whitehead writes with economy, texture and punch. . . . 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
�“Uniquely affecting. . . . A rich mix of wartime satire and darkly funny social commentary. . . . Whether charged with bleak sadness or bone-dry humor, sentences worth savoring pile up faster than the body count.” —The Los Angeles Times
"A zombie story with brains. . . . [Whitehead is a] certifiably hip writer who can spin gore into macabre poetry.” —The Washington Post
"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." —Entertainment Weekly
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"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
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"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
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“Leave it to the supremely thoughtful and snarkily funny Whitehead to do interesting things with a topic that lately has seated itself in the public’s imagination. . . . 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
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“If you’re going to break down and read a zombie novel, make it this one.” —The Wall Street Journal
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“Stylishly entertaining. . . . [Whitehead’s] sentences are interesting, his plotting brisk, his descriptions lucid, and his asides clever.” —The Plain Dealer
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“In precise, elegant prose [Whitehead] deliberately layers the ever more disturbing elements of the story, one upon the other, allowing the reader to discover the horror in the same fragmentary manner we imagine frantic survivors might. . . . Resembles Cormac McCarthy’s The Road. . . . An intense meditation on the way we cope with disaster and the stubborn, often inexplicable, persistence of the human will to survive.” —Minneapolis Star-Tribune
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�“A sharp commentary on the rat race of contemporary life. . . . Zone One lifts all the gore and gunfire and oozy bits one might expect from the genre. But this is Whitehead, so there’s also popular culture to critique and parallels to draw between zombies and contemporary society.” —The Houston Chronicle
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“[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
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"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
About the Author
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.
Most helpful customer reviews
174 of 192 people found the following review helpful.
Coulda' been a contenda...
By Robert Johnson
Did I like this book? Yes, actually. Instead of splatter, gore and terror, the author chose to think out (which seems to trouble some reviewers no end) what it would be like to try to live within a collapsed society, with a collapsed psyche and collapsed dreams. Instead of inventing heroic and invincible characters to slash and crash their way through hopeless situations, Whitehead's characters, each one flawed and vulnerable, bumble and stumble their way to another day of survival, which is how most real human beings are, after all. The idea of this zombie book was not to be like the other ones, but to work out daily life in which all norms have been shattered, and in which the common and regular are - then as now - the pawns of the great and mighty.
That said, Whitehead is this book's worst enemy. He takes every opportunity to show off his inventiveness, preen his considerable literary plumage and display his intimate acquaintance with the thesaurus. In playing with the narrative thread and timeline, sometimes just because he can, he adds unnecessary stress to what is not a terribly sturdy plot in the first place. Perhaps as he matures, he will write to make the story the thing instead of himself. If this book had 35% less exhibitionism and 30% more plot, it could have been a real showpiece. Instead, it is a pleasant, if sometimes tedious diversion written by an obviously talented, but all-too-self-indulgent author.
132 of 156 people found the following review helpful.
a tedious but amusing read
By Jordan Michel
If like me you were excited to hear that a well-respected, intellectual author has ventured into the apocalypse genre, I should warn you, Zone One is not The Road (Oprah's Book Club). The Road had characters and a relationship that you could connect to and an engaging plot. Zone One has none of that. It has a main character whose most notable feature is his mediocrity, a few moments of mild suspense, and an unbearably tedious pace.
It seems that the reviews for this book are distinctly divided. Fans of the zombie/apocalypse genre have offered some pretty scathing reviews and low ratings. Fans of "literary fiction" are giving it a bit more credit. I'm generally more aligned with the literary fiction readers, but I think the zombie fans have some legitimate criticisms.
The main criticism against this book seems to be the lack of plot, and I can't disagree. A lot of the book is mildly amusing; it's just not very compelling. Even the (rare) engaging passages are frequently interrupted by reflections about the past, which significantly slow the pace. It took me about three time as long as it should have to finish the book, because I literally fell asleep within a few pages nearly every time I picked it up.
Although there's little plot, the book's main character is somewhat interesting. He's survived a long time since the "Last Night." His survival, though, is not due to his courage, strength, or cleverness. He's completely average with the exception of his cockroach-like survival instinct. Although readers are unlikely to fall in love with Mark Spitz, he provides an amusing lens for this story.
32 of 39 people found the following review helpful.
Many Words Do Not a Story Make
By D. Julian
I think Whitehead suffers from a problem which is all too common among those who hold their own intellect in the highest regard. He's boring, and he doesn't know it. He holds forth like an armchair philosopher at a dinner party while his audience is secretly hoping for another drink.
He also apparently suffers from a complete lack of knowledge of humanity. Perhaps this is an unfortunate philosophical commitment on Whitehead's part. His characters are fixed, static, cesspools--they do not change; they do not learn; they do not grow. Perhaps he thinks this is the way in which all people really operate. If so, I feel badly for him.
Worse yet--a post-apocalyptic tale involving zombies (and involving even zombies that do not move or threaten harm) offers a wide range of philosophical and ethical issues with which to grapple. Somehow, the author misses most of these and chooses to focus on one issue--that the protagonist is mediocre and therefore somehow apt for the situation at hand. It's infuriating and ultimately demoralizing. John Gardner put it best: "Fiddling with the hairs on an elephant's nose is indecent when the elephant happens to be standing on the baby."
I really wanted to like Zone One. I forced myself through to the end in the hopes that at some point it would move beyond mere character sketch and into the realm of story. It never did. This likely results from what I just mentioned--his characters never learn, change, or grow. If they did, this sketch would move towards story.
In Zone One, Whitehead demonstrated that he can obviously write, but he cannot tell a story.
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