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on a short story by John W. Campbell), a research team at a remote arctic compound realizes that some of them have been replaced by shapeshifting aliens, and the only way to know for sure who’s human is to jam a hot wire into samples of their blood and see if the blood tries to crawl away.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.
I didn’t pay much attention to him at first. I thought he was a vagrant. We are all of us vagrants now, but in the long ago most of us had homes and families and only the most unfortunate, slaves to drink or drugs, lost souls brought down by misfortune or madness, lived on the streets. Vagrants were drawn to churchyards by the quietness and sense of ancient sanctuary, and there was a hospital at the west end of the churchyard of Old St Pancras where they went to fill their prescriptions and get treatment for illness or injury. So he wasn’t an unusual sight, shambling beneath the trees in a slow and wavering march past Mary Godwin’s grave towards Hardy’s ash and the little church.
Then a dog began to bark. A woman with several dogs on leads and several more trotting freely called to the little wire-haired terrier that was dancing around the vagrant in a fury of excitement. Two more dogs ran up to him and began to bark too, their coats bristling and ears laid flat. I saw the vagrant stop and shake back the ropes from his face and look all around, and for the first time I saw his face.
It was dead white and broken. Like a vase shattered and badly mended. My first thought was that he’d been in a bad accident, something involving glass or industrial acids. Then I saw that what I had thought were ropes of matted hair were writhing with slow and awful independence like the tentacles of a sea creature; saw that the tattered raincoat wasn’t a garment. It was his skin, falling stiff and black around him like the wings of a bat.
The dog woman started screaming. She’d had a clear look at the vagrant too. Her dogs pranced and howled and whined and barked. I was on my feet. So were the handful of other people who’d been spending a lazy lunch hour in the warm and shady churchyard. One of them must have had the presence of mind to call the police, because almost at once, or so it seemed, there was the wail of a siren and a prickle of blue lights beyond the churchyard fence and two policemen in yellow stab vests came running.
They stopped as soon as they saw the vagrant. One talked into the radio clipped to his vest; the other began to round everyone up and lead us to the edge of the churchyard. And all the while the vagrant stood at the centre of a seething circle of maddened dogs, looking about, clubbed hands held out in a gesture of supplication. A hole yawned redly in his broken white face and shaped hoarse and wordless sounds of distress.
More police came. The road outside the churchyard was blocked off. A helicopter clattered above the tops of the trees. The men in hazmat suits entered the park. One of them carried a rifle. By this time everyone who had been in the park was penned against a police van. The police wouldn’t answer our questions and we were speculating in a fairly calm and English way about terrorism. That was the great fear, in the long ago. Ordinary men moving amongst us, armed with explosives and hateful certainty.
We all started when we heard the first shot. The chorus of barks doubled, redoubled. A dog ran pell-mell out of the churchyard gate and a marksman shot it there in the road and the woman who still held the leashes of several dogs cried out. Men in hazmat suits separated us and made us walk one by one through a shower frame they’d assembled on the pavement and made us climb one by one in our wet and stinking clothes into cages in the backs of police vans.
I was in quarantine for a hundred days. When I was released, the world had changed forever. I had watched it change on TV and now I was out in it. Soldiers everywhere on the streets. Security checks and sirens and a constant low-level dread. Lynch mobs. Public hangings and burnings. Ten or twenty on-the-spot executions in London alone, each and every day. Quarantined areas cleared and barricaded. Invaders everywhere.