My Zombie, Myself: Why Modern Life Feels Rather Undead · the zombie brain is described by Max...
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CHUCK KLOSTERMAN My Z o m b i e , M y s e l f : W h y Modern Life F e e l s R a t h e r Undead A prolific author, essayist, and pop culture critic. Chuck Klosterman (b. 1972) has written for Esquire, the New Y o r k T i m e s Magazine, Spin, the Washington Post, and many other publications. His books include Fargo Rock City: A Heavy Metal Odyssey in Rural North Dakota (2001) and Sex, Drugs, and Cocoa Puffs: A Low Culture Manifesto (2003), as well as a novel The Visible Man (2011). In this New York Times column, Klosterman argues that zombies are the representative monsters of our age: "Zombies are like the Internet and the media and every conversation we don't want to have." Is Klosterman suggesting that we fight zombies every day, or is he proposing that we have become zombies? Zombies a r e a value stock. They are wordless and oozing and brain dead, but they're an ever-expanding market with no glass ceiling. Zombies are a t a r g e t - r i c h e n v i r o n m e n t , l i t e r a l l y a n d figu- ratively. The more you fill them with b u l l e t s , t h e more interesting they become. Roughly 5.3 million people watched the first epi- sode of "The W a l k i n g D e a d " on AMC, a s t u n n i n g 8 3 p e r c e n t more than the 2.9 m i l l i o n w h o watched t h e S e a s o n 4 premiere of "Mad Men." T h i s m e a n s t h e r e a r e at least 2.4 million cable-ready A n u i icans who might prefer watching C h r i s t i n a H e n d r i c k s i f s h e wi-tc an animated corpse. Statistically and aesthetically t h a t d i s s o n a n c e seems perverse. But it probably shouldn't. Mainstream interest in zombies i \iis steadily risen over the past 40 years. Zombies are a conimoililv that has advanced slowly and w i t h o u t m a j o r e v o l u t i o n , m u c h liko the staggering creatures George Romero popularized in the l ''fiM film "Night of the Living Dead." What makes that measiin'il amplification curious is the inherent limitations of the zoinlilo 384 M Y ZOMBIE, M Y S E L F : W H Y MODERNJ£EraELS R A T H E R UNHFAn 385 itself: You can't add much depth t o a creature who can't talk, doesn't think and whose only motive is t h e c o n s u m p t i o n of fiesh. You can't humanize a zombie, unless you make it less zombie- esque. There a r e s l o w zombies, and t h e r e a r e fast zombies—that's pretty much the spectrum of zombie diversity. I t ' s n o t that zom- bies are changing t o fit the world's condition; i t ' s t h a t t h e condi- tion of the world seems more like a zombie offensive. Something about zombies is becoming more intriguing to us. And 1 think 1 know what t h a t s o m e t h i n g is. Zombies a r e j u s t so easy to kill. When we think c r i t i c a l l y a b o u t monsters, we tend to classify them as personifications of what we fear. Frankenstein's monster illustrated our trepidation about untethered science; Godzilla was spawned from the fear of the atomic age; werewolves feed into an i n s t i n c t u a l p a n i c over predation and man's detachment from n a t u r e . V a m p i r e s and zombies share an imbedded anxiety about disease. It's easy to project a symbolic relationship between vampirism and AIDS (or vampirism and t h e l o s s of purity). From a creative standpoint these fear projections are narrative linch- pins; they turn creatures i n t o i d e a s , and t h a t ' s t h e point. But what if t h e a u d i e n c e i n f e r s a n e n t i r e l y d i f f e r e n t metaphor? What if contemporary people are less interested in seeing depictions of t h e i r u n c o n s c i o u s fears and more attracted to alle- gories of how t h e i r d a y - t o - d a y existence feels? T h a t w o u l d explain why so many people watched the first episode of "The Walking Dead": They knew they would be able to relate to it. A lot of modem life is exactly l i k e s l a u g h t e r i n g zombies. If there's one thing we all understand about zombie killing, it's that t h e a c t i s uncomplicated: you blast o n e i n t h e brain from p o i n t - b l a n k r a n g e (preferably with a shotgun). T h a t ' s S t e p 1. Step 2 is doing the same thing to the next zombie t h a t t a k e s its place. Step 3 i s identical to Step 2, and Step 4 i s n ' t a n y different from Step 3. Repeat this process until (a) you perish, o r ( b ) you run out of zombies. T h a t ' s r e a l l y t h e o n l y v i a b l e strategy. Every zombie war i s a war of attrition. I t ' s a l w a y s a numbers game. And it's more repetitive than complex. In other words, zombie killing is philosophically similar to reading and deleting 400 work e-mails o n a Monday morning or filling out papei-work that only generates more paperwork, or following Twitter gossip out of obligation, or performing tedious tasks in which the only
Transcript of My Zombie, Myself: Why Modern Life Feels Rather Undead · the zombie brain is described by Max...
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M y Z o m b i e , M y s e l f : W h y M o d e r n L i f e F e e l s R a t h e r U n d e a d
A prolific author, essayist, and pop culture critic. Chuck Klosterman (b. 1972) has written for E s q u i r e , the N e w Y o r k T i m e s M a g a z i n e , S p i n , the W a s h i n g t o n P o s t , and many other publications. His books include F a r g o R o c k C i t y : A H e a v y M e t a l O d y s s e y i n R u r a l N o r t h D a k o t a (2001) and S e x , D r u g s , a n d C o c o a P u f f s : A L o w C u l t u r e M a n i f e s t o (2003), as well as a novel T h e V i s i b l e M a n (2011). In this N e w Y o r k T i m e s column, Klosterman argues that zombies are the representative monsters of our age: "Zombies are like the Internet and the media and every conversation we don't want to have." Is Klosterman suggesting that we fight zombies every day, or is he proposing that we have become zombies?
Z o m b i e s a r e a v a l u e s t o c k . T h e y a r e w o r d l e s s a n d o o z i n g a n d b r a i n d e a d , b u t t h e y ' r e a n e v e r - e x p a n d i n g m a r k e t w i t h n o g l a s s c e i l i n g . Z o m b i e s a r e a t a r g e t - r i c h e n v i r o n m e n t , l i t e r a l l y a n d figur a t i v e l y . T h e m o r e y o u fill t h e m w i t h b u l l e t s , t h e m o r e i n t e r e s t i n g t h e y b e c o m e . R o u g h l y 5 . 3 m i l l i o n p e o p l e w a t c h e d t h e first e p i s o d e o f " T h e W a l k i n g D e a d " o n A M C , a s t u n n i n g 8 3 p e r c e n t m o r e t h a n t h e 2 . 9 m i l l i o n w h o w a t c h e d t h e S e a s o n 4 p r e m i e r e o f " M a d M e n . " T h i s m e a n s t h e r e a r e a t l e a s t 2 . 4 m i l l i o n c a b l e - r e a d y A n u i i c a n s w h o m i g h t p r e f e r w a t c h i n g C h r i s t i n a H e n d r i c k s i f s h e w i - t c
a n a n i m a t e d c o r p s e . S t a t i s t i c a l l y a n d a e s t h e t i c a l l y t h a t d i s s o n a n c e s e e m s p e r v e r s e .
B u t i t p r o b a b l y s h o u l d n ' t . M a i n s t r e a m i n t e r e s t i n z o m b i e s i \ i i s s t e a d i l y r i s e n o v e r t h e p a s t 4 0 y e a r s . Z o m b i e s a r e a c o n i m o i l i l v t h a t h a s a d v a n c e d s l o w l y a n d w i t h o u t m a j o r e v o l u t i o n , m u c h l i k o t h e s t a g g e r i n g c r e a t u r e s G e o r g e R o m e r o p o p u l a r i z e d i n t h e l ' ' f i M film " N i g h t o f t h e L i v i n g D e a d . " W h a t m a k e s t h a t m e a s i i n ' i l a m p l i f i c a t i o n c u r i o u s i s t h e i n h e r e n t l i m i t a t i o n s o f t h e z o i n l i l o
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M Y Z O M B I E , M Y S E L F : W H Y M O D E R N J £ E r a E L S R A T H E R U N H F A n 3 8 5
i t s e l f : Y o u c a n ' t a d d m u c h d e p t h t o a c r e a t u r e w h o c a n ' t t a l k , d o e s n ' t t h i n k a n d w h o s e o n l y m o t i v e i s t h e c o n s u m p t i o n o f fiesh. Y o u c a n ' t h u m a n i z e a z o m b i e , u n l e s s y o u m a k e i t l e s s z o m b i e -e s q u e . T h e r e a r e s l o w z o m b i e s , a n d t h e r e a r e f a s t z o m b i e s — t h a t ' s p r e t t y m u c h t h e s p e c t r u m o f z o m b i e d i v e r s i t y . I t ' s n o t t h a t z o m b i e s a r e c h a n g i n g t o fit t h e w o r l d ' s c o n d i t i o n ; i t ' s t h a t t h e c o n d i t i o n o f t h e w o r l d s e e m s m o r e l i k e a z o m b i e o f f e n s i v e . S o m e t h i n g a b o u t z o m b i e s i s b e c o m i n g m o r e i n t r i g u i n g t o u s . A n d 1 t h i n k 1 k n o w w h a t t h a t s o m e t h i n g i s .
Z o m b i e s a r e j u s t s o e a s y t o k i l l .
W h e n w e t h i n k c r i t i c a l l y a b o u t m o n s t e r s , w e t e n d t o c l a s s i f y t h e m a s p e r s o n i f i c a t i o n s o f w h a t w e f e a r . F r a n k e n s t e i n ' s m o n s t e r i l l u s t r a t e d o u r t r e p i d a t i o n a b o u t u n t e t h e r e d s c i e n c e ; G o d z i l l a w a s s p a w n e d f r o m t h e f e a r o f t h e a t o m i c a g e ; w e r e w o l v e s f e e d i n t o a n i n s t i n c t u a l p a n i c o v e r p r e d a t i o n a n d m a n ' s d e t a c h m e n t f r o m n a t u r e . V a m p i r e s a n d z o m b i e s s h a r e a n i m b e d d e d a n x i e t y a b o u t d i s e a s e . I t ' s e a s y t o p r o j e c t a s y m b o l i c r e l a t i o n s h i p b e t w e e n v a m p i r i s m a n d A I D S ( o r v a m p i r i s m a n d t h e l o s s o f p u r i t y ) . F r o m a c r e a t i v e s t a n d p o i n t t h e s e f e a r p r o j e c t i o n s a r e n a r r a t i v e l i n c h p i n s ; t h e y t u r n c r e a t u r e s i n t o i d e a s , a n d t h a t ' s t h e p o i n t .
B u t w h a t i f t h e a u d i e n c e i n f e r s a n e n t i r e l y d i f f e r e n t m e t a p h o r ? W h a t i f c o n t e m p o r a r y p e o p l e a r e l e s s i n t e r e s t e d i n s e e i n g
d e p i c t i o n s o f t h e i r u n c o n s c i o u s f e a r s a n d m o r e a t t r a c t e d t o a l l e g o r i e s o f h o w t h e i r d a y - t o - d a y e x i s t e n c e f e e l s ? T h a t w o u l d e x p l a i n w h y s o m a n y p e o p l e w a t c h e d t h e first e p i s o d e o f " T h e W a l k i n g D e a d " : T h e y k n e w t h e y w o u l d b e a b l e t o r e l a t e t o i t .
A l o t o f m o d e m l i f e i s e x a c t l y l i k e s l a u g h t e r i n g z o m b i e s . I f t h e r e ' s o n e t h i n g w e a l l u n d e r s t a n d a b o u t z o m b i e k i l l i n g ,
i t ' s t h a t t h e a c t i s u n c o m p l i c a t e d : y o u b l a s t o n e i n t h e b r a i n f r o m p o i n t - b l a n k r a n g e ( p r e f e r a b l y w i t h a s h o t g u n ) . T h a t ' s S t e p 1 . S t e p 2 i s d o i n g t h e s a m e t h i n g t o t h e n e x t z o m b i e t h a t t a k e s i t s p l a c e . S t e p 3 i s i d e n t i c a l t o S t e p 2 , a n d S t e p 4 i s n ' t a n y d i f f e r e n t f r o m S t e p 3 . R e p e a t t h i s p r o c e s s u n t i l ( a ) y o u p e r i s h , o r ( b ) y o u r u n o u t o f z o m b i e s . T h a t ' s r e a l l y t h e o n l y v i a b l e s t r a t e g y .
E v e r y z o m b i e w a r i s a w a r o f a t t r i t i o n . I t ' s a l w a y s a n u m b e r s g a m e . A n d i t ' s m o r e r e p e t i t i v e t h a n c o m p l e x . I n o t h e r w o r d s , z o m b i e k i l l i n g i s p h i l o s o p h i c a l l y s i m i l a r t o r e a d i n g a n d d e l e t i n g 4 0 0 w o r k e - m a i l s o n a M o n d a y m o r n i n g o r filling o u t p a p e i - w o r k t h a t o n l y g e n e r a t e s m o r e p a p e r w o r k , o r f o l l o w i n g T w i t t e r g o s s i p o u t o f o b l i g a t i o n , o r p e r f o r m i n g t e d i o u s t a s k s i n w h i c h t h e o n l y
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m o r e p a p e r w o r k .
t r u e r i s k i s b e i n g c o n s L i m e d b y a v a l a n c h e . T h e p r i n c i p a l d o w n
s i d e t o a n y z o m b i e a t t a c k i s t h a t t h e z o m b i e s w i l l n e v e r s t o p c o m
i n g ; t h e p r i n c i p a l d o w n s i d e t o l i f e i s t h a t y o u w i l l n e v e r b e f i n
i s h e d w i t h w h a t e v e r i t i s y o u d o . T h e I n t e r n e t r e m i n d s u s o f t h i s e v e r y d a y . H e r e ' s a p a s s a g e f r o m a y o u n g i s h w r i t e r n a m e d A l i c e G r e g o i y ,
t a k e n f r o m a r e c e n t e s s a y o n G a r y S h t e y n g a r t ' s d y s t o p i c n o v e l " S u p e r S a d T m e L o v e S t o r y " i n t h e l i t e r a i y j o u r n a l n+l: " I t ' s h a r d n o t t o t h i n k d e a t h d r i v e ' e v e r y t i m e I g o o n t h e I n t e r n e t , " s h e w r i t e s . " O p e n i n g S a f a r i i s a n a c t i v e l y d e s t r u c t i v e d e c i s i o n . 1 a m a s k i n g t h a t c o n s c i o u s n e s s b e t a k e n a w a y f r o m m e . "
M s . G r e g o r y ' s s e l f - d i r e c t e d f e a r i s t h e m a t i c a l l y s i m i l a r t o l i o w t h e z o m b i e b r a i n i s d e s c r i b e d b y M a x B r o o k s , a u t h o r o f t h e f i c t i o n a l o r a l h i s t o r y " W o r l d W a r Z " a n d i t s a c c o m p a n y i n g s e l f - h e l p m a n u a l , " T h e Z o m b i e S u r v i v a l G u i d e " : " I m a g i n e a c o m p u t e r ' p n i g r a m m e d t o e x e c u t e o n e f u n c t i o n . T h i s f u n c t i o n c a n n o t b e p a u s e d m o d i f i e d o r e r a s e d . N o n e w d a t a c a n b e s t o r e d . N o n e w c o m m a n d s c a n b e i n s t a l l e d . T h i s c o m p u t e r w i l l p e r f o r m t h a t o n e f u n t i o n , o v e r a n d o v e r , u n t i l i t s p o w e r s o u r c e e v e n t u a l l y s h u t s d o w n ,
M Y Z O M B I E , M Y S E L F : W H Y M O D E R N L I F E F E E L S R A T H E R U N D E A D 3 8 7
T h i s i s o u r c o l l e c t i v e f e a r p r o j e c t i o n : t h a t w e w i l l b e c o n s u m e d . Z o m b i e s a r e l i k e t h e I n t e r n e t a n d t h e m e d i a a n d e v e r y c o n v e r s a t i o n w e d o n ' t w a n t t o h a v e . A l l o f i t c o m e s a t u s e n d l e s s l y ( a n d t h o u g h t l e s s l y ) , a n d — i f w e s u r r e n d e r — w e w i l l b e o v e r t a k e n a n d a b s o r b e d . Y e t t h i s w a r i s m a n a g e a b l e , i f n o t n e c e s s a r i l y w i n n a b l e . A s l o n g w e k e e p d e l e t i n g w h a t e v e r ' s d i r e c t l y i n f r o n t o f u s , w e s u r v i v e . W e l i v e t o e l i m i n a t e t h e z o m b i e s o f t o m o r r o w . W e a r e a b l e t o r e m a i n h u m a n , a t l e a s t f o r t h e t i m e b e i n g . O u r e n e m y i s r e l e n t l e s s a n d c o l o s s a l , b u t a l s o u n c r e a t i v e a n d s t u p i d .
B a t t l i n g z o m b i e s i s l i k e b a t t l i n g a n y t h i n g . . . o r e v e r y t h i n g . B e c a u s e o f t h e " T w i l i g h t " s e r i e s i t ' s e a s y t o m a n u f a c t u r e a n
a r g u m e n t i n w h i c h z o m b i e s a r e m e r e l y r e p l a c i n g v a m p i r e s a s t h e m o n s t e r o f t h e m o m e n t , a d e s i g n a t i o n t h a t i s s u p p o s e d t o m a t t e r f o r m e t a p h o r i c a l , n o n m o n s t r o u s r e a s o n s . B u t t h a t k i n d o f t h i n k i n g i s d e c e p t i v e . T h e r e c e n t f i v e - y e a r s p i k e i n v a m p i r e i n t e r e s t i s o n l y a b o u t t h e m u l t i p l a t f o r m s u c c e s s o f " T w i l i g h t , " a b r a n d t h a t i s n ' t a b o u t v a m p i r i s m a n y w a y . I t ' s m o s t l y a b o u t n o s t a l g i a f o r t e e n a g e c h a s t i t y , t h e a t t r a c t i v e n e s s o f i t s f i l m c a s t a n d t h e f a c t t h a t c o n t e m p o r a r y f i c t i o n c o n s u m e r s t e n d t o p r e f e r l o n g s e r i a l i z e d n o v e l s t h a t c a n b e r e a d r a p i d l y . B u t t h i s h a s s t i l l c r e a t e d a d o m i n o e f f e c t . T h e 2 0 0 8 S w e d i s h v a m p i r e f i l m " L e t t h e R i g h t O n e I n " w a s f a n t a s t i c , b u t i t p r o b a b l y w o u l d n ' t h a v e b e e n r e m a d e i n t h e U n i t e d S t a t e s i f " T w i l i g h t " h a d n e v e r e x i s t e d . " T h e G a t e s " w a s a n o v e r t a t t e m p t b y A B C t o t a p i n t o t h e h o u s e b o u n d , p r e t e e n " T w i l i g h t " a u d i e n c e ; H B O ' s " T r u e B l o o d " i s a c a m p r e a c t i o n t o R o b e r t P a t t i n s o n ' s f l a t e a r n e s t n e s s .
T h e d i f f e r e n c e w i t h z o m b i e s , o f c o u r s e , i s t h a t i t ' s p o s s i b l e t o l i k e a s p e c i f i c v a m p i r e t e m p o r a r i l y , w h i c h i s n ' t r e a l l y a n o p t i o n w i t h t h e u n d e a d . C h a r a c t e r s l i k e M r P a t t i s o n ' s E d w a r d C u l l e n i n " T w i l i g h t " a n d A n n e R i c e ' s L e s t a t d e L i o n c o u r t , a n d e v e n b o r i n g o l d C o u n t D r a c u l a c a n b e m u l t i d i m e n s i o n a l a n d e r o t i c ; i t ' s p o s s i b l e t o l e a r n w h y t h e y a r e a n d w h o t h e y o n c e w e r e . V a m p i r e l o v e c a n b e s i n g u l a r Z o m b i e l o v e , h o w e v e r , i s a l w a y s c o m m u n a l . I f y o u d i g z o m b i e s , y o u d i g t h e e n t i r e z o m b i e c o n c e p t . I t ' s n e v e r p e r s o n a l . Y o u ' r e i n t e r e s t e d i n w h a t z o m b i e s s i g n i f y , y o u l i k e t h e w a y t h e y m o v e , a n d y o u u n d e r s t a n d w h a t ' s r e q u i r e d t o s t o p t h e m . A n d t h i s i s a r e a s s u r i n g a t t r a c t i o n , b e c a u s e t h o s e a s p e c t s d o n ' t r e a l l y s h i f t . T h e y ' v e b e c o m e s h a r e d a r c h e t y p a l k n o w l e d g e .
A f e w d a y s b e f o r e H a l l o w e e n I w a s i n u p s t a t e N e w Y o r k w i l l i t h r e e o t h e r p e o p l e , a n d w e s o m e h o w e n d e d u p a t t h e B a r n o l
3 8 8 C H U C K K L O S T E R M A N
T e r r o r , o u t s i d e a t o w n c a l l L a k e K a t r i n e . E n t e r i n g t h e b a m w a s m i l d l y d i s t u r b i n g , a l t h o u g h p r o b a b l y n o t a s s c a r y a s g o i n g i n t o a n a c t u a l a b a n d o n e d b a r n t h a t d i d n ' t c h a r g e $ 2 0 a n d d o e s n ' t o w n i t s o w n d o m a i n n a m e . R e g a r d l e s s , t h e b e s t p a r t w a s w h e n w e e x i t e d t h e t e r r o r b a r n a n d w e r e p r o m p t l y h e r d e d o n t o a s c h o o l b u s , w h i c h t o o k u s t o a c o r n f i e l d a b o u t a q u a r t e r o f a m i l e a w a y . T h e field w a s filled w i t h a m a t e u r a c t o r s , s o m e p l a y i n g m i l i t a r y p e r s o n n e l a n d o t h e r s w h a t t h e y c a l l e d t h e i n f e c t e d . W e w e r e t o l d t o r u n t h r o u g h t h e m o o n l i t c o r n m a z e i f w e w a n t e d t o l i v e ; a s w e r a n , a r m e d s o l d i e r s y e l l e d c o n t r a d i c t o r y i n s t r u c t i o n s w h i l e h i s s i n g z o m b i e s e m e r g e d f r o m t h e c o r n y d a r k n e s s . I t w a s d e s i g n e d t o b e f u n , a n d i t w a s . B u t j u s t b e f o r e w e i m m e r s e d o u r s e l v e s i n t h e c o r n , o n e o f m y c o m p a n i o n s s a r d o n i c a l l y c r i t i q u e d t h e r e a l i t y o f o u r p r e d i c a m e n t .
" I k n o w t h i s i s s u p p o s e d t o b e s c a r y , " h e s a i d . " B u t I ' m p r e t t y c o n f i d e n t a b o u t m y a b i l i t y t o d e a l w i t h a z o m b i e a p o c a l y p s e . I f e e l s t r a n g e l y i n f o r m e d a b o u t w h a t t o d o i n t h i s k i n d o f s c e n a r i o . "
I c o u l d n o t d i s a g r e e . A t t h i s p o i n t w h o i s n ' t ? W e a l l k n o w h o w t h i s g o e s : I f y o u a w a k e f r o m a c o m a , a n d y o u d o n ' t i m m e d i a t e l y s e e a m e m b e r o f t h e h o s p i t a l s t a f f , a s s u m e a z o m b i e t a k e o v e r h a s t r a n s p i r e d d u r i n g y o u r i n c a p a c i t a t i o n . D o n ' t t r a v e l a t n i g h t a n d k e e p y o u r d r a p e s c l o s e d . D o n ' t l e t z o m b i e s s p i t o n y o u . I f y o u k n o c k a z o m b i e d o w n , d i r e c t a s e c o n d b u l l e t i n t o i t s b r a i n s t e m . B u t a b o v e a l l , d o n o t a s s u m e t h a t t h e w a r i s o v e r , b e c a u s e i t n e v e r i s . T h e z o m b i e s y o u k i l l t o d a y w i l l m e r e l y b e r e p l a c e d b y t h e z o m b i e s o f t o m o r r o w . B u t y o u c a n d o t h i s , m y f r i e n d . I t ' s d i s e n c h a n t i n g , b u t i t ' s n o t d i f f i c u l t . K e e p y o u r finger o n t h e t r i g g e r . C o n t i n n c t h e t e r m i n a t i o n . D o n ' t s t o p b e l i e v i n g . D o n ' t s t o p d e l e t i n g . R e U n n y o u r v o i c e m a i l s a n d n o d y o u r a g r e e m e n t s . T h i s i s t h e z o m b i i s ' w o r l d , a n d w e j u s t l i v e i n i t . B u t w e c a n l i v e b e t t e r .
For Discussion and Writing
\ H o w a r e z o m b i e s d i f f e r e n t f r o m v a m p i r e s , a c c o r d i n g t o K l o s t c M i i . n i ' W h y a r e t h e s e d i s t i n c t i o n s i m p o r t a n t t o h i s a r g u m e n t ?
2 . W h e r e i n t h e e s s a y d o e s t h e w r i t e r u s e c l a s s i f i c a t i o n a n d d i v i s i o n ' L o c a t e a n e x a m p f e a n d e x p l a i n h o w i t f u r t h e r s h i s m a i n p o i n l .
3 . c o n n e c t i o n s L i k e K l o s t e r m a n , G u i f f e r m o d e f T o r o a n d C f i n i l \ H o g a n , i n " W h y V a m p i r e s N e v e r D i e " ( p . 3 7 8 ) , a r g u e t h a i o u r c u f t u r e ' s m o n s t e r s c a n i l l u s t r a t e o r s p e a k t o o u r a n x i e t i e s a n d Ic , i i . F o r K f o s t e r m a n , z o m b i e s a r e t h e e m b l e m a t i c f i g u r e o f o u r - c u l l m . i l
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c o m p a r e t h e a u t h o r s ' a p ^ r o a T h e s o T h e t ' ^ ^ ' ^ ' f ' ^ - ^ ^ ' ^ y o u K l o s t e r m a n s a s s e s s m e n t o f v a m p i r e s P w uf^ "^''"^ ^'''^ a g r e e w i t f i i t ? v a m p i r e s ? W o u l d d e l T o r o a n d H o g a n
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