When humankind faces what it perceives as a threat to its very existence, a macabre thing happens in art, literature, and culture: corpses begin to stand up and walk around. The dead walked in the fourteenth century, when the Black Death and other catastrophes roiled Europe. They walked in images from World War I, when a generation died horribly in the trenches. They walked in art inspired by the Holocaust and by the atomic attacks on Japan. Now, in the early twenty-first century, the dead walk in stories of the zombie apocalypse, some of the most ubiquitous narratives of post-9/11 Western culture. Zombies appear in popular movies and television shows, comics and graphic novels, fiction, games, art, and in material culture including pinball machines, zombie runs, and lottery tickets. The zombie apocalypse, Greg Garrett shows us, has become an archetypal narrative for the contemporary world, in part because zombies can stand in for any of a variety of global threats, from terrorism to Ebola, from economic uncertainty to ecological destruction. But this zombie narrative also brings us emotional and spiritual comfort. These apocalyptic stories, in which the world has been turned upside down and protagonists face the prospect of an imminent and grisly death, can also offer us wisdom about living in a community, present us with real-world ethical solutions, and invite us into conversation about the value and costs of survival. We may indeed be living with the living dead these days, but through the stories we consume and the games we play, we are paradoxically learning what it means to be fully alive.

30 bloodcurdling and bone-chillingly real-life zombie encounters. Not recommended for reading when a virus hits! Paranormal researcher extraordinaire and author of hundreds of books on the mysterious and unknown, Brad Steiger provides an alarming chronicle of zombie history, and stories of first-person encounters. Along with the bloodcurdling stories, Real Zombies, the Living Dead, and Creatures of the Apocalypse explores spells and hexes; ceremonies and initiations; ghouls and wendigos; sacred zombie and voodoo-related sites; zombies and monsters of the Bible; and zombie traditions in China, Japan, the Pacific, India, Persia, and Native America. Some of the topics and stories chewed over in this fascinating book include... Zombies versus Vampires Damballah Wedo and the African Pantheon Black Cat Mama Couteaux and the Great Zombie War The Devil Baby of Bourbon Street Recipes for Hungry Ghosts Eating Human Flesh as a Religious Experience Hitler’s Quest to Zombify the World The CIA Experiments to Create a Zombie Nation Golems and Tulpas—Psychic Zombies Zombies and Voodoo Magic around the World And many, many more hair-raising stories! Highlighting news articles, historical accounts, and first-person interviews, Real Zombies, the Living Dead, and Creatures of the Apocalypse will leave you worried about whether man can survive the next plague.

People readily form religious beliefs out of their imaginations, fears, fantasies, and bloated egos. The paranormal is now nearly the norm in the world of popular entertainment, threatening traditional systems of belief. Are today's "walking dead" real zombies? Are the aliens actually here? What's keeping you awake at night? Are masses of overscheduled and frustrated people spiritually deceased even though still breathing? Who's lurking in the shadows, demons of destruction, a loving God seeking our highest well-being, or nothing but our twisted imaginations? How we fragile humans long for safety, ecstacy, community, meaning, and "salvation." We must beware, however. Numerous charlatans have it all for sale! By contrast, there still is the man Jesus who has paid the highest of prices and is offering all we need as a free gift. In him, insists the Christian faith, death has died and we've been set free to be "possessed" by the Spirit of Jesus, thus becoming the living dead. Receiving this gift takes faith, of course, but faith not contrary to reason. In fact, it may be the most reasonable and satisfying thing we could ever do.

She was five-six, slim, with nonconspicuous well-formed breasts, artistically curving into a long neck, bearing delicate features. She was endowed with soft skin, delicately shaped cheekbones, and slightly pouting healthy lips with a perpetual pleasant smile. Her beautiful chin was accentuated with a tiny birth mark above the right jaw beneath a pleasant forehead. Beautifully slanted wide hazel-gray eyes with naturally thick black eyelashes displayed sparkles of hope and light. Topping her head were soft dark brown waves of hair, which, on the job, she wore in two big braids arranged together into a crown-like bow that made her look taller. She looked her best though when she arranged her hair in a wide strand of shiny waves, resembling a mix of light and dark-shaded gold flowing on the left-hand side of her chest. Occasionally, she let her hair naturally spread to medium length over her back, covering her shoulder blades. Kathy seemed never to forget that she was an attractive woman and took pride in that fact. She was invariably confident, low-keyed, and gentle.

The figure of the zombie is a familiar one in world culture, acting as a metaphor for "the other," a participant in narratives of life and death, good and evil, and of a fate worse than death--the state of being "undead." This book explores the phenomenon from its roots in Haitian folklore to its evolution on the silver screen and to its radical transformation during the 1960s countercultural revolution. Contributors from a broad range of disciplines here examine the zombie and its relationship to colonialism, orientalism, racism, globalism, capitalism and more--including potential signs that the zombie hordes may have finally achieved oversaturation. Instructors considering this book for use in a course may request an examination copy here.

An eye-opening look at how incarcerated people, health professionals, and others behind and beyond bars came together to problem-solve incarceration. Raising the Living Dead is a history of Puerto Rico’s carceral rehabilitation system that brings to life the interactions of incarcerated people, their wider social networks, and health care professionals. Alberto Ortiz Díaz describes the ways that multiple communities of care came together both inside and outside of prisons to imagine and enact solution-oriented cultures of rehabilitation from the 1930s to the 1960s. Scientific and humanistic approaches to well-being were deliberately fused to raise the “living dead,” an expression that reemerged in the modern Caribbean to refer to prisoners. These reform groups sought to raise incarcerated people physically, mentally, socially, spiritually, and civically. The book is based on deep, original archival research into the Oso Blanco (White Bear) penitentiary in Puerto Rico, yet it situates its study within Puerto Rico’s broader carceral archipelago and other Caribbean prisons. The agents of this history include not only physical health professionals, but also psychologists and psychiatrists, social workers, spiritual and religious practitioners, and, of course, the prisoners and their families. By following all these groups and emphasizing the interpersonal exercise of power, Ortiz Díaz tells a story that goes beyond debates about structural and social control. The book addresses key issues in the history of prisons and the histories of medicine and belief, including how prisoners’ different racial, class, and cultural identities shaped their incarceration and how professionals living in a colonial society dealt with the challenge of rehabilitating prisoners for citizenship. Raising the Living Dead is not just about convicts, their immediate interlocutors, and their contexts, however, but about how together these open a window into the history of social uplift projects within the (neo)colonial societies of the Caribbean. There is no book like this in Caribbean historiography; few examine these themes in the larger literature on the history of prisons.

In 1968, George Romero's film Night of the Living Dead premiered, launching a growing preoccupation with zombies within mass and literary fiction, film, television, and video games. Romero's creativity and enduring influence make him a worthy object of inquiry in his own right, and his long career helps us take stock of the shifting interest in zombies since the 1960s. Examining his work promotes a better understanding of the current state of the zombie and where it is going amidst the political and social turmoil of the twenty-first century. These new essays document, interpret, and explain the meaning of the still-budding Romero legacy, drawing cross-disciplinary perspectives from such fields as literature, political science, philosophy, and comparative film studies. Essays consider some of the sources of Romero's inspiration (including comics, science fiction, and Westerns), chart his influence as a storyteller and a social critic, and consider the legacy he leaves for viewers, artists, and those studying the living dead.

Divine Spirit never enters into the soul of living men. Neither the Gods of the Pagan, the direct emanations of the First Cause, never were or will ever be men — on our planet, at least. Divine Mind (nous) and Animal Soul (psyche) are pre-existent. But while the former is a distinct entity, an individualization of Mahat, the latter is an unscient portion of an intelligent whole. The one radiates without the Soul of the World, the other emanates within. Beware! It is only by observing the law of harmony that individuals can live hereafter. When one falls into a love of self and love of the world, with its pleasures, losing the divine love of God and of the neighbour, he falls from the illusionary life and fear of death to real death. The higher principles which constitute the essential elements of his humanity perish, and he lives only on the natural plane of his faculties. Physically he exists but spiritually he is dead. Antahkarana is the path or bridge that keeps the Divine Consciousness apart from its earthly shadow during life. At death it is destroyed, as a medium of communication, and its remains survive for a time as Kama-Rupa or “shell.” Lesson 1. “Ye are dead and your life is hid with Christ in God.” In other words, real Life is a conscious existence in Spirit, not matter. Lesson 2. Immortality can be secured only by mastering the principles of Cosmos and Man, as well as and their permanent and impermanent aspects. If Apophis conquers a soul, it cannot escape its second death. No noble thought, no grand aspiration, desire, or divine immortal love, can enter into the brain of the man of clay and settle there, except as a direct emanation from the Higher Ego through the lower; And conversely, only the finest spiritual ideations that Kama-Manas was able to transmit to Buddhi-Manas during life can be assimilated by the Higher Ego and, thence, survive death. For the lower ego is the exclusive mediator between the mortal personality and the Immortal God within. When Esoteric Teachings allude to the “second death,” they refer to the terrible possibility of the death of the Astral Soul, that is, its severance from the Higher Ego during a person’s lifetime. Only Occultists of the White Lodge, by explaining the circumstances that can lead a soul to its demise, can protect mankind from falling into such a dreadful pitfall. The connection between Higher and Lower Manas can never be ruptured and final reunion prevented, so long as there remains one spiritual deed, or potentiality, to serve as a thread of union; but the moment this last spark is extinguished, and the last potentiality exhausted, then comes the severance. The terrible implications of this second death become apparent when a Higher Ego has severed its links with its lower but totally unworthy agent, thereby any communication between the two (Antahkarana) is permanently lost. Any spiritual impulses from the Higher that may have previously benefitted an individual are now discontinued. There is no hope for the spiritually dead, for his glorious Augoeides have left him forever. Expelled forever from the sanctuary of Spiritual Consciousness, the rudderless personality is immediately reincarnated only in a lower and still more abject creature, a human being only in form, doomed to Karmic torments during the whole of its new life. Here two questions present themselves: 1. What becomes of the Higher Ego in such cases? Answer: The Divine Soul has to start all over again, or seek refuge within the Universal Soul. 2. What kind of an animal is a human creature born soulless? Answer: Terrible is the fate of the man who is about to lose his soul. He drifts aimlessly, a mere animal almost paralyzed with daily vice, and grows gradually unaware of its Lord and Mighty Host. Like a vampire, the brain feeds and expands at the expense of its spiritual parent, becoming senseless and beyond hope of redemption.

George A. Romero's Night of the Living Dead is a cult classic that has resonated with audiences and independent filmmakers ever since its release in 1968. It redefined horror cinema and launched the modern zombie genre that continues with films and series like 28 Days Later, Shaun of the Dead and The Walking Dead. Ben Hervey's illuminating study of the movie traces Night's influences, from Powell and Pressburger to fifties horror comics, and provides the first history of its reception. Hervey argues that the film broke cultural barriers, fêted at New York's Museum of Modern Art while it was still packing 42nd Street grindhouses. Scene-by-scene analysis meshes with detailed historical contexts, showing why Night was a new kind of horror film: the expression of a generation who didn't want their world to return to normal.

A killer monkey. Suburban witchcraft. Motorcycle jousting. A cockroach invasion. Despite this enticing list of other subjects, George A. Romero is best known for the genre-defining 1968 film Night of the Living Dead and subsequent zombie films. The non-zombie films in his decades-long career have gotten varied degrees of critical examination but they remain underexamined compared to the Dead flicks. This book focuses on Romero's "other" work, highlighting lesser-known films such as There's Always Vanilla (1971) and Bruiser (2000), as well as more popular films such as Martin (1977) and The Crazies (1973). It examines how his body of work participates in social critique by delving into issues such as capitalism's pitfalls and excesses, domestic and racial power imbalances, and our patriarchal culture's expectations of masculinity, femininity, and sexuality.