Once again, she looked out over the men and women packed into the room below. Only this time, they looked back at her. More than one hundred and fifty trained soldiers on their feet, watching her.
In those faces, she saw fear and uncertainty. She saw hate, too, but less of that, surprisingly less.
Guards ringed the room. Civilians walked up and down the aisles with trays of meat. Cooked meat because, for now, that would make them comfortable. They gave the hostages as much as they wanted. That would help. So, too, would the doctors slipping along, silent as wraiths, watching for signs of trouble, others in the back room, dosing the meat with mild sedatives.
The transition had gone smoother than she’d expected. The doctors assured her it would, but she’d seen one too many hellish deaths and rebirths to truly believe them. They were right, though. After all these years, the virus had mutated, ensuring its own survival by making the process faster, less traumatic. One shot of the virus. Then a death-inducing dose of sedative. Within a day… rebirth. And now, two days later, an army to command.
She started her speech with a history lesson. How the Others had driven them to this place. How they’d fought the sporadic incursions, killing only those they could not capture. How they’d treated the prisoners of war humanely. Every man and woman there could attest to that. But now, with the wolves at their door, refusing to negotiate, they’d been forced to do the unthinkable.
“We need soldiers to fight,” she said, her voice ringing through the stockade. “Right now, I’m sure you don’t feel much like helping us. But you won’t be fighting for us, you’ll be fighting for yourselves. You are us now. You are Infected. Every one of you is now free to walk out our front gates. But you won’t. Because you know they won’t let you. Your brothers-in-arms, your friends, your families-every one of them would lop off your head if you walked into that camp because you are no longer human. You are Infected.”
She paused to let her words sink in. Behind her, Gareth shifted, struggling to stay on his feet. She glanced at him. He smiled and whispered that she was doing fine.
She turned back to the troops. “To everyone you left behind, you are now dead. Do you feel dead?”
They shuffled, the sound crossing the stockade in a wave.
“To everyone you left behind, you are now a monster. Do you feel like a monster?”
More shuffling, sporadic grunts.
“To everyone you left behind, you have no right to live.”
Another glance at Gareth. He stood straighter, chin lifting. He was dying. They all were and this was how they had to face it: stand tall and refuse to let Death win so easily. They’d cheated it before. Now they had to cheat it again.
She turned back to the crowd below. “Do you want to live?” She paused. “Are you willing to fight to live?”
The answer came softly at first, her own troops calling back. Gradually, more voices joined them, the new soldiers joining in, their shouts boosting the confidence of the others until the cry ran through the fort.
Gareth moved up behind her, his fingers sliding around her waist, his touch ice-cold now.
“You gave them hope,” he said. “You gave them a chance.”
She nodded. It wasn’t much, but it was the best she could do. Maybe, just maybe, it would be enough.
The Thought War by Paul McAuley
Paul McAuley is a winner of the John W. Campbell Memorial Award, the Arthur C. Clarke Award, the Philip K. Dick Award, the British Fantasy Award, and the Sidewise Award. His most recent novels are Gardens of the Sun and The Quiet War. Earlier work includes the award-winning novel Fairyland, White Devils, Four Hundred Billion Stars, Mind’s Eye, and The Secret of Life, to name a few. His short fiction has appeared in a wide variety of magazines and anthologies, including Asimov’s Science Fiction, The Magazine of Fantasy & Science Fiction, Interzone, Postscripts, and has been reprinted on numerous occasions in best-of-the-year annuals.
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.