After the critical articles are posted on Blackboard on 4/1, I will add another prompt that connects the critical articles to the readings as well.
1. In what ways does “Monstro” fit the conventions of either post-apocalyptic literature, as described by Stanton Garner in your 2/23 reading on Angles in America? How does the zombie disease in Monstro parallel notions of the postmodern apocalyptic in literature?
2. Choose 2 key scenes from Warm Bodies the novel that are cut from the film, and explain the impact of these lost scenes on the narrative. Does the film try to convey the values from these cut scenes in other ways? If so, how so?
3. How do either “Monstro” or “Warm Bodies” (the film) challenge or support the models of zombie literature discussed in earlier readings by Pokonowrski and Boluk/Lenz? Use specific scenes to make your case.
Here are some thoughts about possible approaches to your posting for Warm Bodies, and for approaching zombie literature as disease literature more generally.
1. Warm Bodies, like most vampire, zombie or other horror literature, can often be read as an allegory (a story, poem, or picture that can be interpreted to reveal a hidden meaning, typically a moral or political one). Discuss how a specific scene of this novel speaks in allegory about themes that connect other readings we have done on contagion.
2. Steven Pokonowrski argues that zombie films are often metaphors of heavily policed medical, military identities that are driven by conformist mainstream ideology. Pick a passage of Warm Bodies and argue how it supports or challenges Pokonowrski’s argument.
3.Boluk and Lenz also trace narrative patterns, but see zombie literature as part of an overall thread in Early Modern (post-Renaissance) “plague literature” that connects infection and capitalism. Based on your reading of a single scene, how does Warm Bodies connect capitalist expansion and plague?
4. Look at the two epigraphs that open Warm Bodies, both connecting to Gilgamesh. One is a traditionally articulate lyric quotation from perhaps the oldest text created; the other is a quote of mere ellipses from the same text. Why do you think Isaac Marion opens his story with these two quotations?