Each book requires a different kind of treatment and structural gambit. So it was my exchange to have something a little more plot-driven and have a little more action. The structure of Sag Harbor is very loose, it’s a portrait of a time and a character, and despite the fact that there aren’t these huge artificial moments of melodrama hopefully the voice is compelling enough. GQ: Compared to Sag Harbor, which is a book without much of a narrative structure, the survival story of _Zone One _is pretty much the opposite of the tale of a lost summer in the Hamptons.Ĭolson Whitehead: I try to keep it interesting for me and the people that follow my books. My first book The Intuitionist takes place in an alternative world where elevator inspectors are important so you have to establish rules and part of that is, How do people talk? How do they behave? GQ: How did you make the rules that govern the skels?Ĭolson Whitehead: Part of any book is establishing the rules at the end of the world. I’ve certainly been stuck on certain periods and events in my life, so a skel is a statue dedicated to nostalgia. The skels are ghosts, other people haunted by their pasts. And then things start to go terribly wrong… At once a chilling horror story and a literary novel by a contemporary master, Zone One is a dazzling portrait of modern civilization in all its wretched, shambling glory.Colson Whitehead: In terms of direct influences, I wanted to be true to the Romero version of the slow zombie.
Zone One unfolds over three surreal days in which Spitz is occupied with the mundane mission of straggler removal, the rigors of Post-Apocalyptic Stress Disorder (PASD), and the impossible task of coming to terms with a fallen world.
Mark Spitz is a member of one of the three-person civilian sweeper units tasked with clearing lower Manhattan of the remaining feral zombies. After the worst of the plague is over, armed forces stationed in Chinatown’s Fort Wonton have successfully reclaimed the island south of Canal Street-aka Zone One.
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