The reappearance of the zombie in popular fiction of the last 20 odd years (from 28 Days Later through to Pride and Prejudice and Zombies and The Walking Dead) not only hints at the concerns over depersonalisation of society through technology but also cancel culture and the collapse of the Western world after a war. It’s a smart way to tackle the worries of the period but also tell a rollicking tale.
Which is what we get in Race the Undead.
Starting off in a post Covid world, things go awry whenever it becomes obvious that:
…a new threat emerged in Africa and parts of Europe. Scientists… were astonished when…worries were expressed, not only by NATO allies, but with Russian, Chinese, Indian and Brazilian contemporaries... All pointed, not to a virus, but a combination between a bacterium and an unknown toxin that crossed the blood brain barrier. The results were apparent death. Except the victims were not dead as such. Their brain chemistry was destroyed, except that part of the hypothalamus that controls hunger – they reanimated with a ravenous hunger for flesh from the two ‘victims’ of this infection they had examined.
We’re then introduced to Greg and a motley crew of survivors in Ballymena who have raided the local cop shops for supplies. Having received a message from the Icelandic government that, if they can get to Ballycastle in a certain period of time, the group of survivors will be given shelter in Iceland. But will it be that easy?
Post-apocalyptic/survival tales thrive when you care for the band of misfits who would never be friends in a normal setting and must now survive while trying to make sense of what has happened to the world. We certainly get plenty of this material throughout Race the Undead as Greg grieves the death of his family at his own hands due to zombification while struggling with his advancing years and resenting the mantle of leader, Sam musing on being the first in her family to go to university and the amusing duo of Smicker and Seamus as former soldier and paramilitary respectively.
There’s also a satisfying air of melancholia and menace that permeates the tale. Melancholia in the struggle to come to terms with the new world and menace in that there are forces beyond their comprehension shaping the circumstances in the foreground and background.
Ahead were four shambolic figures, zombies straight out of central casting, ragged clothes, greying peeling skin, vacant eyes, walking down the middle of the road. A fifth was pulling itself along the pavement on its elbows, its legs missing. Behind them was what appeared to be a child’s body that had been ripped into bits. Brady noted that the hand of the child was dangling from one of the walking dead’s mouths … The stillness of the day was then filled by staccato fire. Aiming at 200 yards wasn’t accurate, for even the best drilled soldier, but Brady noted that the five walked forward steadily, firing deliberately…A pause and a few controlled bursts…within five yards the coup de gras, double shots to the heads. It was over in less than 30 seconds. The general was pleased how they had performed …
Note how the zombies are portrayed as both pathetic and horrific, the suggestion of a once perfect nuclear family mutated against their will while the precision of the soldiers indicates pre-planning and foreknowledge.
Acting as a thriller/horror, Race the Undead more than succeeds. As a playful examination of our fears post-Covid and post-Brexit, it also succeeds.
Once again, horror hits where a thousand studies can’t even reach.
Jonathan Traynor, 2025, Race the Undead. Excalibur Press. ISBN-13: 978-1910728666