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Something very peculiar is happening in Stockholm. There's a heatwave on and people cannot turn their lights out or switch their appliances off. Then the terrible news breaks. In the city morgue, the dead are waking up .... What do they want? What everybody wants: to come home.
andejons: Liknande tema: mänskligheten stöter på intelligenta salamandrar, till en början utan möjlighet att föra egen talan, och hur dessa kommer att utnyttjas.
bibliobeck: Although they are very different books, similarities struck me throughout - the involvement of religion, signs of the end of days and preparing for armageddon.
Kolbkarlsson: Inte helt hundraprocentigt, men båda böckerna har ett förhållande till döden och kroppen som gör det roligt att ställa böckerna brevid varandra. Trots att Håkansson är mer osentimental, så är också skräcken rotad i den svenska vardagen.
Handling the Undead by John Ajvide Lindqvist is a zombie book with a difference. The story begins with the sudden reanimation of thousands of deceased individuals, now referred to as "reliving," before exploring the perspectives of various characters, including grieving families and medical professionals, as they struggle with the emotional and ethical complexities of the situation. Lindqvist combines horror elements with an examination of human nature to explore themes of loss, grief, and our understanding of life and death.
Lindqvist's true mastery, however, lies in the seamless alternation between action and inner dialogue, which results in an ominous air of tension, and in his ability to paint a vivid picture with his words. The author's portrayal of grief is nothing short of haunting; I found myself holding back tears multiple times.
What sets this novel apart is its unique approach to the undead. If you're seeking a traditionally fast-paced, action-packed zombie story, this book may not be to your taste. Far from the mindless flesh-eaters we're accustomed to, these reanimated beings are imbued with a haunting humanity. Lindqvist doesn't just explore death and resurrection; he delves deep into the recesses of human nature, plumbing fear, loathing, disgust, compassion, love, and the raw, unrelenting ache of grief.
The characters in Handling the Undead are complex and enigmatic, breathing life into a genre often characterised by lifelessness. The strong focus on character introspection does slow the pace of the novel; however, the narrative is complex and intricate, weaving a web that leaves readers constantly on edge. The horror here is subtle, playing upon our deepest fears. Through the lens of the zombie premise, Lindqvist offers a searing commentary on modern society, laying bare its fissures - the isolation, the fear, the fraying of social bonds, and the desperate hope for a better future.
The novel concludes with a degree of ambiguity, which may be off-putting for some readers. Many questions are unanswered, including the ultimate fate of the undead and the nature of the force that seems to be influencing them. Some readers will appreciate the open-ended nature of this finish, while others may prefer a more conclusive resolution.
Overall, Handling the Undead is a thought-provoking and emotionally resonant work that brings a unique spin to the zombie genre, making it a worthwhile read for those seeking a fresh perspective on the undead. ( )
Este libro lo leí hace varios años y me pareció aterrador. En esta segunda lectura repasar los pasajes, reconocerlos, reencontrarme con ellos, me ha confirmado que la premisa es aterradora. Me gusta la forma en la que el autor va llevando a la historia y los personajes, aunque algunos comentarios dicen que los encuentran aburridos, en lo personal los encuentro muy interesantes.
Quizá me hizo falta un poco más "acción" en la sociedad sueca ante un mundo en el que los muertos vuelven a la vida, más que esa tensa calma; pero quién sabe, igual y estoy muy mal acostumbrada a tantas historias de zombies donde todo es caos. Y no es que aquí no lo haya, lo hay y mucho, pero como ya lo dije, es una calma muy tensa, en todo momento parece que las cosas van a explotar y que todos van tranquilos para que esa explosión no sea de escalas mayores.
En fin, me gustan las historias de John Ajvide Lindqvist; siempre encuentro un terror muy humano, algo que rompe de manera muy profunda y que es horroroso. Y ahora que volví a este libro, no me decepcionó. ( )
Algo muy extraño está ocurriendo en Estocolmo: en medio de una inusual ola de calor, la gente se da cuenta de que no puede apagar la luz ni los aparatos eléctricos. De repente, una noticia sacude a la nación: en la morgue los muertos están resucitando. ¿Qué es lo que quieren? Lógicamente, volver a casa...
Algo muy extraño está ocurriendo en la capital de Suecia: en medio de una inusual ola de calor, la gente se da cuenta de que no puede apagar la luz ni los aparatos eléctricos. De repente, una noticia sacude a la nación: en la morgue los muertos están resucitando. ¿Qué es lo que quieren? Lógicamente, volver a casa...
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Solidarity is always directed at 'one of us' and 'us' cannot refer to everyone....For 'we' assumes someone who can be excluded, someone who belongs to others, and these others cannot be animals or machines, but people. Sven-Eric Liedman_To See Oneself in Others
All that we hope is, when we go Our skin and our blood and our bones Dont get in your way, making you ill The Way they did when we lived. Morrissey_There's a place in hell for me and my friends.
Dedicatòria
Informació del coneixement compartit en anglès.Modifica-la per localitzar-la a la teva llengua.
To Fritiof. Mah-fjou!
Primeres paraules
Informació del coneixement compartit en anglès.Modifica-la per localitzar-la a la teva llengua.
'Salud, Comandante.'
Citacions
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He was the only one who saw it.
…catastrophe eclipses everything.
Two months ago, the table had been full of things: fruit, mail, a toy, a flower picked during a walk, something Elias had made at daycare. The stuff of life.
When in trouble, when in doubt
Run in circles, scream and shout.
Seconds, minutes…one second we are born, one second we die.
‘—but Mahler stood up with a groan while the nurse screamed at him, ‘You've got to help me! Please!'
He couldn't. Not right now. Had to see what was going on. Shamed, he staggered away to the autopsy room; the photographer who takes pictures of the famine victims, goes back to the hotel room and drinks to assuage his guilt.
Photographs…the camera…
The presence of the military car strengthened him in his belief that he had done the right thing not to reveal himself. When the military comes into the picture, something else goes out the window.
'I don't know if we are doing the right thing,' he said. ‘But I know that they don't know either. In my line of work…you would be amazed at how many times the authorities do something without knowing why, without knowing the consequences…only so it will look as if they're doing something.'
After she had read part of the book she started to cry. Because there would never be another book about Bruno the Beaver. Because he had died with his creator. Because the Waterman had finally got him.
The reliving are regarded as vegetables, without will, or thought. This is wrong. They are like jellyfish. Their behaviour is influenced by their environment. They have a will. The will of the person thinking of them. No one is prepared to accept this.
We should isolate them completely. We should destroy them. Burn them. Instead, they will now be released into the uncontrolled thoughts of the public at large. It will end badly. I do not want to be present when this occurs.
For me death is a wolf…
Death makes us strangers to one another.
Darreres paraules
Informació del coneixement compartit en anglès.Modifica-la per localitzar-la a la teva llengua.
Something very peculiar is happening in Stockholm. There's a heatwave on and people cannot turn their lights out or switch their appliances off. Then the terrible news breaks. In the city morgue, the dead are waking up .... What do they want? What everybody wants: to come home.
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Lindqvist's true mastery, however, lies in the seamless alternation between action and inner dialogue, which results in an ominous air of tension, and in his ability to paint a vivid picture with his words. The author's portrayal of grief is nothing short of haunting; I found myself holding back tears multiple times.
What sets this novel apart is its unique approach to the undead. If you're seeking a traditionally fast-paced, action-packed zombie story, this book may not be to your taste. Far from the mindless flesh-eaters we're accustomed to, these reanimated beings are imbued with a haunting humanity. Lindqvist doesn't just explore death and resurrection; he delves deep into the recesses of human nature, plumbing fear, loathing, disgust, compassion, love, and the raw, unrelenting ache of grief.
The characters in Handling the Undead are complex and enigmatic, breathing life into a genre often characterised by lifelessness. The strong focus on character introspection does slow the pace of the novel; however, the narrative is complex and intricate, weaving a web that leaves readers constantly on edge. The horror here is subtle, playing upon our deepest fears. Through the lens of the zombie premise, Lindqvist offers a searing commentary on modern society, laying bare its fissures - the isolation, the fear, the fraying of social bonds, and the desperate hope for a better future.
The novel concludes with a degree of ambiguity, which may be off-putting for some readers. Many questions are unanswered, including the ultimate fate of the undead and the nature of the force that seems to be influencing them. Some readers will appreciate the open-ended nature of this finish, while others may prefer a more conclusive resolution.
Overall, Handling the Undead is a thought-provoking and emotionally resonant work that brings a unique spin to the zombie genre, making it a worthwhile read for those seeking a fresh perspective on the undead. (