Undead Ends is about how we imagine humanness and survival in the aftermath of disaster. This book frames modern British and American apocalypse films as sites of interpretive struggle. It asks what, exactly, is ending? Whose dreams of starting over take center stage, and why? And how do these films, sometimes in spite of themselves, make room to dream of new beginnings that don’t just reboot the world we know? Trimble argues that contemporary apocalypse films aren’t so much envisioning The End of the world as the end of a particular world; not The End of humanness but, rather, the end of Man. Through readings of The Road, I Am Legend, 28 Days Later, 28 Weeks Later, Children of Men, and Beasts of the Southern Wild, this book demonstrates that popular stories of apocalypse can trouble, rather than reproduce, Man’s story of humanness. With some creative re-reading, they can even unfold towards unexpected futures. Mainstream apocalypse films are, in short, an occasion to imagine a world After Man.

Vampire Queen Betsy Taylor continues her rule in Hell in the scorchingly funny finale to the Undead series from New York Times bestselling author MaryJanice Davidson. It had been a well-kept secret for centuries, but now the existence of vampires is all over the news, thanks to Betsy Taylor’s half sister (and the frustrated former Antichrist), Laura. Life for the undead will never be the same, and it’s up to Betsy to do some damage control. But her interview on the local news doesn’t exactly put out the fire. It more or less pours kerosene on it. With all the added attention on supernatural beings, the werewolves are more than a little agitated (never a good thing) and demand that Betsy gets her interview skills, and her family, in order. And while things go from bad to worse in the world, Hell continues to be hell—especially when Betsy’s new parole program becomes about as complicated as you’d expect. With a PR team launching a vampire-friendly campaign, the devil at large and out to make trouble, and mermaids on hand to see who falls—and how hard—the end isn’t just near. It’s here. And if anyone knows how to go out with a bang, it’s the queen of Hell.

In his new novel, John Ajvide Lindqvist does for zombies what his previous novel, Let the Right One In, did for vampires. Across Stockholm the power grid has gone crazy. In the morgue and in cemeteries, the recently deceased are waking up. One grandfather is alight with hope that his grandson will be returned, but one husband is aghast at what his adored wife has become. A horror novel that transcends its genre by showing what the return of the dead might really mean to those who loved them.

A death and life situation… Betsy’s heartbroken over her friend Marc’s death, but at least his sacrifice should change the future—her future­—for the better. But Betsy’s next few hundred years will still be far from perfect. After all, her half sister Laura is the Antichrist and Laura’s mother is Satan, which means that family gatherings will always be more than a little awkward. What’s really bothering Betsy is that ever since she and Laura returned from visiting their mom in hell, Laura’s been acting increasingly peculiar. Maybe it’s Laura’s new job offer as Satan’s replacement down under. Unfortunately, the position comes at a damnable price: her soul. Now a war has been waged—one that’s going to take sibling rivalry to a whole new level and a dimension where only one sister can survive.

From New York Times and USA Today bestselling author Jamie Thornton. Dessa has plans. She plans to stay out of trouble in the group home where she lives. She plans to work crazy hours at the grocery story to save for her own place. She plans to get her little brother back, soon, from his foster parents. But when a zombie apocalypse arrives, it wrecks all of Dessa’s plans. With the city falling into chaos, Dessa must use her street smarts to survive. Her only weapon against the zombies is a pillowcase of tuna cans. Her only allies are the other group home teens she doesn’t dare trust. And there’s only one plan left in the entire universe that matters. Find and save her brother before it’s too late. AFTER THE WORLD ENDS launches a new series in the same bestselling universe as ZOMBIES ARE HUMAN. New characters. New adventures. A thrilling zombie apocalypse awaits.

Out of sight, out of their minds: It's a school-trip splatter fest and completely not cool when the other kids in her class go all braindead on new girl Bobby.The day of the ski trip, when the bus comes to a stop at a roadside restaurant, everyone gets off and heads in for lunch. Everyone, that is, except Bobby, the new girl, who stays behind with rebel-without-a-clue Smitty. Then hours pass. Snow piles up. Sun goes down. Bobby and Smitty start to flirt. Start to stress. Till finally they see the other kids stumbling back. But they've changed. And not in a good way. Straight up, they're zombies. So the wheels on the bus better go round and round freakin' fast, because that's the only thing keeping Bobby and Smitty from becoming their classmates' next meal. It's kill or be killed in these hunger games, heads are gonna roll, and homework is most definitely gonna be late.Combining the chill of THE SHINING, the thrill ride of SPEED, the humor of SHAUN OF THE DEAD, and the angst of THE BREAKFAST CLUB, Kirsty McKay's UNDEAD is a bloody mad mash-up, a school-trip splatter-fest, a funny, gory, frighteningly good debut!

Zombies have become an increasingly popular object of research in academic studies and, of course, in popular media. Over the past decade, they have been employed to explain mathematical equations, vortex phenomena in astrophysics, the need for improved laws, issues within higher education, and even the structure of human societies. Despite the surge of interest in the zombie as a critical metaphor, no coherent theoretical framework for studying the zombie actually exists. Addressing this current gap in the literature, Theorising the Contemporary Zombie defines zombiism as a means of theorising and examining various issues of society in any given era by immersing those social issues within the destabilising context of apocalyptic crisis; and applying this definition, the volume considers issues including gender, sexuality, family, literature, health, popular culture and extinction.