Oh dear. I adored this.
One's obsessions are hard to sort for their influence in affection. Revival
certainly plays to some of my obsessions: the undead, the bleak midwinter Midwestern locale, the Gothic/Noir sensibility that relies on understatement more than worn tropes. Like in [b:Raising Stony Mayhall|9466865|Raising Stony Mayhall|Daryl Gregory|http://d.gr-assets.com/books/1326125621s/9466865.jpg|14351915], these are heartland zombies, flyover zombies, more concerned with the strange (dis)function of small, isolated communities than screaming bloodbaths. This blood creeps instead of splatters. I fairly loved both Revival
, but another should-be slam-dunk for me, [b:Ashes|9975679|Ashes (Ashes Trilogy, #1)|Ilsa J. Bick|http://d.gr-assets.com/books/1320565916s/9975679.jpg|11163588], with its Wisconsin winter and plucky teens, didn't work at all for me. The play out of one's personal obsessions doesn't always run to something that sinks into the skin.
My mother and I once had a conversation about hometowns, about how people talk about them, and how we take those conversations personally. She'd had a conversation with someone who said some flip disparaging things about her hometown. They were true things to say, as far as observations from outsiders go, but to say those things to the local... maybe this was badly done. I've been careful since then about what I say to people about where they grew up. However, I love what I feel like are rightful depictions of the people I grew up with, the land and landscape, blahity blah, &c. Which is maybe why I never cottoned to Ashes
: the opening was Wisconsin enough for me, but the whole cult-town thing felt like it was from central casting, one of those fictional places that could be anywhere (but you know, ultimately nowhere). Which is fine, and certainly not every book has to adhere to my sense of regionalism and placement. But good lord, when it happens, I flip the hell right right. When you speak to me from where I'm from, in the idiom of my location, I'm going to lose my shit.
The undead in Revival
aren't biters, to steal terminology from Mayhall
. One day, the day of revival - and I think only on that day - all of the dead in a small area around Wausau, WI get back up. It's not a lot of people - 23 I think the authorities know about - but then there are the undead who aren't known to be undead - at least the one who's a main character anyway. There are also...other things. While the perspective is not overly tight on any one character, it's got that situated near-locality that only glances at the larger picture. This is the locality of trauma, relayed in conversations and status updates in the days and weeks after the event. There's the thin edge of how the larger world is sorting the local traumas, but it's just a thin thought, a moment in the larger smallness of how life plays out, the cabin fever of trauma.
It wasn't so long ago that I watched horrified while a friend in Bryn Mawr, a neighborhood just on the edge of downtown here in Minneapolis, watched the bloody unfolding of the workplace shooting
from split blinds, updating on facebook as it happened. It was awful, and it got worse last week with the school shooting in Connecticut. I stood in the snow waiting to get my kids that day - they the same ages as those gunned down - and the other mom whom I chatter with daily and I couldn't meet each other's eyes or we would lose it. "It feels like 9/11," she said. Yeah, I thought, it does. I'm just as trapped miles from where it happened with my imagination running wild. All those classes letting out, their bodies whole and un-riddled with bullets.
Civic trauma is local, even when it happens a thousand miles away. The area around Wausau in this book is quarantined, for lack of a better word: CDC roadblocks set up, for fear that this revival might be contagious; local police working through the usual round of domestic disturbances and drunk drivers, while also trying to manage the suspicion of the motivations of the dead. One woman, an elderly revival, pulls her magically regrowing teeth out with a pliers because if she didn't, her false teeth won't fit. Shudder. Shudder, shudder. And shudder some more with how her story plays out. The time scale shifts and moves, not with strict linearity, but the bright hardness of events that matter. My oh my.
There are points when this civic/personal trauma is maybe cut too obviously in the book, like when the CDC doctor dude - a man whose parents are strict Muslims - notes the parallels between the suspicion for the revived with the suspicion for the Islamic - but it still worked. Especially given his half-out-loud conversation with a near-girlfriend back east, who can tell he's started smoking again by the quality of his voice, the deepening of utterance in the wake of some fucked up shit. The way no one ever says straight out what they mean, or what is going on between them, this is the left-out communication of my people, my landscape. Mum recently joked about reading [b:Main Street|11376|Main Street|Sinclair Lewis|http://d.gr-assets.com/books/1308953459s/11376.jpg|18537748] and wondering why no one ever said what they meant, but she's not a Midwesterner like I have grown to be. Not-saying is the language I understand.
So, the only complaint I have about this story is that I want MOAR and I want it NOW. This is pretty much the perfect package of my Midwestern cold and avoidance made inevitable and bloody and strange. This is all my obsessions made manifest, their closed mouths saying as much as blood in the snow. Uff da.
I received my copy from Netgalley. Cross-posted on Readerling