
#428
Title:
The Forest of Hands and TeethAuthor: Carrie Ryan
Publisher: Delacorte
Year: 2009
318 pages
This
has been tagged as a young adult dystopian novel, and while I agree
with "young adult," it's dystopian only in the sense that all zombie
novels are dystopian--a spreading horror, present or past, destroys much
of civilization. Perhaps it shades slightly more into dystopian
territory, in that a character alludes to the Unconsecrated--this
village's name for the zombies--having originated in scientific attempts
to make people immortal. However, this aside is so tangential to the
action of the story, so peripheral to the central narrative, that, while
intriguing, it is not a sufficiently central point to support calling
this a dystopia.It is young adult horror with science fiction elements.
There
are things I can live without knowing. I don't need the whole back
story; in many ways it's more interesting not to have a huge revelation
about the long, long ago time and how things came to be. Perhaps some of
that is filled in in the next book; perhaps not. What we should have
learned: Why on earth the Sisterhood allows infected people to join the
Unconsecrated rather than chopping off their heads; how or why both
Mary's and Gabrielle's villages are overrun; why Mary and her group of
survivors assume the members of the Sisterhood who bolted themselves
into the Cathedral didn't survive; why Mary thinks that Gate I would
lead to the ocean. There's more, but these are the big points. More
irritating, and constituting plot disruptions/bad writing: If the
zombies can pile up enough to get to an upstairs story, why don't they
do this with the village fences? Who does maintenance on the path fences
beyond the Guardians' range? If zombies can take down sturdy, braced
wooden doors in a relatively short time, why can't they take down
cyclone fencing even more quickly?
Psychologically, this is a
novel about claustrophobia. The (seemingly) lone village, the tiny
beacon holding back the unending, zombie-filled forest. The stern and
secret-keeping Sisterhood, a religious order that controls the village,
its inhabitants' lives, and access to historical and current knowledge.
The young girl, who wants to marry for love, break out of the village's
tight periphery, and re-discover this "ocean" her mother described to
her in her childhood. It is also about selfishness; more specifically,
selfishness rewarded. Mary, the protagonist, is cut from the same
histrionic and narcissistic cloth as
Twilight's
Bella. She is moody, impulsive, self-focused and self-preoccupied,
willing to put her ambivalent desires ahead of (as far as she knows) the
well-being of everyone in the world. Why is Travis attractive? For the
same reason Edward is: Because the female protagonist says so.
If
I were still back in my text deconstructin' days, I'd say that Mary's
fervent desire for a particular kind of love, bolstered by the repeated
symbol of the ocean (Freud's oceanic oneness, q.v.) and the image of the
ocean-like forest, is what causes the village fence to be breached,
admitting the endless tide of Unconsecrated who consume or infect just
about everyone, converting them from individuals to an undifferentiated,
oceanic mass of zombies. In psychoanalytic terms, it's the ambivalent
desire to return to the pre-individuated ego state (bonus for you
Kleinians: Snapping and rending included!). Since Mary's village
understands the zombies in religious terms, a translation of the above
might be that desire casts one out of paradise;
this Mary has
original sin. While Mary doesn't lust after a creature of darkness as
Bella does, this theme is present, though displaced onto Mary's mother.
The story is that Mary's mother allows herself to be bitten by her
husband (who is now a zombie) because Mary isn't there to stop her. Mary
is too busy getting creeped out by her friend and nice-guy Harry, who
in a prefiguring of this zombie/ocean trope grasps her hands under water
(she's doing laundry) and initiates a courtship. However, it's not
clear that Mary would have prevented her mother from being bitten by her
father; Mary, though devastated, also apparently finds it all
unbearably meaningful and argues with the Sisterhood, and her brother,
that her mother should be permitted to join her father as part of the
unknowing, uncaring zombie horde. Who can say that the addition of
Mary's mother and of Gabrielle (a parallel sacrifice by the Sisterhood)
isn't the tipping point that allows the Unconsecrated to breach the
fence?
At the end of the novel, having navigated the oceanic
forest and seeing her love interest (who turned out not to be enough for
her, anyway) zombified and castrated, I mean decapitated, by her, Mary
reaches the real ocean. There, she immerses herself with, incidentally, a
large number of zombies and chopped-up zombie parts. Then, to the
lighthouse with an older man whose job is to decapitate the zombies who
wash onto the beach. It wasn't her mom she wanted all along, it was her
dad! Oedipal mystery solved.
Oh, and this bears little resemblance to
The Hunger Games, with which I've seen it compared. Instead, think
The Road,
but with zombies instead of the charred ashes of a ruined civilization,
and a whiny self-serving kid. Same ending, though: It's sad about the
other(s), but now you're safe because you've found another
claustrophobic enclave, where you can be protected (until the horror
engulfs it as well).