The Living Dead

I threw the gutted chicken to the ground and knelt beside the woman's body. Her neck flopped at an angle just slightly wrong.

I got up and shut the trunk of my car. The sound seemed to echo, too loud. Wind seemed to roar in the tall trees. The leaves rustled and whispered. The trees all looked like flat black shadows, nothing had any depth to it. All noises were too loud. The world had become a one-dimensional cardboard thing. I was in shock. It would keep me numb and safe for a little while. Would I dream about Carla tonight? Would I try to save her again and again? I hoped not.

Somewhere up above, nighthawks flitted. Their cries came thin and eerie, echoing loud. I looked at the body by the grave. The whiteness of it stained now with dirt. So much for the other half of my fee.

I got in the car, smearing blood over the steering wheel and key. There were phone calls to make: to my boss, to the police, and to cancel the rest of my appointments. I would be raising no more dead tonight. There was a taxi to send away. I wondered how much the meter had run up.

My thoughts ran in dull, frightened circles. I began to shake, hands trembling. Tears came hot and violent. I sobbed and screamed in the privacy of my car. When I could breathe without choking, and my hand was steady, I put the car in gear. I would definitely be seeing Carla tonight and Arthur. What's one more nightmare?

I left Carla there alone, with Arthur's forgiveness, one leg lost in the flowers of his grave.

In Beauty, Like The Night

by Norman PartridgeNorman Partridge is the author of the novels Saguaro Riptide, The Ten Ounce Siesta, Slippin' into Darkness, Wildest Dreams, and Dark Harvest, which was named one of the 100 Best Books of 2006 by Publishers Weekly. He also wrote a media-tie in novel The Crow: Wicked Prayer, which was later adapted into the fourth Crow film.

Partridge's short fiction—which has appeared in Amazing Stories and Cemetery Dance and in a number of anthologies, such as Dark Voices 6, Love in Vein, and Retro Pulp Tales—has been collected in three volumes: Mr. Fox and Other Feral Tales, Bad Intentions, and The Man with the Barbed-Wire Fists.

In the introduction to the latter collection, Partridge describes in detail his first experience seeing Night of the Living Dead at the local drive-in. "The drive-in in my hometown had not one . . . not two . . . but three cemeteries as neighbors," Partridge says. "Realizing that, a nasty little idea began to nibble at the corners of my imagination. I couldn't help but wonder what would happen if the dead folks in those cemeteries clawed their way out of their graves and came shuffling across the road to pay us a little visit."

Which sounds to me like the origin of many zombie tales if not this one in particular.

The beach was deserted.

Somehow, they knew enough to stay out of the sun.

Nathan Grimes rested his elbows on the balcony and peered through his binoculars. As he adjusted the focus knob, the smooth, feminine mounds that bordered the crescent-shaped beach became nets of purslane and morning glory, and the green blur that lay beyond sharpened to a crazy quilt of distinct colors—emerald, charcoal, glimpses of scarlet—a dark panorama of manchineel trees, sea grapes, and coconut palms.

Nathan scanned the shadows until he found the golden-bronze color of her skin. Naked, just out of reach of the sun's rays, she leaned against the gentle curve of a coconut palm, curling a strand of singed blonde hair around the single finger that remained on her left hand. Her fingertip was red—with nail polish, not blood—and she thrust it into her mouth and licked both finger and hair, finally releasing a spit curl that fought the humid Caribbean breeze for a moment and then drooped in defeat.

Kara North, Miss December.

Nathan remembered meeting Kara at the New Orleans Mansion the previous August. She'd posed in front of a bountifully trimmed Christmas tree for Teddy Ching's centerfold shot, and Nathan—fresh off a plane from the Los Angeles offices of Grimesgirl magazine—had walked in on the proceedings, joking that the holiday decorations made him feel like he'd done a Rip Van Winkle in the friendly skies.

Nathan smiled at the memory. There were several elegantly wrapped packages under the tree that August day, but each one was empty, just a prop for Teddy's photo shoot. Kara had discovered that sad fact almost immediately, and they'd all had a good laugh about her mercenary attitude while Teddy shot her with a little red Santa cap on her head and sassy red stockings on her feet and nothing but golden-bronze flesh in between.