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However, zombies are one particular kind of living-dead creature among many others, separate from the fleshy embodied ghosts of diverse cultures, including the Jewish golems, European revenants, and Chinese jiangshi. The zombie is distinct because of its origins in the folkloric myth of the corpse raised by a bokor a witch doctor, for lack of a better term , a Caribbean belief that has roots in African soul-capture mythologies and that was a direct reflection of the transatlantic slave trade.
This folkloric figure migrated into U. Any discussion of the zombie in literature is inseparable from its cinematic sibling, but for the creature that developed out of Caribbean mythologies, folklore is its ultimate ur-text. Zombies were first registered in a few scattered colonial accounts documenting the beliefs of the enslaved population of Caribbean isles.
The first zombie stories to be popularly consumed came out of nonfictional pseudo-anthropological texts reporting on the culture of Haiti during the U. Its marketability was recognizable after the film White Zombie dir. Victor Halperin depicted the threat that the Vaudou zombie could pose for white protagonists. This would continue throughout the s, as many zombie-like living dead dripped and oozed across the pages of EC horror comics.
During these middle decades, many crossover monsters in science fiction tales incarnated the fears of the period—particularly fears of technological capability and Cold War tensions. Various characters in these works had traits that have come to be associated with zombies, such as mindlessness and cannibalism.
One might point to a kind of lull in zombie fiction both on-screen and in literature in the s and s, but the zombie experienced a resurgence in the new millennium and a return to prominence in both cinematic and textual narratives.
