Some kind of monster: Corey Redekop’s unconventional zombie tale

October 31, 2012 by · Leave a Comment 

Tom Waits’s voice was once characterized as Louis Armstrong meets Ethel Merman in hell. This description resonates in an early set piece from Husk, in which the narrator, newly resurrected from the dead, tries to regain control of his vocal chords. The result, we are told, resembles “the sound of orphans being strangled in their cribs.” The moment is typical of author Corey Redekop’s approach in his second novel: it’s utterly macabre, yet simultaneously flat-out hilarious. “There’s a point where everything becomes very funny,” Redekop avers.

Certainly, Husk is not your stereotypical zombie story. First of all, it’s narrated in the first person by a protagonist named Sheldon Funk, a struggling actor who dies a horrible death in the washroom of a moving bus, only to wake up on the slab mid-autopsy. (Restraint is not a quality Redekop indulges in this novel. Sheldon’s death scene, for instance, rivals the suppository sequence from Irvine Welsh’s Trainspotting for its gleeful disgust factor.) But then, Redekop explains, he had no intention of writing a typical zombie novel. “I’ve read a couple of books that have zombies as their protagonists,” he says, “but they were honestly all along the lines of The Walking Dead, so they’re still shambling hordes and somehow this one still has intelligence, but they’re still out there eating people, and they can’t really talk. Which is fine: it’s the classic standard for a reason. It’s not that it doesn’t interest me, it’s just that I don’t think I can write that kind of story.”

Indeed, Husk took several different directions on the road to being written. “I had an idea for a zombie detective novel,” says Redekop, “which I wanted to set in a 1950s, Raymond Chandleresque alternate reality. But I could not get the voice right, and I knew I didn’t want to do it if I couldn’t do it justice.” He eventually abandoned the detective story conceit, although he did retain one element of that manuscript: “The truth is: I liked my first sentence.”

The opening sentence of Husk – “I miss breathing” – sets the tone for what follows. It also nods in the direction of the book’s oddly (for a zombie novel) ruminative quality. But none of what follows was planned in advance, the author claims. “I honestly just decided to follow the character. I didn’t have a preset plan, I didn’t know where the plot was going to go. A lot of it came as a complete surprise to me.”

The surprises included the fact that Sheldon Funk is gay. “I didn’t know he was gay until he killed his lover,” Redekop says matter-of-factly.

The character’s name was less of a surprise, and alludes to the author’s own Mennonite background (Redekop says of Husk, “It’s A Complicated Kindness of zombie novels”). “I’m Mennonite, and I needed a last name. I was playing with the last name of Thiessen, but it just didn’t work right. But then I came across Funk, which is actually a very traditional Mennonite name, and I just thought it really worked for the character.” Redekop adds with a laugh, “I was just trying to please my Mennonite readers.”

Redekop professes fidelity to the classic zombie mythos, and in particular credits the influence of George A. Romero’s groundbreaking 1968 film Night of the Living Dead. “It was such a milestone,” he says, “and so out of left field. You think it’s going to be a cheap, $10,000 grindhouse film, and then you leave ninety minutes later shaken to your core because he tapped into something incredibly primal.” But despite this influence, Redekop insists that with Husk, he wanted to do something different. “I knew that wherever it was going, I didn’t want it to become a sort of zombie apocalypse novel. It’s not that that’s not interesting, it’s just been done very, very well, and I didn’t want to retell a story that’s already been told.”

One thing Redekop was not worried about was being slotted into a specific genre category. “I’ve been a librarian and I realize you need to categorize things.” That said, it is apparent after a very few pages that Husk is not easily categorizable. “I’ve seen the book in one store classified in the horror section,” Redekop says, “and I don’t think that’s actually accurate. It’s got gore, but I think there’s only one or two scenes that might come across as truly disturbing, and even then I don’t know if I did them all that well. … The book has horror elements, it has comedy elements, and if you had to classify it, you’re certainly going to mention zombies or the undead, because that’s going to attract a certain reader. The only risk is will other people not read it because of that? But that’s valid for every single book out there.”

While Husk may not cleave to the stuffy, middlebrow tastefulness that typifies so much CanLit, Redekop does not feel that its content, or its idiosyncratic approach, places it outside the pantheon, which is in fact much more heterogeneous than many people seem willing to acknowledge. “I know people who have said, ‘I don’t read Canadian literature. I just hate it.’ Well, okay: you’ve obviously never read anything beyond Sunshine Sketches of a Little Town.”

Still, the author is not so disingenuous as to assume that all readers will be attracted to his undead character study. As part of his pre-publication publicity endeavours, Redekop created a book trailer that perfectly captures the novel’s darkly comical, yet vaguely unnerving nature.

“I was at my cabin with my extended family and we had a bunch of nieces and nephews there, all twelve and under; they’re all kids, so they’re all loud and screaming all the time. They love to draw, so I had the idea that maybe they could draw me some pictures and maybe I could do something with them.” The “something” Redekop came up with rates as one of the most inspired book trailers of the year. “I wanted to do something that captured how weird the book was, the offbeat nature of it,” he says.

“I think there’s something very wrong about the book. If you get the trailer, you’ll like the book. If you don’t get the trailer, you’re not going to like the book.”

You’ve been warned.

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