Nights of the Living Dead: An Anthology cover

Nights of the Living Dead: An Anthology

by Jonathan Maberry, George A. Romero, Brian Keene, Carrie Ryan, David J. Schow, David Wellington, Isaac Marion, Jay Bonansinga, Joe R. Lansdale, John Skipp, Max Brallier, Mike Carey, Mira Grant, Neal Shusterman, Keith R.A. DeCandido, Ryan Brown, John A. Russo, Craig E. Engler, Chuck Wendig, Brendan Shusterman

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Why You'll Love This

George Romero and nineteen horror writers return to the exact night that invented the modern zombie — and fill in every terrifying hour you never saw.

  • Great if you want: horror writers at their sharpest, all sharing one nightmare timeline
  • The experience: relentless and claustrophobic — the 48-hour frame keeps tension locked in
  • The writing: each story has a distinct voice — Lansdale's grit, Grant's precision, Wendig's momentum
  • Skip if: anthology unevenness frustrates you — quality does vary between contributors

About This Book

Everything begins somewhere. For zombies, it began on a single night in 1968, in a farmhouse, with George A. Romero's vision of the newly dead rising against the living. This anthology returns to that exact outbreak—those first chaotic 48 hours—and asks what else was happening across the country while the world quietly ended. Hunters, families, soldiers, strangers locked in impossible choices: the stories here are less about shambling corpses than about the fracture lines in ordinary people when civilization suddenly stops making sense.

What sets this collection apart is the murderer's row of contributors writing in deliberate, shared conversation with a single source event. Joe R. Lansdale brings grit; Mira Grant brings cold precision; Chuck Wendig brings propulsive urgency; Isaac Marion brings something close to sorrow. Because every story is anchored to the same timeline and mythology, the anthology reads with unusual coherence—less like a random sampler and more like a mosaic. Romero's own contribution grounds it all with authority, and Maberry's editorial hand keeps the tone consistent without flattening the individual voices.