Oh, but you have soiled my petticoat with gore!

Finished the book Pride and Prejudice and Zombies the other week (and before the product placement of the New York Times bestseller in the latest series of Heroes). It is a most pelasing and ingenious way of inserting a horror genre into a classic of English literature. Consistent reference to the blood-spattering of the undead (or the prejudiced), as such a hybrid needs, does begin to pall after a while but as the narrative picks up it ceases to be obtrsuive in a manner as to exasperate.
Written generally in American English, particulars of the original occasionally survive, notably the vowel 'u' as in 'honour' or parlour'. Having not familiarised myself with Jane austen's work in its unadluterated state beyond acknowleding its existence, it was perpetually intriguing to know how the fresh intrusion had changed it.
Lapses occur essentially only towards the end as in the case of Kilkenny, which, for a sojourn of not more than two mentions, inexplicably becomes Kilkerry, before reverting to its first calling. Also, Bingley's name is cardinally misspelt and one of the picture sketches details three dispatched ninjas (and before the appointed time before they were thus rendered, at that) when the narrative dictates merely a pair. All the same, such a judicious merger has induced me to engage with the fare more precipitiously than otherwise I might have done.
His discusson points, redolent of Eng Lit seminars he undoubtedly atttended are suffused with impropriety yet without the attendant fizz of scandal. Removed from the received tongue of England ca. 1800, his modern colonial touch is as barbarous as anyone of breeding would suspect, the unwelcome postscript falling somewhat unconscionably flat. While Britain of austen is in the birth throes of an Industrial Revolution, with iron a key constituent, this is an ironic bridge too far. Editorially, it should have been 'dropt'. But we must not dwell on a mere two pages for the inestimable pleasure provided by the previous three hundred and eighteen. Hopefully, many more will take Austen - whose narrative drive remains the heart of the novel - as a result of this innovation.