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Using immune discourse to examine zombies in González’s “Luna de sangre,” I argue that his zombies function as embodied manifestations of physical, spiritual, and cultural contagion. The ideas of Roberto Esposito, Priscilla Wald, Mabel Moraña, Sarah J. Lauro and Karen Embry, put into conversation with González’s tale, help illuminate how the author uses monstrosity to demarcate the Other and define it as those who exist outside of the human, the normative, and more generally outside of the Western social order. The historical and contemporary context of “Luna de sangre” is one of nationalism, bigotry, walls, and anti-Islamic and anti-Semitic sentiment. González says that “el marco histórico lo escogió Cervantes mismo, no yo.” Within the narrative, the distinction between race and religion blurs, as the characters treat Turkish Muslims, Spanish Jews and “unconverted” Africans alike with similar disdain. González’s work necessarily draws upon the baroque quality of Cervantes’s original Quixote narrative, and his parody also reflects the similarly complex twenty-first century relationships and tensions between varying groups of “us” and “them,” where those categories of community and belonging shift depending on the position of the speaker.



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