In the Flesh would have been an
engrossing drama anyway – incredibly smart and thoughtfully detailed, it uses
its zombie backdrop to discuss real-world discrimination in masterful
ways. I’d have admired it, even with a
different protagonist. In Kieren,
however, we get the show’s strongest emotional punch, as this vivid, stunningly
honest character serves as our eyes into the post-post-apocalyptic world, of
the series. (Some character-centric
spoilers.)
Eternally
18, undead Kieren has been through the wringer and then some. He didn’t ask to come back from the dead, and
he certainly didn’t ask to be a zombie, but now that he’s been treated and has
regained his mind, he doesn’t know what to do with the new life he’s been
given. While the treatment center taught
him mantras about not being to blame for the people he unknowingly killed
during the Rising, he can’t see it that way.
He can’t shut out the flashbacks of the things he did when he was rabid,
and these nightmare memories don’t feel absolved. It seems impossible from looking at him, but
this gentle boy killed people and ate their brains, and he knows that nothing
he can do could ever take it back.
Guilt
seems to follow Kieren everywhere. In
reacclimating to life with his family, the time he spent in his untreated state
isn’t the only thing keeping them all at arm’s length. Unlike other PDS folk we meet, Kieren didn’t
die from a disease, accident, or war – he committed suicide. His death itself was steeped in misplaced
guilt, as he felt responsible for the death of the boy he loved, and it wasn’t
something he meant to come back from. He
never expected having to explain it to his parents or sister, to tell them why
he left them in such a brutal, decisive manner.
Other demons nip at his heels as well.
His second life is infected by fear, from the intolerant townsfolk who want
him dead, to the way enclosed spaces now remind him of waking up in his coffin
and clawing his way out. More
significantly, he allows other people’s hatred of him into his own heart. At the treatment center, he’s taught how vital
it is to look like one of the living, so they have less cause to fear him, but
Kieren internalizes this implied denunciation of his new face. When he washes off his flesh-colored makeup
every night, he physically covers the mirror because he can’t bear his own
reflection, and he never removes his
colored contacts (against his doctor’s recommendation,) even though it hurts
his eyes. It’s not that he pretends to
be living; it’s that he knows he isn’t and has been implicitly taught that who
he is now isn’t worth being.
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