Zone One (2011) popularized a new kind of zombie: neither the slow, lumbering, hungry zombies made famous in George Romero's Night of the Living Dead (1968) nor the more recently introduced fast zombies of 28 Days Later (2002) and World War Z (2006), but the time-loop zombie compulsively repeating a habitual action. Whitehead's "stragglers"-a succession of imponderable tableaux frequently consisting of bodies going through the motions of their everyday labor-shift the zombie's instinctive drive from hunger to a blend of habit and nostalgia. At the same time, they introduce into the zombie narrative forms of motivation and temporality that have long been central to naturalist and neo-naturalist fiction: a life characterized not by individual will or teleological progression but by compulsive repetition.This resonance between the time-loop zombie and the naturalist mode was anticipated by Georg Lukács, who lamented that readers of naturalist fiction "do not watch a man whom we have come to know and love being spiritually murdered by capitalism in the course of the novel, but follow a corpse in passage through still lives becoming increasingly aware of being dead" (146).Whereas Lukács suggests that such lifeless tableaux-in part because of their descriptive excesscontribute little to readers' understandings of human character and social relations, Jennifer Fleissner offers a more generous interpretation of naturalism's repetitive tics in her influential study Women, Compulsion, and Modernity (2004). Rather than writing off naturalist characters as dead, Fleissner finds in them a distinctive kind of motion: "naturalism's most characteristic plot, as in the case of the modern young woman, is marked by neither the steep arc of decline nor that of triumph, but rather by an ongoing, nonlinear, repetitive motion-back and forth, around and around, on and on-that has the distinctive effect of seeming also like a stuckness in place" (9). Fleissner's central innovation in reading naturalism as a mode concerned with the emergence of modern women involves a revaluation of naturalism's obsession with the nonlinear, stalled temporality-of not only