The ubiquitous nature of the zombie figure is symptomatic of socioenvironmental decomposure. Born from slavery, these creatures unconsciously emerge as a “comment on the disruption of an economy” that signals unprecedented global changes. If they are traditionally found at the intersection of doom and hope, of pandemonium and adaptation, zombie monsters surface textually as signifiers recasting the past to illuminate present circumstances that portend future chaos. Underneath their supposed misunderstood appearance, these “othered” beings function as symbols for social commentary. Junot Díaz’s short story “Monstro” (2012) possesses, at the base of its criticism, an eerie quintessential globalization model that foretells the end results of neoliberal capitalism. This Caribbean sci-fi journey is, in essence, a futuristic account of an unimaginably prosperous sugar island, turned darkly decadent, whose only hope is found in an allegorical signifier—that is, the legend of the living dead.