Here are 100 books that Religion and Its Monsters fans have personally recommended if you like
Religion and Its Monsters.
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I’ve spent a lifetime reading horror, I was probably in third grade when I stumbled across a battered collection of short stories by Saki in the adult section of the library—where I wasn’t supposed to be. I snuck the book back to the children’s section, started reading, and I was hooked. Then it was Edgar Allan Poe, and from Poe until now, it’s been every horror novel or short story I could find. The best of them have never left me. And they make up my list, The Most Terrifying Novels You Can’t Escape From.
The pages of The Exorcist brought me as close to the experience of true evil as I ever want to be.
Evil triumphant. Evil that seemed ultimately destined to remain triumphant. Beyond the capacity of feeble humans to even resist, much less to mount an attack and snatch back innocence from the demon’s control.
To read The Exorcist is to inhale fumes of hell. And the smell lingers.
Father Damien Karras: 'Where is Regan?' Regan MacNeil: 'In here. With us.'
The terror begins unobtrusively. Noises in the attic. In the child's room, an odd smell, the displacement of furniture, an icy chill. At first, easy explanations are offered. Then frightening changes begin to appear in eleven-year-old Regan. Medical tests fail to shed any light on her symptoms, but it is as if a different personality has invaded her body.
Father Damien Karras, a Jesuit priest, is called in. Is it possible that a demonic presence has possessed the child? Exorcism seems to be the only answer...
Magical realism meets the magic of Christmas in this mix of Jewish, New Testament, and Santa stories–all reenacted in an urban psychiatric hospital!
On locked ward 5C4, Josh, a patient with many similarities to Jesus, is hospitalized concurrently with Nick, a patient with many similarities to Santa. The two argue…
Religion and horror have long appeared to me like the double helix of some mysterious, transcendental strand of DNA. This relationship has been lived out in my own life. I am simultaneously an author of supernatural horror stories, a critic and scholar of the field, and a student of religion and philosophy with a master’s in religious studies, a Ph.D. in leadership studies, and a lifetime of involvement in various Christian churches. As both a writer and a human being, I hold a special focus on the mutual implications of religion, horror, and creativity, which all seem to arise from and lead back to the same ultimate mystery.
This book is a skeleton key for understanding the fundamental relationship between religion, horror, and the supernatural. Otto was a German theologian and scholar of religions in the late nineteenth and early twentieth centuries, and in this, his most famous book, he set out to interrogate the nature of holiness, understood not primarily as supernatural moral goodness but as the feeling of numinous dread that accompanies the supernatural, and that “first begins to stir in the feeling of ‘something uncanny, ‘ ‘eerie,’ or ‘weird.’” He explicitly states that it was this emotion in the mind of early humans that gave rise not only to religion but to the cultural traditions of ghost stories and horror tales. If you read only one book on religion and horror, make it this one.
"It is essential to every theistic conception of God, and most of all to the Christian, that it designates and precisely characterizes Deity by the attributes Spirit, Reason, Purpose, Good Will, Supreme Power, Unity, Selfhood. The nature of God is thus thought of by analogy with our human nature of reason and personality; only, whereas in ourselves we are aware of this as qualified by restriction and limitation, as applied to God the attributes we use are 'completed', i.e. thought as absolute and unqualified. Now all these attributes constitute clear and definite concepts: they can be grasped by the intellect;…
I grew up religious but loving scary things—horror movies, scary comic books, Dark Shadows, andThe Twilight Zone. Even the music of Alice Cooper. While I’m no longer religious, I have a doctorate in religious studies and I still have a fascination with media that cause fear. I also write horror stories. BeyondHoly HorrorI have written two more books on religion and horror and I read every book about this odd combination as soon as I can get my hands on it. I believe you should never judge people by their tastes in media—they can be decent folk even if they like horror.
Like most of the other authors on my list Joseph Laycock has written several books that address religion and horror. I picked this one because it is the first of his books that I read and it awakened me to several of his other titles.
Laycock, who is a professor of religion, writes in an engaging way and has a great sense for what is happening in the wider culture, particularly about occult concerns. Vampire books are a guilty pleasure of mine, so reading this author on this subject seems both a natural and a supernatural choice. The book discusses modern vampire societies in a clear-eyed and informative way.
This book, about real vampires and the communities they have formed, explores the modern world of vampirism in all its amazing variety.
Long before Dracula, people were fascinated by vampires. The interest has continued in more recent times with Anne Rice's Lestat novels, Buffy the Vampire Slayer, the HBO series True Blood, and the immensely popular Twilight. But vampires are not just the stuff of folklore and fiction. Based upon extensive interviews with members of the Atlanta Vampire Alliance and others within vampire communities throughout the United States, this fascinating book looks at the details of real vampire life and…
A Duke with rigid opinions, a Lady whose beliefs conflict with his, a long disputed parcel of land, a conniving neighbour, a desperate collaboration, a failure of trust, a love found despite it all.
Alexander Cavendish, Duke of Ravensworth, returned from war to find that his father and brother had…
I saw my first Godzilla movie when I was seven years old, and I immediately fell in love: what kid doesn’t want to be a giant radioactive monster with attitude? But unlike baseball cards, I never outgrew Godzilla and, over the decades, came to appreciate the cultural significance of one of the world’s most enduring film icons. In my writing on Godzilla, I explore my own fascination with monsters and contemplate why all societies, from the dawn of time to today, have compulsively created imaginary creatures that terrify them. The books on this list have helped me understand the human obsession with monsters, and I hope you will find them equally enlightening and enjoyable.
I am generally not a big fan of hardcore academic theory, but this collection of essays edited by Jeffrey Jerome Cohen gave me a steady stream of "aha!" moments when I first read it about twenty years ago.
I struggled a bit with some of the jargon here, not to mention the fact that it only deals with monsters in the Western tradition, but I know of no better book for helping readers understand why humans create (and need) monsters, what roles monsters play in affirming (and undermining) social norms, and what the study of monsters can reveal about the anxieties and fault-lines in the cultures that spawn them. “Monsters are our children,” Cohen writes at one point: that still blows my mind after two decades of chewing on it.
Monsters provide a key to understanding the culture that spawned them. So argues the essays in this wide-ranging collection that asks the question, what happens when critical theorists take the study of monsters seriously as a means of examining our culture? In viewing the monstrous body as metaphor for the cultural body, the contributors consider beasts, demons, freaks, and fiends as symbolic expressions of very real fears and desires, signs of cultural unease that pervade society and shape its collective behaviour. Through a sampling of monsters as a conceptual category, these essays argue that our fascination for the monstrous testifies…
What could possibly captivate the mind more than monsters? As a kid, I eagerly consumed books from authors like R.L. Stine, Stephen King, and HP Lovecraft. I watched George Romero, Wes Craven, and John Carpenter, and played games like Dungeons and Dragons, Vampire: The Masquerade, andThe Call of Cthulhu.When I discovered monster studies in my PhD years—a way to read monsters as cultural productions that tell us something about the people that create them—I was hooked. Ever since, I get to continue reading my favorite books, watching my favorite movies, and playing my favorite games. It’s just that now someone’s paying me to do it.
Cohen is a necessary starting point, but the contributions to Monsters and the Monstrousreally highlight how far monster studies came in the first couple of decades it was around. The contributions in this volume range farther than the Western world, touching on topics in Africa, the Caribbean, Japan, and a host of others. There is also additional theory to account for shifts in time and culture when thinking about the monstrous and contributions from powerhouses in the field like Debra Higgs Strickland, Debbie Felton, and Michael Dylan Foster. I have personally found Six and Thompson’s article “From Hideous to Hedonist” to be useful every time I teach my course on Religion and the Monstrous.
The field of monster studies has grown significantly over the past few years and this companion provides a comprehensive guide to the study of monsters and the monstrous from historical, regional and thematic perspectives. The collection reflects the truly multi-disciplinary nature of monster studies, bringing in scholars from literature, art history, religious studies, history, classics, and cultural and media studies. The companion will offer scholars and graduate students the first comprehensive and authoritative review of this emergent field.
What could possibly captivate the mind more than monsters? As a kid, I eagerly consumed books from authors like R.L. Stine, Stephen King, and HP Lovecraft. I watched George Romero, Wes Craven, and John Carpenter, and played games like Dungeons and Dragons, Vampire: The Masquerade, andThe Call of Cthulhu.When I discovered monster studies in my PhD years—a way to read monsters as cultural productions that tell us something about the people that create them—I was hooked. Ever since, I get to continue reading my favorite books, watching my favorite movies, and playing my favorite games. It’s just that now someone’s paying me to do it.
Ok, you’ve read Cohen and Monsters and the Monstrous. This monster stuff is getting pretty good, and you might be able to feel around the edges a bit. How does it apply to contemporary America which “no longer believes in monsters?” This is where Poole’s book comes in. Poole walks through monstrosity in the US from Columbus’ first steps to just shy of 2020. All the juicy topics that Americans have used monsters for—sex, race, and politics—emerge in this monstrous tour de forceof US history. This is one of the first books I recommend to my students.
Monsters arrived in 2011aand now they are back. Not only do they continue to live in our midst, but, as historian Scott Poole shows, these monsters are an important part of our pastaa hideous obsession America cannot seem to escape. Poole's central argument in Monsters in America is that monster tales intertwine with America's troubled history of racism, politics, class struggle, and gender inequality. The second edition of Monsters leads readers deeper into America's tangled past to show how monsters continue to haunt contemporary American ideology. By adding new discussions of the American West, Poole focuses intently on the Native…
It is April 1st, 2038. Day 60 of China's blockade of the rebel island of Taiwan.
The US government has agreed to provide Taiwan with a weapons system so advanced that it can disrupt the balance of power in the region. But what pilot would be crazy enough to run…
What could possibly captivate the mind more than monsters? As a kid, I eagerly consumed books from authors like R.L. Stine, Stephen King, and HP Lovecraft. I watched George Romero, Wes Craven, and John Carpenter, and played games like Dungeons and Dragons, Vampire: The Masquerade, andThe Call of Cthulhu.When I discovered monster studies in my PhD years—a way to read monsters as cultural productions that tell us something about the people that create them—I was hooked. Ever since, I get to continue reading my favorite books, watching my favorite movies, and playing my favorite games. It’s just that now someone’s paying me to do it.
Part theory, part media analysis, and all awesome, Nelson’s work traces the rise of the “Protestant Gothic” tradition in the United States and the way in which this dark and gloomy literary tradition came to inform most of the media we consume today. From zombies to vampires, HP Lovecraft to Guillermo del Toro, Nelson reveals the ways that the Protestant Gothic has shaped modern literature, television, and film into a space of religious imagining that we don’t even recognize.
The Gothic, Romanticism's gritty older sibling, has flourished in myriad permutations since the eighteenth century. In Gothicka, Victoria Nelson identifies the revolutionary turn it has taken in the twenty-first. Today's Gothic has fashioned its monsters into heroes and its devils into angels. It is actively reviving supernaturalism in popular culture, not as an evil dimension divorced from ordinary human existence but as part of our daily lives.
To explain this millennial shift away from the traditionally dark Protestant post-Enlightenment Gothic, Nelson studies the complex arena of contemporary Gothic subgenres that take the form of novels, films, and graphic novels. She…
I grew up religious but loving scary things—horror movies, scary comic books, Dark Shadows, andThe Twilight Zone. Even the music of Alice Cooper. While I’m no longer religious, I have a doctorate in religious studies and I still have a fascination with media that cause fear. I also write horror stories. BeyondHoly HorrorI have written two more books on religion and horror and I read every book about this odd combination as soon as I can get my hands on it. I believe you should never judge people by their tastes in media—they can be decent folk even if they like horror.
Thinking of this book still leaves me with a warm, fuzzy feeling. I can’t say precisely why, but this book by a Jesuit monk discussing horror struck me as intelligent and deeply personal.
Conversant with many kinds of scary stories associated with religion, this is the most academic book on my list. The fact that Edward Ingebretsen discusses Stephen King really gives readers something to think about. This isn’t the only book to discuss Stephen King and religion—Douglas Cowan also wrote a book about this—but it does so in a way that brings some “aha moments” to your reading.
From its beginnings in Puritan sermonising to its prominent place in contemporary genre film and fiction, this book traces the use of terror in the American popular imagination. Entering American culture partly by way of religious sanction, it remains an important heart and mind shaping tool.
I’ve been a fan of horror since I got sucked into Scooby-Doo as a three-year-old. When I started my academic career, I kind of kept that passion tucked inside as something to be embarrassed about – after all, I wanted to do serious work, and horror movies aren’t serious, right? Graduate school made me rethink that assumption, and pushed me towards seriously considering the engagement of horror and religion. I wrote my dissertation on a chapter of the Book of Numbers as a slasher narrative, and I haven’t looked back since.
Nelson’s book is a revelation in how it explores the work that both religion and popular culture can do – her readings of Lovecraft’s work are particularly evocative. I’m not on board with the sharp line she draws between high and low culture, but it’s one of those books that’s fascinating even when you disagree with it.
In this work, Victoria Nelson illuminates the deep but hidden attraction the supernatural still holds for a secular mainstream culture that forced the transcendental underground and firmly displaced wonder and awe with the forces of reason, materialism, and science. In a backward look at an era now drawing to a close, "The Secret Life of Puppets" describes a curious reversal in the roles of art and religion: where art and literature once took their content from religion, we came increasingly to seek religion, covertly, through art and entertainment. In a tour of Western culture that is at once exhilarating and…
The Duke's Christmas Redemption
by
Arietta Richmond,
A Duke who has rejected love, a Lady who dreams of a love match, an arranged marriage, a house full of secrets, a most unneighborly neighbor, a plot to destroy reputations, an unexpected love that redeems it all.
Lady Charlotte Wyndham, given in an arranged marriage to a man she…
I grew up religious but loving scary things—horror movies, scary comic books, Dark Shadows, andThe Twilight Zone. Even the music of Alice Cooper. While I’m no longer religious, I have a doctorate in religious studies and I still have a fascination with media that cause fear. I also write horror stories. BeyondHoly HorrorI have written two more books on religion and horror and I read every book about this odd combination as soon as I can get my hands on it. I believe you should never judge people by their tastes in media—they can be decent folk even if they like horror.
This book opened my eyes to how a scholar of religion could engage with horror films. I sat in my hotel room and started reading it the day I purchased it because I couldn’t wait until I got back home to start it.
Douglas Cowan deftly demonstrates how horror films engage in conversation with religion and he does this in non-technical language. In a culture where religion, or at least organized religion, is in decline, it still has incredible power in pop culture.
Many religious people avoid horror like they would a real monster. Sacred Terror, apart from suggesting a title for my book, shows horror and religion both benefit from the discussion. Cowan has written other good books on the subject as well.
Sacred Terror examines the religious elements lurking in horror films. It answers a simple but profound question: When there are so many other scary things around, why is religion so often used to tell a scary story? In this lucid, provocative book, Douglas Cowan argues that horror films are opportune vehicles for externalizing the fears that lie inside our religious selves: of evil; of the flesh; of sacred places; of a change in the sacred order; of the supernatural gone out of control; of death, dying badly, or not remaining dead; of fanaticism; and of the power--and the powerlessness--of religion.
