Mining popular media, Dark redefines the term apocalypse as a more honest, watchful way of being in the world and higlights how the imagination can expose our moral condition.

This wide-ranging exploration of the apocalypse in Western culture seeks to understand how we have come to be so preoccupied with spectacular visions of our own annihilation—offering abundant examples of the changing nature of our imagined destruction, and predisposing readers to discover many more all around them. The Apocalypse Is Everywhere: A Popular History of America's Favorite Nightmare explores why apocalyptic thinking exists, how it has been manifested in Western culture through the ages, and how it has woven itself so thoroughly into our popular culture today. Beginning with contemporary apocalyptic expressions, the book demonstrates how surprisingly widespread they are. It then discusses how we inherited them and where they arose. Author Annie Rehill surveys the ancient belief systems from which Christianity evolved, including ancient Judaism and other faiths. She explores the vision outlined in the Book of Revelation and traces the apocalyptic thread through the Middle Ages, across the Reformation and Enlightenment, and to the Americas. Finally, to prove that the Apocalypse is indeed everywhere, Rehill returns to the present to consider the idea of apocalypse as it occurs in movies, books, comics and graphic novels, games, music, and art, as well asin televangelism and even presidential speeches. Her fascinating scholarship will surely have readers looking about them with new eyes.

In Fantasies of Self-Mourning Ruben Borg describes the formal features of a posthuman, cyborgian imaginary at work in modernism. The book’s central claim is that modernism invents the posthuman as a way to think through the contradictions of its historical moment. Borg develops a posthumanist critique of the concept of organic life based on comparative readings of Pirandello, Woolf, Beckett, and Flann O’Brien, alongside discussions of Alfred Hitchcock, Chris Marker, Béla Tarr, Ridley Scott and Mamoru Oshii. The argument draws together a cluster of modernist narratives that contemplate the separation of a cybernetic eye from a human body—or call for a tearing up of the body understood as a discrete organic unit capable of synthesizing desire and sense perception.

The authors, writing as scholars of communication and media, demonstrate how God's great gifts of media and technology can rob us of everyday Sabbath and impede spiritual growth if not faithfully stewarded through a process described as mindful media attachment. Mindful media attachment helps to promote the "holy habits" of sacred intentionality, sacred interiority, and sacred identity. These "three sacreds," which arise from a proper understanding of the "grammar and language" of media and technology, ultimately allow us to avoid treating media and technology as ends in and of themselves and to avoid divided affections that drain energy, purpose, and kingdom service.

Knowing is less about information and more about transformation; less about comprehension and more about being apprehended. This radical book develops the notion of covenant epistemology--an innovative, biblically compatible, holistic, embodied, life-shaping epistemological vision in which all knowing takes the shape of interpersonal, covenantal relationship. Rather than knowing in order to love, we love in order to know. Meek argues that all knowing is best understood as transformative encounter. Creatively blending insights from a diverse range of conversation partners--including Michael Polanyi, Michael D. Williams, Lesslie Newbigin, Parker Palmer, John Macmurray, Martin Buber, and James Loder--Meek offers critically needed "epistemological therapy" in response to the pervasive and damaging presumptions that those in Western culture continue to bring to efforts to know. The book's innovative approach--an unfolding journey of discovery-through-dialogue--itself subverts standard epistemological presumptions of timeless linearity. While it offers a sustained and sophisticated philosophical argument, Loving to Know's texts and textures interweave loosely to effect therapeutic epistemic transformation in the reader.

This collection examines the child’s role in contemporary post-apocalyptic films and television.. By exploring the function of child characters within a dystopian framework, this volume illustrates how traditional notions of childhood are tethered to sites of adult conflict and disaster, a connection that often works to reaffirm the “rightness” of past systems of social order.

Part catharsis, part diagnosis, this divinely wry collection from New Yorker and McSweeney’s satirist Eli Grober will strike a chord with readers who are dismayed by the chaos of our times. None of it will help—but a few good laughs won’t hurt. Probably. There’s a lot going on, all the time. It may feel overwhelming. Don’t worry. It will end. This Won’t Help is here for you in the meantime—with 100 short, sharp, satirical essays that skewer a world raging with inaction, while maximizing the profits of self-destruction. As if that would help! Eli Grober’s biting, Swiftian prose spares no one—not the megalomaniacal billionaire fleeing Earth for a better life on unlivable Mars, not an extremely online family living completely off-grid, not even a fossil-fuel lobbyist insisting we all stop using straws. (Eli does spare a kind thought for the supremely intelligent readers with the good sense to buy this book.) Maybe, just maybe, descending through the inferno of our environmental, economic, and political landscape will help us find real solutions to the hypocrisy and dysfunction that surrounds us. But probably not.