Longlisted for the 2022 International Gothic Association's Allan Lloyd Smith Prize Surpassing scholarly discourse surrounding the emergent secularism of the 19th century, Theology, Horror and Fiction argues that the Victorian Gothic is a genre fascinated with the immaterial. Through close readings of popular Gothic novels across the 19th century – Frankenstein, Wuthering Heights, Dracula and The Picture of Dorian Gray, among others – Jonathan Greenaway demonstrates that to understand and read Gothic novels is to be drawn into the discourses of theology. Despite the differences in time, place and context that informed the writers of these stories, the Gothic novel is irreducibly fascinated with religious and theological ideas, and this angle has been often overlooked in broader scholarly investigations into the intersections between literature and religion. Combining historical theological awareness with interventions into contemporary theology, particularly around imaginative apologetics and theology and the arts, Jonathan Greenaway offers the beginnings of a modern theology of the Gothic.

Horror and Religion provides new readings of contemporary horror fiction in conjuncture with debates in religious studies and theology. It gives a broad analysis of a wide range of contemporary and historical horror texts in a new interdisciplinary way. This study establishes the importance of discussing theology and contemporary horror fiction in present scholarship.

Explores the sublime in Christian theology and science fiction.

Since the early years of the twenty-first century, Matt Cardin has distinguished himself by writing weird fiction with a distinctively cosmic and spiritual focus, publishing two short story collections that have now become rare collector's items. In this substantial volume, Cardin gathers the totality of his short fiction, including the complete fiction contents of Divinations of the Deep (2002) and Dark Awakenings (2010). Several of the tales have been substantially revised from their original appearances. Inspired by H. P. Lovecraft, Thomas Ligotti, and other masters of cosmic horror, Cardin's fiction explores the convergence of religion, horror, and art in a cosmos that may be actively hostile to our species. In tales long and short (including a new novella co-written with Mark McLaughlin), Cardin rings a succession of changes on those fateful words from the Book of Job: "Let those sorcerers who place a curse on days curse that day, those who are skilled to rouse Leviathan." Aside from his short story collections, Matt Cardin is the editor of Born to Fear: Interviews with Thomas Ligotti (2014) and Horror Literature through History (2017). He is also co-editor of the journal Vastarien.

America's dark theologian: reading Stephen King religiously -- Thin spots: what peeks through the cracks in the world -- Deadfall: ghost stories as God-talk -- A jumble of blacks and whites: becoming religious -- Return to Ackerman's field: ritual and the unseen order -- Forty years in Maine: Stephen King and the varieties of religious experience -- If it be your will: theodicy, morality, and the nature of God -- The land beyond: cosmology and the never-ending questions

Scholars of religion have begun to explore horror and the monstrous, not only within the confines of the biblical text or the traditions of religion, but also as they proliferate into popular culture. This exploration emerges from what has long been present in horror: an engagement with the same questions that animate religious thought - questions about the nature of the divine, humanity's place in the universe, the distribution of justice, and what it means to live a good life, among many others. Such exploration often involves a theological conversation. Theology and Horror: Explorations of the Dark Religious Imagination pursues questions regarding non-physical realities, spaces where both divinity and horror dwell. Through an exploration of theology and horror, the contributors explore how questions of spirituality, divinity, and religious structures are raised, complicated, and even sometimes answered (at least partially) by works of horror.

It is 1900, the dawn of a new century. Even as the old Queen's health fails, Victorian Britain stands monumental and strong upon a mountain of technological, scientific, and intellectual progress. For John Kemp, a straight-forward, unimaginative London lawyer, life seems reassuringly predictable yet forward-leaning, that is, until a foray into the recently published sensationalist novel Dracula, united with a chance meeting with an eccentric Dominican friar, catapults him into a bizarre, violent, and unsettling series of events. As London is transfixed with terror at a bloody trail of murder and destruction, Kemp finds himself in its midst, besieged on all sides—in his friendships, as those close to him fall prey to vicious assault by an unknown assassin; in his deep attraction to an unconventional American heiress; and in his own professional respectability, for who can trust a lawyer who sees things which, by all sane reason, cannot exist? Can his mundane, sensible life—and his skeptical mind—withstand vampires? Can this everyday Englishman survive his encounter with perhaps an even more sinister threat—the white-robed Papists who claim to be vampire slayers?