Haunting us with such unforgettable stories as The Shining, The Shawshank Redemption, Salem’s Lot, Carrie, The Green Mile, and Pet Sematary, Stephen King has been an anchor of American horror, science fiction, psychological thrillers, and suspense for more than forty years. His characters have brought chills to our spines and challenged our notions of reality while leaving us in awe of the perseverance of the human spirit. The first book in the new Great Authors and Philosophy series, Stephen King and Philosophy reveals some of the deeper issues raised by King’s work. From retribution, freedom, and moral relativity, to death and insanity, the chapters of this book expose how King’s stories access the questions and fears that haunt each of us in the middle of the night.

Since Theodor Geisel published his first children's book in 1937 under the pseudonym Dr. Seuss, children and adults alike have been captivated by the charming and laconic tales of whimsical characters and imaginative worlds. But Dr. Seuss' stories are more than just catchy poems; they often wrestle with serious philosophical and moral dilemmas, whether it is Horton discovering the very essence of life or the Lorax teaching us about morality. Dr. Seuss and Philosophy explores philosophical concepts such as the nature of the good life in Oh, the Places You'll Go!, the nature of knowledge in McElligot's Pool, postmodernity in On Beyond Zebra, business and the environment in The Lorax,and moral character in How the Grinch Stole Christmas!, among many others. Anyone who loves Dr. Seuss or is interested in philosophy will find this book to be intriguing and enlightening.

Generations of readers have fallen in love with Jane Austen’s timeless tales of eighteenth-century English life. Even casual readers comprehend that these classic novels are not just love stories. They offer keen insights into various aspects of the human condition, such as interpersonal relationships, social conventions, and morality. Jane Austen and Philosophy offers all fans of Austen’s work an introduction to the incredible depth of this English novelist’s stories by probing, for example, the struggles of Elizabeth and Jane Bennett, Emma Woodhouse, and Elinor and Marianne Dashwood as they face societal pressures and their own desires. As the second book in the new Great Authors and Philosophy series,Jane Austen and Philosophy explores questions about morality and duty, propriety and dignity, and obligation and happiness that sheds new light on the works of this classic author and reveals deep issues still relevant to the men and women of society today.

Sitting on pins and needles, anxiously waiting to see what will happen next, horror audiences crave the fear and exhilaration generated by a terrifying story; their anticipation is palpable. But they also breathe a sigh of relief when the action is over, when they are able to close their books or leave the movie theater. Whether serious, kitschy, frightening, or ridiculous, horror not only arouses the senses but also raises profound questions about fear, safety, justice, and suffering. From literature and urban legends to film and television, horror’s ability to thrill has made it an integral part of modern entertainment. Thomas Fahy and twelve other scholars reveal the underlying themes of the genre in The Philosophy of Horror. Examining the evolving role of horror, the contributing authors investigate works such as Mary Shelley’s Frankenstein (1818), horror films of the 1930s, Stephen King’s novels, Stanley Kubrick’s adaptation of The Shining (1980), and Alfred Hitchcock’s Psycho (1960). Also examined are works that have largely been ignored in philosophical circles, including Truman Capote’s In Cold Blood (1965), Patrick Süskind’s Perfume (1985), and James Purdy’s Narrow Rooms (2005). The analysis also extends to contemporary forms of popular horror and “torture-horror” films of the last decade, including Saw (2004), Hostel (2005), The Devil’s Rejects (2005), and The Hills Have Eyes (2006), as well as the ongoing popularity of horror on the small screen. The Philosophy of Horror celebrates the strange, compelling, and disturbing elements of horror, drawing on interpretive approaches such as feminist, postcolonial, Marxist, and psychoanalytic criticism. The book invites readers to consider horror’s various manifestations and transformations since the late 1700s, probing its social, cultural, and political functions in today’s media-hungry society.

Breaking Bad, hailed by Stephen King, Chuck Klosterman, and many others as the best of all TV dramas, tells the story of a man whose life changes because of the medical death sentence of an advanced cancer diagnosis. The show depicts his metamorphosis from inoffensive chemistry teacher to feared drug lord and remorseless killer. Driven at first by the desire to save his family from destitution, he risks losing his family altogether because of his new life of crime. In defiance of the tradition that viewers demand a TV character who never changes, Breaking Bad is all about the process of change, with each scene carrying forward the morphing of Walter White into the terrible Heisenberg. Can a person be transformed as the result of a few key life choices? Does everyone have the potential to be a ruthless criminal? How will we respond to the knowledge that we will be dead in six months? Is human life subject to laws as remorseless as chemical equations? When does injustice validate brutal retaliation? Why are drug addicts unsuitable for operating the illegal drug business? How can TV viewers remain loyal to a series where the hero becomes the villain? Does Heisenberg’s Principle of Uncertainty rule our destinies? In Breaking Bad and Philosophy, a hand-picked squad of professional thinkers investigate the crimes of Walter White, showing how this story relates to the major themes of philosophy and the major life decisions facing all of us.

As a director, writer, and producer, Christopher Nolan has substantially impacted contemporary cinema through avant garde films, such as Following and Memento, and his contribution to wider pop culture with his Dark Knight trilogy. His latest film, Interstellar, delivered the same visual qualities and complex, thought-provoking plotlines his audience anticipates. The Philosophy of Christopher Nolan collects sixteen essays, written by professional philosophers and film theorists, discussing themes such as self-identity and self-destruction, moral choice and moral doubt, the nature of truth and its value, whether we can trust our perceptions of what’s “real,” the political psychology of heroes and villains, and what it means to be a “viewer” of Nolan’s films. Whether his protagonists are squashing themselves like a bug, struggling to create an identity and moral purpose for themselves, suffering from their own duplicitous plots, donning a mask that both strikes fear and reveals their true nature, or having to weigh the lives of those they love against the greater good, there are no simple solutions to the questions Nolan’s films provoke; exploring these questions yields its own reward.