Theology doesn’t really cover what is contained in this collection as it is a rollercoaster ride of all-things Craven crammed into its sparkling roster of insightful essays that leaves the reader wanting more.

Simon Bacon, editor of The Evolution of Horror in the 21st Century, and Faith and the Zombie

With topics ranging from Craven’s well-known films such as Nightmare on Elm Street and Last House on the Left, to some of his lesser-known work, including the novel Noah’s Ark: Diary of a Madman (1964), the essays in this collection are impressive in both scope and analysis. Through careful and sustained theological enquiry and engaging close-readings, the contributors provide an invaluable reassessment of Craven’s horror beyond shock value, highlighting the religious questions raised by Craven’s work. The study is timely, contributing to new theological approaches to the study of Gothic and horror media.

Madeline Potter, University of York

This collection of astute, surprising, and creative essays shines a light on the full range of Craven’s creative output (including his unpublished novel!), and looks into all of the dark corners of his work to uncover often-overlooked connections with theology and religion. These essays are a testament to an artist who looked the monstrous aspects of religion square in the eye—but also found grace and beauty in unexpected places.

Brandon R. Grafius, Ecumenical Theological Seminary, Detroit

This book looks at how theology is incorporated into Wes Craven’s filmography, offering new analyses and arguments for scholars of theology and horror, as well as Craven film fans. The book presents a timely exploration of topics including intergenerational trauma, on-screen violence, and intersectional feminism through the unique lens that is the intersection of religion and horror.

Sean Travers, independent scholar, University College Cork

Horror fans rejoice! This is the third academic book about Wes Craven published in 2023. Edited by Religious Studies professor David K. Goodin, Theology and Wes Craven departs from the previous two by focusing less on the case for Wes as an auteur, and instead drawing attention to “under appreciated theological subtexts” in his work that resonates with current social issues. The book’s ten essays offer new insights on some of Wes’s most famous creations (Last House on the Left, A Nightmare on Elm Street, The People Under the Stairs) while heaping attention on some of his more neglected works (The Fireworks Woman, My Soul to Take, and even Coming of Rage, Wes’s 2014 comic book series with Steve Niles). As Goodin implores, the “seeds have been planted for further cultivation…. Get to it!” Three books in a single year is a lot but Wes Craven is an endlessly fascinating subject and I sincerely hope there’s more to come.

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