Such a Dark Thing

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“Scars Can’t Come Back” – Why Stephen King? Why Now?

“Many of us . . . have had the experience of reading a great novel and suddenly becoming aware that it is reading us as well . . . The writer has created a living world with words, a vital communion that cannot be taken merely as an object of study but one that draws out our meanings even as we draw its meaning out.” - Parker Palmer Stating that popular culture is in the midst of a Stephen King renaissance would not be a controversial statement by any metric. Aside from the author’s steady stream of novels and short stories - most recently co-authoring Sleeping Beauties with his son Owen King - both television and cinema have been overflowing with adaptations from the Master of Horror. From the recent record shattering cinematic adaptation of IT, to the critically acclaimed Netflix one-two punch of Gerald’s Game and 1922, to the upcoming JJ Abrams produced series Castle Rock, Stephen King is a hot Hollywood commodity once again. Why the resurgence? On some level it could be as s

Legacy of the Marsten House

Be sure to like my Facebook page Legacy of the Marsten House ! The project is the core of my PhD research, examining the enduring impact of Stephen King's sophomore novel 'salem's Lot by putting it into conversation with movements of liberation within the culture. The upcoming monthly podcast will dive into the novel, both of the mini-series productions, as well as the two short stories, the BBC produced radio drama, individual characters from the narrative, and a whole lot more.

The Crawlspace

Before re-entering academia, writing the book Such a Dark Thing: Theology of the Vampire Narrative in Popular Culture , and subsequently launching the blog of the same name, I published The Crawlspace , a site dedicated primarily to horror/sci-fi book reviews, with a few movie and music reviews thrown in for good measure. The Crawlspace contains some pretty good content and, rather than taking all of the time to transfer everything to Such a Dark Thing , I figured it would just be easier to highlight it here with a link. You should check it out! Some bright spots include: Interview with Amelia Beamer , author of The Loving Dead Interview with Wednesday 13 of the Murderdolls Interview with Alexandra Sokoloff , author of Book of Shadows Interview with David Wellington, author of 13 Bullets Interview with Christopher Moore , author of Lamb Interview with Brian Keene, author of The Rising

Coverage of Such a Dark Thing

Over the last several years my book, Such a Dark Thing: Theology of the Vampire Narrative in Popular Culture, has been positively reviewed and covered in many media outlets. Here are a few of my favorites: Interview with Halloweekly Tapestry interview on CBC Radio with Mary Hynes Theofantastique interview Religion Dispatches interview Review in The Irish Journal of Gothic and Horror Studies

“That Makes Them Our Enemy”: The Dogmatic Belief of Morpheus

Since it was first released in 1999, The Matrix , directed by sisters Lilly and Lana Wachowski, has had a considerable impact on the wider popular culture, the consequences of which are still being felt twenty years later. Through its unique and ingenious blending of various religious motifs, cyberpunk staples, Japanese anime, a heavy reliance on the works of Joseph Campbell, as well as groundbreaking special effects that revolutionized the film industry, The Matrix has secured a place in history as not only an entertaining film, but one rife with theological depth and meaning. In addition, the subsequent sequels, The Matrix Reloaded and The Matrix Revolutions , while often criticized as convoluted, pretentious, and directionless, actually serve to bring to fruition a story of justice and redemption that, if left alone at the conclusion of The Matrix , would have only told a fraction of the liberative narrative the Wachowski sisters had in mind. While this redem

It Follows and the American Fear of Sex

While the overt theme and purpose of the new horror film It Follows would seem to be a contemporary homage to director John Carpenter at the height of his acclaim (e.g. Halloween, Prince of Darkness, The Fog , etc.), as with most great horror narratives it masks a deeper symbolism and metaphorical power. Within the film, young college student Jay (Maika Monroe) experiences a sexual encounter with her new boyfriend Hugh (Jake Weary) that leads to her being pursued by a mysterious force that would, should it overtake her, kill her in a most disturbing fashion. After Jay’s backseat fling, Hugh explains that the curse he passed onto her can only be exchanged through sexual intercourse, and that “It” will appear in human form – whether as a stranger or as a loved one – and will only be visible to her and anyone else who has experienced the curse. Throughout the film, a palpable dread blankets the proceedings, not only as a result of the existential threat of death represented in the