By Mike Duran

To so much, the time period “Christian horror” most likely sounds like an oxymoron. however, there are first-class arguments to be made that “horror” is an eminently biblical style and that Christian artists might be on the vanguard of reclaiming it. during this paintings, novelist Mike Duran explores the Judeo-Christian roots of up to date horror, the non secular issues that body a lot of the horror artwork, and the way evangelical tradition has come to distance itself from the sort of in all probability wealthy and strong medium. Duran appears at Christian artists and authors whose works hire the macabre and gruesome. From surrealist Hieronymus Bosch to Southern Gothicist Flannery O'Connor to the grasp of horror Stephen King, we will hint a surprisingly biblical worldview that frames their visions of terror. alongside the best way, Duran solutions objections whereas constructing an apologetic, no longer for a brand new sub-genre, yet for a rethinking of the explanations that "Christian horror" has become seen as such an oxymoron.

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Extra resources for Christian Horror: On the Compatibility of a Biblical Worldview and the Horror Genre

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III. Evangelical Culture and the Horror Genre MY FIRST PUBLISHED NOVEL, THE RESURRECTION (Charisma House 2011), contained a character I named Mr. Cellophane. Mr. Cellophane was a phantom or apparition who appeared at several key junctures in the story. I was purposely ambiguous about the nature of Mr. Cellophane. Was he a ghost? A demon? A dimensional interloper? It wasn’t clear. However, being that I was shopping that novel in the Christian market, this ambiguity worked against me. Several publishers declined the novel because of this ghostly element, holding to the common evangelical belief that ghosts are demons.

17). Fiery poisonous serpents sent as judgment into the camp of Israel (Num. 21). Jael killing Sisera by hammering a tent peg through his temple (Judg. 4:21). Prophets being sawn in two (Heb. 11:7). Herod’s slaughter of the innocents (Matt. 2:16). John the Baptist’s head being brought on a platter (Mk. 6:14-29). Herod Agrippa being eaten by worms (Acts 12:23). Stephen being executed by stoning (Acts 7:54-60). Judas hanging himself, falling forward, and his innards spilling out (Acts 1:18). Then there are the historic accounts of Christians being fed to the lions and used as pitch to ignite the torches in Nero’s palace, as well as the church traditions suggesting that the apostle Peter was crucified upside down and the apostle John survived being boiled in oil.

Which is why the recurrent intersections of religion and horror are not coincidental. Scripture frames “a compelling moral vision” of the world. A world where the ugly and the beautiful coexist; where a fantastical world of angels and demons interact with ordinary humans; where real evil exists and “spiritual forces of evil” war against all that is good; where those created in God’s image can potentially become monstrous and face the torments of hell. Religious themes occur so often in horror because horror themes occur so often in religion.

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