Below is my review of ‘Be Afraid – How Horror and Faith Can Change the World’ by my friend and fellow Baptist pastor Joe Haward, which was recently published in the Baptist Times.  Given a very limited word count, it was not possible to dig deeper into my comments about the theological method which relies heavily on the work of Rene Girard.  This brings an interpretive framework that can draw out different conclusions than one might expect, but is a conversation/debate that is well worth having, as it could stretch the reader beyond their theological comfort zone, which is never a bad thing in and of itself but a reference point worth remembering.  My commendation for the back cover has been edited, but here is my full version: 

“The bold plan in this book is to bring together the horror genre of popular culture and Christian theology, in such a way as to draw out an insightful conversation between the two. We live in a complex, violent and confused world that swings between extremes of multiple and competing ideologies, and thus continues to make the same mistakes. Using a wide range of contemporary film, writers, thinkers and ancient texts, Haward interprets “horror” theologically and shows therefore, how this genre is indeed rich pickings for discovering theological insight to “see beyond” the cultural impasse. The irony is that the “alternative vision” is a very, very old vision located in the peaceable Gospel of Jesus Christ.”

The book is well worth a read, here’s the review:

“Rare is a conversation with horror, which is why I welcome this book. Joe Haward helps Christians to make the links with theology and the horror genre of popular culture. He draws out key characteristics and then makes one direct comparison after another with biblical themes as they relate to zombies (resurrection), vampires that eat flesh and drink blood (Eucharist), violence and sacrifice (atonement), and so on.

It is interesting for a reader like me, because I don’t like the horror genre; but even so, many in our churches do, which means there is a preaching opportunity to be had here.

Haward’s theological method draws on the work of Rene Girard. As such, he regularly alludes to the scapegoating mechanism and mimetic rivalry, and shows how these ideas are put forth in horror and ancient religions. Sometimes this method can be at odds with biblical reception-history, yet the insights offered can prove fruitful. Reading his interpretive conclusions alongside two or three good commentaries on the subject will be a great way to interact with Girardian theory.

Haward is good at interpreting contemporary Western culture, and he is relentless in exposing consumerism, violence, trafficking, the worst excesses of social media and the human obsession with an utterly godless dystopian future. Throughout, he shines the light on the Person and work of Jesus Christ, who He is, what He has done and what it all means. If anything else, this is a master-class in helping anyone interested in the art of interpreting film through a Gospel lens.”