Here are 100 books that Monsters in America fans have personally recommended if you like
Monsters in America.
Shepherd is a community of 10,000+ authors and super readers sharing their favorite books with the world.
Shepherd is reader supported. When you buy books, we may earn an affiliate commission.
What could possibly captivate the mind more than monsters? As a kid, I eagerly consumed books from authors like R.L. Stine, Stephen King, and HP Lovecraft. I watched George Romero, Wes Craven, and John Carpenter, and played games like Dungeons and Dragons, Vampire: The Masquerade, andThe Call of Cthulhu.When I discovered monster studies in my PhD years—a way to read monsters as cultural productions that tell us something about the people that create them—I was hooked. Ever since, I get to continue reading my favorite books, watching my favorite movies, and playing my favorite games. It’s just that now someone’s paying me to do it.
There aren’t many discussions in my field that don’t at least nod to, if not begin with, Cohen’s contribution, "Monster Culture". Cohen lays out a way to think about monsters as embodiments of culture that has been invaluable to their study, a way to “mine” monsters for the cultural “gold” from which they are made. While the field has expanded since Cohen, it should be the starting point for anyone seriously interested in monstrosity. There are also stand-out chapters on a variety of topics, from Frankensteinand Jurassic Park to Beowulfand the perception of medieval Muslim monstrosity.
Monsters provide a key to understanding the culture that spawned them. So argues the essays in this wide-ranging collection that asks the question, what happens when critical theorists take the study of monsters seriously as a means of examining our culture? In viewing the monstrous body as metaphor for the cultural body, the contributors consider beasts, demons, freaks, and fiends as symbolic expressions of very real fears and desires, signs of cultural unease that pervade society and shape its collective behaviour. Through a sampling of monsters as a conceptual category, these essays argue that our fascination for the monstrous testifies…
What could possibly captivate the mind more than monsters? As a kid, I eagerly consumed books from authors like R.L. Stine, Stephen King, and HP Lovecraft. I watched George Romero, Wes Craven, and John Carpenter, and played games like Dungeons and Dragons, Vampire: The Masquerade, andThe Call of Cthulhu.When I discovered monster studies in my PhD years—a way to read monsters as cultural productions that tell us something about the people that create them—I was hooked. Ever since, I get to continue reading my favorite books, watching my favorite movies, and playing my favorite games. It’s just that now someone’s paying me to do it.
Cohen is a necessary starting point, but the contributions to Monsters and the Monstrousreally highlight how far monster studies came in the first couple of decades it was around. The contributions in this volume range farther than the Western world, touching on topics in Africa, the Caribbean, Japan, and a host of others. There is also additional theory to account for shifts in time and culture when thinking about the monstrous and contributions from powerhouses in the field like Debra Higgs Strickland, Debbie Felton, and Michael Dylan Foster. I have personally found Six and Thompson’s article “From Hideous to Hedonist” to be useful every time I teach my course on Religion and the Monstrous.
The field of monster studies has grown significantly over the past few years and this companion provides a comprehensive guide to the study of monsters and the monstrous from historical, regional and thematic perspectives. The collection reflects the truly multi-disciplinary nature of monster studies, bringing in scholars from literature, art history, religious studies, history, classics, and cultural and media studies. The companion will offer scholars and graduate students the first comprehensive and authoritative review of this emergent field.
What could possibly captivate the mind more than monsters? As a kid, I eagerly consumed books from authors like R.L. Stine, Stephen King, and HP Lovecraft. I watched George Romero, Wes Craven, and John Carpenter, and played games like Dungeons and Dragons, Vampire: The Masquerade, andThe Call of Cthulhu.When I discovered monster studies in my PhD years—a way to read monsters as cultural productions that tell us something about the people that create them—I was hooked. Ever since, I get to continue reading my favorite books, watching my favorite movies, and playing my favorite games. It’s just that now someone’s paying me to do it.
Part theory, part media analysis, and all awesome, Nelson’s work traces the rise of the “Protestant Gothic” tradition in the United States and the way in which this dark and gloomy literary tradition came to inform most of the media we consume today. From zombies to vampires, HP Lovecraft to Guillermo del Toro, Nelson reveals the ways that the Protestant Gothic has shaped modern literature, television, and film into a space of religious imagining that we don’t even recognize.
The Gothic, Romanticism's gritty older sibling, has flourished in myriad permutations since the eighteenth century. In Gothicka, Victoria Nelson identifies the revolutionary turn it has taken in the twenty-first. Today's Gothic has fashioned its monsters into heroes and its devils into angels. It is actively reviving supernaturalism in popular culture, not as an evil dimension divorced from ordinary human existence but as part of our daily lives.
To explain this millennial shift away from the traditionally dark Protestant post-Enlightenment Gothic, Nelson studies the complex arena of contemporary Gothic subgenres that take the form of novels, films, and graphic novels. She…
I grew up religious but loving scary things—horror movies, scary comic books, Dark Shadows, andThe Twilight Zone. Even the music of Alice Cooper. While I’m no longer religious, I have a doctorate in religious studies and I still have a fascination with media that cause fear. I also write horror stories. BeyondHoly HorrorI have written two more books on religion and horror and I read every book about this odd combination as soon as I can get my hands on it. I believe you should never judge people by their tastes in media—they can be decent folk even if they like horror.
Religion and Its Monsters started this whole conversation.
Timothy Beal successfully transitioned from an author of academic books to an author of trade books, and this one shows how he did it. He selected two unexpectedly compatible subjects and demonstrated that they lurk in the same mental spaces.
I was inspired by this book to allow myself to reclaim my childhood interest in monsters as an adult. If serious scholars wrote about such things, why shouldn’t I read about them?
Unfortunately, Beal never followed up with another book on the topic.
Religion's great and powerful mystery fascinates us, but it also terrifies. So too the monsters that haunt the stories of the Judeo-Christian mythos and earlier traditions: Leviathan, Behemoth, dragons, and other beasts. In this unusual and provocative book, Timothy K. Beal writes about the monsters that lurk in our religious texts, and about how monsters and religion are deeply entwined. Horror and faith are inextricable. Ans as monsters are part of religious texts and traditions, so religion lurks in the modern horror genre, from its birth in Dante's Inferno to the contemporary spookiness of H.P. Lovecraft and the Hellraiser films.…
I absolutely adore fantasy! I love leaving our world and being transported to another. I love that characters might have magic or crazy heritages. I love the creatures that come with the genre. I adore everything about fantasy. Throwing romantic elements into the story just makes it all that much sweeter. Having a hero with a weakness for a heroine is so comforting to read. Giving the characters someone else to fight for is also a heart-warming, sometimes gut-wrenching, affair. But in the end, having romance in a fantasy just gives it a little extra push to the readers.
This book was a pleasant surprise for me. The covers look a little bit cheesy, which might be off-putting to some. However, and that’s a big however, I adored this trilogy. The main characters gave off Feyre and Rhysand vibes, the main characters from my first pick. I love a book that is inspired by a popular book, but can hold its own. This can definitely hold its own. And it has the ever-popular “enemies to lovers,” which is my favorite trope to write.
I’ve always been fascinated by monsters. Growing up I saw television shows and read books about famous ones like Bigfoot and Nessie, and always wanted to search for them and discover the truth. That led me to a degree in psychology to learn about human cognition and perception, and a career in folklore to understand how legends and rumors spread. But I also wanted field experience, and spent time at Loch Ness, in Canadian woods said to house Sasquatch, to the Amazon, Sahara, and the jungles of Central America looking for the chupacabra. Along the way became an author, writing books including Tracking the Chupacabra, Lake Monster Mysteries, Big—If True, and Investigating Ghosts.
There are many terrifying monsters, but few were as feared as the beast of Gévaudan, which terrorized the French countryside in the 1760s.
Said to be, variously, a werewolf, a dog-hybrid, a hyena, or some unknown beast, it was blamed for killing many dozens of villagers. The French government sent top hunters to kill the beast, and conspiracy theories ran rampant. I recommend Monsters of the Gevaudan because I love the way it blends history, folklore, and investigation into a compelling mystery.
Don’t believe the mystery-mongering TV shows offering wild theories: the truth is in this book—and it’s stranger than fiction.
In a brilliant, original rendition, Monsters of the Gevaudan revisits a spellbinding French tale that has captivated imaginations for over two hundred years, and offers the definitive explanation of the strange events that underlie this timeless story.
In 1764 a peasant girl was killed and partially eaten while tending a flock of sheep. Eventually, over a hundred victims fell prey to a mysterious creature, or creatures, whose cunning and deadly efficiency terrorized the region and mesmerized Europe. The fearsome aggressor quickly took on mythic status, and the beast of the Gevaudan passed into French folklore.
I’ve been a fan of horror since I got sucked into Scooby-Doo as a three-year-old. When I started my academic career, I kind of kept that passion tucked inside as something to be embarrassed about – after all, I wanted to do serious work, and horror movies aren’t serious, right? Graduate school made me rethink that assumption, and pushed me towards seriously considering the engagement of horror and religion. I wrote my dissertation on a chapter of the Book of Numbers as a slasher narrative, and I haven’t looked back since.
Nelson’s book is a revelation in how it explores the work that both religion and popular culture can do – her readings of Lovecraft’s work are particularly evocative. I’m not on board with the sharp line she draws between high and low culture, but it’s one of those books that’s fascinating even when you disagree with it.
In this work, Victoria Nelson illuminates the deep but hidden attraction the supernatural still holds for a secular mainstream culture that forced the transcendental underground and firmly displaced wonder and awe with the forces of reason, materialism, and science. In a backward look at an era now drawing to a close, "The Secret Life of Puppets" describes a curious reversal in the roles of art and religion: where art and literature once took their content from religion, we came increasingly to seek religion, covertly, through art and entertainment. In a tour of Western culture that is at once exhilarating and…
I grew up religious but loving scary things—horror movies, scary comic books, Dark Shadows, andThe Twilight Zone. Even the music of Alice Cooper. While I’m no longer religious, I have a doctorate in religious studies and I still have a fascination with media that cause fear. I also write horror stories. BeyondHoly HorrorI have written two more books on religion and horror and I read every book about this odd combination as soon as I can get my hands on it. I believe you should never judge people by their tastes in media—they can be decent folk even if they like horror.
This book opened my eyes to how a scholar of religion could engage with horror films. I sat in my hotel room and started reading it the day I purchased it because I couldn’t wait until I got back home to start it.
Douglas Cowan deftly demonstrates how horror films engage in conversation with religion and he does this in non-technical language. In a culture where religion, or at least organized religion, is in decline, it still has incredible power in pop culture.
Many religious people avoid horror like they would a real monster. Sacred Terror, apart from suggesting a title for my book, shows horror and religion both benefit from the discussion. Cowan has written other good books on the subject as well.
Sacred Terror examines the religious elements lurking in horror films. It answers a simple but profound question: When there are so many other scary things around, why is religion so often used to tell a scary story? In this lucid, provocative book, Douglas Cowan argues that horror films are opportune vehicles for externalizing the fears that lie inside our religious selves: of evil; of the flesh; of sacred places; of a change in the sacred order; of the supernatural gone out of control; of death, dying badly, or not remaining dead; of fanaticism; and of the power--and the powerlessness--of religion.
I am a historian of cities and the ways people shape them. Living in Berlin, both before and after the Wall came down, made me aware of how the shared experiences and memories of particular places give meaning to civic life. (And for a historian it was thrilling to find a place where history was taken very seriously.) Although I have since written broader studies—of cars and cities (Autophobia) and of earlier street life (The Streets of Europe)–it was the experience of living in Berlin while learning its history that enabled me to see the layers of meaning embedded in buildings and streets.
1980s Berlin is famous for two things: a wild counterculture and the sudden demise of the Wall. In recalling the outsize personalities he got to know on both sides of the Wall, Paul Hockenos brings the two strands of history as close together as can be done. The music and party scene, the communes and the squats, arose during this quiet lull in the Cold War, as political, musical, and sexual misfits found their niche in the dead zones along the Wall. Most of us living in Berlin in the 80s enjoyed the peace and quiet. This book shows what most of us were missing out on.
Berlin Calling is a gripping account of the 1989 'peaceful revolution' in East Germany that upended communism and the tumultuous years of artistic ferment, political improvisation, and pirate utopias that followed. It's the story of a newly undivided Berlin when protest and punk rock, bohemia and direct democracy, techno and free theatre were the order of the day. Berlin Calling is a unique account of how Berlin became hip, and of why it continues to attract creative types from the world over.
My interests as a historian involve examining how Americans organize to
change policy or politics through affiliations beyond political parties
and, by extension, thinking about how culture is made and supported
through institutions and businesses. These messy networks and
relationships ultimately define how we relate to one another in the U.S.
Indie music scenes are one way to trace all of these relationships,
from federal policy governing radio stations and what goes out over the
airwaves to the contours of local music scenes, to the business of
record labels, to ordinary DJs and music fans trying to access
information and new sounds that they love.
Alice Echols is not only a renowned historian of the post–World War II era, exploring gender, politics, and pop culture, but she is also a former club DJ herself. She brings those experiences to her resurrection of the much-reviled disco scenes of the 1970s, which, before they became corporate big business, were the site of contests over the voices of American culture.
But more than that, Echols reveals how disco was an underground phenomenon, one whose origins are somehow more hidden than punk’s, and connects transnationally across oceans and across U.S. communities that reveal a complicated map of U.S. culture that defies common tropes.
More than a chronicle of disco’s rise and fall, Hot Stuff instead explores “shifts in identity and representation and the debates they triggered,” as well as reveals the dynamics between underground and commercial that would roil college radio. On top of it all, Echols’s engaging writing…
In the 1970s, as the disco tsunami engulfed America, the question, "Do you wanna dance?" became divisive, even explosive. What about this music made it such hot stuff? In her incisive history, Alice Echols reveals the ways in which disco transformed popular music, propelling it into new sonic territory and influencing rap, techno, and trance. This account probes the complex relationship between disco and the era's major movements: gay liberation, feminism, and the black freedom struggle. You won't say "disco sucks" again as disco pumps back to life in this pulsating look at the culture and politics that gave rise…
Interested in
pop culture,
monsters,
and
the supernatural?
10,000+ authors have recommended their favorite books and what they love about them.
Browse their picks for the best books about
pop culture,
monsters,
and
the supernatural.
