On Faith and Horror

People sometimes ask how a religious guy like me can be interested in writing horror stories (“He seemed so nice and normal, although he kept to himself. We never imagined that he . . .”). So I share my “Author’s Note” that I wrote a year ago for my novel A Body Given (part 2 in a three-part series):


While I’ve been a fan of vampire stories since I was a kid, I didn’t start writing about the undead until my grandchildren attempted to convince me that these soulless monsters were just a race of unfortunate and misunderstood beings. Seeking to correct their misperceptions, I set out to write a short story that became my novel This Side of Death, which continues to remain largely undiscovered and, at least by my grandchildren’s reckoning, largely underappreciated.

Nevertheless, the story still wants to tell itself, as these things often do. I’ve discovered along the way that a vampire story is a great vehicle for exploring the depths of evil that plague the human race. My vampires try to be true to the traditional legends, so they are unkind and unmerciful along with being undead. They also expose the darkness that often lies dormant (and too often not dormant) in the hearts of living, breathing, human beings.

The vampire genre also allows for explorations of faith. Since the legends themselves are a reversal of the Christian Eucharist (the blood of the many for the one versus the blood of the One for the many), there are numerous parallels and metaphors that allow a writer to move between the horrors of death and the mysteries of faith.

There is a third book in the making that will probably end this series of vampiric journeys. It too wrestles with horror and faith, moving the story to a new location through the lives of both new and familiar characters.

Stories never emerge in a vacuum, but are an accumulation of experiences, imaginings, influences, and relationships. I am indebted to writers whose wonderfully chilling books have offered me inspiration and pleasure, especially Bram Stoker, Ray Bradbury, Stephen King, Dean Koontz, Anne Rice, and Elizabeth Kostova. Their stories continue to creep at the margins of my imagination.

I am also indebted to those who have been my helpers along the way, those whose input and correction kept me from going too far off the rails in my storytelling. I am grateful for the excellent editing job done by the skilled hands and eyes of my daughter, Laurelin Varieur, who is not shy about correcting my errors but also seems to know how my mind works. I was given hope that my story might hook readers when an early manuscript was read by my friend Lydia Van Hoff, who likes a creepy story as much as I do, and may have actually met a vampire or two in Northern Ireland. And I was expertly guided through the description of the effects of type-1 diabetes by my fine grandson Jacob Karnofel, who made sure I got all the highs and lows right and, like his siblings and cousins, did not hesitate to set his grandfather straight.

And I am thankful that you are about to read this book. I hope you enjoy reading it as much as I enjoyed writing it.

The Undead and Christian Theology

Not too long ago a friend contacted me and suggested that I submit a paper to be read at Azusa Pacific University’s upcoming Conference on Christianity and Literature, titled The Company of Others: Literary Collaboration and the Common Good. My friend knows that I write both non-fiction and fiction, and she was interested in having me produce a paper that deals with dark, supernatural stories and what place those stories have in literature that might be described as Christian.

So, because I don’t know how to say no to opportunities that are completely outside of my levels of competence, I agreed. The steering committee, for some bizarre reason, accepted my abstract. I share it with you now:

“Christians have long accepted the graphic accounts in scripture that describe horrific violence and bloodshed as part of the narrative of God’s work and mission in the world. Those stories carry into the text the tragic and gritty reality of evil, even when such evil is perpetrated by seemingly good people. The horror genre, as with others, contains the possibility of contrasting the good news of Jesus Christ with the dominant claims of evil and injustice. This paper argues that contemporary Christian horror literature personifies evil in characters ranging from the monstrous (e.g. vampires, zombies, werewolves) to the monstrously human (e.g. serial killers and other rogues), while at the same time embedding important theological themes. Without forcing a story into an allegory or an agenda, Christian writers can allow such themes to play out in a macabre tale without giving way to either gratuitous violence or unrealistic sanitization. Literature to be discussed includes Bram Stoker’s Dracula, C. S. Lewis’s Perelandra and That Hideous Strength, and Frank Peretti’s The Oath.”

Having written the abstract and realizing that it had been accepted and I was now on the program, I figured I’d better actually write the paper. It’s almost done now, but it has been a challenge to write something that is somewhat outside of my scope of qualification.

But I don’t read my work until the end of the conference, so it will be too late to kick me out if my paper is scandalous and I embarrass myself, which I’ve done before and it’s not really all that bad of an experience once you hit a certain age and merely find yourself and others amusing.

I’m grateful to my friend for extending the opportunity and I’m looking forward to hanging around with some big-brained literature people. I expect to learn a lot at the conference. I noticed that another person on my panel is reading his paper about the theology in zombie movies. He is from the same institution where I am employed. There might be a theme here . . .