‘In the beginning was the Word,’ says the Gospel of John. This sentence – and the words of all four gospels – is central to the teachings of the Christian church and has shaped Western art, literature and language, and the Western mind. Yet in the years after the death of Christ there was not merely one word, nor any consensus as to who Jesus was or why he had mattered. There were many different Jesuses, among them the aggressive Jesus who scorned his parents and crippled those who opposed him, the Jesus who sold his twin into slavery and the Jesus who had someone crucified in his stead. Moreover, in the early years of the first millennium there were many other saviours, many sons of gods who healed the sick and cured the lame. But as Christianity spread, they were pronounced unacceptable – even heretical – and they faded from view. Now, in Heretic, Catherine Nixey tells their extraordinary story, one of contingency, chance and plurality. It is a story about what might have been.

Longlisted for the 2022 International Gothic Association's Allan Lloyd Smith Prize Surpassing scholarly discourse surrounding the emergent secularism of the 19th century, Theology, Horror and Fiction argues that the Victorian Gothic is a genre fascinated with the immaterial. Through close readings of popular Gothic novels across the 19th century – Frankenstein, Wuthering Heights, Dracula and The Picture of Dorian Gray, among others – Jonathan Greenaway demonstrates that to understand and read Gothic novels is to be drawn into the discourses of theology. Despite the differences in time, place and context that informed the writers of these stories, the Gothic novel is irreducibly fascinated with religious and theological ideas, and this angle has been often overlooked in broader scholarly investigations into the intersections between literature and religion. Combining historical theological awareness with interventions into contemporary theology, particularly around imaginative apologetics and theology and the arts, Jonathan Greenaway offers the beginnings of a modern theology of the Gothic.

In our age of globalisation and pandemic, how should we react to the new Islamophobic movements now spreading in the West? Everywhere the far right is on the march, with nationalist and populist parties thriving on the back of popular anxieties about Islam and the Muslim presence. Hijab and minaret bans, mosque shootings, hostility to migrants and increasingly scornful media stereotypes seem to endanger the prospects for friendly coexistence and the calm uplifting of Muslim populations. In this series of essays Abdal Hakim Murad dissects the rise of Islamophobia on the basis of Muslim theological tradition. Although the proper response to the current impasse is clearly indicated in Qur'an and Hadith, some have lost the principle of trust in divine wisdom and are responding with hatred, fearfulness or despair. Murad shows that a compassion-based approach, rooted in an authentic theology of divine power, could transform the current quagmire into a bright landscape of great promise for Muslims and their neighbours.

The Maimonides Review of Philosophy and Religion is an annual collection of double-blind peer-reviewed articles, which seeks to provide a broad international arena for an intellectual exchange of ideas between the disciplines of philosophy, theology, religion, cultural history, and literature and to showcase their multifarious junctures within the framework of Jewish studies.