What role does art play in unravelling the theological problem of evil? What can aesthetics show us about God's goodness in a world of iniquity? Philip Tallon constructs an aesthetic theodicy through a fascinating examination of Christian aesthetics, ranging from the writings of Augustine to contemporary philosophy.
Tallon offers a new framework for theodicy that allows the substantial inclusion of aesthetics, building on the work of Eleonore Stump. He then examines the concept of cosmic harmony, the predominant aesthetic motif within medieval theodicy, and shows how Augustine develops this theme by interweaving his metaphysical, moral, and aesthetic views of reality. Tallon then examines other aesthetic themes within theodicy, with special attention to tragedy, a motif that has become increasingly integrated into theodicy in the nineteenth and twentieth centuries. He shows where tragedy falls short as a sufficient theme for theodicy, but also demonstrates how it complements Augustine's theme of cosmic harmony.
Finally, Tallon considers the horror of evil, an aesthetic theme that has often been used as an attack on the existence of God, but which has recently been used to understand how theodicy should be formulated to respond to the worst evils. By digging more deeply into the darker side of aesthetics, The Poetics of Evil offers a deeper perception of tragedy and malevolence, but also a richer understanding of the Christian response to the problem of evil.

Sitting on pins and needles, anxiously waiting to see what will happen next, horror audiences crave the fear and exhilaration generated by a terrifying story; their anticipation is palpable. But they also breathe a sigh of relief when the action is over, when they are able to close their books or leave the movie theater. Whether serious, kitschy, frightening, or ridiculous, horror not only arouses the senses but also raises profound questions about fear, safety, justice, and suffering. From literature and urban legends to film and television, horror's ability to thrill has made it an integral part of modern entertainment. Thomas Fahy and twelve other scholars reveal the underlying themes of the genre in The Philosophy of Horror. Examining the evolving role of horror, the contributing authors investigate works such as Mary Shelley's Frankenstein (1818), horror films of the 1930s, Stephen King's novels, Stanley Kubrick's adaptation of The Shining (1980), and Alfred Hitchcock's Psycho (1960). Also examined are works that have largely been ignored in philosophical circles, including Truman Capote's In Cold Blood (1965), Patrick Suskind's Perfume (1985), and James Purdy's Narrow Rooms (2005). The analysis also extends to contemporary forms of popular horror and "torture-horror" films of the last decade, including Saw (2004), Hostel (2005), The Devil's Rejects (2005), and The Hills Have Eyes (2006), as well as the ongoing popularity of horror on the small screen. The Philosophy of Horror celebrates the strange, compelling, and disturbing elements of horror, drawing on interpretive approaches such as feminist, postcolonial, Marxist, and psychoanalytic criticism. The book invites readers to consider horror's various manifestations and transformations since the late 1700s, probing its social, cultural, and political functions in today's media-hungry society.

Arguably the most famous and recognized detective in history, Sherlock Holmes is considered by many to be the first pop icon of the modern age. Sir Arthur Conan Doyle's fictional detective has stood as a unique figure for more than a century with his reliance on logical rigor, his analytic precision, and his disregard of social mores. A true classic, the Sherlock Holmes character continues to entertain twenty-first-century audiences on the page, stage, and screen. In The Philosophy of Sherlock Holmes, a team of leading scholars use the beloved character as a window into the quandaries of existence, from questions of reality to the search for knowledge. The essays explore the sleuth's role in revealing some of the world's most fundamental philosophical issues, discussing subjects such as the nature of deception, the lessons enemies can teach us, Holmes's own potential for criminality, and the detective's unique but effective style of inductive reasoning. Emphasizing the philosophical debates raised by generations of devoted fans, this intriguing volume will be of interest to philosophers and Holmes enthusiasts alike.