Martyrs Monsters

A collection of dangerously dark fiction by the author of WILLY, THE PINES and THE SHORE“Completely and utterly engrossing.” LAMBDA LITERARY FOUNDATION“A masterpiece.”DARK SCRIBE MAGAZINE

From the chilling threats of the "ISIS vampire" to the view of al-Qaeda as the "Frankenstein the CIA created," terrorism seems to be inextricably bound with monstrosity. But why do the media and government officials often portray terrorists as monsters? And perhaps more puzzling, why do terrorists sometimes want to be perceived as such? This book, the first of its kind, examines the use of archetypal metaphors of monstrosity in relation to terrorism, from the gorgons of Robespierre's "reign of terror" to the dragons and lycanthropes of anarchism, the beasts and blood-licking demons of ethnonational terrorism, and the hydras and Frankenstein's monsters of Islamic jihadism. Marco Pinfari argues that politicians frame terrorists as unmanageable monsters not only in an effort at cultural "othering" and dehumanization, but also to secure popular backing for rule-breaking behavior in counter-terrorism. The book also explores the way that terrorists themselves impersonate monsters, showing that several groups have pursued such a tactic throughout the history of terrorism. It contributes to a number of ongoing public debates by highlighting how, even when actors like the Islamic State present themselves as mad and irrational, their tactics remain in essence rational. Pinfari also provides an original historical outlook on the roots of monster metaphors and discusses several types of terrorism, including state terrorism, left-wing terrorism, anarchism, ethnonationalist terrorism, and white supremacist groups. In unpacking the functions played by monster metaphors and by their impersonation, Terrorists as Monsters helps the reader understand the political processes that hide behind the fangs.

The book of Revelation presents a daunting picture of the destruction of the world, complete with clashing gods, a multiheaded beast, armies of heaven, and the final judgment of mankind. The bizarre conclusion to the New Testament is routinely cited as an example of the early Christian renunciation of the might and values of Rome. But Christopher A. Frilingos contends that Revelation's relationship to its ancient environment was a rather more complex one. In Spectacles of Empire he argues that the public displays of the Roman Empire—the games of the arena, the execution of criminals, the civic veneration of the emperor—offer a plausible context for reading Revelation. Like the spectacles that attracted audiences from one end of the Mediterranean Sea to the other, Revelation shares a preoccupation with matters of spectatorship, domination, and masculinity. Scholars have long noted that in promising a complete reversal of fortune to an oppressed minority, Revelation has provided inspiration to Christians of all kinds, from liberation theologians protesting globalization to the medieval Apostolic Brethren facing death at the stake. But Frilingos approaches the Apocalypse from a different angle, arguing that Revelation was not merely a rejection of the Roman world in favor of a Christian one; rather, its visions of monsters and martyrs were the product of an empire whose subjects were trained to dominate the threatening "other." By comparing images in Revelation to those in other Roman-era literature, such as Greek romances and martyr accounts, Frilingos reveals a society preoccupied with seeing and being seen. At the same time, he shows how Revelation calls attention to both the risk and the allure of taking in a show in a society which emphasized the careful scrutiny of one's friends, enemies, and self. Ancient spectators, Frilingos notes, whether seated in an arena or standing at a distance as Babylon burned, frequently discovered that they themselves had become part of the performance.

A woman did that? The general reaction to women's political violence is still one of shock and incomprehension. Mothers, Monsters, Whores provides an empirical study of women's violence in global politics. The book looks at military women who engage in torture; the Chechen 'Black Widows'; Middle Eastern suicide bombers; and the women who directed and participated in genocides in Bosnia and Rwanda. Sjoberg & Gentry analyse the biological, psychological and sexualized stereotypes through which these women are conventionally depicted, arguing that these are rooted in assumptions about what is 'appropriate' female behaviour. What these stereotypes have in common is that they all perceive women as having no agency in any sphere of life, from everyday choices to global political events. This book is a major feminist re-evaluation of women's motivations and actions as perpetrators of political violence.

The author reads the Book of Revelation as a text firmly situated in the world of imperial Roman Asia Minor, where it was written. He argues that Revelation is a Christian version of that world, complete with its own gladiatorial combats and other public spectacles.

The Virgin Mary has been idealized as a self-sacrificing mother throughout Christian history, but she is not the only ancient maternal figure whose story is connected to violent loss. This book examines several ancient representations of mothers and children in contexts of sociopolitical violence, demonstrating that notions of early Christian motherhood, as today, are contextual and produced for various political, social, and ethical reasons. In each chapter, the ancient maternal figure is juxtaposed with an example of contemporary maternal activism to show that maternal self-sacrifice can be understood as strategic, varied, politically charged, and rhetorically flexible.