Posted: January 3, 2025
*this transcript has been edited from the original audio for readability and length.
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NRC: I'm here today with Gavin Hurley, a scholar, storyteller, and teacher. Gavin is an associate professor of communication and literature at Ave Maria University. He has published widely in the fields of communication, religion, rhetoric, and horror, and all of that comes to bear in his recent book, Catholic Horror and Rhetorical Dialectics, published by Lehigh University Press in 2024. Welcome, Gavin, we're really happy to have you.
GH: Great to be here. Thanks so much, Nate.
NRC: Your book, Catholic Horror and Rhetorical Dialectics, asks us to consider an unconventional understanding of Catholic horror and the power of horror media more generally. In your preface, you note a common question scholars in horror face: “Why horror?” But I’d like to start with the other half of your title: Why dialectics?
GH: Dialectics, as a method of inquiry, is rooted in classical traditions. Think about Plato and Socrates—the idea of a back-and-forth exchange that involves cooperation and competition to understand the truth of a matter. It’s less concerned with practical knowledge and more focused on the philosophical, theological, and spiritual. In today’s world, where there is such an emphasis on the active life and material concerns, dialectics offers a way to step back and think more broadly about our place in the cosmos. It’s a valuable tool for contemplation and understanding.
NRC: Do you see this work in dialogue with scholarship that focuses on affect?
GH: Yes, absolutely. The dialectical back-and-forth can be unsettling, even scary, because it challenges us to confront speculative knowledge. But this fear can be constructive and lead to a greater synthesis rather than destruction. Horror as a genre balances optimism and fear. While it often gets a bad reputation for being purely negative, it can paradoxically inspire and engage us intellectually.
NRC: How did this project begin?
GH: I’ve always been interested in horror film and literature, but this project started when I read The Exorcist novel. I’d seen the film many times, but the novel’s philosophical and theological dialogues reminded me of Plato and Socratic methods. This inspired me to explore how these classical traditions connect to horror. I initially wrote an article for America Magazine, which was well-received, and that experience motivated me to dive deeper into the subject, eventually leading to this book.
NRC: What challenges did you face while writing the book?
GH: The original proposal included discussions of film and detailed analyses of papal encyclicals and Catholic doctrine. However, the editors at Lehigh University Press suggested broadening the scope to appeal to a wider audience. This led me to focus exclusively on literature, which helped create a balanced approach. I also added an appendix with resources on Catholic horror, which brought additional depth to the book. Writing can be messy, but as long as the final product is coherent, the process doesn’t matter as much.
NRC: Tell us about the book’s cover.
GH: Lehigh University Press allowed me to choose the cover, which was a fantastic experience. I selected a painting of Christ being tempted by the devil in the desert. It visually represents the back-and-forth nature of dialectics, as well as the themes of conversation and truth-seeking in the book. The impressionistic style and bright colors also aligned perfectly with the book’s focus on literature and arts.
NRC: Who is the intended audience for your book?
GH: The book is aimed at two groups: Catholics and those in horror studies. Many Catholics shy away from horror, seeing it as purely negative, while some in horror studies are hesitant to engage with Catholicism. This book bridges those gaps, showing Catholics the depth and value of horror and introducing horror scholars to the philosophical and theological richness of Catholic thought.
NRC: How did the final version of the book differ from your original vision?
GH: Initially, the book had a stronger focus on media and communication studies. However, it evolved to emphasize classical liberal arts traditions, particularly dialectics and rhetoric. Combining these with literature was a bit risky, but it ultimately enriched the book and opened up interdisciplinary conversations.
NRC: It’s clear this work has broad applications. Have you incorporated it into your teaching?
GH: Yes, while writing the book, I co-taught a class called “The Spiritual Thriller,” which explored similar themes. Teaching the material allowed me to engage with students, gauge their reactions, and refine the book’s approach. It was a valuable and enriching experience.
NRC: Gavin, it’s been wonderful speaking wth you about your book. Congratulations on this fantastic contribution to horror studies and Catholic scholarship.
GH: Thank you so much, Nate. I really appreciate it.
NRC: Thanks for listening. Please subscribe to our podcast for notifications about future episodes. You can learn more about Lehigh University Press at lupress.lehigh.edu. I’m Nate Carpenter, and I hope you’ll join us again on “How My Book Began.”
