Dubbed “Nietzsche without his hammer” by literary critic James Wood, the Romanian philosopher E. M. Cioran is known as much for his profound pessimism and fatalistic approach as for the lyrical, raging prose with which he communicates them. Unlike many of his other works, such as On the Heights of Despair and Tears and Saints, The New Gods eschews his usual aphoristic approach in favor of more extensive and analytic essays. Returning to many of Cioran’s favorite themes, The New Gods explores humanity’s attachment to gods, death, fear, and infirmity, in essays that vary widely in form and approach. In “Paleontology” Cioran describes a visit to a museum, finding the relatively pedestrian destination rife with decay, death, and human weakness. In another chapter, Cioran explores suicide in shorter, impressionistic bursts, while “The Demiurge” is a shambolic exploration of man’s relationship with good, evil, and God. All the while, The New Gods reaffirms Cioran’s belief in “lucid despair,” and his own signature mixture of pessimism and skepticism in language that never fails to be a pleasure. Perhaps his prose itself is an argument against Cioran’s near-nihilism: there is beauty in his books.

Harold Schechter looks at the impossible tales and images of popular art--the space odysseys and extraterrestrial civilizations, the caped crusaders and men of steel, and monsters from the ocean floor--and finds close connections between religious myth and popular entertainment.

The ongoing political muscle-flexing of diverse Christian communities in North America raises some deeply troubling questions regarding their roles among us. Earlier analyses including Herberg's Protestant, Catholic, Jew showed that these three branches of the Judaeo-Christian tradition correspond to three forms of the American way of life; while Kruse's One Nation Under God showed how Christian America was shaped by corporate America. Willem H. Vanderburg's Secular Nations under New Gods proceeds based on a dialogue between Jacques Ellul's interpretation of the task of Christians in the world and Ellul's interpretation of the roles of technique and the nation-state in individual and collective human life. He then adds new insight into our being a symbolic species dealing with our finitude by living through the myths of our society and building new secular forms of moralities and religions. If everything is political and if everything is amenable to discipline-based scientific and technical approaches, we are perhaps treating these human creations the way earlier societies did their gods, as being omnipotent, without limits. Vanderburg argues that until organized Christianity becomes critically aware of sharing these commitments with their societies, it will remain entrapped in the service of false gods and thereby will continue to turn a message of freedom and love into one of morality and religion.

The religious imagination of the Greeks, Robert Garland observes, was populated by divine beings whose goodwill could not be counted upon, and worshipers faced a heavy burden of choice among innumerable deities to whom they might offer their devotion. These deities--and Athenian polytheism itself--remained in constant flux as cults successively came into favor and waned. Examining the means through which the Athenians established and marketed cults, this handsomely illustrated book is the first to illuminate the full range of motives--political and economic, as well as spiritual--that prompted them to introduce new gods.

In a feature length story, Orion and Lightray must come to the aid of Forager and his people, as Kalibak has established a brutal dictatorship over the Bug colony. In confronting his evil brother, Orion faces the darker side of his own nature. And, in a back-up story, master comics writer/artist Walter Simonson tells a tale of a young Orion and his friend Seagrin. Also includes a reprint of a classic New Gods tale by Jack Kirby!

Batman. Always. Wins. This irrevocable truth resonates to the very heart of Perpetua’s battle with the Batman Who Laughs…and when her ally reveals his absolute nature, she will upend this mantra and destroy the last planet. His planet. But that’s not enough…and the mother of all creation must wonder, if power lies in destruction, why would she ever stop? But that’s the thing about truth…when it turns to fact, there’s no disputing its godlike reverence…and so enters the Darkest Knight. Featuring a backup story that spins out of the cliffhanger from Dark Nights: Death Metal Multiverse’s End #1.

Reflektorr is everybody's worst nightmare come to life. He's come to Earth for Lightray and Eve Donner.