https://journals.scientia.international/SIJLLA

Scientia International Journal for

Linguistics, Letters and Arts

Vol. 1, 1 (2026)

Type: Research Article | DOI: 10.56365/h3mbs051

Open access article under CC BY 4.0 license (https://creativecommons.org/licenses/by/4.0).

Traveling through Midian: Clive Barker and the renewal of horror

literature

Michel Goulart da Silva

Federal Institute of Santa Catarina, Blumenau, Brazil

https://orcid.org/0000-0002-3281-3124

michelgsilva@yahoo.com.br

Abstract

This essay discusses the construction of the representation of the monster in Clive Barker's work Race of the Night. This analysis

is based on a comparison of aspects present in the work with common elements of classic horror narratives. To this end, texts by

specialized authors dealing with horror narratives are presented and discussed in the bibliography. The aim is to demonstrate the

originality of some subversive elements present in Barker's narrative and how this impacts the representation of the monster.

Keywords: Clive Barker; Horror; Monster.

Article details | Open peer review

Edited by:

Michel Goulart da Silva

Reviewed by:

Rhuan Felipe Scomaçao da Silva

Yasmim Pereira Yonekura

Citation:

Silva, M. G. (2026). Traveling through Midian: Clive Barker and the renewal of

horror literature. Scientia International Journal for Human Sciences, 1(1).

https://doi.org/10.56365/h3mbs051

Article history

Received: 16/12/2025

Revised: 17/02/2026

Accepted: 18/02/2026

Available: 20/02/2026

Scientia International Journal for Linguistics, Letters, and Arts 2 of 12

1. Introduction

In 1988, British writer Clive Barker brought to life a mythology of creatures he called the Nightbreed.

It was a group of monstrous figures of various kinds who had taken refuge in a place far from human society

for centuries, called Midian. This distance was due to the need to protect themselves from the persecution

they suffered at the hands of humans. In the story narrated by Barker, these creatures are discovered,

persecuted, and have their peace disturbed precisely by the actions of humans.

In the book Nightbreed, as in other narratives, Barker shuffles the simplistic duality between Good

and Evil, questioning who the fearsome monsters really are: the fantastic creatures that live underground so

as not to be discovered and slaughtered, or humanity that fears them and therefore wants to destroy them.

Although it is a horror story, a classic among recent productions, which even has a film adaptation by Barker

himself, the story of Nightbreed has an evident political background and shows important elements of renewal

in the horror genre. The novel shows how prejudice against differences works and how fear of the unknown

can mobilize a feeling of unbridled collective violence.

In the plot narrated by Barker, Aaron Boone suffers from nightmares involving a place called Midian,

a community inhabited by monsters. With the support of his girlfriend, Lori Winston, Boone seeks the help

of psychotherapist Dr. Phillip Decker. The doctor is, in reality, a serial killer responsible for the murder of

families and tries to blame Boone for his crimes. After an accident caused by the use of drugs prescribed by

Decker, Boone meets another patient, Narcise, who talks about Midian and, after pointing out its location,

rips the skin off his own face. The confusion created by Narcise allows Boone to escape. However, upon

arriving in Midian, Boone discovers that he did not commit the crimes attributed to him by Decker, but that

if he was not a monster, he could be killed and devoured by the Nightbreed. Boone manages to escape, but

is surprised by police officers, led by Decker, and is shot dead. However, he comes back to life shortly after,

in the morgue, due to the wound caused by one of the members of the Nightbreed. After Boone joins the

Nightbreed, Decker leads a violent attack to pursue him and destroy Midian.

Although Clive Barker is a creator with many different facets, having worked in theater and comic

books, it is through cinema and literature that his name resonates most often. His worldwide fame is mainly

due to the success of the classic horror film Hellraiser (1987), which he directed and adapted from a short

story of his own. This experience of directing his own work for the cinema was repeated a few years later in

the film Nightbreed (1990), adapted by Barker from Nightbreed. In this work, Barker also focuses on a set

of fantastic creatures, as in some of the short stories in the Books of Blood volumes or even in Hellraiser.

Barker said, in relation to the film adaptation of his book: “I want to explore the theme of monstrosity, to

create a mythology that goes beyond anything we have seen in this type of film” (Timpone, 1998, p. 157).

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Barker's works stand out for their great creativity in the construction of monstrous figures. Vugman

(2018, p. 22) points out that "the monster has the function of delimiting the boundaries that separate the

natural from the unnatural, the human from the non-human, the civilized from the uncivilized, good from

evil, right from wrong. Because it is always the Other, the monster refers to our identity and otherness and

guides our desire to belong.” It is worth remembering that, "in the process of consolidating a collective

identity, each community creates its monster and its story," trying to "define values, behaviors, and even an

aesthetic for each person to recognize themselves and be recognized as a member of that group" ( Vugman,

2018, p. 22-3). In this sense,

[...] when a community creates a monster story, it is trying to define "human"

according to its worldview, beliefs, and values, offering a reference so that each

individual can see their neighbor as a fellow human being. As long as this monster is

capable of expressing the anxieties generated by the contradictions and inaccuracies

inherent in the definition of human, it will continue to function as a powerful

metaphor. When it ceases to fulfill this function, the stories of this monster will be

forgotten, or will need to be adapted ( Vugman, 2018, p. 24).

Barker subverts this dichotomy between monster and humanity, attributing the monstrous aspect to

something much more complex than physical nature. Human beings, when they express their fear of the

Other, can be considered monstrous. In this essay, we will seek to show these elements, first by providing a

brief overview of horror narratives in literature. Second, we will analyze some elements of Barker's work,

especially his representation of the monster. Finally, we will discuss the originality of some elements of

Barker's narrative.

2. Elements for a history of horror literature

Fear has been a recurring theme throughout the history of literature, being used in the construction of

a wide variety of narratives. Horror literature is fundamentally based on the construction of fear, or rather,

on the narrative of events that provoke fear in the reader. Fear, "inherent in our nature, is an essential defense,

a guarantee against danger, an indispensable reflex that allows the organism to temporarily escape death"

(Delumeau, 1993, p. 19). In the construction of narratives, fear is "a shock emotion, often preceded by

surprise, caused by the awareness of a present and urgent danger that we believe threatens our survival"

(Delumeau, 1993, p. 23). In this sense, it can be said that “fear is our deepest and most intense emotion, and

also the one most conducive to the creation of illusions that defy Nature” (Lovecraft, 2009, p. 151). In these

works,

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[...] horror and the unknown, or the strange, always maintain a very close relationship,

so that it is difficult to paint a convincing picture of the breakdown of natural laws or

cosmic strangeness or singularity without highlighting the emotion of fear (Lovecraft,

2009, p. 151).

Understanding horror in a broad sense, its precursors can be identified at different moments in history,

such as in Greek epics and tragedies, as well as in Dante's medieval work The Divine Comedy, considered "a

pioneer in the classical capture of the macabre atmosphere" (Lovecraft, 2008, p. 23). In William

Shakespeare's work, fear and the supernatural are elements that appear in different narratives, with the

witches in Macbeth and the appearance of Hamlet's father's ghost possibly being the most emblematic. In this

sense, fairy tales, which proliferated in the 17th and 18th centuries, are also related to the production of

horror, in that they "featured bizarre beings representing evil that were confronted by the hero before he

ultimately prevailed" in plots involving "magic, metamorphoses, enchantments, or talking animals" (Melo,

2011, p. 22).

Fear and the supernatural ceased to be merely occasional narrative elements and became the focus of

works only at the end of the 18th century, through works associated with the Gothic. These works

"represented a return to the feudal past, caused by disillusionment with rationalist ideals and individual

awareness of the cultural dilemmas that arose in England from the latter half of the 18th century" (Sá, 2010,

p. 35). From this perspective, the Gothic work usually cited as the precursor of modern horror is Horace

Walpole's novel The Castle of Otranto (1764). This work presents aesthetic elements that would be used in

later works:

This new dramatic paraphernalia consisted, first and foremost, of the Gothic castle

with its astonishing antiquity, vast distances and ramifications, deserted and ruined

wings, damp corridors, hidden unhealthy catacombs, and a galaxy of ghosts and

terrifying legends as the nucleus of suspense and demonic dread (Lovecraft, 2008, p.

28).

These works also outline the characteristics of some of the main characters, among which we can

highlight, among others,

[...] the tyrannical and perverse nobleman as the villain; the saintly, much-persecuted,

and generally insipid heroine who suffers the greatest terrors and serves as the reader's

point of view and focus of sympathy; the valiant and unblemished hero, always well-

born but often in humble attire (Lovecraft, 2008, p. 28).

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The Gothic novel spread rapidly, highlighting names such as Ann Radcliffe and Matthew Gregory

Lewis. Amidst great public success, "the furor unleashed by Gothic fiction led to enormous production,

mostly aimed at sales and with little concern for literary innovation" (Sá, 2010, p. 43-4). Later, these

productions, incorporating more complex elements, such as the influence of scientific development or the

presence of supernatural monsters, soon gave rise to some of their best-known classics.

In 1818, Mary Shelley published the novel Frankenstein, a work that would exert enormous influence

not only on horror literature but also on science fiction. The following year, John Polidori published the novel

The Vampire, considered a "watershed in vampire literature" in that it "established important elements that

were used or modified in subsequent artistic creations," such as the fact that the vampire does not attack

"simply for blood, because there is an erotic element between him and his victim, and the erotic or libertine

elements are more prominent in the narrative than the need for blood" (Silva, 2012, p. 26).

In the United States, it did not take long for names influenced by European Gothic to emerge, among

which Edgar Allan Poe stands out. The American poet and short story writer worked on a set of themes that

would become common in later horror literature, such as madness, and defined many of the aesthetic

characteristics of horror literature, such as suspense. In his work, the poet “appropriated contributions from

the Western literary tradition and the best of his own era, making his work an epic about the degradation of

man, despair, alienation, and a complete lack of prospects” (Silva, 2011, p. 151).

Romanticism in European literature gradually gave way to realism and, later, to naturalism. As a

result, even though some of the major works of the period did not make use of the supernatural to a certain

extent, fear was not left out of literature. Associated especially with naturalism, some works were produced

that brought to the fore the cruelty manifested by human beings, with man himself as a manifestation of the

monster. One of the most memorable works of this period is The Human Beast (1890) by Émile Zola.

At the end of the 19th century, some of the greatest European classics of horror literature were

published. In 1872, Irish writer Joseph Sheridan Le Fanu brought to life Carmilla, a lesbian vampire, who, ,

personified some of the greatest fears of the bourgeois and aristocratic families of the period. In this work,

[...] Carmilla's attack on girls and young women can be interpreted as a direct attack

on the future of the community in the sense that by killing females, the vampire

deprives this social group of those responsible for generating new members (Silva,

2010, p. 26).

The vampire gained its definitive personification in Bram Stoker's Dracula (1897), with which "all

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vampire productions of the last century and the beginning of this century still dialogue" (Silva, 2012, p. 31).

Dracula brought to the stage a supernatural creature that attacked the structures and future of traditional

families, that is,

[...] with the passage of time and the gradual predominance of patriarchal ideology to

the detriment of cultures where women played a central role, the myth of the vampire

became more associated with the transgression of social norms (based on Christian

and, therefore, masculine thinking). Suicides, victims of brutal deaths, bastard

children, or excommunicated people were candidates to become vampires (Silva,

2010, p. 25).

However, at the same time, Stoker's novel placed Dracula in the midst of the capitalist modernity that

marked London. Contemporary to the two great vampire classics are the works The Strange Case of Dr.

Jekyll and Mr. Hyde (1886), by Scottish writer Robert Louis Stevenson, and The Picture of Dorian Gray

(1890), by Irish writer Oscar Wilde. In the former, a scientific experiment causes the doctor to transform into

a dangerous monster. In the latter, a beautiful young man trades his soul for the possibility of never aging.

Throughout the 20th century, horror and the supernatural appear in numerous literary works. Possibly

one of its biggest names is H. P. Lovecraft, who built his own mythology of monsters, having written his

main works in the 1920s and 1930s. These works inspired much of the literature and cinema produced in the

following decades.

On the other hand, in the 20th century, these various cultural productions expanded the use of

monsters as the main threats to humanity. It is observed that, "with the end of World War II, a new scenario

appears in apocalyptic stories, where monsters populate a world haunted by the possibility of a nuclear

holocaust" (Vugman, 2018, p. 45). The establishment of this milestone in World War II did not occur by

chance, after all

[...] the nuclear attack on Hiroshima and Nagasaki created the need for a metaphor

from the Monster Myth for new existential anxieties, those that afflict a human being

endowed with the power of total destruction. In books and films, narratives emerge

in which monsters no longer show any interest in belonging to the human community,

driven only by the desire for its total destruction (Vugman, 2018, p. 51).

In this context, the figure of the zombie emerges, a metaphor for the dangerous masses that surround

the bourgeoisie and threaten private property in large urban centers. The zombie is a collective monster.

Although they can attack alone, they become more dangerous when they act in hordes, surrounding groups

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of living people with the aim of eating parts of their bodies. They are beings whose actions lack intentionality.

The zombie, devoid of any personal identity, “continues to move and consume, without purpose or plans,

without past or future. The zombie is a metaphor for a world that has already died but continues to move"

(Vugman, 2018, p. 55). Zombies are the typical monster of a mass society, with large concentrations in urban

areas, where they can move around and corner their victims.

In the last three decades of the 20th century, some writers of the genre became best sellers, notably

the American Stephen King. Another name that became quite notable was the British Clive Barker. Other

names have also stood out in recent decades, such as Peter Straub and William Peter Blatty. According to

Causo (2003, p. 101), in recent decades, "horror has turned to everyday life, willing to take on the role of a

metaphorical space for the most real horrors that walked our streets." As a result,

[...] one of the most modern forms of horror is dark fantasy. These are narratives that

start from contemporary everyday life, where at first glance nothing out of the

ordinary occurs. Gradually, a fantastic element—magical, supernatural, or even

belonging to the themes of science fiction—intrudes and builds an atmosphere of

horror (Causo, 2003, p. 101).

Horror, therefore, is part of contemporary popular culture. Given the above, it can be said that horror

has become “a staple of contemporary art forms, popular or otherwise, generating a plethora of vampires,

goblins, imps, zombies, werewolves, demon-possessed children, special monsters of all sizes, ghosts, and

others” (Carroll, 1999, p. 13). However, there is still a certain understanding that it is a minor genre, like

detective or erotic literature, even though some writers considered canonical have written works in the genre

and horror works are even frequently cited in lists of classic literary works. Barker's books are part of this

constitution of new horror classics, problematizing social elements and contributing to the development of

literature in general.

3. Midian and the monsters

The novel Race of the Night tells the story of a group of creatures who hide from human persecution,

caused largely by humanity's religious wrath. Midian was the place they had found centuries earlier to hide

and build their society without human intervention. Beneath the earth was a complex system of tunnels,

stairways, courtyards, and dormitories where the creatures tried to build their lives peacefully. These

creatures are enveloped in darkness. For many of them, the sun is as dangerous an enemy as humans. They

are not immortal creatures, at risk of being harmed in different ways, including exposure to the sun, even

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though they can live for many years or even centuries. In Barker's representation of the dead, fragile figures

also appear who need to protect themselves from humans.

This construction of the representation of the monster is related not only to literature or other artistic

expressions, but also as part of society itself. It can be observed that "the monster has taken on different

meanings and forms over the centuries" (Messias, 2016, p. 55). Therefore, it is known that monsters "are

constructions that relate to the era and culture that produced them" (Ribeiro, 2021, p. 36). The monster, thus,

is associated with fear or a form of threat, which may or may not have some supernatural element. The

monster is defined "in opposition to humanity. It is its mortal enemy, the one against which it can only react

by extermination" (Nazário, 1998, p. 11). In this sense, "most of the attributes of monstrosity are in clear

opposition to the attributes that define the human condition. Others are aspects of this condition taken in

isolation and subjected to a plastic treatment of exaggeration" (Nazário, 1998, p. 11).

Returning to Midian, it is known that it was a place that welcomed “monsters,” largely criminals in

search of some kind of redemption. In the book, it is stated: “Midian was like a place of refuge; a place to be

taken. And more: a place where any sins they had committed – real or imagined – would be forgiven” (Barker,

1994, pp. 29-30). Boone, the protagonist of the book, wants to escape from suffering and newly discovered

crimes he allegedly committed. With that, he sees Midian as "a place to go, where he could finally find

someone who understood the horrors he was enduring" (Barker, 1994, p. 34).

This representation brings into conflict a duality in Boone's nature. In this process, it is stated that

when the protagonist heads for Midian, "the man Boone and the monster Boone could not be divided . They

were one; they traveled the same road in the same mind and the same body. And whatever lay at the end of

that road, death or glory, would be the fate of both” (Barker, 1994, p. 40). However, upon arriving in Midian,

he discovers that he did not commit the crimes he was accused of; he was not a “beast” or a “monster.”

Therefore, in this case, Boone could not be part of that place nor could he enter Midian. Boone insists that he

is a monster, but ultimately, if he does not belong there, he should be devoured. In his confusion and agony,

he discovers that “even there, among the monsters of Midian, it was not his place. And if it wasn’t there,

where was it?” (Barker, 1994, p. 51).

In this regard, we see a subversion that Barker makes in relation to classic narratives, after all, “in the

Western canon, every monster wants to integrate into the society in which it is created, since its identity, or

at least its existence, depends on it” (Vugman, 2018, p. 33). Boone, on the contrary, considering himself a

monster, wants to integrate into that hidden community which, in the face of persecution suffered in previous

centuries, hid from society. At one point, Barker (1994, p. 115) states: “There were few hiding places where

the monstrous could find peace.” And that was not the place for Boone.

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Boone, after being attacked and bitten, manages to escape to meet another monster: the one who had

actually committed the murders he was accused of, his psychiatrist, who was a cold-blooded serial killer and

had forged a series of pieces of evidence, including Boone’s confession that he was the murderer of some of

the crimes committed by the doctor. Although he escaped the attack by one of Midian's residents, Boone did

not escape the shots fired by the living. After being killed by the police, victim of Decker's setup, Boone

resurrects and flees to Midian. With the bite Boone had received, he was able to revive, now in Midian,

joining the Nightbreed.

However, Midian ends up being a victim of Decker's persecution of Boone, and ends up being

destroyed by fear and human irrationality in the face of difference. Barker uses this element to engage in

philosophical and political discussions that go beyond the scenes of suspense and action or the narrative that

shows the massacre of the residents of Midian. Therefore, Barker's lack of hope in human behavior and his

criticism of the irrationality manifested by religious knowledge are evident. It is no coincidence that Barker

makes use of religious references at various points. At one point, Decker, referring to Midian, states: "What's

underneath is not holy" (Barker, 1994, p. 161). In another passage, the police officer who commands the

Midian massacre thinks: "And the next day, God willing, it would be as it was before: the dead staying dead,

and sodomy on the walls, which was where it belonged" (Barker, 1994, p. 181). The same policeman,

Eigerman, at one point says to the priest he is taking to the Midian massacre: “Just use your little book of

exorcisms. I want those monsters back in the fucking place they came from” (Barker, 1994, p. 198).

Elements of subversion of the narrative in relation to the monster can be observed in Barker's

narrative. It is known that "the character's emotional reaction to the monstrous in horror stories is not simply

a matter of fear, that is, of being terrified by something that threatens to be dangerous. On the contrary, the

threat is mixed with revulsion, nausea, and disgust" (Carroll, 1999, p. 39). However, in The Night Raid, even

though humans may fear the monsters of Midian, it is not they who attack and terrorize them. On the contrary,

there is a reversal of who the monster really is, which “in horror fiction is not only lethal but also – and this

is of the utmost importance – repulsive” (Carroll, 1999, p. 39). The lethal and repulsive are not found in the

creatures hiding in Midian, but in the humans who attacked it. Barker says, at a certain point in the narrative,

that Boone, in the presence of Decker, “had been proud to call himself a monster, to display his part of the

Nightbreed” (Barker, 1994, p. 125-6).

Another key character in the narrative is Lori. Barker states that Lori, after living with the inhabitants

of Midian and witnessing the massacre carried out by humans, changed her worldview. This change is

described as follows:

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Only now did she know the dead. She had walked with them, talked with them. She

had seen them get emotional and cry. Who, then, were the truly dead? Those whose

hearts no longer beat, who still knew pain, or their wide-eyed torturers? (Barker,

1994, p. 231).

Lori is the external perspective on the Nightjars that allows Barker to describe the cruelty to which

Midian is subjected. In this sense, it can be said that, "by sharing her uncertain future with the Night Race,"

Lori "accepts otherness and rejects Eigerman's violence" (Stokes & Stokes, 2023, p. 105). Lori's perspective

expresses Barker's point of view regarding the events against Midian and the writer's political stance on

prejudice and violence against differences. Therefore, Nightbreed can be seen as a work that criticizes the

barbarism that humanity promotes on a daily basis, destroying its most fragile members or excluding

undesirable beings through death or exile.

The hatred for what is different, which led to the destruction of witches in past centuries, resembles

the destruction promoted against Midian. This is the cruelty that Barker wants to combat in his work. In a

discourse that emphasizes differences as a negative element, there is no room for dialogue. Eigerman, the

police officer who commands the massacre, sees the residents of Midian as "freaks, even stranger than

normal. Things that defied nature, that should be taken from under their tombstones and doused with

gasoline" (Barker, 1994, p. 164).

This behavior was not limited to the police officer, but to the group of people who gathered to attack

Midian. The hatred of monsters is made explicit in the work, showing an uncontrolled mob. Barker (1994, p.

218) narrates: "The crowd was crazy for fun. Those who had guns and rifles had taken them out of their cars;

those lucky enough to be traveling with ropes in their trunks began to tie knots; and those who had neither

rope nor guns had picked up stones.”

Faced with difference, there was no room for dialogue or reflection, only irrationality and violence.

Manipulated by a serial killer, who instigated the deepest and most irrational hatreds of those people, the

mob, even though it lost the battle against the monsters, managed to destroy the home of the Night Race and

forced them to seek refuge where they could rebuild their lives.

4. Final considerations

This analysis of Barker's work sought to show some of the British writer's contributions to the renewal

of the horror genre. By comparing elements of classic narratives, it was possible to identify some of these

contributions present in the book The Night Race, showing important thematic and technical innovations for

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the genre. In this way, creative elements and fundamental contributions on the part of Barker's work could

be identified.

To a large extent, this contribution is due to the subversion of elements of classic writing in the genre

around the representation of monsters. Barker, in particular, shows how eventual monstrosity may be

associated not with nature or physical constitution, but with the actions and behavior of the characters. His

work, thus, expresses a political concern and points to necessary reflections on society and its contradictions.

This demonstrates that Barker's work can be considered of great importance to horror literature in

recent decades. On the one hand, his work shows the permanence of elements of the genre, such as the use

of literary techniques to construct a sense of fear and horror. On the other hand, it shows the potential for

renewal of the genre, as an expression of the dynamics of society and the political, cultural, and social changes

that have been taking place in recent centuries.

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