If we are to believe sensationalist media coverage, Satanism is, at its most benign, the purview of people who dress in black, adorn themselves with skull and pentagram paraphernalia, and listen to heavy metal. At its most sinister, its adherents are worshippers of evil incarnate and engage in violent and perverse secret rituals, the details of which mainstream society imagines with a fascination verging on the obscene. Children of Lucifer debunks these facile characterizations by exploring the historical origins of modern Satanism. Ruben van Luijk traces the movement's development from a concept invented by a Christian church eager to demonize its internal and external competitors to a positive (anti-)religious identity embraced by various groups in the modern West.

Van Luijk offers a comprehensive intellectual history of this long and unpredictable trajectory. This story involves Romantic poets, radical anarchists, eccentric esotericists, Decadent writers, and schismatic exorcists, among others, and culminates in the establishment of the Church of Satan by carnival entertainer Anton Szandor LaVey. Yet it is more than a collection of colorful characters and unlikely historical episodes. The emergence of new attitudes toward Satan proves to be intimately linked to the ideological struggle for emancipation that transformed the West and is epitomized by the American and French Revolutions. It is also closely connected to secularization, another exceptional historical process which saw Western culture spontaneously renounce its traditional gods and enter into a self-imposed state of religious indecision. Children of Lucifer make the case that the emergence of Satanism presents a shadow history of the evolution of modern civilization as we know it. Offering the most comprehensive account of this history yet written, van Luijk proves that, in the case of Satanism, the facts are much more interesting than the fiction. 

Recent years have seen a significant shift in the study of new religious movements. In Satanism studies, interest has moved to anthropological and historical work on groups and inviduals. Self-declared Satanism, especially as a religion with cultural production and consumption, history, and organization, has largely been neglected by academia. This volume, focused on modern Satanism as a practiced religion of life-style, attempts to reverse that trend with 12 cutting-edge essays from the emerging field of Satanism studies. Topics covered range from early literary Satanists like Blake and Shelley, to the Californian Church of Satan of the 1960s, to the radical developments that have taken place in the Satanic milieu in recent decades. The contributors analyze such phenomena as conversion to Satanism, connections between Satanism and political violence, 19th-century decadent Satanism, transgression, conspiracy theory, and the construction of Satanic scripture. A wide array of methods are employed to shed light on the Devil's disciples: statistical surveys, anthropological field studies, philological examination of The Satanic Bible, contextual analysis of literary texts, careful scrutiny of obscure historical records, and close readings of key Satanic writings. The book will be an invaluable resource for everyone interested in Satanism as a philosophical or religious position of alterity rather than as an imagined other. 

It’s only natural that rock and roll — 'the devil’s music' — and Satanism should be intimately linked. Lucifer Rising explores this unique cultural confluence. Divided into three parts, the book first traces the history of Satanism, from the birth of the Black Mass through the fashionable sinners of the Hellfire Club. The second section examines Satanism in the 20th century, including Aleister Crowley, the formation of the Church of Satan, the Manson Family, and the rise of occult-influenced bands like Black Sabbath and Led Zeppelin.

The book’s third part looks at the new waves of Thrash Metal, Death Metal, and the Scandinavian Black Metal scene; the murder case surrounding the band Burzum; the neo-Nazi element; and the religious right’s courtroom pursuit of heavy metal. Lavishly illustrated throughout with graphics, medieval woodcarvings, and stunning photographs, the book also contains entertainingly cynical comment from Anton LaVey, in one of his last in-depth interviews. 

In 1966, Anton LaVey introduced to the world the Church of Satan, an atheistic religion devoted to the philosophy of individualism and pitilessness often associated with Satan. Modern Satanism offers a comprehensive survey and analysis of the church that LaVey built. Satanism has been an open religion for forty years now and operates successfully in its self-created countercultural niche. Given the provocative nature of its name, contemporary Satanism is only superficially understood as an alternative religion/ideology, and all-too-frequently seen as a medieval superstition and associated with rumors of obscure rituals, perverse hedonism, cult-like behavior, and tales of ritual abuse and murder. These may be misconceptions, but the truth behind the unenviable reputation is no less dramatic. Satanism generally eschews supernatural beliefs and embodies a staunchly individualistic, pitiless, anti-egalitarian creed. If there is anything fundamentally diabolical about modern Satanism, it stems more from the echoes of Nazism in its theories than from its horror-comic trappings.

Modern Satanism covers the history, ideology, personalities, and practices of the decentralized international movement that contemporary Satanism has become. The work addresses the various beliefs and practices espoused by those who follow it: the ideal of Satan as a rebellious emblem; Satanism's occult, literary, and philosophical influences; the history of the Church of Satan and other Satanic organizations; the ideology of Satanism; Satanism's frequent flirtations and strong parallels with neo-Nazism and other forms of extremism; Satanism in the media and popular culture; and the reasons for Satanism's continuing attractiveness to new converts. Though the tone of the work attempts to remain neutral when discussing historical matters, it is by necessity critical of the subculture's extremist rhetoric and recurring associations with the far right and racialist extremism.

Satanism is a complex phenomenon that has often been the source of controversy across social and rhetorical contexts. Some consider it the root of all evil. Others see it as a childish form of rebellion or as a misapplication of serious esoteric beliefs and practices. Still others consider it a specific religion or philosophy that serves as a form of personal and collective identity. In The Invention of Satanism, three experts explore Satanism as a contemporary movement that is in continuous dialogue with popular culture, and which provides a breeding ground for other new religious movements.

By shifting the focus from mythology to meaning-making, this book examines the invention of Satanism among self-declared religious Satanists. Like all ideologists and believers, Satanists incorporate, borrow, and modify elements from other traditions; the authors investigate how traditional folklore and prior strands of occultism were synthesized by Anton LaVey in his founding of the Church of Satan and creation of the Satanic Bible. Later chapters discuss contemporary Satanist subcultures, demonstrating how Satanism continues to reinvent itself despite its brief history as an organized phenomenon. There are now numerous forms of Satanism with distinctive interpretations of what being a Satanist entails, with some of these new versions deviating more from the historical "mainstream" than others. In this fascinating account of a seemingly arcane and often-feared movement, Dyrendal, Lewis, and Petersen demonstrate that the invention of Satanism is an ongoing, ever-evolving process.

Criticism has largely emphasised the private meaning of 'Romantic Satanism', treating it as the celebration of subjectivity through allusions to Paradise Lost that voice Satan's solitary defiance. The first full-length treatment of its subject, Romantic Satanism explores this literary phenomenon as a socially produced myth exhibiting the response of writers to their milieu. Through contextualized readings of the major works of Blake, Shelley, and Byron, this book demonstrates that Satanism enabled Romantic writers to interpret their tempestuous age: it provided them a mythic medium for articulating the hopes and fears their age aroused, for prophesying and inducing change.

“The doctrine of the sacredness of the soul sounds vaguely uplifting, but in fact it is highly malignant. It discounts life on earth as just a temporary phase that people pass through, indeed, and infinitesimal fraction of their existence. Death becomes a mere rite of passage, like puberty or a midlife crisis.”

“Witch hunts are always vulnerable to common sense.”

Dr. Pinker’s sweeping survey of the human condition demonstrates beyond reasonable doubt the phenomenon of declining violence in the civilized world. From the contemporary vantage point we are now better able to consider what works, and what does not, in relation to effective sociopolitical models conducive to optimal liberty and happiness among populations. While not a book about Satanism specifically, this book is nonetheless indispensable to understanding the intellectual roots of the Satanic Reformation exemplified by The Satanic Temple, as it outlines the scientific refutations of crass calls to and Police State policies and counter-productive misinterpretations of Darwinism that have plagued Satanic circles through decades of inaction and unfocused ineptitude.

The artistic and political movement known as Romantic Satanism challenged the traditional Christian concept of Satan as the source of all evil, recasting the Devil as a heroic rebel in a struggle against oppression and injustice. Works in the genre of Romantic Satanism were penned by some of the greatest authors of the 19th century, including Percy Bysshe Shelley, Lord Byron, George Sand, and Victor Hugo. However, the only literature available on Romantic Satanism, written by and for academics, is not very accessible to a general audience.

In Introduction to Romantic Satanism, Satanic historian Michael Osiris Snuffin presents a clear and concise overview of this fascinating subject, describing the historical events that changed people’s attitudes about Satan and exploring the literary origins of the genre in Milton’s Paradise Lost. Using five themes of Romantic Satanism, Snuffin examines sixteen Satanic works written by influential English and French authors, from William Blake’s Marriage of Heaven and Hell to Anatole France’s Revolt of the Angels. These authors created a new concept of Satan for the modern world, portraying him as a noble revolutionary fighting against religious tyranny. Introduction to Romantic Satanism reveals this modern Satan, a figure more relevant to 21st century Satanic activism than the archaic Devil of Christian mythology.

Discover the fascinating history and culture of Satanism through the ages and learn why many Satanists today stand up for free inquiry and personal liberty.  Satanism is too often misunderstood as a religion that makes blood sacrifices to an evil, horned Prince of Darkness. In reality, modern Satanists are nonviolent and nontheistic, and consider the Devil to be a meaningful metaphor for the pursuit of knowledge, reason, and justice.

The Little Book of Satanism details the “mark of the beast” in cultural and historic movements over the centuries, which have informed the sincerely held beliefs and practices of Satanists today. Written by award-winning alternative culture journalist and blogger La Carmina, this comprehensive guide includes:

• A foreword from Lucien Greaves, activist, spokesperson, and cofounder of The Satanic Temple.

• Information on Satan’s biblical origins, and his various names, appearances, and symbols.

• Details on his age-old role as a scapegoat, from medieval witch trials to the 1980s Satanic Panic.

• An overview of modern philosophy and practices, focusing on The Church of Satan, The Satanic Bible, and The Satanic Temple.

• Examples of the Devil’s influence on art, literature, music, and films—from Paradise Lost to Rosemary's baby.