486 SCIENCE FICTION STUDIES, VOLUME 47 (2020) no one with a serious interest in one of the most accomplished of all sf writers will want to miss this volume.—Carl Freedman, Louisiana State University War of the Worldviews. Richard Grigg. Science Fiction and the Imitation of the Sacred. London, UK: Bloomsbury Academic, 2018. viii+151 pp.£90.00/$120.00 hc, £28.99/$39.95 pbk., £31.30/$35.95 ebk. Grigg’s approach to past scholarship on science fiction, theology, and religious studies is to appeal to the handful of thinkers he finds useful and ignore the rest. This style of scholarship gives him the freedom to advance his argument without critical resistance and with great creativity and efficiency; however, it simultaneously limits its use for other scholars. SFS readers may find its lack of engagement with sf scholarship frustrating, but a subset of scholars who teach courses on “religion and science fiction” could find Grigg’s work interesting and pedagogically useful. The primary value of this work lies in the classroom discussions it might enable, and it is written with the classroom in mind. Unlike the trajectories that contemporary sf studies have taken (looking at global sf, queer sf, Afrofuturism, and so on), Grigg’s text assumes a normative liberal, Western perspective. Christianity is the prototypical traditional “world religion,” with light engagement with an idealized Buddhism, and the primary questions are those of a (post-Christian) theology actively engaged with the contemporary world. To be used responsibly as a foundational text for a class on “religion and science fiction,” one should encourage students to read this text critically, actively engaging with how categories such as the “sacred,” “secular,” and “world religions” have been constructed. Such a class would also do well to interrogate Grigg’s definition of “science fiction” in terms of technology (for an example of Grigg’s running up against his own definition, see 77-78). One of the still-prominent approaches to the study of “religion” regards a certain kind of experience as distinctively characteristic of the phenomenon: a sui generis sense of the “sacred,” “numinous,” “transcendent,” “divine,” “incalculable,” “sublime,” “Other,” “eternal,” and so on. This experience is regarded by relevant members of the phenomenological, perennialist, or experiential school as temporally and geographically panhuman and innate, immediately given to consciousness as opposed to socially constructed and contingent, and lying at the heart of all the “world religions.” This is not the place to go into the details of the critical literature on this subject, but its existence is relevant because of Grigg’s extensive dependence on the category of the “sacred.” Experiences are generated in an interplay of bottom-up and topdown cognitive processes; with the neurotheological authors whom Grigg cites, one can acknowledge a substratum of relatively consistent bottom-up input accessible to at least most humans, while also noting that every experience will be constituted in culturally contingent ways using distinctive attributional systems. Science Fiction and the Imitation of the Sacred assumes a robust metanarrative of secularization that prioritizes ideas of loss and nostalgia, and 487 BOOKS IN REVIEW that assume secularization’s success and God’s nonexistence; in this context and given Grigg’s use of the concept of “imitation,” it would have been nice to see him engage with the literature on the relationship of concepts such as simulation, hyperreality, spectacle, and virtuality to conditions of secularity and postmodernity. That said, Grigg’s critical attitude toward the notion that the imaginative art of science fiction gives access to the sacred or transcendent, as reflected in his insistence on its being an “imitation,” is a refreshing, if only partial, turn away from the virtually universal romanticism under the influence of which most other studies of “religion and science fiction” are developed. Grigg uses the concept of “imitation” to indicate the non-reality of the “sacred” supplied by science fiction; it is not “genuine” (3). His text assumes that past humans experienced a sacred or divine that was given to them without mediation, a sacred that possessed all the attributes described in their sacred texts. He does not seem to think of ancient peoples as engaging with their own experiences and narratives in...