In the following essay, Hoppenstand offers an overview of the major thematic concerns of Barker's short fiction.

In the following excerpt, Badley applies contemporary cultural theory, including feminist theory, to an analysis of representations of women in Barker's fiction.

In the following excerpt, Joshi contends there are conceptual flaws in Barker's short stories and novels.

In the following essay, Tuttle examines the connection between horror and fantasy in Barker's work, relating a conversation she had with the author just prior to the publication of Cabal.

In the following excerpt, Wells presents highlights from his conversations with Barker in which the author summarizes his literary preoccupations.

In the following essay, Epel presents Barker's thoughts on dreams and their importance to the artistic process.

In the following essay, Barker outlines the three plays—Colossus, Frankenstein in Love, and The History of the Devil—which comprise Incarnations.

In the following essay, McDonagh discusses Barker's foray into filmmaking, drawing parallels between Barker's career and that of cyberpunk writer William Gibson.

In the following essay, Burns explores the power of women and the dynamic between the sexes in Barker's stories “Rawhead Rex” and “The Madonna.”

In the following essay, Burns examines images of powerful females in Barker's short fiction, particularly the stories “Raw Head Rex” and “The Madonna.”

In the following interview, Barker discusses The Book of Hours (which was published as Abarat), his prior work, and his private life.

In the following review of the first three Books of Blood and The Inhuman Condition, Winter asserts that Barker is the most important horror fiction writer of the 1980s.

In the following review, Gates praises The Essential Clive Barker and details the history of Barker's novels and short fiction.

In the following essay, Barker recalls the feelings of purity with which he created two short films—Salomé and The Forbidden—early in his career.

In the following review, Coven praises the stories of In the Flesh as grotesque, graphic, and disturbing.

In the following review, Harley characterizes Incarnations as “hasty sketches … for completists only.”

In the following review, Morrison asserts that the stories in The Inhuman Condition are adventurous but pale in comparison to the first Books of Blood trilogy.

In the following review, Gleick observes that the stories included in In the Flesh are ingenious and intelligent, and effectively play upon unconscious human terrors.

In the following review, Tucker praises the stories in The Inhuman Condition, which he contends effectively “create an atmosphere of dread and foreboding.”

In the following review, D'Ammassa asserts that the title story of In the Flesh is the best of those included in this volume.

In the following review, D'Ammassa offers a brief description of some of the stories in The Inhuman Condition.