This collection of essays examines how medieval Christians envisioned the character, contours and consequences of the life awaiting them after death. Comprising a brief introduction and fifteen chapters, it aims to provide ‘a more-or-less complete overview’ (p. 3) of the ways in which premodern Europeans imagined their post-mortem fates and the principal texts that expressed these imaginings. The volume offers a useful recapitulation of previous scholarship for Anglophone readers, but it also corrects for the scholarly focus on the twelfth century occasioned by Jacques Le Goff's thesis, La Naissance du purgatoire (1981), by including articles on late antiquity and the later Middle Ages. The seven essays in part i provide a chronological survey of textual sources reflective of medieval thinking about the afterlife, including articles on late paganism (Braund and Hilliard), Merovingian Europe (Hen), Carolingian Europe (Pollard), the Celtic-speaking world (Boyle), Anglo-Saxon England (Wieland), the twelfth and thirteenth centuries (Watkins) and the later Middle Ages (Adams). These contributions vary in quality and tone. The most successful of them, notably the essays by Boyle and Watkins, synthesise scholarly debates and recapitulate the contents of important sources with the book's intended audience of students in mind. Part ii comprises three essays on theological perspectives regarding the afterlife in late antiquity (Moreira), the early Middle Ages (Forbes) and the later Middle Ages (Kelly). These essays overlap considerably in their subject matter with those in part i, but they are wider in temporal scope and concentrate on pastoral literature and doctrinal treatises concerning the afterlife. Part iii comprises a single essay by Adam Stead on the depiction of heaven and hell in Romanesque and Gothic art. As this contribution makes clear, medieval artists were at pains to depict what ‘the eye hath not seen’ (1 Corinthians ii.9), which may account for their lack of interest in illustrating the accounts of popular otherworldly journeys like the Vision of Tnugdal or St Patrick's purgatory. Stead's thorough examination of the efflorescence of artistic representations of the fate of good and bad souls from the twelfth century onwards in monumental sculpture and manuscript illumination is a welcome addition to the textual studies in this volume, but it would have been better served by larger and better-quality images. The final section narrows the focus to consider individual authors, groups of authors and influential texts in the medieval tradition of post-mortem visionary literature. These include essays on Gregory the Great (Keskiaho), the Vision of Tnugdal (Gardiner), female mystics of the later Middle Ages from Hildegard of Bingen to Birgitta of Sweden (Stoudt) and Dante (Corbett). Keskiaho's contribution is particularly successful not only in examining the phenomenon of visions of the dead in Gregory's Dialogues, but also in tracing its reception history down to the ninth century to show how early medieval compilers and readers interacted dynamically and creatively with this authoritative text. Gardiner's comprehensive case study of the Vision of Tnugdal will hopefully draw more attention to this terrifying twelfth-century narrative, which is ‘the longest otherworld vision of the Christian West before Dante’ (p. 249). Taken together, the contents of this volume succeed in providing the reader with an overview of the textual and artistic sources for the ways in which medieval people imagined the fates awaiting them after death.