For devoted readers of Peter Kreeft, a long-anticipated announcement has arrived. The esteemed author, celebrated for his profound works on philosophy and theology, is venturing into new literary waters with the forthcoming publication of his novel, “An Ocean Full of Angels.” This project, unlike any of his previous endeavors, represents a deeply personal and transformative journey spanning two decades. Set to be released in late 2010 by St. Augustine’s Press, this book promises to be a unique exploration of themes close to Kreeft’s heart. Like all of Peter Kreeft’s books, “An Ocean Full of Angels” will be available for order directly from the publisher and through online retailers such as Amazon.
With nearly sixty books already under his belt, Peter Kreeft emphasizes the distinct nature of “An Ocean Full of Angels.” He describes it as a departure from his established philosophical writing, highlighting the extraordinary time investment of twenty years in its creation. This extended gestation period is attributed to the deeply personal and all-encompassing nature of the work. Kreeft refers to it as his “magnum opus,” suggesting a culmination of his thoughts, experiences, and perspectives. He candidly admits the uncertainty of its reception, playfully suggesting it could be either his best or worst work, but unequivocally the most revealing of himself.
The novel’s protracted development is further explained by Kreeft’s unique writing process. Unlike his other books, which he characterizes as deliberate “artifacts,” “An Ocean Full of Angels” evolved organically, akin to a “plant.” He felt a lack of control over its direction, adopting a patient approach, allowing the narrative to unfold naturally. This unconventional method suggests a source of inspiration that felt both internal and external, guiding him in unexpected ways. The story, in his words, took on a life of its own, developing with an almost untamed quality.
Initially, the novel was conceived as a much longer, more overtly philosophical work. In its early stages, the plot and characters served primarily as vehicles for philosophical discourse. However, Kreeft recognized this imbalance, realizing that in effective fiction, philosophy must serve the story, not the other way around. This realization led to a significant revision, with Kreeft removing substantial portions of dialogue-heavy philosophical content to allow the narrative and characters to take center stage. Despite these edits, the novel retains a philosophical depth, drawing comparison to literary works like “The Brothers Karamazov,” which Kreeft cites as a model. It is, therefore, presented as a philosophical story, rather than philosophy masquerading as fiction.
This process of refinement resulted in a fascinating literary byproduct. Kreeft “cannibalized” the excised philosophical passages, repurposing them into the material for no less than five separate philosophical books. These books, born from the narrative’s excess, explore philosophical themes that were initially interwoven within the novel’s fabric. While Kreeft expresses enthusiasm for these spin-off philosophical works, he distinguishes their nature from “An Ocean Full of Angels,” suggesting a different kind of engagement for the reader.
To capture the essence of “An Ocean Full of Angels,” Kreeft employs a striking metaphor: “It’s an ocean!” He elaborates on this, describing the novel, with a touch of playful exaggeration, as “an angel’s eye view of the connections between” a vast and eclectic array of subjects. This list, intended to be illustrative rather than exhaustive, includes figures and concepts ranging from “Jesus Christ” and “Muhammad” to “dead Vikings,” “sassy Black feminists,” and “Dutch Calvinist seminarians.” The breadth of topics extends to “large Jewish mother substitutes,” “armless nature mystics,” “Caribbean rubber dancers,” “Russian prophets,” and even encompasses historical and cultural phenomena like “Montezuma and Cortez,” “Romeo and Juliet,” and “the Wandering Jew.”
The novel’s scope further expands to include “the Sea Serpent,” “Kateri Tekawitha the Lily of the Mohawks,” “Our Lady of Guadalupe,” “the demon Hurricano,” “Islam in the art of body surfing,” “the Palestinian Intifadah,” “the fatal beauty of the sea,” and “the incarnation of Jungian archetypes.” Contemporary issues and events also find their place, such as “the dooms of the Boston Red Sox,” “the Great Blizzard of ’78,” “the sexual revolution,” “the abortion wars,” “the wisdom of the ‘handicapped,’” “the ecumenical jihad,” “the psychology of suicide,” “the identity crisis of Catholic education,” and even “the end of the world.” This extensive and seemingly disparate collection underscores the novel’s central theme: the interconnectedness of all things.
Kreeft explicitly states that “Ocean is about the connections among these things.” He posits the novel as his personal “Theory of Everything,” suggesting it seeks to explore and reveal the underlying links between these diverse elements of human experience and belief. He contrasts the approach of philosophy, science, and theology, which “state, define, and argue” for connections, with the power of story. Story, he argues, “presents them, shows them,” making it a more compelling and persuasive medium. He illustrates this point by contrasting the limited conversions to Christianity through theological arguments with the transformative impact of the Gospel stories. Drawing on Dostoyevsky again, he notes that while philosophical arguments failed to convince him of universal responsibility, “The Brothers Karamazov” succeeded through its narrative portrayal.
Acknowledging the novel’s unconventional nature, Peter Kreeft anticipates a polarized reception. He expects some readers to find it “ridiculous,” while others may perceive it as “beautiful,” using the whimsical analogy of a “wooly mammoth” to convey its unexpected and perhaps unwieldy character. He readily admits that “An Ocean Full of Angels” defies categorization and may strike readers as “immense, sprawling, detailed, messy, superfluous, grotesque, uncategorizeable, and unbelievable.” However, he defends these very qualities as reflections of the real world itself.
Kreeft describes his twenty-year creative process as a “mental pregnancy” filled with surprises and unpredictability, culminating in a “mental baby” that defied expectations. He hints at “literally miraculous and impossible coincidences” in his own life that mirrored the experiences of his main character, ‘Isa. These real-life events, intertwined with the fictional narrative, were so compelling that they could form the basis of a separate book – “stories behind my story.”
In a final reflection, Kreeft maintains a humble perspective on the novel’s ultimate quality. He acknowledges the possibility that it might be “a bad book,” but confidently asserts that it transcends conventional novelistic boundaries. He suggests “fictional autobiography” as a potential, albeit imperfect, genre descriptor. The original title idea, “The ‘Isa Ben Adam Papers,” further emphasizes this personal and character-driven focus. The novel is presented as being “written (supposedly) by one of the most interesting persons I have ever met, though I have met him only in my imagination.” This character, ‘Isa Ben Adam, is described as a composite figure, “half of myself” – sharing Kreeft’s philosophical inclinations and, surprisingly, a passion for surfing – yet also distinct, possessing traits Kreeft ascribes to him: “young, courageous, arrogant, and a Muslim.” This intriguing character and the journey he undertakes promise a reading experience that is as unique and multifaceted as Peter Kreeft himself.
Natural and Supernatural Intelligence—UNCORKgenius
