So Eden Sank to Grief<\/em><\/a>, and I\u2019m delighted that he\u2019s agreed to do an interview for my blog. My questions are in italics and Eric\u2019s answers follow indented below.<\/p>\n\u00a0<\/p>\n
What is your novel, <\/em>So Eden Sank to Grief, about?<\/em><\/p>\nSo Eden Sank to Grief <\/em>centers on Caleb and Sally, two high school seniors with histories of trauma, who find themselves alone together in a strange kind of paradise: a vast greenhouse floating in a star-rich corner of the galaxy. They have no memory of how they got there, but they start having visions of Earth\u2019s destruction. They eventually get the sense that these visions are the efforts of the ship\u2019s creators to communicate with them.<\/p>\nUnfortunately, they don\u2019t have a lot of time to try to puzzle out what\u2019s going on and what the aliens are trying to say, not only because they\u2019re caught up in new love but because other refugees from Earth start waking up in far-flung corners of this habitat\u2026and not all of them are exactly benign<\/em>. Soon they\u2019re running for their lives\u2014and headlong towards a face-to-face confrontation with their own histories of trauma. If they\u2019re going to wrestle with the mysteries about this celestial greenhouse and its alien creators, they\u2019ll have to do it on the run.<\/p><\/blockquote>\n\u00a0<\/p>\n
You\u2019re a philosopher of religion and ethicist. How does that impact the novel? Any philosophical themes you explore? More broadly, how does your work as a philosopher inform your fiction?<\/em><\/p>\n![\"\"](\"https:\/\/wp-media.patheos.com\/blogs\/sites\/719\/2024\/02\/Reitan-So-Eden-Sank-to-Grief-scaled.jpg\")
So just yesterday I was reading one of the first Amazon reviews of the book to appear\u2014written by a philosophy instructor\u2014and was stunned by the number and variety of philosophical themes that he identified.<\/p>\n
If I\u2019d been answering this questions a couple of days ago, I\u2019d have said that the book explores themes of belief-formation amidst uncertainty, patriarchy and its relationship to rape culture, and the promise and perils of nonviolent responses to violence. I probably would not have thought to mention all the things the reviewer does, even though all those things are definitely there.<\/p>\n
But none of them are the meat of the story. If you\u2019ll pardon the bad simile, they\u2019re more like what the meat has been marinating in: the spicy, sherry-spiked broth that\u2019s seeped in to give the meat a distinctive flavor.<\/p>\n
And that relates to the other part of the question: How does my work as a philosopher inform my fiction? Here, I think it may be best to say how it doesn\u2019t<\/em>. Philosophy is all about developing and refining arguments in the light of objections so as to decide which answers to abstract questions have the best <\/em>arguments in their favor. If that <\/em>kind of thing starts creeping too much into your fiction, the best you can hope for is that it will be boring. Worse, it\u2019ll be preachy<\/em>.<\/p>\nFiction, like philosophy, often deals with big questions about the human condition. But it does so in a different way than philosophy. What fiction does really well is invite <\/em>us to wrestle with big questions by confronting us with story situations that give rise to those questions. It can also dramatize dimensions of the human experience that shed light on those questions. It can move us to care about the questions because of how they impact the characters\u2019 lives.<\/p>\nBut in good stories, what needs to take center stage is this: believable characters with problems who try to solve their problems. Along the way, they might confront philosophical questions and talk about them with others (hopefully not in the way most philosophers do). But as soon as answering<\/em> big questions becomes the point, the story is dead. (I\u2019m looking at you, Ayn Rand.)<\/p>\nSo, how does philosophy shape my fiction? First, I probably think more explicitly than others do about the philosophical outlook my characters have. And I put characters\u2014sometimes consciously, often not\u2014into situations that raise philosophical questions or shed light on them.<\/p>\n
But I have only once had a character in a story who was an academic philosopher: one of my first short story publications, \u201cA Socratic Pacifist in King Arthur\u2019s Court.\u201d And that was satire.<\/em><\/p><\/blockquote>\n\u00a0<\/p>\n
It has become so common for authors to offer sci-fi retellings and explorations of biblical stories that they came up with a genre label for it: \u201cshaggy god stories.\u201d Perhaps none is more popular than Adam, Eve, and the Garden of Eden. Knowing this, what led you to decide to lean into that trope and embrace it, and yet at the same time to think you could offer (as you do) something genuinely new within that genre?<\/em><\/p>\nI didn\u2019t start out intending to write a Garden of Eden story. So Eden Sank to Grief<\/em> actually started out as a parable on my philosophy of religion blog about a group of people who wake up on a spaceship with no memory of how they got there. Some have visions of the Earth destroyed. Others don\u2019t. Those with visions disagree about their meaning. My aim was to raise questions about what\u2019s reasonable to believe in the face of uncertainty and ambiguity\u2014with a special focus on whether it can be reasonable for someone confronted with mystical experiences to treat them as an encounter with something real as opposed to just neural misfirings.<\/p>\nBut when I revisited that parable later, I thought, \u201cThis has Lost <\/em>vibes. There\u2019s a novel in here.\u201d My first pass at the opening had the main character, Caleb, wake up in a Star-Trekky spaceship.<\/p>\nI hated it. I tried again. He woke up with his face in the dirt. Dirt? On a spaceship? It became a greenhouse. A vast, lush landscape-under-glass for him to explore.<\/p>\n
Being a \u201cpantser\u201d rather than a \u201cplotter\u201d (that is, I write my first drafts by the seat of my pants), I watched my main character as he took in this environment. I wondered where this was going.<\/p>\n
Then he met Sally. Even then, I didn\u2019t know I had a Garden of Eden story. As I wrote, Caleb and Sally took me on a journey that was about their trauma and grief\u2014things you don\u2019t typically find in the Garden of Eden. And when they encountered other people, it became about the steadily building conflict and the horrible possibility that a handful of humans could be rescued from the destruction of Earth only to destroy one other.<\/p>\n
It wasn\u2019t until I\u2019d finished a first pass that I realized I had a Garden of Eden story. But by then I\u2019d crashed unexpectedly into the Garden of Eden from the back, with a story-load of things I\u2019d never have thought to put in a Garden of Eden retelling if that\u2019s what I\u2019d set out to do. Now that I was here, smack in the middle of such a story, I had to figure out how to make the pieces fit.<\/p>\n
So, if there\u2019s something fresh or new, I think I have that to thank.<\/p><\/blockquote>\n
\u00a0<\/p>\n
What are some of your influences and favorite authors?<\/em><\/p>\nAs a kid, the first books I ever fell in love with\u2014I mean head-over-heels in love\u2014were Tolkien\u2019s Lord of the Rings books. After that I gobbled up LeGuin\u2019s Earthsea trilogy, McKillip\u2019s Riddle-Master trilogy, Burroughs\u2019 Martian Chronicles, Azimov\u2019s Foundation books, Frank Herbert\u2019s Dune books. As long as it was set on an imaginary world, I was game.<\/p>\n
In high school I read Gene Wolfe\u2019s Book of the New Sun<\/em> and LeGuin\u2019s Dispossessed <\/em>and The Left Hand of Darkness<\/em>\u2014and for the first time I found myself wishing I <\/em>had written that<\/em>.<\/p>\nIn recent years, I\u2019ve loved literary science fiction novels, such as those of Justin Cronin and Emily St. John Mandel. I\u2019ve also found myself increasingly drawn to horror novels like Tremblay\u2019s A Head Full of Ghosts<\/em>, Stephen Graham Jones\u2019 My Heart is a Chainsaw<\/em>, and Grady Hendrix\u2019s How to Sell a Haunted House<\/em>, fiction that displays how well the tools of horror can shed light on issues of trauma.<\/p><\/blockquote>\n\u00a0<\/p>\n
As an academic, do you tend to particularly enjoy sci-fi that engages with your area of expertise, or does most of it do so so poorly that you avoid it unless it comes highly recommended?<\/em><\/p>\nWhat I love are authors who, steeped in ideas that excite them, tell stories that can\u2019t help but reflect those ideas\u2014but who are clearly aiming to tell a good story and tell it well. I shy away from works where it looks as if the author has set out to make a profound philosophical point.<\/p>\n
Maybe part of the reason is that, too often, those who try to do the latter have failed to take into account the range of objections\u2014not to mention powerful arguments for alternative perspectives\u2014that, as a philosopher, I have studied. But I think the main reason is this: In fiction, I think the story must come first. If an author tells a great story and, in the course of doing so, bungles the effort to make a deep philosophical point, I\u2019ll forgive them. But if the effort to make a philosophical point drowns out the story, I won\u2019t.<\/p>\n
In writing So Eden Sank to Grief<\/em>, my first hope was to tell a good story about characters the readers would care about. I hope I pulled that off. The rest is gravy.<\/p><\/blockquote>\n\u00a0<\/p>\n
As I said, I\u2019m grateful to Eric for writing this novel and agreeing to answer questions about it. I found it an enjoyable, engaging, and thought-provoking read without knowing all this backstory to it, and I appreciate it even more in light of what Eric shared. When you read it, please come back and let me (and Eric) know what you thought of it. Ask your local public library to get it, just as I hope you do with my books. \ud83d\ude09<\/p>\n
For more, check out Eric\u2019s blog which includes endorsements of the novel by long-dead famous philosophers<\/a>, an excerpt<\/a>, and a reflection on philosophy, fiction, and the human condition<\/a>. Here\u2019s one of those aforementioned endorsements:<\/p>\n![\"\"](\"https:\/\/wp-media.patheos.com\/blogs\/sites\/719\/2024\/02\/Reitan-Plato-scaled.jpg\")
<\/p>\n
\u00a0<\/p>\n<\/body><\/html>\n","protected":false},"excerpt":{"rendered":"
You probably know Eric Reitan for his excellent and insightful nonfiction books. In addition to a number of theological and philosophical interests that he and I share in common, we also both enjoy reading and writing science fiction. Eric has a new novel out,\u00a0So Eden Sank to Grief, and I\u2019m delighted that he\u2019s agreed to […]<\/p>\n","protected":false},"author":136,"featured_media":97145,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9,86],"tags":[3120,5322,8235],"class_list":["post-97142","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-book-review","category-science-fiction","tag-eric-reitan","tag-interview","tag-novel"],"yoast_head":"\n
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