The Play of Goodness Creation, Phenomenology, and Culture

The Play of Goodness provides a phenomenology of creation’s goodness. It argues that what is “good” about creation is not synonymous with a confession of faith and does not require an overly optimistic disposition, but instead appears within diverse and often surprising circumstances. One of the enduring claims in the Christian tradition is that creation is good. Given the diversity of experience and the abundance of suffering in the world, however, such an affirmation is not always straightforward. The Play of Goodness provides a phenomenology of creation’s goodness that clarifies the ongoing relevance of the doctrine today. It argues that what is “good” about creation is not synonymous with a confession of faith and does not require an overly optimistic disposition, but instead appears within diverse and often surprising circumstances.Alongside original contributions to French phenomenology and creation theology, The Play of Goodness counterbalances a tendency in continental philosophy to focus on negative phenomena. By developing the philosophical concept of a prelinguistic experience of goodness, the book identifies a quality of goodness that is integral to the place in which we find ourselves. It also articulates shared points of contact among people in an increasingly polarized world, while demonstrating that distinctly theological concepts do not need to be presented in opposition to secular, agnostic, or atheist perspectives in order to be relevant. Benjamins develops an account of creation’s goodness that has the potential to animate an abiding affection for one’s place, accentuate our reasons to care for it, and confirm that what happens in our lives is of genuine significance.