As we consider the relationship of myth-making, at all levels of ‘artistic quality’, it is tempting to place the ‘creative’ moment of invention on a level with God’s action in the creation of the world. Even when the artist humbly attributes her ideas to the world, to her relationships, to her keen artist’s eye, there remains a sense that the novel remainder is somehow conjured by the artist’s genius itself. Indeed, the derivation of genius as the individual’s attendant deity retains some of the originary power suggested by the imposition of the verb creare onto the artist’s work. Before we can properly consider why such an application has been contentious, both theologically and in the attempt to understand what we mean by the poiesis of mythopoiesis, we must consider what Christian theologians classically have meant by ‘creation’ at all.

It would be impossible to do justice to recent theological conversation about creation and creativity without giving serious attention to the offerings of process theology. Characterised by a privileging of creativity within both the world and the godhead, and offering an attractive connection between human and divine creativity, process theology provides what seems to be a promising avenue for the theological work required. Catherine Keller’s Face of the Deep represents the most compelling and influential recent articulation of a process theology of creation and creativity. Its careful, daring, and imaginative engagement with scripture, and the literary and philosophical traditions presents the best of the process theological tradition. By a close examination of Keller’s Face of the Deep, however, I demonstrate how, despite its manifest attractions to a theology of mythopoiesis, Keller’s process theology is unable to account for the novum of human making while preserving the witness of the creedal tradition of Christian faith or falling into a dangerous nihilism.