As of 2010, discussion around the term theopoetics comes primarily through two channels, one from newer origins via the theologically and philosophically driven contemporary work of Catherine Keller, Roland Faber, and (loosely) John Caputo, and the other, stemming from the work beginning in the late 1960’s with Stanley Hopper, David Miller, and particularly Amos Wilder, with his book, Theopoetic: Theology and the Religious Imagination.
Keller acknowledges that it is a funny coincidence of fate that she began using the term in the early 2000’s while teaching at Drew, thinking she coined the term for her own work with embodiment, polydoxy, and process theology. It was only later that she discovered that it had been already been employed by Hopper some 30 years prior, also at Drew. While it is happenstance that this is the case, their uses of the term share some (unsurprisingly) significant things in common. For more on the ways in which their perspectives overlap see the essay “Theopoetics: Process and Perspective.”
This site primarily focuses on Hopper’s stream, one more heavily influenced by Biblical hermeneutics and literary theory than by Process-Thought. However, as significant work with theopoetics is being produced by those from the Process-Thought stream, it is included as well.
My own sense of theopoetics is evident in the banner of this page, which contains two images that have been central to my own explanations. To learn more about a Surplus of Meaning and the Willingness to Squint, check out this page.
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