Creation is just occurring.
And justice is its poet.
Creation is a poem.
(Ernesto Cardinal, Cosmic Canticle)
Why is “making” considered a sacred activity for gods and mortals alike? Making something out of nothing. Making something in the image of something else. Creators making creatures while creatures in turn make their creators. Making out, making up, making and remaking worlds in one’s image and likeness. In shapes and songs, paintings and poems, dreams and crafts. From the beginning to the end of time. One great game of holy imagination played with hands, mouths, ears and eyes. With bodies and souls. Art as divine-human interplay, again and again.
Theopoetics names how the divine (theos) manifests itself as making (poiesis). The term dates back to the early centuries, meaning both the making human of the divine and the making divine of humanity. As the poet scholar, Ephrem of Syria, wrote: “He gave us divinity, we gave Him humanity.” Or as Athanasius said in the fourth century: “God became human so that the human could become divine.” Catherine Keller puts it succinctly: “The term theopoetics finds its ancestor in the ancient Greek theopoiesis. As poeisis means making or creation, so theopoiesis gets rendered as God-making or becoming divine.”1
Theopoetics carries an attendant claim that first creation calls for second creation— re-creation or creation again (ana): a double act where humanity and divinity collaborate in the coming of the Kingdom. This play of recreation goes by the name of “ana-theism.”
(—from GOD MAKING: AN ESSAY IN THEOPOETIC IMAGINATION, For Bill Richardson SJ, in Memoriam, by Richard Kearney, 2017)
When we complain about God we are complaining about ourselves.
When we pray, (if prayer retains any elasticity for us), we are construction workers laying foundation for spiritual, corporeal, rational and imaginative living quarters to be habituated by us, our progeny, and all our relations.
God is coming to be in our becoming what God is coming to be.