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In Paradise tells the story of a group of men and women who come together for a weeklong meditation retreat at the site of a World War II concentration camp, and the grief, rage and upsetting revelations that surface during their time together. Even as it probes the suffering, conflicts, and longings of these diverse characters, In Paradise raises provocative and unanswerable metaphysical questions: what responsibility comes with bearing witness to such cruelty and tragedy; and what insights into the nature of good and evil may be lost in the next decade or two, as the last survivors of – and witnesses to – the death camps pass away. Having participated in three Zen retreats at Auschwitz beginning in the 1990s, Matthiessen had long wished to comment on the ongoing fallout of last century's global catastrophe, but ‘as a non-Jewish American journalist, I felt unqualified to do so, I felt I had no right. But approaching it as fiction – as a novelist, an artist – I eventually decided that I did. Only fiction would allow me to probe from a variety of viewpoints the great strangeness of what I had felt.’
In Paradise tells the story of a group of men and women who come together for a weeklong meditation retreat at the site of a World War II concentration camp, and the grief, rage and upsetting revelations that surface during their time together. Even as it probes the suffering, conflicts, and longings of these diverse characters, In Paradise raises provocative and unanswerable metaphysical questions: what responsibility comes with bearing witness to such cruelty and tragedy; and what insights into the nature of good and evil may be lost in the next decade or two, as the last survivors of – and witnesses to – the death camps pass away. Having participated in three Zen retreats at Auschwitz beginning in the 1990s, Matthiessen had long wished to comment on the ongoing fallout of last century's global catastrophe, but ‘as a non-Jewish American journalist, I felt unqualified to do so, I felt I had no right. But approaching it as fiction – as a novelist, an artist – I eventually decided that I did. Only fiction would allow me to probe from a variety of viewpoints the great strangeness of what I had felt.’
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Peter Matthiessen is the author of more than thirty books and the only writer to win the National Book Award for both non-fiction (The Snow Leopard, in two categories, in 1979 and 1980) and fiction (Shadow Country, in 2008). A co-founder of The Paris Review and a world-renowned naturalist, explorer and activist, he died in April 2014.
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