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One of the illustrations found in this book.


In a desperate attempt to lower the temperature of Earth’s atmosphere, humanity has built cooling mega-siphons. These colossal structures now hold the last remnants of our civilization. High above the scorching plains of Antarctica, in one of these vertical habitats, Security Captain Elevii A. Tarkka is tasked with a seemingly unremarkable investigation.

What We Owe the Dead is a detective novel set in a dystopian surveillance society. It is 's second work of philosophical fiction. This new novel explores the themes of personhood, the cultural significance of games, and our duties to the dead.


Another of the illustrations found in this book.

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Some additional thoughts: according to Mark Fisher, there are several ways in which the conceptual dichotomy between theory and narrative can be (and has already been) overcome. To begin with, there are works of fiction that depict the process of developing fictional scientific or philosophical theories. Texts such as the novel His Master's Voice (1968) by Stanisław Lem and various short stories by Ted Chiang exemplify this approach. Then, there is the case of real theories being presented to the public through fictional stories. This is the case with philosophical novels such as The Dispossessed (1974) by Ursula K. Le Guin and The Seducer’s Diary (1843) by Søren Kierkegaard.

A wide variety of films, texts, plays, television programs, and even video games have already been created with the aim of making philosophical concepts more accessible and engaging, and What We Owe the Dead belongs to this cultural tradition. Will this new book succeed in stimulating readers' philosophical imagination? And will it manage to convince scholars and philosophy enthusiasts that their discipline has everything to gain by venturing beyond academic texts and formal lectures?

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