C. S. Lewis

[maeve66]

And no, I haven't read The Screwtape Letters. But this semi-rant comes out of the general floating cultural reactions to the Narnia movie, as well as to many people who've counterposed it to Philip Pullman's His Dark Materials trilogy. As such, it's in part a reaction to mistersmearcase's recent discussion of trying to read Pullman and his general distaste for fantasy novels, YA or otherwise, and in part a reaction to flowerlane's post about the Narnia movie. A lot of it is directly the comment I tried to make to flowerlane's post, but couldn't because of my mother's clunky old computer (no more -- now, she'll have DSL and a shiny new itty-bitty iBook).

So, for background: I like fantasy. I don't mind allegory, as long as I understand the allegory I'm being presented. I don't mind not understanding how everything in a fantasy works (this is to mistersmearcase, because it just seems like an extension of the "willing suspension of disbelief" notion. I do love Diana Wynne Jones, and loved most classic YA fantasy, from fairytales (Grimm Bros., Hans Christian Anderson*, the Fill-in-the-blank Color Fairytale books, to multicultural anthologies of same -- to mythologies from Greek to Norse. As an atheist child, I didn't distinguish between mythology, fairy stories, and religion. Seriously.

But C. S. Lewis is a special case, because to me, his work is only a slightly more polished version of exactly the sort of brainwashing he decries in his sci fi books, and to an extent in the Narnia books. Judging only from his young adult fiction and sci-fi work, he was very concerned that the secular humanists and commies and, secondarily, fascists, were taking over the world and destroying both the simple faith in a not-so-simple religion, and the irrational pleasure in "magic" that is the birthright of children. His is propaganda work, in other words, and it is propaganda work that is working really hard in exactly the areas that flowerlane identified in the movie, which (not having seen it yet) does seem to be pretty faithful to the book. His specific targets were: create a sense of wonder in children in the central tenets of Christianity, through surrogate figures; reinforce a basic system of Western "morals" and "ethics"; and reinforce standard Western gender roles for women.

Now, I will type the above (and the below) knowing full well that I liked the Narnia books AND his sci fi, as a child, though always with a twitching sense of unease. I could at one and the same time enjoy the stories and shudder at them slightly, knowing what I felt I was also seeing in them.

flowerlane's entry is a reaction to the movie, which she walked out of. And this was my response:

The worst thing I've read here (not having seen it yet, and somewhat dubious about doing so) is the change in the faun Tumnus. That's gross. For the rest of it, it's exactly the subtext and surface, too, of the book. Lewis was going (I think) for the pretty highly sadistic and sexualized Passion of the Christ with Aslan's sacrifice, and the shaving is just the Crown of Thorns, the binding is the scourging, etc. The first time I read it as a child, I cried and cried, and it was a pretty reliable weeper until my most recent rereading, which was last week. But I got the Christian allegory I think even the first time through it, when I was ten or whatever, and it made me very ambivalent and conflicted. The whole series did.

If you dislike this one, you should (well, should not, I guess) read The Last Battle, which is the final book in the series and an allegory of death and the hereafter, featuring the contrasting fates of faithful believers in Aslan, faithful believers (not their charlatan priests) in Pagan gods (in this case, a thinly disguised Islam), and atheists -- the grossly and curmudgeonly materialist dwarves. Guess who gets the worst of it? There's a scene at the end of the book when the rest of the (dead) characters are locked in a stable, but escape out the back into a purer, more "real", deeper Narnia. The dwarves refuse to leave the filthy stable and muck, because that's all they can perceive. NICE. C. S. Lewis was nothing if not theologically consistent.

For his adult version, see the sci fi trilogy Out of the Silent Planet, Perelandra, and That Hideous Strength, all of which feature bonus anti-Communist plots, identification of Communism with Totalitarianism, and the worst, most awful essentialist gender stereotyping imaginable. Yes, I've been known to read stuff that horrifes and angers me. More than once. If I'm not mistaken, That Hideous Strength (which features a reawakened Merlin defending the Real Britain against modern scientific totalitarianism) has a nod to Louis Althusser in its arch-villain, a head-in-a-box who is a famous scientist who went mad after murdering his wife. I don't know. Maybe I'm making that bit up, in part. I know I read the book not long after learning that about Althusser (that he'd murdered his wife and gone mad)... he of the "base and superstructure is right ... in the final analysis", a construction I've always been fond of.

* and speaking of insinuating Christian ethics and morals in fairy tales; Hans Christian Anderson is the originator of that trope, I swear to god. His stories are horrific in their guilt-steeped and sadistically fitted punishments for failing one or other of the commandments. "The Red Shoes"? "The Little Girl Who Trod on a Loaf"? YIKES.

Comments

[nothings.livejournal.com]

He wrote the whole series to lead up to The Last Battle, which is practically the Rapture

Did he actually plan the whole thing out, though, or did he write one and it was successful and then he plotted out the whole thing? I mean, I'm not disputing, I'm just asking. Certainly it wouldn't be the first time somebody planned out a whole thing without knowing whether they'd actually get to do it, but it just didn't feel that way to me. Similarly, the lack of story chronology--of course, he could have started "in the middle" intentionally, deciding that that was the best starting place, but it also could be because he started with a story and then built out from there.

So, I mean, I defer to your knowledge if you actually know this, but if it's just speculation, or if it's something Lewis said after he wrote the first book (when he might then have started planning all the others), it's kind of doubtful.

It doesn't have to be letter-perfect to be an allegory

I certainly agree with that, but if it's such a flagrant mismatch (Aslan's violence), if it's an allegory I don't see what the message is, and I certainly don't see how it can be indoctrinating. tLtWatW seems more to me like it attempts to invoke your existing knowledge of the magic of Christ's ressurection and borrow that wonderment for what happens to Aslan (nevermind that that won't work for kids!) than it seems like it would manage to convince people of either (a) that this really happened to Christ or that (b) that Christ was awfully magical, and if it's not doing that, what exactly is it supposed to be doing that is helpful-to-Christianity?

But yeah, I mostly agree with your response I just quoted in response to something like celesteh's "In the book, the lion afterwards explains that ANYBODY who offeres their innocent blood instead of a traitor's would cause death to be undone. Which is kind of weird, as it's not according to christian theology." Indeed, you can read this as a sort of "anybody can be good" message, rather than a "anybody can be god" message. But then again it does seem to sort of undermine the metaphor.

Oh, and I think Lewis' Christ is a muscular Christian kind of Christ, and also that he draws on the smiting stuff in the Old Testament to justify the violence.

Ok, that's a fair point. It seems weird to me with the namby-pamby Catholic upbringing I had, but I can believe it.

The defining characteristic of Lewis' world view seems to me to be the centrality of properly hierarchical social arrangements: humans above (non Talking) animals; men above women; Kings above commoners; the classes in their right places, etc.

Oddly enough, this is one of the scenes that most stuck in my craw, although I forgot all about it until I read your comment: when the 3 children walk into the, uh, the place where Aslan's army has set up camp and a hush falls over all the, uh, army and they all stare at the children in, well, awe and reverence. Eeeagh lord almighty. (Haha, and I just used that phrase without thinking about the context.)

At the time I think I was finding this more just offensive in the "gah, children's power fantasy, we have to be princes and kings and throw around swords and wield power" but the classist/hierarchical view of it makes more sense. I do remember thinking it was a little jarring that the Pevensies even had family they could be sent to out of London and wondered about the class issues there, but I just ran with it.

I think differing perceptions of literature are what make it fucking interesting, you know?

Wait, did your original comment get lost because of computer problems, or because, uh, somebody didn't want long (contentious?) comments in their journal?