You are currently browsing the category archive for the ‘CS Lewis’ category.
Charles Williams’ Englishness is, among other things, something I would like to discuss before I tackle the daunting task of exegeting his Arthurian poetry. Like many Americans, I have something of a fantasy England tucked away somewhere in my heart. It is composed of bits and pieces of English high and pop
ular culture that I have ingested over the years; a bit of Tolkien’s Shire, a bit of Lewis’ Oxford, landscapes from Gainsborough and Constable, screaming teenaged girls from A Hard Day’s Night, plenty of Downton Abbey, Chariots Of Fire, and Brideshead Revisted, both the Waugh novel and the Granada TV adaptation.
I was surprised at how well my American fantasy England weathered my exposure to the real article in the early 80s when I spent four months in the UK, visiting all four “nations” [Wales, Northern Ireland, Scotland, and England] in succession. What I experienced during my visit was more of a confirmation of my fantasy England, and an amplification and broadening of it, than it was a repudiation of it.
An English friend suggested to me that what I was experiencing was what the English themselves called “Deep England”. “Deep England” is part nostalgia for a simpler life more attuned to the natural rhythms of the English countryside, part fable about a vanishing face-to-face village life, part family oral history, and a large dollop of national self-deception. Nevertheless, it has a powerful pull on the national sentiment. “Deep England” could be classist, different things for different people. A retired slate miner would wax sentimental about the days when the mines were humming and one’s mates had plenty of energy for sport and plenty of money to spend in the pubs. An Anglican parish priest would sigh and remember a “time when the Church had more influence in people’s lives.” “Deep England” seemed to be something which you were always perpetually losing, something that was always just slipping away. For me, an outsider, the musical expressions of this “Deep England” will always be the austerely beautiful “Pastoral” Symphony #3 of Ralph Vaughan Williams, or a church choir performing that unsurpassably mad hymn by William Blake, “Jerusalem”.
As an American, it is hard to know what to make of this Englishness. Whatever it is, we don’t have it, although we speak a common language. Eight generations of republican life now separate us from the fountains of “Deep England”, and all that remains is the notion of an Anglo-Saxon Protestant as a kind of gold standard for white people. In a way, it is kind of a collective unconscious mythopoeia, a mythopoeia built up scrap by scrap from the raw material of language, climate, and a long tenancy on the land. From this mythopoeia, all of the particular myths forged by Englishmen down through the long years have their provenience.
Already I am thinking about what Williams’ Arthur poetry is most like. If it is idiosyncratic and difficult, it is idiosyncratic and difficult in a particularly English way. Like William Langland’s Piers Plowman, the prophetic work of William Blake, or the contemporary Gnosticism of David Lindsey’s A Voyage To Arcturus.
A little less than two years ago, Father Malcolm Guite hosted a series of lectures on the Inklings. In his first, lecture, he dealt with the Inklings as a group, and with their common characteristics as thinkers and as writers. Father Malcolm argued that the Oxford Inklings, among whom he included CS Lewis, Owen Barfield, Charles Williams, and John Ronald Reuel Tolkien, were more cohesive and presented a more common front against modernism, nihilism, and reductionism that than they are generally credited for doing. Most critics view the group as a subset of the personal friends of CS Lewis who shared a reactionary frame of mind and who were uncommonly fond of fables and stories. Indeed, if Tolkien had not singlehandedly created a market for epic and heroic fantasy, it is possible that the whole group would have been written off as a literary curiosity and quickly forgotten.
After introducing the Inklings as a group, Father Malcolm discusses each of them in turn; first CS Lewis, whose spiritual biography Father Malcolm presents as a healing of that great divide which was just beginning to open in lewis’ day between what was true, that which could be verified by Science [always capitalized], and that which Mattered, which was all of these myths and stories that moved the soul so deeply but which were of no value for discerning the truth. From Lewis, Father Malcolm proceeds to a discussion of one of Lewis’ earliest and closest friends, Owen Barfield. Barfield is hard to discuss in Christian terms; he comes with a lot of Anthroposophic baggage, but Father Malcolm does a first-rate job in addressing Barfield’s idiosyncrasies in a way that can help the average Christian to begin to process them. The Barfield lecture comes with an extra surprise; Barfield’s grandson, namesake, and literary executor Owen A. Barfield joins Father Malcolm to discuss the reprinting of his grandfather’s imaginative works, of which there were a lot more than saw publication in his lifetime.
Father Malcolm then moves on to a discussion of Charles Williams, and his exegesis of Williams’ biography and the class-related handicaps with which Williams struggled all his life were particularly illuminating to this American. Father Malcolm treats Williams’ poetry as central to any understanding of Williams’ thinking, which is something that Williams himself would have wanted. Charles Williams’ poetry gets overlooked because it is difficult. I don’t think Father Malcolm addresses this issue clearly, but those who find his criticism, his theological writing, and his hermetic novels difficult because of his private vocabulary are bound to find his poetry almost inaccessible. I know I do. However, Father Malcolm points out that Williams, out of all the Inklings, is a better place to start than any of the others for a criticism of our common economic life, and this last five minutes of the Williams lecture are highly recommended because of this.
Ending with Tolkien, Father Malcolm saves the most famous of the Inklings for the last. Surprisingly, he doesn’t spend a lot of time on the great trilogy, but discusses a lot of Tolkien’s attitudes towards his own work. He reads Tolkien’s poem Mythopoeia for a glimpse into what Tolkien understood himself as doing; subcreating in the image and after the fashion of the great Creator. Then Father Malcolm investigates a lot of Tolkien’s source material; the Norse myths, the Anglo-Saxon literature with which Tolkien as a professor of Anglo-Saxon was intimately familiar. The best line in Father Malcolm’s discourse comes towards the middle; ‘you have this one remarkable individual replacing an entire race as a creator of mythological material’, which of course, is precisely what Tolkien was and did.
It would be jejune for me to think I could fault Father Malcolm for what he failed to cover in this wonderful lectures. If the good father is amenable to adding a second series [he has already moved on to Blake, a poet with whom I badly need to acquaint myself], he may wish to discuss Tolkien fandom, Charles Williams’ concept of co-inherence and the perichoreisis of the Holy Trinity, Owen Barfield’s links to Goethe and others of the the German Romantic Naturphilosophie, and Lewis’ literary criticism, especially The Allegory Of Love and The Discarded Image.
Links to the podcasts are hosted on this blog. More people need to hear them. The first lecture is here. Press on the Magic card below to download the corresponding lecture on that Inkling. There were some issues with the volume which I addressed in reposting them.
Full size Magic The Gathering cards:
C.S. Lewis
Charles Williams
Owen Barfield
J.R.R. Tolkien
Not too many years ago a young monastic aspirant went to Mount Athos. In talking with the venerable abbot of the monastery where he wished to stay, he told him, “Holy Father! My heart burns for the spiritual life, for asceticism, for unceasing communion with God, for obedience to an Elder. Instruct me, please, holy Father, that I may attain to spiritual advancement.”
Going to the bookshelf, the Abbot pulled down a copy of David Copperfield by Charles Dickens. “Read this, son,” he said.
“But Father!” objected the disturbed aspirant. “This is heterodox Victorian sentimentality, a product of the Western captivity! This isn’t spiritual; it’s not even Orthodox! I need writings which will teach me spirituality!”
The Abbot smiled, saying, “Unless you first develop normal, human, Christian feelings and learn to view life as little Davey did – with simplicity, kindness, warmth, and forgiveness – then all the Orthodox ‘spirituality’ and Patristic writings will not only be of no help to you-they will turn you into a ‘spiritual’ monster and destroy your soul.”
——————————————————————————————–
A while back, blogger with similar interests to mine posted that Christians ought not, and Orthodox Christians most definitely should not, read fantasy literature:
Fantasy… is a pure expression of the passions. Basically it’s whatever the mind imagines ends up on paper. So then we end up with werewolves and vampires and a celebration of evil that in the modern genre completely lacks what the original characters were intended to portray. In this way, a genre that was meant to lead someone toward Christ now pulls them in the opposite direction by tantalizing every wicked fantasy and passion imaginable, and infusing it with a lustful voyeurism so that people constantly want more and more perverse and graphic fantasies.
On the surface, I have to say that I agree with her. “Man’s imaginations are wicked from his youth”, Genesis says. I made an offhand comment about fifteen years ago to a friend on the ‘darkening’ of the fantasy genre; most of the material that was coming out at that time seemed to be concerned with the demonic, and with the infernal side of occultic powers. There didn’t seem to be any celestial counterweight and a lot of fantasy material seemed to be moving from the Tolkienesque to the “gritty”, “realistic” outlook. The best of it was pagan/stoic and the worst of it was flatly demonic. Once the pornification of Western society got underway in earnest, wrought in great part by the Internet, fantasy literature followed suit, and now you can’t turn a page without some sexual practice that would have shocked a jury forty years ago described in painstaking detail between orcs and elves.
It is not fantasy material exclusively that as fallen prey to this; romances are saucier and kinkier; simple murder no longer suffices to carry a detective novel, you need cannibalism or torture. The problem is that there is no longer any intermediary between the head, the eyes, and the loins. Lewis’ Men Without Chests have arrived, and they are worse than any glittering vampire or werewolf out of the latest potboiler. There is in Tibetan Buddhism the concept of the Hungry Ghost (ཡི་དྭགས), an entity with overdeveloped mouth and stomach, but with a neck and chest too thin to allow for the passage of food. This parcel of decayed human energy lives in constant torment as its enormous stomach demands input from its hypertrophied mouth, but there is nothing in between that can mediate the transfer. We have starved the sentiments for so long that we may be said to exist in a state of spiritual diabetes. We devour and devour all manner of stories; fantasies, romances, novels, but we seem incapable to extract even the minutest nutrition from any on them, We are like those who lack a vital digestive enzyme.
Forty years ago, Father Seraphim Rose also noticed this strange deficiency in young pilgrims coming to his California monastery for spiritual guidance:
[There is a] problem [which] lies in the poverty of our modern soul, which has not been prepared or trained to receive the depths of true Christian experience. There is a cultural as well as a psychological aspect to this poverty of ours: The education of youth today, especially in America, is notoriously deficient in developing responsiveness to the best expressions of human art, literature, and music, as a result of which young people are formed haphazardly under the influence of television, rock music, and other manifestations of today’s culture (or rather, anti-culture); and, both as a cause and as a result of this–but most of all because of the absence on the part of parents and teachers of any conscious idea of what Christian Life is and how a young person should be brought up in it–the soul of a person who has survived the years of youth is often an emotional wasteland, and at best reveals deficiencies in the basic attitudes towards life that were once considered normal and indispensable
Father Seraphim went on to say that what was needed in this situation was a “Dushevni diet”, one that would nourish the middle soul, the Chest, in Lewis’ vocabulary. The idea of the “Dushevni diet” is to allow the soul to learn those responses to an object which those objects ought naturally to invoke, or which a well-trained soul should naturally feel. Lewis himself, in The Abolition Of Man, uses the example of Samuel Johnson’s observation that
That man is little to be envied, whose patriotism would not gain force
upon the plain of Marathon, or whose piety would not grow warmer among the
ruins of Iona.
with the caveat that the man whose patriotism does not swell at Marathon or whose piety is not warmed at Iona will inevitably complain that because his [lack of] patriotism and his [lack of] piety are neither strengthened nor fortified at either Marathon or Iona, it must follow the idea of these places doing either is a subjective fantasy, and that his feelings of tedium and his desire to find an inn where he can grab a beer and watch the soccer matches are just as valid as all that sentimental nonsense about brave ancient Athenian citizen-warriors or Celtic monks standing waist deep in freezing water chanting the Psalms. I’m sorry, but those thoughts are the grandfathers to the complaints of overweight women that they are equally as desirable to as wide an array of men as their slender sisters. That just is not so. Value is as objective as anything measured by the positive sciences. It is just that the instrument used to measure it is not a scale, or a measuring stick, or a pipette, but rather the human soul itself. If that soul is faulty or unbalanced, it will perforce register a different value for the object than will the purer soul.
Until this point, I have said nothing that Fr. Seraphim and Dr. Lewis have not said before me, and much more eloquently. However, as far as an Orthodox Christian who enjoys and appreciates the fantasy genre as I do, I would like to make the following observations:
First of all, salvation is offered to us through What Is, not through what we would like it to be. The very first time I saw an Orthodox icon of Christ, I was struck by the Greek legend Ὁ ὮΝ, “That Which IS”, in the
nimbus of his halo. In itself, this would appear to be reason enough to exclude anything of a fantastic nature from Fr. Seraphim’s “dushevni diet”, and with the vast majority of modern fantasy, I would be in complete agreement with myself. There is a lot of brutality, a lot of anxiety, a lot of lasciviousness, and a complete lack of transcendence in most fantasy material these days, both Western and Eastern. I include Eastern fantastic literature because Japanese and Korean manga (comics) and anime (cartoons) are occupy the same literary niche for young people of my son’s generation that The Lord Of The Rings and the Narnia books occupied for me when I was younger.
But there is an important point I would like to make: For all the popularity of the ‘gritty’, ‘realistic’ fantasies of Joe Abercrombie, George R. R. Martin, and China Mieville, we would do well to remember that they are considered ‘realistic’ because of one important point; their narratives unwind in created worlds that resemble our own in one essential way; they are closed worlds where even magic is technological in nature. It obeys ‘rules’ that cannot be broken, which can be observed and mastered, and using techniques which can be perfected through experimentation and practice. There is no help coming from beyond the circle of the invented world. Self-interest rules all things, and the struggle of omnes contra omnes continues apace. In the hands of the aforementioned authors, this “realistic” approach to fantasy has produced some engaging yarns. They are gifted writers, and, interestingly, Mr. Mieville has produced a story which points beyond itself in a way I’m not certain the author didn’t intend.
In The City And The City, Mr. Mieville has created two separate cities, Beszel and Ul Quoma. The two cities occupy the same physical space, and may even share buildings and streets. Each ‘city’ has its own airport and port district. Citizens of each city can dimly glimpse, at times, residents of the other city or the outlines of buildings. However, to admit to this is to commit Breach, risking arrest and incarceration. Citizens of both cities have been strictly trained since earliest childhood to disregard all evidence of the other city. The narrative of Mr. Mieville’s book unwinds as a policeman in the less wealthy city, Beszel, is investigating a murder of a young woman which implicates a well-connected functionary in the corresponding, wealthier city of Ul Quoma. His distress increases as he realizes that the world in which he grew up believing does not correspond to the world as it actually is.
In the same way, there is something fantastic about the life we live in our sanitized, corporatized, modern world. We fly across the landscape like Djinn in metal boxes. We know the thoughts of others at multiplied hundreds of leagues. We hear no animals bawl out their agonies when their time comes to keep us nourished. In addition, a constant barrage of intellectual static that attempts to convince us that This Truncated World Is The Real World, that nothing exists outside of what can be measured, monetarized, and manipulated. If you want to maintain little fantasy religious worlds or little counter-cultural worlds within strict boundaries of a “religious” or “intentional” community, you are by all means free to do so (We are not tyrants, after all, is another song that is sung constantly). If you try to smuggle anything out from behind those well-guarded frontiers, though, you will find yourself committing Breach and arousing the ire of the Gatekeepers. In this way, something like The Lord Of The Rings, or even Spirited Away, can serve to cast doubt on the Official Narrative. Spiritual forces and proper human sentiment can be experienced as liberating and empowering, and in this way, the Real World, The Only One That Truly Is, that which is signalled by the Greek letters in the halo, can be made more real than this dreary official fantasy in which we find ourselves.
Due to a change in my external circumstances, and the necessity of two hour commute (both ways) daily, I have been glutting myself on imaginative literature in the past few months. There is a wealth of good stuff on audio, and it is a very good way to ‘catch up on your reading’, if you define reading loosely enough. Since the commute began, I have been fortunate to acquaint and re-acquaint myself with some of the great names in imaginative literature; JRR Tolkien, CS Lewis, George Macdonald, Ursula LeGuin, Stephen King, Tim Powers, ER Eddison, Jack Vance, and many others too numerous to mention. In a way, it has been kind of an exercise in “comparative fantasy”.
One of the most frequent objections to fantasy literature is that it lacks ‘depth’, that fantasy literature is an endless repetition of a “good vs evil” theme that resurfaces in book after book, series after series. Usually, the critics blame Tolkien. The contrast between Good and Evil that Tolkien traces in his epics are as sharp as shadows on the moon. It is not nuanced enough to reflect the “real world”. Then, to hear some people talk, all writers of fantasy literature written since The Lord Of The Rings have slavishly followed Tolkien down the path of rewriting Paradise Lost according to their own moral vision.
The critics are wrong. Prior to Tolkien, fantasy literature, what there was of it, was strangely amoral. James Cabell’s Jurgen was a flighty
rascal. Dunsany’s little fables were as likely to celebrate hashish eating as martial courage. Mirlee’s Lud-In-The-Mist incarnated no Manichaean vision of good and evil. The resolution of her tale was a satisfying Hegelian synthesis between the quotidian comfort preferred by her Whig protagonists and the whimsy of the Jacobite fairie folk they so disdained E.R. Eddison’s The Worm Ouroboros was thoroughly aristocratic both in tone and aspect, a sort of a High-Tory-on-LSD ‘romaunce’, peopled by proud-speaking haughty grandees entirely dismissive of the pettier sort of folk and their concerns. There was no room for hobbits in Ouroboros. Indeed, inasmuch as fantasy literature dealt with Good and Evil at all, it was to offer an escape from the stultifying decayed-Evangelicalism public morality of the day into an earlier, more permissive world.
Tolkien’s great achievement was the creation of a morally consistant parallel world. To me, the single brilliant imagining of the race of hobbits brings his re-creation of the Good into sharp focus. The hobbits are good, almost Pelagian, although 
some of them can be better than others. There are individual hobbits that appear “spoiled” (or ‘bent’ to borrow from Lewis’ mythology), such as the Sackville-Bagginses or the Sandymans. These two families, however, were introduced as foils for the healthier Bagginses and the Gamgees who good-naturedly suffer their trepidations. Because the Sackville-Bagginses and the Sandymans are so rare, the Shire appears to govern itself. The rules are unwritten, all offices are mostly ceremonial, and the canons of good behavior are everywhere acknowledged and practiced. As fantasist Gene Wolfe observed in a clairvoyant essay; living under what Mr. Wolfe calls Folk Law in a face-to-face society may be the most salutatory framework for human life, much in the same way that folk tales have the deepest resonance, and folk tunes have the most haunting and unforgettable melodies.
Yet, the Shire is not good in a vacuum. The hobbits are King’s Men in the very best sense of that word. The King, although absent by the time of the narrative recorded in The Lord Of The Rings, serves as a locus for the values of The West. ‘The West’ is shorthand for all those parts and peoples of Middle-earth not yet seduced or tyrannized by Sauron, although it can include more easterly populations such as the Beornings, the Dwarves of the Lonely Mountain, the Wood-elves of eastern Mirkwood. Although the King has been absent from the government of the Shire for more years than separate us from the Battle of Hastings, his health is toasted at every meeting of the Shiremoot and his will is followed as best the hobbits can in their political vacuum.
Even the West is not good in and of itself, though. It is good because of the loyalty of the remnants of the Numenoreans and their allies to that
which is Beyond the Sea that ‘the West’ stands as a bulwark to the trepidations and contaminations of Sauron. The weight of this allegiance is never explicitly explained within The Lord Of The Rings itself, but its presence can be felt in the same way you can tell where the sun is with your eyes closed. Tolkien’s continual references within the narrative to older, more primordial material; even Gondolin being mentioned in the first few pages of The Hobbit, weave a web of numinosity about his tale whose nexus is the Elder Race, the immortal Elves, who had opposed Sauron (and his greater master Morgoth Bauglir) in the past.
The Silmarillion revealed plainly what The Lord Of The Rings only hinted at. The Elves are good because they revere the Valar, the preserving and governing Powers of the World, who came into it at the behest of the world’s Creator Eru Iluvatar, a monotheistic deity. It is this realm, the realm of Valinor across the Sea, whose values are echoed by the denizens of ‘the West’.
In a sense, you have a kind of a neo-Platonic universe obtaining in the Tolkien legendarium. The Elves know next to nothing about Eru, the One, except for what they have learned from the Valar. The Men of the West have no direct access to the Powers in Valinor. Everything they know about it has been mediated to them by the Elves, who are abandoning Middle Earth. The hapless Hobbits, in their turn, would not have survived as long as they had in the rough and tumble of Middle earth without the constant protection and supervision of the Men of the West, the Dunedain.
You can hear all three layers in a musical representation on the soundracks to Peter Jackson’s films, especially in the Council of Elrond. First, there is the Elvish theme; atmospheric, ascetic, and other-worldly. Then, there are the virile horns of the theme of the West, vigilant and ready for action. Finally, there are the homespun strings of the Shire theme. They blend and fade into each other by the end of the piece. I don’t know how deliberate that was on the part of the composer, Howard Shore.
Wheels within wheels, indeed.
Immediately post-Tolkien, there were a lot of Good-vs-Evil sagas, most very derivative, retelling Tolkien’s story after him. Others, like
Ursula LeGuin’s Earthsea series, eshewed binary Good vs Evil to create a more nuanced, more Buddhistic unary moral Universe. LeGuin’s emphasis on “balance”, as if good and evil were polarities like male and female or acidic and basic, came to be echoed in a lot of fantasy worlds, such as the Star Wars universe with its depiction of the Bright Side and the Dark Side of the Force, or the recent popular animated series Avatar: The Last Airbender, where all the tension in the series is caused by the Fire Nation getting out of balance with the other three elemental nations; the Water Tribe, the Earth Kingdom, and the Air Nomads. Fire Lord Ozai is not Satan or even Sauron. Ozai’s opponent is not Avatar Aang, but rather his son Zuko who, through the tutelage of the saintly Uncle Iroh, can restore the Fire Nation’s necessary line to the spectrum that is the Avatar universe.
I didn’t like Star Wars, and although I dearly love the Avatar animated series, unary, “balance”-based moralities don’t seem to produce satisfying eucatastrophes in the same way that fantasists are able to when good is truly good and evil is truly evil. I haven’t read, or even followed the movies inspired by, the Harry Potter novels, but I think I am correct in assuming that Rowland’s moral compass is more like Tolkien’s and less like Lucas’, which makes the opposition to her tales by conservative Christians even more puzzling.
Finally, there has been a movement within the fantasy genre itself away from a strict good vs evil paradigm and more towards what TV-Tropes.com defines rather pungently as Crapsack World, where all the choices are between real-l-l-ly bad, bad, and not-so-bad-but-still-iffy. I have digested several works of this sort, some of which are very good; China Mieville’s Perdido Street Station and The City And The City (both of which are brilliant), Joe Abercrombie’s First Law trilogy, and of course, the Crapsack World to end all Crapsack Worlds, George R. R. Martin’s Westeros.
Funny thing about Westeros, though. Just when I was beginning to tire of Martin’s unrelenting cynicism, the pointless violence, and the continual betrayal which punctuated life in his series, Martin showed a bright little corner where life was good, men were fair, and decent people could live decent lives. It was buried deep in Brienne’s arc in A Feast Of Crows, when she accompanies the septon Maribald from the ruins of Saltpans to the Isle of Silence, where a strong abbot has created an island of peace, faith, and rest in the turbulent sea of conflict, cynicism, and blasphemy that was the norm in Westeros.
I read somewhere that George R. R. Martin is the son of a dockworker from Bayonne, New Jersey. True to his working class roots, Martin teaches us that the good is not something that occurs haphazardly. It is the result of consistent effort over an extended period of time by people who actively desire to be good and just, and it flourishes best where the eyes of the powerful are elsewhere. It also seems to me that Daenarys Targaryen’s extended and somewhat tedious sojourn in the Slavers’ Bay is to allow her to learn the difficult lessons in statecraft that will make her the kind of queen Westeros so desperately needs. As a wise man once told me, good works do not make you righteous the way paying your bills makes you solvent, but they do make you righteous like exercise makes you strong.
I can live with that. I can more than live with it, I can applaud it.
The National Public Radio folks have decided to ask their listener base to help them select the
greatest works of imaginative fiction. Their list contains a lot of surprises, but the finalists were selected by the ubiquitous expert panel, and they are inviting fantasy and science fiction fans to vote on which of these 200 or so works are their favorites.
Here is the list. My choices are in bold:
The Acts Of Caine Series, by Matthew Woodring Stover
The Algebraist, by Iain M. Banks
Altered Carbon, by Richard K. Morgan
American Gods, by Neil Gaiman
Anansi Boys, by Neil Gaiman
Anathem, by Neal Stephenson
Animal Farm, by George Orwell
The Anubis Gates, by Tim Powers
Armor, by John Steakley
The Baroque Cycle, by Neal Stephenson
Battlefield Earth, by L. Ron Hubbard
Beggars In Spain, by Nancy Kress
The Belgariad, by David Eddings
The Black Company Series, by Glen Cook
The Black Jewels Series, by Anne Bishop
The Book Of The New Sun, by Gene Wolfe
Brave New World, by Aldous Huxley
Bridge Of Birds, by Barry Hughart
The Callahan’s Series, by Spider Robinson
A Canticle For Leibowitz, by Walter M. Miller
The Cat Who Walked Through Walls, by Robert Heinlein
Cat’s Cradle , by Kurt Vonnegut
The Caves Of Steel, by Isaac Asimov
The Change Series, by S.M. Stirling
Childhood’s End, by Arthur C. Clarke
Children Of God, by Mary Doria Russell
The Chronicles Of Amber, by Roger Zelazny
The Chronicles Of Thomas Covenant, by Stephen R. Donaldson
The City And The City, by China Mieville
City And The Stars, by Arthur C. Clarke
A Clockwork Orange, by Anthony Burgess
The Codex Alera Series, by Jim Butcher
The Coldfire Trilogy, by C.S. Friedman
The Commonwealth Saga, by Peter F. Hamilton
The Company Wars, by C.J. Cherryh
The Conan The Barbarian Series, by R.E. Howard
Contact, by Carl Sagan
Cryptonomicon, by Neal Stephenson
The Crystal Cave, by Mary Stewart
The Culture Series, by Iain M. Banks
The Dark Tower Series, by Stephen King
The Day of Triffids, by John Wyndham
Deathbird Stories, by Harlan Ellison
The Deed of Paksennarion Trilogy, by Elizabeth Moon
The Demolished Man, by Alfred Bester
The Deverry Cycle, by Katharine Kerr
Dhalgren, by Samuel R. Delany
The Diamond Age, by Neil Stephenson
The Difference Engine, by William Gibson & Bruce Sterling
The Dispossessed, by Ursula K. LeGuin
Do Androids Dream Of Electric Sheep?, by Philip K. Dick
Don’t Bite The Sun, by Tanith Lee
Doomsday Book, by Connie Willis
Dragonflight, by Anne McCaffrey
Dreamsnake, by Vonda McIntyre
The Dune Chronicles, by Frank Herbert
Earth, by David Brin
Earth Abides, by George R. Stewart
The Eisenhorn Omnibus, by Dan Abnett
The Elric Saga, by Michael Moorcock
Ender’s Game, by Orson Scott Card
Eon, by Greg Bear
The Eyes Of The Dragon, by Stephen King
The Eyre Affair, by Jasper Fforde
The Faded Sun Trilogy, by C.J. Cherryh
Fafhrd & The Gray Mouser Series, by Fritz Leiber
Fahrenheit 451, by Ray Bradbury
The Farseer Trilogy, by Robin Hobb
The Female Man, by Joanna Russ
The Fionavar Tapestry Trilogy, by Guy Gavriel Kay
A Fire Upon The Deep, by Vernor Vinge
The First Law Trilogy, by Joe Abercrombie
Flowers For Algernon, by Daniel Keys
The Foreigner Series, by C.J. Cherryh
The Forever War, by Joe Haldeman
The Foundation Trilogy, by Isaac Asimov
Frankenstein, by Mary Shelley
The Gaea Trilogy, by John Varley
The Gap Series, by Stephen R. Donaldson
The Gate To Women’s Country, by Sheri S. Tepper
Going Postal, by Terry Pratchett
The Gone-Away World, by Nick Harkaway
The Gormenghast Triology, by Mervyn Peake
Grass, by Sheri S. Tepper
Gravity’s Rainbow, by Thomas Pynchon
The Handmaid’s Tale, by Margaret Atwood
Hard-Boiled Wonderland And The End of The World, by Haruki Murakami
The Heechee Saga, by Frederik Pohl
The Hitchhiker’s Guide To The Galaxy, by Douglas Adams
The Hollows Series, by Kim Harrison
House Of Leaves, by Mark Danielewski
The Hyperion Cantos, by Dan Simmons
I Am Legend, by Richard Matheson
I, Robot, by Isaac Asimov
The Illuminatus! Trilogy, by Robert Shea & Robert Anton Wilson
The Illustrated Man, by Ray Bradbury
The Incarnations Of Immortality Series, by Piers Anthony
The Inheritance Trilogy, by N.K. Jemisin
Jonathan Strange & Mr Norrell, by Susanna Clarke
A Journey To The Center Of The Earth, by Jules Verne
Kindred, by Octavia Butler
The Kingkiller Chronicles, by Patrick Rothfuss
Kraken, by China Mieville
The Kushiel’s Legacy Series, by Jacqueline Carey
Last Call, by Tim Powers
The Last Coin, by James P. Blaylock
The Last Herald Mage Trilogy, by Mercedes Lackey
The Last Unicorn, by Peter S. Beagle
The Lathe Of Heaven, by Ursula K. LeGuin
The Left Hand Of Darkness, by Ursula K. LeGuin
The Legend Of Drizzt Series, by R.A. Salvatore
The Lensman Series, by E.E. Smith
The Liaden Universe Series, by Sharon Lee & Steve Miller
The Lies Of Locke Lamora, by Scott Lynch
Lilith’s Brood, by Octavia Butler
Little, Big, by John Crowley
The Liveship Traders Trilogy, by Robin Hobb
Lord Of Light, by Roger Zelazny
The Lord Of The Rings Trilogy, by J.R.R. Tolkien
Lord Valentine’s Castle, by Robert Silverberg
Lucifer’s Hammer, by Larry Niven & Jerry Pournelle
Lud-in-the-Mist, by Hope Mirrlees
The Magicians, by Lev Grossman
The Malazan Book Of The Fallen Series, by Steven Erikson
The Man In The High Castle, by Philip K. Dick
The Manifold Trilogy, by Stephen Baxter
The Mars Trilogy, by Kim Stanley Robinson
The Martian Chronicles, by Ray Bradbury
Memory And Dream, by Charles de Lint
Memory, Sorrow, And Thorn Trilogy, by Tad Williams
Mindkiller, by Spider Robinson
The Mistborn Series, by Brandon Sanderson
The Mists Of Avalon, by Marion Zimmer Bradley
The Moon Is A Harsh Mistress, by Robert Heinlein
Mordant’s Need, by Stephen Donaldson
More Than Human, by Theodore Sturgeon
The Mote In God’s Eye, by Larry Niven & Jerry Pournelle
The Naked Sun, by Isaac Asimov
The Neanderthal Parallax Trilogy, by Robert J. Sawyer
Neuromancer, by William Gibson
Neverwhere, by Neil Gaiman
The Newsflesh Triology, by Mira Grant
The Night’s Dawn Trilogy, by Peter F. Hamilton
Novels Of The Company, by Kage Baker
Norstrilia, by Cordwainer Smith
The Number Of The Beast, by Robert Heinlein
Old Man’s War, by John Scalzi
On Basilisk Station, by David Weber
The Once And Future King, by T.H. White
Oryx And Crake, by Margaret Atwood
The Otherland Tetralogy, by Tad Williams
The Outlander Series, by Diana Gabaldan
Parable Of The Sower, by Octavia Butler
The Passage, by Justin Cronin
Pattern Recognition, by William Gibson
Perdido Street Station, by China Mieville
The Prestige, by Christopher Priest
The Pride Of Chanur, by C.J. Cherryh
The Prince Of Nothing Trilogy, by R. Scott Bakker
The Princess Bride, by William Goldman
Rainbows End, by Vernor Vinge
Rendezvous With Rama, by Arthur C. Clarke
Replay, by Ken Grimwood
Revelation Space, by Alistair Reynolds
Riddley Walker, by Russell Hoban
The Riftwar Saga, by Raymond E. Feist
Ringworld, by Larry Niven
The Riverworld Series, by Philip Jose Farmer
The Road, by Cormac McCarthy
The Saga Of Pliocene Exile, by Julian May
The Saga Of Recluce, by L.E. Modesitt Jr.
The Sandman Series, by Neil Gaiman
The Sarantine Mosaic Series, by Guy Gavriel Kay
A Scanner Darkly, by Philip K. Dick
The Scar, by China Mieville
The Shannara Trilogy, by Terry Brooks
The Shattered Chain Trilogy, by Marion Zimmer Bradley
The Silmarillion, by J.R.R. Tolkien
The Sirens Of Titan, by Kurt Vonnegut
Slaughterhouse-Five, by Kurt Vonnegut
Small Gods, by Terry Pratchett
Snow Crash, by Neal Stephenson
The Snow Queen, by Joan D. Vinge
Solaris, by Stanislaw Lem
Something Wicked This Way Comes, by Ray Bradbury
Song for the Basilisk, by Patricia McKillip
A Song Of Ice And Fire Series, by George R. R. Martin
The Space Trilogy, by C.S. Lewis
The Sparrow, by Mary Doria Russell
The Stainless Steel Rat Books, by Harry Harrison
Stand On Zanzibar, by John Brunner
The Stand, by Stephen King
Stardust, by Neil Gaiman
The Stars My Destination, by Alfred Bester
Starship Troopers, by Robert Heinlein
Stations Of The Tide, by Michael Swanwick
Steel Beach, by John Varley
Stranger In A Strange Land, by Robert Heinlein
Sunshine, by Robin McKinley
The Sword Of Truth, by Terry Goodkind
The Swordspoint Trilogy, by Ellen Kushner
The Tales of Alvin Maker, by Orson Scott Card
The Temeraire Series, by Naomi Novik
The Thrawn Trilogy, by Timothy Zahn
Tigana , by Guy Gavriel Kay
Time Enough For Love, by Robert Heinlein
The Time Machine, by H.G. Wells
The Time Traveler’s Wife, by Audrey Niffenegger
To Say Nothing Of The Dog, by Connie Willis
The Troy Trilogy, by David Gemmell
Ubik, by Philip K. Dick
The Uplift Saga, by David Brin
The Valdemar Series, by Mercedes Lackey
VALIS, by Philip K. Dick
Venus On The Half-Shell, by Kilgore Trout/Philip Jose Farmer
The Vlad Taltos Series, by Steven Brust
The Vorkosigan Saga, by Lois McMaster Bujold
The Vurt Trilogy, by Jeff Noon
The War Of The Worlds, by H.G. Wells
Watchmen, by Alan Moore
Watership Down, by Richard Adams
The Way Of Kings, by Brandon Sanderson
Way Station, by Clifford D. Simak
We, by Yevgeny Zamyatin
The Wheel Of Time Series, by Robert Jordan
When Gravity Fails, by George Alec Effinger
Wicked, by Gregory Maguire
Wild Seed, by Octavia Butler
The Windup Girl, by Paolo Bacigalupi
World War Z, by Max Brooks
The Worm Ouroboros, by E.R. Edison
The Xanth Series, by Piers Anthony
The Yiddish Policeman’s Union, by Michael Chabon
1632, by Eric Flint
1984, by George Orwell
2001: A Space Odyssey, by Arthur C. Clarke
20,000 Leagues Under The Sea, by Jules Verne
I was glad to see both Moore’s graphic novel Watchmen and Gaiman’s Sandman series in such august company. Both Earth Abides (Stewart) and Lord of Light (Zelazny) are close to perfect works of science-fiction. Unfortunately, Stewart never wrote another book, and Zelazny fell off precipitously after LOL. Amber wasn’t nearly as good.
I am not surprised that A Voyage To Arcturus didn’t make it onto this list. It is very poorly written and hard to parse, but it does have a sticking power that many better works lack. I was surprised to see that nothing by Lord Dunsany made the cut, nor was James Cabell represented, nor George Macdonald, nor Jack Vance. In the mean time, you can amuse yourselves identifying the pictures off to the right.
E’ verdade! Ele fiz ao sol soubir! It’s true, he made the sun come up!
Agora, voçê e’ o Orfeu! Toque uma canção p’ra mim!
Now, You’re Orpheus! Play me a song!
From Steve Hayes’ Yahoo Group “eldil”
So here’s what I posted (or would have had Eldil Yahoo Group been accessed):
You may have seen reported on the news that an atheist organization has put up a large billboard at the entrance to the Lincoln Tunnel in NYC that reads: You know it’s a myth. This season celebrate REASON.
A Catholic organization has recently retaliated with a billboard opposite which reads: You know it’s read. This season celebrate Jesus.
When I first saw the original sign I said to myself, Of COURSE it’s a myth.
The word myth has morphed of course from the Greek ‘mythos’. In Webster’s that is “a pattern of beliefs expressing often symbolically the characteristic or prevalent attitudes in a group or culture.”
I’m sure Steve could provide a better definition or meaning of the Greek word. The word myth today most often in the secular world is used to mean an unfounded or false notion, a thing having only an imaginary existence.
A second comment by the same commenter [AnnA]
The atheist sign is of course wrong about myth. Myth is real. Myth and reason
are not opposites, or enemies, iyw. Every human holds to both, sometimes at the
same time. Even the atheist holds the myth of physics- indeed much of he/she
calls science, the myths of history, etc. If one hasn’t seen it, or is unable
to fully intellectualize it (such as pain, evil in the world, the meaning of
life- whatever) then one has a myth. Privately or publically everyone holds
their myths.
Steve replies:
I am reminded of what Nicolas Berdyaev said about myth:
“Myth is a reality immeasurably greater than concept. It is
high time that we stopped identifying myth with invention,
with the illusions of primitive mentality, and with anything,
in fact, which is essentially opposed to reality… The
creation of myths among peoples denotes a real spiritual life,
more real indeed than that of abstract concepts and rational
thought. Myth is always concrete and expresses life better
than abstract thought can do; its nature is bound up with that
of symbol. Myth is the concrete recital of events and original
phenomena of the spiritual life symbolized in the natural
world, which has engraved itself on the language memory and
creative energy of the people… it brings two worlds together
symbolically.”
and then I reply:
If there is one thing I have taken away from the epistemological wars I have been involved in on the internet, it is that TRVTH is something of a fluid concept.
The atheists who put up their billboard in the entrance to the Lincoln Tunnel are really saying something like this: “You don’t believe the Christmas story based on any of the mechanisms you use to justify belief in your daily life, so
why believe it at all? Using the mechanisms you would use to troubleshoot a engine problem or invest $15,000, you cannot determine whether or not there ever even was a Jesus of Nazareth, much less whether he did all those things you heard he did. So, why celebrate?”
Leaving aside the fact that most people aren’t as epistemologically fastidious as a trained scientist, I realize that the atheist is making a claim that “Reason” is the primary means by which truth is distinguished from falsehood. The problem is that reason is not a particularly good means of establishing veracity in historical matters, where usually you have to weigh the reliabilty of documentary evidence or material testimony such as pottery and other remains.
When the atheist refers to the Nativity of our Lord as “myth”, he is making two powerful claims; first, that if there was a videocamera in the stable in Bethlehem 2000 years ago, it would have discovered nothing more than an ordinary family in difficult straits, if that. Also, if this camera followed the baby throughout his life, it would reveal nothing more than an ordinary man leading an ordinary life. Maybe at the end he went a little crazy, abandoning his profession and taking up the life of an itinerant preacher before running afoul of the ecclesiastical and governmental authorities. He was tried, executed and buried. End of story. The rest is “myth”.
But the second claim is the more powerful. It is the claim that what the videocamera reveals is TRVE, i.e., that nothing can be trusted apart from the testimony of our senses, however enhanced by technology.
Now, on to myth.
My mind appears to work in two complementary ways. I learn by distinguishing differences between phenomena and by discerning likenesses between phenomena. The discriminatory faculty I would call the digital impulse and would assert that it is what the atheist calls “reason” and it is a very powerful faculty.
The generalizing faculty I would call the analogous impulse, and it operates somewhat like two people lying on their backs and staring at clouds. One says, that cloud looks like John F Kennedy, and the other says, no it looks like an
airplane about to fly into a mountain. This is also a very powerful faculty. The best writers I have ever read who have commented on this same polarization of the human intellect are Douglas Hofstadter and Robert Pirsig, although I
think I have seen it commented on by a host of modern thinkers from Michael Polanyi to Michel Foucalt. Just don’t ask me for my notes. 🙂
Language, that most human of faculties, appears to me use these opposing yet complementary devices simultaneously.
Now, the discriminatory faculty is amenable to discussion. We can see that light comes in different frequencies, and that the large majority of people whose retinal cones are irritated by electromagnetic impulses with a wavelength of 520nm report seeing a green object. If someone doesn’t see a green object, we don’t assume that she is merely expressing a private opinion. We assume that her visual appratus is defective in some way.
The generalizing, or analogous faculty is far less amenable to such agreement. There is no way to establish who is “right” between the two men looking at clouds, although most onlookers with any sympathy for the two men would be able to see what they see. Culture and experience play a large role as well. It is unlikely that a Tibetan would see John F. Kennedy in the clouds, for example. However, this doesn’t mean that the ability to see connections between seemingly unrelated events, pattern recognition, is useless. Indeed, it is a highly sought after ability in intelligence workers, security agents, and investment bankers.
It is obvious from the Gospels themselves that not everybody experienced the same phenomenon when they encountered Jesus of Nazareth. One of my favorite passages in the one in the Gospel of St. John where Jesus asked His Father to glorify Him with the glory that they shared before the world began. His Father responded, according the apostle, audibly, that He had glorified it and would glorify it in the future. However the apostle also recorded that the listeners were divided between those who heard an angel talking and those who heard a thunderclap.
One can only wonder what a good tape recorder, a created device, would have picked up had it tried to record the uncreated Voice. Perhaps people would have had differing responses to the recording; an apostle or someone equally pure of heart would hear the Voice of Sinai, good men would hear an angel, bad men a thunderclap.
There is an echo of this in the Tao Teh Ching:
“When the good man hears of the Tao, he practices it assiduously
When a mediocre man hears of the Tao, he neither believes nor disbelieves
When a contemptible man hears of the Tao, he laughs it to scorn
But the Tao that could not be thus ridiculed is not the Eternal Tao.”
It appears that the interpretation of this event falls within the purview of the second mental impulse, and that this impulse is what gives rise to what men call “myth”. The exercise of the discriminating impulse attempts to remove this
“mythical” element from explanations of phenomena, resulting in that which is universal for all subjects (I dislike the word ‘objective’).
The exercise of “reason” does not result in “truth” as much as it results in that which can be agreed upon by all subjects. That is why it works best on inert matter, or even more accurately, best in the abstract realm of mathematics and logic. Reason loses traction as you ascend the ladder of the sciences, moving from Physics to Chemistry to Biology to Anthropology to Psychology to Poetics to Theology.
As you ascend this ladder, accretions of “myth” accrue. Chemical reactions are more than mere physical phenomena. Biological processes are more than can be described by mere chemical reactions. Purity of heart becomes more important as you move from quantum mechanics into medicine.
Once again, I find myself at soemthing of an impasse. As Coleridge put it, in order to be able to say anything correctly, it is necessary to say everything, and I am incapable of saying everything. I am sure that if this gets out to the right places, I will be well-corrected, maybe not gently, but it appears to me that the force of Reason is the systolic force that pushes from that realm behind or above the minds of men out into the “shining buzzing confusion” that is perceived by very young children, mystics, and the abusers of certain alkaloids.
The force of myth, far from establishing what is “right” or “true” or “so” in the realm of the phenomena, is a diastolic force that pushes back from the inert physical world, the “intersubjective” world, the world that all subjects share, back into the mind and soul of man and hopefully, links him to that which is behind and above him. The proper use of myth is not for us to discern truth in that which is not-us, but for that which is not-us to establish truth in us.
Somewhere on my hard drive there are about 8,000 words of a story I wanted to write whereby my favorite writers actually became protagonists. The story pits JRR Tolkien, CS Lewis, Owen Barfield, and Charles Williams against Arthur Machen, the aging Cambion of Prydain, and his disciples, the occultist Alistair Crowley and the parapsychologist Alexander Cannon.
Machen, Crowley and Cannon are plotting against the Throne, attempting to manipulate Edward, the dissolute Prince of Wales, into marrying a q’arinah and opening Britain to occult influence in the way that their counterparts in Germany have succeeded with the Nazis.
Each of the writers held a particular responsibility; Tolkien was the Chief Druid, responsible for the embattled natural environment of Britain. Lewis was the Warder, the doorkeeper of the Thin Places where commerce between the natural and the supernatural took place. Williams was the Archmage Protector, who defends the realm against the dark powers, and Barfield was the Lord Emergent, the custodian of the still-nascent Council of Albion, responsible for guiding the English soul towards Final Participation.
For many reasons, not the least of which is that I am American, the story never got written.
But other stories have. The first one I heard about was Heaven’s War, a graphic novel written by Micah Harris and illustrated by Michael Gaydos. According to what I have read about it, it has Williams in the starring role against the diabolical Crowley, with Tolkien and Lewis as supporting characters. I need to overcome my prejudice against graphic novels and pick this one up. It is not supposed to be very good from the dramatic point of view, but it 
abounds in Inklings trivia, and is supposed to include a long dialogue between Williams and Crowley about co-inherence which would delight Williams fans.
A couple of years ago, maybe as far back as 2004, a series of fantastic books for young adults was begun by an American writer James A. Owen called Chronicles of the Imaginarium Geographica . Three young British soldiers have their summons to World War I interrupted by the Caretaker of an imaginary realm which is under siege by the Winter King. I know even less about this series, but the author uses the nickname “Chaz” for Charles Williams and “Ron” for Tolkien, which grate on anyone who knows these authors as anything other than action figures. Williams was called “Serge” by his closest friends, and Tolkien, affectionately, was known as “Tollers”.
But, at least he got Jack Lewis right.
One of the real charms of the imaginative literature of the Inklings is that their works come in such well-numbered series: There are three volumes in The Lord Of The Rings, but if you add The Silmarillion, The Adventures of Tom Bombadil, The Hobbit, Smith Of Wooten Major, Farmer Giles Of Ham, and Leaf By Niggle, and if you reduce the trilogy to a single work, you get a seven-fold opera. There are three books in the Ransom series; Out Of The Silent Planet, Perelandra, and That Hideous Strength, and seven Narnia books. Charles Williams’ metaphysical thrillers number, conveniently, seven, although I wish he hadn’t written Shadows Of Ecstasy. Until We Have Faces and the Taliessin poetry of Charles Williams don’t fit this tidy Trinitarian/Zacarian scheme, but they shouldn’t be overlooked because of that oversight.I have my favorite moments from these works, and in Letterman fashion, I’d like to count them backwards.
With commentary…
10) The Progress of the Suicide, from Charles Williams, Descent Into Hell.
There is a lot to complain about in Williams’ literary style, but when it comes to depicting supernatural, sub-natural, or post-natural modes of existence, he has no peer. In Descent Into Hell, an unloved workman commits suicide to escape from the torment of life. He awakens in a silent universe illuminated by a furious moon that will not allow him to escape into himself. He conceives the idea that he needs to go to London. The purgatorial landscape he crosses, and the unexpected help he encounters on the way remain the most vivid depiction of the spiritual geography of the Afterlife I have ever encountered in literature.
9) Bilbo Surrenders The Arkenstone from JRR Tolkien, The Hobbit.
This plot device took me entirely by surprise, and prepare me for the centrality and necessity of hobbits in The Lord Of The Rings. Now, The Lord Of The Rings is a very mannish book, by hobbit standards, but any race that could prize peace between those who should by rights be friends and allies over wealth and comfort would be the only race that could ever be entrusted to carry the One Ring to its destruction. Men could be ensnared by power, Elves by beauty, and Dwarves by Craft (that wonderful old Germanic word!), but how do you corrupt a race that values above all things, “peace and quiet, and good tilled earth”?
8 ) The Descent Of The Gods Upon St. Anne’s from CS Lewis, That Hideous Strength.
Actually, That Hideous Strength is my least favorite among Lewis’ imaginative works. Lewis is a good preacher, and a great storyteller, but he doesn’t mix the two voices as well as Bunyan or Langland. In That Hideous Strength, he is covering the same ground as he does in Abolition Of Man, and there are places in the narrative where Lewis is trying so hard to be Williams, and places where is trying so hard to be Tolkien, and there are even traces of Barfield in the mix. I prefer Lewis when he is being truer to his own Muse, as in The Horse And His Boy, or Till We Have Faces. Nevertheless, I had the extreme felicity of having put a copy of Gustav Holst’s The Planets on the stereo before settling into my easy chair to the chapter where Ransom is inviting the Oyéresu, the planetary geniuses of Mars, Venus, Mercury, Jupiter, and Saturn, into the body of Merlin. The music blended so powerfully with Lewis’ language that I slowed practically to a crawl for the full effect. It was, as may well be expected, a peak experience.
7) Anthony’s Vision Of The Griffin/Eagle in Charles Williams, The Place of The Lion.
I had a hard time deciding between this and the vision of the butterflies earlier in this same novel. The butterfly scene is more charming, and more accessible. But Anthony’s vision of the Eagle, the platonic Form of Perception and Discernment, is central to understanding Anthony’s character and the whole dynamic of the novel. Only by means of the Eagle is Anthony able to assimilate the other Archtypes and sew up the rupture between the world of the Ideals and their playground of the quotidian world, where all the other characters wander about in their deadly delusions.It is a scene that I needed to read several times before the grandeur of what Williams was trying to say began to emerge from his difficult language. Williams is not a visual writer as is Lewis or Tolkien. When it did, it was as breathtaking as Plato’s original parable of the Cave; I saw gods arising out of the Earth, and, like the sibyl of Endor, I cried aloud.
Mention should be made of the Eucharistic unicorn of the twelfth chapter. Nowhere else in all his writings does Williams show any sectarianism I have been able to discern, save here alone, yet the effect is graciously ecumenical and heartwarming.
6) Random’s Landing Upon The Floating Islands and His Encounter With The Lady Of Venus from CS Lewis, Perelandra.
For such a sensuous book, Perelandra has inspired surprisingly little visual art. Most of what has been produced concentrates on the image of the Green Lady, although nobody in sad Thulcandra will ever depict her unfallen eros. There is a privately commissioned icon of St. Brigid of Kildare in my church that comes close. It partakes of the same spirit of Lewis’ description of the Lady of Venus. Perelandra was a crucial book for me because it convinced me of the basic materiality of Christianity and of the basic goodness of matter. Lewis’ descriptions of the sights, sounds, and tastes of that unfallen world worked on me like a tonic. I may not have realized it in high school, when I first picked up this book, but the material world can be nothing other than sacrament if we can but cleanse our perceptions aright.Som,e years ago, when I still attended a church in the Reformed tradition, there occured a discussion about how to reach the “unchurched”. I don’t remember now what action the board of elders decided to take, but a wise friend of mine offered this advice to me privately:
They should throw a party, a harvest party. Let the maidens weave vines in their hair and serve steaming cider on the first real cold moonlit night of the year. Let the young men compete in contests of strength and fleetness. Let the good dames of the church load the tables until they groan. At the end, invite all and sundry to a Divine service giving proper thanks to God who so liberally supplies all things for our enjoyment.
God, I miss Christendom.
5) Beren Happens Upon Luthien Tinuviel Dancing In The Starlight from JRR Tolkien, The Silmarillion
I don’t think there can be any doubt that we are closest here to the heart of Tolkien’s Legendarium. If any man ever poured out love onto paper and page, Tolkien does so at just this point in his narrative. Tolkien prized three earthly things above all else; starlight, trees, and his wife Edith. All three are masterfully commingled in the Lay of Luthien, and all three – starlight, trees, and married love, are under siege today.
Light pollution keeps most of us from seeing the heavens that declare the glory of God. Having spent most of my adult life in Florida, I can say that I have never seen the stars the way Ptolemy, Johannes Kepler, or even Fred Hoyle must have seen them. As a boy, I was led out into a field on a midnight hike with the Boy Scouts. There, we were shown the principal stars with their fascinating names; Betelgeuse, Antares, Spica, Vega, and how to find them using the Pole Star, Polaris, as our center of reference. I can still find Polaris, with difficulty, but my night sky is illumined now by billboards and neon, and I am much the poorer for it.
I never learned any of the names of trees growing up. Our family was four generations off the farm, and we now paid people to know about trees for us. I do remember that in my early boyhood (even before the Boy Scout hike), the majestic elms that were the trademark of the local college were dying of a fungus infestation. By the next summer, they were dead and needed to be uprooted. Tolkien’s love of trees and his unsuccessful defense of them against various development projects is well documented.
I never knew that Edith Tolkien was three years and change older than “Ronald”, nor that she converted to Catholicism at his insistence and against the wishes of her family. That helps to explain some of the “unapproachableness” of Thingol Greycloak’s daughter in the narrative. Tolkien was intimidated by the older and more accomplished Edith, and was instructed by his clerical guardian not to pay court to her until his 21st birthday. On the midnight of that day, he proposed to her and was rebuffed. He persisted though and was finally victorious. The union was a happy one, and a fertile, producing four children.
The four words “sex”, “marriage”, “babies” and “without” create a perfectly infernal matrix in which web we are as trapped as any hapless fly. Try it: Sex without Marriage, Marriage without Sex, Sex without Babies, Babies without Sex, Marriage Without Babies, Babies without Marriage.
Anyone care to call me out on this?
4) Digory And Polly In Charn from CS Lewis, The Magician’s Nephew – The passage of Digory and Polly through the royal chamber of Charn displays for me what is Lewis’ principal charm; his ability to put into simple, everyday language the effects of sin and virtue on the human person:
Both the men and women looked kind and wise, and they seemed to come of a handsome race. But after the children had gone a few steps down the room they came to face that looked a little different. These were very solemn faces. You felt as if you would have to mind your Ps and Qs, if you ever met living people like that. When they had gone a little further, they found themselves among faces they didn’t like: this was about the middle of the room. The faces here looked very strong and proud and happy, but they looked cruel. A little further on they looked crueller. Further on again, they were still cruel, but they no longer looked happy. They were even despairing faces: as if the people they belonged to had done dreadful things and had suffered dreadful things.
And there you have all the story of our glorious and tragic Humankind –
Between the conception
And the creation
Between the emotion
And the response
Falls the Shadow -
Nothing we ever do turns out right. There is always the Law of Unintended Consequences, whose iron rigor penetrates all our endeavors, be they the democratization of the Middle East, the redefinition of marriage (homosexual marriage is the caboose on this train, not the engine), or the establishment by legislation of “family values”. The primordial image of this is the Tower of Babel. It reaches for Heaven, but ends in rubble and division. Logres devolves into Britain, the Dawn of the Proletariat into the Gulag Archipelago, Woodstock Nation into the horrors of Altamont and the Tate-Manson murders.
Still – You have to wonder whether or not Lewis didn’t have a problematic attraction to the “bad girl”. Joy Davidson definitely appealed to this part of him. This happens to a lot of good men, especially spiritual men. Lewis himself commented on the Celestial and the Infernal Venus, and Queen Jadis of Charn is easily the sexiest in the whole Inklings canon, including the lusty Redival from Till We Have Faces.
3)The Repentance Of Lester Furnival from Charles Williams, All Hallow’s Eve. All of Williams’ best characters are either mad or dead. Lester Furnival (what a splendid amalgam of “carnival” and “funeral”) is dead and only gradually does she awaken to that fact. But Williams’ Afterlife is not, thank God, Tim Burton’s snarky Afterlife. It seems not much changes, but events no longer are connected by temporality, but by another principle altogether, a principle that can be called, loosely, sympathy.
The path of Lester’s salvation looms before her in the person of a schoolchum that she had previously treated shabbily, and in the person of her husband, Richard, whose love she had taken for granted. In the realm in which she find herself now, these sins of omission loom enormous, and worse, are being used by an evil sorcerer as a breach by which he can enter the atemporal realm, affect the future, and precipitate the Apocalypse. Lester needs to ask forgiveness of her schoolmate, and just as importantly, receive it. Then she needs to assure her grieving husband that she did appreciate his love. In doing just these simple things, she thwarts cosmic evil and knits the Earthly City to the Heavenly
The first few times reading Williams’ fiction, I was surprised at the great weight he placed upon what would to anyone else appear to be very small courtesies and the exchange of social conventions. Three decades of contemplation, I believe, had led me to believe that the answer lies in Williams’ peculiar doctrine of coinherence. I want to discuss coinherence more rigorously in later posts, but right it will suffice to say that coinherence is an extension to human life of the con-substantiality of the Holy Trinity, how the Blessed Three can simultaneously exist, and be adored, as One and as Many.
2) The Dawn Treader‘s Approach, and Reepicheep’s Departure, To Aslan’s Country from CS Lewis, Voyage Of The Dawn Treader
I think there are a lot of people for whom Reepicheep, the courtly Lord of the Talking Mice of Narnia, is a favorite character in the series. Certainly, he is a throughback to an earlier time, when Honor and Chevalrie mattered. Despite his obvious authority, Reepicheep is no tyrant. He understands that there is greater glory of to a king by being the free Lord of a free people than by being the master of slaves.
The approach of the Dawn Treader to Aslan’s Country, in increasing power and light, reminds me of two things; the first is the passage of Bunyan’s Pilgrims through Beulah Land on the very outskirts of the Celestial City:
Now I saw in my dream, that by this time the pilgrims were got over the Enchanted Ground, and entering into the country of Beulah, whose air was very sweet and pleasant, the way lying directly through it, they solaced themselves there for a season.
Yea, here they heard continually the singing of birds, and saw every day the flowers appear in the earth, and heard the voice of the turtle in the land. In this country the sun shineth night and day: wherefore this was beyond the Valley of the Shadow of Death, and also out of the reach of Giant Despair; neither could they from this place so much as see Doubting Castle. Here they were within sight of the city they were going to; also here met them some of the inhabitants thereof; for in
this land the shining ones commonly walked, because it was upon the borders of heaven.
The second is the Seraphic hymn sung in every Orthodox Divine Liturgy at the termination of the Liturgy of the Word and the commencement of the Liturgy of the Mysteries.
Οἱ τὰ Χερουβεὶμ μυστικῶς εἰκονίζοντες, καὶ τῇ ζωοποιῷ Τριάδι τὸν τρισάγιον ὕμνον προσᾴδοντες, πᾶσαν τὴν βιοτικὴν ἀποθώμεθα μέριμναν, ὡς τὸν Βασιλέα τῶν ὅλων ὑποδεξόμενοι, ταῖς ἀγγελικαῖς ἀοράτως δορυφορούμενον τάξεσιν. Ἀλληλούϊα.
“We, who mystically represent the Cherubim, sing the thrice holy hymn to the life giving Trinity. Let us set aside all the cares of life that we may receive the King of all, Who comes invisibly escorted by the angelic hosts.”
There are those among us who seem always to dwell in Beulah Land, in the suburbs of heaven. I seldom meet these people these days. The last was an old-school Pentecostal preacher-woman in her 90s. But the language of the Liturgy reminds us that there is passage into Aslan’s country every week. Most of us, like the other sailors on the Dawn Treader have to return to the difficulties and cares of the “biotikan merimnan”.
But, like Reepicheep, we don’t have to.
1) Frodo And Sam At The Cracks Of Doom from JRR Tolkien, The Return Of The King
Her is the recapitulation of all things Inkling; the triumph of the lowly and merciful over the arrogant pitilessness of power, the fatal inability of egotism to discern the motivations of sacrificial love, and the intervention of Providence when all the best intentioned plans of Men, Wizards, Elves, and Hobbits fail.
True good wins a substantial victory over true evil, and although the Shadow, though submerged, always takes new form and reemerges, the Days of the King may soon be upon us.
May they last while the thrones of the Powers endure.
I have to apologize for subjecting the readers of this blog to two rambling and practically incoherent essays on “epistemology” and Owen Barfield without taking the time to read much of what Barfield actually had to say.
Barfield is not easy reading. It takes effort to follow his arguments and even more effort to decipher where he wants you to go with what he is giving you. Fortunately, I started with a book of his that covers very familiar territory: Owen Barfield on CS Lewis is a collection of essays and addresses, written or delivered at various times after Lewis’ death, in which Barfield remembers and comments on the thought and writings of his intimate friend, CS Lewis.
What struck me deeply about the book was the profound affection Barfield felt for his absent friend. Although the period of their deepest communion was a brief two years while they were both still undergraduates, the two of them were fortunate in being able to continue their friendship for the remainder of their lives. In addition, their friendship appears to have been one of those which Lewis himself described in The Four Loves; one in which the friendship is enriched rather than diminished by the inclusion of other friends. Charles Williams, J.R.R . Tolkien, Walter Hooper, Barfield’s fellow Steinerite A.C. Harwood, Joy Davidson, and the phelgmatic Mrs. Moore, with whom Lewis conducted a maybe-not-so-platonic affair for the majority of his adult life, all make their way into the narrative and are all remembered by Barfield with great fondness.
The book is as much about Barfield’s thought as it is about Lewis. The best essay in the collection, “Either:Or: Coleridge, Lewis, and Romantic Theology” is also the densest and most impenetrable. Only twice have I had the unsettling experience of reading something that I was certain would tie up all the loose ends I have flapping around in my mind and present me with a Unified Field Theory of God, Life, Logic, Language, Imagination, Knowledge and Everything. Both times I have been following the thread of the writer’s argument with increasing excitement, saying “amen” under my breath to everything he has to say, when suddenly the writer sprouts wings and the argument flies into the Empyrean leaving me quite behind. I plod along through pages of material I cannot begin to assimilate until I come through to the other side, where the writer descends once again to my level of understanding. However, I find the world and everything in it completely changed as a result of something that occurred in that upper storey to which I, alas, still have no access.
The first time was while reading Zen and The Art Of Motorcycle Maintenance by Robert Pirsig. The second was while reading the essay I mentioned above. Interestingly, both works dealt with something akin to what Barfield says that Coleridge called “polarity”. When two concepts are logically opposed, they cannot both be right any more than two physical objects can occupy the same space. However, when two concepts are in polar opposition, each one necessarily generates the other and is transformed into it. Barfield states that the proper faculty for the apprehension of this is not so much the logical, critical faculties of the intellect but rather the imagination. Here we run into problems. The imagination is suspect in our day and age since it is routinely relegated to the realm of the non-existent or the false.
You can see this the most clearly in the modern (not post-Modern) attitude towards the traditional Lives of the Saints among most Protestants and their fellow travelers for whom whatever could have been recorded by a time-traveler with a video camcorder is considered true and everything else is imaginary; that is to say – false, illusionary, leading to deception. Of course, these same Protestants take it very hard when you approach the Bible itself with the same attitude. You are either told that if you refuse to hear the voice of God speaking in the Bible, you are not likely to consider the truth if it comes to you from another source (presuppostional apologetics), or you are buried in a avalanche of minutae about Darius the Mede or ingenious arguments about alternative dates for the regencies of Hebrew kings (evidential apologetics).
Remember my earlier discussion of Francis Schaeffer and Malcolm Muggeridge? Schaeffer is a firm believer in Christianity as the great historical religion. I take this to mean that Schaeffer believed with all of his heart that if he had been a time-traveler with a camcorder he would have captured a woman, a snake, and an apple. To be very fair to Schaeffer, I believe this myself and unapologetically, but I am getting very close to the opinion that it is the wrong question to be asking. For example, if someone had been present with a tape recorder at the time recorded by John 12:28,29 , would he have recorded the voice of God the Father, the voice of an angel, or a simple thunderclap?
I think that what Barfield is saying is that imagination is as active a component in establishing the truth of a thing, especially the truth of a person, as is what Carlyle referred to as “imperial analysis”. To illustrate what I mean, go and see Father Stephen’s embedded video of Saint Nikolai Velimirovich, where the saint, at the end of the video, is portrayed in a series of photographs as an aging man, then finally, as an icon. Now an icon is a product of the Church’s contemplation of that saint. Barfield, I believe, would call it an exercise of the Church’s imagination, as if, when the man who can be caught on video and photograph perishes, he is meant to be translated into legend.
