Like a lot of young boys growing-up in Christian homes I was introduced to the Chronicles of Narnia early on. The whimsical setting caught my imagination as it had so many others, though perhaps to a lesser extent than others. They were enjoyable, and I read them through several times. And that would have been it for me…
Then in high-school I began to encounter those who had read the Chronicles of Narnia, and seemed to believe that in doing so they had reached the pinnacle of theological literature. Given my context it wasn’t all that disappointing, but still disappointing enough. Why were children’s stories expected to hold vast wealth of doctrinal riches? Expecting such in Lewis’ nonfiction, or even his adult fiction is understandable as he was by all accounts a staggeringly intelligent man; but couldn’t children’s stories simply be children’s stories?
Years later as I awaited the beginning of a seminary lecture, I overheard a conversation between two peers regarding the implications of the climactic scene of the Last Battle to Lewis’ overall theology. I will not attempt to reproduce the argument here, but the general notion appeared to be that the Narnia stories should be discarded as they presented a distorted picture of God through a very distorted eschatology: among other distortions. What are these Chronicles of Narnia?
The discussions about the books caught my interest more than the books ever did. Every book, and series has its devotees who discuss, and debate, and philosophize about the stories and their meanings; but this was something else. The Chronicles of Narnia seemed to be under interrogation by people who were looking for something beyond the stories. It seemed as if these children’s books had something to hide.
I never felt this suspicion. To me the books never suggested there was something behind the narrative. I never felt there was a covert agenda. Lewis’ intent appeared to be telling the stories of this make-believe world from his own childhood. The influence of his faith is present to be sure, as is his mastery of literature particularly the tropes of fairy-tales, folklore, and mythology. Indeed, Lewis’ appears most to be working within the realm of fairytales.
I would not call these Christian fairytales any more than I would label the Brother’s Grimm, or Hans Christian Anderson’s work as such. I think the label gets the words out of order, these are fairytales (or if prefer fantasies) first, and Christian second. The story is being told for its own sake, not for the sake of Christianity per se. Lewis did write other fictional works that are truly Christian fiction; The Screwtape letters, The Great divorce (though it is hotly debated), and to a lesser extent That Hideous Strength. These are more worthy of interrogation. Most worthy of interrogation are Lewis’ non-fiction works in which his theology is clearly in view.
With all these other more explicitly theological works available for questioning, why did Narnia keep coming up? I think one answer is that it was made for children, and is often encountered in the formative stages of childhood, when stories can make deep and lasting impressions upon us. The Chronicles of Narnia stand out in the field of children’s literature, and especially the field of Christian children’s literature because, it is intelligent, well crafted, and just big enough to capture and hold the imagination without overwhelming it. Narnia is a gateway to the wider worlds of fantasy. So, it easy to see how these particular books might come to occupy a special place for their readers. Especially when we consider that parents, and grandparents might pass them down to the latest generation.
Then there is that Christian label which leads us to expect certain things from the books, which perhaps the books were never meant to contain or convey. We want a message behind the story, a doctrinal lesson in every installment; and we don’t really get that in Narnia. There are some clear analogies particularly in The Magician’s Nephew; and The Lion, the Witch, and the Wardrobe. However, they are not precise analogies. Aslan’s relationship with the various personifications of evil is not quite in-line with orthodoxy. The moral lessons of Edmund, and Eustice Scrubb do fit the Judeo-Christian ethic, but such lessons are not always so easy to pick out of the works: at least not that I remember. So, if we came here looking for instruction, it appears we must either go away disappointed, or else read into the text.
Lewis has written about the Narnia books, just enough to guide readers expectation; but I wonder if Lewis’ own expectation of readers failed to account for modern developments? There have always been stories told to instruct. There have also been stories meant to persuade, and I wonder if this sort of story-telling is on the rise. It surely feels as if 7 out of 10 stories these days are trying to convince us of something. The story is a means to an end, and not an end in itself. As if we start with an agenda and craft a story. From what I understand C. S. Lewis started with a story, and whatever agenda there was it was made to fit the sorry. This is speculation, but perhaps we have become so accustomed to agenda stories that we do not trust stories anymore? We expect every story is here to sell us something, trying to get a foot in the door of our thinking. Have we got to a place where one does not simply tell a story?
What if we set aside expectations of doctrinal substance and examined the Chronicles of Narnia simply as children’s fantasy novels? This is the question I have wanted to ask since that day in seminary. The assertion I have wanted to make since high-school is simply this, these books are not theological treatises. I do not even believe they are pure illustrations of the faith like Bunyan’s allegories. They have a Christian overtone, and really that is all I would expect from them.
As Children’s fantasies from a Christian writer there are some questions, we might rightly ask of he Chronicles of Narnia. What are the responsibilities of Christian children’s literature? How should Christian’s work within the genre of fantasy fiction, or should we be in the genre at all? Is it acceptable for a Christian writer to employ magic in his narrative? These are questions I have not yet heard, but I hope someday I will.
These stories need to be approached with some discernment to be appreciated. That same discernment should protect against distorted theology. The main reason I might encourage someone to read these volumes is because they are well crafted and historically significant. I could not recommend them for any other reason.
I really don’t have anything more to say, and so shall leave the Land of Narnia behind. Onward!
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