The Magician's Book

Jordan Davis recently wrote a review of Laura Miller’s Magician’s Book in the May 25th edition of The Nation.

The review, titled “Into the Wardrobe: C.S. Lewis’s Narnia,” has just been posted on line.  In it, Davis makes observations about C.S. Lewis, his writings, and Laura Miller’s book, most of them aimed at exploring Miller’s central question about how readers form strong, and even lifelong, connections to Lewis’ stories, especially Narnia.

Here are a two excerpts:

Born in 1898 to a Belfast solicitor and his mathematics-trained wife, C.S. Lewis, or Jack, as he preferred to be called, was deemed by his tutor for the Oxford entrance exams to have been “born with the literary temperament,” and “while admirably adapted for excellence and probably for distinction in literary matters, he is adapted for nothing else.” It was true. An admirer of Beatrix Potter, young Jack wrote talking-animal novels and came to have hopes of success as a poet. One thing got in the way: he was not a poet. And not, by the way, in the manner in which Ford Madox Ford wasn’t a poet–Ford in his poems lived up to his standard that poetry should be at least as well written as prose. Lewis talked down to himself in his poems; this is the fatal flaw in much of what we know as bad poetry…

…In his criticism and the Narnia books, Lewis puts a premium on lush physical description, going beyond sight and sound to emphasize smell, taste and touch whenever possible. And he has the knack for what Soviet critic Viktor Shklovsky called ostranenie, or “enstrangement”–presenting familiar objects, scenes, feelings or even religious beliefs in an unfamiliar light so that the reader can experience them as if for the first time. These are indispensable qualities of Lewis’s best work, but they do not in themselves explain the fervor with which young readers form lifelong attachments to his stories.

For the full article, please visit The Nation by clicking here.

I recently ran across this article on Christianity and its presence in science fiction films in the last several years and wanted to share it with you.  Here’s an excerpt:

There is a young man, different from other young men. Ancient prophecies foretell his coming, and he performs miraculous feats. Eventually, confronted by his enemies, he must sacrifice his own life-an act that saves mankind from calamity-but in a mystery as great as that of his origin, he is reborn, to preside in glory over a world redeemed. Tell this story to one of the world’s 2 billion Christians, and he’ll recognize it instantly. Tell it to a science-fiction and fantasy fan, and he’ll ask why you’re making minor alterations to the plot of The Matrix or Superman Returns. For reasons that have as much to do with global politics as with our cultural moment, some of this generation’s most successful sci-fi and fantasy movie franchises follow an essentially Christian plotline.

Hallelujah!” cries a minor character early in The Matrix, the 1999 cyberpunk flick, directed by Larry and Andy Wachowski, that took the nation by storm and, together with its two sequels, raked in about $600 million domestically. “You’re my savior, man, my own personal Jesus Christ.” The character is addressing Thomas Anderson, a restless computer hacker, played by Keanu Reeves, who goes by the handle “Neo” and has sold him some precious illegal software. It’s just one of the movie’s many references to its central inspiration. Neo, we learn eventually, is in fact a nearly divine savior, the Jesus Christ of the bizarre world in which he lives.

For the full article, go to http://www.city-journal.org/2009/19_1_urb-science-fiction.html