Sherry Chandler » More on The Narnian
More on The Narnian
from PRISONER OF NARNIA. How C. S. Lewis escaped. by Adam Gopnik in The New Yorker for November 21, 2005.
“Everything began with images,” Lewis wrote, admitting that he saw his faun before he got his message. He came to Bethlehem by way of Narnia, not the other way around. Whatever we think of the allegories it contains, the imaginary world that Lewis created is what matters. We go to the writing of the marvellous, and to children’s books, for stories, certainly, and for the epic possibilities of good and evil in confrontation, not yet so mixed as they are in life. But we go, above all, for imagery: it is the force of imagery that carries us forward. We have a longing for inexplicable sublime imagery…
For poetry and fantasy aren’t stimulants to a deeper spiritual appetite; they are what we have to fill the appetite. The experience of magic conveyed by poetry, landscape, light, and ritual, is . . . an experience of magic conveyed by poetry, landscape, light, and ritual. To hope that the conveyance will turn out to bring another message, beyond itself, is the futile hope of the mystic. Fairy stories are not rich because they are true, and they lose none of their light because someone lit the candle. It is here that the atheist and the believer meet, exactly in the realm of made-up magic. Atheists need ghosts and kings and magical uncles and strange coincidences, living fairies and thriving Lilliputians, just as much as the believers do, to register their understanding that a narrow material world, unlit by imagination, is inadequate to our experience, much less to our hopes.
Meanwhile, Anthony Lane, in his December 12 review in the same magazine, says this:
Lewis lovers must squabble among themselves. I cannot join the party, having missed out on Narnia as a child. I was busy elsewhere, up to my armpits in hobbits, and starting to ask hard questions about the sexual longevity of elves. When, as a grownup, I finally opened “The Lion, the Witch, and the Wardrobe,” it struck me as woefully thin soil, with none of the gnarled roots of lore and language on which Tolkien thrived. If the movie has to forgo Lewis’s narrative tone, with its grimly Oxonian blend of the bluff and the twee ( “And now we come to one of the nastiest things in this story”), that is fine by me. And, if there is Deep Magic, as Lewis called it, in his tale, it resides not in the springlike coming of Aslan but in the dreamlike, compacted poetry of Lewis’s initial inspiration—the sight of a faun, in the snow, bearing parcels and an umbrella. That is kept mercifully intact in Adamson’s movie, its potency enriched by the shy, unstrenuous rapport of his two best performers: Georgie Henley, as Lucy, and James McAvoy, as Mr. Tumnus the faun. The dark joke is that Mr. Tumnus invites Lucy to tea only because he must turn his guest over to the enemy. Thus does Lucy, over toast and honey, learn the lesson known to the heroine of every horror flick: Don’t answer the faun.
Twee, my husband just recently told me, comes from baby-talk for sweet.
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