Archives For Writing

Some people become parents and others do not. This column isn’t about the complex considerations that determine which path each individual follow. We all know people in each situation who are happy—as well as those who are dissatisfied.

I want to consider here a single reason some people choose not to have children. There are, of course, many valid reasons for not bringing children into this world, but this one struck me as particularly odd.   

Before we look at the interview question, allow me to offer a thesis that I believe most writers would agree with. Not all would concur, but don’t you think there would be strong consensus with this statement:

Raising children makes being a productive writer more challenging.

It’s pretty logical that the time spent actively parenting children leaves an author with less time to pursue their writing. Especially if they are a good mother or father.

Sure, kids provide us with some great stories and inspiration that can occasionally be worked into an article or story. But unless we’re a Dave Barry, an Erma Bombeck or a Bil Keane, people won’t line up to read about our children’s hijinks. So, if you were to balance the scales, I think we’d be hard-pressed to make the case that the addition of children to our household will make our writing more prolific.

In a recent interview with Forbes columnist Amity Shlaes, the editor of World Magazine raised this subject in an unusual way. Here is the question: “I talked with a Harvard economist years ago who said he was deliberately not having any children because he felt each child would lose him a book. You and I each have four children, and yet we’ve written books. Did you ever do a calculation like this foolish Harvard economist?”

Shales’ response was thoughtful. “Well, I’m very lucky in the husband department. He wanted lots of children and didn’t mind the work. But the main thing is: Children enrich life, they don’t impoverish it. You’d often be richer in dollars if you’d had no children, but with kids you’re richer in social capital, in happiness . . .”

It will come as no surprise that I agree with Shales’ opinion (with the substitution of “wife” in the first sentence). But the idea that struck me as rather shocking in this interchange was the reason the economist gave for opting not to have children: “because he felt each child would lose him a book.”

Wow. That is a pretty honest, and rather crass calculation. I won’t argue with his domestic equation, but it makes me shake my head. I can’t help but wonder how he will feel at the end of his life when he looks at his bookshelf of soon-to-be-forgotten titles and contemplates whether his choice was wise.

Lewis’ Personal Experience

C.S. Lewis was one of the most prolific writers. And he wrote in an expansive range of genres. It could easily be argued that his bachelorhood provided him with the time to write. That, in addition to the creative fountain provided by the Inklings made for a productive environment.

When he became a father, he was extremely conscientious. The boys were sent to private (or, in British parlance, “public”) schools after their mother’s death. However, that was the norm for children in their comfortable economic circumstances.

Lewis loved his sons, and did the best he could to be a father to them, despite his lack of confidence. Lewis was still the man who many years earlier (in 1935) wrote to his closest friend: “I theoretically hold that one ought to like children, but am shy with them in practice.” A decade later, in one of his most powerful books, Lewis confessed “I myself do not enjoy the society of small children . . . I recognize this as a defect in myself” (The Abolition of Man).

Self-awareness is a mark of intelligence and honesty. I strongly believe Lewis put the lie to his self-criticism about lacking a rapport with children, with his wonderful letters written to children.*

It could be argued that parenthood was one of the factors that affected Lewis’ literary production. Brenton Dickieson has a chart showing his annual production of books, here. Another scholar, Joel Heck, has done the world a great service by providing the definitive chronology of C.S. Lewis’ life and work, available here.

Lewis did not marry earlier in his life because he considered himself a confirmed bachelor. Joy’s unexpected arrival transformed his life.

But, even before he became a (step-)father, he would never have uttered the sentiment of the Harvard professor.

A book or a child? Which shall it be? If that is a difficult question for someone, here’s my advice: “Please just write your books; you’d probably make a lousy parent anyway.”


* C.S. Lewis was able to speak clearly to children. And, unlike so many adults, he did not speak down to them. While toddlers may have remained a mystery to him—and he never parented any—he respected children’s questions, and offered wise advice.

On putting one’s life in its proper order: “You are quite right if you mean that giving up fun for no reason except that you think it’s “good” to give it up, is all nonsense.”

And, how is this for a thoughtful, practical comment: “All schools, both here [in England] and in America, ought to teach far fewer subjects and teach them far better.”

Wise counsel to a young person (or anyone): God knows quite well how hard we find it to love Him more than anyone or anything else, and He won’t be angry with us as long as we are trying. And He will help us.”

And, one particularly inspiring comment about faith: “Anyone in our world who devotes his whole life to seeking Heaven will be like Reepicheep” in The Voyage of the Dawn Treader.

Do you practice anodyne writing? Or, perhaps you enjoy reading anodyne literature?

Talk about a phrase with two different meanings!

I must not be reading the right publications, because until recently I was only aware of the medical sense of the word. Apparently I’m not alone in having forgotten the second usage (if I ever knew it). One “publication coach” writes:

I always welcome the chance to learn new words—or to cement the knowledge of words I should know already. Anodyne falls into this latter camp. I probably confer with my dictionary at least once a year to determine the meaning of this word and yet, despite the frequent checking, I can’t seem to hold the definition in my brain.

Like so many words, anodyne enters English, via Latin, from Greek. It’s literal meaning is “without pain.” Thus, it typically refers (as a noun) to medicines or medical treatments devoted to eliminating pain.

By extension, anodyne is also applied (as an adjective) to other things, such as writing. In this context it would refer to writing where the purpose is to comfort, or to alleviate pain. This is the good sense of the word.

An example of this use appears in “L.M. Montgomery’s The Watchman and Other Poems, a Review.” There, Brenton Dickieson expertly describes the value good-but-not-great poetry by affirming its reassuring essence in its historical context. “Any one of these poems is quite nice on its own and an anodyne to the negative poetry of many of the WWI poets.” A positive, and astute, assessment.

There is, however, a second sense in which anodyne is applied to literature.* It may mean something so inoffensive, so innocuous, that it becomes boring.

At one university writing center they describe this evolution of the word.

[An anodyne word] lets a disturbing idea be described in a soothing manner. . . .

The OED Online lists several definitions, all about a procedure or medicine that eases pain, the oldest dating from the 16th Century. Only more recently has the word come to include anything that may avoid a strong response. It can mean something so inoffensive as to be bland, the cafeteria pudding of language.

So, as for anodynic writing, it is admirable when it relieves pain and suffering. If its primary goal is to be innocuous, that’s another matter. Essentially, comfort—good, pablum—not so much.

Lewis’ Use of Anodyne

Unsurprisingly, C.S. Lewis uses this word in its positive sense of alleviating discomfort. Two occurrences in The Screwtape Letters will illustrate. (Remember, these words of the counsel of one demonic tempter to another.)

But hatred is best combined with Fear. Cowardice, alone of all the vices, is purely painful—horrible to anticipate, horrible to feel, horrible to remember; Hatred has its pleasures. It is therefore often the compensation by which a frightened man reimburses himself for the miseries of Fear.

The more he fears, the more he will hate. And Hatred is also a great anodyne for shame. To make a deep wound in his charity, you should therefore first defeat his courage.

Not only do the demons seek to foster hatred in their human targets, they encourage us to seek counterfeit solace in destructive places.

In the first place I have always found that the trough periods of the human undulation provide excellent opportunity for all sensual temptations, particularly those of sex. This may surprise you, because, of course, there is more physical energy, and therefore more potential appetite, at the peak periods; but you must remember that the powers of resistance are then also at their highest.

The health and spirits which you want to use in producing lust can also, alas, be very easily used for work or play or thought or innocuous merriment. The attack has a much better chance of success when the man’s whole inner world is drab and cold and empty. . . .

It is the same with other desires of the flesh. You are much more likely to make your man a sound drunkard by pressing drink on him as an anodyne when he is dull and weary than by encouraging him to use it as a means of merriment among his friends when he is happy and expansive.

Never forget that when we are dealing with any pleasure in its healthy and normal and satisfying form, we are, in a sense, on the Enemy’s [God’s] ground. I know we have won many a soul through pleasure. All the same, it is [God’s]  invention, not ours. He made the pleasures: all our research so far has not enabled us to produce one. All we can do is to encourage the humans to take the pleasures which our Enemy has produced, at times, or in ways, or in degrees, which He has forbidden.

Having read the majority of what C.S. Lewis published, I assert with certitude that his writing is anodyne—it is healing. Some of it may be discomforting (for a moment), and much of it may be demanding (in the sense of requiring our mental and spiritual focus to understand it), but it was all written to edify.

Postscript, Star Date 73890.7

There is one more use of the word anodyne which I did not include above, due to its fictional source. In the Star Trek universe, the starships rely on a massive number elements, including the ubiquitous “anodyne relay.”

The circuits invariably appear to be perfectly reliable during routine missions. However, they are prone to malfunctioning at critical moments and threatening the lives of everyone aboard.


* Anodyne is also applied—in both its positive and negative senses—to music and other activities.

No one can teach us to “write like C.S. Lewis.” The great author was definitely one of a kind.

It is possible, however, to study Lewis’ advice about writing. And that is a journey well worth taking.

Many students of C.S. Lewis are quite curious about his advice for writing well. And, for the proverbial “limited time,” the premier study of that subject is available at an unbelievable price.

The kindle version of C. S. Lewis and the Art of Writing: What the Essayist, Poet, Novelist, Literary Critic, Apologist, Memoirist, Theologian Teaches Us about the Life and Craft of Writing is only three dollars at amazon. (Great subtitle, right?)

Coincidentally, I only recently purchased the volume for my Logos library (at a significantly higher cost). I’ve yet to read it, but it appears to be worth what I paid. Still, I don’t want any readers of Mere Inkling to miss out on this opportunity to get such a bargain.

Wipf and Stock, the publishers, regularly place a few titles from their excellent list on sale. The current offering features another book I previously purchased at full price, The Gospel According to Star Trek: The Original Crew. (I mention that, confident there is at least one other trekkie out there reading this.)

Writing about Writing

Many people who follow blogs such as Mere Inkling are bloggers themselves. It’s rare to find a writer who doesn’t also like to read. And because of the complementarity of reading and writing, books about writing always find an audience.

In my “works in progress” (research) files, I have a handful of projects related to writing. One of them is—digital drumroll—C.S. Lewis on Writing.

That’s the main reason I haven’t begun reading the book I’m recommending. While I assume our approaches to the topic will be different enough to avoid any suggestion of plagiarism, I’m reluctant to open the door to unsought influences.

I have never plagiarized, and never will. In fact, I tend to overattribute thoughts. So, eventually I will read the work, since I’m forearmed with my integrity, and I understand that, as a well-known science fiction writer once reminded me . . .

Ideas cannot be copyrighted—only the particular expressions of ideas are protected by copyright.

As the writer of “5 Things that Can’t be Copyrighted” says:

Ideas can not [sic] be copyrighted because they are not fixed into a tangible medium of expression. For a work to be copyrighted, it has to be written down, saved to a hard drive or somehow otherwise fixed.

For example, if you give a speech but fail to write it down first and it isn’t recorded, there is no copyright protection. . . . it is the expression of the idea that is protected. My “5 Things That Can’t Be Copyrighted” post is fixed, but you can certainly write your own post with the same title and idea. However, you can not use my exact words, unless, of course, you follow my CC [Creative Commons] license.

Those of you who are American can learn more about protections covered in the United States at this site. They dispel some of the myths associated with copyrights, such as whether something must be (1) “published” or (2) registered to be protected. (The answer to both is “no.”)

Someday you may have an opportunity to read C.S. Lewis on Writing by yours truly. In the meantime, don’t miss the opportunity to add C.S. Lewis and the Art of Writing to your personal library.

Sand is a fascinating, and awe-inspiring, substance. It evokes a variety of reactions, depending on our personal histories and preferences. Some smile as they contemplate lounging on warm, smooth beaches. Others may grimace as they recall desert experiences where they struggled to remain hydrated, and sandy grit seemed to work its way into all those places it didn’t belong.

Some places have lots of sand. For example, 80% of Turkmenistan is covered by sand. And yet, this doesn’t stop them from wanting more! Turkmenistan determined theirs wasn’t appropriate for building a racing track, so they paid $1.3 million for British sand.

Turkmenistan is so stark that one of its main tourist attractions is a fiery crater on a barren landscape that is called the “Door to Hell.” National Geographic participated in an expedition which included a descent into the 100 foot deep inferno.

The idea of a nation of unending sand purchasing even more, brought to my mind a familiar verse from Coleridge’s “Rime of the Ancient Mariner.” And recalling the relentless flames of their methane pit, inspired me to pen my own variation of that theme.

Water, water, every where,
And all the boards did shrink;
Water, water, every where,
Nor any drop to drink.
(Samuel Coleridge)

Sand, sand, everywhere,
But not a grain to sell;
Sand, sand, everywhere,
A scorched foretaste of hell.
(Robert Stroud)

Lewis and Irish Sand

It is no surprise to readers of Mere Inkling, that we can find a Lewisian connection to even something so inconsequential as rocks* which have been weathered and worn into small fragments.

Like most of us, Lewis encountered sand in a variety of settings. In the 1950s he made a trip to Donegal, where he noted its distinctive beaches.

My correspondence has lately been in much the same state as yours: that is, on coming back from a holiday in Ireland I found about 60 letters to deal with. I had a lovely time over there: the best part in Donegal, all Atlantic breakers & golden sand and peat and heather and donkeys and mountains and (what is most unusual there) a heat wave and cloudless skies. Walks were much interrupted by blackberries: so big and juicy, and sweet that you just couldn’t pass without picking them.

To another friend, he wrote:

I was with a friend in Donegal which is a very fine, wild country with green mountains, rich secretive valleys, and Atlantic breakers on innumerable desolate sands.

But alas!, they get less desolate every year and it will soon be just a holiday resort like so many other places. (One always disapproves of all holiday-makers except oneself!)

Sand as a Metaphor

Everyone knows sand. That is especially true of the people who populated the lands of the Bible. From Ur to Egypt to Jerusalem, they encountered more than their share.

Because of its familiarity, and its unique traits, sand provides fertile soil [sorry] for producing metaphors. A couple, for example, from the Scriptures themselves.

[God speaking to Jacob] “I will surely bless you, and I will surely multiply your offspring as the stars of heaven and as the sand that is on the seashore.”
(Genesis 22:17)

[Description of the combined army facing the Hebrews in Canaan] “And they came out with all their troops, a great horde, in number like the sand that is on the seashore, with very many horses and chariots. And all these kings joined their forces . . .”
(Joshua 11:4)

“How precious to me are your thoughts, O God!
    How vast is the sum of them!
If I would count them, they are more than the sand.”
(Psalm 139:17-18)

But sand is not simply used to illustrate multitudes or numbers.

“A stone is heavy, and sand is weighty,
    but a fool’s provocation is heavier than both.”
(Proverbs 27:3)

[From a description of the Messianic Age]
“Then the eyes of the blind shall be opened,
    and the ears of the deaf unstopped;
then shall the lame man leap like a deer,
    and the tongue of the mute sing for joy.
For waters break forth in the wilderness,
    and streams in the desert;
the burning sand shall become a pool,
    and the thirsty ground springs of water . . .”
(Isaiah 35:7)

[God declares his power]
“Do you not fear me? declares the Lord.
    Do you not tremble before me?
I placed the sand as the boundary for the sea,
    a perpetual barrier that it cannot pass;
though the waves toss, they cannot prevail;
    though they roar, they cannot pass over it.”
(Jeremiah 5:22)

[Jesus said] “Everyone who hears these words of mine and does not do them will be like a foolish man who built his house on the sand.” (Matthew 7:26)

C.S. Lewis’ Use of Sand as a Metaphor

In Mere Christianity, Lewis alludes to Jesus’ words when he says even the best human beings will disappoint. Only the trust placed in Christ will never disappoint.

We must go on to recognise the real Giver. It is madness not to. Because, if we do not, we shall be relying on human beings. And that is going to let us down. The best of them will make mistakes; all of them will die. We must be thankful to all the people who have helped us, we must honour them and love them.

But never, never pin your whole faith on any human being: not if he is the best and wisest in the whole world. There are lots of nice things you can do with sand: but do not try building a house on it.

In Surprised by Joy, Lewis explains his concept of Joy and how it relates to longing for heaven and being in the presence of God. In his description of how flashes of wonder grace our lives, he warns we should not confuse them with the ultimate joy for which we yearn.

I saw that all my waitings and watchings for Joy, all my vain hopes to find some mental content on which I could, so to speak, lay my finger and say, “This is it,” had been a futile attempt to contemplate the enjoyed.

All that such watching and waiting ever could find would be [merely] an image . . . I knew now that they were merely the mental track left by the passage of Joy—not the wave but the wave’s imprint on the sand.

A final example comes from Lewis’ under-appreciated Pilgrim’s Regress. One of the archetypal characters, Mr. Savage, attempts to waylay young Christian from following the Landlord (i.e. God).

“But as [belief in the Landlord] is not true, there remains only one way of life fit for a man.” This other way of life was something he called Heroism, or Master-Morality, or Violence. “All the other people in between,” he said, “are ploughing the sand.”

Plowing the sand is an ancient idiom. And its meaning is fairly evident, even to those encountering it for the first time. An online dictionary says “ploughing the sand has been a proverbial image of fruitless activity since the late 16th century.” In truth, wasting one’s energies in this fruitless pursuit possesses far deeper roots.

In The Story of Troy, the author describes the efforts of Ulysses to avoid crossing the Aegean to fight a war for which he had forcibly argued. He feigned insanity to stay home.

[Ulysses] paid no heed, however, to the messages sent to him asking him to join the army at Aulis. Agamemnon resolved, therefore, to go himself to Ithaca to persuade Ulysses to take part in the expedition. He was accompanied by his brother Menelaus, and by a chief named Palamedes, a very wise and learned man as well as a brave warrior.

As soon as Ulysses heard of their arrival in Ithaca, he pretended to be insane, and he tried by a very amusing stratagem to make them believe that he was really mad. Dressing himself in his best clothes, and going down to the seashore, he began to plow the beach with a horse and an ox yoked together, and to scatter salt upon the sand instead of seed.

Fortunately for the great author, Homer, Ulysses’ ruse was exposed. And it was revealed in an act worthy of Solomon that gave dual meaning to the hero’s fruitless plowing of sand.

Palamedes, however, was more than a match in artifice for the Ithacan king. Taking Telemachus from the arms of his nurse, he placed the infant on the sand in front of the plowing team. Ulysses quickly turned the animals aside to avoid injuring his child, thus proving that he was not mad but in full possession of his senses. The king of Ithaca was therefore obliged to join the expedition to Troy.

It is my hope that you have found this post informative and entertaining . . . and that writing it does not constitute my own example of plowing the sand.


* Most sand was originally rock, although some beaches are predominantly composed of other materials. Many beaches are “almost entirely composed of worn down dead animal bits.” White sand beaches often have a different source, parrotfish excrement.

Parrotfish eat the algae that grow on coral. [Their] large, beak-like teeth (which inspire their name) help them break off and eat small pieces of coral. They have another set of teeth, called pharyngeal teeth [that] grind up the coral into small grains of sediment, which parrotfish then excrete in clouds of white powdery sand. (A single large parrotfish can produce hundreds of pounds of sand a year!) The sediment is distributed onto the reef and, eventually, can pile up above the surface of the water, forming islands like the Maldives . . .

C.S. Lewis loved rabbits. His affection for the cuddly rodents went all the way back to his childhood. And it continued through the whole of his life. In fact, you can read about “C.S. Lewis as an Advocate for Animals” at a Humane Society link below.*

Despite this affection, rabbits do not feature prominently in The Chronicles of Narnia. They are among the “statues” turned to stone by the Witch. In the description of Aslan breathing life back into them, it says, “then [Aslan] pounced on a tall stone dryad which stood beyond the dwarf, turned rapidly aside to deal with a stone rabbit on his right, and rushed on to two centaurs” (The Lion, the Witch and the Wardrobe).

Rabbits helped spread the word about an impending attack on Archenland in The Horse and His Boy. Shasta urges the animals to spread the word.

“Oughtn’t your High King to be told?”

“Certain sure, something ought to be done about it,” said the Hedgehog. “But you see I’m just on my way to bed for a good day’s sleep. Hullo, neighbor!”

The last words were addressed to an immense biscuit-colored rabbit whose head had just popped up from somewhere beside the path. The Hedgehog immediately told the Rabbit what it had just learned from Shasta.

The Rabbit agreed that this was very remarkable news and that somebody ought to tell someone about it with a view to doing something. And so it went on. Every few minutes they were joined by other creatures, some from the branches overhead and some from little underground houses at their feet, till the party consisted of five rabbits, a squirrel, two magpies, a goat-foot faun, and a mouse, who all talked at the same time and all agreed with the Hedgehog.

For the truth was that in that golden age when the Witch and the Winter had gone and Peter the High King ruled at Cair Paravel, the smaller woodland people of Narnia were so safe and happy that they were getting a little careless.

In The Last Battle we see a clear contrast between the types of animals which populate Narnia. Tirian, the last king of Narnia, is leading the children toward their destiny.

First, he had given Jill some practice in archery and found that, though not up to Narnian standards, she was really not too bad.

Indeed she had succeeded in shooting a rabbit (not a Talking rabbit, of course: there are lots of the ordinary kind about in Western Narnia) and it was already skinned, cleaned, and hanging up.

Back to the Beginning

When he was a child, beginning at age eight, Lewis began writing stories about “Animal Land.” His brother Warnie, several years older, joined him in composing stories inspired in part by their reading of the words of Beatrix Potter.

Animal Land is clearly the product of young children—children with wonderful imaginations—but children nonetheless. These various works have been published by Lewis’ stepson in a collection called Boxen. As Douglas Gresham writes, “In developing the world of Boxen, Jack appropriated the ‘dressed animals’ of Beatrix Potter and that part of their fictional world they called ‘Animal-Land,’ while Warnie (whose interests were always a touch more prosaic than Jack’s) made his half ‘India.’”

The world was thoroughly thought out, complete with maps and a historic chronology.

Animal-land is divided into 13 provinces. Bear-land, Wolf-land, Squirrel-land, Mouse-land, Rabbit-land, Pig-land, Bird-land, Horse-land, Fox-land, Land of Typical Animals, Insect-land, Rat-land, With the island of Piscia, or Fishland. . . . Rabbit-land is the first provence in learning and art.

Rabbits feature prominently in Boxen. The very first element is a script, entitled “The King’s Ring (A Comedy).” The introduction is delightfully childlike: “Interesting carictars. Famous ones. For instance, Sir Big, a world-famed gentleman. A very good choreus and nice scenry. (Slight comic tints in and out threw it.)”

The two protagonists are King Bunny, whose ring is stolen, and Sir Peter Mouse, his “knight in waiting” who aids him in finding it. It is filled with silly dialog, despite the serious plot. For example:

KING BUNNY: Tell Sir Goose to tell Sir Big to tell Mr Gold Fish to tell Gollywog to tell Mr Icthus-oress to tell Dorimie to tell the sailors to take Hit [the villain] away.

In his autobiography, Lewis wrote of his childhood home. “Here my first stories were written, and illustrated, with enormous satisfaction. They were an attempt to combine my two chief literary pleasures—‘dressed animals’ and ‘knights-in-armour.’

Drawing Pleasure from Real Life Rabbits

Lewis’ correspondence includes passing references to rabbits, always expressed in an approving way. For instance, in 1947 he mentions enjoying a memorable event during a boring time. “I wonder how you are all getting on? Nothing much has happened to me except that I saw a rabbit yawn. I suppose people who keep tame ones have seen it often but this was a wild rabbit and I thought it a very curious sight. It was a very bored triangular yawn in the middle of a long hot afternoon.”

During WWII, he penned a curious comment about rabbits recently added to his home.

We are keeping rabbits at the Kilns now, in addition to the hens! But they are very much nicer. As I passed the enclosure in which all the young ones are the other evening, I saw they had all got into a box which happened to be lying there.

They were all standing (or sitting) up on their hind legs and all facing in the same direction: so that they looked exactly as if they were conducting some kind of evening service—the box looked just like a pew.

While the rabbits were almost certainly present to supplement food rations during the war, they were not treated as commodities. Lewis appreciated them in the way he respected other creatures designed by God’s hand. Thus, he had what my wife and I would consider to be a well-rounded family—including one or more members of the non-human variety.

Lewis described this diverse household in a 1943 letter to June Flewett,⁑ one of the children evacuated to his home during the war.

Bruce [Lewis’ dog] behaved with great lack of fortitude during the thunderstorm last night and two of the rabbits made it an excuse for absenting themselves without leave. Pushkin [his cat] behaved better, but not well. In fact there is a general lack of keenness and discipline among the four-footed members of the household which I deplore.

One more story about an actual rabbit with which the great author developed an ongoing relationship.

In a 1942 letter to Sister Penelope CSMV, he says, “I am establishing quite a friendship with one of the rabbits which we now keep along with the deer in Magdalen grove. It was done by the discovery that he relishes chestnut leaves which grow too high for his reach. He doesn’t yet allow me any familiarities but he comes and eats from my hand.”

Lewis continues to describe his new friend, and adds a keen theological observation. “But oh!, the great lollipop eyes and the twitching velvet nose! How does [God] come to create both this and the scorpion?”

Later that same year, Lewis updates the Anglican nun on the status of his animal-friend.

The Rabbit and I have quarrelled. I don’t know why, unless I gave him something that disagreed with him. At any rate, he has cut me dead several times lately—so fair and so fickle! Life is full of disappointments.”

At that time he shared his disappointment with his lifelong friend, Arthur Greeves. “Did I tell you in my last letter that I’d struck up quite an acquaintance (almost a friendship) with a rabbit in Magdalen Grove who used to come and eat leaves from my hand? Alas, I must have given something that disagreed with him, for he disappeared for about 10 days, and since his reappearance has refused to look at me.”

It may be that same rabbit, or one of its kin, renewed its relationship with Lewis, because he referred to a similar experience in two 1944 letters to other children.

I live in a College here: a college is something rather like a castle and also like a church. It stands just beside a bridge  over a river. At the back of the part I live in there is a nice grove of Trees. There are a lot of Rabbits there. One very old rabbit is so tame that it will run after me and take things out of my hand. I call her Baroness Bisket because she is a kind of biscuit colour.

It’s not easy, nor is it usually relevant, to determine a bunny’s gender. So, Lewis may be excused for writing the following to the second young correspondent, six months earlier.

I am getting to be quite friends with an old Rabbit who lives in the Wood at Magdalen. I pick leaves off the trees for him because he can’t reach up to the branches and he eats them out of my hand. One day he stood up on his hind legs and put his front paws against me, he was so greedy. I wrote this about it:

A funny old man had a habit
Of giving a leaf to a rabbit.
At first it was shy
But then, by and by,
It got rude and would stand up to grab it.

But it’s a very nice Rabbit all the same: I call him ‘Baron Biscuit.’

Like C.S. Lewis, I adore rabbits. Years ago we had an indoor bunny, appropriately named “Sweetheart.” In her youth she acted like the cartoon character Ricochet Rabbit, pinging from place to place. In her senior years she settled down and was contented to be a cuddly lap bunny. I add my own “thank you” to Lewis’ for these precious parts of God’s creation.


* The Humane Society pdf is available here.

⁑ June Flewett is regarded as the inspiration for Lucy Pevensie in the Chronicles, and grew up to become an actress and theater director. C.S. Lewis paid for her tuition at the Royal Academy of Dramatic Art. When she and her two sisters were sent from London to the Kilns, her favorite author was C.S. Lewis. Ironically, it was a while before she learned that he and their host were one and the same.

Pen Names & Pseudonyms

April 28, 2020 — 13 Comments

Many great writers have used pen names, C.S. Lewis (and yours truly) included. Lewis, in fact, employed two.

There are a variety of reasons for writing under a pen name. While it may occasionally be done in order to deceive, most occurrences are utterly benign. For example, particularly in totalitarian states, the truth is dangerous to one’s health. In less authoritarian nations, reticence to use one’s own name might be motivated by fear of damage to one’s livelihood.

It’s also possible the writer simply has a personal desire to remain anonymous. This is the case with one of Lewis’ most important works. After the death of his wife, Joy Davidman, he composed one of his most moving works, A Grief Observed. For this candid reflection on grieving, Lewis attempted to maintain his privacy by ascribing the work to N.W. Clerk.  

My motivation for adopting a new pen name is different from all of these. More about that in a moment.

Here is a small sampling of writers you may know, who used pseudonyms for some of their work:

President John Adams, Isaac Asimov, Ray Bradbury, Anne Brontë, Emily Brontë, Pearl S. Buck, Anton Chekhov, Samuel Langhorne Clemens, Michael Crichton, Agatha Christie, Cecil Day-Lewis, D.B. Wyndham Lewis, Theodor Seuss Geisel, Henrik Ibsen, Washington Irving, Søren Kierkegaard, Stephen King, Dean Koontz, Edna St. Vincent Millay, Joanne Rowling, Aleksey Konstantinovich Tolstoy, just to name a few.

My personal opinion is that the best nom de plumes are not random or simply fanciful. Creating a pen name with an actual connection of some sort to the writer seems—to me—far more skillful. Case in point, Lewis’ use of the pseudonym “N.W. Clerk.” He created this name by combining the Anglo-Saxon “Nat Whilk” (meaning I know not whom) with “Clerk” meaning writer or scholar.

C.S. Lewis’ second pen name was also chosen for its specific meaning. Since boyhood, he had gone by the first name of Jack. With the pseudonym he used his actual name, Clive. For the surname, Lewis used his mother’s maiden name, Hamilton. Thus, Clive Hamilton.

His first two books were attributed in this manner. The first was Spirits in Bondage (1919), a collection of poetry. His second was begun while he was still a teenager. Dymer was a narrative poem with mythic elements. The first title is in the public domain, and available for download at Internet Archive. Both of the volumes were written, of course, while Lewis was an atheist.

My New Nom de Plume

In my own case, I recently devised a pen name for some satirical writing I am exploring. My purpose is not to mislead or confuse. In fact, it is expressly out of a desire to prevent confusion that I’ve assumed a pseudonym for my satire.

Even though I include humor in my writing, most of my work is essentially serious. This makes sense, for subjects such as faith, suffering, life, death, history, and eternity. I do not dissemble. As the Bible counsels, my yes means yes, and my no means no.*

Still, the very nature of satire means you are using language contrary to its face value. You are communicating tongue in cheek. You are frequently turning the language around upon itself so it communicates something quite different from what it literally says. Satire finds its fuel in irony, humor, hyperbole and even ridicule.

Skillful satire isn’t intentionally confusing. On the contrary, its message is almost always clear. Satire may sting the objects of its ridicule, and bring smiles to those who share your scorn for the institutions, policies, and individuals being taunted.

So, where, you may wonder, will this satirical writing be found . . . and under what pen name will you find it? I will be submitting some short pieces to The Salty Cee, a less commercialized alternative to The Babylon Bee. My pseudonym is Robert Charlesson, for reasons you can read about here.

Please check out my first news report: “Liturgical Medical Face Masks Now on Sale.”


* The actual passage I’m referencing, records Jesus criticizing making oaths to assure a person’s veracity. “Let what you say be simply ‘Yes’ or ‘No’; anything more than this comes from evil” (Matthew 5:33-37). I think it is consistent to extend this principle to always speaking honestly, regardless of whether we are making affirmative or negative observations.

During the middle ages, Scandinavia’s skálds were poets, storytellers and even musicians. They were the equivalent of bards in medieval British and Gaelic culture. They were oral historians, committed to memorizing their paeans verbatim, which was simpler since they were in poetic form. Not all skálds possessed the talents to create their own memorable epics. These lesser poets, so to speak, could still memorize and recite the classic or popular songs.

A graphic explanation for the difference in the talents of the first tier skálds and their inferiors is found in the Prose Edda which was written by Snorri Sturluson (1179-1241). Sturluson compiled Norse myths in his Edda, and the sagas of her kings in Heimskringla.

The second part of the Prose Edda is entitled Skáldskaparmál, which means the language of poetry. One of the myths it contains describes the Mead of Poetry. Mead, of course, is the rich Viking beverage created by fermenting honey.

As for poetry, I’ve written about it fairly often. (Most recently in respect to my “winning” entry in a Terrible Poetry Contest.) I’ve even offered genuine, albeit feeble, attempts at the art myself. Alas, if I were a classical Greek I would say my Muse is Clio (the Muse of History), rather than Thalia or Erato, Muses of various genres of poetry.

It is well known that C.S. Lewis himself was a frustrated poet. While his literary criticism and historical work was highly respected—and his Christian works are still revered—his poetry never received a warm reception. The Poetry Foundation offers a useful article on the subject here.

My personal opinion is that I am thankful Lewis’ energies were devoted to more profitable fields of writing.

Back to the Vikings

C.S. Lewis and several other Inklings were enamored with Northern sagas. I have touched on this in the past, and discussed the amazing fellowship gathered by J.R.R. Tolkien, as a sort of precursor to the Inklings.

Tolkien named the group Kolbítar, which denoted “Coalbiters,” or Norse storytellers who gathered close to the fire as they discussed the stories of their ancestors. This exploration of Icelandic literature was connected to Tolkien’s conviction, as a professor of Anglo-Saxon, that these works belonged within the study of the English canon.* Old Norse definitely left a mark on English, as I’ve discussed here at Mere Inkling.

In Song of the Vikings: Snorri and the Making of Norse Myths, Nancy Marie Brown gleans some insights about Kolbítar from Lewis correspondence. They gathered to read the literature aloud.

They began with Snorri’s Edda. Reading it in Icelandic was slow going but addictive, Lewis recalls: “Hammered my way through a couple of pages in about an hour, but I am making some headway. It is an exciting experience.” Lewis . . . had also been smitten as a boy by “pure ‘Northernness’” [and] popular versions of Snorri’s tales had inspired Lewis to write an adolescent tragedy about the Norse gods, “Loki Bound.”

There is no record of what the members of the Kolbítars thought of the myth of the Mead of Poetry, but I would imagine that they found its crass distinction between gifted and stumbling poets quite—Norse. To set the stage for the following passage, one should know: (1) the Aesir were the Old Norse gods, (2) Suttung was a Jötunn (belonging to a race of giants at war with the Aesir), (3) Suttung was in possession of the magical mead of poetry, which Odin stole through cunning but immoral means, swallowing all of it, (4) Odin changed into an eagle to effect his escape, and Suttung followed him in the same form, and (5) the Aesir prepared large vessels to receive the disgorged magical mead. Now, from the Edda itself:

When the Æsir saw Odin flying, they placed their vats in the courtyard, and when Odin entered Asgard he spat the mead into the vats. It was such a close call, with Suttung almost catching him, that he blew some of the mead out of his rear. No one paid attention to this part, and whoever wanted it took it; we call this the bad poets’ portion. Odin gave Suttung’s mead to the Æsir and to those men who know how to make poetry. For this reason we call poetry Odin’s catch, find, drink or gift, as well as the drink of the Æsir.

No one said the Norse were above using crass humor. Still, it does offer a quite imaginative explanation for the differences between exceptional and mediocre poets, doesn’t it?


* Tolkien “loved the cold, crisp, unsentimental language of the sagas, their bare, straightforward tone like wind keening over ice. Reading Snorri and his peers was more important than reading Shakespeare, Tolkien argued, because their books were more central to our language and our modern world” (Song of the Vikings).

Historical Font Facts

February 27, 2020 — 13 Comments

Consider yourself blessed if you’re not a fontaholic. The affliction leads to clogged font directories on your computer, and an unavoidable prejudice toward either serif or sans serif fonts.

People who are intrigued by typography know exactly what I’m talking about. At least two or three times a year they will inextricably find themselves on some font website (there are scores of them) without consciously knowing how they got there or there or there.*

I’ve written about fontaholicism in the past. Unfortunately, despite my advocacy, the Diagnostic and Statistical Manual of Mental Disorders has yet to classify the malady as a recognized illness. That said, the American Psychiatric Association does sound a bit obsessive compulsive in terms of their font guidance for annual meeting posters.

If any or all of the work in this poster was prepared with commercial support, a statement “Supported by funding from [name of company]” must be noted in the lower left corner of the poster in Arial 72 point font, with no bold, italics, special colors, or other enhancement of the company name, product, or any other portions of the statement.

One wonders what sort of reaction a person would get from the APA if they used Times Roman or Comic Sans by mistake.

C.S. Lewis & Fonts

It should be acknowledged up front that C.S. Lewis was not obsessed with fonts. However, he was wise enough to recognize their significant role in communication. Good fonts could be transparent, while problematic fonts blurred the message. He highlighted one of the most significant aspects of a font’s usage—size—in a 1957 letter. He told a fellow Brit, “you’d be much wiser to get my books in the American edition as these now have larger print and better paper than our own.”

A year earlier he had discussed a related issue with his publisher. There was a problem with a Shakespeare quotation intended for the title page of Till We Have Faces.

The quotation would, I agree, look better on a page to itself, but (what is more important) I am very strongly opposed to the idea of dividing it. I agree that it ‘looks wrong as it is’ but I think it will look equally with any division whatever. I do not see why it need be printed ‘absurdly small’ to fit in as one line . . .

Now a line of that length on a page to itself would I believe, look ugly if it came anywhere near the middle of a page–because it would then seem to divide the page into two halves. But would it not look quite nice if put near the top? It would then have the properties of a frieze or dado with plain wall under it.

And we may perfectly well omit the word ‘Shakespeare’ if we think that makes a better design. But I’d prefer even a bad design to a division of the verse.

Free Books about Fonts

You can find a number of interesting books about fonts at some of the wonderful internet libraries such as Project Gutenberg. During recent historical research about Reformation-era artists, I discovered a book written by Albrecht Dürer (1471–1528). Since his fame is derived from his portraits of prominent people, I was surprised he had written a guide for properly shaping letters, based on geometric principles. The introduction provides a fascinating portrait of sixteenth century artistry in northern Europe.

In our Germany . . . are to be found at the present day many young men of a happy talent for the Art Pictorial, who without any artistic training whatever, but taught only by their daily exercise of it, have run riot like an unpruned tree, so that unhesitatingly and without compunction they turn out their works, purely according to their own judgment.

But when great and ingenious artists behold their so inept performances, not undeservedly do they ridicule the blindness of such men; since sane judgment abhors nothing so much as a picture perpetrated with no technical knowledge, although with plenty of care and diligence.

Now the sole reason why painters of this sort are not aware of their own error is that they have not learnt Geometry, without which no one can either be or become an absolute artist; but the blame for this should be laid upon their masters, who themselves are ignorant of this art.

Since this is in very truth the foundation of the whole graphic art, it seems to me a good thing to set down for studious beginners a few rudiments, in which I might, as it were, furnish them with a handle for using the compass and the rule, and thence, by seeing Truth itself before their eyes, they might become not only zealous of the arts, but even arrive at a great and true understanding of them.

Dürer’s book sparked my curiosity, and a very quick subsequent search hinted at the wealth of typographical information online. For example, you can read about The Typography of Advertisements, circa 1911. There you will be warned that bolder is not always better.

“But,” some one says, “the heavier and bolder type-faces furnish a greater contrast to the white of the paper, and therefore should be easier to read.”

It is true that a greater contrast of color is furnished in the use of the bolder type-faces, but to force these greater contrasts on the eye is to literally club it into reading the text, whether or no. Are the salesman’s statements of better selling value because they are shouted loudly in direct contrast to the quiet of the office?

There may be, and undoubtedly are, some on whom this force is necessary, but to those who are sufficiently educated and intelligent to be reached through the appeal of an advertisement, the quiet dignity of the salesman’s statements made in well-modulated tones will be more attractive.

Gaze back even farther, to what was considered Early Typography in 1872. There you will discover a medieval religious order devoted to worship and manuscripts.

Reference has more than once been made to the impulse given to learning at the end of the fourteenth and the beginning of the fifteenth centuries. This movement was helped forward by no one in Holland and Germany more than by Gerhard Groote, or Magnus, of Deventer, (b. 1326, d. 1370), who after studying theology at Paris, became a canon of Utrecht and Aix-la-Chapelle, and founded the Order of the Brethren and Clerks of the Common Life, generally known as the “Gemeiineslebens,” or “Frères de la Vie Commune . . .”

It was divided into the literary Brethren or Clerks, and the unlearned Brethren, who lived in different houses, but in bonds of the greatest friendship. The Clerks devoted themselves to transcribing books, the cultivation of polite learning, and the instruction of youth; and they erected schools wherever they went. The Brethren laboured with their hands, and pursued various mechanic trades. Neither were under the restraint of religious vows; but still they ate at a common table, and had a general community of goods.

There are many other curious titles available to those who choose to explore obscure typography in greater depth. A person might even wish to begin with 1891’s Specimens Of Book, Jobbing, And Ornamental Printing Type In Use In The Government Central Printing Office, Simla [India].

Fonts, fonts, fonts. As I said above, you are fortunate if they don’t draw you too deeply into their orbit. However, if you recognize you too are a fontaholic, take comfort in the knowledge that you are not alone.


* And here’s another font site I had never seen before writing this post. It has a delightful name, Font Squirrel. Once I finish writing this piece, you can guess where I will be spending some of my web surfing research time.

The Elefonts cartoon at the top of the page is a creation of talented Canadian John Atkinson, and is used with permission.

Who are you? If you were to fully answer that question, it would require serious introspection. However, if you were to answer it completely, it would also require an honesty that is extremely rare.

That’s because anyone who reveals everything about themself, comes to a point where the qualities and actions are no longer flattering. They ultimately arrive at the place where the exposé becomes a confession.

The truth is that no one actually knows everything about themself. But some of the things we are aware of . . . some of the secrets we desire to hide, even from ourselves . . . are seldom shared. That is one great value of the “confessional.” There, one can unburden themselves and face their demons, so to speak, in a setting where they know their confidence won’t be violated.

As a Protestant pastor, who has never used a physical confessional stall or screen, I note that I have nevertheless heard thousands of confessions. They are, as one would expect, a common element of counseling as people seek to experience healing and restoration. As a Lutheran, I belong to a tradition that guarantees the privacy of these confessions, or what is considered “privileged communication.” Moreover, as a military chaplain, I was grateful to serve a nation that enshrines the same promise in the Uniform Code of Military Justice.

As Lewis wrote, “if there is a particular sin on your conscience, repent and confess it” (Letters to an American Lady). Once that is done, the pastor (or any “confessor”) can assist the individual with working to make as right as possible in the future what was damaged or destroyed by their choices in the past.

From the Psychological Vantage Point

If you have never encountered it before, I commend to you the model called the Johari Window. I have written about it in the past in the context of honesty and dishonesty.

The model illustrates just how complex our personalities are. The arrows on the model below reveal how we can expand the “open” part of ourselves. Naturally, there are some “hidden” aspects that should only be disclosed in certain contexts.

When it comes to the darkness in our lives, that which we strive to keep veiled, psychologists describe it in a variety of ways. One chaplain with whom I worked was particularly enamored with the work of Carl Jung. He loved to toss around the word “shadow,” and suggest there was some dark psychological significance to even the most offhand comment or expression. In essence, the shadow is the part of our personality we don’t want to admit to having. In terms of the Johari Window, you might think of it as the sinister stuff in the Hidden quadrant.*

C.S. Lewis wrote about Jung in an essay entitled “Psycho-Analysis and Literary Criticism.” Lewis disparages the Freudian theory, saying “poetry is not a substitute for sexual satisfaction, nor sexual satisfaction for poetry.” Jung, he argues, presents “a much more civil and humane interpretation of myth and imagery.” Of course, Lewis is discussing these psychoanalysts from the perspective of a literary critic, not a psychologist. In that regard, we can appreciate his assessment of one of Jung’s major works.

Thanks to my training I can suspend my judgement about the scientific value of Jung’s essay on “Mind and the Earth:” but I perceive at once that even if it turns out to be bad science it is excellent poetry.

From the Christian Point of View

I have already described how confession can serve as a means of expanding our self-awareness in a constructive and healing way. That’s why confession and absolution are a formal part of many worship service, going back to the earliest times. If we want to read the finest primer on confession, we need look no further than the book of Psalms.

As King David, in recognition of this great sins, prays in the fifty-first psalm:

Have mercy on me, O God,
according to your steadfast love;
according to your abundant mercy
    blot out my transgressions.
Wash me thoroughly from my iniquity,
    and cleanse me from my sin!

One of the earliest Christian classics (outside the Bible itself) was aptly entitled Confessions. It was written by Augustine, the bishop of a North African city called Hippo. His description of our self-awareness is so deep and profound, it will likely require more than a single reading.

No one knows what he himself is made of, except his own spirit within him, yet there is still some part of him which remains hidden even from his own spirit; but you, Lord, know everything about a human being because you have made him . . .

Let me, then, confess what I know about myself, and confess too what I do not know, because what I know of myself I know only because you shed light on me, and what I do not know I shall remain ignorant about until my darkness becomes like bright noon before your face. (Augustine, The Confessions, translation by Maria Boulding)

One of C.S. Lewis’ many correspondents was a man who was acutely troubled by his own self-awareness, and in particular, the consciousness of his own selfishness and egotism. Lewis offered some comforting and sound spiritual direction to the man. Since I believe the letter has a message for us all, I choose to close with it.

You are of course perfectly right in defining your problem (which is also mine and everyone’s) as “excessive selfness.” But perhaps you don’t fully realise how far you have got by so defining it. All have this disease: fortunate are the minority who know they have it.

To know that one is dreaming is to be already nearly awake, even if, for the present, one can’t wake up fully. And you have actually got further than that. You have got beyond the illusion (very common) that to recognise a chasm is the same thing as building a bridge over it.

Your danger now is that of being hypnotized by the mere sight of the chasm, of constantly looking at this excessive selfness. The important thing now is to go steadily on acting, so far as you can—and you certainly can to some extent, however small—as if it wasn’t there. You can, and I expect you daily do—behave with some degree of unselfishness. You can and do make some attempt at prayer.

The continual voice which tells you that your best actions are secretly filled with subtle self-regard, and your best prayers still wholly egocentric—must for the most part be simply disregarded—as one disregards the impulse to keep on looking under the bandage to see whether the cut is healing. If you are always fidgeting with the bandage, it never will

A text you should keep much in mind is I John iii, 20: “If our heart condemns us God is greater than our heart.” I sometimes pray “Lord give me no more and no less self-knowledge than I can at this moment make a good use of.” Remember He is the artist and you are only the picture. You can’t see it. So quietly submit to be painted—i.e. keep on fulfilling all the obvious duties of your station (you really know quite well enough what they are!), asking forgiveness for each failure and then leaving it alone. You are in the right way. Walk—don’t keep on looking at it.


* In contrast to the insignificant or embarrassing things we are aware of that we may prefer to keep to ourselves. For example, although I sing decently, I am an exceptionally poor instrumentalist. This despite the fact I married a talented and patient music teacher. It’s not my lack of talent which motivates my secrecy, it is the sad fact that I am a total sluggard when it comes to practicing. And this reveals a major flaw in my personality—if something is not inherently fun or doesn’t come easily to me, I have a terribly difficult time applying myself to the task. (And this shortcoming has very real consequences, both in terms of professional success and interpersonal relationships.)

⁑ Several years ago, a member of our Mere Inkling described in her blog how everyone experiences seasons of restlessness.

In his Confessions, Augustine wrote, “Thou hast made us for thyself, O Lord, and our heart is restless until it finds its rest in thee.” Yet even those who have found Christ feel restless at certain times, and these times lead us to a salutary discovery.

Augustine’s Confessions is a Christian classic. You can download a free copy here.

Ah, the snow is wrapping the world in a thick blanket, and I have no where I need to be. As I sit at my desk gazing out at the whitewashed forest, I attempt now something that I seldom do. I am writing a poem.

I admit that I haven’t read Jane Kenyon’s work, but I can definitely relate to one of her famous quotations: “My ear is not working, my poetry ear. I can’t write a line that doesn’t sound like pots and pans falling out of the cupboard.”

One of the bloggers I follow hosts a weekly poetry contest. I’ve never been tempted to compete, although I’m eminently qualified. You see, this is a “Terrible Poetry Contest.”

I had already begun writing my next post, and it relates to the depression some people feel during the winter. Of course, I do my best to make sure that what I write for Mere Inkling is not “terrible.” But I decided to delay that column and pause to enter this contest. On a whim. I certainly don’t expect to win . . . which in this case is, ironically, good news.

I decided to use an uncommon poetic form, since I can at least have the satisfaction that it offers patient readers an “educational” tidbit. I chose the French descort poetic form, because it seems expressly tailored to generate terrible poetry. According to Writer’s Digest, “the descort differentiates itself from other forms by differentiating its lines from other lines within the poem. That is, the main rule of descort poems is that each line needs to be different from every other line in the poem.”

A descort poem has different line lengths, meters, avoids rhyming with other lines, no refrains, and that goes for stanzas as well. In other words, no two lines in a descort should look like each other, and the same could be said for each descort.

The strength of the form is that it allows utter freedom to the poet. The weakness is that the results are appalling. (Read the example written by the editor of the linked article, if you don’t believe me.) Without further ado, I present my latest experiment with verse.* (There’s really nothing “French” about it, beyond the fact it’s a descort.⁑

Frigid French Philologies
by Robert C. Stroud

Shards of bleak winter gestate day after day.
The citric cannonade gurgled melodies of complacency.
Echinodermata rides again.

Hagar was not so Horrible.
Beware 48°52.6′S 123°23.6′W.
Fini.
Don’t stare at dark holes.
A Galapagos penguin reads about tobacco.

Captain Kirk sings the National Anthem.
Angkor longed to visit Tenochtitlán.
Sheepish wolves.
From lofty Mount Olympus descended Odin.

Soon comes the summer of our discontent.

A French Poem by C.S. Lewis

C.S. Lewis wrote poetry. There is actually a plaque in his honor in Poet’s Corner in Westminster Abbey. Deservedly so. Nevertheless, Lewis’ poetry was never highly regarded.

I, for one, consider this lack of appreciation providential. By this I mean that even though C.S. Lewis had to suffer the disappointment of not realizing his desires as a poet, it is a blessing to the whole world that his energies were redirected into his other writings. Who knows, if his poetry had been celebrated, whether or not Narnia would ever have existed?

The only book of Lewis’ which is in the public domain (i.e. free for downloading), is Spirits in Bondage: A Cycle of Lyrics. It was published after the First World War, written while he was still an atheist. While it makes for interesting reading, much of the imagery will be a bit disorienting for readers only familiar with Lewis after he encountered Christ.

The following poem is taken from that collection. As Alister McGrath writes in The Telegraph article, Lewis’ hopes were dashed relatively early.

The early poems remain a powerful witness to Lewis’s early atheism, railing against an absent and uncaring God who failed to halt the slaughter the author saw around him. But he never achieved recognition as a “war poet,” like Rupert Brooke and Siegfried Sassoon, who are also commemorated in Poets’ Corner. Indeed, not only did he fail to secure recognition for his war poetry, he was not acclaimed as a poet of any kind, as the lack of interest in his second volume of verse—Dymer (1926)—made painfully clear.

This example of Lewis’ war poetry does stand tall in comparison to the verse of the “acclaimed” war poets (in my modest opinion). It describes a battle site during the war—and the transformation of human beings into beasts.

French Nocturne (Monchy-Le-Preux)

Long leagues on either hand the trenches spread
And all is still; now even this gross line
Drinks in the frosty silences divine
The pale, green moon is riding overhead.

The jaws of a sacked village, stark and grim;
Out on the ridge have swallowed up the sun,
And in one angry streak his blood has run
To left and right along the horizon dim.

There comes a buzzing plane: and now, it seems
Flies straight into the moon. Lo! where he steers
Across the pallid globe and surely nears
In that white land some harbour of dear dreams!

False mocking fancy! Once I too could dream,
Who now can only see with vulgar eye
That he’s no nearer to the moon than I
And she’s a stone that catches the sun’s beam.

What call have I to dream of anything?
I am a wolf. Back to the world again,
And speech of fellow-brutes that once were men
Our throats can bark for slaughter: cannot sing.

I confess (though I did it on purpose) that the heading for this section was a bit misleading. “French poem” may have been interpreted as a poem written in French. While Lewis was certainly fluent in French, he did not write in the language. He did, however, appreciate the tongue.

In 1952 he wrote his publisher about the French translation of The Lion, the Witch and the Wardrobe. He praised quality of the translation, as well as the tone achieved by the translator, in Le Lion et la Sorcière Blanche.

I don’t foresee many occasions for copies of Le Lion, but if you will kindly send me 2, they might come in useful. The translator deserves to be congratulated of course—French is a very powerful language—the children become perfect little Frenchmen, but that is all to the good.

What pleased and surprised me is the passage at the end where I made them talk like characters in Malory, and he has really got some of the quality of the French 13th century prose romances: grande honte en aurions⁂—is exactly right.

C.S. Lewis’ brother, Warnie, was a bit of a Francophile. He knew his subject well enough that he authored a book about its history, The Splendid Century: Life In The France Of Louis XIV. He offers an entertaining account of some literary gatherings where the works of Jean Chapelain (1595-1674) were employed in a novel manner. The writers shared agreed upon rules, and transgressions demanded discipline. Thus the punishment for “the breach of rules was to read a verse of Chapelain’s poetry, or, in aggravated circumstances, a whole page.”

I won’t hold my breath awaiting the results of the poetry contest. Though I periodically enjoy dabbling in poetry, I feel I am destined to share the fate of Lewis when it comes to the way in which the masses assess the quality of our verse.


* I have written poetry in the past. I explored the quintain here, and have a few of my experiments in poetry posted at All Poetry.

⁑ According to Encyclopedia Britannica, descort can also refer to “a poem in medieval Provençal literature with stanzas in different languages.”

⁂ The phrase means “great shame we would have.”