Archives For Books

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In 1957, C.S. Lewis wrote an encouraging letter to a young author whose first book had been written at the age of fourteen. Jane Gaskell’s Strange Evil was described by the Times Literary Supplement as “a fantasy of macabre and gorgeous nonsense.” The review even alluded to Lewis himself in its description of the novel.

Judith, who poses nude for a living, is carried off to a C.S. Lewis-ish land where a monster called Baby conducts his reign of terror and where one extravagantly gory battle follows another.

Miss Gaskell is eloquently fascinated by words, the longer and more lush the better, and her book reveals an undoubted talent for fanciful description.

Gaskell went on to become a journalist. She also authored several more novels, and ultimately became a professional astrologer.

But, returning to the young girl and her first publication . . . Lewis considered the young girl worthy of encouragement.

My wife and I have just been reading your book and I want to tell you that I think it a quite amazing achievement–incomparably beyond anything I could have done at that age. The story runs, on the whole, very well and there is some real imagination in it.

The idea of the gigantic spoiled brat (had you a horrid baby brother once?) is really excellent: perhaps even profound. Unlike most modern fantasies your book also has a firm core of civilised ethics. On all these grounds, hearty congratulations.

Lewis does, however, offer a suggestion for how the book may have been improved. “I hope you will not think it impertinent if I mention (this is only one man’s opinion of course) some mistakes you can avoid in future.”

In a fantasy every precaution must be taken never to break the spell, to do nothing which will wake the reader and bring him back with a bump to the common earth. But this is what you sometimes do.

The moving bar on which they travel is a dull invention at best, because we can’t help conceiving it as mechanical. But when you add upholstered seats, lavatories, and restaurants, I can’t go on believing in faerie for a moment. It has all turned into commonplace technological luxury!

This concept is noteworthy for writers—especially writers of fiction, for whom imagination is an indispensable ingredient. We must avoid elements that derail the story, as inappropriate technology can sometimes do.

Beware of the Temptation

I suspect most writers today experience technology as a more concrete threat to their vocation than the inopportune example Lewis was noting. It’s not that we include too many or too few mechanical or scientific references in our work. The problem is that we are so distracted by the wonders of the world in which we live, that we never get around to putting the pen to paper.

Some of us can lose ourselves in the internet or social media. One fascinating read leads to another and we wonder “where the time has gone.” Vast programming “on demand,” is ready at a moment’s notice to occupy (or, sometimes, numb) our minds. And even when we do sit down at the keyboard, emails and messages interrupt our concentration.*

Technology, of course, is not only dangerous to writers. It can distract any of us from what is most important in life. How many hours have we squandered when we could have spent our time with family or friends? Why do we prefer to anesthetize ourselves with digital opiates, rather than helping a neighbor?

Not long ago, Christianity Today conducted an interview with Richard Foster. Foster’s 1978 book, A Celebration of Discipline, has been extremely influential in calling believers to lives of deeper simplicity and prayer. In their article they mentioned a revision in the preface that speaks powerfully to me.

Oh, for the day when all we had to do was turn off the television if we wanted solitude and silence! . . . we are bombarded by the broad distractions of constant noise, constant demands, constant news. Everyone, it seems, wants us to be accessible 24/7 and to respond instantly to any and every request.

Neuroscience studies are now showing us that the neural pathways of our brains are being rewired accordingly, so that our physical capacity for sustained attention is decreasing.

We, of course, complain endlessly about our wired world. But—let’s be honest—we do enjoy our technological gluttony. There is, however, a better way to live.

I’m going to close this post with a personal prayer. Feel free to join me in it, if you desire.

Gracious Father, forgive me my trespasses, and deliver me from the sin of technological gluttony to which I so often surrender. Draw me away from the table of excess, and lead me on that better path . . . the way that leads to life, and to you. Amen.


* Many of these distractions can be significantly decreased by setting your software to provide fewer “notifications” when various things occur. For example, I recently had to reset my iTunes because the program was throwing up a message every time a new song began.

When I am listening to the soundtrack of The Lord of the Rings, I don’t care to be told that “The Foot of Orthanc” is coming up as the strains of “The Road to Isengard” are fading away.

typos

Who among us has lived a life free of typographical errors? When we learned to type (or “keyboard”), our typing speed was influenced by the number of incorrect characters we included.

Even worse, some infernal source birthed the idea of “autocorrect,” which is occasionally useful for documents, but just as frequently deadly for emails and texts.

Lewis’ own books have included a number of typographical errors. Arend Smilde, a Dutch scholar and translator, has noted a fair number of them on his valuable website.

The truth is, it is possible for errors to creep in whenever original manuscripts are copied.

Even with the Scriptures, existing manuscripts include various minor variations, since the autographs have been lost to history.

This fact necessitates the need for “textual criticism,” and many earnest biblical scholars have devoted their lives to discerning the original text. (“Criticism” in this use, does not connote negativity. It simply refers to study, such as with “literary criticism.”)

Textual criticism diverges significantly from the so-called “higher criticisms” which frequently result in confusion and doubt.* Comparing actual texts is fundamental to the study of all literary creations.

C.S. Lewis wrote a brilliant essay entitled “Modern Theology and Biblical Criticism,” which is currently known as “Fern-Seed and Elephants.” In it, he distinguishes between the various types of criticism and affirms textual examination as utterly valid.

We think that different elements in this sort of theology have different degrees of strength. The nearer it sticks to mere textual criticism . . . the more we are disposed to believe in it. And of course, we agree that passages almost verbally identical cannot be independent. It is as we glide away from this into reconstructions of a subtler and more ambitious kind that our faith in the method waivers; and our faith in Christianity is proportionally corroborated.

The sort of statement that arouses our deepest scepticism is the statement that something in a Gospel cannot be historical because it shows a theology or an ecclesiology too developed for so early a date. For this implies that we know, first of all, that there was any development in the matter, and secondly, how quickly it proceeded.

When books are published, errors slink in. This generates errata, which are presumably corrected in any subsequent editions of the work. (It dawns on me that I’ve never seen an erratum, noting there is only one mistake in the work.)

The Genesis of Today’s Thoughts

Curiously, the article that led me to think about textual errors involves the substitution of an i for an e. The result is that for centuries, people mistakenly believed that Rome had a “Little Temple of Ridicule.” The notion was that the ancient Romans so loved humor, that they “went so far as to erect a ridiculi aedicula, or chapel of laughter.” This curious article is well worth reading (hint: it has something to do with Hannibal’s retreat).

It’s not that the idea of humor shouldn’t be celebrated. On the contrary, laughter features broadly in C.S. Lewis’ works. In a letter written shortly after his marriage to Joy, he alludes to Dante’s portrait of heaven. It is an image Lewis affirmed, and one that I happily anticipate.

Of course Heaven is leisure (“there remaineth a rest for the people of God”): but I picture it pretty vigorous too as our best leisure really is. Man was created “to glorify God and enjoy Him forever.”

Whether that is best pictured as being in love, or like being one of an orchestra who are playing a great work with perfect success, or like surf bathing, or like endlessly exploring a wonderful country or endlessly reading a glorious story—who knows? Dante says Heaven “grew drunken with its universal laughter.”


* For an informative discussion of the different forms of criticism, see this conversation. In response to the question “How is it, then, that the Higher Criticism has become identified in the popular mind with attacks upon the Bible and the supernatural character of the Holy Scriptures?” the author writes:

Some of the most powerful exponents of the modern Higher Critical theories have been Germans, and it is notorious to what length the German fancy can go in the direction of the subjective and of the conjectural. For hypothesis-weaving and speculation, the German theological professor is unsurpassed.

Some of the men who have been most distinguished as the leaders of the Higher Critical movement in Germany and Holland have been men who have no faith in the God of the Bible, and no faith in either the necessity or the possibility of a personal supernatural revelation.

prayer

I just added a rare C.S. Lewis book to my library for a very reasonable price, and you can too. But you might want to hurry, since this volume will probably never be reprinted.

The small book is entitled Beyond the Bright Blur. It’s contents will be familiar to you if you have read Lewis’ final book, Letters to Malcolm: Chiefly on Prayer. That is because the former is a prepublication printing of chapters fifteen through seventeen from Letters to Malcolm.

It was published under unique circumstances, and it is thought that only 350 copies were printed in 1963 by Harcourt, Brace & World.

The title of Beyond the Bright Blur is taken from what would appear as letter fifteen in the complete volume. The “bright blur” to which Lewis refers is our imperfect, abstract and remote impression of “God.” He argues that to engage in genuine conversation with our Creator, we must dispel this fabrication.

What happens to me if I try to [approach prayer] “simply,” is the juxtaposition of two “representations” or ideas or phantoms. One is the bright blur in the mind which stands for God. The other is the idea I call “me.”

But I can’t leave it at that, because I know—and it’s useless to pretend I don’t know—that they are both phantasmal. The real I has created them both—or, rather, built them up in the vaguest way from all sorts of psychological odds and ends.

Very often, paradoxically, the first step [in genuine prayer] is to banish the “bright blur”—or, in statelier language, to break the idol.

Lewis’ candid sharing about his personal pilgrimage in prayer is just part of the treasure that is Letters to Malcolm. It is must reading. But, its priceless message is not the subject of this post.

Beyond the Bright Blur, this modest yet sturdy (hardback) tome, stands complete as it is. And it was expressly designed for a small audience. As the flyleaf states, “This limited edition is published as a New Year’s greeting to friends of the author and his publisher.”

The complete book would not be published until 1964, after Lewis had joined his wife Joy in the presence of our Lord. It is quite fitting that the final pages describe the author’s thoughts about the nature of heaven. It concludes with his final glorious epiphany that “Joy is the serious business of Heaven.”

Consider Adding this Gem to Your Own Library

I know that most readers of Mere Inkling share my affection for literature . . . along with my own affection for literature incarnated in its own natural state, physical books.

The wonderful thing is that adding this particular treasure to your personal collection is within your reach. While the price varies due to the respective booksellers and the condition of each copy, AbeBooks.com often include copies for less than forty dollars.

Occasionally an inscribed volume appears on the market, with a corresponding surcharge in the price. As I write this, the copy presented to the poet John Ciardi (1916-86) is available for purchase. While he’s most famous for his translation of The Divine Comedy, he also co-authored a collection of limericks with Isaac Asimov!

The posting says the volume includes his signature on the front end paper and “a paragraph [underlined] in the text in red ink.” Still, a truly unique volume such as this is quite a bargain at less than two hundred dollars—especially if you are a fan of Ciardi.

I suspect Ciardi received his copy as a gift from the publisher. I haven’t found any evidence that he and C.S. Lewis were acquainted. I did, however, uncover one utterly trivial connection between the two. It appears the two shared an illustrator for some of their American editions. Roger Hane, the cover illustrator for the 1970 Collier-Macmillan edition of the Chronicles of Narnia, also illustrated Ciardi’s undated The Morality of Poetry.

 

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Some would say “only a fool would bring a book to a gunfight.” That might be true if the person carried the book in lieu of a firearm, but the fact is many varieties of literature accompany soldiers to war.

When Edward Bulwer-Lytton wrote “the pen is mightier than the sword,” he offered a powerful insight into how ultimate victory hinges more on knowledge and ideas than on direct violence. Of course, he didn’t mean that in a personal conflict between two combatants a quill could best a saber.

Even those who’ve never been to war realize warriors need to have their bodies, minds and spirits renewed in order to be at their best when their lives hang in the balance. Bodies are taken care of by providing healthy sustenance, swift medical attention, and opportunities to remain fit.

Minds and spirits overlap somewhat, but for the latter, most of the world’s militaries send chaplains to accompany the men and women “in harm’s way.” Spiritual encouragement often comes even more readily from their fellow military members.

Wartime is, surprising no one, an optimal time for people to consider their spiritual wellbeing and contemplate their eternal destiny. Still, that does not make true the adage “there are no atheists in foxholes.”

That said, war zones are places where the fields are literally “white unto harvest” (Luke 4).

It is no accident copies of the Bible have accompanied Christians to war since the first printed copies were available.

During the American Civil War, personal Bibles and religious tracts were widely distributed. It was not uncommon for a soldier to send a particularly meaningful tract home to his family. In addition to chaplains, numerous ministries today work to ensure no service member who desires a Bible is without one.

Reading for the Mind

It would be wrong to think religious works dominate the literature available to military members dispatched to war. Most locations offer access to numerous publications, and even the internet. The Department of Defense even provides access to the nonpartisan Stars and Stripes, which offers some of its headline articles here.

And then there are books. Books of all genres, though perhaps, tilted towards thrillers and sports subjects. Soldiers pass their books around, and for many lucky enough to serve in a garrison type of setting, there is often a library.

Yes, a real library—except that the books are typically all available for free. This is due in large part to the generosity of publishers. During the Second World War, the Council on Books in Wartime, founded by publishers and others, provided over 120 million paperbacks in their Armed Services Editions. (The classic titles sold for an average of six cents.) The Council’s slogan was, “books are weapons in the war of ideas.”

So, military folks read lots of books overseas. In fact, here is a photo of yours truly reading one of my favorite authors (David Drake) while I was on a flight between Pakistan and Afghanistan back in 2002.

I was delighted recently when rereading C.S. Lewis’ autobiography to see that I was following in his footsteps. Lewis is discussing how actual books, and not merely periodicals, can accompany us on our journeys. He refers briefly to his war experiences.

Soon too we gave up the magazines; we made the discovery (some people never make it) that real books can be taken on a journey and that hours of golden reading can so be added to its other delights.

(It is important to acquire early in life the power of reading sense wherever you happen to be. I first read Tamburlaine while traveling from Larne to Belfast in a thunderstorm, and first read Browning’s Paracelsus by a candle which went out and had to be relit whenever a big battery fired in a pit below me, which I think it did every four minutes all that night.) (Surprised by Joy)

I would not equate our two situations. After all, a comfortable C-130 (even when making “combat” landings and take-offs) can hardly be compared to a muddy WWI trench.

But, like nearly all of Mere Inkling’s audience, I do share C.S. Lewis’ joy at knowing books need never be far from our hand. Whether it be on holiday, in the hospital, or even in prison (God forbid), we can always find some pleasure and peace in reading.


Postscript:

During Desert Storm, I helped ship thousands of donated books to troops on the front lines. Unfortunately, there was a problem with the clothing worn by most of the women on the covers. We learned the Saudis were destroying some of the books, deeming them pornography.

As a result, our book processors began tearing the cover off of every book featuring a woman. As a compromise, I offered to become an informal “Saudi censor.” With a large black marker, I was able to suitably cover up elements of the female anatomy that would have presumably offended our Middle East allies.

Despite my misgivings about “defacing” the covers, I felt it was less destructive than removing the entire cover. I’ll leave it to you to be the judge.

Enriching Your Writing

December 7, 2017 — 6 Comments

lit crit

Writers find literature inspiring. That sounds self-evident—and cliché—when we think of the statement aesthetically. It seems to me, however, that the words are also true in a literal sense. The very act of reading inspires us to fashion our own creations, each of which is consciously or unconsciously indebted to all that we have read and learned during our lives.

This activity is sometimes called bricolage. I wrote about it recently. Skilled writers frequently use devices to enrich their work. Quotations, allusions, pastiche and parody are obvious examples. Some critics would even include plagiarism as an intertextual exercise, and in the strictest sense, it is. While unacknowledged direct quotations are inappropriate, many readers savor reading volumes filled with well-done allusions.

Our minds are a composite of all that to which we have been exposed. When we come up with fresh ideas, they are seldom “new” in a true sense. When they are genuinely novel, at best they offer a unique take on a subject. Still, our expression relies in many aspects on what we ourselves have read in the past. After all, there is nothing new under the sun.*

When we owe a large debt to another source, it is right to offer credit. Not doing so invites people who recognize the source to question our integrity. The exception being when the source is so familiar to the anticipated reader, that it would be redundant. For example, the final sentence in the previous paragraph did not require a citation. If it is not known from its original biblical source, it is recognized as a common proverb . . . or, perhaps, from the Pete Seeger song, “Turn! Turn! Turn!”

One of the striking things about C.S. Lewis is his powerful grasp of the vast breadth of literature he had read. As I wrote in the aforementioned post, “Lewis was generous in thanking thinkers to whom he was indebted, and only failed to do so when he assumed any educated reader would recognize the source of an image or phrase.”

So, what about those times when we have forgotten a source, or don’t even recall that a particular idea came from anywhere other than our own cranium?

Unintentional Bricolage

While teaching at Oxford and Cambridge, Lewis taught many individuals who achieved notoriety in their own right. J.A.W. Bennett, studied under Lewis at Oxford, and eventually replaced him as professor of Medieval and Renaissance literature at Cambridge.

In “The Humane Medievalist: An Inaugural Address,” Bennett describes how Lewis’ vast familiarity with diverse literature meant that his own creative work was permeated by the wisdom of others.

The whole man was in all his judgements and activities . . . and a discriminating zest for life, for “common life,” informs every page he wrote. “Grete Clerke” as he was, he was never wilfully esoteric: Quotations and allusions rose unbidden to the surface of his full and fertile mind, but whether they are to Tristram Shandy or James Thurber they elucidate, not decorate. His works are all of a piece: a book in one genre will correct, illumine or amplify what is latent in another.

As a reader who relishes allusions (especially to the Scriptures), I approach Lewis knowing I’ve been invited to a feast. With C.S. Lewis we find bricolage at its richest and most refined.

In An Experiment in Criticism, Lewis describes two types of readers, literary and unliterary. He says the measure of a book is the extent to which it entices its literary readers to reread it.

In the following excerpt, Lewis mentions how the talented writer weaves together an elegant tapestry (via bricolage). Because literature is so complex and intricate, we benefit from rereading it. He also discusses how literature interacts with our preexisting thoughts and sometimes reshapes them.

Nevertheless, we have already seen that the literary sometimes fall into what I think bad modes of reading, and even that these are sometimes subtler forms of the same errors that the unliterary commit.

They may do so when reading poems. The literary sometimes ‘use’ poetry instead of ‘receiving’ it. They differ from the unliterary because they know very well what they are doing and are prepared to defend it. ‘Why,’ they ask, ‘should I turn from a real and present experience—what the poem means to me, what happens to me when I read it—to inquiries about the poet’s intention or reconstructions, always uncertain, of what it may have meant to his contemporaries?’

There seem to be two answers. One is that the poem in my head which I make from my mistranslations of Chaucer or misunderstandings of Donne may possibly not be so good as the work Chaucer or Donne actually made.

Secondly, why not have both? After enjoying what I made of it, why not go back to the text, this time looking up the hard words, puzzling out the allusions, and discovering that some metrical delights in my first experience were due to my fortunate mispronunciations, and see whether I can enjoy the poet’s poem, not necessarily instead of, but in addition to, my own one?

If I am a man of genius and uninhibited by false modesty I may still think my poem the better of the two. But I could not have discovered this without knowing both. Often, both are well worth retaining.

Do we not all still enjoy certain effects which passages in classical or foreign poets produced in us when we misunderstood them? We know better now.

We enjoy something, we trust, more like what Virgil or Ronsard meant to give us. This does not abolish or stain the old beauty. It is rather like revisiting a beautiful place we knew in childhood. We appraise the landscape with an adult eye; we also revive the pleasures—often very different—which it produced when we were small children.

Admittedly, we can never quite get out of our own skins. Whatever we do, something of our own and of our age’s making will remain in our experience of all literature.

Equally, I can never see anything exactly from the point of view even of those whom I know and love best. But I can make at least some progress towards it. I can eliminate at least the grosser illusions of perspective.

Literature helps me to do it with live people, and live people help me to do it with literature. If I can’t get out of the dungeon I shall at least look out through the bars. It is better than sinking back on the straw in the darkest corner. (An Experiment in Criticism)

An Experiment in Criticism may not be Lewis’ simplest essay to understand, but it is a rich one. In fact, I can almost guarantee that if you should reread the passage quoted above, you will gain new insights that you missed during your first reading.

And that dynamic interplay between our thoughts and the literature we read is exactly what Lewis is explaining, and illustrating.

When it comes to choosing between what we personally receive from a work, and what the author originally intended to say, I love Lewis’ solution: “why not have both?”

_____

* “What has been is what will be, and what has been done is what will be done, and there is nothing new under the sun. Is there a thing of which it is said, ‘See, this is new?’ It has been already in the ages before us” (Ecclesiastes 1:9-10).

 

rididule

C.S. Lewis seldom kept a secret his low opinion of poor writers. This wasn’t because he was a literary snob, it’s because he was a literary critic.

Actually, the breadth of Lewis’ literary tastes was extraordinary. He didn’t expect texts to be more than what they purported to be, and could even enjoy the pulp fiction of his day. Still, Lewis had an eye for pretentious and anemic writing, and he sometimes penned cutting commentary

One of his lifelong friendships began with a discussion about poor writers. More about Lewis’ friendship with Oxford Classics scholar Nan Vance Dunbar (1928-2005) in a moment.

There are some contemporary voices that argue Lewis was misogynistic. Many of these complainants are non-Christian, and eager to see Lewis’ influence diminished. The truth is he possessed a strong traditional respect for women. And, while he unapologetically enjoyed the company of men—no surprise for a longtime bachelor—he counted a number of women scholars among his close friends.

My friend Brenton Dickieson has an excellent column on the subject of women in Lewis’ life, in which he persuasively argues that Lewis “was hardly the insular, sexist, Oxford bachelor that some would make him out to be.”

Professor Dunbar was a devout Christian, of the Presbyterian persuasion (no surprise, since she was Scottish). She attended one of Lewis’ lectures in 1955, and respectfully challenged in correspondence, his interpretation of the Roman poet Statius.

Their friendship grew, although they never agreed upon the status of Statius. The Collected Letters of C.S. Lewis includes a biography of Dunbar which describes how the subject even brought her some peace when she was grieving Lewis’ death.

Lewis’s final letter to her, on 21 November 1963–possibly the last he wrote–was to arrange for a visit in December. When he died the next day, Nan was beside herself with grief.

She was consoled by the theologian, Henry Chadwick, Regius Professor of Divinity at Oxford. Professor Chadwick reminded her that she would some day die. “And when you get to Heaven,” he said, “you will be met by Lewis. He will have got there before you, and he’ll have his arm firmly around a small man in a toga, who is being dragged along to meet you. ‘All right,’ Lewis will be saying to the ancient Roman–“Tell her!! Tell her!!”’

Nan had no doubt that Lewis would be in heaven, and she roared with laughter at the thought of Statius waiting there to rebuke her. Perhaps such thoughts gave her comfort when she confronted her own death.

The two had grown quite close. “Everyone would agree that Nan Dunbar–with her erudition, her common sense, her Christian faith, her lively conversation–would have been the ideal daughter for Lewis. Indeed, years later, in his letter of 18 November 1963, he spoke of her as ‘the liveliest and learnedest of my daughters.’” (Collected Letters).

Their Discussion about Bad Writers

Diplomas are not required for people to criticize books and writers. Wherever readers gather it is possible to find discussions about favorite, and least favorite writers.

Some literary reputations are so notorious they have awards devoted to them. Each year, for example, The Bulwer-Lytton Fiction Contest draws thousands of entrants. Their motto is quite inviting: “Where WWW Means ‘Wretched Writers Welcome’”

The event honors the great author whose opening line in 1830 also enriches every story ever begun by Charles Schulz’ canine novelist Snoopy.

It was a dark and stormy night; the rain fell in torrents—except at occasional intervals, when it was checked by a violent gust of wind which swept up the streets (for it is in London that our scene lies), rattling along the housetops, and fiercely agitating the scanty flame of the lamps that struggled against the darkness. (Edward George Bulwer-Lytton, Paul Clifford)

It is unknown whether B-L’s name arose in the following conversation, but we do find references to two other “notorious” writers.

Dunbar met Lewis for the first time at a dinner in Girton College, probably on 25 January 1956. On finally meeting his critic, Lewis said: “Ah! Miss Dunbar! I’m glad to find you actually exist–I’d thought perhaps you were only the personification of my conscience!”

Lewis was charmed by this delightful Scottish woman, whose wonderful talk and Glaswegian accent made one think she had stepped out of a novel by Sir Walter Scott.

Dunbar remembered that over dinner she talked to Lewis about the Scottish writer William McGonagall (1825–1902), said to be the world’s worst poet, while Lewis introduced her to the Irish novelist Amanda McKittrick Ros (1860–1939), known as the world’s worst novelist. (Collected Letters).

If you care to read anything written by the writers Lewis and Dunbar mentioned in their dinner conversation, refer to the links below. While on its surface their repartee may appear uncharitable, it was certainly not intended to be.

After all, if our own writing brings some measure of joy and entertainment to others, most writers would welcome that. Similarly, to have one’s name associated in history with truly talented writers (even in such an unflattering manner) is by far preferable to the anonymity which is the swift destiny of all but a few.

_____

To learn more about McGonagall and Ros, you may wish to download the following free volumes: 

“He was not a poet at all, and that he has become synonymous with bad poetry in Scotland is only a natural consequence of Scottish insensitivity to the qualities alike of good poetry and of bad.” (Scottish Eccentrics)

“Sympathise with me, indeed! Ah, no! Cast your sympathy on the chill waves of troubled waters; fling it on the oases of futurity; dash it against the rock of gossip; or, better still, allow it to remain within the false and faithless bosom of buried scorn. Such were a few remarks of Irene as she paced the beach of limited freedom, alone and unprotected.” (Irene Iddesleigh by Amanda McKittrick Ros)

 

book head

Would C.S. Lewis have embraced digital books if he had lived to see them? Or, would the Oxford and Cambridge scholar have deemed them an abomination?

Posing questions like this—about how prominent historical figures would have regarded technologies invented after they died—relies on conjecture. In most cases, one can only “assume” the likeliest answer.

A recent essay entitled “The Screen and the Book” sounds like something C.S. Lewis could have written about the encroachment of digital media on the domain formerly commanded by print.

The contention of the author is that:

Books are solid. This is at once a physical description and a metaphysical one, and it is on this metaphysical solidity that we ought to ground our loyalty to the book over and against the allure of the ever-changing screen.

When it comes to the notion of Lewis comparing heavily loaded bookshelves to a text laden hard drive, there is absolutely no question which he would prefer.

As Lewis declared in one essay, “an unliterary man may be defined as one who reads books once only.” (“On Stories”)

Lewis would without any doubt have despised the way ebooks have been displacing “real” books.

Lewis’ affection for modern and ancient codices enshrining the written word is legendary. In fact, one cannot possibly navigate the internet without repeatedly crashing into this single quotation: “You can never get a cup of tea large enough or a book long enough to suit me.”

One could fill volumes with Lewis’ comments about books. And that’s not simply because he was an astute literary critic. The simple truth is that C.S. Lewis loved books. A few less familiar quotations follow.

Some Bookish Thoughts Penned by C.S. Lewis

Lewis expressed his affection for devotional literature in a 1930 letter to Arthur Greeves.

All private reading has ceased, except for 20 minutes before bed (if alone) when I drink a cup of cocoa and try to wash the day off with MacDonald’s Diary of an Old Soul.

I shall soon have finished it and must look round for another book. Luckily the world is full of books of that general type: that is another of the beauties of coming, I won’t say, to religion but to an attempt at religion—one finds oneself on the main road with all humanity, and can compare notes with an endless succession of previous travellers. It is emphatically coming home: as Chaucer says “Returneth home from worldly vanitee.”

Books are vital to the preservation of what is good.

Every age has its own outlook. It is specially good at seeing certain truths and specially liable to make certain mistakes. We all, therefore, need the books that will correct the characteristic mistakes of our own period. And that means the old books. (“On the Reading of Old Books”)

Lewis describes classical education’s focus on the ancients, and the natural affection readers had for poetic works they encountered on their own.

The great authors of the past wrote to entertain the leisure of their adult contemporaries, and a man who cared for literature needed no spur and expected no good conduct marks for sitting down to the food provided for him. Boys at school were taught to read Latin and Greek poetry by the birch, and discovered the English poets as accidentally and naturally as they now discover the local cinema.

Most of my own generation, and many, I hope, of yours, tumbled into literature in that fashion. . . . Shall we be thought immodest if we claim that most of the books we loved from the first were good books and our earliest loves are still unrepented? (“High Brows and Low Brows”)

In the following letter from 1953, Lewis praises existing volumes on the subject of prayer and explains his hope for Letters to Malcolm: Chiefly on Prayer.

I invite your prayers about a work which I now have in hand. I am trying to write a book about private prayers for the use of the laity, especially for those who have been recently converted to the Christian faith and so far are without any sustained and regular habit of prayer.

I tackled the job because I saw many no doubt very beautiful books written on this subject of prayer for the religious but few which instruct tiros and those still babes (so to say) in the Faith. I find many difficulties nor do I definitely know whether God wishes me to complete this task or not.

In his essay “George Orwell,” Lewis relates his strong preference for Animal Farm over 1984. In addition to being prescient, he refers in a creative manner to his appetite for good books.

What puzzles me is the marked preference of the public for 1984 [over Animal Farm]. For it seems to me (apart from its magnificent, and fortunately detachable, Appendix on “Newspeak”) to be merely a flawed, interesting book; but the Farm is a work of genius which may well outlive the particular and (let us hope) temporary conditions that provoked it.

To begin with, it is very much the shorter of the two. This in itself would not, of course, show it to be the better. I am the last person to think so. . . .

My appetite is hearty and when I sit down to read I like a square meal. But in this instance the shorter book seems to do all that the longer one does; and more. The longer book does not justify its greater length. There is dead wood in it.

In 1928 Lewis mentioned a project that would have made fascinating reading if he had pursued it. He describes how an engaging volume can capture our attention in such a way that it leads us on a continuing quest of literary exploration.

My studies in the XVIth century—you will remember my idea of a book about Erasmus—have carried me much further back than I anticipated. Indeed it is the curse and the fascination of literary history that there are no real beginnings.

Take what point you will for the start of some new chapter in the mind and imaginations of man, and you will invariably find that it has always begun a bit earlier; or rather, it branches so imperceptibly out of something else that you are forced to go back to the something else. The only satisfactory opening for any study is the first chapter of Genesis.

Did Lewis Write the Following?

I’ll tell you the answer up front. No, he didn’t. But to my ear it sounds like it could easily have come from his lips.

In actuality, it is the closing statement of the essay referred to above. And, since it so clearly echoes the sentiments of C.S. Lewis, I deemed it fitting to close with it.

If you want to destroy a child’s love for learning, get rid of books. Serve him Plato from a PDF and E.B. White from an e-reader. Banish from his formative years any experience of objects that incarnate immaterial thought.

Remove the impractical, antiquated book in all its stubborn solidity, and encourage the child to dive into the flux wherein everything could be otherwise.

If we do this absolutely, if we ensure that not even the rumor of books reaches our rising generation, we will create a new man for the digital age: a puddle of disconnected thoughts pretending to have a head.