Explosive Clergy

What’s with pastors? As one, I probably know more than the typical person does about them – and all too often, they disappoint.

That’s a bit harsh. Most pastors are pretty selfless. That’s fairly evident in their salaries (if they even receive one). And, trust me, trying to be a faithful leader and peacemaker in any group comprised of human beings, is no easy task.

My sainted grandmother, born at the end of the nineteenth century, was the daughter of Norwegian immigrants. She was an authentic follower of Jesus, and when she was young the sermons at Fordefjord Lutheran Church* were preached in the immigrants’ tongue. We occasionally talked about how scandalized she was when one of the ministers serving the congregation pronounced “helvete vil være fullt av pastorer” (hell will be full of pastors).

Well, not “full” perhaps, but in principle he was right. And, sadly, his warning is not at all shocking to us today. We read regularly about clergy who are arrested for violating the trust of the most vulnerable. Likewise, we hear about the outrageous wealth of some ministers (including, it seems, nearly every televangelist). Even pastors in small enclaves with little access to the temptation offered by easily accessible cash, can too often succumb to the sirens of pride and power, twisting their pastoral authority into a weapon to abuse others. (It’s the opposite of the messianic promise found in Isaiah 2:4.)

It’s almost enough to drive a person from the Lord’s house. But that is not the answer, of course. Finding a truly Christian church, with a pastor earnestly (albeit imperfectly) pursuing his holy vocation, is the best course.

The Scriptures say many things about ministry, and Jesus himself provides the perfect example of willingness to lay down one’s life for the sheep.

The letter of James cautions those considering a life of “ministry” that they will face a stricter judgment than the laity (which comes from λαός which refers to the people at large).

Personally, I especially appreciate being reminded of God’s warning to religious leaders from the lips of Jeremiah. (I also appreciate the ironic tone of God’s judgment.)

“Woe to the shepherds who destroy and scatter the sheep of my pasture!” declares the Lord. Therefore thus says the Lord, the God of Israel, concerning the shepherds who care for my people: “You have scattered my flock and have driven them away, and you have not attended to them. Behold, I will attend to you for your evil deeds,” declares the Lord.

The picture at the top of this column comes from one of Mark Twain’s travelogues. It illustrates the vindictive priest Fulbert, in Twain’s retelling of the story of Abelard and Héloïse, 12th century lovers. More about that momentarily. Abelard was a prominent philosopher who tangled for several years with Saint Bernard of Clairvaux, a significant dispute ably discussed here.

Abelard and the Inklings

Abelard (c. 1079-1142) was a philosopher who, as was common during the Middle Ages, was also a theologian. Among his contributions to religion was revising the Roman Catholic doctrine of limbus infantium (Limbo for unbaptized infants).

In popular culture, Abelard’s love affair with his eventual “wife” is more prominent than his religious pursuits. Although Abelard was a famous figure during the medieval period, he did not feature significantly in C.S. Lewis’ thought. He did, however, exert a prominent influence on Charles Williams’ Place of the Lion, a volume Lewis praised.

In “Friendship in The Place of the Lion,” Dan Hamilton provides a very accessible synopsis of Williams’ book. He describes the experience of a primary character, who is writing her dissertation on “Pythagorean Influences on Abelard.” As she struggles with the appearance of supernatural phenomena, “she encounters the specter of Abelard, a major subject of her studies. But he is dead, and powerless to give her any aid, not even a meaningful word.” The “archetypes” in the story, by contrast, possess genuine power. It is a very unique book.

Returning to Mark Twain’s retelling of the popular medieval tale, we leave the realm of platonic philosophy, and enter the world of sordid human activities. Twain, you see, was not sympathetic to Abelard’s wooing of a young student and his eventual repentance. In his account, Twain desired “to show the public that they have been wasting a good deal of marketable sentiment very unnecessarily.” If you are curious as to his perspective on the events, continue reading.

Twain’s Take on Abelard and Héloïse
(not brief, but well worth reading)

In his own words, Twain’s “faithful” version of their story – but first, he begins with a description of their shared gravesite.

But among the thousands and thousands of tombs in Père la Chaise [cemetery] there is one that no man, no woman, no youth of either sex, ever passes by without stopping to examine. Every visitor has a sort of indistinct idea of the history of its dead, and comprehends that homage is due there, but not one in twenty thousand clearly remembers the story of that tomb and its romantic occupants. This is the grave of Abelard and Heloise – a grave which has been more revered, more widely known, more written and sung about and wept over, for seven hundred years, than any other in Christendom, save only that of the Saviour.

All visitors linger pensively about it; all young people capture and carry away keepsakes and mementoes of it; all Parisian youths and maidens who are disappointed in love come there to bail out when they are full of tears; yea, many stricken lovers make pilgrimages to this shrine from distant provinces to weep and wail and “grit” their teeth over their heavy sorrows, and to purchase the sympathies of the chastened spirits of that tomb with offerings of immortelles and budding flowers.

Go when you will, you find somebody snuffling over that tomb. Go when you will, you find it furnished with those bouquets and immortelles. Go when you will, you find a gravel-train from Marseilles arriving to supply the deficiencies caused by memento-cabbaging vandals whose affections have miscarried.

Yet who really knows the story of Abelard and Heloise? Precious few people. The names are perfectly familiar to every body, and that is about all. With infinite pains I have acquired a knowledge of that history, and I propose to narrate it here, [italics added] partly for the honest information of the public and partly to show that public that they have been wasting a good deal of marketable sentiment very unnecessarily.

Heloise was born seven hundred and sixty-six years ago. She may have had parents. There is no telling. She lived with her uncle Fulbert, a canon of the cathedral of Paris. I do not know what a canon of a cathedral is, but that is what he was. He was nothing more than a sort of a mountain howitzer, likely, because they had no heavy artillery in those days. Suffice it, then, that Heloise lived with her uncle the howitzer, and was happy.

She spent the most of her childhood in the convent of Argenteuil – never heard of Argenteuil before, but suppose there was really such a place. She then returned to her uncle, the old gun, or son of a gun, as the case may be, and he taught her to write and speak Latin, which was the language of literature and polite society at that period.

Just at this time, Pierre Abelard, who had already made himself widely famous as a rhetorician, came to found a school of rhetoric in Paris. The originality of his principles, his eloquence, and his great physical strength and beauty created a profound sensation. He saw Heloise, and was captivated by her blooming youth, her beauty and her charming disposition. He wrote to her; she answered. He wrote again, she answered again. He was now in love. He longed to know her – to speak to her face to face.

His school was near Fulbert’s house. He asked Fulbert to allow him to call. The good old swivel saw here a rare opportunity: his niece, whom he so much loved, would absorb knowledge from this man, and it would not cost him a cent. Such was Fulbert – penurious . . . He asked Abelard to teach her.

Abelard was glad enough of the opportunity. He came often and staid long. A letter of his shows in its very first sentence that he came under that friendly roof like a cold-hearted villain as he was, with the deliberate intention of debauching a confiding, innocent girl. This is the letter :

“I can not cease to be astonished at the simplicity of Fulbert; I was as much surprised as if he had placed a lamb in the power of a hungry wolf. Heloise and I, under pretext of study, gave ourselves up wholly to love, and the solitude that love seeks our studies procured for us. Books were open before us, but we spoke oftener of love than philosophy, and kisses came more readily from our lips than words.”

And so, exulting over an honorable confidence which to his degraded instinct was a ludicrous “simplicity,” this unmanly Abelard seduced the niece of the man whose guest he was. Paris found it out. Fulbert was told of it – told often – but refused to believe it. He could not comprehend how a man could be so depraved as to use the sacred protection and security of hospitality as a means for the commission of such a crime as that. But when he heard the rowdies in the streets singing the love-songs of Abelard to Heloise, the case was too plain – love-songs come not properly within the teachings of rhetoric and philosophy.

He drove Abelard from his house. Abelard returned secretly and carried Heloise away to Palais, in Brittany, his native country. Here, shortly afterward, she bore a son, who, from his rare beauty, was surnamed Astrolabe. . . . The girl’s flight enraged Fulbert, and he longed for vengeance, but feared to strike lest retaliation visit Heloise – for he still loved her tenderly. At length Abelard offered to marry Heloise – but on a shameful condition: that the marriage should be kept secret from the world, to the end that (while her good name remained a wreck, as before) his priestly reputation might be kept untarnished. It was like that miscreant.

Fulbert saw his opportunity and consented. He would see the parties married, and then violate the confidence of the man who had taught him that trick; he would divulge the secret and so remove somewhat of the obloquy that attached to his niece’s fame. But the niece suspected his scheme. She refused the marriage, at first; she said Fulbert would betray the secret to save her, and besides, she did not wish to drag down a lover who was so gifted, so honored by the world, and who had such a splendid career before him. It was noble, self-sacrificing love, and characteristic of the pure-souled Heloise, but it was not good sense.

But she was overruled, and the private marriage took place. Now for Fulbert! The heart so wounded should be healed at last; the proud spirit so tortured should find rest again; the humbled head should be lifted up once more. He proclaimed the marriage in the high places of the city, and rejoiced that dishonor had departed from his house. But lo! Abelard denied the marriage! Heloise denied it! The people, knowing the former circumstances, might have believed Fulbert, had only Abelard denied it, but when the person chiefly interested – the girl herself – denied it, they laughed despairing Fulbert to scorn.

The poor canon of the cathedral of Paris was spiked again. The last hope of repairing the wrong that had been done his house was gone. What next? Human nature suggested revenge. He compassed it. The historian says: “Ruffians, hired by Fulbert, fell upon Abelard by night, and inflicted upon him a terrible and nameless mutilation.”

I am seeking the last resting-place of those “ruffians.” When I find it I shall shed some tears on it, and stack up some bouquets and immortelles, and cart away from it some gravel whereby to remember that howsoever blotted by crime their lives may have been, these ruffians did one just deed, at any rate, albeit it was not warranted by the strict letter of the law.

Heloise entered a convent and gave good-bye to the world and its pleasures for all time. For twelve years she never heard of Abelard – never even heard his name mentioned. She had become prioress of Argenteuil, and led a life of complete seclusion. She happened one day to see a letter written by him, in which he narrated his own history. She cried over it, and wrote him. He answered, addressing her as his “sister in Christ.”

They continued to correspond, she in the un-weighed language of unwavering affection, he in the chilly phraseology of the polished rhetorician. She poured out her heart in passionate, disjointed sentences; he replied with finished essays, divided deliberately into heads and sub-heads, premises and argument. She showered upon him the tenderest epithets that love could devise, he addressed her from the North Pole of his frozen heart as the “Spouse of Christ!” The abandoned villain!

On account of her too easy government of her nuns, some disreputable irregularities were discovered among them, and the Abbot of St. Denis broke up her establishment. Abelard was the official head of the monastery of St. Grildas de Ruys, at that time, and when he heard of her homeless condition a sentiment of pity was aroused in his breast (it is a wonder the unfamiliar emotion did not blow his head off), and he placed her and her troop in the little oratory of the Paraclete, a religious establishment which he had founded.

She had many privations and sufferings to undergo at first, but her worth and her gentle disposition won influential friends for her, and she built up a wealthy and flourishing nunnery. She became a great favorite with the heads of the church, and also the people, though she seldom appeared in public. She rapidly advanced in esteem, in good report and in usefulness, and Abelard as rapidly lost ground. The Pope so honored her that he made her the head of her order.

Abelard, a man of splendid talents, and ranking as the first debater of his time, became timid, irresolute, and distrustful of his powers. He only needed a great misfortune to topple him from the high position he held in the world of intellectual excellence, and it came. Urged by kings and princes to meet the subtle St. Bernard in debate and crush him, he stood up in the presence of a royal and illustrious assemblage, and when his antagonist had finished he looked about him, and stammered a commencement; but his courage failed him, the cunning of his tongue was gone: with his speech unspoken, he trembled and gat down, a disgraced and vanquished champion.

He died a nobody, and was buried at Cluny, A.D., 1144. They removed his body to the Paraclete afterward, and when Heloise died, twenty years later, they buried her with him, in accordance with her last wish. He died at the ripe age of 64, and she at 63. After the bodies had remained entombed three hundred years, they were removed once more. They were removed again in 1800, and finally, seventeen years afterward, they were taken up and transferred to Pere la Chaise, where they will remain in peace and quiet until it comes time for them to get up and move again.

History is silent concerning the last acts of the mountain howitzer. Let the world say what it will about him, I, at least, shall always respect the memory and sorrow for the abused trust, and the broken heart, and the troubled spirit of the old smooth-bore. Rest and repose be his!

Such is the story of Abelard and Heloise. (Innocents Abroad).


* Later Fordefjord was unimaginatively renamed “First Lutheran Church.”

A novel entitled Peter Abelard was published in 1933 by Helen Waddell. It is available at Internet Archive for those who prefer their history via the medium of historical fiction. The illustration below, apparently imitating a fading fresco, comes from that volume.

Only God Can Create

Satan has many disciples in this world. Some know him by other names, or worship him in spirit without recognizing his actual existence (e.g. Mammon). The irony, of course, is that the Devil is simply a posturer, or in modern parlance, a poser. And the presence of the Holy Spirit makes any single Christian more than his match.

A prime evidence of Satan’s weakness is that he is a mere created being, without any creative powers of his own. Although some would grant the Adversary a glory he does not own, the truth is that since his expulsion from Heaven, he has devolved into the Great Pretender.

C.S. Lewis never pretended to be a theologian (for whatever authority that debatable title might convey). Instead, he was a brilliant disciple of Jesus with a sincere desire to follow the teachings of the Scriptures. Lewis certainly wasn’t infallible (and he has many critics who delight in pointing out that obvious fact).

Nevertheless, Lewis’ private insights on the subject of Lucifer’s noncreative limitation are right on the biblical target. Responding to a question posed by a reader, Lewis offered his opinion. 

Dear Mrs [Belle] Allen, I think it would be dangerous to suppose that Satan had created all the creatures that are disagreeable or dangerous to us for (a) those creatures, if they could think, would have just the same reason for thinking that we were created by Satan. (b) I don’t think evil, in the strict sense, can create.

It can spoil something that Another has created. Satan may have corrupted other creatures as well as us. Part of the corruption in us might be the unreasoning horror and disgust we feel at some creatures quite apart from any harm they can do us. (I can’t abide a spider myself.) (correspondence, 11 January 1954).

No, God alone creates . . . and redeems. The impotent Devil can never create, or rescue. His utter corruption results in an admittedly powerful spiritual being (a fallen angel) who is devoted to twisting, breaking, tainting, warping, spoiling, corrupting, rotting, perverting, and ruining all that God loves.

Granted, in our fallen world, Satan can fashion an abomination from some preexisting thing he corrupts – for example, Ophiocordyceps unilateralis the parasitic fungus that turns ants into zombies – but he can never create something out of nothing. These poor abominations are an excellent example of what Lewis referred to when he described the “horror and disgust we feel at some creatures . . .”

Meanwhile, Human Beings Can Create

Well, not exactly “create” on the creatio ex nihilo (created out of nothing) sense. Only God can do that, as he did when he spoke all things into existence. Just as Aslan echoed, when he sang Narnia into being in Lewis’ Chronicles.

“And God said, ‘Let there be light,’ and there was light” (Genesis 1).

“In the beginning was the Word [Logos], and the Word was with God, and the Word was God. . . . All things were made through him . . .” (John 1)

The Lion was pacing to and fro about empty land and singing his new song. It was softer and more lilting than the song by which he had called up the stars and the sun; a gentle, rippling music. And as he walked and sang the valley grew green with grass. It spread out from the Lion like a pool. It ran up the sides of the little hills like a wave” (The Magician’s Nephew)

As for humans like you and me being able to create, that is one of God’s most precious gifts to us. In truth, we use elements already created by the Lord: clay and stone to sculpt, pigments to paint, quill and ink to write.

The Inklings understood this creative impulse quite well. They not only understood it; they lived it. 

Like Christians before and since, they recognized that our creative capacity is based in the fact that we are created imago Dei, in the image of God.

Many people mistakenly believe J.R.R. Tolkien coined the word subcreation (or sub-creation, for the hyphen-infatuated). He certainly applied it for the first time to the intentional creation of what the Oxford English Dictionary calls “the action or process of creating a fully realized and internally consistent imaginary (or ‘secondary’) world.” 

Subcreation may be considered a form of “creation by a created being.” But even the most talented of writers and artists should remember this truth, stated by a Canadian astrophysicist: “God did not grant to the devil or any of his creatures the power to create.”

There is much more to consider on this subject, but Mere Inkling readers will need to wait until my next post, when we will conclude our discussion of this fascinating matter. 

There are two equal and opposite errors into which our race can fall about the devils. One is to disbelieve in their existence. The other is to believe, and to feel an excessive and unhealthy interest in them.

They themselves are equally pleased by both errors, and hail a materialist or a magician with the same delight. (The Screwtape Letters).


The image above is based on the work of Émile Bayard (1837-1891), a French illustrator who was born in Cairo, Egypt.

Books Enjoyed by C.S. Lewis

Reading is not only one of life’s pleasures, the content and ethos of what we read, subtly influences the shape of our very lives.

C.S. Lewis loved books with genuine passion. While many people only perceive books as compilations of information or as sources of fleeting entertainment, he knew them as far more. Only someone sharing Lewis’ affection and wisdom will identify with the following passage from his essay “An Experiment in Criticism.”

The man who is contented to be only himself, and therefore less a self, is in prison. My own eyes are not enough for me, I will see through those of others. Reality, even seen through the eyes of many, is not enough. I will see what others have invented. . . .

Literary experience heals the wound, without undermining the privilege, of individuality. There are mass emotions which heal the wound; but they destroy the privilege. In them our separate selves are pooled and we sink back into sub-individuality.

But in reading great literature I become a thousand men and yet remain myself. Like the night sky in the Greek poem, I see with a myriad eyes, but it is still I who see. Here, as in worship, in love, in moral action, and in knowing, I transcend myself; and am never more myself than when I do.

Lewis scholar and emeritus professor of English, Dale J. Nelson, has been providing a wonderful service in recent years as he explores the books which found a place in C.S. Lewis’ personal library. “Jack and the Bookshelf” is a continuing series which appears in CSL, journal of the New York C.S. Lewis Society. Founded in 1969, the organization “is the oldest society for the ​appreciation and discussion of C.S. Lewis in the world.”

Nelson’s task of editorially archiving C.S. Lewis’ library is complemented by the work of our mutual friend, Dr. Brenton Dickieson. In a “comment” praising Dickieson’s compilation of “C.S. Lewis’ Teenage Bookshelf,” Nelson offers a commendation with which I fully concur.

Thank you for assembling that list of books . . . I’d encourage Lewis’s admirers to take their appreciation of CSL to the next step and delve into the things he liked to read throughout his life.

Nelson’s contribution to the December 2023 issue is the fifty-ninth in his series, and discusses a fantasy work titled The Worm Ouroboros by E.R. Eddison. Eddison (1882-1945) was a Norse scholar, and his fascination with mountains combined with that, to resonate with Lewis’ passion for northernness.

Dr. Nelson, who has added an array of science fiction to his own academic work, possesses superb credentials for exploring the connection between Lewis and Eddison. 

Nelson relates that, at C.S. Lewis’ invitation, Eddison attended two gatherings of the Inklings. At the second, Eddison – who relished critiques of his works in progress, as do many serious writers – read from a project which would not be published due to his death the following year.

Eddison’s themes more closely resembled J.R.R. Tolkien’s than Lewis’ own. In Nelson’s words, both “Tolkien and Eddison wrote masterpieces of heroic fantasy whose values differed markedly.” 

Another distinction is that while Tolkien’s Lord of the Rings has maintained its mythic rigor, Eddison’s oeuvre feels rather anchored to the formative years of the genre, prior to the so-called Golden Age of science fiction (and fantasy).

If you would like to read this book, which was enjoyed by both Lewis and Tolkien, you can download a copy of it at Internet Archive. If you enjoy dwarves, goblins, manticores and hippogriffs, you are unlikely to be disappointed.

Suffering Caused by Labeling Children

Kids are often cruel, dishing out insults and rude nicknames to those they deem “different.” Sadly, not everyone outgrows this ugly behavior. As C.S. Lewis wrote in The Four Loves,

We hear a great deal about the rudeness of the rising generation. I am an oldster myself and might be expected to take the oldsters’ side, but in fact I have been far more impressed by the bad manners of parents to children than by those of children to parents.

I recently discovered an artist whose music reveals the pain caused by this cruelty. In “Not My Name,” Matt Sassano describes how we can move beyond the wounds of our past. For we all understand these hurtful words possess power.

These are the scars
     that I’m forced to live with,
These are the scars
     that mark me as a misfit . . .

Who among us does not bear scars from past struggles? Who among us has never been ridiculed by others?

Despite having a loving mother who sheltered me from much of life’s traumas, I bear my own scars. That’s one reason this song powerfully resonated with me. 

But there is a stronger reason I am touched by “Not My Name.” It’s because, as a pastor I have seen far, far too many women and men who remain buried beneath their pain.

I found healing in God’s grace. The scars now cause me little discomfort, though the memories remain. And I have found healing often begins when people who have endured life’s onslaughts learn they are not alone. 

This man shares a heart just like their own.

These are the scars
     that I am forced to live with
So pick me apart
I won’t fit the mold that you fit
But thеre’s a warrior inside me
That you playеd a part in building
Because you made me understand.

About staying strong when you’ve fought so long
In a world that tells you you don’t belong
Living in the shadow of all your flaws
Where it’s hard to be seen for who you are.

And, the emotionally and spiritually wounded can see how someone suffering like them can proclaim this liberating truth:

So label me
Call me by my pain
That’s not my name
That’s not my name.

I’m so much more
     than your throw away
That’s not my name
That’s not my name. . . .

You won’t sentence me
Your words are dead to me
I know my suffering
     is not my identity.

As impressed as I was with this song, it means all the more now that I learned something about Sassano’s life.

The Sins of the Father

A short biography reveals some of the reason for Sassano’s plaintive spirit. 

He was the son of an unfit pastor, whose anger and abuse crushed his childhood faith. His search for meaning “was intensified by the experience of living with two disabilities: Cerebral Palsy and dyscalculia (which impairs brain functions like navigation and mathematics).

“I spent much of my early life in and out of doctor’s offices and disability meetings, which led me to struggle with my self-perception and self-esteem.”

It is this tragic youth which directly inspires his video “Dear God.” Released in 2022, it reminds me of the lamentations we find in the Scriptures, particularly the Psalms and Jeremiah. In Madeleine L’Engle’s forward to C.S. Lewis’  lamentations in A Grief Observed, she expresses gratitude for his honest treatment of grief’s violence. 

I am grateful to Lewis for the honesty of his journal of grief, because it makes quite clear that the human being is allowed to grieve, that it is normal, it is right to grieve, and the Christian is not denied this natural response to loss.

I am grateful, too, to Lewis for having the courage to yell, to doubt, to kick at God . . . This is a part of healthy grief not often encouraged. It is helpful indeed that C.S. Lewis, who has been such a successful apologist for Christianity, should have the courage to admit doubt about what he has so superbly proclaimed. It gives us permission to admit our own doubts, our own angers and anguishes, and to know that they are part of the soul’s growth.

The video amplifies the power of the lyrics of “Dear God.” So, do watch it.

I’ve got questions, confessions
I just want peace of mind
Time’s fading and I’m waiting
For something I can’t find
I am overwhelmed
Can I endure this hell?
No way to break the spell
I’ll spill my heart again

Dear God
I’ve lost the will to fight
Please give me a sign
I’m empty inside
Got no strength to carry on
The plague has multiplied
It’s eating me alive
How can I survive?
Dear God

Much like C.S. Lewis’ book describing the loss of his wife, Sassano’s songs can help bring healing to those in similar pain. Even if you don’t need to listen to these songs . . . trust me, there is someone you know and care about, who does!

Writers, AI & C.S. Lewis

Artificial intelligence is on the rise. It’s IQ is somewhere above 75, and presumably still climbing. And some very intelligent human beings, are issuing apocalyptic warnings

“Mitigating the risk of extinction from A.I. should be a global priority alongside other societal-scale risks, such as pandemics and nuclear war,” reads a one-sentence statement released by the Center for AI Safety, a nonprofit organization. The open letter was signed by more than 350 executives, researchers and engineers working in A.I.

Presently, I’m more wary of Russia, China and Iran igniting an end of the world scenario.

But there is one particular aspect of artificial intelligence that intrigues me. And that is the creation of literary works by these programs, which are themselves creations of humankind.

Some people, such as copywriters, feel their livelihoods are being threatened. “My amusement turned to horror: it took ChatGPT 30 seconds to create, for free, an article that would have taken me hours to write.” (And that was clocked way back in January; no telling how quickly the AI could perform the feat today.)

Others – think teachers – are alarmed by how simply this new technology can seduce students to take self-crippling shortcuts. One article refers to this as “the elephant in the room.” 

Perhaps all questions centered on AI are inherently questions of ethics, and at the forefront of many teachers’ minds is cheating and plagiarism.

Cheating and plagiarism are two separate concerns, of course. AI is capable of not only drawing together already existing material, and generating new word combinations that cannot be tracked back to any unique original source.

I feel confident that the Inklings would be extremely suspicious of computer-generated “literature.” Yet, at the same time, I think it is a subject they too would find intriguing.

Test-Driving AI

There are a myriad of free sites where a person can enter some basic parameters or directions and await the product of text generated by a synthetic “mind.” I share below some examples of the input—output results of my initial experiment.

I asked  Open AI, creators of ChatGPT, to write two limericks, about the Oxford Inklings and C.S. Lewis, respectively.

In Oxford, the Inklings did meet,
With words and with wisdom so sweet.
Tolkien and Lewis,
Their minds in a breeze,
Inkling tales made our imaginations fleet.

C.S. Lewis, a writer so grand,
In Narnia’s magical land.
With Aslan the Lion,
In tales that inspire,
He showed us the way to understand.

Next I asked for an Inkling sonnet, followed by two haikus, addressing the Inklings as a fellowship and C.S. Lewis the individual.

In Oxford’s hallowed halls, they gathered ‘round,
The Inklings, minds of genius, so profound.
With ink-stained fingers, in their fellowship,
They wove their tales, from wisdom’s well to sip.

Tolkien, the philologist of ancient lore,
In Elvish tongues, his stories did explore.
Lewis, the Christian apologist true,
In Narnia’s world, he brought God’s message through.

Williams, Barfield, Dyson, and the rest,
In literature and faith, they were blessed.
Their words a beacon in a world so dark,
Igniting minds with sparks from wisdom’s arc.

Oxford’s Inklings, their legacy remains,
In timeless tales, where inspiration reigns.

Inklings’ minds aflame,
Oxford’s thinkers left their mark,
Words and wisdom’s claim.

C.S. Lewis penned grace,
Faith and fantasy embraced,
Words that still embrace.

And finally, I requested: “write a story about C.S. Lewis really traveling to Narnia.” The program has a “regenerate” button to address the same query with a fresh response. Due to their lengths, I’ve included them as “footnotes” below.

Shockingly, to me at least, it took less than 10 minutes to complete all of this. Each response, in fact, took mere seconds . . . not much longer than the time required to type the requests. 

There are a growing number of companies offering AI services. Most offer free opportunities to test their wares. I decided to try one such vendor. 

WriterHand declares “our tool is 100% free, allowing you to create limitless text and blog content with the assistance of artificial intelligence.” I requested of them a sonnet and haiku, as well. The first follows, with two other variants in the footnotes below.

The Oxford Inklings, a literary group
Of J.R.R. Tolkien, C.S. Lewis and more
Created stories that still make us droop
And have us seeking out their lore.

Their works of fantasy and myth
Fill our imaginations with delight
We all search for the answers they lit
To the depths of our inner sight.

They wrote of worlds we can explore
Of knights, dragons and magical things
We follow their tales and come back for more
And find joy in their musings.

The Oxford Inklings have a special charm
Their words bring us together in song
And we are forever in their warm
Enchanting arms of wonder and long.

Inklings of Oxford
Stories of fantasy told
Enchantment forever

As with ChatGPT, I ended by requesting a brief, fictional story. My request was for a story about:

C.S. Lewis Meeting an Actual Talking Marsupial

On a recent summer day, C.S. Lewis, the famed author of the Chronicles of Narnia series, had a very extraordinary encounter. He had the chance to meet an actual talking marsupial.

The marsupial was a small wallaby, and it was found on the grounds of Lewis’ estate. It was not long before the wallaby began speaking to Lewis in a highly sophisticated manner. The wallaby spoke in a dialect that sounded similar to English, and was even able to converse with Lewis about the various topics he enjoyed discussing.

The wallaby was quite curious about Lewis and seemed to be quite eager to learn more about him and his works. It asked numerous questions about the Narnia series and the world that Lewis had created. It seemed to be quite fascinated by the various creatures and wonders that he had described.

The wallaby seemed to be quite intelligent and even asked for Lewis’ advice on certain topics. Lewis found the wallaby’s interest in the Narnia series quite amusing and was quite impressed by its intelligence and wit.

This meeting between Lewis and the talking marsupial was one that Lewis would never forget. It was an experience that he found both fascinating and enlightening. He was amazed by the marsupial’s intelligence and ability to converse on a level that exceeded many humans.

Lewis was quite taken aback by the talking marsupial’s presence and the conversation that ensued. He was quite intrigued by the creature’s intelligence and the fact that it could understand complex topics. This experience would later serve to further inspire Lewis’ writing and help him create some of the most beloved characters in literature.

This experience between Lewis and the talking marsupial was truly extraordinary and one that will never be forgotten. It was a meeting that allowed Lewis to learn more about the creatures that inhabit his beloved Narnia and to gain a better understanding of the power of imagination and creativity.

A Final Thought from C.S. Lewis

One of C.S. Lewis’ countless correspondents was the famous British author Arthur C. Clarke. In 1954, they exchanged letters discussing the human element of literature. I suppose it’s a subject for philosophers to explore, but one wonders how clearly the “humanity” element is communicated through a nonhuman mechanism. Sadly, Lewis’ letter is not so prescient as to address our current question, but it was sufficient to raise the matter in my own thoughts.

Dear Clarke,

Human interest, yes. But that is inevitably present if the fears and hopes and wonders of the astronauts are vividly realised – e.g. as in Bedford & Cavor on the Moon [he refers here to H.G. Wells’ The First Men in the Moon] or even Crusoe on the island. And an author who can’t do that won’t mend matters by dragging in Crooks, Crutches, or Conspiracies: for the sort of story he drags in will be just as lacking in Human interest as his space story.

About ‘escapism,’ never let that flea stick in your ear. I was liberated from it once & for all when a friend said ‘These critics are v. sensitive to the least hint of Escape. Now what class of men would one expect to be thus worked-up about Escape? – Jailers.’ Turn-key critics: people who want to keep the world in some ideological prison because a glimpse at any remote prospect would make their stuff seem less exclusively important.

Fantasy & S-F. is by miles the best. Some of the most serious satire of our age appears in it. What is called ‘serious’ literature now – Dylan Thomas & Pound and all that – is really the most frivolous. All the best. Yours C.S. Lewis


The two brief stories below were generated by ChatGPT in response to the request for a story about Lewis actually visiting Narnia.

In the quiet confines of his cozy Oxford study, C.S. Lewis sat by his flickering fireplace, a manuscript of his latest book on theology resting on his desk. The clock on the wall ticked away the minutes, marking the time as late evening gave way to the inky embrace of night. Lewis’s eyes grew heavy, and he decided it was time to retire to bed.

As he settled into his comfortable bed, he couldn’t shake the feeling of restlessness that had gripped him that evening. He stared at the wardrobe across the room, the same wardrobe that had once belonged to his grandparents and had always fascinated him as a child. He closed his eyes and drifted into a dream, or so he thought.

To his astonishment, Lewis found himself standing before the wardrobe, which now seemed more magnificent than ever. It loomed like a gateway to another world, and he couldn’t resist the urge to open its creaking doors. With a sense of wonder and trepidation, he stepped inside.

Instead of feeling wood beneath his feet, Lewis’s toes sank into soft, cool earth. He looked around and found himself standing in a dense, snow-covered forest. The air was crisp and carried a scent of pine and adventure. He realized that he was in Narnia.

Before him stood a lamppost, its light casting a warm and inviting glow. Lewis recognized it from his own stories. He couldn’t help but smile, realizing that he had somehow stepped into the world he had created through his Chronicles of Narnia.

As he ventured deeper into the forest, Lewis encountered creatures of myth and magic—talking animals, fauns, and even a majestic lion named Aslan. They welcomed him with open arms, for they knew him as the one who had brought their world to life through his words.

Days turned into weeks, and Lewis explored Narnia with childlike wonder. He sailed on the Dawn Treader, encountered the White Witch, and witnessed the coronation of King Caspian. He marveled at the beauty of Narnia’s landscapes, the bravery of its inhabitants, and the profound wisdom of Aslan.

Throughout his journey, Lewis engaged in deep conversations with the creatures of Narnia, discussing matters of faith, morality, and the nature of storytelling. Each encounter enriched his understanding of the Christian faith he had embraced in the real world.

Eventually, Lewis knew that he had to return to his own world. With a heavy heart, he stood before the same lamppost where he had first arrived and closed his eyes. When he opened them again, he was back in his Oxford bedroom, the wardrobe standing silent and ordinary once more.

He sat at his desk, the manuscript still awaiting him, but now with a newfound sense of purpose and inspiration. The memories of Narnia, his journey, and the lessons he had learned would forever shape his writing and his faith.

C.S. Lewis had indeed traveled to Narnia, not in body, but in spirit and imagination, and his stories would continue to transport readers to that magical world for generations to come.

Using the “regenerate” option with the same command: “write a story about C.S. Lewis really traveling to Narnia.”

Once upon a time in the quiet town of Oxford, C.S. Lewis, the renowned author and scholar, found himself embarking on a remarkable adventure. It was a crisp, autumn evening when he was invited to attend a secret gathering by a mysterious stranger who had slipped an enigmatic note under his door. The note simply read, “Come, Narnia awaits.”

Intrigued and a bit skeptical, Lewis decided to follow the call. He put on his overcoat, grabbed his umbrella, and stepped out into the cool night. The moon was a silvery crescent in the sky, casting an eerie glow on the cobblestone streets.

As he followed the directions given in the note, Lewis found himself walking through an old, secluded part of Oxford that he had never seen before. The air seemed to grow colder, and the world around him took on an otherworldly quality. Suddenly, he stumbled upon a large, ancient wardrobe tucked away in the corner of a park.

With a sense of déjà vu, Lewis remembered writing about such a wardrobe in one of his stories. He cautiously opened the wardrobe door, half-expecting it to be filled with coats and mothballs. To his astonishment, the wardrobe seemed to stretch and expand, and he found himself tumbling headfirst into a land covered in snow and surrounded by towering fir trees.

He had arrived in Narnia.

The moment his feet touched the snowy ground, Mr. Tumnus, the faun, rushed forward with a smile and exclaimed, “Welcome, dear friend! We’ve been waiting for you.”

Lewis was both bewildered and delighted. As he explored Narnia, he met talking animals, dwarves, and even the great lion, Aslan, whom he had created in his own stories. The world he had once imagined had come to life before his eyes.

Days turned into weeks, and Lewis became a beloved member of the Narnian community. He marveled at the beauty and wonder of this magical land. He listened to the tales of its inhabitants, learned from their wisdom, and shared stories of his own.

But as all adventures must come to an end, Lewis knew he couldn’t stay in Narnia forever. With a heavy heart, he approached the wardrobe once more and stepped back into his own world, leaving Narnia behind.

Back in Oxford, Lewis couldn’t help but wonder if his journey to Narnia had been a dream or a product of his imagination. Yet, the memories were vivid, and the lessons he had learned about faith, courage, and the power of imagination remained with him for the rest of his days.

And so, the story of C.S. Lewis’s extraordinary voyage to Narnia remained a secret he carried with him, a testament to the enduring magic of literature and the boundless possibilities of the human imagination.

Variants of the sonnet and haiku produced by WriterHand follow.

The Oxford Inklings were a group of friends
Whose conversations filled the air with wit and wit;
Their words of wisdom still live on to this day,
Their legacy of literature still stands tall and lit.

From C.S. Lewis to J.R.R. Tolkien
They bantered and debated through the night;
Their words and stories filled us all with joy,
A source of inspiration, both dark and light.

From fantasy to science fiction,
The Inklings had a way with words;
Their genres and stories still stand the test of time,
And their influence still continues to be heard.

The Oxford Inklings and their works
Will live on in the hearts of many;
Their words will inspire generations to come,
A lasting legacy of literary plenty.

The Inkling’s works shine
A legacy of wisdom still
In our hearts, forever

The Oxford Inklings were a unique group
Formed in the city of dreaming spires
A gathering of friends with a shared goal
To explore the depths of their desires

A fellowship of authors, poets, and more
Including Tolkien, Lewis, and Williams
Discussing literature, theology, and lore
In the Eagle and Child’s hidden realms

From the Inklings came works of great fame
The Chronicles of Narnia and The Lord of the Rings
Legends of Middle Earth and tales of great shame
A legacy that will last through the ages

The Oxford Inklings were a brilliant crew
Inspiring writers and readers anew.

Oxford Inklings’ lore
In tales of fantasy and truth
Lives on forever

Inkling Linguistics

Last week I wrote about “Learning Languages,” and I promised to follow up with a related theme – the creation of new words and languages. Let’s consider the simple matter first.

Adding New Words

Anyone can make up a new word. The problem is whether we have enough influence to have it adopted and used by another human being. (I add this qualifier to eliminate those who might attempt to skirt the question by simply training parrots to mimic the new word.) As Scientific American relates, 

When parrots are kept as pets, they learn their calls from their adoptive human social partners. Part of their appeal as pets is their ability to sing lower notes than smaller birds and so better reproduce human voices.

So, while you may be able to trick one of your parrots into repeating a novel “word,” that doesn’t count for our purposes here.

Likewise, any other birds who mimic speech, including musk ducks and corvids (ravens, crows and their ilk). In fact, let’s exclude all nonhuman “speakers” from consideration. After all, AZ Animals introduces readers to seven specific animals of different species (only one of which is avian) whose “forebrain is . . . responsible for some animals’ ability to mimic speech.” 

So, animals aside, who embraces and disseminates newly invented new words? Some words, of course, find a partially prepared or receptive audience because they are imported from other tongues. The global influence of English makes other languages especially vulnerable to its influence, which can be deeply resented. The “corruption” of mother tongues sometimes elicits reactionary responses – such as Italy’s current effort to purge English from the Italian Republic.

And some Italians are extremely serious about the task, proposing fines up to €100000. (That is not a typo; at today’s exchange rate it would be $109,857.50.) Their animus toward English follows the path established by the French, who frequently default to Napoléon’s order to refer to Britain as “perfidious Albion.” The Académie Française goes so far as to repudiate specific words, including business, cash, digital, vintage, label, and deadline.

Vocabulary adopted from other nation’s may be “new” to their most recent users, but such importation is certainly not the same as fabricating novel words from the proverbial “whole cloth.”

True Neologisms

I wrote a moment ago that creating words is easy, but persuading others to use them is quite another thing. I’ve discussed this subject in the past, in “Create a Word Today” and “Creative Definitions.” Sadly – and fittingly – none of my personal neologisms have caught on.

Popular creative writers may, however, find their fancies adopted by larger audiences. Shakespeare’s “bedazzled” was birthed in The Taming of the Shrew. The “chortle” was first heard in Lewis Carol’s “Jabberwocky.” “Pandemonium” was revealed as the capital of Hell in Milton’s Paradise Lost. And the first “Nerd” was encountered in Dr. Seuss’ If I Ran the Zoo.

Some neologists were particularly prolific. How about these few additional examples from the Bard: 

Bandit ~ Henry VI
Dauntless ~ Henry VI
Lackluster ~ As You Like It
Dwindle ~ Henry IV

Oh, and Grammarly adds, “Shakespeare must have loved the prefix un- because he created or gave new meaning to more than 300 words that begin with it.” Can you imagine a world without:

Unaware ~ Venus & Adonis
Uncomfortable ~ Romeo & Juliet
Undress ~ Taming of the Shrew
Unearthly ~ The Winter’s Tale
Unreal ~ Macbeth

Before moving on, it would be fair to note that some voices consider this achievement by Shakespeare to be “a common myth.”

It turns out that Shakespeare’s genius was not in coining new words – it was in hearing new words and writing them down before they became widespread, and in wringing new meaning out of old, worn-out words: turning “elbow” into a verb and “where” into a noun. He didn’t invent the words, but he knew how to use them better than anyone.

C.S. Lewis was not a philologist, but he did create a few novel words. The Inkling scholar who pens A Pilgrim in Narnia has written on this subject here and here.

J.R.R. Tolkien was no slouch at inventing English words himself. Some which now reside in our common vocabulary include hobbit and orc. The latter he derived from an Old English word, orcþyrs, a devouring monster associated with Hell. More surprisingly, Tolkien created the modern word “tween,” albeit in the context of hobbits, who lived longer lives than we.

At that time Frodo was still in his tweens, as the hobbits called the irresponsible twenties between childhood and coming of age at thirty-three.

Envisioning novel words is relatively simple, but inventing an entire language, is an infinitely more complex challenge. The universally acknowledged master is J.R.R. Tolkien, whose Elvish tongue has become a “living” language.* But he was not alone in building internally consistent linguistic systems. Albeit, no philologist came near to Tolkien’s expertise, which included elaborate etymologies.

Before considering Tolkien himself, we will note several other efforts of a similar kind. And, following a discussion of Tolkien, we will conclude with a note about his good friend, C.S. Lewis. For, despite the fact that Lewis was not a philologist himself, it is interesting to note that he too dabbled in creatio linguarum.

Inventing New Languages

Some “constructed languages” are formed with practical purposes. Esperanto, birthed in 1887, incorporated elements from existing languages and was envisioned as a common “international auxiliary language.” It boasts its own flag, and claims to be the native language of approximately a thousand people.

One curious use of Esperanto came in its adoption by the United States Army as the “Aggressor Language” used in twentieth century wargames. The curious can download a copy of the now-rescinded Field Manual 30-101-1, which provided guidance for its usage “which will enhance intelligence play and add realism to field exercises.”

Another genuine constructed language is Interlingua. Developed between 1937 and 1951, it is based primarily on the shared (and simplified) grammar and vocabulary of Western European languages. 

In addition to languages constructed for international use, there are a variety of tongues created for fictional applications. “To learn Klingon or Esperanto” describes how linguistic anthropologist Christine Schreyer “invented several languages for the movie industry: the Kryptonian language for ‘Man of Steel,’ Eltarian for ‘Power Rangers,’ Beama (Cro-Magnon) for “Alpha” and Atlantean for ‘Zack Snyder’s Justice League.’” While none of these could ever rival the languages of Middle Earth, her bona fide linguistic credentials place her in a context similar to J.R.R. Tolkien. The interview reveals how Schreyer balances her creative impulses with her anthropological concerns.

I teach a course on linguistic anthropology, in which I give my students the task of creating new languages as they learn about the parts of languages. Around the time I started doing that, “Avatar” came out. The Na’vi language from that movie was very popular at the time and had made its way into many news stories about people learning the language – and doing it quickly.

My other academic research is on language revitalization, with indigenous or minority communities. One of the challenges we have is it takes people a long time to learn a language. I was interested to know what endangered-language communities could learn from these created-language fan communities, to learn languages faster.

Other fictional languages that exist include R’lyehian (from Lovecraft’s nightmare cosmos), Lapine (from Watership Down), Fremen, the Arabic/alien blending (from Dune), Parseltongue (ala Harry Potter), Dothraki (from Game of Thrones), Ewokese, etc. (from Star Wars), Goa’uld and others (from Stargate), Minbari and more (from Babylon 5), and the gutturally combative Klingon and others (from Star Trek). This brief list is far from exhaustive.

Tolkien, Lewis & New Languages

The languages forged by J.R.R. Tolkien are unrivaled by any conceivable measure one might employ. They are no mere stage dressing, like some of the aforementioned examples. Even those with developed vocabularies and consistent grammar fall far short of Tolkien’s creation. In terms of the histories of his languages, his diligent etymologies beggar all other such efforts. Of course, for Tolkien this was no competition. He was driven to make his languages as flawless – not “perfect,” but realistic – as humanly possible. It was a linchpin in his subcreative labor.

As a skilled calligrapher, Tolkien devised unique alphabets to complement his languages. The letters in his alphabets were not devised as mere adornments. Tolkien left that to lesser imaginations. Nor were his scripts restricted to Tolkien’s fiction. The Tolkien Estate offers an insightful essay on “Writing Systems.”

Tolkien also used invented scripts that were not associated with any of his fictional worlds. An early example is the Privata Kodo Skauta (Private Scout Code), which appears in a still unpublished notebook from 1909 called the Book of the Foxrook. This makes use of a phonetic code-alphabet, as well as a number of ideographic symbols representing full words. . . .

Toward the end of his life, Tolkien made use of the New English Alphabet, a phonetic script that combined the logical structural principles of the Angerthas and the Tengwar with letters that looked more like Greek or Latin. The alphabet has not yet been published in full, but examples can be seen in . . . J.R.R. Tolkien: Artist & Illustrator.

The footnote below links to some resources for those who would like to learn how to speak the languages of the elves. By way of help with pronunciations, remember the following advice:

Use an Italian accent to pull off Quenya speech patterns. In general, you can kind of sound Elvish – even without following the rules of the language – by applying an Italian accent when pronouncing Quenyan words. Native Italian speakers tend to use speech patterns from their native tongues to interpret English words, which can make your Elvish sound practiced even when it isn’t.

Speak with an Irish or Scottish accent to pull off a natural Sindarin accent. Irish and Scottish speakers tend to speak English by emphasizing sounds in the front of a word regardless of the standard pronunciation. This is a pretty good method for pronouncing Sindarin words, since the vast majority of them stress the first syllable.

For those who want to quickly capture some Elvish script without the effort of studying, consider the English to Elvish online translator, which is offered by the company that fashioned The One Ring for Peter Jackson’s cinematic epics. I decided to test the translation tool and posed the question: “Does AI translation of English to Quenya actually work?” The software swiftly complied.

It looks elegantly correct, but unfortunately, I’m unable to personally verify its accuracy. And I must confess to modest trepidation since the site advises:

USE CAUTION BEFORE COMMITTING TO ANY TATTOOS, INSCRIPTIONS AND ENGRAVINGS” [triple emphasis in original].

The Jens Hansen site sells jewelry, as befits the fasioners of The One Ring. In addition to hosting the translator, they offer a free pdf document called Elvish 101 in 5 Minutes. It’s an interesting document, but it reveals a limitation I assume is shared by the online generator. It is a resource for transliterating, not translating, words. Not quite the same thing . . . but the script still looks elegant. 

Tolkien was the master of creating languages for his subcreation, but C.S. Lewis also used the same technique in the writing of his Space Trilogy. Each work focuses on an individual planet in our solar system, which is referred to in the books as the Field of Arbol.

While a number of languages have developed over time, the original language, known as Old Solar, is retained by some, and learned by the series’ protagonist Dr. Elwin Ransom. Ransom is a philologist at Cambridge, and as he is modeled after Tolkien, it’s no surprise his first name means “elf friend.”

In Perelandra, Ransom describes how a language he learned on Mars was once shared by all.

“It appears we were quite mistaken in thinking Hressa-Hlab the peculiar speech of Mars. It is really what may be called Old Solar, Hlab-Eribol-ef-Cordi. . . . there was originally a common speech for all rational creatures inhabiting the planets of our system: those that were ever inhabited, I mean – what the eldila (angels) call the Low Worlds. . . .

That original speech was lost on Thulcandra, our own world, when our whole tragedy [the Fall] took place. No human language now known in the world is descended from it.”

Lewis’ use of Old Solar is sparing, but a partial lexicon can be found at FrathWiki. There, for example, you will learn that “honodraskrud” is Old Solar for a “Groundweed; an edible pinkish-white kind of weed, found all over the handramit” of Malacandra (Mars).

The accomplishments of Tolkien and Lewis are difficult to compare. These two brilliant scholars shared a great many interests, but wrote with far different goals. We rightfully expect genius to vary between such individuals. This is well illustrated by their differing treatments of constructed languages, as Martha Sammons describes so well in War of the Fantasy Worlds.

Tolkien began with invented languages and then developed an elaborate mythology to create a world where his languages could exist. Lewis’s works began with mental pictures; he would then find the appropriate ‘‘form’’ to tie together the images. . . .

[Tolkien’s] penchant for historical and linguistic detail is unparalleled. In contrast . . . Lewis uses just enough language, geography, and science to make his novels believable.

While either approach may inspire those among us who aspire to writing, we best avoid attempting to emulate either author. Best, I believe, to compose our epics with the language that most naturally flows from our pen.


* While some fans of Klingon and Na’vi may learn to speak in those tongues, the students of the languages of Arda, typically possess greater ardor for the languages of Middle Earth. For example, an online guide to learning Elven languages begins by answering the question, “why study Elvish?” And a free online course for learning Quenya is offered here. Among the Quenya dictionaries, the finest free example is available at Quenya-English Dictionary English-Quenya Dictionary.

An Author with the Heart of an Inkling

C.S. Lewis and Frederick Buechner never met, yet they are “friends” because they share so many similarities as authors writing from a Christian perspective. In terms of Buechner’s themes and range of his writings, this award winning American author and ordained Presbyterian minister may have as much in common with C.S. Lewis as his own British Inklings. So let me introduce Frederick Buechner and his writings.

Do you read primarily to relax and allow your imagination to soar? Or, do you normally select “useful” books, with the potential to be applicable to meeting the challenges of real life?

During my college years, I enjoyed scifi and fantasy. I still have a weak spot for alternative histories. But my seminary years had a subtle effect on my reading. With time always at a premium as a young pastor with a family, I had so many practical, pastoral books and journals to study, that I seldom had time for something so frivolous as “fiction.” Fortunately, semi-retirement has released me from that restrictive literary diet.

I’ve finally found some time to unpack a few of the boxes of books sitting in my garage. (The fact we moved them into the garage around 2010 would be embarrassing if it got out, so I ought not to mention it here.)

As one would expect, I’ve encountered many pleasant surprises. A number of books I had been missing have turned up, I’ve found some that are even more timely today than when they were stored, and—best of all in the minds of my adult children—I’ve been able to part with about two-thirds of the titles, and recently donated about 150 volumes to a local charity.

One of the titles I am currently reading is Frederick Buechner’s Telling Secrets. I had picked up a copy when it was highly recommended to me, only to discover it was a memoir. Being a “practical pastor” who always had too many utilitarian books to read, I set it aside . . . only to pick it up twenty years later.

And what a joyous surprise it has been. Buechner is in his nineties, and is widely respected. He has been a prolific writer, and has received numerous awards for his fictional works. Readers, particularly from the Reformed branch of Christianity have been especially fervent fans of the Presbyterian pastor and theologian. My friend, Brenton Dickieson is quite fond of Buechner and has written about him in A Pilgrim in Narnia on several occasions. He notes that Buechner quotes a number of the Inklings, including Tolkien, Williams and Lewis.

I vaguely recall the Lewis connection being one reason my fellow Air Force chaplain recommended Telling Secrets to me. But I had forgotten that the first section is entitled “The Dwarves in the Stable.” This is, of course, an allusion to an extremely momentous scene in The Final Battle, the final volume of the Chronicles of Narnia. It was originally published as an independent essay, as this entertaining post points out.

Buechner shares a dark family secret, the consequences of his father’s suicide in 1936. Listen to how movingly he describes the secret’s power:

His suicide was a secret we nonetheless tried to keep as best we could, and after a while my father himself became such a secret. There were times when he almost seemed a secret we were trying to keep from each other.

Buechner moves on to relate the suffering the family experienced during his daughter’s battle with anorexia. He shares few details, since “it is not mine to tell but hers.” Nevertheless, he describes setbacks in the struggle causing him to feel as though he “was in hell.”

I choose the term hell with some care. Hell is where there is no light but only darkness, and I was so caught up in my fear for her life, which had become in a way my life too, that none of the usual sources of light worked any more, and light was what I was starving for. . . .

I remained so locked inside myself that I was not really present with them at all. Toward the end of C.S. Lewis’s The Last Battle there is a scene where a group of dwarves sit huddled together in a tight little knot thinking that they are in a pitch black, malodorous stable when the truth of it is that they are out in the midst of an endless grassy countryside as green as Vermont with the sun shining and blue sky overhead.

The huge golden lion, Aslan himself, stands nearby with all the other dwarves “kneeling in a circle around his forepaws” as Lewis writes, “and burying their hands and faces in his mane as he stooped his great head to touch them with his tongue.” When Aslan offers the dwarves food, they think it is offal.

When he offers them wine, they take it for ditch water. “Perfect love casteth out fear,” John writes (1 John 4:18), and the other side of that is that fear like mine casteth out love, even God’s love. The love I had for my daughter was lost in the anxiety I had for my daughter.

This is just a single example of the sensitive wisdom Buechner shares throughout this grace-filled work.

After I finish Telling Secrets, I look forward to reading two of Buechner’s novels already on my shelf, Godric and Brendan. They are both historical fiction, telling the stories of two sainted monks from the twelfth and sixth centuries respectively.

I encourage any of you unfamiliar with his writings to explore his work. If an autobiography can be this good, I’m eager to take a journey through what I have no doubt will be quite an adventure in his fiction.

Buechner possesses an additional connection to C.S. Lewis, which has the potential to last centuries. He describes his decision to offer his personal papers to Wheaton College, where they are available in the archives. The theologian describes his decision in this humble manner.

Wheaton College [has] a great collection there of the manuscripts and papers of people like C.S. Lewis, G.K. Chesterton, George MacDonald, J.R.R. Tolkien, Dorothy Sayers, and the like, and because I could think of no more distinguished company than theirs among whom to have my own literary remains molder, a year earlier I had offered them everything I had stowed away over the years in cardboard boxes and scrapbooks and manila folders; and to my delight they said that they would be delighted to have it.

If you would enjoy learning more about the relationship between Buechner and the Inklings, check out this fine article; “C.S. Lewis and Frederick Buechner: Literary Expression of Faith” is available for download. It’s quite enlightening.


Bonus Insight

The second chapter of Telling Secrets is entitled “The White Tower.” Many Inkling fans will jump to the conclusion (especially after reading this post) that it is a reference to the citadel of Minas Tirith, the capital of Gondor. Like me, they would be incorrect.

Buechner is not alluding here to Tolkien’s masterpiece. On the contrary, he is referring to the central tower which was the old keep of the Tower of London. Ironically, that very keep, the White Tower, was built by a Norman monk who became the Bishop of Rochester. His name . . . Gundulf.

Buechner chose this metaphor for the human condition for the following reason.

I think here of the Tower of London. More particularly I think of that oldest part of it, known as the White Tower, which was built by William the Conqueror in the eleventh century. On the second floor of it there is a small Norman chapel called the Chapel of Saint John. It is very bare and very simple. It is built all of stone with twelve stone pillars and a vaulted ceiling.

There is a cool, silvery light that comes in through the arched windows. . . . The chapel is very silent, very still. It is almost a thousand years old. You cannot enter it without being struck by the feeling of purity and peace it gives. If there is any such thing in the world, it is a holy place.

But that is not all there is in the White Tower. Directly below the chapel is the most terrible of all the tower’s dungeons. It has a heavy oak door that locks out all light and ventilation. It measures only four feet square by four feet high so that a prisoner has no way either to stand upright in it or to lie down at full length. There is almost no air to breathe in it, almost no room to move. It is known as the Little Ease.

I am the White Tower of course. To one degree or another all of us are.

C.S. Lewis, Puritanism & Prudes

Puritans often get a bad rap from people who don’t know their true history. Reading C.S. Lewis can help correct that error.

Digital History describes the problem in the following way.

Few people, however, have been as frequently subjected to caricature and ridicule. The journalist H.L. Mencken defined Puritanism as “the haunting fear that someone, somewhere, might be happy.”

In truth, Puritans enjoyed having a good time as much as anyone. They only objected to sinful activities. Drinking, fine. Drunkenness, sinful. Sexual intimacy in marriage, wonderful. Fornication and promiscuity, iniquitous. As C.S. Lewis writes in his essay “Tasso,” the Puritans were not about eliminating pleasure.

Asceticism is far more characteristic of Catholicism than of the Puritans. Celibacy and the praise of virginity are Catholic: the honour of the marriage bed is Puritan. (Studies in Medieval and Renaissance Literature)

In English Literature in the Sixteenth Century, C.S. Lewis includes Puritans in his description of the broader Protestant Reformation landscape.

Nearly every association which now clings to the word puritan has to be eliminated when we are thinking of the early Protestants. Whatever they were, they were not sour, gloomy, or severe; nor did their enemies bring any such charge against them. . . .

For [Thomas] More, a Protestant was one “dronke of the new must of lewd lightnes of minde and vayne gladnesse of harte.” Luther, he said, had made converts precisely because “he spiced al the poison” with “libertee.” Protestantism was not too grim, but too glad, to be true. . . . Protestants are not ascetics but sensualists.

Within the contemporary American Christian community, Puritanism has many defenders. This is due, I believe, to the prominence of Reformed theology within Protestant churches, something traceable to the nation’s beginnings.

Contrary to common understanding, the Puritans were not “separatists” who rejected the established church. In contrast, they remained members of the Church of England throughout the late sixteenth century. They did, however, believe that the Anglican Church retained too many extrabiblical Roman Catholic Church elements and ceremonies.

Much confusion derives from failing to distinguish between the Pilgrims and Puritans.

The main difference between the Pilgrims and the Puritans is that the Puritans did not consider themselves separatists. They called themselves “nonseparating congregationalists,” by which they meant that they had not repudiated the Church of England as a false church.

But in practice they acted – from the point of view of Episcopalians and even Presbyterians at home – exactly as the separatists were acting (History.com).

While the far more numerous Puritans began arriving in the colonies in the 1630s, the Pilgrims (who referred to themselves as “Saints,” not “Pilgrims”) arrived on the Mayflower a decade earlier. The previously quoted article describes the denigration of the Puritan theology, in the following manner.

As they gained strength, Puritans were portrayed by their enemies as hairsplitters who slavishly followed their Bibles as guides to daily life or hypocrites who cheated the very neighbors they judged inadequate Christians.

Sadly, nowadays any serious Christian – anyone who honestly reads the Bible and tries to live according to God’s teachings – is regarded with similar disdain. This sad fact was recognized by C.S. Lewis long ago.

To be sure, there are standards by which the early Protestants could be called “puritanical;” they held adultery, fornication, and perversion for deadly sins. But then so did the Pope. If that is puritanism, all Christendom was then puritanical together (English Literature in the Sixteenth Century).

So From Where Does the Puritan Label Come?

C.S. Lewis answers this question in an essay, “Edmund Spenser, 1552–99.”

By purity the Elizabethan Puritan meant not chastity but “pure” theology and, still more, “pure” church discipline (Studies in Medieval and Renaissance Studies).

In “Donne and Love Poetry” he elaborates on Puritan focus on ecclesiastical, rather than moral, matters.

We have come to use the word “Puritan” to mean what should rather be called “rigorist” or “ascetic,” and we tend to assume that the sixteenth-century Puritans were “puritanical” in this sense. Calvin’s rigorist theocracy at Geneva lends colour to the error.

But there is no understanding the period of the Reformation in England until we have grasped the fact that the quarrel between the Puritans and the Papists was not primarily a quarrel between rigorism and indulgence, and that, in so far as it was, the rigorism was on the Roman side (Selected Literary Essays).

Returning to the essay on Edmund Spencer, we see Lewis elaborating on the ecclesiastical hopes of the Puritans.

We must picture these Puritans as the very opposite of those who bear that name today: as young, fierce, progressive intellectuals, very fashionable and up-to-date. They were not teetotallers; bishops, not beer, were their special aversion. . . .


There was no necessary enmity between Puritans and humanists. They were often the same people, and nearly always the same sort of people: the young men “in the Movement,” the impatient progressives demanding a “clean sweep.” And they were united by a common (and usually ignorant) hatred for everything medieval . . . (Studies in Medieval and Renaissance Studies).

Some readers may be surprised to see Lewis, an Anglican, speak so favorably of Puritans. To those of us who are interested in genuine history, his words are illuminating. And, his warning – which is applicable to many other historical movements – is appreciated.

I must immediately guard against a possible misunderstanding. Both words have so changed their sense that puritan now means little more than ‘rigorist’ or ‘ascetic’ and humanist little more than ‘the opposite of puritan.’

The more completely we can banish these modern senses from our minds while studying the sixteenth century the better we shall understand it.

That is sound advice for every circumstance. Accurately understanding what we are discussing is a necessity. Just think how much disagreement could be dispelled in our polarized world, if we only followed C.S. Lewis’ example.

Writing a Biography

What kind of writer are you? A poet, journalist, essayist or, perhaps, a minimalist? (By “minimalist” I mean someone who writes the bare minimum they have to.)

Many readers of Mere Inkling are, in fact, writers in their own right. Even ignoring the profusion of texts ricocheting around the globe (which are, in fact, literary creations), a fair number of Mere Inkling subscribers have blogs of their own.

The preeminent position of physical letters as the medium for correspondence has been usurped by email. People still write to one another, but – to the woe of the struggling United States Postal Service – they do it digitally.

More serious writers gravitate toward a varieties of genres. Often we try our hands at the sort of literature we prefer reading. That’s why I seldom write poetry. (And, when I do, it’s usually because I’m consciously stretching myself.)

My poetic skills may be limited – you can decide for yourself – but I don’t experience any of the disappointment that befell C.S. Lewis when his poetic dreams were dashed.

Poets are fine. Until they become snobs. If they treat other genres with respect, they stand on an equal footing with everyone else. But when they claim primacy for their preference, they lose me. Consider “William Faulkner Makes Us Wonder: What’s So Great About Poetry, Anyhow?

There’s a reason I can call poetry the highest form of artistic expression without thinking twice about it. And even though most Americans today don’t acknowledge the art form all that much, you’d be hard-pressed to find a sensible person who doesn’t respect or – if only from a distance – admire the magic in it.*

I guess I am one of the Americans who doesn’t possess a special reverence for poetry. And, as for “admiring the magic in it,” please. Wait, I don’t desire to offend you poets out there. Unless, of course, you consider yourself better than everyone else. In that case, consider my words a gentle rebuke (and encouragement to consider the virtue of humility).  

I hope that everyone will read on, and forgive me for maligning “the highest form of artistic expression.”

A Less Honored Literary Genre

I write nonfiction, unsurprising for someone who is basically a historian. Theologically, I neglect the conjecture of systematic theological considerations and focus on what’s usually called “practical theology.” It too, is unpretentious, and intended to make sense to “regular” people.

Recent years have found me dabbling in the memoir, or versions of autobiography, as I consider the potential value of such documents to my descendants.

One arena I’ve never really considered is biography. I suspect it would be a comfortable literary form, for a historian. I mean, you’re simply telling the story of a single life, relating facts and explaining the context of various events. That doesn’t sound too challenging, does it?

I suppose almost anyone could write a biography. The question is, could we write a good one?

Writing a Biography

I have been thinking about this subject ever since my research for my previous post introduced me to the work of David Cecil,⁑ one of the Oxford Inklings who shared the company of C.S. Lewis and J.R.R. Tolkien.

Cecil wrote several biographies. At Internet Archives you can read his lives of William Cowper, Charles Lamb, or Max Beerbohm, or his two-volume biography of Lord Melbourne (1 and 2).

If those individuals don’t tickle your proverbial fancy, you might want to look at the book that piqued my interest: An Anthology of Modern Biography. In it, Cecil explores the work of sixteen biographers. One of the chapters is his own portrayal of the evangelical Anglican cleric, John Newton (an extract from his biography of Cowper).

What intrigues me most about the volume is not the biographical material itself. Rather, it is Cecil’s very informative introduction. Here is his opening, which may whet the interest of future biographers . . . one of whom could be you?

Biography is not an important form of literary art. But it has a special interest to the student of modern literature. For it is the only new form. We can talk of modern poetry and modern novels, but these are only new variations on old forms. . . . Not so biography.

Art is primarily the expression of the artist’s creative powers; he writes to express his personal vision; he chooses as his subject that which he thinks will best exhibit his particular talent.

Now this is not true of the biographer of the past. His aim was not artistic, it was useful; he wanted to give people information. If he was a man of literary talent . . . his book was a work of art. But even if it had not been, it would not have failed. For its primary purpose had been, not to give an artistic impression, but to tell the truth.

This desire for the truth over ostentation resonates with me. But, mind you, he is referring to biographers “of the past.” Now (the book was published in 1936), other influences are at work.

But for the typical modern biographer literature comes first. Mr. Lytton Strachey writes about Queen Victoria, not in order to give us information about her, but because he thinks her life an excellent subject for a work of art. . . .

He does not set out his facts . . . complete with reference and proof, he weaves them into a story, grouping them in order and proportion that will make his picture as vivid and entertaining as possible.

Cecil’s explanation for this transformation is fascinating, and I encourage you to read it yourself, whether or not you are interested in writing a biography yourself. The book is available here, and thanks to the Public Library of India, you can download a complete copy for free.

In a 1932 letter to Arthur Greeves, C.S. Lewis contrasts biographies with the evidence from people’s daily lives. He shares with his lifelong friend a question this raises in his own minid.

It is a very consoling fact that so many books about real lives – biographies, autobiographies, letters etc. – give one such an impression of happiness, in spite of the tragedies they all contain. What could be more tragic than the main outlines of Lamb’s or Cowper’s lives?

But as soon as you open the letters of either, and see what they were writing from day to day and what a relish they got out of it, you almost begin to envy them.

Perhaps the tragedies of real life contain more consolation and fun and gusto than the comedies of literature?

Biography. Considering trying it. And, Poetry, it’s not that bad, either.


* The article does include interesting information about Faulkner. It appears his disappointed poetic dream shifted him to more productive fields. This parallels C.S. Lewis’ literary career.

For all of [Faulkner’s] achievements, his Nobel Prize for Literature, his Pulitzers and National Book Awards, his mug on a 22-cent postage stamp – the man still fell short. And it wasn’t that he dropped out of high school and did only a few semesters of college, or that he was once fired by an employer for reading on the job.

These were small missteps and shortcomings that were basically inconsequential in the long run. The larger issue is that, in his own view, William Faulkner was a failed poet. Failed.

“Maybe every novelist wants to write poetry first,” he told The Paris Review in 1956, “finds he can’t, and then tries the short story, which is the most demanding form after poetry. And, failing at that, only then does he take up novel writing.”

What you may not know is that before his first novel, Soldier’s Pay, Faulkner had written two books of poetry, Vision in Spring in 1921 and The Marble Faun in 1924. While he’d long dreamed of being taken seriously as a poet, the verse was always second-rate and not particularly significant. Eventually he abandoned his efforts as a poet to focus solely on his fiction.

⁑ In the spirit of most colonials who shook off the reigns of monarchial rule, I tend to respect the Queen as a head of state, and disregard the affectations of an aristocracy they once “lorded” it over. Thus, I can take or leave Cecil’s normative citation as “Lord David Cecil.

Free Books Offered Monthly

Would you like to receive free books for the simple exchange of a short, honest review of them? If so, join me at LibraryThing. Best of all, they offer additional benefits for readers (and writers).

You may already have a free account there, since they offer a book cataloging system connecting you to fellow readers, which appeals to many book lovers.

They also offer TinyCat, which is a sophisticated cataloging system designed for small libraries. And it is free for personal use! I don’t have the time to input my own library, despite all of their tools for making that easy, but it could well work for you. [Warning: if your library includes more than 20,000 items, it may be a tad too large.]

Requesting a book for review is simple. Each month they list a bunch of new, mostly self-published titles that are available. You express your interest and they distribute the quantity that are available. You can see current offerings here: LibraryThing Early Reviewers.

The truth is that I rarely request a title. The vast majority are fiction, while my tastes strongly lean toward nonfiction. Even there, available time restricts my interests to a handful of topics. Still, I wrote a review about a book I received entitled  A Curmudgeon’s Guide to Postmodern Times: Aphorisms. (I am a sucker for thought-provoking maxims, especially if they are witty.) More on my review in a moment.

In the past I’ve written book reviews for military and theological journals. Most publications offer specific guidelines as to what they desire in a review. If you opt to ignore these, you are wasting everyone’s time. Most online sites are more tolerant.

Writing Book Reviews

Writing effective reviews is an art in itself. To do it well requires some conscious effort. To simply describe something as “good” or “boring” is basically not worth the effort. You need to think about what you, as a potential reader, are interested in knowing about a title before you invest your time and money in procuring it.

It appears there are hundreds of online sites describing the process. This one from Grammarly is a quick, clear read. One piece of their advice relates directly to my latest review.

Remember that you’re reviewing a book that another human poured their heart and soul into to write. Express your honest opinion, but don’t be nasty about it.

That sentiment is similar to one I just read in an old magazine I was perusing.

Concerning satire, I’ve always followed the rule laid down by an old college professor: “I only pick on those I love.” If I have trouble loving someone, it’s better if I refrain from jokes, satire, and teasing.

C.S. Lewis & the Art of Reviewing Books

If one were to tally all the reviews that have been written about the works of C.S. Lewis, their number might rival the grains of sand spread around the world’s beaches.*

It is unsurprising that Lewis, being a professor of English literature, wrote a significant number of book reviews himself. Some of the most notable are gathered in Image and Imagination. While the volume includes a number of valuable essays, it is the collection of his published book reviews which are of interest to us today.

You see, in Image and Imagination we encounter ten of his reviews written about books authored by his fellow Inklings. These include Owen Barfield, J.R.R. Tolkien and Charles Williams. The volume is edited by Walter Hooper, who ably introduces each of the reviews, and provides unique insight. For example, he notes C.S. Lewis’ ongoing debate with Owen Barfield about anthroposophy.

Barfield’s conversion to Anthroposophy . . . marked the beginning of . . . the ‘Great War’ between [the two friends]. . . . While the ‘Great War’ had ended years before, the problem Lewis faced in reviewing Romanticism Comes of Age is that it contains in the Introduction and other places Barfield’s ‘case’ for Anthroposophy (“Who Gaf Me Drink?”).

Lewis’ review of the culmination of the Lord of the Rings is worth the full price of the collection. Doesn’t the following ring true?

The other excellence is that no individual, and no species, seems to exist only for the sake of the plot. All exist in their own right and would have been worth creating for their mere flavour even if they had been irrelevant.

Treebeard would have served any other author (if any other could have conceived him) for a whole book. His eyes are ‘filled up with ages of memory and long, slow, steady thinking.’

Through those ages his name has grown with him, so that he cannot now tell it; it would, by now, take too long to pronounce. When he learns that the thing they are standing on is a hill, he complains that this is but ‘a hasty word’ for that which has so much history in it (“The Dethronement of Power”).

On My Review of the Curmudgeon’s Concerns

My recent review (to which I referred above) was not easy to write. What made it difficult was my mixed opinion of the aphorisms chosen for the publication. Most were quite interesting, and a few were downright brilliant. The problem was the strong bias of the author when he addressed two “controversial” topics – politics and religion.

Unlike Mark Twain, to whom I refer in the review, this author forsakes humor when he deplores subjects with which he disagrees. Twain made it clear how he stood, but usually in a manner that left even his opponents entertained. This particular book is much more “curmudgeonly,” in that some of it is delivered in an ill-tempered, alienating manner.

If you are curious in seeing how I threaded the needle of honestly reviewing a book with problematic material, you can read it here. While praising many aspects of the book, I did make one critical observation related to an aphorism related to The Chronicles of Narnia.

Greene even invokes my favorite author to mischaracterize Christianity. “C.S. Lewis depicted God as a lion. The lion, of course, is a predator.” So much for agnus dei and Aslan’s manifestation as a lamb.

A Final Encouragement

If you are a writer, or an aspiring writer, consider writing some book reviews. It can provide a more welcoming entrée into the publishing world than other features. Write it in a style similar to the reviews they normally run, and be sure to read any guidelines they provide for contributions. As with other submissions, it’s best to query first. Best of luck!


* The World Atlas estimate of 2.5 to 10 sextillions may suggest this estimate of Lewisian reviews may be hyperbole. But at least I did not refer to the number of stars, which is estimated at 10 to 200 sextillion.