Archives For Mythology

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

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

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

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

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

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

Lewis and Irish Sand

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

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

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

To another friend, he wrote:

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

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

Sand as a Metaphor

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

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

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

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

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

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

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

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

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

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

C.S. Lewis’ Use of Sand as a Metaphor

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

Back to the Vikings

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

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

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

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

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

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

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


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

arthur.png

This book belongs in the library of every fan of the Inklings and each devotee of King Arthur. The truth is that anyone interested in British literature or the Dark Ages will find much that appeals to their curiosity. King Arthur is known around the world as an archetypal hero, and he was a central fixture in the minds of the Inklings.

The Inklings & King Arthur (TIKA) is impressive in every way. However, it’s 555 rich pages should not intimidate potential readers. Editor Sørina Higgins masterfully gathered diverse insights from a score of scholars, and the individual chapters can be approached in any manner the reader desires. Even if a few of the chapter titles fail to resonate with a particular reader, the solid value of the remainder far exceed the price of the work.

Mere Inkling seldom offers reviews of books, despite the “libraries” of new Inkling literature published every year. The Inklings & King Arthur is the exception, for two reasons.*

TIKA does not require a familiarity with its subject. The academic background of the contributors allows them to usher readers into rewarding discussions without additional research. C.S. Lewis described “the task of the modern educator [as] not to cut down jungles, but to irrigate deserts.” The writers in this volume have written so clearly that even if your knowledge of King Arthur is the Mojave, and your familiarity with the Inklings is the Sahara, you will enjoy reading this book.

Truth be told, much has been written about King Arthur. Likewise, films have explored the myths, with varying degrees of faithfulness. Some make no effort at all to be faithful to the inspiring story. An extreme example would be the ludicrous storyline of the 2017 film, Transformers: The Last Knight. In striking contrast to this, the Inklings sought to penetrate the mists of time and discern the reasons Arthur’s story has inspired men and women for so many generations.

In the book’s introduction, Higgins says her hope was “to fill a sizeable hole in the field of Inkling studies” (2). She surely achieved this task. She also says “the present collection endeavors to usher the field of Inklings studies into more rigorous theoretical territory” (3). This goal, the contributors have surpassed.

Proceeding to some specific comments, my first would be to point out the accuracy of the volume’s title. It is an exploration of “the Inklings,” rather than simply Lewis and/or Tolkien. The fact that less well-known members of the literary group wrote the most Arthuriana means their works are particularly well represented in the current collection.

This fact might discourage a potential reader who is disinterested in the lesser known authors. However, the truth is, exposure to work of these friends and influencers of the two über-Inklings helps us better understand them and the confluences that flowed together in that unique literary fellowship.

Most articles consider the Inklings as group in relationship to a theme. For example, Christopher Gaertner discusses, “Shape and Direction: Human Consciousness in the Inklings’ Mythological Geographies.” The author identifies their differing viewpoints and how they influenced one another. Despite “their shared resistance to a scientistic worldview” (150), Tolkien, Lewis and Owen Barfield did not share identical understandings of how the world should be perceived.

Beyond the Eagle & Child

One pleasant surprise is the inclusion of an essay on G.K. Chesterton (1874-1936). Chesterton’s The Everlasting Man contributed to the conversion of C.S. Lewis.

In his TIKA essay “All Men Live by Tales,” J. Cameron Moore reveals how Chesterton’s poetry about Arthur is rooted in England. Arthur was important enough for Chesterton to return several times to the story of this hero who is “Mythic, Roman, and Christian (205). You can download a free copy of The Ballad of St. Barbara which includes “The Myth of Arthur” here. You can read “The Grave of Arthur” at this site.

Benjamin Shogren explores the significance of the addition of two new names—Pendragon and Fisher-king” to the protagonist of C.S. Lewis’ space trilogy. Elwin Ransom “represents Arthur by . . . evoking the primary imagery associated with the role of Arthur” (399). Ransom is now imbued with a mythological aura of royal leadership and courageous chivalry.

This volume overflows with richness. In “On Fairy Stories,” J.R.R. Tolkien describes the dense blend of mythologies present in the story of Arthur, using the image of a pot of soup with various ingredients added over time.

It seems fairly plain that Arthur, once historical (but perhaps as such not of great importance), was also put into the Pot. There he was boiled for a long time, together with many other older figures and devices, of mythology and Faerie, and even some other stray bones of history (such as Alfred’s defence against the Danes), until he emerged as a King of Faerie.

The situation is similar in the great Northern “Arthurian” court of the Shield-Kings of Denmark, the Scyldingas of ancient English tradition. King Hrothgar and his family have many manifest marks of true history, far more than Arthur; yet even in the older (English) accounts of them they are associated with many figures and events of fairy-story: they have been in the Pot.

The soup or stew pot may also serve as a fitting metaphor for The Inklings & King Arthur. This exceptional volume offers a potent mix of wisdom and insights that go beyond the boundaries of its title. Readers will be rewarded, in fact, with many satisfying literary meals.


* The first reason is that the academic weight of the work merits the undertaking. The second is because I have received a review copy, which obligates me in a sense, to providing a review—not a positive review, of course, but an honest assessment of its value, from my personal perspective.

Honest reviewers, of course, are mandated to acknowledge the fact that they received a particular volume gratis. This is done to protect one’s integrity. At the same time, a writer’s honor is also protected by their pledge to provide an honest evaluation of each work, for good or ill. This is what you will discover here.

The volume’s editor, Sørina Higgins, gathered an impressive group of Inkling scholars to contribute. She is a poet who is Chair of Language and Literature at Signum University.

It would be challenging to find any flaw in this amazing volume. Its sole weakness, in this reviewer’s opinion, is that it is so detailed and thorough, that it transcends the reading skills (or perhaps, “tastes”) of some of today’s readers. Despite that, the authors have gone to significant effort to write clearly and make their extremely detailed subject matter accessible to all.

wedding.pngIf you know the meaning of bricolage and understand its application to C.S. Lewis, I doff my cap to you.

Since I’m not an artist (the field in which the word is most common), “bricolage” was foreign to me before I encountered it during my doctoral studies. I read there that it constitutes a valid “approach to qualitative research.”

The term “bricolage” was taken from the work of the French anthropologist Claude Lévi-Strauss (1968), who used it to distinguish mythological from scientific thought. . . . Levi-Strauss described the bricoleur as someone who uses whatever tools and materials are at hand to complete a project.

The key idea is that rather than developing a logically consistent plan in advance and then systematically using the materials and tools that the plan and the norms of the community prescribe (as science is widely, though I think somewhat incorrectly, believed to do), the bricoleur spontaneously adapts to the situation, creatively employing the available tools and materials to come up with unique solutions to a problem. (Qualitative Research Design: An Interactive Approach)

If you picked up on the “mythological” reference within the definition—and drew a connection to the creator of Narnia—you may have the makings of a fine bricoleur. (But don’t add it to your résumé quite yet.)

Lévi-Strauss contrasted this mythological approach with the technological dominance of modern thinking.

The characteristic feature of mythical thought is that it expresses itself by means of a heterogeneous repertoire which, even if extensive, is nevertheless limited. It has to use this repertoire, however, whatever the task in hand because it has nothing else at its disposal. Mythical thought is therefore a kind of intellectual “bricolage.” (The Savage Mind)

Fordham University has a comparative literature journal entitled Bricolage, inspired by “literary bricoleurs [who] produced stories, ones with historical and cultural significance and unique relevance attached to them, that colored the past with intentional highlights and included questions, ideas, and voices that were never part of the frozen time period they wrote about, but always had the potential to be.”

If that makes sense to you, and even inspires you, they have a list of prompts on the website to guide your own submission to the periodical. (I particularly like open-ended: “Describe the problem.”)

They even solicit suggestions for future prompts, if you would like to game the system by suggesting a subject for which you already possess some bricoleurological notions.

I don’t wish to suggest that this literary journal does not include some genuinely insightful work. Consider the following, from “Imagination: An Internal Reality” by Brittany Gilmartin.

While reality is an external landscape for our bodies and senses, the imagination is an internal landscape for our minds and thoughts. A limitless realm that only we ourselves can control, the imagination is a space for us to think freely about the outside world and create a new reality inside of us.

This mental reality is a place that we can escape to when we are not satisfied with the real world, as in “Leaf by Niggle” by J.R.R. Tolkien, or find the real world too hard to bear, as in “An Occurrence at Owl Creek Bridge” by Ambrose Bierce.

Some may argue that instead of escaping into the fantasy of our imaginations, we should focus on factual knowledge; however, the imagination can teach us about the facts in a new light. Indeed, L. Frank Baum, in The Wonderful Wizard of Oz, and C. S. Lewis, in The Chronicles of Narnia, use their imaginations to redefine their external realities through allegories, allowing their readers to gain a deeper understanding of these realities than they could have gained through a textbook.

Great writers, such as the Inklings, did not bring newborn imaginations to the task of writing their diverse works. They were nourished and stirred by their lifelong consumption of a rich banquet of literature. And the way in which these themes are intentionally (and accidentally) woven into new texts displays their great talent.

Intertextuality as a Tool for the Bricoleur

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.

By their very nature, shaped as they are by each culture’s history and ethos, fairy tales provide fertile soil for bricolage.

C.S. Lewis pointed out that fairy tales don’t have to be great works of fiction, or even especially well written, to be unforgettable. . . . The libretti of ballets such as The Sleeping Beauty, Swan Lake, and many others invent this and borrow that, crystallizing various elements from national folklore (Russian folk tales) and literary classics (Perrault, E.T.A. Hoffmann).

The raw materials are not, however, always readily identifiable, but have been transformed freely by the creators’ imagination: The Firebird and Giselle are original dramatic works in their own right.

Yet they are also essentially fairy tales, composed by bricolage with features that define the genre: supernatural and mysterious beings, a prevailing atmosphere of enchantment and vulnerability to destiny, and opening to another, imaginary world that is only accessible through the work of art. (Once Upon a Time: A Short History of Fairy Tale)

When the Bricoleur Denies External Influences

Many, if not most, examples of intertextual dependence or allusion are intentional. And, since few of us possess perfect memory, there will be cases where we “borrow” from other works unconsciously.

Many writers find their path to success by following well-worn paths and adding some new twist of their own. To be called “derivative” is not flattering, but carrying bags full of cash to the bank can take the sting out of the label.

In any case, it is disingenuous to deny the influence of others on your work—when their voice is recognizable to all.

The Harry Potter books are, without question, the outstanding British literary phenomenon of the last twenty years. Not everybody likes them, though. . . .  surely nobody can deny that, when it comes to her prose, Rowling is not remotely in the same league as, say, T.H. White or J.R.R. Tolkien, let alone Kenneth Grahame or Edith Nesbit.

So, why are her books so successful? The obvious answer is that, as the critic Wendy Doniger puts it, Rowling “is a wizard herself at the magic art of bricolage: new stores crafted out of recycled pieces of old stories.”

Long after she had become a multi-millionaire, Rowling tried to play down her borrowings from earlier authors, insisting that she was “not a huge fan of fantasy,” had never finished The Lord of the Rings and had a “big problem” with C.S. Lewis’s Narnia stories, which she had never finished either.

Perhaps her memory was playing her false, though, for in earlier interviews she had talked warmly of her affections for The Lord of the Rings . . . In 1998 she even told an interviewer that she “loved” C.S. Lewis, whom she considered a “genius,” and actively reread his Narnia books.

None of this, though, would surprise an attentive reader of her work. Indeed, I suspect much of the attraction of the Harry Potter stories is the fun of spotting the allusions, as well as the nostalgic reassurance of seeing old devices and even familiar characters in a new context. (The Great British Dream Factory: The Strange History of Our National Imagination)

On the opposite end of the humility spectrum, consider C.S. Lewis. Although his Chronicles of Narnia were in many ways groundbreaking, he readily offered gratitude to his various sources of inspiration.

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.

With the contemporary state of literary education, this is an assumption modern writers are unwise to share. Sadly, this ignorance of formerly pervasive ideas and expressions is most visible in the realm of biblical literacy. But that is a subject for another day.

Stay Tuned

Our next post will consider an aspect of “unintentional bricolage” that C.S. Lewis found quite entertaining. I suspect many of us will agree.

Post-Apocalyptic Faith

April 12, 2017 — 13 Comments

shelter

In a post-apocalyptic world, would there be any room for Christianity? A variety of writers have addressed that in dramatically different ways, arguing for faith’s final dissipation or its ultimate triumph.

Post-apocalyptic literature being what it is, of course, most of the portrayals of Christianity either (1) reveal its idealistic collapse, (2) describe its survival as a crippled reflection of its former self, (3) depict its takeover by some persuasive power figure or mysterious cartel, or (4) ignore it altogether, as if it never existed.

In a recent essay on the subject, one of my favorite books was referenced. Canticle for Leibowitz was one of the first novels I read that awakened me to the fact reading could be enjoyable. A Canticle for Leibowitz struck a perfect chord in me, blending captivating science fiction with a consideration of the place of faith in the apocalyptic equation.

A cinematic masterpiece of this subject is 2010’s The Book of Eli. This amazing film which stars one of our generation’s finest actors, Denzel Washington, is set in a very desperate era. If you have never seen it, you are missing a unique examination of faith in a world where people turned away en masse because of the nuclear apocalypse.

C.S. Lewis explored the long-range future of Christianity. Barring the parousia (the second coming), history will continue its trajectory indefinitely. Spatially, this suggests humans may expand our presence beyond our present planetary home. In addition to his Space Trilogy, Lewis toyed with such concerns in a couple of short stories.

Included in the collection Of Other Worlds: Essays and Stories, are two of these efforts. “Ministering Angels” begins:

The Monk, as they called him, settled himself on the camp chair beside his bunk and stared through the window at the harsh sand and black-blue sky of Mars. He did not mean to begin his ‘work’ for ten minutes yet. Not, of course, the work he had been brought there to do.

He was the meteorologist of the party, and his work in that capacity was largely done; he had found out whatever could be found out. There was nothing more, within the limited radius he could investigate, to be observed for at least twenty-five days. And meteorology had not been his real motive.

He had chosen three years on Mars as the nearest modern equivalent to a hermitage in the desert.

“Ministering Angels” was originally published in The Magazine of Fantasy and Science Fiction, volume XIII (January 1958). “Forms of Things Unknown,” an excerpt from which follows, was not published until the collection was released several years after Lewis’ death.

It is quintessential Lewis, blending reality and mythology in a creative fashion. It reads like what’s commonly called “hard scifi” (focusing on science and technology). But it hints at something more, in its opening quotation from Perelandra.

Likewise, the following passage indicates that not everything once deemed myth lacks foundation in fact. The exchange takes place between an astronaut preparing for a journey to the moon and one of his friends remaining behind.

“You’re surely not going to suggest life on the Moon at this time of day?”

“The word life always begs the question. Because, of course, it suggests organization as we know it on Earth—with all the chemistry which organization involves. Of course there could hardly be anything of that sort. But there might—I at any rate can’t say there couldn’t—be masses of matter capable of movements determined from within, determined, in fact, by intentions.”

“Oh Lord, Jenkin, that’s nonsense. Animated stones, no doubt! That’s mere science fiction or mythology.”

“Going to the Moon at all was once science fiction. And as for mythology, haven’t they found the Cretan labyrinth?”

What about the Real World?

Post-apocalyptic literature is riding the crest of popularity today. Nearly all of it is dystopian. There is little room in its pages for hope, let alone faith.

It mirrors the increasing secularization in the West and the increase in religious persecution in other parts of the world.

Atheists laud the increasing pace of the loss of faith in America and the rest of the Western world. They mistakenly think it will result in a more civil and happy world.

It will, in fact, cause the opposite.

I know nothing about Cardinal Francis George, former Roman Catholic archbishop of Chicago. However, when I read the following quotation, it stunned me. It is one of the most sobering assessments of the course of Western history I have seen.

Later in 2010, he further outlined the degree to which he believed religious freedoms in the United States and other Western societies were endangered. In a speech to a group of priests, he said, “I expect to die in bed, my successor will die in prison and his successor will die a martyr in the public square.

His successor will pick up the shards of a ruined society and slowly help rebuild civilization, as the church has done so often in human history.”

It remains to be seen whether George’s words will prove prophetic. I fear they may. God have mercy.

Adopting a Puppy

December 23, 2014 — 12 Comments

calliI recently described Henri III’s torture of puppies during his reign. The clown actually wore them, as an adornment!

In that same column, I mentioned that we were adopting a new puppy . . . and she has arrived in our home!

Getting a puppy marks a departure from our normal pattern. Our last three border collies (including the mature lady who still graces our manse) were all “rescues.”

However, we did not feel that Foxy was up to adjusting to another mature dog, since she lost Lyric last winter and her other (long-lived) sister, Tanner.

In my post about Henri III, I shared comments from two letters that C.S. Lewis wrote a century ago to one of his closest friends. Arthur Greeves had gotten a puppy, and Lewis reminded him of the responsibilities of the human member of that relationship.

Lewis wrote that it was cruel, “Unless you are a person with plenty of spare time and real knowledge, it is a mistake to keep dogs . . .”

In a subsequent letter, Lewis advised Greeves on how to choose a name for his puppy.

How’s the poor, miserable, ill-fated, star-crossed, hapless, lonely, neglected, misunderstood puppy getting along? What are you going to call him, or rather, to speak properly, how hight he? Don’t give him any commonplace name, and above all let it suit his character & appearance. Something like Sigurd, Pelleas or Mars if he is brisk and warlike, or Mime, Bickernocker or Knutt if he is ugly and quaint.

We had already chosen the name for our puppy before I found this quotation. But I think Lewis would have approved.

We named our new little girl after one of the Greek Muses, who inspired literature and the arts. Her name is Calli.

If you’re knowledgeable in mythological matters, you will recognize that it’s our nickname for Calliope, the Muse of epic poetry.

Being more of a historian than a poet, I wanted to use the name Clio, who is the Muse of History. Calli fits her better though.

Calliope is a wonderful, musical name though, since she was the chief Muse, and her name literally means “beautiful-voiced.” What a lovely name. I hope Calli learns to sing, like our first border collie, Lady. Lady would accompany my wife as she played the piano. It was quite entertaining.

If you have read this far, you too are likely a pet lover. If you have a dog, cat, rabbit, lemur or whatever, of your own, may the Lord bless it with a long and healthy life . . . just as we pray for our own little Calli.

Avoiding Gadzookeries

August 25, 2014 — 8 Comments

gadzookeryWriting quality historical fiction is challenging. This is especially true if one wishes to avoid the common crutch that a talented writer of the last century first labeled “gadzookery.”

And just what is this faux pas we should avoid when writing about the past? Well, it relates most directly to the dialog placed on the lips of historical figures. The offensive technique involves the overuse of archaic expressions or phrases. (Some would argue it includes any use of any archaisms.)

If the word gadzookery sounds a tad, how shall I put it, “goofy” to you, you may prefer using another word that means the same thing: “tushery.” Tushery was coined by Robert Louis Stevenson. Way back in the nineteenth century.

Gadzookery is a newer version, insulting the same lazy writing technique. I believe it may have been coined by Rosemary Sutcliff (1920-1992). Sutcliff’s historical influence has exerted a literary influence on my life second only to C.S. Lewis.*

The article about Sutcliff in The Oxford Encyclopedia of Children’s Literature praises her work, saying, “She carefully creates dialogue in her novels that recollects the speech of a bygone era without falling into what she termed ‘gadzookery.’”

Having tested the waters of historical fiction myself, I know this to be far more difficult that it may sound.

Sutcliff had several things in common with C.S. Lewis. Both wrote for adults and for children. (It was her young adult series about the decline of Roman influence in Britain that sparked my own lifelong interest in Rome.)

Both authors also received the Carnegie Medal for their work. When Lewis was awarded his, he received a congratulatory letter from Pauline Baynes, who had illustrated several of his books. He responded quite graciously.

Dear Miss Baynes, Very nice to hear from you again, and thanks for sending on the book, which I have returned to Lane. Thanks for your congratulations on the Carnegie, but is it not rather ‘our’ Medal? I’m sure the illustrations were taken into consideration as well as the text. I am well, and as happy as a man can be whose wife is desperately ill.

Although C.S. Lewis had married, quite late in life, the two authors were alike in spending most of their life single. Sutcliff, in fact, lived with her parents during most of her life, having suffered crippling arthritis as a child. She did not resent remaining unmarried. In a 1992 interview she said,

Beatrix Potter wrote all her gorgeous stories when she was very lonely and not very happy—after she married, she never wrote another thing. Nothing worth reading, anyway.

Another similarity between the two was that they both fell under the powerful sway of myth during their childhoods. They used their familiarity with its rich echoes to imbue their own work with themes that flowed far beyond the familiar channels travelled by other writers.

Each of them took their readers seriously, and refused to speak down to them. That is why they share one more quality I wish to mention in closing—their high standards. Neither Lewis nor Sutcliff could tolerate poor writing. And their finely tuned skills meant neither ever needed to resort to gadzookery.

______

* Excepting, of course, the Bible itself, which is literature of an entirely different sort. I don’t consider it fair to compare mortal writers, no matter how inspired, to a volume I regard as God’s written word.

Iceland’s Real Elves

January 21, 2014 — 22 Comments

warrior elvesI’ve always wanted to visit Iceland.

Not simply because it’s the most sparsely populated country in Europe . . . even though I’m not big on crowds.

Not simply because of its spectacular glaciers and volcanic activity . . . even though these natural wonders inspire genuine awe.

Not simply because it is home to the world’s most ancient parliamentary democracy . . . even though I believe representative democracy is the best sort of government available.

Not simply because they colonized Greenland, from which the Norse were the first Europeans to discover the Americas . . . even though Leif Erikson deserves the accolades rendered to others.

Not simply because 40,000 of my fellow citizens are of Icelandic descent . . . even though I’m pleased they have contributed to our national “melting pot.”

Not simply because Iceland’s tenth largest city is called Fjarðabyggð . . . even though that vivid name is sure to capture the imagination of any writer.

Not simply because the Icelandic alphabet actually includes a runic letter (Þ, þ) named thorn . . . even though this too makes the nation of Iceland unique.

And, not simply because J.R.R. Tolkien and his friend C.S. Lewis established a group called Kolbitar which was devoted to reading Icelandic and Norse sagas. The word itself means “coal biter” and refers to those in a harsh environment drawing so close to the fire’s warmth they can almost bite the coals.

When the Lord of the Rings (as a work in progress) was being in read at meetings of the Inklings, one of the groups members at some point blurted out, “Oh no, not another –– elf!” [I only mention this here because that impetuous comment is often incorrectly attributed to Lewis—a genuine fan of Tolkien’s masterpiece. It was actually voiced by Hugo Dyson, another WWI veteran who taught English at Merton College.]

In the past, all of these reasons have contributed to my curiosity about the Land of Ice, but now I have added one more reason to someday visit.

It turns out that some Icelanders believe that elves, called by them Huldufólk (hidden folk), are real!

The elves have a large enough human constituency, that they are able to block highway construction due to the impact on the local Huldufólk!

Technically, the preservation of the elvish solitude is only the secondary concern in the lawsuits, the first being protection of one of Iceland’s numerous lava fields. Iceland’s Supreme Court has vacillated on the case, which can only raise the ire of any elves that may reside there.

elf houseIf the proponents of the reality of the Huldufólk are right, there remains one shortcoming to the Icelandic elves. Apparently, if the elf homes that dot the countryside are any indication, the northern island breed are a diminutive race. As in tiny, what Americans would think of more as a gnome or perhaps even a fairy.

My problem is that I’ve been spoiled by J.R.R. Tolkien’s version of the elvish races. I see them a tall, noble, and wise. The kind of folk you’d want for a friend, if you could get past the aloofness that is apparently characteristic of beings who live centuries rather than decades.

I fear that these Icelandic elves are (pardon me, any Huldufólk who may be reading this) a rather inferior lot. More like leprechauns than warriors. If you live in Iceland and can correct my errors about the hidden folk there, please contact me. Even better if you happen to know some elves personally.

Worshiping Thor

November 25, 2013 — 20 Comments

thorI have a confession to make. One that is particularly awkward for a pastor.

The current success of the recent films about the Norse god of thunder have reminded me of one of the “errors” of my youth.

As a young boy I discovered great delight in reading comic books. And among all of the countless Marvel and DC titles I read during my youth, none was more precious to me than Thor. I never really “worshiped” him, of course, but I was enraptured by his saga.

I loved the comic, and it was difficult to wait each long, long month for the next issue to be published. I followed Thor’s adventures with intense devotion. An intense loyalty that was probably inappropriate since it was directed towards a pagan deity.

To make matters worse, the part of the magazine that appealed most to me was not the contemporary escapades of the otherworldly hero. The feature that most captivated my imagination was a smaller story included in each issue and entitled “Tales of Asgard.”

These stories were terribly brief, only five short pages, and didn’t introduce contemporary terrestrial or interstellar villains. Instead, they recounted the historic tales of Norse myth and religion. Their very earthiness—their historical authenticity—impressed me far more profoundly than did the 1960s superhero fare so commonplace during that era.

In fact, in Thor’s two cinematic blockbusters, I find the same to hold true. I find the mythological elements, the portions of the story set in Asgard far more captivating than the familiar, run of the mill heroic landscape of Midgard (Earth).*

I doubt  I am alone in my appreciation of the mythical over the scientific or magical elements. In the preface to The Pilgrim’s Regress, C.S. Lewis wrote, “When allegory is at its best, it approaches myth, which must be grasped with the imagination, not with the intellect.”

C.S. Lewis wrote a great deal about the power of myth. Like his close friend, J.R.R. Tolkien, author of Lord of the Rings, Lewis brought myth to life in The Chronicles of Narnia. In 1944, Lewis wrote an essay entitled “Myth Became Fact.” In it he explores the notion that in a sense Christianity too, is a myth—with one distinction from all of the rest.

Now as myth transcends thought, Incarnation transcends myth. The heart of Christianity is a myth which is also a fact. The old myth of the Dying God, without ceasing to be myth comes down from the heaven of legend and imagination to the earth of history. It happens—at a particular date, in a particular place, followed by definable historical consequences.

We pass from a Balder or an Osiris, dying nobody knows when or where, to a historical Person crucified (it is all in order) under Pontius Pilate. By becoming fact it does not cease to be myth: that is the miracle.

I began by saying I was making a confession of sorts. In truth, fascination with myth is nothing to be ashamed of. Lewis describes how it was precisely his own interest in such matters that played a primary role in his conversion to Christianity. In a 1931 letter to his friend Arthur Greeves, he describes the incipient process. These words foreshadow the message of the essay referred to above.

Now what [Hugo] Dyson and Tolkien showed me was this: that if I met the idea of sacrifice in a Pagan story I didn’t mind it at all: again, that if I met the idea of a god sacrificing himself to himself . . . I liked it very much and was mysteriously moved by it: again, that the idea of the dying and reviving god (Balder, Adonis, Bacchus) similarly moved me provided I met it anywhere except in the Gospels.

The reason was that in Pagan stories I was prepared to feel the myth as profound and suggestive of meanings beyond my grasp even tho’ I could not say in cold prose “what it meant.” Now the story of Christ is simply a true myth: a myth working on us in the same way as the others, but with this tremendous difference that it really happened: and one must be content to accept it in the same way, remembering that it is God’s myth where the others are men’s myths: i.e. the Pagan stories are God expressing Himself through the minds of poets, using such images as He found there, while Christianity is God expressing Himself through what we call “real things.”

Therefore it is true, not in the sense of being a “description” of God (that no finite mind could take in) but in the sense of being the way in which God chooses to (or can) appear to our faculties. The “doctrines” we get out of the true myth are of course less true: they are translations into our concepts and ideas of that which God has already expressed in a language more adequate, namely the actual incarnation, crucifixion, and resurrection.

Does this amount to a belief in Christianity? At any rate I am now certain (a) That this Christian story is to be approached, in a sense, as I approach the other myths. (b) That it is the most important and full of meaning. I am also nearly certain that it really happened.

The awareness that a mind so brilliant (and sanctified) as Lewis’ recognized the value of myth comforts me. I guess, in retrospect, that my youth was not entirely misspent reading those amazing stories. Thor still occupies a special place in my life journey, albeit not in a pantheon.

_____

* There are nine worlds in Norse cosmology. Midgard lies between the noble worlds of Asgard, Vanaheim and Alfheim . . . and Jotunheim, home of the frost giants, Svartalfheim, realm of the Dark Elves, and Muspelheim, abode of the Fire Giants and demons.

narcissusThere is a very important mental health tome that describes psychological disorders in detail. It’s called The Diagnostic and Statistical Manual of Mental Disorders (DSM).

Since the American Psychiatric Association is constantly discovering new mental ailments—and they occasionally recognize that previously unhealthy mindsets and behaviors have become so pervasive they can no longer be considered aberrations—the DSM requires periodic revision.

The current authoritative version is DSM-IV-TR, or DSM, fourth edition, text revision. That means that if you were diagnosed with a defect according to the third edition standards, you may now have a clean bill of health. And, for those of you whose diagnosis is still included in DSM IV, don’t despair; they are currently consulting about version five, and who knows what psychoses may soon become “normal.”

I had to study these things during my seminary training, for my counseling work as a chaplain and civilian pastor. I was thinking about the manual recently as I pondered the spirit of Narcissus that seems to hold sway in our age. Like C.S. Lewis, I understand there is value in studying Greek and Roman myths, as many contain seeds of Truth. (Lewis’ appreciation for myth is most evident in Till We Have Faces, which is a reworking of one ancient Greek tale.)

Narcissus, of course, is the mythological Greek who was so consumed by his own handsomeness that he perished because he was unable to tear himself away from gazing at his own likeness. (The image above was painted by Michelangelo Caravaggio in the sixteenth century.)

Narcissism, which echoes his name, describes the unbridled vanity and self-concern (i.e. selfishness) that motivates growing numbers in our individualistic and hedonistic world. Since narcissism has become so rampant, the DSM now concerns itself only with “pathological narcissism.” That distinction will probably remain, even if Narcissistic Personality Disorder (NPD) is eliminated from the fifth edition as a distinct illness, as many have recommended.

God Save Us from the Narcissists

Pathological narcissists are terrible indeed. Their characteristic arrogance, envy, sense of entitlement and lack of empathy make them unhealthy members of society. In fact, large numbers of sociopaths and psychopaths are also narcissists.

But here’s the problem. At the rotten core of the disorder we find a putrid seed that negatively affects many of us who appear otherwise to be so normal. The source of the corruption is, in part, sinful pride.

Let’s take a look at the “diagnostic criteria” for NPD which confronted me when I first studied DSM III. (Perhaps you may wish to skip this section, since modest hints of some of these traits may strike close to home.) I’ve added my own introspective comments in italics.

Diagnostic criteria for 301.81, Narcissistic Personality Disorder:

A pervasive pattern of grandiosity (in fantasy or behavior) hypersensitivity to the evaluation of others, beginning by early adulthood and present in a variety of contexts, as indicated by at least five of the following:

(1) Reacts to criticism with feelings of rage, shame, or humiliation (even if not expressed).

— I’ve never “raged,” but it’s embarrassing to be criticized in public

(2) Is interpersonally exploitive: takes advantage of others to achieve his or her own ends.

— Never. I won’t tolerate manipulation–either as the manipulator or the manipulatee.

(3) Has a grandiose sense of self-importance, e.g., exaggerates achievements and talents, expects to be noticed as “special” without appropriate achievement.

— Have I told you lately about being Thespian of the Year when I graduated from high school . . ?

(4) Believes that his or her problems are unique and can be understood only by other special people.

— Not this trait, I’m aware everyone in this fallen world is faced with challenges . . . many of them worse than my own.

(5) Is preoccupied with fantasies of unlimited success, power, beauty, or ideal love.

— I do daydream about accomplishing special goals, although I never lusted after power and I accepted the facts about “beauty” long ago. I have, however, found ideal love, and we’ve been married 37 years!

(6) Has a sense of entitlement: unreasonable expectations of especially favorable treatment, e.g., assumes that he or she does not have to wait in line when others must do so.

— I’m the opposite. I always pick the longest and slowest line to stand in.

(7) Requires constant attention and admiration, e.g., keeps fishing for compliments.

— If people weren’t so frugal with compliments, I wouldn’t need to.

(8) Lack of empathy: inability to recognize and experience how others feel, e.g., annoyance and surprise when a friend who is seriously ill cancels a date.

— Nope. I really do care about others. That’s the reason good clergy and caregivers often suffer compassion fatigue.

(9) Is preoccupied with feelings of envy.

— Well, what about those cases where the person doesn’t deserve the honors they’ve received . . ?

There, I feel much better, having made a public confession of my almost-narcissistic human self-centeredness.

In his essay “Christianity and Culture,” C.S. Lewis warns that “A man is never so proud as when striking an attitude of humility.”

When we admit, instead, that there remains much in our soul that is base and prideful, we’re on the proper path. The course that leads to a rejection of Narcissus-in-us, and the embracing of what is precious in our neighbors and our world, is the road that leads to contentment.