Monday, September 2, 2013

Chaos v. Romance

When I was at University, as the British so charmingly say, I took a class that was popularly referred to among the students as “The Harry Potter Class.” Its official name was something to the effect of “Religious Themes in Fantasy Literature.” Much duller, don’t you think? The class explored religious themes in the genre of fantasy literature from its (arguable) birth in the Catholics J.R.R. Tolkien and C.S. Lewis to its secular manifestation in Harry Potter to the undeniably anti-theist Golden Compass trilogy by Philip Pullman.

Fast-forward a few years. Last week I finished a book of short stories by the clever and ever-engaging Neil Gaiman. I do not know what Mr. Gaiman’s personal views on religion are, but a good guess is that he is not an orthodox Christian. In one particular story, a young school-boy recounts the day when he made the connection between the Chronicles of Narnia and the Christian Bible. He feels cheated and reluctantly ceases to believe in Narnia.

What do these two events have in common, you ask? They both caused me to wonder: Why is the anti-theist metanarrative considered more true than the Christian one? For both Pullman and the character in Gaiman’s short story, the discovery of an underlying Christian worldview in C.S. Lewis’s Chronicles of Narnia forever scarred them. Gaiman’s character came to the conclusion that writers shouldn’t have any sort of agenda in their writing. Pullman came to the conclusion that if Lewis could do it for Christianity, he could do it for atheism, or rather, anti-theism (It seems to me that Pullman hates God more than he doesn’t believe in God’s existence).

So why is it somehow sneaky or wrong or unsportsmanlike to write a story, particularly a children’s story, with underlying themes that point us to God? I have a theory that every story-line every written is contained in the Bible. Are the stories of Chaos more real than the stories of Restoration? Is Sodom or her sister Gomorrah more genuine than Zion?

I hated Pullman’s series. If his miserable view of the world is true, I would rather, with Puddleglum, be “on Aslan's side even if there isn't any Aslan to lead it.”[1]

There is such a difference between the endings of The Chronicles of Narnia (and even Lord of the Rings) and Pullman’s series. Pullman’s story ends with life and separation. Two young people who are very much in love, but must forever live apart for no good reason (that I could tell). The Last Battle ends with death and restoration. The children from our world die in a train crash, but are reunited in Aslan’s country for endless holiday.

No, the people in the Narnia books don’t have perfect lives (Lemony Snicket’s thoughts on the nauseatingly saccharine “Littlest Elf” come to mind). They have to fight, there is pain, friends die and betray, but in the end, everything that is sad comes untrue[2]. For Pullman, this isn’t an option. God is just a power grubbing liar, the pitiful shell of a being who deceives others into believing that he is the Creator.

Why, then, are those stories, bent on propagating the lie that God does not love us, more true that the story of the Prince who died to save His Bride? Which one causes your blood to boil and your heart to race and goose-bumps to break out all over your skin and fierce joy to flood your soul? I contend that it is the fairy tales that speak to our souls. Even if you do not believe in the Christian metanarrative, it is the most compelling and most captivating story there is or ever will be. And the best part about this fairy tale: It’s true.


[1] C.S. Lewis, The Silver Chair
[2] Sam Gamgee, “Gandalf! I thought you were dead! But then I thought I was dead myself. Is everything sad going to come untrue?” J.R.R. Tolkien, Return of the King