Tag Archives: Craig Gallaway

THAT HIDEOUS STRENGTH: Chapter 10

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This is the cover art for the 1960 edition of That Hideous Strength from Pan Books in London. The artwork by S. R. Boldero suggests the devastation of Edgestow as refugees flee from homes and buildings that have been destroyed by rioting. The Saracen’s head hovers in the background.

THE CONQUERED CITY  

Overview Question

In this chapter, the efforts of NICE to take over and control the town of Edgestow and surrounding villages has reached a crescendo. The “stages of cultural revolution” (demoralization, destabilization, crisis, new normal) that we observed earlier in Mark Studdock as an individual (see Chapters 5 and 6) have now reached the level of “mass formation” for the people of Edgestow as a whole. And yet, due to the nature of these dynamics, not everyone is being affected or responding to the trouble in the same way or at the same time. This brings us to our Overview Question for this chapter:

What are the different ways that people at Edgestow are responding to the troubles stirred up by the NICE? What explanation can you give for these differences? Try to identify at least two different sub-groups. Also, what parallels for these differences can you identify in recent cultural and political events of American society?

As you ponder this question, you may find it useful to revisit our earlier discussion (in the general Introduction) of the “Stages of Cultural Revolution” as described by Yuri Bezmenov, and of “Mass Formation” as described by Mattias Desmet. Neither of these models is difficult to understand in itself; and both cast a good deal of light on the kinds of psychological and social dynamics that Lewis portrays among the people of Edgestow. Both also help clarify the cultural dynamics at work in society today.

“What struck Mark deeply was the almost complete absence of indignation among the speakers, or even of any distinct sympathy with the refugees.”

DEEPER-DIVE QUESTIONS

1. In Part 1, the leaders at Belbury (Wither and Fairy Hardcastle) continue with their efforts to manipulate Mark so they can force him to bring Jane to Belbury. They seem confident that they can pull this off, given their view of Mark’s nature, by framing him for the murder of Prof. Hingest. At times they seem to be succeeding. And yet, as we work through the chapter as a whole, we find Mark at other times responding in ways they do not predict. Indeed, by the end of the Part 3, he almost responds to Dimble’s offer to help him leave the NICE; but then he settles back again into his double-minded ways. What account would you give of this inner conflict in Mark so unforeseen by the NICE? 

2.  In Part 2, Mark makes his second attempt (this time successful) to escape from Belbury. He goes to Edgestow to look for Jane; but first he encounters a continuous flow of refugees leaving their homes under Emergency Regulations. In a local pub he overhears other residents (not yet displaced) discussing how the refugees must have brought this on themselves. He goes home and finds Jane gone but an envelope addressed to Mrs. Dimble. By the end of this part, despite having just run away from Belbury, Mark is thinking of himself as a victim of the Dimble’s interference, and of how nice it is (all things considered) to be part of NICE. What kinds of resources or practices, and what view of the world would Mark and the people of Edgestow need in order to avoid being sucked into this powerful mass formation?   

3. In Part 3, Mark has gone to Northumberland College to confront Dr. Dimble about the whereabouts of Jane. But here, Mark meets someone for the first time who is clearly not under the influence of the NICE; and, indeed, Dimble stands in direct and forceful opposition to everything that the NICE represents. Lewis leaves several clues in this part and at the beginning of Part 4, as to the sources of Dr. Dimble’s strengths and virtues in this regard. Why and how is Dimble able to stand for what is good and true despite Mark’s adoption of the “victim” and “shaming” mentality. What practices and sources can you identify that help Dimble take this stand, even though he clearly struggles at times?  

4. In Part 4, back at St. Anne’s, and based on Jane’s dreams, Ransom is putting together a team to go out and look for Merlin, though no one can yet be sure which side Merlin will take. One thing is clear, however, those who go must be in a relationship of obedience to Maledil. On this basis, Jane can go; and MacPhee cannot. Why does MacPhee’s lack of obedience leave him less suited than Jane to face the unknown forces of spiritual warfare? What strengths or virtues are enhanced simply by placing oneself under the obedience?

5. Extra Credit: In Part 4, Ransom talks about Merlin, Logres, and the “parachronic” (alongside time) state, a state where time is suspended in some way that allows the influence of ancient figures upon current life. Can you think of anything in the sphere of human experience today where something like this influence of character and principle across time really does take place? (This question is a first stab at an important issue that we will come back to in later chapters.)    

THAT HIDEOUS STRENGTH: Chapter 9

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Cover illustration for Harper Collins January 2000 edition of That Hideous Strength. The image is a depiction of the grotesque head of Alcasan (an experiment in artificial intelligence) hoovering over the peaceful and natural landscape of the fictional town of Edgestow.

THE SARACEN’S HEAD

Overview Question

In this chapter we come at last, more directly and in greater detail, to the most challenging elements of Lewis’s science fiction fairytale. Indeed, now that we are about halfway through the novel, one of our primary tasks going forward will be to try to discern where the science fiction and fairytale end in Lewis’s story, on the one hand, and where the reality of spiritual forces at work in human life begins, on the other.

For my part, I will say from the outset that I think Lewis intends for his readers to regard the bodiless head experiment, with which the chapter begins and is titled, as well as the descriptions of Ransom’s space travels, which come later in this chapter (as well as in the earlier volumes of the trilogy) as science fiction. He does not want us to get tied up in knots trying to figure out if or how these things might really have happened.[1] The real question we must answer in order to understand their role in the story is what they represent.

Similarly, the idea of a bodily return of Merlin, the 5th century Druid, to 20th century England is, I feel sure, of allegorical importance and meaning. This does not mean that Merlin never existed (in Lewis’s own view) nor that he is of less importance in the modern setting of THS. The real question again is: What does the return of Merlin represent? What is it that the figure of Merlin brings into this story about a battle for the soul of England in the twentieth century that is of critical importance to what the story itself is trying to tell us? This, then, leads to our Overview Question for this week, focusing first on the eldil:  

If we are not really asked to believe in Ransom’s space travel and his meetings on other planets with the so-called eldil, nor per se in the dark eldil who inhabit our planet and control Belbury, then what do these eldil and their planets represent in the real world and spiritual experience of human beings on planet earth? 

In order to answer this question, you will need to call upon your knowledge of Scripture and of the history of Christian thought regarding the identity and role of angelic beings? Where do the good angels dwell? What do they do? What is their role in relation to human beings? What stories from Scripture can you recall that provide insight into any of these questions? And for the dark eldil: Who is the devil? By what names is he known? What are the demons? What are the fallen powers of which Paul writes? And what, according to Scripture, are the aims and methods of all of these dark creatures in the fallen world? How do they operate?

I don’t imagine that all of you will have lengthy responses to all of these questions. It isn’t a subject that many Christians today have spent much time studying. But the questions should, at any rate be familiar to you. And the answers you give can be measured against Lewis’s portrayal of the eldil, which is filled with biblical allusion as well as with the medieval allegories of the virtues and the planets (see also his, Discarded Image). We shall also, by the way, refer to Lewis’s Screwtape Letters for additional help with his views on this subject.  

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[1] Just as Dante knew there was no opening in the ground near Florence leading down to hell, and John Bunyan knew there was no actual city of Vanity Fair, Lewis employs the classical and medieval imagery of the planets as an allegory related to the human experience of virtue, temptation, and vice. 

Another illustration of “Alcasan’s Head,” this one by artist, M. S. Corley.

DEEPER-DIVE QUESTIONS

1. The chapter opens with Jane’s most vivid dream yet, this time of Mark getting sick and fainting when he is forced to bow with Filostroto and Straik before the disembodied head (see the end of Chapter 8). Then in Part 2, when Mark wakes up the next morning at Belbury, he is full of disgust for what he has seen; yet afraid of what will happen to him if he does not cooperate and bring Jane to Belbury. How does the narrator (Lewis) account for this double-mindedness in Mark which finally leaves him unable to break away from Belbury even though he wants to? What would need to change in Mark’s worldview and lifeworld practices in order for him to become the kind of person that can stand up to Belbury?

2. In Part 3, Mr. McPhee, the household skeptic at St. Anne’s, tells Jane about Ransom’s story of space travel and meeting with the eildils on other planets, as well as the role of the dark eldils on earth (see also the first two volumes of the trilogy). But MacPhee is a strict empiricist, despite his own religious heritage that he seems to respect but does not embrace (his Scottish Presbyterian uncle). He will not believe in anything that cannot be proven by strict adherence to observable (physically measurable) evidence. How does this empiricism make MacPhee a great asset to the cause at St. Anne’s, yet leave him sadly shorthanded when it comes to understanding or dealing with the spiritual powers?

3. In Part 4, the council at St. Anne’s comes together to discuss the reality-status of the head in Jane’s dream. We saw in the last chapter, and now again in this one, how the head represents a desire at Belbury to achieve immortality through artificial intelligence and thus to give the NICE technological power and control over society and the world. What analogs for this kind of technocratic vision can you identify in American society and the world today? How widespread is this phenomenon? 

4. At the end of Part 4, and in part 5 of Chapter 9, Ransom and Dimble wrestle further with the question of Merlin’s role in everything that is happening. They can’t seem to make up their minds about whether the Merlin they know from the Arthurian legend would come back today as a representative of the powers of coercive black magic and the dark eldils (such as Morgan Le Fay with her corrupting passions run amok) or as a representative of something much closer to the Christian view of nature and of man’s role in creation. Ransom is sure, however, that Belbury’s interest in Merlin is under the power of the dark eldil and, therefore, has to do with black coercive magic. He is also clear, moreover, that the good eldil will not use coercive power to accomplish the goals of Maleldil. What does this tell us about the methods and the goals of the good eldil? And why is Ransom so concerned about the danger of combining the technocratic vision at Belbury with the old dark powers of the passions and the fallen angels? What would be an example of this dreadful and destructive combination today?

5. Extra Credit: Given what you have learned about the importance of free participation and human partnership in the cause of the good eldil and of the people at St. Anne’s on the Hill, what sense can you make of Camilla’s love for the quotation from Charles William’s poem, Taliesin Through Logres, which portrays how the battle of Badon Hill (in the Arthurian legend) was won by an act of “patience” on the part of the poet Taliesin? Note that Camilla uses this quote to interrupt MacPhee’s interview with Jane: “Fool, All lies in a passion of patience, my Lord’s rule.” How does the quotation sum up the basic traditional worldview of the people at St. Anne’s?  

THAT HIDEOUS STRENGTH: Chapter 7

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If Chapter 6, Fog, focused at length on Mark’s miserable struggle to establish himself at Belbury; Chapter 7, The Pendragon, shifts the focus to Jane and how her self-understanding is challenged and begins to unfold in a wild roller coaster ride of new discoveries about herself and her potential as a human being in a very different kind of community at St. Anne’s.

THE PENDRAGON

Overview Question

From the opening sentence of THS, and scattered throughout the chapters, we encounter various clues concerning Jane’s ideas about marriage and sexuality, and these are always unresolved ideas. In the opening paragraphs of the story, for example, we find Jane struggling with her ideas about romantic love and with the reality of her marriage to Mark in comparison to the high ideals of the marriage rite in the Church of England. Then, when Jane first goes to St. Anne’s, she is caught up in a train of thought about sex and gardens, Freud and female beauty that leaves her rattled and ill-at-ease until, embarrassed and trying to compose herself, she pulls herself together to meet the people she has come to see. And then, clearly, when she finally meets Ransom, the Director of St. Anne’s (aka the Pendragon) she goes into a bewildering spate of emotional reactions that includes overpowering attraction to him as an almost mythical figure of masculinity and, at the same time, a strange disloyalty and indifference to her own husband, Mark. And all of this happens to Jane, of all people–a woman who wants, above all, to be (or at least to appear to be) in full rational control of her own thoughts and passions, and to write a cutting-edge dissertation on John Donne’s “triumphant vindication of the body.”  Overview Question:

Given what you know already about Jane’s worldview and her personal self-image as an independent, rational, egalitarian woman, how would you explain this meltdown in her composure and self-control when she first meets the Pendragon?

Of course, the wild career of Jane’s story in this chapter doesn’t end with her interview. Ransom tries to help her by introducing her to the role of faith, faithfulness, obedience, and submission in religion and in marriage. And when she leaves, she finds that she is indeed beginning to see her own beauty in a very new, though still confused and conflicted, light. And then she is subjected to physical and sexual abuse by Fairy Hardcastle upon her return to Edgestow, before deciding to go straight back to St. Anne’s to seek recovery.  The whole chapter, then, pulls back the curtain on the deep conflict in Jane between her preferred outward self-image, on the one hand, and the inward terrain of a still very disordered and confused though seeking self, on the other. And so, again, how would you explain this? Keep in mind the two worldviews (modern and traditional) and the two lifeworlds, including both the principles and the practices of each, that either prepare the soul or leave it unprepared for various kinds of challenges.

 

An English manor house that may, in some ways, suggest the kind of place where Jane went to seek help with her troubling dreams. And she found help that both challenged her self-understanding and welcomed her into a new sense of human calling and purpose.

DEEPER-DIVE QUESTIONS

1. “Pendragon” is, of course, the traditional name in the Arthurian legend for the line of kings that descend from King Arthur himself. Jane has not really wanted to meet with this man, this “Director,” also called Ransom and the “Fisher-King.” But her encounter with Prof. Frost in Edgestow, after having seen him first in a troubled dream, has jolted awake her sense of danger. Then, when she does meet with Ransom, she is “undone,” as the narrator tells us in Part 1; and she becomes distracted, giddy, “all power of resistance . . . drained away.” Given what you know about Jane so far (her feminism, her desire for rational control, her distaste for vulnerability, her modern worldview) what do you think could explain this sudden meltdown?

2. In a way, Jane’s conversation with the Director goes from bad to worse. She finds herself attracted to him. She argues with him about the nature of her marriage to Mark and the role of equality in marriage. And then when he tries to explain to her the connection between obedience to God and love for one’s spouse in marriage, she seems to lose herself in a kind of seductive fantasy about Ransom himself, until Ransom tells her to “Stop it.” He then goes on to try to help her understand the role of “obedience” (humility, faithfulness, submission) in romantic or erotic love (Part 2). What does this conversation suggest about the relevance and value of Ransom’s traditional worldview for Jane?

3. When Jane leaves the Director in Part 3, the narrator tells us that she is divided within her own mind and emotions between four different “Janes.” Identify these, and try to explain what each one means in terms of the spiritual journey that Jane now finds herself embarked upon.

4. When she arrives back in Edgestow, Jane is caught up in a riot that has been ginned up by the activists from Belbury. Jane is then taken prisoner for interrogation by Fairy Hardcastle, and subjected to painful physical and sexual abuse. In the turmoil of the riot, Jane manages to escape and to ask some strangers to take her “home” to St, Anne’s.  After this day of wild extremes and emotions—both of deeper good and of really horrible evil—how would you assess Jane’s decision to regard St. Anne’s as her home, rather than her own flat in Edgestow?

THAT HIDEOUS STRENGTH: Chapter 5

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Once again, the pre-covid cast for the THS movie directed by Antione Fuqua included a promising actor, this time for the role of John Wither, that creepy embodiment of prevaricating obfuscation and manipulating control.

ELASTICITY

Overview Question

In Parts 1 and 2 of Chapter 5, Mark is drawn yet further into the manipulations of the lifeworld of Belbury. Deputy Director Wither continues to flatter Mark’s vanity while refusing to give him a clear job description or to make a solid job offer. Fairy Hardcastle warns Mark not to expect a clear job description from Wither; and then explains how, if only Mark will do as he is told, he can begin to rise as a kind of activist journalist swaying public opinion for the NICE. And then Mark learns that his position at Bracton College is in jeopardy because Lord Feverstone has informed them that Mark is joining the NICE. When confronted, Feverstone simply shrugs Mark off with a dismissive comment. All of these passages portray in some detail how the modern worldview operates at the level of personal and interpersonal relationships. And this leads to our Overview Question for the week:

How do the different actions of Wither, Fairy Hardcastle, and Lord Feverstone in relation to Mark’s own servile mentality illustrate the basic principles and practices of the modern worldview and lifeworld at Belbury?

For additional help in answering this question, remember the brief outline that I provided with the Chapter 3 Overview Question: Yoram Hazony’s analysis of the “practices” that characterize both the modern and the traditional worldviews. In particular, keep in mind how the modern worldview valorizes above all individual freedom and reason, and rejects the need for religious, moral, or even familial traditions of loyalty, honor, and acknowledged hierarchy to guide and shape the freedom or the reason of the individual.    

As artfully evoked in the expression of actor Ewan McGregor, Mark’s lack of a transcendent religious and moral point of reference, and his desire above all to be counted among the elite, leaves him imminently vulnerable to the manipulations of nearly everyone at Belbury.

DEEPER-DIVE QUESTIONS

1. In Part 3 of Chapter 5, Arthur and Camilla Denniston take Jane on a picnic, and treat her in a manner that is quite opposite of how Mark is treated at Belbury. They propose a specific role for Jane: namely, to consider her dreams as a special gift that can be of great help to the community at St. Anne’s. When Camilla begins to put pressure on Jane to decide right away, however, Arthur reminds her that the Director of their community would not want Jane to join them under that kind of pressure or coercion. In contrast to Mark’s interview, what interpersonal conditions are given priority in Jane’s interview, and how do these reflect the principles and practices of the traditional worldview? (see again Yoram Hazony)   

2. How do the conditions of the two interviews reflect the customs and values of the two groups of people and the two worldviews that inform Lewis’s story, the modern worldview and the traditional worldview? In particular, what role do the values related to the family and religion at St. Anne’s play, in contrast to the emphasis at Belbury on the individual and his or her “freedom.”

3. Where, in our current cultural and political turmoil in 2022, do you see signs of the kind of individualism, disunity, coercion, cancellation, and manipulation of power that characterize Mark’s job interview at Belbury? Where are there signs of the open discussion, debate, transparency, and the freedom to deliberate and practice informed consent that are given to Jane?

THAT HIDEOUS STRENGTH: Chapter 3

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Ewan McGregor was well chosen, in my opinion, as Mark Studdock in the pre-covid 19 cast for the THS film directed by Antoine Fuqua. MacGregor would have helped us see, I can well imagine, how the manipulative and unaccountable atmosphere of alleged “equality” at Belbury was perfectly suited to exploit Mark’s obsequious desire to please those in power.

BELBURY AND ST. ANNE’S ON THE HILL

Overview Question

In this chapter we encounter the very different social and interpersonal dynamics that characterize Belbury and St. Anne’s on the Hill. What is most striking is how nearly opposite these two groups of people are in terms of how they treat Mark and Jane. Indeed, the contrast is so sharp that it begs for some kind of explanation. And this provides the focus for our overview question this week:       

Why do the people at Belbury (who hold the modern worldview, as we have seen) confound and manipulate Mark the way they do; while the people at St. Anne’s (who hold the traditional worldview) make every effort to behave with candor, transparency, and informed consent toward Jane? 

 

Rose Byrne, as Jane Studdock, has also been replaced in the post covid 19 cast for the new THS film. But these screen shots give us an opportunity to reflect on these characters, Mark and Jane, and how different they are from each other though both begin as holders of the modern worldview. And then how differently Jane is treated by Grace Ironwood and others at St. Anne’s in comparison to Mark’s entry into an arena where “every man for himself” is the unspoken rule.

Note well, I am asking you (with the overview question, above) to think about why each worldview–lifeworld seems to produce such starkly opposite results at the level of personal and interpersonal relationships. Of course, Lewis doesn’t do this analysis directly in the story itself; but his very consistent portrayal of both groups, which only gets sharper and clearer as the story proceeds, suggests a definite set of observations on his part. In order to clarify this contrast, let me recommend another interpretive tool that you may at your choosing find helpful: A brief sketch of Yoram Hazony’s analysis of worldview practices from Conservatism: A Rediscovery.

Hazony gives a remarkable history of what he calls the Anglo-American Conservative paradigm with its traditional worldview, on the one hand, and the Liberal Enlightenment paradigm with its modern worldview, on the other. Of particular interest in this regard are Hazony’s observations that the traditional worldview valorizes specific principles and practices such as loyalty, honor, family, hierarchy, religion, and empirical knowledge (based on evidence); while the modern Enlightenment worldview valorizes the opposite: freedom and independence of the individual, the alleged “self-evident” truths of reason and nature, and the rationalistic approach to knowledge (based on a priori first principles rather than evidence). As such, the modern individualistic worldview rejects the need for religious or moral traditions and practices to guide or inform its use of reason; while this is precisely what the traditional or conservative point of view calls for. Are there clues here about the two opposing “styles” of Lewis’s two groups?

I think Hazony’s observations are in close alignment in many ways with what Lewis is trying to show us in his fictional portrayals of the very different worlds of Belbury and St. Anne’s on the Hill.

The cover illustration of Scribner’s 2003 edition of THS portrays the landscape of the moon with its dark cold side (pointing toward earth where the marriages are “barren and cold”) and its bright living side (pointing toward the joys and creativity of deep heaven) as Ransom describes this to Merlin later in the story. Are there hints here of the two very opposite ways of living–specifically in this case related to marriage and sexuality–that are reflected at Belbury and at St. Anne’s on the Hill?

 

DEEPER-DIVE QUESTIONS

1. In Part 1 of Chapter 3, Mark has a long conversation with John Wither about the possibility of taking a new job with NICE. How would you describe the “style of communication” that Wither uses with Mark? What seems to be Wither’s purpose for using this style? How does this style tie in with what you already know about the larger social vision, lifeworld and worldview at Belbury?    

2. In Part 3 of Chapter 3, Jane tells Miss Ironwood about the strange dreams that she has been having. How would you describe Miss Ironwood’s style of communication with Jane? How does Miss Ironwood’s style and manner differ from that of Wither? What does Miss Ironwood’s different communication style suggest about the different values of the worldview embraced at St. Anne’s?

3. In Parts 2 and 4 of Chapter 3, we are introduced more fully to Professor Hingest (chemist at Bracton) and Fairy Hardcastle, head of the NICE institutional police. We learn that Hingest and the NICE hold nearly opposite views of what science is really all about. Why do the NICE regard Hingest as “the wrong sort of scientist” while he regards their work, including Mark’s sociology, as not really science at all? How are the two worldviews reflected in these different approaches to “science,” and how are the differences also reflected in the politicization of science in America today?

4. In Parts 3 and 5 of Chapter 3, Jane struggles through her interview with Miss Ironwood. Everything that happens–Jane’s wandering thoughts about Camilla’s beauty, her premonition of a passage on sex and sexual attraction in a book she picks up while waiting to see the Director, and Miss Ironwood’s unwelcome advice about her dreams—seems to go against how Jane wants to see herself. What pattern, if any, can you detect in what Jane wants for her own self-image, and what keeps happening to her to interfere with this?

THAT HIDEOUS STRENGTH: Chapter 2

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Screen shot of Pierce Brosnan as Lord Feverstone in the 2019 pre-covid cast for what was then planned as a new THS movie directed by Antoine Fuqua. In my view, Brosnan would have made a convincing, cold-blooded Lord Feverstone.1

DINNER WITH THE SUB-WARDEN

Overview Question

Having accepted Sub-Warden Curry’s invitation to dinner after the all-day faculty meeting (where Bragdon Wood was sold!) and hoping to strengthen his position in the “progressive element” at the college, Mark attends the gathering in Curry’s rooms with several elite college faculty and sponsors including Rev. Busby the bursar, Curry himself, and Lord Feverstone, the latter an important political figure with connections in London.2   

As the evening progresses, it becomes clear that these men do not really know each other in a personal way, nor are they loyal to each other. Both Busby (as a representative of the college) and then Feverstone (as a representative of the NICE) expound their views on “man, nature, science, and society,” and then speak at length about how the elite leaders of the NICE will take over all of the major institutions of society. All of this echoes what we saw in the introduction (8/3/22) concerning the modern worldview with its administrative state and its neo-Marxist “long march through the institutions.” Meanwhile, Mark is watching every move to see where his best opportunity will arise to join the “inner ring,” if he can only figure out where the real “ring” is.    

Question: As you read the speeches of Busby and Feverstone in Part 1, what specific cultural institutions do they name or allude to as they spin out their visions for the influence of the NICE in the college and in the wider world? How are these same institutions at play today in the culture wars of America?

Cover for the 1965 Simon & Schuster edition of THS illustrating the different levels of local, global, and spiritual forces at work in the story.3

DEEPER-DIVE QUESTIONS

1. At the faculty dinner, after Curry and Busby have left, Feverstone belittles them and declares them to be mere pawns in the grander scheme of the NICE, which is global in scope, not just local or academic. What parallels for this two-tiered struggle for power between the local (regional or national) focus, on one hand, and the global (or interplanetary!) focus, on the other, can you discern in the geo-politics of the world today? And why is it important (for us as for Lewis) to mark these levels?

2. Still in Part 1, Mark becomes flushed with excitement as Feverstone verbally runs down the college men and goes on to paint a picture of the administrative state in which “some men have got to take charge of the rest.” What does this scene tell us about the pattern of loyalty and honor that one may expect (not only between Mark and Feverstone) but also in an administrative state that is based strictly on natural reason and individual freedom, as opposed to the values of religion, family, congregation and community that guide the traditional lifeworld?

3. In Part 2, after lunch with the Dimbles, Jane hoped her anxieties about her dream would go away. But they didn’t. So, when Mark comes home from his dinner, he finds her in an unusually vulnerable mood. But then in Part 3, the next morning, Jane is angry and defensive about having let herself get upset in the first place. What do these layered reactions say about Jane’s struggle with her own personal formation? Are there hints about her own nature that she has a hard time accepting given her preferred self-image?

4. In the final Part of chapter 2, Jane and Mark are moving in opposite directions, one by fast sports car to Belbury, the other by slow train to St. Anne’s. How do the details of Lewis’s descriptions reveal not only the two very different geographic destinations, but also the two opposing worldviews (modern and traditional) that are, so to speak, hidden in the landscape?

A train trailing smoke through the English countryside may help to remind us of the kinds of beautiful, agrarian places Jane would have seen on the way from Edgestow to St. Anne’s on the Hill. Photo from stock images online at Flickr and Pinterest.

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  1. A new cast has recently been announced for this movie version of THS which will, at the time of this writing, feature Hugh Grant as Feverstone. Other new cast members include: Daniel Day-Lewis as Ransom, Emily Blunt as Jane Studdock, Emma Thompson as Grace Ironwood, and Jeremy Irons as Frost, plus a host of other great picks. Should be a worthy effort if our government, in contrast to Feverstone’s vision for 1940s England, can wean itself from further lockdown and emergency powers.
  2. Lord Feverstone is also the Richard Devine of Out of the Silent Planet, the first volume of the space trilogy. Devine/Feverstone is an old classmate and enemy of Dr. Ransom, the Director at St. Anne’s. In the first book, Devine and his partner Edward Weston kidnap Ransom and try to use him to gain control of the creatures on the planet of Malacandra (Mars). But Ransom fights back and makes some surprising discoveries about interplanetary spiritual powers. The portrayal of good and evil in the first two books will add much to the understanding of these themes in THS; but as Lewis himself says in his Preface, though the stories form a sequence, each “can be read on its own.”
  3. The illustration for this 1965 Simon & Schuster cover with its picture of a) the college, b) the chess game pieces, c) an interplanetary map, and d) a symbol of mysterious power floating overall, suggests the various “levels” of interest and engagement for the different kinds of actors who support the NICE (in keeping with Lord Feverstone’s own description in Chapter 2). At one level, there are those, like the college faculty, who support the NICE simply because it promises to increase their salary. And then there are those somewhat higher up, like the administration of the college or Mark himself, who see an opportunity to rise within the frame of regional politics. And then, yet higher (or spiritually lower as the case may be), there are those like Lord Feverstone and the leaders at Belbury who represent forces that want to use the NICE to dominate and control the whole world or even the universe. One reason it is important to mark these levels is that, as in Dante’s Inferno, they reveal different motivations and degrees of evil that betray people at each level. This is also relevant as we try to take stock of the spiritual forces at work in the geo-politics of our own time. Some people at the lower levels of involvement are what the Marxists have called “useful idiots,” for they do the regime’s dirty work and are later dispensed with. One such group was the Red Guard in Mao’s China who were banished to the wilderness after helping to oppress the general population into subservience. Lewis was clearly aware of these different levels in the culture war of his time. And he explores this issue in greater detail as the story proceeds.

THAT HIDEOUS STRENGTH: Chapter 1

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Illustration by J. P. Cokes

Illustration by J. P. Cokes.

SALE OF COLLEGE PROPERTY

Overview Question

Mark and Jane Studdock are in many ways a typical young modern couple: college educated, with professional aspirations. One might look at them, whether as characters in Lewis’s 1940s story or as people we meet on the street today and conclude that they have everything going for them. What more could they ask? Given this, who would think that Jane’s feminism, or Mark’s professional ambition, could lead either of them into any serious trouble? And yet, spoiler alert, that is what happens.

Likewise, who would think that the long description of Bragdon Wood and Merlin’s Well in Chapter 1, or the account of the Wood’s devaluation by Mark and the “progressive” element at the college, could have any special import for our story as a whole? But what if the Wood represents that whole sense of sacramental and mediated life in creation which we find both in the Bible and in the Middle Ages—including the importance of obedience to God, submission in marriage, humility toward creation, and the disciplined practice of the virtues and affections of the Christian community? For that is what the Wood does symbolize already at this early stage in the story.

Question: What conflicts can you see brewing between the worldview/lifeworld of Jane and Mark, as well as the “progressive” element at Bracton College, on the one hand, and the values and traditions represented by the history of Bragdon Wood, on the other?

DEEPER-DIVE QUESTIONS

  1. From the beginning of the story, how does Jane view marriage and family life? How does she see these traditions fitting into her larger plan for her own life?
  2. What seems to be Mark’s strongest motivation in life? How does this affect his relationships with other faculty at Bracton? With Jane? (For a major clue into Mark, if you are able, look up Lewis’s short essay “The Inner Ring” in The Weight of Glory.)
  3. Given what you already know about Jane, why do you think she becomes so troubled by: a.) her dream, and b.) Mrs. Dimble’s womanly attentions? Do these somehow interfere with or “trigger” her desired self-image and life-world?
  4. What impressions of Arthur and Merlin do you get from Dr. Dimble’s descriptions, and how is this reinforced by the narrator’s sketch of Bragdon Wood and Merlin’s well?
  5. What signs of the opposition between the modern and the traditional worldviews can you identify in the story so far?

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The illustration (above) of Bragdon Wood and Merlin’s well, with the college and Merlin’s visage rising on the horizon, was the cover for the 1983 Pan Books edition of THS.

A New Christmas Carol for 2021: Father Abraham

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“And there were shepherds” (detail from Father Abraham) by Craig Gallaway, copyright 2021

Our online Christmas card this year features a new Christmas carol that Deb and I have written, arranged, and finally committed to our own best effort at a Garage Band recording. Some of you have probably read these lyrics and seen Craig’s painting before. Both were originally made for Christmas 2018. And we have used them in different ways since. So, before we say anything more about the carol and its meaning, we want to let you hear it. You can also follow along with the lyrics, printed just below. The final title is, Father Abraham. Here is the musical link:

Father Abraham, he heard God speak:

“I’ll bless the whole world through your seed.”

And he believed, but he could not see

How all of this would come to be.

How could all of this come to be?

Yet, in a stable in the night,

A King was born to give his life;

And then to rise and set aright

What Eden lost, our common plight.

What Eden lost, he set aright.

So now, with justice, beauty, love,

We lean into the Kingdom he won,

Old Abraham’s many-great grandson.

The long foretold, the promised One.

“Arise, shine, your light has come!”

And we learn to die before we die,

Because we live in Him as one.

He is the New Creation’s dawn,

The First Born of the world to come!  

The New Creation, it has begun.

Father Abraham, (detail) by Craig Gallaway, copyright 2018

The first two verses tell the biblical story from Abraham (Gen.12) to Jesus (the Gospels) looking back also to the fall of man in Gen. 1-3 and 4-11. God promised Abraham that He would restore the world from its great fall, and that Abraham’s descendants would play a key role in this renewal. Think about it, Abraham lived about 1,800 years before Christ.  

The third and fourth verses pick up the story at the time of Jesus (Abraham’s many-great grandson) with what the Apostle Paul says about the calling of the church in Christ to become the renewed people of God (that’s us too) and to follow the Spirit toward the goal of history, the still unfolding journey toward the Day of Judgement, the renewal of the world, and our own physical resurrection. We live now about 2,000 years after Christ. 

So, the song is a sweeping reminder of how full of meaning (forwards and backwards) the birth of the baby Jesus at Bethlehem really was and is. Deb and I would like to thank Prof. N.T. Wright for his years of careful scholarship, which have enabled him to bring so much clarity to these centuries of the biblical story and their relevance for us today. We’ll hope to say more about some of this in the future. For now, we hope you will enjoy this new Christmas carol, and even add it to the ones that you sing with friends and family. May you have so much more than a “Merry Christmas.” 

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Musical note: The tune for Father Abraham is developed from the refrain of a traditional 17th century Swedish tune, Hoken, which Deb and I first heard on Barry Phillips & Friends 2008 CD, Colonial Christmas. Our lyrics, tune, and arrangement are copyright 2018 by Gallaway Art.  

Abraham and Isaac: The Promise – Christmas 2018

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Here is Deb’s and my online Christmas greeting for 2018. The background for this “card” comes from our study over the last two years of N. T. Wright’s remarkable works of New Testament scholarship, recovering the rich and many-faceted Jewish background of the Kingdom-of-God message about Jesus in the Gospels and in the letters of Paul. With this background in clear view, the promise of Yahweh to Abraham—to bless the whole world through his descendants—has everything to do with Christmas, and with our ongoing journey on the road of New Creation. Blessings, hope, and courage to all.

The Promise Image

ABRAHAM AND ISAAC: THE PROMISE, an unfinished study in watercolor by Craig Gallaway, ©2018

 

 

THE PROMISE

Old Father Abraham heard God speak, “I’ll bless the whole world through your seed.”

And he believed, but could not see, how all of this would come to be.

How could all of this come to be?

 

Yet in a stable in the night, a babe was born to live and die;

And then to rise and set aright what Eden lost, our common plight.

What Eden lost, he set aright.

 

So now with justice, beauty, love, we lean into the Kingdom won

By Abraham’s many-great grandson; and learn to die before we die

Because we live in Him as one, who is the New Creation’s dawn,

The first born of the world to come.

The first born of the world, the life, the joy to come.

 

lyric by Craig Gallaway,  ©2018

Lenten Disciplines like a Walk in the Woods

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A quiet walk in an old growth forest offers a place of refuge and retreat from the bustle and pace of modern urban life. We need time in such places–set aside, left alone, undeveloped–to restore our physical and emotional life.

The same can be said for the promise of spiritual disciplines (such as fasting, solitude, and scripture meditation) as practiced during the season of Lent (or at any other time). They serve as places to listen quietly for the Word and the Spirit of God, to restore our souls, and to recalibrate the connections between our emotional, our intellectual, and our physical lives.

Trying to find those connections without the space offered by the disciplines is like trying to listen to a long lost friend on the phone while sitting in a noisy nightclub, or standing on the floor of the stock exchange, or doing the wave in a crowded stadium. Under such conditions we may not hear the message at all. In the midst of our busy lives, apart from places of refuge and discipline, we can become like the impoverished child of which C. S. Lewis spoke: content to sit in the gutter with our mud pies yet unable to grasp what is being offered with an invitation to the beach.

For the early church fathers and mothers, this was at least in part the logic of (as it may seem to us) their strange practices of curtailing food and sleep. They were aiming at something better: to cleanse the palate, to clear the mind, to recover God’s image given originally in creation, revealed again in the life of Jesus. Leaving off all of the extra things allowed them to rediscover the taste of spring water.

The painting featured in this post is entitled Generations. For more information on this painting, and other paintings in the series, go to the Landscape gallery of my art work at Fine Art America.