The Narnia books of C.S. Lewis have long been criticised as mere Christian propaganda. An award-winning writer of fantasy for children and young adults argues that the stories’ rich tapestry of allusions loses its power when it is made explicit
I was given my first Narnia story as a Christmas present when I was eight. It was The Silver Chair, and I didn’t expect to like it. The cover illustration put me right off: a dismal cavern filled with grotesque little gnomes. It reminded me of The Hobyahs, a truly ghastly fairy story which – unforgivably – had been included in my school reader. When I finally nerved myself to begin it, though, I was entranced. Ancient castles, talking owls, a lost prince, giants, winter journeys, snowy moors – and Puddleglum the Marsh-wiggle, and the beautiful belle-dame-sans-merci-style Green Witch! – this colourful, fast-moving fairy tale was simply the best story I’d ever read. From then on I was a passionate fan of Narnia.