Showing posts with label Pauline Baynes. Show all posts
Showing posts with label Pauline Baynes. Show all posts

Sunday, January 1, 2017

Recently Read: Prince Caspian, by C.S. Lewis


I'm in the minority when I write that I enjoyed the second Narnia book C. S. Lewis wrote,
Prince Caspian (1951), better than the first, The Lion, the Witch and the Wardrobe (though the initial inspired sequence of Tumnus under the lamp post, holding a package under his arm, may be the most resonant image of the entire series). Prince Caspian has classic political intrigue, as Caspian, suppressed by the usurper to the throne, Miraz, doesn't realize it's he who is destined for the throne.

Prince Caspian takes place 1,300 years after The Lion..., but only one year in British time. When Caspian calls back the four Pevensies, they're still children, but up to the task to battle for the soul of Narnia. As with The Lion..., Lewis creates wonderful characters, morally shaded. I especially appreciated the scenes of the gods Bacchus and Silenus which, with their intimations of the irrational and primal, create a thematic British link between the crazy modernist ending of G.K. Chesterton's The Man Who Was Thursday (1907) and Patrick McGoohan's exuberantly surrealistic ending of The Prisoner (1968). In any event, Prince Caspian is worth the reading, and rereading. The illustrations by Pauline Baynes are also delightful.


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Saturday, November 5, 2016

Recently Read: The Lion, the Witch and the Wardrobe, First Edition Replica

This edition of C.S. Lewis' classic children's fantasy is a reprint of the first, 1950 edition. Pauline Baynes' charming and evocative original illustrations are all included (they were truncated, or not used at all, in many later US editions).

The Lion, the Witch and the Wardrobe's classic status is due to many reasons, foremost being that Lewis tells a relentlessly compelling story, with characters flawed (thus, true to life) and engaging, told in homey, confidential language. The world of Narnia seems infinitely exploratory. Atheists may dislike the transparent central allegory. That's okay; there are hundreds of thousands of other books for them to read. This book's emotional resonance is such, though, that only the most hard-hearted curmudgeon could put up a shield against it.


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