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Volume 28
Number 3
Article 4
4-15-2010
The Marriage of Heaven and Hell? Philip Pullman, C.S. Lewis, and
the Fantasy Tradition
Marek Oziewicz
University of Wroclaw, Poland
Daniel Hade
Pennsylvania State University
Follow this and additional works at: https://dc.swosu.edu/mythlore
Part of the Children's and Young Adult Literature Commons
Recommended Citation
Oziewicz, Marek and Hade, Daniel (2010) "The Marriage of Heaven and Hell? Philip Pullman, C.S. Lewis,
and the Fantasy Tradition," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and
Mythopoeic Literature: Vol. 28 : No. 3 , Article 4.
Available at: https://dc.swosu.edu/mythlore/vol28/iss3/4
This Article is brought to you for free and open access by
the Mythopoeic Society at SWOSU Digital Commons. It
has been accepted for inclusion in Mythlore: A Journal of
J.R.R. Tolkien, C.S. Lewis, Charles Williams, and
Mythopoeic Literature by an authorized editor of SWOSU
Digital Commons. An ADA compliant document is
available upon request. For more information, please
contact phillip.fitzsimmons@swosu.edu.
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Mythcon 51: The Mythic, the Fantastic, and the Alien
Albuquerque, New Mexico • Postponed to: July 30 – August 2, 2021
Abstract
Closely scrutinizes Pullman’s frequent denials of his quite obvious debt to C.S. Lewis, finding the hidden
nuances in Pullman’s statements by separating out his responses to Lewis as a reader, author, and critic.
The inescapable conclusion is that not only is Pullman writing classic fantasy, he is in close agreement
with Lewis on many points as a reader and critic.
Additional Keywords
Lewis, C.S.—As critic; Lewis, C.S.—Influence on Philip Pullman; Pullman, Philip—Criticism of C.S. Lewis;
Pullman, Philip. His Dark Materials
This article is available in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic
Literature: https://dc.swosu.edu/mythlore/vol28/iss3/4
Th e M a r r i a g e o f He a v e n a n d h e l l ?
P h i l i p P u l l m a n , C.S. L e w i s ,
a n d t h e Fa n t a s y Tr a d i t i o n
M a re k
Ph il
ip
Pu l
l m a n 's h i s
Da
O z ie w ic z a n d
Ma
r k
t e r ia l s
D a n ie l H a d e
(1 9 9 5 -2 0 0 0 )
is
one
of
th e
m ost
i n n o v a t i v e a n d t h o u g h t - p r o v o k i n g f a n t a s y s e r i e s o f t h e 2 0 th c e n t u r y . T h e
b o o k s w o n P u l l m a n m a n y a w a r d s a n d m i l l i o n s o f d e v o t e d f a n s a ll o v e r t h e
w o rld .
B y t h e a u t h o r 's a d m i s s i o n t h e t r i l o g y a i m s t o c r e a t e a " g r a n d n a r r a t i v e "
r e l e v a n t f o r h u m a n s i t u a t e d n e s s i n t h e w o r l d a f t e r t h e d e a t h o f G o d ( " T a l k i n g to
P h i l i p P u l l m a n " 1 1 7 ). P u l l m a n 's m o s t t h o r o u g h e x p o s i t i o n o f t h i s m y t h o p o e i c
p u r p o s e c a n b e f o u n d in h is 2000 e s s a y " T h e R e p u b lic o f H e a v e n ." In th e lig h t o f
h i s s t a t e m e n t s , H i s D a r k M a t e r i a l s [ H D M ] is a s e c u l a r h u m a n i s t n a r r a t i v e , w h i c h
s e e k s to e x p o s e m a n i p u la t io n
and
p o w e r g a m e s a t th e h e a r t o f o rg a n iz e d
r e l i g i o n s . I t is P u l l m a n 's a t t e m p t t o c r e a t e " a r e p u b l i c a n m y t h " w h o s e p o w e r
w o u ld b e c o m p a r a b le to t h a t o f th e B ib le — a m y t h w h ic h w o u ld " d o w h a t th e
t r a d i t i o n a l r e l i g i o u s s t o r i e s d i d : i t [ w o u l d ] e x p l a i n " ( " R e p u b l i c " 6 6 5 ).
N o t o r i o u s f o r h i s n a r r a t i v e a t t a c k o n r e l i g i o n , P u l l m a n h a s a ls o c r e a t e d
a s t i r b y c l a i m i n g t h a t h i s f i c ti o n is n o t f a n t a s y b u t s t a r k r e a l i s m , a n d b y
c ritic iz in g
o th e r
fa n ta s y
w rite rs
such
a s J.K . R o w l i n g , J.R .R . T o l k i e n ,
and
e s p e c i a l l y C .S . L e w i s , a s t h e a u t h o r o f t h e C h r o n i c l e s o f N a r n i a . O u r f o c u s i n t h i s
e s s a y is P u l l m a n 's s t a t e m e n t s a b o u t f a n t a s y a n d h i s d e c l a r e d s e l f - p o s i t i o n i n g i n
r e g a r d t o L e w i s . W e a r g u e t h a t H i s D a r k M a t e r i a l s is f a n t a s y , a n d t h a t i t f i t s t h e
g e n e r i c t e m p l a t e o f L e w i s i a n f a n t a s y m u c h c lo s e r t h a n P u l l m a n w o u l d b e w i l l i n g
to a d m it.
P h ilip P u llm a n a n d th e F a n ta sy Q u e s tio n
" N o r t h e r n L ig h ts is n o t a f a n ta s y . I t 's a w o r k o f s t a r k r e a lis m ."
( P u llm a n , " T a lk in g t o P h ilip P u ll m a n ," in t e r v i e w , 1999)
" I s u p p o s e i t 's f a n t a s y — N o r th e r n L ig h t s a n d T h e S u b tl e K n ife , a n d [ ...] T h e
A m b e r S p y g la s s ."
( P u llm a n , " L e x ic o n I n t e r v ie w ," 2000)
" [ T ] h e r e is [...] a fin e t r a d i t i o n o f [...] f a n t a s y [ ...] w h i c h is w h e r e I f i n d
m y s e lf I s u p p o s e ."
( P u llm a n , " F a i t h a n d F a n ta s y ," in t e r v i e w , 2002)
" I 'm u n e a s y to t h i n k I w r i t e f a n t a s y ."
( P u llm a n , " P u l l m a n 's P r o g r e s s ," in t e r v i e w , 2004)
M a r e k O z ie w ic z a n d D a n ie l H a d e
P u l l m a n 's o p i n i o n s o n t h e q u e s t i o n o f f a n t a s y a n d r e a l i s m a r e , t o s a y
t h e le a s t, b a f f l i n g . T h e y r a n g e f r o m f l a t d e n i a l t h a t H D M is f a n t a s y , s u c h a s h e
m akes
in
th e
P a rso n s
and
N ic h o ls o n
in te r v ie w
(" T a lk in g "
1 3 2 ),
th r o u g h
u n c e r t a i n t y a b o u t " w h a t 's f a n t a s y a n d w h a t i s n 't f a n t a s y " ( " L e x i c o n " ) , t o a k i n d
o f e m b a r r a s s e d a d m is s io n th a t H D M b e lo n g s w ith " a tr a d itio n o f w r itin g th a t
o n e h a s t o c a ll f o r w a n t o f a b e t t e r w o r d , f a n t a s y " ( " F a i t h a n d F a n t a s y " ) . N o t
o n l y t h a t : w h e n P u l l m a n a l l o w s t h a t H D M is f a n t a s y , h e t e n d s t o q u a l i f y t h e
a c k n o w l e d g m e n t i n a w a y t h a t a l m o s t u n d e r m i n e s it. I n t h e L e x ic o n i n t e r v i e w h e
e x p l a i n s : " w h a t I 'v e t r i e d t o d o t h e r e is u s e t h e a p p a r a t u s o f f a n t a s y t o s a y
s o m e t h i n g t h a t I t h i n k is t r u e a b o u t h u m a n p s y c h o l o g y a n d a b o u t t h e w a y w e
g r o w u p a n d a b o u t th e d if f e r e n c e b e tw e e n in n o c e n c e a n d e x p e r ie n c e a n d so o n ."
In a n o th e r in te rv ie w
th a t sa m e y e a r h e s p e a k s o f " u s in g th e m e c h a n is m
of
f a n ta s y " to te ll " a s to r y a b o u t a r e a lis tic s u b je c t" ( " P h ilip P u llm a n R e a c h e s th e
G a r d e n " ) . A ls o i n " F a i t h a n d F a n t a s y " h e s t r e s s e s t h a t h i s " f a n t a s y " is , i n fa c t, " a
re a lis tic s to ry " b u t to ld " b y m e a n s o f th e fa n ta s tic a l s o r t o f m a c h in e ry ." A
r e a l i s t i c s t o r y , h e a d d s , is o n e w h i c h " t a l k [ s ] a b o u t h u m a n b e i n g s i n a w a y w h i c h
is v i v i d a n d t r u t h f u l a n d t e l l s m e t h i n g s a b o u t m y s e l f a n d m y o w n e m o t i o n s a n d
t h i n g s w h i c h I r e c o g n i s e t o b e t r u e h a v i n g e n c o u n t e r e d i t i n a s t o r y ."
T h e s tr a te g y o f c o lla p s in g th e tw o c a te g o rie s in to a k in d o f " f a n ta s tic
r e a lis m " h a s tw o a d v a n ta g e s . O n th e o n e h a n d it a llo w s P u llm a n to d r a w a s h a r p
lin e
b e tw e e n
h is
ow n
w ritin g
and
t h a t o f L e w is , T o lk ie n
o r R o w lin g . I n
P u l l m a n 's a s s e s s m e n t , t h e y r e p r e s e n t a t r a d i t i o n h e c a lls " c l o s e d f a n t a s y [ ...]
e s c a p i s t a n d s o l i p s i s t i c " ( " R e p u b l i c " 6 6 1 ). A s h e t o l d D a v e W e ic h , " w h e n I m a d e
t h a t c o m m e n t [ a b o u t H D M a s s ta r k re a lis m ] I w a s tr y in g to d is tin g u is h b e tw e e n
th e s e b o o k s a n d th e k in d o f b o o k s m o s t g e n e ra l re a d e r s th in k o f a s fa n ta sy , th e
s u b -T o lk ie n
th in g
in v o lv in g
w itc h e s
and
e lv e s
and
w iz a rd s
and
d w a rv e s"
( " G a r d e n " ) . T h i s is a c u r i o u s c o m m e n t , w h i c h l e a v e s t h e r e a d e r w o n d e r i n g i n
w h a t s e n s e P u l l m a n 's
h a rp ie s
and
sto ry , in v o lv in g w itc h e s a n d
a rm o re d b e a rs
and
a n g e ls a n d m u le fa
and
G a l l i v e s p i a n s , is g e n e r i c a l l y d i f f e r e n t f r o m
s to r ie s in v o lv in g " w itc h e s a n d e lv e s a n d w iz a r d s a n d d w a r v e s ." O n th e o th e r
h a n d — a n d t h i s is a n o t h e r a d v a n t a g e o f P u l l m a n 's s t r a t e g y o f c o l l a p s i n g f a n t a s y
a n d r e a lis m in to o n e — it e n a b le s h im to d e f e n d h is w o r k a s s e rio u s , tr u e a n d
im p o r t a n t in a w a y t h a t th o s e " c lo s e d f a n ta s ie s " c o u ld n e v e r b e . G iv e n th a t fo r
P u l l m a n " s o m e t h e m e s , s o m e s u b j e c ts , [a r e ] t o o l a r g e f o r a d u l t f i c t i o n [ a n d ] c a n
o n l y b e d e a l t w i t h a d e q u a t e l y i n a c h i l d r e n 's b o o k " ( " C a r n e g i e " ) , a n d t h a t " t h e
m o s t im p o r t a n t s u b je c t" a m o n g th o s e to o la r g e f o r a d u lt f ic tio n " is th e d e a th o f
G od
and
its
con seq uences"
(" R e p u b lic "
6 5 5 ), P u l l m a n
can
th e n
a s s e rt th e
s e r io u s n e s s o f H D M in te r m s o f b o th its s u b je c t a n d its g e n e r ic f o r m in w h ic h ,
l i k e i n t h e R e p u b l i c o f H e a v e n , " f a n t a s y a n d r e a l i s m [ . ] c o n n e c t " (6 6 1 ).
40
M y th lo re 109/110, S p rin g /S u m m e r 2010
T h e M a r r ia g e o f H e a v e n a n d H e ll? P u llm a n , L e w is , a n d t h e F a n t a s y T r a d i t io n
A s w e s h a l l a r g u e l a t e r , P u l l m a n 's d e f e n s e o f t h e s e r i o u s n e s s o f t h i s
" f a n ta s tic r e a lis m " a lig n s h im w ith L e w is a n d T o lk ie n r a t h e r th a n s e ts h im a p a r t
f r o m t h e m . P e r h a p s i t is m o r e i m p o r t a n t t o n o t e t h a t P u l l m a n 's s t r a t e g y o f
c o l l a p s i n g f a n t a s y a n d r e a l i s m is o n l y p a r t i a l l y s u c c e s s f u l . F o r o n e t h i n g P u l l m a n
h im s e lf ,
in a d v e r te n tly
and
on
v a rio u s
o c c a sio n s,
te n d s
to
d is tin g u is h
and
a p p re c ia te th e fa n ta s tic c o m p o n e n t o f H D M o v e r th e re a lis t o n e . In th e B BC
R a d i o 3 i n t e r v i e w f o r J o a n B a k e w e l l 's " B e l ie f " p r o g r a m (2 0 0 1 ) h e a d m i t t e d , f o r
e x a m p l e , t h a t H D M w a s a c h a n g e f o r h i m " b e c a u s e p r e v i o u s l y , [ h e ] 'd d o n e s t u f f
w h ic h w a s e n tir e ly re a lis tic " w h e r e a s in th e tr ilo g y h e " h a d a s o r t o f lic e n s e to g o
a n d b e fa n ta s tic a l" (" In te r v ie w w ith P h ilip P u llm a n " ). I n th e M a y H ill A r b u th n o t
H o n o r L e c t u r e (2 0 0 2 ), h e r e v e a l e d t h a t a l t h o u g h h e h a d " l o n g f e l t t h a t r e a l i s m is
a h ig h e r m o d e th a n f a n ta s y " w h e n h e tr ie s to w r ite " r e a lis tic a lly " h e " m o v e s in
b o o ts o f le a d ." O n ly w h e n a fa n ta s tic id e a c o m e s to h im , h e a d d e d , " th e le a d
b o o ts fa ll a w a y , a n d I fe e l w in g s a t m y h e e ls ." " S u d d e n ly I h a d e n o r m o u s
f r e e d o m , " h e t o l d H a r r i e t L a n e i n T h e O b s e r v e r i n t e r v i e w . " I d i d n 't e x p e c t t h a t .
Y o u s e e , I 'm
n o t a fa n ta s y fa n
[ a n d ] I 'm
u n e a s y to th in k I w r ite f a n ta s y "
( " P u l l m a n 's P r o g r e s s " ) . T h i s f r e e d o m c a m e w i t h t h e u s e o f i m a g i n a t i v e c o n c e p t s
s u c h a s d a e m o n s , th e d is c o v e r y o f w h ic h P u llm a n c a lle d in th e P a r s o n s a n d
N ic h o ls o n
in te r v ie w
" t h e m o s t e x c i t i n g m o m e n t I 'v e
ever h ad
in
w ritin g "
( " T a l k i n g " 1 2 8 ). P u l l m a n w a s e v e n m o r e f o r t h r i g h t a b o u t h i s a p p r e c i a t i o n o f
f a n t a s y — a l t h o u g h s e e n i n F r e u d i a n t e r m s — i n h i s 2 0 0 3 " W h y I D o n 't B e lie v e in
G h o s t s " a r t i c l e f o r N Y T im e s . " M y d a y l i g h t m i n d , " h e s a i d , " t h e c o n s c i o u s a n d
r e s p o n s ib le m e , m i g h t w a n t to w r ite s to rie s a b o u t p e o p le w h o s e e m e n tir e ly r e a l
i n s i t u a t i o n s t h a t s e e m u t t e r l y p l a u s i b l e . [ . ..] B u t m y i m a g i n a t i o n d o e s n 't " (1 ).
T h a t is w h y , h e d e c l a r e d ,
a lt h o u g h I r e v e r e t h e g r e a t r e a lis ts a n d r e a d t h e i r w o r k w i t h d e v o t e d
a d m i r a t io n , I k n o w I ' m n o t o n e o f th e m . M y i m a g i n a t i o n c o m e s to life o n ly
i n t h e p r e s e n c e o f t h e u n c a n n y ; t h e d e s p o t I s e r v e is t h e p a r t o f m y m i n d
t h a t fe e ls a t h r il l a s fie rc e a n d s u d d e n a s l u s t w h e n it e n c o u n te r s a
d e s e r t e d g r a v e y a r d , o r c o m e s o n t h e id e a o f p e r s o n a l d a e m o n s , o r h e a r s
t h o s e o l d f a m il ia r w o r d s : " O n c e u p o n a m i d n i g h t d r e a r y . . . ." ( " W h y " 2,
ita lic s o u r s )
A n o t h e r i n d i c a t i o n o f t h e f a i l u r e o f t h e " d e n i a l s t r a t e g y " is t h a t f o r a ll
h i s d i s c l a i m e r s , P u l l m a n is a f a n t a s i s t p a r e x c e lle n c e i n t h e e y e s o f h i s r e a d e r s a n d
l i t e r a r y c r i ti c s a li k e . W e h a v e n o t y e t c o m e a c r o s s a s i n g l e a r t i c l e w h i c h w o u l d s e e
th e a u th o r o f H D M
a s a s ta r k re a lis t. M a n y h a v e p r a is e d h is p s y c h o lo g ic a l
r e a lis m , a s M a r g a r e t a n d M ic h a e l R u s tin d o in th e ir 2003 " W h e r e Is H o m e : A n
E s s a y o n P h i l i p P u l l m a n 's N o r t h e r n L i g h t s . " O t h e r s h a v e a p p l a u d e d h i s " d e e p l y
fe lt
e x a m in a tio n
of
e x is te n tia l
q u e s tio n s ,"
" in te lle c tu a l
a u d a c ity ,"
and
th e
c o n s is te n c y o f h is a lte r n a tiv e w o r ld , a s M illic e n t L e n z d o e s in h e r 2001 A lte r n a tiv e
M y th lo r e 28:3/4, S p rin g /S u m m e r 2010
41
M a r e k O z ie w ic z a n d D a n ie l H a d e
W o r l d s in F a n t a s y F ic t io n (1 2 2 , 1 2 3 ). O t h e r s y e t h a v e s t r e s s e d h i s " b l u r r i n g o f t h e
l i n e t h a t s e p a r a t e s t h e 'r e a l ' f r o m t h e f a n t a s y w o r l d s , " a s B u r t o n H a t l e n d o e s i n
h i s 2 0 0 5 " P u l l m a n 's H i s D a r k M a t e r i a l s " (7 5 ). N o n e t h e l e s s t h e s e a n d o t h e r a s p e c t s
have been
s e e n a s P u l l m a n 's
" c o n trib u tio n s to th e fa n ta s y g e n r e "
(7 5 ) a n d
m a r k e r s o f f u lly a c h ie v e d f a n ta s tic c re a tio n r a t h e r th a n a s in d ic a tio n s to th e
c o n t r a r y . S o m e c r i ti c s h a v e , t a c t f u l l y , a v o i d e d g e n e r i c n a m e s i n r e g a r d t o H D M .
A c a s e i n p o i n t is M i l l i c e n t L e n z i n t h e " I n t r o d u c t i o n " t o H D M I l l u m i n a t e d (2 0 0 5 ),
w h i c h r e f e r s t o P u l l m a n 's w o r k a s " c r o s s - a g e c la s s ic t r i l o g y " (1 ) a n d " a m y t h
a b o u t t h e t r a n s f o r m a t i o n o f c o n s c i o u s n e s s " (4 ). Y et, n o t o n e a m o n g t h e f i f t e e n
c o n t r i b u t o r s t o t h i s c o ll e c t i o n a t t e m p t e d a d e f e n s e o f P u l l m a n 's c l a i m s a b o u t t h e
n o n -fa n ta s tic
H o p k in s
and
c h a ra c te r
K a re n
of
th e
P a tric ia
tr ilo g y ,
w h e re a s
S m ith — e x p lic itly
th r e e — B u rto n
d e m o n s tra te d
H a tle n ,
"h o w
L is a
P u llm a n
w o r k s w i t h i n a n d d r a w s u p o n t h e t r a d i t i o n o f h i g h f a n t a s y " (7 4 ). T h u s , w h a t e v e r
P u l l m a n m a y f e e l a b o u t L e w i s o r T o l k i e n , t h e f a c t is t h a t h i s w o r k h a s b e e n
c o m p a r e d , c o n tra s te d , a n d p la c e d a lo n g s id e th e irs , a n d n o t w ith o u t re a s o n . N o r
is i t i r r e l e v a n t t h a t t h e t h r u s t o f c r i t i c i s m l e v e l e d a g a i n s t H D M s o f a r h a s n o t b e e n
a b o u t i t s g e n r e , b u t a b o u t t h e i m p l i c a t i o n s o f P u l l m a n 's n a r r a t i v e t h e o l o g y .
A l t o g e t h e r , w e f i n d i t d i f f i c u l t t o i m a g i n e t h a t a n y o n e a m o n g P u l l m a n 's r e a d e r s
w o u l d r e s e n t t h e f a c t t h a t L y r a 's s t o r y w a s s e r v e d o n a f a n t a s y p l a t t e r .
F o r f a n t a s y i t is . I t d o e s n o t t a k e a s p e c i a l i s t t o r e a l i z e t h a t a s t o r y s e t
a n d d e v e lo p in g in s e v e ra l a lte rn a tiv e w o rld s , in v o lv in g m a r v e lo u s b e in g s s u c h
a s a n im a l- s h a p e d
d a e m o n s , c o ld - r e s is ta n t, lo n g e v o u s f ly in g w itc h e s , ta lk in g
a r m o r e d b e a r s , s o u l - e a t i n g s p e c t e r s , s t i n k i n g c li f f - g h a s t s , m i s e r y - l u s t i n g t a l k i n g
h a rp ie s ,
d im in u tiv e
a lle g ia n c e , a n d
a n th r o p o m o rp h iz e d
p a rtic le s ,
b e llig e re n t
D e a th s ,
u n e x p la in a b le
a le th e io m e te r,
G a lliv e s p ia n s ,
s e x u a l o rie n ta tio n , m is e ra b le
or
th e
seed -p o d
o b je c t s
s u b tle
such
k n if e
a n g e ls
g h o s ts
of
stu c k
rid in g
m u le fa ,
th e
tr u th -te llin g
as
w h ic h
can
cut
v a rio u s
p o te n c y ,
in H e ll, p e r s o n a l
ta lk in g
d e v ic e
w in d o w s
to
e le m e n ta ry
c a lle d
th e
a lte rn a tiv e
u n iv e r s e s — in s h o r t, t h a t th e s e th in g s a r e n o t q u ite p o p u l a r in r e a lis t lite r a tu r e .
T h e y b e l o n g w i t h f a n t a s y , a n d w r i t i n g f a n t a s y is n o t h i n g t o b e a s h a m e d o f.
R a t h e r , P h i l i p P u l l m a n m a y w e l l t a k e p r i d e i n j o i n i n g t h e e x c e l l e n t c o m p a n y o f,
a m o n g o t h e r s , J .M . B a r r i e , K e n n e t h G r a h a m e , R u d y a r d K i p l i n g , L e w i s C a r r o l l , L .
F r a n k B a u m , U r s u l a K . L e G u m , L l o y d A l e x a n d e r , T .H . W h it e , O r s o n S c o tt C a r d ,
M a d e l e i n e L 'E n g l e , N e i l G a i m a n , T e r r y P r a t c h e t t , J o a n n e R o w l i n g , e v e n J.R .R .
T o l k i e n a n d C .S . L e w i s . T h e f a n t a s y t r a d i t i o n i n l i t e r a t u r e is b r o a d a n d i n c l u d e s
so m a n y
d iv e r s e s tr a in s th a t n o
a u t h o r is i n a n y w a y c o m p e l l e d t o b r u s h
s h o u l d e r s w i t h t h o s e w h o m t h e y d is li k e . T h i s is a l s o t h e c a s e f o r P u l l m a n , w h o s e
c o m p u ls iv e r e la tio n s h ip to L e w is in v ite s a n u m b e r o f q u e s tio n s .
42
M y th lo re 109/110, S p rin g /S u m m e r 2010
T h e M a r r ia g e o f H e a v e n a n d H e ll? P u llm a n , L e w is , a n d t h e F a n t a s y T r a d i t io n
P u l l m a n a n d L e w is : T h e M a r r i a g e o f H e a v e n a n d H e l l ?
" [ T ] h e N a r n i a c y c le [ ...] is o n e o f t h e m o s t u g l y a n d p o i s o n o u s t h i n g s I 'v e
e v e r r e a d ."
( P u llm a n , " T h e D a r k S id e o f N a r n ia ," 1998)
" 'I a m t e m p t e d to d i g h i m u p a n d t h r o w s to n e s a t h im ! ' T h a t 's h o w I fe e l
a b o u t L e w is ."
( P u llm a n , " T a lk in g t o P h ilip P u ll m a n ," 1999)
" [ T ] h e s e n s ib le L e w is [ ...] [is] t h r u s t a s id e i n N a r n ia b y t h e p a r a n o i d
b ig o t."
( P u llm a n , " T h e R e p u b lic o f H e a v e n ," 2001 )
" I lo a th e t h e N a r n i a b o o k s [ . ] b e c a u s e t h e y c o n t a i n a n u g l y v is io n ."
( P u llm a n , " H e a t a n d D u s t," 2002)
I n h is in te r v ie w s , s p e e c h e s a n d a rtic le s P u llm a n h a s r e f e r r e d to L e w is
m o r e o fte n th a n to a n y o th e r a u th o r . O n e e x c e p tio n m a y p e r h a p s b e M ilto n , b u t
even
t h e n m o s t r e f e r e n c e s t o P a r a d is e L o s t t e n d t o b r i n g i n L e w i s a n d h i s
o r th o d o x C h r is tia n r e a d i n g o f th e e p ic a s a k in d o f fa ls e in te r p r e ta tio n a g a in s t
w h i c h P u l l m a n 's h e t e r o d o x R o m a n t i c r e a d i n g is p o s i t i o n e d . A g l a n c e a t t h e
c r i ti c a l a s s e s s m e n t o f P u l l m a n 's w o r k r e v e a l s t h a t s c h o l a r s h a v e c o m p a r e d o r
c o n tra s te d P u llm a n w ith L e w is m o r e o fte n th a n w ith a n y o th e r a u th o r, fa n ta s y o r
n o t . I n a ll o f t h o s e c o n t e x t s P u l l m a n 's p o s i t i v e h a t r e d o f L e w i s h a s b e e n n o t e d
a n d c o m m e n te d u p o n .
O u r o w n t a k e o n t h i s i s s u e is t h a t P u l l m a n 's h a t r e d o f L e w i s is a
s y n e c d o c h e a n d it a c tu a lly m e lts o n c lo s e r in s p e c tio n . T h e lo a th in g P u llm a n
s p e a k s o f is a s y n e c d o c h e b e c a u s e " L e w i s " a n d " N a r n i a " — j u s t l i k e " f a n t a s y " —
s e e m to f u n c tio n f o r h im
a s s h o r th a n d te r m s fo r a c lu s te r o f a ttitu d e s a n d a
w o r l d v i e w P u l l m a n v e h e m e n t l y o p p o s e s , i n li f e a s i n f i c ti o n . T h e y s t a n d f o r t h e
K in g d o m
o f H e a v e n m in d s e t, w h ic h P u llm a n c o n tr a s ts w ith th e R e p u b lic o f
H e a v e n m i n d s e t h e so a r d e n tly a d v o c a te s . T h e d if fe re n c e o f o p in io n o n th is
f u n d a m e n t a l i s s u e m a y lie a t t h e c o r e o f P u l l m a n 's r e a s o n i n g t h a t if t h o s e
K in g d o m
of H eaven
a ttitu d e s
o f L e w is
sta n d
fo r
fa n ta s y ,
th e n
P u l l m a n 's
R e p u b l i c o f H e a v e n i d e a s r e p r e s e n t n o t j u s t r e a l i s m b u t s t a r k r e a l i s m . T h is , o f
c o u r s e , is a f a u l t y c o m p a r i s o n . T h e l i t e r a r y c o n v e n t i o n o f f a n t a s y is n o t c h a i n e d
to
any
s p e c i f ic i d e o l o g y . I t c a n b e u s e d
to
c h a m p io n — o r s u b v e r t— se c u la r
h u m a n i s m ju s t a s w e ll a s re lig io u s s u p e r n a tu r a lis m , e s s e n tia lis m ju s t a s w e ll a s
re la tiv is m , fe m in is m
ju s t a s w e ll a s m is o g y n y ,
c re a tio n is m
ju s t a s w e ll as
e v o l u t i o n i s m , a n d s o f o r th .
E v e n m o r e s u r p r i s i n g l y , P u l l m a n 's d e c l a r e d h a t r e d o f L e w i s s e e m s t o b e
r e a l l y v e x i n g o n l y f o r P u l l m a n - t h e - r e a d e r . I t is i n t h i s c a p a c i t y t h a t h e d e n o u n c e s
L e w is fo r th e " u g lin e s s o f v is io n " in th e C h ro n ic le s o f N a r n ia a n d S p a c e T rilo g y
( " H e a t a n d D u s t" ) . P u llm a n - th e - r e a d e r lo a th e s L e w is fo r h is P la to n is m , ra c is m ,
m is o g y n y , b ig o try ,
e s s e n tia lis m ,
" th e
s a d o -m a s o c h is tic
re lis h
f o r v i o l e n c e ,"
M y th lo r e 28:3/4, S p rin g /S u m m e r 2010
43
M a r e k O z ie w ic z a n d D a n ie l H a d e
" s u p e r n a tu r a lis m ,"
a n d " r e a c tio n a r y s n e e r in g " (" T h e D a r k S id e o f N a r n ia " ) .
H o w e v e r , P u l l m a n - t h e - a u t h o r is m u c h m o r e e v e n - m i n d e d . O n t h e o n e h a n d h e
s t il l c o n d e m n s L e w i s f o r " t h e s h e e r d i s h o n e s t y o f h i s n a r r a t i v e m e t h o d " ( " D a r k
S id e " ) , m o c k s h i s
s t y le ,
and
c a lls L e w i s 's i n f l u e n c e
in
c h i l d r e n 's
lite r a tu re
" p e r n i c i o u s " a n d " t h o r o u g h l y c r e e p y " ( " T a l k i n g " 1 3 1 ). O n t h e o t h e r , t h o u g h , h e
n o t o n ly a c k n o w le d g e s th a t L e w is " h a d h is h a n d o n a n u m b e r o f p o w e r f u l
n o t i o n s , " a n d " w a s a m a g n i f i c e n t s t y l i s t " (1 3 1 ), b u t a c t u a l l y e m p l o y s i n h i s o w n
w r i t i n g a s u r p r i s i n g n u m b e r o f m o t i f s , c h a r a c t e r c o n s t e l l a t i o n s , s t y l i s t i c d e v ic e s ,
sc e n e s , th e m e s , a n d p a tte r n s w h ic h w e re e ith e r in v e n te d b y L e w is o r fe a tu r e d
p r o m i n e n t l y i n h i s f i c ti o n . P u l l m a n - t h e - c r i t i c , f i n a l l y , h a s o n l y p r a i s e f o r L e w i s .
In
" T h e D a r k S id e o f N a r n i a " h e s p o k e a b o u t L e w i s 's l i t e r a r y c r i t i c i s m
as
" e f f o r tle s s ly r e a d a b l e ," h i s p s y c h o l o g y in T h e S c r e w ta p e L e tte r s a s " s u b tle a n d
a c u te ," a n d h is p r o n o u n c e m e n ts " a b o u t m y t h a n d f a ir y ta le a n d w r itin g fo r
c h ild re n " a s " b o th tr u e a n d in te re s tin g ." O n a n o th e r o c c a s io n P u llm a n a d m itte d
to H u w S p a n n e r th a t w h e n L e w is " w a s ta lk in g a b o u t w r itin g fo r c h ild r e n , a n d
a b o u t lite r a tu r e in g e n e ra l, L e w is w a s v e ry , v e ry a c u te a n d s a id so m e v e ry
p e r c e p t i v e a n d w i s e t h i n g s . A s a c r i ti c [ . ..] a n d a s a p s y c h o l o g i s t [ ...] I r a t e h i m
v e r y h i g h l y " ( " H e a t a n d D u s t " ) . T h e s e d e c l a r a t i o n s a r e n o t m e r e c o u r t e s ie s .
W h e n P u llm a n ta lk s a b o u t th e c ru c ia l im p o r ta n c e o f s to ry , d e s c r ib e s th e c r e a tiv e
p ro c e s s , a s s e rts h is R o m a n tic v ie w o f th e im a g in a tio n , re v e a ls h is fa s c in a tio n
w i t h t h e m y t h i c d i m e n s i o n o f s p e c i f ic l i t e r a r y w o r k s , d e c l a r e s t h e n e e d f o r
re te llin g
and
re -v is io n in g
m y th s
to
keep
th e ir
p e rtin e n c e
to
our
m o d ern
s i t u a t e d n e s s , a n d i n s i s t s o n t h e s e r i o u s n e s s a n d r e l e v a n c e o f h i s s t o r y t o r e a l life ,
h e s p e a k s i n o n e v o ic e w i t h n o t o n l y L e w i s b u t a ls o T o l k i e n a n d M a c D o n a l d ,
fre q u e n tly re p e a tin g , u n c o n s c io u s ly it se e m s, th e e x a c t s a m e p h ra s e s th e y h a d
used.
D is tin g u is h in g th e th r e e fa c e s o f P u ll m a n — re a d e r , a u th o r , c r i t i c - c a n
h e lp , w e th in k , to p o s itio n h im in r e g a r d to L e w is a n d to a p p r e c ia te th e r e a l
d i f f e r e n c e s a n d s i m i l a r i t i e s b e t w e e n t h e i r f i c ti o n . I n t h e f i r s t c a p a c i t y P u l l m a n
d iffe rs fr o m L e w is s h a r p ly , in p a r t b e c a u s e o f h is d e c la re d a g n o s tic is m
and
m a t e r i a l i s m a s s e t a g a i n s t L e w i s 's C h r i s t i a n i t y a n d p h i l o s o p h i c a l i d e a l i s m , a n d i n
p a r t b e c a u s e o f h i s m o d e r n v i e w s a s s e t a g a i n s t L e w i s 's t r a d i t i o n a l v i e w s o n
is s u e s s u c h a s g e n d e r , ra c e , c u ltu r e , c h ild h o o d , o r e d u c a tio n . I n s o m e o f th o s e
d if f e r e n c e s — e s p e c ia lly th e ir p o s itio n s o n g e n d e r a n d r a c e —P u llm a n c o m e s o u t
a s b e i n g m u c h c lo s e r t o m o d e r n s e n s i b i l i t y t h a n L e w i s ; m a n y o t h e r d i f f e r e n c e s —
th e ir p o s itio n s o n r e lig io n in g e n e r a l a n d C h r is tia n ity in p a r tic u la r , o n th e
a f t e r l if e ,
c h ild h o o d ,
fa m ily , o r e d u c a tio n — a re , in
fa c t, m a t t e r s
of p e rso n a l
o p i n i o n w h i c h h a r d l y l e n d t h e m s e l v e s t o l i t e r a r y c r i ti c a l a n a l y s i s . I n t h e s e c o n d
and
th ird
c a p a c itie s , h o w e v e r , th e
s im ila ritie s b e tw e e n P u llm a n
o u t w e i g h t h e d i f f e r e n c e s b y fa r .
44
M y th lo re 109/110, S p rin g /S u m m e r 2010
and
L e w is
T h e M a r r ia g e o f H e a v e n a n d H e ll? P u llm a n , L e w is , a n d t h e F a n t a s y T r a d i t io n
P u l l m a n - t h e - a u t h o r is s o u n c a n n i l y a l i g n e d w i t h L e w i s - t h e - a u t h o r a s to
b e g c o m p a r is o n , if n o t th e q u e s tio n to w h a t e x te n t H D M c a n b e s a id to b e a
r e a c tio n to th e C h ro n ic le s . B u r to n H a tle n
is a m o n g t h e s c h o l a r s w h o h a v e
s u g g e s t e d t h i s p o s s i b i l i t y , i n h i s 2 0 0 5 " P u l l m a n 's H i s D a r k M a t e r i a l s , a C h a l l e n g e
t o t h e F a n t a s i e s o f J.R .R . T o l k i e n a n d C .S . L e w i s , w i t h a n E p i l o g u e o n P u l l m a n 's
N e o - R o m a n t i c R e a d i n g o f P a r a d is e L o s t ." I n h i s e s s a y H a t l e n a r g u e s t h a t " r a t h e r
t h a n s i m p l y r e je c tin g L e w is a s a m o d e l, P u l l m a n h a s , in H is D a r k M a te r ia ls ,
o f f e r e d a k in d o f in v e r te d h o m a g e to h is p r e d e c e s s o r , d e lib e r a te ly c o m p o s in g a
k i n d o f 'a n t i - N a r n i a , ' a s e c u l a r h u m a n i s t a l t e r n a t i v e t o L e w i s 's C h r i s t i a n f a n t a s y "
(8 2 ). M u c h o f t h i s a l i g n m e n t , w e t h i n k , is d u e t o w h a t c a n b e c a l l e d " t h e p u l l o f
th e g e n r e ." W r itin g in th e tr a d itio n o f w h a t K a r e n P a tr ic ia S m ith in h e r 2005
" T ra d itio n , T ra n s f o rm a tio n ,
and
th e
B o ld E m e r g e n c e : F a n t a s t i c L e g a c y a n d
P u l l m a n 's H i s D a r k M a t e r i a l s " c a ll s " h i g h f a n t a s y " (1 3 6 ), a n d w e p r e f e r t o c a ll
m y t h o p o e i c f a n t a s y — a s o u t l i n e d i n M a r e k O z i e w i c z 's O n e E a r t h , O n e P e o p le
( 2 0 0 8 ) — P u l l m a n i n m a n y w a y s f o l l o w s i t s g e n e r i c p a t t e r n i n g s , a l t h o u g h h e a ls o
r e s h a p e s its b o u n d a r ie s . H e f o llo w s th e g e n e r ic te m p la te o f m y th o p o e ic f a n ta s y ,
a m o n g o t h e r t h i n g s , i n h i s c h o ic e o f a d o l e s c e n t p r o t a g o n i s t s o n w h o m t h e f a t e o f
th e u n iv e r s e d e p e n d s , in h is d e s c r ip tio n o f th e ir life -a lte r in g , o th e r - w o r ld ly
q u e s ts w h ic h m o v e b e tw e e n o u r w o r ld a n d a lte r n a tiv e r e a litie s , in h is u s e a n d r e
i m a g i n i n g o f m y t h i c p a t t e r n s , c h a r a c t e r s , o b je c ts , m o t i f s , a n d s t r u c t u r e s — t h e
F a ll, a n g e l s , t h e a l e t h e i o m e t e r , t e m p t a t i o n , t h e h a r r o w i n g o f H e l l — a ll o f w h i c h
a r e p r e s e n te d a s tr u e in r e a lis tic c rite r ia , a n d in h is in s is te n c e o n th e im p o r ta n c e
o f m o r a l a n d e th ic a l im p lic a tio n s o f h is sto ry . A t th e s a m e tim e h e p u s h e s a t th e
b o u n d a r i e s o f m y th o p o e ic f a n ta s y b y d is m a n tlin g h ie r a r c h i e s — e s p e c ia lly th o s e
o f g e n d e r a n d s p e c i e s —b y d e n y i n g s u p e r n a t u r a l i s m a n d s u p e r n a t u r a l c a u s a l i t y ,
a n d b y q u e s t i o n i n g r e l i g i o n a n d r e l i g i o u s b e li e f . I n t h e p r o c e s s , t h e s t r a n d s a n d
m o t i f s o f P u l l m a n 's s t o r y o f t e n s o c l o s e l y r e s e m b l e t h o s e u s e d b y L e w i s t h a t
th e r e s e e m to b e m o r e p a r a lle ls b e tw e e n H D M a n d th e C h r o n ic le s th a n b e tw e e n
H D M , o r th e C h ro n ic le s , a n d a n y o th e r f a n ta s y to d a te .
T h e s e p a ra lle ls a re s o m e th in g m o r e th a n g e n e ric s im ila rity th o u g h .
A c c o r d in g to N a o m i W o o d ,
P u l l m a n 's v e h e m e n t o p p o s i ti o n to L e w is , c o u p l e d w i t h h is s e e m in g ly
d e li b e r a t e r e w r i t i n g o f c r u c ia l m o m e n t s a n d c h a r a c t e r s i n L e w is 's fic tio n ,
s u g g e s ts a d e e p c o n n e c t io n b e t w e e n t h e tw o : b o t h s to r ie s b e g in w i t h
c h i l d r e n h i d i n g i n a w a r d r o b e a n d b e i n g je t ti s o n e d f r o m t h e r e in to w o r l d
s h a p i n g a d v e n tu r e s ; b o t h f e a t u r e b e a u ti f u l , d e a d l y w o m e n w e a r i n g f u r s
w h o t e m p t a n d b e t r a y c h il d r e n t h r o u g h s w e e ts ; b o t h f e a t u r e y o u t h f u l
h e r o i n e s —L u c y a n d L y r a —w h o h a v e s p e c ia l r e l a ti o n s h ip s w i t h p o w e r f u l ,
d a n g e r o u s b e a s t s —A s la n , Io re k . (239)
M y th lo r e 28:3/4, S p rin g /S u m m e r 2010
45
M a r e k O z ie w ic z a n d D a n ie l H a d e
W h ile th is life -a lte r in g fr ie n d s h ip b e tw e e n a m a le b e a s t k in g a n d a
f e m a l e c h i l d d e v o t e e is p e r h a p s t h e m o s t s t r i k i n g a n d s u s t a i n e d p a r a l l e l b e t w e e n
P u llm a n
a n d L e w i s , t h i s m o t i f is o n e a m o n g s e v e r a l o t h e r m o t i f s — s u c h a s
p r o p h e c y , f a te , s a c r if ic e , o r t h e j o u r n e y t o t h e u n d e r w o r l d — w h i c h t h e s e a u t h o r s
s h a r e . F o r e x a m p l e i n T h e L io n , th e W i t c h a n d th e W a r d r o b e , t h e p r o p h e c y c o n c e r n s
t h e e n d o f t h e W h i t e W i t c h 's r e i g n w h i c h w i l l h a p p e n a f t e r f o u r h u m a n s c l a i m
t h e f o u r t h r o n e s o f C a i r P a r a v e l ; i n H D M — t h e e n d o f t h e C h u r c h 's r e i g n w h i c h
w i l l h a p p e n a f t e r a n e w E v e b r i n g s a b o u t a n e w fa ll, a n d t h u s a n e w a g e o f t h e
w o r l d . O n t h i s le v e l s t r o n g c o r r e s p o n d e n c e s l i n k P u l l m a n 's H D M w i t h n o t o n l y
w ith
L e w i s 's
C h ro n ic le s
but
a ls o
w ith
P e r e la n d r a .
For
e x a m p le ,
P u l l m a n 's
" r e s t a g i n g o f t h e t e m p t a t i o n i n E d e n " p a r a l l e l s L e w i s 's d e s c r i p t i o n o f t e m p t a t i o n
i n P e r e la n d r a s o c lo s e ly a s t o p r o m p t W i l l i a m G r a y , i n h i s 2 0 0 8 F a n t a s y , M y t h a n d
th e M e a s u r e o f T r u t h , t o s p e c u l a t e " w h e t h e r P u l l m a n is d e l i b e r a t e l y r e w o r k i n g
L e w i s 's v e r s i o n " (1 6 6 ). A ls o t h e m y s t i c a l " G r e a t D a n c e " p a s s a g e s i n P e r e l a n d r a —
w i t h t h e i r d e s c r i p t i o n s o f " D u s t " w h i c h is " a t t h e c e n t e r " a n d " w h e r e o f a ll
w o r ld s , a n d th e b o d ie s t h a t a r e n o t w o r ld s , a r e m a d e " (P e re la n d ra q td . in G r a y
1 7 6 ) — s e e m t o b e , s a y s G r a y , " o n e o f t h e s o u r c e s f o r P u l l m a n 's i d e a o f D u s t "
(1 7 6 ). W i t h t h e u s e o f t h o s e m o t i f s e a c h a u t h o r c r e a t e s a r e d e m p t i o n s t o r y i n
w h i c h d e a t h is o v e r c o m e , a n d a k i n d o f e t e r n a l e x i s t e n c e is a c h i e v e d . W h i l e
L e w i s 's c h a r a c t e r s e n t e r t h e " r e a l N a r n i a "
w h e r e t h e y w i l l s u p p o s e d l y liv e
f o r e v e r i n t h e i r p h y s i c a l b o d i e s , P u l l m a n 's g h o s t s l a u g h i n s u r p r i s e a s t h e y f i n d
t h e m s e l v e s " t u r n i n g in to th e n ig h t , th e s t a r li g h t, th e a ir . . . " ( A m b e r S y p g la s s 382)
in a m a te r ia lis t s u b v e r s io n o f " d u s t th o u a rt, a n d u n to d u s t s h a ll th o u r e tu r n "
( G o ld e n C o m p a s s 3 7 3 ).
A ls o , l i k e L e w i s i n t h e C h r o n i c l e s , P u l l m a n i n H D M e n g a g e s i n w h a t
m a y b e c a l l e d n a r r a t i v e t h e o l o g y . I n t e r e s t i n g l y , P u l l m a n 's e n g a g e m e n t m a y e v e n
b e s a i d t o g o d e e p e r t h a n L e w i s 's . W h e r e a s L e w i s 's s t o r y is a t b e s t " d e r i v a t i v e o f,
a n d a n a l o g i c a l l y r e l a t e d to , t h e G r e a t ( F a i r y ) S t o r y o f t h e G o s p e l , " s a y s G r a y ,
" P u l l m a n is c o m p e t i n g w i t h t h e g r a n d n a r r a t i v e i t s e l f " (1 7 1 ). I n t h e p r o c e s s , G r a y
n o te s , P u llm a n " s e e m s p o s s e s s e d b y a k in d o f v ir u le n t th e o lo g ic a l h a t r e d o f
t h o s e h e d i s a g r e e s w i t h " (1 7 1 ). T o d i s c r e d i t t h e C h u r c h h e i n v e n t s d o c t r i n e s s u c h
a s " p r e - e m p t i v e p e n a n c e a n d a b s o l u t i o n " (1 7 2 ), c o m p o s e s " a n a l t e r n a t i v e v e r s io n
( r a t h e r t h a n a n a l t e r n a t i v e i n t e r p r e t a t i o n ) o f t h e F a l l n a r r a t i v e i n G e n e s i s " (1 7 3 ),
a l t e r s t h e S c r i p t u r e b y i n s e r t i n g p h r a s e s i n t o B ib lic a l v e r s e s (1 7 3 -4 ), a n d , m o s t
in g e n io u s ly , r e in te r p r e ts th e b ib lic a l " d u s t th o u a rt, a n d u n to d u s t s h a ll th o u
r e t u r n " ( G o ld e n C o m p a s s 3 7 3 ).
L a s t b u t n o t le a s t , a s a u t h o r s a n d c r i t i c s —h e r e t h e d i s t i n c t i o n is o f t e n
b l u r r e d —L e w is a n d P u llm a n
a re d ra w n
to th e
s a m e th e m e s , c o n c e p ts a n d
lite r a r y s o u r c e s . P a ra d o x ic a lly , th e fa c t t h a t th e y in t e r p r e t s o m e o f th o s e th e m e s
a n d c o n c e p t s d i f f e r e n t l y lo c k s t h e i r s t o r i e s i n a n e v e n c l o s e r e n g a g e m e n t w i t h i n
th e sa m e tr a d itio n .
46
M y th lo re 109/110, S p rin g /S u m m e r 2010
T h e M a r r ia g e o f H e a v e n a n d H e ll? P u llm a n , L e w is , a n d t h e F a n t a s y T r a d i t io n
P u l l m a n - t h e - c r i t i c 's i d e a s a b o u t l i t e r a t u r e a n d i m a g i n a t i o n m i r r o r t h o s e
o f L e w is to a s u r p r is in g d e g re e . T h is h a s b e e n w id e ly d is c u s s e d , a lth o u g h th e
m o s t e x t e n d e d a n a l y s i s s o f a r o f P u l l m a n 's r e l a t i o n s h i p t o L e w i s o n t h i s le v e l h a s
b e e n o f f e r e d b y G r a y . I n o u r o p i n i o n P u l l m a n - t h e - c r i t i c 's c lo s e a l i g n m e n t w i t h
L e w i s c a n b e s u m m e d u p i n f iv e c o n v e r g e n c e p o i n t s : h i s b e l i e f i n s t o r y w i t h it s
a ll-a g e a p p e a l a n d t r u t h im p e r a tiv e , h is d e s c r ip tio n o f th e c re a tiv e p ro c e s s , h is
f a s c i n a t i o n w i t h t h e m y t h i c d i m e n s i o n o f s p e c i f ic l i t e r a r y w o r k s , h i s a s s e r t i o n
about
th e
need
fo r
re le v a n t
m y th s ,
and
h is
h ig h
R o m a n tic
v ie w
of
th e
im a g in a tio n .
L i k e T o l k i e n i n h i s 1 9 3 8 " O n F a i r y - S t o r i e s ," a n d L e w i s i n " O n T h r e e
W a y s o f W r i t i n g f o r C h i l d r e n , " " O n S to r i e s ," a n d " S o m e t i m e s F a i r y S to r ie s M a y
S a y B e s t W h a t 's t o B e S a i d " i n t h e f i f ti e s a n d s ix tie s , P u l l m a n t o d a y is o n e o f t h e
m o s t v o c a l d e f e n d e r s o f s to r y . A c c o r d in g to G ra y , " o n e o f th e s u r p r is in g ly
n u m e r o u s i d e a s t h a t P u l l m a n a c t u a l l y s h a r e s w i t h L e w i s a n d T o l k i e n [ . ..] is a
d e e p s u s p i c i o n o f w h a t h e s e e s a s t h e m o d e r n i s t c o n t e m p t f o r 't h e s t o r y '" (1 5 4 ).
I n d e e d , P u l l m a n 's d e c l a r a t i o n s t h a t " I a m t h e s e r v a n t o f t h e s t o r y " ( " H e a t a n d
D u s t " ) , a n d " I d o n 't w r i t e f o r a n y o n e , [ ...] I w r i t e f o r t h e s t o r y " ( " L e x i c o n " ) ,
c o u p le d w ith h is d is lik e o f m o d e r n a d u l t lite r a tu r e w h ic h e lim in a te s th e s to r y
a n d r e p l a c e s i t w i t h " a r t i s t i c c a p e r s f o r t h e a m u s e m e n t o f [ ...] s o p h i s t i c a t e d
r e a d e r s " ( " C a r n e g ie " ) p la c e h im s q u a r e ly in th e s a m e s to r y te llin g tr a d itio n a s
L e w is .
L i k e L e w i s i n " S o m e t i m e s F a i r y S t o r i e s ," P u l l m a n c l a i m s t h a t " [ t ] h e r e
a r e s o m e t h e m e s , s o m e s u b j e c ts , to o l a r g e f o r a d u l t f i c ti o n ; t h e y c a n o n l y b e d e a l t
w i t h a d e q u a t e l y i n a c h i l d r e n 's b o o k " ( " C a r n e g i e " ) . A t t h e s a m e t i m e , a n d lik e
L e w is , h e s ta te s t h a t h e d o e s n o t w r ite s p e c ific a lly f o r c h ild r e n , a n d t h a t h is
s to rie s a re n o t a d d r e s s e d
to
a n y p a r t i c u l a r a g e g r o u p . C o m p a r e P u l l m a n 's
s t a t e m e n t f r o m t h e L e x ic o n i n t e r v i e w — " t h e a u t h o r h a s t o t e l l t h e s t o r y t h a t h e o r
s h e w a n t s t o te ll. I t 's u s u a l l y n o t t h e a u t h o r w h o p u t s 'F o r n i n e y e a r o l d s ' o n t h e
c o v e r; p u b lis h e r s d o t h a t " — w ith th a t o f L e w is in " O n T h re e W a y s " — " th e n e a t
s o r tin g - o u t o f b o o k s in to a g e - g r o u p s , so d e a r to p u b lis h e r s , h a s o n ly a v e r y
s k e tc h y re la tio n w ith th e h a b its o f a n y re a l r e a d e r s . T h o s e o f u s w h o a re b la m e d
w h e n o ld fo r r e a d in g c h ild is h b o o k s w e re b la m e d w h e n c h ild r e n fo r r e a d in g
b o o k s t o o o l d f o r u s " (3 6 ). A ls o P u l l m a n 's s t a t e m e n t " I 'm d e l i g h t e d t h a t I h a v e a n
a u d i e n c e o f g r o w n - u p p e o p l e . I 'm a ls o d e l i g h t e d t o h a v e a n a u d i e n c e o f y o u n g
r e a d e r s a s w e ll. B u t I d o n o t w r i t e f o r o n e s e c t i o n o r f o r a n o t h e r s e c t i o n "
( " L e x i c o n " ) s o u n d s u n c a n n i l y l i k e t h a t o f L e w i s i n " S o m e t i m e s F a i r y S to r ie s " : I
I w a s t h e r e f o r e w r i t i n g 'f o r c h i l d r e n ' [ . ] n o t i n th e s e n s e o f w r i t i n g w h a t I
i n t e n d e d to b e b e lo w a d u l t a tt e n ti o n . I m a y o f c o u r s e h a v e b e e n d e c e iv e d ,
b u t t h e p r i n c ip l e a t le a s t s a v e s o n e f r o m b e in g p a tr o n is i n g . I n e v e r w r o te
d o w n to a n y o n e ; a n d w h e t h e r t h e o p i n i o n c o n d e m n s o r a c q u its m y o w n
M y th lo r e 28:3/4, S p rin g /S u m m e r 2010
47
M a r e k O z ie w ic z a n d D a n ie l H a d e
w o r k , it c e r ta in ly is m y o p i n i o n t h a t a b o o k w o r t h r e a d i n g o n ly in
c h il d h o o d is n o t w o r t h r e a d i n g e v e n th e n . (47 -8 )
L i k e L e w i s a s s e r t s i n " S o m e t i m e s F a i r y S t o r i e s " a n d " I t A ll B e g u n w i t h
a P i c t u r e . . ." P u l l m a n d e n i e s h a v i n g a n a g e n d a i n t e l l i n g h i s s t o r y — " I t e l l t h e
s to r y t h a t c o m e s to m e t h a t w a n ts to b e to ld " ( " L e x ic o n " ) — b u t, a g a in lik e L e w is ,
a c k n o w le d g e s
th a t h is
c o n c e rn
fo r
th e
s to ry
has
u n a v o id a b le
m o ral
and
p h i l o s o p h i c a l i m p l i c a t i o n s ( G r a y 1 5 4 ).
I n t h e L e x ic o n i n t e r v i e w P u l l m a n a d m i t s :
[m ]y a im is t o te l l a s to r y , w h i c h d o e s h a v e o t h e r r e s o n a n c e s , if y o u lik e ;
s o m e o f t h e m b e in g m o r a l. T h a t 's n o t t o s a y I s e t o u t t o p r e a c h . I 'm i n th e
w r o n g t r a d e if I s e t o u t to p r e a c h . W h e n y o u u n d e r t a k e a t a s k o f a n y
le n g th , o f a n y s o r t o f in t e ll e c tu a l w e ig h t, w h e n y o u s e t o u t t o w r i t e a b o o k
t h a t 's g o in g to ta k e y o u s e v e n y e a r s to f in is h , a s I d i d w i t h H i s D a r k
M a te r ia ls fo r e x a m p le , t h e n n e c e s s a r il y y o u d o h a v e s o m e s o r t o f m o r a l
c o m m it m e n t to it: y o u d o it b e c a u s e y o u t h i n k i t 's a g o o d t h i n g to d o . Y o u
w o u l d n 't s p e n d s e v e n y e a r s d o i n g s o m e th i n g t h a t y o u d i d n 't b e lie v e in
w i t h s o m e p a r t o f y o u r m o r a l b e in g . S o t h e r e is t h a t d i m e n s i o n to it, y e s. If
t h a t 's w h a t p e o p l e w a n t to s e e a n d t a l k a b o u t t h e n t h a t 's fin e ; if t h e y w a n t
t o g o f o r t h e s t o r y a n d ig n o r e t h e o th e r s tu f f e q u a ll y t h a t 's fin e . I 'm n o t
te l l i n g t h e m h o w t o r e a d a n y m o r e t h a n I 'm t e l li n g t h e m w h i c h p e o p l e a re
a ll o w e d t o a n d w h i c h a r e n 't . I j u s t te ll t h e s to r y t h a t I w a n t to te ll.
(L e x ic o n )
T h e s e s e n t i m e n t s s o u n d q u i t e s i m i l a r t o L e w i s 's e x p l i c i t r e j e c t i o n o f t h e
m o r a l o r d i d a c t i c a p p r o a c h i n t h e l a s t p a g e s o f " S o m e t i m e s F a i r y S to r ie s " : I
I th in k w e c a n b e s u re th a t w h a t d o e s n o t c o n c e rn u s d e e p ly w ill n o t
d e e p l y in t e r e s t o u r r e a d e r s , w h a t e v e r t h e i r a g e . [...] L e t t h e p i c t u r e s te ll
y o u th e i r o w n m o r a l. F o r t h e m o r a l in h e r e n t i n t h e m w ill r is e fr o m
w h a t e v e r s p i r it u a l r o o t s y o u h a v e s u c c e e d e d i n s t r ik i n g d u r i n g t h e w h o le
c o u r s e o f y o u r life. B u t if th e y d o n 't s h o w y o u a n y m o r a l, d o n 't p u t o n e in .
F o r t h e m o r a l y o u p u t i n is lik e ly to b e a p l a t i t u d e , o r e v e n a f a ls e h o o d ,
s k i m m e d f r o m t h e s u r f a c e o f y o u r c o n s c io u s n e s s . It is im p e r t i n e n t t o o ffe r
t h e c h i l d r e n t h a t . [ ...] A n y o n e w h o c a n w r i t e a c h i l d r e n 's s to r y w i t h o u t a
m o r a l, h a d b e t t e r d o so: t h a t is, if h e is g o in g t o w r i t e c h i l d r e n 's s to r ie s a t
a ll. T h e o n ly m o r a l t h a t is o f a n y v a l u e is t h a t w h i c h a r is e s in e v i ta b l y fr o m
t h e w h o le c a s t o f th e a u t h o r 's m in d .
I n d e e d e v e r y t h in g i n t h e s t o r y s h o u l d a r is e f r o m t h e w h o le c a s t o f th e
a u t h o r 's m i n d . (41 -2 )
48
M y th lo re 109/110, S p rin g /S u m m e r 2010
T h e M a r r ia g e o f H e a v e n a n d H e ll? P u llm a n , L e w is , a n d t h e F a n t a s y T r a d i t io n
I t is f o r t h i s r e a s o n t h a t , a g a i n l i k e L e w i s a r g u e d i n " O n T h r e e W a y s "
and
"O n
S t o r i e s ,"
P u llm a n
c o n tra s ts
tru e
s to rie s
w ith
fa ls e
s t o r ie s .
T h is
o p p o s i t i o n is f u n d a m e n t a l f o r b o t h a u t h o r s a n d is n o t , a s G r a y p o i n t s o u t ,
" e s s e n t i a l l y b e t w e e n f a c t a n d f i c t i o n " (1 5 7 ); r a t h e r , i t is o n e b e t w e e n f a n t a s i z i n g
about
th e
w o rld
and
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c a t e g o r i e s — a d i v i s i o n t h a t g o e s b a c k t o C o l e r i d g e 's B io g r a p h i a L it e r a r i a a n d t i e s i n
w i t h L e w i s 's a n d P u l l m a n 's i d e a s a b o u t i m a g i n a t i o n . L e w i s i n " O n T h r e e W a y s "
and
"O n
S to r ie s "
m a k e s th e
d is tin c tio n b e tw e e n
c h e a tin g , s h e e r - e x c ite m e n t
s to rie s a n d " g o o d s to rie s " w h ic h o ffe r r e a d e r s " c e r ta in p r o f o u n d e x p e rie n c e s
w h ic h
a r e [ . ..] n o t a c c e p t a b l e i n a n y o t h e r f o r m "
(1 5 ).
S im ila rly , P u llm a n
b e l i e v e s t h a t , a s h e t o l d L a u r a M i l l e r i n 2 0 0 5 , " t h e r e is , i n h e r e n t l y , 'a r i g h t s h a p e
a n d a w r o n g s h a p e ' fo r a n y g iv e n s to r y " — a s to ry c a n b e " e ith e r w h o le o r
b r o k e n " ( " F a r F r o m N a r n i a " 7 ). A s t o r y w h i c h is " r i g h t " a n d " w h o l e , " a s L y r a
l e a r n s f r o m t h e h a r p i e s , is o n e t h a t is t r u e a n d n o u r i s h i n g ( A m b e r S p y g l a s s 3 3 2 ).
T h i s i d e a a ls o a p p e a r s i n t h e P a r s o n s a n d N i c h o l s o n i n t e r v i e w . " I f I 'm t e l l i n g t h e
s to ry r ig h t," P u llm a n sa id ,
t h e s t o r y its e lf w ill b r i n g t h e m e a n i n g t o [th e c h i l d r e n 's a u d ie n c e ] i n ju s t
t h e w a y t h a t B e tte lh e im e x p la in s to u s a b o u t f a ir y ta le s . [...] If th i s
m e a n i n g is im p li c it i n it, t h e n t h e c h il d w ill p ic k it u p s o m e h o w a n d w a n t
t o h e a r t h e s t o r y a g a in , a n d a g a in , a n d a g a in , u n t i l t h e y 'v e e x h a u s t e d th e
n o u r i s h m e n t t h e y c a n g e t o u t o f it fo r t h e ti m e b e in g . ( " T a lk in g " 122)
T h e s a m e c o n c e p t o f a r i g h t s t o r y a s t r u e a n d n o u r i s h i n g a p p e a r s in
L e w i s to o : " W h e r e t h e c h i l d r e n 's s t o r y is s i m p l y t h e r i g h t f o r m f o r w h a t t h e
a u th o r h a s to s a y [ . ] r e a d e r s w h o w a n t to h e a r t h a t w ill r e a d th e s to r y o r r e - r e a d
it, a t a n y a g e " ( " O n T h r e e W a y s " 3 3 ). T h i s v i e w o f t h e s t o r y a s a f r e e , n o u r i s h i n g
m e d i u m , w h i c h h a s s e r i o u s r e l e v a n c e t o r e a l life , h a s p r o f o u n d i m p l i c a t i o n s f o r
L e w i s 's a n d P u l l m a n 's f i c t i o n a n d m a y b e o n e o f t h e r e a s o n s f o r t h e s e b o o k s '
a p p e a l.
A ls o P u l l m a n 's d e s c r i p t i o n o f t h e c r e a t i v e p r o c e s s a s u n f o l d i n g f r o m
m e n ta l im a g e s w h ic h w e r e th e n c o n s c io u s ly c o n n e c te d to f o r m a c o n s is te n t p lo t
is v e r y s i m i l a r t o t h o s e o f f e r e d b y L e w i s a n d e a r l i e r b y T o l k i e n . T o l k i e n 's a c c o u n t
o f t h e i n v e n t i o n o f t h e h o b b i t is a l m o s t e x a c t l y l i k e t h a t o f P u l l m a n 's a b o u t
d a e m o n s . I n a l e t t e r t o W .H . A u d e n T o l k i e n r e c a l l e d : " O n a b l a n k l e a f I s c r a w l e d :
'I n a h o l e i n t h e g r o u n d t h e r e l i v e d a h o b b i t '. I d i d n o t a n d d o n o t k n o w w h y "
( L e t te r s
2 1 5 ). H e a d m i t t e d
in o th e r le tte r s th a t " it w a s s o m e tim e b e fo re I
d i s c o v e r e d w h a t i t r e f e r r e d to ! " (2 1 9 ), b u t t h a t h e d e f i n i t e l y i n v e n t e d t h i s w o r d
(4 0 6 ). T h e s e s t a t e m e n t s r e a d li k e P u l l m a n 's a c c o u n t o f t h e i n v e n t i o n o f a d a e m o n
in th e P a r s o n s a n d N ic h o ls o n I n te r v ie w . P u llm a n c o u ld n o t g e t th e s to r y g o in g ,
h e s a id ,
M y th lo r e 28:3/4, S p rin g /S u m m e r 2010
49
M a r e k O z ie w ic z a n d D a n ie l H a d e
u n t i l a f te r o n e o f th e s e d a y s o f s i tt in g a n d g r o a n i n g a n d w is h i n g , I w r o t e
t h e w o r d s L y r a a n d h e r d a e m o n , a n d t h e n I r e a l iz e d I d i d n 't k n o w w h y
s h e 'd h a v e a d a e m o n , o r w h a t h e r d a e m o n w a s , b u t t h o u g h t it s o u n d e d
i n t r i g u in g , a n d so I w r o t e t h e r e s t o f t h a t c h a p te r . T h e n I k n e w I w a s o n
t h e v e r g e o f s o m e th in g . (" T a lk in g " 127 -8)
A ls o L e w i s 's a c c o u n t i n " I t A ll B e g u n w i t h a P i c t u r e . . ." o f h o w t h e
N a r n i a b o o k s b e g a n w i t h s e e i n g p i c t u r e s i n h i s h e a d is v e r y s i m i l a r t o P u l l m a n 's
d e p i c t i o n o f h i s o w n c r e a t i v e p r o c e s s . " I d o n 't h a v e a t h e m e , " P u l l m a n s a i d i n a
2 0 0 2 " G u a r d i a n o n l i n e Q & A ," " I h a v e a s e r i e s o f d i s c o n n e c t e d p i c t u r e s o r s c e n e s ,
w h ic h I th in k a b o u t in o r d e r to f in d o u t w h a t c o n n e c ts th e m ; a n d I d is c o v e r m o r e
a s I w r o t e t h e w h o l e t h i n g , a n d r e v i s e i t l a t e r . " I t is d i f f i c u l t n o t t o a g r e e w i t h
G r a y , w h e n h e c o m m e n t s : " t h e a l m o s t v e r b a t i m r e p e t i t i o n o f L e w i s 's w o r d s
a b o u t th e g e n e s is o f th e N a rn ia b o o k s b y a w rite r w h o a rg u a b ly m is re a d s a n d
r e w r i t e s L e w i s 's w o r k [ . ..] is c u r i o u s " (1 5 5 ).
P u l l m a n 's f a s c i n a t i o n w i t h t h e m y t h i c d i m e n s i o n o f t h e s a m e l i t e r a r y
w o r k s t h a t a l m o s t o b s e s s e d L e w i s h a s n o t g o n e u n n o t i c e d e i t h e r . L ik e L e w i s ,
P u l l m a n is u n d e r a l i f e l o n g s p e l l o f M i l t o n a n d i n H D M
d r a w s o n M i l t o n 's
P a r a d is e L o s t a s p r o f o u n d l y a s L e w i s d i d i n h i s S p a c e T r i l o g y a n d t h e C h r o n i c l e s .
I n th e f a n ta s y tr a d itio n p r o p e r , P u llm a n a d m its to h a v e b e e n im p r e s s e d w ith
D a v id
L i n d s a y 's
V oyage
to A r c t u r u s
w h ic h ,
a lth o u g h
" p o o r ly
w ritte n
and
c l u m s i l y c o n s t r u c t e d [ . ..] n e v e r t h e l e s s h a s t h e f o r c e , t h e p o w e r , t h e i n t e n s i t y o f
g e n i u s " ( F i t z H e r b e r t I n t e r v i e w , q t d . i n G r a y 1 5 3 ). T h e s e s e n t i m e n t s , G r a y p o i n t s
o u t , m i r r o r L e w i s 's a s s e s s m e n t o f b o t h L i n d s a y a n d M a c D o n a l d (1 5 5 ). I n " O n
S c ie n c e F i c t i o n " L e w i s p l a c e s L i n d s a y a n d M a c D o n a l d i n t h e s a m e c a t e g o r y o f
w o r k s w h i c h " e n l a r g e o u r c o n c e p t i o n o f t h e r a n g e o f p o s s i b l e e x p e r i e n c e " (6 6 ); i n
" P r e fa c e to G e o r g e M a c D o n a ld : A n A n th o lo g y ," s p e a k in g a b o u t M a c D o n a ld , h e
s ta te s th a t th e " u n d is tin g u is h e d , a t tim e s f u m b lin g " q u a lity o f h is w r it in g d o e s
n o t d i m i n i s h i t s m y t h o p o e i c g e n i u s (ix , x ). " T h u s , " s a y s G r a y , " i n a k i n d o f
u n c a n n y r e l a y , P u l l m a n 's v i e w s o n L i n d s a y p r e c i s e l y m i m i c t h o s e o f L e w i s o n
b o t h L i n d s a y a n d M a c D o n a l d " (1 5 5 ).
A n o t h e r v e r y i m p o r t a n t l i n k b e t w e e n P u l l m a n a n d L e w i s is t h e i r s h a r e d
b e l i e f i n m y t h a s " a m e a n s to , a n d e x p r e s s i o n o f, t r u t h " ( G r a y 1 7 8 ). L ik e L e w i s
a n d o th e r m y th o p o e ic w r ite r s , P u llm a n a s s e r ts th e n e e d to r e te ll a n d re - v is io n
m y th s to k e e p th e m r e le v a n t to a c tu a l h u m a n s itu a te d n e s s . "W e n e e d a s to r y ," h e
f a m o u s ly d e c la r e s in " T h e R e p u b lic o f H e a v e n ,"
a m y t h t h a t d o e s w h a t t h e t r a d i t i o n a l r e lig io u s s to r ie s d id : it m u s t e x p la in .
It m u s t s a tis f y o u r h u n g e r f o r a w h y . W h y d o e s t h e w o r l d e x is t? W h y a re
w e h e r e ? [...] It m u s t p r o v i d e s o m e s o r t o f f r a m e w o r k f o r u n d e r s t a n d i n g
w h y s o m e t h i n g s a r e g o o d a n d o th e r s a r e b a d . [...] W e n e e d a m y t h , w e
50
M y th lo re 109/110, S p rin g /S u m m e r 2010
T h e M a r r ia g e o f H e a v e n a n d H e ll? P u llm a n , L e w is , a n d t h e F a n t a s y T r a d i t io n
n e e d a s t o r y b e c a u s e i t 's n o g o o d p e r s u a d i n g p e o p l e to c o m m it th e m s e l v e s
t o a n id e a o n t h e g r o u n d s t h a t i t 's re a so n a b le . (6 65-666)
I n t h i s w a y P u l l m a n 's s t a t e m e n t s a b o u t t h e v i t a l n e e d f o r m y t h a n d h i s
c l a i m s a b o u t h o w m y t h w o r k s e c h o t h o s e o f L e w i s 's t o a n a m a z i n g d e g r e e . I n h i s
2 0 0 5 " A W o r d o r T w o a b o u t M y t h s " P u l l m a n n o t o n l y r e p e a t e d L e w i s 's c la i m s
f r o m E x p e r i m e n t in C r i t i c i s m a b o u t t h e e x t r a - l i t e r a r i n e s s o f m y t h s b u t a c t u a l l y
s u p p o r t e d h i s a r g u m e n t s b y r e f e r r i n g t h e m t o L e w i s 's a u t h o r i t y o n t h e s u b j e c t.
I n P u l l m a n 's w o r d s :
I n o n e w a y , [m y th ] is t h e v e r y o p p o s i te o f p o e tr y . R o b e r t F r o s t s a i d t h a t
p o e t r y is w h a t g e ts lo s t i n tr a n s la t io n : w e c o u ld s a y t h a t a m y t h is a s to r y
t h a t is n o t lo s t, o r h a r m e d , o r d i m i n i s h e d a s i t s h e d s t h e s k in o f o n e
l a n g u a g e a n d a s s u m e s t h a t o f a n o th e r , b e c a u s e a s C.S. L e w is p o i n t e d
o u t, a m y t h is a s t o r y w h o s e p o w e r is i n d e p e n d e n t o f its te llin g . O u r f ir s t
e x p e r ie n c e o f t h e s t o r y o f O r p h e u s a n d E u r y d ic e w o u l d a ff e c t u s j u s t a s
s tr o n g ly i n w h a t e v e r v e r s i o n w e c a m e a c ro s s it, b e c a u s e i t 's t h e s h a p e o f
t h e e v e n ts t h a t c o n ta i n s t h e p o w e r , a n d n o t m e r e ly t h e la n g u a g e . ("A
W o rd o r T w o")
T h e s e c l a i m s a r e e x a c t l y w h a t o n e c a n f i n d i n L e w i s 's " I n t r o d u c t i o n " to
G e o r g e M a c D o n a l d 's P h a n t a s t e s (ix -x ) a n d i n L e w i s 's c h a p t e r s " O n M y t h , " " T h e
M e a n i n g s o f F a n t a s y , " a n d " O n R e a l i s m s " i n A n E x p e r i m e n t in C r i t i c i s m (4 0 -7 3 ).
T h is m y th ic c o n v e rg e n c e , in p a r t, m a y b e d u e to th e fa c t t h a t P u llm a n
s h a r e s w i t h L e w i s w h a t G r a y c a ll s t h e " h i g h R o m a n t i c v i e w o f t h e i m a g i n a t i o n "
(1 5 8 ). I t h a s n o t g o n e u n n o t i c e d t h a t i n h i s i n t e r v i e w s a n d f i c t i o n P u l l m a n
s t r e s s e s t h e d i s t i n c t i o n " b e t w e e n i m a g i n a t i o n a n d f a n t a s y , o r b e t w e e n f a n t a s y in
a c r e a t i v e s e n s e a n d f a n t a s y i n a n e g a t i v e s e n s e " (1 5 8 ). A m u c h - q u o t e d e x a m p l e
o f t h i s i d e a c a n b e f o u n d i n T h e A m b e r S p y g l a s s w h e n t h e a n g e l X a p h a n i a te l ls
W il l a n d L y r a t h a t i m a g i n a t i o n is a w a y o f t r a v e l i n g b e t w e e n w o r l d s — t h a t i t is " a
f o r m o f s e e i n g , [ . ..] n o t h i n g li k e p r e t e n d , [ . ..] h a r d , b u t m u c h t r u e r " (5 2 3 ). I n
a s s e rtin g th e " tr u th " o f im a g in a tio n P u llm a n e c h o e s L e w is a n d o th e r fa n ta s is ts
w h o s a i d t h a t i m a g i n a t i o n e n r i c h e s r e a l i s t i c t h i n k i n g b y l i b e r a t i n g i t f r o m to o
c lo s e a d e p e n d e n c e o n i m m e d i a t e p e r c e p t i o n ; s p e c i f i c a l l y i n " O n T h r e e W a y s "
w h e r e L e w is ta lk s a b o u t tw o k in d s o f f a n t a s y —th e p o s itiv e o n e w h ic h , " f a r fr o m
d u ll in g o r e m p ty in g th e a c tu a l w o r ld , g iv e s it a n e w d im e n s io n o f d e p th ," a n d a
n e g a t i v e o n e w h i c h " i s a ll f l a t t e r y t o t h e e g o ," o f f e r i n g a r e t r e a t i n t o a w o r l d o f
e g o i s t i c w i s h - f u l f i l l m e n t (3 8 ).
M y th lo r e 28:3/4, S p rin g /S u m m e r 2010
51
M a r e k O z ie w ic z a n d D a n ie l H a d e
C o n c lu s io n
T h e p a ra lle ls b e tw e e n th e w o r k o f P u llm a n a n d L e w is, b e tw e e n th e ir
l i t e r a r y c r i ti c a l o p i n i o n s , t h e i r d e s c r i p t i o n s o f t h e c r e a t i v e p r o c e s s , a n d t h e i r
fa s c in a tio n w ith th e R o m a n tic tr a d itio n a n d th e m y th ic d im e n s io n s o f lite r a tu re ,
a r e n o t c o i n c i d e n t a l . T h e y s u g g e s t t h a t P u l l m a n 's H D M
c o n tin u e s th e s a m e
t r a d i t i o n o f m y t h o p o e i c f a n t a s y a s w a s p r a c t i c e d b y L e w i s . B o th a u t h o r s u s e
m a n y o f t h e s a m e l i t e r a r y - m y t h i c a l r e f e r e n t s , s u c h a s t h e B ib le a n d M i l t o n 's
P a r a d is e L o s t , b u t u s e t h e m t o a d i f f e r e n t e ff e c t. T h i s d i f f e r e n c e , a n d P u l l m a n 's
r e p u b l i c a n - h u m a n i s t s u b v e r s i o n o f L e w i s 's m o n a r c h i c a l - r e l i g i o u s n o t i o n s , m a k e s
th e r e a d in g o f H D M so c o m p e llin g . If th e C h ro n ic le s s h o w a m a te r ia l w o r ld th a t
is b r o k e n a n d n e e d s t o b e r e d e e m e d f r o m e v il, H D M c e l e b r a t e s t h e m a t e r i a l
w o r ld a s g o o d a n d c o m p le te , n e e d in g r e d e m p tio n f r o m re lig io u s z e a lo ts . T h is
a n d o t h e r p o w e r f u l d i f f e r e n c e s b e t w e e n P u l l m a n 's a n d L e w i s 's w o r k s m u s t n o t
b e i g n o r e d . H o w e v e r , a ll o f t h o s e d i f f e r e n c e s c a n b e d i a l o g i c a l l y a c c o m m o d a t e d
w ith in th e s a m e g e n e ric tr a d itio n o f m y th o p o e ic fa n ta s y . W ith in th is fr a m e w o rk ,
L e w i s 's C h r o n i c l e s o f N a r n i a a n d P u l l m a n 's H i s D a r k M a t e r i a l s m a k e o n e o f t h e
m o s t s u c c e s sfu l m a r ria g e s o f h e a v e n a n d h e ll th e r e c a n b e.
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— . " S to ry a s a B rid g e to T ra n sfo rm a tio n : T he W a y B e y o n d D e a th i n P h ilip P u llm a n 's T he
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— a n d P e te r H u n t. A lte r n a tiv e W o r ld s in F a n ta s y F iction . N e w Y ork: C o n tin u u m , 2003.
L e w is, C.S. A n E x p e rim e n t in C r itic ism . C a m b rid g e : C a m b rid g e U P , 2000.
— . " It A ll B e g a n w ith a P ic tu re . . ." In O n S tories a n d O th e r E ssa y s on L ite ra tu re . E d. W alter
H o o p e r. N e w Y ork: H a rv e st/H B J, 1982: 53-54.
— . T he L ion, the W itc h a n d the W ardrobe. L o n d o n : H a rp e rC o llin s , 2001.
— . "P re fa c e ." I n G eorge M a c D o n a ld : A n A n th o lo g y . N e w Y ork: M acM illan , 1947. 10-22
— . P rin c e C asp ia n . L o n d o n : H a rp e rC o llin s , 2001.
52
M y th lo re 109/110, S p rin g /S u m m e r 2010
T h e M a r r ia g e o f H e a v e n a n d H e ll? P u llm a n , L e w is , a n d t h e F a n t a s y T r a d i t io n
— . " O n S cien ce F ic tio n ." I n O n S tories a n d O th e r E ssa y s o n L ite ra ture. E d. W alter H o o p e r.
N e w Y ork: H a rv e st/H B J, 1982. 55-68.
— . " O n S to rie s." I n O n S to rie s a n d O th e r E ssa y s o n L ite ra tu re . Ed. W alter H o o p e r.N e w York:
H a rv e st/H B J, 1982: 3-20.
— . " O n T h re e W ays o f W ritin g fo r C h ild re n ." In O n S to rie s a n d O th e r E ssa y s o n L ite ra tu re.
E d. W alter H o o p e r. N e w Y ork: H a rv e st/H B J, 1982: 31-44.
— . "S o m e tim e s F a iry S to ries M a y S ay B est W h a t's to Be S a id ." In O n S to rie s a n d O th e r
E ssa y s o n L ite ra tu re . E d. W alter H o o p e r. N e w Y ork: H a rv e st/H B J, 1982: 45-48.
M iller, L a u ra . " F a r F ro m N a rn ia : P h ilip P u llm a n 's S e c u la r F a n ta s y fo r C h ild re n ." T he N e w
Yorker.
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D ecem ber
2005.
<h ttp ://w w w .n e w y o rk e r.c o m /a rc h iv e /2 0 0 5 /1 2 /2 6 /
0 5 1 2 2 6 fa_ fact? cu rren tP ag e= 1 > 4 N o v e m b e r 2007.
O z ie w ic z , M a re k . O n e E a rth, O n e People: T he M y th o p o e ic F a n ta s y S eries o f U rsu la K . L e G uin ,
L lo y d A le x a n d e r, M a d e le in e L 'E n g le , a n d O rso n S c o tt C ard. Je ffe rso n N C : M c F a rla n d ,
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— . T he A m b e r S p y g la ss. L o n d o n : S ch o la stic, 2001.
— . " C a rn e g ie M e d a l A c c e p ta n c e S p e e c h ." 1996. <h ttp ://w w w .ra n d o m h o u s e .c o m /fe a tu re s /
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— . T he G olden C o m p a ss. N e w Y ork: Y earlin g , 2001.
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<h ttp ://w w w .g u a rd ia n .c o .u k /b o o k s /2 0 0 2 /fe b /1 8 /fic tio n .p h ilip p u llm a n /p rin t> 12 Feb
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— . " H e a t a n d D u s t." In te rv ie w w ith H u w
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10 F e b ru a r y 2009.
— . " In te rv ie w w ith P h ilip P u llm a n ." In te rv ie w w ith Jo a n B ak ew ell. B B C R a d io 3. 2001.
<h ttp ://d a r k a d a m a n t. b e tte rv e rsio n .o rg /B B C _ B e lie f_ P h ilip _ P u llm a n .tx t> 5 F e b ru a ry
2009.
—.
" L e x ic o n
In te rv ie w ."
A u g u st
2000.
<h ttp ://w w w .a v n e t.c o .u k /a m a r a n th /C r itic /
iv p u llm a n .h tm > 5 F e b ru a r y 2009.
— . " M a y H ill A r b u th n o t H o n o r L e c tu re ." A p ril 2002. <h ttp ://w w w .g u a rd ia n .c o .u k /
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— . " P h ilip P u llm a n R ea c h e s th e G a rd e n ." In te rv ie w w ith D a v e W eich. P o w e lls.co m . 31
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<h ttp ://w w w .g u a rd ia n .c o .u k /b o o k s /2 0 0 4 /o c t/1 0 /b o o k s fo rc h ild re n a n d te e n a g e rs .p h ilip
p u llm a n /p r in t>. 5 F e b ru a r y 2009.
—. "T h e R e p u b lic
o f H e a v e n ."
H o rn
B ook
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re p u b lic o fh e a v e n .w o rd p re s s .c o m /> 18 M a rc h 2010.
M y th lo r e 28:3/4, S p rin g /S u m m e r 2010
53
M a r e k O z ie w ic z a n d D a n ie l H a d e
—. "T a lk in g to P h ilip P u llm a n : A n In te rv ie w ." In te rv ie w w ith W e n d y P a rso n s a n d
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S m ith , K a re n P atricia. " T ra d itio n , T ra n s fo rm a tio n a n d th e B o ld E m erg e n ce: F a n ta stic
L e g a c y a n d P u llm a n 's H is D a rk M a te ria ls." In H is D a rk M a te ria ls Illu m in a te d : C ritical
E ssa y s o n P h ilip P u llm a n 's T rilo g y . E d s. M illic e n t L en z a n d C a ro le Scott.
D etro it:
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T o lk ie n , J.R.R. T he L ette rs o f J .R .R . Tolkien. Ed. H u m p h r e y C a rp e n te r. B osto n : H o u g h to n
M ifflin , 1981.
W o o d , N a o m i. " P a ra d is e L o st a n d F o u n d : O b e d ie n c e , D iso b e d ie n c e , a n d S to ry te llin g in
C.S. L e w is a n d P h illip P u llm a n ." C h ild re n 's L ite ra tu re in E d u c a tio n 32.4 (2001): 237-259.
A b o u t th e A u th o r s
M a r e k O z ie w ic z , P h .D ., D .L itt., is A sso c ia te P ro fe sso r o f L ite ra tu re a n d D ire c to r o f th e
C e n te r fo r Y o u n g P e o p le 's L ite ra tu re a n d C u ltu re a t th e U n iv e rs ity o f W ro c la w , P o la n d .
H e 's also A d ju n c t A ss is ta n t P ro fe sso r o f E d u c a tio n a t th e P e n n sy lv a n ia S tate U n iv e rsity ,
te a c h in g o n lin e c o u rs e s in P e n n S tate W o rld C a m p u s C h ild re n 's L ite ra tu re P ro g ra m . A
F u lb rig h te r (2005) a n d K o sc iu sz k o S c h o la r (2006), h e h a s p u b lis h e d a rtic le s a n d e d ite d
c o lle c tio n s o n fa n ta sy , m y th o p o e ia , a n d YA fiction. H is re c e n t b o o k , th e fin a list fo r 2009
M y th o p o e ic A w a rd i n M y th a n d F a n ta s y S tu d ie s, is O n e E a rth, O n e People: T he M y th o p o e ic
F a n ta sy Series o f U rsu la K . L e G u in , L lo y d A le x a n d e r, M a d e le in e L ’E n g le a n d O rso n S c o tt
C ard (M c F a rla n d 2008).
D a n ie l H a d e is A sso c ia te P ro fe sso r a n d D ire c to r o f th e C h ild re n 's L ite ra tu re S tu d ie s
p r o g r a m a t th e P e n n sy lv a n ia S ta te U n iv e rsity .
H is re s e a rc h in te re s ts in c lu d e so c ia l
c ritic ism o f c h ild re n 's lite r a tu re , re a d e r s ' e x p e rie n c e s w ith c h ild re n 's lite ra tu re , a n d
d e v e lo p in g a n e th ic s o f r e a d in g a n d te a c h in g c h ild re n 's lite ra tu re .
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M y th lo re 109/110, S p rin g /S u m m e r 2010
Marek Oziewicz