Self-Discovery
Power & Authority
Love & Sacrifice
Sacrifice
Love
Chosen One
Power of Love
Forbidden Love
Hero's Journey
Prophecy
Quest
Power of Friendship
Wise Old Man
Wise Mentor
Loyal Servant
Betrayal
Love & Loss
Family Relationships
Loyalty
Divine Intervention
About this ebook
This twist on an old story, is an exploration of love—between sisters, between friends, between teacher and pupil, between men and women. Till We Have Faces is retold through the eyes of Psyche’s oldest sister, Orual.
Orual was born ugly and even though she’s a princess, she struggles with the death of her mother and the friction between her sisters. There are two lights in Orual’s life. One is her tutor, the Fox, a Greek slave captured through war. The other is her much younger sister Istra, later nicknamed Psyche, born from Orual’s father’s second marriage. Istra is beautiful and sweet and good but far from being jealous of her, Orual loves her as a daughter. When the priest of Ungit says that Psyche’s great beauty is an insult to the goddess and she must be sacrificed, Orual fights to prevent this. When Orual expects to find her sister dead, she finds her well and thriving. But, why can’t Orual see what everyone else sees? Blinded by her jealous love, Orual castes blame on the duplicity of gods. What is the truth? What is real?
Lewis’s novel is a brilliant examination of envy, loss, betrayal, blame, grief, guilt, and conversion. Why must holy places be dark places? Lewis reminds us of our own fallibility and the role of a higher power in our lives. “Holy places are dark places. It is life and strength, not knowledge and words, that we get in them. Holy wisdom is not clear and thin like water, but thick and dark like blood.”
C. S. Lewis
Clive Staples Lewis (1898-1963) fue uno de los intelectuales más importantes del siglo veinte y podría decirse que fue el escritor cristiano más influyente de su tiempo. Fue profesor particular de Literatura Inglesa y miembro de la junta de gobierno de la Universidad de Oxford hasta 1954, cuando fue nombrado profesor de Literatura Medieval y Renacentista en la Universidad de Cambridge, cargo que desempeñó hasta su jubilación. Sus contribuciones a la crítica literaria, la literatura infantil, la literatura fantástica y la teología popular le trajeron fama y aclamación a nivel internacional. C. S. Lewis escribió más de treinta libros, lo cual le permitió llegar a un público amplísimo, y sus obras aún atraen a miles de nuevos lectores cada año. Entre sus más distinguidas y populares obras están Las crónicas de Narnia, Los cuatro amores, Cartas del diablo a su sobrino y Mero cristianismo.
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Reviews for Till We Have Faces
1,615 ratings96 reviews
What our readers think
Readers find this title not as good as his space trilogy, but a solid book. Definitely worth rereading with many layers to what he writes. Lewis is a deep author, making it one of my favorites.
- Rating: 5 out of 5 stars5/5
Feb 19, 2018
Brilliant writing consists of taking something that is either complex or very difficult to understand and make it accessible to anyone. Greek mythologies can be quite intricate and difficult to penetrate. C.S. Lewis has, with this book 'Till We Have Faces', not only made the complex myth of Psyche and Cupid accessibly, he has updated it for contemporary understandings of social roles and most of all he has taken the gods down to our level so we can converse with them on an equal footing. As a side note, I can't vouch for the accuracy but I get the impression C.S. Lewis gave a very appropriate portrayal of woman's inner turmoil and reasoning, very impressive for a man. Till We Have Faces revolves around three sisters with very different personalities and outward appearances. Although It is the physical appearance around which the story appears to resolve. Ironically, and purposefully it is the sister's characters which are the lynch point of the unfolding events, something they can only realize after they have faces.The old king of Glome had two daughters, one plain and one ugly. Unfortunately for the king there were no male members to inherit the crown and a hasty search began in neighboring kingdoms for a suitable wife to provide the desired offspring. Orual, the oldest and in her own eyes, the physically revolting one, tells this story. We follow her struggle with her father and learn about his views on how a kingdom should be run. Compounding these problem is the birth of the third sister who from the very first day is clearly the God's perfection. Istra, or rather Psyche as the third sister will be known, is the main object of Orual's affection. Orual's love goes beyond a mere mortal's devotion to one's sibling. It is her personal sacrifices which ultimately come to nothing that set her on a different path, a path through which she discovers that the love of another sometimes destroys the understanding of the self. After Orual becomes queen, through inner strength and a show of intelligence and wisdom, she slowly starts to take steps to create her own identity based on her own deeds and decisions, rather than the unquestioned love and devotion to her sisters and her father. Eventually the ugly sister, who for the remained of her life walked her kingdom veiled, understood what it is to have a face. - Rating: 4 out of 5 stars4/5
Feb 19, 2018
Myths are impersonal. They are told by an anonymous, omniscient narrator from somewhere well outside the action and motivations of the characters involved. No judgments are made; the only lessons are those we choose to infer from the action of the story. Till We Have Faces doesn't follow this traditional formula as it retells the story of Cupid and Psyche. With Orual as our first-person narrator, we see the story with less breadth but greater depth. Lewis puts us inside the struggle of one individual as she tries to understand her role in the world, her isolation, her failure to live up to her expectations and the expectations of the gods she's not even sure she believes in. Ultimately she struggles to understand the difference between possession and love, and we travel this path alongside her.
I've felt possessive of the myth of Cupid and Psyche ever since I first heard it. It feels like my story, not in the sense of it being the story of me but in the sense of it belonging to me. In reality it's neither, but for Orual, Psyche's unattractive sister, the story is hers in both senses. Telling the story from Orual's point of view allows Lewis to explore from the inside out the destructive nature of a love steeped in jealousy and possessiveness. "Some say the loving and the devouring are all the same," says the Priest early in the book. We see this thread run throughout the story along with the related question, "Is it possible to love without devouring?"
What's interesting---but not surprising given Lewis's other writings about his own conversion experience---is that while the characters have doubts about the motives and very existence of the gods, Lewis doesn't allow them to have the last word. Criticism of the gods is the result of misunderstanding their nature. It's an argument that I usually find really annoying in its oversimplified version ("The Lord works in mysterious ways..."), but in Lewis's telling, it feels more natural, more like the only reasonable explanation for why we very small mortal beings cannot comprehend the vastness of space and time. We can only see the daily toil in our little corner of things; the big picture is lost on us. If we are to see a significance in our lives and our suffering, it will be a matter of faith rather than a matter of proof.
Lewis suggests that this leap of faith is commonplace and something we do every time we choose to see one experience as "reality" and another as "dream."
"Of the things that followed, I cannot at all say whether they were what men call real or what men call dream. And for all I can tell, the only difference is that what many see we call a real thing, and what only one sees we call a dream. But things that many see may have no taste or moment in them at all, and things that are shown only to one may be spears and water-spouts of truth from the very depth of truth."
The suggestion seems to be that the distinction becomes difficult when we try to over-analyze it. This doesn't mean that Lewis dismisses the value of intellect. Through the relationship between Bardia, who immerses himself in that feeling-for-the-truth faith, and the Fox, who relies primarily on intellect to reveal truth, Lewis demonstrates that one path by itself is incomplete. The two halves are always butting heads, but they are yet integral to attaining the complete picture.
There's a lot packed into this relatively small book. It's a pleasurable read and a compelling story that leaves the reader with a great deal to mull over. It's something of a mystery to me why it's in the YA section of my library, although I'm comforted to see something substantive in that area. - Rating: 5 out of 5 stars5/5
Feb 19, 2018
In my opinion, C.S. Lewis books are hit or miss. This book is a definate hit. I've reread this book many times and it never gets old. By page 2 I'm completely oblivious to everything around me, and by chapter 3 I've decided to pull an all nighter to finish reading it. I like it even better than his more well-known books. Definately worth reading! - Rating: 4 out of 5 stars4/5
Feb 19, 2018
This was Lewis's favorite novel, and I can see why. He retells the myth of Psyche and Cupid through the very heart of Orual, the half-sister and protector of Psyche, or Istra as she is known in the land of Glome, where the goddess Ungit ruled with a harsh jealousy. When Psyche/Istra is offered for sacrifice to end the hard times created by famine, plague, and rebellion, she is mysteriously saved and becomes the bride of the unseen God of the Grey Mountain.All might have been well until Orual interfered. Through her dubious good intentions, she ends up betraying Psyche and then blames the gods for her selfish love. Lewis can tell the story so much better than I can. I'll just say that Orual has some amazing adventures, but is always haunted by her actions, and it was through her accusations that she ultimately saw herself as the one who caused ruin in those whom she loved.,I am not a big fan of fantasy in general, but thought Lewis did a marvelous job giving us a new way to look at a well-known myth. - Rating: 5 out of 5 stars5/5
Feb 19, 2018
Till We Have Faces is a retelling of the myth of Cupid and Psyche. I read it as such, and not as a theological text, though there's elements of that there if that's how you choose to approach it. I chose to approach it as a story, though, as a myth retelling -- and I suspect it's perfectly possible to do both at once.
It's a beautifully told story, and one that feels real, psychologically and in terms of feeling like a real place, with real people. The basic details of the original story are that Psyche is very beautiful, and Aphrodite is jealous, and has her people sacrifice her. Cupid falls in love with her, though, and saves her, but she is never allowed to see his face and know who he is. When her sisters find her, they are jealous and persuade her to light a lamp when she is with him. She does so, and he is so beautiful that she can't look away, and carelessly spills some oil on his skin. He wakes and is angry, and leaves her to wander the world and face Aphrodite's wrath. Eventually, they are reunited and she becomes a goddess.
Lewis' retelling is questioning what it would have been like if the sister had told Psyche to light a lamp not out of jealousy, but out of love and concern for her. His Orual loves very jealously, true, and is not blameless by any means, but she does what she does out of concern for Psyche and love for her.
He adds a lot to the myth. The women are less foolish, for example, and even central: Orual becomes queen in her own right. And there's obviously a lot more by way of interpersonal relationships: Psyche and Orual, Orual and Bardia, Orual and the Fox.
It made my heart ache quite a lot. Like I said, it's beautiful. - Rating: 5 out of 5 stars5/5
Nov 16, 2024
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Nov 7, 2023
I read this for the first time alongside listening to The Literary Life Podcast episode for Til We Have Faces. This is officially one of my favorite books and definitely worth rereading. But I know a huge part of that was the fact that I was able to understand more thanks to the assistance of the podcast. Lewis is so deep, and there are so many layers to what he writes. Definitely my favorite author & keeping a hardcopy of this book too. - Rating: 4 out of 5 stars4/5
May 20, 2023
Not as good as his space trilogy, but a solid book. - Rating: 5 out of 5 stars5/5
Jan 3, 2025
There’s so much to be said for this novel – so many layers to consider. To begin with, it’s written as a new light on the story of Cupid and Psyche from Apuleius’s Metamorphoses, presented as the true story behind (or, perhaps, the rebuttal to) the ancient myth. In an interesting twist, the Graeco-Roman story is set in a barbarian land prone to believing in such things, whilst a wise Greek character is introduced who critiques pagan spirituality through his rationalism. “Lies of priests and poets!” he says. It’s a sort of ironic twist, as the heroine struggles to understand which is real: the spirit-world of Greek gods and faeries (as represented by the barbarian religion), or cold hard rationalism (as represented by the Greek). Of course, the trick of it all is reading as a Christian, knowing the whole time that the author himself is a prolific Christian apologist. Just what is Lewis doing, entering into this world of gods versus rationalism? Why is he presenting a choice between two philosophies when he agrees with neither? Unlike many of his other works, Lewis waits to the very end before revealing his own philosophy, inviting the reader to endure the tension and darkness of the pagan world for most of the book. It was a brilliant book in this way, as though the apostle Paul himself decided to borrow a bit of John’s knack for artful poetry, weaving together a drama for the purpose of converting both the spiritualist and the naturalist. I can see him now, sitting down on Mars Hill, saying, “Let me tell you a story…” What depths there are to this story, even before the story itself is considered! And what is the story? The gods have spoken to one sister and not the other, inviting one to be wedded to the god himself. The one who cannot see (the story’s heroine) gathers all the powers of her selfish love to convince her sister to break faith with the god, which she does. The remainder of the story is the tragedy which results, both sisters being cast out in a sense, as the heroine lives the rest of her days as queen, not knowing what has become of her sister, only that she has been consigned to some terrible fate for her faithlessness – her life ruined for giving up the god she loved for the sister she loved. The queen’s sin toward her sister becomes a source of great bitterness and shame as her soul shrinks and dies within her, though she attributes her miseries to the cruelty of the gods who never revealed enough of themselves for her to have believed her sister’s report. She finally, in her dying days, has the opportunity to make her case in court against the gods, at which point her truest complaint comes spilling out – she was mine, and what right had you to take her?! “That there should be gods at all, there’s our misery and bitter wrong. There’s no room for you and us in the same world.” It is only now at the end of her days (when she can find words to voice her truest complaint) that the gods can hear and give answer, as “How can they meet us face to face till we have faces?” Again, it’s a brilliant work with much besides all this – a most non-Christian Christian apology for the God who seemingly shows Himself too little to the friends of His Bride.
As a footnote, I'll add that I just read a book of Lewis's letters, and he often remarks that this was his personal favorite among the books he'd written, though it did not enjoy an enthusiatic reception in his day. - Rating: 5 out of 5 stars5/5
Jul 4, 2024
A brilliant compliment to "Screwtape."
Good narration. - Rating: 4 out of 5 stars4/5
Nov 5, 2021
I really enjoyed the retelling of the Cupid & Psyche myth, and Orual was a great character. And I appreciated some of the concepts about faith and divinity, insofar as they weren’t specifically Christian. But the ending took a deep dive into Christian theology, even if not explicitly so, which kind of marred for me what would have been an excellent book. - Rating: 5 out of 5 stars5/5
Jul 16, 2023
First alerted to the charm of this work after reading Apuleius' GOLDEN ASS in Theology School, and reading that Lewis was "haunted" for years by the the story of Psyche.
Lewis provides his version of the often retold story of Cupid and Psyche. The Narrator is Psyche's older uglier sister Orual, who begins by having bones to pick with the gods. She discovers that her first-hand accusations are tainted by her own shortcomings. It appears that Lewis echoes Book of Job, in which the God of Levins and Wind asks those who challenge him, by questioning them, "Who are you to ask me?"
In this work, Orual herself explains: "it’s a story belonging to a different world, a world in which the gods show themselves clearly and don’t torment men with glimpses, nor unveil to one what they hide from another, nor ask you to believe what contradicts your eyes and ears and nose and tongue and fingers. In such a world (is there such? it’s not ours, for certain) I would have walked aright. The gods themselves would have been able to find no fault in me. And now to tell my story as if I had had the very sight they had denied me . . . is it not as if you told a cripple’s story and never said he was lame, or told how a man betrayed a secret but never said it was after twenty hours of torture? And I saw all in a moment how the false story would grow and spread and be told all over the earth; and I wondered how many of the other sacred stories are just such twisted falsities as this."
Once Orual realizes that the gods have lied to her--the sacred stories that spread through worlds are no better than the tales invented by commoners--she resolved to write out her accusations: "I could never be at peace again till I had written my charge against the gods. It burned me from within. It quickened; I was with book, as a woman is with child."
Why must holy places be dark places? The gods set Orual up for torture. Orual loved her dear little sister Psyche and then separated them, and then drove jealousy between them. Orual realizes, far too late, and so perduring and sharply, that "there is no creature (toad, scorpion, or serpent) so noxious to man as the gods." And they never have to answer.
After the death of the man she loved, at trial, Orual reads her complaint aloud. "Perhaps a dozen times", each time certain it was her own, in experience and voice. Then the judge stopped her, and in the silence asked "Are you answered?" Yes.
The complaint was the answer. "To have heard myself making it was to be answered." And "When the time comes to you at which you will be forced at last to utter the speech which has lain at the centre of your soul for years, which you have, all that time, idiot-like, been saying over and over, you’ll not talk about joy of words. I saw well why the gods do not speak to us openly, nor let us answer. Till that word can be dug out of us, why should they hear the babble that we think we mean? How can they meet us face to face till we have faces?"
In the second process of the trial--all trials and all Greek myths are process theology--a grandfather Fox shows her the pictures of what she just endured, but as Psyche, beautiful beloved Psyche, is enduring it. How? "That was one of the true things I used to say to you. Don't you remember? We're all limbs and parts of one Whole. Hence of each other. And "Another bore nearly all the anguish".
Through all the enemies and wailing Psyche endures, and we say we love her, "She had no more dangerous enemies than us." And in that old terrible time when she appears cruel, perhaps she suffers. "This age of ours will one day be the distant past. And the Divine Nature can change the past. Nothing is yet in its true form." Clearly, our Author is a Process Theologian. We are silenced with joy.
In a kind of postscript, CS Lewis writes: "This re-interpretation of an old story has lived in the author’s mind, thickening and hardening with the years, ever since he was an undergraduate. That way, he could be said to have worked at it most of his life. Recently, what seemed to be the right form presented itself and themes suddenly interlocked: the straight tale of barbarism, the mind of an ugly woman, dark idolatry and pale enlightenment at war with each other and with vision, and the havoc which a vocation, or even a faith, works on human life." - Rating: 4 out of 5 stars4/5
Feb 28, 2021
A Retelling of the Cupid and Psyche story through the point of view of one of the sisters, casting her in the light of a heroine (sort of), where she was a villain in the original. I went into this one excited at the prospect of such a retelling, but I'm afraid I'm a little disappointed. The general idea of revamping the sister into a more complex character is a good and interesting one, and there are some very cool passages in which the idea of how myth changes to suit the needs of the changer is grappled with. Two things kept me from really liking it, though: 1) the main character (the sister) isn't at all likable, and for this version of the story to work, the reader really needs to be rooting for her, which I just couldn't do; and 2) toward the end Lewis whips out his Let's Make This a Metaphor for the Christian God pen, and just, ugh. Nope. So, in the end, cool idea but it just doesn't quite work for me. - Rating: 4 out of 5 stars4/5
Dec 14, 2020
I listened to the audiobook.
I was warned most people don't get it the first time; that warning was just. While the book had enough scene-level momentum to keep me going, I don't really have a clue what Lewis was trying to say. I get the feeling the book is extremely well constructed — I just have no idea what he built.
So I didn't really find it a gripping tale. It was perhaps too heavily character-driven vs plot-driven for my taste. - Rating: 4 out of 5 stars4/5
Sep 19, 2018
This is the story of Cupid and Psyche, told from the viewpoint of Psyche's sister, one of the villains. Every so often on rec.arts.sf.written, someone complains that Lewis didn't like women, didn't understand women, couldn't write women, and generally there's an enthusiastic chorus of agreement. They stopped reading Lewis's work too early in his career; this is a beautifully complex and sympathetic portrayal.1 person found this helpful
- Rating: 5 out of 5 stars5/5
Oct 13, 2010
I feel like no words I write will do justice to the beauty and depth of Till We Have Faces. It is a retelling of the myth of Cupid and Psyche, a woman who has never seen her husband's face since he only visits her in the dark of night. Yet the novel is actually about a third character: Orual, the loving but jealous older sister of Psyche, concerned and put out by this matrimony. Her intentions aren't good, however, and she and Psyche become estranged as they live out their respective ideas of what it means to love.
It seems an unbreachable chasm between them, the way Orual and Psyche understand her marriage. Orual is well-trained in Greek philosophy, pleading with Psyche that her marriage can't be good, for "nothing that's beautiful hides its face. Nothing that's honest hides its name." In her skepticism she can't even see Cupid's palace, but only a dense and rainy forest. Psyche seems to be living not just with a different perspective, but on another plane of existence altogether.
And despite Psyche's insistence that she loves Orual just as much, if not more, because of her marriage, Orual can only interpret Psyche's newfound life without her in jealousy. As she grows old, she rages against the gods for "stealing her love from me." It is a twisted application of "If I speak in the tongues of mortals and of angels, but have not love, I am a noisy gong or a clanging cymbal." Orual loves Psyche, undoubtedly, but not enough to be able to let her go. But divine love is transcendent and redefines every other love consequently. If I may quote more of 1 Corinthians 13: "love is not envious or boastful or arrogant or rude. It does not insist on its own way; it is not irritable or resentful; it does not rejoice in wrongdoing, but rejoices in the truth." And as Orual confronts the love of the gods, she must learn to parse the paradox of loving the divine with one's whole heart and exclusively and also loving all of humanity as a means for divine love.1 person found this helpful
- Rating: 5 out of 5 stars5/5
Jun 5, 2020
Exceptional Lewis, using myth from the ancients to bring forth deep passions and the consequences of our own choices. The story is a retelling of Cupid and Psyche found in the Greek tale "Metamorphoses", but with Lewis' talent to entice you into the weaving labyrinth of kings, queens and gods that pours floodlights on our own emotions.
I simply cannot encourage enough for all those of thoughtful, reflective bent, to read this engrossing tale. - Rating: 5 out of 5 stars5/5
Jun 2, 2019
Of a peculiar narrative beauty. C.S. Lewis takes certain liberties to narrate this Greek myth and brings it to its maximum splendor. If you enjoy philosophical stories or are a convinced and reflective Christian about your faith, this is your novel. (Translated from Spanish) - Rating: 4 out of 5 stars4/5
May 8, 2019
This is Lewis's retelling of Cupid and Psyche, or at least it takes the tale of Cupid and Psyche as a springing off point for the story of Orual, Psyche's eldest sister.
It is told in the first person. I found the tale engaging and hard to put down - from Orual's growing up in her father's court, to the sacrifice of Psyche, their meeting again on the mountain, to the death of her father and her reign as Queen, and the final resolution.
I think one of the main ideas in the book is how we lie to ourselves, and do things for deep bad reasons that we justify to ourselves, and how in the light of the Gods this will all come to be understood. Lewis draws Orual sympathetically - reading her story, it is easy to imagine making the decisions she makes, and easy to share her frustration at ambiguous Gods. But at the same time the reader can see how wrapped up in self she is, how she does not even consider the Fox's longing to return home, or see Bardia's overwork, how she would prefer Psyche dead but hers than happy with another.
It's an awesome story. How she becomes a great and wise warrior Queen, taking her country from the brink of ruin to success once more. Yet all told in Lewis's 'these worldly things are not the important things, it is what we learn of ourselves and the Gods that is the true story here' style.
The powerful scenes where Psyche knows she is living with her God and husband, and Orual can see only the wilderness and the mountain, and how Orual wrestles with that are exceptional. That fear of losing someone you love to something you think is not even real and yet are not quite sure is drawn perfectly.
And it is full of bits of writing which made me go 'oh yes! That feeling! That is a true thing expressed well!' I wish I'd written them all down as quotes. - Rating: 2 out of 5 stars2/5
Mar 30, 2018
A retelling of the myth of Psyche and Cupid. I wasn't too familiar with this myth, which Lewis took a lot of liberties with. It's told from the point of view of Psyche's sister Orual, who is trying to vindicate her actions before the Gods. Our book group read this book and a lot of the ladies really struggled with it. I did at times, though I didn't find it too terribly hard to follow. The story itself was pretty straightforward but the characters seemed flat and I didn't really like the main character or feel much sympathy for her. She was trying to explain why the pain of her childhood caused her to act out against those closest to her. I really felt like she just needed a therapist to straighten her out or at least a good self help book. Instead she rails against the gods and then at last gets to appear before them in sort of a court like setting. Then she learns a lot about how wrong some of her thinking was, but all is forgiven because of the goodness of her sister. It did bring up some good discussion as we tried to figure out the motivations of the characters and just what Lewis was trying to convey in this book. - Rating: 3 out of 5 stars3/5
Jan 30, 2018
I thought it was pretty good, but I couldn't really get into it as much as I had hoped. To be fair, it's worth noting that I am a huge mythology fanatic, so I tend to have far higher standards than most when it comes to novelizations of the existing stories. That said, part one was quite good, with a bit of a different twist on things than the norm, but still aligning enough so as to be engaging and intriguing. I didn't love it, but it was very interesting. Then, part two kinda put a wrench in things, becoming way too philosophical and such to allow me to remain nearly so engaged in the narrative.
All that being said, this is still very much a C. S. Lewis work, complete with the turns of phrase and descriptive fashion that only he could really do in that way. In addition to that, while I was never as into his philosophical or apologetics works as I was his fiction, you can definitely detect strong traces of both here, despite it being part of his fiction repertoire. This augments the particular nature of the book in a way, since it is very much his least remembered publication, even though it is often considered his best, and part of me tends to think that this is because it really doesn't fit neatly into any one category. This makes it easy to dismiss, even though it shouldn't be. Indeed, while I didn't personally enjoy it as much as, say, the Chronicles of Narnia series, I think I will still recommend this first from now on for newcomers to his writing, because it is so accessible and diverse while being inherently familiar. - Rating: 5 out of 5 stars5/5
Dec 16, 2017
I read - and reread - the Narnia books when I was a growing up. I read Lewis’s Space trilogy in high school and since then I’ve read some of his essays and at least one book about Lewis himself. I’ve had nebulous intentions of reading more by Lewis for years. I finally read Till We Have Faces and it surpassed my expectations.
It is a retelling of the Cupid and Psyche myth, from the perspective of Psyche’s sister, Orual, who sets out to write about her relationship with her sister and her complaints against the gods. It’s a story about love and (in)justice. All I knew beforehand about the Cupid and Psyche myth was that it had similarities to East of the Sun and West of the Moon and Beauty and the Beast. Some of the narrative beats were familiar, but not very many.
Till We Have Faces is surprising, powerful and occasionally heartbreaking. Orual is fierce her in love and anger (and in bitterness, too) and her relationships are complex, often more so than is first apparent. She’s not so much an unreliable narrator as a biased one, and I found it really interesting how that plays out in the end. Also interesting is all the ways in which Orual does not conform to conventional ideas of womanhood - not as a woman of Glome nor as the protagonist of novel written in the 1950s.
(Maybe she’s even surprising and unconventional by modern standards? I don’t know, I’d want to read the book again, and carefully, before making that sort of claim.)
I listened to the audiobook narrated by Nadia May. It was excellent.
I am old now and have not much to fear from the anger of the gods. I have no husband or child, nor hardly a friend, through whom they can hurt me. My body, this lean carrion that still has to be washed and fed and have clothes hung about it daily with so many changes, they may kill as soon as they please. The succession is provided for. My crown passes to my nephew.
Being, for all these reasons, free from fear, I will write in this book what no one who has happiness would dare to write. - Rating: 5 out of 5 stars5/5
Jan 10, 2017
This book is magic. Mind you, not at all what I expected it to be, but still very captivating and powerful. - Rating: 5 out of 5 stars5/5
Nov 28, 2016
This is one of C.S. Lewis' lesser known books...While I had seen it, I had not heard much about it. A friend lent it to me and so I read it. Took me a long time to finish, but that was b/c it was so rich, complex and full of meaning and metaphor. I will definitely re-read this one. - Rating: 4 out of 5 stars4/5
Aug 24, 2016
I was unaware that this was a retelling of the myth of Psyche and read it as a story about the selfishness of jealousy. I found the work quite a good book, and not pretentious, a tribute to the author's skill. - Rating: 3 out of 5 stars3/5
Jun 30, 2016
While I enjoyed this book overall, I was more than once irritated by the author's blatant Christian overtones, which felt out of place in a book based on a myth of Greek gods. - Rating: 5 out of 5 stars5/5
Mar 10, 2016
This is possibly my favorite book of all time (definitely top five). I'm not generally one for re-reading books, but every time I read this book, I feel like I find another layer of meaning or something to think about that I've never thought about before. Put simply, I love this book -- it's a fairly simple story, but there's so much complexity to be found! - Rating: 5 out of 5 stars5/5
Jul 23, 2015
I loved Till We Have Faces. I have never read any of C. S. Lewis's books for adults. I recall having a few religious friends in high school recommend The Screwtape Letters to me, but I shied away. As a child, I read a few of the Narnia books. I stopped because something nebulous about A Horse and His Boy made twelve-year-old me extremely uncomfortable. As an adult, I realized that the nebulous thing was racism. But even before I realized that, I'd been turned off of Lewis. He didn't appeal to me.
I might have to revisit that, because I thought Will We Have Faces was wonderful. I thought it was beautifully written. It evoked classical mythology so authentically but was simultaneously very accessible to the modern reader. It also presents some intriguing philosophical questions.
Orual and Psyche represent two very different views of religious belief. Orual struggles against the gods, angry about their interventions or lack thereof. Orual trusts in herself instead of the gods and becomes her own woman independent of all others, god and man alike. Psyche, by contrast, trusts in the gods implicitly, letting her life be guided by their actions. Psyche comes to religion from a place of service and humility.
Although Part II undoes Orual's characterization, bringing her firmly back into the religious camp, the bulk of the book focuses on her original journey. While Orual represents many of the weaknesses of the human condition, I connected with her. That rage against the supernatural's indifference, that decision to rely only on herself -- it spoke to me.
Orual is not a good person. She loves Psyche jealously in the classical, self-centered sense of the word. She cannot let Psyche go. But her actions in response to the gods' cruelty were so relatable to the modern, secular human. Nothing like an ancient tale to connect us to modernity.
Orual ends up discovering that until we can judge and assess ourselves, we cannot ask the gods to judge us. But the happiness she gains from this revelation is no greater than Psyche's happiness from her pure trust in the gods. So who should we aspire to be: Orual, who discovers her faith, or Psyche, who has it all along? - Rating: 4 out of 5 stars4/5
Mar 25, 2015
A retelling of the myth of Amor and Psyche. A complex tale of love, faith, jealousy, and forgiveness. - Rating: 4 out of 5 stars4/5
Feb 19, 2015
Till We Have Faces; a novel of Cupid and Psyche. C. S. Lewis. 1956. I have spend far too much time saying I don’t like fantasy and myth. This was a wonderful book! Lewis is a gifted stylist and just reading the book was a pleasure. Like the other books we have read in Dipso, we looked for aspects that reflect Christianity. Tolkien felt that myth was an “imperfect reflection of what is revealed in the Gospel.” Lewis used the myth of Cupid and Psyche explore his idea of the four kinds of love. For a full discussion of this see “C.S. Lewis’s Till We Have Faces and the Transformation of Love” in Logos 14:4 Fall, 2011.
Book preview
Till We Have Faces - C. S. Lewis
PART ONE
I
I am old now and have not much to fear from the anger of gods. I have no husband nor child, nor hardly a friend, through whom they can hurt me. My body, this lean carrion that still has to be washed and fed and have clothes hung about it daily with so many changes, they may kill as soon as they please. The succession is provided for. My crown passes to my nephew.
Being, for all these reasons, free from fear, I will write in this book what no one who has happiness would dare to write. I will accuse the gods, especially the god who lives on the Grey Mountain. That is, I will tell all he has done to me from the very beginning, as if I were making my complaint of him before a judge. But there is no judge between gods and men, and the god of the mountain will not answer me. Terrors and plagues are not an answer. I write in Greek as my old master taught it to me. It may some day happen that a traveller from the Greeklands will again lodge in this palace and read the book. Then he will talk of it among the Greeks, where there is great freedom of speech even about the gods themselves. Perhaps their wise men will know whether my complaint is right or whether the god could have defended himself if he had made an answer.
I was Orual the eldest daughter of Trom, King of Glome. The city of Glome stands on the left hand of the river Shennit to a traveller who is coming up from the south-east, not more than a day’s journey above Ringal, which is the last town southward that belongs to the land of Glome. The city is built about as far back from the river as a woman can walk in the third of an hour, for the Shennit overflows her banks in the spring. In summer there was then dry mud on each side of it, and reeds, and plenty of waterfowl. About as far beyond the ford of the Shennit as our city is on this side of it you come to the holy house of Ungit. And beyond the house of Ungit (going all the time east and north) you come quickly to the foothills of the Grey Mountain. The god of the Grey Mountain, who hates me, is the son of Ungit. He does not, however, live in the house of Ungit, but Ungit sits there alone. In the furthest recess of her house where she sits it is so dark that you cannot see her well, but in summer enough light may come down from the smoke-holes in the roof to show her a little. She is a black stone without head or hands or face, and a very strong goddess. My old master, whom we called the Fox, said she was the same whom the Greeks call Aphrodite; but I write all the names of people and places in our own language.
I will begin my writing with the day my mother died and they cut off my hair, as the custom is. The Fox—but he was not with us then—said it is a custom we learned from the Greeks. Batta, the nurse, shore me and my sister Redival outside the palace at the foot of the garden which runs steeply up the hill behind. Redival was my sister, three years younger than I, and we two were still the only children. While Batta was using the shears many other of the slave women were standing round, from time to time wailing for the Queen’s death and beating their breasts; but in between they were eating nuts and joking. As the shears snipped and Redival’s curls fell off, the slaves said, ‘Oh, what a pity! All the gold gone!’ They had not said anything like that while I was being shorn. But what I remember best is the coolness of my head and the hot sun on the back of my neck when we were building mud houses, Redival and I, all that summer afternoon.
Our nurse Batta was a big-boned, fair-haired, hard-handed woman whom my father had bought from traders who got her further north. When we plagued her she would say, ‘Only wait till your father brings home a new queen to be your stepmother. It’ll be changed times for you then. You’ll have hard cheese instead of honey-cakes then and skim milk instead of red wine. Wait and see.’
As things fell out, we got something else before we got a stepmother. There was a bitter frost that day. Redival and I were booted (we mostly went barefoot or sandalled) and trying to slide in the yard which is at the back of the oldest part of the palace, where the walls are wooden. There was ice enough all the way from the byre-door to the big dunghill, what with frozen spills of milk and puddles and the stale of the beasts, but too rough for sliding. And out comes Batta, with the cold reddening her nose, calling out, ‘Quick, quick! Ah, you filthies! Come and be cleaned and then to the King. You’ll see who’s waiting for you there. My word! This’ll be a change for you.’
‘Is it the Stepmother?’ said Redival.
‘Oh, worse than that, worse than that; you’ll see,’ said Batta, polishing Redival’s face with the end of her apron. ‘Lots of whippings for the pair of you, lots of ear-pullings, lots of hard work.’ Then we were led off and over to the new parts of the palace, where it is built of painted brick, and there were guards in their armour, and skins and heads of animals hung up on the walls. In the Pillar Room our father was standing by the hearth, and opposite him there were three men in travelling dress whom we knew well enough—traders who came to Glome three times a year. They were just packing up their scales, so we knew they had been paid for something, and one was putting up a fetter, so we knew they must have sold our father a slave. There was a short, thick-set man standing before them, and we knew this must be the man they had sold, for you could still see the sore places on his legs where the irons had been. But he did not look like any other slave we had ever known. He was very bright-eyed, and whatever of his hair and beard was not grey was reddish.
‘Now, Greekling,’ said my father to this man, ‘I trust to beget a prince one of these days and I have a mind to see him brought up in all the wisdom of your people. Meanwhile practise on them.’ (He pointed at us children.) ‘If a man can teach a girl, he can teach anything.’ Then, just before he sent us away, he said, ‘Especially the elder. See if you can make her wise; it’s about all she’ll ever be good for.’ I didn’t understand that, but I knew it was like things I had heard people say of me ever since I could remember.
I loved the Fox, as my father called him, better than anyone I had yet known. You would have thought that a man who had been free in the Greeklands, and then been taken in war and sold far away among the barbarians, would be downcast. And so he was sometimes, possibly more often than I, in my childishness, guessed. But I never heard him complain; and I never heard him boast (as all the other foreign slaves did) about the great man he had been in his own country. He had all sorts of sayings to cheer himself up with: ‘No man can be an exile if he remembers that all the world is one city’, and ‘Everything is as good or bad as our opinion makes it’. But I think what really kept him cheerful was his inquisitiveness. I never knew such a man for questions. He wanted to know everything about our country and language and ancestors and gods, and even our plants and flowers.
That was how I came to tell him all about Ungit, about the girls who are kept in her house, and the presents that brides have to make to her, and how we sometimes, in a bad year, have to cut someone’s throat and pour the blood over her. He shuddered when I said that and muttered something under his breath; but a moment later he said, ‘Yes, she is undoubtedly Aphrodite, though more like the Babylonian than the Greek. But come, I’ll tell you a tale of our Aphrodite.’
Then he deepened and lilted his voice and told how their Aphrodite once fell in love with the prince Anchises while he kept his father’s sheep on the slopes of a mountain called Ida. And as she came down the grassy slopes towards his shepherd’s hut, lions and lynxes and bears and all sorts of beasts came about her fawning like dogs, and all went from her again in pairs to the delights of love. But she dimmed her glory and made herself like a mortal woman and came to Anchises and beguiled him and they went up together into his bed. I think the Fox had meant to end here, but the song now had him in its grip, and he went on to tell what followed; how Anchises woke from sleep and saw Aphrodite standing in the door of the hut, not now like a mortal but with the glory. So he knew he had lain with a goddess, and he covered his eyes and shrieked, ‘Kill me at once.’
‘Not that this ever really happened,’ the Fox said in haste. ‘It’s only lies of poets, lies of poets, child. Not in accordance with nature.’ But he had said enough to let me see that if the goddess was more beautiful in Greece than in Glome she was equally terrible in each.
It was always like that with the Fox; he was ashamed of loving poetry (‘All folly, child’) and I had to work much at my reading and writing and what he called philosophy in order to get a poem out of him. But thus, little by little, he taught me many. Virtue, sought by man with travail and toil was the one he praised most, but I was never deceived by that. The real lilt came into his voice and the real brightness into his eyes when we were off into Take me to the apple-laden land or
The Moon’s gone down, but
Alone I lie.
He always sang that one very tenderly and as if he pitied me for something. He liked me better than Redival, who hated study and mocked and plagued him and set the other slaves on to play tricks on him.
We worked most often (in summer) on the little grass plot behind the pear trees, and it was there one day that the King found us. We all stood up, of course, two children and a slave with our eyes on the ground and our hands crossed on our breasts. The King smacked the Fox heartily on the back and said, ‘Courage, Fox. There’ll be a prince for you to work on yet, please the gods. And thank them too, Fox, for it can’t often have fallen to the lot of a mere Greekling to rule the grandson of so great a king as my father-in-law that is to be. Not that you’ll know or care more about it than an ass. You’re all pedlars and hucksters down in the Greeklands, eh?’
‘Are not all men of one blood, Master?’ said the Fox.
‘Of one blood?’ said the King with a stare and a great bull-laugh. ‘I’d be sorry to think so.’
Thus in the end it was the King himself and not Batta who first told us that the Stepmother was really at hand. My father had made a great match. He was to have the third daughter of the King of Caphad, who is the biggest king in all our part of the world. (I know now why Caphad wanted an alliance with so poor a kingdom as we are, and I have wondered how my father did not see that his father-in-law must already be a sinking man. The marriage itself was a proof of it.)
It cannot have been many weeks before the marriage took place, but in my memory the preparations seem to have lasted for almost a year. All the brick work round the great gate was painted scarlet, and there were new hangings for the Pillar Room, and a great new royal bed which cost the King far more than he was wise to give. It was made of an eastern wood which was said to have such virtue that four of every five children begotten in such a bed would be male. (‘All folly, child,’ said the Fox, ‘these things come about by natural causes.’) And as the day drew nearer there was nothing but driving in of beasts and slaughtering of beasts—the whole courtyard reeked with the skins of them—and baking and brewing. But we children had not much time to wander from room to room and stare and hinder, for the King suddenly took it into his head that Redival and I and twelve other girls, daughters of nobles, were to sing the bridal hymn. And nothing would do him but a Greek hymn, which was a thing no other neighbouring king could have provided. ‘But, Master—’ said the Fox, almost with tears in his eyes. ‘Teach ’em, Fox, teach ’em,’ roared my father. ‘What’s the use of my spending good food and drink on your Greek belly if I’m not to get a Greek song out of you on my wedding night? What’s that? No one’s asking you to teach them Greek. Of course they won’t understand what they’re singing, but they can make the noises. See to it, or your back’ll be redder than ever your beard was.’
It was a crazy scheme, and the Fox said afterwards that the teaching of that hymn to us barbarians was what greyed the last red hair. ‘I was a fox,’ he said, ‘now I am a badger.’
When we had made some progress in our task the King brought the Priest of Ungit in to hear us. I had a fear of that Priest which was quite different from my fear of my father. I think that what frightened me (in those early days) was the holiness of the smell that hung about him—a temple-smell of blood (mostly pigeons’ blood, but he had sacrificed men too) and burnt fat and singed hair and wine and stale incense. It is the Ungit smell. Perhaps I was afraid of his clothes too; all the skins they were made of, and the dried bladders, and the great mask shaped like a bird’s head which hung on his chest. It looked as if there were a bird growing out of his body.
He did not understand a word of the hymn, nor the music either, but he asked, ‘Are the young women to be veiled or unveiled?’
‘Need you ask?’ said the King with one of his great laughs, jerking his thumb in my direction. ‘Do you think I want my queen frightened out of her senses? Veils of course. And good thick veils too.’ One of the other girls tittered, and I think that was the first time I clearly understood that I am ugly.
This made me more afraid of the Stepmother than ever. I thought she would be crueller to me than to Redival because of my ugliness. It wasn’t only what Batta had said that frightened me; I had heard of stepmothers in plenty of stories. And when the night came and we were all in the pillared porch, nearly dazzled with the torches and trying hard to sing our hymn as the Fox had taught us to—and he kept on frowning and smiling and nodding at us while we sang, and once he held up his hands in horror—pictures of things that had been done to girls in the stories were dancing in my mind. Then came the shouts from outside, and more torches, and next moment they were lifting the bride out of the chariot. She was as thickly veiled as we, and all I could see was that she was very small; it was as if they were lifting a child. That didn’t ease my fears; ‘the little are the spiteful,’ our proverb says. Then (still singing) we got her into the bridal chamber and took off her veil.
I know now that the face I saw was beautiful, but I did not think of that then. All I saw was that she was frightened, more frightened than I—indeed terrified. It made me see my father as he must have looked to her, a moment since, when she had her first sight of him standing to greet her in the porch. His was not a brow, a mouth, a girth, a stance, or a voice to quiet a girl’s fear.
We took off layer after layer of her finery, making her yet smaller, and left the shivering, white body with its staring eyes in the King’s bed, and filed out. We had sung very badly.
II
I can say very little about my father’s second wife, for she did not live till the end of her first year in Glome. She was with child as soon as anyone could reasonably look for it, and the King was in high spirits and hardly ever ran across the Fox without saying something about the prince who was to be born. He made great sacrifices to Ungit every month after that. How it was between him and the Queen I do not know; except that once, after messengers had come from Caphad, I heard the King say to her, ‘It begins to look, girl, as if I had driven my sheep to a bad market. I learn now that your father has lost two towns—no, three, though he tries to mince the matter. I would thank him to have told me he was sinking before he persuaded me to embark in the same bottom.’ (I was leaning my head on my window-sill to dry my hair after the bath, and they were walking in the garden.) However that might be, it is certain that she was very homesick, and I think our winter was too hard for her southern body. She was soon pale and thin. I learned that I had nothing to fear from her. She was at first more afraid of me; after that, very loving in her timid way, and more like a sister than a stepmother.
Of course no one in the house went to bed on the night of the birth, for that, they say, will make the child refuse to wake into the world. We all sat in the great hall between the Pillar Room and the Bedchamber, in a red glare of birth-torches. The flames swayed and guttered terribly, for all doors must be open; the shutting of a door might shut up the mother’s womb. In the middle of the hall burned a great fire. Every hour the Priest of Ungit walked round it nine times and threw in the proper things. The King sat in his chair and never moved all night, not even his head. I was sitting next to the Fox.
‘Grandfather,’ I whispered to him, ‘I am terribly afraid.’
‘We must learn, child, not to fear anything that nature brings,’ he whispered back.
I must have slept after that, for the next thing I knew was the sound of women wailing and beating the breast as I had heard them do it the day my mother died. Everything had changed while I slept. I was shivering with cold. The fire had sunk low, the King’s chair was empty, the door of the Bedchamber was at last shut, and the terrible sounds from within it had stopped. There must have been some sacrifice too, for there was a smell of slaughtering, and blood on the floor, and the Priest was cleaning his holy knife. I was all in a daze from my sleep, for I started up with the wildest idea; I would go and see the Queen. The Fox was after me long before I reached the door of the Bedchamber. ‘Daughter, daughter,’ he was saying. ‘Not now. Are you mad? The King—’
At that moment the door was flung open and out came my father. His face shocked me full awake, for he was in his pale rage. I knew that in his red rage he would storm and threaten, and little might come of it, but when he was pale he was deadly. ‘Wine,’ he said, not very loud; and that too was a bad sign. The other slaves pushed forward a boy who was rather a favourite, as slaves do when they are afraid. The child, white as his master and in all his finery (my father dressed the younger slaves very fine) came running with the flagon and the royal cup, slipped in the blood, reeled, and dropped both. Quick as thought, my father whipped out his dagger and stabbed him in the side. The boy dropped dead in the blood and wine, and the fall of his body sent the flagon rolling over and over. It made a great noise in that silence; I hadn’t thought till then that the floor of the hall was so uneven. (I have re-paved it since.)
My father stared for a moment at his own dagger; stupidly, it seemed. Then he went very gently up to the Priest.
‘What have you to say for Ungit now?’ he asked, still in that low voice. ‘You had better recover what she owes me. When are you going to pay me for my good cattle?’ Then, after a pause, ‘Tell me, prophet, what would happen if I hammered Ungit into powder and tied you between the hammers and the stone?’
But the Priest was not in the least afraid of the King.
‘Ungit hears, King, even at this moment,’ he said. ‘And Ungit will remember. You have already said enough to call down doom upon all your descendants.’
‘Descendants,’ said the King. ‘You talk of descendants,’ still very quiet, but now he was shaking. The ice of his rage would break any moment. The body of the dead boy caught his eye. ‘Who did that?’ he asked. Then he saw the Fox and me. All the blood rushed into his face, and now at last the voice came roaring out of his chest loud enough to lift the roof.
‘Girls, girls, girls!’ he bellowed. ‘And now one girl more. Is there no end to it? Is there a plague of girls in heaven that the gods send me this flood of them? You—you—’ He caught me by the hair, shook me to and fro, and flung me from him so that I fell in a heap. There are times when even a child knows better than to cry. When the blackness passed and I could see again, he was shaking the Fox by his throat.
‘Here’s an old babbler who has eaten my bread long enough,’ he said. ‘It would have paid me better to buy a dog as things turn out. But I’ll feed you in idleness no longer. Some of you take him to the mines tomorrow. There might be a week’s work in his old bones even now.’
Again there was dead silence in the hall. Suddenly the King flung up his hands, stamped, and cried, ‘Faces, faces, faces! What are you all gaping at? It’d make a man mad. Be off! Away! Out of my sight, the whole pack of you!’
We were out of the hall as quick as the doorways would let us.
The Fox and I went out of the little door by the herb-garden on the east. It was nearly daylight now and there was a small rain beginning.
‘Grandfather,’ said I, sobbing, ‘you must fly at once. This moment, before they come to take you to the mines.’
He shook his head. ‘I’m too old to run far,’ he said. ‘And you know what the King does to runaway slaves.’
‘But the mines, the mines! Look, I’ll come with you. If we’re caught I’ll say I made you come. We shall be almost out of Glome once we’re over that.’ I pointed to the ridge of the Grey Mountain, now dark with a white daybreak behind it, seen through the slanting rain.
‘That is foolishness, daughter,’ said he, petting me like a small child. ‘They would think I was stealing you to sell. No; I
