That Hideous Strength: A Modern Fairy-Tale for Grown-ups by C.S. Lewis (1945)

‘A conscious being is either obeying God or disobeying Him.’ Dr Dimble

That Hideous Strength is the third and final volume in C.S. Lewis’s science fiction trilogy. As is so often the case in concluding volumes, it is significantly longer than the previous members of the series (Out of The Silent Planet 58,715 words, Perelandra 85,376 words, That Hideous Strength 156,719 words, double its predecessor, nearly three times as long as the first story) and it really feels like it.

It feels like Lewis has stuffed the book as full of his thoughts about Christian belief, angels, prayer, about the nature of obedience, charity and love on the one hand – and on the other, produced a huge gallery of characters, organisations, beliefs and behaviours which he thinks plague modern life and which all stem, at bottom, from a loss of faith in God.

The plot

That Hideous Strength opens like a campus novel, with squabbles among amusingly depicted caricatures of stuffy old male dons, at a place called Bracton College, one of the supposed three colleges which comprise the fictional little university of Edgestow, somewhere in the Midlands.

We are introduced to the usual cast of senile, pompous, ambitious, sly, snide and slimy academics, but the main protagonist is Mark Studdock, a Sociologist who has just been elected to a teaching post. Lewis takes us back into Mark’s childhood and boyhood to show how he has always been an outsider who wanted to be in with the smart set, at school, at university and now, here, at Bracton.

The smart set here calls itself the ‘progressive element’ and is plotting schemes. To be precise we watch as they manoeuvre the board of dons into selling off a plot of land centring on ancient and legendary Bracton wood to a new, go-ahead organisation, the National Institute of Co-ordinated Experiments or the N.I.C.E.

Mark is taken up by the progressive element, but it then turns out the leaders of this as in fact working for the N.I.C.E., and he is offered a place within that secretive organisation. For hundreds of pages we watch how Mark’s frailties, his lack of confidence, his wish to be accepted and part of a clique, leads him deeper and deeper into the heart of the N.I.C.E.

Where he finds horror. At first he discovers that the scientist at its heart, one Dr Filostrato, is experimenting with reviving the heads of dead men, with a view to creating a new race of disembodied intelligences who will transcend mere mortals with their silly perishable bodies.

In the so-called Blood Transfusion Office at Belbury, where the nucleus of the N.I.C.E. had taken up its temporary abode, Mark is taken to see the floating head which Mark is taken to see, the head of a criminal recently guillotined in France, and now suspended from a bracket in a laboratory, with all kinds of tubes and cables running into it, which drools and then – horror of horrors – speaks.

This takes a while to build up to, to show to Mark, and for the full horrific implications to sink in – that the N.I.C.E. is working to abolish mankind as we currently know it.

But that turns out not to be the inner truth. In fact Wither and Frost are using Filostrato, and keeping all the other inner circle of the N.I.C.E. in ignorance of the secret plan, known only to them. This is that they are in touch with dark forces larger and older than man – what they call macrobes – and the N.I.C.E. is preparing the way for them to supercede mankind as rulers of the earth.

Throughout all the long sequences to do with the N.I.C.E. I was continually reminded of the Dr Who episodes from my youth. My Dr Who was Jon Pertwee, whose Tardis had broken leaving him stuck here on earth to help Brigadier Lethbridge-Stewart and the forces of U.N.I.T. (United Nations Intelligence Taskforce). Each week they discovered a fiendish conspiracy to invade and take over earth. More often than not these conspiracies were launched from the shiny offices of gleaming modern corporations which ran a mining operation or massive chemical works or suchlike, which turned out to be an elaborate front for creating some matter poisonous to humans or a front for allowing aliens to invade or for kidnapping humans and turning them into zombies.

Well, that’s what the N.I.C.E. are doing. Lewis builds in an analogy with the totalitarian nations England was fighting as he wrote the book by having the N.I.C.E. run its own police department. Directors of the N.I.C.E. orchestrate incidents and then riots with the local townspeople and then, using their contacts in parliament and among the authorities, get a ‘state of emergency’ declared in Edgestow such that the N.I.C.E. police take over running the town and, as you might expect, turn out to be a very unpleasant paramilitary force. People are beaten up, many carted off to the new prison cells the N.I.C.E. is building, there is mention of at least one rape and beating to death.

All this is supervised by a big domineering leering woman, Miss Hardcastle, who is portrayed as a lascivious, Robert Crumb-like, dominating lesbian, dressed in leather, who surrounds herself with fluffy young women she can bully, and enjoys going down to the N.I.C.E. cells to torture people.

Sleepy little Edgestow turns, before our eyes, into a fascist statelet combined with the shiny new buildings of a modern new town-cum-industrial complex. Filostrato tells Mark they are aiming to abolish all organic life, trees, plants, animals: all the chemicals they produce for the air, all the food they produce can be made much more efficiently in factories. Frost, a man who has talked himself out of any emotions or feelings, tells Mark they are aiming for ‘efficiency’, they aim to become so efficient that they will supersede humanity altogether.

The good guys

Lewis makes no bones that the book is a kind of fairy story, maybe a morality tale as well. So it’s no surprise to discover that all these bad guys are mirrored by a gang of good guys. Specifically, the book opens with Mark’s wife, Jane. She is bored and lonely at home, trying to concentrate on her academic PhD i.e. when the book opens her and Mark’s marriage is failing due to mutual incomprehension, lack of trust, lack of candour, lack of love. Mark is far too busy trying to brown-nose his way into the ‘progressive element’ in his college, and then trying to wangle a job at the N.I.C.E., to listen to Jane.

As the N.I.C.E. take over Edgestow she discovers that her kindly tutor, Dr Dimple and his wife, are being kicked out of the college house they live in, as is her cleaner, the working class Ivy Maggs. She takes pity on them and discovers they are going to stay in the big old house up on St Anne’s Hill.

But the important thing about Jane is her dreams. She has terrifying dreams which turn out to be true, to be visions of things which have really taken place. She dreams of a middle aged man in prison, another comes into the cell and twists off his head. This refers to the guillotining of a criminal in France which is in the next day’s news. Her friends, the Dennistons, suggest she goes to see an ‘analyst’ about the dreams, one Grace Ironwood who also lives up on St Anne’s Hill.

What emerges or develops, over several chapters, is that Janes slowly accepts that her dreams are in fact visions of real events; and she too is forced to take refuge up in the big house on the hill. Here she discovers quite a menage, Doctor Dimble (who had been Jane’s supervisor) and his wife, a bustling older woman who everyone called ‘Mother’ Dimble, Mr and Camilla Denniston, Ivy Maggs the cleaning lady, and a sceptical Scot named MacPhee – along with a menagerie of animals which includes Baron Corvo the crow and – preposterously but fittingly for a fairy tale – a tame bear named Mr Bultitude.

But overseeing the house at St Anne’s is a figure she is at first told is named Mr Fisher-King. The second I read this I thought it was too direct a reference to the role of the Fisher King in T.S. Eliot’s famous poem, The Waste Land, itself borrowed (according to Eliot’s notorious notes) from The Golden Bough: A Study in Comparative Religion, the compendious study of mythology and religion by the Scottish anthropologist Sir James George Frazer.

He is called this until Jane is actually presented to him at which point we realise that Mr Fisher-King is none other than Elwin Ransom, protagonist of the first two novels in the series. Wonderfully well-preserved and youthful looking, due to his stay on Venus (described in the second book) Ransom is nonetheless in pain due to the bite he received there from the evil Weston, possessed by a demon.

Each of these revelations – Mark’s step-by-step induction into the college’s progressive element, then into the conspiracy to sell the old college wood to the N.I.C.E., then into the ‘true’ purpose of the N.I.C.E. in Dr Filostrato’s version (to create a new race of superhuman heads or intelligences), then into the level above that – into Wither and Frost’s true knowledge that even the head experiment is a front for raising much darker forces, is prefaced by much suspense – is accompanied by shock on the part of the initiate – and then a world of doubts and fears and uncertainties.

Same goes for Jane. We follow her journey from unhappy ‘modern’ woman, sceptic and feminist, frustrated by her marriage and stalled career. We follow her anxious response to her dreams, and her seeking help from Grace Ironwood. Then her realisation that dark forces are taking over Edgestow – which includes her being arrested by N.I.C.E police during a riot, and tortured by the sadistic pervert Miss Hardcastle (by having a lighted cheroot stubbed out on her skin). Her flight to the house at St Anne’s. Her introduction to the household and the way she has to overcome her middle class snobbery about consorting with her ‘cleaning lady’, Mrs Maggs. Her introduction to Mr Fisher-King where her modern sceptical mind reels at everything he tells her about dark forces.

And so on. Step by step Mark goes deeper into the darkness, and Lewis paints the doubts, anxieties and inferiority complex which drives him, making him a very human figure, explaining how easy it would be for us, the reader, to do likewise.

And step by step Jane climbs out of Edgestow, ascends out of the real and actual fog the N.I.C.E have projected over the town, up into the sunlit hilltop of St Anne’s, where she is inducted into a successive circle of secrets concerning Ransom.

Merlin

Slowly the narrative focuses onto the reason the N.I.C.E bought the college wood in the first place. There was a hoary old legend that Merlin lived and died there. Now Jane is afflicted by dreams of an underground cavern and an ancient figure lying on a raised altar. Surely, Ransom and his advisers think, this must be Merlin. And the Dark Side is seeking the exact location of the burial chamber in order to waken him, and recruit him and his ancient magic to their plan.

Meanwhile, in the Mark chapters, the men who have emerged as leaders of the Dark Side – Wither and Frost – know about Jane’s dreams but not exactly what they mean. Thus they put Mark under pressure to get his wife to join him – and he realises it’s because they want to use her – and for the first time he begins to see how wicked these dried-up old husks of men are. And it dawns on him that, in a way, he has always used her, for sex, for comfort, because having a wife is respectable – but he has never really listened to her or respected her.

Anyway, the waking of Merlin is the turning point of the novel and, I couldn’t help feeling, in a way it is all downhill from here.

there is a genuinely scary (in the way a children’s story can be genuinely scary) chapter where Jane guides Denniston and Dimble to the grotto where she thinks she saw in a dream a figure who might have been Merlin, and as they circle towards a a fire burning in a glen in the pouring rain there is a real sense of suspense and terror. But nobody is there.

Instead Merlin turns up at the house on the hill, banging the door open, riding a wild horse, rearing in the weird light of the rainy evening. This image promised all kinds of mayhem and Lewis surrounds it with multiple examples of his scholarly knowledge of ancient myths, fairies, elves, woodwos and so on.

But, alas, when Merlin is dressed and shown up to the Director (i.e. Ransom’s) room, he is quickly tamed. Merlin wants to unleash the earth, the trees and other organic forces against the bad guys, but Ransom refuses, tells him no. And now Ransom reveals that he is the legitimate king or Pendragon of the nation of Logres, the heir of King Arthur, having been handed the crown by a dying man in remote Cumberland (chapter 17, section 4).

There is a great deal of background information explaining how two forces have always vied on these islands – Logres, the small league of mystical powers, against ‘Britain’, the humdrum and prosaic.

The triumph of the N.I.C.E. is the triumph of the prosaic; the scientific, technocratic, managerial worldview which is so concerned for ‘efficiency’ that it would sweep away all traditions and customs, all chivalry and courtesy, all kindness and charity, in fact all organic life itself, reducing life on earth to chemical processes supervised by a handful of super-brains.

Logres stands for the opposite, and Ransom – Fisher-King – Pendragon – is its head.

What happens then is that Ransom calls down the tutelary spirits of the planets of the solar system – Mercury, Venus, Mars, Jupiter, Saturn – and each in turn a) infects the whole household with their qualities (when Mercury appears everyone becomes talkative and gay, when Mars appears everyone starts quarreling), and infuse their powers into Merlin.

The climax

The ending is disappointing for a number of reasons. I haven’t mentioned that, at the same time that Merlin burst into St Anne’s house, the N.I.C.E. police force were out looking for him and did, indeed find someone, a rough looking big man who couldn’t talk. He is brought to Wither and frost who put him in the same prison cells as Mark – who is refusing to go and get Jane for them. In  a broadly comic scene Mark tumbles to the fact that the scruffy old geezer is just a common or garden tramp but he’s not going to let the two heads of N.I.C.E. know that.

What happens then is that the cell door is unlocked and a big unwieldy curate is ushered in by Wither and Frost. Unbeknown to Mark it is the real Merlin in disguise. He hypnotises the tramp and makes him speak gibberish which he then ‘interprets’ back to Wither and Frost. The ‘curate’ claims that ‘Merlin’ is demanding a tour of the facilities, so off they go, rather reluctantly.

This demand coincides, very inconveniently, with a visit from the man who Wither and Frost had long ago persuaded to be the official figurehead of the N.I.C.E., a superannuated novelist and popular science writer ‘Horace Jules’. I think this a fairly broad caricature of H.G. Wells (who died in the same year this novel was published, 1945). He is rather cruelly depicted as a short, stocky, vulgar Cockney, who got his ideas from Thomas Huxley 50 years ago, and had never learned anything new since.

The climax of the entire novel – with its themes of God versus the devil, faith versus scientific modernism, of ancient Logres versus technocratic Britain, of charity versus ruthlessness, of the superlunary powers of the planets versus the dark forces of earth – all this comes to a grand climax in…. a college dining hall.

For it is here that the fellows of Bracton College (by the time you get to the end of the novel it’s difficult to remember that it all began on the campus of a fictional college) assemble and Jules rises to give his speech to discover… that he is talking gibberish. The audience starts tittering. Wither rises to interrupt him and take control, but he talks gibberish. the audience start laughing then talking among themselves and discover that everyone is talking gibberish.

At that point a tiger appears in the dining hall and starts attacking people. Then a snake. Then an elephant breaks down the doors into the dining hall and proceeds to stomp all over the assembled dons as a peasant woman stamps down the grapes. Miss Hardcastle shoots Jules dead before herself being torn to shreds by the tiger.

These animals – we realise – were just some of the animals which the N.I.C.E were conducting vivisection experiments on. Still it comes as a complete surprise when this happens and seems utterly random.

Some of the bad guys escape. Wither and Straik force the injured Filostrato along to the laboratory which contains the head. The head makes them bow down and worship it. then it demands another head. Wither and Straik manhandle Filotrato over to the guillotine and behead him, offering the Head this new head and chanting to him. Then at the same moment they both realise the Head will ask for another head, and attack each other. Straik flees but Wither kills him with a knife and is just contemplating his body when a bear walks into the laboratory, reared up on its two hind legs, inflamed by the smell of blood, and kills him.

Frost makes his way to the laboratory, discovers the three corpses there and – his mind suddenly taken over by some force – finds himself locking himself in, pouring petrol everywhere and burning to death.

Some of the baddies escape further, namely Lord Feverstone, a slimy politicking member of the college, who also had a seat in the House of Lords and so helped to secure the state of emergency which allowed the N.I.C.E. to take over Edgestow.

But now there is an earthquake, all the land surrounding Edgestow turns into the cone of a volcano and all the buildings, roads, cars and people trying to flee – including Featherstone – are tipped tumbling down into the inferno.

Aftermath

Ransom / the Director / Pendragon, assembles his team – Dr and Mrs Dimble, Mr and Mrs Denniston, Ivy (now reunited with her husband, who had been doing time in prison), Jane and sceptical old MacPhee.

He delivers the last of the explanations which are required i.e. a long account of how he came to be the Pendragon, having inherited it from the old man in Cumberland, and what Logres means and why it is always at odds with ‘Britain’.

And he says goodbye one by one to his ‘disciples’ touching their heads and blessing them. He is leaving. He is returning to Perelandra where he gained his wound and where it will be healed.

And the book ends where it began: with Mark and Jane Studdock. I haven’t had space to mention it, but at the point where Wither and Frost began clamouring for Mark to bring Jane to them, he had realised something was wrong. Not just with the N.I.C.E. but with him, and his whole life, and his whole attitude to life. He had been undergoing training to join the really inner circle of Wither and Frost, a training in abnormality, a training designed to burn out of him any morality, normality and decency. But when it came to spitting and treading on the helpless figure of Christ, on a big crucifix laid on the floor of the training room, he refused, he rebelled and from that moment hardened his heart against the N.I.C.E. and all its works, and began to repent.

Thus, in the confusion of the escaping animals, the massacre of dons, and then the fire which starts in the Laboratory and quickly spreads, he escapes, makes it up out of the earthquake zone and finds himself trudging towards St Anne’s, miserable, humbled, willing to apologise.

And, when ransom dismisses Jane, he sends her to the cottage in the big house’s grounds, where Venus appears to her in a vision. She also has been chastened and humbled. She has learned that the beginning of wisdom is to realise other people are as important as you, that there are powers above you, that egotism always turns in on itself, whereas charity expands the soul and obedience, paradoxically, leads to a wonderful freedom.

And so the chastened young couple enter the cottage and proceed to a new marriage bed, based on mutual respect and understanding.

Quite a story, eh?


Comment

Where to start with what is really an enormous hodge-podge of a book?

I’ll start with the disappointing elements.

1. The prophecy that doesn’t arrive At the end of the previous novel in the sequence, the great spirit presiding over Perelandra had made the following prophecy regarding the ‘final battle’:

‘We shall fall upon your moon, wherein there is a secret evil, and which is as the shield of the Dark Lord of Thulcandra – scarred with many a blow. We shall break her. Her light shall be put out. Her fragments shall fall into your world and the seas and the smoke shall arise so that the dwellers in Thulcandra will no longer see the light of Arbol. And as Maleldil Himself draws near, the evil things in your world shall show themselves stripped of disguise so that plagues and horrors shall cover your lands and seas. But in the end all shall be cleansed, and even the memory of your Black Oyarsa blotted out, and your world shall be fair and sweet and reunited to the field of Arbol and its true name shall be heard again.’

Nothing like this happens. The moon isn’t smashed into fragments which fall into the sea creating a fog which blots out the sky, plagues and horrors do not cover the land, the Black Oyarsa doesn’t come into it, and there is no sense at all of the world swept clean.

The opposite. Towards the end Doc Dimble – who seems to know a surprising amount about Logres and so on – explains to the others i.e. Jane, MacPhee and the ladies, that the tension between ‘Britain’ and ‘Logres’ is a permanent state of affairs on these islands, in England, in Albion. I.e there is never a final anything. Conflict between the ancient and the modern technocratic vision will be permanent.

2. The silly massacre Instead of this world-shattering prophecy, what we get is a massacre in a college dining hall. Lewis tries to jive it up by saying that in the days leading up to the climax a thick fog settles over Edgestow, a small town in the Midlands. But that’s not quite the same as the moon being shattered into pieces and falling into the oceans, is it? Fog over small town in the Midlands is not headline-grabbing news. But nothing can hide the fact that the massacre in the dining hall falls far short of what the build-up had led us to expect, in lots of ways.

a) Farce It is treated more as farce than tragedy, beginning as it does with an entirely comical caricature of H.G. Wells and his pompous lecturing of the fawning dons. The way that he, and then everyone in the hall, starts speaking gibberish is a very small piece of magic, for such a mighty magician as Merlin to perform. It seems more like a parlour trick.

b) The animals’ revenge And then the way they are massacred by wild beasts is just not properly built-up to. Sure, we’d been told a few times that part of the N.I.C.E.’s experimental work involved vivisection, but it was never a central part of the novel at all. Using it as the central instrument of revenge feels random and contrived.

3. Merlin The central part of the novel deepens the mystical significance of events by invoking all manner of medieval and pre-medieval beliefs, by taking us – very atmospherically – back to the darkest of the dark ages after the Romans left and all kinds of pagan spirits reasserted their presence, and both Dimble and Ransom hint that Merlin’s powers in fact stretch far back before that, to the earliest days of humankind.

Jane’s creams of Merlin in  his chamber, and Ransom and Dimble’s accounts of his deep ancestral magic are very evocative and a bit scary. It is, then, a profound disappointment that Merlin’s main role is to be chastened by Ransom, to be told he can’t use any of his old magic, to be told he has to act within the framework which Ransom dictates.

It is a fundamental failure of the book that the rip-roaring ancient magic which we had been led to expect does not then arrive. Instead, Merlin is persuaded to dress up as a curate, inveigle his way into the N.I.C.E. masquerading as a priest who knows arcane old languages and so may be able to speak to the old man they’ve brought in (who Mark and the reader knows to be a harmless old tramp just after a warm place to kip and some decent grub).

Instead of being big, mighty and transformative, this scene is small, paltry and silly, more reminiscent of a French farce. Merlin in disguise hypnotises the tramp into speaking gibberish which Merlin then translates to Wither and Frost as a wish to see the facilities. Once touring round them Merlin a) casts the spell which makes everyone at the dinner speak gibberish b) sets the animals free.

That’s it. Very anti-climactic.

4. The gods Now Lewis tries to juice up Merlin’s role by having the tutelary spirits, the oyarsa, of the planets of the solar system appear one by one and infuse Merlin with their powers. This is a highly symbolic and schematic scene – one where we are meant to recognise and enjoy the depiction of the attributes of each planet, which could almost be a scene from Chaucer or Spenser, and yet… in the end…. What does Merlin do with all this mighty extra-terrestrial power? Put a spell on some doddery old academics and let the animals out of their cages. Hardly needed spirits from the solar system come down to help him do that.

5. The devil I was led to believe the devil was going to appear, the ‘bent’ oyarsa or darkarchon who rules this world – and that he would be overthrown and everything wiped clean. This doesn’t happen. Ransom disappears off to Perelandra at the end, and Mark and Jane go to bed together, for the first time to make love with courtesy and respect – which is all very nice – but what happened to the Dark Archon? Is the world still in his control? Has the new era prophesied at the end of Perelandra come about?

Emphatically not.

It doesn’t gel

They don’t mesh. The prophecy and expectation built up by the first two books of an Last Battle and global cleansing – the sense that the future of all mankind is at stake – the yoking in of Merlin and Logres – and setting it all in the broadly comic setting of the senior common room of a dusty old college or in a nice English country house – it is too much to manage, to pull together, and Lewis fails to deliver on all fronts.

Of the three novels, Perelandra is much the best, because its setting on another planet allowed Lewis’s imagination absolute free rein to dazzle us with his imagination, and to create from nothing a magnificent setting which truly dramatised the themes he was dealing with (the nature of evil, the fall, the nature of faith).

Some issues

The original version of That Hideous Strength was, as I’ve pointed out, nearly three times as long as the first book in the trilogy. Lewis clearly threw everything into it, creating an unstoppable outpouring of rambunctious ideas and social criticism.

While the main narrative of the book alternates between Mark’s adventures and Jane’s adventures, hardly an incident occurs which he doesn’t use to promote his view that the modern world with its blind belief in science and technology and efficiency and materialism has led modern man to a cliff edge, is destroying age-old values of courtesy and chivalry and charity and love and, above all, belief in something outside ourselves, something bigger than our individual selves, which made the world and deserves our respect and gratitude and obedience.

The experience of reading the book is to be almost continually lectured, either by the Dark Side characters lecturing Mark about everything from how to manipulate committees, how to write propaganda, how to manage the media, how to create talking heads, how to promote efficiency to such a degree that you end up abolishing mankind altogether – or, on the Light Side, Ransom’s explanations to innocent Jane of everything we learned in the first two books about the spirits of the universe, the oyarsa which rule each planet, and Dimble’s lengthy lectures about Merlin and Logres.

Somewhere the American novelist Saul Bellow laments that, these days, everyone is an expert, everyone is ‘a reality instructor’. Well, almost all the characters in this book seem to be lecturing each other about something or other. Here is Dr Dimble lecturing the sceptical MacPhee who is used as a butt for his and Ransom’s arguments.

‘You see, MacPhee, if one is thinking simply of goodness in the abstract, one soon reaches the fatal idea of something standardised – some common kind of life to which all nations ought to progress. Of course there are universal rules to which all goodness must conform. But that’s only the grammar of virtue. It’s not there that the sap is. He doesn’t make two blades of grass the same: how much less two saints, two nations, two angels. The whole work of healing Tellus depends on nursing that little spark, on incarnating that ghost, which is still alive in every real people, and different in each.’

Here is Lord Feverstone (who I only realised, half way through, is the same slimy, selfish adventurer who helped kidnap Ransom and transport him to Mars in the very first novel) who has got himself made a lord and is now a mover and shaker at Bracton college, here he is early on explaining things to naive young Mark:

‘Man has got to take charge of man. That means, remember, that some men have got to take charge of the rest – which is another reason for cashing in on it as soon as one can. You and I want to be the people who do the taking charge, not the ones who are taken charge of. Quite.’

‘What sort of thing have you in mind?’

‘Quite simple and obvious things, at first – sterilisation of the unfit, liquidation of backward races (we don’t want any dead weights), selective breeding. Then real education, including pre-natal education. By real education I mean one that has no ‘take-it-or-leave-it’ nonsense. A real education makes the patient what it wants infallibly: whatever he or his parents try to do about it. Of course, it’ll have to be mainly psychological at first. But we’ll get on to biochemical conditioning in the end and direct manipulation of the brain.’

You can see why Mark is taken aback, Sterilisation, liquidation? Oh yes old chap, drawls Feverstone, all in the name of progress, doncha know. Elsewhere Filostrato opens up the possibility that the two world wars they’d lived through are just the start of a sequence of wars which will all but wipe humanity out.

Throughout the book Lewis conflates modern management techniques in big organisations with special constables, underground cells, torture, liquidation. There are hundreds and hundreds of digs at the entire vocabulary of modern social services. there’s a section where Feverstone explains that the N.I.C.E. have persuaded the government to let them undertake the ‘rehabilitation’ of prisoners (as opposed to what Lewis clearly sees as the more honest, traditional view of punishment) but that this rehabilitation actually means a license to carry out experiments and torture.

Mr Straik is a clergyman who has gone profoundly wrong, whose theology has become so other-worldly that he has lost all touch with human life in all its imperfection. He tells Mark why he has joined the N.I.C.E.

‘The feeblest of these people here has the tragic sense of life, the ruthlessness, the total commitment, the readiness to sacrifice all merely human values, which I could not find amid all the nauseating cant of the organised religions.’

Dr Filostrato is the ‘scientist’ masterminding the bringing back to life of the head of the guillotined criminal Alcasar. During a college dinner early on, he explains to Mark that, having seen a metal tree made as a work of art in an art gallery, he realised, why stop at one? Why not replace all real trees with metal trees?

‘Why one or two? At present, I allow, we must have forest for the atmosphere. Presently we find a chemical substitute. And then, why any natural trees? I foresee nothing but the art tree all over the earth. In fact, we clean the planet.’

‘Do you mean,’ put in a man called Gould, ‘that we are to have no vegetation at all?’

‘Exactly. You shave your face: even, in the English fashion, you shave him every day. One day we shave the planet.’

‘I wonder what the birds will make of it?’

‘I would not have any birds either. On the art tree I would have the art birds all singing when you press a switch inside the house. When you are tired of the singing you switch them off. Consider again the improvement. No feathers dropped about, no nests, no eggs, no dirt.’

‘It sounds,’ said Mark, ‘like abolishing pretty well all organic life.’

‘And why not? It is simple hygiene.’

It is no accident that Mark’s academic subject is Sociology. Lewis obviously loathes Sociology. It sums up everything which is wrong with the modern world, which is regarding people as numbers and units instead of rich, complex human beings. Mark’s

education had had the curious effect of making things that he read and wrote more real to him than things he saw. Statistics about agricultural labourers were the substance: any real ditcher, ploughman, or farmer’s boy, was the shadow. Though he had never noticed it himself, he had a great reluctance, in his work, ever to use such words as ‘man’ or ‘woman’. He preferred to write about ‘vocational group’, ‘elements’, ‘classes’, and ‘populations’: for, in his own way, he believed as firmly as any mystic in the superior reality of the things that are not seen.

Early on, one of the dons who disapproves of the N.I.C.E., Bill Hingest, makes a telling point to Mark:

‘I happen to believe that you can’t study men, you can only get to know them.;

Good idea, good thought. For his opposition to the N.I.C.E. his car is flagged down in a dark country lane and he is beaten to death by N.I.C.E. goons.

Ancient versus modern

Wither witters on in interminable and obscure sentences designed to confuse his listeners, and also ensure they never know where they stand. He is obfuscation versus Lewis’s ideal of the simple autoritative clarity with which Ransom speaks. Here is Wither:

‘Good morning, good morning, Mr. Studdock,’ he said. ‘It is with the greatest regret that I–er–in short, I would not have kept you from your breakfast unless I had felt that in your own interests you should be placed in full possession of the facts at the earliest possible moment. You will of course regard all that I am about to say as strictly confidential. The matter is a distressing or at least an embarrassing one. I feel sure that as the conversation proceeds (pray be seated, Mr. Studdock) you will realise in your present situation how very wise we have been in securing from the outset a police force–to give it that rather unfortunate name–of our own.’

Here is Ransom:

‘I am the Director,’ said Ransom, smiling. ‘Do you think I would claim the authority I do if the relation between us depended either on your choice or mine? You never chose me. I never chose you. Even the great Oyéresu whom I serve never chose me. I came into their worlds by what seemed, at first, a chance; as you came to me–as the very animals in this house first came to it. You and I have not started or devised this: it has descended on us–sucked us into itself, if you like. It is, no doubt, an organisation: but we are not the organisers. And that is why I have no authority to give any one of you permission to leave my household.’

Light versus dark. Clarity versus obscurity. Good faith versus deliberate uncertainty. Sunlight versus fog. Love versus fear. Openness and permission contrasted with a paramilitary police and torture cells. Country versus city. Rural landscape versus industry. Tradition versus novelty. People versus statistics. Muddling through versus inhuman ‘efficiency’.

Filostrato wants to  abolish all organic life from the planet. In sharp contrast Ransom is shown going out of his way to be courteous and loving to animals, to the unexpected bear Mr Bultitude, but also to a covey of mice who he rings a bell to summons to eat the crumbs left over by the humans, his pets Baron Corvo the jackdaw and Mr Pinch the cat.

Ransom’s is a supra-human vision which encompasses all life forms.

The cosmic view

‘Your mistake is to think that the little regularities we have observed on one planet for a few hundred years are the real unbreakable laws; whereas they are only the remote results which the true laws bring about more often than not; as a kind of accident.’ (Grace Ironwood)

Merlin

Lewis writes wonderfully evocatively of the Dark Ages whose literature he knew so well.

And suddenly all that Britain which had been so long familiar to him as a scholar rose up like a solid thing. He could see it all. Little dwindling cities where the light of Rome still rested – little Christian sites, Camalodunum, Kaerleon, Glastonbury – a church, a villa or two, a huddle of houses, an earthwork. And then, beginning scarcely a stone’s-throw beyond the gates, the wet, tangled, endless woods, silted with the accumulated decay of autumns that had been dropping leaves since before Britain was an island; wolves slinking, beavers building, wide shallow marshes, dim horns and drummings, eyes in the thickets, eyes of men not only Pre-Roman but Pre-British, ancient creatures, unhappy and dispossessed, who became the elves and ogres and wood-wooses of the later tradition. But worse than the forests, the clearings. Little strongholds with unheard-of kings. Little colleges and covines of Druids. Houses whose mortar had been ritually mixed with babies’ blood.

And the figure of Merlin is, at least initially, presented with a powerful sense of the old pagan beliefs.

his great mass stood as if it had been planted like a tree, and he seemed in no hurry. And the voice, too, was such as one might imagine to be the voice of a tree, large and slow and patient, drawn up through roots and clay and gravel from the depths of the Earth.

And Lewis gives Merlin some great speeches, commenting on what, to him, are the peculiarities of 20th century life.

‘I cannot, indeed, understand the way you live, and your house is strange to me. You give me a bath such as the Emperor himself might envy, but no one attends me to it: a bed softer than sleep itself, but when I rise from it I find I must put on my own clothes with my own hands as if I were a peasant. I lie in a room with windows of pure crystal so that you can see the sky as clearly when they are shut as when they are open, and there is not wind enough within the room to blow out an unguarded taper; but I lie in it alone, with no more honour than a prisoner in a dungeon. Your people eat dry and tasteless flesh, but it is off plates as smooth as ivory and as round as the sun. In all the house there is warmth and softness and silence that might put a man in mind of paradise terrestrial; but no hangings, no beautified pavements, no musicians, no perfumes, no high seats, not a gleam of gold, not a hawk, not a hound. You seem to me to live neither like a rich man nor a poor one: neither like a lord nor a hermit.’

Compared to the thrilling power of his own days.

Merlin saw in memory the wintry grass on Badon Hill, the long banner of the Virgin fluttering above the heavy British-Roman cataphracts, the yellow-haired barbarians. He heard the snap of the bows, the click-click of steel points in wooden shields, the cheers, the howling, the ringing of struck mail. He remembered also the evening, fires twinkling along the hill, frost making the gashes smart, starlight on a pool fouled with blood, eagles crowding together in the pale sky.

Wow! Such a shame that this primal force then has to be tamed and neutered by Ransom.

The choice

What the books brings out is that both Jane and Mark are brought to the point of having to make a choice. Which side are you on?

In his normal condition, explanations that laid on impersonal forces outside himself the responsibility for all this life of dust and broken bottles would have occurred at once to his mind and been at once accepted. It would have been “the system” or “an inferiority complex” due to his parents, or the peculiarities of the age. None of these things occurred to him now. His “scientific” outlook had never been a real philosophy believed with blood and heart. It had lived only in his brain, and was a part of that public self which was now falling off him. He was aware, without even having to think of it, that it was he himself–nothing else in the whole universe–that had chosen the dust and broken bottles, the heap of old tin cans, the dry and choking places.

Even realising that you have a choice, even realising that we must all take responsibility for our own lives is presented by Lewis, as almost a lost knowledge, as a basic prerequisite for being human which modern society does everything it can to obscure. Mark:

became able to know (and simultaneously refused the knowledge) that he had been wrong from the beginning, that souls and personal responsibility existed.

Feminism

There is a massive amount to be written about Lewis’s depiction of the female characters. I imagine modern women students will want to throw the book in the nearest fire when they read the howlingly stereotyped characterisation of Miss Hardcastle, the leather-clad lesbian chief of police and torturer – although I enjoyed her character on an entirely cartoon level.

But central to the book is the way both Mark and Jane have to be cured of their modern scepticism and atheism and brought to see that there are people outside them a world outside them, powers outside them, that they are really very small and have to smother their egotism and learn to love others, and to love their Creator.

Jane is a moderately complex figure, in some ways the most sympathetic character in the book (Mark is depicted as an unrelentingly selfish fool in a hurry to suck up to anyone who’s in a position of power). Feminists might sympathise with the opening where Jane is depicted as frustrated by married life and excluded from an academic career, and by her later comments about sexism.

For a moment she looked on Mr. Denniston with real dislike. She saw him, and Mark, and the Fisher-King man and this preposterous Indian fakir simply as men – complacent, patriarchal figures making arrangements for women as if women were children or bartering them like cattle. (‘And so the king promised that if anyone killed the dragon he would give him his daughter in marriage.’) She was very angry.

But feminists presumably wouldn’t like the sections where she has to overcome these feminist views, in order to progress to the next level, the level Lewis depicts as to do with very ancient symbols of gender, of male and female coming together in rituals and ceremonies celebrating fertility and, at the end of the story, in a traditional marriage bed – cleansed and healed from their modern angry scepticism. Brought to realise that they should both be humble, forgiving and charitable.

Continually, throughout the book, the good things evoke whole systems of personal and folk memory, so that this generation is seen as repeating, echoing, and confirming the wisdom of the ages.

It woke in Jane vague memories of helping at Christmas or Easter decorations in church when she had been a small child. But it also suggested to her literary memory all sorts of things out of sixteenth-century epithalamions – age-old superstitions, jokes, and sentimentalities about bridal beds and marriage bowers, with omens at the threshold and fairies upon the hearth.

Maybe much of this can be critiqued as outrageously sexist, patriarchal and patronising, bit I, for one, can see where Lewis is coming from in invoking folk traditions, religious traditions, pagan traditions, pre-Christian traditions, and non-Western traditions, all of which see humans as aspiring to literally superhuman ideals of masculinity and femininity – ideals none of us may be able to attain, but which are guides to behaviour.

Or we can do what many people are doing in our day and age, try to rewrite our understanding of human nature and gender from scratch. But even if they’re not true, even if they are not exactly a guide for modern living, I – like Lewis – love and reverence the old literature, the old traditions and the old magic.

In Perelandra the theme and the treatment have a unity which completely transport the reader and make you accept all kinds of stately, ceremonial behaviour, at bottom based on gender norms and traditional views of fertility and procreation.

But when he tries to set the same ideas in the ‘modern’ age (well, 1940s England) they, along with much else in this mad gallimaufrey of a story, fall to really cohere or convince.


Related links

Other science fiction reviews

1888 Looking Backward 2000-1887 by Edward Bellamy – Julian West wakes up in the year 2000 to discover a peaceful revolution has ushered in a society of state planning, equality and contentment
1890 News from Nowhere by William Morris – waking from a long sleep, William Guest is shown round a London transformed into villages of contented craftsmen

1895 The Time Machine by H.G. Wells – the unnamed inventor and time traveller tells his dinner party guests the story of his adventure among the Eloi and the Morlocks in the year 802,701
1896 The Island of Doctor Moreau by H.G. Wells – Edward Prendick is stranded on a remote island where he discovers the ‘owner’, Dr Gustave Moreau, is experimentally creating human-animal hybrids
1897 The Invisible Man by H.G. Wells – an embittered young scientist, Griffin, makes himself invisible, starting with comic capers in a Sussex village, and ending with demented murders
1898 The War of the Worlds – the Martians invade earth
1899 When The Sleeper Wakes/The Sleeper Wakes by H.G. Wells – Graham awakes in the year 2100 to find himself at the centre of a revolution to overthrow the repressive society of the future
1899 A Story of the Days To Come by H.G. Wells – set in the same London of the future described in the Sleeper Wakes, Denton and Elizabeth fall in love, then descend into poverty, and experience life as serfs in the Underground city run by the sinister Labour Corps

1901 The First Men in the Moon by H.G. Wells – Mr Bedford and Mr Cavor use the invention of ‘Cavorite’ to fly to the moon and discover the underground civilisation of the Selenites
1904 The Food of the Gods and How It Came to Earth by H.G. Wells – two scientists invent a compound which makes plants, animals and humans grow to giant size, leading to a giants’ rebellion against the ‘little people’
1905 With the Night Mail by Rudyard Kipling – it is 2000 and the narrator accompanies a GPO airship across the Atlantic
1906 In the Days of the Comet by H.G. Wells – a passing comet trails gasses through earth’s atmosphere which bring about ‘the Great Change’, inaugurating an era of wisdom and fairness, as told by narrator Willie Leadford
1908 The War in the Air by H.G. Wells – Bert Smallways, a bicycle-repairman from Bun Hill in Kent, manages by accident to be an eye-witness to the outbreak of the war in the air which brings Western civilisation to an end
1909 The Machine Stops by E.M. Foster – people of the future live in underground cells regulated by ‘the Machine’ until one of them rebels

1912 The Lost World by Sir Arthur Conan Doyle – Professor Challenger leads an expedition to a plateau in the Amazon rainforest where prehistoric animals still exist
1912 As Easy as ABC by Rudyard Kipling – set in 2065 in a world characterised by isolation and privacy, forces from the ABC are sent to suppress an outbreak of ‘crowdism’
1913 The Horror of the Heights by Arthur Conan Doyle – airman Captain Joyce-Armstrong flies higher than anyone before him and discovers the upper atmosphere is inhabited by vast jellyfish-like monsters
1914 The World Set Free by H.G. Wells – A history of the future in which the devastation of an atomic war leads to the creation of a World Government, told via a number of characters who are central to the change
1918 The Land That Time Forgot by Edgar Rice Burroughs – a trilogy of pulp novellas in which all-American heroes battle ape-men and dinosaurs on a lost island in the Antarctic

1921 We by Evgeny Zamyatin – like everyone else in the dystopian future of OneState, D-503 lives life according to the Table of Hours, until I-330 wakens him to the truth
1927 The Maracot Deep by Arthur Conan Doyle – a scientist, engineer and a hero are trying out a new bathysphere when the wire snaps and they hurtle to the bottom of the sea, there to discover…

1932 Brave New World by Aldous Huxley
1938 Out of the Silent Planet by C.S. Lewis – baddies Devine and Weston kidnap Ransom and take him in their spherical spaceship to Malacandra aka Mars,

1943 Perelandra (Voyage to Venus) by C.S. Lewis – Ransom is sent to Perelandra aka Venus, to prevent a second temptation by the Devil and the fall of the planet’s new young inhabitants
1945 That Hideous Strength: A Modern Fairy-Tale for Grown-ups by C.S. Lewis– Ransom assembles a motley crew to combat the rise of an evil corporation which is seeking to overthrow mankind
1949 Nineteen Eighty-Four by George Orwell – after a nuclear war, inhabitants of ruined London are divided into the sheep-like ‘proles’ and members of the Party who are kept under unremitting surveillance

1971 Mutant 59: The Plastic Eater by Kit Pedler and Gerry Davis – a genetically engineered bacterium starts eating the world’s plastic

1980 Russian Hide and Seek by Kingsley Amis – in an England of the future which has been invaded and conquered by the Russians, a hopeless attempt to overthrow the occupiers is easily crushed

Perelandra by C. S. Lewis (1943)

As long as what you are afraid of is something evil, you may still hope that the good may come to your rescue. But suppose you struggle through to the good and find that it also is dreadful?

This is the second in C.S. Lewis’s theological science fiction trilogy, which consists of:

  • Out of the Silent Planet (1938)
  • Perelandra (also known as Voyage to Venus) (1943)
  • That Hideous Strength (1945)

A recap of Out of The Silent Planet

In the first novel the Cambridge philologist, Ransom, was kidnapped by the physicist Weston and his partner Devine, and flown in their space ship all the way to Mars. Escaping from his captors Ransom discovers that Mars is inhabited by three very different but intelligent life forms who have forged a peaceful working relationship – the Pfifltriggi, the Hrossa, and the Sorns.

Elwin (it’s only in this second book that we learn his first name) Ransom – being a philologist by trade – swiftly learns the language of Mars which is called Hressa-Hlab. he also learns fellowship from the otter-like hrossa, hears wisdom from the tall, willowy sorns, and is taken to the sanctuary of the master spirit or oyarsa who rules Mars which, he learns, is called Malacandra in the local language.

Ransom also learns:

  • That what humans take to be the empty space between planets is in reality teeming with spirits which the human eye can barely detect, named eldila. What humans call space should really be referred to as ‘Deep Heaven’.
  • That each planet in the solar system (or ‘Field of Arbol’ as it is called) is ruled by a kind of tutelary spirit and that these spirits can communicate across space.
  • But that some kind of primeval disaster afflicted the Earth way back in its history, so that its spirit became wicked, or ‘bent’ as the hnau (intelligent creatures) of Mars put it. Hence Earth’s name in their culture is Thulcandra, which means ‘the silent planet’. (And hence the title of the book, ‘Out of The Silent Planet’.)
  • Thus Earth has been ‘enemy’-occupied territory since before history began (Chapter 15).
  • Movement in and out of the silent planet was banned eons ago, to prevent the rest of the solar system from becoming ‘infected’ with its wickedness.

It is symptomatic of Lewis’s goal of sacramentalising the universe that he says we must learn to refer to space not as ‘space’ – it is not empty space – it is teeming with mystical life forms and replenishing energy – it should be referred to as ‘Deep Heaven’.

Looming behind and above the eldila and each planet’s oyarsa appears to be the highest power of all, which the hnau refer to as Maleldil. It isn’t made totally explicit, but I think we are meant to take this to mean ‘God’.

Towards the end of Out of the Silent Planet the baddies Weston and Devine force their way into the sanctuary of the tutelary spirit, Oyarsa, and, after disarming them, Oyarsa tells them he will send them back to Earth. Ransom is given the choice whether to stay or to go, and reluctantly agrees to return with them.

All the way home, on what turns out to be a gruelling journey, the humans are watched over by eldila who will, Oyarsa tells them, decompose/destroy their space ship within minutes of its safe arrival – to prevent their ever returning.

The space ship just about makes it back to Earth, despite running low on food, water, oxygen and flying so close to the sun that Ransom fears the three men’s sight will be permanently damaged. Ransom clambers out of the ship’s manhole cover-type hatch into good old, pouring English rain and stumbles to the nearest pub (the ship has, of course, landed in rural England) where he asks for a pint of good old English beer!

Lewis in the postscript

But of all the strange things that happened in Out of The Silent Planet, for me the strangest was the postscript in which it is revealed that the narrator all along has been named ‘Lewis’, that this ‘Lewis’ is a friend of Ransom’s, and that ‘Lewis’ has agreed to write up this account of Ransom’s adventures, changing his (Ransom’s) name, and simplifying other matters, in order to make it into a publishable book.

Thus, right at the very end the text includes a letter supposedly from ‘Ransom’ politely objecting to some of the simplifications which ‘Lewis’ has made in order to lay the tale before the public.

Perelandra

Anyway, if you hadn’t read Out of the Silent Planet it hardly matters, since almost all of this material is recapped at the start of this, the second book in the series. Once again we are in the mind of the first-person narrator, ‘Lewis’, as he walks through the gathering darkness of a summer evening towards Ransom’s remote cottage, where Ransom has invited him to come and meet him.

But as he walks towards the cottage, Lewis finds himself experiencing a mounting sense of terror, as well as all kinds of hysterical fears – of the dark itself, and a sudden fear that Ransom is maybe not on the side of the angels, but has been recruited by the Dark Side of the universe to wreak harm on earth. By the time Lewis arrives at the cottage he feels almost hysterical, and feels a physical force barring his way, as if every forward step is having to be fought for.

Finding Ransom out, Lewis lets himself into the cottage. A little later Ransom returns and cheerily explains that, yes, the house is under attack by dark forces, by ‘bent’ terrestrial eldila. it was they who placed all those terrifying thoughts in Lewis’s mind to stop them meeting. Ah. That explains the vivid fears Lewis has shared with us readers.

And it is an oblique comment on the period when the book was written. In chapter 15 we learn the story is set in 1942, a dark time for Lewis and his British readers.

Now Ransom also explains that the big, coffin-sized object in the hallway of his cottage is some kind of extra-terrestrial transport device. It turns out that Oyarsa has been in contact and told him (Ransom) that he is going to be sent on a mission to Venus, or Perelandra as it’s known by the hnau.

Why? Ransom is not sure but thinks it’s because the dark archon, the bent oyarsa of Thulcandra, is planning some kind of attack on Venus. Obviously not in person, since he cannot pass beyond the orbit of the moon without being repulsed by the other oyarsa and eldila (as explained earlier). So he must be planning to use some other means – and Ransom is being sent to thwart them.

Ransom and Lewis then carry the coffin-shaped object, made of some ice-cold white material, out into the garden, Ransom strips naked, climbs into it, Lewis places the lid on top, and – it vanishes.

A little over a year passes, with all the ongoing threats and alarms of war briefly referred to, and then Lewis receives a message from Oyarsa (he doesn’t dwell on how) and hurries down to Ransom’s cottage, accompanied by a mutual friend who is a doctor.

They stand in Ransom’s overgrown garden as a casket-shaped thing is briefly silhouetted against the sun, then glides down at their feet. They open the lid to discover Ransom nude and covered in what appear to be red flower petals, but:

glowing with health and rounded with muscle and seemingly ten years younger. In the old days he had been beginning to show a few grey hairs; but now the beard which swept his chest was pure gold

The canny reader instantly suspects that, whatever tribulations Ransom might have gone through on his year-long trip into space, Lewis is going to emphasise the fundamental justness, beauty and healthiness of the universe. Although we have no inkling of just how much he is going to do that.

Once he has awoken and had a wash and shave and gotten dressed and been thoroughly checked over by the doctor, Ransom is ready to tell his story, thus:

Ransom lands and finds the Lady

The first thing he remembers is awaking to find the coffin-spaceship disintegrating and throwing him into an enormous sea amid vast waves as big as mountains under a multi-coloured sky.

The waves tower as high as alps then plunge again, but the sea is warm and the sky is the colour of gold. Eventually he sees a huge mat-like material going past on the surface of the sea, swims towards it, clambers ‘ashore’, and falls asleep.

When he awakes he is in a kind of wonderland of beauty, sweet scents, delicious colours, wonderful food.

The world had no size now. Its boundaries were the length and breadth of his own body and the little patch of soft fragrance which made his hammock, swaying ever more and more gently. Night covered him like a blanket and kept all loneliness from him. The blackness might have been his own room. Sleep came like a fruit which falls into the hand almost before you have touched the stem.

He discovers that the mat is big, big enough to contain woods and clearings, it lies flat on the surface of the gently undulating sea, and it is – a form of paradise.

Over his head there hung from a hairy tube-like branch a great spherical object, almost transparent, and shining. It held an area of reflected light in it and at one place a suggestion of rainbow colouring. So this was the explanation of the glass-like appearance in the wood. And looking round he perceived innumerable shimmering globes of the same kind in every direction. He began to examine the nearest one attentively. At first he thought it was moving, then he thought it was not. Moved by a natural impulse he put out his hand to touch it. Immediately his head, face, and shoulders were drenched with what seemed (in that warm world) an ice-cold shower bath, and his nostrils filled with a sharp, shrill, exquisite scent that somehow brought to his mind the verse in Pope, ‘die of a rose in aromatic pain.’ Such was the refreshment that he seemed to himself to have been, till now, but half awake. When he opened his eyes – which had closed involuntarily at the shock of moisture – all the colours about him seemed richer and the dimness of that world seemed clarified. A re-enchantment fell upon him.

In fact Ransom quickly learns that it really is paradise, for on another ‘island’ floating nearby he sees a human form which, when the ‘islands’ drift closer, he realises is a full-grown naked woman coloured green.

They wave at each other until Ransom nerves himself to take a risk and plunges into the sea to swim over to her island and…

Realises he really is in the garden of Eden. This woman is wonderfully simple, innocent, trusting and pure. The animals lovingly follow her. She has no ‘home’, there is no village or settlement, there are no ‘others’. Ransom quickly feels himself to be a blunt, ugly creature intruding into a world of prelapsarian harmony. Every single one of his questions prompts the lady to pause and think and he quickly realises that she is so innocent and unspoiled that even the sophisticated assumptions behind his questions are new and puzzling to her. He realises he must be careful, chaste, polite and restrained in what he tells her about the other worlds he knows about (Earth and Mars).

The only other one of her type she knows is ‘the King’, and she says she will take Ransom to meet him. The King is on the land of green pillars, which she points out. Ransom had glimpsed these pillars amid the floating islands, and now has it confirmed to him that they are on fixed dry land, marked by a set of enormous green columns towering into the air.

The lady calls dolphin-like creatures to the edge of their island and invites Ransom to climb astride one, as she does. The dolphins carry them to the island. They walk around it, Ransom delighting to be on good solid ground again. But then they see a black shape bobbing closer through the waves. It seems to be spherical in shape. Ransom has a bad feeling. It looks exactly like the spherical, steel and glass spaceship in which he, Weston and Devine flew to Malacandra in the first book. Is this the form the ‘attack’ is to take?

Yes it is. For indeed Weston comes towards the island rowing a little collapsible canoe. Up the beach he clambers and pulls a gun on Ransom, confirming the latter’s worst fears. However, the Lady has not, of course, seen a gun before. Lewis has painted such a convincing portrait of her complete innocence that we believe it when she simply walks away from the two strangers, down to the beach and takes a dolphin off the island.

Now during the lengthy conversations she and Ransom have had, she has let slip that Maleldil has given her everything she needs for a sweet life, but on one condition, with one rule to be obeyed – that she must not spend the night on the island, she must not sleep on solid ground.

Ransom (being a fallen human) is curious to find out why not. ‘Because it is His will,’ she replies, simply. All else is allowed, everything is free. But to show her obedience to her maker, to make that obedience light and free, there is just this one rule.

This explains why, with night coming on, the Green Lady had hastened down to the shore, quickly whistled up some dolphins (she is followed everywhere by admiring animals) and ridden off. Leaving Ransom to confront Weston.

Ransom and Weston’s theological argument

Now Ransom finds himself forced into an absurd theological argument. Here on the shore of an island among mountainous seas on a strange planet thirty million miles from home, he finds himself listening to a mad rhodomontade from Weston.

Perelandra was written at exactly the same time as Lewis was giving a series of BBC radio talks about religion (1941-44) which were gathered together into his most popular work of Christian apologetics, Mere Christianity.

In his popular Christian works, Lewis not only defended Christian belief and put forward various (light and accessible) ‘philosophical’ arguments for Christianity, but also listed and attacked various ‘modern heresies’, i.e. types of contemporary belief which, he thought, were not only un-Christian but tended towards man’s unhappiness, if not the active promotion of evil.

So it is that he pro-Christian arguments and anti-‘heresy’ arguments which Lewis was working out at this period spill over into Perelandra. Or, probably more likely, he developed the arguments and counter-arguments, and then decided which would be appropriate for radio presentation and which would work best in a fictional setting. And also which could be shown in a fictional setting, such as the peace and harmony of all beings on a prelapsarian planet.

Anyway, it is obvious that Weston is made to represent what Lewis took to be the central strand of contemporary scientific and philosophical thought which he thought had brought the world to the disaster in which it found itself, had led to the rise of Fascism and Stalinism, and the plunging of the whole world into war.

Back in the first book, Weston had stood before the oyarsa of Malacandra and given a long speech declaring it was ‘man’s destiny’ to colonise the other planets of the solar system and then reach out into space. The implication – that ‘man’ would liquidate or take control of all the inhabitants of all the other planets of the solar system – was clearly depicted as totalitarian if not fascist in tone, a symptom of the disease afflicting the darkening world it was written in (1937-38).

Now Weston shows that he has adapted his beliefs and made them bigger. Previously he had talked about mankind. Now he claims that all organic life is driven by a ‘Spirit’, a Spirit which drove evolution from the very beginning, finding expression in higher and higher beings. This theory was known as ‘Creative Evolution’ and was very popular among the scientifically minded of Lewis’s day, among democrats and socialists who rejected orthodox religion, but still wished to find some kind of purpose or forward goal in Darwin’s theory of evolution.

Ransom asks whether this ‘spirit’ is good or evil, but Weston sweeps the distinction aside, saying Ransom is too shackled by traditional religious dualisms. The spirit may take ‘good’ or ‘bad’ forms, it’s irrelevant, the thing is its forward, upward momentum, from triumph to triumph (echoing the triumphal rhetoric of the totalitarian states).

And he, Weston, now knows that he has been chosen as the vessel of the Spirit of Man, to take it to the next level. How? because he hears the Spirit speaking to him, whispering the secrets of the universe. The Spirit helped him create the space ship and it helped bring him here.

Now a notable thing about C.S. Lewis’s Christianity is that he took a great deal of Christian belief literally with a kind of bluff, hearty good sense – he took the stories of Jesus casting out devils, raising the dead and performing miracles, as literal truths – much to the scorn of his ‘sophisticated’ fellow dons at Oxford. But it was a simple. bluff, literal attitude which rang a bell among a less sophisticated public and made his radio broadcasts and theology books immensely popular.

Thus Lewis believed in a literal Devil who tempted people. Whereas sophisticated Oxford theologians argued that the devil and hell were allegories or symbols or psychological states, Lewis saw them as literal persons who you could meet and who could talk to you, persuade you, or possess you.

Thus the point of this scene in Perelandra is to show how Weston’s belief in the inexorable triumph of some amoral ‘Spirit of Man’ is not only a mistaken belief which results in shockingly immoral behaviour (Weston quite happily admits he would sell England to Nazi Germany if the Spirit told him), but is the result of Weston’s literal possession by an evil spirit.

And so, listening to Weston’s increasingly demented ranting, it dawns on Ransom that whole schools of modern thought might be heresies in the most literal sense – that they are inspired by the Devil.

That opposite mode of thought which he had often mocked and called in mockery The Empirical Bogey, came surging into his mind – the great myth of our century with its gases and galaxies, its light years and evolutions, its nightmare perspectives of simple arithmetic in which everything that can possibly hold significance for the mind becomes the mere by-product of essential disorder. Always till now he had belittled it, had treated with a certain disdain its flat superlatives, its clownish amazement that different things should be of different sizes, its glib munificence of ciphers.

In case there was any doubt about Weston’s demonic possession, Lewis makes it perfectly clear at the end of the scene when, as a result of Ransom’s persistent rejection of Weston’s arguments, the latter works himself up into a frenzy and then collapses and – for a moment – Ransom can see the helpless mortal man writhing in the grip of its evil demon and trying to escape.

‘Idiot,’ said Weston. His voice was almost a howl and he had risen to his feet. ‘Idiot,’ he repeated. ‘Can you understand nothing? Will you always try to press everything back into the miserable framework of your old jargon about self and self-sacrifice? That is the old accursed dualism in another form. There is no possible distinction in concrete thought between me and the universe. In so far as I am the conductor of the central forward pressure of the universe, I am it. Do you see, you timid, scruple-mongering fool? I am the Universe. I, Weston, am your God and your Devil. I call that Force into me completely. . . .’

Then horrible things began happening. A spasm like that preceding a deadly vomit twisted Weston’s face out of recognition. As it passed, for one second something like the old Weston reappeared – the old Weston, staring with eyes of horror and howling, ‘Ransom, Ransom! For Christ’s sake don’t let them…’ and instantly his whole body spun round as if he had been hit by a revolver-bullet and he fell to the earth, and was there rolling at Ransom’s feet, slavering and chattering and tearing up the moss by handfuls.

If this is like a scene from The Exorcist it is because Lewis did believe in literal devils and did believe they could literally possess people, as Weston is here, quite clearly, possessed.

His ‘wrong’ beliefs about the self-importance of Man, his denial of anything, any God or Moral Law beyond man, set him down the road to becoming the mortal instrument of spirits set on evil.

The result of this conversation, and of Weston’s collapse, is that Ransom spends the rest of the novel vividly aware that the thing he is facing is not human and this is conveyed with a real thrill of horror.

The thing sat down close to the Lady’s head on the far side of her from Ransom. If you could call it sitting down. The body did not reach its squatting position by the normal movements of a man: it was more as if some external force manoeuvred it into the right position and then let it drop. It was impossible to point to any particular motion which was definitely non-human. Ransom had the sense of watching an imitation of living motions which had been very well studied and was technically correct: but somehow it lacked the master touch. And he was chilled with an inarticulate, night-nursery horror of the thing he had to deal with – the managed corpse, the bogey, the Un-man.

The garden of Eden

What if earth had once also been a paradise? What if that is why the sights and smells and sounds of Perelandra seem not only sweet to Lewis, but deep, as if they recalled ancestral experiences from the origins of his race?

It was strange to be filled with homesickness for places where his sojourn had been so brief and which were, by any objective standard, so alien to all our race. Or were they? The cord of longing which drew him to the invisible isle seemed to him at that moment to have been fastened long, long before his coming to Perelandra, long before the earliest times that memory could recover in his childhood, before his birth, before the birth of man himself, before the origins of time. It was sharp, sweet, wild, and holy, all in one, and in any world where men’s nerves have ceased to obey their central desires would doubtless have been aphrodisiac too, but not in Perelandra.

What if the ancients myths and legends, recorded in the old books, are not – as sophisticated modern atheist philosophy has it – the childish stories made up by illiterate inhabitants of the Dark Ages, but the opposite? What if they are actual memories of people and values from an earlier time, when humans were closer to some prelapsarian truth, memories which lingered on after the spiritual disaster which overtook mankind?

He remembered his old suspicion that what was myth in one world might always be fact in some other. He wondered also whether the King and Queen of Perelandra, though doubtless the first human pair of this planet, might on the physical side have a marine ancestry. And if so, what then of the man-like things before men in our own world? Must they in truth have been the wistful brutalities whose pictures we see in popular books on evolution? Or were the old myths truer than the modern myths? Had there in truth been a time when satyrs danced in the Italian woods?

Lewis’s science fiction books are not only an excuse for fantasy – for the kind of fantasy mountains, flora and fauna, animals, skies and so on, that you might get in Wells and other sci-fi fantasists – but for fantasy underpinned by Lewis’s feel for both theology and ancient literature and myth.

From without, most certainly from without, but not by the sense of hearing, festal revelry and dance and splendour poured into him – no sound, yet in such fashion that it could not be remembered or thought of except as music. It was like having a new sense. It was like being present when the morning stars sang together.

Throughout the book the reader is given numerous extended descriptions of the sheer joyousness of the this Venusian paradise, less in ideas than in countless detailed physical sensations – Lewis very powerfully conveys the idea that Perelandra amounts to a kind of holiday from the normal sensations of his body.

He was riding the foamless swell of an ocean, fresh and cool after the fierce temperatures of Heaven, but warm by earthly standards – as warm as a shallow bay with sandy bottom in a sub-tropical climate. As he rushed smoothly up the great convex hillside of the next wave he got a mouthful of the water. It was hardly at all flavoured with salt; it was drinkable – like fresh water and only, by an infinitesimal degree, less insipid. Though he had not been aware of thirst till now, his drink gave him a quite astonishing pleasure. It was almost like meeting Pleasure itself for the first time.

The very names of green and gold, which he used perforce in describing the scene, are too harsh for the tenderness, the muted iridescence, of that warm, maternal, delicately gorgeous world. It was mild to look upon as evening, warm like summer noon, gentle and winning like early dawn. It was altogether pleasurable.

Eden is full of pleasure:

He had meant to extract the smallest, experimental sip, but the first taste put his caution all to flight. It was, of course, a taste, just as his thirst and hunger had been thirst and hunger. But then it was so different from every other taste that it seemed mere pedantry to call it a taste at all. It was like the discovery of a totally new genus of pleasures, something unheard of among men, out of all reckoning, beyond all covenant. For one draught of this on earth wars would be fought and nations betrayed. It could not be classified. He could never tell us, when he came back to the world of men, whether it was sharp or sweet, savoury or voluptuous, creamy or piercing. ‘Not like that’ was all he could ever say to such inquiries.

And blissful physical sensations:

He was approaching a forest of little trees whose trunks were only about two and a half feet high; but from the top of each trunk there grew long streamers which did not rise in the air but flowed in the wind downhill and parallel to the ground. Thus, when he went in among them, he found himself wading knee deep and more in a continually rippling sea of them–a sea which presently tossed all about him as far as his eye could reach. It was blue in colour, but far lighter than the blue of the turf–almost a Cambridge blue at the centre of each streamer, but dying away at their tasselled and feathery edges into a delicacy of bluish grey which it would take the subtlest effects of smoke and cloud to rival in our world. The soft, almost impalpable, caresses of the long thin leaves on his flesh, the low, singing, rustling, whispering music, and the frolic movement all about him, began to set his heart beating with that almost formidable sense of delight which he had felt before in Perelandra.

So in Lewis’s theology, pleasure, bliss and joy are not the temptations, are not the wicked things. The temptation is the fundamental mistake of not crediting God with creating everything.

We can all enjoy bliss such as we have never known – but it is all contingent on a right and proper and correct acknowledgement that God made us, that we are created beings and that the created should endlessly acknowledge the Creator for the gift of existence in all its wonder.

The beautiful setting, the lovely sky, the lapping waters, the docile creatures and the innocently dignified Lady – all make a luminous background against which Weston’s narrow-minded, egotistical, godless philosophy and pointlessly cruel behaviour, stand out all the more as wicked and squalid.

Temptation

Ransom takes a dolphin out to an island where he arrives in darkness, goes ashore and sleeps. When he wakens it is still dark and he overhears Weston tempting the Lady.

Maleldil’s prohibition of sleeping on the island clearly performs on this planet the role that God’s forbidding Adam and Eve from eating the apple from the tree of the knowledge of good and evil performed on Earth. it is the one rule that must be obeyed. it is the stumbling block. Meaningless in itself, it is a marker of the creature’s obedience to the Creator.

Ransom feels sick as he listens to the subtle arguments that Weston is making to tempt the Lady: that sleeping on the island will make the Lady wise, make her more of a woman, will earn the King’s respect, why should she always know less and be subservient to him? And so on.

The Lady resists his arguments. Good triumphs. Ransom falls asleep again.

When he wakes again it is to find some of the frog-like creatures he had observed among the Lady’s animal followers have been maimed and mutilated. To his horror he follows a string of their writhing bodies, each one ripped open along the spine, until he finds Weston at work, torturing one of them, for no reason, just for the random cruelty. When Weston looks up from his work, Ransom for the first time realises what a devil looks like.

The smile was not bitter, nor raging, nor, in an ordinary sense, sinister; it was not even mocking. It seemed to summon Ransom, with a horrible naïveté of welcome, into the world of its own pleasures, as if all men were at one in those pleasures, as if they were the most natural thing in the world and no dispute could ever have occurred about them. It was not furtive, nor ashamed, it had nothing of the conspirator in it. It did not defy goodness, it ignored it to the point of annihilation. Ransom perceived that he had never before seen anything but half-hearted and uneasy attempts at evil. This creature was whole-hearted. The extremity of its evil had passed beyond all struggle into some state which bore a horrible similarity to innocence. It was beyond vice as the Lady was beyond virtue.

The days begin to blur into one another. Over and over Ransom wakes to hear Weston keep up his unending siege of the Lady’s obedience. Forced to sit by most of the time, as he has to wait for the Lady to ask his opinion, Ransom (and we the reader) witness the prolonged battery of arguments launched from every side with which the un-Man assails the Lady.

This long passage is a sort of tour de force in which Lewis imagines just what the Devil said to Eve in the Garden of Eden, how he overcame her innocence, how he persuaded her that Maleldil had not banned her sleeping on the island in order to ban it as such, but so that she could grow in maturity and confidence, so that she could show both Maleldil and the King that she was no longer a child. Yes both of them would be pleased if she would only disobey the ban.

These and hundreds of other monotonously similar lies Ransom has to listen to again and again, And he is horrified to see it working. Ransom observes the Lady, under Weston’s ceaseless corrupting barrage, for the first time adopting a rather theatrical manner, no longer unself-consciously laughing and speaking but slowly becoming aware of herself, and beginning to pose. Weston gives her a hand mirror which initially surprises here, and which he uses to emphasise her importance, her supremacy, flattering her position of First Woman.

Always the weakest point of people is shown to be their egotism – their sense of self. Always their strongest point (in Lewis’s vision) is their sense of something outside themselves, of something greater, more powerful, to which they owe gratitude and obedience.

The decision

Eventually there are several pages describing Ransom’s agonised realisation that sitting by and watching primal innocence be corrupted isn’t enough. He has had no communication from Oyarsa, none of the eldila have told him what to expect or what to do.

And again, this is part of Lewis’s strategy in these fiction books and in his apologetics: he makes the very powerful point that it is up to us. In a roundabout sort of way this chimes with the contemporary message of the Continental Existentialists (apart from the obvious fact that they were mostly atheists) – but they both lead to the same conclusion – it is up to us to fight evil, often with little or no help from outside.

Everyone must make their decision and everyone defines themselves by their decisions. We are free to make or unmake ourselves, says Lewis, as clearly as his contemporary Jean-Paul Sartre.

So Ransom has had no outside help from the moment he arrived, no communications, no hints or advice or guidance.

Now, after days of agonising, he decides that there is no alternative – he must kill Weston. Yes, it’s immoral, yes maybe he will damn himself – but he cannot stand by and allow the alternative – the corruption and damnation of an entire planet. And at this point he does hear a voice in his head. ‘It is no coincidence’, the voice tells him, ‘that his name is Ransom: he must be the price paid for the preservation of this world’.

The chase

This leads into what turns out to be a very prolonged and gruelling chase sequence.

1. Ransom gets up, goes and finds Weston and, without any warning, attacks him. They claw, scratch, bite, kick and punch each other. Eventually, the struggle breaks off as Weston staggers through forest down to the shore and straddles a dolphin fish and is away, Ransom pursuing. Day and night, night and day, falling asleep, nearly falling off, confronting the strange mute faces of the mermen beneath the waves, Ransom rides the dolphin-like creature in pursuit of the equally dazed and wounded Weston.

2. A day comes when Weston’s fish is exhausted and he stops running, turns and paddles it over beside Ransom. ‘Please,’ he wheedles, and then goes into another long, tempting speech, pretending that he is now simply Weston and that his devil has fled. Except he isn’t and it hasn’t. Only slowly does it reveal its devilish intent. Weston’s wheedling slowly turns into a grand vision of the horror and pointlessness of life, we only live briefly and then are pushed out of the bright atmosphere of the world into the darkness beneath it, squealing in pain and fear. It doesn’t matter whether there is a God or not, all that matters is escaping the darkness, the void, the horror… at which point Ransom realises that ‘it’ is still a devil, and also realises that he has been given an insight into what it means to be a devil, self-excluded from the grace of God.

3. The devil grabs Ransom’s arm and then lunges across from his dolphin, tackles his body, wrapping himself round Ransom’s waist and thighs and dragging him down, down under water. This leads to a nightmareish struggle in the cold depths of the sea, when you wonder if they will both drown and go to the underworld (anything seems to be possible).

But instead Ransom awakes to find he is in some kind of shingly beach in the pitch darkness. He finds Weston’s body and strangles him to death and breaks his ribs for good measure, and then collapses exhausted. Hours later, Ransom awakes again, again into pitch darkness, and begins to explore the ‘beach’ only to discover that it is a cave. By some chance he and Weston in their death-embrace have been washed into a cave, maybe deep under the waterline in some cliff. He tentatively tries easing down into the water but it is breaking against the sides with such violence that, in the dark, it is impossible to gauge its power and depth and Ransom has no way of knowing how much of a swim, and in which direction he should go, to escape out of the cave and make it back to the surface.

Instead Ransom sets off to explore the innards of the cave and see if he can escape that way, in a passage of nightmare intensity, bumping into walls, pulling himself up onto ledges, inching along in pitch darkness, stubbing his toes, scratching every inch of his exposed naked body, always climbing, with no idea where he is going or if there is any hope.

This passage is a form of Pilgrim’s Progress. It isn’t made explicit, but it is a Christian soul climbing up out of pitch darkness driven only by faith.

Only after a prolonged and increasingly hallucinatory climb does Ransom finally see a sliver of light up above, and walk up along a sloping stretch of rock to discover a fissure of light high above him.

He has to build a platform from loose rocks and jump up into the crevice, clinging on by his fingertips, then inching his way along it, his back against one wall, his knees and feet against the other, painfully upwards to emerge in a huge wide cavern illuminated by the light from a sheer drop at one end. He goes over to it and discovers it drops sheer, hundreds maybe thousands of yards down into raw, moiling fire.

As he turns from the blinding light back to the cavern, Ransom sees Weston, as in a dream, as in a nightmare, pull himself slowly up out of the fissure and stumble towards him. Half-mad, hallucinating, delirious, Ransom grips the nearest sizeable rock, says, ‘In the name of the Father, the Son and the Holy Ghost,’ runs at Weston and smashes his face in, smashing it literally to a pulp.

He then drags the mashed-face corpse over to the ledge and tips it over to plummet down down into the fiery lava beneath. Surely, finally, he has finished his task.

Days of climbing follow in a delirium of pain and exhaustion. Finally, crossing some cave, Ransom slips and falls into a fast-moving stream which sluices him out of a rock face and into a pool outside, on a mountainside, under the golden sky of Perelandra where he lies for days, drinking the stream water and reaching his hand up for sweet fruit, delirious, unconscious of the days and nights, slowly healing in body and mind.

Eventually, after many days, healed and ready to walk, the eldila appear, fragments of light in the daytime, silently telling  him that he must set off for some kind of happy valley, there beyond the hills.

The coronation

Ransom walks a long way, up hill, down dale, somehow knowing he must seek the hidden valley, climbing high into the mountains before finally descending to the most beautiful place he has seen in either of the two planets, Malacandra or Perelandra.

Here, drawn up in front of a natural temple, he encounters the oyarsa of the planet, and then witnesses an enormous horde of friendly animals attending the King and the Lady as they land at the beach and slowly progress up to the temple.

There follows an extraordinary extended coronation scene in which the Lady and the King are transformed into Tor and Tinidil, and receive stewardship of the planet and everything on it from the oyarsa. In extended speeches Ransom is told that the King and the Lady have learned about evil not by doing it, as Adam and Eve did – but by resisting it.

In this grand performance Ransom played a crucial part, allowing the Lady to learn just enough of the bad to be able to resist it, before himself disposing of the evil in a way no creature of Perelandra could have, without sullying itself.

Only a fallen man could deal with another fallen man. Ransom receives the fathomless gratitude of the King and the Lady. And in this whole story Weston, like Judas, played a preconceived role.

‘Little did that dark mind know the errand on which he really came to Perelandra!’

After the theology is explained there is a tremendous passage of three or four pages made up of twenty paragraphs, every one of which is a hymn to Maleldil, ending with the repeated phrase, ‘Blessed be He!’

‘All things are by Him and for Him. He utters Himself also for His own delight and sees that He is good. He is His own begotten and what proceeds from Him is Himself. Blessed be He!’

Not the kind of thing you get in a regular novel.

The prophecy

With no interruption, the King washes and laves Ransom’s battered body (in an obvious echo of Jesus washing his disciples in the New Testament) even the gash on his heel where Weston bit him, and which stubbornly refuses to heal.

Then the King lays Ransom in the ice-cold white coffin which has now appeared before them, of the same type which Ransom travelled there in, seals the coffin and Ransom is gone.

But not before the King has made this final prophecy, a prophecy about the Final Battle for the soul of earth, or Thulcandra, a prophecy which obviously sets the book up for its sequel, the final novel in the trilogy, That Hideous Strength.

We shall fall upon your moon, wherein there is a secret evil, and which is as the shield of the Dark Lord of Thulcandra – scarred with many a blow. We shall break her. Her light shall be put out. Her fragments shall fall into your world and the seas and the smoke shall arise so that the dwellers in Thulcandra will no longer see the light of Arbol. And as Maleldil Himself draws near, the evil things in your world shall show themselves stripped of disguise so that plagues and horrors shall cover your lands and seas. But in the end all shall be cleansed, and even the memory of your Black Oyarsa blotted out, and your world shall be fair and sweet and reunited to the field of Arbol and its true name shall be heard again.


The Discarded Image

In my review of Out of The Silent Planet I mentioned the way that most of Lewis’s books, after his conversion to Christianity in 1931, were driven by the urge to explain and proselytise for his Christian belief. Perelandra is even more overtly Christian than its predecessor, or rather all the ideas are based on Christian theology.

His openly Christian works of apologetics like Mere Christianity, the popular comic books like The Screwtape Letters, the famous series of Narnia books, and this, his science fiction trilogy, are all powered and underpinned by Lewis’s profound Christian belief working at various levels of explicitness, from High Theology about the Fall through to incidental insights about human nature – how we are less when we are selfish and self-centred, and more when we turn outwards and acknowledge others.

But to focus on the Christian element is to ignore the other, very large, possibly even larger, part of Lewis’s imagination, which was shaped by his deep and scholarly knowledge of ancient, medieval and Renaissance literature, knowledge which underpins the fantastical and beautiful sumptuousness of much of his imagery, and his sense of the stateliness and courtesy of the pure, of his spirits and kings.

I myself did a very old-fashioned English Literature degree for which I had to learn Anglo-Saxon and Middle English, and in preparation for which it was assumed that I would have read all of the Bible, Homer, the Aeneid, Ovid and Horace.

In studying Gawayne and the Green Knight or Chaucer or The Faerie Queen by Spenser, I found Lewis’s literary criticism of these works invaluable, not only for his detailed knowledge of individual facts or symbols – but for his matchless feel for the values of long-lost cultures.

Lewis’s final book was a scholarly work – The Discarded Image: An Introduction to Medieval and Renaissance Literature – a deliberately brief, almost note-form summary of the sources of much of the imagery and belief system of medieval and renaissance literature. It lays out very clearly and usefully key aspects of ancient and medieval cosmology, explaining their sources in a handful of seminal works, mostly from the ancient world, explaining (in the words of Wikipedia),

the structure of the medieval universe, the nature of its inhabitants, the notion of a finite universe, ordered and maintained by a celestial hierarchy, and the ideas of nature.

My point is that Lewis was absolutely drenched in the imagery and thought of the classical and medieval world, and in my view it is this – just as much as his Christian faith – which gives his fictional books their special feel, a really deep feel for older values, for ancient symbolism and allegory. It explains why the image from Narnia of children placing chains of flowers round the neck of a peaceful lion feels not just fanciful, but somehow profound.

That isn’t an image from anywhere in the Bible. But it is the kind of heraldic image anyone familiar with medieval texts, poems, marginalia or tapestries would appreciate. It is this – a sense of the medieval world somehow reborn across time and space – much more than the explicit Christian theology, which I kept being reminded of as I read Perelandra.

At Ransom’s waking something happened to him which perhaps never happens to a man until he is out of his own world: he saw reality, and thought it was a dream. He opened his eyes and saw a strange heraldically coloured tree loaded with yellow fruits and silver leaves. Round the base of the indigo stem was coiled a small dragon covered with scales of red gold. He recognised the garden of the Hesperides at once.

Lewis actually uses the medieval word ‘heraldic’ several times to convey the sense of dignified, richly felt, medieval symbolism which he is striving to create.

She had stood up amidst a throng of beasts and birds as a tall sapling stands among bushes – big pigeon-coloured birds and flame-coloured birds, and dragons, and beaver-like creatures about the size of rats, and heraldic-looking fish in the sea at her feet. Or had he imagined that? Was this the beginning of the hallucinations he had feared? Or another myth coming out into the world of fact…

They made the circle of the plateau methodically. Behind them lay the group of islands from which they had set out that morning. Seen from this altitude it was larger even than Ransom had supposed. The richness of its colours – its orange, its silver, its purple and (to his surprise) its glossy blacks – made it seem almost heraldic.

The heavens had vanished, and the surface of the sea; but far, far below him in the heart of the vacancy through which he appeared to be travelling, strange bursting star shells and writhing streaks of a bluish-green luminosity appeared. At first they were very remote, but soon, as far as he could judge, they were nearer. A whole world of phosphorescent creatures seemed to be at play not far from the surface – coiling eels and darting things in complete armour, and then heraldically fantastic shapes to which the sea-horse of our own waters would be commonplace

When his imagination looks for the beautiful, it is not to the Jewish imagery of the Bible, but to medieval iconography which Lewis turns, imagery forged of the strange union between popular folk tales and legends with the high art of Norman courtly chivalry, mixed in with the myths and strange arcane beliefs of the ancient world.

It is the formal beauty, the poise, the ceremoniousness, the tremendous feeling of correctness about this medieval imagery which gives Lewis’s fictional books – the Narnia books and this science fiction trilogy – a large part of their powerful imaginative impact.

The Lady and the Unicorn: À mon seul désir (1500) Musée national du Moyen Âge, Paris

The Lady and the Unicorn: À mon seul désir (1500) Musée national du Moyen Âge, Paris

Note the ubiquity of the animals in this famous medieval tapestry, both regal (lion and unicorn) and sweetly domestic (dog, rabbits, foxes, lambs).

All of creation, not just human beings, are incorporated in Lewis’s vision – and this, again, reflects his medieval imagination, where animals peep out from the corner of tapestries or intrude into Chaucerian stories.

The comedy of Oxford dons

Although we are transported to other planets and subject to heady worlds of theological and courtly seriousness, Lewis lightens his sci-fi trilogy with an occasional sense of humour, particularly when it comes to taking the mickey out of his own world of stuffy and pedantic Oxford dons. Right in the middle of discussing the future of the whole world, they will be brought up short by a pedantic quibble about a point of grammar. Thus Lewis asks him, before he leaves, about the language he expects to find spoken on Venus:

‘And you think you will find Hressa-Hlab, or Old Solar, spoken on Venus?’
‘Yes. I shall arrive knowing the language. It saves a lot of trouble – though, as a philologist I find it rather disappointing.’

Similarly, once he finds himself in the pitch black cave under the sea, initially convinced it is simply night-time and he must wait for the dawn, Ransom sets out to pass the time thus:

He recited all that he could remember of the Iliad, the Odyssey, the Æneid, the Chanson de Roland, Paradise Lost, the Kalevala, the Hunting of the Snark, and a rhyme about Germanic sound-laws which he had composed as a freshman.

‘A rhyme about Germanic sound-laws which he had composed as a freshman.’ 🙂

Once Ransom has finally decided to kill Weston, once he is in the black cave astride the enemy’s chest, squeezing its throat with both hands, he finds himself, to his own surprise, shouting out a line from the Anglo-Saxon poem, The Battle of Maldon. I studied the Battle of Maldon at university and I have reviewed it for this blog. I would dearly love to know which line Ransom shouted out.

And it is typical of the hyper-scholarly nature of his characters that Ransom declares, towards the end, that, comparing the experience of being on the two planets, Mars and Venus:

Malacandra affected him like a quantitative, Perelandra like an accentual, metre.

Surprised by joy

But the final memory and impression of reading the book is Lewis’s wonderful, delicious, intoxicating depictions of Eden, what bliss it would be, how it would feed all the senses without glutting or tiring them: how it would be made perfectly for men and women to delight in.

Two things account for the popularity of Lewis’s popular Christian books. One is that they are simple. He turned complicated theology or philosophy into the language of Daily Mail editorials, into terms understandable by almost anyone, but without any sense of being patronising. He just sets out at a popular level and then keeps on at that level.

But just as important, I think, was his immense capacity for conjuring up images, motifs, descriptions, settings, words and phrases to convey an immense, bountiful, overflowing feeling of happiness.

I’ve met and debated theology with Christians who have had bad experiences in their lives – rape, abuse, suicide of parents – and they all testified to the importance of Lewis’s writings in helping them find a meaning and a purpose in their lives, in leading them through darkness to greater faith. Helped by its promise that even the most horrific experiences can be transcended because of the beauty and love of the world God has prepared for us.

In a thousand different images, this is the confidence, the faith in beauty and bliss, the deep optimism, which all Lewis’s books radiate and which helps to account for their enduring appeal.

But he said ‘Hush’ to his mind at this stage, for the mere pleasure of breathing in the fragrance which now began to steal towards him from the blackness ahead. Warm and sweet, and every moment sweeter and purer, and every moment stronger and more filled with all delights, it came to him. He knew well what it was. He would know it henceforward out of the whole universe – the night-breath of a floating island in the star Venus.


Related links

Other science fiction reviews

1888 Looking Backward 2000-1887 by Edward Bellamy – Julian West wakes up in the year 2000 to discover a peaceful revolution has ushered in a society of state planning, equality and contentment
1890 News from Nowhere by William Morris – waking from a long sleep, William Guest is shown round a London transformed into villages of contented craftsmen

1895 The Time Machine by H.G. Wells – the unnamed inventor and time traveller tells his dinner party guests the story of his adventure among the Eloi and the Morlocks in the year 802,701
1896 The Island of Doctor Moreau by H.G. Wells – Edward Prendick is stranded on a remote island where he discovers the ‘owner’, Dr Gustave Moreau, is experimentally creating human-animal hybrids
1897 The Invisible Man by H.G. Wells – an embittered young scientist, Griffin, makes himself invisible, starting with comic capers in a Sussex village, and ending with demented murders
1898 The War of the Worlds – the Martians invade earth
1899 When The Sleeper Wakes/The Sleeper Wakes by H.G. Wells – Graham awakes in the year 2100 to find himself at the centre of a revolution to overthrow the repressive society of the future
1899 A Story of the Days To Come by H.G. Wells – set in the same future London as The Sleeper Wakes, Denton and Elizabeth defy her wealthy family in order to marry, fall into poverty, and experience life as serfs in the Underground city run by the sinister Labour Corps

1901 The First Men in the Moon by H.G. Wells – Mr Bedford and Mr Cavor use the invention of ‘Cavorite’ to fly to the moon and discover the underground civilisation of the Selenites
1904 The Food of the Gods and How It Came to Earth by H.G. Wells – scientists invent a compound which makes plants, animals and humans grow to giant size, prompting giant humans to rebel against the ‘little people’
1905 With the Night Mail by Rudyard Kipling – it is 2000 and the narrator accompanies a GPO airship across the Atlantic
1906 In the Days of the Comet by H.G. Wells – a comet passes through earth’s atmosphere and brings about ‘the Great Change’, inaugurating an era of wisdom and fairness, as told by narrator Willie Leadford
1908 The War in the Air by H.G. Wells – Bert Smallways, a bicycle-repairman from Kent, gets caught up in the outbreak of the war in the air which brings Western civilisation to an end
1909 The Machine Stops by E.M. Foster – people of the future live in underground cells regulated by ‘the Machine’ until one of them rebels

1912 The Lost World by Sir Arthur Conan Doyle – Professor Challenger leads an expedition to a plateau in the Amazon rainforest where prehistoric animals still exist
1912 As Easy as ABC by Rudyard Kipling – set in 2065 in a world characterised by isolation and privacy, forces from the ABC are sent to suppress an outbreak of ‘crowdism’
1913 The Horror of the Heights by Arthur Conan Doyle – airman Captain Joyce-Armstrong flies higher than anyone before him and discovers the upper atmosphere is inhabited by vast jellyfish-like monsters
1914 The World Set Free by H.G. Wells – A history of the future in which the devastation of an atomic war leads to the creation of a World Government, told via a number of characters who are central to the change
1918 The Land That Time Forgot by Edgar Rice Burroughs – a trilogy of pulp novellas in which all-American heroes battle ape-men and dinosaurs on a lost island in the Antarctic

1921 We by Evgeny Zamyatin – like everyone else in the dystopian future of OneState, D-503 lives life according to the Table of Hours, until I-330 wakens him to the truth
1925 Heart of a Dog by Mikhail Bulgakov – a Moscow scientist transplants the testicles and pituitary gland of a dead tramp into the body of a stray dog, with disastrous consequences
1927 The Maracot Deep by Arthur Conan Doyle – a scientist, engineer and a hero are trying out a new bathysphere when the wire snaps and they hurtle to the bottom of the sea, there to discover…

1930 Last and First Men by Olaf Stapledon – mind-boggling ‘history’ of the future of mankind over the next two billion years
1938 Out of the Silent Planet by C.S. Lewis – baddies Devine and Weston kidnap Ransom and take him in their spherical spaceship to Malacandra aka Mars,

1943 Perelandra (Voyage to Venus) by C.S. Lewis – Ransom is sent to Perelandra aka Venus, to prevent an earth man possessed by the devil from tempting the planet’s new young inhabitants to a second Fall
1945 That Hideous Strength: A Modern Fairy-Tale for Grown-ups by C.S. Lewis– Ransom assembles a motley crew to combat the rise of an evil corporation which is seeking to overthrow mankind
1949 Nineteen Eighty-Four by George Orwell – after a nuclear war, inhabitants of ruined London are divided into the sheep-like ‘proles’ and members of the Party who are kept under unremitting surveillance

1950 I, Robot by Isaac Asimov – nine short stories about ‘positronic’ robots, which chart their rise from dumb playmates to controllers of humanity’s destiny
1950 The Martian Chronicles – 13 short stories with 13 linking passages loosely describing mankind’s colonisation of Mars, featuring strange, dreamlike encounters with Martians
1951 Foundation by Isaac Asimov – the first five stories telling the rise of the Foundation created by psychohistorian Hari Seldon to preserve civilisation during the collapse of the Galactic Empire
1951 The Illustrated Man – eighteen short stories which use the future, Mars and Venus as settings for what are essentially earth-bound tales of fantasy and horror
1952 Foundation and Empire by Isaac Asimov – two long stories which continue the future history of the Foundation set up by psychohistorian Hari Seldon as it faces attack by an Imperial general, and then the menace of the mysterious mutant known only as ‘the Mule’
1953 Second Foundation by Isaac Asimov – concluding part of the ‘trilogy’ describing the attempt to preserve civilisation after the collapse of the Galactic Empire
1953 Earthman, Come Home by James Blish – the adventures of New York City, a self-contained space city which wanders the galaxy 2,000 years hence powered by spindizzy technology
1953 Fahrenheit 451 by Ray Bradbury – a masterpiece, a terrifying anticipation of a future when books are banned and professional firemen are paid to track down stashes of forbidden books and burn them
1953 Childhood’s End by Arthur C. Clarke a thrilling narrative involving the ‘Overlords’ who arrive from space to supervise mankind’s transition to the next stage in its evolution
1954 The Caves of Steel by Isaac Asimov – set 3,000 years in the future when humans have separated into ‘Spacers’ who have colonised 50 other planets, and the overpopulated earth whose inhabitants live in enclosed cities or ‘caves of steel’, and introducing detective Elijah Baley to solve a murder mystery
1956 The Naked Sun by Isaac Asimov – 3,000 years in the future detective Elijah Baley returns, with his robot sidekick, R. Daneel Olivaw, to solve a murder mystery on the remote planet of Solaria
1956 They Shall Have Stars by James Blish – explains the invention – in the near future – of the anti-death drugs and the spindizzy technology which allow the human race to colonise the galaxy
1957 The Black Cloud by Fred Hoyle – a vast cloud of gas heads into the solar system, blocking out heat and light from the sun with cataclysmic consequences on Earth, until a small band of maverick astronomers discovers that the cloud contains intelligence and can be communicated with
1959 The Triumph of Time by James Blish – concluding story of Blish’s Okie tetralogy in which Amalfi and his friends are present at the end of the universe

1961 A Fall of Moondust by Arthur C. Clarke a pleasure tourbus on the moon is sucked down into a sink of moondust, sparking a race against time to rescue the trapped crew and passengers
1962 A Life For The Stars by James Blish – third in the Okie series about cities which can fly through space, focusing on the coming of age of kidnapped earther, young Crispin DeFord, aboard New York
1962 The Man in the High Castle by Philip K. Dick In an alternative future America lost the Second World War and has been partitioned between Japan and Nazi Germany. The narrative follows a motley crew of characters including a dealer in antique Americana, a German spy who warns a Japanese official about a looming surprise German attack, and a woman determined to track down the reclusive author of a hit book which describes an alternative future in which America won the Second World War
1963 Planet of the Apes by Pierre Boulle French journalist Ulysse Mérou accompanies Professor Antelle on a two-year space flight to the star Betelgeuse, where they land on an earth-like plane to discover that humans and apes have evolved here, but the apes are the intelligent, technology-controlling species while the humans are mute beasts
1968 2001: A Space Odyssey a panoramic narrative which starts with aliens stimulating evolution among the first ape-men and ends with a spaceman being transformed into galactic consciousness
1968 Do Androids Dream of Electric Sheep? by Philip K. Dick In 1992 androids are almost indistinguishable from humans except by trained bounty hunters like Rick Deckard who is paid to track down and ‘retire’ escaped andys
1969 Ubik by Philip K. Dick In 1992 the world is threatened by mutants with psionic powers who are combated by ‘inertials’. The novel focuses on the weird alternative world experienced by a group of inertials after a catastrophe on the moon

1970 Tau Zero by Poul Anderson – spaceship Leonora Christine leaves earth with a crew of fifty to discover if humans can colonise any of the planets orbiting the star Beta Virginis, but when its deceleration engines are damaged, the crew realise they need to exit the galaxy altogether in order to find space with low enough radiation to fix the engines, and then a series of unfortunate events mean they find themselves forced to accelerate faster and faster, effectively travelling through time as well as space until they witness the end of the entire universe
1971 Mutant 59: The Plastic Eater by Kit Pedler and Gerry Davis – a genetically engineered bacterium starts eating the world’s plastic
1973 Rendezvous With Rama by Arthur C. Clarke – in 2031 a 50-kilometre long object of alien origin enters the solar system, so the crew of the spaceship Endeavour are sent to explore it
1974 Flow My Tears, The Policeman Said by Philip K. Dick – America after the Second World War has become an authoritarian state. The story concerns popular TV host Jason Taverner who is plunged into an alternative version of this world in which he is no longer a rich entertainer but down on the streets among the ‘ordinaries’ and on the run from the police. Why? And how can he get back to his storyline?
1974 The Forever War by Joe Haldeman The story of William Mandella who is recruited into special forces fighting the Taurans, a hostile species who attack Earth outposts, successive tours of duty requiring interstellar journeys during which centuries pass on Earth, so that each of his return visits to the home planet show us society’s massive transformations over the course of the thousand years the war lasts.

1981 The Golden Age of Science Fiction edited by Kingsley Amis – 17 classic sci-fi stories from what Amis considers the Golden Era of the genre, namely the 1950s
1982 2010: Odyssey Two by Arthur C. Clarke – Heywood Floyd joins a Russian spaceship on a two-year journey to Jupiter to a) reclaim the abandoned Discovery and b) investigate the monolith on Japetus
1984 Neuromancer by William Gibson – burnt-out cyberspace cowboy Case is lured by ex-hooker Molly into a mission led by ex-army colonel Armitage to penetrate the secretive corporation, Tessier-Ashpool at the bidding of the vast and powerful artificial intelligence, Wintermute
1986 Burning Chrome by William Gibson – ten short stories, three or four set in Gibson’s ‘Sprawl’ universe, the others ranging across sci-fi possibilities, from a kind of horror story to one about a failing Russian space station
1986 Count Zero by William Gibsonthird of Gibson’s ‘Sprawl’ trilogy in which young hacker Bobby Newmark discovers there is a lot more to cyberspace than he ever imagined.
1987 2061: Odyssey Three by Arthur C. Clarke – Spaceship Galaxy is hijacked and forced to land on Europa, moon of the former Jupiter, in a ‘thriller’ notable for Clarke’s descriptions of the bizarre landscapes of Halley’s Comet and Europa
1988 Mona Lisa Overdrive by William Gibson – third of Gibson’s ‘Sprawl’ trilogy in which street-kid Mona is sold by her pimp to crooks who give her plastic surgery to make her look like global simstim star Angie Marshall who they plan to kidnap but is herself on a quest to find her missing boyfriend, Bobby Newmark, one-time Count Zero, while the daughter of a Japanese ganster who’s sent her to London for safekeeping is abducted by Molly Millions, a lead character in Neuromancer

1990 The Difference Engine by William Gibson and Bruce Sterling – in an alternative history Charles Babbage’s early computer, instead of being left as a paper theory, was actually built, drastically changing British society, so that by 1855 it is led by a party of industrialists and scientists who use databases and secret police to keep the population under control

Out of The Silent Planet by C.S. Lewis (1938)

His mind, like so many minds of his generation, was richly furnished with bogies. He had read his H. G. Wells and others. His universe was peopled with horrors such as ancient and medieval mythology could hardly rival. No insect-like, vermiculate or crustacean Abominable, no twitching feelers – rasping wings, slimy coils, curling tentacles, no monstrous union of superhuman intelligence and insatiable cruelty seemed to him anything but likely on an alien world.

The plot

The set-up

Ransom (we never learn his first name) is a harmless Cambridge professor of philology on a walking tour of the Midlands during the university holidays. It’s getting dark and when he asks an old lady at a little cottage for the nearest accommodation, she suggests a nearby house, home of another ‘professor’.

It’s now night-time and Ransom, when there’s no reply to his calls, cheekily pushes through the hedge and wanders round the back of the building where he a) comes across a surprising array of outhouses and chimneys, at least one showing the wild flames of a forge, and with some huge object looming over the buildings, and b) discovers two men struggling with a young lad.

Quickly the two chaps introduce themselves as Weston (a physics professor) and Devine (a businessman) who, to his annoyance, Ransom realises he knew at school, and disliked for his slimeyness. The pair explain that the boy is backward, and they only employ him out of charity and he was just fighting against a chore they’d asked him to do.

Now they let the boy go, to return to the old lady in the cottage, and take Ransom into the house and pour him a nice whiskey. But the whiskey is drugged. Ransom falls asleep. When he wakes, before he can even stir he hears the two men discussing their plans to ‘sacrifice’ him to someone or something. Alarmed, Ransom tries to make a bolt for it, but has barely got to the kitchen door before they’re on him and one of them coshes him.

He regains consciousness in a spaceship. Lewis is a good describer and paints a vivid picture of coming to consciousness in a weirdly shaped metal box, hot on one wall (facing the sun), cool on the other – and being almost weightless. He blunders out of the small metal room into a sort of communal space where he finds Weston and Devine. Ransom’s mind reels as they explain to him that they are going back to Mars in a spaceship.

Back? Yes, they’ve been once already and Devine darkly hints that a) there’s a lot in it for him, wealth or riches or fame etc, and b) that the things – the creatures – they met requested they bring another human back, with implications that this person would be a gift or, as Ransom fears, a ‘sacrifice’. My God, he’s been kidnapped and flown to another planet against his will!

Fantasy

The description of the journey is full of the thoughtful kinds of details of the H.G. Wells type (the continual pattering of small meteorites on the shell of the ship, the way the ship is shaped like a big sphere) – all of which we now know to be completely impractical and unrealistic.

As unrealistic as the way the ‘ship’ mysteriously ‘lands’ quite peacefully on the surface of Mars and, when they open the circular hatch (much like a manhole cover) it turns out the air of Mars is perfectly breathable (just like the atmosphere of H.G. wells’s Moon was perfectly breathable). All of this is almost too silly to be ‘science’ fantasy, is more like a medieval romance, where the sleeper awakes in a strange land full of new creatures.

Same here. They have landed near a ‘lake’ of phosphorescent blue water. Tall willowy things seem to approach from the other shore and gesture towards Weston and Devine. With a shock, Ransom realises these are the creatures his kidnappers spoke about and they are gesturing to him. He is going to be handed over and then sacrificed!

At that moment a water-based creature slip through the ‘water’ and appears to snap at Weston and Devine, who step back in a hurry, slip over and… Ransom takes the opportunity to turn and run, run, run, without looking back, across the spit of sand, up the sides of a hill or whatever it is, never looking back, into a ‘forest’ of tall swaying trunks, amid alien flora, driven by panic fear.

Meeting the Malacandrans

Forced by thirst to eventually risk drinking from a pool of Martian ‘water’, Ransom is terrified when a sleek black animal a bit like an otter arises from it. The creature barks and he is astonished to realise it is making logical, sequential sounds. It is talking. Ransom approaches, it backs away, it gestures, he backs away. Then driven by curiosity, they move closer to each other.

Now we realise why Lewis made Ransom a philologist – it gives a plausibility (well, a sort of plausibility) – to his ability to grasp key words, to separate nouns from verbs, and to quickly begin to talk to this creature.

(The idea that any of this could happen is the wildest fantasy – Mars’s gravity not very different from ours, sunshine and breathable air, drinkable water, creatures with a sort of recognisable form and who can talk. It is Middle Earth, it is Narnia, it is not our solar system.)

To cut a long story short, this creature turns out to be a hross named Hyoi. Ransom is taken to their village where he learns the plural of hross is hrossa (not very difficult, really).

The peaceful hrossa like making poetry, their young frolic around Ransom’s feet, and he goes on a village hunt for one of the few violent creatures on the planet, a hnakra, which live in the ‘rivers’. Ransom is given pride of place in the ‘canoe’ which the hrossa paddle out to find the hnakra, armed with hrossa ‘spears’ and feeling a tremendous sense of comradeship with his fellow ‘bloods’ – at which point I realised that, despite looking like otters, everything else about the hrossa is reminiscent of native Americans: they live close to the soil, in teepee-like houses, have campfires, their young running free. It is a vision of innocence.

Ransom learns that there are two other ‘intelligent’ species on the planet which, by now, he has learned the natives call ‘Malacandra’ – short creatures who love building things and are known as pfifltriggi, and tall, willowy creatures known as sorns or séroni, to give them their grammatically correct plural.

There is something wonderfully innocent about the notion of a Cambridge philologist, magically transported to Mars, then spending his time fussing and fretting about plurals and tenses. And even about placing accents over the correct vowel sounds. Sweet.

Anyway, all three of these species long ago agreed to share one common language and live in peace together, each of their skills complementing the other species – in this, as in so much else, making Ransom reflect sadly on the violence and rapacity of our human species.

Once you get past the hot lakes and phosphorescent water, past the way the waterways have carved deep dead-straight canyons across the red surface of the planet (Lewis’s explanation of Mars’s canals) past the way the vegetation, the hills and the creatures are all tall and willowy due to Mars’s weaker gravity – past, in other words, the Amazing Tales and Astounding Stories level of the setting – then the story reveals its very traditional roots, going back at least as far as Gulliver’s Travels, if not to Pilgrim’s Progress and beyond, in the sense that it is a highly moralised story.

The fundamental purpose of the narrative is to teach and instruct. And what is being taught is a very traditional antidote to human arrogance and ignorance. Initially Ransom judges the Malacandrans by all-too-human standards, expecting them to be rapacious, violent, competitive – and is continually being brought up short and reproved for his cynicism.

With everything he learns about Malacandra he is reminded that there is something ‘crook’, as the Aussies say, about mankind, something bent and broken.

Special insight comes in (maybe predictably) a conversation about sex – the hrossa breed only once in their lifetimes, which Ranson can’t understand since our own species, of course, has a great deal of trouble restraining itself from all kinds of wanton promiscuity.

At last it dawned upon him that it was not they, but his own species, that were the puzzle. That the hrossa should have such instincts was mildly surprising; but how came it that the instincts of the hrossa so closely resembled the unattained ideals of that far-divided species Man whose instincts were so deplorably different? What was the history of Man?

The ultimate message of the book is that all the universe is a dance of beauty created by a loving God but that earth alone has brought upon itself ruin and silence. By man’s Original Sin.

Back to the plot: Ransom is informed that there is a fourth ‘species’, the almost invisible eldil (plural eldila), spirits which shimmer through the world as prisms of light, as breaths of air and which, he also learns, live in space, at least what humans call ‘space’. Because now he learns that what humans take to be the big black void of ‘space’ is in fact thronged with life and life-giving energy. He learns to think of it not as black and negative empty ‘space’, but as rich and full ‘deep Heaven’.

On the hunting trip an eldil appears to the hrossa (Ransom can barely see it) and tells them to take the man (hman) to Oyarsa. Oyarsa, they explain, is the eldil who is ruler of the planet. The hrossa says they will, just as soon as they finish the hunt. They successfully capture the hnakra but, once the canoes have been pulled up on shore, Hyoi, Ransom’s friend and guide, is shot by a rifle, Devine and Weston’s rifle fired from way up in the hills – and expires in Ransom’s arms.

This really brings home to Ransom just how ‘crook’ and ‘bent’ his species really is. To the hrossa it conveys a different message: that they should have obeyed the eldil straightaway. They tell Ransom how to get to the valley of Oyarsa, which requires crossing a kind of range of Martian Alps. Ransom sets off alone.

Up and up he climbs, becoming breathless, cold and observing the sky getting blacker. Eventually he realises he is climbing out of Mars’s atmosphere altogether, up to the level of the surface of the planet. He realises that all the lush life he’s been living among exists down in the ‘canals’ which are cut across Mars’s surface. Up on the ‘surface’, there is no atmosphere at all.

Before he asphyxiates he arrives at a cave where lives an ancient and wise sorn. It is one of the same creatures who had terrified him all those weeks ago, when he had first arrived, on the shore of the ‘lake’. Now he realises this species are the lofty ‘philosophers’ of Malacandra. They know about astronomy and about the planet’s history in a way which doesn’t interest the happy, hunting, singing hrossa.

The sorn (named Augray) gives Ransom a flower to press to his face, which exudes oxygen (handy), places him up on its shoulder, and then sets off across the mountains towards the valley of Oyarsa, all the way telling Ransom more about the history and life of Malacandra.

This journey on the shoulder of a wise and noble old alien creature reminds me very much of the hobbits’ encounters with the Ents in Lord of The Rings by Lewis’s lifelong friend, J.R.R. Tolkien.

Augray and Ransom descend into the beautiful valley of Meldilorn, the home of Oyarsa. Here he first sees pfifltriggi who build houses, make works of art and carve stones.

Oyarsa and the meaning of the solar system

Ransom is then led through a throng of Malacandrans, up a ‘tree’-lined avenue towards a circle of pillars like a temple, where he finally meets Oyarsa who proceeds, of course, to explain everything to him. For this is a format as old as writing – the quest, the journey, the odyssey to meet the Old Man of the Hills or guru or Master or god.

Oyarsa explains that:

  • each of the planets of the solar system has a tutelary spirit or oyarsa (plural Oyéresu)
  • on the four inner planets, which contain life, the local Oyarsa is responsible for that life
  • but the ruler of Earth (known as Thulcandra or the ‘silent planet’ hence – we now realise – the title of the book), has turned evil (become ‘bent’) and after some kind of great battle has been restricted to Thulcandra

Quite naturally, as in any allegory or romance or fantasy of this type, Ransom (and by extension the reader) is made to feel small and humble and ashamed of humanity and its greed and wars and so on. A bit like a schoolboy getting a telling off from the headmaster.

During this Great Explanation, there is a fuss back at the edge of the crowd and Ransom turns to see Devine and Weston being manhandled into Oyarsa’s presence by a group of hrossa, along with the corpses of Hyoi and two other hrossa who they have shot. God, is he ashamed to be human.

But it gets worse. Weston and Devine cannot in fact ‘see’ Oyarsa, having not developed the sensitivity to perceive eldila. They think the voice they can hear is being ‘thrown’ by a ventriloquist and decide a particularly sleepy old hross at the edge of the crowd must be throwing his voice. They talk to this old creature in patronising baby language, and offer him beads and cheap trinkets – exactly like the stereotypical white man encountering a new ‘tribe’.

Ransom could sink through the floor in embarrassment and mortification. Are these stupid, blundering, clumsy, patronising idiots his fellow ‘men’?

Oyarsa thinks Weston and Devine are behaving so irrationally they must be ill and orders them to be taken away and have their heads dunked in cold water to sober them up. They, with human cynicism, fear they are being dragged off to be executed and call on Ransom for help.

Then Oyarsa orders a pfifltriggi to use some kind of small crystal device, at the touch of which the bodies of the three dead hrossa disappear in a flash of light. That is their funeral ceremony.

Weston is brought back, head dripping with cold water, into the presence of Oyarsa where he makes a long speech justifying themselves. This is couched in a mix of imperial and capitalist rhetoric, and rises to a great vision Weston has, of Mankind colonising the other planets of the solar system and then Reaching Out To The Stars.

Ransom is called on to translate this lecture which he (and Lewis) not only regard as clumsy, crude, greedy, egocentric and completely contrary to the spirit of the peaceful ordered heavens – which we have by now learned so much about. But, on a telling linguistic level, Ransom finds that he cannot in fact translate portions of the speech, because a lot of the pompous abstract phraseology of imperialism and capitalism has no counterpart in the hrossa’s admirably practical and poetic language.

Oyarsa listens to what Ransom translates and concedes that Weston is acting out of an (admittedly misplaced) sense of duty to his species, and so decides not to evaporate him and Devine on the spot, but to allow them to proceed back to earth. Ransom must decide whether to stay or go back with them.

Reluctantly, Ransom realises he must go. Oyarsa orders the spaceship to be supplied with ninety days of oxygen, food and water, and warns that soon after that time it will be evaporated. Weston doesn’t understand, but Ransom by now realises that the entire solar system teems with life, with eldila, who can easily follow the ship’s progress and obey Oyarsa’s command, no matter where they go.

In fact the journey turns out to be pretty perilous because the earth is not in alignment with Mars and so the ship has to pass much closer to the sun than on the outward journey, becoming dangerously over-heated.

Then they discover that the moon in its orbit is between the ship and the earth. But the earthmen navigate all these perils and, after losing consciousness, Ransom eventually wakens to the most wonderful sound in the world – the sound of rain falling on the outside of the ship.

Realising the others have already left it, Ransom clambers up to the manhole cover, falls out and stumbles across fields. There is a flash behind him and he realises the spaceship has been vaporised as Oyarsa pledged. The lane becomes a road into a village and then – joy of joys – he beholds an English pub, stumbles inside, elbows his way through the crowd to the bar and orders… a pint of good old English beer!

Postscript

To my great surprise the postscript reveals that the author of this whole narrative is a man named ‘Lewis’, a friend of Ransom’s who the latter has told his story to, and who has agreed to write it up and publish it as a fiction.

To give this a plausible feel the postscript quotes a letter from Ransom to ‘Lewis’ pointing out various inaccuracies or places where Lewis has simplified the story.

It also tells that Ransom suspects Weston is going to do more mischief and has come to realise it is his mission to stop him. the struggle may take place on earth which is why Ransom has been keen to get the book published, since it will familiarise readers with key ideas which might help in the coming battle.

Key terms

Maleldil, god of all

hnau – generic for creature

Thulcandra – earth, Perelandra – Venus, Malacandra – Mars

Oyarsa, a spirit set to rule each of the inner planets

sorn, seroni

hman their name for humans

handramit the sunken canyons with breathable air where the hrossa live

Surprised by joy

Lewis was raised an Anglican but didn’t bother much about religion as an undergraduate, until he underwent a profound Christian conversion experience in 1931.

Over the next twenty years he turned himself into one of the most popular and successful writers of Christian apologetics – i.e. books and essays arguing in favour of Christianity – in the English-speaking world. These works included classics such as Mere Christianity, The Problem of Pain and Miracles.

Throughout these works Lewis makes the same central key points:

  • that the world is the product of a loving, caring God who instituted a sane and rational Moral Law for us to follow
  • that something in the world is wrong or crooked, something to do with man’s disobedience to this higher Moral Law and his ignorant pursuit of his own selfish, egotistical aims
  • and that one man greater than all men sacrificed himself in order to redeem us, in body and imagination, from imprisonment in our own petty selves – to show us a higher realm of values – and to reunite us with the creator

and he set out to convey them through all the means at his disposal.

Thus Lewis not only wrote straightforward books of Christian argumentation but also came up with some wonderfully inventive formats or fictional frames. One example is the famous Screwtape Letters (1942), supposedly written from a wily old devil to a young apprentice, listing all the ways to entrap and ensnare humans, which sheds light on the psychology of evil or selfishness or badness.

Also famous – mega-famous since they began to be made into Hollywood movies in the early 2000s – are the Chronicles of Narnia series of seven children’s books, published in quick succession between 1950 and 1956.

So Out of the Silent Planet, published in 1938, could be said to stand at the start, not only of the specific science fiction trilogy, but also of Lewis’s realisation that he could convey his Christian message in a range of fictional ways.

This background goes to explain the reader’s feeling throughout the book that it is describing not just an adventurous sequence of thrilling incidents, but is promoting a very strong point of view.

From the moment Ransom meets Hyoi onwards, the book becomes steadily more laden with hints and suggestions that life can be beautiful but something about humanity spoils it.

This is perhaps the distinctive thing about Lewis’s Christianity. It is drenched in happiness. It is not a baleful Victorian Christianity morbidly banning all pleasure of body or mind. On the contrary, Lewis sees human beings created by God to be happy – but they have fallen into narrow, egotistical ways of thinking which act against their own best interests.

As soon as Ransom is outside earth’s tainted atmosphere, he feels happy and, at various moments throughout the story, the recurrent feeling is of immense happiness.

He was on the very frontier of that heaven he had known in the space-ship, and rays that the air-enveloped words cannot taste were once more at work upon his body. He felt the old lift of the heart, the soaring solemnity, the sense, at once sober and ecstatic, of life and power offered in unasked and unmeasured abundance. If there had been air enough in his lungs he would have laughed aloud.

Lewis is a surprisingly sensuous writer. He gives unashamedly sensuous descriptions of things. Not sexual. Sensual.

Stretched naked on his bed, a second Dana, he found it night by night more difficult to disbelieve in old astrology: almost he felt, wholly he imagined, ‘sweet influence’ pouring or even stabbing into his surrendered body.

Wells, anti-Wells, beyond Wells

When it needs to be, Out of the Silent Planet is a science fantasy adventure story in the absolutely traditional mode of the day. Lewis credits H.G. Wells as an influence in his short preface and Wells is referenced throughout the book, since he was by far the most dominant imaginative influence on the genre.

For example, the very shape of the space ‘ship’ they travel in, a metal sphere, is borrowed from Wells’s First Men In The Moon. And when the hrossa quiz Ransom about earth, Ransom is very careful not to tell them about the constant warfare and lethal weaponry which characterise mankind, because:

He remembered how H. G. Wells’s Cavor had met his end on the Moon… (Chapter 11)

(In Wells’s novel, Cavor tells the moon’s inhabitants, the Selenites, all about mankind’s cruel and destructive wars, with the result that theSelenites curtail his broadcasts back to earth and – it is heavily implied – curtail him, in order not to have the vile Homo sapiens come invading their planet.)

But the actual Mars that Ransom discovers is as remote as possible from Wells’s visions of cities and steel. It is a rural, albeit alien, idyll.

The old dreams which he had brought from earth of some more than American complexity of offices or some engineers’ paradise of vast machines had indeed been long laid aside. But he had not looked for anything quite so classic, so virginal, as this bright grove.

It’s only looking back that I realise that the Wellsian paraphernalia of the opening chapters is invoked in order to draw the science fiction fan into a narrative which then goes on to shed, plate by plate, its Wellsian shell and turn into something completely different – science fiction theology – a fully Christianised view of what life on other planets might be like, and a theological interpretation of how they got that way, which takes full cognizance of the Christian story on earth – the Fall and Christ’s incarnation and redeeming crucifixion – but which, imaginatively, goes way beyond that frame to imagine the forces of good and evil battling right across the solar system.

It is the beauty – of the planet, and of its inhabitants, and then of the eldila and then of Oyarsa – the transcendent sense of beauty and happiness and joy and bliss which the book radiates, which makes it so memorable and which gives Lewis’s Christian belief its distinctively optimistic and inspirational character.


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Other science fiction reviews

1888 Looking Backward 2000-1887 by Edward Bellamy – Julian West wakes up in the year 2000 to discover a peaceful revolution has ushered in a society of state planning, equality and contentment
1890 News from Nowhere by William Morris – waking from a long sleep, William Guest is shown round a London transformed into villages of contented craftsmen

1895 The Time Machine by H.G. Wells – the unnamed inventor and time traveller tells his dinner party guests the story of his adventure among the Eloi and the Morlocks in the year 802,701
1896 The Island of Doctor Moreau by H.G. Wells – Edward Prendick is stranded on a remote island where he discovers the ‘owner’, Dr Gustave Moreau, is experimentally creating human-animal hybrids
1897 The Invisible Man by H.G. Wells – an embittered young scientist, Griffin, makes himself invisible, starting with comic capers in a Sussex village, and ending with demented murders
1898 The War of the Worlds – the Martians invade earth
1899 When The Sleeper Wakes/The Sleeper Wakes by H.G. Wells – Graham awakes in the year 2100 to find himself at the centre of a revolution to overthrow the repressive society of the future
1899 A Story of the Days To Come by H.G. Wells – set in the same future London as The Sleeper Wakes, Denton and Elizabeth defy her wealthy family in order to marry, fall into poverty, and experience life as serfs in the Underground city run by the sinister Labour Corps

1901 The First Men in the Moon by H.G. Wells – Mr Bedford and Mr Cavor use the invention of ‘Cavorite’ to fly to the moon and discover the underground civilisation of the Selenites
1904 The Food of the Gods and How It Came to Earth by H.G. Wells – scientists invent a compound which makes plants, animals and humans grow to giant size, prompting giant humans to rebel against the ‘little people’
1905 With the Night Mail by Rudyard Kipling – it is 2000 and the narrator accompanies a GPO airship across the Atlantic
1906 In the Days of the Comet by H.G. Wells – a comet passes through earth’s atmosphere and brings about ‘the Great Change’, inaugurating an era of wisdom and fairness, as told by narrator Willie Leadford
1908 The War in the Air by H.G. Wells – Bert Smallways, a bicycle-repairman from Kent, gets caught up in the outbreak of the war in the air which brings Western civilisation to an end
1909 The Machine Stops by E.M. Foster – people of the future live in underground cells regulated by ‘the Machine’ until one of them rebels

1912 The Lost World by Sir Arthur Conan Doyle – Professor Challenger leads an expedition to a plateau in the Amazon rainforest where prehistoric animals still exist
1912 As Easy as ABC by Rudyard Kipling – set in 2065 in a world characterised by isolation and privacy, forces from the ABC are sent to suppress an outbreak of ‘crowdism’
1913 The Horror of the Heights by Arthur Conan Doyle – airman Captain Joyce-Armstrong flies higher than anyone before him and discovers the upper atmosphere is inhabited by vast jellyfish-like monsters
1914 The World Set Free by H.G. Wells – A history of the future in which the devastation of an atomic war leads to the creation of a World Government, told via a number of characters who are central to the change
1918 The Land That Time Forgot by Edgar Rice Burroughs – a trilogy of pulp novellas in which all-American heroes battle ape-men and dinosaurs on a lost island in the Antarctic

1921 We by Evgeny Zamyatin – like everyone else in the dystopian future of OneState, D-503 lives life according to the Table of Hours, until I-330 wakens him to the truth
1925 Heart of a Dog by Mikhail Bulgakov – a Moscow scientist transplants the testicles and pituitary gland of a dead tramp into the body of a stray dog, with disastrous consequences
1927 The Maracot Deep by Arthur Conan Doyle – a scientist, engineer and a hero are trying out a new bathysphere when the wire snaps and they hurtle to the bottom of the sea, there to discover…

1930 Last and First Men by Olaf Stapledon – mind-boggling ‘history’ of the future of mankind over the next two billion years
1938 Out of the Silent Planet by C.S. Lewis – baddies Devine and Weston kidnap Ransom and take him in their spherical spaceship to Malacandra aka Mars,

1943 Perelandra (Voyage to Venus) by C.S. Lewis – Ransom is sent to Perelandra aka Venus, to prevent a second temptation by the Devil and the fall of the planet’s new young inhabitants
1945 That Hideous Strength: A Modern Fairy-Tale for Grown-ups by C.S. Lewis– Ransom assembles a motley crew to combat the rise of an evil corporation which is seeking to overthrow mankind
1949 Nineteen Eighty-Four by George Orwell – after a nuclear war, inhabitants of ruined London are divided into the sheep-like ‘proles’ and members of the Party who are kept under unremitting surveillance

1950 I, Robot by Isaac Asimov – nine short stories about ‘positronic’ robots, which chart their rise from dumb playmates to controllers of humanity’s destiny
1950 The Martian Chronicles – 13 short stories with 13 linking passages loosely describing mankind’s colonisation of Mars, featuring strange, dreamlike encounters with Martians
1951 Foundation by Isaac Asimov – the first five stories telling the rise of the Foundation created by psychohistorian Hari Seldon to preserve civilisation during the collapse of the Galactic Empire
1951 The Illustrated Man – eighteen short stories which use the future, Mars and Venus as settings for what are essentially earth-bound tales of fantasy and horror
1952 Foundation and Empire by Isaac Asimov – two long stories which continue the future history of the Foundation set up by psychohistorian Hari Seldon as it faces attack by an Imperial general, and then the menace of the mysterious mutant known only as ‘the Mule’
1953 Second Foundation by Isaac Asimov – concluding part of the ‘trilogy’ describing the attempt to preserve civilisation after the collapse of the Galactic Empire
1953 Earthman, Come Home by James Blish – the adventures of New York City, a self-contained space city which wanders the galaxy 2,000 years hence powered by spindizzy technology
1953 Fahrenheit 451 by Ray Bradbury – a masterpiece, a terrifying anticipation of a future when books are banned and professional firemen are paid to track down stashes of forbidden books and burn them
1953 Childhood’s End by Arthur C. Clarke a thrilling narrative involving the ‘Overlords’ who arrive from space to supervise mankind’s transition to the next stage in its evolution
1954 The Caves of Steel by Isaac Asimov – set 3,000 years in the future when humans have separated into ‘Spacers’ who have colonised 50 other planets, and the overpopulated earth whose inhabitants live in enclosed cities or ‘caves of steel’, and introducing detective Elijah Baley to solve a murder mystery
1956 The Naked Sun by Isaac Asimov – 3,000 years in the future detective Elijah Baley returns, with his robot sidekick, R. Daneel Olivaw, to solve a murder mystery on the remote planet of Solaria
1956 They Shall Have Stars by James Blish – explains the invention – in the near future – of the anti-death drugs and the spindizzy technology which allow the human race to colonise the galaxy
1957 The Black Cloud by Fred Hoyle – a vast cloud of gas heads into the solar system, blocking out heat and light from the sun with cataclysmic consequences on earth, until a small band of astronomers discovers the cloud contains intelligence and can be communicated with
1959 The Triumph of Time by James Blish – concluding story of Blish’s Okie tetralogy in which Amalfi and his friends are present at the end of the universe

1961 A Fall of Moondust by Arthur C. Clarke a pleasure tourbus on the moon is sucked down into a sink of moondust, sparking a race against time to rescue the trapped crew and passengers
1962 A Life For The Stars by James Blish – third in the Okie series about cities which can fly through space, focusing on the coming of age of kidnapped earther, young Crispin DeFord, aboard New York
1962 The Man in the High Castle by Philip K. Dick In an alternative future America lost the Second World War and has been partitioned between Japan and Nazi Germany. The narrative follows a motley crew of characters including a dealer in antique Americana, a German spy who warns a Japanese official about a looming surprise German attack, and a woman determined to track down the reclusive author of a hit book which describes an alternative future in which America won the Second World War
1963 Planet of the Apes by Pierre Boulle French journalist Ulysse Mérou accompanies Professor Antelle on a two-year space flight to the star Betelgeuse, where they land on an earth-like plane to discover that humans and apes have evolved here, but the apes are the intelligent, technology-controlling species while the humans are mute beasts
1968 2001: A Space Odyssey a panoramic narrative which starts with aliens stimulating evolution among the first ape-men and ends with a spaceman being transformed into galactic consciousness
1968 Do Androids Dream of Electric Sheep? by Philip K. Dick In 1992 androids are almost indistinguishable from humans except by trained bounty hunters like Rick Deckard who is paid to track down and ‘retire’ escaped andys
1969 Ubik by Philip K. Dick In 1992 the world is threatened by mutants with psionic powers who are combated by ‘inertials’. The novel focuses on the weird alternative world experienced by a group of inertials after a catastrophe on the moon

1971 Mutant 59: The Plastic Eater by Kit Pedler and Gerry Davis – a genetically engineered bacterium starts eating the world’s plastic
1973 Rendezvous With Rama by Arthur C. Clarke – in 2031 a 50-kilometre long object of alien origin enters the solar system, so the crew of the spaceship Endeavour are sent to explore it
1974 Flow My Tears, The Policeman Said by Philip K. Dick – America after the Second World War has become an authoritarian state. The story concerns popular TV host Jason Taverner who is plunged into an alternative version of this world in which he is no longer a rich entertainer but down on the streets among the ‘ordinaries’ and on the run from the police. Why? And how can he get back to his storyline?
1974 The Forever War by Joe Haldeman The story of William Mandella who is recruited into special forces fighting the Taurans, a hostile species who attack Earth outposts, successive tours of duty requiring interstellar journeys during which centuries pass on Earth, so that each of his return visits to the home planet show us society’s massive transformations over the course of the thousand years the war lasts.

1981 The Golden Age of Science Fiction edited by Kingsley Amis – 17 classic sci-fi stories from what Amis considers the Golden Era of the genre, namely the 1950s
1982 2010: Odyssey Two by Arthur C. Clarke – Heywood Floyd joins a Russian spaceship on a two-year journey to Jupiter to a) reclaim the abandoned Discovery and b) investigate the monolith on Japetus
1987 2061: Odyssey Three by Arthur C. Clarke – Spaceship Galaxy is hijacked and forced to land on Europa, moon of the former Jupiter, in a ‘thriller’ notable for Clarke’s descriptions of the bizarre landscapes of Halley’s Comet and Europa

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