Oral Narrative and Literate Pedagogy in the Chronicles of Narnia Nicole Duplessis Texas A&M University

Inklings Forever Volume 4 A Collection of Essays Presented at the Fourth Frances White Ewbank Colloquium on C.S. Article 12 Lewis & Friends 3-2004 Reading Lewis Reading: Oral Narrative and Literate Pedagogy in the Chronicles of Narnia Nicole DuPlessis Texas A&M University Follow this and additional works at: https://pillars.taylor.edu/inklings_forever Part of the English Language and Literature Commons, History Commons, Philosophy Commons, and the Religion Commons Recommended Citation DuPlessis, Nicole (2004) "Reading Lewis Reading: Oral Narrative and Literate Pedagogy in the Chronicles of Narnia," Inklings Forever: Vol. 4 , Article 12. Available at: https://pillars.taylor.edu/inklings_forever/vol4/iss1/12 This Essay is brought to you for free and open access by the Center for the Study of C.S. Lewis & Friends at Pillars at Taylor University. It has been accepted for inclusion in Inklings Forever by an authorized editor of Pillars at Taylor University. For more information, please contact [email protected]. INKLINGS FOREVER, Volume IV A Collection of Essays Presented at The Fourth FRANCES WHITE EWBANK COLLOQUIUM ON C.S. LEWIS & FRIENDS Taylor University 2004 Upland, Indiana Reading Lewis Reading: Oral Narrative and Literate Pedagogy in The Chronicles of Narnia Nicole DuPlessis DuPlessis, Nicole. “Reading Lewis Reading: Oral Narrative and Literate Pedagogy in The Chronicles of Narnia.” Inklings Forever 4 (2004) www.taylor.edu/cslewis 1 Reading Lewis Reading: Oral Narrative and Literate Pedagogy in the Chronicles of Narnia Nicole M. DuPlessis Critical consensus about C.S. Lewis’s Chronicles “intrusive,” “obtrusive,” or, by one critic, “engaging” of Narnia, that they were “written to familiarize a body seeks to establish the presence of the implied author of people, especially children, with certain ideas, within the text. On a more theoretical level, this strategy namely the Christian faith and the way of life that goes implies the presence of sound—a “voice” which can, or with that faith,” which Paul Ford qualifies by saying could, be heard—and that of another person within a that Lewis of course intended to teach mere Christianity self-contained text, usually thought to be read silently, (xxvii) is so commonplace that I hope that you may without the possibility of mutual interaction, by a wonder my purpose in invoking it now. Though solitary individual. When a child is young, not yet certainly a motivating factor behind a part of his possessing the level of skill necessary to read a certain production of Narnia, as Lewis mentions in one essay book, perhaps, or still young enough to appreciate, or on the subject,1 the Christian concepts associated with prefer having a story read to him or her, the “voice” of Lewis’s statement are far from being the only concepts the narrator may become, quite literally, the voice of a with which the Chronicles may familiarize the young parent, teacher, or sibling. This fact alone suggests a reader. Elsewhere I have discussed a tendency toward “transitional” or hybrid nature of readers (or hearers) of environmental consciousness in the Chronicles which is stories for children and a corresponding “transitional” often combined with latent anti-colonial plot structures nature of children’s stories.4 That Lewis is aware of this to create a truly interesting exploration of the relationship between the orality and literacy of interrelationship between human exploitation of animals children’s stories is evident in “On Three Ways of and the environment and human exploitation of other Writing for Children,” in which he describes the humans within these self-consciously conservative and method of composition used by “Lewis Carroll, Christian texts.2 In this paper, I would like to explore a Kenneth Grahame, and Tolkien,” whose “printed different series of aims in the Chronicles, namely, stor[ies] grow out of a story told to a particular child Lewis’s intention to familiarize his readers with “certain with the living voice and perhaps ex tempore”(OTW concepts” centered around ways of reading and, more 23).5 If one considers the child who, having learned to explicitly, what to read. read, is now transitioning from reading as an activity Generations of critics have been troubled by the shared with a parent or other companion (like “derivative” nature of many of the Chronicles. Among communal storytelling in an oral culture), to reading as children’s literature critics, this is combined with a a solitary occupation, it is perhaps less mysterious that tendency to criticize Lewis’s use of the “intrusive the “intrusive/obtrusive” narrative voice, with its narrator,” which many associate with late-Nineteenth reproduction, however imperfect, of the voice of oral century didacticism in children’s literature—if the narration, should remain popular with child readers. narrator is talking to the child, then the author must The seemingly functional narrative voice appeals to the necessarily be talking (or writing) down3 to the child, pre- or semi-literate child, who, having not yet imparting a lesson or stressing the moral aspects of the assimilated the “private” reading of fully-literate adults, tale. Though both of these critiques are based very seeks the guidance and company of the implied narrator accurately on the style Lewis employs and the content of the text. he invokes, both are limiting in their approach to the Lewis establishes the tone of his narrative voice books, which, in spite of more negative critical opinion, early in The Lion, the Witch, and the Wardrobe. It is the have been consistently in print and attracting new voice of a storyteller, who introduces The Lion, the readers and admirers since their publication. Witch, and the Wardrobe by telling children that this is Interestingly, however, these two accusations, that the “something that happened to [Peter, Susan, Edmund, books are derivative and that the narrative voice is and Lucy] when they were sent away from London condescending, a concept often confused with because of the air-raids” (LWW 1), giving the names of pedagogical, may be addressed simultaneously, in part, the servants, “Ivy, Margaret, and Betty, [though] they by admitting the partial accuracy of one of the charges: do not come into the story much” (LWW 1). The voice the “intrusive (or obtrusive) narrator” as it is used in adds parenthetical description, both of relative ages of children’s literature is an instructive voice, and further the characters and of the scene as it is happening: elucidating the nature of the instruction. “(‘one for me and one for a friend,’ said Mr. Tumnus)” On a basic level, the narrative voice known as (LWW 12), at times indicating by the parenthetical 2 Reading Lewis Reading ● Nicole M. DuPlessis nature of this narrative “intrusion” how it is best read if school environment of their children, or even (as Filmer read aloud. It is also the voice of a teacher, who says suggests) politicians. Coinciding with the intrusive very seriously of Lucy, “(She had, of course, left the narration, this scene may offend the political door open, for she knew that it is a very silly thing to sensibilities of some critics, notably David Holbrook shut oneself into a wardrobe.)” (LWW 7). This may be (22-24, 141), who may then see this as an unpardonable read as a disclaimer, of sorts—Lewis’s admonition to instance of “writing over” or “writing down to” the children who might imitate his characters to their own child reader. A similar instance of overt narrative misfortune. It is certainly a preparation for the actions teaching, implicitly critiqued by Filmer (79), occurs in of Edmund, who forgets “what a very foolish thing it is” The Voyage of the Dawn Treader, when Eustace is to shut the wardrobe door behind him (LWW 24). But in described as “liking beetles if they were dead and an age well-accustomed to humor on television, when pinned to a card”; certainly more condescending we should certainly recognize a running “gag,” it is all- narrative interventions are targeted at characters who to-frequently overlooked that encountering this need reform and who, more often than not, are reformed phrasing on page 5, then again on page 7, twice on page through the course of the book. This particular 24, and again on page 49 (phrased slightly differently), intervention is striking because it provides an additional most readers will cease to regard it as a lesson after lesson on the wrong way to experience nature. perhaps the second repetition; rather, this becomes a Examples of more lighthearted narrative interventions shared joke between the narrative companion and the are to be found in The Magician’s Nephew, when the reader—all the more memorable because of this narrator (class-conscious though he may be) indicates element of humor. the gleeful experience of the housemaid, “(who was Instances of the narrator of the Chronicles acting as really having a lovely day)” (81), seeing the chaos at storyteller, companion, co-conspirator and teacher the front door and the disruption of the household at the extend beyond The Lion, the Witch, and the Wardrobe. arrival of Jadis of Charn in late Nineteenth Century The Silver Chair has received attention from specialists England, three times in a matter of a page or two. But in both children’s literature and Lewis’s own fiction the narrative intervention with the most significance for analyzing or critiquing the rather heavy-handed my discussion centers on the time-continuum that narrative opposing “mixed” schools; here, a narrator separates Narnia from the children’s life in England. who is clearly speaking to children and adults, or If the narrative strategy used by Lewis in the perhaps children as future adults, self-consciously Chronicles may be described as mediating between oral admits that, “This is not going to be a school story, so I storytelling modes and the solitary experience of texts, shall say as little as possible about Jill’s school, which a connection between the narrative voice and another is not a pleasant subject.

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