“Courage, dear heart”

I’ve been unsure whether and what to write in the last few days. The temptation to offer uneducated opinions seems to be strong in much of the online community, and I don’t want to add my voice to the noise.

Yet there has been a lot of beautiful communication as well; people offering to help out, teachers offering assistance to parents homeschooling in the coming days, folks eager to make deliveries / shopping runs for older people or others more vulnerable to the illness. It’s good to remember how wonderful human beings can be.

I’m thinking about writing some posts in the next few weeks with ideas/resources for ELA teachers who are transitioning to teaching online, so watch for those and feel free to share with parents or other teachers who might find them useful.

In the meantime, a passage from C. S. Lewis’ Voyage of the Dawn Treader I have always loved, that seems timely. Of course, the situation in the story is by no means an accurate analogy for our situation now — but Lucy’s response feels right. A long excerpt below (Lewis’ works are now in the public domain).

The crew of the ship are headed into a mysterious darkness hovering over the sea:

So the three lanterns, at the stern, and the prow and the masthead, were all lit, and Drinian ordered two torches amidships. Pale and feeble they looked in the sunshine. Then all the men except some who were left below at the oars were ordered on deck and fully armed and posted in their battle stations with swords drawn. Lucy and two archers were posted on the fighting top with bows bent and arrows on the string. Rynelf was in the bows with his line ready to take soundings. Reepicheep, Edmund, Eustace and Caspian, glittering in mail, were with him. Drinian took the tiller.

“And now, in Aslan’s name, forward!” cried Caspian. “A slow, steady stroke. And let every man be silent and keep his ears open for orders.”

With a creak and a groan the Dawn Treader started to creep forward as the men began to row. Lucy, up in the fighting top, had a wonderful view of the exact moment at which they entered the darkness. The bows had already disappeared before the sunlight had left the stern. She saw it go. At one minute the gilded stern, the blue sea, and the sky, were all in broad daylight: next minute the sea and sky had vanished, the stern lantern – which had been hardly noticeable before – was the only thing to show where the ship ended. In front of the lantern she could see the black shape of Drinian crouching at the tiller. Down below her the two torches made visible two small patches of deck and gleamed on swords and helmets, and forward there was another island of light on the forecastle. Apart from that, the fighting top, lit by the masthead light which was only just above her, seemed to be a little lighted world of its own floating in lonely darkness. And the lights themselves, as always happens with lights when you have to have them at the wrong time of day, looked lurid and unnatural. She also noticed that she was very cold.

How long this voyage into the darkness lasted, nobody knew. Except for the creak of the rowlocks and the splash of the oars there was nothing to show that they were moving at all. Edmund, peering from the bows, could see nothing except the reflection of the lantern in the water before him. It looked a greasy sort of reflection, and the ripple made by their advancing prow appeared to be heavy, small, and lifeless. As time went on everyone except the rowers began to shiver with cold.

Suddenly, from somewhere – no one’s sense of direction was very clear by now – there came a cry, either of some inhuman voice or else a voice of one in such extremity of terror that he had almost lost his humanity.

Caspian was still trying to speak – his mouth was too dry – when the shrill voice of Reepicheep, which sounded louder than usual in that silence, was heard.

“Who calls?” it piped. “If you are a foe we do not fear you, and if you are a friend your enemies shall be taught the fear of us.”

“Mercy!” cried the voice. “Mercy! Even if you are only one more dream, have merry. Take me on board. Take me, even if you strike me dead. But in the name of all mercies do not fade away and leave me in this horrible land.”

“Where are you?” shouted Caspian. “Come aboard and welcome.”

There came another cry, whether of joy or terror, and then they knew that someone was swimming towards them.

“Stand by to heave him up, men,” said Caspian.

“Aye, aye, your Majesty,” said the sailors. Several crowded to the port bulwark with ropes and one, leaning far out over the side, held the torch. A wild, white face appeared in the blackness of the water, and then, after some scrambling and pulling, a dozen friendly hands had heaved the stranger on board.

Edmund thought he had never seen a wilder-looking man. Though he did not otherwise look very old, his hair was an untidy mop of white, his face was thin and drawn, and, for clothing, only a few wet rags hung about him. But what one mainly noticed were his eyes, which were so widely opened that he seemed to have no eyelids at all, and stared as if in an agony of pure fear. The moment his feet reached the deck he said:

“Fly! Fly! About with your ship and fly! Row, row, row for your lives away from this accursed shore.”

“Compose yourself,” said Reepicheep, “and tell us what the danger is. We are not used to flying.”

The stranger started horribly at the voice of the Mouse, which he had not noticed before.

“Nevertheless you will fly from here,” he gasped. “This is the Island where Dreams come true.”

“That’s the island I’ve been looking for this long time,” said one of the sailors. “I reckoned I’d find I was married to Nancy if we landed here.”

“And I’d find Tom alive again,” said another.

“Fools!” said the man, stamping his foot with rage. “That is the sort of talk that brought me here, and I’d better have been drowned or never born. Do you hear what I say? This is where dreams – dreams, do you understand, come to life, come real. Not daydreams: dreams.”

There was about half a minute’s silence and then, with a great clatter of armour, the whole crew were tumbling down the main hatch as quick as they could and flinging themselves on the oars to row as they had never rowed before; and Drinian was swinging round the tiller, and the boatswain was giving out the quickest stroke that had ever been heard at sea. For it had taken everyone just that half-minute to remember certain dreams they had had – dreams that make you afraid of going to sleep again – and to realize what it would mean to land on a country where dreams come true.

Only Reepicheep remained unmoved.

“Your Majesty, your Majesty,” he said, “are you going to tolerate this mutiny, this poltroonery? This is a panic, this is a rout.”

“Row, row,” bellowed Caspian. “Pull for all our lives. Is her head right, Drinian? You can say what you like, Reepicheep. There are some things no man can face.”

“It is, then, my good fortune not to be a man,” replied Reepicheep with a very stiff bow.

Lucy from up aloft had heard it all. In an instant that one of her own dreams which she had tried hardest to forget came back to her as vividly as if she had only just woken from it. So that was what was behind them, on the island, in the darkness! For a second she wanted to go down to the deck and be with Edmund and Caspian. But what was the use? If dreams began coming true, Edmund and Caspian themselves might turn into something horrible just as she reached them. She gripped the rail of the fighting top and tried to steady herself. They were rowing back to the light as hard as they could: it would be all right in a few seconds. But oh, if only it could be all right now!

Though the rowing made a good deal of noise it did not quite conceal the total silence which surrounded the ship.

Everyone knew it would be better not to listen, not to strain his ears for any sound from the darkness. But no one could help listening. And soon everyone was hearing things. Each one heard something different.

“Do you hear a noise like . . . like a huge pair of scissors opening and shutting .. . over there?” Eustace asked Rynelf.

“Hush!” said Rynelf. “I can hear them crawling up the sides of the ship.”

“It’s just going to settle on the mast,” said Caspian.

“Ugh!” said a sailor. “There are the gongs beginning. I knew they would.”

Caspian, trying not to look at anything (especially not to keep looking behind him), went aft to Drinian.

“Drinian,” he said in a very low voice. “How long did we take rowing in? – I mean rowing to where we picked up . the stranger.”

“Five minutes, perhaps,” whispered Drinian. “Why?”

“Because we’ve been more than that already trying to get out.”

Drinian’s hand shook on the tiller and a line of cold sweat ran down his face. The same idea was occurring to everyone on board. “We shall never get out, never get’ out,” moaned the rowers. “He’s steering us wrong. We’re going round and round in circles. We shall never get out.” The stranger, who had been lying in a huddled heap on the deck, sat up and burst out into a horrible screaming laugh.

“Never get out!” he yelled. “That’s it. Of course. We shall never get out. What a fool I was to have thought they would let me go as easily as that. No, no, we shall never get out.”

Lucy leant her head on the edge of the fighting top and whispered, “Aslan, Aslan, if ever you loved us at all, send us help now.” The darkness did not grow any less, but she began to feel a little – a very, very little – better. […]

“Look!” cried Rynelf’s voice hoarsely from the bows. There was a tiny speck of light ahead, and while they watched a broad beam of light fell from it upon the ship. It did not alter the surrounding darkness, but the whole ship was lit up as if by searchlight. Caspian blinked, stared round, saw the faces of his companions all with wild, fixed expressions. Everyone was staring in the same direction: behind everyone lay his black, sharply-edged shadow.

Lucy looked along the beam and presently saw something in it. At first it looked like a cross, then it looked like an aeroplane, then it looked like a kite, and at last with a whirring of wings it was right overhead and was an albatross. It circled three times round the mast and then perched for an instant on the crest of the gilded dragon at the prow. It called out in a strong sweet voice what seemed to be words though no one understood them. After that it spread its wings, rose, and began to fly slowly ahead, bearing a little to starboard. Drinian steered after it not doubting that it offered good guidance. But no one except Lucy knew that as it circled the mast it had whispered to her, “Courage, dear heart,” and the voice, she felt sure, was Aslan’s […]

If there were another Narnia book

There are some books you always come back to, no matter how long you have been away from them. You come back to be comforted, uplifted, to see old friends again…

Or you come back because there is something still nagging at you.

This post is for people who have read The Chronicles of Narnia. There are spoilers, so if you have not read the books, please go fill the gaping hole in your childhood as soon as possible and come back to this post afterwards.

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Now then–

The Pevensie children, who enter the world of Narnia through the wardrobe, help put an end to winters with no Christmases, and become kings and queens, appear in five out of the seven books in the series. One wonders if perhaps Narnia with all its creatures was created just for them — for their particular salvation, though of course they play a large role in saving Narnia in return many times.

They appear at the very end of book seven, The Last Battle, on the other side of the stable door and in Aslan’s country.

There are three fascinating plot choices Lewis made in this last book regarding the Pevensies:

  1. Peter, Edmund and Lucy die in a train crash. That is how they end up in Aslan’s country (heaven) at all.
  2. Susan, however, was not on the train, and does not die. So she is left alive in our world and is not present with the other three in the last book.
  3. We learn that Susan has stopped believing in Narnia altogether.

Briefly – #1 is fascinating because up until this point, the only main character who dies during any of the stories is Aslan himself, and he comes back because of the “deeper magic before the dawn of time.” The children’s deaths are not dwelt upon at length, but I remember feeling a little shock when my dad read this part to me when I was a child. I may have been dimly aware that I would have only been a few years younger than Lucy was at that point. Lewis does not seem to shy away from hinting at his young readers’ own mortality as they learn that the characters they have followed and identified with met a rather tragic end.

But it is points 2 and 3 that surprised me far more when I first read The Last Battle. In fact, “surprised” isn’t really the right word. “Horrified” might be closer.

The whole book, of course, is about the battle of belief. Eustace and Jill find themselves in a Narnia where many people do not believe in Aslan anymore, or confuse Aslan with the demonic figure Tash. The Pevensie children, who had saved Narnia long before, are now perceived as mere legends themselves.

And then we find out that Susan herself has also stopped believing:

“Sir,” said Tirian, when he had greeted all these. “If I have read the chronicle aright, there should be another. Has not your Majesty two sisters? Where is Queen Susan?”
“My sister Susan,’ answered Peter shortly and gravely, ‘is no longer a friend of Narnia.”
“Yes,” said Eustace, “and whenever you’ve tried to get her to come and talk about Narnia or do anything about Narnia, she says, ‘What wonderful memories you have! Fancy your still thinking about all those funny games we used to play when we were children.’”
“Oh Susan!” said Jill. “She’s interested in nothing nowadays except nylons and lipstick and invitations. She always was a jolly sight too keen on being grown-up.”

C. S. Lewis, The Last Battle

I was crushed.

Initially, I was devastated by Peter, Edmund and Lucy’s seemingly quick recovery from the loss of their sister. They seem irritated with her instead of deeply wounded by her absence.

Then, I was angry with the culprit herself. How could Susan give Narnia up for nylons? How could she leave her brothers and sister and the world they had shared? Above all, how could she leave Aslan? 

And, finally, I was furious with the author. How could Lewis have left Susan?

If your feminist side, like mine, is also angry with Lewis for condemning Susan’s interest in “nylons and lipstick” and growing up, see Eileen Lee’s wonderful response to that complaint here. A taste:

It is not so much Susan’s external activities, I think, that Lewis wanted to highlight, but the condition of her heart. And this was her condition—that she was preoccupied with things that, while not necessarily bad, were not worthy to be the foundation of her identity or source of affirmation. For she was a Queen. She had simply forgotten so.

My younger self was angry with Lewis, and my older self is still troubled by his choice, but now I think perhaps he was onto something.

Losing one’s faith really is a form of forgetting.

I’ve written about the connection between faith and memory before, and so have Popes Francis and Benedict in Lumen Fidei. How often does our faith in God waver because we forget what he is really like?  How often do we sin because we forget ourselves?

How many friends of ours, or family members, have fallen away from faith because they seem to have forgotten something? You kind of want to shake them sometimes and say, “But don’t you remember?”

In Susan’s case the relationship between faith and memory is particularly striking. She wants to be “grown up” and leave her former identity behind. She has forgotten who she really is.

But of course Aslan has not. He always did say, “Once a king or queen in Narnia, always a king or queen.”

That line gives me hope for Susan, and for all the Susans in the world (of which number I am often included).

JustinSweet_Narnia-concept
Concept Art via Narniafans.com

Later, Lewis gave this tantalizing response to a concerned young reader in 1957:

“The books don’t tell us what happened to Susan. She is left alive in this world at the end, having by then turned into a rather silly, conceited young woman. But there’s plenty of time for her to mend and perhaps she will get to Aslan’s country in the end . . . in her own way.”

via Matthew Alderman, “Whatever Happened to Susan Pevensie” First Things

His words still echo in my mind.

I have this crazy desire to write that book. How does Susan “get to Aslan’s country in the end, in her own way”? How does she react to the death of her entire family? (We learn the Pevensie parents also died in the crash.) Does she grow up like she wants to? Does she get married and have kids? Does her daughter get to Narnia somehow, even after the ending of that world in The Last Battle? (Time always was flexible between that world and ours.) Does the story somehow involve the horn of Queen Susan, which was lost after the events of Wardrobe and rediscovered in Prince Caspian? Or does it perhaps explore the chase of the ever-elusive White Stag?

I have, of course, no right to attempt such a story. The “canon” is closed.

And perhaps leaving Susan’s fate unresolved is wise. Lewis’ troubling, irritating choice alerts young readers to the fact that “the last battle” of your life–the only battle of your life–is the battle of faith, and that it is ongoing. You win, you lose, you win again, you lose again. Even a Queen of Narnia is not safe. And even a “grown up” is not lost.

Peter, Edmund, and Lucy are not devastated by Susan’s departure not just because the “sorrows of hell cannot touch the joys of heaven” but also because, perhaps, the separation may only be temporary. Susan’s story, Lewis indicates, is not over yet.

Neither is ours.

I can see the beginning chapter now.

They were not to take the train, because Mother hated trains. But Father was very ill and the doctors said country air was the kindest medicine left for him. The small farm cottage that had been left to them years ago was prepared. So the Walker family took a bus from London, and then another bus, and then another—each a little less crowded than the last…

Teaching and World-Making – Or, the Importance of Setting

So I’m finishing up my unit on short stories with my sophomores. Our last lesson has a relatively simple goal, but it gave me a lot to think about: SWBAT analyze the effects of setting on plot in short stories.

We define our terms first:

Plot = what happens (in a story, movie, play, novel…)

Setting = when and where the plot happens (in a story, movie, play, novel…)

This is what Eudora Welty has to say:

Every story would be another story, and unrecognizable if it took up its characters and plot and happened somewhere else… Fiction depends for its life on place. Place is the crossroads of circumstance, the proving ground of, What happened? Who’s here? Who’s coming?…

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Eudora Welty was a photographer as well as a writer. This is “Home by Dark.”

I don’t think we often think about this potential power of place over character and action. Setting is one of the things all teachers talk about in English class, along with plot, characterization, exposition, climax, resolution, etc. But I think it is sometimes left in the background.

(Pun intended. Go back if you didn’t notice it… )

Yet Welty insists upon the importance of setting, and even that events and characters somehow depend upon it. Or, as my students had to write down in their notes: setting defines the logical possibilities and limitations of plot.

It defines what can or cannot happen in a story.

I think Southern writers have a particular sensitivity to the importance of place or setting. The setting IS the story. Think of Faulkner’s As I Lay Dying or The Sound and the Fury. Or Katharine Anne Porter’s “The Jilting of Granny Weatherall” (the setting is both exterior, the rural South, and interior, the wandering mind of Granny). Or Flannery O’Connor in “Revelation” and “A Good Man is Hard to Find.” O’Connor, largely due to her sacramental view of reality, expands the traditional notion of setting so that it transcends the physical:

The writer operates at a peculiar crossroads where time and place and eternity somehow meet. His problem is to find that location. (O’Connor, Mystery and Manners)

hogwartsI gave my kids a different example that I thought might work better for them. The reason why the Harry Potter series works so well, I believe, isn’t so much because of the plot and the characters (although of course these are important). The plot and the characters work because Rowling spends so much time in the first book carefully developing her setting, creating her place, defining the possibilities and limitations of the Muggle world and the Wizarding world.

Think about the detail given to describing Privet Drive, and Diagon Alley, and of course Hogwarts itself. Her world is magical but consistent – it has it’s own logic and it’s own rules. Indeed, really what made me read book two, and three, and all the others was this sense of wanting to return to that place. Yes, I cared about Harry – but I cared about returning to Hogwarts even more.

middle earthI think one of the very best examples – that really sets itself apart from any type of comparison to other stories –  is Tolkien’s Middle Earth. What is so good about The Lord of the Rings isn’t just the wonderful characters, the stirring struggle between good and evil, the languages, the recalling of myth. Rather, it’s the fact that all of these things are at home in Middle Earth itself,  – a world we believe in, and want to return to, or learn about, because it feels like our own history.  I don’t know about you, but I spent a lot of time when I was little just looking at the maps in the opening pages of the book.

There is Narnia, too. What we really desire, why we keep reading, is because we want to go back to that place created by Lewis.  I checked every closet in my house, several times, just to be sure. “Once a king or queen in Narnia, always a king or queen.”

narnia-map

I was thinking about all of this as I sat in my empty classroom during 5th hour, normally the seniors’ class. I was sitting in one of the student desks in the middle of the room. I like to sit in the student desks sometimes so I don’t get completely locked into my teacher-desk perspective. The room looks pretty different out there.

And I realized that teachers are engaged in world-making, too. We create a setting – our classrooms. And, in a way, we help define what is possible in our classrooms by creating a particular environment, unique to our personalities and our teaching style, but also hopefully open to our students’ personalities and their learning styles.

This year I have worked hard to make my classroom more accessible. Places for papers, folders, essays, are all labeled. I try to keep the space as clean and organized. This is a setting for listening and discussing and writing and reading and writing and revising and writing and writing and writing… and the classroom has to reflect that just as much as my words and actions do. My kids need to know that as soon as they walk through my door they have entered a place for learning.

I have substituted this year in many rooms where there a papers on the floor, dirty desks, and bare walls. I remember my own classroom last year – “disorganized” is a gentle way to describe it. And I think such classrooms limit the possibilities for students. Carelessness, even in the details, suggests a lack of thoughtfulness and purpose. A question I found myself unable to answer a lot last year was, “Ms. Shea, where do I put this?” “Um… I’ll just take it for now…” This year, I love when the kids don’t  have to ask me that any more. They know where to go, where to put things, when to do it… setting setting setting.

Anyway –

To what extent does the setting affect the plot in your favorite stories… in your classroom… in your home?

If you really want some tough but tasty food for thought on setting, you should go read O’Connor’s story “The Displaced Person.”