![]() ![]() ![]() Lewis intends its world, like Narnia’s, to stand on its own, offering no convenient Wardrobe entry point, demanding of its reader the patient, slow, respectful invasion by which he or she willingly becomes incarnate, submerged in a strange and forbidding new world where all the usual modern and familiar Lewisian signposts are absent where one must learn page by page, monologue by soliloquy, what is happening, to whom, and what the “culture” of Glome is like, much in the fashion of Lewis’s famous, “Meditation in a Toolshed” essay (found in God in the Dock). It is daring, experimental, and unlike anything before or after it in Lewis’s published work. ![]() It represents a nuanced spiritual conversion story vaguely autobiographical but also comprising the singular narrative of every journey from bondage to freedom, from cavelight to sunshine, both painful and telling, demanding and piercing. ![]() Till We Have Faces is heavily motivated by Lewis’s longtime interest in the cupid/psyche myth, but now influenced by and filtered through his courtship and marriage to Joy Davidman and mature Christian faith, and interwoven with several complementary writing projects of the roughly same period ( Surprised by Joy The Four Loves An Experiment in Criticism). ![]()
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