C. S. Lewis scholar Andrew Lazo has blessed the world of Lewis lovers - both scholars and fans - by bringing out a critical edition of the previously unpublished first draft of what amounts to a Q-document or Ur-Hamlet of Lewis' autobiographical works Pilgrim's Regress and Surprised by Joy. The current edition of SEVEN, the Marion E. Wade Center's definitive journal on all things Inklings, contains both the edited manuscript and Andrew's introductory essay. As I say, this new work contains rich blessings for both scholars like Andrew and fans such as myself. Of course, these distinctions are more convenient than real since being the former does not preclude one from being the latter, nor does being the latter prevent one from aspiring to the former.
For the serious Lewis student, the merits are obvious. Andrew has already rocked the field by establishing beyond doubt that the accepted date of Lewis' conversion must be altered. He now provides us with the single most significant datum for that argument. As Andrew explains in his introductory essay, what might seem an obscure point of biographical detail actually has the potential to deepen our understanding of one of the great minds of the twentieth century. But more than that, access to Lewis' rather raw thoughts (remember, this is an unpublished manuscript written closer to the events described than any other known document) will assist researchers in tracking the growth and development of Lewis' faith.
For the person like me who simply dives into Lewis to revel in elegant, masterful prose and the pleasure of complex thought expressed with breath-taking simplicity, this new work is a joy. Many lines will enter the rich public trove of the quotable Lewis. My personal favorite is Lewis' hymning of what he calls "the joys of atheism." His honest treatment of that subject, previously unknown, would be a welcome addition to the rather tinny "debates" we hear so often between the "new atheists" and certain Christian apologists. There is also a line about "the Christian superstition" as opposed to the true faith which our Fox News Christianity much needs to hear. Again, even a casual reader such as I can quickly gain new background into much-loved scenes from Lewis, such as Ransom's sense of the uncomfortable "fullness" of the Perelandrian atmosphere or John's sad plunge into the Brown Girls in "Pilgrim's Regress." Particularly striking is Lewis' frank account of his flirtation with magic. His desire to visit other worlds presages the Wardrobe, but also - darkly - Uncle Andrew.
But this is to look at Da Vinci's "Last Supper" and point out a favorite splash of color or how nicely the artist renders St. Jude's cheekbones. I heartily recommend that the reader order the journal here and read the manuscript itself. This is all the more a wise decision because Andrew's introductory essay and crisp footnotes genuinely open the work itself in ways that I, at least, could not have discovered on my own. He is an apt Virgil for this journey, one who has, happily, this time been permitted to take us through the Paradisio itself.
Hear, hear!
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