Saturday, January 28, 2017

ABC LOST's final season and the Narnia connection

This article was originally published on this date back in 2010 on Examiner.com. I reproduce it here for posterity.
Charlotte Staples Lewis - promotional photo

Next Tuesday, February 2, the ABC Series LOST returns for its sixth and final season. There is a definite connection between the ABC show LOST and The Chronicles of Narnia.

In February of 2008, LOST introduced a new character named Charlotte Staples Lewis. The name is obviously derived from Clive Staples (C.S.) Lewis, the author of The Chronicles of Narnia series of seven children’s books.

C.S. Lewis was called “Jack” by his friends, and it has been speculated that the character Jack in LOST somewhat represents C.S. Lewis’s journey from Atheism (man of science) to Christianity (man of faith).

The first episode of Season 4 (”Confirmed Dead”) was aired on February 7, 2008, and was rebroadcast the following week in an “enhanced” version with clues and tidbits added to the bottom of the screen. In this episode, we received confirmation that LOST’s C.S. Lewis is indeed related to both the author and his books. The bottom of the screen reads:

This is Charlotte Staples Lewis… she is an anthropologist. Her name is inspired by C.S. Lewis… author of The Chronicles of Narnia… a story of an unlikely passage… to a most unusual place.

Charlotte is then seen in a flashback in a desert in Tunisia. She has learned about an archaeological dig there, and identifies some bones as that of a polar bear.

We’ve seen polar bears on the island… now here’s evidence of the furry creatures… in another unlikely location.

Charlotte does some digging through the sand near the bones and finds a leather strap.

A DHARMA logo from the Hydra Station… the discovery is very important to Charlotte.

Although there are no polar bears in the Narnia books, the Walden/Disney movie based on The Lion, the Witch, and the Wardrobe does show the White Witch being pulled by polar bears in a chariot during the battle scenes. Could that scene have been an influence for the TV series?

The reference to C. S. Lewis was quickly picked up by the media after this episode appeared. Jeff Jensen of Entertainment Weekly was reminded of a scene from one of the books. When Charlotte first arrives, she is seen splashing around in the water. In Prince Caspian, the Pevensie children play in the ocean when they are returned to Narnia.

In the LOST episode “This Place is Death,” Charlotte reveals that she had indeed lived on the island as a little girl, and had been warned not to return. Her mother had taken her off the island, and had convinced her over the years that the island was just a child’s game—it was just make-believe. The sounds like Susan’s attitude toward Narnia as she grew older. But her discovery of polar bear remains with a DHARMA collar in the desert had rekindled her belief in the island.

Charlotte dies from the adverse effects of time travel, but the references to Narnia are not finished. In the sixth episode of Season 5, “316,” we are introduced to a DHARMA  Station, not on the island, but in Los Angeles. It is called the Lamppost, an obvious reference to the Lamppost (near the entrance to the Wardrobe) in the Narnia books. The Lamppost is used to “find” the island.

The title of the episode, “316,” is the flight number they must take to get back to the island, but it is also an apparent reference to John 3:16 in the Bible: “For God so loved the world that he gave his one and only Son, that whoever believes in him shall not perish but have eternal life.”

Jack is compared to Thomas, whose fame is that he doubted the resurrection. Jack must become a “man of faith” instead of the “man of science” he has been (in contrast to Locke) since the beginning of the show.

But where will the series now go now that we have seen that Locke’s “resurrection” was apparently a ruse perpetuated by Jacob’s nemesis? And will there be more references to Narnia in Season 6?
For more information about LOST and the Narnia connections, see Preview to the Last Season on HollywoodJesus.com, and check out the provided links.

Thursday, January 12, 2017

The order of the Narnia Chronicles

On this date in 2010, I wrote the following article for Examiner.com about the reading order of the Chronicles, and the order of the movies. Just over a year ago, Douglas Gresham made some comments about the movie order in a clip posted on the official Chronicles of Narnia Facebook page. You can view his comments here: The Chronicles of NarniaEmbedded at the bottom of the article below is a 2007 YouTube video by Brian Carnell, known better in online Narnia circles as Glumpuddle. More recently, Brian has published three new videos on the subject. I have included these below, also.  
The Chronicles of Narnia - HarperCollins box set



Why is it that The Voyage of the Dawn Treader is numbered as book 5, but the next Narnia movie is only the third one? Why did the moviemakers skip books 1 and 3?

Actually, the present numbering of the books began when HarperCollins became the publisher in 1994. MacMillan/Collier used the publication order to number the books. For those who read the series before the numbering was changed, The Lion, the Witch, and the Wardrobe was the first to be read, and it became the best known and favorite book in the series.

It was only natural that Walden Media would choose the best known of the series to make a movie. And since the Pevensie children (as children) are key to Prince Caspian, it was only natural to use the four actors they already had before they got too much older.
Walden was also following the published order of the books. The Lion, the Witch, and the Wardrobe was the first of the series to be written, and the first published, in 1950. An additional volume was added each year in the following order:

1.      The Lion, the Witch, and the Wardrobe
2.      Prince Caspian
3.      The Voyage of the Dawn Treader
4.      The Silver Chair
5.      The Horse and His Boy
6.      The Magician’s Nephew
7.      The Last Battle

The new numbering system is based on the chronological order of the books. (The Horse and His Boy actually takes place before the end of The Lion, etc, while the Pevensies are still in Narnia the first time.)

1.      The Magician’s Nephew
2.      The Lion, the Witch, and the Wardrobe
3.      The Horse and His Boy
4.      Prince Caspian
5.      The Voyage of the Dawn Treader
6.      The Sliver Chair
7.      The Last Battle

Many Narnia aficionados recommend that the Chronicles be read in the published order, at least for new readers. C S Lewis wrote each book with the previously published works in mind, although they are self-contained well enough to be read independently.

Months before Prince Caspian came out in theaters, there were a series of videos about the movies and the books uploaded to YouTube by “glumPuddle.” Episode #17 about “The order Debate” is embedded below. Here are some other great articles on the subject:







Monday, January 2, 2017

Is Narnia drifting from its Christian message?

The following is a news article I published for Examiner.com on New Year's Day, 2010. Although it is dated, it has some relevant facts (and personal opinion) which I think are worth preserving. (Examiner no longer is publishing to the web and has deleted all its content.)
Michael Apted Wikimedia

A New Year’s Eve (December 31, 2009) article in the Washington Times by Julia Duin expresses concerns by some in the Christian community about the direction the Narnia franchise is taking with its third film, The Voyage of the Dawn Treader. The article is rather confusing on several points.

The paragraph describing the various changes in dates for the release of Dawn Treader makes it sound like the delays only happened after Disney decided to pull out. Actually, some delays, due to the writers’ strike in 2008, and to the children’s schedules, had already been announced while Disney was involved. Problems with the drug wars in Mexico also prompted a change of filming venue to Australia.

That paragraph aside, the article causes further confusion by making certain unsubstantiated speculations.

First of all, Duin expresses doubt the “will and determination exist to finish the seven-part Narnia series.” This conclusion is reached from what she says are “weird remarks uttered by directors and producers of the first two films.” What remarks she is referencing are not specified.

On the contrary, since the success of the first movie, the filmmakers have continued to express that the series would continue to be produced as long as it received adequate support. The willingness of Walden to continue, even after Disney decided to discontinue its partnership in December of 2008, is also a strong indication of their intent.

The article goes on to reference C S Lewis step-son Douglas Gresham’s recent interview (citing a third-hand report) in which he is "ambivalent" to some changes made to the Dawn Treader script. (See "Douglas Gresham interview on Dawn Treader causes stir and discussions" on NarniaFans.com, and HollywoodJesus.com.) It seems doubtful that Douglas Gresham’s comments mean that he “caved” to intense studio pressure. He does not express any animosity toward the studio for the changes they made, and indicates the themes of the book are still well conveyed.

Duin then quotes from an interview with Michael Apted by a New Zealand Christian radio station. She fails to mention the interview was conducted in the summer of 2007, just after Apted had signed to be director for Dawn Treader. (Transcripts are available in the NarniaFans archives and at WaldenFans.com.)

Apted talks about the challenges of making a film that is directed at both the conservative Christian base and the public at large. She and some in the Christian community object to this “even-handedness,” and are also concerned about the activist stands of some involved the project.
The article concludes with a quote from Ted Baehr, the publisher of the Christian magazine Movieguide and president of the Christian Film and TV Commission. A former script advisor had reportedly told Baehr the movie “was drifting from its Christian vision… not expressing the intent of C.S. Lewis…”

She also claims Baehr told her that an early script of The Lion, the Witch, and the Wardrobe had “veered in a bizarre direction” and Dick Cook (President of Disney at the time) had to keep things from getting out of hand. However, this all seems to contradict what Baehr said in an article for WorldNetDaily last January. In comments about Disney pulling out of the franchise, he concluded

The Associated Press took my words out of context in an interview on this subject to make Disney's decision look like one of the parties in Hollywood was concerned about the movie's faith content. The fact is neither Disney nor Walden has hesitated from including faith in their movies. The book "Dawn Treader" has the least amount of time with Aslan, who is the Jesus figure in the series by acclaimed Christian author C.S. Lewis. It is much more logical that the economics of the movie did not make sense than that there was a concern over the Christian content of the book.

As “secular” as Walden and the other parties involved in this project may be, they are not afraid of the Christian faith. In fact, they seem to show much less prejudice toward Christianity than some Christians show toward them.

Saturday, December 24, 2016

Narnia and Christmas celebration: have we forgotten the joy?

The following was originally posted as a two-part article on the now defunct Examiner.com December 24, 2009.

The Lion, the Witch, and the Wardrobe book cover

There is a painting by Pauline Baynes that graced the front of the paperback version of The Lion, the Witch and the Wardrobe for years in Great Britain. (This cover was not available on American editions until recently. See picture.) The scene is just after Aslan is resurrected and Lucy and Susan are dancing with him.

This passage in The Lion (near the end of Chapter 15) is reminiscent of the New Testament account of the resurrection, as well as other events in the life of Jesus Christ. The loud cracking of the Stone Table is like the earthquake and splitting of the Veil in the Temple. After realizing Aslan is real, Lucy and Susan “flung themselves upon him and covered him with kisses.”  In Luke 17 a woman anoints Christ’s feet and keeps kissing His feet. On Easter morning, Mary clings to Jesus when she realizes He is not just the gardener. (John 20:17 NKJV, NASB)

After Aslan tells the girls about the Deeper Magic, the “romp” begins. Chasing, leaping, scrambling – “whether it more like playing with a thunderstorm or playing with a kitten Lucy could never make up her mind.” The romp only takes up one paragraph, but it would have taken up a few minutes on film, if the writers of the Walden/Disney adaptation of the book had chosen to put it into the movie. They probably felt that the film needed to move on at that point. After all, a battle is going on, and Aslan has work to do.
So the movie bypasses the Romp and goes straight to the Roar and the restoration of the Narnians at the witch’s castle. (Aslan’s Roar is used in both The Lion and Prince Caspian to indicate he is about to act and restore things to what they were.)

Aslan’s Romp in Prince Caspian takes up much more than one paragraph. It begins after the Roar which restores the trees. Strangely, after the trees are awakened, Aslan is joined (in the book – not the movie) by an exotic group led by a young boy with a wild face, who is followed by “wild girls” and a fat man on a donkey.

Lucy and Susan soon recognize that the boy is Bacchus, whom they had learned about from Mr. Tumnus long ago. The fat man is Silenus. (If you've seen the original 1940 version of the Disney movie Fantasia, you may recall the scene of the fat man on a donkey during Beethoven’s Pastoral Symphony. Disney basically morphs Bacchus and Silenus.
Sivenus and young Bacchus from Feast of the Gods (Bellini) Wikipedia

Why is Lewis introducing the Greek god of wine and his drunken teacher into Prince Caspian?

At the very end of Chapter 11, Susan makes the comment she “wouldn’t have felt safe with Bacchus and all his wild girls if we’d met them without Aslan.” The inclusion of Bacchus was an attempt at “redeeming” the pagan myths, as Lewis often did in his fictional works.
As he explains in his autobiographical book, Surprised by Joy, mythology was one of the things that awakened a sense of Joy in Lewis during his early life. Lewis defines this “Joy” in Chapter 1 as “an unsatisfied desire which is itself more desirable than any other satisfaction.” It is a desire for something other and outer, that he later finds only to be fulfilled in a relationship with God.

Prince Caspian is perhaps the most personal of the Chronicles for Lewis. Devin Brown asks in the title of an article for Christianity Today Movies, “Is Caspian Really C. S. Lewis?” The parallels between Lewis and Caspian are striking. The relationship of Lewis and his nurse, who told him Irish folktales, mirrors Caspian’s nurse, who told the Prince about the Old Days of Narnia.

When we leave Lucy and Susan at the end of Chapter 11, we follow the boys and Trumpkin to Aslan’s How. “The Sorcery” must be dealt with. Lewis believed that sin is trying to fulfill legitimate desires in an illegitimate way. The desire for restoration of enchantment to Narnia was a good thing. But will the Narnians trust Aslan and wait for him, or seek power elsewhere? Lewis had a fascination for the Occult, which he had to deal with in his personal life. The Specter of the White Witch must be dealt with at Aslan’s How.

Lewis was also concerned that the ideals of chivalry had been lost in the modern world. Thus we have Peter’s challenge to Miraz to monomachy – a fight to the death to establish who will be the rightful king. Peter demonstrates the chivalrous attitude throughout the fight, but the Telmarines are intent on treachery. They did not count on the awakened trees, however, and are soundly defeated. They have to throw down their arms as they try to flee back across the river and find the Bridge of Bernuna has disappeared.

The last half of Chapter 14 tells about how Bacchus helps destroy the bridge and then goes on another Romp through the town. As people join them, the group is described by Lewis as “divine revelers.” This is not the drunken debauchery usually associated with Bacchus, but a celebration of the liberation of Narnia from an oppressive regime.

The freedom extends even to the schools in town. Students are freed from the “sort of ‘History’ that was taught in Narnia under Miraz’s rule [which] was duller than the truest history you ever read and less true than the most exciting adventure story.”

A girl from one of the schools joins the group, and they “helped her take off some of the unnecessary and uncomfortable clothes she was wearing.” Lewis is not here promoting lasciviousness, like Bacchus of old would have. The girl is not being lewd, but is breaking free from the stuffy uniform that was worn by students in that day, including “ugly tight collars round their necks and thick tickly stockings on their legs.” In Chapter 2 of Surprised by Joy (”Concentration Camp”), Lewis describes what a school uniform was like for the boys.

Now I am choking and sweating, itching too, in thick dark stuff, throttled by an Eton collar, my feet already aching with unaccustomed boots. I am wearing knickerbockers that button at the knee. Every night… I am able to see the red, smarting imprint of those buttons in my flesh when I undress. Worst of all is the bowler hat, apparently made of iron, which grasps my head.

Part of what Lewis is trying to convey is that committed Christians can have fun without having to be drunk – or worse. You don’t have to be a “stuffed shirt” in order to follow Christ. There is a liberation that Christians know which allows us to celebrate life. Unfortunately, many who call themselves Christians have not discovered that freedom in Christ. With all that Christ has done for us, the Christian life should be one of celebration.

As you gather around the Christmas tree this year, note (or, if there are no children present, remember) the joy on the children’s faces as they open their gifts. Their enthusiasm might even be seen in a little romping. What a wonderful way to celebrate Christ’s birth.


Especially at this time of year, we could all use a little redeemed Bacchus in our lives.

Wednesday, October 19, 2016

Lessons from Saruman and Count Dooku

Christopher Lee passed away June 7, 2015. As soon as the news broke on the internet, I published this article (originally posted on the now defunct Examiner.com on July 11). I was reminded of this article earlier today, and I felt the occasion of the final presidential debate would be a good time to re-post it. Its themes, I feel, go to the heart of this year's election. I'll leave it to the reader whether you agree what I wrote over sixteen months ago speaks to our national decision this year.  
















The internet is flooded today with the news Christopher Lee has died at the age of 93. Although the famous actor passed away Sunday, news of his departure did not surface until early this morning. (See a list of links at the end of this article.) Lee is famous for his portrayal of Saruman in The Lord of the Rings and The Hobbit, and Count Dooku in the Star Wars prequels. Older fans may remember him as Count Dracula in the 1950s, 60s, and 70s. The Internet Movie Data Base lists some 281 total acting credits.

Science Fiction and Fantasy buffs will ever remember Christopher Lee as a turncoat. Count Dooku became Darth Tyranus, in part because of some lees-than-blameless actions ordered by the Jedi Council. This is reminiscent of Anakin Skywalker being drawn to the Dark Side after being recruited to spy on the Emperor. We learn in the prequel films the Jedi Order was run by people with feet of clay. The power of the Force causes temptations for even the Light-Siders. Being one of the "good guys" doesn't exempt people from questionable acts and decisions.

JRR Tolkien has been criticized for a world which is too "black and white." But the Middle-earth written about in Tolkien's books is not exactly a "black hat" verses "white hat" universe. The temptation of the One Ring involved more than just the desire to control others. Gandalf describes the more subtle allurement in The Fellowship of the Ring, Chapter 2, "The Shadow of the Past."

...the way of the Ring to my heart is by pity, pity for weakness and the desire of strength to do good.

Gandalf's temptation was to become strong enough to be able to do the most good. This is the insidious nature of power. We feel powerless when we see those suffering around us, and are tempted to obtain and use power to "set things right." We fall into the same trap Anakin Skywalker fell into. In Revenge of the Sith, he tells Padme:

I won't lose you the way I lost my mother. I am becoming more powerful than any Jedi has ever dreamed of, and I'm doing it for you: to protect you.

How many atrocities have been done in the name of protecting loved ones and the weak? It's like what King Arthur says in the television series Camelot (episode 4):

...if you have to fight dirty to protect your cause, then so be it.

"The ends justify the means," they say. But we forget the byproducts which grow out of those means. What we teach others by our actions often destroy the benefits of what we accomplished.

In the movie version of The Lord of the Rings, Saruman is coerced to join Sauron when he believes the Dark Lord cannot be beaten. But that is not how Tolkien wrote the story. In the book version, Saruman is attempting to deceive Sauron and get the Ring for himself. Saruman wants to set himself up as ruler of Middle-earth. His motives probably were well enough to begin with. The wizards—the Istari—including Gandalf and Saruman, were sent to Middle-earth to help the people in their struggle against Sauron. However, they were told not to dominate the peoples of Middle-earth.

But Saruman's desire to help protect was corrupted as he began to lust for power. In our modern world, too many politicians have gone down the same path. Be careful your desire to help doesn't become a lust for power – to the detriment of those you desire to help.

Links to articles about Christopher Lee's death:


Saturday, October 15, 2016

'The Hobbit' extended in a three-day event: part 3

Here's part three of my reviews of the Fathom Events presentations. This one was posted a year ago today.























The Hobbit: The Battle of the Five Armies extended edition

The world premiere of the extended version of "The Hobbit: The Battle of the Five Armies" was shown Tuesday night in select theaters by Fathom Events, delighting fans, and earning its unprecedented R rating with some especially violent scenes.

Fans of Peter Jackson's Hobbit trilogy finally were treated to the final version of the final chapter, as the promised twenty additional minutes were shown for the first time to the general public as part of the movie. The digital version of the extended cut of "The Battle of the Five Armies" comes out next Tuesday, while physical copies (DVD and Blu-ray) are scheduled to be released November 17, according to a Warner Bros. September Press Release.

As with the longerversion of "The Desolation of Smaug," the additional footage was more than just filler. The scenes bridge the gaps in the story line and help the story flow better. Audri Davis of Geeky News quips that while the "extra scenes" were "wonderful," her "real issue comes from the fact that they weren’t included in the theatrical release, because they would’ve dramatically improved pacing and characterization."

In a previous review in this column, it was pointed out Peter Jackson's emphasis on battles stands in contrast to the novel JRR Tolkien wrote. "For Tolkien, war and heroism are on the periphery. They are part of the story, and a catalyst for change in his protagonists, but they are never the main focus. Jackson makes them the main focus." It seemed inevitable the final movie would be re-titled in honor of the epic battle, while the word "battle" is not ever included in a chapter title in Tolkien's book.

However, especially in the longer version, Jackson finds a way to emphasize more than just war in his final tribute to Middle-earth. Tolkien fans should be able to appreciate the humanity of the movie. 

The battle sequences have a different feel than the skirmishes in the previous films. A lot of orcs lose their heads, but there is more purpose in it. This is underscored in one particular scene when the orcs are beginning to overrun the ruined city of Dale, where the people of Laketown took refuge after Smaug destroys their homes. Bard meets Alfrid, who is trying to sneak away with some treasure, and Bard tells him to get back to the fight. Alfrid snaps back he does not have to do what Bard says, and adds, "The master's mantle was there for the taking, but you threw it all away. And for what?" The camera then pans to Bard's family. They are what is important. They are worth more than any title. They are worth fighting for.

What a contrast from the Master of Laketown. When the dragon attacks, he comments the town cannot be saved, so "save the gold." And as his boat begins to sink under the weight, he pushes Alfrid overboard so he doesn't have to give up any of the town's treasury he has stolen.

The Master and Alfrid do not overcome their desire for gold, but Thorin does. The scene where he struggles with his demons is well done. The "dragon sickness" is overcome by the words of his friends who have been reminding him what is important – and his own words that he is not his grandfather Thror, who succumbed to greed for gold long ago. Hoarding gold does no one any good—leastwise the hoarder. You might be able to build monuments to yourself, but without friendly neighbors to deal with, it does little else. You can't use it for food, and it won't save your life if you are attacked.

The Master of Laketown, Alfrid, and Thorin all die in the end. But Thorin dies with friends, and with a renewed perspective on what is truly important. His final words to Bilbo, although changed a bit from those written by Tolkien, are appropriate.


If more people valued home above gold, this world would be a merrier place.

Wednesday, October 12, 2016

C S Lewis: Sexist Dinosaur or Gender Progressive?

A year ago yesterday, the following was posted to the now defunct Examiner.com. 

Women and C S Lewis: What his life and literature reveal for today's culture

Narnia author C. S. Lewis was often critical of progress, and once referred to himself as a "dinosaur." But his views on women were more progressive than many understand. At least that is what the writers of the new anthology, "Women and C. S. Lewis," assert.

Those who know of Lewis only through the Chronicles of Narnia could easily jump to the conclusion Lewis was sexist on the basis of a few passages. The words of Father Christmas in "The Lion, the Witch and the Wardrobe" about how "battles are ugly when women fight," and the fact the White Witch is female are two examples commonly brought up as arguments for Lewis' alleged sexism – or even misogyny. And Susan's supposed exclusion from heaven because of "nylons and lipstick" in "The Last Battle" put the nail in the coffin on the matter for some.

However, Section Two, which examines how Lewis portrays women and girls in his fiction, provides many examples to counter this view. The problem with "the problem with Susan" is the critics are not examining the applicable passages very closely. Susan is not excluded from heaven; her fate remains uncertain because life on earth goes on. And she is absent not because she is interested in boys and other things girls of her age normally think about, but because she is interested in nothing else. Susan and Lucy are excluded from the battle in LWW, but in "The Last Battle," Jill Pole has a major role to play. And there are certainly many positive roles given to female characters, as well as negative roles for males.

Many critics point to "Till We Have Faces" as Lewis' crowning achievement in fictional writing. Lewis writes the book from the first person point of view of the female protagonist. While many presume the book was written in collaboration with his late-in-life bride Joy Davidman, the writers of the anthology point out what a remarkable feat it was, requiring sensitive insights no misogynist would be capable of, collaboration or not.

Besides Joy Davidman, a brilliant writer in her own right, Lewis had close relationships with several highly intellectual and talented women, who greatly influenced him. His mother, whom he lost when he was not quite ten, had degrees in Mathematics and Logic—very rare for a woman in the late nineteenth century. Although Lewis himself struggled with math, his mother also taught him French and Latin at a young age. Other friendships include Stella Aldwickle and Elisabeth Anscombe. Aldwickle was the founder of the Oxford University Socratic Club. Anscombe was also a member of the Club, and was a profound influence on Lewis; she was the impetus for his rewrites for the second edition of "Miracles."

Besides his wife, perhaps the most famous female friendship Lewis had was with Dorothy L. Sayers, mostly through written correspondence. Lewis was so impressed by her radio play, "The Man Born to be King" about the life of Christ, he made a habit of reading through it every Lent. Lewis did disagree with her on the subject of the ordination of women, but his respect for her intellect and talent is evident.

Some of Lewis' views certainly did not match with what most would consider feminist today, but the authors of this book would argue he was a positive influence toward more progressive views of women in his day – and even in our day. New York Times Best Selling author Randy Alcorn points to Lewis as the influence which inspired him to "speak out for women."

In the Conclusion to the book, co-editor Carolyn Curtis sums up the findings of the book, which included a variety of perspectives: complementarian and egalitarian, conservative and progressive.


We conclude that both Lewis' life choices and his writings take a high view of women, noting that the direction of his attitudes about women continues higher as his life goes on. Said differently, as he aged and matured, he grew in faith. Likewise, as he aged and matured, his views of women grew "higher."