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Discuss this article by @Thande here
I know @David Flin will appreciate the point I made (same as I did when I talked about The Animals of Farthing Wood) not to look down on children's fiction, because it often pulls off particular ideas better than its adult counterpart.
“I'm hunger. I'm thirst. Where I bite, I hold till I die, and even after death they must cut out my mouthful from my enemy's body and bury it with me. I can fast a hundred years and not die. I can lie a hundred nights on the ice and not freeze. I can drink a river of blood and not burst. Show me your enemies.”
I mean, that is a fair point; it's just in those cases (IMO) we don't enjoy the ride.One thing that does amuse me is the remark about settings that don’t reward arbitrary cynicism like Game of Thrones. Were you to make a list of such settings where characters believe machiavellian schemes are their own reward but are mistaken, you might well begin the list with A Song of Ice and Fire, which even from the infamous Red Weddig is quite explicit about how these nihilistic schemes lead directly to the downfall of the plotters and the collapse of their works.
I almost quoted that in the article, it really begs a punchline like "I now regret going around the table asking everyone to introduce themselves."Caspian was always one of my favourite Narnia books, and has my favourite ominous boast in all literature:
I mean, that is a fair point; it's just in those cases (IMO) we don't enjoy the ride.
I fully agree with your inability to resist said shout-out. ThanksI know @David Flin will appreciate the point I made (same as I did when I talked about The Animals of Farthing Wood - thanks for including the link, Gary) not to look down on children's fiction, because it often pulls off particular ideas better than its adult counterpart.
Also couldn't resist another shout-out to @AndyC 's Shadowlands series, and its review by Gary's nephew
Something similar happens in Blake & Mortimer's adventure The Time Trap (Le Piège diabolique in the original), when Mortimer, piloting a sabotaged time machine, attempts to return to the present day from the medieval era, and instead finds himself in an abandoned industrial complex--and not only is it full of futuristic technology, but said technology is in an advanced state of ruin. Turns out he missed not only the present but also the shiny atompunk future, and jumped straight to the post-apocalyptic dystopia of the 51st century.That is such a powerful image, and thrown out quite in passing; it’s not a long reflection, but one which enhances the book a great deal by being there. The idea of having what’s essentially an ancient burial mound/Iron Age fortress, with ancient-looking inscriptions of Aslan, and yet it was raised after the Pevensies had lived in Narnia.
That's a neat idea. I can't discuss it in detail without giving away part of the plot twist, but Niven and Pournelle's "The Mote in God's Eye" also does something with deeps of time - I always think it may have been inspired by Americans going around European (or Asian) museums!Something similar happens in Blake & Mortimer's adventure The Time Trap (Le Piège diabolique in the original), when Mortimer, piloting a sabotaged time machine, attempts to return to the present day from the medieval era, and instead finds himself in an abandoned industrial complex--and not only is it full of futuristic technology, but said technology is in an advanced state of ruin. Turns out he missed not only the present but also the shiny atompunk future, and jumped straight to the post-apocalyptic dystopia of the 51st century.
Don't remember that part. The only commentary on gender I recall is when they get lost getting through the woods following the river and Edmund (I think) argues that "the trouble with girls is they can't carry a map in their heads" and Lucy retorts "That's because our heads have got something inside them!"Thanks Tom, you've made some excellent, and for me as an author, useful points.
I set out to relisten to 'Prince Caspian' a year ago (from Focus on the Family's Radio Theatre's 'The Chronicles of Narnia', of all 7 audio dramas, on 19 CDs. (copyrighted 2003)). but gave up about half way through the 2nd chapter because of the supporting roles Peter was allocating to Lucy and Susan simply because they were girls. I remember liking it the first time I heard it, and it wouldn't have needed much to have brought it up to date, but they were sticking pretty strictly to the books. Pity.
Thank you! At last someone else who didn't notice! I was just the same, a Christian in a Christian house, and the allegory (allegories, when you take into account all the books as a whole) passed me completely by - it never even occurred to me until I read about it when I was much older.Thande said:The Narnia books today are well known for their Christian allegory, something that was completely invisible to me as a kid despite being (then and now) a Christian believer in a Christian household; these things aren’t always as obvious as critics seem to think. I just thought of them as good stories for the most part.
Good man. I think that is something that should be practised even with the best adaptations.We did let them watch the BBC adaptations, but only once they'd read the books, as we are firm believers in letting them use their imaginations based on words on a page instead of being forced into one way of thinking as is almost inevitable with something on screen.
Don't remember that part. The only commentary on gender I recall is when they get lost getting through the woods following the river and Edmund (I think) argues that "the trouble with girls is they can't carry a map in their heads" and Lucy retorts "That's because our heads have got something inside them!"
Ahh, I understood what you meant now. Yes, indeed.Thande, not surprised you don't remember that part. I just compared the audio adaption and the book. The book is fine, in fact I just read the first two chapters and both Lucy and Susan play active, assertive characters. However, the audio adaption isn't a word for word adaption and they cut a very important response out by Ivy.
Chap 2. In the book they're in the hall in Cair Paravel and Peter suggests clearing the ivy away from wall to check for the door to the treasury.
"Oh, do let's leave it alone," said Susan. "We can try in the morning. If we've got to spend the night here I don't want an open door at my back and a great big black hole that anything might come out of, besides the draughts and the damp. And it'll be dark soon."
"Susan! How can you?" said Lucy with a reproachful glance. But both the boys were much too much excited to take any notice of Susan's advice.
The audio version drops the "Susan! How can you?" said Lucy with a reproachful glance. With Lucy making a sort of yuck sound, and the boys just pulling the ivy down.
I admit I may have been a little over sensitive, but its certainly brought home that C.S. Lewis was very clever writer, and people adapting his work should be careful about any changes they make.