(#41) / The Voyage of the Dawn Treader / by C. S. Lewis / (Book)

Opening

Bibliographic Information:

The Voyage of the Dawn Treader / by C. S. Lewis

ISBN-13: 9780064471077 / HarperCollins Publishers

p. 288/ $6.99 (Barnes & Noble)

1952

Body of Content

Summary: In this Narnia story, the two youngest siblings (Lucy and Edmund) feature predominately – as they older siblings are occupied with other activities.  As the children stay with their ill-tempered cousin (Eustace), they enter Narnia – this time not through the wardrobe but instead through a painting.  Falling onto the deck of the Dawn Treader, they meet the former prince, and now King, Caspian.  The plot centers on a quest – as Caspian looks to investigate the disappearance of seven key vassal figures of Narnia.  Often at sea, this adventure centers on water themes and exploration – carrying the typical Narnia magic along the way.

Critique: In many of the Narnia books, Lewis draws on other world stories to create Narnia’s characters.  It is often said that Lewis draws on Christian theology for the message of his Narnia books.  But Lewis also draws on pagan mythologies – redacts them – revises them – reallocates them – and inserts them into his stories.  Aslan returns as a character – the symbolic translation of the Bible’s Christ – the proverbial “Lion of Judah”. 

But in The Voyage of the Dawn Treader, Lewis inserts imagery from other sources – like a dragon – a staple of medieval folklore and Germanic and Nordic traditions.  Elsewhere, mermaids appear in his book – showing an interest for more modern mythology supplied by New World explorers/sailors.  One-legged creatures appear on an island scene, too.

Yes – overall – the Narnia books contain a Christian message (as authorial-intended by Lewis), but the language – the symbols – the development of his allegories are not straightly determined by theist traditions.  Lewis, himself, is not troubled by that reality, and neither should the audience per se.  But while the Narnia books are categorized as Christian literature, the methodology is mixed more than many readers are aware.  The better genre for Narnia is simply the label of fantasy literature.   

Teaser: The story of Narnia continues as the youngest siblings set off in an epic adventure.

Information about the Author: see entry #35.

Supplemental Material

Genre: Fantasy / Christian Fiction

Curriculum Ties: Philosophy – mythology

Booktalking Ideas: 1) The siblings have a new addition in their adventures – with their insolent cousin, Eustace.

Reading Level: see entry #35.

Challenge Issues and Defense: Pretty safe title for teenage ages. Some magic and mythology is contained within the book – but the (Christian) parents who object to Harry Potter on those grounds usually give C. S. Lewis a pass.  

Personal Reasons for Inclusion: I wanted two separate series included in this project – and titles from Narnia and Hunger Games accomplished that intention.

Last Thoughts

References: n/a

Listening to (Music):

Artist – “Katy Perry” / Album – various playlists   

(#35) / The Lion, the Witch, & the Wardrobe (Chronicles of Narnia Series) / by C. S. Lewis / (Book)

Opening

Bibliographic Information:

The Lion, the Witch, & the Wardrobe (Chronicles of Narnia Series) / by C. S. Lewis

ISBN-13: 9780064471046 / HarperCollins Publishers

p. 224 / $6.99 (Barnes & Noble)

1950

Body of Content

Summary: In this novel – the first in the series written by the author, but the second chronologically in the series – Lewis tells the story of four young siblings – of Lucy, Edmund, Susan, and Peter – who stay in a mansion in the English countryside – in order to avoid the city bombing during WWII.  In this mansion, they soon discover a magical wardrobe that leads to an even more magical kingdom.  They encounter various talking animals – a fawn, some beavers, etc. – who tell them that their kingdom is under the spell of the White Witch – stuck in a perpetual winter – but that the siblings’ arrival could change the events of their world.  The animals long for the return of their true king, Aslan – and when he does return – the children must face the prospects of all that they have heard of this magical place.  

Critique: C. S. Lewis’ tale is basically an allegory for the death of Jesus Christ – with Aslan the Lion as the messianic translation.  According to this Narnia novel, Aslan’s death acts as a sacrifice – corresponding to the atonement model dealing with substitutionary atonement.  Theologians have long asked the question – “how” exactly is Jesus’ death meaningful?  Various explanations – or “atonement models” – have been submitted over the centuries by scholars and theologians to articulate doctrines attached to the personhood of Jesus Christ.

What is interesting is that Lewis chooses the “substitutionary atonement” model – which in itself is the view popular within the last few centuries – and overall, provides a very Western way of looking at the issues – but it is not the only explanation given – nor is it the dominant view throughout church history. 

I wonder what the Chronicles of Narnia would look like – particularly how the story of the Witch vs. Aslan would play out differently – or what the outcomes of the children’s lives would look like – if Lewis had chosen another atonement model as the basis for his work – if he had chosen the “Christus Victor” model – or the “Ransom Theory” – or the “Satisfaction Theory” – or the more recently lobbied “Betrayal Model”. 

All of these models could work within the Narnia story – but doing so would require different approaches to character development, a different literary climax, and subsequently an altered denouement.  While such a proposal – of altering the basis for a work – seems a little far-fetched, the novel’s chief purpose is to explain the meaning of Aslan.  Lewis takes – what I would call the safe route – by electing to use the substitutionary model.  A more creative and clever rendition could have occurred if the novel utilized some of the other atonement models.  This is not a fault of Lewis’ work – but at the least, I wish to expose a basic assumption on Lewis’ part – that, for him, the substitutionary model is chief.         

Teaser: Four British youngsters enter a land of fantasy and magic – and they find themselves at the heart of an ancient struggle.

Information about the Author: C. S. Lewis was an English author and professor at Oxford – teaching classes dealing with literature – particularly those dealing with medieval literature and mythologies.  The famed author was also friends with J.R.R. Tolkien, as they both taught at the same university.  Lewis credits Tolkien as a key person in his conversion to Christianity. 

Lewis’ works include many apologetic and religious books, including Mere Christianity, The Screwtape Letters, A Grief Observed, The Space Trilogy, The Great Divorce, along with seven entries into the Narnia canon.    

Supplemental Material

Genre: Christian Fiction / Fantasy

Curriculum Ties: Religion – allegory, mythology  

Booktalking Ideas: 1) Can four brave, young souls sway the outcome of an epic battle between good and evil? 2) What role does the story’s setting during WWII affect other aspects of the storytelling process?

Reading Level: The Narnia books follow the “two under rule” – where a library collection should also have resources that fit two years below the marketed range.  And in this manner, the book is likely read by 12-15 year-old teens.

Challenge Issues and Defense: The religious, allegorical content could offend some parents – particular if held in a public school.  The best defense is to have a wide range of fantasy titles – from various worldviews – including the Golden Compass book from His Dark Materials series by Philip Pullman – which basically, by the author’s own admission, is an allegory for atheism.

Personal Reasons for Inclusion: The book represents a lighter title within the fantasy genre.

Last Thoughts

References: n/a

Listening to (Music):

Artist – Hans Zimmer / Album – “The Dark Knight (Movie Soundtrack)” 

(#15) / Album: “All Things Bright and Beautiful” / by Owl City / (Music)

Opening

Bibliographic Information:

Album: “All Things Bright and Beautiful” / by Owl City

ASIN: B004T5IW0C / Universal Republic Records

44 minutes / $6.99 (Amazon)

2011

Body of Content

Summary: Owl City returns for their third release – featuring the following songs in title order: “The Real World”, “Deer In The Headlights”, “Angels”, “Dreams Don’t Turn To Dust”, “Honey And The Bee”, “Kamikaze”, “January 28, 1986”, “Galaxies”, “Hospital Flowers”, “Alligator Sky”, “The Yacht Club”, “Plant Life”, and “Alligator Sky (No Rap Version)” (MOG, 2011a).  “Alligator Sky” represents the album’s first release – with the song featuring guest rapper Shawn Chrystopher and the album debuting in June of this year.  Owl City’s signature sound is again evident – with a heavy, synth-orchestrated collection of songs – that include catchy melodies and clear, tenor vocals from Adam Young.       

Critique: Young’s lyrics have subtlety – often ironic or pun-driven aspects to them.  But overall, the words in his songs have a transparent and positive connotation to them.  Young does not write humorous lyrics as much as words that hit directly but light-heartedly.  The unique thing about the lyrics is that they fit seamlessly with the music.  Both instrumentation and poetic musings are light and optimistic in tone.  Often, love is reoccurring theme.

Consider the lyrics to the chorus of “The Honey And The Bee”:

            “If the green left the grass on the other side /

            I would make like a tree and leave /

            But if I reached for your hand, would your eyes get wide?

            Who knew the other side could be so green?” (Metrolyrics, 2011b)

Young can even turn a song involving a horrific car accident and erratic ambulance ride into a light-hearted occasion, as he does in the song “Hospital Flowers”:

            “A high-speed collision gave a new sense of sight to me /

            And now my vision can render the scene /

            A blurry image of wreckage and roadside debris /

            Happiness returned to me through a grave emergency” (Metrolyrics, 2011a)

Owl City is music for a certain mood – in that it might take a certain mood to like it – or even that it might create a certain mood in the listener after hearing to it.  The lyrics and subtle compositional craft are affective – almost nostalgic – for something many of us now miss or downright lack – innocence.  

Teaser: “The songwriter behind the hit ‘Fireflies’ has a new album out!”

Information about the Author: Owl City is the creation of Adam Young – a pop composer from Minnesota.  Young – while living in his parents’ basement, working a day job for Cola-Cola – started Owl City in 2007.  Young is a one-person band – literally – using digital recording and computer engineering techniques for both composition and performance venues.  Penning his songs mostly on keyboards, Young uploaded new compositions to MySpace – and actually developed a following – leading to a contract with Universal Republic (MOG, 2011b).  

On occasion, Owl City invites guest vocalists – including Matt Thiessen of Relient K fame and solo artist Breanne Duren.  Live performances now often feature a slightly larger set – with the tour musicians including a drummer, violinist, cellist, guitarist, and supplemental keyboard player (Wikipedia, 2011).   

Owl City’s has released one EP – “Of June” (2007) – along with three studio albums – “Maybe I’m Dreaming” (2008), “Ocean Eyes” (2009), and “All Things Bright and Beautiful” (2011) (Wikipedia, 2011).

In one interview, the singer-songwriter relates, “I’ve never really had anything I wanted to say, really, to anybody – but there has always been a mood that I wanted to convey via sound – which is optimism” (Owl City, 2011).  On his sudden rise to fame and opportunity, Young ponders, “Music became a fan of me [first]… and then I started to make it, and I loved it [back]” (Owl City, 2011).      

Supplemental Material

Genre: Pop / Electronica

Curriculum Ties: Music – multi-track recording techniques / History – excerpt from Reagan speech regarding the Challenger tragedy  

Booktalking Ideas: 1) How does a store retailer for Cola-Cola become a pop sensation? 2) Did you know that lead singer Matt Thiessen of Relient K and Adam Young of Owl City are good friends?   

Reading Level: Heavy interest on Owl City’s MySpace account helps shows the strong teen support behind this young songwriter’s craft.  The same holds true – looking at concert venues.  Owl City probably best interests teens in grades 7 through 10.  

Challenge Issues and Defense: The music is not squeaky clean – one song “Deer in the Headlights” references rejection and accusations of stalking – but overall, the songwriter writes clever but simply pop lyrics and melodies – doubtful that any parent or group would object to his content.  

Personal Reasons for Inclusion: I like the background story of Adam Young – and I have listened to each of his album – enjoying the most-recent release the most.   

Last Thoughts

References:

Metrolyrics. (2011a). Hospital flowers [Webpage]. Retrieved from

http://www.metrolyrics.com/hospital-flowers-lyrics-owl-city.html

Metrolyrics. (2011b). The honey and the bee lyrics [Webpage]. Retrieved from

            http://www.metrolyrics.com/the-honey-and-the-bee-lyrics-owl-city.html

MOG. (2011a). All things bright and beautiful [Webpage]. Retrieved from

            https://mog.com/albums/mn54612621/owl-city/all-things-bright-and-beautiful  

MOG. (2011b). Owl City [Webpage]. Retrieved from https://mog.com/artists/bio/mn597709/

owl-city

Owl City (2011). Owl City – Owl City road stories[Video]. Retrieved from

http://owlcitymusic.com/videos/view/4

Wikipedia. (2011). Owl City [Webpage]. Retrieved from http://en.wikipedia.org/wiki/Owl_City

Listening to (Music):

Artist – Ayleron  / Album – various songs/playlists