Narnia Nightmare

Narnia, the Meeting by Azul Hoshi

Not all depictions of Narnia are positive. It is a scary place in a lot of ways — there’s an evil witch who turns innocent creatures to stone, a trusted friend betrays a child, and another child betrays his siblings, out of spite no less. The know-it-all hero — the Gandalf, if you will — is humiliated and  stabbed through the heart on a stone table. (Hah! I just made a parallel between Lewis and Tolkien there.) This vision of the wardrobe by Azul Hoshi turns Narnia into the stuff of horror, tree limbs reaching out for Lucy while a cold wind blows and an eye — presumably that of The Witch Witch, though it’s up for grabs — stares down.

 

The Western Wild

To the west, a beautiful yet hostile and rugged land.

Other posts in this series:

The Odd Geography of the Utter East

The Wild Lands of the North

Calormen and the South

So we come to the last unexplored region of Narnia – The Western Wild. It’s an area of rugged wilderness, without law or human rulers, as opposed to the south, which is dominated by Persian / Indian / Arabic Calormen, and the east, which has the sea and the island nations of Galma, Terebinthia, and the Seven Isles with which Narnia trades and intermarries with. Narnia proper can also be thought of as being part of the East, since it’s Aslan’s sacred direction, and Narnia is close to Aslan.

Each part of Narnia got to shine in one of the books of the series. Narnia itself in The Lion, the Witch, and the Wardrobe and Prince Caspian; the Eastern Ocean in The Voyage of the Dawn Treader; the north (and underground) in The Silver Chair, and the south in The Horse and His Boy. The last two books of the series, which detail Narnia’s beginning and end, involve Narnia’s west, in what Lewis called the ice-mountains and the garden of the silver apples. Strangely, this garden never got a proper name. The garden sits on the apex of a tall green hill and exists partly in the Narnia world, partly in some other. It’s an allegory for both Heaven and the Garden of Paradise, since there’s a serpent there to tempt innocents in the guise of Jadis.

The first mention of Narnia’s western parts occurs in The Lion, the Witch, and the Wardrobe when Lucy meets Mr. Tumnus near the Lamppost.

“This is the land of Narnia,” said the Faun, “where we are now; all that lies between the lamp-post and the great castle of Cair Paravel on the eastern sea. And you—you have come from the wild woods of the west?”

Note that the region is referred to as the wild woods, not the western wild as in the rest of the series. Which is understandable, as The Lion, the Witch, and the Wardrobe was first book of the series and the geography was yet to be mapped.

And why “the wild woods” and not just “woods” or “forests?” Well, it flows off the tongue nicely. But I think it’s also because Lewis, being the proper Englishman he was, also retained the proper Englishman’s cultural disdain for America, seeing it as wild and uncivilized compared to Europe’s long and stately history. It’s notable that Susan begins her estrangement from Aslan in America, in The Voyage of the Dawn Treader — she’s the “grown-up” one who will get more out of her parents’ trip there than Lucy and Edmund. This is not to say Lewis had planned Susan’s arc in advance, but since it is the last time in the Pevensie books that Susan is mentioned, it’s telling. Perhaps Lewis was influenced by media reports of a frivolous youth culture beginning to take root in the states. Add to that the influence on England of American cowboy movies (which also influenced a young Bernie Taupin, Elton John’s songwriting partner) and it’s pretty clear that in Narnia, of course the west is wild, as the south is an Arabian Nights desert empire and the north is full of trollish giants. That’s the basic English child’s view of the rest of the world, from a certain generation.

That this wild west has mountains is mentioned in Prince Caspian, when Dr. Cornelius tells young Caspian “You are all Telmarines—that is, you all came from the Land of Telmar, far beyond the Western Mountains” and, on the night of the meeting of the planets, the two face south to see the event, and Caspian observes for himself that “Away on his right he could see, rather indistinctly, the Western Mountains.” Since Lewis on his own map indicates Miraz’s castle is close to Lantern Waste and the Great River, one could a make a case that Telmar is due west as the crow flies. (Incidentally, this part of Narnia has a title that is only mentioned once: The Western March.)

Reading only the first two books (Narnia’s west is not mentioned in The Voyage of the Dawn Treader, which concentrates on the Eastern Ocean) one might think the Western Mountains are an isolated range and not a chain. This has led to some confusion on fans’ maps, which stick them in odd places or omit them altogether.

 

Click to see larger version

This busy yet charming map, rendered in Spanish, couldn’t be further away from canon, yet going on the information from the books, could be how the geography really lay. Except a western ocean was never mentioned, of course.

Click to see larger version

This map, appropriating Narnia for some wargaming purpose, indicates the mountains running north to south as in the master map and takes creative license with the rest, again delightfully.

A “Google Earth” rendition that gets it mostly right, I think.

Let’s talk about the length of the western range. In The Silver Chair Jill observes, from her tower room in Cair Paravel:

The window looked west into the strange land of Narnia, and Jill saw the red remains of the sunset still glowing behind distant mountains. It made her long for more adventures and feel sure that this was only the beginning.

(Be careful what you wish for, Jill.)

Aside from being another of my favorite passages, we can deduce that the mountains Jill sees part of the same chain that Caspian saw from his family’s castle, so they extend north to south from at least these two points.

These same mountains extend all the way down to Archenland, as The Horse and His Boy states the river Winding Arrow pours “from the higher mountains at the western end of the range” – the range in question being the mountains that divide Narnia from Archenland. Later in the same book Duffle the dwarf tells Shasta: “I’ll show you the lie of the land. You can see nearly all South Narnia from here, and we’re rather proud of the view. Right away on your left, beyond those near hills, you can just see the Western Mountains.”

Confusion is still present, however. The Hermit of the Southern March can see all over Narnia through his magic pool, including “what robbers or wild beasts stirred in the great Western forests between Lantern Waste and Telmar” where the mountains aren’t mentioned at all, even though earlier it was stated Telmar lies beyond the western mountains. But it also indicates, indirectly, that Telmar is closer to Lantern Waste and Miraz’s Narnian castle than to Calormen, as Pauline Baynes’s master map indicates.

Telmar is a puzzle. In the last post of this series, I felt sure it lay somewhere to the west of Archenland, accessible through some pass or valley from Calormen. Lewis’s unpublished but accepted Narnian history timeline states that Telmar was first settled by Calormenes before the Earth pirates came. But now, I am not sure it’s where Baynes’ pass is indicated. The canon evidence just lies against it. Unless the southern pass was very long, or Telmar was a long and skinny country like modern-day Chile.

In the last two books of the Chronicles, The Magician’s Nephew and The Last Battle, we finally get to see what lies in those western mountains. Both also, in Narnia, take place in the vicinity of Lantern Waste, or what was to be Lantern Waste. (Jeez, what was it about that area that so many major events took place there? Only The Silver Chair and The Voyage of the Dawn Treader skip it.) What lies in those mountains, is specifically, the Garden of the Silver Apples, to which Digory Kirke heads on a mission.

In the last third of The Magician’s Nephew Aslan tells Digory to look to the west and tell his what he sees. They are standing in what will become Lantern Waste as the lamppost has already grown from the iron bar that Jadis threw.

“I see terribly big mountains, Aslan,” said Digory. “I see this river coming down cliffs in a waterfall. And beyond the cliff there are high green hills with forests. And beyond those there are higher ranges that look almost black. And then, far, far away, there are big snowy mountains all heaped up together— like pictures of the Alps. And behind those there’s nothing but the sky.”

“You see well,” said the Lion. “Now the land of Narnia ends where the waterfall comes down, and once you have reached the top of the cliff you will be out of Narnia and into the Western Wild. You must journey through those mountains till you find a green valley with a blue lake in it, walled round by mountains of ice. At the end of the lake there is a steep, green hill. On the top of that hill there is a garden. In the centre of that garden is a tree. Pluck an apple from that tree and bring it back to me.”

A little while later, Aslan says:

“Do not fly too high… Do not try to go over the tops of the great ice-mountains. Look out for the valleys, the green places and fly through them.”

These passages clear up a lot about the west, but also raise more issues.

First, Digory says he sees great mountains, then accurately describes Caldron pool, the Great Waterfall, and the cliffs as according to the seminal map and Baynes’ last, complete one. But, has Digory said he sees mountains, then over these, the pool, or he just says mountains in general, then describes what’s at hand leading up to them? It’s probably number two, but it’s not explicit.

Then, Digory sees big, snowy mountains like the Alps heaped up all together. Which he would say, as  it’s likely what he knows. But what Digory calls mountains with snow and ice, Aslan calls mountains of ice, or ice-mountains. Is this just a different, more archaic way of saying high, glaciated, snowcapped mountains, or did Aslan actually mean mountains made of ice?

Baynes seems to have thought so, as her illustration of the garden indicates.

For all its picturesqueness, mountains of ice don’t seem very likely as a geological feature, and even if Narnia is a fantastic world, Lewis is always careful to base the terrain on what exists in real life. I’ll say that this is one of the cases where Baynes took the text too literally despite the closeness of their working relationship.

Also, in The Last Battle Lewis states about Caldron Pool “It is liveliest in the early spring when the waterfall is swollen with all the snow that has melted off the mountains from up beyond Narnia in the Western Wild from which the river comes.” So… chances are, the mountains are ordinary rocky ones and not made of solid ice. And remember somewhere in all this is Telmar, which the kids, flying into the sunset according to the text (“They were flying over a wild country of steep hills and dark forests … But the sun was now in the travellers’ eyes and they couldn’t see things very clearly in that direction”) somehow miss. Well, Lewis did state they couldn’t see clearly, and the area that became Telmar hadn’t been civilized yet. But I’ll come back to Telmar later.

Anyway, it’s all up in the air (to make a pun.) I will say, these are Alp-like rocky mountains and pretty high, at least 8,000 feet which is where non-acclimated mammals begin to feel altitude sickness. Tibetan yak, which can be the size of Fledge, can live up to 16,400 feet, but their biology is designed for it. Of course 8,000 feet is small as far as titanic mountains ranges go;  the average height of the Alps is around 15,000 feet, so let’s say that is par for the Western Mountains, and high enough to sustain the glaciers from which the streams that feed the river arise. When Fledge flew, he heeded Aslan’s advice and threaded through the valleys.

We’re not told how long the journey took, but when they leave The Garden of the Silver Apples, around late morning, they arrive back at Lantern Waste when the sun is setting again. So, I’ll say eight hours at the stately pace of a flying horse. But since they followed the valleys, it wasn’t as the crow flies, and the garden’s location might not be as immediately west of caldron pool as some maps indicate.

The green hill lies at the end of a blue lake in the heart of the mountains surrounded by “icy peaks” which act as a barrier to intruders. By the description, I think it’s reasonable to assume these peaks are the highest of the chain. The garden has gold gates facing east (Aslan’s direction) where Digory-as-Adam is tempted by the fruit of not knowledge, but eternal youth and vitality, with Jadis filling the role of the serpent. The silver apples also echo the tale of the Golden Apples from Greek myth, which I understood when I first read it.

You can see Jadis far to the right by the trunk of the tree.

Later in The Last Battle the garden serves as a gathering place for the resurrected Narnians and friends of Narnia after the apocalyptic end of shadow-Narnia and the train accident, respectively. (Here Edmund also calls them ice-mountains, so I guess I guess it’s a synonym not a literalism.) Its here that Lewis does some puzzling things with geography and that surpass even the oddness of the standing wave of the Utter East.

But when you looked down you found that this hill was much higher than you had thought: it sank down with shining cliffs, thousands of feet below them and trees in that lower world looked no bigger than grains of green salt. Then she turned inward again and stood with her back to the wall and looked at the garden.

“I see,” she said at last, thoughtfully. “I see now. This garden is like the Stable. It is far bigger inside than it was outside.”

“Of course, Daughter of Eve,” said the Faun. “The further up and the further in you go, the bigger everything gets. The inside is larger than the outside.”

Lucy looked hard at the garden and saw that it was not really a garden at all but a whole world, with its own rivers and woods and sea and mountains. But they were not strange: she knew them all.

“I see,” she said. “This is still Narnia, and, more real and more beautiful than the Narnia down below, just as it was more real and more beautiful than the Narnia outside the Stable door! I see … world within world, Narnia within Narnia….”

“Yes,” said Mr. Tumnus, “like an onion: except that as you continue to go in and in, each circle is larger than the last.”

Well, okay.

As a child I found this very confusing. I accepted that in this hyper-Narnia everything was better, because they were in a heaven of sorts. But how could the garden be a Narnia as well, in miniature form? What would happen if you set foot in it and decided to stomp all over it, Godzilla style? I still can’t reconcile the imagery, and the metaphors, and I really wish the author had explained it better.

However this does make me feel that, metaphorically, this is Narnia’s western limit. As the sandy shore and standing wave led Reepicheep into Aslan’s country in the east, The Garden of the Silver Apples serves the same for the west. I can imagine that the tall peak from which Digory and Polly see the sun set behind really is as thin and flat like cardboard it’s described as, and should they have traveled further and looked behind, they will see it’s no more than a stage prop hiding where the sun disappears at night.

Anyway I was not too happy about this onion explanation.

Now let’s move on to Telmar.

It is quite possible that one of the valleys Fledge, Digory, and Polly fly over in their journey is the future location of Telmar. Aslan told them to avoid the higher mountains and follow the valleys, so it’s likely their journey was convoluted and not straight-arrow. Or perhaps Telmar was on a plateau, with passes that led north to Lantern Waste and south to Archenland. Lewis had died before Baynes prepared the complete map, and I think that she, with access to his unpublished timeline, surmised that Telmar was closer to Calormen.

But then “beyond the Western Mountains” implies exactly that, over and on the other wide of the mountains, not in them. This fact is repeated several times in the series. If the Garden of the Silver Apples, situated in the highest part of the mountains, serves as the western end of Narnia-as-world, how can Telmar be on the other side of those mountains? Or perhaps the garden is an umbilicus of sorts, at the center of the world.

Hmm, I like that idea.

Aside from Telmar, not much is known about who or what lives in The Western Wild. Mention is made of a human hunter killing a lion in The Last Battle. Who he is, and where he came from, are explicitly left out of the story. Later in the book, at Narnia’s Last Judgement, there comes, streaming through Aslan’s door, “strange unearthly things from the remote islands or the unknown Western lands.” Lands implies there were more than one, and since only sentient creatures come through the door, the “things” were intelligent. But there was no elaboration. And indeed, that’s all we know.

So, I can conclude there was a west beyond the mountains; all the evidence points to it.

Lewis does NOT say, however, that there was a western ocean, as many maps depict. The wikis or maps that put one in there are based on a misreading of the above quote; I suspect that in some editions of the book “Western lands” was misprinted as “Western islands,” or readers misread it as “remote islands of the unknown Western lands.” But, Lewis did not mention a tundra either, yet there were reindeer and polar bears, in the first book at least.

He also did not write about the path from Telmar to Narnia being along a gorge, or Telmar trading with Calormen. That’s an invention of the movie, or the movie producers. In all of these posts, I’m sticking to what Lewis actually wrote. Anything from the movies is just an AU.

In a later post on Narnian geography, I’ll be pulling everything together.

Worldbuilding Wednesday 6/16/21: Gallic Chieftains (Narnia XVIII)

 

Where did the name of Mr. Tumnus, the helpful faun of The Lion, the Witch, and the Wardrobe, come from? Gallic chieftains, of course! Where -umnus and -umnos were frequent components, as in names Togodumnos and Dumnorix.  Of course, these were also latinised; the only way we know these names today is through Roman chronicles.

The -us ending of Tumnus is clearer: in Latin, it denotes a male name. The meaning of Tumn- is up for grabs however. I’m sure Lewis did not intend it as British slang for the stomach area, so I propose it derives from Autumn, being as the character functions as a bright spot of Autumn left in a wintry and frozen landscape.

Looking at the Chronicles as a whole, I am also pretty sure Lewis may have thought of The Western Wild of Narnia as having Celtish or Gallic-derived inhabitants. The lion skin that starts all the trouble in The Last Battle was said to have come from a human hunter far upstream of The Great River; tellingly, Lewis refuses to tell the reader his story. Earlier, in The Voyage of the Dawn Treader, Caspian and crew stop at a deserted island where they find “ruins of stone huts… also some bones and broken weapons” which screams Bronze Age to me, as well as the small coracle (helpfully explained as a boat “made of hide stretched over a wicker framework”) Reepicheep appropriates. In rereading this passage, I’ve noted they don’t spare any tears for the former inhabitants. In Lewis’s childhood, barely out of the Victorian Age, more primitive peoples were thought of as subhumans, models to be discarded on the way to higher civilization.

Making up a Gallic chieftain of your own? Here are some names… and if you need a tribe, it’s here.

 

Gallic Chieftains

Mnarus

Vullvanus

Votorix

Duagmoros

Daumos

Eppumos

Pvikos

Olumnus

Olrix

Celtimnis

Satoros

Taeverix

Erendorix

Pervuptuous

Ultorix

Ilgenus

Aerios

Viax

Through the Portal

Portal Fantasy: A subgenre of fantasy literature where inhabitants from our world enter a secondary one through a magical portal door or gate, or in some cases a magical object like a tree or mirror. Usually used in children’s fantasy but not always.

The portal trope is a particularly robust one in speculative literature. Its progenitors are the rabbit hole and mirror of Alice in Wonderland and Alice Through the Looking Glass, but it also includes horror (Weaveworld and Imagica, by Clive Barker) science fiction (the TV series Land of the Lost, where a family enters an interdimensional pocket during an earthquake) historical romance (Diana Gabaldon’s Outlander series) epic fantasy (The Fionavar Tapestry)  and, of course, Narnia, where initial access comes through a wardrobe, the kind used for the storage of clothing in houses that didn’t have closets.

I myself always picture the wardrobe as being very plain, like this.

Narnia wardrobe

It’s in a plain room, and six feet from it, to the right (out of the range of the photo) is the doorway which the tour guide and party comes through, causing the Pevensie kids to take refuge. It’s an iconic image, that of discovering another land in so workaday an object.

Other artists have their interpretations.

A Brief Guide to C. S. Lewis and Narnia

This book cover fancies up the wardrobe with a carved top — including a lion’s head — and the fur coats and winter snow that play a role in the first part of the story.

In this one, most likely made after the 2005 movie by its depiction of Mr. Tumnus, Lucy opens the heavy oak doors to see only coats, but Narnia is blooming all around it, out of her sight, with elements of the story.

This piece of concept art from the movie sets down the elements for its depiction: small child Lucy and a massive, ornately carved Victorian wardrobe, from which she first removes the sheet draping it. It’s a double unveiling. Its location in a small, plain, dead-end room literally screams “Open me! I am magical!” But I always thought the wardrobe’s appeal came from it looking so ordinary, in an ordinary location, yet containing a universe.

This depiction by ArdenRey depicts the despair of a child trying to enter, or re-enter, Narnia, but being stymied by the back wall. The wardrobe cooperates only when Aslan wants it to.

In this depiction by Sarara182  Lucy is now a young teen wearing a filmy dress. She seems about to explore her budding sexuality. The doors of this wardrobe are carved with a tree, bringing to mind the door to the Mines of Moria in The Fellowship of the Ring.

Of course, it’s very possible to make your own magic portal. All you need is an old wardrobe with the back cut out and an already-existing opening. Murphydoor.com, purveyer of secret and hidden doors, presents all the possibilities. This builder added a Christmas tree and lampost to the white-carpeted space beyond.

Also within the realm of possibilities is this Lego wardrobe with Mr. Tumnus, Lucy, and a snowy landscape beyond.

Worldbuilding Wednesday 6/9/21: Let’s Hear it for the As


Aslan, the lion deity of The Chronicles of Narnia, shows his importance by having A as the first letter of his name. In the English language, it’s the first letter of the alphabet. One language theory posits that modern humans, when they read written characters, use the same parts of the brain once used for analyzing landscape features. If true, then A is a mountain, not only the foremost character, but the most visually arresting and important.  C. S. Lewis most likely modeled the name Aslan on Arslan, the Persian word for lion, wisely dropping the R because of its connotations to arse (British slang for buttocks.)

That there are two As is Aslan makes him doubly impressive.

In fantasy, A names are also equated with character importance much of the time, from Atreides to Ael (ninja-like tribesman from The Wheel of Time series) to Orson Scott Card’s hero Alvin Maker.

Here’s some randomgenned character names beginning with A.

 

Character names beginning with A

Male

Agatern

Adis

Andel

Atrull

Agis

Ankaun

Athosus

Abhil

Adhiston

Aris

Female

Agnaata

Asja

Ashirielle

Alis

Aldalisa

Amapra

Annefra

Anothy

Adnee

Angmora

Surnames

Arkcherry

Ambercross

Aechester

Axwoven

Afallpor

Archnude

Allwithers

Aister

Aspofeld

Angchiss

Another Summer of Narnia

x

Yes, it’s going to be another Summer of Narnia here on my blog! I’ll be tying up some loose ends from last year’s Summer of Narnia, as well as introducing new topics and insights I’ve found since then. Keep visiting!

Worldbuilding Wednesday 6/2/21: The Best of Twittersnips (Mythical Beings)

The Indian god Varune riding on a crocodile

One of the subjects I love randomgenning most are mythical creatures – demons, monsters, legendary beings, animals.

These names are culled from my Twitter feed, from the years 2017 – 2020.

 

Mythical Beings

Satatareth, the Angel of Good Hygiene

Gembilath, the Angel of Decay

Hestothy, the Demon Queen of Depravity

Levibed: A demon that appears in the form of a handsome youth with seven genitals. According to legend, he gave mankind the gift of fire.

Sclyaathin the Painbird: A demon that appears in the form of a baboon with a hawk’s head. He is guardian of the gateway to hell.

Blastrin: A three-headed white stag with red flames for eyes.

Gongcard: A huge anteater covered with reptilian scales. It has a blue mane and a long, narrow snout.

Slythaput: A two-headed scorpion with poisonous earlobes. It has small flaccid barbels around its mouth and may be found near natural springs.

Maggabed: A nature spirit with the head of a turtle and the body of a sea cucumber.

Charaiesis: A bear spirit with a green fish’s tail and webbed feet.

Trinoyree: A giant dog covered with pleated, naked skin that allows it to roll up into a ball.

Phyfe: A giant turtle with scales made of liquid glass.

Tyranafen: A vulture-like monster with eight legs and long, hairy eyebrows.

Jellund: A strange frog-like monster with a tuft of white feathers on its head. It has a very dense body that feels the air pressure around it.

Phoetrine: A goddess of War who takes the form of a voluptuous woman with the heads of two lionesses.

Boudecima: A golem in the form of a winged maiden whose singing lures snakes out of human towns.

Fenixmoon: A sky elemental that appears as a blue, winged serpent with a girl’s head. She bears the crescent moon on her brow.

The Moon God Akkartou, and his brother, the Wind God Ekundar

Dr. Nysariel, the Kettlejuice Demon

Atompunk Space Junk

Except for the X-15, none of these space vehicles ever took flight. But that rocket at the top, slightly left of center, resembles this Space-X one.

Worldbuilding Wednesday 5/26/21: Strawberry Shortcake Dolls


Any woman of a certain age will recall Straw berry Shortcake and her friends, scent- and color-themed dolls that reigned over the girl-toy world of the early 1980s. But the titular character actually had her start years earlier, in the 1970s. In that granola-crunch world, she began as an illustration on a greeting card. Like many characters of the time designed to appeal to little girls, she was equal parts Raggedy Ann doll, Holly Hobbe, and Gunne Sax … a prairie girl ragamuffin toy. It was the tiny strawberries on her costume that made her appeal to consumers. So much so, she became a toy, then an entire line with villains, play pieces, and an entire world complete with “foreign” dessert-themed dolls such as Chinese girl Almond Tea and her pet Marza-panda.

Strawberry’s time in the sun lasted only so long, like her namesake. By the late 1980s she was history, her original fans having moved on, and younger girls being into different play things. Over the decades she has been redesigned and relaunched for following generations, with varying degrees of success.

But what if she had been designed for today? What reincarnations would she have?

 

Strawberry Shortcake Dolls (Upscaled Versions)

Vanilla Waffle

Papaya Bun

Pear Crostata

Gooseberry Syrup

Maple Roll

Broccolini Quiche

Kale Timbale

Walnut Butter

Kiwi Bubble Tea

Jicama Gratin

Mango Mousse

Cinnamon Crumbles

Pineapple Cream

Asparagus Tits

Bejeweled

Skull covered in Swarovsky crystals