Copy and paste the following code to link back to this work ( CTRL A/ CMD A will select all), or use the Tweet or Tumblr links to share the work on your Twitter or Tumblr account. Notes: Here we go!

The collapse of the German Army Group Center in June and July of 1944 set the stage for the final campaigns in the northern half of the eastern front.

Psychological torment and angst combined with silly, horror-tropey fun make for a creepy paranormal mystery. How can that work, you ask? Read on and find out, friends. I've used the basic layout of the Shinra mansion from the original game and the exterior look from Crisis Core as starting points, but in the spirit of the Compilation I've happily added rooms and corridors as best fits my devious purposes.

The chapters are pretty long, so I'm aiming to get one out every two weeks or so. Rated T for swearing, innuendo of varying levels of (un)subtlety, and dark themes later on.

• (in publication order) • (1950) • (1951) • (1952) • (1953) • (1954) • (1955) • (1956) Author Illustrator Country United Kingdom Language English Genre Publisher Published 16 October 1950 – 4 September 1956 Media type (hardcover and paperback) The Chronicles of Narnia is a. It is considered a classic of and is the author's best-known work, having sold over 100 million copies in 47 languages. Written by Lewis, illustrated by, and originally published in London between 1950 and 1956, The Chronicles of Narnia has been, complete or in part, for radio, television, the stage, and film. Set in the of, a fantasy world of magic, mythical beasts, and talking animals, the series narrates the adventures of various children who play central roles in the unfolding history of that world. Except in, the are all children from the real world, magically transported to Narnia, where they are called upon by the lion to protect Narnia from evil and restore the throne to its rightful line. The books span the entire history of Narnia, from its creation in to its eventual destruction in. Inspiration for the series was taken from multiple sources; in addition to adapting numerous traditional themes, Lewis freely borrowed characters and ideas from and as well as from traditional British and Irish.

The books have profoundly influenced adult and children's fantasy literature since. Lewis's exploration of themes not usually present in children's literature, such as religion, as well as the books' perceived treatment of issues including race and gender, has caused some controversy. Contents • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Background and conception [ ] Although Lewis originally conceived what would become The Chronicles of Narnia in 1939, he did not finish writing the first book until 1949., the penultimate book to be published, but the last to be written, was completed in 1954.

Lewis did not write the books in the order in which they were originally published, nor were they published in their current chronological order of presentation.: 24 The original illustrator, Pauline Baynes, created pen and ink drawings for the Narnia books that are still used in the editions published today. Lewis was awarded the 1956 for The Last Battle, the final book in the saga. Fellow children's author first referred to the series as The Chronicles of Narnia, in March 1951, after he had read and discussed with Lewis his recently completed fourth book, originally entitled Night under Narnia.

Lewis described the origin of The Lion, the Witch and the Wardrobe in an essay entitled 'It All Began with a Picture': The Lion all began with a picture of a carrying an umbrella and parcels in a snowy wood. This picture had been in my mind since I was about sixteen. Then one day, when I was about forty, I said to myself: 'Let's try to make a story about it.' Shortly before the start of World War II, to the English countryside in anticipation of attacks on London and other major urban areas by Nazi Germany. As a result, on 2 September 1939, three school girls, Margaret, Mary and Katherine, came to live at in, Lewis's home three miles east of city centre. Lewis later suggested that the experience gave him a new appreciation of children and in late September he began a children's story on an odd sheet of paper which has survived as part of another manuscript: This book is about four children whose names were Ann, Martin, Rose and Peter.

But it is most about Peter who was the youngest. They all had to go away from London suddenly because of Air Raids, and because Father, who was in the Army, had gone off to the War and Mother was doing some kind of war work. They were sent to stay with a kind of relation of Mother's who was a very old professor who lived all by himself in the country.

In 'It All Began With a Picture' C. Lewis continues: At first I had very little idea how the story would go. But then suddenly Aslan came bounding into it. I think I had been having a good many dreams of lions about that time. Apart from that, I don't know where the Lion came from or why he came. But once he was there, he pulled the whole story together, and soon he pulled the six other Narnian stories in after him.

The manuscript for The Lion, the Witch and the Wardrobe was complete by the end of March 1949. Name [ ] The name Narnia is based on, Italy, written in as Narnia. Lancelyn Green wrote: When Walter Hooper asked [C.

Lewis] where he found the word 'Narnia', Lewis showed him Murray's Small Classical Atlas, ed. Grundy (1904), which he acquired when he was reading the classics with Mr Kirkpatrick at Great Bookham [1914–1917]. On plate 8 of the Atlas is a map of ancient Italy. Lewis had underscored the name of a little town called Narnia, simply because he liked the sound of it.

Narnia — or 'Narni' in Italian — is in, halfway between Rome and Assisi. Publication history [ ] The Chronicles of Narnia's seven books have been in continuous publication since 1956, selling over 100 million copies in 47 languages and with editions in. The first five books were originally published in the United Kingdom by Geoffrey Bles. The first edition of The Lion, the Witch and the Wardrobe was released in London on 16 October 1950. Although three more books, Prince Caspian, The Voyage of the Dawn Treader and The Horse and His Boy, were already complete, they were not released immediately at that time, but appeared (along with The Silver Chair) one at a time in each of the subsequent years (1951–1954).

The last two books ( The Magician's Nephew and The Last Battle) were published in the United Kingdom originally by in 1955 and 1956. In the United States, the publication rights were first owned by, and later. The two issued both hardcover and paperback editions of the series during their tenure as publishers, while at the same time produced paperback versions for sale primarily through direct mail order, book clubs, and book fairs. Harper Collins also published several one-volume collected editions containing the full text of the series. As noted below (see ), the first American publisher, Macmillan, numbered the books in publication sequence, but when Harper Collins won the rights in 1994, at the suggestion of Lewis's stepson they used the series' internal chronological order. Scholastic switched the numbering of its paperback editions in 1994 to mirror that of Harper Collins.: 24 Books [ ] The seven books that make up The Chronicles of Narnia are presented here in order of original publication date: The Lion, the Witch and the Wardrobe (1950) [ ].

Main article: The Lion, the Witch and the Wardrobe, completed by the end of March 1949 and published by Geoffrey Bles in the United Kingdom on 16 October 1950, tells the story of four ordinary children:,,, and, who have been evacuated to the English countryside from in 1940 following the outbreak of. They discover a wardrobe in Professor 's house that leads to the magical land of Narnia. The Pevensie children help Aslan, a talking lion, save Narnia from the evil, who has reigned over the land of Narnia for a century of perpetual winter with no Christmas.

The children become kings and queens of this new-found land and establish the Golden Age of Narnia, leaving a legacy to be rediscovered in later books. Prince Caspian: The Return to Narnia (1951) [ ]. Main article: Completed after Christmas 1949 and published on 15 October 1951, Prince Caspian: The Return to Narnia tells the story of the Pevensie children's second trip to Narnia. They are drawn back by the power of Susan's horn, blown by to summon help in his hour of need.

Narnia, as they knew it, is no more, as 1,300 years have passed and their castle is in ruins, while all Narnians have retreated so far within themselves that only Aslan's magic can wake them. Caspian has fled into the woods to escape his uncle,, who has usurped the throne.

The children set out once again to save Narnia. The Voyage of the Dawn Treader (1952) [ ]. Main article: Written between January and February 1950 and published on 15 September 1952, The Voyage of the Dawn Treader sees Edmund and Lucy Pevensie, along with their cousin,, return to Narnia. Once there, they join Caspian's voyage on the ship Dawn Treader to find the seven lords who were banished when Miraz took over the throne. This perilous journey brings them face to face with many wonders and dangers as they sail toward Aslan's country at the edge of the world.

The Silver Chair (1953) [ ]. Main article: Completed at the beginning of March 1951 and published 7 September 1953, The Silver Chair is the first Narnia book without any of the Pevensie children. Instead, Aslan calls Eustace back to Narnia together with his classmate.

There they are given four signs to aid them in the search for Prince, Caspian's son, who disappeared after setting out ten years earlier to avenge his mother's death. Fifty years have passed in Narnia and Caspian, who was barely an adult in The Voyage of the Dawn Treader, is now an old man, while Eustace is still a child. Eustace and Jill, with the help of the, face danger and betrayal on their quest to find Rilian. The Horse and His Boy (1954) [ ]. Main article: Begun in March and completed at the end of July 1950, The Horse and His Boy was published on 6 September 1954.

The story takes place during the reign of the Pevensies in Narnia, an era which begins and ends in the last chapter of The Lion, the Witch and the Wardrobe. A young boy named and a talking horse named, both of whom are in bondage in the country of, are the protagonists. By 'chance', they meet and plan their return to Narnia and freedom. Along the way they meet and her talking horse who are also fleeing to Narnia. The Magician's Nephew (1955) [ ]. Main article: Completed in February 1954 and published by Bodley Head in London on 2 May 1955, the prequel The Magician's Nephew brings the reader back to the origins of Narnia where we learn how Aslan created the world and how evil first entered it. And his friend stumble into different worlds by experimenting with magic rings made by Digory's uncle.

They encounter (The White Witch) in the dying world of Charn, and witness the creation of Narnia. Many long-standing questions about the world are answered as a result. The story is set in 1900, when Digory was a 12-year-old boy.

He is a middle-aged professor and host to the Pevensie children by the time of The Lion, the Witch and the Wardrobe 40 years later. The Last Battle (1956) [ ]. Main article: Completed in March 1953 and published 4 September 1956, The Last Battle chronicles the end of the world of Narnia. Jill and Eustace return to save Narnia from, an ape, who tricks, a donkey, into impersonating the lion Aslan, precipitating a showdown between the Calormenes and. This leads to the end of Narnia, revealing the true Narnia to which Aslan brings them.

Reading order [ ] Fans of the series often have strong opinions over the order in which the books should be read. The issue revolves around the placement of The Magician's Nephew and The Horse and His Boy in the series. Both are set significantly earlier in the story of Narnia than their publication order and fall somewhat outside the main story arc connecting the others. The reading order of the other five books is not disputed. A 1970 Collier-Macmillan edition paperback boxed set (cover art by ), where the books are presented in order of original publication Original publication order Harper Collins order (chronological) When first published, the books were not numbered. The first American publisher, Macmillan, enumerated them according to their original publication order, while some early British editions specified the internal chronological order.

When Harper Collins took over the series rights in 1994, they adopted chronological order.: 24 To make the case for chronological order, Lewis's stepson,, quoted Lewis's 1957 reply to a letter from an American fan who was having an argument with his mother about the order: I think I agree with your [chronological] order for reading the books more than with your mother's. The series was not planned beforehand as she thinks. When I wrote The Lion I did not know I was going to write any more. Then I wrote P. Caspian as a sequel and still didn't think there would be any more, and when I had done The Voyage I felt quite sure it would be the last, but I found I was wrong. So perhaps it does not matter very much in which order anyone read them. I’m not even sure that all the others were written in the same order in which they were published.

In the 2005 Harper Collins adult editions of the books, the publisher cites this letter to assert Lewis's preference for the numbering they adopted by including this notice on the copyright page: Although The Magician's Nephew was written several years after C. Lewis first began The Chronicles of Narnia, he wanted it to be read as the first book in the series.

Harper Collins is happy to present these books in the order in which Professor Lewis preferred. Paul Ford cites several scholars who have weighed in against this view, and continues, 'most scholars disagree with this decision and find it the least faithful to Lewis's deepest intentions'.: 24 Scholars and readers who appreciate the original order believe that Lewis was simply being gracious to his youthful correspondent and that he could have changed the books' order in his lifetime had he so desired. They maintain that much of the magic of Narnia comes from the way the world is gradually presented in The Lion, the Witch and the Wardrobe – that the mysterious wardrobe, as a narrative device, is a much better introduction to Narnia than The Magician's Nephew, where the word 'Narnia' appears in the first paragraph as something already familiar to the reader. Moreover, they say, it is clear from the texts themselves that The Lion, the Witch and the Wardrobe was intended to be read first. When Aslan is first mentioned in The Lion, the Witch and the Wardrobe, for example, the narrator says that 'None of the children knew who Aslan was, any more than you do' — which is nonsensical if one has already read The Magician's Nephew. Other similar textual examples are also cited.

Doris Meyer, author of C. Lewis in Context and Bareface: A guide to C.

Lewis, writes that rearranging the stories chronologically 'lessens the impact of the individual stories' and 'obscures the literary structures as a whole'.: 474 Peter Schakel devotes an entire chapter to this topic in his book Imagination and the Arts in C. Lewis: Journeying to Narnia and Other Worlds, and in Reading with the Heart: The Way into Narnia he writes: The only reason to read The Magician's Nephew first [.] is for the chronological order of events, and that, as every story teller knows, is quite unimportant as a reason. Often the early events in a sequence have a greater impact or effect as a flashback, told after later events which provide background and establish perspective. So it is [.] with the Chronicles. The artistry, the archetypes, and the pattern of Christian thought all make it preferable to read the books in the order of their publication.

Main characters [ ]. Main article: Aslan, the Great Lion, is the lion of The Lion, the Witch and the Wardrobe, and his role in Narnia is developed throughout the remaining books. He is also the only character to appear in all seven books. Aslan is a talking lion, the King of Beasts, son of the.

He is a wise, compassionate, magical authority (both temporal and spiritual) who serves as mysterious and benevolent guide to the human children who visit, as well as being the guardian and saviour of Narnia. Lewis described Aslan as an alternative version of Jesus as the form in which Christ might have appeared in an alternative reality. Pevensie family [ ]. Main articles:,,, and The four Pevensie siblings are the main human protagonists of The Chronicles of Narnia. Varying combinations of some or all of them appear in five of the seven novels.

They are introduced in The Lion, the Witch and the Wardrobe, and eventually become Kings and Queens of Narnia reigning as a tetrarchy: Peter the Magnificent, Queen Susan the Gentle, King Edmund the Just, and Queen Lucy the Valiant. Although introduced in the series as children, the siblings grow up into adults while reigning in Narnia.

They go back to being children once they get back to their own world, but feature as adults in The Horse and His Boy during their Narnia reign. Echoing the Christian theme of betrayal, repentance, and subsequent redemption via blood sacrifice, Edmund betrays his siblings to Jadis, the White Witch, but quickly realises the true nature of the witch and her evil intentions towards his siblings, and joins Aslan's side.

At that point he is redeemed by the sacrifice of Aslan's life and he joins the fight against the White Witch. Lucy is the youngest of the four Pevensie siblings. Of all the Pevensie children, Lucy is the closest to Aslan, and of all the human characters who visit Narnia, Lucy is perhaps the one who believes in Narnia the most. All four appear in The Lion, the Witch, and the Wardrobe and Prince Caspian; in the latter, however, Aslan tells Peter and Susan that they will not return, as they are getting too old. Susan, Lucy, and Edmund appear in The Horse and His Boy – Peter is said to be away fighting giants on the other side of Narnia. Lucy and Edmund appear in The Voyage of the Dawn Treader, where Aslan tells them, too, that they are getting too old.

Peter, Edmund, and Lucy appear in The Last Battle. Susan doesn't appear in The Last Battle because by that time she has stopped believing in Narnia. Asked by a child in 1958 if he would please write another book entitled 'Susan of Narnia' so that the entire Pevensie family would be reunited, C. Lewis replied: 'I am so glad you like the Narnian books and it was nice of you to write and tell me.

There's no use just asking me to write more. When stories come into my mind I have to write them, and when they don't I can't!' * Eustace Scrubb [ ]. Main article: Eustace Clarence Scrubb is a cousin of the Pevensies, and a classmate of Jill Pole at their school. He is portrayed at first as a brat and a bully, but comes to improve his nasty behaviour when his greed turns him into a dragon for a while. His distress at having to live as a dragon causes him to reflect upon how horrible he has been, and he soon becomes a better person so Aslan changes him back into a boy.

In the later books, Eustace comes across as a much nicer person, although he is still rather grumpy and argumentative. Nonetheless, he becomes a hero along with Jill Pole when the pair succeed in freeing the lost Prince Rilian from the clutches of an evil witch. He appears in The Voyage of the Dawn Treader, The Silver Chair, and The Last Battle. Jill Pole [ ]. Main article: Jill Pole is not related to any of the other children who enter Narnia.

She is a classmate and neighbour of Eustace Scrubb. She appears in The Silver Chair, where she is the viewpoint character for most of the action, and returns in The Last Battle. In The Silver Chair Eustace introduces her to the Narnian world, where Aslan gives her the task of memorising a series of signs that will help her and Eustace on their quest to find Caspian's lost son.

In The Last Battle she and Eustace accompany King Tirian in his ill-fated defence of Narnia against the Calormenes. Digory Kirke [ ].

Main article: Polly Plummer appears in The Magician's Nephew and The Last Battle. She is the next-door neighbour of the young Digory Kirke. She is tricked by a wicked magician (who is Digory's uncle) into touching a magic ring which transports her to the and leaves her there stranded. The wicked uncle persuades Digory to follow her with a second magic ring that has the power to bring her back. This sets up the pair's adventures into other worlds, and they witness the creation of Narnia as described in The Magician's Nephew. Prince Caspian / Caspian X [ ].

Main article: Prince Caspian, later to become King Caspian X of Narnia, Lord of Cair Paravel and Emperor of The Lone Islands – also called 'Caspian the Seafarer' and 'Caspian the Navigator' — is the title character of the second book in the series, first introduced as the young nephew and heir of King Miraz of Narnia. Prince Caspian: The Return to Narnia is set 1300 years after the rule of High King Peter and his siblings, when Old Narnians have been driven into hiding by Caspian's ancestors the. Caspian is also a central character in The Voyage of the Dawn Treader, and appears briefly at the beginning and end of The Silver Chair.

White Witch / Jadis [ ]. Main article: Shasta, later known as Cor of, is the principal character in The Horse and His Boy.

Born the eldest son and heir of of Archenland, and elder twin of Prince Corin, Cor was kidnapped as an infant and raised as a fisherman's son in the country of. Learning that he is about to be sold into slavery at the beginning of The Horse and His Boy, Shasta escapes to freedom, saves Archenland and Narnia from invasion, learns of his true identity, and is restored to his heritage. Shasta grows up to become King of Archenland, marries the Calormene Tarkheena, and fathers the next (and most famous) king of Archenland, Ram the Great. Main article: Tumnus is a who is featured prominently in The Lion, the Witch and the Wardrobe and also appears in The Horse and His Boy and The Last Battle.

He is close friends with Lucy and is the first creature she meets in Narnia, as well as the first Narnian to be introduced in the series. Lewis said that the first Narnia story came to him from a single picture he had in his head of a faun carrying an umbrella and parcels through a snowy wood. In that way, Tumnus was the initial inspiration for the entire Narnia series. Trumpkin [ ]. Main article: The last King of Narnia is the viewpoint character for much of The Last Battle. Having rashly killed a Calormene for mistreating a Narnian Talking Horse, he is imprisoned by the villainous ape Shift but released by Eustace and Jill.

Together they fight faithfully to the last and are welcomed into Aslan's Kingdom. A map by David Bedell of the of the Narnian world. The main setting of The Chronicles of Narnia is the world of Narnia constructed by Lewis and, in The Magician's Nephew, the world containing the city of. The Narnian and Charnian worlds are themselves posited as just two in a of countless worlds that includes our own universe, the main protagonists' world of origin. Passage between these worlds is possible, though rare, and may be accomplished by various means.

Narnia itself is described as populated by a wide variety of creatures, most of which would be recognisable to those familiar with European mythologies and British and Irish fairy tales. Inhabitants [ ] See also: and Lewis's stories are populated with two distinct types of character: Humans originating from the reader's world of Earth, and Narnian creatures and their descendants created by Aslan. This is typical of works that involve parallel universes. The majority of characters from the reader's world serve as the protagonists of the various books, although some are only mentioned in passing depending on chronology.

Lewis does not limit himself to a single source of inspiration; instead, he borrows from many sources,including ancient Greek and German mythology, as well as. Geography [ ]. See also: The Chronicles of Narnia describes the world in which Narnia exists as one major landmass encircled by an ocean. Narnia's capital sits on the eastern edge of the landmass on the shores of the Great Eastern Ocean.

This ocean contains the islands explored in The Voyage of the Dawn Treader. On the main landmass Lewis places the countries of Narnia, Archenland, Calormen, and, along with a variety of other areas that are not described as countries. The author also provides glimpses of more fantastic locations that exist in and around the main world of Narnia, including an edge and an underworld. There are several maps of the Narnian universe available, including what many consider the 'official' one, a full-colour version published in 1972 by the books' illustrator, Pauline Baynes.

This is currently out of print, although smaller copies can be found in the most recent HarperCollins 2006 hardcover edition of The Chronicles of Narnia. Two other maps were produced as a result of the popularity of the 2005 film. One, the 'Rose Map of Narnia', is based loosely on Baynes' map and has Narnian trivia printed on the reverse. The other, made in a monochromatic, archaic style reminiscent of maps of Tolkien's, is available in print and in an interactive version on the DVD of the movie.

The latter map depicts only the country Narnia and not the rest of Lewis's world. Cosmology [ ] A recurring plot device in The Chronicles is the interaction between the various worlds that make up the Narnian multiverse.

A variety of methods are used to initiate these cross-overs which generally serve to introduce characters to the land of Narnia. The Cosmology of Narnia is not as internally consistent as that of Lewis's contemporary Tolkien's Middle-earth, but suffices given the more fairy tale atmosphere of the work. During the course of the series we learn in passing, that the world of Narnia is flat and and has different stars from those of Earth, and that the passage of time does not correspond directly to the passage of time in our world. History [ ] See also: and The Chronicles cover the entire history of the world of Narnia, describing the process by which it was created, offering snapshots of life in Narnia as its history unfolds, and how it is ultimately destroyed.

As is often the case in a children's series, children themselves, usually from our world, play a prominent role in all of these events. The history of Narnia is generally divided into the following periods: creation and the period shortly afterwards, the rule of the White Witch, the Golden Age, the invasion and rule of the Telmarines, their subsequent defeat by Caspian X, the rule of King Caspian and his descendants, and the destruction of Narnia. Like many stories, the narrative is not necessarily always presented in chronological order. Influences [ ] Lewis's life [ ] Lewis's early life has parallels with The Chronicles of Narnia. At the age of seven, he moved with his family to a large house on the edge of.

Its long hallways and empty rooms inspired Lewis and his brother to invent make-believe worlds whilst exploring their home, an activity reflected in Lucy's discovery of Narnia in The Lion, the Witch and the Wardrobe. Like Caspian and Rilian, Lewis lost his mother at an early age, spending much of his youth in English boarding schools similar to those attended by the Pevensie children, Eustace Scrubb, and Jill Pole.

During World War II many children were evacuated from London and other urban areas because of German air raids. Some of these children, including one named Lucy (Lewis's goddaughter) stayed with him at his home The Kilns near Oxford, just as the Pevensies stayed with in The Lion, the Witch and the Wardrobe. Influences from mythology and cosmology [ ] Drew Trotter, president of the Center for Christian Study, noted that the producers of the film felt that the books' plots adhere to the archetypal ' pattern as detailed in 's.

Lewis was widely read in, an influence reflected throughout the books, and most strongly in The Voyage of the Dawn Treader. The entire book imitates one of the, a type of traditional tale that combines elements of Christianity and to tell the story of a hero's sea journey to the. Medieval Ireland also had a tradition of High Kings ruling over lesser kings and queens or princes, as in Narnia. Lewis's term 'Cair,' as in, also mirrors 'Caer', or 'fortress' in the Welsh language. 's small boat is a, a type of vessel traditionally used in the regions of the British Isles.

Some creatures in the book such as the one-footed reflect elements of Greek, Roman and Medieval mythology while other Narnian creatures are borrowed from Greek and Germanic mythology: for example, from the former and from the latter. In 2008 published Planet Narnia, which proposed that each of the seven books related to one of the known in the Middle Ages according to the of (a theme to which Lewis returned habitually throughout his work). Main article: A convert to Christianity in later life, Lewis had authored a number of works on Christian and other literature with Christian-based themes before writing the Narnia books. The character is widely accepted by literary academia as being based on Jesus Christ.

Lewis did not initially plan to incorporate into his Narnia stories. Lewis maintained that the Narnia books were not allegorical, preferring to term their Christian aspects a 'supposition'. The Chronicles have, consequently, a large Christian following, and are widely used to promote Christian ideas. However, some Christians object that The Chronicles promote 'soft-sell paganism and occultism' due to recurring pagan imagery and themes.

Criticism [ ] Accusations of gender stereotyping [ ] In later years, both Lewis and the Chronicles have been criticised (often by other authors of fantasy fiction) for stereotyping, though other authors have defended Lewis in this area. For example, Lucy gets a healing potion and a dagger, while Peter gets a sword. Most allegations of centre on the description of Susan Pevensie in The Last Battle when Lewis writes that Susan is 'no longer a friend of Narnia' and interested 'in nothing nowadays except nylons and lipstick and invitations'., inimical to Lewis on many fronts, calls the Narnia stories 'monumentally disparaging of women'.

His interpretation of the Susan passages reflects this view: Susan, like, is undergoing a transition from one phase of her life to another. Lewis didn't approve of that. He didn't like women in general, or at all, at least at the stage in his life when he wrote the Narnia books. He was frightened and appalled at the notion of wanting to grow up. In fantasy author 's short story 'The Problem of Susan' (2004), an elderly woman, Professor Hastings, deals with the grief and trauma of her entire family's death in a train crash.

Although the woman's maiden name is not revealed, details throughout the story strongly imply that this character is the elderly Susan Pevensie. The story is written for an adult audience and deals with issues of sexuality and violence and through it Gaiman presents a critique of Lewis's treatment of Susan. Other writers, including fan-magazine editor, oppose this view, arguing that the 'lipsticks, nylons and invitations' quote is taken out of context.

They maintain that in The Last Battle, Susan is excluded from Narnia explicitly because she no longer believes in it. At the end of The Last Battle Susan is still alive with her ultimate fate unspecified. Moreover, in The Horse and His Boy, Susan's adulthood and sexual maturity are portrayed in a positive light, and therefore argued to be unlikely reasons for her exclusion from Narnia.

[ ] Lewis supporters also cite the positive roles of women in the series, including Jill Pole in The Silver Chair, Aravis Tarkheena in The Horse and His Boy, Polly Plummer in The Magician's Nephew, and particularly Lucy Pevensie in The Lion, the Witch and the Wardrobe. Alan Jacobs, an English professor at Wheaton College, asserts that Lucy is the most admirable of the human characters and that generally the girls come off better than the boys throughout the series (Jacobs, 2008: 259).

In her contribution to The Chronicles of Narnia and Philosophy, Karin Fry, an Assistant Professor of Philosophy at the University of Wisconsin, Stevens Point, notes that 'the most sympathetic female characters in The Chronicles are consistently the ones who question the traditional roles of women and prove their worth to Aslan through actively engaging in the adventures just like the boys.' Fry goes on to say: The characters have positive and negative things to say about both male and female characters, suggesting an equality between sexes.

However, the problem is that many of the positive qualities of the female characters seem to be those by which they can rise above their femininity. The superficial nature of stereotypical female interests is condemned.

Accusations of racism [ ] In addition to sexism, Pullman and others have also accused the Narnia series of fostering racism. Over the alleged racism in The Horse and His Boy, newspaper editor wrote: It's just too dreadful.

While the book's storytelling virtues are enormous, you don't have to be a bluestocking of to find some of this fantasy anti-, or anti-Eastern, or anti. With all its stereotypes, mostly played for belly laughs, there are moments you'd like to stuff this story back into its closet., writing in The Atlantic, calls the Calormenes 'standins for Muslims', while novelist raises specific concerns that a reader might gain the impression Islam is a 'Satanic cult'. In rebuttal to this charge, at an address to a C. Lewis conference, Dr. Devin Brown argued that there are too many dissimilarities between the Calormene religion and Islam, particularly in the areas of polytheism and human sacrifice, for Lewis's writing to be regarded as critical of Islam. Nicholas Wanberg has argued, echoing claims by Mervyn Nicholson, that accusations of racism in the books are 'an oversimplification', but he asserts that the stories employ beliefs about human aesthetics, including equating dark skin with ugliness, that have been traditionally associated with racist thought.

Critics also argue whether Lewis's work presents a positive or negative view of colonialism. Nicole DuPlessis favors the anticolonial view, claiming 'the negative effects of colonial exploitations and the themes of animals' rights and responsibility to the environment are emphasized in Lewis' construction of a community of living things. Through the negative examples of illegitimate rulers, Lewis constructs the 'correct' relationship between humans and nature, providing examples of rulers like Caspian who fulfill their responsibilities to the environment.' Clare Etcherling counters with her claim that 'those 'illegitimate' rulers are often very dark-skinned' and that the only 'legitimate rulers are those sons and daughters of Adam and Eve who adhere to Christian conceptions of morality and stewardship – either white English children (such as Peter) or Narnians who possess characteristics valued and cultivated by the British (such as Caspian).' Adaptations of The Chronicles of Narnia [ ]. Main article: Television [ ] Various books from The Chronicles of Narnia have been adapted for television over the years, including: The Lion, the Witch and the Wardrobe was first. Comprising ten episodes of thirty minutes each, the screenplay was written by Trevor Preston, and directed by Helen Standage.

Unlike subsequent adaptations, it is currently unavailable to purchase for home viewing. The book was, this time as an animated cartoon co-produced by and the, with a screenplay by David D. Winner of the 1979, it was one of the first major made-for-television feature-length animated films. Many of the characters' voices in the British TV release were re-recorded by British actors and actresses with the exception of the characters Aslan, Peter, Susan, and Lucy.

Between 1988 and 1990, the first four books (as published) were adapted by the BBC as. They were also aired in America on the PBS/Disney show. They were nominated for a total of 14 Emmy awards, including 'Outstanding Children's Program', and a number of awards including Best Children's Programme (Entertainment / Drama) in 1988, 1989 and 1990. The serials were later edited into three feature-length films (the second of which combined Prince Caspian and The Voyage of the Dawn Treader into one) and released on VHS and DVD. Radio [ ] A critically acclaimed dramatisation was produced in the 1980s, starring as Professor Kirke. Collectively titled Tales of Narnia, the programs covered the entire series with a running time of approximately 15 hours.

In Great Britain, BBC Audiobooks release both audio cassette and compact disc versions of the series. Between 1998 and 2002 Focus on the Family produced radio dramatisations of the entire series through its program. Over one hundred performers took part including as the storyteller and as Aslan. Accompanied by an original orchestral score and cinema-quality design, the series was hosted by Lewis's stepson Douglas Gresham and ran for just over 22 hours. Recordings of the entire adaptation were released on compact disc between 1999–2003.

Stage [ ] Many stage adaptations of The Lion, the Witch and the Wardrobe have been produced over the years. In 1984, Vanessa Ford Productions presented The Lion, the Witch and the Wardrobe at London's Westminster Theatre. Adapted by Glyn Robbins, the play was directed by Richard Williams and designed by Marty Flood. The production was later revived at Westminster and The Royalty Theatre and went on tour until 1997. Productions of other tales from The Chronicles were also staged, including The Voyage of the Dawn Treader (1986), The Magician's Nephew (1988) and The Horse and His Boy (1990). In 1997, Trumpets Inc., a Filipino Christian theatre and musical production company, produced a musical rendition of 'The Lion, The Witch and The Wardrobe' that Douglas Gresham, Lewis's stepson (and co-producer of the Walden Media film adaptations), has openly declared that he feels is the closest to Lewis's intent. The book and lyrics were written by Jaime del Mundo and Luna Inocian, while the music was composed by Lito Villareal.

The premiered The Lion, the Witch and the Wardrobe in in 1998. The novel was adapted as a musical production by Adrian Mitchell, with music by Shaun Davey. The show was originally directed by Adrian Noble and designed by Anthony Ward, with the revival directed by Lucy Pitman-Wallace.

Well received by audiences, the production was periodically re-staged by the RSC for several years afterwards. Limited engagements were subsequently undertaken at the Barbican Theatre in London and at Sadler's Wells. This adaptation also toured the United States in the early 2000s. The premiere of in 2008 Sceptical that any cinematic adaptation could render the more fantastical elements and characters of the story realistically, Lewis never sold the film rights to the Narnia series. In answering a letter with a question posed by a child in 1957, asking if the Narnia series could please be on television, C. Lewis wrote back: 'They'd be no good on TV. Humanized beasts can't be presented to the eye without at once becoming either hideous or ridiculous.

I wish the idiots who run the film world [would] realize that there are stories [which] are for the ear alone.' Only after seeing a demo reel of animals did Douglas Gresham, Lewis's stepson and, and the films' co-producer, give approval for a film adaptation.

The first novel adapted was The Lion, the Witch and the Wardrobe as released in December 2005. Produced by and distributed by, the film was directed by, with a screenplay by Ann Peacock, Stephen McFeely and Christopher Markus. The movie was a critical and box-office success, grossing over $745 million worldwide. Disney and Walden Media then co-produced a sequel, released in May 2008, which grossed over $419 million worldwide. In December 2008 Disney pulled out of financing the remainder of the Chronicles of Narnia film series.

Already in pre-production at the time, and Walden Media eventually co-produced, which was released in December 2010 going on to gross over $415 million worldwide. In May 2012, producer confirmed that Walden Media's contract with the C.S Lewis Estate had expired, and that there was a moratorium on producing any Narnia films outside of Walden Media. On 1 October 2013, it was announced that the C.S.

Lewis Company had entered into an agreement with the Company to jointly develop and produce. On 26 April 2017, was hired to direct the film.

In October Johnston said filming is expected to begin in late, 2018. See also [ ]. The Telegraph. Retrieved 24 February 2013 •. Retrieved 23 November 2012 • &, C.

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• Poskanzer, Susan Cornell 'Thoughts on C. Lewis and the Chronicles of Narnia' pages 523-526 from Language Arts, Volume 53, Issue #5, May 1976 page 525. • Poskanzer, Susan Cornell 'Thoughts on C. Lewis and the Chronicles of Narnia' pages 523-526 from Language Arts, Volume 53, Issue #5, May 1976 page 525. • Miller, ' The New Yorker, 26 December 2005 •, ', (March 2008) • Peter Hitchens, ', The Mail on Sunday (27 January 2002), p. 63 • Chattaway, Peter T.

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Lewis's Chronicles of Narnia. BenBella Books. Encyclopedia Metallum. Retrieved 15 December 2010. Retrieved 26 July 2010. • Carpenter, The Inklings, p.42-45. See also Lewis's own autobiography Surprised by Joy • Jerry Root; Wayne Martindale (12 March 2012)..

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