Literature Asked by simonalexander2005 on August 23, 2021
There are two common reading orders for the Chronicles of Narnia:
The original publication order:
The chronological order, preferred by C.S. Lewis:
Why is the order of The Chronicles of Narnia changed from original publication? asks why publishers changed their minds regarding the reading order; but this question is asking for the reasons for and against reading the books in the two orders listed.
Specifically, I am interested in things such as, For example:
I am looking for objective reasons to back up your possibly-subjective answers
I first read the books in the chronological ordering when I was about five. And that, I think, makes a big difference, because to a five-year-old, The Magician's Nephew is a slog. I didn't understand what the Victorian era was, or why we were in the Victorian era, or why the characters used such odd slang, or what a hansom cab was, or any of the references Lewis was making to other genres of literature, or how the whole book is a clever fantasy spin on Genesis and original sin. Don't get me wrong; it's a great book, and I got a lot out of reading it at such a young age. There was imagery and symbolism that was so powerful I could feel exactly what it was meant to express, even if I missed the delicate web of references it spun. But it's not representative of the rest of the series. It doesn't set the tone for what's to come, and it's harder for younger readers to get through.
On the other hand, I absolutely loved The Lion, The Witch, and the Wardrobe. I was less bothered about the details of the real world, because the book seals itself off in the Professor's country estate, and the war that drives the Pevensie children there is more stage-setting. The Lion, The Witch, and the Wardrobe sets the tone for the series much better than The Magician's Nephew. It's a lighthearted adventure with fun moments alongside its scary moments, heroes alongside its villains. The characters have agency and grow, and redemption, one of the major themes of the series, comes through much stronger.
So after I finished The Lion, The Witch, and the Wardrobe, I was eager for the next book and I picked up The Horse and His Boy. I was in for another shock, because even though the Pevensie siblings (in their adult forms) appear as minor characters, the main characters are completely unrelated to anyone we saw in either of the first two books, and the action takes place entirely outside Narnia. The tone is much closer to The Lion, The Witch, and the Wardrobe than to The Magician's Nephew, but it was still odd to think of the book as a sequel to either of them.
Then with Prince Caspian we're back with the Pevensies and it's a direct sequel to The Lion, The Witch, and the Wardrobe. And that continues with each of the last four books in the chronological ordering. Edmund and Lucy and Caspian himself reappear in Voyage of the Dawn Treader, then their cousin Eustace brings Jill Pole into Narnia in The Silver Chair, and Eustace and Jill come back to finish things off in The Last Battle. The tone is always fairly consistent, though The Last Battle reintroduces some of the cosmic tone of The Magician's Nephew, especially towards the end.
There's an obvious through line to The Lion, The Witch, and the Wardrobe; Prince Caspian; The Voyage of the Dawn Treader; The Silver Chair; and The Last Battle. Four of the five books have got a Pevensie in there somewhere (only The Silver Chair has no Pevensies at all). All of them have got at least one major character from the previous book. All of them have a tone of lighthearted adventure that gets heavier at certain moments. All of them have themes of redemption, and give their child heroes agency in the plot. Reading The Magician's Nephew before the other books muddles and confuses things. It shares some elements with them, but I found when I reread it later that a lot of it lands better if you already know Narnia. To take a very obvious example, there's a throwaway line on or near the last page that explains how the wardrobe from The Lion, The Witch, and the Wardrobe came to be. If you've read The Lion, The Witch, and the Wardrobe, that line causes a little thrill as you see the pieces come together. But the first time I read the book, all that line made me think was "What's a wardrobe?" That's always the way with prequels; they're written after the original, so they assume you understand the significance of certain things.
Now, to more directly answer the questions:
To wrap up, this is my preferred reading order for continuity of plot, character, theme, and tone.
Correct answer by Torisuda on August 23, 2021
As others have said,
The first list is in date of publication (but not necessarily date of writing) order.
The second is in "apparent timeline order".
The Magician's Nephew is unquestionably first in time order (within Narnian space-time).
In other space-times anything can happen relatively.
The time-location of The Horse and His Boy is more uncertain but its position in the second list is reasonable.
None of which answers your question.
I'll assert, with certainty of disapproval from some, that in providing his "approved order" list, and having become immersed in the Narnia universe as a whole, Lewis lost touch with his original vision, for his reasons for writing the original story and for the effect that his suggestion would have on his target audience.
Why publishers do what they do is more inscrutable - but using Lewis's approved order is reason enough if you don't care about the effect on the target audience.
TLTWATW is written solidly for both children and adults. The master storyteller is talking to you, no matter how old you are. There are hard lessons and harrowing passages and pain and anguish, but that young children are an utterly essential part of the target demographic is never forgotten.
By itself TLTWATW is a stand alone story - which is how Lewis originally intended it. We start off with a little scene setting (London in the Blitz meant children being evacuated and ...) - handled incredibly well by the opening scenes of the film. We rapidly progress to wonderment (what's in the wardrobe) friendship and betrayal (Tumnus) greed and betrayal by those close to you (Turkish delight) with forays into talking Beavers - indeed, talking everything, an unexplained magical something happening (always winter and never Christmas) and hints that the King is coming to set things right. Some fearsome stuff happens along the way. But a well watched over child might almost read the story, learn much, become a little more adult quicker than otherwise, and not end up vastly more scarred in the process. Everything is "well enough explained" along the way. Knowing where Jadis fits into the picture, why she thinks she knows the rules, why Aslan knows she doesn't and more might be useful knowledge, but the story is complete without this knowledge, because that's how Lewis originally intended it.
The Magician's Nephew is a completely different affair. It reeks of evil, murderous malfeasance and occult practice throughout. Lewis finely crafts Digory's uncle as an execrable, despicable, crawling failure. But it's hardly children's fare. The lessons of the magic rings are not good ones. The search for rings to get back to Narnia is never identified as the utter antithesis of "What would Aslan do?" which it clearly is. Mass murder beyond anything we have ever known - with pride and refusal to fail the key element - certainly an intended image of Lucifer but not how any childhood educator would choose to present the subject to impressionable minds.
I read the series as an adult starting, thankfully, with TLTWATW.
I read the Magician's Nephew last (I think). It was in large part a terrible tale - redolent of evil. Not badly written as a story, but not what I'd want in any part as a childhood memory. Or as a founding adult one. If I'd read The Magician's Nephew first I may well have read no further. Its "explanations" were interesting, but hardly necessary to any of the other stories. I would not consider introducing a child to the series with TMN. Nothing in the tale is essential and much is dangerous. The impression given overall is nasty. The story has its place, but not as flagship to a most valuable series of stories. The others all have hard and demanding lessons. But no other so consistently descends to TMN's depths.
TL;DR (at the end) For only the second time in my experience*, Lewis got it wrong :-). There may be other occasions, but I've not noticed them.
*Unrelatedish, but: The other was re his comments on the role of women in public worship. As a long time CSL reader and enthusiast, when I came upon it I thought I was about to read a reasoned & definitive statement on a rather fraught matter. I was astounded at the lack of overall perspective and amazed that the Lewis that I thought I knew had written it. Almost all else of his that I've met I lap up :-).
Answered by Russell McMahon on August 23, 2021
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