Owen Barfield Portal

C.S. Lewis is one of the most prolific and influential writers of the 20th century. And yet, in his early career as an Oxford don, he viewed himself as a failed poet. Moreover, his most canonical and transformational writing happened during the most stress-filled periods of his life. This short course allows students to peek into the writing life of C.S. Lewis. Our goal is to see through the lines of printed text by visiting the letters and archival remains of Lewis in a virtual setting. Most of C.S. Lewis's papers remain undigitized and unpublished, available only locally at archives in North America and England.

As Professor Brenton Dickieson has visited these archives, he is able to invite students to appreciate C.S. Lewis's writing life by looking at the way that he consciously and unconsciously built his literary career. This course is for writers who are developing their own habits and literary life-prints, as well as folks who are curious about C.S. Lewis's life beyond the biographies and bestselling books.

We are not doing text close readings, but looking at the “paratextual” information available to us: writing drafts, letters, diary entries, manuscripts and typescripts, title, and the like.

Week 1: Lewis: Pen, Ink, Paper
• C.S. Lewis’s Single-jointed Self-Conception as a Writer
• What Lewis Says about his Writing Habits
• Legendary Bonfires, Stuffed Dolls, and American Suckers: A Story of Lewis’s Papers and Manuscripts
• The Screwtape MS. Story: Part 1

Week 2: Leaves, Bombs, Stains
• The Screwtape MS. Story: Part 2
• “Villainous Handwriting”: Charlie Starr’s Lewis Handwriting and Rough Draft vs. Fair Draft
• Reconsidering the Lindskoog Affair with Manuscript Evidence of “The Dark Tower”

Week 3: Joy, Theft, Death
• “The Quest of Bleheris”: Lewis’s Teenage Novel

Week 4:
• Is it True that Lewis Wrote in a Single Draft?
• A Grief Observed
• Tumbling Through the Wardrobe: The Discovery of Narnia
• Arthurian Torso
• A New Sketch of Lewis’s Writing Process(es)

Note: This course includes a significant amount of visual material on the screen. Please contact the SPACE team if you have visual accessibility requirements and we will do everything we can to accommodate.

The imagination and dreams are essential parts of J.R.R. Tolkien's world building which he explored across many stories from 'The Lord of the Rings' and 'On Fairy-stories' to 'The Notion Club Papers'. The same can be said of the Romantics who saw an important connection between the two. In works such as Samuel Taylor Coleridge's 'The Rime of the Ancient Mariner' and 'Kubla Khan', Lord Byron's 'The Dream' and 'Darkness', and Mary Shelley's 'Frankenstein', the imaginary and dream-like meet with awe-inspiring, melancholy or blood-chilling results.

The module sessions are structured as follows:
• Class 1: The Realms of (Childhood) Faery (60m)
• Class 2: Faery’s Enchantment (60m)
• Class 3: The Terror of the Night (60m)
• Class 4: The Past is an Imagined Dreamworld (90m)
• Class 5: Visions of the Apocalypse (60m)
• Class 6: Senses and Sensation (60m)
• Class 7: Glimpses, mere Fragments (90m)