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The imagination then, is a kind of doorway, a portal, or, perhaps, a wardrobe into a new way of seeing and experiencing the world. It is the reader, however, who is changed. The details may be saturated in fantastical images, but the truth is the unchanged. Then the readers, with eyes to see and ears to hear, may come into real relationship with God, listen to his real words, and wage war with real evil, equipped with God’s armor. But the stories are meant to bring its readers to the truth through the imagination-to present the truth of God, of his Son, and of the battle with evil in an imaginative light that breaks into blind and shuttered eyes and that allows readers to glimpse reality, physical and metaphysical, as it is, perhaps, for the first time. For many readers, they feel the love of God breathed through Aslan’s mouth deeper and more intimately than through Scripture, and they feel the terror of the White Witch more acutely and menacingly than the spiritual forces of evil which actually undergird our own world and press in on us.

As Chronicles of Narnia readers can attest, Lewis brings the gospel to life, stealing past the watchful dragons of our inhibitions and biases.

Lewis offers up a whimsical, yet curiously evocative answer: “ut supposing that by casting all these things into an imaginary world, stripping them of their stained glass and Sunday school associations, one could make them for the first time appear in their real potency? Could one not thus steal past those watchful dragons?” (“Fairy Stories” 37). In answer to the question “hy did one find it so hard to feel as one was told one ought to feel about God or about the sufferings of Christ,” C.S. The apologist should appeal not only to one’s reason and intellect but also to one’s imagination, wooing the unbeliever-or a believer who has only granted intellectual consent rather than full-heart surrender-to Christ.

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