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Royalty
5 min read

What a monarch’s meeting teaches about politics and permanence

A monarch meeting a prime minister is a symbol of a deeper truth in a fleeting world.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

A frail old lady, the late Queen, rises from a sofa to shake hands with an approaching woman.
The longest serving monarch meets the shortest serving prime minister.
The Royal Family.

Just about the last constitutional act of our late Queen was to give an audience to Liz Truss, the (temporary as it turned out) Prime Minister and to ask her to form a government. The pictures of a frail but smiling monarch, weakened, but still doing her job, couldn’t help but evoke a mix of admiration and affection, especially when we look back and consider that this was just two days before she died.  

But those pictures raised some questions. A Prime Minister, and a political party that forms a government, is normally chosen by the people. Queen Elizabeth was not. Neither is King Charles. She was, and he now is, our monarch by virtue of birth, something that can seem scandalous to republicans, and even to many who liked the Queen, or admire the King as decent people, but have their doubts about the monarchy. To our democratic instincts, it feels, at least to some, distinctly odd, a relic of a hierarchical past, a hangover from a less enlightened age.  

But perhaps something more significant was hidden in that act. The idea of a constitutional monarch – a figure whose position is out of our hands, as it were – formally asking a politician to form a government - acts as a reminder to us that the will of the people is not the last word, or even the first word. It tells us that, important as democracy is (‘the worst form of government except for all those other forms that have been tried from time to time’, as Winston Churchill famously put it), there is an order, an authority that stands above and beyond the will of the people. When it has worked well, the monarchy, a source of rule above that of people and parliament, has always been a symbol and pointer to a divine authority that can work through, but essentially stands above all human government. 

Because, of course, ’the will of the people’, and governments that claim to enact the will of the people, sometimes get things badly wrong. History, even that of democracies, is littered with tales of nations that have elected bad governments, or regimes that went on to enact a rule of terror in the name of ‘the people’, or where a majority has oppressed minorities. Republics of various kinds have ended up as oppressive and authoritarian. Even Hitler was elected in the first place. 

That a Prime Minister only governs at the pleasure of the Monarch is a reminder of a deeper truth - that all governments are subject to a higher accountability.

Of course, there are good monarchs and bad ones. For most of our lives, those of us who live in the UK are fortunate to have had a very good monarch in Queen Elizabeth, and we hope and pray Charles will prove to be one too. Bad monarchs, whose personal failings and moral selfishness betray the office they hold, blur the picture. They tell a different story, that authority is in itself abusive, oppressive and not to be trusted. But at its best, the continuous institution of the monarchy has served as an anchor for us, pointing away from itself to an unchanging divine presence in the course of history. The fact that a Prime Minister only governs at the pleasure of the Monarch is a reminder of a deeper truth - that all governments are subject to a higher accountability, to a moral law they did not invent, a law that tempers justice with mercy, that our lives are subject to a deeper and more lasting reality than the shifting sands of politics or times and that there is an even higher loyalty than that which we may have felt to our late Queen, or to our democratic political system. 

At the coronation, King Charles will be presented with an orb – a symbol of the world with a cross perched on top of it. It is a sign that ultimate power in this world belongs not to the King, or even the people, but to God. It is a reminder to the King, and to us, that he (and we) are accountable to an authority that stands beyond our own desires, or even the general will of the people. It is an authority represented by a cross – the symbol of love and self-sacrifice for the good of our neighbour, or even our enemy. It is one of those valuable reminders that stops any ruler from starting to think he can become a despot.  

As our constitutional system has evolved, it is the custom that Monarchs don’t get involved in the nitty-gritty of politics and it’s vital that they don’t. That is left, quite properly, to the crucial hard work of democratically elected government and politicians, who have to get on with the important but messy business of governing, working out what to do about the cost of living crisis, how to respond to conflict in Ukraine, or how to respond to those fleeing to our shores from war-torn or poverty-stricken parts of the world.  

The monarchy is a symbol of ultimate permanence, not the source of that permanence 

Over past decades, Queen Elizabeth kept to this custom. She avoided expressing opinions on particular political issues and disputes because that wasn’t her role. Her role was to be a reminder that there is an order of things beyond the temporal, a moral structure to the world that is just given, not created by us, a structure that tells us that compassion, truthfulness, integrity, justice and honesty matter in all the calculations and compromises of political decision making. 

The Queen’s death removed something steady and sure from our lives, as most of us have never known another monarch. Her death shook our sense of permanence, as the Archbishop of Canterbury put it at her funeral. Many of the vox pops we heard during the period of mourning pointed to that longing for permanence, the sense she gave of something enduring and reliable. Yet she was a symbol of ultimate permanence, not the source of that permanence.  

As King Charles is crowned, he becomes a pointer to the unshakeable and steady presence that surrounds us, upholds us and all things - the God that Christians see revealed in Jesus Christ. Queen Elizabeth understood that and showed it in her own faith – the one aspect of her personal life that she was quite open about. And there are signs that King Charles understands that too. Faith in that God is meant to be the foundation of a monarch’s rule. It can also provide a sure foundation for our individual and less public lives too, a sense of permanence in the changes and chances of this fleeting and unstable world.  

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Film & TV
8 min read

Dear Greta Gerwig: how your Netflix Narnia can be a roaring success

Narnia fan John Kuhrt pens an open letter to a daunted Hollywood director on helping her handle the Great Story.

Jon Kuhrt is CEO of Hope into Action, a homelessness charity. He is a former government adviser on how faith groups address rough sleeping.

A film director stands next to a camera to look at its screen, while a camera operator looks on

Dear Greta, 

Congratulations on being appointed Screenwriter and Director for Netflix’s The Chronicles of Narnia. I really enjoyed your films Ladybird and Little Women and I am seeing Barbie this week as I have been away. It’s great to see a writer/director of your standing getting this crucial job. 

I know you feel daunted to take on this job and I am writing to share five thoughts on what you need to bear in mind to make the series a success. I cannot claim to know anything about producing films or TV series. But I do know about Narnia. 

Like millions of others, the books have been very significant to me. I read them first when I was a teenager, but I have continued to re-read them into adulthood. They have given me a reference point for some of my deepest questions about purpose, faith, life and death. 

Disney/Walden Media’s Narnia series faltered after three films. The Lion, the Witch and the Wardrobe (2005) was a huge box-office hit but was followed by less successful adaptations of Prince Caspian (2008) and The Voyage of the Dawn Treader (2010). I thought all three films had many good qualities but the abandonment of the project less than halfway through shows the challenges of bringing Narnia to visual life. 

So, with all this in mind, these are my five tips for how to create a great Narnia series: 

1. Understand the thinking behind the books 

The author, C.S. Lewis, was both an academic expert in medieval literature and a high-profile Christian author and communicator. He was a brilliant but complex man. Understanding him, his beliefs and his aims in writing Narnia is fundamental. 

The two best books on this subject are Michael Ward’s Planet Narnia: the Seven Heavens in the Imagination of C.S. Lewis and Rowan Williams’ The Lion’s World: a journey into the heart of Narnia

Ward’s book is a highly academic dissection of the hidden ‘key’ which Lewis implanted within each book (it was subsequently published in an abridged and more accessible version as The Narnia Code). The mish-mash of themes and diverse myths and legends in Narnia has puzzled and frustrated academic readers for decades. It was one reason why his friend J.R.R. Tolkein disliked the books so much. But Ward argues that the coherence and distinct atmosphere of each book comes from each being based on a different planet from the medieval cosmos. It is a thesis which has won almost unanimous affirmation. 

Williams’ book is very different. It is a short but deep reflection on the theology that Lewis was conveying through the Narnia tales.  His opening chapter discusses ‘The point of Narnia’ and he uses Shakespeare, Dostoevsky and Augustine to explore the ideas in the stories. He also assesses and responds to the criticism the books have faced. 

2. Recreate the distinct atmosphere of each book 

No other books have given me such a vivid experience of ‘going into another world’ as the Narnia books have. I now realise this is because of the most fundamental, yet intangible, strength of the books: the atmosphere, mood or tone that Lewis creates. 

As Ward writes, quoting Lewis: 

“Lovers of romances go back and back to such stories in the same way that we go ‘back to a fruit for its taste, to a region for its whole atmosphere – to Donegal for it Donegality and London for its Londonness.’ ” 

Lewis was fascinated by literature which drew the reader into enjoyment of a story by indwelling it: seeing ‘through it’ rather than ‘at it’. Ward coins the term ‘donegality’ to describe this hidden element which establishes an intrinsic quality: ‘…the inner meaning of a romance cannot be flagged up by the author without altering its true nature. It has to remain hidden, woven into the warp and woof the story.’  

The challenge for Netflix is that each Narnia book has a distinct ‘donegality’ based on the ancient themes and characteristics associated with the seven planets. This makes them very different to the Harry Potter books, which have a more uniform feel and consistency. Capturing the distinctive essence of each book will be vital to re-create the atmosphere Lewis aimed for. 

3. Embrace Narnia’s spirituality 

All adaptations of Narnia have to grapple with how they will handle the clear spiritual themes within the books.  Faith makes corporations nervous but ‘theological due-diligence’ will be a key part of the creative and strategic discussions.  I would advise Netflix to be bold and as true to Lewis’ thinking as possible. 

In its 1980s, the BBC airbrushed spirituality out and this was one factor which made it a poor adaption.  In contrast, Disney were braver in their films. As one newspaper wrote after the box office success of the first film ‘Disney finds a way to worship both God and Mammon’. 

However, Disney never got to attempt some of the most theologically challenging scenes in the series.  Narnia’s creation in The Magician’s Nephew and its apocalypse and depictions of heavenly re-creation in The Last Battle will be immensely difficult to convey on screen.  These scenes will not work without confidence and clarity about what Lewis was trying to get across. 

Rather than seeing them simplistically as allegories of Christian faith, it is best to see the stories as deeply infused with spiritual meaning. Rowan Williams answers the question ‘What is the point of Narnia?’ by saying that Lewis is doing nothing less than ‘trying to recreate for the reader what it is like to encounter God’.  He is trying to 

‘rinse out what is stale in our thinking about Christianity – which is almost everything.’ 

But this does not mean being preachy. Williams makes the point that ‘there is no church in Narnia, no religion even’. 

Instead the spirituality is embedded within the ‘non-religious’ action: the bravery, treachery, sibling tension, bullying, reconciliation and forgiveness which are jam-packed into the stories. Spiritual truth is embedded and woven within each story. 

4. Get the central character right 

The character of Aslan stands right at the heart of the books.  He is the only character who features in all seven books in the series, he sings the world into existence and presides over its end. He is the Beginning and the End, the Alpha and Omega of the whole story.  

Aslan is very obviously an ‘authority figure’ but Lewis’ achievement is to craft a character who is both immensely powerful and enduringly attractive. And the key to this is the subversive nature of his authority. In an age where there is so much questioning of structural inequality and systemic injustice this is an aspect which Netflix should emphasise. 

Rowan Williams draws this out with great insight: in Narnia ‘evil is cast as the ultimate force of reaction; we are invited to see ourselves as living ‘under occupation’ and summoned to join a resistance movement.’ Aslan’s wildness, his animality, represents the unpredictable world of grace which opposes the ‘ordered state of sin’ of the White Witch, King Miraz or (most deeply) the prisons we build for ourselves. Williams writes: 

‘Transcendance is the wildness of joy; and the truth of God becomes a revolution against what we have made of ourselves’. 

This is why Aslan’s victories lead to riotous partying.  As Williams points out this is an ‘explosion of liberating festivity’ which (uncomfortably for some Christian readers) includes pagan revelry. At the end of Prince Caspian both the god Bacchus and a drunken Silenus make appearances to celebrate the liberation Aslan brings. 

Aslan is the focus of hope not because he ‘saves souls’ but because he is the liberator of people and the whole of creation. Getting Aslan right will be a huge part of getting Narnia right. 

5. Interpret it for a new audience 

The Narnia books have faced criticism from authors such as Philip Pullman and J.K. Rowling. When Disney released the first film, Guardian columnist Polly Toynbee wrote an article titled ‘Narnia represents everything that is most hateful about religion’. 

Rowan Williams engages head-on with the accusations that the books have overtones of racism and sexism and that they glorify violence. Whilst allowing for the fact that Lewis was an author of his time, he accepts the discomfort that modern readers will feel, for example, in how the ‘dark-skinned’ Calormenes are presented.  

He also discusses one of the saddest parts of the stories: that former hero Susan is ‘no longer a friend of Narnia’ by the end of the series. Williams fairly defends this plot-line from those who claim it as evidence of Lewis’ misogyny. 

More obviously, the old-fashioned dialogue of the children (‘Golly gosh’, ‘By Gum, you’re a beast’ etc) is a turn-off for modern audiences. The Disney films modified this well and used the backdrop of the Second World War at the start of each of the films to provide a more gritty context than conveyed in the books.  

If you hold fast to the core of the books (see points 1-4) then stylistic changes and wise handling of aspects which are uncomfortable for today’s audience will enhance the series. All stories needs reinterpreting for a new audience. 

The Great Story… 

Narnia is a great story, but a key reason for its enduring popularity is because it reflects something of the Great Story of which we are all a part. As Lewis puts it himself in the conclusion of the final book: 

“Now at last they were beginning Chapter One of the Great Story which no one on earth has read: which goes on for ever: in which every chapter is better than the one before.” 

I wish you all the best with the production of the series and I look forward to seeing the result.  

Thanks, 

Jon Kuhrt, Narnia fan, South London (aged 51). 

PS: You might be interested in this talk I gave on The Magician’s Nephew, my favourite Narnia book.

 

(This article was first published on Jon Kuhrt's Grace+Truth blog in August 2023).