A Review of the Magician's Nephew Through Creational Themes & the Wokeness of Third-Wayism in David Platt's World

The question of eating the fruit is never an issue of not eating, but the issue of “when to eat.”

C.S. Lewis displays an incredible appetite for biblical theology in The Magician’s Nephew. In fact, I argue that Lewis reveals a mosaic of Genesis 1-3 in the Narnia series.

In The Magician’s Nephew (henceforth, TMN), Lewis articulates a creation, fall, and redemption overview. The themes intertwine, and the chronology is not as neat as following the first three biblical chapters. Still, they recapitulate the phases through the Witch Jadis, who plays the role of the deceptive serpent, Digory and Polly, who play the roles of Adam and Eve, and Aslan, as the great Father, showing compassion to his new creation.

There is, of course, the addition of Frank and Helen, crowned by Aslan, who may fit biblically as an image of redeemed men and women in Christ, as royal servants of the Aslanic reign. And, it’s hard to pass over Uncle Andrew, who images so clearly the offspring of Satan who find themselves constantly hungering for more foolishness and often fail the Solomonic task of pursuing wisdom. They end up as the mockery of the created world, falling into the ditch they themselves dug. The entire drama serves as an excellent synopsis of redemptive history, setting the Witch and Digory as enemies in the new Garden scene.