Perelandra

"*A man who has been in another world does not come back unchanged.*" - *Perelandra*

***Perelandra*** (subtitled *World of the New Temptation*)is a science fiction novel by Irish author Clive Staples Lewis, published in 1943 by the Bodley Head, during the middle of WW2. It is the second book in the *Space Trilogy* of C. S. Lewis, set mainly on the planet of Perelandra, or Venus. It was briefly retitled ***Voyage to Venus*** in a 1953 edition published by Pan Books. *Perelandra* is a sequel to *Out of the Silent Planet* (1938) and was followed by *That Hideous Strength* (1945), completing the so-called Cosmic Trilogy or *The Space Trilogy*, along with posthumously published *The Dark Tower* (1977) of uncertain origin.

Much like its predecessor, *Out of the Silent Planet*, *Perelandra* deals with the notion of human evil trying to infect another planet, and the abuse of science and sophistry for immoral ends. It features the return of Elwin Ransom, and Edward Rolles Weston, although how much Weston is in control of his own actions is debatable.

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## Plot

The story starts with the philologist Elwin Ransom, some years after his return from Mars at the end of *Out of the Silent Planet*, receiving a new mission from the Oyarsa (the angelic ruler) of Mars. Ransom summons narrator-Lewis to his country home. Ransom explains to Lewis that he (Ransom) is to travel to Perelandra (Venus), where he is to counter some kind of attack launched by the Bent One.

Ransom is transported in a coffin-like vessel seemingly made of ice, which can contain only himself. He gets Lewis to blindfold him so the sunlight will not blind him once he travels beyond the earth's atmosphere. He does not wear any clothes on the journey as the Oyarsa tells him clothes are unnecessary on Venus due to the great heat and thick atmosphere. He returns to Earth over a year later and is met by Lewis and another friend, Humphrey. The remainder of the story is told from Ransom's point of view, with Lewis acting as interlocutor and occasional commentator.

Ransom arrives in Venus after a journey in which he is surrounded by bright colours; the box dissolves leaving Ransom on what appears to be an oceanic paradise. One day is about 23 Earth hours, in contrast to the (roughly) 24 and 25-hour days of Earth and Mars. The sky is golden but opaque. Hence the sun cannot be seen, daylight is somewhat dimmer than on Earth, and the night is pitch black with no stars visible.

The planet is covered, so far as Ransom can at first see, by a freshwater ocean called Lur, which is dotted with Floating Islands of vegetation. These rafts resemble islands, to the extent of having plant and animal life upon them, including a kind of dragon-like creature encountered by Ransom early in his visit. However, as the rafts have no geologic foundations, they are in a constant state of motion. The planet's sole observable geological feature is a mountain called the Fixed Island.

After several days on the floating islands, Ransom soon meets the Queen of the planet, whose name is later revealed to be Tinidril; she is a carefree being who soon accepts him as a friend. Unlike the inhabitants of Mars in *Out of the Silent Planet*, she resembles a human in physical appearance with the exception of her green skin colour; this is said to be the preferred form assumed by sentient creatures as a result of the incarnation of Urendi Maleldil, the second person of God, in human form. She and the King of the planet, who is largely unseen until the end, are the only human inhabitants and are the Eve and Adam of their world. They live on the Floating Islands and are forbidden to sleep on the "Fixed Island".

The rafts or Floating Islands are indeed paradise, not only in the sense that they provide a pleasant and care-free life but also in the sense that Ransom is for weeks and months naked in the presence of a beautiful naked woman without once lusting after her or being tempted to seduce her.

This Paradise changes when Edward Rolles Weston arrives in a spaceship and lands in a part of the ocean quite close to the Fixed Land. He at first announces to Ransom that he is a reformed man, but appears to still be in search of power. Instead of the strictly materialist attitude he displayed when first meeting Ransom, he asserts he had become aware of the existence of spiritual beings and pledges allegiance to what he calls the "Life-Force". Ransom, however, warns against Weston's position that not all spirituality is inherently good, and Weston, after a fit of pride, succumbs to full demonic possession and becomes the Un-man.

In this state, the possessed Weston finds the Queen and tries to tempt her into defying Maleldil's law by spending a night on the Fixed Land. Ransom tries to counter this. Well versed in the Bible and Christian theology, Ransom realises that if the pristine Queen, who has never heard of Evil, succumbs to the tempter's arguments, the Fall of Man will be re-enacted on Perelandra. He struggles through day after day of lengthy arguments tempting the Queen to spiritual pride, as the demonic Weston shows super-human brilliance in debate (though when "off-duty" he displays moronic, asinine behaviour and petty cruelty) and moreover appears never to need sleep.

With the demonic Weston on the verge of winning, the desperate Ransom senses in the night what he gradually realises is a Divine command to battle the Tempter physically, hand to hand. The bookish Ransom is afraid, and debates for hours with the divine inner voice. A curious twist is introduced here; although Ransom knows that his name derives historically from "Ranolf's Son", God reminds him that the Passion of Jesus was a ransom for humanity, and Ransom's name was actually arranged to foreshadow his present role. Inspired, Ransom decides to confront the Tempter outright.

With no weapons to hand, Ransom attacks his opponent with clumsy punches and kicks. Weston's body is defeated despite the Tempter's superior guile, and he flees. Ultimately Ransom chases Weston over the ocean on the backs of giant friendly fish. During a feigned truce, the "real" Weston temporarily re-emerges to recount his experience of Hell, the horror of being "digested" into the Devil, losing all independent existence.

The moment Ransom is distracted by horror and pity, the demon takes Ransom by surprise and nearly drowns him. The chase continues into a cavern, where Ransom seemingly kills Weston's body and, believing his quest over, searches for the surface. Weston's body, horribly injured but still animated by the Tempter, follows him. When they meet for the last time in another cavern, Ransom defeats a psychological assault by a gruesome apparition, and finally throws Weston into the volcanic flames.

Returning to the surface, Ransom recuperates from his injuries, except for a bite on his heel which continues bleeding for the rest of his life. Ransom carves a memorial inscription for Weston, to commemorate his scientific achievements and pioneering space travel, though also recording his surrender to evil.

Ransom meets the King and Queen together with the Oyéresu of Mars and Venus, the latter of whom transfers dominion of the planet to the King and Queen. All the characters celebrate the prevention of a second biblical "Fall" and the beginning of a utopian paradise in this new world. The story climaxes with Ransom's vision of "The Great Dance": the exchange of higher and lower, as when an advisor gives power to a royal child. This is an allegory of life, and possibly of the nature of God, and alludes to the journey of Dante in the Divine Comedy.

His mission finished, Ransom reluctantly returns to Earth; his new mission is to continue to fight evil on its home territory: the Earth.

## Characters

* Dr. **Elwin Ransom**, who is sent to prevent the Fall of Perelandra
* **Tinidril**, the Green Lady. The only native of Perelandra to have much dialogue. She must resist temptation by the Un-man
* **Maleldil the Young**
* Dr. **Edward Rolles Weston**, a technocrat with twisted ideas. His personality is rapidly subsumed.
	+ **Un-man**, the possessed version of Weston. It is not clear whether Weston is possessed by the Bent One or just another powerful eldila sent by him.
* **King of Perelandra (Tor)**, absent for much of the novel. The Adam figure.
* The **Oyarsas**

## Influences and themes

*Perelandra* is less interested in science than *That Hideous Strength*, or even *Out of the Silent Planet*, taking on a more pastoral setting. Whereas Ransom in the first book still in a rocket, in *Perelandra*, he travels in a Crystal coffin propelled into space by angels.

C.S. Lewis already had a picture of a planet with floating islands on an Ocean before he wrote the story *Perelandra* . As with *the Chronicles of Narnia*, much of his inspiration for *Perelandra* came from a picture.

The story is, to a large extent, from a variant of the biblical story in Genesis 3, in which the devil tempts Eve to eat of the *forbidden fruit* . The Fixed Island, is used for the forbidden fruit, as parallel forms a contrast to the Floating Islands. According to Lewis, that is not meant as a symbol of stability opposite instability.

With *Perelandra* Lewis probably meant to build upon *A Preface to Paradise Lost* (1942), a book about the ten books counting poem *Paradise Lost* (1667) by John Milton, that Lewis released a year before that. The story has similarities with *The Worm Ouroboros* (1922) by Eric Rucker Eddison and David Lindsay's *A Voyage to Arcturus*. Both works exhibit both mediaeval and Victorian features.

The hierarchy in *Perelandra* shows the agreements with the Biblical ranks:

*Old One* - God
*Urendi Maleldil* (*the Young the King*)- Jesus
*Eldila* - Angels
*Tinidril* and *Tor*
Animals
Humphrey, with whom Lewis at the beginning of the book waiting for Ransom, is the nickname of Robert Havard, who along with Tolkien and Lewis was a member of the Inklings.

In *Perelandra*, Ransom wonders why he wasn't receiving divine help in light of the direct demonic intervention from Earth. The answer: The Old One works in mysterious ways. Ransom himself is the divine help — Adam and Eve didn't have the benefit of advice from an older race that had failed the Forbidden Fruit test; Weston/the Un-man is evil in the physical body of a human being — which imposes certain physical limitations, and which can be killed.

### Astrological significance

Somewhat like Gustav Holst's musical suite, *the Planets*, written just before WW1, Lewis' conception of Perelandra/Venus owes as much to mediaeval astrology as modern astronomy.

Venus is associated in astrology with the Roman goddess of love, both by name and by influence. She is represented here in part by Tinidril, the Green Lady. In the novel *Perelandra*, hpwever, the love discussed is *agape* or divine love rather than *eros* or the sexual/Romantic variety. It is notable that while Ransom and Tinidril are both naked on Perelandra that neither of them seem to express any such feelings for one another.

Perelandra owes even more to the Bible, and it is a new Garden of Eden where the forces of Good and Evil fight over the first Woman, and later Man. Much as the bent humans try and introduce war to Mars, one of the humans tries to turn Venus, the planet of love into the planet of hatred by perverting it and causing it to fall as Earth once did.

At least one author sees this as a parallel to *The Chronicles of Narnia* published after the Space Trilogy which he says is also based on astrology. Venus is the brightest natural object in the Earth's skies after the Sun and the Moon. It was sometimes seen as being two "stars" - Hesperus and Phosphorus, the Evening and Morning Stars.

Perelandra was published in 1943, one year after *A Preface to Paradise Lost*, and deals with many of the same issues: the value of hierarchy, the dullness of Satan, and the nature of unfallen sexuality, for instance. To an extent, it can be viewed as a commentary on Milton's poem, but a commentary which is intelligible to a reader ignorant of the original.

Lewis's description of Perelandra's environment and rotation period is, of course, inconsistent with the actual conditions on Venus, but astronomical observation at the time of writing of the novel had not yet positively determined this to be the case. A Venus largely or wholly covered by a worldwide ocean was a common theme in science fiction works of the time—a logical, though eventually proven erroneous, inference from the planet's thick cloud cover that it had constant rainfall and ubiquitous oceans.

The names of the Adam and Eve characters of Venus, Tor and Tinidril, were consciously adapted by Lewis from those of Tuor and Idril, created by his friend J.R.R. Tolkien.

Lewis wrote after in 1943 after its publication, "*You will see, how operatic the whole building up of the climax is in* Perelandra'**." He said that Richard Wagner's *Ring* was an influence on the novel. Fr Jerome Betram, has argued that in the *Ring* we can see the central question in *Perelandra*: "How can a totally free person, without unfair manipulation by God, spontaneously carry out what God most desires?"**

## Reception and criticism

Arthur C. Clarke called *Out of the Silent Planet* and *Perelandra* "two of the very few works of space fiction that can be classed as literature," despite his misgivings about the religious and scientific themes.

*Perelandra* has also drawn mixed responses over its depiction of Tinidril - one camp sees her as a poor and sexist representation of women, while the other sees her as a rounded character who is not physically objectified, despite her nudity. Tinidril is, however, an early example of a "Green-Skinned Space Woman", a trope that would later appear in the original series of *Star Trek*.

Peter Nicholls describes **Out of the Silent Planet** and *Perelandra* as "planetary romances with elements of medieval mythology. Each planet is seen as having a tutelary spirit; those of the other planets are both good and accessible, while that of Earth is bent, twisted and not known directly by most humans. These two books are powerfully imagined, although their scientific content is intermittently absurd."

*Perelandra* has also drawn positive criticism concerning its ecotheological themes, i.e. the role of humans as custodians rather than exploiters of the environment.

## Cultural references

* In the early 1960s, composer and songwriter Donald Ibrahim Swann wrote an opera based on Perelandra. It received three performances in 1964.
* Perelandra was an Adelaide based Progressive Rock band formed in October 1973.
* Perelandra Jones is a character that appears in Season 2 of Dark Matter.
* Perelandra is the second album by progressive rock band Glass Hammer. It was released in 1995 .
* Christian horror punk band Blaster the Rocket Man, whose lyrics frequently subsist on monster themes, borrowed heavily from The Space Trilogy in their album *The Monster Who Ate Jesus*. Their song "Ransom vs. The Unman" is a direct retelling of the struggle between Ransom and the Unman in Perelandra. The very next song, entitled "March of the Macrobes," alludes to the N.I.C.E. Institute's attempts to disembody the heads of those who wish to gain immortality with lines such as, "Leave flesh behind / There's only mind / Or set the brain apart / To elevate the heart / Whatever happened to the individual? (N.I.C.E.) / Where is his soul? (R.A.P.E.)." Lastly, "Tundra Time on Thulcandra" is a tribute to Out of the Silent Planet, with an allusion to the planet Perelandra as well. "Malacandra on my mind / Perelandra all the time / Nevermind it's tundra / It's tundra time."
* Circle of Dust, a Christian industrial band, reference The Space Trilogy on Disengage, an album which includes two instrumental tracks named Thulcandra and Perelandra.
* Progressive rock band Glass Hammer have based the concept of their album *Perelandra* on the stories of The Space Trilogy and *The Chronicles of Narnia*.
* Hip-hop artist and singer-songwriter Heath McNease has a song titled "*Perelandra*" on his C.S. Lewis tribute album, *The Weight of Glory*.
* Space Music composer Kevin Braheny, on his album *The Way Home*, has a track named "Perelandra".

## Quotations

* **When He died in the Wounded World He died not for men, but for each man. If each man had been the only man made, He would have done no less. Each thing, from the single grain of Dust to the strongest eldil, is the end and the final cause of all creation and the mirror in which the beam of His brightness comes to rest and so returns to Him. Blessed be He!**
* God can make good use of all that happens, but the loss is real.
* I think He made one law of that kind in order that there might be obedience. In all these other matters what you call obeying Him is but doing what seems good in your eyes also. Is love content with that? You do them, indeed, because they are His will, but not only because they are his will. Where can you taste the joy of obeying unless he bids you do something for which His bidding is the *only* reason?
* Whatever you do, He will make good of it. But not the good He had prepared for you if you had obeyed him.
* You could send your soul after the good you had expected, instead of turning it to the good you had got. You could refuse the real good; you could make the real fruit taste insipid by thinking of the other.
* **And now, by a transition which he did not notice, it seemed that what had begun as speech was turned into sight, or into something that can be remembered only as if it were seeing. He thought he saw the Great Dance.** It seemed to be woven out of the intertwining undulation of many cords or bands of light, leaping over and under one another and mutually embraced in arabesques and flower-like subtleties. Each figure as he looked at it became the master-figure or focus of the whole spectacle, by means of which his eye disentangled all else and brought it into unity — only to be itself entangled when he looked to what he had taken for mere marginal decorations and found that there also the same hegemony was claimed, and the claim made good, yet the former pattern thereby disposed but finding in its new subordination a significance greater than that which it had abdicated. **He could see also (but the word "seeing" is now plainly inadequate) wherever the ribbons or serpents of light intersected minute corpuscles of momentary brightness: and he knew somehow that these particles were the secular generalities of which history tells — people, institutions, climates of opinion, civilizations, arts, sciences and the like — ephemeral coruscations that piped their short song and vanished.** The ribbons or cords themselves, in which millions of corpuscles lived and died, were the things of some different kind. At first he could not say what. But he knew in the end that most of them were individual entities. If so, **the time in which the Great Dance proceeds is very unlike time as we know it.** Some of the thinner more delicate cords were the beings that we call short lived: flowers and insects, a fruit or a storm of rain, and once (he thought) a wave of the sea. Others were such things we think lasting: crystals, rivers, mountains, or even stars. Far above these in girth and luminosity and flashing with colours form beyond our spectrum were the lines of personal beings, yet as different from one another in splendour as all of them from the previous class. **But not all the cords were individuals: some of them were universal truths or universal qualities.** It did not surprise him then to find that these and the persons were both cords and both stood together as against the mere atoms of generality which lived and died in the clashing of their streams: But afterwards, when he came back to earth, he wondered. And by now the thing must have passed together out of the region of sight as we understand it. For he says that the whole figure of these enamored and inter-inanimate circlings was suddenly revealed as the mere superficies of a far vaster pattern in four dimensions, and that figure as the boundary of yet others in other worlds: **till suddenly as the movement grew yet swifter, the interweaving yet more ecstatic, the relevance of all to all yet more intense, as dimension was added to dimension and that part of him which could reason and remember was dropped further and further behind that part of him which saw, even then, at the very zenith of complexity, complexity was eaten up and faded, as a thin white cloud fades into the hard blue burning of sky, and all simplicity beyond all comprehension, ancient and young as spring, illimitable, pellucid, drew him with cords of infinite desire into its own stillness.** He went up into such a quietness, a privacy, and a freshness that at the very moment when he stood farthest from our ordinary mode of being he had the sense of stripping off encumbrances and awaking from a trance, and coming to himself. With a gesture of relaxation he looked about him...
* "Whatever you do, He will make good of it. But not the good He had prepared for you if you had obeyed him.”
* “The world is so much larger than I thought. I thought we went along paths--but it seems there are no paths. The going itself is the path.”
* “Be confident small immortals. You are not the only voice that all things utter, nor is there eternal silence in the places where you cannot come.”
* “I think He made one law of that kind in order that there might be obedience. In all these other matters what you call obeying Him is but doing what seems good in your own eyes also. Is love content with that?”
* “It is not for nothing that you are named Ransom,” said the Voice... The whole distinction between things accidental and things designed, like the distinction between fact and myth, was purely terrestrial. The pattern is so large that within the little frame of earthly experience there appear pieces of it between which we can see no connection, and other pieces between which we can. Hence we rightly, for our sue, distinguish the accidental from the essential. But step outside that frame and the distinction drops down into the void, fluttering useless wings. He had been forced out of the frame, caught up into the larger pattern… “My name also is Ransom,” said the Voice.”

* "you had nothing to say about it and yet made the nothing up into words.”

* “As long as what you are afraid of is something evil, you may still hope that the good may come to your rescue. But suppose you struggle through to the good and find that it is also dreadful? How if food itself turns out to be the very thing you can’t eat and home the very place you can’t live, and your very comforter the person who makes you uncomfortable. Then, indeed, there is no rescue possible: the last card has been played.”
* “Be comforted, small one, in your smallness. He lays no merit on you. Receive and be glad.”
* “Where Maleldil is, there is the centre. He is in every place. Not some of Him in one place and some in another, but in each place the whole Maleldil, even in the smallness beyond though. There is no way out of the centre save into the Bent Will which casts itself into the Nowhere. Blessed be He! Each thing was made for Him. He is the centre. Because we are with Him, each of us is at the centre...In His city all things are made for each. When He died in the Wounded World He died not for men, but for each man. If each mad had been the only man made, He would have done no less. Each thing, from the single grain of Dust to the strongest eldil, is the end and the final cause of all creation and the mirror in which the beam of His brightness comes to rest and so returns to Him. Blessed be He!”
* "Perhaps the experience had been so complete that repetition would be vulgarity - like asking to hear the same symphony twice in a day.”
* “When they told him this, Ransom at last understood why mythology was what it was -- gleams of celestial strength and beauty falling on a jungle of filth and imbecility.”
* “In the name of the Father, and of the Son and of the Holy Ghost, here goes-I mean Amen.”
* “I think He made one law of that kind in order that there might be obedience. In all these other matters what you call obeying Him is but doing what seems good in your eyes also. Is love content with that? You do them, indeed, because they are His will, but not only because they are his will. Where can you taste the joy of obeying unless he bids you do something for which His bidding is the only reason?”
* “I thought ... that I was carried in the will of Him I love, but now I see that I walk with it. I thought that the good things He sent drew me into them as the waves lift the islands; but now I see that it is I who plunge into them with my own legs and arms, as when we go swimming. I feel as if I were living in that roofless world of [Earth] where men walk undefended beneath naked heaven. It is a delight with terror in it! One's own self to be walking from one good to another, walking beside Him as Himself may walk, not even holding hands. How has He made me so separate from Himself? How did it enter His mind to conceive such a thing? The world is so much larger than I thought. I thought we went along paths--but it seems there are no paths. The going itself is the path.”
* “The whole struggle was over, and yet there seemed to have been no moment of victory. You might say, if you liked, that the power of choice had been simply set aside and an inflexible destiny substituted for it. On the other hand, you might say he had delivered from the rhetoric of his passions and had emerged in unassailable freedom. Ransom could not for the life of him, see any difference between these two statements. Predestination and freedom were apparently identical. He could no longer see any meaning in the many arguments he had heart on the subject.”
* “God can make good use of all that happens, but the loss is real.”
* “A man who has been in another world does not come back unchanged.”
* "Where can you taste the joy of obeying unless He bids you do something for which His bidding is the only reason?”
* “Well,' said Ransom, 'if it is a delusion, it's a pretty stubborn one.”
* “The beasts would not think it hard if I told them to walk on their heads. It would become their delight to walk on their heads. I am His beast, and all His biddings are joys.”
* “Pure, spiritual, intellectual love shot from their faces like barbed lightning. It was so unlike the love we experience that its expression could easily be mistaken for ferocity.”
* “We call bad one who rejects the fruit he is given for the fruit he is expecting or the fruit he was given last time.”
* “The joy came from finding at last what hatred was made for.”
* “Every joy is beyond all others.”
* "If he now failed, this world also would hereafter be redeemed. If he were not the ransom, another would be. Yet nothing was ever repeated. Not a second crucifixion; perhaps-who knows-not even a second Incarnation... some act of even more appalling love, some glory of yet deeper humility.”
* “But suppose you struggle through to the good and find that it also is dreadful? How if food itself turns out to be the very thing you can't eat, and home the very place you can't live, and your very comforter the person who makes you uncomfortable? Then, indeed, there is no rescue possible: the last card has been played.”
* “The word 'human' refers to something more than the bodily form or even the rational mind. It refers also to that community of blood and experience which unites all men and women on the Earth.”
* “Inner silence is for our race a difficult achievement. There is a chattering part of the mind which continues, until it is corrected, to chatter on even in the holiest places.”
* “I am not sure whether I can make you understand it. It was something more than a prudent desire to avoid creatures alien in kind, very powerful, and very intelligent. The truth was that all I heard about them served to connect two things which one's mind tends to keep separate, and that connecting gave one sort of a shock. We tend to think about non-human intelligences in two distinct categories which we label "scientific" and "supernatural" respectively. We think, in one mood, of Mr. Wells' Martians (very unlike the real Malacandrians, by the bye), or his Selenites. In quite a different mood we let our minds loose on the possibility of angels, ghosts, fairies, and the like. But the very moment we are compelled to recognise a creature in either class as real, the distinction begins to get blurred: and when it is a creature like an eldil the distinction vanishes altogether. These things were not animals-to that extent one had to classify them with the second group; but they had some kind of material vehicle whose presence could (in principle) be scientifically verified. To that extent they belonged to the first group. The distinction between natural and supernatural, in fact, broke down; and when it had done so, one realised how great a comfort it had been-how it had eased the burden of intolerable strangeness which this universe imposes on us by dividing it into two halves and encouraging the mind never to think of both in the same context.”
* “But suppose you struggle through to the good and find that it also is dreadful? How if food itself turns out to be the very thing you can't eat, and home the very place you can't live, and your very comforter the person who makes you uncomfortable? Then, indeed, there is no rescue possible: the last card has been played.”
* "Long since on Mars and more strongly since he came to Perelandra, Ransom had been perceiving that the triple distinction of truth from myth and both from fact was purely terrestrial-was part and parcel of that unhappy distinction between soul and body which resulted from the fall. Even on earth the sacraments existed as a permanent reminder that the division was neither wholesome nor final. The Incarnation had been the beginning of its disappearance. In Perelandra it would have no meaning at all.”

## References

Source: Wikipedia

1. ↑ https://12ft.io/proxy?q=https%3A%2F%2Fwww.telegraph.co.uk%2Fcomment%2Fcolumnists%2Fchristopherhowse%2F5660523%2FWhen-the-naked-green-lady-sings.html
2. ↑ https://euppublishing.com/doi/full/10.3366/ink.2018.0013

## External links

* Britannica article
* Not an Adventure but a Myth: C.S. Lewis’s Perelandra
* The Brazen Smuggler: Biblical Allusions in C.S. Lewis’ Perelandra
* Demon Possession—IN SPACE! Lewis’s Perelandra as Exorcism Narrative
* Review at Wave your Geek Flag