The Screwtape Letters: Also Includes Screwtape Proposes a Toast

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Overview

In this humorous and perceptive exchange between two devils, C. S. Lewis delves into moral questions about good vs. evil, temptation, repentance, and grace. Through this wonderful tale, the reader emerges with a better understanding of what it means to live a faithful life.


About the Author
Clive Staples Lewis, was born in Belfast, Ireland, in 1898. As a child, he was fascinated by the fairy tales, myths, and ancient legends recounted to him ...

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Overview

In this humorous and perceptive exchange between two devils, C. S. Lewis delves into moral questions about good vs. evil, temptation, repentance, and grace. Through this wonderful tale, the reader emerges with a better understanding of what it means to live a faithful life.


About the Author
Clive Staples Lewis, was born in Belfast, Ireland, in 1898. As a child, he was fascinated by the fairy tales, myths, and ancient legends recounted to him by his Irish nurse. The image of a faun carrying parcels and an umbrella in a snowy wood came to him when he was sixteen. Many years later, the faun was joined by an evil queen and a magnificient lion. Their story became The Lion, The Witch, And The Wardrobe. Six further Chronicles of Narnia followed, and the final title, The Last Battle, was awarded the United Kingdom's prestigious Carnegie Award.

Lewis was Fellow and Tutor in English Literature at Magdalen College, Oxford, and later was Professor of Medieval and Renaissance Literature at Cambridge University, where he remained until his death in 1963. He wrote numerous books of literary criticism and on Christianity, the best-knowing being The Screwtape Letters, as well as four novels for adults. The seven books of The Chronicles of Narnia were his only works for children.

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Editorial Reviews

John Updike
I read Lewis for comfort and pleasure many years ago, and a glance into the books revives my old admiration.
Los Angeles Times
Lewis, perhaps more than any other twentieth-century writer, forced those who listened to him and read his works to come to terms with their own philosophical presuppositions.
New Yorker
If wit and wisdom, style and scholarship are requisites to passage through the pearly gates, Mr. Lewis will be among the angels.
Library Journal
Lewis's satire is a Christian classic. Screwtape is a veteran demon in the service of "Our Father Below" whose letters to his nephew and prot g , Wormwood, instruct the demon-in-training in the fine points of leading a new Christian astray. Lewis's take on human nature is as on-target as it was when the letters were first published in 1941. John Cleese's narration is perfect as he takes Screwtape from emotional height to valley, from tight control to near apoplexy. This will be a popular in most libraries.--Nann Blaine Hilyard, Lake Villa Dist. Lib., IL Copyright 1999 Cahners Business Information.
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Product Details

  • ISBN-13: 9780805420401
  • Publisher: B&H Publishing Group
  • Publication date: 3/1/1999
  • Edition description: 1 TOUCHSTO
  • Pages: 128
  • Product dimensions: 5.52 (w) x 8.49 (h) x 0.41 (d)

Read an Excerpt

Chapter One



My dear Wormwood,

I note what you say about guiding your patient's reading and taking care that he sees a good deal of his materialist friend. But are you not being a trifle naïve? It sounds as if you supposed that argument was the way to keep him out of the Enemy's clutches. That might have been so if he had lived a few centuries earlier. At that time the humans still knew pretty well when a thing was proved and when it was not; and if it was proved they really believed it. They still connected thinking with doing and were prepared to alter their way of life as the result of a chain of reasoning. But what with the weekly press and other such weapons we have largely altered that. Your man has been accustomed, ever since he was a boy, to have a dozen incompatible philosophies dancing about together inside his head. He doesn't think of doctrines as primarily 'true' or 'false', but as 'academic' or 'practical', 'outworn' or 'contemporary', 'conventional' or 'ruthless'. Jargon, not argument, is your best ally in keeping him from the Church. Don't waste time trying to make him think that materialism is true! Make him think it is strong, or stark, or courageous -- that it is the philosophy of the future. That's the sort of thing he cares about.

The trouble about argument is that it moves the whole struggle on to the Enemy's own ground. He can argue too; whereas in really practical propaganda of the kind I am suggesting He has been shown for centuries to be greatly the inferior of Our Father Below. By the very act of arguing, you awake the patient's reason; and once it is awake, who can foresee the result? Even if aparticular train of thought can be twisted so as to end in our favour, you will find that you have been strengthening in your patient the fatal habit of attending to universal issues and withdrawing his attention from the stream of immediate sense experiences. Your business is to fix his attention on the stream. Teach him to call it 'real life' and don't let him ask what he means by 'real'.

Remember, he is not, like you, a pure spirit. Never having been a human (Oh that abominable advantage of the Enemy's!) you don't realise how enslaved they are to the pressure of the ordinary. I once had a patient, a sound atheist, who used to read in the British Museum. One day, as he sat reading, I saw a train of thought in his mind beginning to go the wrong way. The Enemy, of course, was at his elbow in a moment. Before I knew where I was I saw my twenty years' work beginning to totter. If I had lost my head and begun to attempt a defence by argument I should have been undone. But I was not such a fool. I struck instantly at the part of the man which I had best under my control and suggested that it was just about time he had some lunch. The Enemy presumably made the counter-suggestion (you know how one can never quite overhear what He says to them?) that this was more important than lunch. At least I think that must have been His line for when I said 'Quite. In fact much too important to tackle at the end of a morning,' the patient brightened up considerably; and by the time I had added 'Much better come back after lunch and go into it with a fresh mind,' he was already half way to the door. Once he was in the street the battle was won. I showed him a newsboy shouting the midday paper, and a No. 73 bus going past, and before he reached the bottom of the steps I had got into him an unalterable conviction that, whatever odd ideas might come into a man's head when he was shut up alone with his books, a healthy dose of 'real life' (by which he meant the bus and the newsboy) was enough to show him that all 'that sort of thing' just couldn't be true. He knew he'd had a narrow escape and in later years was fond of talking about 'that inarticulate sense for actuality which is our ultimate safeguard against the aberrations of mere logic'. He is now safe in Our Father's house.

You begin to see the point? Thanks to processes which we set at work in them centuries ago, they find it all but impossible to believe in the unfamiliar while the familiar is before their eyes. Keep pressing home on him the ordinariness of things. Above all, do not attempt to use science (I mean, the real sciences) as a defence against Christianity. They will positively encourage him to think about realities he can't touch and see. There have been sad cases among the modern physicists. If he must dabble in science, keep him on economics and sociology; don't let him get away from that invaluable 'real life'. But the best of all is to let him read no science but to give him a grand general idea that he knows it all and that everything he happens to have picked up in casual talk and reading is 'the results of modern investigation'. Do remember you are there to fuddle him. From the way some of you young fiends talk, anyone would suppose it was our job to teach!

Your affectionate uncle

Screwtape

The Screwtape Letters. Copyright © by C. Lewis. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.
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Reading Group Guide

Introduction
Originally published in The Guardian from May 2 to November 28, 1941, Lewis conceived of The Screwtape Letters in the summer of 1940. On the evening of July 20th, he heard a broadcast speech by Hitler and later wrote to his brother, Warnie: "I don't know if I am weaker than other people, but it is a positive revelation to me that while the speech lasts it is impossible not to waver just a little." Lewis went on to explain that he was "struck by an idea for a book which I think would be both useful and entertaining. It would be called As One Devil to Another and would consist of letters from an elderly retired devil to a young devil who has just started work on his first 'patient.' The idea would be to give all the psychology of temptation from the other point of view." This reversal, whereby God becomes "The Enemy" and "Our Father's House" is not heaven but hell, is crucial to understanding The Screwtape Letters and also accounts for much of its power. All questions of Christian faith are approached from the perspective of a devil who wants to undermine that faith and capture the soul of "the patient." This radical shift allows Lewis to reveal, as the patient moves precariously through one temptation after another, both what is required to maintain one's virtue and the precise nature of the forces of darkness deployed to destroy it. The Screwtape Letters was greeted with great critical and popular enthusiasm when it first appeared. The book was reprinted eight times in 1942 alone. Contemporary reviewers wrote that "Lewis is in earnest with his belief in devils, and as anxious to unmask their strategyagainst souls as our intelligence department to detect the designs of Hitler" (The Guardian, 13 March 1942) and that "Mr. Lewis possesses the rare gift of being able to make righteousness readable" (New Statesman and Nation, 16 May 1942). The Saturday Review (17 April 1943) called it an "admirable, diverting, and remarkably original work… a spectacular and satisfactory nova in the bleak sky of satire." The Screwtape Letters continues to be admired both as a brilliant literary work and a powerful exploration of Christian faith. Questions for Discussion
  • Much of the appeal The Screwtape Letters derives from Lewis's startlingly original reversal: telling a story about Christian faith not from a Christian point-of-view but from the perspective of a devil trying to secure the damnation of one's man's soul. Why is this strategy so effective? What does it allow Lewis to accomplish that would have been impossible in a more straightforward approach?
  • In the first of Screwtape's letters, he instructs Wormwood not to attempt to win the patient's soul through argument, but rather by fixing his attention on "the stream of immediate sense experiences" (p. 2). Why is immersion in the particulars of "real life" fertile ground for temptation? Why is argument a risky strategy for devils to employ? Where else do you find this opposition between the particular and the universal-between materialism and spiritual faith-in The Screwtape Letters?
  • While Screwtape allows that war is "entertaining" and provides "legitimate and pleasing refreshment for our myriads of toiling workers," (p. 18) he fears that "if we are not careful, we shall see thousands turning in this tribulation to the Enemy, while tens of thousands who do not go so far will nevertheless have their attentions diverted from themselves to causes which they believe to be higher than the self" (p. 19). Why would war have this effect? How does war alter human consciousness in a way unfavorable to temptation? How would you relate Lewis's own experience in WWI, which apparently confirmed his youthful atheism, to his position in The Screwtape Letters?
  • In describing the differences in how God and the Devil view men, Screwtape says: "We want cattle who can finally become food; He wants servants who can finally become sons" (p. 30). What is it about God's relationship to man that Screwtape finds so unfathomable?
  • Why is Screwtape so pleased when the patient becomes friends with a group of people who are "rich, smart, superficially intellectual, and brightly skeptical about everything in the world"? (p. 37). What influence does Screwtape hope they will have on him? Why should their "flippancy" build up an "armor-plating" against God? In what ways does Lewis merge theology and social satire in this and other passages throughout The Screwtape Letters?
  • Screwtape assures Wormwood that although some ancient writers, such as Boethius, might reveal powerful secrets to humans, they have been rendered powerless by "the Historical Point of View," which regards such writers not as sources of truth but merely as objects of scholarly speculation. "To regard the ancient writer as a possible source of knowledge-to anticipate that what he said could possibly modify your thoughts or your behavior-this would be regarded as unutterably simple-minded" (p. 108). Why would Screwtape delight in this situation? How would he turn it to his advantage? How does this view of reading parallel post-modern approaches to literature? Where else does Screwtape encourage Wormwood to persuade humans that truth is irrelevant?
  • Lewis exhibits throughout his writings an uncanny sense of human nature and a style capable of brilliant aphorism: "Men are not angered by mere misfortune but by misfortune conceived as injury" (p. 81); "Gratitude looks toward the past and love to the present; fear, avarice, lust, and ambition look ahead" (p. 58), to cite just two examples. Where else in The Screwtape Letters do you find universal statements about human nature? Do these statements accurately reflect not just a Christian ethos but the workings of human psychology more generally?
  • The sub-plot of The Screwtape Letters turns on Screwtape's relationship with his nephew Wormwood, the apprentice tempter and demonic understudy in charge of carrying out Screwtape's instructions. How do Screwtape and Wormwood regard each other? How does their relationship change over the course of the book? In what ways does their relationship offer an inverted reflection of God's relationship to man? What is Lewis suggesting by having the story end with Screwtape preparing to devour a member of his own family?
  • In discussing time, change, and pleasure, Screwtape asserts that "just as we pick out and exaggerate the pleasure of eating to produce gluttony, so we pick out this natural pleasantness of change and twist it into a demand for absolute novelty" (p. 98). Why is the demand for novelty necessarily destructive? What natural balance does such a demand disrupt? In what areas do you find this insistence on change, or overvaluation of the new, operating today?
  • Love is an important theme in The Screwtape Letters. Describing the human idea of love and marriage, Screwtape tells Wormwood: "They regard the intention of loyalty to a partnership for mutual help, for the preservation of chastity, and for the transmission of life as something lower than a storm of emotion" (p. 72). Screwtape is also confounded by God's love for man, which he grants as real but irrational. What is Lewis saying, in the book as a whole, about human and divine love?
  • Over the course of The Screwtape Letters, the state of the patient's soul fluctuates as he experiences a conversion, doubt, dangerous friendships, war, love, and finally, in death, oneness with God. What major strategies does Screwtape use to tempt the patient into the Devil's camp? Why do these temptations fail? In what ways can the patient be seen as an everyman?
  • In spite the patient's triumph over temptation, his glorious entrance to Heaven-"the degradation of it!-that this thing of earth and slime could stand upright and converse with spirits" (p.122)-Screwtape does not lose faith in his own cause. Why do you think Lewis chose to end the book in this ambiguous light? Why is Screwtape sustained by "the conviction that our Realism, our rejection (in the face of all temptations) of all silly nonsense and claptrap, must win in the end"? (p. 124). What warning is implied in the book's ending? In what ways does The Screwtape Letters speak to contemporary moral and spiritual issues both within and outside of the Christian Church?
About the Author: Clive Staples Lewis was born in 1898 in a suburb of Belfast. An extraordinarily precocious child, at the age of eight he was writing and illustrating "Animal-Land" stories with his brother Warren, at ten was reading Paradise Lost, and at nineteen was described by one of his teachers as "the most brilliant translator of Greek plays that I have ever met." By the time Lewis entered Oxford in 1917, he had long considered himself an atheist, a position that his experiences on the front lines of World War I only confirmed. But in 1925 he was elected to a fellowship at Magdalen College, Oxford, where he taught for twenty-five years and where his intellectual, creative, and religious development underwent a remarkable flowering. Shortly after a late night talk with J.R.R. Tolkien and Hugo Dyson in 1931, Lewis had a conversion experience, beautifully described in his autobiography Surprised by Joy (1955), and regained his faith in Christianity. There followed an astonishing succession of fiction, criticism, and religious books, including The Problem of Pain (1940), The Screwtape Letters (1942), The Abolition of Man (1943), The Great Divorce (1946), Miracles (1947), George MacDonald (1947), and Mere Christianity (1952), and the seven children's books comprising The Chronicles of Narnia, completed in 1954. Greatly admired for his teaching, Lewis was offered the chair of Medieval and Renaissance English at Cambridge in 1954, a position he held until his death. In 1956 he married Joy Davidman Gresham, the American poet and novelist, who was diagnosed with cancer later that year. Despite his wife's illness, Lewis achieved in his final years the happiness and contentment he had searched for all his life. His relationship with Joy, who died in 1960, is the subject of Richard Attenborough's film Shadowlands, and Lewis's own A Grief Observed, published under a pseudonym in 1961, is a deeply moving account of his struggle to come to terms with her loss. C.S. Lewis died on November 22, 1963, at his home in Oxford.
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