54 pages • 1 hour read
Patti Callahan HenryA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section refers to terminal illness and death.
The book opens in December 1950 in Worcestershire, England. Eight-year-old George Devonshire knows that he is dying from an uncurable heart condition. His pills are beside his bed next to The Lion, the Witch and the Wardrobe by C. S. Lewis, which has just been published. The book allows George to escape his bedroom into the world of Narnia.
From his bed, George can see that it is snowing heavily outside. He is looking forward to his sister, Margaret (or “Megs”), returning for the weekend so that he can tell her all about Narnia. His wardrobe does not provide access to a magical world like the one in Lewis’s book. Nevertheless, he likes to sit inside and imagine that he is in Narnia instead of thinking about his prognosis and listening to his mother quietly crying. George knows that Lewis lives in Oxford, where his sister is studying. He longs to know where the land of Narnia came from.
Seventeen-year-old Megs is studying mathematics at Somerville College—one of the few Oxford colleges for women. Megs is delighted to be at Oxford and worked hard to earn her scholarship, but she misses her home and family. She sees the other students having fun but feels like she doesn’t fit in.
When Megs arrives at her family home in Worcestershire, she goes straight to George’s bedroom. Finding his bed empty, she and her mother frantically search the house. Finally, Megs notices that the wardrobe door is ajar and finds George inside. Mrs. Devonshire reveals that George often sits in the wardrobe since reading his new book and has lost interest in Beatrix Potter’s stories. Her own favorite author is the mystery writer Dorothy L. Sayers.
George questions Megs about C. S. Lewis. Megs confirms that she has seen the author but has never met him, as Lewis is a tutor of English literature at Magdalen College, where women are prohibited. Megs admits that she has not read Lewis’s new book, as it is for children. George insists that “it’s a book for everyone” (13). When Megs explains that Narnia is no more real than Wonderland in Alice’s Adventures in Wonderland, George disagrees, asserting that he needs to know “where it came from” (13). Recognizing how much it means to her brother, Megs promises to find out. Before she returns to Oxford, Megs offers to read a few pages of Lewis’s book to George. After reading the entire book, she cries at the end and realizes that she has missed her train.
Megs attends a public talk by C. S. Lewis on Edmund Spenser’s The Faerie Queen. The lecture focuses on medieval motifs and the moral message of poetry. Although Megs is uninterested in literature, Lewis makes the subject engaging. Afterward, Megs follows Lewis to his home, the Kilns, but fails to summon the courage to speak to him. She is tempted to make up a story for George about the origins of Narnia but decides that she cannot lie to her brother. The next day, Megs returns to the Kilns, lurking in the woodland behind the house. Overhearing the inhabitants, she realizes that Lewis lives with his brother, Warren (or “Warnie”).
On her third visit to the Kilns, Megs reflects on the magical-looking frozen landscape and begins to see how it could have inspired Narnia. Surprised by Warnie’s voice addressing her, she falls off a rock and into the snow. She apologizes for trespassing, but Warnie assures her that other visitors have come looking for Narnia. Megs explains that her brother is ill and that he wants to know about Narnia’s origins. Warnie invites her inside to meet his brother, whom he calls Jack. Both men are welcoming, and the house is warm. Like George, Lewis denies that his latest book is for children. He says that he might not be able to answer George’s question directly but can tell Megs some stories.
Lewis recounts how he and Warnie invented a land called Boxen when they were children. He describes their childhood home called Little Lea in Ireland.
Megs tells George about her meeting with Lewis and Warnie. She explains that the author would not let her take notes, insisting that she must write down what she remembered afterward. George declares that Megs must start the story properly instead of launching straight into it. They agree on the opening, “Once Upon a Wardrobe, not very long ago and not far away” (32). George pictures the story as Megs tells it.
In County Down, Belfast, eight-year-old Lewis and 11-year-old Warnie lived with their mother, Flora; father, Albert; and grandfather. They also had a nanny named Lizzie and a tutor, Annie. Lewis called himself Jack because he did not like his real name, Clive Staples. Little Lea’s attic had a view of the sea and the mountains, and Lewis and Warnie imagined where the ships they could see were heading. Warnie always guessed India, while Lewis asserted that they were going to “Animal-Land.” Lewis drew maps of Animal-Land and portraits of its inhabitants. The anthropomorphic animal characters were inspired by Beatrix Potter’s creations, such as Squirrel Nutkin. Lewis dreaded his brother’s forthcoming departure for boarding school in England. Warnie suggested that they combine India and Animal-Land into a new kingdom called Boxen. While he was away, his brother could write to him about the adventures that took place in their imaginary land.
Lewis was physically fragile and often ill. When confined to bed, he passed the time reading, as the house was full of books. Lizzie also told him Irish tales about fairies. Inspired by the stories, Warnie made a miniature garden in a biscuit tin resembling the fairy world. Lewis cherished it when Warnie went away to the Wynyard School in Hertfordshire.
In Warnie’s absence, Lewis’s mother consoled him by reading The Tale of Squirrel Nutkin. She also read the autobiographical story her son had written titled My Life. Flora praised the story, declaring that her son was a natural writer. She surprised him by revealing she was once a writer, too.
George appears to be asleep, and Megs worries that she has bored him. However, her brother is imagining the scenes she described. George explains that he can enter a story in his mind, and Megs continues.
Returning home for the holidays, Warnie revealed that the headmaster of the Wynyard School, Reverend Capron (nicknamed “Oldie”), read all his pupils’ letters before they were posted. The only aspect of school life that he enjoyed was outdoor sports. Lewis reflected that he would not share Warnie’s enthusiasm, as the missing joint in his thumbs made him clumsy. Warnie pointed out that his brother’s skill was as an artist, illustrated by his notebooks full of stories and drawings.
When Megs recounts Lewis’s belief that “ink is the great cure for all human ills” (51), George asks Megs to bring him some notebooks and colored pencils. He wants to write and draw just as Lewis did at his age. Alone with her mother, Megs notices how she has visibly aged. Suddenly, Megs is overwhelmed with grief at the thought of George’s death. She struggles to accept the unanimous medical opinion that nothing more can be done for George.
The opening chapters of Once Upon a Wardrobe introduce its setting and narrative structure. The entirety of the novel takes place in December 1950, two months after the publication of C. S. Lewis’s The Lion, the Witch and the Wardrobe. The vibrant, learned setting of Oxford is juxtaposed with scenes from the Devonshires’ family home in Worcestershire, where George is bedbound. Megs’s first-person narration establishes her as the protagonist, while George’s perspective is conveyed through a close third-person narrative.
Callahan blends fictional characters, such as the Devonshire family, with the real-life figures of Lewis and Warnie, whose depictions are based on biographical facts. The author also creates a complex story-within-a-story structure. The fictional plot centering on the Devonshires is interwoven with Lewis’s factual stories about his life. Underlying both these narratives is the story of The Lion, the Witch and the Wardrobe. The author emphasizes how these nesting stories are integrally linked by blurring the boundaries between them, causing the worlds to merge into each other. The wintry setting of England in December echoes the frozen landscape of Narnia under the spell of the White Witch. Similarly, the warm welcome that Megs receives at the Kilns echoes the cozy retreat that Mr. and Mrs. Beaver offer the Pevensie children in Lewis’s novel. Callahan also creates parallels between the stories Lewis tells about his life and George’s present situation. Both are eight years old at the beginning of their stories and use books to escape from reality. This seamless intertwining of fiction and nonfiction underscores the novel’s central message that stories convey profound truths.
The novel’s opening lines, revealing that doctors have “done all they can” for George, establish his imminent death (1). Callahan depicts a household that is battling against the inevitable and powerless to prevent it. The shadow of George’s mortality looms over the narrative that follows, driving Megs’s quest to find the answer to her brother’s question about where Narnia came from. Mr. Devonshire works longer hours, hoping that he can somehow buy a cure for his son. Meanwhile, Mrs. Devonshire redirects her desire to make George well again by tending to the flowers and vegetables in the garden. The atmosphere of repressed mourning in the Devonshires’ home is echoed by the wintry landscape. As in The Lion, the Witch and the Wardrobe, winter symbolizes death and the loss of hope.
George’s fascination with The Lion, the Witch and the Wardrobe introduces The Power of Storytelling in Shaping Human Experience, as the book allows him to escape the physical confines of his bed and his bleak prognosis. The wardrobe is established as a key motif in the novel, again forging a link between Lewis’s fantasy world and reality. While a wardrobe serves as a literal portal to another world in The Lion, the Witch and the Wardrobe, George immerses himself in an imaginative world while sitting inside this space.
George’s desire to know where Narnia came from underscores the novel’s exploration of The Origins of Creative Expression. Lewis’s inability to answer this question directly emphasizes the mystery and complexity of artistic inspiration. His stories about his life reveal disparate elements that contributed to Narnia’s creation. These include literary influences such as Beatrix Potter’s anthropomorphic animal tales, Irish myth, and folklore. They also entail personal experiences, such as his poor health as a child, the influence of his mother, and even the missing thumb joint that made him avoid sporting activities.
The opening chapters are important in the initial characterization of the protagonist. As one of the few women studying at Oxford in the traditionally male-dominated fields of mathematics and physics, Megs is established as a brilliant trailblazer. Nevertheless, her world is narrow, and her mindset is rigidly practical as she remains in her comfort zone, focusing on the “numbers and equations” that come easily to her (5). Megs is ruled by her head rather than her heart in all matters except those pertaining to her younger brother. Callahan illustrates how Megs’s intense love for George forces her to venture beyond the secure boundaries she has developed. Her determination to find the answer to George’s question means that she must overcome her fear of approaching the famous Lewis.
By Patti Callahan Henry