The secular angel in contemporary children's literature: David ...

considered preferable or superior in any way. In fact, the author gives a horrendous and
terrifying view of the underworld:
[Lyra and Will] found themselves on a great plain that extended far ahead into
the mist. The light by which they saw was a dull self-luminescence that
seemed to exist everywhere equally, so that there were no true shadows and no
true light, and everything was the same dingy color. […] but the silence was
immense and oppressive, and the grey light filled [Will] with fear, and Lyra’s
warm presence beside him was the only thing that felt like life. (Pullman, AS,
294-295)
Pullman clearly draws from Classical sources in his depiction of this bland and emotionless
underworld (Virgil, biblical texts, etc.). However, he does not leave the dead in that
Authority-imposed misery, but suggests that this is a trap from which escape is possible. With
Xaphania’s help in closing all other windows between all other worlds, Lyra and Will
sacrifice their own happiness and love and release the dead from this trap and allow their
souls to become one with nature and the world once again. Pullman stresses the significance
of building the Republic of Heaven here on earth, meaning that people should do their best to
enjoy and appreciate life in the here and now, for there is no after.
One of the most significant —if not the most potent— inversions given by Pullman is
the Fall. This new Eve’s role in HDM is not only central to the narrative, or the characters
around her, but also to all humanity, in all the worlds that Lord Asriel opens up and exposes.
It is clear that Lyra assumes the role of the new Eve; however, this is done without her
knowing so. This parallel becomes evident to the reader in a slow progression, thus allowing
them to witness Lyra’s development and growth. This element of the narrative is inescapably
tied with Paradise Lost and the story of Genesis. Yet, how does Lyra assume this role, and at
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