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Volu m e II - Purdue University Calumet

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like ours, associates some idea of the female with Venus‟” (Out of the Silent Planet, 111). Lewis doesn‟t<br />

bother to hide any aspect of his message.<br />

The work of Charles Williams, much like the man himself, is difficult to understand. In the words<br />

of Barbara Newman,<br />

The plots always revolve around the damage that occurs when a barrier in between the material<br />

world and the inner or astral plane is breached. Whether through malice or accident, the veil<br />

between worlds is torn, enabling supernatural powers to invade mundane reality and wreak havoc<br />

until they can be contained by characters who willingly surrender to the Divine, resolving the crisis<br />

through acts of substitution and exchange. (Newman, 6)<br />

All of Williams‟ works center on his theory of substituted love and coinherence. Particularly in War in<br />

Heaven, when the breach of the material and astral world occurs when the Holy Grail of legend is found and<br />

put into play, and the situation is corrected through sacrifice and communion: two of the key aspects of<br />

coinherence. Williams‟ theory relies on the idea that the members of the Holy Trinity „indwell‟ in one<br />

another, and that „indwelling‟ is a model for all relationships: “The principle holds true across the full range<br />

of Christian doctrine—the Trinity, the Incarnation, the Atonement, the communion of saints. . . This<br />

reciprocity of being, this abiding of every self not in itself but in another, is what Williams means by<br />

coinherence” (Newman, 6). Coinherence and Williams‟ version of prayer both involve a complete<br />

surrender to Love itself. His intercessory prayer is something the pray-er must completely lose themselves<br />

in, and only then are they capable of performing “divine magic” to counter acts of dark magic. Humphrey<br />

Carpenter points out that coinherence “is in spirit entirely Christian,” yet, “like so much of Williams‟<br />

thought, it did have an air of the magical” (Inklings, 105).<br />

The “magical” events and feeling in all of his books are due to Williams‟ own inescapable attraction<br />

to ritual in all of its forms. Apart from his own spiritual order, The Companions, his actual religious<br />

253

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