The code to Narnia cracked

One of the things I’m most excited about this summer is reading new books. I’ve got well over 20 on my “to-read” list, mostly new books with some old favorites mixed in here and there. (Go ahead, call me a nerd. I’m thrilled about reading for pleasure instead of classes.)

As of Tuesday night, one of my old favorites, The Chronicles of Narnia (C.S. Lewis), jumped from the lower middle of my list to the top of my list – plus I’ve now managed to pick one of the 20+ books from WJI to read on my flights/layovers back home.

The book that I’ll be reading on my way back to Memphis – Planet Narnia: The Seven Heavens in the Imagination of C.S. Lewis by Michael Ward.

I had the privilege of hearing Ward lecture in New York at Socrates in the City Tuesday evening. There’s no way to sum up everything that he talked about, but in short, he has cracked Lewis’s code in the Narnia series, linking elements to Lewis’s study of medieval cosmology.

If you’re like me, maybe you didn’t initially realize the books had a “code.” Even so, did you ever wonder about certain elements that Lewis throws into his series, like Father Christmas? I know that I did…I couldn’t for the life of me figure out why Father Christmas appeared in the books. Ward explained this – and other confusing elements – in Lewis’s books. I can’t begin to tell you how I felt as Ward fully explained Father Christmas – the light bulb finally went off for me!

Some might say that cracking Lewis’s code ruins the series. I would argue with Ward and say that it doesn’t; instead, it makes sense of the confusions and gives us a greater understanding and appreciation of the author and his intent.

Two things I really appreciated about Ward’s lecture: First, he began with Psalm 19 (“The heavens declare the glory of God…”), which is one of my favorite psalms. It was a reminder that even literature – a form of God’s creation – can point others to Him and bring Him glory. Secondly, he said something along the lines of this during the lecture (paraphrased): “If we can’t figure out the world of a children’s book [because the Narnia series was intended for children], how can we figure out all of the real world made by an infinite Creator?” That helped me put things into perspective and remember that it’s okay that I don’t have everything about the world figured out.

I started to blog exactly what Ward spoke about during his lecture and then realized that would kill the secret. I’ve given the links to the book, so go get your curious self a copy and then we’ll talk about it further.

(By the way, my second layover/plane book will probably be Eric Metaxas’s Amazing Grace: William Wilberforce and the Heroic Campaign to End Slavery. Metaxas is the founder and host of Socrates in the City and graciously allowed the WJI students to attend Tuesday evening – thanks, Eric!)

Music changes tone of NYC subways

Rolling suitcases. Passengers running down to platforms at Olympic record speeds. The wafting aroma of Starbucks and cheap fast food.

Flashing signs with train time updates and advertisements. The looks of exhausted and irritated passengers struggling with their luggage as they head to their next stop.

But in one corner of chaos called Penn Station lies something different. A small crowd has gathered around a petite woman, just taller than her microphone stand, nearly overshadowed by her acoustic guitar.

Her name is Nicola Vazquez and she’s playing music in the subway. She calls herself Nicola.

Dressed in black and wearing pigtails, she’s clearly enjoying her performance, grinning in between verses, and smiling and giving slight bows and nods after each song. Nicola thrives off her audience, catching their eyes and singing straight into them.

Leaning into her guitar and away from the microphone, her fingers fly across the frets. She alternates between delicate picking patterns to punctuated, pulsing chords.

The stage is the slick floor of the subway, lit by the glow of the neon yellow McDonald’s sign. Just below Nicola’s feet lie a small amp and an open guitar case, displaying Nicola’s CDs and providing an avenue for donations.

Nicola is just one of over 100 sanctioned subway performers from MTA’s Music Under New York program.

Manager with Arts for Transit and Music Under New York Lydia Bradshaw says the program appeals to the public.

“It’s like an event and it’s a nice ambiance to come across,” Bradshaw says.

She says Music Under New York provides 150 subway performances each week, covering all kinds of genres.

“We have all kinds of acts for the roster,” Bradsaw says. “It’s kind of a reflection of all the different cultures and people in New York.”

Nicola says she performs in the subway because she enjoys the interaction with various kinds of people.

“You meet a lot of people and gain experience,” she explains. “Where else are you going to meet such a cross-section of people?”

In his article “In Subway Platform, These Musicians Set Their Stage” from The New York Times, Corey Kilgannon writes that the program provides an extensive variety of music. It also includes musicians from across the world, including Africa and South America, exposing commuters to all kinds of music, languages and instruments.

Millions of people pass through New York’s subways every year and Nicola says they handle and respond to subway music differently.

The lack of a stage creates a completely different atmosphere than an actual venue.

“There’s no separation between you and your audience so you cannot be squeamish,” Nicola says.

Audience members sometimes get right Nicola’s face or try to speak to her while she’s performing. While it can be annoying, she realizes that an unusual kind of venue presents different challenges.

“The basic thing is, you take the good with the bad,” she says, shrugging her shoulders. “You’re going to meet people, you’re going to make connections.”

Having music in the subway creates a different and unexpected environment, Nicola says.

“Music is very soothing; it gives people peace,” she says. “The music in the program brings a pleasant atmosphere.”

Nicola said that none of her subway performances are the same because the audience changes and she never knows how people will respond or how many will buy her music.

“Every night’s different, it’s very random,” she says.

Nicola has played guitar and sung since age seven. In addition to solo performances, she also sings has a band, also called Nicola. The band does not perform with her at the subway, but they perform at other venues.

The challenging subway location gives Nicola a different focus and goal during her performance.

“If I can hold someone for a minute, I’ve accomplished something,” she says. “It’s building me – the longer I’m down here, the better I get.”

Nicola notes that she initially did not make it into the program on her first audition. She auditioned again and has been a subway performer for over three years.

“I’m very grateful and thankful to have been accepted,” she says. “Were it not for this program, I wouldn’t be where I am today.”