THE SHODDY LANDS
C. S. Lewis

The group of Oxford academics who called themselves "The Inklings" and numbered in their ranks J. R. R. Tolkien, Charles Williams and C. S. Lewis have had a profound effect upon modern fantasy fiction via their respective works. To Tolkien's stories of Middle Earth and Williams's fantasies about the Holy Grail, Lewis added his Narnia series for children and the Cosmic trilogy about the interplanetary traveller, Dr. Ransom. The books about Narnia, a kingdom ruled by a lion named Asian, which Lewis wrote in the Fifties are still among the most popular fantasies with younger readers, while his planetary romances with their mixture of science, mythology and fantasy still attract an older audience and have been compared to those of H. G. Wells, who the author readily admitted was an influence. The meetings of “The Inklings," at which they read extracts of their work in progress to one another, have become legendary and generated intriguing rumours about the extent of the input of the writers on each other's classic fantasies.
Clive Staples Lewis (1898-1963) was born in Belfast and climaxed a brilliant university career by being appointed Professor of Medieval and Renaissance English at Cambridge. It was, however, while he was a Fellow at Merton College, Oxford, that he began to develop his talent for fantasy fiction. The first of his Cosmic trilogy, Out of the Silent Planet, published in 1938, made an immediate impact, but it was not until he had completed the other two novels in the series that he produced the first Narnia story, The Lion, the Witch and the Wardrobe, in 1950, and thereafter became a household name. Among Lewis's other notable fantasies for adults which are leavened with a clever use of comedy are Dymer (1926), a narrative fantastic poem; The Great Divorce (1945), an allegory about Heaven and Hell; and Till We Have Faces (1956), based on the myth of Cupid and Psyche. During his lifetime, Lewis also wrote a number of short stories, including the following, which was originally published in The Magazine of Fantasy and Science Fiction in February 1956. "The Shoddy Lands" are certainly a most peculiar place where trees have no branches, grass has no blades, and the people are "Walking Things." Take care!

 Being, as I believe, of sound mind and in normal health, I am sitting down at 11 p.m. to record, while the memory of it is still fresh, the curious experience I had this morning.
It happened in my rooms in college, where I am now writing, and began in the most ordinary way with a call on the telephone. "This is Durward," the voice said. "I'm speaking from the porter's lodge. I'm in Oxford for a few hours. Can I come across and see you?" I said yes, of course. Durward is a former pupil and a decent enough fellow; I would be glad to see him again. When he turned up at my door a few moments later I was rather annoyed to find that he had a young woman in tow. I loathe either men or women who speak as if they were coming to see you alone and then spring a husband or a wife, or fianc? or a financ?e on you. One ought to be warned.
The girl was neither very pretty nor very plain, and of course she ruined my conversation. We couldn't talk about any of the things Durward and I had in common because that would have meant leaving her out in the cold. And she and Durward couldn't talk about the things they (presumably) had in common because that would have left me out. He introduced her as "Peggy" and said they were engaged. After that, the three of us just sat and did social patter about the weather and the news.
I tend to stare when I am bored, and I am afraid I must have stared at that girl, without the least interest, a good deal. At any rate I was certainly doing so at the moment when the strange experience began. Quite suddenly, without any faint-ness or nausea or anything of that sort, I found myself in a wholly different place. The familiar room vanished; Durward and Peggy vanished. I was alone. And I was standing up.
My first idea was that something had gone wrong with my eyes. I was not in darkness, nor even in twilight, but everything seemed curiously blurred. There was a sort of daylight, but when I looked up I didn't see anything that I could very confidently call a sky. It might, just possibly, be the sky of a very featureless, dull, grey day, but it lacked any suggestion of distance. "Nondescript" was the word I would have used to describe it. Lower down and closer to me, there were upright shapes, vaguely green in colour, but of a very dingy green. I peered at them for quite a long time before it occurred to me that they might be trees. I went nearer and examined them; and the impression they made on me is not easy to put into words. "Trees of a sort," or, "Well, trees, if you call that a tree," or, "An attempt at trees," would come near it. They were the crudest, shabbiest apology for trees you could imagine. They had no real anatomy, no real branches even; they were more like lamp-posts with great, shapeless blobs of green stuck on top of them. Most children could draw better trees from memory.
It was while I was inspecting them that I first noticed the light: a steady, silvery gleam some distance away in the Shoddy Wood. I turned my steps towards it at once, and then first noticed what I was walking on. It was comfortable stuff, soft and cool and springy to the feet; but when you looked down it was horribly disappointing to the eye. It was, in a very rough way, the colour of grass; the colour grass has on a very dull day when you look at it while thinking pretty hard about something else. But there were no separate blades in it. I stooped down and tried to find them; the closer one looked, the vaguer it seemed to become. It had in fact just the same smudged, unfinished quality as the trees: shoddy.
The full astonishment of my adventure was now beginning to descend on me. With it came fear, but, even more, a sort of disgust. I doubt if it can be fully conveyed to anyone who has not had a similar experience. I felt as if I had suddenly been banished from the real, bright, concrete, and prodigally complex world into some sort of second-rate universe that had all been put together on the cheap; by an imitator. But I kept on walking towards the silvery light.
Here and there in the shoddy grass there were patches of what looked, from a distance, like flowers. But each patch, when you came close to it, was as bad as the trees and the grass. You couldn't make out what species they were supposed to be. And they had no real stems or petals; they were mere blobs. As for the colours, I could do better myself with a shilling paint-box.
I should have liked very much to believe that I was dreaming, but somehow I knew I wasn't. My real conviction was that I had died. I wished—with a fervour that no other wish of mine has ever achieved—that I had lived a better life.
A disquieting hypothesis, as you see, was forming in my mind. But next moment it was gloriously blown to bits. Amidst all that shoddiness I came suddenly upon daffodils. Real daffodils, trim and cool and perfect. I bent down and touched them; I straightened my back again and gorged my eyes on their beauty. And not only their beauty but—what mattered to me even more at the moment—their, so to speak, honesty; real, honest, finished daffodils, live things that would bear examination.
But where, then, could I be? "Let's get on to that light. Perhaps everything will be made clear there. Perhaps it is at the centre of this queer place."
I reached the light sooner than I expected, but when I reached it I had something else to think about. For now I met the Walking Things. I have to call them that, for "people" is just what they weren't. They were of human size and they walked on two legs; but they were, for the most part, no more like true men than the Shoddy Trees had been like trees. They were indistinct. Though they were certainly not naked, you couldn't make out what sort of clothes they were wearing, and though there was a pale blob at the top of each, you couldn't say they had faces. At least that was my first impression. Then I began to notice curious exceptions. Every now and then one of them became partially distinct; a face, a hat, or a dress would stand out in full detail. The odd thing was that the distinct clothes were always women's clothes, but the distinct faces were always those of men. Both facts made the crowd— at least, to a man of my type—about as uninteresting as it could possibly be. The male faces were not the sort I cared about; a flashy-looking crew—gigolos, fripons. But they seemed pleased enough with themselves. Indeed they all wore the same look of fatuous admiration.
I now saw where the light was coming from. I was in a sort of street. At least, behind the crowd of Walking Things on each side, there appeared to be shop-windows, and from these the light came. I thrust my way through the crowd on my left—but my thrusting seemed to yield no physical contacts— and had a look at one of the shops.
Here 1 had a new surprise. It was a jeweller's, and after the vagueness and general rottenness of most things in that queer place, the sight fairly took my breath away. Everything in that window was perfect; every facet on every diamond distinct, every brooch and tiara finished down to the last perfection of intricate detail. It was good stuff too, as even I could see; there must have been hundreds of thousands of pounds' worth of it. "Thank Heaven!" I gasped. "But will it keep on?" Hastily I looked at the next shop. It was keeping on. This window contained women's frocks. I'm no judge, so I can't say how good they were. The shop beyond this one sold women's shoes. And it was still keeping on. They were real shoes; the toe-pinching and very high-heeled sort which, to my mind, rains even the prettiest foot, but at any rate real.
I was just thinking to myself that some people would not find this place half as dull as I did, when the queerness of the whole thing came over me afresh. "Where the hell," I began, but immediately changed it to "Where on earth"—for the other word seemed, in all the circumstances, singularly unfortunate—"Where on earth have I got to? Trees no good; grass no good; sky no good; flowers no good, except the daffodils; people no good; shops first-class. What can that possibly mean?"
The shops, by the way, were all women's shops, so I soon lost interest in them. I walked the whole length of that street, and then, a little way ahead, I saw sunlight.
Not that it was proper sunlight, of course. There was no break in the dull sky to account for it, no beam slanting down. All that, like so many other things in that world, had not been attended to. There was simply a patch of sunlight on the ground, unexplained, impossible (except that it was there), and therefore not at all cheering; hideous, rather, and disquieting. But I had little time to think about it; for something in the centre of that lighted patch—something I had taken for a small building—suddenly moved, and with a sickening shock I realised that I was looking at a gigantic human shape. It turned round. Its eyes looked straight into mine.
It was not only gigantic, but it was the only complete human shape I had seen since I entered the world. It was female. It was lying on sunlit sand, on a beach apparently, though there was no trace of any sea. It was very nearly naked, but it had a wisp of some brightly coloured stuff round its hips and another round its breasts; like what a modern girl wears on a real beach. The general effect was repulsive, but I saw in a moment or two that this was due to the appalling size. Considered abstractly, the giantess had a good figure; almost a perfect figure, if you like the modern type. The face—but as soon as I had really taken in the face, I shouted out.
"Oh, I say! There you are. Where's Durward? And where's this? What's happened to us?"
But the eyes went on looking straight at me and through me. I was obviously invisible and inaudible to her. But there was no doubt who she was. She was Peggy. That is, she was recognizable; but she was Peggy changed. I don't mean only the size. As regards the figure, it was Peggy improved. I don't think anyone could have denied that. As to the face, opinions might differ. I would hardly have called the change an improvement myself. There was no more—I doubt if there was as much—sense or kindness or honesty in this face than in the original Peggy's. But it was certainly more regular. The teeth in particular, which I had noticed as a weak point in the old Peggy, were perfect, as in a good denture. The lips were fuller. The complexion was so perfect that it suggested a very expensive doll. The expression I can best describe by saying that Peggy now looked exactly like the girl in all the advertisements.
If I had to marry either, I should prefer the old, unimproved Peggy. But even in hell I hoped it wouldn't come to that.
And, as I watched, the background—the absurd little bit of seabeach—began to change. The giantess stood up. She was on a carpet. Walls and windows and furniture grew up around her. She was in a bedroom. Even I could tell it was a very expensive bedroom, though not at all my idea of good taste. There were plenty of flowers, mostly orchids and roses, and these were even better finished than the daffodils had been. One great bouquet (with a card attached to it) was as good as any I have ever seen. A door which stood open behind her gave me a view into a bathroom which I should rather like to own, a bathroom with a sunk bath. In it there was a French maid fussing about with towels and bath salts and things. The maid was not nearly so finished as the roses, or even the towels, but what face she had looked more French than any real Frenchwoman's could.
The gigantic Peggy now removed her beach equipment and stood up naked in front of a full-length mirror. Apparently she enjoyed what she saw there; I can hardly express how much I didn't. Partly the size (it's only fair to remember that) but, still more, something that came as a terrible shock to me, though I suppose modern lovers and husbands must be hardened to it. Her body was (of course) brown, like the bodies in the sun-bathing advertisements. But round her hips, and again round her breasts, where the coverings had been, there were two bands of dead white which looked, by contrast, like leprosy. It made me for the moment almost physically sick. What staggered me was that she could stand and admire it. Had she no idea how it would affect ordinary male eyes? A very disagreeable conviction grew in me that this was a subject of no interest to her; that all her clothes and bath salts and two-piece swimsuits, and indeed the voluptuousness of her every look and gesture, had not, and never had had, the meaning which every man would read, and was intended to read, into them. They were a huge overture to an opera in which she had no interest at all; a coronation procession with no queen at the centre of it; gestures, gestures about nothing.
And now I became aware that two noises had been going for a long time; the only noises I ever heard in that world. But they were coming from outside, from somewhere beyond that low, grey covering which served the Shoddy Lands instead of a sky. Both the noises were knockings—patient knockings, infinitely remote, as if two outsiders, two excluded people, were knocking on the walls of that world. The one was faint, but hard; and with it came a voice saying, "Peggy, Peggy, let me in." Durward's voice, I thought. But how shall I describe the other knocking? It was, in some curious way, soft; "soft as wool and sharp as death," soft but unendurably heavy, as if at each blow some enormous hand fell on the outside of the Shoddy Sky and covered it completely. And with that knocking came a voice at whose sound my bones turned to water; "Child, child, child, let me in before the night comes."
"Before the night comes"—instantly common daylight rushed back upon me. I was in my own rooms again and my two visitors were before me. They did not appear to notice that anything unusual had happened to me, though, for the rest of that conversation, they might well have supposed I was drunk. I was so happy. Indeed, in a way I was drunk—drunk with the sheer delight of being back in the real world, free, outside the horrible little prison of that land. There were birds singing close to a window; there was real sunlight falling on a panel. That panel needed repainting; but I could have gone down on my knees and kissed its very shabbiness—the precious real, solid, thing it was. I noticed a tiny cut on Durward's cheek where he must have cut himself shaving that morning; and I felt the same about it. Indeed anything was enough to make me happy: I mean, any Thing, as long as it really was a Thing.
Well, those are the facts; everyone may make what he pleases of them. My own hypothesis is the obvious one which will have occurred to most readers. It may be too obvious; I am quite ready to consider rival theories. My view is that by the operation of some unknown psychological—or pathological law, I was, for a second or so, let into Peggy's mind; at least to the extent of seeing her world, the world as it exists for her. At the centre of that world is a swollen image of herself, remodelled to be as like the girls in the advertisements as possible. Round this are grouped clear and distinct images of the things she really cares about. Beyond that, the whole earth and sky are a vague blur. The daffodils and roses are especially instructive. Flowers only exist for her if they are the sort that can be cut and put in vases or sent as bouquets; flowers in themselves, flowers as you see them in the woods, are negligible.
As I say, this is probably not the only hypothesis which will fit the facts. But it has been a most disquieting experience. Not only because I am sorry for poor Durward. Suppose this sort of thing were to become common? And how if, some other time, I were not the explorer but the explored?