Not Just for Dark and Stormy Nights

Illustration by Jessie Willcox Smith (1920).

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It happened in the closing days of an expansive week and a half in Scotland seeing the awe inspiring ruins, breathing the thick Celtic air, rambling on the highlands and feasting on their startlingly fresh strawberries and unbeatable spuds. Settling into my early morning flight to London, I saw a ghastly image that has never quite left me: a spiny, mustard-yellow man whose grizzled body displayed with such shocking translucence the clawing effects of a life-sucking illness that the look at his decaying body arrested me with a terror so sudden and thorough that all human compassion was replaced with a gripping horror. I sat debilitated, crushingly ashamed and utterly terrified.

Searching the caches of memories filed under “comfort,” I inwardly regenerated the likeness of Great Great Grandmother from George MacDonald’s Princess stories. Reassured by the gentle crooning that all worthy rockers make under the noble weight of maternal figures, I pictured Great-Great Grandmother sitting in her attic spinning: the splendour of her luxurious silver hair softening the sharper angles of her shoulders, her rich sparkling eyes evidencing shimmering wells of compassion and strength. At that moment, as I stood in the doorway to Great Great Grandmother’s attic, I knew she would welcome me to her side, despite, perhaps even because, of the weight of my shame and fear. She, MacDonald’s illustrious depiction of the feminine side of God, would call me to her warmth and envelop me with strength and courage.

The Princess stories were my introduction to MacDonald, and the image of Great Great Grandmother has been significant in my spiritual development. My head and heart have had a thorough plunging into the world of George MacDonald of recent. MacDonald’s letters, unspoken sermons, essays, fiction, poems and biographies are in the process of burrowing into my heart and soul, much like a tick into the damp fleshy parts of a mammal.

This absorption evidences itself in several ways, I sometimes catch myself three bumpy lines into a sentence, hoping against hope to smooth out the rough waters of miss mashed consonants and commas, semi-colons and symbols all fighting for prominence. When this happens, my groan is swiftly followed with an optimistic sigh; I am pleased that MacDonald’s influence is consciously and unconsciously making its way into my inner workings. Although I don’t necessarily agree with the entirety of his world view, now that I know more about it, he has illustrated a more compassionate, gracious and loving approach to life. And, as such, philosophy, theology, personality and penmanship, when I see bits of it eeking out in my own work? Well, I couldn’t be more thrilled.

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