Nietzsche said, “It is our taste which now decides against Christianity, not our reason.” Accordingly, for a century the battle in the West has been for the imagination. And artisans of the imagination have been of three kinds.

First, believers like J.R.R. Tolkein, T.S. Eliot, Dorothy Sayers, Madeleine L’Engle, Flannery O’Connor, Walker Percy, and of course, C.S. Lewis have helped us imagine that what we see is not all there is, and that the Christian story makes all other stories make sense. Such verbal craftsmanship has helped us inhabit a reality in which, to elide Tolkein and Oliver Goldsmith, every fairy tale bears the trace of Grace stooping to conquer.

Walt Disney embodied a second approach to the imagination. Disney sought to fill a cultural mindscape with myth and story and legend, minus the specific content of any particular faith- or truth-claims. As Mark Pinsky (The Gospel According to Disney: Faith, Trust, and Pixie Dust) quips, Disney and his “Imagineers” have taught us to “wish upon a star, but not pray to a living God.”

A writer like Philip Pullman represents a third approach to the mind’s eye, one hostile to Christianity and aggressively promoting of an alternate vision of the divine.
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