I first read Till We Have Faces in high school, thirty-plus years ago. Most of it went over my head, and my overall impression was rather dull and dismal–a conception not entirely off the mark, as much of the internal life of Orual, the main character, amounts to that.
But my faith in Lewis, along with a recent renewed interest in fairy stories and Greek mythology, inspired me to try again. I was not disappointed in my expectations of a deeper, richer experience this time around. Lewis considered Till We Have Faces, his final novel, to be his best work.
The musical Hadestown first came on my radar early in 2019, a few months into my middle schooler’s Hamilton obsession. I was duly impressed with the latter’s theatrical and historical merits. But after a steady diet of the Schuyler Sisters, I was ready to see what else was on the contemporary Broadway scene.
But it wasn’t until about six months ago that I actually cued up a Hadestown playlist on YouTube. I was immediately swept away by the haunting melodies and intricate harmonies, but most of all, by the sense of yearning. I told my daughter, “You’ve got to listen to this.”