A Face in the Clouds follows one man’s struggle to reconcile the claims of the Gospel with his rational mind. Paul is a radio reporter. His job and his mindset demand he deal with facts and all things tangible as he investigates and reports on current and community events. He’s in love with Sandy, a co-worker at the radio station. Faith is a cornerstone of her life. Faith in a God that is real and active in her life, but one that Paul has discounted and rejected. Until now. In this Easter short story of hope and redemption we get to see Paul’s doubts and distrust collide with inner longings he’s barely sensed before now and outward events that bring him to a crossroad, a major turning point of decision.

          He and Sandy attend an Easter-season church service led by an artist who claims to draw for God. She prays and draws while music plays and the congregation watches. In the interview before the demonstration, she tells Paul she doesn’t know what she will draw when she begins. She allows God to lead her mind and her hands to create. During her conversation and her later demonstration, Paul is confronted with facts and tangibles that scream to be acknowledged. By the time he leave the church, many of his presuppositions have been challenged, analyzed and re-oriented. He’s ready to consider . . . only consider mind you . . . the reality of God.

          Marianne Evans crafts a heartwarming, believable story that peeks into one man’s heart and mind as he he comes face to face with the living God. If you enjoy reading stories of burgeoning faith, you are sure to enjoy A Face in the Clouds by Marianne Evans.

          I first discovered The People when as a teenager in the 1970’s I happened across “The People: No Different Flesh. There I met Eva-Lee, her family and her world as they absorbed the tragic news that their Home was dying and they must build ships to take them Elsewhere. Eva-Lee and her People had Gifts and Persuasions that allowed them to enter minds (only under dire need or with permission), move objects and fly (they called it lifting). When one of the ships that left the Home crash landed on Earth, the People were scattered and stranded in a strange land.

          Zenna Henderson’s People stories chronicle many of the encounters between residents of Earth and the People. From the fearful religious cult that sees them as an abomination to the struggling desert farmer who only sees a badly injured boy to the traveling pioneer family who rescues a frightened, abandoned girl, the histories of this exiled People are shaped and shared in several People anthologies. All these stories vividly depict a People struggling to adjust to their new Home. Amidst that struggle is the determination to remain a distinct Group, even as they hide their differences from Outsiders. The People, a loving, forgiving race thrill to discover echoes of their own spirituality in this new world and consistently strive to reflect that spirituality as they use their Gifts and Persuasions, albeit circumspectly, to aid and heal and help those they meet.

          Originally published as short stories in the 1960’s and depicting rural Southwestern life with amazingly realistic detail, these stories are timeless. Written in a gentle, conversant manner, they vividly portray the life and emotions of rugged, sensitive characters. These characters reveal a wide range of human emotion and need, all the while showcasing ideals worth emulating, sometimes even by exhibiting its opposite.

          In the years since they first appeared as short stories, several compilations have been published. Rather than just producing straight anthologies, Zenna Henderson created stories to connect, or bridge the short stories, creating, in effect, a novel. The only compilation still in print is “Ingathering: The Complete People Stories of Zenna Henderson.” Ironically, this is the only one I haven’t read. I’m told there are a couple of stories, as well as a letter written by Zenna Henderson that do not appear in any other collection.

          These are stories that will enrich all who read, but a Christian may find them particularly delightful. Every one of the People stories I have read has reflected and encouraged a lifestyle and principles compatible with Christianity. Many of her stories include Scripture and all of them apply Scriptural principles. Her terminology (“The Presence” - God, “Called” - the awareness of imminent death, “Festival” – a group funeral/memorial service for all who died that year) may surprise, even startle some, but in reality these terms may perhaps be a closer depiction of truth

          I recommend everyone read these stories, from pre-teens to octogenarians. They are that good.

ISBN: 0-373-80202-1; published in 2004 by Luna (www.luna-books.com).

         Elena Klovis, is a Cinderella-like character in the land of Five Hundred Kingdoms. Instead of a prince and a happily-ever-after, though, she is recruited as a Fairy Godmother Apprentice. As she learns to use magic, and when to use ingenuity and hard work, she also learns of The Tradition. The Tradition is a sort of magical force that is attracted to and influences people whose lives resemble a “tale.” If that “tale” doesn’t happen, as in Elena’s case, where her “prince” was only 10 years old, magic accumulates around that person, continually nudging them toward another suitable “tale.” It will continue to do so unless used or siphoned off by a magical being, preferably a good one, like a Godmother.

         Elena has so much magic around her as a result of her thwarted “happily-ever-after,” she attracts the attention of the current Fairy Godmother, who has been searching for an Apprentice for years. Madame Bella takes Elena as her Apprentice. Elena’s confidence and skill blossoms under Bella’s tutelage. In far too short a time, at least in Elena’s mind, Bella deems Elena ready to Godmother alone. She leaves, to wherever it is retired Godmothers go, and Elena takes over the task of watching and guiding and protecting the people of her kingdoms under her authority. And that is when the story gets really interesting.

         This is an good story, full of likable characters, real struggles and life lessons learned amid a truly unique world. I thoroughly enjoyed it. I really only have one objection. It is one that I find in many modern romances. Too much intimacy. It is the current “acceptable standard” and one I find particularly undesirable. There are multiple scenes of extended petting with detailed accounts of the participants’ reactions. To the author’s credit, there is not the usual insinuation that if they are feeling passion, it must be love. Elena and her lover become friends first and it is obvious the relationship is built on more than passion. Even so, the explicit nature of the intimate scenes is disappointing.

         Given that objection, you might wonder why I still give this book a positive recommendation. It is because of the story. The story and the characters. The characters come alive on the page. They are real, some with glaring faults and inadequacies. They learn life lessons and change (or not) while still retaining their own personality. The romance between Elena and her lover, while important to the story, is not the only focus of the story. Overall, this story is about living honorably, even (especially?) in one’s daily life and how that prepares that person if/when supreme and heroic action is warranted. This message is one completely compatible with Christian principles. Ancillary messages, such as “struggles and hardship create character” or “great power is best used in service” or “there is merit in helping others overcome life-muddles” further illustrate and support Christian values.

         This is an uplifting and entertaining story. Just be aware of the intimacy scenes, which are clustered in a couple of chapters in the last third of the book. If you can skip or otherwise not be offended by them, you will probably enjoy reading this as much as I did.

         In appearance “Till We Have Faces” is a letter of accusation written by Orual, the unattractive eldest daughter of a selfish king in a barbaric land. This “letter” chronicles her life and the seeming injustices of it. She accuses “the gods” of being cruel and capricious; of taking profane glee in giving then destroying love and happiness. As she reaches the end of the letter, and her solitary life, she is brought face to face with the awareness that much of her bitterness stems from choices of her own making.

         This story is set in a pagan society, using pagan rituals and symbolism. In that sense it is not even remotely Christian. C. S. Lewis wrote “Til We Have Faces” as a rewrite of a Greek myth. As such, attributing Christian themes to it is probably not wise. It is, however, a compelling illustration of the twisted mess a life of angst and bitterness can become. Orual believes it is the gods who have betrayed her, when in actuality, her own selfishness and fear of abandonment have brought about the loneliness of her life.

         Although “Til We Have Faces” was not written until later in his life, he mentally rewrote this myth several times. It is worthy of note that, by his own admission, the ending changed after his conversion to Christianity. Before his conversion to Christianity, he was certain the gods would be condemned and Orual stand justified. In the end, though, Orual discovers truth and honesty. A truth and honesty that is consistent with Christianity, even though it is presented amongst the trappings of paganism.

         How can we really come before God until we are honest with ourselves, ie til we have faces? And once we see ourselves in true honesty, our “complaint against God” is silenced. The struggles Orual went through taught her honesty, but at a great price. The thing that made her bitter and compelled her to “protect” herself, was the very thing that should have wooed her to “the god.” Had she made different choices at numerous times throughout her history, her life would have been radically different.

         This is certainly not a story for children, like his Narnia tales, nor a treatise of the Christian faith, as in Mere Christianity, or even a Christian adult fiction, such as his space trilogy (“Out of the Silent Planet,” “Perelandra,” and “That Hideous Strength”). The fact that Lewis uses the pagan setting, with its references to gods and sacrifices and its disdainful, but twisted love for that way of life might turn away some Christians. After all, we know there is one true God, not multiple gods. We know He is merciful and righteous, not capricious and cruel. We know He will be found by any who seek Him, not hide from them and trick them, as Orual accuses. It is, however, this very use of what Christians would call profane that illustrates the irrefutable truths of the story. If you can look past the pagan trappings and see a greater truth, you might enjoy this book. If you just want an entertaining read, however, this is certainly not a book for you.