The Landscapes of Narnia: How C.S. Lewis’s Belfast Childhood Shaped a Magical Kingdom

On the gable walls of the tough, working-class streets of east Belfast, the mystical beasts of Narnia vie for brick space with balaclava-wearing loyalists, a striking visual paradox that encapsulates the complex tapestry of Northern Irish identity. For decades, the murals adorning Belfast’s walls served as stark, often confrontational, projections of paramilitary power, territorial claims, and historical grievances rooted in "The Troubles." These powerful public artworks communicated messages of defiance, remembrance, and political aspiration. However, in recent years, a subtle but profound transformation has begun to unfold, reflecting a societal shift towards reconciliation, cultural affirmation, and a broader appreciation for the more positive contributions made by local people, including the internationally renowned author C.S. Lewis. This evolving urban canvas now proudly showcases figures like Lewis, whose imaginative realms offer a compelling counter-narrative to the city’s sometimes turbulent past, hinting at a future where shared heritage transcends division.

Clive Staples Lewis, born in Dundela, east Belfast, in 1898, entered a world that, though rapidly industrializing, still retained pockets of natural beauty and Victorian charm. His birthplace was an attractive terrace house, a symbol of the burgeoning middle-class prosperity of the era. Tragically, this original home has since been demolished, replaced by rather unattractive modern flats – a stark reminder of the relentless march of urban development and the sometimes-unforgiving nature of progress. Yet, despite this loss, the enduring legacy of "Jack," as he was known to friends and family, is not only being preserved but actively celebrated elsewhere in this vibrant part of the city. His family life was marked by intellectual curiosity and a deep love for literature, fostered by his solicitor father, Albert Lewis, and his academically gifted mother, Florence Hamilton Lewis, who sadly passed away when Lewis was just nine, a profound loss that undoubtedly shaped his introspective nature and fueled his imaginative escapism.

A cornerstone of this renewed celebration is the magnificent C.S. Lewis Square, situated in the Holywood Arches neighbourhood. Opened in November 2016, this beautifully designed public space is more than just a tribute; it’s an immersive experience, a gateway to Narnia itself, and a vital component of the area’s regeneration efforts. Funded by the EastSide Partnership, the square boasts a captivating short walking trail featuring seven intricate metal sculptures that vividly bring to life beloved characters from The Chronicles of Narnia. Visitors are greeted by the industrious Mr. and Mrs. Beaver, the gentle faun Mr. Tumnus, the menacing White Witch, the loyal Maugrim, and the mischievous Reepicheep. The undeniable centrepiece, however, is a gigantic, awe-inspiring Aslan, the majestic lion towering over all from atop a circular mound, his powerful form embodying wisdom, courage, and ultimate redemption. These expertly crafted sculptures, primarily made from bronze, invite tactile engagement and photographic opportunities, making the square a vibrant hub for both local residents and literary pilgrims alike. It serves not only as a tourist attraction but as a symbol of community pride, a place where children can play and adults can reflect on the universal themes of good versus evil, sacrifice, and hope that permeate Lewis’s timeless tales.

Approximately 15 minutes’ walk away, St Mark’s Church on the Holywood Road holds a fascinating, if subtle, connection to the genesis of Narnia’s most iconic character. Lewis’s grandfather, the esteemed Rev Thomas Hamilton, ministered here for 13 years, residing in the adjoining rectory. It was on the rectory’s front door that a beautiful brass lion’s head doorknob was fixed, a small detail from childhood that many scholars believe may have been the very spark that ignited Lewis’s imagination, ultimately leading to the creation of Aslan. The original doorknob has been carefully removed for safekeeping, a testament to its historical value, but an exact replica now proudly adorns the door, attracting thousands of Lewis enthusiasts each year. This tangible link offers pilgrims a unique opportunity to touch a piece of the author’s past, connecting them directly to the humble origins of a literary legend and the potent symbolism of the lion that would become central to Narnian mythology and Lewis’s Christian apologetics.

The family’s move in 1905 to the leafy Circular Road marked another significant chapter in Lewis’s formative years. Here, they settled into a large, imposing redbrick house named Little Lea. At the time, it stood on the very outskirts of Belfast, surrounded by open countryside, offering a sense of rural retreat from the city’s burgeoning industrial sprawl. Today, the road has been entirely subsumed by urban growth, yet it retains its character as a prosperous residential area. Little Lea remains a privately owned residence, but its distinctive silhouette and grand iron gates at the end of the drive are still visible to curious passers-by. Lewis himself, in his poignant autobiography, Surprised By Joy, captured the profound impact this house had on his young mind: “To a child, it seemed less like a house than a city,” he wrote. He continued, offering an intimate glimpse into his internal world: “I am a product of long corridors, empty sunlit rooms, upstairs indoor silences, attics explored in solitude.” This evocative description directly foreshadows key elements in The Chronicles of Narnia. Little Lea appears most notably in the opening two books: in The Magician’s Nephew, a boy discovers a portal to another world by exploring a vast attic, while in The Lion, the Witch and the Wardrobe, a game of hide-and-seek leads a group of inquisitive children to that same magical realm, a generation later, through the iconic wardrobe. The house’s spaciousness, its hidden nooks, and the freedom it afforded for solitary exploration were crucial in cultivating Lewis’s rich inner life and his capacity for imaginative world-building.

Beyond the confines of Little Lea, Lewis’s childhood was deeply intertwined with the natural world surrounding east Belfast. Despite its proximity to the city’s industrial heartland – with shipyards and factories humming nearby – the family home was just a fence-clamber away from fields, rolling hills, and enchanting woodland glens. This landscape, a vast adventure playground for young "Jack" and his elder brother Warnie, offered a freedom to wander that would undoubtedly terrify modern parents. They would embark on treks lasting for hours, venturing deep into the hills nestled between Belfast and the tranquil expanse of Strangford Lough. Even today, traversing these routes evokes a profound sense of romantic escapism, allowing one to glimpse the world through Lewis’s youthful, wonder-struck eyes. This unconstrained exploration of nature undoubtedly fueled his fascination with hidden worlds and ancient landscapes, directly informing the rich, detailed settings of Narnia.

The Belmont Road, for instance, takes you on a dramatic ascent, climbing sharply out of the urban environment and into the expansive high ground that majestically towers over Belfast, Bangor, and Newtownards. This elevated vantage point offers numerous breathtaking vistas. While Lewis never recorded the exact spot that inspired his ethereal descriptions, for many, including this writer, the rugged crags and windswept expanses of Whitespots Country Park, perched on the hill above Newtownards, offer a compelling candidate. This ancient landscape, dotted with prehistoric monuments and exuding a raw, elemental power, chimes loudly with Lewis’s descriptions of the Stone Table – the site of Aslan’s ultimate sacrifice in The Lion, the Witch and the Wardrobe. Lewis’s own words from Surprised By Joy perfectly capture the profound impact of these views: “Looking south with a little east in it, a different world,” he writes. “And having seen it, blame me if you can for being a romantic. For here is the thing itself, utterly irresistible, the way to the world’s end, the land of longing, the breaking and blessing of hearts. You are looking across … the plain of Down, and seeing beyond it the Mourne Mountains.” This passage reveals the deep emotional connection Lewis felt to the Irish landscape, a connection that translated directly into the profound sense of longing and adventure that defines Narnia.

Further south, about an hour’s drive from Belfast, lie the majestic Mourne Mountains. It was here, above the charming town of Rostrevor, overlooking the serene expanse of Carlingford Lough, that Lewis once confided to his brother Warnie that this view was his very idea of Narnia. This powerful statement is now stencilled on a bench at a viewpoint within Rostrevor’s Kilbroney Forest Park, inviting visitors to sit and contemplate the landscape that so deeply inspired the author. Sitting in the majesty of this area, surrounded by ancient oaks and granite peaks, it is easy to imagine, as Lewis later wrote in an essay, that a “giant might raise his head over the next ridge.” The Mournes, with their imposing beauty and ancient feel, clearly provided a blueprint for the dramatic and often magical topography of Narnia, a land where grand adventures and mythical creatures felt entirely at home.

An hour’s drive in the opposite direction from Belfast leads to Northern Ireland’s equally spectacular north coast, a region where Lewis holidayed with his mother as a young child. This dramatic coastline, with its rugged cliffs, sweeping beaches, and iconic landmarks, has long been a source of fascination and debate among Lewis scholars and his many passionate fans regarding the inspiration for Cair Paravel, the magnificent castle capital of Narnia. The two main contenders are the haunting ruins of Dunluce Castle and the elegant Downhill Demesne. Dunluce Castle, perched precipitously on a basalt outcrop east of Portrush, is a dramatic, windswept fortress with a rich and often violent history, its crumbling walls hinting at epic tales of old. While its grandeur and strategic position could certainly inspire a royal stronghold, many argue that Downhill Demesne, near Castlerock, and specifically the iconic Mussenden Temple, offers a more compelling match for Lewis’s description. This neoclassical rotunda, built on a cliff edge overlooking the Atlantic, much better fits the description of Cair Paravel looking “like a great star resting on the seashore.” Its elegant isolation and commanding sea views perfectly align with the ethereal, beacon-like quality Lewis attributed to Narnia’s most important edifice. It’s plausible, however, that Lewis, like many creative minds, drew inspiration from a blend of these unforgettable coastal images, fusing them into the composite, magical landscape of Cair Paravel.

It is particularly significant that C.S. Lewis was simultaneously writing his deeply personal autobiography, Surprised By Joy, and crafting the seven volumes of The Chronicles of Narnia. This concurrent process meant that the vivid experiences and cherished landscapes he was recalling for his memoir almost certainly bled into the creation of his magical kingdom. The introspective journey of remembering his childhood fused with the imaginative act of creating Narnia, making the fictional world deeply resonant with his personal history. And so, the heavenly, pastoral landscapes of Narnia, now depicted on the murals of east Belfast, might feel surprisingly familiar even to those locals who haven’t read the books or watched the screen adaptations. They embody a shared sense of place, a recognition of the inherent beauty of their homeland. The wholesome images of Lewis’s imagination being sandwiched between paintings glorifying terrorism is, without doubt, an unusual and potent setting for a tribute to the world’s most famous Christian apologist. Yet, this juxtaposition itself speaks volumes about Belfast’s journey, a city grappling with its past while bravely forging a new identity. Perhaps in Belfast, as in Narnia, where forces of darkness are ultimately overcome by light and hope, good will, indeed, win in the end.

The enduring global appeal of C.S. Lewis and The Chronicles of Narnia continues unabated, evidenced by the forthcoming Netflix adaptations. The first of Netflix’s new The Chronicles Of Narnia adaptations, Narnia: The Magician’s Nephew, is scheduled for release in cinemas on 12 February 2027 and on Netflix on 2 April, promising to introduce a new generation to the wonders of Lewis’s world and, by extension, the landscapes of Northern Ireland that inspired them. Lewis’s profound connection to his homeland, as chronicled in Surprised by Joy and manifested in The Lion, The Witch and The Wardrobe, remains a powerful testament to the transformative power of imagination rooted in real-world experience. Exploring Lewis’s Belfast is not just a literary pilgrimage; it’s a journey into the soul of a complex, beautiful, and healing land, where echoes of a magical kingdom can still be found around every corner.