The Wood between the Worlds

As I was reading "The Magician's Nephew" this weekend I started thinking about the Wood between the Worlds and its connection to Aslan's country. Let me explain: 

Aslan has created numerous worlds (we would now say numerous universes) which have no a priori connection between them. As described in The Magician's Nephew, the Wood between the Worlds is like a long attic that spans the top of several townhouses. Every townhouse can access the attic though there are no other connections between the townhouses. The attic itself is not part of any one townhouse so not much goes on there. Presumably it may be necessary for a worker to go in there sometimes, but really, it's just there. 

In the attic that is the Wood between the Worlds there are pools of water which lead into each world, and there are trees who appear to be soaking up the water setting the timeline for each world. That's it. Nothing happens unless for some reason someone manages to find their way into it.

(I should note that the Chronicles of Narnia reveal to us that there are other connections between our world and that of Narnia, the Wardrobe for one, but also the connection used by the ancestors on the Telmarines and perhaps others. Why this should be the case we'll try to figure out some other time.)

At the end of The Last Battle, Peter, Edmund, and Lucy see their parents in England and would like to join them. How to do so is explained to them by Tumnus:

That country and this country - all the real countries - are only spurs jutting out from the great mountains of Aslan. We have only to walk along the ridge, upward and inward, till it joins on.

England, of course, is not in the same world as Narnia, but one need not travel through the Wood between the Worlds. Both are spurs in Aslan's mountain range.

How do we reconcile these two pictures? 

The mountain range of Aslan is, of course, how things truly are. All of Creation, that which we know and that which we do not, is under his rule. If we ourselves cannot perceive or join some part of Creation, it is because we are not yet close enough to Aslan. We must go further up and further in. 

The Wood between the Worlds is much more facilitatory and therefore neutral. One with the proper means (rings in The Magician's Nephew) can use it to travel between worlds for good or evil. There is no foundational truth, no unmistakable signature of God, it is simply there. 

Nonetheless, Digory's curiosity is commendable. He wants to see other worlds, experience new ideas and concepts, see more of creation. True it does not always turn out well, but Digory's childlike fascination and curiosity, to see more than is there, is what allows one to come close to God. Indeed, it is this same argument he will eventually use to counter Peter and Susan so that they too will eventually see the true nature of the wardrobe. 

In this way I think there is a parallel to be made right within our own world. Thanks to modern science humanity can now explore previously unimagined aspects of the universe. One might view this as utilitarian. Perhaps these observations can give us further understanding of basic science that will eventually be used for improved technology. Maybe (adding some sprinkle of science fiction) there are planets there they will be fit for human habitation. But these observations can be used in another way. They reflect the glory of Creation and thus the greatness of the Creator. 

The truth, of course, is Aslan's country. All of Creation sings the praise of God and points us to Him. All of Creation is unified in a way that can be fully experienced only in the World to Come. Nonetheless, in the meantime we can use our curiosity and fascination sparked by modern inventions and ideas to see His wonder and glory.