National Catholic Register interviews John C. Wright:
What do you think is the place of such elements in science fiction?
Hmm. Good question. Science fiction is by and large based on a naturalistic view of the universe. When penning adventures about space princesses being rescued from space pirates by space marines, religion does not come up, except as local background and local color, in which case, the role of religion is to provide the radioactive altar to the Snake God of Mars to which our shapely by half-clad space princess is chained, that our stalwart hero can fight the monster.
Now, any story of any form can be used as a parable or as an example of a religious truth: indeed, my latest six-book trilogy is actually about faith, although it is portrayed in figures as being about a man's love for his bride.
Fantasy stories, on the other hand, once any element of magic or the supernatural is introduced either declare for the Church or declare for witchcraft, depending on whether or not occultism is glamorized.
Note that I speak of occultism, not magic itself. Merlin the magician is a figure from King Arthur tales, of which no more obviously Christian stories can be found, outside of Dante and Milton, but no portrayal in olden days of Merlin glamorized the occult. Again, the way characters like Gandalf in Tolkien's Middle-Earth, Coriakin in C.S. Lewis's Narnia, or Harry Potter, even those they are called wizards, are clearly portrayed either as commanding a divine power, or, in Potter's case, controlling what is basically an alternate technology or psychic force. There is no bargaining with unclean spirits, no rituals, not even a pack of tarot cards. These are like the witches in Halloween decorations, who fly brooms and wave magic wands, and nothing like the real practices of real wiccans, neopagans or other fools who call themselves witches.
Fools, because, as I did when I challenged God, they meddle with forces of which they have no understanding. I meddled with bright forces, and was spared. They meddle with dark, and they think they can escape the price.
Fantasy stories generally are hostile to Christianity, some intentionally and some negligently. The negligent hostility springs from the commonplace American desire for syncretism, that is, for all religions to be equal. Even some fairly Christian-themed fantasy stories yield weakmindedly to this temptation, as in Susan Cooper's The Dark is Rising or A Wrinkle in Time is a science fantasy novel by American writer Madeleine L'Engle, where the forces of light are portrayed as ones where Christ is merely one teacher among many, each equally as bright and good, but makes no special nor exclusive claim. Or tales where the crucifix will drive back a vampire, but so will any other sign or symbol of any religion, from Asatru to Zoroastrianism, because all religions are equal, dontchaknow.
Such syncretic fantasy stories are perhaps more dangerous that those which are openly hostile to religion in general and Catholicism in particular, because such stories as are openly hostile can be read with pleasure and enjoyment the way one would read the Iliad by Homer or the Aeneid of Virgil, as pagan works where the reader suffers no temptation to bow to the stupid gods the writer evidently favors. In this category I place the work of Philip Pullman and Michael Moorcock. Socialist anarchist materialists are so autistic when it comes to spiritual matters, their worlds portrayed in their make believe has little or no power to sway real faith in anything real. Their ideas, when they venture into spiritual themes, are like listening to colorblind men discussing how they would make a better rainbow.
More dangerous are writers of real skill and talent whose spiritual vision is awake, but whose loyalty is in the enemy camp: I put the remarkably talented Ursula K LeGuin in this category, for she can capture the spiritual look, feel, and flavor of Taoism without ever once revealing her own spiritual preferences; and likewise Mr. John Crowley, who is a gnostic, and peppers his work with themes that make the heresy seem quite inviting and new.
In my fantasy stories, magic is always portrayed as unlawful for humans, dangerous, and innately corruptive; elves are beautiful but dangerous; the Church is a mighty fortress bold as an army with spears and trumpets. Because that is the way it really is.
Stories and fairy tales are fictional. That does not mean they are false.