Still some critics feel they know Lewis better than he knew himself and reject the notion that, as Gray recognized in one of Lewis’s critics who challenges Holbrook’s assumption that there was, “some kind of failure in Lewis’s earliest environment… there is in Lewis’s case limited relevant biographical material, and Holbrook has to base his diagnosis largely on an ingenious reading of Lewis’s fairy tales” (65). Unwilling to concede that imagination alone is responsible he is absorbed with the notion that “whatever we may make of some of Holbrook’s… (views) of Lewis’s fairy stories into psychoanalytical jargon, it is nevertheless hard to dismiss his claim that something to do with the creative power of play in the primary maternal matrix is at work in, for example” (Gray 65).Holbrook Lewis surmised a broader scalability where “fantasy, then, may be an important cultural way of keeping in touch with the primitive self” (83).

To conclude, it is that which God has gifted each of us with, imagination that Lewis and Carroll each tapped into and essential to being a successful creative writer. The interior dialogue that feeds the process is fueled by mental images that both Lewis and Carroll freely embraced and employed with regard to their writing that sets them apart from other writers of fantasy. Once they set about putting their imaginings on paper, as Lewis admitted, “there were always… gaps which needed to be filled up by some deliberate inventing” (Gray 61). The creative writing process cannot be wholly defined; however one thing is crystal clear, that listening to one’s inner voice and nurturing the imagination, as Lewis did with the vision of the Lion in the snowy wood, can lead to inspiration and foster creativity.

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