Calormen: The vast, ancient empire that serves as Narnia’s southern, desert-bound rival

Calormen: The vast, ancient empire that serves as Narnia’s southern, desert-bound rival
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In short: In C. S. Lewis’s Chronicles of Narnia, Calormen stands as a sprawling, militaristic empire defined by rigid hierarchy and ornate tradition. Separated from Narnia by a vast desert, this wealthy, slave-holding society offers a stark, often controversial contrast to the European-inspired kingdoms of the north, sparking decades of literary debate.

Calormen is a massive, warm-climate empire located southeast of Narnia, bordered by the Western Mountains and the Great Eastern Ocean. Its capital, Tashbaan, is a walled city built on an island hill at a river mouth, famous for its magnificent palaces and gardens. The empire is ruled by the Tisroc, who is believed to be a direct descendant of the vulture-headed god Tash. Social standing in Calormen is strictly defined by wealth and power, with a hierarchy ranging from the noble Tarkaans and Tarkheenas down to the peasantry and enslaved people.

The culture of Calormen is characterized by its ostentatious style, including flowing robes, turbans, and scimitars. Its people value honor, precedent, and the art of storytelling, often speaking in moralizing maxims derived from ancient poets. This society remains remarkably static over a thousand-year period, a literary artifact of the order in which Lewis wrote his books. While Narnia and Archenland are portrayed as free, often agrarian societies, Calormen is depicted as an expansionist power that views its northern neighbors as 'barbarians' and an affront to the natural order.

Lewis’s depiction of Calormen has drawn significant criticism for its reliance on stereotypes of Middle Eastern and Central Asian cultures. Critics like Philip Pullman have labeled the work racist, while others, such as theologian Paul F. Ford, suggest Lewis was a man of his time, using these tropes in a way that feels insensitive to modern readers. Conversely, some argue that Lewis’s inclusion of virtuous Calormene characters and his theological assertion in The Last Battle—that those who are truly good are serving the same divine truth, regardless of their cultural label—complicates these accusations of prejudice.

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