C.S. Lewis's novel, Till We Have Faces, gains additional depth and clarity when viewed through the lens of his autobiography, Surprised by Joy: The Shape of My Early Life (1955). This memoir describes a spiritual journey to God that closely mirrors the path of Orual, the protagonist of his novel. The autobiography's title, Surprised by Joy, takes on an added layer of significance following Lewis's unexpected marriage to Joy Davidman, to whom he dedicated the novel. This personal connection imbues the story with a nuanced irony that Lewis himself considered far from coincidental.

Lewis's work is distinct in its approach, standing apart from other novels that transform Greek myths into historical narratives. While such adaptations are numerous, none delve as deeply into allegory or embrace such overtly religious themes as Till We Have Faces. The novel represents a unique fusion of genres, blending novelistic storytelling with elements of myth and anthropological discourse. This interplay creates a rich tapestry of narrative and thematic complexity.

The spiritual essence of the book lies in its exploration of a divine experience that remains forever beyond human comprehension, yet is constantly pursued through fear, dreams, insights, or hallucinations. Although entirely pagan in its setting, the novel serves as a poignant religious, even Christian apologetic, reflecting Lewis's deep-seated convictions and charitable perspective. By ingeniously sporting with the theory and practice of myth, Lewis crafts a work that is not only a narrative triumph but also a profound spiritual exploration, inviting readers to contemplate the intricate relationship between faith and reason.