experience on Earth would retrospectively become Hell. Few of the ghosts realize that the grey town is, in fact, Hell. Indeed, it is not that much different from the life they led on Earth – joyless, friendless, and uncomfortable. It just goes on forever, and gets worse and worse, with some characters whispering their fear of the "night" that is eventually to come. According to MacDonald, while it is possible to leave Hell and enter Heaven, doing so requires turning away from the cherished evils that left them in hell (repentance); or as depicted by Lewis, embracing ultimate and unceasing joy itself. This is illustrated in an encounter of a blessed woman who had come to meet her husband: She is surrounded by gleaming attendants while he shrinks down to invisibility as he uses a collared tragedian – representative of his persistent use of the self-punishing emotional blackmail of others – to speak for him. MacDonald has the narrator crouch down to look at a tiny crack in the soil they are standing on, and tells him that the bus came up through a crack no bigger than that, which contained the vast grey town, which is actually minuscule to the point of being invisible compared with the immensity of Heaven and reality. In answer to the narrator's question, MacDonald confirms that when he writes about it “Of course you should tell them it is a dream!” Toward the end, the narrator expresses the terror and agony of remaining a ghost in the advent of full daybreak in Heaven, comparing the weight of the sunlight on a ghost as like having large blocks fall on one's body (at this point falling books awaken him). The theme of the dream parallels The Pilgrim's Progress in which the protagonist dreams of judgment day in the House of the Interpreter. The use of chess imagery as well as the correspondence of dream elements to elements in the narrator's waking life is reminiscent of Alice's Adventures in Wonderland and Through the Looking-Glass. The book ends with the narrator awakening from his dream of Heaven into the unpleasant reality of wartime Britain, in conscious imitation of the "First Part" of The Pilgrim's Progress, the last sentence of which is: “So I awoke, and behold: It was a Dream.” Stage adaptation Philadelphia playwright and actor Anthony Lawton's original adaptation of The Great Divorce has been staged