Looking for...A Book on Tolkien

The Company They Keep: C. S. Lewis and J. R. R. Tolkien as Writers in Community by Diana Pavlac Glyer

Glyer debunks the myth of the solitary writer by demonstrating that the Inklings, a literary group that included Lewis, Tolkien, Charles Williams, Owen Barfield and others, exerted more influence on each other's work than previously thought.  Glyer approaches her argument systematically, first defining types of influence and then demonstrating how members of the Inklings practiced each.  Her work challenges the idea that artists must work in isolation in order to achieve greatness.


J. R. R. Tolkien: Author of the Century by Tom Shippey

Shippey examines the ways in which language shaped Tolkien's Middle-earth and helped Tolkien create a new mythology.  He also explores historical, political, and religious influences on Tolkien's work, focusing in particular on the nature of evil in Tolkien's worldview.  A must-read for any fan of the professor.


The Philosophy of Tolkien by Peter Kreeft

Kreeft explores the ways in which Tolkien's Catholicism provides the philosophical underpinning of Middle-earth through a question-and-answer format.  Each of Kreeft's questions receives a three-fold answer: a quote from one of Tolkien's works exemplifying his philosophy, a quote from Tolkien's letters expanding upon it, and a quote from C. S. Lewis clarifying it.  An easy and accessible book, perfect for lengthy reading or for browsing.

 

Preparing for Tolkien Reading Day

Since 2003, the Tolkien Society has hosted Tolkien Reading Day on March 25 as a way to encourage readers to celebrate, discover, and enjoy (what else?) J. R. R. Tolkien's books. Why March 25?  The Tolkien Society explains that this is the date of the Fall of Sauron.  However, as a devout Catholic, Tolkien would have associated this date with the Annunciation, thus making an explicit connection between Mary's Fiat and the downfall of evil.  This year's theme is Tolkien's Landscapes.  So, on Monday, be sure to pick up a book by Tolkien and, if you write a review, feel free to link it in the comments!

Looking for...Explorations of The Hobbit

The History of the Hobbit by John D. Rateliff

Rateliff chronicles Tolkien's process in writing his 1938 work The Hobbit by providing early manuscript versions and noting the changes made.  He also includes an account of the revision of the famous chapter "Riddles in the Dark" in 1949 to reflect the new information about the One Ring as given in The Lord of the Rings, and an account of Tolkien's attempt to rewrite The Hobbit in the 1960s so the that tone of the book would better match that of The Lord of the Rings.  Also of interest are drawings and unpublished maps by Tolkien.  The work comes in two parts: Mr. Baggins and Return to Bag-End.

Exploring J. R. R. Tolkien's The Hobbit by Corey Olsen

Olsen offers a critical look at The Hobbit as a work in its own right and not only as a prequel to The Lord of Rings by going through the book chapter-by-chapter.  He pays particular attention to the poetry of the work.

The Letters of J. R. R. Tolkied ed. by Humphrey Carpenter and Christopher Tolkien

Tolkien describes his progress through Middle-earth in his own words, addressing such subjects as the meaning behind The Lord of the Rings, the significance of certain characters, and the surprising turns his writing took.  Readers will learn how Middle-earth took shape in Tolkien's mind through the years as well as the author's thoughts on extra-literary matters.

Happy Birthday to the Professor!

J. R. R. Tolkien was born on 3 January 1982 and, to celebrate his life and legacy, the Tolkien Society hosts a toast each year at 9 p.m. local time.  So, take your favorite drink (it does not have to be alcoholic--definitely not if you are underage or if it would jeopardize your health!) and toast to "the Professor"!

"Fantasy is escapist, and that is its glory.  If a soldier is imprisoned by the enemy, don't we consider it his duty to escape?...If we value the freedom of mind and soul, if we're partisans of liberty, than it's our plain duty to escape, and to take as many people with us as we can!"-J. R. R. Tolkien

Bilbo's Last Song by J. R. R. Tolkien

Goodreads: Bilbo's Last Song

Series: None

Published: 1990 (in book form)

Source: Borrowed

Summary: Bilbo reflects on his final journey through Middle-earth.  Illustrated by Pauline Baynes.

Review: I love Tolkien's alliterative verse, but have always thought his other poetry needed a little work.  Bilbo's final song does not prove the exception.  Written in rhyming couplets, it strikes me as pretty, but also as a little repetitive and not very original.  The illustrations provided by Pauline Baynes (who also illustrated C. S. Lewis's Chronicles of Narnia) really give the book its re-readability.

The book includes two sets of illustrations: the large ones on the right-hand pages follow Bilbo's final journey to the Grey Havens while the small insets on the bottom follow Bilbo's adventures of The Hobbit.  The amount of detail is absolutely stunning.  Baynes brings the spirit of Middle-earth to life, suggesting the beauty of its landscapes, the homeyness of its Hobbit holes, and the nobility of its Elves.  Looking at the illustrations is like losing one's self in Middle-earth.

While the volume itself is small, the quality of the illustrations make the book well worth the cover price.  I love to open this work every now and then, as it allows me to relive, through pictures, both Bilbo's former adventures and his last.  Every journey through Middle-earth feels like a journey in which I come home--and Baynes' illustrations make that journey even more enchanting.

Movie Review: The Hobbit: An Unexpected Journey

Date: 2012

Director: Peter Jackson

Summary: When the wizard Gandalf knocks on his door, the very unadventurous Bilbo Baggins finds himself on a journey to reclaim the stolen gold of a band of Dwarves.  The first in a trilogy.

Review: Despite the changes Peter Jackson’s film made to the source material, The Hobbit: An Unexpected Journey managed to hit nearly all the right notes.  It deftly balanced the demands to create a work emotionally consistent with the previous Lord of the Rings trilogy while creating something new and exciting.  A cast composed of both old and new characters helped to bridge the trilogies, as did the return to many familiar (and beautiful) landscapes.  Seeing the Shire again felt like coming home after a decade.  The visual appeal of the film as well as the many talented actors involved made An Unexpected Journey into an exciting and heartwarming adventure.  Still, an exploration of the changes made can still prove a worthwhile endeavor.

Although Jackson made major character changes to Faramir, Treebeard, and Aragorn in the Lord of the Rings trilogy, the characters of The Hobbit remain largely as Tolkien wrote them.  The most notable change was probably made to the Dwarves as a whole.  For most of the story, Tolkien depicts the Dwarves as more concerned about themselves and their gold than about Bilbo—or anyone else.  As a result, they can come across as stubborn, petty, and even a tad callous at times, despite the author’s assurance that they really would help Bilbo if he needed it.  Furthermore, the group as a whole seems almost completely unprepared for the quest on which they embark.  They have no long-term plan that will enable them to retrieve their gold and they consistently fail to make short-term plans, resulting in their continued imminent demise.  The Dwarves as a whole thus tend to look a bit ridiculous—or at least they end up in ridiculous situations.

Jackson notes the lighter tone of The Hobbit and takes care to add humor to his story, though his jokes tend to rely on a crude sort of humor rather than the sophisticated underlying irony of Tolkien’s story.  He cannot use this irony, however, because of the fundamental changes made to the Dwarves: his Dwarves are warriors, noble, strong, loyal, and willing to fight. Unlike the Dwarves of Tolkien’s story, they do not find themselves in trouble because they make foolish decisions.  Rather, they enter almost every fight swinging their swords with triumphant music swelling behind them, and find themselves in trouble simply because they are outnumbered or outmaneuvered.  Jackson really wants audiences to feel for these Dwarves and to cheer them on.  Thus, he does not risk making them look foolish.

This change arguably makes sense from a narrative standpoint, as do the changes made to Bilbo’s character.  The changes to Bilbo may seem subtle, but they are important.  Jackson’s Bilbo takes more of an initiative on his journey from the very beginning, when he runs out his front door on his own volition, rather than on the prompting of Gandalf.  He also takes over some of Gandalf’s roles in various situations when attempting to rescue the Dwarves.  Whereas Tolkien’s Bilbo will not really come into his own until he fights the giant spiders, Jackson’s Bilbo consistently does small things to assert his importance to the group.  Again, Jackson wants to prove to audiences that they should care about this Hobbit.

Arguably, however, Jackson would not have needed to give Bilbo larger roles at the beginning of the story if he had stuck to Tolkien’s story.  Jackson’s current contributions to The Hobbit are mostly composed of extended (and, I would suggest, unnecessary) fight scenes.  These bloated the movie to such an extent that Jackson could not reach the stopping point I might have suggested if he produced only two films: the Mirkwood spiders.  If Jackson had could have shown this scene at the end of movie one, he could have adhered to Tolkien’s more subtle character arc.  Bilbo would have begun the film a fearful Baggins, but ended it with two important victories: escaping the goblin caves by himself and using Sting for the first time.  Because this proved impossible with a three-film structure, Jackson had to invent Bilbo’s introduction to combat—a rather confusing fight with random orcs (one of whom should, in Tolkien’s timeline, already be dead). 

Why Jackson added the extended fight scenes as well as the vengeful stalker orc Azog I cannot fathom.  The book does not lack for action.  Indeed, it is composed of a series of episodes that form a narrative of non-stop hair-breadth escapes for the Dwarves and Bilbo.  It is possible to have excitement without the violence of combat.  These changes still worked for the story that Jackson made, but I feel I have to protest them on the grounds that they were only added because of some belief that Jackson could tell a better story than Tolkien.

Even so, the film did a lot of things right.  The cast was extraordinary, especially Martin Freeman, Andy Serkis, and Richard Armitage.  The landscapes were gorgeous and I would have paid money just to have a camera tour of Middle-earth without showing and Dwarves or Hobbits or Elves at all.  Most importantly, however, the film kept the message at the heart of the story: the lesson that “small” acts and “small” people are not small at all.  Gandalf summed it up eloquently in the film, responding to Galadriel’s question: “Why the Halfling?”:

Saruman believes it is only great power that can hold evil in check, but that is not what I have found.  I have found it is the small everyday deeds of ordinary folk that keep the darkness at bay…small acts of kindness and love.  Why Bilbo Baggins?  That’s because I am afraid and it gives me courage.

Simply beautiful.

The Hobbit by J. R. R. Tolkien

Goodreads: The Hobbit

Series: prequel to The Lord of the Rings

Published: 1937

Source: Purchased

Summary: Bilbo Baggins lives a quiet existence in his home under the hill, studiously avoiding anything that sounds remotely like an adventure.  When the wizard Gandalf enlists him on a quest to retrieve the long-lost gold of a band of dwarves, however, Bilbo suddenly finds himself longing to explore the world.  He faces goblins, wolves, spiders, and even the prisons of the Elven King, but nothing can prepare him for his encounter with the great dragon Smaug. The prequel to The Lord of the Rings.

Review: In many ways, The Hobbit resists categorization.  It presents itself as a children’s book, yet exhibits a writing style more sophisticated than readers are accustomed to seeing in such stories.  It seems to follow in the footsteps of the traditional questing stories, yet breaks from the mold at the last moment, turning into a commentary on greed, the lust for power, and war.  It works as a prequel for The Lord of the Rings, but diverges so greatly in style and content that many fans of Frodo’s adventure find themselves unable to connect with Bilbo’s, and vice versa.  Quite simply, it defies genres and expectations, creating a new vision for what fantasy should be and do.

From the very beginning, The Hobbit announces its intent to do something a little different.  Its hero possesses no extraordinary qualities—he lacks strength, speed, military prowess, and exceptional intelligence.  Readers might excuse this, but he also seems to lack something even more important—heart.  Young protagonists often set out on quests with little to prepare them, but they usually have some sort of naïve courage to sustain them or some dream that keeps them going.  Bilbo’s greatest dream is to be left in peace so he can have second breakfast.

Despite all of this, I think all readers recognize that Bilbo is the very Hobbit for the job—and not simply because he happens to be the titular character.  Contrary to all reason, his very ordinariness enables him to endure an arduous journey full of danger.  It gives him a frame of reference that the Dwarves lack, so that he can put things in perspective and accomplish things no one else can.  With no pride to cloud his vision, he is able to put together a rescue plan of which the Dwarves would have never dreamed simply because such an escape requires them to lose their dignity for a time.  With no dragon lust upon him, he is able to value lives above gold.  Time and again, Bilbo proves his usefulness by doing one thing: focusing on the preservation of people above all else.

Bilbo’s concerns for the welfare of others can seem positively mundane when compared to the concerns of others.  The Dwarves seek revenge for the deaths of their fathers, the men of Dale seek recompense for their lost livelihood, and the King of the Wood-Elves seeks for more beautiful things to add to his own collection.  These characters may also consider the lives of their followers, but there always seems to be some sort of calculation involved—essentially they are asking themselves how much gold is a life worth.  Maybe readers will accept this.  After all, things like honor and revenge seem proper and fitting matters for lords to contemplate.  Bilbo, however, quietly, deconstructs such notions by his actions.  For him, the answer is clear: no amount of gold will ever make up for the loss of a life.  He can see this precisely because of who is and where he comes from—a place where they value food and cheer above gold and jewels.

Gandalf may have enlisted Bilbo as a burglar, but Bilbo's "luck" clearly did not preserve him through so many adventures merely so he could steal a cup.  Bilbo's presence was required for so much more--to serve as an example for others.  By being "ordinary," Bilbo shows he, like the rest of us, is really extraordinary.

Engaging the Culture: J. R. R. Tolkien's The Hobbit

Today we begin discussing J. R. R. Tolkien’s The Hobbit.  Be forewarned that this post may contain spoilers!

Although J. R. R. Tolkien’s devotion to the Catholic faith is no secret, little about The Hobbit seems to suggest that Tolkien meant to convey anything about his personal beliefs through his writings.  The book presents itself as a delightful children’s story that takes on the traditional questing theme, but in a lighthearted manner; Bilbo Baggins, after all, is not exactly standard hero material.  No one ever discusses morality, no one ever mentions God.  However, as G. K. Chesterton writes in The Everlasting Man, “It is impossible, I hope, for any Catholic to write any book on any subject…without showing that he is a Catholic.”  Tolkien’s philosophy and values form the basis for the entire book, guiding his choice of hero, his depiction of character development, and his final decision to turn his children’s story into a surprisingly sophisticated commentary on personal morality and the nature of war.  His world and the rules that guide it are ultimately Catholic, even if the characters are not.

Tolkien’s Middle-earth is meant to be our world, though in a time long ago before Christianity.  The characters do not know or worship Christ, but they are theoretically still bound by the moral law written on our hearts.  That is, they have the ability to recognize evil and a responsibility to choose good.  Though no character refers to a deity (Gandalf comes close by suggesting that something more than luck preserves Bilbo throughout his adventures), they all instinctively recognize the value of qualities such as honesty, loyalty, and hospitality while instinctively hating the senseless violence of the orcs.  Nearly all the characters at some point will face temptation to do wrong, and their response to that temptation will rule their fate.

Tolkien, however, never resorts to allegory to depict man’s struggle with temptation.  Instead, he depicts it naturally through the choices faced by his characters.  Their story resonates because these choices have real consequences—evil is repaid with evil and good repaid with good.  Although it sometimes seems that in this life the wicked flourish while the good suffer, a Catholic worldview holds that in the end all will receive their just reward.  The consequences experienced by the characters of The Hobbit reflect this belief and thus seem fitting.

So it is that Smaug, overcome with pride, reveals to Bilbo his one weakness—and seals his own fate.  The dwarfs, overcome with dragon lust, determine to sit on their pile of gold until they starve—and suffer for it.  Bilbo alone resists greed for wealth and he alone is able to return to his home whole and happy.  The key to the entire text lies in Thorin’s final words to the Hobbit: “If more of us valued food and cheer and song above hoarded gold, it would be a merrier world.”  This is no ordinary quest story.  Bilbo does not leave his comfortable Hobbit hole to gain something as vulgar as gold.  Rather, he leaves his Hobbit hole because doing so enables him to grow as a person, to recognize the value of what he already has, and to serve as an example for others.

Such a message contradicts many of those seen today in books and film.  How often are we emotionally manipulated by storytellers to cheer for an adulterous relationship?  How often do we find ourselves secretly approving of characters who take revenge on those who have wronged them, rather than extending forgiveness?  We may find ourselves able to relate to such characters, but we cannot admire them--not as we can admire Bilbo and his surprising strength and courage.  Bilbo is fairly unique among modern heroes.  He is an Everyman, but one who demonstrates the possibility of personal moral growth.  He gives hope to us all.

So will Peter Jackson's version of The Hobbit keep the underlying Christian themes?  I cannot say with certainty as I have yet to view the film.  However, unless Jackson makes major changes to the story (such as he did with Aragorn, Faramir, and Treebeard in The Lord of the Rings), the overall message of evil leading to evil and good leading to good should remain.  If not, at least viewers may find themselves inspired to read Tolkien's original work.  

The Fellowship of the Ring by J. R. R. Tolkien

Goodreads: The Fellowship of the Ring
Series: The Lord of the Rings #1
Published: 1954
Source: Purchased

Summary: A young Hobbit discovers that he has come to possess the One Ring, forged by an evil lord to find the other Rings of power in order to corrupt them and their works and bring the world into his control.  He sets off on a quest, aided by eight companions, to destroy the Ring in the only way possible.  He must walk across Middle-Earth and into the country of the enemy and then cast the Ring into the volcanic fires in which it was made.  The fate of the world is hanging around his neck.

Review:  It is always difficult to review a work that one loves, and it is even more difficult to review that work in pieces.  Though The Fellowship of the Ring is often cast as the first book in a series, it of course is really the first volume in what was written as a single book, a single story.  Publishers and a paper shortage were the causes of the resulting “trilogy.”  So though what is in Fellowship is good, it is not complete, and readers are left on a lakeshore wondering not just if Frodo will succeed in his quest, but also whether he is even close to his goal at all.

For although The Lord of the Rings is about Frodo’s journey to Mount Doom, and the journeys of others who are trying to pave his way, The Fellowship of the Ring is not.   Readers unfamiliar with the story (Are there many left after the release of Jackson’s movies?) will not even know that Frodo intends to go into Mordor at all.  Here his goal is first to get to Rivendell.  To get to Rivendell and hand this burden to someone else.  Someone, we must assume, bigger and stronger and better equipped to deal with the serious matters of the world.  When Frodo says, “I will take the Ring, though I do not know the way,” it is a surprise, and one that sets the tone of the entire story.  Here we see a small Hobbit become large and know that there is something surprising in each of us, as well. 

And this amazing story is told in absolutely beautiful language.  Tolkien was a philologist and deeply interested in words, so the ones he used in his books were chosen with care.  In The Lord of the Rings he uses language that evokes the spirit of the Middle Ages (which we most often associate with knights and deeds of honor), though of course he is not writing in Middle English at all, or even drawing upon the standards like “hark” and “prithee” and “thou”  that make so much fantasy sound ridiculously clunky.  Many readers think Tolkien’s writing sounds “old,” but with care they might find it is his sentence structure and not his vocabulary at all.  In fact, hints of his modern Englishness often slip into the text, if less often than in The Hobbit.

Poems scattered throughout the work give a sense that there is a deeper history propping the world of this book up.  Readers learn about the cultures and their values through their poetry and the subjects they preserve in it.  Elvish poems tell tales from Tolkien’s Silmarillion and hint at all the people and deeds of Middle-Earth that had passed before this Second Age even began.  Hobbit poems speak of food and comfort or silly tales of trolls.  Poetry is not often Tolkien’s strongest suit, and some readers like to skip it, but in truth much is missed when they do, including simply some really good stories.

In terms of themes, we have not yet come completely to the big ones: the struggle between good and evil, Sauron’s attempt to steal God’s role and create, the price of studying too closely the arts of the enemy.  Here, we have friendship.  Though of course this strengthens in later volumes, we begin to see here the three Hobbits who insist on accompanying their friend Frodo on a dangerous journey simply because they do not want him to go alone.  At first, they invite themselves to Bree and then to Rivendell.  Then they invite themselves farther, intending to go with him as far as Mordor.  They plead for the opportunity to do so, for Elrond in all his wisdom would have sent them home.

The rest of the Fellowship (but Boromir?) is loyal, and we see bonds begin to grow there as well, including between Legolas and Gimli who will finally overcome all the prejudices of their people.  Yet the best friendship we see is among the Hobbits, the everyday little people who are more like us than are the great heroes like Aragorn.  C. S. Lewis says in The Four Loves that “Friendship is unnecessary, like philosophy, like art…It has no survival value; rather it is one of those things which give value to survival,” but here he appears to be wrong.  Without Sam and Merry and Pippin’s friendship, Frodo would not have survived, perhaps even failing far from Mount Doom, right at the beginning when he was still near the Shire.  The friendship between Frodo and Sam is perhaps one of the most beautiful ever written.

The Lord of the Rings is undoubtedly an exciting tale, one that finds fans because it offers heroes and swordfights and a frighteningly power evil.  Yet its greatest strength and the secret to its survival as a classic lie in its portrayals of truth and human nature, even if it is sometimes embodied in Elves or hobbits or dwarves.  Because The Fellowship of the Ring starts this epic adventure, it has a little more time to offer pictures of the home that make fighting evil, of any kind, worth it.  It is the most directly happy and hopeful of the volumes and a beautiful beginning.