panguitch's Full Review: J. R. R. Tolkien - The Tolkien Reader
Fandom
A peculiar phenomenon occurs when something that has been passionately championed by a specific group crosses over into mainstream popularity. When I was in high school this happened with punk. The neo-punk revolution spawned by Green Day and The Offspring brought punk back to the fore of everyone’s consciousness. My friends and I suddenly had the eerie experience of listening to people who had never before had anything in common with us rave about the latest Bad Religion song. Of course, these people were still fish out of water while Total Chaos was on stage, but when Offspring started their set they joined us on the floor.
Long-time fans feel two conflicting emotions at such moments, and the nature of their fandom is proven by which emotion wins out. The first is vindication. People are agreeing with you that this is good stuff. Heck, you might even make new friends through this. Such a response comes from sincere fandom. The second is territoriality. I liked this first. I’m the true fan. You’re a poser. You’re a trendie. Green Day is a sell-out because they’re letting people besides me like them! This is the kind of response that arises from a confusion of the object of adoration and the fan’s own identity. When others begin liking what we like, what separates us as individuals from them? And if we don’t like them, can we still like this if they like it too?
I think both reactions are natural and understandable, and neither is necessarily bad. But I would hope the first wins out.
And now this is happening with Tolkien. The Peter Jackson movies (and indirectly Harry Potter) are bringing Tolkien mainstream popularity. Long-time fans are being vindicated. At the same time, they’re feeling a little dispossessed. Tolkien has always been such a personal thing. Something they shared with their closest friends. Now their secret, personal occupation is being openly discussed by every joe on the street.
While I would hope the feeling of vindication would win out for the long-time Tolkienites, after all it is nice not to be thought a geek or an escapist philistine for once, I’m not surprised if long-time fans feel something akin to loss. So, in order to assuage such concerns without encouraging conflict with new fans, let me recommend something old fans can use to reassert their territorial claim on Tolkien, and regain a bit of the geek/philistine that they were.
The Tolkien Reader
J. R. R. Tolkien, 1966
The Tolkien Reader was intended to satisfy fans familiar with The Hobbit and The Lord of the Rings who wanted more Tolkien. In publishing it Ballantine Books brought together three smaller books and some other odds and ends that had never before been published in paperback. My own copy was searched out at a used bookstore by my wife as a gift. But it’s recently been reprinted, and is no longer hard to come by. I’ll review and rate each component separately, since they’re unrelated for the most part.
Tolkien’s Magic Ring 3.5 Stars
This introductory essay by Peter Beagle would serve as a great introduction to The Lord of the Rings for the novice. It’s only eight pages, but touches on many elements often discussed in Tolkien’s masterwork, such as the intricacy of the creation. Some basic themes are also covered concerning characters, evil, and the beauty of Tolkien’s writing. Most interestingly is Beagle’s treatment of the fact that, at this time (1966) Tolkien’s greatest popularity was among high school and college students. He takes this as evidence of the “real” strength of the book: “Young people in general sense the difference between the real and the phony,” and Tolkien is no phony. He believes utterly in his world, its peoples and themes, something Beagle finds very little of in mainstream literature, where authors are like “the preacher who doesn’t feel a word of his sermon.” And I have to agree. Tolkien is, above all else, sincere. That is a treasure in this cynical world, and it gives a unity to his work that helps make it great.
The Homecoming of Beorhtnoth Beorhthelm’s Son 3 Stars
Most are aware that Tolkien was a philologist by profession, unsurpassed in his field. Anglo-Saxon literature occupied much of his thought, and in this short drama he depicts the aftermath of the Battle of Maldon, and addresses questions raised by the fragmentary poem that bears the same name. The Battle of Maldon is an epic telling of a tenth-century battle against Viking invaders. Beorhtnoth of Essex leads the English, who meet the foe at a bridge. Led by his pride and honor, Beorhtnoth allows the Vikings to pass over the bridge before engaging them. The result is his death and defeat.
Tolkien’s piece centers around two unimportant persons, Torhthelm and Tidwald, who are sent at night to bring back Beorhtnoth’s body. Their dialogue displays Tolkien’s incomparable knowledge of the times and customs, but has little merit as far as drama goes. But Tolkien’s objective is not to become a playwright. As explained in an introduction and epilogue, he’s simply using this means to urge a refocus of critical analysis of The Battle of Maldon. Usually, attention is most paid to the lines “Will shall be the sterner, heart the bolder, spirit the greater as our strength lessens.” These, perhaps the most well-known lines of Old English poetry, are held up as exemplary of the indefatigable will and bravery of these people—the heroic spirit. Tolkien, in contrast, focuses on the lines “then the earl in his overmastering pride actually yielded ground to the enemy, as he should not have done.” Appreciative of the heroic spirit as he is, he suggests a less simplistic analysis and paints a picture of the Anglo-Saxons as a complex people no less willing to question their own mores than are we.
Interesting as Tolkien’s ideas are on this point, especially if you’re familiar with Old English literature, I must admit that this little drama is lackluster. Strictly for the Tolkien or Old English aficionado.
On Fairy Stories 5 Stars (6 Stars)
This, the first part of the book Tree and Leaf, is an 84 page essay wherein Tolkien expounds his understanding and theories regarding fairy tales. It was originally delivered as a lecture in honor of Andrew Lang in 1938. Considering the time period, it can be assumed (Tolkien says as much) that The Lord of the Rings was on his mind, and in that sense it can be read as a justification or defense of fantasy writing.
Tolkien addresses three questions: What are fairy stories? What is their origin? And what use are they? In answering the first he rejects the notion that they have to do with the supernatural in any but the superlative sense. He also fiercely argues against any idea that they concern diminutive characters or themes. The idea of the playful little elf hiding behind flower petals has less to do with fairy stories than does King Arthur’s court. In the end, after discussing things he definitely wouldn’t consider fairy stories (traveler’s tales like Gulliver’s, dream-frame stories, beast fables) Tolkien concludes that fairy stories are stories about Faerie (not fairies), and usually about humans who interact with Faerie.
As for the origins of fairy stories, Tolkien has some complaints about folklorists. He feels their approach is too often reductionist, studying the elements of tales, but not the tales themselves. He disagrees with the all too common assumption that mythology (aka high fairytale) results from primitive attempts to rationalize nature. He shows that this belittling and ill-reasoned idea of anthropomorphitized nature is no more likely than its opposite: that natural phenomenon would come to be connected with individuals already familiar from tales. One of his more interesting arguments is that Faerie is inseparable with language. For example, the mind that can conceive of a yellow sun (as opposed to simply a sun) can conceive of a sun that isn’t yellow, that’s green or blue or whatever. And conceive of it not just as a metaphor, but as a reality. When this happens, Faerie begins—man becomes a sub-creator. Tangentially, this prompts me to wonder if fantasy, being sub-creative, is not superior to literature that realistically or metaphorically/symbolically represents reality. This depends on the value one gives sub-creation, a term Tolkien dwells on at length in his third section.
Tolkien’s first objective in discussing the use of fairy stories is to discount the notion that they are children’s literature. He laments that in our time it is cause for comment if an adult reads a fairy story as a story and not just a curiosity. He explores the question of whether there is any essential link between children and fairy stories and concludes that the notion is ridiculous since children are not a separate species. Here Tolkien speaks autobiographically for a while, a treat for a fan. He concludes that fairy stories have the same purpose as any literature, and four other benefits besides: fantasy, recovery, escape and consolation.
He defines his notion of sub-creation as the product of fantasy, “the power of giving to ideal creations the inner consistency of reality,” to which imagination leads. As opposed to “the domination of observed ‘fact’” (which has its place), fantasy is “not a lower but a higher form of Art, indeed the most nearly pure form, and so (when achieved) the most potent.” Tolkien’s emphasis on the significance of sub-creation ties into his religiosity, but can still be accepted by the non-religious. Interestingly, in light of the recent movies, he asserts that the stage is unable to adequately portray fantasies because of its physical inability to enable suspension of disbelief on such a scale. One wonders whether he would feel the same now.
The concept of recovery is simply that the contemplation of the fantastic can ironically make reality seem fresh and new. It can set free everything we’ve filed away as ‘understood’ and stopped paying attention to. In speaking of escape he describes not the escape of the deserter but of the prisoner. He points the finger at those who criticize fantasy for its escapism—just why don’t they want you to escape? Why do they “seem to prefer the acquiescence of the ‘quisling’ to the resistance of the patriot?” He sardonically suggests that those who urge us to read and write about “real life” are under the impression that an automobile is somehow more alive than a dragon, or more real than a horse. Here some of Tolkien’s distaste for the industrial age leaks in. He feels ours is an age of improved means to deteriorated ends. In any case, he rightly asserts that fantasy does not blur the distinctions of the real world, but that it depends on them.
Fantasy is also an expression of humanity’s greatest desires, including the desire to commune with the ‘other’ and the desire for the Great Escape (from death). Finally, Tolkien explains The greatest draw of fantasy and fairy stories: eucatastrophe. The sudden joyous turn. Just as dyscatastrophe is the highest function of drama/tragedy, eucatastrophe gives fairy stories their greatest merit. It denies final universal defeat, giving a glimpse of joy (if beyond the world) as poignant and cathartic as is grief.
I must say that this is the most convincing explication of the importance of fantasy literature I have read (and every SF writer writes one of these sometime in their career). Tolkien’s style here is humble, almost self-deprecating. But also lucid and plain in a way that surpasses the vast majority of academic prose. (It is interesting that the language Tolkien uses in his academic writing is more colloquial than in his fiction. Quite the opposite of the modern trend, where the tongue of everyman is used in fiction, but the academician, when writing in his own persona, snobbishly elevates himself above the layman with his language.) I emphatically recommend this essay to any interested in fantasy literature, folklore, or even science fiction, or to any willing to be convinced they’re wrong to despise such ‘genres’. Were I to teach a class on SF, and only able to require one non-fiction reading, this would be it.
Leaf by Niggle 5 Stars (6 Stars)
This 26 page tale, the second part of Tree and Leaf, is often cited as a prime example of the ideas expounded in “On Fairy Stories”. While it’s true that both dwell on the idea of sub-creation, “Leaf” is definitely not a fairy story by Tolkien’s standards. It is a religious and autobiographical allegory. Now, many might dig in their heels at this point. Didn’t Tolkien hate allegory? Not exactly. He vigorously denied that his more popular works were allegory when so many critics tried to explain them that way. But his distaste was not for allegory, just for loose usage of the word. See Tom Shippey’s J. R. R. Tolkien: Author of the Century for a fuller discussion of this.
The story is of a simple man who has a great love for painting. This Niggle spends all his spare time working on a great canvas, depicting an entire countryside, even though his talents are more suited to leaves than to trees. But he’s constantly being interrupted by social calls and dutifully does favors for his neighbor Mr. Parish. Moreover, he knows he has to depart on a Journey soon, and fears he’ll never finish his painting. Indeed, when the time comes, his painting is unfinished. He hasn’t even made adequate preparations for his journey. But he’s sent for nonetheless. Before reaching the destination he makes two significant stops. At the first he is forced to do menial tasks, and over time learns to work efficiently and to apply himself. At the second he is taken to a marvelous countryside that is a realization of his painting. It’s given into his care and he works on completing it, eventually joined by Mr. Parish. After a time, Niggle feels he can move on, and he leaves for the mountains, Mr. Parish staying behind to wait for his wife.
Niggle is characterized in this tale with remarkable sweetness and honesty. As a character he is slightly comic, but definitely endearing and sympathetic. As an autobiographical parallel to Tolkien he is enlightening. Through him can be seen Tolkien’s yearnings for his art, his critical self-awareness (especially regarding his feelings toward his neighbors), and especially his humbleness. There are things here that will touch anyone who’s aspired to art, to sub-creation. And the Journey itself, though entirely Catholic, is nevertheless an inspiration and vindication, a eucatastrophe if you will.
“Leaf by Niggle” is a very personal story for me. Of all the world’s written word, it is best loved by me. I do not say it’s the greatest piece of literature the world has seen, but it touches me more than anything I’ve read. And I believe it’s perhaps the greatest work Tolkien produced. In any case, I can’t recommend it highly enough. It will give you a vision of Tolkien’s innermost self, deeper than the stodgy professor or eccentric fantasist. It’s an entirely human tale that I’ve been able to make my own.
Farmer Giles of Ham 5 Stars
This story can more appropriately be described as the execution of the ideals of “On Fairy Stories”. Farmer Giles is a bit gruff, but a simple man, though his dog Garm holds him in awe. When a foolish giant wanders into the neighborhood, Giles repels him with his blunderbuss. This makes him somewhat of a local celebrity. The King even gifts him a sword in recognition. Later, when a dragon terrorizes the land and the King’s knights prove cowardly, Giles is grudgingly forced into the role of a hero again. Lucky for him, his new sword proves to be the legendary Tailbiter, and fear of it quells the dragon. Not an overly violent man, Giles agrees to spare the worm on condition of ransom. The King is relieved his land is once again safe, but wants some of the dragon-gold for himself. In the end, through some remarkable turns of good luck and Giles’s wits in taking advantage of them, a new King is crowned and plenty of dragon-gold is spread around.
The root of this story is in Tolkien’s speculations regarding the origins of certain place names in England. Some names being inexplicable, like Thames, Tolkien created back stories for them himself: Giles’s titles Lord of Ham and Lord of Tame being confused. This gives an idea about Tolkien’s hobbies and interests, and is not unlike the sources he drew upon for his more well-known works. The tale itself is wonderfully witty, and charming in the same way the Shire and hobbits are charming. But this story is more traditional in its aspects, and less serious even than The Hobbit. While not completely analogous in tone to a folktale, it nevertheless displays Tolkien’s familiarity with that form, and showcases his humor and skill in character creation. The illustrations included are wonderful, reminiscent of medieval drawings. I unfortunately have been unable to learn whether they are Tolkien’s own work.
The Adventures of Tom Bombadil and other verses from the Red Book 4 Stars
These 16 poems are highly formal, with distinct meters and rhyme schemes. While such is not always my preference in poetry, I enjoy it when artfully done and appropriate to the subject. Here, the poems being humorous and imitative of folk art, such structuring is especially appropriate. And Tolkien displays great skill in the complexity of his schemes and rhythms. Many of these pieces call to mind structures from Old and Middle English.
They’re loosely attributed to the Red Book, and ascribed to various Hobbits in the introduction. For the most part, this is undoubtedly an afterthought, the poems originating separately. But for those disappointed at Bombadil’s absence in the movies, here’s your chance to read some Shire-lore regarding him. And indeed, the first poem, “The Adventures of Tom Bombadil”, is one of the best. My personal favorite is “Errantry” for its delightful rhythm and wordplay. Some of these pieces are actually weak, “Cat” coming to mind. But they’re nonetheless interesting, especially to those who preferred the Hobbit’s poetry to the higher poems of Elves, Men and Dwarves in The Lord of the Rings. The illustrations throughout these poems are not Tolkien’s work, rather they’re Pauline Baynes and I find them affected.
Final Recommendation: 5 Stars
Despite the inconsistency of quality among the poetry, the unimpressive “Homecoming”, and the not revelatory “Tolkien’s Magic Ring”, this collection easily wins five stars. The charm of “Farmer Giles”, and the honesty and spirituality of “Leaf” are easily redemptive. Not to mention the value of “On Fairy Stories” which cannot be overestimated, it being a discourse applicable to an entire genre, written by that genre’s founder (even if the genre’s a bastardized product). For the Tolkien enthusiast this collection is essential, and even for the new fan I would recommend this be the next stop after The Hobbit and The Lord of the Rings.
And if you’re feeling somewhat put out that your preciousss Tolkien has been assimilated into mainstream culture, let me encourage you to reassert the extremity of your fandom by picking up this more exclusive treasure. It’s a lot easier than getting a mohawk or punching spikes through the toes of your boots.
An invitation to Tolkien s world. This rich treasury includes Tolkien s most beloved short fiction plus his essay on fantasy. FARMER GILES OF HAM. An ...More at Buy.com Marketplaces
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