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Exploring the People of Middle-earth: Arwen Undómiel, Evenstar of Her People

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a woman dressed in mourning standing near trees

In this biweekly series, we’re exploring the evolution of both major and minor figures in Tolkien’s legendarium, tracing the transformations of these characters through drafts and early manuscripts through to the finished work. This week’s installment takes a look at the story of Arwen Undómiel, specifically addressing her special connection to Lúthien Tinúviel.

Arwen Undómiel is well known as the Evenstar of her people and the wife of Aragorn, but for all her significance as a symbol, her role in The Lord of the Rings is shockingly small. Today, we’re going to take a look at the development of her character throughout the drafts of the tale, and we’ll supplement those sources with some of Tolkien’s letters, in trying to finally make sense of Arwen’s place in Middle-earth.

Like many other minor characters, Arwen was a late-comer to The Lord of the Rings. According to Christopher Tolkien, “there is no mention of Arwen” in most of the early drafts of Elrond’s Council (see The Return of the Shadow, hereafter RS, 213 and 365). Even by the time “The Council of Elrond” chapter was all but complete, Arwen was still absent—indeed, most mentions of her in the early chapters of Book II were added significantly later than most of the material (The Treason of Isengard, hereafter TI, 83). Aragorn, significantly, has no love interest to spur his involvement in current events; rather, his motivations are entirely political (TI 84). (Later, of course, Elrond insists that Arwen will not marry a man who is not the king of the reunited regions of Gondor and Arnor, much like King Thingol demands a Silmaril as the bride-price of his daughter Lúthien, Arwen’s ancestor and prototype.)

Arwen has still not appeared by the time Tolkien was drafting “The Paths of the Dead” (The War of the Ring, hereafter WR, 302). Aragorn does receive a message from Elrond through his kindred, along with a black standard, but in this draft it is not crafted by Arwen and no special message accompanies it. In all ways, then, Arwen was an addition in the “later development” of the tale, when Tolkien was doing a lot of re-crafting and revision work (WR 307). In fact, Tolkien himself once admitted that while important and “the highest love-story” (Letters 161), the full tale of Aragorn and Arwen “could not be worked into the main narrative without destroying its structure” (Letters 237). In contrast, the “‘rustic’ love of Sam and his Rosie” was more essential (Letters 161).

Why Arwen, then? What role does she have to play and why does Tolkien seem to sideline her, even silence her? I think we can begin to answer these questions by looking at Arwen’s gradual introduction into the narrative.

The woman who would be Arwen appears for the first time in the second major draft of “The Battle of the Pelennor Fields,” when it is said that Aragorn’s banner was made with gems “by Finduilas Elrond’s daughter” (WR 370). I have elsewhere explored the significance of the name Finduilas; simply put, it is a name of ill omen that suggests a hard life and early death for Elrond’s daughter. The Finduilases of Middle-earth are tragic characters, and they often carry the weight of many wrongs suffered by women. The Finduilas abandoned by Túrin is one example of this. The mother of Boromir and Faramir is also a Finduilas; she dies giving birth to her younger son. So, though there is very little to tell us about the fate Tolkien had in store for this early iteration of Arwen, we would be justified, I think, in assuming it wasn’t a particularly happy one.

Furthermore, at this stage, there is no indication that “Finduilas” and Aragorn are romantically involved. In a scrappy, jotted outline, Tolkien proposes the “coming of Finduilas?” to the coronation of Aragorn, but that is the full extent of the information we’re given. If Tolkien had some idea that the two would marry, it does not make it into his written thoughts at this stage. Instead, we are supposed to “hear of the love of Éowyn [now dead] for Aragorn” during a council meeting (WR 386).

The idea of a relationship between Arwen and Aragorn makes its first appearance in a scrapped note. Here, Tolkien jots down the brief—and instantly rejected—idea that Galadriel will bestow her elven ring on Aragorn, enabling his marriage to “Finduilas” but also giving him “sudden access of power” (WR 425). Tolkien immediately recognized the incompatibility of such an idea, but it is an interesting thought that, as Christopher Tolkien has noted, “raises many more questions than it answers” (WR 425). We could easily lose ourselves in attempting to determine just what that “access of power” might have looked like, but though entertaining, such a line of questioning is ultimately unfruitful, as Tolkien never pursued the thought further.

The name Arwen Undómiel “first emerged in the fair copy of […] ‘Many Partings,’” (Sauron Defeated, hereafter SD, 59). This also seems to be the place in which Tolkien first began to explore the depths of the Aragorn-Arwen relationship, as well as Arwen’s ostensible connection to Lúthien.

Shortly thereafter, the idea that Arwen somehow managed to get Frodo access to the Undying Lands enters Tolkien’s conception. In fact, even the first draft the conversation between the queen and the hobbit is strikingly similar to its final version: though the exact wording changes some, the general ideas remain the same (SD 66-67). What exactly happens in this transaction is strikingly unclear from the scene as it is in The Lord of the Rings. In one letter, Tolkien insists that Frodo is allowed access “by the express gift of Arwen,” (198), but he later complicates this version of the story.

In another letter, Tolkien admits that Arwen managing Frodo’s acceptance to the Undying Lands doesn’t make a lot of sense: “She could not of course just transfer her ticket on the boat like that!” (Letters 327). He clarifies a few lines later, saying that probably “it was Arwen who first thought of sending Frodo into the West, and put in a plea for him to Gandalf (direct or through Galadriel, or both), and she used her own renunciation of the right to go West as an argument” (Letters 327). Gandalf managed it, Tolkien explained, only because of his special status. Arwen would not have promised such a thing to Frodo unless the plan was sure of succeeding, and thus it had to have been in effect for quite some time before she speaks (Letters 328-329). In reality, though, Tolkien is right: someone even of Arwen’s status surely wouldn’t have had the authority to waive the specific terms regarding who is allowed to go West. So in that sense, it certainly isn’t the “express gift of Arwen.” But why does this matter? Why did Tolkien change his mind? I’d argue that it has to do with Arwen’s connection to Lúthien and her relative inaction in the story as a whole.

portrait of a woman

“Arwen,” by Emily Austin

If Arwen has a defining characteristic in the narrative, it is that she is “the likeness of Lúthien reappeared” (The Peoples of Middle-earth, hereafter PM, 226). Later, the idea that she also shared Lúthien’s fate would emerge with greater clarity (see Letters 180, for example). However, it was important to Tolkien that Arwen was very much a different person. “Arwen is not a ‘re-incarnation’ of Lúthien (that in the view of this mythical history would be impossible, since Lúthien has died like a mortal and left the world of time) but a descendant very like her in looks, character, and fate,” he writes. “When she weds Aragorn (whose love-story elsewhere recounted is not here central and only occasionally referred to) she ‘makes the choice of Lúthien’, so the grief at her parting from Elrond is especially poignant” (Letters 193).

In short, Arwen is not Lúthien. To me, this is the crux of Arwen’s story and the point that we must understand. It can be frustrating at times that Arwen is so much a background character, so relegated to the sidelines, her perspective lost in the other voices of the narrative. But I think that is precisely the point. Arwen and Lúthien may share looks and fate, but they are not alike. Lúthien does not stay hidden away in her father’s home, waiting and sending encouraging messages to her beloved.

Lúthien takes charge of her own fate in a much more striking way than does Arwen. She does not leave Beren to face Sauron and Morgoth alone: instead, she contrives her own means of escape; faces and defeats Sauron and dismantles his haunted isle with the power of her song; saves Beren’s life multiple times; bests Morgoth himself with a power that is otherworldly in its potency—something that no one else in the history of Arda ever managed without the express help of the Valar. And when her beloved is stolen away from her, she goes to the Undying Lands themselves and the enormity of her grief moves impassive Mandos to pity. She literally alters fate though her determination and love.

Arwen frankly doesn’t live up to this legacy, but I don’t think we’re meant to see it as her fault. Instead, I believe that Arwen (and to some extent Elrond) showcases just how drastically the world has changed and how dramatically the influence of the Elves has faded since the days of Lúthien. She may be “the likeness of Lúthien reappeared” (PM 226), but again, she is not Lúthien, and she couldn’t be. For one thing, her mother isn’t a Maia! But more than this: Middle-earth itself has changed. Elves do not have the same power they once had, and, significantly, neither does song. In the days of Lúthien, people very well could—and did—battle in song. Song created physical objects. Song could literally tear down and build up. In the days of Arwen, however, song is an act of remembrance and lament.

I mentioned above that Tolkien wrote that because Arwen “‘makes the choice of Lúthien’, […] the grief at her parting from Elrond is especially poignant” (Letters 193). But this seems to be an understatement. Lúthien, unlike Arwen, seems to get a relatively happy ending. She and Beren hide themselves away in their own shining land and live out the rest of their days together in joy.

Arwen, however, is not so lucky. After Aragorn died,

Arwen departed and dwelt alone and widowed in the fading woods of Loth-lórien; and it came to pass for her as Elrond foretold that she would not leave the world until she had lost all for which she had made her choice. But at last she laid herself to rest on the hill of Cerin Amroth, and there was her green grave until the shape of the world was changed. (PM 244)

A slightly later draft adds that “all the days of her life utterly forgotten by Men that came after, and elanor and nifredil bloomed no more east of the Sea” (PM 266).

Whereas Lúthien is remembered in many songs and stories, celebrated by her descendants and lauded as the most beautiful of all the Children of Ilúvatar, Arwen is “utterly forgotten.” (Of course, we should assume this isn’t entirely true, since in the mythos of the story, Frodo and Sam preserve her story in some fashion in the Red Book.)

This leaves so many unanswered questions. Arwen never assumes that Lúthien’s response to death is open to her: she never attempts to petition the Valar for Aragorn’s resurrection. She is more submissive than Lúthien, accepting the sundered fates of herself and her beloved as if they were set in stone. I don’t mean to criticize Arwen. The Valar are, after all, mostly distant from the Middle-earth of The Lord of the Rings, and I don’t expect that many of us would have made a different choice. Rather, I find Arwen’s story tragic, heart-breaking. It is proof of how much the world around her has transformed since the days of her foremother, and a testament to how helpless she must have felt as the world spun around her.

I would say then, that Arwen’s story is very much in her silence. And in that silence we can meet a woman radiant in her sorrow; a woman who stands as witness to the hardships of the world even as she stands in unwavering hope before the face of her joy and love. She might not have the capacity to charge headlong into battle against the Enemy, but she fights back in subtler ways.

Tolkien’s discarded epilogue, in which Sam tells his children stories of the great people far away, is evidence of this. In it, we see an endearing picture of a great queen in whose presence the humble hobbits are honored and celebrated. Many times, Sam speaks fondly and gratefully of the beautiful queen’s gentle interactions with his children. And so I think that Arwen, in her way, finds and creates happiness and hope even as her life is a constant reminder of all she will one day lose. There is strength there, of a different kind than that of Lúthien, but strength all the same.

Megan N. Fontenot is a dedicated Tolkien scholar and fan who has been abundantly encouraged and inspired by the examples and influence of Tolkien’s characters. Catch her on Twitter @MeganNFontenot1 and feel free to request a favorite character while you’re there!


Naked in the Dark: A Definitive List of the Lord of the Rings Characters That F*ck

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The hobbits in Rivendell fro the movie The Lord of the Rings: The Fellowship of the Ring

When it came to sword genealogies, J. R. R. Tolkien left little to the imagination. But when it came to discussing which of his iconic characters were noble heroes in the streets/Uruk Hai in the sheets, Professor Tolkien was far more reticent.

Thus we have taken it upon ourselves to answer an eternal question: which Lord of the Rings characters, shall we say, laid waste to Helm’s Deep? Who’s always down for Second Breakfast? Which ones hopped the Buckleberry Ferry to Bonetown? Who reassembled the Shards of Narsil into a mighty sword?

OK, that last one doesn’t work. We admit that.

Anyway, which LOTR characters definitely got it on? Join us as we answer that question for a smattering of Middle-earth citizens, arranged from the most libertine to the most chaste…

This all started, as everything good does, with a Slack conversation. We mostly stuck to the Fellowship, but, well, some of us have burning crushes on Galadriel, and it’s our list anyway and we can do what we want. I have left direct attributions out to preserve the participants’ honor, but please understand that all of us contributed to this, and none of us are sorry.

 

Gandalf the Grey

Screenshot: New Line Cinema

After much disputation and handwringing, it was decided that Gandalf the Grey should be on top. (And presumably a wizard arrives precisely when he means to.) I am going on record, however, in saying that Gandalf the White does not fuck.

 

Gimli

Screenshot: New Line Cinema

It was stated in our conversation that “this is a fight between Gimli and Sam.” Obviously with Sam we have evidence in the form of adorable Hobbit moppets. With Gimli we simply have to trust that his swagger is born of knowing that he’s never in his life gone home from a mead hall or club alone.

 

Sam

Screenshot: New Line Cinema

Seems to be a late-bloomer, spending much of his youth pining for Frodo like a refugee from a Sally Rooney novel. But after living through Mordor, and returning home to the Scouring of the Shire, he found a new confidence and promptly wooed the most beautiful woman in Hobbiton, became Mayor for seven consecutive terms, and fathered thirteen children.

Thirteen.

 

Galadriel

Screenshot: New Line Cinema

Our queen is not dark but beautiful and terrible as the Dawn, treacherous as the Sea, stronger than the foundations of the Earth, and she absolutely fucks.

 

The Oliphaunts

The Mandalorian, Chapter 9, The Marshal

Screenshot: Lucasfilm

Wait.

That isn’t… isn’t that  actor and fictional sheriff Timothy Olyphant?

Whatever.

 

The Balrog

Screenshot: New Line Cinema

Slayed Gandalf, most likely slayed a few other things too.

 

Meriadoc Brandybuck

Screenshot: New Line Cinema

Definitely embraced promiscuity after the Scouring of the Shire.

 

Éowyn

Screenshot: New Line Cinema

Spent her youth fighting off the walking 4Chan post that is Gríma Wormtongue, thought she found real love with Aragorn only to be rejected for a memory of love (more on that later), yeeted gender norms from her life like Denethor from a parapet, and, finally, stabbed the shit out of the WitchKing. Our girl had a lot of, uhhh, pent up energy by the time she finally met Faramir in the Houses of Healing. (Cue Marvin Gaye.)

 

The Ents

Screenshot: New Line Cinema

used to fuck? But Treebeard acknowledges that there hasn’t been an Enting in a long time. In fact the closest Treebeard gets to being hasty, is in the urgency with which he inquires after the Entwives.

 

Boromir

Screenshot: New Line Cinema

I am not convinced that Boromir fucks. I am convinced that he brought significant others home for family dinners, to try to relieve some of the tension of his home life, and then Denethor spent the whole meal talking about how lucky someone would be to marry his better son and give him lots of heirs.

Ick.

 

Aragorn

Screenshot: New Line Cinema

Yes, I know, you think he fucks, because Viggo Mortensen and Miranda Otto’s Eowyn eye-fucked all the way to Helm’s Deep, and he put enough fire into that single kiss with Liv Tyler’s Arwen to light every Beacon in Middle-earth. BUT. We would argue, and we are correct, that Aragorn mostly pines. He loves pining. He pines for days gone by, for long-lost kingdoms, for shield maidens and elf maidens, for his own long years of rule and the peace they’ll bring to the land. He’d much rather pine, and think about how great things could be, than actually do anything. Or anyone.

 

Pippin

Screenshot: New Line Cinema

Is UNDERAGE. We’ve covered this. But once he’s old enough to wow everyone at the Prancing Pony’s karaoke nights? He’ll be fending off Hobbits of every gender, and you know he’ll stay friends with all of his exes.

 

Legolas

Screenshot: New Line Cinema

Does not fuck. It would mess up his hair. However, he almost certainly cuddles, carefully, when his hair is braided.

 

Frodo

Screenshot: New Line Cinema

Is too damaged to fuck. Maybe—maybe—he tries once, and starts weeping. If only he still had the ring, and could be invisible. The flicker of bleak hope that, somewhere in the dark, Sauron might be watching.

Leah Schnelbach is happy to take responsibility for this post, but wants to point out that this sucker was a team effort. Come express your outrage on Twitter!

The Taming of Felaróf, Father of Horses in The Lord of the Rings

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Gandalf and Shadowfax in The Lord of the Rings

It’s reader question time at SFF Equine, and commenter srEDIT has a good one:

We read in Book Three and Appendix A [of The Lord of the Rings] about the “father of horses,” Felaróf, who was captured as a foal by Léod, Eorl’s father. This is the horse who later sired the race of Mearas horses raised by the Rohirrim.

My question(s): Tolkien tells us of Felaróf that “no man could tame him.” But he also says Léod is established as a successful “tamer of wild horses.” How long would Léod likely have waited before attempting to mount this stallion? That is, how young a horse (who presumably began his life as a colt in the wild) might be ready to be mounted? How old are “real” horses before an experienced tamer might try to mount and ride an “untamable” stallion? We’re told that Léod actually rode for some (unmeasured) distance before Felaróf threw him. What might this distance be? Assuming the best of intentions by both human and animal characters, was this a case of irresistible force meets immovable object?

In your own mind, what sort of circumstances surrounding the taming of Felaróf had you imagined?

First of all, a bit of a disclaimer. I’m a LOTR/Silmarillion geek but not a Tolkien scholar. I haven’t delved deep into the lore and I have not read most of the exhumations and continuations published over the years. What I am is a longtime horse person, a rider and a onetime breeder. That’s the framing of the question, and that’s how I’ll answer.

Tolkien was not a horseman per se, but he wrote of them with respect and a degree of understanding. His Mearas of Rohan are a distinct breed, all or nearly all greys, and he describes them as “tall and clean-limbed and proud,” with exceptional night sight. While in general they seem to be more or less normal horses, their “king” or primary herd stallion is a cut above the ordinary, being exceptionally long-lived and able to understand the speech of Men.

In my mind, from the description, they sound like Irish Thoroughbreds. In the Jackson films, their king, Shadowfax, was played by an Andalusian, which is a pretty decent bit of casting. Andalusians and Lusitanos, the horses of the Iberian Peninsula, and their Eastern European cousins the Lipizzaner, also tend to have a high percentage of greys and are famous for their longevity and their high intelligence.

To get back to the question, the original King of the Mearas, Felaróf, was a wild horse, but Léod captured him as a foal, which means he was just a few months old—young enough to be handled and domesticated thoroughly by an experienced trainer. The fact that he refused to be tamed at all indicates that either the proto-Rohirrim did not handle young horses but sent them out on the range like the ranch horses of the American West, or they did handle the horses but that one was exceptionally resistant.

Either way, if Léod came from a long line of horse trainers, he would know from tradition and experience that it’s best to wait for a young horse to mature before trying to ride him. Modern trainers debate, sometimes heatedly, the meaning and age of horse maturity. The cowboys with their range horses would bring them in at age two, break them and then turn them back out for a year or two more until they were brought in and turned into working horses. It seemed to work for them in that it gave them an injection of training right when their minds were malleable, and they would remember it when their bodies and minds were more mature and better able to handle ranch work.

The musculoskeletal system of the horse takes a rather long time to mature—six to eight years depending on the individual and the breed. Physically, however, also depending on the individual and the breed, a horse will look mature somewhere between ages two and four. (I had one who looked like a hatrack till she was six, but she was an extraordinarily late bloomer from a very late-maturing breed.) Modern Thoroughbred racehorses are started under saddle at 18-24 months in the US, but they’re also not expected to race much past the age of three years. Elsewhere and for different disciplines, generally people wait until the horse is three to four years old before trying to ride them.

By that measure, Felaróf was probably at least three or four when Léod tried to mount him. He could have been older, but that would get dicey, because as with human learning stages, there is a period after which, if a horse has not been worked or handled, he becomes considerably more difficult to train. That age is somewhere around six or seven years.

(If the horse has been handled and worked with, even if not ridden, it’s usually fine. It’s the experience of working with humans that’s needed. They understand about communication. They’ve learned how to learn.)

So let’s say Felaróf is around three and a half years old. He’s not fully grown but he may look as if he is. He’s well built, he has some size and great bone. He’ll fill out later and he may grow another inch or more in height, maybe quite a bit more, but he has enough heft and strength to carry a grown man.

If the horse really was as resistant to training as Tolkien indicates, I doubt he would have been hauled in off the range, forcibly saddled, and ridden into submission. It’s not a training method I care for at all, though it’s attested in multiple cultures. In the American West it’s called breaking, and its opposite number is gentling, which is a slower, more gradual process.

I suspect Léod took his time. He had years to get to know the horse. He must have managed to at least approach and touch him, and probably put a halter on him and teach him to lead and, over time, accept bridle and saddle. Probably he wouldn’t let anyone else near him, but he had to have accepted Léod sooner or later.

The horse was obviously well off the charts for intelligence, and had a powerful sense of self. He was not a horse who could be manhandled or forced. He had to be asked, and asked in the exact right way.

Even with that, actually carrying a rider would be a serious challenge. Felaróf was a stallion, and stallions are wired to fight off anything that tries to climb on top of them. In the wild, that will be either a predator or another stallion fighting for the same band of mares.

Moreover, he was a king. He was born to defend a herd (and defer to its mares). Submitting to a human was not on his agenda.

But Léod was going to complete the training of this spectacular animal and make him a riding horse, had spent years building up to it. He would go slow, be cautious, and ask permission at each step. Actually sitting on the horse’s back would only be the beginning. Once the horse started to move and the human started to move with him, it’s quite likely he would have become one giant furious manifestation of NOPE.

How far would Léod have got before he flew off? Depends. If the horse tried to bolt out from under him, he could have hung on for a fair distance before the horse veered or swerved or spooked or even stopped dead and sent him flying. If the horse bucked, rodeo style, the ride would have covered very little ground and lasted somewhere in the region of eight seconds.

[Update: See the comments below for additional observations on the fate of Léod and Felaróf.] As the appendix notes, after Léod’s fatal fall, his son Eorl came to an understanding with the horse, who agreed to carry him willingly when Eorl claimed his freedom in compensation for the loss of his father. Otherwise he would never have submitted to the human at all.

Judith Tarr’s first novel, The Isle of Glass, appeared in 1985. Since then she’s written novels and shorter works of historical fiction and historical fantasy and epic fantasy and space opera and contemporary fantasy, many of which have been reborn as ebooks. She has even written a primer for writers: Writing Horses: The Fine Art of Getting It Right. She has won the Crawford Award, and been a finalist for the World Fantasy Award and the Locus Award. She lives in Arizona with an assortment of cats, a blue-eyed dog, and a herd of Lipizzan horses.

A New Campaign Seeks to Preserve J.R.R. Tolkien’s Oxford Home

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A number of actors who appeared in The Lord of The Rings and The Hobbit film trilogies have joined forces with author Julia Golding to launch a campaign called Project Northmoor, an effort to purchase J.R.R. Tolkien’s Oxford home and transform it into a literary center.

The house is located at 20 Northmoor Road in Oxford, where Tolkien lived with his family between 1930 and 1947 — a period where he wrote his more famous works. According to the BBC, the house went on sale last year for £4,575,000. The house has been fitted with a blue plaque, which identifies it as a place of historical significance.

The funding campaign seeks to raise £4 million ($6 million USD) to purchase the house and establish a literary center to celebrate the late author’s works. According to the group, there is no such dedicated center dedicated to Tolkien’s life and works. With proper funding, the group wants to renovate the house to what it would have looked like during Tolkien’s ownership, and would renovate the upstairs to “reflect the cultures he invented” while the “garden would be restored to a beauty of which the inventor of Sam Gamgee would be proud.” (via People, Polygon and TheOneRing)

Once established, the center would hold a series of “retreats, writing seminars and other cultural events,” as well as a series of virtual programs.

Supporting the fundraising effort are a number of actors who’ve appeared in adaptations of Tolkien’s works: Sir Ian McKellen (Gandalf the Grey), Annie Lennox (Return of the King soundtrack), Martin Freeman (Bilbo Baggins), John Rhys-Davies (Gimli), and Sir Derek Jacobi (audiobook narrator, and Tolkien).  “This is just an opportunity that can’t be ignored,” Rhys-Davies told People. “If people are still reading in 1,000 years, Tolkien will be regarded as one of the great myth-makers of Britain and it will be evident within a matter of years that not to secure this place would have been such an act of arrogance and ignorance and folly on our part.”

The project is currently taking donations in various amounts, with various rewards. £20 (Hobbit Gift) will get your name in a book of supporters, £200 (Dwarf Gift) will put your name in the book and displayed on a wall. £2000 (Human Gift) will get you an invitation to a supporter’s evening. £20,000 (Elf Gift) gets you a life patron status, which grants free admission to events and other perks. A “Wizard Gift” of £200,000 will get you a room dedication. The project also launched a shop, in which you can buy shirts, phone cases, and mugs.

Twenty New Cast Members Join Amazon’s Lord of the Rings Series

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Lord of the Rings on Amazon insignia

It’s Lord of the Rings, so you know it’s going to be epic and sprawling—and so is its cast. Today, Amazon announced the names of twenty more actors joining the still-rather-mysterious series.

  • Cynthia Addai-Robinson (Arrow‘s Amanda Waller)
  • Maxim Baldry (who appeared in Doctor Who‘s “The Haunting of Villa Diodati”)
  • Ian Blackburn
  • Kip Chapman (Top of the Lake)
  • Anthony Crum
  • Maxine Cunliffe (Power Rangers Megaforce)
  • Trystan Gravelle (A Discovery of Witches)
  • Sir Lenny Henry (Doctor Who, Broadchurch)
  • Thusitha Jayasundera (Humans)
  • Fabian McCallum (You, Me & The Apocalypse)
  • Simon Merrells (Good Omens)
  • Geoff Morrell (Top of the Lake)
  • Peter Mullan (WestworldCursed)
  • Lloyd Owen (You, Me & The Apocalypse)
  • Augustus Prew (Prison Break)
  • Peter Tait (who played an orc in The Return of the King)
  • Alex Tarrant (Mean Mums)
  • Leon Wadham (The Bad Seed)
  • Benjamin Walker (Jessica Jones)
  • Sara Zwangobani (Home and Away)

That’s a wide range of actors, credits, and roles, and it’s almost impossible not to click through IMDb looking at their photos and speculating where they’ll fit in in Middle-earth. These twenty actors join the main cast that was announced in January, and includes Morfydd Clark, Robert Aramayo, Joseph Mawle, and others. At the time, the producers said they still had a few “key roles” to cast—so any one of these new names could be central to the story, which is set long before the events of the Lord of the Rings trilogy.

No release date is set, though we’re hoping to see something from this show next year!

Tolkien’s Dark Lords: Sauron, Dark Magic, and Middle-earth’s Enduring “Melkor-ingredient”

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In this scattershot series, we’ll be delving “too greedily and too deep,” prying gems out of the glorious rough that is the extended legendarium of Tolkien’s world. This includes drawing on The Lord of the Rings itself, The Hobbit, The Silmarillion, The Children of Húrin, and the History of Middle-earth (or HoMe) books.

Whenever the works of J.R.R. Tolkien come up, my immediate nerd-impulse is to ask: “Hold up! Are we talking about just The Lord of the Rings and The Hobbit?” Followed by, “Are we talking about the films or the books (since they’re quite a different thing)—or somehow both?” But what I’m really getting at is, can we discuss the legendarium at large? Because that would rope in The Silmarillion and the History of Middle-earth books. And that’s even more fun.

If it’s just The Hobbit and LotR, then we’re only talking about the Third Age and the War of the Ring (with a possible glance back at the Second Age since that’s when the Rings of Power were made). In which case Sauron is the de facto face of evil on Middle-earth and that’s all that really matters. But if we can talk about the big picture—the entire world—in which Middle-earth is merely center stage, then I can go right to the top shelf for the real bad guy, Morgoth ( Melkor), and the stain he left behind. Gross.

Sauron. Morgoth. Just who are these clowns, who’s actually worse, and why?

Let’s just start with The Lord of the Rings. While reading the book (or sure, watching the films), we know that the Dark Lord Sauron is the head honcho of all badness. In “The Shadow of the Past” (Chapter 2 of Book 1), Gandalf the Grey tells us that if Sauron gets his Ruling Ring back, he will “cover all the lands in a second darkness.”

“Shadow of the Past” by Donato Giancola

And much later, in “The Last Debate” (Chapter 9 of Book 5), Gandalf the White makes it clear that this would mean game over for Middle-earth, “so complete that none can foresee the end of it while this world lasts.” Then he paraphrases his famous “all that we have to decide is what to do with the time that is given us” proverb, this time with some fascinating agrarian, even meteorological, metaphors. In this scene, Gandalf is giving a grim pep talk to the Captains of the West in the tents outside Minas Tirith after the devastating but victorious Battle of the Pelennor Fields. He is pointing out that even if they succeed in holding off the armies of Mordor longer and the Ring does get destroyed, it’s still not the victory to end all victories:

Other evils there are that may come; for Sauron is himself but a servant or emissary. Yet it is not our part to master all the tides of the world, but to do what is in us for the succour of those years wherein we are set, uprooting the evil in the fields that we know, so that those who live after may have clear earth to till. What weather they shall have is not ours to rule.

There’s a whole lot in that passage; I love it so much.

Now, this is the second time we’re told that Sauron is—or was—a servant of someone else, someone worse. The first time is when Strider tells the hobbits the Tale of Tinúviel, in which the Elf-maiden Lúthien rescues her mortal boyfriend, Beren, from the dungeons of Sauron. These were Sauron’s pre-Mordor days, when he occupied a tower he’d stole from Galadriel’s big brother and he (Sauron) was but a servant to the “Great Enemy” who sat on a throne in Angband in the far north.

“Lúthien in the court of Morgoth” by Pete Amachree

This big boss was a huge problem for the Elves and Men of that age. It’s pretty much what The Silmarillion is about. Interestingly enough, the only time said Enemy is actually named in the main text of The Lord of the Rings is in Lothlórien, when Legolas identifies the whip-wielding, wingless Terror they bumped into in Moria only two days before. He calls it “a Balrog of Morgoth.”

Ohh, and quick aside: It’s a bit heartbreaking when you look at the year 3019 timeline in Appendix B and see that even as the Company is reporting the bad news about Gandalf to Celeborn and Galadriel—and everyone’s sad and still trying to come to terms with it—the wizard is still fighting the Balrog Durin’s Bane in the depths of Khazad-dûm. It’s a protracted, week-and-a-half-long battle for these two ancient beings (with possible on-again, off-again clashes and tussles), only concluding on the tenth day at the peak of Zirakzigil.

That Gandalf. What a badass.

“Beneath Khazad-dûm” by Eric Velhagen

But anyway, Legolas’s name-drop of Morgoth is the only occurrence outside of the Appendices. So he’s not such a big deal in The Lord of the Rings, just some has-been Dark Lord. Casual readers of Tolkien unfamiliar with the legendarium at large might think: So all right, this Morgoth is already long gone from the world, leaving Sauron the only clear and present “evil in the fields” that needs uprooting—at least in Gandalf’s analogy. Yet if Sauron is soon to be “maimed” by the destruction of the One Ring, then what’re those other evils that may still come? 

What weather they shall have is not ours to rule.” …What’s Gandalf really talking about in those tents?

He’s connecting this presumably inclement weather with evil, or at least unknown calamities that may yet arrive. I don’t think he’s referring to other Maiar, immortal beings like Sauron, Saruman, or any remaining Balrogs who may arise in the future to wreak havoc; if he were, they’d likely just be more evil crops in his metaphor. But weather? Those are the variable troubles that come with an unpredictable and imperfect world. A world where a certain measure of evil was baked in at the start and is going to stir up the weather. And this is where Tolkien’s legendarium most strongly aligned with his Christian beliefs in our world. Thus is Middle-earth compatible with (not to be mistaken with “the same as”) Regular-earth.

Extending Gandalf’s weather metaphor, think of it like…climate change. Sure, there’s wind and rain and even forest fires, and those things aren’t going to prevent future people from having “clear earth to till”—quite the contrary, actually. They are natural. But what about worsening weather stemming from a planet that’s got some intrinsic problems that aren’t as originally intended? Problems created by human beings that affect the natural world, increase greenhouse gases and lead to rising waters, heat waves, droughts, the desolation of flora and fauna, stronger hurricanes… In the real world, well, the intrinsic problems are us. They arise from our meddling.

But on Middle-earth? We’re talking about evil—spiritual, physical, metaphysical. And that brings us back to Morgoth. So why is he to blame for “weather” yet to come? Why not blame Men directly, based on their earliest failings, à la Adam and Eve; or even the Elves? Well, they aren’t entirely off the hook, but evil in Arda precedes such incarnate beings. Precedes even the Sun and Moon.

As we ponder these questions, here are some helpful vocab words for easy reference:

  • Ainur — The Holy Ones, the “offspring” of Ilúvatar’s thought. The beings that joined in the Music of creation, and included those who would become categorized as the Valar and the Maiar.
  • Arda — The world (little “w”), which includes the Earth, the seas, skies, and even the firmament around them (the planet and its immediate celestial surroundings).
  • Arda Marred — The version of Arda that is, as a consequence of Melkor’s primordial meddling, not precisely the version of Arda that was meant to be.
  • Children of Ilúvatar — Both Elves and Men. Biologically, these two races are of the same “species” and as such can “produce fertile offspring,” but the relationship between their respective spirits and bodies mark the greatest distinction between the two. It may be said that Dwarves are “adopted” Children of Ilúvatar.
  • — All of creation, the World (big “w”), the entire universe itself, of which Arda is but a part.
  • Ilúvatar — Eru, The One, the singular god of Tolkien’s monotheistic legendarium.
  • Maiar — Powerful spirits that were around before Arda itself. They are of a lesser order than the Valar, but some are nearly as mighty. Gandalf, Sauron, and Balrogs are all Maiar.
  • Men — Humans, men and women both.
  • Middle-earth — The massive continent where most of the stories in the legendarium take place. Contains regions like Eriador and Rhovanion. Beleriand once formed its northwestern corner.
  • Melkor a.k.a. Morgoth — The Enemy, the original Dark Lord and fomenter of all evil. Formerly the mightiest of the Ainur.
  • Music of the Ainur — The grand harmonic production that became the foundation of the universe. Though all the Ainur participated, Melkor added some discord to the Music.
  • Valar — The “agents and vice-gerents” of Eru, the upper echelon of spiritual beings, set above the Maiar, and established by Ilúvatar to shape and govern Arda.
  • Valinor — The realm of the Valar in the West, often synonymous with the Undying Lands. Inaccessible to mortals, especially in the Third Age.

Readers of The Silmarillion know that Morgoth is Public Enemy No. 1. He is the Ainu formerly known as Melkor—one of the Valar, in fact, if only briefly. He is later labeled Morgoth (Sindarin for “dark foe”), the Dark Enemy of the World, and he’s the first and greatest evildoer against the just authority of Eru Ilúvatar, a.k.a. God. He’s the chief antagonist in The Silmarillion, whose direct and indirect actions drive every plot.

Most stories are about what happens when things go wrong, right? And in fiction an active villain is usually behind that. There would be no Harry Potter series if Voldemort wasn’t fixing to return and dominate the wizarding world. Luke wouldn’t have gone anywhere if the Galactic Empire hadn’t built a planet-destroying battle station that needed thwarting. And the people of Santo Poco wouldn’t need saving at all if the actual El Guapo wasn’t trying to kill them.

In Middle-earth, though, Melkor is everyone’s El Guapo. 

“Morgoth, He Who Arises in Might” by Dymond Starr

He actively sabotages all that is good and natural because he didn’t make them and he hates that. His existence in Arda is essentially one big rampage; when he’s not wrecking things, he’s constructing puppets to wreck things for him. He makes monsters, he murders people, he makes monsters murder people, and he gets folks of every race to fight one another. He’s literally the worst. But even at the end of the First Age, when the Valar finally yank him offstage with their gigantic vaudeville hook, his legacy lives on in the very fabric of the world. Literally. And that’s why even though Sauron gets both the Second and Third Ages to terrorize, Morgoth’s legacy endures even when Sauron goes under.

So…how? We have to go real far back to explore this question, because even in the Elder Days, when the dramas of the First Age and the wars with the Elves, Men, and Dwarves were unfolding, Morgoth had already stained the world.

In a nutshell, this is how: In the beginning of all beginnings, Melkor started off as a wunderkind rebel, creating strife and discord simply because he wants to call the shots and be seen as better than everyone else—his was a serious case of cosmic pride. And because he was too “impatient” with the emptiness of the Void, he tried to find and steal the Imperishable Flame (the source of all life and creation) from Ilúvatar. That didn’t work out for him, so—after spitefully disharmonizing with the Music of the Ainur that created the blueprints for the universe—he settled for just trying to master the world of Arda by volunteering to help “order” it alongside his peers, the Valar. We’re told he even fooled himself into thinking he meant to make amends.

When the Valar first entered the universe (Eä) from the outside, they found that Arda was only freshly out of the oven, still soft and not completely cooked—parboiled, if you will. They had work to do, to shape it according to the vision Ilúvatar had shown them of the world (which had, in turn, been shaped by their Music). And so, led by Manwë, the King of Arda, and his wife Varda Star-kindler (of O Elbereth! Gilothoniel! fame), the Valar collectively rolled up their sleeves…

but Melkor too was there from the first, and he meddled in all that was done, turning it if he might to his own desires and purposes; and he kindled great fires. When therefore Earth was yet young and full of flame Melkor coveted it, and he said to the other Valar: ‘This shall be my own kingdom; and I name it unto myself!’

Through all of this contention, simply by causing such distress and disruption, Melkor seeded corruption in the world. This was him at his most powerful, a force to be reckoned with. Again and again he ravaged the Valar’s labors, but together they persisted and gradually made Arda retain its shape. So Melkor had to settle for merely despoiling it, just so, and this is the marring that gets mentioned throughout The Silmarillion and in the HoMe books. But it’s only in the latter that you can really read how profound the result is.

“Between Ilmen and Vista” by Šárka Škorpíková

Now let’s look at Morgoth’s Ring, volume 10 of The History of Middle-earth. The essays, stories, and lore of this series can always provide further insight into Tolkien’s world or offer an additional perspective, but it should be understood that it’s not all internally consistent, as Tolkien’s son Christopher points out often enough. And remember, also, that a great deal of it was written after The Lord of the Rings, and isn’t necessarily perfectly aligned to the author’s thinking during the writing of that book.

Still, according to his essays in the wonderful “Myths Transformed” chapter, Tolkien explains that while Morgoth couldn’t destroy the world, he was able to tarnish it by diffusing a significant amount of himself into everything. Into the fabric of all things. It’s still a beautiful world, yes—such that the Elves adore it and Men think it’s at least a’ight—but if you look close enough, there are cracks. Or, more like Melkor left skidmarks on just about everything—sometimes overtly, sometimes barely noticeable. Thus in Morgoth’s Ring, Christopher Tolkien relates to us, his father:

contrasted the nature of Sauron’s power, concentrated in the One Ring, with that of Morgoth, enormously greater, but dispersed or disseminated into the very matter of Arda: ‘the whole of Middle-earth was Morgoth’s Ring.’

Thus Arda as intended became Arda Marred. Nothing’s quite as it was designed to be. So what about the Children of Ilúvatar? You know, the Elves and Men for whom Arda was made in the first place and because of whom Morgoth got his ass handed to him a few times. They popped up in Arda only after the marring. Shouldn’t they be exempt from such imperfection? Well…

To gain domination over Arda, Morgoth had let most of his being pass into the physical constituents of the Earth—hence all things that were born on Earth and lived on and by it, beasts or plants or incarnate spirits, were liable to be ‘stained’.

Elves and Men, though they appeared millennia apart and in different geographic locations, both awakened on a marred Middle-earth. They are made from and sustained by the substances Morgoth infected.

“Awakening of the Elves” by Anna Kulisz

The same is true for the Dwarves, as adopted Children of Ilúvatar, and even beings like Ents. All imperfect, if still generally great. As Treebeard says, even Ents can go “tree-ish” (becoming less like themselves). And trees and Huorns, though born of the natural world, can develop “bad hearts,” and not because of sick or rotting wood. It’s a spiritual problem, a consequence of that bit of fallen ex-Vala in them. When it comes to specimens of nature turning sour, one need look no further than Old Man Willow.

Anyway, “Myths Transformed” also gives us a fascinating contrast-and-compare between Sauron and Morgoth worthy of its own topic. But one snippet relevant to this topic is:

Melkor’s final impotence and despair lay in this: that whereas the Valar (and in their degree Elves and Men) could still love ‘Arda Marred’, that is Arda with a Melkor-ingredient, and could still heal this or that hurt, or produce from its very marring, from its state as it was, things beautiful and lovely, Melkor could do nothing with Arda, which was not from his own mind and was interwoven with the work and thoughts of others: even left alone he could only have gone raging on till all was levelled again into a formless chaos. 

First, this means Melkor could do nothing in pursuit of his real desire, which was to wreck it all (even his own monsters) and make things of his own from whole cloth. #DarkLordGoals

So ruining everyone’s days as much as possible was still only second best.

Also: “a Melkor-ingredient”! This means there is a tiny dash of him in all things, or nearly all things, and it’s ultimately why the Children of Ilúvatar generally can’t catch a break (for long). So if you’re in Middle-earth and you pick up just about anything—say, breakfast cereal, some Longbottom Leaf, or Drive-Thru Southwest Style Taco Hot Pockets®—and flip to the side of the box, it might look something like this.

Anyway, Tolkien does give us a couple of examples. The substance of gold, of which the One Ring appears to be made (at least in part), is called out as being particularly saturated with the Melkor-ingredient. Which, when you think about the lust for gold that Men, Dwarves, and dragons tend to have have, makes more sense.

For example, all gold (in Middle-earth) seems to have had a specially ‘evil’ trend—but not silver. Water is represented as being almost entirely free of Morgoth. (This, of course, does not mean that any particular sea, stream, river, well, or even vessel of water could not be poisoned or defiled—as all things could.)

So this is how Melkor squandered his power. The major downside, for him: It made what remained of him weaker and“incarnate, confined to a physical form (“a dark Lord, tall and terrible”). This prevented him, among other things, from walking “unclad, as could his brethren,” an incorporeal shape; he couldn’t ascend into the sky and tear down the Sun he hated (when the Sun became a thing), and couldn’t raise up land masses like he’d done the Misty Mountains! And so by the time of his wars against the Elves, which started with the theft of the Silmarils, he was forced to hide out in his Angband bunker for the rest of that age. 

Except for that one time, when he came out in person to deal with a pesky High King of the Noldor who rightly called him out for being “craven.”

“Fingolfin challenges Morgoth at the gate of Angband” by Pete Amachree

Oh, and possibly maybe that one other time? The jury’s still out on that one.

And sure, even a nerfed Morgoth could still wage war with the Elves, sow suspicion and doubt among all the Children of Ilúvatar within his reach, turn individuals against their own kind with his spies and emissaries, oversee the breeding of dragons and other monsters, and keep the wheels of Orc propagation turning. But in the end, being incarnate also meant Morgoth could—and does—get dragged out his basement by force after the War of Wrath, when his Dark Lord term was up. Which is a satisfying (if too-short) read in The Silmarillion.

But the upside, from Morgoth’s point of view: the successful spoiling of all Arda. Everything that is bad or goes wrong in the world can be attributed to, at least in some small part, to him. Hangnails? A consequence of Arda Marred, so that’s Morgoth’s fault. Stepping on a LEGO? Morgoth again. The term “hubby”? Morgoth indeed. 

But those are the little things. The big things include Men’s fear of death, the Gift of Ilúvatar, and the fact that Elves can have their spirits (fëar) and their bodies (hröar) separated. They can “die” by various means, which wasn’t part of the original plan. Elves were supposed to have their spirits and bodies inseparable from the start. But because of the Melkor-ingredient, in the very substance that an Elf’s body is grown from and in the food that she eats, the infrastructure of her very being is compromised. Thus, the Valar had to devise a system for the gathering of Elf-spirits whose bodies were slain, a system for cleansing them in the Halls of Mandos, and a solution for rehousing them again in new bodies.

Really, everything the Valar do to manage the imperfections of the world is a patch, a workaround, a plan B. There is talk in the HoMe books of an eventual Arda Remade, and in The Silmarillion there is a foretelling of the “Second Music of the Ainur,” but that’s always far off. So long as this Arda lasts, however many millennia and ages it goes on, through and maybe beyond the Dominion of Men “and the decline of all other ‘speaking-peoples’ in Middle-earth,” it will remain marred in this way.

Evil is just a component of the world and it always has been. Gandalf knows that those Melkor-ingredients will beget foul weather from time to time, though it is not for him, the Captains of the West, or anyone in Middle-earth circa 3019 to resolve. Yet in discussing how nearly all matter includes tiny traces of Morgoth in it, there’s one little statement that Tolkien tosses in like a throwaway line. He even places it in parentheses:

(It was this Morgoth-element in matter, indeed, which was a prerequisite for such ‘magic’ and other evils as Sauron practised with it and upon it.)

Stop the presses! That’s what magic is?! So there is a kind of magic system in Tolkien’s world after all—well, of evil magic, and it’s hardly quantified for us. Also, “sorcery” might be the better word, as it’s always used in conjunction with the bad guys, or those who deal in deception. For example, Éomer is suspicious when he first meets Aragorn, Legolas, and Gimli, who admit they have the favor of the Lady of the Golden Wood, observing, “Few escape her nets, they say. These are strange days! But if you have her favour, then you are also net-weavers and sorcerers, maybe.”

It can be said, then, that microscopic spiritual traces of Morgoth—formerly the “mightiest of all the dwellers in Eä”—is the material component for the spells of sorcerers great and small. Sorcerers like the Mouth of Sauron, and others before him who served Sauron, and the Witch-king himself, “a great king and sorcerer he was of old.” 

“The Witch-king of Angmar” by Peter Xavier Price

They didn’t call him Ol’ Witchy for nothing.

Of course, Sauron (in the absence of Morgoth) is the chief user of such dark magic. You might think, well, he’s one of the Maiar, and a particularly strong one. Obviously his power came from Ilúvatar before the universe was made, before he went bad. Yes, quite true. Yet in The Silmarillion we’re told—many chapters in, mind you!—during the Beren and Lúthien story that “Sauron was become now a sorcerer of dreadful power, master of shadows and of phantoms…”

Was become now—as though he hadn’t been all along, hadn’t been since springing out of Ilúvatar’s thoughts, but rather learned to become so in Arda Marred under the regime of Morgoth. Learned how to manipulate Morgoth’s own disseminated self soaked into the fabric of the world.

Then thousands of years later, Sauron is also “the Necromancer” of Dol Guldur. The White Council doesn’t even know it’s really him for a long time and only later confirm it after Gandalf noses around its dungeons himself. A necromancer, in Tolkien’s legendarium, is one who communes with, manipulates, or somehow shelters the spirits of the dead. Such spirits, as described in Morgoth’s Ring, are called the Houseless or the Unbodied:

For the Unbodied, wandering in the world, are those who at the least have refused the door of life and remain in regret and self-pity. Some are filled with bitterness, grievance, and envy. Some were enslaved by the Dark Lord and do his work still, though he himself is gone. They will not speak truth or wisdom. To call on them is folly. To attempt to master them and to make them servants of one own’s will is wickedness. Such practices are of Morgoth; and the necromancers are of the host of Sauron his servant.

We get a reference to an untold number of his “followers” (presumably all Men, but who knows for sure?) who were taught such practices by him. Hence “necromancers,” plural. Then there are the phantoms and the “Dead Faces” who “light little candles” in the Dead Marshes just outside Mordor; that sure sounds like necromancy, too, though we’re never told for sure. Frodo only guesses that it may be “some devilry hatched in the Dark Land” upon the corpses in the marsh. And what of the Barrow-wights, who are also unspecified evil spirits? No matter their origin, we are told that they came from Angmar, where the Witch-king reigned. Once a normal mortal Man who was also a sorcerer, he presumably commanded them to inhabit the burial mounds of the Dúnedain there.

The point is, all these supernatural things seem to be made possible because of the residue Morgoth left behind. And this sketchiness with regards to magic also jibes with Galadriel’s reticence in accepting that word when she hears Sam talking about it with Frodo.

“And you?” she said, turning to Sam. “For this is what your folk would call magic, I believe; though I do not understand clearly what they mean; and they seem to use the same word of the deceits of the Enemy.”

“Galadriel and the Mirror” by Donato Giancola

To her, the workings of Sauron would be sorcery. But her Mirror, her Phial, or Nenya? The Ring of Adamant actually aids in the protection and preservation of Lothlórien, so surely not. These objects clearly possess power, too, as Galadriel herself does, but in other legendarium books such works would be called simply “arts” or even “wizardry,” and it is likely more divine in origin—arts taught by the Valar, which the High Elves learned in Valinor. Galadriel’s own brother, Finrod Felagund, commanded such power when he joined the hero Beren on his great quest (as part of the aforementioned Tale of Tinúviel):

By the arts of Felagund their own forms and faces where changed into the likeness of Orcs; and thus disguised they came far upon their northward road . . .

So not all magic comes from the same place, that’s true enough. But Galadriel shies from the term, not wanting the deceits of the Enemy conflated with her own arts. One could say that the great works of Fëanor—like the Silmarils and the palantíri—were magical but not evil. Not sorcerous, not even close. (The “light of Eärendil’s star” in the Phial of Galadriel is the light of a Silmaril, and sure does bother Shelob!) That said, even Gandalf still calls some things magic if he knows that’s how others will understand it. He probably wouldn’t speak lightly of mere “magic” in a one-on-one conversation with Elrond, but to Frodo in Bag End he will, saying: “Magic rings are—well, magical; and they are rare and curious.”

What’s fascinating about the Rings of Power in particular is that they are all, except the One, made by Elves. Yet their forging is under the instruction of Sauron (in his guise as Annatar, Lord of Gifts ), so it could be argued that they are wrought, in part, with sorcery. One could surmise that Sauron provided some Morgoth-intensive raw materials for his whole One Ring To Rule Them All project. Given that nine Rings of Power end up making Ringwraiths and seven more at least inspire “wrath and an overmastering greed of gold” in the hearts of the Dwarves who get them, sorcery is probably more present than not. Only the three rings made by Celebrimbor, of which Nenya is one, didn’t involve Sauron’s personal touch at all—so their power is likely unstained. Yet their design owns some connection to Sauron’s Ring and cannot be safely used while the One is with him.

“Mordor” by Rostyslav Zagornov

Still, those who learn how to manipulate the Melkor-ingredient in the world can therefore enact sorcery just about anywhere they go. Perhaps it’s sparse in most places (especially water) but eddied and clumped together more densely in others—like maybe wherever a dragon ends up lairing, or in the depths of Khazad-dûm (comfy for a Balrog), or the Cracks of Doom (the perfect place to set up an evil ring-forge). In short, per Morgoth’s Ring, “it is nowhere absent.”

This brings us back to Sauron at last, who “rose like a shadow of Morgoth and a ghost of his malice” in the Second Age shortly after Morgoth was cast out into the Void. Without anyone around to command him, and the Valar and their servants having withdrawn entirely from mortal shores, the coast is clear for him. Middle-earth becomes quite a playground for this uppity second Dark Lord.

Sauron was ‘greater’, effectively, in the Second Age than Morgoth at the end of the First. Why? Because, though he was far smaller by natural stature, he had not yet fallen so low. Eventually he also squandered his power (of being) in the endeavour to gain control of others. 

It’s not like he had to expend any himself to make Orcs. That recipe had already been cooked up—and paid for in spirit-stuff—by his old boss, so Sauron had only to grease the wheels of production and exert his existing power over them. Remember, he only wants to rule and steer the course of the world, not destroy it utterly. So he sets himself up in Mordor and plays around with the world’s wonderful Melkor-rich ingredients just lying around, unused.

“Forging the One Ring” by Ted Nasmith

It isn’t until the creation of the One Ring, where he does expend so much of his being, that things take a gradual turn for him. That stratagem failed to achieve its original goal (dominion over the Elves) in the Second Age, but no one can say Sauron didn’t have a good run during his comeback in the Third.

So yeah, he falls into the same self-destructive “ruinous path” eventually, but up until Bilbo came along (or Gollum, for that matter) and started the chain reaction that brought the Dark Lord low, things had looked good for him. He’d been riding on the coattails of Morgoth, even in his absence. And yet when Sauron is finally reduced to a “mere spirit of malice that gnaws itself in the shadows,” the Melkor-ingredient remains, still present to trouble everyone by degrees.

To whatever weather.

 

Top image from “Morgoth, He Who Arises in Might” by Dymond Starr

Jeff LaSala can’t leave Middle-earth well enough alone, and is responsible for The Silmarillion Primer and the Deep Delvings series. Tolkien nerdom aside, Jeff wrote a Scribe Award–nominated D&D novel, produced some cyberpunk stories, and works in production for Macmillan and Tor Books. He is sometimes on Twitter.

Exploring the People of Middle-earth: The “Absolutely Essential” Rosie Cotton

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A woman and a man sit on a bridge, dipping bare feet into water

In this biweekly series, we’re exploring the evolution of both major and minor figures in Tolkien’s legendarium, tracing the transformations of these characters through drafts and early manuscripts through to the finished work. This week’s installment takes a look at Rosie Cotton.

Absolutely essential.” There are a number of characters and relationships that I’d immediately tag as “absolutely essential” to my understanding of The Lord of the Rings. Frodo and Sam’s, of course, along with that of Merry and Pippin, and perhaps at a pinch the four of them together. The Legolas—Gimli dynamic seems to me to be central to at least one of the book’s projects, and that of Aragorn and Arwen to another. Faramir’s relationship to his brother and father is important if you want to really understand his deal—though of course for the book as a whole, the most important familial dynamic might be the one between Bilbo and Frodo.

I don’t think, however, that I’ve ever really considered Sam’s relationship with Rosie Cotton to be “absolutely essential” to my reading of The Lord of the Rings. Don’t get me wrong—I love it, and I always get a warm fuzzy feeling when Sam is appropriately rewarded for his sacrifice and valor by finding his love waiting for him when he returns. But it does come at us out of the blue, you might say. Rosie isn’t even mentioned until the “Mount Doom” chapter, and there she is a mere sidenote, mentioned nostalgically alongside her brothers (honestly, the films do a far better job of building up our expectations about the potential relationship). Sam is clearly eager to see her when he returns, but Rosie—called Rose once Sam comes back and finds her as grown-up as himself—continues to be a background character, always second to Sam’s devotion to Frodo. In the drafts, Rosie didn’t even show up until Tolkien was drafting the final chapters (Sauron Defeated 108). So: “absolutely essential”? Well…I’m skeptical.

Tolkien, however, did think so. In fact, he was downright emphatic about it in a letter to a friend. He wrote:

“Since we now try to deal with ‘ordinary life’, springing up ever unquenched under the trample of world policies and events, there are love stories touched in [sic], or love in different modes, wholly absent from The Hobbit. […] I think the simple ‘rustic’ love of Sam and his Rosie (nowhere elaborated) is absolutely essential to the study of his (the chief hero’s) character, and to the theme of the relation of ordinary life (breathing, eating, working, begetting) and quests, sacrifice, causes, and the ‘longing for Elves’, and sheer beauty” (Letters 161).

Well, that’s a claim to importance if I’ve ever heard one! And such a claim deserves investigation.

First of all, it’s important that we take Tolkien’s words with a grain of salt. He has a tendency in his letters to over-dramatize both his writing process and his interpretations of his own work. We should at least remember that his descriptions of his work in his letters was nearly always inflected by the identity and beliefs of the person he was writing to. Verlyn Flieger (or, as I sometimes call her, the Queen of Tolkien Studies) has been insistent about this point: we have to be careful when we make assumptions based on anything Tolkien wrote in his letters.

Keeping that qualification in mind, what can we say about the role of Rosie Cotton in The Lord of the Rings?

We should immediately note the similarities between Rosie and Arwen. In many ways, Sam/Rosie is a more every-day, relatable version of Aragorn/Arwen: both men are inspired by their love to do great deeds; and though neither mention their love or the women often, I would say that they are both grounded and inspired by the hope of one day building a life with the women they love.

In this context, the fact that Rosie and Sam’s love is less like a fairy-tale (than Arwen and Aragorn’s) is important. First of all, consider that for many readers, the comfortable, more “modern” world of the Hobbits is an entry-point into the higher and more epic fantasy of Middle-earth. This entry-point, or portal (because it is something of your typical “portal fantasy”), allows readers to identify with the confusion and wonder of the main cast of hobbits as they encounter people and places outside of their comfort zone: we aren’t too disoriented, in other words, because the hobbits are an anchor for our imaginations in an otherwise alien world.

Similarly, the four main hobbits (Frodo, Sam, Merry, and Pippin) all look back to the Shire as their anchor. As long as their familiar and ostensibly safe home is there to come back to, any amount of wandering is bearable, and any amount of disorientation they experience in the outside world is manageable and indeed contextualized by their strong attachment to the Shire. A sojourn in the “fantasy” world is made possible by the knowledge that the “real” world still exists and is a safe haven. “There and back again” is an essential movement of this kind of story.

This is, incidentally, why it’s so terrible when Frodo loses his memories of life at home: the effects of the Ring have severed his connection with his anchor, so to speak, and he’s adrift in chaos and the unknown. It’s also why coming back to find that Hobbiton has been overrun by the outside world is, in Sam’s words, “worse than Mordor” (LotR 1018).

Now, back to Rosie. Rosie is an important part of the equation because she plays the role of anchor for both Sam and then for us, as readers. Seeing Sam and Rosie’s love helps us to understand and believe in the idealized “fantasy” love of Aragorn and Arwen. Indeed, it makes it possible.

Portrait of a woman at a bar

“Rosie Cotton,” by Tilly Holt

That is how I interpret Tolkien’s claim that Rose and Sam’s love is “absolutely essential” if we want to understand “the relation of ordinary life (breathing, eating, working, begetting) and quests, sacrifice, causes, and the ‘longing for Elves’, and sheer beauty” (Letters 161). Ordinary life is the starting point of The Lord of the Rings, and it is only by understanding it quite well, only by feeling at home in it, that we can begin to comprehend the wild grandeur of what lies beyond it.

That very idea is, in fact, a foundation point of Tolkien’s understanding of fantasy. In his famous essay “On Fairy-Stories,” he writes that “The keener and the clearer is the reason, the better fantasy it will make. […] For creative Fantasy is founded upon the hard recognition that things are so in the world as it appears under the sun; on a recognition of fact, but not a slavery to it” (The Monsters and the Critics and Other Essays 144). In other words, for Tolkien, “there” can’t exist properly unless you also have a “back again.”

Sam’s final words to Rosie, which are also the final words in the main text of The Lord of the Rings, take on special significance in this context. When Sam says “Well, I’m back,” we know that he understands just how important the “there and back again” movement is—and we simultaneously experience it as we put down the book with a sigh of mingled satisfaction and regret and return to our own “real world.”

I would argue that Sam also understands and cherishes his relationship with Rosie all the more for having seen its mirror in Arwen and Aragorn. In other words, Rosie is not just the anchor for Sam’s journey: she herself is transformed by it. She and her love are all the more miraculous to Sam—and to us—because they are touched by the light and influence of a world beyond home.

In a way, this post has been more about the power of fantasy to beautify the real world than it has been about Rosie Cotton. So let me say this: Rosie herself, despite being given very little time in the actual narrative, is crucial, both to our understanding of Tolkien’s theory of fantasy and to our experience of The Lord of the Rings—“absolutely essential,” in fact. She is not Sam’s reward for a job well done. Rosie is a sacred character: a witness to the transformative power of stories and of imagination; she teaches us that coming “back again” is to be treasured and celebrated all the more because it is the real-life embodiment of the greatest and best of our imaginations. The real world simultaneously inspires and is beautified by our flights in fantasy. And I don’t think we could properly understand this without Rosie to show us.

I’ll end with this: The real world often disappoints us. It is often ugly, cruel, and crushing. Real life is often hard, and perhaps we feel like Frodo, isolated and cut off from the things and people who would comfort us. In times like these, Rosie Cotton is an important reminder that all the good and all the beauty in Middle-earth starts here: in the real world. All we need to do is pay attention.

Megan N. Fontenot is a dedicated Tolkien scholar and fan who is once again amazed by the richness of Tolkien’s imagination. Catch her on Twitter @MeganNFontenot1 and feel free to request a favorite character while you’re there!

Sam Gamgee’s Life After Lord of the Rings Is Beautifully Illustrated by Molly Knox Ostertag

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Lord of the Rings, the Return of the King, Sam at the Grey Havens

The movie of The Return of the King had so many endings, but here’s one more, and it’s worth it. Molly Knox Ostertag (The Witch Boy, Strong Female Protagonist) has illustrated the unpublished Lord of the Rings epilogue in which Samwise Gamgee has a sweet conversation with his daughter. It’s a story about yearning and absence and love, and Ostertag’s beautiful art makes it all the more affecting.

You can see Ostertag’s full comic here, and read Tolkien’s original text here.

Ostertag’s black-and-white art bursts into full color for the elves:

Like Rosie-lass, I am very anxious about Ent-wives and look for them in all the forests. (Merry’s interest in horses didn’t make it into the illustration, but of course he was “very anxious for a pony of his own.”)

If you can read “I am a very rich hobbit” over that lovely image of Sam and his daughter and not be swamped with feelings—about different kinds of adventures and riches, what it means to stay or go, and the many stories that make up a person’s experience—you are made of sterner stuff than I. It’s a gorgeous reminder that there are still full lives to be lived for those who survive their adventures.


12 SFF Reboots of Nostalgic Sitcoms I’d Like to See

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Frasier Halloween episode

As we’ve learned from WandaVision, combining SFF elements and classic sitcom tropes can create delicious televisual chocolate and peanut butter. The rumored revival of classic ’90s sitcom Frasier made me think about how much fun it would be if one of these inevitable reboots did something really cool. Like, why not take some beloved characters and relocate them to a magical realm? Or fling them into SPACE?

Call it TGI-Fantasy. TGI-SFF? Or maybe Must-See-Sci-Fi.

Here you go.

 

Frasier Fantasia

Frasier

Screenshot: NBC

Let’s start with the obvious: Frasier and Niles are centaurs, Daphne is a woodsprite, and Roz is shieldmaiden—and boy, does the writers’ room get a lot of mileage out of the use of the word “maiden”! For our purposes, Seattle is a Lothlórien-esque city, built into the towering redwood forests of the Pacific Northwest. (I’m haunted by the vision of a line drawing of the treescape.)

This show is a ready-made coffeeshop AU, as Frasier and Niles already meet for cappuccinos to discuss the latest wizard intrigue and rumors or war with The Dark Lord Who Is Rising In The East. We’ll never see any of the intrigue or battles, because they have to eat constantly in order to survive. The main conflict of the show is their attempt to balance insatiable hunger with their infamous gourmand sensibilities.

 

Dragons

Screenshot: ABC

It’s just Dinosaurs, but with dragons! Admittedly, the idea of doing a working-class family sitcom with dragons instead of dinosaurs makes just as much sense as it did when it was dinosaurs instead of people, but the puppetry is great, and Baby is just learning how to breathe fire—how adorable is that?

Don’t watch the finale.

 

Living Singularity

Living Single

Screenshot: Fox

Khadijah James is lucky to live with some of her best friends in New New New Brooklyn, managing her retro lifestyle “magazine” FLVR, which is downloaded continuously into subscribers’ brains just like all other information in history. But having access to the accumulated knowledge of the universe doesn’t make it any easier to deal with life in a chaotic space city—it’s a good thing she has her girls! And her enbys, guys, androids, and the GLOWING ALIEN CONSCIOUSNESS who joins the cast in Season Five when it comes to New New New Brooklyn to make it as a DJ.

 

Two Elves, a Dwarf, and a Lembas Place

Two Guys a Girl and a Pizza Place

Screenshot: ABC

A happy-go-lucky elf and his neurotic BFF decide to share an apartment while they figure out what to do with their lives—a big prospect since they’re basically immortal. The two have lots of wacky adventures working together at the titular lembas place—I mean, they have to, a few bites of lembas can sustain a man for days, so they don’t get very many customers and they have to fill the time.

Things get complicated when a comely dwarf moves in upstairs, and both elves develop raging crush on him.

 

Steam

Wings

Screenshot: NBC

Steam is just Wings but with airships instead of planes.

Lowell is an Owlbear in this.

 

The Seinfeld Chronicles

Seinfeld

Screenshot: NBC

Yes, “The Seinfeld Chronicles” was the original title of a proto-version of Seinfeld. (In that version, Kramer is named Kessler! The gang’s female member is a waitress not-named Elaine!) But obviously this version is set on Mars, as four urbane, cynical Martians bicker and offer acidic commentary on the foibles of the last remaining Earthlings who have fled to Mars to escape nuclear devastation back home. Standout episodes include “There Will Come Soft Raincoats”, “The Summer of Parkhill”, and “The Contest (On Mars).”

Over the course of the series you’ll gradually notice that the four main characters fucking suck.

 

3rd Rock From a Different Sun

3rd Rock From the Sun

Screenshot: NBC

A quartet of lovable Earthlings have adventures and find love on the Solomons’ home planet on the Cepheus-Draco border—but, plot twist, one of the Earthlings is John Lithgow playing himself.

Featuring a cameo from Joseph Gordon-Levitt as The Big Giant Head.

 

RoboCarl

Family Matters

Screenshot: ABC

Space-elevator operator Harriette Winslow is facing a tough life as a widow after her husband Carl is gunned down in the line of duty. Even with Carl’s mother moving in to help, it’s going to be tough to raise three kids alone. But when the mysterious n Omni Consumer Products brings Carl back as a cyborg, the Winslows get a second shot at life as a family!

The only catch: the only person who keep Carl’s revived consciousness from being subsumed by OCP’s murderous AI is the Winslow’s nerdy hacker next-door-neighbor…Steve Fucking Urkel.

 

Nanny Ascending

The Nanny

Screenshot: CBS

Fran Fine is a long way from Flushing—and a long way from Earth! The only thing better than watching everyone’s favorite nanny charm a family of Broadway royalty is watching her charm an entire family of space royalty. And if you liked the will they/won’t they of the classic show, you’ll love it when that dynamic is extended across three vaguely evil siblings all vying for the throne—which one will Fran choose? How can she juggle teaching all of them to love while tending to their vats of gelatinous children and her ever-more fabulous outfits?

 

Ned and Stacey

Ned and Stacey

Screenshot: Fox

Aspiring town crier Stacey needs to get out of her suffocating parents’ house. Successful jongleur Ned has a fabulous cottage with a view of a magical forest—but he’s never going to get promoted to bard if he doesn’t have a wife. The obvious solution? One fake relationship, one real marriage, and whole lot of comic misunderstandings!

Ned is an Owlbear in this.

 

SpaceNewsSpaceRadio

NewsRadio

Screenshot: NBC

The greatest workplace comedy since The Mary Tyler Moore Show is even better IN SPACE. The staff of an intergalactic broadcast ship has to deal with forbidden workplace romance, primadonna reporters, taciturn IT robots, and, of course, their eccentric gajillionaire alien overlord/lovable boss.

 

Perfect Rangers

Perfect Strangers

Screenshot: ABC

Shenanigans ensue when a grizzled, war-weary Ranger has his life turned upside-down by his wacky cousin from the East.

***

 

What else should be included in Must See (SFF) TV? Pitch the prime time line-up of your dreams in the comments!

Tolkien’s Orcs: Bolg, Shagrat, and the Maggot-folk of Mordor

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In this scattershot series, we’ll be delving “too greedily and too deep,” prying gems out of the glorious rough that is the extended legendarium of Tolkien’s world. This includes drawing on The Lord of the Rings itself, The Hobbit, The Silmarillion, The Children of Húrin, and the History of Middle-earth (or HoME) books.

Orcs, amirite? The shock troops of the Dark Lord’s armies. The rank-and-file of the bad guys in Middle-earth. Called a “hideous race” bred in “envy and mockery of the Elves.” Everyone’s got feelings about them. Feelings… and differing facts, maybe.

It should be understood that in J.R.R. Tolkien’s legendarium, the nature of Orcs—the spirit and agency of the Orcs—is not consistent all throughout. Were they really Elves once? Are they soulless constructs of evil and therefore irredeemable? Or can they be reformed, if not in life then at least in death? The answer will always depend on where you’re looking or which incarnation of Tolkien’s ideas you prefer. We as readers get to decide which version of Orcs we will imagine, but none of us gets to decide what others choose (nor decide what Tolkien must have “meant” with them beyond what he wrote). If you choose not to decide, you still have made a choice. Take them case by case or book by book. Or orc by orc.

I’m going to tackle this subject in at least two installments. This article looks at Orcs in Tolkien’s best known books, The Hobbit and The Lord of the Rings. Next time, I’ll look further back, and further in, to his larger legendarium via The Silmarillion and the History of Middle-earth series.

I also want to be clear about something. This isn’t a treatise on the origin of orcs as a concept, which Tolkien borrowed, at least in part, from Beowulf and/or the Old English word for ‘demon.’ The idea of a monster-people that epic heroes have to fight predates his works, but I think it’s safe to say that Tolkien was the one to popularize them in modern literature.

Even more important: After this introductory segment, this article is certainly not going to be a discussion of how orcs are portrayed elsewhere in fantasy fiction; that is, where others have taken them. I for one am all for variety. The more reimagined orcs are, the more diffused the concept, the less they have to do with Tolkien—whether they are made good, evil, or wholly independent. Most of the time authors have normalized orcs as the bad guys, but not always. It’s been changing. There are now scads of different versions in fantasy media and games. For example, I understand that the green-skinned Orks of Warhammer 40k are biologically engineered creatures that grow from subterranean fungus. (Which I think sounds actually pretty cool.)

The earliest Dungeons & Dragons orcs (always lowercased, by the way) were quite derivative of Tolkien, and there was nothing redeeming about them. As presented in the 1977 Monster Manual, they are slavers and bullies who “dwell in places where sunlight is dim or non-existent, for they hate the light”; they “are cruel and hate living things in general, but they particularly hate elves and will always attack them.” They had a decidedly porcine appearance, though (which isn’t Tolkienesque).

Flash forward to a depiction I’m very fond of: the orcs of Eberron, a high adventure D&D world of pulp noir and complex political themes that debuted in 2004. There, millennia in the past, orcs used druidic magic to repell and imprison extraplanar (alien) invaders, thereby saving the world, and this was long before humans bulldozed their way onto the scene. In the present day, those orcs’ descendants enjoy proper citizenship in sovereign nations and are respected for their strengths and talents. There’s even a dragonmarked house with blended orc and human blood: House Tharashk! (These houses are D&D’s answer to the megacorp, which can be either powerful and creepy or totally benevolent, depending on the DM’s needs.) Bottom line: Eberron’s orcs and half-orcs are burdened no more by racism than are their human counterparts.

Just look at these half-orc prospectors on a dragonshard dig. They look so happy.

“Dragonmark of Finding” by Craig Spearing / © Wizards of the Coast

I did have the good fortune to invent a half-orc character in my Eberron novel, The Darkwood Mask: She runs a detective agency in Sharn, the City of Towers, and is my protagonist’s mentor. She’s got portraits of her nieces and nephews on her office wall. And so Thuranne Velderan d’Tharashk is nothing at all like the orcs and half-orcs of Middle-earth. Given the demeanor of Saruman’s minions, for example, the Uruk captain named Uglúk—who oversees the capture of Pippin and Merry—probably never had his portrait hanging on the walls of his aunt’s lair in Isengard. He might have stuck a blade in her back, though. Point being, Tolkien’s Orcs are Tolkien’s Orcs, and if you want to gripe about how orcs have been used by other writers after him, it’s best to take it outside…Arda.

In any case, Orcs aren’t just a Third Age scourge. Tolkien’s writings after The Lord of the Rings give us a lot more information about them and their origins in the Elder Days of Middle-earth. And like a lot of his world-building, those writings spin off to different places as he wrestled with his own thoughts. Ultimately, the true nature of Orcs remains inconclusive. Remember that The Silmarillion, Unfinished Tales, and the entirety of the History of Middle-earth series was published after Tolkien’s death by his son Christopher, who took on the task of sorting, interpreting, and curating a ridiculous amount of notes, essays, and stories.

So we have to go into this knowing that there’s no hard answer. But that doesn’t mean we can’t explore the theories about Orcdom and consider Tolkien’s words about them even outside the text. Having said that, let’s start with the most familiar holes in the ground.

“The Great Goblin” by Justin Gerard

 

The Hobbit

In 1937, they are merely goblins, presented side by side with dragons, giants, “and the rescuing of princesses and the unexpected luck of widows’ sons,” all features of the fantastical tales allegedly told by Gandalf at Hobbit parties. Later, Bilbo meets some very real goblins in the Misty Mountains and spends a lot of time running away from them. The word “orc” only comes up once, referring to “bigger” goblins who stoop low to the ground even while running (and can therefore navigate narrow tunnels). Yet we do get the sword Orcrist, which of course means “Goblin-cleaver.”

Gandalf later warns Thorin and Co. to not bother going around Mirkwood the northern long way, because the Grey Mountains up there are “simply stiff with goblins, hobgoblins, and orcs.” Perhaps owing to its fairy tale foundations, the goblins of this book are simplistic foes. They are uniformly wicked, and we don’t learn enough about them to even ponder the plausibility of goblin reform. They trouble Bilbo and his friends both inside and outside the proverbial frying pan, then contend with everyone else in the Battle of the Five Armies. Of the one present goblin given a name—Bolg, their leader—we’re given no particular insight. In fact, Tolkien connects Bolg to Azog, the goblin who killed Thorin’s grandfather, only in a footnote. (We do get the name of another past goblin king: Golfimbul, whose decapitated head led to the game of golf!)

“The Battle of the Five Armies” by Joona Kujanen

Tolkien admitted taking inspiration from the stories of Scottish writer/poet/minister George MacDonald (1824–1905), “except for the soft feet which I never believed in.” In The Princess and the Goblin, goblins’ feet are their weakness. However, in The Hobbit, it’s the sun that goblins cower from, and that, too, sets them well apart from even dwarves, for “it makes their legs wobble and their heads giddy.” Dwarves might live underground like they do, but they’ve got no problem with daylight.

Ultimately, goblins occupy a place in the story as they often did in fairy tales, as bogeymen who trouble everyone they meet.

Goblins do not usually venture very far from their mountains, unless they are driven out and are looking for new homes, or are marching to war… But in those days they sometimes used to go on raids, especially to get food or slaves to work for them.

Beyond this, the only bit of nuance and a look at their larger impact on the big picture is this passage, which includes some of the narrator’s own speculation:

It is not unlikely that they invented some of the machines that have since troubled the world, especially the ingenious devices for killing larger numbers of people at once, for wheels and engines and explosions always delighted them, and also not working with their own hands more than they could help; but in those days and those wild parts they had not advanced (as it is called) so far.

They are credited with mining and tunneling at least “as well as any but the most skilled dwarves,” yet we’re also told goblins much prefer to get prisoners and slaves to do their work for them. As with the makers of bombs, I have always equated this with Tolkien’s contempt for real-world slavers.

 

The Lord of the Rings

In 1954, Tolkien flips his words around and goes with orc more frequently than goblin. The words are used fairly interchangeably, and refer to the same species—if “species” is the right word (it probably isn’t). Throughout The Lord of the Rings, Orcs are unquestionably evil in nature. To be fair, we’re never inside their heads and never get an Orc’s actual point of view. As to how they’re regarded among the Wise or even the vastly experienced, we can look at Aragorn’s words to Sam in Fellowship. In the chapter “Lothlórien,” the ranger’s just stopped the company to assess their wounds following their flight out of Moria.

‘Good luck, Sam!’ he said. ‘Many have received worse than this in payment for the slaying of their first orc.’

A dehumanizing thing to say of Orcs, maybe—like they’re sport, not people, less than human. But then Orcs aren’t human. Or were they in the distant past? It’s one theory Tolkien mulls over in post-Rings compositions, and I’ll talk about that another time. But they’re barely subhuman as presented through most of this book. And Aragorn should know; he’s a Dúnedan and surely one of the best-traveled of Men.

In “The Tower of Cirith Ungol,” Sam wonders if Orcs take poison and foul air as sustenance. Frodo answers:

‘No, they eat and drink, Sam. The Shadow that bred them can only mock, it cannot make: not real new things of its own. I don’t think it gave life to the orcs, it only ruined them and twisted them; and if they are to live at all, they have to live like other living creatures.’

There is only a brief rumor in The Lord of the Rings of Orcs having been Elves originally—for that “fact” we must wait for The Silmarillion—but it’s at least understood that Orcs, if they are living creatures and not mere constructs of evil, were fashioned to be the way they are from…something else once. Gamling of Rohan calls Saruman’s breeds “half-orcs and goblin-men,” so there it seems there is some human stock among the Isengard breeds. An unpleasant but thankfully unexplored fact.

After the Battle of the Hornburg, Théoden spares the lives of all the “hillmen”—that is, the Dunlendings whose “old hatred” Saruman had inflamed and manipulated to join his armies—but no mercy is given to Orcs. Then again, the surviving Orcs from Helm’s Deep are slain by Ents and/or Huorns, not by Men, after they flee into the forest.

Yet after the Battle of the Morannon (the Black Gate) and the final overthrow of Sauron, Orcs are scattered and presumably hunted and destroyed whenever they are found. The Easterlings and the Haradrim, in contrast, are pardoned by King Elessar and no vengeance is pursued against them. We don’t get more—oh, how I wish we got more!—about Aragorn’s past adventures “far into the East and deep into the South, exploring the hearts of Men.” I have to assume that, of all the Men of the North, he’s among the most informed and enlightened. The armies from the South and East that join Mordor in the war are only that: the armies that came. We are not told that all the warriors of Harad and Rhûn departed their lands or that they didn’t don’t have their own struggles against Sauron’s influence. We’re not given much to go on, ultimately.

Back to my point: nowhere do we see Orcs spared, nor the whisper of a clue that they’d even seek parley or pardon. That would be a gamechanger, I think. Yet all evidence depicts them as creatures of strife and cruelty.

Which is not to say that they don’t sometimes sound a lot like ill-tempered humans in real life grumbling about their jobs and their orders. In the chapter “The Uruk-hai,” we see firsthand that differing allegiances exist among Orcs. Pippin listens to the squabbles of his captors: Orcs of Mordor, Uruks of Isengard, and some Northern goblins from Moria. We see the obvious contempt they hold for one another, no less than for their enemies. Uglúk serves the White Hand, while Grishnákh is loyal to the Great Eye. Both have their orders, and some heads are swept off in the dispute about where to take their prisoners.

“Orcs” by Julia Alex

Much later, we get still more insight into Orc personalities in The Return of the King, when Sam eavesdrops on some soldiers on the road. These only serve the Great Eye, because of course now we’re among Mordor’s occupants. First we’ve got Shagrat and Gorbag on the approach to the Tower of Cirith Ungol. They call each other lazy—verbally abusing your coworkers just seems to be Orc Civility 101—each implying the other is avoiding war. You know, the thing that most of the time we’re led to believe is their favorite hobby.

‘Hola! Gorbag! What are you doing up here? Had enough of war already?’
‘Orders, you lubber. And what are you doing, Shagrat? Tired of lurking up there? Thinking of coming down to fight?’

Notice that going off to kill enemies seems as least as desirable to them as staying home. Orcs could happily fight or not fight for hours! Calling out others for shirking one’s duty is a real thing for Orcs, isn’t it? But isn’t it common, especially among ne’er-do-wells, to accuse others of one’s own crimes? Well, in the tower itself, Sam hears these same two Orcs badmouthing not only their comrades but their non-orc superiors—like the Nazgûl, who give Gorbag “the creeps.” They’re paranoid, they’re afraid of being ratted out, and they sure like to throw shade. What else do they like? Oh, yes, defecting again. Shagrat and Gorbag have big dreams if the war wraps up in their favor:

‘But anyway, if it does go well, there should be a lot more room. What d’you say? – if we get a chance, you and me’ll slip off and set up somewhere on our own with a few trusty lads, somewhere where there’s good loot nice and handy, and no big bosses.’

‘Ah!’ said Shagrat. ‘Like old times.’

Later still, Sam and Frodo catch some conversation between two different Orcs in “The Land of Shadow.” One is a small tracker with “wide and snuffling nostrils,” seemingly bred for smelling things; the other is a large, well-armed soldier. Aside from insulting one another, the Orcs speculate and grumble about the war (per usual). When the tracker starts spouting “cursed rebel-talk,” he gets threatened by the fighting-orc. He doesn’t let up, even remarking with glee about the demise of the Witch-king (“They’ve done in Number One, I’ve heard, and I hope it’s true!”), so they turn on each other. It doesn’t take much to get Orcs infighting—something our heroes take advantage of several times throughout the book.

“Orcs” by sandara

Obviously, Orcs are not considered to be part of the Free Peoples—that is, folk who are not under Sauron’s dominion. Independence isn’t even an option for them, even though there was once a huge period of downtime for them. Until Sauron’s final defeat in the year 3019 of the Third Age, there was never a time when at least one Dark Lord wasn’t lurking somewhere on Middle-earth. Since the time of their creation, of their original corruption and breeding, Orcs have always had a master somewhere, even when they don’t know it.

So with that in mind, let’s go back to the beginning, and to Frodo. He is arguably the most outward-facing hobbit of the Shire, gathering what news he can of the outside world. He actually gets most of it from traveling Dwarves. In “The Shadow of the Past,” he learns (and therefore we learn) that the Dark Tower (Barad-dûr) was rebuilt and…

Orcs were multiplying again in the mountains. Trolls were abroad, no longer dull-witted, but cunning and armed with dreadful weapons.

This implies that before Sauron’s return the Orcs weren’t multiplying so much. It’s easy to overlook this fact, as readers. Easy to assume that Orcs have always just been an ongoing problem for everyone all the time. But they haven’t been. They’re not natural denizens of the world who expand and colonize and erect sprawling kingdoms of their own. In the Third Age, they only venture out when the Shadow is returning, even though violence seems to be baked into them.

But wait! Aren’t we told that Aragorn’s dad was slain by Orcs when he was a baby? (And, like, with an arrow in the eye?!) And wasn’t Elrond’s wife tormented by Orcs after getting captured in the Redhorn Pass? What about the Orcs that left the Misty Mountains in The Hobbit, and before that the Orcs that war with Dwarves in Moria? Yes, all true…but all of that comes quite late in the Third Age, relatively speaking. And it’s directly linked to Sauron’s big (and sneaky) comeback.

 

The Appendices of The Lord of the Rings

The textual evidence is that for the better part of two and a half thousand years, Orcs and trolls and other evil monsters weren’t a great nuisance in Middle-earth because the Dark Lord was too weak to stoke them to action. After Sauron is defeated by Elendil and Gil-galad at the tail end of the Second Age, the Dark Lord “passes away.” On top of this apparent demise, Isildur robs him of his trusty Ring, so he’s diminished, impotent, and all but gone for a long time. The good guys actually think he’s donezo. Finis. Caput. An ex–Dark Lord.

Obviously, things don’t just get peachy for Middle-earth in those years of his absence, but my point is that it’s not monsters who are the problem. Mordor’s Orcs were pretty much wiped out by the Last Alliance, so it seems all that remains of them are scattered bands and little mountain-dwelling pockets.

So why, as the Third Age proceeds, does the kingdom of Arnor fracture and fade, why does Gondor itself peak and then decline, and why do the Elf-realms shrink and become estranged from Men? Because the legacy of the Dark Lord(s) continues, even without Sauron’s direct oversight. Easterlings under his influence invade, as do Haradrim and the Corsairs of Umbar—both, incidentally, led by the Black Númenóreans (the crueler coastal descendants of Númenor). Even the Nazgûl eventually return before their master can take full shape again. The Witch-king and his kingdom of Angmar arise. It’s all enough to disquiet Middle-earth for a very long time, yet it’s all essentially Men fighting Men (be they living or dark undead).

“Battle of Fornost” by Joona Kujanen

More than a thousand years after Sauron’s defeat, a bit of orc-mojo returns. From the Tale of Years (Appendix B), we get:

c. 1130 Evil things begin to multiply again. Orcs increase in the Misty Mountains and attack the Dwarves. The Nazgûl reappear.

For a sense of scale, 1130 is about eighteen hundred years before Gandalf gets “good-morninged by Belladonna Took’s son” as if he were a door-to-door button salesman.

And by the way, that term, “evil things”…it never refers to Men or Elves or Dwarves of any stripe. Not even Men who fight under the banner of Mordor are ever called that. It’s a term reserved only for unnatural monsters or spirits of the dead, those either bred or corrupted in some fashion by great powers of evil like Sauron or Morgoth. We’re talking goblins, Orcs, trolls, Wargs, Barrow-wights, giant spiders, dragons, and assorted fell beasts. Balrogs and mysterious abominations like the Watcher in the Water are not even Sauron’s work; they were either bred or became corrupted each in their own time in ancient days. Balrogs, as all Silmarillion readers know, are Maiar spirits that fell to the service of the first Dark Lord in the earliest of days.

So am I saying that in all these centuries before the year 1130, there aren’t any Orcs bothering anyone? Really, not even just one or two Orc-randos chasing some folks around with pointed sticks? Not precisely, but Orcs just aren’t numerous or organized enough to make the top ten list of Things Troubling the Realms of Men during that time. There is no record of them harassing anyone outside of the mountains until after 1300. That’s when the Witch-king founds Angmar (circa 1300), and then starts invading lands of the North. We’re told that he fills out his army of evil Men with Orcs and other fell creatures.

Now, when the Orcs do get that bump in their population, they go after Dwarves because…well, they’re mountain neighbors and those First and Second Age grudges aren’t going to nurse themselves. Now, quite unlike the Easterlings and Haradrim invaders, Orcs hate the sun, so they remain holed up even when they’ve started to increase their numbers. But notice that when Orcs do start to multiply (around 1130, as cited above), it’s not just out of left field. It’s important to see that Orc-baby boom comes after these two entries from a bit earlier in the Tale of Years:

1050 Hyarmendacil conquers the Harad. Gondor reaches the height of its power. About this time a shadow falls on Greenwood, and men begin to call it Mirkwood.

c. 1100 The Wise (the Istari and the chief Eldar) discover that an evil power has made a stronghold at Dol Guldur. It is thought to be one of the Nazgûl.

Except we know it ain’t no Ringwraith: it’s Sauron himself, and it is his clandestine return that rekindles the fires of Orc propagation. And though they may be skirmishing with Dwarves in mountainous halls, Orcs still remain on the down-low for another millennium and then some. That’s a whole lot of time.

So why am I distancing Orcs from center stage so much? Because unlike the other other races of Middle-earth, their population, their reach, and even their malice are intrinsically linked to Sauron. They may reproduce like other living things, but even then, not in significant numbers without the Shadow’s influence. They don’t put in the work of attacking Men and Elves unless they’re (effectively speaking) under orders to do so. Men and Elves take an awful lot of hard work to go up against. So do Dwarves, but at least there’s no need to go marching under the sun to get at them.

We can accuse the good guys in The Lord of the Rings of racism against Orcs (if we want), but even the “evil Men”—those manipulated by Sauron—are not objectively demonic in nature. Not even close. Misguided Men can be reasoned with, and are. When they are denied their generals and the spiritual might of their allies, they surrender. Orcs, however, never seek absolution. And yet…Orcs are a sort of watered-down evil, aren’t they? Engines revved, they’re ready to race, but they’re only at their worst when their boss is at the wheel. When their boss is taking lunch in the back seat, or not even in the danged car, they power down, becoming idle. Something to think about—we’ll get more about this in the next installment of this topic.

But back to “evil things” in the Third Age: Though the Dwarves of the Misty Mountains do have Orc issues from time to time, the kingdom of Khazad-dûm (Moria) has stayed secure all these millennia—since the First Age. They’ve dealt with Orcs since forever, surely they can hold up indefinitely. But then, almost nine hundred years after that “Evil things begin to multiply again” mark, we come inevitably to the year 1980, when all that deep delving in search of mithril finally backfires.

“Oh yeahhhhh!” says the Kool-Aid® Man Balrog.

“The Dwarves Delve Too Deep” by Ted Nasmith

Appendix A reminds us, on the subject of the Balrog, that all “evil things were stirring,” so there may be a correlation between the waking of this Nameless Terror and the Dark Lord’s proximity in western Mirkwood. In true Tolkien fashion, a tiny footnote is all we get about something that could have been rich with more exploration. Referring to the Balrog’s beauty sleep that the Dwarves interrupt, we’re told that it might have been “released from prison; it may well be that it had already been awakened by the malice of Sauron.”

Cool, cool. So Sauron does get a dash of credit for the Balrog’s unexpected wake-up call. (We’ll never will know how tight Durin’s Bane and Sauron were in the break room back at Angband in the First Age.) But the point is, the return of the Shadow can’t have helped. Especially with Orcs already milling about in greater numbers within the mountains. In any case, the calamity of the Nameless Terror leads to the flight of the Dwarves from their favorite kingdom. And this, in turn, gives the Orcs of the Misty Mountains some serious elbow room. Perfect for all that follows.

Even so, except for that one-time stirring of Orcs in the mountains at one point, Middle-earth gets about two thousand four hundred years of Orc-free highs and lows. Even trolls are not seen much; I imagine they become the stuff of legend (except to Elves, who would remember firsthand encounters quite well).

We learn from Appendix B and the Tale of Years that the Istari come onto the scene around the year 1000—approximately fifty years before that darkness started creeping over Mirkwood. (Well played, Valar! It’s almost like you knew what the “reincarnation” period, so to speak, was for an evil Maia whose physical form was “slain” by an Elf-king and a Númenórean king.) We’re also told that the Istari had come “to contest the power of Sauron, and to unite all those who had the will to resist him.” We know that not all the wizards do their job properly, but we do know that at least Mithrandir, P.I., is on the case!

Thus we come to Gandalf the Grey and the Case of the Growing Shadow. In the year 2063 he starts to nose around the fortress of Dol Guldur in Mirkwood and, because Sauron isn’t ready to be revealed—much less confronted by messengers from the Far West—he makes like an Entwife and leaves. He lies low somewhere far away in the East. This is the period of time Appendix B calls the Watchful Peace, and it spans nearly four hundred years. We’re not told as much, but I bet that the Orc population plateaus during this time.

“Wizard Lair” by Rostyslav Zagornov

But then, the Watchful Peace ends and, with Gandalf no longer sniffing around his digs, Sauron “returns with increased strength” to squat once more in Dol Guldur. Twenty years after that, his “evil things” initiatives bear more fruit:

c. 2480 Orcs begin to make secret strongholds in the Misty Mountains so as to bar all the passes into Eriador. Sauron begins to people Moria with his creatures.

Catch that? He peoples Moria. Don’t ask me how, exactly. Sauron is a great spirit of malice, and he was once Morgoth’s greatest servant, so we’re talking ancient power and influence. Orcs may be able to procreate, but left to their own devices as they were for more than a millennium, their mojo doesn’t seem so strong. (A fact somewhat contradicted in later writings; but that’s for another day!) It takes the Shadow of the Dark Lord, which “holds them all in sway,” to surge Orc numbers this late into the Third Age. And it’ll be the same Shadow that will one day leave them scattered and “witless” when it’s been thrown down for good.

But this! The year 2480, this is when orcs make a big comeback, and start showing up in all the stories we’re more familiar with:

  • The capture and torment of Celebrían in the Redhorn Pass.
  • Orcs invading Eriador (i.e. going down into the lands under the open sky), a few times.
  • Orcs invading the Shire (wherein Bandobras Took invents the game of golf with a goblin king’s head).
  • The death of Thrór at the hands of Azog the Orc-chieftain and the official War of the Dwarves and Orcs.
  • Orcs harrassing Rohan.
  • Arador (Aragorn’s grandfather) is killed by trolls, and Arathorn II is killed by Orcs. Baby Aragorn is sent to Rivendell.
  • Orcs surge from the Misty Mountains, led by Bolg of the North, and get involved in the Battle of the Five Armies.

And so on. Orcs are all over the place now! Recall Frodo’s vision at Amon Hen:

But everywhere he looked he saw the signs of war. The Misty Mountains were crawling like anthills: orcs were issuing out of a thousand holes.

Okay, all this talk of Orcs and war and the return of the Shadow means it’s time for a graphic to hang some of these dates on.

This all confirms the rumors Frodo heard back in the Shire. Sauron is not only back but has upped his game, settled into Mordor with his newly renovated Dark Tower. Better still: He no longer faces the same level of opposition he once did at the end of the Second Age. Nothing in the last few thousand years can hold a Morgul-candle to that Last Alliance that took him down the first time (or second time, if we count the downfall of Númenor). Men are divided or under his thumb. Dwarves are isolated in their far-flung mountains (not even in Moria anymore), so no problem there. And Elves? Don’t get me started on how diminished they are!

So yeah, commanders Shagrat and Gorbag may daydream about going off on their own thing “like old times.” Orcs can be crappy servants, but are effective in war due to their large numbers. They serve out of fear, not loyalty, and are fueled by the malice Sauron inspires in them. Still, even they hate him. But if Isildur had dropped the Ring into the Garbage Disposal of Doom as Elrond had advised way back when, there might never have been a Shagrat or a Gorbag. Orcs would have remained few, maybe have died out altogether by 3019. But Isildur didn’t do the thing, the Shadow passed away and came back again, and the War of the Ring happens.

So suppose Shagrat does manage to escape Mordor, against all odds, in the end. Would he really be able muster up some trusty lads and keep doing Orc things on his own? Probably not. Because in “The Field of Cormallen,” when Sauron is defeated, Tolkien uses that insect metaphor one last time, and then some:

As when death smites the swollen brooding thing that inhabits their crawling hill and holds them all in sway, ants will wander witless and purposeless and then feebly die, so the creatures of Sauron, orc or troll or beast spell-enslaved, ran hither and thither mindless; and some slew themselves, or cast themselves in pits or fled wailing back to hide in holes and dark lightless places far from hope.

The Shadow of Sauron

“The Shadow of Sauron” by Ted Nasmith

With the Dark Tower crumbled and its Lord soundly defeated, all the wind goes out of the Orc-balloon. They are donezo. Shagrat’s dreams are surely squashed now. If he is alive, he is no shape to go setting up on his own. Orcs are not of the Free Peoples, and the best the survivors can do is cower, and someday die out. Not like the Haradrim and the Easterlings who turned out for this war. Not like actual human beings.

And the King pardoned the Easterlings that had given themselves up, and sent them away free, and he made peace with the peoples of Harad; and the slaves of Mordor he released and gave to them all the lands about Lake Núrnen to be their own.

In The Lord of the Rings, we really don’t know anything about the spirits of Orcs, or if they even have souls at all (or fëar, a term used elsewhere). Not yet. Tolkien doesn’t explore Orc origins until years after the publication of LotR. But it will gnaw at him—as I’ll discuss next time—this need to make even these monstrous foes “consonant with Christian thought.” But having said that, Tolkien did clearly associate the orcish moral character with real human behavior. Even that of his own countrymen—maybe especially them. In a 1954 letter (#153 in The Letters of J.R.R. Tolkien), he called Orcs “fundamentally a race of ‘rational incarnate’ creatures, though horribly corrupted, if no more so than many Men to be met today.”

 

The ‘orc-crowd’

All right. So I guess it’s time to address the oliphaunt in the room: A lot has been written about Tolkien’s conception of good and evil (including Orcs) in terms of race, and certainly modern-day alt-right and white supremacists have tried to appropriate Tolkien for their own use. I feel secure in stating that he would not have given them the time of day. When a German firm, hoping to publish a translation of The Hobbit, inquired whether he was of Aryan descent, he wrote back to say that particular translation could “go hang” and that he rejected their country’s “wholly pernicious and unscientific race-doctrine” (letter #29 from The Letters of J.R.R. Tolkien). And while I’d agree that this Oxford professor of philology and Medieval literature (born in 1892) wasn’t as sensitive to the concept of race in the way that we at least try to be today, I also believe he was decades ahead of his peers and would measure up better than most of us in present times. Again, if he’d been around to experience our generation.

My opinion is that many fans, critics, and even scholars miss the point Tolkien was making. He saw Orcs not in terms of race or ethnicity but in the loathsome moral behavior of anyone, be they human or mythical monster-men. For example, we knew he had a low opinion of technological progress—for progress’ sake—and particularly of the cutting down of trees. In a correspondence with his son (letter #66), he wished the “‘infernal combustion’ had never been invented” or at least “put to rational uses,” for it fouled the air and spoiled the quiet of his garden. In the chapter “Treebeard,” the old Ent himself says this of Saruman and the Orcs who’ve come into his woods:

‘He and his foul folk are making havoc now. Down on the borders they are felling trees – good trees. Some of the trees they just cut down and leave to rot – orc-mischief that’

Wanton destruction and especially waste go hand-in-hand with “orc-work” in Tolkien’s book. In “The Black Gate Opens,” as Aragorn’s army advances on Sauron’s land, they see the first signs of the occupancy of Orcs, who in daylight have made themselves scarce.

North amid their noisome pits lay the first of the great heaps and hills of slag and broken rock and blasted earth, the vomit of the maggot-folk of Mordor;

But the greatest atrocities of Orcs—the thirst for violence, the cruelty of war—is what Tolkien saw most clearly in his fellow humans. He wrote many letters to his son Christopher during the Second World War, having himself been a veteran of the First and knowing firsthand its horrors. He hated the whole business of the war—not as a pacifist, for he understood why the war existed, but at how it brought out the worst in everyone, leading to so much misery and death. His own side was not excluded from this contempt.

In one letter (#66, in May of 1944)—mind you, this is ten years before the publication of Fellowship—he drew comparisons from his own work, with which Christopher was already familiar. And he didn’t hesitate to use the O-word. Speaking of the manner in which “we,” the English and their allies, were going about the war, he wrote:

For we are attempting to conquer Sauron with the Ring. And we shall (it seems) succeed. But the penalty is, as you will know, to breed new Saurons, and slowly turn Men and Elves into Orcs. Not that in real life things are as clear cut as in a story, and we started out with a great many Orcs on our side . . .

On our side. Here he is not associating orcs with the Axis Powers, but the Allied powers, which would include Great Britain, France, the Soviet Union, the United States, and so on.

Today, when we witness the abhorrent words and actions of people, we like to use pop culture analogies. We’re quick to (rightfully) equate white supremacists with the space Nazis of the Galactic Empire. How easy it is to invoke Palpatine when we see powerful people self-aggrandizing, shunning responsibility, or dodging accountability. It comes naturally to us, with so much media to draw from, to harness the stories we love, stories filled with human truths. I think it’s why so many of us love fiction so much.

My point is, Tolkien did this, too, and well before we did. Considering the historic oral traditions of storytelling, I would argue humans have always done this. Except Tolkien used his own stories. It was very personal, for his own son was enmeshed in the war (specifically, Christopher Tolkien joined Great Britain’s Royal Air Force in 1943). In another letter to Christopher less than a year later (#96 from Letters), when the conflict was nearing its end, he yet mourns for the inhumanity of his own Englishmen—the lack of compassion, of mercy:

The appalling destruction and misery of this war mount hourly: destruction of what should be (indeed is) the common wealth of Europe, and the world, if mankind were not so besotted, wealth the loss of which will affect us all, victors or not. Yet people gloat to hear of the endless lines, 40 miles long, of miserable refugees, women and children pouring West, dying on the way. There seem no bowels of mercy or compassion, no imagination, left in this dark diabolic hour. By which I do not mean that it may not all, in the present situation, mainly (not solely) created by Germany, be necessary and inevitable. But why gloat! We were supposed to have reached a stage of civilization in which it might still be necessary to execute a criminal, but not to gloat, or to hang his wife and child by him while the orc-crowd hooted.

The Orcs in this instance are not the defeated. Not the Nazis, the Fascists, the Empire of Japan; not the collateral refugees. Rather, they are the victors who cried for blood and for sadistic revenge, on any side. It is the moral decay of Men that concerned Tolkien, and we see it embodied in his secondary world in the Orcs, “the maggot-folk of Mordor.”

In May of 1945, Tolkien’s contempt for the Second World War really peaked. In yet another letter to his son (#100), he wrote:

Though in this case, as I know nothing about British or American imperialism in the Far East that does not fill me with regret and disgust, I am afraid I am not even supported by a glimmer of patriotism in this remaining war. I would not subscribe a penny to it, let alone a son, were I a free man.

Is it any wonder that Tolkien’s most famous story sets his “good” people (who are not without evils of their own) against an unequivocal Dark Lord who not only yokes other people with his power and lies (people who might otherwise have been good), but also commands a demonic army that represents the worst in all of us? And yet consider the words of Gandalf at the Council of Elrond:

‘For nothing is evil in the beginning. Even Sauron was not so.’

Of course, there is such a thing as point of no return. Sauron himself had a chance to repent, and nearly did, at the start of the Second Age. He passed it by. What of his creatures, though? Some of which he corrupted and bred—but the first Orcs were not his, whatever they were. More on that next time.

Jeff LaSala highly recommends two particular episodes of The Prancing Pony Podcast: #114 (Race, Tolkien, and Middle-earth) and #192 (Race, Tolkien, and Middle-earth, Revisited) for more discussion and perspectives on the subject. It’s a continuing conversation.

Not All Worldbuilding Needs to Be Meticulous to Be Effective

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map of the known world from 1544, depicting an unfinished North America and missing Australia

The goal of building a fictional world isn’t to build a world. It’s to build a metaphor. And the success of the world you build isn’t measured by how complete or coherent or well-mapped the world is. It’s measured by whether the world and the meaning map onto each other.

Arguments about worldbuilding in SFF don’t generally focus on metaphors. Instead they often focus, somewhat paradoxically, on realism. How can you best make a world that feels as detailed and rich and coherent as the world you’re living in now, complete with impeachment trials, global warming, pandemics, pit bulls, and K-pop? Should you, in the manner of Tolkien, systematically construct every detail of your fantasy realm, with maps and histories and even complete languages? Or should you leave spaces to suggest vast uncharted bits? Maybe sometimes it’s more evocative not to tell your readers what lives on every part of the map, or what the Elvish means. As China Mieville says, “A world is going to be compelling at least as much by what it doesn’t say as what it does. Nothing is more drably undermining of the awe at hugeness that living in a world should provoke than the dutiful ticking off of features on a map.”

But sometimes left out of these discussions is the idea that authors aren’t always trying to create worlds that feel real, or complete, or even particularly huge. To map or not to map isn’t just a question of finding the best cartographic technique to arrive at the same mound of Mordor. The discussion of which way to get where can leave out the many possible Wheres in fiction—and that the journey and the destination are often tied together like the braided colons of the purple space critters of Br’leyeh. Which is very tied together indeed.

Again—and unlike the whimsical purple colons of Br’layah—Tolkien’s Middle-earth is famous for its careful construction. That’s part of the fun of the book. The sense of the combined weight of mystery and history and language all carefully and lovingly delineated isn’t there because Tolkien abstractly believed that all fantasy worlds should start with linguistics. Rather, Tolkien creates a complete world because he is writing about the threat of civilizational collapse. He builds his world up because he wants his readers to be invested in the detail and the craft, so that they feel a sense of loss and fear when all that detail and craft is threatened. Faced with two world wars and an existential threat to the rich history he loved, Tolkien poured his love of a passing era into the creation of his own rich history. Middle-earth holds together so well precisely because it is a reaction, and a response, to a real world which seemed to be coming apart.

Tolkien’s worldbuilding is essentially inspired by nostalgia. It’s fitting that he’s had so many imitators, who draw new maps to return to versions of Middle-earth, just as Tolkien drew his maps of Middle-earth as a way of returning to an England that seemed to be slipping away.

Still, there are plenty of interesting epic fantasy variations and explorations that aren’t bent on re-memorializing the Shire. Jacqueline Carey’s Kushiel’s Dart (2001), for example, is an intricately detailed alternate Europe in which Christianity never gained a foothold as a cultural force. Free of repressive attitudes and doctrines surrounding sex, Carey’s world is one of sensual pleasure and sophistication, though increasingly threatened by callous northern barbarians. Like Tolkien’s world, hers is a monument of completeness. But she switches Tolkien’s terms, so that readers end up fearing the loss of an urbane sophisticated cosmopolis, rather than a sturdy rural England. It’s epic fantasy for Remainers.

Carey and Tolkien show that sweepingly meticulous worldbuilding can sustain different metaphors and meanings in its towers and boudoirs. But sometimes what an author has to say isn’t meticulous, but vague or confusing. Philip K. Dick, for one, is an author who famously wrote about how reality didn’t make any sense by creating worlds that didn’t fit together. His novels and stories are often train wrecks of worldbuilding (or even world wrecks of train building).

In Do Androids Dream of Electric Sheep (1968), for example, Dick imagines a future world in which human-like androids have been developed to do menial tasks. The hero, Deckard, is a bounty hunter employed to retire (i.e., kill) androids when they go rogue. Deckard works closely with the police. But at one point in the book, he is captured by a policeman he doesn’t know, and taken to a completely different fully staffed police station. Deckard lays out the illogic himself:

It makes no sense…. Who are these people? If this place has always existed, why didn’t we know about it? And why don’t they know about us? Two parallel police agencies, he said to himself; ours and this one. But never coming in contact—as far as I know—until now. Or maybe they have, he thought. Maybe this isn’t the first time. Hard to believe, he thought, that this wouldn’t have happened long ago. If this really is a police apparatus here; if it’s what it asserts itself to be.

The book suggests that either all the police are fake androids, or that Deckard himself is an android—explanations which don’t really answer any of the questions Deckard lays out above.

Thematically, though, the fake police station makes perfect (non)sense. Do Androids Dream Of Electric Sheep? is a novel about how the boundaries of who is and isn’t considered human, or part of the community, are essentially arbitrary. It questions the policing of deviance. And how better to do that than to create a world in which the police themselves are an ersatz anomaly? We never learn really what the police station is or why it’s there any more than we ever learn why Gregor Samsa wakes up as a giant insect. The worldbuilding is off, broken, and incomprehensible because the world itself is off, broken, and incomprehensible.

Colson Whitehead’s 2016 novel Underground Railroad is even more explicit in its refusal to cohere. Initially, the novel seems to be in the tradition of antebellum slave narratives. That’s a genre that was devoted to realism, or to what might be called the worldbuilding of verisimilitude. Slave narratives were political documents, intended to convince the public of the truth of the suffering of enslaved people and to inspire them to action for change. Solomon Northup’s memoir Twelve Years a Slave (1853), to cite one example, includes lengthy discussions about the details of cotton farming. To readers now, these details may seem tedious and unnecessary. But at the time they no doubt were meant to demonstrate that Northup really had been held in bondage on a plantation, and that his account was true.

Contemporary depictions of slavery, like the movie 12 Years a Slave, often adopt a similar realist approach. Whitehead, though, does something different. Underground Railroad opens with the protagonist Cora in bondage in Georgia before the Civil War. But when she escapes, the world starts to fracture. She travels to South Carolina, where there is no slavery. Instead, whites sterilize Blacks and spout eugenic ideology that didn’t become popular until the late 19th and early 20th century. In Indiana, whites launch violent attacks on Black communities, as they did in the post-Reconstruction era. Whitehead’s North Carolina has instituted a regime of extermination similar to the Nazis; Cora has to hide out like Anne Frank and other Jewish people hidden by non-Jewish resistors. The spatial map of the United States is turned into a temporal map of injustice. All of history is compressed into a nightmare landscape that is as nonsensical and inescapable as American racism itself.

The point again isn’t that coherent worldbuilding is right or wrong. The point is that the coherence of fiction is part of what that fiction says to the reader. Walter Tevis’ The Hustler (1959) puts you in pool halls grimy and solid enough that you can feel the cue chalk under your fingernail because it’s a story about a guy facing the ugly truths of existence. Joanna Russ’ The Female Man (1975) creates several only partially realized alternate worlds as a way of suggesting the tentative, contingent nature of opposition to patriarchy—and the tentative, contingent nature of patriarchy itself. Terry Pratchett’s Discworld is a flat disc carried on the back of a bunch of turtles, and if you have ever read Terry Pratchett you know why those turtles are at home in his prose.

Some writers imagine carefully crafted realms. Some imagine realms with holes in them, realms that defy logic or seem impossible. But whatever universe you have in your head, there is no place divorced from the meaning of that place. What we say about the world can’t be teased apart from what the world is—we can’t imagine a world without meaning. We live in a land called metaphor. Even its cartography is a symbol.

Thanks to Jeannette Ng, who helped me think through some of these ideas on Twitter.

Noah Berlatsky is the author of Wonder Woman: Bondage and Feminism in the Marston/Peter Comics (Rutgers University Press).

Exploring the People of Middle-earth: Elanor Gamgee

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Portrait of a girl with curly, blond hair holding a yellow flower

In this biweekly series, we’re exploring the evolution of both major and minor figures in Tolkien’s legendarium, tracing the transformations of these characters through drafts and early manuscripts through to the finished work. This week’s installment takes a look at Elanor Gamgee, the eldest daughter of Samwise and Rosie.

Elanor Gamgee, eldest daughter of Sam and Rose, gets little enough exposure in The Lord of the Rings. We know she is born on March 25, the first day of the new year according to the Gondorian calendar, and of course the date of the Fall of Sauron. Her name is Elvish in origin. In fact, Sam and Frodo name her together, after the “sun-star” flower they saw in Lothlórien, because (as Frodo says) “Half the maidchildren in the Shire are called by” flower names. Sam hints that he wanted to name her after someone they met in their travels, but admits that such names are “a bit too grand for daily wear and tear.”

The Gaffer, perhaps alarmed by some of Sam’s outlandish suggestions (or so I like to imagine), insists that it be short and to the point. But Sam himself just wants it to be a beautiful name: for she takes “‘after Rose more than me, luckily,’” and “‘you see, I think she is very beautiful, and is going to be beautifuller still’” (VI.ix.1026).

That is, sadly, all that Tolkien tells us about Elanor in the main text of The Lord of the Rings. The Appendices, thankfully, give us a little more information, so let’s turn there. One footnote to the “Chronology of the Westlands” (Appendix B) describes Elanor thus: “She became known as ‘the Fair’ because of her beauty; many said that she looked more like an elf-maid than a hobbit. She had golden hair, which had been very rare in the Shire; but two others of Samwise’s daughters were also golden-haired, and so were many of the children born at this time” (Appendix B 1096). Later, at age 15, Elanor meets King Aragorn and Queen Arwen for the first time when the royal party comes to Brandywine Bridge, and there Elanor “is made a maid of honour” to the queen (Appendix B 1097).

In the Shire Year 1442, Sam and Rose and Elanor (but apparently not any of the other children?) stay for an entire year in Gondor. It is after this in the timeline that Elanor is first called “the Fair”; it might very well be, then, that she receives this title in Gondor (Appendix B 1097). In her thirtieth year Elanor marries a hobbit (presumably) by the name of Fastred of Greenholm. They name their first child Elfstan Fairbairn, which must have caused quite a stir among good, decent hobbit-folk. Pippin, at Sam’s request, names Fastred “Warden of Westmarch,” and the small family goes to live “at Undertowers on the Tower Hills, where their descendants, the Fairbairns of the Towers, dwelt for many generations” (Appendix B 1097).

The last we hear of Elanor Gamgee Fairbairn is that, after the death of Rose, she sees her father off to the Grey Havens on September 22, 1482. Sam gives her the Red Book, which is cherished by her family, and she in turn cultivates the tradition “that Samwise passed the Towers, and went down to the Grey Havens, and passed over the Sea, last of the Ring-bearers” (Appendix B 1097). As Frodo had foreseen on the eve of his own departure from Middle-earth, Sam was indeed made “solid and whole” again (VI.ix.1026), and was finally reunited with his beloved Mr. Frodo.

All this certainly gives us some sense of who Elanor was. Clearly, Sam and his family didn’t live lives as quietly retired as Frodo on his return; rather, they seem to have celebrated the striking sense of difference that entered their family through Sam’s travels. And while I’m sure their antics must have raised some eyebrows among the steady sort, it seems to have done the Shire a world of good. After all, they did elect Sam Gamgee mayor for seven consecutive terms.

Luckily for us, we aren’t left solely with this scanty information about Elanor. She gets a front-and-center role in Tolkien’s drafts of an unpublished epilogue to The Lord of the Rings that tells us quite a bit about how Tolkien himself envisioned her. We should remember, before embarking on such a quest, that the epilogues can’t strictly be considered canon since they weren’t published by Tolkien himself, and so be careful with our judgements. Regardless, the picture of Elanor in those drafts is relatively stable, and Tolkien himself desperately wished that he could have added “something on Samwise and Elanor” (Sauron Defeated, hereafter SD, 133), so we might just be able to learn something to our advantage.

Indeed, the first draft of what we now call the epilogue was meant to be part of the main text itself, continuing straight on from Sam’s words, “Well, I’m back,” that now bring the story to a close (SD 114). In this draft, Elanor, sometimes called Ellie, is 15 and is questioning her father about the flower for which she was named. She has a great longing to see it, telling her dad (and for readers fondly recalling Sam’s own wishes in the early pages of The Lord of the Rings), “‘I want to see Elves, dad, and I want to see my own flower’” (SD 115). Sam assures her that one day she might.

It also comes out in this draft (which is staged as a sort of question-and-answer session between Sam and his children, in order to let readers know what became of the other characters), that Sam is teaching his children to read. Elanor, it seems, can read already, for she makes comments about the letter that has come from King Elessar.

After this version of the text, the story transformed slightly, and did in fact become an “Epilogue” in name (and it’s this text which has been newly illustrated by artist Molly Knox Ostertag). While the first draft is in many ways the same as the one we just discussed, the second draft of the Epilogue changes dramatically. Here, Sam and Elanor are alone in his study; it is Elanor’s birthday, and earlier in the evening Sam finished reading the Red Book to the family yet again (SD 122). Elanor mentions that she has heard the entirety of the Red Book three separate times (SD 122). Sam shows her a sheet of paper which she says “looks like Questions and Answers,” and indeed it is.

Here, we get a slightly more clumsy version of what felt more natural in the first version: an explanation of what happened to other characters, and answers to remaining questions the reader might have. Tolkien, I think, understood this at the time, for he puts words in Sam’s mouth that probably reflected his own concerns: “‘It isn’t fit to go in the Book like that,’” he sighs. “‘It isn’t a bit like the story as Mr. Frodo wrote it. But I shall have to make a chapter or two in proper style, somehow” (SD 123-124).

In this draft, however, Elanor as a character is more fleshed out, and we see both her own natural understanding and her fondness for her father. Already, Elanor has a sense of the changing world outside, though at this point she has seen little enough of it. She worries that she won’t ever get to see Elves or her flower: “‘I was afraid they were all sailing away, Sam-dad. Then soon there would be none here; and then everywhere would be just places, and […] the light would have faded’” (SD 124). Grim thoughts for a young hobbit-child, but Sam sadly agrees that she sees things correctly. But, he adds, Elanor herself carries some of that light, and so it won’t ever go out completely so long as he has her around.

It is at this point that Elanor, thoughtful and quiet, admits to finally understanding the pain that Celeborn must have felt when he lost Galadriel—and Sam, when he lost Frodo. She seems here to understand her father quite well—they clearly have a special relationship, illustrated both by their pet names for each other (Sam-dad and Elanorellë), and by Elanor’s deep empathy for her father’s lingering sadness. The moment is touching, and Sam, greatly moved, reveals a secret that he has “never told before to no one, nor put in the Book yet” (SD 125): Frodo promised that one day, Sam himself would cross the Sea. “‘I can wait,’” Sam says. “‘I think maybe we haven’t said farewell for good’” (SD 125). Elanor, in a flash of insight, responds gently: “‘And when you’re tired, you will go, Sam-dad. […] Then I shall go with you’” (SD 125). Sam is less certain, but he what he tells her is fascinating: “‘The choice of Lúthien and Arwen comes to many, Elanorellë, or something like it; and it isn’t wise to choose before the time’” (SD 125).

It is, of course, impossible to know exactly what Sam (or Tolkien) meant by this, especially since the Epilogue ends soon after, and the “Chronology of the Westlands” tells us nothing more about this idea in particular. It could simply be evidence of Sam’s wishful thinking—a faint hope that he wouldn’t have to ever be parted from his daughter.

Whatever Sam meant, it is clear that Elanor is more elvish than any hobbit child has a right to be. In this, Elanor seems to me to be a sort of promise: Sam, and Middle-earth itself, have not lost the Elves entirely, though their physical forms are gone from the world’s immediate circle. Tolkien’s Elves are, after all, very much tied to the earth and its fate. And, as The Hobbit insists, “Still elves they were and remain, and that is Good People” (168)—which suggests to me that we might still get a glimpse of elvish power in the goodness and kindness of those around us.

Elanor, then, takes after her mother in more ways than one: even more vividly than Rosie, she demonstrates the wonder of everyday miracles. She embodies the gifts that fantasy and imagination offer us: a transformed, renewed vision of the good in our own world. Elanor reminds us to take the wonder of Middle-earth with us when we go, and to let it grace our interactions and restore our hope.

Megan N. Fontenot is a dedicated Tolkien scholar and fan who is once again amazed by the richness of Tolkien’s imagination. Catch her on Twitter @MeganNFontenot1 and feel free to request a favorite character while you’re there!

The Mother Goddess of Middle-earth

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Portrait of a woman framed by fruits and flowers

In this biweekly series, we’re exploring the evolution of both major and minor figures in Tolkien’s legendarium, tracing the transformations of these characters through drafts and early manuscripts through to the finished work. This week’s installment looks at Yavanna Kementári, one of the most powerful of the Valar, known as the Lady of the Wide Earth.

Yavanna is an artist. Among the Valar, most of whom are also artists, she stands out for her compassionate representation of the voiceless, her commitment to peaceful intercession, and her willingness to keep in mind (literally, as we will see) the bodies of even the smallest and most overlooked in Arda. She is called Kementari, Queen of the Earth, and, in earlier drafts, Palurien and Bladorwen, which signifies “the wide earth” or “Mother Earth” (The Lays of Beleriand, hereafter LB, 196). Thus in the cosmology and mythology of Arda she represents the earth goddess, a role which is intimately related to her activity and artistry. She might also be described as a fertility goddess; this role similarly draws together her identities of mother and artist—she is a (pro)creator. She brings forth life.

The Silmarillion declares that “in reverence Yavanna is next to Varda among the Queens of the Valar” (15), but despite this, she never receives the kinds of invocations that are consistently offered to the Lady of the Stars. Her influence, if more widespread, is quieter; it’s intrinsic to the very makeup of Middle-earth and its peoples. It’s present without always being felt, rooted in, running deep. From her Arda receives its succor.

What was Yavanna’s role in the creation of Arda? Though she is not as powerful as (for example) Varda, Yavanna takes a more personal, vested interest in the birth of the world. All living things are under her protection; the flora of Arda comes from seeds carefully devised and long-contemplated by the Lady of the Wide Earth; flowers and birds awaited the time of their appearing in her embrace (Sil 23). She also gives Ulmo spells to “people” the waters (BLT1 113). Yavanna is a goddess who delights in life, in plenty.

She also sings the dwelling of the gods into its fruitfulness and beauty, and here we see a portion of her power revealed. The creative power of her music is profound. In that hour, “silence was over all the world […], nor was there any other sound save [her] slow chanting” (The Lost Road and Other Writings, hereafter LR, 230). The gods themselves sit silent and unmoving as Kementári sings, and from the fruitfulness of her song are born Laurelin and Telperion, the two great Trees of Valinor, from whose light Fëanor will later make the Silmarils. “Of all things which Yavanna made they have the most renown,” the narrator of The Silmarillion explains, “and about their fate all the tales of the Elder Days are woven” (26).

Yavanna is also one of the Aratar, the High Ones of Arda, equal in majesty with Manwë and Varda themselves (Sil 17). In her womanly form she is described as “tall, and robed in green,” but this is not the only body Yavanna takes up. As the Mother and as the protector of fruitfulness, Yavanna privileges embodiment as an important aspect of life. Thus “at times she takes other shapes. Some there are who have seen her standing like a tree under heaven, crowned with the Sun; and from all its branches there spilled a golden dew upon the barren earth, and it grew green with corn” (Sil 15). Her commitment to Middle-earth is a fleshy one; she does not speak for the precarity of the world without herself wearing its powerfully fruitful yet unprotected forms.

And, while the Valar hoarded light to themselves and withdrew from the pain of the world they had helped bring into Being, Yavanna was one of the few who still walked in the outer darkness, waging war against Melkor in her own way and returning to castigate the other Powers for their neglect (The Book of Lost Tales I, hereafter BLT1, 93, 104). In fact, Yavanna is responsible for rousing the Valar from their lethargy and prompting them to take action against Melkor and his destruction:

“Ye mighty of Arda, the Vision of Ilúvatar was brief and soon taken away, so that maybe we cannot guess within a narrow count of days the hour appointed. Yet be sure of this: the hour approaches, and within this age our hope shall be revealed, and the Children shall awake. Shall we then leave the lands of their dwelling desolate and full of evil? Shall they walk in darkness while we have light?” (Sil 37)

Yavanna also takes the stand as the representative of the earth during the trial of Melkor—she brings the very real, physical wounds of the earth to the attention of the absent Powers and calls them to account. Manwë himself is moved by her powerful appeal, but regardless Yavanna still finds Melkor’s sentence to be too merciful, and weeps for the mistreatment of the world she loves (BLT1 112). In this situation in particular Yavanna reveals two important aspects of her person: intercession and lament.

The tales of the Elder Days consistently reference Yavanna’s concern for the hurts of the world. She censures the Valar for forgetting Middle-earth more than once (BLT1 201), specifically calling them out for their betrayal of Ilúvatar’s commands: according to the Later Annals of Valinor, she “often reproached the Valar for their neglected stewardship” (LR 123) and was “ill-content that [Middle-earth] was forsaken” by her kindred (LR 232). Yavanna’s disappointment drives her to an even deeper devotion to the earth, and she rides out with the gods to hunt Melkor and bring him to justice for his crimes (BLT1 198). Her censure also sparks remorse in Varda, and so Elbereth first makes the stars to dispel the darkness of night over Middle-earth (LR 123).

All this is not the extent of Yavanna’s work, however. In “The Coming of the Valar” Yavanna is referred to as “the mother of magic” and is a “web-weaver” (BLT1 74). This is significant because, as we see with other weavers (Míriel is an important one), weaving is all about spells—powerful stories that are intertwined with the very fates of Arda. Yavanna is, in more ways than one, a story-teller whose tales are bodied forth as physical objects.

Another instance of that phenomenon will make this power of hers clearer. When her partner, Aulë, makes a misstep in creating the dwarves and yet wins their lives by submitting to the authority of Ilúvatar, Yavanna becomes concerned. While she respects Aulë’s craftsmanship, she fears for the lives and bodies she herself has brought forth in Middle-earth, and so brings her anxieties before Manwë, begging for intervention. Manwë hesitates, characteristically, and pushes Yavanna to defend her concern. In her response is, I think, the heart of Tolkien’s own view of the earth.

“All have their worth,” said Yavanna, “and each contributes to the worth of the others. But the kelvar can flee or defend themselves, whereas the olvar that grow cannot. And among these I hold trees dear. Long in the growing, swift shall they be in the felling, and unless they pay toll with fruit upon bough little mourned in their passing. So I see in my thought. Would that the trees might speak on behalf of all things that have roots, and punish those that wrong them!” (Sil 34)

From this conversation come two of Middle-earth’s greatest protectors: Eagles and Ents; and thus does Yavanna indirectly secure many great victories for the foes of Morgoth throughout the ages of Middle-earth. Furthermore, the Ents literally embody stories: their names are “growing all the time,” as Treebeard tells Merry and Pippin. “Real names tell you the story of the things they belong to” he explains (LotR 465). Like Yavanna’s weaving and Míriel’s tapestries, Fangorn stands in as the physical marker for the stories of the trees he represents and in that regard his significance as the offspring of Yavanna should not be overlooked.

But again, Yavanna’s influence doesn’t end there. Two great queens of elven realms, Melian and Galadriel, are directly related to the great Mother—Melian as her kin and Galadriel as her pupil (LR 241, Unfinished Tales 247). In fact, it is Yavanna who devises the original Elessar, the green stone passed down to Aragorn in The Lord of the Rings, and she sends it to Galadriel as a particular gift for the enrichment and protection of Lothlórien (UT 262). Yavanna also has a hand in the commissioning of the Istari, the wizards. Olórin (Gandalf) is the messenger who brings the Elessar to Galadriel, and Radagast (the wizard with a special relationship to the flora and fauna of the world) is sent only because of the appeals and intervention of Yavanna (UT 410).

Finally, Yavanna is, according to long tradition, responsible for the bread of queens, lembas, that provides nourishment for those in need and for those suffering hardships on a long road (The Peoples of Middle-earth, hereafter PM, 403). This bread is considered by many to be one of the great sacramental symbols in Tolkien’s creation: a representation of the Catholic Eucharist. Whether we wish to hold to that interpretation or not, it is interesting to note that the term Eucharist comes from a Greek compound meaning “good gift.” In Tolkien’s world this good gift comes from the Lady of the Earth, Yavanna, whose name is built on a root element related to the word for giving or giver (LR 356). She is, above all, a giver of good gifts.

In her roles as mother, protector, and artist “she is the lover of all things that grow in the earth, and all their countless forms she holds in her mind, from the trees like towers in forests long ago to the moss upon stones or the small and secret things in the mould” (Sil 15). Her response to and care for the earth does not arise from an attitude of possession or a desire for dominance. Instead, it is born of her commitment to a sort of embodied ethical response to living things as worthy of love and care. “All have their worth […] and each contributes to the worth of others” is Yavanna’s moral compass, but at the same time she is particularly aware of and dedicated to the vulnerable, the forsaken, the cast down. She’s compassionate and merciful, but she’s also not afraid of taking to task those whose neglect and selfishness bring harm to the earth. I would suggest that she is the most ethically responsible and sensitive of the Valar, and for this reason holds a special place in Tolkien’s legendarium, even when she herself is overlooked by the inhabitants of the world she loves. But her work doesn’t require her to be center stage. Yavanna is content to work in the shadows, unafraid of venturing into the darkness to bring nourishment to those she loves. She is indeed a gift-giver, and as such, a beautiful example of an unselfish, active defense of life, creativity, and fruitfulness.

Originally published October 2019.

Megan N. Fontenot is a dedicated Tolkien scholar and fan who enjoys studying the women of Middle-earth. Catch her on Twitter @MeganNFontenot1 and feel free to request a favorite character in the comments!

Gawyn and Éowyn: Exploring the Parallels Between Two Great Epic Fantasy Characters

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Eowyn (Miranda Otto) weilds a sword in The Lord of the Rings: The Two Towers

I’m here to discuss everyone’s least favorite character in The Wheel of Time—Gawyn Trakand. While Gawyn is almost universally hated by fans, in many ways he is one of the most interesting, flawed characters that Robert Jordan brought to life in the pages of his epic tale. And in my current reread of The Wheel of Time, undertaken in anticipation of the upcoming Amazon TV series, something new about Gawyn occurred to me… I realized that this heavily disliked character (written as a parallel of the famous Sir Gawain of Arthurian legend) mirrors in many ways another iconic fantasy character that most people love and admire: J.R.R. Tolkien’s Éowyn.

[Spoilers for The Wheel of Time (and The Lord of the Rings, for that matter) below.]

It isn’t just the similarity in names, of course—both characters are born to nobility, but in positions where they will never rule. Éowyn is constrained to her role as a caregiver due to her gender in a patriarchal society. She is cold and unhappy and spends her days dreaming of the valor by steel that her male relatives earn as Riders of Rohan. Gawyn is destined to become the First Prince of the Sword for his sister, Elayne, who will one day become Queen of Andor, where the ruling line is matriarchal. Thus, both Gawyn and Éowyn are overshadowed by their relatives due to gender and the limits it places on their roles in society.

Both characters also desire people who embody the qualities and status that they themselves covet. When Éowyn meets Aragorn, she is drawn to him, even believes herself to be falling in love with him. Tolkien writes, “And she was now suddenly aware of him: tall heir of kings, wise with many winters, greycloaked, hiding a power that yet she felt.” Aragorn comes from a line of great kings and commands the power and respect from men that Éowyn herself can only wish for. When Aragorn prepares to ride for the Paths of the Dead, Éowyn asks if she might join him. When he tells her that she must stay behind, she answers: “I am of the House of Eorl and not a serving-woman. I can ride and wield blade, and I do not fear either pain or death.” When he asks what she fears, Éowyn answers that she fears a cage—“to stay behind bars until use and old age accept them, and all chance of doing great deeds is gone beyond recall or desire.”

Gawyn spends the majority of The Wheel of Time trying to decide where his allegiance truly lies. In the same way that Éowyn doesn’t want to be pinned down in her life and actions, Gawyn struggles to stay with one side before committing to Egwene al’Vere. During the splitting of the White Tower, Gawyn turns against the man who trained him, Hammar; although this results in Gawyn becoming a Blademaster and leader of the Younglings, an impromptu military band, his importance is short-lived. The Amyrlin that he dedicated himself to and has known since childhood sends him and the Younglings on a mission that is conveniently meant to kill them. And while Gawyn has fallen from being a prince to someone viewed as disposable, important events have been unfolding in the world around him, centered around a farmboy he once met. Eventually, Gawyn betrays the Younglings by leaving them behind, without saying a word to them, to go on a mission to save Egwene—thinking that in doing so, he can finally become the hero he aspires to be.

Gawyn first becomes infatuated with Egwene when she is training as a novice in the White Tower, with no rank. He struggles to see her as powerful and capable of making her own decisions, believing that she has been manipulated by Siuan Sanche and Rand al’Thor. Eventually, Egwene becomes the Amyrlin Seat and is one of the strongest Aes Sedai. Gawyn has trouble reconciling Egwene’s power and dominant role with how directionless and useless he feels in comparison. As Brandon Sanderson notes, “Perhaps Gawyn resisted Egwene’s demands because he wanted to lead, to be the one who accomplished her heroic acts. If he became her Warder, he would have to step aside and help her change the world.” Gawyn longs for greatness on his own terms but resigns himself to a supporting role, becoming Egwene’s Warder and husband. “I had to learn to surrender,” he tells Egwene.

In The Lord of the Rings, after Aragorn stops Éowyn from riding into battle, she does so anyway in secret, disguising herself as a man named Dernhelm and fighting in Théoden’s escort. Similarly, when the Last Battle arrives, Gawyn also finds that he cannot control his desire to take part in the fight that is raging all around him. Rather than stay by his wife’s side, Gawyn uses the Bloodknife ter’angreal to hide himself in order to win glory in his own right. He tries to convince himself that he is doing so for the greater good: “Once, perhaps, he would have done this for the pride of battle… That was not his heart now.” Gawyn goes on to think to himself that “he had the chance to change things, to really matter. He did it for Andor, for Egwene, for the world itself.” But his actions are undertaken under the cloak of secrecy, motivated by the desire to finally get the recognition he feels he truly deserves.

Both Éowyn and Gawyn engage in combat with characters that are second-in-command to the main evil power in their respective stories. Éowyn manages to kill the Witch-king of Angmar with the help of her friend and companion, Merry. She does so after her uncle, the King of Rohan, is mortally injured. She bravely challenges the Witch-king directly, facing him even with her shield splintered and arm broken—removing her helmet and revealing her true identity, she drives her sword through the Witch-king’s face after Merry uses his dagger from the Barrow-downs to slash the Nazgûl’s knee, distracting him in a crucial moment.

In contrast, Gawyn leaves behind his companions to track the Forsaken Demandred, who generals the Sharan forces in the Last Battle. The Bloodknife rings allow Gawyn to hide in the shadows. Instead of facing Demandred in battle head-on, Gawyn sneaks up behind him, attempting an assassination, which fails.

Though severely injured, Éowyn recovers and lives on past the Battle of the Pelennor Fields. Her depression isn’t lifted by the feat of killing the Nazgûl and all of the renown she has earned through her courageous deeds. As she heals, however, she meets falls in love with Faramir and eventually realizes that she doesn’t need to be a warrior or queen to attain happiness, embracing a new role as a healer. Tolkien writes, “Then the heart of Éowyn changed, or else at last she understood it.”

Gawyn doesn’t get the chance to change. He is mortally wounded in his confrontation with Demandred, and his actions cause not only his own death, but also factor in the death of the person he loves most. As Egwene’s Warder, Gawyn is given benefits that aid him in battle such as increased resistance to injury, fatigue, hunger, and thirst, along with the ability to sense Shadowspawn. The bond also allows the Aes Sedai and Warder to feel the other’s emotions. However, the bond is not without drawbacks. Should the Aes Sedai die, the Warder almost always dies shortly afterwards, as he will lose the will to live and often die pursuing vengeance. If the Warder dies, the Aes Sedai will feel the death through the bond, losing control of her emotions and entering a deep grief. As a Warder, Gawyn knows the effects that his potential death would have upon his wife and, as a result, on the other channelers she commands during The Last Battle. While the death of a Warder does not kill an Aes Sedai in the same way a Warder is impacted when the reverse happens, the resulting emotions would still be amplified more than usual and would likely impair Egwene’s judgement.

While Gawyn believes that he is doing his part to serve others, in actuality he fails to consider the results of his actions upon others. When he dies, the broken Warder bond causes Egwene to be consumed with rage. Her resulting recklessness is part of why she draws too much of the Power, killing not only Mazrim Taim and the Sharans, but also herself. Even if Gawyn had not died in battle, the Bloodknife rings would eventually have killed him, a fact he was aware of previously—he had been told that the users of the Bloodknives fight most ruthlessly because they are already guaranteed death by poison. Gawyn’s reckless actions and selfishness lead him to tragedy.

Both Éowyn and Gawyn are tragic characters, struggling to achieve the level of valor and recognition held by those closest to them, their family members and loved ones, impatiently waiting for their chance to prove themselves. Gawyn is a Blademaster and his short life is spent centered on conflict. However, we get a brief glimpse at one point in the narrative indicating that this isn’t what he truly wanted out of life. In Lord of Chaos, when Egwene and Gawyn steal moments together at an inn in Cairhien, he beckons her to run away with him: “We will both leave it all behind,” he says. “I have a small estate south of Whitebridge, with a vineyard and a village, so far into the country that the sun rises two days late. The world will hardly touch us there.”

Had Gawyn made different choices, he could have lived, like Éowyn, to see the peace after the final battle. Perhaps Gawyn would have also realized that the life of a warrior was never really right for him. Gawyn spent most of his short life trying to understand himself, but failed to ever grasp what his deeper values truly were, and where his priorities should lie. Had Gawyn gained enough insight to understand the cause of his motivations, he might have lived, and found contentment…

Both Gawyn and Éowyn grow up convinced that they will only find glory and fulfillment in combat and performing famously heroic deeds, while in reality their paths to happiness lay elsewhere. Éowyn is able to survive her confrontation with evil and grow to know her own heart. She finally achieves an inward peace with who she is, no longer needing or desiring outward glory. Gawyn doesn’t earn the same opportunity—he doesn’t live to see a world without war and become something other than a Blademaster. Rather than embracing true bravery and companionship in his moment of crisis like Éowyn, he exhibits only a stubborn recklessness, which leads to his death. This behavior, this essential flaw, is what leads so many readers and fans of The Wheel of Time to despise Gawyn, while Éowyn remains an admired figure in epic fantasy. It makes sense…and yet it’s still possible to find some sympathy for Gawyn, who couldn’t find himself or reach contentment, and though misguided, played out his part in the Pattern, woven as the Wheel wills.

Originally published in May 2020.

Brittany is a journalist from Milwaukee, Wisconsin. She picked up her first Wheel of Time book at a book fair in elementary school and has been hooked on fantasy novels since.

Amazon Taps Doctor Who and Wheel of Time Director Wayne Che Yip For Its Lord of the Rings series

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Lord of the Rings on Amazon insignia

Amazon’s as-of-yet untitled Middle-earth-set series is currently in production, and the company has announced a new director joining the project: Wayne Che Yip, who’s worked on a number of genre shows, including Deadly Class, Doctor Who (“Resolution“), Doom Patrol, Hunters, Into the Badlands, Preacher, Channel 4’s Utopia, and Amazon’s forthcoming adaptation of The Wheel of Time (episodes 3 and 4 to be precise).

The streaming service announced that it had picked up the rights for a project set in J.R.R. Tolkien’s fantasy world, and a recently-released synopsis for the show officially revealed that it’ll be set in the distant past, and is expected to follow the rise of a key evil figure in the mythology: Sauron, setting up the events of J.R.R. Tolkien’s Lord of the Rings.

Ahead of production, Amazon renewed the series for a second season, and has announced a huge cast of characters that’ll be featured in the show. The series snagged Jurassic World: Fallen Kingdom director J.A. Bayona to helm the first two episodes of the series, and it looks as though Yip will follow up with four of the first season’s installments.

In a statement, Yip said that it was “a true honor to be invited into the world of Tolkien by J.D. & Patrick and Amazon Studios. Every day I look forward to working with the incredible team here in New Zealand as we humbly contribute to the legacy of the greatest stories ever told.” 

There’s no release date for the series as of yet, but with the series currently in production in New Zealand, it seems as though it’ll be arriving on our screens before too much longer.


A New Edition of Lord of the Rings Will Feature J.R.R. Tolkien’s Artwork For the First Time

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There are tons of editions of J.R.R. Tolkien’s Lord of the Rings trilogy featuring fantastic artwork by the likes of artists like Alan Lee, but there’s never been one that’s featured the artwork of the author himself, until now.

Houghton Mifflin Harcourt and HarperColllins announced today that a special new edition of Tolkien’s fantasy trilogy will be released later this year, and that it’ll feature some of the art that Tolkien created.

According to the AP, the omnibus edition will be released on October 19th, and while Tolkien’s art has long been associated with The Hobbit, this’ll be the first time his work will be paired up for The Lord of the Rings (with the exception of his map of Middle-earth, and the illustrations of the Doors of Durin and Balin’s Tomb in Fellowship of the Ring).

Alison Flood has some additional details at The Guardian, noting that Tolkien was extremely modest about his artistic abilities, and that while writing The Lord of the Rings, told his publisher that “I should have no time or energy for illustration. I never could draw, and the half-baked intimations of it seem wholly to have left me. A map (very necessary) would be all I could do.”

Despite that reservation, Tolkien did draw a number of scenes from the story. Those illustrations have been sporadically published over the years, but in 2018, they were the center of a major exhibition and accompanying book: Tolkien: Maker of Middle-earth, which showcases not only his letters, pictures and other ephemera, but also his artwork, including a selection of images from Lord of the Rings.

That makes this particular edition special is that while Tolkien produced quite a bit of art, his vision has rarely defined the trilogy as a whole — that’s come down to everything from artists like Lee and others, movies like The Lord of the Rings and The Hobbit trilogies. Having Tolkien’s art embedded in the book will give dedicated Tolkien fans not only a nice-looking edition, but a chance to see Tolkien’s Middle-earth as he envisioned it.

The book omnibus edition will come in a couple of formats: there’ll be the regular edition, which will feature 30 of Tolkien’s illustrations, as well as a special, limited edition featuring a slipcase and some fold-out maps.

Marquette University Is Looking for Oral Histories From J.R.R. Tolkien Fans

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Lord of the Rings covers

J.R.R. Tolkien’s epic fantasy novels The Hobbit and The Lord of the Rings have been enormously influential for millions of fans around the world for decades. Marquette University, home to the J.R.R. Tolkien archives, is looking to build a catalog of oral histories about the late author’s influence from fans of his work.

Archivist William Fliss launched the J.R.R. Tolkien Fandom Oral History Collection (h/t to LitHub for spotting it), with the goal of collecting 6000 interviews (one for each of the Riders of Rohan) from fans about how they first encountered Tolkien’s works, and what his stories means to fans. The overall goal of the project is to document the state of Tolkien fandom, from casual fans to academics. And if you’re a Tolkien fan, you can contribute!

Fans who sign up for an interview appointment will be asked three questions, and will have three minutes to answer them:

  • When did you first encounter the works of J. R. R. Tolkien?
  • Why are you a Tolkien fan?
  • What has he meant to you?

Already, Fliss has collected nearly 500 interviews dating back to 2017, all of which you can listen to on the university’s site, and they make for some interesting listening: individual stories from folks of all ages and locations about how they encountered Tolkien’s stories, and what they meant to them.

The effort looks to be a fascinating and important initiative, one that will provide researchers, writers, and fans with some extremely detailed accounts of the participants’ fandom and passion for Middle-earth. Given the enduring popularity of Tolkien’s books, its associated adaptations, spinoffs, and influenced works, it’s a topic that will certainly merit study well down the road.

Peter Jackson’s The Fellowship of the Ring Turned Tolkien into a Pop Culture Behemoth

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Frodo (Elijah Wood) in Peter Jackson's The Lord of the Rings: The Fellowship of the Ring

“How do you know about Gandalf?” Sam Wilson asks Bucky Barnes in the second episode of the Disney+ series The Falcon and the Winter Soldier, after Bucky mocks Sam for talking about fighting wizards. Bucky snaps back that he read The Hobbit when it was first published in 1937. It’s a fun character moment, one that sparked some debate on social media about whether or not a guy like Bucky Barnes would have read a kid’s book, but what’s interesting to me about the scene is the source of Sam’s confusion. Why would he assume Bucky, a contemporary of J.R.R. Tolkien, wouldn’t know about Gandalf? It’s because Sam thinks of The Lord of the Rings as a 21st-century cultural phenomenon, one that a man out of time like Bucky would need to catch up on.

And the thing is, Sam’s not wrong…

Tolkien’s works and world have cast an outsized shadow over fantasy for decades, spawning countless imitations and making halflings, orcs, dwarves, and elves mainstays of fantasy literature and games like Dungeons and Dragons. Other popular fantasies, like the Harry Potter series and A Song of Ice and Fire, proudly tout their Tolkien influences. The books enjoyed a countercultural cool starting in the 1970s, one amplified by allusions threaded through Led Zeppelin songs and Ralph Bakshi’s trippy 1978 animated movie. But for all its widespread popularity and influence, Middle-earth never quite achieved the mainstream status that other genre stories like Star Wars did—until 2001.

Peter Jackson’s The Lord of the Rings movie trilogy, starting with 2001’s The Fellowship of the Ring, changed the cinematic landscape forever. In my rewatch of Rankin/Bass’s The Hobbit TV movie, I imagined a little girl (let’s call her Elanor, after Samwise’s daughter) in 1977 witnessing mass nerd culture start to take shape with the appearance of The Hobbit movie and Star Wars in the same year. Fast forward to 2001, and the adult Elanor now takes her own young children to see Fellowship of the Ring (and the first Harry Potter movie). She now stands excitedly, but unknowingly, at the dawn of the Golden Age of the Geek.

Jackson’s Lord of the Rings movies ushered in a craze for genre movies and shows that hasn’t abated after two decades. Game of Thrones certainly wouldn’t have become a show, let alone a worldwide hit, without Jackson’s movies. And while the superhero movie boom began with 2000’s X-Men, the massive success of the interlocking, lore-heavy movies of the Marvel Cinematic Universe seems unlikely without Jackson’s movies giving audiences a taste for genre films grounded in layer upon layer of deep backstory (…then again, maybe it’s really all down to the endless charm of Ian McKellen).

Even today, two decades after the films came out, they still pack a powerful pop culture punch. On Better Call Saul, the rich, preppy lawyer Howard Hamlin hisses that talking to Jimmy McGill (the future Saul Goodman) is “Like talking to Gollum.” Netflix’s Stranger Things alludes to Mirkwood. And well before Sam and Bucky bickered over the difference between wizards and sorcerers, Tony Stark jokingly called Hawkeye “Legolas” in The Avengers. All of these shows and movies are made by genre nerds, of course, but what’s telling is that they expect mass audiences, like Steve Rogers with The Wizard of Oz, to understand and appreciate the references. Gandalf, Gollum, and Legolas have become household names.

Like any hit, Jackson’s movies benefited from a certain amount of luck in coming out at the right time in the pop culture cycle. They hit a sweet spot. But they’re also just really damn good. I began reading The Hobbit to my 6-year-old son Liam recently, and we decided to rewatch all the movies in tandem. Two decades after they came out, I’m struck by how incredible the movies still look, even their CGI, and how well they translate Tolkien’s epic onto the big screen. The Fellowship of the Ring, in particular, is a masterful adaptation of the source material, streamlining Tolkien’s story into a fleet, exciting adventure, while losing little of the depth and charm of the books.

Jackson and the team at the Weta Workshop brilliantly translate so much of the rich history and culture of Middle-earth into the sets, costumes, and creature designs. Instead of long expositions about the fraught history of the Elves and Dwarves, we have the image of Legolas with his earth tones and fluid, graceful bows and knives next to Gimli’s sharp, blocky armor and axes. It’s all in the details. Take one example: in the Council of Elrond/Rivendell scene, Gimli tries to destroy the One Ring with his axe. Instead, his axe shatters and sends him sprawling to the ground. The camera then pans up to the Ring, disturbingly untouched, surrounded by shards of the axe. On one of the shards you can see Dwarvish runes. It’s only on screen for a split second, and you wouldn’t fault any filmmaker for simply tossing a few random chunks of metal on the table and calling it a day. But not Jackson and his crew. Even the smallest props are given attention and care. Add the gorgeous natural scenery of Jackson’s native New Zealand, Howard Shore’s stirring score (I still listen to it frequently), and you have a Middle-earth that truly feels like you can step inside it. It feels real.

Twenty years into the Golden Age of the Geek, it’s hard to imagine what a daunting task Jackson faced introducing his vision of Middle-earth to the world. The Lord of the Rings isn’t just a dense fantasy book with vast appendices of backstory, after all—it’s also a sequel. Jackson needed to give viewers a crash course in Middle-earth history and the events of The Hobbit before even getting to that long-expected party that opens the story. We get this with an extended prologue explaining the history of the Rings of Power, including sweeping aerial shots of a huge CGI battle. That sort of shot wasn’t new, and would become common in the decades after the movie (see the final battle in Avengers: Endgame), but it still thrills. Right from the start, Jackson’s showing us the size and sweep of the story before us. It’s the fantasy equivalent of the titanic underside of the Star Destroyer that opens Star Wars.

The final battle in the War of the Last Alliance conveys so much with a few smart shots. Hideous orcs snarl, elves swing their swords in a golden wave, arrows whistle past Elrond’s ear, ruffling his hair but not his concentration. All the while we have Cate Blanchett’s ethereal Galadriel guiding us through a few millennia of history as we track the Ring from Mordor to the bottom of the Anduin, then to Gollum’s cave, and finally into the pocket of “Bilbo Baggins, a hobbit of the Shire.”

The extended edition of the movie then switches to Ian Holm’s Bilbo giving us a second prologue about hobbits. Holm is only in the movie for a few scenes, but he’s so assured as the older Bilbo that every time I watch it, I feel as if I have already seen an actual Hobbit movie starring him. Holm’s “Concerning Hobbits” prologue is delightful, but it’s easy to see why it was cut. There are only so many fantasy prologues you could subject your audience to in 2001 and expect them to stay put. These days our bottoms are far more patient.

One lingering complaint I’ve seen about the film is that it dawdles too long in the Shire, but god, who wouldn’t want to dawdle there? Jackson’s Shire and Bag-End are sumptuously realized, and he understands—better even than Rankin/Bass or Bakshi—how important the Shire is to the story. It’s a place the audience must miss, and feel the need to save and return to, as much as Frodo does, even though its inhabitants are often ridiculous. In other words, it’s home. But the Shire exists in Tolkien’s stories to be left behind, not stayed in, so eventually we must bid our wistful farewell.

After Bilbo’s extravagant and awkward 111th birthday party, and Gandalf’s increasing misgivings about the old fellow’s magic ring, Frodo is forced to flee with his gardener Samwise. Who better to play the two central hobbits than Elijah Wood and Sean Astin, two former child actors taking on their first major adult roles? Wood brings soulful intensity to Frodo with his enormous eyeballs, and Astin’s well-honed everyman routine fits perfectly with Sam’s cheerful but dogged determination. Dominic Monaghan and Billy Boyd’s more comic takes on Merry and Pippin were controversial, but I think they add a welcome touch of humor and mischief to the otherwise fast and frightening journey out of the Shire.

Hot on the hobbits’ trail are the Black Riders, and Jackson’s Ringwraiths are truly terrifying with their empty, tattered black robes and blood-curdling shrieks. Jackson was famously a low-budget horror director before he became Lord of Middle-earth, and it shows. There’s that terrific shot where Frodo looks down the road and it seems to close in on him as he senses the Black Rider approaching. It’s a beautiful visualization of unseen, creeping dread and fear, and also fits Tolkien’s own vision of evil as a force that warps and curls the world around it.

Like Bakshi, Jackson smartly skips straight to Bree, a rainy, mud-clogged town where the hobbits make their first steps into the outside world. It’s a weird, unsettling place and Jackson emphasizes the hobbits’ smallness compared to the men, including Strider, around them. And that establishing shot of Strider! The pipe glow illuminating his eyes in the dark as the score swells ominously! Viggo Mortensen’s handsome Aragorn never quite “looks foul and feels fair” like book Strider, but he brings an earthy charisma and nobility to the role that makes him seem equally at home in the wild and the courts of Minas Tirith. Here’s a man who you would follow into the forest, and make a king of Men. Here’s a man you’d give up immortality for.

Meanwhile, Gandalf runs around Middle-earth trying to suss out the truth about the Ring. We get a brief, sunset shot of the towers of Minas Tirith and Gandalf spelunking in its dusty archives, and later he arrives at Isengard, the domain of the white wizard Saruman. The film’s Isengard comes straight from the canvas of renowned illustrator Alan Lee and it’s a wonder to behold (Lee and fellow Tolkien artist John Howe served as creative consultants on the films). I first encountered Lee’s painting of the tower of Orthanc on the cover of The Two Towers at my college bookstore, and I was so intrigued by it, I bought the entire trilogy. Seeing the painting come to life on the big screen gave me chills.

Equally mesmerizing is watching McKellen and Christopher Lee together in the tense final moments before their old and powerful friendship goes sour. McKellen radiates ancient wisdom and concern while Christopher Lee is perfect as the cold, imperious Saruman. The fanatical light in his eyes when he bids Gandalf to join him on the dark side is as terrifying to behold as the Black Riders. No one will ever play this role better. The knock-down, drag-out fight between the two wizards is the weakest point of the film, but it’s capped by the wonderful shot of Gandalf flying into the air as Lee growls, “You have elected the way of pain.” Every line reading from Lee is a beautiful obsidian shard.

After Frodo and the hobbits escape Bree with Strider, they wind up surrounded by the Ringwraiths on Weathertop. The set feels too much like the sound stage it is, but the ghostly images of the wraiths’ true forms when Frodo puts on the Ring are suitably horrifying. They gave my son nightmares. They gave me nightmares. It also provides Wood with the first of many scenes where he’s stabbed and then gets an overlong close-up of his anguished, just-been-stabbed-face. No one has ever been stabbed more often, and more artfully, than Elijah Wood. Fortunately, Arwen arrives and rides hard with Frodo to her home in Rivendell. Liv Tyler had a difficult job in portraying a character who is both a hardened warrior-elf and the world’s most luminous person, but she pulls it off.

It’s interesting to contrast the three different elves who show up to save Frodo, Strider, and the others from the Ringwraiths, and what the choice of elf tells us about this version of The Lord of the Rings. In Tolkien’s book, it’s Glorfindel, a High Elf who otherwise plays no role in the story, but whose presence expands the world and ties it to Tolkien’s First Age stories in The Silmarillion. Bakshi opts for Legolas, a canny narrative choice given his presence in the Fellowship. Jackson picks Arwen, which allows him to give greater focus to her love story with Aragorn, and also feels like an appropriate echo of Tolkien’s lore. Arwen is something of a Lúthien reborn, and just as Lúthien stared down Sauron at the Isle of Werewolves and cast Morgoth from his dark throne in The Silmarillion, here Arwen outraces the Nazgûl and drowns them with a horse-fringed flood.

Arwen at the ford encompasses most of Jackson’s adaptation choices, for good and for ill. He and fellow screenwriters Fran Walsh and Philippa Boyens often approach adaptation as a shuffling around, switching out characters and even dialogue in scenes (Wormtongue’s words to Éowyn in the second movie originally belonged to Gandalf; similarly, Galadriel’s opening narration before the title screen is Treebeard’s in the book). They streamline and add character conflict where Tolkien favors contemplation and mood. This approach works wonders for Fellowship, by far Tolkien’s shaggiest hobbit book, but it has diminishing returns over the course of the subsequent Middle-earth movies.

Still, all that is ahead, as is the rest of Frodo’s journey, and the impact it would have on worldwide pop culture. Few people watching the movie in 2001, like our imaginary Elanor, would have predicted it. But that’s where adventures lead us, after all, into the unknown. As Holm’s Bilbo says, “It’s a dangerous business, Frodo, going out your door. You step onto the Road, and if you don’t keep your feet, there’s no knowing where you might be swept off to.”

Next time, we’ll cover the back half of Fellowship of the Ring, and the birth of Middle-earth memes.

Austin Gilkeson has written for Tin HouseMcSweeney’sVultureForeign PolicyThe Toast, and other publications. He lives just outside Chicago with his wife and son.

The Fellowship of the Ring and the Memes of Middle-earth

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The other day, I opened Facebook and saw a Boromir meme. You know the one. Fingers and thumb forming a circle, golden light about him, the words “One does not simply [something something]” embossed over the image. This one has the Center for Disease Control logo below that, with the PR announcement, “Fully vaccinated people may now simply walk into Mordor.” Below that, Boromir rubs his temple in frustration. Twenty years on from the debut of The Fellowship of the Ring, and that line from Sean Bean’s Boromir, and I think we can safely say that the “One does not simply” meme is, like the Eldar, immortal.

As befits their popularity, J.R.R. Tolkien’s works are full of lines and turns of phrase that have embedded themselves in our collective consciousness. The Hobbit’s first sentence is among the most famous opening lines in English literature. I don’t even need to write it out for you: you know what it is. Gandalf’s sage wisdom about what to do with the time that is given to you has graced countless email signatures and Facebook bios. My wife Ayako is particularly good at sneaking up on my son and me, and then menacingly whispering, “My precioussss.”

As I mentioned in my previous review covering the first half of the film, Peter Jackson, Fran Walsh, and Philippa Boyens used this to their great advantage in writing their Lord of the Rings film trilogy. Rather than write entirely new dialogue, they often take it from the mouth of one character and put it in another’s when it suits them. It’s an effective strategy, especially since Tolkien isn’t the voiciest of writers, and the cast of the movies is superior. A line originally written for Gandalf could well come from Wormtongue, especially if Wormtongue is played by a master like Brad Dourif.

So it’s slightly ironic that the most famous line from the entire film trilogy isn’t in the book at all. In fact, I’d wager many people think it is a line from the book, given how ubiquitous it is (compounding the confusion, the image usually associated with the image, of Bean making a circle with his fingers, is from slightly later in the monologue when he says, “the great eye is ever watchful.” Cultural memory is a slippery thing).

Of course, a lot of the line’s popularity comes down to the skill of Bean’s acting. He puts so much frustration, quiet rage, and an edge of sorrow into the line that it seems natural that it became a meme. Here’s a beleaguered warrior, desperately worried about the fate of his country, who’s just been shown a miraculous sliver of hope, and then told that hope has to be thrown into a volcano. Boromir’s weariness tells us everything we need to know about this world and this war, and his eventual fall into treachery, due to his desperation and despair, feels real and heartbreaking. There are a few moments here and there, like Boromir’s “One does not simply walk…” monologue, when the movies manage to even outdo the book in conveying Tolkien’s themes and message about the corruptions of power and the necessity of hope. Then again, it also has Elrond spouting lines like, “Men are weak,” to add conflict and tension to a plot that has plenty of that already.

The touch of realism from the casts’ performances is especially important in the back half of The Fellowship of the Ring, when the movie transforms from an intense chase into a true fantasy quest. Whereas before we mostly had four hobbits and Strider on the run from terrifying horsemen in black robes, now we have Dwarves, pontificating Elves, octopus monsters, fire-demons, and a whirlwind tour of multiple realms with their own deep histories and cultures: Rivendell! Moria! Lothlórien! The later movies will keep us more firmly grounded in the lands of Men, but “The Ring Goes South” as Tolkien titled it, is Lord of the Rings at its most fantastical.

If the Shire is the home we must leave behind in order to save, the lands of “The Ring Goes South” are the places that are fading away as the Age of Men dawns. The plot of Lord of the Rings cleverly mimics its own conceit of the magical giving way to the mundane as the realms of halfings, Elves, and Dwarves give way in the narrative to the lands of Men. It’s not a perfect overlap (obviously, we end back in the Shire and at the Grey Havens) but it’s part of the story’s power. Tolkien and Jackson lead the characters—and readers/viewers—on a grand tour of all that our world has lost. And what a tour! Rivendell is an autumnal wonderland, Moria a terrifying labyrinth, and Lothlórien a heavenly and potent vision of Elven power.

We begin in Rivendell with the mother of all fantasy exposition scenes, the Council of Elrond. Jackson’s impulse to ramp up character conflicts works well here, as we speed through the scene and quickly establish the stakes for the world, and most of the characters. Frodo’s volunteering to carry the Ring is beautifully done, with the little hobbit, his face full of both determination and anguish, interrupting the arguments of the Wise and powerful to offer his life to save the world. Not to mention the fact that “You have my sword” is nearly as iconic a line as “One does not simply walk into Mordor.” The scene falls a little flat with the climax as the music swells and Elrond gives them a team name, though I do enjoy Pippin taking the wind out of the affair with, “You need people of intelligence on this mission…quest…thing.” It’s maybe a little too comical, but it’s also very funny.

Jackson also shows off his horror chops again as we get a legitimately terrifying jump-scare out of Bilbo Baggins of all people, as he briefly turns Gollum-like and tries to snatch the Ring from Frodo. The films do a remarkable job of seeding the idea—one that will really come to the fore in the next two movies—of Gollum as a twisted image of Frodo: a vision, like Galadriel’s mirror, of what may yet come to pass for a hobbit in possession of the Ring.

Then Jackson shows off his helicopter budget with a number of lovely aerial shots of the Fellowship weaving their way across the gorgeous New Zealand countryside, with a few superimposed ruins here and there for good effect. We get a nice scene with Boromir teaching Merry and Pippin to sword fight before they’re interrupted by Saruman’s crows, and so head to the Redhorn pass to cross the Misty Mountains. Saruman sends a storm to bury them, knowing they’ll have to take the path through Moria as a last resort and come face to face with the Balrog, “a demon of the ancient world.”

After barely escaping the monstrous Watcher in the Water (an exemplary and horrifying creature), the Fellowship are trapped in the “long dark of Moria.” They find the tomb of Balin (a tragic end for the lovable, wise character we’ll meet in the Hobbit movies) and are attacked by Orcs with a cave troll. The Fellowship manages to kill the attackers, but even after its brutal assault on Frodo (giving Elijah Wood his second of many “anguished face after being stabbed” close-ups), the cave troll’s death is given genuine pathos. It groans and stumbles, and pulls at its lips as it falls over and dies. The film goes quiet. Here again, Jackson has invested the film and the world with depth. It’s hard to watch that scene and not wonder more about the troll: what motivated it? What intelligence level did it have? Did the Fellowship just kill an innocent creature that maybe didn’t know any better? The sense that there’s more than meets the eye is underscored by the reveal that Frodo survived the troll’s spear thanks to his mithril shirt, gifted from Bilbo.

Then there’s a creature I can only describe as My Favorite Goblin. After fleeing Balin’s tomb, the Fellowship are surrounded by goblins that come shrieking and scurrying out of the floor and down from the ceiling like spiders. The camera cuts to one goblin with big cat-like eyes who cocks its head, bulges its eyes, and hisses. That image has been in my head ever since I first saw it twenty years ago. I love that goblin! Its image is so distinct, with its ugly face and beautiful eyes, and its movement so menacing and yet, like the troll, childlike. In only a second of camera time, we get all these suggestions of a deeper personality and world. The goblins are more than mere fodder. They’re a horde, but not a faceless one.

The Fellowship are saved by the timely arrival of the Balrog, and where Bakshi’s Balrog fell flat, Jackson’s soars (well, not literally, despite the wings). It’s perfect, a volcano made flesh, and ornery. It’s here that we find the movie’s other much-parodied and copied line, one that marks the high-water mark of High Fantasy on film. While Sean Bean brings a weary realism to his lines as Boromir, Ian McKellan outright roars, “You shall not pass!” and brings his staff down on the Bridge of Khazad-dûm with the power of a billion 20-sided dice rolls. It’s pure cinematic catharsis.

The line is still a useful pop cultural shorthand. A few months ago, we rented a cottage near a beach in Michigan. At a small cafe nearby, my son spotted a sign that read: “No mask? You shall not pass!” with a drawing of a gray wizard underneath. It’s been parodied countless times, not the least by McKellan himself in Ricky Gervais’ Extras. Whereas the Boromir meme is endlessly mutable to express the sense that a task is harder than it looks, the Gandalf one delights in the iconic, unapologetically Genre nature of the scene, and the power that brings with it. There’s no winking here, no “once upon a time…” narrative distance, no meta commentary, no subversive smirk—that came later. No, there’s just a wizard, a demon, and a pit, and a moment of raw power, imagination, and emotion that perfectly sums up why people love the genre. This is Fantasy! It’s that moment that marks the dawn of the Golden Age of the Geek. There’s no going back now: the bridge is forever broken.

After Gandalf’s fall, the music and action slow down, and there’s a beautiful, quiet scene where the Fellowship mourns. Aragorn wisely urges them on, even as Boromir begs them for a moment to grieve, “for pity’s sake!” It’s a terrific exchange, letting Boromir be the voice of compassion, even as Aragorn is the voice of reason, and showing that character conflict can come from more than clashing egos or ideologies. Sometimes everyone is right, and all choices before them are wrong.

Jackson’s horror background shines through again as the Fellowship comes up against the two powerful, magical beings set against each other in their regard for the Ring: Saruman and Galadriel. Saruman, in his lust for the Ring, breeds Uruk-hai soldiers out of the mud, and their birth scenes give Frankenstein and Alien a run for their money in images of pregnancy and childbirth distorted into abject horror. This imagery is original to the movie, but here again Jackson gives us a startlingly unique scene that also underscores and serves Tolkien’s themes. Saruman corrupts the earth, Mother Earth, with his industrial furnaces, in order to give birth to monsters. It’s Jackson’s own moment of true mythopoeia.

Galadriel, meanwhile, refuses the Ring, but not before turning a distinctly Wicked Witch of the West-ish green to show what would happen if she didn’t. Cate Blanchett rose to fame playing Elizabeth I, the allegorical model for Edmund Spencer’s Faerie Queene, and here she plays Tolkien’s rendition of the Fairy Queen perfectly, a vision of power and wisdom that is beautiful, but remote and ancient and not a little scary: “tempestuous as the sea, stronger than the foundations of the earth.”

Galadriel sends the Fellowship on their way with a few gifts, and they paddle down the Great River, past the colossal Argonath, to the ruins of Amon Hen and the borders of the realms of Men. Boromir succumbs to the Ring, but Frodo manages to escape. The Uruk-hai attack and kidnap Merry and Pippin, but not before Boromir is able to redeem himself by becoming a pin-cushion. Frodo and Sam set off alone for Mordor. Aragorn, Legolas, and Gimli vow to save Merry and Pippin from “torment and death” and set off after the Orcs.

The film ends with Frodo and Sam seeing Mordor for the first time, and then walking towards it. It’s a fitting end to the film, with Frodo and Sam again on a perilous quest into unknown lands, with only each other for company. The story has come, in a way, full circle—only the characters are now wiser and sadder, perhaps finally truly aware that one does not simply walk into Mordor. It gives me chills every time I watch it.

The Fellowship of the Ring is one of my favorite movies of all time. It’s a triumph of adaptation, and an enchanting masterpiece full of memorable scenes and moments, as evidenced by how many are quoted and meme-ified today. To my mind, the staying power of “One does not simply walk into Mordor” and “You shall not pass!” in the cultural firmament reveal the ingredients in the film’s particular magical spell: its combination of lived-in performances and unashamed fantasy. It’s a spell that still has a hold on Hollywood, and our imaginations, all these years later.

Austin Gilkeson has written for Tin House, McSweeney’s, Vulture, Foreign Policy, The Toast, and other publications. He lives just outside Chicago with his wife and son.

Andy Serkis Is Recording The Lord of the Rings Audiobooks

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Andy Serkis at SDCC

A year ago, Andy Serkis set up a fundraising effort to help a pair of UK charities in the midst of the COVID-19 pandemic, in which he read the entirety of J.R.R. Tolkien’s The Hobbit in a straight, 12-hour shot. Soon thereafter, HarperCollins brought him on to record a new edition of the audiobook.

Now, you’ll get to listen him read you the entire saga: HarperCollins is launching a new audiobook edition of The Lord of the Rings, to be narrated by Serkis.

The announcement came via J.R.R. Tolkien’s official Facebook page and The Bookseller, which reports that the audiobook will be available on September 16th from major audiobook retailers, and released on CD October 14th.

According to The Bookseller, Serkis and the rest of the production team who worked on The Hobbit will return to produce The Fellowship of the Ring, The Two Towers, and The Return of the King. Serkis, of course, earned considerable acclaim for his work portraying Gollum in Peter Jackson’s adaptation of the trilogy, and it seems as though he’s bringing his familiar take on the creature’s voice to this audiobook.

In a statement, he noted that the experience of returning to the trilogy has been an interesting challenge:

“Walking back into Middle-earth over 20 years after my first life-changing adventure there, and experiencing it all over again (this time for many weeks alone in a sound booth) has brought in equal measures of pure joy, sheer madness, immense pleasure and a level of psychological and physical fatigue I have never quite experienced the like of before.

The existing audiobook editions of the trilogy will likely still be sold: You can still buy editions of The Hobbit narrated by Rob Inglis, Martin Shaw, as well as two ensemble cast editions online. There are several audio editions of the trilogy available from both Inglis and Shaw, as well as dramatizations from Ian Holm / Michael Hordern / Robert Stephens and NPR. 

The audiobook is now available to preorder from Audible in the UK, although the US edition doesn’t seem to be available just yet.

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