The Hobbit Review

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The Hobbit Review[This is a review of the 70th Anniversary Edition, not so much of THE HOBBIT itself. I've reviewed the book proper elsewhere, and would rather focus on the actual edition itself.]
THE HOBBIT is one of those few books that I have felt justified to buy multiple copies over the years. It is a book I have read and cherished, and a book I dearly love. THE HOBBIT is a novel that deserves to be bought multiple times over, and I always enjoy looking at new editions of this classic work. So imagine my excitement when I found out they would be publishing a 70th anniversary edition of one of my most cherished novels!
This has been a big year for Tolkien fans. Christopher Tolkien published THE CHILDREN OF HURIN, a newly completed version of Turin's legend, in April. We've gotten (at long last), THE HISTORY OF THE HOBBIT, expertly handled by brilliant Tolkien scholar John D. Ratcliffe and published in two separate volumes. And of course, we have the 70th anniversary of Tolkien's first primary work, THE HOBBIT, which this edition is published in celebration of that momentous occasion. And does it live up as a major new edition of this fantasy classic?
That's a pretty easy answer. The answer is NO.
First off, here are the positives. The 70th anniversary edition is pretty much how the first edition of THE HOBBIT was actually published back in 1937 with some notable improvements, and conforming to Tolkien's pretty exacting specifications, including how the dust jacket should appear, as well as the art and maps that accompany the text.
These are the notable differences between the first edition and this edition. Due to cost, Tolkien was not able from a production standpoint to have the book appear exactly as he envisioned. The 1937 publication cut some of his artwork, the map was not how he so desired, and the dust jacket, due to printing cost, was limited to three primary colours (green, black, and white). Originally, Tolkien wanted the sun on the front cover and the dragon on the back cover to be totally in red, but this was not feasible.
Obviously Tolkien's work is successful enough that these production costs are no longer an issue, and so this is a relatively accurate facsimile of what Tolkien would have wanted to publish in 1937 had money not been an object, as it too often is in the real world. For that, this edition has some worth.
Now, there are some negatives. And these are big negatives.
First off, paper quality and binding. It's bad.
Then there's the actual art work. The colour artwork is quite nicely implemented into the main text, and overall I don't have a problem with the colour artwork from a production standpoint. The paintings are bright and colourful, and remain true to higher quality prints of Tolkien's phenomenal painting. But unfortunately the same cannot be said of the black and white illustrations. Like a reviewer said before me, it appears Tolkien's drawings were reproduced on a cheap scanner. Tolkien's artwork is highly valuable, but unfortunately the drawings here are rather badly reproduced in this edition.
Then there's the advertisement for LOTR at the end that's rather annoying. They reproduce the first chapter of FELLOWSHIP and place it at the end of the novel, acting like a cheap plug for Tolkien's masterpiece. I don't have any problem with plugging LOTR, but to me this inclusion of the first chapter just cheapens the whole book, especially when it's supposed to be a major edition of a major work. We all know about LOTR. Do we really need the first chapter here? Rather tacky, to say the least.
Then there's the problem of Christopher Tolkien's forward. This is what I was most looking forward too, actually. Having read E. A. Solinas's review, I was under the impression this was a new forward prepared specifically by Christopher for the 70th anniversary of his father's work. Not the case. It's simply a reprint of the forward he wrote for the 50th anniversary of THE HOBBIT, twenty years previously.
As far as textual authenticity, I must be honest in the fact that I've only browsed it at a Borders bookstore, but I'd be very surprised if they did not use the text from The Annotated Hobbit, as it is the most definitive and accurate text yet established for the book. Still, I can't verify that that is the case.
Overall, this is a fair edition of THE HOBBIT. It could have been a lot more. What sets this apart from the other copies is this is how Tolkien truly envisioned how he wanted the book to appear, and for that fact alone, this is a valuable edition to the Tolkien collector. Unfortunately the poor production quality of the black and while illustrations, the rather tacky inclusion of LOTR's first chapter, and the disappointment of the publishers' just reprinting a twenty year old introduction to the 50th anniversary publication rather brings the whole affair down. I think I'll pass on this one.
For those looking for the best edition of Tolkien's book, buy THE ANNOTATED HOBBIT, first published in 1988 and republished in a new format in 2003. The second version of THE ANNOTATED HOBBIT is the definitive edition of this phenomenal work as far as I'm concerned.The Hobbit Overview

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Hobbits, Elves and Wizards: The Wonders and Worlds of J.R.R. Tolkien's "Lord of the Rings" Review

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Hobbits, Elves and Wizards: The Wonders and Worlds of J.R.R. Tolkien's "Lord of the Rings" ReviewAs a scholar who has studied and taught J. R. R. Tolkien's "Lord of the Rings" trilogy for twenty-five years, there are very probably very few better qualified to write an introductory book on the subject than Michael Stanton. He's obviously a great fan on the book (that is, he does not seem to be simply trying to cash in on the recent popularity that the movies have caused) and writes in a simple, chatty style that is easy for most non-academics to understand. For those who are more experienced in reading essays and critiques, "Hobbits, Wizards and Elves" may come across as either too simplistic or repetitive - and I admit that there was very little here that I hadn't already come across in more comprehensive essays on this subject.
But Stanton is well aware of this, and has no delusions about what it is that he's writing - in fact on many occasions he encourages other authors that go deeper into the text, and often apologises for his `bare-bones' treatment of the subject. To like the author's own voice makes up a great part of one's enjoyment of these exploratory books, and there's nothing pretentious or overtly opinionated in Stanton's techniques.
In saying that however, this is a book for beginners to the world of Tolkien - long time studiers or fanatical fans will know all this stuff already - and probably through their own readings of the book. Yet for those starting out, or those that need a helping hand in grasping the finer details of Tolkien's great work, this is a readable and clear-cut `helpmeet' to "the Lord of the Rings".
In Part One of the book Stanton gives us a (very) brief biographical account of Tolkien's life and his inspiration for the book, and the publishing history, followed by a chapter devoted to the geography, history and themes that make up Middle-Earth. The bulk of the book is taken up with accounts of the six books that make up the complete "Fellowship of the Ring", "The Two Towers" and "The Return of the King." This is perhaps the most interesting part (at least for me), as he explores the meanings and finer details of the chapters and the events and characters within them.
Part Two divides up the `species' of Middle Earth and explores their cultures closer: Elves, Dwarves, Ents, Humankind (including Hobbits) and the forces of evil are all discussed separately, and then finally Tolkien's use of language (undoubtedly the basis of the entire saga) and the use of dreams and spirituality throughout the story.
Lastly comes a chapter on the Peter Jackson version of "the Fellowship of the Ring" that is enthusiastically advertised by the publishers on the front cover: "includes a new essay on the first part of "the Lord of the Rings" film trilogy!" As it turns out, this is the most unnecessary parts of the book, and I couldn't help but feel that Stanton was either coerced into doing this for the benefit of sales, or was simply a little `pet-project' of his that he wanted to sneak in. As it is, it is not an `essay' at all, but simply a list of opinions concerning the movie that nearly verges into being a movie review. As you may have guessed, the absence of Tom Bombadil and the role of Arwen are mentioned, as are a few other little nitpicks, but at least Stanton appreciates Sean Bean's role as Boromir - a performance that I believe is often overlooked by viewers.
He's not afraid to criticise certain portions of the book (he points out that only three of five wizards sent to Middle Earth are identified, and that Tolkien puts the title of `oldest living thing in Middle Earth' on two separate characters: Tom Bombadil and Treebeard), and to go against popular fan speculation (in his opinion the `unsung hero' of the story is not Samwise Gamgee, but Prince Imrahil) but on the whole you can tell that he simply adores Tolkien's work and has read it multiple times.
He also points out some interesting titbits that are obvious in hindsight, but which were overlooked by me in my own reading of "Lord of the Rings" - such as the fact that Pippin is the only character in the book to directly converse with Sauron.
It is not a thick book, nor a very deep one, but it is interesting nonetheless and would be valuable to those just beginning to explore Tolkien's world. I've been exploring for a few years now, and I still found some interesting theories and explanations - but then I brought this book at the University's book store for only two dollars, so I'm hardly going to take a harsh view of something brought so cheaply. Any one well-versed in Tolkien's universe has more comprehensive works to explore, but beginners are most welcome here.Hobbits, Elves and Wizards: The Wonders and Worlds of J.R.R. Tolkien's "Lord of the Rings" OverviewMiddle Earth, Gandalf, Frodo, Bilbo: The places and characters that sprang from the mind of J.R.R. Tolkien will live forever in the imaginations of millions of readers. In Hobbits, Elves, and Wizards, Michael Stanton, a scholar of science fiction and fantasy literature, offers an extraordinary encounter with The Lord of the Rings. Believing that there is no epic of contemporary literature to match The Lord of the Rings, Stanton delves critically into the richness of the story. He explores the intricacies of its dialogue and illuminates the idiosyncratic nature of it characters. He looks at places, dreams, notions of time and history. Eschewing academic jargon, Stanton provides an intriguing look at Tolkien's fantasyscape that ultimately shows how all of these parts meld into a singularly compelling work of art that lives and breathes. For those who have read and loved The Lord of the Rings, Stanton embarks on an exploration of Tolkien's genius, painting a rich and wonderful critical portrait of the world he created, a portrait that no one who truly hopes to understand Tolkien's vision will want to be without.

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Hobbits, Elves and Wizards: The Wonders and Worlds of J.R.R. Tolkien's "The Lord of the Rings" Review

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Hobbits, Elves and Wizards: The Wonders and Worlds of J.R.R. Tolkien's "The Lord of the Rings" ReviewThis book comes across as the ultimate college English term paper on Tolkien: all the basic lit-class analysis you could possibly want. Prof. Stanton has been teaching Tolkien to undergraduates for many years, and the voice of this book is that of the competent but uninspired freshman-lit teacher, analytically keen but prone to overgeneralization, and hazier than he thinks in his grasp of the facts in a complex novel.
Normally I'd be the last person to object to intelligent scholarly analysis. But this well-meaning book shows the harm it can do. Stanton is so diligent in ferreting out the subtlest threads and connections from =LotR= and laying them out clearly that he sucks all the life out of them, leaving them drab and dead on the page, and denying readers the joy and the vividness of discovering them for themselves.
Stanton makes several good points, and has observed many obscure connections and even loose ends in =LotR=, but that doesn't keep him from stating questionable facts, often through overgeneralization, or highly doubtful interpretations, on almost every page. A good example is his statement that mellifluous languages are spoken by good people and harsh, guttural languages are spoken by bad people. This claim is usually made with the intent (which is not Stanton's) of denigrating Tolkien, and it's not true anyway (what about Dwarvish?).
This book, despite its good points, should on no account be read by anyone who's just finished =LotR= for the first or even second time, and the true newcomer shouldn't even glance in its direction. It should only be read by those with a deep experience and knowledge of =LotR=, who won't be spoiled by it but might still learn something; and, perhaps, by English lit students desperate for term paper topics the night before the deadline.Hobbits, Elves and Wizards: The Wonders and Worlds of J.R.R. Tolkien's "The Lord of the Rings" OverviewStanton provides an intriguing look at Tolkien's fantasyscape that ultimately shows how all of these parts meld into a singularly compelling work of art that lives and breathes.

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The Silmarillion Review

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The Silmarillion ReviewIn the Tolkien canon, THE SILMARILLION is the most highly contested of all his works. Constructed as a prehistoric history of the Universe, the book has the cultural significance of the Bible in Tolkien's universe. It is Tolkien's primary work, but it's also his most troublesome, in more ways than one. One thing you need to know. In Tolkien scholarship, there are two primary ways to refer to the "Silmarillion". One is the Silmarillion, the legendarium proper, and then the 1977 SILMARILLION, which may or may not be what Tolkien envisioned.
THE SILMARILLION, the book Tolkien spent all of his adult life writing, was, sadly, incomplete when Tolkien died at the age of eighty one in 1973. Naturally, this begs the question why did it take him decades to write the book, and it still be unfinished after all that time? Well, to understand that, you need to understand two things: the scope of the project, and how Tolkien worked.
The scope of the book was a complete imaginary history, a totally self-contained mythology, all written and developed for his home country, England (my home country as well). Imagine the Greek and Roman mythologies, all those myths and gods, developed by one man. Imagine Homer completely inventing all the gods for his stories. Imagine how hard that would be to come up with your own mythological traditions as such. No wonder Tolkien had such a hard time completing the work.
Now, the scope (which is extremely ambitious for any artist) was compounded by how Tolkien worked. First, he was a philologist first and foremost, and so before the stories he invented languages. All of these languages (which would have taken a life-time to develop on their own) had their own history, and are so interlocked with the mythology that you cannot remove them. He developed the main body of legends around these languages. Many features of the central body of legends changed relatively little over the years, but he wrote different versions of them at different times and in different styles. Some of the legends were set in poetry, those in annalistic histories, others in condensed summaries, and others in the more traditional (at least, for modern readers) novel format. A lot of these writings are also unfinished, due to Tolkien's perfectionist tendencies. Christopher Tolkien said that for most of his father's writing there existed a stable tradition from which Tolkien worked from, but there was no such thing as a stable text for the primary legends.
All this is tied to how Tolkien worked. C. S. Lewis famously stated that you did not influence Tolkien, you may as well as try to influence a bandersnatch. Tolkien would either take no notice of your criticism, or else he would start all over from the beginning. And so he did. A lot. Tolkien would reach a certain portion of the draft, be unsatisfied, and began the whole thing over again, while never reaching the end. Or Tolkien would have two copies of the same manuscript, one to be the fair copy and one to be working copy. Well, Tolkien would make conflicting revisions on both copies at separate times. How do you decide his final intent? Good question. These tendencies presented major problems from Christopher Tolkien when he prepared the 1977 SILMARILLION.
Another problem with Tolkien's work also is that toward the end of his life, he began contemplating changing major features of the mythology that stretched back to the earliest versions. A lot of these changes had to do with cosmology, with the sun and moon, and changing Arda (the earth) from a flat-world to a round world. In the original mythology, and the 1977 version, Arda begins as a flat world but is made into a round world. Tolkien contemplated other major changes that would have totally changed much of the more distinguishable features of the mythology, stable features present from the very beginning. Consult "Myths Transformed" in MORGOTH'S RING, Vol. 10 of THE HISTORY OF MIDDLE-EARTH for more information.
Then we have the problem of THE LORD OF THE RINGS. Tolkien was tantalizing close to some sort of final version of the work in the late 1930s (indeed, the 1937 version of the "Quenta Silmarillion" is the only complete version he ever made of the primary work and which is heavily used in the 1977 SILMARILLION). Then, due to publisher demand, Tolkien began working on his masterpiece for the next fourteen years, leaving the "Silmarillion" legendarium completely untouched for over a decade. When Tolkien picked up the Silmarillion again, he now had to account for LOTR and somehow incorporate that major work into the mythology. Tolkien did a lot of work on the legendarium after the completion of LOTR, but this work was plagued with uncertainty and contemplation of radical rewriting.
And in the last years of his life, Tolkien also began moving away from strict narrative and began working extensively on theological matters, essays on Elvish culture and lingustics, and other matters not tied to the actual narrative of the main storyline.
So when Tolkien died in 1973, he left his son Christopher in quite the predicament. Decades of writng, much if it unfinished, with a staggering palimpsest of manuscripts from which to draw from would be daunting to anyone. As literary executor, he had to come up with a publishable version of the work (as clearly that was his father's wishes, and Christopher was the man for the job, being most acquainted with the work). So, in four years, with the assistance of Guy Gavriel Kay, he cobbled together a self-contained narrative, largely compatible with the Hobbit cycle. Due to Tolkien's tendency to not finish drafts, some of the narrative in the last portion of the work had not been touched by Tolkien in literally decades (The Fall of Gondolin never got a complete version other than the 1916 Lost Tales story). Thingol and Melian presented thorny problems, especially the Girdle of Melian (her magical protection around Doriath). Christopher and Kay constructed the chapter dealing with the ruin of Doriath from scratch, with no corresponding writing in Tolkien's own work.
Yet another major issue was, due to getting a version of the book published as soon as possible, Christopher rushed through much of material, and did not have access to all of his father's manuscripts, some of which had been sold off. While he always used post LOTR material as often as possible, Christopher was as many times incorrect as not when guessing his father's intentions for the work. In the ensuing twelve volumes of THE HISTORY OF MIDDLE-EARTH, where he had years to get to know the manuscripts, Christopher examines more closely his father's works, and there is much in those twelve volumes that were Tolkien's final intention for the work, but did not make it into the published version. Christopher has stated, given time, he may have produced a much different version than the one published. But he is now retired and will not revise the book (much of which would have to be wholesale).
That's quite a bit of history, and ultimately all that history may bog potential readers down in their journey into THE SILMARILLION. For all of its imperfections, its unfinished nature, the endless debates on how much the 1977 version is what Tolkien really intended, the book is powerful mythology. The reading is dry, and the names are jawcracking trying to pronounce. While it's hard to keep track of the multitude of characters and all the permutations and migrations of the three main Elven tribes, there are unforgettable images in the book, and beautiful passages of despair and hope.
While the work is not the most accessible for modern readers, for those who persist you can see why Tolkien really did regard this as his life work, or, as Tom Shippey says, "the work of his heart". And what a mighty work it is, despite its unfinished nature.
The Silmarillion Overview

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The Road to Middle-Earth: How J.R.R. Tolkien Created a New Mythology Review

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The Road to Middle-Earth: How J.R.R. Tolkien Created a New Mythology ReviewShippey's "J.R.R. Tolkien: Author of the Century" places Tolkien in the context of his time. "The Road to Middle-earth" has the more scholastically challenging job of placing Tolkien in the context of his tradition. As that tradition is primarily philological and philosophical, these are his subjects. He tells us what Tolkien meant the words and names in his stories to mean; he tells us how Tolkien used modern language to convey modern and ancient styles and philosophies in contrast; he tells us how the Ring mediates two mutually exclusive concepts of evil; he explains Tolkien's complex narrative strategies; he dresses down critics who misunderstand Tolkien and blame him for not fitting into their concepts of literature; and he does all this with such a blistering display of erudition and general intelligence that the reader sits back amazed.
The book is discursive, and the opening theoretical chapters may seem heavy going, but have patience: they provide necessary context. Shippey has Tolkien's measure in full throughout. He explains what was important to Tolkien, what Tolkien thought he was doing, and - no less vitally - why it is necessary to understand this if one is not to bash Tolkien in annoyance for not accomplishing something totally different.
If you read Shippey, will you necessarily understand Tolkien? No. But if you don't read Shippey, and if you also don't have his insight and knowledge, you will not fully understand Tolkien.The Road to Middle-Earth: How J.R.R. Tolkien Created a New Mythology OverviewThe Road to Middle-earth, Tom Shippey's classic work, now revised in paperback, explores J.R.R. Tolkien's creativity and the sources of his inspiration. Shippey shows in detail how Tolkien's professional background led him to write The Hobbit and how he created a timeless charm for millions of readers. Examining the foundation of Tolkien's most popular work, The Lord of the Rings, Shippey also discusses the contribution of The Silmarillion and Unfinished Tales to Tolkien's great myth cycle, showing how Tolkien's more "difficult" books can be fully appreciated. He goes on to examine the remarkable twelve-volume History of Middle-earth, written by Tolkien's son and literary heir Christopher Tolkien, which traces the creative and technical processes by which Middle-earth evolved.

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The Origins of Tolkien's Middle-earth For Dummies Review

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The Origins of Tolkien's Middle-earth For Dummies ReviewHaving read many books about Tolkien and the themes he so richly presents in "The Hobbit" and "The Lord of the Rings", I have been eagerly awaiting the release of this book for several months. I was not disappointed ! Greg Harvey has taken a very complex trilogy, and along with "The Hobbit", managed to put together an enjoyable and easily readable book which explores all the many facets of Tolkien's world and the characters in it. In the humorous and entertaining style of all the "Dummies" books, we are treated to detailed explanations of the places, beings, and beasts which inhabit the very imaginative mind of the greatest author of the 20th century. If this wasn't enough, Mr. Harvey goes into great detail about the underlying themes in the books, the motivations of the characters, and how the story is relative to our modern world. Touching on philosophy and religion, themes of friendship, good vs. evil, love and loyalty, human frailty, lust for greed and power --- it's all here, and in an intelligent, unbiased presentation. Not too hard to understand or follow, and not "dumbed down" for the lowest common denominator. A superb book that will entertain and provoke you to think. Not at all for dummies ! You'll be glad you bought a copy --- you won't be disappointed. Money well spent for the Tolkien fan !!!The Origins of Tolkien's Middle-earth For Dummies OverviewJ.R.R. Tolkien's novels of Middle-earth – The Hobbit, The Lord of the Rings trilogy, and The Silmarillian – have become some of the most famous, and most beloved, literary works of the twentieth century. And the Lord of the Rings films by director Peter Jackson have re-ignited interest in Tolkien and his works, as well as introduced his stories to a new generation of fans.
Even if you've never read the novels and have only seen the films, you know that the world of Middle-earth is a complicated one. Tolkien took great care in representing this world, from creating new languages to including very particular cultural details that add to the richness of the world's fabric. Many other books have been written about Tolkien and his works, but none have come close to providing the kind of reference needed to comprehend the world of Middle-earth. That's what veteran Dummies author and unabashed Tolkien fan Greg Harvey attempts to do in The Origins of Tolkien's Middle-earth For Dummies.
As the author says in his introduction to the book, this is not an encyclopedia or quick guide to all the diverse beings, languages, and history that make up Tolkien's Middle-earth. Nor is it a set of plot outlines for the novels. Rather, what you'll find in The Origins of Tolkien's Middle-earth For Dummies is a basic guide to some of the possible linguistic and mythological origins of Middle-earth, plus a rudimentary analysis of its many themes and lessons for our world. This book can help enrich your reading (or re-reading) of Tolkien's novels, and it will challenge you to think about the themes inherent in Tolkien's Middle-earth and their implications in your own life.
Here's just a sampling of the topics you'll find covered in The Origins of Tolkien's Middle-earth For Dummies:
Exploring the main themes in Tolkien's works, including immortality and death; the heroic quest; love; fate and free will; and faith and redemption
Investigating the diverse lands of Middle-earth – including the Shire, Gondor, and Mordor – and their significance
Examining the different cultures of Middle-earth, such as Hobbits, Elves, Men, and those wily Wizards
Touring the history of Middle-earth
Understanding Tolkien's creation of new languages to enrich the story of Middle-earth
Top Ten lists on the battles in the War of the Ring, online resources, and the ways the films differ from the novels

So, whether you're reading Tolkien's novels or watching the films for the first time, or you've been a fan for many years and are looking for a new take on Tolkien's works, The Origins of Tolkien's Middle-earth For Dummies can help you enhance your reading or viewing experience for years to come.

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The History of the Hobbit, Part 1: Mr. Baggins Review

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The History of the Hobbit, Part 1: Mr. Baggins ReviewReturn to Bag End is the second part of John D. Rateliff's History of the Hobbit. It begins with page 469 and contains the Index for both volumes, so its important to start with Volume I, Mr. Baggins.
Return to Bag End begins with the thirteen dwarves and their hobbit companion's arrival at The Lonely Mountain. Rateliff has identified five phases in the writing of The Hobbit, and this volume begins towards the end of the second phase. Tolkien wrote The Hobbit in fits and spurts over a period of several years, and finally finished it in its first published form by the end of the third phase. Rateliff's fourth phase took place in the late 1940s, when Tolkien had nearly finished The Lord of the Rings and needed to rewrite part of The Hobbit to eliminate some inconsistencies. The most important of these inconsistencies dealt with the matter of how Bilbo came to possess the Ring. In the first published version Gollum gave Bilbo the Ring as a gift. Now Tolkien, to make the Ring darker and more ominous, had Bilbo purloin it from Gollum. Then in 1960 came the fifth phase, when Tolkien attempted to make The Hobbit even closer in tone and spirit to The Lord of the Rings by essentially rewriting it. He wisely abandoned this attempt after a few chapters when a friend advised that while it was brilliant, it wasn't The Hobbit.
As in the first volume, Return to Bag End abounds with fascinating textual notes and short essays interpolated with Tolkien's own words. These include some intriguing speculations, including one on whether the Arkenstone was a Silmaril and another on the ultimate fate of dwarves after their deaths. There are also several Appendices, one on the Denham Tracts, a nineteenth century list of imaginary beings which mentioned "hobbit" several years before Tolkien was even born; another on Tolkien's own speculations on the origin of the word hobbit which includes one of my own favorite childhood stories: "The Hobyahs;" and others dealing with the origins of dwarf names and with Tolkien's correspondence with Arthur Ransome.
Both volumes of The History of the Hobbit are essential additions to Tolkien scholarship. They will provide much fascinating reading and speculation for many years to come for all lovers of Middle-earth.The History of the Hobbit, Part 1: Mr. Baggins OverviewFirst published in 1938, The Hobbit is a story that "grew in the telling," and many characters and events in the published book are completely different from what Tolkien first wrote to read aloud to his young sons as part of their "fireside reads." For the first time, The History of the Hobbit reproduces the original version of one of literature's most famous stories, and includes many little-known illustrations and previously unpublished maps for The Hobbit created by Tolkien himself. Also featured are extensive annotations and commentaries on the date of composition, how Tolkien's professional and early mythological writings influenced the story, the imaginary geography he created, and how he came to revise the book in the years after publication to accommodate events in The Lord of the Rings.

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The Languages of Tolkien's Middle-Earth Review

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The Languages of Tolkien's Middle-Earth ReviewThis book is very outdated and not entirely accurate. It really contains only a fraction of the available Tolkien language material, and there are some languages that nobody even knew existed when this work was published.The chapters about Dwarven names and those of the Hobbits and Rohhirim are good, though. As for the rest of the book, if you want up to date, accurate info, I advise you to go to Helge Fauskanger's excellent web-page, Ardalmbion [online] the biggest and best resource on the net or in print.The Languages of Tolkien's Middle-Earth OverviewThis is the book on all of Tolkien's invented languages, spoken by hobbits, elves, and men of Middle-earth -- a dicitonary of fourteen languages, an English-Elvish glossary, all the runes and alphabets, and material on Tolkien the linguist.

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The Dawnstone Tale: Translations From Jorthus Review

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The Dawnstone Tale: Translations From Jorthus ReviewThis was an amazing journey and I cannot wait for it to continue. The characters are fun and three-dimensional (it's so easy to make characters static and lifeless, but the author doesn't fall into that trap). The tale is engrossing and keeps you guessing at the motivations of the main characters. I'm now reading the sequel to The Dawnstone Tale, and I cannot wait to see where Ruth Davis Hays will take us next.
Compelling and fun ...and a great escape for the reader.
The Dawnstone Tale: Translations From Jorthus OverviewWhat happens when an out-of-luck thief, an innocent spell caster, and a charming stranger all go after the same treasure? Well, naturally they join forces; but if they happen to win their prize and evade their enemies--how will they escape each other?Join the adventures from Jorthus!NEWLY REVISED AND ILLUSTRATED EDITION. Illustrations by Khanada Taylor.THE TRANSLATIONS FROM JORTHUS: BOOK ONE The Dawnstone Tale is an introduction to the world of Jorthus, where a magda named Lylith must step outside the solitary comfort of her tower home and follow a destiny calling to her from the living rock of the planet's spirit.Along her adventure, she is joined by elves, thieves, and admirers:who come to either help her or hinder her (she isn't sure which!)But, through it all, she discovers more about her world than she had bargained for-- and more about herself as well.

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A Gateway To Sindarin: A Grammar of an Elvish Language from J.R.R. Tolkien's Lord of the Rings Review

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A Gateway To Sindarin: A Grammar of an Elvish Language from J.R.R. Tolkien's Lord of the Rings ReviewI was so excited to hear that David Salo, one of the linguists who worked on the Elvish for the Lord of the Rings films, was publishing a book on Sindarin grammar. Since Tolkein never wrote such a thing, it had to be reconstructed, and many attempts to do so exist on the web, with varying degrees of accuracy.
I will not say that this is definitive, because no such thing can exist. But it is useful to have so much information in one place, well organised. My favorite part is the Appendices. These include glossaries of English and Sindarin, a list of Sindarin roots (very nifty!), a glossary of names and what they mean (if you insist on giving your child a Tolkein name, please read it first!) and, best of all, a compilation of extant texts in Sindarin, always the first place you should look for grammar and ideas. I also enjoyed the section on sentence construction. There is no index, though, which is a bit of a bummer, but the table of contents is fairly well organised.
While Mr. Salo does appreciate that people write their own texts in Sindarin, this book is not for beginners, because it is a reference grammar. There are no lessons or exercises, so it should not be the first place you go to teach yourself unless you are really dedicated or have some familiarity with dead and/or fictional languages, the kind most likely to be learned from a book. For others, especially those interested in the languages as heard in the movies, I recommend a stop by Gwaith-i-Phethdain, over at http://www.elvish.org.
For anyone who knows something about this Elvish tongue and wishes to see a comprehensive grammar, this is it. It isn't perfect, and there is plenty to squabble over, but it is a very important start.A Gateway To Sindarin: A Grammar of an Elvish Language from J.R.R. Tolkien's Lord of the Rings Overview

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Lord of the Rings Figure 3 Pack: Elf Standard Bearer/Elf Soldier/Elf Archer Review

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Lord of the Rings Figure 3 Pack: Elf Standard Bearer/Elf Soldier/Elf Archer ReviewOverall I am happy with the Lord of the Rings Armies of Middle Earth battle scale action figures. The detail and likeness of the characters is very good. All in all I believe any Lord of the Rings fan would be happy with this item.Lord of the Rings Figure 3 Pack: Elf Standard Bearer/Elf Soldier/Elf Archer Overview

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Necromancer Review

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Necromancer ReviewNecromancer has a very familiar feel to it; a typical story of elves, goblins and adventure. However, Dune Elliot writes with amazing descriptive flair and has strong characters that bring a unique vibrancy to the story.
This is an epic fantasy that I got lost in and it certainly kept me wanting to turn the pages.
Not quite of the caliber of LotR (but what is these days?), Necromancer certainly holds its own with the likes of Terry Brooks and others like him. There are a few similarities to LotR (which is why I've only given four stars) but that certainly doesn't take away from it's own story.
Necromancer OverviewMorgeth's iron grip on the land of Ilyria is beginning to reach beyond its borders; his necromancy is ripping apart the very fabric that binds Alatheia together and the only thing that stands the way of total domination is an ancient elven prophecy.Inheriting his mother's sword, Eran must journey far beyond his idyllic farm life to find a ring that once belonged to his father and bring together the two heirlooms in order to destroy the evil that threatens to engulf Ilyria. He joins with others ordained by the prophecy; a legendary warrior, a shape-shifting mage, an elf haunted by his own past and two rather unlikely individuals. Together they face insurmountable obstacles and tragedy before coming face to face with evil itself.'Necromancer' is the first in the series of books called "The Dark Rising".

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The Weight of Blood Review

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The Weight of Blood ReviewWhat would you get if you turned Fritz Leiber's Fafhrd and the Gray Mouser into a pair of half-orc brothers, gave them severe inferiority complexes, moral ambiguity, and massive tempers, and then threw in a powerful religious zealot who sways them closer to the dark side than any individual should ever be comfortable with?
Why, you'd have "The Weight of Blood" by David Dalglish.
"The Weight of Blood" is an extremely dark fairy tale that tells the story of those aforementioned half-orc brothers, Qurrah and Harruq Tun. As far as main characters go, I don't think I've ever seen their likeness. Sold separately into slavery by their orc mother early on in life, they eventually escaped and found each other again, only to grow up without guidance on the streets of a town called Veldaren, scavenging for food and learning that sometimes in life, when you come from nothing, it's better to kill than be killed. Qurrah is a spindly and coldly intelligent sort whose greatest passion is to become a powerful sorcerer. Harruq, on the other hand, is a large-bodied and (sometimes) kind-hearted oaf who exists seemingly only to protect his physically weaker brother. The dialogue between the two borders on hilarious in the early going, when they're still nothing but vagrants. But there is something darker in them, mostly in regards to Qurrah, which begging to be released. They are archetypal antiheroes, existing on the periphery of a society that wants no part of them.
The story starts off with a bang, dropping us in on the brothers as an army of orcs attempts to invade Veldaren. It is here that we first meet Velixar, a necromancer and master of the dark arts, who eventually takes the brothers under his wing. Through Velixar, we also are presented with a sizeable chunk of the world Dalglish has created, which is notable if for no other reason than it gives the reader a frame of reference to draw upon further down the road.
The novel is chock full of intense and extremely graphic battle scenes. It would be easy to get lost in the action if these scenes weren't expertly crafted, which they are. The actions the brothers take from the onset vary from miscreant to downright evil. They butcher women, children, whole families, mostly without batting an eyelash. Even when one of them seemingly finds love, through the appearance of a beautiful sorcerer elf named Aurelia, this does little to stifle the loathsome behavior. Qurrah and Harruq appear to be brutes, ostensibly without a soul, and they act as such.
That statement is not quite true, however, and herein lays the brilliance of the world author Dalglish has created. This is a story of their fall and hopefully redemption, though as a series, once we reach the end it is still in the early stages. But the hope is there that these two will find their way. We get to see inside the brothers' heads, and what we find there, though disturbing, allows us to feel a glimmer of gallantry. They are capable of love - this much is evident by the way they feel about each other - and any being who can experience that emotion in its fullest and most vulnerable can eventually learn to harness that inner goodness. All they ever needed was guidance, something that was denied them through unfortunate circumstances beyond their control.
And this is where we come to the crux of the fable that the author is telling us. In many ways, the brothers' situation mirrors events we see all the time in the "real world". They have nothing, they are starving and ostracized. Everyone looks down on them. They wander through life without a purpose save staying alive. When one looks at it like this, is it any wonder that when a stranger approaches the destitute pair and offers them a life that has meaning they leap for it? They who have nothing are promised the world. They who've been looked at as the lowest of the low are told they will be worshiped as gods. They who have had to scrape and claw are given gifts of such power that they become death incarnate. When viewed from this vantage point, can we not understand, even sympathize, with the plight Qurrah and Harruq have been forced to deal with? If we, as civilized humans, were put in the same situation, would our morality not begin to wither and die after a while? This rings true with what happens every day in certain parts of the world. It is almost the very blueprint for terrorist recruitment. And at the end of the day, that is what the brothers become. Terrorists. They target not only the enemy but the young and innocent. They strike from the shadows, seeking to assist a greater agenda that they either don't or can't understand.
This is a very dark book, so take that as a warning. If you don't like the images of flayed arms and legs, decapitation, or bodies reduced to quivering masses of blood and innards, stay far away. However, if you appreciate a well-told story that pulls you into its world and won't let you back out, this is the novel for you. It is unrelenting and fast-paced. It makes you care about the characters, no matter what bad deeds they may perform. And, best of all, it allows you to feel hope that the characters will turn it all around, and through something as simple as an act of kindness.
In short, I loved "The Weight of Blood". The title says it all. It's about the inherent price of violence, the duty of family, and the pressure to do what's right. I would definitely recommend it. As far as fantasy goes, I feel you'd be hard pressed to find one that equals its scope and passion. I, for one, can't wait to get pulled into the next volume.
The Weight of Blood OverviewFantasy author David Dalglish begins his series of the half-orc brothers, whose struggles will soon bathe the land of Dezrel in demon fire...Five hundred years ago, brother gods devastated their world with civil war. When they were imprisoned, their conflict ended without a victor. Centuries passed while their followers secretly continued the war, a war that will soon have an end.The gods have found their paragons.------Book Description:When half-bloods Harruq and Qurrah Tun pledged their lives to the death prophet Velixar, they sought only escape from their squalid beginnings. Instead, they become his greatest disciples, charged with leading his army of undead.While they prepare, Harruq trains with an elf named Aurelia, to whom he owes his life. She is a window into a better world, but as war spreads between the races, their friendship takes a dire turn.Velixar orders them to fight alongside the humans, changing Aurelia from friend to foe. To protect her, Harruq must turn against his brother and fight the killing nature of his orcish heritage.THE WEIGHT OF BLOOD by David DalglishTo side with one means to turn on another. No matter Harruq's decision, someone he loves will die.------About the Author:David Dalglish currently lives in rural Missouri with his wife Samantha, daughter Morgan, and dog Asimov. He graduated from Missouri Southern State University in 2006 and currently devotes himself to perfecting his craft. He spends his free time playing racquetball and watching PBS with his daughter.

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Ken as Legolas in Lord of the Rings Review

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Ken as Legolas in Lord of the Rings ReviewOkay, so I am a huge Lord of the Rings fan, and Legolas has always been my favorite character. The Toy Biz Legolas action figures have been great, but their dolls have been, well, ugly. I thought we'd never see a Legolas doll that actually looked as good as he did on film.
Well, "Ken as Legolas" will help you get over the ugly dolls of the past. This one is a piece of art -- thank you, Mattel, for getting it right!
The Legolas doll is even better in person than it appears the in the photos. Okay, so it does look more like Ken than Orlando Bloom, but at least he's got a pretty face... not to mention long rooted blond hair and, oh yes, the pointed elf ears! The costume is extremely detailed, and very accurate to the film. The accessories, consisting of a quiver, bow & three arrows, are even better.
The sturdy box is beautiful, with a great photographic background appropriate for the Woodland Elf. It's consistant with all the Fellowship of the Ring packaging done to date, so it will fit right in with the rest of your LOTR collection. I can't comment on how the doll looks or poses out of the box, because mine is staying in. It just makes too beautiful of a package... maybe I'll get a second one someday and find out. There is mention on the box of a doll stand included, but it is not visible from the outside (a big plus).
It's hard to imagine a Legolas doll looking any better, especially for this reasonable price (for a collectible doll, anyway). Yes, they could have made the materials of the costume more deluxe, or sculpted an accurate likeness of Orlando Bloom. But I am happy with this one, and I think you will be, too.Ken as Legolas in Lord of the Rings Overview

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Sauron's Helm from Lord of the Rings Review

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Sauron's Helm from Lord of the Rings ReviewThis helmet was the first of my collection. It impressed me so much, that I had to buy more and more of them. Its bigger than I imagined, and cooler too. I can now show all my friends how cool I am (or how much of a nerd I am) with this cool Helmet. You don't really see it that much in the movies, which is a shame. But with it sitting on my shelves, I can put the helmet on one of my fists and pretend my hand is the Dark Lord Sauron himself. Its truly awesome.Sauron's Helm from Lord of the Rings Overview

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Games Workshop Lord of the Rings Wood Elves Box Set Review

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Games Workshop Lord of the Rings Wood Elves Box Set ReviewAs with all GW models, these guys break easily. They're plastic models an gaming pieces, not children's toys.
So. The sculpts are all pretty good, though they could do with a bit more detail on the torso...maybe just more folds of cloth (?).
As with other similar box sets (Galadhrim Warriors, Uruk-hai, etc...)you get only enough pieces to make 8 each of bow, glaive, and spear-armed elves, which makes it incredibly frustrating for trying to arrange them in companies (I mainly play War of the Ring). It means you have to either mix-up the spears and glaives and call them all just 'hand weapons', or have 3 really weak formations. Which is of course a likely ploy to make you buy more boxes so you can bolster your uniquely-armed companies, but whatever.
Overall they perform pretty well. The Elves are, as usual, ridiculous archers. Their courage is handy against stuff like Angmar, although I've found the glaive-armed guys work best as a kind of suicide unit to charge the front lines since they have such poor defense.Games Workshop Lord of the Rings Wood Elves Box Set Overview

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