Volume 6 Number 3 Article 13

6-15-1979

An Inklings Bibliography (10)

Joe R. Christopher

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Recommended Citation Christopher, Joe R. (1979) "An Inklings Bibliography (10)," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 6 : No. 3 , Article 13. Available at: https://dc.swosu.edu/mythlore/vol6/iss3/13

This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm

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Abstract A series of bibliographies of primary and secondary works concerning the Inklings.

Additional Keywords Mary Janis Johnson

This article is available in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: https://dc.swosu.edu/mythlore/vol6/iss3/13 Cont'd from p a g e . 18 Tiresias in the Oedipus R ex or Lucifer in Dante. But let THE LADY OF LA SALETTE us remember steadily that Our Greatest Tragedian was a dramatist of the Real." In other words, fantasy is OK in For Alice in a N earby W orld its place but is not to intrude in the big leagues. But I do not believe that Shakespeare believed in the Three Fates, nor that he had any starchy notions as to the My Lady wept. features of tragedy. I believe that he was quarrying High upon the arid windswept slopes his source for the dramatic. Those crystal raindrops fell; and deep in earth A People who read M y th lo r e ought to appreciate this. healing spring awoke and flowed. Fantasy elements we should maintain, are legitim ate elements; the only significant question is whether they operate My Lady wept. organically with the entire work. For as, it is not Above my spirit's baked September hillside permissible to keep the light of our knowledge beneath a Lade, gold-edged thunderclouds were driven bushel. For fantasy, respectability is just around the By the damp and gusty March. corner; let us keep plugging away. The next time you hear My Lady wept. the cliche about M a cb eth , wave this essay. The star-blue windows of the heavens opened; Glory streaming swept my firmament till I was drowned, and Love was born. My Lady smiled! And I was set upon a narrow pathway Crossing worlds of worlds to find Love's center; I shall not return as I...... Gracia Fay Ellwood

An Inklings Bibliography (10) Compiled by Joe R. Christopher

F a n t a s i a e , 5:11-12/56-57 (November-December 1977), 1-24 more universal (when not Protestant) than English; classical Edited by Ian M. Slater for The Fantasy Association mythology is not English; and B e o w u lf celebrates a Geatish Inkling-related contents: (a) Paula Mannor, "In a Hole in hero, not an Angle or a Saxon. Slater discusses some the Ground there lived a Hobbit", pp. 1, 3. (Illustrated allusive connections between Germanic myths and Tolkien's with a drawing of a dragon by Joe Pearson, p. 1.) A six- works - V i n g i l o t is the specific example — but concludes paragraph review of the Abrams edition of The H o b b it with that Tolkien's work is at least not as open to political illustrations from the film by Arthur Rankin, Jr., and misuse as culturally developed national mythologies, (b3) Jules Bass. Marmor compares the illustrations in the D[onald] G. K[eller], "Tolkien's Music: Preliminary book to those in the film, noting some variations in color Remarks on Style in The Silm arillion" , p. 8 (reference to and a change in Gollum's appearance; some of the new draw­ Lewis, col. 2). Keller defends Tolkien's high style as ings she finds to be improvements on the film. She also "his natural style", believing the low style of The Hobbit and parts of The Lord of the Rings was adapted only for finds the book qu a art book poorly designed, (b) "A Long and Secret Labour.: The Forging of The Silm arillion" , pp. marketability. He points to late Victorian flaws in the 4-8. Three short essays, (b-4 Christopher Gilson, low style, The high style, on the other hand, is that of the best part of The Lord of the Rings — the Moria and "Language and Lore: The Silm arillion as Trivium", pp. 4-6. Lothlorien episodes are Keller's examples - Gilson translates the five brief sentences in Elvish which and there it is that of "a medieval - appear in The Silm arillion, and comments on the new forms style romance, a secondary epic". (In Lewis' use in which appear. He then traces several words in Elvish and A Preface to "Paradise Lost", the secondary epic could in Old English which demonstrate some aspects of Tolkien's hardly be a medieval romance; Keller is mixing genres.) creativity: a i y a and e a l a , and E a r e n d il and e a r e n d e l ; he "The Silm arillion is primary epic." The thesis Keller finds the latter word to probably contain a personification uses to defend this defense of the high style is Tolkien's of the morning star in Old English (in its use in a poem successful literary creation of a mythology, rephrasing by Cynewulf) as well as in Elvish, and he traces Earendel Lewis' definition of a myth in An Experiment in C riticism - (as a personage) through Germanic myth and legend-, mixing "basic archetypes and narrative kernels" — as his basis. in his father and his uncle, to arrive at a reference to "We get...the tale of creation in the Ainulindale, animated a boat called Guingelot — and hence to Earendil's Vinge- by the controlling metaphor of music; the pantheon-cata­ lot. From Christopher Tolkien's appendix on "Elements in logue in the Valaquenta/ with a redundancy and complexity Quenya and Sindarin Names", Gilson discusses n e l d o r , sug­ far more convincing than the neat logical packages of many gesting its probable roots; he discusses the color signifi­ would-be mythologers; the Eden and Atlantis myths in The cances of the lamps of the Valar, Illuin (silver blue) and Akallabeth, rejuvenated by their juxtaposition". Keller's Ormal (golden yellow). He concludes with the implicit examples of the styles actually mix styles and substances: images of three other terms, the roots -fin, -ras, and "The M m U i n d a l Z is .. .permeated by the style of the King -fael-. . . James Bible, but there are also hints of Dunsany...and of (b2) I[an] M. S[later], "Why?", pp. 6-8. Slater asks why the cosmic vision of Olaf Stapledon....The A k a lla b e th Tolkien felt it necessary to invent a new mythology for exhibits the more limpid flow of William Morris. The England. He answers his question by a process of elimina­ Quenta Silm arillion is told in a[n]. . .idiom.. .familiar to tion: the Arthurian mythos is British, not English; the every reader of medieval romances (and their emulators major English epics — The Faerie Queene and P a r a d i s e from Malory on), overlaid with...the more somber idiom of L o s t — are, respectively, Arthurian and Protestant, and the Icelandic sagas". 38 (c) Margaret Esmond, "Watch Out for Wardrobes: Part VI: Green, Roger Lancelyn. The Hamish Hamilton Book of Other Penelope Farmer's A C a s t l e of B o n e " , pp. 11-14. References W o r ld s . London: Hamish Hamilton, 1976. xiv + 240 pp. to Lewis' use of a wardrobe in the Narnian chronicles appear [References to Lewis, pp. xi, xiii, 104-115, 237, in the first two paragraphs because Farmer's book uses a 239; to Tolkien, p. xiii.] clothes cupboard for magical transportation, but the rest of In this anthology of stories and poems intended for child­ the substance is far from Lewis and no further comparisons ren, which is dedicated to Walter Hooper, Green reprints appear. (d) I[an] M. S[later], in the "Reviews" section, Lewis' "Forms of Things Unknown" (pp. 104-115). It has pp. 15-18. A short essay on E. R. Eddison's The Worm two illustrations by Victor Ambrus: a two-page top-three- Ou r o b o r o s . Lewis' dislike of the characters' morals in quarter illustration of John Jenkins discovering the the Zimiamvia cycle is referred to (p. 17, col. 2); Lewis' previous astronauts on the Moom (pp. 112-113) and a one- discussion of Mercury in The Discarded Image is cited on page bottom-three-quarter illustration of the end of the the setting of The Worm Ouroboros (Ibid.); Lewis' defense story — Jenkins seeing a shadow from behind him (p. 114). of Eddison's style is mentioned (p. 18, col. 1). (e) In Green's introduction, he describes the Narnia stories I[an] M. S[later], in the "Reviews" section with this among those "too long to be included in this volume, and heading "'A New Story for Yourself': A Radical Victorian's too well-known to need more than a reminder" (p. xi). Middle English Romance", pp. 19-20. A review of a new But after the strictly fantasy stories, he turns to science edition of William Morris' Child Christopher and Goldilind fiction, mentioning Out of the Silent Planet and P e r e - t h e F a i r . In comparing Morris' work to its original, the la n d r a — with a comparison to The Lord of the Rings which medieval Lay of Havelock the Dane, Slater comments, indicates he is not taking the SF framework seriously, "J. R. R. Tolkien seems to have taken the name W esternesse or is propagandizing for Lewis' works on the basis of from K in g H o rn , and G o ld b e r r y may be an echo of G o ld e b o r n , Tolkien's popularity — and then Lewis' two short stories the heroine of H a v e lo c k " (p. 19, col.. 2). of space travel. He very oddly says "Forms of Things Finger, Reta. "Some Thoughts on Power". Daughters of Unknown" is better than the other ("Ministering Angels", S a r a h , 4:2 (March/April 1978), 1-5. [Lewis, 4-5.] unnamed); he addes that the lunar landscape was based on a A discussion of women's power in a Christian feminist dream (this is^.also claimed in the Green and Hooper bio­ journal. The Screwtape Letters is quoted on the different graphy, but the time lag between the dream of 1927 and the things the two sexes mean by unselfishness (from Letter 26, story written near the end of Lewis' life make the second paragraph). Finger concludes from this, "I believe connection dubious); Green also puns very nicely on the that special power given to women lies in being able to climactic event: "the last paragraph contains...a p e t r i ­ teach men how to be servants. How else will men learn how f y i n g moment straight out of Greek mythology" (p. xiii). to do 'spontaneous work to please others,' save by patient Probably this introduction is the reason the epigraph demonstration and continual teaching? Men need to be (from Perelandra), which Hooper added to the story on its trained, as girls have been by their mothers, to see work." first publication, is here omitted. Green, Martin. Transatlantic Patterns: Cultural Compari­ Gunn, James. Alternate Worlds: The Illustrated History sons of England with America. New York: Basic Books, of Science Fiction. With an introduction by Isaac 1977. viii + 298 pp. Index. [References to Cecil, Asimov. New York: A&W Visual Library, n.d. p. 160; to Lewis, pp. 49, 104, 142, 230; to Wain, (Originally published as a hardcover, Englewood pp. 84, 249; to Williams, p. 104.] Cliffs, New Jersey: Prentice-Hall, 1975.) Index. Green collects a number of his essays and addresses and adds 256 pp. [Lewis, 99, 249; Tolkien, 30, 124.] some new chapters, making something more than a miscella­ Gunn's book is an impressive volume in several ways, inclu­ neous collection out of them, mainly because of his interest ding approximately 700 pictures (a number of pages of throughout in the social implications of literature. None magazine covers are reproduced in color); his history of the Inklings are major figures. Cecil is mentioned for attempts to see science fiction in a historical framework, an essay on P. G. Wodehouse in a discussion of Evelyn which includes the technology of the period. However, Waugh's Lord Sebastian Flyte in Brideshead R evisited, the book is very clearly oriented toward the American Wodehouse being for Green Sebastian's "literary equivalent" science-fiction readers after its obligatory early chap­ (p. 160). Lewis appears occasionally, and Williams once, ters (it does not mention Stanislaw Lem, the current Polish as an example of reactionarism: "the whole religious- writer), with a strong stress on the tradition of John W. aristocratic reaction represented by T. S. Eliot, Dorothy Campbell; the first part of the final chapter sums up Sayers, [and] C. S. Lewis-' is part of England's decline science fiction as existential, rational, and optimistic. after 1918 (p. 49); Sayers was "a poet, playwright, trans­ In this light, it is not surprising that, although O u t o f lator, scholar, working within the circle of those interests the Silent Planet is listed in the basic SF chronology at common to Oxonian High Churchmen then; like Charles Wil­ the end of the book (p. 249) and although Lewis gets a liams, C. S. Lewis, and T. S. Eliot" — with examples, and phrase in a sentence in the history proper, listing the the mistaken statement that she edited Essays Presented to Trilogy and quoting Kingsley Amis on it, and a photograph Charles W illiams (p. 104); "the fiction of C. S. Lewis, (p. 99), there is no substantial treatment of Lewis; indeed, Dorothy Sayers [and] Somerset Maugham" — writers of the the book does not itself indicate any first-hand knowledge science fiction, detective novels, and romances of the of the Trilogy. If there is any element of surprise here, period — rely heavily on cliche, on standardized materials, it is because one of Gunn's concerns is size of sales. which produce comfort in their readers through "very conser­ (No mention is made of Lewis' SF short stories, criticism, vative formal convention(s)" (p. 172); Northrope Frye is or poems.) The two references to Tolkien are to the popu­ something like Lewis, an "Establishment egghead adept at larity of The Lord of the Rings (p. 30) and to Tolkien disguise" (p. 230). The references to Wain are more neut­ fandom (p. 124); since this is a history of SF, these ral: Wain, like Amis, Shaw, Swift, and Pope, is a satirist passing mentions are acceptable, unless one notices that who holds up objects against the standards of a moral Weird Tales is mentioned nine times and Unknown another norm (the point is a contrast of all of them to Waugh, p. nine — in short, a bias towards the American pulp maga­ 84); Wain's A Winter in the H ills shows a reversal of a zine tradition dominates the book. type of conventional depiction of an Englishman's relations with America, the convention being seen in Malcom Hafwise, Fungo [pseudonym of Philip W. and Marci Helms] Stepping Westward. Bradbury's (ed.). D e l v i n g s . N.p. [Union Lake, Michigan]: Giusto, Joann. "Caedmon, at 25, Is Expanding Record Sales n.p. [The American Tolkien Society] 1978. 24 pp. in Book Outlets". Publishers Weekly, 212:17 (24 + covers. Illustrated. October 1977), 52-53. The chapbook contains a "Forward" [sic] (pp. 3-4), forty- In a report on Caedmon's success in the spoken record busi­ nine limericks (pp. 5-24), a list of authors (inside the ness , there are references to the four-record T o l k ie n back cover, identifying the initials signed to the lime­ S o u n d b o o k (p. 53, with a picture of its cover on p. 52); ricks), and a note on the "editor" (outside the back comments on the popularity of science-fiction, with which cover). Most of the limericks are poor, most are Tolkien Tolkien is classed (p. 53); and a brief listing of Caedmon's related, and most are clean. The limericks are by Rayna top ten recordings, which includes three Tolkien records Alsberg, Marthe Benedict, Vera Chapman, David Dettman, (p. 53). Anne Etkin, Geoffrey Farmer, "Fungo Hafwise", Marci Helms, Philip Helms, David Marshall, Dennis Persinger, Evallou 39 Richardson, and Randi Weiner. The illustrations (reprinted Lask, Thomas. . .Nor Iron Bars a Cage" (in his "Book for the most part from earlier publication) are by Marthe Ends" column). The New York Times Book Review, 23 Benedict, Marci Helms, Philip Helms, Tim Kirk, Dave July 1978 [Section 7 of The New York Times for that Marshall, Brian Pavlac, and Donna Willow. date], 35. A one-paragraph note about a Hebrew translation of The H o b b i t , done by members of the Israeli Air Force while in Hooper, Walter. "C. S. Lewis", pp. 605-606. In E erd m a n 's Abasya Prison, Cairo, from 1970 to 1973. Handbook to the History of C hristianity , gen. ed. Tim Dowley. Grand Rapids, Michigan: William B. Eerdmans Publishing Company, 1977. xxiv + 656 pp. Index. Le Guin, Ursula K. Review of "The Dark Tower" and Other [Lewis, xxiv, 593, 605-606.] Stories. The New Republic, 176:16/3249 (16 April In a one-volume, illustrated history of Christianity, Hooper 1977), 29-30. writes one of the inserts on major figures and movements A review which attacks Lewis for his projection of evil onto which appear in the book (it is printed on a yellow band, women and other characters, and offers an extended contrast covering slightly more than half of each of the two pages of his art with by on which it appears). There are no illustrations with it, Tolkien's. Note: The letter Wendell but quotations from The Problem of Pain and Reflections Wagner, Jr., under the title "C.S. Lewis defended", in on the Psalms (p. 605) and Mere C hristianity (p. 606). 176:20/3253 (14 May 1977), 7, defends Lewis from le Guin's Hooper's four paragraphs trace Lewis' life, with an empha­ charges of wanting to be in an inner ring, of being against sis on his Christian belief and his evangelism. A curious science, of creating black-and-white characters, and of error in the account (perhaps a result of editorial being misognistic in "Ministering Angels". shortening?) is the statement that Lewis' atheism was caused by that of his tutor, Kirkpatrick; Lewis said he was an atheist before he went to study under Kirkpatrick Lindskoog, Kathryn. "Some Problems in C. S. Lewis (Surprised by Joy, Ch. IX). Scholarship" (in the "Dialogue" section). Lewis is mentioned twice elsewhere in the volume. At Christianity and Literature, 27:4 (Summer 1978), the end of the introduction, "The Christian Centuries" by 43-61. [Barfield, 44, 50-51, 53-54; Havard, Robert D. Linder, Lewis' name appears two times ("Out­ 55-56; W. H. Lewis, p a s s im ; Tolkien, 55; standing writers such as C. S. Lewis...have provided a Williams, 44, 55]. model of intellectual attainment for Christians"; "From Lindskoog has traced a large number of inconsistencies or the apostle Paul in the first century to C. S. Lewis in unanswered questions in Walter Hooper's accounts of his the twentieth, Christians have arisen to defend it relationship with Lewis. She raises twenty questions [Christianity] with vigour and wit"). And Lewis' life related mainly to Hooper's ownership of manuscripts or to is given a line on a chart of "The Modern World" (which the sources of works in the second edition (the first starts with Martin Luther), pp. 592-593; other personages section being introductory), and five questions about at the modern end of the scale are Billy Graham, Martin statements in C. S. Lewis: A Biography , by Roger Lance- Luther King, Jr., Albert Schweitzer, Pope John XXIII, lyn Green and Hooper, in the third section. Two examples Dietrich Eonhoeffer, Adolf von Hamack, Rudolf Bultmann, will suggest the type of material covered: (a) In two Karl Barth, Martin Heidegger, Sigmund Freud, and Albert places Hooper tells of a 1963 or 1964 bonfire in which Einstein. The significance of Lewis in this volume is an W. H. Lewis destroyed many papers, and Fred Paxford, the interesting indication of the current Christian evaluation gardener at the Kilns, saved some in C. S. Lewis' script of his work (Charles Williams, for example, is not from the third day of the bonfire; Lindskoog reports mentioned). Paxford's denial of any such bonfire (p. 51). (b) Hooper has described in one account his first night spent Kirchhoff, Frederick (intro.). Studies in the Late Romances living at the Kilns as Lewis' secretary, with Lewis of William Morris. New York: The William Morris Society, 1976. 140pp. [Lewis, 30, n. 6; 93; 94 washing dishes; Lindskoog raises questions about Lewis' n. 4; 98, 100, 114, n. 3.] health in the late summer of 1963 (Lewis returned to the Kilns in August, very weak, after three weeks in a A collection of five essays, with a substantial introduc­ hospital) and reports the denial by the Millers — Mrs. tion, on Morris' prose romances, from A Dream o f John B a l l Miller was the housekeeper at the Kilns — that Hooper (1888) to The Sundering Flood (1897). The references to ever lived in the Kilns (p. 59). Implicit in the questions Lewis all to his "William Morris" (in Rehabilitations, reprinted in Selected Literary Essays ) — are these: (a) raised about the origin of the eight previously unknown Frederick Kirchhoff, "Introduction", pp. 9-30 [30, n. 6], Lewis essays collected in Christian Reflections, God in t h e D o c k , and Fernseeds and Elephants, is that of authen­ The definitive study of Morris' language remains unwritten. ticity o f material (p. 49). The editor of Christianity [But] C. S. Lewis has some perceptive things to say about and Literature offers space in future issues to "anyone the diction of the romances", (b) John Hollow, "Deliberate who has information or comments which may contribute to a Happiness: The Late Prose Romances of William Morris", productive dialogue" (headnote to the essay, p. 43). pp. 77-94 [93: 94, n. 4]. Hollow suggests the tension Lewis finds in Morris between a desire for immortality with an allegiance to mortality is but one of a number of Morris' Luke, Helen M. Through Defeat to Joy: The Novels of tensions between opposites. (c) Norman Kelvin, "The Erotic Charles Williams in the ligh t of Jungian thought. in News from Nowhere and The Well at the World's End", pp. Three Rivers, Michigan: Apple Farm, 1977. (Pri­ 95-114 [98; 100; 114, n. 3]. Four sentences from Lewis vately printed.) viii + 84 pp. [Lewis, v; are quoted on Morris' frank and direct eroticism, and his Tolkien, 1, 2, 12, 53.] acceptance of infidelities, with Kelvin calling Lewis "one The chapbook has four major sections, discussing four of the most perceptive readers in the [second critical] themes in Williams' novels: power (p. 1-55), exchange and general [after Morris' death] of Morris as imaginative the Doctrine of Substituted Love (pp. 56-67), incarnation writer" (p. 98). (pp. 68-74), and joy (pp. 75-82). Six of the seven novels receive their fullest discussion under the first topic, and the other — Descent into Hell — under the Larson, Lois. "Further Up and Further In: C. S. Lewis as second. The last two topics contain brief discussions of Reflected in Recent Secondary Sources". Myr d d i n , the novels as appropriate to their subjects. The booklet No. 4 ([late May] 1978), 22-29 [Tolkien, 28.]. concludes with a Jungian glossary (pp. 83-84). The first installment of an annotated checklist intended to Although Luke discusses the symbolism and the social cover secondary material on Lewis from June 1972 to June implications of the novels, her basic emphasis is on the 1975. This installment has an introduction (pp. 22-24); choices the characters make and the results of these choices an outline of contents in six sections (p. 25); and the on their lives — and with application to the readers' first eleven items, B through F in alphabetical order, of lives. An opening statement which typifies this approach: the first section, "General and Miscellaneous". Accor­ "Superficially read, Many Dimensions may seem loaded with ding to a letter from one of the associate-editors to this 'magical' happenings, but it contains a great deal of prac­ bibliographer, there are plans to eventually publish this tical wisdom for us all, exposing for us, if we have ears checklist as a separate book or chapbook. to hear, the terror and ugliness, the beauty and joy of 40 the forces underlying our daily choices, and revealing the decade the novel will survive this state of s c h l o c k ." profound implications of so many of our casual assumptions (See also the item by David Benedictus for another state­ and demands. The seeming 'magic' wrought by the stone ment in the symposium.) merely dramatises and makes real to us through imagination the working of the unconcious in our lives" (p. 16). A number of times Luke calls the supernatural, or magical, Niven, Larry, and Jerry Pournelle. The Mote in God's aspects of the novels symbolic of unconcious forces (e.g., E y e . New York: Simon and Schuster, 1974. 476 pp. the Stone of Solomon, in its ability to divide and redivide [Tolkien, 9-10, 40-41, 163, 448-450, 461-462.] without change, is "a symbol of that which is at the same A science-fiction novel of the first-contact genre, laid time the whole and unique in every individual", p. 18; in A.D. 3017 and the period immediately following, during more obviously, the archetypes in The Place of the Lion man's Second Empire (interstellar). The allusions to are "the unleashed powers of the collective unconscious", Tolkien are reference to an earlier period, A.D. 2603- (p. 26); also she gives a summary of the major images of 2640, when a planet or a sun-system called Sauron bred the whole (not unconscious) self (p. 47). Jung and Williams supermen (actually cyborgs, p. 449), once referred to as are compared in various ways; both denied that evil could "Sauron's Death's-heads" (p. 462). There is no explanation be suppressed or destroyed, but rather must be confronted, offered for the use of the name S a u ro n for a planet or a as in War in Heaven (pp. 7-8); Sybil Coningsby receiving a sun. Obviously, the allusions are itended as an in-joke blessing from the mad Joanna in The Greater Trumps is like to Sauron's ores and/or Black Riders in The Lord of the Jung learning from schizophrenics in the Burgholtzli (p. 40); R i n g s , with perhaps a further analogy intended to the the exchanges in Descent into Hell are like Jung's vision origin of the ores. in 1944 in which a friend consented to die for him, and did die soon thereafter (p. 61); Jonathan Drayton's painting of the City in light in All Hallow's Eve is like — not in de­ tail but in some themes — Jung's painting of a 1927 dream, which he titled "A Window on Eternity" (pp. 73-74). Besides Luke's psychological understandings of Williams' characters — sometimes in their archetypal sexual roles — her commentary has occasional statement of other kinds of interest, such as her observation, based on Adela Hunt in Descent into H ell, that the "sin against the Holy Ghost is surely the refusal of consciousness" (p. 63), instead of the more traditional identification of it as despair. Overall, a compact and extremely valuable discussion of the applicability of Williams' fiction. The references to Tolkien are brief, and all in the chapter discussing the theme of power; the two more impor­ tant citations (pp. 2, 12) refer to Gandalf's refusal of the Ring and to Aragom's decision at the Falls of Rauros to help his friends rather than proceed against Sauron.

McNaspy, C. J. (S. J.). "Snippets From An Oxford Diary." New Orleans Review, 6:2 (January 1979), 140-142 [Lewis, 140-141; Tolkien, 140]. McNaspy writes of his postdoctoral year in Oxford, 1947- 1948. He describes the popularity of Lewis' lectures, "Prolegomena to the Study of Medieval Poetry", mentions having tea with Lewis and having him out to dinner several times after meeting him through the Socratic Club; he quotes from his pocket diary about a guest night (where is not indicated) on 9 March 1948 when Martin D'Arcy, Leslie Orcrist: A Journal of Fantasy in the Arts, No. 8 (1977), Walker, Lord Cherwell, and Lewis argued about "swans, 1-26. Edited by Richard C. West, as the bulletin telepathy, ghosts, causality and the like." McNaspy met of the J. R. R. Tolkien Society at the University of Tolkien but did not know about his creative works. Wisconsin-Madison and of the Modern Language Asso­ ciation seminar [special interest group?] on the Medieval Tradition in Modern Literature. Maloney, Stephen R. "Romanticism and Religion in Bede Inkling-related contents: (a) S. Chaves, "Mordor Where the Griffith' The Golden String". The American Benedic­ tine Review, 25 (1974), 335-350 [Lewis, 336, 339.]. Shadows Lie", p. 1. A drawing on the cover, in a circle, A study of, among other aspects, organicism in The G o ld e n with the title on a banner (or ribbon) below. (b) Robin S t r i n g . Maloney considers Griffiths' book "probably only Wood, "Beren and Tinuviel", p. 4. A drawing, covering surpassed by Edwin Muir's An Autobiography" among "modern about four-fifths of the page. (c) Patrick L. McGuire, Christian autobiographies" (p. 335). Lewis is mentioned "Her Strong Enchantments Fading: A Study of [Poul] Ander­ as Griffiths' tutor at Oxford, and for dedicating S u r p r i s e d son's 'Queen of Air and Darkness'", pp. 5-13 [Lewis, 10, b y J o y to Griffiths (p. 336); he also is cited once — to 12n.; Tolkien, 7, 10, 13n. ]. Avery good study of be contrasted with Griffiths — on the effect of youthful Anderson's novelette, with occasional references to Lewis and Tolkien. Anderson's untraditional nicors "look some­ reading on his religious beliefs (p. 339). thing like a cross between an elephant... and an Ent" (p. 7); Tolkien's "On Fairy-stories" is cited on one trait of Maryles, Daisy, and Joann Giusto. "A Tolkien Christmas" fairies (p. 10); both Lewis' Narnian "witch-queens" and (in the "Currents" column). Publishers Weekly, 212: Anderson's fairy queen live in the north (p. 12, n. 6). 24 (12 December 1977), 36. As the editor points out on p. 2, the delay in the publi­ A report on the best-selling status of The Silm arillion, cation of O r c r i s t has meant that this essay has been pub­ and a divided report on The Illustrated Hobbit. lished in The Many Worlds of Poul Anderson, ed. Roger Elwood (1974). (d) Robert A. Bunda, "Color Symbolism in The Lord of the Rings", pp. 14-16. Bunda is concerned Moore, Brian. In "The State of Fiction: A Symposium". mainly with colors associated with characters. Hobbits The New Review, 5:1 (Summer 1978), 52-53 [Tolkien, like bright colors (= their bright, although naive, out­ 53]. look on life), especially yellow and green (= their Among other problems with recent fiction is the current "enjoyment of sunshine and gardening"). Elves dress in American tendency to believe that big sales mean fictional grey (= shadowy forests), and have golden hair (= nobility, value: "[The New York Times'] Book Review called The purity of purpose) and auras (= magical powers). (Bunda Silm arillion a work of genius....! hope that in the next does not mention the elves who do not have golden hair.) 41 In this same fashion, he discusses the dwarves, ores, wi­ comparison of cognate or related words in both languages, zards, Sauron, men of Rohan, men of the South, Galadriel, on the analogy of re-creation of Indo-European on the Tom Bombadii and Goldberyy. Overall, there are no surprises basis of the earliest forms of words in Sanskrit and in Bunda's essay, and he is essentially brining together other languages. The discussion is organized into sections materials on colors which earlier essays have noted in on short vowels (pp. 10-11), long vowels (pp. 11-12), dip- passing. (e) Roger Schlobin, "King Arthur in Alabama", thongs (pp. 12-13), vowel contraction (p. 13), final p. 16. A review of E x c a l ib u r by Sanders Anne Laubenthal syllables (pp. 13-14), and svarabhakti (p. 14), with an (1973, 1977). Most of the emphasis is on Arthurian mate­ addenda (pp. 15-16). (f) Jim Allan, "Corrections to the rials in the novel, and only two passing references to her Tengwar and Certain Values Assigned in Current Editions imitation of Lewis and Tolkien appear; the imitation of of The Lord of the Rings", p. 22. Seven errors in some Williams is not remarked. (f) Michael J. Ehling, "The editions of Appendix E II of The Lord of the Rings. (g) Conservatism of J. R. R. Tolkien", pp. 17-22 [Lewis, 17, David Strecker, "A Middle English Source for 'Middle- 21, 22]. A good essay, distinguishing between Tolkien's earth'", p. 23. Strecker traces what the Oxford English type of conservatism — based on Natural Law — and such D i c t i o n a r y has to say about the development of middle earth other types as defences of s t a t u s q u o or of free-market capitalism. The oddity in the essay is the use of Hooker's from earlier forms meaning "mid dwelling" and "mid yard"; middle earth Of The Laws of E cclesiastical Polity as the main basis of the earlier attested use of is c. 1275. (h) understanding Natural Law, when Tolkien would have been more Runes pp. 24-29. Three letters, mainly commenting on likely to have been influenced by Aquinas. Ehling's dis­ issue 4. (i) Mathoms" p. 29. Ian M. Slater provides cussion of Tolkien's attitudes toward the State involves him some material on the Esthonian t a r k (wise man) and the in a discussion of the Romantic natural man, or men living Finnish t a r k k a (attentive), for comparisons with Tolkien's outside of Natural Law (the examples here are the Ores, the t a r k i l (king). Paula Marmor translates literally the line The Father Christmas L etters. goblins of The H o b b i t , and Gollum). Of the instances of "Arctic" which appears in of organized States, Mordor and Isengard represent the (j) Backcover, p. 30. A poem in Sindarin, by Bill Weldon general type of dictatorships of which Bolshevik Russia and and Chris Gilson, written in Tengwar by Paula Marmor. Nazi Germany are also examples; the Shire represents "a self~satisfied, complacent, isolated democracy" which is run by traditions much like English Common Law, but which Phipps, William E. Was Jesus Married?; The D istortion cannot protect itself at its anti-intellectual level once of Sexuality in the Christian Tradition. New York: the traditions have been questioned. Ehling also discusses Harper and Row, 1970. x 4- 240 pp. [Lewis, 176. Gondor and Rohan, rejecting some of the religious analysis 231n.]. in Charles Moorman's The Precincts of F elicity (1966). The essay concludes with discussions of Tolkien's attitudes An interesting survey of the topic in the subtitle, which toward class (with a clear distinction between servants and is not as sensational as the main title suggests (although slaves), race (Tolkien's weak point in Ehling's view, be­ the answer to the titular question is "Yes — if Joseph cause of an implicit "separate but equal" attitude), and fulfilled his Jewish obligations to find his son a bride concentrations of power. Ehling's essay ties Tolkien into soon after puberty and certainly before the age of 20"). the modern world with citations from William Faulkner, At any rate, the reference to Lewis is just a brief citation _T. S. Eliot, Irving Babbit, Jose Ortega y Gasset, and on the medieval view of sexuality, taken from The Allegory o f l o v e and used in Ch. 8, "Sexual Attitudes in Roman Gabriel Marcel. (One possibility missed in the citation Catholicism". of Edmund Burke and others was to connect Tolkien's treat­ ment of masters and servants — Frodo and Gollum is one example in the text — to Thomas Carlyle's paternalistic Pittenger, Norman. The Holy S pirit. Philadelphia: ideas on employer-employee relationships.) (g) "Moot United Church Press (A Pilgrim Press Book), 1974. Point", pp. 22-25. Six letters to the editor, mostly 128 pp. [Williams, p. 57]. commenting on O r c r i s t , No. 6 (1971-1972). (h) Mary Kay Pittenger, a normally liberal Anglican theologican, writes Bond, "Scholarly, Malory", p. 25. A double-dactyl summing a moderate book on the Third Person of the Trinity. "A up the Arthurian aspects of That Hideous Strength ; the modern writer, Charles Williams, has written of 'our Lord third line is rather awkward reading, since the last word the Holy Spirit.' This is a useful phrase, for it reminds ("lives!") should not be accented. (i) John Leland, "What us that in Christian thinking the Holy Spirit is not a Are Ents Made Of?", p. 25 [Lewis, 25], A one-paragraph 'stepped down' or depotentiated divinity" (p. 57). No note, suggesting on some textual basis that Ents were ori­ footnotes or bibliography. ginally created from stone. (j) Carmal [Wilson], "Where Gollum Lives", p. 26. Back cover. Press, John. A Map of Modern English Verse. London: Oxford University Press, 1969. xii + 282 pp. Parma Eldalaniberon: The Book of the Elven Tongues, No. 5 Index. [Campbell, 119-120, 203, 214, 216, 257; (1977), 1-30. Edited by Paula Katherine Marmor, for Tolkien, 187; Wain, 251-252, 254n.]. the Mythopoeic Linguistic Fellowship. Press' book is a good general introduction to and brief Inkling-related material: (a) Paula Marmor, "The Song Un­ collection of British poetry and criticism of poetry, sung: Arwen in the House of Her Father", p. 1 (front 1909-1959. Tolkien (omitted from the index) is mentioned cover). Arwen seated on a railing, holding a harp. (b) in passing as one of W. H. Auden's interests (p. 187). Paula Marmor, "Beth-Luis-Nion", pp. 3, 17. An editorial Campbell is quoted against the Georgian poets (pp. 119- column, recounting the earlier trials in getting this issue 120), is cited as an anti-type of the Marxist poets of out and telling briefly the history of the Mythopoeic the 1930's and is said to have only a handful of lyrics Linguistic Fellowship. (c) Chris Gilson, "I Andonnar as his lasting work (p. 203), and has his "Autumn" col­ Nwalme-Lorio: A Report on the Fourth Annual Meeting of lected (p. 214); two volumes are mentioned in the select the MLF", pp. 3-6, 21. A report on the meeting(s) at bibliography (p. 216) to the chapter on "Poets of the Mythcon 7 (1976), with five notes. The first note dis­ 1930s" (pp. 199-217) in which most of the references to cusses the tree names, "Orofarne, Lassemista, Camimirie"; Campbell appear; one of his epigrams is alluded to, by the second, the first spell tried by Gandalf at the West- Louis MacNeice, in a quoted attack on the Movement (p. gate of Moria; the third, the possible use of an r-suffix 257). Wain is referred to in the chapter on "The Move­ as a nominative or accusative marker and an n-suffix as ment and Poets of the 1950s" as doing a series of readings an adjectival or genitive suffix in Proto-Eldarin; the over BBC's Third Programme — one of the early marks of fourth, the root meanings of L i n h i r ; the fifth, some devel­ the Movement (p. 251); as writing an enthusiastic essay opments in Proto-Eldarin, mainly involving the - a t h ending, about the poetry of William Empson, one of the poetic (d) J. R. Christopher, "Early Studies in Old Solar", p. 7. models for the Movement (p. 252); and — by Philip Larkin — An account of Richard M. Hodgens' and Henry Noel's dis­ as being one of the writers who was associated from the cussion of the meaning of certain Old Solar words — first with the Movement (p. 254n.). particularly M a l e l d i l — in The B ulletin of the New York C. S. Lewis Society in 1970. (e) Chris Gilson and Bill Weldon, "Proto-Eldarin Vowels: A Comparative Survey", Pygge, Edward. "Greek Street" [editorial column]. The pp. 8-17. An attempt to recover the vowels which were New Review, 4:47 (1978), 1. the origins of the vowels in both Quenya and Sindarin, by A discussion of the Bodleian Library's Oxford W riters 1914- 42 1977 exhibition. "doesn't the very phrase 'Oxford writers' The quotation for January comes from Mere Christianity, inevitably imply second raters:...those imbued with pro­ with a smaller one from George MacDonald's Wilfred Cumber- vincial snobbery and high-table conceit of the place (like mede in the extra space at the end of the days of the month-. C. S. Lewis and Tolkien". Wain is also mentioned as February: major quotation from Lewis' "The W eight o f appearing in a photograph "in his bookie's runner's cap". G lory"; minor, from Edmund Spenser's A m o retti . March: major, from Thomas Traherne's Centuries of Meditations; minor, Lewis' The M a g icia n 's Nephew. April: major, "Queen's Secret Life" (in the "Profiles" section). D a lla s Lewis' "The W eight o f G lory"; minor; Lewis' "Is Theology Times Herald, 4 October 1977, p. 2A. [Presumably Poetry?” May: major, George Herbert's "Man"; minor: appearing in other newspapers about the same date.] Dorothy L. Sayers' The Man Born to b e K ing. June: major, The item is quoted fully: "One of Danish Queen Margrethe's Lewis' Surprised by Joy; minor, Sir Thomas Browne's letter secrets has been revealed — she is also the 'Ingahild to a friend. July: major, Lewis' "Man or Rabbit?"; Grathmer' who drew 70 illustrations for a new three-volume minor, Tolkien's The F ello w sh ip o f th e R ing. August: collection of J. R. R. Tolkien's 'Lord of the Rings.' major, Lewis' Letters to Malcolm; minor, Lewis' letter to Under the Grathmer pseudonym, the queen drew the illus­ Dorn Bede Griffiths. September: major, Charles Williams' trations for the 15,000-copy limited edition which will be Shadows of Ecstasy; minor, none (a drawing of seven released Friday [4 October, the newspaper publication date, candles). October: major, Lewis' "Religion: Reality or was a Tuesday]. The collection, with a face value of Substitute?"; minor, a phrase of the major quotation $180 has been sold out. 'We don't know how the secret repeated. November: major, Lewis' The Great Divorce; was discovered,' said a spokesman for the Forum publishing minor, Lewis' Letters to Malcolm. December: major, company. 'But it has certainly given rise to frantic G. K. Chesterton's "A Child of the Snows"; minor, Lewis' activity in our order department.'" Perelandra. These quotations are religious or ethical in emphasis, and sometimes rather bald in isolation, such as the one from P erela n d ra for December: "There is nothing Raine, Kathleen. Defending Ancient Springs. L o n d o n : now between us and Him." (The calendar prints it wholly Oxford University Press, 1967. [vi] + 198 pp. in capitals, so the Him — here intended as a statement of Index. [Lewis, 95, 139, 155; Tolkien, 125; the Incarnation — does not seem quite as artificially Williams, 20]. stressed as it does in this annotation.) The choice of A collection of ten essays on the visionary or mystical the main quotation for June seems unusual: "Give me the tradition in poetry. In the second essay, "Vernon Watkins man who takes the best of everything (even at my expense) and the Bardic Tradition," Williams is mentioned alone with and then talks of other things, rather than the man who Robert Graves for having written versions-of the "Lay of serves me and talks of himself, and whose very kindnesses Taliesin" (p. 20); Watkins' "Taliesin and The Mockers" is are a continual reproach, a continual demand for pity, being considered, as another imitation of the Welsh poem. gratitude, and admiration"(Surprised b y J o y ), since Lewis In the fifth essay, "Traditional Symbolism in 'Kubla is hardly holding either type up to complete admiration. Khan'", Lewis is quoted on the "grammatical" use of tra­ On the back of the calendar is a brief, Christian apprai­ ditional symbolism, including "[g]iants, dragons, sal of Lewis, with a mention of the meetings of the paradises, [and] gods" (p. 95); Raine goes on to discuss Inklings. the tradition behind Coleridge's use of Alph, the sacred river. In the seventh essay, "On the Mythological", "Tolkien's Hobbits" are mentioned in a list of "purely Rothfork, John. "Science Fiction as a Religious Guide to fictitious" creations by Lewis Carroll, Edward Lear, The New Age". Kansas Quarterly , 10:4 (Fall 1978), Charles Kingley, George MacDonald, Rider Haggard, David 57-66 [Lewis and Tolkien, 61]. Lindsay, Sir James Barrie, and Mervyn Peake (p. 125); the Lewis and Tolkien receive passing mention as anti-techno­ point is a nineteenth and twentieth century tendency for a logical writers, their examples being cited from William large reading audience to refuse the marvellous unless it Irwin Thompson, At the Edge of History: Speculations on is clearly labelled as make-believe. And in the eighth the Transformation of Culture (New York: Harper and Row, essay, "A Defense of Shelley's Poetry", Lewis is referred 1971), 178. to twice: for his use of the term "old western" civili­ zation (p. 139) and, more significantly, for his essay on Shelley, contrasting the poet to Dryden (p. 155). Perhaps Rotsler, William. "Bakshi's Lord of the Rings". Locus: the use, in the first essay, "Edwin Muir", of the phrase The Newspaper of the Science Fiction Field, 11:6/213 "poets of the Anglican revival" should be noted (p. 1): (August 1978), 5-6. this refers to modern poetry, and hence mainly Eliot and Rotsler reports on a 15 August 1978 Hollywood press con­ Auden, but probably Williams is also meant. ference held by Ralph Bakshi to promote his movie. The technique for rotoscoping was discussed (the film was shot in black and white, each frame was projected on an R a v e n h ill: N e w s le tte r o f NETS, No. 0 (n.d. [January- animation stand, and a drawing was made of each frame). Fabruary 1979]), 1-3. Edited by Gary Hunnewell Rotsler comments, "Seeing the [brief selection shown] I for the New England Tolkien Society. could not help thinking — why not just photograph it An organizational issue, produced in a print run of 24. with live actors? ... The film definitely had a quality, Contents: (a) Scott Chase, cover drawing, p. 1. A an effect, however. The colors are dark, muted, not farmer with a pitchfork (Farmer Maggot?). (b) Minutes flashy. Bakshi said if there were any artists that were... of meetings on 6 January 1979 and 27 January 1979, pp. 2- models they were N. C. Wyeth, Howard Pyle and those of 3. that school of illustration." A number of other points about the animation and the selectivity of what was Reedy, Gerard (ed.), and Richard Mann (designer). filmed were discussed. "About a book and a half of the Inklings: A Calendar for 1978: Inspired by the epic was created!;] however Bakshi said that at this time Writings of C. S. Lewis and Those Who Inspired he had no plans to film the rest. It was a 'wait and Him. Dobbs Ferry, New York: Cahill and Company, see' situation." 1977 [28] pp. [References to Barfield, p. 28; to Lewis, pp. 1-2, 4, 7-9, 12, 14, 16-17, 20-23, 25, 27-28; to Tolkien, p. 15, 27-28; to Williams, Rottensteiner, Franz. The S c ie n c e F ic tio n Book: An pp. 18, 27-28.] Illustrated History. New York: The Seabury Press An 11 x 8-1/2 inch calendar (unfolding to 22 x 8-1/2), (A Continuum Book), n.d. (Originally published with quotations from various writers for each month, by Thames and Hudson, London, 1975.) 160 pp. written in casual printing, with various uses of black and No Index. [Lewis, 11, 20, 64-65, 154, 156; red on the white pages. The days of the months note the Tolkien, 112-113, 155-157; Williams, 156.] major religious festivals (Christian and Jewish), with Rottensteiner's history is episodic and non-chronological: some secular holidays of the United States and Canada. essentially he has written fifty-two short essays on No notation of Lewis' birthday or date of death, for exam­ aspects of science fiction, with greater knowledge of ple, or any other Inkling-related occasion. European SF than most critics have. The illustrations — 43 usually drawings or covers from SF magazines and books — he read into him his own doctrine of hierarchy" (p. 271). are extensive and often in color; at least one appears The actual passage in the book involves some contrasts to per page of the basic text. This emphasis sounds as if William Empson's criticism in M ilton's God. a coffee-table or public-library book was intended; but Rottensteiner supplies a better text than that implies (even though he has occasional errors, like saying that Stewart, J. I. M. F u ll Term . (Vol. 5 in "A Staircase in in Edgar Rice Burroughs' A P r i n c e s s o f M ars John Carter Surrey".) London: Victor Gollancz, 1978. 320 pp. had to be born from an egg on arriving on Mars, or that [Tolkien, 47-48, 90-91, 122, 141, 241, 296.] Ray Bradbury's Dark Carnival was first published in New All references to Tolkien in this volume are to his fic­ York). In particular, he distinguishes between the tional counterpart, J. B. Timbermill; since Timbermill is scientism which Lewis attacked and science proper (p. 65); fictionally dead in this last volume, the references are he shows he has read the essays in Of Other Worlds brief reminiscences, "hadn't Timbermill been — and in­ (pp, 11, 20). creasingly so at the time of his death — a seer Rottensteiner's note on the Ransom Trilogy (mainly the preternaturally endowed?" (p. 47). "'that impressive old first volume) appears on p. 65, with a Chesley Bonestell headache, the late J. B. Timbermill'" (pp. 90-91). painting of Mars reproduced in pale green and white, pre­ "Timbermill...companioned to the end at least by the sumably to recall Malacandra. (The chapter is titled residual deliverances of his own imagination and the "Living suns and sentient planets: Stapledon and Lewis", achievements of his own scholarship" (p. 122). "the spot (pp. 64-65.) Tolkien receives a lengthy paragraph in where Lempriere and I had once come upon the aged J. B. "Secondary universes and magic lands" (pp. 112-113). Timbermill seated amid a bunch of juvenile Wandervogel" On The Lord of the Rings: "this gigantic fairy tale for (p. 241). "for a moment I was afraid... — I suppose grownups seems to satisfy its readers' longing for a with that terror of death which a sudden revelation of world closer to nature, homely in its fashions and lan­ extreme debility in another can bring. Timbermill had guages, and with clear-cut loyalties and simple made me the same parting gift" (p. 296). delineated moral problems" (p. 113). "Homely languages" seems odd, since two of Tolkien's bases are Finnish and Welsh; and the s i m p l e morality is at least debatable. Stewart, J. I. M. The G a u d y. (Vol. 1 in "A Staircase in This note is illustrated by a paperback cover of I n d e Surrey".) London: Victor Gollancz, 1974. 302 pp. Ban van de Ring (a translation of the first volume), [Tolkien, 10, 67-68.] reproduced in black and white. All three books of the Stewart s pentalogy has as its main character Duncan Ransom Trilogy appear in the "Chronology of science Pattullo, a middle-aged mildly successful playwright fiction (p. 154). In the five-page secondary biblio- here returning to Surrey College, Oxford, for a dinner graphy (pp. 154-158), seven books wholly on Tolkien are for old graduates. The references to Tolkien in this listed (without much discrimination — William Ready's fxrst volume are minor: a character coming out of the The Tolkien Relation is included), two books in part on library is compared to a hobbit (p. 10), because of the Lewis (one, Hillegas' Shadows of Imagination, includes size of the library compared to human beings. The second materials on Tolkien and Williams), and Lewis' O f o t h e r reference is more significant so far as the later volumes W o rld s appears. Overall, Rottensteiner comes out slightly are concerned. Pattullo, thinking of his undergraduate better on Lewis than most writers of SF surveys. days, comments, "it was I myself who, inspired by an elderly don called Timbermill, had for a time absorbed myself in the pursuit of mere-dragons, marsh-steppers, Samuel, Irene. Dante And M ilton: The "Commedia" and eldritch wives, whales, loathly worms, and argumentative "Paradise Lost". Ithaca, New York: Cornell nightingales and owls" (pp. 67-68). Since Timbermill University Press, 1966. xii + 300 pp. [Lewis will turn out to be a fictional recreation of Tolkien in 271-272.] Py L ’ subsequent volumes, perhaps it is worth pointing out Lewis found in Paradise Lost much more than a re-enforce­ that Stewart does not provide him with a fa m ily and does ment of his own convictions" (p. 272); but "It was genial not tie him down to a college; these obvious marks of of C. S. Lewis, who missed little of what Paradise Lost fictionalizing should keep a reader from assuming that has to offer, to regard Milton with such admiration that

44 other details, not so easily distinguished from Tolkien's All references to Tolkien in this volume are to his biographical facts, are literally true. According to fictional counterpart, J. B. Timbermill. This volume tells Humphrey Carpenter, T o lk ie n (Boston: Houghton Mifflin, of Duncan Pattullo's undergraduate days at Surrey College, 1977), p. 133, Stewart is a "former pupil" of Tolkien. Oxford, and so it contains his first visit to Timbermill, his Anglo-Saxon tutor (pp. 93-113). Timbermill tutors in his home, an attic apartment in a large house converted Stewart, J. I. M. The Madonna of the Astrolabe. (Vol. 4 into a rental property, his apartment being filled with in "A Staircase in Surrey".) London: Victor "thousands and thousands of books" (p. 107). Timbermill is Gollancz, 1978. 304 pp. [Tolkien, 11-12, 59, 76-80, not an absent minded scholar (as is Pattullo's other tu­ 83-85, 87-88, 240-255, 257, 269.] tor) , and makes an allusion to Yeats — which hardly All of the references to Tolkien in this volume are to his seems Tolkienesque. "I even felt...that I might be in fictional counterpart, J. B. Timbermill. There are two the presence of a mage or wizard in disguise. ... The major scenes with Timbermill in this volume: the first posts which in a prosaic and utilitarian way held up the (pp. 76-80) is when he is seen by the narrator seated by roof might have been dead timber in some sacred grove St. Michael-at-the-North-Gate, surrounded by hippies: which a magic stronger than its own had blasted; the "Since Timbermill was, or had been, the outstanding Anglo- tunnel-like openings beneath the eaves and gables of the Saxon scholar of his time, the tower of St. Michael-at- big house were as glades and ridings in a forest haunted the-North-Gate was a wholly appropriate background for him" by trolls and norns" (p. 112). Since Stewart is identified (p. 76); "He was exceedingly unkept — like a tramp, it in Humphrey Carpenter's T o lk ie n (Boston: Houghton Mifflin might have been said, who has for some time been letting Company, 1977), p. 133, as having studied under Tolkien, himself go" (p. 77); ’the author of The Magic Quest had it would be nice to read passages about Timbermill being thus found and elected his final companions" (p. 78). The the only tutor to get work out of Pattullo as autobio­ second passage, much to long to be excerpted, is Chapter graphical (e.g., pp. 143, 202); the latter passage, after XVII (pp. 240-255), describing Timbermill's senility and describing Timbermill's work on putting together brokeii death, with his whisper of "Anna!" (p. 253) as he died. Anglo-Saxon pottery, adds: "I was mad keen on being It is most obvious in this volume, where the other chara- taught by Timbermill, even when he was only insisting ~ ters are relatively realistic, that Timbermill is a humor that I learn how to make Anglo-Saxon noises and sort out character, or a grotesque, rather at odds with the tone of Anglo-Saxon verbs. This wasn't exactly going to last a much of the sequence; of course, there is a tradition of lifetime. But was I never to have a similar intellectual academic eccentricity, but the book's compass is stretched experience again." A more certain reference to Tolkien widely to include Timbermill. appears in a later passage: Pattullo speaks of Timber­ mill's tendency to doodle on the margins of his (Pattulr- lo's) essays, which were submitted in advance: "what I Stewart, J. I. M. A Memorial Service. (Vol. 3 in "A carried back to college with me week by week presented Staircase in Surrey".) London; Victor Gollancz, the appearance of leaves abstracted from the Lindisfame 1976. 288 pp. [Lewis?, 184; Tolkien, 78-82, 118, Gospels or the Book of Kells. Long afterwards I was to 123, 140-143, 171, 176, 215-221, 243, 245-246, chance to display some of these keim elia...to a wandering 253-255, 257-258.] American professor, and to receive within days a cable All references to Tolkien in this volume are to his fic­ from his university offering to buy them for a large sum tional counterpart, J. B. Timbermill. In his novel, of money. . . .curious...were the forms, the creatures, Timbermill is elderly, with moments of senility; he is beginning to peer out from amid all that intricacy of concerned with some work of scholarship which he has not foliage and arabesque in the margins of my essays on The completed while writing The Magic Quest (the fictional B attle of Maldon or The Dream of the Rood. I was wit­ equivalent of The Lord of the Rings). In the first scene nessing the birth, or the first dim movement in the in which Timbermill appears, Duncan Pattullo — the night of their forebeing, of the presences one day to fictional protagonist of the series — comments, "I had haunt The Magic Quest" (p. 269). A f i n a l , full account admired but not greatly cared for The Magic Quest: not of a tutorial session turns mostly upon discussion of as I'd cared for the strange drawings with which he used ancient British coinage and the White Horse, before to ornament my essays. The book had owned a range and Pattullo reads his essay on the Christian element in pitch far beyond any scope of mine, all the same" (p. 78). B e o w u lf (pp. 273-278). In the novel, Pattullo is the successful author of draw- ing-room comedies; of course, this passage may also be speaking for Stewart, who had written eleven realistic novels under his own name and, as Michael Innes, twenty- six mystery novels before he wrote this passage. (The one possible allusion to Lewis, p. 184, is a reference in a conversation to "the same Inner Ring ethos" affecting politicians, diplomats, and academics; but Lewis hardly coined the phrase, despite titling, an essay "The Inner Ring".) Stinson, Paul. "Middle Earth". Reproduced in Tom orrow Stewart, J. I. M. Young Pattullo. (Vol. 2 in "A Staircase and Beyond: Masterpieces of Science Fiction Art, in Surrey".) London: Victor Gollancz, 1975. 318 pp. ed. Ian Summers, p. 54 (title listed in the Appen­ [Lewis, 179, 230; Tolkien, 90, 93-100, 103-113, 117, dix; p. 148). New York: Workman Publishing 137, 141, 143, 168, 201-202, 247, 253, 268-269, Company, 1978. 158 pp. 273-278, 280, 296.] The painting, reproduced "from the artist's portfolio" The references to Lewis are joking allusions to The P i l ­ (p. 148), is in the section on symbolism, and not all grim's Regress. In this novel reference is made to a details are applicable to Tolkien. The top of the painting fictional (or fictionalized) woman near Oxford who enter­ has a hobbit with a sword — presumably Bilbo or Frodo tained Asian young women: "Mrs. Triplett's Burmese^ with Sting — between two birds' heads; the latter look princesses (for I believe they were mostly that)..."' like metallic eagles. In the center of the painting is (p. 178). One character comments, "I'm interested, by what seems to be Smaug breathing out fire; he is a blue­ the way, in this business of brown girls. There's a don eyed monster with a head shaped something like a horse, somewhere — I think it's at Magdalen — who has written with a pair of horns curling up from his forehead and a book about a chap called John. It's one of those pil­ another pair from near his nostrils; at each side are grimage fables of an edifying sort. ... The point about brown, leathern wings, and the fiery breath descends on this John is that, as he piously journeys he's continu­ a treasure which includes a sword, a flagon, and two ally ambushed by brown girls. That's what they're called: metal baskets (the one on the left also suggests a brown girls. They tumble him in the hay. I'm wondering large ring, as it is painted). The green "witch's1' head whether they have their origin in Mrs. Triplett's s a l o n . at the bottom of the painting and other details are obscure It might be a fruitful field for literary research." in the Tolkienesque context. (p. 179). 45