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Tolkien on Fantasy in <I>Smith of Wootton Major</I>

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Tolkien on Fantasy in <I>Smith of Wootton Major</I> Volume 12 Number 1 Article 1 10-15-1985 Tolkien On Fantasy in Smith of Wootton Major Margaret Sammons Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Sammons, Margaret (1985) "Tolkien On Fantasy in Smith of Wootton Major," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 12 : No. 1 , Article 1. Available at: https://dc.swosu.edu/mythlore/vol12/iss1/1 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 Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Analyzes Smith of Wootton Major as a statement of Tolkien’s theories on fantasy writing, particularly on the nature of Faerie, and notes autobiographical elements related to Tolkien’s writing career, especially his concern about finishing his legendarium in the time left ot him. (Note: the issue gives her first name as Margaret, which is incorrect.) Additional Keywords Faerie in Smith of Wootton Major; Tolkien, J.R.R.—Theory of fantasy; Tolkien, J.R.R. Smith of Wootton Major; Tolkien, J.R.R. Smith of Wootton Major—Autobiographical elements; Sarah Beach; Paula DiSante 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/vol12/iss1/1 MYTHLORE 43: Autumn 1985 Page 3 Tolkien On Fantasy in Smith of Wooton Major Margaret Sammons One of the great frustrations in studying fantsy beginning of the story is Rider (who we learn later is is simply defining what it is. J.R.R. Tolkien has a Smith's grandfather). Disappearing unexpectedly for a quite specific and even unusual definition of fantasy, while, he returns merrier and able to sing gay songs; where it comes from, who receives the gift of the he also brings back a seemingly too young apprentice creative imagination, and what effects it has on the named Alf. When Rider suddenly leaves again for good, receiver. These ideas are presented in three of his the townspeople panic and appoint a plump, sly, lesser read yet significant works, "On Fairy Stories," incompetent man named Nokes as Master Cook, instead of "Leaf by Niggle," and Smith of Wootton Major. The first Alf. Since Nokes knows little about cooking, he has to two comprise Tree and Leaf, which Tolkien says is sneak lessons from Alf to learn how it is done. primarily about the idea of "sub-creation." The non-fiction essay "On Fairy Stories," delivered as a Naturally, when the time comes for the next Feast, lecture at St. Andrews College, discusses what fairy Nokes despairs, for he knows nothing about how to make tales are, their origin, and function, and C.S. Lewis a Great Cake. A fairylike cake, he assumes, must be considered it the best thing of its kind ever written. iced in sugar with a pretty little fairy on top. While "Leaf By Niggle" is a brief, allegorical tale about the searching for some spices to add to the cake, he problems of the fantasy w riter as he faces death and is discovers a tiny, tarnished star. He decides to mix really an autobiographical piece about Tolkien himself this, along with other trinkets and coins, into the and his frustrations in bringing together his his Cake as surprises for the children. But Alf sternly massive mythology. Finally, Smith of Wootton Major, warns him that this is a "Fay" star — from Faerie — published in 1967, appears on first reading to be a and thus should be treated seriously. fairly light-hearted yet odd and perplexing little story, and it has been given very little critical On the day of the feast, each child gets a slice attention. But through this simple and pleasant to read of cake; some get trinkets, others none. A quiet boy tale, Tolkien presents many of the same views about named Smith unknowingly swallows the magic Fay star fantasy found in Tree and Leaf, as well as further which waits quietly within him for several months. Then insights into his own despair about writing. Clyde one spring day he is suddenly awakened to the beauty of Kilby interprets it as "primarily about the creative the world, begins to sing strange and wonderful songs, process and the special problems of a fantasy writer and becomes a skilled craftsman. The star is affixed to like Tolkien." [1] his forehead. Most important, though, he begins to take several journeys to the realm of Faerie and is The story takes place in a little village called privileged to witness many wondrous and marvellous Wootton Major, noted for its craftsmen and especially things. Eventually told by the Queen of Faery that the its cooking. Although the town seems very B ritish, the time has come for him to choose a successor to wear the time and location are fairly vague. One of the most star, Smith reluctantly returns it to the King of important events of the town around which the story Faery, Alf (Elf) him self, who has now become the Master centers is the Feast of Good Children, held only once Cook. Smith chooses Tim, Nokes' great-grandson, as the every 24 years for just 24 children. For this great next recipient of the star. occasion, the Master Cook, a key figure in town, must provide the Great Cake. The Master Cook at the Such a plot seems to lend itself to neither quick Page 4 MYTHLORE 43: Autumn 1985 allegorical interpretation nor profound insights into [5] Most important, though, the "fairy" element is the nature of fantasy. Yet we can begin to understand produced not by simply including fairies and elves in it better by placing it in the context of Tolkien's the story but Fay, the region of Faerie itse lf. This is life. Just as "Leaf by Niggle" was w ritten during a represented by the seemingly sm all, tarnished star period of frustration over trying to finish Lord of the which not only eventually gives off its own light but Rings. Smith of Wootton Major was composed at the end is reflected in the eyes of those who have it. The Cake of January 1965 at a time of despair over the inability must also be novel, not a repetition of other cakes. to work on the Silm arillion and fear of approaching old And it is no bigger than needed; there is "no coming age. As Tolkien explained in an unpublished letter to again" for the children. While some children find Professor Clyde Kilby, the story evolved quite by several trinkets, others get none, "for that is the way accident. [2] At the request of an editor, Tolkien was luck goes, whether there is a doll with a wand on the attempting to write a Preface to a new edition of cake or not." Perhaps Tolkien is saying that people get George MacDonald's The Golden Key, a fairy tale for various rewards from fantasy, but only from a true children. Tolkien said he was not "as warm an admirer fairy tale can the chosen receive the special, magic of George MacDonald as C.S. Lewis was" but that he did g ift of the Fay star. "think well" of The Golden Key. [3] In the course of trying to explain the term '‘fantasy" to his readers, Professor Kilby says Tolkien "staunchly denied" Tolkien began to illu strate what he was talking about: the story has any autobiographical meaning: "It was, he "This could be put into a short story like this . said, originally intended as 'just a story about ." When the result was about ten pages of a first cake.'" (Kilby, p. 37) Yet in some points of the story, version of Smith of Wootton Major, Tolkien realized Nokes seems to be a personal reference to Tolkien that the story "had developed a life of its own, and him self. In his letters, Tolkien wrote that it was "not should be completed as a thing by itse lf." Apparently, intended for children! An old man's book, already Tolkien also wrote up his own lis t of characters and weighted with the presage of 'bereavem ent.'" (L etters, said he knew a lot more about them than he actually p. 389-90) He also wrote that it was "w ritten with deep told about them in his final draft. The original title emotion, partly drawn from the experience of the was "The Great Cake," perhaps indicating a shift in bereavement of retirem ent and of advancing age" because focus from the work of fantasy to the creator him self. he knew he was getting old and would soon have to pass Tolkien said although "the title is intended to suggest on the star to someone else. [6] In fact, Smith was the an early Woodhouse \sic! or story in the B[oys'] 0[wn] last story Tolkien ever wrote.
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