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Volume 7 Number 2 Article 18

6-15-1980

An Inklings Bibliography (13)

Joe R. Christopher (emeritus) Tarleton State University, Stephenville, TX

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Recommended Citation Christopher, Joe R. (1980) "An Inklings Bibliography (13)," : A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 7 : No. 2 , Article 18. Available at: https://dc.swosu.edu/mythlore/vol7/iss2/18

This Article is brought to you for free and open access by the 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 A series of bibliographies of primary and secondary works concerning .

Additional Keywords M.J. Johnson; Andy E. McIlbain

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/vol7/iss2/18 OWEN BARFIELD I N SOUTHERN CALIFORNIA (2)

GLEN DOOKNIGHT The reason this is entitled (2) is a very fine report on Owen Barfield's previous visit to Southern California at Redlands University in the Spring of 1969 that appeared in MYTHLORE 4, w ritten by Rand Kuhl. The drawing is the same one that appeared with that report.

The most recent v isit was at California State Univer­ sity at Fullerton, February 26-28. I became apprised of the details of his visit by Bruce Weber of the faculty of CSUF, who was one the prime movers in arranging this v isit. The visit was highlighted by an address of the topic "Evolution" on the 26th and a question and answer session on the Ink­ lings on the 28th. Following the question and answer ses­ sion there was a reception jointly hosted by The Mythopoeic Society and the Southern California C.S. Lewis Society. It was a pleasant time of chatting and book signing by Mr. B a r f ie ld . After Tolkien, Lewis, and Williams, Owen Barfield is the Now at the age of 81, Owen Barfield has seen a new rise fourth best known member of the Inklings. He was a life-long of Interest in his thought and writings over the last best friend of C.S. Lewis, who waged "the Great War" with him decade and a half, particularly in the United States. His on philosophical matters. This is covered by Humphrey Car­ books on philosophy are not easy reading, but some feel penter's book The Inklings. Admirers of C.S. Lewis might they point to a new world-view that provides solutions to make the mistake of viewing Barfield's importance primarily some of the thornier problems of current scientific philo­ as Lewis' friend and not considering his importance in his sophy. Barfield is considered one of the most important own right — as writer and philosopher. A very good intro­ philosophers of this century, albeit this recognition has duction can be found in Romantic Religion: A Study of Barfield, been a long time in coming. Lewis, Williams, and Tolkien by R.J. R eilly. AN INKLINGS BIBLIOGRAPHY (13)

COMPILED BY JOE R. CHRISTOPHER

N icholls, Peter (ed.). Science Fiction at Large: A collection him by his m ortal Enemy, Gollum, who is , however, his kinsman, of essays, by various hands, about the interface between his brother, in fact him self. [Moreover, FrodoJ has to go on, science fiction and reality . New York: Harper and Row, 1976. leave home, make the voyage out, in fact die—something fantasy 224 PP- [Lewis, 132; Tolkien, 20-21, 159-160.] heroes never do, and allegories are incapable of doing" (p. 21). N icholls explains in his "Introduction" that these essays were (b) Alan Garner, "Inner Time", pp. 119-138 [Lewis, 132]. read at an In stitu te of Contemporary A rts in London, between Gamer w rites a very personal essay, about his nervous problems January and March, 1975 (with one exception, when the speaker and th eir solutions. He describes the relief and new energy became ill and could not deliver the paper). There are eleven gained from the removal of a psychological blockage in these essays, seven by science-fiction (or fantasy) w riters, four by term s, in addition to the more personal ones: "The involvement respectable names in other fields (such as Alvin T offler, author of an academ ically-trained Western mind with a prim itive catas­ of Future Shock). Three of the essays mention Lewis or Tolkien: trophic process (that is, the waking experience of A ljira, (a) Ursula K. Le Guin, "Science Fiction and Mrs Brown", pp. Dream-time, the Illud Tempus of anthropology) is not always 13*33 [Tolkien, 20-21J. Le Guin w rites one of the better es— pleasant, but it is never far from what C. S. Lewis calls 'Jo y ', says, discussing characterization in science fiction and using and I would have it no other way" (p. 132). V irginia W oolf's "Mr Bennett and Mrs Brown" as her startin g (c) Peter N icholls, "Science Fiction: The Monsters and the point. She uses as her example of C ritics", pp. 157-183 [Tolkien, 159-160]. Nicholls points out characterization in fantasy: ". . .a s traditional myths and his adaptation of the title of Tolkien's essay ": The folktales break the complex conscious daylight personality down Monsters and the C ritics", but the rest of N icholls' essay into its archetypal unconscious dreamtime components . . . so does not make a point analogous to T olkien's—the monsters are Tolkien . . . broke Frodo into four: Frodo, Sam, Smeagol, and not the bug-eyed monsters and other aliens of science fiction Gollun; perhaps five, counting Bilbo. Gollura is probably the but bothersome aspects of the 3F field itse lf: The Sentim ental best character in the book because he got two of the components, S ty list, The Blurb W riter, The Insufficiently Monstrous Alien, Smeagol and Gollum. . . . Frodo him self is only a quarter or The Monster of Anarchy (actually a discussion of the methods a fifth of him self. Yet even so he is something new to fantasy: of depicting anarchy), and The Monster of F ulfilled Promise a vulnerable, lim ited, rather unpredictable hero, who finally (the w riter who repeats him self). The types of critics receive fails at his own quest . . . and has to have it accomplished for equally cute title s.

42 Scott, Nan C. L. "A V isit with Tolkien". The Living Church, and Tolkien, p. 114; Williams, pp. 93, 116, 241n, 242n], 176:6 (5 February 1978), 11-12 [Lewis and W illiam s, 12J] at one point traces the defense of fairy tales from George (With a photograph of Tolkien and Scott on p. 11.) MacDonald (and, behind him, Coleridge) through Chesterton Scott te lls of two v isits to Tolkien in 1966, and quotes five to Lewis and Tolkien; also, Metcalf cites Williams' coranents from him and paraphrases others. There is nothing Poetry at Present and The English Poetic Hind, s a y in g in startling in her m aterial, but she includes a satisfactory, his footnote on the former that its essay "Gilbert Keith brief introduction to Tolkien's w ritings and C arpenter's biog­ Chesterton", is, "along with [Jorge Luis] Borges' essay, raphy, with emphasis on The Lord of the Rings. The Silm arillion, the best criticism of Chesterton known to me" (p. 241n). and "On Fairy-Stories". She is good on the differences in genre (e) John Sullivan, "A Liberal Education", pp. 171-181 between the two M iddle-earth narratives: "To criticize The S il- [Lewis, pp. 172-173], mentions Lewis, along with William m a ri l l i o n for failing at what it does not seek to do is, it Empson, as being among the very small number of "dons" who seans to roe, to blame a perfectly good cat for not being a dog have recognized Chesterton's sheer existence. or horse. The Lord of the Rings presents the subject m atter of heroic romance in the clothing of a modem novel, The Silm aril- lio a keeps company with myth, legend, epic, and scripture" (p. ll). The most interesting of the new comments are Tolkien's comparison of him self to Bilbo, his exclamation over how "dread­ ful" W illiam s' books are, and his deprecation of a comparison of and H itler. His paraphrased comment of dislike of the Naraian books is not the usual statem against Lewis's sentim entalized mythology but specifically because of th eir nature as religious allegory.

Simbelmyne. January 1980, 1 p. Edited by Rumil of Cameloford. Published monthly, free in exchange for a self-addressed, stamped envelope (181.6 Bundy S treet, Scranton, Pennsylvania I 85O8). This fanzine is supposed to be a two-page production, but th is issue is reproduced on one side of a sheet of white paper the size of ordinary typing paper; it contains a lis t of sixteen V alar, with the meanings of th eir names, epithets, etc. , and twelve Maiar, with like inform ation (the la tte r lis t includes Tolkien, Christopher. "The Silm arillion" [by] J. R. R. Tol­ Olórin , Sauron, and Radagast). k ie n : A b rief account of the book and its making. 1 Boston I: Houghton M ifflin Company, 1977- No page numbers [8 pp .]. Spanos, William V. (ed.). A Casebook on E xistentialism . New (Note: the titu la r bv is not on the cover but appears above York: Thomas Y. Crowell Company, 1966. v iii + 3A3 pp. the start of the text on p. [3].) [W illiam s, 12-13, 133 , 337, 341.] This is a sm all pamphlet produced by Houghton M ifflin for W illiams' significance in th is volume is minor but interesting. booksellers and other interested parties shortly before the In the editorial introduction to selections from W. H. Auden's publication of The Silm arillion. offers a For the Time Being, W illiams is described as the "who, as short history of J. R. R. Tolkien's w riting of The Silm arillion an editor of U niversity Press, was instrum ental in intro­ and of the content of the book; the m aterial which does not ducing the Danish ex isten tialist [S^ren Kierkegaard] to the duplicate Humphrey C arpenter's biography, Christopher T olkien's English-speaking world" (p. 133). Spanos, in his introduction, introduction to The Silm arillion, or The Silm arillion i t s e l f , "Abraham, Sisyphus, and the Furies: Some Introductory Notes on is a brief discussion of Christopher Tolkien's process of E xistentialism ", makes the common distinction between C hristian editing The Silm arillion: "Here and there I had to develop the and atheistic existentialism (Jean-Paul Sartre, in "E xistential­ narrative out of notes and rough drafts; I had to make many ism Is a Humanism", also made the distinction); Spanos uses the choices between competing versions and to make many changes of Skeleton figure in W illiam s' Thomas Cranmer of Canterbury as an detail; and in the last few chapters (which had been le ft al­ example of the Furies image in a C hristian work (p. 12) and most untouched for many years) I had in places to modify the mentions th at Seed of Adam, Judgement at Chelmesford, and The narrative to make it coherent [w ith the earlier chapters]" House of the Octopus also use th is archetype, as well as such ( p . [ 6 ] ) . non-C hristian works as Camu3' The F all and such C hristian works as Graham G reene's The Power and the Glory (p. 13). In the appendices at the back of the volume, Spanos suggests a study Tolkien, J. R. R. Bilbo's Last Song. New York: Internation­ of the Fury figures in , among other works, Thomas Cranmer of al Polygonics, 1976. . Illustrated by . Canterbury (p. 337), and he lis ts two of the W illiam s' plays This is a boxed jigsaw puzzle (No. T128), and, according to mentioned above in his "Selected Bibliography" (p. 341). the material on the face of the box, it is the first Ameri­ can publication of the B ritish "edition" of the poem. This edition was the poster released in Great Britain by George Sullivan, John (ed.). G. K. Chesterton: A Centenary Allen and Unwin in 1974. (The American edition of the poem A p p r a i s a l . New York: Barnes and Noble Books, 1974. had a photographic background to the poster rather than the x + 244 pp. [Lewis, 28, 40-41, 114, 172-173, 238n; British drawing.) Baynes' drawing consists of the backs Tolkien, 144; Williams, 71, 93, 116, 241n, 242n.] of three in the lower left foreground, a small harbor This volume of critical views of Chesteron, published on . city before them with a river extending up the drawing; a the centennial of his birth, contains fourteen essays, all ship is in the upper center; the drawing is framed on the left by different authors, of which five refer to the Inklings, by a tree extending from bottom to top. The text of Tolkien's usually in passing. (a) Kingsley Amis, "Four Fluent poem is on the right side, covering approximately the lower Fellows: An Essay on Chesterton's Fiction", pp. 28-39 two-thirds. The puzzle has over 500 pieces, and the finished [Lewis, p. 28], uses a phrase from Lewis' science-fiction puzzle measures 15 by 21 inches. theorizing in a discussion of T h e Napoleon o f Notting H i l l . (b) Ian Boyd, "Philosophy in Fiction" pp. 40-57 [Lewis, pp. 40-41, 238n], quotes a paragraph from Lewis' [Tolkien, J. R. R.] Catalogue of an Exhibition of D raw ings (uncollected) essay on Chesterton in Time and Tide, 9 bv Tolkien: at The Ashmolean Museum, Oxford, 14th December- November 1946, but does not use Lewis' distinction between 27th February 1976-1977 and at The National Book League, two ways in which an author can belong to his own age in 7 Albemarle Street, London W1, 2nd March-7th April 1977. the rest of the essay. (c) W. W. Hobson, "Father Brown [So the title page; the cover simply reads Drawings bv.. and Others", pp. 58-72 [Williams, p. 71], coranents that T o lk ie n .1 J o in t p u b lic a tio n o f The Ashmolean Museum, The both Chesterton and Williams have been charged with ruining National Book League, and George Allen and Unwin, 1977- their moral and religious themes with! fantasy; he answers No page numbers. the charge for Chesterton in terms of a Father Brown Contents: (a) K. J. Garlick, "Foreword", p. [ 5]. Garlick story, "The Dagger with Wings". (d) Stephen Metcalf, notes the Department of Western Art (presumably at The Ashmo­ "The Achievement of G. K. Chesterton", pp. 81-121 [Lewis le a n Museum) has been giv en cu sto d y o f T o lk ie n 's a r t; he g iv e s 43 some of the details of the organizing of the exhibition, (b) opposite the title page; the title page with triangular a— B aillie Tolkien, "Introduction", pp. [ 6 - 7 ] . B aillie Tolkien by Tolkien above and below the title (the same designs are discusses her father-in-law's art, particuarly with praise printed above and below the title on the box); copyright -page; for his painting of trees. . (c) , "Bio­ "Foreword" by Christopher Tolkien (2 pp.); a page bearing.a graphical Note", pp. [8-10]. A sketch of Tolkien's life . JRRT monogram (th e same monogram i s p rin te d on th e fr o n t cover (d) "Catalogue", p. [10]. Details on the giving of measure­ of the book); and forty-eight two-page spreads, with Christo­ ments and the arrangement of material in the catalogue, (e)' pher Tolkien's commentary on the left-hand page and a color "I. The ", pp. [ll-2 l]. A listing, with annotations, print on the right. In nineteen cases, there is a related of the first thirty-five art works on display. Of the works black-and-white drawing or other graphic material on the le ft- listed, fifteen have not been published; these are often pre­ hand page with the commentary. liminary sketches of items published in . The in­ There is little reason to record here where the designs first troductory note to this section (p. [ll]) has two errors: in appeared—in various books or in the calendars—since this in­ the list of black and white drawings in the first edition of formation is part of the substance of Christopher Tolkien's The Hobbit. Item 29 should be 19; in the lis t of color plates notes and the volune may be consulted for it. Christopher Tol­ in the American edition, Item 26 should have been included. kien also states when the former reproductions have trimmed the (f) "II. The Father Christmas Letters", pp. [22-30]. Items works as here reproduced, and he gives the date ‘and place of 36 through 68. The relationship of these catalogue items to the painting of each work, when the information is available. those in the hardcover book is more difficult to note than The following numbered plates appear: (a) 1. The H ill: with The Hobbit: for example, Item 36 is a brown envelope for Hobbiton-across-the-Water. On the left-hand page appears a the 1920 letter; from the annotation, it is evident that the drawing, perhaps in pencil, which was used as the frontispiece "2 kisses" stamp on p. [7] of the book was reproduced from of the original impression of The Hobbit: it has only minor this envelope, but the envelope as a whole was not reproduced variations from Tolkien's painting.(b) 2. The Trolls. Tol­ in the book. Likewise, the 1923 and 1924 envelopes (Items 39 kien's black-and-white drawing on the left; H. E. Riddett's and 40 ) show u d in the book only as the center stamp and colored version on the right, (c) 3. The Three Trolls are right stamp on p. [7], next to the 1922 stamp just mentioned. Turned to Stone. Tolkien's black-and-white drawing on the left The second 1924 envelope (item 41) has its stamp reproduced (this is its first publication); Riddett's colored version on on p . [ 4 ] of the book. In the case of 1925, the envelope thfe right, (d) 4. looking West, (e) 5. RivendeU was in the exhibit (Item 42) while again only the stamp is looking East, (f) 6. Rivendell. (g) 7. The Mountain-path. reproduced in the book (p. [8]); the catalogue notes the le t­ Tolkien's black-and-white drawing on the left; Riddett's col­ ter begins "My dear boys" (Item 43) while the printed text in ored version, on the right, (h) 8. The Misty Mountains looking the book drops the salutation (p. [8]); the drawing on p. [9] West ffom the Eyrie towards Goblin Gale. Tolkien's black-end- of the book is as described in the catalogue (Item 44), but white drawing on the left; Riddett's colored version on the the catalogue notes that its reverse side is inscribed "To right, (i) 9- Bilbo woke with the early sun in his eyes. John and Michael 'Tolkien f rom Father Christmas 1925" • The Christopher Tolkien notes the model (in a painting) for the catalogue does not indicate the origin of the holly.sprig . (j) 10. Beom's Hall. Tolkien's black-and-white draw­ drawing on a yellow field which the book puts into this sec­ ing en the left; Riddett's colored version on the right, (k) tion (p. [8], lower right). A complete comparison of the 11. The Elvenking's Gate (I). (1) 12. The Elvenking's Gate catalogue and the book in these terms is possible, but this (II). Tolkien's black-and-white drawing on the left; Riddett's is enough to suggest the complexity, (g) "III. The Lord of colored version on the right, (m) 13. Bilbo comes to the Huts the Rings", pp. [31-35]. Items 69 through 82. Most of these of the Raft-elves (I). Christopher Tolkien notes that this items have been published on book covers or in calendars; two version correctly shows the hobbits arriving by night, unlike have not been published, (h) "J. R. R. Tolkien's Books", the more formal painting (next) which appeared in the second pp. [36-37]. A list of current British editions. impression of the first British edition of The Hobbit, (n) The following drawings by Tolkien are reproduced in this 1 4 . Bilbo comes to,the Huts of the Raft-elves (H ). (o) 15. catalogue: "The Green Dragon" (cover, in color); a monogram Lake Town. Tolkien's black-end-white drawing on the left; of J. R. R. T. (p. [l]); a drawing of a dragon (p. [ll]); Riddett's colored version on the right, (p) 16. The Front "Dwarves Marching" (p. [l3 ])j "Dragon and Warrior',' (p. [l7 ]); Gate. Tolkien's black-and-white drawing on the left; Riddett's "Smaug" (p. [192); "Father Christmas and his Reindeer over colored: version on the right, (q) 17. Conversation with Snaug. Oxford" (p. [22]; book, p. [9]); a North Pole stamp (p. [ 26] ; (r) 18. Smaug flies around the Mountain, (s) 19. Death of book, p. [7]); two North Pole stamps (p. [ 27]; book, pp. [4] Smaug. (t) 20. The Hall at Bag-End, Residence of B. Baggins, and [l6]); "By Messenger" (p. t30]; book, p. [ 4] ) ; two Esquire. Tolkien's black-and-white drawing eta the left; Rid­ circular patterns (p. [31]); design for the dust jacket of dett's colored version on the right. This concludes the se­ The Fellowship of the Ring (back cover, in color; published quence from The Hobbit. on dustjackets of some B ritish editions of The Lord of the (u) 21. Old Man Willow, (v) 22. Doors o f Burin and Rings and on The Lord of the Rings 1977 Calendar [George Al- Gate. "Moria Gate" is the colored drawing by Tolkien; "Doors le n and Unwin] . of Durin" (on the left-hand page) is the black-and-white draw­ ing which appears in The Fellowship of the Ring, (w) 23. Leaves frpm the Book of Mazarbul. Christopher Tolkien's elaborate Tolkien, J. R. R,., and Pauline Baynes. The Hobbit: A Two- note, translating the fragmentary pages, is reprinted from The Sided Jigsaw Puzzle. New York: International Polygonics, n .d . Lord of the Rings Calendar 1977. (x) 24. Moria Gate (The Steps One side of the boxed puzzle (No. 9. T120) consists of Tolkien's to the East Gate), (y) 25. The Forest of Lothlórien in Spring, colored drawing from The Hobbit of "Bilbo comes to the Huts of (z) 26. Helm's Deep and the Hornburg. (aa) 27. Orthanc and the Raftelves" (copyright 1966), with the lower portion, bear­ Minas Tirith. "Orthanc" is a black-and-white drawing (Chris­ ing the title , omitted from this version; the other side of the topher Tolkien mentions it is one of several different drawings puzzle has Baynes' map, originally sold as a poster and -illus­ by his father of the tower of ); "Minas Tirith" is in trating The Hobbit. "There and Back Again: A Map of Bilbo’s color, (bb) 28. Shelob's Lair. One a page of an early manu­ Journey through Eriador and Rhovanion" (1971). The jigsaw puz­ script of , (cc) 29. Duhharrow. (dd) 30. zle consists of over 500 pieces; the completed puzzle measures Orodruin and Barad-dur. "Orodruin", here reproduced in black 15 by 21 in c h e s. and white, has a red tongue of flame at the top of the mountain in the original, and as it was reproduced in The lard pf the Rings Calendar 1977; "Barad-dur" is in color. This concludes Tolkien, J. R. R. Pictures by J. R. R. Tolkien. Foreword and the sequence related to The Lord of the Ring3. notes by Christopher Tolkien. London: George Allen and Un­ (ee) 31. Taniquentil. (ff) 32. Lake Mithrim. (gg) 33. Nar- w in, 19 6 9 . Boxed. No page numbers [l04 pp.]. Pages mea­ gothrond (I), (hh) 34. Nargothrond (II). Tolkien '8 black-and- sure 12 inches vertically and 11 horizontally. white drawing on the left (this is its first publication); Rid­ With minor modifications, this volume collects the art which dett's colored version on the right, (ii) 3 5 . Gondolin awf the was printed in the various calendars of Tolkien's art, 1973, Vale of Tunladen. Tolkien's black-and-white drawing on the 1974, 1976—1979. Christopher Tolkien notes in his introduction left (this is its first publication); Riddett's colored version that this does not exhaust his father's art work; presumably, on the light, (jj) 36. Tol'aSirion. Tolkien',a bleck-and-white however, it includes almost all of the art related to The Hob­ drawing on the left (this is its first publication) Riddett' s b it, The Lord of the Rings, and The Silm arillion. The general colored version on the right, (kk) 3 7 . Kirkwood and'Beleg finds format is this: a color photograph of Tolkien as a frontispiece Gwindor in Taur-nu Fuin (entitled Fangorn Forest). "Kirkwood"

44 is a black-and-white reproduction (the original, given to a ited tradition of Numbers 21:14-15, Joshua 10:1J, and 2 Samu­ friend and no longer traceable, may have been in color); "Beleg e l 1 : 1 8 —that is, it has references to "lost" (at least, un­ finds Gwindor in Taur-nu-Fuin" is in color. Christopher Tol­ published) books: pp. 76, 87, 99, l62ff., 1 9 8 , 209, 242, 246, kien's note explains the dual title of the latter, and the 259. But the basic history of this section tells of the mak­ relationship of "Kirkuood" to "Beleg finds Gwindor in Tanr-nu- ing of the three by Fëanor, capturing in each the Fuin". (11) 3 8 . Glannnig sets forth to seek Turin. This con­ blended light of the Two Trees of (p. 67, in Ch. 7); doles the sequence illustrating The Silm arillion. the theft of the Silm arils by Melkor, thereafter known as Mor- ( — ) 3 9 . p olar B e a r had fallen from top to bottom onto his goth, who killed Finwë in the theft (p. 79, in Ch. 9); the u se. A painting fron The Father Christmas L etters, which was oath of Fëanor and his seven sons for vengeance on whomever reproduced in The J. R. B. Tolkien Calendar 1979 and so reap­ kept a Silmaril from them (p. 83); the taking of one of the pears in book; i t i s h ere grouped after the Silm arillion Silm arils from 's crown by Beren and Lúthien (p. 181, paintings of the 1920's since i t was d o n e i n 19281 (n n ) 4 0 . in Ch. 18), and the giving of it to (p. 186); the kil­ T h re e . One of the three seems to be an illustration ling of Thingol by dwarves of the Blue Mountains for the S il­ based o n Beowulf. ( 00) 41. Trees. A black-and-white tree (with maril, now set in the Nauglamír (p. 233, in Ch. 22); the varied leaves) appears on the le ft; three colored trees (two gaining of the necklace with the Silmaril in battle by Beren with varied flow ers) on the rig h t. The three which show combi­ from the slain Lord of Nogrod (p. 235); the coming of the Sil­ nations of leaves or of flowers are versions of "The Tree of maril to Dior after the deaths of Beren and Luthien, and its Amalion". (pp) 42. Flowering Tree with Friezes. The tree is passing to Elwing on her father's death at the hands of the another version of the Tree of Amalion. Two friezes and two sons of Fëanor (p. 237); the wearing of the Silmaril on his separate flowers complete the page, (qq) 43- Patterns (I). forehead as Elwing's husband, Eärendil, sought Aman (p. 247, Nine drawings, two of them clearly of plants, done on newspaper in Ch. 24) and later when he sailed the heavens in Vingilot pages, (rr) 44. Patterns (II). Twelve drawings, two of them ( p . 2 5 0 ); the capture of the other two Silmarils with the cap­ crossing, (ss) 45. Floral designs. Five plants with a border ture of Morgoth by the host of the Valar (p. 252); the taking around them; the one in the center is labelled pilinehtar. of these two Silmarils, with the killing of the guards, by the Christopher Tolkien's note mentions others (not reproduced) like last two sons of Feanor (p. 253), and their ultimate disposal the center plant of a grass- or reed-like nature bearing Elvish (p. 254). But this is just one strand in the history, even if its titular emphasis suggests it is the most important. names, (tt) 4 6 . Numenorean T ile and T extiles. One tile ; two The "Quenta Silmarillion" no doubt w ill have non-narrative tex tile patterns (the la tte r looking rather like some O riental study. Hobbits, as had been reported earlier, do not appear; rugs). Christopher Tolkien notes the appropriate reference in , as "Shepherds of the Trees", are mentioned twice (pp. The Silm arillion. Probably the title of th is plate should 46, 235). As is not surprising to anyone remembering the in­ have a second accent mark, over the (uu) 47. Heraldic De­ scription on the gravestone of Tolkien and his wife, Chapter vices. Sixteen devices with a chart for th eir identification, 19, "Of Beren and Luthien", is the longest of the twenty-four all related to characters or. (in one case) objects in The S il­ (pp. 162-187). It also, in its heavy use of vampires and were­ m arillion. Christopher Tolkien explains some aspects of some wolves, probably represents an early aspect of Tolkien's imagi­ of them and mentions that variant forms of two of them, printed nation about Middle-earth. Other brief touches suggest other in The J. R. R. Tolkien Calendar 1974. are not reproduced here, influences on Tolkien: the names "Arthad and Urthel" (p. 155) (w ) 48. Elvish Script. Three pages of script, all printed on perhaps derive from (King) Arthur and Uther (Pendragonj; the the right-hand page: two in a pointed style, one in a decorated company going on the wolf hunt on p. 1 8 5 perhaps is influenced style. They are the beginnings of two of Tolkien's poems, "" and "The Adventures of ". by the lists of men in "Culhwch and Olwen"; the death of Nie- nor on p. 223, as Carpenter suggested in his biography of Tol­ kien, is based on the death of Kullervo's sister in Runo 35 of Tolkien, J. R. R. The Silm arillion, ed. Christopher Tolkien. the Kalevala. and the death of Turin, with his speaking sword Boston: Houghton M ifflin Company, 1977. 366 pp. + map (p. 225), on that of Kullervo, with his likewise speaking attached to the inside of the back free endpaper. Index. sword, in Runo 3 6 . Tolkien clearly leaves open the possibility The works of J. R. R. Tolkien are these: "Ainulindale: The of using the second chapter of Genesis with the appearance of Music of the " (pp. 15-22), "Valaquenta: Account of the mankind in Middle-earth (pp. 103, 141). Valar and Maiar according to the lord of the Eldar" (pp. 25- The "Akallabêth" is also historical, beginning (or nearly 32), "Quenta Silmarillion: The History of the Silmarils" (pp. so) with the raising of the island Andor, or Númenóre, from the 35-255), "Akallabêth: The Downfall of Numenor" (pp. 259-282), sea for the Edain, or Dúnedain (p. 260); but most of the ac­ and "Of the and the Third Age, in which these count is given over to the dissatisfaction of the Dunedain with tales come to their end" (pp. 285-304). The works of Chris­ the ban of their journeying westward to Eressea (p. 264 ff.); topher Tolkien are these: "Foreword" (pp. 7-9), "The Realms more specifically, it tells of Sauron's causing of Ar-Pharazon of the and the Sindar" (map, between pp. 120 and 12l), the Golden to try to capture Eressëa (p. 270 ff.) and its con­ "The House of Finwe and the Noldorin descent of and sequences. Tolkien clearly ties this work to later legends of Elros", "The descendants of Olwe and Elwe", "The House of Bëor Avalon (or Avallon) and Atlantis in his use of Avallone as the and the mortal descent of Elrond and Elros", "The House of port city on Eressea closest to the dwellings of men (p. 260), Hador of Dor-Lómin" (genealogy charts, pp. 305-308), "The Sun­ which is sometimes visib le from Númenóre (pp. 262-263), and in dering of the Elves and some names given to their divisions" Númenóre being called Atalantë in Eldarin speech (p. 281). A (chart, p. 309), "Note on the Pronunciation" (pp. 310-311), second conclusion to this history (or so it seems) is printed "Index of Names" (pp. 313-354), "Appendix: Elements in in smaller type, indented, after the first conclusion (pp. and Names" (pp. 355-365), "Map of and the 281-282); presumably Christopher Tolkien, in his editorial Lands to the North" (attached to the back free endpaper). work, could not decide between their merits. The materials by Christopher Tolkien, although valuable— The final section by J. R. R. Tolkien, "Of the Rings of especially the linguistic information—have not been discussed Power and the Third Age", actually spends about half its length in the following paragraphs. "Ainulindal'ë" opens before the creation of the universe, summarizing the Second Age (pp. 285-294), and then traces the with Eru and the Ainur in another realm; Melkor tries to mar general history of the Third Age (pp. 294-304). There is a the singing of the Ainur. Later Eru projects the images of small amount of dialogue, but little of normal fictional shap­ the song as a universe (called by Tolkien, in his old-fash­ ing; essentially Tolkien is offering the historical background ioned diction, a "World"), and afterwards some of the Ainur to The Hobbit and The Lord of the Rings.' enter that portion of the Void where the universe is to be built and help its development, much of which is concerned Tuck, Donald H. (compiler). The E ncyclopedia o f S cien ce with the Earth proper. "Valaquenta" is an expository section Fiction and Fantasy: Through 1968. V ol. 1: setting out the names, interests, and attributes of the Valar, Who's Who, A-L. Chicago: Advent Publishers, 1974. of the Maiar, and of their enemies, Melkor and Sauron. [Lewis, 58, 103, 272, 273.] Of the "Quenta Silmarillion", there is too much substance A valuable listing of Lewis' science-fictional and fantasy to adequately be indicated in an annotation. It takes the books (pp. 272-273) — valuable particularly for the form of a history, and some of the twenty-four chapters are foreign editions (no doubt incomplete), which not previous­ mainly geographic descriptions—Chapter 14, "Of Beleriand and ly had any listing. For example, listed for Out o f the its Realms"—or have biographical passages, such as pp. 60- Silent Planet are translations into German, French, 6 l of Chapter 5, "Of Eldamar and the Princes of the Eldalie". Spanish, Swedish, Japanese, and Dutch. A number of This portion of the book is also historical in the more lim­ omissions and distortions in other matters follow. Poems 45 (1964) is mentioned in the biographical headnote, but the fantasy and science-fiction verses are not noted (one of the latter first appeared in The Magazine o f Fantasy and Science Fiction). Of Other Worlds is annotated, but primarily for its fiction; the comments on the essays do not indicate that a l l deal largely with science-fiction or fantasy ("On Stories" is on the prose romance genre, which is usually fantasy-oriented). The Pilgrim 's R e g r e s s is listed, but only one edition (not the first), is given; no annotation. The one sentence summaries of the Narnian books are sometimes distorted, but most bothersome are the emphases on Christianity in the sum­ m aries o f th e Random t r ilo g y : That o f Out o f t h e Silent Planet ends with "a plea for Christianity"; P e r e l a n d r a , with "admirable as Christian propaganda, but with a weak plot"; That Hideous Strength , w ith "More Christian propaganda" — the latter annotation with no indication of plot. The first book actually has almost no explicit Christianity, and (in this context) should be seen mainly as an anti-W ellsian work. P e r e l a n d r a i s legitim ately seen as a Christian work (Lewis says, in "A Reply to Professor Haldane", that it was written for his "co-religionists") — but if it was written primarily for Christians, it can hardly be called propaganda. T h a t Hideous Strength should have its fantasy element noted (the revival of Merlin) and the fact that it was, when published, set slightly in the future. Unlike the prac­ Wain, John. "The Conflict of Forms in Contemporary English Literature", in Essays on Literature and tice with some of the other authors, no secondary I d e a s , p. 1-55 [Williams, 16]. London: Mac­ materials are mentioned; certainly Walter Hooper's primary biography (1966, in Jocelyn Gibb's L i g h t on millan, 1963. [The essay was originally published in The C ritical Q uarterly. ] C. S. Lewis) should have appeared. On p. 103, an essay by Lewis ("God in Space") is mentioned as appearing Wain, at one point comparing the modern developments in in an Arthur C. Clarke anthology, and on p. 58 two theatrical drama with what preceded them, w rites, short stories ("The Shoddy Lands" and "Ministering "Twenty years ago it seemed that the salvation of the English drama might come from scholarly-minded men of Angels") in two of Antnony Boucher's anthologies Dased on letters like T. S. Eliot and Charles Williams, Now, The Magazine of Fantasy and Science Fiction. No doubt suddenly, the actors have taken over." That is, the new some other anthology appearances are recorded elsewhere in the volume. playwrights — John Osborne, Harold Pinter, John Whiting, Alun Olden, and others — began their careers as actors.

Tyler, J. E. A. The New Tolkien Companion. New York: St. Martin's Press, 1979- xvi + 6 5 2 pp. [Christopher Tolkien, Wain, John. "John Wain Reads Contemporary English Poetry" ix, 530.] Illustrations by Kevin Reilly. (cassette No. 23228) and "The Poetry of John Wain" (cas­ An updating of Tyler's The Tolkien Companion (1976) to include sette no. 23229). In "The YW-YMHA Poetry Center Series material from The Silm arillion. According to the "Foreword to on Modem Poets, Writers, and Critics". New York: Jeffrey the Second Edition", Tyler has added over 1800 items to his Norton Publishers/Audio Division, 1 9 6 9 and 1 9 6 5 [ th u s th e annotated, alphabetical listin g of Tolkien's names, as well as dates in the catalogue and on the cassette covers; actually revising some items in light of The Silm arillion. Certainly both tapes were recorded at the same March 1 9 6 5 s e s s io n ] . the new book is 121 pages longer than the first edition. Tyler 27 and 29 minutes respectively. continues his pretense in the foreword that Tolkien was simply On the first tape ("Contemporary English Poetry"), Wain is the translator of ancient manuscripts. The drawings at the briefly introduced by Harvey Bright. Wain reads and comments ends of the alphabetical sections are reproduced from the origi­ on five poems by Philip Larkin, an excerpt from Ezra Pound, nal edition. As well as several examples of Tolkien's scripts, and a poem by A. E. Housman. Larkin's "Days", a short, free- the following charts and maps appear: verse poem, is read trace, as an example of pure poetry. Then "The Battle of Pelennor Fields" (p. 62; 1976, p. 52). Wain introduces his long Wild Track. On the second tape ("The "High Kings of the Noldor" (p. 287; new). Poetry of John Wain"), Wain reads several excerpts from Wild "The Edain and their Descendants" (pp. 336-337; cf. 1976, Track (without ever mentioning its name) and comments on the p . 2 6 5 ). thematic significance of many of the materials. His selec­ "The Eldar and their Descendants" (pp. 338-339; cf. 1976, tions also include some of the humorous passages. He con­ p . 2 6 4 ). cludes by reading a villan elle which came to him after he had Gondar at three different times (p. 485; 1976, p. 391). finished Wild Track in Sweden (it includes the repeated line, "Spoken Tongues . . . during the Third Age" (p. 540; new). "Time rules I should lay down the heavy lyre"); he had first "The Two Trees: showing descent" (p. 595; new). thought to include it in the Wild Track volume as a coda, but At least one chart in the 1976 edition, "The Quendi" (p. 382), later decided not to. (Both cassettes are recorded on one is omitted. Such an infelicity in the first edition as "most' side only.) unique" (of Lothlórien) is changed to "most singular" (p. 272 vs. p. 347). In the account of men in both editions, the Fall is omitted (cf. pp. 288 in 1976, 371 in 1979)—although Tolkien Wain, John (interviewee). "Kaleidoscope" radio program, with suggests it clearly enough. A good example of the conjectures Paul Vaughn, interviewer. B.B.C. Radio 4, 23 October 1978, of the first edition being replaced with information from The 9:30-10:00 p.m. Silm arillion can be found in the listin g for Turgon: "it seems An oral review of Humphrey Carpenter's The Inklings. (The not unlikely that Turgon was the heir of Fëanor"; "King Turgon program opened with Gregory de Polnay reading most of the is unlikely to have deserted his city in its last need" (thus first paragraph of Perelandra.) Viain found Carpenter's recre­ 1976, p. 489; cf. 1979, pp. 588-591). ation of an Inklings' meeting painful, partly because the An interesting comparison can be made between th is volume and characters talked like their writings. He also disagreed with its major competitor, Robert Foster's The Complete Guide to Carpenter's emphasis oh Lewis's centrality in the Inklings— Middle-earth (1978). Tyler is writing short essays on his certainly he was import ant as the host and stimulator of the topics while Foster presents his information briefly, with page group; but Tolkien and Williams were beyond his range in ways, references. But the difficulty in checking the dates in The and Lewis usually lost his arguments at the meetings. He Simmarillion is shown by their chronologies of the First Age agreed with Carpenter on Tolkien's and Williams' influence on (Tyler, under "First Age", pp. 217-222; Foster, Appendix A, Lewis, and not vice versa, except for encouragement. He 3 poke PP- 557-564). Although their dates are usually fairly close, of Hugo Dyson's veto power over Tolkien's reading of newly they agree on almost none of them. composed parts of The Lord of the Rings—with agreement, since 46 Main said be also was bored by Tolkien's work. He said that there Mas little Cherstertonian Christianity (used as a nega­ tive ten ) to the group—Lewis, some, although balanced by his generosity and nit; but Tolkien was, instead, rather fey, and Killians did not give that oppressive effect. He concluded that Lexis, if looking at the situation—the sales—today. M o u ld feel that the Inklings had essentially won their battle. [Thanks to Charles Hoad, Jessica Tates, and the Tolkien Soci­ ety for their help on this item .]

H alters, Ray. "Paperback Talk". The New York Times Book The Westmarch Chronicle. 1:4 (July 1977), 1-4- Edited by R e v ie w , 18 February 1979, pp. 41-42. Bem ie Zuber. The first part of this column, with a subtitle "Dream The issue contains information about the formation of a second World", indicates that Stephen R. Donaldson admired Lewis' discussion group, with notices of forthcoming Tolkien material, Narnian series, Frank Herbert's Dune series, and (most of including (a) "The Rankin/Bass-Xerox-Abrams Hobbit" (p. 2 ) , all) Tolkien's Middle-earth series, when he wrote The which has some evaluation of the stills which had been release Chronicles of Thomas Covenant, the Unbeliever. —" there is too much tendency towards the grotesque in a style that is im itative of Arthur Rackam"; (b) "The 1978 Tolkien Cal­ endar from Ballantine" (p. 2 ) , which has some brief comments on the different pictures—some positive, some negative. W alters, Ray. "Paperback Talk" [a column]. The New York Times Book Review. 25 November 1979, pp. 107-108. “ Weyr, Thomas. "B allantine Books at Q uarter Century: W alters, in a discussion of Christmas publishing, mentions the Part 1: The Founders". Publishers Weekly, 2 1 2 :2 4 sale of boxed sets of related books. "In 1977, for example, (12 December 1977), 30-33 [Tolkien, 33]. Ballantine Books sold nearly 300,000 sets of J. R. R. Tolkien's Ian B allantine is quoted on how he acquired the paperback M iddle-earth fable" (p. 107). He suggests that the Tolkien r i g h t s to The Lord of the Rings (p. 33, col. 1); T h e calendar was inspired by the success of the Sierra Club W ilder­ Silm arillion is mentioned (col. 3). ness Calendar (p. 107), both of which are s till among the popu­ lar calendars (p. 108). W yatt, Joan (painter). A M iddle-earth Album: Paintings by Joan Wyatt: Inspired by J. R. R. Tolkien's "The Lord of the Watson, Barbara Bellow. A Shavian Guide to the Intelligent Rings". Introduction and commentaries by Jessica Yates. Woman. (1964.) New York: W. W. Norton (The Norton Library, New York: Simon and Schuster, 1979. [ 64] pp. Published in N640) , 1972. Index. [Lewis, 175, 231n.] both hardcover and softcover editions (the la tte r as "A Shaw wrote The In tellig ent Woman's Guide to Socialism and Firestone Book" from Simon and Schuster); published in Eng­ Capitalism; W atson's title is an echo of th at. Her book is a land by Thames and Hudson. study of Shaw's treatm ent of feminine characters in his plays Thirty paintings by W yatt, an English a rtist, one to each and his comments about Women’s Rights. Lewis gets in only double spread of pages, with a paragraph on each by Yates; for his odd statem ent in Surpris ed by Joy that "You may add they follow the general movement of The Lord of the Rings, that in the hive and the anthill we see fully realized the two beginning w ith "A meal w ith Tom Bombadil and " (pp. things that some of us most dread for our own species—the 4-5) and ending w ith "Sam says farew ell" to Frodo, leaving on dominance of the female and the dominance of the collective." the ship (p. 63). Thirteen of the paintings cover one leaf; Watson comments that since Lewis is "norm ally a precisian", the rest cover part of both facing leaves. There is no need his reaction against "the v ital genius of the female" (she is to comment at length about the accuracy of the paintings, for w riting in the context of Shaw and Ernest Jones saying women they are generally accurate (and quite detailed). Yates in have a "vitality" beyond that of men) may show that that v ita l­ her commentary points out such a rtistic licenses as occur __ ity is "strong enough to threaten the entrenched power of for example, the bringing of la rge distances into one view, clever men". She is also using Lewis's statem ent as an example in "Amon Hen" (pp. 22-23) and "The Forbidden Pool" (pp. 38-39), of the vagueness of most hostile comments. or the depiction of a scene which was actually in darkness, in "Shelob" (pp. 42-43). In general, Wyatt is more successful with peaceful landscapes The Westmarch Chronicle[l:l] (April 1977), 1 p. Edited by and elaborate architecture than with characters (who often look bernie Z uber [2214 Oakwood Street, Pasadena, CA 91104 USA]. like cartoons) or action. For her better work, see "Rivendell" T h is first issue was produced while Westmarch was the Southern (p. 11), "The H all of Edoras" (pp. 30-31), and "Sam says fare­ California branch of the American Tolkien Society; subsequently, w e ll" ( p . 63); at almost the same level are "The Fellowship it became independent. This issue is concerned mainly with ascends the Great Mallom" (p. 17) and "The Parting Forest" meeting and membership information; it does mention the atten­ (pp. 18-19). For cartoon-like characters, see especially the dance at a meeting of "Woody and Martha Tolkien . . . Cali­ Ents in "The Ents March to Isengard" (p. 29) and the elongated fornia cousins of J. R. R. Tolkien". Gollura in "The Dead Marshes" (p. 36). According to Y ates' in­ troduction, Wyatt "trained at Hasting Art School and the Slade, and thare after had a career as a display a rtist. A fter a period The Westmarch Chronicle, 1:2 (May 1977), 1-2. Edited by "er- n i e Z uber. abroad as the wife of a diplom at, she returned to England and has done mainly w atercolor landscapes (p. 3). W yatt's paint­ The first page has a meeting report and plans; the second page ings, particularly in th eir characters, are more of the "prim i­ is a letter from Zuber explaining the decision to separate’ from the American Tolkien Society. tive" school than at the level of professional illustration (as in the works of Tim Kirk in his series of illu stratio n s, p artially printed as a calendar, or Judy King Riements in her The Westmarch Chronicle. 1:3 (June 1977), 1-3. Edited by Ber- three color illustrations, printed as posters). n ie Z uber. The issue is mainly concerned with meetings of the discussion Yates, Jessica. "Tolkien in Oxford: The Tolkien Society group, but on p. 2 appear two items by Zuber: (a) "The S il- Guide". Littleham pton, West Sussex: SoNF E nterprises, for marrllion Covers". A comparison of the covers of the American the Tolkien Society, 1973. One page, mimeographed on ooth and British editions, identifying the American cover as a sides. The examined copy was on blue paper. [Lewis, 1-2; colored version of a drawing Tolkien did for The Hobbit__"A W illiams, 1.] much better choice . . . would have been Tolkien's watercolor of Mount Everwhite in Valinor". The British cover is t>e em­ A brief guide to points of interest for fans of Tolkien and blem which Tolkien designed for Luthien Tinuviel. Zuber sug­ Lewis in Oxford—homes, colleges, cem eteries (that of W illiams gests the significance of the Beren and Luthien love story for is also mentioned), eating places, places of worship. Central Tolkien, and finds the emblem appropriate, (b) A drawing of Oxford is described first (in terms of a walking tour), then Tom Bonbadill. south Oxford, and fin ally north Oxford.

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