After visiting the wintry lands of Hobbits, Rohirrim, and Dwarves, we set sail for lands to the west before once more returning to the shores of Middle-earth.
Category: Other Tolkien books
Holidays in Middle-earth are based on the turning of the seasons, as they are in our own world. Yule, as Tolkien named the winter celebration in his novels, is led off by the Winter Solstice. The history of Yule can be traced back thousands of years to the Norse peoples, whom we know J.R.R had an affinity for. During this holiday, the Yule log (an entire tree fed gradually into the fireplace), decorated trees, wassailing (caroling), and roasting of wild boar were the centerpieces, from which current traditions are derived.
As we relax beside the crackling fire, And the wind tosses branches in the pine, Into a snow globe of Middle-earth, let us peer Upon the festive winter holidays in the Shire, Icicles on the Golden Hall that sparkle and shine, The sound of sleigh bells in Ithilien drawing near, The frost-glint upon holly and fields of briar, The sumptuous fare on which the Elven-folk dine. 'Tis a time of joy in Middle-earth, for Yuletide is here. – Mithril
As we prepare to hang up our stockings on Christmas Eve, hoping for a visit from a certain gentleman dressed in red, let’s take a closer look at a wonderful, festive book for Tolkien fans of all ages.
Released in time for the 2020 holiday season, Houghton Mifflin Harcourt has followed the path of its British cousin Harper Collins in publishing a striking new edition of the Letters from Father Christmas. Hitting the American market in late October, this oversized hardback beauty boasts 208 pages of colorful Christmas chronicles first designed to enchant Tolkien’s growing family with seasonal tales from the North Pole. This is the first three-digit milestone for the Tolkien corpus: as a “Centenary Edition”, the publication date marks the 100th anniversary of the first letter from Father Christmas reaching three-year old John Frances Reuel Tolkien in December 1920. These letters would continue over the next 23 years, welcoming Michael, Christopher, and Priscilla into the society of Father Christmas, the Great (Polar) Bear and his two sidekick nephews, Paksu and Valkotukka, and an elvish secretary, as they cope with everything from goblins to general clumsiness.
This latest (and more affordable) edition, like the slipcase “Deluxe Edition” published in 2019 by Harper Collins, contains transcriptions and facsimile pictures of the entire collection of “F.C.” letters, along with their assorted envelopes and stamps so characteristic of Tolkien’s meticulous attention to detail. It also includes an introduction from the book’s editor and Tolkien’s daughter-in-law, Baillie Tolkien, who married Christopher in 1967. Also included is a personal note from the Professor himself, reproduced for the first time.
Tolkien likely began these letters as a whimsical family flourish, designed to make Christmastime a bit more magical for his children. But as with most of his projects, the tale grew in the telling. The letters began with a simple note of less than 100 words to his firstborn, accompanied by an iconic Father Christmas “self-portrait” and picture of his house.
Over the years, these evolved into occasional notes to each of his children, much lengthier epistles, occasional poetry, a more extensive cast of recurring characters, and assorted annual calamities to be overcome: from a plumbing disaster, to a broken North Pole, to reindeer on the loose, to an unexpected visit from the Man in the Moon. Occasionally, there is even a faint early echo from Middle-earth, with the appearance of elven aid “Ilbereth”, a single vowel away from his more famous star-kindling forebear; extensive new languages and calligraphy for multiple races, and a great (polar) bear fighting off goblin hordes in ways that would make Beorn proud.
The art of The Father Christmas Letters proves to be the most engaging element of the books, including meticulous hand drawn stamps and envelope decorations, spidery handwriting in Tolkien’s favorite black and red mix (nearly illegible in some cases), and above all the host of water color illustrations that surely captivated the imagination and speculation of Ronald and Edith’s young family, even as they continue to do for us (especially for any who have had a chance to see some of the originals under glass at recent exhibitions in Oxford, New York, or Paris).
This combination of text and illustration is a likely contributor to the Letters’ complicated publishing history. They first appeared three years after Tolkien’s death with a greatly abridged 1976 edition that focuses on pictures (not always reproduced in their complete form), partial texts, and only token reproductions of the original and elaborate written and decorated letters.
Even in this premier edition, there are hints from Baillee Tolkien that we were only getting a sampling of a richer treasure. Further editions followed, largely keeping to a similarly abridged approach.
It was not until 1993 that Tolkien scholars began to appreciate the full extent and complexity of what was still missing from the Father Christmas saga; and inquiring minds wanted to know more.
The first response was a delightful new edition published by Houghton Mifflin in 1995, introducing a novel approach: ten letters enclosed in actual envelopes, sprinkled with recaps and illustration highlights. While still not exhaustive, this latest installment began to recreate some of the delight of actually receiving and opening these annual updates. The book also included three previously unpublished pictures.
Finally, in 1999, we received a new “revised and enlarged” version, with the complete set of more than 30 letters and all of Tolkien’s pictures, some with a lesser quality color reproduction. For the truly deep-pocketed, there was also an opportunity to add to their Easton Press library of well-bound leather books. These were particularly fine editions for those who love distractingly enlarged details as page decorations.
Now that the complete set of letters was finally available to the public, we could enter the era of anniversary editions. The first on the scene came after five more years, in 2004, with fewer pages and illustrations, but at least fewer marginal distractions. The 2009 edition – or 10th anniversary of the complete set – proved that the 1999 version was only mostly complete, adding several omitted pages from letters in 1937 and 1941. An updated version of the same edition in 2012 provided 39 new images covering all but a few pages of the actual letters, and much improved reproductions.
For the truly dedicated enthusiast, the upgraded Collector’s Edition of the Bodleian’s exhibit catalogue, Tolkien, Maker of Middle-earth, includes a facsimile version of the Christmas 1936 letter and its accompanying explanatory picture.
Tolkien’s family tradition ended on a bittersweet note in a 1943 letter (“a grim year”) to a 14-year-old Priscilla. Father Christmas muses, “After this I shall have to say ‘goodbye’, more or less: I mean, I shall not forget you. We always keep the old numbers of our old friends, and their letters; and later we hope to come back when they are grown up and have houses of their own and children.” The 2020 Centenary Edition of The Father Christmas Letters offers just that kind of opportunity: to reminisce, to return, to find great hope and cheer in small things, and to consider how we might pass this joy to future generations. Merry Christmas!
(Looking for further gift ideas, as you rush to complete your shopping? Check out TORn’s holiday gift guide!)
Editor Note: Throughout the month, and as part of our Tolkien Advent Calendar celebration, we are featuring news and resources for fans of J.R.R. Tolkien, his worlds and works. Today’s official advent calendar is below!
Worried about what to get your favorite Tolkien fan for the holidays? Worry not! TheOneRing.net staff is here with suggestions for every fan of every age and every budget.
From all of us at TheOneRing.net, have a safe and peaceful holiday season.
*Please note prices are listed in US dollars and may change after publication*
deej recommends: Shelob ring from Badali Jewelry; $71 (sign up for their mailing list and get 10% off; plus they have Black Friday/Cyber Monday sales going on right now!). Order here.
“I have several pieces from this company, and can’t wait to add this one to my collection! If you’re an arachnophobe, fear not – Badali Jewelry has a whole line of officially licensed, hand-crafted Middle-earth jewelry. Plus you’ll be supporting a great independent business.”
Funko Pop! Rides: Gandalf on Gwaihir; $30. Order here.
“I know not everyone is a fan of Funko Pops, but this one is pretty darn cute.”
The Lord of the Rings: Motion Picture Trilogy (Extended & Theatrical)(4K Ultra HD + Digital) and The Hobbit: Motion Picture Trilogy (Extended & Theatrical)(4K Ultra HD + Digital); $89.99 each. Order here and here.
“Who doesn’t need another set of these amazing films? And in 4k Ultra HD, they are going to look and sound better than ever! Now I just need to purchase a new 4K television so I can watch the Middle-earth saga the way it was meant to be seen.”
Tolkien 2021 Official Calendar; price tbd. Order here.
“To coincide with the new edition of ‘Unfinished Tales’, you can also have a beautiful 2021 wall calendar with illustrations by John Howe, Alan Lee, and Ted Nasmith.”
greendragon recommends: “I’m a huge fan of Scottish company Oscha. Their products are gorgeous – incredible woven art, and all ethically made. If you want to support a small business, and buy something really special for a loved one, look no further. Not just baby products – their scarves, throws, bags, etc are all stunning. Even mugs!”
Legend of Frodo Garnet Ceo Scarf – This gorgeous burgundy scarf features flowing ecru Sindarin script reading “Even the smallest person can change the course of history”, while the central band of text reads the name of this design “The Legend of Frodo.”; from $51.39. Order here.
Misty Mountains Coldfells Ring Sling– This beautiful midnight blue sling features the formidable Misty Mountains, which cut across Middle Earth, with a verse sung by Thorin Oakenshield & Co in The Hobbit running in runes along the borders; from $125.01. Order here.
Map of Middle Earth Messenger Bag -This organic cotton tote bag is designed with the length and breadth of Middle Earth, from Mordor to The Lonely Mountain and beyond, based on the classic illustrations by J. R. R Tolkien himself; from $17. Order here.
HMH publications: “What could be better for a Tolkien lover, than writings from the Professor himself? This Fall, a number of new editions were published by Houghton Mifflin Harcourt. There’s a gorgeous new collector’s edition of HoME, an illustrated Unfinished Tales, and a new paperback three-volume LotR set for any youngsters you might like to introduce to the wonders of Middle-earth! Plus, perfect for the holidays – there’s a Centenary edition of Tolkien’s ‘Letters from Father Christmas’. My personal favourite is the brand new ‘Hobbit Sketchbook’ from Alan Lee; full of wondrous art to inspire and delight. I’d love to find that under my tree!”
- THE HOBBIT SKETCHBOOK by Alan Lee; $30. Order here.
- THE HISTORY OF MIDDLE-EARTH Box Set (also available as individual volumes) by Christopher Tolkien and J.R.R. Tolkien; $225. Order here.
- UNFINISHED TALES, ILLUSTRATED EDITION by J.R.R. Tolkien, illustrated by Alan Lee, John Howe, and Ted Nasmith; $30. Order here.
Volante Designs Lord of the Rings Collection; prices vary. “Wow these coats and jackets are amazing. Want to roam around like a ranger from Gondor? Or skulk in the shadows like a Wraith? TORn’s friends at Volante Design have made amazing outerwear which enables you to do just that! This independent business based in Massachusetts added two, officially licensed Middle-earth designs to their amazing collection; and they’ll ship at the end of November, so just in time for the holidays!”; order here.
Madeye Gamgee recommends: “Another independent artisan worth supporting: Cave Geek Art. I met the CaveGeek, Kfir Mendel, at DragonCon 2016, where his original map of Middle-earth created a stir among the Tolkien fandom (and a dent in my wallet). The CaveGeek specializes in pyrography, burning his designs with 3-D effect into tanned buckskin, and then painting them with primitive pigments using a deer bone as his brush. He specializes in maps across a number of geekdoms. For Tolkien lovers, in addition to Middle-earth, his offerings include Thror’s map of the Lonely Mountain, and his most recent edition anticipating the new Amazon series: Númenor. You can find his prints and original leather pieces by clicking here. Plus he takes commissions!”
Elessar recommends: Fisher-Price® Little People® Collector Lord Of The Rings set. For fans age 1-101; $29.99. Order here.
saystine recommends: Elven diadems, ear cuffs, and hair accessories by RomanticElfJewelry; prices vary. Order here.
garfeimao recommends: Legolas and Gimli at Amon Hen 1:6 scale Limited Edition statue by Weta Workshop; $699. Pre-order here.
Exciting news this morning, from US Tolkien publishers Houghton Mifflin Harcourt: a previously unseen collection of Tolkien’s writings about Middle-earth will be published June 2021. Here’s the press release from HMH:
Coming June 24th 2021
‘MIFFLIN HARCOURT TO PUBLISH J.R.R. TOLKIEN’S FINAL MIDDLE-EARTH WRITINGS IN 2021
Houghton Mifflin Harcourt Books & Media will publish The Nature of Middle-earth, a previously unseen collection of writings by J.R.R. Tolkien, in the U.S. on June 24, 2021. Presented for the first time in one volume and edited by Carl F. Hostetter, the writings will transport readers back to the world of The Silmarillion, Unfinished Tales, and The Lord of the Rings.
Deb Brody, HMH’s VP and Publisher, says: “It is well known that J.R.R. Tolkien published The Hobbit in 1937 and The Lord of the Rings in 1954–5. What may be less known is that he continued to write about Middle-earth in the decades that followed, right up until the years before his death in 1973.
“For him, Middle-earth was part of an entire world to be explored, and the writings in The Nature of Middle-earth reveal the journeys that he took as he sought to better understand his unique creation. From sweeping themes as profound as Elvish immortality and reincarnation, and the Powers of the Valar, to the more earth-bound subjects of the lands and beasts of Númenor, the geography of the Rivers and Beacon-hills of Gondor, and even who had beards!
“This new collection is a veritable treasure-trove offering readers a chance to peer over Professor Tolkien’s shoulder at the very moment of discovery: and on every page, Middle-earth is once again brought to extraordinary life.”
The Hobbit was first published in 1937 and The Lord of the Rings in 1954–5. Each has since gone on to become a beloved classic of literature, and an international bestseller in more than 70 languages, collectively selling more than 150,000,000 copies worldwide.
The Nature of Middle-earth will be published subsequently in several languages by numerous Tolkien publishers worldwide.
CARL F. HOSTETTER has for many years been one of the world’s leading Tolkien experts and respected head of the Elvish Linguistic Fellowship. He has worked as a Computer Engineer for NASA since 1985.’
Harper Collins, the UK based publisher for Tolkien, will also release this new work in June next year. You can read The Guardian newspaper’s article about this highly anticipated publication, here.
Speaking of translating Tolkien’s world to TV and cinema, we dug into our archives to find a rather relevant masterpiece from Green Books staffer Ostadan – originally posted November 4th, 2004. Enjoy!
“Translation is like chewing food that is to be fed to others who are unable to chew themselves. As a result, the masticated food is bound to be poorer in taste and flavor than the original.” [attributed to Kumarajiva, translator of Buddhist texts into Chinese. Translated.]
In the article Glossopoeia for Fun and Profit, we saw the Esperanto translation of the Ring inscription:
Unu Ringo ilin regas, Unu ilin prenas,
Unu Ringo en mallumon ilin gvidas kaj katenas.
Let us look at this translation more carefully. If we were to take each word and translate it to English directly, it would read,
One Ring them rules, One them takes,
One Ring into darkness them guides and chains.
Esperanto’s word order is more liberal than English, especially in verse; a more grammatically correct English translation would be “One Ring rules them, One takes them, One Ring guides them into darkness and chains them.” Those familiar with the English text will see many evident differences — the use of present tense; the reduction of “them all” to simply “them”; the change of “find” to “take”, and so on. Why should this be so? The main reason is that Bertil Wennergren, who translated the verse, was attempting to retain not only the sense of the text, but the rhyme scheme and general meter of the original. Esperanto, which uses suffixes as markers for such things as tense and part of speech, has few single-syllable words. In contrast, there is only one word of more than one syllable, “darkness”, in the entire English version of the Ring couplet (and few, indeed, in the entire Ring-verse). If any semblence of the poetry of the original is to be retained, then the meaning of the text must be altered somewhat to fit the restrictions imposed by the verse form and the language of translation.
Of course, within the story, the famous couplet is itself only a translation, with a slight change in meter, of the Black Speech found on the Ring:
Ash nazg durbatulūk, ash nazg gimbatul,
Ash nazg thrakatulūk, agh burzum-ishi krimpatul.
Gandalf says that his rendering in the Common Speech is “close enough” to what is said on the Ring. So the question arises: is the Esperanto translation similarly “close enough”? A “purist” might say, no: there are too many details lost or even changed by this translation, and Tolkien’s linguistic work has been undermined; someone reading the Esperanto text would come to very different conclusions about the vocabulary and grammar of Black Speech from those reached by English-speaking readers. But someone of a more “revisionist” bent sould say that the Esperanto Ring-inscription tells, probably as well as possible given the constraints of a verse translation in Esperanto, the same story as the original English. After all, it is certainly plausible that Celebrimbor, hearing these words spoken from afar as Sauron first took up the One Ring, would indeed know just how he had been betrayed and what Sauron’s true purpose behind the Rings of Power was.
In a real sense, any translated work is a collaborative effort between the original author and the translator, much as a symphonic performance is a collaboration between the composer and the conductor. In a work as complex as The Lord of the Rings, the translator must be aware of the stylistic and linguistic techniques that Tolkien is using, and create them anew in the language of translation. For the result to have any artistry at all, the translator has to be as creative and capable in the language of translation as Tolkien was in his own. The result will not be pure Tolkien; it will be Tolkien as interpreted and re-told by the translator. Arden Smith’s irregular column in the journal Vinyar Tengwar, entitled “Transitions in Translations”, has documented a wide range of successful and unsuccessful translations. In some, little care is taken in style or nomenclature — one might be reminded of the infamous Japanese subtitles for the Fellowship of the Ring movie. In others, the translator may go as far as inventing Tengwar and Cirth modes for the language of translation and will re-draw the title page inscription in translation, as well as re-lettering the translation of the West-gate of Moria in the illustration. But in all cases, the result is not, and cannot be, identical to the experience of reading the original English text.
A “purist” might therefore conclude that because a translation necessarily loses some of the nuances and richness of the original, nobody should read Tolkien’s work in translation, and that the translators themselves are wasting their time in a futile exercise at best, or a fraudulent representation of their own works as being J.R.R. Tolkien’s at worst. To the purist, Tolkien’s original work is the only “true” account of events in a world that seems nearly as real as the ancient history of our own world, and deviation from that account seems to be somehow a distortion of a primary truth. But most people would agree that, given a certain minimum quality of translation, the defects inherent in reading a work in translation are outweighed by the availability of the book to people who cannot read it in English and would not be able to experience Middle-earth in any form without the translation, like the unfortunate soul in the quotation from Kumarajiva, who requires someone else to chew their food if they are to avoid starvation. Some of these people may even be motivated by a good translation to search out an English edition and laboriously work through it.
By now, the reader has probably anticipated the author’s conclusion from these musings about translation: the art of the filmmaker has much in common with the art of the translator. The requirements of film — or at least an artistically and commercially successful one — dictate particular rhythms and modes of expression in the storytelling that the original author contemplated no more than Tolkien considered how the Ring-verse would fit the rhythms of Esperanto or other languages. Even more than a translator, the filmmaker is a collaborator with the author, reinventing and recreating the author’s work so that it can be expressed as artistically as possible in the “language of film”. The result will not be purely Tolkien’s work, and will inevitably lose much of the delicious “flavor” of the original. It may even have serious defects in several particulars; but the real question is whether, like the Ring-verse translation, it tells the same essential story, “close enough”. If it does, then it does what any good translation does: it brings a great work to people who otherwise would not read it on their own.
“I cannot read the black and white letters,” he said in a quavering voice.
“No,” said Jackson, “but I can. The letters are English, of a narrative mode, but the language is that of the Epic Romance, which I will not utter here. But this in the Cinematic Tongue is what is said, close enough…”
(Fade to black. Music up.)
– Ostadan