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.
The October 2020 edition from Houghton Mifflin Harcourt
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.
Letters from Father Christmas, Deluxe Slipcase Edition, published by Harper Collins in October 2019 at an appropriately deluxe price point.
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.
Father Christmas assures young John Tolkien that all is well at the North Pole
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 Great Polar Bear defends the realm Beorn style
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.
The first edition, and third posthumously published Tolkien work, clocks in at only 44 pages, 1976
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.
Father Christmas starts mailing it in, 1995; a new title approach, too!
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.
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 ofThe 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!
Day 21 of TheOneRing.net’s Advent Celebration 2020
Illustration by J.R.R. Tolkien /Letters from Father Christmas
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.
Illustration by J.R.R. Tolkien
*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.”
TheLord of the Rings: Motion Picture Trilogy (Extended & Theatrical)(4K Ultra HD + Digital) and TheHobbit: 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 DesignsLord 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 Gamgeerecommends: “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!”
Elessarrecommends: 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.
garfeimaorecommends: 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:
The Nature of Middle-earth 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!
Golden copy of the “Universal Gateway”, Chapter 25 of the Lotus Sutra kept in Taiwan National Palace Museum. One of the many excellent works of Kumarajiva
“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.]
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:
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.
J.R.R. Tolkien
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…”
If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net. One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.
Amazon Studios’ LOTR Series Heads Into Uncharted Carnal Waters with Casting Call for Nudity and an “Intimacy Coordinator”
This might be a singularly surprising or even upsetting concept to present to Tolkien fans. If I were to address this reality to Star Wars, or Harry Potter, or even Miyazaki fandom it could raise eyebrows or outright alarm. But gather ’round the campfire and hear my tremulous words:
“Prepare for a newly-sexualized version of your favorite fantasy world.”
It’s the equivalent of saying: “Get ready to watch Anakin and Padme do something onscreen that will forever alter the way you see Star Wars. Sorry about the sand. It gets everywhere.”
Is this a real lightning rod issue? Depends on your temperament. I have to be really careful about presumed gatekeeping (which is not my intention) or any semblance of that; I just want this discussion WAY out in the open. Let’s get to the heart of this, because it is a thing now.
We must clearly ask ourselves what we want and don’t want from a billion-dollar Tolkien TV adaptation, because the tracks are laid and that train is headed straight for us, via your streaming device and paid subscription.
It is needful to discuss and understand those qualities of Tolkien’s work that are most important to us. Fair to say we have a worldwide multigenerational scholarly and fan community that share some great common denominators of what “fidelity” means in an adaptation of Tolkien. Thankfully we have shared voices; and if we shout from the rooftops collectively Amazon Studios might, perchance, just listen.
Let’s tell them what we expect. We are the audience they need to win over, after all.
T/W: By necessity, our topics today include sex organs, bodily functions, sexual abuse and rape in other fantasy TV shows, and coordinating intimacy—so here’s the trigger warning ahead of time. New territory for TheOneRing.net, BUT HEY IT’S 2020! Bear with me. We may find an egalitarian way forward in this conversation.
Amazon’s Approach: Will There Be Sex On Screen?
Fact check: We can confirm Amazon Studios has hired Jennifer Ward-Lealand, a well-known New Zealand Intimacy Coordinator, for the Lord of the Rings production.
The only Amazon show in NZ is Lord of the Rings, a production so overwhelmingly large that Auckland film unions report that over 80% of all local production crew are working on it, leaving no crew for other TV shows. It should be known that instead of clearly stating to be on LOTR, Ms. Ward-Lealand’s official site declares the acronym for “Untitled Amazon Project” / UAP is listed on her upcoming projects, first reported on Knight Edge Media and other sites. We know for sure Amazon’s UAP is the catch-all working title for LOTR. Remember how “Jamboree” and “Little Rivers” were the working titles for Peter Jackson’s LOTR and Hobbit Trilogies, respectively. But how much nudity is Amazon considering?
Fact check: Rumor! An open casting call for background extras “comfortable with nudity” appeared. Just how many naked extras do you need for a classy, romantic love-making scene?
Caleb Williams dug deep while reflecting on some of our earlier reporting on TheOneRing.net of new casting announcements by BGT Casting; stating ‘must be comfortable with nudity’ for upcoming roles in LOTR. Put two and two together: there’s an Intimacy Coordinator who serves an important role to ensure the well-being of actors during sex scenes (or with nudity) and then we learn nudity in certain roles is openly asked for.
Will Characters Be ‘Sexified’ That Weren’t In Tolkien’s Books?
Fact Check: Unknown! The precise story they’re telling is unknown, as is the time within the 2nd Age wherein it’s all set. Don’t know what’s in the scripts, their content, nor what proper characters are associated with already-established cast members. We do know who plays a handful of the leads (Galadriel, Elrond) with best guesswork. We follow these actors on Instagram but we don’t know exactly who this ‘Tyra’ characters is because Tolkien never named one.
We surely don’t know who’s involved in scenes of nudity/sexuality. Debate is now open on where that would be necessary in a grand story of Númenor or the Elven-smiths of Eregion, or the welcoming halls of Khazad-dûm in its pre-Balrog glory.
We do know they are using water tanks. A stunt performer was injured filming scenes underwater (and she has thankfully recovered). Possible connection to Númenor being flooded and ruined in a specific catastrophe? Yes, quite possible. Underwater scenes depicting naked people swimming? We just don’t know.
How Tolkien Presented Sexualized Content
He simply didn’t. Tolkien was super-duper Catholic. In his own words to his publisher he expressed the desire for his overall Legendarium to be presented as “‘high’, purged of the gross.” That’s from his famous Letter 131. I’ll get back to it in a bit. He did not write stories in the manner of George R.R. Martin, although the inverse is often true. The word ‘rape’ does not appear in The Hobbit, and only once in LOTR: The Return of the King (even then not referencing a person but a geographical place, Gondor: as in ‘sack’ or ‘pillage’).
There are a few notable instances of non-sexual nudity mentioned in The Lord of the Rings itself: (a) the hobbits’ bath in Crickhollow, (b) the running naked through the grass to clear their hearts and minds after imprisonment by the Barrow Wights, (c) Frodo’s rescue by Sam at the Tower of Cirith Ungol. Perhaps there’s one I missed.
A few stories from The Silmarillion include incredibly dark things like incest; as with Túrin and Niënor. But that wasn’t their fault (poor things) and Amazon Studios does not have the licensing for those particular stories.
That’s not what they’re currently producing.
Tolkien vs. Other Popular Fantasy
I’m more keen to look at Tolkien’s works the way the Professor himself looked at them. He was spiritually and mentally deliberate in everything he did. With his “Sub-Creation” Tolkien meant to celebrate God’s main Creation with such language and artistry as he possessed. This Secondary World of Arda was a vessel of joy and a profound expression of faith. If anyone had a “purity” litmus test for this kind of fantasy it was John Ronald himself, as seen in a nearly 10,000-word letter to his publisher Milton Waldman, from late 1951:
Do not laugh! But once upon a time (my crest has long since fallen) I had a mind to make a body of more or less connected legend, ranging from the large and cosmogonic, to the level of romantic fairy-story, the larger founded on the lesser in contact with the earth, the lesser drawing splendour from the vast backcloths – which I could dedicate simply to: to England; to my country. It should possess the tone and quality that I desired, somewhat cool and clear, be redolent of our ‘air’ (the clime and soil of the North West, meaning Britain and the hither parts of Europe: not Italy or the Aegean, still less the East), and, while possessing (if I could achieve it) the fair elusive beauty that some call Celtic (though it is rarely found in genuine ancient Celtic things), it should be ‘high’, purged of the gross, and fit for the more adult mind of a land long now steeped in poetry. I would draw some of the great tales in fullness, and leave many only placed in the scheme, and sketched. The cycles should be linked to a majestic whole, and yet leave scope for other minds and hands, wielding paint and music and drama. Absurd.
Excerpt from Letter 131, “The Letters of J.R.R Tolkien” (1981), p. 143
Here he admits his original ambitions may have been overreaching. Generations later we find they were not; as many other minds, artists, and hands have since played within Arda. Amazon Studios is playing in that sandbox right now, as I write this. Broadly speaking, Tolkien’s popularity helped launch an entire strata of “High Romantic Fantasy” that changed publishing forever. Previous adaptations of his books to films, plays, games, comics and audio have, by and large, held true to this aesthetic.
Notice how he describes his connected Legendarium with words like “large and cosmogonic,” “splendour,” “elusive beauty,” “majestic,” “steeped in poetry,” and the most revealing of all: “‘high,’ purged of the gross.”
He never uses words like “scatological,” “salacious,” “sexually charged,” “tumescent,” “steeped in carnality,” or “debauched.” If you are even slightly attuned to Tolkien’s stories you know the tone he set. You know the point I’m driving at. I don’t even feel like being subtle anymore.
Look… this is Tolkien telling you why none of his characters masturbate or take a pee break behind the bushes. He’s telling you why his characters are never described in acts of copulation or defecation. Yes they certainly did copulate, but none of that needed to appear; violating his deliberate idiomatic approach that served his own noble purpose. Nobody ever said the word fart in Middle-earth, at least not through the voice of our omniscient narrator. Elsewhere he makes clear his reasoning: the heroic and sympathetic characters do not engage in acts causing revulsion. He leaves that to the Orcs, corrupted enemies, demonic monsters, and their poisoned physical environments; and it greatly heightens the sense of revulsion in the reader by such measured and careful use. Tolkien said that the Orcs’ language (part of their unique cultural brutalism) was far worse than he let on. SO NOTHING IS GRATUITOUS. Not one word is wasted in its application or import.
Professor Tolkien kept the toilets, orgasms, and such other bodily ephemera offstage the entire time. Invisible. Never even suggested. This is high fantasy, remember, and a special kind too. There’s one noticeable exception in The Hobbit: The Desolation of Smaug where Peter Jackson showed Bilbo and the Dwarves climbing into Bard’s house through the secret entrance of, yes, the toilet. Thus the word ‘toilet’ entered Middle-earth dialogue for the first time (Tolkien would have disapproved linguistically at the very least because it’s so damn French); but to some fans this silly, throwaway gag was a red flag that P.J. had *perhaps* missed some of the marks in his adaptation of The Hobbit (amongst other reasons, looking at you Tauriel/Kili/Legolas triangle) compared to the monumental achievement of his previous Trilogy.
Case in point: even the provocative director of the X-rated film Fritz the Cat, Ralph Bakshi, managed to keep it in his pants. His ambitious yet incomplete 1978 animated Lord of the Rings stays in the right lane, true to its high fantasy trope, even though the film is wildly psychedelic in its visual flair. Such a great contrast to his other fantasies Wizards and Fire & Ice which was R-rated “Adult Swim”-fare arriving decades early! Instinctively and thoughtfully, Bakshi knew that Tolkien’s story didn’t need all the Tits & Ass that had previously made the animator the darling of 70’s arthouse cinema. He kept that out of Middle-earth, indulging it elsewhere more suitably for his other films.
I recall my Dad taking me to the movies see John Boorman’s Excalibur when I was just 12. He knew my brother and I were really big on this sword and sorcery thing. Our love of Tolkien was so strong Dad figured the King Arthur legend would be ideal for us but he didn’t comprehend what was behind the “R” rating. I remember so clearly the opening scenes of Uther Pendragon’s sexual assault against Arthur’s mother, arranged by Merlin to conceive the future King. Shocked, my Dad leaned over to check on me—uncertain what to do: “You okay son? This might be too much for you…” I waved him off, “Yeah, I’m fine,” while my retinas were seared permanently with the first sexual act I had ever witnessed in my life. It was inscrutable and jarring to a child. Confusing. Dad wasn’t prepared to discuss the birds and bees and their biological needs, not by a mile. It didn’t overly-phase me, as my young mind was too busy trying to memorize The Charm of Making.
But it would strike me as very odd (and unnecessary) that a future predicament similar to my Father’s might befall parents innocently watching “a Tolkien fantasy show.” Imagine if suddenly you have to press pause, take the smallest children out of the room, and… “have the talk.” Well, you get it.
That was assuredly the moment for me where Tolkien differentiated himself from other fantasy storytellers. Indeed, that distinction was drawn in sharpest relief. Perhaps we are lucky that Mr. Boorman never got to direct LOTR for United Artists (that almost happened for real, but he made Excalibur instead).
“Dawn of the Firstborn Elves” by Ted Nasmith
If you are unfamiliar or never read Tolkien and wanted to get into the fandom, would you want to start with the adaptation that stikes furthest away from Tolkien’s literary sensibilities? One which could be deemed too much for a child to watch?
Sure, there’s more than enough room for all the “adult content” of darkness and otherworldly terrors from Tolkien’s larger span of legends, there is DEFINITELY a place for that! I’m not arguing against any adaptation desirous of that. We can go as far away from the golden-hued fairy story of Bilbo’s journey that you want and go right to the 2nd Age of Sauron-inflicted deceits, treachery, and metaphysical corruption.
But why does it need to be prurient?
The horrors brought upon Númenor end up with Satanic style Morgoth-worship and ghoulish human sacrifices. Body horror? Beheadings? Ripping living hearts from a sacrificial victim? Maybe. But there are no brothels mentioned. No Littlefinger. No orgies.
The Hobbit and LOTR stand rather apart from the most insanely disturbing stuff within The Silmarillion (especially) and Unfinished Tales, so yes, it may yet be that someday we will have a separation of what Tolkien shows/movies you watch with your little ones… and those you just don’t. And now we realize the time may be upon us sooner than we think.
I’m just a guy who knows what he’s getting when he reads Tolkien. I know what I like: the languages, the world-building, the spirit of Arda. There’s a gazillion other styles and idioms of modern fantasy where you can get your fix of anything: be they puppets (The Dark Crystal: Age of Resistance) or video games (hey there Witcher).
Now The Witcher comes to mind as a counterpoint to Game of Thrones in terms of sexual portrayals. GoT portrayed so much of its sex negatively, tied to assault and dehumanizing acts (yeah, yeah there’s a wee bit of “romance” in the tub Jaime/Brienne) while in contrast The Witcher is extremely playful and wink-wink (hey, there’s a magic spell for your erectile dysfunction, how cute), and the orgy scene shows a woman completely in charge of its illusory energy. Not a victim at all compared to so many other depictions of female characters in fantasy. Yes, there’s room for all that sexy “insert tab A into slot B” in modern fantasy, as we have seen, but the end results can be widely divergent.
Y’all ready for this? As I said in the Star Wars example at the top of this piece, Amazon’s series might be an adaptation that forever alters how we see Arda.
What Exactly Do We Want From Amazon’s 2nd Age Series?
That’s the big kahuna. The ever-burning question. Observe what’s happening over there in Amazonland/Auckland. They hired a ton of very talented people but let’s focus on a couple of things:
Esteemed Tolkien scholar and author Tom Shippey was only brought on board to help with the Map of Middle-earth that launched their Twitter feed a year ago. There has not been any marketing effort since then and he is confirmed to be no longer on the project. It seemed to be only lip-service to the fans, which does NOT work. That kind of subterfuge will NOT work, Amazon. We don’t know why his name still appears on the Cast and Crew Listing over on IMDb.
John Howe is not currently in New Zealand and does not appear to be working on the production, certainly not in the fullness of his engagement as he was with Alan Lee back in the time of the New Line LOTR Trilogy. He may have provided some work for Amazon’s show but he’s seemingly not now.
Then there’s that one dude that has caused a wee bit of nerves. Bryan Cogman is onboard as a Consulting Producer, after his commanding story work for Benioff and Weiss on HBO’s Game of Thrones. Quite capable and mega-geek-centric, Mr. Cogman however was a focal point of some controversy on that production. Ringers have been quite vocal that the kind of “rapey” Sansa Stark storylines (attributed to Mr. Cogman) would NEVER be the kind of thing they’d want to see in Middle-earth, no matter how gritty you want to get.
Grit and realism have their place. Darkness and light are explored in their extremes. No one is shying away from the more “adult” things Tolkien had in his stories or saying they don’t exist. The real question is to what extent are they going to “sexify” this show for the sake of getting their next Game of Thrones mega-hit? Just look at this from Variety where Jeff Bezos has mandated a programming shift to get what he wants: another GoT.
AMAZON: So you’re okay with accidental incest, human sacrifice, dismemberment, and sins against Eru?
RINGER FANS: Yes! That’s what Tolkien wrote!
AMAZON: But… you’re not okay with depicting sexualized characters having intercourse?
RINGER FANS: Exactly! That’s what Tolkien wrote!
AMAZON: ……
A predictable future tweet
My personal take: What fans want most from any Tolkien adaptation is verisimilitude. Something that carries the true spirit of Tolkien and has integrity in realizing it. Amazon’s showrunners can keep that integrity by staying true to the themes and characters and intent of the author. It is not impossible to guess Tolkien’s intentions when they are so plainly available to us, even though he is gone. #FidelitytoTolkien is a hashtag we have endeavored to use. Not perfect, but it’s a decent axiom to bear in mind.
Seeing anything remotely sexified between Galadriel and Annatar (oooh, a hot young shirtless Sauron in his seduction mode) or anything else like that is going to turn off fans so fast it will cause seismic waves through a very vocal fandom.
There won’t be any coming back from that. 1000’s of fans have replied and quote-tweeted this news with a variety of opinions for and against:
We are starting to see casting calls for actors "comfortable with nudity"
AMAZON DON'T DO IT
DO NOT!
This isn't Game of Thrones. Hedonism did not bring down Numenor.
Does the Tolkien Estate Have “Veto Power” Over the Scripts?
Fact check: Unconfirmed! Well, we have been reporting that they do but it is unclear to what extent that power really exists. It is troubling. The Estate’s authority over the show’s content might not be sacrosanct; indeed it may be limited to keeping the structural frame of the narrative within the existing timelines we know are book-canon. They most likely don’t have final script approval (maybe there’s an infinitesimal chance they do); but it’s more like a general oversight to prevent fundamental alteration to the histories. We have a funny feeling that the two-episode combined pilot they are finishing up will be presented for the Estate’s approval. Time will tell.
But in my mind we’re better off tackling this as a fandom right now, and tell them what we want and don’t want from this Tolkien adaptation. They must listen.
Ringers—I ask you all: Do you want this LOTR to be just a Witcher meets Riverdale series with the branding of Middle-earth slapped on it? Why do I even say that? Because I’m afraid that’s what’s happening. Respected Tolkien twitter scholar The_Tolkienist shared an epic 30-tweet thread on the matter (with plenty of wink wink sarcasm).
One of those threads that hold no provocatively debated issues, points of contention, highly divergent perspectives …
SEXUALITY, TOLKIEN & LOTRONPRIME.
Strap in, a cis het middle-age white male is going to splain.*
Leave your comments on our message boards and social platforms: Twitter, FB, Instagram, knowing that Amazon Studios are definitely listening… and collecting data (!)… and calibrating their next efforts.
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The horrors brought upon Númenor end up with Satanic style Morgoth-worship and ghoulish human sacrifices. Body horror? Beheadings? Ripping living hearts from a sacrificial victim? Maybe. But there are no brothels mentioned. No Littlefinger. No orgies. 