Some final thoughts on The Lord of the Rings

As I finish re-reading The Lord of the Rings, I'm reminded that, as an adult, I continue to enjoy this book as much as or even more than I did when I was a child. Rare is the book that you can pick up time and time again and find something new in its pages. But The Lord of the Rings seems to get better as I grow older, which speaks volumes for its breadth, depth, and multitude of meanings.

My first experience with Tolkien occured some 25 years ago when, as a fifth-grader, my teacher had us listen to the audio version of The Hobbit in class. I was hooked. Later I asked my mother to check out The Hobbit from its (misplaced) location in the adult section of the public library so I could read it again on my own.

It wasn't until I reached middle school that I graduated to The Lord of the Rings. I enjoyed it very much, although I remember skimming certain chapters and even skipping entire passages ("The Council of Elrond," "In the House of Tom Bombadil," the songs/poetry, the Appendices, etc.), since I was mostly interested in the adventure. So when I re-read The Lord of The Rings in high school it was like I was experiencing it for the first time. Although I missed many of its deeper themes during this second reading, I gained a greater appreciation for the world Tolkien had created, which seemed weightier and more real than the other fantasy I was reading at that time.

However, after high school I took a long (and not entirely voluntary) break from Tolkien. In college I became absorbed in my required English syllabus. Writers like Hemingway, T.S. Eliot, Yeats, Shakespeare, Tennyson, Euripedes, etc., filled my time, and my "casual" reading suffered. My battered paperback copies of Tolkien sat on the shelf, and waited.

It was in 1996 or so, a span of 7-8 years from my last reading, when I finally returned to Middle-Earth. I had decided to change my path of becoming a high school teacher, a difficult decision that I reached during long, solitary walks through a town forest with Tolkien as my companion. Around this time I started to understand and appreciate the deeper meanings of "The Road," of which mine had certainly taken some unexpected turns.

Later, while working the third-shift as a security guard, I recall walking the grounds of an under-construction condominium on the shores of Lake Champlain in Vermont with The Fellowship of the Ring tucked into my coat pocket, a chill wind blowing through the skeletal structure of the unfinished building. The courage and fortitude of the hobbits helped get me through that and another, equally awful job as an insurance salesman. Sam and Frodo's trek through Mordor made me realize that my lot in life wasn't so bad, and that, if I saw it through, something better would be waiting at the end.

During these and other rough times in my life, the escape and wisdom I found within The Lord of the Rings was a blessed salve. So too were its lessons. Here are a few:

• From Sam, I learned the value of sacrifice and loyalty. And how to face grim times with a smile and a sense of humor.
  
• From Frodo, I learned the importance of seeing your assigned tasks through to the end, disagreeable though they may be, and the virtue of self-effacing heroism.
  
• From Aragorn, I learned that assuming the crown of responsibility is required of grown-ups, and that retreat from obligation is dishonorable.
  
• From Theoden, I learned that dying on a battlefield to stave off the forces of darkness is preferable to wasting away in old age :).

Tolkien's intent in writing The Lord of the Rings was to construct a mythology for England, which suffered the dilution of its language and the loss of a great many of its foundational myths and stories during the Norman conquest of England. From my own perspective I can say that he succeeded. Middle-Earth has weight and authenticity, even if the characters and events in the tale are larger than life.

Robert E. Howard, creator of Conan, once remarked that his famous barbarian "stalked full grown out of oblivion and set me at work recording the saga of his adventures." Likewise, Middle-Earth feels like a real place, and The Lord of the Rings and The Silmarillion historic texts. Instead of a creator of a fictitous universe, Tolkien to me seems to be a chronicler of some dim and remote, and yet actual, "once upon a time."

For although my head assures me that The Lord of the Rings is of course just fiction, and that Middle-Earth is a place that never was and never can be, my heart whispers that maybe, just maybe, Tolkien saw a glimpse of the truth, beyond the great gray rain-curtain of this world. And in a sense, he did.

"The Scouring of the Shire": Accounting for the price of victory

“There is no real going back. Though I may come to the Shire, it will not seem the same; for I shall not be the same. I am wounded with knife, sting, and tooth, and a long burden. Where shall I find rest?”

Gandalf did not answer.

--Frodo Baggins, The Lord of the Rings

The Lord of the Rings is about the journey of four hobbits that go “there and back again.” But Frodo, Sam, Pippin, and Merry are not the same after their journey, nor is the Shire to which they return unchanged. Although the four hobbits are in many ways grown up, and evil in the Third Age is defeated, it’s hard to weigh the changes wrought by their “victory." For much has also been lost.

There is no going home again. I hesitate to write that phrase, so clichéd has it become. Yet it is at the heart of The Lord of the Rings and is largely the point of the book, as demonstrated in the wonderful, penultimate chapter of the story, “The Scouring of the Shire.”

In their journey the hobbits have experienced a wider world outside of the insular boundaries of the Shire. Their travels take them through the magic realms of elves and into dark pits of evil. Their eyes are opened to lands and peoples they likely would never have seen were it not for the War of the Ring.

On their long road back to the Shire the hobbits’ mood is gay, and rightly so. Sauron is defeated. The roads, once perilous for the unwary traveler, will soon be open to peaceful commerce. The King has returned to his rightful place on the throne of Gondor. Order is being restored to the land.

But with order comes other evils. Mobilizing for war can unite a country, but the expediency of victory can wreak havoc on the simple and the familiar. Old woods and fields, once fallow and beautiful, are torn up and furrowed to make way for crops. Familiar paths are paved over and widened into grey highways, and lazy mills are converted into busy factories belching smoke and producing weapons of steel.

And people pay the price. Increased regulations and restrictions result in curfews and rationing where there was once freedom and plenty. World War II had its brownouts and blackouts to hinder Nazi bombing raids; in “The Scouring of the Shire” hobbits are forbidden from lighting candles and fires after hours.

The hobbits soon discover the ill changes wrought by the long arm of war, which reaches all the back from the battle-scarred eastern front to the (seemingly) untouched western lands. Where once there was an open, inviting road to the Shire, gates and ugly barracks and suspicious guards now bar their way. Though more food is being produced, there is less to go around in the Shire’s sinister new reality of social engineering. Hob, a border guard, tells the hobbits that, “We grows a lot of food, but we don’t rightly know what becomes of it. It’s all these “gatherers” and “sharers,” I reckon, going round counting and measuring and taking off to storage. They do more gathering than sharing, and we never see most of the stuff again.”

Once they pass through the gates the hobbits realize the full extent of the damage. The Shire itself is under siege. Trees are torn up, ancient homes and the old mill have been flattened, and ugly, modern, utilitarian structures have been raised in their place. And the Chief and his “Shiriffs” are in control.

A maturity bred in conflict…
War is a complicated matter for Tolkien in The Lord of the Rings. It breeds death and destruction and is the antithesis of mercy, which is so central to the story. Mechanization and loss of personal freedom are, as we’ve seen, its unfortunate by-products. But the stern trials and hard choices it forces on its participants can also bring out their best traits.

In “The Scouring of the Shire” its plain that war has made men out of Sam, Merry, and Pippin. They have grown from their experience, gaining strength and wisdom and surety of purpose. Without their experiences at Minas Tirith, could they have hoped to drive out Sharkey’s men? Not likely (as an aside, would Tolkien have ever written The Lord of the Rings were it not for his life altering experiences in World War I? I’m not so sure of that, either.)

At the beginning of The Lord of the Rings, Frodo and the hobbits looked to Gandalf for help and guidance, like young sons clinging to the wisdom of their father. This is in marked contrast to their behavior after the War of the Ring. In “Homeward Bound,” chapter 7 of The Return of the King, Gandalf tells the hobbits that he must leave, and it is now their responsibility and duty to clean up the evil that has taken root in the Shire. But the hobbits do not indulge self-pity or beg Gandalf for his help. As boys they left from the Shire; back from war, they are men:

I am not coming to the Shire. You must settle its affairs yourselves; that is what you have been trained for. Do you not yet understand? My time is over: it is no longer my task to set things to rights, nor to help folk to do so. And as for you, my dear friends, you will need no help. You are grown up now. Grown indeed very high; among the great you are, and I have no longer any fear for any of you.

Gandalf’s faith proves justified. Frodo, Sam, Merry, and Pippin firmly and decisively restore order, as they raise the hobbits and defeat Sharkey’s men decisively at the Battle of Bywater. In “The Scouring of the Shire” they display leadership and bravery hardly to be believed of the same timid hobbits that left the Shire on their long journey less than a year previous.

This is a good thing.

…and the terrible losses incurred by war
But “The Scouring of the Shire” is not a mere coda or a simple homecoming for heroes. If that was its only message, The Lord of the Rings would be a much simpler (and lesser) book.

Balanced against the assuredness and strength of Merry and Pippin is Frodo, whose wisdom serves as the moral compass of the story. Whereas Pippin and Merry are larger and stronger, Frodo is paler and thinner, the result of great wounds suffered from “knife, and sting, and tooth, and a long burden.”

When Frodo returns to the Shire he looks upon it with eyes that are no longer the same. Even the familiar has become strange to him; when Merry remarks that the events of the War of the Ring feel “like a dream that has slowly faded,” Frodo experiences the opposite reaction.

“Not to me,” said Frodo. “To me it feels more like falling asleep again.”

Wounded soldiers return with traumas seen and unseen, and this is evident in Frodo, who bears wounds that are deep indeed. Some essential part of him has been left on a foreign field, and his wounds are too grave to allow him to enjoy the peace he has so dearly bought:

I tried to save the Shire, and it has been saved, but not for me. It must often be so, Sam, when things are in danger: some one has to give them up, lose them, so that others may keep them.

This is the great sadness of The Lord of the Rings—there is home and hearth for some of the victors, but not all of them, and perhaps not even for most. When Frodo departs for the West it’s on a full ship: Gandalf, and Elrond, and Galadriel, and the main of Middle-Earth’s elves are sailing away, too. Magic has left the world. The great evil of the Third Age is defeated, but its void will be filled with other, more banal but equally sinister incarnations of evil. In the wake of the likes of the elves and of Gandalf (and yes, even Saruman and the Balrog and the orcs) comes the vagaries of men, and with them their propensity for both great good and unspeakable evil.

The Lord of the Rings ends on a beautiful but complicated note, joy and sadness together, and all tinged with melancholy, in a final line heavy with meaning:

“Well, I’m back,” says Sam.

And he is. Sam returns from the Gray Havens to yellow light and a fire and a meal waiting for him in Bag End. He has his Rosie and Eleanor, and a fulfilling life ahead of him. He will be mayor, and his name will be preserved in honor in the pages of the Red Book.

But all the same, his home at Bag End is a bit emptier. For it is bereft of Frodo, his best friend and master.

No more will Sam see Gandalf striding down the garden path on some great, mysterious errand. And never again will he catch a glimpse of the wonderful, grey shapes of elves flitting through the trees, nor hear their singing.

Was it worth it? Yes.

But is the victory and the end of the Third Age a cause for celebration, a black-and-white, simple happy ending as critics of The Lord of the Rings like to charge? That answer should also be fairly clear.

"And the joy of battle was upon me": My favorite moments from the battle of the Pelennor Fields

Peter Jackson once said that he agreed to make The Fellowship of the Ring and The Two Towers solely for the opportunity to make The Return of the King. I can sympathize with that. In many respects, although I love the entirety of The Lord of the Rings, The Return of the King holds a special place in my heart.

My passion for this book is due in large part to the battle of the Pelennor Fields. There's so many poetic, inspiring sequences that occur during the battle that it's difficult to mention them all without simply re-typing entire chapters. I'll try to restrain myself and mention a few of my favorites:

Orcs flinging heads of slain Gondorians over the walls of the city. I liked this chilling touch by Tolkien as it adds an additional streak of unexpected cruelty to the orcs. "They were grim to look on; for though some were crushed and shapeless, and some had been cruelly hewn, yet many had features that could be told, and it seemed that they had died in pain; and all were branded with the foul token of the Lidless Eye." This reminded me of the old medieval battles in which corpses were pitched over city walls in an attempt to breed disease among the beseiged populace. Only here the heads are thrown to break Gondor's will.

The trenches of fire. Tolkien never explains how the orcs accomplished this feat ("though how it was kindled or fed, by art or devilry, none could see"), but its a great visual image and needs no explanation. Something about this detail reminds me of modern warfare, as the great flaming trenches are the ancient equivalent of shell-holes and the leaping flames of artillery blasts, perhaps.

Dread and despair of the Nazgul. Fear is the Nazgul's chief weapon. As a combat veteran, Tolkien understood that winning and losing in battle depends more on mastering your fear and hoping that your enemy's nerve breaks first, rather than inflicting huge casualties. His inclusion of the Nazgul, and Gandalf tirelessly walking the walls of Gondor rallying men from despair, captures this important truth.

The Prince of Dol Amroth. Imrahil is a late arrival on the scene and it's easy to see why Jackson cut him out from the films, but I did miss seeing him. Behind Aragorn he's arguably the best fighter on the field, and wherever he and his picked knights ride on the battlefield the enemy parts like water.

The Witch-King's confrontation with Gandalf at the gate. When the gates of Gondor are burst asunder in rides the Witch King, looking very much like one of the four horsemen of the apocalypse. All the defenders are stricken with fear and fly before him. All save one--Gandalf. I love the Witch-King's reaction to Gandalf, whom he treats with outright disdain:

"Old fool!" he said. "Old fool! This is my hour. Do you not know Death when you see it? Die now and curse in vain!" And with that he lifted high his sword and flames ran down the blade.

Grond. What's not to love about a 100-foot long ram, with its great head carved to resemble a slavering wolf's head? This is a great image by Tolkien:

The drums rolled louder. Fires leaped up. Great engines crawled across the field; and in the midst was a huge ram, great as a forest-tree a hundred feet in length, swinging on mighty chains. Long had it been forging in the dark smithies of Mordor, and its hideous head, founded of black steel, was shaped in the likeness of a ravening wolf; on it spells of ruin lay. Grond they named it, in memory of the Hammer of the Underworld of old. Great beasts drew it, orcs surrounded it, and behind walked mountain-trolls to wield it.

Theoden's speech.

Arise, arise, Riders of Theoden!
Fell deeds awake: fire and slaughter!
spear shall be shaken, shield be splintered,
a sword-day, a red day, ere the sun rises!
Ride now, ride now! Ride to Gondor!

...which leads to...

The Ride of the Rohirrim. After Theoden gives his rousing speech, he blows such a loud blast that he bursts the great horn asunder. Then he charges, not caring who is following him. Fey he seemed, or the battle-fury of his fathers ran like new fire in his veins, and he was borne up on Snowmane like a god of old, even as Orome the Great in the battle of the Valar when the world was young.

Who is Orome? Does it really matter? This is awesome stuff, as is the host of Rohan bursting into song, singing as they slew for the joy of battle. The charge is also my absolute favorite sequence from Jackson's film.

And Theoden does not stop after this initial charge. More foes begin to form up, including the men of the Haradrim, who rally around a standard of a black serpent upon scarlet. "The drawing of the scimitars of the Southrons was like a glitter of stars," writes Tolkien. But Theoden spurs his horse in again, heedless of his own safety:

Right through the press drove Theoden Thengel's son, and his spear was shivered as he threw down their chieftain. Out swept his sword, and he spurred to the standard, hewed staff and bearer; and the black serpent foundered.

What a great image; as I read this I can picture Theoden lancing the chieftain and impaling him/knocking him from his mount, tossing down his shattered lance shaft, then in one sword stroke hewing the thick wooden shaft of the standard and the poor fool holding it. Great stuff.

The Witch-King vs. Eowyn. Although I liked this sequence in the film I wish Jackson had retained more of the original dialogue, if for nothing else than for the fans like me who wanted to hear Miranda Otto say "dwimmerlaik:"

"Begone, foul dwimmerlaik, lord of carrion! Leave the dead in peace!"

A cold voice answered: "Come not between the Nazgul and his prey! Or he will not slay thee in they turn. He will bear thee away to the houses of lamentation, beyond all darkness, where thy flesh shall be devoured, and they shrivelled mind be left naked to the Lidless Eye."

Tolkien's description of Eowyn ("Maiden of the Rohirrim, child of kings, slender but as a steel blade, fair yet terrible") is a joy to read, and Theoden's death is stirring. I felt a lump in my throat when Theoden tells Merry to think of him when he sits in peace with his pipe, "for never now shall I sit with you in Meduseld, as I promised, or listen to your herb-lore."

Eomer's fey mood/battle lust. Tolkien had a soft-spot for the pagans of old, the mighty Danish warrior-kings whose ultimate desire was to die not peacefully of old age while in bed, but on the battlefield clutching a sword. This is the Ragnarok spirit. Men in its grip cease to fear death even as it looms inevitable, for the joy of battle and of killing overtakes them. Their behavior is likened to that of a death-wish.

This exact spirit overtakes Eomer towards the end of the battle when all hope seems lost: His father and sister are both (apparently) slain, his men are scattered, the enemy is rallying, and to strike the final death-knell for the West, the black-sailed ships of the Corsairs of Umbar are coming down the river to bring yet more reinforcements to the enemy. Eomer's reaction when he sees the ships is not a wail of despair or a retreat behind the safety of the walls; instead he utters lines that could be taken straight out of Beowulf:

Out of doubt, out of dark to the day's rising
I came singing in the sun, sword unsheathing.
To hope's end I rode and to heart's breaking:
Now for wrath, now for ruin and a red nightfall!

These staves he spoke, yet he laughed as he said them. For once more lust of battle was on him; and he was still unscathed, and he was young, and he was king: the lord of a fell people. And lo! even as he laughed at despair he looked out again on the black ships, and he lifted up his sword to defy them.

Aragorn's arrival. Tolkien repeatedly pushes the characters and events of The Lord of the Rings to the brink of ruin, only to have some unexpected, last-second hope arrive to avert disaster. Aragorn coming up the Harlond on the black ships of Umbar with the Dunedain and the men of the south is a prime example, the "Return of the King" that changes the tide of battle. When Aragorn unfurls his standard of the White Tree and the seven stars and the high crown you can't help but cheer (well, at least I couldn't).

A review of Metal: A Headbanger's Journey

As a heavy metal fan I found it a real pleasure to watch Metal: A Headbanger's Journey. Sam Dunn's 2005 documentary is a fun, insightful look at my favorite genre of music and actually manages to do it justice. Dunn is not only a smart filmmaker but he's also a fan, and it shows in the final product.

Unlike the flawed Fargo Rock City, which focused exclusively on hair metal (e.g., Poison, Warrant, Motley Crue, etc.) and gave very short-shrift to real heavy metal bands like Iron Maiden, Judas Priest, Slayer, and Black Sabbath, Metal: A Headbanger's Journey includes all sub-genres of heavy metal. Dunn spends a limited time on the overrated hair/glam period and far more on power, thrash, death, and the new wave of British heavy metal.

I actually found that the most compelling segment was the piece on Norweigan black metal. These bands actually (and terrifyingly) practice what they preach. Black metal bands were behind a string of church burnings in the early 1990s, and the lead singer of one band, Burzum, went so far as to murder a fellow band member. Dunn interviews two members of black metal bands and both coldly face the camera and state unhesitatingly that they support more church burnings and the downfall of Christianity.

Watching Dunn at work made me exceedingly jealous. He somehow managed to score interviews with the likes of Bruce Dickinson, Lemmy, Tom Araya, Rob Zombie, and Tony Iommi, all of which prove articulate and interesting. He gets to spend a night drinking with Lemmy and another day hanging out in the home of Ronnie James Dio, posing with Dio while the two brandish a pair of swords.

Dunn starts by tracing the rise of heavy metal, whose roots can be heard in bands like Led Zeppelin and Steppenwolf but was born with Black Sabbath's self-titled release. He discusses its classical and operatic roots, which give it its distinctive sound.

Two of the best interviews were by Zombie and Dickinson. Zombie offers up a memorable quote when he calls metal a "lifestyle music." "No one says, 'I was into Slayer--one summer. I've never met that guy," says Zombie. "I've only met the guy who has 'Slayer' carved across his chest." Dickinson says that metal provides its fans with an alternative universe through which they can vicariously live through the music. He also talks about how he approaches singing and showmanship. Good stuff here.

Dunn next travels to Wacken, Germany for the site of a massive annual outdoor metal festival. Here he has a memorable interview with the (very drunk) lead singer of Mayhem, who ends up telling Dunn and everyone else watching the interview to fuck off.

Next Dunn investigates the metal censorship era. Twisted Sister frontman Dee Snider provides a retrospective on his testimony before Congress and Al and Tipper Gore in 1984. I had forgotten how badly the politicians underestimated Snider. It was fun to watch him knock a half-dozen holes in their case that metal was responsible for corrupting the youth of America and deserved censorship. Gore was a joke then (and remains one now).

Although it's been labeled by its detractors as obscene and suicidal, Dunn argues convincingly that metal is in fact the opposite. His claim that metal is empowering (anti-suicidal, in fact) and cathartic rings true. It gives its listeners a release from mundane life and allows them to enter worlds of fantasy, which is a huge part of its appeal for me.

My only complaint was that the film was too short: It could have been 2 1/2 hours instead of its brief 96 minutes of running time. I highly recommend it.

Samwise the Brave: Examining the central hero of The Lord of the Rings

I have something to do before the end. I must see it through, sir, if you understand.
--Sam Gamgee, The Lord of the Rings

You don’t have to squint to find heroes in J.R.R. Tolkien’s The Lord of the Rings. Splashed across its pages are Aragorn, the uncrowned king in the wilderness, who walks the Paths of the Dead and claims his rightful position on the throne of Gondor; Gandalf, who bests the Balrog of Moria and confronts the Witch-King one-on-one; and Frodo, who suffers as the Ring’s bearer, carrying its weight into Mordor to liberate Middle-Earth from the darkness of Sauron. Theoden, Eowyn, and Faramir also spring immediately to mind. Aragorn and Frodo in particular can certainly be viewed and successfully argued as the central figure(s) in Tolkien’s tale.

But over the course of re-reading The Lord of the Rings I am more convinced than ever that its true hero is Sam Gamgee, without whom the quest to destroy the One Ring could not have succeeded. Though he’s no doughty man-at-arms like a Conan or Launcelot du Lake, by tale’s end Sam’s great deeds and noble sacrifices earn him a place of honor in the roll of great fantasy heroes.

Now, my line of thinking isn’t exactly original: Tolkien in one of his letters calls Sam “the chief hero” of the story, and many others have also made this connection. But certainly others have overlooked Sam because he doesn’t conform to traditional notions of heroism. He’s certainly not a great warrior who battles hordes of enemies, the archetype of the genre of fantasy known as sword and sorcery.

Perhaps it’s because I frequent a lot of Robert E. Howard and Dungeons and Dragons message boards, but it seems like larger than life heroes are the rage these days. Our current heroic archetypes include D&D with its player-characters as powerful supermen (4E, I'm looking at you), Harry Potter/The Belgariad and its ilk (seemingly normal people with great but latent magic powers), or sword and sorcery heroes inspired by Conan, mighty warriors capable of killing a half-dozen men in the afternoon and drinking the night away at the local tavern. Older archetypes include men like Achilles or Odysseus, men of action and martial prowess so extraordinary that they seem demigods among men.

Sam is a very different type of hero: a hobbit with no warrior skill who gets by solely on bravery and devotion to Frodo. Tolkien said his character was inspired by the British rank-and-file soldiers who served and fought and often gave their lives without fanfare in the trenches of World War I, expecting nothing and possessing only the hope of home at the end of it all (which is all Sam really wants). Said Tolkien in a letter, “My ‘Sam Gamgee’ is indeed a reflexion of the English soldier, of the privates and batmen I knew in the 1914 war, and recognized as so far superior to myself.”

Certainly Sam can’t compare with a Conan or a Fafhrd in terms of skill-at-arms. Like all hobbits he’s small in stature, possesses no skill with a blade, and is much more at home in a garden than on a battlefield. But Sam possesses undaunted courage when pressed, optimism in the face of impossible odds, and above all else an unshakeable call to duty to serve his master. When he throws himself into the waters of Parth Galen (despite the fact he cannot swim) in order to join Frodo’s seemingly suicidal quest into Mordor and emerges spluttering and half-drowned but with his will unshaken, we are witness to devotion of the rarest kind:

‘But I am going to Mordor.’
‘I know that well enough, Mr. Frodo. Of course you are. And I’m coming with you.’

The Lord of the Rings is very much a testament to the fact that even the greatest of men can’t solve all the world’s problems on their own. Galadriel’s comment that “hope remains while all the Company is true” (emphasis mine) is Tolkien’s belief writ large that alliances—not unilateral actions—are necessary for our long-term survival. Her words also prove to be prescient within the story: When the Fellowship fails and breaks up, Sam remains as Frodo’s only company on the long trek to Mordor. His presence, every bit as much as Frodo’s act of pity toward Gollum, allows the quest to succeed. It’s a difficult choice for Sam, especially after he peers into Galadriel’s mirror and sees the Shire being torn up and industrialized, and his father, his poor old gaffer, displaced. His decision to remain and sacrifice his personal desire to return home in order to serve the greater good (the destruction of the Ring) is the very essence of heroism.

Sam eventually is thrust into the hero’s role after the Fellowship breaks and he and Frodo trek to Mordor alone. I found myself cheering aloud (well, almost) when Gollum betrays Frodo to Shelob and attempts to kill Sam himself, and gets far more than he bargained for when Sam more or less kicks his ass:

Fury at the treachery, and desperation at the delay when his master was in deadly peril, gave to Sam a sudden violence and strength that was far beyond anything that Gollum had expected from this slow stupid hobbit, as he thought him. Not Gollum himself could have twisted more quickly or more fiercely.

But Sam’s real moment in the sun comes in Chapter 10 of The Two Towers, “The Choices of Master Samwise.” By all appearances Sam is too late to save his master who lies motionless, bound in cords, at the feet of Shelob—a huge, loathsome, horrifying creature from nightmare. But Sam does not pause, attacking the spider in a frenzy:

Then he charged. No onslaught more fierce was even seen in the savage world of beasts, where some desperate small creature armed with little teeth, alone, will spring upon a tower of horn and hide that stands above its fallen mate.

My favorite part of this epic battle is when Sam invokes the name of the goddess of beauty and light (“Gilthoniel A Elbereth!”) staggers to his feet, and is “Samwise the hobbit, Hamfast’s son, again.” He issues a challenge that might have made Clint Eastwood’s Man With No Name or Evil Dead’s Ash crack a smile:

“Now come, you filth!” he cried. “You’ve hurt my master, you brute, and you’ll pay for it. We’re going on; but we’ll settle with you first. Come on, and taste it again!”

Shelob, confronted with this three-and-a-half foot tall hobbit of the Shire, turns her ponderous, bloated body and heads for her hole, leaving a trail of fluid from the painful prick of the sword Sting.

But perhaps my favorite Sam moment is when he literally lifts Frodo on his back and carries him up Mount Doom:

‘I said I’d carry him, if it broke my back,’ he muttered, ‘and I will!’
‘Come Mr. Frodo!’ he cried. ‘I can’t carry it for you, but I can carry you and it as well.’

There’s no mistaking Sam as hero here, as at the very end of his endurance he somehow finds the strength to carry the literal weight of Middle-Earth on his stout back. I thought Jackson’s film captured this scene magnificently.

Yet Sam is not perfect. Tolkien in his letters describes him as having “a mental myopia which is proud of itself, a smugness (in varying degrees) and cocksureness, and a readiness to measure and sum up all things from a limited experience, largely enshrined in sententious traditional ‘wisdom.’” Sam’s biggest failure is indeed his lack of wisdom; specifically, he fails to notice Gollum’s act of repentance when the latter was about to abandon his scheme to send the hobbits to their death in Shelob’s lair. With a little kindness from Sam, Gollum perhaps could have buried his evil half and become Smeagol once again, but Sam tragically failed to recognize it (of course, you can argue that without Gollum’s attack on Frodo at the crack of doom, the Ring would not have been destroyed).

Is Sam a “fated” hero?
Tying into my previous thoughts on “fate vs. free will”, Sam’s actions and the circumstances that surround him walk a tightrope between his own free will and the larger forces at work in Tolkien’s world. Is Sam a simple, loyal hobbit who makes tough choices out of the goodness of his heart? Or is he fated to become a hero? I believe the answer is both.

For example, in “The Choices of Master Samwise,” Sam makes the difficult choice to leave Frodo’s body and carry on the quest alone. It’s perhaps his bravest act of all. But even as he walks down the tunnel “something” tells him his choice to leave Frodo’s side was wrong. When the orcs find Frodo he realizes it: “He flung the Quest and all his decisions away, and fear and doubt with them. He knew now where his place was and had been: at his master’s side, though what he could do there was not clear.”

The implication here is that the orcs’ arrival was an act of fate, not chance, and that some higher power perhaps intervened on Sam’s behalf. Certainly the outcome of the story would have been far different had Sam soldiered on alone, for as we later see, no man or hobbit acting alone can willingly destroy the Ring.

I also wonder whether Sam was in fact chosen for his great task by Gandalf. Was fate at work in the seemingly chance act of Sam eavesdropping at Frodo’s window at Bag End and getting caught by Gandalf? Did Gandalf send Sam with Frodo only to punish him? Or did Gandalf send Sam because (as one of the Maiar) Gandalf knew at some level that Sam could play a vital role in the outcome of the quest?

Given what we know of both Gandalf and Middle-Earth's cosmology, the latter seems much more likely.

Sanitized fairy tales: News story exposes modern trend of bland safeness

The Boston Globe published a great article on Sunday that I felt compelled to share. The title of this piece by Joanna Weiss says it all:

Fear of fairy tales: The glossy, sanitized new versions of fairy tales leave out what matters: The scary parts.

Weiss' article lays out the case that something important is lost when a child's introduction to fairy tales comes in whitewashed form, and the old classic tales are denuded of anything mildly scary. Writes Weiss:

In toys, movies, and books, the old fairy tales are being systematically stripped of their darker complexities. Rapunzel has become a lobotomized girl in a pleasant tower playroom; Cinderella is another pretty lady in a ball gown, like some model on "Project Runway."

Weiss adds that what makes classic fairy stories timeless are the difficult and often dark elements they contain, which often provide instructive allegory or socially relevant commentary.

I couldn't agree more. As a father of two children I've seen a lot of these kid-friendly versions of the old tales, most of them by Disney. The new rage these days is Disney Princesses, which feature the classic princesses from fairy tales (Cinderella, Snow White, Hans Christian Anderson's Little Mermaid, etc.) living together and spending their days overcoming safe, mundane, and rather trivial obstacles. The result is that kids are entertained, but not challenged. Meanwhile, Disney makes millions selling product-tie ins like costumes, vanity sets, and sanitized books and videos. Writes Weiss:

When the stories intersect with commerce these days--whether in children's books or the endless barrage of toys--they can quickly get reduced beyond recognition. It's easier to sell a Rapunzel playset, after all, as something entirely cheery and safe.

Some parents I suppose will argue that they don't want to expose their children to anything that might potentially scare or unsettle them. I won't argue with that; it's their choice. But the answer is not in stripping classic fairy tales of vitality and meaning. Let them watch Barney or Sesame Street instead. These are fine alternatives (well, Sesame Street is, Barney is Chinese water torture). Although I do think that children are given far too little credit for their ability to distinguish fact from fiction, and fantasy stories from reality. They're pretty smart. For decades and centuries kids grew up on these stories, and most of us turned out all right.

My oldest daugher is six and I plan on reading her The Hobbit soon. Suffice to say that I won't be reading a safe, sanitized version in which Thorin doesn't die, or Gollum becomes a slapstick comic device instead of a slimy, corrupted creature eyeing Bilbo as a tasty meal.

Shelob: A frightening, ancient evil

He may not be Steven King or Edgar Allen Poe, but J.R.R. Tolkien manages to pack a couple scares into The Lord of the Rings. Two chapters in particular send a chill down my spine: One is the "Passage of the Marshes," which I discussed in a recent post, and the other is "Shelob's Lair."

Re-reading this latter chapter made me remember how loathsome a monster is Shelob. She is truly horrifying, a monster that makes Pennywise's true form in King's It seem like a daddy longlegs in comparison. She is old, old enough to darken Middle-Earth before Sauron arrived on the scene, and bloated from drinking the blood of Elves and Men. Tolkien says she cares not for wealth or power, but spends all her time brooding on her next feast. "For all living things were her food, and her vomit darkness," he writes. That's about as nasty and explicit as Tolkien gets.

More dreadful is the knowledge that Sauron knows of Shelob and feeds it with orcs and prisoners:

And sometimes as a man may cast a dainty to his cat (his cat he calls her, but she owns him not) Sauron would send her prisoners that he had no better uses for: he would have them driven to her hole, and report brought back to him of the play she made.

"Play she made?" Jesus, I don't know what's worse--being paralyzed with poison and eaten alive by a monstrous, reeking, millenna old spider, or the thought of Sauron listening to such tales with glee.

Tolkien does a masterful job building up the horror in "Shelob's Lair," primarily by engaging other senses than sight in the reader, particularly smell. As Sam and Frodo approach Torech Ungol (Shelob's Lair), they catch scent of its foul reek, "as if filth unnameable were piled in the dark within." This is a rancid, foetid stench that can only belong to some great, millennia-old carnivore.

Inside Shelob's lair the air is still, stagnant, heavy, and any sounds Frodo and Sam make fall dead. It is pitch black, so dark you cannot see your hand though you hold it inches from your face. The evil and foulness are palpable, and Tolkien describes how a great fear and dread is upon the hobbits, though they do not know its origin. The oppression is so great that Sam and Frodo clasp hands in the darkness.

Our first encounter with Shelob not visual, but conveyed through her awful sounds, described by Tolkien as, "Startling and horrible in the heavy padded silence: a gurgling, bubbling noise, and a long venomous hiss." Then come the eyes, two great clusters of many windows. "Monstrous and abominable eyes they were, bestial and yet filled with purpose and with hideous delight, gloating over their prey trapped beyond all hope of escape."

When Tolkien finally draws aside the curtain for the big reveal, Shelob is every bit as noisome as my mind had prepared her to be. I think there's something particularly hideous about spiders as a species, and Shelob is truly the worst:

Hardly had Sam hidden the light of the star-glass when she came. A little way ahead and to his left he saw suddenly, issuing from a black hole of shadow under the cliff, the mostly loathly shape that he had ever beheld, horrible beyond the horror of an evil dream. Most like a spider she was, but huger than the great hunting beasts, and more terrible than they because of the evil purpose in her remorseless eyes. Those same eyes that he had thought daunted and defeated, there they were lit with a fell light again, clustering in her out-thrust head. Great horns she had, and behind her short stalk-like neck was her huge swollen body, a vast bloated bag, swaying and sagging between her legs; its great bulk was black, blotched with livid marks, but the belly underneath was pale and luminous and gave forth a stench. Her legs were bent, with great knobbed joints high above her back, and hairs that stuck out like steel spines, and at each leg's end there was a claw.

Sam's confrontation with Shelob is also one of my favorite scenes, and it is here and in his actions subsequent to Frodo's poisoning and capture that he emerges as a great hero in the rolls of fantasy literature.

War and death come to Middle Earth

War must be, while we defend our lives against a destroyer who would devour all; but I do not love the bright sword for its sharpness, nor the arrow for its swiftness, nor the warrior for his glory. I love only that which they defend.

--Faramir, "The Two Towers"

Although regarded as high fantasy (and thus conflated with "escapism," often by those who should know better), J.R.R. Tolkien's The Lord of the Rings is also a treatise on war. Books 3 and 4 of Tolkien's tale (The Two Towers) shift the focus of the story from that of the adventures of the Fellowship to a broader conflict brewing in Middle Earth. The company emerges from the dark pit of Moria and the bright woods of Lorien only to be swept up in the machinations of Saruman and the great battle at Helm's Deep.

In my re-reading of The Lord of the Rings I recently passed through the vast bogs and fens which lie between the Emyn Muil and Mordor. This wide stretch of trackless, treacherous land is home to the Dead Marshes, named for the spectral corpses of fallen men, elves, and orcs that lie beneath its muck and dark waters. At one time their bodies lay on the dry Dagorlad, the site of a great months-long battle of the second age of Middle Earth. In this battle the Last Alliance of elves, men, and dwarves fought Sauron's forces at the gates of Mordor. The forces of good prevailed as Isildur cut the One Ring from Sauron's hand, but only after tremendous loss of life on both sides. Gradually the swamp spread, covering the land and the bodies of the slain.

Tolkien wrote in a letter that he drew his inspiration for the landscape of the Dead Marshes from experiences in the Somme, but it's no great stretch to speculate that this terrible battle made an impact in other, more profound ways on The Lord of the Rings. In the first day of the Somme the British suffered their worst loss of men in a single day in British history; 57,000 casualites, including 19,000 young men whose lives were snuffed out like candles in a hail of German machine-gun fire and shrapnel. Among those to die in the Somme were Tolkien's good friends Rob Gilson and G.B. Smith (for a compelling and complete recounting of Tolkien's wartime years and its influence upon his writings, I heartily recommend Tolkien and the Great War: The Threshold of Middle Earth, by John Garth).

In the Dead Marshes Frodo, Sam, and Gollum come face-to-face with death as the great fear--that it is simply the end, and that there is no immortal soul. Our lives are simply snuffed out when our bodies fail or are destroyed. All men, good and evil alike, are mingled together in the common lot of corruption, the grave, where good deeds in life are not rewarded by the eternal hereafter--because there isn't one. The images of the dead in the pools reflect this horror, notes Frodo:

They lie in all the pools, pale faces, deep deep under the dark water. I saw them: grim faces and evil, and noble faces and sad. Many faces proud and fair, and weeds in their silver hair. But all foul, all rotting, all dead. A fell light is in them.

In another passage from The Two Towers that I had forgotten, Sam, Frodo, and Gollum manage to find a brief respite in the land of Ithilien, still fair and flowering even though it has fallen beneath the shadow. But this peace is only an illusion, a respite: When Sam leaves the path to examine the trees, he stumbles on a ring still scorched by fire, and in the midst of it finds a pile of charred and broken bones and skulls.

Tolkien witnessed too much of this senseless loss of young life in his experience during the Somme, which explains why death weighs heavily on his mind in The Lord of the Rings. Elves alone have the gift of immortality, but men are mortal and "doomed to die." As men dwindle from the greatness of their elder days so too are their lifespans reduced.

Yet The Lord of the Rings is also infused with heroic men and martial victories. Garth posits that Tolkien did not believe that the sacrifice of young men's lives was a waste, if given for the right reasons. Writes Garth: "It [The Lord of the Rings] examines how the individual's experience of war relates to those grand old abstractions; for example, it puts glory, honour, majesty, as well as courage, under such stress that they often fracture, but are not utterly destroyed."

Tolkien personified his feelings about concepts like glory, honour, and courage in the peoples of Rohan. Rohan is at constant war with the orcs and wild men, and like the Dunedain must remain ever alert, guarding against encroaching evil. They believe that death on the battlefield, while sorrowful, is never in vain as long as their acts are remembered. Thus the wistful (and my personal favorite) bit of Tolkien poetry, the Lament for Eorl the Young:

Where now the horse and the rider? Where is the horn that was blowing?
Where is the helm and the hauberk, and the bright hair flowing?
Where is the hand on the harpstring, and the red fire glowing?
Where is the spring and the harvest and the corn growing?
They have passed like rain on the mountain, like a wind in the meadow; The days have gone down in the West behind the hills into shadow.
Who shall gather the smoke of the dead wood burning,
Or behold the flowing years from the Sea returning?

This piece captures Tolkien's ambivalent feelings about war. The poem on the one hand portrays the magnificence of Eorl, resplendent in his war gear and the full flower of his years, using the symbolic language of spring and harvests and growing corn. But the song also mourns his death, asking again and again "Where has he gone?" in a question that cannot be answered. Eorl's passing leaves no trace, like a whisp of smoke. For the living only his memories remain.

The Riders of Rohan remember their dead with songs like these and through the simbelmyne, a small white flower which grows on their graves and tombs. According to the Encyclopedia of Arda, "simbelmynë is translated as 'Evermind': a reference to the memories of the dead on whose tombs the flower grew."

Tolkien does not take war lightly and the men of Rohan, though portrayed in a sympathetic light, are not his ideal. That place is held by Faramir, Tolkien's portrayal of man at his best. Faramir sees war with a keen eye, and tells Sam and Frodo that the high men of Numenor, of which he is a descendant, have "fallen" and are becoming like the Rohirrim, loving valor for valor's sake: "Yet now, if the Rohirrim are grown in some ways more like to us, enhanced in arts and gentleness, we too have become more like to them, and can scarce claim any longer the title High...For as the Rohirrim do, we now love war and valor as things good in themselves, both a sport and an end."

Tolkien's clearest view on war is revealed in a famous passage in which Sam views the body of a dead soldier from the south, slain at his feet by arrows from Faramir's men in the woods of Ithilien:

He was glad that he could not see the dead face. He wondered what the man's name was and where he came from; and if he was really evil of heart, or what lies and threats had led him on the long march from his home; and if he would not really rather have stayed there in peace.

In other words, war is terrible and of last resort, and slain foes are, in the end, just men--and therefore to be pitied. War is necessary when "destroyers" like Sauron or Hitler would impose their will on the free peoples of the world, but it is a duty to be carried out, not glorified. It brings with it too much death and sorrow. In his famous foreward to The Lord of the Rings, Tolkien wrote:

One has indeed personally to come under the shadow of war to feel fully its oppression; but as the years go by it seems now often forgotten that to be caught in youth by 1914 was no less hideous an experience than to be involved in 1939 and the following years. By 1918 all but one of my close friends were dead.

Tolkien never forgot the loss of Gilson and Smith, nor the Somme. At some level it fed into his passion for language and myth, providing fertile ground for a great tale. We have The Lord of the Rings to thank.

Run to the Hills: Bayley back in the news (for his hair)

Somewhere I can hear the singing, "I'm running out of my hair, I'm running out of it..."

I can't rank on Blaze Bayley too much, considering that the photo of his bald spot pre-treatment looks a lot like mine, only smaller. But this ad from Mojo Magazine was too good to pass up. Love the posed hands, as if he were about to invoke some sorcerous power.

Oh, and the sideburns too.

The Road: Exploring Tolkien's grand metaphor

The Road goes ever on and on
Down from the door where it began.
Now far ahead the Road has gone,
And I must follow, if I can,
Pursuing it with eager feet,
Until it joins some larger way
Where many paths and errands meet.
And whither then? I cannot say.

As a kid one of the many things I loved about The Hobbit was its maps. The map of the Wilderland just inside the front cover of the book (see picture above) had a dotted line that crossed the Misty Mountains, followed the Old Forest Road, and, if you turned North when you reached the River Running, took you past the Long Lake and to the foot of the Lonely Mountain. I recall tracing the journey with my finger and at times letting it wander (not too far) into Mirkwood on either side.

I was fascinated with the idea that, when Bilbo left his small home in Bag End and set off with the dwarves, he was literally stepping onto the very same road that runs all the way to the Desolation of Smaug--and beyond. In The Lord of the Rings Frodo recalls Bilbo telling him that:

'He used often to say there was only one Road; that it was like a great river; its springs were at every doorstep, and every path was its tributary. "It's a dangerous business, Frodo, going out of your door," he used to say. "You step into the Road, and if you don't keep your feet, there is no knowing where you might be swept off to. Do you realize that this is the very path that goes through Mirkwood, and that if you let it, it might take you to the Lonely Mountain or even further and to worse places?"'

I still love the thought of the Road as an actual track that you can follow from one end of Middle-Earth to the other. But now that I'm a little older I can also appreciate its metaphors as well.

The Road as life
Tolkien says that the Road can sweep you off your feet, implying that it has an element of wildness and chance about it. It can take you to places you never expected. You may face hardships and perils or death in a foreign land. You may find great wealth, or the last refuges of magic, in realms where time seems to stand still.

But the Road always starts with a simple choice, and that is the decision to set your foot upon it. It starts with humble beginnings, from a single door in Bilbo's case, but if you follow it long enough it will take you to an intersection of many paths and errands. This very much parallels the course of a life, in which a child has but a few options but eventually encounters the many freedoms (and perils) that come with adulthood.

In his walking song Bilbo cannot say where the Road eventually leads, because eventually choice intersects with chance. We can choose our own direction on the Road, for good or ill.

In my "normal" suburban life even I feel a tinge of fear and thrill of the unknown when I step onto the Road and leave my driveway on some long business trip, of which I typically take at least two a year. And I'm always amazed and relieved to find when, after boarding a jet plane and traveling 3,000 miles across the entire country and back again, I find myself once again at home with my family.

It may not be the Misty Mountains or Mordor but it's about all the excitement I can handle.

The Road as death
Of course, eventually we all must reach the end of the Road. Tolkien offers four versions of Bilbo's walking song in The Lord of the Rings; each time the teller (alternating between Bilbo and Frodo) is further along in the Road of his life.

The first time we hear Bilbo's song it's the quote I started with above, and it's full of energy and anticipation of the journey. The second time, Frodo sings the song and he has begun the long trek to Mordor. In place of "eager feet" we get "weary feet." He is feeling the weight of his great task, just as we feel the adult weight of jobs, responsibilities, and age.

In "Many Partings," we hear the song for a third time. Bilbo knows his traveling days are winding down when he sings:

The Road goes ever on and on

Out from the door where it began.

Now far ahead the Road has gone,

Let others follow it who can!

Let them a journey new begin,

But I at last with weary feet

Will turn towards the lighted inn,

My evening-rest and sleep to meet.

In The Road to Middle Earth, author Tom Shippey states that Bilbo here is equating the lighted inn with Rivendell, which is his literal next stop, but that he is also referring to his own death.

In "The Grey Havens," the final chapter of The Lord of the Rings, Frodo sings Bilbo's old walking-song one last time, though the words have changed much:

Still round the corner there may wait

A new road or a secret gate;

And though I oft have passed them by,

A day will come at last when I

Shall take the hidden paths that run

West of the Moon, East of the Sun.

In other words, there is a new Road to take at the end of our lives. It is a road hidden to mortal men, perhaps always under our noses ("oft have passed them by") but invisible to our senses. No living man (nor hobbit) has ever started down this road.

According to Tolkien's cosmology, Middle-Earth was once flat, and you could reach the Undying Lands if you sailed far enough out to sea. But the Numenoreans abused this opportunity, and as punishment the Creator gave Middle Earth its present round shape. The straight Road was lost, and now only the elves can find the Grey Havens.

Man has a different final Road to take than that of the elves, one that Tolkien hints in his cosmology may lead his soul, freed from his body, back to the Creator.

My own Road
I'm glad to say that, right now, my Road runs straight through Middle Earth (right now I'm listening to The Lord of the Rings as I drive Route 95/114 to work; hardly Bilbo's garden path or the East-West road running out of the Shire, but it will have to do). Middle-Earth is becoming a well-trodden and familar path but I never tire of taking the trip.

If there is an afterlife, I hope with all that's in me that I will awake at the end of my Road to find myself in Meduseld, the golden hall of Theoden, my current stop in my latest re-read of The Lord of the Rings. Even better, perhaps I may one day find myself enjoying a fine beer at The Prancing Pony, listening to the locals tell a queer tale about a hobbit from the Shire and his companions who fell in with a mysterious ranger from the North. Time will tell.

Pictures on the Web of forthcoming film version of The Road

I recently came across some pictures of the forthcoming film version of Cormac McCarthy's The Road. This is an excellent (albeit bleak and quite depressing) post-apocalyptic novel that I reviewed several months ago.

The pictures here look quite good and very much nailed the look I had pictured in my mind's eye while reading McCarthy's novel. Also, I like the choice of Viggo Mortensen for the role of the father. Check them out at Firstshowing.net:

• http://www.firstshowing.net/2008/08/07/six-new-photos-from-cormac-mccarthys-the-road/
• http://www.firstshowing.net/2008/05/27/first-look-viggo-mortensen-in-cormac-mccarthys-the-road/

Journey to the Center of the Earth: A review

In listening to Jules Verne's Journey to the Center of the Earth, I was struck by how much modern films like Raiders of the Lost Ark and National Treasure owe to this book. Although it was written way back in 1864, while the War Between the States was in full swing and the earth was a very different place, in many ways its thoroughly modern, at home alongside recent sci-fi novels like John Crichton's Jurassic Park.

In summary, Journey to the Center of the Earth is a fast-paced and lively pseudo science/exploration story that manages to be mostly interesting and entertaining. Unfortunately, it also crosses over into unbelievable territory about three-quarters of the way through and ends with a classic deux-ex-machina, but I found I can live with it.

Journey to the Center of the Earth takes aim at the theory that the earth grows hotter the nearer that you travel to its center. Verne posits the idea that the earth's core is inhabitable and houses massive cavities, caverns so huge that you cannot see their roof. At its center is a sea large enough that you can travel across it and lose sight of land all around. Science has of course since proven this idea impossible, but it makes for a fun story if you divorce it from reality.

Journey to the Center of Earth has a compelling opening that reminded me of The DaVinci Code--Professor Liedenbrock and his nephew Axel, the heroes of the story, find a coded note written in runes within the pages of an Icelandic saga. They puzzle through it and discover that it is a note written by Arne Saknussemm describing a passage he has found to the center of the earth. The opening is located in the interior of a dormant volcano in Iceland. Liedenbrock and Axel recruit an Icelandic guide and the three men embark on their journey.

I found Verne's descriptions of overland and sea travel to Iceland interesting, and the first scenes of the descent fascinating. Verne vividly portrays the vast depths and terrifying downward drops of the volcano shaft, and creates excitement and dread in two sequences in which Axel gets lost in the inky blackness and the three men nearly die of thirst.

Unfortunately I thought that the tale started to unravel once the men near the earth's center, which contains ice age creatures, dinosaurs, and even early men. If the story didn't literally jump a shark it certainly started to lose me once Liedenbrock and Axel's small boat passes very nearly over an Ichthyosaurus. I was also puzzled with the abrupt ending--Liedenbrock and Axel gain great fame from their expedition, while others treat their claims with skeptcism. But, inexplicably, no one ever bothers to re-trace their footsteps and verify their claims.

Still, you could do worse than pass the time by giving it the book a listen. It's also skillfully read by English-accented, professorial-sounding narrator Simon Prebble.

Note: This review is also posted on SFFaudio.com.

Pan's Labyrinth: Fantasy illuminates a dark period of real history

Warning: Spoilers abound in this review.

A long time ago, in the underground realm, where there are no lies or pain, there lived a princess who dreamt of the human world.

Two years after its release, I finally got around to watching Pan's Labyrinth. I wish I hadn't waited that long. Although I don't watch a lot of movies these days it's one of the best films I've seen in years.

At the beginning of the film a mother and a daughter are riding in the back of a car. The girl is reading a fairy tale and her mother looks on with disapproval. "Fairy tales--you're a bit too old to be filling your head with such nonsense," she says.

Director/writer Guillermo Del Toro then spends the next two hours proving her wrong, as well as the critics who hold fantasy in a similar regard.

We've all heard it before: Fantasy is for children. It's a tired and wrong-headed belief, yet too many of the literary establishment either ignores or treats works like The Lord of the Rings or The Chronciles of Narnia with outright contempt.

Should we see a few more films like Pan's Labyrinth, however, these arguments might dissipate forever. Pan's Labyrinth is not Narnia or Wonderland. It's concerned with the hard stuff of history, grim and painful and violent and adult, but there is magic and wonder at its heart, too. It's fantasy at its best: Impossible places and beings that, while otherworldly, allow us to see the real world in a sharper focus.

For those who haven't seen it, Pan's Labyrinth takes place in 1944 Spain after the Spanish Civil War. World War II is reaching a fever pitch and it's a time of incredible turmoil and violence in Europe. In Spain, fascists of the Francisco Franco regime are attempting to take control of the country.

In the midst of these violent times, Ofelia, a young girl with an active imagination and a love for fairy tales, and her pregnant mother Carmen travel to an outpost in the mountains where a ruthless fascist force led by Captain Vidal is trying to wipe out a pocket of guerilla resistance (Ofelia's father, a tailor, was killed in the war, and Carmen and Vidal have recently married).

The outpost is located near an ancient stone labyrinth, where Ofelia encounters a faun and some fairies. The faun tells Ofelia that she is a princess of a fantastic underground realm, accessible by a winding stair in the labyrinth's center. But before Ofelia can return she must complete three difficult tasks.

For the rest of the film Ofelia tries to complete her tasks as the bloody and terrible events of the real world unfold around her. A few members of the household covertly provide food and supplies to the rebels and Vidal mercilessly tortures and murders all those he suspects of aiding them. Carmen develops complications from her pregnancy and Vidal tells the doctor to save his son, not his wife, for whom he cares little. Vidal holds Ofelia in even less regard.

My only criticism was that the horrifying real world events at times threaten to overwhelm Ofelia's storyline and the fantasy elements. But Del Toro's master hand provides balance, using Ofelia's fantasy experienes to draw parallels with the fascist movement.

Del Toro never reveals whether Ofelia's "experiences" are the workings of her overactive imagination or real events. But he does hint that her fantasies are real, or at least have real world consquences. For example, Ofelia as one of her tasks has to recover a magic dagger from the hall of the Pale Man, a gruesome child-eating monster who sits motionless at the end of a long table overflowing with food, stirring only when someone eats his food. Ofelia fails to heed the faun's warning and eats two grapes. The Pale Man lurches after her, killing two of her fairy companions. In the real world, Ofelia's mother dies in childbirth and a freedom fighter is captured and killed.

Although the Pale Man is terrifying (it's worth watching Pan's Labyrinth for this scene alone), the real monster of the film is Vidal. Ofelia's struggles with the monsters of fantasy are all reflections of the evil inherent in her stepfather and fascism as a whole. In the end, Ofelia is required to murder an innocent infant to reach the underground fantasy realm. She refuses to follow orders, which is precisely what so many of the rank and file in Nazi Germany failed to do. The horrors of the Final Solution were the result.

Del Toro also includes some homages to his fantasy influences. These include Alice in Wonderland (Ofelia descends downwards into a hole) and the Wizard of Oz (a brief glimpse of red shoes when Ofelia crosses over into the land of fantasy). There's even a nod to Jackson's Lord of the Rings--In one scene nine fascist riders surround a woman working covertly for the freedom fighters, clutching a blade to her own throat as she prepares for suicide over capture. There's others that I probably missed. One viewing is not enough to take in all of the references and allusions in this film.

The end of the movie is heartbreaking, but also uplifting, as Ofelia returns to an underground realm "where there are neither lies nor pain." Is she in paradise, or is this "underground realm" merely the cold comfort of the grave? Del Toro does not provide the answer, but offers plenty of evidence to support either conclusion.

Suffice to say that I am now very much at ease with Del Toro directing The Hobbit. After watching Pan's Labyrinth, I have no doubts he can meet my and the rest of the Tolkien fanbase's lofty expectations for this film.

Through hell and into a vision of heaven: The journey of the Fellowship continues

The world is grey, the mountains old,
The forge's fire is ashen-cold;
No harp is wrung, no hammer falls:
The darkness dwells in Durin's halls;
The shadow lies upon his tomb
In Moria, in Khazad-dum.

So I have made it with the company (sans Gandalf) out of the long dark of Moria and into the golden wood of Lothlorien. The Great River and Amon Hen awaits.

In re-reading these scenes I was struck by their marked contrast, placed as they are by Tolkien back-to-back in the narrative. We literally go from "A Journey in the Dark" to the golden wood, from pitch-blackness into pure light.

Moria
Moria is a vision of hell, full of darkness and pits and of course, the fiery demonic Balrog. But it's also a proving ground, a place through which the fellowship must pass if they are to reach their ultimate goal. Even the bravest members of the Fellowship quaver at the thought of entering its gates, but you can argue that they emerge stronger, wiser, and more determined to reach their goal than ever. This resonates with me strongly: Don't we all have dark paths to trod, a fearful and unwanted voyage through the darkness that is nevertheless necessary if we're to reach our ultimate goal?

Some of my recent favorite scenes/remembered moments from Moria include:

The Watcher in the Water took Oin, according to the record of the fortunes of Balin's folk, the great damaged tome found by Gandalf in Balin's tomb. What an awful way to go for this jovial dwarf from The Hobbit, grasped by a writhing mass of tentacles and likely consumed beneath the dark waters at the Westgate.

The scaly green arm of the cave troll thrust through the door. Unlike the film version, which featured a wild battle against this monster, Tolkien gives us only a glimpse of the beast: A huge arm and shoulder, with dark skin of greenish scales, was thrust through the widening gap. Then a great, flat, toeless foot was forced through below. Frodo stabs the foot with Sting, forcing it back with a bellow, and we never hear from the creature again.

This description of orc laughter: There was a rush of hoarse laughter, like the fall of sliding stones into a pit. Tolkien can occasionally terrify, and this dark simile could be taken from a Stephen King novel.

Gandalf's struggle with the Balrog. Not at the bridge of Khazad-Dum (which is also a great scene), but previously, at the barricaded door of Balin's tomb. Gandalf uses a spell to hold the door and encounters a terrible force of evil will opposing him, one that is actually (and terrifyingly) stronger than his own: What it was I cannot guess, but I have never felt such a challenge. The counter-spell was terrible. It nearly broke me. For an instant the door left my control and began to open!

Gandalf is mighty but the Balrog is one mean dude. Fortunately the door shatters and the chamber collapses, else Gandalf may have lost this battle of wills and magic. He is later put to the ultimate test in the pit, of course.

Lothlorien
After Moria the fellowship enters Lothlorien. Whereas Moria is hell, the golden wood is heaven, the Garden of Eden before the fall. Tolkien writes that evil's influence is felt everywhere in Middle-Earth but not in the land of Lorien. This is the heart of the ancient realm, a last, timeless bastion of the elder days: No blemish or sickness or deformity could be seen in anything that grew upon the earth. On the land of Lorien there was no stain. Aragorn says that no evil in this land "unless a man bring it hither himself."

Yet even paradise is tinged with melancholy in Middle-Earth. If no sickness touches the earth here, the elves know it cannot last. Says Haldir to Merry: Some there are among us who sing that the Shadow will draw back, and peace shall come again. Yet I do not believe that the world about us will ever again be as it was of old, or the light of the Sun as it was aforetime.

Later Galadriel tells the company of her and the Lord Celeborn's long struggle against the darkness. "Together through ages of the world we have fought the long defeat," she says. This is hardly encouraging stuff, but its a point worth repeating and one overlooked by Tolkien's detractors, many of which criticize The Lord of the Rings for its fairy-tale ending. They are wrong. The war against darkness cannot be won, Tolkien wrote. Light is only granted a reprieve.

Winning the war against Sauron will start the march of Time and drive the magic from the world, Galadriel explains. This is Tolkien's view of progress as a double-edged sword: Root out evil and it is replaced by a more prosaic, banal form of evil, perhaps because there is no more need for heroes to stand against the dark.

Galadriel has the power to see into men's hearts and she searches each of the Fellowship with her mind, probing for their true motivations. "Yet hope remains while all the Company is true," she says. Her observation proves correct: Frodo cannot reach Mount Doom and destroy the Ring on his own. Even though the Fellowship breaks, Frodo's staunch companion, Sam, does not. He is Frodo's only "company" in the final stages through Mordor, and ultimately (in my opinion) proves to be the true hero of The Lord of the Rings.

Fair though it may be beyond surpassing, Lothlorien is unfortunately only a respite for the fellowship, whose course leads east.

Some cool bits rediscovered while re-reading The Lord of the Rings

So in case it's not already obvious, I'm currently in the middle of re-reading J.R.R. Tolkien's The Lord of the Rings. I'm not exactly sure how many times I've read it cover to cover, but I'd probably guess somewhere in the neighborhood of six or seven times at least, which includes a few occasions listening to it on audiotape.

Yet every time I read The Lord the Rings (I get the urge every few years, and seemingly more often as time goes by) I always find something new or remember bits and pieces I've forgotten. Here are a few "finds" from my latest trip into Middle-Earth, of which at the present time I'm currently standing with the fellowship at the gates of Moria:

The battle with the wargs outside Moria. I may have forgotten this because it was not included in Jackson's films, but it was neat to read about the Fellowship kindling their small fire into a blaze, and standing back-to-back in a circle of stones to defend themselves against an attacking pack of wargs. Gandalf, who always gets criticized by D&D geeks (like me) for his inability to cast fireball or chain lightning, shows off a few powers in this battle that I had forgotten:

In the wavering firelight Gandalf seemed suddenly to grow: he rose up, a great menacing shape like the monument of some ancient king of stone set upon a hill. Stooping like a cloud, he lifted a burning branch and strode to meet the wolves. They gave back before him. High in the air he tossed the blazing brand. It flared with a sudden white radiance like lightning; and his voice rolled like thunder.

"Naur an edraith ammen! Naur dan i ngaurhoth!" he cried.

There was a roar and a crackle, and the tree above him burst into a leaf and bloom of blinding flame. The fire leapt from tree-top to tree-top. The whole hill was crowned with dazzling light.

Earlier in the Fellowship of the Ring Gandalf also puts out some serious flame in his battle with the Ringwraiths on Weathertop.

By the way, Tolkien's wargs are wolves, save more bestial and intelligent and perhaps slightly larger. Jackson's wargs always struck me as too oversized, hyena-like, and comic-booky to wholly take seriously.

Three (and perhaps four) of the seven dwarven rings of power remain intact. In the chapter "The Council of Elrond," Gloin reveals that an emissary of Sauron came to Dain and the Dwarves of the Lonely Mountain to enlist their aid in finding the One Ring. The emissary says that Sauron will return these three rings to the dwarves if they find the hobbit who stole the One:

"As a small token only of your friendship Sauron asks this," he said: 'that you should find this thief,' such was his word, "and get from him, willing or no, a little ring, the least of rings, that once he stole. It is but a trifle that Sauron fancies, and an earnest of your good will. Find it, and three rings that the Dwarf-sires possessed of old shall be returned to you, and the realm of Moria shall be yours for ever.'"

Also, a fourth dwarven ring may yet survive in Moria, as it was on the hand of Thror when he was slain during his ill-fated adventure in the mines. Only three were actually destroyed, consumed by dragon-fire. My faulty memory had me thinking they were all annihilated.

Beorn (of The Hobbit fame) has a son named Grimbeorn, who is now the lord of many sturdy men and guards the land between the Mountains and Mirkwood. I always liked Beorn and I was pleased to see his name mentioned again.

Tom Bombadil raises Sam, Merry, and Pippin from the dead after they are slain by the barrow-wight. Previously I always assumed they were under a spell, or simply drained of life and cold but only deep in sleep. Now it seems as though they were actually dead when Frodo found them.

Here's my reasoning: The three hobbits disappear into the Barrow Downs mysteriously, "with a long wail suddenly cut short." All three are deathly pale and clad in white with a naked sword across their necks when Frodo finds them lying in the barrow. When Bombadil "awakes" them, he sings:

Warm now be heart and limb! The cold stone is fallen;

Dark door is standing wide; dead hand is broken.

Night under Night is flown, and the Gate is open!

This verse carries a double meaning. First the literal one: Tom breaks down the door of the wight's barrow to rescue the hobbits and destroys the wight's still writhing hand. Then the figurative one: The "cold stone" is a grave stone that Tom overturns; the "dark door" is the door to the afterlife which Tom opens with his singing, and the "dead hand" is death's grip.

Adding more weight to this argument, Merry remembers how the men of Carn Dum came on them at night, and one thrust a spear into his heart. Later he thinks that this may be a dream, but I'm not so sure. I think he, Pippin, and Sam were dead.

This line from Gandalf's letter to the hobbits, delivered at The Prancing Pony: I hope Butterbur sends this promptly. A worthy man, but his memory is like a lumber-room: thing wanted always buried. If he forgets, I shall roast him.

Frodo leaving dirty dishes for Lobelia after eating his last meal at Bag End, and also drinking up the rest of the Old Winyards. I laughed out loud to see Frodo stick it to the old crone.

... and some scenes I remembered but are nevertheless cool upon re-reading

"Come back! Come back!" they called. "To Mordor we will take you!" This famous line of the Ringwraiths uttered at the Ford of Bruinen I of course remembered (it's one of my favorites), but it was nice to read it again. I really missed this one from Jackson's films, and I give points to Ralph Bakshi's animated version for including it.

Fear! Fire! Foes! Awake! Awake! The Brandybucks were blowing the Horn-call of Buckland, that had not been sounded for a hundred years, not since the white wolves came in the Fell Winter, when the Brandywine was frozen over. Tolkien had the history of Middle-Earth largely mapped out long before he began writing The Lord of the Rings, and it shows in cool details like this.

Free will in Tolkien's The Lord of the Rings: Choice and persuasion in a fine balance

Note: I was driven to write the following (lengthy) essay out of my struggles with a simple question: Did Frodo succumb to the One Ring’s overbearing power at the cracks of Mount Doom, or did he falter because he lacked the will to complete his task? This debate will probably live forever amongst readers of The Lord of the Rings, but here I offer my perspective on the matter.

__________________

“Now at any rate he is as bad an Orc, and just an enemy. He deserves death.”

Deserves it! I daresay he does. Many that live deserve death. And some that die deserve life. Can you give it to them? Then do not be too eager to deal out death in judgment. For even the very wise cannot see all ends. I have not much hope that Gollum can be cured before he dies, but there is a chance of it. And he is bound up with the fate of the Ring. My heart tells me that he has part to play yet, for good or ill, before the end; and when that comes, the pity of Bilbo may rule the fate of many—yours not least.

When Bilbo and Frodo’s instincts cry out for vengeance upon the creature Gollum, their heart—and Gandalf’s good counsel—stays their hands. This combination of free will and outside influence enables the destruction of the One Ring, saving Middle Earth from enslavement and destruction at the hands of Sauron.

J.R.R. Tolkien was deeply Catholic and The Lord of the Rings, despite its absence of God or modern conceptions of Heaven and Hell, is a religious work (Tolkien himself says as much in an oft-quoted letter to a friend). And just as God imbued his creations with free will, so too are Tolkien's denizens free to choose their own destiny.

But the hobbits, elves, dwarves, and men of Middle Earth do not operate in a vacuum. There are great powers at work that influence their choices for good or ill.

Manichaen vs. Boethian
In The Road to Middle Earth, a seminal analysis of Tolkien’s act of world-building, author Tom Shippey examines this tension of free will vs. larger forces in a discussion on Manichaen and Boethian views of good and evil. Shippey explains that the Manichaen view is one of palpable good and evil forces in opposition with one another. The Boethian view holds that evil is simply the absence of good, and because men are blank slates with no inherent good (or evil) qualities, evil acts are choices. More accurately, in the Boethian view, “evil” is a weakness of character since evil actions are committed by men who give in to their lesser, animalistic state.

Which view does Tolkien espouse? Shippey offers no answer and neither does The Lord of the Rings. Both are supported in the text. There is ample evidence that the Ring and its master, Sauron, are powerful evil forces able to assert their dominance and will over lesser beings. For example, in “The Shadow of the Past” we learn that even someone like Gandalf—very strong and possessed of the best intentions—will sooner or later be devoured if he should wield the ring. The One Ring seeks to enslave its wearer, violating the God-given (or, in Tolkien’s world, Iluvatar-given) gift of free will. These are all Manichaen forces.

And yet, those of sufficient strength and character can resist the Ring. Faramir and Galadriel resist it. And when Frodo chooses to keep the Ring instead of casting it into the fires of Mount Doom, note Tolkien’s deliberate use of the word “choose”:

“I have come,” he said. “But I do not choose now to do what I came to do. I will not do this deed. The Ring is mine!”

But even if it cannot dictate will, the One Ring is nevertheless a powerful and seductive weapon of evil. Opposing this evil are powerful forces of good such as Gandalf (who is actually a Maiar, a sort of angel sent to Middle Earth by the Valar) and the Dunedain, the rangers at the borders keeping out the encroaching forces of evil. (It’s interesting to note that good beings in Tolkien’s universe seek to uphold tradition and sameness, while “evil” forces bring about change). Many races of Middle Earth succumb to the evil and join Sauron’s side, swayed by power or fear, but others fight for the light.

An example of this larger, external clash of powerful forces is told in the creation and finding of the One Ring in “The Shadow of the Past,” the critical second chapter of The Fellowship of the Ring. When the One Ring abandoned Gollum and threatened to return to Sauron, a force of good intervened, causing Bilbo to pick it up. Says Gandalf:

"Behind that there was something else at work, beyond any design of the Ring-maker. I can put it no plainer than by saying that Bilbo was meant to find the Ring, and not by its maker. In which case you also were meant to have it. And that may be an encouraging thought."

One issue I remain unclear on is: who or what is the force of good that directs Bilbo’s hand to the Ring in the darkness of Gollum’s cave. The implications of it being Iluvatar, the maker, are enormous, as it implies that Tolkien's universe is essentially good and controlled by a beneficent God. I'm not entirely sure of that, given the tragedies of earlier ages and the departure of the elves. But that's for another post.

Regardless, Gandalf tells Frodo that one of these forces has chosen him to be the Ring-bearer. Although Gandalf doesn’t know who or what selected Frodo for this monumental task, or why, he explains that fate has dealt Frodo a hand that he must work with, for good or ill: “But you have been chosen, and you must therefore use such strength and heart and wits as you have,” Gandalf says.

Free will and fate
Thrust into the middle of these warring forces of good and evil is the free peoples of Middle Earth. Despite the fact that they live in a world of literal angels and demons in strife, the people of Middle Earth are possessed of free will.

Some have criticized Tolkien for creating unrealistically clear divisions between good and evil, but I would argue that The Lord of the Rings presents a much more complex and interesting dynamic. For example, even the iconic wicked characters—the Nazgul—are corrupted men, fallen under the influence of the ring due to their pride. They were not born into evil. Likewise, Gollum wrestles with his dark half—Smeagol—and nearly throws it off, but chooses the path of darkness after a harsh rebuke by Sam on the stairs to Cirith Ungol. Very few creatures, save perhaps the orcs and Balrogs, creations of the dark lord, are clearly wicked.

Because strife in Middle Earth is inevitable (“Always after a defeat and a respite, the Shadow takes another shape and grows again,” Tolkien writes), everyone—even the sheltered and peace-loving hobbits—must eventually take sides in the conflict.

“I wish it need not have happened in my time,” said Frodo.

“So do I,” said Gandalf, “and so do all who live to see such times. But that is not for them to decide. All we have to decide is what to do with the time that is given us.”

Note Gandalf’s use of the word “decide” in this seminal passage. There are times and circumstances thrust upon us beyond our control. Forces exist that try to exert or impose their will for good or ill. It is our lot to join the dark tide, or resist.

But while these forces can influence, they cannot wholly divest control from beings of free will. Bilbo and Frodo choose to let Gollum live, acts of Mercy that are beyond the striving wills of even the greatest powers. “For even the very wise cannot see all ends,” Gandalf says.

Predisposed toward good and evil?
So can the peoples of Middle Earth simply pick good or evil? This matter is complicated. Take Gollum: Even before he finds the One Ring, when he was still Smeagol, Tolkien depicts him as having some sinister characteristics: “He was interested in roots and beginnings; he dived into deep pools; he burrowed under trees and growing plants; he tunneled into green mounds; and he ceased to look up at the hill-top, or the leaves on trees, or the flowers opening in the air: his head and his eyes were downward.”

This seems to imply that Gollum was predisposed to the evil influence of the Ring, and indeed he murders his brother, Deagol, shortly after the latter finds it.

Contrast Gollum’s traits with Bilbo and Frodo. Unlike Gollum the two hobbits are fond of the open air, and gardens, and good company. Although they love home and hearth have a deep-seated love of adventure and foreign people and places (their Tookish) side. As a result Bilbo and Frodo are able to possess the Ring for years, suffering very little despite the Ring’s dark power. Possessiveness and worry for the Ring slowly influence them, and the Ring’s ability to confer long and unnatural life affects them physically. But they are not driven to commit evil acts.

Nevertheless, The One Ring’s power eventually proves too strong for even the good-natured Hobbits: Bilbo needs the strong urging (and borderline threats) of Gandalf to rid himself of it, and its influence proves too great for Frodo in Mount Doom.

There are weak people on Middle-Earth (just as there are in our own world), who are easy prey for charismatic, wicked leaders, or else commit crimes motivated by their baser instincts. Even the strong can falter. Are those who fail morally or spiritually to be pitied or cast out? Tolkien’s belief is quite clear.

Frodo’s “failure” and the choice of pity
An obvious yet often overlooked fact of The Lord of the Rings is that Frodo actually “fails” in his quest: He gives in to the temptation of the Ring at the (literal) precipice of the quest and refuses to destroy it.

If you are of the Manichaen view, Frodo failed because the Ring’s power (amplified by its location at the heart of Mount Doom) was simply too great: it will eventually corrupt even the greatest, as noted by Gandalf. The choice in the end was not Frodo’s to make. You can even argue that Frodo’s words “I do not choose now to do what I came to do” are the words of the controlling Ring; Tolkien mentions that Frodo speaks with a voice clearer and more powerful than Sam had ever heard him use when he utters that line.

If you are of the Boethian view, Frodo gives in to his own inherent weakness, the weakness in us all to covet. In this view, Frodo simply wanted the Ring and its power too much; he did not have the strength of will to cast it into the fire because he desired its power to fill a void within himself. In other words, his selfishness prevailed over the larger good.

My own opinion? I tend to side with the latter. There is too much evidence to suggest that free will cannot be wholly subsumed in Tolkien’s world, even by the strongest powers.

But I cannot fault Frodo for his ultimate “failure”—he had managed to bring the Ring further than any had dared hope. And he had already sewn the seeds of success by his mercy for Gollum, an act of free will influenced by good counsel from Gandalf, the avatar of good. Because Bilbo and later Frodo let him live, Gollum is there to tip the balance when he bites the Ring from Frodo’s finger, destroying it when he tumbles into the fires of Mount Doom.

“What a pity that Bilbo did not stab that vile creature, when he had a chance!”

“Pity? It was Pity that stayed his hand. Pity, and Mercy: not to strike without need. And he has been well rewarded, Frodo.”