This is one of many books written about J.R.R. Tolkien’s fiction. The author has written a previous book about Tolkien’s work, The Road Goes Ever On and On: A New Perspective on J. R. R. Tolkien and Middle-earth. This one focused on “Middle Earth” itself—the world inhabited by Tolkien’s characters and plots. Smith notes that Tolkien did not so much see that he was “world-building” as he was discovering a world. Perhaps Smith takes this too literally—this is how many of the best fiction writers describe writing—a partially mystical endeavor that often seems more about the story writing itself.
The book is thorough and detailed, drawing from The Hobbit, the Lord of the Rings trilogy, The Silmarillion, and other writings of Tolkien (fiction and nonfiction), as well as Peter Jackson’s films based on The Hobbit and The Lord of the Rings, and even the artists who drew the lands and creatures of Middle Earth.
From Amazon’s description:
Our journey begins by entering Tolkien’s mind, where we will come to realize that he did not consider himself the creator of Middle-earth, but its discoverer. Tolkien desired that his tales be digested as historical events. We will then be walked through Peter Jackson’s portrayal of The Lord of the Rings in his filmography, where there is much to praise – but also some sacrilegious exaggerations in dire need of mending.
Tunneling deeper than Dwarves mining for Mithril, we’ll expose the core—the very root of the mountain—that is the heart and soul of this book: Tolkien’s Legendarium. As we dig, be prepared for an unearthing and examination of many long-held assumptions, including those on subjects from the strength of the Valar, the Mumakil, Balrogs, and the Númenóreans, to the true identity of Gandalf and much more. In the concluding section, Smith provides an overview of the military prowess of Middle-earth’s different realms and creatures during The War of the Ring. This chapter delves into the weapons, tactics, units, commanders and number of troops of the various realms, as well as the might of creatures such as trolls and ents and much more, offering a better understanding of the military aspect of Tolkien’s renowned saga.
The majority of the book is almost like a reference book about the land known as Middle Earth. After discussing how Tolkien perceived Middle Earth (an excellent chapter), he turns to Peter Jackson’s treatment of the land in his films, then to some of the debates about Tolkien’s works, and finally a final chapter that analyzes the elements and peoples of the War of the Ring.
It closes with two Appendices: “Sauron and Gandalf in the Spotlight” and “Depicting Middle Earth.” The first was written by the editor, Lloyd R. Hedberg Jr. I would like to have seen this in the main text, seeing how it examines the importance of the two characters and how they related to Tolkien’s understanding of faith, good and evil, and providence, but it is understandable why is it an appendix. It is a splendid chapter, as it includes interpretation of Tolkien’s Middle Earth and its connection to the theology of Tolkien, which played a large role in all his writings.
Interestingly, and soundly (in my opinion), Tolkien did not like fiction that overtly described or portrayed Christianity. He thought fiction should portray theology through underlying themes and symbolism and story—the best way, in his opinion, to address the human condition.
The second appendix (by Smith) is about many of Smith’s favorite artists who have depicted elements of Middle Earth, an interesting topic that works best as an appendix. (There is artwork throughout the book, a nice touch.)
The book includes a bibliography of other writings that serves as a fine resource for further study of Middle Earth and Tolkien’s writings.
Smith’s knowledge and understanding of Tolkien’s world is extensive. Not limited to The Lord of the Rings trilogy (like many other authors), he draws extensively from other writings, including The Silmarillion. I am an avid Tolkien fan—reading the Lord of the Rings in high school is what made me want to become a fiction writer (and I am the owner of a tattoo of Narsil to commentate that fact). He makes connections and notes background elements that deepened my understanding of the numerous peoples, places, and creatures that inhabit the world.
Smith does occasionally deviate from encyclopedic information to interpretive passages. Most of it is standard beliefs about Tolkien’s intents, but also notes when there are debates and where he comes down on the issues. Well done.
I do have a comment about to one of the interpretive elements in the first appendix—or perhaps, more accurately, the way it is described by Hedberg (who write the first appendix):
”Tolkien’s Middle-earth is not written fitting the standard mold of the over-produced ‘fantasy story,’ nor is it about ‘good and evil.’ He lays bare what lies underneath these; what they’re rooted in and where they come from. He reveals good and evil are not ‘things’ in themselves as we have been conditioned to think, but are the manifestations of something deeper.”
”We’re down to it at last— what Tolkien’s work is about. Good is gifted. Evil is made.”
“Tolkien’s work, then, is first and foremost a work about Faith… whether one’s faith is lodged in the creator, his goodness, his plan, his will, and his desire to ‘do it right and best’ for all his creation, coupled with his power to ‘make it so’…or whether one’s faith is set in oneself, or someone or something else.”
It is true that this is not merely a Harry Potter-style fantasy that pits the “good” side against the “evil” side. Tolkien’s approach is far deeper than that because he addresses what makes something good or evil. In truth, it is an underlying philosophy (really theology) that drives the book. Evil is not just a person or being who chooses to be selfish at the cost of others for power or status or money, evil is a corruption of good; a weak imitation of good. And good itself comes from creation itself—the world and the inhabitants of it have a purpose that is creative, positive, and life-giving. All based on how it was created.
I suspect Hedberg is saying the same thing, but the phrase “not about good and evil” is could be misleading. It is about good and evil, just not how most fantasy (and indeed most fiction) portrays those two themes. Hedberg almost says as much, which is why I suspect we are on the same page:
Tolkien believed that in one sense he was writing the truth…his stories were in some sense an embodiment of a profound truth.”
These books embody Tolkien’s own view of Christian faith and theology, without ever speaking about it, through the lens of a fantasy world that mirrors the most crucial elements of the human condition.
There are some grammatically awkward sentences and phrases here and there, along with a few typographic errors (a missing space, missing punctuation), but these are rare. There is some unnecessary repetition, especially about the “good versus evil” theme. One pages incudes a quote by Christopher Tolkien repeated twice.
None of this detracts from the quality of the content. This is a comprehensive and well-researched book about the lands, characters, and creatures of middle-earth, along with some comparison to films, brief looks at artwork by various artists, and some treatment of themes and purposes.
It is detailed and technical, and if you are not a “Tolkien nerd” (as the author writes), you might find it a bit too much so. If you love everything about mIddle Earth, you should read this book, which is a fine addition to the large corpus of material surrounding Tolkien’s classic works.
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