Have a look at its bits: mono from Greek μόνος monos ‘alone, single’, taxo from Greek τάξις taxis ‘order’, philia from Greek φιλία filia ‘love’, but causo from Latin causa ‘cause, reason’. These are all parts of the lexical Lego bucket, but from two different sets that have been combined. It just happens that the Greek equivalent of causa, αἰτία aitia, is not much used in modern scientific neologism.
The word was apparently invented by Ernst Pöppel (humor?) I did a search through the history of the wiki page that Sesquiotic mentions as showing up in a Google search. There is no record of the word ever being part of the page. The edits on wiki articles are preserved (in a general sense. Wiki-social does this as well) so the word probably never appeared on the page. why the wiki page shows up when you do a search for Monocausotaxophilia is a question that Google will have to answer.
The story of the downfall of Spiro Agnew, Tricky Dick Nixon’s Vice President. He was insanely popular with American conservatives of the time, just as Richard Nixon was popular with the majority of Americans of the time. They were both popular when they were elected. Spiro Agnew had a secret that wasn’t much of a secret in Baltimore where he had come from, and that secret would lead to some strange twists and turns in the near future as Richard Nixon broke laws in his attempts to stay in office.
Without that advisory from the Office of Legal Counsel Donald Trump would have been indicted for his crimes before he was impeached, and his impeachment and removal would have been a foregone conclusion because you can’t be President of the United States and conduct the business of the United States from prison. Well, Mitch McConnell and the cult-like followers of QAnon would have said he was railroaded and that the superhuman Donald Trump could easily do the country’s business from prison, but they wouldn’t have represented a majority. They would have been an even smaller minority than the one that came out and voted for Donald Trump in the November election.
I’ve mentioned the podcast that spawned the book she is out stumping for three times on the blog over the past few years. Unfortunately all the links that were in previous articles now lead to non-existent feeds as far as I can tell, so I will have to re-edit them eventually to point to a new feed location (Done. However the feed was restored when I started editing, so I left some of the old links in. Fingers crossed that the feed stays up this time. -ed.) In the meantime, the podcast is also on Youtube just like the segment of LSSC that I linked above.
If you love a good yarn, especially a true tale of intrigue, check out this podcast and book. you’ll definitely enjoy the story. I did.
As if those shows you watch would get aired without a profit motivation? Would they even have been made? Would Netflix exist? Would Facebook? You take a lot for granted.
I had to admit, he had a valid point. Not that I agree with him, but the point is valid on its face. Every television show, every radio show ever created was created the way they were to specifically address the advertising model adopted by broadcasters in the early twentieth century. All of them exist the way they do because their creators and the networks that paid for their creation were speculating on audience appeal and the value of that appeal on the advertising markets.
I find it amusing, when listening to public radio podcasts, that they stop for an advertising message at precise intervals. Those intervals are dictated by the broadcasters who understood just how much information the listener or viewer could assimilate at one time before being lost in the narrative. You can have this much information and no more, because we need you to pay attention to this next advertisement! Leave the audience hungry, so that they will tune back in after the pause in order to hear the rest of the story.
Public radio and television networks (and especially podcasts. No podcasts need to follow this formula unless they too count on advertising to pay for their content) do not need to stop for an advertising message every fifteen to thirty minutes. They just do that in order to conform to the standards for commercial broadcasts and the advertising model that has proven to be largely unworkable in the post-scarcity economy that the internet is the harbinger of.
The Wife and I have mused together several times over nearly a decade about what this impending switchover to post-scarcity economics implies. Gene Roddenberry and his chief work of fiction, Star Trek, do not do more than imply that inhabitants in that distant future no longer understand what money is and why we ancients could never get past the need of it.
The Wife has asked this very question when I have posed what the impending advent of a freedom dividend or universal basic income(UBI) or guaranteed minimum income (GMI) would mean to the average person. What will the world be like, when people no longer have to work to survive? No one knows, because that economic state has never existed in human memory. But it is about to happen, one way or another.
The world economic system throws off enough human value, measured in increments of whatever monetary system you want to use, for the entire world to be provided with the means to survive without having to work. The operative phrase there being having to. Work will still be done, because people need to work. They just won’t starve or be kicked out of their (modest) residences when they don’t. We already live in a post-scarcity economy, we simply do not have the benefits of that economy spread equinomically across all the participants.
The right way to get out of the problem that we are in now, the problem of false scarcity, is the only real question here. The question is not whether or not we can get out of this delusion of scarcity that the wealthy who run the world make sure to indoctrinate their workers with. How do we do emerge from scarcity in a way that the creators of all the things we use on a daily basis finally do get the benefits of their creations? That system has never existed before in history.
In Fields of Blood (Karen Armstrong, 2015) the point was driven home early in the book that the agrarian state was based on the direct confiscation of the farmer’s work. In example after example she paints the inescapable portrait of the leaders of these states confiscating the work of the providers and creators in order to live more comfortable, secure lives, while only marginally providing security and stability for the people that they live on top of.
In the recent science fiction novel, New York 2140 (Kim Stanley Robinson, 2017) the author projects a future where these economic thieves are still making a fine living off of the suffering of other people, even though a good portion of the world’s population is living a marginal existence in the flooded remains of our former coastal cities. I don’t want to spoil the ending of the book, so I won’t go into how the world changes over the course of the novel, but I don’t need to in order to make the point that I want to make in mentioning the book here.
That point is this; we can stop these profiteers, these pirates, we can stop them here and now and just avoid that future altogether. All we have to do is adopt an economic strategy that lifts all boats by design. A strategy that modifies itself as the economics around it shift from decade to decade. That strategy will take the form of a UBI or GMI, but that is just the beginning. The question then really does become, what next?
Well, the creators will continue to create, for one thing. The farmers will farm, because that is what they do. When they get wealthy from their efforts at creating they will either stop doing that or find someone else to help them do that. Someone who is still just bouncing along on subsistence. The farmers are just the beginning of what has become a very complex social structure since the days when Abraham first conjectured that the problem with society was that it stole all of his work, and set off to create the perfect agrarian state. A state that ended up never existing. Dozens of religions have been founded on his simple observations, and still we struggle with the beast that is scarcity and the fear of scarcity.
To answer the question from the beginning of this article, would these shows exist? I have to point out that most people who create do that because that is what they do. The Wife makes movies, has been part of some fifteen films over the span of decades of her life, and she’s never made a dime off of any of them. It would have been nice to make some money from them, that just isn’t the reason she does it. It isn’t the reason that anyone working in film or television or radio or the theater does the work they do. They create the things they do because that is what interests them, and there is a place for them to make these things and so contribute to the world, so they do what they can.
I write because that is what I do. I also don’t make any money off of it. It would be nice to make money; but again, that isn’t why I do it. I didn’t create architectural documents to make money. I did it because drafting and computers and escaping my dysgraphic limitations were what drove me. When I couldn’t do that anymore, and being faced with ceasing to be relevant to the world because I could no longer do the thing I loved, I found a way to do the thing I had always wanted to do. Write. Writing is the thing I had always wanted to do but couldn’t do because I had to feed a family, and writing without a computer interface is an impossibility for someone who has the kind of dysgraphic problems that I have.
The space in which to reinvent myself was provided by socialism, which is why I say that I was Saved by Socialism, and having been given that space and discovering that I had to do something in order to keep living in the here and now, I taught myself to write in much the same way that I taught myself computer assisted drafting (several times) I can now bring my ideas into existence with a word processor for them to be discussed or puzzled over by anyone who runs across them.
This personal revelation of mine is a part of why I keep telling people who clearly are angry about being forced to do a job they don’t want to do, to just stop doing it. Just stop. Wait. Wait as long as it takes for them to get that itch. Some people will never notice the itch. There is no help for those people no matter what I might say here. Most people will get the itch and they will be driven up off the couch and out the door in pursuit of something to do with themselves that feels meaningful in the grand sense of meaning, and not in the personal sense of meaning which amounts to “what can I distract myself with next?”
I want, more than anything, for everyone to be allowed to sit down and say “I’m not going to do that anymore.” …and then have them be forced to admit that sitting at home doing nothing is not a useful, rewarding life that you can be happy in. Because until that experience is a realistic possibility the delusion of scarcity and its fear will drive people to keep working at things that they don’t find rewarding but feel that they must continue to work at anyway unless they want to starve, their children to starve, live on the streets, etcetera.
They are convinced that if they don’t work the world will come to a standstill. Even the Wife says “the world will come to a standstill, won’t it?” I want to see their faces when they realize that the world keeps going on anyway, turning once around its axis each day, traveling once around the sun each year, even though they have decided not to participate in life any longer. Because it is at that point that we really will have arrived at a post-scarcity economy.
…even the provocative director of the X-rated film Fritz the Cat, Ralph Bakshi, managed to keep it in his pants. His ambitious yet incomplete 1978 animated Lord of the Rings stays in the right lane, true to its high fantasy trope, even though the film is wildly psychedelic in its visual flair. Such a great contrast to his other fantasies Wizards and Fire & Ice which was R-rated Adult Swim fare decades before Adult Swim existed! Instinctively and thoughtfully, Bakshi knew that Tolkien’s story didn’t need all the Tits & Ass that had previously made the animator the darling of 70’s arthouse cinema. He kept that out of Middle-earth, indulging it elsewhere more suitably for his other films.
I am commenting on the content of the live stream and the quoted article above, so some of this will probably seem to be a little disconnected. But, here goes.
15:45 minutes. The #TORnTuesday hosts discuss Arwen being present at Helm’s Deep in the movie version of LotR, and how theonering.net and it’s fanbase stopped those scenes from being in the final cut. Arwen being at Helm’s Deep would have been perfectly acceptable to me if a) she was dispatched as the leader of the group from her grandmother and b) women were equally welcome in the fighting troops with men and so her presence was unremarkable. This would have required a major rewrite and a re-explaining of why the plot evolves the way it does. Specifically? Eowen showing up at the battle in front of Minas Tirith and everyone being surprised, especially the Witch King (the subtleties of ingrained systemic misogyny are hard to parse sometimes) If women were commonplace things in battle, why wouldn’t anyone have thought about Eowen being in the battle of the Pelennor Fields? I mean, Arwen glowed with the light of the two trees in the first film, she can do just about anything else in the story after that. Considering what else was done in the Two Towers that varies from the book, Arwen being at Helm’s Deep makes complete sense to me. I would love to see those scenes, that version of the film, right next to the final version. I mean, why not? Other than, of course, that wasn’t how J.R.R. Tolkien wrote the scene. It would have been nice to see the Helm’s Deep battle filmed as it was written. I’ll take the parts of it that I did get, I guess.
56:00 minutes. There is the description of the John Boorman scene of the fellowship coming upon the waters of Galadriel. I cannot describe precisely how overjoyed I am that Ralph Bakshi got to do his version of Lord of the Rings rather than John Boorman, who went on to make Excalibur instead. A great movie, but definitely not high fantasy.
Anyone who thinks LoTR, or this Unnamed Amazon Production (UAP) needs more sexing up doesn’t understand what Tolkien was trying to say with his work. Explicit sex scenes shouldn’t be part of Tolkien’s work simply because Tolkien wouldn’t have dwelt on the prurient in that fashion. It is contrary to his vision of what high fantasy was and is.
It’s like telling me that Star Fleet has been subverted is a plotline of a film (Into Darkness) when Gene Roddenberry specifically forbade that storyline in the Trek writers guide. You, the modern interpreter, can certainly go there. Once you do, the film cannot be part of the canon for that created universe. If you insist on including contrary things like storylines that aren’t in the text or scenes that are contrary to the sense of the work, you risk destroying the social groupings that form in fandom around the platform that the work represents because the work no longer presents a uniform vision of itself.
Ask Paramount how much they like their new Trek that the Abramanatorcreated for them. Sure, that first movie made money. Forget ever making money with the universe after that point.
Elf sex may not be the one thing that breaks the Tolkien fandom groups, especially since slash fiction is what most people create in their own heads (apparently) but if they are going there in the series, it won’t take Amazon long to completely abandon the rest of the lore that Middle Earth is supposedly based on, in the name of drawing more viewers to the show.
Here’s a thought. Why not create a new thing and get people to watch that, rather than pretend that the new thing is somehow related to something you feel nostalgia for? Nostalgia is overrated.
I have little interest in watching what Amazon does to Tolkien’s second age elves; even if Jeff Bezos does embroider the life of Galadriel, a strong female lead character, so lacking in Tolkien’s work. I am loathe to sound off about entertainment that I do not want to feel obliged to watch. If I sound off on the subject, and they cite my words as some motivation for changing their work, I would feel obliged to spend quality time evaluating the resulting product.
I have little trust left for the corporate creators of entertainment. I am way beyond reticent when it comes to promising my time in this fashion. I’ve written off many of my most treasured memories of youth at this point in my life, as well as abandoned new infatuations when they betrayed what they supposedly were about in the beginning. I’ve written them all off because some corporate stooge somewhere wanted to make a few more bucks off of my nostalgia one more time.
So I am prepared to pretend that Amazon’s elf stories don’t exist just like I pretend that other entertainment that doesn’t entertain me doesn’t exist, before I’ve seen one second of the work as it is intended to be seen. It is my feelings being used to motivate me here. The only way that I can stop them from being used to manipulate me is to compartmentalize those feelings and lock them away where they can’t be abused by the unscrupulous. It is up to Amazon to produce some work or other that motivates me to watch it based on it’s own merits. Gratuitos elf sex isn’t going to be considered meritorious. That statement can stand in for anything else I might say on this subject.
…it should be ‘high’, purged of the gross, and fit for the more adult mind of a land long now steeped in poetry.
Person, Man, Woman, Camera, TV has been making viral rounds this week. I couldn’t bring myself to care long enough to even figure out what that Orange Hate-Monkey bullshit was about. I did try though. I got two minutes into,
…and just gave up. Too much OHM lip-flapping, not enough humor. Today (Sat. July 25, 2020) with hints from,
I listened to the entire book last week. It was an interesting listen if only marginally about Donald Trump himself. It was more about the monster that was Fred Trump, and how that monster drove his eldest son into the grave while twisting the minds of the rest of his children. Creating the fascist demagogue that we know as Caudito Trump, the Orange Hate-Monkey in the process. Donald Trump is exactly who his father made him to be. Ruthless. Vindictive. But he is also what he was when he was sent to military school. Slovenly. Empty-headed. Narcissistic.
Mary Trump would say (and did say in the book) that her Uncle was unfit for the office of president. As a doctor with first-hand experience with him, she should know.
I went on and read/listened to volume two of the Dark Tower saga, the Drawing of the Three. I wasn’t nearly as impressed with the second volume, and I can’t recall a significant moment of the film purportedly based on the first book, which means I’ll have to go back and watch that movie again (Look for this to be updated then) in the meantime Stephen King’s afterword in the second volume, citing how this work was such a departure from his normal writing endeavors, made me pick up and start reading/listening to the Shining.
The one thing I noticed about the second volume of the Dark Tower saga that stuck (other than did-a-chick) was the references to the movie interpretation of the Shining that Stanley Kubrick graced the screens with back in 1980. Very little of what you saw on screen in that movie was even in the novel that Stephen King penned. No elevator full of blood, no encounters with the dead twin girls, no hunt through the hedge maze, no “all work and no play makes Jack a dull boy” repeated ad nauseum as a demonstration of the father’s madness. King’s tangential reference to that movie, as well as other movies of the time, leaves you thinking that King wasn’t very impressed with Kubrick’s vision of what the Shining was about.
It’s hard to translate the written word to the screen, even when what is written is written specifically to be filmed. Stephen King’s books are a lot like other novels that are worth reading. The language on the page draws images in your head, and those images will never be the exact same images that any other person has. The script writer/director/actor all have to agree on what the image on the screen should be, and they are all hampered in their ability to get their interpretation of the words onto the screen by the limitations of the technology that exists at that moment to realize the images.
When a book relies on the internal horror of the individual’s mind to advance the plot, every attempt to turn that into a movie is doomed to failure. It is doomed to failure because every single reader will come in expecting to see their mental pictures on the screen, and they aren’t going to see them there.
I take great pains to reserve judgement on a movie based on books that I’ve read. I try to set aside what I know about any given character that I’m watching on screen. Set aside what I know that isn’t in the movie I’m watching. This helped me get through all the Marvel movies based on characters that I’ve followed since childhood. Helped me watch the Harry Potter movies without demanding that this or that scene from the book just had to be in the movie.
There will be enough time to reflect on the whole achievement of the movie after the credits roll. Time to reflect, unless the movie lacks the hooks to make it relevant to your experiences outside the movie theater. That movie is soon forgotten. Does that make the movie a bad movie? Only a second viewing will answer that question.
Me? I wanted to be a writer since I was kid. It’s a sickness, writing. A weird mental disorder that makes you sit in front of a keyboard for hours, daydreaming and playing with ideas and wondering why anybody would read the blather on the screen. But my grandmother gave me a Hardy Boys book (#8; The Mystery of Cabin Island) for Christmas one year when I was about 8 or 9. I’d been an indifferent reader up to that point, but that book captivated me and my lifelong obsession with words began right there. Somewhere shortly thereafter, in a staggering moment of epiphany, I realized there were actually people out there who got paid to sit in front of a keyboard and daydream and those people didn’t have to put on pants every day. Hell they might not even own actual pants – unless you consider pajamas legitimate work apparel.
I was suddenly struck with a question. I’m sure I’m not the only one who thought it. Could this be a Crake event? You know, Crake of the novel Oryx and Crake, the creator of the Crakers? You haven’t read that book? You’d better do that, and soon.
However, it looks like the virus came from a snake. So, whew! Not the engineered end of human civilization. This time.
February 1, 2020. People are still freaking out about this virus. It is even possible that they are more panicked about it now than they were a week ago when I wrote this.
Calm down people. Like the talking head said on the Inside Europe podcast for this week, the death rate of the disease is probably closer to that of influenza (ten times the death rate of influenza, but still, not end-of-civilization serious unless we let it be the end of our civilization. That would be pretty stupid if we did that. Right up there with blowing ourselves up with nuclear weapons. Which we still might do. -ed.) than it is to some kind of new killer bug that will wipe out human civilization. So, you know. I’d worry more about catching the flu, myself. Get your flu shots, for crying out loud.
The most underrated of all the characters in Tolkien’s created universe.
Galadriel was born into the glory of the Two Trees, in Valinor. she was born when the Noldor were at the height of their power and knowledge, sitting at the feet of the Valar. She was descended from both the Noldor and the Vanyar through the blood of her grandmother Indris. She was also descended from the Telari through her mother, the daughter of Olwe, high king of the Telari.
The Vanyar elves were the favored of the Valar, who sang Arda into existence at the direction of Eru Iluvatar, the creator of all things. The Vanyar responded first to the summoning of the huntsman Orome. Orome, alone of the Valar to seek combat with the creatures of Melkor in the dark times. Orome, who brought a message from the Valar who hoped to shield the firstborn of Eru Iluvatar from the perils of the world that Melkor had secretly seeded into his song of Arda.
The world lived in darkness when the firstborn came into being. Melkor had destroyed the works that the other Valar had sang into the world as part of their songs, including the towers of light used by the Valar to illuminate their work. All the works that Melkor could not destroy, he perverted.
The only light in Arda when the firstborn awoke came from the stars that Varda set alight before time began. Varda understood Melkor’s intentions before all the other Valar, and contrived to put her creations beyond his reach so that the world would not live in complete darkness after he destroyed the sources of light that were within his reach. Melkor hated the light, and especially hated the stars of Varda that spied down upon him.
Varda alone provided revelation to the elves in their time of birth. This is why all elves revere her, even the dark elves, the Sindar, who never set foot on Valinor where Varda dwells, or saw the light of the two trees. The light that lives on in the Eldar and can be seen by the keen-eyed and those that are near to death. This is what separates the Sindar from the Eldar, the living light of the two trees that resides in the bodies of the Eldar.
The Noldor followed the Vanyar to Valinor. The Noldor were the most powerful of all of the elves, and spent their eons of time in Valinor learning all that the Valar would teach them of the making of things. After the Noldor followed the hosts of the Telari elves. The Telari loved the night and the stars and did not want to go to Valinor, even though they would be safe from the creatures of Melkor there. They stopped short of entering Valinor and lived on the edge of the light, on an island in the great outer sea of Arda.
King Olwe’s daughter Eärwen was the mother of Galadriel. Her father was Finarfin, son of Finwe, high king of the Noldor. She carried the blood of all three of the tribes of the Eldar, and was born in the presence of the Two Trees, whose living light was captured by Feanor in his greatest creation, the Silmarils. This was in the first age. This was the beginning that Galadriel knew.
When Melkor became Morgoth, stealing the Silmarils, killing Finwe and escaping from the other Valar, renouncing kinship with those who kept him captive in Valinor, the stage was set for the tragedy that was told in the Silmarillion. The Noldor left Valinor in pursuit of Morgoth, even though they knew that they had no hope of defeating him, whose power was equal to that of the Valar in the beginning. But they refused to sit idle at the feet of the creators of the world, who appeared to do nothing to right the wrongs that Morgoth enacted upon their creations.
What the Noldor did not understand was that the song had been sung already. The Valar could do only what they had woven into the song of the world before time began. They had agreed to be constrained by the limits of time when they entered into the world of Arda and made it what it was. But they were not powerless, as they soon demonstrated.
It was then that the sun and the moon were created and set in the sky, and Galadriel was there on the beach in Beleriand to witness the first dawning of the moon and then the sun, along with the rest of the Noldor that had pursued Morgoth. She stayed with her brother, Finrod Felagund, as he established one of the longest lasting and largest kingdoms that vied with Morgoth for control of Beleriand. But her desires led her away from the Noldor and their hopeless pursuit of vengeance. She stayed for a time with her Sindarin kin in the realm of King Thingol. But staying safely hidden from the threats of Morgoth’s creatures was what chafed on her in Valinor. So she left Menegroth and passed beyond the girdle of Melian in search of places that were not safe. Challenges that were not hopeless.
At the Telerin port of Alqualondë before the betrayal and the leaving of Valinor, Galadriel met Celeborn, who would become her husband. Her companion and fellow traveller through the ages of Middle Earth. Together they passed beyond the Ered Luin, and so were not present when Finrod fell into darkness. Did not die in the sacking of Nargothrond or Menegroth. Could not be drowned with the rest of the inhabitants of Beleriand when it was destroyed at the ending of the first age. Destroyed in the War of Wrath that saw Morgoth defeated by the Valar and thrust, bound, into the outer darkness.
She and Celeborn lived on through the long millenia of the Second age. She gave birth to a daughter who became the wife of Elrond half-elven, who in turn gave birth to Arwen Undomiel. They witnessed the pinnacle of Noldorian achievements in the harnessing of power within the great rings by Celebrimbor, a grandson of Feanor. Celebrimbor who was betrayed by Sauron when he created the One Ring to rule over all the others, and thereby gain control of Elves, Dwarves and Men. A feat that was denied to his former master, Morgoth. Sauron,who we met first as a mere lackey in service to Morgoth, beaten in battle by the hound Huan who, with Luthien Tinuviel, rescued Beren from Sauron’s dungeons.
Sauron who had been defeated by a dog of the first age, was in turn defeated by the Numenoreans when they came against him in their quests for empire in the latter part of the second age. Galadriel witnessed all of this from her kingdom in Lorien.
Likewise she witnessed the beginning of the third age, when the world was changed, curved, so that Valinor would always be beyond the reach of mere mortals. Changed when the king of Numenor, the descendants of Elrond’s half-elven brother, grew so bold that they challenged the Valar for dominance of Valinor. Sauron had bided his time, worked his magics, had been made a counselor of the king of Numenor. Had put the idea of invading Valinor into the head of the king, hoping to be rid of the Numenoreans so that he could continue his own personal conquest of Middle Earth.
…Only to be caught up in the change that Eru Iluvatar inflicted on the world, his physical form destroyed in the drowning of Numenor. Forced to flee back to Mordor as a mist, where he had to lay quietly reconstructing himself before he could take up the one ring once again. This too, Galadriel saw.
She saw it, because she was the keeper of one of the three Elven rings.
Three Rings for the Elven-kings under the sky, Seven for the Dwarf-lords in their halls of stone, Nine for Mortal Men doomed to die, One for the Dark Lord on his dark throne In the Land of Mordor where the Shadows lie. One Ring to rule them all, One Ring to find them, One Ring to bring them all and in the darkness bind them In the Land of Mordor where the Shadows lie.
..and so she knew when Sauron had returned. As did the holders of all of the other rings of power. They waged war on Sauron when it was known that he had survived the destruction of Numenor, many thousands of bright elves slain in the course of war. Galadriel witnessed all of this. The fall of Gil-Galad. The betrayal of Isildur. The loss of the one ring to time.
She knew it would re-emerge one day. That story is told in the Hobbit and the Lord of the Rings and I won’t duplicate it here. I’m telling this story simply to say that when Frodo sees Arwen glow with the light of the Two Trees in Fellowship of the Ring, I knew immediately that Peter Jackson really didn’t understand the story he was telling. When I watched The Two Towers, I knew that Peter Jackson was no J.R.R. Tolkien. But that is a tale for another day. I will say only this. Arwen is Galadriel’s granddaughter, Mr. Jackson. A mere wisp of a girl compared to her. She does not glow the way that Galadriel glows, having been in the presence of the two trees. Galadriel who knew true power, in the form of Melkor and the Valar. You should have paid more attention to the lore, sir.
…And I also tell this story to observe that of course Galadriel left Middle Earth after the destruction of the one ring and the banishment of Sauron, the retiring of the last of the Ainur back to Valinor. The Ainur being present in Middle Earth in the form of the great wizards. She left because there was no real power left in Middle Earth now that wasn’t transitory. Mortal. Impermanent. The immortal that is surrounded by the mortal can either retire into obscurity, or rise to power at the expense of mortal men. We saw what she thought of that kind of power.
The Wife said, on reading this “So you finally got to finish that argument, ten years later.” Yes. Yes I have. That’s what happens when you become a writer. Featured image from lotr.fandom.com.
I picked up The Silmarillion after reading The Hobbit and Lord of the Rings on a suggestion from a fellow reader that I was sweet on during my senior year in high school. The other works of J.R.R. Tolkien that I read had been a wonder to experience, but I wanted desperately to know more of the Elves, and to dig into the rich history of Middle Earth that was hinted at in them. The Silmarillion satisfied that curiosity, but left me wondering what the notes that Christopher Tolkien had used to create the compilation that was The Silmarillion had looked like before he had tried to arrange them into a cohesive narrative after his father’s death in 1973. I can only imagine the size of that herculean task, given the scattering of notes that every writer generates over the course of their lifetime.
Many people have complained over the years about the heavy slog that The Silmarillion was for them to read. That was not my experience of the book, but I could tell that The Silmarillion was not the direct works of J.R.R. Tolkien, or rather that the work it represented was not as refined as his later published works had been. I don’t place blame on Christopher Tolkien for this lack of refinement. He had nothing but notes to work from, a loose framework of tales written over several decades, as J.R.R. Tolkien pursued his passion for telling fantastic tales of Elves, Dwarves and Men. Tales that publishers of the time refused to publish for fear that the works simply would not sell.
I wonder what would have happened to his best-loved works, had his earlier passions not be frustrated by recalcitrant publishers? Would we even have the stories of Hobbits, the creation of Hobbiton as a location in Middle Earth, if Tolkien had been satisfied to see his earlier labors rewarded? We’ll never know.
I have wanted to get my hands on the twelve volume set of The History of Middle Earth, what was promised to be the definitive collection of the works of J.R.R. Tolkien, published serially from the years 1983 to 1996, since I first heard rumor of its existence. I was desperately trying to stay in the business of architecture by that time, trying to raise two children to boot, and I had little time for reading for fun during those years. But I kept my eye out on the rare occasion that I made it into libraries and bookstores, hoping that I might run across them so that I could at least touch them on a shelf somewhere. I never have had the chance to find all twelve of them at a bargain price, and when I looked on Amazon.com today there are several sets of books listed that promise to be the definitive collection of the works of J.R.R. Tolkien, some of them even calling themselves The History of Middle Earth, but aren’t the originally published twelve separate books. All of them requiring more cash than I’m willing to spend just to set them on a shelf in my library.
The back and forth eye motion of reading text on a printed page has gotten difficult, sometimes even producing minor bouts of vertigo when I have tried to push myself to read for any lengthy amount of time. I doubt that I could ever bring myself to go through all twelve volumes of the set all on my own, if I had to read them directly. The last few times I tried reading anything on the printed page I became fatigued so quickly that I had to resort to buying the works on audiobook just to be able to finish them.
When The Wife and I ran across the Children of Hurin on Audible recently, read by Christopher Lee, we both agreed that we needed to get it. She loves Christopher Lee having grown up watching him play Dracula in all the old Hammer films. His narration of Children of Hurin was beautiful to listen to. I couldn’t have asked for a better voice to bring J.R.R. Tolkien’s words to life. The story itself is a major improvement on the rough draft of the story that is preserved in The Silmarillion. There is more depth to the work in this form, the story of Turin Turambar and his sister made all the more tragic by the voice of Christopher Lee. It is a credit to both of the authors who have worked on these stories over the course of their lives that this version flows so well from beginning to end. I can’t recommend it highly enough to any Tolkien fan.