Tag: Tolkien

Can Fantasy be Myth? Mythopoeia and “The Lord of the Rings”

Speaking for myself, it’s not too much of an exaggeration to call reading The Lord of the Rings for the first time way back in the fifth grade a life-changing experience. Tolkien’s trilogy led directly to my own life-long love of stories and mythology. I can’t help wondering if, without that experience in my childhood, I would have written a novel of my own. I may well have, but I don’t think it would be as myth-infused as Raven Wakes the World. In short, my experience of reading The Lord of the Rings, like that of so very many other readers through the decades, was the kind that changes a person for all time, or at least inspires a life direction — and for me at least, even a sort of pilgrimage. That’s the type of response that one usually has only to the most significant, the most sacred stories — the cultural heritage of truth disguised as narrative that serves as a guide through the dark forests of life. In short, myth.

Love and comfort in fantasy, or why George R. R. Martin isn’t the American Tolkien

I often hear Mr. Martin called "The American Tolkien." I can see why people say that. Both write (or wrote) extremely complex fantasy novels, both have very passionate fan bases (with a great deal of overlap), both have created British Isles-inspired worlds rich with invented history and languages, and, well, both authors have the initials "R. R." in their names.

But honestly, I think the resemblance ends there. The similarities are superficial at best.

Musing on Some Elements that Work in Fantasy, Part Two: Iconic Imagery

As we build the ePic Books brand, we're focusing on a single genre (or range of subgenres, I guess), at least for the first year or two: fantasy. A part of our strategy involves looking for certain elements that the very best and most successful fantasies—I'm talking the classics, the most beloved and enduring works that stand out, across years and even generations. One of those elements, Iconic Imagery, is very closely related to the Iconic Locations detailed in Part One.

Musing on Some Elements that Work in Fantasy, Part One: Iconic Locations

When asked to picture Narnia, you probably think of something rather like this, don't you?[/caption]If asked to close one's eyes and picture Narnia, I am willing to bet that just about everyone will picture a snow-covered wood surrounding a clearing where a lamppost sheds a soft, golden light ... just beyond a wardrobe door. Something about that image, that specific location, is iconic. It's a strong, concrete, visual image. It's something we almost can't help responding to, almost like it, that one place, was a character in a story. When we revisit, years later, it's like meeting an old friend.

Game Review: Falling into a Story with The Lord of the Rings Online

The Lord of the Rings Online is a computer game that actually captures the feeling of falling into a story. There are some limits, of course, but by and large, Middle-earth is yours to explore at will—from Thorin’s Hall in the west to Lórien and perilous Mirkwood in the east. Using the arrows on your keyboard, you can send your character wandering through the towns and forests of the Shire, or through the dangers of the Old Forest and the Barrow Downs (both deliciously creepy), or even all the way to Bree and Rivendell, where old friends will be waiting. The experience of the game is astonishingly immersive—sounds, voice, and music blend seamlessly with the visuals. Every environment is lovingly—at times even astonishingly—rendered. Even more than Peter Jackson’s films, the game feels like Tolkien’s Middle-earth.

In Good Company: “The Company They Keep” by Diana Pavlac Glyer

Until the publication of Diana Pavlac Glyer’s new book The Company The Keep: C.S. Lewis and J.R.R. Tolkien as Writers in Community, I hadn’t realized how strong was my urge to be a “completist.” A new book out on the Inklings? By all means, I had to have it, period. This is fortunate, because if I paused to remind myself that I’d already read Humphrey Carpenter’s superb biography The Inklings, and then to ask if I really, really needed another book on the subject, the rational part of my brain might have said “no,” and (it’s not completely impossible) might have carried the day. And that would have been too darn bad. Glyer’s book makes a wonderful companion to Carpenter’s more well known volume, and stands very well on its own. Carpenter’s book is a biography; Glyer’s is an examination of the very significant ways in which, as a community, the Inkings challenged, inspired, influenced, and supported one another. The Company The Keep is a terrific and insightful read.