Posts Tagged ‘The Hobbit’
October 4, 2016 | by Dan Piepenbring
Speaking to The Paris Review in 2011, Nicholson Baker remembered one of the small joys of his childhood. “The pencil sharpener was probably the best thing about school,” he said. “A little chrome invention under your control. It had a thundering sound, a throat-clearing sound, that I especially liked.”
As it happens, pencil sharpeners appear early and often in his new book, Substitute: Going to School with a Thousand Kids. But they’re all electric now, and they’ve lost their thunder. “There was a lot of earnest grinding away at the fancy electric pencil sharpener,” he writes on page thirty. Twelve pages later, “Someone else was grinding loudly away on the mechanical pencil sharpener.” On page 111 he mentions again “the remedial grind of the pencil sharpener.”
There’s a sound reason for this anti-sharpener rhetoric: in 2014 Baker became a substitute teacher at several Maine public schools, where the sharpeners’ grinding is just one agent in a multifront sensory assault, and further proof that technology doesn’t equal improvement. Substitute—Baker’s thoughtful, well-observed chronicle of his twenty-eight days in the classroom—catalogs the bells, the morning announcements, the iPad games, the lively chatter, and all the miscellaneous noise that characterize a day at school. Rather than a broadside against the education system, Substitute’s seven-hundred-plus pages offer a close, empathetic account of Baker’s time as a teacher, trading editorial asides for the richness—and, not infrequently, madness—of our efforts to impart knowledge. For every meaningless worksheet or recess infraction, there’s a warm, witty exchange with a student, or a moment, however brief, of genuine engagement.
Substitute is Baker’s sixteenth book; though he’s written nonfiction before, it marks his first outing as a participatory journalist, and he called it the most immersive book of his career. I reached him in his hotel room in Atlanta to ask him a few questions about it.
This is basically an act of participatory journalism, but it’s not like any other account I’ve read. Did you have any touchstones in mind?
Well, there’s George Plimpton. If you want to write about football, get yourself on a football team. If you want to write about boxing, you’re going to have to get punched in the head a few times. That’s what I did with Substitute. When I was in high school I read Up the Down Staircase and really loved it—all those wonderful memos—and in fact there was an actual down staircase and an up staircase in the middle school where I was a substitute. Two nonfiction books, Death at an Early Age and The Way it Spozed to Be also made a huge impression back then, even though I’d gone to an alternative public high school that was nothing like what was described in those books. Once I began writing Substitute in earnest, I tossed educational theorizing aside for the most part and went back to the method I’d used in Human Smoke, a book about World War II, where I did a lot of quoting from daily sources—newspaper articles and diaries and speeches on the radio. Substitute is a sort of collage of voices. In Human Smoke, I took my own voice out completely, but in Substitute I couldn’t—I had to be true to my own teacherly fumblings. Read More »
June 16, 2014 | by Dan Piepenbring
- “The dirty secret of poetry is that it is loved by some, loathed by many, and bought by almost no one.” (That may be dirty, but is it a secret?)
- Everyone can rattle off the names of alcoholic male writers—it’s time to give the women their due. “Jean Rhys was briefly in Holloway prison for assault; Elizabeth Bishop more than once drank eau de cologne, having exhausted the possibilities of the liquor cabinet. But are their reasons for drinking different? And how about society’s responses, particularly in the lubricated, tipsy twentieth century; the golden age, if one can call it that, of alcohol and the writer?”
- Among the artists to have illustrated international editions of The Hobbit over the years: Tove Jansson, Maurice Sendak, and Tolkien himself.
- No one can explain the success of “A Dark Room,” a best-selling game composed of words and not much else—harking back to the earliest computer games of the seventies. “These language games draw on a tradition of using language patterns as a form of play that precedes computers by thousands of years, something to which more recent video games remain indebted.”
- Look to 1984—the year, not the novel—for a curious episode from the annals of bioterrorism: “In rural Oregon, a small religious sect led by an Indian mystic was busy organizing a massive voter-fraud campaign that nearly enabled it to take over an entire county … The Rajneeshees would try to depress turnout among regular voters by poisoning thousands of residents with Salmonella.”
- Journalists reporting from more than ninety countries are collaborating on a new project called Deca: “Once a month, Deca publishes a nonfiction story about the world. Somewhere between a long article and a short book, each piece is written by one member, edited by another, and approved by the rest.”
December 18, 2013 | by Sadie Stein
NPR Books asks, “Was Gollum Done In By Vitamin D Deficiency?” The query is prompted by a new paper in the Medical Journal of Australia, positing that creepy cave-dwellers (rarely the hero) are often victims not of motiveless malignancy, but a lack of sun. “Systematic textual analysis of The Hobbit supports our initial hypothesis that the triumph of good over evil may be assisted to some extent by the poor diet and lack of sunlight experienced by the evil characters … aversion to sunlight … may lead to vitamin D deficiency and hence reduced martial prowess.”
December 2, 2013 | by Sadie Stein
November 19, 2013 | by C.S. Lewis
A world for children: J. R. R. Tolkien,
The Hobbit: or There and Back Again
(London: Allen and Unwin, 1937)
The publishers claim that The Hobbit, though very unlike Alice, resembles it in being the work of a professor at play. A more important truth is that both belong to a very small class of books which have nothing in common save that each admits us to a world of its own—a world that seems to have been going on long before we stumbled into it but which, once found by the right reader, becomes indispensable to him. Its place is with Alice, Flatland, Phantastes, The Wind in the Willows. 
To define the world of The Hobbit is, of course, impossible, because it is new. You cannot anticipate it before you go there, as you cannot forget it once you have gone. The author’s admirable illustrations and maps of Mirkwood and Goblingate and Esgaroth give one an inkling—and so do the names of the dwarf and dragon that catch our eyes as we first ruffle the pages. But there are dwarfs and dwarfs, and no common recipe for children’s stories will give you creatures so rooted in their own soil and history as those of Professor Tolkien—who obviously knows much more about them than he needs for this tale. Still less will the common recipe prepare us for the curious shift from the matter-of-fact beginnings of his story (“hobbits are small people, smaller than dwarfs—and they have no beards—but very much larger than Lilliputians”)  to the saga-like tone of the later chapters (“It is in my mind to ask what share of their inheritance you would have paid to our kindred had you found the hoard unguarded and us slain”).  You must read for yourself to find out how inevitable the change is and how it keeps pace with the hero’s journey. Though all is marvellous, nothing is arbitrary: all the inhabitants of Wilderland seem to have the same unquestionable right to their existence as those of our own world, though the fortunate child who meets them will have no notion—and his unlearned elders not much more—of the deep sources in our blood and tradition from which they spring.
For it must be understood that this is a children’s book only in the sense that the first of many readings can be undertaken in the nursery. Alice is read gravely by children and with laughter by grown ups; The Hobbit, on the other hand, will be funnier to its youngest readers, and only years later, at a tenth or a twentieth reading, will they begin to realise what deft scholarship and profound reflection have gone to make everything in it so ripe, so friendly, and in its own way so true. Prediction is dangerous: but The Hobbit may well prove a classic.
Review published in the Times Literary Supplement (2 October 1937), 714.
1. Flatland (1884) is by Edwin A. Abbott, Phantastes by George MacDonald (1858).
2. The Hobbit: or There and Back Again (1937), chapter 1.
3. Ibid., chapter 15.
Image and Imagination: Essays and Reviews, by C. S. Lewis, edited by Walter Hooper. Copyright © 2013 C. S. Lewis Pte Ltd. Reprinted with the permission of Cambridge University Press.
This article originally appeared in the Times Literary Supplement. Click here to read it on the TLS site.
April 3, 2013 | by Sadie Stein
One Ring to rule them all, One Ring to find them,
One Ring to bring them all and in the darkness bind them.
Such is the object that starts Bilbo Baggins’s quest and, later, marks the glowing center of Tolkien’s Lord of the Rings trilogy. And some speculate that it was based on a real Roman ring, currently on display at a Hampshire mansion.
Originally discovered by a farmer in the late eighteenth century in what the Guardian terms “one of the most enigmatic Roman sites in the country,” the ring was presumably sold to the family who owned the great house the Vyne.
It was a strikingly odd object, 12g of gold so large that it would only fit on a gloved thumb, ornamented with a peculiar spiky head wearing a diadem, and a Latin inscription reading: “Senicianus live well in God.” A few decades later and 100 miles away, more of the story turned up: at Lydney in Gloucestershire, a Roman site known locally as the Dwarfs Hill, a tablet with an inscribed curse was found. A Roman called Silvianus informs the god Nodens that his ring has been stolen. He knows the villain responsible, and he wants the god to sort them out: “Among those who bear the name of Senicianus to none grant health until he bring back the ring to the temple of Nodens.”
Here’s where Tolkien comes in. When archaeologist Sir Mortimer Wheeler reexcavated Lydney in 1929, he consulted Professor Tolkien about the god’s unusual name; both men were apparently struck by the fact that the name appeared on both ring and curse.
Whether or not you believe this to be the inspiration for the One Ring, you can judge for yourself: it is on view, along with a copy of the curse and a first edition of The Hobbit, at the Vyne.