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Jeff LaSala

Tolkien’s Elves: Married With Eldar Children

In this scattershot series, we’ll be delving “too greedily and too deep,” prying gems out of the glorious rough that is the extended legendarium of Tolkien’s world. This includes drawing on The Lord of the Rings itself, The Hobbit, The Silmarillion, The Children of Húrin, and the History of Middle-earth (or HoME) books.

Elf-kids these days! They’re so soft. They don’t know how good they’ve got it. Just Sauron, not Morgoth, is their big bad, and they can just hop on a boat at any time to escape the troubles of Middle-earth. That wasn’t an option for their parents. But then, war, love, and family have always been part of the Elven condition in Arda Marred—from the Elder Days to The Lord of the Rings days.

In the book Morgoth’s Ring, in the more-delightful-than-it-sounds section called “Laws and Customs among the Eldar,” the first thing Tolkien talks about is Elf-children. Which should immediately make us say: Wait! Why do we never read about them? Like, any of them. Are there any Eldar tykes in Middle-earth at the time of The Lord of the Rings? Might young Estel, a.k.a. Aragorn, have had one or two immortal playmates in Rivendell? Well, as with many things in his legendarium, Tolkien just doesn’t say. But we can infer some things based on Elven culture and reproductive conventions.

[The union of love is indeed to [Elves] great delight and joy, and the ‘days of the children’, as they call them, remain in their memory as the most merry in life…]

Tolkien’s Elves: How the Eldar Half Lives (and Lives, and Lives, and Lives)

In this scattershot series, we’ll be delving “too greedily and too deep,” prying gems out of the glorious rough that is the extended legendarium of Tolkien’s world. This includes drawing on The Lord of the Rings itself, The Hobbit, The Silmarillion, The Children of Húrin, and the History of Middle-earth (or HoME) books.

What is the deal with Elves in The Lord of the Rings? Are they supposed to be as severe as those we see in Peter Jackson’s film trilogies? Questions inevitably arise around these mysterious people, who’ve inspired pretty much all fair-faced, pointy-eared*, woodsy folk in the fantasy genre. J.R.R. Tolkien may not have invented the Elves as a concept—Germanic folklore did—but he sure did popularize them.

But even in his own legendarium, what does it mean, in practice, to be immortal? What’s with all the talk about fading, and the leaving? Why can’t they stick around? Are there any female Elf-warriors, and how many kids can an Elf-mom have, anyway? Are there any Elf-kids? Well, Professor Tolkien didn’t answer all of our world-building questions in his seminal work, but you’d be surprised to see how many of these points he did address. In this discussion, spread out over two parts, I’ll talk about the Elven condition as Tolkien sorted it out, and how those details might apply to the stories we do know.

[For the Elves die not till the world dies, unless they are slain or waste in grief…]

The “Fellowship” of Amazon’s Middle-earth

On Saturday, Amazon introduced us to its “Fellowship” of creators via Twitter in a short video. These are the writers and other key subcreators at the helm of their ambitious new show-to-be, which now even more clearly takes place (at least in part) in the Second Age of Middle-earth. Which in turn almost certainly confirms that Amazon has secured the rights to Unfinished Tales, if not necessarily the larger Silmarillion text. That was the theory so far.

So much is at stake, but at this point I’m still more than happy to remain optimistic and excited. Wanna talk about who’ve they’ve got?

[“What does it mean by speak, friend, and enter?”]

Artist Justin Gerard on Tolkien, Golden Age Illustration, Noble Crocodiles, and Balrog Wings

Do Balrogs have wings? Does Carcharoth, the personal watchdog of the Dark Lord, have a big leonine mane? Are Gandalf’s eyebrows really longer than the brim of his hat? (That’s crazy!) Sometimes the answer is yes, but usually the answer is…only if an illustrator wants it so.

This interview started with a wolf: Carcharoth, the Red Maw, the Jaws of Thirst, is the “mightiest wolf that would ever walk the world” in Middle-earth, and he features prominently in that classic Tolkien love story of monstrous cosplay and dismemberment that we know as the tale of Beren and Lúthien. When I reached that chapter in The Silmarillion Primer, I wanted to show the dread Wolf of Angband, so I reached out to studio artist Justin Gerard because I came across his version of the beast. It was fortuitous timing, since he was just then working on another version of Carcharoth, and he even allowed me to weigh in on it before it was finished.

It took a few emails with Justin to realize that this was a guy I wanted to know more about and possibly interview for a future piece. He’s an easygoing and friendly-as-all-heck painter who’s done some excellent Tolkien—and plenty of non-Tolkien fantasy—art with a style all his own. And I’m betting some of you have certainly seen his work before (such as in the annual Spectrum anthology of contemporary fantasy art). There’s a storybook quality to his work that I struggle to articulate but love all the same. Meanwhile, we got to debut his dramatic action piece “The Hunting of Carcharoth” in that Primer installment.

[Along that narrow way their march was strung, when they were ambushed by Orcs, for Morgoth had set watchers all about the encircling hills; and a Balrog was with them.]

Love, Fellowship, and Stories: The Tolkien Biopic Informs and Inspires

Tolkien, the new biopic which depicts moments of John Ronald Reuel’s most formative years is in theaters now, and so I’m here to talk and/or gush about it, praise it, even critique it—but the latter only lightly, because I liked it quite a lot. Above all, I’d like to frame it properly, to tell you what it is and what it isn’t. I would say a spoiler warning is in order, but…really? This is J.R.R. Tolkien. The man ate spoilers for breakfast. And then again for second breakfast.

So the chief questions are: Who is this film for? Who will enjoy it the most? And did Ronald and Edith really throw sugar cubes onto the hats of restaurant patrons? Read on and I’ll tell you.

[“Helheimr!”]

Donato Giancola Is the Caravaggio of Middle-earth

When I visited Venice last year, I was overcome by the quality and quantity of the art filling the great halls of the famous Palazzo Ducale (Doge’s Palace). The works of Italian Renaissance painters like Paolo Veronese and Tintoretto surround you and nearly overwhelm you in that place. Saints, kings, soldiers, philosophers, angels, and gods throng the walls, ceilings, and frescoes. But you know, if someone could sneak in an armload of paintings by artist Donato Giancola—paintings like “Gandalf at Rivendell,” “Boromir in the Court of the Fountain,” or “The Tower of Cirith Ungol”—and scatter them around the palace, I bet it would take a good long while for some snooty art historian to notice and complain.

Hell, I probably wouldn’t double-take, either, because those paintings would be perfectly at home there among the masters. I suppose if you put up enough of Donato’s masterpieces in the Louvre or the Met, maybe tourists would eventually wonder why Satan looks an awful lot like a Balrog or ask who all those stressed-out, grey-robed, pipe-smoking old men are, and hey, what’s that blonde lady doing with a sword and, whoa, is she facing off against a headless, mace-wielding black knight who’s just been unhorsed from some kind of pterosaur? What Greco-Roman myth is that even from?!

Personally, I was sold on Donato Giancola’s work the moment I first saw his illustrious and mesmerizingly expansive “Beren and Lúthien in the Court of Thingol and Melian.” I later contacted him to ask if I could include some of his art in The Silmarillion Primer. Not only was he cool with it, he turned out to be a surprisingly down-to-earth fellow, and it was only a matter of time before I roped him in for an interview. Good timing, because he’s got a great new book out, too.

[‘Dear me,’ he went on. ‘Not the Gandalf who was responsible for so many quiet lads and lasses going off into the Blue for mad adventures?’]

New Details About Amazon’s Middle-earth — Now Featuring Númenor!

Amazon has completed what I assume is just the first phase of its Middle-earth teasing, walking through the famous Ring verse on its The Lord of the Rings on Prime Facebook page. First they threw down an unlabeled map of Middle-earth (“Three Rings for the Elven-kings…”); then three days later we got a few basic region names thrown down (“Seven for the Dwarf-lords…”); then seven days later we got a few extra labels, like future Lothlórien (“Nine for Mortal Men…”); then nine days later we got a slew of Gondor- and Arnor-specific cities and towers and even Sauron’s fortress of Barad-dûr “(“One for the Dark Lord…”). All of these updates have really only suggested a focus on the Third Age in a much earlier time, well before Aragorn’s time.

Now, one day later, the new map they’ve posted pans waaaay back to reveal something big: more than just Middle-earth (the mainland continent) but a wider swath of Arda, the world itself.

[Of Númenor he spoke, its glory and its fall, and the return of the Kings of Men to Middle-earth.]

Where the Stars Are Strange: A First Look at Amazon’s Middle-earth

Details about Amazon’s upcoming Lord of the Rings-based show have been few and far between since it was first announced in November of 2017, but recently they’ve picked up the pace…a little bit. That includes establishing an official Facebook page and Twitter account—even though we’ll probably still have to wait until 2020 to see production get visibly underway. And now they’ve thrown down a map for us to pore over…

Dropping information in such dribs and drabs, it’s almost like the folks at Amazon know what they’re doing. In this cyber-age of information, every little crumb they let fall can be obsessed over and talked about endlessly by rabid fans (and critics), allowing anticipation (and apprehension) to grow apace. So we might as well humor them—we’re all nerds here, right?

[“I have crossed many mountains and many rivers…”]

J.R.R. Tolkien’s Life is Now a Movie: What Story is it Telling?

At last, it’s nigh: the biopic of J.R.R. Tolkien that’s been steadily looming, though it was little more than a rumor until recent times. We got a few casting choices dropped like breadcrumbs over the last year, then some still images, and now we’ve got our first official trailer. Something to look at, theorize and marvel over until May 10 (or at least the next trailer drops).

Will this movie be like Finding Neverland or Goodbye Christopher Robin or The Man Who Invented Christmas? These biographical dramas sure are the rage now. So what’s in Tolkien’s, then? Let’s talk about it!

[“Tell me a story…”]

Artist Kip Rasmussen on Tolkien, The Silmarillion, and Raising Young Tolkien Fans

When I first came across Kip Rasmussen’s work, I knew it was exceptional, and that I’d probably like everything he made. His paintings present all the best components of high fantasy: long hair flowing from beneath helms, brazen swords, gleaming spears, fire-breathing dragons, primordial godlike beings, imposing pinnacles of rock, and an insanely huge spider. Yup—these were scenes right out of J.R.R. Tolkien’s legendarium, instantly recognizable as features of Middle-earth. But curiously, only a few of them depict characters in The Lord of the Rings itself. Here was a Silmarillion-leaning artist. Oh, hell yeah.

When I contacted Kip to ask permission to use some of his work in my Silmarillion Primer, he just happened to be mulling over three ideas in his mental queue and he was quick to ask me to choose which subject he’d tackle next. I chose “Tulkas Chaining Morgoth,” so when he finished it later, it was right on time for the War of Wrath segment of the Primer. That made me very happy. And now, once again, I’m debuting a new painting in this article: Kip’s take on that legendary conflict between a certain lionhearted shield-maiden and a certain overconfident lord of carrion.

[‘Begone, foul dwimmerlaik, lord of carrion! Leave the dead in peace!’]

Ted Nasmith Is the Bob Ross of Middle-earth

If you’ve ever picked up an illustrated book written by J.R.R. Tolkien, or spent time clicking around on the internet in fantasy circles, or if you’d seen the posters on my dorm room wall years ago—or, heck, scrolled through any of the posts of The Silmarillion Primer—basically, if you’ve lived on Planet Earth over the last few decades, then you’ve surely chanced across the scenic, brilliant, and exceedingly prismatic illustrations of Ted Nasmith. I mean…if chance you call it.

Ted is a luminary, an artist and illustrator of…well, many things, but he’s best known for depicting Tolkien’s world more or less how we’re all imagining it. Or maybe you’re imagining it, in part, due to Ted’s work. From official Tolkien calendars to illustrated editions of the professor’s books to The Tolkien Society’s journal covers, he’s dipped his toe and his brushes into Tolkien’s mythology so many times there’s just no keeping track of it all. You know, I’m going to come right out and say it: Ted Nasmith is basically the Bob Ross of Middle-earth.

[‘My good Legolas, do you know that the caverns of Helm’s Deep are vast and beautiful?’]

The Misappropriation of the Rings (and the Third Age)

Wherein Isildur Pockets the One Ring, the Kingdoms of Men Fall Apart, Some Wizards Show Up, the Dark Lord Rises Again, and a Halfling Goes On a Big Journey

The second half of The Silmarillion’s final chapter isn’t the end of all things. It’s just the end of this one book, a wrap-up to one of the finest in fantasy literature. Even Tolkien’s most casual readers will find many parts of this section familiar, what with all the sly winks, cameos, and name-dropping. But it’s more than just a massive spoiler about what happens with Sauron’s favorite piece of jewelry: “Of the Rings of Power and the Third Age” overtakes the events of the War of the Ring and brings the story of the Elves to a close. After all, the end of this age also means it’s time “for the dominion of Men and the decline of all other ‘speaking peoples’ in Middle-earth.”

More than ever, I’m going to tie in information from Appendix A of The Lord of the Rings, so as to arrange events in a clearer chronology than the chapter alone gives us. Likewise, The Silmarillion’s sidekick, Unfinished Tales, will chime in to fill in some gaps.

Buckle up, this is a big one. The Primer Installment to End Them All.

[‘Yet the One was lost, and while it still lies hid, we can master the Enemy, if we gather our strength and tarry not too long.’]

Series: The Silmarillion Primer

Twenty Rings, Seven Stones, and Middle-earth’s New Dark Lord

Wherein Sauron Hoodwinks the Elves, Forges His Trusty Ring, Unveils His New Tower, and Then, Having Had It Up to Here With All That Nonsense, Men and Elves Form the Last Alliance

The final section of The Silmarillion, “Of the Rings of Power and the Third Age” is basically the bridge between the Quenta, the downfall of Númenor, and The Lord of the Rings, even summarizing the high-level events of the War of the Ring. I’m sure anyone reading this Primer will already be well acquainted with that last event. Given the overlap in exposition between this section and The Lord of the Rings itself, I’m going to tie things together with Appendix B: The Tale of Years from Tolkien’s most famous book…with a dash and a few dollops from Unfinished Tales.

Think of all this as proper stage setting for a reread of The Lord of the Rings. Now, this section is jam-packed with exposition, so I’m going to separate it into halves (one last time). But first, let’s recalibrate: We need to jump back to the start of the Second Age, long before the fall of Númenor.

[I perceive that you love this Middle-earth, as do I.]

Series: The Silmarillion Primer

A Farewell to Kings: The Fall of Númenor

Wherein the Last King of the Númenóreans Assumes Control, Puts Númenor First, Keeps His Enemy Close, and Defies Death In the Worst Way Possible

In the first half of the Akallabêth, we learned what made Aragorn’s ancestry so special. The Edain backed the right horse during the War of Wrath and so were rewarded with being damn near Elf-level good at just about everything, and then were given the wondrous island of Númenor to hang out on. They should have lived happily ever after. But see, these so-called enlightened Men on their high horses have been looking the Valinorean gift horse in the mouth. They’re at the top of their game, yet can’t stop themselves from daydreaming about the Undying Lands, a place where they’re sure they won’t get any older, and they won’t ever die—oh, and the one place they’re expressly forbidden to go.

In this half of the tale, we’ll see why Middle-earth still can’t have nice things, and why there aren’t a bunch of Númenóreans still walking around in the time of The Lord of the Rings. The unrest that’s taken root in their proud hearts has already divided them into two polarized political factions: the ever-growing King’s Men and the Faithful. It’s only going to get worse. So let’s get to it. I promise I’ll try to cool it with the horse-related expressions.

[‘The Doom of the World,’ they said. ‘One alone can change who made it.’]

Series: The Silmarillion Primer

Grace Under Pressure: The Rise of Númenor

Wherein the Dúnedain Are Made Better, Stronger, Faster, and Are Gifted With Huge Tracts o’ Land…and It Just Might Not Be Enough

In The Silmarillion, we don’t spend quite enough time in the Second Age to really get to know it—a chapter and a half, at best. And rather than walk through what does follow the First Age chronologically, Christopher Tolkien—who curated all of this for us after his father’s death—presents the next two ages of the history of Middle-earth in two basic pieces. Each overlaps the other but centers on its own events.

The first of these is the Akallabêth, a word that means “the Downfallen,” and specifically refers to the figurative and literal sinking of Númenor. You can always count on J.R.R. Tolkien to tell you something falls before he tells you it’s even a thing. Well, Númenor was a thing, and even casual readers of The Lord of the Rings will already know a thing or two about it. This is a phase of the book when Men finally take center stage, while Elves merely flit in from the wings once in a while.

While this is not a difficult story to follow, the gauntlet of both Elvish and Adûnaic (i.e. Númenórean) names can trip you up. Don’t let it! Sauron WANTS you to fall. Given the big ideas in this section, I’ll be tackling the Akallabêth (ah-CALL-la-beth) in two parts, which mostly amounts to the great rise and the watery fall of Númenor.

[“Why do the Lords of the West sit there in peace undending, while we must die and go not whither?]

Series: The Silmarillion Primer

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