Carpenter, Humphrey, ed. (1981). The Letters of J. R. R. Tolkien. Boston: Houghton Mifflin. ISBN 978-0-395-31555-2. book cloth C: Slightly darker than book cloth B; very faint pinkish cast in some light. Even weave.

One might also add illustrators to the list of Tolkien interpreters above who have—in the almost eighty years since The Hobbit’s publication and sixty years since the first appearance of The Lord of the Rings trilogy—done their best to visualize Tolkien’s world. But perhaps no one did so better than the master himself. Long known as a visual artist as well as a literary one, Tolkien left behind over 100 illustrations for The Hobbit, one of which adorns 2011’s HarperCollins 75th anniversary edition of the book. He also created these original cover designs for each book in The Lord of the Rings trilogy. Bolman, Lee G.; Deal, Terrence E. (2006). The Wizard and the Warrior: Leading with Passion and Power. John Wiley & Sons. p. 88. ISBN 978-0-7879-7413-8. But their chief role was to offer sage advice: Merlin as a tutor and counselor to King Arthur; Gandalf through stories and wisdom in his itinerant travels throughout the countryside. p.237: Last paragraph, there may be spots of thin ink toward the left, especially the two (s)s of "darkness" as well as "the" below. Lobdell, Jared C. (2004). The World of the Rings: Language, Religion, and Adventure in Tolkien. Open Court. ISBN 978-0-8126-9569-4. Gandalf reappears to warn all of an approaching army of goblins and Wargs. The dwarves, men and elves band together, but only with the timely arrival of the eagles and Beorn do they win the climactic Battle of Five Armies. Thorin is fatally wounded and reconciles with Bilbo before he dies.Cut the second half of the Thorin and Thranduil scene to remove the weird “serpent mouth” transformation. Thus, Thranduil’s response to the insult is removed which originally gave context to it, giving even more reason for me to show the above translated subtitle.

The truth is that in this book a number of good things, never before united, have come together: a fund of humour, an understanding of children, and a happy fusion of the scholar's with the poet's grasp of mythology... The professor has the air of inventing nothing. He has studied trolls and dragons at first hand and describes them with that fidelity that is worth oceans of glib "originality." Auden, W. H. (31 October 1954). "The Hero is a Hobbit". The New York Times . Retrieved 28 July 2008. Amison, Anne (July 2006). "An unexpected Guest. influence of William Morris on J. R. R. Tolkien's works". Mythlore (95/96). That said, you could say that the silhouette is a victim of its own nebulous triumph. It’s so common that it can be tough to make it original these days. Designers who succeed often play it against the cover typography (as in David Nicholls’ Us) or make the silhouette itself exceedingly arresting (as in Han Kang’s The Vegetarian.) Kocher, Paul (1974). Master of Middle-earth, the Achievement of J. R. R. Tolkien. Penguin Books. pp.22–23.

September 2023 The edit has been UPDATED, see the change log in the main Google Drive to read the full list of new edits. Enjoy! a b Hammond, Wayne G.; Anderson, Douglas Allen (1993). J. R. R. Tolkien: A Descriptive Bibliography. Winchester: St. Paul's Bibliographies [u.a.] ISBN 978-0-938768-42-5. Tolkien's use of descriptive names such as Misty Mountains and Bag End echoes the names used in Old Norse sagas. [30] The names of the dwarf-friendly ravens, such as Roäc, are derived from the Old Norse words for "raven" and "rook", [31] but their peaceful characters are unlike the typical carrion birds from Old Norse and Old English literature. [32] Tolkien is not simply skimming historical sources for effect: the juxtaposition of old and new styles of expression is seen by the Tolkien scholar Tom Shippey as one of the major themes explored in The Hobbit. [33] Maps figure in both saga literature and The Hobbit. [30] Several of the author's illustrations incorporate Anglo-Saxon runes, an English adaptation of the Germanic runic alphabets. Placement is the key to this kind of typography, which allows the title to be a direct part of the design. Sometimes this might mean that it’s is obscured by the cover design, as in Brett Reetz’s Swimmer. Other times, it means that the title is an extension of the scenery. Look at the cover for The Girl on the Train, for instance: its combined elements create a sense of motion — replicating the point-of-view of the title character, peering out the window as the scenery races by. a b Croft, Janet Brennan (2002). "The Great War and Tolkien's Memory, an examination of World War I themes in The Hobbit and The Lord of the Rings". Mythlore. 23 (4, article 2).

Suspense and mystery books use this technique to great effect. By giving you only a glimpse of the whole scene, the designer makes readers wonder where the rest of the picture might just take them. And you can bet that it won’t be Kansas. Genre-specific covers 11. Fantasy covers show off (or strongly imply) the fantastical. Cover designs by: Joel Tippie (top), Richard Augustus (bottom left), Marc Simonetti (bottom right). The Lord of the Rings contains several more supporting scenes, and has a more sophisticated plot structure, following the paths of multiple characters. Tolkien wrote the later story in much less humorous tones and infused it with more complex moral and philosophical themes. The differences between the two stories can cause difficulties when readers, expecting them to be similar, find that they are not. [121] Many of the thematic and stylistic differences arose because Tolkien wrote The Hobbit as a story for children, and The Lord of the Rings for the same audience, who had subsequently grown up since its publication. Further, Tolkien's concept of Middle-earth was to continually change and slowly evolve throughout his life and writings. [122] In education [ edit ]

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Carpenter, Humphrey (23 November 2003). "Review: Cover book: Tolkien and the Great War by John Garth". The Sunday Times. This is the sort of Disneyfied cover that would have horrified Tolkien, but it’s been so popular a Jubilee edition was issued in 2010, 60 years after the first Dutch translation of The Hobbit. Portuguese Cover 1962 HarperCollins Alan Lee illustrations, 2000, published for Dealerfield Ltd. Pictorial laminated boards. Almost certainly just a variant of 1997 Alan Lee. Gandalf departs and his entire side quest to the High Fells and Dol Guldur is removed, with him only returning right before the final battle to warn of an Orc army. That way, his disappearance still receives some form of explanation and weight, it was not for nothing. Ah, the silhouette. There’s a reason why it’s so ubiquitous on covers: it’s really, really effective at getting a reader’s attention. Who wouldn’t glimpse a shadowy figure and automatically go, “Who’s THAT?”