"It is precisely against the darkness of the world that comedy arises, and it is best when that is not hidden." JRRT to R. Unwin Just like Tolkien's first reviewer, academic studies have tended to overlook the presence of humour in Tolkien's work and the effect of his work to inspire humour. This volume more than compensates for this oversight.

The first form of the myths and legends in Tolkien's conception of the Middle Kingdom features the adventures of Eriol, and the tales of Beren and Luthien, Turin and the dragon, the necklace of the dwarves, and the fall of Gondolin.

NOMINATED FOR THE 2002 HUGO AND LOCUS AWARD When J.R.R. Tolkien created the extraordinary world of Middle-earth and populated it with fantastic, archetypal denizens, reinventing the heroic quest, the world hardly noticed. Sales of The Lord of the Rings languished for the better part of two decades, until the Ballantine editions were published here in America. By late 1950s, however, the books were selling well and beginning to change the face of fantasy. . . . forever. A generation of students and aspiring writers had their hearts and imaginations captured by the rich tapestry of the Middle-earth mythos, the larger-than-life heroic characters, the extraordinary and exquisite nature of Tolkien's prose, and the unending quest to balance evil with good. These young readers grew up to become the successful writers of modern fantasy. They created their own worlds and universes, in some cases their own languages, and their own epic heroic quests. And all of them owe a debt of gratitude to the works and the author who first set them on the path. In Meditations on Middle-earth, sixteen bestselling fantasy authors share details of their personal relationships with Tolkien's mythos, for it inspired them all. Had there been no Lord of the Rings, there would also have been no Earthsea books by Ursula K. Le Guin; no Song of Ice and Fire saga from George R. R. Martin; no Tales of Discworld from Terry Pratchett; no Legends of Alvin Maker from Orson Scott Card. Each of them was influenced by the master mythmaker, and now each reveals the nature of that influence and their personal relationships with the greatest fantasy novels ever written in the English language. If you've never read the Tolkien books, read these essays and discover the depthy and beauty of his work. If you are a fan of The Lord of the Rings, the candid comments of these modern mythmakers will give you new insight into the subtlety, power, and majesty of Tolkien's tales and how he told them. Meditations on Middle-Earth is a 2002 Hugo Award Nominee for Best Related Work.

Laughing Shall I Die explores the Viking fascination with scenes of heroic death. The literature of the Vikings is dominated by famous last stands, famous last words, death songs, and defiant gestures, all presented with grim humor. Much of this mindset is markedly alien to modern sentiment, and academics have accordingly shunned it. And yet, it is this same worldview that has always powered the popular public image of the Vikings—with their berserkers, valkyries, and cults of Valhalla and Ragnarok—and has also been surprisingly corroborated by archaeological discoveries such as the Ridgeway massacre site in Dorset. Was it this mindset that powered the sudden eruption of the Vikings onto the European scene? Was it a belief in heroic death that made them so lastingly successful against so many bellicose opponents? Weighing the evidence of sagas and poems against the accounts of the Vikings’ victims, Tom Shippey considers these questions as he plumbs the complexities of Viking psychology. Along the way, he recounts many of the great bravura scenes of Old Norse literature, including the Fall of the House of the Skjoldungs, the clash between the two great longships Ironbeard and Long Serpent, and the death of Thormod the skald. One of the most exciting books on Vikings for a generation, Laughing Shall I Die presents Vikings for what they were: not peaceful explorers and traders, but warriors, marauders, and storytellers.

One wonders whether there really is a need for another volume of essays on the works of J. R. R. Tolkien. Clearly there is. Especially when the volume takes new directions, employs new approaches, focuses on different texts, or reviews and then challenges received wisdom. This volume intends to do all that. The entries on sources and analogues in The Lord of the Rings, a favorite topic, are still able to take new directions. The analyses of Tolkien’s literary art, less common in Tolkien criticism, focus on character—especially that of Tom Bombadil—in which two different conclusions are reached. But characterization is also seen in the light of different literary techniques, motifs, and symbols. A unique contribution examines the place of linguistics in Tolkien’s literary art, employing Gricean concepts in an analysis of The Lay of the Children of Húrin. And a quite timely essay presents a new interpretation of Tolkien’s attitude toward the environment, especially in the character of Tom Bombadil. In sum, this volume covers new ground, and treads some well-worn paths; but here the well-worn path takes a new turn, taking not only scholars but general readers further into the complex and provocative world of Middle-earth, and beyond.

J. R. R. Tolkien's Lord of the Rings has long been acknowledged as the gold standard for fantasy fiction, and the recent Oscar-winning movie trilogy has brought forth a whole new generation of fans. Many Tolkien enthusiasts, however, are not aware of the profoundly religious dimension of the great Ring saga. In The Battle for Middle-earth Fleming Rutledge employs a distinctive technique to uncover the theological currents that lie just under the surface of Tolkien's epic tale. Rutledge believes that the best way to understand this powerful "deep narrative" is to examine the story as it unfolds, preserving some of its original dramatic tension. This deep narrative has not previously been sufficiently analyzed or celebrated. Writing as an enthusiastic but careful reader, Rutledge draws on Tolkien's extensive correspondence to show how biblical and liturgical motifs shape the action. At the heart of the plot lies a rare glimpse of what human freedom really means within the Divine Plan of God. The Battle for Middle-earth surely will, as Rutledge hopes, "give pleasure to those who may already have detected the presence of the sub-narrative, and insight to those who may have missed it on first reading."