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First ever critical study of Tolkien’s little-known essay, which
reveals how language invention shaped the creation of Middle-earth
and beyond, to George R R Martin’s Game of Thrones. J.R.R.
Tolkien’s linguistic invention was a fundamental part of his
artistic output, to the extent that later on in life he attributed
the existence of his mythology to the desire to give his languages
a home and peoples to speak them. As Tolkien puts it in ‘A Secret
Vice’, ‘the making of language and mythology are related
functions’. In the 1930s, Tolkien composed and delivered two
lectures, in which he explored these two key elements of his
sub-creative methodology. The second of these, the seminal Andrew
Lang Lecture for 1938–9, ‘On Fairy-Stories’, which he
delivered at the University of St Andrews in Scotland, is well
known. But many years before, in 1931, Tolkien gave a talk to a
literary society entitled ‘A Hobby for the Home’, where he
unveiled for the first time to a listening public the art that he
had both himself encountered and been involved with since his
earliest childhood: ‘the construction of imaginary languages in
full or outline for amusement’. This talk would be edited by
Christopher Tolkien for inclusion as ‘A Secret Vice’ in The
Monsters and the Critics and Other Essays and serves as the
principal exposition of Tolkien’s art of inventing languages.
This new critical edition, which includes previously unpublished
notes and drafts by Tolkien connected with the essay, including his
‘Essay on Phonetic Symbolism’, goes some way towards re-opening
the debate on the importance of linguistic invention in Tolkien’s
mythology and the role of imaginary languages in fantasy
literature.
Fimi explores the evolution of Tolkien's mythology throughout his
lifetime by examining how it changed as a result of his life story
and contemporary cultural and intellectual history. This new
approach and scope brings to light neglected aspects of Tolkien's
imaginative vision and contextualizes his fiction.
First ever critical study of Tolkien’s little-known essay, which
reveals how language invention shaped the creation of Middle-earth
and beyond, to George R R Martin’s Game of Thrones. J.R.R.
Tolkien’s linguistic invention was a fundamental part of his
artistic output, to the extent that later on in life he attributed
the existence of his mythology to the desire to give his languages
a home and peoples to speak them. As Tolkien puts it in ‘A Secret
Vice’, ‘the making of language and mythology are related
functions’. In the 1930s, Tolkien composed and delivered two
lectures, in which he explored these two key elements of his
sub-creative methodology. The second of these, the seminal Andrew
Lang Lecture for 1938–9, ‘On Fairy-Stories’, which he
delivered at the University of St Andrews in Scotland, is well
known. But many years before, in 1931, Tolkien gave a talk to a
literary society entitled ‘A Hobby for the Home’, where he
unveiled for the first time to a listening public the art that he
had both himself encountered and been involved with since his
earliest childhood: ‘the construction of imaginary languages in
full or outline for amusement’. This talk would be edited by
Christopher Tolkien for inclusion as ‘A Secret Vice’ in The
Monsters and the Critics and Other Essays and serves as the
principal exposition of Tolkien’s art of inventing languages.
This new critical edition, which includes previously unpublished
notes and drafts by Tolkien connected with the essay, including his
‘Essay on Phonetic Symbolism’, goes some way towards re-opening
the debate on the importance of linguistic invention in Tolkien’s
mythology and the role of imaginary languages in fantasy
literature.
Runner-up of the Katherine Briggs Folklore Award 2017 Winner of the
Mythopoeic Scholarship Award for Myth & Fantasy Studies 2019
This book examines the creative uses of "Celtic" myth in
contemporary fantasy written for children or young adults from the
1960s to the 2000s. Its scope ranges from classic children's
fantasies such as Lloyd Alexander's The Chronicles of Prydain and
Alan Garner's The Owl Service, to some of the most recent,
award-winning fantasy authors of the last decade, such as Kate
Thompson (The New Policeman) and Catherine Fisher (Darkhenge). The
book focuses on the ways these fantasy works have appropriated and
adapted Irish and Welsh medieval literature in order to highlight
different perceptions of "Celticity." The term "Celtic" itself is
interrogated in light of recent debates in Celtic studies, in order
to explore a fictional representation of a national past that is
often romanticized and political.
Fimi explores the evolution of Tolkien's mythology throughout his
lifetime by examining how it changed as a result of his life story
and contemporary cultural and intellectual history. This new
approach and scope brings to light neglected aspects of Tolkien's
imaginative vision and contextualizes his fiction.
Focusing on representations of Celtic motifs and traditions in
post-1980s adult fantasy literature, this book illuminates how the
historical, the mythological and the folkloric have served as
inspiration for the fantastic in modern and popular culture of the
western world. Bringing together both highly-acclaimed works with
those that have received less critical attention, including French
and Gaelic fantasy literature, Imagining the Celtic Past in Modern
Fantasy explores such texts as Susanna Clarke's Jonathan Strange
& Mr Norrell, Alan Garner's Weirdstone trilogy, the Irish
fantasies of Jodi McIsaac, David Gemmell's Rigante novels, Patricia
Kennealy-Morrison Keltiad books, as well as An Sgoil Dhubh by Iain
F. MacLeoid and the Vertigen and Frontier series by Lea Silhol.
Lively and covering new ground, the collection examines topics such
as fairy magic, Celtic-inspired worldbuilding, heroic patterns,
classical ethnography and genre tropes alongside analyses of the
Celtic Tarot in speculative fiction and Celtic appropriation in fan
culture. Introducing a nuanced understanding of the Celtic past, as
it has been informed by recent debates in Celtic studies, this
wide-ranging and provocative book shows how modern fantasy is
indebted to medieval Celtic-language texts, folkloric traditions,
as well as classical sources.
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