Reviews

Volume 28

Number 1

Article 12

10-15-2009

Reviews

Reviews

Emily E. Auger

Independent Scholar

Joe R. Christopher

(emeritus) Tarleton State University, Stephenville, TX

Janet Brennan Croft

University of Oklahoma

Jason Fisher

Independent Scholar

John D. Rateliff

Independent Scholar

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Recommended Citation

Recommended Citation

Auger, Emily E.; Christopher, Joe R.; Croft, Janet Brennan, et al. (2009) "Reviews," Mythlore: A Journal of

J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 28 : No. 1 , Article 12.

Available at: http://dc.swosu.edu/mythlore/vol28/iss1/12

This Book Reviews is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected].

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Abstract

Abstract

Tales Before Narnia: The Roots of Modern Fantasy and Science Fiction. Ed. Douglas A. Anderson.

Reviewed by John D. Rateliff.

The Magician's Book: A Skeptic's Adventures In Narnia. Laura Miller. Reviewed by Joe R. Christopher.

Projecting Tolkien's Musical Worlds: A Study of Musical Affect in Howard Shore's Soundtrack to Lord of

the Rings. Matthew Young. Reviewed by Jason Fisher.

Esotericism, Art, and Imagination. Eds. Arthur Versluis, Lee Irwin, John Richards, and Melinda Weinstein.

Reviewed by Emily E. Auger.

The Annotated Wind in the Willows. By Kenneth Grahame; introduction by Brian Jacques; edited with a

preface and notes by Annie Gauger. Reviewed by Janet Brennan Croft.

The Wind in the Willows: An Annotated Edition. By Kenneth Grahame; edited by Seth Lerer. Reviewed by

Janet Brennan Croft.

The Illustrators of The Wind in the Willows, 1908-2008. Carolyn Hares-Stryker. Reviewed by Janet Brennan

Croft.

Truths Breathed Through Silver: The Inklings' Moral and Mythopoeic Legacy. Ed. Jonathan B. Himes Joe

R. Christopher, Salwa Khoddam. Reviewed by John D. Rateliff.

Tolkien Studies: An Annual Scholarly Review. Volume vi. Edited by Douglas A. Anderson, Michael D.C.

Drout, and Verlyn Flieger. Reviewed by Janet Brennan Croft.

This book reviews is available in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: https://dc.swosu.edu/mythlore/vol28/iss1/12

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E d. D o u g la s A. A n d e rs o n . N e w York: D el R ey, 2008. xi + 339 p p . T ra d e P a p e rb a c k . $15.00. ISBN 978-0-345-49890-8.

F o l l o w i n g i n t h e f o o t s t e p s o f T a l e s B e f o r e T o l k i e n [2 0 0 3 ]1 - a n a d m ira b le co llectio n w h ic h b r o u g h t to g e th e r sto rie s b y w rite rs w h o h a d in flu e n c e d T o lk ien , o r w h o m h e a d m ire d , o r w h o a n tic ip a te d h is w o rk in so m e w a y — Tales

Before N arnia casts sim ila r lig h t o n th e a n te c e d e n ts o f C.S. L e w is 's c re a tiv e w o rk .

T h e fo cu s h e re is m o r e n a r r o w ly d ra w n , w ith L e w is 's specific c o n n e c tio n w ith e a c h o f th e s e tw e n ty ite m s c a re fu lly la id o u t in th e h e a d n o te to e a c h in d iv id u a l p o e m o r tale. D e s p ite th e title, it m u s t b e s tre s s e d th a t th is b o o k is n o t lim ite d to N a rn ia , o r e v e n N a rn ia -c e n tric , b u t (as th e In tro d u c tio n c le a rly sets o u t) in c lu d e s w o rk s re le v a n t to th e w h o le o f L e w is 's fiction, w h ic h A n d e rs o n in te rp re ts b r o a d ly to in c lu d e fo u r te e n o f L e w is 's b o o k s, fr o m The P ilgrim 's Regress a n d th e sp a c e trilo g y to Till We Have Faces, The Great Divorce, a n d e v e n The Screwtape

Letters.

In te re stin g ly , th e a r r a n g e m e n t h e re is c h ro n o lo g ic a l - n o t in th e o r d e r in w h ic h th e s e sto rie s w e re p u b lis h e d , b u t th e o r d e r in w h ic h L e w is first e n c o u n te re d th e m , in so fa r as th is can b e d e te r m in e d . T h u s th e c o lle c tio n 's first e n tr y is th e p o e m " T e g n e r's D ra p a " [1849] b y L o n g fe llo w ,2 w h ic h L e w is r e a d w h e n e ig h t y e a rs o ld a n d in h is a u to b io g ra p h y h e ld h a d b e e n h is first in tro d u c tio n to " th e n o r th e r n th in g ." A lth o u g h u n o rth o d o x , I th in k th is sy s te m is

1 In addition to Tales Before Tolkien, w hich dem onstrates the great diversity in the fantasy tradition before Tolkien's arrival on the scene, see also A nderson's similar collections

Seekers of Dreams: Masterpieces of Modern Fantasy [2005], w hich ranges from as far back as

William Morris and Bram Stoker to as contem porary as Jonathan Carroll and Verlyn Flieger, and H.P. Lovecraft's Favorite Weird Tales [2005], w hich brings together Lovecraft's personal favorites from am ong both literary and pu lp horror stories.

2 W hich contains the famous lines "I heard a voice, that cried, / 'Balder the Beautiful / Is dead, is dead!'"

p ro v e n w h o lly effectiv e b y th e re s u lts , p u tt in g e a rly a n d e n d u r in g in flu e n c e s u p ­ fr o n t in th e b o o k a n d th o s e w h ic h d e riv e m o r e fr o m p e rs o n a l a c q u a in ta n c e in a d u lth o o d to w a r d s th e la tte r h a lf o f th e v o lu m e .

A s fo r th e sto rie s th e m se lv e s, th e p a g a n N o r th as m e d ia te d th r o u g h L o n g fe llo w is im m e d ia te ly fo llo w e d b y E. N e sb it, a c h ild h o o d fa v o rite o f L e w is 's a n d p e r h a p s the m a jo r in flu e n c e o n N a rn ia . In d e e d , th e s to ry in c lu d e d h e re , "T h e A u n t a n d A m a b e l" [1909], is so tr a n s p a r e n tly a so u rc e fo r The Lion, the W itch and

the Wardrobe th a t it te lls o f a little g irl w h o e n te r s a n o ld w a rd ro b e a n d d isc o v e rs

a m a g ic a l w o rld w ith in , w ith h e r s ta rtin g p o in t b e in g k n o w n th e r e as B ig w a rd ro b e in s p a re r o o m (cf. M r. T u m n u s 's m is ta k in g th e n a m e s o f L u c y 's h o m e as 'S p a re O o m ' a n d 'W a r D ro b e '). N e x t c o m es th e classic H a n s C h ris tia n A n d e rs e n ta le The Snow Queen [1845],3 in w h ic h th e ta ll w h ite q u e e n o f th e sn o w c a rrie s a w a y a cy n ica l b o y o n h e r m a g ic a l sle d g e to h e r p a la c e o f ice, th e u n d o u b te d in s p ira tio n fo r N a r n ia 's W h ite W itch. T h is in t u r n is fo llo w e d b y a n e x c e rp t fro m G e o rg e M a c D o n a ld 's Phantastes, th e first b o o k L e w is r e a d b y th e w rite r h e c o n s id e re d " m y m a s te r." U n fo rtu n a te ly , w h ile Phantastes is p ro b a b ly M a c D o n a ld 's g re a te s t w o rk , th e e x c e rp t g iv e n h e r e 4 d o e s n o t fu lly d is p la y its m e rits, b e in g a n in s e t s to ry re a d b y th e m a in c h a ra c te r a t o n e p o in t; th e o p e n in g se c tio n o r c lo s in g c h a p te rs o f th e n o v e l w o u ld h a v e b e tte r c o n v e y e d M a c D o n a ld a t h is best. A fte r th e M a c D o n a ld co m es o n e o f th e classic lite r a ry fa iry -ta le s, o r m a rc h e n , o f G e rm a n R o m a n tic ism , F rie d ric h d e la M o tte F o u q u e 's U ndine [1811], th e tale o f th e tra g ic lo v e b e tw e e n a h u m a n k n ig h t a n d a b e a u tifu l b u t so u l-le s s e le m e n ta l, th e w a te r- s p ir it U n d in e .

N e x t u p com e tw o Screwtape a n te c e d e n ts . T h e first is e x c e rp te d fro m a b o o k (Letters fr o m Hell) fo r th e E n g lish tr a n s la tio n o f w h ic h G e o rg e M a c D o n a ld p r o v id e d th e I n tro d u c tio n [1884]; th e H e ll d e s c rib e d th e r e in r a th e r re s e m b le s th e g re y s u b u r b s o f The Great Divorce. T h e se c o n d is m o r e o b liq u e , a n d a g o o d e x a m p le o f A n d e r s o n 's d e te c tiv e w o rk . In th e a fo re m e n tio n e d In tro d u c tio n , M a c D o n a ld m e n tio n s h a v in g h e a r d o f a b o o k fr o m th e 1650s c a lle d Messages fro m

H ell o r Letters fr o m a Lost Soul. M a c D o n a ld a d m its to n e v e r h a v in g se e n th e b o o k ,

3 Best know n to m any of m y generation from the aw ard-w inning anim ated version, m uch adm ired b y the great Japanese anim ator Hayao Miyazaki, that was show n on television throughout the 1960s but afterw ards dropped out of view. I suspect I am only one am ong m any w hose first encounter w ith W agner's m usic w as through this feature-length cartoon (it was years before I discovered that w hat I knew as "The Snow Q ueen's Theme" was better know n as "The Ride of the Valkyries"), m ade in Russia in 1957 an d dubbed into English in 1959. [For m ore on the influence of A ndersen's Snow Q ueen on the White Witch, see Jennifer L. Miller's article in this issue. -Ed.]

4 The same excerpt has been published separately once before, by Lin Carter in his 1973 anthology Great Short Novels of Adult Fantasy, Volume II (part of Ballantine's acclaimed A dult Fantasy Series), w here Carter gives it the nam e "The W om an in the Mirror."

n o r w a s L e w is h im s e lf e v e r ab le to tra c e it. A n d e rs o n , h o w e v e r, h a s tra c k e d d o w n a S c re w ta p is h se t o f d ia lo g u e s ca lle d Infernal Conference: or, Dialogues o f

Devils, a o n c e fa irly w e ll- k n o w n b o o k fr o m 1772, a n d r e p r in ts a liv e ly e x c h a n g e

fr o m it th a t is, a t th e least, a n a n tic ip a tio n a n d p a ra lle l to L e w is 's book.

T h e ta le s th a t fo llo w fro m th is p o in t fall fo r th e m o s t p a r t in to tw o cate g o ries: sto rie s b y w rite rs L e w is a d m ir e d b u t w h o w e re n o t d ire c t in flu e n c e s o n h is o w n fiction, a n d p iece s b y w r ite r s w ith w h o m h e h a d so m e s tro n g p e rs o n a l c o n n ectio n . In th e first b lo c k w e fin d Scott, D ick en s, M o rris, S tev en so n , K ip lin g , a n d C h e ste rto n . In th e se c o n d g r o u p w e fin d h is fe llo w In k lin g s O w e n B arfield , J.R.R. T o lk ien , a n d C h a rle s W illiam s, as w e ll as R o g e r L a n c e ly n G re e n a n d W illia m L in d s a y (Bill) G re sh a m .

T o d e a l w ith th e first g ro u p first, h e re w e h a v e a h a lf -d o z e n a u th o r s p o p u la r in th e ir life tim e s (in m o s t cases, w ild l y p o p u la r ) b u t w h o , w ith th e e x c e p tio n o f D ick en s, h a v e fa lle n in critical e s te e m sin ce th e ir d e a th s - u n fa irly , L e w is th o u g h t. A n d e rs o n g iv e s u s a g h o s t s to r y a p ie c e b y th r e e o f th e s e m e n , e a c h o f w h ic h s tro n g ly c o n v ey s th e c h a ra c te ristic fla v o r o f its a u th o r: S co tt's "T h e T a p e s trie d C h a m b e r" [1828] is as re a listic as p o ssib le , D ic k e n s's "T h e S to ry o f th e G o b lin s W h o S tole a S ex to n " [1837] fa n c ifu l a n d com ic w ith a stro n g ly d r a w n m o ra l, a n d S te v e n s o n 's "T h e W aif W o m a n " [1892], th e m o s t in te re s tin g o f th e th re e , a v iv id sa g a -ta le o f th e v e n g e fu l d e a d se t in 1 0 th -c e n tu ry Ic e la n d . In M o r ris 's "A K in g 's L e sso n " [1886] w e h a v e a s o rt o f so c ia list fab le c ritiq u in g fe u d a lis m , w h ile C h e s te r to n 's "T h e C o lo u re d L a n d s " [1925]5 is a n e x tra v a g a n t little C h e s te r to n ia n p a ra b le o f "M o o re e ffo c " c e le b ra tin g w h a t T o lk ie n called R eco v ery . F in ally , K ip lin g 's "T h e W is h H o u s e " [1924], a lth o u g h m a r r e d b y h is d e c is io n to w rite m u c h o f it in S u ssex d ia lo g u e , is a re m a rk a b le s to r y th a t a n tic ip a te s b y a d e c a d e o r so C h a rle s W illia m s 's ch ief th e o lo g ic a l te a c h in g , th e d o c trin e o f e x c h a n g e —i.e., th a t w e c o u ld lite ra lly " b e a r o n e a n o th e r 's b u r d e n 's ," a g re e in g to feel a n o th e r 's p a in o r fe a r so th a t th e o rig in a l su ffe re r b e s p a r e d th a t a n g u is h . K ip lin g w o rk s th is o u t in te r m s o f fo lk -lo re r a th e r th a n th e o lo g y , b u t it is to b e h o p e d th a t so m e o n e w ill in v e s tig a te th e p o s s ib ility th a t W illia m s m ig h t h a v e o rig in a lly d e riv e d h is id e a fro m p o p u la r fictio n r a th e r th a n th e o lo g ic a l sp e c u la tio n .

In th e se c o n d g ro u p , B a rfie ld 's "T h e C h ild a n d th e G ia n t" [1930] is an A n th ro p o s o p h ic a l fa iry -ta le , a n e n ig m a tic little s to r y w ith a n u n d e r ly in g m e s s a g e a b o u t se lf-re a liz a tio n . W illia m s 's " E t in Sem piternum Pereant" ("A n d M a y T h e y Be F o re v e r D a m n e d " ) [1935] fe a tu re s L o rd A rg la y fr o m M a n y

D im ensions [1931] e n c o u n te rin g a d a m n e d so u l in a n a b a n d o n e d c o u n tr y c o ttag e

w h ic h h a s a b a s e m e n t sta ir le a d in g d ire c tly in to h ell; it re a d s r a th e r like

5 Note that this is the title tale w hich gave its nam e to the posthum ous C hesterton collection [1938] from w hich Tolkien drew all his C hesterton quotes w hen w riting "O n Fairy-Stories."

W illia m s 's a tte m p t to w rite a W m . H o p e H o d g s o n sto ry .6 T h o se M y th o p o e ic S o ciety m e m b e rs w h o e n jo y W illia m s 's fictio n w ill w e lc o m e h a v in g h is o n ly s h o r t s t o r y —so fa r as I k n o w , o n ly r e p r in te d o n c e b efo re, in B oyer & Z a h o rs k i's

Visions o f Wonder: A n A n th o lo g y o f Christian Fantasy [1981]—a v a ila b le a g a in . A n d

as fo r T o lk ie n 's "T h e D ra g o n 's V isit" [1937], th is is a n u n a llo y e d p le a s u re : o n e of T o lk ie n 's b e s t p o e m s , a v a ila b le a g a in in its o rig in a l fo rm , in a fo n t size la rg e r th a n c o u ld b e s q u e e z e d in to th e m a r g in s o f The A n n o ta ted H obbit (re v ise d e d itio n ).

T h e o n e p ie c e p u b lis h e d in Tales Before Narnia w h ic h h a s n e v e r seen p r i n t b e fo re is a c h a p te r fro m R o g e r L a n c e ly n G re e n 's The W ood That Time Forgot [circa 1945], w h ic h L e w is a c k n o w le d g e d as o n e o f th e d ire c t in s p ira tio n s of N a rn ia . D e sp ite r e p e a te d a tte m p ts , G re e n w a s n e v e r ab le to fin d a p u b lis h e r fo r h is sto ry , m a k in g th is its first a p p e a ra n c e . Its N a r n ia n a ffin itie s a re n o t v e ry e v id e n t fro m th is b rie f e x c e rp t, b u t p e r h a p s its a p p e a ra n c e h e re w ill h e lp le a d to p u b lic a tio n o f th e w h o le a t lo n g last, so th a t th e d e ta ils o f G re e n 's c o n trib u tio n to L e w is 's series can a t la st b e m a d e clear.

P e rh a p s th e m o s t s u r p r is in g fig u re in c lu d e d in th is co llectio n fro m a m o n g L e w is 's a c q u a in ta n c e s is W illia m L in d s a y G re sh a m , Jo y D a v id m a n 's o th e r h u s b a n d , a n d th e fa th e r o f D o u g la s a n d D a v id (w h o , as L e w is 's ste p so n s, u ltim a te ly in h e r ite d th e L e w is E state). It is u s u a lly o v e rlo o k e d in L ew is b io g ra p h ie s , in w h ic h G re s h a m te n d s to m a k e a b rie f o ff-sta g e a p p e a ra n c e as a s o rt o f sta g e v illain , th a t Bill G re s h a m w a s a ta le n te d w rite r in h is o w n rig h t, a fr ie n d o f R o b e rt H e in le in 's a n d m e m b e r o f th e scien ce fictio n c o m m u n ity o f h is tim e. A s fo r th e s to ry itself, "T h e D re a m D u s t F a c to ry " [1947] c o m b in e s T o lk ie n 's " e s c a p e o f th e p ris o n e r" w ith a s o rt o f B iercian " O w l C re e k B rid g e " m o tif in w h ic h a b r u ta liz e d c o n v ic t e s c a p e s in to h is im a g in a tio n to a v o id th e h o r r o r s of h is situ a tio n , o n ly to lose to u c h w ith s o r d id re a lity a lto g e th e r in th e e n d (th e re 's a re a s o n th e y u s e d to call it " s tir-c ra z y " ).

F in ally , w e h a v e tw o sto rie s w h ic h d id s tro n g ly in flu e n c e L ew is. In " F irst W h is p e r o f The W ind in the W illow s" [1907] w e h a v e th e o rig in a l le tte rs w ritte n b y K e n n e th G ra h a m e to h is so n " M o u s e " te llin g th e fa m ilia r sto ry fro m th e p o in t o f T o a d 's im p ris o n m e n t to th e e n d , re c o u n te d h e re w ith g re a te r im m e d ia c y a n d in m u c h less p o lis h e d p ro s e th a n th e p u b lis h e d b o o k . F irst p u b lis h e d in a little b o o k le t in 1944,7 a lm o s t a d e c a d e a fte r G r a h a m e 's d e a th , th is e a rlie s t fo rm o f th e s to ry h a s lo n g b e e n u n a v a ila b le ; its re p r in tin g h e re re in fo rc e s th e p o in t m a d e b y A n d e rs o n o f G ra h a m e 's in flu e n c e o n N a r n ia 's T alk in g

6 See in particular The House on the Borderland [1908].

7 An event noted b y J.R.R. Tolkien at the time, w ho w rote in a letter that he "m ust get hold of a copy" (Letters of J.R.R.Tolkien, page 90).

A n im a ls, e sp e c ia lly th e B eav ers in The Lion, the W itch and the Wardrobe.8 A n d in C.F. H a ll's "T h e M a n W h o L iv e d B a c k w a rd s" [1938] w e h a v e a re a l d isco v ery . L e w is a c k n o w le d g e d in h is p re fa c e to The Great Divorce th a t o n e id e a h e u s e d in h is b o o k cam e fro m a scien ce fictio n s to ry h e 'd r e a d se v e ra l y e a rs b efo re, th e title a n d a u th o r o f w h ic h h e n o lo n g e r re m e m b e r e d . In a re m a rk a b le fe a t o f re s e a rc h , a n d a re a l c o n trib u tio n to L e w is s tu d ie s, A n d e rs o n h a s f o u n d th e s to ry a n d h e re m a k e s it a v a ila b le to a w id e a u d ie n c e fo r th e first tim e .9

T h e in c lu s io n of H a ll's a n d G re e n 's sto rie s a lo n e s h o u ld m a r k th is b o o k as o n e e v e ry o n e s e rio u s ly in te re s te d in C.S. L e w is 's w o rk w ill w a n t to b u y , w h ile th e in c lu sio n o f th e G ra h a m e a n d th e T o lk ie n s h o u ld e x te n d th e b o o k 's a p p e a l to all lo v e rs o f fa n ta sy . A n d w h ile it's te m p tin g to se c o n d -g u e s s th e se le c tio n —w h y a re H . R id e r H a g g a r d a n d D a v id L in d s a y n o t re p r e s e n te d ? 10 11—I'm s u r e th a t n o lo v e r of th e In k lin g s ' w o rk s w ill b e fa m ilia r w ith all th e ta le s A n d e rs o n h a s g a th e r e d to g e th e r h ere, m a n y of w h ic h h e h a s re s c u e d fro m o b sc u rity . A fin al se llin g p o in t, if o n e is n e e d e d , co m es in th e fo rm of th e h ig h ly u s e f u l R e c o m m e n d e d R e a d in g sectio n a t th e e n d , w h ic h g iv e s b rie f e v a lu a tio n s a n d h ig h ly selectiv e b ib lio g ra p h ie s o f th e a u th o r s in c lu d e d in th is v o lu m e (all sav e L o n g fe llo w ) a n d m a n y m o r e b e sid e s, in m a n y cases e n liv e n e d w ith n o te s r e g a r d in g L e w is 's o p in io n of o r d e b t to each . T h is e le v e n -p a g e sectio n is p a c k e d w ith in fo rm a tio n , a g o o d e x a m p le of A n d e r s o n 's h a llm a r k a b ility to s a y a lot, in h ig h ly re a d a b le style, in v e ry little sp ace. D a re w e h o p e fo r a th ir d v o lu m e in th e series?11

—Jo h n D. R ateliff

8[See the review later in this issue of the N orton annotated Wind in the Willows, w hich also reprints these letters. -Ed.]

9 This has the added effect that we can now not only see how H all's story influenced The

Great Divorce b u t also discover its im pact on The Dark Tower as well in that w ork's opening

discussion of the impracticalities of physical time travel.

10 Presum ably they are omitted, despite their obvious influence on Lewis, because both are already covered in A nderson's Tales Before Tolkien. If we think of the tw o books as com panion volumes, as A nderson suggests in his Introduction to Tales Before Narnia, then the desire to avoid duplication makes sense.

11 One m inor final quibble: though I by no m eans assume that a cover blurb reflects the views of the book's author, the back cover copy's claim that Lewis's "influence on m odern fantasy, through his beloved N arnia books, is second only to Tolkien's ow n" seems to me to rather overstate Lewis's legacy.

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L a u ra M iller. N e w York: L ittle, B ro w n , 2008. H a rd c o v e r. viii+ 312pp. $25.99. ISBN 978-0­ 316-01763-3.

L a u r a M i l l e r 's b o o k i s a w e l l - w r i t t e n , e x t e n d e d " f a m i l i a r e s s a y " in its d is c u s s io n o f L e w is 's N a rn ia b o o k s, w ith m a n y re la te d m a te ria ls . M o re ex actly , it is a se rie s o f fa m ilia r e s s a y s —th e c h a p te rs are p a rtia lly in d e p e n d e n t d is c u ssio n s. A n d th e w o r d skeptic in th e su b title is im p o rta n t. M ille r w a s ra is e d R o m a n C ath o lic, b u t it d i d n 't ta k e . She s tro n g ly re je c te d h e r re lig io u s b a c k g r o u n d —a n d also re je c te d th e N a r n ia b o o k s (w h ic h sh e h a d lo v ed ) w h e n th e ir re lig io u s su b te x t w a s p o in te d o u t to h e r. H o w e v e r, h e r b o o k e x p lo re s h e r la te r r e tu r n to th e N a rn ia b o o k s as a m o r e so p h is tic a te d re a d e r, o n e w h o can d is c rim in a te b e tw e e n th e b o o k s ' su ccesses a n d fa ilu re s (th e la tte r, fo r h e r, still in c lu d in g th e re lig io u s asp ects).

T h e b a sic N a r n ia n m a te ria l is th is. M ille r w a s lo a n e d a c o p y o f The Lion,

the W itch and the Wardrobe [LWW] b y h e r se c o n d -g ra d e te a c h e r, w h ic h le d to

M ille r's d e v o tio n to N a r n ia (ch.1). T h is is th e w a y th e I n tro d u c tio n b e g in s: In one of th e m o st v iv id m em ories from m y ch ildhood, n o th in g h ap p en s. O n a clear, su n n y day, I'm sta n d in g n ear a cu rb in a q u iet su b u rb a n C alifornia n eig h b o rh o o d w h ere m y fam ily lives, a n d I'm w ishing, w ith every b it of m y self, for tw o things. First, I w a n t a place I've re a d ab o u t in a book to really exist, a n d second, I w a n t to be able to go there. I w a n t this so m u c h I'm p re tty su re th e m isery of n o t g ettin g it w ill kill m e. For the rest of m y life, I w ill n ev er w a n t an y th in g q u ite so m u c h again. (3)

H e r d is illu s io n m e n t cam e w h e n sh e r e a d L in C a rte r 's Im aginary W orlds w h e n sh e w a s th irte e n , w ith C a rte r 's d e n u n c ia tio n o f A s la n 's " b la ta n tly sy m b o lic C ru c ifix io n -a n d -R e su rre c tio n scen e" (ch.9, 98). T h e n she, as a n a d u lt p ro fe s s io n a l w rite r, w a s a ss ig n e d to d is c u ss th e b o o k th a t m o s t in flu e n c e d h e r life. She d e c id e d to w rite a b o u t LW W —a n d th e re s p o n s e to th a t e ss a y le d to th is b o o k (In tro d u c tio n ).

T h e b o o k is d iv id e d in to th r e e la rg e sections: P a rt O n e, S o n g s of In n o c e n c e (chs.1-7), P a rt Tw o: T ro u b le in P a ra d is e (chs.8-15), a n d P a rt T hree: S o n g s o f E x p e rie n c e (chs.16-27). B asically, P a r t O n e d e a ls w ith w h a t sh e o rig in a lly fo u n d in a n d le a r n e d fro m th e N a rn ia b o o k s, w ith lo ts o f c o m m e n ts a b o u t o th e r c h ild re n 's b o o k s; P a rt T w o, w ith th e fla w s in L e w is th a t a re re fle c te d in th e b o o k s (d e ta ils la te r); a n d P a rt T h ree, w ith a d e fe n s e o f L e w is 's b o o k s fro m a n a d u lt p e rs p e c tiv e .

A n u m b e r o f v e ry g o o d d is c u s s io n s a p p e a r in th e firs t p a rt. A n e x a m p le . T h e fifth c h a p te r is b a sic a lly a re a d in g o f E d m u n d in LW W , n o t as a n e x a m p le of S in (th e O rig in a l Sin, w ith d e s s e rts in s te a d o f a p p le s ) a n d R e d e m p tio n , b u t as an e x a m p le o f p la u s ib le c o rru p tio n :

T he W hite W itch entices E d m u n d [...] p rim arily b y flatterin g h is laziness, h is conceit, a n d h is riv alro u s sentim ents to w a rd h is o ld er b rother, Peter - all very h u m a n w eaknesses I recognized in m yself. (62)

S he e n d s th e c h a p te r w ith p ro b a b le e v id e n c e th a t L e w is c re a te d E d m u n d o u t of h is o w n feelin g s.

T h e a b o v e d is c u s s io n s h o w s w h a t M iller fo u n d a n d fin d s a g a in in th e N a r n ia b o o k s. S h e n a m e s h e r v o lu m e fo r th e M a g ic ia n 's B ook c o n ta in in g th e sp e ll fo r re f re s h m e n t o f s p irit th a t L u c y r e a d in The Voyage o f the " D a w n T re a d e r" a n d c o u ld n 't (m o stly ) re ta in : " a c u p a n d a s w o rd a n d a tre e a n d a g re e n h ill" (ch.10). (Som e C h ris tia n critics h a v e seen a n a llu s io n to th e C ru c ifix io n in th e la tte r tw o te rm s, b u t, if so, th e g re e n is a d is g u ise ; n o d o u b t o th e r s h a v e se e n a n a llu s io n to th e G ra il C a stle in th e first tw o te rm s.) B u t M ille r's p o in t is th a t, for h e r, th e sto ry in th e M a g ic ia n 's B ook is The Lion, the W itch and the Wardrobe. It w a s th e m a g ic a l s to ry th a t re f re s h e d h e r sp irit. A n d e v e ry g o o d sto ry r e m in d s h e r of th a t b o o k - o r a n o th e r o n e o f th e N a r n ia n v o lu m e s:

I n ev er forgot th e "h o rrid stain" [the ap p le's] juice leaves a ro u n d [Jadis's] m o u th [in The Magician Nephew], a n d som etim es I w o n d e r if th a t's w h y m y m o st v iv id recollection of M adam e Bovary is of h er m o u th stain ed by th e p o is o n she sw allow s at th e e n d of th e novel. (ch.3, 43)

T o w a r d th e e n d o f th e v o lu m e , sh e c o n sid e rs G e o rg e M a c D o n a ld 's Phantastes.

"Phantastes [...] w o u ld re m a in a to u c h s to n e b o o k fo r L ew is, p e r h a p s th e sin g le

m o s t p o w e rfu l lite r a ry e x p e rie n c e o f h is life - h is M a g ic ia n 's B ook, y o u c o u ld sa y " (ch.26, 289). M ille r s u m m a riz e s Phantastes a n d s p e a k s o f L e w is 's re a c tio n to it - a n d say s sh e d o e s n 't feel its p o w e r. "Phantastes s e e m e d little m o r e to m e th a n a n in te re stin g , e v e n tr ip p y cu rio sity ; th e tr e m o rs th a t sh o t th r o u g h L e w is w h e n h e first r e a d it d id n o t ele c trify m e " (291). T h is is h e r c h a p te r o n m yth, as L ew is p re s e n ts it in A n E xperim ent in C riticism — a n d sh e is s a y in g th a t, as Phantastes w a s m y th ic fo r L ew is, n o t n e c e ss a rily fo r o th e rs, th e m y th ic b o o k fo r h e r, th e M a g ic ia n 's sp e ll fo r re fre s h m e n t, w a s L W W .

T h e n in th c h a p te r, "A n A w fu l T ru th ," d is c u sse s h o w v a rio u s p e rs o n s re a c te d as c h ild re n to d is c o v e rin g th e C h ris tia n im a g e ry o f th e b o o k s. O n e of th e m , T iffa n y B ro w n o f O re g o n , re c o g n iz e d th e p a ra lle l b e tw e e n A s la n 's d e a th a n d re s u rre c tio n a n d C h ris t's : " a n d it w a s fin e w ith m e . I ju s t th o u g h t, W ell, th is is w h a t g o d s d o " (104). T h e se c o m p a ra tiv e a c c o u n ts p r o v id e o th e r, n o ts o

-n e g a tiv e re a c tio -n s to th e C h ris tia -n th e m e s th a t d o -n o t -n e c e s s a rily le a d to c o n v e rsio n s. (N eil G a im a n 's acco u n t, e ls e w h e r e in th e b o o k , is clo ser to M iller's.)

A s said , th e se c o n d se c tio n o f th e b o o k d is c u sse s th e fla w s in L e w is 's b o o k s - a p a r t o f k n o w le d g e a b le r e a d in g as a n a d u lt. C h a p te r 11 d e a ls w ith L e w is 's ra c is m in The Horse and H is Boy; c h a p te r 12, w ith L e w is 's m is o g y n y - a b o u t S u sa n in The Last Battle a n d th e fian cee in "T h e S h o d d y L a n d s " (a p a rtic u la rly g o o d d is c u ssio n , w h ic h e v e r sid e o n e is on). C h a p te r 13 is m a in ly a b o u t L e w is 's c u ltu ra l a s s u m p tio n s —fo r e x a m p le , a b o u t C o rin in The Horse and

H is Boy, " a n u n a d u lt e r a t e d u p p e r- c la s s a lp h a boy: cocky, in s e n s itiv e to o th e rs,

e a s ily rile d , a n d a lw a y s u p fo r a fig h t" (147); " a n id e a liz e d v e rs io n o f th e B ritish p u b lic sch o o l b lo o d " (150). C h a p te r 14 is m a in ly a b o u t L e w is 's s a d o m a so c h is m , w ith o n ly p a s s in g m e n tio n o f N a r n ia —a lth o u g h in c h a p te r 15 th e W h ite W itch is c a lle d a d o m in a trix .

T h e th i r d se c tio n g ro w s o u t o f M ille r fo llo w in g P h ilip P u llm a n 's B la k e a n e m p h a s is o n h a v in g to g ro w u p a n d to e x p e rie n c e w ith a n a d u lt sen sib ility . H e n c e th e c o n tra s t o f th e first p a r t a n d th e th ird : S o n g s of In n o c e n c e a n d S o n g s o f E x p erie n ce. (B lak e's U lro a n d E d e n d o n o t c o m p lic a te th e d is c u s s io n o f th e s e tw o lev els in to fo u r.) T h e c h a p te rs are u s u a lly fun: th e s e v e n te e n th is o n th e N a r n ia n la n d s c a p e , a n d h o w it cam e to M ille r a n d to S u z a n n a C la rk e th r o u g h P a u lin e B a y n e s's d ra w in g s , n o t th e m o r e h e a v ily fo re s te d p ro s e o f L ew is. C h a p te r 18 b e g in s a s e q u e n c e o n L e w is a n d T o lk ie n (a n d N o rth e rn e s s ), w h ic h r u n s th r o u g h m o s t o f th e r e m a in in g c h a p te r s —b u t it is n o t a c o n s is te n t a rg u m e n t. C h a p te r 20, fo r e x a m p le , is a clever a n d en jo y ab le c o m p a ris o n o f W o rd s w o rth a n d C o le rid g e to T o lk ie n a n d L e w is —so m e tim e s L e w is is c o m p a r e d to W o rd s w o rth , s o m e tim e s to C o le r id g e —b u t th e b a sic p o in t is th e p a ra lle l o f lite r a ry frie n d s h ip . T h e w h o le d is c u s s io n b e g in s fro m T o lk ie n 's " M y th o p o e ia " w r itte n to L e w is —a n d th e p o e tic e p is tle s W o rd s w o rth a n d C o le rid g e w ro te to e a c h o th e r. B u t W o rd s w o rth a n d C o le rid g e v a n is h fro m th e n e x t c h a p te r, w h ic h s ta rts w ith W illia m M o rris. T h e g r e a t re v e la tio n h e re is th a t T o lk ie n a n d L e w is w ro te p ro s e ro m a n c e s, like M o r ris 's late w o rk s , n o t n o v e ls (s u p p o r tin g th is w ith N o r th r o p e F ry e 's d is tin c tio n s in A n a to m y o f Criticism). O b v io u sly , th is d is c u s s io n is a im e d a t a g e n e ra l a u d ie n c e , n o t th e re a d e r s of

M ythlore w h o h a r d l y w ill b e s u r p ris e d . (T his re v ie w e r d id n o t k n o w th a t

N o r th r o p F ry e a tte n d e d L e w is 's le c tu re s " P r o le g o m e n a to M e d ie v a l L ite ra tu re " in th e 1930s, w h ic h M ille r m e n tio n s .)

A fte r e x c la im in g th a t L e w is w ro te ro m a n c e s ( a n d d i d n 't h a v e to w rite th e m in T o lk ie n 's style); th a t h e, fo r m a n y c h ild re n , in th e N a r n ia b o o k s w ro te m y th s ; a n d th a t h e c re a te d a " c o u n tr y o f lite ra tu re , o f b o o k s, a n d o f re a d in g , a te r rito ry so v a s t th a t it m ig h t as w ell b e in fin ite " (ch.27, 301-302)—th a t is, L ew is p u t m u c h o f w h a t h e k n e w fro m r e a d in g in to th e N a r n ia b o o k s fo r o th e r s to

e x p e rie n c e —M ille r h a s m a d e h e r case as a n o n -C h ris tia n r e a d e r o f th e N a rn ia n h e p ta lo g y .

A p a r a g r a p h a b o u t fla w s in M ille r's b o o k w ill b e th e ty p ic a l s c h o la rly c o n c lu s io n o f th is re v ie w . T h is is n o t a scholarly b o o k ; it is a w e ll-in fo rm e d p o p u la r b o o k . It h a s a n in d e x b u t n o b ib lio g ra p h y . M ille r m a k e s a b o u t h a lf a d o z e n fa c tu a l m ista k e s, as o n e m ig h t e x p e c t o f so m e o n e w r itin g o n a b a c k g ro u n d th a t h e o r sh e h a s w o r k e d u p fo r th e v o lu m e ; b u t th e y d o n o t in v a lid a te h e r p e rs o n a l a p p ro a c h . T w o e x a m p le s: sh e say s th a t W a lte r H o o p e r is a R o m a n C a th o lic p rie s t (ch.14, 1 63)—h e w a s a n A n g lic a n p rie s t w h o b e c a m e a n R.C. la y m a n ; th a t T o lk ie n a n d E.V. G o rd o n p r o d u c e d a tr a n s la tio n o f S ir Gawain and

the Green K n ig h t (ch.23, 2 5 6 )—th e y p ro d u c e d a n e d itio n , a n d T o lk ie n b y h im s e lf

d id a tra n s la tio n . S h e also tr u s ts A .N . W ils o n 's b io g r a p h y o f L e w is to o m u c h —it se e m s to b e b e h in d h e r d e s c rip tio n o f " L e w is 's a n n u a l 'E n g lis h b in g e s ,' a t w h ic h h is m a le s tu d e n ts w e re in v ite d [...] to g e t d r u n k o n b e e r a n d b e llo w o u t 'b a w d y '" (ch.6, 69). G e o rg e S ay er d e n ie d th is d e s c rip tio n fr o m W ilso n , b a s e d o n h is o w n e x p e rie n c e as a s tu d e n t (see p. 416 o f th e 2nd e d . o f Jack [1994]). A n d , o f course, M ille r p ro d u c e s c o m m e n ts th a t so m e w ill w a n t to a rg u e w i t h —fo r e x a m p le :

Tolkien, it m u s t be said, w as a terrib le p ru d e . T here is m o re eroticism — h o w ev er pecu liar an d su b lim a te d —in th e C hronicles th a n in The Lord of

the Rings, ev en th o u g h Lew is w as p u rp o s e ly try in g to a v o id sex in

deference to th e y o u th of his readers. (ch.22, 242)

B u t th is s o rt o f c o m m e n t is w ith in M ille r's r ig h t as a n in te rp re te r a n d as a w rite r o f fa m ilia r essay s.

—Joe R. C h ris to p h e r

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o u n d t r a c k t o Lo r d o f t h e Ri n g s. By M a tth e w

Y oung. S a a rb ru c k e n : V D M V e rla g D r. M u lle r, 2007. ISBN 978-3836424967. S oftcover. 9 2 p p . $54.00.

P r o j e c t i n g T o l k i e n 's M u s i c a l W o r l d s b e g a n a s M a tth e w Y o u n g 's m a s te r 's th e s is in m u s ic th e o r y a t B o w lin g G re e n S tate U n iv e rs ity . H e e a r n e d th a t d e g re e , a n d th e B o w lin g G re e n S chool o f M u s ic 's a w a r d fo r B est T h e sis o f th e

Year, in 2007; h e is n o w a d o c to ra l c a n d id a te a t th e U n iv e rs ity o f T exas a t A u stin . I s a id th a t h is b o o k b e g a n as a th esis, b u t I s h o u ld p e r h a p s a d d th a t it h a s also e n d e d as o n e. Y o u n g h a s ta k e n n o o p p o r tu n ity to u p d a te o r e x p a n d w h a t is, after all, q u ite a s h o r t m o n o g r a p h . M o re o v e r, a p a r t fro m th e d iffe re n c e in title p a g e s, th e b o o k as p u b lis h e d b y V D M V erlag D r. M u lle r is id e n tic a l to th e o rig in a l m a s te r 's th esis, rig h t d o w n to its ty p o g r a p h ic a l a n d g ra m m a tic a l e rro rs, m a r g in s , fo n ts, la y o u t, p a g e n u m b e r s —a n d th e p e c u lia r a n d c o n s p ic u o u s o m is s io n o f th e d e fin ite article in th e title. It e v e n o p e n s w ith th e sa m e a b stra c t, id e n tif y in g Y o u n g 's th e s is a d v is o r. Q u ite lite ra lly , th is is Y o u n g 's th e s is p u b lis h e d w ith o u t a sin g le c h a n g e th a t I c o u ld f i n d —o th e r th a n th e a d d itio n o f a p u b lis h e r a n d a h e fty p ric e tag!

T h e b o o k is a r r a n g e d in five c h a p te rs. T h e first e sta b lish e s th e im p o rta n c e o f film m u s ic as a su b je c t fo r s c h o la rly in q u iry ; th e se c o n d e x a m in e s th e m u s ic a n d c u ltu re o f M id d le -e a rth (a n c h o re d in th e tex t, n o t th e P e te r Ja c k so n film a d a p ta tio n s ); th e th i r d d is c u sse s H o w a r d S h o re 's sco re in m o r e d e ta il, fo c u s in g o n s e v e ra l im p o r ta n t m u s ic a l m o tif s —" th e p r im a r y th e m e s o f each c u ltu re p r e s e n te d in J a c k s o n 's film " (9); th e f o u r th d is c u sse s th e ro le o f th e a u d ie n c e , e x p lo rin g th e sa m e se t o f m u s ic a l le itm o tiv s as w e ll as a lte ra tio n s in th o s e th e m e s o v e r th e c o u rs e o f th e film s; a n d th e fifth o ffers c o n c lu s io n s a n d su g g e s tio n s fo r f u r th e r s tu d y . T h e in te n d e d a u d ie n c e , a c c o rd in g to th e b o o k 's b lu rb , is a n y c o m b in a tio n o f T o lk ie n fan s, m u s ic ia n s a n d m u s ic o lo g ists, a n d film e n th u s ia s ts . B u t I w o u ld s a y th a t th e su b je c t m a tte r is a b it m o r e te c h n ic a l th a n is lik e ly to a p p e a l to th e c a su a l f a n —o f e ith e r T o lk ien , m u s ic , o r film . T h e a b ility to r e a d m u s ic (at le a s t p a ss a b ly ) is a p re r e q u is ite , as th e r e are so m e fifty m u s ic a l tra n s c rip tio n s sa lte d th r o u g h th e b o o k . Y o u n g in d ic a te s th a t all tr a n s c rip tio n s w e re m a d e a c c o rd in g to h is o w n e a r b e c a u se th e sco res w e re n o t a v a ila b le to h im (8). B u t if th e sco res w e re in d e e d u n a v a ila b le th e n , th e y h a v e c e rta in ly b ec o m e a v a ila b le sin ce th e o rig in a l th esis. I t is a s h a m e Y o u n g d i d n 't ta k e th e tim e to u p d a te h is tr a n s c rip tio n s fo r th is b o o k ; h o w e v e r, th e o n e s I e x a m in e d a p p e a r to b e v e ry ac c u ra te . M o re o v e r, th e y a g re e fo r th e m o s t p a r t w ith o th e r s I h a v e se e n in th e lite r a tu re (for e x a m p le , B e rn a n k e ).1 A t th e h e a r t o f th e a n a ly s is Y o u n g u n d e r ta k e s is th e c o n c e p t o f th e " m u s e m e ," a k in d o f m u s ic a l p h o n e m e , m e a n t to re p r e s e n t th e sm a lle s t m u s ic a l e le m e n t c o n v e y in g a d is tin c t affectiv e m e a n in g . T h e te r m w a s in v e n te d b y m u s ic sem io lo g ist, C h a rle s S eeger, a n d p o p u la r iz e d b y P h ilip T ag g (T agg 1). T ag g h a s a p p lie d a m u s e m e -c e n te re d a p p ro a c h th a t h e calls " m u s e m a tic a n a ly s is" to

1 Bernanke's transcription of the Ring them e appears to be slightly closer to Shore's original th an Young's (Bernanke 179; Young 35); however, Young's transcription of the Isengard them e is closer th an Bernanke's (Young 34; Bernanke 182). The most comm on disagreem ent betw een them is on the keys of particular themes.

te le v is io n m u s ic , b u t Y o u n g a rg u e s th a t th e sa m e m e th o d o lo g y can be p ro d u c tiv e ly u s e d in th e a n a ly s is o f film sco res a n d th a t S h o r e 's —m o r e th a n te n h o u r s o f m u s ic —re p r e s e n ts p a rtic u la rly fertile g ro u n d . T h e id e a is to e x p lo re th e affectiv e c o n te n t o f e a c h m u s e m e b y c o m p a r in g it w ith o th e r m u s e m e s o f sim ila r " s o c io m u sic a l c o n n o ta tio n s " (iii). T o p u t it a n o th e r w a y , " S h o r e 's score d o e s m o r e th a n o c c u p y J a c k s o n 's sc re e n ," it "re fle c ts m u s ic a n d c u ltu re as d e sc rib e d b y T o lk ien , a n d th e th e m e s c o rre la te a p p r o p r ia te ly to o th e r m u s ic w h ic h reflect [sic] sim ila r c u ltu re s " (iv). T h is is a k e y p o in t, b e c a u s e Y o u n g c o u ld e a s ily h a v e lim ite d h is a n a ly s is to th e re la tio n s h ip b e tw e e n film score(s) a n d film (s). T o h is g r e a t cred it, h e h a s a tte m p te d s o m e th in g m o r e a m b itio u s: to id e n tif y c o n n e c tio n s b e tw e e n S h o re 's m u s ic a n d T o lk ie n 's te x t itself. A n d fo r th e m o s t p a rt, I fin d h is a rg u m e n ts c o n v in c in g (if selective). It m a y b e g o in g a little to o fa r to s a y th a t "[a]ll th e n o v e l's in s ta llm e n ts in c lu d e d e s c rip tio n s o f in s tru m e n ts u s e d in th e d iffe re n t la n d s " (8), y e t Y o u n g d o e s fin d e v id e n c e to tie S h o re 's sco re to T o lk ie n 's o w n w o rd s , as o p p o s e d to (o r in a d d itio n to) P e te r Ja c k s o n 's film ic in te rp re ta tio n o f th e m .

B u t b e fo re I a ss e ss th e s tre n g th of Y o u n g 's " m u s e m a tic a n a ly s is," le t's g e t so m e o f th e b o o k 's p ro b le m s o u t o f th e w a y . In a d d itio n to g ra m m a tic a l slip s, s p e llin g e rro rs, a n d o th e r p ro b le m s th a t s h o u ld h a v e b e e n c o rre c te d b y a n e d ito r ( h a d th e re b e e n one), Y o u n g m a k e s a fa ir n u m b e r o f fa c tu a l e rr o rs a n d o v e rs ig h ts . W ith o u t b e la b o r in g th e p o in t, le t m e g iv e o n e o r tw o e x a m p le s of each . Y o u n g p re s u m e s to s u p p o s e " w h a t th e m u s ic o f M id d le -e a rth m a y h a v e s o u n d e d lik e in T o lk ie n 's m in d " (9), b u t h e m a k e s n o re fe re n c e in h is b o o k to T o lk ie n 's o w n re c o r d in g s o f so n g s a n d p o e m s fro m The Lord o f the R ings, n o r to th e ir s e ttin g in m u s ic b y D o n a ld S w an n , w ith T o lk ie n 's p a rtic ip a tio n , as The Road

Goes Ever O n. I 'm n o t s u re it w o u ld h a v e a d d e d a g re a t d e a l h a d h e d o n e so —

T o lk ie n w as, a fte r all, n o m u s ic ia n (T o lk ien 350, et passim )—h o w e v e r, it se e m s a p ity n o t to e v e n m e n tio n th e m u s ic a l e x a m p le s T o lk ie n h im s e lf left b e h in d , p o o r th o u g h th e y are, n o r th e c o n s id e ra b ly fin e r a d a p ta tio n s o f S w an n .

S o m e w h a t m o r e tr o u b lin g is Y o u n g 's m isc o n c e p tio n s a b o u t ju s t w h a t it is T o lk ie n sc h o la rs do. " T o lk ie n 's d e s c rip tio n s o f th e c u ltu re s o f M id d le -e a rth ," h e w rite s, " a r e so e x h a u s tiv e th a t se v e ra l sc h o la rs h a v e d e d ic a te d th e ir c a re e rs to s tu d y in g th e h is to ric a l in te rre la tio n s o f th e la n d s , as w e ll as to c re a tin g c h ro n o lo g ic a l su c c e ssio n s o f e v e n ts a n d g e n e a lo g ic a l tre e s o f th e b lo o d lin e s th e in h a b ita n ts " (11). F a n n is h th o u g h th is s o u n d s , Y o u n g fo o tn o te s th e c o m m e n t w ith (a p p a re n tly ) h is id e a o f th r e e s u c h sch o lars. U n fo rtu n a te ly , in o n e o f th o s e refe re n c e s, h e n o t o n ly m is s p e lls th e s c h o la r's n a m e , b u t m u c h w o rse , h e sa y s th e e s s a y in q u e s tio n w a s p u b lis h e d in Tolkien Studies in 2006; it w a s n o t, a n d in fact, th e e ss a y is still u n p u b lis h e d . T h a t is c areless re s e a rc h a t b e st. In d e e d , o th e r th a n h e re in th is c u rio u s fo o tn o te w ith its th r e e e x a m p le s p lu c k e d a t ra n d o m , Y o u n g

m a k e s a b s o lu te ly n o re fe re n c e to a n y e x is tin g T o lk ie n s c h o la rsh ip , le t a lo n e to sc h o la rs h ip o n th e r e p r e s e n ta tio n a n d sig n ifican ce o f m u s ic o f M id d le -e a rth .

O f e rr o rs a n d o v e rs ig h ts w ith in th e sco p e o f The Lord o f the R ings itself, th e r e a re a n u m b e r . Y o u n g 's sy n o p s is o f th e n o v e l is id io s y n c ra tic a t b e s t a n d m is ta k e n a t se v e ra l p o in ts . Y o u n g sa y s th e R in g is " lo s t fo r n e a rly a th o u s a n d y e a rs " (12) a fte r th e d e a th o f Is ild u r; in fact, it is m o r e th a n tw ic e th a t. H e calls S m e a g o l a n d D eag o l " c o u s in s " (ibid.), e v id e n tly p ic k in g th is u p fr o m R o b e rt F o ster, w h o m h e q u o te s c o n sta n tly ; in fact, T o lk ie n calls calls D e a g o l a frie n d , a n d in a le tte r (n o t y e t p u b lis h e d b y th e tim e o f F o s te r's Guide), " e v id e n tly a re la tiv e " (T o lk ien 292). Y o u n g sa y s w e catc h a " a g lim p s e to w h a t th e m u s ic of th e S h ire c o u ld h a v e s o u n d e d lik e " (16) in T o lk ie n 's m u s ic a l d e s c rip tio n , " n o w s q u e a k in g h ig h , n o w p u r r in g lo w , / n o w s a w in g in th e m id d le ." Yes, w e do, if S h ire m u s ic w e re p la y e d b y a cat! T h e S p rin g le -rin g m ig h t a ffo rd a b e tte r g lim p se : e n e rg e tic , u p - te m p o m u s ic fo r d a n c in g .

D e s p ite th e s e m ista k e s, Y o u n g 's b a sic th e s is is a g o o d o n e. H e m e a n s to s h o w b o th th a t S h o re 's score is ro o te d in T o lk ie n 's te x tu a l d e s c rip tio n s as m u c h as it is in Ja c k s o n 's v is u a l o nes, a n d th a t th e v a rio u s le itm o tiv s S h o re d e v e lo p s c o n v e y a c a re fu lly c o n tro lle d m u s ic a l affect to th e a u d ie n c e . M o re su ccin ctly , th e s o u n d tra c k " s e rv e s as a n a r r a to r " (8). T o m a k e h is p o in t, Y o u n g d is c u sse s a h a n d f u l o f th e d o z e n s o f th e m e s S h o re c o m p o s e d —th e S h ire th e m e , th e R o h a n a n d G o n d o r th e m e s, th e R iv e n d e ll a n d L o th lo rie n th e m e s, th e I s e n g a rd a n d M o r d o r th e m e s , a n d o f c o u rs e th e th e m e o f th e R in g itself. F o r th e p u rp o s e s of th is re v ie w , I w ill lim it m y c o m m e n ts to th e S h ire th e m e , o n e o f th e m o s t o ften r e p e a te d in th e film trilo g y a n d c e rta in ly th e d o m in a n t th e m e o f The Fellowship o f

the R in g , b u t Y o u n g h a s m a n y th in g s o f in te re s t to s a y a b o u t th e o th e r le itm o tiv s

as w ell.

T h e a u th o r o fte n n o tic e s th in g s m o s t m o v ie -g o e rs w ill n o t, ex c e p t p e r h a p s s u b lim in a lly . F o r e x a m p le , Y o u n g o b se rv e s th a t a flu te c a rrie s th e m e lo d ic lin e o f th e S h ire th e m e ( n o r m a lly p la y e d o n th e v io lin ) w h e n e v e r th a t th e m e is a ss o c ia te d w ith F ro d o ; fo r Bilbo, o n th e o th e r h a n d , a " m o re p la y fu l fid d le so lo " is in c o r p o ra te d in to th e th e m e (25-7). Y o u n g g o e s o n to a rg u e c o n v in c in g ly th a t th e choice o f a C eltic sty le o f m e lo d y a n d in s tru m e n ta tio n su its th e H o b b its , fro m w h a t little T o lk ie n h a s w ritte n a b o u t th e ir m u s ic . H e c o m p a re s th e S h ire m o tiv e w ith th e lin e s F ro d o sin g s in B ree, " n o w s q u e a k in g h ig h , n o w p u r r in g lo w , / n o w s a w in g in th e m id d le ," n o tin g th a t "[n ]o t o n ly d o e s S h o re 's th e m e fe a tu re a solo fid d le fille d w ith 's q u e a k y ' g ra c e n o te s , b u t th e c o n to u r of th e m e lo d y lin e m o v e s fro m h ig h to lo w " (27). N o tw ith s ta n d in g th a t g ra c e n o te s n e e d n o t n e c e s s a ry b e " s q u e a k y ," th e o b s e rv a tio n is a g o o d one: th e m u s ic a l e q u iv a le n t to a "clo se r e a d in g " o f th e tex t.

In C h a p te r IV, Y o u n g d e m o n s tra te s h o w a lte ra tio n s o f th e S h ire th e m e o v e r th e c o u rs e o f th e film s a lte r a u d ie n c e p e rc e p tio n . H e g iv e s th re e m a jo r

e x a m p le s: (1) T h e th e m e is e n n o b le d b y th e s u b s titu tio n o f a F re n c h h o r n fo r th e v io lin w h e n S a m o b se rv e s th a t w ith o n e m o r e step , h e w ill b e th e f u r th e s t a w a y fr o m th e S h ire h e h a s e v e r b e e n . I t re p r e s e n ts th e first step , lite ra l a n d fig u ra tiv e , in th e tr a n s fo r m a tiv e m a tu r a tio n o f th e h o b b its as th e y tra v e l in to a la rg e r w o rld . (2) In R iv e n d e ll, w h e n F ro d o a n n o u n c e s th a t h e w ill ta k e th e R ing, w e h e a r a n o th e r v e rs io n o f th e S h ire th e m e , th is tim e m o d u la te d in to a m in o r m o d e . T h is c re a te s a so m b e r, b itte r s w e e t effect, e m b o d y in g sacrifice a n d th e p ro g re s s iv e loss o f in n o cen c e. (3) F in ally , o n th e s h o u ld e rs o f M o u n t D o o m , w h e n F ro d o sa y s h e h a s n o lo n g e r a n y m e m o ry o f th e S hire, w e h e a r a m a r k e d ly tr a n s fo r m e d , b u t still v e ry fa in tly re c o g n iz a b le v e rs io n o f th e S h ire th e m e , v o ic e d b y th e flu te th a t h a s p re v io u s ly b e e n a ss o c ia te d w ith F ro d o . H e re , e v e n in th e m u s ic , c o n ta c t w ith th e S h ire h a s a lm o s t b e e n l o s t—a lm o st, b u t n o t q u ite.

T h e re is m u c h in Projecting Tolkien's M usical W orlds th a t is n e w a n d in s ig h tfu l, p a rtic u la rly fo r th o s e w ith a sp e c ia l in te r e s t in m u s ic . T h is m a k e s it all th e m o r e u n f o r tu n a te t h a t th e a u th o r d id n o t ta k e th e o p p o r tu n ity a ffo rd e d b y p u b lic a tio n to a la rg e r a u d ie n c e to re v ise , e x p a n d , a n d in so m e cases c o rre c t m is ta k e s in h is th e sis. Its sco p e is w e ll s u ite d fo r a m a s te r 's th e sis, b u t r a th e r too th in fo r a b o o k . F o r its le n g th , th e p ric e m a k e s it im p o ssib le fo r m e to re c o m m e n d th e p u r c h a s e o f Y o u n g 's b o o k , b u t y o u r lo cal lib ra ry is n 't lik e ly to h a v e it e ith e r. A c c o rd in g to W o rld c a t, th e r e is o n ly o n e lib ra ry c o p y in th e w o rld : in th e Deutsche Nationalbibliothek. T h is is iro n ic, c o n s id e rin g th a t M a tth e w Y o u n g is a n A m e ric a n g r a d u a te s tu d e n t. T h o se in te re s te d in re a d in g th e o rig in a l th esis, ta k e n o te th a t it m a y b e f o u n d o n lin e a t th e O h io L IN K E le c tro n ic T h e se s a n d D is s e rta tio n s C e n te r (see th e W o rk s C o n su lte d ).

— J a s o n F is h e r

Works Consulted

Bernanke, Judith. "H ow ard Shore's Ring Cycle: The Film Score and Operatic Strategy."

Studying the Event Film: The Lord of the Rings. Ed. H arriet Elaine Margolis, Sean Cubitt,

Barry King, and Thierry Jutel. Manchester: M anchester University Press, 2008. 176­ 84.

Foster, Robert. The Complete Guide to Middle-earth. New York: Ballantine Books, 1978. Tagg, Philip. "Musical Meanings, Classical an d Popular: The Case of Anguish." [2004]

<http://tagg.org/articles/xpdfs/m usem euse.pdf>. 24 August 2009.

Tolkien, J.R.R. The Letters of J.R.R. Tolkien. Ed. H um phrey Carpenter. Boston: H oughton Mifflin, 1981.

Young, M atthew David. "Projecting Tolkien's Musical Worlds: A Study of Musical Affect in H ow ard Shore's Soundtrack to Lord of the Rings." MA thesis, Bowling G reen State University, Bowling Green, Ohio, May, 2007. <http://w ww

.ohiolink.edu/etd/send-pdf.cgi/Young%20Matthew%20David.pdf? acc_num=bgsu1179760402>. 24 August 2009.

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E d s. A r th u r V erslu is, L ee Irw in , J o h n R ic h a rd s, a n d M e lin d a W e in ste in . E a st L a n sin g : M ic h ig a n S tate U n iv e rs ity P re ss, 2009. 336 p p . $29.95. ISBN 978-0-87013-819-5. (O rd e rs h ttp :// m s u p re s s .m s u .e d u /)

"I'v e to ld y o u ," he answ ered, "I to ld y o u at first; at least, I h in te d at it. T here is corresp o n d en ce everyw here; b u t som e co rrespondences are clearer th a n others. B etw een these cards [...] an d th e activities of th in g s th ere is a v ery close relation."

— C harles W illiam s, The Greater Trumps (ch.3) E s o t e r i c i s m , A r t , a n d I m a g i n a t i o n i s t h e f i r s t i n a s e r i e s o n e so te ric ism fro m M ic h ig a n S tate U n iv e rs ity P re s s a n d th e A sso c ia tio n fo r th e S tu d y of E so te ric ism [h ttp ://w w w .a s e w e b .o rg /]. T h is in a u g u r a l m o n o g r a p h h a s b e e n p u b lis h e d in lie u o f th e 2008 v o lu m e o f th e A s s o c ia tio n 's jo u r n a l Esoterica, a n d its c o n te n ts d e riv e fro m th e in te rn a tio n a l co n fe re n c e s also s p o n s o re d b y th e A sso c ia tio n in 2004, 2006, a n d 2008. E so tericism , as e d ito r J o h n R ic h a rd s e x p la in s in th e firs t o f th e b o o k 's tw o in tro d u c tio n s , " e m b ra c e s, a m o n g o th e rs, th e fo llo w in g a re a s o f in v e s tig a tio n : a lc h e m y , a stro lo g y , F re e m a s o n ry , G n o sticism , H e rm e tic is m , K a b b a la h , m ag ic, m y s tic ism , N e o p la to n is m , n e w re lig io u s m o v e m e n ts re la te d to th e s e c u rre n ts , n in e te e n th , tw e n tie th , a n d tw e n ty - fir s t c e n tu ry , [sic] o c c u lt m o v e m e n ts , R o sic ru c ia n ism , th e o s o p h y , a n d w itc h c ra ft" (viii). W h ile th is list is o b v io u s ly re le v a n t to b o th th e co llectio n a n d th e e x p a n siv e c la im s o f e so te ric ism c o n c e iv e d as a n a m b itio u s n e w a c a d e m ic d isc ip lin e , th is v o lu m e is n o t th e p la c e to lo o k fo r e x te n s iv e b a c k g ro u n d in fo rm a tio n o n a n y of th e s e subjects. N e ith e r is it th e p la c e to lo o k fo r specific a rg u m e n ts in s u p p o r t of A n to in e F a iv r e 's m u c h q u o te d , a n d h e re n e a tly s u m m a riz e d , list o f six c h a ra c te ristic s, in c lu d in g c o rre sp o n d e n c e s, as d e fin itiv e o f W e ste rn eso teric ism , as th e s e c h a ra c te ristic s a re e x p lo re d o n ly in c id e n ta lly in m o s t o f th e p a p e rs . T h e a u th o r s ' re s p o n s e s to th e c h a lle n g e s o f a d iv e rs e ra n g e o f c u ltu ra l o b jects a n d to p ic s te n d s to th e p a rtic u la r, a n d th e ir a p p ro a c h e s to th e e s s a y fo r m a t ra n g e fr o m th e c o n v e n tio n a l a c a d e m ic to th e m o r e lite r a ry essay . A s e d ito r A r th u r V e rslu is o b se rv e s in th e se c o n d in tro d u c tio n , th e s e p a p e r s a re p rim a rily a b o u t s h o w in g th e in te rs e c tio n p o in ts b e tw e e n eso te ric ism , art, a n d lite ra tu re , p a rtic u la rly in s o fa r as th e im a g in a tio n fo s te rs th e tr a n s la tio n o f e so te ric id e a s in to a r t a n d lite r a tu re (xv). T o th e r e a d e r u n v e r s e d in th e " d is c ip lin e " of eso teric ism , th is m e a n s th a t th e s e p a p e r s a re la rg e ly d e d ic a te d to c o rre sp o n d e n c e s, so m e m o r e clea rly re a liz e d th a n o th e rs.

A m o n g th e m o r e s tu d ie d a p p ro a c h e s to c o rre s p o n d e n c e s in th e co llectio n is G io v a n n a C o s ta n tin i's "L e Jeu d e M arseille: T h e B reto n T a ro t as Jeu d e H a s a rd ," a b o u t th e T a ro t p ro d u c e d c. 1940 b y a n u m b e r o f S u rre a lis t a rtists w o rk in g clo sely w ith A n d re B reton. L ik e se v e ra l in th e a n th o lo g y , th is e ss a y a d d re s s e s a c u ltu ra l ob ject a b o u t w h ic h n o th in g o r re la tiv e ly little h a s p re v io u s ly b e e n p u b lis h e d . T h e d e c k is fa s c in a tin g , p a rtic u la rly in lig h t o f th e re a liz a tio n th a t B reto n w a s in s p ire d , n o t b y th e m o d e r n n o tio n o f T a ro t as a m e a n s of d iv in a tio n , b u t as a g a m e o f c h a n c e w ith m ilita r y a sso c ia tio n s; h e n c e , th e article title re fe re n c e to th e "Jeu d e H a s a r d ." T h e a u th o r n o te s th e S u rre a lis ts ' in te re s t in c o rre s p o n d e n c e s b e tw e e n T aro t a n d a lc h e m y a n d p o in ts o u t th a t th e tra d itio n a l T a ro t s u it sig n s w e re e x c h a n g e d fo r a key, b la c k sta r, b lo o d y w h e e l, a n d flam e b e c a u s e th e a rtis ts felt th e s e im a g e s c o rre s p o n d to k n o w le d g e , d re a m , re v o lu tio n , a n d lo v e re s p e c tiv e ly . If th e t r u m p s —th e c a rd s th a t w e re a d d e d to th e re g u la r p la y in g d e c k in th e fifte e n th c e n tu r y to c reate th e a c tu a l g a m in g d e c k o f T arot th a t b e c a m e a ss o c ia te d w ith fo r tu n e -te llin g a n d "o c c u lt" o r e so te ric p ra c tic e s in th e e ig h te e n th c e n tu r y a n d m e d ita tio n a n d p o p u la r c u ltu re in th e tw e n tie th c e n tu r y —w e re tr e a te d b y th e S u rre a lis ts, th a t p o rtio n o f th e ir d e c k is n o t c o n s id e re d h e re . A ll o f th e six te e n u n f o r tu n a te ly r a th e r g ra y c a rd r e p r o d u c tio n s s h o w th e S u rre a lis t v e rs io n s o f r e g u la r d e c k c a rd s a n d all a re fr o m th e M a rc h 1943 is su e o f th e S u rre a lis t jo u r n a l V V V p u b lis h e d in N e w Y ork (1942-1944) h e ld in th e sp ecial co llectio n s lib r a r y a t th e U n iv e rs ity o f M ic h ig a n ; n o n e are re fe re n c e d b y c a ll-o u ts in th e tex t. T h e a u th o r, h o w e v e r, c o n te m p la te s th e A ce of C lu b s a t so m e le n g th a n d m a k e s se v e ra l n o te s r e g a r d in g th e a p p e a ra n c e o f c a rd s in p a in tin g s b y P icasso ; im a g e s w ith T a ro t a ss o c ia tio n s in th e w o rk o f o th e r a rtis ts o f th e p e rio d , s u c h as th e w h e e l o f th e W h e e l o f F o rtu n e T aro t tr u m p in w o rk s b y D u c h a m p a n d M a n R ay; a n d B re to n 's la te r a u th o r s h ip o f A rca n u m 17 (1944). T h e S u rre a lis ts also a s s ig n e d p e o p le th e y k n e w to th e c a rd s o f th e ir deck: B a u d e la ire , w h o m th e y a d m ir e d v e ry m u c h , w a s fo u n d to c o rr e s p o n d to a c a rd re p r e s e n ta tiv e o f se c o n d sig h t, th o u g h it is n o t clear w h ic h c a rd th a t w as. B a u d e la ire is, o f c o u rse , fa m o u s fo r h is Les Fleurs D u M a l (1857), w h ic h in c lu d e s th e p o e m title d " C o rr e s p o n d e n c e s " a b o u t th e "fo re s ts o f s y m b o ls" a n d " e x p a n s io n o f in fin ite th in g s."

T h e s tre n g th o f th e co llectio n as a w h o le in d e e d se e m s to b e th e a u th o r s ' m o r e o r less c o m m o n re a liz a tio n o f c o rre s p o n d e n c e s , w ith o r w ith o u t o th e r p u r p o r te d e so te ric a sso c ia tio n s, as th e b a sis o f p ra c tic e s, c o n d u c te d b o th in s id e a n d o u ts id e th e co n te x ts o f r itu a l a n d se c re t societies, th a t are m e a n s o f in v e s tin g m e a n in g in all a sp e c ts o f th e h u m a n e x p e rie n c e - a n d also fo r m th e s u b s ta n c e of art. T h is re a liz a tio n , a lo n g w ith so m e re la te d to F a iv r e 's o th e r la r g e ly u n c ite d c h a ra c te ristic s o f W e ste rn eso teric ism , is m a d e in s tu d ie s o f th e p ro c e s se s of a lc h e m y (see M .E. W arlick) a n d in itia tio n (see S a ra h W . W h e d o n ); in s tu d ie s of s u c h in d iv id u a ls as W illia m B lake (see M a r s h a K e ith S c h u c h a rd ), C ecil C o llin s

(see A r th u r V erslu is), D .H . L a w re n c e (see G le n n A le x a n d e r M ag ee), V la d im ir S o lo v y o v (see G e o rg e M . Y oung), a n d D io n F o rtu n e a n d W.B. Y eats (see C la ire F a n g e r); a n d s tu d ie s o f p a r tic u la r w o rk s, s u c h as E u rip id e s ' Bacchae (see M e lin d a W ein stein ), th e Tarot o f Marseilles (d is c u s s e d ab o v e), a n d V e n e tia n se n a to r A n g e lo Q u e r in i's g a r d e n n e a r P a d u a (see P a triz ia G ra n z ie ra ). H o w e v e r, Jo scely n G o d w in 's p a p e r o n P h ilip P u llm a n 's Dark M aterials n o v e ls , C a th y G u tie r re z 's p a p e r, w h ic h h ig h lig h ts th e ro le o f f r a u d in s p irit p h o to g r a p h y , E ric G. W ilso n 's p a p e r o n film , a n d L an ce G h a ra v i's a n d V icto ria N e ls o n 's p a p e r s o n lite ra tu re , m a k e o n e a d d itio n a l v e ry specific p o in t clear. In s p ite o f th e o b v io u s s e rio u sn e s s a n d re la tiv e se c re tiv e n e ss in v e s te d in " a u th e n tic " e so te ric p ra c tic e , m a n y p e o p le , w h e th e r o r n o t th e y k n o w a n y th in g , in th e " a c a d e m ic " sense, a b o u t G n o sticism , H e rm e tic is m , K a b b a la h , a n d so fo rth , a re p r o f o u n d ly a ffected b y r e p r e s e n ta tio n s in a rt a n d lite r a tu re th a t c o n v e y id e a s a b o u t th e u n q u a n tifia b le a sp e c ts o f th e u n iv e r s e a n d , o n th is le v e l a t le a st, a re e v e r r e a d y to b e e n te r ta in e d b y a n d to in d u lg e in " e s o te ric " co n cep ts.

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NNOTATED Wi n d IN THE Wi l l o w s. By K e n n e th G ra h a m e ; in tro d u c tio n

b y B rian Jacq u es; e d ite d w ith a p re fa c e a n d n o te s b y A n n ie G a u g e r. N e w York: W .W . N o rto n , 2009. 384 p a g e s. 978-0-393-05774-4. $39.95.

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d i t i o n. By K e n n e th G ra h a m e ; e d ite d b y S eth L e re r. C a m b rid g e , M ass.: T h e B elk n a p P re s s o f H a r v a r d U .P., 2009. 273 p a g e s. 978-0-674-03447-1. $35.00.

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l l u s t r a t o r s o f Th e Wi n d i n t h e Wi l l o w s,

1908-2008.

By C a ro ly n H a re s-S try k e r. Jefferso n , N o r th C a ro lin a : M c F a rla n d , 2009. 192 p a g e s. 978-0-7864­ 3948-5. $55.00.

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A n n ie G a u g e r, in th e a c k n o w le d g m e n ts to th e N o rto n a n n o ta te d e d itio n , r e p o r ts th a t a n a d v is o r o n ce to ld h e r th a t " d o in g a n a n n o ta te d 'W illo w s '