The prospect was daunting. The 50-year-old medievalist found himself confronted with 70 boxes of unpublished work. Thousands of pages of notes and fragments and poems, some dating back more than six decades, were stuffed haphazardly into the boxes. Handwritten texts were hurriedly scrawled in pencil and annotated with a jumble of notes and corrections. One early story was drafted in a high school exercise book.
A large portion of the archive concerned the history of J.R.R. Tolkien’s fictional world, Middle-earth. The notes contained a broader picture of a universe only hinted at in Tolkien’s two bestselling novels, The Hobbit (1937) and The Lord of the Rings (1954-55). Tolkien had intended to bring that picture to light in a lengthy, solemn history going back to creation itself, but he died before completing a final, coherent version.
Christopher took it upon himself to edit that book, which was published in 1977 as The Silmarillion. He then turned to another project drawn from his father’s papers, then another—ultimately publishing poetry, academic works, fiction, and a 12-volume history of the creation of Middle-earth. The Fall of Gondolin, published in August, is the 25th posthumous book Christopher Tolkien has produced from his father’s archives.
Now, after more than 40 years, at the age of 94, Christopher Tolkien has laid down his editor’s pen, having completed a great labor of quiet, scholastic commitment to his father’s vision. It is the concluding public act of a gentleman and scholar, the last member of a club that became a pivotal part of 20th-century literature: the Inklings.
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The Inklings (and such of their forebears as Chesterton) sought to explain that there was nothing absurd in the secular and the sacred living cheek by jowl. In fact, it’s quite likely that one may find oneself, in Woolf’s phrase, “sitting by the fire” alongside a wizard who witnessed the singing of creation into being — as indeed Bilbo Baggins does.
This is not to say that the Inklings simply fled into a nostalgic past. They rather sought to apply its lessons to a violent and difficult present. If the Bagginses resemble throwback Victorian gentlemen and the other hobbits suggest plain English country folk of ages past, much else in The Lord of the Rings, from Saruman’s terrible machines to the mangled bodies on the Pelennor Fields, resembles the 20th century. The story ends with the Shire, which Tolkien described as “more or less a Warwickshire village of about the period of the Diamond Jubilee,” ravaged by war. Frodo, experiencing a sort of spiritual shell shock, can find no peace even when the war is long over.
The Inklings weren’t escapists. They were, Flieger writes, “a response to a response, and thus a continuation of the dialogue…. If the period surrounding the Great War gave birth to modernism, it also engendered the reaction against it, the effort to ensure that ‘before’ was not wholly lost in ‘after.’”