A book that I never finished and that I do think about? The Lord of the Rings. I’ve started those books multiple times because I wanted to like them, but I simply could not get immersed into the story even though the series is considered a seminal work. For most people, I think, the books were a revelation, but as one who had been studying myths, legends, quests, and fairy tales my whole life, the books seemed . . . flat. The framework of the story isn’t new — it’s the quintessential hero’s journey story, where a naïve person (or hobbit, apparently), leaves the ordinary world, sets out on a quest, meets allies and mentors, encounters obstacles, fulfills the quest, faces one last transformative ordeal, then returns home with an elixir or boon to transform the ordinary world.
This framework of the hero’s journey is written in our psyches — it’s as old as humankind and goes all the way back to the very beginnings of literature: The Epic of Gilgamesh. Other ancient examples are Beowulf, The Odyssey, and most of mythology; also, King Arthur, The Fisher King legend, fairy tales, The Wizard of Oz, and the tarot (the major arcana seems to be an outline of the hero’s journey). The examples of pre-Tolkien heroic epics are endless, and yet he’s the one everyone holds up as the epitome of the genre.
I should like the books since I am enthralled with quests based on the hero’s journey, but I get mired in his language.
Although language and story are intertwined (because obviously, you can’t have story without language to form the story, create mood, set a tone such as mythic or prosaic), I’ve always thought that story transcends language. A story can be heavy with complex situations, ambiguous characters, and dark themes, yet still be light enough to break through language and rise to a level of reality that the brain treats as true.
It’s this lack of transcendence that makes The Lord of the Rings so problematic for me. I’ve tried many times over the years to drag myself through the books, but the most I’ve managed is to get halfway through the second volume without getting completely bogged down in his words. I simply can’t get beyond the anchor of Tolkien’s language.
The Lord of the Rings has often been hailed as the first, but the first of what, I don’t know. Maybe the first to bring fantasy to the mainstream reading public. He certainly wasn’t the first to write a fantasy. George MacDonald did that. His novel Phantastes, written in 1858, is recognized as the first modern fantasy. Tolkien certainly wasn’t the first to create a completely fictitious world separate from our own. That was William Morris who wrote The Well at the World’s End in 1896. Other writers had created fictitious worlds, such as Jonathan Swift, Jules Verne, Lewis Carroll, but they are not considered fantasy. (Apparently, if a story is written before the delineation of a genre, it can’t belong to that genre.)
Nor was Tolkien the first to create his own languages (a hobby of his from a young age). A Princess of Mars, a science fantasy novel written by American writer Edgar Rice Burroughs in 1912 is considered the first, though Burroughs didn’t create a full grammar for his language. Nor was Burroughs anywhere near the first. Other writers and linguists had been creating languages dating all the way back to the Middle Ages. Esperanto, created by Polish polyglot L. L. Zamenhof in 1887, is spoken by maybe two million people today. (Though come to think of it, any language is a created language. As far as I know, there is no language quarry where one goes to dig up a new language, nor did anyone come down from on high to gift humans with language. Humans and language are intertwined. Humans created language and have done so from the beginning, but also, language created humans. It is language, according to some maybe-experts, that helped rewire our brains and turn us into what we are today.)
What Tolkien did was create entire languages, complete with grammar and syntax, and he grew those languages in conjunction with the mythology and history he devised to support the languages. As a philologist, he believed that language could tell a hidden history; for example, the word “wheel” traces back 5,000 years to a Proto-Indo-European language, which shows at least how long people have know about wheels. In his own languages, he wanted to show that same type of back history. Only then, after he’d built his languages and the myths and history behind them, did he concoct a story (influenced by Beowulf; Celtic, Finnish, and classical myths; Norse and Germanic sagas) to showcase the languages.
And this is why The Lord of the Rings feels so leaden to me. There is no way to transcend the language because the story is not just anchored in language — its whole purpose is the language.
Knowing this, I bought the books . . . again. (The first couple of sets I’d purchased are long gone, lost in the mists of my past.) I figure I’d try to read them, not for the story but for . . . whatever.
Will I be able to get through them even treating them as a study project? I don’t know. What does surprise me is how people are so willing — happily willing — to allow Tolkien his long, drawn-out sections of nothing happening but boring texts of history and geography, yet those same people complain when other authors (such as Tad Williams in his Memory, Sorrow, and Thorn series) don’t jump in immediately with the fast action that is demanded today.
Maybe eventually I’ll find out what made Tolkien rise to such glorified heights as to be forgiven every modern fictional sin, but first, I’ll have to get through the books. Maybe if I rename the series “Lord of the Language” it will help me remember the point of it all. There’s just one small problem with that reminder — I don’t like fake languages and don’t see that they add anything to a story, so I always skip over such things when I encounter them in books.
***
Pat Bertram is the author of Grief: The Inside Story – A Guide to Surviving the Loss o a Loved One



















