English Novels

"The stars were out in a dark sky above the trees. He thought of the jewels of the dwarves shining in dark caverns. Suddenly in the wood beyond The Water a flame leapt up—probably somebody lighting a wood-fire—and he thought of plundering dragons settling on his quiet Hill and kindling it all to flames. He shuddered; and very quickly he was plain Mr. Baggins of Bag-End, Under-Hill, again."

"As they sang the hobbit felt the love of beautiful things made by hands and by cunning and by magic moving through him, a fierce and a jealous love, the desire of the hearts of dwarves."

"Far over the misty mountains cold To dungeons deep and caverns old We must away ere break of day To seek the pale enchanted gold."

"I am looking for someone to share in an adventure that I am arranging, and it's very difficult to find anyone."

""Good morning!" said Bilbo, and he meant it. The sun was shining, and the grass was very green. But Gandalf looked at him from under long bushy eyebrows that stuck out further than the brim of his shady hat."

"In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit-hole, and that means comfort."

"The Silmarillion"

"The Hobbit"

"Now, how is it that these long-winded volumes of what looks to this reviewer like balderdash have elicited such tributes as those above? The answer is, I believe, that certain people – especially, perhaps, in Britain – have a lifelong appetite for juvenile trash."

"Once Sauron's realm is invaded, we think we are going to meet him; but he still remains nothing but a burning eye scrutinizing all that occurs from the window of a remote dark tower. This might, of course, be made effective; but actually it is not; we never feel Sauron's power. And the climax, to which we have been working up through exactly nine hundred and ninety-nine large close-printed pages, when it comes, proves extremely flat. The ring is at last got rid of by being dropped into a fiery crater, and the kingdom of Sauron « topples » in a brief and banal earthquake that sets fire to everything and burns it up, and so releases the author from the necessity of telling the reader what exactly was so terrible there."

"At the end of this long romance, I had still no conception of the wizard Gandalph, who is a cardinal figure, had never been able to visualize him at all. For the most part such characterizations as Dr. Tolkien is able to contrive are perfectly stereotyped: Frodo the good little Englishman, Samwise, his dog-like servant, who talks lower-class and respectful, and never deserts his master. These characters who are no characters are involved in interminable adventures the poverty of invention displayed in which is, it seems to me, almost pathetic."

"One is puzzled to know why the author should have supposed he was writing for adults. There are, to be sure, some details that are a little unpleasant for a children's book, but except when he is being pedantic and also boring the adult reader, there is little in The Lord of the Rings over the head of a seven-year-old child."

"Without the challenge of the Dark Power, Frodo, Gandalf, and Galadriel would not have grown. We develop only by going against opposition and facing our shadow. All the characters who won... found their key to the path to the heart of the universe by looking inward, to the God within, which unlocks all mysteries."

"Written mainly between 1937 and 1949 (which places most of the writing during World War II), The Lord of the Rings did not become a best seller until the 1960s. Despite that late start, it can arguably be called the greatest work of fiction of the twentieth century. Its main theme is good versus evil, friendship, the importance of the individual, and reverence for nature are as relevant today, during the current campaign against terrorism, as when the book was written."

"There was a time when the Hobbit fantasies of Professor Tolkien were being taken very seriously indeed by a great many distinguished literary figures. Mr. Auden is even reported to have claimed that these books were as good as War and Peace; Edwin Muir and many others were almost equally enthusiastic. I had a sense that one side or the other must be mad, for it seemed to me that these books were dull, ill-written, whimsical and childish. And for me this had a reassuring outcome, for most of his more ardent supporters were soon beginning to sell out their shares in Professor Tolkien, and today those books have passed into a merciful oblivion."

"My story [Lord of the Rings] is not an allegory of Atomic power, but of Power (exerted for Domination). Nuclear physics can be used for that purpose. But they need not be. They need not be used at all. If there is any contemporary reference in my story at all it is to what seems to me the most widespread assumption of our time: that if a thing can be done, it must be done. This seems to me wholly false."

"[Tom Bombadil is] an exemplar, a particular embodying of pure (real) natural science: the spirit that desires knowledge of other things, their history and nature, because they are ‘other’ and wholly independent of the enquiring mind, a spirit coeval with the rational mind, and entirely unconcerned with ‘doing’ anything with the knowledge: Zoology and Botany not Cattle-breeding or Agriculture. Even the Elves hardly show this: they are primarily artists."

"[Lord of the Rings] is ... a piece of literature, ... and not real history. ... Its economics, science, artefacts, religion, and philosophy are defective, or at least sketchy."

"I should regard them [the Elves interested in technical devices] as no more wicked or foolish (but in much the same peril) as Catholics engaged in certain kinds of physical research (e.g. those producing, if only as by-products, poisonous gases and explosives): things not necessarily evil, but which, things being as they are, and the nature and motives of the economic masters who provide all the means for their work being as they are, are pretty certain to serve evil ends. For which they will not necessarily be to blame, even if aware of them."

"Tolkien has become a monster, devoured by his own popularity and absorbed into the absurdity of our time. The chasm between the beauty and seriousness of the work, and what it has become, has overwhelmed me. The commercialization has reduced the aesthetic and philosophical impact of the creation to nothing. There is only one solution for me: to turn my head away. They eviscerated the book by making it an action movie for young people aged 15 to 25."

"[The Lord of the Rings] can be approached from many angles, but I have always considered it also as a gallery of characters, each facing life, death, and fate differently."

"The heroes of the books I read, The Lord of the Rings and the Foundation series, always felt a duty to save the world."

"I always felt like Gandalf should have stayed dead. That was such an incredible sequence in Fellowship of the Ring when he faces the Balrog on the Khazad-dûm and he falls into the gulf, and his last words are, “Fly, you fools.” What power that had, how that grabbed me. And then he comes back as Gandalf the White, and if anything he's sort of improved. I never liked Gandalf the White as much as Gandalf the Grey, and I never liked him coming back. I think it would have been an even stronger story if Tolkien had left him dead."

"As we read we find ourselves sharing [the characters'] burden; when we have finished, we return to our own life not relaxed but fortified."

"Almost the central theme of the book is the contrast between the Hobbits (or “the Shire”) and the appalling destiny to which some of them are called, the terrifying discovery that the humdrum happiness of the Shire, which they had taken for granted as something normal, is in reality a sort of local and temporary accident, that its existence depends on being protected by powers which Hobbits forget, against powers which Hobbits dare not imagine, that any Hobbit may find himself forced out of the Shire and caught up into that high conflict."

"Such a book has of course its predestined readers, even now more numerous and more critical than is always realized. To them a reviewer need say little, except that here are beauties which pierce like swords or burn like cold iron; here is a book that will break your heart."

"J.R.R. Tolkien's epic trilogy remains the ultimate quest, the ultimate battle between good and evil, the ultimate chronicle of stewardship of the earth. Endlessly imitated, it never has been surpassed."

"There are very few works of genius in recent literature. This is one.""

"Among the greatest works of imaginative fiction of the mid-20th century."

"Oh, fuck, not another elf!"

"Shortly after its publication, a reviewer for the Sunday Times said that "The English-speaking world is divided into those who have read The Hobbit and The Lord of the Rings and those who are going to read them.""

"I wonder how could he have been able to invent all this stuff. It feels more like Tolkien discovered some sort of long-lost scrolls."

"Tolkien's Middle-earth gleams with the light of an ancient hope: peace between peoples, and with nature, and before the unknown."

"In its fundamental conception, as well as in many of the significant details of its working out, Lord of the Rings is heavily indebted to G. K. Chesterton's now little read poem of 1911, The Ballad of the White Horse. The major theme of both works is the war and eventual victory, despite all odds, of an alliance of good folk against vastly more powerful forces of evil, and the return of a king to his rightful state. Like Lord of the Rings, Chesterton's poem is set in a heroic society after the decay of a highly civilized imperial power — in England, that is to say, in the aftermath of the Roman Empire. (Tolkien's Minas Tirith, built on seven levels, greatly resembles a medieval idealization of Rome.) King Alfred, its hero, is fighting a losing war to save his kingdom from complete conquest by the Danes. As one would expect with Chesterton, it is a war of white against black, of Christianity against a diabolical paganism that has defeated Rome and is now trying to make all good men its slaves. … The enemy is not simply Danes, or barbarians in general, but a wholly malignant and almost irresistible force that stands behind all the enemies of Christianity: This power blights everything it touches — there are repeated references to its distorting effects even on the natural world — and the men who serve it become like Tolkien's Orcs. … To fight against this menace, Alfred, hiding in exile, summons three kindreds of free, Christian peoples as allies. Alfred himself, like Tolkien's Aragorn, is an idealized heroic figure who roams around in humble disguise and is sometimes mistreated by the ignorant. Instead of Dwarves, Elves, and Men of Numenorean descent, he leads an alliance of Saxons, Celts, and Romans."

"In the highest and most complimentary sense, this is escapist fiction at its finest, yet at the same time it has profound relevance to our troubled age.""

"One of Tolkien's most impressive achievements is that he succeeds in convincing the reader that the mistakes which Sauron makes to his own undoing are the kinds of mistake which Evil, however powerful, cannot help making, just because it is evil. A good person always enjoys one advantage over an evil person, namely, that, while a good person can imagine what it would be like to be evil, an evil person cannot imagine what it would be like to be good. Elrond, Gandalf, Galadriel, Aragorn are able to imagine themselves as Sauron and can therefore resist the temptation to use the Ring themselves, but Sauron cannot imagine that anyone who knows what the Ring can accomplish, his own destruction among other things, will refrain from using it, let alone try to destroy it. Had he been capable of imagining this, he had only to sit watching and waiting in Mordor for the Ring Bearer to arrive, and he would have been bound to catch him and recover the Ring. Instead, he assumes that the Ring has been taken to Gondor where the strongest of his enemies are gathered, for this is what he would have done had he been in their place, and launches an attack on that city, neglecting the watch on his own borders."

"To present the conflict between Good and Evil as a war in which the good side is ultimately victorious is a ticklish business. Our historical experience tells us that physical power and, to a large extent, mental power are morally neutral and effectively real: wars are won by the stronger side, just or unjust. ... As readers of the preceding volumes will remember, the situation in the War of the Ring is as follows: Chance, or Providence, has put the Ring in the hands of the representatives of Good, Elrond, Gandalf, Aragorn. By using it they could destroy Sauron, the incarnation of evil, but at the cost of becoming his successor. If Sauron recovers the Ring, his victory will be immediate and complete, but even without it his power is greater than any his enemies can bring against him, so that, unless Frodo succeeds in destroying the Ring, Sauron must win. ... The demands made on the writer's powers in an epic as long as "The Lord of the Rings" are enormous and increase as the tale proceeds — the battles have to get more spectacular, the situations more critical, the adventures more thrilling — but I can only say that Mr. Tolkien has proved equal to them."

"I rarely remember a book about which I have had such violent arguments. Nobody seems to have a moderate opinion: either, like myself, people find it a masterpiece of its genre or they cannot abide it, and among the hostile there are some, I must confess, for whose literary judgment I have great respect. A few of these may have been put off by the first forty pages of the first chapter of the first volume in which the daily life of the hobbits is described; this is light comedy and light comedy is not Mr. Tolkien's forte. In most cases, however, the objection must go far deeper. I can only suppose that some people object to Heroic Quests and Imaginary Worlds on principle; such, they feel, cannot be anything but light "escapist" reading. That a man like Mr. Tolkien, the English philologist who teaches at Oxford, should lavish such incredible pains upon a genre which is, for them, trifling by definition, is, therefore, very shocking."

"I cordially dislike allegory in all its manifestations, and always have done so since I grew old and wary enough to detect its presence. I much prefer history, true or feigned, with its varied applicability to the thought and experience of readers. I think that many confuse 'applicability' with 'allegory'; but the one resides in the freedom of the reader, and the other in the purposed domination of the author."

"The most critical reader of all, myself, now finds many defects, minor and major, but being fortunately under no obligation either to review the book or to write it again, he will pass over these in silence, except one that has been noted by others: the book is too short."

"Some who have read the book, or at any rate have reviewed it, have found it boring, absurd, or contemptible; and I have no cause to complain, since I have similar opinions of their works, or of the kinds of writing that they evidently prefer."

"If you are a man, Winston, you are the last man. Your kind is extinct; we are the inheritors. Do you understand that you are alone? You are outside history, you are non-existent."

"My God, what an impact [1984] had on me. The idea of Big Brother was, and I may still, influence my thinking about democracy; the idea that we would have a government that was all-knowing and all-doing for human beings was frightening…That was a seminal piece in my waking up to the role of government in individual lives."

"Orwell's 1984 explained that "the special function of certain Newspeak words … was not so much to express meanings as to destroy them." During the week after U.S. missiles hit sites in Sudan and Afghanistan, some Americans seemed uncomfortable. A vocal minority even voiced opposition. But approval was routine among those who had learned a few easy Orwellian lessons... At all times, Americans must be kept fully informed about who to hate and fear... When terrorists attack, they're terrorizing. When we attack, we're retaliating. When they respond to our retaliation with further attacks, they're terrorizing again... No matter how many times they've lied in the past, U.S. officials are credible in the present. When they... [say] the bombed pharmaceutical factory in Khartoum was making ingredients for nerve gas, that should be good enough for us.... Might doesn't make right — except in the real world, when it's American might. Only someone of dubious political orientation would split hairs about international law."

"The question remains, why end a novel as passionate, violent and dark as this one with what appears to be a scholarly appendix? The answer may lie in simple grammar. From its first sentence, "The Principles of Newspeak" is written consistently in the past tense, as if to suggest some later piece of history, post-1984, in which Newspeak has become literally a thing of the past — as if in some way the anonymous author of this piece is by now free to discuss, critically and objectively, the political system of which Newspeak was, in its time, the essence. Moreover, it is our own pre-Newspeak English language that is being used to write the essay. Newspeak was supposed to have become general by 2050, and yet it appears that it did not last that long, let alone triumph, that the ancient humanistic ways of thinking inherent in standard English have persisted, survived, and ultimately prevailed, and that perhaps the social and moral order it speaks for has even, somehow, been restored."

"For those of us who value liberty, these past two years have been a bad dream. It seems like we fell asleep in early 2020 and woke up in 1984! They said that if we just put on a mask and stayed home for two weeks, we’d be able to return to normal. The two weeks came and went and instead of going back to normal they added more restrictions. These past two years have been a story of moving goalposts and “experts” like Anthony Fauci constantly contradicting themselves. Early on, in April 2020, I warned in an article titled “Next in Coronavirus Tyranny: Forced Vaccinations and ‘Digital Certificates,’” that the ultimate goal of the “two weeks” crowd was to force vaccines and a “vaccine passport” on Americans. My concerns were at the time written off as just another conspiracy theory. But less than a year later that “conspiracy theory” became conspiracy fact. I am not happy about being right on this. The introduction of vaccine passports was from the beginning my worst nightmare. The idea that you must “show your papers” to participate in society is a concept that is totally opposed to a free society. It is inhuman."

"[Nineteen Eighty-Four] was based chiefly on communism, because that is the dominant form of totalitarianism, but I was trying chiefly to imagine what communism would be like if it were firmly rooted in the English speaking countries, and was no longer a mere extension of the Russian Foreign Office."

"Almost since its publication, people have been saying George Orwell’s 1984 is “more relevant now than ever”. In one respect, though, it hasn’t aged well. This is in its treatment of women, and particularly the character Julia, the lover of the protagonist Winston Smith. Like many female characters in 20th-century novels, Julia feels like a projection of male fantasy...Perhaps the book’s misogyny was an attempt to explore the problem, to understand it and transcend it? Perhaps Orwell saw how he’d shortchanged Julia, but had been taught that women’s real experience had no place in serious fiction? Perhaps her inconsistencies were evidence he’d begun to chafe at this? This is probably fantasy, the fantasy of someone who isn’t ready to let go of Orwell, but can’t make her peace with certain things he wrote. But after two years of working with Orwell’s depiction of Julia, I feel a certain level of comfort in projecting my fantasy back on him."

"Since Friday, the book has reached a 9,500 percent increase in sales, he said. He said demand began to lift on Sunday, shortly after the interview Kellyanne Conway, an adviser to Donald J. Trump, gave on “Meet the Press.” In defending a false claim by the White House press secretary, Sean Spicer, that Mr. Trump had attracted the “largest audience ever to witness an inauguration,” ...When asked... why Mr. Spicer had said something that was provably false, Ms. Conway replied airily, “Don’t be so dramatic.” Mr. Spicer, she said “gave alternative facts.” In the novel 1984 the term “newspeak” refers to language in which... [unpopular]...political ideas, have been eliminated. “Doublethink” is defined as “reality control.” ....an expert on Orwell at the University of Cambridge, said that readers see a natural parallel between the book and the way Mr. Trump and his staff have distorted facts."

"Orwell was almost exactly wrong in a strange way. He thought the world would end with Big Brother watching us, but it ended with us watching Big Brother."