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J. R. R. Tolkien's influences - Wikipedia

British author Colin Duriez, who wrote the article in issue #78 of , explains why this is so in his forthcoming book . Duriez tells the story of how these two brilliant authors met, discovered their common love for mythical tales, and pledged to bring such stories into the mainstream of public reading taste. Tolkien and Lewis shared the belief that through myth and legend—for centuries the mode many cultures had used to communicate their deepest truths—a taste of the Christian gospel's "True Myth" could be smuggled past the barriers and biases of secularized readers.

While highly creative, the fiction of J

I also wish to note a matter recently pointed out to me by Andrew Ferguson, the fact that the Kindle edition of published in connection with its contained a number of previously unpublished recordings by J.R.R. Tolkien, among them a reading of chapter two, "Roast Mutton". However, as this Kindle edition is presently (25th December 2015) listed as unavailable I feel the matter needs further investigation before I enter information about this in the entry for below. For a discussion of these recordings see John D. Rateliff's blog entry .

This is where their third shared commitment came into play—this sense of wholeness was a Christian approach, distant from the neo-pagan mysticism of some romantics, the "Pan worship" of the early twentieth century. Indeed, Tolkien worried increasingly towards the end of his life that people were missing the Christian balance of his work, and were taking it almost as the basis of a new paganism. You could argue in fact that one reason Tolkien didn't finish the Silmarillion was his concern to make his imaginative creations consonant with Christianity. Obviously not wanting to make them into allegory or preachment, he was concerned his literary insights be clearly consistent with Christianity.

A Chronological Bibliography of the Writings of J.R.R. Tolkien

They had both personal and professional reasons for this interest. Personally, they had both read and enjoyed such stories as they were growing up, in collections by the brothers Grimm, Andrew Lang, and others. Lewis had also heard Celtic myths—his nurse had told him some of the folk tales of Ireland.

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It dawned on both men that there was a need to create a readership again for these books—especially an adult readership. Lewis's space trilogy came out of this same impulse to write the sort of stories that he and Tolkien liked to read. He felt he could say things in science fiction that he couldn't say in other ways. And Tolkien had been expressing this sense already for years when the two men met—ever since World War One he had been writing hundreds of pages of a cycle of myth and legend from the early ages of Middle-earth. This, it would later turn out, would provide the "pre-history" for , some of which was published after his death in .

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As noted above I was uncertain in July 2015 concerning the contents of the new edition of , edited by Verlyn Flieger. Thus I have hastened to update this bibliography once this book has been published. In the end the edition of "The Story of Kullervo" proved to be largely unchanged from the version already published in (according to Verlyn Flieger's Foreword, p. vii, this has meant for her an "opportunity to refine my first transcription of the manuscript, restore inadvertent omissions, emend conjectural readings, and correct typos that found their way into print"). The editorial apparatus has been extended with a new Introduction (pp. ix-xxiii), partly based on the much briefer one in (pp. 211-214) while the concluding essay, "Tolkien, , and 'The Story of Kullervo'" (pp. 133-163) is reprinted from Verlyn Flieger's collection (2012). The book-length edition also adds five facsimiles from Tolkien's manuscripts as well as a painting by Tolkien, "The Land of Pohja" (in two versions).

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Early in their relationship, in 1936, after Tolkien had written the children's story , the two men had a momentous conversation about their desire to bring such stories to a wider audience (see below, at the end of this interview, for Duriez's re-creation of that conversation). They actually decided to divide the territory—Lewis would take "space travel," Tolkien "time travel." Tolkien never got around to finishing his time-travel story, concentrating instead on his more "adult" trilogy, in which he placed hobbits in the context of his Silmarillion stories. But Lewis did write his space books: , , and .