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Exhibitions

A new exhibition gives us the real Tolkien – not his awful legacy

The Bodleian gives us what we want: the man and the writer

7 July 2018

9:00 AM

7 July 2018

9:00 AM

Tolkien: Maker of Middle-earth

Weston Library, Oxford, until 28 October

To no one’s surprise, the Tolkien: Maker of Middle-earth exhibition at the Bodleian in Oxford, where J.R.R. spent so much of his time, has been a huge success. Were tickets on sale, it would be a sell-out, but the Bodleian has made it free. The visitors book is peppered with observations such as: ‘It made me cry with joy… sensationally splendid’.There’s also a less hyperbolic view, in a childish hand: ‘It was interesting to see how he made The Hobbit and Lord of the Rings.’

It is rather a small show, a remarkable feat of compression on the part of the curator, Catherine McIlwaine, who had to pare down 500 boxes of Tolkien holdings to produce it, and was instructed by advisers that her captions mustn’t exceed 70 words each. In fact, the catalogue of the exhibition (Bodleian, £40), which she edited, containing contributions from other Tolkien scholars, is better than the show itself, with all the things she wanted to include in the show but couldn’t, and proper captions.

The centrepiece of the display is a replica of Tolkien’s study at his home in Oxford, with his pipe, his Windsor chair and his writing desk with green baize. I’m glad they got in the smoking. This was where his children, as well as his students, would come to see him. Famously, he chanced upon a blank page when he was marking School Certificate exams, and on it, out of nowhere, he wrote the opening sentence of The Hobbit: ‘In a hole in the ground there lived a hobbit…’.


The story was told to his children, and here are some of the charming Christmas cards and letters from Father Christmas that he wrote for them year after year, with splendid lettering and envelopes and a special stamp from the North Pole, and sketches for Roverandom, the dog story he made up for them. There’s a forbidding Owlamoo to help his son Michael with his night terrors.

We get a peek into his home life, with a tiny, poignant letter to his father, dictated when he was four, which was never sent because his father died; a sketch of two young men by a hearth, one darning his trousers (‘What is home without a mother — or a wife?’), drawn when Tolkien was 12 and sent to his mother before her premature death from diabetes; a moving letter from one of his Exeter College friends who died in the first world war. There’s nothing, however, about his deeply rooted Catholicism. There’s a lovely sketch of his married life in the war. There’s a preposterous menu of ideas for discussion by the Inklings — the literary group he founded with C.S. Lewis and Charles Williams. All are glimpses of a man with a genius for friendship and a delight in his family.

Most of the exhibition is about the works — not least, his painstaking maps. Many of his paintings for the books are here andI am inclined to agree with his own view that ‘I never could draw’. And there are, too, a great many letters from Tolkien’s extraordinary range of admirers: W.H. Auden, Iris Murdoch and C.S. Lewis, who rightly declared that The Lord of the Rings excels in ‘sheer sub-creation… as if from inexhaustible resources’.

What we get here, in short, are glimpses of the boundless creativity of J.R.R. Tolkien, not Peter Jackson, who made the films of the books by which most people know them. And, thank God, we don’t get a hint of the awfulness of poor Tolkien’s unintended legacy, which can roughly be summed up in the grim word ‘fantasy’ — games as well as rubbish children’s literature. We get the man and the writer. And that is enough.


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