The Road to Middle-Earth, Tom Shippey. New York: Houghton Mifflin, rev. ed. 2003.

Summary: A study of Tolkien’s methods in creating the narratives of Middle-Earth, including words, names, maps, poetry, and mythology.

For most of us who have read (and re-read) J.R.R. Tolkien’s Lord of the Rings, The Hobbit, and other stories, we marvel at the world Tolkien creates, complete with fascinating names, a variety of languages with poetry and mythologies of beginnings, and the entry of evil into their world. Creatures who previously only inhabited the fairy tales of childhood come alive: dwarves, elves, trolls, wights, and orcs, as well as Tolkien’s unique creation, those lovable hobbits. One wonders, how did he do all that? We might wonder where Christopher Tolkien, his son, has gotten all the material for twelve volumes of Middle-Earth history and more.

Tom Shippey’s book helps answer that question, and is a boon to those who wish to delve (an appropriate word) into the depths underneath the stories we love. Shippey begins with what it meant for Tolkien to be a philologist. It was a time when the field of English studies was riven between “lit versus lang.” Tolkien was a philologist. He loved languages, particularly the languages from which modern English came. Shippey observes that for Tolkien, the story arose from the language and the world he created provided a place for the languages. The book traces all of this, the people and place names, the poetry and song, the map of Middle-Earth and a mythology to make sense of it all.

He analyzes the stories and what he calls “interlacement” as a series of different stories intersect in this grand story. He also unfolds Tolkien’s lifetime work of establishing the history behind The Lord of the Rings, including the account that made up The Silmarillion, finished by Christopher Tolkien. Tolkien worked for decades on various pieces of the history, developing languages, drawing on Old English and other languages to come up with words, and then going back and forth, harmonizing his account. He would devise stories and characters like Tom Bombadil and then try to fit them into his growing narrative. Names changed over times as Trotter became Strider and Aragorn. It appears that Tolkien often could be drawn down rabbit trails as he sought to elaborate the bones of the history of Middle-Earth. The story “Leaf by Niggle” is a parable of Tolkien’s creative process. It is a story of an artist so meticulous that he only paints one leaf. Oh, what a leaf Tolkien painted, even if he left much unfinished work to Christopher!

The book includes several afterwords, the most interesting of which is a comparison of the text of Lord of the Rings with Peter Jackson’s version, underscoring what can be done with text versus film, and the plot choices Jackson made, sometimes illuminating, sometimes questionable.

If all the poems and strange names in Lord of the Rings are off-putting to you, this probably isn’t the book for you. Shippey plunges deeply into all of this and Tolkien’s creative process that resulted in the story. It can be heavy wading, and is probably done best after reading Lord of the Rings several times and having the text at your side. If you love all this stuff, you will love this book and won’t mind some of the sections which get fairly technical with lots of unfamiliar words.

Tolkien probably started developing the ideas that led to The Lord of the Rings around 1914. The Lord of the Rings was published in 1954 and 1955. His other major work, The Silmarillion, was published posthumously in 1977. In an era where some fan fiction writers crank out a work every year or two, Shippey helps us understand why it took so long to produce these works and why these works are considered so great by so many. Shippey makes the case that in creating this mythology in the English language, Tolkien was “The Author of the Century.” Tolkien did not merely create a story. He created a world.