Central to Tolkien's work, this book is the story of the first age: the foundations of the world of Middle-Earth and its peoples before the great events recorded in "The Hobbit" and "The Lord of the Rings".

THE SILMARILLION

The third volume that contains the early myths and legends which led to the writing of Tolkien's epic tale of war, The Silmarillion.

 This, the third volume of The History of Middle-earth, gives us a priviledged insight into the creation of the mythology of Middle-earth, through the alliterative verse tales of two of the most crucial stories in Tolkien's world - those of Turien and Luthien. The first of the poems is the unpublished Lay of The Children of Hurin, narrating on a grand scale the tragedy of Turin Turambar. The second is the moving Lay of Leithian, the chief source of the tale of Beren and Luthien in The Silmarillion, telling of the Quest of the Silmaril and the encounter with Morgoth in his subterranean fortress.

 Accompanying the poems are commentaries on the evolution of the history of the Elder Days. Also included is the notable criticism of The Lay of The Leithian by CS Lewis, who read the poem in 1929.

The Lays of Beleriand

First ever critical study of Tolkien's little-known essay, which reveals how language invention shaped the creation of Middle-earth and beyond, to George R R Martin's Game of Thrones.

 J. R. R. Tolkien's linguistic invention was a fundamental part of his artistic output, to the extent that later on in life he attributed the existence of his mythology to the desire to give his languages a home and peoples to speak them. As Tolkien puts it in 'A Secret Vice', 'the making of language and mythology are related functions'.

 In the 1930s, Tolkien composed and delivered two lectures, in which he explored these two key elements of his sub-creative methodology. The second of these, the seminal Andrew Lang Lecture for 1938-9, 'On Fairy-Stories', which he delivered at the University of St Andrews in Scotland, is well known. But many years before, in 1931, Tolkien gave a talk to a literary society entitled 'A Hobby for the Home', where he unveiled for the first time to a listening public the art that he had both himself encountered and been involved with since his earliest childhood: 'the construction of imaginary languages in full or outline for amusement'.

 This talk would be edited by Christopher Tolkien for inclusion as 'A Secret Vice' in The Monsters and the Critics and Other Essays and serves as the principal exposition of Tolkien's art of inventing languages. This new critical edition, which includes previously unpublished notes and drafts by Tolkien connected with the essay, including his 'Essay on Phonetic Symbolism', goes some way towards re-opening the debate on the importance of linguistic invention in Tolkien's mythology and the role of imaginary languages in fantasy literature.

A Secret Vice - Tolkien on Invented Languages

Film tie-in edition of the bestselling classic work of fantasy of Bilbo Baggins' adventures in Middle-earth, featuring the complete story as shown in the film trilogy, with a striking cover image from Peter Jackson's film adaptation and drawings and maps by J.R.R. Tolkien.

THE HOBBIT - FILM TIE IN

Continuing the story begun in The Hobbit, this is the first part of Tolkien's epic masterpiece, The Lord of the Rings, featuring a striking black cover based on Tolkien's own design, the definitive text, and a detailed map of Middle-earth.

Lord of the Rings : The Fellowship of the Rings (Part 1)

A revised and reset edition of 'The Silmarillion', illustrated by Tolkien artist Ted Nasmith -- designed to match and complement the illustrated 'Lord of The Rings'.

THE SILMARILLION ILLUSTRATED

Qu'est-ce que le conte de fées ? Où puise-t-il son origine ? Quelles sont ses fonctions ? En répondant à ces trois questions, ce court essai, qui a tout d'un grand texte théorique, donne des clés fondamentales tant pour comprendre l'oeuvre de J.R.R. Tolkien que le conte de fées et son influence sur nos vies. L'auteur aborde le sujet comme « un territoire périlleux qui réserve des chausse-trappes aux imprudents et des cachots aux téméraires », et on l'y suit comme on partirait pour une formidable aventure. L'essentiel ne tient-il pas dans le pouvoir d'enchantement, d'évasion, de consolation et de création du conte de fées ?

THE SILMARILLION

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