Search results for ""author christopher tolkien""

The second of a two-book set that contains the early myths and legends which led to the writing of Tolkien’s epic tale of war, The Silmarillion. This second part of The Book of Lost Tales includes the tale of Beren and Lúthien, Túrin and the Dragon, and the only full narratives of the Necklace of the Dwarves and the Fall of Gondolin, itself the finest and most exciting depiction of a battle that Tolkien ever wrote. Each tale is followed by a commentary in the form of a short essay, together with texts of associated poems, and contains extensive information on names and vocabulary in the earliest Elvish languages. This series of fascinating books has now been repackaged to complement the distinctive and classic style of the ‘black cover’ A-format paperbacks of The Hobbit, The Lord of the Rings, The Silmarillion and Unfinished Tales.

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Painstakingly restored from Tolkien’s manuscripts and presented for the first time as a continuous and standalone story, the epic tale of Beren and Lúthien will reunite fans of The Hobbit and The Lord of the Rings with Elves and Men, Dwarves and Orcs and the rich landscape and creatures unique to Tolkien’s Middle-earth. The tale of Beren and Lúthien was, or became, an essential element in the evolution of The Silmarillion, the myths and legends of the First Age of the World conceived by J.R.R. Tolkien. Returning from France and the battle of the Somme at the end of 1916, he wrote the tale in the following year. Essential to the story, and never changed, is the fate that shadowed the love of Beren and Lúthien: for Beren was a mortal man, but Lúthien was an immortal Elf. Her father, a great Elvish lord, in deep opposition to Beren, imposed on him an impossible task that he must perform before he might wed Lúthien. This is the kernel of the legend; and it leads to the supremely heroic attempt of Beren and Lúthien together to rob the greatest of all evil beings, Melkor, called Morgoth, the Black Enemy, of a Silmaril. In this book Christopher Tolkien has attempted to extract the story of Beren and Lúthien from the comprehensive work in which it was embedded; but that story was itself changing as it developed new associations within the larger history. To show something of the process whereby this legend of Middle-earth evolved over the years, he has told the story in his father's own words by giving, first, its original form, and then passages in prose and verse from later texts that illustrate the narrative as it changed. Presented together for the first time, they reveal aspects of the story, both in event and in narrative immediacy, that were afterwards lost.

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The world first publication of a previously unknown work by J.R.R. Tolkien, which tells the extraordinary story of the final days of England’s legendary hero, King Arthur. The Fall of Arthur, the only venture by J.R.R. Tolkien into the legends of Arthur King of Britain, may well be regarded as his finest and most skilful achievement in the use of the Old English alliterative metre, in which he brought to his transforming perceptions of the old narratives a pervasive sense of the grave and fateful nature of all that is told: of Arthur’s expedition overseas into distant heathen lands, of Guinevere’s flight from Camelot, of the great sea-battle on Arthur’s return to Britain, in the portrait of the traitor Mordred, in the tormented doubts of Lancelot in his French castle. Unhappily, The Fall of Arthur was one of several long narrative poems that he abandoned in that period. In this case he evidently began it in the earlier nineteen-thirties, and it was sufficiently advanced for him to send it to a very perceptive friend who read it with great enthusiasm at the end of 1934 and urgently pressed him ‘You simply must finish it!’ But in vain: he abandoned it, at some date unknown, though there is some evidence that it may have been in 1937, the year of the publication of The Hobbit and the first stirrings of The Lord of the Rings. Years later, in a letter of 1955, he said that ‘he hoped to finish a long poem on The Fall of Arthur’; but that day never came. Associated with the text of the poem, however, are many manuscript pages: a great quantity of drafting and experimentation in verse, in which the strange evolution of the poem’s structure is revealed, together with narrative synopses and very significant if tantalising notes. In these latter can be discerned clear if mysterious associations of the Arthurian conclusion with The Silmarillion, and the bitter ending of the love of Lancelot and Guinevere, which was never written.

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JRR Tolkien’s legacy of short stories which inhabit the realm of The Hobbit, The Lord of the Rings and The Silmarillion, on CD for the first time. Unfinished Tales is a collection of narratives ranging in time from the Elder Days of Middle-earth to the end of the War of the Ring, and provides those who have read The Lord of the Rings with a whole collection of background and new stories from the twentieth century’s most acclaimed popular author. The book concentrates on the realm of Middle-earth and comprises such elements as Gandalf’s lively account of how it was that he came to send the Dwarves to the celebrated party at Bag-End, the emergence of the sea-god Ulmo before the eyes of Tuor on the coast of Beleriand, and an exact description of the military organization of the Riders of Rohan. Unfinished Tales also contains the only story about the long ages of Numenor before its downfall, and all that is known about such matters as the Five Wizards, the Palantiri and the legend of Amroth. The tales were collated and edited by JRR Tolkien’s son and literary heir, Christopher Tolkien, who provides a short commentary on each story, helping the reader to fill in the gaps and put each story into the context of the rest of his father’s writings.

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In the Tale of The Fall of Gondolin are two of the greatest powers in the world. There is Morgoth of the uttermost evil, unseen in this story but ruling over a vast military power from his fortress of Angband. Deeply opposed to Morgoth is Ulmo, second in might only to Manwë, chief of the Valar. Central to this enmity of the gods is the city of Gondolin, beautiful but undiscoverable. It was built and peopled by Noldorin Elves who, when they dwelt in Valinor, the land of the gods, rebelled against their rule and fled to Middle-earth. Turgon King of Gondolin is hated and feared above all his enemies by Morgoth, who seeks in vain to discover the marvellously hidden city, while the gods in Valinor in heated debate largely refuse to intervene in support of Ulmo's desires and designs. Into this world comes Tuor, cousin of Túrin, the instrument of Ulmo's designs. Guided unseen by him Tuor sets out from the land of his birth on the fearful journey to Gondolin, and in one of the most arresting moments in the history of Middle-earth the sea-god himself appears to him, rising out of the ocean in the midst of a storm. In Gondolin he becomes great; he is wedded to Idril, Turgon's daughter, and their son is Eärendel, whose birth and profound importance in days to come is foreseen by Ulmo. At last comes the terrible ending. Morgoth learns through an act of supreme treachery all that he needs to mount a devastating attack on the city, with Balrogs and dragons and numberless Orcs. After a minutely observed account of the fall of Gondolin, the tale ends with the escape of Tuor and Idril, with the child Eärendel, looking back from a cleft in the mountains as they flee southward, at the blazing wreckage of their city. They were journeying into a new story, the Tale of Eärendel, which Tolkien never wrote, but which is sketched out in this book from other sources. Following his presentation of Beren and Lúthien Christopher Tolkien has used the same 'history in sequence' mode in the writing of this edition of The Fall of Gondolin. In the words of J.R.R. Tolkien, it was ‘the first real story of this imaginary world’ and, together with Beren and Lúthien and The Children of Húrin, he regarded it as one of the three 'Great Tales' of the Elder Days.

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Painstakingly restored from Tolkien’s manuscripts and presented for the first time as a continuous and standalone story, the epic tale of Beren and Lúthien will reunite fans of The Hobbit and The Lord of the Rings with Elves and Men, Dwarves and Orcs and the rich landscape and creatures unique to Tolkien’s Middle-earth. The tale of Beren and Lúthien was, or became, an essential element in the evolution of The Silmarillion, the myths and legends of the First Age of the World conceived by J.R.R. Tolkien. Returning from France and the battle of the Somme at the end of 1916, he wrote the tale in the following year. Essential to the story, and never changed, is the fate that shadowed the love of Beren and Lúthien: for Beren was a mortal man, but Lúthien was an immortal Elf. Her father, a great Elvish lord, in deep opposition to Beren, imposed on him an impossible task that he must perform before he might wed Lúthien. This is the kernel of the legend; and it leads to the supremely heroic attempt of Beren and Lúthien together to rob the greatest of all evil beings, Melkor, called Morgoth, the Black Enemy, of a Silmaril. In this book Christopher Tolkien has attempted to extract the story of Beren and Lúthien from the comprehensive work in which it was embedded; but that story was itself changing as it developed new associations within the larger history. To show something of the process whereby this legend of Middle-earth evolved over the years, he has told the story in his father's own words by giving, first, its original form, and then passages in prose and verse from later texts that illustrate the narrative as it changed. Presented together for the first time, they reveal aspects of the story, both in event and in narrative immediacy, that were afterwards lost.

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Painstakingly restored from Tolkien’s manuscripts and presented for the first time as a fully continuous and standalone story, the epic tale of The Children of Húrin will reunite fans of The Hobbit and The Lord of the Rings with Elves and Men, dragons and Dwarves, eagles and Orcs, and the rich landscape and characters unique to Tolkien. There are tales of Middle-earth from times long before The Lord of the Rings, and the story told in this book is set in the great country that lay beyond the Grey Havens in the West: lands where Treebeard once walked, but which were drowned in the great cataclysm that ended the First Age of the World. In that remote time Morgoth, the first Dark Lord, dwelt in the vast fortress of Angband, the Hells of Iron, in the North; and the tragedy of Túrin and his sister Nienor unfolded within the shadow of the fear of Angband and the war waged by Morgoth against the lands and secret cities of the Elves. Their brief and passionate lives were dominated by the elemental hatred that Morgoth bore them as the children of Húrin, the man who had dared to defy and to scorn him to his face. Against them he sent his most formidable servant, Glaurung, a powerful spirit in the form of a huge wingless dragon of fire. Into this story of brutal conquest and flight, of forest hiding-places and pursuit, of resistance with lessening hope, the Dark Lord and the Dragon enter in direly articulate form. Sardonic and mocking, Glaurung manipulated the fates of Túrin and Nienor by lies of diabolic cunning and guile, and the curse of Morgoth was fulfilled. The earliest versions of this story by J.R.R. Tolkien go back to the end of the First World War and the years that followed; but long afterwards, when The Lord of the Rings was finished, he wrote it anew and greatly enlarged it in complexities of motive and character: it became the dominant story in his later work on Middle-earth. But he could not bring it to a final and finished form. In this book Christopher Tolkien has constructed, after long study of the manuscripts, a coherent narrative without any editorial invention.

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Painstakingly restored from Tolkien’s manuscripts, this is the first complete, standalone Middle-earth book by J.R.R. Tolkien since The Hobbit and The Lord of the Rings. It is a legendary time long before The Lord of the Rings, and Morgoth, the first Dark Lord, dwells in the vast fortress of Angband in the North; and within the shadow of the fear of Angband, and the war waged by Morgoth against the Elves, the fates of Túrin and his sister Niënor will be tragically entwined. Their brief and passionate lives are dominated by the elemental hatred that Morgoth bears them as the children of Húrin, the man who dared to defy him to his face. Against them Morgoth sends his most formidable servant, Glaurung, a powerful spirit in the form of a huge wingless dragon of fire, in an attempt to fulfil the curse of Morgoth, and destroy the children of Húrin. Begun by J.R.R. Tolkien at the end of the First World War, The Children of Húrin became the dominant story in his later work on Middle-earth. But he could not bring it to a final and finished form. In this book Christopher Tolkien has constructed, after long study of the manuscripts, a coherent narrative without any editorial invention.

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The first of two companion volumes which documents the later writing of The Silmarillion, Tolkien’s epic tale of war. After The Lord of the Rings was at last achieved, J R R Tolkien turned his attention once again to ‘the Matter of the Elder Days’. The text of the Annals of Aman, the ‘Blessed Land’ in the far West, is given in full; while in writings hitherto unknown is seen the nature of the problems that Tolkien explored in his later years, as new and radical ideas, portending upheaval in the old narratives, emerged at the heart of the mythology, and as the destinies of Men and Elves, mortals and immortals, became of central significance, together with a vastly enlarged perception of the evil of Melkor, the Shadow upon Arda. The second part of this history of the later Silmarillion is concerned with developments in the legends of Beleriand after the completion of The Lord of the Rings.

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The world first publication of a previously unknown work by J.R.R. Tolkien, which tells the epic story of the Norse hero, Sigurd, the dragon-slayer, the revenge of his wife, Gudrún, and the Fall of the Nibelungs. In the Lay of the Völsungs is told the ancestry of the great hero Sigurd, the slayer of Fáfnir most celebrated of dragons, whose treasure he took for his own; of his awakening of the Valkyrie Brynhild who slept surrounded by a wall of fire, and of their betrothal; and of his coming to the court of the great princes who were named the Niflungs (or Nibelungs), with whom he entered into blood-brotherhood. In that court there sprang great love but also great hate, brought about by the power of the enchantress, mother of the Niflungs, skilled in the arts of magic, of shape-changing and potions of forgetfulness. In scenes of dramatic intensity, of confusion of identity, thwarted passion, jealousy and bitter strife, the tragedy of Sigurd and Brynhild, of Gunnar the Niflung and Gudrún his sister, mounts to its end in the murder of Sigurd at the hands of his blood-brothers, the suicide of Brynhild, and the despair of Gudrún. In the Lay of Gudrún her fate after the death of Sigurd is told, her marriage against her will to the mighty Atli, ruler of the Huns (the Attila of history), his murder of her brothers the Niflung lords, and her hideous revenge.

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Presented for the first time on audio, the epic tale of Beren and Lúthien will reunite fans of The Hobbit and The Lord of the Rings with Elves, Men and Orcs and the rich landscape unique to Tolkien’s Middle-earth in this unabridged recording read by critically acclaimed father and son, Timothy and Samuel West. Beren was a mortal man, but Lúthien was an immortal Elf. Her father, a great Elvish lord, was deeply opposed to Beren, and imposed on him an impossible task that he must perform before he might wed Lúthien. Undaunted by Lord Thingol’s challenge, Beren and Lúthien embark on the supremely heroic attempt to rob Morgoth, the greatest of all evil beings, of a Silmaril, one of the hallowed jewels that adorn the Black Enemy’s crown. The tale of Beren and Lúthien, which was written shortly after J.R.R. Tolkien returned from the Battle of the Somme in 1916, was an essential element in the evolution of The Silmarillion. In this book Christopher Tolkien has extracted the various versions of Beren and Lúthien from the comprehensive work in which they are embedded. To show something of the process whereby this Great Tale of Middle-earth evolved over the years, he tells the story in his father's own words by giving, first, its original form, and then passages in prose and verse from later texts that illustrate the narrative as it changed. Presented together for the first time, they reveal aspects of the story, both in event and in narrative immediacy, that were afterwards lost.

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In the Tale of The Fall of Gondolin are two of the greatest powers in the world. There is Morgoth of the uttermost evil, unseen in this story but ruling over a vast military power from his fortress of Angband. Deeply opposed to Morgoth is Ulmo, second in might only to Manwë, chief of the Valar. Central to this enmity of the gods is the city of Gondolin, beautiful but undiscoverable. It was built and peopled by Noldorin Elves who, when they dwelt in Valinor, the land of the gods, rebelled against their rule and fled to Middle-earth. Turgon King of Gondolin is hated and feared above all his enemies by Morgoth, who seeks in vain to discover the marvellously hidden city, while the gods in Valinor in heated debate largely refuse to intervene in support of Ulmo's desires and designs. Into this world comes Tuor, cousin of Túrin, the instrument of Ulmo's designs. Guided unseen by him Tuor sets out from the land of his birth on the fearful journey to Gondolin, and in one of the most arresting moments in the history of Middle-earth the sea-god himself appears to him, rising out of the ocean in the midst of a storm. In Gondolin he becomes great; he is wedded to Idril, Turgon's daughter, and their son is Eärendel, whose birth and profound importance in days to come is foreseen by Ulmo. At last comes the terrible ending. Morgoth learns through an act of supreme treachery all that he needs to mount a devastating attack on the city, with Balrogs and dragons and numberless Orcs. After a minutely observed account of the fall of Gondolin, the tale ends with the escape of Tuor and Idril, with the child Eärendel, looking back from a cleft in the mountains as they flee southward, at the blazing wreckage of their city. They were journeying into a new story, the Tale of Eärendel, which Tolkien never wrote, but which is sketched out in this book from other sources. Following his presentation of Beren and Lúthien Christopher Tolkien has used the same 'history in sequence' mode in the writing of this edition of The Fall of Gondolin. In the words of J.R.R. Tolkien, it was ‘the first real story of this imaginary world’ and, together with Beren and Lúthien and The Children of Húrin, he regarded it as one of the three 'Great Tales' of the Elder Days.

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Including brand-new paintings, this is a fully illustrated new edition of the forerunner to The Lord of the Rings, telling the earlier history of Middle-earth, recounting the events of the First and Second Ages, and introducing some of the key characters, such as Galadriel, Elrond, Elendil and the Dark Lord, Sauron. The Silmarillion is the core of J.R.R. Tolkien’s imaginative writing, a collection of narratives ranging in time from the Elder Days of Middle-earth, through the Second Age and the rise of Sauron, to the end of the War of the Ring. They are set in an age when Morgoth, the first Dark Lord, dwelt in Middle-earth, and the Elves made war upon him in his impenetrable fortress in Angband for the recovery of the Silmarils, three jewels containing the last remaining pure light of Valinor, seized by Morgoth and set in his iron crown. Accompanying these tales are several shorter works. The Ainulindalë is a myth of the Creation and in the Valaquenta the nature and powers of the gods is described. The Akallabêth recounts the downfall of the great island kingdom of Númenor at the end of the Second Age and Of the Rings of Power tells of the great events at the end of the Third Age, as told in The Lord of the Rings. Tolkien could not publish The Silmarillion in his lifetime, as it grew with him, so he would leave it to his son, Christopher, to edit the work from many manuscripts and bring his father’s great vision to publishable form, so completing the literary achievement of a lifetime. This special edition presents anew this seminal first step towards mapping out the posthumous publishing of Middle-earth, and the beginning of an illustrious forty years and more than twenty books celebrating his father’s legacy. Also included is a letter by J.R.R. Tolkien written in 1951 which provides a brilliant exposition of the earlier Ages, and almost 50 full-colour paintings by Ted Nasmith, including some which appear here for the first time.

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Presented for the first time as a standalone work, the epic tale of The Fall of Gondolin reunites fans of The Hobbit & The Lord of the Rings with Elves, Balrogs, Dragons & Orcs and the rich landscape unique to Tolkien’s Middle-earth. This brand new unabridged audio book is read by Timothy West & Samuel West. Gondolin, beautiful but undiscoverable, is central to the enmity of two of the greatest powers in the world. Morgoth of the uttermost evil seeks in vain to discover the marvellously hidden city of his Elven enemies, while the gods in Valinor refuse to support Ulmo Lord of Waters' designs to protect it. Into this world comes Tuor, cousin of Túrin, and guided unseen by Ulmo he sets out on the fearful journey to Gondolin to warn them of their coming doom. Then Morgoth learns through an act of supreme treachery all that he needs to mount a devastating attack on the city, with Balrogs and dragons and numberless Orcs.

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To celebrate its 40th anniversary, the first ever illustrated edition of this collection of tales which takes readers further into the stories told in The Hobbit, The Lord of the Rings and The Silmarillion, featuring 18 full-colour paintings depicting scenes from the First, Second and Third Ages of Middle-earth. Unfinished Tales is a collection of narratives ranging in time from the Elder Days of Middle-earth to the end of the War of the Ring, and provides those who have read The Hobbit and The Lord of the Rings with a whole collection of background and new stories. The book concentrates on the realm of Middle-earth and comprises such elements as The Quest of Erebor, Gandalf’s lively account of how it was that he came to send the Dwarves to the celebrated party at Bag-End; the emergence of the sea-god Ulmo before the eyes of Tuor on the coast of Beleriand; and an exact description of the military organization of the Riders of Rohan. Unfinished Tales also contains the only story about the long ages of Númenor before its downfall, and all that is known about such matters as the Five Wizards, the Palantíri and the legend of Amroth. The tales were edited by Christopher Tolkien, who provides a short commentary on each story, helping the reader to fill in the gaps and put each story into the context of the rest of his father’s writings. In celebration of its 40th anniversary, this new edition features 18 stunning paintings from critically acclaimed Tolkien artists, Alan Lee, John Howe & Ted Nasmith, which reveal the three Ages of Middle-earth like never before.

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Painstakingly restored from Tolkien’s manuscripts and presented for the first time as a continuous and standalone story, the epic tale of Beren and Lúthien will reunite fans of The Hobbit and The Lord of the Rings with Elves and Men, Dwarves and Orcs and the rich landscape and creatures unique to Tolkien’s Middle-earth. The tale of Beren and Lúthien was, or became, an essential element in the evolution of The Silmarillion, the myths and legends of the First Age of the World conceived by J.R.R. Tolkien. Returning from France and the battle of the Somme at the end of 1916, he wrote the tale in the following year. Essential to the story, and never changed, is the fate that shadowed the love of Beren and Lúthien: for Beren was a mortal man, but Lúthien was an immortal Elf. Her father, a great Elvish lord, in deep opposition to Beren, imposed on him an impossible task that he must perform before he might wed Lúthien. This is the kernel of the legend; and it leads to the supremely heroic attempt of Beren and Lúthien together to rob the greatest of all evil beings, Melkor, called Morgoth, the Black Enemy, of a Silmaril. In this book Christopher Tolkien has attempted to extract the story of Beren and Lúthien from the comprehensive work in which it was embedded; but that story was itself changing as it developed new associations within the larger history. To show something of the process whereby this legend of Middle-earth evolved over the years, he has told the story in his father's own words by giving, first, its original form, and then passages in prose and verse from later texts that illustrate the narrative as it changed. Presented together for the first time, they reveal aspects of the story, both in event and in narrative immediacy, that were afterwards lost.

Read more less

Painstakingly restored from Tolkien’s manuscripts and presented for the first time as a continuous and standalone story, the epic tale of Beren and Lúthien will reunite fans of The Hobbit and The Lord of the Rings with Elves and Men, Dwarves and Orcs and the rich landscape and creatures unique to Tolkien’s Middle-earth. The tale of Beren and Lúthien was, or became, an essential element in the evolution of The Silmarillion, the myths and legends of the First Age of the World conceived by J.R.R. Tolkien. Returning from France and the battle of the Somme at the end of 1916, he wrote the tale in the following year. Essential to the story, and never changed, is the fate that shadowed the love of Beren and Lúthien: for Beren was a mortal man, but Lúthien was an immortal Elf. Her father, a great Elvish lord, in deep opposition to Beren, imposed on him an impossible task that he must perform before he might wed Lúthien. This is the kernel of the legend; and it leads to the supremely heroic attempt of Beren and Lúthien together to rob the greatest of all evil beings, Melkor, called Morgoth, the Black Enemy, of a Silmaril. In this book Christopher Tolkien has attempted to extract the story of Beren and Lúthien from the comprehensive work in which it was embedded; but that story was itself changing as it developed new associations within the larger history. To show something of the process whereby this legend of Middle-earth evolved over the years, he has told the story in his father's own words by giving, first, its original form, and then passages in prose and verse from later texts that illustrate the narrative as it changed. Presented together for the first time, they reveal aspects of the story, both in event and in narrative immediacy, that were afterwards lost.

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This de luxe collector’s edition features the first edition text and eight full-colour plates, with an exclusive colour frontispiece illustration. The book is quarterbound with a special gold motif stamped on the front board and is presented in a matching slipcase. There are tales of Middle-earth from times long before The Lord of the Rings, and the story told in this book is set in the great country that lay beyond the Grey Havens in the West: lands where Treebeard once walked, but which were drowned in the great cataclysm that ended the First Age of the World. In that remote time Morgoth, the first Dark Lord, dwelt in the vast fortress of Angband, the Hells of Iron, in the North; and the tragedy of Túrin and his sister Nienor unfolded within the shadow of the fear of Angband and the war waged by Morgoth against the lands and secret cities of the Elves. Their brief and passionate lives were dominated by the elemental hatred that Morgoth bore them as the children of Húrin, the man who had dared to defy and to scorn him to his face. Against them he sent his most formidable servant, Glaurung, a powerful spirit in the form of a huge wingless dragon of fire. Into this story of brutal conquest and flight, of forest hiding-places and pursuit, of resistance with lessening hope, the Dark Lord and the Dragon enter in direly articulate form. Sardonic and mocking, Glaurung manipulated the fates of Túrin and Nienor by lies of diabolic cunning and guile, and the curse of Morgoth was fulfilled. The earliest versions of this story by J.R.R. Tolkien go back to the end of the First World War and the years that followed; but long afterwards, when The Lord of the Rings was finished, he wrote it anew and greatly enlarged it in complexities of motive and character: it became the dominant story in his later work on Middle-earth. But he could not bring it to a final and finished form. In this book Christopher Tolkien has constructed, after long study of the manuscripts, a coherent narrative without any editorial invention.

Read more less

Stunning 40th anniversary collector’s edition of this collection of tales which takes readers further into stories told in The Hobbit, The Lord of the Rings and The Silmarillion, featuring 18 full-colour paintings, housed in a matching illustrated slipcase with two removable full-colour posters unique to this edition. Unfinished Tales is a collection of narratives ranging in time from the Elder Days of Middle-earth to the end of the War of the Ring, and provides those who have read The Hobbit and The Lord of the Rings with a whole collection of background and new stories. The book concentrates on the realm of Middle-earth and comprises such elements as The Quest of Erebor, Gandalf’s lively account of how it was that he came to send the Dwarves to the celebrated party at Bag-End; the emergence of the sea-god Ulmo before the eyes of Tuor on the coast of Beleriand; and an exact description of the military organization of the Riders of Rohan. Unfinished Tales also contains the only story about the long ages of Númenor before its downfall, and all that is known about such matters as the Five Wizards, the Palantíri and the legend of Amroth. The tales were edited by Christopher Tolkien, who provides a short commentary on each story, helping the reader to fill in the gaps and put each story into the context of the rest of his father’s writings. In celebration of its 40th anniversary, this new edition features 18 stunning paintings from critically acclaimed Tolkien artists, Alan Lee, John Howe & Ted Nasmith, which reveal the three Ages of Middle-earth like never before. This special collector’s edition is printed on superior quality paper, features a unique special binding and ribbon marker and is housed in a custom-made, fully illustrated slipcase.

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The comprehensive collection of letters spanning the adult life of one of the world’s greatest storytellers, now revised and expanded to include more than 150 previously unseen letters, with revealing new insights into The Hobbit, The Lord of the Rings and The Silmarillion. J.R.R. Tolkien, creator of the languages and history of Middle-earth as recorded in The Hobbit, The Lord of the Rings and The Silmarillion, was one of the most prolific letter-writers of this century. Over the years he wrote a mass of letters – to his publishers, to members of his family, to friends, and to 'fans' of his books – which often reveal the inner workings of his mind, and which record the history of composition of his works and his reaction to subsequent events. A selection from Tolkien's correspondence, collected and edited by Tolkien's official biographer, Humphrey Carpenter, and assisted by Christopher Tolkien, was published in 1981. It presented, in Tolkien's own words, a highly detailed portrait of the man in his many aspects: storyteller, scholar, Catholic, parent, friend, and observer of the world around him. In this revised and expanded edition of The Letters of J.R.R. Tolkien, it has been possible to go back to the editors’ original typescripts and notes, restoring more than 150 letters that were excised purely to achieve what was then deemed a ‘publishable length’, and present the book as originally intended. Enthusiasts for his writings will find much that is new, for the letters not only include fresh information about Middle-earth, such as Tolkien’s own plot summary of the entirety of The Lord of the Rings and a vision for publishing his ‘Tales of the Three Ages’, but also many insights into the man and his world. In addition, this new selection will entertain anyone who appreciates the art of letter-writing, of which J.R.R. Tolkien was a master.

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Limited to a worldwide first printing of just 4,000 copies, this deluxe edition is printed in two colours and is fully bound in cloth and stamped in gold foil. Housed in a matching custom-built slipcase decorated with stunning wraparound artwork, it also features two full-colour removable posters that are unique to this edition. The Silmarillion is the core of J.R.R. Tolkien’s imaginative writing, a collection of narratives ranging in time from the Elder Days of Middle-earth, through the Second Age and the rise of Sauron, to the end of the War of the Ring. They are set in an age when Morgoth, the first Dark Lord, dwelt in Middle-earth, and the Elves made war upon him in his impenetrable fortress in Angband for the recovery of the Silmarils, three jewels containing the last remaining pure light of Valinor, seized by Morgoth and set in his iron crown. Accompanying these tales are several shorter works. The Ainulindalë is a myth of the Creation and in the Valaquenta the nature and powers of the gods is described. The Akallabêth recounts the downfall of the great island kingdom of Númenor at the end of the Second Age and Of the Rings of Power tells of the great events at the end of the Third Age, as told in The Lord of the Rings. Tolkien could not publish The Silmarillion in his lifetime, as it grew with him, so he would leave it to his son, Christopher, to edit the work from many manuscripts and bring his father’s great vision to publishable form, so completing the literary achievement of a lifetime. This special edition presents anew this seminal first step towards mapping out the posthumous publishing of Middle-earth, and the beginning of an illustrious forty years and more than twenty books celebrating his father’s legacy. Also included is a letter by J.R.R. Tolkien written in 1951 which provides a brilliant exposition of the earlier Ages, and almost 50 full-colour paintings by Ted Nasmith, including some which appear here for the first time. This special slipcased edition is fully bound in cloth and stamped in gold foil; it includes two full-colour removable fold-out posters unique to this edition and is housed in a custom slipcase illustrated with a stunning wraparound painting.

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In the Tale of The Fall of Gondolin are two of the greatest powers in the world. There is Morgoth of the uttermost evil, unseen in this story but ruling over a vast military power from his fortress of Angband. Deeply opposed to Morgoth is Ulmo, second in might only to Manwë, chief of the Valar. Central to this enmity of the gods is the city of Gondolin, beautiful but undiscoverable. It was built and peopled by Noldorin Elves who, when they dwelt in Valinor, the land of the gods, rebelled against their rule and fled to Middle-earth. Turgon King of Gondolin is hated and feared above all his enemies by Morgoth, who seeks in vain to discover the marvellously hidden city, while the gods in Valinor in heated debate largely refuse to intervene in support of Ulmo's desires and designs. Into this world comes Tuor, cousin of Túrin, the instrument of Ulmo's designs. Guided unseen by him Tuor sets out from the land of his birth on the fearful journey to Gondolin, and in one of the most arresting moments in the history of Middle-earth the sea-god himself appears to him, rising out of the ocean in the midst of a storm. In Gondolin he becomes great; he is wedded to Idril, Turgon's daughter, and their son is Eärendel, whose birth and profound importance in days to come is foreseen by Ulmo. At last comes the terrible ending. Morgoth learns through an act of supreme treachery all that he needs to mount a devastating attack on the city, with Balrogs and dragons and numberless Orcs. After a minutely observed account of the fall of Gondolin, the tale ends with the escape of Tuor and Idril, with the child Eärendel, looking back from a cleft in the mountains as they flee southward, at the blazing wreckage of their city. They were journeying into a new story, the Tale of Eärendel, which Tolkien never wrote, but which is sketched out in this book from other sources. Following his presentation of Beren and Lúthien Christopher Tolkien has used the same 'history in sequence' mode in the writing of this edition of The Fall of Gondolin. In the words of J.R.R. Tolkien, it was ‘the first real story of this imaginary world’ and, together with Beren and Lúthien and The Children of Húrin, he regarded it as one of the three 'Great Tales' of the Elder Days.

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