That may well be the most execrable bit of onomastic wordplay I have ever seen, and I think I love it.

Tolkien’s best passage

Tolkien gets a lot of respect for being a great storyteller, but I think a lot of times people don’t really understand that, as an author, he had an amazing command of language and style (and poetry). I wanted to share my favorite passage of his, in terms of linguistic style, which comes from the Return of the King, for those who may not be as familiar with his work. It is worthwhile to read this aloud and really listen to how the sentences flow: 

“And far away, as Frodo put on the Ring and claimed it for his own, even in Sammath Naur the very heart of his realm, the Power in Barad-dûr was shaken, and the Tower trembled from its foundations to its proud and bitter crown. The Dark Lord was suddenly aware of him, and his Eye piercing all shadows looked across the plain to the door that he had made; and the magnitude of his own folly was revealed to him in a blinding flash, and all the devices of his enemies were at last laid bare. Then his wrath blazed in consuming flame, but his fear rose like a vast black smoke to choke him. For he knew his deadly peril and the thread upon which his doom now hung. From all his policies and webs of fear and treachery, from all his stratagems and wars his mind shook free; and throughout his realm a tremor ran, his slaves quailed, and his armies halted, and his captains suddenly steerless, bereft of will, wavered and despaired. For they were forgotten. The whole mind and purpose of the Power that wielded them was now bent with overwhelming force upon the Mountain. At his summons, wheeling with a rending cry, in a last desperate race there flew, faster than the winds, the Nazgûl, the Ringwraiths, and with a storm of wings they hurtled southwards to Mount Doom.”

I hope you appreciate this as much as I do. If you have similar favorite passages (in terms of storytelling, or style, or anything), reblog and let me know. In terms of pure emotion, I don’t think anything in the Lord of the Rings is more beautifully done than the scene of Sam and Frodo talking about being in a story and part of an adventure, but this passage wins in terms of literary ability. 

Oh no, not another morning. How will our hero cope?

saw some good trees yesterday

it rules to be a transgender writer because writing trans themes is easy as fuck. it's easy as fuck dude. trans themes basically write themselves. change is the fundamental motor of storytelling. guess what else is all about change bitch

council getting ready for eventss (and also gossiping)

toads riding snake

I’m a Russingon girlie at heart and will never miss an opportunity to read into the romanticism of Maedhros’ rescue from Thangorodrim: ancient friends/lovers coming back together, Fingon finding compassion despite betrayal, all that good tear-jerker stuff.

But what makes Fingon’s heroism massive to me has nothing to do with the personal and everything to do with the politics at Mithrim. The fact that had he not gone to Thangorodrim, the Noldor in Beleriand would find themselves at literal war against each other.

This little passage from the Silm really deserves a lot more attention:

No love was there in the hearts of those that followed Fingolfin for the House of Fëanor, for the agony of those that endured the crossing of the Ice had been great, and Fingolfin held the sons the accomplices of their father. Then there was peril of strife between the hosts

Years later, when Fingon decides to look for Maedhros, the conflict between the hosts comes back as a primary reason behind his decision:

Then Fingon the valiant, son of Fingolfin, resolved to heal the feud that divided the Noldor, before their Enemy should be ready for war

This makes me conclude that the three years between Fingolfin’s arrival at Mitrhim (FA 2) to Fingon’s rescue mission (FA 5) must have been a continuous civil crisis. The hosts are in close proximity, a single lake dividing them, Fingolfin on one side, Maglor on the other, and for three years they cannot find a compromise. This crisis must have gotten pretty bad for someone to decide that braving Thangorodrim might be worth it.

And to me, this is Fingon's greatest contribution he ever made, not his battles, not his chasing of dragons, but preventing civil war among his people.

Of all the children of Finwë he is justly most renowned...

Yes, indeed, he is. Because without Fingon’s deed, there would be no victories for the Noldor, no Long Peace, no meeting of the Edain and Eldar. They would have fought each other endlessly until one group obliterated the other, or alternatively, Morgoth used this division (as the book seems to imply) to destroy them all swiftly. 

Fingon effectively accomplishes what Fingolfin and Fëanor never managed: peace, at least for a good while. Maedhros of course contributes in return by giving up the crown. He meets Fingon halfway, and they stay true to this alliance until Fingon’s death. They cross an impossible bridge no matter how you read their relationship. 

I’ll never tire of it. Ever.

The wild thing about being obsessed with your own DnD campaign is that there's absolutely NO fandom content for it except the stuff that you make

Like, what do you mean only six other people in the entire world have heard of Dave the Ice Elemental whose job is Freezer at the Fantasy Starbucks?

It puzzles me when people cite LOTR as the standard of “simple” or “predictable” or “black and white” fantasy. Because in my copy, the hero fails. Frodo chooses the Ring, and it’s only Gollum’s own desperation for it that inadvertently saves the day. The fate of the world, this whole blood-soaked war, all the millennia-old machinations of elves and gods, comes down to two addicts squabbling over their Precious, and that is precisely and powerfully Tolkien’s point. 

And then the hero goes home, and finds home a smoking desolation, his neighbors turned on one another, that secondary villain no one finished off having destroyed Frodo’s last oasis not even out of evil so much as spite, and then that villain dies pointlessly, and then his killer dies pointlessly. The hero is left not with a cathartic homecoming, the story come full circle in another party; he is left to pick up the pieces of what was and what shall never be again. 

And it’s not enough. The hero cannot heal, and so departs for the fabled western shores in what remains a blunt and bracing metaphor for death (especially given his aged companions). When Sam tells his family, “Well, I’m back” at the very end, it is an earned triumph, but the very fact that someone making it back qualifies as a triumph tells you what kind of story this is: one that is too honest to allow its characters to claim a clean victory over entropy, let alone evil. 

“I can’t recall the taste of food, nor the sound of water, nor the touch of grass. I’m naked in the dark. There’s nothing–no veil between me and the wheel of fire. I can see him with my waking eyes.”

So where’s this silly shallow hippie fever-dream I’ve heard so much about? It sounds like a much lesser story than the one that actually exists.

okay everyone reblog and tell me your favorite perfume. but if your favorite is glossier you… don’t bother

I don’t know what’s funnier.. the baby elephant chasing the birds, or when he fell and ran to his mom xD

ok im really curious do you guys have books you consider your "white whale"? as in books you keep telling yourself oh yeah i really want to read that, but you keep not reading it?

Am I getting a good grade in tumblr mutual?