Promoting a Scholarly Tolkien Event or Book? First, Do Your Homework!

There has been a trend over the past year in which small conferences promote their registration or their call for submissions by claiming that they are seeking to reinvigorate or reanimate a field of scholarship that is on the wane. For instance, one such conference claimed that:

2023 is a significant turning point in Tolkien studies because the generation of scholars that truly knew him is entering retirement. It’s not yet clear what sort of scholarship will fill the void they are leaving.

This claim is odd for several reasons. First, what is meant by the phrase “truly knew him”? If the idea is scholars who had a personal relationship with Tolkien, then it should be noted that none off the scholars who have retired in the past twenty years had a personal relationship with Tolkien. Tom Shippey met Tolkien in 1972 at a dinner party, but they were not friends. If the phrase is meant to suggest that there is a generation of scholars who have offered valuable insights into Tolkien’s work, in other words scholars who ‘get it’ in a different parlance, then how does the conference organizer support the assertion? Why do the scholars that follow this generation fall short?

Another odd thing about this claim is that, if we assume that the creator of this promotional material DID mean to reference Shippey and his generation of scholars, then this call for a conference is about ten to fifteen years too late; for example, Shippey retired in 2008, Jane Chance retired in 2011, and Verlyn Flieger retired in 2012.

Perhaps the most egregious oversight of this claim, however, is that the author of the piece seems unaware of the fact that Tolkien scholarship has thrived, and indeed expanded, over the past decade. Not only does the claim ignore the work of well-established scholars like Dimitra Fimi, Janet Brennan Croft, Kristine Larsen, and a whole host of scholars whose publications overlap those of the previously mentioned group and who are still active participants in the field, it completely ignores the fact that we have more early-career and independent scholars in the field than we have ever had before!

From my vantage point, writers of pieces like this must frame their argument this way for one of two reasons: either they are ignorant about the field at-large, and so have made an honest mistake, or they have decided that the kind of work currently available in Tolkien scholarship “just isn’t real scholarship.” In either case, I would challenge them to read more modern scholarship on Tolkien.

I understand how fans and non-academics who are not engaged in the field can make claims that contradict current scholarship. I do not fault them for this, because I don’t personally believe that one needs to be invested in scholarship to be a Tolkien fan. When one proposes to conduct an academic conference, however, I would hope that the minimum due diligence would be to have a working knowledge of the field. This is how academics typically work.

Another instance of this kind of positioning was Holly Ordway’s book Tolkien’s Modern Reading. Setting aside the quality of the book itself, as there have been numerous reviews written at this point and I would encourage readers to peruse those for a fuller assessment of the text, the promotional material surrounding the book were unnecessarily provoking. The first paragraph of the blurb still posted on the publisher’s page is:

Tolkien’s Modern Reading addresses the claim that Tolkien “read very little modern fiction, and took no serious notice of it.” This claim, made by one of his first biographers, has led to the widely accepted view that Tolkien was dismissive of modern culture, and that The Hobbit and The Lord of the Rings are fundamentally medieval and nostalgic in their inspiration.

This is intentionally misleading in a way that heightens the significance of the book and undermines the work of other scholars. While it is true that early scholarship focused on Tolkien’s medieval sources, this has not been the sole focus of Tolkien scholarship for the past thirty years. I suspect that Ordway herself did not have a hand in writing the blurb, and she would not have been so disingenuous if she had been involved. Usually someone from the publisher ends up writing most of these promotional blurbs.

I must admit that I do not understand the need for event organizers and publishers to position what they are offering as counter-cultural or revolutionary when, in fact, they are not. I have found such a posturing to be particularly employed by events and publications adopting a Christian perspective recently, so to show you my meaning I will use them as a case study.

I went to the Modern Language Association’s International Bibliography and searched for “Tolkien” and “war” occurring in any text field for a work. The results indicated 2,046 results, which would include books, reviews, articles, or dissertations written between 1961 and 2002. It is not an exact science, but it gives us a place to start comparisons. Repeating the search with “Tolkien” and “religion” yields 1,261 results, and searching for “Tolkien” and “race” yields 1,009 results. While “religion” is not as common as “war,” it is more common than many words like “race” or “gender.” These searches are, of course, an imperfect measure, but it does help to demonstrate that, when it comes to discussions of Tolkien, religion is not a marginalized topic.

These promotional materials are being dishonest. One has to suspect that such a positioning is intentional. After all, the point of promotional materials is to generate interest for a book, for an event, etc. They are tapping into a sentiment that they feel will draw people to whatever they are marketing. I think it is a disservice to Tolkien scholars and to Tolkien fans to misrepresent scholarship in this way.

If you want to write about or host an event concerning Tolkien and religion, excellent. Please don’t, however, ignore the other scholars who have been diligently working on this topic for decades in order to make your work seem more important. To broaden this out, it does not apply to only religious studies of Tolkien, of course. I said I was using this as a case study because I have seen multiple examples of it recently in this area. This tactic, claiming marginalized status for a mainstream idea, has been used in other areas of our field.

Therefore, to anyone promoting events, publications, etc. I would like to issue a challenge: do your homework. Know the field you are talking about, and try to honestly represent it in your materials. Situate it in conversation with scholarship, not in contrast to it. Just like Tolkien, we are all influenced by and are influencers of our scholarly area and culture more generally, though not to the same degree. We should hold that in our minds as a responsibility. We are not here to make money; we are here to further understanding and create meaningful dialogue.

TEP #54 — Tom Hillman

We have finally had the perfect opportunity to sit down with our good friend Tom Hillman!

Longtime friend of the hosts and supporter of Tolkien Experience Tom Hillman is finally on the podcast! Tom was the first person to submit hs Tolkien Experience Project entry, and we thought that the publication of his book later this year gave us the perfect excuse to have him on the show! Please watch for his book Pity, Power, and Tolkien’s Ring: To Rule the Fate of Many later this year!

Unedited video of this interview is available exclusively to our patrons on Patreon! Subscribing at $5/month gets you access to video interviews, behind-the-scenes information, early releases, an exclusive patron-only series, and other bonus content!

Links to audio of this interview are below!

Subscribe to the podcast via:

Please consider supporting the Podcast on Patreon!

Comments or questions:

  • Visit us at Facebook or Twitter
  • Comment on this blog post
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TEP #53 — Donato Giancola

We start our newest season with an interview with a well-established artist: Donato Giancola!

Donato has been an avid fan of Tolkien’s work for a long time and creates artwork based on Tolkien’s world when he gets the chance. Known for his work on Magic the Gathering, modern science fiction and fantasy covers, and a plethora of other venues! You can find prints of Donato’s work on his website, or purchase his most recent art book Middle-earth: Journeys in Myth and Legend. We are so glad he had the time to talk with us!

Unedited video of this interview is available exclusively to our patrons on Patreon! Subscribing at $5/month gets you access to video interviews, behind-the-scenes information, early releases, an exclusive patron-only series, and other bonus content!

Links to audio of this interview are below!

Subscribe to the podcast via:

Please consider supporting the Podcast on Patreon!

Comments or questions:

  • Visit us at Facebook or Twitter
  • Comment on this blog post
  • Send us an e-mail from the contact page
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Ofer Zivony’s Experience –Tolkien Experience (216)

This is one in a series of posts where the content is provided by a guest who has graciously answered five questions about their experience as a Tolkien fan.

To see the idea behind this project, or if you are interested in sharing your own, visit the project homepage. If you enjoy this series, please consider helping us fund the project using the support page.

I want to thank Donato Giancola for allowing me to use his artwork for this project. Prints are available on his website!

Now, on to Ofer’s responses:


1. How were you introduced to Tolkien’s work?

Through Blind Guardian’s album Nightfall in Middle-earth and specifically the song “Nightfall” which was both my first step into Metal music and Tolkien’s legendarium. It was 1998 and I was in 9th grade, I think.

My brother and I really liked the song, so we searched the internet for the lyrics (dealing with the darkening of Valinor, as I was to learn later, but in a somewhat obscure way) and were intrigued. After buying the album and realizing it’s based on The Silmarillion, I started asking around and was told that it’s a work by J.R.R. Tolkien but that you must read The Hobbit and The Lord of the Rings first, and that you should do it in English. So we got the books in English (Hebrew being our mother-tongue) with the purpose of understanding this Blind Guardian album – a really laborious task for me, since I wasn’t much of a book-reader in any language. I couldn’t get more than half of it after the first reading, and couldn’t understand “Nightfall in Middle-earth,” so I started again (and again and again…).

2. What is your favorite part of Tolkien’s work?

It’s richness and wholesomeness.

3. What is your fondest experience of Tolkien’s work?

Preparing and giving lectures on Tolkien’s works for fan conventions in Israel:

After discovering the lively community we have here, I started inquiring about the Blind Guardian album and the meaning of the songs. I was disappointed to find what I considered very flat answers where I was sure there was much more depth. After hearing a lecture about the connection between Lord of the Rings and Wagner’s Ring Cycle, where the lecturer clearly stated that Tolkien denied any connection (besides both rings being round), I decided that preparing and giving a lecture about Nightfall in Middle-earth and The Silmarillion made way more sense. So I started working on that and found great joy in the literary research and engagement with the text – a bit like solving pieces of a puzzle. The songs really make interesting connections that have strong roots in the text itself (for example comparing Fëanor to Arda, Maedhros to Morgoth, Morgoth to Illuvatar… all quite subtly). There was so much to say that I had to split it into two talks (and still didn’t cover everything). After the first lecture I got a hug of appreciation from one in the audience!

Later I got to give another lecture on a very different topic that also got me extremely excited. There’s a Hebrew author called Yoseph Haim Brenner (1981-1921), which I grew to really love. In some ways he’s completely different from Tolkien (very much concerned with the real world of his time and very much against religion), but I found in him the same kind of richness, wholesomeness and wisdom that I’ve found in Tolkien, and I’ve found that both were using the term of “Sanctification” as something to aspire to. For me it was a huge undertaking and a bit of a rollercoaster (at times doubting if there’s anything to really talk about and in others believing I’m reaching great insights), but again engaging with the texts (this time also letters and articles by Tolkien) was worth it in itself, and I was quite happy with the end result (basically dealing with what makes great art great and how it can affect our lives).

4. Has the way you approach Tolkien’s work changed over time?

Yes, of course.

I grew to understand it a lot better, I believe. I was always interested in the Art of Tolkien (literary art) and still am. I’ve studied visual arts the same time I started reading Tolkien and ever since I’ve been engaged with Art (of all kinds), trying to get a better understanding of it and its importance in my life and in general. Tolkien’s work and essays have taught me a lot, as well as comparing it to other works of art. Even the current discourse about adaptation got me very much interested and engaged.

I think my general view of life was affected by Tolkien’s works (among some others), and you can’t approach something the exact same way twice. Hard to say what is the difference exactly each time, but I think the last big difference came to me after reading Tolkien’s lectures on Beowulf. Those made me realize that if he analyzes things with such amazing depth, and yet a clear view of the whole picture – you can’t really over-do it with analysis of his works.

5. Would you ever recommend Tolkien’s work? Why/Why not?

I do recommend it, mainly because I think (especially after that last lecture I gave, concerning its artistic achievements and specifically the subject of sanctification) that it can have a very good effect on people. Enrich their lives at the very least (while other works may do the opposite in some cases).


You can find Ofer Zivony on Facebook!

TEP #52 — Laura Martin-Gomez

For this episode, we were excited to welcome the president of Tolkiendil, the French Tolkien society: Laura Martin-Gomez!

Laura received her PhD in 2020, and her research interests include fandom studies and Tolkien’s texts. Her thesis examined fan groups in the US, UK, and France to parse out the similarities and differences in these groups from the 70s until just before internet fandom became more influential. We were very eager to have her on the podcast, and grateful we could work out a time during this busy season. We hope you enjoy listening to the episode as much as we enjoyed recording it!

Unedited video of this interview is available exclusively to our patrons on Patreon! Subscribing at $5/month gets you access to video interviews, behind-the-scenes information, early releases, an exclusive patron-only series, and other bonus content!

Links to audio of this interview are below!

Subscribe to the podcast via:

Please consider supporting the Podcast on Patreon!

Comments or questions:

  • Visit us at Facebook or Twitter
  • Comment on this blog post
  • Send us an e-mail from the contact page
  • Email TolkienExperience (at) gmail (dot) com

K. A. Montinola’s Experience — Tolkien Experience Project (215)

This is one in a series of posts where the content is provided by a guest who has graciously answered five questions about their experience as a Tolkien fan.

To see the idea behind this project, or if you are interested in sharing your own, visit the project homepage. If you enjoy this series, please consider helping us fund the project using the support page.

I want to thank Donato Giancola for allowing me to use his artwork for this project. Prints are available on his website!

Now, on to K. A.’s responses:


1. How were you introduced to Tolkien’s work?

I was around 12 years old when the Peter Jackson films were released, and they were extremely popular in my home country, and so I think those films were the entry point. But my mother always had The Lord of the Rings books around, and I made my first attempt to read it then. I don’t remember anymore when exactly it clicked and I devoured the whole text, but that did happen eventually. I do distinctly remember my mother telling me that Tolkien was friends with C.S. Lewis, whom I knew from having read the Narnia books, and whose works she had always liked. Our copies of LOTR had a line of Lewis’s praise for them and I think my young self took that as a recommendation. So maybe I should say that I owe my introduction to Tolkien’s work to my mother and to C.S. Lewis.

2. What is your favorite part of Tolkien’s work?

It’s difficult to state one single favourite bit because I feel like as I get older and continually revisit Tolkien’s work, I enjoy different parts. When I was younger I just enjoyed that LOTR felt very complete as a story, with a beginning, a middle, and an ending. The quest felt very neatly tied up. As I got older a thing I kept coming back to (in LOTR) is how many of the characters practice compassion and humility, and how these are not weaknesses but strengths in very tangible ways, which seemed to always be missing from other works of epic fantasy. One reason my favour for the LOTR books soon overtook the Jackson films was how the book characters had reasonable discussions with one another over what to do about their impending crisis and kept making choices informed by mutual understanding and a sense of collective responsibility, rather than blowing up in a temper for dramatic effect and/or just making the right choice by luck (Compare: the Council of Elrond scenes, as well as the reason Merry and Pippin are able to join the Fellowship). I was and still am always struck by how timelessly relevant the environmentalist parts of the story are; I joke along with everyone else that Tolkien ‘just really liked trees’ but honestly the stories of the Ents and the betrayal of Saruman and the ever-changing relationship with nature are some of the most poignant parts for me. 

Nowadays I think I am enjoying The Silmarillion and the rest of the Legendarium more. I used to like reading the first part of The Silmarillion in the same way I used to like reading the Old Testament of the Bible; I liked the creation myth, and the Edenic part of the cycle. In recent years I am appreciating the rest of it in terms of a really good intergenerational family drama. 

3. What is your fondest experience of Tolkien’s work?

Up until I went to university, my experience of Tolkien’s work was rather solitary. Apart from the odd friend here and there, I didn’t know anyone who read and thought about the books as much as I did. All anyone really knew were the Jackson films, and I was usually the one person in the room who had actually read the books and would self-deprecatingly admit that I had a personal tradition of rereading them every year at Christmas. On the one hand, I think I was spared a lot of what we might call fandom nonsense (particularly as a female and Asian fan, which I knew could be had from other works with large followings and fan communities). On the other hand, it was slightly lonely. So when my college offered a Tolkien course by one of my best professors and I signed up, I just had a wonderful time having peers to discuss the text with and articulate a lot of the thoughts I had about it. 

That course also helped me years later, when I decided to do a degree in Fantasy Literature, because it previewed to me the kind of work I might be doing at such a degree. I didn’t end up pursuing Tolkien for my dissertation, but I consider my time doing the degree as an experience I got to have because of Tolkien’s work. 

But the most concrete ‘fondest experience’ of Tolkien’s work I can name is that once I submitted my dissertation for that degree, my then-fiancé and I made a road trip up the Scottish Highlands and the Inner Hebrides, and we listened to The Silmarillion audiobook as we drove into unbelievably beautiful and epic landscapes. You can imagine how the scenes came alive for us. 

Also, we were married the following January 3rd. I will admit there was some Tolkien-related intent in choosing that date but it was not the sole deciding factor. We do still occasionally listen to The Silmarillion audiobook together though. My husband is a theologian, so he appreciates Tolkien’s work in his own way, but I know he asks me questions about the text on purpose so I have a place to vent all of my incoherent Tolkien thoughts, and am no longer so intellectually lonely. 

4. Has the way you approach Tolkien’s work changed over time?

I can pinpoint a few ways in which my approach to Tolkien’s work has definitely changed ever since that first childhood read of LOTR. The first is that I used to revere his work, LOTR in particular, to the point that it was a bit of a measuring stick. I had such an awe for it that I felt like everything else in fantasy felt like it paled in comparison. As I got older and got to read Tolkien’s nonfiction, like his letters and essays, and just got to read more about fantasy in general and exercise that criticism muscle, that I could approach his work as less of an authority on all things fantasy and more of an exemplar of a particular kind of fantasy. So not only do I appreciate many other works of fantasy on their own terms now rather than by comparison to Tolkien, I am also much more able to question and problematise certain aspects or elements of Tolkien’s work now as an adult than I was a child. The most glaring one, which I still think about a lot, are the constructions of colonialist thinking in that influence the text, but are taken for granted and so are somewhat invisible. In my opinion, this is what is actually underpinning a lot of the racialist ideas of the text. 

But I would hasten to add that I don’t think I’ve lost my childhood delight in reading Tolkien’s work at all. This is something I wish more people would consider, actually, that being critical of a work you loved in childhood is not the reason you have lost that idyll. 

5. Would you ever recommend Tolkien’s work? Why/Why not?

The other way I think my approach has changed is related to the question of whether or not I would recommend Tolkien’s work to others. I used to feel that Tolkien’s work was the piece of fantasy  literature that ought to be read by everyone. But I’ve come to realise that this is the same attitude many people have about reading works of ‘classical literature’ and part of why you have people pretending they had read Moby Dick or War and Peace. I think people should read what they choose to read, and if you believe in the beauty of the work, then you know that people will choose it.

So in my everyday life, if a person asked me whether or not I think they’d like reading Lord of the Rings, it would really depend on who that person is and what I know about them, and this is the same with all books for me. Publicly, or generally, I think I wouldn’t recommend Tolkien’s works to anyone, because I don’t feel like my recommendation is significant to a random person’s decision to read something—even as I do wish more people would read his works. If you couldn’t tell, my whole experience with Tolkien’s works has been enriching and rewarding, and I’d like that for more people.


You can find K. A. Montinola on Twitter!

TEP #51 — Brian Sibley

For this episode, we were honored to welcome a very influential figure in the Tolkien fandom: Brian Sibley!

Brian is the recipient of the Tolkien Society’s award for Outstanding Contribution in 2022. He is an honorary member of the society, and is perhaps best known to the Tolkien community because of the radio adaptation of The Lord of the Rings he created for the BBC. His newest project The Fall of Númenor is a book that pulls together Tolkien’s writings about the island civilization and promises to be an insightful and essential text! We hope you enjoy the interview!

Unedited video of this interview is available exclusively to our patrons on Patreon! Subscribing at $5/month gets you access to video interviews, behind-the-scenes information, early releases, an exclusive patron-only series, and other bonus content!

Links to audio of this interview are below!

Subscribe to the podcast via:

Please consider supporting the Podcast on Patreon!

Comments or questions:

  • Visit us at Facebook or Twitter
  • Comment on this blog post
  • Send us an e-mail from the contact page
  • Email TolkienExperience (at) gmail (dot) com

Tim Henne’s Experience — Tolkien Experience Project (214)

This is one in a series of posts where the content is provided by a guest who has graciously answered five questions about their experience as a Tolkien fan.

To see the idea behind this project, or if you are interested in sharing your own, visit the project homepage. If you enjoy this series, please consider helping us fund the project using the support page.

I want to thank Donato Giancola for allowing me to use his artwork for this project. Prints are available on his website!

Now, on to Tim’s responses:


1. How were you introduced to Tolkien’s work?

The Hobbit Cartoon when i was 5 or 6. Almost 50 now.

2. What is your favorite part of Tolkien’s work?

Complex story with great characters with the simplistic ending by simple people.

3. What is your fondest experience of Tolkien’s work?

Re-reading Lord of the Rings after the 1st movie came out.

4. Has the way you approach Tolkien’s work changed over time?

I guess i care more about the MINOR charters now.

5. Would you ever recommend Tolkien’s work? Why/Why not?

Yes to any and everyone.

Mike Leister’s Experience — Tolkien Experience Project (213)

This is one in a series of posts where the content is provided by a guest who has graciously answered five questions about their experience as a Tolkien fan.

To see the idea behind this project, or if you are interested in sharing your own, visit the project homepage. If you enjoy this series, please consider helping us fund the project using the support page.

I want to thank Donato Giancola for allowing me to use his artwork for this project. Prints are available on his website!

Now, on to Mike’s responses:


1. How were you introduced to Tolkien’s work?

When I was 6 or 7, I was given an illustrated version of The Hobbit that contained the story as well as stills and production sketches from the Rankin Bass movie that I used to pore over – I was simultaneously captivated and horrified by Gollum and the goblins (strangely, Smaug didn’t frighten me at all).

2. What is your favorite part of Tolkien’s work?

The depth and breadth of his world-building. I love that The Hobbit and Lord of the Rings work as stories on their own, but that if you’re committed enough, you can delve into so many different layers: history, mythology, theology, philology, geography, poetry and songs – there’s something for almost everyone. Finding Unfinished Tales and then The History of Middle-earth just deepened my love and appreciation for the core stories.

3. What is your fondest experience of Tolkien’s work?

When I was 10, I went to the library and “discovered” Lord of the Rings on the shelves. Being young (and not looking at the cover very closely), I didn’t realize that the story had been split into three books, so I just grabbed the first copy on the shelf, and thus ended up reading The Two Towers first. Thankfully, the synopsis was very descriptive and helpful in figuring out that I had definitely missed something. Even after starting in the middle, I was hooked.

4. Has the way you approach Tolkien’s work changed over time?

Definitely. I’ve been re-reading The Hobbit and Lord of the Rings every year since 1985, and every time, I find something different to appreciate. When people ask why I keep reading the same books so many times, I liken it to returning to the same vacation destination every year – there’s plenty of enjoyable parts that feel familiar and comfortable, but I always manage to uncover something new every time I visit. As I’ve gotten older, I find myself appreciating Tolkien’s attention to detail, especially in his descriptions of meals.

5. Would you ever recommend Tolkien’s work? Why/Why not?

I would, but I wouldn’t ever go into too much detail, because I’d want that person to be able to experience Tolkien’s work with fresh eyes. I have a young son who is a voracious reader. He’s not quite ready for The Hobbit yet, but I can’t wait to introduce him when he is and get his perspective on these amazing stories.


You can find Mike Leister on Twitter!

Anna Voß’s Experience — Tolkien Experience Project (212)

This is one in a series of posts where the content is provided by a guest who has graciously answered five questions about their experience as a Tolkien fan.

To see the idea behind this project, or if you are interested in sharing your own, visit the project homepage. If you enjoy this series, please consider helping us fund the project using the support page.

I want to thank Donato Giancola for allowing me to use his artwork for this project. Prints are available on his website!

Now, on to Anna’s responses:


1. How were you introduced to Tolkien’s work?

I saw the trailer to the Fellowship movie when I went to see the first Harry Potter movie. I forgot all about Harry Potter immediately. I was 11 and the age limit to see the movie without express permission was 12 at the time. My mother promised me she would let me go if I read the books first. I did, and I loved them so much, but by the time I had gotten and finished them, the movie didn’t run anymore – something I still hold against her. She understands 🙂

2. What is your favorite part of Tolkien’s work?

The theme of hope. There is always hope, even when things look hopeless. But equally, it doesn’t sugar coat: bad things happen, the world will change because of them, and you cannot get the old world back. I had a traumatic childhood and greatly appreciate this approach to undying hope and goodness without the expectation that bad can only be overcome by undoing it – something that is unrealistic.

Also, the way he deals with (sub)-creation: the entire Legendarium is full of cautionary tales about creativity, making and it’s pitfalls. I do relate to Aule as much as to Feanor in a way. I am a creative professional and I like having that aspect to relate to.

3. What is your fondest experience of Tolkien’s work?

Oh, that’s difficult. I reread Tolkien’s work typically in Autumn and Winter, my favorite Seasons, and I think it’s something that has turned into a tradition that is fully mine, something just for myself that I find very soothing.

The other is rewatching the Jackson Trilogy’s making-of the way other people watch Disney or Ghibli movies whenever they feel unwell. I have seen them way more than the actual movies themselves. I understand this is about Tolkien’s work, not Jackson’s, but the visuality of those movies was my gateway and the creativity of the people involved is so very inspiring and dear to me, and was 100% instrumental to me becoming a designer. I think I am fond of how Tolkien extracted the very best out of a group of people I first considered my role models, and now my peers.

Another thing that I would mention: Like most Tolkien obsessed teens, I used to teach myself writing Tengwar. Nowadays I research writing systems by way of typesetting/typography. It’s a field very much connected to Philology. I didn’t make the connection for a long time, but when I did it felt like coming full circle: Like it was something the Professor already told me when I was 11, 12, and that I had just forgotten about and had rediscovered.

4. Has the way you approach Tolkien’s work changed over time?

My first instinct here was to say yes, of course. I am 20 years older, and not a child anymore. But I think my approach is exactly the same: Wonder, and yearning for a moral compass especially in dark times. I always find it, too, it just tells me slightly different things each time.

5. Would you ever recommend Tolkien’s work? Why/Why not?

I find it difficult to “recommend” something so close to my heart. Not proactively, I think. The vast majority of people I meet have either already read Tolkien, or heard about it and haven’t read it yet. If people are reluctant about reading it because it’s a long book rumoured to be hard to get into, I will always, always encourage them!!! I don’t like wasting my time trying to convince the “no fantasy” crowd. I do tell people that I am a huge fan when it comes up and hope it serves as a recommendation, if you will. If people are interested, I will tell them more, of course, and I don’t think I am very good at concealing enthusiasm. 🙂


You can find Anna Voß on Instagram!