Wertzone Classics: The Lord of the Rings by J.R.R. Tolkien

The lands of Middle-earth are threatened by the forces of the Dark Lord Sauron, who only needs to find the missing One Ring to become unstoppable. Through an unlikely chain of events, the Ring has fallen into the possession of Bilbo Baggins, an unassuming hobbit of the Shire. After Bilbo retires, the Ring falls into the possession of his cousin Frodo. Finally realising the true nature of the Ring, the wizard Gandalf tells Frodo he must travel to Sauron's stronghold of Mordor and climb the volcanic Mount Doom, the only place where the Ring can be destroyed.

Reviewing The Lord of the Rings is a bit like reviewing oxygen, or Star Trek. People are probably already going to have read it, or decided not to. I can't imagine there's too many people sitting on the fence over it. Still, having just reread the whole thing, reviewing it is only polite.

The Lord of the Rings began life as a sequel to J.R.R. Tolkien's children's novel, The Hobbit, originally published in 1937. The book rapidly spiralled out of Tolkien's control and foresight, becoming longer, darker and more epic. In truth, the book became more of a sequel to Tolkien's massive myth-cycle, the then-unfinished and unpublished Silmarillion (eventually published posthumously in 1977), adopting its epic themes but using the accessible relatability of the hobbits to make the book easier to swallow for a large audience. The Lord of the Rings was eventually published in three volumes (The Fellowship of the Ring, The Two Towers and The Return of the King) in 1954 and 1955.

The impact of The Lord of the Rings cannot be overestimated. It codified the entire category field of modern epic fantasy, and Tolkien's imitators and successors are legion, as are those consciously rejecting his influence and doing something completely different. With sales estimates running from around 150 million to almost 400 million (the confusion caused by the novel's division into one-volume, three-volume and even seven-volume editions, and vast numbers of pirate editions published globally since the book came out), The Lord of the Rings is one of the biggest-selling individual novels of all time and has spawned a multimedia empire of radio, film and TV adaptations (of wildly varying quality).

Cutting through all of this chaff, what of the novel itself? How does it hold up in 2023? The answer is very well indeed, and in some respects the novel has aged better than expected. The explosion of massive epic fantasy series with individual volumes sometimes longer than The Lord of the Rings in its entirety (achieved by Tad Williams and Brandon Sanderson, and almost so by George R.R. Martin and Patrick Rothfuss) has inverted the old criticism of the novel. Rather than overlong and ponderous, as it was felt to be by many in the 1960s and 1970s (when most SFF novels clocked in at well under 300 pages), it now feels spry and economical with its pacing. The fact Tolkien delivered a single novel that tells a massive, sweeping and complete story (even reading The Hobbit is not necessary) with almost a dozen POV characters and spanning difference races, countries and an entire war, with incredibly detailed worldbuilding (most of it created just for this book; relatively little was inherited from The Silmarillion, which took place in a different region of Middle-earth), is pretty remarkable by modern standards.

The book opens in the bucolic Shire and, despite later rewrites, this section never shakes off its origin point as The Hobbit II: Somewhere Else and Back Again, Probably. There's laughter and good cheer and a lot of light and humour. But the book switches almost on a dime when Gandalf tells Frodo of the One Ring and sinister dark-hooded Riders arrive in the Shire. The initial flight from Hobbiton to Bree, with Frodo accumulating his loyal friends and allies Samwise, Merry and Pippin, remains a masterclass of building tension. The book takes a longueur at Rivendell, but it feels earned and is important for establishing the stakes of the story and establishing the Fellowship. The remainder of the first part is Tolkien delivering one epic set-piece after another, from battling wolves on the slopes of the Misty Mountains to almost dying on the slopes of Caradhras to the transition through the Mines of Moria to the battle on Amon Hen that leads to the splitting of the Fellowship.

As Tolkien himself acknowledged many years later, The Fellowship of the Ring is very different to The Two Towers and The Return of the King. The first instalment is lighter, pacier and more focused on a small, likable band of heroes engaged in an adventure. The latter two parts split the Fellowship into smaller sub-groups and sees them allying with larger powers (the nations of Rohan and Gondor) to fight Sauron's armies on the battlefield, at Helm's Deep and the Pelennor Fields. Tolkien is superb at building tension and delivering epic speeches but seems disinclined to dwell on the horrors of warfare up-close: those used to Peter Jackson's multi-hour action sequences based on those battles may be surprised by how concisely Tolkien deals with them on the page. He is more interested in the story and what happens to his characters than filling his pages with carnage. These latter two volumes remain fascinating and enjoyable, but they are drier. The moments of humour and cheer become sparser and Tolkien's prose becomes more academic, higher and more remote.

Tolkien is also an underrated master of horror. Throughout The Lord of the Rings he adeptly deploys horror tropes to scare the bejesus out of the Fellowship and the reader. This can be seen with the Black Riders in the Shire, the barrow-wights near the Old Forest and the descent through the Black Pit of Moria, and in the later confrontations with the great spider, Shelob, and the Army of the Dead. As China Miéville once said, Tolkien also gives great monster. Between Shelob, the balrog, the cave trolls and wargs, the book is replete with excellently-designed terrors.

Ultimately our heroes achieve their goals but the novel continues for another 100 pages after that, with the hobbits returning home to find that the war has not spared the home front and they have to undertake a final quest, this time by themselves without their powerful allies. For Tolkien, the Scouring of the Shire was a vitally important part of the novel about how, after taking part in a war and experiencing trauma, you can never quite go home again. This gives The Lord of the Rings its bittersweet complexity: the war is won but the damage it wreaks on the winners - or survivors - is palpable.

The novel has its weak points. Tolkien is a skilled poet in the short form but a more awkward one at length, and the novel features several verses that go on for several pages. Whilst the novel overall packs a ton of story, character and theme into a thousand pages, it does have moments where it slows down dramatically and takes a few pages to get going again. In-depth psychological characterisation is not something that Tolkien is really interested in, along with modern ideas about when to signify POV switches. This is not to say there is no characterisation, and indeed the hobbits in particular go through impressive character growth as the book develops, but it's less obvious than in many modern novels. The greatest exception is Gollum, who is torn by competing internal forces through the book as he strives for redemption but is tempted by a return to villainy.

A more valid criticism (both modern and contemporary) is almost the complete lack of female characters: Tolkien himself had already (by this point) developed important female characters in The Silmarillion who have impressive agency and play important roles in the story (such as Lúthien, Morwen, Nienor and Melian), but in Lord of the Rings the sole female character of almost any note is Éowyn. Tolkien did write more material for Arwen, but removed most of her story to the appendices. Other female characters (Galadriel, Goldberry, Rosie Cotton) appear only fleetingly. This does add to the WWI-esque atmosphere that develops, with women as a symbol of aspiration and home, but it's probably the area where the novel has aged the most poorly.

The Lord of the Rings (*****) is a titanic presence in the field of fantasy: no other single novel is as influential in its genre, even if it's perhaps less dominant these days than it used to be. It's easy to dismiss or write it off as old-fashioned or outdated, but this would be a mistake. Tolkien delivers a huge story about fighting the forces of darkness, both the overt and the subtle, and overcoming internal trauma, in a manner that remains compelling. At its best, his prose is rich and engrossing and his descriptions impressive, although the prose does become drier as the novel proceeds and some later sections lack the flair and energy of earlier chapters. But overall The Lord of the Rings remains a towering achievement of the genre and one that is worth reading.

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