![]() ![]() ![]() The relationship between an artistically built imaginary world and the primary world is a complex one. Communicated in Tolkien’s work is not just the details of the characters and plot, but also core values and political beliefs. In addition to the revenue generated is Middle-earth’s influence on forming a cultural narrative: hobbits, orcs, dwarves (rather than dwarfs) and much more are now ingrained in the imagery of Western culture. Tolkien found a publisher and the influence of his imaginary work, primarily centred in The Lord of the Rings and The Hobbit, is now a world-wide enterprise that has inspired a multi-billion dollar industry in literature, film and games. We now know that quite the opposite happened. ![]() He wrote in 1951, “nce upon a time (my crest has long since fallen) I had a mind to make a body of more or less connected legend… and yet leave scope for other minds and hands, wielding paint and music and drama. He was having trouble finding a publisher for the The Lord of the Rings and the realization that his major artistic effort may never reach its full audience loomed large. Tolkien once lamented, in a now famous letter (to a potential publisher) that his goal of creating an artful secondary world set in a faerie realm of his invention seemed then to be fading. ![]()
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