Category Archives: literature

Note to Self

Because, today, I am in desperate need of a reminder. A reminder of where my priorities lie. Where my faith is fixed. Where I hide my heart. God help me stem the tide of bitterness in my soul.

From the pen of C. S. Lewis, in what may be his most breathtaking piece of nonfiction: The Weight of Glory.

It is a serious thing to live in a society of possible gods and goddesses, to remember that the dullest most uninteresting person you can talk to may one day be a creature which, if you saw it now, you would be strongly tempted to worship, or else a horror and a corruption such as you now meet, if at all, only in a nightmare. All day long we are, in some degree, helping each other to one or the other of these destinations. It is in the light of these overwhelming possibilities, it is with the awe and the circumspection proper to them, that we should conduct all of our dealings with one another, all friendships, all loves, all play, all politics. There are no ordinary people. You have never talked to a mere mortal. Nations, cultures, arts, civilizations – these are mortal, and their life is to ours as the life of a gnat. But it is immortals whom we joke with, work with, marry, snub, and exploit – immortal horrors or everlasting splendors. This does not mean that we are to be perpetually solemn. We must play. But our merriment must be of that kind (and it is, in fact, the merriest kind) which exists between people who have, from the outset, taken each other seriously – no flippancy, no superiority, no presumption. And our charity must be a real and costly love, with deep feeling for the sins in spite of which we love the sinner – no mere tolerance or indulgence which parodies love as flippancy parodies merriment. Next to the Blessed Sacrament itself, your neighbour is the holiest object presented to your senses.

And my other source of sanity. I point you to Stephen Colbert. Love and peace to y’all.


George MacDonald, Endings

From the end of The Princess and the Goblin, by George MacDonald

“Then you’re leaving the story unfinished, Mr. Editor!”

“Not more unfinished than a story ought to be, I hope, If you ever knew a story finished, all I can say is, I never did. Somehow stories won’t finish. I think I know why, but I won’t say that either, now.”


Dose of Tolkien

Because, you know, I can’t let this blog go too long without something Tolkien-related.

The leaves were long, the grass was green,
The hemlock-umbels tall and fair,
And in the glade a light was seen
Of stars in shadow shimmering.
Tinuviel was dancing there
To music of a pipe unseen,
And light of stars was in her hair,
And in her raiment glimmering.

There Beren came from mountains cold,
And lost he wandered under leaves,
And where the Elven-river rolled.
He walked along and sorrowing.
He peered between the hemlock-leaves
And saw in wonder flowers of gold
Upon her mantle and her sleeves,
And her hair like shadow following.

Enchantment healed his weary feet
That over hills were doomed to roam;
And forth he hastened, strong and fleet,
And grasped at moonbeams glistening.
Through woven woods in Elvenhome
She lightly fled on dancing feet,
And left him lonely still to roam
In the silent forest listening.

He heard there oft the flying sound
Of feet as light as linden-leaves,
Or music welling underground,
In hidden hollows quavering.
Now withered lay the hemlock-sheaves,
And one by one with sighing sound
Whispering fell the beechen leaves
In the wintry woodland wavering.

He sought her ever, wandering far
Where leaves of years were thickly strewn,
By light of moon and ray of star
In frosty heavens shivering.
Her mantle glinted in the moon,
As on a hill-top high and far
She danced, and at her feet was strewn
A mist of silver quivering.

When winter passed, she came again,
And her song released the sudden spring,
Like rising lark, and falling rain,
And melting water bubbling.
He saw the elven-flowers spring
About her feet, and healed again
He longed by her to dance and sing
Upon the grass untroubling.

Again she fled, but swift he came.
Tinuviel! Tinuviel!
He called her by her elvish name;
And there she halted listening.
One moment stood she, and a spell
His voice laid on her: Beren came,
And doom fell on Tinuviel
That in his arms lay glistening.

As Beren looked into her eyes
Within the shadows of her hair,
The trembling starlight of the skies
He saw there mirrored shimmering.
Tinuviel the elven-fair,
Immortal maiden elven-wise,
About him cast her shadowy hair
And arms like silver glimmering.

Long was the way that fate them bore,
O’er stony mountains cold and grey,
Through halls of iron and darkling door,
And woods of nightshade morrowless.
The Sundering Seas between them lay,
And yet at last they met once more,
And long ago they passed away
In the forest singing sorrowless.

– J.R.R. Tolkien


Songs that Come to Us out of Strange Places

There is a lot contained in this post, I will only touch on one small aspect, so you should go read it for yourself. Thank you, stephencwinter, for letting me re-blog it!

Reading people have relationships with books over the course of their lives. All people have relationships with stories.

Sometimes, when a child, you like books that, as you grow, you will outgrow (though they may still carry a lovely sheen of nostalgia). Then there are the books, those wonderful books, that grow with you. There are books one has to grow into, and sometimes books that are written “for children” find you later in life and have great impact.

That is, if you let them. Some folks feel, or believe, that “childish” books are unfit for adults, and some dismiss entire genres of story-telling and art because they consider them “juvenile.” They are welcome to their opinions, of course, but I cannot agree.

There is something to be said for growing into books you would not have been able to appreciate as a child, but one shouldn’t, I think, have to grow out of any good book, no matter the genre or the “age bracket” for which it was written. By all means, read and love Tolstoy, but there is no reason to turn your back on A. A. Milne.

Wisdom from The Lord of the Rings

It is through the intervention of the Ents of Fangorn that victory is won at Helm’s Deep but this frightens the Riders of Rohan more perhaps than did the enemies they faced in the battle. For a kind of disenchantment has been at work among them for a very long time. You may remember that when Aragorn, Legolas and Gimli first encountered Eomer and his war band upon the plains of Rohan they met with mistrust and some fear. When Eomer heard that the friends had met Galadriel in Lothlorien he reacted with both wonder but also fearful hostility.

“Then there is a Lady in the Golden Wood, as old tales tell!” he said. “Few escape her nets, they say. These are strange days! But if you have her favour, then you also are net-weavers and sorcerers, maybe.”

Théoden’s reaction to his first encounter with Ents is less hostile, perhaps…

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A George MacDonald Quote

“Contempt is murder committed by the intellect, as hatred is murder committed by the heart.”

David Elginbrod, by George MacDonald


Autumn in Tennessee

Autumn opened its eyes, smiled, still half asleep, and rolled over.

At least, that is what it felt like.

We had a spell of cool weather, unseasonably, bizarrely cool, but lovely. Right on its edge, I thought I caught the scent of Autumn. There is no smell like it, no smell that quickens my blood that much. It is like the breath of God entering my lungs and enlivening the spirit He once breathed into me.

August, in my hometown, is hot, oppressive, and usually muggy (though we are in a mild drought this time). 30+ years living here, and indeed, further south where it is worse, have not helped me to like summer weather.

There are things I like about summer. The food is great, the greens of the landscape are rich, some of my favorite wildflowers put on a show and there are awesome insects and migratory birds everywhere. The other day I saw a clearwing moth, and just yesterday, I watched two female ruby-throated hummingbirds compete over coral honeysuckle, native salvia and a feeder.  And cicadas. I revel in summer cicada-song! But the heat and humidity wear me down quickly, and I run inside to escape.

The three other seasons, though, make up for the heaviness. For one thing, our seasons are pretty evenly spaced, around 3 months apiece. Spring, instead of being a brief link between winter and summer, is a long stretch of flower successions, greening, warming, and rain. It smells of sap and clean earth and breaks through the grays of winter with sharp, vibrant splashes of yellow, purple and white. Then, as the green begins to show, red, orange and blue mix in with the first colors, like a Fauve painting.

Winter, here, has little in the way of snow or persistent ice (though we always get some) but it is filled with opalescent grays, fawn-browns, and frost. A hillside covered with mostly deciduous trees looks like the speckled flank of a sleeping beast with a long, soft, gray-brown winter coat. It is subtle, and yet beautiful, like the many grays of the limestone sky. And in the morning, as I go to work in the dark, the street-lights set lawns and leaves sparkling with frost. It is as if every surface of the world is covered in glitter, and the smell of frost quickens the cold air.

But autumn. It leaves the rest behind. For some reason, the season of dying is life-giving to me. Sumac is the first to turn, a brilliant scarlet, brighter than flame or blood. The sugar-maples, perhaps the most spectacular, create a spectrum that runs from green, through yellows and oranges and into red, all at the same time. They look like shards of living rainbow. Sweetgums turn dark crimson, purple and black. Each tree species (and sometimes each tree) has its pattern and its method, and we have well over 100 species here. Some non-evergreens even retain their dead leaves to whisper through the winter, shedding them only when the new growth arrives in the spring.

One of my favorite species, eastern red cedar (which is actually a juniper) is an evergreen, though it takes on a winter sheen of dark bronze.

But if it were just about visual wonder, Spring and Autumn would be equally loved by me. They are not.

Spring breaks into winter just when I am weary of the gray. It is welcome and enlivening. But there is something about Autumn air. It blows across my mind, causing the embers there to redden, dusting away the white ash until flames flicker to life. It sparks my creativity, my well-being, my life. The taste we had recently whetted my appetite for that rare wind. I am never satisfied, it is never enough. Even in this place, that has a long autumn, it is too brief.

But for that short time, every year, I seem to touch something beyond myself. Perhaps it really is a time when the boundaries between worlds grows thin. I do not fear fairies, or the dead. What I feel coming near is different from that. It is the Christian song. I feel like I breathe in eternity, that eternity that is already here, present within me, but that I do not fully understand. Not yet. Not yet, but one day. Until that day, I have the contradictions, the mystery, a keyhole through a door.

Autumn, dying and living, curling up to sleep, comfort in fear, but not a vulgar fear as of being afraid. I am not afraid, but my heart is racing. It is so hard to express.  I think C.S. Lewis and G. K. Chesterton are right about that desire. The desire I feel that is soothed a little in this world, but never satisfied, the hunger for the excitement of adventure coupled with the comfort of coming home, that contradiction in my soul during Fall, fear and comfort, excitement and peace, thrill and balm.

I think of Bilbo Baggins. That journey at my feet, the road tugging at me, that song in the wind. Maybe that is why Bilbo’s song always brings me tears, good tears, and makes me think of Autumn.

Roads go ever ever on,
Over rock and under tree,
By caves where never sun has shone,
By streams that never find the sea;
Over snow by winter sown,
And through the merry flowers of June,
Over grass and over stone,
And under mountains of the moon.

Roads go ever ever on
Under cloud and under star,
Yet feet that wandering have gone
Turn at last to home afar.
Eyes that fire and sword have seen
And horror in the halls of stone
Look at last on meadows green
And trees and hills they long have known.

The Road goes ever on and on,
Down from the door where it began.
Now far ahead the Road has gone,
And I must follow, if I can,
Pursuing it with eager feet,
Until it joins some larger way
Where many paths and errands meet.
And whither then? I cannot say.

-J. R. R. Tolkien: From Bilbo, in The Hobbit and (the last stanza) Lord of the Rings.

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*I’ve been told that this post can easily be taken as disrespectful to other beliefs. If you find it so, I apologize. That was not my intent.


That gun is loaded

Riza Hawkeye, from Fullmetal Alchemist by Arakawa Hiromu.

Nothing like a sniper to teach one gun safety. Riza Hawkeye, from Fullmetal Alchemist by Arakawa Hiromu.

Would you feel comfortable with someone waving around a gun they do not know is loaded? How do you feel about someone who is not a marksman doing trick shooting?

No, this is not a post about Gun Control or Firearm Safety, it is a post about writing.

No one in their right mind will deny the fact that stories humans tell have patterns. Some of these patterns, over time, become so common that they earn the title of “trope” or “cliché.”  You know some of them by sight, having seen them again and again. New ones appear every so often, Sometimes old ones go out of fashion, and sometimes they return and, for a little while, seem new again. Sometimes “new” tropes and clichés are actually old ones in disguise.

Let me pause a moment to define how I am using these terms:

Trope: a common or overused theme or device

Cliché: something that is so commonly used in books, stories, etc., that it is no longer effective

A trope can be a cliché, but not every trope has to be. “Cliché” is what happens when that loaded trope misfires and a character, scene, or entire story dies to the reader’s interest because of it. I know you know the feeling.

That moment, in a movie, where that thing that always happens, happens and you groan inside. For that moment in the story, if not for the whole of it, the writers have lost you. You are back in reality and rolling your eyes at the choices made in creating the film.

The story lies bleeding. Maybe it’s just a fleshwound. Maybe it is fatal. Either way, it could have been avoided.

So the question becomes: How can we, as writers, practice acceptable trope-safety?

Step 1: Awareness

We are all inundated with tropes. Whether they would arise from our minds independently, or whether we are simply fed them from early childhood, they are in us. Chances are the first thoughts coming out of your head when you sit down to write, are tropes. In order to avoid any unpleasantness later on, you need to learn to recognize them, see them for what they are.

Step 2: Acceptance

I am of the opinion that tropes are neither good nor bad. I know people who struggle to avoid them altogether. The truth is, that is a trope in itself and often creates meaningless mush. Tropes exist, and continue to exist, because they serve purposes, and often serve them well. Fearing them is counter-productive. You will never be able to write anything meaningful by avoiding them completely. If you don’t believe me, spend some time wandering around tvtropes.org*. There is a trope for everything.

*Warning. This website will eat your time like a huge time-eating sarlacc.

Step 3: Education

So we cannot avoid tropes. What, then, should we do with them to prevent accidental story mutilation?

Before a firearm can be either safely used, or safely discarded (whatever your preference) the person who has it must know what it is and think about what they want to do with it. The key is education and thought. Learn to recognize tropes, decide not to fear them, and then be deliberate in how you use them. The difference between effective use of a trope and a trope-turned-cliché can be very slight.

This sounds vague, I know, but I cannot tell anyone how to use tropes because there are so many and I have no idea how any writer, other than myself, wants to use them. I think there are a few strategies, though.

a. Turn the trope a little. Don’t change it entirely, but tweak it (and make sure you know if the tweaked trope is also trope). Think of this like a feint. Your audience gets something just different enough from what they expected to cause them to look at it more closely.

b. Flip it. This one is pretty common, so be careful. It is usually referred to as an inverted trope. Princess saves knight can work quite well, but inverted tropes are tropes, too, and can become cliché or, worse, feel forced.

c. Play it straight. Be very intentional. Know what you are doing, and have a good reason why. It is a little safer to do with with less-common tropes, but sometimes it’s fun to go with the “well-worn.” Just try to avoid doing this by accident because purposeless tropes easily become boring or even annoying.

d. Subvert it. If there is a trope you really don’t like, consider using it to make a point against itself. This is the ultimate bait-and-switch of storytelling. I don’t particularly like this strategy, though it is sometimes very effective. Just be careful not to make war on straw.

e. Leave it. If the story will work just as well if you abandon the trope, or move to a less-expected one, then maybe you should do that. While tropes can be fundamental to plot or character, often times they are just trappings. Trappings can matter a lot, but not all are of equal worth.

f. Beware the implications of your tropes. This isn’t so much a strategy as very good advice. If you write about a Manic Pixie Dream Girl, make sure you don’t miss the problematic undercurrents. Whether you play them straight or subvert them, being unaware of them can undermine whatever story you are trying to tell.

Ultimately, this post is me working through these questions for myself. I value input, and if this post has helped make you more aware of tropes, or helped you see new ways of dealing with them, then I am glad. Many times have I seen a perfectly good story or character fall prey to careless trope-use. If I can see it less in my own work, and less in the work of others, I will be very happy.

Do your part to reduce story mortality!

Practice Trope Safety:

Awareness, Acceptance, and Education.

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I would like to dedicate this to BeKindRewrite. I promised her, long ago, that I would write this post.  She has written many good articles on this kind of thing, too. For starters, check this out: How to Be Original

Riza Hawkeye from the anime Fullmetal Alchemist: Brotherhood, adapted from the Fullmetal Alchemist manga by She's awesome with handguns, too. Riza Hawkeye from the anime Fullmetal Alchemist: Brotherhood, adapted from the Fullmetal Alchemist manga by Arakawa Hiromu.

She’s awesome with handguns, too. Riza Hawkeye from the anime “Fullmetal Alchemist: Brotherhood”, adapted from the Fullmetal Alchemist manga by Arakawa Hiromu.


Akallabêth

According to Pages Unbound, today marks the anniversary of Sauron’s downfall! I will take their word for it. To celebrate the occasion, the Tolkien Society is holding a Tolkien Reading Day.

The ways of participating are:

  • Grab the event button from Pages Unbound and put it on your blog.
  • Read a book by J.R.R. Tolkien this week and post a review!  If you do, Pages UnboundTolkien Society, and I all want to know so that we can read it!  (Find reading suggestions on the Tolkien Society’s Bibliography.)
  • Spread the word on social media.
  • Link to any past posts you may have made about Tolkien, his writings, or even the movies in the comments on this post.

 

To fulfill the second option, I am going to yammer about the Akallabêth, that short history of the Númenoreans tacked onto the end of J.R.R. and Christopher Tolkiens’ Silmarillion like an afterthought.

There is a great deal to be found in this story; far more than I am capable of finding as I am poorly read in comparison with J.R.R. I suggest you go digging for yourself.  The tale offers a deeper understanding of Aragorn, from The Lord of the Rings, as well as of his people. Echoes from the third age are given context and a deeper poignancy.

“Tall ships and tall kings
Three times three.
What brought they from the foundered land
Over the flowing sea?
Seven stars and seven stones
And one white tree. “

This verse pulled at me before, but now it nigh brings me to tears. I know what Aragorn’s ancestors built, and what they lost, and why that white tree, just a seedling, was on board. The emblem of Aragorn’s family, a white tree crowned with seven stars, has a long history behind it.

Isildur, who used to be, to me, a mythic figure who cut the Ring from Sauron’s hand, but then fell victim to its snare, is now a man who made sacrifices, suffered immense loss, and persevered. I have learned that his was not the original line of the kings of Númenor, but only an offshoot. Knowing more of them, again, increased my appreciation of who Aragorn is, and what he must mean to his people.

There are other revelations, too, most of which I will leave alone. Part of the joy of reading the Akallabêth is the discovery of connections and new information. I will mention one more thing, however. Umbar, later to fight for Sauron in his final confrontation with the Free Peoples, was founded by the Númenóreans, and the Harad were among their conquests during a time of brutal expansionism. This story can be found elsewhere, but the Akallabêth tells us more of why they settled in Middle Earth at all, and adds yet more depth to all of Tolkien’s stories of Arda.

There is more to the Akallabêth than a deepening appreciation for the mythic tapestry of The Lord of the Rings, however. It is its own complex myth, woven together from threads of many other human stories.

Avalon hidden in the mists, echoes of Old Testament kings, the search for eternal youth and life encompassing an obsession with death, and most of all, a retelling of the legend of Atlantis.

After all, the name “Downfallen,” which is “Akallabêth” in Adûnaic, is said to be “Atalantë” in Quenya.

This story is relatively short, and, as one might expect, it is beautifully told. If you have already read it, it deserves revisiting, and if you haven’t, I suggest you wander off and find a copy. If you like audio books, Martin Shaw’s rendition of the Silmarillion contains the Akallabêth.

Hope rather that in the end even the least of your desires shall have fruit. The love of Arda was set in your hearts by Ilúvatar, and he does not plant to no purpose.
Akallabêth, by J. R. R. Tolkien


The Great Iconoclast

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Images of the Holy easily become holy images- sacrosanct. My idea of God is not a divine idea. It has to be shattered time after time. He shatters it Himself. He is the great iconoclast. Could we not almost say that this shattering is one of the marks of His presence? The Incarnation is the supreme example; it leaves all previous ideas of the Messiah in ruins. And most are ‘offended’ by the iconoclasm; and blessed are those who are not. But the same thing happens in our private prayers.
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All reality is iconoclastic.
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-C. S. Lewis, A Grief Observed
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I Love Dwarves: a recap

PublicDomain-Pictures.com

PublicDomain-Pictures.com

In anticipation of Peter Jackson’s second “Hobbit” film, I thought I would pull together some quotes from my series on the Khazâd for those who don’t want to suffer through reading the whole thing. High-Fantasy Dwarves have, and probably always will have, a bad rap that I do not think they deserve. The equation seems to go something like this:

Ugly = unimportant

What a great message for us. Instead of delving into the complexity  that Tolkien eventually created for his Dwarves, the film industry settles for the stereotype that everyone expects, believing that almost no one cares. The unspoken consensus seems to be that, regardless of who we are and what we contribute to the world,  it is our appearance that matters most.

What is it, in human nature, that makes us reluctant to be interested in someone who is, on the surface, unlovely? We preach against judging people by appearances, and yet we do it, often without realizing what we are doing.

Anyway, enough internal examination for one day. If you are curious about my full reasons for loving Tolkien’s Dwarves, scroll to the bottom and take on the full series. Otherwise, I hope you find these excepts interesting.

In some ways, the Khazâd are very like the caves in which they dwell. I find that both are often misunderstood and dismissed as unlovely… The Dwarves, like their underground homes, seem one thing from an outside perspective, but have quite a different character when one delves deeper. They remind me of geodes. On the surface they are hard, rough and unlovely. Within at least some of them (or more likely most of them) there is astounding beauty. If you do not believe me, take a closer look at Gimli in The Lord of the Rings (the books, not the films. Gimli’s character in the films just represents the stereotype most people expect from fantasy Dwarves).

Many readers of Tolkien’s scribblings see the hard surface of the Dwarves and look no deeper. They do not realize the world of imagination they are missing. They cast a geode aside, assuming that something so plain and rough could not possibly harbor anything extraordinary within. The other races of Arda often do the same.

Tolkien’s words suggest a people who, while rugged and shielded in other regards, are hyper-sensitive when it comes to the properties and beauties of the inanimate part of Arda.

From the outside, fascination with the material can look a lot like materialism. Now, some Dwarves from Tolkien’s writing are avaricious and materialistic. There is no denying that. After all, love of matter can become materialism if taken too far. But I believe there is a pure and healthy love of the physical that is not possessive, or hedonistic, or materialistic, and I believe that love is an underlying theme in the character of the Khazâd… It is a short step from loving creation, to wishing to create.

In my recent delving into Tolkien’s work, I kept a record of the objects and places shaped by the Dwarves. I have chosen a few to mention. Some you may know. Some might surprise you.

Angrist: the knife Beren used to cut a Silmaril from Morgoth’s crown

Narsil: Sword of the Númenórean kings, broken in cutting the One Ring from Sauron’s hand,  later to become Andúril

Menegroth:  a cooperative effort of Dwarves and Elves

“The pillars of Meneroth were hewn in the likeness of the beeches of Oromë, stock, bough and leaf, and they were lit with lanterns of gold. The nightingales sang there as in the gardens of Lórien; and there were fountains of silver, and basins of marble, and floors of many-coloured stones. Carven figures of beasts and birds there ran upon the walls, or climbed upon the pillars, or peered among the branches entwined with many flowers.” – Quenta Silmarilion, Chapter 10

Nauglamír:

“It was a carcanet of gold, and set therin were gems uncounted from Valinor; but it had a power within it so that it rested lightly on its wearer as a strand of flax, and whatsoever neck it clasped it sat always with grace and loveliness.”  – Quenta Silmarilion, Chapter 13

This is a people who hang “flowering stars” on silver necklaces, create “metal wrought like fishes’ mail,” carve stone halls like beech forests, and treasure natural beauty deeply. The pop-culture ideas of elf-craft are probably closer to Tolkien’s idea of Dwarven works than the chunky and rigid images we always see. Not that there isn’t a place for stereotypical Dwarf-architecture. I like that too.

In many “fantasy” books, films, and games, Dwarves are either comic relief; gruff, warlike side-characters; or else the “Big Guy” of the story.  Because the clichés have roots in Tolkien, some assume that Tolkien wrote according to these pop-culture images. His Khazâd are not pretty or dashing enough to garner much attention, and so their subtle complexity is overlooked. In contrast, his equally-complex Elves have gotten so much attention that many people are sick of them, which is also sad.

The Khazâd are secretive. They do not teach their language to others and their true names are never written or told to outsiders. That’s right, we only have nicknames for the Dwarves! It may not help their relationships outside their own people, but I find the secretive aspect of Dwarven society mysterious. I like a little mystery.

The Khazâd are passionate beneath the surface. Cliché Dwarves seem to have three settings: wrathful, dour or rollicking. Tolkien’s writing gives a more balanced picture. His Dwarves show a full emotional range expressed in subtle, sometimes elegant, ways.

Far from the stereotypical “angry Dwarf shout of grief and rage!” that we get in the films, this is Gimli’s reaction on finding Balin’s tomb in Moria:

“Gimli cast his hood over his face.”

And when time came to escape:

“Gimli had to be dragged away by Legolas: in spite of the peril he lingered by Balin’s tomb with his head bowed.”

He breaks my heart, then gives it back to me whole and makes me smile:

“Dark is the water of Kheled-zâram… and cold are the springs of Kibil-nâla. My heart trembles at the thought that I may see them soon.” – The Fellowship of the Ring

Music and song are mentioned repeatedly in relation to the Khazâd. And this from a people in exile whose story, like that of Arda itself, is one of devastating loss and victories that come at great cost. But the Dwarves are resilient, using their outward toughness to protect the gems beneath. Gimli makes me cry and laugh, and his whole race makes me smile.

Original series of Khazâd posts:

Of the Free Peoples of Arda
Contrariwise
Khazâd Part I: Aulë
Khazâd Part II: The Deep Places of the World
Khazâd Part III: Creation
Khazâd Part IV: The Road Goes On


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