Tolkien’s Children of Hurin
Christopher Tolkien’s master-stroke of editing and piecing together his father’s fragmentary work was released yesterday to much “fan”fare. TORn covered and assisted the line at a Manhattan Barnes and Noble where fans lined up to buy copies signed by both C. Tolkien and illustrator Alan Lee. Andrew O’Hehir, who’s been covering matters Tolkien for Salon for a long time now, has a thoughtful, in-depth review, focusing largely on the startling difference in tone between this tome and The Lord of the Rings.
“The Children of Húrin” will thrill some readers and dismay others, but will surprise almost everyone. If you’re looking for the accessibility, lyrical sweep and above all the optimism of “Lord of the Rings,” well, you’d better go back and read it again. There are no hobbits here, no Tom Bombadil, no cozy roadside inns and precious little fireside cheer of any variety found here. This is a tale whose hero is guilty of repeated treachery and murder, a story of rape and pillage and incest and greed and famous battles that ought never to have been fought. If “Lord of the Rings” is a story where good conquers evil, this one moves inexorably in the other direction.
Readers of The Silmarillion, which seemed at the time of its publication the end of all things Tolkien but proved to be merely the beginning of Christopher Tolkien’s work of editing his father’s legacy, know that LotR notwithstanding, Tolkien was very occupied with themes of hubris, falls from grace (or characters without grace altogether), and dark, inexorable destinies. The jagged yet constantly descending roads these characters take in their slides toward doom are indeed startling, but though as O’Hehir says the darkness will “surprise almost everyone,” the surprise for those left out by “almost” is more and more coming to be that Tolkien had it in him to write the happy-ending stories of The Hobbit and The Lord of the Rings at all. He could only do it by omitting utterly one of those occupying themes, hubris, from his three central characters of Frodo, Aragorn, and Gandalf, thus avoiding for them the dark destiny but reserving for them nevertheless places in grey twilight as their reward. When all’s said and done, Lord of the Rings is not a happy story, but at most grimly optimistic, to use Andrew’s word. In the end the individual matters only insofar as he or she did duty in the larger battle against evil, or failed in that duty.
Judging by the reviews, it looks as if The Children of Hurin will be a stark illustration of how to do your duty and fail miserably in life all at the same time. In a phrase, it’s Tolkien, painfully aware of the human condition, to the core.