I am still on the English mailing list from UW.  Often I find myself reading emails like this, making me wish I were back in school.  How I wish I could spend 20 hours of each week devouring and digesting this literary conversation!


ENGL 307: Critical Approaches to Tolkien: Cultural Studies and Fantasy Literature

J.R.R. TOLKIEN, in the foreword to The Lord of the Rings, insists and argues, "I should like to say something here with reference to the many opinions or guesses that I have received or have read concerning the motives and meanings of the tale. The prime motive was the desire of a tale-teller to try his hand at a really long story that would hold the attention of readers, amuse them, delight them, and at times maybe excite them or deeply move them...As for any inner meaning or 'message', it has in the intention of the author none. It is neither allegorical nor topical" (xiv). This course will decidedly not believe the author's intentions, rather we will draw on the broad archive of Tolkien's novels, Peter Jackson's films, and scholarship as occasions to identify and explore the key concepts, moves, and terms of the interdisciplinary field of cultural studies.

CENTRAL QUESTIONS AND ENGAGEMENTS INCLUDE: What are the different critical practices and methodologies of cultural studies? How might we employ different cultural studies approaches and lenses to Tolkien, film adaptations, and fantasy literature more generally? Why study fantasy, how is this oft dismissed "genre" important, and what values, ideals, and norms does it have? In this course, we will look at and analyze Tolkien through the lenses of cultural studies and deploy literature as theories about and dramatizations of different social relationships and realities, to unpack and analyze the intersections of cultural formations like race, gender, class, nation, and sexuality, particularly in the US context. Ursula K. Le Guin in "Why Are Americans Afraid of Dragons?" argues, "For fantasy is true, of course. It isn't factual, but it is true. Children know that. Adults know it too, and that is precisely why many of them are afraid of fantasy." This class will spend the quarter reading, watching, thinking, and writing about how and what these texts argue, reveal, narrate, hide, perpetuate, and complicate the world we live in. In other words, we will try to challenge Tolkien's denials above and to answer Le Guin's proposition about fantasy.

I do not foretell, for all foretelling is now vain: on the one hand lies darkness, and on the other only hope. But if hope should not fail, then I say to you, Gimli son of Gloin that your hands shall flow with gold, and ye over you gold shall have no dominion.


But even now there is hope left. I will not give you counsel, saying do this, or do that. For not in doing or contriving, nor in choosing between this course and another, can I avail; but only in knowing what was and is, and in part also what shall be. But this I will say to you: your Quest stands upon the edge of a knife. Stray but a little and it will fail, to the ruin of all. Yet hope remains while all the Company is true.


A few of my (many) favorite lines from The Fellowship of the Ring. The second quote was read aloud by one of my friends as several of us sat around and listened. I wrote it down into a nearby moleskine, Yet hope remains while all the Company is true. What a blessing to have true friends, and be part of 'true company,' indeed, it does protect hope.