A cinematic juggernaut has just rolled into town. With
the first film in the new Hobbit trilogy, its director, Sir
Peter Jackson, has embarked on a quest to repeat his Lord of the Rings omnispectacular. Over
the next few weeks we may have to become accustomed to images of Baggins in
Burger King and Mordor in McDonald’s. The media hype which all this marketing
guff engenders will no doubt cause our literary and cultural custodians to
remind us (with that form of detached ennui which they have perfected) that
Tolkien is no more than a sort of reactionary Harry Potter.
Philip Pullman was therefore right to denounce it all as “infantile” and
Richard Eyre justified when he termed Middle Earth the “Kingdom of Kitsch”. Jim
Naughtie will continue to sigh when any reference to J.R.R. Tolkien is made on
the Today programme—and Mark Lawson will
tell BBC Radio 4 audiences that this form of bread and circuses isn’t a patch
on Ken Loach’s recent outing into poverty among Asian minorities in Bootle.
But wait. Things are not as they seem.
There is an agenda here. There usually is when it comes to popular culture—but
in the case of Tolkien we are looking at big politics. For the author of The
Lord of the Rings, The Silmarillion and The
Hobbit was the
greatest conservative writer of the second-half of the 20th century. No—not in
an Ayn Rand sense, nor in the raw modernist style embraced by T.S. Eliot or
Wyndham Lewis. Rather, Tolkien combined remarkable talents for story-telling
and philology with a matching ability to communicate conservative values and
images with unequalled popularity. His pre-history of the West is dominated by
hereditary structures and a settled social order that appealed to the nostalgia
of a postwar generation. He was clearly doing something right, given that Rings has sold more copies than
almost any other work of fiction in history. It has been voted the nation’s
favourite novel in England, Australia, the US and even Germany.
It is this astonishing success that
underlies the fierce hostility one encounters from a literary and cultural
establishment dominated by the liberal Left (notwithstanding the brief
counter-cultural popularity which Rings had in the 1960s). While by no means
all on the Right “get” Tolkien (the poet John Heath-Stubbs called it “a
combination of Wagner and Winnie-the-Pooh”), all too often those who should
know better are simply carried along by an ill-informed deference to
established critics who shout louder. Too many conservatives simply do not
engage in this area of cultural politics—and then naively wonder at general
elections why the broadcast media is pumping out an undercurrent of left-wing
assumptions which have scarcely moved on since 1945.















