The Letters A collection of 21 letters by Tolkien (14 autograph, six typed and one telegram) to Donald Swann, of varying lengths from 1965-1973 forming an exaustive discussion on Swann’s settings of Tolkien’s poetry, in total 39 pages and approx. 7500 words. An extraordinary cycle of correspondence following Swann’s introduction to Tolkien from Allen & Unwin in 1965 until shortly before Tolkien’s death in 1973, showing the development of a friendship and mutual admiration and trust which went well beyond a professional relationship. Tolkien gives the impression of being uncharacteristi- cally star-struck by Swann’s show-business reputation but also seems to have quickly decided that Swann is a man of intellegence and discernment whose opinions are aligned to Tolkien’s on matters of artistic taste and can be trusted to appreciate his more candid views. Most of the matter concerns The Road Goes Ever On project, starting after the two met for Tolkien to approve Swann’s settings of the songs, “I have tried to make some notes on the chant”, Tolkien notes (7 June 1965) having preferred it to Swann’s setting for Namárië. The burgeoning of their friendship is apparent from Tolkien’s invitation to a Flanders & Swann concert, “I have not laughed so much... since I last saw an archbishop of Canterbury slip on a banana-skin”, and sending him a copy of Tom Bombadil , “Its a fairly pretty book, except the ugly lettering which disfigures the cover.” (both 19 Sept 1965). Also the preparations for Tolkien’s golden wedding anniversary, for which Swann and Elvin were invited to perform the songs and his thanks to Swann for his “great kindness and generosity in gracing our party, and raising it far above the level of college receptions.” (28 March 1966), but also his misgivings on allowing a journalist to report on the party, “Publicity is the soul of Success [But may also be the fly in the Ointment]” (21 March 1966), and Tolkien’s discomfort at the publicity his own fame has forced upon him, such as the 1968 BBC documentary, ‘Tolkien in Oxford’, “I am merely impressed by the complete ‘bogosity’ of the whole performance. The producer: a very nice, very young man called Leslie Megahey… and personally equipped with some intelligence and insight, was nonetheless already so muddled and confused by BBCism that the last thing in the world he wished to show was me as I am / or was, let alone ‘human or lifesize’. I was lost in a world of gimmickry and nonsense, as far as it had any sign designed it seemed simply to fix the image of a fuddy not to say duddy old fireside hobbit-like boozer… they appeared completely confused between ME and my story, and I was made to attend a firework show… Fireworks have no special relation to
4
Made with FlippingBook - Online Brochure Maker