The Letters of J. R. R. Tolkien

In the ‘Hall at Bag-End’ I misguidedly put in a wash shadow reaching right up to the side beam. This has of course come out black (with disappearance of the key) though not right up to the beam. But the print is I think as good as the original allows. Please note – these are not serious criticisms! I am still surprised that these indifferent pictures have been accepted at all, and that you have taken so much trouble with them – especially against economics (a factor I had not forgotten, and the reason for my originally forswearing illustrations).

12 To Allen & Unwin

[In mid-March, Tolkien returned the proofs of The Hobbit to Allen & Unwin, having marked them with a very large number of alterations to the original text. He was told that as a result he might have to pay part of the cost of correction, though the publishers noted that he had devised revisions which would occupy exactly the same space as the original text. With the following letter, he submitted a drawing for the dust-jacket, which included a runic inscription.]

13 April 1937

20 Northmoor Road, Oxford

Dear Sirs,

I return under separate cover the corrected Revises of the Hobbit, complete. . . . . I note what you so kindly say about the cost of corrections. I must pay what is just, if required; though I shall naturally be grateful for clemency. Thank you for your trouble & consideration. . . . .

You will find with the revised proofs a draft of the jacket, for your criticism. I discovered (as I anticipated) that it was rather beyond my craft and experience. But perhaps the general design would do?

I foresee the main objections.

There are too many colours: blue, green, red, black. (The 2 reds are an accident; the 2 greens inessential.) This could be met, with possible improvement, by substituting white for red; and omitting the sun, or drawing a line round it. The presence of the sun and moon in the sky together refers to the magic attaching to the door.

It is too complicated, and needs simplifying: e.g. by reducing the mountains to a single colour, and simplification of the jagged ‘fir-trees’. . . . .

In redrawing the whole thing could be reduced – if you think the runes are attractive. Though magical in appearance they merely run: The Hobbit or There and Back Again, being the record of a year’s journey made by Bilbo Baggins; compiled from his memoirs by J. R. R. Tolkien and published by George Allen & Unwin. . . . .

Yrs truly

J. R. R. Tolkien.

13 To C. A. Furth, Allen & Unwin

[On 11 May, Allen & Unwin told Tolkien that they had interested ‘one of the outstanding firms of American publishers’ in The Hobbit, and said that this firm ‘would like a number of further illustrations in colour and suggested employing good American artists’. Allen & Unwin, however, thought ‘it would be better if all the illustrations were from your hand’.]

13 May 1937

20 Northmoor Road, Oxford

Dear Mr Furth,

Thank you for the information concerning prospective American publication. Could you tell me the name of the firm, and what are likely to be the financial arrangements?

As for the illustrations: I am divided between knowledge of my own inability and fear of what American artists (doubtless of admirable skill) might produce. In any case I agree that all the illustrations ought to be by the same hand: four professional pictures would make my own amateurish productions look rather silly. I have some ‘pictures’ in my drawer, but though they represent scenes from the mythology on the outskirts of which the Hobbit had his adventures, they do not really illustrate his story. The only possible one is the original coloured version of Mirkwood

(re-drawn in black and white for ‘the Hobbit’). I should have to try and draw some five or six others for the purpose. I will attempt this, as far as time allows in the middle of term, if you think it advisable. But I could not promise anything for some time. Perhaps the matter does not allow of much delay? It might be advisable, rather than lose the American interest, to let the Americans do what seems good to them – as long as it was possible (I should like to add) to veto anything from or influenced by the Disney studios (for all whose works I have a heartfelt loathing). I have seen American illustrations that suggest that excellent things might be produced – only too excellent for their companions. But perhaps you could tell me how long there is before I must produce samples that might hope to satisfy Transatlantic juvenile taste (or its expert connoisseurs)?. . . .

Yours sincerely

J. R. R. Tolkien

14 To Allen & Unwin

[The publishers had suggested to Tolkien that The Hobbit should be published in October 1937, just after the beginning of the Michaelmas Term at Oxford. They also told him that they had forwarded his letter about illustrations (no. 13) to the Houghton Mifflin Company of Boston, Massachusetts, who were to publish the book in America.]

28 May 1937

20 Northmoor Road, Oxford

Dear Sirs,

. . . . Date of publication. This is, of course, your business, and entails many considerations outside my knowledge. In any case the final decision is now, I suppose, made; and America has also to be considered. But as far as G.B. is concerned, I cannot help thinking that you are possibly mistaken in taking Oxford University and its terms into account; and alternatively, if you do, in considering early October better than June. Most of O.U. will take no interest in such a story; that part of it that will is already clamouring, and indeed beginning to add The Hobbit to my long list of never-never procrastinations. As far as ‘local interest’ is concerned it is probably at its peak (not that at its best it will amount to much reckoned in direct sales, I imagine). In any case late June between the last preparations for exams and the battle with scripts (affecting only a minority of seniors) is a quiescent interlude, when lighter reading is sought, for immediate use and for the vacation. October with the inrush of a new academic year is most distracted.

Mr Lewis of Magdalen,

who reviews for the Times Literary Supplement, tells me that he has already written urging a review and claiming the book as a specialist in fairy-stories; and he is now disgruntled because he will get ‘juveniles’ that he does not want, while the Hobbit will not reach him until the vacation is over, and will have to wait till December to be read & written up properly. Also if the book had been available before the university disintegrates I could have got my friend the editor of the O.U. Magazine,

who has been giving it a good dose of my dragon-lore recently, to allocate it and get a review at the beginning of the autumn term. However, I say these things too late I expect. In any case I do not suppose it makes in the long run a great deal of difference. I have only one personal motive in regretting this delay: and that is that I was anxious that it should appear as soon as possible, because I am under research-contract since last October, and not supposed to be indulging in exams or in ‘frivolities’. The further we advance into my contract time, the more difficulty I shall have (and I have already had some) in pretending that the work belongs wholly to the period before October 1936. I shall now find it very hard to make people believe that this is not the major fruits of ‘research’ 1936–7!

Houghton Mifflin Co. I was perturbed to learn that my letter had been sent across the water. It was not intended for American consumption unedited: I should have expressed myself rather differently. I now feel even greater hesitation in posing further as an illustrator. . . . . However, I enclose three coloured ‘pictures’.

I cannot do much better, and if their standard is too low, the H.M.Co can say so at once and without offence, as long as they send them back. These are casual and careless pastime products, illustrating other stories. Having publication in view I could possibly improve the standard a little, make drawings rather bolder in colour & less messy and fussy in detail (and also larger). The Mirkwood picture is much the same as the plate in the Hobbit, but illustrates a different adventure. I think if the H.M.Co wish me to proceed I should leave that black and grey plate and do four other scenes. I will try my hand at them as soon as possible, which is not likely to be before their verdict arrives, if cabled . . .

Yours truly,

J. R. R. Tolkien.

15 To Allen & Unwin

[Enclosed with this letter was a coloured version of the drawing ‘The Hill: Hobbiton-across-the-Water’. Tolkien had already sent four new coloured drawings: ‘Rivendell’, ‘Bilbo woke with the early sun in his eyes’, ‘Bilbo comes to the Huts of the Raft-elves’, and ‘Conversation with Smaug’. All of these except the ‘Huts of the Raft-elves’ were used in the first American edition, and all except ‘Bilbo woke with the early sun in his eyes’ were added to the second British impression.]

31 August 1937

20 Northmoor Road, Oxford

Dear Mr Furth,

I send herewith the coloured version of the frontispiece. If you think it good enough, you may send it on to the Houghton Mifflin Co. Could you at the same time make it finally clear to them (it does not seem easy): that the first three drawings were not illustrations to ‘the Hobbit’, but only samples: they cannot be used for that book, and may now be returned. Also that the ensuing five drawings (four and now one) were specially made for the H.M.Co, and for ‘the Hobbit’. They are, of course, at liberty to reject or use all or any of these five. But I would point out that they are specially selected so as to distribute illustration fairly evenly throughout the book (especially when taken in conjunction with the black-and-white drawings).

I suppose no question of remuneration arises? I have no consciousness of merit (though the labour was considerable), and I imagine that the ‘gratis’ quality of my efforts compensates for other defects. But I gathered that the H.M.Co’s original terms simply covered ‘The Hobbit’, as you produced it, and that they then proposed to top up with coloured pictures, as a selling attraction of their own, employing good American artists. They would have had to pay these independently. At the moment I am in such difficulties (largely owing to medical expenses) that even a very small fee would be a blessing. Would it be possible to suggest (when they have decided if they want any of these things) that a small financial consideration would be gracious?

Perhaps you will advise me, or tell me where I get off? I need hardly say that such an idea only occurs to me with regard to the Americans – who have given a lot of unnecessary trouble. Even if I did not know that your production costs have been excessive (and that I have been hard on proofs), you are most welcome at any time to anything you think I can do, in the way of drawing or redrawing, that is fit to use on The Hobbit.

I hope Mr Baggins will eventually come to my rescue – in a moderate way (I do not expect pots of troll-gold). I am beginning to have hopes that the publishers (vide jacket) may be justified.

I have had two testimonials recently, which promise moderately well. For one thing Professor Gordon

has actually read the book (supposed to be a rare event); and assures me that he will recommend it generally and to the Book Society. I may warn you that his promises are usually generous – but his judgement, at any rate, is pretty good. Professor Chambers

writes very enthusiastically, but he is an old and kindhearted friend. The most valuable is the document I enclose, in case it may interest you: a letter from R. Meiggs (at present editing the Oxford Magazine). He has no reason for sparing my feelings, and is usually a plain speaker. Of course, he has no connexions with reviewing coteries, and is virtually a mere member of the avuncular public.

Yours sincerely