Operation Nobel, part II

The prize committee issues Obama with a call to action

So, the weather didn't clear, but the mood in Oslo lifted distinctly yesterday evening: Barack Obama seems to have pulled off the remarkable trick of talking peace while standing firm to his commitments to war. And despite annoying the Norwegians at first by making his visit so peremptory -- "Everybody wants to visit the Peace Centre except Obama," snarked the newspaper Aftenposten -- he even seems to have warmed their hearts. He has done all this in less than a day. Living up to the prize will be nothing like as easy.

After his morning visit to the Nobel Peace Institute, Obama met with Prime Minister Jens Stoltenberg, who hardly needed the popularity boost, having just been re-elected, but who was doubtless grateful for it all the same. He set out a to-do list for the US president, beginning with a strong political agreement in Copenhagen.

That established one theme for the day: telling Obama how to do his job. At the press conference afterwards, a Norwegian journalist set the other: the search for justifications for his prize. What were the president's own views on it? Obama was asked. He replied by defusing the question with a one-liner: "The goal is not to win a popularity contest." That was the easy base covered, but the one American journalist then also granted a question went straight for the jugular: "Will the July 2011 date be when US troops actually withdraw [from Afghanistan]?" It would, Obama acknowledged, be just the beginning. He was doubtless relieved that the day's tight schedule would leave no time for follow-up questions.

The proddings and calls for justifications followed Obama over in the early afternoon to City Hall, where he was to give his Nobel Lecture, the prizewinner's address. Introducing Obama, the chairman of the Nobel Committee, Thorbjørn Jagland, gave his own, highly self-conscious defence of the committee's decision to award the prize to the US president, as well as a running commentary on the sort of world they would like to see him help create.

When Albert Luthuli received his prize in 1961, Obama was told, the struggle against apartheid was in its infancy; when Martin Luther King received his in 1964, the struggle for civil rights in America was also far from over. And as the committee has constantly been pointing out since making the award, Obama's prize, much more so than theirs, is intended to be "a call to action".

Some might, of course, say that all this is merely wishful thinking, and that their hopes of handing Obama a set of golden handcuffs at the same time as the Nobel gold medal are misplaced, misguided even. But as the words of Obama's own speech echoed literally right around the city this afternoon -- broadcast as they were from a large screen outside the City Hall -- he seemed to win a good few people to their cause.

In any case, "A Call to Action" is a phrase the Norwegians will keep hearing over the next year, it also being the title of the Obama exhibition that will run until December at the Nobel Peace Centre. Whether it is a phrase that still rings in the man's own ears in six months, let alone a year's time, remains to be seen.

With luck, he might still remember it next week at least, when he flies back this way to Copenhagen. But my guess is that he will not. After an afternoon spent tying himself in knots over the mirage of "just wars", and paying lip service -- however eloquent that lip service may have been -- to the much harder task of rebuilding the livelihoods of those in whose country he currently commands an army, it seems that Obama will not himself be making the shift from the probable to the possible any time soon.

 

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Beren and Lúthien: Love, war and Tolkien’s lost tales

Expanded and augmented version of tale which first appeared in Silmarillion mirrors Tolkien's own relationship with wife Edith.

In a woodland glade white with flowers, a young woman danced for her soldier husband. It seems a vision from a lost world, and for that Somme veteran in 1917 it was: a glimpse of joy as if sorrow, sickness and horror had never been. For Second Lieutenant J R R Tolkien the dance in the glade inspired a fairy tale, written that same summer in hospital, after a relapse of Somme trench fever. To call it a difficult birth would be the understatement of a century: it has taken 100 years for the story of Beren and Lúthien to become a book in its own right.

Of the nine years since Tolkien and Edith had met as fellow lodgers (and orphans), three had been spent under a communication ban imposed by his guardian. Reunited after Tolkien turned 21, they had married just weeks before he was sent to the trenches. There for four months with the Lancashire Fusiliers, mostly as a battalion signals officer, he repeatedly witnessed the carnage that he later called simply “animal horror”. He also lost many friends, including two of his dearest. Part exorcism, The Book of Lost Tales, begun when he got back to England, was his first attempt at recounting a mythological war over three “holy jewels” called the Silmarils – the multi-threaded epic he later named The Silmarillion.

Beren and Lúthien contains one thread, woven in turn from strands as diverse as the Welsh Culhwch and Olwen and the German “Rapunzel”. Tolkien’s big idea was that his “Lost Tales” were the pure, ungarbled originals of such oral stories. Aided by his storytelling verve, and embedded in his matrix of invented history, geography and language, it rises far above pastiche. A wild, ragged wanderer and an elf princess meet by unlikely chance and fall in love. Her scornful father sets what seems an impossible marriage condition – regaining one of the Silmarils from the iron crown of the satanic enemy Morgoth.

That inspirational moment in the wood at Roos, Yorkshire, was central both to Tolkien’s creative and to his personal lives. The names Beren and Lúthien are carved under his name (1973) and Edith’s (1971) on their Oxford headstone. So this book – with watercolours and pencil sketches by the veteran Tolkien artist Alan Lee – is presented by its editor, their third child, Christopher, as a memorial to his parents. And it is the capstone to a job Christopher began with The Silmarillion, published in 1977 – a seamless editorial construct from a bewilderment of posthumous papers, which he gave the full scholarly treatment in his later, 12-volume History of Middle-earth.

Isolating the thread of the Beren and Lúthien story, Christopher (now 92) walks a difficult line, but successfully conveys its evolution by making generous selections from Tolkien’s own versions, with some bridging comments of his own. The book includes the early “Lost Tales” plus nearly 3,000 lines of a verse version begun in 1925 and abandoned in 1931, The Lay of Leithian. Interspersed are portions of chronicle-style retellings from successive Silmarillions written in 1926, 1930 and 1937 – the last of these abandoned in mid-flow when a publisher demanded a sequel to the newly published Hobbit instead.

Christopher follows the thread beyond the end of the story proper to show how the lovers’ quest leads to later redemption and victory in the war against Morgoth. He discusses how their fates fit in with the concepts of mortality and immortality central to the whole “legendarium”. Finally, he adds a sequence from a rewriting of The Lay of Leithian begun with redoubled power after The Lord of the Rings, but again abandoned. So this is also a memorial to a story that might have been.

There is much to relish, even for those who have read The Silmarillion. Of all the 1916-19 “Lost Tales”, this one changed most. The early version, doubtless written for Edith, is a rollicking fairy tale crossed with a kind of “Just So Story” about why cats fear dogs; yet in its latter stages it steps up several gears and attains a mythic power. The verse Leithian is in this higher gear all along, setting the tone for The Silmarillion. Germanic saga rises to the surface, and so do war memories:

. . . the mighty field . . . turned to dust,

to drifting sand and yellow rust,

to thirsty dunes where many bones

lay broken among barren stones.

Nothing shows the gear change more clearly than that Beren’s captor in the earliest version is a demonic cat but in later versions the captor is the wolvish Necromancer – whom Tolkien in 1937 renamed Sauron. When in The Lord of the Rings Frodo first sees a vision of Sauron’s eye, “yellow as a cat’s”, he gazes into the deep well of Tolkien’s creative past.

In all the forms of the story here, Lúthien is the key figure, “more fair than mortal tongue can tell” but also more resourceful than Beren. It is she who springs him from prison and defeats his captor. When together they reach the end of the quest in Morgoth’s throne room, everything falls to her. If this is meant to be the lost original of “Rapunzel”, it is strikingly in tune with much more recent, female-centred fairy-tale revisionings. It is also a hymn to Edith – and to her power to lift Tolkien out of the depths. 

Beren and Lúthien
J R R Tolkien
Edited by Christopher Tolkien
HarperCollins, 288pp, £20

John Garth is the author of “Tolkien and the Great War” and is writing a book on Tolkien and the 20th century, “Tolkien’s Mirror”

This article first appeared in the 25 May 2017 issue of the New Statesman, Why Islamic State targets Britain

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