Oxonmoot 2018 – Friday, 21 September
The 81st anniversary of the publication of The Hobbit!
Being at a moot or convention of any kind is at least as much about the social parts as about the special contents (such as lectures, shows, workshops etc.), so the day really does start over breakfast, which can inevitably be enjoyed in good company – often with new-found friends.
The day-time programme at this year's Oxonmoot offered two separate tracks of lectures and papers, an art-room, a dealers' room and various workshops ... of course on top of just good company in the hospitality room or elsewhere around college (if you do not take a quick trip into town).
I started out in the Investcorp Auditorium, hearing Fiona Tomkinson speaking on “Total War and the Eschatology of Peace: Tolkien between Hegel and Levinas”. Unfortunately I was a couple of minutes late, and in the business of finding a chair and getting settled I missed a couple of key definitions that were invoked several times throughout. Overall, however, the talk did seem promising, and I would like to get a copy of the paper in order to understand and assess it better.
The next session was run by the Maggie and Mike Percival (who also organised the pub quiz on Thursday evening). The session was a preparation for a quiz they plan to run at Tolkien 2019 in Birmingham. Once more, I move that all questions about adaptations be precluded from Tolkien Society quizzes for not being about “the life and works of Professor John Ronald Reuel Tolkien CBE” as per our objectives according to our Constitution (obviously this has nothing to do with my utter inability to answer such questions ... 😉). More seriously, I look forward to seeing the results come August next.
After the break (and the much-craved cup of coffee), I enjoyed Colin Duriez talk in the Nissan Lecture Theatre on “Affinities between Dorothy L. Sayers and the Inklings circle of C.S. Lewis, Tolkien, and Charles Williams”. Duriez was careful to speak of “ affinities/“ such as may arise from moving in the same circles and admiring each others' work rather than making any claims to direct literary sources. Duriez focused on Sayers' relationship with C.S. Lewis and Charles Williams, both of whom she is known to have been a personal friend with, though of course he also brought up Tolkien's personal distaste for the the later Peter Wimsey books featuring Harriet Vane, though Tolkien had liked the early stories quite well. I was a bit surprised to hear that Miss Sayers only visited Lewis and Williams by invitation, having heard an anecdote from Mr and Mrs Reynolds, stalwarts of the Tolkien Society, who had met Anne Spalding, who was Williams' landlady during the war, and whom he asked to tell her he wasn't at home, when a rather fan-girlish Miss Sayers turned up unannounced at Mr Williams' lodgings.
Taking a bit of time off Oxonmoot matters to sort out a couple of private e-mails brought me to lunch, after which I settled down in the Intercorp auditorium for a set of afternoon sessions starting with Murray Smith on “Farmer Giles and George – Two monarchs and their royal houses compared and contrasted”. For me, this was more an excellent introduction to the House of Hannover than anything else, but the references to the unwritten sequel to Farmer Giles of Ham were both excellent and a welcome reminder to check up on more things.
Then Ian Spittlehouse spoke on “The Wright Stuff, Part Two. ‘The E.D.D. and E, M, and W’”, which continued on from a talk Spittlehouse had given at Oxonmoot two years ago (featuring, among other things, a Minecraft reconstruction of the house of the Wright family). In this part, Spittlehouse focused on the English Dialect Dictionary (EDD) (link to search at Archive.org), of which Tolkien's later tutor, adviser, and friend, Joseph Wright, was the editor. Spittlehouse mentioned a number of dialect words from the dictionary that also appear in Tolkien's writings, starting at the letter A with “Attercop” and moving on from there through a number of interesting words, hinting at a possible source without explicitly claiming it (given Wright's influence on Tolkien, it seems highly likely – almost inevitable – to me that Tolkien would have known the EDD, though that alone does, of course, not make the EDD the source (or even a source) for every dialectal word that Tolkien used which also appear in the EDD.
Last Seamus Harnill-Keays from the local historical society in made the claim that the Buckland we know on the east marches of The Shire was inspired, not by Buckland in Oxfordshire, but by Buckland estate in the Brecon Beacons, Wales. The evidence was, in my mind, very flimsy, and relied too much on “might-of-been” and “could-of-been” suppositions and a willingness to embrace random similarities as evidence (just how many do you think have drowned in England when going boating after a very wet party ...?). While the evidence is, admittedly, also too insufficient to reject the hypothesis, it is also much too insufficient yet for me to do other than ask for (far) more evidence.
The last period of sessions, I spent going to the Art Room and the Dealers' Room (conveniently placed in the same building). The Tolkien-inspired artists in the Art Room comprised (going round counter-clockwise from the entrance), Ruth Lacon, Ted Nasmith, Tsvetelina "Elmenel" Krumova, Jay Johnstone, Pauline Baynes, Stephen Walsh, Anke Eissman, and Soni Alcorn-hender. Most of these are of course well-known and admired and need no further introduction, so I will simply let you take a look at my snaps (quite deliberately not showing the individual works in a good quality – click through to the artists' own web-sites). See my photos at the end of this post.
Towards the end of the afternoon, college was flooded with the participants of the now regular Dwarven Beard Workshop – Dwarves (of all genders) sporting fine beards, both long, short and ... well ... special ... It really is such a joy to see the creativity that Oxonmooters can exhibit in constructing their Dwarven beards.
At dinner on Friday we did the toasts as per the ancient Rules (well, perhaps more like guidelines ...), to the Queen, to absent friends (yes, I was thinking of you!) and to “The Professor!” – toasting the Professor with three hundred other people at an Oxonmoot is ... well, special.
After dinner, we all waited round for the Masquerade and the “ents” –the little performances, or entertainments, of varying kinds that are put on by members of the Oxonmoot. None of this is, of course, professional, but all are enjoyed in the good spirit of the moot, though of course one may at times find one's attention wandering when it proves difficult to keep up with a long reading of own poetry (I find it increasingly difficult to sort out background noise and focus on just one source of sound, which makes it near impossible for me to follow a reading once the level of the ‘buzz’ in the room begins to rise).
We had some both hilarious and wonderful performances from both Masquerades and Ents, ending with A Elbereth Gilthoniel in polyphonic song so beautiful I still get goosebumps when writing this up three days after ...
|Pictures by Ruth Lacon (left) and Ted Nasmith (right)|
|Art by Tsvetelina Krumova, “Elmenel”|
See See note 1
|Art by Jay Johnstone|
|Art by Pauline Baynes (left) and Jay Johnstone (right)|
|Art by Stephen Walsh|
|Art by Anke Eißmann|
|Art by Soni Alcorn-Hender, “Bohemian Weasel”|
Note 1: Despite what I said above, I'm going to add a couple of words about the art of Tsvetelina Krumova because most of it is of a different kind from most of the other Tolkien-inspired artists we know and love. Tsvetelina Krumova mainly works with calligraphic art, where the text itself is the artwork, and for a word-lover such as me, there is a particular pleasure in seeing the words made into art at more than one level. Also, her maps are stunning examples of what might have been hanging on the walls in e.g. Bag End (in the spirit of Tolkien's Book of Mazarbûl facsimile pages, where the text transcribes into English. Back
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