Tag Archives: lord of the rings

The Archetypal Quartet – A Generational Tool?

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ArchetypeWe know that behaviorally modern humans (i.e., we) appeared in Africa 50 thousand years ago and spread throughout the world. But, we did not live long enough for grandparents to be part of the picture until about 30 thousand years ago.

The unique multi-generational social environment spawned by the presence of grandparents is thought to have created remarkable opportunities for human beings, allowing cultural knowledge to survive longer in the brains of individuals to be spread to more new humans.

This event in human evolutionary history has been used to explain why women survive beyond menopause, beyond when they can pass their genes on to new offspring, the very compelling Grandmother Hypothesis. Of course, although men do not experience a similar loss of fertility, grandfathers can be put to many of the same extended parenthood purposes after they are no longer fit for their classic evolutionary roles as hunters and warriors.

This development brought great benefits, but it also must have posed problems, complicating the simple, dichotomous relationship between children and parents that had existed (as far as my limited knowledge extends) among all creatures throughout the history of life.

I believe this generational tension is the source of a common four-character scheme in story-telling I’ve been exploring in my Writing Archetypes series. It started with ancient myth and continues onto the modern page and screen.

It’s a cultural solution to a unique evolutionary situation, the multi-generational community. Each archetype can be seen to represent a different generation: the Companion, the Hero, the Rough, and the Guru. You might say, “But, John! That’s four generations and grandparents only result in three generations.”

Therein lies the tricky part.

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Lit Quotes – W. H. Auden on Genre Bias

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From W. H. Auden’s review of J. R. R. Tolkien’s Return of the King, in the 22 January 1956 edition of the New York Times:

I rarely remember a book about which I have had such violent arguments. Nobody seems to have a moderate opinion: either, like myself, people find it a masterpiece of its genre or they cannot abide it, and among the hostile there are some, I must confess, for whose literary judgment I have great respect.

A few of these may have been put off by the first forty pages of the first chapter of the first volume in which the daily life of the hobbits is described; this is light comedy and light comedy is not Mr. Tolkien’s forte. In most cases, however, the objection must go far deeper. I can only suppose that some people object to Heroic Quests and Imaginary Worlds on principle; such, they feel, cannot be anything but light “escapist” reading. That a man like Mr. Tolkien, the English philologist who teaches at Oxford, should lavish such incredible pains upon a genre which is, for them, trifling by definition, is, therefore, very shocking.

Odd Thought on Orc Cuisine

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My question about the film clip below: Why would orcs even have the concept of “menu”? Were there a lot of tablecloth restaurants in orc society? Did you have to ask to see the orc wine menu, or was it provided along with the brunch, dinner, and dessert menus?

Writer Links – Summer Reading, Female Heroes, and Fire Breathing

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First, I want to wish Brittany Landgrebe get well soon!

Well, it is finally summertime!  Do you have your summer reading list ready?  Yeah, me neither.  I have been considering re-reading The Lord of the Rings, and I do have a couple of non-fiction books from a used bookstore stacked up and awaiting my attention.  But, no solid plans.

But, how about this idea: instead of committing to a few buzz-worthy novels, we could instead focus on reading a lot of short stories in magazines.  Anyone up for this challenge?

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Advice From A Dude Who Hasn’t Even Been Published – Good/Bad Suspense

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Today, in the aftermath of the long-anticipated Lost finale, I want to investigate good and bad ways to finish a storyline driven by suspense.

I have to admit up front that I am not a fan of the recently concluded Lost series.  I’m not an anti-fan either; I just never watched it.

When the buzz about Lost started really kicking in, and everyone I knew began proselytizing the show like freshly shaved cultists, I started having Twin Peaks flashbacks.  There was no way I was going to get psychologically invested in a show about weird goings on that would never be explained.

Once bitten, and all that.

Judging from the reactions of many Lost fans to last night’s finale, my caution was prescient.  Despite resolution on a few interpersonal issues between the characters, I have heard from more than one Loster (Lostie?) that the end of the series left most of the questions completely unanswered.

But, looking at this problem as a reader/writer of fiction, it does highlight an intriguing aspect of audience satisfaction.

Resolution of suspense — emotional, narrative, or otherwise — is a hallmark of good writing in any genre.  Even when issues are purposefully left unresolved (Is Han Solo Gandalf Captain Jack Sparrow really dead?!) it usually implies a promise of future resolution in the form of another episode.

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