Nevertheless, Moorcock might be someone to trust in these matters. Moorcock thinks Tolkien’s vast catalogue of names, places, magic rings, and dwarven kings is, as he told Hari Kunzru in a 2011 piece for The Guardian, “a pernicious confirmation of the values of a morally bankrupt middle class.” But Moorcock, one of the most prolific living fantasists, sees Tolkien’s creation as little more than a conservative vision of the status quo, an adventure that brings its hero “There and Back Again,” rather than into a world where experience means you can’t go home again. Gollum and Sauron and Aragorn were drawn from mythic tropes but are now so integral to science-fiction and fantasy culture that they have become tropes themselves. The films are astonishing Hollywood spectacles, and for those of us who grew up reading the books and playing elves in Dungeons & Dragons, it was a thrill seeing those characters realized on screen. Tolkien’s footnotes, appendices, and letters. This month, the author Michael Moorcock celebrated his seventy-fifth birthday, which, as fate would have it, fell in the same month that Peter Jackson closed out his hexology of films that began with “Lord of the Rings: The Fellowship the Ring” and ended with “The Hobbit: The Battle of the Five Armies.” The latter is the third part of Jackson’s “The Hobbit” sequence, a book once considered a delightful fable that has been torn asunder to make its story fit in with the vast continuity of the earlier films, while also trying to honor every one of J. Michael Moorcock once wrote, “I think of myself as a bad writer with big ideas, but I’d rather be that than a big writer with bad ideas”
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