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Smith of Wootton Major & Farmer Giles of Ham, by J.R.R. Tolkien
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Two bewitching fantasies by J.R.R. Tolkien, beloved author of THE HOBBIT. In SMITH OF WOOTTON MAJOR, Tolkien explores the gift of fantasy, and what it means to the life and character of the man who receives it. And FARMER GILES OF HAM tells a delightfully ribald mock-heroic tale, where a dragon who invades a town refuses to fight, and a farmer is chosen to slay him.
- Sales Rank: #109850 in Books
- Brand: Tolkien, J. R. R.
- Model: 913735
- Published on: 1986-01-12
- Released on: 1986-01-12
- Original language: English
- Number of items: 1
- Dimensions: 6.86" h x .42" w x 4.15" l, .15 pounds
- Binding: Mass Market Paperback
- 160 pages
From the Inside Flap
Two bewitching fantasies by J.R.R. Tolkien, beloved author of THE HOBBIT. In SMITH OF WOOTTON MAJOR, Tolkien explores the gift of fantasy, and what it means to the life and character of the man who receives it. And FARMER GILES OF HAM tells a delightfully ribald mock-heroic tale, where a dragon who invades a town refuses to fight, and a farmer is chosen to slay him.
About the Author
J. R. R. Tolkien (1892 1973), beloved throughout the world as the creator of "The Hobbit", "The Lord of the Rings", and other tales of Middle-earth, was a professor of Anglo-Saxon at Oxford, a fellow of Pembroke College, and a fellow of Merton College until his retirement in 1959. His chief interest was the linguistic aspects of the early English written tradition, but even as he studied these classics he was creating a set of his own. His books have been translated into more than fifty languages and have sold many millions of copies worldwide.
Excerpt. © Reprinted by permission. All rights reserved.
There was a village once, not very long ago for those with long memories, nor very far away for those with long legs. Wootton Major it was called because it was larger than Wootton Minor, a few miles away deep in the trees; but it was not very large, though it was at that time prosperous, and a fair number of folk lived in it, good, bad, and mixed, as is usual.
It was a remarkable village in its way, being well known in the country round about for the skill of its workers in various crafts, but most of all for its cooking. It had a large Kitchen which belonged to the Village Council, and the Master Cook was an important person. The Cook’s House wand the Kitchen adjoined the Great Hall, the largest and oldest building in the place and the most beautiful. It was built of good stone and good oak and was well tended though it was no longer painted or gilded as it had been once upon a time. In the Hall the villagers held their meetings and debates, and their public feasts, and their family gatherings. So the Cook was kept busy, since for all these occasions he had to provide suitable fare. For the festivals, of which there were many in the course of a year, the fare that was thought suitable was plentiful and rich.
There was one festival to which all looked forward, for it was the only one held in winter. It went on for a week, and on its last day at sundown there was a merrymaking called The Feast of Good Children, to which not many were invited. No doubt some who deserved to be asked were overlooked, and some who did not were invited by mistake; for that is the way of things, however careful those who arrange such matters may try to be. In any case it was largely by chance of birthday that any child came in for the Twenty-four Feast, since that was only held once in twenty-four years, and only twenty-four children were invited. For that occasion the Master Cook was expected to do his best, and in addition to many other good things it was the custom for him to make the Great Cake. By the excellence (or otherwise) of this his name was chiefly remembered, for a Master Cook seldom if ever lasted long enough in office to make a second Great Cake.
There came a time, however, when the reigning Master Cook, to everyone’s surprise, since it had never happened before, suddenly announced that he needed a holiday; and he went away, no one knew where; and when he came back some months later he seemed rather changed. He had been a kind man who liked to see other people enjoying themselves, but now he was himself serious, and said very little. Now he was merrier, and often said and did laughable things; and at feasts he would himself sing gay songs, which was not expected of Master Cooks. Also he brought back with him an apprentice; and that astonished the village.
It was not astonishing for the Master Cook to have an apprentice. It was usual. The Master chose one in due time, and he taught him all that he could; and as they both grew older the apprentice took on more of the important work, so that when the Master retired or died there he was, ready to take over the office and become Master Cook in his turn. But this Master had never chosen and apprentice. He had always said “time enough yet,” or “I’m keeping my eyes open and I’ll choose one when I find one to suit me,” But now he brought with him a mere boy, and not one from the village. He was more lithe than the Wootton lads and quicker, soft-spoken and very polite, but ridiculously young for the work, barely in his teens by the look of him. Still, choosing his apprentice was the Master Cook’s affair, and no one had the right to interfere in it; so the boy remained and stayed in the Cook’s House until he was old enough to find lodgings for himself. People soon became used to seeing him about, and he made a few friends. They and the Cook called him Alf, but to the rest he was just Prentice.
The next surprise came only three years later. One spring morning the Master Cook took off his tall white hat, folded up his clean aprons, hung up his white coat, took a stout ash stick and a small bag, and departed. He said goodbye to the apprentice. No one else was about.
“Goodbye for now, Alf,” he said. “I leave you to manage things as best you can, which is always very well. I expect it will turn out all right. If we meet again, I hope to hear all about it. Tell them that I’ve gone on another holiday, but this time I shan’t be coming back again.”
There was quite a stir in the village when Prentice gave this message to people who came to the Kitchen. “What a thing to do!” they said. “And without a warning or farewell! What are we going to do without any Master Cook? He has left no one to take his place.” In all their discussions no one ever thought of making young Prentice into Cook. He had grown a bit taller but still looked like a boy, and he had only served for three years.
In the end for lack of anyone better they appointed a man of the village, who could cook well enough in a small way. When he was younger he had helped the Master at busy times, but the Master had never taken to him and would not have him as apprentice. He was now a solid sort of man with a wife and children, and careful with money. “At any rate he won’t go off without notice,” they said, “and poor cooking is better than none. It is seven years till the next Great Cake, and by that time he should be able to manage it.”
Nokes, for that was his name, was very pleased with the turn things had taken. He had always wished to be Master Cook, and had never doubted that he could manage it. For some time, when he was alone in the Kitchen, he used to put on the tall white hat and look at himself in a polished frying pan and say: “How do you do, Master. That hat suits you properly, might have been made for you. I hope things go well with you.”
Most helpful customer reviews
29 of 29 people found the following review helpful.
All the way from Daybreak to Evening
By EA Solinas
While most of his genius went into the world of Middle-Earth and its fantastical history, JRR Tolkien produced a number of smaller stories during his life.
And though he disliked allegory, the enchanting "Smith of Wootton Major" is a bit of an oddity among his writings -- a beautifully fantastical little fable that drips over with Tolkien's love of real, deep fairy tales. And unlike many a story of elves or faeries since, Tolkien keeps that sense of mystery and magic in the world of the supernatural.
It takes place in a little town "not very long ago for those with long memories, not very far away fro those with long legs." The Master Cook of that village takes a vacation, and returns with an apprentice in tow. But something odd happens at the Feast of the Cake -- the cook stirs in a "fay-star" with little trinkets in the cake, and it's accidentally swallowed by a boy there.
The boy (later called Smith) is changed by the fay-star, which sparkles on his forehead. When he grows up, Smith ventures into Faery itself, and even meets the Faery Queen herself. The message she gives him is for her mysterious, missing husband, the King -- who turns out to be the last person anybody in Wootton Major would have expected.
"Smith" is a fairy tale in the best sense. Don't expect cackling witches or convenient loopholes in spells here; Tolkien was too skilled for that. Instead we have majestic fey and sparkling magic, woven with a tidy medieval town (consider the custom of naming people after their jobs -- Smith, a smith, capisce?). Never once does it become precious or cutesy, only more enchanted as it goes along.
It's also among Tolkien's simpler writings, especially since it is effectively a short story. In fact, it's so simple that it barely has a plot -- the vanishing King is the closest it has to conflict or a complete plot.
But Tolkien's writing sparkles with little details of the fey, with only a minimum of description. His glimpses of Faerieland are too brief, but written with the exquisite, haunting quality of his better-known works ("Once in these wanderings he was overtaken by a grey mist and strayed long at a loss, until the mist rolled away and he found that he was in a wide plain"). And he gives the impression of a world of magic far greater than any human could grasp ("... bearing the white ships that return from battles on the Dark Marches of which men know nothing").
And Smith is an odd sort of hero, infused with a kind of otherworldly light and grace that shines from him in the form of "Starbrow." Perhaps it was so stand in for the ability to see the magical and fantastical in the mundane world -- and if so, perhaps Tolkien felt that he himself had been given a fay-star that never left him.
Certainly the beauty and sweetness of "Smith of Wootton Major" suggest that he had one always -- an underrated little tale of magic and faerie, which highlights Tolkien's sublime writing.
27 of 28 people found the following review helpful.
Tolkien's portrait of the inexpressible wonder of grace.
By A Customer
Farmer Giles of Hamm is a hilarious tale in the spirit of the lighter passages of The Hobbit. The Little Kingdom of this story has much in common with the Shire where Bilbo Baggins wandered. It should be read for the shear pleasure of the journey.
Smith Of Wooten Major is something else entirely. Though once again we travel to an ancient England that has much in common with Middle Earth, here we find a tale for grown ups. Though most reviewers say that the tale is about what the gift of fantasy adds to the life of those who receive it, I believe that it really speaks of the rewards that come to those who choose to live life on a deeper level. What makes the book difficult to describe is that in story form Tolkien paints a picture or an illustration of the faith and the grace that were such an integral part of who he was as a person. Travelling with him you feel that you have encountered something more deep and wonderful than words can tell. The journey is not for everyone, but for those of you who take it and begin to glimps its meaning, like Smith's magic star, it will become an integral part of who you are.
20 of 21 people found the following review helpful.
A Revelation of Tolkien's Visions of Faery
By Paul E. Thomas
J.R.R. Tolkien's short work, "Smith of Wooten Major," which he wrote late in life, has already appeared in several fine editions, both by itself and in combination with other pieces by Tolkien, and most of us Tolkien enthusiasts already have it on our shelves. So why another one now, and why should we buy it? There are several compelling things about this book that make it highly attractive to those seeking a deeper understanding of Tolkien as a writer and thinker, and I'll only mention four here. First, this extended edition includes an important never-before-published essay by Tolkien on the story and on Tolkien's views of the nature of Faery, of its importance to him, of faery tales, and of the role of allegory in stories of this kind. It is a fascinating piece that provides new insight into Tolkien's thought as an artist trying to capture glimpses of Faery in his writing. The essay is in some ways an echoing companion piece for his famous earlier essay "On Fairy Stories," in which, among other things, Tolkien outlines his theory of sub-creation that he executed so successfully in "The Lord of the Rings." Second, the book contains never-before-published early notes and draft manuscripts for Smith, several pages of which are reproduced in the book itself in their original hand-written form with helpful transcriptions on the opposite page. These papers not only show Tolkien actively creating and revising his story and the history of its characters, but they also show Tolkien's working methods as a writer and so demonstrate, in a microcosm, the methods he used on such a large scale for "The Lord of the Rings." Third, Flieger's editorial contributions are very helpful. She provides an afterword that discusses the critical treatement of Smith, its genesis as a story, and outlines the new material which, as she says, allow the reader to follow "the authorial progression from explanation to inspiration to formulation to painstaking revision." Flieger's notes are also very helpful, for she points us to relevant matters in Tolkien's other works and illuminates puzzling aspects of Smith. And fourth, this is perhaps the first edition of Smith that takes Tolkien's statements that it is not a children's story seriously. He called Smith "an old man's book, already weighted with the presage of bereavement." Previous editions of Smith have ignored this statement and dressed the tale up as a children's book, presumably based on the unquestioned assumption (which Tolkien questioned very sharply in "On Fairy Stories") that because this is a faery tale, and because it is short, it must be for children. This edition honors Tolkien's view not only of Smith but of the importance of Faery and faery stories in general by beautifully reproducing the tale and the lovely Pauline Baynes illustrations, which were made for the first edition, and by setting them within a handsome hardcover text that Tolkien readers will prize very highly. This is a must have.
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