a b Steele, Felicia Jean (2006). "Dreaming of dragons: Tolkien's impact on Heaney's Beowulf". Mythlore (95/96) . Retrieved 3 December 2017. For this list, a printing is a variant of a separate edition if both it is not a separate edition itself and also any of the following criteria is met: Records of George Allen & Unwin Ltd (Held by the University of Reading Special Collections Service. See catalogue item RUL MS 3282, Letters to/from Houghton Mifflin 1957) That said, you could say that the silhouette is a victim of its own nebulous triumph. It’s so common that it can be tough to make it original these days. Designers who succeed often play it against the cover typography (as in David Nicholls’ Us) or make the silhouette itself exceedingly arresting (as in Han Kang’s The Vegetarian.) St. Clair 2000, p.39. "Unlike the raven servants of the god of war, Roac is against war with the men of Dale and the Elves. Further, the birds carry the good news of Smaug's fall over the countryside. In The Hobbit, they do not function as scavengers after battle as ravens usually do in medieval Norse and English works."

Ballantine Books, Inc., of New York, 1985. Continuation of BB1965. Cover art has reverted to Tolkien's illustration of Bilbo Comes to the Huts of the Raft-elves, but framed and shrunk down comparatively. Suspense and mystery books use this technique to great effect. By giving you only a glimpse of the whole scene, the designer makes readers wonder where the rest of the picture might just take them. And you can bet that it won’t be Kansas. Genre-specific covers 11. Fantasy covers show off (or strongly imply) the fantastical. Cover designs by: Joel Tippie (top), Richard Augustus (bottom left), Marc Simonetti (bottom right). Once illustrations were approved for the book, Tolkien proposed colour plates as well. The publisher would not relent on this, so Tolkien pinned his hopes on the American edition to be published about six months later. Houghton Mifflin rewarded these hopes with the replacement of the frontispiece ( The Hill: Hobbiton-across-the Water) in colour and the addition of new colour plates: Rivendell, Bilbo Woke Up with the Early Sun in His Eyes, Bilbo comes to the Huts of the Raft-elves and Conversation with Smaug, which features a dwarvish curse written in Tolkien's invented script Tengwar, and signed with two "þ" ("Th") runes. [72] The additional illustrations proved so appealing that George Allen & Unwin adopted the colour plates as well for their second printing, with exception of Bilbo Woke Up with the Early Sun in His Eyes. [73] Expect to see this sort of typography splashed into the midst of bright colors, as subtlety isn’t exactly the game here. You’ll frequently find it paired with books with emphatic titles, too — such as Eve Babitz’s Sex and Rage or Jonathan Safran Foer’s Here I Am. Also: if it’s executed well, there’s a chance that the type can gain iconic status. (See: the typography for The Godfather, which became an instant classic on its release). 8. Simple typography shines a light on the illustration. Cover designs by (from left to right): Erin Fitzsimmons, Terry and Eric Fan, Kathleen Lynch. Since the author's death, two critical editions of The Hobbit have been published, providing commentary on the creation, emendation and development of the text. In his 1988 The Annotated Hobbit, Douglas Anderson provides the text of the published book alongside commentary and illustrations. Later editions added the text of " The Quest of Erebor". Anderson's commentary makes note of the sources Tolkien brought together in preparing the text, and chronicles the changes Tolkien made to the published editions. The text is accompanied by illustrations from foreign language editions, among them works by Tove Jansson. [64]a b Croft, Janet Brennan (2002). "The Great War and Tolkien's Memory, an examination of World War I themes in The Hobbit and The Lord of the Rings". Mythlore. 23 (4, article 2). Inconspicuous marks or annotations declare it to be from a different publisher than an edition it is otherwise identical to (e.g., book club edition). A 55 minute battle has now been reduced to just 18.5 minutes, split in half by some slower scenes with Thorin & co. inside Erebor. By settling on a single binding color and dropping all color from the interior, Houghton Mifflin cheapened later printings of the second edition, making them less 'collectible'. Cut the second half of the Thorin and Thranduil scene to remove the weird “serpent mouth” transformation. Thus, Thranduil’s response to the insult is removed which originally gave context to it, giving even more reason for me to show the above translated subtitle.

a b Pienciak, Anne (1986). "The Characters". J. R. R. Tolkien's Hobbit and Lord of the Rings. Barron's Educational Series. pp. 14–30. ISBN 978-0-8120-3523-0.

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McDonald, R. Andrew; Whetter, K. S. (2006). " 'In the hilt is fame': resonances of medieval swords and sword-lore in J. R. R. Tolkien's The Hobbit and The Lord of the Rings". Mythlore (95/96) . Retrieved 3 December 2017. Orr, Robert (1994). "Some Slavic Echos in J. R. R. Tolkien's Middle-earth". Germano-Slavica. 8: 23–34. Hammond, Wayne G.; Anderson, Douglas A. (1993). J. R. R. Tolkien: A Descriptive Bibliography. New Castle, DE: Oak Knoll Books. ISBN 0-938768-42-5.

JRR Tolkien letter reveals poor sales of The Hobbit". BBC. 16 October 2012 . Retrieved 29 March 2022. Despite his concerns, The Hobbit went on to sell 100 million copies. Faraci, Mary (2002). " 'I wish to speak' (Tolkien's voice in his Beowulf essay)". In Chance, Jane (ed.). Tolkien the Medievalist. Routledge. pp.58–59. ISBN 978-0-415-28944-3.Frisby, Steven M. (October 2009). "Identifying First and Second Edition Printings of the Houghton Mifflin Hobbit". The Tolkien Collector (30): 16–32. All three Extended Edition Hobbit films ripped from the official 1080p Blu-rays and combined into one movie. Matthews, Dorothy (1975). "The Psychological Journey of Bilbo Baggins". A Tolkien Compass. Open Court Publishing. pp. 27–40. ISBN 978-0-87548-303-0. Tolkien, J. R. R. (1987) [1954]. "Prologue". The Fellowship of the Ring. The Lord of the Rings. Boston: Houghton Mifflin. ISBN 978-0-395-08254-6.