Rateliff, John D. (2007). The History of the Hobbit. London: HarperCollins. ISBN 978-0-00-723555-1. 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)

Tolkien, J. R. R. (2003) [1937]. Anderson, Douglas A. (ed.). The Annotated Hobbit. London: HarperCollins. ISBN 978-0-00-713727-5. Most audiences won’t know this is referencing Sauron, they will only know that there is some unknown evil that needs investigating. It works well to keep this plot mysterious. That way, both stories can work on their own and Sauron is introduced in the story where he is relevant, not in The Hobbit. Subsequent editions in English were published in 1951, 1966, 1978 and 1995. Numerous English-language editions of The Hobbit have been produced by several publishers, [46] making it one of the best-selling books of all time with over 100 million copies sold by 2012. [47] [48] [49] In addition, The Hobbit has been translated into over sixty languages, with more than one published version for some languages. [50] Revisions [ edit ] Navigable diagram of Tolkien's legendarium. The Hobbit began as a stand-alone story, but with the writing of The Lord of the Rings, Tolkien felt the need to bring it into closer alignment with that work. Tolkien, Christopher (1983). The History of Middle-earth: Vol 1 "The Book of Lost Tales 1". George Allen & Unwin. p.7. ISBN 978-0-04-823238-0. a b Edwards, Owen Dudley (2008). British Children's Fiction in the Second World War. Edinburgh University Press. p. 458. ISBN 978-0-7486-1651-0.

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Recut and rescored the barrel escape so that no Orcs or Elves pursue the company, which not only makes the sequence closer to the book but also removes some of the most ridiculous CGI action.

Photo collages are an exciting trend in the world of cover design. Given the recent innovations in photomanipulation, they offer a vast sandbox of possibilities to designers. As you can see, photo collages give the cover a bit of a modern look. In a bit of a twist, you might see this technique adorning the covers of classics — giving books such as Charles Baudelaire’s Las Flores del Mal a very contemporary interpretation. 5. Hand-drawn covers add a personal touch. Cover designs by (from left to right): Harriet Russell, Aled Lewis, Andreas Preis.

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. 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: 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] In some rare cases, adaptations and interpretations of a literary work can surpass the source. Despite hundreds of valiant efforts on the part of fans, filmmakers, game/toy designers, and radio producers, this has never been true of the fully-realized fantasy world in J.R.R. Tolkien’s The Hobbit and The Lord of the Rings trilogy. (not that it’s ever been anyone’s intent). As we noted in a post last week, Tolkien’s fictional world is so intricate, its sources so vast and varied, that Corey Olsen, “ The Tolkien Professor,” has made it his entire life’s work to open that world up to students and curious readers, most recently with his eight-part lecture series on The Hobbit.

Poveda, Jaume Albero (2003–2004). "Narrative Models in Tolkien's Stories of Middle-earth". Journal of English Studies. 4: 7–22. doi: 10.18172/jes.84 . Retrieved 9 July 2008. The Lord of the Rings contains several more supporting scenes, and has a more sophisticated plot structure, following the paths of multiple characters. Tolkien wrote the later story in much less humorous tones and infused it with more complex moral and philosophical themes. The differences between the two stories can cause difficulties when readers, expecting them to be similar, find that they are not. [121] Many of the thematic and stylistic differences arose because Tolkien wrote The Hobbit as a story for children, and The Lord of the Rings for the same audience, who had subsequently grown up since its publication. Further, Tolkien's concept of Middle-earth was to continually change and slowly evolve throughout his life and writings. [122] In education [ edit ] The saturation, vibrancy, and green levels have been decreased where necessary to tone down the original color grading, removing the excess colorfullness and greenish tint. These changes vary in intensity throughout the edit - below in the Shire the colors only needed a small nudge. Several computer and video games have been based on the story, including a 1982 game by Beam Software. [135] [136] [137] [138]

An edition in identical binding appeared with content apparently corresponding to the 1976 deluxe edition published by George Allen & Unwin LTD. See AU1976a. Elliot, Ralph W. V. (1998). " 'Runes in English Literature' From Cynewulf to Tolkien". In Duwel, Klaus (ed.). Runeninschriften Als Quelle Interdisziplinärer Forschung (in German and English). Walter de Gruyter. pp.663–664. ISBN 978-3-11-015455-9. If you’re writing a fantasy series, your author brand is going to be a key consideration. The font you use for the cover, the style of artwork: these are all things that will make your series (and your name) immediately recognizable to the public. So it’s best to keep it in mind during your conversations with a professional designer, or as you design your cover yourself. 12. Whimsy and charm make children’s book covers irresistible. Cover designs by (from left to right): Kim Fleming, Claudia Gadott Removed Bilbo petting the ring in Beorn’s house, as any connection to Sauron or self corruption with the ring is kept to a complete minimum, with only a few music cue references throughout this edit. 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.

Ah, the silhouette. There’s a reason why it’s so ubiquitous on covers: it’s really, really effective at getting a reader’s attention. Who wouldn’t glimpse a shadowy figure and automatically go, “Who’s THAT?”Matthews, Dorothy (1975). "The Psychological Journey of Bilbo Baggins". A Tolkien Compass. Open Court Publishing. pp. 27–40. ISBN 978-0-87548-303-0. The Hobbit". Boys into Books (11–14). Schools Library Association. Archived from the original on 8 September 2008 . Retrieved 4 January 2013.