Their brief and passionate lives are dominated by the elemental hatred that Morgoth bears them as the children of Húrin, the man who dared defy him to his face. Against them Morgoth sends his most formidable servant, Glaurung, a powerful spirit in the form of a huge wingless dragon of fire, in an attempt to fulfil his curse and destroy the children of Húrin.
BEREN AND LÚTHIEN Deeply opposed to the marriage of Beren, a mortal man, to his daughter Lúthien, the great Elvish lord, Thingol, imposes an impossible task that Beren must perform before they might wed.

Undaunted by Lord Thingol’s challenge, Beren and Lúthien embark on the supremely heroic attempt to rob Morgoth, the greatest of all evil beings, of a Silmaril, one of the hallowed jewels that adorn the Black Enemy’s crown.
THE FALL OF GONDOLIN Central to the enmity of two of the greatest Powers in the world – Morgoth and Ulmo – is the Elvish city of Gondolin, beautiful but undiscoverable. Turgon King of Gondolin is hated and feared above all his enemies by Morgoth, who seeks in vain to discover the marvellously hidden city, while the gods in Valinor largely refuse to support Ulmo.

Into this world comes Tuor, cousin of Túrin, the instrument of Ulmo’s designs. Guided unseen by him Tuor sets out on the fearful journey to Gondolin, where he becomes great; he is wedded to Idril, Turgon’s daughter, and their son is Eärendel, whose birth and profound importance in days to come is foreseen by Ulmo. Then Morgoth learns through an act of supreme treachery all that he needs to mount a devastating attack on the city, with Balrogs and dragons and numberless Orcs.

Now, more than 50 years on, this enchanting tale of a wanderer who finds his way into the perilous realm of Faery is being published once again in paperback. Contained here are many intriguing links to the world of Middle-earth, as well as to Tolkien’s other tales, and this new edition is enhanced with a facsimile of the illustrated first edition, a manuscript of Tolkien’s early draft of the story, notes and an alternate ending, and a lengthy essay on the nature of Faery.

He was here before the Kings and the graves and the Barrow-wights. When the Elves passed westward, Tom was here already…’ One of the most intriguing characters in The Lord of the Rings, the amusing and enigmatic Tom Bombadil also appears in verses said to have been written by Hobbits and preserved in the ‘Red Book’ with stories of Bilbo and Frodo Baggins and their friends. The Adventures of Tom Bombadil collects these and other poems, mainly concerned with legends and jests of the Shire at the end of the Third Age.

This special edition has also been expanded to include earlier versions of some poems, a fragment of a prose story with Tom Bombadil, and comprehensive notes by acclaimed Tolkien scholars Christina Scull and Wayne G. Hammond.

The Ainulindale is a myth of the Creation and in the Valaquenta the nature and powers of each of the gods is described. The Akallabeth recounts the downfall of the great island kingdom of Numenor at the end of the Second Age and Of the Rings of Power tells of the great events at the end of the Third Age, as narrated in The Lord of the Rings. This pivotal work features the revised, corrected text and includes, by way of an introduction, a fascinating letter written by Tolkien in 1951 in which he gives a full explanation of how he conceived the early Ages of Middle-earth.

Unfinished Tales also contains the only story about the long ages of Numenor before its downfall, and all that is known about such matters as the Five Wizards, the Palantiri and the legend of Amroth. The tales were collated and edited by JRR Tolkien’s son and literary heir, Christopher Tolkien, who provides a short commentary on each story, helping the reader to fill in the gaps and put each story into the context of the rest of his father’s writings.

But his contentment is disturbed when the wizard, Gandalf, and a company of thirteen dwarves arrive on his doorstep one day to whisk him away on an unexpected journey ‘there and back again’. They have a plot to raid the treasure hoard of Smaug the Magnificent, a large and very dangerous dragon… The prelude to The Lord of the Rings, The Hobbit has sold many millions of copies since its publication in 1937, establishing itself as one of the most beloved and influential books of the twentieth century.

It was built and peopled by Noldorin Elves who, when they dwelt in Valinor, the land of the gods, rebelled against their rule and fled to Middle-earth. Turgon King of Gondolin is hated and feared above all his enemies by Morgoth, who seeks in vain to discover the marvellously hidden city, while the gods in Valinor in heated debate largely refuse to intervene in support of Ulmo’s desires and designs.Into this world comes Tuor, cousin of Turin, the instrument of Ulmo’s designs. Guided unseen by him Tuor sets out from the land of his birth on the fearful journey to Gondolin, and in one of the most arresting moments in the history of Middle-earth the sea-god himself appears to him, rising out of the ocean in the midst of a storm.

In Gondolin he becomes great; he is wedded to Idril, Turgon’s daughter, and their son is Earendel, whose birth and profound importance in days to come is foreseen by Ulmo.At last comes the terrible ending. Morgoth learns through an act of supreme treachery all that he needs to mount a devastating attack on the city, with Balrogs and dragons and numberless Orcs. After a minutely observed account of the fall of Gondolin, the tale ends with the escape of Tuor and Idril, with the child Earendel, looking back from a cleft in the mountains as they flee southward, at the blazing wreckage of their city.

They were journeying into a new story, the Tale of Earendel, which Tolkien never wrote, but which is sketched out in this book from other sources.Following his presentation of Beren and Luthien Christopher Tolkien has used the same ‘history in sequence’ mode in the writing of this edition of The Fall of Gondolin. In the words of J.R.R. Tolkien, it was ‘the first real story of this imaginary world’ and, together with Beren and Luthien and The Children of Hurin, he regarded it as one of the three ‘Great Tales’ of the Elder Days.

Her father, a great Elvish lord, in deep opposition to Beren, imposed on him an impossible task that he must perform before he might wed Luthien. This is the kernel of the legend; and it leads to the supremely heroic attempt of Beren and Luthien together to rob the greatest of all evil beings, Melkor, called Morgoth, the Black Enemy, of a Silmaril. In this book Christopher Tolkien has attempted to extract the story of Beren and Luthien from the comprehensive work in which it was embedded; but that story was itself changing as it developed new associations within the larger history. To show something of the process whereby this legend of Middle-earth evolved over the years, he has told the story in his father’s own words by giving, first, its original form, and then passages in prose and verse from later texts that illustrate the narrative as it changed.

Presented together for the first time, they reveal aspects of the story, both in event and in narrative immediacy, that were afterwards lost.

Their brief and passionate lives are dominated by the elemental hatred that Morgoth bears them as the children of Hurin, the man who dared to defy him to his face. Against them Morgoth sends his most formidable servant, Glaurung, a powerful spirit in the form of a huge wingless dragon of fire, in an attempt to fulfil the curse of Morgoth, and destroy the children of Hurin. Begun by J.R.R.Tolkien at the end of the First World War, The Children of Hurin became the dominant story in his later work on Middle-earth. But he could not bring it to a final and finished form. In this book Christopher Tolkien has constructed, after long study of the manuscripts, a coherent narrative without any editorial invention.

Men, Dwarves, Elves and Ents unite forces to do battle agains the Dark. Meanwhile, Frodo and Sam struggle further into Mordor in their heroic quest to destroy the One Ring. Impossible to describe in a few words, JRR Tolkien’s great work of imaginative fiction has been labelled both a heroic romance and a classic fantasy fiction.

By turns comic and homely, epic and diabolic, the narrative moves through countless changes of scene and character in an imaginary world which is totally convincing in its detail. Tolkien created a vast new mythology in an invented world which has proved timeless in its appeal.