It's odd how hard this text struck me - not because the content is something I would expect to be lacking, but because I fully expected it to be powerful. In particular, On Fairy-Stories and Leaf by Niggle present both an argument for, and an example of what it means to be/become "real." I think I better understand the sensation experienced by the velveteen rabbit as a result of Tolkien's words.

my best pick from this book would be Tolkien's poem, "Mythopoeia", and of course Tolkien's story about death, "Leaf by Niggle" ...

"On Fairy-Stories" is a tour de force. It's a masterful exposition of Tolkien's creative-philosophy and an impeccable analysis of fantastical, specifically literary, sub-creation.

Five insights:

1) Fantasy is expeditious. It invigorates the human desire to explore and adventure: to plumb the depths, scale the heights.

2) Fantasy whets the appetite, universally held, to commune with other living things in more advanced, transcendental (should I say pre-fallen?) ways.

3) Good fantasy doesn't require the "suspension of disbelief," for the world an author creates, into which the reader plunges, should be consistent enough to garner plausibility. If one must suspend their disbelief, the story is poor. It should smack of reality -- or, reality as longed for.

4) Those who derisively mock fantasy as escapist literature must love bleakness; although it is more likely that they fear the Light, the touch of Grass, the rush of Wind. For who dislikes escape save jailers and despots?

5) The inclusion of a eucatastrophe is the key to good, satisfying literature, for it points to the deepest desires of the unsullied human heart: restoration, reconciliation, and redemption.

I believe it is the inclusion of a classic "joyous turn" in the The Lord of the Rings, among other things, which makes literary critics turn their prim, singed little noses up at it. They should explore the Providence underlying the narrative. The eucatastrophe is quite sophisticated, for it is Gollum's avarice which destroys the ring. Alternatively, it is the ring which destroys the ring. Evil begets judgment, endings, and nothingness. Nonetheless, a sort of nihilism prevents them from appreciating satisfying endings -- unless, perhaps, good endings are unsatisfying to them, in which case they deserve pity above all else. One can accurately call a book good because it fills one with joy. It need not be avante-garde or literarilly profound. Sometimes, I wonder whether literary critics are rather like bakers, enamoured with all the delightful apparatuses involved in cake making, but caring little for the taste of the cakes. I have a degree in English; I know their sort. In general, I found it shocking how little English professors care for the "story" of the stories to which they've devoted their lives.

On Fairy Stories 3/5
This essay explores Tolkien's love for the fantastical land of Faërie. He goes into a lot of academic detail and covers their origins, their naming and the way they are read. He argues how the basic premise of a fairy story is one grounded in reality; a frame-narrative of dreamscape or otherworldliness completely counteracts the 'truth' of fairy magic.

How come only children 'read' fairy stories, when adults open them they 'study' them as academic curios? Tolkien consistently argues for the relative 'worth' of fairy stories, a genre that had for too long been swept under the carpet as childish fancy. Tolkien also casts disdain on those academics who scorn fairy stories, and in fact other literature, as escapism. "Joy... [is] the mark of the true fairy-story."

"For my part, I cannot convince myself that the roof of Bletchley station is more 'real' than the clouds."

Mythopoeia 4.5/5
Amazingly written poem, Tolkien's skill with language shows itself best in his poetry.

The Homecoming of Beorhtnoth 3/5
Tolkien's exploration of the Old English poem 'The Battle of Maldon', a text I actually studied at university. A really creative piece with great dialogue and two nicely humanised characters, despite being relatively short.
Tolkien ends his piece with a harsh criticism of the concept of 'chivalry' and the waste of life caused by generals who lead their troops to a 'chivalrous death'. My favourite quote from this section is "He will only used a sword on this occasion, since wrestling singlehanded with a dragon is too hopeless even for the chivalric spirit."

I read this on a 6-hour bus ride from Toronto to Montreal. Well worth it for “On Fairy-Stories” alone, which is a lengthy essay on the nature of fairy tales and fantasy, and their value to life. In short, we do not read them because we are deserters of reality—We read them because we are prisoners seeking to escape the grey walls that keep us bound here. Fairy tales and fantasies allow us to refresh ourselves and remind ourselves of what is good and right in the world, so we may come back to the real world with rejuvenated spirit.

I’m still not quite sure whether Tolkien liked Andrew Lang, though.

Only read "Leaf by Niggle" but liked it very much, esp. after having recently read more about Tolkien's life and work.

Zvezda nije Zvezda samo mrlja kosmicka koju sputava putanja matematicka.
Procitajte ovu knjigu i razumite malo bolje zasto je Tolkin najvazniji pisac fantastike ikada.

Contains "Leaf by Niggle" and "On Fairy Stories," two of the most important books I've ever read as a writer, a reader of novels, and an appreciator of humanity. These two writings of Tolkien really represent just why I deeply love this man.

"On Fairy-Stories"
What I loved most about this essay was Tolkien's defense of fantasy, escape, recovery, and consolation. For Tolkien, fairy stories do important work for us. First, through fantasy, fairy stories allow us to experience the joy of subcreation, and allow us to connect to the Creator (41, 56). (Fantasy is less about the suspension of disbelief than about the joy of believing, Tolkien argues.) Second, fairy stories allow for escape, recovery, and consolation from the suffering of this world, and they challenge us to imagine hopeful alternatives. Tolkien coins the word "eucatastrophe" to describe the way in which fairy stories allow for a sudden turn for the better. He offers the Christian story as the ultimate fairy story: Christ is born and Christ is resurrected (72).
For Tolkien, fairy stories offer a glimpse into the origins of language and human mind, as they demonstrate the human ability to abstract and generalize, to use adjectives and then blend reality with new qualities (48). (With this insight, Tolkien the linguist offers an early look into the field of cognitive linguistics.) Indeed, Tolkien sees "subcreation" as a significant aspect of humanity, and the early origins of human creativity certainly strengthen his argument.
The only place I'm not sure I agree with Tolkien is on fairy stories for children. Tolkien argues that it is unfortunate that fairy stories are assumed as children's stories. I agree, or at least hope, that children are not in need of escape, recovery, and consolation. However, it does seem that children can participate in the joy of subcreation and that it is even a natural thing for them to enjoy. Rudolph Steiner offers an alternative perspective, I know. This is an area I would like to explore further.

"Mythopoeia"
A poetic version of "On Fairy-Stories." I will just quote:
"Blessed are the legend-makers with their rhyme
of things not found within recorded time...
They have seen Death and ultimate defeat,
and yet they would not in despair retreat,
but oft to victory have turned the lyre
and kindled hearts with legendary fire"...

"Leaf by Niggle"
As a fellow tree lover, I can understand why Niggle would work unceasingly on painting the leaves of a tree. While his work is superficial and distracts him from his neighbor in need, he ultimately completes his artistic work, which becomes real in the next realm, with the help of his neighbor. This stories shows to what degree Tolkien believes subcreation is part of a divine plan, and it also shows a thoughtful balance between individual and communal creation. I love that the artist is ultimately in relationship.

"The Homecoming of Beorhtnoth"
In this story, Tolkien shows how fantasy can build on history in the way he describes in "On Fairy Stories." I've read elsewhere that Tolkien created LOTR to build on the heroic tales of England, as opposed to the chivalrous tales of France. Here he develops his concept of heroism while also developing a fantastical response to history.

Finally did a reread on this one, many years later . . . "On Fairy Stories" remains one of the best few essays in the English language.

A fantastic collection, pairing Leaf by Niggle with Tolkien’s brilliant essay “On Fairy Stories,” as well as some hidden gems, including the poem he wrote for Lewis on “Mythopoeia” and some excellent reflections on the potential excesses of the medieval culture of honor and chivalry that are exhibited in Beowulf and The Homecoming of Beorthnoth.

If you are a fan of J.R.R Tolkien or just a jan of fantasy writing or fairy stories then this is a must read.

This book is split into two parts. The first part is Tolkien talking about fairy tales/stories. It is an extremely insightful read and shows the depth of his knowledge of writing and the fantasy genre.

The second part of this book 'Leaf By Niggle is a beautifully written short story by Tolkien. Niggle a man who enjoys painting, mainly leafs, he never gets to complete his picture but ends up on a journey. A very enjoyable read.