The supposedly definitive speech for hopepunk is given by Samwise Gamgee in The Two Towers: “That there’s some good in the world”, and so on.  It’s a fine speech, and it would be churlish indeed to pick on good-hearted Sam. But recently I read (or possibly re-read) Michael Moorcock’s old essay on Tolkien, as well; the one that pegs Lord of the Rings as an armour-clad Winnie the Pooh.

I was never quite the Tolkien-maniac so many teenagers are, though I won’t claim it was out of social competence or any foresightful discomfort with JRR’s racial scheme. It was probably because I’d read too much trash fantasy before I got hold of The Fellowship of the Ring, and was hoping for more of the same. Even though I knew it was unfair, it seemed like Tolkien was plagiarizing himself. 

Underneath, I think the structure of the world and the story might have also got up my nose. I always sympathized more with elves than hobbits. More fool me, perhaps. All of the hobbits have a bit too much Forrest Gump in them, a much worse work of art whose magic moron morality I will continue to hate until my dying day.

I was certainly up for Moorcock’s pulp literary experimenta. My taste was much more for Melniboné than Bag End. And he’s a pretty good critic. He gets the politics of Middle Earth and Middle Hopepunk bang on:

While there is an argument for the reactionary nature of the books, they are certainly deeply conservative and strongly anti-urban, which is what leads some to associate them with a kind of Wagnerish hitlerism. I don’t think these books are ‘fascist’, but they certainly don’t exactly argue with the 18th century enlightened Toryism with which the English comfort themselves so frequently in these upsetting times.

Epic Pooh

It’s not that hopepunk is bad. Like Tolkien, it’s deeply anti-fascist, and pro-community, in a rural traditionalist way. But it’s as punk as a hobbit in a four button waistcoat. It’s comfortable to wear, but I remain skeptical it will change much.

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