"The Choices of Master Samwise" - Eric's Thoughts

This is somewhat of a monumental moment for us all -- Ben, Jacob and myself have completed the Two Towers and have blogged on two of three of the books! Quite an accomplishment, if I may say so! Why, I think even Samwise Gamgee would be rightfully impressed.

The chapter is good and provides a necessary conclusion to the cliffhanger in Shelob's lair. As Ben notes, this chapter, and the previous, is where Sam finally becomes more than a blubbering fool. As the orcs note, Sam succeeded in needling Shelob, which no warrior (great or small) had ever done before.

While Sam's dilemma and taking the Ring is good prose, the chapter really becomes interesting when Sam starts to listen into the orcs. The conversation immediately gives an insight into orc culture: they just want to be free and set up shop somewhere else . Orcs clearly hate working for Sauron, but they know that the people on the other side of the gate would treat orcs even worse. The orcs, if they even have a choice, ally themselves with the power that at least could give them some more "space."

Of course, the revelation that Frodo is not dead is the real shocker. I still remember that moment when I learned he was not dead, and it is a powerful moment. Now, on reread, since I know the plot, that revelation had less impact. Rather, I enjoyed paying more attention to Shagrat's and Gorbag's conversation as to a window into Mordor culture. It's clear that the orcs aren't blind automatons of evil. They have desires and hopes and opinions like everyone else in Middle Earth. And ambition. Both Gorbag and Shagrat want a piece of the assumed reward for finding the hobbit.

And, as I remember, the orcs' ambition and irritable nature is yet another provincial windfall that allows Frodo to ultimately succeed in his quest. That is to say, evil proves its own undoing.

"Shelob's Lair" - Eric's Thoughts

Frodo and Sam, after beating back an unseen beast with light, and cut through a swath of giant cobwebs that ricochet when struck with an ordinary sword, the hobbits emerge from the cave. Frodo in his desire to get away, separates from Sam. Shelob strikes. Just when you think it couldn't get any worse, it does. Gollum strikes. The point of view of Sam in this chapter plays a critical role in ratcheting up the tension--not only is Sam fighting for his own life, but he is engaged in a struggle that has a clear ticking clock -- Sam must not only defeat Gollum, but do it quickly so he can help Frodo. This is storytelling done well: make things worse, give a brief glimmer of hope, and then make things even worse.

As my fellow readers note, this chapter is the climax of the entire Two Towers. The hobbits face the dragon in its lair, so to speak, and Gollum reveals himself as a true villain. One can only wonder how the outcome might have changed if Sam's treatment of Gollum was different. That is why Gollum presents such an interesting antagonist -- it's not clear whether the creature had any hope at all, or whether this had been his rotten plan all along and nothing the hobbits did could have stopped its execution. It is the continued ambiguity in Gollum that partly makes this chapter so tragic and compelling.

I notice that Jacob believes this chapter stands up as well as Khazad-Dum and Knife in the Dark (and the Voice of Saruman). I agree. The four chapters Jacob mentions (including this one) are probably among my favorite as well. What's particularly interesting to me is the similarities between the four chapters and why they are so compelling:

1. Characters stripped of senses: Three of the four chapters take place at night, in the dark
2. Claustrophobia: Two of the chapters are literally claustrophobic, involving tunnels and caves (Bridge and Shelob). Knife in the dark is arguably claustrophobic as well for the simple reason that the hobbits are trapped on a hill, and are surrounded by dangerous beings closing in fast
3. Superhuman villains: all four chapters present incredibly dangerous antagonists and otherworldly beings that present an immediate danger to the protagonists in their own way
4. Success comes only at great price: Knife in the dark involved Frodo getting stabbed and almost later dying from that wound; Bridge cost the Company Gandalf himself; the Voice is tragic in that the loss of Saruman becomes final -- Saruman rejects Gandalf's overtures to cast away evil and join them; Shelob's Lair costs Frodo and Sam their guide, Gollum rejects the call to good, and Frodo himself falls victim to Shelob.

Further, each chapter presents a resolution to a strong dramatic question: Is Gollum bad (the reader suspects, but does not know for sure, whether he will betray Frodo)? When will the black riders actually strike, and what will their attack be like? What does the beating of the drums mean (it certainly can't be good)? Will Saruman turn anyone with his renowned Voice; and, when Gandalf tries to flip the script, will Saruman give up the mantle and find redemption among his old friends?

Tolkien answers each of those questions in the worst possible way: yes, Gollum is evil. Yes, the black riders are extremely dangerous and have weapons where a mere puncture will not only kill you, but blacken your very soul. Yes, a giant monster who is superior to Gandalf is behind the beating of the drums. No, Saruman cannot accept the redemption and forgiveness of his friends.

Shelob's Lair, like the other great chapters before it, contain the elements that make a chapter truly great to read: it preys on our darkest fears of monsters, darkness, claustrophobia, and our very guides through them all either vanishing or turning against us.

"The Stairs of Cirith Ungol" - Eric's Thoughts

While the previous chapter (Crossroads) seems to be filler material to lend credibility of how long the journey is, it lacked any palpable form of external antagonist (other than the terrain) or internal struggle. That is why that chapter was not particularly compelling, and I agree with Ben and Jacob that some pruning was in order.

This chapter alleviates what was lacking in the previous chapter and has some very compelling moments. Three stood out in particular.

The first, of course, is the internal confrontation between Frodo and the Ringwraith. Note that the confrontation was internal, not external. No swords are parried, no bullets flying in the air, but the language here was more compelling than Helm's Deep: "Frodo waited, like a bird at the approach of a snake, unable to move. And as he waited, he felt, more urgent than ever before, the command that he should put on the Ring. But great as the pressure was, he felt no inclination now to yield to it."

The reader turns the page, literally, to determine if Frodo will put on the Ring. As we know from the Fellowship, if Frodo puts on the Ring here, he is doomed. Yet, somehow Frodo is drawn to put the Ring on. The reader knows the stakes; Tolkien does not have to say them outright. At first it seems Frodo is tempted, then he knows putting it on would not lend him the strength to fight the Witch King, but then his finger draws ever closer nonetheless. It's a compelling back and forth internal dialogue wrought with inconsistency -- and that is why it is so interesting to watch. Finally, a magic token takes him out of the spell, and the Witch King is vanquished, merely moving on with his armies to continue in his quest to destroy the entirety of Gondor. Frodo, reflecting on the vast size of Sauron's armies and how even if he did the impossible and destroyed the Ring, says "'There will be no one I can tell. It will be in vain.' Overcome with weakness he wept. And still the host of Morgul crossed the bridge." Frodo emerges triumphant, yet his great victory is still not enough to overcome inevitable defeat.

Second, as my fellow readers note, is the interesting diversion into metafiction. Sam and Frodo's dialogue, discussing how Lord of the Rings is nothing but a story, makes the characters feel even more real than before. Interestingly, just as Tolkien did, Robert Jordan in the Wheel of Time used this technique regularly -- sometimes having the main character Rand reflect that doing things in reality were much more difficult than what he had read in stories. What Rand, and Sam and Frodo have observed is a thought real people often have, so characters that reflect on how their lives relate to stories they've read lends the character almost an air of credibility. Sam says, "I wonder what sort of a tale we’ve fallen into?’" A reader too can't help but wonder what sort of tale he has fallen into, and what legacy he will leave behind.

Third, the marvelously written dialogue between Sam and Gollum. Tolkien really shines at his best when he's writing dialogue for Smeagol. After Gollum sneaks off and returns, he shows a glimpse of humanity, almost as if he's regretting his decision to betray his friends (revealed in the next chapter). Sam calls Gollum a sneak, chastises him, and Gollum's eyes turn green, symbolizing that his brief moment of humanity is gone. The dialogue that ensues is tragic, but similarly hilarious. Gollum mutters, "‘No food, no rest, nothing for Sméagol,’ said Gollum. ‘He’s a sneak.’"

"'Don’t take names to yourself, Sméagol,’ said Frodo. ‘It’s unwise, whether they are true or false.'"

"'Sméagol has to take what’s given him,’" answered Gollum. "‘He was given that name by kind Master Samwise, the hobbit that knows so much.’"

Gollum plays the victim (is he just deranged or purely manipulative?), when it is he that is about to betray the Hobbits, demonstrating the psychological complexity of this tragic creature.

"Journey to the Cross-roads" - Eric's Thoughts

This chapter could have been trimmed.