Nobody believes me when I say that my long book is an attempt to create a world in which a form of language agreeable to my personal aesthetic might seem real. But it is true.

The Resurrection was the greatest ‘eucatastrophe’ possible in the greatest Fairy Story — and produces that essential emotion: Christian joy which produces tears because it is qualitatively so like sorrow, because it comes from those places where Joy and Sorrow are at one, reconciled, as selfishness and altruism are lost in Love.

But I have been too deeply hurt, Sam. I tried to save the Shire, and it has been saved, but not for me. It must often be so, Sam, when things are in danger: some one has to give them up, lose them, so that others may keep them.

What really happens is that the story-maker proves a successful 'sub-creator'. He makes a Secondary World which your mind can enter. Inside it, what he relates is 'true': it accords with the laws of that world. You therefore believe it, while you are, as it were, inside. The moment disbelief arises, the spell is broken; the magic, or rather art, has failed. You are then out in the Primary World again, looking at the little abortive Secondary World from outside.

Yet seldom do they fail of their seed, And that will lie in the dust and rot to spring up again in times and places unlooked-for. The deeds of Men will outlast us.

My own dear mother was a martyr indeed, and it is not to everybody that God grants so easy a way to his great gifts as he did to Hilary and myself, giving us a mother who killed herself with labour and trouble to ensure us keeping the faith.

Then Morgoth stretching out his long arm towards Dor-lomin cursed Hurin and Morwen and their offspring, saying: 'Behold! The shadow of my thought shall lie upon them wherever they go, and my hate shall pursue them to the ends of the world.