Year
Author
Preceded by
Followed by
1977
The Father Christmas Letters
Unfinished Tales
The Silmarillion (Quenya: [silmaˈrilliɔn]) is a collection of mythopoeic stories by the English writer J. R. R. Tolkien, edited and published posthumously by his son Christopher Tolkien in 1977 with assistance from Guy Gavriel Kay.[T 1] The Silmarillion, along with many of J. R. R. Tolkien's other works, forms an extensive though incomplete narrative of Eä, a fictional universe that includes the Blessed Realm of Valinor, the once-great region of Beleriand, the sunken island of Númenor, and the continent of Middle-earth, where Tolkien's most popular works—The Hobbit and The Lord of the Rings—take place.
After the success of The Hobbit, Tolkien's publisher Stanley Unwin requested a sequel, and Tolkien offered a draft of the stories that would later become The Silmarillion. Unwin rejected this proposal, calling the draft obscure and "too Celtic," so Tolkien began working on a completely new story, which would eventually become The Lord of the Rings.
The Silmarillion has five parts. The first, Ainulindalë, tells of the creation of Eä, the "world that is." The second part, Valaquenta, gives a description of the Valar and Maiar, supernatural powers of Eä. The next section, Quenta Silmarillion, which forms the bulk of the collection, chronicles the history of the events before and during the First Age, including the wars over the Silmarils that gave the book its title. The fourth part, Akallabêth, relates the history of the Downfall of Númenor and its people, which takes place in the Second Age. The final part, Of the Rings of Power and the Third Age, is a brief account of the circumstances which led to and were presented in The Lord of the Rings.
The five parts were initially separate works, but it was the elder Tolkien's express wish that they be published together.[T 1] Because J. R. R. Tolkien died before he finished revising the various legends, Christopher gathered material from his father's older writings to fill out the book. In a few cases, this meant that he had to devise completely new material, though within the tenor of his father's thought, in order to resolve gaps and inconsistencies in the narrative.