'Mirkwood', reads the rear-cover blurb, 'reinvents J.R.R. Tolkien as a man haunted by the very myths he rewove into his famous works. As much literary criticism as boisterous epic [...]' The latter sentence seeming to infer that an academic vein exists, one which runs through the novel's narrative bedrock. Indeed, as if to reinforce this point Hillard felt it important to include in his acknowledgements that, 'This novel, in addition to being a work of fiction, is also an exercise in literary criticism. It focuses in part on the role of heroines, echoing the sentiment captured by Marion Zimmer Bradley in her excellent review of Tolkien: "The books are, in fact, almost womanless." Men, Halflings, and Hero Worship (1961)'. It is paramount at this stage to convey that 'Mirkwood' is by no means 'an exercise in literary criticism', this is a highly misleading statement, and one that finds little support within the novel (In a personal note accompanying the novel Hillard states 'Mirkwood was never intended to be read in a "Tolkien purist" light. It was just a tale, spun out of a desire to see more heroines.' - so why mention it as being a literary criticism?). At best 'Mirkwood' is simply a piece of fan-fiction, at worst: a terribly poor work lacking characterization, and further hampered by a chaotic plot structure and barbarous exposition. The story begins in 1970 when Tolkien flies to America on a mission involving secret documents and mysterious figures. Moving to '2008 - 2009' the novel settles down into a more contemporary setting for the remainder of the narrative. This is interspersed with 'recordings' of Inklings' meetings and a sub-story lifted from the 'secret documents' themselves, in which the tale of a Halfling heroine is recounted - a Halfling heroine that appears to have played a central role in destroying a ring of power, before she was removed from 'recorded' history for reasons never satisfactorily justified, or even made clear in the novel. Sadly, there are also a number of factual mistakes at the beginning of the novel pertaining to details about Tolkien's life.
On reading 'Mirkwood' several of Hillard's contemporary sources and inspirations become evident. A prime example being the construct of a wraith that pursues the modern female protagonist through America. The wraith itself is developed through the personas of contemporary anti-hero figures: Taxi Driver's Travis Bickle being one, before Hillard makes it clear that this wraith would comfortably fit into the shoes of one of John McClain's most well known opponents! The wraith also appears very similar to the characterisation of 'Rorschach' from Alan Moore's 'Watchmen' graphic novel. Unfortunately 'Mirkwood' has no redeeming features, even in terms of fan-fiction. The characters are one-dimensional, and there is no-one for the reader to engage or empathize with, at times characters appear like caricatures who act contrary to their nature, and in incredulous ways. The flow of plot is fragmented due to awkward segues between two narrative time frames, and the addition of the Inklings conversing with one another is a mockery of dialogue: 'Some might say we, all of us male prattlers of tales, do not do enough to aquit that justice (sic)'. 'But there is a void of the feminine heroic, is there not? In your 'discovery' of your myths, Tollers, you read to us little of heroines. Why so?' (Hillard, 170) Unsurprisingly, there is also mention of Peter Jackson's cinematic interpretation of The Lord of the Rings, with 'Peter' even being phoned by one of the characters in the novel!
What also becomes evident is Hillard's attempt to filter his narrative through the lens of pop-, and even counter-culture. This is evinced by his use of mundane references to common objects, as well as subjects such as media and even toys, which in places smacks of an attempt to replicate several contemporary horror authors' styles, but fails miserably: 'She looked back and the smoking thing lifted a flaming Hotelier Quality Sleep-Eze King Size Double Coil Top Mattress and flung it across the room like a feather pillow. The thing roared and jumped up and was now astride the bed, standing on the bottom mattress. It was pissed off and coming for her.' (Hillard, 351) As noted above this is not the first time a deceased personality has appeared in the fiction of another, and 'Mirkwood' is not the first appearance by Tolkien or the Inklings in fiction. Having been published prior to 'Mirkwood' (and having a suspiciously similar premise, of sorts) 'Heaven's War' is a graphic novel by Micah Harris and Michael Gaydos. 'Heaven's War' is set in 1938 and pits J.R.R. Tolkien, C.S. Lewis and Charles Williams against Aleister Crowley who here plans to manipulate and shape the world according to his will by finding a gateway into Heaven. The main character in 'Heaven's War' is actually Charles Williams and the narrative echoes of his works, being more a conflict of ideologies and intellect, rather than the actual clashing of swords and shields. The narrative strives to remain grounded in 'real-world' plausibility, while attempting to avoid fantastical situations. It is a far more creditable and thought-provoking work than 'Mirkwood'.
When Hillard received the cease and desist notice he had already sold approximately nine hundred copies of 'Mirkwood'. While preparing the review of his book I found a comment, left on a well known internet book distributor's site relating to 'Mirkwood', by a disgruntled purchaser venting that he bought the book because he was led to believe [by the blurb and cover] that it was about Tolkien, either a proper literary criticism in narrative form as 'Mirkwood' pertains to be, or even biographical in essence. What he found was that he had spent his money on a very poor example of fan-fiction, and equally a clever illustration of marketing. Indeed, when I received the review copy from Hillard it was accompanied by a note asking for, 'An honest critique of a few sentences (or more is great). If on the other hand, you simply dislike the book [...] I might suggest not posting a review.' I found this comment highly disingenuous and surely a writer must expect some form of subsequent criticism, especially if they self-publish. However in Hillard's case the revenue may be more important than the review. Please avoid this book, and advise others accordingly. Depending on the court ruling, Hillard plans to publish a sequel to 'Mirkwood'.
