By Janis MacKay
There has continuously been anything strange approximately Magnus Fin, a college misfit. On his 11th birthday Magnus throws a message in a bottle out to sea, wishing for a ally and to be extra courageous - and he will get much more than he bargained for. Magnus discovers that he's part selkie - half seal, half human - and his selkie kinfolk urgently want his aid. Can Magnus keep his new-found family members from the evil strength threatening the entire ocean's creatures? and should he locate the buddy he has continually dreamed of? The winner of the Kelpies Prize 2009.
Age point: eight and up | Grade point: three and up
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There has regularly been whatever strange approximately Magnus Fin, a college misfit. On his 11th birthday Magnus throws a message in a bottle out to sea, wishing for a ally and to be extra courageous - and he will get much more than he bargained for. Magnus discovers that he's part selkie - half seal, half human - and his selkie family members urgently desire his support.
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Phelan sets the boundary between the beginning and the middle of the narrative at the launch, which is the revelation of the first set of global instabilities in the narrative (Phelan, 2007, p. 17). Thus the launch in The Lord of the Rings comes relatively early. Arguably, the launch is concluded in Rivendell, in the second chapter of Book II, as Frodo accepts the burden of becoming Ring-bearer and taking the Ring to the Cracks of Doom: ‘“I will take the Ring,” he said, “though I do not know the way”’ (LotR 270).
In this manner, these compound references serve to convey also the message of the implied author – an instance that is linked to the overall perspective of the text rather than to the historical narrator or any of the characters in the story world. Even a brief interpretive sketch like this shows the complexities of a narrative value analysis, since the text’s ethical and aesthetic effects on the reader are a compound of lexical, stylistic, inter-textual, thematic and narrative means. Arguably, The Lord of the Rings displays an intensified heteroglossia through the narrator’s use of prosimetrum, through the reliance on oral narrative and reported speech, and through the implied author’s use of multiple languages (some of which are his own invention) to characterize different peoples and cultures – all of which result in considerable stylistic complexity and a plurification of the narrative voice.
C. Drout has argued, for instance, that in his description of Denethor Tolkien alludes stylistically and thematically to Shakespeare’s King Learr (Drout, 2004, p. 155). Drout further holds that the diversity of Tolkien’s stylistic means, ranging from colloquialisms through Anglo-Saxon and archaic forms to the use of biblical syntax is not ‘bad style’ but an effective means of narrating a complicated web of differing cultures and moralities, each reflected and carried through the lexical choices made.