"It is precisely against the darkness of the world that comedy arises, and it is best when that is not hidden." JRRT to R. Unwin Just like Tolkien's first reviewer, academic studies have tended to overlook the presence of humour in Tolkien's work and the effect of his work to inspire humour. This volume more than compensates for this oversight.

The first form of the myths and legends in Tolkien's conception of the Middle Kingdom features the adventures of Eriol, and the tales of Beren and Luthien, Turin and the dragon, the necklace of the dwarves, and the fall of Gondolin.

One wonders whether there really is a need for another volume of essays on the works of J. R. R. Tolkien. Clearly there is. Especially when the volume takes new directions, employs new approaches, focuses on different texts, or reviews and then challenges received wisdom. This volume intends to do all that. The entries on sources and analogues in The Lord of the Rings, a favorite topic, are still able to take new directions. The analyses of Tolkien’s literary art, less common in Tolkien criticism, focus on character—especially that of Tom Bombadil—in which two different conclusions are reached. But characterization is also seen in the light of different literary techniques, motifs, and symbols. A unique contribution examines the place of linguistics in Tolkien’s literary art, employing Gricean concepts in an analysis of The Lay of the Children of Húrin. And a quite timely essay presents a new interpretation of Tolkien’s attitude toward the environment, especially in the character of Tom Bombadil. In sum, this volume covers new ground, and treads some well-worn paths; but here the well-worn path takes a new turn, taking not only scholars but general readers further into the complex and provocative world of Middle-earth, and beyond.

Leadership has for too long been treated as a function and not as a relationship. Zina Sutch and Patrick Malone argue that successful leadership must be based on love (altruism and empathy) and laughter (positive emotions and joy). Science tells us that humans are deeply wired for empathy and compassion and that our emotional selves help us make better decisions and motivate others. However, the tactics we use to train leaders bear little reflection of these advancements; we're still creating competent but emotionally distant leaders who “manage human assets” and lead by setting goals, deadlines, and deliverables. Zina Sutch and Patrick Malone hope to flip a light switch and illuminate, above all else, that leadership begins with heart and soul. Too many training programs reduce leadership to an equation, matrix, or acronym. But leadership is a relationship. It's one human helping another. The most successful leaders show they genuinely care about their employees and are, well, fun. It's just like any relationship. In seven succinct chapters, the authors show that people lead best when they tap into their genetically driven human nature to love and nurture, connect and trust. Leading with love and laughter offers powerful dividends: tighter teams, stronger performance, improved morale, greater trust, more creativity, and even better health. While Sutch and Malone cite the science and offer examples, tips, and practices, their larger purpose is to reintroduce the warmth of human interaction and emotion as the foundation of what leadership is all about.

When the superannuated biblical Sarah learned that she would give birth to a son, she burst out laughing, and that son's name-Isaac-was forever a testimony to this moment of holy mirth. In The Mother of All Laughter: Sarah & the Genesis of Comedy, Terry Lindvall argues that there is a biblical place for laughter. At times, he lets truth be obscured by a good story (as when he cites the famous Neil Armstrong/"Mr. Gorsky" urban legend as fact), but he raises important points about humor for Christians.

Laughing Shall I Die explores the Viking fascination with scenes of heroic death. The literature of the Vikings is dominated by famous last stands, famous last words, death songs, and defiant gestures, all presented with grim humor. Much of this mindset is markedly alien to modern sentiment, and academics have accordingly shunned it. And yet, it is this same worldview that has always powered the popular public image of the Vikings—with their berserkers, valkyries, and cults of Valhalla and Ragnarok—and has also been surprisingly corroborated by archaeological discoveries such as the Ridgeway massacre site in Dorset. Was it this mindset that powered the sudden eruption of the Vikings onto the European scene? Was it a belief in heroic death that made them so lastingly successful against so many bellicose opponents? Weighing the evidence of sagas and poems against the accounts of the Vikings’ victims, Tom Shippey considers these questions as he plumbs the complexities of Viking psychology. Along the way, he recounts many of the great bravura scenes of Old Norse literature, including the Fall of the House of the Skjoldungs, the clash between the two great longships Ironbeard and Long Serpent, and the death of Thormod the skald. One of the most exciting books on Vikings for a generation, Laughing Shall I Die presents Vikings for what they were: not peaceful explorers and traders, but warriors, marauders, and storytellers.

Despite popular opinions of the ‘dark Middle Ages’ and a ‘gloomy early modern age,’ many people laughed, smiled, giggled, chuckled, entertained and ridiculed each other. This volume demonstrates how important laughter had been at times and how diverse the situations proved to be in which people laughed, and this from late antiquity to the eighteenth century. The contributions examine a wide gamut of significant cases of laughter in literary texts, historical documents, and art works where laughter determined the relationship among people. In fact, laughter emerges as a kaleidoscopic phenomenon reflecting divine joy, bitter hatred and contempt, satirical perspectives and parodic intentions. In some examples protagonists laughed out of sheer happiness and delight, in others because they felt anxiety and insecurity. It is much more difficult to detect premodern sculptures of laughing figures, but they also existed. Laughter reflected a variety of concerns, interests, and intentions, and the collective approach in this volume to laughter in the past opens many new windows to the history of mentality, social and religious conditions, gender relationships, and power structures.

Tolkien's portrayal of nature in Middle-earth has been interpreted in a variety of ways, often depending on the context of the reading. Some have seen Middle-earth and its potential destroyer, the Ring, as an allegory of the European continent under the threat of the atomic bomb, while others have embraced it as an artistic expression of the Green movement's agenda in the face of industrial abuse. Some have read nature in Tolkien's work in terms of myth and religion; yet others take the exhaustive descriptions of the physical environment as a sign that Middle-earth itself is the central protagonist of the stories. All in all, nature in Middle-earth plays a crucial role not only in the creation of atmospheres and settings that enhance the realism as well as the emotional appeal of the secondary world; it also acts as an active agent of change within the setting and the story. This collection of essays explores Middle-earth as an ecological entity, a scene for metaphysical speculation, an arboreal depository of cultural memory and a reflection of real-world natural and imperialistic processes.

Enchanting, timeless and surprising - this extraordinary novel will touch the hearts (and ears) of children and adults alike. Dr Boogaloo was no ordinary doctor. Not at all like the one you might visit if you had a sore tummy. No, Dr Boogaloo was a very different type of doctor. He treated folks who suffered from rather unusual complaints. And how did he treat them? Why, with the most powerful medicine known to mankind . . . Music! Blue was no ordinary girl. For starters, her name was Blue. But what was truly extraordinary about Blue was the fact that she hadn't laughed for 712 days. Not a hee hee, a ho ho or even a tiny tee hee. According to Dr Boogaloo, music can cure anything. (Of course, you need the right dose of the right music. No point listening to a jive if you're in need of some boogie-woogie, and you can't just substitute a toot for a blow!) But no laughter was definitely a case for alarm. Can Dr Boogaloo compose a cure before Blue loses her laughter forever?