Edward James, a renowned English medievalist and expert in fantasy and science fiction, explains the lasting impact of JRR Tolkien on all writers who followed him. Many authors either imitate Tolkien or strive to escape his shadow. On the 50th anniversary of Tolkien’s death, a retrospective in EL PERIÓDICO DE CATALUNYA gathered recent interviews with leading fantasy writers to explore how Tolkien continues to shape the genre. Across conversations, Tolkien’s presence appears as an unavoidable influence that many writers cannot escape.
Tolkien, born in Bloemfontein in 1882 and later shaping fantasy from his base in Britain, is described as a philologist who made medieval sensibilities feel almost natural to epic fantasy. In discussions with writers like George R. R. Martin, the sense is clear: from sci fi to fantasy, the medieval imagination remains a defining frame. Martin acknowledges Tolkien as the giant from which modern fantasy grows, even as he and others push beyond the author who shaped the field. They reflect on how their backgrounds—different generations, different regions, and different personal histories—infuse their work with distinct voices, yet Tolkien’s influence is unmistakable in every page.
Brandon Sanderson offers a critical perspective as well. He notes that while some writers treat Tolkien as a foundational reference, others seek new directions that move beyond the archetypal hero and the familiar medieval world. Sanderson argues that fantasy has spent decades under Tolkien’s shadow but has begun to mature into a genre that can explore unfamiliar settings and even blend science fiction elements. He suggests that Tolkien wrote the first epic fantasy, and it took decades for the field to grow into its own adulthood, with authors looking for fresh worlds that Tolkien did not reveal.
The discussion turns to how religious themes appear in the fiction. Some writers align with Tolkien’s sense that morality can emerge from history, while others, like CS Lewis or those who follow a more secular or different religious path, interpret virtue and consequence through other lenses. The conversation includes Patrick Rothfuss, who recalls a time when fantasy centered on monarchs, politics, and empire, and he wonders whether a hero can be an ordinary person whose choices still lead to extraordinary outcomes. Rothfuss also champions more diverse character portrayals, including stronger female roles, and he invites readers to consider how gender and sexuality are represented in epic quests and legends.
Andrzej Sapkowski, known for the Witcher series, is discussed for how his work engages with gender dynamics and the use of legend. The dialogue notes that while traditional gender roles appear in many legendary tales, modern writers push for more nuanced—and sometimes surprising—depictions of women. This shift is seen as part of the broader evolution of epic fantasy beyond Tolkien’s early framework, where contemporary authors examine power, vulnerability, and autonomy in new ways.
Joe Abercrombie is highlighted for challenging idealized heroism. His commentary during a literary event in Avilés emphasized how the genre redefines heroism, showing that ordinary people can be drawn into extraordinary acts. In these narratives, violence carries consequences, and the story often weighs psychological and moral costs rather than presenting a straightforward triumph. The discussion also touches on how fans identify with different characters, from Gandalf to Saruman and Sam, illustrating the personal resonance readers find within these sprawling worlds.
NK Jemisin, a three-time Hugo Award winner, is cited for pushing fantasy beyond Tolkien’s framework. Her work, the shattered world trilogy, is described as illustrating how post-Tolkien fantasy reflects social progress and a broader audience. Jemisin argues that fantasy must evolve to include women, diverse perspectives, and stories that extend beyond a purely European frame. The article suggests that writers should acknowledge Tolkien’s influence while actively broadening the canon to reflect a wider human experience.
Edward James is referenced again for his scholarly work on Tolkien and CS Lewis, noting that the idea of a separate, secondary world has become a common device in fantasy. Yet this world remains drawn from real life and culture. Writers increasingly blend elements from different traditions, drawing on both Western and non-Western epic forms to create universes that feel universal rather than tied to a single tradition. Some authors, like Ken Liu, propose a globalized approach, revising the epic fantasy mold to honor diverse mythologies and historical trajectories.
The conversation also touches on controversial questions about Tolkien’s era. Some voices acknowledge racist elements in older works, while others argue that context matters and that admiration for Tolkien can coexist with critical reflection. This nuanced stance invites readers to consider both the beauty and the flaws within a landmark body of work, encouraging a responsible, informed engagement with the genre’s roots and its future directions.
Overall, the coverage portrays Tolkien not as a final destination but as a starting point from which many writers launch their own imaginative voyages. The authors acknowledge the debt owed to Tolkien while insisting that modern fantasy must keep evolving, welcoming new voices, ideas, and perspectives that expand what epic fantasy can be and what it can mean for readers around the world.