I enjoyed this thread and was very proud of my own ability to stay out of it when the inevitable is-Tolkien-a-racist/fascist? arguments erupted. The thing is: I forgot to refute everyone who wrongly argued that Middle Earth isn’t a kind of Utopia. Then the thread closed. Damn.
I did start the job. In comments, I corrected cited this bit from “On Fairy-Stories”:
“And if we leave aside for a moment “fantasy,” I do not think that the reader or the maker of fairy-stories need even be ashamed of the “escape” of archaism: of preferring not dragons but horses, castles, sailing-ships, bows and arrows; not only elves, but knights and kings and priests. For it is after all possible for a rational man, after reflection (quite unconnected with fairy-story or romance), to arrive at the condemnation, implicit at least in the mere silence of “escapist” literature, of progressive things like factories, or the machine-guns and bombs that appear to be their most natural and inevitable, dare we say “inexorable,” products.
“The rawness and ugliness of modern European life”— that real life whose contact we should welcome —“is the sign of a biological inferiority, of an insufficient or false reaction to environment.” [Tolkien is quoting a social darwinist at this point] The maddest castle that ever came out of a giant’s bag in a wild Gaelic story is not only much less ugly than a robot-factory, it is also (to use a very modern phrase) “in a very real sense” a great deal more real. Why should we not escape from or condemn the “grim Assyrian” absurdity of top-hats, or the Morlockian horror of factories? They are condemned even by the writers of that most escapist form of all literature, stories of Science fiction. These prophets often foretell (and many seem to yearn for) a world like one big glass-roofed railway-station. But from them it is as a rule very hard to gather what men in such a world-town will do. They may abandon the “full Victorian panoply” for loose garments (with zip-fasteners), but will use this freedom mainly, it would appear, in order to play with mechanical toys in the soon-cloying game of moving at high speed. To judge by some of these tales they will still be as lustful, vengeful, and greedy as ever; and the ideals of their idealists hardly reach farther than the splendid notion of building more towns of the same sort on other planets. It is indeed an age of “improved means to deteriorated ends.” It is part of the essential malady of such days — producing the desire to escape, not indeed from life, but from our present time and self-made misery— that we are acutely conscious both of the ugliness of our works, and of their evil. So that to us evil and ugliness seem indissolubly allied. We find it difficult to conceive of evil and beauty together. The fear of the beautiful fay that ran through the elder ages almost eludes our grasp. Even more alarming: goodness is itself bereft of its proper beauty. In Faerie one can indeed conceive of an ogre who possesses a castle hideous as a nightmare (for the evil of the ogre wills it so), but one cannot conceive of a house built with a good purpose — an inn, a hostel for travellers, the hall of a virtuous and noble king—that is yet sickeningly ugly. At the present day it would be rash to hope to see one that was not — unless it was built before our time.”
Insofar as it seems to me quite obvious that the production of Tolkien’s own ‘fairy-stories’, from The Hobbit on, is motivated not just by the need for a place to store his made-up languages, but as a cry against the alleged ugliness of modernity – an attempt to wake people up that ugliness, by contrasting with an ideal alternative – it’s utopian. If News From Nowhere is utopian, then Tolkien is.
But, as I said, I forgot the clincher. Off To Be The Wizard is a pretty funny novel. Plotspoilers under the fold.