In a hole in the ground there lived a hobbit…

I read a lot; I have done since I was a kid. Brian Jacques, JK Rowling, Caroline Lawrence and dozens of other authors’ work sped through my young mind, throwing off ideas, philosophies, and any other random stuff I found interesting in all directions. However, as any committed reader will tell you, after a while flicking through any genre all the ‘low hanging fruit’, the good books everyone’s heard of, will soon be absorbed, and it is often quite a task to find reliable sources of good reading material. It was for partly this reason that I, some years ago, turned to the fantasy genre because, like it or loathe it, it is impossible to deny the sheer volume of stuff, and good stuff too, that is there. Mountains of books have been written for it, many of which are truly huge (I refer to volumes 11 and 12 of Robert Jordan’s ‘Wheel of Time’, which I have yet to pluck up the courage to actually read, if anyone doubts this fact), and the presence of so many different subgenres (who can compare George RR Martin, creator of A Game of Thrones, with Terry Pratchett, of Discworld fame) and different ideas gives it a nice level of innovation within a relatively safe, predictable sphere of existence.

This sheer volume of work does create one or two issues, most notably the fact that it can be often hard to consult with other fans about ‘epic sagas’ you picked up in the library that they may never have even heard of (hands up how many of you have heard of Raymond E Feist, who really got me started in this genre)- there’s just so much stuff, and not much of it can be said to be standard reading material for fantasy fans. However, there is one point of consistency, one author everyone’s read, and who can always be used as a reliable, if high, benchmark. I speak, of course, of the work of JRR Tolkein.

As has been well documented, John Ronald Reuel Tolkein was not an author by trade or any especial inclination; he was an academic, a professor of first Anglo-Saxon and later English Language & Literature at Pembroke College, Oxford, for 34 years no less. He first rose to real academic prominence in 1936, when he gave (and later published) a seminal lecture entitled Beowulf: The Monsters and the Critics. Beowulf is one of the oldest surviving works of English literature, an Anglo-Saxon epic poem from around the 8th century AD detailing the adventures of a warrior/king named Beowulf, and Tolkein’s lecture defined many contemporary thoughts about it as a work of literature.

However, there was something about Beowulf that was desperately sad to Tolkein; it was just about the only surviving piece of Old English mythology, and certainly the only one with any degree of public knowledge. Tolkein was a keen student of Germanic mythology and that of other nations, and it always pained him that his home nation had no such traditional mythology to be called upon, all the Saxon stories having been effectively wiped out with the coming of the Normans in 1066. Even our most famous ‘myths’, those of King Arthur, came from a couple of mentions in 8th century texts, and were only formalised by Normans- Sir Thomas Malory didn’t write Le Morte d’Arthur, the first full set of the Arthurian legends, until 1485, and there is plenty of evidence that he made most of it up. It never struck Tolkein as being how a myth should be; ancient, passed down father to son over innumerable generations until it became so ingrained as to be considered true. Tolkein’s response to what he saw as a lamentable gap in our heritage was decidedly pragmatic- he began building his own mythological world.

Since he was a linguistic scholar, Tolkein began by working with what he new; languages. His primary efforts were concerned with elvish, which he invented his own alphabet and grammar for and eventually developed into as deep and fully-fleshed a tongue as you could imagine. He then began experimenting with writing mythology based around the language- building a world of the Dark Ages and before that was as special, fantastical and magical as a story should be to become a fully-fledged myth (you will notice that at the start of The Lord Of The Rings, Tolkein refers to how we don’t see much of hobbits any more, implying that his world was set in the past rather than the alternate universe).

His first work in this field was the Quenta Silmarillion, a title that translates (from elvish) as “the Tale of the Silmarils”. It is a collection of stories and legends supposedly originating from the First Age of his world, although compiled by an Englishman during the Dark Ages from tales edited during the Fourth Age, after the passing of the elves. Tolkein started this work multiple times without ever finishing, and it wasn’t until long after his death that his son published The Silmarillion as a finished article.

However, Tolkein also had a family with young children, and took delight in writing stories for them. Every Christmas (he was, incidentally, a devout Catholic) he wrote letters to them from Father Christmas that took the form of short stories (again, not published until after his death), and wrote numerous other tales for them. A few of these, such as The Adventures of Tom Bombadil, either drew inspiration from or became part of his world (or ‘legendarium’, as it is also known), but he never expected any of them to become popular. And they weren’t- until he, bored out of his mind marking exam papers one day in around 1930, found a blank back page and began writing another, longer story for them, beginning with the immortal lines: “In a hole in the ground there lived a hobbit.”

This work, what would later become The Hobbit (or There and Back Again), was set in the Third Age of his legendarium and is soon to be made into a  series of three films (don’t ask me how that works, given that it’s shorter than each one of the books making up The Lord Of The Rings that each got a film to themselves, but whatever). Like his other stories, he never intended it to be much more than a diverting adventure for his children, and for 4 years after its completion in 1932 it was just that. However, Tolkein was a generous soul who would frequently lend his stories to friends, and one of those, a student named Elaine Griffiths, showed it to another friend called Susan Dagnall. Dagnall worked at the publishing company Allen & Unwin, and she was so impressed upon reading it that she showed it to Stanley Unwin. Unwin lent the book to his son Rayner to review (this was his way of earning pocket money), who described it as ‘suitable for children between the ages of 6 and 12’ (kids were clearly a lot more formal and eloquent where he grew up). Unwin published the book, and everyone loved it. It recieved many glowing reviews in an almost universally positive critical reception, and one of the first reviews came from Tolkein’s friend CS Lewis in The Times, who wrote:

The truth is that in this book a number of good things, never before united, have come together: a fund of humour, an understanding of children, and a happy fusion of the scholar’s with the poet’s grasp of mythology… The professor has the air of inventing nothing. He has studied trolls and dragons at first hand and describes them with that fidelity that is worth oceans of glib “originality.”

In many ways, that quote describes all that was great about Tolkein’s writing; an almost childish, gleeful imagination combined with the brute seriousness of his academic work, that made it feel like a very, very real fantasy world. However, this was most definitely not the end of JRR Tolkein, and since I am rapidly going over length, the rest of the story will have to wait until next time…


The Science of Iron

I have mentioned before that I am something of a casual gymgoer- it’s only a relatively recent hobby, and only in the last couple of months have I given any serious thought and research to my regime (in which time I have also come to realise that some my advice in previous posts was either lacking in detail or partially wrong- sorry, it’s still basically useful). However, whilst the internet is, as could be reasonably expected, inundated with advice about training programs, tips on technique & exercises to work different muscle groups (often wildly disagreeing with one another), there is very little available information concerning the basic science behind building muscle- it’s just not something the average gymgoer knows. Since I am fond of a little research now and then, I thought I might attempt an explanation of some of the basic biology involved.

DISCLAIMER: I am not a biologist, and am getting this information via the internet and a bit of ad libbing, so don’t take this as anything more than a basic guideline

Everything in your body is made up of tiny, individual cells, each a small sac consisting of a complex (and surprisingly ‘intelligent’) membrane, a nucleus to act as its ‘brain’ (although no-one is entirely sure exactly how they work) and a lot of watery, chemical-y stuff called cytoplasm squelching about and reacting with things. It follows from this that to increase the size of an organ or tissue requires these cells to do one of two things; increase in number (hyperplasia) or in size (hypertrophy). The former case is mainly associated with growths such as neoplasia (tumours), and has only been shown to have an impact on muscles in response to the injection of growth hormones, so when we’re talking about strength, fitness and muscle building we’re really interested in going for hypertrophy.

Hypertrophy itself is still a fairly broad term biologically, and only two aspects of it are interesting from an exercise point of view; muscular and ventricular hypertrophy. As the respective names suggest, the former case relates to the size of cells in skeletal muscle increasing, whilst the latter is concerned with the increase in size & strength of the muscles making up the walls of the heart (the largest chambers of which are called the ventricles). Both are part of the body’s long-term response to exercise, and for both the basic principle is the same- but before I get onto that, a quick overview of exactly how muscles work may be in order.

A muscle cell (or muscle fibre) is on of the largest in the body, vaguely tubular in shape and consisting in part of many smaller structures known as myofibrils (or muscle fibrils). Muscle cells are also unusual in that they contain multiple cell nuclei, as a response to their size & complex function, and instead of cytoplasm contain another liquid called sarcoplasm (more densely packed with glycogen fuel and proteins to bind oxygen, and thus enabling the muscles to respire more quickly & efficiently in response to sudden & severe demand). These myofibrils consist of multiple sections called myofilaments, (themselves made of a family of proteins called myosins) joined end-to-end as repeating units known as sarcomeres. This structure is only present in skeletal, rather than smooth muscle cells (giving the latter a more regular, smoothly connected structure when viewed under the microscope, hence the name) and are responsible for the increased strength available to skeletal muscles. When a muscle fibril receives an electrical impulse from the brain or spinal cord, certain areas or ‘bands’ making up the sarcomeres shrink in size, causing the muscle as a whole to contract. When the impulse is removed, the muscle relaxes; but it cannot extend itself, so another muscle working with it in what is known as an antagonistic pair will have to pull back on it to return it to its original position.

Now, when that process is repeated a lot in a small time frame, or when a large load is placed on the muscle fibre, the fibrils can become damaged. If they are actually torn then a pulled muscle results, but if the damage is (relatively) minor then the body can repair it by shipping in more amino acids (the building blocks of the proteins that make up our bodies) and fuel (glycogen and, most importantly, oxygen). However, to try and safeguard against any future such event causing damage the body does its bit to overcompensate on its repairs, rebuilding the protein structures a little more strongly and overcompensating for the lost fuel in the sarcoplasm. This is the basic principle of muscular hypertrophy; the body’s repair systems overcompensating for minor damage.

There are yet more subdivisions to consider, for there are two main types of muscular hypertrophy. The first is myofibrillated hypertrophy, concerning the rebuilding of the myofibrils with more proteins so they are stronger and able to pull against larger loads. This enables the muscle to lift larger weights & makes one stronger, and is the prominent result of doing few repetitions of a high load, since this causes the most damage to the myofibrils themselves. The other type is sarcoplasmic hypertrophy, concerning the packing of more sarcoplasm into the muscle cell to better supply the muscle with fuel & oxygen. This helps the muscle deal better with exercise and builds a greater degree of muscular endurance, and also increases the size of the muscle, as the increased liquid in it causes it to swell in volume. It is best achieved by doing more repetitions on a lower load, since this longer-term exercise puts more strain on the ability of the sarcoplasm to supply oxygen. It is also advisable to do fewer sets (but do them properly) of this type of training since it is more tiring; muscles get tired and hurt due to the buildup of lactic acid in them caused by an insufficient supply of oxygen requiring them to respire anaerobically. This is why more training on a lower weight feels like harder work, but is actually going to be less beneficial if you are aiming to build muscular strength.

Ventricular (or cardiac) hypertrophy combines both of these effects in a response to the increased load placed on the muscles in the heart from regular exercise. It causes the walls of the ventricles to thicken as a result of sarcoplasmic hypertrophy, and also makes them stronger so that the heart has to beat less often (but more powerfully) to supply blood to the body. In elite athletes, this has another effect; in response to exercise the heart’s response is not so much to beat more frequently, but to do so more strongly, swelling more in size as it pumps to send more blood around the body with each beat. Athletic heart syndrome, where the slowing of the pulse and swelling of heart size are especially magnified, can even be mistaken for severe heart disease by an ill-informed doctor.

So… yeah, that’s how muscle builds (I apologise, by the way, for my heinous overuse of the word ‘since’ in the above explanation). I should point out quickly that this is not a fast process; each successive rebuilding of the muscle only increases the strength of that muscle by a small amount, even for serious weight training, and the body’s natural tendency to let a muscle degrade over time if it is not well-used means that hard work must constantly be put in to maintain the effect of increased muscular size, strength and endurance. But then again, I suppose that’s partly what we like about the gym; the knowledge that we have earned our strength, and that our willingness to put in the hard work is what is setting us apart from those sitting on the sofa watching TV. If that doesn’t sound too massively arrogant.