Oloris Publishing

Because the great tales never end. Expanding the vision of traditional publishing by showcasing new voices across a variety of genres in fiction & non-fiction. The Oloris team is blogging and reblogging whatever inspires us, alongside content and news related to our publications.


There are fewer than 820 Icelandic goats left on the planet, and nearly half that population will be slaughtered in less than a month when the Haafell goat farm is foreclosed upon. This species is in a fragile state after suffering from a severe population decrease, and if the money isn’t raised to save the farm, their already small number will be reduced even further.
There is an IndieGoGo page set up in the farm’s honor, and they are only halfway to their goal with 18 days left. There are a ton of great perks available, many of which come from the farm itself. If you can, please donate.
Catch Constance G.J. Wagner at Dragon Con 2014 at the Tolkien Track! She will be discussing all things Tolkien, from the films and books to in-depth explorations of women in Tolkien’s works, to the whole process from brainstorming to getting your work published. All her panels are at Marriott, L401-403, this coming Saturday and Sunday.

When do you expect Pierside to be released?

No definite date yet, but it’s scheduled for 2015.

Windswept Edoras (pencil study)
by John Cockshaw

… and in the midst, set upon a green terrace, there stands aloft a great hall of Men. And it seems to my eyes that it is thatched with gold.  The light of it shines far over the land. — The King of the Golden Hall, The Two Towers. JRR Tolkien.

The upcoming release of the long-awaited Anglo-Saxon Community in J.R.R. Tolkien’s ‘The Lord of the Rings’ by Dr. Deborah A. Higgens coincides with the Fellowship’s journey into Rohan in this month’s readings for the Tolkien Read-Along 2014. In celebration of both the Read-Along and the book’s release, Oloris Publishing has excerpted a section from Chapter 4 “The Role of the Lord, Comitatus, and Gift-Giving within the Mead Hall” in the upcoming title. Here, Dr. Higgens examines the Germanic tradition of the comitatus oath. In this excerpt, she draws parallels between the characters, events, and cultures within The Lord of the Rings and Beowulf, cementing the importance of the Anglo-Saxon epic in the creation of Tolkien’s masterpiece. 

For the excerpt and the complete media release, read below.

Read More

The wisdom of Treebeard (pencil study)
by John Cockshaw

'Ent the earthborn, old as mountains' 

A lengthy but fascinating period of time scrutinizing and photographing tree surface characteristics, branch and bark details led to a library of images that could be references and drawn upon to conjure up a likeness and a portrayal of Treebeard.

The day waned, and dusk was twined about the boles of the trees.  At last the hobbits saw, rising dimly before them, a steep dark land: they had come to the foot of the mountains, and to the green roots of tall Methedras.  Down the hillside the young Entwash, leaping from its springs high above, ran noisily from step to step to meet them.  On the right of the stream there was a long slope, clad with grass, now grey in the twilight.  No trees grew there and it was open to the sky; stars were shining already in lakes between shores of cloud.  Treebeard strode up the slope, hardly slackening his pace. - JRR Tolkien, The Two Towers

On the edge of the forest 
by John Cockshaw

They are well met, fed and pleased The half-folk and the herder of trees Perhaps away South or maybe the North Edging the forest and the prickly gorse Many a mile walked and much talk ensues Tree-ish things must catch up on the news

Trees play an integral role in Middle-earth in various ways, and I’m fascinated by Tolkien’s term ‘Ent’, which is found to be derived from the Old English term for ‘Giant’ and conjures the specific mystical vision of trees taking human form. This vision is used to such a visually striking effect in the character Fangorn or Treebeard, who resides in the equally mystical Fangorn Forest in The Two Towers. - The dreams of trees unfold, by John Cockshaw

The setting for this piece, an area of Woodland near the River Laver in North Yorkshire, is one that I walk through daily in the spring and summer months.  Looking, as it does, over the river it presented an interesting spot to introduce an Ent, one of Tolkien’s tree-herds. Here, a wandering Ent rests in order to enjoy the tranquillity of this lighter part of Fangorn Forest, taking solace to enjoy the cool and the green – and in turn maybe this summons poignant feelings of regret about the loss of their dear Ent Wives. Given that this area of local woodland isn’t as wild or forbidding as one might expect Fangorn Forest to be, it certainly offers a more sympathetic and wistful depiction of an Ent in homely surroundings. The idea for this piece was triggered by many elements, firstly that of the many tree trunks and tall spindly trees in this same woodland that looked like lower limbs and legs. Further scrutiny of bark and surface detail provided the fascinating likenesses of facial features that add character to the final composition. I was certainly thinking of Treebeard for this piece, cutting a proprietorial and watchful presence in the forest.

Trees play an integral role in Middle-earth in various ways, and I’m fascinated by Tolkien’s term ‘Ent’, which is found to be derived from the Old English term for ‘Giant’ and conjures the specific mystical vision of trees taking human form. This vision is used to such a visually striking effect in the character Fangorn or Treebeard, who resides in the equally mystical Fangorn Forest in The Two Towers.
Using augmented photography was a deliberate choice to capture an ordinary sense of realism where, if you look closer, the fantastic or mystical element is barely concealed. As mentioned the photographic elements are derived from Yorkshire near Leeds, which creates a nice link to J.R.R Tolkien’s time spent at The University of Leeds where worked on his translation of Sir Gawain and the Green Knight, that other famous literary giant in green.
Lady of the Woods (2012)  by John Cockshaw
“Here is the heart of Elvendom on earth”

…under a pale evening sky pricked by a few early stars…mallorn-trees taller than any they had yet seen in all the land.  Their height could not be guessed, but they stood up in the twilight like living towers.  In their many-tiered branches and amidst their ever-moving leaves countless lights were gleaming, green and gold and silver…’Welcome to Caras Galadhon!…Here is the city of the Galadhrim, where dwell the Lord Celeborn and Galadriel the Lady of Lorien.’
In “Weavers, Witches, and Warriors: The Women of The Lord of the Rings”, Amy Timco explores the roles of Arwen, Galadriel and Éowyn not only as characters who move the story along but also as carefully drawn illustrations of the medieval-modern progression that Tolkien explores in his work. Her full essay is available in the inaugural issue of Silver Leaves Journal.
She shone like a window of glass upon a far hill in the westering sun, or as a remote lake seen from a mountain: a crystal fallen in the lap of the land. Then it seemed to Frodo that she lifted her arms in a final farewell, and far but piercing-clear on the following wind came the sound of her voice singing. (Tolkien 368) 
Galadriel, also an Elf-woman and Arwen’s grandmother, occupies a more mystical position in the narrative as a force of Light against the Shadow. 
Critics such as Bradley Birzer have compared Galadriel to the Virgin Mary, citing Tolkien’s deep Catholic convictions as the inspiration for this ethereal character (45). Certainly Galadriel has a spiritual authority and understanding that allow her to see into the hearts of the Fellowship when they come to Lothlórien. If Galadriel is akin to the Virgin Mary, her position as a “link” between the medieval and modern worlds (embodied in the text by Arwen and Éowyn, respectively) is pertinent, much like the continued significance of Catholicism—the dominant religion in medieval Europe—for many people in our modern age. Galadriel’s spirituality is the basis for her relevance to both the medieval and modern worlds. Birzer mentions several interesting points about Galadriel that lend strength to the comparison of the Elf-Queen and Mary (64). Both are mother-figures. Mary, of course, is the mother of Christ, and Galadriel is the mother-figure to Arwen. Arwen’s mother Celebrían had sailed to the Undying Lands long since, and it fell to Galadriel to raise Arwen. Galadriel and Mary are also similar in their associations with light. Mary’s Son is called the Light of the world, and Galadriel’s especial deity, Varda, is associated with the stars. Galadriel gives Frodo a phial containing the captured light of the star Eärendil, as a light to guide him “when all other lights go out” (Tolkien 367). Such a description is certainly applicable also to the fruit of Mary’s womb, Christ. Galadriel and Mary are both married, but their husbands—Celeborn and Joseph—seem only minor players. The female is the dominant figure in the marriage relationship and gains her preeminence from her affinity with the divine. 
Galadriel is further spiritualized by Tolkien as a giver of useful—indeed, indispensable—gifts to the Fellowship. To Aragorn she gives an Elf-stone representing his Elvish name, Elessar, noting that he already has the greatest gift he could ever receive in Arwen’s love. To Legolas she gives a new bow, and to Gimli (a former skeptic), Galadriel gives three strands of her golden hair. To Merry and Pippin she gives small bright daggers, and Sam receives a box of earth and a length of Elven rope. To Frodo, Galadriel gives the Phial, a glass container that holds the light of Eärendil, the Elves’ most cherished star. This light saves Frodo and Sam in the dark cave with Shelob, and it also signifies the spiritual illumination that Galadriel imparts to the Fellowship. 
It is interesting to note that Galadriel is the “witch,” the only female of the three with a marred reputation among other peoples. Arwen is either unknown or respected by Men and Dwarves, and Éowyn commands admiration through her spirit and fierceness. Galadriel’s reputation, however, is rife with faults among people who do not understand her. Gimli the Dwarf best illustrates this uneducated bigotry, describing Galadriel (before he meets her) as a dangerous Elf-witch who puts spells on innocent travelers and imprisons them in her treacherous forest. Perhaps the defamation is so widespread because Galadriel is the strongest female political presence in Middle-earth. Those who speak ill of her may feel threatened by her power. Tolkien makes much of Gimli’s “conversion,” demonstrating that an encounter with truth will disperse false preconceptions Galadriel embodies truth, especially if she is seen as a type of the Virgin Mary. Because she is a powerful religious and political figure, Galadriel is open to more misunderstanding and maligning than are Arwen and Éowyn.
Works Cited:
Birzer, Bradley. J. R. R. Tolkien’s Sanctifying Myth: Understanding Middle-Earth. Wilmington, DE: ISI, 2002.

Tolkien, J. R. R. The Lord of the Rings. 1954–55: repr. New York: Houghton, 1987.
Amy L. Timco is the author of The Medieval and Modern in Middle-earth: Tolkien’s Tapestry of Two Worlds, a thesis written for the Honors College at Kent State University. The article “Weavers, Witches and Warriors: The Women of The Lord of the Rings” that appears in the inaugural issue of Silver Leaves Journal is a chapter from that thesis. She graduated from Kent State University in 2005 with a B.A. in English and currently works as an advertising account executive and copywriter. Amy enjoys reading, subcreating, and songwriting. She and her husband live in Ohio.

Damn straight
Deep places of the world (2012)by John Cockshaw

“They peered out. Before them was another cavernous hall. It was loftier and far longer than the one in which they had slept. They were near its eastern end; westward it ran away into darkness. Down the centre stalked a double line of towering pillars…a red glow was darkly mirrored in their sides…a fierce red light came, and now and again flames licked at the brink and curled about the bases of the columns.  Wisps of dark smoke wavered in the hot air.” — The Bridge of Khazad-Dum, The Fellowship of the Ring

This piece takes inspiration from the work of renowned Tolkien illustrator Alan Lee and his concept for the cavernous Dwarf Halls found deep in Moria, and also the majestic but haunting music that Howard Shore composed for this environment inThe Fellowship of the Ring (2001). The fire-fuelled menace of the Balrog is hinted at to the rear of the composition resulting in a burning glow that dominates the cavernous hall suggesting how near at peril the company of the fellowship presently are. A rocky surface texture is given to the piece, appropriate and resonant to its deep and ancient underground setting. One of the locations that provided the inspiration and reference points for this composition was that of the amphitheatre of El Jem in Tunisia.

At Rivendellby Constance G.J. Wagner
You place my hand upon your heart. We sit — still, silent. Perfect art. A loving grace. A stellar touch. Soul-deep communion. Milya. Oialë…*
* Soft. Forever…

Constance G.J. Wagner, a freelance writer, poet, and Tolkien scholar, is the Director of the Writing Program at Saint Peter’s University in Jersey City, New Jersey. Her creative copy has been found on the back of many an historical romance for Harlequin Books. Plus, she has been a reporter and theatre critic for various New Jersey newspapers.
She regularly presents papers of literary criticism on the question of sacrifice and heroism in The Lord of the Rings, speaking at conferences throughout the USA and Europe (most recently in England and Iceland). Ms. Wagner is also a regular speaker about all things Tolkien at such fan events as DragonCon, LunaCon, and A Long Expected Party. In 2012, she was a special presenter at Return of the Ring, a major international event sponsored by the UK’s Tolkien Society.
Her life-long absorption in works of myth and fantasy is reflected in her current projects of passion, which include The War Within: Frodo as Sacrificial Hero, a book-length analysis of the Ringbearer’s true role; and Winter’s Bride, and Other Songs of Faerie, an illustrated chapbook of lyric poetry inspired by fantasy imagery. Both these works are to be released by Oloris Publishing at a later date.
A regular contributor to Silver Leaves Journal, At Rivendell can be found in Issue 5: The Hobbit.
Koru Books, an imprint of Oloris Publishing, is pleased to announce that pre-orders are now being taken for Forgotten Legacy Chronicles – The Rejected Providence: The Forbidden One by T. S. Wolf. The release is scheduled for February 28. Pre-order your print copy here.
Violence and control. Power and negation. The world balanced on the point of a knife.
Dragoons rule the world. The first in a multi-book series, The Rejected Providence: The Forbidden One is a tale of revenge that begins almost three hundred years before the beginning of the Dragoonian Wars in the nations of Peragus and Idiotira. It is at this time that twins are born to the clan Theos; the most powerful and influential of all Dragoonian tribes. They are forced to participate in the Syanosis Ceremony, a ritual from which only one may emerge alive. They look to this one to be the most powerful of all Dragoons who will ensure their rule over Peragus. Yet, rather than embrace the role placed upon him, and accept the countless riches offered to him, he forges another path. The last Syanosis Dragoon vanishes from Theos, swearing to never return, thus planting seeds of a revolution that will lie dormant for many decades. Now, after three hundred years, the desire for revenge grows too strong and the Syanosis Dragoon emerges from hiding. Much to his surprise and dismay, he finds there are others who are willing to sacrifice all to join him in his quest. The balance of the world may be about to shift…
The Forgotten Legacy Chronicles is a Young Adult series that will entertain all. An irresistible story in which the main character never gives up on his mission… and his companions never give up on him.

The elusive Wolf currently lives in Las Vegas, Nevada, but has every intention of leaving if he can just manage to find a plane or space craft that accepts hitch-hikers. He attributes his desire to pursue a writing career to an inspirational senior year with his Creative Writing teacher, Dixie Axt. (Ms. Axt has yet to be contacted regarding her feelings on the matter.) According to Wolf The Forgotten Legacy Chronicles is the auto-biography of his first three incarnations – possibly four depending on how the cards play out — and has been a 6 year project. 
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About Koru Books 
Koru Books is the home of dynamic YA literature at Oloris Publishing. Koru’s authors reflect and enhance the essence of personal growth, positive change, and awakening through their stories. The vibrant voices at Koru create fresh, current reading experiences that will be enjoyed for years. Follow Koru Books on Facebook and Twitter.
Silver Leaves Journal is calling for submissions for our sixth issue, to be published by Oloris Publishing.
The theme of this issue will be Music in Middle-earth. Silver Leaves is welcoming artwork submissions, and all academic, journalistic, reflective, and creative submissions pertaining to music in Middle-earth. There is also limited room for creative and non-fiction submissions relating to Tolkien’s works, or to other fantasy works, which may fall outside of the theme of Issue #6. Publication is set for September 22, 2014 in both print and electronic formats. The deadline for all submissions is May 15, 2014.
The following file formats are accepted for artwork: JPEG (.jpg), GIF (.gif), EPS (.eps), Illustrator (.ai) and TFF (.tif/.tiff). The maximum size for art submissions (excepting artwork intended for the cover) is 8″ x 10″. Silver Leaves accepts submissions from established scholars, authors, and artists as well as from those new to the publishing world. For written submissions, please take note of file formats, word limits, and reference styles necessary for submissions, as posted on the Silver Leaves Submission Guidelines page.
Due to the nature of the theme, we are also inviting musicians and composers to submit audio pieces to accompany their written or visual work.Please refer to our submissions guidelines for more information.
Silver Leaves began in 2007 as the official journal of The White Tree Fund, with previous issues focusing on such themes as Dragons, The Inklings, and Tolkien-inspired art and artists. Now, in partnership with Oloris Publishing, Silver Leaves will continue to produce issues which include a range of topics in features such as academic essays, creative writing, and featured artwork; interviews and event reports; artistic spotlights on costuming, weaponry, handmade items, and writing by invited guests; puzzles; humanitarian, community, and volunteer updates; and book and movie reviews. In the spirit of The White Tree Fund, a portion of the proceeds from the sale of Silver Leaves will be donated annually to charity, and the journal will continue to feature articles and bulletins concerning issues which reflect The White Tree Fund’s focus on renewal, healing and enduring hope.
To learn more about past issues of Silver Leaves, please visit us on the Oloris Publishing website, or follow us on Facebook and Twitter. To contact the editors of Silver Leaves, please email Silver.Leaves.Journal@gmail.com.