Latest / Mythmakers / Something Hot Out of the Pot - LOTR: An Author's Journey, Bk 4 Ch 4

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Something Hot Out of the Pot - LOTR: An Author's Journey, Bk 4 Ch 4 · Mythmakers

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  Hello and welcome to MythMakers.
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  MythMakers is the podcast for fantasy fans and fantasy creatives brought to you by the
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  Oxford Centre for Fantasy.
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  My name is Julia Golding and today we are returning to our series on The Lord of the Rings,
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  reading our way through.
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  I call this a side card because it's a bit separate from what I do when I'm talking
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  to other authors for example.
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  Anyway, we have reached in the two towers book 4, chapter 4 of Herbs and Stude Rabbit.
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  Now it is one of those titles where most of you will immediately know exactly what's
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  going on in this chapter because it's one of those stand out chapters.
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  It's one of my favourites, even though in some ways some important things happen but
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  it's not the big chapter, like the Palenos Fields or Mount Doom, but there's something
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  absolutely delightful about this chapter and I have divided it up into four.
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  So the first part is where Frodo and Sam and Gollum are leaving behind the attempt to
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  go through the Black Gates and they have a journey out of that ruined landscape through
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  Athelian.
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  Then they stop for a while and they have a sort of time of refreshment and the aforesaid
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  Herbs and Stude Rabbit, their feast.
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  Then they meet Pharameer and the Med of Gondor and then it ends with the skirmish and the
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  arrival of the Olifort who already was mentioned in the previous chapter in that little song
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  that Sam introduced so the ground was laid then it gets the payoff in this chapter.
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  I would say the thing about this particular episode is it blends both a deeply poetic register
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  that Tolkien has but also it brings in his comic one and you'll see that in the interactions
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  between Sam and Gollum in particular and thinking about what you may have been taught when
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  you were doing Shakespeare plays, they have the idea of the comic relief, you have the
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  high drama and then you have the comedy sections.
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  That is the kind of thing that Tolkien is bringing in here that while there is this high drama,
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  we have this time of relief, a break from all of that from the unrelenting awfulness
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  of the Black Gates.
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  So let's start with the decision to carry on the journey that twists away from the Black
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  Gates to enter this land of Athelian and that journey twist is also a plot twist.
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  Tolkien in his letters and we'll come to those a bit later is in this case a writer who
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  does like discovery writing, he doesn't know what's going to happen either and you get the sense
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  that he reached the gates, he was thinking he was approaching the end of the book and in some way
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  his story instincts and his logic were saying if they get through now and go straight to Mount
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  is been to it too easy. I can't do that, that doesn't make sense in this world.
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  The Dark Lord will have defended himself better, there's got to be something else.
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  So in a way he's diverting himself whilst he works out what the rest of his plot is going to be.
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  And as we set out on this road it is Gollum who is now acting as the guide
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  and he is also the one who gives us a full taste, literally a full taste of what Athelian is going
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  to be like and he talks about how it's a place of clean water and he also talks about his appetite,
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  how hungry and famished he is, as a sort of drug addict figure which is what Gollum is in a way.
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  He is full of these sort of desperate desires for things, here his desire is mainly for food
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  but we have been going through the brackish water of the dead marshes and now we've got this
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  image ahead of us is like an oasis in a sense, we're going towards clean water.
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  As they walk away I just wanted to mention that they talk about the red eye
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  that they feel is watching them. I don't think this is meant to be the eye
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  but it's an eye on top of the watch tower at the gates and it feels like it's looking for them
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  searching for them and I think the image here that is perhaps more relevant is the idea of how it
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  was at the time of trying to go across something like the I don't know the iron curtain
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  countries that kind of thing where you felt invigilated and you couldn't get through,
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  no matter how many attempts and tries you make it felt that you couldn't pass from one place to
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  another so it's that sense of big brother watching you you're under the the invigilation though
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  of course it links back to the great eye on top of Baradur. There is some discussion here about
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  distances and how far Golem wants to go and how far the hobbits are able to manage.
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  One thing I've just point out here is the way that Tolkien's fantasy feels real is that he keeps
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  grounding it in our physical capacities. What it really feels like to do a very very long walk,
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  a route march in their case and it and the fact that they can only go so many leagues before they
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  have to stop makes and that counting off of how far is exactly the kind of experience anyone who's
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  done a long walk or no you'll keep checking how many miles have we done how many and so that's why
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  I think it adds to the feeling of very similitude. Now we get to the refreshment phase because
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  the nightmare landscape of the Moranon the Black Gates area is fading and vegetation returns and
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  we're given this rather poignant sentence about how the hearts of the hobbits rose again a little
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  in spite of weariness. The air was fresh and fragrant and it reminded them of the uplands of the
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  north far thing far away. The hobbits are always bringing things back to what is like and unlike
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  the shire so here we have the north farming. There is a useful gloss if you're looking for it for
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  the actual vegetation you can look it up online of course. The companion to the Lord of the Rings
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  tells you what everything is as well and so does anyone who does gardening they can tell you.
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  Cornel is dogwood now I've got dogwood in my garden dogwood is great in winter because it stems are
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  usually red or yellow a strong color so they make good sort of structural plants.
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  Ling is a word for heather broom that's a kind of vegetation you'll see on moorlands that kind of
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  place it's got fins green leaves with usually masses of yellow flowers and blossom.
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  End the sentence the passage goes on to say it seemed good to be reprieved to walk in a land
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  that had only been for a few years under the dominion of the dark lord and was not yet fallen
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  wholly into decay. Lots of qualifications in there so yes we are reprieved as well as the
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  characters themselves but it's clear that it's not yet fallen wholly that it seems as though
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  the path for this place unless they succeed in their quest is it will fall wholly into decay and I
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  think this I see in this Tolkien's hatred dislike of the industrialization of areas that he knew
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  where he grew up that had begun to fall into decay with the industrial damage that was happening
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  the suburbanization of Birmingham for example and so it was like like what happened at seahull where
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  he came from and so there is a morning of loss landscape here but of course his message is about
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  hope of restoration which is the the biggest story here. So we've had Gollum's appetite
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  sort of triggered as he thinks about Ethylian and now it sounds turn he is desperate for something
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  hot out of the pot. He also gets hungry up to this point they've been sort of just hanging on
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  and there is something about relaxing where he he feels as though yeah I could eat something now
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  and what this what this sort of makes me think about when I'm writing is how not to always
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  completely stress out your characters you have to also let go let them have these times as well
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  just in order to make it bearable to read them I don't know if you read a book where it's
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  or watched a film where it always seems event after event after event and you never take a breath
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  like a very intense it feels like a very intense computer game. Tolkien's much cleverer here
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  because he's giving us a rhythm of tension then relaxing it and back comes Sam's appetite
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  and way they're walking is through another of these ruins in the landscape of Middle Earth
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  which we've seen a number of times on this journey and what the ruins in the landscape
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  gives us a sense of the length of time in this world and also the depth he knows the cultures
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  that have built these roads how they've fallen into decay and we keep meeting them again and again
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  we get it I suppose it's a bit like if you go to Egypt and you see the great relics of the past
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  there is that sense of the greatness was in the past and we are now in a lesser poorer and half
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  destroyed present an Athelian is a landscape that's on this seesaw point where it could go either
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  way into complete destruction or perhaps maybe hopefully there is some way out of it for Athelian
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  so I've mentioned that this is an example of Tolkien at his most poetic it is a
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  certain outpouring of his love of flora i plants trees bushes flowers and he knows his stuff he's
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  a king gardener he had a very big garden at his house in Northmore Road and during the war he
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  was tending it to grow fruit and veg but he loved gardening in a way Sam is one of the characters
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  most like him sharing that passion and he has this poetic vein that he really strikes when he gets
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  with Thelian it's not as high for Lutin and otherworldly I say lorian is it's something which it
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  feels rooted and familiar he talks about Athelian as a fair country of climbing woods and swift
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  falling streams I love their cadence on that you climb up with the woods and you fall with the
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  streams and they reach a point where they stand and look out upon what's left of Athelian this is a
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  very Tolkienian technique I've pointed it out in several times as we've gone through this he will
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  stand his characters on a high point and they will look out and it sketches out the terrain
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  like a map for the reader it's something I've actually started adopting in my own writing I love
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  it as a technique and this lookout point you get an outpouring of names in fact we are overwhelmed
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  with the names of trees and bushes it's after the sensory privation of the dust heaps in front
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  of the black gates we are suddenly deluged in green like marvell's green thought in a green
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  shape it's suddenly in the middle of this amazing landscape of hope and green and shoots and spring
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  and it does remind me of what the same kind of release and the feeling of hope that
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  it appears in the line in the which in the wardrobe when spring returns to Narnia less obvious less
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  less clearly triggered by in that case it's the return of Athel here but still we've got that
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  sense of hope that spring always brings and he has this phrase which is one of my favourite
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  ethylion the garden of gondor now desolate kept still a disheveled dryad
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  loveliness so the words that he talks about the trees the resinous conifers and others these are
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  Mediterranean flora as opposed to Oxfordshire flora he apparently I don't think he went
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  but he did have the botanical gardens near his college so he knew for well
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  what these trees were and would have read about it as well and he does evoke them very well
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  and he's enjoying himself hugely that word dryad well the shovel let's do the shovel first the
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  shovel is a lovely sense of its untidy this is an untidy spring gardens are untidy but this
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  is particularly because it's partly wrecked dryad now dryad obviously appeals to a Greek
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  mythology and it is a word that seems to be imported from most of outside the middle earth context
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  unless you connect it back to the Naird we met earlier who is Goldbury the spirit of the river
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  so perhaps it is allowed it certainly conveys a lot to me the idea of the trees having a presence
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  and this spell that he weaves with this long long passage it is I do go back and read it
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  there is no other passage like this where lots and lots of names of bushes trees and so on
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  are listed and it goes on and on it's it's a whole page over a page where he really wants you to
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  know each of these individual presences in the landscape and I think we're a lot of the time here
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  we're in a kind of Sam point of view because here's the one who knows what these things are called
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  and when he doesn't know a name it's him it's his lack of knowledge that's referred to and so we
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  get suddenly Sam laughed for hearts ease not for jest so we're getting it's a lovely pick me up
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  this chapter if you're feeling down this is one of the ones to go to it really does have that
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  sense of deep joy we're the borough phrase from CS Lewis we're surprised by joy in this
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  particular chapter but if you're going to do this and have your release and your
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  refreshment you don't want to completely lose all your attention
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  people will start to put the book down and know how Tolkien carries on just reminding us
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  that there is the enemy nearby and Sam for example comes across the remains of what looks like a slaughter
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  where climates and other sort of climbing plants are growing over it hiding it but it didn't happen
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  that long ago so we got the idea of Sam's tact not telling anyone else what he saw but he sort of
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  diverts them up the hill but also if that's happened it could happen again so they're not safe
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  it's an illusion of safety because of the beauty of the landscape but they are not safe
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  and then we come into the most comical part of this which is Sam's optimism that maybe they'll
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  still make it back to time they had a good cook meal and Sam here does what he I think is the
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  price where he does it the most when he's talking to Golem he spends a lot of the time
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  and when he talks of Frodo kind of mimicking Golem's web speaking he's picking up on the language
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  and his way of coping with this unwanted extra on the journey is to sort of have a kind of banter
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  but it's a banter with edge so for example he says I begs I begs on my beg and he does it again later
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  so he's tuned in I think that's what it is he's tuned into Golem's web thinking and he easily slips into it
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  so as Golem goes off to do some hunting for them we have this very poignant moment where
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  Sam just looks at Frodo and sees his no warness and he makes a very he talking describes him having
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  complex emotions there but he has a simple way of summing it up a declaration of I love him
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  this isn't obviously cupid love this is comrade love but with a spiritual element to it
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  because of the nobility and the sacrifice that Frodo is showing he is really a scapegoat
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  using that sort of biblical image he's a scapegoat carrying the weight of the sins of the world
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  you know in the ring for everybody into mortal and one of the ways I understand Sam's relationship
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  to him is that he's a bit like a disciple of the master that kind of love intensely loyal
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  brotherly love so then we have the section where the cone is the rabbits are cooked rabbits by the way
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  possibly aren't native to the UK but I guess if Tolkien did know that that they arrived in medieval
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  periods he is quite far south so he could argue actually he would have been native to this part of
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  the sort of Mediterranean latitude that he's reached anyway we have an insight here to
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  Hobbit culture that this is really a clash of cultures it's Gollum's culture versus the Hobbits
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  they don't appreciate each other's experience tastes all that kind of stuff we get to learn
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  here that Hobbits cook before they learn their letters and then there's that little aside that
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  they don't often get to their letters you can you can feel Tolkien chuckling away as he votes that
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  but we also hear get details of what Sam has been carrying in that enormous pack of his his
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  pronged fork his little pans that he looks after and turns really carefully not a great big huge
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  frying pan like they have in the film it's been very heavy to carry that for miles but he has
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  what Tolkien would have known from his kit bag in the first world war were like the army russian
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  pans that's what's going on here the small pans fit inside each other one of the writing exercises
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  I often use with young people and I'm sort of doing creative writing in a school or whatever is
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  to say what does this person have that is special to them what's in their bag if they're on a
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  journey what's in their bedroom with this about them at home is these things which are a clue to
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  their characters what is the most important thing to them and Sam's pans and his pronged forks
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  mean the shire his brought the shire all the way his aspiration to cook the homie's skill that he's
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  good at and we're in a very Sam is really enjoying himself in this section because he has finally
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  got a chance to exercise his you know his best his best skill he knows what he's doing here and he's
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  in command of himself and he's commanding golem too the whole thing you know he's trying to get
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  golem to be his sous chef doesn't work out there obviously golem is right to fear the danger of
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  fire as we will rapidly find out but Sam is determined on this course and he says each to his own
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  fashion and frankly golem goes off in a very amusing sock some of these lines are lifted straight
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  into the film and they work very well in the film because they produce a laugh I've just been at
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  a orchestral performance of the three Lord of the Rings films where they play an orchestra and
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  they've got the films playing this entire scene which is much shortened but got some key lines
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  reliably makes an audience laugh even if they've already seen it you know 10 times 20 times before
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  and we get the potato lines within that I won't stress you out by doing a poor Sam impression here
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  and Sam's offer to golem it's there's generosity in this chapter so this is golem at his best
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  in some sense there he is leading them into a trap so it's not that good but golem provides
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  the rabbits and Sam reciprocates by saying I will cook you fish and chips there's a sense of
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  it could have been moment it could have gone in that direction talking talks about how there is
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  a pivotal point it happened I think in the last chapter which where golem could have chosen
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  another path and he doesn't he's not irredeemable he had a choice and in a way this is another moment
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  where the surrounded by olive trees there is an olive branch being extended but it doesn't take
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  because there is no meeting place for between them you know golem doesn't want any cooked fish
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  thanks so much and that means that Sam says oh you're hopeless so they both sort of retreat back
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  into their entrenched positions so Frodo's been asleep during all of this and we get a lovely moment
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  where they get to eat the feast in the film it always annoys me they don't get to eat the feast
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  they ask they always after all that cooking gets thrown away anyway that's for pacing issues
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  but it seemed a feast is the description here of course it does because they've been living on
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  hard tack even if it is lembas for days Sam's description of golem here is interesting because
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  he's the one who calls golem stinker and smegel slinker and that is interesting because in fact
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  smegel has turned into slinker now there is a later on there's the sneaking thing that comes up
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  but he is complicit now the nicer side of smegel is complicit with the plot
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  that the sort of tougher golem side it has cooked up so Sam is right he's you know he is a slinker
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  he is a sneak even if he did at one stage have more of a loyalty to Frodo which has puzzled
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  and then poiled Sam Sam you forgot to put out the cooking fire it turns out to be a euked
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  astrofe in it is a happy accident because it means that they meet farmy and his men
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  and they don't walk straight into the ambush that's about to happen
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  but we get this we don't know that yet we get the whistle which we don't know
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  who it is it reminds me a bit of the bells on the road earlier on right back in the shower where they
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  don't know if it's going to be a black rider actually not in the shower it's on the bridge
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  on the way to Rivendale sorry they don't know who's going to come around the corner
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  the whistle seems not like the sound one of the sort of sour on supporters would make
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  so perhaps we aren't expecting that it to be some bad guys coming around the corner but we
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  have heard there are signs that the auks are abroad in this wood so we've had the attack
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  on when the fellowship broke up so we know that auks might appear at any moment
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  and then you get the irony that when the four men walk into the glade that they refer to the
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  hobbits as the konis atherrabbits they've been caught in the trap there is mutual astonishment
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  on both sides i think this recalls in the woodland setting them carrying bows and arrows
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  dressed in colors of the forest it recalls the sort of ballads of robin hood and his men and the way
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  they fight is very similar to the sort of classical medieval not classical the medieval ballads
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  of robin hood and his men so we're in our robin hood phase of this story and we've switched
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  away here notice moving from sam to because whereas in the earlier bit with the cooking and the
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  landscape sam had the privileged better knowledge proto here is now relevant because it's
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  him thinking that they remind him of Boromir so he's the one who's on track
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  and the tension between the standoff with the hobbit sunny back to back and the men surrounding
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  them is similar in a way to the encounter that arrogant legolas and gimli have with the riders of
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  Rohan it's a surprise which where is this going to go and i thought it was worth quoting the
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  letter here because Tolkien didn't know exactly which way this was going to go we know this
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  passage was written on the 6th of May 1944 because Tolkien wrote his son Christopher a new character
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  has come on the scene i am sure i did not invent him i did not even want him though i like him
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  and there he was but there he came walking into the woods of Athelian
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  pharameer the brother of Boromir so we get here because we know what the letters are going on
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  about at this point the author surprising himself surprising us and surprising his characters so
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  that sense of how is this going to unfold is both an element of tension in the story plot but
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  attention for the writer it's quite fun to reach these moments i think where does the plot go
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  in fact it's for me i love those moments when i'm writing in a non if i'm writing a book like
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  i am at the moment which hasn't had a synopsis sent off to an editor or something beforehand
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  and i really don't know where it's going to go it's this wonderful moment where you just walk out
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  and think what's going to happen this is what's happening here maybe that's why i like it so much
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  because i feel the freedom of the author here saying what can i do with this character who is he
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  what's he going to be how's he going to line up on my scale of good good guys and bad guys
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  and the shades of gray in between Frodo here doesn't deny that golem is with them unlike the film
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  version where the Frodo there lies he's asked for pity for the wretched gangrel creature that
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  they have fallen in with on the journey and Frodo also tells the truth he gives a neat summary
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  of how they came to be here the fact that they came out of him ledris he mentions who the
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  companions were and he mentions Boramir but of course is immediately a lot of those details are
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  cause of reasons to believe Frodo because he knows things that faramir also knows but
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  he faramir at this stage is in possession of more information about Boramir so faramir shows
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  he is most decisive and cautious he has this phrase which sounds like a an old saw a kind of an old
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  saying wise man trust not to chance meeting on the road in this land what's interesting here it's
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  that idea of by what people do you shall know them and Frodo here does what Mary and Pipin both
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  instinctively do when put in not quite similar situations he says if I could be of any help we
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  would help you fight at this point is that bravery of a small person and this illicit from faramir
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  in the response the halflings are courteous folk whatever else they be so his you know judgment is
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  not yet been given in their case but you can see that he is warming to both Frodo and Sam
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  and now we enter the last section of this chapter which is the skirmish it's quite a short
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  section but it has an interesting preface which which is that Frodo and Sam are left under guard
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  they have two guards mablung and damrod and here we get talking adding yet more worldbuilding
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  because they lapse into their own language which is similar to Elvish and Frodo quickly finds out
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  that they are the dunadine of the south we know that arrogant is a ranger from the north
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  these are the rangers of a thillian and there's a so we are connected to the north and south kingdom
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  of the past very pleasant little detail little easter egg for those of us who have you know
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  dived into the law and in fact these two tell us a lot about the history in this short section
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  they tell us how harrid where the south rons come from has turned on gondor it's quite a fascinating
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  sort of post-colonial story between the arrival of the men of westerness and how they are accepted
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  by the corsets of umbar and all of that if you want to look at both the silmarillion but
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  particularly the unfinished tales have quite a lot about this so it's an interesting story that
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  and they go on to say to the hobbits that they know they're unlikely in the bigger picture
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  to lose the battle against sarron they can't imagine how they would survive but they're not going
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  to give up easily that's a sort of fighting spirit that gondor is in at this present time
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  and they've come here to teach them another lesson they're not going to just surrender the words
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  of a thillian without a fight so we have there were hobbits on the edge of the skirmish
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  rather than in the thick of battle and it's quite effectively done that it's heard in a distance
• 34:05
  and sound has some very down to earth uh comparison of it being like a load of blacksmiths
• 34:12
  going hammer and tongs and then suddenly they are the battle comes to them
• 34:22
  and we move into sam's point of view and it's a fabulous piece of observation
• 34:30
  this is sam's first view of a battle of men against men and he did not like it much down to earth
• 34:37
  not having it don't like it and we get the one of the finest passages in Tolkien which
• 34:46
  are given to sam here it's transposed in the extended edition of the film to pharomia it does
• 34:51
  suit pharomia but it's actually a sam thought and i'm just turning to it it's page 269 if you've
• 34:59
  got the three volume version and sam goes on he wondered what the man's name was and where he came
• 35:07
  from and if he was really evil of heart or what lies or threats had led him on the long march from his
• 35:14
  home and if he would not really rather have stayed there in peace all in a flash of thought that
• 35:21
  was quickly driven from his mind that humanizing of the enemy ways against because when it's all
• 35:31
  switched seem the ruined elves though they do feel like the like targets that just sort of die
• 35:42
  without any sense of grief or loss for them and that you can be critical perhaps of that sense of
• 35:49
  not valuing all lives equally but this is where Tolkien pushes back having passed through two
• 35:57
  wars himself he's saying well what about the enemy and of course we know as well that there are
• 36:02
  shades of courage of cowardice amongst amongst men there's denathor there's gremia and so on so
• 36:13
  that you get a whole range of people he's not whilst it does feel quite black and white dark lord
• 36:20
  against you know the good forces still within the armies Tolkien's trying to give this level of
• 36:30
  complexity which i really appreciate the thought is any brief though because we're about to have
• 36:37
  the arrival of the olive font who was trailed in the previous chapter and now he literally
• 36:42
  charges towards us or maybe it's a she i'm not sure how one would tell and damrod one of the two guards
• 36:52
  is one of the he gives this exclamation may the valar turn him aside it's one of the very very few
• 37:00
  religious appeals in this book Tolkien took out as much as he could
• 37:08
  referred to religion but it's with the men in Athelian that we get a couple of really interesting ones
• 37:14
  that stay stay there so he's appealing to the valar to turn aside this charging olive font
• 37:23
  and Sam gets his heart's desire to see the olive font and so of course we follow him
• 37:30
  and Sam's thought follows the olive font we also get that this is a matter of lasting delight so
• 37:42
  as a hint here that Sam may actually survive this adventure but i thought i'd read it in full
• 37:48
  because it is a masterpiece of writing to his astonishment and terror and lasting delight
• 37:55
  Sam's sort of vast shape crash out of the trees and come careering down the slope
• 38:00
  bigger's a house much bigger than a house it looked him a grey clad moving hill
• 38:06
  bigger's a house that refers back to the little poem and the reality he has to change his ideas
• 38:15
  the poem got it wrong fear and wonder may be enlarged him in the hobbit's eyes but the
• 38:20
  movement of Harad was indeed a beast of vast bulk and the light of him does not walk now in
• 38:26
  middle earth his kin that lived still in that a days are but memories of his girth and majesty
• 38:33
  so we've got a bit of sort of editorial foot footnote there anyway now we get to the the charge
• 38:39
  when he came straight towards the watchers and then swerved aside in the nick of time
• 38:44
  passing only a few yards away rocking the ground beneath their feet his great legs like trees
• 38:50
  enormous cell like ears spread out long snout up raised like a huge serpent about to strike
• 38:57
  his small red eyes raging his upturned horn-like tusks were bound with bands of gold
• 39:03
  and dripped with blood his trappings of scarlet and gold flapped about him in wild tatters
• 39:09
  the ruin of what seemed a very wart hour lay upon his heaving back smashed in his furious
• 39:15
  pastures through the woods and higher upon his neck still desperately clung a tiny figure
• 39:22
  the body of a mighty warrior a giant among the swertings so here we've got reference to scale
• 39:30
  this passage you'll see was picked up by what Peter Jackson did in the planar field so you can
• 39:37
  see how the idea of the figure hanging off the ruined water he thought oh I use that in a
• 39:46
  to visualize how the olive once might be cut down on the great beast thundered blundering and
• 39:54
  blind wroth through pool and thicket arrows skipped and snapped humbly about the triple hide of
• 40:01
  his flanks men of both sides fled before him but many he overtook and crushed the ground soon
• 40:07
  he was lost of use still trumpeting and stamping far away what became of him Sam never heard
• 40:13
  whether he escaped to roam the wild for a time until he perished far from his home or was trapped
• 40:18
  in some deep pit or whether he raged on until he plunged in the great river and was swallowed up
• 40:25
  so there he goes charging off and it Sam's imagination were following and that sense of we're
• 40:30
  not going to know the answer to all the questions in this story which of course is great because it
• 40:35
  gives us a sense of the depth and the extent and the vistas of this world building very last
• 40:43
  tiny section here is once the olive or goes Sam has the nautilance to say don't wake me up if you leave
• 40:52
  whether or not this is just bravado or he really does feel at ease with the men at ease and
• 40:59
  after fall asleep and he also hasn't slept yet remember he was cooking but we end this chapter
• 41:05
  with him falling asleep and so that's where we will pause and we will come back in chapter five to
• 41:14
  the window on the west another of my favorite chapters where we really get to meet far from it and
• 41:19
  learn just what kind of man he is when he walked out of that forest thank you very much for listening
• 41:26
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• 41:38
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• 41:44
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• 41:52
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