Is The Faerie Queene underrated?

Yes—described as seriously underrated and one of the top 10 works, though often neglected due to its length. (Starts at 30 seconds)

Are The Lord of the Rings and The Hobbit underrated?

They’re said to be properly rated by fans but underrated by some highbrows, and are considered among the great 20th-century novels. (Starts at 66 seconds)

Is Harry Potter appropriately rated?

HP is described as appropriately rated; the speakers note personal difficulty engaging with the books despite their broad appeal. (Starts at 89 seconds)

Why do some say HP is overrated?

The discussion suggests that viewing HP as merely 'children's books' can feed perceptions of overrating, even though many adults enjoy them. (Starts at 107 seconds)

What about dressing up at King's Cross?

Dressing up at King's Cross is described as an overrating act, though the books themselves are still considered excellent. (Starts at 129 seconds)

Overrated or underrated? Henry Oliver on Milton, Tolkien, & Harry Potter. | Conversations with Tyler

Conversations with Tyler

News & Politics3 min read3 min video

Mar 4, 2026|9,044 views|165|3

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Key Moments

TL;DR

Milton and Spenser underrated; Tolkien loved; Potter appropriately rated.

Key Insights

Paradise Lost is underrated and deserves broader reading; Johnson's longevity claim is not definitive.

Spenser's Faerie Queene is a long, powerful work that remains underread; sampling parts reveals its magic.

Tolkien's Lord of the Rings (and The Hobbit) is a great 20th-century work; fans rightly champion it, while some elites misunderstand it.

Harry Potter is appropriately rated for its intended audience; some adults may not connect, but it has broad cultural impact beyond children.

Public rituals around popular works (cosplay, visiting landmarks) reflect engagement and cultural value, not automatic literary merit.

Critics like Harold Bloom can mischaracterize popular fiction; merit should be evaluated on lasting impact and craft, not clichés.

PARADISE LOST: UNDER-READ MASTERPIECE

Paradise Lost is presented as one of the essential works of English poetry that remains underread relative to its importance. The speakers insist it is easily one of the best poems in English and deserves more attention from general readers, not just scholars. They challenge Samuel Johnson’s quip that no one would wish it longer, treating it as evidence that even great critics can be mistaken. The point is Milton’s linguistic mastery, grand scale, and philosophical depth that still resonate today, urging broader engagement rather than selective prestige.

SPENSER'S FAERIE QUEENE: UNDERREAD TREASURE

Spenser’s The Faerie Queene is described as seriously underrated, a monumental epic that many readers skip because of its length. The hosts call it a top-ten work and emphasize the powerful magic of Spenser’s verse, arguing that readers can still experience its brilliance in excerpts. They suggest reading the portions included in anthologies like the Oxford Book of English Verse to feel its energy, which invites readers to explore the complete work and discover its lasting influence.

TOLKIEN: LORD OF THE RINGS AND THE HOBBIT—FAN FAVORITES, MISUNDERSTOOD BY ELITISTS

Tolkien is framed as properly rated by fans and underrated by some highbrow critics who dismiss his work without engaging it fully. The conversation places LOTR among the great novels of the 20th century, arguing that its seriousness and depth are often underestimated by those who haven’t read it. The Hobbit is acknowledged as part of the same universe, contributing to a broader appreciation of world-building, moral complexity, and narrative scale that continues to attract readers across generations.

HARRY POTTER: APPROPRIATELY RATED, WITH CONTROVERSY AROUND ADULT READERS

Harry Potter is described as appropriately rated for its intended audience, with the speaker admitting difficulty in personally getting through the series while not discounting its value. The books are said to be written for children, though many adults also enjoy them. The dialogue notes that some adults find other children's literature easier, but acknowledges the broader appeal and cultural impact. The notion that the series should be read for fun is embraced, while the concern over overrating is addressed by distinguishing readership and purpose.

CRITICISM, CULTURE, AND PUBLIC ENGAGEMENT: CANON VERSUS POPULARITY

This section engages with the critique culture surrounding popular fiction, including dismissive takes like Harold Bloom’s caricature of cliches. The speakers argue that the popularity of Potter and similar works should not automatically devalue them; public rituals—such as dressing up or visiting iconic sites—reflect cultural engagement and shared experience, not a claim that the writing lacks merit. The discussion suggests that critical value and popular enthusiasm can coexist, each offering different kinds of insight into a work’s impact.

TAKEAWAYS ON TASTE, READING HABITS, AND CANON

A final emphasis centers on how personal taste shapes our reading choices and judgments about merit. The conversation advocates for a broad, curious approach to literature—recognizing Milton, Spenser, and Tolkien as canon-worthy for different reasons, while acknowledging Potter’s popularity and accessibility. The core idea is balance: respect for canonical depth and craft, openness to popular phenomena, and awareness that reading is a personal journey influenced by context, culture, and interests.