I’d love to… but unfortunately that’s more-or-less the extent of what Tolkien has ever written about the One Ring. Tolkien was ultimately writing about Sauron (i.e.: the lord of the rings) and the evil miasma besetting Middle Earth which the lord personally embodied. Viewed through that perspective, the ring is merely a storytelling tool for imposing Sauron’s shadow upon our heroes without compromising his dramatic weight as the big bad.

With that being said, the One Ring became foundational in shaping the modern incarnation of what TV Tropes has dubbed the “Artifact of Doom”, though I’m more partial to the OSP classification of “Cursed Artifact” which focuses more on specifically malevolent & varyingly sentient magical artifacts (e.g.: the Monkey’s Paw, the Picture of Dorian Gray, Nightblood, Gonne, SCP-055). One of the curses (heh) of this particular trope is that it’s quite hard to stake the dramatic weight of a full narrative upon them, since they tend to lose their mystique as the audience gets more familiar – this works very well for short stories, though!

The concept of “fate warping” power, on the other hand, has caught on significantly less in western fantasy. This is actually kind of odd by historical standards because we can see similar explorations of the concept in both eastern and western mythology (e.g.: the (Chinese) Red Thread of Fate vs. the (Greek) Thread of Human Fate). It’s actually a bit of an unexplained mystery as to why the theme only fell out of favor in the western traditions!

Weeb that I am, I would be remiss not to mention the intricate mechanical and thematic power of fate in JoJo’s Bizarre Adventure – specifically in the context of Araki’s (fantastically bizzare) commentaries on justice, power, truth, and inequality which take center stage in parts 4-6. One of my favorite stories of all-time is the weighty JoJo Part 5 epilogue – “Sleeping Slaves” – because it makes such an eloquent and powerful statement about the roles of fate & heroic self-determination in the preceding story.