Sieging Hogworts


As clearly indicated by the number of Harry Potter parties held throughout our fair Caledon over the weekend, the fate of the young wizard (perhaps now RIP) and his companions (the same) is a hot topic in our sitting rooms and parlours. However, I must confess I am not altogether sure that is a good thing…or at least fear it may be a mixed blessing.

Certainly I am the last to tear at the throat of cultural icons for no reason or simply due to their prominence, but I have felt for several years a worm of doubt when I hear educators describe the educational benefits to be found in studying at Hogworts off-campus.

Personally, I am usually charmed by Rowling’s fiction even as I know very well the manipulative buttons she is pushing. Yes, the books are repetitive, mired in formula and cliche, but is that a BAD thing? The villains are very EVIL and the heroes are very GOOD, but perhaps there is still a place for “black and white morality” in the fantasies of our deeply overstressed children.

I offer as an anti-Potter opinion an essay that one of my personal heroes, Harold Bloom, wrote for the WSJ soon after the first Harry Potter book was released. Are his criticisms valid or simply the work of am elitist curmudgeon? Since they were based on the first book, are they still valid to the seventh or have the books grown with their audience?

Opinions, discussions and yes even rants on the topic are humbly requested.

Can 35 Million Book Buyers Be Wrong? Yes.

By Harold Bloom
Wall Street Journal, 7-11-2000

Taking arms against Harry Potter, at this moment, is to emulate Hamlet taking arms against a sea of troubles. By opposing the sea, you won’t end it. The Harry Potter epiphenomenon will go on, doubtless for some time, as J. R. R. Tolkien did, and then wane.

The official newspaper of our dominant counter-culture, The New York Times, has been startled by the Potter books into establishing a new policy for its not very literate book review. Rather than crowd out the Grishams, Clancys, Crichtons, Kings, and other vastly popular prose fictions on its fiction bestseller list, the Potter volumes will now lead a separate children’s list. J. K. Rowling, the chronicler of Harry Potter, thus has an unusual distinction: She has changed the policy of the policy-maker.

Imaginative Vision

I read new children’s literature, when I can find some of any value, but had not tried Rowling until now. I have just concluded the 300 pages of the first book in the series, “Harry Potter and the Sorcerer’s Stone,” purportedly the best of the lot. Though the book is not well written, that is not in itself a crucial liability. It is much better to see the movie, “The Wizard of Oz,” than to read the book upon which it was based, but even the book possessed an authentic imaginative vision. “Harry Potter and the Sorcerer’s Stone” does not, so that one needs to look elsewhere for the book’s (and its sequels’) remarkable success. Such speculation should follow an account of how and why Harry Potter asks to be read.

The ultimate model for Harry Potter is “Tom Brown’s School Days” by Thomas Hughes, published in 1857. The book depicts the Rugby School presided over by the formidable Thomas Arnold, remembered now primarily as the father of Matthew Arnold, the Victorian critic-poet. But Hughes’ book, still quite readable, was realism, not fantasy. Rowling has taken “Tom Brown’s School Days” and re-seen it in the magical mirror of Tolkein. The resultant blend of a schoolboy ethos with a liberation from the constraints of reality-testing may read oddly to me, but is exactly what millions of children and their parents desire and welcome at this time.

In what follows, I may at times indicate some of the inadequacies of “Harry Potter.” But I will keep in mind that a host are reading it who simply will not read superior fare, such as Kenneth Grahame’s “The Wind in the Willows” or the “Alice” books of Lewis Carroll. Is it better that they read Rowling than not read at all? Will they advance from Rowling to more difficult pleasures?

Rowling presents two Englands, mundane and magical, divided not by social classes, but by the distinction between the “perfectly normal” (mean and selfish) and the adherents of sorcery. The sorcerers indeed seem as middle-class as the Muggles, the name the witches and wizards give to the common sort, since those addicted to magic send their sons and daughters off to Hogwarts, a Rugby school where only witchcraft and wizardry are taught. Hogwarts is presided over by Albus Dumbeldore as Headmaster, he being Rowling’s version of Tolkein’s Gandalf. The young future sorcerers are just like any other budding Britons, only more so, sports and food being primary preoccupations. (Sex barely enters into Rowling’s cosmos, at least in the first volume.)

Harry Potter, now the hero of so many millions of children and adults, is raised by dreadful Muggle relatives after his sorcerer parents are murdered by the wicked Voldemort, a wizard gone trollish and, finally, post-human. Precisely why poor Harry is handed over by the sorcerer elders to his priggish aunt and uncle is never clarified by Rowling, but it is a nice touch, suggesting again how conventional the alternative Britain truly is. They consign their potential hero-wizard to his nasty blood-kin, rather than let him be reared by amiable warlocks and witches, who would know him for one of their own.

The child Harry thus suffers the hateful ill treatment of the Dursleys, Muggles of the most Muggleworthy sort, and of their sadistic son, his cousin Dudley. For some early pages we might be in Ken Russell’s film of “Tommy,” the rock-opera by The Who, except that the prematurely wise Harry is much healthier than Tommy. A born survivor, Harry holds on until the sorcerers rescue him and send him off to Hogwarts, to enter upon the glory of his schooldays.

Hogwarts enchants many of Harry’s fans, perhaps because it is much livelier than the schools they attend, but it seems to me an academy more tiresome than grotesque. When the future witches and wizards of Great Britain are not studying how to cast a spell, they preoccupy themselves with bizarre intramural sports. it is rather a relief when Harry heroically suffers the ordeal of a confrontation with Voldemort, which the youth handles admirably.

One can reasonably doubt that “Harry Potter and the Sorcerer’s Stone” is going to prove a classic of children’s literature, but Rowling, whatever the aesthetic weaknesses of her work, is at least a millennial index to our popular culture. So huge an audience gives her importance akin to rock stars, movie idols, TV anchors, and successful politicians. Her prose style, heavy on cliche, makes no demands upon her readers. In an arbitrarily chosen single page–page 4–of the first Harry Potter book, I count seven cliches, all of the “stretch his legs” variety.

How to read”Harry Potter and the Sorcerer’s Stone”? Why, very quickly, to begin with, perhaps also to make an end. Why read it? Presumably, if you cannot be persuaded to read anything better, Rowling will have to do. is there any redeeming education use to Rowling? Is there any to Stephen King? Why read, if what you read will not enrich mind or spirit or personality? For all I know, the actual wizards and witches of Britain, or America, may provide an alternative culture for more people than is commonly realized.

Perhaps Rowling appeals to millions of reader non-readers because they sense her wistful sincerity, and want to join her world, imaginary or not. She feeds a vast hunger for unreality; can that be bad? At least her fans are momentarily emancipated from their screens, and so may not forget wholly the sensation of turning the pages of a book, any book.

Intelligent Children

And yet I feel a discomfort with the Harry Potter mania, and I hope that my discontent is not merely a highbrow snobbery, or a nostalgia for a more literate fantasy to beguile (shall we say) intelligent children of all ages. Can more than 35 million book buyers, and their offspring, be wrong? yes, they have been, and will continue to be for as long as they persevere with Potter.

A vast concourse of inadequate works, for adults and for children, crams the dustbins of the ages. At a time when public judgment is no better and no worse than what is proclaimed by the ideological cheerleaders who have so destroyed humanistic study, anything goes. The cultural critics will, soon enough, introduce Harry Potter into their college curriculum, and The New York Times will go on celebrating another confirmation of the dumbing-down it leads and exemplifies.



  1. I fear I cannot agree with Mr. Bloom, on almost all counts. I should note that I am not a rabid fan of the series; I read the first four, but none since then.

    Of course I agree with his title “Can 35 Million Book Buyers Be Wrong? Yes.” because it’s very easy for popular culture to be wrong. However, there are a number of “best sellers” which have even less literary value than Harry Potter.

    And how could anyone who loves books think that watching the OZ movie (presumably the Judy Garland one) is “better” than reading the book? Those tomes are delightful, and the illustrations charming.

    If people enjoy reading any book, then that book is a successful one. It doesn’t have to be high art to be good. I do agree that books with more art in them are generally preferable to those with little art in them, but a mix of both is a good thing. I enjoy both a complex meal and a ball of cotton candy at the fair, but I wouldn’t want to subsist on either exclusively.

  2. I think I’m going to have to go for the “elitist curmudgeon” option. *Popular* does not equal quality. Never has, never will. Otherwise Britney Spears and the Spice girls would be considered the pinnacle of musical endeavours rather than something that people liked before moving on to the next thing.

    His comparisons to Tolkien are interesting as JRRT is another author who has suffered from the arrows of the literati.

    The Harry Potter books are fun. They’re not great works of literature and, in my humble opinion, Rowling was starting to succumb to a somewhat Anne Rice-esque case of an author having so much clout that a decent editor can’t go through and fix some of the problems.

    I’ve read the previous 6 and I will eventually read the 7th. But I’m not a die-hard fan. I don’t frequent online forums or dress up or write fanfic, (though I admit to taking great pleasure in picking apart other people’s).

    For me it’s like someone complaining that watching the people at a local nightclub dance is bad because none of them are ballerinas – one requires far more effort to be good at, but both enjoyable in their own way.

  3. Well, I *am* a fan, though I feel somewhat embarrassed in this company to admit such–but I’m also more a fan of the *movies* than the books. The books are trite twaddle–she doesn’t aptly characterize, she barely sketches in plot details she should elucidate, she leaves *much* that would be better laid out to the readers’ collective imagination.

    But the *films*…while yes, they could be better, too, to take the cliched source material and turn out such works of sweeping wonder…the scenery, the characters, the *ideas*…I sit and watch the films and remind myself that *this* is what I struggle to see in the books, and why I remain interested, and why I intend to get the seventh book in hardbound, as I’ve bought the others.

    Are they great works of classic literature? Far from it. But they have their place. And yes, I do believe that someone who reads one will not immediately sink back into the sloth of game shows and reality tv. It may take them some time…but I believe it may just be enough to spark in them the love of words, of printed reality, enough to draw them into other worlds, by other authors.

    That’s my hope, anyway. I’m clinging to it.

  4. I asked a librarian friend of mine “Has there been a study showing whether kids who become HP readers do or do not go on to read more books than they would have before the craze?” and she found several surveys (and not just by companies with a financial interest in HP) which showed that yes, they do read more. No formal academic studies, though.

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