Almost Midnight (CBR9 #75)

happy new year

Happy New Year! As a treat to myself I purchased this sparkly-covered illustrated version of two of Rainbow Rowell’s short stories which I have already read and reviewed. I love Simini Blocker’s art (I have two of her posters at home) and I love Rainbow Rowell so this was a bit of a no brainer for me.

For those of you unfamiliar, these are pretty good gateway drugs to Rainbow. Midnights is very much like her novel length works. We experience four new years’ eves with two teens who are clearly in love with each other and don’t necessarily know what to do with those feelings. I am fond of proselytizing the good word of Rowell’s ability to craft delightful, wonderful characters and these two are no less delightful and wonderful than her others.  I first read this story three years ago and they are firmly lodged in my memory the way few other story’s characters are. Also, it pulls at the heartstrings, the watching the one you want not quite manage to want you as well.

The second story is Kindred Spirits which focuses on Elena and her excitement to experience The Force Awakens,  her first true Star Wars theatre experience. We spend a few days in her company as she endeavors to have the line experience the original series and prequels audiences had. Hers isn’t like those, exactly, but she does come away with an experience all her own and a new friendship which helps her unpack the relationships she and others have to nerd culture. For me, I didn’t see The Last Jedi until just a few days ago and have watched certain sectors of fandom expose themselves as not being ready for where the movies are taking them. Rowell isn’t necessarily anticipating that, but this is a nice companion read to any viewing of a new Star Wars movie.

This book was read and reviewed as part of the charitable Cannonball Read, my last for CBR9. At Cannonball Read we read what we want, review it how we see fit (within a few guidelines), and raise money in the name of a fallen friend for the American Cancer Society. Registration for our 10th annual read is open through January 2018. 

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Three Nights with a Scoundrel (CBR9 #72)

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I usually set myself up with reading landmarks throughout the year, to keep things interesting for myself. It also helps to keep me on pace. The past three years I have ‘read with my ears’ Tessa Dare’s Stud Club series. It was a random choice, to pick this series to enjoy via audiobook, but I’ve stuck with it and it been for the good. The narrator, Rosalyn Landor, handles the text superbly and I’m fairly certain she improves upon Dare’s early, sometimes uneven, work.

Because that is in fact what we are dealing with: Three Nights with a Scoundrel is uneven. We are wrapping up a few storylines and they are not all as strong as they could be and the pacing suffers because of it. We learn the fate of that damned horse Ossiris as well as the circumstances of the death of Leo Chatwick, plus the resolution of who Julian Bellamy really is, or isn’t but it doesn’t come together in a completely satisfying whole.

There are things I truly and unabashedly loved – our heroine Lily who is deaf and the ways she functions in a society that isn’t built to accommodate her. The emotional landscape of her relationship with Julian is also expertly handled. I also enjoyed Morland’s pregnant ward Claudia and her various interactions as they were a hoot and not without consequence. It is all the other fluff and bits around the main story that detract from what Dare does very well. We have another strange pet, this time the parrot Tartuffe, who at least has plot significance, but he shouldn’t have had to, there should and could have been better communication between the leads. I know having a parrot around a romance novel should have been more amusing to me, it simply wasn’t.

We also receive visits from both previous couples in the series so the male leads can wrap up the murder investigation (ugh), but we were seriously shortshrifted where it came to Rhys and Meredith. They are bringing a crucial piece of the puzzle to London, but are merely treated as a conveyance. Urgh. And as to that piece of the puzzle… while I am always happy for more representation of lgbtq relationships in romance novels this one felt a bit shoehorned in and if it had been telegraphed I completely missed it. In a certain way it all came together a little too much deux ex machina for my personal tastes.

This one gets three stars for all it does right, but doesn’t get rounded up to four because to my mind it didn’t live up to the second in the series.

This book was read and reviewed as part of the charitable Cannonball Read where we read what we want, review it how we see fit (with a few guidelines), and raise money in the name of a fallen friend for the American Cancer Society. Registration for our tenth year is open now. 

The Real Inspector Hound (CBR9 #71)

I always get a smidge nervous reviewing short works and book club choices. This one is both. Exciting times friends!

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My immediate takeaway when I finished was that it may be too absurdist for me. But that doesn’t quite grasp the idea I was after. From my limited experience with Stoppard, he is always playing with words, playing with meaning, playing with intent, and has no problem (perhaps prefers) to have his characters speaking at cross purposes. What that does to a reader is leave them with a sense of whiplash and “what the heck just happened?” Or at least, that’s what happens when that reader is me.

The Real Inspector Hound is about theatre, critics, reality, and fate. Or it is just a play about two people sitting around waiting for something to happen, like that other one. This is early Stoppard, and I found his introduction to my edition most edifying about his process and what we received as a result. He had bits and pieces of dialogue between the characters who would become Moon and Birdfoot, but they had no purpose. He would come back to it over the years and eventually the device of the body on stage, and that body being Higgs catalyzed Stoppard into its completion. Which makes sense to me that we ramble about a bit and then land on an ending.

But that ending doesn’t mean a great deal on its own, nor does it really resolve anything. We are still left without firm footing about who each of these characters are, or even if Higgs is really dead.  I don’t think we know who anyone in the play is at all, making the “real” in the title a red herring. It’s a similar play on words to “Absolutely True” in The Absolutely True Diary of a Part-time Indian.

As we move from the word play of our critiques and their supercilious language and self-absorptions, to the play within the play which is riffing on any number of genres, there is a moment where the characters have already been pulled into the maelstrom of events. It probably happens before the play begins, but there’s really no way to know for sure. The character motivations and choices that had led them to this moment and we’re off. Without Higgs’ dead body on stage, there’s no reason for Moon to be there miscommunicating with Birdboot, without Birdboot’s fascination with leading ladies he isn’t drawn onstage and on and on.

What does the author have to say about it all? Quite a bit actually. Here’s a quote MsWas found from Tom Stoppard in Coversation:

I originally conceived a play, exactly the same play, with simply two members of an audience getting involved in the play-within-the-play. But when it comes to actually writing something down which has integral entertainment value, if you like, it very quickly turned out that it would be a lot easier to do it with critics, because you’ve got something known and defined to parody. So it was never a play about drama critics. If one wishes to say that it is a play about something more than that, then it’s about the dangers of wish-fulfilment. But as soon as the word’s out of my mouth, I think, shit, it’s a play about these two guys, and they’re going along to this play, and the whole thing is tragic and hilarious, and very, very carefully constructed.”

So where does that leave us? As I said over in the Cannonball Book Club Discussion Post “I feel like he is both fucking with everyone and very carefully critiquing the ever-loving shit out of existence, while just having a go at a dead body on stage.” And that about sums it up.

This play was read and reviewed as part of the charitable Cannonball Read, where we read what we want, review it how we see fit (with a few guidelines), and raise money in the name of a fallen friend for the American Cancer Society.

Mockingbird: I Can Explain & Ask Me About My Feminist Agenda (CBR9 #69 & 70)

I had been itching for a while to get my grubby mitts on Chelsea Cain’s eight issue run of Mockingbird. I had been following along with some stellar reviews at Cannonball Read, as well as Chelsea Cain’s experiences with this her first venture into comics via the media. She was nominated from a Best New Writer Eisner for this run but Marvel Corp failed to pass along pertinent information to her about how to attend, etc. this summer and all that happened after rabid so-called fans chased Cain off of Twitter last October because volume 2 of this run, Ask Me About My Feminist Agenda, featured the character wearing a shirt with the same.

As the books’ two Eisner nominations would suggest these are quality work, both from Cain as writer and the amazing roster of artists who put in more than common effort to make for simply stunning visuals.  I have not read many comics, but the style of these from the lettering to the color scheme made them incredibly easy to read while feeling warm and welcoming. That plus Bobbi Morse’s unique sarcastic delivery via Cain made for a treat of a reading experience.

Bobbi is our narrator and shapes the story, setting the tone as it suits her. She can be unreliable and twists her recounting of the events we experience as she wants. But this topsy turvy narration experience is built on strong bedrock of character: this is a series that balanced its deep, introspective look at its lead character with superhero-related ass-kicking and zany-ness, all while not shying away from her personality quirks.

These are genuinely wonderful, clever, and funny comics. This is to my understanding a step to the side of what traditional comics are; the creative teamed played with structure and character in ways that make the series feel fresh and funny, but also expected the reader to be engaged. If you are going to get the full Mockingbird experience you have to pay attention. The issues in Volume 1 can be read in any order, there is a litany of easter eggs hidden in the background art which add layers and meaning to the action on the page. I often stopped and just unpacked the visual banquet waiting for me on each page behind the dialogue bubbles.  While this run is named for her alter ego Mockingbird, this is really a conscious look at Bobbi Morse as a character both beyond and including her super hero identity. She is a woman fighting for her place in the world, and not being quiet about the bullshit she sees around her.

Mockingbird presents its lead as a lens through which to have timely (when is there not a good time?) discussions about gender, toxic masculinity, sex, and love. These subjects become crucial to understanding the way Bobbi thinks and operates as both a woman dealing with her troubled relationships and as a hero in a world that always told her she couldn’t be one. The series is quietly a deeply personal examination of Bobbi while not being afraid to bring the funny (there are mercorgis folks, what more can I say?) but at the end of the day being more than just a quick little jaunt.

All in all it made me miss Adrianne Palicki as Bobbi Morse/Mockingbird on Agents of SHEILD. I feel like she would be the perfect person to play this version of the character, which is pretty close to the one she played on the show.

 

 

This book was read and reviewed as part of the charitable Cannonball Read where we read what we want, review it how we see fit (with a few guidelines), and raise money in the name of a fallen friend for the American Cancer Society.

Hunger: A Memoir of (My) Body (CBR9 #68)

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I read Roxane Gay’s Bad Feminist a few months ago and immediately put her next book, Hunger: A Memoir of (My) Body on my library request list. I described the former as unpacking the racist, misogynistic, and otherwise flawed world we live in. This book is that, but turned inward. Gay reckons with the great violence which was a turning point in her life and how it created in her a need to protect herself by becoming ever larger. She also discusses candidly what it is to be aware of the judgments of your body while simultaneously giving into the various hungers you feel. Bad Feminist was complex, empathetic, and rational and if it is possible this book is even more so.

It is difficult to know how to review this book. In ways it was too much: Gay is practicing an emotional honesty in her writing that you do not often come across and it often stopped me dead. In other ways I felt too seen, I recognized the emotions and realities of Gay’s life experience in my own even though so much is different. She writes with such precision and clarity that the shared territory becomes what matters and you are able to immediately extrapolate the rest and find the empathy within.

Reading this book, with its short, crisp chapters, is like watching someone you care deeply for exorcise their demons, and if they cannot exorcise them they will name them and continue the fight. It is witnessing someone’s journey towards healing but more importantly just talking about the things that seemed too large to talk about. We heal by talking about our hurts, our hungers. This is Roxane Gay embarking on that path.

 

This book was read and reviewed as part of the charitable Cannonball Read where we read what we want, review it how we see fit (with a few guidelines), and raise money for the American Cancer Society in the name of a fallen friend.

Ode to Opposites (CBR9 #67)

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It has been a couple of years since I read any poetry, and the last time was also at the behest of the fine folks over at Book Riot and their annual Read Harder Challenge. I don’t know if I’m going to manage to complete this year’s challenge by the end of December – I know what books I am going to read for the remaining challenges, but I don’t know that I’ll be able to fit them all in.

But I wasn’t going to allow myself to use that as an excuse to not pick up this collection of Pablo Neruda’s work. The specific challenge this year was to read a collection of poetry in translation on a theme other than love. It was one of the handful of tasks submitted by authors, and they are particulary specific. This one is from Ausma Zehanat Khan, author of the Esa Khattak/Rachel Getty mystery series, another was from Roxane Gay and instructed us to read from a micropress (review forthcoming). Neruda felt like the most logical choice for me, I had not read a complete collection of his work yet and I knew that many of his poems were not about love, which so many poems are.

Reading these poems I can see easily why Pablo Neruda won the 1971 Nobel Prize for Literature. This bilingual edition has the odes in their original Spanish facing the translation in English, with pencil illustrations accompanying them. It was simultaneously fascinating and infuriating. I would read the original versions, trying to translate for myself, and then read the English versions to make sure I had complete comprehension (woo boy is my Spanish rusty) and I would come up again and again with phrases I would have translated another way. It makes me wonder what would have happened to these odes in the hands of a woman translator.

Most importantly though I was captivated by the conceit of this collection, of reading about spring and autumn, the future and the past, fire and rain one after the other. If you’re looking for some poetry to round out your reading year this edition is the way to go.

This book was read and reviewed as a part of the charitable Cannonball Read where we read what we want, review it how we see fit (with a few guidelines), and raise money for the American Cancer Society in the name of a fallen friend.

Harry Potter and the Deathly Hallows (CBR9 #66)

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We have reached the end of the road. We have journeyed through truth, learned about the past, had boulders change our paths forever, embraced the drama of the teenage years, we’ve experienced losses and found ways to grow from them, and seen love as an action spurs our heroes on their paths. Now, we watch it all come together as the forces of good battle to resist the forces of fear and hate.

Before even embarking on this review, I have written over 11,000 words about the world of Harry Potter. Why? Cannonball Read’s very own emmalita has the answer: “seems like a good time to read a subversive series about the importance of personal choices, standing up to bullies, standing up to your friends when they are wrong, and treating everyone with compassion and kindness.”

Not every book, or every series, is for every reader. There is no guarantee that someone would pull exactly the same meaning, or so much meaning, from the works of J. K. Rowling, as I tend to do.  Here at the end it is time to look back at the themes and narratives that have brought me here and see how they all come together to leave us on a note of sorrow and loss, but also hope and triumph.

Discovering Your Identity

In the beginning, we found Harry Potter as a boy who did not have much to define himself, but by book seven he is a man who knows very well who and what he is, but is still learning his value to others. Voldemort, the Death Eaters, and their allies are making swift gains particularly at the Ministry (as that organization refused to prepare itself for the truth of their ascendance), and it is time for Harry to leave Privet Drive for the last time. This is no easy task and requires backroom planning by Dumbledore, for Snape to continue working both sides against each other, and six Harry Potter impersonators to disguise his true location and destination.

Harry has transformed from the Boy Who Lived to the Chosen One, and by the end of the book he will bring everything together to be a hero who inspires other heroes. He never truly vanquishes the small voice in his head questioning if he’s made the right decisions along the way. He knows what he must do, and the path he has chosen, but he is always reticent to let others step in the way of danger that he has laid out.

But moving beyond the specific details of Harry’s character arc, this is a novel about generational divides, a statement that the old must pass that the new might inherit the earth, because whatever current generation is on top can’t save the world. All things change and evolve. The world can only be saved and shaped by those who will inherit it. The last image is of the next generation who will take over once Harry and his friends are done and dusted.

Found Family

The second act of this book, the much maligned second act of this book, is the story of one of the strongest friendships you are likely to see in contemporary YA literature. I could write soliloquys on the Ballad of Harry, Ron, and Hermione, in fact I may be accused of already doing so. In this book, if not before, they are functioning as a tight-knit family unit. But, we are also once again reminded of the deep, strong ties Harry has developed over the preceding six years.  It is unthinkable that he wouldn’t be at Bill and Fleur’s wedding, it is their home that he and the rest escape to and recover in following the events at Malfoy Manor. Separate from his feelings about Ginny, Harry is a Weasley and in case it was still up for debate Rowling makes it clear at the very beginning of the book.

I love Molly Weasley. She has always, quietly, diligently, and without expectation made Harry part of her family. In Order of the Phoenix as the boggart in Grimmauld Place Harry’s is one of the bodies she sees in the lineup of her dead family.  For his seventeenth birthday Molly gifts Harry her brother’s watch, and it will connect Harry to his found family throughout the events of the novel.

But Harry isn’t Molly’s only extra kid. At the end of the Battle of Hogwarts as all hell is breaking loose in the Great Hall, Molly bests Bellatrix Lestrange in one of the most discussed moments in the book. Much is made of Molly’s pronouncement of “not my daughter!” as she flies across the room to take on Bellatrix, but it could just as easily been “not my daughters” as the trio of witches taking on Bellatrix are Hermione, Luna, and Ginny. And it is Harry who throws up the shield charm to protect Molly, exposing himself to Voldemort and setting up the final battle, but he could not let his surrogate mother figure go unprotected.

Standing Up To Be Counted

For all of our characters this story is how they struggle to defeat a fully empowered adult wizard by becoming fully empowered and independent adults.

Neville Longbottom has grown by leaps and bounds throughout these seven books. While his confidence and skill have grown, the true measure of his character has been with him from the very beginning – you must stand up for what is right. He calls out his friends in Sorcerer’s Stone and by Deathly Hallows he is leading the resistance in Hogwarts and paying a heavy price for it (but he’s just living up to his Longbottom heritage).

Ginny will not be left to the side. She was instrumental in the eventual discovery of the first horcrux in The Chamber of Secrets (before we even knew what it was), and she marches through the subsequent five books demonstrating her skills and tenacity. She will fight for those she loves, and she will be brave enough to face down her enemies.

There is another character who quietly continues to work on the side of Dumbledore. At then end of Half-Blood Prince the reader is left hating Snape, and there is little through most of Deathly Hallows to bring us back in. There is however the flashback in the pensieve showing us the true intentions of Snape’s actions over the past 20 years. I remain on the side that it does not erase his actions, but it places them in an understandable lane. It is the final example of Rowling showing us the gray that lives within all of us.

I am light on speaking about Hermione in this review, not because she isn’t incredibly valuable, its just because I’ve covered it all before. Hermione does not need me to stand up for her the same way she doesn’t need Ron or Harry to.

There is a scene, late in the book during the Battle of Hogwarts when Harry, Ron, and Hermione are attempting to fight off imminent Dementors. They are trying and failing to cast their patronuses to defeat them, to protect themselves with happy memories filled with love. They are spent, and things are looking down until friends cast bright powerful patronuses to push back the dementors. As the line of people who have supported Harry grows and powerfully push back the coming darkness through the power of love and happy memories I cried. It is everything to do with standing up against the coming storm, and standing up for those you love and respect.

The Song of Ronald Weasley

Ron also becomes the full embodiment of his family’s ethos, a beacon of progress and humanity. Ron continues to be concerned about those he cares about, it is Ron who thinks of the House Elves in the kitchens of Hogwarts and reminds everyone that they need to be evacuated with the underage students. With that, Ron shakes off one of his largest prejudices completely, taking away any part of him that could be used to support Voldemort. It is also the linchpin that earns him an enthusiastic kiss from Hermione. I may have cheered.

Ron has skills, memory, and ability. He is the one who remembers to go get the basilisk fang from the Chamber of Secrets. But that doesn’t mean he is without failure. Ron, in his typical way, loses sight of the end goal and leaves Hermione and Harry alone in the forest. Nevertheless, the joy of Ron is that once he makes the terrible, prattish decision, he immediately regrets it. The measure of character is in recovery from terrible choices and how we pick ourselves back up, and Ron spends seven books showing us how that is done. Dumbledore knew this about him, and provided a way back. Rowling also uses this time to her advantage, giving the reader a glimpse at the world outside the ever-traveling tent. We are afforded a look at what the larger Resistance movement is doing while our trio is working towards their assassination mission.

Show Your Work

The entire journey of Harry, Ron, and Hermione is The Deathly Hallows can be seen as one long arc of pursuing knowledge, and asking for help, in order to successfully solve the problems of our lives. In their case, it is often about defeating Death Eaters, but it is also in learning how to navigate the adult world which is not nearly as steady and secure as one would hope. If the world is full of darkness, than knowledge is your best armor and strongest light against it. Hermione will carry a full library with them, Harry will craft cunning plots, Ron will stay on the alert and find the resistance radio show, and together they will ask for and accept help as they can.

It is never so clear as when Harry shouts into the shard of Sirius’s mirror and unbeknownst to him Aberforth hears him and sends Dobby to rescue them from Malfoy Manor. Harry has finally come to a place where he cannot save himself or his friends, and he reaches out desperately. Dobby is able to evacuate those imprisoned in the cellar (all important characters for the final denouement of the story) and ultimately puts his life on the line for his friends. The grief, pure and simple and stunningly apparent on Harry as he digs the grave for Dobby (who died a free elf) stirs something deep inside the reader. Harry feels he must do the work himself, so magic, so that proper respect can be shown. Dobby’s sacrifice requires no less of a man of Harry’s stature.

Neville and Dumbledore’s Army are another shining example of this spirit. Neville stays at Hogwarts, and continues the resistance from inside the walls, making himself a constant thorn in the side of Snape and the Death Eaters on staff. He also protects and cares for those who would stand beside him, and by having truly learned the lessons of the Room of Requirement he is able to furnish all the needs of his compatriots, including access to Hogsmeade via Aberforth.

And Aberforth Dumbledore is a quiet, reluctant hero himself. He feeds and cares for the Army, as well as serving as transit depot for members of the Order of the Phoenix and the Resistance. He also provides on last important reality check for Harry, Ron, and Hermione before the Battle of Hogwarts truly gets underway: does Harry trust in what he has been told by his brother Albus? Aberforth argues that Harry owes no one anything, and should run. He also points out, not incorrectly, that while our Professor Dumbledore did mostly prepare Harry for what is coming, he also in essence raised him like a lamb for slaughter. Aberforth cannot abide this, and attempts to use the full truth off Albus, and Grindelwald, and his sister Ariana to make sure Harry understands what is truly happening. He is never satisfied, but he finally does support Harry and sends Ariana’s portrait to go get Neville.

Remus Lupin, Depression, and Anxiety

What I did not know, but I could feel creeping in, was that part of the pull of reading Harry Potter again was that my brain chemistry was betraying me once more. My previous worst battle with depression came during the first time I read The Prisoner of Azkaban and this current round has been nearly as difficult. Add to that finally getting some clarity about the Anxiety I’ve been living with my entire adult life, and it’s been a hell of a year. However, I think this finally explains to me my preference for and love of Remus Lupin.

I am on record as praising Lupin as the best Defense Against the Dark Arts teacher to grace Hogwarts during the series, and I stand by it. He educates kindly. It is such a small, but unfortunately rare thing, and I think it gets missed in the larger sweeping epic of the books. But this is not a perfect man, in many ways Lupin grew up too fast and never properly left his teenage self behind. Lupin, like so many of our other characters, is learning to embrace his adulthood and for him it is in the face of crippling depression, anxiety, and otherness.

It comes to a head in the Deathly Hallows as Lupin attempts to join our trio as they depart Grimmauld Place to begin their quest. Lupin is afraid that he has ruined the lives of Tonks and their unborn child, and is ready to flee and possibly sacrifice himself in the service of Harry and his mission in place of facing the future he has made. He is still unable to accept the love his is offered. Harry ages dramatically in that scene, moving past his defiant youth posturing and bringing his emotional truth to bear in a stunningly adult exchange with Lupin. Hermione and Ron are shocked, this is an adult, their teacher, and Harry is speaking to him in such a manner. But it is necessary, and it is true.  Remus Lupin, like all of us, must grow into the truth of him, and forgive himself for his past errors. He must also learn that refusing love is the worst thing we can do to ourselves, let alone those who love us. Lupin comes around, and is back to his truest self when he arrives to fight at the Battle of Hogwarts. His and Tonks’ deaths are some of the hardest felt in the series (Fred is right there with them), and they are so because of what we have lived with them over six books. These are good, loyal, and moral characters who made the active choice to fight for good and put their lives on the line in the pursuit of defeating evil in the world.

Don’t Be Afraid to Try Something New

This one is more for the author than her characters, but it is superb nonetheless. In her final book Rowling, because she is truly an insanely ambitious, amazing writer throws out all previous conceptions of the structure of a Harry Potter novel. She had played with form and structure along the way, but in her closing act she isn’t afraid to do something she has not done before; this is simply the act of a woman in full possession of her courage. The first act, from page one, shifts the paradigm in a way that couldn’t truly be anticipated and still catches me off guard now a decade later. The entire middle of the book is essentially a two and three handed road trip, taking us to places we have never seen before through the eyes of our characters. It also dares to slow down the action, to marinate in the struggle, to let the reader and the characters feel a smidge of boredom.  For goodness sakes, Hogwarts doesn’t show up until the third act!

AND THEN Rowling introduces a completely new branch of the mythology around which the whole climax of the novel pivots. It would be easy to forget that Rowling saved the mythology of the Three Brothers for this final installment because it fits so seamlessly into the world she painstakingly and brilliantly created.  It is the sort of thing that probably shouldn’t work. We should be annoyed at the last minute deus ex Hallows but instead we see the threads that Rowling has been laying in all along, and frankly, she pulls it off with finesse and grace because while the final piece of the puzzle is delivered in the tail end of the series Rowling has been deliberately building to this point from the beginning, and double downed towards it based on the themes at play in Goblet of Fire and Order of the Phoenix. But that’s still not all: she too shows a deft hand in a chapter that’s a taut thriller in Malfoy Manor. It is a peak into the prowess she has to create tension and suspense which will come to delightful fruition in the Cormoran Strike series a few years later.

And where does that leave us at the end? It leaves us with a final rumination on choice and love. Every single person chooses their sides and their actions throughout the story. Everything reverberates down the line. The story is simultaneously massive and epic and yet impossibly small and understated. There are colossal moments flying past that mean more because they are rooted in the personal. We are watching the myth of the boy who lived, who inspired a nation, who became the rallying point make the choice to act in love for his friends and compatriots, for those he considers family, so that they may live. Following all of that, he makes the choice to live. He chooses life, and he chooses to imagine a future that he is in. We should all do the same.

This completes my reread of the Harry Potter series in the 20th anniversary year of the publication of The Sorcerer’s Stone. It has meant a great deal to me.

This book (and accompanying series) was read and reviewed (at length) as part of the charitable Cannonball Read where we read what we want, review it how we see fit (within a few guidelines), and raise money in the name of a fallen friend for the American Cancer Society. Registration for our 10th year will be coming up soon, and you can always drop in whenever you like.