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.

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Attachments (CBR9 #62)

Merry October everyone. (Shhh… I know its November, but it’s still October in my heart.)

I love Rainbow Rowell, and I love the characters she creates. I also love how much she loves my favorite month of the year.

This is my second time through Attachments and while looking back I can see all the ways in which Rowell has grown as an author but my affection for this story has only grown. I rated this one 4 stars when I last read it for CBR5, but I’ve gone ahead and rated it five stars this time.

The first time through what sold me on this book and Rowell as an author was the characterization. I could not help but fall in love with each of our leads as they navigated their various life struggles. Rowell delivers honest character reactions and flaws in everything she writes. This time I noticed the pacing. In the beginning of the book things move slowly, reflecting the status of the lives of Beth, Jennifer, and Lincoln. As each character’s arc progresses the pace picks up in concert with it. The end of the novel appears to come to a halt, but instead it is fast-forwarding towards the earned resolution.

I love Beth and Jennifer’s emails, I love Doris, I love Lincoln’s sister rebelling against their mother by being “normal”, I love Lincoln’s loyalty and bravery as well as his inertia. I love Mitch who falls in love with a Jennifer who still all these years later doesn’t know how she got so lucky, I love Chris being so stuck in what it takes to be an artist that he loses how to be a person. I love it all so very, very much.

And I’m incredibly thankful that Hasen Klub tracked down a hardcover copy of this book for me to round out my Rainbow Rowell collection.

 

This book was read and reviewed as part of the charitable Cannonball Read where we read what we want, review it as 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 Half-Blood Prince (CBR9 #48)

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I’ve been sitting on this review for several days, trying to let the experience of rereading The Half-Blood Prince settle in my mind so I could look at it from a larger angle. The plot of the story is crucial; it shows how the war could so easily fall to the side of Voldemort, and sets up the game plan for defeating him. But it isn’t the only crucial aspect of the narrative, this is also a story of being on the cusp of adulthood, and finding the balance between our childhood selves and who we’ll be. Finally, it is perhaps Rowling’s most definitive work on love as an action.

I have been thinking about this Mister Rogers quote in relation to Dumbledore. I think the men share a certain sameness that is incredibly important to the world of Harry Potter.

Harry’s strength (and the combined strength of the Trio and Dumbledore’s Army) is love. It is one of the many large concepts swimming around in Half-Blood Prince. Loyalty, obligation, and choice are also star players here as well as grief and betrayal, but we’ll get there. The book opens with the concept that magic doesn’t make a more evolved society. It doesn’t prevent the world’s problems, and it in fact introduces a whole new set of them. We are gently instructed of this as the Minister of Magic meets with the Prime Minister and Snape meets with Narcissa Malfoy and Bellatrix Lestrange.

Half-Blood Prince is the culmination of the HP books before it, even more so than The Deathly Hallows. It’s a different kind of adventure: one of the intellects. The series’ strength lies in its emotional payoffs. Harry embraces being the chosen one and begins planning for his seemingly inevitable future. The cornerstone of this book is Dumbledore fulfilling his word to Harry from Order of the Phoenix – he will teach him what he can to prepare him to fulfill his role in the war with Voldemort.  Dumbledore trains Harry, in a sort of apprenticeship, and prepares him to find the Horcruxes by laying out Voldemort’s obsession with his own history and that of the founders of Hogwarts, his first true home (another in a long line of similarities between Harry and Voldemort).

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But first we must get the Chosen One to school. Dumbledore does a quick infodump for Harry and the readers, informing him that has inherited 12 Grimmauld Place, as well as Kreacher, from Sirius. But Dumbledore is not done table setting, the pair next  set out to meet Horace Slughorn, the former head of Slytherin house, who Dumbledore plans to recruit to return to Hogwarts with Harry’s help (because Slughorn collects exceptional students like trophies, including Harry’s mother). With that accomplished they are off to the Burrow and the newly engaged Bill and Fleur. Why recap all of this? Because each piece laid out is important for this book and the next. We are learning who our big players will be from the beginning, and as Rowling continues to expertly craft her books, there is no fat here, and Half-Blood Prince is particularly crisp.

With Slughorn’ taking over the Potions classes Harry can continue to the N.E.W.T. level, and Snape moves into the cursed Defense Against the Dark Arts position (cursed, we find out much later, by Voldemort himself when he was denied it by Dumbledore). The last minute addition to the course means Harry didn’t pick up his required text during their trip to Diagon Alley (hi Weasley Twins! Glad business is booming and you are dabbling in love potions, which surely won’t be a harm to anyone later! Ron should just go ahead and sit at this place at the table) so he picks up a used book from the cupboard, and we and he are introduced to the titular Half-Blood Prince, who wrote all over his textbook making notes and improvements along the way. Harry uses this new source of information to best Hermione in an academic subject for the first time since perhaps the Lupin year of Defense Against the Dark Arts, and earn himself a very important vial of Felix Felicis. One more setting on the dining table is ready.

As I alluded to above, the main thrust of the book is Harry’s lessons with Dumbledore, where Dumbledore shares memories he has collected over the years via the pensieve. But, he is missing a crucial piece of memory – Slughorn had a conversation with Voldemort that he has changed the memory of and it is the final piece to solving the puzzle. It is up to Harry to retrieve this memory.

But Harry’s focus is split. He continues his obsession with Malfoy, and what he was arranging in Borkin and Burke’s shop. Harry chases his tail a bit here and his dogged focus on Draco (who isn’t hiding his nefarious designs all that well) and Snape (who is also not hiding well that he is helping Draco in some manner, thanks we know to the Unbreakable Vow) but because Harry has cried wolf before about these two everyone is a bit dismissive. Add in to all of this Quidditch, Katie Bell’s run-in with a cursed necklace, Ron’s poisoning and being saved by a bezoar (just shove a bezoar down their throats – another lesson from the Half-blood Prince, twice), Ron and Lavender, Hermione’s reactions to all of it, and Harry’s growing affection for Ginny and no wonder our boy finds himself failing to get the memory.

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Following another trip to the hospital wing (where some of my favorite scenes in the entire series occur), Harry decides to use his elf connections to investigate Malfoy. Kreacher and Dobby, two characters greatly cut from the movie adaptations to their detriment, are assigned the task. We witness Harry’s growth and he thinks of all the restrictions he needs to put on Kreacher to keep his secret mission of spying actually secret.

As we jump ahead Ron, Hermione, and Harry discuss how to get the memory from Slughorn. Finally, Ron (yes, my boy Ron) suggests that Harry use the Felix Felicis that he won in Slughorn’s class on their first day (which he had not used to help Ron succeed at Quidditch earlier in the book, that bit of rule breaking goes to our girl Hermione who confounds the unctous McClaggen). Harry is reluctant, Hermione pushes, and he agrees she’s right. MORAL OF THE STORY ALWAYS LISTEN TO HERMIONE (and Ron).

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I had actually forgotten how great the chapters surrounding Harry’s retrieval of Slughorn’s memory were. The Rube Goldbergian series of events following Harry’s taking of the Felix Felicis are exquisitely delivered (very close with the time turner save in Prisoner of Azkaban) and, though the movie adaptation got so much wrong (it really, really did), it perfectly translated Rowling’s description of Harry “high” on Felix.

With “Felix” in charge, Harry is ultimately successful. Slughorn’s memory proves to be the final piece in the puzzle: specifically what a horcrux is and the quantity of them Voldemort made. Dumbledore explains to Harry that they have already destroyed two: Riddle’s diary and Marvolo’s ring. But those weren’t his only horcruxes. Dumbledore guesses, based on Slughorn’s memory that Voldemort meant to split his soul seven ways. As one piece of his soul still resides in his body, Dumbledore deduces the others based on memories they have seen, and the last will be something belonging to either Gryffindor or Ravenclaw, but he is unsure what exactly. With this information Harry is properly ready to go on the hunt, not the lost and underprepared version we get in the movies.

The novel could have finished at this point in the narrative, but Rowling is not telling that sort of simplistic story. Instead we yet have lessons to learn and losses to suffer.

As anyone facing such a task, Harry has concerns. Dumbledore is able to reassure a skeptical Harry that he is equal to the task of destroying Voldemort, chiefly because of his ability to love, which brings us back to my initial argument – being capable of Love as an action, not a state of being is, the engine that drives the heroes in this series. Harry’s soul is still pure and whole, making him capable of the love that drives heroes (look for the helpers). Because Harry lives and fights with a sense of honor and righteousness at his very core, he is in possession of all that he will need to do this, once he decides to do it.

Dumbledore stresses that prophecy be damned, Harry has a choice in whether he fights or not. He explains that even without this prophecy, even if Voldemort hadn’t killed his parents, Harry would still want to defeat Voldemort simply because he hates everything Voldemort stands for. It’s this choice, Harry realizes, that will make the rest of his journey a bit easier. It’s such a small thing, realizing that we have the choice to stand and fight for what is right, or to turn and run and live to fight another day. Harry knows at the core of his being that he would never run, something we already know of him and our other heroes – it is something we learned long ago, and something we will learn again.

Besides the hunt for the horcrux, we also reach the climax of Malfoy’s arc. He repaired a vanishing cabinet, the same one we saw Fred and George shove Graham Montague in during The Order of the Phoenix which caused it to be moved to the room of requirement (Rowling wastes nothing) creating a passage between the cabinet and its match in Borkin and Burke. Malfoy deploys the Dark Mark to lure the returning, and unbeknownst to him weakened, Dumbledore to the tower where he planned to kill him. But Draco gets caught up talking to Dumbledore, revealing more than he means to (in concert with the crying Malfoy we see and hear about earlier in the story) and we see his conflicted emotions about following through with an order he cannot see a way out of. It is important that Harry doesn’t believe Malfoy would have followed through with killing Dumbledore, he remembers and values the fact that when it came down to it, Malfoy had lowered his wand, and Snape was the one who killed an unarmed Dumbledore. We as the reader know that there was an unbreakable vow in place, but I don’t imagine that would have swayed Harry’s feelings about Snape’s actions.

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Here is where Rowling communicates with her readers about betrayal and grief. We have grieved losses in the past two books, with the deaths of Cedric Diggory and Sirius Black, but the murder of Dumbledore is so much larger, so much more impactful to the endgame of the narrative. Everyone blames themselves: McGonagall, who blames herself for fetching Snape when she heard the Death Eaters had gotten into Hogwarts. Ron, Neville, and Ginny who had been standing guard outside the Room of Requirement. Hermione and Luna had been outside Snape’s office when Flitwick ran to tell Snape the news. It is in this that Snape’s betrayal rings most poignantly, that no one thought they couldn’t trust him, and the anger wells up in the reader. How could he possibly come back from this? Do we want him to?

The other side of the coin of Dumbledore’s death is the great grief it brings. Death is natural and inevitable. It’s what we lose that’s sad: it is the knowledge that you’ll never create new experiences with the person who is gone, that your relationship will now be entirely one-sided.  In the world of Harry Potter everyone must come to terms with the fact that their greatest source or support, their own talisman in human form, is no longer with them. It is one more enormous loss for Harry, who has now lost both of his parents, his godfather, and his mentor.

While I feel this novel is a treatise on love as an engine for acting in a heroic manner, it does not preclude the fact that this is a book about a bunch of young adults. Romantic love shows up in a big way. Ron and Lavender, Bill and Fleur, Ron and Hermione, Harry and Ginny, Lupin (who is definitely a grownup) and Tonks. Your heart breaks when reluctant-to-be-loved Lupin says that Tonks deserves someone whole (something that must affect Harry’s decision to walk away from Ginny) and that now is not the time to be discussing this anyway, with Dumbledore dead. McGonagall disagrees, and delivers the line that started my tear-flow this time around.

“Dumbledore would have been happier than anybody to think that there was a little more love in the world.”

The book wraps up with Hermione’s news about the Half-Blood Prince. As is always the case, Hermione had been right all along – Eileen Prince was Snape’s mother, and he was proud of being half a Prince, the pure-blood side of this family. Harry still doesn’t understand why Dumbledore trusted him.

Our final event is Dumbledore’s funeral. Having attended more funerals than I care to think about, I thought Rowling handled the truth of the formality well. You go to have gone, but there is little comfort found in the ceremony.

Harry tells Ron and Hermione that even if they reopen Hogwarts, he won’t be coming back. Informing them that there are at least four more horcruxes, and that he has to destroy them if he has any hope of killing Voldemort. Ron says they’re coming with him, obviously, and Hermione agrees. Harry is shocked – and I don’t know if it’s because he was so wrapped up in his grief and anger, or how easily Ginny accepted that he could not stay in their relationship as it would put her in untold danger (which, still rubs me the wrong way more than a decade later if I’m honest. She’s in just as much danger by being a Weasley) or simply because he really did underestimate the depths of Ron and Hermione’s loyalty. I think he probably knew that if he asked them, they’d help him, but he didn’t think they would volunteer for this. Dumbledore knew the truth of these three when he instructed Harry to confide in them, and only them, at the beginning of their lessons together.

“You said to us once before,” said Hermione quietly, “that there was time to turn back if we wanted to. We’ve had time, haven’t we?”

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Harry has to go back to the Dursleys one last time, because it is where he will be safest until his birthday, but then he’s off. Ron points out that he also has to go to the Burrow for Bill and Fleur’s wedding. Harry had almost forgotten, but the thought of it calms him, and us.

“…there was still one last golden day of peace left to enjoy with Ron and Hermione.”

We’ll see how long that last golden day lasts soon enough.

 

As part of my series reread in the 20th anniversary year of the publication of The Sorcerer’s Stone, this review is preceded by The Order of the Phoenix and followed by The Deathly Hallows in October.

 

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

Harry Potter and the Prisoner of Azkaban (CBR9 #24)

As we’ve discussed before, I haven’t reread the Harry Potter books in over a decade. For Prisoner of Azkaban, that probably puts the last time around late 2003 or early 2004. This is where the darkness of my own timeline greatly affected my reading of the series, and the meaning I have pulled from the books over time. You see, my own dad passed away in 2003 and I had just been sent home from university for failing to maintain my grade point average, which was caused by the worst episode I’ve had to date of depression.

You all signed up for a personal review, right?

When I finally came out of the haze of profound depression and the immediate ramifications of the loss of my father, I was surrounded by the life I could still have, but it was no longer possible to have exactly the life I was on the path to before. I visualized it as a ball rolling down a hill, and as my ball of life headed down the hill, it had just hit an enormous boulder that prevented it from proceeding straight ahead. I could go back, I could go to either side, or I could go around and get where I was eventually going, but with some new terrain added in. This concept brought me a sense of peace. I imagined Harry in this story as experiencing the same kind of cataclysmic feelings. He could still be the Harry Potter who is building his life as a wizard with all of his new friends and found family, but following the events of Prisoner of Azkaban, it is impossible for him to get there in the way in which he thought he was going. A very large boulder (or several) was now in the way.

I do not know if I will ever be able to read this book through another lens.

Structurally Prisoner of Azkaban wastes not one drop of ink in its development. Everything is important, everything is linked, and the narrative is headed somewhere. This is still a book meant for a YA audience and its crisp, economic delivery of events is a positive, regardless of my feelings that it all comes together a smidge too neatly.

In traditional Potter plotting, Harry needs to get out of Privet Drive, but for the first time in the series he is the instigator of his own escape. In the previous books, Hagrid or the Weasleys have come to rescue him. In this book Harry inflates Mr. Dursley’s sister and takes off into the night to escape retribution. Through a bit of luck the Night Bus fetches our boy and gets him to Diagon Alley. During this time, Rowling is able to layer in the goings-on in the greater wizarding world while we’ve been away, including the escape of Sirius Black from Azkaban.

The reality of Azkaban is made all the more clear to us, following its introduction in Chamber of Secrets, as the Dementors attack the Hogwarts Express and Harry (and the reader) glimpse for the first time the power of these beings. It is also the introduction of the best Defense Against the Dark Arts teacher to grace the halls of Hogwarts during Harry’s time: one Professor Remus Lupin. The debates amongst the Weasleys to tell Harry about the link between himself and Sirius Black, and Lupin’s hesitation to introduce himself properly or tell Harry what the Dementors are when questioned on the train, feed into what Prisoner of Azkaban is about. By the time we rejoin the characters, this is no longer simply a story about a boy finding out he’s a wizard, this is becoming a narrative about learning to be an adult. Rowling, through the lens of Harry, Ron, and Hermione, is looking at how in our teenage years we all need to learn that the adults around us make mistakes and underestimate the young.

The year at Hogwarts follows the traditional school year, as much as any Potter book does. We trail  our main three as they endeavor on new courses as they prepare for the eventual O.W.L.S. in their fifth year (this is another time when having the Weasley Twins two years ahead of our main three serves to introduce the larger world of Hogwarts to the reader), Hermione is working herself to the bone, everyone fights because they are 13, and the Dementors seem hell bent on ruining Harry’s life including their part in the destruction of his precious Nimbus 2000. As time progresses we track Harry’s progression to defiant youth – he is now in possession of both the Maurader’s Map and the invisibility Cloak and not afraid to use them to get to Hogsmeade even though everyone warns him against it. He is also so typically teenage in that he does seek a way to protect himself, and not rely on others, against the Dementors. But, he also does it largely so that he doesn’t let down his fellow Quidditch team players again should the Dementors return to the pitch.

But with this we get the introduction of the last crucial piece of magical know how that will be in great use in later books: the Patronus. It seems hard to imagine now that this is the first time we’re introduced to such an important piece of the Potter lore. I don’t know that Rowling gets enough credit for the heartstrings she is able to pluck and pull with her creative endeavors. We get our first glimpse of it when the solution to fighting a boggart is to make it ridiculous so that you are able to laugh at it. We can fight our greatest fears through the power of laughter. But then, with the Patronus, Rowling expands this idea that our happiest memories, full of love are what we need to fight what sucks the joy from our lives. It is a nearly perfect analogy for depression (with chocolate being the substitute for SRIs and the like).

Is this book perfect? No. I struggled the first time with monologue after monologue that is the discovery of the truth of Peter Pettigrew in the Shrieking Shack and it was only marginally improved by the audio version and my memories of the movie. Also, the fighting between Hermione and Ron. I understand it, but having the two go through virtually the same arc for two books was tough. We go from how happy Ron and Harry both are to see Hermione return at the end of Chamber of Secrets to instant bickering and fighting about the animals. Sure, we needed to focus on Scabbers, but ugh. Generally, it drags a bit in the middle and the final few chapters contain so much information it can be hard to process all of it.

With all of these things happening, it seems there couldn’t possibly be more, but there is. The past is still very much with us (those boulders again), and adults are dumb because they don’t tell us things we ought to know. Which gets us to the next point that what Harry doesn’t know can hurt him. By attempting to shield Harry from the painful truth, the various adults in his life simply ensure that he will hear about events pertinent to his life in the backhanded and incomplete ways, he will be isolated with his newfound information, and continue to feel as though he cannot trust the adults in his life. The adults in his life who do not keep everyone in the loop cause Harry’s isolation, which will grow to be his true weakness and failure to reach out to others. This happens to us all throughout our lives; it is a harsh but necessary truth. As we see time and time again with Ron, Hermione, and Harry when we have knowledge we are able to more ably fight our battles, even when we lose (Buckbeak).giphy

As to the movie adaptation. While I personally missed a bit of fluff about the edges that the book did still offer (the extended Night Bus scene, the squid in the lake at Hogwarts), the movie is heading in an interesting direction, if slightly thin. We are moving away from the kid movies of Christopher Columbus and into more interesting and intricate fare with the addition of Alfonso Cuaron as director. This is the last movie produced by 1492 Productions, with things handed off to Warner Brothers starting with Goblet of Fire. In its way movie three is the beginning of the teenage phase, shaking off its own childhood. But in that, it is itself looses a lot of its own identity. Cuaron focuses on the physical settings of Hogwarts, grounding the audience, but the screenplay functions as a cliff’s notes as opposed to proper adaptation.

As with the book itself, my favorite section of the movie is (like Angry Dimples) Hermione and Harry re-playing the previous evening as spectators and sometimes participants. My affection for these forty minutes of screen time had erased over time my memory of how much Cuaron and screenwriter Steve Kloves carved out of the original story arc. Rowling’s vision for this sequence works so much better in the visual media, even if it is full of moments which leave fans annoyed (why can’t our heroes freeze Pettigrew? They did it to Neville in book 1!) We see practically no Quidditch, no House Cup, few classes, and no proper discussion of Hermione’s intense workload and Ron’s continuing concern about it.

Which brings me to perhaps my largest complaint about the book to movie adaptation problem: the Assassination of the Character of Ronald Weasley.

There are people who do not enjoy the character of Ron Weasley. I am not one of them. I love Ron, even when he is being a childish brat. Everyone is allowed to be a brat from time to time. The true measure of who we are, both in fictional realms and out here in the real world is how we learn and grow and pick ourselves up off the floor once we are done with our temper tantrums. Ron excels at the picking himself back up part.

I wrote extensively in my review of Chamber of Secrets about Rowling’s use of Ron v Draco, and by extension their families, to hammer home the theme. I also mentioned that one of Ron’s best lines was given to Hermione. In this adaptation when Professor Snape is subbing in for Professor Lupin, trying to drag the class to guess that Lupin is a werewolf, and being his terrible self (as usual) to Hermione, Ron is not given his defense of Hermione and instead speaks the childish answer that everyone thinks in the book. Even when they are fighting, even when he cannot stand her, she is his friend, he is loyal to her, and he will defend her. It goes for any of the other main people in his life. This is the Ron Weasley that we love, and it’s no wonder that only movie watchers don’t get always get him.

This is the only acceptable version of this scene, and I will not except any others.

But the movie does give us badass Hermione punching Draco in the face, so I will forgive it. Mostly.
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This book was read and reviewed as part of the charitable Cannonball Read.