Archive for the 'storytelling' Category

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Will Eisner: Graphic Novel Godfather, Dreamer

“Dreamers journey through life to a cadence all their own. They make decisions or enter undertakings that often seem naive and confounding to the pragmatists, who, in the end, thrive on opportunities set in motion by fantasy and imaginings. This is a story about a dreamer.” That’s how Will Eisner introduced his graphic novel The Dreamer. It also works as an introduction to the man himself.

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I enjoy reading graphic novels and comic books. They showcase some of the most inventive storytelling on the market, but I discovered Will Eisner only recently.  I don’t know what took me so long.

It’s not like he’s an obscure guy in the comics world. The Eisner Awards that recognize excellence in American comics are named after him, and his Contract with God and other Tenement Stories is widely considered to be one of the first graphic novels. Even if it wasn’t the very first, it helped to transform the juvenile world of comics into sophisticated adult reading, paving the way for Art Spiegelman’s Pulitzer Prize-winning graphic novel, Maus.

Eisner was working on his seminal comic series The Spirit in the 1940s when comics were starting to go out of fashion.  As Neil Gaiman writes in his introduction to The Best of the Spirit, “his contemporaries dreamed of getting out of the comics ghetto and into more lucrative and respectable places.” Not Will Eisner.

He was more interested in producing something great out of his passion than in pursuing what others considered reputable. I admire that.

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Make no mistake, Eisner is a master at what he does. Most comic books are written by one person and illustrated by another. Eisner does both in top-notch form.

Flip to a random page of his work and you’ll probably find panels with heightened, dynamic action next to carefully delineated portraits that reveal character. The equivalent of that would be a Jean Claude Van Damme type winning an Oscar for his layered performance as Mr. Darcy in Jane Austin’s beloved classic Pride and Prejudice.

Speaking of which, when Eisner isn’t illustrating his own stories, he is adapting material from classic texts. I was particularly impressed by his adaption of Moby Dick. Herman Melville’s novel took me weeks and weeks to finish. It’s worth the time, but it’s no easy read. In contrast, Eisner’s children’s book version is 32 pages, so I read it in less than an hour.

Moby Dick – Will Eisner, 2003

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Despite the dramatic difference in length, Eisner’s edition nails the essence of the story, with themes intact and everything. Impressive.

In previous posts, I’ve defended optimistic art because I don’t think it gets the respect it deserves. I like Eisner’s work, but he is no warrior for optimism like Cameron Crowe or Harry Potter. It is a darker world Eisner conveys full of shady underworld types, vicious wife beaters, and treacherous females. Justice shows up less and less in his later work, and when she does, it isn’t always pretty.

It has taken me some time to appreciate that kind of storytelling. My inclination is to offer some kind of hope. After all, don’t most people already have enough real-life experiences to sense that life is sometimes cruel and unfair? Why focus on that side of things? It is sort of like inviting company over to your house and then forcing them to stare at your unwashed toilet.

Choosing to clean the toilet does not take away from the reality that the toilet was once unclean. It just points to another reality, that you care enough about your guests to give them a more sanitary experience. Besides, the reality of the toilet does not negate all the other, more appealing parts of the house.

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Still, there is a place for stories that delve into the soiled corners.  Storytellers can, for example, depict violence in an exploitative way that fuels our basest instincts or they can search for the truth behind the violence. The first is reprehensible. The second is instructive and possibly a step closer to peace. Eisner does the latter by bestowing a sense of humanity even to his lowlifes.

There are some monsters in this world and many of them work in the entertainment business, ladies and gentlemen. Fortunately I have seen films like Robert Altman’s The Player, so I am not entirely caught off guard. That’s the value of Eisner’s  occasionally grimy stories: They warn of the dark things that humans are capable of doing. The prudent reader will observe and take caution, perhaps saving himself future grief.

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That’s not a new outlook. When I read The Federalist Papers I was surprised by how often the writers would suggest that a wise government is one designed to anticipate inevitable deficiencies of character. In contemporary political treatises, the notion of human fallibility has been whitewashed into politically correct platitudes, where citizens are mostly enlightened types (excluding, of course, those employed by corporations) who always act in the best interest of everyone involved.

Having lots of self-actualized types working to make things better for everyone sounds appealing, but history’s tragedies warn us that those in power aren’t always so noble.

Read enough Eisner and you might be less inclined to forget that humans have been, and still remain, creatures of light and shadow. Eisner offers enough examples of heroism so as not to dissuade us entirely from hoping for the best in others, but his work also reminds us to tread carefully just in case people don’t heed their better angels. After all, to err is human, or so they say. So they say.

In more conventional comic books, the bad guy meets his demise when the good guy gets him: Justice is serviced with a Pow! That kind of set up finds its way into Will Eisner’s stories as well, but sometimes the villain’s own vices do the deed.

New York Life in the Big City – Will Eisner, 2006

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In stories like “The Last Trolley,” “Martha & The Renaissance Primitive,” and “The Last Hand,”  the Spirit’s role is reduced to an observer. Basically all he has to do is show up and watch as the guilty ones self-destruct.

As a force for good, the Spirit’s mere presence tends to serve as catalyst for that destruction; His decency makes them so uncomfortable that they will do anything to escape it, including confession. Coming from a comic-book writer, that’s not too shabby an insight, don’t you think?

Eisner doesn’t flinch from depicting the dark side of human nature, but he still manages to suggest that the villains too have inherent value, that they too might be worth saving, if possible. Sometimes he allows the bad guys little endearing or comedic moments. Other times, like in “Christmas Spirit of 1948” or “Satin,” Eisner makes us despise someone at first but then turns the tables and asks us to sympathize.

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In Contract with God and other Tenement Stories,  Eisner doesn’t clearly portray his characters as being good or evil. That way we’re more sympathetic when something unfortunate happens to someone who may have done bad things.

I suggested earlier that Eisner brought respectability to the once lowly art form of comics. That’s actually not a bad way to frame his artistic sensibilities as well. He likes to take lowly, unappealing subjects and give them dignity.

In the hands of lesser artists, The Spirit could have easily become another pulpy detective-hero story. Eisner turned it into a compelling, psychologically astute series, one that allows f0r the occasional intrusion of supernatural mystery.

In his New York Life in the Big City graphic novel, he gives the city’s underbelly a poetic quality, and my guess is that his inclination to bring dignity to the ugly things influenced his decision to tackle The Princess and the Frog.

Then there is Eisner’s Fagin the Jew. In it, he retells Oliver Twist from the perspective of Fagin. Fagin is still a villain who tries to lead little Oliver astray, but we discover that his childhood was very similar to Oliver’s. Fagin too was abandoned at a young age. Fagin too is given a fortuitous opportunity to get established within respectable society, but there was just one small problem.

You see Fagin was a Jew, and back then respectable society didn’t take too kindly to Jews. And so, all of Fagin’s legitimate efforts to advance himself are thwarted. To survive he is forced into a life of crime.

Fagin the Jew – Will Eisner, 2003

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Oh, those respectable societies back then. They were quite adept at saying the right things, but how different things would have been if they had actually lived up to their stirring rhetoric. But anyway, things were very different back then. Now days, well now days, respectable society is a whole new breed, very modern, very reformed, or so they say. So they say.

At first glance, some of Eisner’s stories seem a little bleaker than I’d prefer. In the stories themselves, justice isn’t always served. The stories with a hero end happily, but sometimes there is no hero who steps up to do the right thing.  That leads to tragedies great and small, but that’s not the end of it.

Someone did observe the wrongs, the injustices that crippled the characters in Eisner’s stories. There was a hero lurking in the shadows after all. His name was Will Eisner.

Will Eisner, 1982

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He used his consummate skills to entertain, yes, but also to tell the truth. He saw wrongs that needed to be righted, and he did something about them, bringing the sordid spots into the light where they are easier to clean. Read his work and maybe, just maybe, you’ll be a little bit more inclined to help in the cleaning.

If cleaning doesn’t sound all that appealing, well maybe you should still go ahead and take that shower anyway. I’ll appreciate it, and so will Procter & Gamble or whoever else supplies your personal hygiene products. Thank you very much.

After you’ve done that, please consider the words of Einstein, “The world is a dangerous place. Not because of the people who are evil, but because of the people who don’t do anything about it.” So smart, that Einstein.

There aren’t many real heroes in the world, and I don’t want to dilute the word’s meaning by using it to describe someone who is merely talented at what he does, but Will Eisner is the real deal.

 

The last book Eisner produced before he died was Plot: The Secret Story of the Protocols of the Elders of Zion. Published in 2005, it is the culmination of more than 20 years of Eisner’s research, and it tells the true story of one of history’s most infamous forgeries.

The Protocols of the Elders of Zion has been used throughout the world to spread hatred of the Jews. The KKK distributed it. Hitler cited it as a key influence, and Muslim radicals still reference it as a factual source, even though it has been categorically refuted by countless historians.

Ask the local occupier scene kids, the supposed 99 percent,  if they have heard of The Protocols of the Elders of Zion. I bet many have. I bet some will claim that it reveals the truth about the Jews in power. That’s been my experience talking with some of them, anyway. How appalling that the old lies are still very much alive and well, but how encouraging that Eisner spent so much time and effort trying to refute them.

Protocols of the Elders of Zion – French edition, 1934

 

Eisner admits that Plot required more research than any other story that he produced, and the research is evident in the historical sources he references to prove the forgery.

Interestingly enough, The Protocols of the Elders of Zion, that evil document which has done an inconceivable amount of damage to the world for over a hundred years, was the work of just one man. That’s how evil tends to operate. It has taken a community of decent, diligent folks like Will Eisner to slowly repair the damage. That’s how goodness tends to operate.

I’m not trying to take anything away from Eisner’s remarkable body of work, but I consider Plot: The Secret Story of the Protocols of the Elders of Zion to be his most important work. Eisner was a practicing Jew throughout his life, so it is not inappropriate, I think, to say that Plot is his strongest contribution to tikkun olam. That’s a Hebrew phrase for “repairing of the world.”

As fate would have it, the true story that inspired Eisner’s first graphic novel made the last one possible. In later interviews, Eisner admitted that the premature death of his own daughter led him to write Contract with God. In that story, a good man undergoes a crisis of faith and becomes jaded when his adopted daughter dies at an early age. He sees her death as a senseless injustice, and it becomes the defining tragedy of his life.

Contract with God – Will Eisner, 1978

 

Had Will Eisner’s own daughter not died in a seemingly unfair manner, then he would have been far less aware of the ongoing injustices around him. Without that tragic experience, I doubt that Eisner would have found the resilience to take on the ongoing injustices perpetuated by the Protocols of the Elders of Zion.

Contract with God is a story written out of anger, but still Eisner allows for the possibility that there is a bigger purpose behind the seeming unfairness of the tragedy. At the end of the story, a young man comes across the original contract with God, and he vows to honor it. The story ends before we learn what becomes of that young man. Eisner himself didn’t yet know where his own tragedy would lead him, so his ending parallels his own outlook at the time.

I don’t know what it is like to lose a child, but I have my own reasons to be angry at God. It is one thing to sense that you are asked to help a cute, vulnerable baby. It is quite another thing to sense that you are being asked to help someone you consider, at times, to be a hypocritical monstrosity, a glorified product, a creature who lives a life of privilege but has done everything possible to hurt you.

I’ve tried to avoid that fate, but it is not as easy as you might think. Go ask Jonah if you want a second opinion on that.

To be fair, when I am tempted to focus for too long on the monstrous deeds of others, I am reminded of the horrible things I too have done. I too can be just as monstrous if I’m left to my own devices, but I don’t wish to be left.

That desire to become something better than what I’ve been allows a greater good to guide my steps. It is the source behind my optimism, behind my perseverance. I call that God.

Be that as it may, it is not my fault that the person in question is screwed up. I had nothing to do with it. Besides, I’ve done the best I could and it was not enough, and I have my own issues. It feels like I’m fighting windmills, and I’m getting tired of that feeling.

 

Speaking of which, Eisner also illustrated Don Quixote. His version is called the Last Knight. Eisner sees Don Quixote as another dreamer who endured mockery and bravely fought for something more noble than the reality at hand.

Still, Don Quixote appears foolish when he is the only one who sees the world a certain way. It’s when others buy into the merit of seeing the world as it should be and not as it is,  when they too dare to dream the impossible dream, that Don Quixote  stops looking so foolish.

Come to think of it, he starts to look more like King Arthur. Really, the main differences between Don Quixote and King Arthur can be explained away by their companions. Don Quixote had only Sancho Panza. Arthur had all the Knights of the Roundtable plus Merlin the Magician. Truly, optimism is a team sport, ladies and gentlemen.

I want to believe in the best in people. I want to believe in tikkun olam. It was the optimistic films that got me interested in filmmaking, not films like Chinatown, in spite of what all the screenwriting books might suggest.

(Has there ever been a screenwriting book worth its weight that did not include page upon compelling page of in-depth analysis on Chinatown? I get it. Chinatown is a great film, but so is It’s a Wonderful Life, and that doesn’t get anywhere near the amount of ink. Why is that?)

New York: A Life in the Big City – Will Eisner, 2006

 

Here’s the thing though: pursuing a film career has threatened my capacity to sustain a sense of optimism, the very thing that got me interested in filmmaking in the first place. I don’t know that I can sustain my efforts much longer. There is only so much heartache I can take without seeing progress, and the last few weeks have been some of the most discouraging moments of my life.

This time, I can’t turn it into a happy ending without your help, ladies and gentlemen.

I’ve already done a write-up on director Frank Capra, the director responsible for It’s a Wonderful Life, but allow me to close by mentioning him again. He’s one of my favorite artists, so I hope Will Eisner won’t hold it against me too much.

According to some biographers, young Frank Capra was a bit of huckster, a conman even, the sort of struggling rogue Will Eisner might have featured in his stories. Capra grew up poor in the mean Italian ghettos of Los Angeles, so that doesn’t seem implausible. Consider too that his films like Meet John Doe and Mr. Smith Goes to Washington showcase men who first discover themselves to be  phonies before they decide to stand for something.

The biographers suggest that at the start of his film career Capra came close to leaving town  with other people’s money, money that was meant to fund Capra’s early films. Had he done that, Capra would have killed his chances at becoming an established filmmaker, and he would have never made the films that inspired so many people. For some reason though, he stayed.

There is speculation that he stayed because of a mysterious stranger to whom Capra repeatedly alluded. In his autobiography, Capra does not name the man but credits him with reawakening his conscience at key moments of his life. For whatever reason that stranger took interest in Capra and helped him do the right thing, and for that reason he may have been the determining variable that allowed Frank Capra’s life to start as an Eisner illustration and end as a Capra film.

Tikkun olam only happens if enough people want it to happen, help it to happen. Do you want it to happen? The ending of it all will depend on your answer. Choose wisely, my friends.

 

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The Spooky Goodness of Harry Potter: A Tribute

It’s that time of year again when witches roam the streets, so now’s as good of a time as any to a revisit the most famous student at Hogwarts School of Witchcraft and Wizardry. I know a lot has already been written about the Harry Potter series, but I still hope you’ll stick around.

I re-read all the books and re-watched all the movies and a few of the documentaries so that I could give you more depth than a typical review allows. That means I’ll be discussing plot points, which is why I suggest that you read this only after reading all the Harry Potter books or watching all the films. If you really must read this now, well I can understand the enthusiasm, but just don’t say I didn’t warn you.

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I wanted to understand how a seemingly simple children’s book, dismissed by smarty-pants critics like Harold Bloom, became a groundbreaking worldwide phenomenon that has spawned, among other things, an amusement park, a new genre of music called wizard rock, and the most successful movie franchise of all time.

Plus, it was an excuse to return to the Harry Potter world, one I quite enjoy in spite of the condescending looks I get from the occasional disapproving librarian. Hey lady, reading Harry Potter keeps me off the streets, so be grateful, OK.

Let’s not be too hard on our librarian friend though. After all, It’s not just the librarians who scoff when people my age read Harry Potter. Most self-respecting (and by self-respecting I mean pompous) critics would be appalled by the mere suggestion that something of merit, of substance, and depth would come from a children’s book.

Generally, children’s stories are not awarded prestigious literary awards. Instead, those awards go to people like Philip Roth and Don DeLillo.

The Head Ache – George Cruikshank, 1819

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In case you lack the unique experience of reading a Philip Roth book, allow me to reduce his books, at least those I’ve read, into one compact sentence: The main character, inevitably a man, inevitably a Philip Roth doppelgänger, is a corroding soul obsessed with death and sex who searches for new ways to infect others with those obsessions. Come to think of it, without the sex he sounds kind of like Lord Voldemort.

As to Don DeLillo, I attempted to read just one of his books. Early in Chapter 1, there was a certain sex act described in excessive detail. Again folks, that was in Chapter 1, not 6, not 12, not 24. Chapter 1.

With all due respect to the literary genius of Mr. DeLillo, let me just politely suggest that if you have to start your story with an explicit sex scene to sustain interest or … I don’t know … to convey metaphor, maybe that means you suck as a writer.

I did not finish that DeLillo book, but I’m sure that if I had, I would have found it very profound, very apropos to the human condition. Or something.

Little Red Riding Hood – Walter Crane, 1875

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That just goes to show that more awards should be given to writers like Mr. Roth and Mr. DeLillo who are worthy of accolades, not to schlocky authors like J. K. Rowling who pen children’s stories for simpletons. Isn’t that so, Mr. Bloom?

Well, for a children’s series, the Harry Potter books do reference some rather sophisticated material. There’s alchemy for one thing.

My Book House illustration – Donn P. Crane, 1900s

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Alchemy, as you may recall, started as a medieval discipline, in which alchemists sought to transmogrify base metals into gold. Philosophers and theologians of the era expounded on the subject, seeing it as a soul-purifying process meant to prepare a person for union with God.

This isn’t just an arcane topic briefly referenced in the Harry Potter books. It has been a central part of the story from the start. The British version of the first Harry Potter book was called Harry Potter and the Philosopher’s Stone, and the philosopher’s stone was considered to be an essential ingredient in the alchemy process. (The title was changed to the Sorcerer’s Stone to make the book more accessible to the U.S. market.)

Nicholas Flamel engraving – 1800s

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J. K. Rowling even weaves Nicholas Flamel, a historical figure tied to the alchemist tradition, into the story; Dumbledore mentions him when he explains the power of the Sorcerer’s Stone to Harry.

As it turns out, there are seven steps to the alchemy process and seven books in the Harry Potter series, so some commentators have suggested that each book correlates somehow with each step. To read more about that, then check out  (affiliate link) How Harry Cast His Spell: The Meaning Behind the Mania for J. K. Rowling’s Bestselling Books.

Rowling is referencing more than alchemy though. As our boy Harold Bloom points out, the Harry Potter books draw from the British boarding school stories made popular by Thomas Hughes’s novel Tom Brown’s Schooldays. Other influences Rowling has sited include Jane Austin, E. Nesbit, and Peter S. Beagle’s Last Unicorn.

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If you visit http://www.jkrowling.com and go to the links section, you’ll spot a few more books. The site does not claim that these books helped shape the Harry Potter universe, but it is not hard to make the connections. Rowling’s panache at naming brings to mind the whimsy of Charles Dickens. Wuthering Heights gives context to the Severus and Lilly relationship. Animal Farm paved the way for using cartoon-like fantasy to explore serious political issues. Etc.

I don’t have time to get into all the mythology behind the series, but let me mention two strong influences in more detail. They’ve both significantly affected my take on Harry Potter.

First at bat are the Arthurian legends. Like King Arthur, Harry was taken from his home at a young age by a wizard who oversees his education and guides him into a higher purpose. It’s no coincidence that Dumbledore is affiliated with the Order of Merlin, ladies and gentlemen.

What I’m going to do next is give you all a quick refresher on King Arthur, even though doing so is not necessarily part of my mission statement. Regardless, I’d like to think that giving back is a large part of what we do here at the nsavides blog, and when I say we, I mean myself and the young elves, goblins, and other magical creatures who have just started their apprenticeships with me.

I know I can’t offer the full Hogwarts experience, but not everyone gets accepted there. Even if you didn’t, you should still have options for advancement, and I’m really excited about the opportunities I CAN offer to magical creatures. Soon I should have a brochure available for downloading which will nicely illustrate all the benefits. So you know, mention it to your house-elves or something.

Sorry for the interruption folks, but this blog would not be possible without the generous donations of our sponsors.

Anyway. Arthur was chosen to rule over Camelot, a kingdom sustained by magic and meant to be a sort of Kingdom of Heaven here on earth. Sex, tainted by dark magic, broke the spell and caused Camelot to crumble into pestilence, and so the Knights of the Round Table went on a quest in search of the Holy Grail, the only mystical object that could bring healing to the land.

A vision of the Holy Grail. French Manuscript, 15th century

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In comparison, Harry matures in a land already corrupted. The leaders in power, both at the Ministry of Magic and in the Muggle world are power-hungry, incompetent, or tainted by dark magic. In his quest to destroy Voldemort, Harry discovers the magical objects he needs to bring healing to the land. It is not a perfect fit, but there are similarities.

Oh, and one of Dumbledore’s middle names—the man has more middle names than most of have cars—is Percival. You know who else was named Percival? One of the few Knights of the Round Table who lived to see the Holy Grail. Hmm.

Next up is Tolkien. Some have suggested that Joanne Rowling picked the J. K. Rowling moniker as an homage to J. R. R. Tolkien. The stories do suggest that Tolkien was more than just a passing influence. Just like in Lord of the Rings, friendship is a crucial part of Harry’s success. In every single book, Harry succeeds or survives because of his friendship with Ron and Hermione.

In contrast, Voldemort is repeatedly set up as a loner who trusts no one. He was once an attractive youth named Tom Riddle, but much like Gollum, he chose power over companionship, and in so choosing he grew into a deformed version of his former self. As Dumbledore explains in the Half-Blood Prince, “Lord Voldemort has never had a friend, nor do I believe that he has ever wanted one.”

Punch and Judy – George Cruikshank, 1860

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In the later books, Tolkien’s shadow grows more apparent. Tolkien links Frodo’s progress in his quest directly to the strength of his friendships, and we see a variation of that with Harry and Co.

In spite of the help that he gets from his friends, Harry would not have succeeded in his quest had he not been gracious to Dobby, Peter Pettigrew, and Kreacher, all of whom tried to harm him. On that one, think Frodo’s kindness to an undeserving Gollum. Then there are the Horcruxes which have wills of their own and corrupting effects on those who carry them just like the One Ring of Power.

Legends of Charlemagne – N. C. Wyeth, 1924

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Speaking of Horcruxes, Voldemort sure is hard to kill, isn’t he? That’s generally how it goes when you’re fighting evil. You cut off one hydra head and two more pop up. You go through a whole ordeal to blow up the Death Star only to learn that the Emperor has just finished building a more powerful one. Dang it! Persistence is key when battling the dark side. That much is clear.

Now that we’ve looked at some of the influences on Harry Potter, let’s explore the books themselves. When Harry faces the spirit of Voldemort for the first time in Book 1, Voldemort taunts Harry by saying, “There is no good or evil; only power and those too weak to seek it.” Unwavering in his allegiance to goodness, Harry prevails, but that confrontation sets up the central conflict that will escalate until the end.

If existence is merely about obtaining power, as Voldemort or some modern philosophers claim, then Rowling is just doing fancy footwork to get her fair share of it. Suppose that were true, isn’t it a little odd for a children’s author to become more powerful than academia’s best and brightest?  Aren’t children supposed to be the least powerful of the species in a strictly evolutionary context?

The Alphabet of Old Friends – Walter Crane, 1874

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If you see good and evil as mere constructs, then it is easier to dismiss the Harry Potter stories as pure fantasy, imaginative perhaps, but obviously not as accurate about life as say a Philip Roth novel. If you believe in the reality of good and evil though, well that changes things.

Then maybe Rowling is using her fiction to provide a kind of roadmap to those of us who’d like to see goodness prevail, not just in stories, but in the real world as well.

In that case, the series might feel more like it’s based on a true story.  Madeleine L’engle, author of A Wrinkle in Time says it better. (Yeah that’s another children’s writer, Mr. Bloom. Put that into your reading initiative and drink it.) “If it holds no truth then it cannot truly be a story,” she writes in Walking on Water, her reflections on faith and art.

Take the Sorting Hat for example. As a reminder, it’s the talking witch hat that makes house assignments based on what it senses about a student. I believe the Sorting Hat actually exists in the real world, at least in some form. Allow me a story to explain.

The Sorting Hat

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A few years I was in court facing a potential reckless driving charge.  Frustrated by all the things that were going wrong, I went to court angry, planning to question the police officer’s conclusions and professional capacities.  I won a few debate tournaments in high school, and I was going to become a lawyer at one point, so I figured I had a fighting chance.

Then this calming voice prodded me to just tell the truth.  Doing so would be worth it in the long term, the voice whispered.  It sounded a lot like my voice, but I was too angry to consider that option on my own.

Reflecting on the matter, I didn’t expect the truth to improve my situation, but I became aware of how much I admired honesty in others, so I reluctantly agreed. Within seconds of making that decision, the judge who was handling my case got replaced for some reason.

Later, I learned that the judge who was supposed to hear my case was a tough taskmaster, the very sort who would not respond well to argumentative defendants. The judge I got was more lenient.

I explained to him that I was driving late at night, that I didn’t see the last speed limit sign, and that a mechanic found my speedometer out of alignment by a few miles. I can’t remember how many miles it was, but it was not much.

All those details were true. Still, a hardliner judge would not have been swayed by that information. My judge was. He reduced the charge to a speeding violation.

Had I gotten convicted of reckless driving, my license would have been suspended. As a result, I probably would not have gotten the job that brought much-needed stability to my life. To this day, I believe the circumstances worked out as they did because I made a decision to tell the truth. Noticing that, perhaps the cosmic sorting hat made adjustments accordingly.

The Mysterious Stranger illustration – N. C. Wyeth, 1916

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Even Harry’s scar, the one that welds him to Voldemort’s spirit and causes him pain, does not seem so farfetched. I don’t know how to say this without sounding crazy, but it is true, so here goes: My upper body burns in an uncomfortable way when a certain person I know is in trouble.

I don’t know why that is, and on some days I’ve tried to make it go away with enough alcohol, but that’s only a temporary fix, and it tends to make things worse in the long term. I don’t know that I could have made sense of something like that without the Harry Potter series.

Moving on. While the battle between good and evil is at the heart of the Harry Potter series, the representations of each are not always what we expect. That’s how it should be. After all, discerning between good and evil can be a rather complicated matter.

The Cholic – George Cruikshank, 1819

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In the Sorcerer’s Stone, we’re made to think that Professor Severus Snape is the bad guy. It seems so obvious: He’s the oily one dressed in black and the most belligerent of teachers, at least to Potter. The bad guy though is actually the bumbling, stuttering Professor Quirrell. In spite of his disdain for Harry, Snape uses his magic to save Harry’s life.

Wait. The character we feel sorry for is the villain, and the unlikeable one saved the day? That’s odd. Aren’t the good guys supposed to be shiny and beautiful? Well no, at least not in the Harry Potter universe.

Consider Neville Longbottom. He’s the struggling student who is usually seen stumbling or otherwise causing accidents. Not exactly one of Hogwart’s finest, or so it seems, and yet he is the one who destroys the last Horcrux, allowing Harry to obliterate Voldemort. It’s like they say, that deaf, dumb and blind kid sure plays a mean pinball.

In Book 2 we are introduced to Gilderoy Lockhart. What a character that Gilderoy. Props to the guy for uttering one of my favorite lines in the series, “Celebrity is as celebrity does.”

That’s his best advice to Harry. What inspired insight!

Actually, it sounds initially like inspired insight, but on closer inspection it reveals itself to be so very vapid, so very celebrity like.

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Like many a celebrity, Gilderoy Lockhart is content to look good from a distance, to sign autographs and make a show of battling evil, but when he has a chance to actually do something consequential, to actually battle evil, he reveals himself to be a coward and a hypocrite. Truly, all that glitters isn’t always gold.

Seeing Harry Potter as a like-minded celebrity, Gilderoy tries to seduce him away from his quest to defeat Voldemort. Potter could have easily capitalized on his name recognition and lived a comfortable existence, letting someone else worry about Voldemort.

As Dumbledore would later frame the dilemma in the Goblet of Fire, Harry had to choose “between what is right and what is easy.” Because Harry chose to do what is right, thousands, if not millions, of people are freed from Voldemort’s malicious reign by the end of the series.

That’s important. Harry Potter CHOSE to do what was right. That’s what distinguishes him from Gilderoy Lockheart. By the time he met Lockhart, Harry had already become known as “famous Harry Potter.” Many of fame’s trappings that Gilderoy cherished were starting to arrive for Harry as well. Lockhart even points this out to Harry.

Speaking of which, it is not unusual for the villain and the hero of a story to share common characteristics. In lesser fiction, the villain will tell the hero this, right before an overly dramatic fight at an overly dramatic location where there are, in best-case scenarios, lots of explosions happening in the background. It will go something like this:

Villain: “You and I are very much alike.”

Hero: “You’re wrong, I will never be like you.”

Villain: “Well then, you must die!”

Hero: “No you must die!”

Boom. Lightning. Thunder. Karate kick. Boom. Lightning. Punch. Kick. Gasp. Thunder. Boom. Boom. Karate chop. Wow! Sparkles.

Through the Looking Glass – John Tenniel, 1870

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In Rowling’s version, the difference is that Harry Potter himself can see the similarities. He disdains Lockhart but recognizes his own growing celebrity status. Not wanting to become another Gilderoy Lockheart, he chooses not to be defined by fame.

Harry is also well aware of how similar he is to Lord Voldemort. Both of them were orphans who had difficult childhoods. Both can speak Parseltongue,  the language of the snakes, and both of them were drawn to wands made from the same Phoenix.

When he learns these things, Harry becomes uncertain about his own true nature. Nor has he forgotten that the Sorting Hat almost put him into the Slytherin house, the house of Lord Voldemort, until Harry silently wished not to be sent there.

The connection expands in Chamber of Secrets as Harry realizes that he tried to withhold information from Dumbledore almost exactly as young Voldemort had done. It gets worse in the Order of the Pheonix.

Harry is at his most unlikeable in that book. He taunts Dudley and challenges him to a fight just to make himself feel better. A trained wizard against an unarmed kid is not exactly a fair fight, and Harry comes off as a bit of a bully.

The Mysterious Stranger illustration – N. C. Wyeth, 1916

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Harry’s also sarcastic in class and rude to his friends. At one point, under the influence of Lord Voldemort, Harry has an intense desire to attack Dumbledore, but he does not give in to that temptation. Realizing that he is just a moment’s weakness away from turning wicked helps Harry retain his decency.

Later in the book, we see Harry’s father, James Potter, also acting badly.  Through Snape’s memories, Harry sees his father humiliating Snape just to be mean. Up to this point Harry had known only of the good things that James had done, so this new revolution knocks his world out of kilter.

Harry has a similar reaction when he learns more about Dumbledore’s past in Book 7. It turns out that Dumbledore had Muggle-hating family and that he once saw magic as a means to power. Devastated to learn as much, Harry wonders if he was wrong to admire Dumbledore and follow his lead.

Eventually Harry’s faith in Dumbledore and James is restored. They had their faults, but both of them proved themselves through their collective actions.

For Rowling, questioning even the merits of loved ones who seem beyond reproach is necessary when distinguishing between good and evil. Dumbledore once said as much: “It takes a great deal of bravery to stand up to your enemies, but a great deal more to stand up to your friends.”

My Book House illustration – Donn P. Crane, 1900s

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That sensibility affects how the kids deal with authority. In every single book, Harry and company are breaking rules somehow, but they’re not doing so just to be defiant. They’re usually aiming for a greater good. Harry defies even the Ministry of Magic for that reason.

Through Harry’s example, Rowling shows us how to stand for something even when government stands in opposition, and there are a surprising number of issues that Rowling weaves into her children’s books.

It’s not hard to read the Ministry’s use of dementors as a comment on torture used by governments in the name of keeping people safe.  Rowling also explores racism, identity crisis, class struggles, and labor issues.

My politics are a little different than hers. Still, I’m glad that J. K. Rowling is encouraging her readers to defy authority when necessary and defend what is right.

Just as Rowling wants us to question seeming goodness, she also aims to subvert our expectations of evil. Prior to Harry Potter, witches were not exactly getting lots of positive press. Nor were werewolves, come to think of it, but Rowling gives both types the star treatment.

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Draco Malfoy is another example of subverted expectations. In the first five books, he is set up as an entirely unsympathetic character. That’s why it is such a shock to find him crying in the Half Blood Prince.

We no longer see him as a caricature of evil but as a real person overwhelmed by the dark consequences of his actions. As the series ends, Draco further reveals his humanity when he hesitates to confirm that the captured prisoners are indeed Harry, Ron and Hermione.

Rowling gives sympathetic moments even to Lord Voldemort. At first we see him as this almost omnipotent evil force. As his story unfolds, we discover that he was once an accomplished, but arrogant, student, and before that he was a neglected orphan without friends. When the monster is unmasked, we see but a person gone sour over time.

“Of house-elves and children’s tales, of love, loyalty, and innocence, Voldemort knows and understands nothing.” By the time Dumbledore explains this to Harry, a part of me wants to see things work out even for Voldemort. In fact, Harry offers him a chance for redemption, but he refuses it.

If you’re paying attention, you may have noticed that we’ve talked about good and evil, but we haven’t yet addressed how Harry prevails. A nice observation, whoever you are. Ten points for Gryffindor!

The Lady and the Unicorn tapestry: Desire, 1400s

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Before we get there, let me mention two brief criticisms. First, the Time-Turner. If the kids could use it to save Sirius Black, why couldn’t they also use it to, I don’t know, prevent the rebirth of Voldemort and save everyone loads and loads of trouble?

I know. I know. Time travel is tricky to get right. In recent years, only one show comes to mind that really nailed it, and of course I’m thinking of Adam Sandler’s Click. Got to tell you, I’m eagerly anticipating the Criterion Collection release for that puppy. (OK, maybe not.)

My second grievance involves the announcement about Dumbledore’s sexual orientation. To be clear, I don’t take issue with Dumbledore being gay. Plato’s philosophy books are ones I greatly admire, and that includes Symposium, a book which makes recurring references to homosexuality.

With that said, if you want to take on a complicated issue in your art, go right ahead, but please don’t try to work it in after the fact. I would be equally annoyed if J. R. R. Tolkien revealed in his will that Gandolf was most certainly against Keynsian economics or if the estate of Lord Alfred Tennyson declared that the Lady of Shalott was clearly a pro-life activist ahead of her time.

Lady of Shalott – John William Waterhouse, 1888

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I do not believe for one moment that J. K. Rowling accidentally disclosed the sexual orientation of a central character at a Q & A event. As proved by the success of the Harry Potter series and the scarcity of leaks about the finale, Rowling has grown exceptionally skilled at managing the release of information. But at one Q & A, she just lets the info slip as if caught off guard after having a few too many Butterbeers? I don’t think so.

Thanks, no doubt, to Rowling’s outing of Dumbledore, Sesame Street faced mounting pressure to out Bert and Ernie. Bringing some sanity to the discussion, the folks at Sesame Street responded with this statement, “Bert and Ernie are best friends. They were created to teach preschoolers that people can be good friends with those who are very different from themselves. Even though they are identified as male characters and possess many human traits and characteristics (as most Sesame Street Muppets™ do), they remain puppets, and do not have a sexual orientation.”

You’re better than that, JK.

Anyway, back to Harry Potter. What exactly is his strength? How does he prevail over power-hungry Voldemort? Hercules conquered through strength, Odysseus through cunning, Siegfried through courage, but Harry?

Harry Potter conquers through love, and we’re not talking the hipsters-with-hashtags variety. No. He is the boy who lives because of the sacrificial love of his parents, of his friends.

Arthur Draws Sword from the Stone – Walter Crane, 1911

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Love that comes at a price is the most powerful kind of magic, and all along Dumbledore has been trying to teach Harry as much. It is the very love that Harry learns to wield because others first wielded it on his behalf. How extraordinary for a hero to conquer with such a sword.

You know, that sounds familiar somehow. A sacrificial love that conquers death. Where have I heard that before? Where? Where? Where? Oh yeah. Christianity. Interesting. As as it turns out, JK Rowling is actually a Christian. Weird.

Vintage Christmas card

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Wait, there is one other demonstration of sacrificial love that I failed to mention. That of Severus Snape. In spite of his seeming betrayal of Dumbledore, it turns out that he was one of the good guys after all. Treated badly as a child, Severus wandered into the dark arts, but it was the love of Lilly Potter that brought him back, the love that compelled him to keep Harry alive, the love for which he sacrificed his life.

Yeah, Severus Snape is the character with whom I most identify. In school, I was never the popular kid or the guy who always won at sports like Harry does. I was the guy who was teased year after year, at least until I got better at defending myself.

One time at camp, kids threw shoes at me while I tried to sleep. They thought it was funny, but I wanted to die. That kind of treatment made me angry, and I did some bad things as I grew up. I didn’t know how to deal with the anger any other way.

Now I’m trying to do something positive with my life. Sometimes it’s a challenge to stay focused on that and not get distracted by the people who have done me wrong. It helps that the Harry Potter series shows how it’s done. After all, if Harry can maintain his innocence and be gracious to the one who killed his parents, why can’t I let go of past hurts?

When I read the Harry Potter books or watch the movies, I am encouraged to fight the good fight. That doesn’t happen when I read critically acclaimed books by Philip Roth or watch critically acclaimed films like Drive.

Sure, Drive features some solid performances, but it also has a buffet full of inhuman savagery. There’s one scene where Ryan Gosling’s character gets ready to pound a man’s skull in with a hammer while topless girls watch in silence. Sex and death. That’s badass, yo. I bet Philip Roth would enjoy that.

Not so much me. If that’s the alternative, I’d rather stick to children’s books.   The Harry Potter series doesn’t lack sophistication. It’s just that some adults have gotten so corrupted by power and sex that they can no longer understand the wisdom of innocence.

The Boy’s King Arthur – N. C. Wyeth 1922

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Sex ruined Camelot, but I’d like to see it return. I’m not entirely sure, but I think that Harry Potter points the way back: It’ll take courage, innocence, and love. Above all things love.

Steven King allows Harry Potter a cameo in his Dark Tower saga, and he has passionately defended the series. Unlike some of his literati compadres, he’s not too cool for school. (Of course, by school I mean Hogwarts. That’s a pun, yes.) So, I’ll give him the last words. This comes from his Entertainment Weekly writeup about the series:

“J.K. Rowling has set the standard: It’s a high one, and God bless her for it.”

LINKS
exit music: A little wizard rock to hum on the ride home. Do it! Rock it!

fxguide: They’ve done some of the best coverage I’ve read and heard on the effects work behind the Harry Potter films.

Harry Potter wiki: A comprehensive encyclopedia of all things Harry Potter, largely maintained by an impressive number of fans.

Pottermore: An immersive multimedia experience brought to you by J. K. Rowling. Currently in beta.

Secrets of Harry Potter podcast: An in-depth discussion about the symbols, history, and literary references of the series.

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