Harry Potter and the Deathly Hallows Cover Art & Thoughts On Contemporary Myths

Harry Potter and the Deathly Hallows

Get all the details and see other images (including the UK covers with blurbs) at The Leaky Cauldron.

I am certainly looking forward to the release of this book. I bought a “Trust Snape” shirt to wear a few times during the next few months and for when I go to the midnight opening at Barnes & Noble (and probably at the Order of the Phoenix movie opening as well). That random people will understand the shirt’s meaning more clearly than most political slogans I could slap onto a t-shirt is a testament to the cultural significance that this story has.

One of the things that we often forget about the stories that are taking on a mythological significance in contemporary popular culture is that the current generation is mostly used to adapted stories. Anyone born after the original Star Wars trilogy will have been teenagers during the rise of comic-book adaptation films, The Lord of the Rings films, the disappointing return of Star Wars, etc. There are very few big mythic event films and stories that are original. The Matrix came close, but the overblown sequels squelched whatever power it had. When we went to see the Rings films, we did not need to ask “Will Frodo destroy the ring?” We knew. And if we didn’t know, we could read the book or ask someone who had. The big deal was seeing how Jackson could bring the story to life. The same thing with movies like Batman Begins, the Spiderman films, and the X-Men films. And even though the Star Wars prequels were original stories, we knew where everything was headed; the question was, again, “how?”

Not so with Harry Potter. Read the rest of this entry »

The Golden Compass Promotional Footage and On the Issue of God and Religion in the His Dark Materials Films (Updated)

Here is a first look at footage from the upcoming adaptation of Pullman’s first His Dark Materials book.

There are many things that look promising about the film, but I’d like to say something about the theme of religion and fundamentalism in the series. A little over two years ago, press reports began noting that God and religion had been excised from the film version of the trilogy and fans went into an uproar. Philip Pullman responded by noting the following:

And that is why those who are intent on mischief will do what fundamentalists of every stripe always do: insist on a literal interpretation of every single word, a point-by-point identification of this with that, a ‘correct’ reading that’s authorised and approved and certified by the authorities they submit to. …There are more ways than one of telling the story of Lyra and Will

While I think this is entirely true, it is an unfair response to the reasons that fans cringe at the removal of references to religion–and Christianity in particular. Read the rest of this entry »

I Trust Severus Snape

I find it truly fascinating how much expectations regarding the final Harry Potter book are hinging on opinions about the intentions of Snape’s character. Like Gollum in The Lord of the Rings, Snape is the most interestingly “complex” character in Potter. So it will be worth seeing how Rowling deals with him, and how readers of the final book react to his role.

Here is a recent article concerning the interest in Snape’s fate and the legions of fans who fervently believe in Snape’s loyalty to Dumbledore and the Order of the Phoenix. Called “Under his spell” , it was written by Jamie Smith Hopkins for The Baltimore Sun and published on March 20, 2007:

Under his spell

Undercover good guy or pure evil? Either way, Harry Potter nemesis Severus Snape has fans obsessing over his fate in the final book

By Jamie Smith Hopkins
Sun reporter

March 20, 2007

When J.K. Rowling’s publishers announced that the final book in the Harry Potter series would hit stores this July, the agonizing began in earnest. Would she kill him? Could she kill him? Was there any point in reading if she did?

No, not Harry Potter.

Severus Snape.

For a surprisingly large number of Potter fans, mostly adult ones, the fate of the intrepid boy wizard – you know, the one the books are ostensibly about – isn’t nearly as interesting as what will happen to his ex-professor. The double-crossing Death Eater. Murderer of the beloved Headmaster Dumbledore. Greasy-haired, yellow-toothed, cuttingly sarcastic and, in the words of his creator, “deeply horrible.”

So why on earth do people love him? Why are apparently otherwise sane adults obsessing about him to the point that they run Snape Web sites, write Snape fan fiction, buy Snape paraphernalia (or make it themselves, because there really isn’t much of it out there) and craft essays with the care they might give to a doctoral thesis to prove that the murder is a clever diversion, and he’s actually good?
Read the rest of this entry »

Tolkien Lore Part II: The Origins of Gandalf

It is nice to have something constructive to do while I’m not doing what I should be doing. So here are some more interesting Tolkien tidbits for anyone interested. There is a poem in The Poetic Edda, a collection of Norse mythology from the twelfth century or so, called “The Catalogue of Dwarfs” (page 322-323). The ‘poem’ actually is just a catalogue. It lists names, but if you read the names you might see some familiar ones:

The Catalogue of the Dwarfs
(Dvergatal)
from “Voluspa,” Stanzas 9-16

Then gathered together the gods for counsel,/ the holy hosts, and held converse: / who the deep-dwelling dwarfs was to make of Brimir’s blood and Blain’s bones. / Motsognir rose, mightiest ruler / of the kin of Dwarfs, but Durin next; / molded many manlike bodies / the dwarfs under earth, as Durin bade them. / Nyi and Nithi, Northri and Suthri, / Austri and Vestri, Althjof, Dvalin, / Nar and Nain, Niping, Dain, / Bifur, Bofur, Bombur, Nori,/ An and Onar, Ai, Mjothvitnir. / Veig and Gandalf, Vindalf, Thrain, / Thekk and Thorin, Thror, Vit, and Lit / Fili, Kili, Fundin, Nali, / … The dwarfs I tell now in Dvalin’s host / down to Lofar– for listening wights– / they who hied them from halls of stone / over sedgy shores to sandy plains. / There was Draupnir and Dolgthrasir, / Har and Haguspori, Hlevang, Gloi …[They] will ever be known, while earth doth last, / the line of dwarfs from Lofar down.

As you can see, these are most of the dwarves from The Hobbit and clearly the inspiration for the name Gandalf. Tom Shippey in his J.R.R. Tolkien: Author of the Century offers a brilliant analysis of this (see page 15-17). Shippey argues that Tolkien, the linguist, would have asked why Gandalf (whose name would have meant “wand-elf” there) would be named along dwarves. If his name features the word “elf” in it then surely he was an elf. But a wand-elf might be something more…like a wizard. So now we have a wizard alongside a group of dwarves…what are they doing together? As Shippey argues, this is how the wheels in Tolkien’s mind start working and producing a story. This esoteric bit of poetry, through Tolkien’s linguistic analysis, becomes The Hobbit. The language produces the story–in every sense.

Some Tolkien Lore: Andrew Lang’s Fairy Books and Tolkien’s Childhood Stories

Though this blog has not been visited by a large number of people, I was surprised to learn that somehow people are finding some of my posts. I never intended this: I set up the blog to post articles by others that had interested me and might prove valuable for some later research project (I did this so that I could have the articles readily available in one place). But, since clearly many are interested in the popular culture, mythology, and fandom that fascinates me, perhaps I will try to comment more on what I post.

So here is some Tolkien blogging:

I was recently working on a project related to fairy tales and anthropology in the 19th century, and I became very interested in Andrew Lang. He was a Scottish anthropologist, classicist, folklorist, author, and journalist who seems to have involved himself in nearly every argument going on in Victorian England. He argued vocally with Max Müller over Müller’s theories of solar mythology (Müller contended that most ancient myths are really allegorical representations of nature), and he argued with Edward Tylor over the origins of religious thought. In the 1890s, he began collecting and compiling world folklore and mythology and published many volumes of color-coded “Fairy Books.” For children growing up at this time, Lang’s Fairy Books would have been much like the Grimms’ collection.

J.R.R. Tolkien, who was born in 1892, grew up as Lang’s books were published, and they had an enormous impact on him. In The Red Fairy Book, Lang included “The Story of Sigurd” from The Volsung Saga. The story, which featured Fafnir the dragon, excited Tolkien’s imagination and is particularly important to his later. As Humphrey Carpenter, Tolkien’s biographer, notes (from J.R.R. Tolkien: A biography, page 30) :

[Tolkien] found delight in the Fairy Books of Andrew Lang, especially the Red Fairy Book, for tucked away in its closing pages was the best story he had ever read. This was the tale of Sigurd who slew the dragon Fafnir: a strange and powerful tale set in the nameless North. Whenever he read it Ronald found it absorbing: “I desired dragons with a profound desire,” he said long afterwards. “Of course, I in my timid body did not wish to have them in the neighborhood. But the world that contained even the imagination of Fafnir was richer and more beautiful, at whatever cost of peril.”

I am bringing this up because during my research on Lang, I found an excellent website on the Fairy Books. At that site, you can access every single one of the 13 books. Of course, they probably influenced many of Tolkien’s colleagues in the world of literary fantasy as well (Lewis would have been familiar with him too). So you can browse that website and read some myths and tales you may never have read before, or see how the myths you already know were presented to young Tolkien. Doing so, you’ll find all sorts of gems, like these from “The Story of Sigurd”:

“When Sigurd heard the story he said to Regin:

`Make me a good sword that I may kill this Dragon.’

So Regin made a sword, and Sigurd tried it with a blow on a lump of iron, and the sword broke.

Another sword he made, and Sigurd broke that too.

Then Sigurd went to his mother, and asked for the broken pieces of his father’s blade, and gave them to Regin. And he hammered and wrought them into a new sword, so sharp that fire seemed to burn along its edges.”

It is important to note that these were not collected by Lang in the same way that we think of the Grimms literally transcribing tales from “the folk.” Lang re-presented texts that he collected, and as such, anyone interested in the influence of these stories should see how they were presented to Tolkien–how Lang edited them and changed them from other sources to make them suitable for Victorian children.

Other connections between Tolkien and Lang: Tolken quoted Lang a few times in his famous essay “On Fairy Stories,” and while at Oxford, he actually supervised Roger Lancellyn Green’s dissertation on Lang (Green has written many books on modern fantasy writers).

Heat and Dust: Pullman Interview

Heat and Dust
Philip Pullman
Link


Since 1993, Third Way has been talking in depth to men and women who help to shape our society or set the tone of our culture. We spoke to Philip Pullman, the first author to win the Whitbread Book of the Year Award (and to be ‘longlisted’ for the Booker Prize) for a children’s book, on the 13th February 2002. He subsequently described this interview as ‘the best I’ve ever read’.

The interviewer was Huw Spanner.

This interview is chiefly concerned with the trilogy His Dark Materials, which comprises Northern Lights, The Subtle Knife and The Amber Spyglass. Please note that, inevitably, it gives away some important turns of the plot.

Read the rest of this entry »

On Romantic Comedy Myths

Link

Only In Hollywood
It’s time for the envelopes, please. Tango hands out the Oscars for Most Dangerous Romantic Movie Myths
My friend Michelle and her on-again-off-again were off. Again. She complained that he just wasn’t going to the right lengths to win her back. “I need a big gesture,” she said. “I need roses. I need tears. I need Lloyd Dobler on the front lawn with a boom box raised over his head.”

Another friend, Laura, had not met anyone even halfway decent in months, and was starting to wonder if her best friend, Tiny Tony — a sweetheart who is unfortunately short, bald, and bulbous — might be the guy for her after all. “I’ve never been attracted to him or anything,” she said. “But maybe it’s a When Harry Met Sally situation. Maybe we’re meant to be and I just haven’t noticed.”

After almost 15 years as a faithful fan of romantic comedies, I’ve come to a painful conclusion: The movies we watch to supplement our love lives are actually sabotaging them. They make us wonder why our ex hasn’t appeared in our yard playing “In Your Eyes” at midnight even though, if he did so, we’d file for a restraining order, not a marriage license. They lead us to believe that an older, more sophisticated man who criticizes the way we look/talk/ dress will fall madly in love with our made-over selves — if it was good enough for Audrey Hepburn in My Fair Lady, it’s good enough for us.
Read the rest of this entry »

Secular Versus Religious Fans: Are they Different?: An Empirical Examination (Journal of Religion and Popular Culture)

Volume XII: Spring 2006
Secular Versus Religious Fans: Are they Different?: An Empirical Examination
Stephen Reysen[*]
Link

Abstract

An 11-item survey was created and administered to examine differences between secular and religious fans with respect to fan behaviours and beliefs. Responses from 158 adults were examined. Responses from different secular fan groups (e.g., music, media, sports) were similar, lending support to the notion that fans are similar regardless of interest. Responses from different religious groups were also similar among themselves. However, secular fan group responses were different from religious member responses with respect to a number of the questions presented.
Read the rest of this entry »

Star Wars as Personal Mythology (seems kind of sketchy but may be worth a read)

Star Wars as Personal Mythology
by Jonathan Young
Link

Once again, an installment of the Star Wars series has become a movie event of galactic proportions. The spiritual underpinnings of the story have been widely recognized as a clear part of its enormous appeal. There has been much discussion on the mythic dimensions of the film. Now that the commotion has settled down, perhaps it is a good time to reflect on the implications of the tale for those interested in the life of the soul.
Early in the film, an imposing spacecraft is speeding through the darkness between planets. There is a crisis, and two Jedi Knights are on their way to help. The call to adventure is similar in all these movies because it matches experiences that are known to the audience. The events that cause us to develop strengths often begin as bad news. Something calls us to solve a problem, or survive an ordeal, and through this difficult process, we find that we are capable of more than we thought.
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Galactic gasbag:Beneath all the pseudo-mythic Joseph Campbell hogwash, the roots of George Lucas’ empire lie not in “The Odyssey” but in classic and pulp 20th century sci-fi

Galactic gasbag
Beneath all the pseudo-mythic Joseph Campbell hogwash, the roots of George Lucas’ empire lie not in “The Odyssey” but in classic and pulp 20th century sci-fi.
By Steven Hart
Link

April 10, 2002 | Another “Star Wars” movie, “Episode Two: Attack of the Clones,” is about to hit the cineplexes. As with all cosmological phenomena, certain strange and even frightening things are likely to happen as the event horizon draws near.

Hardcore fans will prepare for opening night by polishing their toy light sabers and getting their Darth Vader costumes taken out an inch or so. Fast-food joints and toy stores will fill up with merchandise bearing the faces of alien creatures. And some gullible middlebrow — most likely Bill Moyers — will once again recite the pseudo-religious doctrine that attributes the phenomenal success of the series to producer-director George Lucas’ skill at tapping underground streams of ancient legends, using Joseph Campbell’s work in comparative mythology as his dowsing rod.
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