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).