Hello Nerdy Bloggers–
Just a brief update to inform you that yours truly will be coming to you live tonight on The Hog’s Head pubcast. Myself and Hayley and Michael from UNC-Charlotte’s Potter Watch group will be discussing Potter Watch and Pottermore. You can tune in and participate in the chat at the following link: http://radio.mymiddle-earth.net/.
Hope to see you there!
Hello Nerdy Bloggers!
This is my first post as a newly wed, as well as my first post in many months! As I write, my husband and I are preparing for the Hutchmoot 2011 conference in Nashville, TN. Hutchmoot is a small gathering of around 100 participants to discuss art, music, literature, film, storytelling, and how these intersect with Christian faith. It’s coordinated one of my favorite singer/songwriter/authors, Andrew Peterson, his brother and fellow author, A. S. “Pete” Peterson along with the staff of The Rabbit Room. Last year was the first time the conference was held and after reading reviews of it, I must say that I was quite dismayed that I was unable to attend. It seems like all the participants got something different out of the conference, so it is difficult to explain what exactly the conference will be like or what to expect. Based on what I’ve been told, I am expecting the following:
I’m also very excited to finally meet my friend and fellow Harry Potter blogger, Travis Prinzi. After reading his blog and listening to his podcast for the past 5 years or so, it’ll be fantastic to finally shake hands and say, “Hello!” face to face.
I plan on keeping a journal of the conference and will write up a summary of my experience there once I return. Next week, I’ll also be blogging about the Harry Potter Conference I mentioned in my last entry. We had to postpone the conference until Oct. 1st, but it was well worth it. We have seen increased participation and will be hosting keynote speaker and Potter Pundit, Amy Sturgis. I’ll write more about this, as well as give a sneak peak of my part of the religious studies discussion panel. Really looking forward to it!
I would ask prayers for us as we prepare for the conference and for all those who are coordinating and participating. I am looking forward to what is in store!
Blessings,
Nerdy Blogger
Harry Potter and Crossover Audiences
the 2011 PotterWatch Conference at the University of North Carolina at Charlotte
April 9, 2011
Charlotte, NC
Call for Papers
The Harry Potter series has been translated into more than 60 languages, inspired a multi-million dollar theme park, and prompted the creation of an “International Quidditch Association” comprised of hundreds of teams. What began as a British children’s book became an international best-selling series. Much of the success of the novels can be attributed to crossover appeal—how Harry is loved by audiences of a variety of ages, genders, and religions. How do the books speak to so many different, sometimes opposing, audiences? Why do we love Harry so much?
PotterWatch, the official Harry Potter club of UNC Charlotte, will be hosting an academic conference focusing on the theme of audiences within the Harry Potter series and fandom. We invite submissions of paper and panel proposals that address the theme of audience and crossover appeal in relation to the Harry Potter series, looking at reader response from a variety of academic perspectives.
Suggested topics include:
To be considered for presentation, please submit a 250-word abstract for individual papers or panel proposals to unccpotterconference@gmail.com by March 26, 2011. Please include the paper title, your name (and names of all panel presenters if applicable), your institution, and your affiliation (faculty, student, other). Individual presentations should be 10-15 minutes in length, while panel presentations should last for 45 minutes. Graduate and undergraduate students are encouraged to submit proposals.
That’s the question on the lips of fans of The Hunger Games trilogy by Suzanne Collins. According to a recent article on The Movie Pool,
Lionsgate films has A-listed 3 girls to play the part of Katniss Everdeen in the upcoming The Hunger Games film, although who will actually play her has not been determined. The three young women who have been favored for the role are Hailee Steinfeld, Jennifer Lawrence, and Abigail Breslin.
Hailee Steinfeld stands out as the tough as nails, Mattie Ross from the Coen Brothers’ recent reboot of True Grit. She looks the part, and certainly has proven herself to be much more than just a teen actor. In True Grit (which is a FANTASTIC film), she is sharp, witty, and knows how to get what she wants. Hailee has proven that she can handle cutting dialog and knows how to really make what she says “stick,” like Katniss does. I could definitely see her kicking butt and taking names as Katniss. She’s my top choice.
Next up is Jennifer Lawrence, Academy Award nominee for Winter’s Bone. I’ve not seen any of her films, however, according to her page at IMDB.com, she’s playing Mystique/Raven Darkholme in the upcoming X-Men: First Class film, of which I am ELATED to see. If she’s got the role of Mystique, that tells me she is no pushover. Being a long-time X-Men aficionado, I can’t imagine anyone wimpy playing Mystique, who by the way, has a kid with a demon (No, seriously. Nightcrawler’s dad is an emissary of Satan). It looks like Jennifer could prove to be a tough contender for the part as well. Hailee is still my favorite, but I’m not going to count Ms. Lawrence out yet.
Last on the list is Abigail Breslin. You may remember her as a very young girl as Bo in M. Night Shyamalan’s Signs, my personal favorite of his films, or as Little Rock in the comedic, yet gruesome Zombieland. Looking at her resumé on IMDB.com, Breslin has played a variety of roles anywhere from the cutesy, Kit Kittredge: An American Girl to bigger roles and leads in My Sister’s Keeper and Little Miss Sunshine. Of the three ladies at the front to play Katniss, Breslin has the most diverse resumé. However, she may look a bit too young for the part, and gosh, she’s so darn cute, it’s a bit too difficult for me to imagine her as Katniss. Still, with her ability to play across a variety of roles, I won’t be too surprised if she lands the role either. After all, if she can slash up the undead in Zombieland, she could probably do the same in the arena of Panem.
So friends, what do you think? Who should play the role of one of the toughest, darkest, and most tragic heroines of all modern literature? I’m going to vote for Steinfeld, but I will not be too disappointed if these other ladies are cast. They seem to have proven that they have what it takes to play the role of Katniss. Vote in the poll and explain your choice in the comments.
Just for fun, friends. This makes me almost like auto tune. Almost.
Opinions?
Last Sunday I finally finished Ender’s Game by Orson Scott Card, a book that has too long
been on my “to read” list. I’d never read any of Card’s work before (aside from an essay he wrote on Snape in The Great Snape Debate prior to the release of Harry Potter and the Deathly Hallows). I found the book to be a great science fiction read and could really understand why the novel has been so popular for so long. Card is a master of the genre, really working the scenery and descriptions of space to his advantage. His words paint such vivid pictures, I could easily imagine myself floating, jumping, and bouncing across the battle room with Ender and his army.
One thing I thought was interesting about the book was how Card took the typical school boy story and put it in a place totally out of it’s typical element (aka British boarding school). My friend, Travis Prinzi, described it to me as “sci-fi Mormon Harry Potter.” I thought that was an incredibly odd description, but after reading the book I feel it is apt. Card’s Mormon beliefs are definitely present through the story, particularly through the process of deification in Ender’s maturation. (For some good analysis of other LDS fiction look at John Granger‘s analysis of the Twilight series). The comparison with Harry Potter comes through in the school setting, but also in the demands and expectations placed on Ender. Everyone is expecting him to save the world. Very similar in that respect.
Over all, I liked the story a lot. I’d be interested to read the rest of the series. I’m a bit under-read in the science fiction department, aside from a multiplicity of short stories and the novels I read in my college classes, so it certainly wouldn’t hurt.
I’d recommend Ender’s Game to anyone looking for a classic of science fiction, solid action, or for those who enjoy LDS fiction.
Hello, Nerdy Bloggers!
I come to you today proudly flying my Geek Flag high. Quite literally, actually—as I write this, I’m flying home from a business trip. As is no surprise to most anyone reading this, I am quite the Harry Potter geek. What may be slightly less apparent is that I am a giant, Godzilla-sized podcast geek also. I subscribe to about 10 or so podcasts and occasionally take to listening to literature and theology classes via iTunes U. Fortunately for me, two of my favorite things coincide—Harry Potter fandom and podcasts. Today, I’d like to take some time to talk about a favorite of mine, Pottercast.
[Note: I may be preaching to the choir with this post (as I would wager that the majority of the HP fans that read my blog already subscribe to Pottercast), however, I am always interested in giving props to a movie, book, show, album, or podcast that I feel is relevant to my subject area and that I find noteworthy.]
Pottercast is the podcast of the popular Harry Potter fan site, The Leaky Cauldron. I began listening to Pottercast some months back when they began running a segment entitled, Potter Pundits, featuring the likes of Travis Prinzi, John Granger, and James Thomas. I’ve followed Travis and John for some time through their books and their blogs, The Hog’s Head and Hogwarts Professor, respectively. Having a great affinity for solid Harry Potter discussion, I immediately subscribed and began tuning in. What I got from the podcast was much greater than that.
Pottercast treats the listener not only to some good, serious discussion of the novels through their pundits segment, but also interjects Harry Potter news, fandom updates, movie and book analysis, interviews with the HP stars (not to mention, J. K. Rowling), and just plain, good ole laughter. The hosts, Melissa Anelli (webmistress of The Leaky Cauldron), John Noe (namesake of Dawlish), and Frankie Franko (aka Frak) have fantastic chemistry and play extremely well off of each other. What impressed me the most about the podcast was that the hosts did not just banter about aimlessly, as so many podcasts are apt to do. The playfulness is just right, without being too corny or off-topic. The discussions are spot-on, and yet inflected with just the right amount of humor. The diversity of segments offered in the show provides something interesting to just about any listener.
I would strongly recommend Pottercast to any serious Harry Potter fan out there. The show is witty and is a great place to find news, information, commentary, and serious Harry Potter discussion. Overall, I give The Leaky Cauldron’s, Pottercast, a two thumbs up on the Nerdy Blogger scale.
Got a podcast that you would recommend? Know of other up-and-coming sites or blogs that might be of interest here? Please post them in the comments and explain why you think they’re great. I’d love the hear them.
Blessings,
Nerdy Blogger
Good morning, Nerdy Bloggers!
Here is the final installment of my thesis. I hope you’ve enjoyed reading it as much as I enjoyed putting it together. I will be having some difficulty getting to this blog over the next couple of weeks, as I’m in the process of moving. Don’t worry; I will return very soon. Be on the look out for the continuation of the TV Top 30 series, as well as an upcoming book review or two (almost finished with a couple of the books listed on my Books page). Be back with you again soon!
Blessings,
Nerdy Blogger
P. S.: If you’ve missed any part of my thesis and would like to catch up, you may find the links for all the posts here.
CONCLUSION
“His hand closed automatically around the fake Horcrux, but in spite of everything, in spite of the dark and twisting path he saw stretching ahead for himself, in spite of the final meeting with Voldemort he knew must come, whether in a month, in a year, or in ten, he felt his heart lift at the thought that there was still one last golden day of peace left to enjoy with Ron and Hermione.” – Harry Potter and the Half-Blood Prince, 652.
What may be determined from all this discussion of Harry Potter and The Chronicles of Narnia and symbols of agapē love, Christ figures, and redemption? That there is enough material to discuss for the length of a thesis is notable. That there is enough secondary material to allow for this type of discussion is something that is also worthy of mention. Harry Potter does not appear to be the dangerous book series that many Christians have made it out to be. The comparison with The Chronicles of Narnia is demonstrative of that. But the question still remains, what does all this mean? Taking each of the symbols discussed respectively and combining them, readers may be able to form some conclusions about their presence in Harry Potter and The Chronicles of Narnia.
One thing that is useful to note initially is that where there is one symbol of agapē love, a Christ figure, or redemption, the other two symbols are often present as well. Biblically speaking, this is true as well. Let us recall John 3:16 for example, “For God so loved the world that he gave his one and only Son, that whoever believes in him shall not perish but have eternal life” (Bible Gateway). Breaking the verse down, the Greek word used for “loved” is “agapaō,” which is related to the Greek word, “agapē;” there is mention of the Son—the Christ figure, and finally, the redemption of those who believe, “whoever believes in him shall not perish but have eternal life.” These three aspects are a representation of something akin to the Holy Trinity. This is also proven Biblically. The three parts of the Holy Trinity are God the Father, God the Son (Jesus Christ), and God the Holy Spirit. 1 John 4:8 notes that God is love, and in the Greek the word used for love in that verse is indeed, agapē (Strong 1587). Therefore, God the Father is the embodiment of agapē love. Next in the Trinity is God the Son—Jesus Christ—the ultimate sacrifice for sin and the original Christ figure. The final part of the Trinity is God the Holy Spirit. Jesus promises the Holy Spirit will come to his disciples after his death. John 14:26 says, “But the Counselor, the Holy Spirit, whom the Father will send in my name, will teach you all things and will remind you of everything I have said to you” (Bible Gateway). The Holy Spirit is received as a mark of redemption; it is redemption itself as in Titus 3:5, “He saved us, not because of righteous things we had done, but because of his mercy. He saved us through the washing of rebirth and renewal by the Holy Spirit” (Bible Gateway). Therefore, redemption may be seen as a representation of the Holy Spirit. The symbols of agapē love, the Christ figures, and redemption are much like the Trinity, and these symbols are the ones found most often in each of the Harry Potter and Narnia novels.
As John Granger and Carrie Birmingham have both noted, it seems unlikely that all of this symbolism in Harry Potter is there by mistake, mere chance, or accident. Why then is Harry often excluded from Christian literary circles? Dan McVeigh notes in his article, “Is Harry Potter Christian?,” “But clearly Rowling writes in a specifically Christian literary tradition. The catch? That tradition is one whose High Church roots—Anglican and Roman Catholic—make assumptions built into Rowling’s use of it inaccessible to a significant segment of American Christianity.” McVeigh makes an interesting point; Rowling has not formally made any statements about her faith, save that she is a member of the Church of Scotland and that she believes in God. However, these statements and the wealth of symbolic material that is found in these novels may be enough to indicate that the study of Harry Potter in Christian circles may be useful and even edifying. We do not know for sure if J. K. Rowling is intentional in all of this symbolism, but that her works are even capable of being interpreted in the same manner as C. S. Lewis’ Chronicles of Narnia, seems to speak for itself to some degree. Parents who are concerned about their children reading Harry Potter should not fear its content, since the books are easily interpreted under the lens of Christian symbolism.
With one Harry Potter book remaining in the series (set to be released in the summer of 2007), readers may hope to discover an even greater wealth of Christian symbolism in the novels, whether J. K. Rowling chooses to reveal her true intentions concerning the novels or not. With Harry Potter as one of the most popular novel series for children available today, events or scenes from the novels may be easily used as an “exemplum” or sermon illustration, just as easily as many use now with Lewis’ Narnia. (The discussion of Christ figures in this thesis might be a good place to start.) In short, the discussion is not finished here. There are many, many more symbols left to discuss in Harry Potter and The Chronicles of Narnia. As John 21:35 notes, “Jesus did many other things as well. If every one of them were written down, I suppose that even the whole world would not have room for the books that would be written” (Bible Gateway). Something similar may be said of the wealth of symbolism in Harry Potter and The Chronicles of Narnia; there is still much left to be discussed, and in doing so there are many more books to be written. As the narrator notes on Harry’s thoughts in the introductory quote, he still has one more golden day left to enjoy with Ron and Hermione. Readers too have one more golden day left with Book 7, and as C. S. Lewis remarks in The Last Battle, Harry and is friends may meet with an endless day where, like an endless book—each chapter is better than the last.
Bible Gateway. King James Version. New International Version. 2006. 27 Apr. 2006 <http://biblegateway.com/>. 1 Corinthians 4:17; 1 John 4:8; 2 Chronicles 7:14; 2 Samuel 22:2-3; Acts 4:12; Colossians 1:13-14; Ephesians 1:7, 2:1-5, 2:20; Genesis 1:1-31, 3:15; Hebrews 9:12, 12:1; Isaiah 1:18, 50:6, 53:1-12, 61:10; Job 2:11-13; John 1:29, 3:16, 4:10, 4:13-14, 8:36, 14:6-7, 14:26, 15:13, 15:15, 19:17, 20:26-29, 21:9; Luke 10:18, 22:42, 24:46-47; Mark 7:37, 15:3-5; Matthew 1:21; 24:31, 26:36-39, 26:42; Philippians 2:1-2; Revelation 5:5, 11:18, 12:10; Romans 6:11; Titus 3:5.
Lewis, C. S. The Last Battle. The Chronicles of Narnia. New York: HarperEntertainment, 2005. 669-767.
McVeigh, Dan. “Is Harry Potter Christian?” Renascence Spring 2002. 6 Mar. 2006 <http://findarticles.com/p/articles/mi_qa3777/is_200204/ai_n9067773/print>.
Rowling, J. K. Harry Potter and the Half-Blood Prince. New York: Levine-Scholastic, 2005. 552, 569, 584, 596, 612, 652.
Strong, James. The Strongest Strong’s Exhaustive Concordance of the Bible. 21st Cent. ed. Grand Rapids: Zondervan, 2001. 1587.
Hello, Nerdy Bloggers!
Here is the final part of the redemption chapter. Only the conclusion left to go! Enjoy!
Blessings,
Nerdy Blogger
CHAPTER III, PART II
In chronological order (based on the Narnian time line), The Magician’s Nephew is the first Narnia chronicle. It is in this first novel that the reader may find a strong symbol for redemption. Digory Kirke has entered the Garden in hopes of finding something to cure his sick mother. The Witch attempts to trick Digory into stealing an apple that would provide healing for his mother, despite the warning he received upon entering, which states, “Come in by the gold gates or not at all,/Take of my fruit for others or forbear,/For those who steal or those who climb my wall/Shall find their heart’s desire and find despair” (Lewis Magician’s Nephew 92). Despite the Witch’s urgings, Digory resists, but is deeply saddened that he may not be able to help his mother. He returns to Aslan, who says, “That is what would have happened, child, with a stolen apple. It is not what will happen now. What I give you now will bring joy. It will not, in your world, give endless life, but it will heal” (Lewis Magician’s Nephew 100-01). As the apple, the gift of Aslan, does not bring eternal life in the world of men, neither does Christ’s gift bring eternal life in this world. However, the gifts both Aslan and Christ offer do bring eternal life in their world. Jesus said in Luke 17:33, “Whoever tries to keep his life will lose it, and whoever loses his life will preserve it” (Bible Gateway). Digory, after being tempted to “keep” the apple (representing life), but instead chooses to “lose” the apple, gains life. Digory Kirke’s mother is revived and becomes one who, as in Ephesians 2:1-5, was “dead” but is now “alive” through the work of redemption (Bible Gateway).
The Lion, the Witch and the Wardrobe offers one of the most transparent symbols of redemption in the sacrifice of Aslan for Edmund Pevensie. Aslan has met the requirements of the Deep Magic—he has died a traitor’s death—the death Edmund deserved. Aslan, alive again through the power of the Deeper Magic, is the one who brings life again to those turned to stone by the White Witch’s wand, his presence turns the tide in the Battle of Beruna, and is the one who conquers the White Witch herself in battle. With Aslan being the foremost and established Christ figure in Narnia, it is by this same token that the reader can identify all of these acts as a work of redemption for not only Edmund, but also for the entire country of Narnia. The text states, “The battle was all over a few minutes after their arrival. Most of the enemy had been killed in the first charge of Aslan and his companions; and when those who were still living saw that the Witch was dead they either gave themselves up or took flight” (Lewis Lion… 192). Aslan has saved the day in the same way Christ has saved the lives of those who follow him.
Aslan again plays the role of the redeemer in The Horse and His Boy. The beginning of the life of Shasta (or as the reader later learns, Prince Cor of Archenland) in The Horse and His Boy is a redemption story in itself. An infant Shasta has been set adrift in a boat and is discovered by a Calormene fisherman named Arsheesh. When Shasta learns his true identity, he learns what, or rather who, has perpetuated his entire journey—Aslan. Cor informs Aravis of the prophecy about his life and how he would become savior to Archenland. When Cor is telling Aravis about how all this came to be, he makes an interesting comment:
The Lord Bar himself had been killed in the battle. But one of his men said that, early that morning, as soon as he saw he was certain to be over hauled, Bar had given me to one of his knights and sent us both away in the ship’s boat. And that boat was never seen again. But of course that was the same boat that Aslan (he seems to be at the back of all the stories) pushed ashore at the right place for Arsheesh to pick me up. (Lewis Horse… 302)
Aslan has redeemed Cor from death, and by the same token, Cor has become a redeemer to the entire nation of Archenland—Savior to his people. Like Cor, there were similar prophecies surrounding Jesus’ birth. Matthew 1:21 says, “She will give birth to a son, and you are to give him the name Jesus, because he will save his people from their sins” (Bible Gateway). Cor’s destiny is to rescue his people, as Jesus’ destiny is the same—both have brought about the redemption of their people.
Prince Caspian is the fourth chronological installment in The Chronicles of Narnia. The novel’s title character is also a product of redemption. Caspian is an orphan prince, living with his aunt and uncle who are acting King and Queen of Narnia in the absence of Caspian’s father and mother. When his aunt, the Queen, finally give birth to a child, a son, Caspian’s life is in great danger. Awakened in the night by his tutor, Dr. Cornelius, Caspian is hurried away for fear of his life. Caspian is unsure if his Uncle Miraz would really choose to murder him. Dr. Cornelius has only this in reply, “He murdered your Father” (Lewis Prince Caspian 343). With this ominous warning, Caspian is sent away to refuge in Archenland. Here the reader sees Prince Caspian seeking refuge, as the Christian seeks refuge in Jesus Christ. 2 Samuel 22:2-3 says, “The LORD is my rock, my fortress and my deliverer; my God is my rock, in whom I take refuge, my shield and the horn of my salvation. He is my stronghold, my refuge and my savior—from violent men you save me” (Bible Gateway). The horn mentioned in this particular passage of scripture is interesting when thought of in the context of the very important gift Dr. Cornelius gives Caspian—the magic horn of Queen Susan. This horn summons help when blown, which may be interpreted as a “horn of salvation.” These are but a few of the symbols of redemption found in Prince Caspian.
As mentioned in previous discussion of The Voyage of the Dawn Treader, Eustace Scrubb is changed into a dragon through the working of a magical bracelet and his own greed. Aslan, the Christ figure, is the only one capable of reversing Eustace’s dragon-like state. Eustace’s state is reminiscent of the human condition. As Eustace is trapped in his dragon form with no chance of escaping it on his own, so humanity is caught in its own sin. Eustace does not want to be a dragon any longer, but as in Romans 7:18, “I know that nothing good lives in me, that is, in my sinful nature. For I have the desire to do what is good, but I cannot carry it out” (Bible Gateway). Aslan tells Eustace when he tries to take his own dragon scales off, “You will have to let me undress you” (Lewis Dawn Treader 474). Aslan cleans Eustace up, transforms him from a dragon into a boy again, and dresses him in new clothes. The prophet Isaiah speaks of a similar dressing in Isaiah 61:10, “I delight greatly in the LORD; my soul rejoices in my God. For he has clothed me with garments of salvation and arrayed me in a robe of righteousness, as a bridegroom adorns his head like a priest, and as a bride adorns herself with her jewels” (Bible Gateway). Eustace has been “clothed” with righteousness. His salvation is found in Aslan, the Christ figure.
The Silver Chair is quite varied from the other Narnia chronicles. Aslan is not as physically present in this novel, but he is the motivator for the entire quest to save Prince Rilian. Aslan sends Jill Pole and Eustace Scrubb on this journey, accompanied by the Marsh-wiggle, Puddleglum. The entire quest to find Prince Rilian is another redemption story. Rilian is held captive by the enemy (Satan), cannot break free of the spell he is under on his own (sin), and to break the enchantment, Rilian (and now Puddleglum, Jill, and Eustace also) must declare their faith and belief in Aslan and Narnia. Puddleglum makes his declaration to the Witch,
Suppose we have only dreamed, or made up, all those things—trees and grass and sun and moon and stars and Aslan himself. Suppose we have. Then all I can say is that, in that case, the made-up things seem a good deal more important than the real ones. Suppose this black pit of a kingdom of yours is the only world. Well it strikes me as a pretty poor one. And that’s a funny thing, when you come to think of it. We’re just babies making up a game, if you’re right. But four babies playing a game can make a play-world which licks your real world hollow. That’s why I’m going to stand by the play-world. I’m on Aslan’s side even if there isn’t any Aslan to lead it. I’m going to live as like a Narnian as I can even if there isn’t any Narnia. (Lewis Silver Chair 633)
It is at this point that the Witch knows she cannot charm their belief in Narnia out of them, and she tries to destroy them in her snake form, but is slain by Prince Rilian, Puddleglum, and Eustace. The Silver Chair story offers a similar set-up for the redemption plot as the one John Granger points out in Harry Potter and the Chamber of Secrets, with its plotline featuring a person in need of redemption, a savior, declaration of belief, and salvation.
The Last Battle is the final volume of Narnia and features a strong Biblical parallel for redemption. The Last Battle portrays the final redemption of those who believe in and trust Aslan—the rapture of his followers. Aslan has pulled his followers out of a dying Narnia. Likewise, Christ has promised the redemption of his followers, saying in Matthew 24:31, “And he will send his angels with a loud trumpet call, and they will gather his elect from the four winds, from one end of the heavens to the other” (Bible Gateway). Aslan performs a similar act in The Last Battle; he has pulled his followers out of Narnia, which is dying and falling into chaos. Aslan shuts the door on Narnia and the whole land is destroyed. The book of Revelation tells of the second coming of Christ, the destruction of the world, and the taking of believers into the new heaven and the new earth. This is what has happened to the Pevensies, Polly, and Digory; the expression of joy and rapture that is held by the followers of Aslan is unparalleled. Lucy asks, “‘We’re so afraid of being sent away, Aslan. And you have sent us back into our own world so often.’ …‘Your father and mother and all of you are—as you used to call it in the Shadowlands—dead. The term is over: the holidays have begun. The dream is ended: this is the morning’” (Lewis Last Battle 767). This is the bright morning that Christ has promised for his followers that Aslan has brought his followers to as well.
There are quite a few symbols of redemption found in these novels; this is by no means a definitive list. There are also some patterns found in Harry Potter and The Chronicles of Narnia that are worthy of note. In Harry Potter, Harry himself is the most common object of redemption. He is the one who finds himself in need of a savior most often, with the exception of Harry Potter and the Prisoner of Azkaban, where he and Hermione are saviors to Sirius Black and Buckbeak the Hippogriff. The method redemption is portrayed in Harry Potter is multifaceted—many characters play the role of redeemer, but there is a symbol for redemption in each book. In The Chronicles of Narnia, Aslan is the sole redeemer, but also uses others in his acts of redemption. The Silver Chair, for example Aslan uses Eustace, Jill, and Puddleglum to find Prince Rilian and save him from his captivity. Since Aslan is the sole Christ figure in Narnia, he is also the sole redeemer. One thing that hold true through both of these series is this—redemption always takes place through a Christ figure and that Christ figure is motivated by agapē love.
Works Cited in Chapter III, Part II
Bible Gateway. King James Version. New International Version. 2006. 27 Apr. 2006 <http://biblegateway.com/>. 1 Corinthians 4:17; 1 John 4:8; 2 Chronicles 7:14; 2 Samuel 22:2-3; Acts 4:12; Colossians 1:13-14; Ephesians 1:7, 2:1-5, 2:20; Genesis 1:1-31, 3:15; Hebrews 9:12, 12:1; Isaiah 1:18, 50:6, 53:1-12, 61:10; Job 2:11-13; John 1:29, 3:16, 4:10, 4:13-14, 8:36, 14:6-7, 14:26, 15:13, 15:15, 19:17, 20:26-29, 21:9; Luke 10:18, 22:42, 24:46-47; Mark 7:37, 15:3-5; Matthew 1:21; 24:31, 26:36-39, 26:42; Philippians 2:1-2; Revelation 5:5, 11:18, 12:10; Romans 6:11; Titus 3:5.
Lewis, C. S. The Horse and His Boy. The Chronicles of Narnia. New York: HarperEntertainment, 2005. 205-310.
—. The Last Battle. The Chronicles of Narnia. New York: HarperEntertainment, 2005. 669-767.
—. The Lion, the Witch and the Wardrobe. The Chronicles of Narnia. New York: HarperEntertainment, 2005. 107-97.
—. The Magician’s Nephew. The Chronicles of Narnia. New York: HarperEntertainment, 2005. 11-106.
—. Prince Caspian. The Chronicles of Narnia. New York: HarperEntertainment, 2005. 317-418.
—. The Silver Chair. The Chronicles of Narnia. New York: HarperEntertainment, 2005. 542-668.
—. The Voyage of the Dawn Treader. The Chronicles of Narnia. New York: HarperEntertainment, 2005. 419-541.
Good morning, Nerdy Bloggers!
We’re nearing the end of my Thesis series. I hope you’ve enjoyed the ride. I will be posting the final part of this redemption chapter tomorrow and the conclusion the next day. Also, for your convenience I’ve linked all the posts up in the God, C. S. Lewis, and J. K. Rowling tab, in case you want to browse back through them easily. Now, without further ado, Chapter III!
Blessings,
Nerdy Blogger
CHAPTER III, PART I
THE END RESULT: REDEMPTION IN HARRY POTTER AND THE CHRONICLES OF NARNIA
“Your mother’s sacrifice made the bond of blood the strongest shield I could give you…. While you can still call home the place where your mother’s blood dwells, there you cannot be touched or harmed by Voldemort. He shed her blood, but it lives on in you and her sister. Her blood became your refuge.” – Albus Dumbledore to Harry Potter, Harry Potter and the Order of the Phoenix, 836 (emphasis added).
Redemption is one of the main tenets of Christianity, if not the ultimate tenet. This principle is important because within it, Christianity finds its basis. The work of Jesus Christ in his crucifixion is all in vain if not for the redemption found within that work. Indeed, this point of doctrine is noted biblically in Hebrews 9:12, “He [Jesus Christ] did not enter by means of the blood of goats and calves; but he entered the Most Holy Place once for all by his own blood, having obtained eternal redemption,” as well as in Ephesians 1:7, “In him we have redemption through his blood, the forgiveness of sins, in accordance with the riches of God’s grace” (Bible Gateway) and in multiple other places as well. Without this final act of redemption, there is simply no need for agapē love or the necessity of a Christ figure. It is this symbol of redemption that is the fulfillment of agapē love and the Christ figure, and it is this symbol that is found throughout and is intrinsically linked in Harry Potter and The Chronicles of Narnia.
It would appear to be a common thread in the Harry Potter series that the title character or someone in his company is always redeemed in the final scenes of each novel. This is most true of Harry himself. Harry is known through out the wizarding world as “The Boy Who Lived.” This is because his life is the result of redemption, and this redemptive work is the motivating action for the entire series. Commenting on this work, the sacrificial death of Lily and James Potter, Catherine Jack and David Paul Deavel note, “His parents’ sacrifice of love marks Harry more deeply and formatively than his magical talents or even than the lightning bolt scar on his forehead” (58). Harry lives because of his redemption, as Christians live through Christ. By this same token, Romans 6:11 says, “In the same way, count yourselves dead to sin but alive to God in Christ Jesus” (Bible Gateway). As Christians are alive in Christ’s redemption, Harry is alive through the redemption made by his parents. His parents’ sacrifice redeems infant Harry, allowing him to become a redeemer to others.
The mark Harry received from Voldemort was no accident. Harry is the one prophesied to defeat Voldemort and remove his reign of terror over the wizarding world permanently. The text of the prophecy fits Harry to the hilt; Harry is the son of “those who have thrice defied him,” his birthday is on July 31st, “as the seventh month dies,” and Voldemort did indeed, “mark him as his equal.” However, Harry “has power the Dark Lord knows not” (Rowling Order of the Phoenix 841). It would appear that Voldemort has chosen Harry to be his personal opponent, and much like the prophecy concerning Christ and Satan in Genesis 3:15 which says, “And I will put enmity between you and the woman, and between your offspring and hers; he will crush your head, and you will strike his heel” (Bible Gateway), Jesus is Satan’s personal opponent. Satan’s defeat is achieved through Christ’s resurrection, “crushing” Satan’s head. Harry’s role as the redeemer of the wizarding world closely parallels with Jesus’ role as the redeemer of Christians.
One element of the Harry Potter novels that might seem insignificant through the entire series is the centerpiece of the first novel. Harry Potter and the Sorcerer’s Stone’s title says it all—the Sorcerer’s Stone (or Philosopher’s Stone in accordance with the legend and the British book title) can be identified as a symbol of redemption. Concerning the Sorcerer’s Stone, the text states, “The ancient study of alchemy is concerned with making the Sorcerer’s Stone, a legendary substance with astonishing powers. The stone will transform any metal into pure gold. It also produces the Elixir of Life, which will make the drinker immortal” (Rowling Sorcerer’s Stone 220). The Elixir of Life is what Voldemort is seeking throughout the first book; this elixir offers an interesting comparison with the biblical “Elixir of Life.” In John 4:13-14, Jesus, speaking to a Samaritan woman, “Everyone who drinks this water will be thirsty again, but whoever drinks the water I give him will never thirst. Indeed, the water I give him will become in him a spring of water welling up to eternal life.” It is also interesting to note that Jesus describes this water in John 4:10 as “living water”—the biblical Elixir of Life (Bible Gateway). It is simple to conclude from this illustration that the Elixir of Life which comes from the Sorcerer’s Stone is congruent with the living water offered by “Christ Jesus…the chief cornerstone” (Bible Gateway Ephesians 2:20). This is just one of the many examples of redemption found in the Harry Potter novels.
In Harry Potter and the Chamber of Secrets, there is a symbol for redemption that is perhaps less obvious than much of the symbolism found in Harry Potter. When Harry and Ron decide to take the flying Ford Anglia to school when they miss the Hogwarts Express, the two boys crash into the Whomping Willow and are in huge trouble. How these two escape the severe hand of Severus Snape may be seen as an almost allegorical representation of redemption. Consider this author’s interpretation of Harry and Ron’s sentencing:
Harry and Ron represent Man and Professor Snape represents Satan the Accuser. Satan has no power to condemn man, so he fetches those that do, Professors Dumbledore and McGonagall, who represent God the Father and Jesus the Son. Man is forgiven his sin (Misuse of muggle artifacts, underage wizardry, destruction of school property, and performing magic before muggles), but still must suffer the consequences (detention), but is spared bane of hell, away from the presence of God (expulsion from Hogwarts and the God figure, Dumbledore). After Man is absolved his sin, he is rejoiced over in Heaven (the celebration in Gryffindor tower). (Rowling Chamber of Secrets 79-85)
Indeed, this allegory is not quite as apparent as the other symbolism offered in Harry Potter, but this interpretation offers a look at redemption comparable to John Granger’s comparison in Looking for God in Harry Potter. Granger writes about the fight with Tom Riddle at the end of Chamber of Secrets calling it, “the most transparent Christian allegory of salvation history since Lewis’s The Lion, the Witch and the Wardrobe” (133). Granger sees Harry as Everyman, Tom Riddle as Satan, Ginny Weasley represents man’s virgin innocence and purity, the basilisk is sin, Dumbledore is God, Fawkes the Phoenix is Jesus, the Phoenix song is the Holy Spirit, the sword of Gryffindor is the sword of the Spirit (Granger notes Ephesians 6:17), the Chamber of Secrets is the world, and Hogwarts represents heaven. He sees this allegory play out as such,
Man, alone and afraid in the world, loses his innocence. He tries to regain it but is prevented by Satan, who feeds on his fallen, lost innocence. Man confesses and calls on God the Father while facing Satan, and is graced immediately by the Holy Spirit and the protective presence of Christ. Satan confronts man with the greatness of his sins. God sends man the sword of the Spirit, which he uses to slay his Christ-weakened enemy. His sins are absolved, but the weight of them still means man’s death. Satan rejoices. But the voluntary suffering of Christ heals man! Man rises from the dead, and with Christ’s help, man destroys Satan. Man’s innocence is restored, and he leaves the world for heaven by means of the Ascension of Christ. Man, risen with Christ, lives with God the Father in joyful thanksgiving. (Granger 135-36)
Granger’s allegory indeed offers a strong parallel between the Christian Salvation story and Harry’s redemption in Chamber of Secrets. Similarly, Kristin Kay Johnston notes, “…Harry descends into the underground chamber to fight the evil serpent (the basilisk) and rescue Ginny ‘from the dead’” (6). Although Johnston and Granger’s interpretations of the literature are varied slightly, each still points to the scenes in Chamber of Secrets as a redemptive work. The presence of these symbols in the pit Chamber of Secrets (the actual chamber, not the book) places them as a ray of hope of redemption in the midst of the dreadful surroundings.
In Harry Potter and the Prisoner of Azkaban we move from the depths of the Chamber of Secrets to the skies on the wings of a Hippogriff. Prisoner of Azkaban is one of the most popular of the Harry Potter novels. Prisoner of Azkaban is also different from the other novels of the series in its format. The ending is what sparks this contrast. Unlike the other five volumes of Harry Potter that have been released, Harry and the Trio are not the ones being rescued at the end of the novel; rather, Harry and Hermione are the redemptive figures in Prisoner of Azkaban. The redemption of Sirius Black and Buckbeak the Hippogriff is the main focus. There is no great encounter with Voldemort as seen in the other novels, although there is an encounter with his servant, Peter Pettigrew. Harry feels his and Hermione’s efforts to save Sirius were futile since Sirius is still believed to be a loyal servant of Voldemort, murderer of Peter Pettigrew, and Judas Iscariot to Lily and James Potter. Professor Dumbledore believes differently however, saying “Didn’t make any difference? …It made all the difference in the world, Harry. You helped uncover the truth. You saved an innocent man from a terrible fate” (Rowling Prisoner of Azkaban 425). As Harry has spared Sirius from a terrible fate, Christ has spared the Church their terrible fate. Colossians 1:13-14 states, “For he has rescued us from the dominion of darkness and brought us into the kingdom of the Son he loves, in whom we have redemption, the forgiveness of sins” (Bible Gateway). Sirius Black has been rescued from “the dominion of darkness” that is Azkaban Prison by the son of his best friend. As in John 8:36, being set free by the Son is being free indeed (Bible Gateway).
In all of the Harry Potter novels, the final scenes usually point to some form of redemption. In the finale of Harry Potter and the Sorcerer’s Stone, Harry is redeemed from Voldemort through the “old magic” of his mother’s love. In Harry Potter and the Chamber of Secrets, Harry and Ron are rescued from expulsion from Hogwarts, and Harry and Ginny are redeemed from death through Fawkes the Phoenix and his gifts. Sirius Black is spared the fate of a Dementor’s Kiss in Harry Potter and the Prisoner of Azkaban. In Harry Potter and the Goblet of Fire, Harry is redeemed from Voldemort and the Deatheaters by the echoes of those Voldemort has murdered; and in what appears to be a literal interpretation of Hebrews 12:1, these echoes are much like an actual, “great cloud of witnesses” (Bible Gateway). Dumbledore comes to the rescue in Harry Potter and the Order of the Phoenix, foiling Voldemort and saving Harry and the DA. And in his final redemptive act, Albus Dumbledore lays his life down for Harry in Harry Potter and the Half-Blood Prince. That there is some symbol of redemption found in the finale of all the Harry Potter novels may be very telling. Biblically speaking, redemption is the final end point of Christ’s work on the cross. The redemption of his saints is the main focus—the chief result of salvation—as is noted in Revelation 12:10, “Then I heard a loud voice in heaven say: ‘Now have come the salvation and the power and the kingdom of our God, and the authority of his Christ. For the accuser of our brothers, who accuses them before our God day and night, has been hurled down’” (Bible Gateway). The defeat of the evil one, the redemption of saints from evil, and the authority of the redeemer is established—this is the pattern the redemption story follows in the Bible, but also in Harry Potter. This same pattern can be identified in The Chronicles of Narnia. The Chronicles of Narnia offers many examples of redemption. Much like Harry Potter, an example of redemption can be found in each volume, and oftentimes, this symbol of redemption is the centerpiece for the entire story.
Works Cited in Chapter III, Part I
Bible Gateway. King James Version. New International Version. 2006. 27 Apr. 2006 <http://biblegateway.com/>. 1 Corinthians 4:17; 1 John 4:8; 2 Chronicles 7:14; 2 Samuel 22:2-3; Acts 4:12; Colossians 1:13-14; Ephesians 1:7, 2:1-5, 2:20; Genesis 1:1-31, 3:15; Hebrews 9:12, 12:1; Isaiah 1:18, 50:6, 53:1-12, 61:10; Job 2:11-13; John 1:29, 3:16, 4:10, 4:13-14, 8:36, 14:6-7, 14:26, 15:13, 15:15, 19:17, 20:26-29, 21:9; Luke 10:18, 22:42, 24:46-47; Mark 7:37, 15:3-5; Matthew 1:21; 24:31, 26:36-39, 26:42; Philippians 2:1-2; Revelation 5:5, 11:18, 12:10; Romans 6:11; Titus 3:5.
Deavel, Catherine Jack and David Paul. “Character, Choice, and Harry Potter.” Logos: A Journal of Catholic Thought and Culture. 5.4 (2002): 49-64. <http://muse.jhu.edu/journals/logos/v005/5.4deavel.pdf>. 58-59.
Granger, John. Looking for God in Harry Potter. USA: SaltRiver, 2004. 67-68, 99-100, 133, 135-36, 182.
Johnston, Kristin Kay. “Christian Theology as Depicted in The Lord of the Rings and the Harry Potter Books.” Journal of Religion & Society Vol. 7 (2005). <http://moses.creighton.edu/JRS/pdf/2005-5.pdf>. 6-7.
Rowling, J. K. Harry Potter and the Chamber of Secrets. New York: Levine-Scholastic, 1999. 79-85.
—. Harry Potter and the Goblet of Fire. New York: Levine-Scholastic, 2001. 22, 534, 679, 717.
—. Harry Potter and the Half-Blood Prince. New York: Levine-Scholastic, 2005. 552, 569, 584, 596, 612, 652.
—. Harry Potter and the Order of the Phoenix. New York: Levine-Scholastic, 2003. 734-35, 789, 792-93, 824, 836, 841, 843-44.
—. Harry Potter and the Prisoner of Azkaban. New York: Levine-Scholastic, 1999. 38, 108, 214, 232, 330, 376, 415, 425, 427-29.
—. Harry Potter and the Sorcerer’s Stone. New York: Levine-Scholastic, 1998. 173, 173, 177-79, 220, 271, 283, 286, 294, 299, 306.
