MuggleNet Academia: Four Hogwarts Professors Discuss ‘Cursed Child’

Hogwarts Professors Louise Freeman, Elizabeth Baird-Hardy, Emily Strand, and John Granger spoke with MuggleNet.com Managing Editor Keith Hawk last week to share our first thoughts about the “Special Rehearsal Edition Script” of Harry Potter and the Cursed Child. It was a full faculty meeting of your favorite serious reader web site and it was as much fun as you’d have guessed.

Is Cursed Child canon or just Store Brand Meta Potter? What was Rowling thinking to accomplish by putting her name on this time-traveling travesty and then declaring it was the last Harry Potter story, full stop? Would the script pass a computer literary analysis for Rowling syntactic or thematic signatures?

Download and listen to the show — and let us know what you think in the comment boxes below!

Meta-Potter: Is ‘Cursed Child’ Harry Potter Canon or Something Else?

by Emily Strand

Wait. Harry’s afraid of pigeons? And the Trolley Witch has a scary side? And Voldemort had a what…?

As fans ingest the newly-released rehearsal script from the hit play Harry Potter and the Cursed Child, they’ve moved past confusion over the work’s genre (to quote a friend’s 10-year-old daughter, as she opened the play on her Kindle: “Mom. This is a play”). They’ve moved on to a more important, more fundamental and perhaps more troubling question about the work: is this canon?

The play’s publishers and authors have been clear: the answer is “yes”. Fan sites have quickly added it to their lists of what we must consider when we consider Harry Potter. All this, despite that Rowling is not the primary author of the script itself, but merely contributed to the creation of the story on which it’s based.

Cover 2I knew this when I picked up my copy of Cursed Child. And I like to respect authors’ wishes on such matters, when they’re not outlandish. Before I picked up the play, I had accepted the idea that, no matter what I thought of its contents, I would need to at least try to fit them into my imagination’s understanding of Harry’s story.

In small ways, incorporating Cursed Child into canon isn’t difficult. Readers can surely hang with the rabid Trolley Witch. Hey, she’s kind of fun, in a macabre way. I personally loved it when grown-up Harry admits to being afraid of pigeons, because, well, I am too. And I’m sure it was never the authors’ intention to cause my mind to envision Voldemort in a compromising position with Bellatrix Lestrange (no, no, no mental picture, please no mental picture, please no… dammit, too late).

None of these individual quirks of Cursed Child causes me to reject it as Potter canon, nor all of them together. Still, I’m not adding Cursed Child to my Potter headcanon. Sorry Jo. Sorry other guys whose names are on the cover. This is not Potter.

It’s meta-Potter.

John Granger has written about the many postmodern characteristics present within the Potter books. He says postmodern stories, which tend to encourage suspicion of the traditional narratives that have held societies together for millennia, are, as a result, self-conscious and self-referential. They have a sense of humor about themselves; they wink and nudge the reader, encouraging them not to take any story too seriously, the present one included.

The seven-book Potter narrative mostly does this by showing how wizarding society is, despite our attraction to it, imperfect. In giving us an alternate, magical universe, Rowling isn’t saying “over here everything is just fine.” Hardly. Through institutions like the Ministry of Magic and the Daily Prophet, and characters like Dolores Umbridge, Cornelius Fudge and even Snape, Rowling is, in a characteristically postmodern way, saying: “Hey, look! This magical story has corruption, prejudice, and adults who never finished growing up too! So don’t trust it either!”

The seven Harry Potter books demonstrate postmodern self-consciousness on a “macro” level, that is, at the highest level of story-telling. It makes her story quite enjoyable to read, at the same time it is challenging and thought-provoking to the reader.

Most importantly, the seven Potter books’ self-consciousness is never self-indulgent. Potter is self-referential not simply because it can be, but in order to draw the reader’s attention elsewhere: to more important places, like the parts of our own society which need to be questioned. Once in a while you’ll find a self-referential moment that doesn’t serve this more magnanimous end – Ron’s exclamation of “ARE YOU A WITCH OR NOT!” to Hermione in Philosopher’s Stone comes to mind. But when this happens, the reference adds humor, or gives the reader a more complete sense of immersion in the world.

Cursed Child is a different story. I’m calling it “meta-Potter” because, unlike the seven Potter books, which tell a story that comments on stories themselves, Cursed Child seems primarily concerned with commenting on Potterverse itself. And this habit of the play becomes very self-indulgent, very quickly.

Ron Hermione and RoseIt starts benignly on page 23 when Harry suggests Albus Severus make more friends, and the boy tells his father, “I don’t need a Ron and Hermione”. The article “a” before “Ron and Hermione” is telling; it shows their names have become a trope for a trio-making pair of friends: the sidekicks a hero can’t do without. Of course, I found Ron and Hermione far more interesting when they were just an unlikely pair of kids whom circumstance pulled together to do something great alongside the hero, not a trope of same.

Cursed Child’s self-consciousness ramps up on page 187 when Severus Snape wonders if he’s just quoted Dumbledore. Hermione assures him that his profound (not really that profound) statement was “pure Severus Snape.” Problems with Hermione’s statement range from character consistency to questions about its application in the alternate universe in which they stand at the time. Those aside, my problem with the statement is that it is self-indulgently referential to the place of Severus Snape in Muggle Potter fandom, instead of in the wizarding world.

Then we have the worst incident of this kind of self-referential self-indulgence on page 261 when Draco Malfoy tells Harry how “exceptionally lonely” it is, “being Draco Malfoy.” Reader, I’d like you to try something, if you please. I want you to try referring to yourself in this way. Out loud. Come on, this’ll be edifying. What is it like to be you? Lonely, like poor Draco? Frustrating? Exciting? Tedious? Pick one. Now, say it out loud. “It is exceptionally _______, being [your name].”

Now, do you feel silly? Yes, so does Draco. Or he should, anyway. As Harrison Ford once reportedly said to George Lucas, “You can write this [stuff], George, but you sure as hell can’t say it.” Let’s hope, for the actor’s sake, poor Draco’s line was improved in the finalized script, the way Harrison Ford improved many of Han Solo’s lines.CC

I, for one, don’t plan to spend the money to find out. It’s not just because of these relatively minor examples of the self-absorbed nature of Cursed Child. These are mere symptoms of the play’s greater self-indulgence, which is likely what many fans are referring to when they say the play reminds them more of Potter fan fiction than authentic Potter.

Yes, the overarching plot of the play can also be considered meta-Potter. As Albus and Scorpius discover what happens if they change a seemingly insignificant part of history, the story becomes an extended reflection on all the tiny details that went into determining the victory of the wizarding world over Voldemort in books 1-7. Cursed Child is not Albus and Scorpius’ story (which is unfortunate, because their dialogue and rapport are the most satisfying parts of the script). It is Harry’s story, re-examined, even re-lived and re-imagined in many ways, several times over.

It’s Potter about Potter. It’s meta-Potter.

On page 122, Professor McGonagall cautions Harry, regarding Dumbledore’s portrait, not to “mistake the painting for the person.” This is good advice that, sadly, Harry does not heed. Readers of Harry Potter and the Cursed Child: please don’t make the same mistake. Because it’s good advice for us, too. Cursed Child is not Potter, it’s a portrait of Potter. It’s a monument to Potter. It doesn’t tell us a new story; it reflects deeply on the primary story: the story of Harry and company’s victory over Voldemort, and (less deeply than it could) of love’s victory over death. So treat it as a monument: something to help you remember, reflect and process an important moment from the past. Let it bring you comfort, pride, and a sense of fond familiarity.

But if it offends your Potter headcanon, go ahead and ignore it.

Off the page: why the Cursed Child script is bound to disappoint

by Emily Strand

My favorite English teacher in high school used to begin each new Shakespearean play we tackled by 220px-Hw-shakespearerunning into the classroom, shouting, “Off the page and onto the stage!” I still remember the particular gleam in his eye on such days, reserved for the cusp of a Shakespearean work, and how he would creep around the room, carefully selecting people to read the different characters. (Unlike most in the class, I always hoped he’d pick me, as I’d rehearsed them all the night before.) We’d try our best to give voice to the verse, stumbling over the Elizabethan strangeness of it all, our slightly unhinged teacher shouting us down if we dared display insufficient enthusiasm or gravitas.

My teacher may have been unhinged (it’s why I liked him), but his point was coherent, and important. It was that theater is meant to be seen, heard and experienced, not read. One can’t appreciate the impassioned vitriol of a Kate, the joyful mischief of a Puck, or the infuriating inertia of a Hamlet from the flat confines of the printed page, no matter how well-penned.

My teacher’s catch phrase, “Off the page and onto the stage!”, has crossed my mind more than a few times in the lead-up to the release of Jack Thorne’s script of Harry Potter and the Cursed Child this week. More than our host’s fine arguments for why this work may be poised to disappoint, more than the hastily-compiled and unflattering plot summaries anyone can find online, it is this realization of the incompleteness of what we’re receiving in Cursed Child that has kept my own expectations low. We’re Harry Albus and Ginnyreceiving what Louise Freeman rightly described as only about 10% of the magic of the story. We’re receiving a bare-bones skeleton: the flesh, sinew, organs and skin of which, we’re just supposed to imagine from the words on the page, and a handful of cast pictures.

I’ll admit that my imagination is not that good. And as my teacher always suggested, it’s not supposed to be. Plays are meant to be acted, not read. So, to Potter fans, no matter how die-hard, who rush out and purchase their copy of the script on July 31, I say: don’t be disappointed when you don’t like – or perhaps don’t even understand – the so-called “eighth Harry Potter story”.

Now please don’t confuse me with the imaginatively indolent: those who Tolkien said roundly reject fantasy due to their discomfort with the “arresting strangeness” of the genre: those who are too tired, or too preoccupied with the “real world,” or simply too lazy for the hard work of filling in the mental details of what a school of magic or a hobbit might look like. That’s not where I’m coming from. I truly believe that our imaginations are mighty muscles that, if trained to their full potential, will move us a long way toward saving the world. And, as an exercise toward that end, I love the work of supplying the mental images of characters and settings which are foreign to this mundane world in stories like Potter. Even outside the fantasy genre, I love letting my brain make movie versions of the beautiful emotion and the narrative tension to which the words on the page of good stories merely point.

But plays are not supposed to be words on a page. Like liturgy, they are supposed to be enacted, either by us, or by a competent crew of actors, directors and dramaturgists.

Which begs the question: if Cursed Child really is the eighth installment in a very complete, internally interdependent, seven-part series (a bold claim in itself, as John Granger has wisely insisted), a series that so many millions (billions?) of fans lay claim to, then why this medium? Isn’t it necessarily a bit exclusive, even elitist, for what it claims to be?jesus_canaanite_woman

Rowling has tweeted that, once people have seen the play, it will be clear that the theater is the “only proper medium” for Cursed Child. Sadly, her reasoning for this statement will remain a mystery for us Muggles with no access to the work in its intended form. We’re left, as the Syrophoenician woman from the Gospels described it, like dogs beneath the table, snapping up the crumbs that fall from children’s plates. We can only hope that, like the woman, our faith will be rewarded someday. But given what we know about the relative racial and socio-economic exclusivity of Broadway audiences, it’s hard to see how.

Not What You Think It Is: Five Thoughts on ‘Harry Potter and the Cursed Child’

Cover 1I was contacted yesterday by a reporter at the New York Times and asked “whether or not fans will embrace a play that she co-authored but did not write entirely on her own.” She called this morning and we spoke for about half an hour.

I’ll be talking about this and other subjects this Sunday at Oklahoma City’s largest bookstore’s Midnight Madness Potter Party. I share here the gist of what I said to the Times reporter and a shade of what I’ll talk about at the Party. It is the first of several Posts this week by your friends here at HogwartsProfessor about what to expect in the draft script. Stay tuned!

To the reporter’s question, there isn’t any doubt about fan response to the script marketed as the “Eighth Harry Potter” story. Harry Potter fandom and readers have already embraced ‘Cursed Child.’ It has approached records for pre-publication orders, records that were set, of course, nine years ago when the series finale was released. That the story is not hers and that the script was drafted in much the form it is now in, i.e., that she acted as an editor or at best a contributor but not as author per se, means very little to her millions of fans.

Harry Albus and GinnyIt’s better, though, to think of them as Harry’s fans, not J. K. Rowling’s, however much they hang on her twitter blasts and PotterMore posts. Sales of Rowling’s non-Hogwarts books, Casual Vacancy and the three Cormoran Strike mysteries, would be considered very impressive from other writers, especially within the genres she’s chosen, but have never begun to approach Harry Potter sales figures.

There’s something about Harry Potter which causes the excitement about the ‘Eighth Book.’ I’ll go out on a limb, though, and suggest there is going to be significant disappointment among even the most ardent Potter fans about this Midnight Madness experience around ‘Cursed Child.’ Let’s be clear about five things ‘Cursed Child’ is not: [Read more…]

New ‘Newt Scamander’ Trailer: JKR Introduction on What Her Works Are Primarily About — the Other’ed

From ChrisC:

“My heroes are always people who feel set apart, stigmatized or ‘othered.’ That’s at the heart of most of what I write”. – J.K. Rowling.

A new “Fantastic Beasts” trailer has been released, titled “A New Hero”.

What’s notable is that it features Ms. Rowling herself giving “just a smidge” of background info on Newt Scamander. As an extra bonus, the trailer a snippet of “meet cute” between Newt and Tina.

Enjoy!