Following up last week’s part one on the influence of C.S. Lewis on J.K. Rowling’s cast of creatures, here is the second part of the paper (though edited) that I originally presented at the 2005 Witching Hour conference in Salem, Massachusetts, a lovely event that set me off on the last decade of Potter scholarship.
As we pack our bags (ones that hold many very interesting things) for another journey into the Wizarding World with Newt Scamander and his Fantastic Beasts, we pick up after examining the heraldic animals of Hogwarts as they connect to Narnia, as well as connections with domestic animals and wildlife.
Now, we’ll head off the map a bit, more into Newt’s territory, as we look at creatures more up his alley–that long scary alley with something scuttling over behind the bins….

As we’ll doubtless be covering in the weeks to come, Fantastic Beasts and Where to Find Them is flying, crawling, and stomping into theaters this month. While we are all interested to see more of the wizarding world, I am particularly intrigued, as that slim red volume actually launched me into serious academic scholarship into the Potter-verse.
ans will squeal with delight as they crack a fresh cover. Like the days of old when the release of a new Harry Potter book incited epic expectation and fan reaction, the publication of the rehearsal script for the first two parts of the play, Harry Potter and the Cursed Child, is already surrounded by attention that not only echoes the releases of the seven books in the Hogwarts Saga, but that also recalls the kind of fascination and frenzy that has prompted other artists to do what J.K. Rowling has done: trying to re-create a phenomenon when the original source of that phenomenon, at least from an artistic and symbolic standpoint, has concluded and needs no further additions.
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