Rowling’s Favorite Painting and What It Suggests about Her Artistry and Meaning

Rowling’s Q&A last Sunday in The Times of London was largely forgettable, as I discussed in ‘Rowling’s Q&A in the Sunday Times.’ Her answer to an outlier question about art in that set, however, was a ‘keeper’ on several levels:

What’s the first piece of art you loved?
I visited the National Gallery on my own when I was around 19 or 20 and was absolutely mesmerised by Caravaggio’s Supper at Emmaus. I had a battered print of it on my wall for years afterwards and it featured on my first ever website.

This was not a revelation. In what remains “the only authorized J. K. Rowling biography,” Lindsey Fraser’s 2001 Conversations with J. K. Rowling, much more of a seemingly superficial Q&A than a proper critical life history, Rowling concluded her answer to “Do you enjoy art?” this way:

Perhaps my favorite painting is Caravaggio’s Supper at Emmaus when Jesus reveals himself to the disciples having risen from the dead. I love it. Jesus looks very likeable – soft and rounded – and the painting captures the exact moment when the disciples realize who this man is, blessing their bread. (Fraser, 30-31)

The chapter in Beatrice Groves’ Literary Allusion in Harry Potter that convinced me of that work’s seminal importance and the writer’s true brilliance turned on her discussion of this comment and on the painting itself. Join me after the jump for a review of Prof Groves’ exegesis, the confirmation of her points in Literary Allusion  to be found in Rowling’s comments on Sunday, and some further points about Supper at Emmaus that the “mesmerized” Rowling may be assumed to have noticed. My idea is that her use of subliminal symbols ‘tracks’ with Carravagio’s and that we are called to a Ruskin-esque posture of “deep mining” before a painting if we are to grasp the depth of her writing.

I wrote to Professor Groves earlier this week to ask her permission to quote the passage in her Literary Allusion in Harry Potter about the Caravaggio painting, Rowling’s relationship with it, and what it reveals about the remarkable Christian Everyman subtext of Harry Potter. She graciously gave me her permission so here is that remarkable passage, a key really to the Christian content of the Hogwarts Saga: [Read more…]

Netflix Narnia in the Works, Yet Another Attempt to Adapt

Book adaptations are popular commodities in the streaming world, and some are better and more faithful than others. Disney+ just recently released the first season of Percy Jackson and the Olympians, a satisfying and well-done series with a great cast that is true enough to the text to satisfy readers while also paced and editedThe Chronicles of Narnia Series and Films Being Developed by Netflix appropriately to keep up screen momentum. Amazon Prime’s Wheel of Time, by contrast, is a sleek and sexy series that Robert Jordan, may he rest in peace, would not recognize as having much in common with his behemoth book series. It is no surprise, then, that Netflix already has its hooks in The Chronicles of Narnia. Although the streaming giant has had the rights to the series for years, it look like it is actually now planning to put a Narnia adaptation into production, and there are those who are excited for the series as well as those who are less than enthusiastic about what this adaptation may entail. After the jump, let’s look at some of the previous attempts at Narnia adaptations and ponder some of the news that we have so far about the Netflix project.

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Anne Bradstreet: America’s First Poet, A Great Books Podcast

Over the summer, I was privileged to be a guest as part of National Review‘s wonderful Great Books podcast series on The Chronicles of Narnia. I was honored to be asked to join the brilliant host John Miller again a few weeks ago to discuss one of my other favorite authors, the incomparable Anne Bradstreet, America’s first published poet. As many Americans prepare to celebrate Thanksgiving, this is a wonderful time to reflect on the work of Bradstreet, a Puritan wife and mother who was also a phenomenal poet whose influence continues today. I hope you will enjoy listening to our conversation about Bradstreet as much as I enjoyed having it! On this Thanksgiving, I am thankful for the many authors whose work has been a powerful influence in my life. Sixty years ago today, C.S. Lewis left this earth. Hardly anyone noticed (Aldous Huxley died then, too) because President Kennedy was assassinated the same day. Anne Bradstreet lived four hundred years ago, and yet, her voice remains powerful. May you be blessed this Thanksgiving with great reading!

 

Farewell to Alastair Fowler, Mythopoetic Scholar Extraordinaire

On October 9, a bright scholarly light left the world, with hardly a whisper in the press or online. Alastair Fowler, CBE, FBA, and distinguished literary critic and poet, studied under C.S. Lewis at Oxford and received his degrees from there before going on to teach at universities in his native Scotland, England, and the United States from the early 1960s until the late 1990s. Our readers here have surely felt the influence of Fowler, whether or not they realize it. He edited Lewis’s brilliant Spenser’s Images of Life, and, since he extrapolated upon Lewis’s notes and lectures, Fowler’s input upon this brilliant volume, published four years after Lewis’s death, was vital. He made numerous contributions to literary scholarship, particularly upon the works of John Milton and Edmund Spenser.

His edited volume of Paradise Lost, along with his Spenser and the Numbers of Time both made important additions to scholarship in the 1960s, but he was still publishing in the early 2000s, producing How to Write and often criticizing the growing influence of new historicism. Considering Lewis’s abhorrence of “the personal heresy,” it is not surprising Fowler was suspicious of a critical trend that often focuses less on texts and more on the author’s personal life and issues of power and culture.

His scholarship on Spenser provides vital tools for understanding some of the crucial symbols that come into play in Troubled Blood: ChrisC mentioned Fowler in our comments here as Louise Freeman pondered possibilities prior to the novel’s publication two years ago and a few months ago as John Granger speculated on Ink-Black Heart before its release. Thank you, Chris, for making that great connection! A brief Google search reveals no other articles linking Fowler to the Strike novels, but it would certainly have been interesting to hear his take on Strike and Spenser.

Although it is unlikely that any of us who study Lewis, Milton, and Spenser have not, somewhere, used or been influenced by Fowler’s scholarship, his death has not received much public attention. A brief obituary in the Times gives his honorifics but none of his publications or other literary achievements, simply listing his family. Since he and his wife, who passed away three years ago, were married for 68 years, and he was apparently loved by his children and grandchildren, his personal achievements were pretty spectacular. Sadly, his tremendous academic impact, which should continue upon the printed page for many years to come, does not have the interest of an internet trend or celebrity scandal. However, we here at Hogwarts Professor will continue to be grateful for his contribution to the study of important authors and for the tools he has given us.

Thank you, as well, to ChrisC for those great comment shout-outs and for letting us know of the passing of this brilliant scholarly voice.

Always Winter and Never Christmas? Some Thoughts on Snow, Springtime, and Fantasy Literature

According to the calendar, the vernal equinox is coming soon, March 20. The Auditors of Time just decreed that we must all surrender an hour of our lives (they do promise to give it back in the fall), and I’ve already heard spring peepers singing for all they are worth. However, we currently are having a snowstorm here in western North Carolina, so those poor peepers are, as my dad would say, now “peeping through glass,” and the single digit temperature and sub-zero windchill are enough to make a person look twice at the calendar to see if spring is around the corner or on another continent. As I frequently point out to my fellow residents of the mountains during this time of year, “Appalachian Spring” is not just a musical composition; it is a specific species of cruel joke. It’s rather like that feeling when, well before the end of the book or film, our heroes have slain the monster and we, savvy story-consumers that we are, know that the monster is NOT in fact dead, or the monster has a baby, a mate, a scary parent, or a whole monster army in reserve. Thus, the howling winds outside and the freshly cut daffodils inside (I cut them just before the snow) have reminded me of some thoughts I have long been pondering about the way seasons, particularly winter and spring, work in fantasy literature and how the treatment of those seasons is often an indication of the worldviews of authors and of the directions their tales will take.

So join me after the jump as we ponder some fantastic thoughts and decide if “winter is coming” or if, in fact, “This is no thaw. This is spring.”

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