Elizabeth Baird-Hardy and Beatrice Groves have been writing about the Spenserian epigraphs adorning each of Troubled Blood’s seven Parts and all of its seventy three chapters, and, for those few, too-happy few Rowling readers well versed in Faerie Queen this has no doubt been a challenging and rewarding effort in literary exegesis. It is an unstated but key premise to everything we write here, I realized this morning, that Rowling writes and speaks to two audiences simultaneously — to those who read her work for entertainment and inspiration and to those who read her work (to include longer twitter threads as well as her novels and series!) for the text beneath the surface of the text, the narrative undergirding the plot narrative revealing the meaning of narratives in our lives. The Faerie Queen posts are, no doubt, examples of the hidden text within what the Russian Formalists called ‘literariness’ and we owe a real debt to Profs Baird-Hardy and Groves for the slow-mining they do per Ruskin to bring this gold to the light of day.

The problem with this work is that I do not think the overlap portion of a Venn diagram of ‘Readers of Troubled Blood,’ ‘Readers of Harry Potter,’ and ‘Readers of Edmund Spenser’s Faerie Queen‘ constitutes even a very small shared sub-set of serious readers. More to the point, perhaps, in an area proportional Venn diagram in which the three sets of readers are represented in size relative to the number of their living members, the Faerie Queen set, alas, is the smallest of the three — and has virtually no overlap, with the important exception of Profs. Baird Hardy and Groves, with the other sets.

No doubt Rowling labors here to foster interest in Spenser’s epic poem among her faithful as well as her Straussian readers of her public and hidden texts, of her surface and hidden meanings, just as she did with Silkworm’s Jacobean Revenge Drama epigraphs and Lethal White’s chapter heading glosses from Ibsen’s Rosmersholm. But Faerie Queen is by far the biggest ‘ask’ in this regard, one with rewards proportionate to the time and effort necessary to enter Spenser’s realm, and the prompting I have to think that will be the least likely to be taken, even with the encouraging glosses written by Serious Strikers.

What I wish to offer today for your consideration is a much less obvious parallel text within Troubled Blood, one that many more if by no means most Troubled Blood readers have already read and which all could read with understanding in less than an hour. This work, Samuel Taylor Coleridge’s ‘The Rime of the Ancient Mariner,’ when read in parallel with Troubled Blood, highlights essential artistry and meanings of Rowling’s latest, of Rowling’s oeuvre taken as a whole, and even of the references to Agatha Christie and William Shakespeare in Strike 5. Join me after the jump for a deep dive into the parallels between Mariner and the fifth Strike novel, an Estecean interpretive journey through Troubled Blood! [Read more…]