Chaos Walking #1: How the Story is Told

Welcome to the HogwartsProfessor Book Club’s first official post! After last month’s fun looking at Mockingjay when it first came out (links to those 30+ posts and threads are gathered here), my fellow Professors and Potter Pundits agreed we should try to do this every month. Our first choice has been the Chaos Walking trilogy by Patrick Ness, the last of which novels — Monsters of Men — was published in the US just last week. I wrote reading guides for the first book, The Knife of Never Letting Go, and the second book, The Ask and the Answer, in recent weeks to encourage those of you for whom Chaos Walking was something totally different. I hope you’ve managed to find and read copies of all three Chaos Walking novels; everything from this point forward will assume you have read each book (file that under “Spoiler Warning”).

The purpose of these posts is “bringing up subjects for discussion” not “delivering definitive interpretations.” I’ve only read the books through once and quickly, but, as you know if you’ve read them, even that experience is sufficient for understanding that these are novels of significant, deceptive depth and artistry that merit re-reading both for pleasure and for that close attention on second and third readings which reveals the greater meaning only felt the first time. To encourage that second and third look, let’s start with some curiosities in the surface narrative after the jump.

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Hunger Haters on the Scene: Is America Incapable of Understanding Satire?

While The Hunger Games  isn’t likely to garner the sort of opposition we’ve seen from the Harry Haters, it seems it was just a matter of time until the novel upset some angry parent somewhere.  A mother in New Hampshire is kicking up a fuss over her daughter’s school assigning The Hunger Games. She is convinced that the book is giving her daughter nightmares and that it is “wholly inappropriate for her daughter or any other student.” Check out the whole article here, where the mother rails against the book because  “Twenty-four children are pitted in a life-or-death struggle with each other. The reason? Entertainment. That’s sick….You guys don’t want Columbine, but you’re putting forth material that will totally desensitize the children to murdering other children.” No kidding, that’s what she said. [Read more…]

J. K. Rowling on Oprah: More Hogwarts Novels?

Ms. Rowling’s 30 August interview with Oprah Winfrey aired today and there were one or two interesting notes. The one the press jumped on, of course, was that the author was open to the possibility of writing more Wizarding World adventures. The comment that caused owls to start bouncing off my e-window was Ms. Winfrey’s saying, “I just loved that you said that you were not trying to convert people to Christianity” (Hat-Tip to Rumor).  Neither comment, though, should surprise anyone. The context of these quotations and my off-the-cuff thoughts are below the jump. [Read more…]

A Talk Forever Changing the Way We Think About the Artistry and Meaning of Rowling’s Harry Potter

Hard as it may be to believe, more than a decade after the first book and a month before the last movies are released, I think I have figured out Ms. Rowling’s chapter to chapter writing plan for each of her books, a story scaffolding at once more obvious and pervasive than the literary alchemy and distinctive Potter hero’s journey. It affects many, perhaps even most characters’ names and may be the ultimate source of the “triangular eye” of the Deathly Hallows symbol. It’s important enough that I’ve added it as a new “key” with a chapter all its own in my updated  Harry Potter Unlocked coming out this fall.

If you can’t wait for that and want to hear more about Ms. Rowling’s writing plan that shapes every chapter of every book as well as the way each book relates to the other novels in the series, I’ll be talking about it next week at New York City’s Samsung Experience in Time Warner Center in a lecture sponsored by America’s premiere fan Meet Up, ‘The Group That Shall Not Be Named.’

Details about the talk, the venue, and the cover of a new Potter Pundits talk and essay collection are below the jump!

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How to Film the ‘Breaking Dawn’ Birth Sequence

The marriage of Bella Swan and Edward Cullen is the Alchemical Wedding of Red King and White Queen. The child they conceive, the so-called ‘Philosophical Orphan,’ is supposed to cause their deaths, at least according to the rubrics of literary alchemy. The orphan is a character stand-in for the Philosopher’s Stone and is meant to be an incarnation of the contraries needing resolution in the story’s setting. Renesme not only has a name that screams “resolution” (at least as much as “melange” does), she is also the human-vampire androgyn and alchemical Rebus that unites vampires, shape-shifting werewolves, and hapless humans. Really, in the allegorical story of Latter-day Saint divinization embedded in the last three Twilight novels via the hermetic symbolism of alchemy, the marriage and apotheosis-in-sacrificial-childbirth scenes are essential — and wild. (All of which is explained in detail in Spotlight: An Up-Close Look at the Artistry and Meaning of Stephenie Meyer’s Twilight Saga.)

But how do you film Bella’s bone-breaking and bloody-beyond-belief birthing? And keep a PG-13 rating?  The discussion is on in earnest at this mommy weblog; I hope you’ll share your ideas in the comment boxes here. Usually, I don’t care for movie versions of book scenes for which I have pretty vivid images in my head already. In this case, though, I think I may see the film only to displace the ones I have from the printed page and my imagination. (Hat Tip to Arabella!)