Hjkg jh jhbkjhg bhjbknmb kyhb nmbk bmbkb mhk habc

Harry Potter bookshop - Harry Potter Book Sets ... - Harry Potter
harrypotter.bloomsbury.com › bookshop

1.
Buy Harry Potter books from the Harry Potter Bookshop at harrypotter.bloomsbury.com.
Flourish and Blotts is the name of the book shop in Harry Potter.

Harry Potter Book Series Overview - J.K. Rowli - Harry Potter

harrypotter.bloomsbury.com › teachers › series-overview

1.
The Harry Potter books in reading order: Harry Potter and the Philosopher's Stone. Harry Potter
and the Chamber of Secrets. Harry Potter and the Prisoner of Azkaban. Harry Potter and the
Goblet of Fire. Harry Potter and the Order of the Phoenix. Harry Potter and the Half-Blood
Prince. Harry Potter and the Deathly ...

Harry Potter Book Series - Thriftbooks

www.thriftbooks.com › series › harry-potter

1.
2.
Harry Potter. Harry Potter and the Philosopher's Stone. Harry Potter and the Chamber of
Secrets. Harry Potter and the Prisoner of Azkaban. Harry Potter and the Goblet of Fire. Harry
Potter and the Order of the Phoenix. Harry Potter and the Half-Blood Prince. Harry Potter and
the Deathly Hallows.

Complete List - J.K. Rowling's Harry Potter Series - TIME

content.time.com › time › specials › completelist

1.
TIME book critic Lev Grossman grabs an early copy of Deathly Hallows and finds it a sad but
satisfying wrap-up to J.K. Rowling's seven-novel epic...
Book 1: Harry Potter and the ... · Harry Potter's Last Adventure · Is Snape really evil?

Harry Potter Series by J.K. Rowling - Goodreads

www.goodreads.com › series › 45175-harry-potter

1.
2.
Harry Potter Series. 7 primary works • 16 total works. Orphan Harry learns he is a wizard on his
11th birthday when Hagrid escorts him to magic-teaching ...
 Harry Potter Books Series | Harry Potter Book Set
www.barnesandnoble.com › harry-potter › books

1.
Results 1 - 20 of 93 - Explore the Harry Potter books and complete series at Barnes & Noble.
Find beautifully illustrated editions, classic paperbacks, boxed sets, ...

Harry Potter and Fantastic Beasts Books | Wizarding World

www.wizardingworld.com › discover › books

1.
Books. The first Harry Potter book, Harry Potter and the Philosopher's Stone, was published by
Bloomsbury in 1997 to immediate popular and critical acclaim. Six ...

Almost exactly 20 years ago, on September 1, 1998, Scholastic

published Harry Potter and the Sorcerer’s Stone, the first US
edition of the UK’s Harry Potter and the Philosopher’s Stone.
Harry Potter has since became such an all-encompassing
phenomenon that from this vantage point, it’s hard to see the full
scope what it accomplished: It feels as though publishing and
fandom and children’s literature and all of pop culture have
always been the way we know them today. But Harry
Potter changed the world.
Author J.K. Rowling was an unknown single mom when she first
got the idea for her story while stuck on a train; the small UK
children’s press that ultimately took a chance on it undoubtedly
couldn’t have predicted that it would have a measurable effect on
everything it touched. Harry Potter made YA book-to-movie
franchises into one of the biggest forces in pop culture. It changed
the business model for publishing books for kids. And it
introduced an entire generation to the idea that it’s possible to
interact with the pop culture you love — to write about it and with
it, to make music and art about it, and to build a business around
it.

Here’s a look back at the way Harry Potter changed and

influenced online fandom, millennial culture, and the publishing
industry.

Harry Potter’s US publication made it a bonafide

phenomenon
Harry Potter did fine when it first emerged in the UK 20 years ago,
winning a Smarties Award and garnering respectable sales for
its publisher, Bloomsbury. But it only started to approach
phenomenon levels when Scholastic bought the US
publication rights for an astonishing $105,000, about 10 times
more than the average foreign rights sale at the time.

RELATED

The first Harry Potter book wasn’t perfect, but it was magic
Arthur Levine, the Scholastic editor who acquired the books, had
an excellent eye for British books that would work in the US,
having already acquired the US rights to Redwall and His
Dark Materials. But even he didn’t know that Harry Potter would
grow as big as it did. He just knew that he loved it and wanted to
publish it. Scholastic President Barbara Marcus Barbara Marcus
“kept saying ‘do you love it?’ and Arthur said yes, so we went for
it,” a Scholastic spokesperson recalled in 2002. “I would
have been willing to go further than that if I had to," Levine said
in 2007.

RELATED

The first Harry Potter book wasn’t perfect, but it was magic
The $105,000 sale granted Harry Potter two things: a built-in
publicity hook, and a big budget.

The hook came from the press: Newspapers featured articles

about the little English book that had garnered such a huge sale.
Reviewers wanted to know what kind of book would justify that
kind of money. It was a curiosity, and as such, it was a story.

The budget came from Scholastic itself. Whenever a publisher

acquires a book, it creates a budget for that book. That budget is
structured so that elevating the numbers in one category means
elevating the numbers in the next category: If you’re going to
invest $105,000 just in acquiring a book, you’re also going to pour
extra money into marketing, publicity, and production, so that
you have a reasonable chance of making that money back.

So Scholastic invested in a lovely hardcover design for Harry

Potter and the Sorcerer’s Stone, with a soon-to-be iconic cover,
even though conventional wisdom of the time held that children’s
books only made money in paperback. It arranged for Harry
Potter to be displayed on the front tables at bookstores, and for
ads to appear in the right newspapers and magazines. In short, it
gave the book many more resources than are typically afforded to
the average debut novel from an unknown author, and that
decision paid off.
But none of Scholastic’s efforts would have mattered in the end if
the people who picked up the book hadn’t loved it. That’s what
pulled Harry Potter out of flash-in-the-pan territory and elevated it
into a phenomenon that defined childhood for an entire
generation.
Why adults got so obsessed with the Harry Potter books
A 2012 study found that 55 percent of YA novels are bought by
adults. In large part, that boom is courtesy of Harry Potter, which
became a surprise crossover hit adored by both children and
adults, and which made it acceptable for adults to read books that
are ostensibly for children.
For some critics, that’s a worrisome development, suggesting
that adults are too dull and stupid to appreciate books actually
written for adults. But there are plenty of reasons for a grown
person to enjoy Harry Potter.
The Harry Potter books combine the intricate plotting of a
mystery with the sweep and scope of epic fantasy and the
intimacy and character development of a classic boarding school
narrative. The result is purely pleasurable to read at any age: The
puzzlebox mystery plotting keeps the pages turning propulsively
forward, the fantastic mythology gives the world scope and magic
and joy, and the boarding school structure makes the characters
warm and familiar and charming. It also makes their eventual
death (for some) and trauma (for all) deeply affecting.
It’s true that Rowling’s prose is best described as workmanlike
and competent; if the reason you read is solely to enjoy perfectly
balanced and polished sentences, you may be best served
elsewhere. But if you are an adult who can imagine reading for
more than one reason (the pleasures of story, the joy of
immersing yourself in another world), the Harry Potter books
become enormously appealing.

Early on, the books were extremely controversial — and in

many ways, they still are

Part of what made Harry Potter such a literary phenomenon is

that so many kids were reading the books despite an
unprecedented number of attempts to get them to stop reading
the books.
The Harry Potter series, like many works of fantasy, involves
wizardry and witchcraft. The feeling that the books thus promoted
the occult proved to be the basis for constant challenges to the
series’ presence in school libraries and bookstores by concerned
conservative parents. The books first topped the American
Library Association’s list of the most banned books of the year in
1999, and remained in the top spot for most of the next decade.
In some regions, pressure to censor the series was so high it led
to lawsuits: In 2003, a judge ordered an Arkansas school
district that had removed the books from schools due to
promotion of “the religion of witchcraft” to return them. Similar
formal attempts at removal persisted into the latter half of the
decade, and the books continue to rile up conservative
religious leaders who warn of its “demonic” influence.
But witchcraft wasn’t the only evil the books were accused of
peddling. In 2007, after the series’ end, J.K.
Rowling retroactively outed the powerful wizard Dumbledore as
gay. The news prompted Christian scholars to declare the move
“nonsense,” while queer fans were in turn angry that Rowling
had done so little to make the queer subtext of Dumbledore’s
character overt during the time he was actually being written
(and alive). In recent years, Rowling has provoked controversy for
her series’ lack of diversity, for denying queer sexuality of
characters, and many, many more kerfuffles.
All of this controversy speaks not only to concerns that Rowling’s
work would negatively influence children, but to the reality that
many of those children grew up to be arguably even more
progressive than the books they grew up reading — which is, in
a way, a confirmation of conservatives’ worst fears about the
series.
Harry Potter’s popularity completely changed the publishing
industry — and the effect spilled over to Hollywood
Here are just two of the ways Harry Potter changed publishing,
and how those changes affected the rest of pop culture:
1) The books made it possible to publish long works aimed
at children. Prior to Harry Potter, the accepted wisdom was that
kids didn’t have the attention span to read long books. And
anyway, the thinking went, kids weren’t buying their own books.
Their parents were paying for everything, and they would never
be willing to pay an extra dollar or two for a longer book, with its
extra printing and binding.
But after Harry Potter became an unstoppable cultural force, and
it was clear that fans would keep buying the books no matter
what, it started to expand. The last four volumes of the series are
all doorstoppers that clock in at well over 700 pages each.
Publishers and children’s writers took notice. Booklist found
that middle-grade novels expanded 115.5 percent between 2006
and 2016, the decade in which the Potter novels were at their
longest. (They rose only 37.37 percent between 1996 and 2006.)

RELATED

The Outsiders reinvented young adult fiction. Harry Potter made

it inescapable.
2) Harry Potter made children’s literature an unstoppable
force. Before Harry Potter, children’s literature was often
considered an afterthought. Sales were falling. Children,
analysts would say wistfully, just weren’t reading anymore.
After Harry Potter, children’s literature became a category full of
mega-sellers. In 2004, in the midst of the Harry
Potter phenomenon, sales of non-Potter kid lit were
increasing by 2 percent a year. Since then, the children’s
market as a whole has seen its sales increase by a total of 52
percent (4 percent a year). For comparison, the overall book
market has gone up a mere 33 percent since 2004.
The Harry Potter generation likes to read, for sure — millennials
read more than any other generation — and it also created a
cultural landscape in which books for children are major cultural
forces, and a go-to well of ideas for Hollywood. Movie studios
scour the children’s bestseller lists for properties they can turn
into the next Harry Potter: hence Twilight and The Hunger
Games and Divergent and all the rest. Before Harry Potter, the YA
book-to-movie franchise was not a cliché. It is now, and that’s
because the boy wizard and his friends transformed an entire
industry.

Harry Potter fandom also paved the way for the

mainstreaming of fandom and geek culture

Harry Potter has a tremendously outsized cultural reach:

One 2011 survey suggested that a third of all American adults
ages 18 to 34 at the time had read at least one of the books. But
what really makes Harry Potter stand out is the way people loved
(and continue to love) Harry Potter.
First and foremost, the series helped make it cool to be a geek.
People generally didn’t read the Harry Potter books in isolation;
they wanted to talk about it with their friends, and then find more
friends who loved the books as much as they did. This pattern
coincided with the rise of “Web 2.0” — that is, an increasingly
interactive and social internet. As more Harry Potter fans became
more active online, they made discussion of YA fiction, fantasy,
and science fiction seem commonplace.
This was still a pretty bold concept in the early 2000s; geek
culture was largely still underground, and fantasy was seen
mainly as an immature hobby — for instance, in 2003, critic A.S.
Byatt’s excoriation of “Harry Potter and the childish adult”
claimed that adults “like to regress” when they read children’s
literature. But between Harry Potter, the Lord of the Rings film
adaptations, and the emerging visibility of online Harry Potter
fandom, it was increasingly difficult to ignore fantasy and science
fiction as a driving force of culture, and to write off fans of these
genres as niche. By the time Twilight took over from Harry
Potter as the reigning young adult phenomenon in 2005, the idea
of a modern, mainstream fandom coalescing around a major sci-
fi/fantasy series was well-established and generally accepted.

And Harry Potter fans’ creativity is still being felt in and outside of
the fandom. In the early 2000s, Harry Potter fan forums, fanfiction
and fan art archives, and email discussion groups exploded across
the internet. Harry Potter conventions drew thousands of fans,
and Harry Potter cosplay became a well-known sight at larger
geek and comic cons.

Around the same time, the “Wizard Rock” trend (shorthanded

Wrock) gained momentum as Harry Potter fans on YouTube
formed a litany of music groups — the first one being Harry and
the Potters — devoted to personifying and singing about various
characters from the books. It was later joined by another totally
unique-to-Harry-Potter fan pursuit: Quidditch. In 2005, students at
Vermont’s Middlebury college created the first real-life Quidditch
game, which went on to spawn an international real-world
college sport.
A number of Harry Potter fans also went on to make significant
marks on mainstream culture. As a member of the University of
Michigan theater troupe Starkid, a young Darren Criss starred
as Harry Potter in the viral YouTube video A Very Potter
Musical, and his popularity catapulted him into the role of Blaine
on Glee and a career on Broadway.
Two longtime members of Harry Potter fandom, siblings John
and Hank Green — now known more widely as the Vlogbrothers
— got their start on YouTube during the site’s relative infancy, but
 it wasn’t until Hank Green’s 2007 song “Accio Deathly Hallows”
went viral on the eve of the final Harry Potter book’s release that
they became the true YouTube stars and industry success models
they are today.
And the list goes on: The author of the bestselling Mortal
Instruments series, Cassandra Clare first gained fame online as
Cassandra Claire, author of the incredibly popular Harry
Potter fanfic The Draco Trilogy. Other Harry Potter fans, like fan
convention organizer Melissa Anelli and social activist Andrew
Slack launched careers directly out of Harry Potter fandom. In
general, the Harry Potter fandom was among the first to see a
number of people actively leveraging their success through
fandom toward their professional careers. Just as Harry Potter
made it easier for fans to own their geeky habits, the Harry Potter
fandom made it easier for fans to market those geeky habits as
professional assets.
What made all of this possible — the industries transformed, the
careers built — are the books themselves, and the expansive,
wondrous world they created. The Harry Potter series is a
phenomenon not just because it had a good publicity and
marketing budget (although that helped) and not just because the
curiosity and controversy surrounding it made it appealing to the
press (although that helped). The Harry Potter series is a
phenomenon because it tells a story that millions of people loved,
and it introduced the world to an enormous and magical world
that millions of people have dreamed of escaping into.

That’s why we’re still talking about these books 20 years later,
and that’s why all of this matters.

Watch: Harry Potter and the translator's nightmare

IN THIS STREAM
Harry Potter: J.K. Rowling's ever-expanding wizarding
world
 Fantastic Beasts: The Crimes of Grindelwald’s bonkers plot
twist, explained
 How Harry Potter changed the world
 7 authors tell us how 20 years of Harry Potter shaped their
lives
VIEW ALL 20 STORIES

NEXT UP IN  CULTURE

 The 2020 Cannes Film Festival is postponed due to
coronavirus
 American Truck Simulator is the perfect way to hit the great,
virtual outdoors
 Reese Witherspoon and Kerry Washington can’t save Hulu’s
Little Fires Everywhere
 How the coronavirus outbreak is roiling the film and
entertainment industries
 How to help indie movie theater owners and workers when
you can’t go to the movies
 #ReleaseTheButtholeCut helps noted box office flop Cats
find new life in a time of crisis
MOST READ
1.
Why Covid-19 is worse than the flu, in one chart
2.
 Trump’s latest coronavirus press briefing was a disastrous failure in leadership

3.
Scientists warn we may need to live with social distancing for a year or more  
4.
 Before-and-after aerial photos show how coronavirus is changing life in America

5.