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Sharon Black: The Magic of Harry Potter: Symbols and Heroes of Fantasy
Sharon Black: The Magic of Harry Potter: Symbols and Heroes of Fantasy
J. K. Rowling, Harry “Kallie didn’t really want to read The Sorcerer’s Stone, and now she
Potter and the Sor- can’t put it down,” my friend, Kallie’s mother, reported with a
cerer’s Stone (published
in Great Britain as chuckle. First, the Harry Potter books are about a boy, and Kallie
Harry Potter and the doesn’t care much for boys—not at age 10. And the Harry Potter
Philosopher’s Stone books are trendy; Kallie is one who is proud of having her own tastes
and doing things her own way. But once Kallie’s imagination was cap-
tured, she read the first four Harry Potter books four times each dur-
ing the next 18 months. After seeing the first of the Harry Potter
movies, Kallie rushed home, grabbed The Sorcerer’s Stone, and imme-
diately began reading it again. The movie had not come up to the
pictures she had created in her mind. To her mother’s puzzled in-
quiry, she wailed, “I have to rescue my imagination.”
237
These two very different but very enthusiastic readers join many
worldwide who have found needs met and questions at least partially
answered in the magical adventures of Harry Potter. The phenomenal
success of the series is well known. They were the first children’s
books to be included on the New York Times bestseller list since
Charlotte’s Web was published during the 1950s. In 1999, the first
three were numbers 1, 2, and 3 on the list, causing the newspaper to
think of creating a separate children’s category. Bestseller lists in
U.S.A. Today and even the Wall Street Journal included them as well.
And children have not been the only readers keeping these books on
top of the charts. Adults worldwide are reading them—some along
with their children, some completely on their own. In Great Britain,
Germany, and Italy, special editions have come out with adult-respect-
able covers, so that grown-ups can read them on public transportation
Elizabeth Schafer, Ex- without being embarrassed to be seen with a children’s novel (Schafer,
ploring Harry Potter 2000). When the publication date for the fifth book in the series,
J. K. Rowling, Harry Harry Potter and the Order of the Phoenix, was announced in Janu-
Potter and the Order of ary 2003, 5 months in advance, within days the preorders placed it
the Phoenix
high on bestseller lists as well.
Are the Harry Potter books merely a passing fad? Or is their potential
to meet needs and to answer questions for individuals as diverse as
Kallie and Sandra based on deeper, more universal literary patterns
and human characteristics? When examined in terms of the classic
works of psychoanalysts Bruno Bettelheim and Joseph Campbell, they
are.
This article delves into effects of fantasy in general and Harry Potter in
specific as they may be better understood in terms of Bettelheim’s
and Campbell’s ideas. The child Kallie’s ability to explore real life
through imaginative interaction with unreal characters and situations
Bruno Bettelheim, The can be better understood in terms of Bettelheim’s explanations of The
Uses of Enchantment Uses of Enchantment (1976). Young adult Sandra’s ability to find
meaning through the unfolding of the hero’s journey is consistent
Joseph Campbell, The with the analysis of Joseph Campbell’s Hero with a Thousand Faces
Hero with a Thousand (1968). Both of the girls are individuals, but their experiences with
Faces
fantasy and meaning illustrate effects common among those who ben-
efit from Harry’s magic. Kallie’s experiences are described according
The Magic of Harry Potter 239
One of the common complaints against the Harry Potter series is that
the stories deal with magic: Various churches have denounced the
books, and their author, J. K. Rowling,2 has been accused of being a
witch. Rowling explains that no fan (to her knowledge) has ever ex-
pressed a desire to become a witch, and that she herself attends the
Church of Scotland and has no desire to become a witch either. Rowl-
ing is confident that children can easily discern where reality ends
and fantasy begins (Schafer, 2000). Her affirmation agrees with Bruno
Bettelheim (1976), who notes that any child familiar with fantasy un-
derstands that these stories “speak to him in the language of symbols
and not that of everyday reality” (p. 62).
Bettelheim continues,
The child intuitively comprehends that although these stories are un-
real, they are not untrue; that while what these stories tell about does
not happen in fact, it must happen as inner experience and personal
development; that [fantasy] tales depict in imaginary and symbolic form
the essential steps in growing up and achieving an independent exis-
tence. (p. 73)
Harry looks into the Mirror of Erised and sees his dead parents stand-
ing beside him—decidedly unreal. Kallie does not expect to look into
a mirror and see anyone who is deceased. She is glad to be able to see
240 Children’s Literature in Education
Susan Cooper, “Fantasy Susan Cooper (1990), author of the successful fantasy series The Dark
in the real world” Is Rising, understands this process and notes that the events of fan-
tasy, unlike those of real life, do not have price tags; but “if one of its
adventures does ever happen to overtake you, somewhere in your
unconscious mind you will be equipped to endure or enjoy it” (p.
309). Thus through the unreality of Harry’s magical world, children
like Kallie learn to deal with the reality of family, friends, and school—
and she can definitely distinguish the real/specific from the unreal/
true.
Kallie’s mother has read the Harry Potter books (during Kallie’s first
time through), but she wisely avoids imposing her personal meanings
on her daughter. As Bettelheim (1976) advises, adult coaching denies
The Magic of Harry Potter 241
the child the opportunity to cope personally with the problems por-
trayed in the story. As the child brings imagination, intellect, and emo-
tions together in identifying with the characters, “inner resources”
develop that enable the child to eventually cope with “the vagaries of
life” (p. 4). The child thus gains “confidence in himself and in his
future” (p. 4). After all, a kid who can figure out how Harry ought to
overcome a basilisk knows she can cope with a playground bully. And
after conquering Voldemort, medical school definitely seems doable.
Sandra: The Rise of a Hero
Since she was old enough to swing a plastic lightsaber, Sandra has
lived with fantasy and loved its heroes. At the age of three she saw
George Lucas, Star Star Wars and announced that she was going to be Luke Skywalker.
Wars: The Annotated When her brother patiently pointed out that she could not be Luke
Screenplays
because Luke was a boy, Sandra declared that at least she was going to
be a Jedi knight; she was going to change the world.
E. B. White, Charlotte’s At four Sandra listened eagerly as our family read Greek, Roman, and
Web Norse myths together. At five she read Charlotte’s Web and other
C. S. Lewis, The Lion, “chapter” fantasies. At six, she went to Narnia with Peter, Susan, Ed-
the Witch, and the
Wardrobe mund, and Lucy; at seven she roamed the Welsh countryside with the
Susan Cooper, The cast of The Dark Is Rising. Other myths, fantasies, and series of fanta-
Dark Is Rising sies followed. By high school she was deep into Lord of the Rings.3 As
J. R. R. Tolkien, The a college student, she has discovered the seemingly unlikely but actu-
Lord of the Rings ally highly congruous combination of Harry Potter and Joseph Camp-
bell: the boy who has carried the tradition of the fantasy hero to the
children of the world, and the man whose writings have helped
Sandra to understand the impact of this tradition on her life.
The adventures Harry Potter faces during his successive years at Hog-
warts do require that he be what Campbell (1968) identifies in his
hero image as “a personage of exceptional gifts” (p. 37). During the
first book of the series, Harry faces extraordinary physical obstacles: a
monstrous cave troll, a vicious three-headed dog, a scheming pro-
fessor who supports and protects the feeble but still powerful Vol-
demort, who is intent on Harry’s destruction. Harry survives through
physical courage, along with a few judicious spells and the support of
his friends. In the second book, Harry moves through a series of iden-
tity crises, which include assuming a false identity (a disliked class-
mate), denying an identity he refuses to consider (“heir of Slytherin”),
and recognizing aspects of his identity that parallel those of the evil
Voldemort,
the figures of religion and mythology” (p. vii). He explains that “the
parallels . . . will develop a vast and amazingly constant statement of
the basic truths by which man has lived throughout the millenniums
of his residence on the planet” (p. vii). Similar to Bettelheim (1976),
Campbell emphasizes what he refers to as the “grammar of symbols”
in leading the reader toward understanding those truths. He uses the
same key word—unreal—noting that the “fantastic and ‘unreal’ ” (p.
29) incidents represent triumphs of a psychological rather than physi-
cal nature. There is additional challenge in creating such triumphs in
the modern world, for the challenge of hero-creation is “nothing if
not that of rendering the modern world spiritually significant . . .
nothing if not that of making it possible for men and women to come
to full human maturity through the conditions of contemporary life”
(p. 388).
Harry Potter, then, is a set of modern symbols for the processes and
truths that have been represented by hero and journey symbols through
the ages. Young children like Kallie are caught up imaginatively in the
exciting details of Harry’s world; they experience Harry’s journey
through “seeing” things with their imaginations, largely unaware of
the symbolic process that brings them “real world” understanding
through Harry’s “unreal” solutions. Older “children” like Sandra know
what symbols are and understand how various forms of fantasy reveal
symbolically what Campbell calls “the same redemption” (1968, p.
289) that brought their predecessors comfort and closure.
It has been affirmed that the “magic” of the Harry Potter books lies in
Scholastic Books, Harry the parallel worlds (Scholastic, 2001, p. 1). Harry is able to leave the
Potter: Discussion “muggle” world that rejects and abuses him, run through Platform
Guide
9 3/4 (or step into a flying car or take a little magic flue powder) and
enter the wizarding world where he can learn the lessons and de-
velop the strengths that allow him to mature. Similarly, Peter, Susan,
Edmund, and Lucy step through a wardrobe (or into a painting or
other magic gateway) to enter the parallel world of Narnia, where
they are instructed by Aslan, the Savior figure, who tells them that he
will always be with them when they grow up and return to the world
outside: They must simply learn to recognize him (Lewis, 1952). Sig-
nificantly, Tolkien’s other world is “Middle Earth.” Campbell (1968)
helps us understand that the two worlds, which he designates as “the
divine and the human” (p. 217), seem at first to be distinct and very
different. “Nevertheless—and here is a great key to the understanding
of myth and symbol—the two kingdoms are actually one. The realm
of the gods is a forgotten dimension of the world we know” (p. 217).
As the reader makes the connection, it is the function of the myth or
fantasy “to supply the symbols that carry the human spirit forward”
(p. 11). Life never becomes unrealistically easy for Harry, even in a
The Magic of Harry Potter 245
Sandra has experienced the muggle world, and she often affirms her
drive to make Campbell’s connection to the divine. She has knelt be-
side children from broken, negligent, and abusive homes—children in
danger of being molested in their muggle schoolyards. When their
parents would not allow her to tell them Bible stories, she sang to
them and with them: “I am a child of God.” She has held in her arms
teenagers who were victims of varied abuse, including incest—letting
them cry over their flashbacks, affirming that they too are God’s sons
and daughters. She sang her song to a woman in the housing projects
who could not decide to leave her alcoholic boyfriend. She sang to an
elderly woman in the marketplace who had determined to go home
and take her own life.
As we talk about our heroes, Sandra explains that she needs Luke
Skywalker, Frodo Baggins, and Harry Potter because she needs to be-
lieve and to share her belief that the hero can emerge victorious, no
matter how oppressive the uncharted darkness may be. She needs
Joseph Campbell to tell her that the hero is indeed “God’s son” (1968,
p. 19) and that the hero’s victory is “a transcendence of the universal
tragedy of man” (p. 28). Bettelheim (1976) affirms:
[Fantasy intimates] that a rewarding, good life is within one’s reach
despite adversity—but only if one does not shy away from the haz-
ardous struggles without which one can never achieve true identity.
These stories promise that if a child [or adult] dares to engage in this
fearsome and taxing search, benevolent powers will come to his aid,
and he will succeed. (p. 24)
Tamora Pierce, “Fan- Tamora Pierce (1993), author of a successful fantasy series, experi-
tasy: why kids read it, enced this comfort during an agonizing childhood in a dysfunctional
why kids need it”
family, not unlike some of the trials experienced by Sandra’s friends.
Pierce recalls,
I visited Tolkien’s Mordor often for years, not because I liked what
went on there, but because on that dead horizon and then throughout
the sky overhead, I could see the interplay and the lasting power of
light and hope. It got me through. (p. 51)
and evil. She has seen good people, including Harry, Ron, and Her-
mione, make mistakes and suffer for those mistakes. She has seen
intentions, and she has seen forgiveness. Though her friends might
not always “choose the right,” Kallie, according to her family, feels a
strong imperative to choose the right herself. She has seen the effects
of both right and wrong choices on Harry Potter and his schoolmates.
On a visit to the Island of Fiji, Kallie saw firsthand the effects of revo-
lution, and she was able deal with them.
Fantasy empowers its readers (Pierce, 1993) through the unreal truths
and the mythical heroes that it shares. As one of the greatest of fan-
J. R. R. Tolkien, Tree tasy writers, J. R. R. Tolkien (1989), has expressed, fantasy “denies . . .
and Leaf universal final defeat . . . , giving a fleeting glimpse of Joy, Joy beyond
the walls of the world, poignant as grief” (p. 62).
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The Magic of Harry Potter 247
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