Granger, John. Hadlock, Washington: Zossima Press.
2002. 364 + xvii pp. $27.95 (CAD). ISBN: 0-9723221-0-8.
[1] Granger argues that the "hidden
key" to J. K. Rowling's Harry Potter books is the recognition
that they are "profoundly Christian books - drawing on
classical philosophy, medieval and patristic theology, and
the esoteric symbolist tradition of East and West" (xiii).
Granger contends that both negative and positive reactions
to the Harry Potter novels fail to see their mythopoetic which
draws upon medieval literary motifs, from alchemy to King
Arthur, in order to "'baptize the imagination' and prepare
our hearts and minds for the conscious pursuit of the greater
life in Jesus Christ" (140). Stated simply, for Granger,
Rowling should be understood in the context of the Inklings
- the fellowship of mid-20th century Christian
writers in Britain that included C. S. Lewis and J. R. R.
Tolkien (xi).
[2] Granger's interpretation relies heavily
upon reading the magical objects, creatures, and fantastic
names in Rowling's works through the lens of medieval symbolism
and etymologies. Thus, the name "Dumbledore" means
"white bumblebee" which in turn represents "pure
soul" (92, 98); "Hermione" is derived from
Hermes - patron god of alchemists (98); "Gryffyndor"
means "Golden Griffin" - the Griffin symbolizes
Christ (127); the philosopher's stone is the alchemist symbol
of Christ, the by-product of a purified soul (136); and the
phoenix represents "death, resurrection and eternal life"
(130). Granger's entire sixteenth chapter argues - somewhat
convolutedly - that the name "Harry Potter" represents
"son of God," i.e., the average Christian. This
derivation comes from reading "Harry" with a Cockney
accent as "Heir-y" (252) and tying "Potter"
to the biblical image of God as the potter who molds God's
people (253-55)!
[3] Although sometimes guilty of "over
reading" the symbols in Harry Potter, Granger makes a
credible case that Rowling carries on the Inkling tradition
of Tolkien and Lewis, particularly the latter, who, according
to Granger, is one of Rowling's favorite authors (x). Like
these authors, Rowling employs mythological motifs and symbols
in creating tales profoundly concerned with personal virtue,
the meaning of life and death, and the ultimate battle between
good and evil. In short, Granger argues Rowling creates "detailed
little worlds which serve a mythological function in a
profane culture" (153, Granger's italics). Granger
notes how ironic it is that some Christian fundamentalists
believe that Rowling is presenting a literal picture of magic,
and is thus supporting Satanism. He perceptively maintains
that fundamentalists' literalism is a mirror of a modern,
reductionistic scientism incapable of recognizing the reality
to which symbols point (see 188). Stated bluntly, "if
a Christian isn't a symbolist, he or she cannot be a Christian"
(143).
[4] Hidden Key grew out of a series
of four lectures and does not fully integrate their disparate
aims. Part of Granger's argument attempts to explain the popularity
of the Harry Potter books. A second part tries to demonstrate
how the series continues the Inkling tradition. A third part
provides a book-by-book analysis of the hidden Christian meanings
in the Harry Potter novels. The last part indulges in the
sort of Pottermania typically found at a Harry Potter fan
web ite, predicting what will happen in the final three novels
(of seven planned). Interestingly, in an appendix that surveys
books about Harry Potter, Granger admits that his book is
flawed as a result of maintaining the organization of his
lectures (356). Given his admission, one wonders why he did
not make appropriate revisions.
[5] In spite of several genuine insights
into the religious meaning of the Harry Potter series, Hidden
Key is not an academic treatise. Too often, Granger borders
on near adulation of Rowling's skills as a writer and a
modern-day Inkling. Granger's prose is generally clear, but
frequently falls into a chatty style that detracts from the
serious issues at hand. In addition, there are a few irritating
misspellings, e.g., "tete-e-tete" for tête-à-tête,
and "book of Revelations" for "book of Revelation,"
along with an idiosyncratic listing of related readings in
Appendices B and C that ignores the convention of alphabetizing
by author's last name (and omits some authors mentioned within
the text).
[6] Even with its flaws, Granger's book
is one of the first that recognizes that Rowling is writing
about profound themes that are on a par with those found in
Tolkien and Lewis. To that extent, Granger has raised the
level of discussion about the Harry Potter books that - one
hopes - will invite academic reflection on their religious
significance.
Paul Custodio Bube, Lyon College
(pcbube@lyon.edu)
