Oh, Harry

So, I think its only fitting that I re-start this whole blogging business with a continuation of the facebook conversation that convinced Elizabeth and I that we REALLY needed to start to blog again, like SERIOUSLY – which was about this article on Harry Potter (spoilers – although honestly, if you haven’t finished the Harry Potter series AND haven’t been spoiled AND care, you are a rare specimen and I would like to hear from you the story of how you came to be in this situation): http://globalcomment.com/2011/in-praise-of-hermione-granger-series.  Which I loved, and agreed with on many points, but which I also think misses the mark in a couple places.
 
This paragraph is where I think it really went off the rails:
Dumbledore, memorably, falls in love with a younger man in the third    installment. Other female characters were introduced, and developed beyond stereotype; we learned to value McGonagall as much as Dumbledore, to stop slagging Lavender Brown off as clingy and gross because she actually wanted her boyfriend to like her, to see the Patil sisters and Luna as something other than flaky, intuitive, girly idiots. Unbelievably, even Ginny Weasley got an actual personality.
First of all, the part about Dumbledore feels gratuitous to me.  Mainly because most of the teachers are presented as sexless, and generally without lives outside of school – or if they have them, we never see it.  Now, as I think about that, its interesting because one of my favorite things about My So-Called Life is that the parents are real people, with sex lives, and lives in general beyond what the kids see.  And I would argue that maybe one of the shortcomings of the book is that the teachers are only teachers – multidimensional, complicated personalities with histories, but not people with regular lives.  We’re given the impression that none of them have spouses or children or lives outside of Hogwarts.  But given that choice, its not strange that Dumbledore falls into that pattern. 
 
Second, on Lavender: one of the (many many many) things I love about Book 7 is that some of the characters we had seen in one-sided ways (in part because we see other kids at school, especially non-main characters, generally through Harry’s eyes) are presented with respect and with more dimensions in a way that makes it clear that a) they are not as one-dimensional as they might have seemed to us/Harry b) that maybe they never were that one-dimensional, and c) that everyone has grown and changed which makes sense as they’re teenagers.  Is the portrayal of Lavender while she’s dating Ron problematic? In some ways, yes. But its also realistic, and since there are a variety of female characters shown in a variety of ways, Lavender doesn’t get to me as much.  Same goes for the Patil sisters, and even earlier for them – I think the way get appropriately mad at Harry and Ron at the Christmas Ball in book 4, and then deal with the situation by saying screw you guys and going off to have fun is great.  Are they gossipy and in certain ways a stereotype of teenage girls? Yes.  But they’re also intelligent and self-confident.  Its not that simple, and I appreciate that.
 
Third, are you seriously suggesting that Ginny Weasly didn’t get a personality?  She’s awesome.  By mid-series, she knows herself well and has grown into that in a realistic and self-analytical way.  She’s very confident, obviously very smart, has a wicked sense of humor and no shame.  I think the way in which she stands up to her brothers when they get upset about her dating life is excellent and frankly a rare portrayal of a teenage girl who’s got a very clear sense of her own right to date or not date whomever she pleases based on her own desires and comfort levels.  Throughout the series after Book 2, Ginny deals with being consistently underestimated not by getting discouraged or losing confidence, and not by feeling a need to prove herself, but by simply doing her thing and letting other people catch on (or, you know, be on the recieving end of a bat bogey) themselves.  She’s one of my favorite characters and I don’t know how you can say she has no personality.
 
The other thing I really disagreed with in the article is the part about the house elves.  I actually appreciated that Hermione’s campaign to free the elves was complicated and called into question by her failure to, you know, consult with the elves.  I love that she’s portrayed as right on the point of this is slavery and its wrong, but at the same time chided for employing a model of benevolently freeing them from above without their knowledge, consent, or action, because she thought she knew best.  That’s not liberatory; that’s not how oppressive systems change or should change; and had it magically worked, I would have found it both unrealistic and politically problematic.  I wish this story line had gotten more developed from there, but I’m glad that at least this piece of it was treated as it was.
 
The rest of the article, though I think is totally on-point.  In particular the critique of the whole “Chosen One” thing is dead on – my biggest issue with the books was always Harry’s inability to get over himself and recognize the bigger picture. At various points he’s called out on it, and it keeps seeming like the perspective will shift definitively, because its made really clear to the reader that at least by book 5, people aren’t fighting back to defend Harry, they’re fighting for their own reasons, for principle, for their families, etc (except maybe Dumbledore, and of course Snape is a particular complication). But then the same basic “oh no, I can’t have everyone else sacrificing themselves for me” “they’re not doing it for you!” conflict just keeps getting rehashed and is more annoying each time.  Harry’s own understanding never quite gets there, which is frustrating and which also raises the question of whether that’s intended to imply a flaw in him, or that in fact it is all about him in the end.
 
My favorite parts of book 7 in particular are about what everyone else does, and how its always clear that the trio’s saga, while important and the primary focus of our story, is just a piece of a much larger picture, that lots of people are fighting and working in different ways for different reasons.  That even includes Ron and Hermione, who are partially in it out of loyalty to Harry, but primarily because they believe Voldemort is evil, because they are fighting for a principle, because they care about their familes, their friends, themselves, and their world.  I hadn’t thought of it as a flaw steming from having started from the “chosen one” trope, and I’m still not convinced that trope can’t be twisted in a really interesting way to have there be a “chosen one” who’s not the be-all end-all and understands that.  I think you could have a story where there’s a person who’s able to do something or play a role that no one else can for whateve reason (like, say, having horcrux lodged in your forehead), but where they’re just one of a bunch of people each with their own piece that they and only they can do, or where that makes them unique and important, but is only one piece of what’s needed.  I thought Rowling was going there with all the stuff about being the “chosen one” not really being all about fate, but she never quite made it.*
 
*This theme comes up again for me in very similar ways with the Hunger Games series - there’s a little teaser for you on that post, which is coming soon!

I like my romantic ideals a bit less anti-romantic, actually.

It is because I am so committed to romance novels, and teen romance in particular, that I must register some objections. Why are so many of the romantic ideals in these books so… unromantic?

[Spoiler alert for HARRY POTTER and THE HUNGER GAMES]

As Exhibit A, take HARRY POTTER and THE HUNGER GAMES, and specifically their codas. Both of these books end by jumping into the future to show us that the protagonists really do stay Together Forever with their teen sweethearts, which I guess is meant to prove that it really was true love after all.

Which: have some confidence in the stories you told us, Rowling and Collins, because some bland factual knowledge that the characters are still together in 20 years doesn’t add anything to the emotional resonance of what I already experienced those characters experiencing together. I gather that the logic is that the significance of the relationship lies not in its meaning in the present, but in what it turns out to amount to in the future. And what exactly is romantic about that?

By the same token, I don’t see how a compelling story of those characters changing later on and maybe not working so well anymore cheapens the story we already saw. The scene when Willow and Tara blow out their candle in New Moon Rising does not take away one bit of power from the way Willow smiles when she gets that Oz really likes her, because how could it? The romance isn’t in the future; it’s in all the moments.

Also. I’ve had enough of this “you’re just what I was always waiting for” business that’s in every third teen romance*, mostly when the author doesn’t seem to have any idea what else a romantic hero might say to express their feelings, because the image it gives me is of a giant checklist that you create early in life of all the traits you seek in a person, and serendipitously there comes the creature that you have reductively decided to want. But is not the whole idea of romance that someone is always surprising to you, and this matters precisely because you never stop being curious enough about them to try to puzzle them out? And also that through their relationship, both parties to it become something a bit different than what they already were?

I feel like romance is an emergent property of a relationship, not something you can shellack on top of a story by offering proof (through declarations or longevity) that it must have been there the whole time. And I also feel like my idea of what romance is is the much more romantic one, in the sense that it’s so inherently idealized, and so it puzzles me that people drawn to writing romance don’t seem to share it.

And in truth I feel a bit plaintive here, because the fact is, I was built for romance stories. I cried and cried for Dawn and Tim, people. Why am I finding so little romance in my romance novels?

* And yes, I do make an exception for The National. Obviously.

Outrageous.

Amazon decides LGBT books such as the picture book HEATHER HAS TWO MOMMIES are “too adult” for inclusion in its sales ranks.

Smart Bitches Trashy Books responds. (HT: ReviewerX)

If you Twitter (I don’t), read #amazonfail — apparently the most-searched Twitter trend within hours of Amazon making the change today. Author Maureen Johnson has some good tweets up on her blog, which is now in our blogroll.

This is not the first crazy/horrible Amazon corporate decision — they’ve long been censoring books critical of Scientology, for example — but it is possibly the most stupid. Haven’t they heard? There’s a new gay rights movement.

If anyone’s got updates (or other good parodies/responses to Amazon), please share!

UPDATE: Good blog coverage; you can read #amazonfail even without a Twitter account; and a petition to sign.

UPDATE #2: Jezebel says it all in pictures.

Wednesday Words: After all, those jocks are always so judgmental.

The Wednesday Words are going up a bit late today, but a good John Green quote is always worth waiting for.

I hated sports. I hated sports, and I hated people who played them, and I hated people who watched them, and I hated people who didn’t hate people who watched or played them.

– John Green, LOOKING FOR ALASKA

Friday “Why?”: For cripes sake, why do the Roma always have to be magic?

So I’m nearing the end of THE SWEET FAR THING, the final installment in Libba Bray’s Gemma Doyle series, and there’s a lot I’m going to say about this book next week after I finish it, even though I think it’s going to be kind of exactly what I already said about the first two books, but with new examples.

But here’s one thing I’m going to say now: Do the damn Gypsies have to be magical in everything? I mean, seriously.

Season two of BUFFY rocks my world, now and forever, but it was bad enough that they built the whole show around an ancient Gypsy curse. But after they already did that, it’s even lamer for Bray to do it, in my opinion.

"I find your gypsy curse as attractive as your blank stares, Angel!"

"I find your gypsy curse as attractive as your blank stares, Angel!"

And at least in Buffy, some of the Roma, when they went from being plot devices to actual characters in season two, were real people with conflicting desires, better or worse motivations, etc. The Roma in Bray’s book tend to be wise and mysteriously all-knowing about evil and how to fight it. We never learn (at least, not yet, at over 700 pages into the third book) why they know so much about the magic that is hidden from almost everyone else, maybe because it just seems so obviously in-character that they would. They are Gypsies, after all!

There’s a funny scene in Sherman Alexie’s RESERVATION BLUES where he has these two Indian guys make fun of a condescending tourist they meet in a rest stop bathroom by pretending to be magically at one with nature. Who’s the Roma’s Sherman Alexie?

I have no words.

You know, I have this post half-written where I try to work through exactly why certain developments in BREAKING DAWN, the last TWILIGHT book, creep me out so much and seem so pointedly anti-abortion… but then I saw this and I sort of feel like all my analysis is irrelevant. As is my gag reflex control.

Just over a week ago I expressed my generation’s ’80s nostalgia in the best way possible by participating in/co-organizing my first abortion clinic defense (we won!). The excitement and inspiration of that event is something I will cling to as I desperately try to wash from my brain the full horror of the social forces unleashed by this book in the context of 30 years of backlash, all of it expressed in nicely concentrated form in this horrific crafts project.

Just… Ick.

p.s. When I said I hoped to find further application of the “Unorthodox uses of children’s books” category… I’m so sorry; I didn’t know.

UPDATE: link fixed.

Read what you want, kid.

the only way to do iced coffee. Photo from www.asphaltandair.com

Cold brewed: the only way to do iced coffee. Photo from http://www.asphaltandair.com

Anyone who knows me knows I’m a total evangelist for my cultural tastes, and I’m not always very polite about it. You don’t get why I loved the first season of VERONICA MARS? You’re going to hear about it.* You have a different ranking than I do of the best coffee shops in Madison for hot coffee, iced coffee, food with your coffee, music with your coffee, and meeting over coffee, respectively? We’ll discuss, but I already think your judgment is dubious.**

For kids and their books, this does not apply.

Like, I buy a lot of books for my seventh-grade cousin Alex — this is one of the benefits and responsibilities of having younger cousins, right? — and I’m not the least bit offended if he doesn’t like what I bought him. I just want to know so I can narrow in on his taste a little better next time.

celineLikewise, I don’t want him forced to read what I bought, even if I’m reasonably sure he really would like it if he tried. My bookcase is full of books that lived unopened on my shelves throughout childhood, some of which I’ve finally read in my 20s (including a few that are really good — CELINE by Brock Cole, I’m looking at you). Such is the peril of being, or buying, a book.

I had this friend Ivan growing up, who let his parents pick out his books for him. I liked Ivan, but even when we were fifth-graders, he lost a lot of respect for that.

I’m really serious about this; I think kids should read whatever the hell they want. I mean that a kid could not like Ramona, and inwardly I might be all “…Whoa!” but I’d accept it. No joke.

Maybe it’s some romanticization-of-childhood crap on my part, maybe it’s just residual bitterness at how much justifying of my Sweet Valley habit I had to do when I was growing up, but for me, a kid’s taste is an inviolable fact.***

this, for myself.

The only Christmas present I bought this year: this, for myself.

* My boyfriend was a total TV snob when we first started dating, which he had to quickly get over. (This was pre-Veronica; our fight was more about FELICITY.) But he helped me get over my previous movie snobbery, so it’s been an equitable relationship.

** It has recently occurred to me that this obsession with ranking cultural products along rather precise dimensions — and doubting the sanity of anyone who disagrees — runs in my family. I was home for Thanksgiving, listening to my dad declaim on the top three non-anthology Neil Young albums, and suddenly it clicked and I shouted, “You’re where I got it from!” Yet my explanation that this is a personality trait we share was met with puzzlement, since “these are just obviously the top three non-anthology Neil Young albums.” Like, duh. So all I can say is, at least I’m pretty self-aware about this trait.

No, not the Paris Hilton remake.

No, not the Paris Hilton remake.

*** Despite the harsh parental judgment that was passed upon some of my choices, I was raised with a near-total lack of censorship; when my friends couldn’t see PG-13, I couldn’t see G-rated movies, only because no one in my family would disdain to take me. With movies, though, there is a limit, and it turns out to be taking your second-grader to see HOUSE OF WAX in 3D, as my dad learned the hard way.

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