Jul 23 2007
Cry God for Harry
No, not a comment on Shakespeare or patriotism, but a review of Harry Potter and the Deathly Hallows. I said I’d wait a few days after I finished it, and I have. Now, be warned, everything below the picture is full of spoilers and gives the ending away. Read on at your own risk.
These books have grown up with many of their readers, while still remaining accessible to new younger fans. In this book (with the wizarding coming-of-age set at 17) the heroes enter the adult world most fully, while still finishing their growing up. That in itself is an achievement: compared to the Narnia books where children who grew up were excluded from the magical world, here the world grows up with the children.
And what a growing up it has been, for their world has become much darker with each succeeding volume, and this book plunges us right in to the world-domination of Voldemort. The darkness looms over every page: although Rowling still finds room for the humour, it is an increasing rarity. Yet whereas in the first book Voldemort was a shadowy and almost pantomime figure of pure evil, the sixth book took us on a journey of plotting Voldemort’s descent into evil in ways that almost drew Harry’s sympathy. That understanding is acknowledged here, in Harry’s perception of Hogwarts as the first real home for three lonely boys, himself, Snape and Voldemort.
Other figures who do evil show different shades: from book five onwards the corrupting evil of ambition and power structures is demonstrated in Fudge, then Scrimgeour, But above all it shows its face in Dolores Umbridge, whose cruelty returns in full force in scenes in this book. Fudge found a kind of truth in humiliation at the end of book five and the beginning of book six. Scrimgeour seems to redeem himself in meeting his death courageously. Umbridge remains unredeemed, and sunk into a Nazi style bureaucracy which brings all the worst of her flaws to the fore. Percy Weasley, who appeared to be sinking into this corrupting and bureaucratic ambition, finds himself and returns to his family.
On the other side of things is the moral complexity and capacity for evil in good people, mostly focussed on the character of Dumbledore. Dark secrets of his past emerge, and he is no longer simply the embodiment of goodness and wisdom, but a man who, though both good and wise, is also shown to have been tempted by power and ambition from his teenage years. The burnt and scarred hand he received in his quest for the horcruxes (magical objects with a piece of Voldemort’s soul in them) is revealed now not as the result of a noble struggle to destroy the horcrux, but greed for a powerful magical object which temporarily overcame him. Good and evil alike are far less absolute than they were, and human beings much more morally ambiguous.
The story moves between bouts of action and inaction. Largely the action shows Harry, Ron and Hermione at their best, and the inaction at their worst. The size of the task, and their own inadequacies before it lead to bickering, and hopelessness . Even their friendship is tested to breaking point, not by Voldemort, but by themselves. Yet by a mix of luck, courage, persistence and various unexpected help, they keep winning through.
The outcome appears to be heading in one direction only: one that many fans had expected, Harry’s death in combat with Voldemort. Amidst a ferocious last battle at Hogwarts, he comes to believe that this is indeed the last task. Snape’s memories, bequeathed to him in death, and siphoned into the pensieve, reveal it to him. From love of Lily Potter, and endless remorse at her death, Snape has indeed been Dunbledore’s double-agent. In death he makes it known to Harry that Voldemort accidentally imprisoned part of his soul in Harry the night he gave him his scar.
Harry now knows that letting Voldemort kill him will be the only way of destroying this horcrux. Leaving Neville to destroy the other remaining horcrux, Voldemort’s snake, Harry goes to meet Voldemort in the full expectation that by allowing himself to be killed, Voldemort’s power will be broken. Death is the last enemy: for Voldemort it is the one that must be defeated, for Harry the one that must be converted from enemy to friend by embracing it. And so, for the second time in his life, but this time willingly, Harry becomes the victim of Voldemort’s killing spell.
He find himself instead in a ghostly Kings Cross. Dumbledore’s spiritual body explains the final pieces of the puzzle. The curse has in one sense killed Harry as he was conjoined with Voldemort, but it has also ripped that piece of Voldemort’s soul from him. Harry himself was protected from death by the presence of his charmed blood in Voldemort’s reconstituted body, and has the option of returning to finish Voldemort. He does so, but not without trying to save him by urging him to feel remorse for what he has done. Then protected by his own newly acquired power and knowledge, the fruits of his willing sacrifice, he defeats Voldemort whose final attempt at killing simply rebounds upon himself. Rowling brings her saga to a triumphant ending.
Now on the one hand, as I’ve said before, I don’t want to claim Harry Potter for Christianity. The books should be read for what they are and enjoyed as they are. Good stories are pregnant with many meanings, and should not be reduced to expositions. At the same time, in the face of inane comments like this something must be said.
In choosing Rowling as the reigning dreamer of our era, we have chosen a writer who dreams of a secular, bureaucratized, all-too-human sorcery, in which psychology and technology have superseded the sacred
Some people want things to be too obvious. I don’t recall God getting a mention in Lord of the Rings, either, but nobody has ever slammed it for secularism. And one of the problems for me in Philip Pullman’s otherwise enjoyable trilogy is the hammer-on-the-head lack of subtlety in his portrayal of the Authority and the Church. Rowling’s work is, I think, open to different interpretations. But not only are the themes of self-sacrifice (illustrated by Lily and Harry above all) and redemption (Snape, Kreacher, Percy) by both love and remorse at the heart of the book’s portrayal of the defeat of evil, in this last book Rowling includes some more interestingly specific references.
Most interesting of all is the attention given to the headstones in the churchyard at Godric’s Hollow. On the Dumbledore family tomb is inscribed: “Where your treasure is, there will your heart be also” (Matt 6:21). This serves in so many ways as a comment not only on Dumbledore’s situation, but in some way defines a major theme of the books. On the Potter family tomb is the quotation (already mentioned above) “The last enemy that shall be destroyed is death” (1 Cor 15:26). Again, this is a theme that re-emerges in several ways. The ensuing discussion between Harry and Hermione underscores this. In one sense it is exactly what Voldemort has always thought as he sought to master death. In another it is the willingness to enter into a life beyond death, and therefore to prepared to lay down one’s own life for another, making death not an enemy but a friend, to accept that it cannot be mastered, and that fear of death can destroy life. Finally, on that note, is it just a happy coincidence that the chapter where Harry stands between life and death is called “Kings Cross”?
Those Christian resonances are just that: resonances. The power of the book is in the storytelling, the creation of a whole fascinating world, characters one cares about, and the provision of a place in which to discover oneself imaginatively in the contest between good and evil, and what it means to grow wise in a morally complex world. Rowling provides that in spades.

