I love the disturb-factor in classic literature. Once you're out of the classroom, much fun can be had by viewing an older book with a contemporary gaze--analysis and history be damned. Pick up Pamela by Samuel Richardson, for instance: the eponymous heroine escapes the sexual advances of her employer, Mr. B., time and time again...only to fall in love with and marry him by the book's end. Attempted rape: so hot. When a girl says no, she really means maybe. Too bad, though, that Pamela is so dull. I don't think I could stand another go at it, even with all the life lessons therein. I'm thinking of Pamela these days because I just finished re-reading Jane Eyre by Charlotte Brontё. Oh the Brontё sisters! I haven't yet read Anne's books, but based on this comic, I think I might like them. Charlotte and Emily, meanwhile, were deeply weird, and they (or, okay, their protagonists) were into some deeply weird men. They remind me of that friend--we all have that friend--maybe you are that friend--who consistently falls in love with assholes. Just dump him already, we think! And, Mr. Rochester, if he isn't an asshole, he's a psychopath--or, simply creepy and duplicitous. I can't believe he was voted most romantic literary character in a British poll last year. That's messed up. Are they kinkier in England? (The Telegraph article on the subject, by the way, mentions that the results were revealed at a literary festival, where "guests were served pink champagne by scantily-clad waiters." Oh dear.) Let's consider some points against old Edward, shall we? 1. We should just get the big one out of the way. Dude keeps his first wife locked up. He never lets her out, if he can help it. "Bitch is crazy!" he cries, but that is no excuse. 2. Not only does Mr. Rochester lock Bertha up, he keeps her a secret from everyone in town--including Jane! After the truth has come out (at the altar, no less, minutes before he's about to marry--or "marry"--Jane), Rochester insists that he was planning to tell his new wife the truth after a year and a day of marriage. Sure you were, Edward, sure you were. 3. Adele, Mr. Rochester's little French ward, might possibly his daughter, but, you know, her mom slept around, so he's not entertaining that notion very seriously. He'll be her benefactor, sure, but he will never ever be her dad. 4. When Mr. Rochester has the rich guests staying with him at his estate, he goes off to attend to some business or other, and in his absence, a gypsy fortune-teller comes to read the fortunes of the ladies. Jane goes to see said gypsy in the dark library, and remarks that the woman's face "is a strange one. It looked all brown and black: elf-locks bristled out from beneath a white band which passed under her chin, and came half over her cheeks or rather jaws." The gypsy talks mostly of Mr. Rochester, and, surprise, surprise, she IS Rochester. That's right, Jane's boss has dressed up in drag, and put on a little minstrel make-up, and asked the house's governess to kneel before him. "I wonder with what feelings you came to me to-night," she/he says. Why Jane doesn't throw up in her mouth a little when she discovers his little game is beyond me. 5. When dressed as a gypsy, Mr. Rochester tells Jane that he's engaged to be married to one of the women visiting, Blanche Ingram. Later, after Jane has confessed her love, he admits that his engagement to Miss Ingram was only a ruse to get Jane to react. He basically says, "I wasn't really going to marry her! just wanted you to be jealous, little fairy of mine!" No matter how much of a pill Miss Ingram is, and she is a pill, this charade just seems cruel. 6. At the end of the book, Rochester is blind and maimed from the fire that ultimately destroyed Thornfield Hall and killed Bertha. (He does rescue the servants and tries to rescue his wife--I'll give him that.) But once Jane has declared that her love for him still remains, he reveals that for the past year, he's been wearing the pearl necklace (ahem) he had given her during their engagement. Some might call this romance, I call it a problem (by morton here). I wouldn't be surprised if Rochester likes to wear Jane's underwear, too. Or, let's be honest: Bertha's. 7. Mr. Rochester is ugly. Before you start to yell at me, let me say this: I love that the heroine of this novel isn't good looking. That's interesting, refreshing, and complicated. But, you know, if a man is ugly, he has to have one hell of a personality. And if he's going to have a fake history and a secret wife, he needs to be smokin' hot to get away with it. (Two words: Don. Draper.) Don't get me wrong, I love Jane Eyre. Its story--part Gothic tale, part romance, part first-person confession--is beguiling. Its heroine--independent yet innocent, obsessed with stories and weak to the power of them--is complex and believable. And the prose will have you underlining every other page: I desired liberty; for liberty I gasped; for liberty I uttered a prayer; it seemed scattered on the wind then faintly blowing. I abandoned it and framed a humbler supplication, for change, stimulus: that petition, too, seemed swept off into vague space; "Then," I cried, half desperate, "grant me at least a new servitude!" And: He who is taken out to pass through a fair scene to the scaffold, thinks not of the flowers that smile on his road, but of the block and the ax-edge; of the disseverment of bone and vein; of the grave gaping at the end... Now that I've finished the book, I'm ready to finally check out Wide Sargasso Sea by Jean Rhys, which I'm told gives the first Mrs. Rochester the humanity she deserves. I should also get to The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination by Sandra M. Gilbert and Susan Gubar, for I'm sure they can provide some context for and interpretations of this beloved classic. I'm curious what Mr. Rochester, and the abiding love readers have for him, means.
Whatever your feelings about Twilight, you have to admit that the breadth and scope of the Twilight phenomenon is spectacular. Boy wizards aside, literature-inspired hoo-ha of this magnitude just doesn't come along that often. To begin with, there is the dizzying array of memorabilia: Twilight band-aids, duvet covers, water bottles, umbrellas, jewelry, wallets, life-sized wall decals, as well as the standard t-shirts and movie posters. Kristen Stewart, the actress who plays Twilight heroine Bella Swan in the film adaptations, has expressed astonishment that rather mundane items of clothing she's spotted wearing sell out in hours. There's a Twilight make-up line that includes a pinkish gold-flecked lotion that promises to give "Twihards," and anyone else, vampirically luminous skin (according to the editors of Lucky Magazine, "it's gleamy but not over-the-top-Edward-in-sunlight-sparkly"). And that's not to mention the Twilight fan blogs (oh, TwilightMomsBlog!) and the legions of YouTube videos posted by less satisfied Twilight readers burning, beating, and taking chainsaws to their copies of the best-selling novels (Breaking Dawn, the fourth and last book in the series, sold 1.3 million copies in the first day; total sales of all of the books are at upwards of 40 million, and since the final installment came out last year, all four books in the series have remained in USA Today's top 10 bestsellers). And then there are the sell-out midnight shows whose fangirl audiences reportedly squeal with delight when the lights dim. The father of one of these fans told me that his 14-year-old daughter had taken to signing her text and email messages "Twilight," instead of her name. The books have also had a startling effect on the small town of Forks, Washington, the setting of Meyer's series. Tourism has been booming. Last year, the mayor of Forks declared the weekend of September 12-13th to be Stephenie Meyer Day Weekend (September 12th is Bella Swan's birthday). This year, the weekend's events include a birthday breakfast for Bella, tours of Forks High School (where Bella was supposed to have been a student), a Twilight character look alike contest, and a sunset bonfire at the Quileute Reservation, on the same beach where, in the novels, Bella meets Jacob Black, a Quileute teenager, who becomes her best friend, a werewolf, and the rival of the beautiful teenage vampire Edward Cullen for Bella's affections. By all accounts, this year's celebration was a massive success, nearly doubling Forks' population of somewhere around 3,000 and drawing visitors from as far away as England and Japan. Marveling at all this on the eve of the second Twilight movie's release, I found myself thinking of Samuel Richardson's Pamela, or Virtue Rewarded. Pamela, published in 1740, was the first best-selling novel in English; it is the story of a teenage servant girl who resists her aristocratic master's increasingly violent sexual overtures, eventually wins his heart and becomes his wife. It was the first novel to inspire the sort of frenzy that Twilight is inspiring right now. Like Twilight, Pamela spawned themed merchandise: Pamela tea cups and tea towels, Pamela prints and painting, Pamela fans, Pamela playing cards. Pastors recommended the book from the pulpit and European intellectuals as well as private citizens sang its praises. Rousseau, for one, reported weeping copiously over it. There wasn't any declaration of a Pamela Day, but one famous and oft-repeated anecdote about the Pamela mania verges into the kind of confusing of the fictional and the real that the Forks' Twilight celebrations offer. There are many anecdotes dating back to the eighteenth century, in which Pamela's wedding is taken as fact or publicly celebrated. In one of the best known, from an 1833 address given by Sir John Herschel at Eton, a blacksmith in a small village in Windsor got hold of a copy of Pamela and used to read it aloud in the long summer evenings, seated on his anvil, and never failed to have a large and attentive audience…At length, when the happy turn of fortune arrived, which brings the hero and heroine together, and sets them living long and happily according to the most approved rules—the congregation were so delighted as to raise a great shout and, procuring the church keys, actually set the parish bells ringing. These readers were practicing the English custom of ringing church bells to celebrate and announce a marriage--though in this case, the marriage of a fictional hero and heroine: Pamela and her former master, the landed squire named Mr. B. Pamela was revolutionary in its day and Richardson was both celebrated (as by the Windsor townsfolk) and reviled for the novel's "leveling" tendency. Servants and common laborers were widely considered a lesser order of being in the eighteenth century—there to serve the pleasure of their masters, whatever that pleasure might be. The idea of a titled landowner marrying his maid—when he might sleep with her with impunity—was considered scandalous and subversive, to say the least. Historian Lynn Hunt's recent book, Inventing Human Rights, claims that novels like Pamela were foundational in the development of the idea of human rights that surfaced explicitly in the French and American Revolutions of the late eighteenth century. On the surface, then, it would seem that the similarity between Twilight and Pamela, between Bella and Pamela, ends in their popularity and the mania they inspire(d). But these twin phenomena, one sitting at each end of the history of the novel, I think, share more. By an admittedly cynical and reductive reading, Twilight and Pamela are the same book, the same archetypal female fantasy: a poor or undistinguished girl is chosen as "the one" by a handsome, rich, aristocratic man who sweeps her off her feet and takes her out of her (more or less) grubby, mundane, low-born life. And the cynical reading goes further. These are not merely Cinderella love stories; in fact, they are not love stories at all. By the cynical reading, these novels are only about class, about becoming rich, becoming one of the rarefied beautiful people. A year after Pamela's publication, Henry Fielding published Shamela, a parody of Richardson's novel motivated by the belief that Pamela didn't resist her master's attempts to rape her out of fear or a moral certainty that her desires were just as important as his, but because she thought she might get more out of him if she held out. Fielding's sham Pamela is a hypocrite, a wily girl on the make—after money, finery, and social position that she was not entitled to by birth or by her incredible virtuousness (which Fielding tells us is only a ruse designed to ensnare Mr. B, her master.). Pamela protests too much on Fielding's reading: he suggested that Pamela's belaboring of the spiritual peril that Mr. B's advances threaten her with, combined with her obvious attraction to him, didn't quite ring true. In Pamela's case, I think Fielding goes too far. A marriage to a landed, titled man would have been quite literally beyond the wildest dreams of a servant like Pamela, even assuming that she possessed the sort of calculating wiliness that Fielding attributes to her. In fact, if she were as wily as Fielding drew her, Shamela would have known that she'd never become Mr. B's bride. (Only by the rules of Richardson's quasi-allegorical plot can Pamela's virtue be rewarded as it is.) But in the case of Meyer's Bella Swan, I think Fielding's hypocrisy reading might stand. Like Pamela (and Pamela is more convincing), Bella insists that what she values, particularly in her beloved vampire Edward, is spiritual: "Edward had the most beautiful soul, more beautiful than his brilliant mind or his incomparable face or his glorious body," she tells us. But why, if the spiritual is supposed to be paramount, are the Twilight novels so distractingly full of money - literally, piles of cash - and the things money can buy? "There was enough cash stashed all over the house to keep a small country afloat for a decade," Bella reports of the Cullen family home. This cash buys Bella an acceptance to Dartmouth, a special order Mercedes (a model preferred by drug dealers and diplomats for its bulletproof glass—Edward's very protective), a Ferrari, lots and lots of couture clothing, and a faux rustic cottage in the woods that I came to think of as a version of Marie Antoinette's hameau (the little faux farmhouse where the queen and her ladies played at being peasants). All of this, Bella claims to resent or to feel uncomfortable accepting. But the idea that the Cullen wealth holds no appeal to Bella, when it is Bella herself who draws so much attention to it in her first-person narration, just doesn't stand. When, at the end of the fourth book, she finally admits a little pleasure in the jaw-dropping, head-turning spectacle that this wealth allows her to become, it feels like she is finally admitting what she's felt and wanted all along—a pleasure that anyone, most especially a teenage girl, would feel: He took the calf-length ivory trench coat I'd worn to disguise the fact that I was wearing Alice's idea of appropriate attire, and gasped quietly at my oyster satin cocktail gown. I still wasn't used to being beautiful to everyone rather than just Edward. The maitre d' stuttered half-formed compliments as he backed unsteadily from the room. Of course, the idea here is that it's (spoiler alert) Bella's newly enhanced physical beauty that stuns the man (she's become a vampire at this point, and vampires are more beautiful in order to attract their prey, i.e. humans), but Meyer/Bella lingers on the clothes—the things money can buy. Bella's compulsive observation of the Cullens' beauty and their beautiful things does not come to seem a metaphor for spiritual superiority but a conflation of material wealth, physical beauty, and moral elevation. While the books suppose to be about a perfect, otherworldly love (this love could be metaphor: it certainly doesn't exist in the real world), the material intrudes constantly (cars, money, clothes), suggesting that beauty and money and blessedness and happiness are all one, confused and interchangeable. This pernicious lie that is at the heart of Twilight. When I see pictures of young girls waiting in line to buy these novels or tickets to the movie, this is why I get angry. I don't get angry because Meyer's recycled the classic female fantasy of the most desirable boy picking the girl he never will in real life (I love My So-Called Life, while knowing all too well that Angela Chase (Clare Danes) would never have gotten Jordan Catalano (Jared Leto) in "real" life), I get angry because Meyer didn't seem to trust the unbelievable love between Bella and Edward as sufficient to hold her readers' interest. Love, apparently, needs to be tarted up in designer clothes, given sparkling six-pack abs, armed with platinum credit cards and Ferraris before we'll recognize it. For all of its heavy-handed allusions to Romeo and Juliet and Wuthering Heights, Twilight is, in the end, fatally invested in the shallow materialism and the youth and beauty worship that continue to define and corrode American popular culture. It's scarier than vampires.
What to say about Harry Potter that hasn't been said? One approach, I suppose, taking a page from the New York Times, would be to cover the coverage. I, for example, was delighted by the Times' hypocrisy in covering as news the New York Post's and New York Daily News' early publication of movie reviews of Harry Potter 5 (these tabloids sent their reviewers to the Japanese premier, which took place before the American and European premiers), and then publishing their own early review of an illicitly purchased copy of The Deathly Hallows. It was not a "spoiler" - no major plot details given away - but there was, in the very fact of a review published on July 19th, inevitably and implicitly, a nanny-nanny-boo-boo quality to the piece.I have been rather under-whelmed by the reviews of the book (my own efforts included). One particularly aggravating feature is the gushing - and totally unexplained - lists of high literature to which Rowling alludes. I have seen Kafka and Milton on these lists. I would be beyond delighted to know where Rowling alludes to Kafka or Milton. Please post a comment if you know. The larger problem here is that the business (nay, the responsibility?) of a critic is to show and not tell - or, at the very least, to do both. That's the business of good writing in general. (Even an editorial has a responsibility to tether the opinions it offers to substantial, justifying fact or theory of some kind.) I have been frustrated at the love-fest quality of Potter reviews generally: substantial observation falls aside for adulatory effusion.The following are a few (I hope) more substantial critical sallies at The Deathly Hallows and the series in general. I also forewarn those who have not finished the book that they read on at their own peril. Substantial details of the final book are discussed.Rowling's gift as author is her masterful skill as an architect of plot. As she has said, she imagined Harry's story as a seven-book series from the beginning and each book has been carefully seeded with clues and pre-history that become newly significant in subsequent installments. The Deathly Hallows, more than any of the other books (because it has all of the other books to draw on) achieves a higher degree of plot complexity. It is in this (alone), I would say, that she resembles Dickens: the complex interweaving of individual personal stories into a larger, coherent plot. Though I think that in basic concept, the Penseive (the ability to experience other people's memories as an unseen observer), consciously or no on Rowling's part, owes something to Dickens' A Christmas Carol, wherein Ebeneizer Scrooge's moral and spiritual re-awakening is facilitated by ghosts who squire him, also unseen, through his own past and future and other people's presents.The Penseive is also Dumbledore's means, particularly in The Half-Blood Prince, of teaching Harry to read meaning and significance in personal history, a task Harry must undertake alone in the seventh book, with Dumbledore gone. And Harry's task in the seventh does not just involve "reading" Voldemort to figure out where the Horcruxes are, but making sense of Dumbledore's own past, and his character and trustworthiness, in light of it. The question of whose version - whose reading - of events you take, and the troubling multiplicity of accounts about a single event, has been dramatized throughout the series by The Daily Prophet and particularly by the antics of the muck-raking Rita Skeeter (who pens a tell-all biography of Dumbledore in the Hallows). Rowling also dramatizes the difficulty and the importance of reading, and reading well, in Dumbledore's mysterious bequest to Hermione of a copy of the wizarding fairy-tales of Beedle the Bard. When Harry is (rather fantastically) reunited with Dumbledore, Dumbledore again emphasizes the importance of what and how you read: "And his knowledge remains woefully incomplete, Harry! That which Voldemort does not value, he takes no trouble to comprehend. Of house-elves and children's tales, of love, loyalty, and innocence, Voldemort knows and understands nothing. Nothing."While Harry and Dumbledore have taken the time to read Voldemort's past - to "know thy enemy," He-Who-Must-Not-Be-Named has failed to do his homework, which would have involved, very cleverly on Rowling's part, the reading and comprehension of not only Beedle's tale, but, in essence, Harry Potter - not the books themselves, perhaps, but some version of Harry's life history. And one last observation on the limbo scene between Harry and Dumbledore: It reminded me of the final scene in Vanilla Sky, where a similar choice is made in a similarly surreal/psychic landscape. I also felt that the model for Harry's particular strain of self-sacrifice resembles, in certain structural aspects, the story of Abraham and Isaac, wherein the absolute willingness to make a sacrifice of life, is the thing that frees you from actually having to make it.I applaud Rowling's clever double-ending. That you think it's over - are really and truly convinced that it's over - and then have an even greater joy in finding that it's not. But I also take issue with those who use the term "adult" too freely in their descriptions of The Deathly Hallows. In the best sense of the word, Harry Potter finishes as it began: as children's literature. Consider, for example, the dead. Rowling does not kill off a single central character (Harry, Ron, Hermione); nor any from the slightly lower tier including Hagrid, Neville, Ginny, and Luna. The only Weasley she kills off is the one with a identical twin - and we get Percy back, so in total the Weasley numbers remain constant. The deaths of Tonks and Lupin (who appear very infrequently in this volume - so there's less to miss) allow for the somewhat satisfying emergence of a Harry- and Neville-esque war orphan (their son, Teddy) for the next generation. And it also seems fitting that Lupin - and even Wormtail - join Sirius and James in the Great Beyond. Colin Creevy and Dobby - also possibly Hedwig - are innocents but they were never crucial players so far as character went (and, truth be told, Colin Creevy and Dobby had an irritating spaniel-esque quality that is often the mark of a dispensable minor character). My favorite Death Eater death was that of Bellatrix Lestrange: uber-anti-mother destroyed by ur-mother Molly Weasley. Snape dies, of course, but it's a kindness given the tragically loveless life he leaves behind. And Dumbledore, who actually is dead, is functionally revived in this final volume by the limbo scene, Snape's memories in the pensive, the crucial role of his pre-history, and the appearance of his doppelganger-ish brother. You lose no one you can't live without, is what I mean, and even get a few back through redemption and other means.This is pure children's lit - though Rowling's Aeschylus epigraph may have led you to expect otherwise. Good triumphs over evil (if that's not the crux of a child's plot, what is?) and this triumph justifies and then eclipses the losses that made it possible. The world is made right and the survivors are not psychically broken by their efforts - they enjoy life again, they thrive. Especially for grown readers, one of the chief pleasures offered by Harry Potter and books like it, is their allowing us to experience - to believe in, however fleetingly or wistfully - the kind of idealism and heroism that most of us lose faith in, willingly or no, in adulthood.My parting thought concerns what I consider one of the most fascinating aspects of the children's fantasy genre as Rowling practices it: Its striking correspondence to the ancient epic tradition, in all of its un-ironic hero- and nation-making high seriousness. I find it particularly suggestive that epic, a genre that emerged and defined early human civilization, is now relegated to literature for humans in the early stages of life (from infancy to infancy, one might say), though I have no substantial thoughts on what it means about us as a culture. Harry Potter borrows much from the ancient literary traditions of Homer and Virgil - visits to and from the dead, prophecies, fantastic beasts to be slain, enchantresses to be escaped, magical objects, tragic flaws, heroic friends lost in combat, battles, and choices of world-determining import. The difference is that heroism and glory in war are not ends in and of themselves in Harry Potter and The Deathly Hallows, as they are in the Illiad, Odyssey, and Aeneid. All of the sublime feats of daring and self-sacrifice that this last volume offers are done to keep the mundane yet magical manifestations of human love going: friendship, family, marriage, children, education. As the epilogue, with its glimpse of a new generation of Hogwarts students, parents, and teachers, demonstrates unquestionably, the purpose of heroism is not becoming a hero, but preserving the people, places, traditions, and values that gave you the strength to confront death and pain in the first place.As to the lasting power of this literary phenomenon - whether it is one for the ages - I think that cultural studies, at the very least, will see to it that future generations look back at Harry Potter. How and why did it (somewhat like, though far-surpassing, best-sellers of yore Robinson Crusoe, Pamela, Sherlock Holmes, Uncle Tom's Cabin) become such a prodigy? As to literary merit, I think, as I said earlier, that Rowling's skill as a plotter is tremendous: She has a gift for pacing and suspense, for the deft orchestration of clues and of characters' plot-functions. She is not a stylist - the best that can be said about her literary style is that is transparent and unobtrusive. Of characterization, I would say that Rowling's characters have an archetypal appeal (the arch, wise, and serene mentor; the affable and fiercely loyal but intellectually diminished sidekick/best friend; the brainy, bossy, dorky-yet-attractive-in-her-braininess female), but that character development is a bit thin - nowhere near so well done as the plotting.Ultimately, though, I think this will be enough to secure Rowling and Harry literary immortality. We shall see.