Horst Kornberger offers the following opinion on Harry Potter (I haven’t decided what I think about his comments yet, but it’s one opinion!):
“I am in two minds about Rowling’s creation,” Kornberger writes, “particularly as literature for young children. I think the books and films are often encountered too [-p.143] early. Harry Potter is great fantasy, but a certain foundation of soul needs to be established before a child enters the gothic labyrinth of Hogwarts.
The Potter books are based on the mystery novel and the emotional suspense created by this genre. In most mystery novels we do not know who the murderer is until the very end. In the Harry Potter books, the murder is yet to come. Though we know it is the Dark Lord who is attempting to kill Harry, we do not know under which mask he is hiding. This makes the books even more harrowing for the soul than conventional mysteries.
The dark forces in the Harry Potter series are hidden and unscrupulous, and ever more brilliant as the books progress. The portrayal of evil echoes the racial ethos of the Nazi regime and procedures of black magic. All this may be exciting and highly stimulating reading for the imagination-deprived teenager, but it is not appropriate for younger readers, who need to know who is good and who is bad so they can morally orientate themselves in a story.
In fairytales, evil and cruelty are dealt with imaginatively. The wolf that devours Red Riding Hood spills no blood and the child is soon revived. But the killing in Harry Potter is real and irreversible. The blood that is spilled is ‘real’ blood that will leave a mark on a young child’s soul. The cruelty of a sinister figure like Voldemort is too convincing to be digested before a child is equipped to face him. Too young, they may fall prey to his schemes – and as the book tells you, he is eager to kill then as young as he can.
I recommend you to the advice of the world expert in all matters concerning Harry Potter and the care of the magical and endangered child: Albertus Dumbledore, Director of Hogwarts School of Magic. The wise Professor protected Harry from all contact with the shady and dangerous world of magic until he had reached the age of eleven. I take this as the story’s own explicit advice for its appropriate use: children should reach this age before being admitted to the school of sorcery.
I have said I am in two minds about Harry Potter. While I am concerned about its premature use, it nevertheless provides a good dose of fantasy for teenage consumption. It also speaks directly to contemporary myth – its popularity shows that the stories answer a dire need in our culture: the story deprivation of contemporary childhood.
Children recognise themselves in Harry. Like the modern child he starts off deprived of imagination and magic, denied his birthright to be an adventurer in any realm other than this world. Like the modern [-p.144] child he is endowed with imaginal gifts and has been brought up by parents who are ‘muggles’ – totally unmagical folk. Most parents are ‘Dursleys,’ not only lacking imagination, they suppress it with any means at their disposal.
The imaginal part in every modern child is as maltreated by parents and education as Harry Potter is by the Dursleys, while the child’s conventional and unmagical part is as spoiled as his stepbrother Dudley – who is the very kind of insensitive and competitive bully our world seems to reward while the Harrys are locked in closets and punished for who they are.
Harry Potter exemplifies the drama of the imaginative child. This is what makes his story a modern myth. He is the hero who escapes the prison of convention, breaking though the brick walls of King’s Cross Station into a new dimension of imaginal adventure. Harry is a symbol for the imaginal child and her adventures in this world and the next – but for a young child there are smoother ways to break the brick walls of convention. A new dimension may be more easily entered through an old wardrobe hung with fur coats.” (pp.142-144)
Harry vs The Chronicles of Narnia
Interestingly, Kornberger also compares Harry to The Chronicles of Narnia:
“C.S. Lewis’s Chronicles of Narnia are a masterpiece of children’s literature. A nine year old can appreciate the imaginative treasures this series contains, and there is no need to censor their use, for the stories have a purity that will protect them from misuse. The children who are the heroes of many of the Narnia tales are aged between seven and twelve, and that seems a good indication of their age-appropriateness.” (p.144)
“Harry Potter is fantasy with mythological elements. The Chronicles of Narnia are much stronger myth, a product of exact imagination, revealing realities beyond the apparently real. The Narnia stories meet the soul on its own home ground. They speak the imaginative language of the heart and carry the power of transformation that only this language can provide.
It is this transformative capacity that Harry Potter lacks. He is a likeable hero and remains so, even as he becomes more adept in magic. He is protected by the love of his mother, but he is not touched by the love that changes the heart. He remains a somewhat superficial hero, the master of outer accomplishment and victories. He is Superboy equipped with magical powers and all the gadgets of the trade: owls and broomsticks, invisibility cloak and miraculous maps.” (p.145)
Again, I’m not yet sure what I think of these last comments, but I do find them interesting.
Ref: (italics in original; emphases in blue bold mine) Horst Kornberger (2008) The Power of Stories: Nurturing Children’s Imagination and Consciousness. Floris Books: Edinburgh