Commentary: "If there is one thing Voldemort cannot understand, it is love."
At last, Harry Potter fans: All secrets have been revealed (and they'll be discussed in this column, so be forewarned). "Harry Potter and the Deathly Hallows," the final volume in J.K. Rowling's series about the boy wizard, has been on the bookstands for two weeks. It's time for the final verdict on Harry's long, painful struggle to be rendered.
Before getting to my own conclusions, I want to mention an opinion that is thoroughly wrong, in my view.
It was in the July 23 issue of Time magazine, by book critic Lev Grossman. He tried to make the case that Rowling has broken with the English fantasy tradition of J.R.R. Tolkien and C.S. Lewis. Why? Because, he says, Rowling's books forsake the Christian foundations of "The Lord of the Rings" and "The Chronicles of Narnia."
Here's Grossman, writing before the book's release: "If you want to know who dies in Harry Potter, the answer is easy God. Harry Potter lives in a world free of any religion or spirituality of any kind. ... What does Harry have instead of God? Rowling's answer, at once glib and profound, is that Harry's power comes from love. This charming notion represents a cultural sea change. In the new millennium, magic comes not from God or nature or anything grander or more mystical than a mere human emotion. ... (P)sychology and technology have superseded the sacred."
It's a pity that Grossman appears ignorant of the Christian tradition he says Rowling has forsaken, but I'll come back to that in a moment.
Foremost, the Harry Potter series is a triumph of deeply moral fiction. It succeeds in almost every way as an example of literature that is both compelling and, at its very root, a celebration of how the truest human virtues transcend the worst part of our nature.
This conclusion ought not to be a surprise, since it has been evident over and over again throughout the series. Courage, loyalty, humility, intelligence, honesty and resourcefulness are threatened and attacked, but they are victorious over pride, malice, greed, venality and cowardice.
It is significant that Harry, although he has suffered and been abused, does not respond in kind, even when he has the chance.
He may be a flawed hero, but he is a hero nonetheless, and he inspires others to follow him in the cause of fighting against injustice.
That sounds like a cliche, but Rowling convinces us of this through the power of her storytelling, the vividness of her characters and the ingeniousness of her plot.
My one quibble with the final book is that her imagination almost fails in the climactic scene. Harry's duel with Lord Voldemort is lacking any doubt about the outcome, and so although it's satisfying, it is rather anticlimactic.
And it is a serious oversight that we do not know the circumstances of so many major characters in the aftermath of Harry's victory. As strange as it sounds for a 759-page book, Rowling should have given us one more chapter.
As to Grossman's contention that God is absent from Harry's world, he is wrong precisely for the reason he thinks he's right.
Love in the Potter series is neither glib nor "mere human emotion," any more than it is in "The Lord of the Rings." The love that saves Harry from Voldemort as an infant and throughout is a love that is willing to sacrifice everything for the sake of another, and there is no more Christian notion than that, as both Tolkien and Lewis knew.
At the end, Harry willingly walks into Voldemort's lair alone, expecting he will be killed, because he is convinced it will save his friends. He has thought constantly about his mother's sacrifice, and now he imitates it.
As Jesus said, "Greater love has no man than this, that a man lay down his life for his friends."
Voldemort sneers at this, and it is the reason he is defeated. In the very first book, Dumbledore tells Harry, "If there is one thing Voldemort cannot understand, it is love."
If Grossman wants to read fantasy literature that truly rejects God, he should read Philip Pullman's "His Dark Materials" trilogy, the first book of which, "The Golden Compass," is about to be released as a film.
No, far from being a departure from Tolkien and Lewis, Rowling has demonstrated she deserves to stand alongside them in the long and great tradition of moral fiction. Anytime good defeats evil by just means, we are all ennobled, and if Harry Potter inspires children - and adults - to emulate him, the world will be better off.
Cary McMullen is religion editor for The Ledger in Lakeland, Fla.
niedziela, 5 sierpnia 2007
New York or Middle Earth: The choice is yours in London's West End. by Andrew Regan
May 2007 sees the opening of two new plays in London's West End that will have theatre fans across the UK chattering with excitement. The Theatre Royal on Drury Lane will be showing the world's first adaptation of J.R.R. Tolkein's 'The Lord of the Rings'. Following on from the phenomenal success of Peter Jackson's Oscar winning movie trilogy, the Theatre Royal's new production of Tolkein's epic masterpiece combines an ecstatic musical score with heart-stopping choreography and a spectacular stage design.
Featuring over 70 actors, singers and musicians, The Lord of the Rings stage play will follow Frodo Baggins on his amazing journey through Middle Earth - and the production looks likely to be a runaway success. Opening on May 9th, LOTR fans should make sure they book their tickets well in advance to secure a seat.
If enchanted rings and hairy hobbits aren't quite your idea of an enjoyable night at the theatre, then you're in luck: May also sees the opening of Fame at the Shaftsbury Theatre. The original high school musical, Fame revolves around a group of students in New York's school for the Performing Arts. Like The Lord of the Rings, and starring Irene Cara, Fame was adapted into an Oscar winning film in 1980 and has since spawned generations of fans of both the film and the original stage musical alike.
The movie version of Fame was spawned from a successful TV series and the movies' skyrocketing success gave rise to a host of films made in a similar genre, including Flashdance and Footloose. Today, many films, musicals and TV programmes aimed at teenagers still use the formula that Fame made so successful - the charting of the hopes and dreams of young, idealistic adolescents. Recent films such as Centre Stage and Disney's High School Musical have followed a similar pattern, but none have so far rendered the timelessness and eternal appeal of the original Fame.
Opening on May 4th at the Shaftsbury Theatre on Shaftsbury Avenue, Fame promises a rollicking experience for any fan of the musical, the film - or simply anyone that desires a stunning stage musical experience! And, if you're planning to visit London's West End to see The Lord of the Rings or Fame this Spring, why not make a short theatre break out of it? That way you'll get to take in London's spectacular attractions and indulge in a spot of shopping while on a cultural weekend away.
Sining Hobbits, Wizards and Orcs, Oh My! by C.S. Pothitt
Last year, 2005, marked the 50th anniversary of the complete publication of J.R.R. Tolkien's masterpiece. The Lord of the Rings, a multi-volume epic that followed The Hobbit, was first published in London in 1954, with an American edition following in 1955. This tale of unlikely heroes has been made into a radio play (the BBC's Third Programme aired it in 1956); an animated film (1978); a trilogy of live-action films (2001, 2002, 2003); several video games (1985, 1990, 1992, 2000, 2002, 2003, 2004) with more being planned; and now is being made into an ambitious live-theatre musical production.
"The responsibility is huge," says Mathew Warchus, the man chosen to direct the stage version of The Lord of the Rings, "but the opportunity is huge as well, because you can do some things you always dreamed of doing on the stage."
Lord of the Rings opened at the Princess of Wales Theatre in Toronto in February 2006, cost about $27 million (Canadian) to produce and faced many challenges.
"People feel so strongly about Tolkien's work," Warchus says. "I studied the books very carefully. I vowed I would not trivialize the piece in any way, but honor it and perhaps even add something to all the available incarnations of the story."
With so many adaptations of the work on hand, why would someone tackle a stage production? "To read the novel is to experience the events of Middle Earth in the mind's eye; to watch the films is to view Middle Earth as though through a giant window. Only in the theatre are you actually plunged into the events as they happen," says Warchus. "The environment surrounds us. We participate. We are in Middle Earth."
Fans who have seen the preview agree. One said, "It was unlike reading or watching Middle Earth, it was like being there!"
The biggest question, however, was why a musical? Do we really want Frodo to sing, orcs to dance? "We have not attempted to pull the novel towards the standard conventions of musical theatre," says Warchus, "but rather to expand those conventions so that they will accommodate Tolkien's material."
There is "music virtually the whole way through," says Kevin Wallace, producer of the show, "Like in the books, the characters in the stage adaptation use songs that are already part of their culture to express themselves. They do not sing as in a traditional musical, ... but as in a culture with a strong singing tradition, they use music as part of their everyday life."
The music is a collaborative composition of A.R. Rahman, a composer from India, Värttinä, a vocal group from Finland, and Christopher Nightengale, the show's musical supervisor. Since, Tolkien used Finnish as a basis for Elvish, having a Finnish group as part of the musical collaboration has given the music for this production an authentic and unique sound.
"It's not really a musical in the tradition sense," Liam Kearns, a fan from Vancouver who traveled to Toronto just to see the show, told The Canadian Press. "It's really a stage extravaganza. There's music, but it's a dramatic play."
When rumors of this production first surfaced, there was fear that the result would be cheesy or would stray too far from the original work. To help keep the adaptation in line with Tolkien's material, Laurie Battle, Head of Licensing at Tolkien Enterprises, worked as Creative Consultant, advising the director and producer directly, as well as pointing the way to further research when necessary.
The effort paid off. "I highly recommend any and every Tolkien fan to watch this production," said one fan who saw the preview.
Lord of the Rings is appropriate for children aged 8 and older. Wallace advises, "People should use their own discretion and bring children who are old enough to enjoy the performance." This is especially true, since it is about three and one-half hours long.
Knowing the story and its characters isn't necessary to enjoy the musical, according to Kearns. You can follow the story, which takes in all three books, even if you don't know the difference between an ent and an orc.
Previews of Lord of the Rings started Feb. 4, 2006 and the Gala Opening is scheduled for March 23. Toronto will be the only place to see this production for at least nine months, when the London production premieres later this year. And Wallace says that Toronto will be the only place to see this musical in North America for at least 18 months.
A Kevin Wallace Limited Production, Lord of the Rings is presented by Kevin Wallace and Saul Zaentz, in association with David and Ed Mirvish and Michael Cohl. Tickets, which are $78 or $125 (Canadian), are available at www.lotr.com or by calling (416) 872-1212 or (800) 461-3333.Buying LOTRO Gold by Josie Lee
I would considered this to be another method of cheating for a game, I'm sure everyone likes to cheat in a game on way or another. If a player were to buy LOTR gold from another it can be considered as a transfer fee or payment for the time spent to collect that gold or item. As for other services such as powerleveling or buying some one elses account is like selling your game cartridge when you do not want to play anymore. Well, except for powerleveling which is a bit different. You are basically paying someone to play the game for you. I do not see the harm in that.
Many other players disapproves of the idea of this level of service but the fact is not many players have the money available to spend. Also into consideration is that they believe it destroys the fun of the game and what not. The only reason I believe it would destroy the fun of the game is because there may be an overcrowdness of playeres who only farms for the gold to sell and may disrupt other players from having a good time.
I believe this service is a great way of cheating and getting to the more enjoyable stages of the game. If Turbine should disagree with selling gold, accounts and what not I do not see what much can they do to prevent so from happening. At most they will ban your account but for them to provide proof that you had sent payment to another player to get acquire the gold is difficult. Thus, the only person they would probably ban would be the seller. They would never be able to kill the desire of another player wanting to buy and another willing to provide.
If other games such as EverQuest, Star Wars Galaxies and any games relating to Sony Online Entertainment supports the system then why shouldn't all mmorpgs as well? SOE has created a market place in which a player may auction their currencies to another player. In some ways, I believe the player has the right to sell their account if they no longer want to play. They purchased the game and played the time, if another player is willing to buy their game then its their right to sell since they are now the owner of that account.Royd Tolkien Literary Agency by Anna Emmens
ROYD TOLKIEN ANNOUNCES HIGHLY ANTICIPATED LITERARY AGENCY
Great Grandson of J.R.R. Tolkien to Impact Literary Field With Arrival of New Agency
As the great grandson of J.R.R Tolkien, the author of well-known books like The Hobbit and The Lord of the Rings trilogy, Royd Tolkien has a keen eye for talent and a love for brilliant writing. Tolkien has been asked all his life when he planned on doing work in the literary field. The question is finally answered with his proud announcement of the Royd Tolkien Literary Agency, which is likely to have a major impact on the publishing world. When asked why he waited so long to start something of this nature, Tolkien responded, "I was waiting to find an author that inspired me, someone whose work was so good I couldn't pass up the opportunity. When introduced to Murti Schofield's concept for The Shadow Histories series, I knew immediately that it was time." The Empty Land; the first of six books in The Shadow Histories series; is a retro-futuristic story that chronicles the life of a young girl who must rediscover her forgotten powers to prevent a great darkness descending on humankind. It is geared for readers of any age who love the excitement of interesting characters, unpredictable challenges and the thrill of fast-paced action. The series has already received serious inquiries about expanding into various formats such as film, game, audio and graphic novel. Schofield is best known for his work as lead writer on Tomb Raider, Angel of Darkness, and it is his fascination with mysterious landscapes, obscure locations, lost knowledge and secret societies that inspired the creation of both projects. The Royd Tolkien Literary Agency will represent passionate and creative people who write, illustrate and enjoy great storytelling in any form, while assisting and enabling these talented individuals to reach their goals. # # #
For more information about the Royd Tolkien Literary Agency, please visit www.roydyolkien.com For release dates of upcoming volumes in the Shadow Histories series and other inquiries, be sure to check The Shadow Histories Web site at www.shadowhistories.com or www.myspace.com/shadowhistories The Empty Land is available for purchase on Amazon.com, at Barnes & Noble, The Book Depository and all leading bookstores.
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