Childrens Literature in Education, Vol. 35, No.

1, March 2004 ( 2004)

Courtney B. Strimel is a
recent graduate from
the English master of
arts program at Kansas
State University in Manhattan, Kansas. Her area
of focus is literatures
role in shaping culture,
especially within the
genre of childrens literature.

Courtney B. Strimel
The Politics of Terror:
Rereading Harry Potter
This article claims that J. K. Rowlings Harry Potter series, with its
use of magic, frightening storylines, and character ambiguity is beneficial to children who are dealing with issues related to terror and
terrorism. The author explains that the scenarios presented in Rowlings series teach children strategies for coping with both physical
and psychological victimization, and argues that the series explores
morality issues, allowing child readers to analyze terror-related
questions such as why some people are considered evil, why difference is often believed to be bad, and why good people do bad things.
It is acknowledged that many critics believe that the same elements
claimed as beneficial in the essay are actually immoral and dangerous to child readers. These critics evaluations are countered in two
ways: first, the author uses expert evidence to demonstrate that children are capable of distinguishing between fantasy and reality by
the age of 5, making fantasy the most viable means for children to
cope with terror; and second, the author examines and interprets
specific passages within the series to demonstrate how various
scenes lead children to explore important, yet frightening issues
while remaining in an emotionally safe state. The author concludes
that the series has proven to be more beneficial than harmful by
presenting evidence gathered from actual child readers who state
that the Harry Potter series has allowed them to confront and cope
with terror and terrorism in their own lives.
KEY WORDS: terror; childrens literature; fantasy.

The terrorist attacks on the United States in the fall of 2001 had great
impact on human life throughout much of the world, and the realm
of childrens literature was certainly not left untouched by the shock.
Since the beginning of the frenzied success of Harry Potter, critics
have almost made a game out of speculating the series demise, and
35
0045-6713/04/0300-0035/0 2004 Human Sciences Press, Inc.

36

Maureen Dowd, When

bad things happen to
good children

Childrens Literature in Education

following the attacks, critics and writers began to focus attention away
from the series. It appeared as if the world had changed and that
Harry Potters brand of magical fantasy just might have run its popular
course. Almost immediately following September 11, articles downplaying the Harry Potter series gained prevalence in the American
media. The New York Times Maureen Dowd (2001) claimed [a]fter
9/11 . . . many kids seem in the mood for something a bit darker (p.
9), but she neglected the fact that children had been reading dark
books well before September 11, 2001. Furthermore, Harry Potter is
darker than Dowd realizes. The actual success of Harry Potter both
before and after the attacks reinforces that fact. Rather than dying in
the face of global turmoil, the series has continued to thrive. The key
may be that, as a multinational series, Harry Potters central themes
have reached children in many different countries who experience all
types of terror and witness battles between good and bad every
day. Though the series explores many themes, the themes of terror
as a result of large-scale, national strikes and of the battle between
good and evil are central to Rowlings work.
Despite the fact that writers and critics have scrambled to add the
name Harry Potter to their work for the past few years, comparatively
little has been done in relating the importance of the Harry Potter
series to the study of terror. Rather than studying the series for its
positive effects on children, many critics have continued to denounce
the series according three areas of concern. The most vociferous critics of the novels, primarily conservative Christians, cite the theme of
magic as inherently anti-Christian. Additionally, the charge by many
critics, regardless of religious affiliation, has been that the series contains an inappropriate amount of violence and terror for a childrens
series. Finally, many have charged that the series promotes ambiguous
morality with the use of ambiguous characters, such as Harry, who
often grapple with morality issues. Emphasis on the magic, the violence, and the character ambiguity is important but not for the reasons
these critics claim. More beneficial than detrimental to children, these
criticized areas of Rowlings novels are precisely what enable the series to confront terror issues.

Daniel Handler, Frightening news

Instead of making the series immoral, the magic, frightening storylines, and character ambiguity all operate together to explore a vast
array of morality issues. Further, these aforementioned components
allow readers to tackle terror-related issues safely. What makes a person evil? Is it bad to have different beliefs or appearances? Why are
groups of people considered evil? Do good people make poor decisions or do bad things? With whom do you side when the indicator
of good and evil is ambiguous? According to Daniel Handler (2001),
the pseudonymous Lemony Snicket, answers to questions such as

The Politics of Terror

37

these are unlikely to be found in stories that ignore rather than acknowledge these questions. Stories like these arent cheerful, but they
offer truth (p. 2). Certainly, these questions related to terrorism are
ever present since terror is not a new concept, but this makes Rowlings work all the more important for study in its merits as a beneficial
text for children.
The overriding theme of the Harry Potter series is coping with terrorism. Although this terrorism takes many shapes, including that of
childhood bullying, the series most overwhelming premise is based
on the tale of the rogue wizard, Voldemort, the threat of his past and
future reign of terror on the Magical community, and how a young
boy, Harry Potter, is able to cope and (possibly) defeat that evil wizard. Fear comprises a large part of the series foundation, and because
Rowling so masterfully depicts realistically terrifying situations, there
are many important lessons child readers can glean from the novels.
Although magic is the most frequently criticized element of the series,
it is actually the safest, most beneficial component of the series in the
discussion of terror. In fact, readers and critics should view magic as
a psychologically safe vehicle for the lessons contained throughout
the Harry Potter series.

Robert Needlman, Childrens books to soothe

worries and fears

Robert Needlman,
Reading to children in
times of stress

Fantasy is often used as an escape from the real world, and escape
with the aid of fantastical elements such as magic can be wonderful
therapy for children. During this escape, a safe environment may be
constructed for children where they can learn to cope with terror.
Robert Needlman, a strong proponent for fantasy as a means of escape
to facilitate learning, cites both Roald Dahls The Witches and Rowlings Harry Potter series as among some of the most beneficial books
for children who are dealing with terror issues (2002a, p. 3). Much
as this article is attempting to do, Needlman explains that the challenged works of Dahl and Rowling are much more beneficial for children than the nonfiction, safe books that have become so prevalent
in the past few years. While children are not ignorant of the true
issues behind their fears, Needlman points out, books that deal with
an upsetting topic directly(such as a book about airplanes that fly
safely) can sometimes raise a childs anxiety to an unacceptable level,
even though they are meant to lower it (2002c, p. 2). The lessons
about terror in the Harry Potter series may be scary and confusing at
times, but magical fantasy allows children to deal with timeless, realistic, frightening topics while maintaining a safe distance from the agent
causing the anxiety. As fantasy affords readers a safe realm to tackle
anxiety-producing issues, coping strategies germinate and grow. With
matured coping abilities fostered by the magical fantasy as set forth
early in the series, child readers may explore very important complex,
frightening scenarios such as those that occur in later novels. And,

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Childrens Literature in Education

although this article focuses primarily on the first four installments

in the series, the fifth novel makes it clear that Rowlings additional
installments will fit into this coping-with-terrorism pattern as well.
With the psychological wherewithal, readers may approach scary situations in the novels and learn from them, rather than approaching
them as terrorized victims.

J. K. Rowling, Harry
Potter and the Goblet
of Fire

One of the most vivid terrorist attacks that readers witness occurs in
book four, The Goblet of Fire. The series had already introduced readers to past threats and attacks, but through reading book four, children actually witness a very realistic terrorist event on the campgrounds of the Quidditch World Cup. As the wizards and witches are
going about their post-Cup merriment and as Harry is falling asleep,
a group of hooded, masked wizards make their way through the
grounds emitting odd flashes of light and noises like gunfire (2000,
p. 119). The scene that ensues is very much like real terrorist attacks.
The confusing chaos is palpable as is evidenced in the following:
Once or twice Harry saw one of the marchers blast a tent out of his
way with his wand. Several caught fire. The screaming grew louder
(p. 120). The event is realistic due to the juxtaposition of the swift
onslaught of terror against the calm, mundane scene at the campground. Not only are the characters surprised, but so are readers.Although Rowlings work is often rich with foreshadowing, she does
not give readers any clues to expect this attack. Although scary, this
element of surprise is actually another important vehicle for the coping-with-terrorism lesson supported by this series. Real terrorist attacks are commonly unexpected by victims; therefore, the lack of
foreshadowing in this scene evinces a sense of startling, realistic fear.
Further, Rowling draws out the surprise attack and the chaos for several pages, building anxiety in readers. Despite the scariness of this
scene, the anxiety produced is more beneficial than it is harmful. Coding this passage as a product of fantasy, magic, gives child readers the
ability to understand that this magical attack may be scary, but that it
is not real. From this comfortable distance, readers are not only able
to witness the frightening aspects of the attack, but they may also
witness the actions of characters working to stop the attack and using
magic to bring safety and order back to the campground. Readers,
then, are afforded the ability to learn that fear is an inevitable byproduct of terrorism, but that reason, teamwork, and calmness must
override chaos in order to deal with terror.
Just as magic aids children as they experience The Goblet of Fires
terrorist attack, it also helps readers comfortably assimilate the terror.
Much like a real attack, the attack on the campground yielded two
types of terror. For the Muggle campground owners and the most
obvious victims, the Roberts family, the attack was physical. They

The Politics of Terror

39

were violently flipped upside down in the air, and Harry explains that
they were being contorted into grotesque shapes (p. 119). For the
span of a page, readers are uncertain whether the terrorist wizards
will kill the Roberts family. The magic in this scene is used to both
torment and help the victims. The Roberts family is clearly in danger.
Rather than choosing to put the book down out of fear, however, the
magical fantasy offers readers a reason to see what will happen next.
Feeling safe enough to continue both the book and the series may
open avenues for additional coping-with-terror lessons.

Capture their minds

and their hearts and
souls will follow

The second and more ominous type of terror expressed in this scene
is much more abstract but integral for further lessons contained in
this novel and into the fifth novel. Although the scene depicts the
terrorist wizards manufacturing their own terrified victims, those
same terrorist wizards became victimized. Posing a psychological
threat to the entire magical society, an anonymous character in the
forest conjured Voldemorts sign, The Dark Mark. Having been born
after Voldemorts first reign of terror, Harry, Ron, and Hermione could
not understand the fear displayed by the adult campers on the appearance of the Dark Mark. Mr. Weasley explained, You-Know-Who [Voldemort] and his followers sent the Dark Mark into the air whenever
they killed. . . . The terror it inspired . . . you have no idea. . . . Everyones worst fear . . . the very worst (p. 142). More than a murderous
rampage, the campground attack represented extreme social instability and danger for both the victims and the earlier victimizers. Bill
Weasley comments that The Dark Mark scared the Death Eaters away
the moment they saw it (p. 142). Functioning as a type of psychological operation as is used in all types of warfare, including that of terrorists (2002), the evil sign psychologically victimized all the characters.
Although Voldemort was still too weak to pose any immediate physical threat, the sign represented a strengthening of malevolent power,
which was at least as frightening as an actual physical attack. In fact,
the goal of a psychological operation is to remove the need for physical battle by convey[ing] selected information and indicators to audiences to influence their emotions, motives, objective reasoning, and
ultimately the behavior of organizations, groups, and individuals
(Capture their minds). The Dark Marks appearance effectively
ended the physical attack as the Death Eaters disapperated out of
fear, but it left a frightening reminder of Voldemort.
The psychological dynamics of this attack in particular evoke one of
the most anxiety-producing scenes in the entire series. Much more
important than the physical attack, The Dark Mark commences with
a study of control and terror. Just as The Dark Mark moves the battle
from physical bodies into the semiotic realm of terror, the series itself
seems to traffic in signs of real terror for child readers. While physical

40

J. K. Rowling, Harry
Potter and the Order
of the Phoenix

Connie Neal, Whats a

Christian to do with
Harry Potter?

Childrens Literature in Education

magical violence is relegated easily to the realm of pure fantasy, The

Dark Mark takes the same form for both characters and readers alike.
The sign removes all physical violence and places it in a scarier realm:
the mind. Factually speaking, then, this literary attack becomes one
in which children may directly feel the terrifying effects. This terror
does not, however, prove to be detrimental to children. Terrorist attacks are all too commonly noted and remembered solely for their
carnage; however, it is important that the psychological aspects of
social and individual terror be viewed as just as detrimental. The use
of magic minimizes the trauma for children throughout the terrorization of the Roberts family, which embeds the fantasy genre in readers
minds. In a similar vein, it is important to note that because Harry,
Ron, and Hermione were ignorant of the meaning behind The Dark
Mark, it did not initially terrify them. Surprisingly, even after Mr. Weasleys discussion of the signs emotional weight, the children seemed
to express a sense of calm. This seems to suggest that control becomes another coping mechanism for readers. Just as Harry and his
friends exercised reason rather than succumb to the pure terror as
everyone else in the campground did, readers of the series should be
prompted to explore the reality of The Dark Mark, or any terrifying
sign, before allowing themselves to be terrorized. Not only are readers, then, able to be comforted by the magical fantasy of Harry Potter,
the series gives young readers the opportunity to learn from, experience, and practice the coping mechanisms dealing with surprise, confusion, and terror. It is also important to note that the attack is not
made all better at the end of the scene. The lesson of coping with
terrorism is carried throughout the length of The Goblet of Fire and
into The Order of the Phoenix (2003). By failing to tie up the situation
neatly, which would be very unrealistic and therefore disadvantageous, children are able to witness both the evil actions and the actions the characters take to combat and deal with the event throughout the novel.
Despite the importance of magic to the lesson about terror, the above
example is one of the prime magic-laden passages that detractors of
the series hold as evidence of Harry Potters inherent danger to children. According to Alison Lentini, passages such as this one are seamless interweaving[s] of the aberrant and the mundane leading to a
sheer sensory overload (qtd. in Neal, 2001, p. 25). For some, the
theme of magic is enough to condemn the series for its perceived
occultist underpinnings regardless of the benefits magic offers. These
detractors use the magic as a condemnation of the very beneficial
fantasy elements of Rowlings series. Refusing to believe children have
the capacity to differentiate between reality and fantasy, these critics
believe that Rowling is attempting to sway children into the occult.
Although connecting Harry Potter (or Rowling for that matter) to re-

The Politics of Terror

41

cruitment for Satanism is simply absurd, it is worth addressing the

question of childrens ability to understand the place of fantasy in
their lives. Those who claim the series is immoral due to the use of
magic seem to be unaware of the scholarship that demonstrates the
benefits of fantasy in the lives of children. In fact, to say that the
novels represent a psychological danger to children neglects the fact
that children have a well-defined sense of fantasy and reality at an
early age.

Bruno Bettelheim, The

Uses of Enchantment

Springfield, Missouri,
Public Schools,Communication Art Major Instructional Goals

Although children are generally not expected to grasp the conceptual

difference between fantasy and reality prior to age five, Bruno Bettelheim, in his seminal book, The Uses of Enchantment (1976), praised
the benefits of literary enchantment through fantasy, fairy tales, and
myths for children of all ages. Bettelheim explained, [a]fter the age
of approximately five-the age when fairy tales become truly meaningful-no normal child takes these stories as true to external reality (p.
64). Schools have used this scholarship for many years as a way to
assess childrens skills before advancing grades. According to the
Springfield, Missouri, Public School Systems Communication Art Major Instructional Goals for Kindergartners, students will demonstrate
book knowledge [by] distinguish[ing] between realism and fantasy
(2002, p. 1) before advancing to the first grade. Kindergartners are
well below the age of Rowlings target audience; therefore, children
who read Harry Potter have gained the ability to distinguish between
fantasy and reality long before picking up any of the books.
In light of the fact that children who read Harry Potter are capable
of distinguishing between fantasy and reality, it stands to reason that
the series really does not present any danger. Instead, the magic in the
Harry Potter novels may instead diminish young readers anxieties. As
they read, children face the fictional threat of Voldemort and his
Death Eaters violence. The threat and terror that Harry and his friends
must combat in the series magical world mimics the terror, threat,
and chaos existing in many childrens real lives.
Another scene from The Goblet of Fire demonstrates how magic
works as an antianxiety measure so that important lessons may be
learned. In this scene, Voldemort rises in strength to battle Harry on
the conclusion of the Triwizard Championship. In the process, the
death of a completely innocent character occurs. The violence and
terror in the passage has led many critics to challenge the series, but
it builds on and demonstrates the beneficial role fantasy plays in dealing with terror. Rowlings message that evil acts do occur and that
morality may not always be clearly defined becomes extremely clear:

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Childrens Literature in Education

For a second, Harry and Cedric and the short figure simply looked at
one another. And then, without warning, Harrys scar exploded with
pain. It was agony such as he had never felt in all his life; his wand
slipped from his fingers. . . . From far away, above his head, he heard
a high, cold voice say, Kill the spare. A swishing noise and a second
voice, which screeched the words to the night: Avada Kedavra! A
blast of green light blazed through Harrys eyelids, and he heard something heavy fall to the ground beside him. . . . Cedric was lying spreadeagled on the ground beside him. He was dead. For a second that contained an eternity, Harry stared into Cedrics face, at his open gray eyes,
blank and expressionless as the windows of a deserted house, his halfopen mouth, which looked slightly surprised. (pp. 637668)

This passage marks a serious turn in Rowlings seriesVoldemort,

carries out the senseless murder of Cedric. Cedric Diggory was only
a supporting character, but he was a good and kind friend to Harry.
Despite Rowlings use of ambiguity at points throughout her series,
certain textual clues in this passage act as indicators for child readers
that this is a very tragic, malicious attack. The combination of events
such as Harrys scar exploding with pain, the cold voice, the use of
the deadly, illegal Avada Kedavra curse, and the malevolent green light
all point to more than an event that can be rectified easily.
While inferred in past novels of the series, readers become fully aware
in this scene that magic cannot help the dead. Just like James and Lily
Potter, Cedric cannot be resurrected. Again, magic is utilized to code
this scene as a work of fantasy, which minimizes the frightfulness.
However, magic plays a very important role in the conveyance of another important lesson for children who have lost loved ones, especially through terrorism. After Cedrics death, Harry does wand-towand battle with Voldemort. A magical connection is made between
Harry and Voldemort, and as the two wizards struggle to fight the
connection, the grayish, smoky, ghostly figures of everyone Voldemort killed begin to flow from Voldemorts wand. Though not alive,
the figures of Harrys parents and Cedric, among others, float out
whisper[ing] words of encouragement to Harry, and hiss[ing] words
Harry couldnt hear to Voldemort (p. 667). Ultimately, the ghostly
figures block Voldemorts view and his power over Harry, allowing
the youth to get away safely. Although death is a theme in this scene,
the magic comforts readers so that death is realistically permanent but
not completely terrifying. Although Harrys friend and parents are
gone, their souls or spirits remain magically with Harry, reinforcing
him through his fight with Voldemort.
In light of the lasting effects of the attack, it may be difficult for some,
like Elizabeth Mounce, to see how the scene could comfort children.
Mounce, a mother from South Carolina, petitioned her local school

The Politics of Terror

Francis Bridger, A
Charmed Life: The Spirituality of Potterworld

43

board to ban Rowlings series based on its serious tone of death,

hate, lack of respect and sheer evil (2001, p. 9). Although there is a
tone of death, hate, lack of respect, and sheer evil, Voldemort is the
single character that embodies those qualities. In his desire to reign
over the magical world, he gains a complete disregard for life. No
one, including any of his own followers, is safe from his wrath. Coupling the tone that Mounce finds offensive with the exploration of
Voldemorts character forces readers to cultivate the complex questions of why Voldemort appears as a terrorist. Although finding answers to such questions is possible, it is more important, at least to the
study of terrorism and childrens literature, that readers are actually
considering that question. While the definition of a terrorist may
change or vary, the questioning of the definition may be carried over
into real life. Voldemort appears as the quintessential terrorist figure
because he is, up to this point in the series, completely unambiguous.
At every moment, he poses a threat to society, and his sinister actions
consistently cause pain, terror, and confusion to both the magical and
Muggle communities. He is at the apex of the terrorist plot in the
Harry Potter series, which makes the study of him all the more important.
Additionally important to the study, rather than choosing to kill Voldemort for his actions, the series good characters aim to stop the
cycle of violence by thwarting his rise back to power. In order to help
children deal with terror, these issues must be in place for readers to
uncover and study coping strategies. The evil callousness with which
Voldemort carries out his execution of Cedric is frightening, but it is
realistic because the victims of terrorism are often innocent. This scenario allows children to formulate the important question of why a
good character was killed. The Goblet of Fire does not leave children
to their own devices to answer this question. In the final chapter,
Dumbledore instructs children on how to read this scene. During the
end-of-term ceremony, which also memorialized Cedric, Dumbledore
said: [Cedric] was a good and loyal friend, a hard worker, he valued
fair play. . . . Cedric Diggory was murdered by Lord Voldemort (p.
722). The answer children are directed to formulate is that senseless,
malicious acts do happen and that Cedric did nothing to warrant his
death.

J. K. Rowling, Harry
Potter and the Prisoner
of Azkaban

Besides the fact that children must deal with both the physical victimization and the psychological threat of terror in the wake of a terrorist
attack, other emotional issues arise in response to terror. Working
through the entire gamut of terrorism-related feelings and fears, the
Harry Potter series tackles many morality issues. Without any doubt,
one of the most complex of these issues Harry grapples with in the
series occurs in The Prisoner of Azkaban (1999b). Despite the fact

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Childrens Literature in Education

that Peter Pettigrew was both a murderer and the betrayer of Harrys
parents, leading to their deaths, Harrys moral sense causes him to
stop Remus Lupin and Sirius Black from killing Pettigrew to avenge
the Potters deaths. Though this decision proves moral, it is not an
easy or a comfortable one for Harry. As Lupin and Black raised their
wands to kill Pettigrew, Harry yells: NO. . . . You cant kill him. . . .
He can go to Azkaban but dont kill him (p. 375). Harry realizes that
taking another life is pointless; the murder of Pettigrew cannot bring
back his parents. Harry explains to Pettigrew: Im not doing this for
you. Im doing it becauseI dont reckon my dad wouldve wanted
[Lupin and Black] to become killersjust for you (p. 376). Harrys
moral sense makes it impossible for him to allow the slaughter of
another living being. Further, Harry understands that in taking revenge
for his parents deaths, Lupin and Black would have to become killers
themselves.
Importantly, Rowling does not stop this morality lesson at the conclusion of the chapter. Because of Harrys moral decision to save rather
than kill, Pettigrew does get away and goes straight to assist Voldemort. The escape leads to a continued study of the effects of morality.
Throughout the remainder of The Prisoner of Azkaban and heavily
into the fourth installment of the series, Rowling depicts Harrys battle
with his conscience over whether he should have, in fact, saved Pettigrew. Harry knows that as a past member of Voldemorts clan, Pettigrew has the wherewithal to aid Voldemort in his return. When Harry
verbalizes his discomfort with saving an accessory to the murderer of
his parents, Dumbledore explains: Pettigrew owes his life to you.
You have sent Voldemort a deputy who is in you debt. . . . The time
may come when you will be very glad you saved Pettigrews life (p.
427). This passage teaches children that moral actions may not always
be clearly rewarded, which is quite important as children try to understand issues related to revenge in the wake of terrorism. Harry could
have been justified in seeking revenge for his parents, but a value for
life led him to choose higher morality over vindication. Rowling does
not completely clear up the revenge issue, which is more beneficial
than tying it neatly up. Just as Harry made a moral decision that left
him confused, the same issue may be a part of the lives of real children
who read the series. As is the case with many of the lessons contained
within the Harry Potter series, leaving loose ends for readers actually
helps validate real feelings. The world is of course not black and
white, and Rowling does not confuse her readers by creating unrealistic outcomes in her fantasy world. Once children feel assured that
their feelings and thoughts are reasonable, they may work to understand and cope with terror.
Rowlings skill in creating a forum for learning is obvious in her ability
to create realistic ambiguous charactersthose who possess both

The Politics of Terror

45

good and bad qualities, just like real human beings.Throughout the
series, very few characters remain unwaveringly good or evil. (One
must take into account that Rowling has only written five of the seven
novels that will comprise the Harry Potter series.) Each installment
contains different examples of character ambiguity. While Dumbledore and Voldemort appear to be the only unwaveringly good and evil
characters respectively, most of the other charactersincluding
Harryat least appear in an alternate light throughout the series. The
episodes in which characters display unclear intentions force children
to consider the definitions of good and evil. In this manner, the ambiguity and ideas related to free will and determinism work in tandem
to reach children in order to foster a better understanding of and an
outlet for feelings and situations of terror.

J. K. Rowling, Harry
Potter and the Sorcerers Stone

Ambiguous throughout the entire series, Severus Snape may be the

best example of Rowlings ability to force children to consider characterizations of goodness and badness. Snapes appearance, demeanor,
and background impel readers to view his character with a suspicious
eye when he is introduced in The Sorcerers Stone (1997). Initially,
Snapes appearance guides readers to create a great dislike for the
character, only to learn later that appearance is a poor indicator of
goodness or badness. During the first banquet at Hogwarts Snape
looked into Harrys eyes and a sharp, hot pain shot across the scar
on Harrys forehead (p. 126), the locus of pain whenever Voldemort
is near. Further casting an evil shadow on Snape, Percy explains to
Harry that Snape teaches Potions, but he doesnt want to-everyone
knows hes after [the Dark Arts] job . . . [something he] knows an
awful lot about (p. 126). It is easy to distrust Snape by appearance
alone despite the fact that he does save Harry from Professor Quirrell
on the Quidditch field, but one of the most difficult yet important
lesson for readers in relation to Snape occurs in The Goblet of Fire.
While peering into the Penseive, Harry sees into the past to the trial
of the Death Eaters after Voldemorts apparent death. Snape is named
as a Death Eater, yet Crouch explains, Snape has been cleared by this
council (p. 590). Dumbledore defends Snapes exoneration because
Snape rejoined the good side before Voldemorts downfall and
turned spy [for that side] . . . at great personal risk (pp. 590591).
Rowlings work with Snapes character presents a very difficult lesson
for humankind in general. Children may notice that a persons appearance should not be used to judge everyone who looks similarly. In
the same vein, Rowling makes it clear that even past actions prove to
be a poor litmus test as an indication of a characters worth and goodness. And, in fact, readers do see this in Snapes character. Realizing
that there was a full moon and that Professor Lupin would be uncontrollably transformed into a werewolf, Snape braved the dangerous
Whomping Willow tree to save Harry, Ron, and Hermione. Though

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Childrens Literature in Education

still often unlikable and despite his history, Snape demonstrated his
capacity for good.

Judith Myers-Walls, Parenting in the wake of

terrorism

Richard Abanes, Harry

Potter and the Bible:
The Menace Behind the
Magick

The previous example is only one portion of the entire lesson to be

learned through the reading of ambiguity in Rowlings series. Many of
the topics that experts advise parents to broach with their children
in relation to terror and terrorism are dealt with safely and comfortably in the entirety of Harry Potter. According to Judith Myers-Walls
(2002), the lesson of greatest import regarding childrens understandings of terror issues is that of separating people from behavior (p.
2). As is so obvious in the example of Professor Snapes ambiguous
characterization, Rowling does work to show readers that this separation is integral to the functioning of humanity in the wake of terror.
To have this ability allows children to refrain from stereotyping groups
of people, and it complicates the labeling of people as wholly good
or wholly evil in the wake of a terrifying event. Additionally, teaching
children that good people sometimes make poor decisions and perpetrate bad acts just as bad people are capable of positive acts
allows children to understand better the morally ambiguous areas and
the free will associated with actions (Myers-Walls, 2002, pp. 23). Of
course, these lessons are difficult, and they often prove to be just as
confusing for adults as they are for children. Literature such as the
Harry Potter series provides a helpful way to teach children, through
metaphor and allegory, how to assimilate topics associated with the
politics of terror.
Although the use of character ambiguity is essential to childrens understanding of terror, Richard Abanes (2001) claims that the ambiguity
of characters and their actions are detrimental to children as it perpetuates a tone of moral ambiguity: in the Harry Potter series . . . morality is presented inconsistently. . . . Bad characters turn out to be good.
Good characters turn out to be bad. . . . Good deeds bring about evil
results. . . . In short, Rowlings moral universe is a topsy-turvy world
with no firm rules of right and wrong (p. 244). It is curious that
Abanes could come to these conclusions because Rowling does not
present inconsistent morality. Certainly, most of the characters appear
ambiguous at times, but that ambiguity relates to strong moral themes
running throughout the series. People, both good and bad, make
mistakes in the series and in the real world. The ambiguity, then, in
Harry Potter is more realistic for young readers as they navigate the
complexities of morality. Related to both morality and coping with
terror, one of the most important issues is the theme of moral bravery.
As many characters in Rowlings series have shown, doing what is
right is the mark of survivorship and goodness in the wake of terror.
Despite Harrys occasional rule-breaking escapades, which Abanes
cites in his book as examples of ambiguous morality in the series (p.

The Politics of Terror

47

245), Harry truly represents moral bravery. Early in the series, a

strengthened Voldemort threatens Harry, exclaiming: Dont be a fool.
. . . Better save your own life and join me . . . or youll meet the same
end as your parents. . . . They died begging me for mercy (The Sorcerers Stone, 1997, p. 294). Despite his fear, Harry refuses to give up
the Sorcerers Stone, which Voldemort needs to regain his full power.
Preferring to protect society from the evil reign of Voldemort, Harry
does risk death. Harrys decision to die, if necessary, reflects deeply
moral issues as it explores the fact that ethical decisions are rarely
easy and can be dangerous.
Furthering the study of morality and character ambiguity, one must
return to the magic to discuss Rowlings treatment of it. Magic not
only allows children to understand deeper, more complex issues in a
safe manner, it also allows the criticized characterization ambiguity to
aid children in their overall learning process of the concepts of terror.
For example, one of the scariest characters in The Prisoner of Azkaban, Black, is quick tempered and revengeful, yet he is ultimately
shown to be a good and moral character. Wrongly accused of murdering Muggles and wizards and of leading Voldemort to the Potters,
Black was sentenced to the terrible prison called Azkaban shortly after
James and Lily Potters deaths. After escaping from prison 12 years
later, Black immediately went to Hogwarts to find and help Harry before Voldemort could endanger the youth. In his frenzy to save Harry,
Black brought terror and violence upon the magical community.
When entering Hogwarts secretly, Black attacked the portrait of the
Fat Lady who guarded Gryffindor House: the Fat Lady had vanished
from her portrait, which had been slashed so viciously that strips of
canvas littered the floor; great chunks of it had been torn away completely (p. 160). Aware of the magical abilities of the portrait characters at Hogwarts to move freely from frame to frame, readers know
that the Fat Lady is unhurt following her meeting with Black. Comforted by magic in this way, it becomes possible to study the nuances
of Blacks ambiguous characterization. Do good people do bad things?
Yes, and Black functions as a lesson to answer that question. He did
not attack the Fat Lady to cause terror or to harm anyone at Hogwarts.
Rather, Black became aware of the fact that Pettigrew was living at
Hogwarts in the form of Rons pet rat, Scabbers. In his attempt to get
the criminal away from Harry and the other innocents, Black irrationally and dangerously decided to take any necessary action to stop
Pettigrew. Black still caused turmoil and terror, but the justification
for his actions are important for readers to consider. Though he was
trying to help, his means mimicked evil.
Inevitably, young readers of the Harry Potter series may find it difficult to navigate the complexity of behavior and morals that operate

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Childrens Literature in Education

in gray areas in the real world. Without an understanding of the differentiation between people and actions, children are in danger of easily
tak[ing] the emotions of the event as a call to paint entire groups as
enemies or evil (Myers-Walls, 2002, p. 3). Rowlings series addresses
this topic as well.
One of the best characterization examples that points to the importance of separating people from actions is that of the Hogwarts
groundskeeper, Rubeus Hagrid. As one of Harrys ardent protectors,
Hagrid has proven to be one of the most adored of the Harry Potter
characters. For readers of the series, Hagrid represents the epitome
of unwavering loyalty and goodness, so when Rowling created a storyline in which Hagrids character was questioned, young readers were
set to be amazed and confused, and they were forced to learn the
invaluable lesson of separating Hagrid from his lineage and the past
actions of his race.

J. K. Rowling, Harry
Potter and the Chamber of Secrets

In The Goblet of Fire, after exonerating Hagrid of the charge of opening the Chamber of Secrets in The Chamber of Secrets (1999a), the
series makes its most poignant commentary on the necessity of the
lesson of separating people from actions. In a newspaper article, Harry
reads:
Hagrid is not-as he has always pretended-a pure-blood wizard. He is not,
in fact, even pure human. His mother . . . is none other than the giantess Fridwulfa. . . . Bloodthirsty and brutal, the giants brought themselves to the point of extinction by warring amongst themselves during
the last century. The handful that remained joined the ranks of He-WhoMust-Not-Be-Named, and were responsible for some of the worst mass
Muggle killings of his reign of terror. . . . If his antics . . . are any guide,
however, Fridwulfas son appears to have inherited her brutal nature.
(The Goblet of Fire, p. 439)

This passages reveals that Hagrid is a half-blooded giant. Throughout

the series, Rowling maintains a subplot related to race. A tension
weaves through the novels as characters debate the fitness of halfblooded magical individuals (mudbloods) to be among full-blooded
wizards. The fact that Hagrid is part giant explains his size and why
characters such as the full-blooded wizard family, the Malfoys, hate
the groundskeeper. The stereotyping of Hagrid demonstrates that individual judgment should not be passed based on ancestry. Rather, individual merit should be the deciding factor when determining goodness and badness. Various textual clues appearing into the most recent
installment in the series point to the fact that the giants represent a
formidable threat to society. While the juxtaposition of Hagrid against
his kind could be used to comment on the futility of racism, the
focus of the lesson seems to be based on Hagrid as an individual ex-

The Politics of Terror

49

ception to his clan. While not all giants were enemies of society, all
giant Death Eaters were. Though his mother was one of these Death
Eaters, Hagrid is the antithesis of all that the giant Death Eaters represented. In the Sorcerers Stone, readers first witnessed Hagrid as he
bent his great shaggy head over [the infant] Harry and gave him what
must have been a very scratchy, whiskery kiss (p. 15). His care for
Harry, Ron, and Hermione is obvious throughout the series as he is
always the most approachable figure for the children in times of crisis
or upset. The brutal nature he is accused of inheriting from his
mother is nothing more than an affection for strange, yet sometimes
dangerous, magical creatures. In fact, the lesson is complex because
Hagrids actions demonstrate that his own character is strong enough
to refrain from connecting creatures with actions. Just as Hagrid saw
some intrinsic worth in the dangerous spider, Argog, Rowling
teaches children to distinguish people from the actions of other members of their race.
Hagrid represents the futility of stereotyping individuals, but he also
functions to make a statement about the notion of free will. One of
the most confusing issues for children dealing with terror and terrorism is what makes someone bad. Once children are able to decipher
the difference between people and behavior, they still may face confusion. When people are labeled evil for their actions, children may be
forced to question their own goodness. Myers-Walls explains: children also make mistakes. If we communicate that people are either
bad or good, children may become concerned about themselves and
how they are viewed. If they do something wrong or make a mistake,
are they bad people? (2002, p. 3). Rowling addresses this topic of
goodness and actions throughout her series with the characterization
of Harry. Critics who discuss ambiguity in the Harry Potter series
generally focus on the most evident morally vague characters like
Snape, but Harry is more ambiguous than he may appear.
Children inherently know that Harry is a good boy, but Rowling creates him with flaws. Most notably, Harry possesses abilities that make
him very much like Voldemort and place him in line with characteristics of Slytherin House, the house that produced many dark wizards,
including Voldemort. In fact, on his arrival at Hogwarts, Harry escapes
placement in Slytherin only by repeating to the Sorting Hat Not Slytherin, not Slytherin (The Sorcerers Stone, p. 121). After some foreshadowing occurs in book one, Harry and readers finally become fully
aware of his ability to talk to snakes in book two, The Chamber of
Secrets. Once publicly known at Hogwarts that Harry is a Parselmouth,
Harrys fellow students fear him as the next heir of Salazar Slytherin.
After he heroically saves a student from a gigantic snake, the students
fear Harry rather than call him a hero for his actions.Harrys knowl-

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Childrens Literature in Education

edge throughout the series that he possesses characteristics so similar

to those possessed by Voldemort forces him to look inward in order
to distinguish between what makes someone or their actions good
and what makes them bad. It is here where Rowling makes a moral
statement about free will and Harrys past.
As the novels progress, new insight is given into Harrys background.
Harry does break very explicit rules from time to time. Often, that
rule breaking is done to serve a greater good, such as sneaking into
the girls washroom to save Hermione from a troll, but sometimes
Harry breaks rules for selfish reasons. Though forbidden to join the
students at Hogwarts on a field trip to the exciting magical town of
Hogsmeade, Harry chose to use the forbidden Marauders magical map
and his invisibility cloak to sneak into the town for fun. Harrys capacity to break rules such as the latter forces children to look inward to
their own vices in order to realize that goodness is not a black-andwhite issue. In The Chamber of Secrets, Harry meets a past form of
Voldemort, Tom Riddle. Riddle says to Harry: There are strange likenesses between us, Harry Potter. Even you must have noticed. Both
half-bloods, orphans, raised by Muggles. Probably the only two Parselmouths to come to Hogwarts since the great Slytherin himself. We
even look something alike (The Chamber of Secrets, p. 317). Just as
a real child might, the character of Harry has strong fears that he is,
after all, not good and will turn out evil as Voldemort did. Perhaps
the only issue that is scarier than fearing the terrifying actions of others is the fearing of the actions of ones self, and Rowling tackles this
issue through words spoken by Dumbledore. As Harry confides to the
headmaster that he is so much like Voldemort, Dumbledore explains:
Unless Im much mistaken, [Voldemort] transferred some of his own
powers to you the night he gave you that scar. . . . You happen to have
many qualities Salazar Slytherin prized in his hand-picked students. . . .
Yet the Sorting Hat placed you in Gryffindor. . . . Which makes you very
different from Tom Riddle. It is our choices, Harry, that show what
we truly are, far more than out abilities. (The Chamber of Secrets, pp.
332333)

Through this example, Rowling is able to teach children a lesson Francis Bridger considers imperative: elements of our personalities can
be shaped by the different moral choices we make (2001, p. 73).
This lesson is also tied to the lesson of separating people from actions.
Although Harry is much like Voldemort, Dumbledore explains that
similarity to an evil person is not enough to make someone necessarily
evil as well. This passage shows children that outer appearance has
nothing to do with how a person chooses to live his life. Free will
determines the outcome of our lives, not determinism.

The Politics of Terror

51

While characters are ambiguous, children see that goodness and evil
are not expressed in stereotypical groups of people. The capacity for
evil is also not an easy issue, which is abundantly clear through the
use of ambiguity. Rowling teaches that terror and the capacity to create terror is ultimately a personal choice, and though terror issues are
always present, an understanding of individuals is of utmost importance when dealing with terror.
The debate surrounding the Harry Potter series is not going to disappear, and with two more novels on their way, the challenges will only
intensify. While conservative Christians such as Abanes have been tolerant of magic in the works of Christian authors such as C. S. Lewis,
the fact that Rowling has not made her religious beliefs public has
given these same conservative Christians fodder to challenge her
works on the basis that her magic stems from Satanism (Bridger, 2001,
pp. 4042). For others who question the fitness of the series for children, the issue may be a bit less black and white, much like the terror
issues that are so complexly dealt with in Rowlings series.

Robert Needlman, Morality in Harry Potter

Perhaps the true proof of the series success or failure in dealing with
these issues is evident in the numerous essays that children themselves have been asked to write on the subject of Harry Potter. Scholastic, Rowlings publisher in the United States, held an essay competition in which children were asked to write on the subject of How
the Harry Potter Books Changed My Life. According to Bridger, Scholastic received essays explaining how Harry, Ron, Hermione or one
of the books other characters had helped them to cope with illness,
abuse, bullying or rock-bottom self esteem. No one . . . suggested that
they want[ed] to become a real-life witch or wizard (2001, pp. 10
11). Overwhelmingly, it appears as if the series has reached success
both in light of its appeal to young readers and through its ability to
meet and deal with complex terror issues. Needlman explains that
one 12-year-old, discussing morality in Rowlings work, told him she
had learned from the series that: People are different. Some are really
cool. Some are really horrible, and you just have to deal with it. You
have to look past the things you see, past first appearances. . . . People
need second chances (2002b, pp. 23). Even Christian children are
touting the series as enjoyable and beneficial to them. Christianity
Today offered an essay contest for its primarily Christian audience,
asking children to write on the subject of Why We Like Harry Potter. While some respondents expressed distaste for the series specifically due to the magic, an overwhelming majority cited many of the
same benefits of the series as those children who responded to both
Scholastic and Needlman above (Neal, 2001, pp. 2830).
When many adults find the issues related to terror difficult to grasp,
literature often becomes the most viable vehicle for both learning and

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Childrens Literature in Education

comfort. Harry Potter is a large part of childrens popular cultureregardless of the fears some adults convey. Perhaps the most logical way
to approach both the series and the issue of terror is through linking
the two together. It is time for adult detractors of the series to face
their fear of Harry Potter in order to see the benefits of the series for
children.
References
Abanes, Richard, Harry Potter and the Bible: The Menace Behind the Magick.
Camp Hill, PA: Horizon, 2001.
Bettelheim, Bruno, The Uses of Enchantment. New York: Knopf, 1976.
Bridger, Francis, A Charmed Life: The Spirituality of Potterworld. London:
Darton, Longman, and Todd, 2001.
Capture their minds and their hearts and souls will follow. Psychological
Operations. 9 Nov. 2002. URL http://www.psywarrior.com
Communication Art Major Instructional Goals. 5 Aug. 2002. URL http://
sps.k12.mo.us/migs/K5CommArtMIGSweb/MIGSKindergarten.html
Dowd, Maureen, When bad things happen to good children, New York
Times, 30 Dec. 2001, late ed.: 4/9. Lexis-Nexis. Dec. 2001.
Handler, Daniel, Frightening news, New York Times, 30 October 2001, late
ed.: A17. Lexis-Nexis. Oct. 2001.
Myers-Walls, Judith, Parenting in the wake of terrorism. 11 Aug. 2002. URL
http://www.ces.purdue.edu/terrorism/children/cfsparenting.pdf
Neal, Connie, Whats a Christian to do with Harry Potter? Colorado Springs:
Waterbrook, 2001.
Needlman, Robert, Childrens books to soothe worries and fears, Dr. Spock
Online, 25 June 2002a. URL http://www.drspock.com/article/0,1510,6196,00
.html
Needlman, Robert, Morality in Harry Potter, Dr. Spock Online, 25 June
2002b. URL http://www.drspock.com/article/0,1510,5959,00.html
Needlman, Robert, Reading to children in times of stress, Dr. Spock Online,
25 June 2002. URL http://www.drspock.com/article/o,1510,6178,00.html
Rowling, J. K., Harry Potter and the Sorcerers Stone. New York: Scholastic,
1997.
Rowling, J. K., Harry Potter and the Chamber of Secrets. New York: Scholastic, 1999a.
Rowling, J. K., Harry Potter and the Prisoner of Azkaban. New York: Scholastic, 1999b.
Rowling, J. K., Harry Potter and the Goblet of Fire. New York: Scholastic,
2000.
Rowling, J. K., Harry Potter and the Order of the Phoenix. New York: Scholastic, 2003.