Potterversity: A Potter Studies Podcast

Join us for the beginning of our Puffs-palooza! 
In this episode, we talk with Dr. Melissa Aaron and Dr. Lauren Camacci about the off-Broadway play Puffs - how you can see it at home, why should see it (if you haven’t already), and why we love it so much. Warning: Spoilers abound in this episode!  

Puffs imagines the seven-book Harry Potter series in a compressed timeline and from the perspective of students in Hufflepuff in those same years. This is a fan fiction approach that Henry Jenkins calls refocalization, which retells a story from the perspective of marginalized characters to provide new insights. Melissa, a theater historian who saw the play in New York, explains how the in-person play experience is different from seeing it on film, and we consider whether the play is satire, parody, or something else, and what makes it so funny. It creates an in-group experience for fans and millennials. Bringing Muggle pop culture, including fantasy geekdom, into Hogwarts corrects a gap in the original series. The character of Hufflepuff Oliver reminds us that a good student in the Muggle world would not necessarily be good in magic and that Hogwarts lacks basic education high schoolers of all kinds need, including math and sex ed (the latter hilariously taught by Professor Snape (Stephen Stout) in Puffs). 
Lauren points out that the play’s portrayal of Harry highlights his privilege and the favoritism he receives, especially from Dumbledore, making us question his character and examine the everyday heroism of his Puffs parallel, Wayne, who Melissa calls “The Unchosen One.” In celebrating more mundane moral qualities (friendship, kindness, bravery, sacrifice) - absent the greater save-the-world destiny - Puffs truly gets to the heart of the Harry Potter series. 
Are you a Puff? Are you such a Puff? We talk about the Hufflepuff house identity and how perceptions of it may have changed. Seeing Cedric’s death from the Hufflepuff perspective provides a point of view that makes us read the original Harry Potter books differently. We compare Cedric’s characterization in Puffs and in Harry Potter and the Cursed Child and discuss the two plays more generally, pondering which seems more true to the spirit of the original character and book series. Each play provides a different theater experience, and even the commercial aspects of the two productions differ. Dear Listener, which of these two plays do you prefer? Share your thoughts with us! 
In a fascinating listener follow-up, our Owl Post segment poses questions about wand violence based on Potterversity Episode 4: “Violence and Civilization.” 

Stay tuned for our next episode in which we talk with Puffs creator Matt Cox and actor Stephen Stout! You will not want to miss our conversation. 

Are the Harry Potter novels fantasy, mystery, school story, bildungsroman, allegory, or something else?

Harry Potter’s blend of genres shapes reader expectations and creates fascinating intersections. In this episode, Dr. Tison Pugh (Pegasus Professor of English at the University of Central Florida) joins Katy and Emily to discuss the wide variety of genre conventions, patterns, and themes employed in the Harry Potter series. Tison talks about his recent book Harry Potter and Beyond (University of South Carolina Press, 2020), which explores how J.K. Rowling’s novels use and also manipulate a variety of genres. Tison assures us that genre fiction can be high-quality, innovative, and worthy of study. No one genre defines the Harry Potter books, and that allows Rowling to expand both plot and themes in surprising directions. 
For example, we talk about how the fairy tale and hero’s myth genres influence gender dynamics of the wizarding world in somewhat opposing ways. Reflecting on this intersection helps us to understand the balance of epic battles with personal, domestic moments in the books, including the much-maligned epilogue. Wizarding world politics also fit within certain genre conventions. When we read the series, are we hearing Rowling’s politics, or are we absorbing the politics of certain genres? Although the novels play with the conventions of mystery fiction, Harry is not exactly a good detective, which inspires us to think critically about his heroism and Hermione as a supportive detective protagonist. Rowling’s main allegorical subjects - the crucifixion and World War II - are violent and disturbing. Tison talks about whether the Harry Potter books sanitize those in troubling ways or make way for more sophisticated thinking about them, and how this relates to Rowling’s quite gruesome Cormoran Strike books. We also talk about what constitutes the “canon” and where the movies, author statements, and Harry Potter and the Cursed Child fit in our evaluation of the Harry Potter series. 
How much should we consider Rowling’s own intentions and political ideas when we think about these books? Tison teaches a Harry Potter class at UCF, and in this episode’s Owl Post from listener Elise, we all consider how we might responsibly continue to teach these books given Rowling’s statements about trans people. Please join us for this lively yet deep exploration of the literary structure and value of the Harry Potter books. 

A Valentine for...Uncle Vernon? 
In this episode of Potterversity, Katy and Emily talk with scholar Tim Jennings about Vernon Dursley in a way that, if it doesn’t redeem Harry’s uncle, does seek to humanize him. Why is Uncle Vernon the way that he is? What motivates him? Why is he so awful to Harry? We explore Vernon’s relationships with his wife Petunia and his sister Marge to determine what we know about how Vernon grew up, his social influences, and why he loathes the magical world. Enjoying contrarian readings of texts and using psychology to analyze literary characters, Tim provides a nuanced view of why Uncle Vernon acts as he does. 
Although the series almost exclusively follows Harry’s perspective, the first chapter of the very first book begins from Vernon’s perspective, indicating his importance as a foil for Harry and the wizarding world. The Dursleys’ desperate clinging to the “perfectly normal, thank you very much” has a profoundly significant effect on the reader’s experience of the series. Tim explains why this is a good place to begin our journey into the magical realm. Vernon’s character - his anger and alienation - develops over the seven books. How Vernon performs his roles as husband, father, and even boss reveals his understanding of success and what methods he sees as key to building a good life. We question whether Vernon’s ideas about the wizarding world are just an intense reflection of Petunia’s own or if they develop based on his own negative experiences with Dumbledore and other wizards. 
Looking at Aunt Marge provides clue for how Vernon might have turned out even worse - in general and towards Harry particularly. Tim suggests provocatively that Vernon may have experienced abuse in his own childhood. In our conversation, we find some reason to feel sympathy for Vernon. What do you think? 
In our special segment in the Potterversity Staff Room, Tim talks with Emily and Laurie Beckoff about how Vernon or, more likely Dudley, could break free of a family pattern of abuse. 

What does the prevalence of violence in the Harry Potter series tell us about magical civilization - and our own? 
Despite its theme of nonviolence, there’s a fair amount of violence in the Harry Potter series. On this episode, Katy and Emily talk with Dr. Aurélie Lacassagne, Associate Professor of Political Science at Laurentian University - Sudbury, in Ontario, Canada. Aurélie explains how the Harry Potter novels, which have struck a resonant chord with readers worldwide, reveal important tensions in what scholar Norbert Elias called the “civilizing process.” 
As Aurélie notes, Elias connects “civilization” to self-restraint, interdependency, emotional control, and the taming of violence. However, he notes that “decivilizing” also occurs dynamically in all societies as social restraints are tested and emotions boil over. Although members of the Order of the Phoenix show empathy and try to restrain violence where possible, the Death Eaters conversely gain pleasure from torture and murder, without shame or disgust. Pure-bloods, a cohesive group who think of themselves as more established and rooted in tradition, embrace an exclusive notion of society, expressing fear and hatred of outsiders. These outsiders are deemed unworthy of social protection or empathy. Death Eater violence thus contributes to decivilizing forces in wizarding society. Most members of the wizarding community are engaged in the civilizing process, but fear can impel even non-Death Eaters - including members of the Ministry of Magic - to let loose their baser human tendencies.
The Harry Potter series shows how difficult it is to constrain one’s emotions, not only for Death Eaters but for the good characters in the series like Harry, Ron, and Hermione. Civilizations create release valves for strong emotions to channel them productively (Quidditch!). So much of Dumbledore’s advice emphasizes the importance of finding a balance between expressing our feelings and following social restraints. We must express love and empathize with others, but also be capable of experiencing remorse, which we can see in Snape but not Tom Riddle. 
Remorse is vital for the civilizing process not only for the one who experiences remorse but also for the larger community, which can then extend forgiveness. Aurélie shares how our experience of decivilizing moments in our own history can reinforce the value of the “global survival unit” that recognizes the unity and value of all humanity, extending community protections to all. History and literature provide witnesses by adoption. Both the Harry Potter novels and the history of twentieth-century fascism engage our emotions, pointing to love, friendship, and empathy as the core values of human civilization. 
In our special segment, Emily and Katy discuss the scene in Prisoner of Azkaban where Hermione punches or slaps Draco in the face. Is this decivilizing violence? How do we feel about this moment of unrestrained aggression? 

Uncover the meaning of Christmas in the Harry Potter novels. 
On this episode, Katy and Emily talk with Dr. Beatrice Groves (author of Literary Allusion in Harry Potter and blogger at Bathilda’s Notebook) about the Christmases at Hogwarts and how they culminate in the final book’s graveyard scene at Godric’s Hollow. Emily points out that J.K. Rowling uses Christmas as a way to highlight the magic of the world she created, the particular magic of the season special even in a magical realm. Bea explains the significance of Harry choosing to stay at Hogwarts for most of his holiday breaks - and Ron, too!  
One of the most important elements of Hogwarts Christmas, Bea points out, is its communal nature - sitting at a communal table, the Hogwarts faculty letting their hair down, and the merrymaking and gift exchanges that strengthen ties of fellowship. Important events happen on Christmas at Hogwarts that have larger symbolic relevance: Harry getting the Invisibility Cloak and the Firebolt as gifts, his discovery of the Mirror of Erised, and the trio taking Polyjuice Potion (which Bea likens to the “incarnational ideal”). Bea explains the surprising significance of roosters to the Christmas season. We investigate the religious themes that come through even rather secular descriptions of Christmas practices at Hogwarts. 
From our view of Neville’s Christmas in Book 5, we contemplate the strength of Neville’s character displayed at St. Mungo’s and the religious significance of the parallel between Neville and Harry. Rowling often buries important themes in jokes or humor, but these have deeper resonance later in the series. Bea connects Christmas carols (like “In the Bleak Midwinter”) and Christmas fairy tales to the Christmas rose, or hellebore, which helps explain the last Christmas scene, in which Harry and Hermione visit Harry’s parents’ graves. That scene realizes the symbolic depths of the earlier Christmases and British religious culture represented in the series. How does one show love with empty hands but a full heart? Join us on a visit through the different Christmases of the Harry Potter books and rediscover the magic of the season. 
Our special segment this week takes you to Happy Hour at the Three Broomsticks for a special holiday wizard cocktail! As the days grow colder, we hope that this potion and this episode will warm your heart. 

Rule-breaking for the right reasons on this episode of Potterversity.
Katy and Emily talk with Dr. Beth Sutton-Ramspeck about her analysis of rule-breaking and creativity in the Harry Potter series. In the early 2000s, some parents wanted the Harry Potter books banned because the students at Hogwarts often broke the rules without consequences. We talk about why this misbehavior may actually point to important moral choices for the students, as they understand there are multiple sets of “rules” or principles in place at any given time. Sometimes the trouble they make is what John Lewis called “good trouble,” or evidence of Martin Luther King Jr.’s concept of “creative maladjustment.”

We examine a variety of apparently maladjusted characters in the series: where they come by their perspective and how it’s useful to them. What constitutes creativity, and why is breaking the rules - and even defiance - a key part of it? The Death Eaters and villains like Dolores Umbridge and Voldemort are some of the most magically creative characters, but there are critical limitations to their creative expression. We look at the trio’s rebellious behavior as well as the pivotal importance of outsider characters like Luna Lovegood and Dobby, who some see as not only “weirdos” but also perhaps insane. And of course the Weasley twins bring their own brand of mischief - is it just troublemaking, or does it qualify as “good trouble”? Racial inequalities and injustice abound in the wizarding world and in our own; sometimes you can’t solve those problems by following the rules. Creative maladjustment to racism provides opportunities to change the system for the better.

Our special “Owl Post” this week focuses on whether Hogwarts ought to banish Slytherin’s name from the school, due to his past misdeeds. We share our opinions. What do you think?

Catch a glimpse of the latest in Harry Potter scholarship and get oriented to our new podcast! 
In our first episode, Emily and Katy introduce the virtual Potter Studies education you can expect from Potterversity. We discuss the Harry Potter Academic Conference (HPAC) at Chestnut Hill College, which this year was held virtually. Kudos to Karen Wendling and Patrick McCauley for pulling off this gathering successfully in a way that allowed Potter scholars from all over the world to interact with each other. Hear about some of our favorite presentations, including Brent Satterly’s talk on LGBTQ responses to J.K. Rowling and several excellent close-readings of the books and movies. Many former Reading, Writing, Rowling guests appeared to discuss humor (Louise Freeman), Hogwarts: A History (Lana Whited), “creative maladjustment” (Beth Sutton-Ramspeck), Merlin and Dumbledore (Laurie Beckoff), and Quidditch (Caitlin Harper). In his featured presentation, Chris Bell wondered about whether we could read Harry as biracial to understand his position between two worlds. On Tyranny author Timothy Snyder’s keynote was an eye-opening political analysis connecting the history of totalitarianism to the Harry Potter books - with insights for us today as well. 
You’ll also get to hear about the papers Emily and Katy presented at the conference. Emily explains the thinking behind her talk about food and the eucharist in the wizarding world. As a liturgist, Emily became interested in the table fellowship at the end of Deathly Hallows, which has eucharistic overtones. Looking closely at the Sorcerer’s Stone, Emily tells us why there is so much emphasis on food, and how food is represented as transformative in an alchemical sense. Stay tuned for a “Dining Hall” episode on a future Potterversity episode where we’ll explore this topic even more. Katy’s presentation pondered whether Arthur Weasley’s “misuse of Muggle artifacts” is actually cultural appropriation, particularly with his bewitching of the Ford Anglia. Cultures do not stay static and isolated, but when does cultural borrowing become theft or offensive? The divide between Muggles and wizards - including wizard secrecy - makes this a complex question and helps us to approach the issue with sensitivity and nuance. 
The HPAC this year showed that Potter Studies reflects current social and political developments. Our times themselves are politically charged, and the Harry Potter books reveal that these trends have a long arc visible even two decades ago. Talking about issues in the context of the wizarding world allows us to engage with complex problems and political realities in a more neutral setting. Some problems recur in successive generations, which the series reflects, and this will continue to keep the Harry Potter books relevant. 
Our special segment for this episode: "Overheard in the Potterversity Staff Room" (with Katherine Sas). 

In imaginative fiction, bridges provide access to magical and dangerous worlds. 
During this month’s episode, Katy and Emily talk about bridges in the Harry Potter books and movies. We’ve scoured the books and films for bridge images and references to see where they’re used and how. There are not many bridges in the books - though the Brockdale Bridge’s destruction at the beginning of Book 6 and the bridge in “The Tale of the Three Brothers” have important metaphorical significance. The villainous Dolores Umbridge also acts as a conduit for evil into Hogwarts and the Ministry of Magic. The movies make good use of bridge imagery in thoughtfully chosen moments that make us ponder what connections or transformations are made there. 
We also talk about how each of the seven books of the Harry Potter series creates a literary bridge from one book to the next, keeping us reading. Looking at beginnings and endings of the books helps us to see how each book provides a sense of conclusion, but also leaves the reader wanting to know what will happen next. These bridges from book to book simultaneously reinforce the connection we Muggle readers feel to this fantasy realm and forge links between Harry and the wizarding world, where he feels more at home. 
Here at the RWR podcast, we are hoping to create a strong bridge for you, our listeners, to lead you to our new, magical podcasting adventure: Potterversity! We are making a few changes to our format and proceeding under a new name, but most of our team is the same, including Katy and Emily and many of your favorite guests. Although we will not be doing any more RWR podcasts after this one, you will still have access to archived episodes. To continue your higher education Hogwarts experience, please do join us at Potterversity: A Potter Studies Podcast, made in association with MuggleNet, where you will continue to get the incisive academic perspective on the books and fan culture you love. 

Literary alchemy provides clues to the romantic pairings in Harry Potter. 
Why did Ron and Hermione, Remus and Tonks, and Bill and Fleur end up paired together? Literary alchemy holds the symbolic answers. Katy and John talk this month with Elizabeth Baird Hardy (Mayland Community College) and Beatrice Groves (Oxford University) about the alchemical pairings of elements that reveal themselves in the Harry Potter series and beyond. 
John provides a short explanation of literary alchemy and why certain pairings - mercury and sulfur, for example, represented in Hermione and Ron - are seen as critically important. Humoral combinations (phlegm, black bile, yellow bile, and blood) also symbolically represent the resolution of contraries, central to the alchemical idea of transformation through being broken down (solve) and then joining together again anew (coagula). Elizabeth and Bea connect these alchemical weddings to Shakespeare’s comedies (and Romeo and Juliet) as well as Christian tradition. We discuss not only the Quarreling Couple, but also the Philosophical Orphan - the legacy of a broken romantic coupling, like Harry or Teddy Lupin. Following the orphan through the process of purification, we readers experience the solve et coagula of alchemical transformation ourselves. John explains the big alchemical wedding moment of the series, which may surprise you. 

We also look at alchemical pairings in other Rowling works, including the Fantastic Beasts films and Cormoran Strike, and use our understanding of alchemical combinations to predict Newt and Tina’s relationship (the Niffler plays a central role!) as well as Robin’s and Cormoran’s romantic fumblings. 

Far from an offhand or casually constructed story, The Ickabog intentionally continues many of the themes and structures of the Harry Potter books in a fairy tale genre. 
In this month’s episode, Katy and John talk with Harry Potter scholars John Pazdziora (University of Tokyo-Komaba) and Lana Whited (Ferrum College) about our first analyses of The Ickabog, which was released in installments from June to July 2020. The slow release has allowed fans of Harry Potter once again the delights of speculating about what will happen next, and we have captured that spirit in our conversation recorded after Chapter 51 was posted. 
Lana Whited points out the connections with "The Emperor’s New Clothes," while John Pazdziora shows how they fit within the French conte tradition that combined fairy tales with social criticism. Following both those traditions, The Ickabog lures the reader into a politically sharp and often violent tale. We discuss what the fairy tale theories of Bruno Bettelheim tell us about how children process gruesome stories. The third-person omniscient, even parental, voice of the narrator serves a purpose in talking readers through the difficult experiences of the Cornucopians. 
Other literary allusions abound. The name “Beamish” references “The Jabberwocky”; the Ickabog reminds of “The Legend of Sleepy Hollow.” The Ickabog’s cave recalls Odysseus’s encounter with the Cyclops, but also Plato’s Allegory of the Cave, where the stories that compose reality are revealed to be false. We consider whether The Reluctant Dragon and The BFG might contains clues for us about the Ickabog’s true nature. We also use Freudian psychoanalysis to interpret the story in surprising ways. The Ickabog’s name allows several possible literary and linguistic interpretations. The Ickabog is a story about stories: why we tell them, how they influence us, and how our interpretations may change with our experience of the world. 
There are similarities between this story and both Harry Potter and the Cormoran Strike series. From common thematic elements to alchemical symbolism and once again a chiastic, turtleback structure for the tale, we consider how parallels to these other works reveal the meaning of The Ickabog. We then use that knowledge to make predictions for its end. How well did we predict it? Listen in and see what you think!