John Granger Attempts to Convince Nick (and You!) That The Hallmarked Man will be Considered the Best of the Series.

We review our take-away impressions from our initial reading of The Hallmarked Man. Although we enjoyed it, especially John’s incredible prediction of Robin’s ectopic pregnancy, neither of us came away thinking this was the finest book in the series. For Nick, this was a surprise, as enthusiastic J. K. Rowling fan that he is other than Career of Evil every book he has read has been his favourite. Using an innovative analysis of the character pairs surrounding both Cormoran and Robin, John argues that we can’t really appreciate the artistry of book number eight until we consider its place in the series. Join John and Nick as they review the mysteries that remain to be resolved and how The Hallmarked Man sets readers up for shocking reveals in Strike 9 and 10!

Why Troubled Blood is the Best Strike Novel:

* The Pillar Post Collection of Troubled Blood Posts at HogwartsProfessor by John Granger, Elizabeth Baird-Hardy, Louise Freeman, Beatrice Groves, and Nick Jeffery

Troubled Blood and Faerie Queene: The Kanreki Conversation

But What If We Judge Strike Novels by a Different Standard than Shed Artifice? What About Setting Up the ‘Biggest Twist’ in Detective Fiction History?

* If Rowling is to be judged by the ‘shock’ of the reveals in Strike 10, then The Hallmarked Man, the most disappointing book in the series even to many Serious Strikers, will almost certainly be remembered as the book that set up the finale with the greatest technical misdirection while playing fair.

* The ending must be a shock, one that readers do not see coming, BUT

* The author must provide the necessary clues and pointers repeatedly and emphatically lest the reader feel cheated at the point of revelation.

* If the Big Mysteries of the series are to be solved with the necessary shock per both Russian Formalist and Perennialist understanding, then the answers to be revealed in the final two Strike novels, Books Two and Three of the finale trilogy, should be embedded in The Hallmarked Man.

* Rowling on Playing Fair with Readers:

The writer says that she wanted to extend the shelf of detective fiction without breaking it. “Part of the appeal and fascination of the genre is that it has clear rules. I’m intrigued by those rules and I like playing with them. Your detective should always lay out the information fairly for the reader, but he will always be ahead of the game. In terms of creating a character, I think Cormoran Strike conforms to certain universal rules but he is very much of this time.

* On the Virtue of ‘Penetration’ in Austen, Dickens, and Rowling

* Rowling on the Big Twist’ in Austen’s Emma:

“I have never set up a surprise ending in a Harry Potter book without knowing I can never, and will never, do it anywhere near as well as Austen did in Emma.”

What are the Key Mysteries of the Strike series?

Nancarrow Family

Why did Leda and Ted leave home in Cornwall as they did?

Why did Ted and Joan not “save” Strike and Lucy?

Was Leda murdered or did she commit suicide?

If she was murdered, who dunit?

If she commited suicide, why did she do it?

What happened to Switch Whittaker?

Cormoran Strike

Is Jonny Rokeby his biological father?

What SIB case was he investigating when he was blown up?

Was he the father of Charlotte’s lost baby? If not, then who was?

Why has he been so unstable in his relations with women post Charlotte Campbell?

Charlotte Campbell

Why did her mother hate her so much?What was her relationship with her three step-fathers? Especially Dino Longcaster

Who was the father of her lost child?

Was the child intentionally aborted or was it a miscarriage?

What was written in her “suicide note”?

Was Charlotte murdered or did she commit suicide?

If she was murdered, who done it?

If she committed suicide, why did she do it?

What happened to the billionaire lover?

What clues do we get in Hallmarked Man that would answer these questions?

- Strike 8 - Greatest Hits of Strikes 1-7: compilation, concentration of perumbration in series as whole

* Decima/Lion - incest

* Rupert’s biological father not his father of record (Dino)

* Sacha Legard a liar with secrets

* Ryan Murphy working a plan off-stage - Charlotte’s long game

Strike about ‘Pairings’ in Lethal White

Strike continued to pore over the list of names as though he might suddenly see something emerging out of his dense, spiky handwriting, the way unfocused eyes may spot the 3D image hidden in a series of brightly colored dots. All that occurred to him, however, was the fact that there was an unusual number of pairs connected to Chiswell’s death: couples—Geraint and Della, Jimmy and Flick; pairs of full siblings—Izzy and Fizzy, Jimmy and Billy; the duo of blackmailing collaborators—Jimmy and Geraint; and the subsets of each blackmailer and his deputy—Flick and Aamir. There was even the quasi-parental pairing of Della and Aamir. This left two people who formed a pair in being isolated within the otherwise close-knit family: the widowed Kinvara and Raphael, the unsatisfactory, outsider son.

Strike tapped his pen unconsciously against the notebook, thinking. Pairs. The whole business had begun with a pair of crimes: Chiswell’s blackmail and Billy’s allegation of infanticide. He had been trying to find the connection between them from the start, unable to believe that they could be entirely separate cases, even if on the face of it their only link was in the blood tie between the Knight brothers.

Part Two, Chapter 52

Key Relationship Pairings in Cormoran Strike:

Who Killed Leda Strike?

To Rowling-Galbraith’s credit, credible arguments in dedicated posts have been made that every person in the list below was the one who murdered Leda Strike. Who do you think did it?

* Jonny Rokeby and the Harringay Crime Syndicate (Heroin Dark Lord 2.0),

* Ted Nancarrow (Uncle Ted Did It),

* Dave Polworth,

* Leda Strike (!),

* Lucy Fantoni (Lucy and Joan Did It and here),

* Sir Randolph Whittaker,

* Nick Herbert,

* Peter Gillespie, and

* Charlotte Campbell-Ross

Scripted Ten Questions:

1. So, Nick, back when we first read Hallmarked Man we said that there were four things we knew for sure would be said about Strike 8 in the future. Do you remember what they were?

2. And, John, you’ve been thinking about the ‘Set-Up’ idea and how future Rowling Readers will think of Hallmarked Man, even that they will think of it as the best Strike novel. I thought that was Troubled Blood by consensus. What’s made you change your mind?

3. So, Nick, yes, Troubled Blood I suspect will be ranked as the best of series, even best book written by Rowling ever, but, if looked at as the book that served the most critical place in setting up the finale, I think Hallmarked Man has to be considered better in that crucial way than Strike 5, better than any Strike novel. Can you think of another Strike mystery that reviews specific plot points and raises new aspects of characters and relationships the way Strike 8 does?

4. Are you giving Hallmarked Man a specific function with respect to the last three books than any of the others? If so, John, what is that exactly and what evidence do we have that in Rowling’s comments about reader-writer obligations and writer ambitions?

5. Nick, I think Hallmarked Man sets us up to answer the Key mysteries that remain, that the first seven books left for the final three to answer. I’m going to organize those unresolved questions into three groups and challenge you to think of the ones I’m missing, especially if I’m missing a category.

6. If I understand the intention of your listing these remaining questions, John, your saying that the restatement of specific plot points and characters from the first seven Strike novels in Hallmarked Man points to the possible, even probable answers to those questions. What specifically are the hallmarks in this respect of Hallmarked Man?

7. If you take those four points, Nick, and revisit the mysteries lists in three categories, do you see how Rowling hits a fairness point with respect to clueing readers into what will no doubt be shocking answers to them if they’re not looking for the set-ups?

8. That’s fun, Nick, but there’s another way at reaching the same conclusions, namely, charting the key relationships of Strike and Ellacott to the key family, friends, and foes in their lives and how they run in pairs or parallel couplets (cue PPoint slides).

9. Can we review incest and violence against or trafficking of young women in the Strike series? Are those the underpinning of the majority of the mysteries that remain in the books?

10. Many Serious Strikers and Gonzo Galbraithians hated Striuke 8 because Hallmarked Man failed to meet expectations. In conclusion, do you think, Nick, that this argument that the most recent Strike-Ellacott adventure is the best because of how it sets us up for the wild finish to come will be persuasive -- or just annoying?

On Imagination as Transpersonal Faculty and Non-Liturgical Sacred Art

The Neo-Iconoclasm of Film (and Other Screened Adaptations): Justin requested within his question for an expansion of my allusion to story adaptations into screened media as a “neo-iconoclasm.” I can do that here briefly in two parts. First, by urging you to read my review of the first Hunger Games movie adaptation, ‘Gamesmakers Hijack Story: Capitol Wins Again,’ in which I discussed at post’s end how ‘Watching Movies is a a Near Sure Means to Being Hijacked by Movie Makers.’ In that, I explain via an excerpt from Jerry Mander’s Four Arguments for the Elimination of Television, the soul corrosive effects of screened images.

Second, here is a brief introduction to the substance of the book I am working on.

Rowling is a woman of profound contradictions. On the one hand, like all of us she is the walking incarnation of her Freudian family romance per Paglia, the ideas and blindspots of the age in which we live, with the peculiar individual prejudices and preferences and politics of her upbringing, education, and life experiences, especially the experiences we can call crises and consequent core beliefs, aversions, and desires. Rowling acknowledges all this, and, due to her CBT exercises and one assumes further talking therapy, she is more conscious of the elephant she is riding and pretending to steer than most of her readers.

She points to this both in asides she make in her tweets and public comments but also in her descriptive metaphor of how she writes. The ‘Lake’ of that metaphor, the alocal place within her from her story ideas and inspiration spring, is her “muse,” the word for superconscious rather than subconscious ideas that she used in her 2007 de la Cruz interview. She consciously recognizes that, despite her deliberate reflection on her PTSD, daddy drama, and idiosyncratic likes and dislikes, she still has unresolved issues that her non-conscious mind presents to her as story conflict for imaginative resolution.

Her Lake is her persona well, the depths of her individual identity and a mask she wears.

The Shed, in contrast, is the metaphorical place where Rowling takes the “stuff” given her by the creature in her Lake, the blobs of molten glass inspiration, to work it into proper story. The tools in this Shed are unusual, to say the least, and are the great markers of what makes Rowling unique among contemporary writers and a departure from, close to a contradiction of the artist you would expect to be born of her life experiences, formative crises, and education.

Out of a cauldron potion made from listening to the Smiths, Siouxie and the Banshees, and The Clash, reading and loving Val McDermid, Roddy Doyle, and Jessica Mitford, and surviving a lower middle class upbringing with an emotionally barren homelife and Comprehensive education on the England-Wales border, you’d expect a Voldemort figure at Goblet of Fire’s climax to rise rather than a writer who weaves archetypally rich myths of the soul’s journey to perfection in the spirit with alchemical coloring and sequences, ornate chiastic structures, and a bevy of symbols visible only to the eye of the Heart.

To understand Rowling, as she all but says in her Lake and Shed metaphor, one has to know her life story and experiences to “get” from where her inspiration bubbles up and, as important, you need a strong grasp of the traditionalist worldview and place of literature in it to appreciate the power of the tools she uses, especially how she uses them in combination.

The biggest part of that is understanding the Perennialist definition of “Sacred Art.” I touched on this in a post about Rowling’s beloved Christmas story, ‘Dante, Sacred Art, and The Christmas Pig.’

Rowling has been publicly modest about the aims of her work, allowing that it would be nice to think that readers will be more empathetic after reading her imaginative fiction. Dante was anything but modest or secretive in sharing his self-understanding in the letter he wrote to Cangrande about The Divine Comedy: “The purpose of the whole work is to remove those living in this life from the state of wretchedness and to lead them to the state of blessedness.” His aim, point blank, was to create a work of sacred art, a category of writing and experience that largely exists outside our understanding as profane postmoderns, but, given Rowling’s esoteric artistry and clear debts to Dante, deserves serious consideration as what she is writing as well.

Sacred art, in brief, is representational work — painting, statuary, liturgical vessels and instruments, and the folk art of theocentric cultures in which even cutlery and furniture are means to reflection and transcendence of the world — that employ revealed forms and symbols to bring the noetic faculty or heart into contact with the supra-sensible realities each depicts. It is not synonymous with religious art; most of the art today that has a religious subject is naturalist and sentimental rather than noetic and iconographic, which is to say, contemporary artists imitate the creation of God as perceived by human senses rather than the operation of God in creation or, worse, create abstractions of their own internally or infernally generated ideas.

Story as sacred art, in black to white contrast, is edifying literature and drama in which the soul’s journey to spiritual perfection is portrayed for the reader or the audience’s participation within for transformation from wretchedness to blessedness, as Dante said. As with the plastic arts, these stories employ traditional symbols of the revealed traditions in conformity with their understanding of cosmology, soteriology, and spiritual anthropology. The myths and folklore of the world’s various traditions, ancient Greek drama, the epic poetry of Greece, Rome, and Medieval Europe, the parables of Christ, the plays of Shakespeare’s later period, and the English high fantasy tradition from Coleridge to the Inklings speak this same symbolic language and relay the psychomachia experience of the human victory over death.

Dante is a sacred artist of this type. As difficult as it may be to understand Rowling as a writer akin to Dante, Shakespeare, Homer, Virgil, Aeschylus, Spenser, Lewis, and Tolkien, her deployment of traditional symbolism and the success she enjoys almost uniquely in engaging and edifying readers of all ages, beliefs, and circumstances suggests this is the best way of understanding her work. Christmas Pig is the most obviously sacred art piece that Rowling has created to date. It is the marriage of Dantean depths and the Estecean lightness of Lewis Carroll’s Alice books, about which more later.

[For an introduction to reading poems, plays, and stories as sacred art, that is, allegorical depictions of the soul’s journey to spiritual perfection that are rich in traditional symbolism, Ray Livingston’s The Traditional Theory of Literature is the only book length text in print. Kenneth Oldmeadow’s ‘Symbolism and Sacred Art’ in his Traditionalism: Religion in the light of the Perennial Philosophy(102-113), ‘Traditional Art’ in The Essential Seyyed Hossein Nasr(203-214), and ‘The Christian and Oriental, or True Philosophy of Art’ in The Essential Ananda K. Coomaraswamy(123-152) explain in depth the distinctions between sacred and religious, natural, and humanist art. Martin Lings’ The Sacred Art of Shakespeare: To Take Upon Us the Mystery of Things and Jennifer Doane Upton’s two books on The Divine Comedy, Dark Way to Paradise and The Ordeal of Mercy are the best examples I know of reading specific works of literature as sacred art rather than as ‘stories with symbolic meaning’ read through a profane and analytic lens.]

‘Profane Art’ from this view is “art for art’s sake,” an expression of individual genius and subjective meaning that is more or less powerful. The Perennialist concern with art is less about gauging an artist’s success in expressing his or her perception or its audience’s response than with its conformity to traditional rules and its utility, both in the sense of practical everyday use and in being a means by which to be more human. Insofar as a work of art is good with respect to this conformity and edifying utility, it is “sacred art;” so much as it fails, it is “profane.” The best of modern art, even that with religious subject matter or superficially beautiful and in that respect edifying, is from this view necessarily profane.

Sacred art differs from modern and postmodern conceptions of art most specifically, though, in what it is representing. Sacred art is not representing the natural world as the senses perceive it or abstractions of what the individual and subjective mind “sees,” but is an imitation of the Divine art of creation. The artist “therefore imitates nature not in its external forms but in its manner of operation as asserted so categorically by St. Thomas Aquinas [who] insists that the artist must not imitate nature but must be accomplished in ‘imitating nature in her manner of operation’” (Nasr 2007, 206, cf. “Art is the imitation of Nature in her manner of operation: Art is the principle of manufacture” (Summa Theologia Q. 117, a. I). Schuon described naturalist art which imitates God’s creation in nature by faithful depiction of it, consequently, as “clearly luciferian.” “Man must imitate the creative act, not the thing created,” Aquinas’ “manner of operation” rather than God’s operation manifested in created things in order to produce ‘creations’

which are not would-be duplications of those of God, but rather a reflection of them according to a real analogy, revealing the transcendental aspect of things; and this revelation is the only sufficient reason of art, apart from any practical uses such and such objects may serve. There is here a metaphysical inversion of relation [the inverse analogy connecting the principial and manifested orders in consequence of which the highest realities are manifested in their remotest reflections[1]]: for God, His creature is a reflection or an ‘exteriorized’ aspect of Himself; for the artist, on the contrary, the work is a reflection of an inner reality of which he himself is only an outward aspect; God creates His own image, while man, so to speak, fashions his own essence, at least symbolically. On the principial plane, the inner manifests the outer, but on the manifested plane, the outer fashions the inner (Schuon 1953, 81, 96).

The traditional artist, then, in imitation of God’s “exteriorizing” His interior Logos in the manifested space-time plane, that is, nature, instead of depicting imitations of nature in his craft, submits to creating within the revealed forms of his craft, which forms qua intellections correspond to his inner essence or logos.[2] The work produced in imitation of God’s “manner of operation” then resembles the symbolic or iconographic quality of everything existent in being a transparency whose allegorical and anagogical content within its traditional forms is relatively easy to access and a consequent support and edifying shock-reminder to man on his spiritual journey. The spiritual function of art is that “it exteriorizes truths and beauties in view of our interiorization… or simply, so that the human soul might, through given phenomena, make contact with the heavenly archetypes, and thereby with its own archetype” (Schuon 1995a, 45-46).

Rowling in her novels, crafted with tools all taken from the chest of a traditional Sacred Artist, is writing non-liturgical Sacred Art. Films and all the story experiences derived of adaptations of imaginative literature to screened images, are by necessity Profane Art, which is to say per the meaning of “profane,” outside the temple or not edifying spiritually. Film making is the depiction of how human beings encounter the time-space world through the senses, not an imitation of how God creates and a depiction of the spiritual aspect of the world, a liminal point of entry to its spiritual dimension. Whence my describing it as a “neo-iconoclasm.”

The original iconoclasts or “icon bashers” were believers who treasured sacred art but did not believe it could use images of what is divine without necessarily being blasphemous; after the incarnation of God as Man, this was no longer true, but traditional Christian iconography is anything but naturalistic. It could not be without becoming subjective and profane rather than being a means to spiritual growth and encounters. Western religious art from the Renaissance and Reformation forward, however, embraces profane imitation of the sense perceived world, which is to say naturalistic and as such the antithesis of sacred art. Film making, on religious and non-religious subjects, is the apogee of this profane art which is a denial of any and all of the parameters of Sacred art per Aquinas, traditional civilizations, and the Perennialists.

It is a neo-iconoclasm and a much more pervasive and successful destruction of the traditional world-view, so much so that to even point out the profanity inherent to film making is to insure dismissal as some kind of “fundamentalist,” “Puritan,” or “religious fanatic.”

Screened images, then, are a type of iconoclasm, albeit the inverse and much more subtle kind than the relatively traditional and theocentric denial of sacred images (the iconoclasm still prevalent in certain Reform Church cults, Judaism, and Islam). This neo-iconoclasm of moving pictures depicts everything in realistic, life-like images, everything, that is, except the sacred which cannot be depicted as we see and experience things. This exclusion of the sacred turns upside down the anti-naturalistic depictions of sacred persons and events in iconography and sacred art. The effect of this flood of natural pictures akin to what we see with our eyes is to compel the flooded mind to accept time and space created nature as the ‘most real,’ even ‘the only real.’ The sacred, by never being depicted in conformity with accepted supernatural forms, is effectively denied.

Few of us spend much time in live drama theaters today. Everyone watches screened images on cineplex screens, home computers, and smart phones. And we are all, consequently, iconoclasts and de facto agnostics, I’m afraid, to greater and lesser degrees because of this immersion and repetitive learning from the predominant art of our secular culture and its implicit atheism.

Contrast that with the imaginative experience of a novel that is not pornographic or primarily a vehicle of perversion and violence. We are obliged to generate images of the story in the transpersonal faculty within each of us called the imagination, one I think that is very much akin to conscience or the biblical ‘heart.’ This is in essence an edifying exercise, unlike viewing photographic images on screens. That the novel appears at the dawn of the Modern Age and the beginning of the end of Western corporate spirituality, I think is no accident but a providential advent. Moving pictures, the de facto regime artistry of the materialist civilization in which we live, are the counter-blow to the novel’s spiritual oxygen.

That’s the best I can manage tonight to offer something to Justin in response to more about the “neo-iconoclasm” of film

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John Granger rarely listens to audio adaptations of books unless he’s on a long drive, though he admits they have played an important part in his life as a reader.

Nick Jeffery listens to audio books everyday and often for hours at a time; he credits the medium for his mid-life rebirth as a reader (re-reader!).

Zossima Granger, writer in residence at ProtagonistBook.com (Give the gift of an unforgettable story!) and host of Teller Talk interview series at Zossima’s Story Stack Substack page, cannot remember a time when Harry Potter and audio books were not an important part of his life. He like Nick listens to one book per week or more.

So — what do these Potter Pundits and Serious Strikers think of the new Audible ‘Full Cast Audio’ (FCA) unabridged dramatization of Harry Potter and the Sorcerer’s Stone, which in the UK and Commonwealth nations is Philosopher’s Stone?

They loved it! No, the adaptation wasn’t perfect, and, yes, there are a few jarring miscues and disappointments. As they explain in their ten point discussion of their experience listening to the Audible production, however, there’s reason to be very excited about this audio version of the first Potter novel and the six promised FCA dramatizations.

Nick lays out the audio adaptation history of the Hogwarts Saga, to include, in addition to the background of the new FCA books, the Stephen Fry and Jim Dale legacies. And then he asks the questions below!

* What is your relationship with audio books? Are you a frequent listener?

* Were the Fry/Dale Potter adaptations an important part of your experience of the Hogwarts Saga?

* Did you listen to the ‘full cast audio’ adaptation of Christmas Pig? Other books?

* What were your expectations -- fears and hopes -- for the Sorcerer’s Stone full cast audio adaptation?

* What was the biggest surprise you experienced in your first listening?

* Which of the voice actors brought out a different dimension of the text than you expected?

* What is your favorite scene in Stone and was the full cast audio depiction of it a delight or a disappointment?

* Fry, Dale, or Full Cast: will you listen to all three versions in the future? Do you have a strong preference?

* Thumbs up or down: one to five stars, please, for the Audible production and your biggest grins and gripes.

* What changes do you hope the producers will make before they release the next six adaptations?

Please join in the conversation by sharing your answers to these questions in the comment boxes below. What is your relationship with books you listen to rather than read? What do think of the new FCA dramatization?

And, when you’ve made your contribution to this conversation and you’d like more conversation between Nick Jeffery and Zossima Granger for dessert, check out Teller Talk #4, ‘Harry Potter and the Skill of Reading’!

This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit hogwartsprofessor.substack.com/subscribe

John Granger in September 2022, weeks after the publication of Ink Black Heart, tackled the tangle of 108 poetic epigraphs in Strike 6 from twenty-two Anglo-American Victorian women poets in search of a common theme, of a prevalent meaning, or, the Holy Grail, a work among the many works that acted to Heart as Rosmersholm did to Lethal White and Faerie Queene did to Troubled Blood. This effort involved listing the poets, the epigraphs (citing poems by each woman), and, without reading each poem, noting simply what each brief excerpt included. You can read the results of those surveys at ‘Ink Black Heart: Intro to Epigraphs 101.’

The anticipated result of those tabulations was that the poetic epigraphs in Heart, in tandem with the cardiac Part headings from Grey’s Anatomy, were consistently about the heart as spiritual faculty rather than bodily pump. The surprise finding was that 13% of the epigraphs were from Elizabeth Barrett Browning’s Aurora Leigh. John speculated in conclusion that it was the heart of Rowling’s sixth Strike-Ellacott novel:

Again, this is not the place to write at any length about the relevance of ‘Aurora Leigh’ as a mirroring text within Ink Black Heart. Like you, I look forward to Beatrice Groves’ exegesis to complement her Cuckoo’s Calling work with Rossetti’s ‘Dirge’ and Tennyson’s ‘Ulysses.’ The two important things to note here are only that ‘Aurora Leigh’ is the poem most deployed in Strike6 epigraphs and that it is a melange of “Biblical and classical history and mythology, as well as modern novels.” That it would work as something of a template or touchstone for Ink Black Heart, a novel with mythological and hermetic backdrops and archetypal symbols used to reinvent the depth and range of the most modern of genres, the murder mystery, as psychomachian allegory, seems almost a no-brainer. If you can only read one book or poem to buttress your understanding of Strike6, it has to be Durkheim’s Suicide, Evola’s Ride the Tiger, or Browning’s ‘Aurora Leigh,’ and I think the epic poem is your best bet.

When Rowling agreed to a live interview with Serious Strikers on Twitter the month after Ink Black Heart’s publication, one hosted by the Barmy Army, John listed the first question he would ask her to be about the importance if any of Aurora Leigh for understanding Strike 6: “Is Barret Browning’s Aurora Leigh the backdrop story to Ink Black Heart the way Rosmersholm and Faerie Queen were to the fourth and fifth Strike mysteries?”

Nick Jeffery included this question in a veritable barrage of questions he launched during the Barmy Army interview, and, incredibly, Rowling responded:

John concluded in his write up of the Barmy Army interview:

If I get “all credit” for the spotting, I must take the blame as well for misspelling Browning’s name and for Nick’s saying there were thirteen rather than fourteen Leigh epigraphs. All credit to @gbjeffen for succeeding in getting Rowling to answer a question, something I have not succeeding in doing in more than two decades of reading her work and writing about its artistry and meaning. Look for the seven point Ink Black Heart: Aurora Leigh post in the coming week.

John, however, never wrote up that '“seven point Ink Black Heart Aurora Leigh post” and his expectation of a Beatrice Groves exegesis also never materialized. That project was delayed until Nick Jeffery, in his years long effort to read everything Rowling has admitted to reading and liking (see this list of those books, a list that predates the 2022 revelations in re Aurora Leigh), arrived at the 1856 epic novel in blank verse. Last week Nick wrote up his findings here as ‘A Rowling Reading of Aurora Leigh: The Influence of Elizabeth Barrett Browning’s Aurora Leigh on J.K. Rowling.’

John and Nick put Hallmarked Man aside, consequently, in this week’s conversation to talk about this poem, Nick’s essay, and the place of this work in Fourth Generation Rowling Studies. Enjoy!

Next week they’ll chart Part Three of Hallmarked Man, discuss the astrological symbols and meaning embedded in Strike 8’s names and plot points, and review with a Generation Hex special guest the long anticipated full-cast audio book of Harry Potter. and the Philosopher’s Stone. Stay tuned — and please join the Paid Subscribers club to keep the HogPro lights on and restore heat and power to John’s home! Many thanks to all subscribers around the world with a special shout-out this week to the six listeners in Norway: Tussen Takk!

The Ten Questions and Promised Links:

Little Women and Harry Potter: Jo Rowling is Jo March The Seven Points of Correspondence

You see, I was a plain — and that is relevant! you know that is relevant, that isn’t a trivial thing, especially when you’re a kid — I was a very plain, bookish, freckly, bright, little girl. I was a massive book worm and I spent a significant part of my reading looking for people like me.

Now I didn’t come up with nothing. Y’know, I remember Jo March who had a temper and wanted to be a writer so that was a lifeline. There’s a heroine in a book called Little White Horse that I’ve spoken about publicly who was plain and that was fabulous. “Wow! You get to be a heroine and get not to be a raving beauty..”

But y’know these were pretty slim pickings.

J. K. Rowling: Deathly Hallows, Part 2, DVD extras, ‘The Women of Harry Potter‘

Mightier than the Sword: Uncle Tom’s Cabin and the Battle for America

A fascinating look at the cultural roots, political impact, and enduring legacy of Harriet Beecher Stowe’s revolutionary bestseller.

Uncle Tom’s Cabin is likely the most influential novel ever written by an American. In a fitting tribute to the two hundredth anniversary of Harriet Beecher Stowe’s birth, Bancroft Prize-winning historian David S. Reynolds reveals her book’s impact not only on the abolitionist movement and the American Civil War but also on worldwide events, including the end of serfdom in Russia, down to its influence in the twentieth century. He explores how both Stowe’s background as the daughter in a famously intellectual family of preachers and her religious visions were fundamental to the novel. And he demonstrates why the book was beloved by millions―and won over even some southerners―while fueling lasting conflicts over the meaning of America. Although vilified over the years as often as praised, it has remained a cultural landmark, proliferating in the form of plays, songs, films, and merchandise―a rich legacy that has both fed and contested American racial stereotypes.

Interview Questions

1. [Nick] I wrote the essay, John, but the reason I read Aurora Leigh late 2025 dates back to September 2022 and a discovery you made while sorting through the 108 poetic epigraphs of Rowling’s Ink Black Heart. Before we jump into the Elizabeth Barrett Browning epic poem, can you run us through that effort and finding?

2. [John] 13% of course is nothing like the 100% epigraphical backdrops of Lethal White and Troubled Blood but, just reading the Wikipedia summary of Aurora Leigh, I thought it a very strong possibility that it might have served a similar function for Ink Black Heart. Which is where you enter the picture, Nick. I’ve never managed to get Rowling to answer even one of my questions in a quarter century of asking; you pried three answers out of her in one go! And on your first effort? Please tell us that story and what Rowling revealed about Aurora Leigh.

3. [Nick] And so we had almost immediate confirmation of your highly speculative conclusion from the epigraphs, John. And you promised a seven point essay of compare and contrast criticism vis a vis Aurora Leigh and Ink Black Heart. What happened to that post?

4. [John] So my notes for that were put aside, literally folded and stuffed in my Norton Critical edition of Aurora Leigh, waiting for the leisure time post dissertation to read the verse-novel and write up the seven points. But you revived that long forgotten project with your essay, Nick, so let’s skip to that work. I’m confident few of our listeners are familiar with Elizabeth Barrett Browning or her most important and final poem; can you introduce us to both subjects?

5. [John] How easy or hard was it to enter into the story, visualize the surroundings, and empathize with the characters?

6. [John] And you charted the ring of Aurora Leigh’s nine parts in your post! How hard was that? You didn’t discuss it at any length in your post; how important do you think that is for understanding the work? Was it largely a hat-tip to the great epic poets?

7. [John] If I had one complaint about your exegesis it’s that you only spent two sentences on what I thought were profound findings, namely the ‘meaning in the middle’ and the turtle-back correspondences between parts two and eight. Those are the giant take-aways, I think, of Leigh’s influence on Rowling the Re-Reader and Magpie Borrower-Writer, no? Say some more about that, please.

8. [John] You wrote that Rowling’s selections from Aurora Leigh for epigraphs “are not arbitrary; they serve as interpretive keys, inviting readers to draw connections between the 19th-century verse and Rowling’s modern tale of online toxicity, anonymity, and justice.” Can you give us some examples of what you mean?

9. [John] Rowling specifies a parallel between Heart’s Zoe and Leigh’s Marian. Can you explain that link and its importance and any other character parallels and inspirations?

10. [John] You close with ‘Thematic Resonances and Broader Literary Influence,’ which are probably the most important connections between EBB and JKR beyond the plot point parallels and character echoes in Ink Black Heart. Can you summarize those in a way to push Serious Strikers and Rowling Readers to make the effort to find a copy of Aurora Leigh and read it?

*Optional [Nick] So how close did I come to your ‘seven points,’ John?

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The Hogwarts Professor comment threads have been jumping so Nick Jeffery and John Granger decided to dedicate a conversation to a review of the Greatest Hits in the last week (to do a complete review yourself, click on ‘Activity’ in the left margin of the Hogwarts Professor Substack home page).

After their reviewing the remarkably global and growing audience of Rowling Readers — 36 countries, 46 states! — and tracking The Presence’s location — her yacht seems to be in Fiji but she is touring Levesden Studios? — Nick and John read out fifteen comment subjects and discuss the merits, deficiencies, and promise of each.

The lede story is the theory shared by Jaclyn Hayes that Cormoran Strike and the late Charlotte Campbell were half-siblings with Jonny Rokeby in common as their absentee father. From her notes:

I think Charlotte was blackmailed (via threat of exposing the relatedness btw her and Cormoran) into marrying Jago to provide him a male heir. Perhaps their relatedness is even an open secret in Charlotte’s family, similar to the “secret” relatedness of Decima and Rupert in THM (another parallel).

Charlotte was forbidden from telling Cormoran about the blackmail, but since she’s conniving and obsessed with him, she uses their unexpected encounter at the Paralympics gala to drop hints about her predicament, hoping he’ll solve the mystery and save her or take her back once she’s fulfilled the terms of her marriage/birth agreement with Jago.

She then orchestrates another encounter with Cormoran to drop more hints-- this time at Franco’s, which she knows will trigger the memory of her father’s outrage at seeing her and Cormoran dating again. She hopes Cormoran will realize her father was angry because he knew they were related, not simply because he thinks Cormoran wasn’t good enough for her. She then tells Coromoran things would be different if he’d taken the job her father offered him (calling to mind the job Tara gives Rupert to keep him quiet in THM), and says she found out she was pregnant at Tara’s house and later “lost” (not aborted) the baby.

Read the whole thing. Ed Shardlow’s response, in which he points out that the hallmark given to silver and DNA testing of human beings have a lot in common, and Tamspells and Jaclyn Hayes discussion of Strike’s dreams in previous books give the Strike:Charlotte::Rupert:Decima theory some heft.

Cheryl Rose Orrocks asked for help with research she is doing on a possible divine marker, mythologically divine at least, being placed in each book at the appearance of that novel’s killer. The only holes in her theory at the time Nick and John recorded their conversation were Troubled Blood and Running Grave — and Catherine has since posted a neat solution for Strike 5. Check that out and please share the missing god or goddess from Running Grave!

Nick and John also review and discuss:

* Ed Shardlow’s idea that the characters creating narratives inside Rowling-Galbraith stories are perhaps best understood as creating their stories as Rowling writes hers, i.e., inspired by Lake material and crafted with the tools in their Sheds;

* Vicky’s thank you to Dr Fimi for the Ursula Le Guin quotation;

* Ed Shardlow’s ‘RL Mystery’ with back-up from Tamspells and J. S. Maleksen;

* Cheryl Rose Orrocks’ YouTube notes about the Dirty Bomb Theory conversation (and just how wrong John is about Carmen the opera and Carmen Ellacott); and

* Answers to listener requests for more information — all of which can be found in the Links section below!

In the week to come, John pledges to post his Hallmarked Man Names exegesis, Nick is working on his review of Aurora Leigh, the supposed template of Ink Black Heart (and the only book ever confirmed by Rowling as such), they will record their Part Two ring charting this weekend, and John is reorganizing his 2017 seven week online course — Wizard Reading Formula — for which class Paid Subscribers will get a greater than 50% discount.

John and Nick thank everyone listening and especially those active on the comment threads and taking part in the Hallmarked Man Ring Reading Workshop!

Links to Subjects Discussed in the Conversation Above:

Cheryl Rose Orrocks: Can you let me know the title and author of the book about Gothic elements?

The one John used for Harry Potter’s Bookshelf was Patterns of fear in the Gothic novel, 1790-1830 by Ann Tracy, now only ‘in print’ via a Kindle version.

John read from his much longer Harry Meets Hamlet and Scrooge: Harry Potter’s Hogwarts Adventures as the Gateway to English Literature in the conversation above, in which the list of subjects is spelled out (e.g., the castle, supernatural atmosphere, horror, isolation, subterranean passages, fragmentation and reunion, prophecy, ancestral curse, tainted blood, bond of blood, graveyard, corpses, Decay of Aristocratic Privilege, Rise of Bourgeoisie, forest, memories, dreams, found book, doppelgangers, scar or tell-tale mark, mysterious stranger, confused origin, night, mist and fog, distant past, death,, etc.).

John also recommends The Handbook of Gothic Literature, ed. Marie Mulvy-Roberts, and The Cambridge Companion to Gothic Fiction, ed. Jerrold Hogle.

Who is the mystery writer John was talking about who killed a women when she was an adolescent?

Anne Perry, author of the Thomas and Charlotte Pitt and William Monk series of historical detective fiction. John recommends Anne Perry and the Murder of the Century, the book written by the journalist who out’d Perry as a convicted murderer writing murder mysteries. Perry died in 2023.

J. S. Maleksen I too enjoyed this post, immensely. Can someone recommend a version of Cupid and Psyche and other relevant works of mythology for a Striker who assiduously avoided mythology through seven years of post-secondary education. I’m willing to gut it out in order to understand Rowling’s work. TIA.

John shared his favorites in the conversation above — Hamilton’s Mythology: Timeless Tales of Gods and Heroes, Graves’ The Greek Myths, Powell’s Classical Myth, and Schwab’s Gods and Heroes: Myths and Epics of Ancient Greece but Dr Dimitra Fimi responded in the thread today:

It’s a really difficult question this, and yet it shouldn’t be. But the truth is that there is no contemporary authoritative collection of Greek/Classical mythological retellings that’s up-to-date with recent scholarship, etc. Catherine recommends Hamilton’s book below, which is still good in many respects, but these earlier compilations (like Bulfinch’s too) often synthesize different versions of mythological narratives, and omit some interesting variations. My recommendations are a bit heavier on the scholarly side of things, but still readable (the issue will be getting hold of them, but I provide links where possible):

1) Classical Myth by Barry B. Powell - as implied by the astronomical price on Amazon.uk (https://amzn.to/3JYkLfF) this is mostly available second-hand now, but there is a scanned version via Archive.org: https://archive.org/details/classicalmyth0000powe (you’ll need to create a free account, but once you do you can log in and borrow the book digitally to read)

2) Early Greek Myth: A Guide to Literary and Artistic Sources (2 Volumes) by Timothy Gantz is great, and at least easier to get hold of. It gives the tales and their versions as well as an overview of their sources. The Amazon price of Vol. 1, for example, is a bit more accessible: https://amzn.to/4oTFKQ1

For those interested in the de profundis interpretation of classical myth, see The Door in the Sky: Coomaraswamy on Myth and Meaning and Symbolism in Greek Mythology by Paul Diel.

You can find the post about Beedle the Bard that Dr Fimi discussed in her conversation with Nick and John at her Substack, ‘A Kind of Elvish Craft:’ “You must’ve heard of Babbitty Rabbitty!”: Secondary World Fairy Tales in J.K. Rowling’s Harry Potter Series

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Dimitra Fimi is Professor of Fantasy and Children’s Literature at the University of Glasgow and Co-Director of the Centre for Fantasy and the Fantastic. Her Tolkien, Race and Cultural History won the Mythopoeic Scholarship Award for Inklings Studies and she co-edited the critical edition of A Secret Vice: Tolkien on Invented Languages which won the Tolkien Society Award for Best Book. Her Celtic Myth in Contemporary Children’s Fantasy won the Mythopoeic Scholarship Award in Myth and Fantasy Studies. Other work includes co-editing Sub-creating Arda: World-building in J.R.R. Tolkien’s Work, its Precursors and its Legacies and Imagining the Celtic Past in Modern Fantasy. She has contributed articles for the TLS and The Conversation, and has appeared on numerous radio and TV programs.

When the rightly famous and beloved ‘The Great Courses’ series decided to offer a Lord of the Rings entry for their catalog of the very best in scholarship for adult-learners, they asked Dimitra Fimi to create ‘The World of J. R. R. Tolkien,’ one of their most popular courses and one you can enjoy in an Audible edition.

Links Promised in Conversation:

A Kind of Elvish Craft: The Dimitra Fimi Substack Site

* Miniature Books in Children’s Fantasy

* Parabasis: A Tribute to Dionysis Stavvopoulos

* On Tolkien’s Letter 131 (4): “Romance” vs. Science

Dimitra Fimi articles at ‘The Conversation’

* After 150 years, we still haven’t solved the puzzle of Alice in Wonderland (2015)

Kanreki Conversations about Rowling-Galbraith ‘Golden Threads’

* Pregnancy Traps in the Works of Rowling-Galbraith

* Golden Threads in Rowling-Galbraith (1)

* Golden Threads in Rowling-Galbraith (2)

* ‘The Lost Child’ Golden Thread

* Alternative Explanations of ‘The Lost Child’ Golden Thread

* The Induced Abortion Hypothesis

* The July 2025 Kanreki Index

Our Ten Questions for Dr Fimi:

1. How does a woman born and raised on the Greek island of Salamis wind up in Cardiff studying Celtic Mythology?

2. You’re a Tolkien scholar and expert in fantasy and Children’s literature. Tolkienistas are legend for looking down their Ent noses at Harry Potter, though there are important exceptions to that rule (the late Stratford Caldecott, his wife Leonie, Amy H. Sturgis, others). How did you meet the Boy Who Lived and what were your first impressions of Rowling as author?

3. You have a lot in common with Rowling, no? Tolkien devotee, serious student of mythology, and a wonderful appreciation of the magic of story, especially magical stories for children. The Tolkien influence on Rowling is well documented though she has tried to belittle it, but her use of myths as templates for her stories is less well known but at least as important. What do you make of her admittedly “shameless” borrowing from folk tales and myths?

4. I guess this is a segue to the Cormoran Strike books which are awash in myths -- Leda and the Swan, Castor and Pollux, Cupid and Psyche, Artemis and Tisiphone... Am I missing any?

5. You’ve seen Rowling’s recent confirmation of the Cupid and Psyche myth in her tweeted painting of ‘Psyche Ascendant.’ That suggests we’ll see the happy ending of the myth in Strikes 9 and 10. Or does it? What did you see of that myth specifically in Hallmarked Man?

6. Running Grave has another embedded text, not a myth per se, one that makes sense in light of Rowling’s love of everything the Bronte sisters wrote. Tell us what made you think of Jane Eyre as you were reading Strike 7.

7. Rowling did something unusual in 2019, well, among the unusual things she did that year, in inviting readers to interpret her work in light of their ‘Lake’ inspiration as well as her intentional ‘Shed’ artistry. Writers like Lewis and Tolkien would be aghast at that, though Inkling Studies today necessarily include heavy biographical leanings in almost everything written about those authors. What is your take in general on what Lewis called ‘The Personal Heresy’ and about Rowling as a living author inviting that critical perspective while she is still among us?

8. It’s fascinating, frankly, that you are not so compartmentalized in your reading that Rowling is still a writer you read outside of her fantasy and children’s literature. Do you read the Strike-Ellacott stories because you also love a good detective novel or is it your interest in Rowling and whatever she is writing?

9. Have you read Christmas Pig? John believes that in fifty years, the Lord tarrying, high school and college students will read Pig as Rowling’s representative work the way we had to read Tale of Two Cities or Christmas Carol to be exposed to Dickens.

10. John tries to read imaginative fiction through what he calls an “iconological lens,” a method born of his Perennialist beliefs and life as an Orthodox Christian. In what ways do you think your childhood and secondary education gave you a sympathy unusual for multi-valent texts than those born and raised in relatively secular cultures?

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Nick Jeffery and John Granger sat down today to talk about the wonderful comment threads beneath their Hallmarked Man posts since publication day. They see every comment on every thread and realized no one else was seeing the brilliant theories and ideas from the Hogwarts Professor community.

John was tasked with reviewing every comment post publication comment thread to identify the best offering they had not discussed in previous posts. Nick had the harder job of culling that list down to the best ten ideas; he balked and chose thirteen. John added two, just because.

They both recommend you click on the links below as you listen to Nick and John embrace, push back, and marvel at the great Serious Striker conversations to be had here.

The best of the best? J. S. Maleksen’s ‘Dirty Bomb Charlotte,’ which makes the credible argument that Rowling has written a back-stage scenario in which Charlotte seduces Ryan F. Murphy to destroy Robin Ellacott. Why? When? What? How? Read the comment beneath the #1 link below and listen to Nick and John talk, no, rave about this seemingly off-the-wall bit of speculation.

And then wade through the rest! Thank you to all the contributors to our conversations; please remember it was Nick, not John, who decided not to use your idea. Hallmarked Man Names and Part One ring-charting later this week — stay tuned!

Links to Reader Ideas and Theories from the HogPro Comment Threads

1. J. S. Maleksen: ‘Dirty Bomb Charlotte:’ Ryan Murphy Killed Charlotte

Thank you for discussing my first Running Grave RFM comments.

As you may have noticed, my theory is a bit of a work in progress. In keeping with the Hogwarts Professor/ Rowling Studies standards, I am striving to put it all together and set forth a textual basis for my contention that the relapsing, unstable RFM we see in the later parts of RG and all of HM is the dirty bomb left by Charlotte with the intent of exacting revenge on Robin and Strike.

In RG, after listening to a portion of Charlotte’s final 3 voicemail messages, Strike frets about the possibility that Charlotte will seek out RFM and spin a web of lies to him. He expresses concern in his inner monologue that RFM would have no loyalty to Strike and that RFM could use the information to turn Robin against him.

Understanding that I may be in nutter drawer/Gateshead territory and mindful that I am diverging from my original post slightly, I contend that RFM met up with Charlotte at some point, maybe in the month or two, before she died. She used McCabes (the agency she hired to get dirt on Jago in IBH) to get info on Robin, discovered RFM, contacted him seduced him, and filled his head with lies about Strike and Robin.

On the night Charlotte dies, RFM is there. They are drinking together. They get into a fight. She assaults him (like she assaulted Strike and Dormer) and because ‘he is mean and aggressive when he gets drunk’ (yes this is where this line from Wardle in RG becomes relevant) he hits her back, they fight, and she dies. He makes the murder look like a suicide, writes a suicide note that is based on the information she has given him about Strike and her family and her kids. There is nothing in the suicide note about Strike being in love with Robin. Remember, the only evidence that this appears in the note is Strike’s egotistical presumption that is based solely on Strike’s conjecture.

RFM uses his position at the Met to make sure the final determination is suicide.

The guilt and self-loathing he feels thereafter causes him to spend as much time as possible in Spain (rather than taking the earlier flight to see Robin after she escapes from Chapman Farm.) It also causes him to declare his love for Robin on his first night back with her. He’s drinking and unraveling and he thinks if he can make it work with Robin and rescue her from an abusive Strike, it will make up for the fact that he committed murder.

This also explains his mistakes in the gang shooting case, including roughing up a suspect and all of the descriptions of him being overly stressed and exhausted including on the night he got Robin pregnant.

This is the thought process that led me to post under Nick’s ‘Charlotte was Murdered’ thread. It just took me a little longer to articulate it.

Once again, thanks to both of you for all of the fine work you do.

* Catherine: Strike 9 will be about Strike searching to find Lost Robin/Psyche

3. June McGarry: Incest Part 1 — Leda and Ted Half-Siblings

4. Tamspells: Incest Part 2 — Charlotte Raped by Dino Step Father

5. Vicky: Names Idea 1 — Decima Mullins – Shirley Mullens

6.Kathleen OConnor Names Idea 2 — Rupert Fleetwood – Lady Patricia Fleetword-Chiswell

7. Sandy Hope: Cupid and Psyche 1 — Psyche’s Sisters in Hallmarked Man

8. Kelly Loomis Cupid and Psyche 2 — Chelsea Arts Club Cupid, Etc.

9. June McGarry: — Strike lies to READERS about Paternity Test

10. Ed Shardlow — Planet Narnia Theory for Strike series

* Ed Shardlow: The Five Strikes in Hallmarked Man

11. Brenna Hill — Meaning of Ellacotts’ Naming Puppy ‘Betty’

12. Ed Shardlow — Meaning of Hallmarked Man Titles, Other Strike Series Titles

13. Ed Shardlow Lions, Eyes, Bridges, Silver, Swans, Steps

14. Joanna — ‘Hidden in Plain Sight’

15. Brenna Hill — Dirk and EXCALIBUR

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When Running Grave was published, John Granger charted each Part’s chapter sets, the Book-as-a-Whole, and then the Book as the concluding novel of a seven book series. It took him weeks and weeks, it yielded astonishing revelations via Rowling-Galbraith’s structural artistry, and… it was a rather joyless affair. No one joined him in the process to verify or discount via a separate but simultaneous reading what he found, no one learned how to do it while looking over his shoulder, and very few appreciated what it was all about.

Fast forward to September 2025 and the publication of Hallmarked Man. Nick Jeffery and John had collaborated in a month-long Lake-and-Shed reading marathon of everything Rowling had written as well as the Golden Threads running through all her work. They were looking for a new Special Project they could offer the growing list of Paid Subscribers in addition to the weekly conversations and articles they posted for all comers. Why not do a series of posts only the most Serious Strikers would be interested in, a full-on charting of Strike 8?

John has posted three Ring Composition throat-clearing exercises complete with video and transcripts — the Heart of Ring Composition, the Mechanics and Mystery of Ring Composition, and a Case Study in Reading a Strike Novel Ring (Career of Evil) — to warm up the niche audience for this adventure. In the conversation above, Nick and John lay out their hopes for this series, namely, that participants will leave with:

* an adamantine grasp of what charting a book involves (chapter notes, latch, turn, and t-back lines with explanations);

* a clockworks understanding of Strike 8 ‘structural artistry,

* charts they’ve drawn of the Parts’ chapter sets as well as the Whole Book; and, most important,

* a Ring Reading Skill Set to be deployed on classic novels as well as contemporary favorites, an essential for those who love to read and re-read the Greats, alive and dead.

We’ll start with Part One next week; there’s a blank ring below for you to give it a shot and John’s first draft to compare and contrast with your findings.

This kind of thing is not for everyone, of course, so most of what goes on here is for all subscribers. Nick and John will be posting about the Hallmarked Man’s new names, Browning’s The Ring and the Book (a big part of Strike 8’s epigraphs), more on the Cupid and Psyche backdrop to the series (it solves some of Robin’s most mysterious behaviors, believe it or not!), and the hidden-in-plain-sight Rowling favorite author and book imbedded in her latest work (no hints!). That’s in addition, again, to Nick and John’s discussions of the theories and insights of HogPro readers, the alchemy, Who Moved the Stone?, the Masonic Symbolism, and the book they rushed to overlook, Maid of the Silver Sea.

It’s a great time to be a Rowling Reader — and to be either a paid or free subscriber to Hogwarts Professor! Thank you for your support and engagement with the conversations here.

Hogwarts Professor is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.

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Nick Jeffery and John Granger do a Compare and Contrast test of the latest Cormoran Strike novel, The Hallmarked Man, and the previous seven books in Rowling-Galbraith’s longest series of novels. Adapting a list of ‘Greatest Hits’ moments from the first ‘Reading, Writing, Rowling’ podcast John did with Katie McDaniel and a panel of Potter Pundits in Roanoke, Virginia, Nick and John share their favorite moments first from the series and then from Strike 8 before contrasting the quality of these highlights.

The point of the exercise? Besides being a fun review of Strike-Ellacott adventures, a Greatest Hits collection of their highs and lows, Agency cases and sub-contractors included, the absence of any Hallmarked Man moments that merit a ‘Best in Series’ badge suggests that Strike 8 will be remembered best for how it set up Strikes 9 and 10.

Whatever your thoughts about that thesis, please share the scenes on your Greatest Hits list, both for the series and Hallmarked Man, per the numbered categories below. Nick and John have a few more to run through that they couldn’t get to on their first ‘go’ at this; feel free to share categories they should discuss in addition to the ones listed here:

* Top Pat Chauncey scene

* The One Scene that You Remember Most Often or ‘That Changed Your Life’

* Top ‘Text-within-a-Text’

* Funniest Scene

* Top ‘Drop the Book’ moment

* Best ‘Narrative misdirection/Ostrananie’ Moment

* Conclusion: Series and Hallmarked man

John is working on his charting of Hallmarked Man for the paid subscriber list as well as reviewing and revising his 2017 online course, ‘Wizard Reading Formula.’ More on those projects and the Kanreki Series in his next conversation with Nick; stay tuned!

Links to Ideas, Posts, and Theories Mentioned

* Talbot’s ‘True Book’ in Troubled Blood

* Kathryn Kent’s weblog post in The Silkworm

* The Goldfish in the Agency Office

* Running Grave and Hallmarked Man overlaps, and Ryan Murphy’s involvement.

* Three Take-Aways from Hallmarked Man: What We Know Readers will say in Ten Years about Strike 8

This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit hogwartsprofessor.substack.com/subscribe

Nick Jeffery and John Granger do a Compare and Contrast test of the latest Cormoran Strike novel, The Hallmarked Man, and the previous seven books in Rowling-Galbraith’s longest series of novels. Adapting a list of ‘Greatest Hits’ moments from the first ‘Reading, Writing, Rowling’ podcast John did with Katie McDaniel and a panel of Potter Pundits in Roanoke, Virginia, Nick and John share their favorite moments first from the series and then from Strike 8 before contrasting the quality of these highlights.

The point of the exercise? Besides being a fun review of Strike-Ellacott adventures, a Greatest Hits collection of their highs and lows, Agency cases and sub-contractors included, the absence of any Hallmarked Man moments that merit a ‘Best in Series’ badge suggests that Strike 8 will be remembered best for how it set up Strikes 9 and 10.

Whatever your thoughts about that thesis, please share the scenes on your Greatest Hits list, both for the series and Hallmarked Man, per the numbered categories below. Nick and John have a few more to run through that they couldn’t get to on their first ‘go’ at this; feel free to share categories they should discuss in addition to the ones listed here:

* Top Strike-Ellacott Moments

* Ellacott taking care of wrecked Strike

* Strike taking care of wrecked Ellacott

* The Two having a frank conversation about the Agency, their vocation

* The Two having a frank conversation about life and their relationship

* Top Mystery Reveal

* Top Agency Subcontractor moment

* Top Agency case not the focus of the novel

* Top Strike Confront-the-Killer moment,

* Top “Magical” Moment (heart-rending/opening)

* Top Moment-that-We-didn’t-know-was-a-Moment-until-later

* Top Saving People Moment

John is working on his charting of Hallmarked Man for the paid subscriber list as well as reviewing and revising his 2017 online course, ‘Wizard Reading Formula.’ More on those projects and the Kanreki Series in his next conversation with Nick; stay tuned!

Links to Ideas, Posts, and Theories Mentioned

* Roanoke ‘Reading, Writing, Rowling’ Harry Potter Review

[‘reading, Writing, Rowling’s] first episode was recorded at CoLab in Roanoke, Virginia, at the May 2017 Roanoke Harry Potter Fest and celebrates 20 years of Harry Potter. Listen to a stellar crew of Hogwarts professors discuss [with hosts John Granger and Katy McDaniel] their favorite moments in the Harry Potter series, inspired by Bloomsbury Publishing’s recent reader poll. Guests Louise Freeman, Elizabeth Baird Hardy, Emily Strand, and Lana Whited identify the best moments featuring the trio friendship, surprises and narrative misdirection, wizard magic, Snape, texts-within-the-text, and those inspirational messages that make the Harry Potter series profound and emotionally resonant to readers worldwide.

* Rowling’s Favorite Painting and What It Suggests about Her Artistry and Meaning: Caravaggio’s ‘Supper at Emmaus’

Professor Groves suggests strongly that what Rowling took away from her “mesmerised” “slow mining” of Caravaggio’s Supper at Emmaus was the central Mystery of the Incarnation of Christ, the “guiler beguiled” idea of Aulen’s Christus Victor. I find that argument compelling and want to build on it. There are embedded symbols in Supper at Emmaus that I think the fascinated Rowling would have noticed as she looked at the painting in the National Gallery, at the print on her wall in Exeter and London, and at the image on her first website, symbols beyond the “realism” of the Christ as imagined by Caravaggio and the revelation at the breaking of bread of His divinity.

* Robin is Sterile Prediction: Chlamydia to Ectopic Pregnancy (December 2023)

The thesis of this Hogwarts Professor essay — what I hope will be the subject of our second ‘Rowling Studies’ podcast here — is that Robin Venetia Ellacott will not have children with Murphy, Strike, or any other partner, because she cannot, at least not without some extraordinary efforts via in vitro conception and surrogacy. I will attempt to explain how this infertility is possible, to detail the ‘Lake’ suggestions from Rowling’s life and personal experience that shows she is more than familiar with this condition among women, and to share the ‘Shed’ literary markers in Running Grave and Rowling’s other novels that this is indeed what she has in mind for Strike’s partner Robin.

Means Before Motive: How is it Possible that Robin is Sterile?

In a word, “Chlamydia.”

* The Hallmarked Man’s Mythological Template

‘Cupid and Psyche’s importance for grasping the depths of Strike 8, from the “necessity” of the Silver Vault and the three men in Robin’s life, to spaghetti carbonara and ‘Maid of the Silver Sea’ (links list to previous posts, 2021-present on this subject)

* Charlotte Was Murdered, Mate; It Wasn’t a Suicide

* The Strange Death of Charlotte Campbell: Could the Psycho-Ex be the Focus of a Murder Investigation in Strike 8? (Nick Jeffery, November 2023)

* Strike8: The Charlotte Campbell Murder Mystery: Nick Jeffery’s Idea Checks a Lot of Boxes (John Granger, November 2023)

* The Mysterious Death of Charlotte Campbell: Was It Suicide or Was It Murder? The ‘Rowling Studies’ Pilot Episode (December 2023)

* J. S. Maleksen’s Re-read of Running Grave in Search of Ryan Murphy

After reading HM twice, I re-read ‘Running Grave’ with this theory in mind.

It occurred to me that RFM might have read Charlotte’s suicide note because it was in the police file. He might have even read through statements made by Charlotte’s family members about Charlotte’s relationship with Strike. At the very least, he would have read that Strike was in love with Robin and may have even bought into the ‘Strike was abusive to Charlotte’ narrative and the ‘Strike has been in a romantic relationship with Robin since he broke up with Charlotte’ narrative.

This would explain why RFM is significantly more chippy towards Strike after Robin returns from Chapman Farm than he was at the beginning of ‘Running Grave.’ Come to think of it, if Nick’s theory is right and the suicide was a murder, it’s quite possible that RFM may have been the lead investigator because, as we now know, he kinda sucks at his job.

RFM would have had no reason to disclose any of this information to Robin because “she gets ratty every time he says anything against Strike.” Details identifying the investigating officer may not have been published. Alternatively, Iverson could have been the investigating officer and she could have shared this information with RFM and RFM can’t tell Robin how he got the information because he had a fling with Iverson while Robin was at Chapman Farm.

This might lead to an explanation as to why/how RFM fell off the wagon (guilt about having cheated on Robin and/or fear that Robin hasn’t been honest about her relationship with Strike and/or his perception that Robin is being cowed by an abusive Strike)

It makes sense to me that the period of time when Robin was at Chapman Farm is the most plausible and likely spot for JKR to have buried details about RFM, and his true character and motivations. The story as told from Robin and Strike’s respective points of view intentionally distracted us from what RFM was up to during Robin’s time at Chapman Farm. Indeed, he was often an afterthought of Robin’s if she even thought about him at all.

Incidentally, this makes the ‘RFM as gorilla man theory’ more plausible because walking around with all of this information in his head could have motivated RFM to take extreme measures to get Robin to abandon Strike and the agency.

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Nick and John have posted eight Hallmarked Man conversations since its publication last month and, as interesting as their back-and-forth talks have been, South Wales to American Fly Over Country, Lake to Shed, much of the best theorizing and interpreting of Strike 8 has been happening in the comment threads beneath those posts and in email messaging with John. Determined that these insights wouldn’t be lost or invisible to Serious Strikers, they chose ten of the most challenging for a fun introduction to the fandom conversations readers not privy to the backchannel moderators network or who neglect the comment threads are missing.

In addition, Nick shares the credible speculation that Rowling’s weeklong absence from tweeting has been because she is on her Samsara yacht in the South Pacific, circling Bora Bora, believe it or don’t. John quizzes Nick, too, about the election in South Wales, Caerphilly to be exact, and the reason the results in that dependably Labour area have the UK buzzing (and why Strike readers might expect the populist party victories will color Strikes 9 and 10).

A quick ‘table of contents’ for their hasty review, then, followed by links and transcripts! Enjoy — and, yes, have at in the comment threads, please, the locus of Strike fandom conversations.

* Ed Shardlow: Gorilla Ryan

* Vicky: Boxes and Plush Toys

* Sandra Hope: Traditional Symbolism

* Justin Clavet: Only Fans Gaffe (Ed Shardlow -- ‘Not Proven’ error)

* Bora Bora

* Justin Clavet: On Manhood

* Ed Shardlow: Ickabog Parallel Book Theory

* Sandra Hope: Hallmarked Man as Rowling’s ‘Greatest Hits’ allusion collection

* LC - Dorothy Sayers

* Kathleen O’Connor -- Alternative Incest

* Caerphilly elections -- UK meaning

* Ring Composition Project

Promised Links and Transcripts:

* Ed Shardlow’s ‘Gorilla Ryan’ Theory

The Ryan the Gorilla theory came to me at the point in the book where Robin has an epiphany following an impulse to look up the meaning of a name. I think this was the Jolanda-Violet realisation, but I thought she’d suddenly realised the full extent of Ryan’s dark side, with the significance being the previously noted meaning of his name “Sea King” suggesting a connection between him and Wade King.

That theory seemed very flimsy at first, but on further examination it might have some mileage. There are some notable differences between the attack in the Land Rover and the previous ones. Although we imagine the attacker wearing a gorilla mask, there’s no mention of it, and in fact it says she can see his face. Also the Land Rover attacker makes no demands that she, “Stop” or, “Leave it”. She hits Wade with the pepper spray, which of course, would be difficult for Ryan to cover up, but she didn’t inflict any such injuries on the gorilla attacker. Wade clearly intends to hurt her, whereas the other attacks had no physical violence and look very much like they were just intended to scare her.

1) It’s hinted that Branfoot knows about Robin’s rape, and she says it’s on the internet, but we never get any indication that King or Griffiths know about it. Strike and Robin never consider that the attacker might be someone who knows about it because they’re close to Robin. That seems like an oversight.

2) The gorilla attacker never refers to a specific case. Murphy may be scaring her into quitting the job and getting away from Strike, whereas a suspect would want her to stop investigating their specific case.

3) The police don’t take the rubber gorilla and dagger for DNA testing. That’s pretty strange, unless there’s someone on the inside blocking the investigation.

There’s a bit of an issue with the guy in the green jacket, who presumably Robin can see isn’t Ryan when he’s on the industrial estate and outside her flat. Presumably that was Wade.

So, there would need to be some explanation for how or why Murphy is wearing the same jacket when he accosts her with the ceremonial dagger. But that’s not insurmountable.

Murphy would have been very surprised to encounter Matthew (sic, he means ‘Martin’ -ed.), who he knows from Masham, outside Robin’s flat.

The narrative very much prompts us to think there’s something going on with Murphy, but then we put this down to his work issues and associated relapse, but perhaps that blinds us (and Robin) to another possibility. And if it is the case, then Strike hasn’t just let Robin go to dinner with his romantic rival, but she’s heading into mortal danger. Were his instincts subconsciously alerting him to the threat? Did he leave it too late to shout, “Brake!” again?

Nicola Reed’s Objection to ‘Gorilla Ryan’ (Sandy Hope, too)

Kathleen O’Connor’s Cogent Counterpoint to John’s Incredulity about No One Noticing How Short Faux-Wright was in the Ramsay Silver footage

Vicky on the Interpretation of Robin’s “Stuffed Toy” Dream

Brenna Hill asks ‘Why is the New Ellacott Puppy Named Betty?’

Sandra Hope Jumpstarts Conversation about Traditional Symbolism in Hallmarked Man

* Masonic Orb Pendant for sale on Etsy ($795)

* Jacob’s Ladder Mosaic in Masonic Hall, London (Alamy)

* The Bohun Swan (‘Chained Swan’) (Wikipedia)

Justin Clavet: The ‘Only Fans’ Gaffe

· I commented on the Hogwarts Professor gaffes pillar [Placeholder, ed.] post about the OnlyFans error - that the OnlyFans website was launched in November 2016, but in the book, the murdered Sofia is said to be a prolific OnlyFans poster before her disappearance in June of that same year. The OnlyFans account is only a small point in this large plot, but one that is repeatedly referred to, and Sofia’s OnlyFans account is what ultimately brought her to the attention of her killer. For such a meticulous plotter and, as John would say, “OCD” author as Rowling is, does this real-world chronological impossibility give you pause? What other big historical error like this can be found in her books?

· Did you notice that the interview with the pornstar occurs in chapter 69? I think Rowling was having a bit of (structural) fun and winking at the observant reader with that one.

* Justin Clavet’s 3 September ‘Gaffes’ posting about ‘Only Fans’

The reference to OnlyFans in chapter 33 (p. 269) felt anachronistic to me, as I don’t remember ever hearing about the website before the pandemic era. And sure enough, according to Wikipedia (citing a New York Times article), the website didn’t launch until November 2016. Therefore, Sofia – who was murdered in June 2016 – could not have been a prolific OnlyFans poster. Sofia’s supposed OnlyFans account is referenced several further times throughout the book. Based on data from Google Trends, it seems incredibly unlikely that Strike and Robin would have readily known what OnlyFans was in late 2016/early 2017.

So Where is Bora Bora?

The Caerphilly 2025 Election: Victories for Left and Right Wing Populist Parties

* 2025 Caerphilly Bi-Election (Wikipedia!)

* UK’s Ruling Labour Suffer Crushing Defeat Against Political Insurgents at Ballot Box (Breitbart)

Justin Clavet ‘On Manhood in Hallmarked Man’

The biggest thing that struck me in this book was the persistent themes of manhood woven throughout: the responsibilities, relationships, and hardships of men.

* The central crime is linked with a secretive fraternal organization.

* It opens with the death of Strike’s father figure Ted, a “proper man” (p. 38), by whose maxims Strike is newly resolved to live.

* We learn that Ted would’ve murdered (or been murdered by) his father Trevik if he hadn’t left home and joined the army (p. 39), just like Strike would have come to blows (or worse) with his step-father Whittaker if he hadn’t left home and joined the army.

* While he loses the man he called his dad, he has a real meeting with his natural father for the first time. Rokeby shares that, in Strike, he had produced a proper man” (p. 747).

* Strike celebrates not having fathered a child (while Robin is distraught in the wake of her own lost child, and devastated that the option to be a mother may no longer be hers to choose).

* Richard de Leon says that his brother Danny was made the way he is because of his father’s mistreatment.

* Strike is bewildered that Danny (who integrates his brother’s Christian name into his porn name, Dick de Lion) and Richard could be so close and share so much with each other, contrasting this with his own relationship with Al.

* Leda and Rena are both shown to have suffered because of the absence of their more stable brothers.

* Strike observes that “men are seen as disposable in certain contexts” (pp. 107f).

* Wardle, who is shown to be a caring and dedicated father to his young child, opens up to Strike about his depression and his marriage troubles.

* Strike reflects on the shallow friendships he has with other men, and later sees how this kind of friendship can be toxic with the wrong personalities (in Powell, Pratt, and Jones, p. 860).

* Strike fears Wardle may be at risk of suicide. Niall is found to have committed suicide after his brother in arms was horrifically executed by Islamist combatants. The public can’t be bothered to care about the tragic loss of this man who heroically put his life on the line for his country - preferring instead to lend their attention to the spectacle of another man, Branfoot, who went to extreme lengths to indulge his basest and most perverse desires (p. 873).

Like many events in this book, this theme - with characters showing genuine concern and thoughtful consideration of complex men’s issues - is a mirror image of one presented in Troubled Blood with the character of Carl Oakden and his cynical men’s rights grift.

This barely scratches the surface of the notes that I took on this theme, which I saw running deep through the whole book. I wondered if I was just seeing this in the text because of my own perspective as a man, or if it really was there. Indeed, you could find hints of this theme in each of the preceding seven books.

But the structural clues left me convinced it was intentional. And when I watched this video (https://robert-galbraith.com/robert-galbraith-discusses-the-case-in-the-hallmarked-man/) the day after finishing the book, there was no doubt.

Justin Clavet on the Hallmarked Man Dedication and Rokeby’s Gratitude

· I connected the book’s dedication to Sean and Nadine Harris with Rokeby’s statement on p. 748, “Not everyone’s got a mate called Leo ‘oo stops ‘em livin’ rough” and that he attributes his artistic and financial success to his friend’s generosity and charity.

Ed Shardlow on The Ickabog as Hallmarked Man’s Parallel Book

Conscious of the links between the first 7 books of the series and the Potter books, and with three books purportedly remaining in the series, I was primed to see a connection between The Hallmarked Man and one of Casual Vacancy, Christmas Pig or the Ickabog. I didn’t have any predisposition to it being any of those. Even if Rowling is taking them in some sort of chronological order, there’s reason to believe the orders of conception, writing and publishing may differ.

At the end of Part One, I thought the Ickabog looked like the best fit based on the fact that the central mystery of who the body in the vault was has a certain similarity to the mystery of the Ickabog itself and whether it was real or a myth. The importance of the truth and the damage done by lies are fundamental to the Ickabog story, and I thought from the start those were major themes in THM.

The other correspondences I’ve spotted:

* The police, in various guises, like the royal guard play an important part, largely inept, self-serving, and perpetrators of miscarriages of justice.

* The aristocrats - Lord Branfoot, Lady Jenson, Dino Longcaster - lie and deceive to protect their own interests, causing untold damage in the process.

* There’s terrorism, and terrorism being used to spread fear and division.

* Ultimately Rupert and Decima, two sexes but one entity, produce an offspring that may have been defective or corrupted by the state of the world he was born into, but seems to have emerged happy and healthy. Daisy Dovetail having persuaded Rupert the Ickabog that humanity was worth making compromises for.

* The main antagonist traps a woman in his house. I thought their names were Esmeralda and Sapphire, but it’s Lady Eslanda not Esmeralda… But apparently Eslanda can mean emerald, or VIOLET, or truth… So Eslanda corresponds to both Sapphire and Jolanda!

* We visit a feudal state

* Ben Liddell – the soldier killed in an incident in a land where there shouldn’t have been any military conflict happening and it being covered up by the government

* Sandra Hope: The Footprint!

Ed Shardlow, I can’t wait for your show on the parallels between THM and the Ickabog!!! I just finished rereading both of them and I’m losing my mind! Omg, the footprint: “The Flaw in the Plan (ch32) is that the footprint is hopping (not so much terrifying as ludicrously funny) and Strike noting that the bearer of the footprint in the vault has a limp!! Please let this conversation happen soon!!

Sandra Hope: Strike 8 as a ‘Rowling’s Greatest Hits Album’ of Allusions:

Allusions that took my breath away:

* Ectopic pregnancy- TB

* Schadenfreude- CC

* “So many babies”- not just born, but what they’re born into- Ickabog borndings

* Human trafficking ring- RG

* Woman buried in/under concrete- TB

* Staged murder involving mutilation- Silkworm

* Violent attacks & subsequent PTSD- a Rowling theme in every book, but especially CE & LW

* DNA testing & fatherhood- CV, TB

* Guys trying to find right time to ask a potential partner a question- GOF lol

* Valentine’s Day mishaps- CS, TB

* Behavior of abandoned mothers-Silkworm (& HBP), specifically Merope, Leonora, Decima (also Leda)

* Journalism as a weapon- GOF, OOP, Silkworm, RG

* Potential ill usage of mirrors- SS

Not a complete list by any means lol

LC – Dorothy Sayers Connection?

I don’t know if there is anything in my seeing parallels between Cormoran and Robin and Peter Wimsey and Harriet Vance (Dorothy Sayers): Peter and Harriet had a very long acquaintance before they finally got engaged, with lots of twists and turns. Peter goes deep undercover in an ad agency in one novel; the feel of it was very similar to Robin going deep undercover in Lethal White. Also, the Sayers novel “Five Red Herrings” also features five men--in this case, five men who could have been the murderer (instead of the victim). Sayers also had very intricate plots that were puzzles--and was a Dante scholar. I believe Jo has mentioned that she admired Sayers. I don’t know if these are just interesting parallels that Jo is having fun with or not, but they certainly seem to be more than coincidences. Thanks!

Kathleen O’Connor – Alternative Incest Big Twist Ideas

I’m impressed by your arguments that we will see some shocking twists – in addition to the shocking twist that Rokeby is actually, in his old age, a good father to his mature son, Cormoran, and not at all the image-focused a*****e we have seen through Strike’s eyes up to now. I don’t think, however, we will find that Rokeby is not Strike’s father. That revelation would dilute Strike’s growth in terms of his realizations that he has been mistaken about many things that he has taken for granted in his life.

Instead, I think instead we will see a continuation of Robeby’s rehabilitation until eventually, like Snape, Rokeby makes some kind of big sacrifice to aid Cormoran or someone/something else important to Cormoran. Also, even though Strike does not physically resemble Rokeby, he does resemble Prudence:

* “Seeing them face to face, Robin spotted her partner’s resemblance to Jonny Rokeby for the first time. He and his half-sister shared the same defined jaw, the same spacing of the eyes. She wondered – she who had three brothers, all of the same parentage – what it felt like, to make a first acquaintance with a blood relative in your forties. But there was something more there than a faint physical resemblance between brother and sister: they appeared, already, to have established an unspoken understanding.” - The Running Grave And:

* “In youth, Strike knew, Rokeby had been exactly as tall as his oldest son, though he was now a little shorter.” - The Hallmarked Man

Maybe the big twist and incest plot is connected to either Switch or Whittaker. As we learn from Wikipedia in Career of Evil, Jeff Whittaker never knew who his father was. A strong possibility could be that Patricia Whittaker’s own father, Sir Randolph, had gotten her pregnant with Jeff. In that case, keeping that secret – as well as simply keeping the baby away from Leda – could have been the motive for a Whittaker family member to have killed Leda.

An even bigger twist might be that Leda did commit suicide, using exactly the method of Krystal Weedon, after she realized that she was Whittaker’s sister. Would it be possible for Trevik to have met up with Patricia Whitaker in London and gotten her pregnant?

Regardless of the incest angle, I do think we might find that Leda, whose life choices have not allowed her to develop the strength or discipline to face hard truths, may have committed suicide rather than cope with some kind of guilt (maybe she found out what happened to Lucy?).

There are multiple examples that foreshadow these possibilities – off the top of my head, there are “naughty boy” wealthy aristos (Freddy Chiswell, Alexander Graves, Will Edensor, Jago Ross) who might parallel Sir Randolph or Jeff Whittaker, and multiple characters who confuse suicide with sacrifice or who simply cannot face what they have done (Cherie Gittins, Krystal Weedon, Yasmin Weatherhead). Rhiannon Winn and Ellie Fancourt both commit suicide because they cannot cope with the shame they feel as a result of others’ cruelty.

Also, I can think of two points that support your idea that we will find out some bad things about Ted. Number one, the revelations that Dumbledore was extremely flawed are crucial to Harry’s story. In fact, I suggest that writing characters who are not merely “gray” but who are simultaneously really good and really bad is a “golden thread” of Rowling’s work.

And, number two, we hear multiple times that Ted taught Strike, “There’s no pride in having what you never worked for” while Rokeby says “I don’t wanna die wivvout knowin’ ya. You fink I ’aven’t got the right to be proud, maybe, but I am. I’m proud of ya.” I don’t think it is an accident that Rowling sets up this opposition, and I also think she wants us to admire Rokey’s desire to know his son.

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