Seeking: an explanation as to WHY Harry Potter is so popular

During our last few zoom discussions about Harry Potter and the Sorcerer’s Stone by J.K Rowling, we have attempted to determine why this novel, and this series, are so widely read and loved. As it turns out, this is a tough question to answer, since Harry Potter pervades not only the literature world, but the pop culture world as well. At times it seems like the only way to answer the question “Why is Harry Potter so popular?” is “It just is!” However, in this blogpost I want to pinpoint some features of the novel that do draw in such a massive crowd of readers. I believe that the widespread adoration of Harry Potter comes from the fact that there is no strict target audience, it features an underdog hero journey’s, and it is escapist.

First, part of the appeal of Harry Potter is that it appeals to all age groups– there are characters for everyone to see themselves in. For the purposes of this class, we have examined it with an audience of children in mind, but any small analysis of the fandom will tell you that Harry Potter is not just for kids. Of course, any child reading the book (present- day or when it was first released) can easily see themselves as being or befriending Harry, Ron, or Hermione. But the significance of the adults in the novel mustn't be overlooked. Hagrid, Professor McGonnogal, and Dumbledore fulfill the roles of protector, mentor, and instructor. Adult readers of the novel may see themselves in one of these roles in real life. When readers see themselves in a character, it propels them forward because there are many lessons to be learned from these characters.

The hero’s journey is a common plot in literature, and it is made all the more appealing with Harry’s humble beginnings on Privet Drive. Harry’s hero journey begins as he departs from the muggle world after Hagrid visits him and informs him that he is a wizard. Upon being dropped off at King’s Cross Station– “‘Have a good term,’ said Uncle Vernon with an even nastier smile. He left without another word. Harry turned and saw the Dursleys drive away” (Rowling, 91). Once at Hogwards, Harry faces many trials and challenges, eventually coming face-to-face with Voldemort. But, Harry defeats him and returns to Hogwarts, winning the house cup for Gryffindor. Of course, describing the entire analysis of Harry Potter as a hero’s journey would take a lot more space than I have, so that’s the most basic framework.

Lastly, the escapist nature of the novel draws readers in. It allows readers to escape from the mundane, often troublesome, nature of our lives. We can enter a world of magic where “there were shops selling robes, shops selling telescopes and strange silver instruments Harry had never seen before, windows stacked with barrels of bat spleens and eels’ eyes, tottering piles of spell books…” (72). Readers indulge in this world because there is so much to discover. We know the secrets, tips, and tricks of navigating the human world. But, as readers, we get to follow side-by-side with Harry as he navigates through the wizarding world for the first time.

Harry Potter as the Mirror of Erised

No I don’t mean Harry Potter is literally a mirror as the title of this blog post suggest, and I also don’t intend to make the argument that J. K. Rowling intended for the Mirror of Erised to be a metaphor for the character of Harry Potter. Contrarily, I am arguing that the character of Harry Potter lacks any significant substance, this includes character flaws; therefore, young readers of these novels are able to project themselves into his adventures. Likewise, the Mirror of Erised show the onlooker their hearts greatest desire. Harry is simply a blank canvas and we the readers eagerly paint a self-portrait on him.

              It could be because this novel was written for a younger audience, but the character of Harry Potter is very passive and the majority of his characteristics seem to be external in nature. His character flaws are not necessarily internal faults, but rather external struggles with his muggle relatives, snide peers, or evil wizards. Harry’s primary internal flaw seems to only be his inability to ask for the help of others, and this is evident when the troll is loose in Hogwarts and Harry and Ron take it upon themselves to rescue Hermione (173). Although Harry does go to Professor McGonagall before attempting to reach the Sorcerer’s Stone before Voldemort does, and she dismissively retorts, “I don’t know how you found out about the Stone, but rest assured, no one can possibly steal it, it’s too well protected” (268). In this first book of the series, his primary motivation is solely to thwart the plans of Voldemort. At very best, Harry’s character traits could be boiled down to him being inherently heroic and his inability to ask for or receive help.

              With Harry Potter and the Sorcerer’s Stone being an escapist novel by the nature of its plot, the bland character of Harry Potter acts as a gateway, a Platform Nine and Three Quarters if you must, through which the reader can see what they most desire: a magical reality to escape too. This utterly ordinary origin story of Harry seems intentionally crafted in order to meet the reader where they are, in the real world, instead of ejecting them headfirst into a witchcraft fantasy. In the first chapter, Dumbledore explains his reason for doing this when he says to Professor McGonagall, “It would be enough to turn any boy’s head. Famous before he could walk or talks… can’t you see how much better he’ll be” (13). Perhaps it is because the character of Harry is so removed from his own narrative that allows this novel to be such a success as an escapist novel. Harry is very much a product of his environment, and, with that environment being an otherwise unmagical upbringing, this provides an easy transition from the ordinary world into the magical reality as the reader learns and explores along with the central figure of this novel.

Why the obsession with Harry Potter?

To be honest, seeing the title “Harry Potter” was a large determinant in my taking this young adult fiction course. This is not a result of any extreme fandom or attachment to the series, but rather an opportunity to fulfill a curiosity that I have had for years. What is with the obsession surrounding Harry Potter? Less than a week ago, I was one of the few people I know that could say they had never read a single one of J.K. Rowling’s seven book series. The more I reflect on the story, the more I wonder how the book is all but worshipped by so many.

What I hear discussed the most from Harry Potter are houses. Houses in Harry Potter play a large role in your experience at Hogwarts. The sorting hat dictates your personality, your popularity and your friends (Rowling, 117). As a result of your house, you interact with a select group of students and few others. I do not know about you, but I am not the same as many of my friends. I admit that there are similarities that draw us to one another, but often it is not the same for all in the group. In fact, I believe there is some merit behind the argument of the four Gryffindor friends representing all four houses. Therefore, it makes no sense to me that people would be so obsessed with the house they would be assigned to in real life if the characters in the book hardly follow the characteristics of theirs.  

Harry Potter does not have the most appealing life, yet countless of readers wish to be him. After the murder of his own parents, he is sent to live with his muggle family. Overshadowed by his obnoxious cousin, Harry lives a life with very few joys in the closet under their staircase. I imagine the desire to personify Harry Potter arises in his drastic change of circumstance. For myself growing up in a tough home, I enjoyed reading stories that provide an escape. However, this is not what happens for Harry. He is sent to a school where his name is greater than he. Harry is a brave kid who is willing to risk himself in order to save others, but the very thing that sets him apart is the night surrounding the death of his parents. When facing Voldemort, he is saved by the strength of his mother’s love (Rowling, 299). Although I cannot speak to Harry Potter’s evolution in subsequent books, this one paints him as a boy who succeeds as a result of his parents’ sacrifice. I know very few who would trade their family for recognition in the form Harry receives.

I enjoy reading Harry Potter. The story was one that allows you to experience new things alongside friends who have your back. However, many readers seem to forget the misfortune that the boy has experienced. Personally, I would not want to lose my parents in order to gain a life at Hogwarts. There are hundreds of other students at Hogwarts and all the focus is on the infamous Harry Potter. Personally, I would rather be one of them than suffer the losses and trials that this young boy faces. Harry Potter is a good book, but from reading and discussion, I have yet to understand its popularity.

Harry Potter as an Orphan Story

The Harry Potter series has become one of the most popular groups of young adult fiction books in the world. The magical universe created by J. K. Rowling keeps readers enthralled throughout all seven novels. However, despite the unique characters and rules that govern how they act, the series also follows some similar plot points as other stories whose protagonists are orphans. Much like Ragged Dick from earlier in the semester, Harry Potter and the Sorcerer's Stone features an orphaned child living in less-than-desirable circumstances using help from friends to achieve whatever goals they set for themselves.

At the beginning of both Harry Potter and Ragged Dick, the main characters' living situations are not ones that many people would covet. Ragged Dick finds himself living alone on the streets of New York, making just enough as a boot-black to scrape by. While Harry Potter can at least take solace in having a roof over his head, he lives with the Dursleys: his verbally abusive and neglectful aunt, uncle, and cousin. Furthermore, he is forced to live in a closet under the staircase. While Dick expresses less dismay at his misfortune than Harry, they are both forced to deal with depressing ways of life that do not seem to have an easy way out. Fortunately for them, they both receive help from others to escape their dismal situations and go on to much happier lives.

Both Harry and Dick receive their first bit of help from unexpected sources. For Dick, his path from poverty to prosperity begins with a chance encounter: he meets Mr. Whitney and Frank who buy him a suit and encourage him to pursue an education. Meanwhile, Harry receives help from magical letters summoning him to Hogwarts. Despite the Dursleys' many attempts to keep the letters from him, Harry just receives more and more letters, eventually forcing the Dursleys to relent and send him away. Later in both novels, Dick and Harry each get more help from new friends. Dick gets tutoring from Henry Fosdick, a fellow impoverished boot-black who Dick allows to live with him in exchange for his teaching services. Harry is aided by his friends Hermione and Ron as they try to get the Sorcerer's Stone before Voldemort. For example, Ron guides him through a life-sized game of chess, and Hermione is a great help during the potion puzzle. Harry and Dick are both able to achieve far more than they could on their own thanks to their friends using their various skills to help them.

Although both Ragged Dick and Harry Potter seem to have wildly different premises at first glance, their protagonists follow similar paths in their respective novels. Harry and Dick each live in different situations, but they share the fact that both of their lives are miserable. While their goals are different, they pursue them using similar resources in friends. Lastly, each story has a different overarching message (hard work in Ragged Dick and a basic good versus evil plot in Harry Potter), but both novels put a heavy emphasis on the importance of friendship. In these ways, Harry resembles Dick in his transformation from orphan to hero.

Fact and Fiction

Anyone who reads Harry Potter and the Sorcerer’s Stone knows that the events contained within the book are fictitious because magic does not exist. Harry Potter doesn’t believe in magic, either, until he learns the truth. Harry Potter and the Sorcerer’s Stone details Harry Potter’s journey toward adulthood through his perceptions of various fictions and realities. As Harry matures, he learns how to see the world and the people in it as they truly are.

Growing up, Harry has no reason to believe in magic. He never considers its existence until Hagrid tells him he is a wizard. On the other hand, the Dursley’s are aware of the magical world and pretend that it doesn’t exist, insisting that they can “put a stop to that rubbish” (53). The Dursley’s preferred ignorance of their magical reality is a rejection of the truth. Their ignorance can be attributed to their fear of the unknown and their desire to live within their safe bubble, believing that Harry’s parents “asked for all they got, getting mixed up with those wizarding types” (56). Harry is able and willing to accept the truth that is the world of wizardry and magic, showing a sense of maturity his Aunt and Uncle lack. With the revelation of the wizarding world, Harry learns the truth about his parents’ deaths and the reason for “every odd thing that had ever made his aunt and uncle furious with him” (58). Although Harry is still a child, his maturity, in some ways, exceeds that of the Dursley’s because he can see the world as it truly is: magical.

The Mirror of Erised helps Harry learn to accept the truth. The mirror shows Harry his greatest desire; it shows Harry visions of his dead family that he never had the opportunity to meet. The mirror provides an alternate reality, a fiction, in which Harry’s family is still alive. At first, Harry obsesses over the mirror that distracts him from his reality, proving to be an obstacle to his growth as a person. Instead of trying to figure out the mystery of Flamel, Harry “had only one thought in his head, which was to get back in front of that mirror” (212). Harry seeks to transform his greatest desire into his reality, despite the impossibility of resurrecting the dead. Eventually, Harry realizes that he cannot live in the fiction that the Mirror of Erised writes for him and learns to accept his reality. Harry eventually puts his desire behind him in order to save the Stone from Quirrell and Voldemort (291). Harry’s ability to move on, to not wallow in what could have been, and to accept the truth, once again demonstrates how he matures as a character.

Professors Snape and Quirrell prove to be one of Harry’s greatest conflicts with fact and fiction. Upon his arrival at Hogwarts, Harry and his friends believe Snape to be the epitome of evil, the bully who threatens Quirrell into divulging how to find the sorcerer’s stone. In a twist, Quirrell turns out to be the ultimate evil, colluding with Voldemort, and Snape is the reluctant savior (289). Snape’s ability to simultaneously protect and hate Harry “made his head pound” (300). Snape’s morality is an unexpected nuance in the duality Harry constructs in his mind about good and evil. Snape’s layered motivations serve as an example for Harry, once again showing him that reality is more complicated than it first appears. Although Harry learns a lot about fiction and reality over the course of the novel, he still has room to grow when it comes to seeing people for who they really are.

The Legacy of Harry Potter

Something that I found interesting during our class discussions on Harry Potter is what makes this novel and series so timeless. It seems like almost everyone knows Harry Potter. Whether they have read the books, seen the movies, or have just heard an annoying amount about the series from Potterhead even if they are not a fan themselves. You can find someone to talk Harry Potter with just about anywhere you go. Why is that?

            Personally, I started reading the Harry Potter books when I was in third grade. It seemed like everyone in my school was reading it at the time, so I wanted to read them too. I remember the series being so popular that I could never check out the books at the library, so my parents bought me the complete set. Although I started reading the books because that was what everyone else was doing, I fell in love with the fantasy J.K. Rowling created. I could not wait for my Hogwarts letter to come in the mail. Hogwarts just seemed like such a fun place to be. Harry was such a relatable hero. He was a normal boy and suddenly his life changed when he found out he was a wizard and he became a hero to everyone in the wizarding world when he stopped Voldemort for a second time at the end of the first book.

The first book was a perfect introduction to the series because it makes the readers feel involved in the story. As a kid, it was me waiting to get my Hogwarts letter in the mail. However, it is not just kids that feel included in the culture Rowling created. Fan culture is a huge reason why Harry Potter became popular and has stayed relevant. We discussed this in class, and I thought it was fascinating because I had never really thought about it. Harry Potter creates opportunities for fans to insert themselves into wizarding world and identify better with the story and the characters. There are so many different quizzes and websites that Potter fans can go to find out what house they belong to. This allows fans to both relate to the story and also get a form of personal identity. Identifying which Hogwarts house, you belong to is just scratching the surface of fan culture. There are amusement parks, festivals, quidditch matches, and countless other events are memorabilia that fans can participate in to immerse themselves in this fantastical world. Some of it is created by Rowling and her team to promote the book, but most of fan culture has evolved on its own because of the love and dedication fans have for the book, characters, and the magical world Rowling created. Because of this, I do believe that Harry Potter will be around for a long time. It will be one of those timeless series and books that students will study centuries from now to learn about literature from today.

The Four Gryffindor Protagonists as the Four Hogwarts Houses

The Harry Potter series has ignited many arguments between die-hard fans, ranging from what type of wand you would have to what animal form your Patronus would take (for readers that make it to the 5th book). Of course, the most common and heated question that arises between fans is what house you would be sorted into at Hogwarts. In my own experience, this question has led to many arguments between friends over the years, because if you think I’m in Hufflepuff do you think I’m just boring? Do you think I’m not smart enough for Ravenclaw, or am I not clever enough for Slytherin? Where Rowling may have intended to focus on the value in the differences between houses, the Harry Potter fandom has taken things into their own hands, furthering their own house stereotypes and fostering internal competition.

However, as we mentioned in class, it is interesting how the four Gryffindor protagonists of the series – Harry, Ron, Hermione, and Neville – all show very different personality traits, suggesting that they really shouldn’t have been placed in the same house. Starting with Hermione, it only makes sense that with her passion for education and innate intelligence that she would be the perfect fit for Ravenclaw. Neville seems to be the textbook Hufflepuff, as he clearly values honesty but has low self-esteem marking him as an underdog. People constantly walk all over him, especially Draco Malfoy, as he points out to Harry, “‘There’s no need to tell me I’m not brave enough to be in Gryffindor, Malfoy’s already done that’“ (218). Ron demonstrates Slytherin traits with his desire to stand out as the best against the rest of his brothers. This resentment even affects his friendships, which is especially shown later in the series as he grows more and more jealous of Harry’s fame. It seems that Harry is the most fit for Gryffindor, as his main personality traits are courage and a strong moral compass to pursue the fight against evil.

While focusing on these four friends’ differences, it really doesn’t make a lot of sense why Rowling would place them in the same house beyond necessary plot development. In fact, it seems like the whole point of the houses is to take super similar people and just stick them all together, which doesn’t seem like it would lead to much character development. I think there’s a bit too much focus on the houses’ differences in the fandom, and not enough on what brings them together. As the sorting hat sings to the first years, Gryffindor stands out as a house for those with bravery, nerve, and chivalry. While Hermione prides herself on her brains, she definitely has the nerve to speak up in class and stand up to Ron and Harry’s antics. Ron’s selfish motivations also lead him to demonstrate bravery in the pursuit of being recognized. And of course, Neville’s brave act of standing up to his friends is the most obvious defense for why he earned a spot at the Gryffindor table. This bravery grows to be especially important later in the series, but no spoilers. Overall, a look at the differences between these four protagonists shows that while the four Hogwarts houses are certainly meant to be set apart, there is something to be said about the importance of the key traits that sort members into their house in the first place.

Harry Potter's Prevalence in Modern Society

Even today, years after J.K Rowling’s last book in the series, people still obsess over Hogwarts, wondering which house they would be in and wishing they could live out the lives the characters have. The presence of Harry Potter is everywhere. There are the places where you would expect to see the tales coming to life, such as theme parks dedicated to making visitors feel as though they truly have been transported to the wizard world, and there are unlikely places that you’d never imagine seeing so dedicated to the series. For example, when taking college tours a few years ago, it was not uncommon to hear that the school had a quidditch team run by members of a Harry Potter fan club as one of their intramural sports. In fact, it became somewhat of a surprise when the tour guide wouldn’t mention the magical sport as something offered by student organizations. 

One popular platform oozing with Harry Potter’s prevalence is social media, especially Twitter. Rowling is known for constantly tweeting about her books and even retroactively adding in details that may make the books seem more relatable to more people. While many people do find the Harry Potter novels relatable, there are no characters that are openly members of the LGBT community, nor are there any main characters of color. It is understandable that these groups may not be directly written about because this series was started before many people were talking about diversity, much less writing about it. However, by adding in these types of details now, Rowling is trying to keep the Harry Potter fans hooked and relate to even more people, thus growing the popularity of the novels even further. Rowling isn’t the only one tweeting about Harry Potter. Just this morning while scrolling through twitter I saw part of a tweet that said “watching the federal government deal with COVID-19 is like watching the Ministry of Magic deal with Voldemort’s return”  which just further goes to show that people are still talking about Harry Potter and relating it to any and everything that they can (Lebovits). 

Twitter isn’t the only form of social media that promotes Harry Potter. There are tons of Buzzfeed quizzes that will tell you exactly what your role at Hogwarts would be. Quizzes may tell participants which house they belong in, what position they would play on the quidditch team, and which character they are most like. Additionally, there are quizzes that test a person’s knowledge of the books, saying that only true fans will be able to get all of the questions correct.

Clearly, there are many different things that allow Harry Potter to stay relevant even though the final book was published years ago. The Harry Potter series has been popular since Harry Potter and the Sorcerer’s Stone became a bestseller, and will likely continue to be extremely popular because now the original fans will soon be passing it down to their children, creating a whole new era of fandom. When Rowling wrote Harry Potter, she didn’t just give the world a story, she created a community that adores the world she wrote about, a world that fans will never forget.

Harry, Ron, and Hermione: The Three Musketeers

After re-reading J.K. Rowling’s novel, Harry Potter and the Sorcerer’s Stone, I realized how great of a team Harry, Ron, and Hermione make. Each character has their own unique personality, skill set, and wizardly-knowledge that makes them different from one another, so when they act as a team, they are able to conquer any challenge. The bond between Harry, Ron, and Hermione is what make their characters so appealing to Rowling’s readers, because her readers can relate to the feeling of wanting to do anything to protect their friends.

There are many scenes where the three of them act as team to successfully overcome a problem. Such scenes include saving Hermione from the troll on Halloween, Harry’s first quidditch match, and releasing Hagrid’s Norwegian ridgeback to Charlie, but the most impressive one is preventing Quirrell from stealing the Sorcerer’s Stone. Harry, Ron, and Hermione’s team dynamic is especially strong in this scene, because each of them contribute their knowledge to reach the last chamber. 

In the first chamber, Harry yells, “they’re not birds! They’re keys!” which makes the three of them realize that they need to find the correct bird to open the door (Rowling, 279). Harry then uses his experience as a Seeker, which no one else has, to capture the bird and unlock the door. In the next chamber, Ron figures out how they are going to access the door and says, “I think, we’re going to have to be chessman” (Rowling, 281). Here, Ron contributes his knowledge of chess, which no one else has, to win the game and get Harry and Hermione to the next chamber. In the last chamber, Hermione reads the riddle and exclaims, “Brilliant. This isn’t magic—its logic—a puzzle,” and she figures out which potion her and Harry should drink (Rowling, 285). Here, Hermione uses her natural genius, which no one else has, to get Harry to the Stone. 

This scene shows how each character had to contribute their own knowledge in order for them all to reach the goal they wanted. Their teamwork demonstrates the advantages of working together, and how each person in the group can benefit from the other’s help. Rowling’s readers root for Harry, Ron, and Hermione, because they can relate to how they work together with their own friends in the real world. The readers see the character’s strong teamwork and can think of situations when they helped their friends, and their friends helped them. The ability to resonate with the characters, even though Rowling’s readers are not wizards, is what make this novel so popular and enjoyable to read at a young age. 

Harry Potter and the Failure of Diversity

The Harry Potter fandom has a wealth of creative material—Harry and the Potters, the band; A Very Potter Musical, the stage show; Leakycon, a full-on convention for just the series, and only one of its kind; and, of course, the plethora of cosplayers, writers, and artists who have contributed their talents in service of the series. What all of these things have in common is their departure from canon—that is, they may take the setting or characters Rowling created, but insert them into completely different contexts and storylines.

In my experience, out of all the fandoms I’ve seen, the transformative aspect of Harry Potter fan culture is unparalleled. The most popular relationship that fans write about, for example, is Harry Potter and Draco Malfoy—an idea that anyone who has read the books (including those who ship Harry and Draco) would likely agree is fairly far-fetched. This fact, however, has little bearing on fandom interpretation, and it stretches beyond the “Drarry” phenomenon as well; very little of the fan-created works follow Rowling’s actual series, at least when it comes to character relationships and characterization itself.

One possible reason for this could be the diversity of the Harry Potter fandom; the books and films gained international popularity to an extent that not many series had been able to do until them or have been able to do since. Harry Potter was (and still is, somehow) known and loved by people from different racial backgrounds, ethnicities, genders, sexualities, and belief systems. It is fairly understandable, then, that the minorities of society—people of color, non cishet people, people with mental illnesses, etc.---would be interested in taking characters they love and shaping them to fit aspects of their lived experience. Though the “Drarry” shippers do have members that are only interested in fetishizing gay male relationships, there is no shortage of LGBT people who also engaged with the concept; it’s actually a fairly popular notion that a gay man’s first experience with “gay media” could have been Drarry fanfiction. Another popular headcanon that goes rather directly against canon is that of Harry Potter being an Indian person, and of course there is also the idea of Hermione as black that we discussed in class.

The fact of Harry Potter’s diverse fanbase, then, in relation to the relative non-diversity of the actual series (the single Asian character is named Cho Chang? Really?) plays a definitive and rather obvious role in the transformative works that get created for the series. People like to see themselves in their favorite stories, and if those stories deny them that, then they must take that responsibility into their own hands.

Perhaps this is one reason Rowling is trying to retro-actively write her books; perhaps she realized that they were popular with people outside of her own (white, British, cisgender, heterosexual, abled, neurotypical) social sphere and felt the need to cater to them in some way. It feels a bit tokenistic, though; she’s able to say that her world is diverse without actually putting in the effort to make it that way. In my opinion, the work of the fans has far more value in terms of good representation that Rowling’s half-baked, unfinished, late attempts at the same thing.

Harry Potter and Greek Organizations

            Millions of Americans decide that they want to pledge a Greek house during college, but why? What drives millions of 18-19 year old’s to all determine that joining a large social organization is the right thing for them? The desire to belong to a social group has been ever present in our society. From the beginning of the stone ages, humans banded together in communities to better the odds of survival. Today, people still join Greek organizations, join clubs, and congregate in groups for various reasons to feel like they belong in a group. In “Harry Potter and the Sorcerer’s Stone”, it is no different. When the students first travel to Hogwarts School of Witchcraft and Wizarding, they are placed into different houses. These houses are where the students live, who they compete for, and who they also become the closest friends with. I believe that the houses of Hogwarts are no different than the social fraternities that college students join today because of the students desire to fit in and the need to have allegiance to a certain group.

            

            The desire to fit in to society is one that humans will never escape. In “Harry Potter”, most of the students have an idea of what house they want to join when they put on the Sorting Hat. Ron Weasley is worried that he will not be placed in Gryffindor, since the entirety of his family was in Gryffindor, and Harry was nervous not to be placed into Slytherin. Before the students had stepped a foot into the castle, they were already developing ideas about their social group and which they wanted to join. “Harry gripped the edge of the stool and thought, not Slytherin, not Slytherin” (Rowling 121). Harry had only recently learned of the wizarding world, yet there was a certain group he knew he did not want to be a part of. The Greek system is no different, with many students entering Indiana University hearing rumors about this fraternity or that sorority, and then determining based off of that rumor they did not want to be in that organization. 

            

            The second similarity between Greek organizations and the houses of Hogwarts is the desire to feel allegiance to a certain group. On Indiana’s University’s campus, the need for allegiance is quite evident through the Little 500 race. All of the fans are wearing their organizations gear cheering their heart out. This is seen very clearly at Hogwarts with the wizarding sport of Quidditch. Each house fields a team for Quidditch and the team with the best record wins the Quidditch Cup. When there is a match, all of the students from every grade go to support the Quidditch team. “By eleven o’clock the whole school seemed to be out in the stands around the Quidditch pitch” (184). The allegiance for one’s house drives the competitive desire to win for everyone in the house, which is no different than IU students during Little 500.

Capitol vs. Reality

The comparison between the world we see in The Hunger Games and the world we live in seems like a stark contrast.  However, there are several points in the novel where Suzanne Collins points out chilling similarities.  One happens to be the idea of violence and drama being televised and shown as entertainment.  Of course, in the context of the story, North America has been carved up and subjugated to providing for those in charge at the Capitol.  However, around 74 years prior to the events of the story, the Districts who provided for the few rebelled.  They were beaten back by the advanced technology the Capitol possessed.  The Hunger Games are televised gladiator matches that are meant remind the control the Capitol has over the districts.  Katniss describes the impact of the Games by speaking for the Capitol: “Look how we take your children and sacrifice them and there’s nothing you can do. If you lift a finger, we will destroy every last one of you” (Collins, 19). In contrast, there is no show on TV that is meant to oppress an entire society, but there is similarity in what people are willing to watch.  Reality TV depicts drama in shows like Keeping Up With the Kardashians or Jersey Shore. Sometimes the drama elevates to actual violence. There are sports like UFC where the main goal is to beat your opponent into submission and blood being spilled is almost expected.  However, the general attitude towards this violence and drama is positive.  Ratings become higher with the amount of drama and violence.  More people are willing to tune in to see it which directly parallels the Games in the Capitol.  People there are more willing to watch spend money in response to the drama. Katniss realizes the reason Peeta played up their romance is because it “must be so popular with the audience that condemning it would jeopardize the success of the Games” (247).  More often than not, the main draw to many TV shows is their inclusion of romance.  This is true both to reality and the novel.  All in all, it is clear that Collins is pointing out the similarities between the reality we watch on our TVs and the reality the Capitol watches on theirs.

Comparison of Katniss and Haymitch

Katniss is compared to Haymitch several times in The Hunger Games, often as Peeta telling her they are similar to each other. They both come off as hostile and defensive to most people, so they are similar in a superficial way. However, Katniss reflects that they also seem to have a deeper understanding of each other. She realizes he only sends gifts to her because she’ll understand the underlying message and the strategy behind them, whereas Peeta doesn’t think enough like Haymitch to pick up on it. This realization segues into Katniss thinking about Haymitch’s life. Specifically, she thinks about how dark his role is, realizing, “It must be hell to mentor two kids and then watch them die. Year after year” (306). This is followed by another, even darker realization, “If I get out of here, that will be my job” (306).

The comparisons drawn between Katniss and Haymitch prior to this tie her not just to him, but to his future. Katniss realizes that her life after the games, if she has one, won’t just be as a mentor like any other victor. She will end up like Haymitch: smart enough to win, but not to save her future tributes. This comparison undermines the sense of victory, success, and relief that came with the idea of Katniss winning before. Now the realization of what her life will be like after the games shows that there is no way to truly “win” in the society they live in. Katniss has been snatched from a life of poverty, to a fight to the death, to later carry the burden of every child from her district that dies in the games after her. This is one of the moments of the first book in which the scope of Katniss’s struggle, as well as that of Panem as a whole, is widened to show the underlying issues in their society, not just the injustice of the games and the action within them. 

Katniss: The Peaceful Hunter

            The lack of food in District 12 unfortunately represents the situation that some Americans are in during the Corona virus pandemic. The depletion of food and supplies in stores now is due to some businesses being temporarily shut down and the fact that many people are stocking up because they do not know when the next time they will be able to go to the grocery store again. The latter is an interesting phenomenon. When people are unaware of the future, we turn on our animalistic senses and suddenly its every man for himself. The Hunger Games can be seen as almost an exact parallel to this scenario. The fates of no tributes are guaranteed during the Hunger Games; the two choices are either life or death. When they wake up, tributes do not know if they will make it long enough to be see the sun set that night. Because of this, their animalistic and barbaric behaviors are revealed. Right as the starting gong rings, less than a minute into the Hunger Games, Katniss recounts that “already the other tributes have reached the Cornucopia and are spreading out to attack” (150 Collins). The violent behaviors of the tributes are expected by everyone, especially the Capitol, whose interest in the games is fueled by the violence. Interestingly enough, it is Katniss’s lack of violence that deems her a hero. Katniss only directly kills someone significantly late in the Hunger Games. Nonetheless, her killing is only a reaction to the fact that this boy kills Rue. Even after Katniss kills him, she cannot help but feel guilty at the fact that “I killed a boy whose name I don’t even know” (243). This further reveals that, even in a high stress situation, violence is not her natural instinct. Other than this, Katniss does not show any signs of violence or barbarity. In the eyes of the struggling and starving members of the poorer districts, especially 11 and 12, Katniss’s peaceful and selfless acts regarding Rue’s death make her a hero. However, these somewhat defiant actions push her to become less and less appealing to the game makers, who ultimately want entertaining bloodshed, not a proper burial. 

Placing Blame in the Hunger Games

Blame is a fascinating concept. People, both in real-life and in fiction, love to place blame for multiple reasons; maybe it makes them feel better about understanding the cause of an outcome, maybe it makes them feel better that they can impose justice. However, in the case of the Hunger Games, there isn’t much logic for participants in the games to look for blame. After all, the Capitol are the ones putting on the games, and considering their perceived strength at this point in the trilogy, finding time to blame them is not a key point of survival. This is probably one of the reasons the Capitol has been in such complete power for so long- people who actually experience the Hunger Games (and live to tell the tale) don’t waste their time thinking about justice or who should be held responsible for the atrocious event. Haymitch Abernathy is a prime example of this; as one of only two tributes from District 12 to ever win the Games and Katniss Everdeen’s mentor, he understands the nuances of being a tribute trying to survive (ie. acting likable to get sponsors), and essentially plays by the Capitol’s rules because he knows that it is the best way for either of his tributes to survive. While Haymitch clearly is not the Capitol’s biggest fan, he never really places blame on them for holding the Games- after all, he feels this would serve as a distraction to Katniss in the arena. Even after she and Peeta win the games and he reveals to Katniss that she is in danger from the Capitol for outsmarting them, he convinces Katniss to blame her decision at the end of the Games on her love for Peeta, as opposed to making it a declaration against the Capitol’s atrocities on live television. This shows that Haymitch is willing to put aside the blame he feels toward the Capitol in order to play their game and thus help Katniss survive.

Despite the feelings of her mentor, Katniss feels differently- throughout the novel, she consistently focuses on the blame she places on the Capitol for the Games, especially when dealing with an emotional situation. For example, as Katniss explains in the immediate aftermath of Rue’s death, “My hatred of the Capitol has not lessened my hatred of my competitors in the least. Especially the Careers. They, at least, can be made to pay for Rue’s death” (Collins, 238). Katniss’ thought process shows that she places the entire blame for the Games on the Capitol, but unlike Haymitch who chooses to put aside his blame and focus on doing whatever he can to promote the survival of his mentees, Katniss acknowledges that it is improbable that she will ever get justice against the Capitol and instead projects her blame onto the Careers. It does make sense that Katniss feels hatred toward these tributes- they glorify the Games by training their whole lives for them- but, in essence, these people are being subjected to the same atrocities that she is, and the Capitol is seemingly to blame for that fact. Therefore, while Katniss’ projection of blame onto the Careers positively affects her survival, it also illustrates the nuances of blame itself in the Hunger Games- after all, taking the anger she feels toward Rue’s death out on the Careers is exactly what the Capitol wants her to do.

The Absurd Attraction of Violence

Change doesn’t happen without an uprising, and the country of Panem is no different. Except, in The Hunger Games, an uprising didn’t cause any change. It just made the Capitol of the country hungry for violence. Every year, in punishment for hte uprising, each of the twelve districts provides tributes to participate in a fight to the death. Taking the kids from the distrits, forcing them to kill one another while the country watches in a disturbing reality TV show, this is the way that the Capitol reminds the people of Panem that they are totally at mercy of those in charge. Throughout the novel, the population of the Capitol eats up as much violence as the tributes can make. When Katniss and Peeta fly out during the opening ceremonies, entirely on fire, the members of the Capitol go nutes. “The crowd’s initial alarm at our appearance quickly changes to cheers” (Collins 78). As soon as the Games start, blood rains, and it’s clear that if the members of the Capitol didn’t love it, there would be no purpose for the Games. And when things get boring, the Gamemakers alter the environment to push the tributes near each other or simply kill someone off. This first happens to Katniss when a wall of fire descends upon her after she gets a moment to relax. She notices, “Things have been too quiet today. No deaths, perhaps no fights at all. The audience in the Capitol will be getting bored, claiming that these games are verging on dullness. This is the one thing the Games must not do” (Collins 173).This part of the novel gives the readers a really interesting glimpse into the eyes of those in the Capitol. To them, these Games are not twenty-three children dying. To these members of the Capitol, these Games are something fun to follow along during their summer.  Again, readers see this after Peeta and Katniss win the Games during their Victor’s interview. Caesar Flickerman talks about the events of the Games as if no trauma happened to either of them, just a couple of bumps and bruises that the two will have no problems getting over. The entire interview reflects how simple the Games are to the people who will never have to undergo them. They will never have to feel the fear that the tributes and their families fear. They are free, and this is just a Game. 

Katniss's Thoughts: The Result of Trauma and Neglect

            Within the novel The Hunger Games, Suzanne Collins allows the reader to see Katniss’s thought process as she makes decisions, both inside the arena and outside, as a way to depict the trauma that Katniss has as a result of neglect from years of living in the poorest district. Throughout the novel, Katniss is skeptical of any help she receives, and because of this the reader can see her thought process as she works through why she could be receiving help and what motives the other person might be. A clear example of this occurs early in the novel, when Peeta offers to take care of Haymitch after he passes out in his own vomit. Katniss quickly thinks “Possibly Peeta is trying to make a good impression on him, to be [Haymitch’s] favorite once the Games begin” (48), but this confuses her as Haymitch won’t have any memory of this until she realizes “it’s because [Peeta]’s being kind” (49). The distrust that Katniss feels when Peeta is kind on the train is Collins’s way of showing the reader that Katniss has grown to be distrustful of anyone after years of never being shown any kindness in District 12. The Capitol abandoned the districts and restricted their food to demonstrate the power they hold over the districts, and it is because of this that Katniss cannot trust anyone.

            Katniss, in the arena especially, goes beyond simply doubting kindness from Peeta. She struggles to understand why Peeta has formed an alliance with the Career tributes, thinking “Obviously, the noble boy on the rooftop was playing just one more game with me” (162), but Katniss continues to overhear the Careers as they talk about her training score. Katniss realizes that Peeta hasn’t told them about her skill with a bow and arrow “which Peeta knows better than anyone… Is he saving that information because he knows it’s all that keeps him alive? Is he still pretending to love me for the audience? What is going on his head?” (163). These thoughts reveal to the reader that Katniss actively works to figure out what other people are thinking, what their motives might be. Katniss’s thoughts are a direct result of the neglect she felt from the Capitol, and even while fighting to survive in the arena, her thoughts are constantly surrounding what the audience in the Capitol might think if she does this or what Gale “makes of all this kissing” (280).  Collins narrates an unfiltered stream of thoughts and feelings to help the reader understand just how deep the neglect and trauma from the Capitol go.

The Hunger Games and Social Media

Suzanne Collins’ novel, The Hunger Games, is about a future dystopia in which 24 children from 12 districts of varying levels of poverty are forced to fight one another until only one person leaves the arena alive for the promise of a lifetime of wealth; the shocking nature of the novel is how clearly many aspects parallel with modern society in the world, especially the United States. Throughout the novel, appearances are incredibly influential in a game that every scenario is being watched closely for the entertainment of the more privileged in the Capitol. It begins the second that Primrose Everdeen’s name was drawn and read aloud at the reaping, and Katniss fought out to take her place, screaming, ““I volunteer! I volunteer as tribute” (Collins). Katniss refuses to cry, even when she says goodbye to her family and closest friends for what she believes to be the last time she will ever see them, because she knows that the cameras will see her puffy eyes and she will appear weak to her competitors. This fight to maintain appearances in order to gain support inside the arena through sponsors intensifies as the games go on: Katniss’ fights to be seen as beautiful by allowing her designers to wax her entire body and literally lite her on fire, she creates a façade in order to win over the spectators during the onstage interview, and she even joins an on-camera romance with Peeta regardless of her lack of feelings for him. Appearances are everything in the novel and in the world today. The world is increasingly influenced by social media platforms, which work hauntingly similar to the Hunger Games. Many users feel forced to join the platforms in order to stay connected with others, then are swept into a game of comparison and popularity. Social media has become riddled with filters, photoshop, and editing so well done, that many believe their false appearances like the people of the Capitol believed the false front that Katniss presented at every turn. Ironically, there are even sponsors in real life too. Sponsors through social media pay individuals to sell, market, and show off their products/services. This parallels with the sponsors in the Hunger Games that expect the tributes to act and perform a certain way in order to gain their sponsorship. Overall, I think that the Hunger Games exaggerates very real, toxic qualities that exist in the modern world in order to highlight the truth behind them.

The Reversal of Gender Stereotypes

            In my opinion, one of the most fascinating developments in the novel revolves around the reversal of stereotypical gender roles in our society.  In general, people tend to associate emotion-driven behavior and expressiveness with females, while relating a cold, calculating mentality and the concealment of emotion with males.  Nonetheless, these traditional ideas of gender behavior flip during Suzanne Collins’s The Hunger Games, with Katniss ultimately assuming the traditionally male role and Pita demonstrating aspects of a stereotypical female character throughout the novel.

            One of the most prominent examples of Katniss’s mentality evidences itself through her initial indifference towards Peeta’s wellbeing.  Despite recognizing him during the Hunger Games reaping and even contemplating if she should express her gratitude for their past encounter at the bakery, Katniss ultimately demonstrates that she maintains a sense of indifference towards him.  For example, she internally deems, “There will be twenty-four of us. Odds are someone else will kill him before I do” (Collins 33).  This complete lack of sympathy towards Peeta reiterates her internal differentiation from the woman stereotype.  Later in novel, when Katniss and Peeta form an alliance, Katniss becomes the voice of reason and decision-making in the group, once again signaling Collins’s effort to distinguish Katniss from the typical female character.  For example, when Claudius Templesmith invites the remaining tributes to a feast which will include an team necessity, Katniss volunteers without hesitation.  However, upon recognizing a sense of dissent from Peeta, Katniss forcibly feeds him a sleeping syrup.  Katniss narrates, “I clamp my hand over his mouth and nose hard, forcing him to swallow instead of spit” (Collins 277).  Ultimately this stern, decisive behavior differs from that of most women.

            On the other hand, Peeta, although physically and mentally robust, relies on emotions to dictate decisions and remains must more expressive of his opinions that Katniss.  For example, during the interview with Caeser, Peeta reveals his affection for Katniss, claiming, in regard to Katniss, “‘Well there is this one girl. I’ve had a crush on her ever since I can remember. But I’m pretty sure she didn’t know I was alive until the reaping’” (Collins 138).  Peeta’s ability to make such an emotional revelation to an audience of that size contrasts with Katniss’s reluctance to show her feelings unless advantageous for her.  Furthermore, after the games conclude, Peeta makes it evident to Katniss that his crush on her has not subsided.  Nonetheless, Peeta ultimately realizes that although he possesses an authentic sense of affection towards Katniss, she merely acts in a loving manner during the Hunger Games to win over the crowd.   For example, Peeta states, in recognition of her true emotions, “‘It was all for the Games’” (Collins 372).  In conclusion, Peeta’s sense of openness and his inability to conceal his emotion differs from the stereotypical male role, a position with Katniss embodies in the novel through her calculating, logical nature.

Katniss, the Mockingjay, and Rebellion Against the Capitol

In The Hunger Games by Suzanne Collins, the mockingjay acts as a symbol of strength and rebellion for Katniss as she fights through the games. The creation story of the mockingjay itself represents defiance because the mockingjay is “something of a slap in the face to the Capitol” (42). During the rebellion, the Capitol created jabberjays, genetically altered birds, to memorize people’s conversations in the districts and report back to the Capitol. The jabberjays were ultimately a failure as rebels found out and fed these birds lies; while they were left to die off, they instead mated with mockingbirds to create mockingjays that could mimic both bird whistles and human vocal sounds and sing whole songs.

The mockingjay develops a personal significance throughout the book as it plays a role in several of her relationships. When Katniss would hunt with her father before he died, “he would whistle or sing complicated songs to them and, after a polite pause, they’d always sing back” (43). When she would hunt alone and see a little bird, it would remind her of her father and his protection over her. The mockingjay becomes an important symbol for Katniss when her friend Madge gives her a pin of the mockingjay before she goes off to fight in the Hunger Games, which serves Katniss as her symbol of District 12 that she can wear in the games. It also validates Katniss’s friendship with Madge. Once Katniss enters the games and becomes allies with Rue, they create a plan to use mockingjays to communicate that Rue is “okay, only [she] can’t get back right away” (213).

Once Rue dies in the games, Katniss fully becomes the mockingjay in spirit; she defies her purpose of being a ruthless tribute in the Hunger Games and gives Rue a proper burial. Her hatred of the Capitol is the strongest after Rue dies, and Katniss is determined more than ever to take revenge for Rue’s young death. When Katniss and Peeta do end up winning the Hunger Games together, they do so by blatantly defying the Capitol and threatening to die together after it is announced that there can only be one winner. At the end of the novel, Katniss is a Capitol experiment gone wrong just as the mockingjay was; Katniss herself now represents the spirit of the rebellion against the Capitol.

Appearance and the Games

Suzanne Collins’ “The Hunger Games” focuses on the importance of appearances in the media. Throughout the brutal competition, which is televised with the same level of excitement as a new season of “The Bachelor”, the tributes have to focus as much on their appearance as their survival skills. It starts well before the games, when the tributes enter the “Remake Center” in which they’re waxed, cleaned, and dressed to match the capital (61). Katniss’ stylist, Cinna, makes it clear that the goal with their introductions is to “make the District Twelve tributes unforgettable” (66). The games operate like a reality television show, and because of this, it’s important for the tributes to gain support and sponsors from those watching. All of the interviews and meetings leading up to the Games are intended to help them solidify a fan base, and appearance is a big part of that. They first gain support from the Capitol when they are introduced in the chariot rides, where, because of their stunning appearance, “every head is turned [their] way” (78). Before the initial presentation, the focus was on the usual suspects, the Careers from the higher districts, but once Peeta and Katniss have been decorated by the stylists, the attention of the Capitol is on them.

It’s not only physical appearance, however, that is necessary for the tributes to maintain support. Peeta’s decision to tell the Capitol that he is in love with Katniss has the intended reaction. Caesar Flickerman tells him, “I think I speak for all of Panem which I say our hearts are with yours” (133). Katniss is resistant at first, claiming that Peeta being in love with her made her “look weak”, but Haymitch counters and tells her that he “made [her] look desirable” (135). Once she understands the advantage that this gives her, she makes sure to keep in mind the “importance of the star-crossed lover routine” (281) and utilises it to gain support from the capitol, who, unlike the districts, watch the Games apparently without any real sense of the horror unfolding before them. Because they maintain their appearances and pander to the audience, Katniss and Peeta are able to receive vital help that ultimately results in their victory. It’s through their appearance alone that they win the Games, winning outside help that keeps them alive until the end.

Reality vs. Reality TV

In The Hunger Games, Suzanne Collins illustrates problems in modern day America through her portrayal of violence and reality television. The novel touches on the modern desensitization of violence and cruelty for the sake of entertainment. For the games, the characters must present and sacrifice themselves for the government of Panem. However, the people of the capital do not view this transgression as immoral. Rather, competing in the Hunger Games is a symbol of honor, and the winners are guaranteed fame. This violent-fueled entertainment shows an overarching romanticism with violence in America, and their lack of empathy towards the competitors highlights the lack of awareness surrounding reality television.  

Throughout the novel, the people of Panem express their excitement over the games. They watch the tributes every move, and they discuss whom they think will win. Collins emphasizes this obsession with the games to display the lack of empathy towards violence in modern day America. This is plausible because many people behave in a similar fashion to those from the capital. Undoubtedly, there is a disconnect from what reality contestants feel and the viewers see. Often, watchers do not take into consideration feelings, pain, or conflict. Instead, they view the contestants as a source of entertainment, failing to recognize them as actual people. Collins chooses to incorporate reality television because it inherently proves a point of desensitization. By making it a reality television show or event, she is able to display real-time desensitization of the Game’s violence. For example, in chapter 5, crowds go wild over the reveal of the tributes riding in on their chariots. Katniss describes, “The people of the capital are going nuts, showering us with flowers, shouting our names, our first names, which they have bothered to find on the program. The pounding music, the cheers, the admiration work their way into my blood” (78). Although 23 of the tributes will die in the games, audiences portray extreme excitement upon viewing them. They look on, adoring their beauty and pick who they hope to win. Despite the cruelty of their ignorance, this excitement displays a main message of the novel. In fact, this cruelty should be shocking, because it is how Collins displays the inappropriate nature of violence in television. By dramatizing the idea of reality television, Collins criticizes the glorification of violence. The intense and shocking imagery of excited crowds emphasizes the harsh divide between the reality of the tributes and how others view their transgression on TV.