![]() ![]() So even then and there you had some (implied) racial diversity, even if not very obvious. Cho Chang is an asian name, but she appears in the third book. Angelina Johnson had hairstyle that looked like "worms coming out of her head" (meaning dreads, again). In the first book Lee Jordan was black (or at least I assumed so, because he had dreads, which is typical hairstyle for black people). But a retreat to a cozy POWER fantasy? I am not seeing it. The answer I'm giving is the correct one: for large numbers of middle-class English (and more broadly White) people, it was a retreat to a cozy power fantasy as compensation for alienation in a world in which the English (and more generally White people) were losing power as a nation/as nations, becoming demographically marginalized, personally powerless, hated by their governments, and irrelevant - it happened at a cusp moment, as one thing (English/UK/US, etc., power, traditions and sense of destiny) was finally fading out, and another (increasing neoliberalism/globalism, with the wearisome "anomalies" it brings) was on the rise.Īnother way of putting it might be that it represented a cheerier sort of ersatz "home" (a place where they were special and belonged) as a psychologically satisficing substitute for the real home they were losing.Ī retreat to a cozy fantasy - I could buy that. ![]() But it's something of note when a kid's book becomes wildly popular with adults, that's much rarer. It's compensation when adults feel cozy with it, and the popularity-with-adults phenomenon is the thing we're interested in, no? It's no great shakes if some kid's book becomes popular with kids, it happens from time to time. ![]()
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