In “J.K. Rowling’s Ministry of Magic J,” author Stephen King attempts to detail the literary mastery displayed by the magical elements that have become the defining features of Rowlings works – the aspects that create that magical moment that have made Rowling’s followers and readers of her work want more of her fantastical universe.King’s work is a comprehensive analysis of the history, areas of inquiry, the individual and comparative literary merit of her work against other works, and how she ultimately demonstrated how she managed to create a magical and unforgettable world that inspires and imprints itself eternally in the readers’ minds; but one that needs further dissection to understand whether his perspective precisely captures what is magical about Rowlings’s work (King 321). According to King, as the reader immerses themselves deeper and deeper into Rowling’s works, they realize the creation of the Hogwarts School world is so magical that it has become so popular among young people and adults, leading them to return to the fast-declining culture of reading books – replaced by the advanced technologies that allow depicts in film, audio or other forms that require less perusing of books.
King’s perspective is fascinating because he argues that now that J.K. Rowlings is done with her series, the “battle is lost and won” (King 322). I agree with his perspectives because Rowling’s works are so magical that readers find themselves wanting more and more. Readers find the readings interesting because the characters’ growth is legendary, and many feel they can identify with them (Yuxuan 94). For many young people who grew up as Rowlings released her universe of the Hogwarts school, the characters were the same age or slightly older or younger. As the series came one by one, the characters developed as the readers grew physically, mentally, and spirituality, and this was a reflection of themselves – they could see themselves in a fantasy world maturing just as Harry Porter and the others grew older and older with more magical skilled and mature decision-making abilities. Accordingly, the character’s growth is not just a reflection of the continuity of Rowling’s work of literature. It was timed perfectly to align with the youngsters as they grew up to become young adults, making the books popular with children and the younger adults who identify with them.
The most compelling support for the growth theme in the series is how J.K. Rowlings became a more talented writer in presenting her literary work from her first character, J.K. Stine – but this does not exclude her from the critique that she may have experienced creative fatigue and continuity drops. I agree that while Rowling grew as an author during this period, there were those times when readers and literary critics felt that sometimes the readers would disconnect from the character development (Yee 71). Still, I am afraid I have to disagree that it showed that she had a period where her creativity was negatively impacted by how much she had written throughout her book series publication. The truth is that boredom is a period that one has affective experiences of predictability and repetition of routines while providing the individual’s mind with the time, energy, and peace to rejuvenate the imaginative and creative centres of the brain – thus opening the door for the subsequent most innovative and inventive period of one’s life. While I may agree that too much of the same thing combined with very minimal stimulation can result in the individual lacking the desire to perform their best as they feel entrapped, J.K. Rowling’s success is indicative that people ultimately triumph over this state of mind and produce creative and magical moments as experienced in the universe of Hogwarts’ school.
Work Cited
King, Stephen. “JK Rowling’s Ministry of Magic.” Entertainment Weekly 948 (2007): 321- 323.
Yee, Marian. “The Disenchantment of Harry Potter: How Magic Died and the Wizarding World
Became Modern.” In The Harry Potter Generation: Essays on Growing Up with the Series. McFarland, 2019, 69 – 82.
Yuxuan, C. H. A. N. G. “An Analysis of the Secondary World in Harry Porter Series from the
Perspective of Fantasy Theory.” Studies in Literature and Language 20.3 (2020): 92-98.
write