Harry Potter is a modern phenomenon
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By January 1999, the AP was calling Potter a sensation, noting in a brief item that “Joanne Rowling has gone from hard-up single mother to literary phenomenon.” In July 1999, the “p-word” appeared in long articles in the Los Angeles Times, Publishers Weekly and the Times, which observed that “Hannibal Lecter and Harry Potter are shaping up as the summer’s must reads,” but then added, with a bit of a wink, “Harry who?”
By 2000, Harry was a friend to millions, the toast of midnight book parties around the world. For a time, the first three Potter books held the top positions on the Times’ hardcover fiction list of best sellers, leading the newspaper to create a separate category for children’s books. The fourth work, “Harry Potter and the Goblet of Fire,” had a first printing of 3.8 million in the United States alone. The release date became 12:01 a.m., sharp, “so everyone could come to it at the same time — no spoilers!” according to Scholastic spokeswoman Kyle Good.
Potter was pulling in all ages. Rene Kirkpatrick, a buyer for All for Kids Books & Music, an independent store based in Seattle, says the appeal to grown-ups set Potter apart. She began noticing that adults not only read Rowling, but would browse through other titles in the children’s fantasy section.
“People were beginning to realize that there was some extraordinary literature written for people under 19,” she says. “It doesn’t feel odd anymore for adults to be seen reading children’s books. ... Potter has made a big difference.”
“Potter has greatly expanded the real estate for young adult fiction,” says Doug Whiteman, president of the Penguin Young Readers Group, a division of Penguin Group (USA). “The teen section of a bookstore is now quite a substantial area, shopped in not only by teens, but by parents.”
Internet explosion
Meanwhile, Potter was alive and breeding on the Internet, thanks to fan sites such as http://www.the-leaky-cauldron.org/ and http://www.mugglenet.com. Potter Web masters Emerson Spartz of Leaky Cauldron and Melissa Anelli of Mugglenet agree that between 2000 and 2003 the Potter galaxy exploded again, from publishing phenomenon to cultural phenomenon. Spartz notes the release of the first Potter movie, in 2001. Anelli refers to the three-year wait for book five, “Harry Potter and the Order of the Phoenix.”
“Around 2000, message boards, mailing lists, blogs were starting to form into the community hubs we have now. So the fans, who were desperately awaiting word on the fifth book ... obsessed together on the Internet, writing their own fan fiction, having huge discussions picking every last piece of the canon apart and finding whatever way possible to make the wait tolerable,” says Anelli, who is writing a history of Potter, due out in 2008.
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“This built on itself exponentially until, by the time the fifth book came out in 2003, there was a rabid, active, flourishing online community that was spilling off the Net and into bookstores.”
No longer was Rowling called the new Dahl. Now, publishers looked for the next J.K. Rowling. Countless works, from Cornelia Funke’s “The Thief Lord” to Christopher Paolini’s “Eragon,” were compared to Potter. Again, a common symptom, like all the “new Bob Dylans” or the science fiction projects that followed “Star Wars,” including the first “Star Trek” movie.
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