![]() ![]() ![]() 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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