domingo, 29 de abril de 2012

Two Refreshing Splashes of Summertime Homicide By Janet Maslin


Two Refreshing Splashes of Summertime Homicide

By Janet Maslin  
 Benjamin Black (photo)

A DEATH IN SUMMER
By Benjamin Black
308 pages. Henry Holt & Company. $25.

TIGERLILY’S ORCHIDS
By Ruth Rendell
257 pages. Scribner. $26.

Both Benjamin Black and Ruth Rendell have written inviting new novels filled with nicely malevolent characters. It hardly seems sporting to relegate these books to the murder-story genre just because some of those characters wind up dead of unnatural causes.
Benjamin Black, whose fifth book is “A Death in Summer,” started out as the escapist alter ego of John Banville, who won the Man Booker Prize for his 2005 novel “The Sea.” But his Black persona has been such a success that he looks increasingly like the Superman to Mr. Banville’s more literary Clark Kent. His books about the dour Irish pathologist named Quirke have effortless flair, with their period-piece cinematic ambience and their sultry romance. The Black books are much more like Alan Furst’s elegant, doom-infused World War II spy books than like standard crime tales.
“Through the satin stuff of her dress he could feel the twin sharp flanges of her shoulder blades,” this new book says of Quirke and his latest flame. (Note the voluptuous satin.) “Her sobs made them twitch like tensely folded wings.” The weeping woman is beautiful, French, aloof and newly widowed. And Quirke would be a lot more comfortable with Françoise d’Aubigny if he were not also dealing with the corpse of her newly murdered husband, an Irish newspaper tycoon named Richard Jewell. He is just guilty enough to feel “a whiff of brimstone” while succumbing to her dangerous allure.
Like Ms. Rendell, the so-called Benjamin Black is astute and particular in capturing such nuances. And for both of them the crime-solving aspect of storytelling is not a book’s top priority. So “A Death in Summer” takes its sweet time figuring out who wanted to get rid of Richard Jewell. While waiting it often allows its characters to shiver and tremble unaccountably in summer weather and succumbs to the occasional fit of verbosity. At one atypically overripe moment the author manages to use “miasmic,” “ether,” “teeming,” “bacilli,” “succumb,” “writhe” and “tender torment” in the same sentence.
The four Black books are very similar in caliber. But they become increasingly complicated as Quirke’s past escapades pile up. In addition to its abundant back story “A Death in Summer” has an unusual interest in the uncertainties that faced Irish Jews (Richard Jewell was one) in the post-World War II era. Some of the book’s characters choose to recall recent history and notice anti-Semitism while others remain willfully oblivious, and the clash can be dramatic.
“Jewishness is a state of mind,” insists Quirke’s daughter Phoebe, who has picked up that idea from her Jewish suitor. “It most certainly is more than a state of mind,” counters Rose, the incongruous American Southerner in this book full of Dubliners. Rose also says, “Some of the most charming and cultivated men I have known were bigots to the bone.”
Yet Rose is a lot more bighearted than the people Ms. Rendell imagines in her latest artful stand-alone, “Tigerlily’s Orchids.” At 81, Ms. Rendell, a k a Barbara Vine, a k a Baroness Rendell of Babergh, a member of the House of Lords, continues to write in impeccable form, dripping both mirth and malice. So she centers this book on Lichfield House, an apartment building that has six flats, and begins by ticking off its motley crew of residents. First up: the nasty Ms. Olwen Curtis, whose all-purpose reply to any remark made to her is “Not really.” Having survived two husbands and become free to do whatever she wants, Olwen has decided to drink herself to death. That’s it. No other plans.
But nothing, not even self-destruction, is easy in this well-built little book. How is Olwen to solve the logistical problem she has created? She’s not very strong; how is she going to haul home all those bottles and get them upstairs to Flat 6?
Now Ms. Rendell introduces the residents of the other five apartments and their interlocking problems. Although the characters in “Tigerlily’s Orchids” ricochet off one another constantly, none of them has any understanding of the others. Each is utterly self-absorbed, none more so than a busybody named Duncan Yeardon who lives in a nearby building. As Duncan nosily watches the residents of Lichfield House come and go, he displays a talent for totally misunderstanding them all.
Duncan is at his most clueless when it comes to the neighborhood’s beautiful, uncommunicative young Asian woman who lives in a building that has a summerhouse in its yard. Duncan thinks of her as Tigerlily and imagines her as the exotic orchid grower of the book’s mischievous title. So we know what she is not. Long before the book reaches its denouement and explains Tigerlily, Ms. Rendell has created multiple reasons for ambulances to visit the neighborhood and a string of half-comical misunderstandings. This book’s tone would be screwball if its story didn’t have a body count.
Among Ms. Rendell’s most enjoyable creations are Michael Constantine, a columnist who is always looking for fodder (a snowfall makes him wonder if he should write “something about the crystals all being of a different pattern”); Stuart Font, a show-off who cannot pass a mirror without being captivated; Freddy Livorno, who uses bugging equipment to find out that Stuart has bewitched not only himself but also Freddy’s wife, Claudia; and at least one character who is conducting a secret life on the Internet, with unfortunate consequences.
For an ordinary author this densely populated story might have too many moving parts. For Ms. Rendell it’s one more merry chance to create seemingly harmless characters and lead them into harm’s way.
This article has been revised to reflect the following correction:

Correction: July 14, 2011
The Books of The Times review on July 4, about “A Death in Summer” by Benjamin Black (a pseudonym of the author John Banville), and “Tigerlily’s Orchids” by Ruth Rendell, misstated the number of books Mr. Banville has published as Benjamin Black. “A Death in Summer” is the fifth, not the fourth.

‘Bright’s Passage’ (Excerpt) By JOSH RITTER


‘Bright’s Passage’ (Excerpt)

By JOSH RITTER


1
The baby boy wriggled in his arms, a warm, wet mass, softer than a goat and hairier than a rabbit kit. He held a blade over a candle flame for some time, then cut the cord and rubbed the baby with a wetted shirt. When this was done he laid the child in a basket near the fire and then stood at the head of the bed and looked down at his wife’s face a long moment. Abruptly, he bent low and placed his head near her mouth, staying all the while stone silent, waiting for some whisper from her lips. At last he stood straight once more, seeming to disappear into the still blackness of the low rafters as if he had become just another of the cabin’s shadows. The child began to cry, and he turned to look at it lying there by the glow of the dying fire.
The man paced the floor, biting the large front knuckle of his fist. At length he picked the child up from its basket and lifted the flap of heavy hide over the doorway, stepping out into the last of the blue twilight as the rising sun began to gild the topmost trees along the crest of the ridge.
Although he’d lived in its shadow almost his whole life, he stood there watching the sleeping leafy hulk closely as if for the first time. The forest was in the full trembling swell of high summer, the trees clamorous for sunlight, permitting only a few stray drops of gold to fall between their leaves and onto the scraggly undergrowth below. The ridge would offer nothing in the way of hindrance should men take it upon themselves to cross it. He again put his hand to his mouth and could be seen from the dark of the nearby chestnut tree to bite down hard on that knob-knuckled, much-abused fist. When the fit had passed he sat down cross-legged on the ground, his crying baby boy in his lap. The child’s eyes were shut tightly, but its paw searched the air waveringly for something until the man put his finger down and the little hand grasped it, held it. The two waited there a while.
By and by the angel spoke from the darkness by the chestnut tree. “She’s gone.”
“Course she’s gone! What am I doing out here with the baby if she ain’t gone?”
There was silence.
“Yeah,” he said after a while, his voice catching, “she’s gone.”
“That’s how it had to be.”
“You didn’t tell me that she had to die,” the man said accusingly. “You said to do whatever you told me to do and you’d keep us safe...”
The silence continued for so long that he knew the angel would not answer him, but he continued to sit there anyway, one arm holding the child close while the other arm worked a stick into the packed dirt. The child had red hair and cried and cried.
Nearby, a hutch held several hens clucking pointlessly at one another, and atop the hutch, white against the still-dark trees, stood the she-goat. Without his mother’s rifle he had not been able to hunt that winter, and he had been forced to slaughter the goat’s kids, and finally the billy, one by one. Now the white little widow stood atop the hutch all day every day, coming down to the dirt only to forage or to be milked.
Even when his wife was hugely pregnant she had milked the she-goat to keep the milk flowing, but yesterday morning her water had broken before she’d had the chance, and the ensuing afternoon and evening had been long and frightful. Now the goat’s udder was strained to bursting. He fetched the basket from the cabin, set it on a stump, and laid his son inside it. Then, kneeling by the stream, he washed his hands clean of blood and grime. He rose with much fatigue and made his way slowly across the bedraggled stretch of dirt to the hutch, lifted the goat down and squeezed the milk into a bucket.
When the bottom of the bucket was covered with milk, he took it to the baby. Dipping his finger in the froth, he held it to the boy’s suckling mouth. He sat and fed the baby like this as the last of the dark was drawn away and the dawning sky was revealed, pink and leafed with clouds. When the baby was done eating it seemed to crumble in upon itself, and for a terrible moment he thought that the infant had died, until, by the movement of its tiny fingers, it became clear that the boy was only sleeping.
He went inside and pulled a small black lacquer box off the shelf and from this box removed an ivory comb, yellowed with age and impossibly delicate. The comb’s handle was carved in the shape of a kneeling woman, her hands folded in prayer. She wore a long gown with flowers on the fringe, and her hair was plaited into two flowing tresses on either side of her face beneath a tiny crown. It was ancient, this comb, having belonged to his mother and before that to a Queen of England.
He sat near the head of the bed and began to comb the tangles from his wife’s hair. She had thrashed all night and the odor of stale sweat hung in the room, mixing with the plummy tang of blood. He spoke softly to her and touched her face often as he ran the comb through her hair, parting it at the scalp and arranging it on either side down her shoulders like the woman on the comb. Then he straightened her body in the bed, arranging her arms across her breasts so that her palms met in an attitude of prayer.
When this was done he took a dead black ember from the fire and, using a nail, mixed it with some of the goat’s milk in a tin cup. He pulled the Bible off the shelf, lifted the age-slackened cover of the heavy book, and, using the nail as a quill, beneath the names of long-dead others wrote:
Rachel Bright
1900–1920
Wife of Henry Bright
He lifted the nail from the page and surveyed the grisly black scrawl of the epitaph. Outside, the horse began to slap its tail against the trunk of the chestnut tree. He dipped the nail once more in the ink and added:
Mother to the Future King of Heaven
When this was done he held the Bible open on his knee and read the other names, but, except for his mother and father’s and his aunt Rebecca’s, they were all strangers to him. As he read, his hand worried absently through the pages and pulled a thistle from between the leaves where it had marked, like new grass over a grave, some passage that had been special to his mother. He looked now for the page, but it was lost to him, and he threw the thistle to the coals.
He went to the cabin door and looked out on the child, then gazed up to the hills again, watching them closely. Nothing but the quantity of the light upon the canvassed green trees had changed. He retrieved the long-handled shovel that he had last used for mucking out the chicken hutch and walked beneath the dark spread of the chestnut tree to where his horse stood.
“Now git,” he said. The horse was standing directly above where he wished to bury his wife. “Now git,” he said again, and pushed himself against the horse’s shoulder.
“We have to go from here,” said the horse. “We have to take the Future King of Heaven and leave.”
“Why?”
“That will be made known to you in due time, Henry Bright. First we have to leave this place. You will burn it down.” The horse bent to the patch of timothy grass and pulled up on it, munching with a broad satisfaction.
“Where are we gonna live if we burn it down?” Bright watched the plate-shaped muscles of the big jaws working.
“That will be answered once we leave,” said the angel.
Bright’s eyes wandered over the cabin he had grown up in. His father had gone away to the coal mines to earn money before Henry was born and had died in a cave-in, leaving his wife to raise their son amid a wilderness of tendrils and gnats that seemed always on the verge of devouring the little house. Much later, after his mother died and Henry had gone off to the War, the chimney had returned itself to the land, becoming a tunnel of vines and birds’ nests so thick that the first time he had tried to cook over the fire after he came back, the smoke had driven him outside and the mourning doves had thrown themselves from the eaves to the ground in confused jumbles. Sometimes, as they lay in bed at night, it had seemed to Rachel and him as if the whole cabin was hurtling at great speed through the dark, so loudly did the wind wail through the chinks in the caulking.
“Why do you want me to burn it down?” he asked again. “That’s our house. We ain’t got any other house.”
“Then stay here — ”
“My boy needs a roof over his head.”
“ — and let your son die.”
Bright shoved the animal again, to little effect. The horse stood its ground. “We can leave, angel, but I ain’t gonna burn it down!” he yelled. “It’s all I got left!”
On the stump behind him, the baby began to cry. Bright whirled around, shielding his own tears from the horse’s view. He stood with his back to the angel for a long time, his shoulders jerking violently at first and then slowing to a composed rise and fall. He ran the back of a hand across his face and looked at the cabin.
“Henry Bright,” the angel said, finally breaking the silence, “do as I say.”
The back of Bright’s head fell forward as his chin sank to his chest. “I can’t believe this,” he said. “All right. All right, I’ll burn it down.”
He ran a hand across his face again and then, turning back, he gave the horse a final push and the animal stubbornly relinquished his ground. Then he set about digging a grave for his wife next to that of his mother. When he was knee-deep in the ground, he heard the baby begin to cry again, and so he climbed up from the hole and moved the basket out of the sunlight. He fed the boy with the goat’s milk again and returned to digging. When he had finished the grave, he went inside and cut his wife out of her clothes.
Opening the large trunk, he looked down at what to dress her in. The white dress lay there, its stiff collar holding up determinedly against desperate age and the fungal dampness of high July. He reached beneath this garment to where the slip, with its tiny lace eyelets, waited primly. He had bought the slip for her in Fells Corner, an extravagant wedding gift that was almost the only thing she had worn until she was finally too big with child even for it to fit. It glowed out at him with a spectral whiteness in the ill-lit lowness of the cabin. After that came the brutal, delicate task of getting her stiffening body into the garment, but when he was done he again arranged her beautiful hair on either side of her shoulders, the way he liked it best. Finally, he opened the black lacquer box once more and removed a length of golden ribbon. He tied it around her head like a crown and stood up to survey his work.
He’d dug enough graves to know that she would fit perfectly into this one, but even so he stood there with her body in his arms, a rack of painful hesitation as he considered taking a few planks from the cabin in order to build her a box that would keep her from ending up so dirty.
“There’s no time!” the horse nickered behind him, as if it knew his mind, which perhaps it did. “Leave her buried deep and let’s go.”
He sat at the edge of the grave, his legs hanging into the hole, and dropped her in. He whispered something down at her, then he stood up and began to shovel in the dirt as a preacher might baptize someone in frigid water: quickly, to overcome the shock of the cold. He began to cry again. While he worked, the horse stood nearby, dark and still, perhaps gone to sleep. He filled the grave and then knelt, spreading leaves and sticks over the slight mound. The heat was coming on hard now, and sweat ran over his brow and into his eyes before continuing down his face and neck in the long, dusty canals that had already been carved by his tears.
When he stood up from the grave, he went to the cabin flap and pulled a handful of corn kernels from a sack hanging just inside the doorway where the animals could not get at it. Then he stood in the yard near the chickens. Stock-still, his arms hanging loosely at his sides, he let a few of the kernels fall from between his fingers. The three birds pecked at the kernels and then looked up, pinning him against the sky with their tiny black eyes and waiting for more. He chose the hen he would try for, and when it looked up at him again he let a few more kernels fall. When he and Rachel had been small, they used to play with the chicks in the yard of the elderly couple his mother had cooked for. Rachel liked to hold the little yellow things against the nape of her neck and would laugh as their feathers tickled her. He would lie very still on his back and they would see how many she could put on his chest.
The third time Bright let the kernels fall, the chickens did not look up but busily went about their feeding. He bent quickly, grabbed the hen by its head, and broke its neck. The goat watched on without emotion from atop her perch.
He plucked the body quickly, then went inside and placed it on a spit above the embers of the dying fire. He brought the baby in and laid it on the bed where it might survey the room it was born in. Maybe someday the Future King of Heaven would need to describe his own humble beginnings.
Continues...

Excerpted from "Bright's Passage" by Josh Ritter. Copyright © 2011 by Josh Ritter. Excerpted by permission of The Dial Press. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher. Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

Fiction Chronicle By HIRSH SAWHNEY


Fiction Chronicle

By HIRSH SAWHNEY


THE LAKE 
By Banana Yoshimoto.Translated by Michael Emmerich. 
Melville House, $23.95. 
     Yoshimoto’s 13th work of fiction attests to the power of emotional intimacy to help even the most “ridiculously fragile people” overcome trauma and grief. Chihiro, a mural artist, loses her mother and finds consolation staring out the window of her Tokyo apartment. Her neighbor, a lanky stranger named Nakajima, begins to wave at her. After a year of fond gazing and brief encounters, he starts spending the night. A withdrawn yet strangely candid genetics student, Nakajima helps Chihiro make peace with her upbringing in hierarchical small-town Japan, and she provides him relief from memories of his painful, mysterious past. He invites Chihiro to accompany him to a picturesque lake to confront two old friends, a “not normal” brother and sister. This gloomy but dignified pair possess paranormal abilities, and they provide insight into Nakajima’s horrific childhood. Terse truisms occasionally bog down Yoshimoto’s prose: “When there’s a plus, there’s always a minus. If there’s a powerful light, the darkness that is its opposite will be just as strong.” But much of the action unfolds through artful dialogue and a nimble fusion of romantic and existential reflection. The author is particularly astute about what it’s like to be an artist in a world where people keep “their true opinions to themselves” while chasing “tiny profits.”

KAMCHATKA 
By Marcelo Figueras.Translated by Frank Wynne. 
Black Cat, paper, $14.95. 
     Dark days descend on Buenos Aires, home to this novel’s narrator, a sixth grader obsessed with comics and American television and films. He witnesses the gradual disappearance of his parents’ colleagues, victims of the country’s “Dirty War” (1976-83), in which a military junta, with the tacit support of high-ranking United States government officials, murdered tens of thousands of trade unionists, journalists and Perón sympathizers. The narrator and his activist parents abscond to the city’s outskirts, where they assume false identities. The boy renames himself Harry, after his newfound idol, Houdini, and his areligious parents teach him the fundamentals of Catholicism to help keep their cover. Young Harry considers the politics of the time “something that got people all worked up about nothing, a sport that was as loud as it was pointless, a bit like football.” He spends his days removing dead toads from the house’s putrid swimming pool and reading up on being an escape artist. He and his father play countless games of Risk, during which Harry always takes possession of Kamchatka, a remote Russian region that comes to have metaphoric meaning. In tumultuous times, Kamchatka gives him the security of “being far from everything, unreachable, amid the eternal snows.” The author, an Argentine screenwriter, vividly evokes a child’s reaction to a world beleaguered by violence. But he hasn’t devoted enough attention to plotting or the development of secondary characters, and the novel’s whimsical tangents often distract from its hopeful message about the healing powers of imagination and love.

OIL ON WATER 
By Helon Habila. 
Norton, paper, $14.95. 
     In this absorbing novel about the oil-rich Niger Delta, an insurgent group is believed to have kidnapped a British woman, the wife of a petroleum company executive. Rufus, a greenhorn reporter, and Zaq, a renowned but washed-out newsman, delve into a maze of rivers and swamps in pursuit of her. Voyaging through surreal, war-­ravaged landscapes, they come across “dead birds draped over tree branches, their outstretched wings black and slick with oil,” and encounter characters who paint an indicting portrait of petroleum politics. A ruthless army major captures the men and explains that “freedom fighters” are actually “crooks,” asserting that “the best thing is to line them up and shoot them.” The pair has several run-ins with the insurgents, who claim not to be “the barbarians the government propagandists say” they are, but rather “for the people,” on a mission to save their communities and the environment. Right and wrong are ambiguous here, but what’s clear is that the region’s indigenous people, their waterways and farmlands poisoned, have “borne the brunt of the oil wars.” The British hostage eludes the journalists, though they eventually unravel her complicated story. Despite its neat and tidy ending, this novel, Habila’s third, reminds us how a mixture of poverty, frustration and greed can engender militancy, and illuminates the cruel, overlooked effects of globalization on the developing world.

THE SENTIMENTALISTS 
By Johanna Skibsrud. 
Norton, $23.95. 
     Napoleon Haskell, a recovering alcoholic, lives alone in a Fargo, N.D., trailer park, chain-smoking in his “library” and using his computer to blow money on the stock market. His solitary days come to an end when his daughter, this first novel’s narrator, re-enters his life. Concerned about her father’s health, she and her sister pack his things and drive him to Casablanca, a small Canadian town near the New York border. The family used to spend summers there with Henry, a kindhearted paraplegic whose government house now represents Napoleon’s “last and only option.” It turns out Napoleon is dying, and he lives out his final months in Henry’s lakeside home, returning to booze, completing crosswords and conversing with his daughter. She slowly uncovers the connection between her father’s four-year disappearance during her childhood and his suppressed memories of the Vietnam War. Napoleon witnessed atrocities: his platoon massacred innocent civilians; his good friend, Henry’s son, was mysteriously executed, perhaps by an American officer. Skibsrud, an accomplished poet, elucidates sorrow, hanging “as though it was a separate object,” with admirable subtlety. Her metaphors can be blatant, but they’re usually resonant. An entire town, for example, lies submerged beneath Henry’s artificial lake, this sunken world a reminder of the enduring nature of supposedly bygone days. The narrator earnestly questions her ability to understand the “inexplicable presence” of the past, especially when the simplest events seem like “the most complicated puzzles.” But this novel suggests she shouldn’t doubt herself. A hypnotic meditation on memory, it reaffirms the potential for storytelling to offer clarity and redemption.

     Hirsh Sawhney, the editor of the anthology “Delhi Noir,” writes about books for The Times Literary Supplement and The Guardian of London.

Up Front: Annie Sprinkle By THE EDITORS


Up Front: Annie Sprinkle

By THE EDITORS

Annie Sprinkle, who in this issue reviews Chester Brown’s “Paying for It: A Comic-Strip Memoir About Being a John,” is no stranger to the documentary urge. “From the day I gave away my virginity at 17 I started documenting my sexual experiences,” Sprinkle told us via e-mail. “I still am, 40 years later.”

Sprinkle has cultivated one of the more audacious careers of anyone who has ever reviewed a book in our pages: porn star, prostitute, artist, academic, AIDS educator, author, filmmaker, political activist.

Most recently, she said, she has been working as an “ecosex” educator, touring in a theater piece written with her partner, Elizabeth Stephens, and leading workshops and symposiums.
Ecosex?

“Elizabeth and I coined the word ‘sexecology’ to describe a new field of research where sexology and ecology intersect in our culture,” Sprinkle explained. “We are ‘ecosexual sexecologists,’ switching the metaphor from ‘Earth as mother’ to ‘Earth as lover,’ to make the environmental movement a little more sexy, fun and diverse, and to entice other people to join us in helping to care for nature.” Their movement of course has a manifesto, which she quoted in part: “We shamelessly hug trees, massage the earth with our feet and talk dirty to plants. We are skinny dippers, sun worshipers and star­gazers. We caress rocks . . . and admire the earth’s curves.

What Does Newt Gingrich Know? By ANDREW FERGUSON


What Does Newt Gingrich Know?

By ANDREW FERGUSON

Let’s consult the literature — all 21 books by the self-proclaimed ideas man of politics. (Gingrich cites 23 books on his Web site. We are not counting the Contract With America or the coffee-table book “Ronald Reagan: Rendezvous With Destiny.”)
When his top campaign staff abandoned him not long ago, Newt Gingrich didn’t seem terribly surprised. “Philosophically, I am very different from normal politicians,” he said. “We have big ideas.”
The “we,” as Gingrich uses it here, is akin to the royal we — it’s what might be called the professorial we, employed when the intellectual and the ideas he generates merge to create an entity too large for a singular personal pronoun. “Over my years in public life,” he writes in his latest book about how to save America, “I have become known as an ‘ideas man.’ ” And we shouldn’t doubt it. As I write, a stack of books tilts Pisa-like on my desk, each volume written by Gingrich and various co-authors. I got out my tape measure the other day and discovered that the stack is precisely 15¼ inches high — a figure that does not include the various revised and expanded editions that I have had Whispernetted into my Kindle, along with the historical novels that Gingrich has published with a co-writer named William R. Forstchen: three fat books on the Civil War, three on World War II and a pair on the Revolutionary War. If I added these to my stack, it would be taller than the mayor of Munchkinland and much heavier.

The books taken together are evidence of mental exertions unimaginable in any other contemporary politician. Professorial affectations are not high on the list of tactics candidates like to use in this age of galloping populism. Within the politico-journalistic combine, Gingrich’s status as an intellectual is accepted as an article of faith — something that everybody just assumes to be true, like man-made climate change or Barack Obama’s stratospheric I.Q. Senator Tom Coburn, the Oklahoma Republican, says Gingrich is “undoubtedly the smartest man I’ve ever met.” Cokie Roberts calls him “a big thinker.” Without irony the Democratic consultant Paul Begala praises his “intellectual heft” and Howard Dean his “intellectual leadership.” Ted Nugent says Gingrich is probably the “smartest guy out there.” So that settles that.
Or does it? I built my stack of Gingrich books because I intended to read every one of them, in chronological order, and I did read them, though my chronological scheme broke down eventually. Aside from the sheer number of words, what is most impressive about the Gingrich corpus is its range of literary form, from confessional to guidebook.
Gingrich’s first book, “Window of Opportunity: A Blueprint for the Future,” came out in 1984 and contained the seeds of much of what was to follow. Beneath its cover image — a flag-draped eagle inexplicably threatening the space shuttle — the backbencher Gingrich was identified as chairman of the Congressional Space Caucus, a position that inspired a series of “space cadet” jokes that took years to die. “Window of Opportunity” was co-written by Gingrich’s second wife, Marianne, and a science-fiction writer called David Drake. Anyone who takes seriously the books that politicians claim to write must sooner or later confront the delicate matter of co-authors and ghostwriters, especially when the books serve, as in Gingrich’s case, as intellectual bona fides.
I have no inside knowledge of Gingrich’s work habits as a writer, or co-writer. In 1994, I was asked to help write one of his books, but the offer never went far enough to allow for close observation. There’s no reason to be prissy or censorious on the subject of politicians and their ghostwriters. George Washington had ghostwriters (pretty good ones, too: Hamilton and Madison). Lincoln had his secretaries write some letters for him, including, some historians say, the most famous Lincoln letter of them all, to the bereaved Mrs. Bixby. And despite a long parade of co-authors — historians, novelists, policy experts, journalists, even family members — Gingrich’s books show a remarkable consistency from one to the next. His contribution to the books that bear his name must be substantial — certainly greater than that of Charles Barkley, who once admitted he hadn’t read his autobiography. (No one else did, either.) Gingrich’s books are Gingrich’s books.
The ghosts for that first book served him unevenly. They got him in metaphor trouble from the first sentence. “We stand at a crossroads between two diverse futures,” he wrote. This crossroads, it transpired, faced an open window. That would be the window of vulnerability, which is widening. Three paragraphs later, the crossroads, perhaps swiveling on a Lazy Susan, is suddenly facing another window, also open. The important point, Gingrich writes, is that this window of opportunity is about to slam shut. And if it does? “We stand on the brink of a world of violence almost beyond our imagination.”
Reading the Gingrich catalog, you get used to intimations — or are they threats? — of Armageddon. Windows are slamming shut, or are just about to, all over the place, all the time. “Time is running out,” he wrote toward the end of “Window of Opportunity,” 27 years ago. It’s no wonder that Washington thinks he’s so smart: Gingrich was panicky before panicky was cool. The political class runs on his kind of excitement, as one crisis of the century succeeds another, week by week. Politics on its own terms is so boring — decades of the same issues, the same interests, the same charges of heartlessness against Republicans and of profligacy against Democrats — that attention has to be stoked by artificial means.
Gingrich is better than anyone in the capital at arousing interest and maintaining the capacity to surprise. Open one of his books at random, and who knows what you’ll find? “Congressman Bob Walker of Pennsylvania has been exploring the possible benefits of weightlessness to people currently restricted to wheelchairs.” (He has?) He is mad for adjectives: stunning, grotesque, enormous. His verbs get goosed, too, adverbially: remarkably, dramatically. The intensifiers are part of what Gingrich in a later book called “my usual boyish exuberance.” In his books the exuberance works as a stay against the approaching cataclysm.
After escaping the crossroads through the window, the reader follows the first chapter of this first book as it rushes into a discussion of the sclerotic technology of the welfare state circa 1984, the lengthening American life span, the futurist Alvin Toffler, space tourism, newfangled telephones, organic farming, the exercise boom, the return of apprenticeships, the decentralization of higher education, the rise of Methodism in Britain and the Third Great Awakening in America, Disraeli’s kinky sexual arrangements before he cleaned up his act, the Berkeley Free Speech Movement, historical revisionism, Idi Amin, Jimmy Carter’s bungling of the Ayatollah, the future of Gabon and his, Gingrich’s, daughter’s year off in France.
When you come up for air, you notice you’re only on Page 39, with 233 pages still to come.
In “Window of Opportunity,” Gingrich introduced himself as a futurist, a role he has played off and on throughout his career. There are problems inherent in futurism, most of them involving the future, which the futurist is obliged to predict (it’s his job) and which seldom cooperates as he would hope. Gingrich has called some and missed some. In 1984, he saw more clearly than most that computers would touch every aspect of commercial and private life, but nobody any longer wants to build “a large array of mirrors [that] could affect the earth’s climate,” warming it up so farmers could extend the growing season.
Gingrich’s faith in technology, as his books express it, is total, undimmed by potential misfirings. His artless belief in gadgetry and the power of human ingenuity, his inexhaustible curiosity and magpie gathering of unexpected facts (did you know Ray Kroc gave his autobiography the unappetizing title “Grinding It Out”?), makes his first book the most winning of them all. Even the polemics against the bureaucrats and liberals and other opponents of progress are mild compared to what we’ve got used to in the intervening decades.
“It is not their fault,” he writes empathetically. “They are simply ignorant.”
Stupid, not evil: this is the kind of concession not often found in subsequent books. After “Window of Opportunity,” Gingrich lapsed into a prolonged silence, at least as a literary man. As a politician, of course, he was a dervish, and by the time his next book appeared, in 1995, he was universally honored as the architect of one of the century’s great political triumphs, the Republican takeover of the House of Representatives the year before. “To Renew America” was written in the headlong rush that followed Gingrich’s elevation to the speakership and international fame.
Once again America faced a crossroads, though the word itself wasn’t used. “There is virtually no middle ground,” Gingrich wrote. He later concluded: “To renew or to decay. At no time in the history of our great nation has the choice been clearer.” To avert disaster, Gingrich had no choice but to present many numbered lists. In addition to the Six Challenges Facing America — similar to the challenges we faced 11 years before — and the “five basic principles that I believe form the heart of our civilization,” there were the five forces moving us toward worldwide medicine, a seven-step program to reduce drug use, the nine steps we can take immediately to advance the three revolutions in health care and more. The futurism was still there, too: “Honeymoons in space will be the vogue by 2020.”
Meanwhile, his polemics had hardened. “For some psychological reason, liberals are antigun but not anti-violent criminal,” was a typically dubious example. As a former professor (an unpublished one, at West Georgia College), Gingrich wrote about university leftism with all the bitterness of an ex-academic: “Most successful [alumni] get an annual letter saying, in effect, ‘Please give us money so we can hire someone who despises your occupation and will teach your children to have contempt for you.’ What is amazing is the overwhelming meekness of the alumni in accepting this hijacking of their alma mater.”
This is sharp and funny and nearly true, but it’s not a formulation designed to coax the undecided into agreement. “To Renew America” marks the moment that persuasion faded as a primary purpose of political talk and preaching to the choir took over. Having won at last, and confident that the future was safely in his pocket, Gingrich by 1995 no longer saw a reason to persuade anyone and didn’t try. It’s the victor’s prerogative, but it doesn’t give you practice in constructing arguments. And it’s catching. Hence talk radio, and in a few years the blogs; hence Fox News and MSNBC.
Liberals may not have liked this new aggressive tone from conservatives, but they had it coming. At least since the Red Scare of the 1950s, mainstream institutions had viewed ideological conservatism with condescension or contempt, as either a joke or a personality disorder — a series of “irritable mental gestures which seek to resemble ideas,” in Lionel Trilling’s excellent summary. Gingrich’s rhetoric had the ferocity of a backlash. The liberal revulsion toward him obscured how unorthodox — occasionally, how liberal — his conservatism was. The books then and now are full of heresy. He showed a willingness to criticize other Republicans, even Reagan at the height of his popularity. He advocated a health tax on alcohol to discourage drinking — social engineering, it’s called — and imagined government-issued credit cards that would allow citizens to order goods and services directly from the feds. He thought the government should run nutritional programs at grocery stores and give away some foodstuffs free. He was pushing cuts in the defense budget in 1984 and a prototype of President Obama’s cash-for-clunkers program in 1995.
The ultimate problem with Gingrich’s firehose approach to idea-generation wasn’t the ideological cast of the ideas but their practicality. To pluck a couple of trivial examples from the scores of proposals he offers in “To Renew America”: “We should work with every recovery program to develop low-cost detoxification programs.” Terrific, but who’s the “we,” and what would the “work” entail, and how would the cost be lowered? Before you can ask the question, Gingrich has rushed ahead. Because “we need to know more about the environment,” we should “develop a worldwide biological inventory.” Excellent idea, for all I know, but administered how? Paid for by whom? Gingrich’s vagueness was always a problem, but the books show something more: a near-total lack of interest in the political implementation of his grand ideas — a lack of interest, finally, in politics at its most mundane and consequential level.
Gingrich’s inattention to detail is one reason his speakership was so chaotic, as readers of a certain age will recall, and the primary reason he was shunned by his own party after four years with the gavel. “Lessons Learned the Hard Way,” released months before his defenestration, is a more conventional memoir than anything else Gingrich has written, and it was supposed to serve as a mea culpa for his mistakes as Speaker, as well as a bid to regain the loyalty of members who had grown tired of his boyish exuberance. It didn’t work.
Admitting mistakes comes easily to no public man — as memoirs from figures like Bill Clinton and Donald Rumsfeld demonstrate — but in “Lessons Learned,” Gingrich gave it the old West Georgia College try. This didn’t work, either. There’s lots of mea in “Lessons Learned,” but the culpa is all on the other side.
Early in the book, he offers an account of the drafting of the Interstate Transportation Bill of 1997. Most readers, he admits, might think such a story uninteresting. “But in this case most readers would be wrong.” In fact, in this case most readers would be right. The point of the story, though, is that Gingrich handled the transportation bill pretty damn well. Indeed, he handled nearly all his duties pretty well — except for when he worked too hard or cared too deeply or thought too much or trusted too many of the wrong people.
Democrats, for instance. One lesson Gingrich claimed to learn the hard way was, as a chapter title has it, “Don’t Underestimate the Liberals.” As speaker, Gingrich discovered that Republicans are too good for their own — um, good. “The difference between the well-thought-out, unending and no-holds-barred hostility of the left,” he wrote, “and the acquiescent, friendship-seeking nature of many of my Republican colleagues never ceases to amaze me.” Democrats flatter themselves with the mirror image of this fantasy, of course, pretending to be envious of the robotic efficiency of Republicans and the freedom of action allowed them by their utter lack of conscience or shame. Self-awareness is not listed in the catalog of traits required for faithful partisanship. About the true nature of their enemies, however, if about nothing else, professional Republicans and Democrats are both exactly right.
    When Gingrich finished his tenure as the “political leader of a grass-roots movement seeking to do nothing less than reshape the federal government along with the political culture of the nation,” he kicked back. Transformational leaders get tired, too. “I found myself at an important turning point in my life” he wrote in “Five Principles for a Successful Life.” “I had to stop and ask myself: . . . How can I live up to my potential and be the best possible version of ‘me’?”
After I closed the cover of “Lessons Learned,” my version of me was deeply fatigued. I abandoned my chronological scheme and began reading through the remaining books without method. As it happens, this is how they seem to have been published, willy-nilly. Once Gingrich’s first post-speaker book appeared, in 2003, the others tumbled out like a litter of kittens. Including co-authored historical novels, Gingrich has published 17 books over the past eight years.
The mental energy and organizational skill required to produce all these collaborative efforts are astounding. They ask a lot of a reader too. I found it useful to divide this part of the corpus into Lesser Gingrich and Greater Gingrich. Lesser Gingrich includes the guidebook, called “Rediscovering God in America” (2006), the book of management advice called “The Art of Transformation” (2006) and the works of straightforward advocacy with a think-tank gloss: “Saving Lives and Saving Money” (2003), about health care reform; “Drill Here, Drill Now, Pay Less” (2007), about energy policy; and “A Contract With the Earth” (2007), about conservation. More comprehensive books survey the political and cultural scene at three-year intervals — “Winning the Future” (2005), “Real Change” (2008) and “To Save America” (2010). They constitute the Greater Gingrich.
Despite these differences, every Gingrich bears the same trademarks and verbal tics and jabs its readers in the ribs with the same sense of urgency. And every Gingrich carries the same theme. “Today we have a horse-and-buggy style of public administration presiding over a nation entering the space-shuttle age,” he wrote in “Window of Opportunity.” “In an era of A.T.M.’s, iPods and eBay” he wrote more than 20 years later, “we have government from the era of quill pens, inkwells and paper ledgers.”
As a result, he wrote in “To Save America,” “we stand at a crossroads: either we will save our country or we will lose it.” “America today,” he announced in “Real Change,” “is at an extraordinary crossroads.” In a revised edition of “Winning the Future,” he phrased our predicament like this: “America is the most energetic, resourceful and innovative nation in the history of mankind. But we are at a crossroads.” Moreover, he said in “Saving Lives and Saving Money,” “we find ourselves at a crossroads.”
The choice between these two roads diverging in a yellow-bellied wood is always stark: a question of “whether the United States as we know it will cease to exist.” If nothing else, the Lesser Gingrich shows the author’s ingenuity in adapting his theme. “Drill Here, Drill Now, Pay Less,” for instance, is aimed at the pure activist. It includes a chart to calculate how much the liberals are making you spend on gas, along with checklists, printed petitions, a membership card, a bumper sticker — everything but a decoder ring. In “The Art of Transformation,” he manages to one-up the usual business-book jargon by compiling an impenetrable lexicon of his own. He shows us an OODA loop, for Observe, Orient, Decide, Act, and connects “Islands of Excellence With Invisible Bridges” while “mind mapping” for project planning.
“Moving to the sound of the guns,” he writes, “requires that we are externally rather than internally oriented, so we can hear the guns; understand our antelope” — that’s what he wrote — “so we know if the guns are worth hearing; think through our deep-mid-near goals so we know which guns to respond to.” Senator Coburn needs to get out more.
One of Gingrich’s recent books had the potential to be charming. “Rediscovering God in America” is a walking tour of buildings and monuments in Washington. The point is to demonstrate how previous generations of Americans unabashedly included religious symbols in civic life, in contrast to the picky legalisms and hair-trigger sensitivities of our own era. The book is a collaboration with Callista Gingrich, the wife (“whose support and love have made the adventure of our life together exciting, enjoyable and fulfilling,” Gingrich writes in “To Serve America”) who replaced the second wife, Marianne (“who made it all worthwhile” back in the day of “To Renew America”). Callista is unavoidable in all of Gingrich’s current endeavors. Having married a powerful man and suddenly blossomed in fields in which she earlier showed seemingly no interest or professional skill — writing books, taking photographs, making movies, overseeing her husband’s not-for-profit company — Callista has emerged as the Linda McCartney of the conservative movement.
Her images in the most recent edition of “Rediscovering God in America” are lovely. (Linda was a photographer too.) The entire sepia-toned production is so elegant, that Gingrich’s attacks on the “ruthlessly secular society” in thrall to “a media-academic-legal elite [who find] religious expression frightening and threatening” sound wildly out of place, like a gunshot at afternoon tea.
If Gingrich’s theme is timeless and the enemy unchanging, so is the solution, the same one from 1984. The coming rush of high technology will dismantle the welfare state and provide a replacement that is humane and efficient; it will free the poor from government dependency, take apart a failing educational establishment, relieve the drudgery of industrial labor and provide a steady supply of pleasant jobs, defrock out-of-touch elites in every corner of the ruthlessly secular society, clean up the environment and bequeath to us an America that is “safe, healthy, prosperous and free,” as he wrote in “Winning the Future” and, with slight variation, in most of his other books too. Technology remains the deus ex machina of Gingrich’s vision.
His attraction to it goes beyond the sci-fi enthusiast’s love of gadgetry. As our country’s problems fall before technology’s advance, the need for politics and its drudgery disappears: no fuss over compromise and horse-trading, no grubby catering to commercial interests. Politics is just one more feature of the old order that becomes obsolete. Yet a reader who scans the whole collection from its beginning in “Window of Opportunity” might pause: Wasn’t this supposed to have happened already? The explosion in digital technology that Gingrich foresaw in 1984 has come off, with a bang. And yet still the country hangs in the balance, its condition more dire than ever, its need for a transformational leader never more pressing.
Like most Utopians, Gingrich sees the world in binary terms. Only his alternative future can prevent the cataclysm that has been about to happen for so many years. Muddling through — which is the default option of our constitutional system and the one that most Americans, latently conservative as they are, seem to prefer — never surfaces in the swirling mists of his crystal ball. For all the reciprocated disdain he claims to feel for the establishment in Washington, where he has lived for more than 30 years, he is still its unwitting champion; for without the crises that Gingrich chronically imagines, the establishment would no longer be necessary.
I see I have left little room for Gingrich’s novels. For a Civil War buff, the most interesting of these, and the only ones I read with any care, are the trilogy beginning with “Gettysburg,” continuing with “Grant Comes East” and concluding with “Never Call Retreat.” These are what the trade calls counterfactuals: the authors rewrite the pivotal events of history and then see how the alternative narrative might have played out.
A counterfactual account of history appeals especially to people who are disappointed in the real thing. Settled fact is unsatisfying; history as it occurs seems somehow a cheat. It is true that history hasn’t worked out the way Newt Gingrich envisioned it, and this lends poignancy to the moral of his Civil War trilogy. “This victory was a long way from inevitable,” Ulysses S. Grant says in “Never Call Retreat,” “and every young American ought to learn just how important one man can be. How one man can shape history and, in that moment, save a nation.”
And then, just when my stack had dwindled to nothing and I felt the thrill of liberation, the mail arrived with my preordered copy of Gingrich’s latest book, “A Nation Like No Other.” I thumbed through it. “The election of 2012,” Gingrich writes, “will bring us to an historic crossroads.”
The choice is stark, apparently — as urgent as any in our history.

Andrew Ferguson (aferguson6396@yahoo.com) is a senior editor at The Weekly Standard and the author of ‘‘Crazy U: One Dad’s Crash Course in Getting His Kid Into College.’’ Editor: Chris Suellentrop (C.Suellentrop-MagGroup@nytimes.com)

The Fans Own the Magic By Manohla Dargis and A. O. Scott


The Fans Own the Magic

By Manohla Dargis and A. O. Scott 

HARRY POTTER’S final battle with Lord Voldemort will hit movie screens on July 15, but that young wizard has already scored a decisive victory where it counts: at the box office, on best-seller lists and in the crowded arena of fantasy-driven popular culture. J. K. Rowling, a single mother when she hatched a series of magical boarding-school novels, has ascended to an Oprah-like level of wealth and influence, while Harry, with more than $6 billion in tickets sold globally, has surpassed James Bond as the top-grossing movie-franchise hero.
Like the books the Harry Potter movies have grown progressively darker and more complex, as the initially stark moral universe of good and evil became increasingly shaded by prickly, often confusing questions of sex and death (including the death in 2002 of Richard Harris, the first Dumbledore, who was replaced by Michael Gambon). The books and movies have fed the imaginations of fans with a richly conceptualized, densely populated world of plucky school kids, giants, dragons, trolls and adult wizards, benign and malevolent, played by the cream of British acting. Meanwhile Harry, Hermione and Ron, as incarnated by Daniel Radcliffe, Emma Watson and Rupert Grint, have grown up before our eyes.
 “I was on the train when I suddenly had this basic idea of a boy who didn’t know who he was,” Ms. Rowling once said, explaining the genesis of her creation as lightning hit her and then Harry. In the years since, the books and movies along with all the toys, games and even a Harry Potter theme park have helped show us that in today’s multiple-platform media landscape, a movie is no longer necessarily an evening’s entertainment but, in the case of those who came of age with Harry, that of a lifetime.
Here we look at what has become a hugely profitable corporate brand, a fan-fueled sensation and one of the biggest entertainment stories of the last decade.  
DARGIS In anticipating the first Harry Potter film Anne Collins Smith, then an assistant professor at Susquehanna University in Pennsylvania, peered into her crystal ball and gave dark warning. “It will take a strong individual indeed to say, ‘No, that’s not what it looked like inside my head,’ and set the movie version aside,” Dr. Smith said. Worse yet, “Those who see the movie before reading the books will never have the chance to make their own vision” to the point that “for many people it will replace their own imaginations.”
Many millions of movie tickets, innumerable fan sites, wizard rock bands and conferences later, it’s indisputable that for many if not most Harry Potter lovers the movies didn’t replace their imaginations but instead enlivened and even fired them up. On deviantart.com, for instance, you can download work from a database of thousands upon thousands of fan-generated images of Harry, his friends and enemies from the photorealistic to the broadly caricatured, including anime-style creations with saucer eyes and heart-shaped faces, and what the Japanese call kawaii or cute, for a kind of Hello Kitty Harry confection. Elsewhere there are dirty-girl Hermiones aplenty and surprisingly, er, friendly Harry and Draco liaisons.
SCOTT After the runaway trans-Atlantic success of “Harry Potter and the Sorcerer’s Stone” and “Harry Potter and the Chamber of Secrets” in the late 1990s the appearance of each new Harry Potter novel was like the opening of a blockbuster movie, but more festive and less dutiful than such occasions tend to be. At midnight bookstores across the land would be thronged with eager readers with wands and robes, round glasses and temporary lightning-bolt tattoos, and for the next few days, on every bus and park bench, everyone — schoolchildren, grandmothers, young adults with tattoos that were not temporary — would be reading the same thing. And then, as the movie versions started to come out, the scene would be repeated in the multiplexes.
This is not the first time a popular series of books has been turned into a successful series of movies, but the overlap between the literary and cinematic versions of the Potter cycle was unusual, and has proven influential. Not every effort to repeat the formula has worked — the “Lemony Snicket” and “Golden Compass” franchises never took wing on screen — but the triumph of the Potter model is reflected in the “Twilight” movies and also in the Swedish and soon-to-arrive American versions of Steig Larsson’s “Millennium” trilogy, which tumbled into theaters while their sources were still jumping off the bookstore shelves. In this millennium, we like to take our stories serially and in multimedia packages.
The Harry Potter movies built on the fervid public enthusiasm for the books and fed back into it, to the extent that it is not quite accurate to call the movies adaptations, or to pursue the usual arguments about what is lost and gained when stories make the transition from words on a page to images on a screen. Remarkably large numbers of people were eager to experience the same stories twice (or more), and if some may have had a preference for Potter in prose over Potter in pictures or vice versa, it seems safe to conclude that the majority was happy to have both.
DARGIS Before the Harry Potter movies started breaking the first of many records, it was perhaps easier to believe that mass culture is something consumers largely experienced top down, like the big infantilized blobs in “Wall-E,” unthinkingly gulping whatever they’re fed. Harry Potter fans have made it a lot tougher to sell that old-fashioned idea. They have found an astonishment of ways to express their love (and sometimes profit on that adoration) and also at times challenged the supremacy of Warner Brothers, the studio that owns the rights to the movies. From the start the studio had been fierce about protecting its property (in the case of Harry Potter condoms, you can’t blame it), but in the process it also stumbled.
One of its roadblocks was Heather Lawver, a Potterhead who at 14 created The Daily Prophet, a fake (now inactive) online school newspaper about all things Potter. A few years later Ms. Lawver herself became news when, in response to Warner Brothers’ ham-fisted and -headed bids to shut down fan Web sites, some run by children as young as 11 and 12, she helped start a boycott of Potter merchandise (known as PotterWar), a press-relations stroke of genius (she debated a studio spokesman on “Hardball”) that threatened to derail the company’s strategy of global domination.
“It really got me mad,” Ms. Lawver said in 2001, months before the release of the first movie, noting that another site creator “was afraid these lawyers would come banging down her door and take away all her family’s money.”
 Faced with being cast as a bully on the eve of its latest potential gold mine Warner Brothers backed down as representatives insisted no harm was intended. (“We are not a big, scary corporation,” one executive said.) Prof. Henry Jenkins of the University of Southern California, an enthusiastic champion of fan power, has framed the fight in near-revolutionary terms, writing on his Web site that PotterWar “may have been the first successful movement of fans to challenge the rather blanket copyright assertions of the major media producers.” Certainly it was a striking moment for plugged-in Potterites, yet it’s debatable whether the type of fan triumph that Professor Jenkins and others celebrate is as radical as sometimes suggested. Warner Brothers, after all, still owns the film rights.
SCOTT If you asked a roomful of movie critics to name the best Harry Potter movie, the consensus choice would be “Prisoner of Azkaban” (2004), directed by Alfonso Cuarón, whose other critically beloved films include the sexy Mexican road movie “Y Tu Mamá También” and the dystopian thriller “Children of Men.” “Azkaban” was stamped with Mr. Cuarón’s style; it was not only thematically more unsettling than the first two movies (both directed by Chris Columbus), but also visually stranger and more artful.
Perhaps for that reason it is generally the least liked movie among hard-core Potterites, which is to say those viewers whose devotion to the characters and the story trumps their interest in the art of cinema for its own sake. Critics have tended to assess each film on its own merits as an individual work, which is perfectly reasonable — it’s our job, after all — but also a bit beside the point, just as the demurrals of literary critics who find fault with Ms. Rowling’s prose style or sense of narrative economy are both right and fundamentally out of touch.
From the start the appeal of the Potter cycle has been its generous dispensation of narrative pleasure. You might find a particular installment or character or series of incidents especially exciting or vaguely disappointing, but you would not be fully satisfied until the whole thing was complete, until you had plumbed the mystery of Harry Potter’s origins and witnessed the resolution of his fate. 
DARGIS More than a decade after the end of PotterWar, the ideology if perhaps not the utopian spirit of media consumers asserting their voices has become business as usual for media companies, which insist it’s all about you you you and not them them them. It’s inspiring when fans like Ms. Lawver assert that they too have a claim on favorite books and movies, even those owned by corporations, just as there’s something hilarious and maybe cathartic about rather grown-up interventions like “Strawberry Yields,” a bit of “fanfic” by one “Dementor Delta” featuring Harry, Professor Snape and some fruit. (“Potter had a fondness for bananas that was almost obscene.”) But just because a media giant is having a party doesn’t mean you’re actually invited. 
The idea that media consumers may one day be able to siphon media power for our own purposes, as Professor Jenkins has suggested (if we can get around those pesky copyright laws), remains open to debate. As is the idea that cultural production is now a free-flowing two-way street because today’s fans, armed with laptops and social media, can appropriate mass culture in a more immersive fashion (i.e., online). The truth is that culture has never strictly been a one-way street, even in the pre-Internet dark ages. For instance, back in Hollywood’s golden age stars could be deemed box office poison by the front office because audiences voted each time they bought a ticket. It may be that instead of real choices, consumers now have just a lot of choices: thousands of television channels instead of a handful, and an entire Harry Potter media universe instead of a few rippingly good books and movies.
SCOTT The staggered appearance of novels and films seems, in retrospect, to have been calculated, with almost diabolical brilliance, to maximize the audience. The first cadre of 9-year-olds who read “Sorcerer’s Stone” and “Chamber of Secrets” were primed to line up for the film adaptations of those books, as the movies prepared new readers for the fourth book, “Goblet of Fire,” and so on. Young people — those born after 1990 — were the vanguard and the core audience, and even if Harry had not also appealed to their parents, grandparents and older siblings, the Potter fan base represents a fairly significant sample of the world’s population.
And what has Harry given them? The movies have provided a showcase for the art of acting. Some great professionals — Alan Rickman, Imelda Staunton, Maggie Smith, David Thewlis and so on and so on — have demonstrated both high seriousness and a fine sense of play, and Ralph Fiennes has proven that it can be done without a nose. And we have watched potential movie stars of the future blossom before our eyes. More generally, and perhaps more profoundly, we have immersed ourselves in a world of grave danger and relentless evil that is make-believe enough not to bleed into our own messy Muggle reality. The adults in the audience have slid back into the breathless, compulsive readerly absorption (and cinematic enthrallment) of childhood, while our children have, with equal breathlessness, leaned forward into the complexity and exhilaration of growing up. We can all feel, under the spell of these stories, as if we were in full possession of our powers.
This article has been revised to reflect the following correction:

 Henry Jenkins, a professor of communication, journalism and cinematic arts, teaches. He is a professor at the University of Southern California.