Categoria: Livro 1

Um tipo de magia

Traduzido: GabihMosena
Revisado: Adriana Snape

Rowling, J.K. “A Kind of Magic,” The Daily Telegraph (London), June 9, 2002

Abstract: A kind of magic J. K. ROWLING wrote the first Harry Potter book while living on the poverty line, bringing up her daughter single-handedly. Here she recalls her struggle and introduces a book of short stories published in aid of the Magic Million Appeal for one-parent families.

My involvement with the National Council for One Parent Families came about either very simply, or very circuitously, depending on how you look at it.

The simple version involved Andy Keen Downs, the charity’s deputy director, sitting down in my habitually untidy kitchen, pulling out a sheaf of notes from his briefcase and embarking on what I’m quite sure would have been a marvellously persuasive, well-constructed and beautifully delivered speech. “Andy,” I interrupted, in that harassed voice by which lone parents can often be identified, “you’d like me to be Patron, wouldn’t you?” “Well, we’re calling it Ambassador,” said Andy tentatively, cut off mid-flow. “OK, I’ll do it,” I said, “but could we please discuss the details on the way to school, because Sports Day starts in five minutes.” And so we discussed the National Council for One Parent Families while watching the egg-and-spoon races; a fitting start, I felt, for my association with a charity devoted to helping those parents whose lives are a constant balancing act.

The long version of how I became Ambassador includes my personal experience of single motherhood and my anger about our stigmatisation by some sections of the media. That story starts in 1993, when my marriage ended. I was living abroad and in full-time employment; leaving my ex-husband meant leaving my job and returning to Britain with my baby daughter and two suitcases full of possessions. I knew perfectly well that I was walking into poverty, but I truly believed that it would only be a matter of months before I was back on my feet. I had enough money saved to put down a deposit on a rented flat and buy a highchair, a cot and other essentials. When my savings were gone, I settled down to life on slightly less than pounds 70 a week.

Poverty, as I soon found out, is a lot like childbirth – you know it’s going to hurt before it happens, but you’ll never know how much until you’ve experienced it. Some of the newspaper articles written about me have come close to romanticising the time I spent on Income Support, because the cliche of the writer starving in a garret is so much more picturesque than the bitter reality of living in poverty with a child.

The endless little humiliations of life on benefits – and let us remember that six out of 10 families headed by a lone parent live in poverty – receive very little media coverage unless they are followed by what seems to be, in newsprint at least, a swift and Cinderella-like reversal of fortune. I remember reaching the checkout, counting out the money in coppers, finding out I was two pence short of a tin of baked beans and feeling I had to pretend I had mislaid a pounds 10 note for the benefit of the bored girl at the till.

Similarly unappreciated acting skills were required for my forays into Mothercare, where I would pretend to be examining clothes for my daughter that I could not afford, while edging ever closer to the baby-changing room where they offered a small supply of free nappies.

I hated dressing my longed-for child from charity shops, I hated relying on the kindness of relatives when it came to her new shoes; I tried furiously hard not to feel jealous of other children’s beautifully decorated, well-stocked bedrooms when she went to friends’ houses to play.

I wanted to work part-time. When I asked my health visitor about the possibility of a couple of afternoons’ state childcare a week she explained, very kindly, that places for babies were reserved for those who were deemed “at risk”. Her exact words were, “You’re coping too well.” I was allowed to earn a maximum of pounds 15 a week before my Income Support and Housing Benefit were docked. Full-time private childcare was so exorbitant that I would need to find a full-time job paying well above the national average. I had to decide whether my baby would rather be handed over to somebody else for most of her waking hours, or be cared for by her mother in far from luxurious surroundings. I chose the latter option, though constantly feeling I had to justify my choice at length whenever anybody asked me that nasty question, “So what do you do?” The honest answer to that question was: I worry continually, I devote hours to writing a book I doubt will ever be published, I try hard to hold on to the hope that our financial situation will improve, and when I am not too exhausted to feel strong emotion I am swamped with anger at the portrayal of single mothers by certain politicians and newspapers as feckless teenagers in search of that holy grail, the council flat, when in fact 97 per cent of us have long since left our teens.

The sub-text of much of the vilification of lone parents is that “couple families” are intrinsically superior, yet during my time as a secondary-school teacher I met a number of disruptive, damaged children whose home contained two parents. There are those who still believe head-count defines a real family, who believe that marriage is the only right context in which to have children, but I have never felt the remotest shame about being a single parent. I have the temerity to be rather proud of the period when I did three jobs single-handedly (the unpaid work of two parents and the salaried job of teacher – for I did eventually manage to take my Post-Graduate Certificate of Education, thanks to the generosity of a friend who lent me money for childcare).

There is a wealth of evidence to suggest that it is not single-parenthood but poverty that causes some children to do less well then others. When you take poverty out of the equation, children from one parent families can do just as well as children from couple families.

My family’s escape from poverty to the reverse has been only too well documented and I am fully aware, every single day, of how lucky I am; lucky because I do not have to worry about my daughter’s financial security any more; lucky because when what used to be Benefit Day comes around there’s still food in the fridge and the bills are paid. But I had a talent that I could exercise without financial outlay: anyone thinking of using me as an example of how single parents can break out of the poverty trap might as well point at Oprah Winfrey and declare that there is no more racism in America.

People just like me are facing the same obstacles to a full realisation of their potential every day and their children are missing opportunities alongside them. They are not asking for handouts, they are not scheming for council flats, they are simply asking for the help they need to break free of life on benefits and support their own children.

This is why I didn’t need to hear Andy’s well-rehearsed arguments on Sports Day. I had already made up my mind that it was time to put my money where my mouth had been ever since I experienced the reality of single-parenthood in Britain. The National Council for One Parent Families is neither anti-marriage (nearly two-thirds of lone parents have been married, after all) nor a propagandist for going it alone. It exists to help parents who are bringing up children by themselves, for example in the aftermath of a relationship breakdown or the death of a partner, when children are faced with a new kind of family and one parent is left coping with the work of two, often on a considerably reduced income. It provides invaluable advice and practical support on a wide range of issues affecting lone parents and their children, and I am proud to be associated with it.

The charity’s Magic Million Appeal, which the new book, Magic, will raise money for, should help maintain the broad range of services offered to lone parents who want nothing more than to pull themselves out of the poverty trap while bringing up happy, well-adjusted children. These families, too often scapegoated rather than supported, could do with a lot less Dursleyish stigmatism, and a little more magic in their lives.

Copyright (c) 2002 Telegraph Group Limited, London, England Record Number: 0F41353EB7DBD95A

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Autora de Harry Potter adverte sobre conteúdo

Tradução: Pê Agá
Revisão: {patylda}

*PK Categorias e Conteúdo

“Potter author’s content warning,” BBC News, 29 September 2000

The author of the phenomenally popular Harry Potter books has said she feels some of her writing is unsuitable for young children.

In an exclusive interview with the BBC, she said the subject matter of the books may be uncomfortable for six-year-olds.

She told BBC Radio Gloucestershire’s Nigel Ballard: “I do think that, on occasion, the material is not suitable for six-year-olds. But you can’t stop them reading it.

“I read things when I was very young that disturbed me but I don’t think that was a terribly bad thing.

“My parents never censored what I read so I wouldn’t say don’t read them to a six-year-old, just be aware some of it does get uncomfortable.”

Harry is young wizard who finds he has magical powers after his parents are killed by a “dark wizard” called Voldemort.

She added: “I am dealing with evil – I am trying to examine what happens to this community when a maniac tries to take over”.

‘Moral obligation’

Her books also deal with the “reality of how evil it is to take a human life”.

She said: “If you are going to write about those kinds of things you have a moral obligation to show what that involves, not to prettify it or to minimise it.”

Her description of the books seem a long way from the cosy world of magic and myths which many parents associate with the Harry Potter tales.

Her fame has brought problems as well as the many millions she is reputedly now worth.

“When people start searching through your bins it is horrible. It feels like such an invasion.

“I am not a politician, I am not an entertainer and I never expected this much interest in my life.”

Hollywood film

The books have sold in their millions world-wide, and the first book, Harry Potter and the Philosopher’s Stone, is now being made into a Hollywood film.

Many people have complimented Rowling for getting inside the mind of a child, but this is something she denies.

“I sat down to write something I knew I would enjoy reading. I do not try to analyse it and I don’t write to a formula.

“I always find it quite patronising – ‘what do children want?’ – as if they are a separate species. I do not write with an imaginary focus group of eight year olds in mind.”

Rowling, who grew up in Tutshill, Forest of Dean, plans seven Potter books in total and then wants to write something completely different.

“Maybe I’ll write something about an obscure medieval monk,” she said.

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Porque Harry é quente

Tradução: Luh B
Revisão: Virág
*OK Categorias e Conteúdo

Jones, Malcolm. “Why Harry’s Hot,” Newsweek, 17 July 2000

With the sweep of a wand, ‘Harry Potter and the Goblet of Fire,’ is the fastest-selling title in history. Behind the frenzy and the more enduring question of what makes a classic

J. K. Rowling swears she never saw it coming. In her wildest dreams, she didn’t think her Harry Potter books would appeal to more than a handful of readers. “I never expected a lot of people to like them,” she insisted in a recent interview with NEWSWEEK. “Well, it turned out I was very wrong, obviously. It strikes a chord with an enormous number of people.”

THAT’S PUTTING IT mildly. With 35 million copies in print, in 35 languages, the first three Harry Potter books have earned a conservatively estimated $480 million in three years. And that was just the warm-up. With a first printing of 5.3 million copies and advance orders topping 1.8 million, “Harry Potter and the Goblet of Fire,” the fourth installment of the series, promises to break every bookselling record in the book. Jack Morrissey, 12, of Wellesley, Mass., plainly speaks for a generation of readers when he says, “The Harry Potter books are like life, but better.”

Red-eyed and rumpled, I cast my vote with Jack. The highest compliment I can pay “Harry Potter and the Goblet of Fire” is to say that from beginning to end, it made me want to stay up all night – or as long as it took to finish it. Rowling has gotten better with every book, and this time things move so smoothly that the story doesn’t seem written so much as it seems to unfold on its own. Each of the books in the projected seven-volume series follows Harry through an academic year at Hogwarts School of Witchcraft and Wizardry. But this time Rowling has tossed in so many new elements that you never stop to hear the formula’s gears grinding away behind the scenes. After a splendid set piece near the be-ginning when Rowling sends everyone off to the Quidditch World Cup (box), the real plot kicks in with the Triwizard Tournament, to be held among three schools of wizardry, including Hogwarts. Meanwhile, Lord Voldemort, an evil wizard who killed Harry’s parents when Harry was a baby, is once again on the prowl. Amazingly, Rowling keeps her several plotlines clear of each other until the end, when she deftly brings everything together in a cataclysmic conclusion. For pure narrative power, this is the best Potter book yet.

Title: Harry Potter and the Sorcerer’s Stone

Publication Date: 1998

Plot: Meet Harry, the scarred orphan forced to live under the stairs with relatives who detest him. The adventure starts when Harry turns 11, and letter-carrying owls deliver him an invitation to study at the Hogwarts School of Witchcraft and Wizardry. There he discovers that his parents did not die in a car accident, but were killed by the evil sorcerer Lord Voldemort. Harry himself is a legend in the wizard world for having survived the attack–but another showdown with his parents’ attacker is unavoidable.

Memorable Moment: The magical jelly beans which come in flavors ranging from strawberry to sardine to…ear wax.

Title: Harry Potter and the Chamber of Secrets

Publication Date: 1999

Plot: Who – or what – is turning the Hogwarts students into petrified statues? And what ghastly secret is hidden in a chamber that was supposed to be sealed for eternity? In the second of the series, Harry has to confront these mysteries to save his friends–and himself. Luckily, our hero also still has time to play Quidditch, learn new spells and crash a flying car into the irascible Whomping Willow.

Memorable Moment: Encounters with Moaning Myrtle, the tearful ghost that lurks in the pipes of the girls’ bathroom.

Title: Harry Potter and the Prisoner of Azkaban

Publication Date: 1999

Plot: Harry’s in his third year at the magical Hogwarts School of Witchcraft and Wizardry – and this time he’s facing the threat of Sirius Black, a murderer who has escaped from notorious Azkaban prison. The wizard world doesn’t know how Black evaded the Dementors, his faceless guards whose kisses deliver a fate worse than death, but they do believe that Harry is in mortal danger from the man said to be the heir of He-Who-Must-Not-Be-Named. A twisting tale of werewolves, secret passages and pet rats that aren’t all they seem.

Memorable Moment: Horrible Aunt Marge inflating like a monstrous balloon and floating up the ceiling for saying nasty things about Harry.

When the book finally went on sale at 12:01 a.m. Saturday, thousands of children in Britain and North America rushed to claim their copies. Bookstores hosted pajama parties, hired magicians and served cookies and punch, but nobody needed to lift the spirits of these crowds. At The Book Stall in Winnetka, Ill., customers made such a big, happy noise that neighbors called the cops. At a Borders in Charlotte, N.C., Erin Rankin, 12, quickly thumbed to the back as soon as she got her copy. “I heard that a major character dies, and I really want to find out who,” she said. But minutes later she gave up. “I just can’t do it. I can’t read the end first.”

All in all, a pretty impressive level of excitement for a mere book. But at the same time it seemed somehow so anticlimactic, because months of planning by Rowling’s publishers had laid the groundwork for this moment. In a campaign carried out with a level of secrecy sufficient to make Operation Overlord’s commanders envious, the publishers succeeded in keeping the contents of the fourth book almost entirely under wraps. Even the title was closely guarded until just before publication. Printers and binders were sworn to secrecy. Booksellers had to promise not to open the boxes containing the new novel, which came stamped Harry Potter IV, not to be sold before July 8, 2000.

That quibble aside, Rowling’s novels are probably the best books children have ever encountered that haven’t been thrust upon them by an adult. I envy kids reading these books, because there was nothing this good when I was a boy – nothing this good, I mean, that we found on our own, the way kids are finding Harry. We affectionately remember the Hardy Boys and Nancy Drew, but try rereading them and their charm burns off pretty quickly. Rowling may not be as magisterial as Tolkien or as quirky as Dahl, but her books introduce fledgling readers to a very high standard of entertainment. With three books left to go in the series, it’s too early to pass final judgment. But considering what we’ve seen so far, especially in the latest volume, Harry Potter has all the earmarks of a classic.

With Ray Sawhill in New York, Carla Power in London, Karen Springen in Chicago, Andrea Cooper in Charlotte and Hope White Scott in Boston

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Todos abordam o Expresso Potter

Tradução: Quilia Black
Revisão:

Cowell, Alan. “All Abord the Potter Express,” New York Times, July 10, 2000

BOARD THE HOGWARTS EXPRESS, near Oxford, England, July 8 — J. K. Rowling, the creator of Harry Potter, insists that she does not regard herself as a celebrity. But the assertion rings a little hollow when you are traveling in a style once reserved for royalty, in a personal train full of plush and brocade, crisscrossing Britain.

Of course this train — the Hogwarts Express, named for the train that takes Ms. Rowling’s blockbuster creation to the Hogwarts School of Witchcraft and Wizardry in all four Harry Potter books — is the centerpiece of a publicity stunt timed to celebrate and feed the frenzy stirred by the latest in the series, “Harry Potter and the Goblet of Fire,” published to great hullabaloo today. And the apparent luxury — dining car resplendent with white linen and crystal, sleeping car for Ms. Rowling and the entourage from Bloomsbury, her British publisher — is not quite the magical ride of the novels.

The train rocks and rattles and wheezes. Its 57-year-old steam engine develops a fault and has to be towed behind a diesel locomotive. The antique cars make so much din that a reporter’s tape recorder is overwhelmed with white noise during a tightly scheduled 30-minute interview in an observation car. The train’s itinerary is to trundle for four days from book signing to book signing at railway stations large and small where the Harry Potter aficionados await a glimpse of the person who gave them their hero.

And at the center of all this stew of hype, stress, adulation and ever-changing deadlines stands Joanne Kathleen Rowling, a slight, 34-year-old writer from Britain’s university-educated middle-class, a onetime single mother on welfare now credited with being No. 3 among Britain’s top-earning women, with a reported $22 million-plus already gathered from a lightning career.

But the moment is not all triumph, and in a way this rolling monument to success says as much about modern Britain as it does about the phenomenon of Harry Potter. There is an expectation, for instance, that her success automatically entitles the world beyond the Hogwarts Express to bestow the familiar trappings of celebrity — photographers’ popping flashes, glamour to feed dreams — as if acclaim for her writing made Ms. Rowling the same kind of public property as others might only yearn to be.

And there has been a possibly curmudgeonly reluctance in the broader literary world to allow Harry Potter — and Ms. Rowling — to pass by without pointing out that however Harry Potter may be drawn as a fictional persona (one respected literary editor called him a “cipher”), Huck Finn he ain’t. Even as the cash registers have been ringing across the Atlantic, Ms. Rowling’s work has lost out on two prestigious prizes: the Whitbread, for book of the year, and the Carnegie, the top British prize for children’s writers. (“She was thrilled to bits just to be short-listed,” said a Bloomsbury publicist, Rosamund de la Hey.)

Ms. Rowling’s books, said the author and Whitbread jurist Anthony Holden in The Observer a few weeks ago, are “Disney cartoons written in words, no more.” (The United States reaction seems more “celebratory,” Ms. Rowling observed in the interview. “It’s a horrible cliché, but Americans do regard success differently.”)

Of course the publication of the fourth book has been mercilessly hyped. And with Warner Brothers planning to begin filming the first Harry Potter movie in the fall, directed by Chris Columbus of “Home Alone” and “Mrs. Doubtfire” renown, the exploitation of the dream world Ms. Rowling spins around the boy wizard is only beginning. But will that lead to an anti-commercial backlash? It is an issue, Ms. Rowling implies, on which she is ready to take a stand.

“I would do anything to prevent Harry from turning up in fast-food boxes everywhere,” she said. “I would do my utmost. That would be my worst nightmare.”

From approving the script for the forthcoming movie to the spinoffs it produces, Ms. Rowling seems to be ready to defend her vision of Harry Potter to the last. In conversations with the director Steven Spielberg about a possible Spielberg movie of Harry Potter, she said, as the train chuffed and hooted its way past the hedgerows and meadows of central England, the project never went anywhere because “this film would be my vision, and I think he felt he would he hampered in giving his imagination free rein.”

And on the commercialization of the fourth book, she said, “I’m quite clear in my mind what I would like to be out there and what I wouldn’t.”

Ms. Rowling has sought to maintain similar control over public access to her personal life, but that has not always been possible and, much as she sought in the earlier years of her success to pretend to herself that acclaim would not change her life, it has.

Earlier this year, for instance, Britain’s tabloids tracked down her ex-husband, a Portuguese journalist named Jorge Arantes with whom she had a brief marriage in the early 1990’s. Ms. Rowling has brought up their daughter, Jessica, single-handed. But suggestions that her ex-husband may have helped in the creation of Harry Potter rankle with her. “He had about as much input into Harry Potter as I had into ‘A Tale of Two Cities,’ ” she said tartly.

After the breakup of the marriage in Portugal, she returned with Jessica to Edinburgh, weighted by depression and poverty. “If you have been through three or four years of worrying on a daily basis about the money running out,” she said, “you are never going to forget what that’s like.”

She acknowledged that she shook her depression in 1994 only with nine months of counseling, realizing later that her continued ability to write during this period was “a sign that I wasn’t very badly depressed.”

Finding a publisher for the first Harry Potter book was not easy either, she said, and she is still at a loss to explain what, precisely, has propelled sales of more than 30 million, most of them in the United States, a landscape remote from the boarding-school culture of Hogwarts.

“I can’t explain it,” she said. “I don’t have an answer.”

But, offering an oblique riposte to those who have criticized her use of language or the depth of her characterization, she said: “I just write what I wanted to write. I write what amuses me. It’s totally for myself. I never in my wildest dreams expected this popularity.”

“There’s no formula,” she added later.

With the arrival of the fourth book this weekend, of course, popularity has turned into feeding frenzy. Hundreds of children and their parents have waited at the railside stops, forming lines for book signings. Batteries of television cameras at King’s Cross station in London — where the Hogwarts Express departed for its four-day perambulation ending in Perth, Scotland, on Tuesday — were so intrusive that her fans had a hard time glimpsing her. In a nation that celebrated Diana as the People’s Princess and is obsessive about celebrity from soccer players to soap stars, did she feel she had joined those illustrious ranks?

No, she said. She has sometimes been recognized and has been photographed writing in her favorite cafes in Edinburgh. (“The first draft is always in longhand,” she said.) But “I can go completely unnoticed down any street in Edinburgh,” she said. “Celebrity is not a word I would even apply to myself at all.”

Of course her life has changed: just giving interviews on a personal train underscores the transformation from obscurity. Television news has charted the sales, in Britain, of the entire record first print run from warehouses to bookshops: 1,027,000, said Bloomsbury’s chief executive, Nigel Newtown.

A promotional tour in the United States is to follow in the fall. “But then I go home, and life will resume its normal pattern,” she said. “It’s not particularly interesting — seeing friends, working, raising a daughter — the most important thing in my life, Harry included.”

Her newest book, “Harry Potter and the Goblet of Fire,” is arguably her most ambitious. It is the longest — 734 pages in the American edition from Scholastic — and that is longer than even she imagined. She was late delivering the manuscript. She worked 10-hour days to produce it. She had, she said, to start over from midway through when she realized that part of the plot had not been set up to reach the conclusion she wanted. Not only that, the fourth book was designed as the culminating point to which the first three had been leading. (There are supposed to be seven, meaning three more are due.)

For the first time she touches on themes like political involvement, jealousy, fame, romance and the death of a Potter ally: all rites of passage.

“It’s the end of an era in the context of the whole series of books,” she said. “For Harry his innocence is gone.”

She intimated that as the series progresses the mood may darken. The death of one character in the fourth book, she said, is “the beginning of the deaths.”

Oddly enough, though, death was not the most difficult theme to handle. “I don’t want to disturb children,” she said, “but I don’t want to write about death as if it’s something that doesn’t happen.” And after all the whole series begins with the death of Harry’s parents.

So what was the hardest part?

The answer was a character called Rita Skeeter, a hard-bitten journalist with a liking for fabrication and scoops, usually blending the two into one. “I knew people would assume that this was my response to what’s happened to me,” she said. But she decided to go ahead with the character anyhow.

One question that begs asking after Ms. Rowling’s success in the United States is why none of the characters are Americans. In the latest books the reader is introduced to European wizards, and there is even a passing reference to African and American wizards. But Ms. Rowling, who calls herself “a very British person,” insists that “you are not going to get an American exchange student brought in at Hogwarts.”

“I don’t think it would be faithful to the tone of the books to have somebody brought in from Texas or wherever it might be,” she said.

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J.K. Rowling discute as aventuras de Harry Potter

Tradução: Frede_Potter
Revisão: {patylda}

Assuras, Thalia. “J.K. Rowling Discusses the Adventures of Harry Potter,” CBS News: This Morning, 28 June 1999

“Harry Potter and the Sorcerer’s Stone” has been on “The New York Times” best-seller list for adults since last December. And just in time for summer vacation here comes “Harry Potter and the Chamber of Secrets,” a book I’m reading now.

ASSURAS: I guest it goes without saying, that it is not often that a children’s book hits the adult best-seller list. But “Harry Potter and the Sorcerer’s Stone” has been on “The New York Times” best-seller list for adults since last December. And just in time for summer vacation here comes “Harry Potter and the Chamber of Secrets,” a book I’m reading now.

J.K. Rowling is the author of this acclaimed series and we are certainly happy that she could join us here this morning. Good to have you here.

J.K. ROWLING, “HARRY POTTER AND THE CHAMBER OF SECRETS”: Thanks, great to be here.

ASSURAS: I must admit, I’m one of those adults who never did really know about these books until just recently. Fill us in a little bit more about Harry Potter. Who is this kid?

ROWLING: Harry is basically a little boy who until he was 11 years old, never realized — all the strange things he could make happen were due to the fact that he was a wizard.

ASSURAS: A wizard?

ROWLING: Yes. And most of the story is concerned with the fact that he goes off to wizard school and his bench is there.

ASSURAS: He absolutely loves that school, actually.

ROWLING: He does love the school, yeah.

ASSURAS: Why a wizard? I mean, where did Harry Potter pop into your head and why?

ROWLING: I don’t know. It really is the weirdest thing. I was on a train journey in 1990 and the idea just came to me out of nowhere. It was really as though it just fell into my head. I have no idea where it came from.

ASSURAS: Now, you started writing the series though at a particularly, perhaps desperate time in your life. Can I put it that way? Is that a fair assessment?

ROWLING: Well, when I started writing the books, no. At that time, life was pretty OK. But life became fairly desperate after a while in that I was a single mother with a tiny baby. I finished the book under difficult conditions — yeah, that’s true. Basically I could only write when my daughter slept.

ASSURAS: The baby is now what?

ROWLING: She’s five now.

ASSURAS: Does she read these?

ROWLING: No, she’s still a little bit young. I promised her, when she’s seven, I’m going to read them to her.

ASSURAS: Really?

ROWLING: Yes.

ASSURAS: Does she give you any suggestions? She must know what they’re about?

ROWLING: She’s funny, though, because she can read the words Harry Potter, and she’ll walk into book shops ahead of me and say, “Mommy, they’ve got your book. It’s like I’ve trained her to go ahead of me and announce I’m coming. I stopped her doing it now. It got very embarrassing.

ASSURAS: How do you explain the fact that adults like this book. It really is — this one that I’m reading is intriguing. I couldn’t put it down.

ROWLING: Adults, I’ve met — they find them funny. And it is my sense of humor entirely. It’s not what I think children think is funny. I think also I never had a target audience in mind. I wrote what I knew I would like to read and obviously, I’m 33, so hopefully that’s why adults like it so much.

ASSURAS: Now, it is a series of books, right?

ROWLING: It will be, yes. It will be seven.

ASSURAS: My understanding though is that you already have the outline for the seventh in mind. Is that right?

ROWLING: Yes, they’re all plotted. I’ve actually got the final chapter of book seven written; just for my own satisfaction so I know where I’m going. And children have kind of turned up and come around to my house and start edging towards my study. And I’m starting to feel like I should lock that chapter away in the attic.

ASSURAS: You won’t tell us?

ROWLING: No.

ASSURAS: What is it that intrigues you about Harry Potter and magic and all of this?

ROWLING: I could see the comic potential. There is a lot of comic in magic and magic going wrong and also it is a dramatic subject. I like frightening people. The books are getting scarier and scarier as we go.

ASSURAS: Oh, no, why?

ROWLING: Just because — without giving too much away — Harry’s arch enemy is getting stronger.

ASSURAS: Oh. But as all children’s — I want you to tell me the ending — as all children’s books go, most — there will there be a happy ending.

ROWLING: Depends whether or not your favorite character dies because there are going to be deaths.

ASSURAS: One final question, you’re a really prolific writer. You haven’t even gotten to the last book but you have gotten to the last chapter. You love writing, don’t you?

ROWLING: Yeah, definitely. I’ve written all my life. It is like a compulsion for me. I actually don’t feel quite write if I haven’t written for a few days.

ASSURAS: People will feel quite right if they don’t read this. They certainly won’t fell quite right.

Thanks so much for joining us. And the J.K. stands for?

ROWLING: Joanne Kathleen.

ASSURAS: Thanks so much.

ROWLING: Thank you.

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De magia e maternidade solteira

Tradução: Adriana Snape
Revisão: {patylda}
*OK Categorias e Conteúdo

Weir, Margaret. “Of magic and single motherhood,” Salon, 1999

BESTSELLING AUTHOR J.K. ROWLING IS STILL TRYING TO FATHOM THE INSTANT FAME THAT CAME WITH HER FIRST CHILDREN’S NOVEL.

I must confess to a certain bias: I grew up in a dilapidated old farmhouse in County Wicklow, Ireland, a place with a rainy magic not unlike the witch family’s cozy but crumbling home in the second of J.K. Rowling’s “Harry Potter” books. I am also a terminal Anglophiliac, partial to lisps and knee socks. So when my all-American techno-savvy twin boys abandoned their nihilistic computer games to read about groundskeepers, goblins, prefects and tea sausages, I was delighted.

As befits stories about magical powers, the popularity of Rowling’s debut novel, “Harry Potter and the Sorcerer’s Stone” (published in Great Britain under the title “Harry Potter and the Philosopher’s Stone”), is a little unconventional itself — a fire built kid by kid, fanned by whispers in classrooms on both sides of the Atlantic. Which makes it all the more phenomenal that the book, aimed at 8- to 12-year-olds, is currently enjoying its 15th week on the New York Times Bestsellers list. (By contrast, the last major “crossover” novel, Philip Pullman’s 1996 book “The Golden Compass,” was marketed as such by Knopf in an expensive campaign that made it a huge seller, though it did not make the Times list.)

A fresh, clear spring of thrilling narrative, “Harry Potter” is also No. 1 on the Independent Booksellers List, pulling ahead of John Grisham’s “The Testament.” It’s no wonder that in Britain, Rowling’s children’s books come in two jacket designs — one aimed at children and one plain enough that adults can read the books in public.

In the next book of the series, “Harry Potter and the Chamber of Secrets,” Rowling expands the fascinating world of Hogwarts School of Witchcraft and Wizardry with surprises around every turn: a diary that writes back; ancestral portraits that primp and curl their hair at night; a behemoth groundskeeper with a soft spot for man-eating pets; a professor who died, didn’t notice and continued teaching as a ghost. At one point, Harry is warned that some books are dangerous: “Some old witch in Bath had a book that you could never stop reading! You just had to wander around with your nose in it, trying to do everything one-handed!”

Rowling has written another such book. Word-of-mouth publicity on the sequel has already been so strong that its American publisher, Scholastic, has announced that it is moving up the U.S. release date from September to June.

Clearly the publisher felt pressured by loyal Potterites who had already begun purchasing copies online or smuggling them in from the United Kingdom, where it was released last July. Executive Vice President Barbara Marcus also said Scholastic plans to schedule the release dates for the rest of the series closer to British publication dates “for obvious reasons.”

The story of Harry Potter’s creator, Joanne Rowling, is itself somewhat magical: She was impoverished and raising her baby daughter alone while finishing the first “Harry Potter” story; a grant from the Scottish Arts Council enabled her to finish it. (Knowing this makes you cheer all the louder when Harry himself escapes the spiritual poverty of his cruel aunt and uncle to board the train for Hogwarts School and its realm of infinite possibility and rich, if odd, traditions.) Salon reached Rowling in her home in Edinburgh, Scotland, where she talked about instant fame, the “muggle” and single motherhood.

The advertising copy for your book says that you were a struggling single mother when writing “Harry Potter and the Sorcerer’s Stone.” Could you tell more about that time?

In fact, I wasn’t a struggling single mother all the time that I was writing the first “Harry” book. It was only during the final year of writing that I found myself poorer than I’d ever been before. Obviously, continuing to write was a bit of a logistical problem: I had to make full use of all the time that my then-baby daughter slept. This meant writing in the evenings and during nap times.

I used to put her into the pushchair and walk her around Edinburgh, wait until she nodded off and then hurry to a cafe and write as fast as I could. It’s amazing how much you can get done when you know you have very limited time. I’ve probably never been as productive since, if you judge by words per hour.

What was it like when you realized the book was a success?

It sounds a bit twee, but nothing since has matched the moment when I actually realized that “Harry” was going to be published. That was the realization of my life’s ambition — to be a published author — and the culmination of so much effort on my part. The mere fact that I would see my book on a bookshelf in a bookshop made me happier than I can say.

I had been very realistic about the likelihood of making a living out of writing children’s books — I knew it was exceptionally rare for anybody to do it — and that didn’t worry me. I prayed that I would make just enough money to justify continuing to write, because I am supporting my daughter single-handedly. I was hoping I would be able to teach part-time (by this time I was working as a French teacher) and still write a bit.

Three months after British publication, my agent called me at about eight one evening to tell me there was an auction going on in New York for the book. They were up to five figures. I went cold with shock. By the time he called back at 10 p.m., it was up to six figures. At 11 p.m., my American editor, Arthur Levine, called me. The first words he said to me were: “Don’t panic.” He really knew what I was going through. I went to bed and couldn’t sleep. On one level I was obviously delighted, but most of me froze.

For the first time ever in my life, I got writer’s block. The stakes seemed to have gone up a lot, and I attracted a lot of publicity in Britain for which I was utterly unprepared. Never in my wildest imaginings had I pictured my face in the papers — particularly captioned, as they almost all were, with the words “penniless single mother.” It is hard to be defined by the most difficult part of your life. But that aspect of the story is, thankfully, receding a little in Britain; the books are now the story, which suits me fine.

In your books, Hogwarts School is incredibly fantastic, from its forbidden forest and Quidditch fields and endless castle dungeons to its talking portraits and Harry’s own snug four-poster bed. Do you see school as a potential sanctuary for children?

I’m often asked whether I went to boarding school and the answer is “no.” I went to a “comprehensive” — a state-run day school. I had no desire whatsoever to go to boarding school (though if it had been Hogwarts, I would have been packed in a moment). School can be a sanctuary for children, but it can also be a scary place; children can be exceptionally cruel to each other.

In this era of very involved parenting, do you think that the notion of boarding school and the autonomy it offers might hold an almost taboo allure for both kids and parents?

I think that’s definitely true. Harry’s status as orphan gives him a freedom other children can only dream about (guiltily, of course). No child wants to lose their parents, yet the idea of being removed from the expectations of parents is alluring. The orphan in literature is freed from the obligation to satisfy his/her parents, and from the inevitable realization that his/her parents are flawed human beings. There is something liberating, too, about being transported into the kind of surrogate family which boarding school represents, where the relationships are less intense and the boundaries perhaps more clearly defined.

Did any characters or scenes in “Harry Potter” stem from your experience as a single mother?

So much of “Harry Potter and the Sorcerer’s Stone” was written and planned before I found myself a single mother that I don’t think my experiences at that time directly influenced the plot or characters. I think the only event in my own life that changed the direction of “Harry Potter” was the death of my mother. I only fully realized upon re-reading the book how many of my own feelings about losing my mother I had given Harry.

In your first book, the witches and wizards stand out as slightly odd when they’re in the “muggle,” or normal world — cloaked in capes with dozens of pockets. Are they meant to remind readers of homeless people?

Not necessarily of homeless people, although that image isn’t far off what I was trying to suggest. The wizards represent all that the true “muggle” most fears: They are plainly outcasts and comfortable with being so. Nothing is more unnerving to the truly conventional than the unashamed misfit!

Did your teaching experience help you write for children?

I taught for about four years, mainly teenagers. It is my own memories of childhood that inform my writing, however; I think I have very vivid recall of what it felt like to be 11 years old. The classics part of my degree at Exeter College did furnish me with a lot of good names for characters — not exactly the use my lecturers expected me to put it to, however.

One of the book’s loveliest characters is Hermione Granger, one of Harry’s best friends and a bookworm whose research invariably helps him unravel the mystery at hand. Hermione makes erudition seem so juicy and worthwhile, yet she’s very real, prone to crushes on self-inflated types. How did you dream her up?

Hermione was very easy to create because she is based almost entirely on myself at the age of 11. She is really a caricature of me. I wasn’t as clever as she is, nor do I think I was quite such a know-it-all, though former classmates might disagree. Like Hermione, I was obsessed with achieving academically, but this masked a huge insecurity. I think it is very common for plain young girls to feel this way. Similarly, her crushes on unsuitable men … well, I’ve made my mistakes in that area. Just because you’ve got a good brain doesn’t mean you’re any better than the next person at keeping your hormones under control!

What were the most memorable books you read as a child?

My favorite book when I was younger was “The Little White Horse” by Elizabeth Goudge. My mother gave me a copy when I was 8; it had been one of her childhood favorites. I also loved “Manxmouse” by Paul Gallico and, of course, C.S. Lewis’ Narnia books.

In both Harry Potter books, your vocabulary is extraordinarily rich and inventive. How does one encourage children to cultivate a bank of words like this?

I always advise children who ask me for tips on being a writer to read as much as they possibly can. Jane Austen gave a young friend the same advice, so I’m in good company there.

Do you think the English language is more alive in Great Britain than in the United States?

Part of what makes a language “alive” is its constant evolution. I would hate to think Britain would ever emulate France, where they actually have a learned faculty whose job it is to attempt to prevent the incursion of foreign words into the language. I love editing “Harry” with Arthur Levine, my American editor — the differences between “British English” (of which there must be at least 200 versions) and “American English” (ditto!) are a source of constant interest and amusement to me.

Being a mother often requires a sort of generalist or Jill-of-all-trades expertise — part nurse, playmate, chef, maid, bodyguard — with endless distractions. It is so different from writing, where single-minded concentration and discipline is usually needed. How do you reconcile the two?

I write while my daughter is at school, and don’t even try when she’s around — she’s too old for naps now.

Do you have any advice for struggling single mothers?

I am never very comfortable giving other single mothers “words of advice.” Nobody knows better than I do that I was very lucky — I didn’t need money to exercise the talent I had — all I needed was a Biro and some paper. Nor do other single mothers need to be reminded that they are already doing the most demanding job in the world, which isn’t sufficiently recognized for my liking.

I have read that Warner Brothers bought the film rights to “Harry Potter.” How do you feel about Hollywood re-creating your characters?

A mixture of excitement and nervousness! I do think “Harry” would make a great film, but obviously I feel protective towards the characters I’ve lived with for so long.

How do you envision your future?

Well, I’ll be writing, and that’s about all I know. I’ve been doing it all my life and it is necessary to me — I don’t feel quite normal if I haven’t written for a while.

I doubt I will ever again write anything as popular as the “Harry” books, but I can live with that thought quite easily. By the time I about Harry, I will have lived with him for 13 years, and I know it’s going to feel like a bereavement. So I’ll probably take some time off to grieve, and then on with the next book!

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Entrevista de Barnes and Noble

Tradução: Frede_Potter
Revisão: {patylda}

Barnes and Noble interview, March 19, 1999

Welcome, Ms. Rowling. We are so happy that you could join us from England this afternoon to discuss your hit children’s book HARRY POTTER AND THE SORCERER’S STONE. Is this your first online chat?

It is my second online chat, in fact, but first in America!

Thank you for your book. It is complicated and wonderful! What got you interested in magic, wizards, and mystical stuff?

I have always been interested in it, although I don’t really believe in magic. I find it in a picturesque world. There is also a lot of potential for humor with magic. And thanks very much for the compliment. I think it is great that people like complicated books. I do!

I know that you are going to publish a third book, because I can already order it, but why is it not coming out until July?

The books are always published in Britain first, and the pub date in Britain is July 8th…it won’t be available anywhere until that time.

Have you ever read Jane Yolen’s WIZARD HALL? It is another story about a boy in wizard school who saves his school from a terrible beast created by a former teacher. That’s where the similarities end. I like Harry much more!

I am really glad you like Harry more! No, I have never read that book.

Is Harry a compilation of a few little boys you have known? Perhaps your own child?

No, Harry is the only one of the three major child characters — Harry, Ron, and Hermione — who isn’t based on a real child. Harry came fully formed out of my imagination, but there is obviously a lot of me in Harry.

What were you like as a little girl, Ms. Rowling? I am sure you had a great imagination. Did you believe in fairies and magic?

I don’t believe in magic in the sense that I write about it, but I do believe that extraordinary things can happen in the world for which we don’t yet have an explanation. I was a little bit like Hermione in the book when I was young. I wasn’t as clever, and I really hope I wasn’t as annoying. I did consciously base her on me when I was about 11.

What is the inspiration for Harry Potter? What’s the story behind your amazing book? I love it!

Thank you for loving it. I never get tired of hearing that! Explaining where the story came from is always very difficult, because I don’t really know. The idea came to me very suddenly on a train journey from Manchester to London in 1990, and I have been writing about Harry ever since.

How did you decide what to name your characters and places?

I collect unusual names. I have notebooks full of them. Some of the names I made up, like Quidditch, Malfoy. Other names mean something — Dumbledore, which means “bumblebee” in Old English…seemed to suit the headmaster, because one of his passions is music and I imagined him walking around humming to himself. And so far I have got names from saints, place-names, war memorials, gravestones. I just collect them — I am so interested in names.

Who are some of your favorite heroes and heroines in children’s literature? Why?

My favorite book when I was about 8 was THE LITTLE WHITE HORSE, and the heroine, Maria, because she was a very interesting heroine — she wasn’t beautiful, she was nosy, she had a temper. She was human, in a word, when a lot of girl characters tend not to be. I really like Eustace in THE VOYAGE OF THE DAWN TREADER by C. S. Lewis (third in the Narnia series). He is a very unlikeable character who turns good. He is one of C. S. Lewis’s funniest characters, and I like him a lot.

How many more sequels will you be writing about Harry Potter?

There are going to be seven Harrys all together. He will be 17 in the final book, which means he will have come of age in the Wizarding World. In Book 7, he will become a full wizard, and free to use his magic outside school. I am currently writing Book 4, and Book 3 will be out in July.

Harry Potter has become somewhat of a hero for kids. Do you think fictional characters can be effective role models for kids? Perhaps as effective as real-life people?

Interesting question. Yes, definitely. The advantage of a fictional hero or heroine is that you can know them better than you can know a living hero, many of whom you would never meet. You can have a very intense relationship with fictional characters because they are in your own head. Having said that, I didn’t set out to preach to anyone; if people like Harry and identify with him, I am pleased, because I think he is very likeable. But I truly didn’t set out to teach morals, even though I do think they are moral books.

You said earlier that Harry is the only character who is not based on someone you have known. Did you have friends like Ron and Hermione when you were growing up?

As I said, Hermione is a caricature of me. Now Ron, that is interesting. I didn’t mean to base him on anyone, but after I had been writing a bit, I realized he was a lot like a childhood friend of mine from school.

Stayed up until 4am reading HARRY POTTER last night — loved it! Do you write strictly fantasy?

The Harry books are the first things I ever had published, and I am so pleased I gave you a sleepless night!

So many of the most beloved characters in children’s literature begin their lives being raised by wicked adults — James in JAMES AND THE GIANT PEACH, Cinderella. Why is this such a classic fairy tale format? Why do you think it works so well?

All through literature — and not just children’s — the hero has been removed from the family setting. In Greek myths you have the extreme with Romulus and Remus. It serves the important function of enabling the hero to act without the fear of destroying his family and disappointing people who love him, or — which is very important — having to expect frailties in his parents. I think that it serves an important function for readers, particularly child readers, to be able to explore adult cruelty, whether or not they are experiencing it themselves.

Why did you name Harry Potter — Harry Potter?

Because Harry is one of my favorite boy’s names. But he had several different surnames before I chose Potter. Potter was the name of a brother and sister who I played with when I was very young. We were part of the same gang and I always liked that surname.

We are reading your books as fast as we can get them! Which books did you enjoy when you were a child?

I am sorry I am not writing faster. A book I loved when I was younger was Paul Gallico’s MANXMOUSE, which is a funny, magical, very imaginative book. I really loved it. I don’t know if it is still in print. I also liked anything by E. Nesbit. Anything by her! Her life and everything just strikes a chord with me.

The last time you visited America, did you notice a difference [between] American kids and English kids?

No. I was delighted to find that when I did readings, you laughed at exactly what English kids laughed at. I was nervous at what the reaction would be, but I think it was really identical. My favorite question from an American child was “Do you know the Spice Girls?”

Who is the illustrator for your Harry Potter books?

I have about 15 illustrators, because in every country where Harry is published there is different artwork, and there will be still more. It is wonderful to see different representations of Harry from all these different cultures. The illustrator in the USA is one of my favorites, and she is called Mary Grandpre.

What progress is being made in the movie version of HARRY POTTER?

Slow but steady progress. It is at a very early stage, but I will be coming over to Hollywood in about a week to meet with the film people. But they haven’t started auditioning for kids — so there is still time!

Are you pleasantly surprised by the success of HARRY or did you realize a void for this book?

I am astounded by the success of Harry. I never thought much past publication. All my energies were concentrated on seeing the book in print. So it has been a very pleasant shock.

I want to know what Dudley does with his life.

That is a question I would love to answer, but it will ruin some surprises. I will only say that Dudley’s privileged existence starts to change for the worse in Book 4.

My class wanted to know how your daughter was taking all the fame of Harry Potter books, and also if she likes reading them. Thank you.

My daughter is only 5, so I haven’t read them to her yet. She has got a very vivid imagination like her mother, and I think they might give her nightmares. I have promised that I will read them to her when she is 7.

Do you have any tips on writing or any interesting habits you undergo when you write?

Whenever someone younger asks me for advice in writing, I always say “Read!”, because that will teach you what good writing is like, and you will recognize bad writing too. As for me, I can write almost anywhere. I don’t need to be in a study. I am used to writing with a lot of background noise and when I only have an hour to spare.

Did you think of CHARLIE AND THE CHOCOLATE FACTORY when you were writing HARRY POTTER? I thought of it when I was reading it. (I read it in three days, and my friend who is with me read it in one, and he has read it five times.)

I love your friend and no, I didn’t think of CHARLIE AND THE CHOCOLATE FACTORY. I think that Charlie and Harry are quite different characters, although I do think that CHARLIE AND THE CHOCOLATE FACTORY is a wonderful book.

What’s going to happen in the next book? I heard that you can get it in England, but I can’t wait to read it. Can you tell us a little?

In Harry’s second year, he discovers that he has a very unusual power which is normally associated with dark wizards, and he also has to solve a mystery involving voices that only he can hear.

Your books are awesome, but what is the name of the third book of Harry’s adventure?

Awesome — what a great word, especially when applied to Harry. The third book is called HARRY POTTER AND THE PRISONER OF AZKABAN.

Hi, Ms. Rowling. How does a Muggle-born like Hermione develop magical abilities?

Nobody knows where magic comes from. It is like any other talent. Sometimes it seems to be inherited, but others are the only ones in their family who have the ability.

What was your favorite part of the book?

I have got several favorite parts. One is Harry’s first quidditch match. Another is the chapter in which Harry finds the magical mirror. There are other bits I like, but I don’t want to spoil things for those who haven’t finished the book (but if you finished it, you’ll know what I mean).

I heard that they changed the cover in England to appeal to an adult audience. How do you feel about this? What do you think is the perfect age to discover Harry?

It wasn’t my decision to repackage the book for adults. It was my British publisher’s. They took that decision because it had become apparent that adults were reading Harry too. They wanted to reach more adults by getting it into the adult section of bookstores. As far as the perfect age is concerned, I am bound to say any age.

Sometimes when we are writing, we ask ourselves, What is in my character’s pockets or backpack? It helps us find out what kind of person that character is. What is in Harry Potter’s pockets? What is in Voldemort’s?

OK…in Harry’s pockets there are some chocolate frogs just in case there is a wizard card inside one of them that was missed. His wand, of course, and probably the latest quidditch ball from the Daily Profit. Voldemort at the moment doesn’t have pockets because he is a kind of spirit, but once he gets his pockets back I don’t think any of us want to know what is in there.

Why did they change the name of the book from HARRY POTTER AND THE PHILOSOPHER’S STONE to HARRY POTTER AND THE SORCERER’S STONE in the US?

Well, once again that was my American editor’s choice. He felt “philosopher’s stone” gave a false impression of what the book was about. He wanted something more suggestive of magic in the title, so we tried a few alternatives and my favorite was “sorcerer’s stone.”

When are you going to have a web page? Soon, we hope!

Well, Scholastic has a Harry Potter page. One of the pages is: www.scholastic.com/tradebks/harrypotter. There might be another web page for Harry at some point, but that is likely to be related to the film.

How did you think of all the strange things that wizards do, like the post arriving by owl, or floo powder, or what unicorn blood is used for?

I spent a lot of time inventing the rules for the magical world so that I knew the limits of magic. Then I had to invent the different ways wizards could accomplish certain things. Some of the magic in the books is based on what people used to believe really worked, but most of it is my invention.

How would you describe your personality? Are you outgoing or quiet?

I can be very outgoing with the right people, but I have always liked to spend time alone. I have got the perfect temperament for a writer, because I don’t need to be surrounded by people all the time.

Will there be, or have there been, any “late blooming” students in the school who come into their magic potential as adults, rather than as children? By the way, I loved meeting you, and hearing you speak, when you came to Anderson’s in Naperville. I can hardly wait until you tour again.

Ahhh! I loved the event at Anderson’s. It was one of my favorites. That is completely true. No, is the answer. In my books, magic almost always shows itself in a person before age 11; however, there is a character who does manage in desperate circumstances to do magic quite late in life, but that is very rare in the world I am writing about.

How much input do you have concerning the movie version of Harry? Are you contributing to the screenplay?

I script approval, and the producer has been keen to hear my ideas, so I do have some input, but the greatest power you have as a writer or novelist is to sell the rights to the people you believe will make the best film, and I believe I have done that.

I have always loved reading tales that bring the world of fantasy to life. Did you have any idea that Harry Potter would appeal as much to adults as it does to kids?

In one way it did surprise me, but that was because I had never imagined a lot of people liking the book. And in another way it didn’t surprise me, as I really wrote the book for myself — and I am after all an adult, just barely!

Well, you have many fans out there who were thrilled to chat with you this afternoon, J. K. Rowling. Thanks so much for taking the time to hang out in our Auditorium this afternoon, and we hope you’ll come back soon. Do you have any final words of wisdom for the online audience?

Thank you very much for all your questions. I just wish I could see your faces.

[Thank you so much for joining us this afternoon, J. K. Rowling. Before you go, do you have any closing remarks for your online fans?] I’m sorry to everyone who didn’t have their questions answered, but if they keep reading, I bet most of their questions will be answered in the end.

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O estudante e a mãe solteira tiram o manto de Roald Dahl

Tradução: Torfithiel
Revisão:

Williams, Rhys. “The spotty schoolboy and single mother taking the mantle from Roald Dahl,” The Independent (London), 29 January 1999

A SINGLE mother of 34 and a bespectacled orphan schoolboy may not be the most promising combination, but together they have become the publishing sensation of the past two years.

The latest chapter in the remarkable story of Joanna Rowling’s beguiling literary creation began yesterday with the paperback publication of the second book in her Harry Potter series, Harry Potter and the Chamber of Secrets.

Potter is the schoolboy wizard whose enthusiastic adoption by children and grown-ups in their hundreds of thousands has had critics hailing Ms Rowling as the new Roald Dahl.

Platform One at King’s Cross Station briefly becomes the mythical Platform 9 and three-quarters, the place from which young Harry departs for school at the beginning of each new term and which functions like the wardrobe in C S Lewis’s Narnia chronicles.

Harry Potter and the Philosopher’s Stone, the first in what will eventually develop into a seven-part series, introduced the eponymous hero to a generation of computer games junkies previously thought to have been lost to the charms of print. The results have been extraordinary. Sales of the two books are now nudging half-a-million, while the hardback version of Chamber of Secrets spent its first month on the shelf as the bestseller across all books.

Ms Rowling has garnered an armful of awards, including the Smarties Book Prize (the children’s equivalent of the Booker) in consecutive years and a place on the 1998 Whitbread shortlist. Hollywood lent its validation last autumn when Warner Brothers secured the film rights to both books for a seven-figure sum.

Master Potter is an orphan forced to live under the stairs by cruel relatives until he learns on his 11th birthday that he is, in fact, the son of famous wizards, whereupon he is whisked off to Hogwart’s School of Witchcraft and Wizardry. There he takes lessons in potions, herb lore and Quidditch, a kind of football played on broomsticks. Oh yes, and he saves the school and the world from the fallen angel Lord Voldemort, a former head boy of Hogwarts, who chooses to turn his magic against the institution. In other words, a ripping yarn of good versus evil that legitimately conjures up the New Testament, only with characters that recall Roald Dahl.

The names of Dahl and C S Lewis are frequently mentioned alongside Ms Rowling’s, a comparison at which she has balks. “C S Lewis is quite simply a genius and I’m not a genius,” she said. “And while I think Dahl is a master at what he did, I do think my books are more moral than his. He also wrote very overblown comic characters, whereas I think mine are more three-dimensional.”

Either way, critics have universally lauded Ms Rowling’s as she carries readers into a world of invention where Harry flies a car into a tree in flagrant breach of rules on the misuse of Muggle (as normal people are known) artefacts. In the second book Harry unravels the secrets of giant spiders, schoolmates turned to stone and an unpleasant creature that has taken to lurking in the school plumbing.

Potter was drawn with spectacles because, Ms Rowling said, she had worn thick glasses as a child and was frustrated that “speccies” were swots but never heroes.

Nominally pitched at 9 to 12-year-olds, Harry’s appeal has been broader. Parents who were complaining about their children’s refusal to turn off the light until they had finished one more chapter became the next Potter converts. The publishers Bloomsbury took the unusual step of bringing out an adult version of the first book last September. It was wrapped in a design-conscious cover featuring a black and white photograph of a steam train with the title flashed in citrus orange letter. The idea was to spare adult readers on public transport the chore of hiding the children’s version behind their morning paper.

If Harry’s adventures make for compelling reading, then Ms Rowling’s story is also worth a chapter or two. After working for Amnesty International, she went to Portugal to teach English. There she married a journalist, but within weeks of the birth of a daughter, Jessica, they had separated.

Divorced, penniless and now a single mother, she returned to Edinburgh, where her sister lived. Much of the first novel was written in Nicolson’s, a cafe in the city where she would escape her cold and miserable flat. While Jessica slept in her pram, Ms Rowling stretched out her coffees and scribbled furiously away in long hand.

The manuscript was dispatched to Penguin, who turned it down, and then HarperCollins, where it gathered dust for a year. Finally she enlisted the help of a literary agent and, within a day of sending the book, Bloomsbury gratefully snaffled it up. The rest could well be literary and cinematic history.

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