Abigail Wentworth

Instructor Stefanie Sydelnik

WRT 105E: American Dreams

30 April 2015

The Use of Terrorism in the Harry Potter Series

INTRODUCTION

If you come across a child who has not read, or at least heard of J.K. Rowling’s Harry Potter

series, they are in the minority. The series has become a large component of children’s popular

culture because the books provide the fantasy and magic that appeals to children and keeps them

reading. However, there has been debate as to how recent world events translate into the

storylines of Harry Potter, and if this is acceptable for young children to be exposed to. Many

people, children and adults alike, read the series without realizing the motivation behind the

inclusion of a plethora of violence and terrorism. Terrorism is defined by the Federal Bureau of

Investigation as intended intimidation or coercion of a civilian population, as well as influencing

government policy through intimidation or coercion. In the later books of the Harry Potter

series, particularly the last three, J.K. Rowling’s use of terrorism seems to increase in parallel to

the current events of terror in the world, and in addition, seems to imitate the actions taken by

terrorists as well as the government. Many of the actions taken by terrorists in Harry Potter as

well as actions of the government in the series carry out can be compared to events of the real

world, creating relevance to the books for its readers, even if they do not realize it consciously.

Though some critics argue that children should be discouraged from reading such material

containing terror and violence, it can be argued that exposing children to the books might be

more beneficial for them than harmful. Recent events, specifically acts of terrorism and

responses of the government, have had a significant impact on J.K. Rowling’s Harry Potter

series. As a result, the novels are relevant to children who are dealing with fear of terror in the

real world, and are therefore beneficial to them by teaching them coping mechanisms to handle

terror in their own lives.

THE IMPACT OF RECENT EVENTS ON THE HARRY POTTER SERIES

After the bombing of the World Trade Center in New York City on September 11, 2001, the air

became so thick with fear of terrorism that you could cut it with a knife. Children and adults

alike had increased anxiety and fears about possible future attacks, and this fear persisted for a

long time after 9/11. Life in the United States changed after these attacks: airports drastically

increased their security measures, schools better prepared students for lockdowns and other

possible threats, and relations between Americans and those from Iraq grew ever more tense.

This new wave of terror not only affected the lives of Americans, but it also changed popular

culture.

When taking a closer look at J.K. Rowling’s Harry Potter series, it is evident that her use of

terrorism dramatically increased in her books written after 9/11. Some critics argue that the plot

in the last three books of the series were planned out before the attacks on 9/11, but there are

numerous parallels between the books and recent world events that convincingly refute these

claims and prove that these events had a significant influence on the storyline. Stephen Deets, a

professor at Babson College who created a course about Harry Potter Politics, says that he would

“relate the classes…to Iraq and the war on terror, especially as these connections are clear in the

books written after 9/11” (742). Deets went on to teach about how the war on terror relates to

Harry Potter, and different instances in the book that can be compared to world events of terror.

Julia Turner, an editor of Slate magazine, agrees with Deets that 9/11 had an impact on the Harry

Potter books that followed. Turner argues that “following the terrorist attacks of September 11,

2001, Rowling used real events from the war on terror as a form of shorthand to instill a sense of

fear in the Harry Potter series” (108). Nathaniel Rivers, a PhD candidate and graduate instructor

at Purdue University argues that Harry Potter’s world mirrors terror in the real life. Rivers

claims that “the world of Harry Potter is growing increasingly darker as the series progresses,

reflected a real world made scarier by terrorism” (104). Deets would have to agree with this, as

he states that Rowling created a “well-developed parallel world” to our own (741). Scholars and

critics alike are in agreement that the books have been influenced by current events in the post-

9/11 era. The final three series in the series reflect the events that happened on 9/11, and the fear

that these attacks instilled afterward.

It is clear that the books that were written after 9/11 were influenced by world events, and

understanding how the books were influenced is just as important as this realization. The books

grow much darker after 9/11, and it is reflected in the dialogue and attitudes of characters. The

first chapter of Harry Potter and the Half-Blood Prince opens up with the Prime Minister of the

Muggle (non-wizarding) world, reflecting on how dark the world had gotten. “A grim mood has

gripped the country,’ the opponent had concluded, barely concealing his own broad grin…and

unfortunately this was perfectly true. The Prime Minister felt it himself; people really did seem

more miserable than usual” (Rowling 15). The thoughts of the Prime Minister in this scene of

the book is in reference to the terrorism going on in the wizarding world, that is taking a toll on

the Muggle world. Though the Muggles do not understand why bridges are being blown up and

an ominous chill has dominated their summer weather, they understand that something is wrong,

and is affecting their way of life. In River’s article, he claims that this gloom is comparable to

the general attitude taken on after the attacks on 9/11 (106). The negative and worrisome

attitudes of the characters in the books reflect the post-9/11 attitudes in the U.S.

The actions taken by the United States government are subtly imitated in the last three books in

the series. Both the American government as well as the Ministry of Magic seemed to have the

tendency to do what was easy, versus what was right, at certain times. In the books written after

9/11, “the ‘political thread’ going through the series largely focuses on the way in which the

Ministry of Magic deals with the obvious threat of Lord Voldemort’s return” (Rauhofer 112).

Being preoccupied with “saving face” is a common theme because generally speaking, it was

how both governments handled terrorism initially. Though the Dark Lord’s return was indeed

obvious, the initial reaction was denial by the government: “Fudge [the Minister of Magic]

spends most of Harry’s fifth year at Hogwarts denying Voldemort’s return and the potential

resurrection of the Death Eaters” (Barratt 106). Though the American government did not deny

the terrorism that was occurring, they had the same motivation as Fudge, which was to protect

the image of the government.

The Department of Homeland Security was first proposed in early 2001, and was formally

established in the United States shortly after the September 11 attacks. Their mission is to

prepare the country for terrorism, and be responsive to possible attacks. In regards to Harry

Potter, Rivers argues that “The Ministry of Magic’s flyer ‘Protecting Your Home and Family

Against Dark Forces,’ a flyer that lists ‘simple security guidelines’ that ‘will help protect you,

your family, and your home from attack,’ eerily resembles similar documents produced by our

own Department of Homeland Security” (106). After 9/11, The Department of Homeland

Security issued similar pamphlets to families explaining their purpose and plan of action. In

Harry Potter, the government went so far as to arrest innocent people so as to appear as if they

were accomplishing something, even if it served no purpose. Though this was not an issue after

9/11, it is worth mentioning because the motivations behind both governments are comparable to

each other. Both the United States government and the Ministry of Magic showed similar

handlings of the situation at hand for each, desperately trying to show the general population that

they were supposedly taking action.

Arguably the biggest component of the terrorism in the Harry Potter series is the character of

Lord Voldemort. Strimel argues that “he is at the apex of the terrorist plot in the Harry Potter

series, which makes the study of him all the more important” (43). In the earlier books, his name

was thrown around quite a bit, and was always an obstacle for Harry Potter. It was clear that he

was feared in the wizard community – so feared that some people were unable to speak his name

aloud. Though the idea of Voldemort was frightening, he was never quite a real threat because

he was weak, and had not been in power for over ten years.

However, after Lord Voldemort returned to power at the end of the fourth book, he resumed his

role of a terrorist and became more frightening than he was in any of the previous books.

Voldemort along with his Death Eaters, which was his army of followers, regained strength, and

used their newfound power to spread fear among both the wizarding and Muggle communities

by burning bridges and murdering countless innocent people. What really makes Voldemort so

frightening is that he is constantly posing a “threat to society,” and “his sinister actions

consistently cause pain, terror, and confusion to both the magical and Muggle communities”

(Strimel 43). Reckless as Voldemort is, he does not act without purpose. He is “continually

seeking to pull others over to the Dark side with him to gain control over them and to do his

bidding” (Patrick 223). Not only that, but he tries to target Harry specifically many times

throughout the series. Voldemort utilizes direct terror tactics by trying to “convince Harry to

join him by threatening him with death and through promises of power and immortality” (Patrick

223). Voldemort is clearly a strong symbol of terrorism used by J.K. Rowling to instill fear.

Another way Rowling implements the use of terror in her later novels is through Voldemort’s

army of Death Eaters. These individuals either willingly sided with Voldemort, or were

threatened by him and brought over without choice – either way, they fought for Voldemort and

followed his commands. The Death Eaters often carried out some of Voldemort’s most brutal

work, such as the killing of innocents. They are the epitome of an archetypal terrorist group,

controlled by their powerful leader (Barratt 95). According to Barratt, “their masks, their love of

theatrics, their choice of targets and tactics with powerful emotional impact, and their ability to

hide in plain sight” make them a “quintessential terrorist group” (Barratt 95). The Death Eaters

add an element of terror beyond Lord Voldemort himself, by carrying out his actions and

spreading terror even further.

THE BENEFITS THE SERIES OFFERS TO YOUNG READERS

Due to the attacks on 9/11 and other associated terrorism, times have grown darker and more

dangerous (Rivers 105). When the world becomes so preoccupied with the actual terror

occurring, the psychological impacts from terrorism are often forgotten, especially for children

(Rivers 104). Studies have been conducted to see the affects of the attacks of 9/11 on American

youth. One study in particular, conducted by Joy J. Burnham, compared the fears and terror-

related fears from prior and following the attacks on 9/11 (Burnham 128). Burnham found that

while general fears remained stable between the two periods, fears that were related to terrorism

had significantly increased after 9/11 (Burnham 128). More specifically, she found that

“approximately 6 months after 9/11, 1 in 4 of 8,000 New York City children studied had anxiety

and emotional symptoms related to the attacks” (Burnham 128). This study looked directly at

the children’s feedback, so Burnham decided to conduct a study that examined the parent’s

perspective on their children’s possibly heightened levels of fear. After asking parents about

their perception on their children’s anxiety after 9/11, many reported that their child was having

problems with attention and sleeping, as well as temper issues, and avoiding discussion of the

attacks (Burnham 128). It is worth noting that children’s anxieties have increased dramatically,

because they are able to relate to the terror within the post-9/11 books in the Harry Potter series,

and learn to cope with terror in their own lives.

Rivers claims that “the fictional account of theses non-fictional feelings connects the unreal

events of the book to the very real emotions of its audience in response to the equally unreal

events of their world” (106). This is very true because while the events in the book are based off

of magic, the way that the characters respond can be directly relatable to children dealing with

terror in real life. Turner agrees, arguing that because we “substitute for our abstract fear of

Voldemort the very real fear we’ve felt in our own immolated cities, the new book resonates in

ways the old ones have not” (Turner 110). The magic makes the series a safe space for children

to cope with these relatable feelings, because they can distinguish that they are fictional events,

but relate to the characters and their emotions. Although wizards and magic dominate the plot,

the books’ true value is not Harry Potter’s magical world, but in its “all too realistic vision of the

young reader’s world” (Rivers 107).

Children are able to relate to Harry’s struggle of constantly being pushed and tempted to go do

the dark side with Lord Voldemort (Patrick 231). Harry is constantly putting up a fight for what

he knows is right, not easy, which can get exhausting. Though he continues to fight throughout

the series, it gets difficult when Harry faces violence, threats, and even when he feels he can

relate to Voldemort. Harry often recognizes “striking similarities between himself and

Voldemort,” which gives Harry a sort of cognitive dissonance, making it difficult to stick to his

guns at times (Patrick 231). Harry is “engaged in an ongoing battle with forces inside himself as

well as without” (Patrick 231). The struggle that Harry is facing due to the internal similarities

between himself and Voldemort, as well as outside forces of violence and threats, is something

that readers can appreciate. “Good” and “evil” are themes that are relatable to terrorism, and

readers find Harry’s struggle to be interesting because “we recognize that the battle within is

something all of us, in some sense, are fighting” (Patrick 231).

Because young readers are so able to relate to the books, the series have often been referred to as

an “emotional survival guide” for this audience. The term “emotional survival guide” was

coined because the books combine real life emotions that children experience (as a result of

terror) with fictional magic, making it relatable, but not frightening because the implementation

of terror through magic is unrealistic. Rivers reasoning behind this claim is that it “allows

children and adolescents the opportunity to experience a new environment where safety no

longer remains a given, but where ‘safety,’ as an ideal, is still expected” (107). Basically, the

later books in the series contains a lot of danger that occurs spontaneously and without warning

and have the capability to really hit home for child readers (Rivers 107). The reactions of the

characters in the books and the coping methods that they use in response to terrorism “serve as

an equipment for children going up in a world where danger is no longer a physical challenge

reserved for adults, but is also an emotional one presented to them” (Rivers 107).

Courtney Strimel is in agreement with this suggestion of Rivers claiming that the books are

beneficial. She wrote an article with its main claim being that the Harry Potter series’ “use of

magic, [and] frightening storylines…is beneficial to children who are dealing with issues related

to terror and terrorism” (Strimel 35). The reason for this being so beneficial for children is

because it teaches them “strategies for coping with both physical and psychological

victimization, and argues that the series explores morality issues, allowing child readers to

analyze terror-related questions such as why some people are considered evil, why difference is

often believed to be bad, and why good people do bad things” (Strimel 35). Asking questions

about good and evil, and what drives people to do bad things can deepen their understanding of

why terrorism occurs, and how to cope with it when it does. Additionally, various scenes lead

children to “explore important, yet frightening issues while remaining in an emotionally safe

state” (Strimel 35). Strimel’s point of considering why good people do bad things is complicated

throughout the series, as Deets points out. Deets discusses the debate about using the

unforgivable curses – purely evil magic – and the complexity that arises when the “good”

characters in the series use them (742). This forces children to ask questions about good and

evil, because combining the two in such a way creates many uncertainties for young readers.

The character of Severus Snape is another element to the series that forces children to think

about good and evil. From the beginning, he was portrayed as being evil, even just off of looks

alone. He was always portrayed as a potential threat to Harry, when we find out in the last book

that he was protecting him all along. However, he used to be a Death Eater, creating a feeling of

uneasiness for readers. It may be difficult for readers to accept Snape as a good character by the

end of the series, due to his looks, previous actions, and knowledge that he used to work for

Voldemort. However, the moral of this story teaches children that bad people can become good,

and that they should not base someone from their looks (Strimel 47).

CRITICISM

Many critics argue that the Harry Potter series promotes Satanism and sensory overload through

all of the evil magic in the books (Strimel 41). Though the books do contain magic, this claim

neglects the fact that children have a well-defined sense of fantasy and reality at an early age

(Strimel 41). In fact, it has been proven that “children are capable of distinguishing fantasy and

reality by the age of 5, making fantasy the most viable means for children to cope with terror”

(Strimel 35). Another concern came from conservative Christians after 9/11, arguing that magic

was inherently anti-Christian (Strimel 36). Conservative Christians are concerned with the

amount of “inappropriate” violence and terror for a children’s series (Strimel 36). However,

these areas of criticism are “precisely what enables the series to confront terror issues” (Strimel

36). Books that actually acknowledge these issues and make children question are beneficial to

them more than harmful. The different issues of morality, frightening storylines, and inclusion

of magic help explore a variety of morality issues, making children think critically about them

and learning from them (Strimel 36). Not only this, but the inclusion of these components in the

books allow readers to tackle their terror-related issues in the safety of a book, rather than in

reality (Strimel 36).

An overriding theme of the series can be thought of as “coping with terrorism” (Strimel 37).

Fear is a large part of the series’ foundation, and magic is a “psychologically safe vehicle for the

lessons contained throughout the Harry Potter series” (Strimel 37). Fantasy can serve as an

escape from the real world, which can be therapeutic for children coping with terrorism in their

lives. Books that avoid these topics altogether, rather than posing questions about the topic, may

actually raise anxiety, rather than lowering it (Strimel 37). It is therefore beneficial for children

to read this material, ask themselves questions, and develop coping mechanisms.

Works Cited

Barratt, Bethany. The Politics of Harry Potter. New York: Palgrave Macmillan, 2012. Print.

Burnham, Joy J. “Children’s Fears of Terrorism Increased After 9/11.” Political Issues in J.K.

Rowling’s Harry Potter Series. Ed. Dedria Bryfonski. Detroit: Greenhaven Press, 2009.

128-133. Print.

Deets, Stephen. “Wizarding in the Classroom: Teaching Harry Potter and Politics.” PS: Political

Science & Politics 42.4 (2009): 741-744. Web.

“Definitions of Terrorism in the U.S. Code”. The Federal Bureau of Investigation. Web. 29 April

2015.

Patrick, Christopher J., and Sarah K. Patrick. “Exploring the Dark Side: Harry Potter and the

Psychology of Evil.” The Psychology of Harry Potter. Ed. Neil Mulholland. Dallas:

Benbella Books, Inc., 2006. 221-232. Print.

Rauhofer, Judith. “Rowling Critiques Britain’s Handling of the War on Terror.” Political Issues

in J.K. Rowling’s Harry Potter Series. Ed. Dedria Bryfonski. Detroit: Greenhaven Press,

2009. 111-123. Print.

Rivers, Nathaniel. “The Harry Potter Books Reflect an Increasingly Dangerous World.” Political

Issues in J.K, Rowling’s Harry Potter Series. Ed. Dedria Bryfonski. Detroit: Greenhaven

Press, 2009. 104-107. Print.

Rowling, J.K. Harry Potter and the Deathly Hallows. New York: Levine Books, 2007. Print.

Rowling, J.K. Harry Potter and the Half-Blood Prince. New York: Levine Books, 2005. Print.

Rowling, J.K. Harry Potter and the Order of the Phoenix. New York: Levine Books, 2003. Print.

Strimel, Courtney B. “The Politics of Terror: Rereading Harry Potter.” Children’s Literature in

Education 35.1 (2004): 35-52. Web.

Turner, Julia. “Rowling Uses Terrorism to Create Fear in the Harry Potter Books.” Political

Issues in J.K. Rowling’s Harry Potter Series. Ed. Dedria Bryfonski. Detroit: Greenhaven

Press, 2009. 108-110. Print.

Self-Assessment

1. The revision process of my paper was an emotional rollercoaster! For a while it was

going very well, but then I had a change in heart in terms of the angle I wanted to

approach this paper from. However, it all worked out in the end and I think it came

together nicely after that. I continued reading through my sources, and had a fairly

thorough outline that I was adding evidence from my sources to. My outline that I

created helped me make sure that my topic flowed well among paragraphs and sections,

which is something I think I was able to accomplish relatively well.

2. My feedback was helpful in that I realized my topic was a tiny bit broad. That was the

main thing I think I realized after reading both feedbacks. Not even just broad, but there

were things I really just needed to specify, such as the fact that I was talking about child

readers specifically.

3. Recent events such as 9/11 have had an impact on the storylines of Harry Potter. As a

result, they are relatable to children who are coping with terror in their lives, and are

beneficial to children by teaching them coping mechanisms and making them think

critically about terrorism in a safe space.

4. I worked with a friend who is in a similar writing course (another 105). It was helpful to

get additional feedback on my paper as I was in the revision process. It’s also more

encouraging to have somebody who is so interested in reading your paper.

5. If I had more time to work on this, I would probably try to work on paraphrasing more

than quoting. Though I actually thought I used my sources well in terms of its content

and relating them to one another, I definitely shied away from doing much else other than

just quoting. I didn’t feel comfortable paraphrasing and turning a sentence into my own

language. I tried it a bit more towards the end (successfully, I think), but definitely could

have done this more. I also am not sure if I have enough of my voice. It is tricky

because I agree with the majority of the sources I used, so sometimes I confuse their

voice with my own.