Harry Potter and the Half Blood Prince - A Review
If writing was a religion, it shall be easy to deem 'Harry Potter and the half-blood prince' as the penultimate blasphemy, an utmost sacrilege. A book that discredits its own magnitude, it is a joke in the Queens' English that bravely illustrates the argument for its painful ineptitude.
J.K. Rowling seems to have found the ostentatious airs of a billion dollar grandeur luxurious and tempting, and so overtly has this affected her capability as an author that after scraping off powerful authoritative fictional successes like "The order of the phoenix" and "The Goblet of Fire", she has downgraded her own standards of preferential fiction. "Harry Potter and the half-blood prince", ironically speaking, lacks the magic.
Rowling underscores maturity in her characters and this maturity seems to accompany an intricate and moodily interesting loss of realism. Or is it artistic failure? The dialogues come out as surrealistic even for a surrealistic world like Hogwarts. The book seems to be dependant more on the ratio of its popularity versus its compatibility as a novel. It lacks the individual integrity that places a novel in conjunction with what authors relate to as a total mortality in script; the aggressiveness and energy is averted thoroughly and Rowling seems to be postponing the ideas or concocting ideas that postpone the entire strength of the story-line to what we might perceive will be the subsequent edition. The book seems to be a mere pillar poising the life and breath of the seventh Potter venture. It fails to rejuvenate interest stirred by the earlier specimens, and has more of an exhausted inclination to incite sheer pity for a wasted six hundred pages and a gracious lot of unlimbered bucks.
The book is a disappointment in stages. Anti-climax seems to be the understatement for Rowling's ability. A suspense that harbored on for the past five books seems to have lost the vigor, discipline and focus in the recent book; spontaneity against extreme mystery and the urged justice to delineate a normal hero in paranormal tribulations consolidates what Rowling has in mind for a novel that clearly banks on endless monotony, plot defiance, theme-oriented experimentation, inexcusable character shortcomings, etc. Rowling seems to be playing under her limitations. She seems to be enjoying it, too.
As an author, fictional intercourse with a tension of idiosyncratic subjectivity, has never been Rowling's foremost area of expertise, but the novel convincingly projects the fact that six books old, Rowling still is astonishingly inept, even amateurish. Under the brutal alibi of 'Children's Literature', which the current novel typically and leisurely defies with tinges of what one might term minor profanity, the book passes clear of some very feasible errors in inventive description, a great mishandling of inklings of Gothic and the author's obvious paranoia.
Part Hardy Boys, part Mills and Boons, the gall of the novel surpasses a proper coherency. It works inside a sphere, a particular boundary of solid circumstances supported by bleak and irresistibly weak reasoning; Rowling plays 'safe' with a mass repetition of tried and hackneyed formulas, grossly iterating some of her very own. A prudery, least expected in a narrative of epic proportions.
Also, in an attempt to amuse, a slight assortment of new characters and new elements come into the picture - Rowling's classic technique of steady plot expansion - which again, seem to be hollow and unworthy, adding to a menacing negativity; the attempt seems to be directed at elevating the heroism, proof of her undying motive to sensationalize an ensuing successor to the series.
The book seems more or less a rape of a grand concept and verily, an atrocious, dismaying member of a so far satisfying pedigree. Readers are forewarned to anticipate still more pessimistically.
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David Lagercrantz, who continued Stieg Larsson's Milllennium series after the latter's death in 2004, has stated that he will write just one more book in the series, to be released in 2019. This would bring the series to six books - three by Larsson and three by Lagercrantz.
In an op ed for the New York Times, Matt A.V. Chaban, policy director for the Center for an Urban Future, discusses how libraries in New York City, and potentially, in cities across the country, could find much needed funds to modernize and stay relevant for the long term through partnerships with housing and office developments:
"In 2014, the city selected the Fifth Avenue Committee to undertake the novel task of redeveloping the Sunset Park branch. There, an eight-story building will rise, with the first two floors dedicated to a library 75 percent larger than the one there now. The floors above will have 49 apartments, all of which will be rented to low- and middle-income families in perpetuity.
Imagine if the city did the same at the branch in Corona, Queens, where cramped quarters force study groups to huddle on the floor; or Red Hook, Brooklyn, where families from the nearby housing projects are eager for more job training; or Brighton Beach, Brooklyn, where rising sea levels and storms like Sandy threaten its very operations."
Two TV series based on books scooped the top honors at last night's Emmy Awards:
The Handmaid's Tale won five awards including best drama series, best actress for Elisabeth Moss and best supporting actress for Ann Dowd.
Big Little Lies took five prizes in the limited series categories, including wins for Nicole Kidman and Laura Dern.
James Hohmann, national political correspondent for The Washington Post and author of The Daily 202, leads Monday's issue with a look at the many books Hillary Clinton turned to after her election loss:
"What Happened was quickly strip-mined for political nuggets after its publication last Tuesday. As I went through it over the weekend, though, what struck me most was how the wounded Democrat coped after her crushing defeat last November.
In short, Clinton has read voraciously and eclectically for escape, for solace and for answers.
The collection of works that she cites across 494 pages showcases a top-flight intellect and would make for a compelling graduate school seminar..."
The widow and the biographer of the beloved British children's writer Roald Dahl told the BBC in an interview this week that Charlie Bucket, the young boy whose life is changed by a golden ticket in Charlie and the Chocolate Factory, was originally supposed to be black.
Mrs. Dahl made the remark during a conversation with Donald Sturrock, her husband's biographer, on BBC Radio 4's "Today" program. "It was his agent who thought it was a bad idea when the book was first published to have a black hero," Mr. Sturrock said. "She said people would ask why."
After a nine month dispute, Manhattan's Federal District Court has ruled that Matthew Lombardo's theatrical parody, Who's Holiday! a dark and decidedly adult sequel of sorts to Dr Seuss's How the Grinch Stole Christmas does not violate the copyright of the original story.
Politico reports on how America's high school English teachers are adapting curriculum to the current political climate:
After watching the tumult of the 2016 presidential election play out inside their classrooms last year, and after a summer of hate-filled violence, many are retooling the reading lists and assignments they typically give their students. They worry that the classic high school canon doesn't sufficiently cover today's most pressing themesquestions about alienation and empathy and powerand that the usual writing prompts aren't enough to get students thinking deeper than an average cable news segment...
Stephen King's record-breaking horror film "It" may already be a hit with audiences, but one group is not celebrating the success of the latest adaptation of Stephen King's novel: clowns.
For a community already struggling to combat perceptions of clowns as scary rather than fun, the emergence of Pennywise, the movie's child-killing clown villain, played by Swedish actor Bill Skarsgard is truly the stuff of nightmares. Even before the film's release the World Clown Association was warning that the film could cause its members to lose work, even going as far as publishing a press kit to prepare clowns for the damaging effects It might have on their reputations.
The many sides of one of the UK's most beloved fantasy authors are reflected in an exhibition called Terry Pratchett: HisWorld, which opened this weekend at Salisbury Museum, not far from Terry Pratchett's Wiltshire (UK) "manorette" where he died in March 2015.
The memorabilia is as eclectic as the author's writing, from his first typewriter a manual Imperial 58 bought secondhand for £14 to his trademark leather jacket and Louisiana fedora.
The $1.2 trillion FY2018 budget bill (H.R. 3354), which passed by a 211-198 margin, includes full funding for the Institute of Museum and Library Services (IMLS), including all programs administered under the Library Services and Technology Act (LSTA), as well as the Department of Education's Innovative Approaches to Literacy (IAL) program.
The vote comes after the House Appropriations Committee in July approved a Labor, Health and Human Services, and Education (LHHS) funding bill which proposed roughly $231 million for the IMLS, including $183.6 million for LSTA, programs, and $27 million for IALessentially level with 2017 funding. In addition, the bill passed yesterday also increased funding for the National Library of Medicine by $6 million.
In addition to voting to preserve federal library funding, the House bill also would save the National Endowments for the Arts, and Humanities, which are funded as part of the FY2018 Interior and Environment Appropriations bill.
The House vote caps an intense lobbying effort, and comes after President Trump in May doubled down on his call to eliminate the IMLS and virtually all federal funding for libraries, as well as a host of other vital programs and agencies.....