
Every so often (and it's been nearly a year since I've last done this), I offer up a chapter from one of my books here, just in case there's anyone with the patience to read a long piece of prose about self-development and the like. And if you're an editor or a lit agent who's passing by, have a look and
give me a ring, if any of this strikes your fancy. Today's offering is from my
Tao of Hogwarts, and it's about the medieval roots of ego and the modern delusion of human supremacy. Off we go, then, to No. 12, Grimmauld Place in London, with
Mr. Harry Potter.
Pressing a finger to her lips, she led him on tiptoes past a pair of long, moth-eaten curtains, behind which Harry supposed there must be another door, and after skirting a large umbrella stand that looked as though it had been made from a severed troll's leg, they started up the dark staircase, passing a row of shrunken heads mounted on plaques on the wall. A closer look showed Harry that the heads belonged to house-elves. All of them had the same rather snoutlike nose.
Harry's bewilderment deepened with every step he took. What on earth were they doing in a house that looked as though it belonged to the darkest of wizards?
—J.K. Rowling, Harry Potter and the Order of the Phoenix, Chapter 4
In the opening chapters of the fifth book in the Harry Potter series, the fifteen year-old boy wizard is attacked by a pair of "dementors"—malevolent ghouls with the power to suck one's very soul out with a single "kiss." Harry successfully defends himself from this assault and is then rescued from his Muggle home by a group of his adult friends, who take him to an obscure house in a darkened, low-income neighborhood within London. This house is the headquarters of the "Order of the Phoenix," the social defense association that has been hurriedly re-formed in response to the threat posed by the return of Lord Voldemort, the complex embodiment of evil whose shadow floats throughout the Potter series.
Nothing about his new environment is particularly encouraging to Harry: garbage is piled up in the street; dirt and filth seem to define the homes at Grimmauld Place, sticking to their exteriors like a gloomy mood. The door to the place is "black…shabby…scratched"; the darkness inside is dominated by a "sweetish, rotting smell" which gives it "the feeling of a derelict building." Gas lamps are lit, which cast "a flickering insubstantial light over the peeling wallpaper and threadbare carpet"; there are other haunted-house features, such as a "cobwebby chandelier" and "age-blackened portraits" on the walls. The question that occurs to Harry, as he walks through the house at Grimmauld Place, seems entirely natural (the name says it all: "grim and old," or "grime and mould"—throughout these stories, Rowling reveals an uncanny talent with names): what on earth is he doing here?
The question is not answered for him immediately: he only knows that he is in the headquarters of the Order, that it seems an uncharacteristic place for his friends and allies to be calling home, even if only as a temporary measure, and that its pervasive gloom feels poisonous to him. And from a metaphorical perspective, it is, as Rowling swiftly demonstrates in this tour through the realm of the neurotic tenement.
For it is here, at 12 Grimmauld Place, that Harry's smoldering emotions of fear and anger are appropriated by the ego and thus find expression in a completely misdirected outer attack on those closest to him. Why does this happen? Why, after less than a quarter hour within this house and its threatening metaphorical presence, does the ego within Harry explode in a cacophony of bile against his two deepest and most enduring friends?
One answer to this is obvious: 12 Grimmauld Place is decidedly not "a safe place." I am borrowing that phrase from a 1989 book by a Harvard psychologist named Leston Havens.
A Safe Place is a compact volume of poetic clarity that calls those who would follow the way of helping people in torment or crisis to remember that "every theory acts to suppress…the real person who consists of much else," and that furthering another's inner growth is really about offering a safe and open place in which true healing may happen. Havens writes compellingly about the inner requirements for "safe place making:"
We have to learn how to be still when the other needs to be left alone but asks for intervention, to give confidence when the patient induces despair, to find strength when everything suggests madness and deviance, to bring sobriety to those who would set us afire, and…sometimes to be what the patient needs….(p. 131)
In this respect, young Harry has not been given "a safe place" for a moment during this his fifteenth year of life, and we can all observe from our own lives how common this unfortunate truth is within our culture, especially for adolescents. For Harry, it is only at his school—particularly within Dumbledore's office and Hagrid's hut—that he's allowed the freedom and safety to expose his inner demons to the light of clarity, and gradually uncover his true self. As this story proceeds, Harry will discover that learning and healing are possible beyond Hogwarts, and even within the lugubrious confines of Grimmauld Place—but that understanding will reach him only after a metaphorical process of "inner cleansing" is allowed to unfold. At this point in the story, there is no safe place for Harry to grow or heal: he has been delivered from the plastic world of Privet Drive, into the frosty but insubstantial air of escape (the broom-flight to London), and finally to this moribund home at Grimmauld Place.
So, Harry is hustled upstairs, into another glowering space ("a gloomy, high-ceilinged room"), left alone by the adults who have important, grownup business to attend to downstairs, and he is then almost immediately excoriating his friends Ron and Hermione with demands, claims of right and privilege, bitter, paranoid accusations, and viperish, self-referential pettiness.
Even as he spouts this venom, Harry is obliquely aware ("self-ashamed") of the fact that he is being overtaken by the power of ego. Yet he carries on in the shrill voice of the neurotic realm—the power-hungry impulse to be in the know, the self-consciousness of the hierarchy implicit in one's relative proximity to the seeming center of things, the obsessive demand that he owns priority above others for his past actions. His bitterness is a function of the fact that a more natural expression of his fear and anger has been closed off to him; it is also a reflection of and response to his environment. As Havens points out in his book, our spaces, in both their outer and inner formations, will show us whether we will be allowed a healthy and disburdening expression of our distress, or be left with a narrow, restricted, and distorted projection.
Rowling's use of environment illustrates this principle. Compare the way Harry accounts for identical actions from his past in two separate spaces, first during his tirade at Grimmauld Place (above) and later at Hogwarts (below):
…before he knew it, Harry was shouting…
"I'VE BEEN STUCK AT THE DURSLEYS' FOR A MONTH! AND I'VE HANDLED MORE THAN YOU TWO'VE EVER MANAGED AND DUMBLEDORE KNOWS IT—WHO SAVED THE SORCERER'S STONE? WHO GOT RID OF RIDDLE? WHO SAVED BOTH YOUR SKINS FROM THE DEMENTORS?..WHO HAD TO GET PAST DRAGONS AND SPHINXES AND EVERY OTHER FOUL THING LAST YEAR?…BUT WHY SHOULD I KNOW WHAT'S GOING ON? WHY SHOULD ANYONE BOTHER TO TELL ME WHAT'S BEEN HAPPENING?"
(pp. 65-66)
"Just listen to me, all right? It sounds great, but all that stuff was luck—I didn't know what I was doing half the time, I didn't plan any of it, I just did whatever I could think of, and I nearly always had help—I got through it all because—because help came at the right time, or because I guessed right—but I just blundered through it all, I didn't have a clue what I was doing—STOP LAUGHING!" (p. 327)
Returning to Grimmauld Place, the full impact of this reflection of environment and inner state is revealed as the textural details of this house are drawn. To the ghoulish and dystonic images already provided, the author adds more over the next two chapters. Harry soon understands the necessity of silence and darkness in the entryway to the building, when an accidental noise sets off one of the more intriguing images of the book:
The moth-eaten velvet curtain Harry had passed earlier had flown apart, but there was no door behind them. For a split second, Harry thought he was looking through a window, a window behind which an old woman in a black cap was screaming and screaming as though she was being tortured—then he realized it was simply a life-size portrait, but the most realistic, and the most unpleasant, he had ever seen in his life.
The old woman was drooling, her eyes were rolling, the yellowing skin of her face stretched taut as she screamed, and all along the hall behind them, the other portraits awoke and began to yell too, so that Harry actually screwed up his eyes at the noise and clapped his hands over his ears…the old woman screeched louder than ever, brandishing clawed hands as though trying to tear at their faces.
"Filth! Scum! By-products of dirt and vileness! Half-breeds, mutants, freaks, begone from this place! How dare you befoul the house of my fathers—" (pp. 77-78)
This portrait represents the figure of Sirius Black's dead mother, and now it becomes clear where Harry has landed—in the ancestral home of his godfather's ancient family. Now as tempting as it may be for us to see certain Freudian (specifically, Oedipal) analogies in this concatenation of images and relationships, it would seem more consonant with Mrs. Rowling's development of the story to focus on this metaphor from the perspective of a more human and less ideological psychology.
For we have now entered the metaphorical realm of what
Karen Horney called "neurotic pride" and what
Carol Anthony and Hanna Moog refer to as "the demonic sphere of consciousness."
Kierkegaard called it "the sickness unto death," and specifically "the despair of weakness," which he describes pointedly in terms of false self-perception:
…there are essentially two forms of illusion: that of hope and that of recollection. The adolescent's illusion is that of hope, that of the adult recollection. But precisely because the adult suffers from this illusion, his conception of illusion itself is also the quite one-sided one that the only illusion is the illusion of hope…What afflicts the adult is not so much the illusion of hope as, no doubt among other things, the grotesque illusion of looking down from some supposedly higher vantage-point, free from illusion, upon the illusions of the young. (The Sickness Unto Death, p. 89)
Anthony and Moog describe this "demonic sphere" of illusion in terms of a false use of language, the product of fantasy and myth:
The false use of words in describing the Cosmic Reality leads to mistaken ideas and beliefs: about the nature of the Cosmos and its ways, about life, about Nature, about human nature, and about the place of humans in the Cosmos…The false thoughts and emotions coming from this false consciousness project themselves into reality…the parallel reality created by the collective ego, which can be described as the domain of suffering. (I Ching: The Oracle of the Cosmic Way, p. 713)
Horney speaks of this illusory, projected consciousness as the product of a neurotic error, in which "a wish or need, in itself quite understandable, turns into a claim." We may see that Harry himself falls into this neurotic trap: his self-important tirade (quoted above) comes from the same inner milieu as that of the portrait of Sirius' mother. Under the influence of ego, his need for personal autonomy becomes a claim to superiority above others, based on his past accomplishments. This claim is a brand of "personal racism," which parallels the more global and stereotypical racism of the portrait's rant against "half-breeds, mutants, and freaks." Certainly, their tone and volume are very well matched: Harry and the painting are both loud, biting, offensive, and imperious. This involves an acceptance or embodiment of what Horney refers to as "the expansive solution of mastery," in which "the individual prevailingly identifies himself with his glorified self." To do so, however, is to separate from one's own true self, one's human needs, and from the Cosmic Reality. This inner act of dehumanization springs from the same seed, which condemns others as "the enemy," "the traitors," "the mob," or "the ignorant," and subjects them to oppression and demonization, usually in furtherance of some proclaimed "noble end."
It is, however, the professed "noble end" that usually contains the seed of the delusion, the fuel which drives the engine of tyranny. Mrs. Rowling reveals some of the corrupt ideas that perpetuate delusion in her account of the cleansing of the house at Grimmauld Place, which, as Harry discovers, is more a process of "waging war on the house" than mere dusting and cleaning. In one scene, the children join the grownups in clearing out a collection of glass cabinets that contain some of the relics of "the noble and most ancient house of Black." The scene evokes Harry's earlier experience of the second book (Harry Potter and the Chamber of Secrets), in which he was misdirected within the magical fireplace network into "Knockturn Alley," a kind of parallel, subterranean commercial world to that of Diagon Alley. These cabinets hold "an odd assortment of objects: a selection of rusty daggers, claws, a coiled snakeskin, a number of tarnished silver boxes inscribed with languages Harry could not understand, and, least pleasant of all, an ornate crystal bottle with a large opal set into the stopper, full of what Harry was quite sure was blood." (p. 106). During the actual clearing of these cabinets, Sirius sustains a bite from one of the silver boxes, Harry is attacked by another object, and everyone present is almost clinically sedated by "a musical box that emitted a faintly sinister, tinkling tune when wound," until one of the girls has the good sense to force the lid shut.
The common theme to all of these threatening objects is their decadent, medieval character: metaphorically, they are the demons of an ancient, culturally-conditioned consciousness that seem to exude decay and a kind of inner contagion. They must be dealt with summarily: as each object is removed and its corrupt energy subdued, it is thrown into a trash bag. There is the bottle of black, rotten blood of a racist nobility; the silver trinkets of excess; various seals, lockets, and medals won for empty deeds or else bought with money and influence; and finally the mythic embodiment of this rank, feudal anthropocentrism: a massive book entitled "Nature's Nobility: A Wizarding Genealogy".
Now we must be very clear about the reference of these metaphors: though their character is collectively medieval, they represent acutely modern problems—demons of the psyche that inhabit the neurotic realms of both group and individual consciousness today. They are embedded in our culture, our law, our moral codes, our religions, our educational systems, and