Tag Archives: The Cursed Child

Book Review: Reconstructing Delphi: Cursed Child SPOILERS

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DO NOT READ IF YOU HAVEN’T READ THE SCRIPT AND DON’T WANT SPOILERS.

I’m deciding to let others take on some of the more moral issues of Harry Potter and the Cursed Child, and I’m going to zero in on what bothered me perhaps more than anything else, whatever that says about me, and then how I think it could have been made more palatable to me.

So let’s get to it: Delphi. Now, I have always sort of laughed away the possibility of a Voldemort lovechild, believing it only slightly more likely to be made canon than the fan-favorite Dobby/giant squid pairing but in that same category, though admittedly if such a child existed, I would have expected it to be Bella’s. Bellatrix was not covert about her attraction to Voldemort, but as others have pointed out, the very idea that Voldemort—who is too inhuman to have died prior to the destruction of all seven of his horcruxes, whose greatest weakness is his incomprehension of love, specifically parental love—could desire a woman, desire a child, or frankly not be impotent with his soul in so many pieces is… a stretch of the imagination. But far be it for me to explain the effects of creating horcruxes and splitting one’s soul through Dark magic to J. K. Rowling.

Still, I was rereading my own fanfiction and as Draco said of the possibility that Bellatrix and Voldemort could ever have produced a child, “That is not an image I need planted in my head!” (Coincidentally, that chapter is not my favorite, but quoting without citing seemed wrong.)

The play claims that Delphi was born “before the Battle of Hogwarts,” (4.11), and I’d assumed that that meant just shortly before, but reading the Wikia article on Delphi now I’m realizing that I suppose it’s not that explicit and that potentially Rowling has agreed with us. Which sort of assuages one of my major problems with Delphi: that we—the fans—determined when Bellatrix would have been pregnant if pregnant she ever was, and it’s not when I thought that Rowling in this play claims that she was.

Bellatrix didn’t show up to see her own nephew—her only nephew and the only of her sisters’ children that she would want to lay claim to whatsoever—perform his first deed for Voldemort, kill his first person, even though other Death Eaters—much less important and less potent Death Eaters—were present. And I wasn’t the only one who thought that was odd. If she were ever to have been homebound and kept from missions because she was carrying Voldemort’s child–or anyone else’s child—that would have been the time.

I’m realizing now that some of the fault here might be that I want details that were not explicit in the text, but might be manifest in a production of the play. I want Draco to react to—to be gobsmacked by the news that his cousin is Voldemort’s daughter—and that his cousin kidnaps and threatens to kill his son, whom he clearly cares about (who wouldn’t? Bless the little cinnamon bun). I frankly want him to acknowledge that he knew that he had a cousin by Bellatrix—if in fact he did, and I think that the possibility that he didn’t if she had a child would be small.

Especially if she was born right before the Battle of Hogwarts. Harry and co. saw Draco in Malfoy Manor with his parents and his aunt—not described as visibly pregnant so presumably no longer so—during the Easter holidays (Easter 1998 was April 12, and the Battle of Hogwarts was May 1-2).

And especially if she was Voldemort’s because while I realize that Voldemort and Bellatrix might have had Delphi whisked away to live with the Rowles quite quickly after her birth, possibly before Draco would have had the chance to meet his cousin, I don’t find it likely. Voldemort doesn’t understand love or parental love and is confident in his horcruxes; he has no need of a child. Bellatrix, though, I think would hold onto her—unless Voldemort asked her not to maybe and maybe if she stood in the way of Bellatrix’s duties to Voldemort, but I expect that Bellatrix would want and cherish that child and be loath to send her away.

This is why I suspect that Bellatrix would have had with her in Malfoy Manor before the Battle of Hogwarts while Draco was home.

All this to say that I don’t like that Delphi is canonized embodiment of the Voldemort-Bellatrix lovechild trope and I don’t like how readily Draco accepts the possibility nor how blithely.

What I would have liked—and what I choose to believe because sometimes no canon is enough to sink a theory—is if Delphi is told by Rodolphus that she is Voldemort and Bellatrix’s lovechild. I don’t care if it is though I don’t want it to be true. I want her to be Scorpius’ foil, a rumored child of Voldemort who chose to accept and believe the rumor and to act accordingly.

I could easily see Rodolphus wanting to distance himself from any child of Bellatrix’s—whether it was his or no. There doesn’t seem to have been much love in their relationship, and maybe Bellatrix didn’t turn out to be what he had expected. Maybe he was grieving his wife or grieving the love that he never received from her and saw the child as a reminder of her and found it easier to disentangle himself from them both.

Snape could fly so this is not the proof that Harry and co. seem to believe it is that Delphi is Voldemort’s daughter. The Parseltongue is harder to excuse as a red herring, but Harry can speak Parseltongue, and surely it’s not only the direct descendants of Salazar Slytherin who can speak the language if they and Harry are the only ones that we’ve met.

I’m grasping at straws perhaps plus ignoring what I suppose I must call canon I know, but for me it is just so much easier for me to accept the whole story of The Cursed Child if I believe that Delphi only believes herself to be Voldemort’s daughter, that she is really Roldophus’ maybe. I’m perfectly willing to believe that she was Bellatrix’s out of wedlock, but not Voldemort’s.  And armed with that head canon, The Cursed Child just works better for me as an addition to the seven canon novels and the Potterverse.

***

Thorne, Jack.  Harry Potter and the Cursed Child.  Based on a story by J. K. Rowling, John Tiffany, and Jack Thorne.  New York: Arthur A. Levine-Scholastic, 2016.

This review is not endorsed by J. K. Rowling, Jack Thorne, John Tiffany, Arthur A. Levine Books, Scholastic, Inc, or anyone involved in the production of the play or script.  It is an independent, honest review by a reader.

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Book Review: Harry Potter and the Cursed Child: A Caution and Plea for Open-Mindedness: SPOILER-FREE

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9781338099133_default_pdpThe majority of the reviews that I’m seeing for Harry Potter and the Cursed Child have been negative or underwhelmed—and I sort of want to echo these same feelings, but every time that I try to do so—well, I can moan along with the best, and I can parcel out what exactly didn’t work for me and why, but I feel badly doing so and here’s why: Can you imagine living up to our expectations? We—me, and the majority of the fans that I’ve seen react negatively—are the ones who never really left Hogwarts. We took J. K. Rowling at her word when she said that Hogwarts would always be there to welcome us home. We wept along with Trelawney when she moaned that Hogwarts was her home—because she was echoing our own feelings as we watched a monster destroy the place we loved—and because she is played by Emma Thompson, and that woman is a masterful actress. If we didn’t write fanfiction, we read it, and we had our favorites, and we had personal theories on every minor detail and pet theories on which we couldn’t be swayed and which we’d defend loudly and ardently to anyone (mine, for example, is that there is corruption at some level within St. Mungo’s, and Alice Longbottom is conscious enough to recognize it and has been trying to tell Neville for years through her bubble gum wrappers; I even got to write and publish the essay on it in a book of scholarly and not-so-scholarly articles by fans).

I think we remained more deeply entrenched in the world and engaged more fully with the characters these past nine years perhaps than has J. K. Rowling.

And J. K. Rowling approved but did not actually pen this script. I have to think that John Tiffany and Jack Thorne are fans themselves—the sort of fans that we are—and that they have pet theories too, ones that they won’t put aside despite evidence within the canon.

J. K. Rowling has never discouraged fanfiction.

In some ways the only thing that this play is truly guilty of is that we expect it to live up to the original canon when it is really a fan piece that happens to have been granted a nod by the author—and of not being our fan piece.

The story is and feels like fanfiction—canonized fanfiction—and because so many fan theories and fan ideas—even the ones we held onto only as jokes—were given the nod, it feels a bit like being pandered to—or stolen from when I think—I hope that J. K. Rowling’s idea was to validate some of our theories—though I wish she’d been more selective, and I wish that she had more carefully read over the work and seen that some of the ideas just don’t jive with the already established seven canon novels. But we’ve had more than nine years to mull over, tinker with, and hone these theories—and some of those ideas have been better handled or better written in other texts than this. And again, after all the effort we put into perfecting these ideas to see canon ideas that don’t match our own is off-putting.

So there’s that. But then, there are problems that I had, even as a fan piece, with plot elements and with the writing itself at times—things that have nothing to do with whether or not it was a good addition to the canon and more to do with whether I like the elements within the text, elements I would judge if this were a standalone and not a new piece in the Harry Potter world. There are already boundless articles online detailing some of the problems that this text has: that the badass Hermione Granger’s success seems so dependent upon the approval of one or any man (as written by Kadeen Griffiths for Bustle in “How Hermione Granger Is Portrayed in ‘Harry Potter & The Cursed Child’ Is Offensive to the Fans and the Character”), perhaps an attempt at inclusion of POC gone awry by mishandling in both Hermione (played by Noma Dumezweni) and Rose Weasley (played by Cherrelle Skeete) and the off-screen inclusion of Padma and Panju Weasley (“What The Hell Is A Panju?” And Other Questions I, A Brown Potterhead, Have For J.K. Rowling” published by Krupa Gohil on Buzzfeed). Without going into why it is difficult to reconcile this text with the canon or why I would have handled certain elements differently, these are perhaps its largest flaws.

That and some of the stage directions forget that they are stage directions. Yes, you could darken a character’s eyes with contacts but what I think the stage direction means is that the character is terrified and that—well, if your actor can widen his pupils, fantastic, but don’t command him to do so; let the actor, act. Moreover, unless the play is being filmed and filmed with an intense zoom lens, such a detail won’t be seen. Some stage directions are written as if they can tell the audience how to react too. Without magic you can’t force a whole audience to react in a certain way, certainly not by telling them to do so. Sometimes the novelist snuck into the play. And what sort of stage direction is “And time stops. And then it turns over, thinks a bit”?  What does that even mean?

Expect another more nitpicky review where I will pick apart the things I liked and disliked, but I wanted to answer all the negativity, and I liked the idea of a spoiler-free and a spoiler-filled review.  (Here is that review.)

I’ve already begun a reread.

***

Thorne, Jack.  Harry Potter and the Cursed Child.  Based on a story by J. K. Rowling, John Tiffany, and Jack Thorne.  New York: Arthur A. Levine-Scholastic, 2016.

This review is not endorsed by J. K. Rowling, Jack Thorne, John Tiffany, Arthur A. Levine Books, Scholastic, Inc, or anyone involved in the production of the play or script.  It is an independent, honest review by a reader.

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