Drama, drama, drama. When we see Harry call Lupin a coward, we know he is devoid of any passive aggressive tendencies. No sir. Harry Potter steps right up to the drama, and hoses it with gasoline.
So, in chapter eleven the trio are waiting for Kreacher to return with Mundungus. While waiting, Lupin suddenly appears. He offers his services and protection to the trio, which is tempting for Harry. After all, he is only seventeen. But when Harry starts digging around, questioning Lupin on his motivations to help, we find out the werewolf is avoiding his wife, Tonks and their unborn child. She
is a source of shame for Lupin – carrying his child who will probably be a werewolf too. If there is any powder keg that will set off the boy who lived, it will be a child abandoned by a parent. And so Harry calls Lupin what he very well has become – a coward.
Drama, drama, drama.
Lupin leaves and Kreacher finally returns with Mundungus so we can get this plot moving forward.
Alright, let me step out of my fan suit and into my writer suit. If you are a writer, this chapter should have been raising all sorts of flags. The very first question: How did Lupin’s visit move their plot forward in anyway? Did it reveal any necessary information? No. Not that I could see. Harry needs to get a horcrux. Nothing can stop that, even the state of the Ministry of Magic. Sure, its nice to know the state of the Ministry of Magic, but we could all figure that out through Voldermort/Harry visions or in a newspaper. Sure, its nice to know a bit more about the Lupin/Tonks drama, but was that ABSOLUTELY necessary to move the plot along? We all know in writing 101 that unless it absolutely serves the hero’s plot, it has to go.
But, Rowling plays by a whole other set of rules.
Which I love. Of course, that’s dangerous for writers (including myself). Reading Rowling, we think we can take the same liberties. We cannot. Rowling breaks rules but she pays the price. In order to tell this sprawling, meandering story filled with more subplots than a Hollywood scandal, she has to balance it out with entertaining world building in every other paragraph. No world building author to date has offered so much details and layering on their story as Rowling. It’s nearly addictive for the reader. This world building baits us on, forgiving the overly wrought plotting for the sake of another bit of wizarding world trivia. More so, we actually begin to like, even love all the plot and back story details. Tricky that Rowling. I really think she is a literary genius. Her mind-bending world development and recall of that world leaves Tolkein in the dust. When she compares herself to Hermoine, I think we should take her seriously. But, as they say on Mythbusters, don’t try this at home.
Alright. What did you think of chapter eleven?