On the eve of the release of her first novel specifically written for adult readers, Ian Parker profiles J.K. Rowling for the New Yorker. In many ways, this passage about Harry Potter sums up Parker’s take on Rowling herself:
For all the satisfying closure provided by “Harry Potter and the Deathly Hallows,” gloomier readers may still detect a note of melancholy; there is a narrowness of life for former Hogwarts students, whose career opportunities barely extend beyond the wizard civil service, wizard schoolteaching, and professional Quidditch. This magical society has no use for science; there’s little commerce; and thousands of years of wizarding seems to have generated no culture beyond a short volume of fables and a tabloid newspaper. (Wizard technology is often a cutely flawed approximation of non-wizard technology — owls for e-mail — and one wonders how quickly Harry and his schoolfriends could have won their battles against the evil Lord Voldemort, given two or three cell phones and a gun.) In a time of wizard peace, at least, Harry’s separation from the real world — even as he lives in it — can seem tragic.
In a time of personal prosperity, Rowling’s separation from the real world — even as she lives in it — can seem tragic.