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Harry Potter and the Deathly Hallows (Harry Potter #07)by J. K. Rowling
I couldn't imagine a better ending for this extraordinary series. J. K. Rowling, thank you for staying true to your vision.
The seeds planted throughout the series bear fruit in Harry Potter and the Deathly Hallows. How did Dumbledore's nose get broken? Or his hand burned to a crisp? You will find all the answers here. This is the finest book in the series; the writing is excellent and action and emotion come together seamlessly. Harry emerges from the pages as an adult, confident and grim.
Synopses & ReviewsPlease note that used books may not include additional media (study guides, CDs, DVDs, solutions manuals, etc.) as described in the publisher comments.
The thrilling final book in J. K. Rowling's seven-part saga receives a production treatment as sumptuous as its story, with a special slipcase and art exclusive to this Deluxe edition.
Beyond the excitement of the Book 7 text itself, the Deluxe Edition includes an exclusive insert featuring near-scale reproductions of Mary GrandPré's interior art, as well as never-before-seen full-color frontispiece art on special paper. The custom-designed slipcase is foil-stamped and contains a full-cloth case book that has been blind-stamped on front and back cover with foil stamping on the spine. The book includes full-color endpapers featuring the jacket art from the trade edition, and a wraparound jacket featuring art created especially for this edition by Mary GrandPré.
"Potter fans, relax — this review packs no spoilers. Instead, we’re taking advantage of our public platform to praise Rowling for the excellence of her plotting. We can't think of anyone else who has sustained such an intricate, endlessly inventive plot over seven thick volumes and so constantly surprised us with twists, well-laid traps and Purloined Letter-style tricks. Hallows continues the tradition, both with sly feats of legerdemain and with several altogether new, unexpected elements. Perhaps some of the surprises in Hallows don't have quite the punch as those of earlier books, but that may be because of the thoroughness and consistency with which Rowling has created her magical universe, and because we've so raptly absorbed its rules.
We're also seizing the occasion to wish out loud that her editors had done their jobs more actively. It's hard to escape the notion that the first three volumes were more carefully edited than the last four. Hallows doesn’t contain the extraneous scenes found in, say, Goblet of Fire, but the momentum is uneven. Rowling is much better at comedy than at fight scenes, and no reader of the sixth book will be startled to hear that Hallows has little humor or that its characters engage in more than a few fights. Surely her editors could have helped her find other methods of building suspense besides the use of ellipses and dashes? And craft fight dialogue that sounds a bit less like it belongs in a comic book? Okay, we're quibbling. We know these minor nuisances won't dent readers' enjoyment, at least not this generation of readers; we couldn't put Hallows down ourselves. But we believe Rowling, and future readers, deserved even better. Ages 9-12. (July)" Publishers Weekly (Copyright Reed Business Information, Inc.)
"All great writers are wizards. Considering the mass Harrysteria of the last few days, who would have been surprised if they had logged on to YouTube at 12.01 a.m. Saturday and seen J.K. Rowling pronounce a curse — 'Mutatio libri!' — that would magically change the final pages of her book and foil the overeager reviewers and Web spoilsports who revealed its surprise ending? Yet... Washington Post Book Review (read the entire Washington Post review) Rowling's spell remains unshattered, despite the broken embargo: It's hard to imagine a better ending than the one she's written for her saga after 10 years, more than 4,000 pages and close to 400 million copies in print. 'Harry Potter and the Deathly Hallows' may be a miracle of marketing, but it's also a miraculous book that earns out, emotionally and artistically. Was it worth the wait? You bet. I was a somewhat reluctant Potter convert. Rowling's debt to the great 20th-century English fantasists — J.R.R. Tolkien, C.S. Lewis, E. Nesbit, Alan Garner — made her work seem less homage than unabashedly derivative. Still, I read the first five books aloud to my two children, and also listened to Stephen Fry's delectable audiobooks (more than once). I found Rowling's prose style clunky (though Fry made her words sing like Shakespeare) and her storytelling workmanlike in the early books. But Rowling's darker, more resolute vision in 'Prisoner of Azkaban' won me over. By Book 6, my kids were teenagers, and I no longer had reading aloud as an excuse. I was hooked. So Friday night I lined up at midnight at my local bookstore, along with a hundred other readers, and scored my copy of 'Deathly Hallows.' Sleepless, over-caffeinated and teary-eyed, I finally finished it on Saturday morning. Tolkien continues to cast a long shadow over Harry Potter's world, along with C.S. Lewis, but the writer most evoked by 'Deathly Hallows' is Charles Dickens. Rowling's enchantments have always lived easily in a secular world, rooted in mundane details of Muggle life and wry, careful accounts of wizards who work side-by-side, if unobserved, by their nonmagical neighbors. Like Dickens, she has a gift for marvelous names — Severus Snape is as brilliant a moniker as Magwitch or Ebenezer Scrooge — as well as that of making the everyday seem at once familiar and extraordinary. Her magical world is grounded in small, meticulous observations — that liminal train platform at King's Cross; the disgusting flavors of Bertie Bott's Every Flavor Beans; the wearying bureaucracy of the Ministry of Magic — that can make her invented world seem as real as ours. In 'Deathly Hallows,' the thin protective veil between the Muggle and Wizarding worlds is torn away. Voldemort no longer lurks in the shadows: His forces have infiltrated the Ministry of Magic and Hogwarts School of Witchcraft and Wizardry itself, intent upon practicing their form of wizardly genocide. Half-blood wizards and Muggles are designated Undesirables, and Harry Potter is 'Undesirable Number One.' Muggle families like the Dursleys and the Grangers resort to a kind of Wizard Protection Program to escape being tormented by Dementors, and a mass escape from Azkaban Prison is hushed up by a corrupt Ministry of Magic, which has embraced the Orwellian slogan 'Magic is Might.' Against this grim backdrop, Harry and his closest friends, Hermione and Ron, become fugitives. All three refuse to return to a Hogwarts where the murderous Severus Snape is now Headmaster, after having killed the beloved Albus Dumbledore at the end of Book 6. The aftermath of Dumbledore's death is not easily resolved. In his will, he left three enigmatic objects to Harry, Ron and Hermione, artifacts that they hope will aid them in locating the hidden Horcruxes, which contain Voldemort's divided soul, and so defeat him. But their quest for the Horcruxes leads them into the stranger and darker territory of Dumbledore's past, and a dizzying labyrinth of betrayals and counterplots that both reverses and deepens a reader's understanding of everything that has happened in the previous volumes. 'Deathly Hallows' is exhilarating but also exhausting: Rowling's prose suddenly shifts into high gear, and the spectacularly complex interplay of narrative and character often reads as though an entire trilogy's worth of summing-up has been crammed into one volume. The novel's breakneck speed is reminiscent of John Buchan's fervid 'The 39 Steps.' 'Harry Potter and the Deathly Hallows' is a far bleaker, unapologetically adult novel than its predecessors, which now have the feel of a long, picturesque prologue, rather as 'The Hobbit' is a prelude to 'The Lord of the Rings,' with subplots involving goblins and warring factions who behave like orcs quarreling over the injured Frodo. But the echoes of Tolkien and Lewis are sometimes too obvious. The locket that is one of Voldemort's Horcruxes exerts a malignant power over its owners, inevitably evoking the One Ring, and the story owes too much to 'The Lion, the Witch and the Wardrobe.' Yet Rowling trumps even Tolkien in the sheer humanity of her characters. She nimbly and unsparingly dissects the master-slave relationship of the wizards to their elf and goblin helpmeets, and the arrogance of the sorcerers — even ostensibly good ones — toward their ordinary, human counterparts. And the maturation of Harry and his friends is as moving as it is realistic: Their romantic and emotional bonds are frayed and sometimes appear to be severed, but Harry and Ron and Hermione stumble on, dogged and damp and quarrelsome as real adolescents. 'The rain was pounding the tent, tears were pouring down Hermione's face, and the excitement of a few minutes before had vanished as if it had never been, a short-lived firework that had flared and died, leaving everything dark, wet and cold. The sword of Gryffindor was hidden they knew not where, and they were three teenagers in a tent whose only achievement was not, yet, to be dead.' Beloved figures die in this book. But it's part of Rowling's greatness that she permits her surviving characters to grieve, and they — and the reader — are the better for it. Rowling understands that grief is part of what makes us wholly human, along with the ability to love and forgive and show remorse. And while magic is ultimately seen to have limits — Death has its dominion, even at Hogwarts — love does not. Rowling's major theme throughout the Harry Potter books is not the power of magic to maintain the wizards' social order, but that of love to create and sustain a community, to establish a sometimes fragile but remarkably resilient network of families, good, bad and indifferent. Parental love triumphs over even death; the love not just of biological mothers and fathers but of godparent and grandparents. There may be no broken families of divorce in the Harry Potter books, but there are blended families made up of orphaned children, Muggle and magic alike — another trope Rowling shares with Dickens, who also understood the anguish and longing of the awkward, unlovable child shunted aside by his better-off, better-looking peers. The much-maligned loner Snape does not come onstage until the latter part of 'Deathly Hallows,' but when he does the book becomes his: Snape's fate, more than Voldemort's, perhaps more even than Harry's, is the most heartbreaking, surprising and satisfying of all of Rowling's achievements. I cried at the end of 'Harry Potter and the Deathly Hallows.' It's that rare thing, an instant classic that earns its catharsis honestly, not through hype or sentiment but through the author's vision and hard work. One gets the feeling that J.K. Rowling is as relieved and joyous as we are to reach this point at last; that she's grown and suffered and struggled through the last 10 years, just like Harry. Just like us. " Reviewed by Patrick Anderson, Washington Post Book World (Copyright 2006 Washington Post Book World Service/Washington Post Writers Group)
(hide most of this review)
"[T]rue to its roots, [the series] ends...with good old-fashioned closure: a big-screen, heart-racing, bone-chilling confrontation and an epilogue that clearly lays out people's fates....While Ms. Rowling's astonishingly limber voice still moves effortlessly between Ron's adolescent sarcasm and Harry's growing solemnity, from youthful exuberance to more philosophical gravity, Deathly Hallows is, for the most part, a somber book that marks Harry's final initiation into the complexities and sadnesses of adulthood." Michiko Kakutani, The New York Times
"I'm amazed, when I sit back, at the sheer, immensely complicated arc of the story; Rowling has always said she had the entire seven-book series plotted out from the very beginning, and it's clear she did....Rowling winds up her tale with a stunningly beautiful simplicity. As an added flourish, she gilds it with a moving epilogue, one that brought tears to my eyes." Entertainment Weekly
"It's hard to imagine a better ending than the one she's written for her saga....Harry Potter and the Deathly Hallows may be a miracle of marketing, but it's also a miraculous book that earns out, emotionally and artistically." Elizabeth Hand, The Washington Post
"[A] triumph. Its weaknesses become a source of strength, like the scar on Harry's forehead, and the seventh and last novel in J.K. Rowling's series turns out to be the best one." The Oregonian
"Book 7 is no less penetrating, but it lacks much of the charm and humor that distinguished the earlier novels. Even the writing is more prosaic, less fanciful....
"It's a great read. Don't be sad that it's over — to be complete, a finished, fully realized creation, Harry's tale had to end. We had to know what would finally happen to him, and now we do. I'm satisfied, and I can't wait to see the movie version of this last book." Philadelphia Inquirer
"Seventh time's the charm. Harry Potter and the Deathly Hallows isn't letter-perfect, but it's the most captivating book in J.K. Rowling's series. Dramatic, poignant and deftly plotted, it's a classic yarn." Kansas City Star
"[A]n exhausting, gut-wrenching experience....It is very, very good. Rowling's seventh novel shows she's mastered her craft: All her powers are on display here — the magnificent imagination, the keen wit, and, most of all, her tremendous gifts as a mystery writer." Miami Herald
"[W]hat Rowling has achieved in this book and the series can be described only as astonishing. Just as her characters have matured, the language and tone of the books have grown in sophistication and lyricism. But she has never lost the sense of wonder that has propelled her into literary legend." Los Angeles Times
The magnificent final book in J. K. Rowling's seven-part saga comes to readers July 21, 2007.
You'll find out July 21!
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