Catholic Jedi, Protestant Wizards

A recent visit to Orlando brought home to me how different the respective aesthetic visions of Star Wars and Harry Potter are. A thesis came to me: Jedi are Catholic and Wizards are Protestant.

By which I mean: The narrative, themes, and overall look and feel of George Lucas’s fantasy galaxy are Catholic in nature, while those of J. K. Rowling’s are Protestant. I tossed off the idea on my micro blog, but let me unfold it a bit more here.

Although Star Wars is superficially science fiction, it’s presented from the start as a fairy tale set in the distant past, featuring an orphan, a princess, and an evil empire. Everything centers around the decadence and fall of a long-regnant republic and the rise, in its place, of an empire led by a tyrant. In other words, we’re in Gibbon territory; we’re somewhere in the early medieval period. Moreover, the films are saturated with nostalgia for a lost time of peace and justice when a small religious order was allied to the republican senate. This order selected children from a young age for training and membership, required of them lifelong celibacy, and taught them an intimate relationship with an all-powerful numinous reality that binds all life together. They also gave them swords and called them knights. For a millennium they governed without serious rival, though we should assume they put down untold rebellions(!) in countless corners of the galaxy.

In a sense Lucas is merging the old Roman Republic with the Holy Roman Empire of the middle ages. A thousand years of throne and altar united in service to the common good, led by an elite of religious warriors and celibate servants who minister from a temple down the proverbial street from the senate. Jedi are Roman Catholic.

Whereas Rowling’s wizards and witches belong to the modern or even the postmodern world. Their identity and power are a secret. They, too, form a minority of elites among the wider population of muggles, but they do not rule arm in arm with parliament (even if the prime minister apparently knows about them). In brief, they choose to live anonymously in a disenchanted age, though their very existence is a living contradiction of it. Yet their invisibility cannot, by definition, rise to the level of being a sign of contradiction—except to us readers, who (like them) like disenchanted lives yet (unlike them) continue to disbelieve in magic.

It’s true that the aesthetics of Harry Potter is “high church,” but only in the way that empty cathedrals in Europe are “high church.” Oxford and Cambridge and the aura of boarding schools may feel enchanted, or perhaps enchanting, to American readers, but that says more about us than about them. Does anyone at Hogwarts pray the daily office? Is there a chapel for morning prayer? Does anyone across all seven books pray at all? (I don’t recall mention of eucharistic celebration, but I cede the question to the scholastics of fandom.)

The difference with Tolkien on this point is important: Middle-earth’s religion is everywhere and nowhere because it is another world than ours, and that was his goal—he didn’t want an ecclesiastical hierarchy as a simple mirror image of Europe. Yet Rowling’s world is ostensibly ours plus magic, while religion is nowhere to be seen. This isn’t belied by her personal faith, the theological themes of the story, or the occasional references to Scripture; these rather prove the point. She is telling a Protestant story. Her wizards are secular. No doubt some of them believe in God. But whereas magic is just there, a living and undoubted phenomenon for any student or teacher at Hogwarts, God and religion are options, presenting one among many choices, including unbelief.

Harry Potter thus lives in the wake of the Protestant revolution. He is an autonomous individual adrift in a chaotic, disenchanted, disestablished time. He must choose for himself. The robes and castles are vestiges of a world gone by, never to return. To the extent that they continue to function religiously, they bind together a literally enchanted sub-world—a magical enclave safe, for a time, from the secular world. But after seven years, he has to return to that world and live as though magic doesn’t exist. In a sense, he must live a false identity, and therefore inauthentically. (Paging existentialism.)

By contrast, the Jedi in their heyday and even in their triumphant return to glory are definitionally public figures: they live differently, they dress differently, they speak differently—they hold themselves aloof from the masses. They may occasionally produce failed recruits as well as ronin, but a Jedi in disguise is a Jedi ashamed of himself. He lives as a recluse, in exile, because of some great defeat; his proper nature is to brandish lightsaber and wield authority as if he were born for it. Which, according to the Jedi, he was.

Such, at any rate, is my half-baked theory about why Jedi are medieval Catholics and Wizards are secular Protestants. I’ll now open up the floor for questions.

Klosterman, Rowling, and the NFL

Recently I had the chance to sit around a campfire with a bunch of boys aged 6-12. For almost an hour they talked about one thing: Harry Potter. Both the books and the movies. Who had read which books, who had seen which films, who preferred the one to the other, ranking the volumes from one to seven (or eight), and so on. The kids who’d read and seen them all were clearly top dog—they held court over the younglings (though not all the older kids had read them all, apparently a demerit). Naturally, an overeager fourth grader spoiled Dumbledore’s fate for a first grader.

None of these boys were alive when any of the books or the films were first released. The first book came out 26 years ago. The final film came out 12 years ago. They aren’t just second but third wave Harry Potter fans. And they talked about it like it was the most relevant, the most vital, the most up-to-date pop culture matter in the world.

Eavesdropping on their conversation brought to mind a short essay by Chuck Klosterman, published in 2012 on Grantland (RIP). It’s called “The Two Lines That Never Cross.” It’s about the popularity of football in America. For years folks like Malcolm Gladwell were sounding the alarm on concussions, head injuries, and the long-term consequences for adult men’s brains of playing football in their teens and twenties. Readerly parents and good liberals stopped enrolling their boys in Pop Warner. The imminent death of American football seemed inevitable. Like boxing before it, football would go the way of the dodo.

It wasn’t to be. Eleven years ago, Klosterman saw why:

To me, this is what’s so fascinating about the contemporary state of football: It’s dominated by two hugely meaningful, totally irrefutable paradigms that refuse to acknowledge the existence of the other. Imagine two vertical, parallel lines accelerating skyward — that’s what football is like now. On the one hand, there is no way that a cognizant world can continue adoring a game where the end result is dementia and death; on the other hand, there is no way you can feasibly eliminate a sport that generates so much revenue (for so many people) and is so deeply beloved by everyday citizens who will never have to absorb the punishment. Is it possible that — in the future — the only teenagers playing football will be working-class kids with limited economic resources? Maybe. But that’s not exactly a recipe for diminishing athletic returns. Is it possible that — in 10 years — researchers will prove that playing just one season of pro football has the same impact on life expectancy as smoking two packs of cigarettes every day for a decade? Perhaps. But we’ll probably learn about that study during the Super Bowl pregame show, communally watched by a worldwide audience of 180 million people. Will the government have to get involved? I suppose that’s possible — but what U.S. president is going to come out against football? Only one who thinks Florida and Texas aren’t essential to his reelection.

If football’s ever-rising popularity was directly tied to its ever-increasing violence, something might collapse upon itself: Either the controversy would fade over time, or it would become a terminal anchor on its expansion. But that’s not how it’s unfolding. These two worlds will never collide. They’ll just continue to intensify, each in its own vacuum. This column can run today, or it can run in 2022. The future is the present is the future.

So far as I can tell, Klosterman was and remains right. There’s not one trend line, but two. They’re not intersecting; they’re parallel. They’re pointed straight up, forever, and they’ll never cross. Not ever.

Now think back to Harry Potter, or rather to that global phenomenon’s author. If J. K. Rowling’s name is in the headlines today, it’s not out of love or celebration. It’s a cause for controversy: something she said, something she wrote, something she did that, once again, has sullied her name and reputation and outraged her (once, no longer) fans. Search “Rowling AND cancel” and you’ll find a million think pieces about her actual/potential/impending/deserved/unearned/fake/outrageous/latest “cancellation.”

And yet. Consider those boys around the campfire. They know Rowling by name; she’s their favorite author, right up there with Rick Riordan, Jeff Kinney, Tui Sutherland, and Dav Pilkey. They know nothing about her social and political views. They know nothing about activists burning her books—whether fundamentalists in the 1990s or progressives in the 2020s. They know nothing about what they’re supposed to think. All they know is that they adore the world and the story and the characters she created, and they want to live in it and relive it constantly in conversation with their friends and in their spare time. They’d meet news of her controversies with a blank stare.

In a word: Imagine two vertical, parallel lines accelerating skyward. One’s made of distressed former fans who’ve repudiated Rowling and all her works. The other’s made of these boys and their peers, a whole generation of children raised on and devouring Rowling and all her works. The lines never meet. They just keep shooting upward, forever.

I think she’s going to be fine.