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Harry Potter and the Deathly Hallows (Book 7) Paperback – July 7, 2009
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Readers beware. The brilliant, breathtaking conclusion to J.K. Rowling's spellbinding series is not for the faint of heart--such revelations, battles, and betrayals await in Harry Potter and the Deathly Hallows that no fan will make it to the end unscathed. Luckily, Rowling has prepped loyal readers for the end of her series by doling out increasingly dark and dangerous tales of magic and mystery, shot through with lessons about honor and contempt, love and loss, and right and wrong. Fear not, you will find no spoilers in our review--to tell the plot would ruin the journey, and Harry Potter and the Deathly Hallows is an odyssey the likes of which Rowling's fans have not yet seen, and are not likely to forget. But we would be remiss if we did not offer one small suggestion before you embark on your final adventure with Harry--bring plenty of tissues.
The heart of Book 7 is a hero's mission--not just in Harry's quest for the Horcruxes, but in his journey from boy to man--and Harry faces more danger than that found in all six books combined, from the direct threat of the Death Eaters and you-know-who, to the subtle perils of losing faith in himself. Attentive readers would do well to remember Dumbledore's warning about making the choice between "what is right and what is easy," and know that Rowling applies the same difficult principle to the conclusion of her series. While fans will find the answers to hotly speculated questions about Dumbledore, Snape, and you-know-who, it is a testament to Rowling's skill as a storyteller that even the most astute and careful reader will be taken by surprise.
A spectacular finish to a phenomenal series, Harry Potter and the Deathly Hallows is a bittersweet read for fans. The journey is hard, filled with events both tragic and triumphant, the battlefield littered with the bodies of the dearest and despised, but the final chapter is as brilliant and blinding as a phoenix's flame, and fans and skeptics alike will emerge from the confines of the story with full but heavy hearts, giddy and grateful for the experience. --Daphne Durham
Deluxe Edition Details
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.
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Begin at the Beginning
| Harry Potter and the Sorcerer's Stone |
|Harry Potter and the Chamber of Secrets |
|Harry Potter and the Prisoner of Azkaban |
|Harry Potter and the Goblet of Fire |
|Harry Potter and the Order of the Phoenix |
|Harry Potter and the Half-Blood Prince |
Why We Love Harry
Favorite Moments from the Series
There are plenty of reasons to love Rowling's wildly popular series--no doubt you have several dozen of your own. Our list features favorite moments, characters, and artifacts from the first five books. Keep in mind that this list is by no means exhaustive (what we love about Harry could fill ten books!) and does not include any of the spectacular revelatory moments that would spoil the books for those (few) who have not read them. Enjoy.
Harry Potter and the Sorcerer's Stone
Harry Potter and the Chamber of Secrets
Harry Potter and the Prisoner of Azkaban
Harry Potter and the Goblet of Fire
Harry Potter and the Order of the Phoenix
Harry Potter and the Half-Blood Prince
Magic, Mystery, and Mayhem: A Conversation with J.K. Rowling
"I am an extraordinarily lucky person, doing what I love best in the world. Im sure that I will always be a writer. It was wonderful enough just to be published. The greatest reward is the enthusiasm of the readers." --J.K. Rowling
Find out more about Harry's creator in our exclusive interview with J.K. Rowling.
Did You Know?
|The Little White Horse was J.K. Rowling's favorite book as a child.||a>||Jane Austen is Rowling's favorite author.||Roddy Doyle is Rowling's favorite living writer.|
A Few Words from Mary GrandPré
"When I illustrate a cover or a book, I draw upon what the author tells me; that's how I see my responsibility as an illustrator. J.K. Rowling is very descriptive in her writing--she gives an illustrator a lot to work with. Each story is packed full of rich visual descriptions of the atmosphere, the mood, the setting, and all the different creatures and people. She makes it easy for me. The images just develop as I sketch and retrace until it feels right and matches her vision." Check out more Harry Potter art from illustrator Mary GrandPré.
--This text refers to an out of print or unavailable edition of this title.
From Publishers Weekly
Starred Review. 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)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to an out of print or unavailable edition of this title.
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Top Customer Reviews
After encountering Dolores Umbridge, I was left pondering the question "What is evil?" Voldemort is obviously the Villian of the series, however I feel Umbridge is a much more sinister and evil Villian than even Voldemort. Voldemort's actions and evil deeds are really very simple to understand. What motivates him is power and greed and he is willing to go to any lengths to achieve those goals. While evil in itself, his motives and actions are very straight forward and easy to understand. It is easy to see Voldemort for the evil that he is, which therefore keeps him in hiding only surrounded by his Death Eaters. Dolores Umbridge is a very different type of evil. Dolores Umbridge is the type of evil that we, the muggles that we are, encounter on a daily basis. They are the people who enjoy the hurt, pain, chaos and distrust they cause through their manipulations and lies. The enjoy the devastation they cause in their wake. The fact that she can create the heartache she relishes so much with a false smile, sweet sanguine falsetto, and splashes of whimsy to give the impression of naïveté and an innocent childlike behavior which puts one off initially of comprehending the true evil she inflicts to hide the monster she is, and the fact that through these false tactics she has risen to a position of power to inflict heartache unto others, shows she is a master at hiding her true psychopathic personality. This sick personality trait is shown most clearly when she makes Harry write lines in detention. She knows Harry is telling the truth, yet she lies and manipulates him until she is in a position of power directly over him in detention at which point she not only continues her lies causing mental anguish to Harry, she continues her evil machinations by causing him physical pain by forcing him to use her quill which scratches and ultimately scars Harry for the rest of his life. Umbridge enjoys Harry's suffering. She even inspects his hand at the end of each detention to make sure he is being cut and that his hand is bleeding and then in a well satisfied way compliments Harry on completing his detention. Her only praise is when Harry does something to cause hurt and pain and twists what he knows is the truth into something false. This is standard textbook psychopathic behavior in domestic abusers.
The fact that Doloros Umbridge can navigate society in such a way as to gain a position if importance in the Minisrptry of Magic and flourish in normal wizarding society while hiding her insidious psychopathic tendencies leaves her in an excellent position of power to inflict hurt to others. Her brand if evil is subtle and is not so obvious at a first glance which gives her the ability to "blend in" with others and yet she victimizes many in her wake, as she navigates through life. In Voldemort's case, his brand of evil is so obvious to everyone that he is an outcast of the wizarding community, which ultimately lessens the number of his potential victims to those simply standing in his way of power, while in Umbridge's case her victim pool is limitless die to her access to the community and all those she comes across.
So here is the moral question I have pondered for many years since reading this book for the first time. "Which Behavior Is More Evil?" Personally, I feel Dolores Umbridge is the much more evil of the two characters based upon the reasons given in the prior paragraph. Whether you agree or disagree with me is not the point. The point is to make you think and ponder for yourself. The fact that this book makes you think long after you've turned the last page, is a mark of literacy success. Whiter you've read Harry Potter and the Order of the Phoenix once, or a hundred times, it is always a great novel to read again and again, and question what constitutes as evil.
Though she's said she worked out the whole seven-book series on a fateful train ride she took in the late '90s, she couldn't possibly have imagined that the series would turn into this: midnight bookstore parties, record print runs, and a generation of children (and adults) hanging on to her every written word.
"This" has now reached a new apogee with its fifth entry, "Harry Potter and the Order of the Phoenix," the longest (870 pages) and most dense (more characters, more complexity) book of the series.
And Rowling once again pulls it off.
Harry's adolescent funk
"Phoenix" begins in the usual place, the Dursleys' house at number four, Privet Drive, in Little Whinging, England. The Dursleys, Harry's guardians, have become more frightened of Harry's magical abilities -- and the now 15-year-old Harry, having sunk into an adolescent funk of bitterness, anger and self-pity, is more than happy to keep them guessing.
But Harry soon has bigger problems. Once he's back at the Hogwarts School of Witchcraft and Wizardry, he's treated as a pariah by most students for his insistence that the evil Lord Voldemort is back -- and, indeed, played a role in the death of a student at the end of "Goblet of Fire."
Only a handful of professors and Harry's close friends -- among them Hermione and Ron -- support him.
Harry also struggles with the series' latest villain, Dolores Umbridge, a condescending representative from the Ministry of Magic who assumes a leadership role at Hogwarts. The students' psychological battles with the odious Umbridge are the best parts of "Phoenix," and Rowling writes them with a wicked zest.
"Phoenix" does have its problems. The book starts running out of steam before the climactic battle, and that battle itself -- full of noise, flashing spells and wand-handling straight out of a grade-B Western as produced by Jerry Bruckheimer -- is the most poorly constructed scene in the book.
Rowling also engages in a stylistic tic, the paragraph-ending ellipsis, that seems to have become more popular with thriller writers. (It's all over Dan Brown's "The Da Vinci Code," too.) Is something wrong with the humble period?
But those are minor issues in the face of Rowling's rich imagination and robust writing. The scope of Potter's world seems boundless; Rowling has added new characters and new locations, and added layers to those already existing. Potter's world, though fantastic, seems utterly believable.
That's doubly true of Harry himself. Rowling doesn't make Potter into an unblemished hero. Instead, he's a classic conflicted boy-man, struggling with issues both large (the death of both parents, fighting an evil power) and small (love, relationships and his own wildly changing hormones). He may not be as much fun as he was in Book One, but he's become more realistic and sympathetic.
Well, when he wants to be. After all, he's a teenager.
Recently, a friend asked me if Potter was worth the hype. I'm not sure if anything is worth the hype that the modern entertainment industry produces: overblown publicity machines for works that will vanish in a weekend.
But if anything is worth the hype, it's Harry Potter. The books enrapture children, entangle adults, and are full of wit, wisdom and wonder. Who could ask for a more magical experience?
Eager to begin, the opening offers a concise summary of the series so far, along with vague allusions to the overarching conflict, the search for Sirius Black. Black is painted as the threat, but he’s soon overshadowed by the dementors who pursue him, and anyone else who attracts their attention.
The main plot quickly becomes subsumed by subplots. Audiences explore the daily life of Hogwarts in a flurry of scenes that focus on class and Quidditch, as Black and the dementors loom in the background, occasionally as a threat, but mostly a source of inconvenience for Harry, who endures increasing impositions in the name of safety. Harry struggles against these restrictions, earning him the ire of both teachers and friends.
Relationships dominate the story, as characters struggle to overcome their own intense emotions. The story culminates in a tragic revelation, casting new light on many of the year’s events, and reiterating the underlying ambiguity that runs throughout the story.