In the Deep South, God is a cotton king,
Trussed up in plantation whites and powdered over smooth
with a little bit of talcum from Momma’s compact.
He’s the Georgia dust that gets on everything, in everything,
Caking the soles of bare feet
sifting through cracks in church pews,
and catching in your lover’s eyelashes.
In the Deep South, the Devil is a beautiful boy
who swears and cheats at billiards on Sunday.
He is the one who reaches up your skirt,
pulls out the prayers your were saving for someday
and lights them on fire with his tongue.
He will sing hymns while feasting on your forfeit heart,
call you blessed while peeling away dignity like stockings,
then drag you out in front of the church to be stoned by the pious.
In the Deep South, the Holy Spirit is an old woman
with hands brown and gnarled as the nuts she boils
and a voice soft and dark as the Appalachian sky.
She is the swamp kingdom matriarch children are sent to
when sins need to be wished away like warts,
the presence of whom straightens to spine of wayward souls
and coaxes a “Yes Ma’am” from the devil’s own.
In the Deep South, Jesus is a mixed-race child
with drops of destiny mingled into his blood
and the names of the saints tattooed along his spine.
He has his mother’s bearing, one that wears suffering nobly,
and baleful eyes that speak of the sins of his forefathers.
The word of God flutters from his mouth like butterflies
with bodies baptized in tears and wings dipped in steel.
In the Deep South, angels drink too much.
They sashay and guffaw and forget to return calls.
They tell white lies and agonize over what to wear.
In the Deep South, angels look very much like you and it,
and they cling to each other with dustbowl desperation
and replenish their failing reserves of grace with ritual
in the hopes of remembering what they once were,
what wonders they once were capable of performing.
The basic plot, which cannot be ignored even in the films, is that Harry, Hermione and Ron give up everything for their political struggle. They drop out of high school, they go illegal, defy the government, belong to an underground organization [The Order of the Phoenix], operate out of safe houses and forests and even raid offices of the government and banking offices. This is all done in principled opposition to the Dark Wizard Voldemort and a corrupt bureaucratized government that has been heavily infiltrated with his evil minions. This is revolutionary activity. But the movie version does not present it as such or emphasize these radical aspects of the plot, thereby entirely missing the dramatic sweep and action present in the first half of the last novel.
The novels recognize the importance of alternative media for political struggle. The mainstream press [The Daily Prophet] is shown as unreliable and unprincipled, eventually deteriorating into a fear-mongering propaganda machine for the Voldemort-controlled bureaucracy. For a while the alternative but above ground media [The Quibbler] publishes the real news, but it ceases to print after the daughter of the publisher is kidnapped. In the book, friends of Harry [Lee Jordan, with Fred and George Weasley as frequent guests] start broadcasting the real news from an underground radio station, encrypted with a password. This radio station becomes a critical link for the resistance, which is scattered and weak. Although we are treated to some radio broadcast updates in the movie, they are delivered by a disembodied and professional sounding voice, not our friends the Weasleys. This undermines the important message - a guiding principle behind the media coop - that in a serious situation it becomes necessary to produce your own media and not to rely on ‘professionals’.
The novel makes it clear that in this phase of the struggle the characters romantic lives take a backseat to their political activity, as Harry breaks up with the love of his life [Ginny Weasley] so as to avoid making her a target for Voldemort’s forces, who are known to use torture and kidnapping as tactics. The ‘love triangle’ that becomes the focus of the movie isn’t even really present in the books. In the books, the relationship between Harry and Hermione is totally platonic - Ron is shown as jealous, but the feeling is entirely without foundation. In the book Harry says to Ron: “I love her like a sister and I reckon she feels the same way about me. It’s always been like that. I thought you knew” (pg 378, DH US Hardback). This conveys that men and women can be close comrades and friends without being involved romantically. But in the film, Harry and Hermione are shown dancing romantically, and Harry’s line to Ron about his brotherly feeling towards Hermione does not even make it into the film. This completely undermines the important message that jealousy is counter-productive and has toxic effects, which is an important feminist message for young people.
The costume directors of Harry Potter are fing brilliant.
it worked great for ron and hermione but harry just wore the same t shirt and jacket every day
❝ PUNCH IT ❞ A USS ENTERPRISE CREW XI&XII FANMIX
- starships were meant to fly.
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