what does the writer compare the experience of reading Harry Potter with that of her colleges
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Is Harry Potter classic children’s literature?
By Daniel de Vise
July 16, 2011

The Potter crew, fending off Death Eaters and comparative literature majors. (Warner Bros.)
The first post is compiled and edited by Ernie Bond, co-chair of the Teacher Education department at Salisbury University. Bond spent some time this week reviewing comments on an Internet scholarly discussion group devoted to children’s literature.
Put 10 critics in a room with one book and they are bound to come up with 15 differing opinions. When discussing the most popular series in the history of literature, the range of opinions increases exponentially. The members of the child-lit discussion group are scholars, students, librarians, readers and writers dedicated to the research, sharing, analysis and teaching of children’s literature, so as an online forum, we frequently talk about these books. One recurring question concerns whether the Harry Potter books are quality literature, popular fad or a bit of both. There is certainly no consensus on what even constitutes “quality literature,” but there is lively dialogue.
One thing that is clear is that Harry Potter has impacted young readers and the publishing industry in profound ways. Hillary Crew suggests that the series has been “magic” for many young people who have, over a number of years, whittled their own wands, dressed up in “invisible capes” and acted out their own versions while going on to read a great deal more of everything. Kids are not the only ones who have read and reread these books with passion. GraceAnne DeCandido from Rutgers, for example, fell in love with Harry Potter while reading the review copy of the first book long before hype or movies and has read all seven books multiple times. Tara Whitworth remembers her daughter gripping her hand through the intense parts of the early books— the same daughter who is now an active reader, who can drive herself to the midnight movie.
By Daniel de Vise
July 16, 2011

The Potter crew, fending off Death Eaters and comparative literature majors. (Warner Bros.)
The first post is compiled and edited by Ernie Bond, co-chair of the Teacher Education department at Salisbury University. Bond spent some time this week reviewing comments on an Internet scholarly discussion group devoted to children’s literature.
Put 10 critics in a room with one book and they are bound to come up with 15 differing opinions. When discussing the most popular series in the history of literature, the range of opinions increases exponentially. The members of the child-lit discussion group are scholars, students, librarians, readers and writers dedicated to the research, sharing, analysis and teaching of children’s literature, so as an online forum, we frequently talk about these books. One recurring question concerns whether the Harry Potter books are quality literature, popular fad or a bit of both. There is certainly no consensus on what even constitutes “quality literature,” but there is lively dialogue.
One thing that is clear is that Harry Potter has impacted young readers and the publishing industry in profound ways. Hillary Crew suggests that the series has been “magic” for many young people who have, over a number of years, whittled their own wands, dressed up in “invisible capes” and acted out their own versions while going on to read a great deal more of everything. Kids are not the only ones who have read and reread these books with passion. GraceAnne DeCandido from Rutgers, for example, fell in love with Harry Potter while reading the review copy of the first book long before hype or movies and has read all seven books multiple times. Tara Whitworth remembers her daughter gripping her hand through the intense parts of the early books— the same daughter who is now an active reader, who can drive herself to the midnight movie.
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