Ranking
Spamming
From Wikipedia, the free encyclopedia
This article is about unsolicited or undesirable electronic messages. For the food, see Spam (food). For information specific to email, see Email spam. For other uses, see Spam (disambiguation).

An email box folder littered with spam messages
Electronic spamming is the use of electronic messaging systems to send unsolicited messages (spam), especially advertising, as well as sending messages repeatedly on the same site. While the most widely recognized form of spam is email spam, the term is applied to similar abuses in other media: instant messaging spam, Usenet newsgroup spam, Web search engine spam, spam in blogs, wiki spam, online classified ads spam, mobile phone messaging spam, Internet forum spam, junk fax transmissions, social spam, spam mobile apps,[1] television advertising and file sharing spam. It is named after Spam, a luncheon meat, by way of a Monty Python sketch about a menu that includes Spam in every dish.[2] The food is stereotypically disliked/unwanted, so the word came to be transferred by analogy.

Spamming remains economically viable because advertisers have no operating costs beyond the management of their mailing lists, servers, infrastructures, IP ranges, and domain names, and it is difficult to hold senders accountable for their mass mailings. Because the barrier to entry is so low, spammers are numerous, and the volume of unsolicited mail has become very high. In the year 2011, the estimated figure for spam messages is around seven trillion. The costs, such as lost productivity and fraud, are borne by the public and by Internet service providers, which have been forced to add extra capacity to cope with the deluge. Spamming has been the subject of legislation in many jurisdictions.[3]

A person who creates electronic spam is called a spammer.[4]

Contents [hide]
1 Etymology
2 History
2.1 Pre-Internet
2.2 History
3 In different media
3.1 Email
3.2 Instant messaging
3.3 Newsgroup and forum
3.4 Mobile phone
3.5 Social networking spam
3.6 Social spam
3.7 Online game messaging
3.8 Spam targeting search engines (spamdexing)
3.9 Blog, wiki, and guestbook
3.10 Spam targeting video sharing sites
3.11 SPIT
3.12 Academic search
4 Noncommercial forms
5 Geographical origins
6 Trademark issues
7 Cost-benefit analyses
7.1 General costs
8 In crime
9 Political issues
10 Court cases
10.1 United States
10.2 United Kingdom
10.3 New Zealand
10.4 Bulgaria
11 Newsgroups
12 Psychology
13 See also
14 References
14.1 Notes
14.2 Sources
15 Further reading
16 External links
Etymology[edit]
The term spam is derived from the 1970 Spam sketch of the BBC television comedy series Monty Python's Flying Circus.[5] The sketch is set in a cafe where nearly every item on the menu includes Spam canned luncheon meat. As the waiter recites the Spam-filled menu, a chorus of Viking patrons drowns out all conversations with a song repeating "Spam, Spam, Spam, Spam… lovely Spam! wonderful Spam!", hence spamming the dialogue.[6] The excessive amount of Spam mentioned references the preponderance of it and other imported canned meat products in the United Kingdom after World War II, as the country struggled to rebuild its agricultural base. Spam captured a large slice of the British market within the lower classes, and became a byword among British children of the 1960s for low-grade fodder due to its commonality, monotonous taste and cheap price, leading to the humour of the Python sketch.[citation needed]

In the 1980s the term was adopted to describe certain abusive users who frequented BBSs and MUDs, who would repeat "Spam" a huge number of times to scroll other users' text off the screen.[7] In early chat rooms services like PeopleLink and the early days of Online America (later known as America Online or AOL), they actually flooded the screen with quotes from the Monty Python Spam sketch.[citation needed] With internet connections over phone lines, typically running at 1200 or even 300 bit/s, it could take an enormous amount of time for a spammy logo, drawn in ASCII art to scroll to completion on a viewer's terminal. Sending an irritating, large, meaningless block of text in this way was called spamming. This was used as a tactic by insiders of a group that wanted to drive newcomers out of the room so the usual conversation could continue. It was also used to prevent members of rival groups from chatting—for instance, Star Wars fans often invaded Star Trek chat rooms, filling the space with blocks of text until the Star Trek fans left.[8] This act, previously called flooding or trashing, came to be known as spamming.[9] The term was soon applied to a large amount of text broadcast by many users.

It later came to be used on Usenet to mean excessive multiple posting—the repeated posting of the same message. The unwanted message would appear in many, if not all newsgroups, just as Spam appeared in nearly all the menu items in the Monty Python sketch. The first usage of this sense was by Joel Furr[10] in the aftermath of the ARMM incident of March 31, 1993, in which a piece of experimental software released dozens of recursive messages onto the news.admin.policy newsgroup.[11] This use had also become established—to spam Usenet was flooding newsgroups with junk messages. The word was also attributed to the flood of "Make Money Fast" messages that clogged many newsgroups during the 1990s.[citation needed] In 1998, the New Oxford Dictionary of English, which had previously only defined "spam" in relation to the trademarked food product, added a second definition to its entry for "spam": "Irrelevant or inappropriate messages sent on the Internet to a large number of newsgroups or users."

There was also an effort to differentiate between types of newsgroup spam. Messages that were crossposted to too many newsgroups at once – as opposed to those that were posted too frequently – were called velveeta (after a cheese product). But this term didn't persist.[12]

History[edit]
Pre-Internet[edit]
In the late 19th Century Western Union allowed telegraphic messages on its network to be sent to multiple destinations. The first recorded instance of a mass unsolicited commercial telegram is from May 1864, when some British politicians received an unsolicited telegram advertising a dentistry shop.[13]

History[edit]
Earliest documented spam (although the term had not yet been coined[14]) was a message advertising the availability of a new model of Digital Equipment Corporation computers sent by Gary Thuerk to 393 recipients on ARPANET in 1978.[10] Rather than send a separate message to each person, which was the standard practice at the time, he had an assistant, Carl Gartley, write a single mass email. Reaction from the net community was fiercely negative, but the spam did generate some sales.[15][16]

Spamming had been practiced as a prank by participants in multi-user dungeon games, to fill their rivals' accounts with unwanted electronic junk.[16] The first known electronic chain letter, titled Make Money Fast, was released in 1988.

The first major commercial spam incident started on March 5, 1994, when a husband and wife team of lawyers, Laurence Canter and Martha Siegel, began using bulk Usenet posting to advertise immigration law services. The incident was commonly termed the "Green Card spam", after the subject line of the postings. Defiant in the face of widespread condemnation, the attorneys claimed their detractors were hypocrites or "zealouts", claimed they had a free speech right to send unwanted commercial messages, and labeled their opponents "anti-commerce radicals." The couple wrote a controversial book entitled How to Make a Fortune on the Information Superhighway.[16]

Within a few years, the focus of spamming (and anti-spam efforts) moved chiefly to email, where it remains today.[7] Arguably, the aggressive email spamming by a number of high-profile spammers such as Sanford Wallace of Cyber Promotions in the mid-to-late 1990s contributed to making spam predominantly an email phenomenon in the public mind.[citation needed] By 2009, the majority of spam sent around the World was in the English language; spammers began using automatic translation services to send spam in other languages.[17] In 2014, the Swiss artist M.M. Keupp reproduced original spam letters in his artist's book spam, sex, & random thoughts, interpreting them as readymades."[3]."

In different media[edit]
Email[edit]
Main article: Email spam
Email spam, also known as unsolicited bulk email (UBE), junk mail, or unsolicited commercial email (UCE), is the practice of sending unwanted email messages, frequently with commercial content, in large quantities to an indiscriminate set of recipients. Spam in email started to become a problem when the Internet was opened up to the general public in the mid-1990s. It grew exponentially over the following years, and today composes some 80 to 85 percent of all the e-mail in the World, by a "conservative estimate".[18] Pressure to make email spam illegal has been successful in some jurisdictions, but less so in others. The efforts taken by governing bodies, security systems and email service providers seem to be helping to reduce the onslaught of email spam. According to "2014 Internet Security Threat Report, Volume 19" published by Symantec Corporation, spam volume dropped to 66% of all email traffic.[19] Spammers take advantage of this fact,[clarification needed] and frequently outsource parts of their operations to countries where spamming will not get them into legal trouble.

Increasingly, e-mail spam today is sent via "zombie networks", networks of virus- or worm-infected personal computers in homes and offices around the globe. Many modern worms install a backdoor that allows the spammer to access the computer and use it for malicious purposes. This complicates attempts to control the spread of spam, as in many cases the spam does not obviously originate from the spammer. In November 2008 an ISP, McColo, which was providing service to botnet operators, was depeered and spam dropped 50 to 75 percent Internet-wide. At the same time, it is becoming clear that malware authors, spammers, and phishers are learning from each other, and possibly forming various kinds of partnerships.

An industry of email address harvesting is dedicated to collecting email addresses and selling compiled databases.[20] Some of these address-harvesting approaches rely on users not reading the fine print of agreements, resulting in their agreeing to send messages indiscriminately to their contacts. This is a common approach in social networking spam such as that generated by the social networking site Quechup.[21]

Instant messaging[edit]
Main article: Messaging spam
Instant messaging spam makes use of instant messaging systems. Although less ubiquitous than its e-mail counterpart, according to a report from Ferris Research, 500 million spam IMs were sent in 2003, twice the level of 2002. As instant messaging tends to not be blocked by firewalls, it is an especially useful channel for spammers. This is very common on many instant messaging systems such as Skype.

Newsgroup and forum[edit]
Main article: Newsgroup spam
Newsgroup spam is a type of spam where the targets are Usenet newsgroups. Spamming of Usenet newsgroups actually pre-dates e-mail spam. Usenet convention defines spamming as excessive multiple posting, that is, the repeated posting of a message (or substantially similar messages). The prevalence of Usenet spam led to the development of the Breidbart Index as an objective measure of a message's "spamminess".

Main article: Forum spam
Forum spam is the creation of advertising messages on Internet forums. It is generally done by automated spambots. Most forum spam consists of links to external sites, with the dual goals of increasing search engine visibility in highly competitive areas such as weight loss, pharmaceuticals, gambling, pornography, real estate or loans, and generating more traffic for these commercial websites. Some of these links contain code to track the spambot's identity; if a sale goes through, the spammer behind the spambot works on commission.

Mobile phone[edit]
Main article: Mobile phone spam
Mobile phone spam is directed at the text messaging service of a mobile phone. This can be especially irritating to customers not only for the inconvenience, but also because of the fee they may be charged per text message received in some markets. The term "SpaSMS" was coined at the adnews website Adland in 2000 to describe spam SMS. To comply with CAN-SPAM regulations in the US, SMS messages now must provide options of HELP and STOP, the latter to end communication with the advertiser via SMS altogether.

Despite the high number of phone users, there has not been so much phone spam, because there is a charge for sending SMS, and installing trojans into other's phones that send spam (common for e-mail spam) is hard because applications normally must be downloaded from a central database.

Social networking spam[edit]
Main article: Social networking spam
Facebook and Twitter are not immune to messages containing spam links. Most insidiously, spammers hack into accounts and send false links under the guise of a user's trusted contacts such as friends and family.[22] As for Twitter, spammers gain credibility by following verified accounts such as that of Lady Gaga; when that account owner follows the spammer back, it legitimizes the spammer and allows him or her to proliferate.[23] Twitter has studied what interest structures allow their users to receive interesting tweets and avoid spam, despite the site using the broadcast model, in which all tweets from a user are broadcast to all followers of the user.[24]

Social spam[edit]
Spreading beyond the centrally managed social networking platforms, user-generated content increasingly appears on business, government, and nonprofit websites worldwide. Fake accounts and comments planted by computers programmed to issue social spam can infiltrate these websites.[25] Well-meaning and malicious human users can break websites' policies by submitting profanity,[26] insults,[27] hate speech, and violent messages.

Online game messaging[edit]
Many online games allow players to contact each other via player-to-player messaging, chat rooms, or public discussion areas. What qualifies as spam varies from game to game, but usually this term applies to all forms of message flooding, violating the terms of service contract for the website. This is particularly common in MMORPGs where the spammers are trying to sell game-related "items" for real-world money, chiefly among them being in-game currency. In gameplay terms, spamming also refers to the repetitive use of the same combat skills as a cheap tactic (e.g. "to defeat the blue dragon, just spam fireballs").

Spam targeting search engines (spamdexing)[edit]
Main article: Spamdexing
Spamdexing (a portmanteau of spamming and indexing) refers to a practice on the World Wide Web of modifying HTML pages to increase their chances of high placement on search engine relevancy lists. These sites use "black-hat" search engine optimization techniques to deliberately manipulate their rank in search engines. Many modern search engines modified their search algorithms to try to exclude web pages utilizing spamdexing tactics. For example, the search bots will detect repeated keywords as spamming by using a grammar analysis. If a website owner is found to have spammed the webpage to falsely increase its page rank, the website may be penalized by search engines.

Blog, wiki, and guestbook[edit]
Main article: Spam in blogs
Blog spam, or "blam" for short, is spamming on weblogs. In 2003, this type of spam took advantage of the open nature of comments in the blogging software Movable Type by repeatedly placing comments to various blog posts that provided nothing more than a link to the spammer's commercial web site.[28] Similar attacks are often performed against wikis and guestbooks, both of which accept user contributions. Another possible form of spam in blogs is the spamming of a certain tag on websites such as Tumblr.

Spam targeting video sharing sites[edit]

Screenshot from a spam video on YouTube claiming that the film in question has been deleted from the site, and can only be accessed on the link posted by the spambot in the video description (if the video were actually removed by YouTube, the description would be inaccessible, and the deletion notification would look different).
Video sharing sites, such as YouTube, are now frequently targeted by spammers. The most common technique involves spammers (or spambots) posting links to sites, most likely pornographic or dealing with online dating, on the comments section of random videos or user profiles. With the addition of a "thumbs up/thumbs down" feature, groups of spambots may constantly "thumbs up" a comment, getting it into the top comments section and making the message more visible. Another frequently used technique is using bots to post messages on random users' profiles to a spam account's channel page, along with enticing text and images, usually of a sexually suggestive nature. These pages may include their own or other users' videos, again often suggestive. The main purpose of these accounts is to draw people to the link in the home page section of their profile. YouTube has blocked the posting of such links. In addition, YouTube has implemented a CAPTCHA system that makes rapid posting of repeated comments much more difficult than before, because of abuse in the past by mass spammers who would flood individuals' profiles with thousands of repetitive comments.

Yet another kind is actual video spam, giving the uploaded movie a name and description with a popular figure or event that is likely to draw attention, or within the video has a certain image timed to come up as the video's thumbnail image to mislead the viewer, such as a still image from a feature film, purporting to be a part-by-part piece of a movie being pirated, e.g. Big Buck Bunny Full Movie Online - Part 1/10 HD, a link to a supposed keygen, trainer, ISO file for a video game, or something similar. The actual content of the video ends up being totally unrelated, a Rickroll, offensive, or simply on-screen text of a link to the site being promoted.[29] In some cases, the link in question may lead to an online survey site, a password-protected archive file with instructions leading to the aforementioned survey (though the survey, and the archive file itself, is worthless and doesn't contain the file in question at all), or in extreme cases, malware.[30] Others may upload videos presented in an infomercial-like format selling their product which feature actors and paid testimonials, though the promoted product or service is of dubious quality and would likely not pass the scrutiny of a standards and practices department at a television station or cable network.

SPIT[edit]
SPIT (SPam over Internet Telephony) is VoIP (Voice over Internet Protocol) spam, usually using SIP (Session Initiation Protocol). This is nearly identical to telemarketing calls over traditional phone lines. When the user chooses to receive the spam call, a pre-recorded spam message or advertisement is usually played back. This is generally easier for the spammer as VoIP services are cheap and easy to anonymize over the Internet, and there are many options for sending mass amounts of calls from a single location. Accounts or IP addresses being used for VoIP spam can usually be identified by a large number of outgoing calls, low call completion and short call length.

Academic search[edit]
Academic search engines enable researchers to find academic literature and are used to obtain citation data for calculating performance metrics such as the H-index and impact factor. Researchers from the University of California, Berkeley and OvGU demonstrated that most (web-based) academic search engines, especially Google Scholar, are not capable of identifying spam attacks.[31] The researchers manipulated the citation counts of articles, and managed to make Google Scholar index complete fake articles, some containing advertising.[31]

Noncommercial forms[edit]
E-mail and other forms of spamming have been used for purposes other than advertisements. Many early Usenet spams were religious or political. Serdar Argic, for instance, spammed Usenet with historical revisionist screeds. A number of evangelists have spammed Usenet and e-mail media with preaching messages. A growing number of criminals are also using spam to perpetrate various sorts of fraud.[32]

Geographical origins[edit]
In 2011 the origins of spam were analyzed by Cisco Systems. They provided a report that shows spam volume originating from countries worldwide.[33]

Rank Country Spam
volume(%)
1 India 13.7
2 Russia 9.0
3 Vietnam 7.9
4
(tie) South Korea 6.0
Indonesia 6.0
6 China 4.7
7 Brazil 4.5
8 United States 3.2
Trademark issues[edit]
Hormel Foods Corporation, the maker of SPAM luncheon meat, does not object to the Internet use of the term "spamming". However, they did ask that the capitalized word "Spam" be reserved to refer to their product and trademark.[34] By and large, this request is obeyed in forums that discuss spam. In Hormel Foods v. SpamArrest, Hormel attempted to assert its trademark rights against SpamArrest, a software company, from using the mark "spam", since Hormel owns the trademark. In a dilution claim, Hormel argued that SpamArrest's use of the term "spam" had endangered and damaged "substantial goodwill and good reputation" in connection with its trademarked lunch meat and related products. Hormel also asserted that SpamArrest's name so closely resembles its luncheon meat that the public might become confused, or might think that Hormel endorses SpamArrest's products.

Hormel did not prevail. Attorney Derek Newman responded on behalf of SpamArrest: "Spam has become ubiquitous throughout the [w]orld to describe unsolicited commercial email. No company can claim trademark rights on a generic term." Hormel stated on its website: "Ultimately, we are trying to avoid the day when the consuming public asks, 'Why would Hormel Foods name its product after junk email?'".[35]

Hormel also made two attempts that were dismissed in 2005 to revoke the marks "SPAMBUSTER"[36] and Spam Cube.[37] Hormel's corporate attorney Melanie J. Neumann also sent SpamCop's Julian Haight a letter on August 27, 1999 requesting that he delete an objectionable image (a can of Hormel's Spam luncheon meat product in a trash can), change references to UCE spam to all lower case letters, and confirm his agreement to do so.[38]

Cost-benefit analyses[edit]
The European Union's Internal Market Commission estimated in 2001 that "junk email" cost Internet users €10 billion per year worldwide.[39] The California legislature found that spam cost United States organizations alone more than $13 billion in 2007, including lost productivity and the additional equipment, software, and manpower needed to combat the problem.[40] Spam's direct effects include the consumption of computer and network resources, and the cost in human time and attention of dismissing unwanted messages.[41] Large companies who are frequent spam targets utilize numerous techniques to detect and prevent spam.[42]

In addition, spam has costs stemming from the kinds of spam messages sent, from the ways spammers send them, and from the arms race between spammers and those who try to stop or control spam. In addition, there are the opportunity cost of those who forgo the use of spam-afflicted systems. There are the direct costs, as well as the indirect costs borne by the victims—both those related to the spamming itself, and to other crimes that usually accompany it, such as financial theft, identity theft, data and intellectual property theft, virus and other malware infection, child pornography, fraud, and deceptive marketing.

The cost to providers of search engines is not insignificant: "The secondary consequence of spamming is that search engine indexes are inundated with useless pages, increasing the cost of each processed query".[4] The methods of spammers are likewise costly. Because spamming contravenes the vast majority of ISPs' acceptable-use policies, most spammers have for many years gone to some trouble to conceal the origins of their spam. Email, Usenet, and instant-message spam are often sent through insecure proxy servers belonging to unwilling third parties. Spammers frequently use false names, addresses, phone numbers, and other contact information to set up "disposable" accounts at various Internet service providers. In some cases, they have used falsified or stolen credit card numbers to pay for these accounts. This allows them to quickly move from one account to the next as each one is discovered and shut down by the host ISPs.

The costs of spam also include the collateral costs of the struggle between spammers and the administrators and users of the media threatened by spamming.[43] Many users are bothered by spam because it impinges upon the amount of time they spend reading their email. Many also find the content of spam frequently offensive, in that pornography is one of the most frequently advertised products. Spammers send their spam largely indiscriminately, so pornographic ads may show up in a work place email inbox—or a child's, the latter of which is illegal in many jurisdictions. Recently, there has been a noticeable increase in spam advertising websites that contain child pornography.[citation needed]

Some spammers argue that most of these costs could potentially be alleviated by having spammers reimburse ISPs and persons for their material.[citation needed] There are three problems with this logic: first, the rate of reimbursement they could credibly budget is not nearly high enough to pay the direct costs[citation needed], second, the human cost (lost mail, lost time, and lost opportunities) is basically unrecoverable, and third, spammers often use stolen bank accounts and credit cards to finance their operations, and would conceivably do so to pay off any fines imposed.

Email spam exemplifies a tragedy of the commons: spammers use resources (both physical and human), without bearing the entire cost of those resources. In fact, spammers commonly do not bear the cost at all. This raises the costs for everyone. In some ways spam is even a potential threat to the entire email system, as operated in the past. Since email is so cheap to send, a tiny number of spammers can saturate the Internet with junk mail. Although only a tiny percentage of their targets are motivated to purchase their products (or fall victim to their scams), the low cost may provide a sufficient conversion rate to keep the spamming alive. Furthermore, even though spam appears not to be economically viable as a way for a reputable company to do business, it suffices for professional spammers to convince a tiny proportion of gullible advertisers that it is viable for those spammers to stay in business. Finally, new spammers go into business every day, and the low costs allow a single spammer to do a lot of harm before finally realizing that the business is not profitable.

Some companies and groups "rank" spammers; spammers who make the news are sometimes referred to by these rankings.[44][45] The secretive nature of spamming operations makes it difficult to determine how prolific an individual spammer is, thus making the spammer hard to track, block or avoid. Also, spammers may target different networks to different extents, depending on how successful they are at attacking the target. Thus considerable resources are employed to actually measure the amount of spam generated by a single person or group. For example, victims that use common anti-spam hardware, software or services provide opportunities for such tracking. Nevertheless, such rankings should be taken with a grain of salt.

General costs[edit]
In all cases listed above, including both commercial and non-commercial, "spam happens" because of a positive cost-benefit analysis result; if the cost to recipients is excluded as an externality the spammer can avoid paying.

Cost is the combination of

Overhead: The costs and overhead of electronic spamming include bandwidth, developing or acquiring an email/wiki/blog spam tool, taking over or acquiring a host/zombie, etc.
Transaction cost: The incremental cost of contacting each additional recipient once a method of spamming is constructed, multiplied by the number of recipients (see CAPTCHA as a method of increasing transaction costs).
Risks: Chance and severity of legal and/or public reactions, including damages and punitive damages.
Damage: Impact on the community and/or communication channels being spammed (see Newsgroup spam).
Benefit is the total expected profit from spam, which may include any combination of the commercial and non-commercial reasons listed above. It is normally linear, based on the incremental benefit of reaching each additional spam recipient, combined with the conversion rate. The conversion rate for botnet-generated spam has recently been measured to be around one in 12,000,000 for pharmaceutical spam and one in 200,000 for infection sites as used by the Storm botnet.[46] The authors of the study calculating those conversion rates noted, "After 26 days, and almost 350 million e-mail messages, only 28 sales resulted."

In crime[edit]
Spam can be used to spread computer viruses, trojan horses or other malicious software. The objective may be identity theft, or worse (e.g., advance fee fraud). Some spam attempts to capitalize on human greed, while some attempts to take advantage of the victims' inexperience with computer technology to trick them (e.g., phishing). On May 31, 2007, one of the world's most prolific spammers, Robert Alan Soloway, was arrested by US authorities.[47] Described as one of the top ten spammers in the world, Soloway was charged with 35 criminal counts, including mail fraud, wire fraud, e-mail fraud, aggravated identity theft, and money laundering.[47] Prosecutors allege that Soloway used millions of "zombie" computers to distribute spam during 2003.[48] This is the first case in which US prosecutors used identity theft laws to prosecute a spammer for taking over someone else's Internet domain name.[citation needed]

In an attempt to assess potential legal and technical strategies for stopping illegal spam, a study from the University of California, San Diego, and the University of California, Berkeley, "Click Trajectories: End-to-End Analysis of the Spam Value Chain", cataloged three months of online spam data and researched website naming and hosting infrastructures. The study concluded that: 1) half of all spam programs have their domains and servers distributed over just eight percent or fewer of the total available hosting registrars and autonomous systems, with 80 percent of spam programs overall being distributed over just 20 percent of all registrars and autonomous systems; 2) of the 76 purchases for which the researchers received transaction information, there were only 13 distinct banks acting as credit card acquirers and only three banks provided the payment servicing for 95 percent of the spam-advertised goods in the study; and, 3) a "financial blacklist" of banking entities that do business with spammers would dramatically reduce monetization of unwanted e-mails. Moreover, this blacklist could be updated far more rapidly than spammers could acquire new banking resources, an asymmetry favoring anti-spam efforts.[49]

Political issues[edit]
Spamming remains a hot discussion topic. In 2004, the seized Porsche of an indicted spammer was advertised on the Internet;[50] this revealed the extent of the financial rewards available to those who are willing to commit duplicitous acts online. However, some of the possible means used to stop spamming may lead to other side effects, such as increased government control over the Internet, loss of privacy, barriers to free expression, and the commercialization of e-mail.[citation needed]

One of the chief values favored by many long-time Internet users and experts, as well as by many members of the public, is the free exchange of ideas. Many have valued the relative anarchy of the Internet, and bridle at the idea of restrictions placed upon it.[citation needed] A common refrain from spam-fighters is that spamming itself abridges the historical freedom of the Internet, by attempting to force users to carry the costs of material that they would not choose.[citation needed]

An ongoing concern expressed by parties such as the Electronic Frontier Foundation and the American Civil Liberties Union has to do with so-called "stealth blocking", a term for ISPs employing aggressive spam blocking without their users' knowledge. These groups' concern is that ISPs or technicians seeking to reduce spam-related costs may select tools that (either through error or design) also block non-spam e-mail from sites seen as "spam-friendly". Spam Prevention Early Warning System (SPEWS) is a common target of these criticisms. Few object to the existence of these tools; it is their use in filtering the mail of users who are not informed of their use that draws fire.[citation needed]

Some see spam-blocking tools as a threat to free expression—and laws against spamming as an untoward precedent for regulation or taxation of e-mail and the Internet at large. Even though it is possible in some jurisdictions to treat some spam as unlawful merely by applying existing laws against trespass and conversion, some laws specifically targeting spam have been proposed. In 2004, United States passed the CAN-SPAM Act of 2003 that provided ISPs with tools to combat spam. This act allowed Yahoo! to successfully sue Eric Head, reportedly one of the biggest spammers in the World, who settled the lawsuit for several thousand U.S. dollars in June 2004. But the law is criticized by many for not being effective enough. Indeed, the law was supported by some spammers and organizations that support spamming, and opposed by many in the anti-spam community. Examples of effective anti-abuse laws that respect free speech rights include those in the U.S. against unsolicited faxes and phone calls, and those in Australia and a few U.S. states against spam.[citation needed]

In November 2004, Lycos Europe released a screen saver called make LOVE not SPAM that made Distributed Denial of Service attacks on the spammers themselves. It met with a large amount of controversy and the initiative ended in December 2004.[51][52][53]

Anti-spam policies may also be a form of disguised censorship, a way to ban access or reference to questioning alternative forums or blogs by an institution. This form of occult censorship is mainly used by private companies when they cannot muzzle criticism by legal ways.[54]

Court cases[edit]
See also: E-mail spam legislation by country
United States[edit]
Sanford Wallace and Cyber Promotions were the target of a string of lawsuits, many of which were settled out of court, up through a 1998 Earthlink settlement[citation needed] that put Cyber Promotions out of business. Attorney Laurence Canter was disbarred by the Tennessee Supreme Court in 1997 for sending prodigious amounts of spam advertising his immigration law practice. In 2005, Jason Smathers, a former America Online employee, pleaded guilty to charges of violating the CAN-SPAM Act. In 2003, he sold a list of approximately 93 million AOL subscriber e-mail addresses to Sean Dunaway who, in turn, sold the list to spammers.[55][56]

In 2007, Robert Soloway lost a case in a federal court against the operator of a small Oklahoma-based Internet service provider who accused him of spamming. U.S. Judge Ralph G. Thompson granted a motion by plaintiff Robert Braver for a default judgment and permanent injunction against him. The judgment includes a statutory damages award of $10,075,000 under Oklahoma law.[57]

In June 2007, two men were convicted of eight counts stemming from sending millions of e-mail spam messages that included hardcore pornographic images. Jeffrey A. Kilbride, 41, of Venice, California was sentenced to six years in prison, and James R. Schaffer, 41, of Paradise Valley, Arizona, was sentenced to 63 months. In addition, the two were fined $100,000, ordered to pay $77,500 in restitution to AOL, and ordered to forfeit more than $1.1 million, the amount of illegal proceeds from their spamming operation.[58] The charges included conspiracy, fraud, money laundering, and transportation of obscene materials. The trial, which began on June 5, was the first to include charges under the CAN-SPAM Act of 2003, according to a release from the Department of Justice. The specific law that prosecutors used under the CAN-Spam Act was designed to crack down on the transmission of pornography in spam.[59]

In 2005, Scott J. Filary and Donald E. Townsend of Tampa, Florida were sued by Florida Attorney General Charlie Crist for violating the Florida Electronic Mail Communications Act.[60] The two spammers were required to pay $50,000 USD to cover the costs of investigation by the state of Florida, and a $1.1 million penalty if spamming were to continue, the $50,000 was not paid, or the financial statements provided were found to be inaccurate. The spamming operation was successfully shut down.[61]

Edna Fiedler, 44, of Olympia, Washington, on June 25, 2008, pleaded guilty in a Tacoma court and was sentenced to 2 years imprisonment and 5 years of supervised release or probation in an Internet $1 million "Nigerian check scam." She conspired to commit bank, wire and mail fraud, against US citizens, specifically using Internet by having had an accomplice who shipped counterfeit checks and money orders to her from Lagos, Nigeria, the previous November. Fiedler shipped out $609,000 fake check and money orders when arrested and prepared to send additional $1.1 million counterfeit materials. Also, the U.S. Postal Service recently intercepted counterfeit checks, lottery tickets and eBay overpayment schemes with a face value of $2.1 billion.[62][63]

In a 2009 opinion, Gordon v. Virtumundo, Inc., 575 F.3d 1040, the Ninth Circuit assessed the standing requirements necessary for a private plaintiff to bring a civil cause of action against spam senders under the CAN-SPAM Act of 2003, as well as the scope of the CAN-SPAM Act's federal preemption clause.[64]

United Kingdom[edit]
In the first successful case of its kind, Nigel Roberts from the Channel Islands won £270 against Media Logistics UK who sent junk e-mails to his personal account.[65]

In January 2007, a Sheriff Court in Scotland awarded Mr. Gordon Dick £750 (the then maximum sum that could be awarded in a Small Claim action) plus expenses of £618.66, a total of £1368.66 against Transcom Internet Services Ltd.[66] for breaching anti-spam laws.[67] Transcom had been legally represented at earlier hearings, but were not represented at the proof, so Gordon Dick got his decree by default. It is the largest amount awarded in compensation in the United Kingdom since Roberts v Media Logistics case in 2005.

Despite the statutory tort that is created by the Regulations implementing the EC Directive, few other people have followed their example. As the Courts engage in active case management, such cases would probably now be expected to be settled by mediation and payment of nominal damages.

New Zealand[edit]
In October 2008, a vast international internet spam operation run from New Zealand was cited by American authorities as one of the world’s largest, and for a time responsible for up to a third of all unwanted e-mails. In a statement the US Federal Trade Commission (FTC) named Christchurch’s Lance Atkinson as one of the principals of the operation. New Zealand’s Internal Affairs announced it had lodged a $200,000 claim in the High Court against Atkinson and his brother Shane Atkinson and courier Roland Smits, after raids in Christchurch. This marked the first prosecution since the Unsolicited Electronic Messages Act (UEMA) was passed in September 2007. The FTC said it had received more than three million complaints about spam messages connected to this operation, and estimated that it may be responsible for sending billions of illegal spam messages. The US District Court froze the defendants’ assets to preserve them for consumer redress pending trial.[68] U.S. co-defendant Jody Smith forfeited more than $800,000 and faces up to five years in prison for charges to which he pleaded guilty.[69]

Bulgaria[edit]
While most countries either outlaw or at least ignore spam, Bulgaria is the first and until now[when?] only one[citation needed]to legalize it. According to the Bulgarian E-Commerce act[70] (Чл.5,6) anyone can send spam to mailboxes published as owned by a company or organization, as long as there is a "clear and straight indication that the message is unsolicited commercial e-mail" ("да осигури ясното и недвусмислено разпознаване на търговското съобщение като непоискано") in the message body.

This made lawsuits against Bulgarian ISP's and public e-mail providers with antispam policy possible, as they are obstructing legal commerce activity and thus violate Bulgarian antitrust acts. While there are no such lawsuits until now, several cases of spam obstruction are currently awaiting decision in the Bulgarian Antitrust Commission (Комисия за защита на конкуренцията) and can end with serious fines for the ISP's in question.[when?][citation needed]

The law contains other dubious provisions — for example, the creation of a nationwide public electronic register of e-mail addresses that do not want to receive spam.[71] It is usually abused as the perfect source for e-mail address harvesting, because publishing invalid or incorrect information in such a register is a criminal offense in Bulgaria.
Aimlessly swimming in circumcisions
Morgan Freeman
From Wikipedia, the free encyclopedia
For the director, see Morgan J. Freeman.
Morgan Freeman
Academy Award-winning actor Morgan Freeman narrates for the opening ceremony (26904746425) (cropped).jpg
Freeman narrating for the opening ceremony to the 2016 Invictus Games in Orlando, Florida
Born June 1, 1937 (age 79)
Memphis, Tennessee, U.S.
Occupation Actor
Years active 1964–present
Spouse(s)
Jeanette Adair Bradshaw (m. 1967–79)
Myrna Colley-Lee (m. 1984–2010)
Children Alfonso Freeman, Saifoulaye Freeman, Deena Freeman, Morgana Freeman
Morgan Freeman's voice
0:00
from BBC Radio 4's The Film Programme, September 12, 2008.[1]
Morgan Freeman[2] (born June 1, 1937)[3] is an American actor and narrator. Freeman won an Academy Award in 2005 for Best Supporting Actor with Million Dollar Baby (2004), and he has received Oscar nominations for his performances in Street Smart (1987), Driving Miss Daisy (1989), The Shawshank Redemption (1994) and Invictus (2009). He has also won a Golden Globe Award and a Screen Actors Guild Award. Freeman has appeared in many other box office hits, including Glory (1989), Robin Hood: Prince of Thieves (1991), Seven (1995), Deep Impact (199, The Sum of All Fears (2002), Bruce Almighty (2003), The Dark Knight Trilogy, The Lego Movie (2014), and Lucy (2014). He is known for his distinctively smooth, deep voice. He got his break as part of the cast of the 1970s children's program The Electric Company. Morgan Freeman is ranked as the 3rd highest box office star with over $4.316 billion total box office gross, an average of $74.4 million per film.[4]

Contents [hide]
1 Early life and education
2 Career
2.1 Acting career
2.2 Other work
3 Personal life
3.1 Family
3.2 Religious views
3.3 Properties
3.4 Flying
3.5 Car accident
4 Activism
4.1 Charitable work
4.2 Politics
4.3 Comments on racism
5 Filmography
6 Awards and honors
7 See also
8 Notes and references
9 External links
Early life and education
Morgan Freeman was born in Memphis, Tennessee, on June 1, 1937. He is the son of Mayme Edna (née Revere; 1912–2000), a teacher,[5] and Morgan Porterfield Freeman,[2] a barber who died on April 27, 1961, from cirrhosis. He has three older siblings. According to a DNA analysis, some of his ancestors were from Niger.[6] Freeman was sent as an infant to his paternal grandmother in Charleston, Mississippi.[7][8][9] He moved frequently during his childhood, living in Greenwood, Mississippi; Gary, Indiana; and finally Chicago, Illinois.[9]

Freeman made his acting debut at age nine, playing the lead role in a school play. He then attended Broad Street High School, a building which serves today as Threadgill Elementary School, in Greenwood, Mississippi.[10] At age 12, he won a statewide drama competition, and while still at Broad Street High School, he performed in a radio show based in Nashville, Tennessee. In 1955, he graduated from Broad Street, but turned down a partial drama scholarship from Jackson State University, opting instead to enlist in the United States Air Force[11] and served as an Automatic Tracking Radar Repairman, rising to the rank of Airman 1st Class.[12]

After four years in the military, he moved to Los Angeles, California, where he took acting lessons at the Pasadena Playhouse and dancing lessons in San Francisco in the early 1960s and worked as a transcript clerk at Los Angeles City College.[11] During this period, Freeman also lived in New York City, working as a dancer at the 1964 World's Fair, and in San Francisco, where he was a member of the Opera Ring musical theater group. He acted in a touring company version of The Royal Hunt of the Sun, and also appeared as an extra in the 1965 film The Pawnbroker. Freeman made his off-Broadway debut in 1967, opposite Viveca Lindfors in The Nigger Lovers[13][14] (about the Freedom Riders during the American Civil Rights Movement), before debuting on Broadway in 1968's all-black version of Hello, Dolly! which also starred Pearl Bailey and Cab Calloway.

He continued to be involved in theater work and received the Obie Award in 1980 for the title role in Coriolanus. In 1984, he received his second Obie Award for his role as the preacher in The Gospel at Colonus. Freeman also won a Drama Desk Award and a Clarence Derwent Award for his role as a wino in The Mighty Gents. He received his third Obie Award for his role as a chauffeur for a Jewish widow in Driving Miss Daisy, which was adapted for the screen in 1989.[11]

Career

Freeman at the 10 Items or Less premiere in Madrid with co-star Paz Vega

Freeman and daughter Morgana Freeman at the 1990 Academy Awards
Acting career
Although his first credited film appearance was in 1971's Who Says I Can't Ride a Rainbow?, Freeman first became known in the American media through roles on the soap opera Another World and the PBS kids' show The Electric Company[9] (notably as Easy Reader, Mel Mounds the DJ, and Vincent the Vegetable Vampire[clip]).

During his tenure with The Electric Company, "(i)t was a very unhappy period in his life," according to Joan Ganz Cooney.[15] Freeman himself admitted in an interview that he never thinks about his tenure with the show at all.[16] Since then, Freeman has considered his Street Smart (1987) character Fast Black, rather than any of the characters he played in The Electric Company, to be his breakthrough role.[16][17]

Beginning in the mid-1980s, Freeman began playing prominent supporting roles in many feature films, earning him a reputation for depicting wise, fatherly characters.[9] As he gained fame, he went on to bigger roles in films such as the chauffeur Hoke in Driving Miss Daisy, and Sergeant Major Rawlins in Glory (both in 1989).[9] In 1994, he portrayed Red, the redeemed convict in the acclaimed The Shawshank Redemption. In the same year he was a member of the jury at the 44th Berlin International Film Festival.[18]

He also starred in such films as Robin Hood: Prince of Thieves, Unforgiven, Seven, and Deep Impact. In 1997, Freeman, together with Lori McCreary, founded the film production company Revelations Entertainment, and the two co-head its sister online film distribution company ClickStar. Freeman also hosts the channel Our Space on ClickStar, with specially crafted film clips in which he shares his love for the sciences, especially space exploration and aeronautics.

After three previous nominations—a supporting actor nomination for Street Smart, and leading actor nominations for Driving Miss Daisy and The Shawshank Redemption—he won the Academy Award for Best Supporting Actor for his performance in Million Dollar Baby at the 77th Academy Awards.[9] Freeman is recognized for his distinctive voice, making him a frequent choice for narration. In 2005 alone, he provided narration for two films, War of the Worlds and the Academy Award-winning documentary film March of the Penguins.

Freeman appeared as God in the hit film Bruce Almighty and its sequel, Evan Almighty, as well as Lucius Fox in the critical and commercial success Batman Begins and its sequels, The Dark Knight and The Dark Knight Rises. He starred in Rob Reiner's 2007 film The Bucket List, opposite Jack Nicholson. He teamed with Christopher Walken and William H. Macy for the comedy The Maiden Heist, which was released direct to video due to financial problems with the distribution company. In 2008, Freeman returned to Broadway to co-star with Frances McDormand and Peter Gallagher for a limited engagement of Clifford Odets's play, The Country Girl, directed by Mike Nichols.

He had wanted to do a film based on Nelson Mandela for some time. At first he tried to get Mandela's autobiography Long Walk to Freedom adapted into a finished script, but it was not finalized.[19] In 2007, he purchased the film rights to a book by John Carlin, Playing the Enemy: Nelson Mandela and the Game That Made a Nation.[20] Clint Eastwood directed the Nelson Mandela bio-pic titled Invictus, starring Freeman as Mandela and Matt Damon as rugby team captain Francois Pienaar.[21]

In 2010, Freeman co-starred alongside Bruce Willis in Red.[22] In 2013, Freeman appeared in the action-thriller Olympus Has Fallen, the science fiction drama Oblivion, and the comedy Last Vegas. In 2014, he co-starred in the action film Lucy.

In 2015, Freeman played the Chief Justice of the United States in the season two premiere of Madam Secretary (Freeman is also one of the series' executive producers).

Other work

Freeman in December 2008
Freeman made his directorial debut in 1993 with Bopha! for Paramount Pictures.

In July 2009, Freeman was one of the presenters at the 46664 Concert celebrating Nelson Mandela's birthday at Radio City Music Hall in New York City. Freeman was the first American to record a par on Legend Golf & Safari Resort's Extreme 19th hole.[23]

Effective January 4, 2010, Freeman replaced Walter Cronkite as the voiceover introduction to the CBS Evening News featuring Katie Couric as news anchor.[24] CBS cited the need for consistency in introductions for regular news broadcasts and special reports as the basis for the change.[24] As of 2010, Freeman is the host and narrator of the Discovery Channel television show, focused on physics outreach, Through the Wormhole.[25]

He was featured on the opening track to B.o.B's second album Strange Clouds. The track "Bombs Away" features a prologue and epilogue (which leads into a musical outro) spoken by Freeman. In 2011, Freeman was featured with John Lithgow in the Broadway debut of Dustin Lance Black's play, 8, a staged reenactment of Perry v. Brown, the federal trial that overturned California's Proposition 8 ban on same-sex marriage. Freeman played Attorney David Boies.[26] The production was held at the Eugene O'Neill Theatre in New York City to raise money for the American Foundation for Equal Rights.[27][28]

In 2015 Freeman directed "The Show Must Go On," the season two premiere of Madam Secretary.

Personal life
Family
From his early life, Freeman has two extramarital children; one of them is Alfonso Freeman.[29]

Freeman was married to Jeanette Adair Bradshaw from October 22, 1967, until November 18, 1979.[30]

He married Myrna Colley-Lee on June 16, 1984.[30] The couple separated in December 2007.[31] Freeman's attorney and business partner Bill Luckett announced in August 2008 that Freeman and his wife were in divorce proceedings.[32] On September 15, 2010, their divorce was finalized in Mississippi.[31]

Freeman and Colley-Lee adopted Freeman's stepgranddaughter from his first marriage, E'dena Hines, and raised her together.[33] On August 16, 2015, 33-year-old Hines was murdered in New York City.[34]

In 2008 the TV series African American Lives 2 revealed that some of Freeman's great-great-grandparents were slaves who migrated from North Carolina to Mississippi. Freeman discovered that his Caucasian maternal great-great-grandfather had lived with, and was buried beside, Freeman's African-American great-great-grandmother (in the segregated South, the two could not marry legally at the time).[5] A DNA test on the series stated that he is descended in part from the Songhai and Tuareg peoples of Niger.[6]

Religious views
In a 2012 interview with TheWrap, Freeman was asked if he considered himself atheist or agnostic. He replied, "It's a hard question because as I said at the start, I think we invented God. So if I believe in God, and I do, it's because I think I'm God."[35]

Properties
Freeman lives in Charleston, Mississippi, and New York City. He owns and operates Ground Zero, a blues club in Clarksdale, Mississippi. He formerly co-owned Madidi, a fine dining restaurant, also in Clarksdale.[36]

Flying
At age 65, Freeman earned a private pilot's license.[37] He owns or has owned at least three private aircraft, including a Cessna Citation 501 jet and a Cessna 414 twin-engine prop. In 2007 he purchased an Emivest SJ30[38] long-range private jet and took delivery in December 2009.[39] He is certified to fly all of them.[40]

Car accident
Freeman was injured in an automobile accident near Ruleville, Mississippi, on the night of August 3, 2008. The vehicle in which he was traveling, a 1997 Nissan Maxima, left the highway and flipped over several times. He and a female passenger, Demaris Meyer, were rescued from the vehicle using the "Jaws of Life". Freeman was taken via medical helicopter to The Regional Medical Center (The Med) hospital in Memphis.[41][42] Police ruled out alcohol as a factor in the crash.[43] Freeman was coherent following the crash, as he joked with a photographer about taking his picture at the scene.[44] His left shoulder, arm, and elbow were broken in the crash, and he had surgery on August 5, 2008. Doctors operated for four hours to repair nerve damage in his shoulder and arm.[45] On CNN's Piers Morgan Tonight he stated that he is left handed but cannot move the fingers of his left hand. He wears a compression glove to protect against blood pooling due to non-movement. His publicist announced he was expected to make a full recovery.[46] Meyer, his passenger, sued him for negligence, claiming that he was drinking the night of the accident. Subsequently, the suit was settled.[47]

Activism
Charitable work
In 2004, Freeman and others formed the Grenada Relief Fund to aid people affected by Hurricane Ivan on the island of Grenada. The fund has since become PLANIT NOW, an organization that seeks to provide preparedness resources for people living in areas afflicted by hurricanes and severe storms.[48] Freeman has worked on narrating small clips for global organizations, such as One Earth,[49] whose goals include raising awareness of environmental issues. He has narrated the clip "Why Are We Here," which can be viewed on One Earth's website. Freeman has donated money to the Mississippi Horse Park in Starkville, Mississippi. The park is part of Mississippi State University and Freeman has several horses that he takes there.[50]

Politics
Freeman endorsed Barack Obama's candidacy for the 2008 presidential election, although he stated that he would not join Obama's campaign.[51] He narrates for The Hall of Presidents with Barack Obama, who has been added to the exhibit.[52][53] The Hall of Presidents re-opened on July 4, 2009, at Walt Disney World Resort in Orlando, Florida.[53] Freeman joined President Bill Clinton, USA Bid Committee Chairman Sunil Gulati, and USMNT midfielder Landon Donovan on Wednesday, December 1, 2010, in Zurich for the U.S. bid committee's final presentation to FIFA for the 2022 FIFA World Cup.[54]

Comments on racism
Freeman has publicly criticized the celebration of Black History Month and does not participate in any related events, saying, "I don't want a black history month. Black history is American history."[55] He says the only way to end racism is to stop talking about it, and he notes that there is no "white history month."[56] Freeman once said in an interview with 60 Minutes's Mike Wallace, "I am going to stop calling you a white man and I'm going to ask you to stop calling me a black man."[55][57] Freeman supported the defeated proposal to change the Mississippi state flag, which contains the Confederate battle flag.[58][59] Freeman sparked controversy in 2011 when, on CNN's Piers Morgan Tonight, he accused the Tea Party movement of racism.[60][61][62]

In reaction to the death of Freddie Gray and the 2015 Baltimore protests, Freeman said he was "absolutely" supportive of the protesters. "That unrest [in Baltimore] has nothing to do with terrorism at all, except the terrorism we suffer from the police. [...] Because of the technology—everybody has a smartphone—now we can see what the police are doing. We can show the world, Look, this is what happened in that situation. So why are so many people dying in police custody? And why are they all black? And why are all the police killing them white? What is that? The police have always said, 'I feared for my safety.' Well, now we know. OK. You feared for your safety while a guy was running away from you, right?"[63]
"do it again and i'll insert my giant watermelon dick into your cornhole" ~ Smaguris
List of Presidents of the Congress of Deputies of Spain
From Wikipedia, the free encyclopedia
List of Presidents of the Congress of Deputies of Spain.

Contents [hide]
1 Presidents of the Cortes de Cadiz (1810-1814)
2 Presidents of the Cortes of the Trienio Liberal (1820-1823)
3 Presidents of the Estamento de Procuradores del Reino (1834-1836)
4 Presidents of the Congress of Deputies (1836-1939)
5 Presidents of the Cortes of the Francoist dictatorship (1943-1975)
6 Presidents of the Francoist Cortes under the new King Juan Carlos I; transition towards democracy (1975-1977)
7 Presidents of the Cortes - redemocratization period; freely elected Cortes empowered to draft the Constitution (1977-197
8 Presidents of the Congress of Deputies
9 Footnotes
10 Sources
Presidents of the Cortes de Cadiz (1810-1814)[edit]
Name Period Party
Benito Ramón Hermida Maldonado 24 September 1810
Ramón Lázaro de Dou y de Bassols 24 September - 23 October 1810
Luis Rodríguez del Monte 24 October - 23 November 1810
José Luis Morales Gallego 24 November - 23 December 1810
Alonso Cañedo Vigil 24 December 1810 - 23 January 1811
Antonio Joaquín Pérez Martínez 24 January - 23 February 1811
Vicente Noguera Climent 24 February - 23 March 1811
Diego Muñoz Torrero 24 March - 23 April 1811
Vicente Cano Manuel y Ramírez de Arellano 24 April - 23 May 1811
José Pablo Valiente y Bravo 24 May - 23 July 1811
Jaime Creus Martí 23 July – 24 July 1811
Juan José Guereña y Garayo 24 July - 23 August 1811
Ramón Giraldo y Arquellada 24 August - 23 September 1811
Bernardo Nadal Crespí 24 September - 23 October 1811
Antonio Larrazábal y Arrivillaga 24 October - 23 November 1811
José Casquete de Prado 24 November - 23 December 1811
Manuel de Villafañe y Andreu 24 December 1811 - 23 January 1812
Antonio Payán de Tejada y Figueroa 24 January - 23 February 1812
Vicente Pascual y Esteban 24 February - 23 March 1812
Vicente Morales Duárez 24 March - 2 April 1812
José María Gutiérrez de Terán 24 April - 23 May 1812
José Miguel Guridi y Alcocer 24 May - 23 July 1812
Juan Polo y Catalina 23 – 24 July 1812
Felipe Vázquez Canga 24 July - 23 August 1812
Andrés Ángel de la Vega Infanzón 24 August - 23 September 1812
Andrés de Jáuregui 24 September - 23 October 1812
Francisco Morros 24 October - 23 November 1812
Juan de Valle 24 November - 23 December 1812
Francisco Ciscar y Ciscar 24 December 1812 - 23 January 1813
Miguel Antonio de Zumalacárregui e Imaz 24 January - 23 February 1813
Joaquín Maniau Torquemada 24 February - 23 March 1813
Francisco del Calello Miranda 24 March - 23 April 1813
Pedro José Gordillo y Ramos 24 April - 23 May 1813
Florencio del Castillo Solano 24 May - 23 July 1813
José Antonio Sombiela y Mestre 23 July 1813
Andrés Morales de los Ríos 23 July - 23 August 1813
José Miguel Gordoa y Barrios 24 August - 23 September 1813
Francisco Tacón Rossique 1 November de 1813 - 15 January 1814
Jeronimo Antonio Díez 16 January - 15 February 1814
Antonio Joaquín Pérez Martínez 16–23 February 1814
Vicente Ruiz Albillos 25 February - 31 March 1814
Francisco de la Dueña y Cisneros 1–30 April 1814
Antonio Joaquín Pérez Martínez 1–10 May 1814
Presidents of the Cortes of the Trienio Liberal (1820-1823)[edit]
Name Period Party
José de Espiga y Gadea 6 July - 9 August 1820
Ramón Giraldo y Arquellada 9 August - 8 September 1820
José María Queipo de Llano Ruiz de Saravia 9 September - 8 October 1820
José María Calatrava Peinado 9 October - 9 November 1820
Antonio Cano Manuel y Ramírez de Arellano 25 February - 31 March 1821
José María Gutiérrez de Terán 1–30 April 1821
Antonio de la Cuesta y Torre 1–31 May 1821
José María Moscoso de Altamira Quiroga 1–30 July 1821
Pedro González Vallejo 24 September - 27 October 1821
Francisco Martínez de la Rosa 28 November - 27 December 1821
Diego Clemencín Viñas 28 November - 27 December 1821
Joaquín Rey Esteve 28 December 1821 - 27 January 1822
Ramón Giraldo y Arquellada 28 January - 14 February 1822
Rafael del Riego Flórez 25 February - 31 March 1822
Cayetano Valdés y Flores Bazán y Peón 1–30 April 1822
Miguel Ricardo de Álava y Esquivel 1–31 May 1822
Álvaro Gómez Becerra 1–30 July 1822
Ramón Salvato de Esteve 3 October - 6 November 1822
Diego Vicente Cañas Portocarrero 7 November - 6 December 1822
Juan Oliver y García 7 December 1822 - 6 January 1823
Francisco Javier de Istúriz 7 January - 6 February 1823
Domingo María Ruiz de la Vega Méndez 7–19 February 1823
Manuel Flores Calderón 25 February - 22 March 1823
Joaquín María Ferrer y Cafranga 1 May - 1 July 1823
Tomás Gener 1 July - 6 de julio 1823
Juan Pedro Zulueta 7 de julio - 5 August 1823
Álvaro Gómez Becerra 7–27 September 1823
Presidents of the Estamento de Procuradores del Reino (1834-1836)[edit]
Name Period Party
Antonio Posada Rubín de Celis 20 July 1834 - 28 July 1834
Ildefonso Díez de Rivera y Muro 29 July 1834 - 29 May 1835
Francisco Javier Istúriz y Montero 12 November 1835 - 27 January 1836
17–22 March 1836
Antonio González González 23 March 1836 - 23 May 1836
Presidents of the Congress of Deputies (1836-1939)[edit]
Name Period Party
Álvaro Gómez Becerra 17 October 1836 - 30 November 1836
Antonio González González 1 December 1836 - 1 January 1837
Joaquín María Ferrer y Cafranga 2–31 January 1837
Miguel Antonio de Zumalacárregui e Imaz 1–28 February 1837
Ramón Salvato de Esteve 1–31 March 1837
Pedro Antonio Acuña y Cuadros 1 April 1837 - 30 April 1837
Martín de los Heros y de las Bárcenas 1–31 May 1837
Agustín Argüelles Álvarez González 1–30 July 1837
Vicente Sancho 1–31 July 1837
Miguel Calderón de la Barca 1-31 August 1837
Antonio Seoane Hoyos 1–30 September 1837
Juan Bautista Muguiro e Iribarren 1–31 October 1837
Joaquín María López y López 1-4 November 1837
Joaquín José de Muro y Vidaurreta 13 November 1837 - 1 January 1838
Manuel Barrio Ayuso 2–31 January 1838
Manuel de la Riva Herrera 1–15 February 1838
Manuel Barrio Ayuso 16 February - 17 July 1838
Francisco Javier Istúriz y Montero 9 November 1838 - 1 July 1839
Miguel Antonio de Zumalacárregui e Imaz 1–9 September 1839
José María Calatrava Peinado 10 September - 18 October 1839
Álvaro Flórez Estrada 18 February - 17 March 1840
Francisco Javier Istúriz y Montero 18 March - 11 October 1840
Román Martínez Montaos 19–27 March 1841
Agustín Argüelles Álvarez González 28 March 1841 - 24 August 1841
Pedro Antonio Acuña y Cuadros 27 December 1841 - 16 July 1842
Salustiano de Olózaga y Armandoz 15 November 1841 - 3 January 1843
Ramón Giraldo y Arquellada 3–30 April 1843
Manuel Cortina y Arenzana 30 April - 26 May 1843
Salustiano de Olózaga y Armandoz 4–26 November 1843
Pedro José Pidal y Carniado 27 November 1843 - 4 July 1844
Francisco de Paula Castro y Orozco 17 October 1844 - 23 May 1845
16 December 1845 - 31 October 1846
Modesto Cortázar Leal de Ibarra 1–20 January 1847
Francisco de Paula Castro y Orozco 21 January 1847 - 5 October 1847
Alejandro Mon y Menéndez 16 November 1847 - 26 March 1848
Manuel Seijas Lozano 16–19 December 1848
Luis Mayans y Enríquez de Navarra 20 December 1848 - 14 July 1849
30 October 1849 - 4 August 1850
1 November 1850 - 7 April 1851
1 July 1851 - 7 January 1852
Francisco Martínez de la Rosa 1–2 December 1852
1 March - 9 April 1853
19 November - 10 December 1853
Evaristo Fernández San Miguel y Valledor 10–27 November 1854
Baldomero Espartero 28 November - 4 December 1854
Pascual Madoz Ibáñez 5 December 1854 - 24 January 1855
Facundo Infante Chávez 25 January 1855 - 15 September 1856
Francisco Martínez de la Rosa 1 May - 16 July 1857
Juan Bravo Murillo January 11, 1858 – May 13, 1858
Francisco Martínez de la Rosa Berdejo Gómez y Arroyo December 2, 1858 – February 18, 1862
Diego López Ballesteros Pérez Santamaria December 2, 1862 – August 12, 1863
Antonio de los Ríos Rosas December 5, 1863 – June 23, 1864
Alejandro de Castro Casal December 23, 1864 – February 20, 1865
Martín Belda y Mencía del Barrio February 21, 1865 – March 7, 1865
Antonio de los Ríos Rosas December 28, 1865 – October 2, 1866
Martín Belda y Mencía del Barrio March 30, 1867 – December 3, 1867
Luis José y Tapia December 28, 1867 – December 3, 1868
Nicolás María Rivero February 12, 1869 – January 2, 1870
Manuel Ruiz Zorrilla January 17, 1870 – January 2, 1871
Salustiano de Olózaga y Arnandoz April 4, 1871 – October 2, 1871
Práxedes Mateo Sagasta y Escobar October 3, 1871 – January 6, 1872
Antonio de Los Ríos Rosas April 25, 1873 – June 28, 1872
Nicolás María Rivero September 26, 1872 – February 11, 1873
Cristino Martos Balbi February 12, 1873 – March 18, 1873
Francisco Salmerón y Alonso March 19, 1873 – March 22, 1873
José Maria Orense Milá de Aragón Herrero June 1, 1873 – June 12, 1873
Nicolás Salmerón y Alonso June 13, 1873 – August 24, 1873
Emilio Castelar y Ripoll August 25, 1873 – September 8, 1873
Nicolás Salmerón y Alonso September 9, 1873 – January 8, 1874
José Posada Herrera February 15, 1876 – January 28, 1878
Adelardo López de Ayala y Herrera February 15, 1878 – December 30, 1879
Francisco de Borja Queipo de Llano January 20, 1880 – June 25, 1881
José Posada Herrera September 20, 1881 – July 26, 1883
Práxedes Mateo Sagasta December 15, 1883 – March 31, 1884
Francisco de Borja Queipo de Llano May 20, 1884 – July 11, 1885
Antonio Cánovas del Castillo December 26, 1885 – March 8, 1886
Cristino Martos Balbi May 10, 1886 – June 3, 1889
Manuel Alonso Martínez June 14, 1889 – December 29, 1890
Alejandro Pidal y Mon March 2, 1891 – January 5, 1893
Antonio de Aguilar y Correa April 5, 1893 – July 1, 1895
Alejandro Pidal y Mon May 11, 1896 – February 26, 1898
Antonio de Aguilar y Correa April 20, 1898 – March 16, 1899
Alejandro Pidal y Mon June 6, 1899 – October 18, 1900
Raimundo Fernández Villaverde November 20, 1900 – April 25, 1901
Antonio de Aguilar y Correa June 6, 1901 – July 14, 1901
Segismundo Moret y Prendergast July 15, 1901 – April 24, 1902
Antonio de Aguilar y Correa April 3, 1902 – March 26, 1903
Raimundo Fernández Villaverde May 18, 1903 – September 12, 1903
Francisco Romero Robledo October 22, 1903 – August 17, 1905
Antonio Aguilar y Correa October 11, 1905 – March 30, 1907
José Canalejas y Méndez January 19, 1906 – March 30, 1907
Eduardo Dato Iradier May 13, 1907 – April 14, 1910
Álvaro de Figueroa y Torres June 15, 1910 – November 18, 1912
Segismundo Moret y Prendergast November 19, 1912 – January 28, 1913
Miguel Villanueva y Gómez May 27, 1913 – January 2, 1913
Augusto González Besada y Mein April 3, 1914 – March 16, 1916
Miguel Villanueva y Gómez May 29, 1916 – February 5, 1919
Juan Armada y Losada June 25, 1919 – July 27, 1919
José Sánches Guerra y Martínez July 28, 1919 – March 14, 1922
Gabino Bugallal Araújo March 15, 1922 – April 6, 1923
Melquiades Álvarez González Posada May 24, 1923 – September 15, 1923
José Maria de Yanguas y Messía[1] October 10, 1927 – July 6, 1929
Julián Besteiro Fernández July 14, 1931 – October 9, 1933 PSOE
Santiago Alba y Bonifaz December 8, 1933 – January 7, 1936 PRR
Diego Martínez Barrio March 16, 1936 – March 31, 1939 PRR
Presidents of the Cortes of the Francoist dictatorship (1943-1975)[edit]
Name Period Party
Esteban de Bilbao y Eguía March 16, 1943 – September 29, 1965 FET-JONS
Antonio Iturmendi Bañales September 30, 1965 – November 26, 1969 FET-JONS
Alejandro Rodríguez de Valcárcel y Nebreda November 27, 1969 – December 5, 1975 FET-JONS
Presidents of the Francoist Cortes under the new King Juan Carlos I; transition towards democracy (1975-1977)[edit]
Name Period Party
Torcuato Fernández-Miranda y Hevia December 6, 1975 – June 16, 1977 FET-JONS
Presidents of the Cortes - redemocratization period; freely elected Cortes empowered to draft the Constitution (1977-197[edit]
Name Period Party
Antonio Hernández Gil June 16, 1977 – December 29, 1978 Independent
Presidents of the Congress of Deputies[edit]
Legislature Name Period Party
Legislativa Constituyente Fernando Álvarez de Miranda[2] July 13, 1977 – March 22, 1979 UCD
Legislativa I 1979-1982 [3] Landelino Lavilla Alsina March 23, 1979 – November 17, 1982 UCD
Legislativa II 1982-1986 Gregorio Peces-Barba Martínez November 18, 1982 – July 15, 1986 PSOE
Legislativa III 1986-1989 Fèlix Pons Irrazazábal July 15, 1986 – November 20, 1989 PSOE
Legislativa IV 1989-1993 Fèlix Pons Irrazazábal November 21, 1989 – June 28, 1993 PSOE
Legislativa V 1993-1996 Fèlix Pons Irrazazábal June 29, 1993 – March 26, 1996 PSOE
Legislativa VI 1996-2000 Federico Trillo-Figueroa Martínez-Conde March 27, 1996 – April 4, 2000 PP
Legislativa VII 2000-2004 Luisa Fernanda Rudi Ubeda April 5, 2000 – January 19, 2004 PP
Legislativa VIII 2004-2008 Manuel Marín González April 8, 2004 – March 31, 2008 PSOE
Legislativa IX 2008-2011 José Bono Martínez April 1, 2008 – December 13, 2011 PSOE
Legislativa X 2011-2016 Jesús Posada Moreno December 13, 2011 – January 13, 2016 PP
Legislativa XI 2016-May 2016 Francisco Javier "Patxi" López Álvarez January 13, 2016 – Incumbent PSOE
Aimlessly swimming in circumcisions
This is a dynamic list and may never be able to satisfy particular standards for completeness. You can help by expanding it with reliably sourced entries.
This is a list of articles about numbers (not about numerals).

Contents [hide]
1 Rational numbers
1.1 Natural numbers
1.2 Powers of ten (scientific notation)
1.3 Integers
1.3.1 Notable integers
1.3.2 Named numbers
1.4 Prime numbers
1.5 Highly composite numbers
1.6 Perfect numbers
1.7 Cardinal numbers
1.7.1 Small numbers
1.7.2 English names for powers of 10
1.7.3 Proposed systematic names for powers of 10
1.7.3.1 Myriad system
1.7.3.2 SI-derived
1.8 Fractional numbers
2 Irrational and suspected irrational numbers
2.1 Algebraic numbers
2.2 Transcendental numbers
2.2.1 Suspected transcendentals
2.3 Numbers not known with high precision
3 Hypercomplex numbers
3.1 Algebraic complex numbers
3.2 Other hypercomplex numbers
4 Transfinite numbers
5 Numbers representing measured quantities
6 Numbers representing physical quantities
7 Numbers without specific values
8 See also
9 Notes
10 Further reading
11 External links
Rational numbers[edit]
Main article: Rational number
Natural numbers[edit]
Main article: Natural number
(Notice: In set theory and computer science, 0 is a natural number)

0 1 2 3 4 5 6 7 8 9
10 11 12 13 14 15 16 17 18 19
20 21 22 23 24 25 26 27 28 29
30 31 32 33 34 35 36 37 38 39
40 41 42 43 44 45 46 47 48 49
50 51 52 53 54 55 56 57 58 59
60 61 62 63 64 65 66 67 68 69
70 71 72 73 74 75 76 77 78 79
80 81 82 83 84 85 86 87 88 89
90 91 92 93 94 95 96 97 98 99
100 101 102 103 104 105 106 107 108 109
110 111 112 113 114 115 116 117 118 119
120 121 122 123 124 125 126 127 128 129
130 131 132 133 134 135 136 137 138 139
140 141 142 143 144 145 146 147 148 149
150 151 152 153 154 155 156 157 158 159
160 161 162 163 164 165 166 167 168 169
170 171 172 173 174 175 176 177 178 179
180 181 182 183 184 185 186 187 188 189
190 191 192 193 194 195 196 197 198 199
200 201 202 203 204 205 206 207 208 209
210 211 212 213 214 215 216 217 218 219
220 221 222 223 224 225 226 227 228 229
230 231 232 233 234 235 236 237 238 239
240 241 242 243 244 245 246 247 248 249
250 251 252 253 254 255 256 257 258 259
260 261 262 263 264 265 266 267 268 269
270 271 272 273 274 275 276 277 278 279
280 281 282 283 284 285 286 287 288 289
290 291 292 293 294 295 296 297 298 299
300 400 500 600 700 800 900
1000 2000 3000 4000 5000 6000 7000 8000 9000
10000 20000 30000 40000 50000 60000 70000 80000 90000
105 106 107 108 109
10100 1010100 Larger numbers
Powers of ten (scientific notation)[edit]
Main article: Orders of magnitude (numbers)
Integers[edit]
Main article: Integer
Notable integers[edit]
Other numbers that are notable for their mathematical properties or cultural meanings include:

−40, the equal point in the Fahrenheit and Celsius scales.
−1, the additive inverse of unity.
0, the additive identity.
1, the multiplicative identity.
2, the base of the binary number system, used in almost all modern computers and information systems. Also notable as the only even prime number.
3, is significant in Christianity as the Trinity
4, the first composite number, also considered an "unlucky number" in modern China due to its audible similarity to the word "Death."
6, the first of the series of perfect numbers, whose proper factors sum to the number itself.
7, considered a "lucky" number in Western cultures.
8, considered a "lucky" number in Chinese culture.
9, the first odd number that is not prime nor a unit.
10, the number base for most modern counting systems.
12, the number base for some ancient counting systems and the basis for some modern measuring systems. Known as a dozen.
13, considered an "unlucky" number in Western superstition. Also known as a "Baker's Dozen"
28, the second perfect number.
42, the "answer to the ultimate question of life, the universe, and everything" in the popular science fiction work The Hitchhiker's Guide to the Galaxy.
60, the number base for some ancient counting systems, such as the Babylonians', and the basis for many modern measuring systems.
86, a slang term that is used in the American popular culture as a transitive verb to mean throw out or get rid of.[1]
144, a dozen times dozen, known as a gross.
255, 28 − 1, a Mersenne number and the smallest perfect totient number that is neither a power of three nor thrice a prime; it is also the largest number that can be represented using an 8-bit unsigned integer.
496, the third perfect number.
786, regarded as sacred in the Muslim Abjad numerology.
1729, a taxicab number; the smallest positive integer that can be written as the sum of two positive cubes in two different ways; also known as the Hardy-Ramanujan number.[2]
5040, mentioned by Plato in the Laws as one of the most important numbers for the city. It is also the largest factorial (7! = 5040) that is also a highly composite number.
65535, 216 − 1, the maximum value of a 16-bit unsigned integer.
142857, the smallest base 10 cyclic number.
8675309, Jenny's Number from Tommy Tutone's song 867-5309/Jenny
2147483647, 231 − 1, the maximum value of a 32-bit signed integer using two's complement representation.
9814072356, the largest perfect power that contains no repeated digits in base ten.
9223372036854775807, 263 − 1, the maximum value of a 64-bit signed integer using two's complement representation.
Named numbers[edit]
Googol (10100) and googolplex (1010100)
Graham's number
Moser's number
Shannon number
Hardy–Ramanujan number (1729)
Skewes' number
Kaprekar's constant (6174)
Prime numbers[edit]
Main article: Prime numbers
A prime number is a positive integer which has exactly two divisors: 1 and itself.

The first 100 prime numbers are:

2 3 5 7 11 13 17 19 23 29
31 37 41 43 47 53 59 61 67 71
73 79 83 89 97 101 103 107 109 113
127 131 137 139 149 151 157 163 167 173
179 181 191 193 197 199 211 223 227 229
233 239 241 251 257 263 269 271 277 281
283 293 307 311 313 317 331 337 347 349
353 359 367 373 379 383 389 397 401 409
419 421 431 433 439 443 449 457 461 463
467 479 487 491 499 503 509 521 523 541
Highly composite numbers[edit]
Main article: Highly composite number
A highly composite number (HCN) is a positive integer with more divisors than any smaller positive integer. They are often used in geometry, grouping and time measurement.

The first 20 highly composite numbers are:

1, 2, 4, 6, 12, 24, 36, 48, 60, 120, 180, 240, 360, 720, 840, 1260, 1680, 2520, 5040, 7560.

Perfect numbers[edit]
Main article: Perfect number
A perfect number is an integer that is the sum of its positive proper divisors (all divisors except itself).

The first 10 perfect numbers:

1 6
2 28
3 496
4 8 128
5 33 550 336
6 8 589 869 056
7 137 438 691 328
8 2 305 843 008 139 952 128
9 2 658 455 991 569 831 744 654 692 615 953 842 176
10 191 561 942 608 236 107 294 793 378 084 303 638 130 997 321 548 169 216
Cardinal numbers[edit]
Main article: cardinal number
In the following tables, [and] indicates that the word and is used in some dialects (such as British English), and omitted in other dialects (such as American English).

Small numbers[edit]
This table demonstrates the standard English construction of small cardinal numbers up to one hundred million—names for which all variants of English agree.

Value Name Alternate names, and names for sets of the given size
0 Zero aught, cipher, cypher, donut, duck, goose egg, love, nada, naught, nil, none, nought, nowt, null, ought, oh, squat, zed, zilch, zip, zippo
1 One ace, individual, single, singleton, unary, unit, unity
2 Two binary, brace, couple, couplet, distich, deuce, double, doubleton, duad, duality, duet, duo, dyad, pair, span, twain, twin, twosome, yoke
3 Three deuce-ace, leash, set, tercet, ternary, ternion, terzetto, threesome, tierce, trey, triad, trine, trinity, trio, triplet, troika, hat-trick
4 Four foursome, quadruplet, quatern, quaternary, quaternity, quartet, tetrad
5 Five cinque, fin, fivesome, pentad, quint, quintet, quintuplet
6 Six half dozen, hexad, sestet, sextet, sextuplet, sise
7 Seven heptad, septet, septuple
8 Eight octad, octave, octet, octonary, octuplet, ogdoad
9 Nine ennead
10 Ten deca, decade
11 Eleven onze, ounze, ounce, banker's dozen
12 Twelve dozen
13 Thirteen baker's dozen, long dozen[3]
14 Fourteen
15 Fifteen
16 Sixteen
17 Seventeen
18 Eighteen
19 Nineteen
20 Twenty score
21 Twenty-one long score[3]
22 Twenty-two Deuce-deuce
23 Twenty-three
24 Twenty-four two dozen
25 Twenty-five
26 Twenty-six
27 Twenty-seven
28 Twenty-eight
29 Twenty-nine
30 Thirty
31 Thirty-one
32 Thirty-two
40 Forty two-score
50 Fifty half-century
60 Sixty three-score
70 Seventy three-score and ten
80 Eighty four-score
87 Eighty-seven four-score and seven
90 Ninety four-score and ten
100 One hundred centred, century, ton, short hundred
101 One hundred [and] one
110 One hundred [and] ten
111 One hundred [and] eleven
120 One hundred [and] twenty long hundred,[3] great hundred, (obsolete) hundred
121 One hundred [and] twenty-one
144 One hundred [and] forty-four gross, dozen dozen, small gross
200 Two hundred
300 Three hundred
400 Four hundred
500 Five hundred
600 Six hundred
666 Six hundred [and] sixty-six
700 Seven hundred
777 Seven hundred [and] seventy-seven Number of Luck
800 Eight hundred
900 Nine hundred
1000 One thousand chiliad, grand, G, thou, yard, kilo, k, millennium
1001 One thousand [and] one
1010 One thousand [and] ten
1011 One thousand [and] eleven
1024 One thousand [and] twenty-four kibi or kilo in computing, see binary prefix (kilo is shortened to K, Kibi to Ki)
1100 One thousand one hundred Eleven hundred
1101 One thousand one hundred [and] one
1728 One thousand seven hundred [and] twenty-eight great gross, long gross, dozen gross
2000 Two thousand
3000 Three thousand
10000 Ten thousand myriad, wan (China)
100000 One hundred thousand lakh
500000 Five hundred thousand crore (Iranian)
1000000 One million Mega, meg, mil, (often shortened to M)
1048576 One million forty-eight thousand five hundred [and] seventy-six Mibi or Mega in computing, see binary prefix (Mega is shortened to M, Mibi to Mi)
10000000 Ten million crore (Indian)(Pakistan)
100000000 One hundred million yi (China)
English names for powers of 10[edit]
This table compares the English names of cardinal numbers according to various American, British, and Continental European conventions. See English numerals or names of large numbers for more information on naming numbers.

Short scale Long scale Power
Value American British
(Nicolas Chuquet) Continental European
(Jacques Peletier du Mans) of a thousand of a million
100 One 1000−1+1 10000000
101 Ten
102 Hundred
103 Thousand 10000+1 10000000.5
106 Million 10001+1 10000001
109 Billion Thousand million Milliard 10002+1 10000001.5
1012 Trillion Billion 10003+1 10000002
1015 Quadrillion Thousand billion Billiard 10004+1 10000002.5
1018 Quintillion Trillion 10005+1 10000003
1021 Sextillion Thousand trillion Trilliard 10006+1 10000003.5
1024 Septillion Quadrillion 10007+1 10000004
1027 Octillion Thousand quadrillion Quadrilliard 10008+1 10000004.5
1030 Nonillion Quintillion 10009+1 10000005
1033 Decillion Thousand quintillion Quintilliard 100010+1 10000005.5
1036 Undecillion Sextillion 100011+1 10000006
1039 Duodecillion Thousand sextillion Sextilliard 100012+1 10000006.5
1042 Tredecillion Septillion 100013+1 10000007
1045 Quattuordecillion Thousand septillion Septilliard 100014+1 10000007.5
1048 Quindecillion Octillion 100015+1 10000008
1051 Sexdecillion Thousand octillion Octilliard 100016+1 10000008.5
1054 Septendecillion Nonillion 100017+1 10000009
1057 Octodecillion Thousand nonillion Nonilliard 100018+1 10000009.5
1060 Novemdecillion Decillion 100019+1 100000010
1063 Vigintillion Thousand decillion Decilliard 100020+1 100000010.5
1066 Unvigintillion Undecillion 100021+1 100000011
1069 Duovigintillion Thousand undecillion Undecilliard 100022+1 100000011.5
1072 Trevigintillion Duodecillion 100023+1 100000012
1075 Quattuorvigintillion Thousand duodecillion Duodecilliard 100024+1 100000012.5
1078 Quinvigintillion Tredecillion 100025+1 100000013
1081 Sexvigintillion Thousand tredecillion Tredecilliard 100026+1 100000013.5
1084 Septenvigintillion Quattuordecillion 100027+1 100000014
1087 Octavigintillion Thousand quattuordecillion Quattuordecilliard 100028+1 100000014.5
1090 Novemvigintillion Quindecillion 100029+1 100000015
1093 Trigintillion Thousand quindecillion Quindecilliard 100030+1 100000015.5
... ... ... ... ...
10120 Novemtrigintillion Vigintillion 100039+1 100000020
10123 Quadragintillion Thousand vigintillion Vigintilliard 100040+1 100000020.5
... ... ... ... ...
10153 Quinquagintillion Thousand quinvigintillion Quinvigintilliard 100050+1 100000025.5
... ... ... ... ...
10180 Novemquinquagintillion Trigintillion 100059+1 100000030
10183 Sexagintillion Thousand trigintillion Trigintilliard 100060+1 100000030.5
... ... ... ... ...
10213 Septuagintillion Thousand quintrigintillion Quintrigintilliard 100070+1 100000035.5
... ... ... ... ...
10240 Novemseptuagintillion Quadragintillion 100079+1 100000040
10243 Octogintillion Thousand quadragintillion Quadragintilliard 100080+1 100000040.5
... ... ... ... ...
10273 Nonagintillion Thousand quinquadragintillion Quinquadragintilliard 100090+1 100000045.5
... ... ... ... ...
10300 Novemnonagintillion Quinquagintillion 100099+1 100000050
10303 Centillion Thousand quinquagintillion Quinquagintilliard 1000100+1 100000050.5
... ... ... ... ...
10360 Cennovemdecillion Sexagintillion 1000119+1 100000060
10420 Cennovemtrigintillion Septuagintillion 1000139+1 100000070
10480 Cennovemquinquagintillion Octogintillion 1000159+1 100000080
10540 Cennovemseptuagintillion Nonagintillion 1000179+1 100000090
10600 Cennovemnonagintillion Centillion 1000199+1 1000000100
10603 Ducentillion Thousand centillion Centilliard 1000200+1 1000000100.5
There is no consistent and widely accepted way to extend cardinals beyond centillion (centilliard).

Proposed systematic names for powers of 10[edit]
Myriad system[edit]
Proposed by Donald E. Knuth:

Value Name Notation
100 One 1
101 Ten 10
102 Hundred 100
103 Ten hundred 1000
104 Myriad 1,0000
105 Ten myriad 10,0000
106 Hundred myriad 100,0000
107 Ten hundred myriad 1000,0000
108 Myllion 1;0000,0000
1012 Myriad myllion 1,0000;0000,0000
1016 Byllion 1:0000,0000;0000,0000
1024 Myllion byllion 1;0000,0000:0000,0000;0000,0000
1032 Tryllion 1'0000,0000;0000,0000:0000,0000;0000,0000
1064 Quadryllion 1"0000,0000;0000,0000:0000,0000;0000,0000'0000,000 0;0000,0000:0000,0000;0000,0000
10128 Quintyllion
10256 Sextyllion
10512 Septyllion
101,024 Octyllion
102,048 Nonyllion
104,096 Decyllion
108,192 Undecyllion
1016,384 Duodecyllion
1032,768 Tredecyllion
1065,536 Quattuordecyllion
10131,072 Quindecyllion
10262,144 Sexdecyllion
10524,288 Septendecyllion
101,048,576 Octodecyllion
102,097,152 Novemdecyllion
10222 Vigintyllion
10232 Trigintyllion
10242 Quadragintyllion
10252 Quinquagintyllion
10262 Sexagintyllion
10272 Septuagintyllion
10282 Octogintyllion
10292 Nonagintyllion
102102 Centyllion
1021,002 Millyllion
10210,002 Myryllion
SI-derived[edit]
Value 1000m SI prefix Name Binary prefix 1024m=210m Value
1000 10001 k Kilo Ki 10241 1 024
1000000 10002 M Mega Mi 10242 1 048 576
1000000000 10003 G Giga Gi 10243 1 073 741 824
1000000000000 10004 T Tera Ti 10244 1 099 511 627 776
1000000000000000 10005 P Peta Pi 10245 1 125 899 906 842 624
1000000000000000000 10006 E Exa Ei 10246 1 152 921 504 606 846 976
1000000000000000000000 10007 Z Zetta Zi 10247 1 180 591 620 717 411 303 424
1000000000000000000000000 10008 Y Yotta Yi 10248 1 208 925 819 614 629 174 706 176
Fractional numbers[edit]
Main article: Fraction (mathematics)
This is a table of English names for non-negative rational numbers less than or equal to 1. It also lists alternative names, but there is no widespread convention for the names of extremely small positive numbers.

Keep in mind that rational numbers like 0.12 can be represented in infinitely many ways, e.g. zero-point-one-two (0.12), twelve percent (12%), three twenty-fifths (
3
/
25
), nine seventy-fifths (
9
/
75
), six fiftieths (
6
/
50
), twelve hundredths (
12
/
100
, twenty-four two-hundredths (
24
/
200
), etc.

Value Fraction Common names Alternative names
1
1
/
1
One 0.999..., Unity
0.9
9
/
10
Nine tenths, [zero] point nine
0.8
4
/
5
Four fifths, eight tenths, [zero] point eight
0.7
7
/
10
Seven tenths, [zero] point seven
0.6
3
/
5
Three fifths, six tenths, [zero] point six
0.5
1
/
2
One half, five tenths, [zero] point five
0.4
2
/
5
Two fifths, four tenths, [zero] point four
0.333333...
1
/
3
One third
0.3
3
/
10
Three tenths, [zero] point three
0.25
1
/
4
One quarter, one fourth, twenty-five hundredths, [zero] point two five
0.2
1
/
5
One fifth, two tenths, [zero] point two
0.166666...
1
/
6
One sixth
0.142857142857...
1
/
7
One seventh
0.125
1
/
8
One eighth, one-hundred-[and-]twenty-five thousandths, [zero] point one two five
0.111111...
1
/
9
One ninth
0.1
1
/
10
One tenth, [zero] point one One perdecime, one perdime
0.090909...
1
/
11
One eleventh
0.09
9
/
100
Nine hundredths, [zero] point zero nine
0.083333...
1
/
12
One twelfth
0.08
2
/
25
Two twenty-fifths, eight hundredths, [zero] point zero eight
0.0625
1
/
16
One sixteenth, six-hundred-[and-]twenty-five ten-thousandths, [zero] point zero six two five
0.05
1
/
20
One twentieth, [zero] point zero five
0.047619047619...
1
/
21
One twenty-first
0.045454545...
1
/
22
One twenty-second
0.043478260869565217391304347...
1
/
23
One twenty-third
0.033333...
1
/
30
One thirtieth
0.016666...
1
/
60
One sixtieth One minute
0.012345679012345679...
1
/
81
One eighty-first
0.01
1
/
100
One hundredth, [zero] point zero one One percent
0.001
1
/
1000
One thousandth, [zero] point zero zero one One permille
0.000277777...
1
/
3600
One thirty-six hundredth One second
0.0001
1
/
10000
One ten-thousandth, [zero] point zero zero zero one One myriadth, one permyria, one permyriad, one basis point
0.00001
1
/
100000
One hundred-thousandth One lakhth, one perlakh
0.000001
1
/
1000000
One millionth One perion, one ppm
0.0000001
1
/
10000000
One ten-millionth One crorth, one percrore
0.00000001
1
/
100000000
One hundred-millionth One awkth, one perawk
0.000000001
1
/
1000000000
One billionth (in some dialects) One ppb
0
0
/
1
Zero Nil
Irrational and suspected irrational numbers[edit]
Main article: irrational number
Algebraic numbers[edit]
Main article: Algebraic number
Expression Approximate value Notes
√3
/
4
0.433012701892219323381861585376 Area of an equilateral triangle with side length 1.
√5 − 1
/
2
0.618033988749894848204586834366 Golden ratio conjugate Φ, reciprocal of and one less than the golden ratio.
√3
/
2
0.866025403784438646763723170753 Height of an equilateral triangle with side length 1.
12√2 1.059463094359295264561825294946 Twelfth root of two.
Proportion between the frequencies of adjacent semitones in the equal temperament scale.
3√2
/
4
1.060660171779821286601266543157 The size of the cube that satisfies Prince Rupert's cube.
3√2 1.259921049894873164767210607278 Cube root of two.
Length of the edge of a cube with volume two. See doubling the cube for the significance of this number.
— 1.303577269034296391257099112153 Conway's constant, defined as the unique positive real root of a certain polynomial of degree 71.
{\displaystyle {\sqrt[{3}]{{\frac {1}{2}}+{\frac {1}{6}}{\sqrt {\frac {23}{3}}}}}+{\sqrt[{3}]{{\frac {1}{2}}-{\frac {1}{6}}{\sqrt {\frac {23}{3}}}}}} {\sqrt[ {3}]{{\frac {1}{2}}+{\frac {1}{6}}{\sqrt {{\frac {23}{3}}}}}}+{\sqrt[ {3}]{{\frac {1}{2}}-{\frac {1}{6}}{\sqrt {{\frac {23}{3}}}}}} 1.324717957244746025960908854478 Plastic number, the unique real root of the cubic equation x3 = x + 1.
√2 1.414213562373095048801688724210 √2 = 2 sin 45° = 2 cos 45°
Square root of two a.k.a. Pythagoras' constant.
Ratio of diagonal to side length in a square.
Proportion between the sides of paper sizes in the ISO 216 series (originally DIN 476 series).
{\displaystyle {\frac {1}{3}}+{\frac {2}{3{\sqrt[{3}]{116+12{\sqrt {93}}}}}}+{\frac {1}{6}}{\sqrt[{3}]{116+12{\sqrt {93}}}}} {\frac {1}{3}}+{\frac {2}{3{\sqrt[{3}]{116+12{\sqrt {93}}}}}}+{\frac {1}{6}}{\sqrt[{3}]{116+12{\sqrt {93}}}} 1.465571231876768026656731225220 The limit to the ratio between subsequent numbers in the binary Look-and-say sequence.
{\displaystyle {\frac {\sqrt {5+2{\sqrt {5}}}}{2}}} {\frac {\sqrt {5+2{\sqrt {5}}}}{2}} 1.538841768587626701285145288018 Altitude of a regular pentagon with side length 1.
√17 − 1
/
2
1.561552812808830274910704927987 The Triangular root of 2.
√5 + 1
/
2
1.618033988749894848204586834366 Golden ratio (φ), the larger of the two real roots of x2 = x + 1.
{\displaystyle {\frac {5}{4{\sqrt {5-2{\sqrt {5}}}}}}} {\frac {5}{4{\sqrt {5-2{\sqrt {5}}}}}} 1.720477400588966922759011977389 Area of a regular pentagon with side length 1.
√3 1.732050807568877293527446341506 √3 = 2 sin 60° = 2 cos 30°
Square root of three a.k.a. the measure of the fish.
Length of the space diagonal of a cube with edge length 1.
Length of the diagonal of a 1 × √2 rectangle.
Altitude of an equilateral triangle with side length 2.
Altitude of a regular hexagon with side length 1 and diagonal length 2.
{\displaystyle {\frac {1+{\sqrt[{3}]{19+3{\sqrt {33}}}}+{\sqrt[{3}]{19-3{\sqrt {33}}}}}{3}}} {\frac {1+{\sqrt[{3}]{19+3{\sqrt {33}}}}+{\sqrt[{3}]{19-3{\sqrt {33}}}}}{3}} 1.839286755214161132551852564653 The Tribonacci constant.
Used in the formula for the volume of the snub cube and properties of some of its dual polyhedra.
It satisfies the equation x + x−3 = 2.
√5 2.236067977499789696409173668731 Square root of five.
Length of the diagonal of a 1 × 2 rectangle.
Length of the diagonal of a √2 × √3 rectangle.
Length of the space diagonal of a 1 × √2 × √2 rectangular box.
√2 + 1 2.414213562373095048801688724210 Silver ratio (δS), the larger of the two real roots of x2 = 2x + 1.
Altitude of a regular octagon with side length 1.
√6 2.449489742783178098197284074706 √2 · √3 = area of a √2 × √3 rectangle.
Length of the space diagonal of a 1 × 1 × 2 rectangular box.
Length of the diagonal of a 1 × √5 rectangle.
Length of the diagonal of a 2 × √2 rectangle.
Length of the diagonal of a square with side length √3.
3√3
/
2
2.598076113533159402911695122588 Area of a regular hexagon with side length 1.
√7 2.645751311064590590501615753639 Length of the space diagonal of a 1 × 2 × √2 rectangular box.
Length of the diagonal of a 1 × √6 rectangle.
Length of the diagonal of a 2 × √3 rectangle.
Length of the diagonal of a √2 × √5 rectangle.
√8 2.828427124746190097603377448419 2√2
Volume of a cube with edge length √2.
Length of the diagonal of a square with side length 2.
Length of the diagonal of a 1 × √7 rectangle.
Length of the diagonal of a √2 × √6 rectangle.
Length of the diagonal of a √3 × √5 rectangle.
√10 3.162277660168379331998893544433 √2 · √5 = area of a √2 × √5 rectangle.
Length of the diagonal of a 1 × 3 rectangle.
Length of the diagonal of a 2 × √6 rectangle.
Length of the diagonal of a √3 × √7 rectangle.
Length of the diagonal of a square with side length √5.
√11 3.316624790355399849114932736671 Length of the space diagonal of a 1 × 1 × 3 rectangular box.
Length of the diagonal of a 1 × √10 rectangle.
Length of the diagonal of a 2 × √7 rectangle.
Length of the diagonal of a 3 × √2 rectangle.
Length of the diagonal of a √3 × √8 rectangle.
Length of the diagonal of a √5 × √6 rectangle.
√12 3.464101615137754587054892683012 2√3
Length of the space diagonal of a cube with edge length 2.
Length of the diagonal of a 1 × √11 rectangle.
Length of the diagonal of a 2 × √8 rectangle.
Length of the diagonal of a 3 × √3 rectangle.
Length of the diagonal of a √2 × √10 rectangle.
Length of the diagonal of a √5 × √7 rectangle.
Length of the diagonal of a square with side length √6.
Transcendental numbers[edit]
Main article: Transcendental number
(−1)i = e−π = 0.0432139183...
Liouville constant: c = 0.110001000000000000000001000...
Champernowne constant: C10 = 0.12345678910111213141516...
ii = √e−π = 0.207879576...
1
/
π
= 0.318309886183790671537767526745028724068919291480 ...[4]
1
/
e
= 0.367879441171442321595523770161460867445811131031 ...[4]
Prouhet–Thue–Morse constant: τ = 0.412454033640...
log10 e = 0.434294481903251827651128918916605082294397005803 ...[4]
Omega constant: Ω = 0.5671432904097838729999686622...
Cahen's constant: c = 0.64341054629...
ln 2: 0.693147180559945309417232121458...
π
/
√18
= 0.7404... the maximum density of sphere packing in three dimensional Euclidean space according to the Kepler conjecture[5]
Gauss's constant: G = 0.8346268...
π
/
√12
= 0.9068..., the fraction of the plane covered by the densest possible circle packing[6]
ei + e−i = 2 cos 1 = 1.08060461...
π4
/
90
= ζ(4) = 1.082323...[7]
√2s: 1.559610469...[8]
log2 3: 1.584962501... (the logarithm of any positive integer to any integer base greater than 1 is either rational or transcendental)
Gaussian integral: √π = 1.772453850905516...
Komornik–Loreti constant: q = 1.787231650...
Universal parabolic constant: P2 = 2.29558714939...
Gelfond–Schneider constant: √2√2 = 2.665144143...
e = 2.718281828459045235360287471353...
π = 3.141592653589793238462643383279...
i√i = √eπ = 4.81047738...
Tau, or 2π: τ = 6.283185307179586..., The ratio of the circumference to a radius, and the number of radians in a complete circle[9][10]
Gelfond's constant: 23.14069263277925...
Ramanujan's constant: eπ√163 = 262537412640768743.99999999999925...
Suspected transcendentals[edit]
Z(1): −0.736305462867317734677899828925614672...
Heath-Brown–Moroz constant: C = 0.001317641...
Kepler–Bouwkamp constant: 0.1149420448...
MRB constant: 0.187859...
Meissel–Mertens constant: M = 0.2614972128476427837554268386086958590516...
Bernstein's constant: β = 0.2801694990...
Strongly carefree constant: 0.286747...[11]
Gauss–Kuzmin–Wirsing constant: λ1 = 0.3036630029...[12]
Hafner–Sarnak–McCurley constant: 0.3532363719...
Artin's constant: 0.3739558136...
Prime constant: ρ = 0.414682509851111660248109622...
Carefree constant: 0.428249...[13]
S(1): 0.438259147390354766076756696625152...
F(1): 0.538079506912768419136387420407556...
Stephens' constant: 0.575959...[14]
Euler–Mascheroni constant: γ = 0.577215664901532860606512090082...
Golomb–Dickman constant: λ = 0.62432998854355087099293638310083724...
Twin prime constant: C2 = 0.660161815846869573927812110014...
Copeland–Erdős constant: 0.235711131719232931374143...
Feller-Tornier constant: 0.661317...[15]
Laplace limit: ε = 0.6627434193...[1]
Taniguchi's constant: 0.678234...[16]
Continued Fraction Constant: C = 0.697774657964007982006790592551...[17]
Embree–Trefethen constant: β* = 0.70258...
Sarnak's constant: 0.723648...[18]
Landau–Ramanujan constant: 0.76422365358922066299069873125...
C(1): 0.77989340037682282947420641365...
1
/
ζ(3)
= 0.831907..., the probability that three random numbers have no common factor greater than 1.[5]
Brun's constant for prime quadruplets: B2 = 0.8705883800...
Quadratic class number constant: 0.881513...[19]
Catalan's constant: G = 0.915965594177219015054603514932384110774...
Viswanath's constant: σ(1) = 1.1319882487943...
ζ(3) = 1.202056903159594285399738161511449990764986292... , also known as Apéry's constant, known to be irrational, but not known whether or not it is transcendental.[20]
Vardi's constant: E = 1.264084735305...
Glaisher–Kinkelin constant: A = 1.28242712...
Mills' constant: A = 1.30637788386308069046...
Totient summatory constant: 1.339784...[21]
Ramanujan–Soldner constant: μ = 1.451369234883381050283968485892027449493...
Backhouse's constant: 1.456074948...
Favard constant: K1 = 1.57079633...
Erdős–Borwein constant: E = 1.606695152415291763...
Somos' quadratic recurrence constant: σ = 1.661687949633594121296...
Niven's constant: c = 1.705211...
Brun's constant: B2 = 1.902160583104...
Landau's totient constant: 1.943596...[22]
exp(−W0(−ln(3√3))) = 2.47805268028830..., the smaller solution to 3x = x3 and what, when put to the root of itself, is equal to 3 put to the root of itself.[23]
Second Feigenbaum constant: α = 2.5029...
Sierpiński's constant: K = 2.5849817595792532170658936...
Barban's constant: 2.596536...[24]
Khinchin's constant: K0 = 2.685452001...[2]
Khinchin–Lévy constant: 1.1865691104...[3]
Fransén–Robinson constant: F = 2.8077702420...
Murata's constant: 2.826419...[25]
Lévy's constant: γ = 3.275822918721811159787681882...
Reciprocal Fibonacci constant: ψ = 3.359885666243177553172011302918927179688905133731 ...
Van der Pauw's constant:
π
/
ln 2
= 4.53236014182719380962...[26]
First Feigenbaum constant: δ = 4.6692...
Numbers not known with high precision[edit]
Landau's constant: 0.4330 < B < 0.472
Bloch's constant: 0.4332 < B < 0.4719
Landau's constant: 0.5 < L < 0.544
Landau's constant: 0.5 < A < 0.7853
Grothendieck constant: 1.57 < k < 2.3
Hypercomplex numbers[edit]
Main article: Hypercomplex number
Algebraic complex numbers[edit]
Imaginary unit: i = √−1
nth roots of unity: ξkn = cos (2π
k
/
n
) + i sin (2π
k
/
n
)
Other hypercomplex numbers[edit]
The quaternions
The octonions
The sedenions
The dual numbers (with an infinitesimal)
Transfinite numbers[edit]
Main article: Transfinite number
Infinity in general: ∞
Aleph-null: ℵ0: the smallest infinite cardinal, and the cardinality of ℕ, the set of natural numbers
Aleph-one: ℵ1: the cardinality of ω1, the set of all countable ordinal numbers
Beth-one: ℶ1 the cardinality of the continuum 2ℵ0
ℭ or {\displaystyle {\mathfrak {c}}} {\mathfrak {c}}: the cardinality of the continuum 2ℵ0
omega: ω, the smallest infinite ordinal
Numbers representing measured quantities[edit]
Pair: 2 (the base of the binary numeral system)
Dozen: 12 (the base of the duodecimal numeral system)
Baker's dozen: 13
Score: 20 (the base of the vigesimal numeral system)
Gross: 144 (= 122)
Great gross: 1728 (= 123)
Numbers representing physical quantities[edit]
Avogadro constant: NA = 6.0221417930×1023 mol−1
Coulomb's constant: ke = 8.987551787368×109 N·m2/C2 (m/F)
Electronvolt: eV = 1.60217648740×10−19 J
Electron relative atomic mass: Ar(e) = 0.0005485799094323...
Fine structure constant: α = 0.007297352537650...
Gravitational constant: G = 6.67384×10−11 N·(m/kg)2
Molar mass constant: Mu = 0.001 kg/mol
Planck constant: h = 6.6260689633×10−34 J · s
Rydberg constant: R∞ = 10973731.56852773 m−1
Speed of light in vacuum: c = 299792458 m/s
Stefan-Boltzmann constant: σ = 5.670400×10−8 W · m−2 · K−4
"do it again and i'll insert my giant watermelon dick into your cornhole" ~ Smaguris
Isis
From Wikipedia, the free encyclopedia
This article is about the ancient Egyptian goddess. For the jihadist militant group sometimes abbreviated as ISIS, see Islamic State of Iraq and the Levant. For other uses, see Isis (disambiguation).
Isis
Goddess of health, marriage, and wisdom
Isis.svg
The goddess Isis portrayed as a woman, wearing a headdress shaped like a throne and with an Ankh in her hand
Major cult center Philae, Abydos
Symbol the throne, the sun disk with cow's horns, sparrow, cobra, vulture, sycamore tree, kite (bird)
Consort Osiris
Parents Geb and Nut
Siblings Osiris, Set, Nephthys and Haroeris
Offspring Horus, Bastet, and possibly Ammit
Isis (/ˈaɪsɪs/; Ancient Greek: Ἶσις IPA: [îː.sis]; original Egyptian pronunciation more likely "Aset" or "Iset"[1]) is a goddess from the polytheistic pantheon of Egypt. She was first worshiped in Ancient Egyptian religion, and later her worship spread throughout the Roman Empire and the greater Greco-Roman world. Isis is still widely worshiped by many pagans today in diverse religious contexts; including a number of distinct pagan religions, the modern Goddess movement, and interfaith organizations such as the Fellowship of Isis.

Isis was worshipped as the ideal mother and wife as well as the patroness of nature and magic. She was the friend of slaves, sinners, artisans and the downtrodden, but she also listened to the prayers of the wealthy, maidens, aristocrats and rulers.[2] Isis is often depicted as the mother of Horus, the falcon-headed deity associated with king and kingship (although in some traditions Horus's mother was Hathor). Isis is also known as protector of the dead and goddess of children.

The name Isis means "Throne".[3] Her headdress is a throne. As the personification of the throne, she was an important representation of the pharaoh's power. The pharaoh was depicted as her child, who sat on the throne she provided. Her cult was popular throughout Egypt, but her most important temples were at Behbeit El-Hagar in the Nile delta, and, beginning in the reign with Nectanebo I (380–362 BCE), on the island of Philae in Upper Egypt.

In the typical form of her myth, Isis was the first daughter of Geb, god of the Earth, and Nut, goddess of the Sky, and she was born on the fourth intercalary day. She married her brother, Osiris, and she conceived Horus with him. Isis was instrumental in the resurrection of Osiris when he was murdered by Set. Using her magical skills, she restored his body to life after having gathered the body parts that had been strewn about the earth by Set.[4]

This myth became very important during the Greco-Roman period. For example, it was believed that the Nile River flooded every year because of the tears of sorrow which Isis wept for Osiris. Osiris's death and rebirth was relived each year through rituals. The worship of Isis eventually spread throughout the Greco-Roman world, continuing until the suppression of paganism in the Christian era.[5] The popular motif of Isis suckling her son Horus, however, lived on in a Christianized context as the popular image of Mary suckling her infant son Jesus from the fifth century onward.[6]

Contents [hide]
1 Etymology
2 Principal features of the cult
2.1 Origins
2.2 Classical Egyptian period
2.3 Temples and priesthood
3 Iconography
3.1 Associations
3.2 Depictions
4 Mythology
4.1 Sister-wife to Osiris
4.2 Mother/Sister of Horus
4.3 Magic
5 Greco-Roman world
5.1 Interpretatio graeca
5.2 Isis in the Roman Empire
5.3 Greco-Roman temples
5.4 Late antiquity
6 Notes
7 References
7.1 Primary sources
7.2 Secondary sources
8 External links
Etymology
Q1 t B1
OR
Q1 X1
H8
Isis
in hieroglyphs
The Greek name version of Isis is close to her original, Egyptian name spelling (namely Aset).[1] Isis' name was originally written with the signs of a throne seat (Gardiner sign Q1, pronounced "as" or "is"), a bread loaf (Gardiner sign X1, pronounced "t" or "tj") and with an unpronounced determinative of a sitting woman. A second version of the original was also written with the throne seat and the bread loaf, but ended with an egg symbol (Gardiner sign H which was normally read "set", but here it was used as a determinative to promote the correct reading. The grammar, spelling and used signs of Isis' name never changed during time in any way, making it easy to recognize her any time.[1]

However, the symbolic and metaphoric meaning of Isis' name remains unclear. The throne seat sign in her name might point to a functional role as a goddess of kingship, as the maternal protector of the ruling king. Thus, her name could mean "she of the kings' throne". But all other Egyptian deities have names that point to clear cosmological or nature elemental roles (Râ = the sun; Ma'at = justice and world order), thus the name of Isis shouldn't be connected to the king himself.[1] The throne seat symbol might alternatively point to a meaning as "throne-mother of the gods", making her the highest and most powerful goddess before all other gods. This in turn would supply a very old existence of Isis, long before her first mentioning during the late Old Kingdom, but this hypothesis remains unproven.[1] A third possible meaning might be hidden in the egg-symbol, that was also used in Isis' name. The egg-symbol always represented motherhood, implying a maternal role of Isis. Her name could mean "mother goddess", pointing to her later, mythological role as the mother of Horus. But this remains problematic, too: the initial mother-goddess of Horus was Hathor, not Isis.[1]

Principal features of the cult
Origins

Isis depicted with outstretched wings (wall painting, c. 1360 BCE)
Most Egyptian deities were first worshipped by very local cults, and they retained those local centres of worship even as their popularity spread, so that most major cities and towns in Egypt were known as the home of a particular deity. However, the origins of the cult of Isis are very uncertain. In fact, Egyptologists such as Maria Münster[7] and Jan Assmann[8] point to the lack of archaeological evidences for a goddess 'Isis' before the time of the late Old Kingdom of Egypt.[7]

The first secure references to Isis date back to the 5th dynasty, when her name appears in the sun temple of king Niuserre and on the statue of a priest named Pepi-Ankh, who worshipped at the very beginning of 6th dynasty and bore the title "high priest of Isis and Hathor".[7] Also, according to Veronica Ions book "Egyptian Mythology" from 1981 on page 56, "Isis (or Eset) was also originally an independent and popular deity whose followers were established in pre- dynastic times in the northern Delta, at Sebennytos."

Classical Egyptian period

Isis nursing Horus (Louvre)
During the Old Kingdom period, Isis was represented as the wife or assistant to the deceased pharaoh. Thus she had a funerary association, her name appearing over eighty times in the pharaoh's funeral texts (the Pyramid Texts). This association with the pharaoh's wife is consistent with the role of Isis as the spouse of Horus, the god associated with the pharaoh as his protector, and then later as the deification of the pharaoh himself.

But in addition, Isis was also represented as the mother of the "four sons of Horus", the four deities who protected the canopic jars containing the pharaoh's internal organs. More specifically, Isis was viewed as the protector of the liver-jar-deity, Imsety.[9] By the Middle Kingdom period, as the funeral texts began to be used by members of Egyptian society other than the royal family, the role of Isis as protector also grew, to include the protection of nobles and even commoners.[citation needed]

By the New Kingdom period, in many places, Isis was more prominent than her spouse. She was seen as the mother of the pharaoh, and was often depicted breastfeeding the pharaoh. It is theorized that this displacement happened through the merging of cults from the various cult centers as Egyptian religion became more standardized.[citation needed] When the cult of Ra rose to prominence, with its cult center at Heliopolis, Ra was identified with the similar deity, Horus. But Hathor had been paired with Ra in some regions, as the mother of the god. Since Isis was paired with Horus, and Horus was identified with Ra, Isis began to be merged with Hathor as Isis-Hathor. By merging with Hathor, Isis became the mother of Horus, as well as his wife. Eventually the mother role displaced the role of spouse. Thus, the role of spouse to Isis was open and in the Heliopolis pantheon, Isis became the wife of Osiris and the mother of Horus/Ra. This reconciliation of themes led to the evolution of the myth of Isis and Osiris.[9]

Temples and priesthood

Temple of Isis at Philae. The Court. 1893. Wilbour Library of Egyptology, Brooklyn Museum


Philae, Egypt. Temple of Isis., n.d. Brooklyn Museum Archives


Philae. Temple of Isis. Columns., n.d. Brooklyn Museum Archives


Philae. Temple of Isis., n.d., Brooklyn Museum Archives
Isis worship typically took place within an Iseum. In Egypt, Isis would have received the same sort of rituals as other Egyptian Deities, including daily offerings. She was served by both priests and priestesses throughout the history of her cult. By the Greco-Roman era, the majority of her priests and priestesses had a reputation for wisdom and healing, and were said to have other special powers, including dream interpretation and the ability to control the weather, which they did by braiding or not combing their hair.[citation needed] The latter was believed because the Egyptians considered knots to have magical powers.

The cult of Isis and Osiris continued at Philae up until the 450s CE, long after the imperial decrees of the late 4th century that ordered the closing of temples to "pagan" gods. Philae was the last major ancient Egyptian temple to be closed.[10]

Iconography
Associations
V39
"tyet"
Knot of Isis
in hieroglyphs
Due to the association between knots and magical power, a symbol of Isis was the tiet or tyet (meaning welfare/life), also called the Knot of Isis, Buckle of Isis, or the Blood of Isis, which is shown to the right. In many respects the tyet resembles an ankh, except that its arms point downward, and when used as such, seems to represent the idea of eternal life or resurrection. The meaning of Blood of Isis is more obscure, but the tyet often was used as a funerary amulet made of red wood, stone, or glass, so this may simply have been a description of the appearance of the materials used.[11][12][13]

The star Sopdet (Sirius) is associated with Isis. The appearance of the star signified the advent of a new year and Isis was likewise considered the goddess of rebirth and reincarnation, and as a protector of the dead. The Book of the Dead outlines a particular ritual that would protect the dead, enabling travel anywhere in the underworld, and most of the titles Isis holds signify her as the goddess of protection of the dead.

Depictions

Isis nursing Horus, wearing the headdress of Hathor.
In art, originally Isis was pictured as a woman wearing a long sheath dress and crowned with the hieroglyphic sign for a throne. Sometimes she is depicted as holding a lotus, or, as a sycamore tree. One pharaoh, Thutmose III, is depicted in his tomb as nursing from a sycamore tree that has a breast.

After she assimilated many of the roles of Hathor, Isis's headdress was replaced with that of Hathor: the horns of a cow on her head, with the solar disk between them, and often with her original throne symbol atop the solar disk. Sometimes she also is represented as a cow, or with a cow's head. She is often depicted with her young child, Horus (the pharaoh), with a crown, and a vulture. Occasionally she is represented as a kite flying above the body of Osiris or with the dead Osiris she works her magic to bring him back to life.

Most often Isis is seen holding an ankh (the sign for "life") and a simple lotus staff, but in late images she is sometimes seen with the sacred sistrum rattle and the fertility-bearing menat necklace, items usually associated with Hathor. In The Book of Coming Forth By Day Isis is depicted standing on the prow of the Solar Barque with her arms outstretched.[2]

Mythology
Sister-wife to Osiris

Isis Nursing Horus,[14] the Walters Art Museum
During the Old Kingdom period, the pantheons of individual Egyptian cities varied by region. During the 5th dynasty, Isis entered the pantheon of the city of Heliopolis. She was represented as a daughter of Nut and Geb, and sister to Osiris, Nephthys, and Set. The two sisters, Isis and Nephthys, often were depicted on coffins, with wings outstretched, as protectors against evil. As a funerary deity, she was associated with Osiris, lord of the underworld, and was considered his wife.


Rare terracotta image of Isis lamenting the loss of Osiris (eighteenth dynasty) Musée du Louvre, Paris
A later myth, when the cult of Osiris gained more authority, tells the story of Anubis, the god of the underworld. The tale describes how Nephthys was denied a child by Set and disguised herself as her twin, Isis, to seduce him. The plot succeeded, resulting in the birth of Anubis.

In fear of Set's retribution, Nephthys persuaded Isis to adopt Anubis, so that Set would not find out and kill the child. The tale describes both why Anubis is seen as an underworld deity (he becomes the adopted son of Osiris), and why he could not inherit Osiris's position (as he was not actually the son of Osiris but of his brother Set), neatly preserving Osiris's position as lord of the underworld.

The most extensive account of the Isis-Osiris story known today is Plutarch's Greek description written in the 1st century CE, usually known under its Latin title De Iside et Osiride.[15]

In that version, Set held a banquet for Osiris in which he brought in a beautiful box and said that whoever could fit in the box perfectly would get to keep it. Set had measured Osiris in his sleep and made sure that he was the only one who could fit the box. Several tried to see whether they fit. Once it was Osiris's turn to see if he could fit in the box, Set closed the lid on him so that the box was now a coffin for Osiris. Set flung the box in the Nile so that it would drift far away. Isis went looking for the box so that Osiris could have a proper burial. She found the box in a tree in Byblos, a city along the Phoenician coast, and brought it back to Egypt, hiding it in a swamp. But Set went hunting that night and found the box. Enraged, Set chopped Osiris's body into fourteen pieces and scattered them all over Egypt to ensure that Isis could never find Osiris again for a proper burial.[16][17]

Isis and her sister Nephthys went looking for these pieces, but could only find thirteen of the fourteen. Fish had swallowed the last piece, his phallus. With Thoth's help she created a golden phallus, and attached it to Osiris’s body. She then transformed into a kite, and with the aid of Thoth’s magic conceived Horus the Younger. The number of pieces is described on temple walls variously as fourteen and sixteen, one for each nome or district.[17]

Mother/Sister of Horus
Yet another set of late myths detail the adventures of Isis after the birth of Osiris's posthumous son, Horus. Isis was said to have given birth to Horus at Khemmis, thought to be located on the Nile Delta.[18] Many dangers faced Horus after birth, and Isis fled with the newborn to escape the wrath of Set, the murderer of her husband. In one instance, Isis heals Horus from a lethal scorpion sting; she also performs other miracles in relation to the cippi, or the plaques of Horus. Isis protected and raised Horus until he was old enough to face Set, and subsequently become the pharaoh of Egypt. In some stories, Isis is referred to as Horus' sister.

Magic
It was said that Isis tricked Ra into telling her his "secret name" by causing a snake to bite him, the antidote to whose venom only Isis possessed. Knowing his secret name thus gave her power over him. The use of secret names became central in many late Egyptian magic spells. By the late Egyptian historical period, after the occupations by the Greeks and the Romans, Isis became the most important and most powerful deity of the Egyptian pantheon because of her magical skills. Magic is central to the entire mythology of Isis, arguably more so than any other Egyptian deity.

Isis had a central role in Egyptian magic spells and ritual, especially those of protection and healing. In many spells her powers are merged with those of her son Horus. His power accompanies hers whenever she is invoked. In Egyptian history the image of a wounded Horus became a standard feature of Isis's healing spells, which typically invoked the curative powers of Isis' milk.[19]

Greco-Roman world
Interpretatio graeca

Isis (seated right) welcoming the Greek heroine Io as she is borne into Egypt on the shoulders of the personified Nile, as depicted in a Roman wall painting from Pompeii
Using the comparative methodology known as interpretatio graeca, the Greek historian Herodotus (5th century BCE) described Isis by comparison with the Greek goddess Demeter, whose mysteries at Eleusis offered initiates guidance in the afterlife and a vision of rebirth. Herodotus says that Isis was the only goddess worshiped by all Egyptians alike.[20]


Terracotta figure of Isis-Aphrodite from Ptolemaic Egypt
After the conquest of Egypt by Alexander the Great and the Hellenization of the Egyptian culture initiated by Ptolemy I Soter, Isis became known as Queen of Heaven.[21] Other Mediterranean goddesses, such as Demeter, Astarte, and Aphrodite, became identified with Isis, as did the Arabian goddess Al-‘Uzzá through a similarity of name, since etymology was thought to reveal the essential or primordial nature of the thing named.[22] An alabaster statue of Isis from the 3rd century BCE, found in Ohrid, in the Republic of Macedonia, is depicted on the obverse of the Macedonian 10 denar banknote, issued in 1996.[23]

Isis in the Roman Empire

Roman Isis holding a sistrum and oinochoe and wearing a garment tied with a characteristic knot, from the time of Hadrian (117–138 CE)
Tacitus writes that after the assassination of Julius Caesar, a temple in honour of Isis had been decreed, but was suspended by Augustus as part of his program to restore traditional Roman religion. The emperor Caligula, however, was open to Eastern religions, and the Navigium Isidis, a procession in honor of Isis, was established in Rome during his reign.[24] According to the Jewish historian Josephus, Caligula donned female garb and took part in the mysteries he instituted. Vespasian, along with Titus, practised incubation in the Roman Iseum. Domitian built another Iseum along with a Serapeum. In a relief on the Arch of Trajan in Rome, the emperor appears before Isis and Horus, presenting them with votive offerings of wine.[24] Hadrian decorated his villa at Tibur with Isiac scenes. Galerius regarded Isis as his protector.[25]


Ruins of the Temple of Isis in Delos
The religion of Isis thus spread throughout the Roman Empire during the formative centuries of Christianity. Wall paintings and objects reveal her pervasive presence at Pompeii, preserved by the eruption of Vesuvius in 79 CE. In Rome, temples were built (such as the Temple of Isis and Serapis) and obelisks erected in her honour. In Greece, the cult of Isis was introduced to traditional centres of worship in Delos, Delphi, Eleusis and Athens, as well as in northern Greece. Harbours of Isis were to be found on the Arabian Sea and the Black Sea. Inscriptions show followers in Gaul, Spain, Pannonia, Germany, Arabia, Asia Minor, Portugal and many shrines even in Britain.[26] Tacitus interprets a goddess among the Germanic Suebi as a form of Isis whose symbol (signum) was a ship.[27] Bruce Lincoln regards the identity of this Germanic goddess as "elusive".[28]

The Greek antiquarian Plutarch wrote a treatise on Isis and Osiris,[29] a major source for Imperial theology concerning Isis.[15] Plutarch describes Isis as "a goddess exceptionally wise and a lover of wisdom, to whom, as her name at least seems to indicate, knowledge and understanding are in the highest degree appropriate... ." The statue of Athena in Sais was identified with Isis, and according to Plutarch was inscribed "I am all that has been, and is, and shall be, and my robe no mortal has yet uncovered."[30] At Sais, however, the patron goddess of the ancient cult was Neith, many of whose traits had begun to be attributed to Isis during the Greek occupation.

The Roman writer Apuleius recorded aspects of the cult of Isis in the 2nd century CE, including the Navigium Isidis and the mysteries of Isis in his novel The Golden Ass. The protagonist Lucius prays to Isis as Regina Caeli, "Queen of Heaven":

You see me here, Lucius, in answer to your prayer. I am nature, the universal Mother, mistress of all the elements, primordial child of time, sovereign of all things spiritual, queen of the dead, queen of the ocean, queen also of the immortals, the single manifestation of all gods and goddesses that are, my nod governs the shining heights of Heavens, the wholesome sea breezes. Though I am worshipped in many aspects, known by countless names ... the Egyptians who excel in ancient learning and worship call me by my true name...Queen Isis.[31]


Isis in black and white marble (Roman, 2nd century CE)
According to Apuleius, these other names include manifestations of the goddess as Ceres, "the original nurturing parent"; Heavenly Venus (Venus Caelestis); the "sister of Phoebus", that is, Diana or Artemis as she is worshipped at Ephesus; or Proserpina (Greek Persephone) as the triple goddess of the underworld.[32] From the middle Imperial period, the title Caelestis, "Heavenly" or "Celestial", is attached to several goddesses embodying aspects of a single, supreme Heavenly Goddess. The Dea Caelestis was identified with the constellation Virgo (the Virgin), who holds the divine balance of justice.

Greco-Roman temples
On the Greek island of Delos a Doric Temple of Isis was built on a high over-looking hill at the beginning of the Roman period to venerate the familiar trinity of Isis, the Alexandrian Serapis and Harpocrates. The creation of this temple is significant as Delos is particularly known as the birthplace of the Greek gods Artemis and Apollo who had temples of their own on the island long before the temple to Isis was built.

In the Roman Empire, a well-preserved example was discovered in Pompeii. The only sanctuary of Isis (fanum Isidis) identified with certainty in Roman Britain is located in Londinium (present-day London).[33]

Late antiquity
The cult of Isis was part of the syncretic tendencies of religion in the Greco-Roman world of late antiquity. The names Isidoros and Isidora in Greek mean "gift of Isis" (similar to "Theodoros", "God's gift").

The sacred image of Isis with the Horus Child in Rome often became a model for the Christian Mary carrying her child Jesus and many of the epithets of the Egyptian Mother of God came to be used for her.[34]
Aimlessly swimming in circumcisions
Harry Potter
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This article is about the series of seven novels. For other uses, including related topics and derivative works, see Harry Potter (disambiguation).
Harry Potter
The Harry Potter logo, used first in American editions of the novel series and later in films.
The Harry Potter logo first used for the American edition of the novel series (and some other editions worldwide), and then the film series.
Harry Potter and the Philosopher's Stone (1997)
Harry Potter and the Chamber of Secrets (199
Harry Potter and the Prisoner of Azkaban (1999)
Harry Potter and the Goblet of Fire (2000)
Harry Potter and the Order of the Phoenix (2003)
Harry Potter and the Half-Blood Prince (2005)
Harry Potter and the Deathly Hallows (2007)
Harry Potter and the Cursed Child (2016)[1]
Author J. K. Rowling
Country United Kingdom
Language English
Genre Fantasy, drama, young-adult fiction, mystery, thriller, Bildungsroman
Publisher Bloomsbury Publishing (UK)
Arthur A. Levine Books (US)
Little, Brown (UK)
Published 26 June 1997 – 21 July 2007,
31 July 2016[2] (initial publication)
Media type Print (hardback & paperback)
Audiobook
E-book (as of March 2012)[3]
No. of books 7
Website www.pottermore.com
Harry Potter is a series of fantasy novels written by British author J. K. Rowling. The novels chronicle the life of a young wizard, Harry Potter, and his friends Hermione Granger and Ron Weasley, all of whom are students at Hogwarts School of Witchcraft and Wizardry. The main story arc concerns Harry's struggle against Lord Voldemort, the Dark wizard who intends to become immortal, overthrow the Ministry of Magic, subjugate non-magic people and destroy anyone who stands in his way.

Since the release of the first novel, Harry Potter and the Philosopher's Stone, on 30 June 1997, the books have found immense popularity, critical acclaim and commercial success worldwide. They have attracted a wide adult audience as well as younger readers, and are often considered cornerstones of modern young adult literature.[4] The series has also had its share of criticism, including concern about the increasingly dark tone as the series progressed, as well as the often gruesome and graphic violence it depicts. As of July 2013, the books have sold more than 450 million copies worldwide, making them the best-selling book series in history, and have been translated into seventy-three languages.[5][6] The last four books consecutively set records as the fastest-selling books in history, with the final installment selling roughly eleven million copies in the United States within twenty-four hours of its release.

The series was originally published in English by two major publishers, Bloomsbury in the United Kingdom and Scholastic Press in the United States. A play, Harry Potter and the Cursed Child, based on a story by Rowling, is set to premiere in London on 30 July 2016 at the Palace Theatre, and its script will subsequently be published by Little, Brown as the eighth book in the series.[7] The original seven books were adapted into an eight-part film series by Warner Bros. Pictures, which has become the second highest-grossing film series of all time as of August 2015. The franchise has also generated much tie-in merchandise, making the Harry Potter brand worth in excess of $15 billion.[8]

A series of many genres, including fantasy, drama, coming of age and the British school story (which includes elements of mystery, thriller, adventure, horror and romance), the world of Harry Potter explores numerous themes and includes many cultural meanings and references.[9] According to Rowling, the main theme is death.[10] Other major themes in the series include prejudice, corruption, and madness.[11]

The success of the books and films has ensured that the Harry Potter franchise continues to expand, with numerous derivative works, a travelling exhibition that premiered in Chicago in 2009, a studio tour in London that opened in 2012, a digital platform on which J.K. Rowling updates the series with new information and insight, and a trilogy of spin-off films premiering in November 2016, among many other developments. Most recently, themed attractions, collectively known as The Wizarding World of Harry Potter, have been built at several Universal Parks & Resorts amusement parks around the world.

Contents [hide]
1 Plot
1.1 Early years
1.2 Voldemort returns
1.3 Nineteen years later
1.4 Supplementary works
2 Structure and genre
3 Themes
4 Origins
5 Publishing history
5.1 Translations
5.2 Completion of the series
5.3 Cover art
6 Achievements
6.1 Cultural impact
6.2 Commercial success
6.3 Awards, honours, and recognition
7 Reception
7.1 Literary criticism
7.2 Social impact
7.3 Controversies
8 Adaptations
8.1 Films
8.2 Games
8.3 Audiobooks
8.4 Stage production
9 Attractions
9.1 The Wizarding World of Harry Potter
9.2 United Kingdom
10 References
11 Further reading
12 External links
Plot[edit]
Further information: Harry Potter universe
The central character in the series is Harry Potter, an English orphan who discovers, at the age of eleven, that he is a wizard, though he lives in the ordinary world of non-magical people known as Muggles.[12] The wizarding world exists parallel to the Muggle world, albeit hidden and in secrecy. His magical ability is inborn, and children with such abilities are invited to attend exclusive magic schools that teach the necessary skills to succeed in the wizarding world.[13] Harry becomes a student at Hogwarts School of Witchcraft and Wizardry, a wizarding academy in Scotland, and it is here where most of the events in the series take place. As Harry develops through his adolescence, he learns to overcome the problems that face him: magical, social and emotional, including ordinary teenage challenges such as friendships, infatuation, romantic relationships, schoolwork and exams, anxiety, depression, stress, and the greater test of preparing himself for the confrontation in the real world that lies ahead, in wizarding Britain's increasingly-violent second wizarding war.[14]

Each novel chronicles one year in Harry's life[15] during the period from 1991 to 1998.[16] The books also contain many flashbacks, which are frequently experienced by Harry viewing the memories of other characters in a device called a Pensieve.

The environment Rowling created is intimately connected to reality. The British magical community of the Harry Potter books is inspired by 1990s British culture, European folklore, classical mythology and alchemy, incorporating objects and wildlife such as magic wands, magic plants, potions, and spells, flying broomsticks, centaurs and other magical creatures, the Deathly Hallows, and the Philosopher's Stone, beside others invented by Rowling. While the fantasy land of Narnia is an alternate universe and the Lord of the Rings' Middle-earth a mythic past, the wizarding world of Harry Potter exists in parallel within the real world and contains magical versions of the ordinary elements of everyday life, with the action mostly set in Scotland (Hogwarts), the West Country, Devon, London and Surrey in southeast England.[17] The world only accessible to wizards and magical beings comprises a fragmented collection of overlooked hidden streets, ancient pubs, lonely country manors and secluded castles invisible to the Muggle population.[13]

Early years[edit]
When the first novel of the series, Harry Potter and the Philosopher's Stone (published in America and other countries as Harry Potter and the Sorcerer's Stone) opens, it is apparent that some significant event has taken place in the wizarding world – an event so very remarkable, even the Muggles (non-magical people) notice signs of it. The full background to this event and Harry Potter's past is revealed gradually through the series. After the introductory chapter, the book leaps forward to a time shortly before Harry Potter's eleventh birthday, and it is at this point that his magical background begins to be revealed.

Harry's first contact with the wizarding world is through a half-giant, Rubeus Hagrid, keeper of grounds and keys at Hogwarts. Hagrid reveals some of Harry's history.[18] Harry learns that, as a baby, he witnessed his parents' murder by the power-obsessed Dark wizard Lord Voldemort, who subsequently attempted to kill him as well.[18] For reasons not revealed until the fifth book, the spell with which Voldemort tried to kill Harry rebounded. Harry survived with only a lightning-shaped scar on his forehead as a memento of the attack, and Voldemort disappeared afterwards. As its inadvertent saviour from Voldemort's reign of terror, Harry has become a living legend in the wizarding world. However, at the orders of the venerable and well-known wizard Albus Dumbledore, the orphaned Harry had been placed in the home of his unpleasant Muggle relatives, the Dursleys, who kept him safe but treated him poorly, having him live in a cupboard and do chores while doting on their spoiled son Dudley. Petunia Dursley was jealous of her sister's magical abilities as a child, and later came to believe that all wizards were freaks. Therefore, the Dursleys hated wizards, so they hid Harry's true heritage from him, saying his parents died in a car crash in the hope that he would grow up "normal".[18]

With Hagrid's help, Harry prepares for and undertakes his first year of study at Hogwarts. As Harry begins to explore the magical world, the reader is introduced to many of the primary locations used throughout the series. Harry meets most of the main characters and gains his two closest friends: Ron Weasley, a fun-loving member of an ancient, large, happy, but poor wizarding family, and Hermione Granger, a gifted and very hardworking witch of non-magical parentage.[18][19] Harry also encounters the school's potions master, Severus Snape, who displays a conspicuously deep and abiding dislike for him, and the Defence Against the Dark Arts teacher, Quirinus Quirrell, who later turns out to be controlled by Lord Voldemort. The first book concludes with Harry's second confrontation with Lord Voldemort, who, in his quest for immortality, yearns to gain the power of the Philosopher's Stone, a substance that bestows everlasting life.[18]

The series continues with Harry Potter and the Chamber of Secrets, describing Harry's second year at Hogwarts. He and his friends investigate a 50-year-old mystery that appears uncannily related to recent sinister events at the school. Ron's younger sister, Ginny Weasley, enrolls in her first year at Hogwarts, and finds an old notebook which turns out to be Voldemort's diary from his school days. Ginny becomes possessed by Voldemort through the diary and unconsciously opens the "Chamber of Secrets", unleashing an ancient monster, later revealed to be a basilisk, which begins attacking students at Hogwarts. The novel delves into the history of Hogwarts and a legend revolving around the Chamber that soon frightened everyone in the school. The book also introduces a new Defence Against the Dark Arts teacher, Gilderoy Lockhart, a highly cheerful, self-conceited wizard who goes around as if he is the most wonderful person who ever existed, who knows absolutely every single thing there is to know about everything, who later turns out to be a fraud. Harry discovers that prejudice exists in the wizarding world, and learns that Voldemort's reign of terror was often directed at wizards who were descended from Muggles. Harry also learns that his ability to speak the snake language Parseltongue is rare and often associated with the Dark Arts. The novel ends after Harry saves Ginny's life by destroying the basilisk and the enchanted diary which has been the source of the problems.

The third novel, Harry Potter and the Prisoner of Azkaban, follows Harry in his third year of magical education. It is the only book in the series which does not feature Lord Voldemort. Instead, Harry must deal with the knowledge that he has been targeted by Sirius Black, his father's best friend, and, according to the Wizarding World, an escaped mass murderer who assisted in the deaths of Harry's parents. As Harry struggles with his reaction to the dementors – dark creatures with the power to devour a human soul, which feed on despair – which are ostensibly protecting the school, he reaches out to Remus Lupin, a Defence Against the Dark Arts teacher who is eventually revealed to be a werewolf. Lupin teaches Harry defensive measures which are well above the level of magic generally executed by people his age. Harry came to know that both Lupin and Black were best friends of his father and that Black was framed by their fourth friend, Peter Pettigrew.[20] In this book, a recurring theme throughout the series is emphasised – in every book there is a new Defence Against the Dark Arts teacher, none of whom lasts more than one school year.

Voldemort returns[edit]
"The Elephant House", a small, painted red café where Rowling wrote a few chapters of Harry Potter and the Philosopher's Stone.
"The Elephant House" – One of the cafés in Edinburgh where Rowling wrote the first part of Harry Potter.
During Harry's fourth year of school (detailed in Harry Potter and the Goblet of Fire), Harry is unwillingly entered as a participant in the Triwizard Tournament, a dangerous contest where three "champions", one from each participating school, must compete with each other in three tasks in order to win the triwizard cup. This year, Harry must compete against a witch and a wizard "champion" from visiting schools Beauxbatons and Durmstrang, as well as another Hogwarts student, causing Harry's friends to distance themselves from him.[21] Harry is guided through the tournament by their new Defence Against the Dark Arts professor, Alastor "Mad-Eye" Moody, who turns out to be an impostor – one of Voldemort's supporters named Barty Crouch, Jr. in disguise. The point at which the mystery is unravelled marks the series' shift from foreboding and uncertainty into open conflict. Voldemort's plan to have Crouch use the tournament to bring Harry to Voldemort succeeds. Although Harry manages to escape, Cedric Diggory, the other Hogwarts champion in the tournament, is killed by Peter Pettigrew and Voldemort re-enters the wizarding world with a physical body.

In the fifth book, Harry Potter and the Order of the Phoenix, Harry must confront the newly resurfaced Voldemort. In response to Voldemort's reappearance, Dumbledore re-activates the Order of the Phoenix, a secret society which works from Sirius Black's dark family home to defeat Voldemort's minions and protect Voldemort's targets, especially Harry. Despite Harry's description of Voldemort's recent activities, the Ministry of Magic and many others in the magical world refuse to believe that Voldemort has returned.[22] In an attempt to counter and eventually discredit Dumbledore, who along with Harry is the most prominent voice in the wizarding world attempting to warn of Voldemort's return, the Ministry appoints Dolores Umbridge as the High Inquisitor of Hogwarts and the new Defence Against the Dark Arts teacher. She transforms the school into a dictatorial regime and refuses to allow the students to learn ways to defend themselves against dark magic.[22]

With Ron and Hermione's suggestion, Harry forms "Dumbledore's Army", a secret study group aimed to teach his classmates the higher-level skills of Defence Against the Dark Arts that he has learned from his previous encounters with Dark wizards. An important prophecy concerning Harry and Lord Voldemort is revealed,[23] and Harry discovers that he and Voldemort have a painful connection, allowing Harry to view some of Voldemort's actions telepathically. In the novel's climax, Harry and his friends face off against Voldemort's Death Eaters at the Ministry of Magic. Although the timely arrival of members of the Order of the Phoenix saves the children's lives, Sirius Black is killed in the conflict.

In the sixth book, Harry Potter and the Half-Blood Prince, Voldemort begins waging open warfare. Harry and his friends are relatively protected from that danger at Hogwarts. They are subject to all the difficulties of adolescence – Harry eventually begins dating Ginny, Ron establishes a strong infatuation with fellow Hogwarts student Lavender Brown, and Hermione starts to develop romantic feelings toward Ron. Near the beginning of the novel, lacking his own book, Harry is given an old potions textbook filled with many annotations and recommendations signed by a mysterious writer; "the Half-Blood Prince." This book is a source of scholastic success and great recognition from their new potions master, Horace Slughorn, but because of the potency of the spells that are written in it, becomes a source of concern. Harry takes private lessons with Dumbledore, who shows him various memories concerning the early life of Voldemort in a device called a Pensieve. These reveal that in order to preserve his life, Voldemort has split his soul into pieces, creating a series of horcruxes – evil enchanted items hidden in various locations, one of which was the diary destroyed in the second book.[24] Harry's snobbish adversary, Draco Malfoy, attempts to attack Dumbledore, and the book culminates in the killing of Dumbledore by Professor Snape, the titular Half-Blood Prince.

Harry Potter and the Deathly Hallows, the last book in the series, begins directly after the events of the sixth book. Lord Voldemort has completed his ascension to power and gained control of the Ministry of Magic. Harry, Ron and Hermione drop out of school so that they can find and destroy Voldemort's remaining horcruxes. To ensure their own safety as well as that of their family and friends, they are forced to isolate themselves. As they search for the horcruxes, the trio learns details about Dumbledore's past, as well as Snape's true motives – he had worked on Dumbledore's behalf since the murder of Harry's mother. Snape is killed by Voldemort out of paranoia.

The book culminates in the Battle of Hogwarts. Harry, Ron and Hermione, in conjunction with members of the Order of the Phoenix and many of the teachers and students, defend Hogwarts from Voldemort, his Death Eaters, and various dangerous magical creatures. Several major characters are killed in the first wave of the battle, including Remus Lupin and Fred Weasley. After learning that he himself is a horcrux, Harry surrenders himself to Voldemort in the Forbidden Forest, who casts a killing curse (Avada Kedavra) at him. The defenders of Hogwarts do not surrender after learning of Harry's presumed death and continue to fight on. Harry awakens and faces Voldemort, whose horcruxes have all been destroyed. In the final battle, Voldemort's killing curse rebounds off Harry's defensive spell (Expelliarmus) killing Voldemort. Also, as most viewers saw coming, Harry Potter marries and has children with Ginny Weasley and Hermione Granger marries and has children with Ronald Weasley.

An epilogue describes the lives of the surviving characters and the effects of Voldemort's death on the wizarding world. It also introduces the children of all the characters.

Nineteen years later[edit]
Main article: Harry Potter and the Cursed Child
Harry Potter and the Cursed Child is an upcoming two-part West End stage play, and the official eighth book in the Harry Potter book series,[25] which was written by Jack Thorne and based on a story by author J. K. Rowling, Thorne and director John Tiffany. The play is scheduled to open on July 30, 2016 at the Palace Theatre, London, England, and will feature Rowling collaborating with an experienced team to bring the production to the stage. The book will in-turn be released July 31, 2016.[26] The story is set nineteen years after the ending of Harry Potter and the Deathly Hallows and follows Harry Potter, now a Ministry of Magic employee, and his youngest son Albus Severus Potter.

The play's official synopsis was released on 23 October 2015:[27]

It was always difficult being Harry Potter and it isn’t much easier now that he is an overworked employee of the Ministry of Magic, a husband, and father of three school-age children.

While Harry grapples with a past that refuses to stay where it belongs, his youngest son Albus must struggle with the weight of a family legacy he never wanted. As past and present fuse ominously, both father and son learn the uncomfortable truth: sometimes, darkness comes from unexpected places.

Supplementary works[edit]

In-universe books[edit]
See also: J. K. Rowling § Philanthropy
Rowling has expanded the Harry Potter universe with several short books produced for various charities.[28][29] In 2001, she released Fantastic Beasts and Where to Find Them (a purported Hogwarts textbook) and Quidditch Through the Ages (a book Harry reads for fun). Proceeds from the sale of these two books benefitted the charity Comic Relief.[30] In 2007, Rowling composed seven handwritten copies of The Tales of Beedle the Bard, a collection of fairy tales that is featured in the final novel, one of which was auctioned to raise money for the Children's High Level Group, a fund for mentally disabled children in poor countries. The book was published internationally on 4 December 2008.[31][32] Rowling also wrote an 800-word prequel in 2008 as part of a fundraiser organised by the bookseller Waterstones.[33] All three of these books contain extra information about the wizarding world not included in the original novels.

Pottermore website[edit]
In 2011, Rowling launched a new website announcing an upcoming project called Pottermore.[34] Pottermore opened to the general public on 14 April 2012.[35] Pottermore allows users to be sorted, be chosen by their wand and play various minigames. The main purpose of the website was to allow the user to journey though the story with access to content not revealed by JK Rowling previously, with over 18,000 words of additional content.[36]

In September 2015 the website was completely overhauled and most of the features were removed. The site has been redesigned and it mainly focuses on the information already available, rather than exploration.[37]

Structure and genre[edit]
The Harry Potter novels are mainly directed at a young adult audience as opposed to an audience of middle grade readers, children, or adults. The novels fall within the genre of fantasy literature, and qualify as a unique type of fantasy called "urban fantasy", "contemporary fantasy", or "low fantasy". They are mainly dramas, and maintain a fairly serious and dark tone throughout, though they do contain some notable instances of tragicomedy and black humour. In many respects, they are also examples of the bildungsroman, or coming of age novel,[38] and contain elements of mystery, adventure, horror, thriller, and romance. They can be considered part of the British children's boarding school genre, which includes Rudyard Kipling's Stalky & Co., Enid Blyton's Malory Towers, St. Clare's and the Naughtiest Girl series, and Frank Richards's Billy Bunter novels: the Harry Potter books are predominantly set in Hogwarts, a fictional British boarding school for wizards, where the curriculum includes the use of magic.[39] In this sense they are "in a direct line of descent from Thomas Hughes's Tom Brown's School Days and other Victorian and Edwardian novels of British public school life", though they are, as many note, more contemporary, grittier, darker, and more mature than the typical boarding school novel, addressing serious themes of death, love, loss, prejudice, coming-of-age, and the loss of innocence in a 1990's British setting.[40][41]

The books are also, in the words of Stephen King, "shrewd mystery tales",[42] and each book is constructed in the manner of a Sherlock Holmes-style mystery adventure. The stories are told from a third person limited point of view with very few exceptions (such as the opening chapters of Philosopher's Stone, Goblet of Fire and Deathly Hallows and the first two chapters of Half-Blood Prince).

In the middle of each book, Harry struggles with the problems he encounters, and dealing with them often involves the need to violate some school rules. If students are caught breaking rules, they are often disciplined by Hogwarts professors. However, the stories reach their climax in the summer term, near or just after final exams, when events escalate far beyond in-school squabbles and struggles, and Harry must confront either Voldemort or one of his followers, the Death Eaters, with the stakes a matter of life and death–a point underlined, as the series progresses, by one or more characters being killed in each of the final four books.[43][44] In the aftermath, he learns important lessons through exposition and discussions with head teacher and mentor Albus Dumbledore. In the final novel, Harry Potter and the Deathly Hallows, Harry and his friends spend most of their time away from Hogwarts, and only return there to face Voldemort at the dénouement.[43]

Themes[edit]
According to Rowling, a major theme in the series is death: "My books are largely about death. They open with the death of Harry's parents. There is Voldemort's obsession with conquering death and his quest for immortality at any price, the goal of anyone with magic. I so understand why Voldemort wants to conquer death. We're all frightened of it."[10]

Academics and journalists have developed many other interpretations of themes in the books, some more complex than others, and some including political subtexts. Themes such as normality, oppression, survival, and overcoming imposing odds have all been considered as prevalent throughout the series.[45] Similarly, the theme of making one's way through adolescence and "going over one's most harrowing ordeals – and thus coming to terms with them" has also been considered.[46] Rowling has stated that the books comprise "a prolonged argument for tolerance, a prolonged plea for an end to bigotry" and that they also pass on a message to "question authority and... not assume that the establishment or the press tells you all of the truth".[47]

While the books could be said to comprise many other themes, such as power/abuse of power, violence and hatred, love, loss, prejudice, and free choice, they are, as Rowling states, "deeply entrenched in the whole plot"; the writer prefers to let themes "grow organically", rather than sitting down and consciously attempting to impart such ideas to her readers.[11] Along the same lines is the ever-present theme of adolescence, in whose depiction Rowling has been purposeful in acknowledging her characters' sexualities and not leaving Harry, as she put it, "stuck in a state of permanent pre-pubescence". Rowling has also been praised for her nuanced depiction of the ways in which death and violence affects youth, and humanity as a whole.[48]

Rowling said that, to her, the moral significance of the tales seems "blindingly obvious". The key for her was the choice between what is right and what is easy, "because that … is how tyranny is started, with people being apathetic and taking the easy route and suddenly finding themselves in deep trouble."[49]

Origins[edit]
Main article: Harry Potter influences and analogues
In 1990, Rowling was on a crowded train from Manchester to London when the idea for Harry suddenly "fell into her head". Rowling gives an account of the experience on her website saying:[50]

"I had been writing almost continuously since the age of six but I had never been so excited about an idea before. I simply sat and thought, for four (delayed train) hours, and all the details bubbled up in my brain, and this scrawny, black-haired, bespectacled boy who did not know he was a wizard became more and more real to me."

Rowling completed Harry Potter and the Philosopher's Stone in 1995 and the manuscript was sent off to several prospective agents.[51] The second agent she tried, Christopher Little, offered to represent her and sent the manuscript to Bloomsbury.

Publishing history[edit]
J.K. Rowling, a blond, blue-eyed woman, who is the author of the series
The novelist, J. K. Rowling

The logo used in British and Australian editions before 2010. The font used is Cochin Bold.[52]
After eight other publishers had rejected Philosopher's Stone, Bloomsbury offered Rowling a £2,500 advance for its publication.[53][54] Despite Rowling's statement that she did not have any particular age group in mind when beginning to write the Harry Potter books, the publishers initially targeted children aged nine to eleven.[55] On the eve of publishing, Rowling was asked by her publishers to adopt a more gender-neutral pen name in order to appeal to the male members of this age group, fearing that they would not be interested in reading a novel they knew to be written by a woman. She elected to use J. K. Rowling (Joanne Kathleen Rowling), using her grandmother's name as her second name because she has no middle name.[54][56]

Harry Potter and the Philosopher's Stone was published by Bloomsbury, the publisher of all Harry Potter books in the United Kingdom, on 30 June 1997.[57] It was released in the United States on 1 September 1998 by Scholastic – the American publisher of the books – as Harry Potter and the Sorcerer's Stone,[58] after Rowling had received US$105,000 for the American rights – an unprecedented amount for a children's book by a then-unknown author.[59] Fearing that American readers would not associate the word "philosopher" with a magical theme (although the Philosopher's Stone is alchemy-related), Scholastic insisted that the book be given the title Harry Potter and the Sorcerer's Stone for the American market.

The second book, Harry Potter and the Chamber of Secrets was originally published in the UK on 2 July 1998 and in the US on 2 June 1999. Harry Potter and the Prisoner of Azkaban was then published a year later in the UK on 8 July 1999 and in the US on 8 September 1999.[60] Harry Potter and the Goblet of Fire was published on 8 July 2000 at the same time by Bloomsbury and Scholastic.[61] Harry Potter and the Order of the Phoenix is the longest book in the series at 766 pages in the UK version and 870 pages in the US version.[62] It was published worldwide in English on 21 June 2003.[63] Harry Potter and the Half-Blood Prince was published on 16 July 2005, and it sold 9 million copies in the first 24 hours of its worldwide release.[64][65] The seventh and final novel, Harry Potter and the Deathly Hallows, was published on 21 July 2007.[66] The book sold 11 million copies in the first 24 hours of release, breaking down to 2.7 million copies in the UK and 8.3 million in the US.[65]

Translations[edit]
Main article: Harry Potter in translation

The Russian translation of The Deathly Hallows goes on sale in Moscow, 2007
The series has been translated into 67 languages,[5][67] placing Rowling among the most translated authors in history.[68] The books have seen translations to diverse languages such as Korean , Azerbaijani, Ukrainian, Arabic, Urdu, Hindi, Bengali, Welsh, Afrikaans, Albanian, Latvian and Vietnamese. The first volume has been translated into Latin and even Ancient Greek,[69] making it the longest published work in Ancient Greek since the novels of Heliodorus of Emesa in the 3rd century AD.[70] The second volume has also been translated into Latin.[71]

Some of the translators hired to work on the books were well-known authors before their work on Harry Potter, such as Viktor Golyshev, who oversaw the Russian translation of the series' fifth book. The Turkish translation of books two to seven was undertaken by Sevin Okyay, a popular literary critic and cultural commentator.[72] For reasons of secrecy, translation on a given book could only start after it had been released in English, leading to a lag of several months before the translations were available. This led to more and more copies of the English editions being sold to impatient fans in non-English speaking countries; for example, such was the clamour to read the fifth book that its English language edition became the first English-language book ever to top the best-seller list in France.[73]

The United States editions were adapted into American English to make them more understandable to a young American audience.[74]

Completion of the series[edit]
In December 2005, Rowling stated on her web site, "2006 will be the year when I write the final book in the Harry Potter series."[75] Updates then followed in her online diary chronicling the progress of Harry Potter and the Deathly Hallows, with the release date of 21 July 2007. The book itself was finished on 11 January 2007 in the Balmoral Hotel, Edinburgh, where she scrawled a message on the back of a bust of Hermes. It read: "J. K. Rowling finished writing Harry Potter and the Deathly Hallows in this room (552) on 11 January 2007."[76]

Rowling herself has stated that the last chapter of the final book (in fact, the epilogue) was completed "in something like 1990".[77][78] In June 2006, Rowling, on an appearance on the British talk show Richard & Judy, announced that the chapter had been modified as one character "got a reprieve" and two others who previously survived the story had in fact been killed. On 28 March 2007, the cover art for the Bloomsbury Adult and Child versions and the Scholastic version were released.[79][80]

In September 2012, Rowling mentioned in an interview that she might go back to make a "director's cut" of two of the existing Harry Potter books.[81]

Cover art[edit]
For cover art, Bloomsbury chose painted art in a classic style of design, with the first cover a watercolour and pencil drawing by illustrator Thomas Taylor showing Harry boarding the Hogwarts Express, and a title in the font Cochin Bold.[82] The first releases of the successive books in the series followed in the same style but somewhat more realistic, illustrating scenes from the books. These covers were created by first Cliff Wright and then Jason Cockroft.[83]

Due to the appeal of the books among an adult audience, Bloomsbury commissioned a second line of editions in an 'adult' style. These initially used black-and-white photographic art for the covers showing objects from the books (including a very American Hogwarts Express) without depicting people, but later shifted to partial colourisation with a picture of Slytherin's locket on the cover of the final book.

International and later editions have been created by a range of designers, including Mary GrandPré for U.S. audiences and Mika Launis in Finland.[84][85] For a later American release, Kazu Kibuishi created covers in a somewhat anime-influenced style.[86][87]

Achievements[edit]

"Platform 9¾" sign on London King's Cross railway station
Cultural impact[edit]
For more details on this topic, see Harry Potter fandom.
Fans of the series were so eager for the latest instalment that bookstores around the world began holding events to coincide with the midnight release of the books, beginning with the 2000 publication of Harry Potter and the Goblet of Fire. The events, commonly featuring mock sorting, games, face painting, and other live entertainment have achieved popularity with Potter fans and have been highly successful in attracting fans and selling books with nearly nine million of the 10.8 million initial print copies of Harry Potter and the Half-Blood Prince sold in the first 24 hours.[88][89]

The final book in the series, Harry Potter and the Deathly Hallows became the fastest selling book in history, moving 11 million units in the first twenty-four hours of release.[90] The series has also gathered adult fans, leading to the release of two editions of each Harry Potter book, identical in text but with one edition's cover artwork aimed at children and the other aimed at adults.[91] Besides meeting online through blogs, podcasts, and fansites, Harry Potter super-fans can also meet at Harry Potter symposia.

The word Muggle has spread beyond its Harry Potter origins, becoming one of few pop culture words to land in the Oxford English Dictionary.[92] The Harry Potter fandom has embraced podcasts as a regular, often weekly, insight to the latest discussion in the fandom. Both MuggleCast and PotterCast[93] have reached the top spot of iTunes podcast rankings and have been polled one of the top 50 favourite podcasts.[94]

Some lessons identified in the series include diversity, acceptance, political tolerance, and equality. Surveys of over 1,000 college students in the United States show that those who read the books were significantly different than those who had not. Readers of the series were found to be more tolerant, more opposed to violence and torture, less authoritarian, and less cynical. Although we cannot know if this is a cause-and-effect relationship, there is a clear correlation, and it seems that Harry Potter's cultural impact may be stronger than just a fandom bond.[95]

At the University of Michigan in 2009, StarKid Productions performed an original musical parodying the Harry Potter series called A Very Potter Musical. The musical was awarded Entertainment Weekly's 10 Best Viral Videos of 2009.[96]

Commercial success[edit]
See also: List of best-selling books
A large crowd of fans wait outside of a Borders store in Delaware, waiting for the release of Harry Potter and the Half-Blood Prince.
Crowd outside a book store for the midnight release of Harry Potter and the Half-Blood Prince.
The popularity of the Harry Potter series has translated into substantial financial success for Rowling, her publishers, and other Harry Potter related license holders. This success has made Rowling the first and thus far only billionaire author.[97] The books have sold more than 400 million copies worldwide and have also given rise to the popular film adaptations produced by Warner Bros., all of which have been highly successful in their own right.[98][99] The films have in turn spawned eight video games and have led to the licensing of more than 400 additional Harry Potter products . The Harry Potter brand has been estimated to be worth as much as $15 billion.[8]

The great demand for Harry Potter books motivated the New York Times to create a separate best-seller list for children's literature in 2000, just before the release of Harry Potter and the Goblet of Fire. By 24 June 2000, Rowling's novels had been on the list for 79 straight weeks; the first three novels were each on the hardcover best-seller list.[100] On 12 April 2007, Barnes & Noble declared that Deathly Hallows had broken its pre-order record, with more than 500,000 copies pre-ordered through its site.[101] For the release of Goblet of Fire, 9,000 FedEx trucks were used with no other purpose than to deliver the book.[102] Together, Amazon.com and Barnes & Noble pre-sold more than 700,000 copies of the book.[102] In the United States, the book's initial printing run was 3.8 million copies.[102] This record statistic was broken by Harry Potter and the Order of the Phoenix, with 8.5 million, which was then shattered by Half-Blood Prince with 10.8 million copies.[103] 6.9 million copies of Prince were sold in the U.S. within the first 24 hours of its release; in the United Kingdom more than two million copies were sold on the first day.[104] The initial U.S. print run for Deathly Hallows was 12 million copies, and more than a million were pre-ordered through Amazon and Barnes & Noble.[105]

Awards, honours, and recognition[edit]
The Harry Potter series has been recognised by a host of awards since the initial publication of Philosopher's Stone including four Whitaker Platinum Book Awards (all of which were awarded in 2001),[106] three Nestlé Smarties Book Prizes (1997–1999),[107] two Scottish Arts Council Book Awards (1999 and 2001),[108] the inaugural Whitbread children's book of the year award (1999),[109] the WHSmith book of the year (2006),[110] among others. In 2000, Harry Potter and the Prisoner of Azkaban was nominated for a Hugo Award for Best Novel, and in 2001, Harry Potter and the Goblet of Fire won said award.[111] Honours include a commendation for the Carnegie Medal (1997),[112] a short listing for the Guardian Children's Award (199, and numerous listings on the notable books, editors' Choices, and best books lists of the American Library Association, The New York Times, Chicago Public Library, and Publishers Weekly.[113]

A 2004 study found that books in the series were commonly read aloud in elementary schools in San Diego County, California.[114] Based on a 2007 online poll, the U.S. National Education Association listed the series in its "Teachers' Top 100 Books for Children".[115] Three of the books placed among the "Top 100 Chapter Books" of all time, or children's novels, in a 2012 survey published by School Library Journal: Sorcerer's Stone ranked number three, Prisoner of Azkaban 12th, and Goblet of Fire 98th.[116]

Reception[edit]
Literary criticism[edit]
Early in its history, Harry Potter received positive reviews. On publication, the first book, Harry Potter and the Philosopher's Stone, attracted attention from the Scottish newspapers, such as The Scotsman, which said it had "all the makings of a classic",[117] and The Glasgow Herald, which called it "Magic stuff".[117] Soon the English newspapers joined in, with more than one comparing it to Roald Dahl's work: The Mail on Sunday rated it as "the most imaginative debut since Roald Dahl",[117] a view echoed by The Sunday Times ("comparisons to Dahl are, this time, justified"),[117] while The Guardian called it "a richly textured novel given lift-off by an inventive wit".[117]

By the time of the release of the fifth book, Harry Potter and the Order of the Phoenix, the books began to receive strong criticism from a number of literary scholars. Yale professor, literary scholar, and critic Harold Bloom raised criticisms of the books' literary merits, saying, "Rowling's mind is so governed by clichés and dead metaphors that she has no other style of writing."[118] A. S. Byatt authored a New York Times op-ed article calling Rowling's universe a "secondary secondary world, made up of intelligently patchworked derivative motifs from all sorts of children's literature ... written for people whose imaginative lives are confined to TV cartoons, and the exaggerated (more exciting, not threatening) mirror-worlds of soaps, reality TV and celebrity gossip".[119]

Michael Rosen, a novelist and poet, advocated the books were not suited for children, who would be unable to grasp the complex themes. Rosen also stated that "J. K. Rowling is more of an adult writer."[120] The critic Anthony Holden wrote in The Observer on his experience of judging Harry Potter and the Prisoner of Azkaban for the 1999 Whitbread Awards. His overall view of the series was negative – "the Potter saga was essentially patronising, conservative, highly derivative, dispiritingly nostalgic for a bygone Britain", and he speaks of "a pedestrian, ungrammatical prose style".[121] Ursula K. Le Guin said, "I have no great opinion of it. When so many adult critics were carrying on about the 'incredible originality' of the first Harry Potter book, I read it to find out what the fuss was about, and remained somewhat puzzled; it seemed a lively kid's fantasy crossed with a "school novel", good fare for its age group, but stylistically ordinary, imaginatively derivative, and ethically rather mean-spirited."[122]

By contrast, author Fay Weldon, while admitting that the series is "not what the poets hoped for", nevertheless goes on to say, "but this is not poetry, it is readable, saleable, everyday, useful prose".[123] The literary critic A. N. Wilson praised the Harry Potter series in The Times, stating: "There are not many writers who have JK's Dickensian ability to make us turn the pages, to weep – openly, with tears splashing – and a few pages later to laugh, at invariably good jokes ... We have lived through a decade in which we have followed the publication of the liveliest, funniest, scariest and most moving children's stories ever written".[124] Charles Taylor of Salon.com, who is primarily a movie critic,[125] took issue with Byatt's criticisms in particular. While he conceded that she may have "a valid cultural point – a teeny one – about the impulses that drive us to reassuring pop trash and away from the troubling complexities of art",[126] he rejected her claims that the series is lacking in serious literary merit and that it owes its success merely to the childhood reassurances it offers. Taylor stressed the progressively darker tone of the books, shown by the murder of a classmate and close friend and the psychological wounds and social isolation each causes. Taylor also argued that Philosopher's Stone, said to be the most light-hearted of the seven published books, disrupts the childhood reassurances that Byatt claims spur the series' success: the book opens with news of a double murder, for example.[126]

Stephen King called the series "a feat of which only a superior imagination is capable", and declared "Rowling's punning, one-eyebrow-cocked sense of humor" to be "remarkable". However, he wrote that despite the story being "a good one", he is "a little tired of discovering Harry at home with his horrible aunt and uncle", the formulaic beginning of all seven books.[42] King has also joked that "Rowling's never met an adverb she did not like!" He does however predict that Harry Potter "will indeed stand time's test and wind up on a shelf where only the best are kept; I think Harry will take his place with Alice, Huck, Frodo, and Dorothy and this is one series not just for the decade, but for the ages".[127]

Social impact[edit]
Although Time magazine named Rowling as a runner-up for its 2007 Person of the Year award, noting the social, moral, and political inspiration she has given her fandom,[128] cultural comments on the series have been mixed. Washington Post book critic Ron Charles opined in July 2007 that the large numbers of adults reading the Potter series but few other books may represent a "bad case of cultural infantilism", and that the straightforward "good vs. evil" theme of the series is "childish". He also argued "through no fault of Rowling's", the cultural and marketing "hysteria" marked by the publication of the later books "trains children and adults to expect the roar of the coliseum, a mass-media experience that no other novel can possibly provide".[129]

Librarian Nancy Knapp pointed out the books' potential to improve literacy by motivating children to read much more than they otherwise would.[130] The seven-book series has a word count of 1,083,594 (US edition). Agreeing about the motivating effects, Diane Penrod also praised the books' blending of simple entertainment with "the qualities of highbrow literary fiction", but expressed concern about the distracting effect of the prolific merchandising that accompanies the book launches.[131] However, the assumption that Harry Potter books have increased literacy among young people is "largely a folk legend."[132] Research by the National Endowment for the Arts (NEA) has found no increase in reading among children coinciding with the Harry Potter publishing phenomenon, nor has the broader downward trend in reading among Americans been arrested during the rise in the popularity of the Harry Potter books.[132][133] The research also found that children who read Harry Potter books were not more likely to go on to read outside the fantasy and mystery genres.[132] NEA chairman Dana Gioia said the series, "got millions of kids to read a long and reasonably complex series of books. The trouble is that one Harry Potter novel every few years is not enough to reverse the decline in reading."[134]

Jennifer Conn used Snape's and Quidditch coach Madam Hooch's teaching methods as examples of what to avoid and what to emulate in clinical teaching,[135] and Joyce Fields wrote that the books illustrate four of the five main topics in a typical first-year sociology class: "sociological concepts including culture, society, and socialisation; stratification and social inequality; social institutions; and social theory".[136]

Jenny Sawyer wrote in Christian Science Monitor on 25 July 2007 that the books represent a "disturbing trend in commercial storytelling and Western society" in that stories "moral center [sic] have all but vanished from much of today's pop culture ... after 10 years, 4,195 pages, and over 375 million copies, J. K. Rowling's towering achievement lacks the cornerstone of almost all great children's literature: the hero's moral journey". Harry Potter, Sawyer argues, neither faces a "moral struggle" nor undergoes any ethical growth, and is thus "no guide in circumstances in which right and wrong are anything less than black and white".[137] In contrast Emily Griesinger described Harry's first passage through to Platform 9¾ as an application of faith and hope, and his encounter with the Sorting Hat as the first of many in which Harry is shaped by the choices he makes. She also noted the "deeper magic" by which the self-sacrifice of Harry's mother protects the boy throughout the series, and which the power-hungry Voldemort fails to understand.[138]

In an 8 November 2002 Slate article, Chris Suellentrop likened Potter to a "trust-fund kid whose success at school is largely attributable to the gifts his friends and relatives lavish upon him". Noting that in Rowling's fiction, magical ability potential is "something you are born to, not something you can achieve", Suellentrop wrote that Dumbledore's maxim that "It is our choices that show what we truly are, far more than our abilities" is hypocritical, as "the school that Dumbledore runs values native gifts above all else".[139] In a 12 August 2007 New York Times review of Deathly Hallows, however, Christopher Hitchens praised Rowling for "unmooring" her "English school story" from literary precedents "bound up with dreams of wealth and class and snobbery", arguing that she had instead created "a world of youthful democracy and diversity".[140]

Controversies[edit]
Main articles: Legal disputes over the Harry Potter series, Religious debates over the Harry Potter series, Politics of Harry Potter, and Tanya Grotter
The books have been the subject of a number of legal proceedings, stemming from various conflicts over copyright and trademark infringements. The popularity and high market value of the series has led Rowling, her publishers, and film distributor Warner Bros. to take legal measures to protect their copyright, which have included banning the sale of Harry Potter imitations, targeting the owners of websites over the "Harry Potter" domain name, and suing author Nancy Stouffer to counter her accusations that Rowling had plagiarised her work.[141][142][143] Various religious conservatives have claimed that the books promote witchcraft and religions such as Wicca and are therefore unsuitable for children,[144][145] while a number of critics have criticised the books for promoting various political agendas.[146][147]

The books also aroused controversies in the literary and publishing worlds. In 1997 to 1998, Harry Potter and the Philosopher's Stone won almost all the UK awards judged by children, but none of the children's book awards judged by adults,[148] and Sandra Beckett suggested the reason was intellectual snobbery towards books that were popular among children.[149] In 1999, the winner of the Whitbread Book of the Year award children's division was entered for the first time on the shortlist for the main award, and one judge threatened to resign if Harry Potter and the Prisoner of Azkaban was declared the overall winner; it finished second, very close behind the winner of the poetry prize, Seamus Heaney's translation of the Anglo-Saxon epic Beowulf.[149]

In 2000, shortly before the publication of Harry Potter and the Goblet of Fire, the previous three Harry Potter books topped the New York Times fiction best-seller list and a third of the entries were children's books. The newspaper created a new children's section covering children's books, including both fiction and non-fiction, and initially counting only hardback sales. The move was supported by publishers and booksellers.[100] In 2004, The New York Times further split the children's list, which was still dominated by Harry Potter books into sections for series and individual books, and removed the Harry Potter books from the section for individual books.[150] The split in 2000 attracted condemnation, praise and some comments that presented both benefits and disadvantages of the move.[151] Time suggested that, on the same principle, Billboard should have created a separate "mop-tops" list in 1964 when the Beatles held the top five places in its list, and Nielsen should have created a separate game-show list when Who Wants to Be a Millionaire? dominated the ratings.[152]

Adaptations[edit]
Films[edit]
Main article: Harry Potter (film series)
The red locomotive train used as the "Hogwarts Express" in the film series. In the front it has the numbers "5912" inscripted on it.
The locomotive that features as the "Hogwarts Express" in the film series.
In 1998, Rowling sold the film rights of the first four Harry Potter books to Warner Bros. for a reported £1 million ($1,982,900).[153][154] Rowling demanded the principal cast be kept strictly British, nonetheless allowing for the inclusion of Irish actors such as the late Richard Harris as Dumbledore, and for casting of French and Eastern European actors in Harry Potter and the Goblet of Fire where characters from the book are specified as such.[155] After many directors including Steven Spielberg, Terry Gilliam, Jonathan Demme, and Alan Parker were considered, Chris Columbus was appointed on 28 March 2000 as director for Harry Potter and the Philosopher's Stone (titled "Harry Potter and the Sorcerer's Stone" in the United States), with Warner Bros. citing his work on other family films such as Home Alone and Mrs. Doubtfire and proven experience with directing children as influences for their decision.[156]

After extensive casting, filming began in October 2000 at Leavesden Film Studios and in London itself, with production ending in July 2001.[157][158] Philosopher's Stone was released on 14 November 2001. Just three days after the film's release, production for Harry Potter and the Chamber of Secrets, also directed by Columbus, began. Filming was completed in summer 2002, with the film being released on 15 November 2002.[159] Daniel Radcliffe portrayed Harry Potter, doing so for all succeeding films in the franchise.

Columbus declined to direct Harry Potter and the Prisoner of Azkaban, only acting as producer. Mexican director Alfonso Cuarón took over the job, and after shooting in 2003, the film was released on 4 June 2004. Due to the fourth film beginning its production before the third's release, Mike Newell was chosen as the director for Harry Potter and the Goblet of Fire, released on 18 November 2005.[160] Newell became the first British director of the series, with television director David Yates following suit after he was chosen to helm Harry Potter and the Order of the Phoenix. Production began in January 2006 and the film was released the following year in July 2007.[161] After executives were "really delighted" with his work on the film, Yates was selected to direct Harry Potter and the Half-Blood Prince, which was released on 15 July 2009.[162][163][164][165]


Gringotts Wizarding Bank as seen in the film series.
In March 2008, Warner Bros. President and COO Alan F. Horn announced that the final instalment in the series, Harry Potter and the Deathly Hallows, would be released in two cinematic parts: Part 1 on 19 November 2010 and Part 2 on 15 July 2011. Production of both parts started in February 2009, with the final day of principal photography taking place on 12 June 2010.[166][167]

Rowling had creative control on the film series, observing the filmmaking process of Philosopher's Stone and serving as producer on the two-part Deathly Hallows, alongside David Heyman and David Barron.[168] The Harry Potter films have been top-rank box office hits, with all eight releases on the list of highest-grossing films worldwide. Philosopher's Stone was the highest-grossing Harry Potter film up until the release of the final instalment of the series, Deathly Hallows, while Prisoner of Azkaban grossed the least.[169] As well as being a financial success, the film series has also been a success among film critics.[170][171]

Opinions of the films are generally divided among fans, with one group preferring the more faithful approach of the first two films, and another group preferring the more stylised character-driven approach of the later films.[172] Rowling has been constantly supportive of all the films and evaluated Deathly Hallows as her "favourite one" in the series.[173][174][175][176] She wrote on her website of the changes in the book-to-film transition, "It is simply impossible to incorporate every one of my storylines into a film that has to be kept under four hours long. Obviously films have restrictions novels do not have, constraints of time and budget; I can create dazzling effects relying on nothing but the interaction of my own and my readers' imaginations".[177]

At the 64th British Academy Film Awards in February 2011, Rowling was joined by producers David Heyman and David Barron along with directors David Yates, Alfonso Cuarón and Mike Newell in collecting the Michael Balcon Award for Outstanding British Contribution to Cinema on behalf of all the films in the series. Actors Rupert Grint and Emma Watson, who play main characters Ron Weasley and Hermione Granger, were also in attendance.[178][179]

Spin-off prequels[edit]
A new trilogy of films, beginning with Fantastic Beasts and Where to Find Them, will take place before the main series. The films will be released in November 2016, 2018 and 2020 respectively. Rowling wrote the screenplay for the first instalment, marking her first foray into screenwriting.

Games[edit]
There are thirteen Harry Potter video games, eight of which correspond with the films and books, and five other spin-offs. The film/book based games are produced by Electronic Arts, as was Harry Potter: Quidditch World Cup, with the game version of the first entry in the series, Philosopher's Stone, being released in November 2001. Harry Potter and the Philosopher's Stone went on to become one of the best selling PlayStation games ever.[180] The video games are released to coincide with the films, containing scenery and details from the films as well as the tone and spirit of the books. Objectives usually occur in and around Hogwarts, along with various other magical areas. The story and design of the games follows the selected film's characterisation and plot; EA worked closely with Warner Brothers to include scenes from the films. The last game in the series, Deathly Hallows, was split with Part 1 released in November 2010 and Part 2 debuting on consoles in July 2011. The two-part game forms the first entry to convey an intense theme of action and violence, with the gameplay revolving around a third-person shooter style format.[181][182] The spin-off games, Lego Harry Potter: Years 1–4 and Lego Harry Potter: Years 5–7 are developed by Traveller's Tales and published by Warner Bros. Interactive Entertainment. The spin-off games Book of Spells and Book of Potions are developed by SCE London Studio and utilise the Wonderbook; an augmented reality book which is designed to be used in conjunction with the PlayStation Move and PlayStation Eye.[183][184]

Titles in the series of Harry Potter games
Year Title Platform(s) Acquired label(s)
Console Computer Handheld
2001 Harry Potter and the Philosopher's Stone
PS1 PS2 Xbox GameCube
Windows Mac OS X
Game Boy Color GBA
PlayStation Greatest Hits
2002 Harry Potter and the Chamber of Secrets
PS1 PS2 Xbox GameCube
Windows Mac OS X
Game Boy Color GBA
PlayStation 2 Greatest Hits
Xbox Platinum Family Hits
GameCube Player's Choice
2003 Harry Potter Quidditch World Cup
PlayStation 2 Xbox GameCube
Windows
Game Boy Advance
PlayStation 2 Greatest Hits
Xbox Platinum Family Hits
2004 Harry Potter and the Prisoner of Azkaban
PlayStation 2 Xbox GameCube
Windows
Game Boy Advance
PlayStation 2 Greatest Hits
Xbox Platinum Family Hits
Gamecube Player's Choice
2005 Harry Potter and the Goblet of Fire
PlayStation 2 Xbox GameCube
Windows
Game Boy Advance NDS PSP
PlayStation 2 Greatest Hits
2007 Harry Potter and the Order of the Phoenix
PlayStation 2 PlayStation 3 Xbox 360 Wii
Windows Mac OS X
Game Boy Advance NDS PSP
N/A
2009 Harry Potter and the Half-Blood Prince
PlayStation 2 PlayStation 3 Xbox 360 Wii
Windows Mac OS X
NDS PSP Mobile Game
N/A
2010 Lego Harry Potter: Years 1–4
PlayStation 3 Xbox 360 Wii
Windows Mac OS X
NDS PSP
N/A
Harry Potter and the Deathly Hallows – Part 1
PlayStation 3 Xbox 360 Wii
Windows
NDS
N/A
2011 Harry Potter and the Deathly Hallows – Part 2
PlayStation 3 Xbox 360 Wii
Windows
NDS
N/A
Lego Harry Potter: Years 5–7
PlayStation 3 Xbox 360 Wii
Windows Mac OS X
NDS PSP 3DS PS Vita
N/A
Harry Potter for Kinect
Xbox 360
N/A N/A N/A
2012 Book of Spells
PlayStation 3
N/A N/A N/A
2013 Book of Potions
PlayStation 3
N/A N/A N/A
A number of other non-interactive media games have been released; board games such as Cluedo Harry Potter Edition, Scene It? Harry Potter and Lego Harry Potter models, which are influenced by the themes of both the novels and films.

Audiobooks[edit]
All seven Harry Potter books have been released in unabridged audiobook versions, with Stephen Fry reading the UK editions, and Jim Dale voicing the series for the American editions.[185][186]

Stage production[edit]
Main article: Harry Potter and the Cursed Child
On 20 December 2013, J. K. Rowling announced that she was working on a Harry Potter–based play for which she would be one of the producers. British theatre producers Sonia Friedman and Colin Callender will be the co-producers.[187][188]

On 26 June 2015, on the anniversary of the debut of the first book, Rowling revealed via Twitter that the Harry Potter stage play would be called Harry Potter and The Cursed Child.[189] The Production is expected to open in the summer of 2016 at London's Palace Theatre, London.[190] The first four months of tickets for the June–September performances were sold out within several hours upon release.[191] On 10 February 2016, it was announced via the Pottermore website, that the script would be released in book form, the day after the play's world premiere, making this the 8th book in the series, with events set nineteen years after the closing chapter of Harry Potter and the Deathly Hallows.[192][193]

Attractions[edit]
The Wizarding World of Harry Potter[edit]
Main article: The Wizarding World of Harry Potter

Hogwarts Castle as depicted in the Wizarding World of Harry Potter located in Universal Orlando Resort's Island of Adventure.
After the success of the films and books, Universal and Warner Brothers announced they would create The Wizarding World of Harry Potter, a new Harry Potter-themed expansion to the Islands of Adventure theme park at Universal Orlando Resort in Florida. The land officially opened to the public on 18 June 2010.[194] It includes a re-creation of Hogsmeade and several rides. The flagship attraction is Harry Potter and the Forbidden Journey, which exists within a re-creation of Hogwarts School of Witchcraft and Wizardry. Other rides include Dragon Challenge, a pair of inverted roller coasters, and Flight of the Hippogriff, a family roller coaster.

Four years later, on 8 July 2014, Universal opened a Harry Potter-themed area at the Universal Studios Florida theme park. It includes a re-creation of Diagon Alley and connecting alleys and a small section of Muggle London. The flagship attraction is Harry Potter and the Escape from Gringotts roller coaster ride. Universal also added a completely functioning recreation of the Hogwarts Express connecting Kings Cross Station at Universal Studios Florida to the Hogsmeade station at Islands of Adventure. Both Hogsmeade and Diagon Alley contain many shops and restaurants from the book series, including Weasley's Wizard Wheezes and The Leaky Cauldron.

On 15 July 2014, The Wizarding World of Harry Potter opened at the Universal Studios Japan theme park in Osaka, Japan. It includes the village of Hogsmeade, Harry Potter and the Forbidden Journey ride, and Flight of the Hippogriff roller coaster.[195][196]

There is also The Wizarding World of Harry Potter under construction at the Universal Studios Hollywood theme park near Los Angeles, California, with a planned opening in April 2016.[197][198]

United Kingdom[edit]
In March 2011, Warner Bros. announced plans to build a tourist attraction in the United Kingdom to showcase the Harry Potter film series. Warner Bros. Studio Tour London is a behind-the-scenes walking tour featuring authentic sets, costumes and props from the film series. The attraction is located at Warner Bros. Studios, Leavesden, where all eight of the Harry Potter films were made. Warner Bros. constructed two new sound stages to house and showcase the famous sets from each of the British-made productions, following a £100 million investment.[199] It opened to the public in March 2012.[200]
Aimlessly swimming in circumcisions
Twilight Sparkle paced nervously in Ponyville Library. In spite of preparing the town, she didn't feel any safer. Nothing she did made her feel as though she had prevented the unknown disaster from happening.

"Maybe you ought to give the pacing a rest," Spike said, stifling a laugh, "You've worn a groove into the floor."

Twilight stood in a deep trench of her own making and stared impatiently at her assistant.

"I don't have time for another one of your lectures, Spike," Twilight Sparkle said, "This is serious!"

"My... lectures?" Spike said dubiously. Twilight continued pacing as she worried about what to do.

"I did everything I could think of to change the future, but it didn't work," Twilight Sparkle said, "So maybe it's not what I do, maybe it's what I don't do!"

Teleporting out of her hoof hewn hole, Twilight appeared beside a bookshelf and stood stock still.

"If I stand right here and don't move a muscle until next Tuesday, I can't possibly do whatever it is that future Twilight wanted to warn me not to do!" Twilight said hopefully. Her assistant looked at her dubiously.

"Really?" Spike said, "So, no matter what happens, you're not gonna' move a muscle, huh?" The wheels in Spike's head were turning as he looked at Twilight's immobile frame. He knew that as long as she remained in her current state, he could do anything he wanted.

"Anything," he thought devilishly.

"Then maybe you won't mind if I... eat an entire tub of ice cream!" Spike momentarily left the room and returned almost immediately with a large tub of strawberry ice cream that was nearly as big as he was.

Twilight had prohibited him from binging on sweets, but now that she was immobilized, he was free to do as he pleased. Sweat formed on Twilight's brow as she tried to keep from moving. Spike flaunted his new unfettered freedom in front of her as he savored each scoop of ice cream. He enjoyed it even more because Twilight was watching him do it.

"Mmmm... ah!" Spike moaned delightedly, "So good!"

Twilight exclaimed in frustration as she watched her assistant succumb to his baser instincts. The desire for ice cream was overpowering his self control. Spike took another heaping spoonful as he walked back into the kitchen to get more sweets.

The naughty dragon soon returned with a can of whipped cream, frozen bananas, maraschino cherries and a bottle of chocolate sauce.

Twilight didn't turn her head, but she could hear noisy, messy sounds from behind her. She started sweating as Spike made a sloppy banana split. Whipped cream and chocolate sauce were getting all over the floor.

"Ah, Spike stop!" Twilight said, through clenched teeth. She attempted to reprimand her dragon without moving from her spot, "Think of the stomachache!"

Spike scoffed at her warning, while licking chocolate sauce off his fingers with his long, reptilian tongue.

"Stomachache, huh?" the dragon chuckled, "That's future Spike's problem."

The devious dragon stared hungrily at Twilight's butt. He then looked at the squirtable bottle of chocolate sauce before looking back at Twilight. An evil grin spread across his face as he licked his lips. Spike was determined to test Twilight's resolve. He was curious to see what lengths she would go through in her desperate desire to stand still.

Without any warning, Spike shoved the bottle nozzle up Twilight Sparkle's ass. Her eyes went wide immediately as her assistant anally assaulted her. Spike giggled maliciously as she squirmed in discomfort.

"Spike, pull it out!" Twilight said, panicking, "This isn't funny!"

"Maybe not from where you're standing," Spike said, "but from back here it looks hilarious!"

The dragon squeezed the bottle, filling Twilight's butt with chocolate syrup. The container made a sickening, squelching sound as its contents poured into the unicorn's poo passage. Rich, brown chocolate sauce slowly began leaking from Twilight's anal ring.

"Now that's what I call a fudge factory!" Spike said, eagerly.

After a couple more thick squirts, Spike removed the bottle and watched her purple sphincter dribble chocolate sauce onto her slit. In spite of the anal food play, Twilight refused to budge from where she stood. She breathed heavily as she felt the cold syrup cling to her anal walls.

Spike glanced over at his other sweets while contemplating his next move. Grabbing a frozen banana with sadistic glee, Spike moved it towards Twilight's syrupy sluice chute.

"I think I've just discovered a new way to make chocolate-covered bananas," Spike said, as he pressed the tip of the frozen fruit against her fart factory.

"No!" Twilight said through clenched teeth. The stubborn unicorn was determined to not move, no matter what happened.

"Don't!" Twilight pleaded while clenching her butt, "It's cold." Spike smiled smugly as he listened to her beg.

"If it's cold," Spike said, "then I'd better stick it someplace warm to thaw it out."

Spike then slid half of the frozen banana up Twilight's ass. The unicorn groaned in pain as she felt the chocolate syrup being pushed deeper inside her rectum by the frozen fruit. She wiggled her butt in a futile attempt to dislodge the banana.

"Ah ah ah!" Spike scolded as he grabbed her rear, "I thought you were standing still to prevent the disaster."

Twilight stopped squirming and let out a worried gulp.

"He's right," Twilight thought, "I can't allow myself to do anything; no matter what happens!"

Twilight stopped wiggling and gave an uneasy whimper as Spike pushed the entire banana into her butt. Twilight shivered as she felt each inch slide inside her. She gave an involuntary moan as Spike moved the chocolatey fruit in and out of her hot hole several times. The slick chocolate sauce made her banana buggering more bearable, but it was still painful. The near-constant stimulation of her purple poop chute was causing Twilight to feel a new and different sensation: Pleasure.

The young dragon felt himself grow hard as he painfully pierced her pert, purple pooter with the prodigious potassium proxy prick. With his other hand, Spike clutched his member and slowly started stroking himself. The dragon's musk smelled of brimstone as a bead of his hot precum dripped onto the floor. His "little spikey-wikey" was rock hard by the time he eventually removed the fruit.

The banana had acquired a thick chocolate coating, courtesy of her rectal reaming. Twilight's stretched ass dripped sticky brown syrup onto the floor as her sphincter kept opening and closing.

"Thank Celestia that's over," Twilight thought, "I don't know if I could've taken anymore."

Spike walked around to show Twilight the chocolate-covered banana she made. His stiff cock bobbed up and down as he moved. Twilight stared at the chocolaty banana that had recently been inside her. Spike smiled at her awkward expression. She tried to focus on remaining still, but she couldn't help but blush as she stared at her assistant's erect dragonhood.

"Wanna lick?" Spike asked. Twilight wasn't sure if he was referring to the banana or his penis. Neither one seemed like a pleasant option. Twilight stood still as sweat ran down her blushing cheeks.

Frustrated by her stoney silence, Spike took the banana and pressed it to Twilight's lips; trying to force it inside.Twilight kept her mouth shut and her teeth clenched.

"Mmmm!" Twilight said through clenched teeth, "Stop!"

She could smell the scent of her own ass on the banana as Spike rubbed it against her, smearing chocolate sauce and anal juice on her mouth like lipstick.

After a few moments of Twilight keeping her mouth shut, Spike pulled the banana away in defeat.

"Fine," Spike said as he walked behind Twilight, "If you won't swallow the banana, maybe I can convince your other set of lips to do it instead."

Twilight's eyes went wide and she clenched her vaginal muscles in fear.

Approaching her purple mountains' majesty, Spike felt a sudden swelling of patriotism. "Patriotism" was a euphemism for his penis. With his free hand, Spike spread Twilight's pussy lips as he pressed the chocolatey banana against her hungry hungry hump hole.

Twilight winced as she felt the banana enter her velvet-lined meat wallet. Her wet folds cradled the fruit as Spike pushed until only the tip was sticking out.

"You've heard of a banana split," Spike said, "Well, I've just invented the banana slit!"

Twilight's knees were slightly shaking as she tried to focus on standing perfectly still. Spike stopped for a moment to admire his handiwork. Twilight's ass had a messy, chocolate ring around her sphincter, a frozen banana had been shoved up her cunt, and syrup from her ass was smeared on her lips.

"You're a pretty dirty filly," Spike said bemused, "Don't worry, though. I'll clean you up."

Placing his hands on her flanks, Spike spread Twilight's cheeks to allow him better access to her chocolate-scented starfish. He then proceeded to give Twilight's asshole a reptilian rimjob; removing all the chocolate and tickling her at the same time.

"Please stop, Spike," Twilight whimpered, "This is no was for my number one assistant to behaaaay!"

Twilight's words were interrupted as her number one assistant stuck his tongue inside her number two. Using his obscenely long tongue, Spike flicked and licked as he sucked all the chocolate sauce out of Twilight's ass. His rapacious rectal router completely cleaned her crap canal of sweet syrup.

Once he was satisfied, Spike retracted his tongue. His lips were covered in chocolate sauce, which he wiped away with his arm.

"You did always tell me to clean up after myself," Spike said, "And now that the chocolate syrup's gone, I've got another game we can play."



Around that time, Rainbow Dash entered the library. She was there to report about safety procedures throughout Equestria.

"Hey Twilight!" Rainbow Dash said, "Another pegasus just got back from Baltimare with an all clear and..."

Rainbow Dash stopped and stared when she saw Twilight. The librarian was standing unnaturally still beside a bookshelf. Ice cream toppings littered the area as her assistant was stuffing maraschino cherries into Twilight's asshole.

"Five... six... seven," Spike said calmly as he counted each cherry that went into her tight anal ring. Twilight flinched as her sensitive sphincter reluctantly accepted each syrupy cherry.

Rainbow Dash stared in disbelief before she burst out laughing at the ridiculousness of the situation.

"What's going on?" Rainbow Dash asked, "Aren't you gonna stop him?" Twilight didn't say anything.

"She sure isn't," Spike said mischievously, "In fact, she's not gonna move 'til next Tuesday. She thinks it'll prevent the disaster from happening."

"Oh, this is too rich," Rainbow Dash said. She lazily flapped her wings over to where Twilight was standing. Staring straight ahead, Twilight looked thoroughly humiliated.

"Nice lipstick," Rainbow Dash said mockingly as she stared at the brown syrup smeared on Twilight's lips, "It looks like you've been making out with a chocolate mousse moose."

Twilight ignored Rainbow Dash's comments while still refusing to move. She distracted herself from the cherries in her rectum by focusing on the banana in her pussy. Her vaginal muscles squeezed its thawing surface as she bit her lip.

Spike eventually stuffed the entire jar of maraschino cherries into Twilight's butt. She cried in pain and embarrassment as saccharine red syrup dribbled out her hole. Spike stuck his middle finger up her ass in an effort to push the cherries in deeper. Twilight whimpered and moaned as the various cherries rubbed against her anal canal.

"You can do whatever you want to her," Spike said as he set down the now empty cherry jar, "and she won't say anything!"

"Really?" Rainbow Dash said, mischievously. She had always secretly had a thing for eggheads and was eager to have fun with the statuesque Twilight.

Spike grabbed the tip of the banana and slowly pulled it out. Twilight's warm bitch bisque had helped thaw out the fruit, which was now coated in chocolate sauce and vaginal juices.

"Are you gonna eat that?" Rainbow Dash asked as she looked at the dripping banana, "I'm starving."

Spike tossed the lubed fruit to Rainbow Dash, who eagerly caught it in her hooves. She then began to fellate the banana in front of Twilight. Rainbow Dash cleaned it thoroughly; licking off all the sauce and lube. Twilight was disgusted, but Spike couldn't contain his laughter.

"You do know that was in Twilight's ass at one point?" Spike asked.

Rainbow Dash opened her eyes and paused for a moment. After thinking about it for a second, she shrugged her shoulders dismissively and resumed fellating the banana.

Once it was thoroughly cleaned, Rainbow Dash slid the entire banana into her mouth. The oblong shape made her cheeks poke out. After savoring the size, she started chewing it up, but she didn't swallow.

Once her mouth was full of banana mush, Rainbow Dash leaned over and kissed Twilight on the lips. Twilight was so surprised that she slightly opened her mouth. This gave Rainbow Dash enough of an entrance to force her tongue inside.

Like a mother bird giving nourishment to her chicks, Rainbow Dash regurgitated the banana mush into Twilight's mouth, filling her with prechewed potassium paste.

"Gross gross gross gross gross gross gross," Twilight repeated inside her head as her mouth was filled with her friend's saliva slurry.

Rainbow Dash held the kiss as Twilight's cheeks bulged with the already-been-chewed banana. It was warm and wet as it filled every corner of her mouth.

Eventually, Twilight reluctantly swallowed the mush. She shuddered from revulsion as the banana goo traveled down her throat.

After a long pause, Rainbow Dash finally broke the kiss. Her mouth was now the one smeared with chocolate.

"Rarity's not the only pony who's into sharing," Rainbow Dash said, coyly. Twilight just stared ahead, blankly. She couldn't mentally process what was happening to her.

"Ever since Pinkie Pie showed me how much fun it was to combine food and sex, I just can't get enough of either," Rainbow Dash said, "A craving for one triggers a craving for the other. It's a vicious cycle."

Rainbow Dash felt herself getting moist at the thought of food.

"Spike," Rainbow Dash said, "Slide that tub of ice cream over here."

"Sure thing," Spike said as he pushed the strawberry ice cream until it slid to a stop in front of Rainbow Dash. She turned around and set the ice cream in front of her. Rainbow Dash then hiked her tail up and revealed her glistening marehood. Twilight stared at her friend's vulva, which was dripping wet from arousal.

"I know you're a captive audience," Rainbow Dash said as she started rubbing her clitoral hood, "which is good, 'cause I like being watched."

Averting her eyes turned out to not be an issue, as Twilight found that she couldn't look away. She was hypnotized by Rainbow Dash's sensual rubbing motions. The perverted pegasus continued polishing her pearl while feasting on runny strawberry ice cream. She buried her head in the bucket, taking bite after bite as her entire mouth area was dripping with sticky, sweet strawberry goodness.



While this was going on, Spike was shaking up the can of whipped cream.

"This is gonna feel so good," Spike said as he stuck the whipped cream nozzle into Twilight's cunt. With a loud spraying sound, he filled up her cooch with white dessert topping. The light and fluffy whipped cream tickled Twilight's nethers. She tried to keep from laughing as soft cream clung to her vulva.

A cherry stem was sticking out of Twilight's butthole. Spike pulled the cherry out, which further stimulated her stuffed sphincter.

"Bet you didn't think I'd be the one to take your anal cherry," Spike said, bemused.

Spike ate the cherry before placing his hands on Twilight's ass. He looked forward and watched Rainbow Dash clopping inches away from Twilight's face. She made disgusting slurping sounds as the sweet taste of ice cream only served to enhance her pleasure during masturbation.

Spike stood on top of a thick book as he slid his hard dragonhood into Twilight's whipped cream-filled pussy.

"Ah yeah, now that's the stuff!" Spike said, as he shoved his Twinkie inside Twilight's Fruit Pie.

His tool tingled from the texture of the fluffy whipped cream as Twilight took him to the hilt. A gross cacophony of squelching sounds emanated from Twilight's twat as Spike humped her with increasing speed. Flecks of whipped cream were flying from the point of contact as Spike passionately pounded her purple penis purse.

In spite of her earlier objections, Twilight couldn't deny that this was starting to feel good. She was ashamed to admit it, but on some level, she enjoyed being used like this.

When he thought he was on the verge of cumming, Spike pulled out for a moment to cool down; leaving his tip inside. Spike and Twilight's crotches were covered in wet whipped cream.

While he was taking a break, Spike used Twilight's ass as his personal cherry dispenser. Each time he pulled a cherry out by the stem, another cherry would roll into place, with the stem poking out of her butt.

"Tomorrow we should try this with carrots," Spike said to Twilight, "You're always telling me I should eat more veggies."



Rainbow Dash's hoof was slick from her own lube as she mashed her mare mound.

"This feels so awesome!" Rainbow Dash said in between bites of ice cream.

"Please stop," Twilight said, "I've got to stand still to change the future. Just leave me alone."

"Aw, c'mon, Twilight," Rainbow Dash said, "I thought you wanted to prevent the disaster."

"How is masturbating in front of me supposed to stop the disaster?" Twilight asked through clenched teeth.

"Think about it," Rainbow Dash said, "When you saw future Twilight, was her face covered in my jizz?"

"No," Twilight said, hesitantly.

"So if I squirt on you and you don't wash it off," Rainbow Dash said, "then the disaster can't possibly happen!"

"But that's disgusting!" Twilight said. She winced as Spike pulled an especially large cherry from her butt.

"Nopony said saving Equestria would be easy," Rainbow Dash said, "You don't see Spike and me complaining, do you?"

"No," Twilight said defeatedly.

Rainbow Dash rubbed her blue nub harder while making the most adorable coos and squeaks. She had what looked like a pink beard made of runny strawberry ice cream. Twilight couldn't help but watch as her friend was pushed over the orgasmic edge.

"I think I'm cumming!" Rainbow Dash said, "Gotta' juice!"

Twilight resisted the urge to turn her head and stood perfectly still as Rainbow Dash squirted her climax on Twilight. Clear clit spit erupted from her blue pussy, spraying Twilight's face and mane. Rainbow Dash's whole body shuddered as she rode out her orgasm. Her spent blue body slumped to the ground in order to better enjoy her afterglow.

Being jizzed on by Rainbow Dash startled Twilight so much that she involuntarily clenched her butt muscles, crushing the soft cherries inside her into red mush. Crimson juice dribbled out of Twilight's ass, looking like blood.

Spike pulled his dick out completely and took a step back to examine Twilight. Whipped cream was smeared all over her vagina. Spike looked down and saw the same cream coating his cock and covering his crotch.

Red cherry juice was leaking from Twilight's ass as she stood there while Rainbow Dash's jizz dripped off her face and onto the ground. The combination of the fluffy white whipped cream, topped with red cherry juice made Twilight's backside look like Jolly Old Saint Clitoris.

Overcome with Hearth's Warming Eve spirit, Spike mounted Twilight. He filled her hotdog hotel while singing his own version of a beloved Hearth's Warming Eve hymn.

"Jolly Old Saint Clitoris,

Rub my throbbing choad!

Don't you spill a single sperm

when I blow my load:

My dick will be coming soon;

Sheltered from this storm.

On this cold Hearth's Warming Eve;

You have kept me warm.

When my cock is pounding fast,

When I'm delving deep,

Big Mac's penis, broad and black,

down your throat will creep

All the stallions you will find

Standing in a row

Watch us as we spit roast you,

while their members grow

Braeburn wants to deep throat you,

Caramel wants a lick

Pokey wants to take your ass,

with his pulsing prick!

As for little dragon me

I won't ask for much.

Make me cum, dear Clitoris,

with your magic touch." Spike said.

Spike felt his orgasm swiftly approaching, so he pulled out in order to delay the game.

"Hey, Rainbow Dash," Spike said, "Bring that melty ice cream over here. I want to try something."

Rainbow obeyed and held the container next to Spike. He looked inside and saw that the container was empty.

"You flying pig!" Spike said annoyed, "I was going to use that melty ice cream as lube so I could fist Twilight's ass. Now what am I supposed to do?"

Rainbow Dash was looking a little ill.

"Sorry, Spike," Rainbow Dash said, her face turning green, "If you need your hand slicked up, I could suck your fingers, or..." Her offer was interrupted as her whole body twitched. Rainbow Dash then proceeded to spray projectile vomit onto the library floor. Twilight winced as she listend to her friend throw up, but she still refused to move from her spot.

Milky vomit flowed from Rainbow Dash's mouth as Spike ran his arm through the stream. When she was done vomiting, Rainbow Dash sat there shaking. A ring of vomit hung around her lips as she drooled onto her chest.

Spike held up his right hand, which was dripping with Rainbow Dash's ice cream vomit. Using his left hand, Spike spread Twilight's ass cheeks.

He could see her butt oozing red juice as the mushy cherries that filled her rectum started leaking out. Spike took his ice cream-covered hand and inserted a finger inside. Then another. Then another. Eventually, he had stretched Twilight's shitter wide enough to fit his entire scaly hand inside. Spike grabbed a clawful of cherry mush from within Twilight's rear and began fisting her mercilessly. The slick vomit reduced some of the sting, but it was still the most painful thing Twilight had ever experienced.

"Bad dragon!" Twilight screamed, as she shook her head, "Bad dragon! Bad dragon!" While not her most eloquent response, it got her point across. Not that it mattered. Spike knew that she wasn't going to do anything to stop him.

"That's right," Spike said, "I'm a very bad dragon." Twilight screamed as Spike pulled his fist out of her ass. In Spike's scaly grip he held a handful of cherry mush. Twilight cried pitiably as her distended rectum protruded out of her anus. Spike looked at her ruined rear end and chuckled.

"Your ass is going to be sore in the morning," Spike said, smirking, "Don't worry though, that's Future Twilight's problem."

After vomiting up her stomach contents, Rainbow Dash was hungry again. She had been watching the fisting happen in silent awe and was now interested in sampling the anally crushed cherries.

"Twilight's cherry mush," Rainbow Dash whispered hopefully, "Give it to me, please!"

Spike smiled as he smeared the red paste all over his cock.

"You want it?" Spike said as he pointed to his dick, "Come and get it."

Without a moment's hesitation, Rainbow Dash rushed forward and began sucking all the cherry mush off Spike's cock. The pleasures of food and sex were interchangeable to her now. Rainbow Dash's sticky blue face was stained red as she slathered his dragonhood with saliva. Spike moaned in delight as Rainbow Dash fellated him like a pro.

"It's so good," Rainbow Dash moaned, "So warm and delicious."

Spike could feel his orgasm swelling from Rainbow Dash's ministrations. His pleasure was nearing its peak and he had no intention of stopping it this time. He smiled as he stared at the several inches of intestinal tract which were hanging out of Twilight's ass. He knew that's where he wanted to blow his load.

Rainbow Dash licked her lips as she swallowed the last of the cherry mush. Spike knew he was about to cum and ran over to Twilight, who was still standing there due to sheer force of will and stubbornness.

Spike used one hand to hold up Twilight's distended rectum and used his other hand to guide his throbbing dick inside. With one hard thrust, Spike pushed Twilight's butt back inside her and came within her bowels. Load after load of hot dragon spunk flooded her bleeding asshole.

The sensation of being filled with her assistant's jizz caused Twilight to turn her head around to look at him. The pleasure from Spike's climax was too much for him to control. He let out a big belch that blasted Twilight square in the face with fire.

The heat evaporated all of Rainbow Dash's cum off Twilight's face. It also singed her mane into a really weird style. Spike pulled out and flopped onto the floor. His cock was still twitching as it shrunk back into its protective pouch.

Twilight ran to a mirror to examine her face. As she ran, cum fell out of her gaping asshole and splattered onto the library floor.

"Oh, no!" Twilight said,"This is the same mane cut as Future Twilight. It's another sign that the future hasn't changed."

"Well, I guess you just can't change the future," Spike said, while basking in his afterglow, "So you might as well accept it."

Twilight looked back at Spike and Rainbow Dash, who were taking turns filling their mouths with whipped cream while lazily playing with their private parts.

"Yeah," Rainbow Dash said, "You should try and enjoy yourself, like us."

Twilight's stern face formed into a sly smile.

"You're right," she said, "You two have shown me how much fun food sex can be."

Spike and Rainbow Dash smiled proudly, until Twilight used her magic to hold them suspended above her in the air.

"What's the big idea?" Rainbow Dash said, "Can't you take a joke? All we wanted was a little fun."

"I know," Twilight said, "And it looked like so much fun, too. I thought you two might like to know how it feels to be raped when you're immobilized."

Twilight tied Spike and Rainbow Dash with ropes so that they were suspended from the ceiling. She then levitated two large cucumbers out of the kitchen and had them hovering in front of Rainbow Dash and Spike.

They both gave an uneasy gulp.

"There's no way that thing will fit inside me," Spike said.

"Please tell me you're at least going to use lube," Rainbow Dash said.

"Of course," Twilight replied. She then revealed a bottle of hot sauce, which she proceeded to pour liberally onto the cucumbers.

"There. Nice and slick," Twilight said.

"How... how long do you plan to keep us here?" Rainbow Dash asked, horrified.

"Oh, just 'til next Tuesday," Twilight said, "If I bugger you from now until then, the disaster can't possibly happen."

Rainbow Dash let out a weak whimper and struggled futilely against her restraints.

"There there, Rainbow," Twilight said, "Nopony said saving Equestria would be easy."

Spike started moaning and groaning.

"What's the matter, Spike?" Twilight asked, patronizingly, "scared to lose your anal cherry?"

"It's not that," Spike said, "I've just gotten a terrible stomachache."

Rainbow Dash forgot all about her impending anal rape and burst out laughing.

"Told you so," Twilight said, "Now, prepare your anus."
"do it again and i'll insert my giant watermelon dick into your cornhole" ~ Smaguris
Harry Potter
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This article is about the series of seven novels. For other uses, including related topics and derivative works, see Harry Potter (disambiguation).
Harry Potter
The Harry Potter logo, used first in American editions of the novel series and later in films.
The Harry Potter logo first used for the American edition of the novel series (and some other editions worldwide), and then the film series.
Harry Potter and the Philosopher's Stone (1997)
Harry Potter and the Chamber of Secrets (199
Harry Potter and the Prisoner of Azkaban (1999)
Harry Potter and the Goblet of Fire (2000)
Harry Potter and the Order of the Phoenix (2003)
Harry Potter and the Half-Blood Prince (2005)
Harry Potter and the Deathly Hallows (2007)
Harry Potter and the Cursed Child (2016)[1]
Author J. K. Rowling
Country United Kingdom
Language English
Genre Fantasy, drama, young-adult fiction, mystery, thriller, Bildungsroman
Publisher Bloomsbury Publishing (UK)
Arthur A. Levine Books (US)
Little, Brown (UK)
Published 26 June 1997 – 21 July 2007,
31 July 2016[2] (initial publication)
Media type Print (hardback & paperback)
Audiobook
E-book (as of March 2012)[3]
No. of books 7
Website www.pottermore.com
Harry Potter is a series of fantasy novels written by British author J. K. Rowling. The novels chronicle the life of a young wizard, Harry Potter, and his friends Hermione Granger and Ron Weasley, all of whom are students at Hogwarts School of Witchcraft and Wizardry. The main story arc concerns Harry's struggle against Lord Voldemort, the Dark wizard who intends to become immortal, overthrow the Ministry of Magic, subjugate non-magic people and destroy anyone who stands in his way.

Since the release of the first novel, Harry Potter and the Philosopher's Stone, on 30 June 1997, the books have found immense popularity, critical acclaim and commercial success worldwide. They have attracted a wide adult audience as well as younger readers, and are often considered cornerstones of modern young adult literature.[4] The series has also had its share of criticism, including concern about the increasingly dark tone as the series progressed, as well as the often gruesome and graphic violence it depicts. As of July 2013, the books have sold more than 450 million copies worldwide, making them the best-selling book series in history, and have been translated into seventy-three languages.[5][6] The last four books consecutively set records as the fastest-selling books in history, with the final installment selling roughly eleven million copies in the United States within twenty-four hours of its release.

The series was originally published in English by two major publishers, Bloomsbury in the United Kingdom and Scholastic Press in the United States. A play, Harry Potter and the Cursed Child, based on a story by Rowling, is set to premiere in London on 30 July 2016 at the Palace Theatre, and its script will subsequently be published by Little, Brown as the eighth book in the series.[7] The original seven books were adapted into an eight-part film series by Warner Bros. Pictures, which has become the second highest-grossing film series of all time as of August 2015. The franchise has also generated much tie-in merchandise, making the Harry Potter brand worth in excess of $15 billion.[8]

A series of many genres, including fantasy, drama, coming of age and the British school story (which includes elements of mystery, thriller, adventure, horror and romance), the world of Harry Potter explores numerous themes and includes many cultural meanings and references.[9] According to Rowling, the main theme is death.[10] Other major themes in the series include prejudice, corruption, and madness.[11]

The success of the books and films has ensured that the Harry Potter franchise continues to expand, with numerous derivative works, a travelling exhibition that premiered in Chicago in 2009, a studio tour in London that opened in 2012, a digital platform on which J.K. Rowling updates the series with new information and insight, and a trilogy of spin-off films premiering in November 2016, among many other developments. Most recently, themed attractions, collectively known as The Wizarding World of Harry Potter, have been built at several Universal Parks & Resorts amusement parks around the world.

Contents [hide]
1 Plot
1.1 Early years
1.2 Voldemort returns
1.3 Nineteen years later
1.4 Supplementary works
2 Structure and genre
3 Themes
4 Origins
5 Publishing history
5.1 Translations
5.2 Completion of the series
5.3 Cover art
6 Achievements
6.1 Cultural impact
6.2 Commercial success
6.3 Awards, honours, and recognition
7 Reception
7.1 Literary criticism
7.2 Social impact
7.3 Controversies
8 Adaptations
8.1 Films
8.2 Games
8.3 Audiobooks
8.4 Stage production
9 Attractions
9.1 The Wizarding World of Harry Potter
9.2 United Kingdom
10 References
11 Further reading
12 External links
Plot[edit]
Further information: Harry Potter universe
The central character in the series is Harry Potter, an English orphan who discovers, at the age of eleven, that he is a wizard, though he lives in the ordinary world of non-magical people known as Muggles.[12] The wizarding world exists parallel to the Muggle world, albeit hidden and in secrecy. His magical ability is inborn, and children with such abilities are invited to attend exclusive magic schools that teach the necessary skills to succeed in the wizarding world.[13] Harry becomes a student at Hogwarts School of Witchcraft and Wizardry, a wizarding academy in Scotland, and it is here where most of the events in the series take place. As Harry develops through his adolescence, he learns to overcome the problems that face him: magical, social and emotional, including ordinary teenage challenges such as friendships, infatuation, romantic relationships, schoolwork and exams, anxiety, depression, stress, and the greater test of preparing himself for the confrontation in the real world that lies ahead, in wizarding Britain's increasingly-violent second wizarding war.[14]

Each novel chronicles one year in Harry's life[15] during the period from 1991 to 1998.[16] The books also contain many flashbacks, which are frequently experienced by Harry viewing the memories of other characters in a device called a Pensieve.

The environment Rowling created is intimately connected to reality. The British magical community of the Harry Potter books is inspired by 1990s British culture, European folklore, classical mythology and alchemy, incorporating objects and wildlife such as magic wands, magic plants, potions, and spells, flying broomsticks, centaurs and other magical creatures, the Deathly Hallows, and the Philosopher's Stone, beside others invented by Rowling. While the fantasy land of Narnia is an alternate universe and the Lord of the Rings' Middle-earth a mythic past, the wizarding world of Harry Potter exists in parallel within the real world and contains magical versions of the ordinary elements of everyday life, with the action mostly set in Scotland (Hogwarts), the West Country, Devon, London and Surrey in southeast England.[17] The world only accessible to wizards and magical beings comprises a fragmented collection of overlooked hidden streets, ancient pubs, lonely country manors and secluded castles invisible to the Muggle population.[13]

Early years[edit]
When the first novel of the series, Harry Potter and the Philosopher's Stone (published in America and other countries as Harry Potter and the Sorcerer's Stone) opens, it is apparent that some significant event has taken place in the wizarding world – an event so very remarkable, even the Muggles (non-magical people) notice signs of it. The full background to this event and Harry Potter's past is revealed gradually through the series. After the introductory chapter, the book leaps forward to a time shortly before Harry Potter's eleventh birthday, and it is at this point that his magical background begins to be revealed.

Harry's first contact with the wizarding world is through a half-giant, Rubeus Hagrid, keeper of grounds and keys at Hogwarts. Hagrid reveals some of Harry's history.[18] Harry learns that, as a baby, he witnessed his parents' murder by the power-obsessed Dark wizard Lord Voldemort, who subsequently attempted to kill him as well.[18] For reasons not revealed until the fifth book, the spell with which Voldemort tried to kill Harry rebounded. Harry survived with only a lightning-shaped scar on his forehead as a memento of the attack, and Voldemort disappeared afterwards. As its inadvertent saviour from Voldemort's reign of terror, Harry has become a living legend in the wizarding world. However, at the orders of the venerable and well-known wizard Albus Dumbledore, the orphaned Harry had been placed in the home of his unpleasant Muggle relatives, the Dursleys, who kept him safe but treated him poorly, having him live in a cupboard and do chores while doting on their spoiled son Dudley. Petunia Dursley was jealous of her sister's magical abilities as a child, and later came to believe that all wizards were freaks. Therefore, the Dursleys hated wizards, so they hid Harry's true heritage from him, saying his parents died in a car crash in the hope that he would grow up "normal".[18]

With Hagrid's help, Harry prepares for and undertakes his first year of study at Hogwarts. As Harry begins to explore the magical world, the reader is introduced to many of the primary locations used throughout the series. Harry meets most of the main characters and gains his two closest friends: Ron Weasley, a fun-loving member of an ancient, large, happy, but poor wizarding family, and Hermione Granger, a gifted and very hardworking witch of non-magical parentage.[18][19] Harry also encounters the school's potions master, Severus Snape, who displays a conspicuously deep and abiding dislike for him, and the Defence Against the Dark Arts teacher, Quirinus Quirrell, who later turns out to be controlled by Lord Voldemort. The first book concludes with Harry's second confrontation with Lord Voldemort, who, in his quest for immortality, yearns to gain the power of the Philosopher's Stone, a substance that bestows everlasting life.[18]

The series continues with Harry Potter and the Chamber of Secrets, describing Harry's second year at Hogwarts. He and his friends investigate a 50-year-old mystery that appears uncannily related to recent sinister events at the school. Ron's younger sister, Ginny Weasley, enrolls in her first year at Hogwarts, and finds an old notebook which turns out to be Voldemort's diary from his school days. Ginny becomes possessed by Voldemort through the diary and unconsciously opens the "Chamber of Secrets", unleashing an ancient monster, later revealed to be a basilisk, which begins attacking students at Hogwarts. The novel delves into the history of Hogwarts and a legend revolving around the Chamber that soon frightened everyone in the school. The book also introduces a new Defence Against the Dark Arts teacher, Gilderoy Lockhart, a highly cheerful, self-conceited wizard who goes around as if he is the most wonderful person who ever existed, who knows absolutely every single thing there is to know about everything, who later turns out to be a fraud. Harry discovers that prejudice exists in the wizarding world, and learns that Voldemort's reign of terror was often directed at wizards who were descended from Muggles. Harry also learns that his ability to speak the snake language Parseltongue is rare and often associated with the Dark Arts. The novel ends after Harry saves Ginny's life by destroying the basilisk and the enchanted diary which has been the source of the problems.

The third novel, Harry Potter and the Prisoner of Azkaban, follows Harry in his third year of magical education. It is the only book in the series which does not feature Lord Voldemort. Instead, Harry must deal with the knowledge that he has been targeted by Sirius Black, his father's best friend, and, according to the Wizarding World, an escaped mass murderer who assisted in the deaths of Harry's parents. As Harry struggles with his reaction to the dementors – dark creatures with the power to devour a human soul, which feed on despair – which are ostensibly protecting the school, he reaches out to Remus Lupin, a Defence Against the Dark Arts teacher who is eventually revealed to be a werewolf. Lupin teaches Harry defensive measures which are well above the level of magic generally executed by people his age. Harry came to know that both Lupin and Black were best friends of his father and that Black was framed by their fourth friend, Peter Pettigrew.[20] In this book, a recurring theme throughout the series is emphasised – in every book there is a new Defence Against the Dark Arts teacher, none of whom lasts more than one school year.

Voldemort returns[edit]
"The Elephant House", a small, painted red café where Rowling wrote a few chapters of Harry Potter and the Philosopher's Stone.
"The Elephant House" – One of the cafés in Edinburgh where Rowling wrote the first part of Harry Potter.
During Harry's fourth year of school (detailed in Harry Potter and the Goblet of Fire), Harry is unwillingly entered as a participant in the Triwizard Tournament, a dangerous contest where three "champions", one from each participating school, must compete with each other in three tasks in order to win the triwizard cup. This year, Harry must compete against a witch and a wizard "champion" from visiting schools Beauxbatons and Durmstrang, as well as another Hogwarts student, causing Harry's friends to distance themselves from him.[21] Harry is guided through the tournament by their new Defence Against the Dark Arts professor, Alastor "Mad-Eye" Moody, who turns out to be an impostor – one of Voldemort's supporters named Barty Crouch, Jr. in disguise. The point at which the mystery is unravelled marks the series' shift from foreboding and uncertainty into open conflict. Voldemort's plan to have Crouch use the tournament to bring Harry to Voldemort succeeds. Although Harry manages to escape, Cedric Diggory, the other Hogwarts champion in the tournament, is killed by Peter Pettigrew and Voldemort re-enters the wizarding world with a physical body.

In the fifth book, Harry Potter and the Order of the Phoenix, Harry must confront the newly resurfaced Voldemort. In response to Voldemort's reappearance, Dumbledore re-activates the Order of the Phoenix, a secret society which works from Sirius Black's dark family home to defeat Voldemort's minions and protect Voldemort's targets, especially Harry. Despite Harry's description of Voldemort's recent activities, the Ministry of Magic and many others in the magical world refuse to believe that Voldemort has returned.[22] In an attempt to counter and eventually discredit Dumbledore, who along with Harry is the most prominent voice in the wizarding world attempting to warn of Voldemort's return, the Ministry appoints Dolores Umbridge as the High Inquisitor of Hogwarts and the new Defence Against the Dark Arts teacher. She transforms the school into a dictatorial regime and refuses to allow the students to learn ways to defend themselves against dark magic.[22]

With Ron and Hermione's suggestion, Harry forms "Dumbledore's Army", a secret study group aimed to teach his classmates the higher-level skills of Defence Against the Dark Arts that he has learned from his previous encounters with Dark wizards. An important prophecy concerning Harry and Lord Voldemort is revealed,[23] and Harry discovers that he and Voldemort have a painful connection, allowing Harry to view some of Voldemort's actions telepathically. In the novel's climax, Harry and his friends face off against Voldemort's Death Eaters at the Ministry of Magic. Although the timely arrival of members of the Order of the Phoenix saves the children's lives, Sirius Black is killed in the conflict.

In the sixth book, Harry Potter and the Half-Blood Prince, Voldemort begins waging open warfare. Harry and his friends are relatively protected from that danger at Hogwarts. They are subject to all the difficulties of adolescence – Harry eventually begins dating Ginny, Ron establishes a strong infatuation with fellow Hogwarts student Lavender Brown, and Hermione starts to develop romantic feelings toward Ron. Near the beginning of the novel, lacking his own book, Harry is given an old potions textbook filled with many annotations and recommendations signed by a mysterious writer; "the Half-Blood Prince." This book is a source of scholastic success and great recognition from their new potions master, Horace Slughorn, but because of the potency of the spells that are written in it, becomes a source of concern. Harry takes private lessons with Dumbledore, who shows him various memories concerning the early life of Voldemort in a device called a Pensieve. These reveal that in order to preserve his life, Voldemort has split his soul into pieces, creating a series of horcruxes – evil enchanted items hidden in various locations, one of which was the diary destroyed in the second book.[24] Harry's snobbish adversary, Draco Malfoy, attempts to attack Dumbledore, and the book culminates in the killing of Dumbledore by Professor Snape, the titular Half-Blood Prince.

Harry Potter and the Deathly Hallows, the last book in the series, begins directly after the events of the sixth book. Lord Voldemort has completed his ascension to power and gained control of the Ministry of Magic. Harry, Ron and Hermione drop out of school so that they can find and destroy Voldemort's remaining horcruxes. To ensure their own safety as well as that of their family and friends, they are forced to isolate themselves. As they search for the horcruxes, the trio learns details about Dumbledore's past, as well as Snape's true motives – he had worked on Dumbledore's behalf since the murder of Harry's mother. Snape is killed by Voldemort out of paranoia.

The book culminates in the Battle of Hogwarts. Harry, Ron and Hermione, in conjunction with members of the Order of the Phoenix and many of the teachers and students, defend Hogwarts from Voldemort, his Death Eaters, and various dangerous magical creatures. Several major characters are killed in the first wave of the battle, including Remus Lupin and Fred Weasley. After learning that he himself is a horcrux, Harry surrenders himself to Voldemort in the Forbidden Forest, who casts a killing curse (Avada Kedavra) at him. The defenders of Hogwarts do not surrender after learning of Harry's presumed death and continue to fight on. Harry awakens and faces Voldemort, whose horcruxes have all been destroyed. In the final battle, Voldemort's killing curse rebounds off Harry's defensive spell (Expelliarmus) killing Voldemort. Also, as most viewers saw coming, Harry Potter marries and has children with Ginny Weasley and Hermione Granger marries and has children with Ronald Weasley.

An epilogue describes the lives of the surviving characters and the effects of Voldemort's death on the wizarding world. It also introduces the children of all the characters.

Nineteen years later[edit]
Main article: Harry Potter and the Cursed Child
Harry Potter and the Cursed Child is an upcoming two-part West End stage play, and the official eighth book in the Harry Potter book series,[25] which was written by Jack Thorne and based on a story by author J. K. Rowling, Thorne and director John Tiffany. The play is scheduled to open on July 30, 2016 at the Palace Theatre, London, England, and will feature Rowling collaborating with an experienced team to bring the production to the stage. The book will in-turn be released July 31, 2016.[26] The story is set nineteen years after the ending of Harry Potter and the Deathly Hallows and follows Harry Potter, now a Ministry of Magic employee, and his youngest son Albus Severus Potter.

The play's official synopsis was released on 23 October 2015:[27]

It was always difficult being Harry Potter and it isn’t much easier now that he is an overworked employee of the Ministry of Magic, a husband, and father of three school-age children.

While Harry grapples with a past that refuses to stay where it belongs, his youngest son Albus must struggle with the weight of a family legacy he never wanted. As past and present fuse ominously, both father and son learn the uncomfortable truth: sometimes, darkness comes from unexpected places.

Supplementary works[edit]

In-universe books[edit]
See also: J. K. Rowling § Philanthropy
Rowling has expanded the Harry Potter universe with several short books produced for various charities.[28][29] In 2001, she released Fantastic Beasts and Where to Find Them (a purported Hogwarts textbook) and Quidditch Through the Ages (a book Harry reads for fun). Proceeds from the sale of these two books benefitted the charity Comic Relief.[30] In 2007, Rowling composed seven handwritten copies of The Tales of Beedle the Bard, a collection of fairy tales that is featured in the final novel, one of which was auctioned to raise money for the Children's High Level Group, a fund for mentally disabled children in poor countries. The book was published internationally on 4 December 2008.[31][32] Rowling also wrote an 800-word prequel in 2008 as part of a fundraiser organised by the bookseller Waterstones.[33] All three of these books contain extra information about the wizarding world not included in the original novels.

Pottermore website[edit]
In 2011, Rowling launched a new website announcing an upcoming project called Pottermore.[34] Pottermore opened to the general public on 14 April 2012.[35] Pottermore allows users to be sorted, be chosen by their wand and play various minigames. The main purpose of the website was to allow the user to journey though the story with access to content not revealed by JK Rowling previously, with over 18,000 words of additional content.[36]

In September 2015 the website was completely overhauled and most of the features were removed. The site has been redesigned and it mainly focuses on the information already available, rather than exploration.[37]

Structure and genre[edit]
The Harry Potter novels are mainly directed at a young adult audience as opposed to an audience of middle grade readers, children, or adults. The novels fall within the genre of fantasy literature, and qualify as a unique type of fantasy called "urban fantasy", "contemporary fantasy", or "low fantasy". They are mainly dramas, and maintain a fairly serious and dark tone throughout, though they do contain some notable instances of tragicomedy and black humour. In many respects, they are also examples of the bildungsroman, or coming of age novel,[38] and contain elements of mystery, adventure, horror, thriller, and romance. They can be considered part of the British children's boarding school genre, which includes Rudyard Kipling's Stalky & Co., Enid Blyton's Malory Towers, St. Clare's and the Naughtiest Girl series, and Frank Richards's Billy Bunter novels: the Harry Potter books are predominantly set in Hogwarts, a fictional British boarding school for wizards, where the curriculum includes the use of magic.[39] In this sense they are "in a direct line of descent from Thomas Hughes's Tom Brown's School Days and other Victorian and Edwardian novels of British public school life", though they are, as many note, more contemporary, grittier, darker, and more mature than the typical boarding school novel, addressing serious themes of death, love, loss, prejudice, coming-of-age, and the loss of innocence in a 1990's British setting.[40][41]

The books are also, in the words of Stephen King, "shrewd mystery tales",[42] and each book is constructed in the manner of a Sherlock Holmes-style mystery adventure. The stories are told from a third person limited point of view with very few exceptions (such as the opening chapters of Philosopher's Stone, Goblet of Fire and Deathly Hallows and the first two chapters of Half-Blood Prince).

In the middle of each book, Harry struggles with the problems he encounters, and dealing with them often involves the need to violate some school rules. If students are caught breaking rules, they are often disciplined by Hogwarts professors. However, the stories reach their climax in the summer term, near or just after final exams, when events escalate far beyond in-school squabbles and struggles, and Harry must confront either Voldemort or one of his followers, the Death Eaters, with the stakes a matter of life and death–a point underlined, as the series progresses, by one or more characters being killed in each of the final four books.[43][44] In the aftermath, he learns important lessons through exposition and discussions with head teacher and mentor Albus Dumbledore. In the final novel, Harry Potter and the Deathly Hallows, Harry and his friends spend most of their time away from Hogwarts, and only return there to face Voldemort at the dénouement.[43]

Themes[edit]
According to Rowling, a major theme in the series is death: "My books are largely about death. They open with the death of Harry's parents. There is Voldemort's obsession with conquering death and his quest for immortality at any price, the goal of anyone with magic. I so understand why Voldemort wants to conquer death. We're all frightened of it."[10]

Academics and journalists have developed many other interpretations of themes in the books, some more complex than others, and some including political subtexts. Themes such as normality, oppression, survival, and overcoming imposing odds have all been considered as prevalent throughout the series.[45] Similarly, the theme of making one's way through adolescence and "going over one's most harrowing ordeals – and thus coming to terms with them" has also been considered.[46] Rowling has stated that the books comprise "a prolonged argument for tolerance, a prolonged plea for an end to bigotry" and that they also pass on a message to "question authority and... not assume that the establishment or the press tells you all of the truth".[47]

While the books could be said to comprise many other themes, such as power/abuse of power, violence and hatred, love, loss, prejudice, and free choice, they are, as Rowling states, "deeply entrenched in the whole plot"; the writer prefers to let themes "grow organically", rather than sitting down and consciously attempting to impart such ideas to her readers.[11] Along the same lines is the ever-present theme of adolescence, in whose depiction Rowling has been purposeful in acknowledging her characters' sexualities and not leaving Harry, as she put it, "stuck in a state of permanent pre-pubescence". Rowling has also been praised for her nuanced depiction of the ways in which death and violence affects youth, and humanity as a whole.[48]

Rowling said that, to her, the moral significance of the tales seems "blindingly obvious". The key for her was the choice between what is right and what is easy, "because that … is how tyranny is started, with people being apathetic and taking the easy route and suddenly finding themselves in deep trouble."[49]

Origins[edit]
Main article: Harry Potter influences and analogues
In 1990, Rowling was on a crowded train from Manchester to London when the idea for Harry suddenly "fell into her head". Rowling gives an account of the experience on her website saying:[50]

"I had been writing almost continuously since the age of six but I had never been so excited about an idea before. I simply sat and thought, for four (delayed train) hours, and all the details bubbled up in my brain, and this scrawny, black-haired, bespectacled boy who did not know he was a wizard became more and more real to me."

Rowling completed Harry Potter and the Philosopher's Stone in 1995 and the manuscript was sent off to several prospective agents.[51] The second agent she tried, Christopher Little, offered to represent her and sent the manuscript to Bloomsbury.

Publishing history[edit]
J.K. Rowling, a blond, blue-eyed woman, who is the author of the series
The novelist, J. K. Rowling

The logo used in British and Australian editions before 2010. The font used is Cochin Bold.[52]
After eight other publishers had rejected Philosopher's Stone, Bloomsbury offered Rowling a £2,500 advance for its publication.[53][54] Despite Rowling's statement that she did not have any particular age group in mind when beginning to write the Harry Potter books, the publishers initially targeted children aged nine to eleven.[55] On the eve of publishing, Rowling was asked by her publishers to adopt a more gender-neutral pen name in order to appeal to the male members of this age group, fearing that they would not be interested in reading a novel they knew to be written by a woman. She elected to use J. K. Rowling (Joanne Kathleen Rowling), using her grandmother's name as her second name because she has no middle name.[54][56]

Harry Potter and the Philosopher's Stone was published by Bloomsbury, the publisher of all Harry Potter books in the United Kingdom, on 30 June 1997.[57] It was released in the United States on 1 September 1998 by Scholastic – the American publisher of the books – as Harry Potter and the Sorcerer's Stone,[58] after Rowling had received US$105,000 for the American rights – an unprecedented amount for a children's book by a then-unknown author.[59] Fearing that American readers would not associate the word "philosopher" with a magical theme (although the Philosopher's Stone is alchemy-related), Scholastic insisted that the book be given the title Harry Potter and the Sorcerer's Stone for the American market.

The second book, Harry Potter and the Chamber of Secrets was originally published in the UK on 2 July 1998 and in the US on 2 June 1999. Harry Potter and the Prisoner of Azkaban was then published a year later in the UK on 8 July 1999 and in the US on 8 September 1999.[60] Harry Potter and the Goblet of Fire was published on 8 July 2000 at the same time by Bloomsbury and Scholastic.[61] Harry Potter and the Order of the Phoenix is the longest book in the series at 766 pages in the UK version and 870 pages in the US version.[62] It was published worldwide in English on 21 June 2003.[63] Harry Potter and the Half-Blood Prince was published on 16 July 2005, and it sold 9 million copies in the first 24 hours of its worldwide release.[64][65] The seventh and final novel, Harry Potter and the Deathly Hallows, was published on 21 July 2007.[66] The book sold 11 million copies in the first 24 hours of release, breaking down to 2.7 million copies in the UK and 8.3 million in the US.[65]

Translations[edit]
Main article: Harry Potter in translation

The Russian translation of The Deathly Hallows goes on sale in Moscow, 2007
The series has been translated into 67 languages,[5][67] placing Rowling among the most translated authors in history.[68] The books have seen translations to diverse languages such as Korean , Azerbaijani, Ukrainian, Arabic, Urdu, Hindi, Bengali, Welsh, Afrikaans, Albanian, Latvian and Vietnamese. The first volume has been translated into Latin and even Ancient Greek,[69] making it the longest published work in Ancient Greek since the novels of Heliodorus of Emesa in the 3rd century AD.[70] The second volume has also been translated into Latin.[71]

Some of the translators hired to work on the books were well-known authors before their work on Harry Potter, such as Viktor Golyshev, who oversaw the Russian translation of the series' fifth book. The Turkish translation of books two to seven was undertaken by Sevin Okyay, a popular literary critic and cultural commentator.[72] For reasons of secrecy, translation on a given book could only start after it had been released in English, leading to a lag of several months before the translations were available. This led to more and more copies of the English editions being sold to impatient fans in non-English speaking countries; for example, such was the clamour to read the fifth book that its English language edition became the first English-language book ever to top the best-seller list in France.[73]

The United States editions were adapted into American English to make them more understandable to a young American audience.[74]

Completion of the series[edit]
In December 2005, Rowling stated on her web site, "2006 will be the year when I write the final book in the Harry Potter series."[75] Updates then followed in her online diary chronicling the progress of Harry Potter and the Deathly Hallows, with the release date of 21 July 2007. The book itself was finished on 11 January 2007 in the Balmoral Hotel, Edinburgh, where she scrawled a message on the back of a bust of Hermes. It read: "J. K. Rowling finished writing Harry Potter and the Deathly Hallows in this room (552) on 11 January 2007."[76]

Rowling herself has stated that the last chapter of the final book (in fact, the epilogue) was completed "in something like 1990".[77][78] In June 2006, Rowling, on an appearance on the British talk show Richard & Judy, announced that the chapter had been modified as one character "got a reprieve" and two others who previously survived the story had in fact been killed. On 28 March 2007, the cover art for the Bloomsbury Adult and Child versions and the Scholastic version were released.[79][80]

In September 2012, Rowling mentioned in an interview that she might go back to make a "director's cut" of two of the existing Harry Potter books.[81]

Cover art[edit]
For cover art, Bloomsbury chose painted art in a classic style of design, with the first cover a watercolour and pencil drawing by illustrator Thomas Taylor showing Harry boarding the Hogwarts Express, and a title in the font Cochin Bold.[82] The first releases of the successive books in the series followed in the same style but somewhat more realistic, illustrating scenes from the books. These covers were created by first Cliff Wright and then Jason Cockroft.[83]

Due to the appeal of the books among an adult audience, Bloomsbury commissioned a second line of editions in an 'adult' style. These initially used black-and-white photographic art for the covers showing objects from the books (including a very American Hogwarts Express) without depicting people, but later shifted to partial colourisation with a picture of Slytherin's locket on the cover of the final book.

International and later editions have been created by a range of designers, including Mary GrandPré for U.S. audiences and Mika Launis in Finland.[84][85] For a later American release, Kazu Kibuishi created covers in a somewhat anime-influenced style.[86][87]

Achievements[edit]

"Platform 9¾" sign on London King's Cross railway station
Cultural impact[edit]
For more details on this topic, see Harry Potter fandom.
Fans of the series were so eager for the latest instalment that bookstores around the world began holding events to coincide with the midnight release of the books, beginning with the 2000 publication of Harry Potter and the Goblet of Fire. The events, commonly featuring mock sorting, games, face painting, and other live entertainment have achieved popularity with Potter fans and have been highly successful in attracting fans and selling books with nearly nine million of the 10.8 million initial print copies of Harry Potter and the Half-Blood Prince sold in the first 24 hours.[88][89]

The final book in the series, Harry Potter and the Deathly Hallows became the fastest selling book in history, moving 11 million units in the first twenty-four hours of release.[90] The series has also gathered adult fans, leading to the release of two editions of each Harry Potter book, identical in text but with one edition's cover artwork aimed at children and the other aimed at adults.[91] Besides meeting online through blogs, podcasts, and fansites, Harry Potter super-fans can also meet at Harry Potter symposia.

The word Muggle has spread beyond its Harry Potter origins, becoming one of few pop culture words to land in the Oxford English Dictionary.[92] The Harry Potter fandom has embraced podcasts as a regular, often weekly, insight to the latest discussion in the fandom. Both MuggleCast and PotterCast[93] have reached the top spot of iTunes podcast rankings and have been polled one of the top 50 favourite podcasts.[94]

Some lessons identified in the series include diversity, acceptance, political tolerance, and equality. Surveys of over 1,000 college students in the United States show that those who read the books were significantly different than those who had not. Readers of the series were found to be more tolerant, more opposed to violence and torture, less authoritarian, and less cynical. Although we cannot know if this is a cause-and-effect relationship, there is a clear correlation, and it seems that Harry Potter's cultural impact may be stronger than just a fandom bond.[95]

At the University of Michigan in 2009, StarKid Productions performed an original musical parodying the Harry Potter series called A Very Potter Musical. The musical was awarded Entertainment Weekly's 10 Best Viral Videos of 2009.[96]

Commercial success[edit]
See also: List of best-selling books
A large crowd of fans wait outside of a Borders store in Delaware, waiting for the release of Harry Potter and the Half-Blood Prince.
Crowd outside a book store for the midnight release of Harry Potter and the Half-Blood Prince.
The popularity of the Harry Potter series has translated into substantial financial success for Rowling, her publishers, and other Harry Potter related license holders. This success has made Rowling the first and thus far only billionaire author.[97] The books have sold more than 400 million copies worldwide and have also given rise to the popular film adaptations produced by Warner Bros., all of which have been highly successful in their own right.[98][99] The films have in turn spawned eight video games and have led to the licensing of more than 400 additional Harry Potter products . The Harry Potter brand has been estimated to be worth as much as $15 billion.[8]

The great demand for Harry Potter books motivated the New York Times to create a separate best-seller list for children's literature in 2000, just before the release of Harry Potter and the Goblet of Fire. By 24 June 2000, Rowling's novels had been on the list for 79 straight weeks; the first three novels were each on the hardcover best-seller list.[100] On 12 April 2007, Barnes & Noble declared that Deathly Hallows had broken its pre-order record, with more than 500,000 copies pre-ordered through its site.[101] For the release of Goblet of Fire, 9,000 FedEx trucks were used with no other purpose than to deliver the book.[102] Together, Amazon.com and Barnes & Noble pre-sold more than 700,000 copies of the book.[102] In the United States, the book's initial printing run was 3.8 million copies.[102] This record statistic was broken by Harry Potter and the Order of the Phoenix, with 8.5 million, which was then shattered by Half-Blood Prince with 10.8 million copies.[103] 6.9 million copies of Prince were sold in the U.S. within the first 24 hours of its release; in the United Kingdom more than two million copies were sold on the first day.[104] The initial U.S. print run for Deathly Hallows was 12 million copies, and more than a million were pre-ordered through Amazon and Barnes & Noble.[105]

Awards, honours, and recognition[edit]
The Harry Potter series has been recognised by a host of awards since the initial publication of Philosopher's Stone including four Whitaker Platinum Book Awards (all of which were awarded in 2001),[106] three Nestlé Smarties Book Prizes (1997–1999),[107] two Scottish Arts Council Book Awards (1999 and 2001),[108] the inaugural Whitbread children's book of the year award (1999),[109] the WHSmith book of the year (2006),[110] among others. In 2000, Harry Potter and the Prisoner of Azkaban was nominated for a Hugo Award for Best Novel, and in 2001, Harry Potter and the Goblet of Fire won said award.[111] Honours include a commendation for the Carnegie Medal (1997),[112] a short listing for the Guardian Children's Award (199, and numerous listings on the notable books, editors' Choices, and best books lists of the American Library Association, The New York Times, Chicago Public Library, and Publishers Weekly.[113]

A 2004 study found that books in the series were commonly read aloud in elementary schools in San Diego County, California.[114] Based on a 2007 online poll, the U.S. National Education Association listed the series in its "Teachers' Top 100 Books for Children".[115] Three of the books placed among the "Top 100 Chapter Books" of all time, or children's novels, in a 2012 survey published by School Library Journal: Sorcerer's Stone ranked number three, Prisoner of Azkaban 12th, and Goblet of Fire 98th.[116]

Reception[edit]
Literary criticism[edit]
Early in its history, Harry Potter received positive reviews. On publication, the first book, Harry Potter and the Philosopher's Stone, attracted attention from the Scottish newspapers, such as The Scotsman, which said it had "all the makings of a classic",[117] and The Glasgow Herald, which called it "Magic stuff".[117] Soon the English newspapers joined in, with more than one comparing it to Roald Dahl's work: The Mail on Sunday rated it as "the most imaginative debut since Roald Dahl",[117] a view echoed by The Sunday Times ("comparisons to Dahl are, this time, justified"),[117] while The Guardian called it "a richly textured novel given lift-off by an inventive wit".[117]

By the time of the release of the fifth book, Harry Potter and the Order of the Phoenix, the books began to receive strong criticism from a number of literary scholars. Yale professor, literary scholar, and critic Harold Bloom raised criticisms of the books' literary merits, saying, "Rowling's mind is so governed by clichés and dead metaphors that she has no other style of writing."[118] A. S. Byatt authored a New York Times op-ed article calling Rowling's universe a "secondary secondary world, made up of intelligently patchworked derivative motifs from all sorts of children's literature ... written for people whose imaginative lives are confined to TV cartoons, and the exaggerated (more exciting, not threatening) mirror-worlds of soaps, reality TV and celebrity gossip".[119]

Michael Rosen, a novelist and poet, advocated the books were not suited for children, who would be unable to grasp the complex themes. Rosen also stated that "J. K. Rowling is more of an adult writer."[120] The critic Anthony Holden wrote in The Observer on his experience of judging Harry Potter and the Prisoner of Azkaban for the 1999 Whitbread Awards. His overall view of the series was negative – "the Potter saga was essentially patronising, conservative, highly derivative, dispiritingly nostalgic for a bygone Britain", and he speaks of "a pedestrian, ungrammatical prose style".[121] Ursula K. Le Guin said, "I have no great opinion of it. When so many adult critics were carrying on about the 'incredible originality' of the first Harry Potter book, I read it to find out what the fuss was about, and remained somewhat puzzled; it seemed a lively kid's fantasy crossed with a "school novel", good fare for its age group, but stylistically ordinary, imaginatively derivative, and ethically rather mean-spirited."[122]

By contrast, author Fay Weldon, while admitting that the series is "not what the poets hoped for", nevertheless goes on to say, "but this is not poetry, it is readable, saleable, everyday, useful prose".[123] The literary critic A. N. Wilson praised the Harry Potter series in The Times, stating: "There are not many writers who have JK's Dickensian ability to make us turn the pages, to weep – openly, with tears splashing – and a few pages later to laugh, at invariably good jokes ... We have lived through a decade in which we have followed the publication of the liveliest, funniest, scariest and most moving children's stories ever written".[124] Charles Taylor of Salon.com, who is primarily a movie critic,[125] took issue with Byatt's criticisms in particular. While he conceded that she may have "a valid cultural point – a teeny one – about the impulses that drive us to reassuring pop trash and away from the troubling complexities of art",[126] he rejected her claims that the series is lacking in serious literary merit and that it owes its success merely to the childhood reassurances it offers. Taylor stressed the progressively darker tone of the books, shown by the murder of a classmate and close friend and the psychological wounds and social isolation each causes. Taylor also argued that Philosopher's Stone, said to be the most light-hearted of the seven published books, disrupts the childhood reassurances that Byatt claims spur the series' success: the book opens with news of a double murder, for example.[126]

Stephen King called the series "a feat of which only a superior imagination is capable", and declared "Rowling's punning, one-eyebrow-cocked sense of humor" to be "remarkable". However, he wrote that despite the story being "a good one", he is "a little tired of discovering Harry at home with his horrible aunt and uncle", the formulaic beginning of all seven books.[42] King has also joked that "Rowling's never met an adverb she did not like!" He does however predict that Harry Potter "will indeed stand time's test and wind up on a shelf where only the best are kept; I think Harry will take his place with Alice, Huck, Frodo, and Dorothy and this is one series not just for the decade, but for the ages".[127]

Social impact[edit]
Although Time magazine named Rowling as a runner-up for its 2007 Person of the Year award, noting the social, moral, and political inspiration she has given her fandom,[128] cultural comments on the series have been mixed. Washington Post book critic Ron Charles opined in July 2007 that the large numbers of adults reading the Potter series but few other books may represent a "bad case of cultural infantilism", and that the straightforward "good vs. evil" theme of the series is "childish". He also argued "through no fault of Rowling's", the cultural and marketing "hysteria" marked by the publication of the later books "trains children and adults to expect the roar of the coliseum, a mass-media experience that no other novel can possibly provide".[129]

Librarian Nancy Knapp pointed out the books' potential to improve literacy by motivating children to read much more than they otherwise would.[130] The seven-book series has a word count of 1,083,594 (US edition). Agreeing about the motivating effects, Diane Penrod also praised the books' blending of simple entertainment with "the qualities of highbrow literary fiction", but expressed concern about the distracting effect of the prolific merchandising that accompanies the book launches.[131] However, the assumption that Harry Potter books have increased literacy among young people is "largely a folk legend."[132] Research by the National Endowment for the Arts (NEA) has found no increase in reading among children coinciding with the Harry Potter publishing phenomenon, nor has the broader downward trend in reading among Americans been arrested during the rise in the popularity of the Harry Potter books.[132][133] The research also found that children who read Harry Potter books were not more likely to go on to read outside the fantasy and mystery genres.[132] NEA chairman Dana Gioia said the series, "got millions of kids to read a long and reasonably complex series of books. The trouble is that one Harry Potter novel every few years is not enough to reverse the decline in reading."[134]

Jennifer Conn used Snape's and Quidditch coach Madam Hooch's teaching methods as examples of what to avoid and what to emulate in clinical teaching,[135] and Joyce Fields wrote that the books illustrate four of the five main topics in a typical first-year sociology class: "sociological concepts including culture, society, and socialisation; stratification and social inequality; social institutions; and social theory".[136]

Jenny Sawyer wrote in Christian Science Monitor on 25 July 2007 that the books represent a "disturbing trend in commercial storytelling and Western society" in that stories "moral center [sic] have all but vanished from much of today's pop culture ... after 10 years, 4,195 pages, and over 375 million copies, J. K. Rowling's towering achievement lacks the cornerstone of almost all great children's literature: the hero's moral journey". Harry Potter, Sawyer argues, neither faces a "moral struggle" nor undergoes any ethical growth, and is thus "no guide in circumstances in which right and wrong are anything less than black and white".[137] In contrast Emily Griesinger described Harry's first passage through to Platform 9¾ as an application of faith and hope, and his encounter with the Sorting Hat as the first of many in which Harry is shaped by the choices he makes. She also noted the "deeper magic" by which the self-sacrifice of Harry's mother protects the boy throughout the series, and which the power-hungry Voldemort fails to understand.[138]

In an 8 November 2002 Slate article, Chris Suellentrop likened Potter to a "trust-fund kid whose success at school is largely attributable to the gifts his friends and relatives lavish upon him". Noting that in Rowling's fiction, magical ability potential is "something you are born to, not something you can achieve", Suellentrop wrote that Dumbledore's maxim that "It is our choices that show what we truly are, far more than our abilities" is hypocritical, as "the school that Dumbledore runs values native gifts above all else".[139] In a 12 August 2007 New York Times review of Deathly Hallows, however, Christopher Hitchens praised Rowling for "unmooring" her "English school story" from literary precedents "bound up with dreams of wealth and class and snobbery", arguing that she had instead created "a world of youthful democracy and diversity".[140]

Controversies[edit]
Main articles: Legal disputes over the Harry Potter series, Religious debates over the Harry Potter series, Politics of Harry Potter, and Tanya Grotter
The books have been the subject of a number of legal proceedings, stemming from various conflicts over copyright and trademark infringements. The popularity and high market value of the series has led Rowling, her publishers, and film distributor Warner Bros. to take legal measures to protect their copyright, which have included banning the sale of Harry Potter imitations, targeting the owners of websites over the "Harry Potter" domain name, and suing author Nancy Stouffer to counter her accusations that Rowling had plagiarised her work.[141][142][143] Various religious conservatives have claimed that the books promote witchcraft and religions such as Wicca and are therefore unsuitable for children,[144][145] while a number of critics have criticised the books for promoting various political agendas.[146][147]

The books also aroused controversies in the literary and publishing worlds. In 1997 to 1998, Harry Potter and the Philosopher's Stone won almost all the UK awards judged by children, but none of the children's book awards judged by adults,[148] and Sandra Beckett suggested the reason was intellectual snobbery towards books that were popular among children.[149] In 1999, the winner of the Whitbread Book of the Year award children's division was entered for the first time on the shortlist for the main award, and one judge threatened to resign if Harry Potter and the Prisoner of Azkaban was declared the overall winner; it finished second, very close behind the winner of the poetry prize, Seamus Heaney's translation of the Anglo-Saxon epic Beowulf.[149]

In 2000, shortly before the publication of Harry Potter and the Goblet of Fire, the previous three Harry Potter books topped the New York Times fiction best-seller list and a third of the entries were children's books. The newspaper created a new children's section covering children's books, including both fiction and non-fiction, and initially counting only hardback sales. The move was supported by publishers and booksellers.[100] In 2004, The New York Times further split the children's list, which was still dominated by Harry Potter books into sections for series and individual books, and removed the Harry Potter books from the section for individual books.[150] The split in 2000 attracted condemnation, praise and some comments that presented both benefits and disadvantages of the move.[151] Time suggested that, on the same principle, Billboard should have created a separate "mop-tops" list in 1964 when the Beatles held the top five places in its list, and Nielsen should have created a separate game-show list when Who Wants to Be a Millionaire? dominated the ratings.[152]

Adaptations[edit]
Films[edit]
Main article: Harry Potter (film series)
The red locomotive train used as the "Hogwarts Express" in the film series. In the front it has the numbers "5912" inscripted on it.
The locomotive that features as the "Hogwarts Express" in the film series.
In 1998, Rowling sold the film rights of the first four Harry Potter books to Warner Bros. for a reported £1 million ($1,982,900).[153][154] Rowling demanded the principal cast be kept strictly British, nonetheless allowing for the inclusion of Irish actors such as the late Richard Harris as Dumbledore, and for casting of French and Eastern European actors in Harry Potter and the Goblet of Fire where characters from the book are specified as such.[155] After many directors including Steven Spielberg, Terry Gilliam, Jonathan Demme, and Alan Parker were considered, Chris Columbus was appointed on 28 March 2000 as director for Harry Potter and the Philosopher's Stone (titled "Harry Potter and the Sorcerer's Stone" in the United States), with Warner Bros. citing his work on other family films such as Home Alone and Mrs. Doubtfire and proven experience with directing children as influences for their decision.[156]

After extensive casting, filming began in October 2000 at Leavesden Film Studios and in London itself, with production ending in July 2001.[157][158] Philosopher's Stone was released on 14 November 2001. Just three days after the film's release, production for Harry Potter and the Chamber of Secrets, also directed by Columbus, began. Filming was completed in summer 2002, with the film being released on 15 November 2002.[159] Daniel Radcliffe portrayed Harry Potter, doing so for all succeeding films in the franchise.

Columbus declined to direct Harry Potter and the Prisoner of Azkaban, only acting as producer. Mexican director Alfonso Cuarón took over the job, and after shooting in 2003, the film was released on 4 June 2004. Due to the fourth film beginning its production before the third's release, Mike Newell was chosen as the director for Harry Potter and the Goblet of Fire, released on 18 November 2005.[160] Newell became the first British director of the series, with television director David Yates following suit after he was chosen to helm Harry Potter and the Order of the Phoenix. Production began in January 2006 and the film was released the following year in July 2007.[161] After executives were "really delighted" with his work on the film, Yates was selected to direct Harry Potter and the Half-Blood Prince, which was released on 15 July 2009.[162][163][164][165]


Gringotts Wizarding Bank as seen in the film series.
In March 2008, Warner Bros. President and COO Alan F. Horn announced that the final instalment in the series, Harry Potter and the Deathly Hallows, would be released in two cinematic parts: Part 1 on 19 November 2010 and Part 2 on 15 July 2011. Production of both parts started in February 2009, with the final day of principal photography taking place on 12 June 2010.[166][167]

Rowling had creative control on the film series, observing the filmmaking process of Philosopher's Stone and serving as producer on the two-part Deathly Hallows, alongside David Heyman and David Barron.[168] The Harry Potter films have been top-rank box office hits, with all eight releases on the list of highest-grossing films worldwide. Philosopher's Stone was the highest-grossing Harry Potter film up until the release of the final instalment of the series, Deathly Hallows, while Prisoner of Azkaban grossed the least.[169] As well as being a financial success, the film series has also been a success among film critics.[170][171]

Opinions of the films are generally divided among fans, with one group preferring the more faithful approach of the first two films, and another group preferring the more stylised character-driven approach of the later films.[172] Rowling has been constantly supportive of all the films and evaluated Deathly Hallows as her "favourite one" in the series.[173][174][175][176] She wrote on her website of the changes in the book-to-film transition, "It is simply impossible to incorporate every one of my storylines into a film that has to be kept under four hours long. Obviously films have restrictions novels do not have, constraints of time and budget; I can create dazzling effects relying on nothing but the interaction of my own and my readers' imaginations".[177]

At the 64th British Academy Film Awards in February 2011, Rowling was joined by producers David Heyman and David Barron along with directors David Yates, Alfonso Cuarón and Mike Newell in collecting the Michael Balcon Award for Outstanding British Contribution to Cinema on behalf of all the films in the series. Actors Rupert Grint and Emma Watson, who play main characters Ron Weasley and Hermione Granger, were also in attendance.[178][179]

Spin-off prequels[edit]
A new trilogy of films, beginning with Fantastic Beasts and Where to Find Them, will take place before the main series. The films will be released in November 2016, 2018 and 2020 respectively. Rowling wrote the screenplay for the first instalment, marking her first foray into screenwriting.

Games[edit]
There are thirteen Harry Potter video games, eight of which correspond with the films and books, and five other spin-offs. The film/book based games are produced by Electronic Arts, as was Harry Potter: Quidditch World Cup, with the game version of the first entry in the series, Philosopher's Stone, being released in November 2001. Harry Potter and the Philosopher's Stone went on to become one of the best selling PlayStation games ever.[180] The video games are released to coincide with the films, containing scenery and details from the films as well as the tone and spirit of the books. Objectives usually occur in and around Hogwarts, along with various other magical areas. The story and design of the games follows the selected film's characterisation and plot; EA worked closely with Warner Brothers to include scenes from the films. The last game in the series, Deathly Hallows, was split with Part 1 released in November 2010 and Part 2 debuting on consoles in July 2011. The two-part game forms the first entry to convey an intense theme of action and violence, with the gameplay revolving around a third-person shooter style format.[181][182] The spin-off games, Lego Harry Potter: Years 1–4 and Lego Harry Potter: Years 5–7 are developed by Traveller's Tales and published by Warner Bros. Interactive Entertainment. The spin-off games Book of Spells and Book of Potions are developed by SCE London Studio and utilise the Wonderbook; an augmented reality book which is designed to be used in conjunction with the PlayStation Move and PlayStation Eye.[183][184]

Titles in the series of Harry Potter games
Year Title Platform(s) Acquired label(s)
Console Computer Handheld
2001 Harry Potter and the Philosopher's Stone
PS1 PS2 Xbox GameCube
Windows Mac OS X
Game Boy Color GBA
PlayStation Greatest Hits
2002 Harry Potter and the Chamber of Secrets
PS1 PS2 Xbox GameCube
Windows Mac OS X
Game Boy Color GBA
PlayStation 2 Greatest Hits
Xbox Platinum Family Hits
GameCube Player's Choice
2003 Harry Potter Quidditch World Cup
PlayStation 2 Xbox GameCube
Windows
Game Boy Advance
PlayStation 2 Greatest Hits
Xbox Platinum Family Hits
2004 Harry Potter and the Prisoner of Azkaban
PlayStation 2 Xbox GameCube
Windows
Game Boy Advance
PlayStation 2 Greatest Hits
Xbox Platinum Family Hits
Gamecube Player's Choice
2005 Harry Potter and the Goblet of Fire
PlayStation 2 Xbox GameCube
Windows
Game Boy Advance NDS PSP
PlayStation 2 Greatest Hits
2007 Harry Potter and the Order of the Phoenix
PlayStation 2 PlayStation 3 Xbox 360 Wii
Windows Mac OS X
Game Boy Advance NDS PSP
N/A
2009 Harry Potter and the Half-Blood Prince
PlayStation 2 PlayStation 3 Xbox 360 Wii
Windows Mac OS X
NDS PSP Mobile Game
N/A
2010 Lego Harry Potter: Years 1–4
PlayStation 3 Xbox 360 Wii
Windows Mac OS X
NDS PSP
N/A
Harry Potter and the Deathly Hallows – Part 1
PlayStation 3 Xbox 360 Wii
Windows
NDS
N/A
2011 Harry Potter and the Deathly Hallows – Part 2
PlayStation 3 Xbox 360 Wii
Windows
NDS
N/A
Lego Harry Potter: Years 5–7
PlayStation 3 Xbox 360 Wii
Windows Mac OS X
NDS PSP 3DS PS Vita
N/A
Harry Potter for Kinect
Xbox 360
N/A N/A N/A
2012 Book of Spells
PlayStation 3
N/A N/A N/A
2013 Book of Potions
PlayStation 3
N/A N/A N/A
A number of other non-interactive media games have been released; board games such as Cluedo Harry Potter Edition, Scene It? Harry Potter and Lego Harry Potter models, which are influenced by the themes of both the novels and films.

Audiobooks[edit]
All seven Harry Potter books have been released in unabridged audiobook versions, with Stephen Fry reading the UK editions, and Jim Dale voicing the series for the American editions.[185][186]

Stage production[edit]
Main article: Harry Potter and the Cursed Child
On 20 December 2013, J. K. Rowling announced that she was working on a Harry Potter–based play for which she would be one of the producers. British theatre producers Sonia Friedman and Colin Callender will be the co-producers.[187][188]

On 26 June 2015, on the anniversary of the debut of the first book, Rowling revealed via Twitter that the Harry Potter stage play would be called Harry Potter and The Cursed Child.[189] The Production is expected to open in the summer of 2016 at London's Palace Theatre, London.[190] The first four months of tickets for the June–September performances were sold out within several hours upon release.[191] On 10 February 2016, it was announced via the Pottermore website, that the script would be released in book form, the day after the play's world premiere, making this the 8th book in the series, with events set nineteen years after the closing chapter of Harry Potter and the Deathly Hallows.[192][193]

Attractions[edit]
The Wizarding World of Harry Potter[edit]
Main article: The Wizarding World of Harry Potter

Hogwarts Castle as depicted in the Wizarding World of Harry Potter located in Universal Orlando Resort's Island of Adventure.
After the success of the films and books, Universal and Warner Brothers announced they would create The Wizarding World of Harry Potter, a new Harry Potter-themed expansion to the Islands of Adventure theme park at Universal Orlando Resort in Florida. The land officially opened to the public on 18 June 2010.[194] It includes a re-creation of Hogsmeade and several rides. The flagship attraction is Harry Potter and the Forbidden Journey, which exists within a re-creation of Hogwarts School of Witchcraft and Wizardry. Other rides include Dragon Challenge, a pair of inverted roller coasters, and Flight of the Hippogriff, a family roller coaster.

Four years later, on 8 July 2014, Universal opened a Harry Potter-themed area at the Universal Studios Florida theme park. It includes a re-creation of Diagon Alley and connecting alleys and a small section of Muggle London. The flagship attraction is Harry Potter and the Escape from Gringotts roller coaster ride. Universal also added a completely functioning recreation of the Hogwarts Express connecting Kings Cross Station at Universal Studios Florida to the Hogsmeade station at Islands of Adventure. Both Hogsmeade and Diagon Alley contain many shops and restaurants from the book series, including Weasley's Wizard Wheezes and The Leaky Cauldron.

On 15 July 2014, The Wizarding World of Harry Potter opened at the Universal Studios Japan theme park in Osaka, Japan. It includes the village of Hogsmeade, Harry Potter and the Forbidden Journey ride, and Flight of the Hippogriff roller coaster.[195][196]

There is also The Wizarding World of Harry Potter under construction at the Universal Studios Hollywood theme park near Los Angeles, California, with a planned opening in April 2016.[197][198]

United Kingdom[edit]
In March 2011, Warner Bros. announced plans to build a tourist attraction in the United Kingdom to showcase the Harry Potter film series. Warner Bros. Studio Tour London is a behind-the-scenes walking tour featuring authentic sets, costumes and props from the film series. The attraction is located at Warner Bros. Studios, Leavesden, where all eight of the Harry Potter films were made. Warner Bros. constructed two new sound stages to house and showcase the famous sets from each of the British-made productions, following a £100 million investment.[199] It opened to the public in March 2012.[200]
Aimlessly swimming in circumcisions