"I have an editor in my head, that's why I can't read Harry Potter, because Rowling is such a lousy writer"
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McCullough’s jab lands because it dresses an aesthetic judgment up as a neurosis: “an editor in my head” is both brag and alibi. She’s not merely claiming higher standards; she’s staging herself as professionally incapacitated by them, as if craft has made pleasure-reading impossible. That self-mythologizing is the engine of the insult. It suggests Rowling isn’t just below McCullough’s taste but below the threshold of legibility for a “real” writer.
The subtext is less about Harry Potter than about cultural scale. Rowling’s success wasn’t quiet; it was epochal, the kind that swallows shelf space, air time, and publishing oxygen. For an established literary novelist (The Thorn Birds was its own phenomenon, but from an earlier media ecosystem), the blockbuster can feel like a referendum on what the culture rewards: velocity over voice, momentum over sentences. Calling Rowling “lousy” is a way to reassert a threatened hierarchy, to redraw the border between literary capital and mass affection.
The line also weaponizes the editor figure as an internal gatekeeper of taste. McCullough frames her reaction as involuntary, implying objectivity, when it’s still a subjective, historically contingent set of preferences about prose, pacing, and purpose. It works as provocation because it’s impolite in a politely reverent culture around children’s literature and its adult converts. It dares readers to admit what they actually want from a book: immaculate style, or a world you can’t stop living in.
The subtext is less about Harry Potter than about cultural scale. Rowling’s success wasn’t quiet; it was epochal, the kind that swallows shelf space, air time, and publishing oxygen. For an established literary novelist (The Thorn Birds was its own phenomenon, but from an earlier media ecosystem), the blockbuster can feel like a referendum on what the culture rewards: velocity over voice, momentum over sentences. Calling Rowling “lousy” is a way to reassert a threatened hierarchy, to redraw the border between literary capital and mass affection.
The line also weaponizes the editor figure as an internal gatekeeper of taste. McCullough frames her reaction as involuntary, implying objectivity, when it’s still a subjective, historically contingent set of preferences about prose, pacing, and purpose. It works as provocation because it’s impolite in a politely reverent culture around children’s literature and its adult converts. It dares readers to admit what they actually want from a book: immaculate style, or a world you can’t stop living in.
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
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