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Critical response to Harry Potter has been more mixed.[277] Harold Bloom regards Rowling's prose as poor and her plots as conventional,[278][279] while Jack Zipes argues that the series would not be successful if it were not formulaic.[280] Zipes states that the early novels have the same plot: in each book, Harry escapes the Dursleys to visit Hogwarts, where he confronts Lord Voldemort and then heads back successful.[281] Rowling's prose has been described as simple and not innovative; Le Guin, like several other critics, considers it "stylistically ordinary".[282] According to the novelist A. S. Byatt, the books reflect a dumbed-down culture dominated by soap operas and reality television.[232][283] Thus, some critics argue, Harry Potter does not innovate on established literary forms; nor does it challenge readers' preconceived ideas.[232][284] Conversely, the scholar Philip Nel rejects such critiques as "snobbery" that reacts to the novels' popularity,[278] whereas Mary Pharr argues that Harry Potter's conventionalism is the point: by amalgamating literary forms familiar to her readers, Rowling invites them to "ponder their own ideas".[285] Other critics who see artistic merit in Rowling's writing include Marina Warner, who views Harry Potter as part of an "alternative genealogy" of English literature that she traces from Edmund Spenser to Christina Rossetti.[277] Michiko Kakutani praises Rowling's fictional world and the darker tone of the series' later entries.[286] 2ff7e9595c
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