JK Rowling's best-selling Harry Potter books are mostly aimed at kids, aged 9-11, according to Bloomsbury, the publisher. That can be understood in the first three instalments, which contain straightforward plots, center around the Hogwarts School of Wizardry where Harry goes, and don't exceed 300 pages. Everything changes in "Harry Potter and the Goblet of Fire", a 630 pages-long volume. The sheer size can act as a deterrent, but more importantly the scope is different: two foreign Schools are added, a multitude of characters is substituted to a usually short cast. Of course, although the seven volumes (Harry's novel of growth), represent a huge read, both qualitatively and quantitatively, any devoted child will go through them. But it is on the level of meaning and significance that JK Rowling raises the standards, in terms of literariness. Meaning is layered, and this is why theses novels are very much enjoyable by grown-ups. Onomastics (languages such as Latin, Greek and French being very much in use) is paramount to Rowling's strategy, the construction of the narrative is a juxtaposition of subplots that assemble like a jigsaw puzzle and there is something Dickensian (i-e absurd and comical) about certain elements: the Ludicrous Patents Office in the Ministry of Magic in particular is reminiscent of the Circumlocution Office in Little Dorrit. 
