Escapism has value, even if I don’t know what its value is, exactly. Maybe it’s just part of some healthy way that we deal with the world.
LEV GROSSMANI’ve only read three books by Stephen King. When I was 10 I read ‘The Long Walk,’ one of his pseudonymous Bachman books. In my early 20s, while trapped on a family vacation, I read ‘The Dark Half,’ which taught me a word I have never forgotten: psychopomp. Now I have read ’11/22/63.’
More Lev Grossman Quotes
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My book group has one rule: no books for adults. We read young adult fiction only.
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A big silvery janitor. Penny, this can’t be how the universe works.” “In the Order we call it ‘inverse profundity.’ We’ve observed it in any number of cases. The deeper you go into the cosmic mysteries, the less interesting everything gets.
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The process of learning is a nonstop orgy of wonderment.
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The problem with growing up is that once you’re grown up, the people who aren’t grown up aren’t fun anymore.
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It turns out that there is something that can compete with free: easy.
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The main advantage of being a reviewer is that you read a lot. A lot of books get sent to you, and you have an amazing vantage point from which to observe what’s going on in contemporary fiction – not only genre stuff, the whole spectrum.
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People – me included – want to get excited about books. Good books are a good thing.
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I loved fantasy, but I particularly loved the stories in which somebody got out of where they were and into somewhere better – as in the Chronicles Of Narnia, The Wizard Of Oz, The Phantom Tollbooth, the Dungeons & Dragons cartoon.
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You’re all so obsessed with other worlds, you’re so convinced that this one is crap and everywhere else is great, but you’ve never bothered to figure out what’s going on here!
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The real world is horrible.
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I feel very conscious of my influences. T.H. White is very important for me.
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We have reached the point where ignorance and neglect are the best we can hope for in a ruler.
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Magic: it was what happened when the mind met the world, and the mind won for a change.
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Magic is wild, dangerous stuff. You never realize how useful limitations are until it’s much too late.
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The paradox of the English country house is that its state of permanent decline, the fact that its heyday is always behind it, is part of the seduction, just as it is part of the seduction of books in general.
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