His crush went from exciting to depressing, as if he’d gone from the first blush of infatuation to the terminal nostalgia of a former lover without even the temporary relief of an actual relationship in between.
LEV GROSSMANI 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.
More Lev Grossman Quotes
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The process of learning is a nonstop orgy of wonderment.
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The truth doesn’t always make a good story, does it?
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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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Do you promise to hate my parents as much as I do?” “Oh, absolutely,” Quentin said. “Maybe even more.
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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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We have reached the point where ignorance and neglect are the best we can hope for in a ruler.
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The novel is a highly corrupt medium, after all – in the end the vast majority of them simply aren’t that great, and are destined to be forgotten.
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He wasn’t surprised. He was used to this anticlimactic feeling, where by the time you’ve done all the work to get something you don’t even want it anymore.
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His whole personality was like an elaborate joke that he never stopped telling.
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I came from an anxious, overly intense East Coast academic family. That was the way of our tribe.
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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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I’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.’
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I feel that’s one of the central questions of fantasy. What did we lose when we entered the 20th and 21st century, and how can we mourn what we lost, and what can we replace it with? We’re still asking those questions in an urgent way.
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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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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!
LEV GROSSMAN