The new Web is a very different thing. It’s a tool for bringing together the small contributions of millions of people and making them matter. Silicon Valley consultants call it Web 2.0, as if it were a new version of some old software. But it’s really a revolution.
LEV GROSSMANDon’t take anyone’s writing advice too seriously.
More Lev Grossman Quotes
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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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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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He who completes a quest does not merely find something. He becomes something.
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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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A novel with a bad middle is a bad book. A bad ending is something I’ve just gotten in the habit of forgiving.
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The process of learning is a nonstop orgy of wonderment.
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Stop looking for the next secret door that is going to lead you to your real life. Stop waiting. This is it: there’s nothing else.
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I studied the cello for a long time, from when I was little up through college.
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I love playing with the conventions of fantasy, and breaking rules, and crossing lines.
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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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I think for a long time, I was paralyzed by some of my hopes and ideals for what my life was going to be like. I had this perfect vision of how my life should go, but it seemed – it was – impossible to realize, so I sat around for a long, long time doing almost nothing at all.
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Maybe there’s a sense that technology isn’t necessarily the answer to a lot of our problems. Fantasy offers readers a less radically alienated world – a world where desires and feelings that normally are trapped inside your mind are made real in the form of magic.
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His whole personality was like an elaborate joke that he never stopped telling.
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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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