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The truth doesn't always make a good story, does it?

Lev Grossman

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Lev Grossman
Age: 55
Born: 1969
Born: June 26
Journalist
Literary Critic
Novelist
Science Fiction Writer
Writer
Lexington
Massachusetts
Truth
Doe
Make
Good
Always
Story
Doesn
Stories

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Book tours are excellent things, and one is lucky to get to go on one, but they have a way of leeching away one's will to live.
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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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Wasn't there a spell for making yourself happy? Somebody must have invented one. How could he have missed it? Why didn't they teach it? Was it in the library, a flying book fluttering just out of reach, beating its wings against some high window?
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Careful what you hunt, lest you catch it.
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I went to college at Harvard, then did three years of graduate school at Yale. At both places I studied comparative literature. People find it odd that I went to both Harvard and Yale, and I guess it is odd, but that's just what people did where I grew up.
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It's a terrible thing for a book, when you feel like you're supposed to like it.
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I feel very conscious of my influences. T.H. White is very important for me.
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It was strange to be naked in front of anybody. It was like that cold water out there in the bay: scary, you didn’t think you could stand it, but then you plunged in and pretty soon you got used to it. There was enough hiding in life. Sometimes you just wanted to show somebody your tits.
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A magician is strong because he feels the pain between what the world is and what he would make of it.
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Until now, I've been a kind of binge-writer - I'll carve out five or six hours on a weekend day and make a large container of espresso and just bang out a lot of words.
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The real problem with being around James was that he was always the hero. And what did that make you? Either the sidekick or the villain.
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People - me included - want to get excited about books. Good books are a good thing.
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It's natural for a child to assume that his or her own childhood is unremarkable.
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He who completes a quest does not merely find something. He becomes something.
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The real world is horrible.
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My ultimate goal is to drive people back to the books, when I think of an adaptation.
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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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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.
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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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That’s what death did, it treated you like a child, like everything you had ever thought and done and cared about was just a child’s game, to be crumpled up and thrown away when it was over. It didn’t matter. Death didn’t respect you. Death thought you were bullshit, and it wanted to make sure you knew it.
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