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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.
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
Around
Problem
Real
Sidekick
Make
Sidekicks
Always
Villain
James
Hero
Either
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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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I'm not one of your knockabout, knuckle-scarred, Internet-controversy-courting book critics. Occasionally I stumble into controversy accidentally, but not because I enjoy it. It's probably just because I'm a weird person.
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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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You don’t learn about yourself by being alone, you learn about yourself from other people.
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Oddly, the meanings of books are defined for me much more by their beginnings and middles than they are by their endings.
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I guess I was raised in a household with a lot of reverence for the physical sanctity of books. You didn't destroy books.
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For just one second, look at your life and see how perfect it is. 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. It's here, and you'd better decide to enjoy it or you're going to be miserable wherever you go, for the rest of your life, forever.
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Supposedly I've got traces of an English accent, though I can't hear it. I must have inherited it from my mother, who's English, and then I think it was exacerbated by the fact that I live with an Australian.
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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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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 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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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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I feel very conscious of my influences. T.H. White is very important for me.
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Every year the literary press praises dozens if not hundreds of novels to the skies, asserting explicitly or implicitly that these books will probably not be suffering water damage in the basements of their authors' houses 20 years from now. But historically, anyway, that's not the way the novelistic ecology works.
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You don't want to move toward some utopian literary situation where everybody's free of all conventions. That's ridiculous! Conventions are what you need. You have nothing to break down if you don't have conventions.
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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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Careful what you hunt, lest you catch it.
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It was so much easier to be angry. Being angry made him feel strong, even though-- and this contradiction did nothing to diminish his anger-- he was angry only because his position was so weak.
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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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Do you promise to hate my parents as much as I do? Oh, absolutely, Quentin said. Maybe even more.
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