A Conversation with Lev Grossman, author of The Magician’s Land Q:
People considered The Magicians to be Harry Potter for grown-ups and an homage to writers like C.S. Lewis and J.K. Rowling. But in THE MAGICIAN’S LAND, Quentin is nearly thirty years-old. Can we expect any new allusions to those books? How has the series grown up over the years?
A: On some level all the Magicians books are written as a conversation with Lewis and Rowling. It’s a complicated conversation – sometimes it’s affectionate, occasionally it’s rather heated – and it continues in The Magician’s Land. I thought Rowling let Harry off a little easy by never showing him to us at 30. We never really saw him having to deal with his traumatic past – his abusive childhood, his experience of violence and death, his massive world-saving celebrity as a teenager – and struggling to figure out what the rest of his life is about. Those are things Quentin has to do in The Magician’s Land. When you’re a magician, and there’s no ultimate evil to defeat, when you’re not a kid anymore, what is magic for? As for Lewis, Narnia fans will pick up echoes of The Magician’s Nephew and The Last Battle, the stories of Narnia’s creation and of its destruction. Lewis made a bit of fetish of childhood and innocence: Narnia was a place for children, and when you grow up and get interested in adult things, you lose that special magic. You see that in Peter Pan too – it’s one of the dominant tropes of 20th century fantasy. In The Magician’s Land I wanted to think not just about what you lose when you grow up, but what you might gain. You lose the magic of innocence and wonder, but do you gain a richer, more complex kind of magic?
Q: You come from a family of serious academics. What was their reaction when you chose to write genre fiction rather than something more “literary”? A: It sounds funny to say it, but writing The Magicians was a serious act of rebellion for me. Coming from the family I do, it was an act of calculated treason. I had to nerve myself up to do it. But I had to – it was the only way I could say what I wanted to say. I couldn’t do anything else. I think it’s fair to say that reactions were mixed. My mom was cautiously enthusiastic, and my brother and sister have been hugely helpful with the books. But I don’t think my father ever read any of The Magicians books.
Q: The Magicians books have stirred up a lot of controversy among readers. They attack or invert the most sacred conventions of fantasy, and as a result, have divided the fantasy world. Can you speak a bit about this diverse reader response?
A: No question, the Magicians books are polarizing. They’re supposed to be. The same way Neuromancer did with science fiction, and Watchmen did with superhero comics, the Magicians books ask hard questions about fantasy. What kinds of people would really do magic, if it were really, and what would the practice of magic do to them? What would really go on in a school for magic, with a bunch of teenagers in a fairy castle being given supernatural powers? What would happen if you put in all the depression and the violence and the blowjobs and the drinking that Rowling leaves out? What would happen to those kids after they graduated? What would happen if you sent these kids through the looking glass, into a magical land that was in the grip of a civil war? These aren’t the kinds of questions everybody wants asked, but that’s how genres evolve. Watchmen was a brutal interrogation of the superhero genre – and it was also the greatest superhero story ever written. You couldn’t write a comic book the same way after Watchmen was published.I’m not saying the Magicians books are the greatest fantasy novels ever written, but they’re asking the same kinds of questions.
Q: What were your major influences from science fiction or fantasy genres? What about more mainstream, literary works? How do you see these manifesting themselves in THE MAGICIAN’S LAND?
A: What got me started writing The Magicians was reading Susanna Clarke’s Jonathan Strange and Mr. Norrell in 2004. There were several novels around that time that did things with fantasy that had never been done before, used it to say things that had never been said before. George R.R. Martin’s books were like that, and so were Neil Gaiman’s, especially American Gods. So were Kelly Link’s. When I read those books, I knew that I had to be a part of whatever they were doing. I also have a bit of an academic background – I spent a few years in graduate school, and I studied the literary canon, particularly the history of the novel, pretty intensely – and that comes out in the Magicians books too. You can find bits of Proust in them, and Fitzgerald, Woolf, Donne, Joyce, Chaucer, T.S. Eliot. You can find a lot of Evelyn Waugh – Brakebills owes a lot to Hogwarts, but it owes a lot more to the Oxford of Brideshead Revisited. I wanted to see what happens when you take techniques and tropes from literary fiction and transport them, illegally, across genre lines.
Q: As a literary critic, you’ve worked to promote the value and respectability of genre fiction – one year you put George R.R. Martin at the top of Time’s list of books of the year. You did the same with Susanna Clarke and John Green. Does that fit in with what you do as a writer of fiction?
A: In my own nerdy way I’m trying to start a revolution, or maybe I’m just trying to join one that got started without me. It’s a literary revolution, but not the usual kind, where people who are writing difficult, avant garde literature figure out a way to make it even more difficult and avant garde. I’m talking about a revolution of pleasure, where the question of a book’s worth is de-coupled from the question of whether or not it’s hard or unpleasant to read.
Q: If The Magicians, The Magician King, and THE MAGICIAN’S LAND were made into movies or a television series, who would you envision playing Quentin and his friends?
A: The challenge with the Magicians characters is to convey a lot of intelligence, and also to not be overly good-looking. They’re a clever lot, and they’re also very real – they look like real people. Ben Whishaw has probably aged out of the Quentin role, but people mention him to me a lot, and that seems right. Sometimes I pictured specific actors while I was writing – Eliot, for example, I imagine as something like Richard E. Grant in Withnail and I. I often imagine Alice as Thora Birch from Ghost World.
Q: There are a lot of tech references in The Magicians books that would seem more at home in science fiction than fantasy, ie. the origin of magic is described in hacker language. Why did you choose to juxtapose so much tech with magic? A: I’m very committed to the project of making the Magicians books feel real, and to that end I made a deal with myself: everything that’s real in our world would be real in Quentin’s. And that means including contemporary technology, cell phones and the Internet and so on. But beyond that, I think the same people who are interested in technology in our world would be drawn to magic if it were real, as much as the Wiccan crowd. Magic is interesting and complicated and powerful the same way technology is, and it requires some of the same mental discipline. Also, I’m a science fiction writer manqué. I like the way SF writers look at the world. I like to think I write about magic the way good SF writers write about technology.
Q: You have a degree in comparative literature from Harvard but dropped out before getting your Ph.D. from Yale. What made you decide not to become an academic yourself?
A: I can’t even remember what made me decide I wanted to be one in the first place, except that I was unemployed and wanted to read books and talk about them as much as possible. Which I did get to do, and I loved it. But I knew from watching my parents that the life of an academic is not a glamorous one. It is frequently an underpaid and inglorious one, except for the superstars, and it quickly became apparent that I wasn’t going to be one of those. Fortunately I married one instead.
Q: You have an identical twin brother, Austin Grossman, who is also a Harvard grad and successful fantasy novelist. Why do you think you’ve traveled such similar paths professionally? How do you think growing up as twins shaped your writing, respectively?
A: It’s a mystery. I don’t know if twins have much more insight into it than regular people have. Austin was a very successful video game designer in his 20s, whereas I spent most of that decade looking for a career of any kind. But then somehow, for some reason, we re-converged. It happens all the time, not just with our writing. We live on opposite coasts, and only see each other a few times a year, but there’s always some uncanny coincidence in what we’re doing, or wearing, or listening to, or reading. Though I’m very conscious of the differences in our work too. We’ve read the same things, seen the same movies, and watched the same shows, so our cultural points of reference are all the same. We know all the same words. But he writes only in the first person, and I only write in the third person. We use the same raw materials to construct very different stories.
- Over the past decade, fantasy has become more accepted in mainstream and literary circles. What do you think has changed and where do you see the genre going? Does fantasy get the respect it deserves among scholars?
- A lot has changed for fantasy in the last decade or so. The 1990's were all about science fiction—Star Wars, Star Trek, the Matrix—but something changed around the turn of the millennium. After 2001 the popular imagination became focused on fantasy -- Harry Potter and Twilight and The Lord of the Rings. En masse, we turned to fantasy for something we needed and weren't finding elsewhere. What that is, it’s hard to say, but it’s led to a glorious resurgence of the genre. Fantasy is evolving and maturing. It’s definitely not just for kids anymore. Writers like Neil Gaiman, Susanna Clarke, China Mieville, George RR Martin and Kelly Link are making it more complex and interesting and sophisticated and powerful than it ever was before.
Quentin Coldwater has lost everything. He has been cast out of Fillory, the secret magical land of his childhood dreams that he once ruled. Everything he had fought so hard for, not to mention his closest friends, is sealed away in a land Quentin may never again visit. With nothing left to lose he returns to where his story began, the Brakebills Preparatory College of Magic. But he can’t hide from his past, and it’s not long before it comes looking for him. Meanwhile, the magical barriers that keep Fillory safe are failing, and barbarians from the north have invaded. Eliot and Janet, the rulers of Fillory, embark on a final quest to save their beloved world, only to discover a situation far more complex—and far more dire—than anyone had envisioned. Along with Plum, a brilliant young magician with a dark secret of her own, Quentin sets out on a crooked path through a magical demimonde of gray magic and desperate characters. His new life takes him back to old haunts, like Antarctica and the Neitherlands, and old friends he thought were lost forever. He uncovers buried secrets and hidden evils and ultimately the key to a sorcerous masterwork, a spell that could create a magical utopia. But all roads lead back to Fillory, where Quentin must face his fears and put things right or die trying. The Magician’s Land is an intricate and fantastical thriller, and an epic of love and redemption that brings the Magicians trilogy to a magnificent conclusion, confirming it as one of the great achievements in modern fantasy. It’s the story of a boy becoming a man, an apprentice becoming a master, and a broken land finally becoming whole.
Amazon B&N signed edition BAM signed edition ON SALE AUG.5TH.
Thanks to Catherine, the Book Nook has a copy of THE MAGICIAN'S LAND complemented with postcards and buttons to giveaway to one (1) lucky commenter. Sorry, U.S. only & book will be shipped on release August 5th. As a reader do you prefer trilogies or series to stand alones? Good luck y'all!
Info from Lev Grossman's site
“An elegantly written third act to Quentin’s bildungsroman. . . . Fans of the trilogy will be pleased.” —Publishers Weekly
“If you haven’t read the first two books in Grossman’s Magicians trilogy, buy them immediately and set aside a weekend to read them straight through before you turn to The Magician’s Land. The series, which follows a group of—you guessed it—magicians through the emotional foibles of young adulthood has been called “Harry Potter for adults.” But it’s way more complex than that. Grossman hones in on the particularly brutal business of being young, and then adds layer upon layer of literary allusion, creating works that are both homages to fantasy’s past and glimpses at its future.” —The New Republic
“Lev Grossman has conjured a rare creature: a trilogy that simply gets better and better as it goes along. The Magician’s Land is sumptuous and surprising yet deliciously familiar, a glass of rich red wine left out for a hungry ghost. Literary perfection for those of us who grew uptesting the structural integrity of the backs of wardrobes.” —Erin Morgenstern, author of The Night Circus
“Sink your mobile devices into the nearest wishing well and duct-tape your front door against gnomes, pollsters, and other distractions. The Magician’s Land is beckoning, and demands your full attention. Lev Grossman proves again that the costs and consolations of creation—both of Fillory and of this conclusion to his trilogy–are mighty forces. Quentin Coldwater, Grossman’s Orpheus and his Abraham, his Yahweh and his Puck, enchant as few other magicians can, or dare.” —Gregory Maguire, author of Wicked and Egg & Spoon
“Poignant and messy, fearsome and beautiful — like a good magic spell, the final book in this trilogy is more than the sum of its parts. Also, damn. Just some of the best magic I have read, ever.” —Maggie Stiefvater, author of The Shiver Trilogy
“The Magician’s Land is a triumphant climax to the best fantasy trilogy of the decade.” —Charles Stross, author of Accelerando and The Rhesus Chart
“In The Magician’s Land, Quentin Coldwater is hitting 30 years old. It’s a bit young to be having a mid-life crisis, but when you’ve been living your dreams as a magician king of a fantasy land and get suddenly deported by the very entities you just saved from destruction, I suppose it’s understandable. But Quentin just can’t seem to stay out of trouble, or out of Fillory, his former magical kingdom. Lev Grossman’s quirky prose, his sense of humor and his great sympathy for his emotionally flawed characters combine to make a wonderful third novel in what has become one of my favorite fantasy trilogies ever.” —Ken White of Books Inc. Market Street in San Francisco
“An elegantly written third act to Quentin’s bildungsroman. . . . Fans of the trilogy will be pleased.” —Publishers Weekly
LEV GROSSMAN WILL BE TOURING TO:
Burlington, MA Readercon July 10-13
San Diego, CA Comic Con July 24 – 27
Orlando, FL LeakyCon July 30 – Aug 3
Brooklyn, NY St. Joseph’s College / 7pm August 5
Sponsored by Greenlight Bookstore
New York, NY Barnes & Noble (Upper West Side) / 7pm August 6
Boston, MA Brookline Booksmith / 7pm August 7
Minneapolis, MN Club Book, Roseville Library / 7pm August 11
Houston, TX Murder by the Book / 6:30pm August 12
Los Angeles, CA Vroman’s / 7pm August 13
San Francisco, CA Rakestraw / 7pm August 14
San Francisco, CA Kepler’s / 7:30pm August 15
Chapel Hill, NC Flyleaf Books / 7pm August 28
Atlanta, GA Decatur Book Festival August 29 – 31
Dragon Con August 29 – 31
Winston-Salem, NC Bookmarks Festival September 6
Lev Grossman is the book critic and lead technology writer for Time magazine and a widely published cultural critic. He is also the author of the New York Times bestselling novels The Magicians and The Magician King. A graduate of Harvard and Yale, he lives in Brooklyn with his wife and three children.
You can learn more about Lev Grossman on his websitewww.levgrossman.com and follow him on Twitter @leverus.