I have fabulous news, my fellow readers! The Magicians Land (the third and final book in the critically acclaimed The Magicians Trilogy) by Lev Grossman hits the stores today!
In this final installment, Quentin Coldwater returns to his old school Brakebills after being booted unceremoniously from the land of Fillory. But demons of his past return and send him on a last awesome adventure through new and old places.
To celebrate the release day, we have Q&A and a giveaway to share with you, our lovely readers! Enjoy!
The Magician's Land by Lev Grossman
Hardcover, 416 pages
Published August 5th 2014 by Viking Adult
The stunning conclusion to the New York Times bestselling Magicians trilogy
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.
Q&A with Lev Grossman
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.
Q. 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. 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.
But no, as far as I can
tell, it still gets very little respect from the academy.
Q: What’s your favorite part of writing outside
of reality?
What makes fantasy interesting to me is what
it can’t do. Magic doesn’t solve everybody’s problems. You have
characters who are capable of drawing energy from invisible sources, making it
crackle from their fingers, performing miracles. But when they’re done, they’re
still who they are. Life is still life. Magic doesn't change relationships. It
doesn’t fix your neuroses. Those basic problems are still what they were, and
they have to be solved the old-fashioned way, just like in any other novel.
About the other books:
The Magicians
Hardcover, 402 pages
Published August 11th 2009 by Viking
Quentin Coldwater is brillant but miserable. He's a senior in high school, and a certifiable genius, but he's still secretly obsessed with a series of fantasy novels he read as a kid, about the adventures of five children in a magical land called Fillory. Compared to that, anything in his real life just seems gray and colorless.
Everything changes when Quentin finds himself unexpectedly admitted to a very secret, very exclusive college of magic in upstate New York, where he receives a thorough and rigorous education in the practice of modern sorcery. He also discovers all the other things people learn in college: friendship, love, sex, booze, and boredom. But something is still missing. Magic doesn't bring Quentin the happiness and adventure he though it would.
Then, after graduation, he and his friends make a stunning discovery: Fillory is real.
The Magician King
Hardcover, 400 pages
Published August 9th 2011 by Viking Adult
Return to Fillory in the riveting sequel to the New York Times bestseller and literary phenomenon, The Magicians
Quentin Coldwater should be happy. He escaped a miserable Brooklyn childhood, matriculated at a secret college for magic, and graduated to discover that Fillory—a fictional utopia—was actually real. But even as a Fillorian king, Quentin finds little peace. His old restlessness returns, and he longs for the thrills a heroic quest can bring.
Accompanied by his oldest friend, Julia, Quentin sets off—only to somehow wind up back in the real world and not in Fillory, as they'd hoped. As the pair struggle to find their way back to their lost kingdom, Quentin is forced to rely on Julia's illicitly-learned sorcery as they face a sinister threat in a world very far from the beloved fantasy novels of their youth.
The Trailer:
Giveaway
Thanks to the fabulous Catherine and Viking Adult, we have a copy of The Magician's Land to give away to one lucky US winner!
a Rafflecopter giveaway
Publication Date: October 10, 2017 Rippling Effects Writing & Photography
A writer from a young age, Tanya E Williams loves to help a reader get lost in another time, another place through the magic of books. History continues to inspire her stories and her insightfulness into the human condition deepens her character's experiences and propels them on their journey. Ms. Williams' favourite tales, speak to the reader's heart, making them smile, laugh, cry, and think. For more information, please visit Tanya Williams' website and blog. You can also find her on Facebook, Twitter, Google+, Goodreads, and Pinterest.
