“Quentin was thin and tall, though he habitually hunched his shoulders in a vain attempt to brace himself against whatever blow was coming from the heavens, and which would logically hit the tall people first.”

“As a teenager in Brooklyn Quentin had often imagined himself engaged in martial heroics, but after this he knew, as a cold immutable fact, that he would do anything necessary, sacrificing whatever or whomever he had to, to avoid risking exposure to physical violence. Shame never came into it. He embraced his new identity as a coward. He would run in the other direction. He would lie down and cry and put his arms over his head or play dead. It didn't matter what he had to do, he would do it and be glad.”

“Quentin found himself staring at the end of his Brakebills careers across the perilously slender gap of only two months of time. It was like he'd been wending his way though a vast, glittering city, zig-zagging through side streets and wandering through buildings and haunted de Chrico arcades and little hidden piazzas, the whole time thinking that he'd barely scratched the surface, that he was just seeing a tiny sliver of one little neighborhood. And then suddenly he turned a corner and it turned out that he'd been through the whole city, it was all behind him, and all that was left was one short street leading straight out of town.”

“Quentin had an obsolete sailing ship that had been raised from the dead. He had psychotically effective swordsman and an enigmatic witch-queen. It wasn't the Fellowship of the Ring, but then again he wasn't trying to save the world from Sauron, he was trying to perform a tax audit on a bunch of hick islanders…”

“But where was he going to go, exactly? It was not considered the thing to look panicked or even especially concerned about graduation, but everything about the world after Brakebills felt dangerously vague and under-thought to Quentin. What was he going to do? What exactly? Every ambition he'd ever had in his life had been realized the day he was admitted to Brakebills, and he was struggling to formulate a new one with any kind of practical specificity. This wasn't Fillory, where there was some magical war to be fought. There was no Watcherwoman to be rooted out, no great evil to be vanquished, and without that everything else seemed so mundane and penny-ante. No one would come right out and say it, but the worldwide magical ecology was suffering from a serious imbalance: too many magicians, not enough monsters.”

“Sometimes you just have to do things, Quentin,” Julia said, as he climbed on board after her. “You spend too much of your time waiting.”

“But there was a more seductive, more dangerous truth to Fillory that Quentin couldn’t let go of. It was almost like the Fillory books— especially the first one, The World in the Walls— were about reading itself. When the oldest Chatwin, melancholy Martin, opens the cabinet of the grandfather clock that stands in a dark, narrow back hallway in his aunt’s house and slips through into Fillory (Quentin always pictured him awkwardly pushing aside the pendulum, like the uvula of a monstrous throat), it’s like he’s opening the covers of a book, but a book that did what books always promised to do and never actually quite did: get you out, really out, of where you were and into somewhere better.”