“The danger would be going back, or staying still. The only way out was through. The past was ruins, but the present was still in play.”

“would have to find something else, he thought mazily. Something new. Couldn’t stay here anymore. Couldn’t go back. Only forward.”

“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.”

“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.”

“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.”

“There are any number of reasons to want novels to survive. The way [Jonathan] Franzen thinks about it is that books can do things, socially useful things, that other media can't. He cites -- as one does -- the philosopher Soren Kierkegaard and his idea of busyness: that state of constant distraction that allows people to avoid difficult realities and maintain self-deceptions. With the help of cell phones, e-mail and handheld games, it's easier to stay busy, in the Kierkegaardian sense, than it's ever been.Reading, in its quietness and sustained concentration, is the opposite of busyness. "We are so distracted by and engulfed by the technologies we've created, and by the constant barrage of so-called information that comes our way, that more than ever to immerse yourself in an involving book seems socially useful," Franzen says. "The place of stillness that you have to go to to write, but also to read seriously, is the point where you can actually make responsible decisions, where you can actually engage productively with an otherwise scary and unmanageable world.”

“She still had her bad days, no question, when the black dog of depression sniffed her out and settled its crushing weight on her chest and breathed its pungent dog breath in her face. On those days she called in sick to the IT shop where, most days, she untangled tangled networks for a song. On those days she pulled down the shades and ran dark for twelve or twenty-four or seventy-two hours, however long it took for the black dog to go on home to its dark master.”