Grossman (Codex, 2004, etc.) imagines a sorcery school whose primary lesson seems to be that bending the world to your will isn’t all it’s cracked up to be. When Quentin manages to find Brakebills College for Magical Pedagogy and pass its baffling entrance exam, he finally feels at home somewhere. Back in the real world, Quentin and fellow students, like brilliant, crippling shy Alice and debonair, sexually twisted Eliot, were misfits, obsessed with a famous children’s series called Fillory and Further (The Chronicles of Narnia, very lightly disguised). Brakebills teaches them how to tap into the universe’s flow of energy to cast spells; they’re ready to graduate and . . . then what? “You can do nothing or anything or everything,” cautions Alice, who has become Quentin’s lover. “You have to find something to really care about to keep from running totally off the rails.” Her warning seems apt as he indulges in aimless post-grad drinking and partying, eventually betraying Alice with two other Brakebills alums.
The discovery that Fillory actually exists offers Quentin a chance to redeem himself with Alice and find a purpose for his life as well. But Fillory turns out to be an even more dangerous, anarchic place than the books suggested, and it harbors a Beast who’s already made a catastrophic appearance at Brakebills. The novel’s climax includes some spectacular magical battles to complement the complex emotional entanglements Grossman has deftly sketched in earlier chapters. The bottom line has nothing to do with magic at all: “There’s no getting away from yourself,” Quentin realizes. After a dreadful loss that he discovers is the result of manipulation by forces that care nothing about himor his friends, Quentin chooses a bleak, circumscribed existence in the nonmagical world. Three of his Brakebills pals return to invite him back to Fillory: Does this promise new hope, or threaten more delusions?Very dark and very scary, with no simple answers provided-fantasy for grown-ups, in other words, and very satisfying indeed.
DeLeeuw’s spellbinding debut is told from the point of view of a being who assumes the persona and desires of a boy’s repressed self. The mysterious narrator encounters six-year-old Luke in Central Park, where Luke gives him a life and a name, Daniel. Daniel has no memory of consciousness before meeting Luke, but as the story moves forward into Luke’s college years, it becomes clear that he has a history distinct from Luke’s own. He quickly learns that he’s stronger when Luke is troubled, and, luckily, there’s much in Luke’s life to distress him. Meanwhile, Claire, Luke’s divorced mother, runs a publishing company founded by her mother, and when Luke comes across a novel about a doppelgänger the company published decades earlier, Daniel realizes it may offer clues to his own secrets and persuades Luke to destroy it, much to Claire’s despair. DeLeeuw delivers a neat bundling of the classic story of a spirit possessing an innocent with the Jungian shadow self, but in the end readers will be somewhat disappointed that he neglects to answer some of the more intriguing questions he poses about Luke’s family.