THE MISSING BOY
BRAKEBILLS LET OUT for the last two weeks of December. At first Quentin wasn’t sure why he was so terrified of going home until he realized that it wasn’t home he was worried about per se. He was worried that if he left Brakebills they’d never let him back in. He would never find his way back again—they would close the secret door to the garden behind him, and lock it, and its outline would be lost forever among the vines and the stonework, and he would be trapped out in the real world forever.
In the end he went home for five days. And for a moment, as he was climbing the front stairs, and the good old familiar home smell descended on him, a lethal enchantment compounded of cooking and paint and Oriental rugs and dust, when he saw his mother’s toothy, exasperated smile and his dad’s hale, stubbly good humor, he became the person that he used to be around them again, and he felt the gravitational pull of the little kid he once was and in some unswept back corner of his soul always would be. He gave in to the old illusion that he’d been wrong to leave, that this was the life he should be living.
But the spell didn’t hold. He couldn’t stay. Something about his parents’ house was unbearable to him now. After his little curved tower-top room, how could he go back to his dingy old bedroom in Brooklyn with its crumbly white paint and its iron bars on the window and its view of a tiny walled-in dirt patch? He had nothing to say to his well-meaning, politely curious parents. Both their attention and their neglect were equally intolerable. His world had become complicated and interesting and magical. Theirs was mundane and domestic. They didn’t understand that the world they could see wasn’t the one that mattered, and they never would.
He came home on a Thursday. On Friday he texted James, and on Saturday morning he met up with James and Julia at an abandoned boat launch on the Gowanus. It was hard to say why they liked this place, except that it was roughly equidistant from their homes and fairly secluded—it was at the end of a dead-end street that butted up against the canal, and you had to climb over a corrugated-metal barrier to get to it. It had the quiet stillness of any place that was close to open water, however stagnant and poisonous that water might be. There was a kind of concrete barricade you could sit on while you troubled the viscous surface of the Gowanus with handfuls of stray gravel. A burnt-out brick warehouse with arched windows loomed over the scene from the opposite bank. Somebody’s future luxury condo.
It was good to see James and Julia again, but it was even better to see himself seeing them, and to see how much he had changed. Brakebills had rescued him. He was no longer the shoe-gazing fuckup he’d been the day he left, James’s sidekick and Julia’s inconvenient suitor. When he and James exchanged their gruff hellos and cursory handshake-hugs, he didn’t feel that instinctive deference he used to feel around James, as if he were the hero of the piece and not Quentin. When he saw Julia, he searched himself for the old love he used to feel for her. It wasn’t gone, but it was a dull, distant ache, still there but healed over—just the shrapnel they couldn’t remove.
It it was impossible to tellorR absolutely sure Renaissancehadn’t occurred to Quentin that they might not be completely glad to see him. He knew he’d left abruptly, without explanation, but he had no idea how hurt and betrayed they would feel. They all sat together, three in a row, looking out at the water, as Quentin extemporized a breezy account of the obscure but still highly selective educational institution that he was for some reason attending. He kept the curriculum as vague as possible. He focused on architectural details. James and Julia huddled together stiffly against the March chill (it was March now in Brooklyn) like an elderly married couple on a park bench. When it was his turn, James rattled on about senior projects, the prom, teachers Quentin hadn’t thought about once in six months—it was incredible that all this stuff was still going on, and that James still cared about it, and that he couldn’t see how everything had changed. Once magic was real everything else just seemed so unreal.
And Julia—something had happened to his delicate, freckly Julia while he was away. Was it just that he didn’t love her anymore? Was he seeing her clearly for the first time? But no, her hair was longer now, and it was flat and lank—she had done something to tamp down the waviness—and there were dark circles under her eyes that hadn’t been there before. Before she only ever smoked at parties, but now she lit cigarette after cigarette, one off the other, feeding each one down the end of a hollow steel fencepost when she was done. Even James seemed unnerved by her, tense and protective. She observed them both coolly, her black skirt blowing around her bare knees. Afterward he couldn’t have said for sure whether she’d even spoken at all.
That night, already jonesing for a taste of the magical world he’d just left, Quentin rifled through his old paperbacks for a Fillory novel and stayed up till three in the morning rereading The Flying Forest, one of the more incidental, less satisfying installments in the series, which featured Rupert, the goofy, feckless Chatwin brother. He and pretty, princessy Fiona find their way into Fillory via the upper branches of Rupert’s favorite climbing tree and spend the novel searching for the source of a ticking sound that’s keeping their friend Sir Hotspots (he’s a leopard, with exceptionally sharp ears) from sleeping.
The culprits turn out to be a tribe of dwarves who have hollowed out an entire mountain of copper-bearing rock and fashioned it into an immense timekeeping device. (Quentin had never noticed before how obsessed Plover was with clockwork.) In the end Rupert and Fiona enlist a friendly giant to simply bury the clock deeper with his enormous mattock, muffling its monstrous ticking noise, thereby both mollifying Sir Hotspots and the dwarves, who, as cave dwellers, liked being buried. Then they repair to the royal residence, Castle Whitespire, an elegant keep cunningly constructed as a giant clockwork mechanism. Wound by windmills, a great brass mainspring beneath the castle moved and rotated its towers in a slow, stately dance.
Now that he had been to Brakebills and knew something about real magic he could read Plover with a more critical eye. He wanted to know the technical details behind the spells. And why were the dwarves building that giant clock in the first place? And the denouement didn’t strike him as especially final—it reminded him too much of The Telltale Heart. Nothing stays buried forever. And where was the flying forest in The Flying Forest? Where were Ember and Umber, the stately twin rams who patrolled Fillory and kept order there? Though they rarely showed up till after the Chatwins had already taken care of things for them. Their real funwood-paneled bSeptemberv with ction seemed to be to make sure the Chatwins didn’t overstay their welcome—it was Ember and Umber who regularly evicted them and sent them back to England at the end of each book. It was Quentin’s least favorite thing about the series. Why couldn’t they just let them stay? Would that have been so bad?
It was obvious that Christopher Plover didn’t know anything about real magic. He wasn’t even really English: according to the flap copy he was an American who’d made a quick fortune in dry goods in the 1920s and moved to Cornwall just ahead of the stock-market crash. A confirmed bachelor, as the saying goes, he embraced Anglophilia, began pronouncing his name the English way (“Pluvver”), and set himself up as a country squire in a vast home crammed with staff. (Only an American Anglophile could have created a world as definitively English, more English than England, as Fillory.) Legend had it that there actually was a family of Chatwin children, who lived next door to him. Plover always claimed that the Chatwin children would come over and tell him stories about Fillory, and that he just wrote them down.
But the real mystery of The Flying Forest, endlessly analyzed by zealous fans and slumming academics, lay in the final few pages. With the ticking problem taken care of, Rupert and Fiona are settling down to a celebratory feast with Sir Hotspots and his family—including an appealingly slinky leopard bride and any number of adorable fuzzy leopard kittens—when who should turn up but Martin, the eldest Chatwin child, who first discovered Fillory two books ago in The World in the Walls.
Martin is thirteen years old by now, a pubescent teenager, almost too old to be adventuring in Fillory. In earlier books he was a changeful character, whose moods swung from cheerful to black without warning. In The Flying Forest he’s in his depressive phase. It’s not long before he picks a fight with the younger, more dependably sunny Rupert. Some very English yelling and wrestling ensues. The Hotspots clan observes the proceedings with amused leopardly coolth. Breaking away, his shirt untucked and missing a button, Martin shouts at his siblings that it was he who had discovered Fillory, and it was he and not they who should have gotten to go on the adventure. And it wasn’t fair: why did they always have to go home afterward? He was a hero in Fillory and nothing at home. Fiona icily tells him not to behave like a child. Martin stalks away into the dense Darkling Woods, weeping wimpy English schoolboy tears.
And then … he never returns. Fillory swallows him whole. Martin is absent from the next two books—A Secret Sea and the last book in the series, The Wandering Dune—and although his siblings hunt for him diligently, they never find him again. (Now it made Quentin think of poor Alice’s brother.) Like most fans Quentin assumed that Plover meant to bring Martin back in the last book of the series, restored and repentant, but Plover died unexpectedly in his fifties while The Wandering Dune was still in manuscript, and nothing in his papers ever suggested an answer to the riddle. It was an insoluble literary mystery, like Dickens’s unfinished Mystery of Edwin Drood. Martin would always remain the boy who vanished into Fillory and never came back.
Quentin thought the answer might have been in the book he’d possessed so briefly, The Magicians, but it was long gone. He’d turned the House inside out and interrogated everybody in it, and by this point he’d given wood-paneled bSeptemberv with up. Someone at Brakebills must have taken it or tidied it up or lost it. But who, and why? Maybe it hadn’t even been real.
Quentin woke up early that Sunday morning already in fully fledged flight mode. He was spinning his wheels here. He had his new life to get on with. Feeling only the barest required minimum of guilt, he improvised an elaborate fictional confection for his parents—rich roommate, ski chalet in New Hampshire, I know it’s last minute but could he please? More lies, but what could you do, that was how you rolled when you were a secret teenage magician. He packed hurriedly—he’d left most of his clothes at school anyway—and half an hour later he was out on the streets of Brooklyn. He went straight to the old community garden. He walked into the thickest part of it.
He ended up at the back fence, looking through it at the rusting play set in a neighbor’s yard. Could it really be this small? He remembered the garden as practically a forest, but now it looked thin and scraggly. For several minutes he tramped around through the rubble and broken weeds and pumpkin corpses frozen in the act of rotting, back and forth, feeling more and more nervous and embarrassed. What did he do last time? Did he need the book? He must be missing something, but he couldn’t think what. The magic wasn’t happening. He tried to retrace his steps exactly. Maybe it was the wrong time of day.
Quentin went to get a slice of pizza and take stock, praying that nobody he knew would walk by and see him there when he was supposed to be on his way to Mount Alibi in New Hampshire. He didn’t know what to do. The trick wasn’t working. It was all falling away from him. He sat there in a booth with his bags next to him staring at his reflection in the floor-to-ceiling mirrors—why do all pizzerias have mirrored walls?—and reading the police blotter in the Park Slope free weekly. The walls reflected each other, mirrors on mirrors, an infinite curving gallery. And as he sat there, the long, narrow, busy room became still around him, almost without his knowing it. The mirrors became dark, the light changed, the bare tile became a polished parquet floor, and when he looked up from the paper again he was eating his slice alone in the Junior Common Room at Brakebills.
Abruptly, with no fuss or ceremony, Alice and Quentin were Second Years. Classes met in a semicircular room in a back corner of the House. It was sunny but terrifyingly cold, and the insides of the tall, paneled windows were permanently iced over. In the mornings they were taught by Professor Petitpoids, an ancient and slightly dotty Haitian woman who wore a pointy black hat and made them address her as “Witch” instead of “Professor.” Half the time when someone asked her a question, she would just say, “As it harm none, do what you will.” But when it came to the practical requirements of working magic, her knobby walnut fingers were even more technically proficient than Professor Sunderland’s. In the afternoons, for P.A., they had Professor Heckler, a long-haired, blue-jawed German who was almost seven feet tall.
There was no particular rush to embrace the two newcomers. The promotion had effectively turned Quentin and Alice into a class of two: the First Years resented them, and the Second Years ignored them. Alice wasn’t the star of the show anymore; the Second Years had stars of their own, principally a loud, bluff, broad-shouldered girl with straight dishwater hair named Amanda Orloff who was regularly called on to demonstrate techniques for the class. The daughter of a five-star army general, she did magic in a gruff, unshowy, devastatingly competent way with her big, blocky hands, as if she were solving an it was impossible to tellha0 Sv with invisible Rubik’s cube. Her thick fingers wrung the magic out of the air by main force.
The other students all assumed Quentin and Alice were friends already, and probably a couple, which in a funny way had the effect of calling into being a bond between them that hadn’t really had time to form yet. They were more comfortable with each other since she’d told him the painful secret of her arrival at Brakebills. She seemed to have been liberated by her late-night confession: she didn’t seem so fragile all the time—she didn’t always speak in that tiny, whispery voice, and he could make fun of her, and with some prompting he could get her to make fun of him, too. He wasn’t sure they were friends, exactly, but she was unfolding a little. He felt like a safecracker who—partly by luck—had sussed out the first digit in a lengthy, arduous combination.
One Sunday afternoon, tired of being shunned, Quentin went and found his old lab partner Surendra and dragged him out of the House for a walk. They wound their way out through the Maze in their overcoats, headed nowhere in particular, neither of them very enthusiastically. The sun was out, but it was still painfully cold. The hedges were heavy with melting ice, and snow was still piled up in the shadowy corners. Surendra was the son of an immensely wealthy Bengali-American computer executive from San Diego. His round, beatific face belied the fact that he was the most brutally sarcastic person Quentin had ever met.