Tomorrow, and Tomorrow, and Tomorrow

“Is there such a thing as the Great American Gamer Novel? Because if not, I believe Gabrielle Zevin just invented it. She has crafted a brilliant story about life’s most challenging puzzles: friendship, family, love, loss. By turns funny, poignant, wistful, and occasionally devastating, this book absolutely pwned me—in the very best way.”
—Nathan Hill, author of *The Nix

• "Tomorrow, and Tomorrow, and Tomorrow is a beautifully wrought saga of human connection and the creative process, of love and all of its complicated levels. A gem of a novel, intimate yet sweeping, modern yet timeless. Bits of this book lingered in my head the way ghosts of Tetris pieces continue to fall in your mind’s eye after playing."
  —Erin Morgenstern, author of The Starless Sea

"Gabrielle Zevin has written an exquisite love letter to life with all its rose gardens and minefields. With wisdom and vulnerability, she explores the very nature of human connection. This novel, and its unforgettable characters, know no boundaries. To read this book is to laugh, to mourn, to learn, and to grow."
—Tayari Jones, author of *An American Marriage

"Tomorrow and Tomorrow and Tomorrow* is the sort of book that comes around once in a decade—a magnificent feat of storytelling. It is a book about the intersection between love and friendship, work and vocation, and the impossible and relentless pull of our own west-bound destinies. Gabrielle Zevin is one of our greatest living novelists, and Tomorrow just may be her magnum opus. Remarkable."
—Rebecca Serle, author of **In Five Years
**

Autorentext

GABRIELLE ZEVIN is the New York Times and internationally best-selling author of several critically acclaimed novels, including The Storied Life of A.J. Fikry, which won the Southern California Independent Booksellers Award and the Japan Booksellers’ Award among other honors, and Young Jane Young, which won the South­ern Book Prize. Her novels have been translated into thirty-nine languages. She has also written books for young readers, including the award-winning Elsewhere. She lives in Los Angeles.

Klappentext

NEW YORK TIMES BESTSELLER • Sam and Sadie—two college friends, often in love, but never lovers—become creative partners in a dazzling and intricately imagined world of video game design, where success brings them fame, joy, tragedy, duplicity, and, ultimately, a kind of immortality. It is a love story, but not one you have read before.
**
"Delightful and absorbing." —The New York Times • "Utterly brilliant." —John Green**

One of the New York Times’s 100 Best Books of the 21st Century • A Kirkus Reviews Best Fiction Book of the Century • A Los Angeles Times Best Fiction Book of the Last 30 Years • One of the Best Books of the Year: The New York Times, Entertainment Weekly, TIME, GoodReads, Oprah Daily

From the best-selling author of The Storied Life of A. J. Fikry: On a bitter-cold day, in the December of his junior year at Harvard, Sam Masur exits a subway car and sees, amid the hordes of people waiting on the platform, Sadie Green. He calls her name. For a moment, she pretends she hasn’t heard him, but then, she turns, and a game begins: a legendary collaboration that will launch them to stardom.

These friends, intimates since childhood, borrow money, beg favors, and, before even graduating college, they have created their first blockbuster, Ichigo. Overnight, the world is theirs. Not even twenty-five years old, Sam and Sadie are brilliant, successful, and rich, but these qualities won’t protect them from their own creative ambitions or the betrayals of their hearts.

Spanning thirty years, from Cambridge, Massachusetts, to Venice Beach, California, and lands in between and far beyond, Gabrielle Zevin’s Tomorrow, and Tomorrow, and Tomorrow examines the multifarious nature of identity, disability, failure, the redemptive possibilities in play, and above all, our need to connect: to be loved and to love.

Leseprobe
Chapter 1

Before Mazer invented himself as Mazer, he was Samson Mazer, and before he was Samson Mazer, he was Samson Masur—a change of two letters that transformed him from a nice, ostensibly Jewish boy to a Professional Builder of Worlds—and for most of his youth, he was Sam, S.A.M. on the hall of fame of his grandfather’s Donkey Kong machine, but mainly Sam.

On a late December afternoon, in the waning twentieth century, Sam exited a subway car and found the artery to the escalator clogged by an inert mass of people, who were gaping at a station advertisement. Sam was late. He had a meeting with his academic adviser that he had been postponing for over a month, but that everyone agreed absolutely needed to happen before winter break. Sam didn’t care for crowds—being in them, or whatever foolishness they tended to enjoy en masse. But this crowd would not be avoided. He would have to force his way through it if he were to be delivered to the aboveground world.

Sam wore an elephantine navy wool peacoat that he had inherited from his roommate, Marx, who had bought it freshman year from the Army Navy Surplus Store in town. Marx had left it moldering in its plastic shopping bag just short of an entire semester before Sam asked if he might borrow it. That winter had been unrelenting, and it was an April nor’easter (April! What madness, these Massachusetts winters!) that finally wore Sam’s pride down enough to ask Marx for the forgotten coat. Sam pretended that he liked the style of it, and Marx said that Sam might as well take it, which is what Sam knew he would say. Like most things purchased from the Army Navy Surplus Store, the coat emanated mold, dust, and the perspiration of dead boys, and Sam tried not to speculate why the garment had been surplussed. But the coat was far warmer than the windbreaker he had brought from California his freshman year. He also believed that the large coat worked to conceal his size. The coat, its ridiculous scale, only made him look smaller and more childlike.

That is to say, Sam Masur at age twenty-one did not have a build for pushing and shoving and so, as much as possible, he weaved through the crowd, feeling somewhat like the doomed amphibian from the video game Frogger. He found himself uttering a series of “excuse mes” that he did not mean. A truly magnificent thing about the way the brain was coded, Sam thought, was that it could say “Excuse me” while meaning “Screw you.” Unless they were unreliable or clearly established as lunatics or scoundrels, characters in novels, movies, and games were meant to be taken at face value—the totality of what they did or what they said. But people—the ordinary, the decent and basically honest—couldn’t get through the day without that one indispensable bit of programming that allowed you to say one thing and mean, feel, even do, another.

“Can’t you go around?” a man in a black and green macramé hat yelled at Sam.

“Excuse me,” Sam said.

“Dammit, I almost had it,” a woman with a baby in a sling muttered as Sam passed in front of her.

“Excuse me,” Sam said.

Occasionally, someone would hastily leave, creating gaps in the crowd. The gaps should have been opportunities of escape for Sam, but somehow, they immediately filled with new humans, hungry for diversion.

He was nearly to the subway’s escalator when he turned back to see what the crowd had been looking at. Sam could imagine reporting the congestion in the train station, and Marx saying, “Weren’t you even curious what it was? There’s a world of people and th…