Title: Roger Zelazny
Author: Theodore Krulik
Publication Date: 1986

Although Roger Zelazny is much more an analysis of Zelazny's major works and short stories up to 1986, a big theme is the entwinement of Zelazny himself with the characters in his novels. For example, in The Hand of Oberon, the protagonist Corwin is traveling through the dungeons of a castle, where he meets and greets a guard:

"Good evening, Lord Corwin," said the lean cadaverous figure who rested against a storage rack, smoking his pipe, grinning around it.

"Good evening, Roger. How are things in the nether world?"

"A rat, a bat, a spider. Nothing much else astir. Peaceful."

"You enjoy this duty?"

He nodded.

"I am writing a philosophical romance shot through with elements of horror and morbidity. I work on those parts down here." (p. 8)

Krulik makes no attempt to hide his fascination for Zelazny, both as a "highly personable...man of wit" and as a "literary scholar's dream come true". (p. ix) It seems that Krulik was well acquainted and very appreciative of Zelazny's writing before meeting him, and was also impressed with Zelazny in person. Since Roger Zelazny focuses on the books of Zelazny, there is very little biographical information; there is only brief background. Most of what Krulik has to say about Zelazny is introduced while studying his works, used to explain, clarify, or put into context certain stories, novels, or passages.

For example, one of Zelazny's stories concerns the protagonist of My Name Is Legion. He operates outside the computer- controlled government system, as he destroyed all his records before they could be entered into the Central Data Bank. Krulik makes the connection between Zelazny's life and this character by citing the decision of Zelazny to quit his Social Security Administration job and write full-time, with this story being one of the first to be produced after the change. Krulik claims that Zelazny derived the "unconscious satisfaction of creating a character who is totally free of mundane ties,a freedom that Zelazny was feeling himself." (p. 122)

Apart from these connections between Zelazny and his writing, Krulik gives only brief details of Zelazny's life, such as his two marriages, his children, his actual career, and his aspirations. All this information is listed in timeline form at the beginning of the book, and some mentioned in the body, but nothing is delved into. Obviously this is because Krulik wished to produce a literary analysis.

This book is primarily targeted for readers who know and enjoy Zelazny's work. Although the plot of each story or novel discussed is summarized, it is very beneficial to have actually read the story. I found that reading as many of Zelazny's books as I could before reading Krulik's analysis was very fulfilling. The difference between reading a critique of one of the books I had read and an analysis of an unfamiliar work was large. It is a much more satisfying experience when one can follow Krulik's reasoning, whether his ideas are ultimately convincing or not. Otherwise there is no personal involvement between the reader and the analysis.

In addition to being aimed at serious Zelazny readers, Roger Zelazny is best suited for someone interested in literary critique-such as of characterizations, techniques, varying writing styles, and common themes. A standard passage of analysis:

"...Zelazny is a revisionist who borrows from these archaic religions in order to rework ideas and concerns that he cares deeply about. The nature of rebellion that we see in Lord of Light and one's search for his place in the universe that we see in Creatures of Light and Darkness are integral and enduring problems that Zelazny has pursued throughout his writing career. He is using these mythologies, coupled with the enhancements of science fiction, to reexamine these more personal themes in his life."

Roger Zelazny is arranged, apart from the opening introductory and concluding chapters, by themes according to his works. His short stories, tales of immortality, experimental books employing new styles, etc., are each assigned their own chapter. This basic organization, the most sensible for covering a wide spectrum of topics, remains consistent through the book. The only intrusions are the references Krulik occasionally makes to already reviewed stories, which have some ties to works that wouldn't have fit in the prior category.

Krulik's main technique is the use of quotes and references to Zelazny books. Krulik usually puts down a humorous passage, or one that embodies the theme of its source. He uses a scene from Creatures of Light and Darkness to show that even in Zelazny's more contemplative and serious novels, he uses good doses of humor. A scrier named Freydag uses Boltag, a rival, and, incidentally, a cousin, in his necessary rituals. After Freydag has slit Boltag's abdomen, the two argue as each offers his own interpretation of the exposed entrails:

"Silence!" cries Freydag. "I did not call thee in for a consultation!"

"They are my innards! I will not have them misread by a poseur!" (p. 86)

Krulik states that he is examining Zelazny's works, comparing and contrasting similar themes or characterized writings. (p. x) Throughout Roger Zelazny, it can be seen that Krulik respects these works, and thinks highly of Zelazny's writings. Thus, a sub-theme seems to be a recommendation of Zelazny's works, although, as mentioned above, the book is most suited for those already well acquainted with Zelazny's efforts. The analysis is very successful. I already had some basic notions of the themes and character types that linked Zelazny's works, but Roger Zelazny served very well to itemize and organize them, as well as introduce completely unnoticed connections.

Roger Zelazny is a great book for any Zelazny fan; best for those who have read most of his works, but still rewarding to those who have only read a few of his novels. The book is also a quick read, short and fairly engrossing. For all these reasons, it makes an excellent guide to the world of Zelazny.