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Cargando... Roger Zelazny (Modern Masters of Science Fiction)por F. Brett Cox
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"Roger Zelazny combined poetic prose with fearless literary ambition to become one of the most influential science fiction writers of the 1960s. Yet many critics found his later novels underachieving and his turn to fantasy a disappointment. F. Brett Cox surveys the landscape of Zelazny's creative life and contradictions. Launched by the classic 1963 short story "A Rose for Ecclesiastes," Zelazny soon won the Hugo Award for Best Novel with ...And Call Me Conrad and two years later won again for Lord of Light. Cox looks at the author's overnight success and follows Zelazny into a period of continued formal experimentation, the commercial triumph of the Amber sword and sorcery novels, and renewed acclaim for Hugo-winning novellas such as "Home Is the Hangman" and "24 Views of Mt. Fuji, by Hokusai." Throughout, Cox analyzes aspects of Zelazny's art, from his preference for poetically alienated protagonists to the ways his plots reflected his determined individualism. Clear-eyed and detailed, this book provides an up-to-date reconsideration of an often-misunderstood SF maverick"-- No se han encontrado descripciones de biblioteca. |
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 Google Books — Cargando...GénerosSistema Decimal Melvil (DDC)813.54Literature English (North America) American fiction 20th Century 1945-1999Clasificación de la Biblioteca del CongresoValoraciónPromedio: (3.5)
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It's great to see more academic attention to one of my favourite authors, with Cox strongly defending Zelazny against the allegation that after his meteoric rise in the mid-1960s, he started pumping out potboilers for money, and going through each of his novels and also his best known short stories. There are some pretty convincing biographical readings of some of Zelazny's earlier works, especially looking at the roots of "A Rose for Ecclesiastes" in his relationship with the singer Hedy West, and some good defences of the later novels (though I think it's a tough case to make for some of them).
But I'm sorry to say that I didn't get as much out of this as I did from the books on Zelazny by Carl Yoke and Jane Lindskold. There are some irritating lapses of detail. Zelazny's first wife's maiden name was Steberl, not Stebrel. The underwater version of Amber is Rebma not Remba. "All Men are Mortal" is by Simone de Beauvoir, not Jean-Paul Sartre (a particularly ironic mistake to make). A lot is made of the literary roots of Zelazny's novel Isle of the Dead, but the actual painting by Böcklin, which is explicitly referred to by the narrator, is not mentioned by Barr.
And the missing bit for me is Zelazny's own attitude to religion. His father was born in Poland; his mother was Irish-American. An only child, was he brought up with pre-Vatican II bells and smells every Sunday? Or did his fascination with mythology arise from high school and home education? (