Roger Zelazny Quotes

“Death is the only god that comes when you call.”

Source: This Immortal (1965), pp. 9-10

Roger Zelazny book Frost & Fire

24 Views of Mt. Fuji, by Hokusai (1985) - Review of 24 views, with images http://www.stmoroky.com/reviews/gallery/hokusai/24views.htm <br class="br">Source: Frost & Fire

“Good-bye and hello, as always.”

Roger Zelazny The Courts of Chaos

Source: The Courts of Chaos

“I saw my earlier selves as different people, acquaintances I had outgrown. I wondered how I could ever have been some of them.”

Roger Zelazny The Courts of Chaos

Source: The Courts of Chaos

“Don't wake me for the end of the world unless it has very good special effects.”

Roger Zelazny Prince of Chaos

Source: Prince of Chaos

Roger Zelazny Quotes about time

“Do you work for the government, any government?”
"I pay taxes, which means I work for the government, part of the time. Yes.”

“To paraphrase Oedipus, Hamlet, Lear, and all those guys, "I wish I had known this some time ago.”

Source: My Name is Legion

Roger Zelazny book Sign of the Unicorn

Source: Sign of the Unicorn

“I'd had a long talk with Bob Silverberg, who was very influential on my early career. He'd, out of the kindness of his heart, at a convention told me that he thought I'd made several mistakes in the way I was disposing of my stories. And I said, "I don't understand what you mean, but I'll be glad to buy you a few drinks, if you'll tell me about it". So we adjourned to the bar and sat there a couple of hours. He was drinking Bloody Marys back then; I was drinking Black Russians. And he told me all sorts of things which carried me over the next several years; it was a lot of information for a couple of drinks. He told me that the first thing I should do if I wanted to write full-time was to get a really good agent. He said that after a while the business end of writing takes too much of the writing time. Better to pay someone ten percent and find that you're still more than ten percent ahead in the end.
Which is true. My present agent says that he always feels that a good agent during the course of a year should earn back for his client at least the ten percent he takes by way of commission, so the client's really nothing out. And what he should ideally do is make him more money than the ten percent.”

“This added the element of mystery that made the comparison inevitable: life is a thing that reminds me quite a bit of the beaches around Tokyo Bay. Anything goes. Strange and unique things are being washed up all the time. I’m one of them and so are you. We spend some time on the beach, maybe side by side, and then that slopping, smelling, chilly thing rakes it with the liquid fingers of a crumbling hand and some of the things are gone again.”

Phlogiston interview (1995)

“There comes a time in the history of all bureaucracies when they must inevitably parody their own functions.”

Source: Isle of the Dead (1969), Chapter 1 (p. 6)

“Times have changed since the Good Book was written, and you can’t hold with a purely Fundamentalist approach in complex times.”

Source: Isle of the Dead (1969), Chapter 3 (p. 62)

“The fact remains that you would be dealing, and dealing constantly, with the abnormal.”

Home is the Hangman (1975)

Roger Zelazny: Trending quotes

“You don’t know what it’s like to be cut off from a whole area of stimuli!”

He Who Shapes (1965)
Context: The fact remains that you would be dealing, and dealing constantly, with the abnormal. The power of a neurosis is unimaginable to ninety-nine point et cetera percent of the population, because we can never adequately judge the intensity of our own — let alone those of others, when we only see them from the outside. That is why no neuroparticipant will ever undertake to treat a fullblown psychotic. The few pioneers in that area are all themselves in therapy today. It would be like driving into a maelstrom. If the therapist loses the upper hand in an intense session he becomes the Shaped rather than the Shaper. The synapses respond like a fission reaction when nervous impulses are artificially augmented. The transference effect is almost instantaneous.

“I don't know what I'll be writing a few years from now. I have some ideas — I have lots of different things I want to try. I almost don't really care what history thinks. I like the way I'm being treated right now.”

He Who Shapes (1965)
Context: You don’t know what it’s like to be cut off from a whole area of stimuli! To know that a Mongoloid idiot can experience something you can never know — and that he cannot appreciate it because, like you, he was condemned before birth in a court of biological happenstance, in a place where there is no justice — only fortuity, pure and simple.

“Yeah, the mythology is kind of a pattern. I'm very taken by mythology. I read it at a very early age and kept on reading it. Before I discovered science fiction I was reading mythology. And from that I got interested in comparative religion and folklore and related subjects. And when I began writing, it was just a fertile area I could use in my stories.”

On how he would like to be remembered (1994)
Context: Oh, I don't know — that's a hell of a question — I don't tend to look at my stuff that way. I just look at it a book at a time. Something like the Amber books are in a different class. I try not to anticipate. I don't know what I'll be writing a few years from now. I have some ideas — I have lots of different things I want to try. I almost don't really care what history thinks. I like the way I'm being treated right now.

Roger Zelazny Quotes

“I think what I'm going to do is vary my output, do some straight science fiction and some straight fantasy that doesn't involve mythology, and composites.”

"A Conversation With Roger Zelazny" (8 April 1978), talking with Terry Dowling and Keith Curtis in Science Fiction Vol. 1, #2 (June 1978) http://web.archive.org/web/20070701010155/zelazny.corrupt.net/19780408int.html#2 <br class="br">Context: Yeah, the mythology is kind of a pattern. I'm very taken by mythology. I read it at a very early age and kept on reading it. Before I discovered science fiction I was reading mythology. And from that I got interested in comparative religion and folklore and related subjects. And when I began writing, it was just a fertile area I could use in my stories.<br>I was saying at the convention in Melbourne that after a time I got typed as a writer of mythological science fiction, and at a convention I'd go to I'd invariably wind up on a panel with the title "Mythology and Science Fiction". I felt a little badly about this, I was getting considered as exclusively that sort of writer. So I intentionally tried to break away from it with things like Doorways in the Sand and those detective stories which came out in the book My Name Is Legion, and other things where I tried to keep the science more central.<br>But I do find the mythological things are creeping in. I worked out a book which I thought was just straight science fiction -- with everything pretty much explained, and suddenly I got an idea which I thought was kind of neat for working in a mythological angle. I'm really struggling with myself. It would probably be a better book if I include it, but on the other hand I don't always like to keep reverting to it. I think what I'm going to do is vary my output, do some straight science fiction and some straight fantasy that doesn't involve mythology, and composites.

“So I sat down and made a list of everything I felt I should know more about. Astrophysics, oceanography, marine biology, genetics… Then when I'd finished the list I read one book in each of these areas. When I'd finished I went back and read a second book until I'd read ten books in each area. I thought that it wouldn't turn me into a terrific, fantastic expert but I'd at least have enough material there to know if I was saying something wrong.”

“I try to write every day. I used to try to write four times a day, minimum of three sentences each time. It doesn't sound like much but it's kinda like the hare and the tortoise. If you try that several times a day you're going to do more than three sentences, one of them is going to catch on. You're going to say "Oh boy!"”

Phlogiston interview (1995)
Context: When I started writing my first novel,... And Call Me Conrad, they always say: "Write about what you know" and I said "Well, if I get a nice sort of combination SF and Fantasy with these resonances from Greek Mythology it might be pretty good. It would also give me a chance to start filling in my background on all those things I don't know much about but should if I want to be an SF writer."
So I sat down and made a list of everything I felt I should know more about. Astrophysics, oceanography, marine biology, genetics... Then when I'd finished the list I read one book in each of these areas. When I'd finished I went back and read a second book until I'd read ten books in each area. I thought that it wouldn't turn me into a terrific, fantastic expert but I'd at least have enough material there to know if I was saying something wrong. And I'd also know where to turn to get the information I want to make it right.
While I was doing this, to keep the words and cheques flowing I wrote books involving mythology. And once I started picking up things involving astrophysics I'd write stories that played with those sorts of things. So that's why I started out with mythology.

“Oh, I don't know — that's a hell of a question — I don't tend to look at my stuff that way. I just look at it a book at a time.”

and then you just write. You fill up the page and the next page. But you have a certain minimum so that at the end of the day, you can say "Hey I wrote four times today, three sentences, a dozen sentences. Each sentence is maybe twenty word long. That's 240 words which is a page of copy, so at least I didn't goof off completely today. I got a page for my efforts and tomorrow it might be easier because I've moved as far as I have".
Phlogiston interview (1995)

“I'd read SF steadily from when I was eleven until I started college. When I started college I said, "I'm not going to read that while I'm here, I'm going to learn poetry and other things of that sort" in fact I wrote a lot of poetry then.”

“I like libraries. It makes me feel comfortable and secure to have walls of words, beautiful and wise, all around me. I always feel better when I can see that there is something to hold back the shadows.”

Phlogiston interview (1995)
Context: Well, I decided that as a teenager that I really didn't know enough to describe character well and I was wasting my time. I'd learned as much as I could about story telling techniques and it wasn't a matter of technique any more. It was a matter of substance. As a result I said I was going to wait until I was a lot older and had more experience. So it was that after I got out of college I'd been away from SF for about four years. I'd read SF steadily from when I was eleven until I started college. When I started college I said, "I'm not going to read that while I'm here, I'm going to learn poetry and other things of that sort" in fact I wrote a lot of poetry then.

Roger Zelazny book Nine Princes in Amber

Source: Nine Princes in Amber

“Nobody steals books but your friends.”

Roger Zelazny book The Guns of Avalon

Source: The Guns of Avalon

“No word matters. But man forgets reality and remembers words.”

“There's no such thing as civilization. The word just means the art of living in cities.”

Source: Lord of Light

“I watched the spinning stars, grateful, sad and proud, as only a man who has outlived his destiny and realizes he might yet forge himself another, can be.”

Source: The Great Book of Amber

“… even a mirror will not show you yourself, if you do not wish to see.”

Source: Isle of the Dead (1969), Chapter 1 (pp. 29-30)

“There's really nothing quite like someone's wanting you dead to make you want to go on living.”

Source: Lord of Light

“Sleep is perhaps the only among life's great pleasures which need not be of short duration.”

Source: This Immortal

Roger Zelazny Knight of Shadows

Source: Knight of Shadows

“The day of battle dawned pink as the fresh-bitten thigh of a maiden.”

“His followers called him Mahasamatman and said he was a god. He preferred to drop the Maha- and the -atman, however, and called himself Sam. He never claimed to be a god, but then he never claimed not to be a god.”

Source: Lord of Light

“Love is a negative form of hatred.”

Source: Lord of Light

“Why could you not have left me as I was, in the sea of being?"

"Because the world has need of your humility, your piety, your great teaching and your Machiavellian scheming.”

Source: This Immortal

“Then you must reconcile yourself to the fact that something is always hurt by any change. If you do this, you will not be hurt yourself.”

Source: Lord of Light

“The universe did not invent justice. Man did. Unfortunately, man must reside in the universe.”

Source: Power & Light

Roger Zelazny book The Dream Master

He Who Shapes (1965)
Source: The Dream Master

“Strygalldwir is my name. Conjure with it and I will eat your heart and liver."

"Conjure with it? I can't even pronounce it, and my cirrhosis would give you indigestion.”

Roger Zelazny book The Guns of Avalon

Source: The Guns of Avalon

“I'm a lost soul. Wewail.”

“It is anticipation and recollection that fill the heart—never the sensation of the moment.”

Source: Jack of Shadows

“For me, I have seen worlds and people begin and end, actually and metaphorically, and it will always be the same. It’s always fire and water.
No matter what your scientific background, emotionally you’re an alchemist. You live in a world of liquids, solids, gases and heat-transfer effects that accompany their changes of state. These are the things you perceive, the things you feel. Whatever you know about their true natures is rafted on top of that. So, when it comes to the day-to-day sensations of living, from mixing a cup of coffee to flying a kite, you treat with the four ideal elements of the old philosophers: earth, air, fire, water.
Let’s face it, air isn’t very glamorous, no matter how you look at it. I mean, I’d hate to be without it, but it’s invisible and so long as it behaves itself it can be taken for granted and pretty much ignored. Earth? The trouble with earth is that it endures. Solid objects tend to persist with a monotonous regularity.
Not so fire and water, however. They’re formless, colorful, and they’re always doing something. While suggesting you repent, prophets very seldom predict the wrath of the gods in terms of landslides and hurricanes. No. Floods and fires are what you get for the rottenness of your ways. Primitive man was really on his way when he learned to kindle the one and had enough of the other nearby to put it out. It is coincidence that we’ve filled hells with fires and oceans with monsters? I don’t think so. Both principles are mobile, which is generally a sign of life. Both are mysterious and possess the power to hurt or kill. It is no wonder that intelligent creatures the universe over have reacted to them in a similar fashion. It is the alchemical response.”

Source: Threshold

“The stars blazed like the love of God, cold and distant.”

Source: Isle of the Dead (1969), Chapter 6 (pp. 137-138)

“So do not speak to me of souls when you have never seen one, man.”

Source: Isle of the Dead (1969), Chapter 4 (p. 87)

“It is a city of neat cottages and cobbled streets where wander cats without number, for the enlightened legislators of long ago laid down laws for our protection. A good, kind village, where travelers take their ease and pet the cats, making much of them, which is as it should be.”

Source: Jack of Shadows (1971), Chapter 6 (p. 63)

Roger Zelazny book A Night in the Lonesome October

October 22 (p. 160)
A Night in the Lonesome October (1993)

“Nick swore he’d die with this boots on, on some exotic safari, but he found his Kilimanjaro in a hospital on Earth, where they’d cured everything that was bothering him, except for the galloping pneumonia he’d picked up in the hospital. That had been, roughly, two hundred and fifty years ago. I’d been a pallbearer.”

“I had wanted to go after her, to explain my part in what had happened. But I knew it would do no good, so why lose face? When a fairy tale blows up and the dream dust settles and you find yourself standing there, knowing that the last line will never be written, why not omit any exercises in futility?”

Source: Isle of the Dead (1969), Chapter 2 (pp. 58-59)

“Dwelling beside a body of water is tonic for the weary psyche. Sea smells, sea birds, seawrack, sands—alternately cool, warm, moist and dry—a taste of brine and the presence of the rocking, slopping bluegraygreen spit-flecked waters, has the effect of rinsing the emotions, bathing the outlook, bleaching the conscience.”

Source: Isle of the Dead (1969), Chapter 8 (p. 187)

“I was born on the planet Earth, into the middle of the twentieth century, that period in the history of the race when man succeeded in casting off many of the inhibitions and taboos laid upon him by tradition, reveled for a brief time, and then discovered that it didn’t make a bloody bit of difference that he had. He was still just as dead when he died, and he was still faced with every life-death problem that had confronted him before, compounded by the fact that Malthus was right.”

Source: Isle of the Dead (1969), Chapter 5 (pp. 119-120)

“I see myself as a novelist, period. I mean, the material I work with is what is classified as science fiction and fantasy, and I really don't think about these things when I'm writing. I'm just thinking about telling a story and developing my characters.”

Source: Isle of the Dead (1969), Chapter 4 (p. 72)

“On the water, aboard the Proteus, the crowding, the activities, the tempo, of life in the cities, on the land, are muted, slowed—fictionalized—by the metaphysical distancing a few meters of water can provide. We alter the landscape with great facility, but the ocean has always seemed unchanged, and I suppose by extension we are infected with some feelings of timelessness whenever we set out upon her.”

"A Conversation With Roger Zelazny" (8 April 1978), talking with Terry Dowling and Keith Curtis in Science Fiction Vol. 1, #2 (June 1978)

“You were both correct,” said Morningstar. “It is the same thing that you both describe, although neither of you sees it as it really is. Each of you colors reality in keeping with your means of controlling it. For if it is uncontrollable, you fear it. Sometimes then, you color it incomprehensible. In your case, a machine; in theirs, a demon.”

Home is the Hangman (1975)

“Even if they had been real gods, what did it matter? What was it to me? Here I was still, right where I was born a thousand or so years before, in the middle of the human condition—namely, rubbish and pain. If the gods were real, their only relationship with us was to use us to play their games. Screw them all.”

Source: Jack of Shadows (1971), Chapter 6 (p. 63)

“I was cruising along on Tokyo Bay, and suddenly this was the answer, looming, the heaped remains of everything that goes down and does not come again to shore, life’s giant kitchen-midden, the rubbish heap that remains after all things pass, the place that stands in testament to the futility of all ideals and intentions, good or bad, the rock that smashes values, there, signalizing the ultimate uselessness of life itself, which must one day be broken upon it, not to rise, no, never, not ever, again.”

Source: Isle of the Dead (1969), Chapter 8 (p. 174)

“Symbols, by their very nature, conceal as well as indicate, damn them!”

Source: Isle of the Dead (1969), Chapter 7 (p. 154)

“At one time, tips were given only for things you logically would want to have done efficiently and promptly, and they served to supplement a lower payscale for certain classes of employment. This was understood, accepted. It was tourism, back in the century of my birth, cluing in the underdeveloped countries to the fact that all tourists are marks, that set the precedent, which then spread to all countries, even back to the tourists’ own, of the benefits which might be gained by those who wear uniforms and render the undesired and the unrequested with a smile. This is the army that conquered the world. After their quiet revolution in the twentieth century, we all became tourists the minute we set foot outside our front doors, second-class citizens, to be ruthlessly exploited by the smiling legions who had taken over, slyly, completely.”

Source: Isle of the Dead (1969), Chapter 1 (p. 29)

“I have noted, too, that when it comes to matters of security the laws are considerably relaxed.”

Source: Isle of the Dead (1969), Chapter 2 (p. 45)

“All of these things considered, it is not surprising that one can detect echoes, correspondences and even an eternal return or two within the work of a single author. The passage of time does bring changes, yea and alas; but still, I would recognize myself anywhere.”

Source: Jack of Shadows (1971), Chapter 8 (p. 85)

“Occasionally, there arises a writing situation where you see an alternative to what you are doing, a mad, wild gamble of a way for handling something, which may leave you looking stupid, ridiculous or brilliant — you just don't know which. You can play it safe there, too, and proceed along the route you'd mapped out for yourself. Or you can trust your personal demon who delivered that crazy idea in the first place.
Trust your demon.”

In the introduction for the short-story collection Unicorn Variations (1983)

“I sank Atlantis," he said, "personally. It was about three years ago. And God! it was lovely! It was all ivory towers and golden minarets and silver balconies. There were bridges of opal, and crimson pennants and a milk-white river flowing between lemon-colored banks. There were jade steeples, and trees as old as the world tickling the bellies of clouds, and ships in the great sea-harbor of Xanadu, as delicately constructed as musical instruments, all swaying with the tides. The twelve princes of the realm held court in the dozen-pillared Coliseum of the Zodiac, to listen to a Greek tenor sax play at sunset.”

Introduction to Passion Play (1962)

“The function of criticism should not be confused with the function of reform.”

He Who Shapes (1965)

“It is no shame to lose to me, mortal. Even among mythical creatures there are very few who can give a unicorn a good game."
"I am pleased that you were not wholly bored," Martin said. "Now will you tell me what you were talking about concerning the destruction of my species?”

Home is the Hangman (1975)

Roger Zelazny book Unicorn Variation

"Oh, that," Tlingel replied.
Unicorn Variation (1982)

““Could Yarl the Omnipotent create a stone so heavy he couldn’t lift it?” Green Green asked him.
”No,” said Courtcour.
”Why not?”
”He would not.”
”That is no answer.”
”Yes, it is. Think about it. Would you?””

“At the end of the season of sorrows comes the time of rejoicing. Spring, like a well-oiled clock, noiselessly indicates this time.”

Source: Isle of the Dead (1969), Chapter 7 (p. 157)

“I’d lived far too long, and with every day that passed the odds kept growing against my lasting much longer. Although they didn’t put it quite that way when giving the sales pitch, my insurance company’s attitude is reflected in the size of the premiums involved.”

First lines of Zelazny's first published short story, Passion Play (1962)

“I wasn’t disappointed, inasmuch as I expected nothing.”

Source: Isle of the Dead (1969), Chapter 7 (pp. 147-148)

“The power to hurt… has evolved in a direct relationship to technological advancement.”

Source: This Immortal (1965), p. 29