Произведение
Одержимый магией
Роджер ЖелязныМастер сновидений
Роджер ЖелязныРоджер Желязны знаменитые цитаты
„Серебристый коридор буквально выстрелил вперёд, чтобы соединиться с себе подобным.“
The corridor of silver shot forward to join with its counterpart.
гл. 14
там же
Из художественных произведений
Источник: Роджер Желязны. Одержимый волшебством. — М.: Космосинформ, 1993. — С. 382. (с уточнением)
Источник: "Хроники Амбера+Амберские рассказы"
Роджер Желязны Цитаты о мире
Zelazny, telling of gods and wizards, uses magical words as if he himself were a wizard. He reaches into the subconscious and invokes archetypes to make the hair rise on the back of your neck. Yet these archetypes are transmuted into a science fictional world that is as believable — and as awe-inspiring — as the world you now live in.
Филип Фармер, 1980
Источник: Roger Zelazny. The Last Defender of Camelot. Pocket Books, 1980, back cover blurb.
Builded of no mortal sand, and sea the salt of her words, she passed through her kingdom, itself become the self of her song.
гл. 6; перевод: В. Задорожный, 1995 (с уточнением)
Роджер Желязны, Фред Саберхаген, «Чёрный трон» (The Black Throne), 1990
Из художественных произведений
The worlds through which Philip Dick's characters move are subject to cancellation or revision without notice. Reality is approximately as dependable as a politician's promise.
предисловие к сборнику статей «Филип Дик: Электропастух», 1975
Источник: Roger Zelazny, An Introductionin to Philip Dick: Electric Shepherd (1975), ed. by Bruce Gillespie.
Роджер Желязны Цитаты о фантастике
Роджер Желязны цитаты
Роджер Желязны
Источник: Джордж Мартин. Умирающий свет. — Смоленск: Русич, М.: Александр Корженевский, 1995. — С. 1.
Из художественных произведений
There are all these algorithms putting the make on pixels, and programs champing at bits and sub routines moving about in simpleminded, reliable ways, as is their custom.
перевод: Н. Ляпкова, 2002
«Смертник Доннер и кубок Фильстоуна» (Deadboy Donner and the Filstone Cup), 1988
Из художественных произведений
„Ты из племени тех, чьи ноги в аду, а голова — в небесах.“
"You are of that tribe with your feet in hell and your head in heaven."
17; перевод: О. Э. Колесников, 1995; парафраз христианского дуализма души и тела
«Подменённый» (Changeling), 1980
Из художественных произведений
перевод: В. Обручев, 1999
«Джек-Тень» (Shadowjack), 1978
Из художественных произведений
„Ниже приведены цитаты из рассказов, о которых нет отдельных статей.“
Из художественных произведений
к своему сб. «Уйти на Землю» (Gone to Earth); перевод: Н. Ляпкова, 2002
«Предисловие: Темы, вариации и подражания» (Introduction: Themes, Variations, and Imitations), 1991
предисловие к роману Фармера «Личный космос», 1968
Источник: От издательства // Филип Фармер. — Миры Филипа Фармера. Том 2 / составитель Д. Смушкович. — Рига: Полярис, 1996. — С. 8.
Роджер Желязны: Цитаты на английском языке
“The fact remains that you would be dealing, and dealing constantly, with the abnormal.”
He Who Shapes (1965)
Контексте: 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.
“You don’t know what it’s like to be cut off from a whole area of stimuli!”
He Who Shapes (1965)
Контексте: 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.
On how he would like to be remembered (1994)
Контексте: 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.
"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
Контексте: 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.
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.
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.
"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
Контексте: 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.
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.
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.
Phlogiston interview (1995)
Контексте: 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.
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)
On how he would like to be remembered (1994)
Контексте: 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.
Phlogiston interview (1995)
Контексте: 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.
“Death is the only god that comes when you call.”
24 Views of Mt. Fuji, by Hokusai (1985) - Review of 24 views, with images http://www.stmoroky.com/reviews/gallery/hokusai/24views.htm
Источник: Frost & Fire
“Nobody steals books but your friends.”
Источник: The Guns of Avalon
“Don't wake me for the end of the world unless it has very good special effects.”
Источник: Prince of Chaos
“No word matters. But man forgets reality and remembers words.”
Источник: Lord of Light
“There's no such thing as civilization. The word just means the art of living in cities.”
Источник: The Great Book of Amber
“To paraphrase Oedipus, Hamlet, Lear, and all those guys, "I wish I had known this some time ago.”
Источник: Sign of the Unicorn
“… even a mirror will not show you yourself, if you do not wish to see.”
Источник: Lord of Light
“There's really nothing quite like someone's wanting you dead to make you want to go on living.”
Источник: This Immortal
“Sleep is perhaps the only among life's great pleasures which need not be of short duration.”
Источник: Knight of Shadows
“The day of battle dawned pink as the fresh-bitten thigh of a maiden.”
Источник: Lord of Light
