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The Chronicles of Kylix #2
The Wizard of Zao
Taking place on a planet revolving around the star Kylix in the Constellation of the Unicorn, it is Lin Carter at his most imaginative. For the story of the wandering green wizard, the most powerful wonder-worker of that amazing sphere, of his newly purchased slave girl who knew nothing of civilized ways, and of the mythical beasts and curious humans they encountered is a constant source of delight. For the wizard did have a purpose to his travels--and thereby hangs a tale!
176 pages, Mass Market Paperback
First published June 6, 1978
2 people are currently reading
54 people want to read
About the author
Lin Carter
419 books171 followersLin Carter was an American author, editor, and critic best known for his influential role in fantasy literature during the mid-20th century. Born in St. Petersburg, Florida, he developed an early passion for myth, adventure stories, and imaginative fiction, drawing inspiration from authors such as Edgar Rice Burroughs, Robert E. Howard, H. P. Lovecraft, and J. R. R. Tolkien. After serving in the U.S. Army, Carter attended Columbia University, where he honed his literary skills and deepened his knowledge of classical and medieval literature, myth, and folklore — elements that would become central to his work.
Carter authored numerous novels, short stories, and critical studies, often working within the sword-and-sorcery and high fantasy traditions. His own creations, such as the “Thongor of Lemuria” series, paid homage to pulp-era adventure fiction while adding his distinctive voice and world-building style. His nonfiction book Tolkien: A Look Behind The Lord of the Rings was one of the first major studies of Tolkien’s work and its mythological roots, and it helped establish Carter as a knowledgeable commentator on fantasy literature.
Beyond his own writing, Carter was a central figure in bringing classic and forgotten works of fantasy back into print. As editor of the Ballantine Adult Fantasy series from 1969 to 1974, he curated and introduced dozens of volumes, reintroducing readers to authors such as William Morris, Lord Dunsany, E. R. Eddison, and James Branch Cabell. His introductions not only contextualized these works historically and literarily but also encouraged a new generation to explore the breadth of the fantasy tradition.
Carter was also active in the shared literary universe of the “Cthulhu Mythos,” expanding upon the creations of H. P. Lovecraft and other members of the “Lovecraft Circle.” His collaborations and solo contributions in this genre further cemented his reputation as both a creative writer and a literary preservationist.
In addition to fiction and criticism, Carter was an active member of several science fiction and fantasy organizations, including the Science Fiction Writers of America. He frequently appeared at conventions, where he was known for his enthusiasm, deep knowledge of the genre, and willingness to mentor aspiring writers.
Though sometimes critiqued for the derivative nature of some of his work, Carter’s influence on the fantasy revival of the late 20th century remains significant. His combination of creative output, editorial vision, and scholarly enthusiasm helped bridge the gap between the pulp traditions of the early 1900s and the expansive fantasy publishing boom that followed.
Lin Carter’s legacy endures through his own imaginative tales, his critical studies, and the many classic works he rescued from obscurity, ensuring their place in the canon of fantasy literature for generations to come.
Carter authored numerous novels, short stories, and critical studies, often working within the sword-and-sorcery and high fantasy traditions. His own creations, such as the “Thongor of Lemuria” series, paid homage to pulp-era adventure fiction while adding his distinctive voice and world-building style. His nonfiction book Tolkien: A Look Behind The Lord of the Rings was one of the first major studies of Tolkien’s work and its mythological roots, and it helped establish Carter as a knowledgeable commentator on fantasy literature.
Beyond his own writing, Carter was a central figure in bringing classic and forgotten works of fantasy back into print. As editor of the Ballantine Adult Fantasy series from 1969 to 1974, he curated and introduced dozens of volumes, reintroducing readers to authors such as William Morris, Lord Dunsany, E. R. Eddison, and James Branch Cabell. His introductions not only contextualized these works historically and literarily but also encouraged a new generation to explore the breadth of the fantasy tradition.
Carter was also active in the shared literary universe of the “Cthulhu Mythos,” expanding upon the creations of H. P. Lovecraft and other members of the “Lovecraft Circle.” His collaborations and solo contributions in this genre further cemented his reputation as both a creative writer and a literary preservationist.
In addition to fiction and criticism, Carter was an active member of several science fiction and fantasy organizations, including the Science Fiction Writers of America. He frequently appeared at conventions, where he was known for his enthusiasm, deep knowledge of the genre, and willingness to mentor aspiring writers.
Though sometimes critiqued for the derivative nature of some of his work, Carter’s influence on the fantasy revival of the late 20th century remains significant. His combination of creative output, editorial vision, and scholarly enthusiasm helped bridge the gap between the pulp traditions of the early 1900s and the expansive fantasy publishing boom that followed.
Lin Carter’s legacy endures through his own imaginative tales, his critical studies, and the many classic works he rescued from obscurity, ensuring their place in the canon of fantasy literature for generations to come.
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Displaying 1 - 6 of 6 reviews
April 27, 2017
This is one of those tongue-in-cheek stories that I found to be thoroughly enjoyable. A fat, green wizard, a nubile "wild" girl with the unlikely name of Ooo, and a sarcastic immortal bird all combine to keep things interesting and mildly funny. Oh, and let's not forget the dragon who makes a brief appearance to keep our intrepid heroes from having an easy time of their travels.
The author's embedded comments (and sub-notes) only add to the enjoyment of the story. I looked forward to my "reading time" every evening when I got to devour another section of the book. Sad that's it's over.
If you're a Christian who has trouble with the concept of the Trinity, this story can help (well, a little).
By the way, the surprise ending is cute as well.
The author's embedded comments (and sub-notes) only add to the enjoyment of the story. I looked forward to my "reading time" every evening when I got to devour another section of the book. Sad that's it's over.
If you're a Christian who has trouble with the concept of the Trinity, this story can help (well, a little).
By the way, the surprise ending is cute as well.
March 6, 2015
Why, oh why, do I keep getting taken in by Lin Carter? I read it on the strength of The Quest of Kadji and came out of it feeling cheated.
Even the entire series is a cheat: a solar system of heroic fantasy stories is an interesting idea with plenty of places to go with it (Heroic fantasy space travel! Heroic fantasy star wars!) but there's no arc that connects the stories of this (aborted) series and no setting details linking them. In his Author's Note, Carter even admits to having "no particular discernible linkages" planned. So there is no series, and no common setting, unless you count a scattering of comments or details regarding 'this planet' or assorted knowledge implying the existence of other planets. Which doesn't seem worth the trouble.
Secondly, there's a major tone shift from Kadji to Zao. Kadji played it straight in a strictly conventional sword-and-sorcery sense, while Zao goes to a comical, ironic picaresque with wholly self-aware and unpleasantly arch narration.
I didn't expect or want what Zao delivers. The wit isn't witty, and the narrator occasionally breaks into first person to address the reader directly, doing this with the presumption of being a historian or chronicler relating the events, occasionally adding commentary or opinions or other color. This is all well and good as a concept, except that this faux-chronicler is never introduced and has no framing device to explain what is being chronicled or how. I'd understand this choice if it served some purpose or was done in some interesting manner--the reader realizes at some point that this narrator is unreliable, or that this document is not what the reader thought it was--but as it stands it is grating and disruptive.
Finally, this first person narration--to beat this horse dead, dead, dead--is used inconsistently. In addition to the narrator who pokes out of the story occasionally to deliver some "aren't I clever?" witticism, a number of footnotes are scattered throughout where the author, Lin Carter, directly addresses the reader to further some running gags of no particular merit. And does so with the same arch tone as the rest of the book.
In all, it felt like it was trying too hard to be something it had no business being.
Even the entire series is a cheat: a solar system of heroic fantasy stories is an interesting idea with plenty of places to go with it (Heroic fantasy space travel! Heroic fantasy star wars!) but there's no arc that connects the stories of this (aborted) series and no setting details linking them. In his Author's Note, Carter even admits to having "no particular discernible linkages" planned. So there is no series, and no common setting, unless you count a scattering of comments or details regarding 'this planet' or assorted knowledge implying the existence of other planets. Which doesn't seem worth the trouble.
Secondly, there's a major tone shift from Kadji to Zao. Kadji played it straight in a strictly conventional sword-and-sorcery sense, while Zao goes to a comical, ironic picaresque with wholly self-aware and unpleasantly arch narration.
I didn't expect or want what Zao delivers. The wit isn't witty, and the narrator occasionally breaks into first person to address the reader directly, doing this with the presumption of being a historian or chronicler relating the events, occasionally adding commentary or opinions or other color. This is all well and good as a concept, except that this faux-chronicler is never introduced and has no framing device to explain what is being chronicled or how. I'd understand this choice if it served some purpose or was done in some interesting manner--the reader realizes at some point that this narrator is unreliable, or that this document is not what the reader thought it was--but as it stands it is grating and disruptive.
Finally, this first person narration--to beat this horse dead, dead, dead--is used inconsistently. In addition to the narrator who pokes out of the story occasionally to deliver some "aren't I clever?" witticism, a number of footnotes are scattered throughout where the author, Lin Carter, directly addresses the reader to further some running gags of no particular merit. And does so with the same arch tone as the rest of the book.
In all, it felt like it was trying too hard to be something it had no business being.
August 15, 2014
The initial premise is wonderful--an entire solar system devoted to heroic fantasy as opposed to scifi, which was sort of what Rdgar Rice Burroughs was developing as he moved outwards from Mars/Barsoom to Venus, but it never quite came together for E.R.B., not like what Lin Carter described in his back cover copy. Mr. Carter was much better at pitching an idea than executing it in this regard. I was disappointed that far from being any sort of solar system based adventure, we were presented with a stock Arabian nights style picaresque tour of part of one world that isn't even mapped-out.
There are some clever touches, especially the use of non-standard monsters drawn from medieval bestiaries, which I did appreciate a great deal. But the wizard never seems to really ever be in peril, just a tourist or observer, and when we get the big reveal at the end, it is anti-climatic. You can pretty much see it coming.
I'm glad that I read the book, but would not recommend it except as a novelty or something a writer reads in preparation for their own efforts.
There are some clever touches, especially the use of non-standard monsters drawn from medieval bestiaries, which I did appreciate a great deal. But the wizard never seems to really ever be in peril, just a tourist or observer, and when we get the big reveal at the end, it is anti-climatic. You can pretty much see it coming.
I'm glad that I read the book, but would not recommend it except as a novelty or something a writer reads in preparation for their own efforts.
July 5, 2023
I’m a huge defender of Lin Carter. His works can be wildly imaginative and a ton of fun. His Kylix series was pretty good. Kellory was almost great, Kadji was pretty decent and I even liked the shorts in flashing swords. So I was excited to read the only entry in series I had not. Unfortunately, The Wizard of Zao is abjectly terrible. Maybe even the worst book I have ever read.
The back of book says it’s Carter at his most imaginative. It’s not. It’s him at his most inane and pedantic. It tries to be funny but it’s just not. I’m not one to complain about stuff being outdated but man is there a lot of cringe in this book. Just gross by any day or age’s assessment. Literally nothing happens, calling it a travelogue would be generous. Just awful. The absolute low point of Carter’s career. Avoid it. Honestly, it befouls the rest of his Kylix series. Truly horrible. Just irredeemable in any way. If I could give it 0 stars I could.
The back of book says it’s Carter at his most imaginative. It’s not. It’s him at his most inane and pedantic. It tries to be funny but it’s just not. I’m not one to complain about stuff being outdated but man is there a lot of cringe in this book. Just gross by any day or age’s assessment. Literally nothing happens, calling it a travelogue would be generous. Just awful. The absolute low point of Carter’s career. Avoid it. Honestly, it befouls the rest of his Kylix series. Truly horrible. Just irredeemable in any way. If I could give it 0 stars I could.
April 26, 2015
Lin Carter was a solid 3 star writer but a genius level editor. IMO he was quite foundational in science fiction and fantasy rise in popularity in modern times with his work with Ballantine. Sadly he's seen as a hack or unoriginal, mainly in reviewers who hate sci-fi and fantasy due to much of his work being a 'tribute' in one form or another to many great authors of the past, a number he saved from obscurity.
And thus this is a tribute to Clark Ashton Smith's "Xiccarph" - kind of a non-entropic Zothique meets a Sword and Planet multi world system. But its quite original enough to stand on its own as a neat adventure story where the main character is the mystery to unravel. And I read it actually before I'd read the CAS work I recognized, but didn't feel like it was weak or based entirely on it.
And thus this is a tribute to Clark Ashton Smith's "Xiccarph" - kind of a non-entropic Zothique meets a Sword and Planet multi world system. But its quite original enough to stand on its own as a neat adventure story where the main character is the mystery to unravel. And I read it actually before I'd read the CAS work I recognized, but didn't feel like it was weak or based entirely on it.
March 11, 2023
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This novel is Lin Carter at his best. It is a true shame it is OOP. Hopefully someone will get the rights to it (and the Carl Lundgren art) and re-release it.
This novel is Lin Carter at his best. It is a true shame it is OOP. Hopefully someone will get the rights to it (and the Carl Lundgren art) and re-release it.
Displaying 1 - 6 of 6 reviews