Foreword

PEOPLE SOMETIMES ASK me whether the title Jack of Shadows was intended to sound like a description of a playing card used in some arcane game, as well as representing my protagonist's name and a matter of geography. Answer: Yes. I've long been fascinated by odd decks of cards, and I had an extensive collection of them at one time.

"Ha!" they usually respond on hearing this admission. "Then this business about the cards and the reference to shadows ties this story in at some subterranean psychological level with your Amber books, right?"

Well, no. The last time I was down in the catacombs I couldn't locate any connection. I was simply attracted by the imagery. On the other hand, nobody ever asked me, "Why Jack?"

I could have answered that one: Jack Vance.

In this, my tenth book, I'd decided to try for something on the order of those rare and exotic settings I admired so much in so many of Jack Vance's stories. It seemed only fair then, once I'd worked things out, to find a title with "Jack" in it as a private bit of homage publicly displayed. Now you all know.

I suppose the inferences concerning a relationship to Amber could have been strengthened, though, by the fact that this book came out between the publication of Nine Princes in Amber and The Guns of Avalon, the first two books in that series-proximity breeding speculation and like that.

But while the setting may owe something to Jack Vance, the character doesn't. I took my opening quotation from The Merchant of Venice only because it seemed so apt once I'd pried it free of its context. The Shakespearean work to which I actually do owe a debt here came along about eight years after Merchant. I refer to Macbeth. True, Birnam Wood does not come against Jack, and the play contains no quote I wanted to uproot and employ here. But Jack's character undergoes an interesting progression, which owes something to Shakespeare's portrait of the bloody Scot. I don't care to say anything more about it, though, because I feel that introductory pieces should not spoil story lines. Someone named J. 1. M. Stewart almost ruined Vanity Fair for me that way years ago.

This was not one of my experimental books, such as Creatures of Light and Darkness, Doorways in the Sand, Bridge of Ashes, Roadmarks or Eye of Cat. Those are the five wherein I worked out lots of techniques I used in many of the others. This was a more workmanlike job in that I knew exactly what I wanted to do and how to do it, with the protagonist-as usual-indicating the direction. Of the five, only Creatures of Light and Darkness preceded Jack of Shadows. Looking back upon jack in this light, I do feel that I might have gained a certain facility there for the brief, impressionistic description of the exotic which could have carried over into both Nine Princes and Jack. And maybe not. But if it owes it anything, that's it.

It is interesting to me, too, in looking at a story across the years this way, to see it in terms of what came after as well as what preceded it. I do feel that the shadow of Jack fell upon the protagonist of Today We Choose Faces. Also, there is something of Jack's sardonic attitude as well as his caution in the later tales of Dilvish the Damned-another wrongfully punished man whose character was twisted by the act.

I have also been asked several times whether the name that Jack assumes Dayside-Jonathan Shade-owes anything to the character of that name in Nabokov's Pale Fire. Sorry. While I do enjoy playing an occasional literary puzzle game, I wrote Jack of Shadows before I came to PALE FIRE.

And yes, I did once do a short graphic prequel to this book ("Shadowjack") in collaboration with artist Gray Morrow, in The Illustrated Roger Zelazny. And no, nothing in that story is essential to the understanding or enjoyment of this one. It is a minor piece, and totally independent. So this is the story that Jack built-with a little help from me on the paperwork. Picture him if you will as a Figure on a playing card. Make it a Tarot. Maybe the Broken Tower...