The plot is best summarized by the log line on the cover: "Only a man from hell could reach Castle Timeless through the maelstrom of a mad god's dreams" (!!!!). A bit incoherent. Pretty short but still a slog. ( )

paperback

Cuando Dilvish consiguió escapar del Infierno, juró vengarse del mago que lo había arrojado allí. Pero Jelerak, señor del Castillo Sin Tiempo, había desaparecido. Alrededor del castillo, la Tierra cambiante era una pesadilla viviente que acechaba a todo aquel que se atrevía a internarse en ella, desatando la magia incontenible de su creador, el dios loco Tuala. y ahora un grupo de magos y hechiceros se dieponía a entrar, tratando de hacerse con los arcanos secretos encerrados entre sus muros. la situación, pensó Dilvish, era un completo desastre.
"La tierra cambiante" es la apasionante conclusión de "Dilvish, el maldito" (núm. 5 de esta colección). De hecho, Zelazny dio a publicar el primer libro debido a la calurosa acogida que obtuvo La Tierra Cambiante, una novela ágil y desenfadada en la que se mexclan elementos procedentes de los Mitos de Cthulhu, y numerosos tópicos de la fantasía moderna a los que el autor sabe dotar de nueva intensidad.

Entertaining story with the usual fantastic elements such as large hands springing forth out of the ground to snare and destroy the unwary traveler. While I enjoyed this book, there were a few plot points that never were addressed or or in a vague manner. Still an interesting read. ( )

Zelazny's tale "The Bells of Shoredan" (included in "Dilvish the Damned") snared my pre-adolescent love of unnatural wonder, and although the remaining short stories and this single Dilvish novel did not rise to the emotions raised by that first introduction to Dilvish and his world (one purportedly inspired by, yet in my humble opinion did not achieve the majesty of, "The Dying Earth" works of Jack Vance, there is a charm to them still. "The Changing Land" perhaps is the most like Vance and, despite the rare anachronism (e.g "St. Vitus Dance," and the rare use of the modern vernacular), I found I enjoyed the novel better upon second reading since the first nearly four decades past. I especially enjoyed the nods to Lovecraft - Frank Belknap Long (The Hounds of Thandolos/Tindalos) and particualrly William Hope Hodgson ("Hodgson" appears as a likeable white sorcerer in the novel; Castle Timeless and its pig-men resonate with Hodgson's novel's "The House on the Borderland," and the trip to the end of the world resonates with "The Night Land"). Zelazy's sprinkling of marvelous uncanny imagery created by the emanations from a god going mad are delightful.

[WARNING: SPOILER BELOW]
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For me, there were two disappointments at story's end:
--First, the reapperance of Black, Dilvish's companion who Dilvish last saw turned to a glass staure, at the tale's climax I feel should have, but did not, evoke any emotion (surprise or "where've you been?") from Dilvish;
--Second, that the long-sought battle anticipated through all the stories and this novel between Dilvish and his sorcerer nemesis Jelerak never occurs, Jelerak literally being lifted from the scene by, in essence, a deus ex machina.

I wonder if the latter was, perhaps, by design. That is, did Zelazny envison possible additional tales of Dilvish? Dilvish returning to an, as yet, unexplored Elfland with a potentail sorceress love interest, and his companion Black who has been revealed to not be the demon of Hell believed but, the reader has been told, is a "little brother" to the gods. I would be delighted to see how these new threads could have been woven into a new Dilvish adventure. ( )