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Page 139
greater his artistry has been. It is when he ignores or contradicts his attitudes, or responds to the market, that his fiction is usually at its weakest.
This consciousness of his craft explains the sudden advances that Judith Merril observes in his work. Leiber defines himself as a thorough rather than a quick thinker, yet, once he becomes aware of his own tendencies, he realizes them quickly, and in a rather small number of works. As a consequence, he has paced developments in science fiction as no other writer has done. Even if Leiber was not worth studying for his own sake, he would still be an important figure because his development is a microcosm of the field's. Leiber and his chosen field have matured and become more literary together, and science fiction would lack some of the respect it has today without Leiber's quiet influence on better-known writers.
Bruce Byfield, Witches of the Mind: A Critical Study of Fritz Leiber (West Warwick, RI: Necronomicon Press, 1991), p. 68
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The Night of the Wolf. 1966.
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The Secret Songs. 1968.
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The Swords of Lankhmar. 1968.

 
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