Moorcock took this literary universalism, with its implied corollary that one person reads all the books, and in Sailor began his career-long demonstration of the logical conclusion that all the books are one book, and all the heroes one hero (or antihero). The minor masterpiece The Sailor on the Seas of Fate, like almost all of Michael Moorcock’s efforts in the subgenre of heroic fantasy, is a complicated work, in the original sense of the term: that is, it folds together, with an insight both sophisticated and intuitive, 1) an apparently simple adventure story told in three episodes that are themselves interleaved in puzzling ways 2) a sharp critique, of adventure stories generally (with their traditional freight of cruelty, wish-fulfillment, sexism, and violence), and of the heroic fantasy mode in particular and 3) a remarkable working out (independently one feels of the work of Joseph Campbell) of the Transcendentalist premise that, as Emerson wrote, one person wrote all the books.
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