Andrzej Sapkowski is a name well-known
in Polish fantasy circles. Seeking to
capitalize on his local success, in 2007 Gollancz bought the rights to his Witcher series and began translating and
publishing the works for the English speaking world. The book they chose to release first is a
collection of short stories called The
Last Wish. A test to determine
whether the morally ambiguous Witcher is a character English readers can relate
to, the collection presents a variety of facets to Sapkowski’s world and
character, and sold well enough for Gollancz to go on and release the first two
full novels in the series.
Before reviewing the stories, a brief
introduction to the Witcher is needed.
The main character is Geralt, a witcher (sorcerer/warrior) with special
powers gained by imbibing strange brews and concoctions that aid him in
locating and fighting all manner of monsters, demons, and spirits. Not a super-hero (rather an itinerant bounty
hunter), his moral decisions are rarely clear-cut as he adventures through the
strangely haunted forests and Medieval cities of Sapkowski’s fantasy
world. Unfamiliar to most Western
readers, Slavic mythology is most utilized toward detailing this world. Some elements hint at Arthurian legend, Norse
myth, etc., but by in large strigas,
rusalkas, bruxas, kikimores, etc. are strictly of Eastern European origin,
not to mention the Slavic mind which is the creative force behind the
writing. Taking this into consideration,
the following is a brief rundown of the seven stories in the collection.
“The Voice of Reason” – A semi-framing
device, this “story” sets the collection in motion and appears, in interlude
fashion, amongst Geralt’s various other adventures and escapades. Picked up briefly between each of the
individual stories, it is obviously something Sapkowski (or publishers?) added
at a later date to give the book continuity.
It is arguable whether this ploy drastically hurts or helps the
collection, but it exists nonetheless.
“The Witcher” – The first true story in
the collection and the one that started it all, Geralt finds himself in
Vizima. Quickly getting into trouble
with the law, he is set before the magistrate and asked to rid the evil striga haunting the city. The striga
in fact the daughter of the magistrate transformed, Geralt is loathe to harm
her, but is compelled to facing punishment.
A midnight-evil mood overhanging the story, it sets the tone for the
collection: Geralt is not your average fantasy hero in an average fantasy world.
“A Grain of Truth” – While traveling in
a strange forest one day, Geralt comes across the remains of a couple who
appear to have been torn apart by wolves.
Intrigued by a blue flower pinned to the woman’s dress, he heads in the
direction they came from to discover an abandoned mansion guarded by a sentient
beast. What he finds haunting the inside
of the mansion may be more than the flower was worth.
“The Lesser Evil” – Having killed an
evil kikimore, Geralt heads to the
local town to try to collect a bounty.
Finding few interested, Geralt is directed to the house of its magician,
Master Irion. More to his appearance
than meets the eye, Master Irion’s expectations for Geralt soon extend far
beyond the dead creature carried.
“A Question of Price” – Geralt is a
guest of honor at the side of Queen Calanthe on the night they choose the beau
for her fifteen year old daughter.
Geralt, though unsure why he’s been invited, enjoys the evening in
philosophical discussion until a helmeted knight interrupts festivities to
claim the daughter’s hand. Mystery
ensuing, Geralt must use all of his powers of wit to get to the bottom of the
knight’s claim.
“The Edge of the World” – Geralt and his
erstwhile companion, Dandelion, stop in a town to look for work. Greeted only by superstition (interesting, it
being a fantasy world), the pair head to the “edge of the world’ to continue
looking for monsters to kill. Literally
encountering another culture, the story is anti-climactic and better serves as
an introduction to the first novel in the series, Blood of Elves, than as a stand-alone story.
“The Last Wish” – After an encounter
with a genie, Dandelion requires medical attention for which Geralt brings the
wounded man to Rinde. Appearances
deceiving in the city, Geralt soon discovers only his intelligence can be
relied on, everyone out for blood or power.
As it is a pervasive characteristic,
I’ve chosen to address the following concern separately, rather than in each
story. By placing emphasis on the
ethical as much as epic or justice issues, Sapkowski has ambitions for Geralt
to be more than the average fantasy hero.
On several occasions discussions on deeper views into his work, the
situations he encounters, and life in general can be heard. Simply by including this motif does not mean
that the stories become more complex and meaningful, however. Perhaps it’s just the translation, but at
times the discussions seem to be presented in overly-simplistic fashion that
detract from the depths Sapkowski was attempting to plumb. Geralt’s decision how to handle the stiga in “The Witcher”, for example, is
related in direct, straightforward terms, nothing to give the situation nuance,
and therefore a blanketing sense of reality.
Given the shortage of such ambition in fantasy today, however, I should
not complain too much about a writer trying to make their protagonist
multi-dimensional. I’m also guessing
something was lost in the translation.
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