Andrzej Sapkowski, Víbora (Viper)

Andrzej Sapkowski's 2009 novel, Viper, differs significantly from his earlier works in several key ways.  Set in 1980s Afghanistan, it is his only novel-length fiction set in the "modern" world.  With this setting comes a shift in "magical" elements away from medievalesque sorcerers and swordsmen toward something that is more overtly allegorical and more horrific than anything else the author has written before.  It is a bold move for an established writer to take, but one that largely works for Sapkowski.

Viper is set near the end of the Soviet occupation of Afghanistan and the action is centered around a member of the Soviet special forces, Pavel Levart, as he becomes embroiled within a millennia-long story of a hidden treasure and a monstrous golden viper whose very presence signals the impending death of whoever encounters it.  As Levart and his comrades push further into the Hindu Kush, where the viper is based, echoes of previous expeditions, ranging from Alexander the Great's soldiers to 19th century British soldiers, begin to ring, both metaphorically and in a very "real" sense, all around them.

Viper possesses more of a horror feel than a military fantasy, as the ominous viper appears several times fleetingly before disappearing for a while, leaving in its wake some disturbing revelations.  Sapkowski, however, avoids making this sense of impending doom monotonous, as he often uses snippets of poetry, especially Keats' in untranslated English, to break the mood.  These poetic snippets, however, serve another purpose, as they contain certain thematic references that foreshadow certain developments.  As Levart and his comrades advance into the mountains, the tension slowly but steadily rises, as more about the legend of the golden viper and the treasure it guards is revealed.

The action is more internal than eternal and those expecting violent action may find themselves disappointed.  Sapkowski furthers the narrative more through dialogue than through external action, although this is less pronounced than in his earlier series.  The problem with this particular novel, however, is that the dialogue is not as memorable as those conversations from both the Witcher and Hussite Trilogy series.  There were times that the dialogue actually seemed to get in the way of the narrative, as Levart and his fellow soldiers prove to be less than exciting characters and their conversations feel devoid of the vitality that marks most of Sapkowski's earlier writing.

Yet despite this, Viper does contain enough narrative tension over its 183 pages to make it a worthwhile read, albeit one that is one of Sapkowski's weaker efforts.  The Spanish translation by José María Faraldo felt "natural" to me, as though the story was originally written in Spanish rather than in Polish.  Even though I had some problems with the dialogues and the characterizations, I do not believe it is the translator's fault, but instead that of Sapkowski himself.  Yet despite these issues, on the whole Viper was a good, intriguing tale with a good conclusion.  It may not be Sapkowski's best work, but even a lesser work of his is better than the vast majority of the speculative fiction writers that I have read in recent years.  

I received a cool surprise in the mail today

A couple of weeks ago, I placed an order on Cyberdark (one of the leading Spanish online bookstore, specializing in SF/F) for the recently-released translation of Andrzej Sapkowski's Viper (I'm uncertain if this will ever be translated into English).  As is the case when ordering overseas, I ended up paying more for shipping than for the book itself, but in this particular case, I received, as a bonus, two extra Sapkowski-related items that I had no idea would be included in the shipment:

I knew that a Spanish translation of the recently-released Season of Storms, a prequel of sorts to the Geralt Saga, was in the works, but I didn't know a foreigner such as myself would be eligible to receive an extended preview edition (four chapters, 31 pages) of that translation.  And I certainly did not expect a hardcover copy of the illustrated story "La Tarde Dorada" to be included.  So this certainly made my morning, as now I have more to read from one of my favorite SF/F writers.  I don't know if I should thank the publisher, Luís Prado, or someone else at Cyberdark/Artifex, but whoever it is that I should thank, I do thank them now.  This is seriously cool.  And yes, this is about as close as any will see me online gushing about anything non-squirrel related...

What's in a cover? Six covers depicting a singular novel in very different ways

Below are six covers for the fourth Witcher novel by Polish writer Andrzej Sapkowski.  Last year, I finished reviewing all seven (or eight in Spain for the 1st editions) volumes of the Geralt series, but I did make plans to read the long-delayed (five years) Times of Contempt (why the title is plural here is beyond me, as it is singular in the other languages) in English soon after its August (US) 2013 release.  When I bought the e-book edition this weekend, I also saw that there was an Italian edition available and I thought that since I am currently working on improving my Italian reading comprehension that it would be a good idea to purchase an Italian e-edition as well.

I was struck by the differences in covers and as I searched for .jpgs of the two English-language editions and the Spanish and Italian editions, I came across images for the original Polish and French editions as well.  I found each cover to represent something markedly different from the others, enough so that I thought I would post brief thoughts on each cover:

Polish:  The Polish cover is simple, yet it captures an important scene from the story.  The unicorn perhaps is a stock fantasy beast, yet its appearance next to a (presumably) dead body seems to indicate many things transpiring within the narrative that aren't baldly spelled out.  I liked this cover for how it plays up and then hints at something different to the fantasy setting.

Spanish:  Depiction of Ciri, one of the main characters in this series.  Decent image (better than the original Spanish edition of a weapon), but the image is a bit too stiff and there isn't much of a sense of the character here.

French:  Why do I think this cover might be a good candidate for Good Show Sir?  It's so antiquated and doesn't really fit in with what actually transpires within the novel.  If I hadn't already read the series, covers like this would have likely dissuaded me.

Italian:  Now this cover is much better, as it captures Ciri and her balance of youth and later rough experiences quite nicely.  It feels like photoshopped and I like the use of colors here.

UK:  This is a reused cover from the Spanish edition of the second volume (not yet available in English translation), The Sword of Destiny.  Yennefer is pictured here.  See above comments about the Spanish cover, although this one I liked a bit more due to the prominence of the character; not as much background imagery to distract.

US:  Uh...uh...wha?  The image looks like Geralt is battling that sandpit monster from Return of the Jedi.  The lettering, however, is decent, but wow what an off-putting cover.

What about you?  Which covers did you like/like best?  Which ones should have been rejected before publication?

Andrzej Sapkowski, Los guerreros de Dios (God's Warriors)

– ¡Pero la habrá! – El predicador se sirvió y apuró la jarra de un trago – .  ¡La habrá!  ¡Cuando venzamos!  Todo será común, ya no habrá propiedad ni pertenencias.  No habrá ricos ni pobres, no habrá miseria ni opresión.  ¡Reinarán en la tierra la dicha y la paz divinas!

– ¡Ay, ya parió! – comentó desde su rincón la viejuca, encorvada sobre la rueca –.  Santurrón borrachuzo.

– La paz divina – dijo con gravedad Jan Capek – la conquistaremos nosotros.  Con nuestras espadas.  Pagaremos por ella con nuestra sangre.  Y por eso nos merecemos una justa recompensa, también en dinero.  No hemos hecho una revolución, hermanos, para que yo me tenga que volver a Sány, a ese pueblo de mala muerte.  A mi casa solariega, que da pena verla, a mi hacienda, que por poco no me la tumba un cerdo una vez que le entraron ganas de frotarse en una esquina.  Las revoluciones sirven para que algo cambie.  Para los que pierden, a peor, para los que ganan, a mejor.  ¿Veis, queridos huéspedes, queridos Reinmar y Scharley, ahí en la pared, en lo alto, el escudo?  Es la divisa de Jan de Michalovice, llamado Michalec.  Él gobernó en este castillo de Michalovice, donde ahora estamos, aquí tuvo su sede el clan familiar.  ¿Y qué?  ¡Nosotros se lo hemos arrebatado!  ¡Nuestro es el premio!  Y, en cuanto tenga un rato, agarro una escalera, arranco ese escudo y al suelo con él, y todavía me voy a mear encima.  Y pienso colgar en la pared mi propia enseña, con un ciervo, ¡en un escudo el doble de grande!  ¡Y aquí mando yo!  ¡El señor Jan Copek de Sány, aposentado en Michalovice! (p. 189)

"But there it will be!"  The preacher was served a pitcher and he took from it a swig.  "There it will be!  When we shall conquer!  All will be held in common, with no property nor belongings.  There shall be neither rich nor poor, nor shall there be misery or oppression.  Bliss and heavenly peace will reign on earth!"

"Ay, it's already born!"  the little old woman commented from her corner, hunched over the spindling wheel.  "Sanctimonious drunkard."

"Divine peace," Jan Capek said with gravity, "we shall conquer it.  With our swords.  We will pay for it with our blood.  And for that we shall earn a just reward, also in money.  We have not made a revolution, brothers, for me to have to return to Sány, to that miserable slum.  To my ancestral home, which gives me pain to see it, to my estate, where I once was almost knocked down by a pig that had entered wanting to jerk off in a corner.  Revolutions cause things to change.  For those that lose, worse, for those that win, better.  You see, dear guests, dear Reinmar and Scharley, there on the wall, up high, the shield?  It is the motto of Jan de Michalovice, called Michalec.  He governed in this castle of Michalovice, where we now are, here he had the seat of his family clan.  And what?  We have taken it from him!  It is our prize!  And, when I have the time, I will climb a ladder, take that shield and bring it down to the ground, and everyday I am going to piss on it.  And I am thinking of placing on the wall my own motto, with a deer, on a shield twice as big!  And here I shall rule!  The Lord Jan Copek of Sány, lodged at Michalovice!"

Los guerreros de Dios (God's Warriors is one way of translating both the Spanish translation and the original Polish) is the second volume in Andrzej Sapkowski's Hussite Trilogy.  The action largely takes place in 1427, during a particularly violent stage of the Hussite Wars, when the Catholic Church has called for crusades against the Hussites (divided into two factions regarding the Sacraments and the degree to which the more radical faction, the Taborites, desires to separate from the Church) in order to quell the violence that has spread from Bohemia (modern-day Czech Republic) into Silesia and Poland.  Like its predecessor, Narrenturm, the story is a mixture of historical fiction and folk magic, revolving around the characters of Reinmar/Reynaven and Scharley.

God's Warriors contains a mixture of battle scenes (which involves some magical fighting) and discourses similar to the one provided above.  Sapkowski is interested in the apocalyptic tenor of the Hussite factions and how these desires for a reformed Church are mirrored in the desire of many for a fairer, truer, perhaps more "Christian" (depending on how one chooses to interpret passages from the Gospels) society.  Although the translated passage above is a very rough first draft that barely contains the nuances present even in the Spanish translation, one can see the interplay here of the divine and the profane, between the desire for a holier society and the wish to piss on symbols of a vanquished nobility.

There is a lot more action here than in Narrenturm, but the novel depends heavily upon dialogue and interactions between Reynaven and Scharley and the people they come in contact with during their search for Reynaven's lost love, Nicoletta.  Sapkowski's writing is full of clever commentaries and satires regarding historical and religious practices, yet there is not the sense that he dismisses either lightly.  Instead, he tries to capture the contradictions of 15th century Bohemian/Silesian/Polish societies and to a large degree, he succeeds, as the "local color" feels true to the period that I remember studying in a class nearly twenty years ago.

Leaving aside the necessity of an incomplete narrative due to it being a middle volume, there are not many weaknesses in God's Warriors.  Perhaps there could have been a bit of clarity here and there for the links between the events that the fictional characters experience and the historical moments of which they played a small (fictitious) role, but other than that, God's Warriors perhaps is the best singular volume of Sapkowski's works that I have read to date.

Andrzej Sapkowski, Narrenturm

The early 15th century CE was a fascinating time all across Europe.  Two generations after the 1348-1350 Black Death had decimated (or worse) Southern, Western, and Central Europe, the feudal social order was in flux.  In England, Wycliffe's Lollards continued to be such a threat to established Church hierarchy that in 1415 the Council of Constance declared him to be a heretic nearly 30 years after his death (his body was later exhumed in 1428 under orders from Pope Martin V and was burned, with the ashes scattered in the River Swift).  There were military innovations, such as the Turks using crude cannons and the precursors to guns in their invasion of southeastern Europe following their recovery from the bloody 1389 Battle of Kosovo.  The English annihilated a larger French force at the 1415 Battle of Agincourt with their use of longbows and pikemen. 

In this climate rose a movement in Bohemia (now part of the Czech Republic) that threatened to overturn the socio-religious/military orders:  the Hussites.  Followers of the Czech reformist Jan Hus (who was burned at the stake in 1415 at the Council of Constance), the Hussites (who in actuality were two distinct branches, the more moderate Utraquists and the more radical Taborites) rose up in Bohemia in protest and soon began nearly 20 years of warfare that engulfed not just Bohemia, but also neighboring states and principalities, including Moravia and Silesia (as well as Poland, Prussia, and several other states within the Holy Roman Empire).  Comprised largely of the lower classes, the Hussites managed to not just stave off repeated "crusades" against them, but to go on the offensive due to their use of handcannons and innovative mobile defensive fortifications that rendered ineffective cavalry charges against them.  The fighting also took on a religious characteristic, not just in the Catholic forces arrayed against "the heretics," but also in the more apocalyptic language used by the Hussites (the Taborites in particular).

This tumultuous era provides an excellent setting for Polish writer Andrzej Sapkowski's Hussite Trilogy, which begins with Narrenturm (its name being derived from the German term for a madhouse).  Readers who expect Sapkowski's writing and structure to be similar to those of his Witcher novels may be surprised to see that his writing here takes on more of a historical fiction quality, but with the twist of having certain characters capable of utilizing witchcraft/magic in order to battle their enemies.  The melding of the historical with the magical can be problematic, as the author is constrained by actual events and cannot deviate too far from known events/personages in telling his/her story.  If one deviates too far, such as the case with Naomi Novik's Temeraire series (which contain dragons in Napoleonic era Europe), the author risks downgrading the "seriousness" of the events in favor of "lighter" fare that might be diverting yet ultimately empty entertainment devoid of anything beyond a mindless reading romp.

This is not the case here in Narrenturm.  Sapkowski clearly has imbued this novel (and presumably the trilogy, of which only the first two volumes have been translated so far into Spanish) with references not just to historical events (his prologue consists almost entirely of narrating the historical trends noted in the introductory paragraphs above) but there is a wealth of songs, religious motifs, and other cultural elements that add a richness to the narrative.  In reading Narrenturm, I was reminded not only of Umberto Eco's excellent The Name of the Rose for Sapkowski's citations of Latin, medieval High German and medieval Czech, but also of Serbian writer Goran Petrović's The Siege of the Church of Holy Salvation for its treatment of the chaotic nature of late medieval/early modern society under both literal and metaphorical siege.  As a historian who remembers some of his undergraduate courses on the pre-Charles V Holy Roman Empire and associated lands, Sapkowski's detailed description of the locales and customs is near pitch-perfect.  From his description of a particular Narrenturm to the tactics used by Hussite soldiers to certain medieval customs and beliefs, the setting in the novel is well-realized and dynamic, providing surprising level of detail for a historically-based fiction.

Although the magic scenes do not dominate the action, they are an important part of the narrative, particularly toward the end of the novel.  The magic is based on folk beliefs and does not feel contrived or separate from the religious/social themes explored during the course of the book.  Too easily this magical addition could have weakened the novel's sense of plausibility; here, it feels almost too "natural" to be remarked upon while reading, a testimony to Sapkowski's skills as a writer.  The scenes involving magic serve to add to the compelling events transpiring on stage; they do not distract nor detract from the reader's enjoyment of the historical fiction.

Characterizations in a historical novel can be tricky.  A balance has to be struck between having created characters knowing too much about actual events and characters and having these fictional personages be passive observers.  Sapkowski's characters, particularly that of the star-crossed lover/young scion of Silesian nobility/budding alchemist Reynevan, are knowledgeable, active participants in the chaotic events of the 1420s in Silesia and Bohemia, yet they are not so active that they play a direct role (as yet) in the fighting in Bohemia.  Instead, their main role is to provide a closer look at the transpiring events, to add a sense of "we were there" to theological (and magical) debates, conflicting customs and new-fangled social beliefs, and other, less bloody but still important conflicts of the 1420s.  Reynevan and those around him do not come across as clichéd, static characters; they delve, probe, and they change their minds and attitudes based on what they encounter in their travels (including a sojourn in a "tower of the crazies").  Historical personages are met with along the way, but not to such a degree that it is implied nor stated that Reynevan, Scharley, and others directly influenced the course of events.  Instead, they are witnesses to these massive changes and they serve as a sort of avatar for readers who may find themselves imagining what it would be like to live there at that time.

Narrenturm is a challenging read at times.  Readers who are unaware of the events surrounding the Hussite Wars or who lack knowledge of Latin and medieval dialects of German and Czech (and a bit of Polish) may find themselves consulting the glossary of terms/translations at the back of the Spanish edition.  Yet if a reader is curious to learn more about the Hussite Wars while accepting the fantastical elements presented within at face value, s/he may discover that Narrenturm is one of the finest meldings of historical and fantastical fiction that I have read in quite some time.  Hopefully, there will be an English translation at some point in the future, but for now, there are versions available in Polish, German, Czech, Russian, and Spanish (for the first two volumes; the third is forthcoming) for those readers in those languages.

Andrzej Sapkowski, The Lady of the Lake (La dama del lago, vol. 1 & 2)

Pasaron junto a un estanque vacío y triste.  Una carpa viejísima, traida por el emperador Torres, había muerto dos días antes.  Habrá que soltar un nuevo ejemplar, joven, fuerte y hermoso, de carpa espejo, pensó Emhyr var Emreis, mandaré que le prendan una medalla con mi retrato y con la fecha.  Vaesse deireadh aep eigean.  Algo ha terminado, algo comienza.  Es una nueva era.  Nuevos tiempos.  Una nueva vida.  Que haya también una carpa nueva, joder. (vol. II, p. 127)

 They passed next to an empty and sad pool.  An old carp, brought by the emperor Torres, had died two days before.  Will have to release a new one, young, strong and handsome, a mirror carp, thought Emhyr var Emreis, I will order that they strike a coin with my portrait and with the date.  Vaesse deireadh aep eigean.  Something has ended, something begins.  It is a new era.  New times.  A new life.  That there is also a new carp, fuck.

In my relatively limited experiences with completed multi-volume (particularly those stretching longer than 2000 pages or three volumes), too often the conclusion fails to realize the promises of its beginning.  Tales become bogged down with subplots; characterizations devolve into clichéd archetypes devoid of import; the prose becomes weaker and weaker with each passing page.  In many cases, the concluding volume is something endured rather than something to be celebrated.

Yet sometimes there are series that do reward a reader's faith in a satisfying denouement.  These fortunate few often redeem any misgivings the reader might have had earlier in the series regarding the author's ability to tie together disparate subplots, characters, and themes into something that makes the hours worthwhile that the reader has poured into digesting the story.  Andrzej Sapkowski's seventh (eighth in Spanish, since the concluding volume was divided in twain) Witcher book, The Lady of the Lake (read in Spanish translation as La dama del lago, vols. 1 & 2) is perhaps the best book in the series after the two introductory volumes of short stories, The Last Wish and The Sword of Destiny.  It not only ties together the strands related to Geralt and Yennefer's search for Ciri (and Ciri's fate after her disappearance through the portal at the Swallow's Tower), but also the "background" events (such as the war with Nilfgaard, the guerrilla warfare waged by the Squirrels, the Lodge of the Sorceresses, etc.) are also resolved in neat and yet at times surprising fashions.

The story begins not with a direct resumption of the events of The Swallow's Tower, but with certain Arthurian characters seeking to know events of "the distant past" which involve Ciri, Geralt, and Yennefer.  Earlier in the series, there had been references to the Matter of Britain, often as clever asides uttered by the characters, but here is an interesting frame story introduced here late in the series that recasts those events.  Early on in the book, the jumping from the "literary present" to this framing tale was a bit odd, almost threatening to disjoint the narrative, yet by story's end, it works in a fashion that would be nigh impossible to describe without laying out the full course of events.

Speaking of events, they unfold at a brisk pace, particularly in the second half, where long-awaited confrontations, some of which date back to very early in the series, occur.  Not all of these, however, unfold in a fashion that those who expect long, drawn-out "fight scenes" might desire.  Sapkowski's characters do fight, but fighting has never been the point of the Witcher stories, and there are often clever asides that adapt 1960s-style anti-war slogans to suit the saga (one such example, has protesters holding up a sign that says, "Make love, not war," while another sign plays off of that (the wordplay revolving around "hacer/haz" does not translate into English) with a "take (make in the Spanish) a shit each day/").

Another interesting departure from the expected epic crescendo of rising violence is that as the novel progresses, the action begins to shrink from the panoramic scope of multi-character struggles against those seeking to capture/kill/exploit Ciri/the northern kingdoms toward a smaller, more personal recounting of events.  By the final two chapters, the story in feel and focus resembles much more the early short stories than anything larger-scale.  This may not suit some readers, yet it fits perfectly with the themes that Sapkowski has explored throughout the series, in particular that of how fear and distrust can drive animosities to the point of senseless and horrific violence.  The ambiguous conclusion serves to drive this point home in a suitable and well-devised fashion.  The "coda," included in the Spanish edition (and also found in the collection Road Without Return/The Road of No Return (Camino sin retorno), "Something ends, something begins," is not exactly "canon" with the saga, yet it too provides an interesting interpretation of the characters' futures, albeit one that clashes with how the novel (and series) concludes.

There are few, minor flaws in the story.  As noted above, the framing tale took some times getting used to, as it felt at first like an unnecessary intrusion.  In addition, there were a few moments leading up to the penultimate conclusion that felt a bit underdeveloped, but these did not detract from my enjoyment of the book.  The Lady of the Lake fulfills the promise of the earlier volumes, not just in its plot or characterizations, but in how it further develops themes introduced earlier.  It is not a perfect series, but it certainly is one of the best epic fantasy conclusions that I have read.  It is a series that I will likely re-read again multiple times in the future, something that I rarely say about that particular literary subgenre.

Andrzej Sapkowski, The Swallow's Tower (La torre de la golondrina)

– Considero – respondió tranquilo – que hablas así por rabia.  Considero que planeas una venganza por rabia.  Y te exhorto calurosamente a que te tranquilices.

– Yo estoy tranquila.  ¿Y la venganza?  Respóndeme:  ¿por qué no?  ¿En nombre de qué?  ¿De razones superiores?  ¿Y qué mejor razón que un orden de las cosas en que los hechos malvados reciban castigo?  Para tu filosofía y tu ética la venganza es un acto feo, censurable, falto de ética, al fin, ilicito.  Y yo pregunto:  ¿y dónde está el castigo para el mal?  ¿Quién lo ha de confirmar, juzgar y medir?  ¿Quién?  ¿Los dioses en los que no crees?  ¿El gran demiurgo creador con el que decidiste sustituir a los dioses?  ¿O puede que la ley?  ¿Quizá la justicia nilfgaardiana, los tribunales imperiales, los prefectos?  ¡Viejo ingenuo!

– ¿Así que ojo por ojo, diente por diente?  ¿Sangre por sangre?  ¿Y por esta sangre, más sangre aún?  ¿Un mar de sangre?  ¿Quieres ahogar el mundo en sangre?  ¿Ingenua y herida muchacha?  ¿Así quieres luchar con el mal, brujilla? (p. 283)

"I think," he responded tranquilly, "that you speak so from anger.  I think that you plan vengeance due to anger.  And I warmly exhort you that you calm down."

"I am calm.  And vengeance?  Answer me:  Why not?  In what name?  That of superior reasons?  And what better reason than an order of things in which evil deeds receive punishment?  To your philosophy and ethics vengeance is an ugly act, censurable, lacking ethics, finally, it is illicit.  And I ask you:  And where is the punishment for evil?  Who gets to confirm, judge, and measure?  Who?  The gods in whom you do not believe?  The great demiurge creator with whom you replace the gods?  Or maybe the law?  Perhaps Nilfgaardian justice, the imperial tribunals, the prefects?  Naive old man!"

"So, an eye for an eye, a tooth for a tooth?  Blood for blood?  And for this blood, more blood still?  A sea of blood?  Do you want to drown the world in blood?  Naive and wounded girl?  So you want to fight with evil, witcheress?"

 The Swallow's Tower, the sixth and penultimate volume in Andrzej Sapkowski's Witcher series, is perhaps the most challenging book in the series to date.  When Baptism of Fire concluded, Geralt, Yennefer, and Ciri were separated from each other.  The struggle against the invading Nilfgaardian Empire was still occurring, with guerrilla warfare being waged by the non-human Squirrels against humans being a secondary theater of war.  The stage was set for a full-blown rush toward a series of explosive confrontations.  Yet The Swallow's Tower takes a different tack than what might be expected from those used to violence-laden, action-oriented approaches toward conflict.

The narrative is a bit more complex, with more external "intrusions" in the form of italicized quotations from works that seem to postdate the narrated events.  In addition, Ciri's story, which dominates here, seems to be told through a series of flashbacks, as some interim of time has passed from her time with the Rats to her convalescence with the healer Vysogota.  Yet by novel's end, most of Sapkowski's narrative choices are resolved to reader satisfaction.  However, it does require a closer attention to detail from the reader in order to decipher the import of the various threads.

The Swallow's Tower is a darker, bitterer novel than the previous five.  Ciri, Yennefer, and Geralt have suffered much, having passed through their own metaphorical (and in the case of Geralt, virtually literal) "baptisms of fire."  Ciri's recounting of her time in the hands of the cruel bounty hunter Leo Bonhart is perhaps the most disturbing of the series, as he and his cohorts, including the renegade sorcerers Rience and Vilgefortz, attempt to exploit the prophecies surrounding Ciri and her "elder blood" for their own ends.

As he did in the earlier novels, Sapkowski eschews long, tedious "world building" descriptions of the settings in favor of developing his expanding cast of characters, often through the use of long dialogues.  Bonhart in particular has his level of nastiness revealed through his conversations with Ciri (and of course, what he inflicts upon her), ultimately creating a truly nasty, evil character without the reader having to be "told" that he is an evil character.  Sapkowski continues here to explore several thematic issues through his dialogues.  In the excerpt quoted above (part of a larger conversation between Ciri and Vysogota), he focuses on the issue of revenge/vengeance and the insidiousness of it.  Young 16 year-old Ciri, wounded grievously in various ways by Bonhart, is filled with rage, just as she is about to discover the source of her power.  Vysogota's attempt to reason with her is tempered by the reader's realization that truisms such as his pale in comparison to the very real and immediate hurts that people have inflicted upon one another.  There is no easy, pat answer to Ciri's questions, only the note that anger behind them can be a two-edged sword that wounds its wielder even more.

Focused as the narrative is on Ciri, not as much is revealed about Yennefer and Geralt's actions, although there is rarely the sense that Sapkowski has forgotten them; they just are secondary here to Ciri's tale.  Yet by novel's end, events are poised on a razor's edge, as Ciri's nascent power could soothe the world's hurts or it could be used for nefarious ends.  It's tricky to talk about these events, as English-speaking readers will not be familiar with events that occurred in the previous two novels to understand the true import of Ciri's involvement with the titular Swallow's Tower.  Perhaps it will suffice to note that the action increases here and has a greater meaning to it due to the narrative succeeding in developing the themes introduced earlier in the series.  In addition, the parallels between certain European myths and legends and the narrative events are strengthened here, in particular references to the Matter of Britain.  Ultimately, The Swallow's Tower is a good addition to an excellent epic fantasy series that promises surprises for the final volume, The Lady of the Lake.

Andzrej Sapkowski: Books reviewed, books to be reviewed

As I said a few weeks back, I am planning to finish reviewing the remaining novels/stories by Polish writer Andrzej Sapkowski that are available in either English or Spanish translation.  Below are the stories to be reviewed/already reviewed, for those curious to see what will be covered over the next few weeks:

Geralt of Rivia/Witcher novels:

The Last Wish/El último deseo

The Sword of Destiny/La espada del destino

Blood of Elves/La sangre de los elfos

Time of Contempt/El tiempo de odio

Baptism of Fire/Bautismo de fuego

The Swallow's Tower/La torre de la golondrina

The Lady of the Lake/La dama del lago (1 & 2) 

Storm Season (prequel; extended preview available in Spanish)


Collection/Short Story:

Road Without Return/Camino sin retorno

"The Malady" (in The Apex Book of World SF 2)


Hussite Trilogy:

Narrenturm

The Warriors of God/Los guerreros de dios

 Lux Perpetua (read in German translation; Spanish translation forthcoming in 2014-2015)


Standalone:

Viper/Víbora

Review plans for October: More Malazan, Booker Prize finalists, Sapkowski

October seems to have arrived with a vengeance here, as the temperatures have been much colder (and rainier) than normal.  I've always associated this time of year with reading and I have been busy with a few projects in mind.  Since I have this week and next free for the most part of any other demands on my time (at least until the October 12-14 Southern Festival of Books in Nashville), I plan on (re)reading and reviewing the following (* denotes already read):

Malazan Re-Read Project:

* Reaper's Gale
* Return of the Crimson Guard 
* Blood Follows
Toll the Hounds (previous review exists)
Stonewielder
The Lees of Laughter's End
The Healthy Dead
Crack'd Pot Trail
Orb Sceptre Throne
Dust of Dreams (previous review exists)
The Crippled God (previous review exists)
* Forge of Darkness

2012 Booker Prize Shortlist

* Hilary Mantel, Bring Up the Bodies
* Deborah Levy, Swimming Home
* Jeet Thayil, Narcopolis
Tan Twan Eng, Garden of Evening Mists
Alison Moore, The Lighthouse
Will Self, Umbrella

Andrzej Sapkowski Re-read Project:

Geralt Saga (only two books out of the seven (eight in Spanish translation) are available in English)

The Last Wish/El ultimo deseo (previous review exists)
La espada del destino (The Sword of Destiny) (previous review exists)
Blood of Elves/Sangre de los elfos (previous review exists)
Tiempo del odio (Time of Contempt) (previous review exists)
Bautismo de fuego (Baptism by Fire) (previous review exists)
La torre de la golondrina (The Swallow's Tower)
La dama del lago, pts. I & II (The Lady of the Lake) (will be reviewed together)

The Hussite Trilogy (incomplete in Spanish translation; not available in English to date)

Narrenturm
Los guerreros de dios (The Warriors of God)


Yes, most of the month will be devoted to reading these, although a few more doubtless will be slotted in, although most likely without a review this month.

Which of these works/projects appeal to you most and why?

I see the second volume of Andrzej Sapkowski's Hussite Trilogy, Los guerreros de dios, has been released in Spanish

For the past five years or so, I've been reading Polish writer Andrzej Sapkowski's fiction in translation, first in English (Last Wish and Blood of the Elves), then in Spanish (the full Geralt saga and the first Hussite Trilogy book, Narrenturm).  I just learned that the second volume, Los guerreros de Dios (God's Warriors or The Warriors of God, depending on your preference) was just released in Spain on September 21 by Alamut.  Despite my recent cutback on purchasing new fiction, I think this will be a book that I will be importing in the near future from Spain, which should say how much I enjoyed Sapkowski's previous novels.

Speaking of Sapkowski, maybe after I finish this Malazan re-read/review project, I'll finish reviewing the last few books in the Geralt series and then start reviewing the first two-thirds of the Hussite Trilogy.  Sound like something that might interest readers?

Andrzej Sapkowski, Baptism of Fire (Bautismo de fuego)

Entonces le dijo la profetisa al brujo: "Este consejo te doy: ponte botas de yerro, toma en la mano un bastón de yerro. Ve con tus botas de yerro hasta el fin del mundo y por el camino agita el bastón y riega todo con lágrimas. Ve a través de la agua y el fuego, no te detengas ni mires a tu alredor. Y cuando las almadreñas se te desgasten, cuando el bastón de yerro se deshaga, cuando el viento y el calor te sequen los ojos de tal forma que de ellos ni una lágrima acierte a escapar, entonces, en el fin del mundo, hallarás lo que buscas y lo que amas. Pudiera ser”.

Y el brujo cruzó la agua y el fuego, sin mirar a su alrededor. Pero no se puso botas de yerro ni tomó bastón. Sólo llevó su espada de brujo. No escuchó las palabras de la profetisa. Y bien que hizo, porque era una mala profetisa. (p.7)

Then the prophetess said to the Witcher:  "This counsel I give you:  put on boots of sin, take in hand a cane of sin.   See with your boots of sin until the end of the world and through the road the cane shakes and waters everything with tears.  See through the water and the fire, that you do not detain yourself nor look around you.  And when the clogs are worn away from you, when cane of sin is unmade, when the wind and the heat dry your eyes to such a form that from them not a happenstance tear escapes, then, at the end of the world, you will find what you look for and what you love. It could be.”

And the Witcher crossed the water and the fire, without looking around him.  But he did not put on boots of sin nor take a cane.  He only brought his Witcher's sword.  He didn't listen to the words of the prophetess.  And he did well, because she was a bad prophetess.

Andrzej Sapkowski's third novel (and fifth overall book) in the Witcher series, Baptism of Fire, perhaps is simultaneously the most bleak of the novels in this series and one that is full of those small moments that manage to redeem the despair and destruction that rages throughout its 256 pages.  Each of the main characters (Geralt, Yennefer, Ciri) endure their own "baptisms of fire" after each have been separated by the events at the end of the previous novel.  Ciri, transported within the southern realm of Nilfgaard, has fallen in with a group of rebels and killers known as the Rats.  Thinking that Geralt and Yennefer are dead at the hands of the coup that took place in the previous novel, she has resigned herself to a life of attacks and murders, a task she finds she enjoys all too well.  While Yennefer is preoccupied with quelling the mess caused by the sorcerous uprising, Geralt recovers in the woods of Brokilon from the wounds he suffered in the fighting at Thanedd Island.  There he encounters remnants of the Squirrels, as well as a sylvan guide and a doctor who is much more than what he appears to his patients.  It is in these crucibles that Geralt, Yennefer, and Ciri discover some important answers to questions they had not even thought to pose to themselves before the Second Nilfgaarden War began.

Although the above paragraph perhaps gives more "spoilers" than I am usually inclined to give, it is necessary in this case to outline for English-language readers just what is transpiring in this multi-volume series that is slowly being translated into English.  Sapkowski in this series and especially here in the middle book of the five-novel series (and seven volume overall series set in the Witcher universe) takes great pains to reveal the consequences of death, destruction, and despite.  Due to the pride, arrogance, and machinations from multiple sides (there are no true "black" nor "white" characters here; each has their own good and bad qualities, similar to most any nations at war), cities are burning and whole populaces are being massacred to assuage the feelings of disgust and xenophobia between Men, Dwarves, and Elves.  Sapkowski reveals this mostly through his dialogues, which (at least in the Spanish translation; the English translation of the first two books left me feeling cold) contain a wealth of humor, sarcasm, concern, fear, and loathing all bound up in ways that are easily related to audiences of various languages.  

Sapkowski eschews simple characterizations.  Geralt, whom some might see as being a sort of Elric-like character with his white hair and wolfish nom-de-guerre, serves here (as well as elsewhere in the series) more as a facilitator of understanding and concord than he does as a violent solver of problems.  One highlight of this book (and in the entire series as a whole) is his interaction with Regis, whose very nature one might presume would induce the Witcher to slay him.  It is in their conversations on matters great and small where Sapkowski explores issues that might seem at first ancillary to readers but which later on in the series bears unexpected fruit.  Sapkowski is rarely heavy-handed in these discourses; their "naturalness" adds much to the Sword and Sorcery-style environs, creating an atmosphere that feels more "realistic" because the characters that do appear within are realistic, dynamic characters who have defined motives but yet aren't so rigidly constructed as to seem to be little more than pawns in the author's larger narrative game.

For those readers who enjoy quick, surprising plot developments, Baptism of Fire contains that as well.  Sapkowski covers battles and pogroms in the space of a few pages, while the consequences of these actions are often seen through the eyes of his protagonists.  Perhaps some might find themselves wanting to learn more about this battle or why this group decided to take a particular course of action over another, but for the most part, the scenes are fleshed out without feeling as though they were full of bloat.  The prose, at least in the Spanish translation done by José María Faraldo, flows at a quick clip, but yet never feels rushed or underdeveloped.  The characterizations, as I noted above, are developed primarily through interactions with other characters; there are relatively few internal monologues.  The overall effect is that of a fast-paced, meaningful sprint that covers a lot of narrative ground in a short amount of time.  Baptism of Fire is certainly a good middle volume in a secondary-world series that has become one of my all-time favorites to read. 

Andrzej Sapkowski, Time of Contempt (Tiempo del odio)

Polish writer Andrzej Sapkowski's The Witcher novels have been a huge international success, with millions of copies sold in over a half-dozen translations.  In 2009, his third book (and first novel) set in the Witcher universe, Blood of the Elves, won the inaugural David Gemmell Award for Best Novel.  Despite the numerous delays for the next book to appear in English translation, the fourth volume (although only the third in English translation, as both Gollancz and Orbit inexplicably have declined to publish the second book, The Sword of Destiny, despite that collection containing the backstories of several important characters and events that are explored in greater depth in books 3-7), Time of Contempt (although Time of Hatred might be a slightly more accurate rendering of the original title; it is the literal translation of the Spanish translation, which I just finished re-reading) continues the narrative and character arcs introduced in the three previous volumes.

Time of Contempt picks up shortly after the events of Blood of Elves.  The Nilfgaard Empire has continued its invasion of the northern kingdoms.  Yennefer, the sorceress who is the Witcher Geralt of Rivera's soulmate, has decided to take Ciri, the heiress to the Kingdom of Cintra and the Child of Surprise, to the island of Thanedd, which houses three academies devoted to training adepts how to utilize their magical gifts.  Geralt, intimately linked to Ciri through bonds of destiny (established in "The Sword of Destiny" and "Something More", both found in The Sword of Destiny), has been slowly making his way through the same region when he learns that Yennefer and Ciri are nearby.  It is in this reunion, foreshadowed perhaps in "Something More," where one of the key scenes of the book transpires:

- Di algo.

- No me gustaría perderte, Yen.

- Pero si me tienes.

- Esta noche tendrá final.

No, pensó Geralt.  No quiero que sea así.  Estoy cansado.  Demasiado cansado para aceptar la perspectiva de finales que son principios, tras los que hay que comenzar otra vez de nuevo.  Yo quisiera...

- No hables. - Con un rápido movimiento, Yennefer le puso un dedo en los labios -.  No me digas lo que quieres ni lo que anhelas.  Porque podría ser que no fuera a poder cumplir tus deseos y eso me causaría daño.

- ¿Y qué es lo que tú anhelas, Yen?  ¿Con qué sueñas?

- Sólo con cosas que se pueden alcanzar.

- ¿Y conmigo?

- A ti ya te tengo.

Guardó silencio durante largo rato.  Y esperó al momento en que ella interrumpió el silencio.

- ¿Geralt?

- ¿Mmm?

-Hazme el amor, por favor. (p. 127)

"Say something."

"I wouldn't like to lose you, Yen."

"But if you have me."

"This night will be the last."

No, thought Geralt.  I don't want it to be so.  I am tired.  Too tired to accept the perception of ends that are beginnings, after which they have to begin again anew.  I wanted...

"Don't speak."  With a rapid movement, Yennefer placed a finger on his lips.  "Don't tell me what you want nor what you yearn for.  Because it could be that you aren't able to complete your wishes and that would cause me harm."

"And what is it that you yearn for, Yen?  Of what do you dream?"

"Only of things that can be obtained."

"And with me?"

"You I already have."

He kept silent for a long while.  And he awaited the moment in which she broke the silence.

"Geralt?"

"Mmm?"

"Make love to me, please."

For those readers who have read "Something More" (and for those who haven't, I translated the key passage in my earlier review), this reunion contains a poignant power because of how well Sapkowski set up Yennefer and Geralt's shared past.  Not only does it provide a thematic mirror to the earlier story collection, but it also serves as a counterpoint to the darker tone that develops throughout this volume.  As Yennefer, Ciri, and Geralt are (temporarily) reunited, the kingdoms around them collapse.  The nefarious mastermind whom the assassin Rience served in Blood of Elves is revealed and from there, at roughly the halfway point of this 272 page novel, the novel explodes into a maelstrom of action as the Nilfgaardians advance; the elvish Squirrels, the dwarves, the gnomes, and refugee humans continue to distrust and poach the weak and unwary among the others; and Ciri discovers some of the elements of her terrible power, leading to a series of surprising events that conclude this volume.

Those readers who disliked the dialogue-heavy scenes in Blood of Elves probably will not find this book to their liking.  However, for those who want to read an imaginative and character-driven Sword and Sorcery-influenced novel, then Time of Contempt will be a pleasing read.  Sapkowski explores not just the external scenic trappings, but he delves into the complex "ecological" relationships between living beings and their surroundings.  He touches upon the traumas inflicted upon individuals, families, and nations in the name of "glorious" warfare.  The "time of contempt" (I much prefer "time of hatred," as that term contains more the sense of active antipathy than does mere contempt, but since the English translation likely will be entitled Time of Contempt, I'll reluctantly employ that phrase here) are seen throughout this novel, as betrayals pile up on top of previously-buried misgivings and distrust.  It adds up to a novel that contains a depth that might not be suspected at first.   Sapkowski's ability to mix in myth (both Eastern European and Anglo-French alike) creates a narrative that moves quickly but without sacrificing the keen wit and pathos that has been a hallmark of Sapkowski's earlier Witcher stories.  If Time of Contempt were definitely being released shortly, I would recommend strongly that readers rush and pick it up.  As it stands, the publishing delays mentioned at the beginning of this review are all the more frustrating because it feels that a great narrative arc is being denied English-language monolinguals.

Apparently Andrzej Sapkowski has won the first Gemmell Award

Or at least that's what Ken from Neth Space is reporting, as he received word via twitter from people who apparently are in the know.

This makes me rather happy, as out of the finalists, his Geralt novel, Blood of the Elves, is the only one that I liked without reservations. Nice timing on learning about this, as I received my copy of his second series, the Hussite Wars trilogy-opening Narrenturm, yesterday afternoon. While it'll have to be a while before I review it (I have another Spanish-language book I'm reading and reviewing, as well as me being in the midst of translating a recent interview with that second author), I do plan on reading it this weekend and early next week.

But still, it's good to know that this work of "heroic" fantasy was chosen to be the winner. I guess the millions in Europe and the thousands in the Anglo-American sphere have spoken, huh?

Andrzej Sapkowski, Blood of Elves

'She is not a child,' the voice repeated. 'She is the Flame, the White Flame which will set light to the world. She is the Elder Blood, Hen Ichaer. The blood of elves. The seed which will not sprout but burst into flame. The blood which will be defiled...When Tedd Deireádh arrives, the Time of End. Va'esse deireádh aep eigean!' (p. 88)

Andrzej Sapkowski's third book in The Saga of Geralt of Rivia, Blood of Elves, is the beginning of a five-novel sequence that builds upon the stories and characters introduced in the first two short story collections, The Last Wish and The Sword of Destiny (not yet available in English translation). In particular, there are two passages from each of these books respectively that I want to cite as a way of giving a sense of how the stories relate to the novel.

From "A Question of Price," the conclusion contains an enigmatic exchange between Geralt and the Queen of Cintra, Calanthe, that plays an important role in the Saga proper:

'Duny," said Geralt seriously, 'Calanthe, Pavetta. And you, righteous knight Tuirseach, future king of Cintra. In order to become a witcher, you have to be born in the shadow of destiny, and very few are born like that. That's why there are so few of us. We're growing old, dying, without anyone to pass knowledge, our gifts, on to. We lack successors. And this world is full of Evil which waits for the day none of us are left.'

'Geralt,' whispered Calanthe.

'Yes, you're not wrong, queen. Duny! You will give me that which you already have but do not know. I'll return to Cintra in six years to see if destiny has been kind to me.'

'Pavetta,' Duny opened his eyes wide. 'Surely you're not -'

'Pavetta!' exclaimed Calanthe. 'Are you...are you - ?'

The princess lowered her eyes and blushed. Then replied. (The Last Wish, p. 156)

The other passage involves an exchange between Geralt and the young Ciri at the end of the story "The Sword of Destiny." This exchange appears to bear a hint of the storyline that follows, beginning with Blood of Elves. I have translated this from the Spanish translation, so any errors are my own:

" Geraaalt!"

He turned around. Ciri was on foot on top of the mountain, a little grey figure with disheveled hair the color of ashes.

"Don't leave!"

Geralt waved his hand.

"Don't leave!" she cried with a very high-pitched voice. "Don't leave!"

I have to do it, he thought. I have to do it, Ciri. Because I...I always am leaving.

"You won't achieve it!" she cried. "Don't believe it! You won't flee! I am your destiny, you hear me?"

Destiny doesn't exist, he thought. It doesn't exist. The only thing destined for all of us is death. Death is the other edge of a double-edged sword. I am one. The other is death, which follows me step by step. I cannot, I should not injure you, Ciri.

"I am your destiny!" reached him from the top of the mountain, a voice distant, desperate.

He spurred the horse on with the spurs and rode forward, sinking as in a sinkhole, in a dark forest, cold and humid, in the known, friendly darkness, in a darkness that didn't seem to have an end. (La espada del destino, p. 242).

I give these passages from the first two books because without them in mind, much of the tension that develops in Blood of Elves would be lessened; it really is essential to have read these first two collections before reading the novels, although that option has been taken away from the English-language readers. However, there are contextual clues in this novel and the ones that follow after that refer to these events.

The novel opens with Ciri having a flashback to the sacking of Cintra and Geralt comforting her. In an echo of the passage I quoted above, Ciri thinks this:

Ciri had heard such reassurances in the past. They had been repeated to her endlessly; many, many times she had been offered comforting words when her screams had woken her during the night. But this time it was different. Now she believed it. Because it was Geralt of Rivia, the White Wolf, the Witcher, who said it. The man who was her destiny. The one for whom she was destined. Geralt the Witcher, who had found her surrounded by war, death and despair, who had taken her with him and promised they would never part.

She fell asleep holding tight to his hand. (p. 7).

From there, the action shifts to a performance given by the talented, foppish bard Danilion (Jaskier), who is one of Geralt's few friends. Danilion has finished singing a ballad based closely upon the events of the first two collections, stories involving Geralt, the sorceress Yennefer, and Ciri. Before the action commences, Sapkowski foreshadows future divisions by means of this passage:

But even during an event as exceptional as the world-famous troubadour's just-concluded performance the travellers kept to themselves, remaining in clearly delineated groups. Elves stayed with elves. Dwarfish craftsmen gathered with their kin, who were often hired to protect the merchant caravans and were armed to the teeth. Their groups tolerated at best the gnome miners and halfling farmers who camped beside them. All non-humans were uniformly distant towards humans. The humans repaid in kind, but were not seen to mix amongst themselves either. Nobility looked down on the merchants and travelling salesmen with open scorn, while soldiers and mercenaries distanced themselves from shepherds and their reeking sheepskins. The few wizards and their disciples kept themselves entirely apart from the others, and bestowed their arrogance on everyone in equal parts. A tight-knit, dark and silent group of peasants lurked in the background. Resembling a forest with their rakes, pitchforks and flails poking above their heads, they were ignored by all and sundry.

The exception, as ever, was the children. Freed from the constraints fo silence which had been enforced during the bard's performance, the children dashed into the woods with wild cries, and enthusiastically immersed themselves in a game whose rules were incomprehensible to all those who had bidden farewell to the happy years of childhood. Children of elves, dwarves, halflings, gnomes, half-elves, quarter-elves, and toddlers of mysterious provenance neither knew nor recognised racial or social divisions. At least, not yet (p. 9).

Immediately after this, the action begins with Danilion being confronted about his story by a mysterious personage, one whose role in this novel (and in future volumes) appears to be malevolent. Soon after, the invasion of the realms (first with the conquest of neighboring Cintra, then continued in the backdrop into the other cities and principalities featured in the first two collections) by the Nilfgaard Empire sparks a series of conflicts; the Nilfgaardians try to divide and conquer by means of encouraging the non-humans to rise up against the humans, while simultaneously they exploit human fears and antagonisms towards the elves, dwarves, gnomes, and halflings. "Freedom fighters" such as the elvish Scoia'tael, the Squirrels, rise up and the devastation spreads in a decentralized fashion, as group hatreds explode in a bloody frenzy.

Through all this, young Ciri is taken by Geralt to the home of the Witchers, Kaer Morhen. There she is tested and trained in the ways of the Witchers, although she does not undergo the mysterious, mutation-causing infusions that the Witchers receive during the course of their training. All the while, Ciri continues to be beset by strange dreams and visitations which seem to hint at a dark, nebulous future ahead for her, Geralt, and certain others. Geralt takes heed of this and the events that follow after open the action from small, local affairs to a broader world in which the causes and consequences of prejudices, fears, and hatreds are seen to be flowering like poisonous mushrooms.

The pacing is excellent; in just over 300 pages Sapkowski ties in the events of the earlier two collections to a sprawling world that is full of conflicts, both internal and external. The characterization is well-done, as Geralt's wish to stay neutral stands in sharp contrast to what Ciri experiences when she, Geralt, and the sorceress Triss Merigold meet up with the dwarf Yarpen:

'You've got pretty good hearing, girl, like a marmot.' He grinned broadly. 'You're also a bit too bright for someone destined to give birth, cook and spin. You think you know everything, don't you? That's because you're a brat. Don't pull silly faces. Faces like that don't make you look any older, just uglier than usual. You've grasped the nature of the Scoia'taels quickly, you like the slogans. You know why you understand them so well? Because the Scoia'taels are brats too. They're little snotheads who don't understand that they're being egged on, that someone's taking advantage of their childish stupidity by feeding them slogans about freedom.'

'But they really are fighting for freedom.' Ciri raised her head and gazed at the dwarf wide wide-open green eyes. 'Like the dryads in the Brokilon woods. They kill people because people...some people are harming them. Because this used to be your country, the dwarves' and the elves' and those...halflings', gnomes', and other...And now there are people here so the elves - '

'Elves!' snorted Yarpen. 'They - to be accurate - happen to be strangers just as much as you humans, although they arrived in their white ships a good thousand years before you. Now they're competing with each other to offer us friendship, suddenly we're all brothers, now they're grinning and saying: "we, kinsmen", "we, the Elder races". But before, shi - Hm, hm...Before, their arrows used to whistle past our ears when we - '

'So the first on earth were dwarves?'

'Gnomes, to be honest. As far as this part of the world is concerned - because the world is unimaginably huge, Ciri.'

'I know. I saw a map - '

'You couldn't have. No one's drawn a map like that, and I doubt they will in the near future. No one knows what exists beyond the Mountains of Fire and the Great Sea. Even elves, although they claim they know everything. They know shit all, I tell you.'

'Hmm...But now...There are far more people than...Than there are you.'

'Because you multiply like rabbits.' The dwarf ground his teeth. 'You'd do nothing but screw day in day out, without discrimination, with just anyone and anywhere. And it's enough for your women to just sit on a man's trousers and it makes their bellies swell...Why have you gone so red, crimson as a poppy? You wanted to know, didn't you? So you've got the honest truth and faithful history of a world where he who shatters the skulls of others most efficiently and swells women's bellies fastest, reigns. And it's just as hard to compete with you people in murdering as it is in screwing - '

'Yarpen,' said Geralt coldly, riding up on Roach. 'Restrain yourself a little, if you please, with your choice of words. And Ciri, stop playing at being a coachwoman and have a care for Triss, check if she's awake and needs anything.'

'I've been awake for a long time,' the magician said weakly from the depths of the wagon. "But I didn't want to...interrupt this interesting conversation. Don't disturb them, Geralt. I'd like...to learn more about the role of screwing in the evolution of society (pp. 136-138).

I cite this entire scene because it encapsulates perfectly many of Sapkowski's gifts as a writer. The dialogue is interesting and at turns bitter and hilarious. Ciri and Yarpen's personalities are shown via the way each addresses the other, one being inquisitive and eager to learn while the other is embittered and yet ready with sharing his own sarcastic take on the world. We learn about how the various races are not getting along, how rhetoric seeks to both divide and unite groups, as well as what is transpiring around the travelers. In short, it is a microcosm of the unfolding events and serves to make the reader focus not just on the plot actions, but also on the thematic underpinnings of the story. Sapkowski accomplishes much with scenes such as these and while Blood of Elves truly is a set-arranging opener that doesn't advance the main plot too rapidly, these undercurrents that Sapkowski explores serves to create an opener that is exciting and one that plays off of the tensions introduced in the story collections and the opening chapter, creating the promise of a rewarding payoff. One of the better opening sequences to a multi-volume fantasy series that I have read in years. Highly recommended.

Publication Date: October 16, 2008 (UK); US release scheduled for Summer 2009. Tradeback, Hardcover.

Publishers: Gollancz (UK), Orbit (US).

Cover Art Thoughts

I just received my copy of the new Spanish edition of Andrzej Sapkowski's fifth Witcher book, Bautismo de Fuego (Baptism of Fire). As was the case for the newest edition of the second book, La espada del destino (The Sword of Destiny), the cover was illustrated by Alejandro Colucci, based on a design by Alejandro Terán.

I couldn't help but notice how the young woman is portrayed in this illustration. While I have my suspicions as to who it is (I know it's not Yennefer and probably not Ciri), what struck me about the near photo-realistic illustration is how the character represents a somewhat conflicted dualism. I first noticed that the nose is not the button-cute one, but a "stronger" one that accentuates the set jaw and the eyes, which are concentrated on some unseen prize. It is not a "hawt" woman per se, but yet an athletic but attractive one.

Furthermore, the attire, while containing elements of standard-issue sexist dress (the super-short tunic/shorts, the hint of cleavage) , is very muted in color and blends in well with the sylvan surroundings. It is as if the character was viewed as being attractive/sexy, but not presented in the expected cheesecake "sexy" pose.

I am curious what reactions readers here had when viewing this cover art for the first time. In the meantime, I'll alternate between reading this book, watching election day coverage, and writing a Powerpoint presentation for class tomorrow.

Traduttore, Traditore

While it'll be a few days before I write my full review of the English translation of Polish author Andrzej Sapkowski's Blood of Elves, I cannot help but to recall the phrase "traduttore, traditore" in comparing two different translation (Spanish, English) of Sapkowski's books. It is amazing (and quite fascinating) to see how one can take one phrase and twist it so. Unfortunately, I don't have access (and even if I did, my knowledge of the language is non-existent) to the Polish original, but there is a passage in the final pages of Sangre de los elfos/Blood of Elves that I translated one way a few months ago and which the official translator, Danusia Stok, translated another. My translation is from the Spanish translation done by José María Faraldo, so it is possible that my translation may be made on his own choice of rendering the Polish idiom into a more recognizable one for his readers. I'll post the Spanish translation, then my translation of it, followed by Stok's English translation. Weigh in as to which one "feels right" to you:

Faraldo's translation from the Polish original:

Mi Maestra solía decir que dejar salir la fuerza debe resultar como si te tiraras un pedo en una sala de baile: delicadamente, moderadamente y bajo control. Y de tal modo que los que te rodean no se den cuenta que eres tú. ¿Entiendes?

My translation of the Faraldo:

My teacher often said that letting go of the force/power ought to result as if you farted in a dance hall: delicately, moderately, and under control. And in such a way that those around you would not realize it was you. Do you understand?

Stok's translation from the Polish original:

My Mistress used to say that emitting the force must be like blowing a raspberry in a ballroom; do it gently, sparingly, and with control. And in such a way that you don't let those around you know it was you. Understood?

Interesting shifts in meaning and emphasis, no? In particular, Stok's use of an euphemism for flatuence rather than the more direct, cruder one that Faraldo uses (and which I rendered into approximate American slang) might fit in more with a genteel setting, but when one considers the relationship between Yennefer and Ciri, not to mention between Yennefer and Geralt and how they speak to one another, it might be that Stok should have been more direct with her terminology. Unless of course it turns out that Sapkowski did not use a direct reference to farting in his original passage.

Furthermore, in my translation of the Faraldo translation, notice how I switched tenses and mood in order to render the past subjunctive (tirar, tiraras being the past subjunctive in Spanish) as best I could, as saying "as if you ripped a fart" might be too colloquial of an expression. Stok, however, uses a tense in her "must be like blowing" that leaves me uncertain if it is more of a future conditional (things will be in this condition and this condition only before X can occur) or a future imperative (things have to be such-and-such a way before X can occur). Regardless, it is not a direct one-to-one mapping with either Faraldo's Spanish translation or my rendering of his translation into English.

But my own translation has its issues. There are places where the phrasing perhaps could be tightened better (ought to result as if you farted...), but I found myself in a quandry. How could I capture the "you"ness of the passage, keep it simple and direct as possible, and make it "readable" as well as intelligible to someone who might not only understand English perfectly, but for those who may be very familiar with some of the other Sapkowski translations, if not with the Polish original itself? I took one approach towards this issue, choosing a rather non-standard bunching of verbs and verbal phrases, while Stok took another in her use of the "must be like ____ing" modal phrase.

Which is more correct? That is something I'll leave up to the readers here to decide.

Part II of the June 2008 Fantasymundo Interview with Andrzej Sapkowski

Here is the second part of the interview (first part, with a link to the original interview in Spanish, is here). It is a rough translation in a few places, but I hope it will be of interest to many. In this part, Sapkowski talks about the Geralt novels as well as a newer trilogy of his which soon will be released in Spain.

Fantasymundo: In your stories it is habitual that you take the part of the losers and the defenseless. Does this owe to a certain social justice? From this, it is not common to encounter a Fantasy so demoralizing and terrible – in its message – as yours. Were you conscious of this, you a natural demythisizer, when you wrote the books of Geralt of Rivia? Can one assume an analogy with Raymond Chandler?

Andrzej Sapkowski: Of course, you’ve nailed it. Geralt has much in common with Philip Marlowe, he is a cynic. No one will deny that all writers, we are doubters of our previous readings, nor that we are intelligent and we have a blank check to do what we want. We make ourselves more intelligent when we speak than the rest, when we want a woman or we hate another person. I am the result of my readings of Alexandre Dumas, Henryk Sienkiewicz [Polish Nobel Prize in Literature winner, author of Quo Vadis?], Raymond Chandler, Roger Zelazny, Jack Vance, Jules Verne, Arturo Pérez-Reverte…They have created me as a writer.

That is what is passing now with me: there are many people that “use” me as a writer and in which I influenced. There are things that are implanted in the brain of someone when s/he writes. I am now in others and it is normal, same that Chandler is himself in me. I do not believe that Chandler would be offended by this, since only I am transferring to the book the same cynicism that he used, but in place of the dark streets of San Francisco, to the malodorous streets of some place which never has existed and never will exist. It is absolutely the same and the people like it, of course. Don’t forget that, when I began 13 years ago, all the world in Poland was absolutely sick of superhero stories and they wanted a story of a man which was not omnipotent. I receive many letters and emails questioning why Geralt is so weak, but I know that they want it so.

Fantasymundo: Do you believe that time could convert the world of Geralt de Rivia into one of the great “sagas” of fantasy literature?

Andrzej Sapkowski: To say that the saga of Geralt de Rivia is going to end up being one of the great ones of Fantasy would be immodest on my part. Of course, I have done what I have been able to do. In Poland I have placed the first stone, certainly, and now there are many authors that are “learning” to do the same. Perhaps after my death, which could be near, some critics will place me on that list [[of the best of Fantasy], like David Pringle did in his 100 Best Books of Fantasy, where all are Anglo-Saxons, save Patrick Süskind and his Perfume and Michael Ende and The Neverending Story. Many critics have said to my face: “We don’t like Eskimos writing about zebras.” And now they are the zebras. Time will tell.

Fantasymundo: In your native land, Poland, they have already done various cinemagraphic adaptations of your work. Are you content with the results? [Sapkowski alludes to the comic adaption by Parowki and Polch, from which the film imitated the aesthetic. In its time, the film had two versions, one for exhibition halls, of more than two hours’ duration, and the other in the television format, episodic].

Andrzej Sapkowski: No. The question is very simple and the response is equally simple: the problem is that the films have made themselves based on something which must seen in the comic, which is not more than a reelaboration of my stories. There is no doubt that those who made them did not read my books, well, apart from leaving out many of its aspects, I encountered nothing, not a single frase that is mine. It is impossible to take pride of something like that.

Fantasymundo: Do you hope that Hollymood will do a better-received adaptation of your books?

Andrzej Sapkowski: All is possible, because if they have seen adaptations of the short stories of Lem, all is possible. Lem hoped that they would make a film of Solaris, and one was made, that of Tarkowsky (1972), and it was very boring. Then Lem waited and hoped to see if Hollywood would decide to make another version, and one was made and it was fucking more boring (directed by Steven Soderbergh, in 2002, with George Clooney as the protagonist). Well, perhaps it had to be so because the novel also is fucking boring.

Fantasymundo: Seeing the “triangle” which Geralt-Yennefer-Ciri form, I could not avoid seeing in them the sketch of the “traditional Western family.” Had you already a preconception of a pseudofamilial development for these characters or did the idea emerge little by little?

Andrzej Sapkowski: The first thing I did was to fight against the stereotype. To present the typical hero who seeks a reward, who saves the world, the World Trade Center, Tel Aviv, who has all the women which he wants. I have altered the myth, this is a hero which says “Don’t fuck with me, don’t bother me anymore.” To place this hero in front of different situations, such as with a woman which also departs from the stereotypes, could be very harsh, but also very interesting. Cherchez la fêmme!

Fantasymundo: The action scenes, over all the ones in which a “sword” appears, they feel very realistic and very plastic; above all in the fencing classes that Ciri takes or the duels of Geralt with his “monsters.” Curious, is fencing practice among your hobbies? And if it is not so, from where did you get the resources for creating images so realistic in the movements or thrusts?

Andrzej Sapkowski: In reality, I know nothing about fencing. The only thing I know I know due to books. I preoccupied myself with making it seem realistic. You can know much about fencing and not have an idea how to write it; so that, including without knowing anything, if you use the words and the adjectives correctly, if you make dynamic scenes, all the world will say, “Wow, this guy is a Fencing Master!” (mischievous laughter)

Fantasymundo: You are the creator of enormously credible characters. Tell me, as “the father,” do you have some preference for one of your “literary children?” Someone is based on some real-life model?

Andrzej Sapkowski: No, not a single one of them is based on real people. I am very strict with this and I want you to believe that all came from my imagination. I have never intended to make a caricature of someone, nor to laugh at someone, nor to demonstrate that I dislike someone. My readers don’t give a shit who I hate, I cannot hate anyone when I write, although of truth yes, I dislike people, but never would I be so arrogant as to show this to my readers.

Fantasymundo: My favorite character is Emiel Regis. With him, you confirmed an idea which I had reading your works: your writing is a “point of encounter as much for the fans of Fantasy as the “black novel,” like The Terror. Did Regis arise from the rich Slavic mythology of vampires?

Andrzej Sapkowski: Actually, all is to the contrary. Regis does not exactly limit itself to any of the existing vampire legends, for that it is so interesting. Of course, until when the famous Polish professor Maria Janion has written an enormous book on vampires in literature, she uses Emiel Regis as an example [Maria Janion is a reputable cultural anthropologist; the book which Sapkowski references is from 2003 and has been translated into English as The Vampire. A Symbolic Biography]. Emiel was a particular manner of demonstrating my personal vision of Fantasy. Besides, he is not the typical vampire bloodsucker, according to the dictates of the Canon (we have to refer ourselves to the damn canonization of the Fantasy), but inside the Canon always there is the space to be original, if you have talent. And if not, well you can go crap in some wooded place.

Fantasymundo: Judging by the apocalyptic tone which presides over your books, I have the impression that you are, in truth, about a clash of civilizations. Can one understand The Saga of Geralt de Rivia as an elegy?

Andrzej Sapkowski: Absolutely. Perhaps my case is not so extreme as that of Tolkien. He suffered a hecatomb from his youth, and he spoke of pollution and poisoned rivers; I now am 60 years old, many of the living things which I have known have disappeared, animals, plants, insects, crustaceans…from what there was when I was 10 years old, already not remaining, it is a disaster. And all that has occurred in the course of one man’s lifetime. What can happen here in 50 years? Perhaps all will disappear and the world will be reduced to ashes. Thinking of it terrifies me.

Fantasymundo: If Geralt de Rivia had been born now, in 2008, instead of 1995, would it have been different? Had your world reflected the instability of the real one?

Andrzej Sapkowski: Who knows? No one! Possibly, it would be a distinctly different story. And I would suppose I’d have to replant the traumas and its connotations.

Fantasymundo: Besides the Geralt de Rivia novels, you have also published a trilogy of historical novels known as The Narrentrum Cycle. Tell us, what exactly is this trilogy and what can we expect from it?

Andrzej Sapkowski: It is a Historical Fantasy, a very atypical form of Fantasy, distant from the worlds of Never More, of elves and dragons. It is Reality with some element of Fantasy. Centered in the religious struggle of Jan Hus, without which I had not been able to conceive our recent history. It is very far from the Peninsula, but if you can consider how all is related, you will understand that without Hus there wouldn’t be a Luther and without him, imagine the history of Europe: there wouldn’t have been the Spanish in Flanders, there wouldn’t be Rocroi…Europe would have been completely different! It is about, therefore, a people massacred and persecuted whose sacrifice changed Europe.

Fantasymundo: Permit us to do a rapid round of questions. Tell me the first thing that comes to mind when we say…

- Lech Kaczynski: Makes me vomit.
- Geralt de Rivia: Too personal. The character of my life.
- Donald Tusk: Ambivalent. His best and only virtue is that he’s not Kaczynski
- Cat: God
- Codringher y Fenn: Jurists. Ambivalent, arrogant, money.
- Tolkien: A master
- Triss Merigold: Pretty and red-haired, but insecure
- Space Opera: Opera in space. The tenor persecuted the soprano and the baritone annoys
- Rydszard Kapuscinsky: A great, great, great, master
- Wiedzym: A lot of money (laughter from all around)

Fantasymundo: Without anything more, it only remains for us to depart. It has been an immense please and, of course, we hope to see you again soon in Spain. Thanks for paying attention to Fantasymundo!

Andrzej Sapkowski: It has been a great pleasure, thank you.