Wordplay and swordplay

Cyfarthfa Castle, Merthyr Tydfil

Andrzej Sapkowski: The Last Wish
Ostatnie życzenie (1993),
translated from the Polish by Danusia Stok (2007)
Gollancz 2012

What fun this is to read, and what fun Sapkowski must’ve had writing it! It both pays homage to and takes the mickey out of the swords-and-sorcery genre; it subverts the classic fairytales it plunders while respecting their power and integrity; and it revels in witty dialogue and pithy wordplays only to cut them short with bloody cut-and-thrust swordplay worthy of a movie swashbuckler like Douglas Fairbanks Snr.

This is a prime example of the author accomplishing that seeming paradox, having his cake and eating it. He simultaneously deconstructs so-called High or Epic Fantasy by pointing out its use of problematic clichés and then celebrates them by taking them seriously.

And what a character to have take centre stage: Geralt of Rivia, a Witcher trained to tackle the monsters that threaten the communities of this late medieval world, using weapons-skill and magic, and all in the face of fear and suspicion from those very societies he is trying to save.

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Witch Week Day 2: Sword-for-Hire

Tomorrow, two avid fans of Sapkowski’s Witcher series discuss the women of Witcher, so today Lizzie gives you a quick intro to the books and characters with this review.

Andrzej Sapkowski: The Last Wish: Introducing The Witcher
English translation by Danusia Stok
Orbit Books 2007 (1993)

The Last Wish comprises six short stories, framed by interludes that together constitute a seventh. Geralt of Rivia, the Witcher, offers his services to villages and towns in several principalities of a medieval world. Amphisbaena, basilisk, dragon, striga, vampire – if it’s troubling your district, he’ll get rid of it for you.

The Witcher is bred for battle and then schooled for a life of rescuing the world. Armed with various types of swords and knives, not to mention potions and elixirs, Geralt is nearly invincible. Yet he resents that people think he is a hired killer, “a job that wasn’t in keeping with either honor or the witcher’s code.” He also sees the irony of his work: the more successful he is, the fewer monsters there will be to kill.

Yet these stories focus more on Geralt’s clashes with women than with monsters: sorceresses, queens, rebels –- all as skilled as men in battle or politics or both, all enraged enough to frighten whomever they challenge. Having been betrayed, they’re quick to betray another’s trust. A negotiated peace is often a feint; a shared secret the key to power over an opponent.
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