Frivolous Waste of Time

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Archive for the category “Fantasy Novels”

The Tower of the Swallow by Andrzej Sapkowski

I wasn’t in love with the previous book in the Witcher series, Baptism of Fire, feeling that it felt too interstitial and didn’t do enough to further the plot. The Tower of the Swallow is not dissimilar, with the plot once again focusing on Geralt’s journey to find Ciri, but is improved for a number of reasons; an interesting playing around with time and narration and the increased role of the wonderful Ciri herself.

Geralt and company are continuing their journey to find Ciri, after their run in with the Lyrian forces at the end of Baptism by Fire. Along with Dandelion, Milva, Regis and Cahir, Geralt must head towards the Nilfgaardian Duchy of Toussaint. Yennefer has arrived in Skellige, as she seeks Ciri’s location, becoming drawn into the machinations of the sinister Vilgefortz. The heart of the story lies with Ciri, who we find terribly injured in the home of a hermit. Still being hunted by Nilfgaard, Ciri relates to him her time with The Rats, how they came to separate and her run in with the terrifying bounty hunter Leo Bonhart.

In terms of Geralt, The Tower of the Swallow does not move the plot forward much further than Baptism of Fire did. Ciri is absolutely the protagonist of this one though, with her story mostly related through flashback as we see the trials and tribulations she has been through. We regularly dip into several layers of narration, as present day Ciri in the hermit’s house flashes back to middle of the story Ciri who flashes back to earlier Ciri. This happens with other characters too, such as a mercenary who relates her role in events through court testimony. It can be confusing to put together the chronology of everything; this playing around with structure of the Ciri storyline feeling a bit clever for its own sake, but it is interesting and I’m always up for genre authors pushing out of their comfort zones and doing something a bit different with the form.

The Tower of the Swallow is very much ­Baptism of Fire Part 2, but it does leave things in a good place for an exciting finale. I’m going to be sad to finish this series, although hopefully it won’t be too long until The Witcher Netflix series manifests itself.

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Baptism of Fire by Andrzej Sapkoswki

Fantasy series often have a ‘middle book problem’, where in telling an extremely long form story, you end up by necessity having an entire book which exits to react to events in the previous book and establish events for the next book, with little memorable actually taking place in the book itself. The absolute nadir of this concept was comfortably Crossroads of Twilight, the 10th Wheel of Time book, the most supremely uneventful book I’ve ever read. Baptism of Fire is very much a middle book, in fact it is the literal middle point of The Witcher novels (not counting the short stories). Although it may not forward the plot of the series as much as I would have liked, Sapkowski’s origin as a writer of short fiction means that the vignettes which make up this book are entertaining in their own right and it never ends up boring.

Baptism of Fire takes place not long after the end of Times of Contempt and the Thanedd coup, which saw the Chapter of Sorcerers torn apart, Ciri flung into an unknown part of the Nilfgaard empire and living as a bandit and Geralt, terribly wounded, being treated by the dryads in Brokilon. When Geralt hears from Milva, a talented human scout, that Ciri is in Nilfgaard and due to be married to Emperor Emhyr, he sets out to rescue her, along with Milva and erstwhile poet companion Dandelion. Along the way they join forces with a few new faces, such as a dwarven band led by one Zoltan Chivay and a mysterious medicine man named Emil Regis. Meanwhile, a group of sorceresses gather, human, elven, Northern, Nilfgaaardian, to form a new, all female, organisation from the ashes of the Chapter; the Lodge of Sorceresses.

The meat of this story lies in Geralt’s journey south from Brokilon, through the wat torn Northlands towards the Nilfgaardian border. Along the way he, along with his group, get caught up in a few scrapes and conflicts. Where Times of Contempt was largely about magic, Baptism of Fire is more grounded, and arguably the grimmest of the series so far. I’ve read a lot of descriptions of the brutality of war in a fantasy setting, so it takes a fair bit to shock me by this point, but Baptism of Fire can be genuinely horrific. True to Sapkowski’s style though, it isn’t all war and suffering and the moments of lightness and humour work well, particularly in Zoltan’s band of dwarves as well as the ever enjoyable fop Dandelion. Still, it’s difficult to shake the sense that Baptism of Fire is an interlude, setting the stage for the next books to come. Sapkowski’s a good enough writer that even his wheel spinning is pretty enjoyable, but obviously I prefer when he is pushing the story onwards.

Geralt is as enjoyable a protagonist as ever, with an interestingly petty and vindictive side coming through, adding further layers to one of the best characters in the genre. I liked the new characters a lot, such as the acerbic but vulnerable Milva. It was also nice to see a couple more characters I was familiar with from the games, such as the generous and kind hearted Zoltan, as well the enigmatic Emil Regis, who I very much enjoyed in the Blood and Wine DLC for The Witcher 3. Geralt has a proper old school fantasy travelling band with him now and I enjoyed seeing them bicker and grow together.

Baptism of Fire is probably the weakest entry in the series so far, but it’s certainly not bad. Not enough happens, but this world and these characters are strong enough that just spending time with them is enough to provide a decent time. It’s not a reason to stop reading the series, and if you’ve got this far you’ll likely find plenty to enjoy in Baptism of Fire.

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Caine’s Law by Matthew Stover

The Acts of Caine series seems to follow a cycle of something contained and disciplined followed by something more grand and ambitious. The first cycle of this technique, Heroes Die followed by Blade of Tyshalle, didn’t really work for me. This second cycle, with the focused Caine Black Knife followed by the unhinged and bizarre Caine’s Law, works much better. The sense of having bit off a bit more than he can chew persists from Blade of Tyshalle, but by keeping the focus firmly on the titular protagonist it avoids its worst missteps. Caine’s Law is ambitious, dazzling and genuinely unique and a memorable ending to one of the strangest fantasy series around.

Caine Black Knife ended on a series of cliffhangers; Orbek’s upcoming trial-by-combat with Angvasse Khaylock, the nature of the Smoke Hunt and, most significantly, Caine’s final arrest and removal, crippled once again, to Earth. To give any significant plot summary for this book without spoiling it feels like an impossible challenge. Caine’s Law takes place in a variety of times and places, some before the events of Heroes Die, as well as between Blade of Tyshalle and Caine Black Knife. The core theme of the novel is deity and religion; considering that at least three figures throughout the series can be said to have ascended to becoming demi-Gods, it’s a theme worth exploring and closes out the series in suitably epic fashion.

Whilst I appreciate the ambition, as with Blade of Tyshalle things fall apart a bit in the execution. I really love what Stover is going for here, but it’s a bit too opaque, a bit too dense. It’s well aware of its own confusing nature, but being aware of your own flaws don’t necessarily stop them from being flaws. The book feels like a dense weave of subplots, rather than having a core strong plot in itself. Some of these subplots work better than others, with a little bit of overindulgence in some areas. A very interesting new character known as the Horse-Witch plays a vital role, but I think perhaps a bit too much time is spent with this storyline, as well as a lot of mediation about horses in general. Still, I ultimately had a better time with Caine’s Law than Blade of Tyshalle because it continues the wise trend from Caine Black Knife in focusing entirely on its titular protagonist.

There have been a lot of unstoppable, ridiculous fantasy badasses, but Caine may be the best I’ve ever seen. More than anything else, this book breaks down exactly who, and what, Caine is, to the very core. Supposedly Stover is writing another book in the setting focusing on Raithe, and despite what I’ve said earlier, I think keeping Caine out of future books, or as a supporting character, is for the best. We know him now, intimately, inside and out. A lot of the time badass characters achieve that through mystery, but we now know pretty much all we could ever want to know about this character, which makes his unique perspective and strength somehow even more compelling. Caine is to fantasy what Batman is to comics, or John Wick to cinema.

Caine’s Law is an ambitious and bizarre way to end the series. Stover doesn’t quite stick the landing, but there’s a lot to be said for shooting for the stars, even if you ever so slightly miss. I look forward to delving into some of his other works, although I think I might skip the novelisation of Star Wars: Revenge of the Sith.

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This Census-Taker by China Miéville

I haven’t read a China Miéville book in ages, so this slim little novella seemed as good a place as any to jump back in. It’s a strange, unsettling story, with a tighter focus than Miéville normally shows. This is still a political book, everything Miéville writes is, but it perhaps has a greater focus on the personal.

This Census-Taker has a strange setting, a sort of desolate fantasy dystopia. There are hints that this world is not our own, but Miéville isn’t interested in world building here, with the setting being used primarily to create mood and atmosphere. There are a couple of hints that it may take place in the Bas-Lag setting seen in Perdido Street Station, but if that is the case it isn’t particularly important to the story. The protagonist is an unnamed young boy, who runs into his village screaming that his mother has killed his father. Lacking evidence, he is forced to return home to his terrifying and homicidal parent, living in constant fear, with his only allies being a group of street urchins.

It’s a relatively straightforward story by Miéville standards, but thoroughly unsettling. Miéville has flirted with many different strands of horror, most effectively with Lovecraftian cosmic horror, but domestic horror may be some of the scariest, the fear of what lurks within your own home. Very few characters are named and they are generally thinly drawn, but this is more about creating an atmosphere than anything else. Hints to wider events are welcome and suggest that this is a world gone very wrong, expanding into the broader social commentary Miéville is so well regarded for. The titular census-taker doesn’t show up until close to the end, but he’s an intriguing figure with hints to complex motivations. Some have suggested that This Census-Taker could almost be a prologue to a larger work and I wouldn’t mind if that were the case. The novella asks some interesting questions I wouldn’t mind seeing answered.

This Census-Taker is a clever, unsettling slice of fiction I’d recommend to any Miéville fan. He hasn’t published a full novel since 2012s Railsea, so I hope there’s another one not too far away.

 

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Time of Contempt by Andrzej Sapkowski

I’m thoroughly enjoying my time ploughing through The Witcher saga, with Time of Contempt building on the successes of Blood of Elves and addressing some of its faults.

Time of Contempt picks up not too long after Blood of Elves. Ciri is now under the tutelage of Yennefer of Vengerberg. Yennefer is taking Ciri to the Island of Thanedd, a safe haven for mages and sorceresses where she plans to enrol Ciri in a school to hone her magical training. It is not long before Geralt is reunited with his surrogate family of Yennefer and Ciri, and the three arrive at Thanedd, for a gathering of the magical users of the Northern Kingdoms, known as the Chapter of Sorcerers. The politics of the North have become more unstable, with the Northern rulers desperate for a pretext to go back to war with Nilfgaard and regain Cintra.

Where Blood of Elves was a bit more unfocused, feeling like a series of connected novellas more than anything else, Time of Contempt is a bit more self-contained, dealing primarily with the internal affairs of the Chapter of Sorcerers and the role of the magical community. The sharper focus benefits the book massively and it moves the story forward in a range of interesting ways. A lengthy epilogue shifts focus for a while, but it leaves a lot of important character sin very interesting places for the next book.

The action scenes are good, but Time of Contempt may be the funniest book in the series so far. A wonderful scene where a proud Yennefer parades Geralt in front of a series of lustful sorceresses, each more ridiculously provocative than the last, is a lot of fun. I had thought that the games had over sexualised characters like Keira Metz and Phillipa Eilhart but…nope, they’re like that in the book too. Geralt struggling to keep composure is a joy to behold. When things get a bit darker it all works well too, particularly during a harrowing scene in a desert which ratchets up tension to almost unbearable levels.

A lot of my favourite characters from the games play large roles here, such as the brilliant Redanian spymaster Sigismund Djikstra and a range of sorceresses. Sapkowski does a brilliant job of making these characters feel distinct; we’re introduced to about 8 new sorceresses all at once, but they all feel distinct and memorable. Ciri seems to be taking over from Geralt in main protagonist duties, but this isn’t a problem because I love Ciri.

I always struggle to write about middle books in a series. It doesn’t shake things up, but Time of Contempt keeps the story ticking on at a nice pace and leaves me excited to get into the next one. What more could you ask?

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Caine Black Knife by Matthew Stover

The previous book in the Acts of Caine series was the ambitious, but frankly incoherent, Blade of Tyshalle. It drastically expanded in scope from the first book, but at the cost of what made Heroes Die so engaging to begin with. Caine Black Knife is a simpler, more straightforward return to form for the series. Where Blade of Tyshalle got bogged down in numerous sub plots and supporting characters, Caine Black Knife is all Caine, all the time. It is a shorter, leaner and more focused book and all the better for it.
Caine Black Knife follows two timelines; one takes place a couple of years after Blade of Tyshalle, with Caine heading to the Boedecken Wastes to save his Orgrillo friend Orbek, who has fallen into trouble. The other timeline tells the story of Caine’s most notable Adventure, and the one which propelled him to massive stardom; Retreat from the Boedecken. We’ve heard this story alluded to many times in the previous books, about how Caine destroyed the infamous Black Knife Orgrillo clan and earned his reputation for stunning competence and cruelty. Caine’s actions 25 years in the past are still influencing the present, as figures from his past come back to haunt him and the consequences of his actions finally catching up to him.

Where Blade of Tyshalle covered a significant geographic range and focused heavily on metaphysics and mysticism, Caine Black Knife takes place mostly in one location and drops (to an extent) many of the elements which bogged down the previous book. It’s an exciting and tense book, with the stunning violence the series is known for still in full effect. Just when you think this series couldn’t shock you any more, Stover manages to conjure up something truly horrible. The crucial difference is that it feels less gratuitous, but also more honest. This series has long had a history of slyly satirising the fantasy industry’s propensity for grimdark violence whilst also acknowledging the undeniable visceral thrill this violence provides. The first book got the balance right and the second got it wrong, but the fine balancing act is pulled off here. Caine wasn’t so brutal against the Black Knife clan in the Boedecken because it was the clever or tactical thing to do, he did it because the audience back on Earth loved it.

There’s a sense of fun to Caine Black Knife, even in its grimmest moments. Caine is a relentlessly enjoyable protagonist, utterly loathsome but impossible not to like. There are odd cracks of sentimentality, which are usually punctuated by something unforgiveable. Removing Caine from the core of Blade of Tyshalle was a mistake, because he truly is a brilliant protagonist and this book benefits massively from keeping him as the key PoV at all times. Most of the previous supporting cast is absent, a handful of cameos aside, but the new cast is filled with interesting figures for Caine to murder or generally infuriate, both in the present day and flashback storyline.

Caine Black Knife is a fun, horrifying and deeply satisfying book. We know that Caine murdering his way through swaths of Orgrillos shouldn’t be as fun as it is and Stover never stops winking at the reader. He keeps escalating things further and further, seeing how far our sympathies will stick with Caine, with the answer being worryingly far. The sense of satire, as well as being just a damn good fantasy novel, makes Caine Black Knife a return to what made Heroes Die great.

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The Buried Giant by Kazuo Ishiguro

I found myself very wound up when this first book came out, because we got a lot of your obnoxious handwringing articles in the vein of ‘it’s fantasy but I like it so it’s not really fantasy’ that come about any time literary genre fiction gets published. The Guardian reviewer called this book ‘A Game of Thrones with a conscience’, literally one of the dumbest phrases I’ve ever seen in literary criticism. The Buried Giant is fantasy, but it wears the genre trappings loosely, creating a blurry dream of a mythic British past.

Axl and Beatrice are an elderly couple of an indistinct period of Britain’s past. King Arthur and Merlin are dead, but only recently, with their exploits beginning to blur from history into legend. The couple decide to visit their son in a nearby village after a lengthy estrangement and begin to make the perilous journey. A strange mist has cloaked the land, robbing the people of their memories. As Axl and Beatrice make their strange and fantastical journey, memories begin to reassert themselves with The Buried Giant asking one question; is it better to forget, rather than to pick at the scabs of the past?

The Buried Giant is a book which lends itself towards being read allegorically, rather than as a literal story. If properly broken down, the plot for The Buried Giant may seem thin, like a series of coincidences barely strung together, but that’s not really the point. Memory, and the odd mercy of forgetting, is the core theme of this book. The Buried Giant of the title refers both to a legendary figure referred to throughout, but also the hordes of painful memories lurking just beneath the surface, both as individuals and a society. Tory cabinet member Dr Liam Fox recently made the startling assertion that the UK has no reason to believe that it’s past is shameful. The brushing under the rug of British colonial atrocities, the wilful forgetting in the name of stability and comfort, is the unspoken metaphor which underlines much of The Buried Giant’s world of Saxons and Britons. Ishiguro is ambivalent and uncertain himself on memory; the book posits the thought that if peace can only be assured by forgetting the crimes of the past, surely it is better to forget, even if it leaves injustices unanswered. No easy answers are provided and an unsettling tone persists throughout.
The Britain Ishiguro conjures is itself indistinct and hazy; it never feels like a real place. Even the characters are vague and undefined. What are we if not a product of our memories? Without a clear past, there is nothing to define ourselves. As memories return, Axl and Beatrice don’t always like what they see; they fear that finding out what they were will alter who they are. This book works on a macro and micro level, both exploring societal forgetting but also the personal. Axl and Beatrice are uncommonly and utterly devoted to one another, but would such a pure love be possible if they could remember all the tiny hurts and grievances which build up over the course of any long relationship? However, is their love truly real if they cannot understand the foundations upon which it was built? Again, Ishiguro isn’t interested in answering the question, instead he simply presents the uneasy and uncomfortable thought to the reader.

The Buried Giant is a strange, wonderful book which leaves a lingering sense of unease in the reader. Ignore lazy comparisons to Game of Thrones or Lord of the Rings by fantasy illiterate critics, The Buried Giant can’t really be compared to anything else I’ve ever read.

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Blood of Elves by Andrzej Sapkowski

Blood of Elves is the first full novel in The Witcher series, with the previous two being linked short story collections. Sapkowski’s origin as a writer of short fiction is apparent in this book, since if taken as a novel, Blood of Elves doesn’t quite work. However, each lengthy chapter feels fairly stand alone, so if taken as a series of short stories closely linked by a core narrative, Blood of Elves works much better.

Blood of Elves picks up not long after the concluding story of The Sword of Destiny. Nilfgaard’s invasion has been repelled, but not before the brutal sacking of Cintra and the death of its formidable Queen Calanthe. Calanthe’s granddaughter, Ciri, is thought dead, but has in reality been rescued by Geralt and taken to the witcher stronghold of Kaer Morhen. Geralt and Ciri are linked by destiny and Geralt makes it his sworn vow to protect Ciri above all else. Rumours of her survival spread, and malevolent forces gather to find her and use her for their own nefarious purposes. Meanwhile, tension between humans and non-humans reach a boiling point and the Scoia’tel, an anti-human guerrilla army, is formed.

This book is oddly structured and not a whole lot happens; it lacks a satisfying conclusion in its own right and is focused towards building towards the sequels. If taken as a series of separate short stories it works much better. There are some delightful chapters, such as the arrival of Triss Merrigold at Kaer Morhen, where she promptly takes the gathered witchers to task for their bungled handling of Ciri’s ongoing puberty. Another involves Ciri training with Yennefer and the bond that builds between them. In fact, any scene involving Ciri is pretty much delightful. Geralt himself takes a bit of a backseat in this one, with Triss, Ciri and Dandelion covering well over half of the novel between them. Sapkoswki relies a bit too much on exposition, with one lengthy scene following the meeting towards the gathered rulers of the North feeling particularly egregious. The thing is, his actual writing is light and buoyant enough than it never feels boring. These pacing issues are ones which I found myself more observing objectively rather than being actively bothered by. There’s a whimsy, tempered by darkness, which is more than little reminiscent of Neil Gaiman. Blood of Elves is just very bloody readable and a testament both to Sapkoswki and the translators from the original Polish.

As mentioned above, characterisation is arguably Sapkowski’s greatest skill. Geralt, Ciri, Triss, Yennefer, Dandelion, all are a joy to spend time with. The bond between Geralt and Ciri is very moving; the well of feeling and love behind the grizzled exterior of Geralt is the reason he’s one of my favourite protagonists in fiction. There’s a lot of humour in Blood of Elves and I’m still amazed by how well CD Projekt captured the tone of the books in the games.

Blood of Elves is an undeniably flawed book, but I enjoyed it a hell of a lot anyway. The characterisation and dialogue are so strong that I could forgive almost anything. It feels like it’s saving the big stuff for later; a table setter it may be, but you’d be hard pressed to find a more enjoyably set table than this.

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Blade of Tyshalle by Matthew Stover

This is a weird, weird book. It is the sequel to the outstanding Heroes Die, the first in Matthew Stover’s Acts of Caine series. It abandons a lot of what worked well in the first book and doubles down on things that didn’t, but it’s sheer ambition is giddying. Stover goes all out here and it results in a book which is a structural mess and becomes borderline incoherent, but is an undeniably fascinating read. I don’t think I’ve ever read a fantasy novel like this.

Blade of Tyshalle takes place seven years after Heroes Die: Hari Michaelson, famed as the Actor for Caine, has been left crippled after the conclusion of the previous book and is now living his ‘happy ending’ as the Administrator for the Studio for which he used to work. Things are far from perfect, with a tense marriage to his wife Shanna and a dangerous nostalgia for his violent past as Caine. His purest joy is his adopted daughter Faith, child of Shanna and Lamorak. His closest companion is former nemesis Ma’elkoth, the former Emperor of Ankhana who was dragged along with Hari when he last left Overworld and unable to return, now known as Tan’elkoth. Hari’s quiet life is interrupted when he discovers an outbreak of HRPV in Overworld, a mutated and more deadly form of rabies which had swept the Earth decades prior. With no immunity or vaccination, the people of Overworld are defenceless from a hideous death and so Hari sets about to get to the bottom of the outbreak, dragging him back into the habits of the past and re-awakening the dormant Caine within him.

Heroes Die was a relatively focused novel, taking place over six days and primarily within one city. Blade of Tyshalle has no such structure, or seemingly any structure at all. The frustrating thing is just how frequently brilliant this book is; there are isolated chapters which are as good as anything else you’ll read in the genre, but there are a lot which descend into endless mythological and metaphysical mumbo-jumbo. I loved the opening, which shows us Hari’s early days training to be an Actor through the eyes of Kris Hansen, who wants nothing more than to live in Overworld as an elf-like Primal. The biggest issue is the emergence of the true villain, a figure whose presence doesn’t gel at all with the previous book and is too abstract to truly fear. The core of humanity which made the previous book so good is still there, but there’s an unbelievable amount of time spent on conflicts which involve one demi-God communicating with another demi-God in an incomprehensible manner. When Blade of Tyshalle brings itself back down to Earth the book soars, but much of the climax is robbed of impact. It seeks to be too epic, with a villain who is essentially a manifestation of the worst vices of human nature, but this is a story which works best when it is about scrapping in the streets.

From a prose standpoint though, Blade of Tyshalle is seriously great. The action scenes are still pretty much the best I’ve read. I may not have thought it possible to crank up the violence any further from Heroes Die but, well, here it is. This time though…I think he went a too far. The violence in Heroes Die felt like a winking allusion towards a shift in fantasy tastes at the time but Blade of Tyshalle doesn’t function as a commentary on the fantasy genre as well as Heroes Die. The violence, and some of it really is stomach churning, feels like shock for shocks sake. Rape, both physical but also mental, shows up time and again in the story. The victims are denied any real voice, both before or after and once again it feels like it was deployed for shock value. The world building and dialogue are top notch, but it feels like Stover descends into self-indulgence here and without the defence of being a satire that could be claimed by Heroes Die.

Caine/Hari continues to be so much more interesting than he sounds, with new character such as Hari’s academy friend Kris and the vengeance driven monastic warrior Raithe being well and fully drawn. As I said before, the main villain is the weakest link and never manages to match up to the brilliant trio of antagonists from Heroes Die: Ma’elkoth, Count Berne and Arturo Kollberg. One of the most interesting themes of this novel is that of friendship. Caine has a lot of odd friendships, forged in strange ways, which arise throughout the novel. One of the chief joys of Blade of Tyshalle is the bizarre love/hate relationship between Caine and Tan’elkoth, former nemeses who, by circumstance, have become best friends, but it’s far from the only relationship like this. Betrayal is the mirror theme of friendship and is also core to the narrative and it’s these complex, shifting relationships which kept me most engaged in the book.

Blade of Tyshalle is hugely ambitious book which falls short of the mark. It’s too long and self-indulgent and could have done with a pretty brutal editing. There’s so much potential in this book, so many interesting ideas and characters toyed with, which are abandoned in favour of a fuzzy and vague message about humans being better as individuals and more flawed as a collective…or something? I don’t really know what this book is trying to say. Heroes Die was a relatively straight forward satire of the fantasy market and the human lust for violence and it worked so much better than whatever this is. Blade of Tyshalle is a very interesting book and one which I think I’m going to think about for a while, but it’s too unfocused to be the genuine classic Heroes Die is.

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Sword of Destiny by Andrzej Sapkowski

I enjoyed the first Witcher collection very much and found it’s loose, fairy tale focused approach quite charming. The Sword of Destiny is a much tighter collection and for the first time I really felt that this was the same world I was so familiar with from the games. Sword of Destiny is a wonderful collection of stories which both stand alone but also set up the following novel series.

The first story is The Bounds of Reason, which sees Geralt caught up in a dragon hunt alongside a range of other characters seeking its treasure. Dragons are sentient creatures who largely ignore humans, so Geralt does not view them as monsters in need of slaying. On the journey Geralt comes back into contact with Yennefer, with their tempestuous relationship currently at a low point. The Bounds of Reason takes a while to get going, with the exploration of Geralt and Yennefer’s relationship being the most appealing part of the story for me. The following story, A Shard of Ice is focused entirely on Geralt and Yennefer, with the two reunited and staying in the city of Aedd Gynvael. Yennefer has ongoing business in the city, but Geralt is anxious to leave causing the two to clash and it isn’t long before a rival for Yennefer’s affections complicate matters further. Where previous Yennefer stories focus on the magnetism and chemistry which inexorably draw her and Geralt together, A Shard of Ice concerns itself with the ways in which their lifestyles are incompatible. Yennefer is entirely selfish, but this is something almost inherent to someone as powerful as she, and entirely unwilling to meet Geralt’s needs. Geralt is restless, constantly needing to be on the move and an inability to articulate his emotions leading to simmering resentments. A Shard of Ice is a focused story with a smaller scale, but one which I really liked for what it revealed about a relationship which is increasingly seeming to be one of the core pillars of the series.

Eternal Flame isn’t one of the best stories in the collection, but it’s a generally lighter and funnier tale, with Dandelion playing a central role. It’s setting is one immediately familiar to players of The Witcher 3; Novigrad. I’ve spent a fair bit of time prowling those virtual streets so this setting was immediately appealing to me. It’s not the only element which eventually reappeared in The Witcher 3: Eternal Flame is about dopplers; shape shifting creatures who are hated and feared by most humans but are generally harmless. Dudu, the doppler at the centre of the story, played a role in the story of the game. Eternal Flame is a fun, but not particularly memorable story overall. The following story, A Little Sacrifice, wasn’t a favourite either. This story sees Geralt and Dandelion desperate and hungry, struggling for work. Geralt has wound up as the middle man in a love affair between a local noble and a mermaid, neither of which speak the same language. This whole element is a quite funny pastiche of The Little Mermaid, but the main plot interested me less. It involved a strange, love at first sight relationship between Geralt and a young bard mentee of Dandelion’s, Essi Daven. I found the whole thing a bit disconcerting, particularly in regarding the age gap. I mean, I’m definitely adjusted to seeing Geralt with younger looking women, but at least they’re normally sorceresses who are actually much older. Some people find this story very moving, but it really didn’t land for me. Still, the mermaid stuff was really fun so that made up for it.

The final two stories of the collection were definitely my favourites.  The title story of the collection, Sword of Destiny, sees Geralt heading into Brokilon, a forest home to the mysterious dryads. The local princeling seeks to take Brokilon for its lumber and real estate and this is fiercely resisted by the dryads, with whom Geralt has had previous encounters. It is not long into his journey that he encounters a young girl who claims to be a princess, hiding from her prospective marriage match. This young woman is named Ciri and anyone who has played The Witcher 3 will know how important she is. The bond between Geralt and Ciri is hugely touching in the game and it was wonderful to see the origin of this relationship here. The sword referred to in the title is metaphorical, with ‘destiny’ being the major theme of this story and the one following it. Issues of predestination and free will come to the surface of this story and the risks and virtues of flying in the face of destiny and forging your own path are core to Geralt’s character. The final story, Something More, is a rather strange one. The story opens with Geralt saving a merchant from an attack on his wagon but becoming badly wounded in the process. The merchant takes care of him and brings him towards his home in CIntra whilst Geralt heals, with the story frequently lurching into flashbacks whilst Geralt recovers in a feverish daze. This story follows the fall of Cinta to Nilfgaard and features plenty of returning faces in the flashbacks, such as Yennefer and Dandelion. Something More picks up plot threads from several previous stories, most notably the immediately previous Sword of Destiny but also from stories way back in The Last Wish. It feels like a transition story between the short story structure of these first two books and the novels which follow. It’s probably the most moving bit of writing I’ve read from Sapkowski so far and digs deeper into Geralt’s surprising emotional depth than we have previously.

Sword of Destiny is a fantastic collection, even stronger than The Last Wish. By this point I absolutely get why this franchise became so huge in its native Poland. As much as I love the games, I hope that the stories which started it all aren’t forgotten. These two collections really are great and if they’re anything to do by, the following novels will be too.

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