We here at W.A.R.G are proud to present our inaugural podcast episode; our interview with Eric Scott Fischl about writing and his debut novel Dr. Potter’s Medicine Show. There are probably quite a few issues to work out in the process and there is no plan for how often we will do these, but hopefully a few more.
The episode features the music of Krale and Disfigure from NCS.com
Dr. Alexander Potter, disgraced Civil War surgeon, now huckster and seller of snake-oil, travels the wet roads of the Pacific Northwest with a disheartened company of strongmen, illusionists, fortunetellers, and musical whores. Under the quiet command of the mysterious, merciless, and murderous Lyman Rhoades, they entertain the masses while hawking the Chock-a-saw Sagwa Tonic, a vital elixir touted to cure all ills both physical and spiritual… although, for a few unfortunate customers, the Sagwa offers something much, much worse.
For drunken dentist Josiah McDaniel, the Sagwa has taken everything from him; in the hired company of two accidental outlaws, the bickering brothers Solomon Parker and Agamemnon Rideout, he looks to revenge himself on the Elixir’s creator: Dr. Morrison Hedwith, businessman, body-thief, and secret alchemist, a man who is running out of time.
Eric Scott Fischl writes novels of speculative historical fiction and the supernatural. He lives in Montana’s Bitterroot mountains.
Genre: Science Fantasy
Publisher: Angry Robot
One can sum the theme of The Poison Eater with one word: secrets, and if one was interested in exploring more one could say that it’s about protective secrets. Set mostly in the city of Enthait the story centers round Talia, the Poison Eater. Her job is to at regular intervals ingest poison, in the end ten different kinds, and through this see visions of threats while also endangering her own life. Once all the poisons have been taken she will be the Orness, the ruler of the City, and in charge of the aria, an apparently great weapon in her charge. The job of Poison Eater is pivotal for the existence of Enthait and the people, who depend upon the visions in order to send out soldiers to cut off the threat, a ritual that ensures the safety of the community, but that ritual comes with a price; the possible death of the Poison Eater. Talia is well aware of this and has managed to survive seven poisons, a feat not pulled off by many others, even if she has a secret; the fact that she is not the Poison Eater at all.
A stranger to Enthait, arriving alongside a mechbeast named Khee, she has managed to hide her violent past and has taken the position in order to take control of the aria so she can exact revenge on the monsters that haunt her dreams. Living in constant fear of being revealed as the fraud she is it becomes evident that she is not the only one who is keeping secrets, that in fact there are deeper secrets going around in Enthait, and that the reason for her survival so far might not be able to help her anymore.
The Poison Eater is the first fiction based in the role playing world of Numenera, a science fiction world mixing futuristic technology and a fantasy setting, one billion years in the future. Though it takes place on Earth, this is never addressed in the story. It is unclear how much the reader must be aware of this world or is expected to be aware of it. The story in itself is not affected by this knowledge, but Germain does leave quite a few things out; like the terminology the characters use. They make reference to certain objects or jobs that the reader has to guess at, but becomes clearer the farther one reads. It is understandable if some might lose interest in reading when words are not explained and even though holes in a story usually is a good thing it at times can take the reader out of the tale.
The story of Talia the Poison Eater is intriguing enough on its own and the backdrop of Numenera as a setting is not really necessary. That being said, the omission of details pertaining to terminology and the history of Enthait or the so called vordcha is a bit much to overlook. It makes the emotional connection to the main character and the other figures who pass through the story almost non existent and it is difficult to invest the book. Germain has the ability to create and interesting plot and the thought of a futuristic dystopian world where past technology is still being used is fascinating, but unfortunately it never comes together as something the reader gets to sink their teeth into. For the bright spots in the book there are dark ones that take away from them and in the end the latter ones outweigh the former.
Publisher: Angry Robot
Release Date: 3 January 2017
The most common trope in the realm of fantasy literature has to be the battle between god and evil. It is as prevalent as the heart’s desire or the yearning to be more than one is, it is also what gives the protagonist the vehicle to make that change. In The Wood Beyond the World, regarded as the first fantasy novel, the hero Golden Walter battles an evil witch to save a princess and Frodo and his friends need to defeat the vile Sauron by destroying his proxy the one ring in Tolkien’s classic Lord of the Rings. These two books may be the two most important works in the genre and cement the idea of good vs evil. Once the genre moved into the modern era and the rise of a darker version of it began to appear with books like Grunts, where the orcs are heroes and Joe Abercrombie’s The First Law trilogy where those who appear to be the heroes are not quite that. To turn tropes on their ear, flipping the script as it were, is what keeps genre fiction interesting and relevant.
The Last Sacrifice does this as well, and that might just be its core strength, the uncertainty of who to route for. To some readers, those who only read books for the familiarity of themes and tropes, this might break the trust between sender and receiver, but in this case that audience may just find that need satisfied as well.
When Brogan McTyre returns home he finds that his family, wife and three kids, are gone. In their place are four gold coins, the calling card of the Grakhul a tribe of people living on the outskirts of civilization. Hidden away in an are known as the Gateway the Grakhul, protected by the Five Kingdoms, sacrifices people to appease the Gods, leaving behind their calling card; one gold coin per person abducted.
Enraged Brogan and his friends raid the Gateway and the keep hidden inside it, but all in vain, his family has already been thrown into the bit. In a fury of revenge he kills all the Grakhul men and takes the women and children to sell them into slavery. The problem is that the dead and captured are not the real threat, they are mere worshipers of the Undying, the He-Kisshi, seemingly inhuman immortals who demand the sacrifices to live, but also to keep balance in the universe. A chase ensues as Brogan and his men hit the road, all the while chased by the Undying who want their followers back.
Moore’s story is an interesting experiment in the fantasy genre. He tells several parallel stories from several different vantage points, each with its own protagonist. There is little judgement from the narrator when it comes to deciding who is in the right here and it makes the reader sit on edge when trying to figure out who to root for. Each character is driven by desire; Brogan to find his family initially and then to escape the He-Kisshi, the He-Kisshi to find their followers and exact revenge, but also to restore balance, Myridia, a Grakhul woman wants to find a new place of sacrifice to continue her work and so on. There are very many different paths to follow and story lines that all intersect in the end. Brogan’s action set in motion such a slew of events that all threaten to culminate in one great climax. In the end it might be so that his need for revenge may destroy the entire world.
Moore plays his cards close to the vest and the information about how the different stories connect literally trickle through the pages creating suspense and thrills. As a reader this isn’t the only thing that immerses the tale in mystery. The fact that there are no real descriptions of the characters’ appearances or clothing and the sparse portrayal of the surroundings. Moore paints a vivid picture of what the characters do, feel or sense and the same is true for the milieu, but not how it appears and it allows the reader to delve deep into the self to conjure up images. It also allows relatively inexperienced readers of the genre to venture into the story without the preconceived ideas about what the genre is.
As stated earlier in this review the battle between good and evil often stand at the center of many a fantasy story, but in The Last Sacrifice it is difficult to pin down who belongs to what side. They all seem to have their own interpretation of who is right and who is wrong, and in the end that is the strength of this book.