About the non-linear storytelling in TWN and Books
So I’ve seen the argument that The Witcher Netflix keeps the tradition of the book’s non-linear storytelling and that it’s okay that it’s so confusing. Don’t get me wrong, when I first watched it I 1) didn’t know any of the story 2) had picked up somewhere that there were different timelines 3) payed attention so it wasn’t really hard for me to figure out how the timelines were arranged around episode 3/4.
However I do take issue with that because in my opinion there is an important difference. The first two books are short story collections, not even necessarily written in the order they are ultimately arranged in. These short stories on their own don’t need a timeline (especially in the first book). They stand for themselves. Another point is that the first book is structured very well, introducing the shortstories through conversations happening in the frame story of Geralt healing at the Temple of Melitele, always giving context to the following short story. This though is more about an exploration of the world and Geralt’s background and character, than telling a big overarching story. In the second book there is no frame, but the stories are clearly linear OR obvious flashbacks/hallucinations.
If you are interested in my breakdown of how the stories connect you can read that below the read more (VoR = Voice of Reason, SM = Something More)
Of course if you had to assign a year to individual stories it would be difficult because Sapkowski is a goddamn chaotic writer and doesn’t keep track of his own damn timeline and this wasn’t all neatly published at once, but through magazines at first. But as mentioned before, it’s not really important. You just gotta vibe with the stories a little basically.
I’m not delving into Tower of the Swallow and Lady of the Lake, because those are the last two books and the writing is very different from the short stories. It’s still clear that either flashbacks are embedded in Ciri telling her story or that there are flashforwards. Lady of the Lake can seem convoluted, but still considering the featured characters in those scenes, it makes it clear.
tl;dr: TWN structure has nothing to do with the books besides the surface level similarity of seemingly employing the same storytelling device.
The Last Wish
VoR 1 - no context, Iola has sex with Geralt
The Witcher - The Striga story, ending introduces neck wound
VoR 2 - clearly set the day after VoR 1 (Nenneke chases Iola off), has Nenneke take care of Geralt’s neck wound, debate about faith/lack of faith/the influence and (magical) power of faith sets the context for the next story
A Grain of Truth - tbh I don’t think this story is really important in the timeline, it just takes a spin on how powerful faith is (Nivellen’s curse caused by a priestess) and love is (Vereena and Nivellen), just a slice out of the Witcher’s life.
VoR 3 - adds a little *spice* to Geralt’s stay because Tailles and Falwick don’t like Geralt staying at the temple establishing that Witchers really aren’t all that popular...
The Lesser Evil - who’d have guessed that this story would follow! Geralt becoming a pariah in Blaviken is the logical extension of VoR 3, why he’s unpopular
VoR 4 - aka Infodumping On Poor Iola about Witchers and his life. He speaks about the doubts he has about past decisions calling back to Blaviken and also saying that he took a foolish risk in Cintra and will never return there, also mentioning “the child”
A Question of Price - surprise, surprise, the introduction to the story in Cintra was... the introduction to the story in Cintra. I don’t think this really needs much explanation.
VoR 5 - we are introduced to Dandelion, they talk, philosphize and reminisce about how they met and how they ended up in the Valley of Flowers
The Edge of the World - cue their shenanigans in the Valley of Flowers
VoR 6 - Geralt’s stay at the temple is drawing to a close and he talks to Nenneke about Yennefer, some analogy about lethal sunrays and that it’s better to seek shelter, but ~it’s too late for Geralt~
The Last Wish - How Geralt and Yennefer met. Yeah.
VoR 7 - some other stuff happens, but basically Geralt is going back on the Path
Sword of Destiny
The Bounds of Reason - The Dragon Hunt story. Geralt and Yennefer meet again after having broken up their relationship at some point. It ends with them picking it up again.
A Shard of Ice - After a certain amount of domesticly living together Yennefer cheats on Geralt with Istredd and breaks his heart so they part ways
Eternal Flame - Geralt meets Dandelion in Novigrad and they have an adventure™ (aka the funniest shit you probably read in a while)
A Little Sacrifice - Geralt and Dandelion end up in Breemervoord, meet Essi Daven, Essi falls heavily in love with Geralt, Geralt rejects her because he still is deeply in love with Yennefer despite everything
The Sword of Destiny - Geralt gets a contract that requires him to venture into Brokilon to meet with the dryads, he unknowingly picks up little Ciri who ran away from meeting a possible suitor and ended up here. Stuff happens, he and Ciri bond a lot, in the end he hands her back to Mousesack.
SM 1 - He meets Yurga, they get attacked, he demands the Law of Surprise, he gets wounded
SM 2 - Yeah he’s definitely wounded
SM 3 - he’s wounded, feverish, has a flashback: On a village Beltaine night he by chance meets Yennefer, they talk about their relationship and come together for just that one night. Come dawn she implores him to ride to Cintra and not give up (on claiming Ciri), because “fell times are approaching”
SM 4 - they’re still dealing with Geralt’s wound, he drifts off into another flashback: Geralt returns to Cintra after six years to seemingly claim his Child of Surprise, Calanthe begs him not to, yaddayadda, Geralt ultimately rejects the responsibility, talk a little about his background and his mother
SM 5 - Yurga found a sorceress to take care of Geralt’s wounds, turn’s out it’s his mother
SM 6 - Geralt talks with Yurga about the war, Visenna and Geralt learns of the Battle of Sodden Hill as they pass the hill, but doesn’t want to know all the names, afraid Yen’s is among them
SM 7 - Geralt walks up the hill to the monolith with all the names, faints, has some kind of hallucinatory meeting with Death because he is afraid to find Yen’s name on the monolith, wakes up and Yurga names all the names so Geralt learns that Yen survived.
SM 8 - Talking with Yurga about the Law of Surprise he called, Geralt has doubts and then descents into another flashback: He happens upon a stream of refugees trying to flee across the Yaruga from the approaching Nilfgaardians and their genocidal tactics, he meets Dandelion, wants to go rescue Ciri out of Cintra, but learns from him that literally everyone there died, either by Nilfgaard’s hand or their own, so he assumes Ciri to be dead.
SM 9 - They arrive at Yurga’s homestead, turns out his wife adopted a child while he was away, tadaaa Ciri and Geralt get reunited.
“Shut up, you brat,” interrupted Geralt, smiling nastily. “Halt your uncontrolled little tongue. You speak to a lady who deserves respect, especially from a Knight of the White Rose. Admittedly, to become one it's enough, lately, to pay a thousand Novigrad crowns into the Chapter's treasury, so the Order's full of sons of moneylenders and tailors—but surely some manners have survived? But maybe I’m mistaken?”
Tailles grew pale and reached to his side.
“Sir Falwick,” said Geralt, not ceasing to smile. “If he draws his sword, I’ll take it from him and beat the snotty-nosed little brat's arse with the flat of his blade. And then I’ll batter the door down with him.”
- Geralt of Rivia to Tailles and Sir Falwick in The Last Wish by Andrzej Sapkowski
If any one of your soldiers touches one of Melitele's priestesses, they will hang, before dusk, from the acacias along the road to town. And they know that very well. As do you, Tailles, so stop acting like a fool. I delivered you, you shitty brat, and I pity your mother, but don't tempt fate. And don't force me to teach you manners!
Nenneke to Tailles (King’s soldier) in The Last Wish by Andrzej Sapkowski
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