The Last Wish by Andrzej Sapkowski
Published 1993 · 83,235 words · about 6 hours at an average pace · Fantasy
How hard is The Last Wish to read?
The Last Wish scores 65 out of 100 for difficulty on ReadingRate, making it quite demanding. The score is a weighted composite of nine measures: four of how hard the prose is to parse, five of how hard the meaning is to extract.
- Vocabulary: 60 out of 100
- The text employs a rich vocabulary with specific fantasy terms like 'witcher,' 'striga,' 'kikimora,' 'bruxa,' 'rusalka,' and 'leshys,' alongside occasional archaic or literary words such as 'fathomless,' 'undulating,' and 'demijohn.' While context often clarifies these terms, they require a reader comfortable with genre-specific lexicon and some less common English words. This places it above accessible contemporary fiction but below highly academic or experimental works.
- Sentence structure: 55 out of 100
- Sentences vary in length and structure, often featuring multiple clauses and descriptive phrases that add detail without becoming overly convoluted. While some paragraphs contain longer, more flowing sentences, the narrative generally maintains a clear subject-verb-object structure, making it navigable. This complexity is comparable to 'The Great Gatsby' in its balance, avoiding the extreme hypotaxis of authors like Henry James.
- Abstraction: 68 out of 100
- Beyond its concrete fantasy narrative, the text frequently delves into philosophical discussions about destiny, choice, good and evil, and the nature of monsters versus humans. Characters like Geralt and Stregobor explicitly debate these abstract concepts, moving beyond simple plot progression to explore deeper thematic meanings. This level of philosophical engagement is more pronounced than 'The Great Gatsby' but less pervasive than 'Gravity's Rainbow' or 'Brothers Karamazov'.
- Information density: 65 out of 100
- The narrative presents multiple intertwined plotlines, character backstories, and world-building details within each short story, demanding consistent attention. Readers must track various political alliances, magical lore, and moral dilemmas, often introduced through dialogue rather than explicit exposition. This density is higher than a typical plot-driven novel, requiring careful reading to fully grasp the nuances of the world and its conflicts.
- Narrative indirection: 60 out of 100
- The narrative, while generally direct in its depiction of events and dialogue, frequently requires readers to infer character motivations and the deeper moral implications of choices. Geralt's internal monologues and the recurring 'lesser evil' dilemma prompt significant reader interpretation of the world's complexities. This level of inference is more pronounced than in direct expositions like *1984* (35), but less opaque than *The Unnamable* (90).
- Symbolic density: 72 out of 100
- The text is rich with symbolic elements, often subverting traditional fairy tale archetypes to explore complex moral and societal themes. Monsters frequently symbolize human flaws or the consequences of human actions, and Geralt's two swords (silver for monsters, iron for humans) serve as a potent, yet often blurred, symbolic distinction. This density is higher than *The Idiot* (55), aligning more with the thematic depth found in *The Great Gatsby* (75).
- Ironic distance: 73 out of 100
- A notable ironic distance exists between characters' stated intentions or societal norms and the underlying, often grim, reality of the world. Geralt's cynical observations and the inherent contradictions in the 'lesser evil' choices create a critical perspective on heroism and morality. This pervasive irony is more pronounced than in *Brothers Karamazov* (55), approaching the subtle critique present in *Lolita* (75).
- Resolution withholding: 68 out of 100
- While individual short stories often conclude their immediate plots, the moral and emotional resolutions for Geralt and the broader implications of his choices frequently remain ambiguous. The ending of 'The Lesser Evil,' for instance, leaves Geralt ostracized and the righteousness of his decision open to perpetual debate. This provides more lingering questions than *The Great Gatsby* (60), but is far from the complete lack of closure in *Waiting for Godot* (95).
- Structural complexity: 60 out of 100
- The work is structured as a collection of interconnected short stories, some framed by Geralt's internal monologues, which creates a non-linear and episodic reading experience. This approach, with shifts in focus between distinct narratives and occasional flashbacks, adds a layer of complexity beyond a straightforward chronological account. It is more intricate than *War and Peace* (40) but does not feature the extreme formal experimentation of *Ulysses* (98).
How The Last Wish is regarded
The Last Wish holds a literary regard score of 25 out of 100, weighing its place in the canon, its critical reception, its influence on other writers, and the standing of its author. Regard is measured separately from difficulty: a demanding book is not necessarily an admired one.