So the book
publishers in the 70s began to have a problem with Robert E. Howard –
he was dead, and while dead authors don’t need to be paid, they
can’t write any more books. Ever since the Lancer editions of
Howard’s stories had become hits in the 60s the publishers had put
virtually everything he had ever written into print in one form or
another, and many of them had been printed over and over. There was
a tremendous hunger for more material starring his most popular hero,
Conan, to the point where authors like Carter and de Camp had been
contracted to re-edit non-Conan Howard stories into Conan tales by
replacing names and switching the settings.
But that can only go
on so long, and so the next idea was straight-up pastiche. There was
precedent for this, as some James Bond works had been written after
original author Ian Fleming’s death, but it was still a bit of a
gamble. Lancer had gone out of business in 1977, but Ace books
stepped in and took over the lucrative series, and they started off
by producing what are sometimes called the Maroto Editions, because
the first four books of the series were illustrated in fine fashion
by Esteban Maroto, making for rather lavish presentation, especially
if you can find one of the trade printings done by Sunridge Press.
The writer tapped
for the first all-new book was the prolific Andrew J. Offutt – and
I have to wonder if the reason he was hired was because they were on
a tight deadline. Offutt was a quick, versatile writer, but
tightly-plotted action was not really his strength. In 1978 Conan
and the Sorcerer was published, and a new fantasy tradition was
born – the Conan pastiche.
It is not really a
very good book. It’s short, at just over 50,000 words, yet it does
not cram in half as much action as Howard used to fit in half the
space. The action takes up just after the much-superior “Tower of
the Elephant”, following a teenaged Conan on a further adventure in
theft and wizardry. He sneaks into a sorcerer’s house, has the
treasure he is after stolen from under him by the beautiful thief
Isparana, and then he gets caught rather ignominiously by the titular
sorcerer, Hisarr Zul.
The wizard steals
Conan’s soul and traps it in a mirror, and says he can only get it
back by returning the amulet that was stolen – the Eye of Erlik.
Thus, Conan heads off, intercepts Isparana at an oasis, gets the
amulet back, kills the wizard, and rides off into the sunset. That’s
pretty much it. If this were a 10,000 words story it would be fine,
but the extremely scanty plot really makes the book feel slight.
Furthermore, Offutt
is not really that comfortable with violence, and his action scenes
are pretty flat and uninteresting. He spends as much time detailing
Conan spying on Isparana while she bathes as he does detailing any of
the fight scenes, none of which are really integral to the story.
Conan encounters and dispatches robbers, slavers, and other such
nonentities, and none of it is more than a distraction from the
central plot.
The real highlight
of the book are the fantastic pen and ink illustrations by Esteban
Maroto. Already a stalwart of the comics business, Maroto is the one
who first gave Red Sonja her trademark chainmail bikini, and while he
is obviously a fan of Frank Thorne, he has his own, evocative style.
I have always found his color work a bit overdone, but his line work
is absolutely first-rate. He evokes the Hyborean Age with strong
blacks and bold pen strokes, as well as a flair for exotic,
eye-catching detail. That many of these illustrations were re-used
again and again for later editions of Conan stories says just how
amazing they are, and they are worth the price of the book in
themselves.
I just wish the
actual book was half as exotic and exciting as the illustrations made
it seem like it should be. Offutt’s prose is an awkward imitation
of Howard’s more elevated style at best, and much of it is just
tedious. He does not characterize Conan as the surly, violent rogue
we all know, and he is far too agreeable and talkative. Hisarr Zul
is just another cookie-cutter evil wizard in a long line of them, and
the story lacks any of the drama and sweep the illustrations hint at.
Conan and the Sorcerer is breezy and short, but it doesn’t
feel like much of a Conan story.
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