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Book copy: ‘There’s no such thing as magic,’ the Doctor said.
But the land of Elbyon might just prove him to be wrong. It is a place, populated by creatures of fantasy, where myth and legend rule. Elves and dwarves live in harmony with mankind, wizards wield arcane powers and armoured knights battle monstrous dragons.
Yet is seems that Elbyon has secrets to hide. The TARDIS crew find a relic from the thirtieth century hidden in the woods. Whose sinister manipulations are threatening the stability of a once peaceful lane? And what part does the planet play in a conflict that may save an Empire, yet doom a galaxy?
To solve these puzzles, and save his companions, the Doctor must learn to use the sorcery whose very existence he doubts.
The system took care of everything
The Sorcerer’s Apprentice changed my mind about something.
Up until this point, I was approaching Doctor Who as a semi-unified whole. By this, I mean that I was slotting Missing Adventures, Past Doctor Adventures, and Big Finish in to where they would have happened in the original Doctor Who chronology. I am now convinced this is wrong for me to do. By its very nature, due primarily to release schedules for the DVDs (and the VHSs before them) Doctor Who can easily be experienced piece-meal. We can pick up a Fourth Doctor adventure here, a Second Doctor adventure there, a Tenth Doctor adventure afterward and so on and so forth. But I have wanted to see the trajectory of Doctor Who over time. Because of this, I need to craft an artificial headspace in which each era speaks for itself, and by “era” I don’t mean “First Doctor stories, then Second Doctor stories, then Third Doctor stories” and so on; I mean stories written in the 1960s, stories written in the 1970s, stories written in the 1980s, stories written in the 1990s, and you get the idea. And even though Peter Darvill-Evans states in the introduction to Goth Opera that the Missing Adventures “slot seamlessly into a gap between television stories,” they don’t. Not really.
But neither should they have to. While it is a fun detail that Ian starts The Sorcerer’s Apprentice in his “Marco Polo” attire, the story doesn’t seamlessly fit between “Marco Polo” and “Keys of Marinus” because the very approach to science fiction (and Doctor Who) are not the same between the 1960s and the 1990s (when Apprentice was published). Thus, The Missing Adventures line are best read after Doctor Who went on indefinite hiatus in 1989. They are best read along with The New Adventures because they used the same writers and thematically conversed with one another. Between the two publication lines, these novels are a conversation about how to evolve Doctor Who from what it was to what it could be. They are the evolutionary gap between classic Doctor Who and new Doctor Who. And this gap needed to happen. I’m writing this as I’m making my way through “Trial of a Time Lord,” and if nothing else, ToaTL is evidence that the show needs a new path, a new direction. Doctor Who needed to evolve in a way that JNT and Eric Saward could not make it evolve. The novels offered writers, both fans and professionals, the opportunity to force Doctor Who to evolve through trial and error, seeing what works and what doesn’t. The true trial of the Doctor was not on television, it was in these novels. They are the vital gap for seeing the transition from the old series and the new.
All this to say, after The Sorcerer’s Apprentice, I will probably not be slotting in Target novels, Missing Adventures, and Past Doctor Adventures into my blog’s chronology without creating the artificial, temporal headspaces. My new approach to Doctor Who is grouping around publication/air dates. Since Doctor Who involves time travel, how unreasonable is it to posit that as the Doctor travels, his past actively shifts and changes? Perhaps one mark of a Time Lord is that such changes don’t destroy the psyche. Perhaps one danger of interference in time is that greater interference causes greater temporal flux, leading to new adventures arising out of this flux.
As for The Sorcerer’s Apprentice itself, the novel is entertaining. Bulis manages to capture the voices of the lead characters, but I am far more interested in his deconstruction of fantasy and mythology. While the story revolves around the mystery of a planet where magic exists, the tropes of fantasy and mythology are the clues to the mystery. The entire story is a meta-commentary on a genre, not evaluating worth, but providing structure and stability to a system that has grown extremely unstable. Here I go in to some spoilers, so abandon reading if you want to approach this story fresh.
The central mystery revolves around an ancient race that had nanotechnology. The technology took care of all their needs and comforts, which led to boredom. So, a group from this race altered the mandate of the technology, and the planet changed. The intellect of the race was suppressed. Humans eventually colonized the world, but by this time the nanotechnology was manifesting thoughts and desires. Human religious ideas incarnated on the planet, creating horrors of every kind. Even people of the same religion would manifest conflicting gods if their theologies were different. One man figured out what was causing this horror and chaos, and he determined that he must erase religion from the minds of the colonists. The only problem with this was, in a system in which all imaginings became real, eliminating religion was only a temporary measure. Any conflict would play out. Thus, he used the technology to re-write the consciousness of all the colonists so that the myths of King Arthur and Merlin became the reality of the people. The ideas present in the mythological stories defined a new reality.
These are interesting ideas, and they even spark a question about mythology as religion. Do these stories of legend become the stand-in for religious belief, only devoid of belief in deities? These are fun questions to ask. It is also fun to identify the myth/fantasy tropes in the novel. Even the Doctor starts to identify them and use them to his advantage. But in the end, once you know the secret in the story, the re-read value diminishes. I have read this novel twice. I loved it the first time; I enjoyed it well enough the second time. Since the tropes are a part of the narrative, essential to the narrative, the story becomes incredibly predictable once you know the secret. There is nothing left to grip the reader.
That said, The Sorcerer’s Apprentice is an enjoyable first read. The story works well and the characters are realized well. But this may only be an adventure you embark upon once.