CONQUIST

A 16th-century conquistador’s hunt for gold leads him to an otherworldly place in Strasser’s historical novel.

Capitán Cristóbal de Varga left Spain to find a fortune. It’s apparently not in Machu Picchu, which he and an army of 600 conquistadors stormed, only to discover a small pile of gold. Nobleman Huarcay promises to take the conquistadors to Incan emperor Manco Inca and his ample store of gold in a hidden city. Months later, they stumble upon a “shimmering curtain” through which anyone passing disappears, at least as far as witnesses can tell. Cristóbal and his soldiers enter a strange world under a crimson sky, which they name Nueva Tierra. They immediately realize that the way they came in isn’t the way out, so they focus on their search for gold and fully anticipate running into Manco Inca’s army. They instead face the ñakaqs, “hair-covered mountain-dwellers” who, according to Huarcay, are vicious cannibals. Though a battle seems inevitable, Cristóbal realizes that a peaceful discourse is possible, especially since the ñakaqs speak the Incan language of Quechua, which Cristóbal knows. A padre among the conquistadors is convinced these Nueva Tierra locals are demons, but Cristóbal isn’t so sure. Things get even more complicated with the arrival of yet another group, who hate the ñakaqs and whose very existence makes this strange red-skyed world seem all the more peculiar. Meanwhile, Cristóbal falls in love with and wishes to marry Huarcay’s princess sister, Sarpay. She reluctantly grows fond of him, though a betrayal may stifle their potential relationship.

Strasser wisely zeroes in on the diverse cast, which perfectly suits this wide-ranging story. For example, Lt. Héctor Valiente, a freed African slave who’d worked copper mines in Hispaniola, finds it hard to get respect from his fellow conquistadors, despite his rank. Characters engage in theological discussions; Sarpay reminds Cristóbal that the Incas’ belief in more than one god is far removed from his Christian faith. Other notable characters include Tagón, a red-bearded ñakaq who aims to prove his people aren’t demons, and Ithilia, whose startling first appearance is best left unspoiled. As the cast gradually expands, the narrative subtly addresses such topics as race, prejudices based solely on physical traits, and the question of who is truly indigenous. There are quite a few moments of combat and many bloody turns, though the author favors edgy, tightly written scenes over excessive violence: “Despite their heavy losses, though, they continued to surge, forcing the conquistadors to retreat toward the cannons… Foot soldiers entered the fray, and the battle became close-quarter combat, with the clash of Toledo blade on ñakaq horca ringing through the air.” Along with the historical angle and the SF-adjacent dimensional portal, the story touches on elements of fantasy as well. This could certainly serve as a stand-alone novel, even if there’s plenty of material for a sequel or spinoff. Strasser states that he based the narrative on Cristóbal’s real-life, English-translated diary from a Peruvian museum’s archive; excerpts from the journal intermittently appear as brief chapters.

This riveting tale deftly and entertainingly blends history with a handful of genres.