Tag Archives: Discworld

Review 148: Carpe Jugulum

Carpe Jugulum by Terry Pratchett

In this book, we return to the small Ramtop country of Lancre, home to Granny Weatherwax, Gytha Ogg and Magrat Garlick. Picking up from where we left off, which is actually in Maskerade, which I haven’t reviewed here yet, Magrat is Queen now, with no time for witching. So the new Third Witch is Agnes Nitt (also known as Perdita, but only by her), a girl who is sensible, levelheaded and thinks quickly in a crisis. She is also a rather, shall we say, substantial girl (and lest you think I’m trying not to be mean, believe me – Agnes is meaner about her self than I can be), and as we all know there is inside every fat girl a thin girl and lots of chocolate. Well, Perdita is the thin girl, and Agnes is the chocolate.

But that’s not the main point of this tale. The main point is that vampyres have come to Lancre, invited by King Verence to attend the naming of his and Magrat’s daughter, Esmerelda Note Spelling of Lancre (well, when your grandmother managed to name your mother “Magrat” due to an uncertainty in consonant placement, one doesn’t take chances.) But what’s done is done. No doubt we will see little Spelly in future Discworld books.

I'd still rather see this than Twilight.

Once you have invited a vampire in, you are subject to its power. Of course, vampires know this. There are a lot of things that vampires know…. These vampyres have studied, they have prepared. They do not intend to make the mistakes their forefathers did – keeping lots of knick-knacks about that could be turned into holy symbols, leaving up flimsy, easily pulled-aside drapes, that sort of thing. These are modern vampyres, ones who know their place in the food chain – on top of it. They’re ready, and they have every intention of taking over Lancre.

They don’t want a killing floor, though. Indeed not, they simply want a herd. An… arrangement.

But there are the witches to contend with, especially Esme Weatherwax. And everyone knows about Granny Weatherwax….

If you read Lords and Ladies, or even my review of it, you can see there are some similarities. Evil, inhuman force comes to Lancre, wants to subjugate its subjects, and in the end are foiled by the indomitable Granny Weatherwax. And yes, there are similarities. But the differences are worth reading it for.

First of all, we get a better look at Perdita / Agnes Nitt. Yes, she’s the Third Witch, but she’s more at home being a witch than Magrat ever was. Perdita is two witches in one, and they don’t like each other very much – a volatile combination. And as the newcomer, Agnes has the unenviable role of being the stand-in for the reader. She gets a lot of explanation that seems redundant to loyal followers of the Discworld series, but I guess new readers have to come in somewhere.

Art by Zenzzen on DeiantArt

Secondly, we get to play around inside Granny Weatherwax’s head again, which is always fun. We see a reference to her sister, Lily Weatherwax whom we last saw in Witches Abroad, and her grandmother, Alison. It is implied that the Weatherwaxes have a definite dark streak to them, against which Granny must contend constantly. What bugged me about this book is that Granny isn’t quite herself – though I suppose it can be argued that she wasn’t meant to be. Confronted with immensely powerful vampyres in her country, and insulted by seeming not to have been invited to the young princess’ naming ceremony, Granny Weatherwax just… gives up. She believes she can’t beat them, and she doesn’t think anyone wants her around. This is a side of Granny that we haven’t really seen before, and it’s not a nice one.

She does recover, of course – that’s what Granny Weatherwax does. There’s no point in being a witch, really, if you can’t make the grand entrance and pop up just when everyone thinks you’re down.

Another really neat thing about this book is that we finally get to revisit the Omnians, who were introduced as a fanatical theocratic people in Small Gods. Time has tempered the Omnians, who are now the Discworld equivalent of the Jehovah’s Witnesses. An Omnian missionary has come to Lancre, and he gets caught up in the battle against the vampires as well, and it turns out that, well, the Omnians aren’t that bad anymore. Since the Prophet Brutha gave them permission to think for themselves, the Church has schismed so many times that it finally comes down to a schism in one member, Brother Oats. Like Agnes, he’s of two minds about the world, and neither of them really get along.

So yes, there’s not a whole lot that’s really new in this book, but since I’m a hard-core Pratchett addict, I have to recommend it.

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“There’s no greys, only white that’s got grubby. I’m surprised you don’t know that. And sin, young man, is when you treat people as things. Including yourself. That’s what sin is.”
– Granny Weatherwax, Carpe Jugulum
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Review 128: Soul Music

Soul Music by Terry Pratchett

“Music is my life.”

How many times have you heard that? From bona fide rock stars to teenage wannabes, there’s something about music that occupies us, that possesses us and just won’t let go. Even if you’re not a big music lover, there are probably songs which can ease your mind, pull you out of a dark mood, or set your heart to racing. There’s music that’ll lift your heart and make you think the world is a better place than it really is, and songs that will convince you that the dark heart of the world is just as decayed and corrupt as you always thought it was. Music has a kind of magic in it that can reach to the very core of who we are as thinking – and more importantly, feeling – beings.

That magic is dangerous enough on our world, where magic doesn’t actually exist. Imagine how powerful it would be on one where magic really was real. Like, say, to pick one out of thin air, the Discworld.

Sometimes, even more horrible things would emerge....

Of course, the Discworld has had its share of trouble with popular entertainment before. Acting troupes brought about an Elf invasion in Lords and Ladies and the Horrible Betentacled Things of the Dungeon Dimension nearly escaped thanks to the Disc’s proto-cinema in Moving Pictures. There’s just something about the arts in Discworld that leads to trouble – usually the world-ending kind.

In this case, though, the introduction of rock and roll – better known in Ankh-Morpork as “Music with Rocks In” – is only really dangerous to one person, the young Imp y Celyn. Just eighteen years old and already one of the best bards of Llamados, he wants to make something of his life. He wants to be more than just another bard, and in a mysterious shop that has only recently always been where it was, he finds his chance. Or rather, his chance finds him. A guitar-like instrument that does what no guitar should do – it whines, it growls, it sends out noises that run straight down your spine and make your nerves run with fire. It’s clearly not of this world, and it wants nothing more than to live. For that, it needs to change Imp’s fate, and by extension the fate of hundreds in Ankh-Morpork.

Soon, Imp and his band – The Band With Rocks In – are the most famous thing in the city, and the strange magic of this music is being felt everywhere. Even the wizards are helpless against it. Normally this would result in the aforementioned Horrible Betentacled Things, but in this case it’s more of a reversion to teenage years that never were. Still, Archchancellor Ridcully knows that there’s some force acting on people that shouldn’t be there, and nothing good ever comes of that.

Keith Death (art by Soulstripper on DeviantArt)

As if that weren’t enough, Death has decided to get existential and tries to figure out how he can make himself forget for a while. Why he decides to do this is not clearly explored, but it results in him leaving his duty. In his place comes his young Granddaughter, Susan, who would be great for the job if she didn’t think the whole idea of personifying a force of nature was just romantic woolly thinking. And it would be even better if she knew what her connection was to the doomed musician Imp y Celyn.

This book can be seen as a companion to the earlier Moving Pictures as an examination of and homage to popular culture. By transplanting it to the Discworld, Pratchett is able to look at rock music from the point of view of people who’ve never even thought about such a thing before, and who can more easily see the magic of it. And of course, it’s his big chance to make as many music jokes, puns and references as humanly possible, from the translation of Imp’s name (“Imp” meaning “small bud” and “Celyn” meaning ‘of the holly”) to some proto-heavy metal musicians trying to make leopard skin pants from a cat that has some severe hearing difficulties.

It’s a sort of love letter to rock and roll and all that it has brought us. From teenyboppers to punk to the horrible misuses of leather and spandex, it holds a mirror up to the way that rock music has influenced our modern culture. But it does not mock, oh no. It shows great attention to and reverence for this young art form that has done so much to change the world. To list all the references made in this book would be nearly impossible, but the amount of work and thought that went into making it is quite clear.

We're not here to judge.

More importantly, though, the book addresses some questions that are a little deeper than the simple rock and roll jokes. Like Death’s question: “WHAT’S IT ALL ABOUT? SERIOUSLY? WHEN YOU GET RIGHT DOWN TO IT?” Probably since the beginning of music, people have tried to find meaning in it. People have connected to music and to musicians in ways that they could never connect to other people, even family and friends. People find meaning in music, which then gives meaning to their lives, and the more you give your life to something, the harder the crash when that thing goes away. Imp discovers this in a very literal sense, but out here in the real world that is just as true.

People mourned for Michael Jackson, Elvis Presley, Kurt Cobain and other superstars as if they knew them. And in a way, I’m sure they thought they did. Like so much else in the world, though, music doesn’t have any meaning but what we give to it. The truly great musicians, the ones we always lose too soon, give everything they have. They manage to say to us what we’ve been saying to ourselves, but could never really figure out how to put into words. Music is the voice our emotions could use if our brains didn’t get in the way so often, and the best people lucky enough to be able to create it gain a kind of immortality.

Not the literal kind, unfortunately.

If you love music – especially rock music – then this is a book you should pick up and read. Even if you’re not a Discworld fan, you’ll probably enjoy it.

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This was music that had not only escaped, but had robbed a bank on the way out. It was music with its sleeves rolled up and its top button undone, raising its hat and grinning and stealing the silver…. It made you want to kick down walls and ascend the sky on steps of fire. It made you want to pull all the switches and throw all the levers and stick your fingers in the electric socket of the Universe to see what happened next. It made you want to paint your bedroom wall black and cover it with posters.
– from Soul Music by Terry Pratchett
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Review 119: Wyrd Sisters

Wyrd Sisters by Terry Pratchett

A king is killed, usurped by a weak man and his overbearing wife.

A ghost haunts the castle, waiting for his son to come and avenge him.

On the highlands, three Witches hold their meeting, plotting the future of the kingdom.

I think Granny would not appreciate this image....

Sound familiar? It should. These are some of the most enduring tropes of English literature, and they’re all thanks to a singular playwright. Wyrd Sisters is Terry Pratchett’s tribute to some of the blood and gore and guts, tragedies and twists of Shakespeare’s great plays.

In fact, this book encapsulates my three favorite Shakespearean works – Hamlet, Macbeth, and King Lear. Yes, they’re all tragedies, but that shouldn’t surprise any of you by now. They plumb the depths of humanity to try to find glimmers of hope and bravery and redemption, and everyone usually ends up dead, but dead with a true sense of purpose. In this book we have, respectively, a king murdered by his own family, a woman who pulls the strings of the usurper, and a bloody great storm.

Anyone have some Purell?

Verence, the king of Lancre, has been assassinated. An accident, everyone says. He tripped and fell down the stairs, landing on his own dagger. Funny, that. But the new ruler of Lancre, Felmet, is not so steady in his convictions. He sees the blood on his hands, although he didn’t do it. He’s absolutely sure he didn’t do the deed. Anyone who says he did do it is likely to be shorter by a foot or so by morning. And his wife wasn’t there either. She didn’t hand him the knife. The point is that Verence is dead, long live the King, and now everyone can enjoy the easy life of a royal couple.

However, as so often happens in these things, complications arose. The dead king isn’t allowed to go away. He is confined to unlife as a ghost, unable to contact or interact with the world of the living – except in very small, nearly unnoticeable ways. As his murderers rule over his kingdom, Verence exercises his ectoplasm and plots a way to bring Felmet down. The king’s infant son was stolen after the assassination, you see – brought by a dying man to the home of one of Lancres witches, where he passed the infant to the three women there, and begged them to care for it.

Huh. Actors.

They did what some people would think would be the exact opposite – they gave the child to some traveling actors. As alarming as that might seem, they thought that a traveling troupe would be a much better place for a child to grow up than with three of the greatest witches of Lancre.

And that would seem to be the end of it, really. The king is dead, with no one to contradict the original version of his death. The infant son of the king is stolen, never to be seen again. By all rights, the kingdom should move on. Assassination, of course, is perfectly natural in Royal circles, happens all the time. The kingdom shouldn’t even blink.

But it does. Not only does the kingdom blink, it is furious. Not the people, mind you. The people barely notice a new king, except for the parties and the slight increase in executions. The Kingdom. As a body is an amalgam of cells, a Kingdom is the whole of its people and history. Felmet hates the new kingdom he has acquired, with its gorges and trees and people you couldn’t bully no matter how hard you tried. He hates the Kingdom, and the Kingdom hates him for it. A Kingdom, you see, is like a dog. It doesn’t care if its master is a good man or an evil man, so long as he cares for the dog. Felmet actively detested the land and its people, and in return the larger entity that was The Kingdom hated him right back.

In the meantime, Felmet’s Fool, formerly the Fool to Verence, is showing him how words have power, and how that power could help break the animal kingdom he ruled. Cutting the trees down, for example, might be called “horrible” or “terrible” by the people – and the kingdom – of Lancre. But call it, “Planned deforestation for industry growth,” and that’s a whole new story.

"Senior citizen"

Words have power, Felmet learns. The Fool eventually goes on to demonstrate the true power of words to the king.

Liar. Usurper. Murderer.

Words like that have a wondrous effect.

And then there are the Witches, who are a threat to Flemet, in his own mind. He can’t kill them, he can’t torture them. But he can change how people think about them, and so he decides that a play is the way to go….

It gets a little complicated after that, but rest assured, it’s a kicker. Felmet is insane, and his wife is worse. Their plan to destroy the witches of Lancre goes beyond what the Puritans of Massachusetts could ever have come up with – altering their very natures by altering perceptions. And fate sticks her fingers in all over the place, as the Witches try to restore a true leader to Lancre – even if the true leader doesn’t even know who he is.

Oh, what Shakespeare could have done with Granny....

Not only does this book showcase one of Terry’s best characters – Granny Weatherwax – but it takes an interesting look at the way we can alter our perception of things merely by altering what we call a thing. Words shape the world, whether we want them to or not, and the right word in the right ear can shift the balances of history. As with so many of his other books, Terry gives us a profound philosophical insight and shows it to us as something we knew all along.

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“Oh, obvious,” said Granny. “I’ll grant you it’s obvious. Trouble is, just because things are obvious doesn’t mean they’re true.”
Granny Weatherwax, Wyrd Sisters

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Review 105: Reaper Man

Reaper Man by Terry Pratchett

So. What are your thoughts on death?

Or rather, Death?

It’s a weird thing, death. I mean, you’re here one minute and then you’re… not. And while we all know intellectually that we’re going to die, there’s something in us that refuses to believe that the essential Person that we are could possibly cease to exist. We have personalities, unique aggregations of memory and experience and inborn preferences that all display themselves as a Person, as far as we know unique in all the world. Each human being is an entity that will never be seen again in this universe, and as far as we know, the cessation of life brings that entity to an end, reducing the person we knew to a mere insentiate object.

Is it any wonder we come up with stories for what happens… y’know, after?

Just about very culture that’s ever been has come up with some form of afterlife, be it an eternal feast for heroes, a paradise in which we can bask in God’s glory, a place of exquisite pain and torment, or a ticket back to Earth for another go ’round. There is no way of knowing if any of those are actually what happens to us when we die. At least not until we actually do it. So since we cannot know, we make stuff up, if only to make the whole thing easier to bear.

What often goes with that other world is someone to take us over. A ferryman or a guide, someone who knows the territory and knows where we need to go in what is very likely a rather confusing time. It’s another piece of comfort – knowing that there’s Someone out there who knows where we need to go and what we need to do.

Grim indeed.... (photo by provia_17)

Which brings us to Death.

 

He’s been portrayed many ways over the years – my favorite is the Death from Neil Gaiman’s Sandman series – a sort of older sister who’s known you all your life and loves you anyway. If she shows up for me when I die, I think I’ll be okay.

I would be just as happy with Pratchett’s Death, even though he is the more traditional robes-scythe-and-skeleton type. Fans of Discworld love Death, which I imagine was somewhat baffling for Pratchett early on. In the first few books, Death was a bit character – he showed up a couple of times to collect the recently deceased, and that was it. But his scenes were so memorable and so good that they sometimes stuck out above the rest of the book. He speaks entirely in capital letters, which lends him a voice that is probably reminiscent of James Earl Jones. He’s aloof, but not uncaring, and seems to take a rather curious interest in humanity. He likes cats, has a house off on the edge of nowhere, and rides a great white steed named Binky. Death has become, in short, an interesting person.

And it seems that’s a problem.

The Universe, you see, is a finely tuned instrument, one which needs monitoring and, occasionally, adjusting. There are… let’s call them Auditors, who make sure that reality stays real – no odd deviations or anomolies such as, for example, anthropomorphic personifications of natural forces. In all honesty, they would eliminate all life if they could, but that is, as yet, beyond their capabilities. So they settle for telling Death that it’s time for him to retire. He gets a little hourglass all his own, and time to kill until the new Death comes into being.

Heya Tom, it's Bob - from the office down the hall... (photo by Scott Beale)

In the interim, this time between Deaths, a new problem arises: nothing is dying. Or, to be more specific, things are dying, but the vital energies that empowered everything, from cabbages to clergymen, aren’t being taken away. Without a Death to handle this very vital – so to speak – function, the life energy is looking for a place to go, an outlet. As a result, things that shouldn’t be alive are up and moving around. In some cases this means objects running along of their own accord, and in others it means that the dead simply have nowhere to go.

Such is the case with the wizard Windle Poons. After 130 years at the Unseen University, he was rather looking forward to a nice rest and then a bit of reincarnation as a woman in a far more liberal society. What he got instead was nothingness. Given that option, he went back to his body and became Undead, much to the consternation of the rest of the UU faculty. Unfortunately for them, they have bigger things to worry about – the buildup of life force is having a rather larger and more dangerous effect on the city of Ankh-Morpork itself. The lack of a Death may well doom the city in a manner that will be horribly familiar to many of Pratchett’s readers.

And where is Death in all this, or at least the person who used to be Death? He has found a small farm below the famous Ramtop Mountains. An old maid, Miss Flitworth, needs a hand and Death needs a way to spend his time – something he’s never had to worry about before. He takes the alias Bill Door and starts to learn what it means to be alive, despite the short time he has left.

"What can the harvest hope for if not the care of the reaper man?" (art by Andrew Mar)

The book, as you might imagine, is all about being alive. What makes life special and precious and ultimately worth living. Windle Poons let life go past while he grew old behind the university walls, and it is only in death that he finds out all that fun he’d missed. Bill Door learns that it is the fragility of life, and its most certain end, which ultimately gives it meaning. In the middle, we see that everything that can live yearns to do so, from the mayflies to the great Counting Pines to cities to ideas.

 

While the book gives no answers to what may happen after death (the Discworld books rarely do), it does give us another way to look at life. And that, ultimately, is the goal of any great story.

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“Huh! Priests! They’re all the same. Always telling you that you’re going to live again after you’re dead, but you just try it and see the look on their faces!”
Reg Shoe, Reaper Man

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Review 79: Guards! Guards!


Guards! Guards! by Terry Pratchett

One of the dangers of reading Discworld books, of course, is that you may never stop. Much like potato chips, it’s hard to just have one and then move on to something else, especially – and this may strike some of you as a bit odd – when you’ve already read them.

There are people who never re-read books, and don’t see the point in doing so. “You already know the ending,” they might say, “and you know how the story goes. What’s the point in reading it again?” I never, ever understood that. I mean, if you have a good story, well-told, why wouldn’t you want to read it again? If it had meaning for you and struck a chord deep within whatever it is you might call a “soul,” then reading it again is almost mandatory.

I can certainly see our Straw Man’s point if the book is bad, or even just mediocre. There are plenty of books that I’ve read that I’ll probably never pick up again. But the Discworld series doesn’t contain any of them.

This one is the first in the Guards track – one of four major story tracks within the series – and it quickly made the adventures of the Ankh-Morpork city guard some of my favorite stories.

The book opens in darkness and mystery, a kind of film noir feeling that permeates the whole story (although I am challenged to think of any noir film that featured a dragon as the main antagonist – but more on that later). Captain Samuel Vimes of the Night Watch is about as low as he can go. He’s drunk, it’s raining, and he has finally seen himself for what he’s always believed himself to be. A wreck. A bum. A loose end in the city, respected by no one and nothing, with the exception of the two other poor souls in the Watch with him. If we were to cast Vimes in the movie, we’d have to cast Bogart at his drunkest.

Vimes is a mirror of his city, really. Ankh-Morpork is the biggest city on the Disc, and it embodies all the worst elements of cities everywhere. It’s crowded and dirty, a place where people would sell their own mothers for a chance to get ahead. It’s ruled by a system of guilds and merchants, an ever-fluctuating oligarchy all directed by a Patrician who wields his power with pinpoint precision. Crime not only flourishes in Ankh-Morpork, it positively thrives, regulated and controlled by its own guild.

In short, there’s no place in the city for the Watch, and no place in it for Vimes. Maybe long ago he harbored thoughts of saving his city from itself, but no longer. Now all he wants is his next drink.

He’s not the only one thinking of a better city, though. In the dark recesses of Ankh-Morpork, a secret society meets. They are a shadowy group of bretheren who believe that the only thing keeping their city from being a good place to live is the lack of a king. Ankh-Morpork had kings once, and is so often the case, the dimly-remembered past looks a lot better than the immediately visible future. And so the Unique and Supreme Lodge of the Elucidated Bretheren gather with a singular goal in mind – to create a king.

It’s not that easy, though. You can’t just pull some schmoe out of a crowd and say, “Here – start kinging.” There needs to be no doubt in people’s minds that this person has been tapped by destiny to become their king. Like if he, say, slew a dragon or something….

Into all of this strides Carrot Ironfoundersson, a young dwarf-by-adoption who has been sent by his foster father to learn how to be a human being. And what better way to do that, they suppose, then to volunteer for the Ankh-Morpork Night Watch? Within moments of his arrival he begins to upend the very structure of the city itself. Carrot is everything that Vimes – or anyone else – wishes they could be: honest, forthright, idealistic, the kind of man who would arrest the head of the Thieves’ Guild for stealing. He knows the law and believes in it, which makes him just the wrong person for the Watch. Or, as things turn out, just the right one.

What begins as a magical conspiracy ends up being a murder-mystery, with a giant, fire-breathing dragon as the main murder weapon. Faced with this threat to both himself and his city, Vimes and Carrot, Nobby and Sergeant Colon are the only people who are willing to put themselves between the city and the dragon. Not, all things considered, the place they most want to be, but they’re all there is.

It’s a really good book, and an excellent introduction to the Guards track of the Discworld series. It is, of course, very funny – that goes without saying in this series – but also very meaningful. It has a lot to do with dreams and ideals, and the manner in which we are willing to achieve those dreams. Some by trickery and subterfuge, like the dragon-summoners, others by sheer honesty and idealism, like Carrot. And even those who have given up on their dreams, like Captain Vimes, can be persuaded to pick them up again, dust them off and give them another go.

It’s a story of redemption, not only for Vimes, but for the city of Ankh-Morpork. Much like Vimes, the city looks hopelessly lost at the beginning of the book – all rain and darkness and death – but by the end we have a glimmer of hope that it can become a better place. A place where the law can win out over corruption and decay, and where good people, standing up against million-to-one odds, can sometimes come out on top.

And if that’s not a story that deserves to be re-read, then I don’t know what is.

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You have the effrontery to be squeamish. But we were dragons. We were supposed to be cruel, cunning, heartless, and terrible. But this much I can tell you, you ape – we never burned and tortured and ripped one another apart and called it morality.
– The Dragon, Guards! Guards!
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Review 40: Lords and Ladies


Lords and Ladies by Terry Pratchett

Elves.

When you think of elves, what do you think of? The tall, fair-skinned beings of Tolkien’s Middle Earth? The ebony warriors from Dungeons & Dragons? Delicious cookies?

Not on Discworld. On Discworld, the Elves are folk of legend, and dark legend at that. People there remember the elves, although not very well. They remember through old wives’ tales, about leaving milk for the fairies and not going near the standing stones. Ask someone in the kingdom of Lancre, and they’ll think of elves as you and I think of elves – pretty, wonderful, magical…

Ask Granny Weatherwax and she’ll tell you the truth – that the Elves are not of this world, and don’t belong here either. She’ll tell you that when the barriers of the worlds grow thin, when the crop circles start to show up, the elves will be waiting, readying themselves to come back. For theirs is a parasite universe, a land of ice, and they desire ours for their… entertainment.

Such is the setup for Lords and Ladies, another one of Pratchett’s darker Discworld books. There is still his customary humor, of course, which would be sorely missed were it absent. But it’s also got a philosophical edge to it, as many of his books of this period do. It’s about faith in stories, and knowing the difference between what is true and what you wish were true.

It’s circle time again, where crop circles are appearing everywhere, and the parallel and parasite universes are coming into closer contact, and Granny Weatherwax knows that she is going to die.

Or is she? She can’t be sure….

Esme Weatherwax is the consummate witch. Tall, thin and bony, she’s the kind of woman who can wear the pointy black hat of a witch and dare you to think she’s anything else. She’s strong of mind, never afraid to speak the truth, the best witch in Lancre and not slow in admitting it. But many years ago, she was a headstrong young girl who was offered power by a mysterious woman in red who stood in the center of a stone circle. The woman promised power and freedom, but could not leave the circle. Rather than take the easy way to witchcraft, Granny worked, learned, and grew old. Which is always for the best.

As is the case with many Pratchett books, there are multiple plots that all center around the Elves and their newest attempt to gain the Discworld as their own world. Magrat Garlick, the third witch (because there must always be three) is going to marry Verence, the king of Lancre and a former Fool. Mustrum Ridcully, the Archchancellor of the Unseen University in Ankh-Morpork, is attending the wedding and at the same time remembering his days in Lancre chasing after the headstrong young girl who grew up to become Esme Weatherwax. And Granny herself is remembering things that happened to all possible Esme Weatherwaxes, and for someone as sure of herself as she is, is having a serious identity problem.

Something needs to be said here about the three witches of Lancre, recurring characters as they are in all of the Witches books of the series. Normally this would be done chronologically, upon reviewing the first book in which they appeared, but I want to do it now. Besides, I haven’t read Equal Rites in a long time, but it’s on my list.

Granny is as I have said – the unofficial chief witch of the region, who has attained the status of being almost mythical in the village of Bad Ass. She is feared and revered, but only because she is always who she is.

Nanny (Gytha) Ogg is Esme’s polar opposite. She has a face like an apple left in the sun too long, her youth is filled with enough tawdry encounters to make a fraternity lose its breath, and her fondness for bawdy tunes (such as the ever-immortal Hedgehog song) has made her a figure of legend. But like any witch, Gytha is not to be underestimated. She can think faster than most anyone, and do so around corners. She’s the grounding influence for Esme when Esme gets too high on herself, and while being fearsome in her own right, she is one of the more approachable witches Lancre has to offer.

And then there is Magrat Garlick, the third witch. She is the soppy one, the romantic one, the one with the collection of occult jewelry and a library in her cottage. She’s the youngest, the least experienced, but not without potential. And while the other two witches may treat her like an ignorant stripling, they only do so because that’s how you become a witch – by learning things, not by being told things.

But now Magrat is going to be Queen, and there are only the two witches. And the elves are coming….

This is, as I have said, a darker book. We get an interesting look into Granny Weatherwax’s psyche – who she is, what she fears – and it’s a little chilling. The reader is used to the utterly unflappable Granny Weatherwax, so to see her, well, flapped is kind of disturbing. At the same time, though, it makes her more human than before, which she needs to be if she is to defeat the elves.

This book also offers a good look into the human need for fantasy. The elves anchor themselves to the Discworld by belief – if enough people want the elves to come, then they will. But the longer they stay away, the more time we get without them, the more they become what we think they are. Stories. Myths. Cute magical critters who are to be watched, but not necessarily feared.

We need our stories to get us through the “iron times.” Yes, we need elves, to help us escape from our lives from time to time, just as we need witches and wizards and gods. But we don’t need them here. Here, in the real world, we have only ourselves to count on, and we need to be strong enough to do that. Stories are good, in their place. But never mistake a story for the real thing.

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‘But all them things exist,’ said Nanny Ogg.
‘That’s no call to go around believing in them. It only encourages ’em.’
– from Lords and Ladies
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Lords and Ladies at Wikipedia
Terry Pratchett at Wikipedia
Terry Pratchett’s page at HarperCollins
Lords and Ladies at Amazon.com
Discworld at Wikipedia
Lords and Ladies annotations
Lords and Ladies at Wikiquote

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Filed under Discworld, elves, fantasy, humor, satire, Terry Pratchett, witches

Review 06: Small Gods

Small Gods by Terry Pratchett

This was the first Pratchett book I read, and I’m glad of it. While it has the humor and satire that is inherent in all of the Discworld books, it also has something else – something to say. It was evident, even from the first time I read this book, that Pratchett had put some real heavy thinking into it.

This book is, as the title suggests, about gods. Where do they come from? Where do they go? What keeps them moving? Ordinarily, gods don’t like this sort of question. People who think are not what gods look for in followers. Gods want people who believe. That’s where their power comes from. Gods with many believers are strong, great gods. Armies of priests and worshipers attend to their every needs, the sacrifices are plentiful and their dominion is vast. A great God wants for nothing.

A god with no believers, however, is a small god, a mindless thought blistering through the firmament, searching with single-minded fervor for one thing: a believer.

What happens, then, when a Great God finds out that, while he wasn’t looking, he lost all of his believers? That’s the thrust of this tale, the story of the Great God Om and how he became a tortoise for three years. It’s about the difference between what is real and what is believed in, and how much difference that can make at times. It’s about fundamental and trivial truths, and how to tell them apart. It’s about eagles and tortoises and how much they need each other.

Above all, it’s something of, in my opinion, a statement of faith. Many people ask me if I am religious, and I tell them no. That’s partly due to this book and the thinking that it made me do. Spiritual? Sure. Religious? No.

This is, as I said, the story of the Great God Om, who discovered, about 300 feet above the ground, that he had been a tortoise for the last three years. Before this mid-air revelation he had been just chewing at melons and wondering where the next lettuce patch was. Suddenly, all the self-awareness of a Great God was put into his head, as well as the knowledge that he was probably about to die. Om had intended to manifest as a bull or a pillar of fire – something much more majestic and Godly – but for some reason, that hadn’t worked. He had become a tortoise.

Now, in the presence of Brutha, a novice in the Church of the Great God Om, the god remembers who he was, and discovers that he’s in a lot of trouble.

The Church of the Great God Om. There’s something to talk about. Many people believe, upon reading it, that it’s an allegory for the Catholic Church in the Middle Ages. The Omnian Church permits no heresy. It permits no sin, no disbelief. Violating the precepts of Om and His Prophets can lead to death, in a lingering and painful manner. The Quisition cannot be wrong, for was it not Om Himself who put suspicion into their minds? It’s a tactic that has been used by many religions over the years, often to justify acts that they know their god would not approve of.

I don’t believe that Pratchett was trying to take a stab at the Catholics in this book. It’s just an unfortunate coincidence that the Omnians and the Catholics bear a few points of similarity. A rigid hierarchy, for example. A penchant at one point or another for extracting confessions by any means necessary is another. It’s all very efficient and effective.

There’s a problem, though, as is pointed out by Brutha late in the book: if you beat a donkey with a stick long enough, the stick becomes all that the donkey believes in. At that point, neither gods nor believers benefit. The only people benefiting are those wielding the stick. Instead of becoming a tool for inspiration, the church becomes a tool for terror. People do not obey their god out of love – they obey their church out of fear.

This is the kind of church that could produce the Deacon Vorbis, head of the Exquisitors. He is one of those men who would turn the world on its back, just to see what would happen. He is everything that is wrong with the Church and, unfortunately, it seems that he is in line to be the Eighth Prophet.

In other words, Omnia is not a nice place to live. Its church is vast, its god is small, and neighboring nations want to take it down a few pegs. It’s up to Brutha and his God to change the course of history.

As I said, there was a lot of thought put into this novel, as well as Pratchett’s usual hidden research. For example, Brutha is called a “Great dumb ox” by his classmates, due to his size and apparent lack of intellect. The same epithet was thrown at Thomas Aquinas by his classmates, and he was canonized less than a century after his death. Like Aquinas, Brutha is not dumb. He is simply slow and careful in how he thinks, and his measured pace leads him far more surely to the truth than the hot-headed and passionate men who march with him.

Some people read this book as an attack on religion. Others see it as a defense of personal faith. I think Terry had a story to tell, and perhaps a point to make. The beauty of books such as these is that they can be whatever you want them to be. For me, it came as a kind of defense of gods. Humans, the book suggests, need gods. Now there is a growing atheist community out there who disagree with that idea, and I can definitely see where they’re coming from. As I’ve said many times, I’m not entirely sold on the god idea yet. But the gods that are rampant in the Discworld aren’t the kinds of gods that the atheists and the true believers fight over – the omnipotent creator of Everything. They are gods who are controlled by humans, who exist with humans in a kind of co-dependent relationship. Humans need gods, and gods need humans. In its way, this kind of theology makes gods more… realistic to me. I can’t say for sure whether a god or gods exist, but if they did, I think I could live with this kind of arrangement.

What this book definitely is, in any case, is good. Very good. If you haven’t read it, do so. If you have read it, do yourself a favor and read it again.

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“Around the Godde there forms a Shelle of prayers and Ceremonies and Buildings and Priestes and Authority, until at Laste the Godde Dies.
Ande this maye notte be noticed.”
– from the writings of the philosopher Abraxis, Small Gods
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Annotations for Small Gods
Small Gods at Wikipedia
Terry Pratchett’s page at HarperCollins
Terry Pratchett at Wikipedia
Small Gods at Wikiquote
Small Gods at Amazon.com

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Filed under Discworld, fantasy, gods, humor, morality, religion, sins, Terry Pratchett, theology