'Just because you can't explain it, doesn't mean it's a miracle.' In the beginning was the Word. And the Word was: 'Hey, you!' This is the Discworld, after all, and religion is a controversial business. Everyone has their own opinion, and indeed their own gods, of every shape and size, and all elbowing for space at the top. In such a competitive environment, shape and size can be pretty crucial to make one's presence felt. So it's certainly not helpful to be reduced to appearing in the form of a tortoise, a manifestation far below god-like status in anyone's book. In such instances, you need an acolyte, and fast: for the Great God Om, Brutha the novice is the Chosen One – or at least the only One available. He wants peace and justice and brotherly love. He also wants the Inquisition to stop torturing him now, please...
The doctorial thesis argues that the term Subcreation with its revised and broadened definition, in part differing from J.R.R. Tolkien's original term sub-creation, may be used for the discussion of the making of fictional worlds in literary discourse. The successful conception of a fictional world depends on the reader's willing suspension of disbelief. This depends both on the author and his skilled composition of the world and all its aspects, as well as on the reader's acceptance of this invented fictional world. The author needs to create a narrative with an inner consistency, which is crucial to achieving the effect of the reader's immersion in the fictional world. The fundamental aspects that an author needs to realize to achieve successful Subcreation have been structured into and analysed in four categories: Language and Linguistic Variation, Physiopoeia, Anthropoeia and Mythopoeia. Furthermore, this thesis shows that, as contemporary examples of fantastic literature, both Tad Williams's and Terry Pratchett's fictional worlds are successfully created through the realization of these aspects of Subcreation. Apart from commenting on the success of the subcreative process, this thesis also remarks upon the cultural influences both authors include in their writings. While both may be considered Anglophone in a general categorization, Pratchett's Discworld retains a feeling of 'Britishness' that is not to be found in Williams's Otherland. The thesis proposes several approaches to Subcreation that may be studied subsequently. So, for example, it may be possible to determine the success of an author's Subcreation by collecting empirical data. Apart from literary works this field of studies may also include other media.
The Discworld is, as everyone knows, and no one should now need to be told, flat. It rides through space on the back of four elephants* which, in turn, are standing on the shell of an enormous turtle. But just because it is being borne through space on the back of a turtle, doesn't mean it doesn't need gods . . . The Gods Trilogy is a bumper volume containing the complete text of three of Terry Pratchett's celebrated novels: SMALL GODS Brutha is the Chosen One. His god has spoken to him, admittedly while currently in the shape of a tortoise; and Brutha now has a mission.PYRAMIDS It isn't easy, being a teenage pharaoh: you're not allowed to carry money; uninhibited young women peel grapes for you and the Great Pyramid has just exploded because of paracosmic instability . . . HOGFATHER It's the night before Hogswatch . . . and it's too quiet. There's snow, there're robins, there're trees covered with decorations, but there's a notable lack of the big fat man who delivers the toys . . . He's gone. *There used to be five, but that's another story entirely
Pyramids is the seventh book in the award-winning comic fantasy Discworld series by Terry Pratchett. In Pyramids, you'll discover the tale of Teppic, a student at the Assassin’s Guild of Ankh-Morpok and prince of the tiny kingdom of Djelibeybi, thrust into the role of pharaoh after his father’s sudden death. It's bad enough being new on the job, but Teppic hasn't a clue as to what a pharaoh is supposed to do. First, there's the monumental task of building a suitable resting place for Dad -- a pyramid to end all pyramids. Then there are the myriad administrative duties, such as dealing with mad priests, sacred crocodiles, and marching mummies. And to top it all off, the adolescent pharaoh discovers deceit, betrayal—not to mention a headstrong handmaiden—at the heart of his realm. Sometimes being a god is no fun at all...
On a world supported on the back of a giant turtle (sex unknown), a gleeful, explosive, wickedly eccentric expedition sets out. There's an avaricious but inept wizard, a naive tourist whose luggage moves on hundreds of dear little legs, dragons who only exist if you believe in them, and of course the edge of the planet.
This book highlights the multi-dimensionality of the work of British fantasy writer and Discworld creator Terry Pratchett. Taking into account content, political commentary, and literary technique, it explores the impact of Pratchett's work on fantasy writing and genre conventions.With chapters on gender, multiculturalism, secularism, education, and relativism, Section One focuses on different characters’ situatedness within Pratchett’s novels and what this may tell us about the direction of his social, religious and political criticism. Section Two discusses the aesthetic form that this criticism takes, and analyses the post- and meta-modern aspects of Pratchett’s writing, his use of humour, and genre adaptations and deconstructions. This is the ideal collection for any literary and cultural studies scholar, researcher or student interested in fantasy and popular culture in general, and in Terry Pratchett in particular.
In terms of worldwide sales (around 25 million copies to date, and no signs of stopping), Terry Pratchett is one of the leading writers in English. He is also a writer of complexity and allusiveness, whose rich work raises important issues about the real world within a fantasy/comic environment. This encyclopedia mixes shorter entries conveying specific information for foraging readers with longer, more discursive articles for readers wanting more reflective engagement with Pratchett's novels. Entries on novels and characters not only highlight Pratchett's celebrated inventiveness but also analyse the underlying meanings. Entries on 'Fantasy', 'Science Fiction', 'Fairy Tales' and related topics situate the novels within literary genres, and other articles discuss the scientific, social and philosophical idea underpinning Pratchett's playful but sophisticated narratives. Associates and collaborators, such as Douglas Adams, Neil Gaiman and Ian Stewart, feature in articles discussing contemporary influences, and plentiful information about the fascinating peripheral detail of audio editions, radio broadcasts, TV adaptations and film scripts enhance the fun. A Companion to the Novels of Terry Pratchett is essential reading for fans who want to unpick the allusions and appreciate the rich complexity of one of the great bodies of contemporary popular literature.