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Compact Discworlds 1-4: The Colour of Magic/The Light Fantastic/Equal Rites/Mort
A slip-cased, gift-sized collection of the first four editions of Terry Pratchett's Discworld novels. Discworld is a flat planet, supported on the backs of four elephants, who in turn stand on the back of the great turtle A'Tuin as it swims majestically through space.
Hardcover
First published November 16, 1995
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About the author
Terry Pratchett
631 books45.6k followersSir Terence David John Pratchett was an English author, humorist, and satirist, best known for the Discworld series of 41 comic fantasy novels published between 1983–2015, and for the apocalyptic comedy novel Good Omens (1990), which he co-wrote with Neil Gaiman.
Pratchett's first novel, The Carpet People, was published in 1971. The first Discworld novel, The Colour of Magic, was published in 1983, after which Pratchett wrote an average of two books a year. The final Discworld novel, The Shepherd's Crown, was published in August 2015, five months after his death.
With more than 100 million books sold worldwide in 43 languages, Pratchett was the UK's best-selling author of the 1990s. He was appointed an Officer of the Order of the British Empire (OBE) in 1998 and was knighted for services to literature in the 2009 New Year Honours. In 2001 he won the annual Carnegie Medal for The Amazing Maurice and His Educated Rodents, the first Discworld book marketed for children. He received the World Fantasy Award for Life Achievement in 2010.
In December 2007 Pratchett announced that he had been diagnosed with early-onset Alzheimer's disease. He later made a substantial public donation to the Alzheimer's Research Trust (now Alzheimer's Research UK, ARUK), filmed three television programmes chronicling his experiences with the condition for the BBC, and became a patron of ARUK. Pratchett died on 12 March 2015, at the age of 66.
Pratchett's first novel, The Carpet People, was published in 1971. The first Discworld novel, The Colour of Magic, was published in 1983, after which Pratchett wrote an average of two books a year. The final Discworld novel, The Shepherd's Crown, was published in August 2015, five months after his death.
With more than 100 million books sold worldwide in 43 languages, Pratchett was the UK's best-selling author of the 1990s. He was appointed an Officer of the Order of the British Empire (OBE) in 1998 and was knighted for services to literature in the 2009 New Year Honours. In 2001 he won the annual Carnegie Medal for The Amazing Maurice and His Educated Rodents, the first Discworld book marketed for children. He received the World Fantasy Award for Life Achievement in 2010.
In December 2007 Pratchett announced that he had been diagnosed with early-onset Alzheimer's disease. He later made a substantial public donation to the Alzheimer's Research Trust (now Alzheimer's Research UK, ARUK), filmed three television programmes chronicling his experiences with the condition for the BBC, and became a patron of ARUK. Pratchett died on 12 March 2015, at the age of 66.
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September 19, 2021My memory of the first Discworld book, The Colour of Magic, was that it was actually funny. Admittedly a low hurdle for an unserious book, but not all humorous books are amusing, or at least not in the way that the author hoped. In contrast to later Discworld novels there is more explicit making fun out of other fantasy novels as in for instance the extended homage to Pern. Abandoning this in favour of an in-series set of jokes and references naturally gave the series an entirely different set of legs, but this book, in my fond and doubtless deficient memory at least, also worked really well.
It's immediate sequel was The Light Fantastic which resolves the cliff hanger ending at the end of the previous book in a way that Douglas Adams would have approved of. It has a trade mark Pratchett ending in that the ending is a restoration of the original order, sometimes in a variant of getting back to the way things 'should' have been rather than the way they actually were. Humour is sometimes oddly unsubversive and conservative.
Equal Rites for me represented the start of another trend in Pratchett's writing which was the tackling of serious themes in a light hearted format. Here gender prejudice, which again will turn up in other novels. In line with the Witch novels (which all feature witches, and in particular Nanny Ogg's declining number of teeth and her undiminished fondness for eating pickled onions) the eventual triumph of two wizardly characters is down to their decision not to use the power at their disposal. Victory lies in choosing not to act.
My impression of Mort was that it was more a piece of knock-about fun. Discworld is a quasi late medieval through to Georgian world that happens to be flat, rests on the backs of four elephants awho stand on the back of a giant turtle who swims through space. In line with the historical development of the world there are apprenticeships and apprentices. Naturally Death takes on an apprentice, cue jokes about marrying his daughter and taking over the business, which allows Death to take a holiday by working in a sandwich shop for a while Need I mention that order is restored in the final act?
It's immediate sequel was The Light Fantastic which resolves the cliff hanger ending at the end of the previous book in a way that Douglas Adams would have approved of. It has a trade mark Pratchett ending in that the ending is a restoration of the original order, sometimes in a variant of getting back to the way things 'should' have been rather than the way they actually were. Humour is sometimes oddly unsubversive and conservative.
Equal Rites for me represented the start of another trend in Pratchett's writing which was the tackling of serious themes in a light hearted format. Here gender prejudice, which again will turn up in other novels. In line with the Witch novels (which all feature witches, and in particular Nanny Ogg's declining number of teeth and her undiminished fondness for eating pickled onions) the eventual triumph of two wizardly characters is down to their decision not to use the power at their disposal. Victory lies in choosing not to act.
My impression of Mort was that it was more a piece of knock-about fun. Discworld is a quasi late medieval through to Georgian world that happens to be flat, rests on the backs of four elephants awho stand on the back of a giant turtle who swims through space. In line with the historical development of the world there are apprenticeships and apprentices. Naturally Death takes on an apprentice, cue jokes about marrying his daughter and taking over the business, which allows Death to take a holiday by working in a sandwich shop for a while Need I mention that order is restored in the final act?
July 20, 2018
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May 31, 2025
1. Colour of magic ⭐ ⭐ ⭐ ⭐ ⭐
All legends must, inevitably, have a point of origin. For the inimitable Discworld series, this diminutive volume—oft-overlooked depending on the edition (particularly when deprived of Kirby’s illustrations)—constitutes the zero point, the Big Bang, the fiat lux.
A flat world, disc-shaped (a veritable delight for the modern flat-earther, albeit one lacking the cranial geometry requisite for such a read), rests atop the backs of four colossal elephants (a fifth exists, though we shall not entangle ourselves with it just yet), themselves poised upon the mighty carapace of the cosmic turtle, Great A’Tuin, who swims through the sparse aether of the universe, seemingly without destination. Of course, water cascades endlessly into the void from the rim of the disc; naturally, there is no 'north' or 'south', but rather 'hubward' and 'rimward'; and indeed, there is magic, heroism, cowardice, wizards, books so potent they must be chained down (yet still manage to plant spells into the minds of hapless apprentices), and—perhaps most fantastically—a tourist. With a trunk...
Terry Pratchett (who, most tragically, succumbed to Alzheimer’s disease in 2015—a cruel irony for a mind so incisive) skewers every cliché of the fantasy genre—swords, sorcery, and dragons, as one might say in plainer speech—with unparalleled wit, never missing an opportunity to draw trenchant parallels with our own world. These parallels, as the series progresses, become increasingly sophisticated, increasingly ludicrous, and, correspondingly, increasingly delightful—culminating in an entire spin-off metatextual series: The Science of Discworld.
The narrative is not, one must note, self-contained in this first instalment. It finds its resolution in the second volume, The Light Fantastic—in essence, the two comprise a single diptych. Nonetheless, the foundation is laid, the seed planted; whether you shall be enchanted by the exceptional prose of one of the 20th century’s most sagacious authors is now, quite simply, a matter for your own discovery. If you are only now embarking upon this journey, I must confess—I envy you. For before you lies a corpus of over forty unwritten (for you, at least) tomes, filled with marvel and delight. Granted, the later volumes bear the melancholy mark of Pratchett’s illness, and, lamentably, his publishers continued to exploit the franchise... yet, from a certain point onward—when his style attains full maturity—the humour gracefully yields primacy to philosophical resonance, without compromising the pleasure of the text.
Tarry no longer. Awaiting your acquaintance are the most ineffectual wizard in all creation (though he at least bears a hat which clearly proclaims his station), the most ingenuous tourist the Disc has ever known, and a magical world, vast and strange, for you to explore in their improbable company.
2. Light Fantastic ⭐ ⭐ ⭐ ⭐ ⭐
If The Colour of Magic was the initial spark — the proverbial kick to the gears — then The Light Fantastic is the blowtorch (or the choke, or the flap, or indeed the compressor) that irrevocably sets the Discworld engine in motion. It is not a "sequel" in the conventional sense; rather, it constitutes the indispensable second half of a single, continuous narrative. A book that commences precisely at the final page of its predecessor — almost as if that page had never been turned.
The thoroughly inept wizard Rincewind (rendered as “Ανεμοβρόχης” in the Greek translation) continues his valiant attempts not to die; the ever-optimistic tourist Twoflower (Δίανθος) persists in documenting, with charming naïveté, the most chaotic world in the cosmos; and the Luggage continues to scurry about on its hundred little legs, brimming with the zeal of a... homicidal puppy. Meanwhile, Magic begins to shake the very foundations of reality; the great turtle A’Tuin edges ever closer to a celestial consort; and the wizards of the Unseen (and highly magical) University — who never miss a chance for subterfuge — attempt to “resolve” the crisis in the most traditional of manners: with rather more magic, and only marginally less reason.
Pratchett retains the same frenetic, almost cartoonish energy that characterised the first volume, yet something here has shifted: one begins to perceive the cracks behind the smile. Not from fatigue, but from depth. Behind the humorous dust jacket and the linguistic acrobatics, the author has begun to assemble an entire world — one governed by its own peculiar laws (or rather, its own deliberate infractions of them). The first strains of seriousness emerge gradually, like a cello playing softly behind the orchestra of punchlines.
It is also worth noting that this is where we encounter the first genuine inklings of Discworld cosmology — something that shall evolve into a rich mythology, as resonant in meaning as it is abundant in trolls, elves, golems, bureaucrats, librarian-orangutans, and arcane metaphysical regulations.
If you finished the first book wondering, “Yes, but what happens next?”, then The Light Fantastic is not merely the next chapter — it is the inevitable continuation of a journey that was never about destination, but always about manic, unstoppable momentum. And now that the first foundations of this strange new world have been laid, its protagonists begin to resemble less caricatures and more... heroes. Or at the very least, people. Or something, at any rate, that carries emotions, terror, and perhaps a bit of sausage in a pouch inside the Luggage.
If you’re reading these books in order, congratulations: you’ve arrived at the end of the beginning. If not, do yourself a favour and turn back to page one — the worlds Pratchett has wrought deserve to be witnessed as they assemble, piece by absurd, affectionate, and razor-sharp piece.
Equal Rites are coming (pun intended). Hold on!
3. Equal Rites ⭐ ⭐ ⭐
Equal Rites, the third book in the Discworld series, marks a decisive turning point in the literary trajectory of Terry Pratchett. It is here that we encounter his first truly unforgettable heroine, Eskarina Smith, through whom a significant social concern emerges—one that could easily have lapsed into didacticism: gender discrimination, particularly within the realm of magic.
Published in the now distant 1987, the novel is in dialogue with the second-wave feminist movement, which concentrated on gender inequality across professional and social spheres. The protagonist—a young girl who claims the right to become a "wizard"—embodies the demand for equal opportunities irrespective of gender. Though Pratchett deftly sidesteps overt moralising, the narrative tension between “masculine” and “feminine” forms of magic functions as a pointed allegory for societal expectations and the structures of power. With humour and considerable acuity, the author dismantles the tradition that relegates women to “supporting” roles, doing so at a time when such narratives were rarely afforded space within the fantasy genre.
The plot itself is elegantly simple: it follows Esk, a girl who "accidentally" acquires the power of a wizard—an occurrence unthinkable in a world where wizardry is an exclusively male preserve, while women are expected to engage in the supposedly inferior domain of witchcraft. At her side stands Granny Weatherwax, the enigmatic and irascible witch of the mountains, and one of the Discworld's most iconic characters. With her stubbornness, wisdom, and occasionally unsettling logic, Granny assumes the role of mentor, guiding Esk through a world unprepared to accept her.
Granny Weatherwax, who begins Equal Rites as a seemingly archetypal (if slightly sharper or more indulgent than average) mountain witch, rapidly develops into one of the most complex and respected figures in the Discworld canon. In the later works of the Witches subseries—such as Wyrd Sisters, Lords and Ladies, and Carpe Jugulum—Granny acquires a philosophical, moral, and existential depth. Beneath her sardonic manner and rigorous rationality lies a tireless advocate of common sense and the “hidden good.” Her relationship with power, identity, and choice renders her a truly remarkable fictional hero: a counterweight to arrogance and institutional authority. It is no coincidence that she frequently steals the limelight even from the wizards of Ankh-Morpork.
Pratchett’s humour is ever-present: linguistic playfulness, witty dialogues, and surreal reversals dissect the conventions and clichés of traditional fantasy. However, the narrative has not yet attained the structural assurance or philosophical maturity of his later work. The plot remains relatively straightforward and linear, and the underlying message—though timely and insightful—is at times articulated in a direct and somewhat predictable manner.
Equal Rites is a charming, often amusing read—particularly suited to those interested in witnessing the emergence of some of Discworld’s most beloved figures. Though it does not rank among Pratchett’s masterpieces, it serves as a bridge: a transitional step from near-slapstick parody towards social satire imbued with depth and emotional resonance. It is an honest, humorous, and important milestone in the evolution of Discworld: imperfect, to be sure, yet unmistakably marked by the voice of an author beginning to discover his true range.
4. Mort ⭐ ⭐ ⭐⭐
Mort is the first novel in the Discworld series to centre explicitly on the character of Death. Of course, we have encountered Death before—most notably in The Colour of Magic—as a delightfully macabre reaper who speaks in capitals and waits, in vain, for Rincewind to expire. However, his elevation here to a principal role marks a significant step in the maturation of Terry Pratchett’s narrative craft. Indeed, the author himself has admitted that this was the first work in which he felt he had successfully married inventive satire with a coherent and meaningful plot.
The story begins with young Mort, a lad conspicuously ill-suited to agricultural life—he appears to possess more elbows and knees than one might consider anatomically proper—who becomes Death’s apprentice. What follows is a narrative that toys intelligently with philosophical themes such as fate, free will, and identity, all while maintaining Pratchett’s signature wit.
The personification of Death as a figure who is at once paternal, curiously tender, and frequently clueless is paradoxically human, making him instantly endearing. (Not that we disliked him in his earlier appearances, of course—but now we truly get to know him.) Death’s fascination with the human condition—from dancing and drinking to, rather amusingly, gainful employment—yields moments that are as comedic as they are quietly affecting.
Mort, for his part, undergoes a rather compelling transformation. His gradual assimilation into the “essence” of Death introduces ethical dilemmas and psychological tension, deepening the dramatic scope of the novel.
The narrative becomes genuinely delightful when Mort intervenes in the fate of Princess Keli, preventing her assassination and dispatching her would-be killer—thereby disrupting the natural order. Nevertheless, those around her continue as if she were dead, preparing her funeral and mourning her... in her presence. This conceit of an alternate reality—one on the brink of collapse—adds unexpected urgency and narrative propulsion. Meanwhile, the contributions of the wizard Cutwell and Death’s adopted daughter Ysabell offer not only comic relief but also vital support for Mort’s journey.
To be sure, there are moments where the humour overshadows the emotional or narrative depth—an indulgence that may wear thin for some readers. Yet these minor lapses do little to detract from the novel’s overall charm and structural success. Mort is among the first truly accomplished entries in the Discworld canon. With Death at the forefront and a plot that deftly combines magic, metaphysics, and quintessentially British humour, the novel stands tall and inaugurates what might be called the informal “Death Saga” of Pratchett’s universe.
A clever, touching, and uproariously funny read that unquestionably deserves its place among the high points of modern fantasy literature.
All legends must, inevitably, have a point of origin. For the inimitable Discworld series, this diminutive volume—oft-overlooked depending on the edition (particularly when deprived of Kirby’s illustrations)—constitutes the zero point, the Big Bang, the fiat lux.
A flat world, disc-shaped (a veritable delight for the modern flat-earther, albeit one lacking the cranial geometry requisite for such a read), rests atop the backs of four colossal elephants (a fifth exists, though we shall not entangle ourselves with it just yet), themselves poised upon the mighty carapace of the cosmic turtle, Great A’Tuin, who swims through the sparse aether of the universe, seemingly without destination. Of course, water cascades endlessly into the void from the rim of the disc; naturally, there is no 'north' or 'south', but rather 'hubward' and 'rimward'; and indeed, there is magic, heroism, cowardice, wizards, books so potent they must be chained down (yet still manage to plant spells into the minds of hapless apprentices), and—perhaps most fantastically—a tourist. With a trunk...
Terry Pratchett (who, most tragically, succumbed to Alzheimer’s disease in 2015—a cruel irony for a mind so incisive) skewers every cliché of the fantasy genre—swords, sorcery, and dragons, as one might say in plainer speech—with unparalleled wit, never missing an opportunity to draw trenchant parallels with our own world. These parallels, as the series progresses, become increasingly sophisticated, increasingly ludicrous, and, correspondingly, increasingly delightful—culminating in an entire spin-off metatextual series: The Science of Discworld.
The narrative is not, one must note, self-contained in this first instalment. It finds its resolution in the second volume, The Light Fantastic—in essence, the two comprise a single diptych. Nonetheless, the foundation is laid, the seed planted; whether you shall be enchanted by the exceptional prose of one of the 20th century’s most sagacious authors is now, quite simply, a matter for your own discovery. If you are only now embarking upon this journey, I must confess—I envy you. For before you lies a corpus of over forty unwritten (for you, at least) tomes, filled with marvel and delight. Granted, the later volumes bear the melancholy mark of Pratchett’s illness, and, lamentably, his publishers continued to exploit the franchise... yet, from a certain point onward—when his style attains full maturity—the humour gracefully yields primacy to philosophical resonance, without compromising the pleasure of the text.
Tarry no longer. Awaiting your acquaintance are the most ineffectual wizard in all creation (though he at least bears a hat which clearly proclaims his station), the most ingenuous tourist the Disc has ever known, and a magical world, vast and strange, for you to explore in their improbable company.
2. Light Fantastic ⭐ ⭐ ⭐ ⭐ ⭐
If The Colour of Magic was the initial spark — the proverbial kick to the gears — then The Light Fantastic is the blowtorch (or the choke, or the flap, or indeed the compressor) that irrevocably sets the Discworld engine in motion. It is not a "sequel" in the conventional sense; rather, it constitutes the indispensable second half of a single, continuous narrative. A book that commences precisely at the final page of its predecessor — almost as if that page had never been turned.
The thoroughly inept wizard Rincewind (rendered as “Ανεμοβρόχης” in the Greek translation) continues his valiant attempts not to die; the ever-optimistic tourist Twoflower (Δίανθος) persists in documenting, with charming naïveté, the most chaotic world in the cosmos; and the Luggage continues to scurry about on its hundred little legs, brimming with the zeal of a... homicidal puppy. Meanwhile, Magic begins to shake the very foundations of reality; the great turtle A’Tuin edges ever closer to a celestial consort; and the wizards of the Unseen (and highly magical) University — who never miss a chance for subterfuge — attempt to “resolve” the crisis in the most traditional of manners: with rather more magic, and only marginally less reason.
Pratchett retains the same frenetic, almost cartoonish energy that characterised the first volume, yet something here has shifted: one begins to perceive the cracks behind the smile. Not from fatigue, but from depth. Behind the humorous dust jacket and the linguistic acrobatics, the author has begun to assemble an entire world — one governed by its own peculiar laws (or rather, its own deliberate infractions of them). The first strains of seriousness emerge gradually, like a cello playing softly behind the orchestra of punchlines.
It is also worth noting that this is where we encounter the first genuine inklings of Discworld cosmology — something that shall evolve into a rich mythology, as resonant in meaning as it is abundant in trolls, elves, golems, bureaucrats, librarian-orangutans, and arcane metaphysical regulations.
If you finished the first book wondering, “Yes, but what happens next?”, then The Light Fantastic is not merely the next chapter — it is the inevitable continuation of a journey that was never about destination, but always about manic, unstoppable momentum. And now that the first foundations of this strange new world have been laid, its protagonists begin to resemble less caricatures and more... heroes. Or at the very least, people. Or something, at any rate, that carries emotions, terror, and perhaps a bit of sausage in a pouch inside the Luggage.
If you’re reading these books in order, congratulations: you’ve arrived at the end of the beginning. If not, do yourself a favour and turn back to page one — the worlds Pratchett has wrought deserve to be witnessed as they assemble, piece by absurd, affectionate, and razor-sharp piece.
Equal Rites are coming (pun intended). Hold on!
3. Equal Rites ⭐ ⭐ ⭐
Equal Rites, the third book in the Discworld series, marks a decisive turning point in the literary trajectory of Terry Pratchett. It is here that we encounter his first truly unforgettable heroine, Eskarina Smith, through whom a significant social concern emerges—one that could easily have lapsed into didacticism: gender discrimination, particularly within the realm of magic.
Published in the now distant 1987, the novel is in dialogue with the second-wave feminist movement, which concentrated on gender inequality across professional and social spheres. The protagonist—a young girl who claims the right to become a "wizard"—embodies the demand for equal opportunities irrespective of gender. Though Pratchett deftly sidesteps overt moralising, the narrative tension between “masculine” and “feminine” forms of magic functions as a pointed allegory for societal expectations and the structures of power. With humour and considerable acuity, the author dismantles the tradition that relegates women to “supporting” roles, doing so at a time when such narratives were rarely afforded space within the fantasy genre.
The plot itself is elegantly simple: it follows Esk, a girl who "accidentally" acquires the power of a wizard—an occurrence unthinkable in a world where wizardry is an exclusively male preserve, while women are expected to engage in the supposedly inferior domain of witchcraft. At her side stands Granny Weatherwax, the enigmatic and irascible witch of the mountains, and one of the Discworld's most iconic characters. With her stubbornness, wisdom, and occasionally unsettling logic, Granny assumes the role of mentor, guiding Esk through a world unprepared to accept her.
Granny Weatherwax, who begins Equal Rites as a seemingly archetypal (if slightly sharper or more indulgent than average) mountain witch, rapidly develops into one of the most complex and respected figures in the Discworld canon. In the later works of the Witches subseries—such as Wyrd Sisters, Lords and Ladies, and Carpe Jugulum—Granny acquires a philosophical, moral, and existential depth. Beneath her sardonic manner and rigorous rationality lies a tireless advocate of common sense and the “hidden good.” Her relationship with power, identity, and choice renders her a truly remarkable fictional hero: a counterweight to arrogance and institutional authority. It is no coincidence that she frequently steals the limelight even from the wizards of Ankh-Morpork.
Pratchett’s humour is ever-present: linguistic playfulness, witty dialogues, and surreal reversals dissect the conventions and clichés of traditional fantasy. However, the narrative has not yet attained the structural assurance or philosophical maturity of his later work. The plot remains relatively straightforward and linear, and the underlying message—though timely and insightful—is at times articulated in a direct and somewhat predictable manner.
Equal Rites is a charming, often amusing read—particularly suited to those interested in witnessing the emergence of some of Discworld’s most beloved figures. Though it does not rank among Pratchett’s masterpieces, it serves as a bridge: a transitional step from near-slapstick parody towards social satire imbued with depth and emotional resonance. It is an honest, humorous, and important milestone in the evolution of Discworld: imperfect, to be sure, yet unmistakably marked by the voice of an author beginning to discover his true range.
4. Mort ⭐ ⭐ ⭐⭐
Mort is the first novel in the Discworld series to centre explicitly on the character of Death. Of course, we have encountered Death before—most notably in The Colour of Magic—as a delightfully macabre reaper who speaks in capitals and waits, in vain, for Rincewind to expire. However, his elevation here to a principal role marks a significant step in the maturation of Terry Pratchett’s narrative craft. Indeed, the author himself has admitted that this was the first work in which he felt he had successfully married inventive satire with a coherent and meaningful plot.
The story begins with young Mort, a lad conspicuously ill-suited to agricultural life—he appears to possess more elbows and knees than one might consider anatomically proper—who becomes Death’s apprentice. What follows is a narrative that toys intelligently with philosophical themes such as fate, free will, and identity, all while maintaining Pratchett’s signature wit.
The personification of Death as a figure who is at once paternal, curiously tender, and frequently clueless is paradoxically human, making him instantly endearing. (Not that we disliked him in his earlier appearances, of course—but now we truly get to know him.) Death’s fascination with the human condition—from dancing and drinking to, rather amusingly, gainful employment—yields moments that are as comedic as they are quietly affecting.
Mort, for his part, undergoes a rather compelling transformation. His gradual assimilation into the “essence” of Death introduces ethical dilemmas and psychological tension, deepening the dramatic scope of the novel.
The narrative becomes genuinely delightful when Mort intervenes in the fate of Princess Keli, preventing her assassination and dispatching her would-be killer—thereby disrupting the natural order. Nevertheless, those around her continue as if she were dead, preparing her funeral and mourning her... in her presence. This conceit of an alternate reality—one on the brink of collapse—adds unexpected urgency and narrative propulsion. Meanwhile, the contributions of the wizard Cutwell and Death’s adopted daughter Ysabell offer not only comic relief but also vital support for Mort’s journey.
To be sure, there are moments where the humour overshadows the emotional or narrative depth—an indulgence that may wear thin for some readers. Yet these minor lapses do little to detract from the novel’s overall charm and structural success. Mort is among the first truly accomplished entries in the Discworld canon. With Death at the forefront and a plot that deftly combines magic, metaphysics, and quintessentially British humour, the novel stands tall and inaugurates what might be called the informal “Death Saga” of Pratchett’s universe.
A clever, touching, and uproariously funny read that unquestionably deserves its place among the high points of modern fantasy literature.
July 20, 2021
Introduction to Discworld. It just gets better!
December 22, 2016
See Rincewind run. Run, Rincewind, run. That, in a nutshell, sums up the essence of Terry Pratchett's first main character, Rincewind.
His first two Discworld novels—The Colour of Magic and The Light Fantastic—are actually one long story split into two short novels starring Rincewind, a failed wizard, and Twoflower, the Discworld's first tourist.
Rincewind is a self-avowed coward who spends all of his time running from danger only to find greater danger at his destination. He's coerced by the Patrician into accompanying and protecting Twoflower, a tourist from the Counterweight Continent, who has managed to leave that very restrictive society in order to see the world, meet heroes and villains, buy questionable sausages from disreputable street vendors . . . you know, have an adventure.
For most Terry Pratchett fans Rincewind is an all-or-nothing character. He's either their favorite character or they hate him. There's very little middle ground, though I'm one of the few standing in the firmly undecided category. I'm not fond of his mostly cowardly nature, but when push comes to shove, Rincewind usually does the right thing, and always regrets it.
While it's easy to tell the the author [Pratchett] is just getting his feet wet in his new universe, his wisdom and humor are evident right from the start and first time readers will notice a magical reflection of the 'real world' in this one.
All that being said, it is not necessary to begin reading the Discworld series from the beginning, and I am in the camp of fans who do not recommend it. About the only things you'll miss are some basic world building, which you'll easily pick up in later books, and the scene where Unseen University's librarian gets turned into an orangutan. That story, specifically which spell does it, is never repeated in any other book (later books only say that an out of control spell did it, they never again say which one, and I'm not going to tell you here). While I don't recommend starting with the first two books, at some point they must be read.
Most of Mr. Pratchett's early books are unrelated to each other, though several characters have multiple stories and there is some crossover, but the series can be started anywhere in the first six to eight books or so without losing too much context. After Guards! Guards! some characters start repeating (including Rincewind who pops up briefly in book five).
The third book, Equal Rites, is as good a place as any to start. While Death is arguably Mr. Pratchett's most iconic character, Granny Weatherwax, de facto leader of the Ramtops witches, is right up there at the top of the list and this is the story that introduces her. Many of the author's most famous (and quotable) quotes come from Equal Rites.
A dying wizard arrives in the village Bad Ass, far up in the Ramtop Mountains, and bequeaths his wizard's staff to the eighth son of an eighth son . . . village blacksmith, Gordo Smith. There's just one problem. Gordo Smith's eighth son is a daughter. The Discworld's first, and only, female wizard. What comes next is a wild, and often hilarious, exploration of what it's like to be a woman (or in this case an eight-year-old girl) in a man's world.
Book four, Mort, is the first book where Death is a main character, though he has at least a cameo appearance in very nearly every book. Even if he's never mention by name, Death is instantly recognizable by his voice. HE ALWAYS SPEAKS IN ALL CAPS.
In Mort, Death takes on an apprentice, Mort of course, then decides he wants to find out what it's like to be human and goes on vacation. Mort, however, is not yet ready for the full responsibilities of being Death and makes a mess of it. Complicating matters is that Mort is slowly falling in love with Death's adopted and very human daughter, Ysabel.
Even if your first exposure to Terry Pratchett's Discworld is this compilation, I still recommend starting with Equal Rites and/or Mort before going back to the first two stories. You won't miss much except the surprise, and eventual joy, of the librarian becoming an orangutan, and you'll be captivated by the hidden depths of the Discworld as Mr. Pratchett begins to really hit his stride in the later books.
I was, anyway.
R. R. Stenson
*Terry Pratchett's Discworld series is probably the only series I know of that can best be described with an oxymoron - “These books are seriously funny!*
His first two Discworld novels—The Colour of Magic and The Light Fantastic—are actually one long story split into two short novels starring Rincewind, a failed wizard, and Twoflower, the Discworld's first tourist.
Rincewind is a self-avowed coward who spends all of his time running from danger only to find greater danger at his destination. He's coerced by the Patrician into accompanying and protecting Twoflower, a tourist from the Counterweight Continent, who has managed to leave that very restrictive society in order to see the world, meet heroes and villains, buy questionable sausages from disreputable street vendors . . . you know, have an adventure.
For most Terry Pratchett fans Rincewind is an all-or-nothing character. He's either their favorite character or they hate him. There's very little middle ground, though I'm one of the few standing in the firmly undecided category. I'm not fond of his mostly cowardly nature, but when push comes to shove, Rincewind usually does the right thing, and always regrets it.
While it's easy to tell the the author [Pratchett] is just getting his feet wet in his new universe, his wisdom and humor are evident right from the start and first time readers will notice a magical reflection of the 'real world' in this one.
All that being said, it is not necessary to begin reading the Discworld series from the beginning, and I am in the camp of fans who do not recommend it. About the only things you'll miss are some basic world building, which you'll easily pick up in later books, and the scene where Unseen University's librarian gets turned into an orangutan. That story, specifically which spell does it, is never repeated in any other book (later books only say that an out of control spell did it, they never again say which one, and I'm not going to tell you here). While I don't recommend starting with the first two books, at some point they must be read.
Most of Mr. Pratchett's early books are unrelated to each other, though several characters have multiple stories and there is some crossover, but the series can be started anywhere in the first six to eight books or so without losing too much context. After Guards! Guards! some characters start repeating (including Rincewind who pops up briefly in book five).
The third book, Equal Rites, is as good a place as any to start. While Death is arguably Mr. Pratchett's most iconic character, Granny Weatherwax, de facto leader of the Ramtops witches, is right up there at the top of the list and this is the story that introduces her. Many of the author's most famous (and quotable) quotes come from Equal Rites.
A dying wizard arrives in the village Bad Ass, far up in the Ramtop Mountains, and bequeaths his wizard's staff to the eighth son of an eighth son . . . village blacksmith, Gordo Smith. There's just one problem. Gordo Smith's eighth son is a daughter. The Discworld's first, and only, female wizard. What comes next is a wild, and often hilarious, exploration of what it's like to be a woman (or in this case an eight-year-old girl) in a man's world.
Book four, Mort, is the first book where Death is a main character, though he has at least a cameo appearance in very nearly every book. Even if he's never mention by name, Death is instantly recognizable by his voice. HE ALWAYS SPEAKS IN ALL CAPS.
In Mort, Death takes on an apprentice, Mort of course, then decides he wants to find out what it's like to be human and goes on vacation. Mort, however, is not yet ready for the full responsibilities of being Death and makes a mess of it. Complicating matters is that Mort is slowly falling in love with Death's adopted and very human daughter, Ysabel.
Even if your first exposure to Terry Pratchett's Discworld is this compilation, I still recommend starting with Equal Rites and/or Mort before going back to the first two stories. You won't miss much except the surprise, and eventual joy, of the librarian becoming an orangutan, and you'll be captivated by the hidden depths of the Discworld as Mr. Pratchett begins to really hit his stride in the later books.
I was, anyway.
R. R. Stenson
*Terry Pratchett's Discworld series is probably the only series I know of that can best be described with an oxymoron - “These books are seriously funny!*
March 27, 2010
The Light Fantastic by Terry Pratchett (1986)
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July 25, 2010Mort by Terry Pratchett (1997)
May 23, 2011
this book is about a magician that comes to a blacksmith and turns his newborn baby to a wizard but the wizard does not no though baby is a girl and thats where the journey started
June 10, 2013
As always, good stuff!
January 4, 2013
Excellent.
March 26, 2017
40 of so books, different collections, some audio, it's pratchett, read and heard some as well, all. Dates wrong.
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April 16, 2018Place holder for Wyrd Sisters
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