Tell me how much you loved this book. Or how much you hated it, although you’re wrong, of course. Or parts you liked best or parts you disliked or parts that confused you or whatever. Or characters: there’s Adam and Anathema and Aziraphale and, of course, Crowley and so many more. So much to talk about.
The only requirement is that you be playing “We Are the Champions” in the background while you participate.
Theme should always be handled lightly, which is why the best books often inspire theme arguments. I think there are two possible themes here, but I also think that one is arguably more of a Discworld theme, and the second is the real heart of Going Postal, the basic statement it makes about the human condition. Continue reading
So I’m still figuring out the best way to do a book club here. I started with very open posts, but I’d like to also try starting points that are more focused. So let’s look at the characters of Moist, Adora Belle, and Reacher. Continue reading
Pratchett’s stories are tremendously fun comic romps, but there are serious themes beneath them. Sometimes he descends into theme-mongering, but in Going Postal, he deals with a light but still savage hand with the capitalist mindset that greed is good and only the strong survive. This is irony at it’s finest since protagonist Moist’s entire life is based on greed and duplicity and yet he’s the one who defeats the perfectly named Reacher Gilt and keeps communication in Ankh Morpork, if not free, then definitely flowing with efficiency and speed that is not hobbled by inefficiency and greed. (He goes on to have Moist save the banking system before it crashes in Making Money, predating the 2008 stock market crash by a year.) Continue reading
Pratchett puts forty pounds of story in a five pound bag and then tightens the string. How does he do that without descending into chaos (if he does; he kinda likes chaos)?
I think a lot of it is that he always remembers whose story he’s telling. This may story may go all over the place, but it goes all over the place following Moist, who is worthy of being followed. While it does have a classic doppelganger protagonist and antagonist, it also follows the classic doppelganger structure: the protagonist learns and the antagonist doesn’t, so as the protagonist arcs, the antagonist falls behind. In this story character is structure. Continue reading
When you’ve got a protagonist named Moist Von Lipwig, character is obviously going to be a vivid part of your skill set.
Pratchett’s over-the-top satire is not for everybody, but I’d argue that his characters are universal even while being so far off center they’ve slipped over into a different reality (the one where the universe is a turtle with the world on its back). Continue reading