… In contrast, Pratchett’s text incorporates childhood play within a festival of tales. Whilst traditional mythic structures have been utilised by both authors to frame their carnivalesque interpretations, Pratchett has constructed a carnival space inscribing metafictive strategies which focus on humorous inversions, mirror images, and intertextual reflexivity embedded in his celebration of plots. His opening page alerts readers to this artifice of plotting by invoking five plot connections: one is encoded in the chapter peritext, Mr Bunnsy has an Adventure;iii the second quotes Browning’s text, The Pied Piper of Hamlyn; two characters then debate their view of the narrative’s direction; whilst a fifth voice, the narrator, begins the official tale. The author humorously and consistently encodes intertextual referencing and metafictive mirroring devices to establish carnival space in this narrative.
Because this text features linguistic playfulness, Pratchett also builds complex contrapuntal plots wherein each emergent narrative strand is embedded in its predecessor: First, the peritext, framed to indicate the narrative’s structural direction, establishes a mise en abyme device that heads each chapter of the larger narrative and parodies the event expectations of traditional quest structures. Beatrix Potter’s text The Adventures of Peter Rabbit is a prominent intertext in Pratchett’s Mr Bunnsy has an Adventure. Pratchett’s use of this peritext structure also encodes both parodic and ironic perspectives and suggests a superior view of childhood naivety in its use of mimetic and intertextual signification even as quest codes are subverted.
Ratty Rupert was the bravest rat that ever was. Everyone in Furry Bottom said so. (2002, p.79)
Mr Bunnsy realised that he was a fat rabbit in a dark wood and wished he wasn’t a rabbit, or at least not a fat one … (2002, p.132)
The same intertext also re-emerges as a didactic masterplot which models utopian society: its gradual philosophical integration is treasured as a training manual by which the educated rodents may consider equal participation in human society. This anthropomorphic approach mirrors childhood struggles with rules of conduct, though at a deeper interrogative level the author examines the Western humanist ideologies that sustain civilised spaces whilst simultaneously offering an intersubjective view of quest representation. Pratchett humorously signifies an emerging rodent consciousness that examines and revises past behavioural patterns to derive a new estimate of societal responsibilities. In this narrative strand, the quest transition from rodent to Changeling interrogates cultural codes of social behaviour, but Pratchett also intends this construct as a comedic subplot which mirrors theories of emergent consciousness within human subjects. The author images child subjectivity even as he promotes this anthropomorphic self-reflection, with all its incumbent failures, as a social condition of growth.
In opening scenes that disclose his feline protagonist’s narrative intention, Pratchett intertextually mirrors the structure of Browning’s popular children’s poem, The Pied Piper of Hamlyn. Browning’s narration begins with a rat plague, and event focus is placed upon the piper’s response to a failed contractual agreement that deprives the town of its children and mirrors the piper’s deprivation of just payment. Pratchett’s Maurice enacts a carnival pastiche: even as the text openly images and enacts authorial plotting, the author’s intertextual allusion adapts another fairytale, Puss-inBoots. At one level, Maurice’s plan provides selected towns with a problematic rat population, offers the piper solution at a negotiated price, and retrieves the rat troupe downstream, ready for a new venture. At another level, the plotting inscribes a game enacted by players: child piper, anthropomorphised rodents, and entrepreneurial conductor, which directs narrative awareness to the performative actions of writers and the game of plotting fiction. In Pratchett’s narrative playground, Maurice and his team soon encounter a Bad Blintz that already has its own deceitful schemes. Here the author’s counterpoint weaves plotters and plots that introduce a carnival space of narrative patterns.
Pratchett’s third intertextual strategy centres upon …. (p. 144-145)
Death, Mort, Ysabell and Albert are the four main players of this story. Of the four of them, Death is the one that reappears in most of the Discworld stories. Death is probably the most famous, revered and confused character of all the Discworld characters and is also one of my favorites.
DEATH is like an Asperger/Autist in the sense that most things are taken literally. Quite often the activities that humans engage in seem pointless. But that does not stop Death from trying to understand. At one point in Mort, Death visits a party at the Patrician’s palace and joins in the Serpent Dance (holding the waist of the person in front, kicking legs in time to beat and going from room to room).
… TELL ME, PLEASE, WHAT IS THE MEANING OF THIS ACTIVITY?
… “Haven’t you been to a party before? Mind the glass, by the way.”
I AM AFRAID I DO NOT GET OUT AS MUCH AS I WOULD LIKE TO. PLEASE EXPLAIN THIS. DOES IT HAVE TO DO WITH SEX?
“Not unless we pull up sharp, old boy, if you know what I mean?” said his lordship, and nudged his unseen fellow guest with his elbow.
“Ouch,” he said. A crash up ahead marked the demise of the cold buffet.
I DO NOT KNOW WHAT YOU MEAN.
“Mind the cream there, it’s slippery – look, it’s just a dance, all right? You do it for fun.”
This mood, and possibly Ysabell (adopted daughter), is most likely why Death suddenly felt the need for an apprentice (obviously Mort(imer)). Mort’s family is in the farming business and to them it is acutely embarrassing that their youngest son has the “same talent for horticulture that you would find in a dead starfish.”
Poverty is an interesting phenomenon. Growing up, my family was certainly struggling to make ends meet. Not until we moved into an area where others could afford what we could not, did I feel poor.
“After five minutes Mort came out of the tailor’s wearing a loose fitting brown garment of imprecise function, which had been understandably unclaimed by a previous owner and had plenty of room for him to grow, on the assumption that he would grow into a nineteen-legged elephant.
His father regarded him critically.
“Very nice,” he said, “for the money.”
While Mort might not have liked that garment, he had no concept yet of poverty because the whole village lived a hard life.
Then DEATH comes and Mort’s apprenticeship begins. Death starts the apprenticeship by taking him to Ankh-Morpork to get a curry and some clothes.
“What are we going to do now?”
BUY YOU SOME NEW CLOTHES.
“These were new today – yesterday, I mean.”
“Father said the shop was famous for its budget clothing,” said Mort, running to keep up.
IT CERTAINLY ADDS A NEW TERROR TO POVERTY.
All through Mort the concept of class/stratification is approached with humour. However, Pratchett is not afraid to aid us in seeing exactly how we all seem to accept these divisions. He questions how valid this thinking is without making us feel like the idiots we are.
Mort’s first encounter with Death’s adopted daughter, Ysabell is interesting.
“Are you a servant?” she said.
Mort straightened up.
“No,” he said, “I’m an apprentice.”
“That’s silly. Albert said you can’t be an apprentice.”
“He says,” said Ysabell in a louder voice, “that apprentices become masters, and you can’t have more than one Death. So you’re just a servant and you have to do what I say.”
Clearly, a shaky beginning. Ysabell, of course, is 100% correct about Death being irreplaceable. Or is she? Hmmm. Mort has no idea what is possible. His mind is open to the possibilities. And, sadly for Death, Mort is extremely open to the idea of Princess Keli. Princess Keli’s impact on Mort is apparent in the song Beautiful from the musical Mort: The Musical. Mort struggles with what most of us struggle with: Death comes to us all. So, what happens, when the very person sent to collect her soul tries to change fate?
Albert is not happy about the changes in Mort and Death. For one thing, his privileged position is in danger. Loss of privilege and change aren’t things that are easy to face. Even when that privilege does not seem like much to an outsider. So Albert draws on his connections to stop it all from happening.
- Bulgarian: Морт (Истории от Света на Диска, #4)
- Chinese: 死神学徒 (“The Death God’s Apprentice”)
- Czech: Mort
- Croatian: Mort
- Danish: Dødens lærling
- Dutch: Dunne Hein
- Estonian: Mort
- Finnish: Mort
- French: Mortimer
- German: Gevatter Tod
- Greek: Θανατηφόρος βοηθός
- Hungarian: Mort, a halál kisinasa
- Italian: Morty l’apprendista
- Polish: Mort
- Portugese: Mort, O Aprendiz de Morte
- Russian: Мор, ученик Смерти
- Slovak: Mort
- Spanish: Mort
Cohen the Barbarian is much more fun as a Barbarian than Conan could ever be – especially the way Arnold Schwarzenegger portrayed him in the movie. Here we see what is left of the Barbarian after surviving 70 years of life – most of those running around fighting various creatures for gold and wimmin.
Upon meeting Twoflower and Rincewind, Cohen has these words of wisdom to impart:
“He hash got guts, I’ll give him that. Do exshactly what I shay and it ish just possible he won’t end up with them wrapped around a shtone.”
Definitely wise words considering the situations Twoflower has a tendency to drag Rincewind into and out of – helped a great deal by the Luggage.
I would hate to travel with Twoflower (except for his tendency to survive the most unlikely situations), but he is adorable in his innocence. Surprisingly, now that I think about it, I have actually met tourists who behave as he does. Somehow, I doubt they have the same survival luck as Twoflower. Although, if they had the Luggage on their side, they, too, might have his chances.
The Luggage is the personification of a valet and James Bond all wrapped up in one box. Wordless, and all, The Luggage has to be one of the most interesting characters in the world of silence (on its part – the opposition tends to scream a lot). Its loyalty is undivided once it has settled on an owner. For the time being, that owner is Twoflower. But Rincewind also benefits from that loyalty.
Rincewind remains one of my favorite Discworld characters. His tendency to run away from trouble is actually wisdom. Unless you are a wizards. Wizards seem to consider the saying “curiosity killed the cat” as an invitation to poke anything interesting. Rincewind might poke something, but not without being ready to run. Twoflower, Rincewind and the Luggage might be unlikely friends, but friends they are.
Rincewind, Twoflower and the Luggage find themselves flying off the Discworld at the end of The Colour of Magic. We meet them in this same position at the beginning of The Light Fantastic. Death seems imminent for all three of them. However, someone/something seems to want them for a “higher” purpose.
As the red light in the sky grows larger and the Discworld warmer, chaos seems to meet The Trio wherever they go. As usual Twoflower gets them into trouble, Rincewind tries to flee from trouble and the Luggage has to save both of them – although Twoflower gets priority. Through their travels they get to meet all sorts of insanity and danger while being herded toward their “destiny”.
Terry Pratchett’s second book in the Discworld saga and the Rincewind saga teaches us a creation-story, an end-story and a whole lot about survival and adventure.
1993: Graphic novel – illustrated by Steven Ross and Joe Bennet. Published by Corgi.
2008: Sky One Television two-part miniseries combining both The Colour of Magic and The Light Fantastic (The Colour of Magic): the version released in the US was much shorter than the one released in the UK
My review of the television miniseries
L-Space: Annotations, information and quotes
- Bosnian: Svetlost čudesnog (Disksvet, #2)
- Bulgarian: Фантастична светлина (Истории от Света на Диска, #2)
- Chinese: 奇光
- Croatian: Čudesno svjetlo (Roman o svijetu Diska, #2)
- Czech: Lehké fantastično (Úžasná Zeměplocha, #2)
- Danish: Det fantastiske lys (Diskverden #2)
- Dutch: Dat Wonderbare Licht
- Estonian: Fantastiline valgus (Kettamaailm, #2)
- Finnish: Valon tanssi
- French: Le huitième sortilège (Les annales du Disque-Monde, #2)
- Georgian: ფანტასტიური ნათება
- German: Das Licht der Phantasie (Scheibenwelt, #2)
- Greek: Το Φως της Φαντασίας
- Hungarian: A mágia fénye (Korongvilág, #2)
- Italian: La luce fantastica
- Lithuanian: Šviesa fantastiška
- Polish: Blask fantastyczny (Świat Dysku, #2)
- Romanian: Lumina fantastică
- Russian: Безумная звезда (Плоский мир, #2)
- Slovak: Ľahká fantastika (Úžasná Plochozem, # 2)
- Slovenian: Luč fantastike
- Spanish: La luz fantástica (Mundodisco, #2)
- Swedish: Det fantastiska ljuset
- Turkish: Fantastik Işık (Diskdünya, #2)
I listened to the first two episodes of Good Omens on BBC4 yesterday. I’m one hour ahead of the UK so that was all I managed.
What fun. The voices fit the characters. Hearing Them’s voices was a bit strange. They sounded like kids. I know, they are supposed to do that, but for some reason it all of a sudden sounded strange.
Dirk Maggs did great job with his adaptation of the story. Hastur and Ligum were the baddies they were supposed to be. Crowley and Aziraphale were the fence-sitters they had become and Anathema was depressed about losing her book. Finally, Dog changed with the correct sound.
In honor of the occasion, Terry Pratchett and Neil Gaiman played the cops who chased Crowley and found more than they were looking for when they opened the hood of their car.
If you have a chance, you really should drop by BBC4 and enjoy the comedy while you can.
I originally blogged about Good Omens on my humanitysdarkerside.com blog. The original post is still there. Time has passed and I have changed, both as a blogger and as a reader.
This collaboration between Terry Pratchett and Neil Gaiman has led to a story that is funny, action-filled and philosophical. Both men seem to enjoy questioning the paradigms present in society at the time of whatever they are writing. Both Neil Gaiman and Terry Pratchett are exceedingly good as this type of authorship.
“Well, I had to,” said the angel, rubbing his hands distractedly. “They looked so cold, poor things, and she’s expecting already, and what with the vicious animals out there and the storm coming up I thought, well, where’s the harm, so I just said, look, if you come back there’s going to be an almighty row, but you might be needing this sword, so here it is, don’t bother to thank me, just do everyone a favor and don’t let the sun go down on you down here”.
“Funny thing is,” said Crawly, “I keep wondering whether the apple thing wasn’t the right thing to do, as well. A demon can get into real trouble, doing the right thing.” He nudged the angel. “Funny if we both got it wrong, eh? Funny if I did the good thing and you did the bad one, eh?”
Two of the characters from the Garden of Eden kind of stick together up to this moment in time, the moment of Good Omens. Both Crowley and Aziraphale are angels (on opposite sides) who enjoy living with humans because of the choices people make. Now the awaited Armageddon has arrived and the two aren’t happy about having to follow the commands of their masters. But they do because angels have a built in slavery mode when it comes to God and Satan (with a little leeway). Slavery is like that. The slave has to follow the command their are given, but only the exact wording applies. Of course, using the leeway inherent in most commands could risk getting them kicked off earth, but both Asiraphale and Crowley find that risk worthwhile.
The Son of Satan is to be the one who ushers Armageddon in. Crowley and Aziraphale have both decided to watch over him. But it turns out that a baby got switched at birth and it was the wrong one and both angels will be in serious trouble if their masters find out that something has gone awry.
The Son of Satan, or Adam as he is known to his friends, is going to be a huge disappointment to his biological father. You see, the boy has turned into the kind of child that pretty much wants to make the people he likes happy – such as the town environmentalist. Anathema knows there is something really strange about Adam (besides him not having an aura), but she cannot seem to concentrate on figuring out what that something is. I love “Them” (Adam’s gang). Their take on the world is wonderfully influenced by their parents and other important adults. I remember how I believed everything Important people told me. Some of those beliefs have been replaced by others while some of them still remain. Gaiman and Pratchett manage to discuss the whole genetics v environment debate in Good Omens through their nutty little crew of characters.
It is funny that the son of Satan is a disappointment to his father. I would think that ought to make father Satan pleased with his offspring. But Satan is only pro-disobedience if it is disobedience to others. One of the major problems with getting a hold of his bratty little angel son, is that Adam cannot be found. In fact, the only one who is able to find Adam is Adam’s very own Hellhound, Dog.
The gang that are supposed to help Adam fight Armageddon are gathering to fulfill their destiny, but none of them knows where to go. Where is the promised son of the Devil?
Good Omens is filled with interesting characters and a strange sense of logic. Whenever I begin reading books by Terry Pratchett and Neil Gaiman, I get into this weird thought-mode where I go – yeah, that could happen. This time was no exception.
- Dobry Omen
- Johanna Sinisalo (Finnish)
- Madame Macabre (Spanish)
- Myosotis (French)
- Ohentibi (Hungarian)
- World Fantasy Award nominee for Best Novel, 1991
- Locus Award for Best Fantasy Novel, 1991
- 2014 December 22: BBC Radio 4 – It begins (HALLELULJAH! or was it PRAISE SATAN!) – The End is Near.
In March 2013, Cult Classic Theatre in Glasgow, Scotland, performed Amy Hoff’s adaptation of Good Omens with the permission of Terry Pratchett and Neil Gaiman
- Croatian: Dobri predznaci
- Dutch: Hoge Omens
- French: De bons présages
- Finnish: Hyviä enteitä
- German: Ein Gutes Omen
- Hungarian: Elveszett próféciák
- Italian: Buena Apocalisse a tutti!
- Polish: Dobry Omen
- Portugese: Belas Maldições
- Russian: Добрые предзнаменования
- Spanish: Buenos Presagios
- Swedish: Goda omen
- Turkish: Kıyamet Gösterisi
Neil Gaiman: “Terry Pratchett Isn’t Jolly. He’s Angry.”
Good Omens Artwork
Kin Karad works for the Company. Her job is to oversee the creation of planets. Imagine that: being able to be part of planet-creation. Might make you feel like a supreme being, perhaps even a bit cocky. Add cockiness to a brilliant mind and the road is short to doing something to divert your attention from the incredibly boring task of layering the planet properly. One must remember to place the fossils in the correct layer, thus avoiding confusion with later settlers. Placing a plesiosaur holding a placard reading “End Nuclear Testing Now” in the wrong stratum might seem like a good idea at the time. Newbies! Always so full of themselves.
Kin does remember being exactly like that herself once upon a time, and she is impressed with the inventiveness of the culprit. The Company is not. It expects its employees to follow the regulations come what may. Bureaucracy that strict might get a bit boring after a couple of centuries. Kin is getting tired of her life.
Right on time she receives an invitation to travel with the stranger Jago Jalo. Kin Karad decides to go but when she gets to the spaceship she discovers that she is alone. Companions will be joining her later – a kung called Marco Farfarer, and Silver the Shandi. They are told that they will be going to a flat world. Yes, a flat world with a star system revolving around it.
This trio gets to meet interesting people who all seem to have one aim in their lives – get rid of the weird strangers. Some of the people they meet are as strange as Silver. Although Silver might think humans look pretty strange. All in the eye of the beholder I guess. Some of the people/creatures they come into contact with are more than they appear to be. In fact all of Flat Earth is other than it appears to be.
Humour is a tricky business. Some humour can be extremely funny without my feeling the need to laugh. That is because really great humour – to me – is humour that makes me squirm inside my head. I find Terry Pratchett to be that kind of author. He rips the world and literature apart and puts them back together in a manner that makes sense to me.
As I read Strata at an older and infinitely wiser (cough, cough) age, Pratchett showed me new layers of myself and the world around me. He continues to do so in all of his stories. In Strata I got to meet fun characters, enjoy excellent action and have an interesting philosophical discussion with a dying “world”. While Pratchett has grown as an author since those early days, even WAY back then, Terry Pratchett was a pretty awesome writer.
- Bulgarian: Страта; Transl: Светлана Комогорова – Комата; Прозорец, 1999
- Czech: Strata; Transl: ;Praha, Magnet-Press, 1997
- Dutch: Delven; Transl: Jaime Martijn; Amsterdam, Meulenhoff-M, 1982; Cover-art: Tom Barber
- Strata; Transl: Jaime Martijn; Amsterdam, Meulenhoff-M, 1994; Cover-art: Nico Keulers
- Strata; Transl: Jaime Martijn; Amsterdam, Meulenhoff-M, 1994; Cover-art: Nico Keulers
- French: Strate-à-gemmes; Transl: Dominique Haas; Paris, Pocket, 1997
- German: Strata oder die Flachwelt; Transl: Heinz Zwack; München, Wilhelm Goldmann Verlag, 1983
- Strata; Transl: Andreas Brandhorst; München, Piper Taschenbuch, 1992
- Polish: Warstwy Wszechświata; Transl: Ewa Siarkiewicz; Warszawa, Oficyna Wydawnicza Almapress, 1992
- Dysk; Transl: Jarosław Kotarski; Poznań, Dom Wydawniczy Rebis, 1999
- Dysk; Transl: Jarosław Kotarski; Poznań, Dom Wydawniczy Rebis, 1999
- Russian: Творцы миров; Transl: Олег Колесников
- Страта; Transl: Л. Щёкотовой; Внецикловые романы, 2004
- Journal: Если № 3, март 2004; Терри Пратчетт; Страта; Transl: Л. Щёкотовой; стр. 117-222; Art: И. Тарачкова
Not too many years ago, my husband ended up in the hospital. He was there for four weeks. At one point, the drs weren’t certain how things would go and he ended up in Intensive. I had just started on The Unadulterated Cat and decided that if he had to placed in coma, then I would keep on reading it out loud to him. Thankfully, he did not have to be placed in coma, so I kept on reading the book to myself. But I have to say that The Unadulterated Cat represents a frightening period of my life yet also a time of gratitude in my heart.
Cats! My first cat appeared soon after my entry into the world. From pictures that cat seemed to be an adorable white little sweet-heart. According to my parents our relationship was much like the cat and baby in the above video. She loved being my hat and we kept her a long time. I imagine I put her ears into my mouth and did my best to pull and prod her as much as I was able to.
The Real Cat and Children A Real kitten in a Real household with a junior member can expect to be:1) pulled. 2) pushed. 3) Imprisoned in Cindy’s bedroom with Cindy, Mr T in one of Cinderella’s dresses*, a tiearmed teddy bear, a fearsome plasticoid with Lazer-zap cannon and a small pink pony. 4) Fed unsuitable food. In this category can be included peas, ghastly sweet pink goo, and a fortnight’s worth of Kitty treats in three minutes.5) Inserted into unsuitable clothing (cf. Cindy,Barbie, Action Man, etc).) Carried by being he the middle, so that large amounts of cat flop down on either side. (Strangely enough, most cats put up with this, even when they are great fat toms)
The next one that entered my life ended up with the name Soxie. She just turned up one day. I adored her. We did not have her for all that long before we moved to another country, and the cat may or may not have survived being placed in a pound. Upon leaving I was in my late sixes. Oh, how I missed her. On my way home from school I would sing songs about her and make up stories about where she might have ended up. In spite of her murdering, devious, treacherous and conniving ways she had found a place in my heart.
Buying a house in the Country: A very reliable way of acquiring a cat. It’ll normally turn up within the first year, with a smug expression that suggests it is a little surprised to see you here. It doesn’t belong to the previous occupants, none of the neighbours recognise it, but it seems perfectly at home. Why? It is very probably a Schrodinger Cat
Years and years passed until my family moved into another house in another country. I now understand that is a prerequisite for the magically appearing cat. The lady that moved into our house also turned up one day. She kept on returning and all of a sudden she decided she was ours. Paid rent as well. At night she would climb through my sister’s bedroom window and leave her offerings on her pillow.
Real cats don’t hunt for food, but because they love you. And, because they love you, they realise that for some reason you have neglected to include in your house all those little personal touches that make it a home, and do their best to provide them. Headless shrews are always popular. For that extra splash of colour, you can’t beat miniature sets of innards.
My sister still has a cat. All of her terrifying nightly experiences did not stop her from such a drastic step. Their first cat was the terror of the neighborhood. The one they have now is in cahoots with the dog. Such unpredictable creatures, cats, and described to perfection by Terry Pratchett.
- Bulgarian: Автентичната котка
- Czech: Nefalšovaná kočka
- Dutch: De Echte Kat: Felix Vulgaris
- Finnish: Tosikissa ei kirppuja kiroile
- French: Sacrés chats !
- German: Die gemeine Hauskatze
- Hungarian: Az igazi macska: Kampány az igazi macskáért
- Italian: Il Gatto D.O.C.
- Polish: Kot w stanie czystym
- Russian: «Кот без дурако́в», «Кот без прикра́с», «За подлинную кошачесть»
- Swedish: Riktiga Katter bär inte Rosett
“In a distant and second-hand set of dimensions, in an astral plane that was never meant to fly, the curling star-mists waver and part …
Great A’Tuin the turtle comes, swimming slowly through the interstellar gulf, hydrogen frost on his ponderous limbs, his huge and ancient shell pocked with meteor craters. Through sea-sized eyes that are crusted with rheum and asteroid dust He stares fixedly at the Destination.
In a brain bigger than a city, with geological slowness, He thinks only of the Weight.
Most of the weight is of course accounted for by Berilia, Tubul, Great T’Phon and Jerakeen, the four giant elephants upon whose broad and star-tanned shoulders the Disc of the World rests, garlanded by the long waterfall at its vast circumference and domed by the baby-blue vault of Heaven.” (Page 3 of The Colour of Magic)
That is a seriously gigantic turtle. My first introduction to Terry Pratchett was through The Colour of Magic in its Norwegian translation (Magiens farge). I didn’t like it and didn’t finish it. Translations are tricky that way. Later on I got hold of the English version of (I think) Guards! Guards!. Total change of heart and I decided that I would give The Colour of Magic another shot – in English. Huge difference (in my brain anyways). Words are funny that way. Words and the ability to convey a feeling from one language to another.
Rincewind has an interesting take on life – you do your very best to run away from it. He is a great runner and will become even greater as he is volunteered as tour guide for the blithely ignorant tourist, Twoflower and Twoflower’s luggage. This is one piece of Luggage you do not want to try to steal from its owner. Nor should you try to harm its owner while the Luggage is nearby. Oh, you can want to all you like, but try it and you might have taken your very last breath.
Twoflower is your typical tourist. He finds EVERYTHING quaint about Ankh-Morpork, smells and all. Social rules and customs are caught by the breeze and carried away before he gets an inkling of what they might be. His naivety should have gotten him killed along with Rincewind and the Luggage in quaint old Ankh-Morpork (and the rest of the places he visits on the continent). Without the luggage and Rincewind’s ability to somehow get out of impossible situations, he surely would have.
This trio wreaks havoc wherever they end up. Death crosses their paths several times. In The Colour of Magic, Death learns what it is to be vexed with a person who will not die when he is supposed to. This trio’s journey takes them into and out of the embrace of Death time and again. They are hunted by trolls, bears, demons, dragons and believers.
The only language I was not able to find a link to was Indonesian. The Serbian and Croatian titles were identical, so I just assumed that one could be substituted for the other.
Bulgarian: Цветът на магията
Chinese-Mainland (simplified): 碟形世界-魔法的色彩
Croatian: Boja Magije
Czech: Barva Kouzel
Danish: Når Magien Bliver for Broget / Magiens farve
Dutch: De Kleur van Toverij
Estonian: Võlukunsti Värv
Finnish: Magian Väri
French: La Huitième Couleur
German: Die Farben der Magie
Georgian: Magiis p‘eri / მაგიის ფერი
Greek: Το χρωμα της μαγειας / To chroma tis mageias
Hebrew: Tzeva ha-Keshef / צבע הכשף
Hungarian: A Mágia Színe
Icelandic: Litbrigði galdranna / litur galdra
Italian: Il Colore della Magia
Japanese: Disuku Warudo Sodoki / ディスクワールド騒動記〈1〉 (角川文庫)
Korean: 마법의 색
Norwegian: Magiens farge
Polish: Kolor magii
Portugese: A Cor da Magia
Portugese-Brazil: A Cor da Magia
Romanian: Coloarea Magiei
Russian: Цвет волшебства / Öâåò Âîëøåáñòâà
Serbian/Yugoslav: Boja Magije
Slovakian: Farba Mágie
Slovenian: Barva Magije
Spanish: El Color de la Magia
Swedish: Magins färg
Turkish: Büyünün Rengi