Rating: 
Summary: A Horseman perplexed
Review: Who but Terry Pratchett could seek sympathy for the feelings of the Death of the Discworld? And obtain it? Once again, Pratchett offers readers a rich banquet of deep philosophic questions served with his saucy wit. As usual the repast may be taken lightly, skimming off the quirky characters - the Raven takes the top marks in this book - or the horrid puns emanating from the music [Welsh for Buddy Holly??!! arghh!]. Otherwise, the gourmet PTerry fan may relish fully the issues surrounding life. And death. Pratchett, as always, may be read at many levels. Any Discworld book may be read repeatedly, and this one is no exception. Death is unique among the Four Horsemen - he's the only one that's inevitable. As an Anthropomorphic Personification, Death is something other than simply a blind force. Small feelings burrow through his consciousness. Without a human frame of reference, he cannot comprehend them fully. He is, however, aware that things aren't quite right. He therefore goes off to determine what is wrong. His departure leaves a void demanding filling. His replacement is the daughter of his foundling and his apprentice - Susan Sto Helit. With Susan, Pratchett turns away from Death to examine Life. In this instance, Life shows how powerful it can be, even self generating. Life, the universe itself, may be the result of a musical note. Never mind the Big Bang, how about the Big Bong? Life, through Music, shows its universality through Music With Rocks In. Rock music can be performed by everyone. Talent, discipline, training all may be ignored. Music With Rocks In is little more than the fullest expression of human feeling. Even Susan, much detached from her surroundings, is caught up in its force. In Susan, Pratchett demonstrates the power of his characterisation. She is Death's granddaughter, carrying his "genes" providing inexplicable powers. She can speak with THE VOICE, become invisible, ride Binky. She's human, with a strong sense of justice, vexed by the loss of good people and the survival of bad ones. She wants Death to be "fair", but He can only be what he is - inevitable. Pratchett, of course, must somehow reconcile these views, which he does with his usual panache. Through it all, the Music strives for survival. Pratchett feels that's important because it means survival for us all. [stephen a. haines - Ottawa, Canada]
Rating:
Summary: A Horseman perplexed
Review: Who but Terry Pratchett could seek sympathy for the feelings of the Death of the Discworld? And obtain it? Once again, Pratchett offers readers a rich banquet of deep philosophic questions served with his saucy wit. As usual the repast may be taken lightly, skimming off the quirky characters - the Raven takes the top marks in this book - or the horrid puns emanating from the music [Welsh for Buddy Holly??!! arghh!]. Otherwise, the gourmet PTerry fan may relish fully the issues surrounding life. And death. Pratchett, as always, may be read at many levels. Any Discworld book may be read repeatedly, and this one is no exception. Death is unique among the Four Horsemen - he's the only one that's inevitable. As an Anthropomorphic Personification, Death is something other than simply a blind force. Small feelings burrow through his consciousness. Without a human frame of reference, he cannot comprehend them fully. He is, however, aware that things aren't quite right. He therefore goes off to determine what is wrong. His departure leaves a void demanding filling. His replacement is the daughter of his foundling and his apprentice - Susan Sto Helit. With Susan, Pratchett turns away from Death to examine Life. In this instance, Life shows how powerful it can be, even self generating. Life, the universe itself, may be the result of a musical note. Never mind the Big Bang, how about the Big Bong? Life, through Music, shows its universality through Music With Rocks In. Rock music can be performed by everyone. Talent, discipline, training all may be ignored. Music With Rocks In is little more than the fullest expression of human feeling. Even Susan, much detached from her surroundings, is caught up in its force. In Susan, Pratchett demonstrates the power of his characterisation. She is Death's granddaughter, carrying his "genes" providing inexplicable powers. She can speak with THE VOICE, become invisible, ride Binky. She's human, with a strong sense of justice, vexed by the loss of good people and the survival of bad ones. She wants Death to be "fair", but He can only be what he is - inevitable. Pratchett, of course, must somehow reconcile these views, which he does with his usual panache. Through it all, the Music strives for survival. Pratchett feels that's important because it means survival for us all. [stephen a. haines - Ottawa, Canada]
| 
