Ive been trying to get her to start Discworld for years, so this is a big get for me. It becomes apparent that the narrators are unreliable, not only in terms of controlling the information the reader is allowed access to within the narrative but also because of spatiotemporal ambiguity within the narratives. Most exciting news I got today: Daughter is taking college Fantasy Literature course, just read her first Terry Pratchett novel ('Guards Guards') and is in love with it. The analysis is divided into four chapters as follows: how to read the unnatural in a narrative, what constitutes an unnatural space, the respective narrator’s voice, and finally, reliability of the narrators within their unnatural space. A helpful guide for getting into the hilarious, wickedly imaginative, and life-changingly insightful Discworld series by Terry Pratchett. By using a combination of the fairly recent sub-discipline within narratology, unnatural narrative theory, and Genette’s question of “who speaks?”, this study analyses the narrators and the different kinds of unnatural spaces in which they speak.

This paper compares the unnatural aspects of Gulliver’s Travels and select City Watch instalments of Discworld. Guards Guards A Discworld Boardgame sees players taking on the role of newly recruited members of the Ankh-Morpork City Watch. The narratives foreground the fantastic, written to entertain and amuse its readers but also contain societal criticism in the form of satire or parody. Of course, it’s set on the Discworld and features starring roles for the founding members of the Ankh Morpork City Watch, or at least the Watch as we know it, and so it has a lot of stuff going for it. Jonathan Swift’s Gulliver’s Travels and Terry Pratchett’s Discworld novels set in Ankh-Morpork are similar enough that both can be treated as belonging to the subgenre of comic fantasy. Guards Guards is, despite the vaguely annoying punctuation in the title, one of Terry Pratchett’s finest works, in my opinion.

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