Political Satire in Terry Pratchett's Discworld
An Honors Thesis Submitted in Partial Fulfillment of the Elon University Honors Program
By AmyL. Duncan
May, 2008
Approved by: . ~ J(!)wl!L~ lfea; Schwmd, Thests Mentor ~~\ ~~)~ Kevin Boyle, Department (Reader) b~ Kim Pyne, Depttm:DrrReader) ELON UNIVERSITY
Political Satire in Terry Pratchett' s Discworld
Amy Duncan (Jean Schwind), Dept. of English 5/12/2008
British author Terry Pratchett has gained worldwide acclaim for his fiction. However, his reputation as a fantasy writer has limited recognition of his status as an inventive political satirist. My paper remedies this critical neglect by examining the artistry and principal targets ofPratchett's satire. The satire of the Discworld novels is timeless, relevant, and hilarious. Discworld is the imaginary world that serves as the setting for Pratchett's fiction: it transcends time and space, drawing characteristics from multiple eras and locations. Pratchett claims that Discworld is governed by magic, but that it is logical: "The reason it is fantasy is that it is logical about the wrong things, about those parts of human experience where, by tactic agreement, we don't use logic because it doesn't work properly" ("Imaginary Worlds" 160). Discworld strongly resembles our own world, making it an ideal forum for satire. Especially in the City Watch arc of the series, Pratchett offers subtle, incisive criticism of Western political philosophies and institutions. In particular, his presentation of a philosopher despot (Lord Vetinari), an undiplomatic diplomat (Commander Vimes), and a downwardly-mobile king (Captain Carrot) upend traditional models of government and power. As elected officials currently targeted by The Daily Show and The Colbert Report can attest, political satire has the power to influence popular opinions of government and politicians. Pratchett exerts a similar power by challenging hegemonic notions of civic leadership. In this paper I apply formalist and new historicist approaches to examine Pratchett's literary satire. I argue that Pratchett is a major contributor to the contemporary renaissance in political satire, and that his novels reflect the current political and social climate.
1
I Theories of Satire
What is-satire? According to Jonathan Swift, one of Britain's best-known and
most accomplished satirists, "Satire is a sort of glass, wherein beholders do generally
discover everybody's face but their own" (Swift lxv). It is humorous but insightful;
realistic, yet absurd. The genre traces its roots to ancient Greece and has inspired some
of the greatest minds in literature, including Thomas More, Daniel Defoe, Mark Twain,
and George Orwell. Satire is a central feature of popular art forms-the works of Gilbert
and Sullivan and the films of Charlie Chaplin-as well as literary classics. But satire is
viewed as a lesser genre, inspired by the ordinary folly of everyday life: in his Anatomy
ofSatire Gilbert Highet writes that satire "cannot, in spite of the ambitious claims of one
of its masters, rival tragic drama and epic poetry" (3). It is both loved and hated for its
evisceration of the human condition, but is seen as common; it places the mundane under
a microscope and examines it as if it were extraordinary. Anyone can write satire: the
Roman poet Juvenal argues that "It is difficult not to write satire" (Highet 15). Yet truly
effective satire is an accomplishment of the elite, witty few, who wield their pens as
swords to cut down humanity. Satire requires a healthy ego-perhaps even arrogance
because writers in this genre assume a position of moral or intellectual superiority over
the targets of their humor. According to Swift, it is this arrogance that blinds the satirist
to his own imperfections as he magnifies those of his fellow men.
Gilbert Highet, the foremost authority on literary satire, observes that satire is
merely a method of recording reality: "it is topical; it claims to be realistic (although it is
usually exaggerated or distorted); it is shocking; it is informal; and (although often in a
grotesque or painful manner) it is funny" (5). Satire is a way of twisting reality in such a
2
L way that its flaws are apparent and absurd. But Highet points out the ease with which
readers miss satiric int~ntion and mistake satire for sincerity. Plato, he notes,
wrote a parody of a patriotic speech over the Athenian war dead which was so close to orthodox sentiments and the accepted oratorical manner that some good critics took it seriously in antiquity and some modem scholars still believe it was sincerely written-although Plato himself said it was comparable to a dirty joke ( 15).
In any situation where the orthodox view is subtly challenged and convincingly parodied,
it can be taken seriously. Thus Highet identifies foolproof ways of recognizing satire.
Highet identifies several ways of determining whether a text is satiric. The first is
a direct statement from the author: if the author claims that he or she is writing satire, the
genre is obvious. A statement of pedigree, or justification from the author referencing
past works of satire, is another clear sign. Beyond these two, the signs are more clouded
and subject to debate. Use of a theme and method ofprevious satirists is Highet's third
indicator, closely tied with his fourth, which is directly quoting another satirist. Subject
matter is widely used and reused by authors; thus the reader must scour the text for
additional clues to the satiric intent. Satire is topical and often personal: a satirist will
often cleverly integrate a public figure into his work by incorporating unmistakable
features of that individual, so that despite the character's different name, the resemblance
is evident. Use of satiric devices and language is another giveaway. These include
"irony, paradox, antithesis, parody, colloquialism, anticlimax, topicality, obscenity,
violence, vividness, exaggeration" (Highet 18). The satirist's goal is to shock; the use of
language to unsettle or startle the reader contributes to this end. Finally, Highet argues
for "the satiric emotion" in the writer, which he describes as
a blend of amusement and contempt. In some satirists, the amusement far outweighs the contempt. In others it almost disappears: it changes into a sour sneer, or a wry awareness that life cannot all be called reasonable or noble. But, whether
3
L it is uttered in a hearty laugh, or in that characteristic involuntary expression of scorn, the still-born laugh, a single wordless exhalation coupled with a backward gesture of the head-it is inseparable from satire (21 ).
The necessary element of humor is what separates satire from the "serious" genres. And
indeed, the subject matter of satire must necessarily be lighter than that of tragedy. Satire
cannot be applied to pure evil or to terminal illness; it is in the incompetent, contemptible
aspects of the human condition that satire finds its niche, and on such topics it is written
(Highet 23). When one wishes to take on a serious, fatal subject, one writes a tragedy.
Satire is a weapon against stupidity.
Politics provides the perfect target for such a genre, not only because of its
prominence in contemporary society but also because claims of public service by
inherently selfish beings are always suspect. Politics is not a field held in high regard;
especially in the past thirty years, political discontent has become commonplace. The
ubiquitous presence of mass communication, bringing with it televised images of abuses
of power and public office; the absurd obsession with celebrity culture, including
treatment of politicians as celebrities; and the vast amounts of money spent on frivolous
political projects have all contributed to this sentiment. From Watergate to the Monica
Lewinsky scandal, from outcry over Presidential hopeful John Edwards' $300 haircut to a
proposed $400 million "bridge to nowhere" in Alaska, television inundates viewers with
images of political absurdity. In such an atmosphere, satire is not only imminent, but
necessary.
Like great satirists before him, British fantasy writer Terry Pratchett creates a
neutral setting in which to eviscerate and parody nearly every subject imaginable.
Though the element of escapism exists in fantasy novels, that characteristic unfairly
4
L 1 becomes the defining one and overshadows any legitimate social critique the author
makes. Some authors are able to overcome the escapist stigma-most notably J.R.R.
Tolkien, whose Lord ofthe Rings novels, in their protest against slavery and
totalitarianism, are "a direct parallel to both World Wars and human history" (Thomas
61-62). Whether examining the (surprisingly many) benefits of a dictatorship or
dissecting the madness of religious fanaticism, Pratchett's satire critically examines both
societal and political issues, providing thoughtful commentary on the human condition
and institutional policy.
5
L Contemporary Political Satire: Its Manifestations and Implications
J Pratchett's fiction is a part of a widespread resurgence in the popularity of
political satire. Humorous television shows, films, literature, and web sites can be found
in abundance throughout contemporary Western society. Satire has become a pervasive
force in twenty-first century society and culture. The rise ofpostmodem and
existentialist philosophies may account for this satiric renaissance; both theories focus on
the meaninglessness of existence and, if given a black-humorous spin, can easily become
the foundation for satire. These two philosophical movements have been so influential in
the late twentieth century that they have trickled down into popular culture. Films and
plays that break the "fourth wall" and destroy the audience's suspension of disbelief are
prime examples ofpostmodemism; these include Noises Off!, The French Lieutenant's
Woman, 24 Hour Party People, and even Ferris Bueller 's Day Off, in which the main
character speaks directly to the audience about events as they occur. Likewise, the
absurdity of contemporary culture-years-long coverage of Paul McCartney's divorce
from Heather Mills, continuous coverage ofBritney Spears' recent mental breakdowns,
and scalping of Hannah Montana tickets for over $400 apiece-and increasing expression
of discontent and disillusionment with government lead many people to seek a
lighthearted alternative to serious political involvement. Political satire may hinder
political activism by encouraging apathy and cynicism, but many modem satiric
manifestations encourage civic action and awareness. For example, satire has been
prominent in the campaign ads of Democratic primary contestants, with one notable
example being the Apple "1984" ad campaign that encouraged computer users to break
out of the "Big Brother" mentality created by Microsoft. This ad was redesigned for
6
L Senator Barack Obama's presidential campaign in 2007, showing Hillary Clinton as a
"Big Brother" figure and implying that Obama would be able to enact change and prevent
an extension of government power over individual lives.
The Onion, a satiric fake news source with the tagline "America's Finest News
Source," maintains a humorous outlook on current events and the human condition. A
recent article poked fun at the Democratic Party, targeting both its power in the United
States Congress and its image-conscious, indecisive leadership. The article, entitled
"Democrats Demand Inquiry Into How They're Doing So Far," emphasizes the
ineffectuality of Congressional inquests by equating them with hospitality industry
comment cards and trucking company feedback hotlines:
Finally, the panel will close its investigation by releasing an official "Democratic Performance Comment Card," which will rate the party as either "poor," "fair," "average," or "excellent." Room for additional comments will be provided on the back of the card.
Some Democrats, however, deem the panel inadequate, and call for Congress to appoint an independent counsel to cross-examine constituents. Others believe that the feedback from a speciall-800 "How's Our Governing?" number, which has been featured on bumper stickers affixed to the campaign tour buses of Democratic presidential candidates, should be analyzed before proceeding further. (Onion 43.15)
In addition to a humorous jab at the Democrats, the writer of the article mocks the
phenomena of comment cards and bumper stickers seeking performance feedback. Such
ubiquitous aspects of culture are not only ineffective as a research tool, as people
generally only respond to the question if an experience is negative, but also emphasize
the superficiality of Americans' concern for quality in a profit-driven economy. This
article is representative of The Onion's style of reporting, which was recently extended
into a new medium, the Onion News Network, an online video news source that mimics
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L I 24-hour news channeis. This resource features graphics, reporters, and expressions I ~ similar to those of these news networks, simultaneously adding a humorous twist on the
subjects and style oftheir reporting.
I Likewise, popular television hosts Jon Stewart and Stephen Colbert examine I I current issues through a satiric lens. While Stewart satirizes by directly making fun of his I targets, Colbert satirizes through parody: Stewart overtly ridicules the absurdity of his targets' actions, and Colbert pretends to agree with his. In taking on the persona of a
super-conservative pundit, Stephen Colbert lures interviewees into a false sense of
security and feigns concurrence with their views before asking perfectly legitimate
questions that devastate their arguments. Lynn Westmoreland, a congressman from
Georgia, appeared on The Colbert Report June 15, 2006 as part of the "Better Know a
District" series and was asked about his recent push to have the Ten Commandments
displayed in judicial buildings. Colbert asked Westmoreland: "Can you think of any
more appropriate building to display the Ten Commandments in?"-obviously hinting at
the idea of displaying them in a church-to which Westmoreland replied, "No."
However, when asked by Colbert to name the Ten Commandments, Westmoreland could
only list three before giving up, despite Colbert's encouraging nods and "helpful"
counting on his fingers. Colbert's greatest weapon against his guests often turns out to be
the guests themselves, who make themselves look more ridiculous than Colbert could
through direct ridicule.
Stewart's satiric format is a combination of an evening news show and a late-
night talk show, combining elements of real news with guests ranging from actors to
authors to powerful figures in politics. (Colbert's show follows a similar format but
8
L 1 draws more from "talking heads" on cable news channels, specifically the Fox News
Network's Bill O'Reilly.) Stewart does not merely report the news; he comments on it,
engaging the audience to laugh with him at the stories he tells. At a December 19, 2006
taping of The Daily Show, Stewart showed a clip of then-Miss USA Tara Conner-in the
midst of a public scandal where photos emerged of her "partying hard and allegedly
doing cocaine in New York City clubs" (Malikar and Phillips)-thanking "all the people
who've been behind me." Stewart gives the audience a look of feigned surprise, to
wordlessly enhance the sexual innuendo. The popularity of this humorous news format
has spawned an imitation on the Fox News channel which, though poorly received, is an
exemplar of the power of the satiric forum: based on the wide viewership and respect
afforded The Daily Show, a legitimate news outlet attempted to mimic that success and
drum up ratings. Actual information can be gleaned from Stewart's show through its
humor, and as one tag line for The Daily Show states: "More Americans get their news
here than probably should." A 2004 CNN study showed that Stewart's viewers are
considerably better informed and educated than individuals who watch network news or
read newspapers on a regular basis (Long). Stewart not only entertains, but also informs
through his humor, attracting an educated audience and increasing the political awareness
of his viewers.
The influence of popular satiric shows reflects the new historicist theory of the
"circuit of culture," which claims that discourse makes or constitutes history-a focus on
the link between culture and its representation through which works are analyzed. It
looks not only at this representation, but also at cultural meaning and the significance of a
work. Pratchett himself has stated that "Fantasy isn't just about wizards and silly wands.
9
L t
It's about seeing the world from new directions" (McVeigh and Walker). New
historicism claims that artistic representations can reconstruct the world by changing our 1 perceptions of it. Art shapes culture and is not simply shaped by it. Popular cartoon
series The Simpsons and Family Guy, for example, have eroded the common conception
of the male head of the household and the idea that "father knows best." The Boondocks,
an animated series on Cartoon Network, attempts to eradicate racial stereotyping by
showing both black and white audiences that they are often their own worst enemy where
stereotypes are concerned. The show attempts to reconfigure historical events and
perceptions to enact change. A prominent example of this occurs in the episode "The
Trial ofR. Kelly," which denies the real event, R. Kelly's trial for lewd behavior and
molestation, status as a race matter that demands black solidarity. The logical narrator of
the series, Huey Freeman, addresses the crowd after the trial, as they dance to celebrate
Kelly's exoneration:
Yes, the government conspires to put a lot of innocent black men in jail on fallacious charges, but R. Kelly is not one of those men!. .. What happened to standards? What happened to bare minimums? You a fan of R. Kelly? You wanna help R. Kelly? Then get some counseling for R. Kelly! Introduce him to some older women. Hide his ca~corder ... but don't pretend like the man is a hero! (The Trial ofR. Kelly)
The show's creator, Aaron McGruder, incites change by acknowledging the tendency of
humans to cling to sameness: in the car on the way home from the courthouse, Huey
decides that the best course of action is simply to blame white people. Like Stewart,
Colbert, and the aforementioned cartoon satirists, Pratchett uses his medium as a way to
comment on events and mindsets with the goal of enacting change. Although the focus
of all these satirists' work is reflection, their choice of methods forces the audience to
consider options for change and question commonly held beliefs about politics.
10
L Stewart and Colbert demonstrate the same cultural-shaping power as influential
literary texts. After Westmoreland's embarrassing stop on The Colbert Report, coupled
with a later gaffe made by Rep. Robert Wexler of Florida, many politicians have refused
to appear on the show (Puzzanghera). Politicians are, it appears, afraid of Stephen
Colbert: he has the ability to make or break their public image. Literary interpretation,
although less current than mass media outlets, still has an impact on public opinion; the
idea presented in Shakespeare's Macbeth that power turns women into monsters may be
behind anti-Hillary Clinton sentiment in the upcoming 2008 political election, and
readings of dystopian fiction, specifically the works of George Orwell, play into a
subconscious fear of communism and rejection of politicians who embrace it. Mass
media has become a relevant, influential forum to enact change in the political world.
Saturday Night Live, one of the longest-running television shows in history, uses sketch
comedy to parody current events in news, entertainment, and politics. Cartoon shows
such as The Simpsons and South Park provide up-to-date humor that incorporates recent
events. The rise of the Internet in the 1990s has produced Flash-based animators JibJab,
who create song parodies that target politics, entertainment, and news. The creators of
this site have recently released a video entitled "What We Call the News" that gives
further insight into the reasons behind news parody:
Then along came cable And the ratings race ensued. Great legends found themselves replaced By blondes with big, fake boobs. Debate replaced with punditry, Politically skewed! It's what we call the news!
Guitar stings! Titles! Sound effects! And graphics everywhere!
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L Breaking news each minute In the rush to get on-air! With scandals, dramas, tragedies, And mindless ballyhoo, That's turned our brains to goo! (What We Call the News)
A momentary glance at any cable news network confirms that they're guilty as charged
of substituting "mindless ballyhoo" for reporting; for example, Fox News came under
scrutiny last year for hiring Canadian pundit Rachel Marsden in spite of her sordid past,
which involved a false claim of sexual harassment against a professor and charges of
stalking in 2002. Like her predecessor Ann Coulter, Marsden is known for her vitriolic
commentary and her physical attractiveness. In an article for Salon.com, Rebecca
Traister wonders, "Did they think they could groom her to be an incendiary attention-
getting conserva-babe of Coulter-esque proportions, when getting that coveted attention
would guarantee the revelation ofher Fox-unfriendly past?" (1) Given such scandals
and, as JibJab so eloquently puts it, the "ratings race" and "rush to get on-air," cable news
has become the perfect fodder for political satirists.
As a principal instigator of this satiric renaissance, Pratchett writes fiction to
attack many of the same targets as television and internet satirists. Even the geography of
his created Discworld is a parody of belief:
The world rides through space on the back of a turtle. This is one of the great ancient world myths, found wherever men and turtles are gathered together; the four elephants were an indo-European sophistication. The idea has been lying in the lumber room of legend for centuries. All I had to do was grab it and run away before the alarms went off. (A Brief Musing on Discworld)
Within this fantastic world, Pratchett creates parodic imitations of political and social
organizations. The news is satirized in The Truth; likewise, the justice system,
international relations, and government are repeatedly skewered throughout the
12
L 1 Discworld series. Pratchett is representative of literary satire in the sense that he follows
all of Highet's rules for it: he explains in interviews and other media that his work is
satiric, creates characters that possess unmistakable characteristics of real figures, and
uses the satiric emotion to great effect. By adding unique twists that allow characters to
shift over time and remain representative of the current political and social climate,
Pratchett stands as an innovator in the genre and uses satiric conventions to create a
dynamic storytelling arc. Especially in the City Watch arc of the series, Pratchett offers
subtle, incisive criticism of Western political philosophies and institutions. In particular,
his presentation of a philosopher-despot (Lord V etinari), an undiplomatic diplomat
(Commander Vimes), and a downwardly-mobile king (Captain Carrot) upend traditional
models of government and power. As elected officials currently targeted by The Daily
Show and The Colbert Report can attest, political satire has the power to influence
popular opinions of government and politicians. Pratchett exerts a similar power by
challenging hegemonic notions of civic leadership. Pratchett combines fantasy and satire
in a way that enables him to be both imaginatively powerful and politically charged
within an alternate reality, giving him total freedom and adaptability in his satire. He
creates an enduring form of ridicule-more amusement than scorn, in this case-that
serves not only as a reflection of current events, but also as an enduring portrayal of the
human condition.
13 L Captain Carrot: The Antithesis of Aspiration
"History deals mainly with captains and kings ... not with useful men." -H.L. Mencken
(266)
Captain Carrot of the Ankh-Morpork City Watch defies Mencken's cynical viewpoint, for he is all three: a captain of police, a rightful king, and a useful man both to the Patrician of Ankh-Morpork, Lord Vetinari, and to the city. A human raised by dwarfs in the mountains, Carrot is sent to Ankh-Morpork, the largest and most prosperous city on Discworld, and rises through the ranks of the City Watch with alarming speed. He has been instrumental in elevating this law force into a respected source of order and fair governance. His compassionate nature, ability to listen, and incredible memory for
1 names have earned him the love and respect of nearly the whole city . He is also uncannily able to persuade people to do his bidding. Like the Patrician, Carrot is a persuasive and effective leader, but it is Carrot's refusal to rise above the rank of Watch
Captain that sets him apart. Carrot is widely known to be the rightful king of Ankh-
Morpork, but chooses instead to form a partnership with Commander Samuel Vimes and improve the justice system of the city. He is a man who truly believes the Watch motto:
2 FABRICATI DIEM, PVNC .
Carrot Ironfoundersson is so named not because of his red hair but because of his shape. He has broad shoulders and muscular arms, creating a tapered appearance that resembles the inverted, elongated triangle of a carrot. The name evokes his subterranean
1 Indeed, he is so well loved that there is an action figure manufactured in his likeness and sought after by Ankh-Morpork children (Hogfather). 2 "To Protect and Serve," as translated by Sgt. Fred Colon (Guards! Guards' 51), who considers himself an expert in foreign languages but, alas, has never seen the film Sudden Impact. 14 origins as well as his physique. Like a carrot, his roots are literally underground: dwarfs
spend most of their time in the mines, digging for gold and other valuable natural
resources. Because ofhis height and the short low doorways used by his adopted family,
Carrot's given dwarf name is Kzad-bhat, which translates to "Head-Banger." Raised in
the dwarf mines, he adopts the dwarvish culture that took him in, though his biological
history is in Ankh-Morpork's royal lineage. At the age of sixteen, his parents reveal the
truth about his birth and send him to the city to avoid the questioning stares of their
fellow dwarfs. Carrot learns that he is adopted, and hears the story of how his adoptive
parents found him amid the wreckage of burning carts along the road. His adoptive
father gives him a sword that a witch calls "the most unmagical sword she'd ever
seen ... They normally have a bit, see, on account of it's like magnetism, I suppose. Got
quite a nice balance, though" (Guards! Guards! 29). The sword is an important symbol
of his rightful station as Carrot learns about his past. Later in the novel, he discusses the
distinctive features of kings with Sergeant Colon and Corporal Nobbs:
"No, but I mean, there's nothing special about having an ancient sword," said Carrot. "Or a birthmark. I mean, look at me. I've got a birthmark on my arm ... And I've got this sword," said Carrot. He drew it. Colon took it from his hand, and turned it over and over in the light from the flare over the Drum's door. The blade was dull and short, and notched like a saw. It was well-made and there might have been an inscription on it once, but it had long ago been worn into indecipherability by sheer use. "It's a nice sword," he said thoughtfully. "Well-balanced." "But not one for a king," said Carrot. "Kings' swords are big and shiny and magical and have jewels on and when you hold them up they catch the light, ting." "Ting," said Colon. "Yes. I suppose they have to, really." ... Colon had been momentarily lost in a little world of speculation. Real kings had shiny swords, obviously. Except, except, except maybe your real real king of, like, days of yore, he would have a sword that didn't sparkle one bit but was bloody efficient at cutting things. Just a thought. (Guards! Guards! 353-4)
15
L 1 ; It is likely that Carrot is genuinely oblivious to the implications of his sword; though he is I I a highly intelligent man, he is simple and honest. The king's sword is an archetypal I emblem of royal power and is noteworthy in the tale of King Arthur, wherein the rightful I king must pull a sword from a stone. In Men at Arms, Nobby Nobbs notes that the man I I you really want is the one who puts the sword into the stone, which is much more I difficult than extraction-and, indeed, Carrot's sword passes through a stone pillar, I I leaving "a blade-shaped hole, front to back" (357). These fantasy conventions-the
birthmark, the sword in the stone-are status markers of rightful kingship in fantasy
literature; as if that were not enough, the late Dr. Cruces of the Assassins' Guild compiles
a file of evidence that proves Carrot is descended from kings. Throughout Men at Arms,
evidence surfaces proving Carrot's lineage, and as the evidence is shared and rumors are
spread, it becomes common knowledge that in all likelihood, Carrot is the rightful king of
Ankh-Morpork. Dr. Cruces, a deranged and devout royalist, simply puts together all the
pieces of the story and presents it to Carrot, imploring him to take the throne. Cruces,
who has killed several people in the hope of installing Carrot as king, is the unfortunate
target of Carrot's sword when it p~sses through the stone pillar-and through Dr. Cruces
himself. Carrot wants no part of the assassin's scheme; he buries the evidence of his
lineage with the Assassin. Although Cruces and many other would-be royalists hold fast
to the belief that what Ankh-Morpork really needs is a king, Carrot recognizes the human
tendency to want whatever we do not have. A king is not the solution to all of the
problems of Ankh-Morpork; if a king were installed, the public opinion would
immediately wish for the days when there was no king. He is the antithesis to Kipling's
ambitious explorers: Carrot is the Man Who Would Not Be King.
16 L This rejection of power is counter to classic tales of ascent in English literature
and culture. Charles Dickens wrote of it in Great Expectations; it is the desire of social
preeminence that transforms James Gatz into the Great Gatsby; even modem reality
television shows, most notably "American Idol," promise to deliver on the "rags to
riches" myth. But Carrot is satisfied in his station and is not self-seeking. Unlike the
typical middle-class citizen, who aspires to upward mobility and eventual status as the
"king of the hill," he finds the greatest fulfillment in his role as a cooperative leader with
Commander Vimes. Pratchett latches on to and rejects a distinctly American idea-the
"American dream," loosely defined as "that dream of a land in which life should be better
and richer and fuller for everyone, with opportunity for each according to ability or
achievement" (Adams 214). This idea of social mobility is far more common in the
United States than in Great Britain, where fluidity of movement between social classes
only truly began to emerge after the 1940s (Heath and Payne 1). A study examining the
trends in social mobility in Great Britain during the twentieth century suggests "that there
had been some net downward mobility" among Britons in the first half of the century
when Pratchett was born--due to a "closed circuit" of education and marriage within the
same social class (Heath and Payne 3). Growing up happily in this environment gave
Pratchett a critical perspective on the desirability of social striving that is evident in
Carrot: in a capitalistic society that favors upward mobility, Carrot is countercultural in
his determination to find happiness without massive wealth or ruthless scaling of the
corporate ladder. Pratchett began writing in the 1980s, a distinctly conservative era in
political history, during which political leaders such as Margaret Thatcher and Ronald
Reagan promoted the accumulation of private wealth and protection of business interests.
17 L The Reagan years saw the dissolution of anti-trust legislation and the failure of "trickle-
down economics," which directly benefit the wealthy while purporting to help the middle
and lower classes. Thus Pratchett' s portrayal of Carrot may be viewed as reactionary
new historicism-Carrot not only protests vicious self-advancement and class striving,
but also encourages readers to seek other means of self-satisfaction.
The downward mobility embraced by Captain Carrot, who will probably maintain
his current position until the city is in desperate need of him, and evoked by the
underground vegetable of his name, is similar to an anecdote told about the Chinese
bamboo tree. According to -1*-- Gary Smalley, the Chinese bamboo tree produces no
I noticeable outward growth for the first four years of its life. Even when provided with j the ideal conditions for growth, it remains nothing more than a small bulb and a shoot.
Suddenly, in the fifth year of growth, the tree shoots up to a staggering height of eighty
feet. Although it may have looked like nothing on the surface, during those first four
years the tree was putting out thick, long-ranging roots called rhizomes which "[provide]
a firm base for massive growth" (Smalley 16-17). Like the bamboo tree, Captain Carrot
is developing a wide grassroots net.work in Ankh-Morpork. The benefits to Carrot's
bamboo-style development are twofold: Carrot will establish connections in the city,
endearing himself to the population as a whole and gaining the respect of the people, and
as a result, he will become so firmly embedded in the city that it will be impossible to
uproot him. Carrot will always return to the city, for in the same way that he has become
a part of Ankh-Morpork, it has become a part of him.
His position is firmly set as a member of middle management: he is responsible
for the paperwork, maintaining order among the Watchmen, monitoring recruits, and
18 L reporting to Commander Vimes and Lord Vetinari. He even helps to elevate Vimes to the highest station possible. When Vimes is faced with retirement, Carrot and Lord
Vetinari resurrect the position of Commander of the Watch to bestow it upon Vimes.
Within the context of our culture of self-promotion, it is aberrant for Captain Carrot to ignore his own position and potential for elevation in order to promote his Commander, but Carrot has a great deal of respect for Vimes and understands that Vimes-a seasoned cop who is willing to do anything it takes to ensure that justice is served-is a necessary fixture at the top of the power structure. Vimes has worked to earn the respect ofthe
Watch, and Carrot sees fit to honor him by circumventing his retirement.
Carrot could run the Watch, and the whole city, by himself if he chose. But as he explains to Lord Vetinari: "They shouldn't do [things] just because Corporal Carrot says so. Just because Corporal Carrot is ... good at being obeyed" (Men at Arms 367-8).
Carrot does not see his charisma as a good leadership quality. It is a tool that commands respect but does not foster independent obedience. Carrot wants to develop the moral agency of Ankh-Morpork citizens, not to lead them in a game of Simon Says. He wants them to choose to do what is right,_simply because it is right; to follow any officer of the law because he or she is an officer of the law, not because of Carrot's own aura of leadership. This philosophy is a foil to Vetinari's political assumptions: the Patrician believes that people must be commanded and shown what to do because they are inherently bestial, and the denizens of the city require a strict zookeeper to maintain an orderly society. Because Vetinari's dim view of the population is unfortunately accurate, the people of Ankh-Morpork need to be led, not merely told the right thing to do in the hopes that they will follow. Carrot understands that the population is unprepared for his
19 I ideals of self-governance; he knows that V etinari is good for the city, and that the
romanticized ideal--of a king of naturally virtuous and civic-minded subjects who have
no need of the whip and the forced compliance it represents-should remain an ideal. In
Men at Arms, Vetinari questions Carrot's firmly-held beliefs about the way the city
should be run:
"Perhaps the city does need a king, though. Have you considered that?" "Like a fish needs a ... er. .. a thing that doesn't go underwater, sir." "Yet a king can appeal to the emotions ofhis subjects, captain. In ... very much the same way as you did recently, I understand." "Yes, sir. But what will he do the next day? You can't treat people like puppet dolls. No, sir. Mr. Vimes always said a man has got to know his limitations. If there was a king, then the best he could do would be to get on with a decent day's work-" "Indeed." "But ifthere was some pressing need ... perhaps he'd think again." Carrot brightened up. "It's a bit like being a guard, really. When you need us, you really need us. And when you don't ... well, best if we just walk around the streets and shout All's Well. Providing all is well, of course." (Men at Arms 369-70).
Although Carrot approves of the leadership of Lord Vetinari, he does occasionally make
suggestions that the Patrician finds difficult to refuse. In addition to bestowing the rank
of Commander on Samuel Vimes, Vetinari gives him the title of Duke-an elevation that
thrills Vimes' wife-saying: "I'm sure, if ever there is a king in Ankh-Morpork again, he
will choose to ratify my decision" (Jingo 428-9). Carrot has apparently suggested giving
Vimes the title, and since Carrot is the rightful king and obviously approves of the
appointment, Vimes has no recourse in rejecting the title.
Using an unclaimed kingship to honor a friend is an extremely unusual power
play for Carrot. This selfless promotion ofVimes to noble status promotes meritocracy
more than aristocracy. Carrot is an excellent judge of character, and possesses a fine
sense how political circumstances affect leadership needs. But Carrot plays the king card
20 L l i only when civic duty requires it, such as after things fall apart in the temporary absence I ~ of both of the Watch's leaders. Commander Vimes is dispatched to Uberwald on a I diplomatic mission, and Carrot leaves the Watch to follow his lady friend, Sergeant
I Angua, to the same destination. He is driven by love and fails to consider the I I consequences of leaving the Watch in the hands of Sergeant Colon, who is completely I incapable as a leader. Upon his return, he finds the Watch on strike against Colon, who is I I cowering in his office, and addresses Colon and Corporal Nobbs:
"However, each of these men took the King's Shilling and swore an oath to defend the King's Peace," said Carrot, tapping the paper. "An oath, in fact, to the king." ... There was a long drawn-out silken sound. Carrot was drawing his sword from its sheath. He laid it on the desk. Nobby and Colon leaned away from its accusatory point. "They are good lads," said Carrot softly. "I'm sure if the two of you call on each and every one of them and explain the situation, they will see where their duty lies." (Fifth Elephant 369)
The mere suggestion of his role as king is enough to reform the Watch and correct the
errors of the last several weeks. Here, Carrot can pull rank to the advantage of the city,
and it is a necessary use of his birth privilege.
In addition to being an ideal fantasy king figure, and likely an ideal ruler should
the need ever arise, Carrot is the perfect policeman: honest, letter-perfect in his
knowledge and application of the law,3 and familiar with everyone and everything in the
city. He is considered simple, which is not to be confused with stupid; underneath the
surface, Carrot is incredibly complex in his simplicity. He actually gathers information
about crimes by adding extra questions to the trivia machine in the Mended Drum4 that
cause offenders to incriminate themselves (Soul Music 146). He follows the law as
3 Having memorized "The Laws and Ordinances of the Cities of Ankh and Morpork" prior to his arrival in the city (Guards! Guards! 50) 4 "The most reputable disreputable tavern on Discworld" ("Discworld on $30 A Day") 21 L written, not only the spirit of the law. This can lead to some misunderstandings, as when
he arrests the leader of the Thieves' Guild on his first day in the city-the man holds a
perfectly legal occupation, but to Carrot, is a "Chief Miscreant" (Guards! Guards! 50).
Carrot also has the remarkable ability to think in straight lines. This allows him to assess
a problem and trace the simplest path to its solution. Promoting Vimes to noble status
will give the Watch access to elite social circles where, naturally, the most dangerous
criminals reside. At other times, he arrests a dragon that has been terrorizing the city
(Guards! Guards! 322-3), and places the entire armies of Klatch and Ankh-Morpork
under arrest for "behavior likely to cause a breach of the peace" (Jingo 387). Although
he follows the law to the letter, his methods of doing so are unique and unusual-and in
this respect, he is much like his fellow public figures, Lord Vetinari and Commander
Vimes.
22
L Lord Vetinari: The Philosopher-Despot
"Unless philosophers become kings in our cities ... unless those lesser natures who run
after one without the other are excluded from governing, I believe there can be no end to
troubles .. .in our cities or for all mankind." -Plato (473)
The Discworld is home to Ankh-Morpork's Lord Havelock Vetinari, "under
whose idiosyncratically despotic rule Ankh-Morpork had become the city where, for
some reason, everyone wanted to live" (Going Postal12). Vetinari is, in fact, a tyrant,
and perceived to be a madman who is completely out of touch with the people. His
concern lies not with the people-to whom he owes no debt of gratitude, not having been
elected by them-but with keeping the city running as smoothly as possible. This
practical focus explicates the need for Vetinari: the city needs someone to care for it,
while its people take care ofthemselves. Thanks to Vetinari's unique status as a
philosopher-king, the ideal ruler described in Plato's Republic, Ankh-Morpork faces
fewer troubles and upheavals than under previous Patricians.
Unlike previous Patricians,_Vetinari is truly concerned with making the city work,
rather than using the office for personal gain. In this regard Vetinari is unlike many
modem political leaders-from African dictators who extort their countries' money to
despots in Middle Eastern countries who slaughter their citizens and lead extravagant
lives of wealth-and it is this difference that "writes" his character. Pratchett's model
leader is not democratic, for in a democratic society the power would (allegedly) lie with
the people; he is not a tyrant in the most extreme sense of the word; instead, Vetinari is a
completely different animal. Vetinari is a vehicle for satire of political leaders; Pratchett
23 L takes the best and worst of leaders from diverse political backgrounds, both totalitarian and republican, and combines them to create a character who is the ideal for neither.
Thus the perception of the Patrician as completely out of touch with the people is not entirely accurate: his concern lies with the city, which is made up of the people, for whom he wishes the orderly, stable life that they crave. Since the demise of the monarchy (a Cromwellian revolution led by the ancestor of Commander Vimes of the
City Watch) the city has been run by a succession of Patricians, totalitarian rulers who
5 traditionally cater to the elite. V etinari is the ninth known Patrician , and was instrumental in elevating his immediate predecessor to the position during his tenure as a member of the Assassins' Guild. In Night Watch, Pratchett reveals Vetinari' s role in the assassination of Lord Winder, the seventh Patrician; however, there is no documentation of the ascent of Lord V etinari. His experience with concealment and stealth serve him as he ascends to the Patricianship, allowing him to avoid assassination and thwart efforts to unseat him.
The name "Vetinari" is a pun on the famous Medici family of Florence, translated to "veterinarian" rather than "doctor." This implies a different view ofVetinari as a ruler: instead of caring for intelligent people, as a doctor would, V etinari is looking after a population of animals. His absolutism is more necessary because the people he governs are not capable of making intelligent decisions on their own. The Patrician's name is a commentary on human nature, and a cynical one at that. Like his namesakes, V etinari comes from a noble family and is personally interested in the arts.6 The Medici,
5 Pratchett's books occasionally mention previously-unheard-of Patricians. To date, nine have been mentioned in the course of the Discworld novels. 6 Although he hates street theatre and has been known to hang mimes upside-down in a scorpion pit opposite a sign that reads "Learn the Words" (Guards! Guards! 83) 24 originally members ofthe patrician class in Iih century Italy, ruled Florence from the 1 14 h to-lib centuries. The patrician class is not nobility, as those who have inherited land
and titles; the Medici, like the Patrician Vetinari, achieved power of their own right (the
Medici through banking and commerce, and Vetinari through a successful career as an
assassin). Vetinari resembles Cosimo I de Medici, who converted Tuscany into an
absolutist state, founded universities and museums, and exercised both political
ruthlessness and cultural refinement (Van Heiden).
Vetinari was educated through the Assassins' Guild, the most revered of the Guild
schools and a breeding ground for the city's nobility. As a student in the Guild, he
formulated his own opinions about the trade and the art of concealment. V etinari was a
loner as a student and, for practical purposes, chose to wear dark gray or green in place of
the uniform black of the Assassins. 7 His character is thoroughly Machiavellian, and as a
leader Vetinari embodies the ideals the ideals articulated by Machiavelli in The Prince:
All cities that ever at any time have been ruled by an absolute prince, by aristocrats or by the people, have had for their protection force combined with prudence, because the latter is not enough alone, and the first either does not produce things, or when they are produced, does not maintain them. Force and prudence, then, are the might of all the governments that ever have been or will be in the world. (Machiavelli 1439)
V etinari exercises a balance of force and prudence, ensuring that his decisions serve the
city's best interests and that his edicts are fully implemented. Like the ideal ruler of
Machiavelli's world, V etinari rules through fear rather than love, and his primary goal is
the stability and improvement of the city of Ankh-Morpork. Under this rule, traditionally
viewed as despotic or tyrannical, V etinari transforms the city into a superpower in the
Disc world.
7 Black may look cool, but it creates a silhouette, and is often rethought a few seconds too late. 25 L V etinari is a firm believer in the concept of universal freedom, although the
freedom he Dffersissimilar to the paradoxical Hobson's choice. Thomas Hobson, a
livery stable owner in sixteenth-century England, offered his customers the option of
taking the horse nearest the door or none at all. 8 V etinari' s choice is outlined in Going
Postal, when convicted con artist Moist von Lipwig must choose between a job in the
post office and an open door:
[The guards] stood aside as Moist walked toward the door which, as promised, was indeed there. He opened it very carefully. There was nothing beyond, and that included a floor. In the manner of one who is going to try all possibilities, he took the remnant of the spoon out of his pocket and let it drop. It was quite a long time before he heard the jingle. Then he went back and sat in the chair. "The prospect of freedom?" he said. "Exactly," said Lord Vetinari. "There is always a choice." "You mean .. .I could choose certain death?" "A choice, nevertheless," said Vetinari. "Or, perhaps, an alternative. You see, I believe in freedom, Mr. Lipwig. Not many people do, although they will, of course, protest otherwise. And no practical definition of freedom would be completely without the freedom to take the consequences. Indeed, it is the freedom upon which all others are based" (15)
Vetinari's assertion that "Not many people [believe in freedom], although they will, of
course, protest otherwise" underscores a difference between his definition of freedom and
the commonly accepted one. Common conceptions of freedom emphasize opportunity
without obligation, especially in recent years, as the "Myspace generation" assumes a
sense of entitlement to power and prestige through access to technology (especially
video games, which confer the power to maim and destroy), and reality show contests that
offer the chance to achieve greatness through minimal effort (DeBoer 1). In pointing out
that there is "the freedom to take the consequences," Vetinari promotes a "practical"
8 Pratchett has included in the Discworld a livery stable owner named Hobson, apparently named for this man. Pratchett's Hobson is notorious for selling "feagued-up old screws" in place of proper horses (Going Posta/200). 26 l definition of freedom. In reality, the victim has no choice unless he or she prefers death to Vetinari 's offer~ thus_allowing the Patrician to direct events as he wishes. V etinari' s unilateral power maintains stability of sorts while reinforcing the Patrician's reputation as a ruthless despot who shows no mercy to his prisoners. But as V etinari himself puts it,
"There is always a choice."
As Patrician, Vetinari subscribes to the philosophy that stability is the statesman's highest priority, as evident in his family motto: Si non confectus, non reficiat ("If it ain't broke, don't fix it"). This motto identifies him as a conservative, a man with no interest in changing a functioning system, however flawed it may be. Political conservatives from Thomas Hobbes to George Will see societal injustice and imperfection as inevitable because of natural human depravity and inequality-a possible explanation for Vetinari' s choice to embrace crime instead of eradicating it. 9
He is therefore responsible for the expansion of the Guild system, which is self regulating (e.g. the Thieves' Guild produces licensed thieves-who may be paid insurance against robbery-and punishes unlicensed thieves, therefore preventing unfettered crime; the Seamstresses' Guild10 ensures the safety of both the clients and the ladies themselves by employing bodyguards and regulating prices). Lord V etinari is of the opinion that "Crime was always with us ... and therefore, if you were going to have crime, it at least should be organized crime" (Guards! Guards! 44). Given his unusual stance on crime, it is unsurprising that V etinari likewise takes a unique approach to punishment: criminals and renegades are given government appointments to compel them
9 By accepting crime, Vetinari eliminates the criminal: the thief and the assassin are simply working men earning a living through their respective talents. 10 There has only ever been one actual seamstress in the Seamstresses' Guild. It's a euphemism, much like "escort" or "lady of the night," but somewhat more inventive. 27 to serve (rather than swindle) the public. His crowning achievement is the conversion of
convicted swindler Moist von Lipwig into a dutiful civil servant-head of the Ankh-
Morpork Post Office. He has likewise ensured William de Worde's position as editor of
the Ankh-Morpork Times, the city's first newspaper. De Worde, the black sheep son of
an Ankh-Morpork aristocrat, has a deep love for the truth in its purest form. He therefore
records things exactly as they happen, creating a completely unbiased news source-a
near-impossibility in our world, but a staple in Pratchett's. His unfailing accuracy serves
as a caution to enemies of Lord Vetinari to hold their tongues lest de Worde actually
write their words down. Indeed, one ofVetinari's talents is finding the best man for the job and ensuring that he does the job that is needed of him. This is especially true of
Commander Vimes of the City Watch. In conversation with his secretary, Drumknott,
Vetinari acknowledges the role that he plays in molding Vimes to fit his needs:
"May I make an observation, my lord?" "Of course you may," said Vetinari, watching Vimes walk through the palace gates. "The thought occurs, sir, that if Commander Vimes did not exist you would have had to invent him." "You know, Drumknott, I rather think I did" (Feet of Clay 345).
By perceiving and exploiting the natural vices and virtues of his civil servants, Vetinari
ensures that things work out as they should. In the cases of William de Worde, Moist
von Lipwig, and Commander Vimes, each personality suits Vetinari's purposes. Vimes
is always enraged to the point that he takes drastic action, de Worde can be counted on to
poke his nose where it does not belong, and Lipwig thinks like a crook-all character
traits that V etinari predicts and provokes. Vetinari' s ability to read people and give them the illusion of freedom maintains their satisfaction and dedication to the job at hand.
Vetinari manages to manipulate these men through his judgment of character: his
28 1 conversations with his secretary, Drumknott, often express his private thoughts about the
people with whom he works. Because he can read them, he is able to redirect their
actions through subtle direction in order to achieve his ends.
The presence of a leader like Vetinari raises questions about Pratchett' s political
leanings. The philosophies espoused by the Patrician are formulated in response to
human nature, which is the same on Discworld as in our world. The secret of his success
lies in his understanding of human nature: "They think they want good government and
justice for all, Vimes, yet what is it they really crave, deep in their hearts? Only that
things go on as normal and tomorrow is pretty much like today" (Feet ofClay 75). Like
his understanding of freedom, Vetinari's concept of human desire is clinically accurate.
Vetinari has a paternalistic style of governance and regards his subjects as children. 11
Children especially need stability in their lives in order to develop into functional
members of society (Social Care Institute for Excellence). This need must be addressed
by governments, and is rarely achieved. Political leaders go to war with the presumed
aim of creating stability, but war often increases instability in those places where it is
intended to restore order; an excell_ent current example is the Iraq War. Increased
violence, terrorist activity, insurgency, and overall chaos have reigned in Iraq since the
deposition ofSaddam Hussein, and although many ofPratchett's novels were written
well before the invasion, parallels are striking. Pratchett examines the nature of humanity
much in the same way that Vetinari examines the minds of his subjects, and in doing so
he analyzes their expected reactions-to things such as terrorism, pending apocalypse, or
scientific innovation-and turns those reactions into material for novels. V etinari
chooses a form of psychological warfare and covert manipulation to maintain power and
11 Or, as his name implies, as pets-in need of care and discipline to flourish.
29
L actively pursue stability. This preference for paternalistic control over violent displays of force, despite an education as an Assassin is presented as a noble trait and a mark of a capable leader.
But what of V etinari' s position as a dictator? Dystopian satirists George Orwell and Aldous Huxley would have readers believe that dictatorship creates hell on earth, yet
Pratchett presents a favorable view of numerous types of government: the democracy of
Ephebe, the reformed theocracy of Omnia, and the fabulously rich (and Asian-
influenced) Agatean Empire. Vetinari's dictatorship is most thoroughly examined in the
novels, and unlike his predecessors in British satire, Pratchett takes a positive view of totalitarianism in the form of enlightened despotism focused on establishing domestic
order rather than imperial expansion. Literary tradition, exemplified in 1984 and Brave
New World, aggressively protests the rise of a dictatorship on the grounds that it destroys
human dignity and individuality. Pratchett's world is one where democracy is not the
only successful form of government and is not aggressively imposed on the rest of the
world. 12 Political leaders trained as "cold warriors" and instigators of "police action"
around the world are a major part ~fthe historical context that produces Vetinari. He
embodies the opposite stance with regard to foreign policy-a war of intellect, not of
brawn. And although he transforms Ankh-Morpork into a superpower, Vetinari is
aggressively against the idea of an empire, as seen in his reaction when presented with
the possibility:
"Any ofthe other cities would attack us if they had these golems," said Lord Downey, "and surely we don't have to think of their jobs, do we? Surely a little bit of conquest would be in order?"
12 "I like to tell people when the final history is written on Iraq, it will look like just a comma because there is-- my point is, there's a strong will for democracy." -George W. Bush (Late Edition) 30 "An empirette, perhaps?" said Vetinari sourly. "We use our slaves to create more slaves? But do we want to face the whole world in arms? For that is what we do, at theJini_sh. The b_~sUhAt we could hope for is that some of us would survive. The worst is that we could triumph. Triumph and rot. That is the lesson of history, Lord Downey. Are we not rich enough?" (Making Money 320)
Vetinari recognizes the negative impact of war on everyone involved and eloquently
explains his view, which seems to be Pratchett's. Making Money is the most recent
Discworld novel (released in late 2007), and Vetinari's anti-imperialist view in this novel
is a thinly veiled indictment of the war in Iraq and the globalizing imperialism of the
United States. Pratchett emphasizes the unfortunate way history has of repeating itself
with regard to warfare. On the Discworld, no country actively pursues war to impose
governmental systems; reasons for conflict vary from class and species warfare to
disputed land, with the latter being most common. Although the boundaries of Discworld
1 countries are constantly changing, disputes between rulers are few and far between. This
is not to say that leaders are not deposed for being tyrants; previous Patricians and kings
in Ankh-Morpork are glowing examples of that. Vetinari remains in place not because he
is universally loved, but because he is comparatively sane and-more importantly-a
cunning bastard.
Ankh-Morpork is a representation of a Western country, primarily resembling
England in a previous century. Instead of reinstating a monarchy as England did during
the Restoration, Ankh-Morpork retains the new system of government implemented after
the deposition of the monarchy. V etinari is supported by the heir apparent to the throne,
Captain Carrot of the City Watch, who recognizes the imperative for Vetinari's form of
leadership. What cities truly need, Pratchett implies, is a capable leader, regardless of
how he rules: a paternalistic leader who is able to recognize the potential and limitations
31 L ofhis subjects and his city, to make prudent decisions, and to ensure the stability ofhis
domain.
32
L Commander Vimes: An Undiplomatic Diplomat
"DIPLOMACY, n. The patriotic art oflying for one's country." -Ambrose Bierce (38)
Commander Samuel Vimes of the Ankh-Morpork City watch is a different type of
leader: a follower of the spirit of law, a man in conflict with himself, a surprisingly
successful diplomat, and an archetype ofthe renegade cop. He is Pratchett's vehicle for
satire of the scathing sort. Vimes' angry comments on racism, war, and other serious topics make him an embodiment of "the poetry of tirade" that defines Juvenalian satire
(Hanes). This is a form of satire "in which the speaker attacks vice and error with
contempt and indignation" (Kent-Drury). Throughout the City Watch arc of the
Discworld novels, Vimes rants about monarchy, affirmative action, criminals, and the
aristocracy, among other things. These tirades are sometimes intended to instruct, but at other times to be challenged: Vimes often changes his view about a subject after learning more about it.
It is Vimes' chronic skepticism and distrust of absolutely everything that keeps him alive in a dangerous job, but tlJe Patrician is able to use Vimes' hot temper and anti authoritarianism to achieve his own ends. While Vimes' rise through the ranks of Ankh
Morpork bureaucracy is reluctant, the trajectory of his career allows Pratchett to comment on society at all levels. More than any other character in Discworld, Vimes seems to express Pratchett's own views and political leanings.
Commander Vimes is not the diplomatic type. But despite this lack of finesse, the
Patrician sees Vimes' impressive potential and takes advantage of his talents. As the
Discworld novels progress, the Patrician bestows upon V imes numerous titles and
33 1 responsibilities, much to his dismay; as a copper, he has no desire to be a Duke or
Ambassador, but is forced into these stations like a round peg into a square hole.
Surprisingly, he fits the positions remarkably well, managing to solve international
disputes and make trade agreements with his characteristic moral forcefulness. 13
Why is it that, as Vetinari puts it, "Only Vimes could go to Uberwald" (Fifth
Elephant 73)? His question alludes to President Nixon's historic visit to China in 1972. 14
Just as the staunch anti-Communist Nixon was needed to thaw relations with the
Communist giant, Vimes is needed to shake things up in Uberwald. Vimes is a well-
known speciesist, the Discworld equivalent of a racist. In fact, in Discworld, there is
very little racism: "when you've got dwarfs and trolls, the mere color of other humans is
not a major item" (Men at Arms 220). Vimes detests vampires and shows disdain for
members of nearly every other species from trolls to dwarfs, tolerating them only because
he is compelled by affirmative action policies imposed by the forward-thinking Patrician.
Although eventually coming to respect their contributions to the city, Vimes' acceptance
of vampires is not fully realized until the most recent Watch novel, Thud!. Who better to
send to a country filled with werewolves, vampires, and dwarfs, than a man who harbors
prejudice towards all three? Admittedly, these prejudices may not be entirely unjustified:
"For one thing, there were people in the world whose folkways consisted of gutting other
people like clams and this was not a procedure that commanded, in Vimes, any respect at
all" (Fifth Elephant 42). In his recognition of the outer limits of cultural relativism,
Vimes may in fact have the makings of a great diplomat. Samantha Power, an
international expert on genocide, expresses moral indignation at the hairsplitting of
13 He's reluctant about being there in the first place, not about being forceful. 14 As well as a famous Klingon proverb.
34 l traditional diplomats and would likely champion a representative like Vimes. Her anger
stems from events like the 1994 Rwanda genocide, when the West stood by and did
nothing because of a distinction between "genocide" and "acts of genocide" (Power,
"Bystanders" 6). Acts of genocide required no action; a full-scale genocide carried both
a moral and legal imperative to intervene. Recognizing the absurdity of this debate,
Power indicts traditional diplomacy and calls for a radical redefinition of diplomacy.
Vimes embodies the ideas expressed by Power in a speech at the Stockholm International
Forum:
What does it mean to be a diplomat?- You have to be diplomatic, if you're a diplomat! What does it mean to deal with genocide or atrocity? You have to abandon your neutrality and actually take a stand; you have to be undiplomatic. (Power "Presentation")
Vimes recognizes that cultural relativism can only be taken so far. When he sees true
injustice being committed, he feels the need to step up and do what he believes to be
right, even at the risk of appearing "undiplomatic." This comes from a career of
enforcing the law and seeing that justice is served. His cop's instincts are also greatly
helpful in dealing with international disputes, and give V etinari more reason to appoint
him Ambassador:
"You know I'm no good at diplomatic talk," he said. "On the contrary, Vimes, you appear to have amazed the diplomatic corps here in Ankh-Morpork," said Lord Vetinari. "They're not used to plain speech. It confuses them. What was it you said to the Istanzian ambassador last month?" He riffled through the papers on his desk. "Let me see, the complaint is here somewhere ... Oh yes, on the matter of military incursions across the Slipnir River, you indicated that further transgressions would involve him, personally, that is to say the ambassador, and I quote 'going home in an ambulance."' "I'm sorry about that, sir, but it had been a long day and he was really getting on my-" "Since when [sic] their armed forces have pulled back so far that they are nearly in the next country," said Lord Vetinari, moving the paper aside. "I have to say that
35
I I L 1 your observation complied only with the general thrust of my view in this matter but was, at least, succinct" (Fifth Elephant 17 -18).
In this use of street-cop persuasion, Vimes trumps the circumspection and delicacy of
textbook diplomacy, which is characterized by carefully couched words and heavily
veiled thr~ats. The elite of Uberwald are stunned to learn that Vimes will be Ankh-
Morpork's representative at the crowning of the Low King of the Dwarfs. Vimes lacks
the polished manners and eloquence typically associated with an ambassador, but uses
this to his advantage: his cop sense helps him in more than one situation, and his lack of
knowledge about trade affairs is made up for by his wife, Lady Sibyl-"the richest
woman in Ankh-Morpork"-who keenly negotiates an agreement between Ankh-
Morpork and Uberwald on her husband's behalf.
Vimes' inexperience in foreign affairs does create some problems, as when he
attempts to establish camaraderie with the heroic Borogravian soldiers in Monstrous
Regiment, declaring "Ze chzy Brogocia proztfik!" which he believes to mean "I am a
citizen of Borogravia." He is unaware that what he has just said translates to "I am a
cherry pancake" (328). Borogravia, a small country that was once a part of the Uberwald
empire, gained independence after the empire split up and has been warring with its
neighbor, Mouldavia, ever since. 15 Vimes' verbal blunder is another historic allusion to
American politics: it parallels an urban legend about President Kennedy's visit to Berlin,
where he proclaimed "Ich bin ein Berliner," which he believed to mean "I am a citizen of
Berlin," but which allegedly translates to "I am a jelly doughnut" ("Cold War: The
Wall"). The truth of the story is irrelevant, and the fact that the account is simply urban
legend does not detract from the point made about language: although the need exists to
15 Throw Communism into the mix and the scenario is eerily similar to a certain real-world situation. 36 l venture beyond one's mother tongue, it is inherently dangerous to attempt
multiculturalism in an uninformed manner. Certainly Vimes is not arrogant enough to
suggest that everyone speak Morporkian, and excuses his slip-up by once again saying
that he has had a long day. However, language creates several sticky situations in his
dealings with other countries, from misunderstandings to accidental insults. Through
Vimes, Pratchett seems to lampoon American monolingualism and the U.S. "official
language" movement. English-only groups in the United States have formed to establish
English as the country's official language, negating the country's heritage of
multiculturalism. Other groups advocate the creation of an international language, with
contenders including French, Esperanto, and English. The desire for universality in
language is often coupled with a belief that the proposer's own language should be the
only one. This linguistic prejudice is a dangerous side effect of the sense of superiority
that accompanies the rise to world power. The popularity of the Kennedy story shows
disdain for the cultural insensitivity of hegemonic powers. At the very least, the jelly
doughnut anecdote implies that the more powerful a nation is, the more ridiculous their
representatives are capable of ma~ing them look.
Despite his language deficiencies, Vimes is able to see through the games of
foreigners who exploit cultural differences to play tricks on their visitors. In Klatch, for
example, Vimes is presented with a piece of cooked goat that looks back at him; when he
calls the clan out on their game of"Let's see what offendi16 will swallow," refusing to eat
the food simply because he is told it is traditional, he is met with great respect. "Then it
is true that you can see further than most," the clan wise man remarks, clapping him on
16 [Accepted] Supposedly a term of respect, but given the root "offend" it is likely an insult, a joke played on unsuspecting non-speakers of the Klatchian language. j 37 j l the back and offering him proper food (Jingo 285). This statement sums up Vimes'
natural prowess as an ambassador: he knows better than to take the literal or figurative
goat's head from anyone.
Samuel Vimes is truly the epitome of the International Man of Mystery: he travels
to various nations, and mystifies the cultural representatives on all sides by dismissing
conventions of diplomatic finesse. According to Lady Margolotta von Uberwald, "'He's
the reason for diplomats" (Fifth Elephant 29). Is Pratchett's solution for diplomacy,
then, to send the ostensibly wrong person for the job? Not necessarily. Although Vimes
may appear to be completely out of his element, the Discworld novels suggest that
diplomacy is simply policing on a larger scale. The sentiments of the cop-skepticism
and distrust in particular-are perfectly attuned to dealing with the subterfuge and false
politeness used by other diplomats. Vimesian diplomacy is a horse of a different color,
achieved through honesty, open threats, and respect for the law above concern for
etiquette and decorum. Such are the characteristics of an effective diplomat.
Vimes is a Juvenalian character who cannot keep his opinions to himself. The
reader is even privy to Vimes' private thoughts and emotional turmoil, heightening his
depth as a character. The other Watchmen describe Vimes as being "at least two drinks
under par, and [needing] a stiff double even to be sober" (Men at Arms 210). He is
subject to a constant inner struggle with a primal violent rage he terms "the Beast" and
fights to keep it in check. Vimes believes that everything, especially easy answers,
should be subject to extensive questioning; he trusts no one, a fact that saves his life on
more than one occasion when the Assassins' Guild targets him. Anticipating these plots,
Vimes sets multiple traps to foil them. Vetinari understands and exploits Vimes' chronic
38 l skepticism, seeing it as an advantage that Vimes "can argue with anything" (Jingo 92).
Pratchett presents Vimes' suspicion of easy and obvious answers as an essential quality of a strong leader.
Our first view of Captain Vimes is less than ideal; in the novel Guards! Guards! he is introduced as the perpetually drunk captain of a broken-down Watch that consists of only two men besides himself, Fred Colon and Nobby Nobbs. These two, while mostly good men, are hardly exemplary watchmen. 17 Vimes is an archetype: the Dirty Harry- style American cop that is a stock character of film noir. Indeed, many of his internal monologues-particularly in Guards! Guards!-pointedly allude to celluloid detective fiction. As Colon explains to Vimes the nature of the Ankh-Morpork Fine Art
Appreciation Society ("It's just men paintin' pictures of young wimmin in the nudd"),
Vimes thinks: "There must be a million stories in the naked city ... So why do I always have to listen to ones like these?" (Guards! Guards! 215). The Naked City was an
American TV cop show in the 50s, mostly forgotten today, except for its prologue narration: "There are eight million stories in the naked city. This is one of them." The presentation ofVimes as a Harry Callahan figure is an affectionate parody in the Horatian
18 vein, paying homage to Clint Eastwood's California cop films ofthe 1970's . Vimes even mimics Callahan's actions at the end of the film Dirty Harry when he throws his badge onto the ground before dealing with a murderer:
"You're not going to kill me, Mister Vimes. Not you. Not you with a badge. That ain't your way, Mister Vimes." Without looking, Vimes reached up and tore his badge off. (Night Watch 312)
17 It is common knowledge that Nobby has a bad habit of nicking things from buildings that leave their doors unlocked, and Fred's favorite post is guarding the Brass Bridge in case someone tries to steal it. 18 See footnote 2. 39 1 The parallels between Eastwood's film and Vimes's character are obvious and a lighter
form of parody. But it is his character's thoughts and dialogue that makes him a scathing
satiric type. Captain Carrot, who is a similarly affectionate tribute to officers on BBC
19 police shows , acts as a foil to Vimes' hard-nosed policing.
It is after Carrot joins the Watch that it begins to flourish, reliably enforcing the
law and defending the city. Marriage makes Vimes into the ideal Commander of the
Watch: Lady Sibyl, his wife, encourages him to stop drinking and pushes him into the
aristocratic and ambassadorial roles associated with his position. His marriage to Sibyl
creates complications, as Vimes loves the woman but not the upper crust to which she
belongs. As Pratchett puts it, "He hated being thought of as one of those people that
wore stupid ornamental armor. It was gilt by association" (Night Watch 5). Although
Lady Sibyl tries desperately to pass on some of her high-class manners to Vimes, she
never tries to force him to be something he is not, allowing him to maintain a balance
between his grubby work and the status he has acquired by marriage.20 The combination
of her refined influence and Vimes' own background as a hard-nosed copper creates a
leader who knows both the dregs and froth of society: he is not only an officer but also an
experienced Watchman who has seen and done it all. This allows him to hold his own
within the upper class despite their low opinion of him and the common knowledge of his
childhood in Cockbill Street, the poorest part of Ankh-Morpork where people live on
pride alone. Vimes' upbringing works against him by inciting derision among the
nobility, but for him in the sense that he is able to see the foolishness of the aristocrats
19 Interestingly, Carrot's common greeting of"Hello, hello, hello, what's all this then?" was a common line used by Graham Chapman in his policeman sketch on the satiric Monty Python's Flying Circus. The satire is the same affectionate jibe at the London police's response to any situation. 20 She does, however, force him to wear tights on special occasions. 40 l around him (with the exception of Lady Sibyl, who is truly a good person). He has
experience that spans the class system, having been both a street urchin and a duke, and
seems to find policing a comfortable middle ground where he truly fits.
Vimes' actions speak louder than his words, especially when it comes to his
speciesist tendencies. When Fred Colon becomes Acting Captain of the Watch, he makes
a speciesist remark about Sergeant Stronginthearm, a dwarf. Although Vimes had often
made similar comments, the reaction of the men is quite different to Colon's statement:
"But, look, Vimesy used to say that sort ofthing, too, I heard him," said Nobby. "Yeah, but that was different." "How?" "That was Mister Vimes," said Stronginthearm. "Remember that riot in Easy Street last year? Bloke came after me with a club when I was on the ground, and Mister Vimes caught it on his arm and punched the man right in the head." "Yeah," said Constable Hacknee, another dwarf, "When your back's against the wall, Mister Vimes is right behind you." (Fifth Elephant 97)
Vimes' willingness to stand up for his men regardless of their species earns him the
respect of his comrades and disposes them to excuse intolerant words. He is unlike the
typical speciesist, whose bigoted words are unredeemed by egalitarian action. These are
primarily aristocrats, writing letters or speaking to the Patrician without getting to know
their enemies or attempting to resolve the situation themselves. Others exact violence on
members of a loathed species in question. This is especially true in troll-dwarf relations.
Vimes, though he may claim to hate the Palace-imposed affirmative action policy, sees
watchmen as watchmen-a view highly influenced by Captain Carrot, who is first
credited with the policy in Men at Arms:
"Ain't no dwarfs or trolls or humans in the Watch, see," said Colon. "Just Watchmen, see? That's what Corporal Carrot says. Of course, ifyou'd like to be in Acting-Constable Detritus' squad-"
41
L "I LIKE DWARFS," said Cumberbatch, hurriedly. "ALWAYS HAVE. NOT THAT THERE ARE ANY IN THE WATCH, MIND," he added, after barely a second's thought. "You learn quick. You'll go a long way in this man's army," said Cuddy. (Men at Arms 298)
In a direct parallel to backlash against affirmative action initiatives in the United States,21
the views of other citizens regarding the expansion of the Watch are frequently hostile.
Many predict that the system will go to ruin if anyone can get a job in the Watch, and
many question the leadership of the Patrician in allowing such equality. The snag in the
complaints of those opposed to equal opportunity employment is that everything works,
particularly the Watch, better than it has in centuries or possibly ever.
Vimes' view of the law is unorthodox, much like his diplomacy. Whereas
Captain Carrot is a staunch upholder ofthe letter of the law, Vimes prefers to adhere to
1 the spirit of the law, and it is their cooperation that makes the new Watch work so well.
Carrot provides the law and Vimes interprets it, as when the two of them attempt to stop a
needless war in Jingo:
"Vimes, you have gone insane,' said Rust. 'You can't arrest the commander of an army!" "Actually Mr. Vimes, I thi~ we could," said Carrot. "And the army, too. I mean, I don't see why we can't. We could charge them with behavior likely to cause a breach of the peace, sir. I mean, that's what warfare is." Vimes' face split into a manic grin. "I like it." "But in fairness our-that is, the Ankh-Morpork army-are also--" "Then you'd better arrest them too," said Vimes. (286)
Astonishingly, this works. While under arrest, the two armies settle their dispute through
a soccer match organized by Captain Carrot as the peace treaty is signed. Carrot
determines that the law permits an action that will solve the problem, and Vimes runs
21 But, interestingly, not in Britain, where it is seen as unfair discrimination. There is no "leading oppressed group" in Britain, and while policies exist to promote equal opportunity, the country is still overwhelmingly white (93%) and culturally isolated (Teles 1004-5, 1012). 42 l 1 with it because it is a solution and is fun. Lord V etinari realizes the benefits of the
dynamic between these two, as does Captain Carrot early on: when Vimes plans to retire
after getting married, Carrot and Vetinari work up a plan to keep Vimes in the Watch
with a knighthood and the title of Commander. This keeps Vimes at the head of the
organization and appeases Sibyl with the rank and knowledge that her husband is happy.
The rank annoys Vimes just enough to make it a true compromise. In later novels,
Vimes' enemies grate on his nerves by referring to him as "Your Grace" or similar
titles.22
The Patrician knows that Vimes hates titles, but he also knows that he deserves
them. Vimes continually proves himself to be an asset to the city and shines in every job
he is given, despite his aversion to the titles and the tights. He is a vehicle for diatribe, an
1 exemplar, and an archetype of the American cop. Vimes, through his collaboration with
Lady Sybil on issues of aristocracy and with Captain Carrot on Watch business,
maintains a well-run organization and manages to put up with his new nobility. The
"marriage of minds" (one literal, and the other figurative) between Vimes and his wife
and Vimes and Carror3 creates a dynamic that works for all parties involved.
22 For preference, Vimes goes by his Watch rank, Commander, or "Mister Vimes" to those who have earned the privilege. Lady Sibyl is the only person who ever calls him by his first name.
43
L VI. Conclusion
On December 11, 2007, the following announcement from Terry Pratchett
appeared on illustrator Paul Kidby's web page under the heading "An Embuggerance":
Folks,
I would have liked to keep this one quiet for a little while, but because of upcoming conventions and of course the need to keep my publishers informed, it seems to me unfair to withhold the news. I have been diagnosed with a very rare form of early onset Alzheimer's, which lay behind this year's phantom "stroke".
We are taking it fairly philosophically down here and possibly with a mild optimism. For now work is continuing on the completion of Nation and the basic notes are already being laid down for Unseen Academicals. All other things being equal, I expect to meet most current and, as far as possible, future commitments but will discuss things with the various organisers. Frankly, I would prefer it if people kept things cheerful, because I think there's time for at least a few more books yet :o)
PS I would just like to draw attention to everyone reading the above that this should be interpreted as 'I am not dead'. I will, of course, be dead at some future point, as will everybody else. For me, this maybe further off than you think- it's too soon to tell. I know it's a very human thing to say "Is there anything I can do", but in this case I could only entertain offers from very high-end experts in brain chemistry.
In this letter, Pratchett faces head-on one of the most devastating prospects that could
befall the satirist: the probable loss of his primary tool, a razor-sharp wit. The irony of
this situation is not lost on Pratchett, who takes the opportunity in further updates to
quote his own character, Granny Weatherwax, saying: "I still aten't dead, even today"
("An Update"). Because his Alzheimer's has been detected at an early stage, there is yet
44 L hope for a cure, and legions of readers have sent him stories of their successful battles
with the disease, messages of hope, and contacts at medical organizations.
Likewise, Pratchett himself is taking action. He recently donated £494,000 (US
$1 million) to the Alzheimer's Research Trust in the United Kingdom, sparking a fan
movement called "Match it for Pratchett" to raise an equal amount of money to donate in
his honor and has raised more than £50,000 in its first month (Cadigan). Through this
initiative, Pratchett is attempting to write medical history and his life story with the same
realistic optimism that produced his fiction. By subsidizing efforts to find a cure for
Alzheimer's, he hopes to redirect the ending of his own story. His situation not only
draws attention to the disease, but also to his work, giving a new imperative to this paper.
As Pratchett says, "I think there's time for at least a few books yet," implying that there
will be a limited number of novels to come. Posthumous appreciation of Terry
Pratchett' s literary genius would be a pity when there is still time to celebrate one of the
most innovative and insightful living writers in English.
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