Fantasy

Thief of Time (Discworld, Book 26) by Terry Pratchett

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By Terry Pratchett

Everybody desires extra time, that's why on Discworld purely the specialists can deal with it -- the venerable priests of historical past who shop it and pump it from the place it's wasted, like underwater (how a lot time does a codfish really need?), to locations like towns, the place busy denizens lament, "Oh the place does the time go?"

While everybody constantly talks approximately slowing down, one younger horologist is ready to do the unthinkable. He's going to prevent. good, cease time that's, via development the world's first actually actual clock. this means that esteemed heritage Monk Lu-Tze and his apprentice Lobsang Ludd need to wear a few velocity to forestall the timepiece prior to it begins. For if the proper Clock begins ticking, Time -- as we all know it -- will finish. after which the difficulty will really begin...

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Additional resources for Thief of Time (Discworld, Book 26)

Sample text

When John Clute planned his Encyclopedia of Fantasy in the mid1990s, he envisaged it as a smaller and more tightly focused volume than the recently updated The Encyclopedia of Science Fiction; it ended up as a sprawling leviathan almost twice as large as originally intended. The immense difficulty Clute and Grant had in setting boundaries to the project and in discovering an adequate descriptive terminology for comparative and taxonomic purposes provides a graphic illustration of the manner in which the historical and critical writings of the 1970s had created more problems than they had solved.

A heterocosmic creator cannot organize the informational thread of a text in the same way as can the creator of simulacra. The reader’s attention must be drawn to similarities and differences between the world within the text and the primary world. The heterocosmic creator must not only work hard to establish the relevance of some aspects of the readers’ preexistent stocks of knowledge into the text, but must work at least as hard to ensure that certain other aspects are definitively excluded. The heterocosmic creator must separate into two distinct parts the readers’ ready-made understanding of the way a world might work and must then compensate for the part ruled irrelevant by supplying a new understanding to take its place.

Tolkien’s lecture “On Fairy Tales” offers an unprecedentedly robust apologia for fantasy literature. 1939 Unknown provides a vital arena for the development of chimerical fantasy. Flann O’Brien’s At Swim-Two-Birds takes metafiction to new extremes. James Thurber’s “The Secret Life of Walter Mitty” provides a classic description of everyday escapism. World War II begins in September. 1940 Jorge Luis Borges, Adolfo Bioy Casares, and Silvina Ocampo compile a showcase anthology of international fantasy literature.

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