Product Description
Better watch out …
It’s that time of year again. Hogswatchnight. Tis the season to be jolly, to hang mistletoe and holly, and other stuff ending in olly.
Tis the season when the Hogfather himself dons his red suit and climbs in his sleigh pulled by–of course!–eight hogs and brings gifts to all the boys and girls of Discworld.
But this year, there’s a problem. A stranger has taken the place of the Hogfather. Well, not exactly a stranger. He’s actually pretty well known. He carries a scythe along with his bag of toys, and he’s going to SLEIGH everyone he sees tonight.
Ho ho ho.
Even the laugh is wrong. The switch has been arranged by the Auditors, mysterious superbeings who want our universe to be a collection of rocks swinging in curves through space. Life is messy. Why not get rid of it? And who better than–you know who?
Somebody has to rescue the real Hogfather before this morbid impostor tracks soot on the world’s carpets. It’s up to Ankh-Morpork’s intellectual elite, the assembled wizards of Unseen University–with the help of a monster-bashing nanny, the world’s worst inventor, plus a bona-fide, honest-to-god god (the oh god of hangovers, to be precise)–to come up with a plan to save the universe.
And they’d better hurry. The bogus Hogfather is asking the wrong questions. Like: How come rich kids get all the nice toys? How come the poor kids are left with the cheap stuff?
“That’s life,” he is told.
Which cuts no ice with Death.
Amazon.com Review
What could more genuinely embody the spirit of Christmas (or Hogswatch, on the Discworld) than a Terry Pratchett book about the holiday season? Every secular Christmas tradition is included. But as this is the 21st Discworld novel, there are some unusual twists.
This year the Auditors, who want people to stop believing in things that aren’t real, have hired an assassin to eliminate the Hogfather. (You know him: red robe, white beard, says, “Ho, ho, ho!”) Their evil plot will destroy the Discworld unless someone covers for him. So someone does. Well, at least Death tries. He wears the costume and rides the sleigh drawn by four jolly pigs: Gouger, Tusker, Rooter, and Snouter. He even comes down chimneys. But as fans of other Pratchett stories about Death (Mort, Reaper Man, and Soul Music) know, he takes things literally. He gives children whatever they wish for and appears in person at Crumley’s in The Maul.
Fans will welcome back Susan, Death of Rats (the Grim Squeaker), Albert, and the wizardly faculty of Unseen University, and revel in new personalities like Bilious, the “oh god of Hangovers.” But you needn’t have read Pratchett before to laugh uproariously and think seriously about the meanings of Christmas. –Nona Vero
Leonard Fleisig @ 6:44 pm
when all through the planet
Not a creature was stirring, except Susan Sto-Helit
Terry Pratchett’s Discworld series has been marked by a series of hilarious (and thoughtful) parodies of life on our own planet. Pratchett takes a look at our own practices and customs and then filters them through the prism of a parallel universe known as Discworld. He has done this to great effect with the newspaper business (The Truth), Hollywood (Moving Pictures), rock and roll (Soul Music), and religion (Small Gods). The hilarious differences between the `real’ and Discworld versions always provide the reader with hours of amusement and insight. Pratchett’s treatment of the Santa Claus legend in Hogfather is no different.
Hogfather, Discworld’s Santa is missing. He has been kidnapped by Teatime one of the most vicious villains created by Pratchett. Generally, the `bad guys’ in Discworld have a number of amusing or redeeming qualities that help the reader see them as quirky, if bad. Teatime has no redeeming qualities. To that extent he seemed more similar to the villains of Neil Gaiman’s Neverwhere (Croup and Vandemaar) than to the lovable rogues from the Guild of Assassins.
Well, DEATH comes to the rescue and decides to take on Hogfather’s role as gift giver on Hogswatch Night, Discworld’s Christmas. DEATH is accompanied on this task by the ever faithful and ever grumbling Albert. The passages in which Pratchett has DEATH making his rounds led by his team of boars shouting “on Tusker, on Snooter, on Gouger and Router” were hilarious.
Susan Sto-Helit, DEATH’s granddaughter, was not at all pleased by this development. Prodded by the Death of Rats and his translator sidekick, the Raven, Susan is soon reluctantly involved in her Grand-dad’s attempts to fill in the gaps caused by Hogfather’s disappearance. It becomes apparent that the disappearance is all part of a grand plot by the scheming Auditors who, like all masters of evil have grand plans to end the universe as we know it.
As always, Pratchett keeps the story galloping along at a rip-roaring pace. Susan meets troubles in a manner reminiscent of the Perils of Pauline. Eventually we are faced with the climactic confrontation between DEATH and Teatime. Pratchett always seems to find a clever way to bring his books to satisfactory conclusion.
One of the best parts of the book, for me, was Pratchett’s portrayal of DEATH’s apparent fondness for mortals despite the fact that his sole (soul?) purpose in life (death?) was to facilitate the earthly end of all our lives. Pratchett’s ability to imbue DEATH with such human characteristics without taking away from the other aspects of his immortal character is deeply moving to me.
All in all this was a very satisfying chapter in the Discworld series. Given the night before Hogswatch feel of the book it is fitting to conclude this review as it began:
DEATH sprang to his sleigh, to his Boars gave a whistle,
And away they all flew like the down of a thistle.
But I heard DEATH exclaim, `ere he drove out of sight,
“Happy Hogswatch to all, and to all a good-night!”
David Roy @ 6:58 pm
Hogfather, the twentieth Discworld adventure written by Terry Pratchett, is a wonderful tale about the power of belief and what it can bring to humanity. I found myself laughing out loud constantly while reading this book, which is always a good sign, and definitely a step up from Sourcery. It was very pleasurable to be enjoying Pratchett again. It was also very nice to have a good Death book again, after the small bump that was Soul Music
Can anybody not like the idea of a skeletal Death, all decked out in a red and white costume with false beard and false belly, trying to go down chimneys and bring presents to all the good little boys and girls of the world? The idea itself is enough to get me laughing, but Pratchett’s implementation of it has to be seen to be believed. Pratchett pulls out all the stops in this one, with laughs as simple as Death trying to figure out how to open a door to let Albert into the house, and as complicated as philosophical discussions about human belief and how it orders the universe (in a way that the Auditors don’t like, of course). Death continues to marvel at the ability of humanity to “be untruthful” by “telling the universe it is other than it is.” This powerful belief creates beings like the Hogfather, the Tooth Fairy, the Boogeyman (the original!), that sort of thing. That’s what makes Death such a wonderful character: his ability to learn, to adapt, and to see both the strengths and weaknesses of humanity, as well as his fascination with how humans do things.
Susan, his granddaughter, just wants to be normal again. It’s been two years since Soul Music, and she doesn’t want to go back to that life. But while Death can take the Hogfather’s place, he can’t physically intervene in the events that are occuring, so Susan must. She goes on a journey that takes her to where the Hogfather usually lives, and to the realm of the Tooth Fairy, where Teatime is using the magic of the teeth to erase the belief in the Hogfather. Susan is much more interesting in this book then in Soul Music, mainly because it doesn’t take her as long to start getting in on the action. Previously, the entire first part of the book was spent with “recruiting” her to what needed to be done. In Hogfather, it happens much more quickly, which makes the beginning of the book a lot more interesting. The beginning also contains a little bit of foreshadowing. She is governess of two children, whose previous governess constantly reminded them that certain monsters would get them if they did something, and now Susan has to fight them off they are created by the children’s belief. I found this very effective, and a good prelude to the philosophical aspect of the story.
The wizards are their usual selves, bumbling along making you wonder how they ever get through life, as well as wondering how they’d ever survive if they weren’t in the insular confines of the University. Pratchett does flesh them out a bit, giving them even more personality then they had before. The Archchancellor is remarkably on top of things at times, while at other times he’s as dense as a brick. He has the ability to pick up what is happening a lot quicker than you would think. The Bursar is his usual excitable self, downing Dried Frog Pills to make life bearable. I found it hilarious when they would make monsters and fairies appear by speaking aloud their wonderment at various aspects of life. “Supposing some idiot says there must be a god of indigestion, eh?” As usual, Pratchett uses the wizards for two things: to illustrate the effect of what is going on in the story, and as yet another source of comedy. That’s why I find the wizards fascinating and very useful to the plot. While on first view their story is completely separate (though they do interact with both Susan and Death), it actually has a lot to do with the what’s going on.
Pratchett’s talent for wonderful characters continues with everybody else in the book. Teatime’s a very creepy person. He’s one of the few people who could figure out how to kill somebody like the Hogfather. He’s ruthless, willing to kill on a whim, and very determined to get the job done. Then there’s the oh god, the God of Hangovers, who is constantly sick and feeling horrible because he take personifies all the effects of drinking. He’s miserable, but he plays the faithful companion to Susan on her mission. He’s new to the world, but he’s willing to learn.
Those are just a few of the great characters, but there are many more. Pratchett’s writing is at the top of his form, with hardly a misstep. Susan is still slightly dull, but other than that, everything’s a winner. He moves effortlessly from slapstick comedy to serious discussions of the nature of the universe and then back again. His descriptions are both humorous and yet true to life. While you can read the book just for the humour value, it’s Pratchett’s comments on the nature of belief and how we humans make the world up as we go along that really makes this book a standout. Whether or not you agree with him, the points are interestingly made, but they don’t detract from the fun of the book at all. The book is a must read for any Pratchett fan, and it would make a wonderful introduction to the series to a newcomer, as none of the previous Death books are needed to understand this one.
Death is back. Oh how I’ve missed him.
R. Chaffey @ 7:43 pm
“Hogfather” is the first Terry Pratchett book that I read, based on a strong and enthusiastic recommendation. I am sorry I did not discover Pratchett earlier. His writing is filled with laugh-out-loud moments and peppered with sharp insights into the ways humans function. He has created a marvelously warped, but awfully familiar universe with his Discworld. “Hogfather” is largely a satire about Christmas and the way that we celebrate it; but it is more importantly about the beliefs that shape who we are and the strength those beliefs have over us.
The basis for “Hogfather” is that the Hogfather has been “killed” and Death must take over the reins in order to ensure that the sun will rise the next morning, as well as to try to bring back the Hogfather. As he crisscrosses the world on Hogswatch Eve, he is startled by the lack of belief that he encounters in his interactions with humans. Surely something is wrong in the universe if humans don’t belief in the Hogfather and it is Death’s task, along with others, to try to set things right.
The novel includes a wide cast of characters who are believable and add to the rich tapestry of Pratchett’s yarn. We are allowed to see the story from various vantage points as we discover what is the cause behind this lack of belief. We laugh out loud at the escapades of the Oh-God of Hangovers and the other various ‘gods’ who have strangely gained entrance into Discworld. Yet the best storyline involves Susan Sto-
Helit; as Death’s grand-daughter, she would like nothing more than to live a normal life as a governess, but inevitably finds herself wrapped up in the plot to save the Hogfather and restore order to Discworld.
Pratchett is a highly entertaining author. He balances the wit and humor of his story with sharp (and sometimes biting) observations about life. I look forward to more trips into Discworld.
Stephen A. Haines @ 9:49 pm
At year’s end on the Discworld, the Hogfather flies his sleigh packed with toys through the night. Visiting every home with children, he leaves gifts for the kiddies in stockings hung on the mantle or under the Hogswatch tree. There usually is a snack on the table for him: a glass of “sherre” and some pork fries, with turnips for the hogs. The sleigh, you see, is drawn by four immense boars, not reindeer led by one with an inflamed nose. This year, however, the Hogfather has disappeared and a substitute has taken his role.
“The Discworld is a world, and a mirror of worlds”. The world it reflects is ours. Many literary commentators disparage fantasy as “escapist”, suitable only for the young or others dodging reality. Pratchett, on the other hand, smacks you in the gob with reality. Yet he manages do achieve this with a level of wit and learning no other fantasy writer can hope to emulate. There is some magic on Discworld, but Pratchett’s talent lies in characterisation, not make-believe. Most of his figures are human, but humans create characters in their own minds. On Discworld, these are manifested as “anthropomorphic personifications”. We are familiar with some: there is a God of Wine, for example. Yet, for some reason, we don’t have a God of Hangovers – an oversight in the logic of our mythology. Where we have “Santa Claus”, on Discworld the Hogfather is the “jolly elf” bringing happiness to children.
Still, there is one personification we are loathe to consider – Death. On Discworld, Death doesn’t kill, but merely takes the life essence when Fate so decrees. Death may spend a moment with the snuffing of a tube-worm at the ocean’s depths, but his real interest is humans. He doesn’t understand them, although he strives to do so. Circumstances led him to become a grandfather once – sort of a grandfather. That little girl, Susan Sto Helit, also strives: to be a Normal Person in the Real World. Grandfather’s concern for humans, however, forces Susan to ease out of the Real World in a reluctant quest to learn why the Hogfather isn’t doing his rounds. And why her grandfather has assumed his role.
On the Discworld, most businesses are combined into Guilds. There’s the Guild of Astrologers, Thieves’ Guild and the ladies of The Guild of Seamstresses ["hem! hem!"]. There is also an association of elite gentlemen, The Assassins’ Guild, which “inhumes” victims for clients for a fee. Lord Downey, Head of the Assassins has been approached by a “client” offering a large fee to inhume the Hogfather. He passes the task to Mister Teatime [pronounced Teh-ah tim-eh - "Nobody gets it right, Sir", he mourns.] who has already considered the problem “on my own time, Sir!”, he insists. For Mister Teatime has indeed seen the benefits of “bringing the Hogfather to an end”. It involves kidnapping the Tooth Fairy and how to control the minds of children.
Death, who has a vested interest in children because they will become adults he can study, has an assistant. Albert Malich was a wizard the Unseen University, where young wizards trained. As a human, Albert acts as a resource in Death’s pursuit of understanding humans. Humans are too illogical, too individual, too unpredictable for reasoned analysis. Death doesn’t wish to change them, but he yearns to understand them. Others in the universe, particularly the Auditors, find human behaviour irrational, but worse, chaotic. Their aim is Order in the universe – and Mister Teatime is engaged in fulfilling that desire. It’s part of the contract.
Pratchett’s development of this story is one of his finest accomplishments. The twentieth Discworld story – in a collection now exceeding three dozen, he has woven his characters into something grand and universal. Although now over a decade old, the book retains wide appeal for many reasons. There is something here for everybody, including Pratchett’s use of science in unexpected, but not inappropriate, places. Pratchett’s writing is captivating, not only because his command of language is peerless, but because he engages your attention in surprising and challenging ways. In three dozen books, he has never repeated himself or let a major figure become boring. Those that reappear in successive volumes grow and develop fresh attributes. Not the least of those being Death himself. Speaking, as he does in THE VOICE, he remains both entertaining and worthy of ungrudging respect, exhibiting very “human” qualities. For all his supposed prowess, Death must manipulate a human to bring this book to its conclusion. [stephen a. haines - Ottawa, Canada]
Myra Schjelderup @ 11:40 pm
The Hogfather is, of course, Father Christmas – except that he drives in a sleigh pulled by pigs, and gets sherry and turnips as snacks.
But someone has hired the Assassins Guild to `get rid of’ this certain somebody, and they get on the job.
While the Hogfather faces the peril of being un-believed in (which is how a god `dies’, though just as soon they can come back to `life’), Death takes up the reigns, puts on a fake wig, stuffs some pillows under his coat, and becomes the substitute Hogfather. Eating the sherry and turnips (or leaving the turnips and letting his assistant Albert drink the sherry), leaving toys in the stockings, and making sure there are plenty of coal-prints on the carpet, Death hopes to keep the belief of the Hogfather alive.
Meanwhile, Mr. Teatime (that’s `teh-ah-tim-eh’ to you), the hired Assassin, has hired a few thugs to help him with his work. They are having a hard time getting used to this odd, one-eyed (one glass eye), eccentric assassin.
And Susan – the daughter of Death’s adopted daughter and his former apprentice (thus Death’s granddaughter) – knows something’s wrong; when Death instead of the Hogfather comes in and fills the kid’s stockings. She is trying to lead a `normal’ life as a governess; though when your hair rearranges itself, you can walk through walls, can see bogeymen, and talk in capital letters like Death, it’s hard to be normal.
So Susan, along with the ‘oh god’ of Hangovers (who she runs into), goes to find out what has happened to the Hogfather – and see if she can return Hogwatch to what it was before, with the correct Hogfather.
Along with ‘Interesting Times’, and ‘Small Gods’, this makes it to the top 5 of all the Discworld novels.