Mort by Terry Pratchett

Death comes to us all. When he came to Mort, he offered him a job. Mort is taken aback to find himself a trainee Grim Reaper, and puzzled because Death does not seem likely to retire or, well, visit himself. But, it turns out, after several million years on the job, Death would like a night or two off to let his non-existent hair down. What could go wrong? Well, as it turns out...

A reviewer more fully embracing of cliche would, at this juncture, feel inspired to say "This is where the fun begins," or look moodily into the middle distance against swelling orchestral music whilst declaiming, "S--t just got real." Mort, the fourth Discworld book, is generally accepted as the book where Pratchett finally nailed it. For many years it was the most-recommended entry point to the series, whilst it's also (by far) the easiest of the books to put on as a stage play. In 2003 it was voted as the best book in the series by the UK's "Big Read" survey. It's also been optioned for film several times, although Pratchett was always dubious of the idea after the first Hollywood producer he met told him how much he loved the book, but perhaps they could find some way of removing Death from the story?

Mort is radically different in tone and feel from the first three books in the series (or the next few, for that matter). It's a hugely concentrated story with only a few major characters: Mort himself, Death, Death's adopted daughter Ysabell (expanding on her brief appearance from The Light Fantastic), Death's manservant Albert, and a small number of characters in the kingdom of Sto Lat, including Princess Keli and the wizard Cutwell. The plot is straightforward: Death hires an apprentice, but doesn't quite take into account that a mortal human's view of the process of ushering souls into the next life isn't going to be as philosophical as a millions-of-years-old, non-human anthropological manifestation and Mort, unsurprisingly, makes a Bad Decision and spends the rest of the book trying to fix or avert it before Death can find out.

The result is a book that is very funny - we learn that Death is a huge fan of cats and curry (not together, fortunately) and has a kind of wistful curiosity about mortal life - but also surprisingly melancholy. It's a book that's about, well, death, which means it's also about life and the transitory nature of it. Pratchett does gentle, melancholic and intelligent humour very well but it seems to be something that almost every single adaptation misses out on, instead focusing on the zany out-there fantasy shenanigans (and admittedly Pratchett can do that really well as well, but it's not his focus). On a first read Mort works well as a reflective, funny novel but it gains additional kudos if you've read Soul Music and Hogfather and know more about the fates of some of the characters in this book.

The book is lean and focused, and also has a really satisfying, poetic ending. Pratchett's endings so far have leaned towards widescreen spectacle because that's what's expected in a fantasy novel - the plucky heroes making a one-in-a-million gamble to try to avert gibbering horrors breaking through the walls of reality - but you get the sense his heart was never really in it. In Mort he goes for a much more personal, character-based ending that's much more appropriate. Oh, there is still a supernatural swordfight of course. Some things are expected.

If there are negatives, they are fairly limited. This is still Early Pratchett, without quite the best-in-class wordplay and more incisive humour and characterisation of later books, but he's definitely getting there at a rate of knots.

Mort (****½) is Pratchett stretching his creative muscles, trying a different tack and finding a mode of storytelling that's exceptionally fine. The novel is available in the UK and USA.

I previously reviewed the book here.

Neil Gaiman to write GOOD OMENS TV series

Neil Gaiman has confirmed that he will be scripting a six-episode mini-series based on his 1990 collaboration with Terry Pratchett, Good Omens.

Gaiman had previously decided not to proceed as a writer on the project, believing it should only be done between him and Pratchett. Pratchett passed away last year, meaning that it was likely that the project would have to be given to another writer. However, Pratchett left behind a letter to be given to Gaiman in the light of Pratchett's death, in which he asked Gaiman to handle the project.

The BBC had previously been interested in the series when it was mooted as a 13-part series, but budget cuts at the BBC seem to have removed their interest. Cutting the story to six parts might be enough to reignite their interest, especially after their bullish recent performance with expensive-looking period and genre dramas such as Wolf Hall, Jonathan Strange & Mr. Norrell, The Last Kingdom and War and Peace. Good Omens also did well for the BBC as a radio drama in 2014, starring Peter Serafinowicz and Mark Heap as angels Crowley and Aziraphale.

In the same article, Narrativia, the production company set up by Pratchett before his death, confirmed that it was continuing to develop an ongoing TV series based on the City Watch storyline in the Discworld novels and it was also working on a film based on the novel Mort, with Hollywood scriptwriter Terry Rossio (Shrek, Aladdin, Pirates of the Caribbean: The Curse of the Black Pearl) developing a script.

It sounds like Good Omens is a bit further along than the other two projects, and hopefully we may be hearing more news about it soon.

Mort by Terry Pratchett

Young Mort is unsuited to follow in his father's footsteps, so is put up to apprentice in another trade. Unexpectedly, Death himself decides to train up Mort as a neophyte Grim Reaper so he can have a few days off. After all, what could go wrong? Well, as it turns out...


Mort was the point that a lot of people started taking more notice of the Discworld series. Smaller in scale than the first three books, Mort features Death as a main character and some thoughts and meditations on the nature of death and what may (or may not) come after. This is Pratchett in a more thoughtful mood, but he doesn't neglect the comedy. There are quite a few funny moments and passages, and we meet some more soon-to-be-iconic Discworld characters like Albert as well. But it's the serious thinking about life and the place of people within it that makes Mort stand out a little bit more than some of the other early books. Pratchett is also quite disciplined here, with a focused and tight plot that doesn't ramble like some of his other novels (which is sometimes entertaining, sometimes not), and this works quite well.


Mort is also interesting as the Discworld book that has been optioned several times as a big-budget Hollywood movie, but Hollywood has so far been unable to make it as they decided they wanted to remove Death from the book as his presence would be too much of a downer for American audiences to handle. Unsurprisingly and possibly thankfully, the film has never been made.

Mort (***½) is a step-up in quality from the first three books, with Pratchett stretching his author's muscles and discovering some new and interesting tools in his writing box. The next phase of the Discworld series, a more solidly entertaining and interesting series of works leading up to the series' first undisputed classics, begins here. The novel is available now in the UK and USA.