Discworld Novels To Come to TV and Film

Good news for fans of the late Fantasy/SF author Terry Pratchett. According to an article on page 3 of today’s I, for 29th April 2020, a special production company is set to develop his discworld novels for the screen. The article simply reads

Sir Terry Pratchett’s production company, Narrativia, is to bring the late writer’s Discworld novels to life in screen adaptations. It hopes to create “truly authentic” features based on the novels, which remain “absolutely faithful” to Sir Terry’s “original, unique genius.”

I saw Pratchett several times speaking at the Cheltenham Literary Festival. He was a funny man, who spoke to packed audiences. Like Michael Moorcock, the author of the cult Fantasy hero, Elric, Pratchett was also critical about the genre in which he wrote. He once said that if you read The Lord of the Rings when you were 13, and didn’t think it was the greatest book in the world, there’s something wrong with you. And if you still think it’s the greatest book in the world by the time you’re 33, there’s something really wrong with you. He also said that Fantasy was dead, and he was a maggot crawling in its rotting corpse.

But this was back in the 1990s, when the state of genre literature I hope was a lot different than it is today.

There have already been a couple of TV adaptations of his Discworld books, I believe. There has definitely been an animated version of Soul Music, about a lad who makes a pact to become Discworld’s superstar performer of what the trolls call ‘music with rocks in’, narrated by Rowan Atkinson. There’s also a TV adaptation of the book Good Omens, which he co-wrote with Neil Gaiman,  and starring David Tennant, formerly Dr. Who, by one of the internet TV services. It’s either on at the moment, or it very recently has been. Apart from Discworld and Good Omens, Pratchett also co-wrote a couple of novels with other writers, including an SF trilogy about parallel worlds, which included The Long Earth, and The Long War with Hard SF writer Stephen Baxter, the author of the Xelee books.

I have to say that I only read five of his books before giving up – The Colour of Magic, The Light Fantastic, Mort, Pyramids and Reaper Man. I really enjoyed them, but gave up reading him because I simply couldn’t keep up with the man’s colossal output. His novels were hilarious, but many of them also contained among the humour a serious humanistic message. He was also very appreciative of the fans, who made him one of the great giants of modern Fantasy literature.

It’s great that there is a production company set up to try and translate Pratchett’s unique literary creation to TV and film, and wish them every success. After the horrors of the present, we’re going to need a good dose of humour and healthy, intelligent Fantasy.

Radio 4 Programme Next Week Asking ‘Where Are All the Working Class Writers?’

Next Thursday, 23rd November 2017, at 11.30 in the morning, Radio 4 are broadcasting a programme, Where Are All the Working-Class Writers? by the writer Kit de Waal. The blurb for the programme on page 137 of the Radio Times runs

Birmingham-raised writer Kit de Waal published her first novel in 2016, aged 55. She used part of the advance to set up a scholarship in an attempt to improve working-class representation in the arts. She talks to writers, agents and publishers about barriers for writers from working-class backgrounds.

More information about her and the programme is in another piece on the opposite page, 135. This states

“I never expected to be a writer,” says Kit de Waal in this thoughtful exploration of class and writing. “I was working class, I was the daughter of immigrants. People like me weren’t even expected to go to university. ” De Waal did go to university, but at 51; she’d left school at 16. She knows that her background and – and how it influences the stories she tellls – makers her an oddity in literary circles. As she speaks to writers, agents and publishers to find out why this is, it becomes clear that class is an intrinsic part of the under-representation question, overlapping with race and gender. She gleans erudite contributions – take Tim Lott’s description of working-class writing as “the literary equivalent of soul music”, as he asks, “who’s making the soul music?’ Who’s making the rock ‘n’ roll?’

This is an issues that the great British comics writer, Pat Mills, raised in some of the interviews I posted up on here. Mills, who created the classic anti-war strip, Charley’s War, and wrote and created many of the classic characters in the SF comic, 2000 AD, has said that he felt angry that there were no working class characters in comics and very few in mainstream literature. Worse, there was an attitude amongst the media that was determined to exclude them. He has described how he was working on a story for Dr. Who in the 1980s, which was to have a working-class spaceship captain. This was rejected by the script editor, who really didn’t like the idea.

As for popular music, I was told by a friend of mine a little while ago that this was another traditional working class area that was being taken over by the middle classes. Most of the stars now in the charts, or at least at the time, were graduates of university courses in music or the performing arts. The pub rock scene, which emerged in the ’70s and which the launched the careers of many of the great working class bands of the ’70s and ’80s is now very much disappearing.

Once upon a time, back in the 1980s and 1990s, Private Eye’s literary column took a somewhat similar view of the contemporary literary scene. The reviewer back then was acutely critical of the snobbishness and cliquishness of literature and the publishing industry. The Eye believed and very strongly argued that British literature was dominated by a small clique of writers, who were largely vastly overhyped, to the exclusion of better writers and aspiring authors, who were rejected out of hand. They gave as an example of this a conversation they’d heard about with one of the editors of Granta. When the editor was asked about a piece submitted by one aspiring author, they responded by asking what colour the enveloped it was send in was. This, the Eye’s reviewer went on, showed precisely what the attitude towards outside submissions at the magazine was. It was geared entirely towards people within the literary clique. Those outside were automatically rejected, manuscript unread.

The Eye wasn’t particularly interested in the class aspects of this question. Which isn’t surprising, as Richard Ingrams, the former editor pointed out during a talk one year at the Cheltenham Literary Festival that the magazine’s founders – himself, Willie Rushton, Peter Cook and so on, were all middle-class and privately educated. The Eye’s reviewer said several times that there was no reason why working class writers should be particularly promoted over others. They also made the occasional sneering comments directed at left-wing authors stressing their very working class roots that they were ‘prolier than thou’. I think they may even have made a comment about ‘Prole-lit’ for a type of very stereotypical ‘working class’ literature.

But they also attacked authors, who seemed to be published solely on snob value, because they were members of the aristocracy or the upper-middle classes, rather than because their writing had any intrinsic merit. Regarding one such author, the Eye’s reviewer said that any miner, who ever picked up a pen to write a sonnet, was of far more interest and value than them. They also savaged authors from the upper classes, who struck them as having a particularly patronising attitude to the lower orders, who read her books. There’s one review, which takes Jilly Cooper to task for this, whether the reviewer writing as her, sends her up by describing her readers as ‘pawps’ as an example of the class snobbishness in her novels. I’ve never read Cooper, so can’t really say whether this attitude is entirely fair or not, or, if it is, whether Cooper is any worse than many other authors.

I think that in more recent years the Eye’s literary column lost a little of that fierce opposition to the cliquishness of the literary scene, and particularly the London literary milieu. It still attacks and parodies overhyped, bad writing, but this seems part of a simple attack on overrated, mediocre literature. This now includes the works of the stars of reality TV shows and vapid, but inexplicably popular, bloggers and vloggers on the Net. But working class representation in writing, and other areas of the arts is a genuine part of the wider issues of access and exclusivity. Whether the Net will have an impact here, in popularising the work of working class writers, who would otherwise remain unpublished if left to the world of traditional literary agents and publishers, remains to be seen.