4 de dezembro de 2013

Terry Pratchett: [Discworld] isn’t our world, but on the other hand it is very much like our world. (entrevista)

Em Outubro, referi aqui uma entrevista de Cory Doctorow a Terry Pratchett, publicada na Amazon UK a propósito do relançamento de The Carpet People, o romance de estreia do autor que viria a marcar de forma indelével o humor na literatura de fantasia com Discworld. Essa entrevista, na prática mais uma longa conversa entre ambos os autores (Pratchett inverte a coisa de forma muito pouco subtil), pode agora ser lida na íntegra no Boing Boing, com a obra e as personagens de Pratchett em destaque, e com um interessante debate sobre um tema caro a ambos: a autoridade, e a respectiva legitimidade. Alguns excertos:
Cory: You took a bunch of runs at building a world where a million stories could unfold — The Carpet People, Truckers, and, finally, Discworld. Is Discworld’s near-total untethering from our world the secret of its staying power?  
Terry: It isn’t our world, but on the other hand it is very much like our world. Discworld takes something from this world all the time, shows you bits of the familiar world in new light by putting them into Discworld. Is that staying power? You tell me. 
Cory: What’s the secret to Discworld’s unplumbable depths, and is there something a big world lacks when compared to one that’s smaller (in more than one way), like the Carpet
Terry: We know about Earth; we know an awful lot about the solar system. When you do Discworld, you, the writer, can more or less change anything if you want to, if you can make it fit. It means you’re god, and that’s a great responsibility.  
As a writer, you can take bits of the universe and put it in your own new universe. Working in Discworld, you use the word sandwich, and you think: Can I do this? Now I’ve got to have a reason why a sandwich is a sandwich—in our world, it was named after the man associated with its invention, the Earl of Sandwich. Can you have your own universe and still have sandwiches? You have to do it all yourself and decide if you need to open the door into our reality at the same time. 
Once Discworld started moving, as it were, it started moving almost of its own volition, because I would write a Discworld novel, and that novel required that such and such should be available, or whatever, and that means that the next time, that’s real in Discworld and the thing grows. And I must say it grows to be rather bigger than a carpet—but with care, it can have just about anything in it. 
I’m finishing up Raising Steam, in which the railroad comes to Ankh-Morpork, and an awful lot of things have to be made and discovered until you get to the top of that pyramid. You can’t have Vaseline until someone’s invented something else. You have to create and understand a lot of things before you can move on. And so, since I work on Discworld almost all the time, it grows because I need it to.
A entrevista/conversa completa pode e deve ser lida aqui.

Fonte: Boing Boing

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