A Hat Full of Sky (Discworld, Book 32) by Terry Pratchett

By Terry Pratchett

"**The Heroine:** Tiffany Aching, incipient witch and cheese maker extraordinaire. as soon as kept global from Queen of the Elves. is set to find that struggling with evil monarchs is child's play in comparison to mortal wrestle with a Hiver (see below). At 11 years previous, is boldest heroine ever to have faced the Forces of Darkness whereas armed with a frying pan.

**The hazard: **A Hiver, insidious disembodied presence interested in robust magic. hugely risky, usually deadly. can't be stopped with iron or fireplace. Its goal: Tiffany Aching (see above).

**The Nac Mac Feegle:** A.k.a. the Wee unfastened males. peak: six inches. colour: blue. Famed for consuming, stealing, and combating. Will assault whatever better than themselves. contributors contain: Rob anyone, Daft Wullie, and exceptionally Wee Billy Bigchin. Allies to Tiffany Aching (see above).

**The Book:** Hilarious, breathtaking, spine-tingling sequel to the acclaimed *Wee loose Men.*

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Now I know I can shine my light and find my way back home”). As much as Ally and others and we the audience disparage Tracey’s ludicrous tactics, they work in this universe. Music does not have to form logical linkages to be practical in this world. Although in Ally music may be effective, it may take a while to get the hang of using musical tactics, especially in the face of real obstacles. The characters hope that life will proceed like a romantic song, but that song is frequently interrupted by everyday opposition.

If the characters choose the spotlight, they must step out of the everyday world. Professionals may visit the Ally world. They may even serve as useful fantasy icons to help characters motivate themselves. But they occupy a liminal position: in the story world but not participating fully in plotlines; outside the story world but able to Practical Music, Personal Fantasy 39 tinker with the main characters’ thoughts. Vonda Shepard’s liminality helps her music serve a large number of narrative functions (character-based and formal), but this flexibility and professional status also limits her participation in a community built around amateur everyday performance.

Smith her music serves, she is less a particular singing character or even the musical voice of the protagonist, though she is all that. 70 Because Shepard is everywhere, because she serves so many functions usually reserved for a narrator, she is somewhat tangential to the dramatic action at any given moment. Characters almost never speak to Shepard. They sing with her, and they refer to her, but her actions have no impact on the plot itself. Usually it is as if she is at a reserved distance from the characters, even when she occupies the same space.

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