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Reference to Charles Darwin’s landmark 1871 book The Descent of Man.

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This is the first, but not the last time in the book that Creosote asks Conina for a story. This refers to 1001 Nights, and the stories Scheherezade had to tell every night to her Caliph, Harun al-Rashid.

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‘Wandering Monsters’ is a phrase that comes from the world of fantasy role-playing games such as Dungeons And Dragons, and it more or less means just what you think it means. Nijel is of course exactly the type of stereotypical nerd who would, in our world, actually play D&D.

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The magic lamp and magic ring, which summon a demon when rubbed, appear in the legend of Aladdin. On p. 208/187 Creosote tells the story of how “one day this wicked old pedlar came round offering new lamps for old [...]”. This is also part of the original Aladdin fairy tale.

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I always thought that the impossibility of trying not to think of something specific was a general concept, but a correspondent informs me that the writer Tolstoy actually founded a club as a boy, which you could be admitted to if you managed a test. The test was to sit in a corner, and not think of a white bear.

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Another Tom Swifty, as per the annotation for p. 26/26 of The Light Fantastic:

[p. 26/26] “I WAS AT A PARTY, he added, a shade reproachfully.”

When someone on the net wondered if this scene had been influenced by Monty Python (who also do a Death-at-a-party sketch), Terry replied:

“No. I’m fairly honest about this stuff. I didn’t even see the film until long after the book was done. Once again, I’d say it’s an easy parallel — what with the Masque of the Red Death and stuff like that, the joke is just lying there waiting for anyone to pick it up.”

The Masque of the Red Death is a well-known story by Edgar Allan Poe, in which the nobility, in a decadent and senseless attempt to escape from the plague that’s ravishing the land, lock themselves up a castle and hold a big party. At which a costumed personification of Death, of course, eventually turns up and claims everyone anyway.

It is perhaps also worth pointing out that the quoted sentence looks very much like a classic Tom Swiftie (if you can accept Death as a shade). Tom Swifties (after the famous series of boys’ novels which popularised them) are sentences of the form “xxx, said he zzz-ly”, where the zzz refers back to the xxx. Examples:


“Pass me the shellfish,” said Tom crabbily.
“Let’s look for another Grail!” Tom requested.
“I used to be a pilot,” Tom explained.
“I’m into homosexual necrophilia,” said Tom in dead earnest.

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Ovin is modifying Einstein’s explanation of gravity for a magical setting: rubber sheets distorted by balls are one popular way of visualising Einstein’s general theory of relativity. The sheet represents the space-time-continuum, and the balls are bits of mass (like suns and planets). The balls press down and deform the space around them. When things try to move along the rubber sheet, not only are they attracted into the dimples in the sheet (gravity), but things like light which try to travel in a straight line find little kinks in their path around an object.

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‘Sheep’ was almost right. The exact song the horsemen are trying to sing goes:


We’re poor little lambs, that have lost our way
CHORUS: “Baaa, baa, baa.”

and is a favourite of the highly drunk

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In all editions of this novel I am aware of (UK Corgi paperback, UK Gollancz hardcover, US Signet paperback) this line is printed in a plain font. It seems logical, however, that the line is said by Pestilence and should therefore have been in italics. It is now.

41

Rincewind, nerving himself up to distract the Things in the Dungeon Dimensions so that Coin can escape, is anticipating Granny Weatherwax in this little speech. The theme is clearly important to Terry from the humanist angle, but its roots are in the occult — actively holding in mind who and what you are is a traditional exercise in a number of mystical teachings. Note that this statement is the result of the inspiration particle which hit Rincewind on p. 165/149.

42

This is a rather subtle reference to the scene with the bone and tapir skull in the ‘Dawn of Man’ portion of Stanley Kubrick and Arthur C. Clarke’s movie 2001: A Space Odyssey.

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