logo
Weston Museum showcases Terry Pratchett's Discworld art

Weston Museum showcases Terry Pratchett's Discworld art

BBC News29-04-2025

A museum is displaying a number of illustrations that featured in author Sir Terry Pratchett's famous Discworld series.The exhibition opens at Weston Museum on May 24 and features illustrations by artist and character designer Paul Kidby - who worked with Pratchett for 30 years.Sir Terry Pratchett passed away in 2015 and lived in Somerset and the wider South West for much of his life."We are very excited for the exhibition, especially after reading the comments and seeing the engagement on social media" said Victoria Haddock, Exhibitions and Programmes Assistant at South West Heritage.
"This family-friendly exhibition offers a stunning selection of Paul's work, providing visitors a rare opportunity to see how the inhabitants of Discworld are brought to life, from early sketches to the final masterpieces," she added.The award-winning Discworld series is set on a flat planet balanced on the back of four elephants stood on the back of a giant turtle and populated with hundreds of wonderful wizards, witches and magical creatures.The exhibition will feature original sketches, prints, paintings and sculptures that fully showcase Kidby's creative process.
There are 41 Discworld novels in total - with the first being coming in 1983 and the last being published posthumously - five months after Sir Terry Pratchett's death in 2015.Pratchett wrote 70 books in total in a 44 year career, he died of natural causes aged 66, having been diagnosed with Alzheimers.Mr Kidby has also illustrated for books written by Terry's daughter, Rhianna, although these are not part of the Discworld Series.In 2017 Mr Kidby created a bronze memorial bust of Sir Terry. The exhibition is a touring exhibition from St Barbe Museum and Art Gallery.The exhibition will run until August 30th.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Meet the mariachi using music to uplift New York's Mexican community
Meet the mariachi using music to uplift New York's Mexican community

Time Out

time29-04-2025

  • Time Out

Meet the mariachi using music to uplift New York's Mexican community

If there's one mariachi you need to know in New York right now, it's probably Alvaro Paulino Jr., a fifth generation New Yorker who has performed at weddings, funerals, quinceñeras and even divorce parties (the art form is versatile like that). Paulino has redefined what mariachis can aspire to by performing at monumental venues from Radio City to Madison Square Garden and St. Patrick's Cathedral. Now, as we enter an era in American history that has doubled down on its hostility towards immigrants, his mission has taken newfound importance: Not only to educate New Yorkers about the art form, but also to bring joy to New York's Mexican community. Paulino's father migrated to the U.S. in the 1970s, where he became a mariachi pioneer on the East Coast at a time when you couldn't so much as find jalapeños at a grocery store. When Paulino was growing up in Brooklyn, he was the only Mexican student at his school, and he'd attend picture days dressed in a full mariachi fit to represent the culture. Paulino wants people to understand that although mariachi is a form of entertainment, it's also a creative outlet that blends indigenous, European and African musical traditions. Mariachi music often served as an emotional valve in Mexico's smaller towns, where tradition prevented men from fully expressing their emotions. There's a real weight to mariachi, and you don't just wear a mariachi suit as a costume—you have to earn it, Paulino says, by getting professional training. Mexicans' ties to mariachi music comes from hearing it everywhere. It's the music usually played at weddings, big barbecues and even funerals. For Paulino, the music brings hope and nostalgia to New York's Mexican community, many of whom are terrified about the current administration's actions—so much so, that the vibe of neighborhoods like Corona, Queens are shifting because some are too afraid to leave their homes. 'We have to work as a big family and as a big team,' Paulino tells Time Out New York. Recently, he's been playing his music at protests and rallies because sometimes, words just aren't enough. Right now, Paulino says, he wants his music to serve as a bridge, 'for people of Mexican heritage who aren't able to travel to Mexico because of their legal status or other reasons.' He also teaches mariachi at New York University, and he sees a responsibility to dispel some of the misconceptions people have around it. 'People have big stereotypes, the first thing they think of is a big Mexican with a mustache and a tequila bottle under a cactus,' he says. 'When I put on a mariachi suit, I want them to respect me just as they would someone wearing a navy suit. It's not a party outfit, it's something powerful, and it connects me to my ancestors.' Growing up, Vicente Fernandez's 'Volver Volver: played at every family function I can remember. In the song, Fernandez recounts a humiliating heartbreak. Dispersed by his own agonizing screams, he confesses: 'I know how to lose, I know I lost, and I want to go back to you.' It's the opposite of a hot girl anthem—it's a down bad ballad. There are emotions in the song that might be described as 'cringey' in today's terms. Through that vulnerability, though, you reach catharsis: a realization that if you can hurt so bad you want to die, you can love just as hard, too. For a community that has faced a lot of hardship, untethered expression is both a form entertainment and survival. Italians have the opera. Americans have Broadway. Mexicans will always have mariachi.

Weston Museum showcases Terry Pratchett's Discworld art
Weston Museum showcases Terry Pratchett's Discworld art

BBC News

time29-04-2025

  • BBC News

Weston Museum showcases Terry Pratchett's Discworld art

A museum is displaying a number of illustrations that featured in author Sir Terry Pratchett's famous Discworld exhibition opens at Weston Museum on May 24 and features illustrations by artist and character designer Paul Kidby - who worked with Pratchett for 30 Terry Pratchett passed away in 2015 and lived in Somerset and the wider South West for much of his life."We are very excited for the exhibition, especially after reading the comments and seeing the engagement on social media" said Victoria Haddock, Exhibitions and Programmes Assistant at South West Heritage. "This family-friendly exhibition offers a stunning selection of Paul's work, providing visitors a rare opportunity to see how the inhabitants of Discworld are brought to life, from early sketches to the final masterpieces," she award-winning Discworld series is set on a flat planet balanced on the back of four elephants stood on the back of a giant turtle and populated with hundreds of wonderful wizards, witches and magical exhibition will feature original sketches, prints, paintings and sculptures that fully showcase Kidby's creative process. There are 41 Discworld novels in total - with the first being coming in 1983 and the last being published posthumously - five months after Sir Terry Pratchett's death in wrote 70 books in total in a 44 year career, he died of natural causes aged 66, having been diagnosed with Kidby has also illustrated for books written by Terry's daughter, Rhianna, although these are not part of the Discworld 2017 Mr Kidby created a bronze memorial bust of Sir Terry. The exhibition is a touring exhibition from St Barbe Museum and Art exhibition will run until August 30th.

Did Terry Pratchett really write classics?
Did Terry Pratchett really write classics?

Spectator

time28-04-2025

  • Spectator

Did Terry Pratchett really write classics?

The news that Terry Pratchett's 2002 novel Night Watch has joined the ranks of the Penguin Modern Classics series may seem, to the Pratchett uninitiated, something of an eyebrow-raiser. Penguin has proudly announced that the book 'which draws on inspirations as far ranging as Victor Hugo and M*A*S*H, is… a profoundly empathetic novel about community, connection and the tenacity of the human spirit' and that it was 'written at the height of Pratchett's imaginative powers'. All this may very well be true. But many people, even those millions well disposed towards Pratchett, might be asking another question: why this book, and why now? During his lifetime, Pratchett built on the legacy of another great British fantastical author, Douglas Adams, by creating his own universe, Discworld, in which many of his books are set. They have sold over 80 million copies, and even Pratchett's death in 2015 has done little to stem the enthusiasm. At one point, he was the most shoplifted author in Britain, so desperate were his teenaged admirers to get their hands on his stories. And his books have mostly remained books rather than being transformed into big-budget Hollywood spectacles. Pratchett once said that a film studio was interested but he was told to 'lose the Death angle', which would be tricky, given that Death is a major recurring character throughout the series. I've always enjoyed the Pratchett books and consider him one of the more amiable and less self-consciously literary knighted authors that Britain has produced. The writer Imogen West-Knights summed up Pratchett's admirers as she searched for a description of a certain kind of Briton: English, Terry Pratchett fan, sardonic humour, left wing-ish, leather jackets, maybe long hair, maybe folk music, Bill Bailey, real ale, usually middle age+. Warhammer adjacent. Likes swords but doesn't necessarily own one? If I have any disagreement with his elevation to the ranks of the Penguin Modern Classics, then, it is less to do with Pratchett's own writing and more a sense of uncertainty as to what defines a modern classic. There is no stated definition on Penguin's website, and when I interviewed Henry Eliot, the former creative editor of Penguin Classics, a few years ago, he told me that: 'The Modern Classics series gathers the greatest books of more recent times, books that have challenged convention, changed the world or created something new. They are books that speak powerfully to the moment – and time will tell if they speak for more than that.' I would argue that Night Watch, although a book loved by Pratchett's many fans, is hardly something that 'challenges convention' or has 'changed the world'. Pratchett created something new in his Discworld series, and the love that his admirers hold for his works is testament to their enduring success. Personally I was surprised that Penguin didn't opt to publish 1987's Mort, the first Discworld novel to feature Death and the one usually regarded as Pratchett's single greatest achievement, or simply to come out with the entire series of Discworld books in one go. Pratchett was always a self-effacing figure and would probably have shrugged at the Classics label There are many deep-pocketed admirers of the author who would have ordered the entire canon in this new edition, although I can imagine that the effort involved in putting together 40-something painstakingly annotated novels may have been exhausting. This Penguin Classics edition also includes a foreword by Pratchett's PA and biographer Rob Wilkins, and an introduction and annotated notes by two Terry-o-philes, Trinity College Dublin's Dr Darryl Jones and the University of South Australia's Dr David Lloyd. Despite all that effort in making Night Watch appear to be a classic, even Pratchett would not have claimed that every one of the books was a masterpiece. Yet the nature of Penguin Modern Classics is that when they go all in on an author, they generally have to publish the entire works. Which means, for instance, that Evelyn Waugh's wildly unsuccessful Catholic fantasia Helena must be given the same serious literary treatment as the far more deserving A Handful of Dust. If Night Watch is successful – and only a fool would think that it won't be – then presumably there will be more Discworld editions over the coming years. Pratchett was always a self-effacing figure and would probably have shrugged at the Classics label (although he was evangelical about the fantasy genre, which he argued was done down by snobbish literary critics). Yet I can't help thinking that Penguin has done something similar to what the Folio Society has been doing over the past few years, and published a book that they know will cater to a fervent fanbase and sell in considerable quantities thanks to the added material. The question of literary excellence therefore becomes a secondary one. This is understandable – it's fine – but the brand is called Penguin Modern Classics, rather than Penguin Modern Notables. I am unconvinced that this particular instalment in the much-loved series lives up to its grandiose billing it.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store