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tacroyy · 10 months

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losing my shit about the two times vimes gets slapped by a woman in the guards books (night watch and snuff; spoilers for both below). terry pratchett is completely goddamn brilliant.

both times, it's near enough to the beginning of the plot that vimes is partially convinced he doesn't know what's going on and is still information gathering (so, working a little on autopilot, although thoughts are starting to coalesce). the women he encounters show up after a watershed moment—major transformative plot points on both occasions—and both help him and help move the narrative along with the information they provide. and this is my favorite detail—he's tired both times, too, and just needs to think, because of the amount of new information he's processing.

from night watch:

"I think perhaps I lost my memory when I was attacked," he said. That sounded good, he thought. What he really needed now was somewhere quiet, to think.

"Really? Perhaps I'm the Queen of Hersheba," said Rosie [Palm]. "Just remember, kind sir. I'm not doing this because I'm interested in you, although I'd admit to a macabre fascination about how long you're going to survive. If it hadn't been a cold wet night I'd have left you in the road. I'm a working girl, and I don't need trouble. But you look like a man who can lay his hands on a few dollars, and there will be a bill."

"I'll leave the money on the dressing table," said Vimes.

The slap in the face knocked him against the wall. /end quote

and from snuff:

She [Felicity Beedle] turned to Vimes. "It would seem, commander, that providence has brought you here in time to solve the murder of the goblin girl, who was an excellent pupil. I came up here as soon as I heard, but the goblins are used to undeserved and casual death. I"ll walk with you to the entrance, and then I've got a class to teach."

Vimes tugged at Feeny to make him keep up as they followed Miss Beedle and her charge toward the surface and blessed fresh air. He wondered what had become of the corpse. What did they do with their dead? Bury them, eat them, throw them on the midden? Or was he just not thinking right, a thought which itself had been knocking at his brain for some time. Without thinking, he said, "What else do you teach them, Miss Beedle? To be better citizens?"

The slap caught him on the chin, probably because even in her anger Miss Beedle realized that he still had his steel helmet on. /end quote

vimes makes mistakes. he makes mistakes all the time, and he knows this, and pays attention to them. vimes spends a lot of time thinking about thinking (engaging in productive, internally motivated metacognition well within his zone of proximal development, my master's in teaching insists i say). he thinks about his thinking, and he thinks about other people's thinking through the lens of his own.

in both instances, vimes is coming to realizations about the true nature of things.

in night watch, this would initially seem to be more surface than deep: he's getting to physical grips with exactly when and where (and who) in the past he is; he's learning the ground, mapping, figuring things out—but vimes is also trying to settle himself back in to what he knows, and what society is in these different times, to see if that fits. plotwise, in vimes's present, the seamstresses have a guild, rights, safety, standards, rules, regulations, and even societal respect—although certainly not close to what they deserve, it's much more than what they had before vetinari made their guild a reality. but in the past, where vimes is now, the seamstresses don't have this level of security, and are subject to violence (although it is shown to be societal and legal violence [being arrested for working during their profession's peak, etc] rather than interpersonal or sexual violence [the agony aunts exist and, it is clearly stated, dispense the same justice that they do in the future, specifically to individual clients rather than to larger institutional structures]).

so, when vimes puts down rosie by making a disparaging joke about her profession—oh, you're actually not important to me or to men or to society at all; your labor is not to be respected; i got what i needed from you and will of course pay you, but in the most insulting way possible—he's not only communicating what society thinks, but a moral issue of the novel as well. night watch, after all, is about revolution: who gets to be in power, and who gets to control who gets to be in power? it's frankly revolutionary for pratchett, a mainstream english author, to treat sex workers and sex work as positively as he does (of course, his depictions are not without flaws). he makes it clear that, after all, shouldn't we view sex work as physical labor? isn't it true that anyone who is employed is engaging in physical labor? how is a seamstress really different from a "seamstress"? (it's the power dynamics and misogyny standard to western/european/american/christian society: women and sex must be controlled by the patriarchial majority, kept small and afraid and in chains.) pratchett legitimizes the seamstresses in vimes's present. in vetinari's ankh-morpork, the seamstresses have just as much power as the merchants, the armorers, the assassins—and vimes knows this, but he did grow up in the past he's in now.

in snuff, vimes's approaching anagnorisis is more obviously manifested. brilliantly, pratchett begins vimes's encounter with the goblins by talking about vimes's childhood teacher, mistress slightly, who "taught [him] how not to be afraid" and made him blackboard monitor, "the first time anyone had entrusted him with anything;" vimes thinks he'll put a bag of peppermints on her grave if he gets out of this alive. all positive, and in fact clearly transformative, praise from our hero. but vimes is in a goblin cave, and pratchett has brought up mistress slightly because vimes is remembering his first (educational, not physical) encounter with goblins. this paragraph is worth quoting in full:

"[Mistress Slightly] had one book in her tiny sitting room, and the first time she had given it to young Sam Vimes to read he had got as far as page seven when he froze. The page showed a goblin: the jolly goblin, according to the text. Was it laughing, was it scowling, was it hungry, was it about to bite your head off? Young Sam Vimes hadn't waited to find out and had spent the rest of the morning under a chair. These days he excused himself by remembering that most of the other kids felt the same way. When it came to the innocence of childhood, adults often got it wrong. In any case, she had sat him on her always slightly damp knee after class and made him really look at the goblin. It was made of lots of dots! Tiny dots, if you looked closely. The closer you looked at the goblin the more it wasn't there. Stare it down and it lost all its power to frighten. 'I hear that they are wretched, badly made mortals,' the dame had said sadly. 'Half-finished folk, or so I hear. It's only a blessing this one had something to be jolly about.'"

a near-perfect depiction, unfortunately, of the educational experience. encounter something that scares you and makes you uncomfortable, examine it with the help of a pedagogist, examine it on your own, take it apart so that you are not afraid anymore, and instead understand what it is and how it is made: that's the experience from the first word of the quote all the way until "Stare it down and lost all its power to frighten." and then, a heel-turn: your teacher shows that they completely misunderstood the lesson they were teaching—and that you, the child, understood both parts of the lesson perfectly: you absorbed the critical thinking skills and that this existing societal prejudice is, in fact, totally correct and should not be examined using the skills you just learned.

thus, pratchett has vimes, our hero, our moral center, spout the violent, ingrained, dehumanizing, incitement-to-genocide nonsense of the society in which he has been formed. vimes does this tiredly, without thinking, without making the connection between how things are and how they ought to be, missing the direct relationship of that required moral reevaluation to the case and situation at hand. and pratchett throws that directly back in vimes's face, physically. both times, pratchett says: even if you're tired, even if there's shit going down, even if your worldview is being turned upside down, even if you're in the dead middle of processing everything you've so recently learned, you cannot make the mistake of dehumanization/depersonalization. and you, of all people, have to know that, vimes. not one drop of alcohol passes your lips, not one minute after six goes by without you reading to your son, not one arrestee is subjected to even small or casual police brutality. and not one person—seamstress or goblin—is to be insulted and discriminated against and excluded from deserving to live. to do so, to make that mistake even once, is to face the immediate physical consequences of it from someone deeply and fundamentally in the know. you need the sense smacked into you.

from night watch:

"Consider that a sign of my complete lack of a sense of humor, will you?" said Rosie, shaking some life back into her hand.

"I'm... sorry," said Vimes. "I didn't mean to... I mean... look, thak you for everything. I mean it. But this is not being a good night."

"Yes, I can see that."

"It's worse than you think. Believe me."

"We all have our troubles. Believe me," said Rosie. /end quote.

from snuff:

It was a corker, nonetheless, and out of the corner of his stinging gaze he saw Feeny take a step back. At least the boy had some sense.

"You are the gods' own fool, Commander Vimes! No, I'm not teaching them to be fake humans, I'm teaching them how to be goblins, clever goblins! Do you know that they have only five names for colors? Even trolls have around sixty, and a lot more than that if they find a paint salesman! Does this mean goblins are stupid? No, they have a vast number of names for things that even poets haven't come up with, for things like the colors shift and change, the melting of one hue into another. They have single words for the most complicated of feelings; I know about two hundred of them, I think, and I'm sure there are a lot more! What you may think are grunts and growls and snarls are in fact carrying vast amounts of information! They're like an iceberg, commander: most of them is where you can't see or understand, and I'm teaching Tears of the Mushroom and some of her friends so that they may be able to speak to people like you, who think they are dumb. And do you know what, commander? There isn't much time! They're being slaughtered! It's not called that, of course, but slaughter is how it ends, because they're just dumb nuisances, you see. Why don't you ask Mr. Upshot what happened to the rest of the goblins three years ago, Commander Vimes?"

And with that, Miss Beedle turned on her heel and disappeared down into the darkness of the cave with Tears of the Mushroom bobbing along behind her, leaving Vimes to walk the last few yards out into the glorious light. /end quote.

#sam vimes #terry pratchett #original flavor #dw tag

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