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A.Reader wrote:
> First some anti-spoilage
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> All pp those of US hb edition
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> 62-64 The description of the glooper is similar in its
> Rube-Goldberg / Heath-Robinson complexity to that of Hex,
> possibly because both are computers.

Note that the Glooper is an analogue of a /real/ device (set of such
devices) made to hydraulically model (though not so intricately-linked)
Roundworld financial processes, as mentioned at the beginning.

> 83 "I give him one of his little blue pills," said Nobby Nobbs
> helpfully. "They knocks him out for a little while. Don't work
> on people though. They tastes of aniseed." Anise is a mild
> soporific, probably strong enough to be a sleeping pill for a
> small dog like Mr Fusspot.

Also indicates that Nobby may have tried the pills, or at least know
someone who did.

> 155 Dibbler's 'C.M.O.T' initials are explained here not as
> standing for 'Cut Me Own Throat', but for 'Claude Maximillian
> Overton Transpire'. This seems to be a continuity problem.

I'd say that either Vimes's prompting in Nightwatch (depending on your
notion of whether he was always the original originator of the
catch-phrase or merely struck the resonance that would have later
occurred in the True-Keel timeline) coincided with his initials anyway,
or Dibbler adopted the above nominatives for official purposes as being
grander (a classic case of his self-advertising) and more palatable to
such paragons of the pecuniary practices as he is currently discussing
business with than the nom-de-saucisson he maintains in his street
dealings and normal trading interests.

> 178 "Every Assassin knew that real black often stood out in the
> dark". But where did they learn? We're told in NW that Vetinari
> alone had that knowledge because of the rare book he'd found (all
> of the copies of which he'd bought up). Another continuity
> problem?

30 years have passed... And there will have been smarter people than
young Dogbotherer's contemporaries who may have picked up on the ideas,
even if they can't master the finer points.


(Some good catches, BTW.)
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On Sun, 14 Oct 2007 19:18:05 GMT, A.Reader
wrote:
>First some anti-spoilage
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>All pp those of US hb edition
>
>155 Dibbler's 'C.M.O.T' initials are explained here not as
>standing for 'Cut Me Own Throat', but for 'Claude Maximillian
>Overton Transpire'. This seems to be a continuity problem.

On one hand we have what his initials actually stand for, and on the other
we have what everybody calls him. It's not a continuity error as far as I
can see.

--
Andy Brown
What happens if a big asteroid hits the Earth? Judging from realistic
simulations involving a sledge hammer and a common laboratory frog, we
can assume it will be pretty bad. -- Dave Barry
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A.Reader wrote:
> First some anti-spoilage
> 40
> 39
> 38
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> All pp those of US hb edition
>
> 62-64 The description of the glooper is similar in its
> Rube-Goldberg / Heath-Robinson complexity to that of Hex,
> possibly because both are computers.

There's nothing Rube-Goldberg / Heath-Robinson about it.

It's based on the Financephalograph Monetary National Income Automatic
Computer, built at the London School of Economics by Bill Phillips.

http://www.inc.com/magazine/19950915/2624.html

Initialy built in 1949 as a teaching aid to demonstrate economic
theories. Altho computers were around at the time that could run an
economic simulation, the model gave an obvious visual demonstration at a
time when monitors were blinking lights or oscilloscopes.

- Jay
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In a speech called slrnfh50ao.8ka.usenet DeleteThis @angel.jester.nu,
jester (usenet@jester.nu) spake thusly:

> On Sun, 14 Oct 2007 19:18:05 GMT, A.Reader
> wrote:
>> First some anti-spoilage
>> 40
>> 39
>> 38
>> 37
>> 36
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>> 32
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>>
>> All pp those of US hb edition
>>
>> 155 Dibbler's 'C.M.O.T' initials are explained here not as
>> standing for 'Cut Me Own Throat', but for 'Claude Maximillian
>> Overton Transpire'. This seems to be a continuity problem.
>
> On one hand we have what his initials actually stand for, and on the
> other we have what everybody calls him. It's not a continuity error
> as far as I can see.


I'm thinking this is an example of publicity-driven Deed Poll, myself.

--
www.sabremeister.me.uk
www.livejournal.com/users/sabremeister/
Use brian at sabremeister dot me dot uk to reply
"Go away and get more tokens, /then/ you can kill me!"
- Me, to an under-charging Assassin at DWCon06
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On 14 Oct, 22:34, Len Oil wrote:
> A.Reader wrote:
> > First some anti-spoilage
> > 40
> > 39
> > 38
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>
> > All pp those of US hb edition
>
> > 62-64 The description of the glooper is similar in its
> > Rube-Goldberg / Heath-Robinson complexity to that of Hex,
> > possibly because both are computers.
>
> Note that the Glooper is an analogue of a /real/ device (set of such
> devices) made to hydraulically model (though not so intricately-linked)
> Roundworld financial processes, as mentioned at the beginning.
>

In one of the chapters of _Goedel, Escher, Bach_, Douglas Hofstadter
describes 3 theoretical programming languages - Bloop, Floop and
Gloop. Bloop can only use fixed loops (i.e. any Bloop program is
guarenteed to terminate), while Floop is more powerful because it can
use infinite loops. Gloop is described as a language that is yet more
powerful than Floop, but Hofstadter demonstrates that Gloop does not
exist (i.e. no programming language can be more powerful than Floop).

Cheers,
Nigel.
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A.Reader wrote:
> On Sun, 14 Oct 2007 19:18:05 GMT,
> A.Reader wrote:
>
>> First some anti-spoilage
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<snip>

>
> And I forgot a rather obvious one: the last scene, with Cosmo in
> the asylum filled with other delusional Vetinaris is an echo of
> the classic 'humorous' asylum scene with delusional Napoleons.

Yes this is the type of annotation which the AFP tends not to include
because it is obvious, whereas the type about Cosmo and Pucci are not
and would pass most readers by if not revealed. Similarly the
translations of the Golem that has been spoken. The Glooper was sort of
self annotated by the author and so is probably not AFP material either.
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A.Reader wrote:
> First some anti-spoilage
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> All pp those of US hb edition
>
> 197 "it sounded like the smell of raspberries tastes". This
> seems to be a lot like the problem of synesthesia, in which the
> senses get cross-connected, causing (e.g.) sounds to have smells
> and tastes, shapes.

Compare Bottom's "The eye of man hath not heard, the ear of man
hath not seen, man's hand is not able to taste, his tongue to
conceive, nor his heart to report, what my dream was."

--
Thomas M. Sommers -- tms.RemoveThis@nj.net -- AB2SB
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"A.Reader" wrote in message

> First some anti-spoilage
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> All pp those of US hb edition
>
>[snip]
> 180 "If we build it, wilt thou comest" should be "If we build it,
> wilst thou come (or possibly comen)". It's also a riff on a sort
> of technical credo: if you build it [a better mousetrap or
> whatever] they will come.

Sorry, no. The conjugation is "thou wilt", just like "thou shalt" in the Ten
Commandments.
"Come" is correct, of course. (Not "comen").
I take the phrase as an allusion to "If you build it, he will come" from the
film "Field of Dreams".

> 197 "it sounded like the smell of raspberries tastes". This
> seems to be a lot like the problem of synesthesia, in which the
> senses get cross-connected, causing (e.g.) sounds to have smells
> and tastes, shapes.

Not necessarily a problem, more a phenomenon. Sounds with colours seems to
be common.

> 243 "...scenes of human sacrifice.... I don't know what it is
> about stepped pyramids that brings out the worst in a god". An
> apparent reference to the Mesoamerican cultures that practiced
> human sacrifice and built stepped pyramids.

Not apparent. More like obvious.
>
> 316 "As one, they [the new golems] raised their right hands in a
> fist". The raised-fist salute is associated with the political
> "left": anti-fascism during the Spanish civil war, Black Power
> during the US civil rights movement, etc.

Famously given my Nelson Mandela on his release.

> 367 "Remarkably like a gibbet." ... "It will allow a fast coach
> to pick up mailbags without slowing." Canvas sacks of outbound
> mail were hung from a gibbet-looking framework at the side of the
> railway roadbed by local railway stations, to be grabbed by a
> mechanical hook extended from the doorway of the mail coach. Such
> coaches were mobile post offices, always drawn by "highball"
> (i.e. absolute priority) express trains. Inbound mail from the
> mail coach would be slung out the door (in a sack of course) to
> land on the station's platform.

As seen in the iconic 1936 documentary one-reeler "Night Mail".

Keith Edgerley
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Keith Edgerley wrote:
> "A.Reader" wrote in message
>
>> First some anti-spoilage
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>> All pp those of US hb edition
>>
>> [snip]

>
> Not apparent. More like obvious.
>> 316 "As one, they [the new golems] raised their right hands in a
>> fist". The raised-fist salute is associated with the political
>> "left": anti-fascism during the Spanish civil war, Black Power
>> during the US civil rights movement, etc.
>
> Famously given my Nelson Mandela on his release.
>

But did he fall on one knee? (Ch 10 p 282 UK HB) Interestingly (?) it is
the 'key' Golem which adopts this 'submissive'?? version of the pose,
whereas the guarding Golems do not. I wonder if the key Golem is the
one who first sang (we can never know).

<snip>

> Keith Edgerley
>
>
>
>
>
>
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