We could have taken that approach. We could, for example, have pointed out that Darwin's theory of evolution explains how lower lifeforms can evolve into higher ones, which in turn makes it entirely reasonable that a human should evolve into an orangutan (while remaining a librarian, since there is no higher life form than a librarian). We could have speculated on which DNA sequence might reliably incorporate asbestos linings into the insides of drag­ons. We might even have attempted to explain how you could get a turtle ten thousand miles long.

We decided not to do these things, for a good reason ... um, two reasons.

The first is that it would be ... er ... dumb.

And this because of the second reason. Discworld does not run on scientific lines. Why pretend that it might? Dragons don't breathe fire because they've got asbestos lungs, they breathe fire because everyone knows that's what dragons do.

What runs Discworld is deeper than mere magic and more pow­erful than pallid science. It is narrative imperative, the power of story. It plays a role similar to that substance known as phlogiston, once believed to be that principle or substance within inflammable things that enabled them to burn. In the Discworld universe, then, there is narrativium. It is part of the spin of every atom, the drift of every cloud. It is what causes them to be what they are and continue to exist and take part in the ongoing story of the world.

On Roundworld, things happen because the things want to hap­pen. What people want does not greatly figure in the scheme of things, and the universe isn't there to tell a story.



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