The Witches Trilogy

Discworld - Witches #1-3

by Terry Pratchett

Witches are not by nature gregarious and they certainly don't have leaders.

Granny Weatherwax was the most highly regarded of the leaders they didn't have...

Here are three novels featuring one of Terry Pratchett's most celebrated
characters, along with her sidekicks, the fertile Nanny Ogg and the New Age's
favourite witch, Magrat Garlick:

EQUAL RITES

Women aren't supposed to be wizards — but nobody told Eskarina, the eighth daughter of an eighth son, when she inherited her father's staff, and with Granny Weatherwax's reluctant help she sets out to learn her new calling.

WYRD SISTERS

In which Granny discovers that meddling in royal politics is a lot more difficult than certain playwrights would have you believe.

WITCHES ABROAD

The funniest Grand Tour anywhere, as Granny, Nanny and Magrat travel to distant Genua — to make sure a servant girl doesn't marry the prince.

Genres: Fantasy, Fiction, Humor, Science Fiction, Witches, Comedy, Science Fiction Fantasy

592 pages, Hardcover

First published August 30, 1994

About the author

Sir Terence David John Pratchett was an English author, humorist, and satirist, best known for the Discworld series of 41 comic fantasy novels published between 1983–2015, and for the apocalyptic comedy novel Good Omens (1990), which he co-wrote with Neil Gaiman.
Pratchett's first novel, The Carpet People, was published in 1971. The first Discworld novel, The Colour of Magic, was published in 1983, after which Pratchett wrote an average of two books a year. The final Discworld novel, The Shepherd's Crown, was published in August 2015, five months after his death.
With more than 100 million books sold worldwide in 43 languages, Pratchett was the UK's best-selling author of the 1990s. He was appointed an Officer of the Order of the British Empire (OBE) in 1998 and was knighted for services to literature in the 2009 New Year Honours. In 2001 he won the annual Carnegie Medal for The Amazing Maurice and His Educated Rodents, the first Discworld book marketed for children. He received the World Fantasy Award for Life Achievement in 2010.
In December 2007 Pratchett announced that he had been diagnosed with early-onset Alzheimer's disease. He later made a substantial public donation to the Alzheimer's Research Trust (now Alzheimer's Research UK, ARUK), filmed three television programmes chronicling his experiences with the condition for the BBC, and became a patron of ARUK. Pratchett died on 12 March 2015, at the age of 66.

Reviews

[Meghan Hughes · Rating 5 out of 5]

The length of time it took me to finish this trilogy should be illegal 😂 I’ve had this as my “second read” for almost a YEAR! I would only pick it up once I finished my monthly book club pick & what’s funny is this book was impeccable & I always wanted to read it! Anyways, I’m elated to say the least that I finally got around to finishing these stories. I will admit, because the reading process was so long for me, I don’t remember many drastic story details from Equal Rites & Wyrd Sisters, but I remember Equal Rites feeling a bit boring/dragged on & the Wyrd Sisters caught my interest more. Witches Abroad was certainly my favorite tale in the trilogy. I’m obsessed with Terry Pratchett’s writing & the comedy he constantly throws onto each page. The characters he writes are also witty, hilarious, & cunning. Granny Weatherwax is the type of character that grows on you with time & I’m so happy I got to read her revenge tale at the end of this. Nanny Ogg is a lunatic alcoholic who never ceases to make me laugh out loud with her behavior. Magrat Garlick deserves an award for putting up with the two of them 😂 I loved the conversations the characters had, the shenanigans they got into, the overall theme of power & greed in these stories, & just how fun they were to read! If you love fantasy, pick up literally anything from Terry Pratchett & I know you will be entertained. The man just had a way with words! I chose to read this before finishing the Tiffany Aching series from him, so now I’m going to add “I Shall Wear Midnight” on as my second read along with my September book club pick 😂 Hopefully I finish it in less than a year! LOL

[Utkins · Rating 5 out of 5]

Having read quite a lot of Sir Terence's works, i'm convinced that the Witches Trilogy is by far the best of all the Discworld novels. Jokes and humour apart, the trilogy is one of the best specimen of Sir Terence's unique and humane philosophy and world view. And of course there's quite a bit of "headology" involved :-D

[Olethros · Rating 3 out of 5]

¿Quiere saber más de estos tres libros, sin spoilers? Visite:

http://librosdeolethros.blogspot.com/...

http://librosdeolethros.blogspot.com/...

http://librosdeolethros.blogspot.com/...

[Gabriel Woods · Rating 5 out of 5]

A hilarious story of a journey by three witches who travel from their small local town across the planet Discworld. Pratchett writes humour on every page of this book. The witches are as funny as they are rude. They often shock the unsuspecting characters in the regions of Discworld the witches chose to visit. Pratchett paints a beautiful and imaginative make believe world with his words. The Witches Trilogy is fun, funny and unforgettable.

[Thrishni Subramoney · Rating 5 out of 5]

The first Terry Pratchett book I ever read - and I was hooked!

[Kym · Rating 4 out of 5]

Love these witches!

From the start to finish these witches had me in stitches with laughter. I love the way they each have their own personalities & quirks & how they even grow through the trilogy as people. In saying that I also loved all the other characters that I met & Pratchett gives us just the right amount of information about them to form a connection with them yet not make them too much centre stage. To top it all off I couldn't stop imagining the three witches as the ones out of Hocus Pocus!

Overall if you love Hocus Pocus or anything remotely comedic then this is the trilogy for you!

[Drew · Rating 4 out of 5]

Entertaining, humorous and imaginative. Fun read!

[Luke · Rating 5 out of 5]

The witches have to honestly be one of the best collection of characters in all of literature, they are real but imaginary, but you know an old lady like one of them, maybe you nan or great nan or your mates nan? The point is we have met a lady like one of these woman and this just makes that collection more powerful 🙌 and that's just the power of Terry Pratchetts writing! And it's the same with all of his characters, but the witches are something special and they tend to stick with you more, well in my case they have done and everytime i find myself in there presence i feel warm and as if I've been gone for a long time, but invited in for a cuppa tea and a catch up as i have only been gone a day. The feeling of comfort is the emotion you feel 😌 and for me that's all i want when i come back to a series, i want to feel welcomed and that I've never been away, and that a fresh cuppa tea and cake is ready when i get there.

[Alexander Theofanidis · Rating 4 out of 5]

1. Equal Rites ⭐ ⭐ ⭐

Equal Rites, the third book in the Discworld series, marks a decisive turning point in the literary trajectory of Terry Pratchett. It is here that we encounter his first truly unforgettable heroine, Eskarina Smith, through whom a significant social concern emerges—one that could easily have lapsed into didacticism: gender discrimination, particularly within the realm of magic.

Published in the now distant 1987, the novel is in dialogue with the second-wave feminist movement, which concentrated on gender inequality across professional and social spheres. The protagonist—a young girl who claims the right to become a "wizard"—embodies the demand for equal opportunities irrespective of gender. Though Pratchett deftly sidesteps overt moralising, the narrative tension between “masculine” and “feminine” forms of magic functions as a pointed allegory for societal expectations and the structures of power. With humour and considerable acuity, the author dismantles the tradition that relegates women to “supporting” roles, doing so at a time when such narratives were rarely afforded space within the fantasy genre.

The plot itself is elegantly simple: it follows Esk, a girl who "accidentally" acquires the power of a wizard—an occurrence unthinkable in a world where wizardry is an exclusively male preserve, while women are expected to engage in the supposedly inferior domain of witchcraft. At her side stands Granny Weatherwax, the enigmatic and irascible witch of the mountains, and one of the Discworld's most iconic characters. With her stubbornness, wisdom, and occasionally unsettling logic, Granny assumes the role of mentor, guiding Esk through a world unprepared to accept her.

Granny Weatherwax, who begins Equal Rites as a seemingly archetypal (if slightly sharper or more indulgent than average) mountain witch, rapidly develops into one of the most complex and respected figures in the Discworld canon. In the later works of the Witches subseries—such as Wyrd Sisters, Lords and Ladies, and Carpe Jugulum—Granny acquires a philosophical, moral, and existential depth. Beneath her sardonic manner and rigorous rationality lies a tireless advocate of common sense and the “hidden good.” Her relationship with power, identity, and choice renders her a truly remarkable fictional hero: a counterweight to arrogance and institutional authority. It is no coincidence that she frequently steals the limelight even from the wizards of Ankh-Morpork.

Pratchett’s humour is ever-present: linguistic playfulness, witty dialogues, and surreal reversals dissect the conventions and clichés of traditional fantasy. However, the narrative has not yet attained the structural assurance or philosophical maturity of his later work. The plot remains relatively straightforward and linear, and the underlying message—though timely and insightful—is at times articulated in a direct and somewhat predictable manner.

Equal Rites is a charming, often amusing read—particularly suited to those interested in witnessing the emergence of some of Discworld’s most beloved figures. Though it does not rank among Pratchett’s masterpieces, it serves as a bridge: a transitional step from near-slapstick parody towards social satire imbued with depth and emotional resonance. It is an honest, humorous, and important milestone in the evolution of Discworld: imperfect, to be sure, yet unmistakably marked by the voice of an author beginning to discover his true range.




2. Wyrd Sisters ⭐ ⭐ ⭐⭐

Wyrd Sisters (Discworld #6) is a delightful blend of satire, fantasy, and theatrical sorcery, and stands as a compelling example of why Terry Pratchett is widely regarded as one of the most intelligent and multi-layered authors in contemporary speculative fiction (yes, I am quite aware it was first published in 1988, thirty-seven years ago—thank you ever so much). One of the most striking features of the novel is the manner in which the very land itself acquires consciousness and resists tyranny, lending voice to concepts that are typically consigned to abstraction. This personification of landscape, History, and Fate is emblematic of Pratchett’s magical cosmology, wherein even the universe itself seems to observe—and occasionally intervene.

At the heart of the narrative are three witches, each with a markedly distinct personality: the formidable Granny Weatherwax, whose strict discipline is matched only by her near-metaphysical wisdom; the earthy and unexpectedly shrewd Nanny Ogg, accompanied by her infamous feline companion Greebo; and the young, romantic Magrat Garlick, who earnestly believes in enchanted jewellery and cauldrons bubbling at moonlit covens—a quintessential “new age” witch with a penchant for both experimentation and emotional earnestness. The dynamic among them is a joy to witness: their exchanges, steeped in acerbic wit and incisive social commentary, lend vitality and tempo to the narrative.

The plot is catalysed by a regicide: the King of Lancre is murdered by his ambitious cousin, Duke Felmet, incited by his even more diabolical wife. The infant heir is rescued by the witches and entrusted to a troupe of travelling players, where he is raised as an actor, far removed from the truth of his lineage. The motif of an insistent destiny and a truth that cannot remain buried runs throughout, underscoring the power of memory, storytelling, and the inexorable passage of time.

Pratchett constructs a finely wrought, multi-tiered parody of Shakespeare, laced with direct but ingeniously embedded allusions to Macbeth, Hamlet, King Lear, and As You Like It (a comedy of mistaken identity, disguise, and inversion). Particularly compelling is the role of the theatre as a magical medium that transcends both time and memory; in Pratchett’s world, the stage becomes a vehicle of truth, a mirror for power and History alike. The novel’s climax—a play within the play—reveals the past and restores natural order in a manner that borders on the ritualistic.

The witches do not engage in battle with swords or dragons (rolling eyes, mumbling “obviousleyyyy”), but rather with wisdom, irony, and a powerful spell that projects the entire kingdom fifteen years into the future, thus eliding the suffering of civil war and facilitating the restoration of justice. This approach—ecological, philosophical, and anthropocentric—distinguishes the work from more conventional fantasy fare, lending it a tone that is almost… essayistic.

Particular highlights: The appearance of DEATH—Discworld’s personification of mortality, who always speaks in CAPITAL LETTERS and is marked by a philosophical curiosity about humanity—is sparing yet strikingly apt, sardonically suggestive and laconically wise. Hwel, a dwarf playwright, wrestles with the burden of art that “must say something”—a poignant yet humorous meditation on creativity itself. Tomjon, the rightful heir who chooses the stage over the throne, embodies the transcendence of predetermined fate through personal freedom.

Weaknesses: While structurally sound, the book’s abundance of wordplay, meta-references, and “literary games” may discourage readers unfamiliar with Pratchett’s style or the Shakespearean substratum on which the narrative draws. However, upon rereading, layers of depth and intricate detail emerge, rewarding the attentive reader (you may find yourself rereading it endlessly and still discovering nuance—on first read I gave it a 3/5, and I now lean firmly towards a 5/5). Furthermore, the eventual revelation concerning Tomjon’s parentage and the new king, though functional as plot resolution, lacks the emotional gravitas it might have achieved—serving more as a narrative device than a moment of dramatic catharsis. One is left with a sense of narrative completeness, if not emotional resonance.

Yes, Wyrd Sisters stands as one of the most robust and multi-dimensional works of the early Discworld era. It marks the loss of childhood for the Discworld, and heralds the onset of a frenzied adolescence—in terms of creativity, imagination, and thematic breadth. It deftly balances humour, fantasy, and philosophical satire, distinguished by a prose style notable for its rhythm, inventive imagery, and deep intertextuality. A true delight for those who revel in clever storytelling, strong female characters, and the alchemy of performance—whether on the stage or the page. It is a magical tale, rich in irony, literary finesse, and a narrative voice that invites, if not demands, repetition.




3. Witches abroad ⭐⭐⭐⭐

Witches Abroad (twelfth instalment in the celebrated Discworld series) stands as one of Terry Pratchett’s most intelligent and subversive works. Set against the ever-recurring tension between fairy-tale enchantment and the Discworld’s grimly satirical, often absurd realism, Pratchett weaves a narrative rich in humour, irony, and philosophical inquiry.

At the centre—both narratively and thematically—are the ever-compelling trio of witches: Granny Weatherwax, Nanny Ogg, and Magrat Garlick. Granny is terse, unbending, possessed of a wilful wisdom—or perhaps a wise wilfulness. Nanny, by contrast, is riotously earthy, gleefully bawdy, and inextricably connected to life’s simpler, ruder pleasures (yes, she’s had her flirtation with the hedonistic, and she’s still pouring “poison into the glass” if it helps the evening along—and frankly, who are we to judge?). Magrat, the youngest and most diffident, is a well-meaning “new age” witch, still fumbling for her place in the world—and in magic. This dynamic forms the decidedly un-Ibsenian “triangle” whose peculiar gravity holds the narrative—and the reader—together.

The plot is set in motion when Magrat inherits the wand of Desiderata Hollow, a fairy godmother with a regrettable taste for narrative inevitability. Her mission? To ensure the “happy ending” of Emberella, a Discworld iteration of Cinderella —or, to risk an etymological misfire, the Greco-equivalent of “Ashypoppet”. (Apologies to the Muses, I’ll retire to a monastery posthaste.) Emberella lives in a city that’s equal parts New Orleans and voodoo masquerade, where the wand, alas, turns everything it touches into… pumpkins. A droll nod to the fairy-tale trope—and, as Granny dryly remarks:

“When you give people what they think they want, you’re likely to end up with a mountain of pumpkins and not a shred of hope.”

What ensues is a journey of comic confusion, magical entanglement, and ideological confrontation, as our witches face Lilith—Granny’s sister and the personification of prescriptive narrative. Lilith is a fairy-tale autocrat, seeking to impose “happy endings” regardless of personal agency. As she chillingly insists:

“The story must unfold correctly. That means the girl marries the prince. What the girl wants is irrelevant.”

Cue the burning bras of second-wave feminism—or rather, their metaphorical equivalents smouldering on some ideological bonfire. But we move briskly on.

Here lies the book’s central thematic concern: the tyranny of narrative. Pratchett’s contention that story, when wielded as an instrument of control, can edge into the fascistic is an audacious argument—one he camouflages in laughter. Lilith is not merely “the villain”; she is the embodiment of coercion masquerading as “magic” . She is, in effect, a kind of narrative inquisitor—an enforcer of saccharine orthodoxy—akin, perhaps, to the genteel authoritarianism of mid-century Britain, where stories were scrubbed clean by moral censors, and fairy tales were sterilised by those who feared dissent more than dragons.

This theme recalls the structural analysis of Vladimir Propp in his Morphology of the Folktale , yet Pratchett cleverly undermines those archetypes. The hero and the happy ending are not organic developments, but imposed constraints. Lilith operates as a Foucauldian panopticon: her stories regulate reality, rewrite will, and overwrite truth. Through comedy, Pratchett interrogates how narrative constructs subjectivity—a kind of “biopolitics of fairy tales”, if one is inclined to wear one’s Derrida on one’s sleeve. If not, the analysis proceeds merrily nonetheless.

This dynamic naturally affects the characters. Magrat, initially hesitant and ineffectual, grows into something braver—particularly as she grasps that innocence is not always a virtue. One of the novel’s most affecting moments is her confrontation with Lilith, in which Magrat declares:

“We’re not here to play roles. We’re here to live.”

Witches Abroad delights in unravelling the very structures it parodies. The frog remains a frog, the princess may very well not want saving, and the “happily ever after” is negotiable at best. Even Joseph Campbell, were he peering from some mythopoeic cloud, might blush to see his monomyth wryly dismantled. In Discworld, the hero’s journey leads not to glorification but to its deconstruction.

True, the plot may lack the gravitas of other Discworld volumes— Small Gods or Night Watch , for instance—but the richness of atmosphere, unflagging wit, and subterranean philosophical undercurrents make this one of the series’ most rewarding entries.

Witches Abroad is far more than a fairy-tale spoof. It is a profoundly reflective and bitingly clever satire on how stories—even the sweetest of them—become dangerous when weaponised as instruments of power. And, as ever with Pratchett, that truth arrives not with a sermon, but with laughter, pumpkins, and three marvellous witches simply… doing their job.

[Michael Bafford · Rating 4 out of 5]

I have previously reviewed each of the novels in this trilogy separately, in considerable detail. Suffice it to say that from having been luke warm - at best - to the witches I am now a big fan.

I felt that the books got better as we went along. They are quite different. In Equal Rites we deal with wizards and gender equality at Unseen University in Ankh Morporkh, in Wyrd Sisters it's murder most foul, ghosts and ambition; MacBeth all over again. In Witches Abroad we travel to New Orleans by way of various fairy tales; and by New Orleans I mean Genua. The books also get funnier as we go along.

If I were to complain of anything - and what other reason is there for writing - or living - it would be that Sir pTerry treats Magrat rather badly. As I recall from later books in the series (which I have not reread at all! And must do immediately!) As far as I recall Magrat finds her footing and becomes... perhaps not respected exactly - by Grannie Weatherwax and Mrs Ogg - but at least not disrespected as she is here. It is, of course, Mistress Weatherwax who does the disrespecting while Gytha only follows along trying to smooth the way.

"When questioned about the phrase, Terry explained: 'Perfectly good British slang. A wet hen is bedraggled, sad and useless...'"
In many instances Magrat sees things more clearly than either of the elder witches and far from being sad and useless is often upbeat and very brave. She does tend to be described as bedraggled but to call her a wet hen is not kind.

Magrat reflects:
"It was probably some wonderful organisation on the part of Nature to protect itself. It saw to it that everyone with any magical talent was about as ready to co-operate as a she-bear with toothache, so all that dangerous power was safely dissipated as random bickering and rivalry. There were differences in style, of course. Wizards assassinated each other in draughty corridors, witches just cut one another dead in the street. And they were all as self-centred as a spinning top. Even when they help other people, she thought, they’re secretly doing it for themselves. Honestly, they’re just like big children.
Except for me, she thought smugly." (Wyrd Sisters p. 164)

[Minti · Rating 5 out of 5]

I FINALLY FINISHED THAT ONE... after nearly a year!

(I will not buy books like that again, i actually do prefer single books instead of compilations like these)

If i were able to give more than 5 stars, i actually would! I love Terry Pratchett's Discworld to pieces and I very much appreciate The Witches! All 3 of them have their qualities and failings, but stay relatable and likeable throughout.
I do not have a favorite between the 3 titles, only short annotations - Equal Rites was wonderful! A female Wizard and all the consequences.
Equal Rites was okay, but not as compelling.
Witches Abroad was very entertaining with the Witches on "holiday" and trying to stop a story. (Also loved the cameo appearances of Death)

Cannot wait to read more!

[Clare Martin · Rating 5 out of 5]

I like my fantasy with bite, an undercurrent of wit and sarcasm along with a huge dollop of humour.
Terry Pratchett delivers on all fronts.
I have the whole Discworld series on my shelves, dog-eared and re-read multiple times and yet I still find something new and surprising each time I return.
I love them all, but The Witches series are my absolute favourites.
In the real world I sometimes find myself asking 'What would Granny Weatherwax do?'
Answers are always unexpected!

[Karen Masters · Rating 5 out of 5]

Everyone needs a few witches in their life. These are the three where Granny, Nanny and Magrat really start to get into their stride. Also “but they went the long way, and saw the elephants” is one of my favourite last lines ever.

[Denise White · Rating 5 out of 5]

Fabulous!

[Jane · Rating 5 out of 5]

Couldn’t find the trilogy, but have read all three books. Fun and fantastic!

[Hanne Pålsson · Rating 3 out of 5]

Good but the last one best. I found myself wanting it to end but it dragged out. Which is not such a good sign.

[Bonnie Dale Keck · Rating 5 out of 5]

40 of so books, different collections, some audio, it's pratchett, read and heard some as well, all. Dates wrong.

[Caleris · Rating 4 out of 5]

Witches Abroad:
The flow in this one was definitely an improvement upon Wyrd Sisters. There were so many awesome passages in this book, I can't even begin to name them all. Every single one about Greebo, for example.

[Melinda Freeman · Rating 5 out of 5]

I think the witches are my favorite Discworld characters. Apart from Death of course, he is brilliant. It is hard to decide which one of the three novels in this Omnibus is my favorite, it is between Wyrd Sisters and Witches Abroad.

[Buki · Rating 5 out of 5]

The kind of humor that makes me want to cry, it is so good! the witches are lovable and despicable, sometimes both at the same time. Great fun!

[Jenny Burridge · Rating 5 out of 5]

Excellent.

[Sara Farrington · Rating 5 out of 5]

The witches, always my favourite Discworld Characters :-)

[Bonnie Dale Keck · Rating 5 out of 5]

40 of so books, different collections, some audio, it's pratchett, read and heard some as well, all. Dates wrong.

[Tatiana · Rating 5 out of 5]

The best sub series in Discworld! Everything you needed to know about women.