2 Roderick McGillis characterizes Pratchett's attitude toward writing for young people as a sense that 'he is able to address larger issues in children's books' (18) I argue that a central one of these larger issues-perhaps the central issue of these books-is how their young characters negotiate the challenges and promise of a relational model of selfhood. Pratchett's Discworld fiction for young people, which includes The Amazing Maurice and His Educated Rodents (2001) and the Tiffany Aching series- The Wee Free Men (2003), A Hat Full of Sky (2004), Wintersmith (2006), I Shall Wear Midnight (2010), and The Shepherd's Crown (2015)-makes up a significant portion of the prolific writer's twenty-first-century publications. In doing so, the novels parallel the work of late twentieth- and twenty-first-century feminist ethicists such as Nel Noddings, Virginia Held, and Diana Tietjens Meyers, who argue that identity emerges relationally, shaped by each person's interactions with others.

By depicting multiple identities that blur boundaries between self and other, these texts present a sustained imaginative challenge to the individualist model of mature selfhood as preeminently rational, independent of others, and unaffected by embodiment. 1 With these and numerous other images, Terry Pratchett's young adult Discworld novels encourage readers to contemplate the nature of selfhood.

A woman whose self is split into two identical beings intelligent rats who conceptualize their community as a larger form of rat a clan of hundreds of wee fairy men who are born in litters, have few distinguishing physical characteristics, and reuse names frequently in the same generation a 'rat king' created by tying together the tails of eight rodents, who develops power over the thoughts and actions of other beings an apprentice witch who has 'minds within minds' that encompass the land where she was born, long-dead magicians, and a saber-toothed tiger ( A Hat Full of Sky 512).

The tiffany aching series