Jasper Fforde_Thursday Next_05 (11 page)

She stared at me for a moment and then said, “You’re not so good at bookjumping anymore, are you?”

“Not really—but that’s between you and me, yes?”

“Do you want to talk about it?”

“No.”

10.
The Well of Lost Plots
Due to the specialized tasks undertaken by Prose Resource Operatives, JurisTech is permitted to build gadgets deemed outside the usual laws of physics—the only department (aside from the SF genre) licensed to do so. Aside from the famed TravelBook, JurisTech is also responsible for the Textual Sieve, an extremely useful device that can do almost anything—even though its precise use, form and function are never fully explained.
A
s soon as we were back at the Jurisfiction offices in Norland Park, I gave Thursday5 an hour off for lunch so I could get some work done. I pulled all the files on potential transfictional probe appearances and discovered I had the only solid piece of evidence—all the rest had merely been sightings. It seemed that whenever a Goliath probe appeared, it was gone again in under a minute. The phenomenon had begun seven years ago, reached a peak eight months before and now seemed to be ebbing. Mind you, this was based on only thirty-six sightings and so couldn’t be considered conclusive. I took the information to Bradshaw, who listened carefully to my report and to what I knew about Goliath, which was quite a lot and none of it good. He nodded soberly as I spoke and, when I had finished, paused for a moment before observing, “Goliath is Outlander and well beyond our jurisdiction. I’m loath to take it to Senator Jobsworth, as he’ll instigate some daft ‘initiative’ or something with resources that we just don’t have. Is there any evidence that these probes do anything other than observe? Throwing a metal ball into fiction is one thing; moving a person between the two is quite another.”

“None at all,” I replied. “But it must be their intention, even if they haven’t managed it yet.”

“Do you think they will?”

“My uncle could do it. And if he could, then it’s possible.”

Bradshaw thought for a moment. “We’ll keep this to ourselves for now. With our plunging ReadRates, I don’t want to needlessly panic the CofG into some insane knee-jerk response. Is there a chance you could find out something from the real world?”

“I could try,” I replied reflectively, “but don’t hold your breath—I’m not exactly on Goliath’s Christmas-card list.”

“On the contrary,” said Bradshaw, passing me the probe, “I’m sure they’d be overjoyed to meet someone who can travel into fiction. Can you check up on the Jane Austen refits this afternoon?

Isambard was keen to show us something.”

I told him I’d go down there straightaway, and he thanked me, wished me good luck and departed. I had a few minutes to spare before Thursday5 got back, so I checked the card-index databases for anything about Superreaders, of which there was frustratingly little. Most Superreader legends had their base in the Text Sea, usually from word fishermen home on leave from scrawltrawlers. The issue was complicated by the fact that one Superread is technically identical to a large quantity of simultaneous reads, so only an examination of a book’s maintenance log would identify whether it had been a victim or not.

Thursday5 returned exactly on time, having spent the lunch hour in a mud bath, the details of which she felt compelled to tell me—at length. Mind you, she was a lot more relaxed than I was, so something was working. We stepped outside, and after I argued with TransGenre Taxis’ dispatch for five minutes, we read our-selves to the Great Library, then took the elevator and descended in silence to the subbasements, which had been known colloquially as the Well of Lost Plots for so long that no one could remember their proper name—if they’d ever had one. It was here that books were actually
constructed
. The “laying of the spine” was the first act in the process, and after that a continuous series of work gangs would toil tirelessly on the novel, embedding plot and subtext within the fabric of the narrative. They carefully lowered in the settings and atmosphere before the characters, fresh from dialogue training and in the presence of a skilled imaginator, would record the book onto an ImaginoTransferoRecordingDevice ready for reading in the Outland. It was slow, manpower-intensive and costly—any Supervising Book Engineer who could construct a complex novel in the minimum of time and on bud get was much in demand.

“I was thinking,” said Thursday5 as the elevator plunged downward, “about being a bit more proactive. I
would
have been eaten by that tiger, and it was, I must confess, the seventh time you’ve rescued me over the past day and a half.”

“Eighth,” I pointed out. “Remember you were attacked by that adjectivore?”

“Oh, yes. It didn’t really take to my suggestion of a discussion group to reappraise the passive role of grammasites within the BookWorld, now, did it?”

“No. All it wanted was to tear the adjectives from your still-breathing body.”

“Well, my point is that I think I need to be more aggressive.”

“Sounds like a good plan,” I replied. “If a situation arises, we’ll see how you do.”

The elevator stopped, and we stepped out. Down here in the Well, the subbasements looked more like narrow Elizabethan streets than corridors. It was here that purveyors of book-construction-related merchandise could be found displaying their wares in a multitude of specialty shops that would appeal to any genre, style or setting. The corridors were alive with the bustling activity of artisans moving hither and thither in the gainful pursuit of book building. Plot traders, backstoryists, hole stitchers, journeymen and generics trotted purposefully in every direction, and cartloads of prefabricated sections for protobooks were being slowly pulled down the center of the street by Pitman ponies, which are a sort of shorthand horse that doesn’t take up so much room. Most of it was salvage. In the very lowest subbasement was the Text Sea, and it was on the shores of this ocean that scrapped books were pulled apart by work gangs using nothing more re-fined than hammers, chains and muscle. The chunks of battered narrative were then dismantled by cutters, who would remove and package any salvageable items to be resold. Any idea, setting or character that was too damaged or too dull to be reused was unceremoniously dumped in the Text Sea, where the bonds within the sentences were loosened until they were nothing but words, and then these, too, were reduced to letters and punctuation, the meaning burning off into a bluish mist that lingered near the foreshore before evaporating.

“Who are we going to see?” asked Thursday5 as we made our way through the crowded throng.

“Bradshaw wanted me to cast an eye over the Jane Austen refit,” I replied. “The engineer in charge is Isambard Kingdom Buñuel, the finest and most surreal book engineer in the WOLP. When he constructed
War and Peace,
no one thought that anything of such scale and grandeur
could
be built, let alone launched. It was so large an entire subbasement had to be constructed to take it. Even now a permanent crew of twenty is needed to keep it going.”

Thursday5 looked curiously around as a gang of riveters walked past, laughing loudly and talking about a spine they’d been working on.

“So once the book is built, it’s moved to the Great Library?” she asked.

“If only,” I replied. “Once completed and the spark has been ignited, it undergoes a rigorous twelve-point narrative safety-and-compliance regime before being studiously and penetratively test-read on a special rig. After that, the book is taken on a trial reading by the Council of Genres Book Inspectorate before being passed—or not—for publication.”

We walked on and presently saw the Book Maintenance Facility hangars in the distance, rising above the low roofs of the street like the airship hangars I knew so well back home. They were always full; book maintenance carried on 24/7. After another five minutes’ walk and with the street expanding dramatically to be able to encompass the vast size of the complex, we arrived outside the Book Maintenance Facility.
11.
The Refit
Books suffer wear and tear, just the same as hip joints, cars and reputations. For this reason all books have to go into the maintenance bay for a periodic refit, either every thirty years or every million readings, whichever comes first. For those books that suffer a high initial readership but then lose it through boredom or insufficient reader intellect, a partial refit may be in order. Salmon Thrusty’s intractable masterpiece
The Demonic Couplets
has had its first two chapters rebuilt six times, but the rest is relatively unscathed.
E
ver since the ProCaths had mounted a guerrilla-style attack on
Wuthering Heights
during routine maintenance, security had been increased, and tall cast-iron railings now separated the Book Maintenance Facility from the rest of the Well. Heathcliff—possibly the most hated man inside fiction—had not been harmed, partly due to the vigilance of the Jurisfiction agents who were on Heathcliff Protection Duty that day but also due to a misunderstanding of the word “guerrilla,” a woeful lexicological lapse that had left five confused apes dead and the facility littered with bananas. There was now a guard house, too, and it was impossible to get in unless on official business.

“Now, here’s an opportunity,” I whispered to Thursday5, “to test your aggressiveness. These guys can be tricky, so you need to be firm.”

“Firm?”

“Firm.”

She took a deep breath, steeled herself and marched up to the guard house in a meaningful manner.

“Next and Next,” she announced, passing our IDs to a guard who was sitting in a small wooden shed at the gates of the facility. “And if you cause us any trouble, we’ll…not be happy. And then
you’ll
not be happy, because we can do unhappy things…to people…
sometimes
.”

“I’m sorry?” said the guard, who had a large white mustache and seemed to be a little deaf.

“I said…ah, how are you?”

“Oh, we’re fine, thank you, missy,” replied the guard amiably. Thursday5 turned to me and gave me the thumbs-up sign, and I smiled. I actually quite liked her, but there was a huge quantity of work to be done before she might be considered Jurisfiction material. At present I was planning on assessing her “potential with retraining” and sending her back to cadet school. I looked around as the guard stared at our identification and then at us. Above the hangars I could see tall chimneys belching forth clouds of smoke, while in the distance we could hear the ring of hammers and the rumble of machinery.

“Which one is Thursday Next?” asked the guard, staring closely at the almost identical IDs.

“Both of us,” said Thursday5. “I’m Thursday5, and she’s the Outlander.”

“An Outlander?” repeated the guard with great interest. I glared at Thursday5. My Outlander status wasn’t something I liked to bandy about.

“Hey, Bert!” he said to the other guard, who seemed to be on permanent tea break. “We’ve got an Outlander here!”

“No!” he said, getting up from a chair that had its seat polished to a high shine. “Get out of here!”

“What an honor!” said the first guard. “Someone from the
real
world.” He thought for a moment. “Tell me, if it rains on a really hot day, do sheep shrink?”

“Is that a security question?”

“No, no,” replied the guard quickly. “Bert and I were just discussing it recently.”

This wasn’t unusual. Characters in fiction had a very skewed view of the real world. To them the extreme elements of human experience were commonplace, as they were generally the sorts of issues that made it into books, which left the mundanities of real life somewhat obscure and mysterious. Ask a resident of the Book-World about terminal diseases, loss, gunshot trajectories, dramatic irony and problematic relatives and he’d be more expert than you or me—quiz him on paintbrushes and he’d spend the rest of the week trying to figure out how the paint stays on the bristles until it touches another surface.

“It’s
woolens
that shrink,” I explained, “and it has to be
very
hot.”

“I told you so,” said Bert triumphantly.

“Thank you,” I said, taking the security badges from the guard while I signed the ledger. He admitted us both to the facility, and almost from nowhere a bright yellow jeep appeared with a young man dressed in blue overalls and a cap sporting the BMF logo.

“Can you take us to Isambard Kingdom Buñuel?” I said as we climbed in the back.

“Yes,” replied the driver without moving.

“Then would you?”

“I suppose.”

The jeep moved off. The hangars were, as previously stated, of gigantic proportions. Unlike the real world, where practical difficulties in civil engineering might be a defining factor in the scale of a facility, here it was not a consideration at all. Indeed, the size of the plant could expand and contract depending on need, a little like Mary Poppins’s suitcase, which was hardly surprising, as they were designed by the same person. We drove on for a time in silence.

“What’s in Hangar One at the moment?” I asked the driver.

“The Magus.”

“Still?”

Even the biggest refit never took more than a week, and John Fowles’s labyrinthine-plotted masterpiece had been in there nearly five.

“It’s taking longer than we thought—they removed all the plot elements for cleaning, and no one can remember how they go back together again.”

“I’m not sure it will make a difference,” I murmured as we pulled up outside Hangar Eight. The driver said nothing, waited until we climbed out and then drove off without a word. To say that the interior of the hangar was vast would have been pointless, as the Great Library, Text Grand Central and the CofG
also
had vast interiors, and continued descriptions of an increasingly hyperbolic nature would be insufferably repetitious. Suffice it to say that there was room on the hangar floor for not only Darcy’s country home of Pemberley but also Rosings, Netherfield
and
Longbourn as well. They had all been hoisted from the book by a massive overhead crane so the empty husk of the novel could be checked for fatigue cracks before being fumigated for nesting grammasites and then repainted. At the same time, an army of technicians, plasterers, painters, carpenters and so forth were crawling over the houses, locations, props, furnishings and costumes, all of which had been removed for checking and maintenance.