Jasper Fforde_Thursday Next_05 (7 page)

“I know.”

“You do? How?”

“Never mind.”

“Listen to what it says in the horoscopes: ‘If it is your birthday, there may be an increased amount of mail. Expect gifts, friendly salutations from people and the occasional surprise. Possibility of cake.’ That’s so weird—I wonder if any of it will come true?”

“I’ve no idea. Have you noticed the amount of Mrs. Danvers you see wandering around these days?”

I mentioned this because a pair of them had been seen at Norland Park that morning. They were becoming a familiar sight in fiction, hanging around popular books out of sight of the reader, looking furtive and glaring malevolently at anyone who asked what they were up to. The excess of Mrs. Danvers in the Book-World was easily explained. Generics, or characters-in-waiting, are created blank, without any personality or gender, and are then billeted in novels until called up for training in character schools. From there they are sent either to populate the books being built or to replace characters who are due for retirement or replacement. The problem is, generics have a chameleonic habit of assimilating themselves to a strong leading character, and when six thousand impressionable generics were lodged inside
Rebecca,
all but eight became Mrs. Danvers, the creepy house keeper of Manderley. Since creepy house keepers are not much in demand these days, they were mostly used as expendable drones for the Mispeling Vyrus Farst Respons Groop or, more sinisterly, for riot control and any other civic disturbances. At Jurisfiction we were concerned that they were becoming another layer of policing, answerable only to the Council of Genres, something that was stridently denied.

“Mrs. Danvers?” repeated Thursday5, studying a pullout guide to reading tea leaves. “I’ve got one or two in my books, but I think they’re meant to be there.”

“Tell me,” I said by way of conversation, “is there any aspect of the BookWorld that you’d like to learn about as part of your time with me?”

“Well,” she said after a pause, “I’d like to have a go and see what it’s like inside a story during a recitation in the oral tradition—I’ve heard it’s really kind of
buzzing.
”

She was right. It was like sweaty live improv theater—anything could happen.

“No way,” I said, “and if I hear that you’ve been anywhere near OralTrad, you’ll be confined to
The
Great Samuel Pepys Fiasco.
It’s not like books where everything’s laid out and orderly. The oral tradition is
dynamic
like you’ve no idea. Change anything in there and you will, quite literally, give the narrator an aneurysm.”

“A
what
?”

“A brain hemorrhage. The same can be said of Poetry. You don’t want to go hacking around in there without a clear head on your shoulders.”

“Why?”

“It’s like a big emotion magnifier. All feelings are exacerbated to a dangerous level. You can find things out about yourself that you never knew—or never wanted to know. We have a saying: ‘You can lose yourself in a book, but you find yourself in Poetry.’ It’s like being able to see yourself when drunk.”

“Aha,” she said in a quiet voice. There was a pause.

“You’ve never been drunk, have you?”

She shook her head. “Do you think I should try it?”

“It’s overrated.”

I had a thought. “Have you ever been up to the Council of Genres?”

“No.”

“A lamentable omission. That’s where we’ll go first.”

I pulled out my mobilefootnoterphone and called TransGenre Taxis to see where my cab had gone. The reason for a taxi was not altogether obvious to Thursday5, who, like most residents of the BookWorld, could bookjump to any novel previously visited with an ease I found annoying. My
intra
fictional bookjumping was twenty times better than my
trans
fictional jumps, but even then a bit ropey. I needed to read a full paragraph to get in, and if I didn’t have the right section in my TravelBook, then I had to walk via the Great Library or get a taxi—as long as one was available.

“Wouldn’t it be quicker just to bookjump?” asked Thursday5 with annoying directness.

“You young things are always in a hurry, aren’t you?” I replied. “Besides, it’s more dignified to walk—and the view is generally better. However,” I added with a sense of deflated ego, “in the absence of an available cab, we shall.”

I pulled out my TravelBook, turned to the correct page and jumped from
Sense and Sensibility
to the Great Library.
6.
The Great Library and
Council of Genres
The Textual Sieve was designed and constructed by JurisTech, the technological arm of Jurisfiction. The Textual Sieve is a fantastically useful and mostly unexplained device that allows the user to “sieve” or

“strain” text in order to isolate a specified search string. Infinitely variable, a well-tuned Textual Sieve on

“full opaque” can rebuff an entire book, but set to “fine” can delicately remove a spiderweb from a half-million-word novel.
I
found myself in a long, dark, wood-paneled corridor lined with bookshelves that reached from the richly carpeted floor to the vaulted ceiling. The carpet was elegantly patterned, and the ceiling was decorated with rich moldings that depicted scenes from the classics, each cornice supporting the marble bust of an author. High above me, spaced at regular intervals, were finely decorated circular apertures through which light gained entry and reflected off the polished wood, reinforcing the serious mood of the library. Running down the center of the corridor was a long row of reading tables, each with a green-shaded brass lamp. In both directions the corridor vanished into darkness with no de-finable end. I had first entered the Great Library sixteen years ago, and the description of it hadn’t altered by so much as a word. Hundreds of miles of shelves containing not every single book but every single
edition
of every book. Anything that had been published in the real world had a counterpart logged somewhere within its endless corridors. Thursday5 was nearby and joined me to walk along the corridor, making our way toward the crossover section right at the heart of the library. But the thing to realize was that it wasn’t in any sense of the word
real,
any more than the rest of the Book-World was. The library was as nebulous as the books it contained; its form was decided not only by the base description but my
interpretation
of what a Great Library might look like. Because of this the library was as subtly changeable as my moods. At times dark and somber, at others light and airy. Reading, I had learned, was as creative a process as writing, sometimes more so. When we read of the dying rays of the setting sun or the boom and swish of the incoming tide, we should reserve as much praise for ourselves as for the author. After all, the reader is doing all the work—the writer might have died long ago. We approached another corridor perpendicular to the one we had just walked down. In the middle of the crossway was a large, circular void with a wrought-iron rail and a spiral staircase bolted securely to one side. We walked over to the handrail and peered down. Not more than thirty feet below us, I could see another floor, exactly like this one. In the middle of that floor was another circular void through which I could see another floor, and another and another, and so on to the depths of the library. It was the same above us.

“Twenty-six floors for the published works,” replied Thursday5 as I caught her eye and raised an eyebrow quizzically, “and twenty-six subbasements where books are actually constructed—the Well of Lost Plots.”

I beckoned her to the ornate wrought-iron elevator and pressed the call button. We got into the elevator, I drew the gates shut with a clatter, and the electric motors whined as we headed upward. Because there are very few authors whose names begin with
Q, X
and
Z,
floors seventeen, twenty-four and twenty-six were relatively empty and thus free for other purposes. The seventeenth floor housed the Mispeling Vyrus Farst Respons Groop, the twenty-fourth floor was used essentially for storage, and the twenty-sixth was where the legislative body that governs the BookWorld had taken up residence: the Council of Genres. This was a floor unlike any other in the Great Library. Gone were the dark wood, molded plaster ceilings and busts of long-dead writers, and in their place was a light, airy working space with a roof of curved wrought iron covered in glass through which we could see the clouds and sky. I beckoned Thursday5 to a large picture window in an area to one side of the corridor. There were a few chairs scattered about, and it was a restful spot, designed so that overworked CofG employees could relax for a moment. I had stood here with my own mentor, the first Miss Havisham, almost sixteen years previously.

“The Great Library looks smaller from the outside,” observed Thursday5, staring out the window at the rain-streaked exterior. She was right. The corridors in the library below could be as long as two hundred miles in each direction, expandable upon requirements, but from the outside the library looked more akin to the Chrysler Building, liberally decorated with stainless-steel statuary and measuring less than two hundred yards along each face. And even though we were only on the twenty-sixth floor, it looked a great deal higher. I had once been to the top of the 120-story Goliath Tower at Goliathopolis, and this seemed easily as high as that.

“The other towers?” she asked, still staring out the window. Far below us were the treetops of a deep forest flecked with mist, and scattered around at varying distances were other towers just like ours.

“The nearest one is German,” I said, “and behind those are French and Spanish. Arabic is just beyond them—and that one over there is Welsh.”

“Oh,” said Thursday5, staring at the green foliage far below.

“The Council of Genres looks after the Fictional Legislature,” I said, walking down the corridor to the main assembly chamber. It had become busier since we’d arrived, with various clerks moving around holding file folders, reports and so forth. I had thought red tape was bad in the real world, but in the paper world it was everything. I’d come to realize over the years that anything created by mankind had error, mischief and bureaucratic officialdom hardwired at inception, and the fictional world was no different.

“The council governs dramatic conventions, strictly controls the use of irony, legislates on word use and, through the Book Inspectorate, decides which novels are to be published and which ones scrapped.”

We had arrived at a viewing gallery overlooking the main debating chamber, which was a spacious hall of white marble with an arched roof suspended by riveted iron girders. There was a raised dais at the back surmounted by a central and ornately carved chair flanked on each side by four smaller ones. A lectern for the speaker was in front of that, and facing both the lectern and the dais was a horse shoe pattern of desks for the representatives of the various genres. The back wall of the chamber was decorated with a vast mosaic representing the theoretical positions of the genres as they hung in the Nothing. The only other item of note in the debating chamber was the Read-O-Meter, which gave us a continually updated figure of just how many books had been read over the previous twenty-four hours. This instrument was a constant reminder of the falling ReadRates that had troubled the BookWorld over the past five years, and every time the numbers flopped over—and they did every five seconds—the number went
down
. Sometimes in depressingly large amounts. There was someone speaking volubly at the lectern, and the debating chamber was less than a third full.

“The main genres are seated at the front,” I explained, “and the subgenres radiate out behind them, in order of importance and size. Although the CofG oversees broad legislative issues, each individual genre can make its own decision on a local level. They all field a senator to appear before the council and look after their own interests—sometimes the debating chamber resembles something less like a seat of democracy and more like plain old horse trading.”

“Who’s talking now?” she asked as a new member took the podium. He looked as though he hadn’t brushed his hair that morning, was handsome if a bit dim-looking, had no shoes and was wearing a shirt split open to the waist.

“That’ll be Speedy Muffler, the senator from the Racy Novel genre, although I suspect that might not be his real name.”

“They have a senator?”

“Of course. Every genre has at least one, and depending on the popularity of subgenres, they might have several. Thriller which is subgenred into political, Spy and Adventure, has three. Comedy at the last count had six; Crime has twelve.”

“I see. So what’s Racy Novel’s problem?”

“It’s a border dispute. Although each book exists on its own and is adrift in the intragenre space known as the Nothing, the books belonging to the various genres clump together for mutual protection, free trade of ideas and easy movement of characters.”

“I get it. Books of a feather flock together, yes?”

“Pretty much. Sensibly, Thriller was placed next door to Crime, which itself is bordered by Human Drama—a fine demonstration of inspired genreography for the very best mutual improvement of both.”

“And Racy Novel?”

“Some idiot placed it somewhat recklessly between Ecclesiastical and Feminist, with the tiny principality of Erotica to the far north and a buffer zone with Comedy to the south comprising the subcrossover genre of Bedroom Farce/Bawdy Romp. Racy Novel gets along with Comedy and Erotica fine, but Ecclesiastical and Feminist really don’t think Racy Novel is worthy of a genre at all and often fire salvos of long-winded intellectual dissent across the border, which might do more damage if anyone in Racy Novel could understand them. For its part, Racy Novel sends panty-raiding parties into its neighbors, which wasn’t welcome in Feminist and even less in Ecclesiastical—or was it the other way around?

Anyway, the whole deal might have escalated into an all-out genre war without the Council of Genres stepping in and brokering a peace deal. The CofG would guarantee Racy Novel’s independence as long as it agreed to certain…sanctions.”