“It’s a long story that involves the cat next door.”
“I have a cat next door. It’s called…now, what was her name?”
“Cat Next Door5?” I suggested.
“That’s right,” she said, astonished at my powers of detection. “You’ve met her, then?”
I ignored her and pushed open the doors to the ballroom. We were just in time. The Bellman’s daily briefing was about to begin.
Jurisfiction’s offices were in the disused ballroom of Mr. and Mrs. John Dashwood’s residence of Norland Park, safely hidden in the backstory of Jane Austen’s Sense and Sensibility. Wagging and perhaps jealous tongues claimed that it was for “special protection,” but I’d never seen any particular favors shown myself. The room was painted pale blue, and the walls, where not decorated with delicate plaster moldings, were hung with lavish gold-framed mirrors. It was here that we ran the policing agency that functioned within books to keep order in the dangerously flexible narrative environment. We called it Jurisfiction.
The offices of Jurisfiction had long been settled at Norland. It had been many years since they had been used as a ballroom. The floor space was liberally covered with tables, chairs, filing cabinets and piles of paperwork. Each desk had its own brass-horned footnoterphone, a typewriter and an in-tray that always seemed larger than the out. Although electronics were a daily part of life in the real world, here in fiction there was no machine so complicated that it couldn’t be described in a line or two. It was a different story over in nonfiction, where they had advanced technology coming out of their ears-it was a matter of some pride that we were about eight times more efficient with half the workforce. I paused for a moment. Even after sixteen years, walking into the Jurisfiction offices always gave me a bit of a buzz. Silly, really, but I couldn’t help myself.
“Just in time!” barked Commander Bradshaw, who was standing on a table so as to be more easily seen. He was Jurisfiction’s longest-serving member and onetime star of the Commander Bradshaw colonial ripping adventure stories for boys. His jingoistic and anachronistic brand of British Empire fiction wasn’t read at all these days, which he’d be the first to admit was no great loss and freed him up to be the head of Jurisfiction, or Bellman, a post he was unique in having held twice. He and Mrs. Bradshaw were two of the best friends I possessed. His wife, Melanie, had been Friday and Tuesday’s au pair, and even though Jenny was now ten and needed less looking after, Mel was still around. She loved our kids as if they were her own. She and Bradshaw had never had children. Not surprisingly, really, since Melanie was, and had always been, a gorilla.
“Is everyone here?” he asked, carefully scanning the small group of Jurisfiction agents.
“Hamlet’s dealing with a potentially damaging outbreak of reasonable behavior inside Othello,” said Mr. Fainset, a middle-aged man dressed in worn merchant navy garb. “He also said he needed to see Iago about something.”
“That’ll be about their Shakespeare spin-off play Iago v. Hamlet,” said the Red Queen, who was actually not a real queen at all but an anthropomorphized chess piece from Through the Looking Glass. “Does he really think he’s going to get the Council of Genres to agree to a thirty-ninth Shakespeare play?”
“Stranger things have happened.” Bradshaw sighed. “Where are Peter and Jane?”
“The new feline in The Tiger Who Came to Tea got stage fright,” said Lady Cavendish, “and after that they said they needed to deal with a troublesome brake van in The Twin Engines.”
“Very well,” said Bradshaw, tingling a small bell. “Jurisfiction meeting number 43,369 is now in session. Item One: The number of fictioneers trying to escape into the real world has increased this month. We’ve had seven attempts, all of them rebuffed. The Council of Genres has made it abundantly clear that this will not be tolerated without a Letter of Transit, and anyone caught moving across or attempting to move across will be reduced to text on sight.”
There was silence. I was the only one who crossed over on a regular basis, but no one liked the idea of reducing people to text, whether they deserved it or not. It was irreversible and the closest thing there was to death in the written world.
“I’m not saying you have to do that,” continued Bradshaw, “and I want you to pursue all other avenues before lethal force. But if it’s the only way, then that’s what you’ll do. Item Two: It’s been six months, and there’s still no sign of the final two volumes of The Good Soldier Švejk. If we don’t hear anything more, we’ll just bundle up the four volumes into one and reluctantly call it a day. Thursday, have you seen anything around the Well that might indicate they were stolen to order to be broken up for scrap?”
“None at all,” I replied, “but I spoke with our opposite number over at Jurisfiktivní, and he said they’d lost it over there, too.”
“That’s wonderful news!” breathed Bradshaw, much relieved.
“It is?”
“Yes-it’s someone else’s problem. Item Three: The inexplicable departure of comedy from the Thomas Hardy novels is still a cause for great concern.”
“Hadn’t we put a stop to that?” asked Emperor Zhark.
“Not at all,” replied Bradshaw. “We tried to have the comedy that was being leached out replaced by fresh comedy coming in, but because misery has a greater natural affinity for the Wessex novels, it always seems to gain the ascendancy. Hard to believe Jude the Obscure was once the most rip-roaringly funny novel in the English language, eh?”
I put up my hand.
“Yes, Thursday?”
“Do you think the Comedy genre might be mining the books for laughs? You know how those guys will happily steal and modify from anything and everywhere for even the most perfunctory of chuckles.”
“It’s possible, but we need hard evidence. Who wants to have a trawl around Comedy for a Thomas Hardy funnyism we can use to prove one way or the other?”
“I will,” said the Red Queen, before I could volunteer.
“Better get busy. If they are sucking the comedy out of Jude, we don’t have much time. Now that the farce, rib-cracking one-liners and whimsical asides have all been removed, a continued drain on the novel’s reserves of lightheartedness will place the book in a state of negative funniness. Insufferably gloomy-miserable, in fact.”
We thought about it for a moment. Even until as little as thirty years ago, the whole Thomas Hardy series was actually very funny-pointlessly frivolous, in fact. As things stood at the moment, if you wanted a happy ending to anything in Hardy, you’d be well advised to read it backward.
“Item Four,” continued Bradshaw, “a few genre realignments.”
There was an audible sigh in the air, and a few agents lost interest. This was one of those boring-but-important items that, while of little consequence to the book in question, subtly changed the way in which it was policed. We had to know what novel was in what genre-sometimes it wasn’t altogether obvious, and when a book stretched across two genres or more, it could open a jurisdictional can of worms that might have us tied up for years. We all reached for our note pads and pencils as Bradshaw stared at the list.
“Erich von Däniken’s Chariots of the Gods? has been moved from nonfiction to fiction,” he began, leaving a pause so we could write it down, “and Orwell’s 1984 is no longer truly fiction, so has been reallocated to nonfiction. Vonnegut’s The Sirens of Titan is no longer Sci-fibut Philosophy.”