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.”