Penumbra looks at me, his eyes crinkling: “Edgar was a clerk in San Francisco just like you, my boy.”
I feel a little whirl of dislocation — the trademark sensation of the world being more closely knit together than you expected. Have I read Deckle’s slanty handwriting in the logbook? Did he work the late shift?
Deckle brightens, too, then goes mock-serious: “Piece of advice. One night, you’re going to get curious and wonder if maybe you should check out the club next door.” He pauses. “Don’t do it.”
Yes, he definitely worked the late shift.
There’s a chair set up opposite the desk — high-backed, made of polished wood — and Deckle motions for Penumbra to sit.
Neel leans in conspiratorially and jerks a thumb over his shoulder, back toward the office: “So is that all just a front?”
“Oh, no, no,” Deckle says. “The Festina Lente Company is a real business. Very real. They license the typeface Gerritszoon”—Kat, Neel, and I all nod sagely, like novices in the know—“and many more. They do other things, too. Like the new e-book project.”
“What’s that?” I ask. This operation seems a lot more savvy than Penumbra made it out to be.
“I don’t understand it completely,” Deckle says, “but somehow we identify e-book piracy for publishers.” My nostrils flare at that; I’ve heard the stories of college students sued for millions of dollars. Deckle explains: “It’s a new business. Corvina’s baby. Apparently it’s very lucrative.”
Penumbra nods. “It is thanks to the labors of those people out there that our store exists.”
Well, that’s just great. My salary is paid by font licensing fees and copyright infringement cases.
“Edgar, these three have solved the Founder’s Puzzle,” Penumbra says — Kat and Neel both raise their eyebrows at that—“and the time has come for them to see the Reading Room.” The way he says it, I can hear the capital letters.
Deckle grins. “That’s terrific. Congratulations and welcome.” He nods to a line of hooks on the wall, half of them holding regular jackets and sweaters, the other half hung with dark robes just like his. “So, change into those, for starters.”
We shrug out of our wet jackets. As we’re pulling on the robes, Deckle explains: “We need to keep things clean down below. I know they look goofy, but they’re actually very well designed. They’re cut at the sides here so you can move freely”—Deckle swings his arms back and forth—“and they have pockets inside for paper, pencil, ruler, and compass.” He pulls his robe wide to show us. “We have writing supplies down below, but you’ll have to bring your own tools.”
That’s almost cute: Don’t forget your ruler on your first day of cult! But where is “down below”?
“One last thing,” Deckle says. “Your phones.”
Penumbra holds up empty palms and wiggles his fingers, but the rest of us all surrender our dark trembling companions. Deckle drops them into a shallow wooden bin on the desk. There are three iPhones in there already, along with a black Neo and a battered beige Nokia.
Deckle stands, straightens his robe, braces himself, and gives the shelves behind the desk a sharp shove. They swivel smoothly and silently — it’s as if they’re weightless, drifting in space — and as they draw apart, they reveal a shadowed space beyond, where wide steps curl down into darkness. Deckle stretches an arm to invite us forward. “Festina lente,” he says matter-of-factly.
Neel takes a sharp breath and I know exactly what it means. It means: I have waited my whole life to walk through a secret passage built into a bookshelf. Penumbra hoists himself up and we follow him forward.
“Sir,” Deckle says to Penumbra, standing to one side of the parted shelves, “if you’re free later, I’d love to buy you a cup of coffee. There’s a lot to talk about.”
“So it shall be,” Penumbra says with a smile. He claps Deckle on the shoulder as we pass. “Thank you, Edgar.”
Penumbra leads us down onto the steps. He goes carefully, clutching the railing, a wide ribbon of wood on heavy metal brackets. Neel hovers close, ready to catch him if he stumbles. The steps are wide and made of pale stone; they curve sharply, a spiral leading us down into the earth, the way barely lit by arc lamps in old wall sconces set at wide intervals.
As we go step-by-step, I begin to hear sounds. Low murmurs; then a louder rumble; then echoing voices. The steps flatten out and there’s a frame of light up ahead. We step through. Kat gasps, and her breath comes out in a little cloud.
This is no library. This is the Batcave.
The Reading Room stretches out before us, long and low. The ceiling is crisscrossed with heavy wooden beams. Above and between them, mottled bedrock shows through, all slanted seams and jagged planes, all sparkling with some inner crystal. The beams run the whole length of the chamber, showing sharp perspective like a Cartesian grid. Where they cross, bright lamps hang down and light the space below.
The floor is also bedrock, but polished smooth like glass. Square wooden tables are set up in orderly rows, two of them side by side, all the way back to the end of the chamber. They are simple but sturdy, and each one bears a single massive book. All of the books are black, and all of them are tethered to the tables with thick chains, also black.
There are people around the tables, sitting and standing, men and women in black robes just like Deckle’s, talking, jabbering, arguing. There must be a dozen of them down here, and they make it feel like the floor of a very small stock exchange. The sounds all merge and overlap: the hiss of whispers, the scuffle of feet. The scratch of pen on paper, the squeak of chalk on slate. Coughs and sniffles. It feels more than anything else like a classroom, except the students are all adults, and I have no idea what they’re studying.
Shelves line the chamber’s long perimeter. They are made from the same wood as the beams and the tables, and they are packed with books. Those books, unlike the tomes on the tables, are colorfuclass="underline" red and blue and gold, cloth and leather, some ragged, some neat. They are a ward against claustrophobia; without them, it would feel like a catacomb down here, but because they line the shelves and lend the chamber color and texture, it actually feels cosseted and comfortable.
Neel makes an appreciative murmur.
“What is this place?” Kat says, rubbing her arms, shivering. The colors might be warm but the air is freezing.
“Follow me,” Penumbra says. He makes his way out onto the floor, weaving between squads of black-robes clustered around tables. I hear a snatch of conversation: “… Brito is the problem here,” a tall man with a blond beard is saying, poking down at the thick black book on the table. “He insisted all operations had to be reversible, when in fact…” I lose his voice, but pick up another one: “… too preoccupied with the page as a unit of analysis. Think of this book in a different way — it is a string of characters, correct? It has not two dimensions, but one. Therefore…” That’s the owl-faced man from the sidewalk this morning, the one with the wiry eyebrows. He’s still stooped over, still wearing his furry hat; along with his robe, it makes him look 100 percent like a warlock. He’s making sharp strokes with chalk on a small slate.
A loop of chain catches Penumbra’s foot and makes a bright clink as he shakes it off. He grimaces and mutters, “Ridiculous.”
We follow quietly behind him, a short line of black sheep. The shelves are broken in just a few places: twice by doors on either side of the long chamber, and once at the chamber’s terminus, where they give way to smooth bare rock and a wooden dais set up under a bright lamp. It’s tall and severe-looking. That must be where they do the ritual sacrifices.