TN 5 - First Among Sequels by Jasper Fforde

Author:Jasper Fforde
Language: eng
Format: epub, mobi

“Will we really meet Harry Potter?” she asked in a soft whisper, her eyes going all dewy at the mention of the young wizard. Thursday1–4 looked to heaven and stood, arms crossed, waiting for us to get on with the day’s work.

“It depends,” I sighed. “If you pay attention or not. Now for this afternoon’s assignment: relieving the staff who are dealing with the BookWorld’s ongoing piano problem. And for that we need to go to Text Grand Central.”

23.

The Piano Problem

The piano was thought to have been invented by Bartolomeo Cristofori in the early eighteenth century and was originally called the gravicembalo col piano e forte, which was fortunately reduced to pianoforte, then more simply to piano. Composed of 550 pounds of iron, wood, strings and felt, the eighty-eight-key instrument is capable of the subtlest of melodies, yet stored up in the tensioned strings is the destructive power of a subcompact moving at twenty miles per hour.

I f Jurisfiction was the policing agency inside books and the Council of Genres was the political arm, Text Grand Central was the bureaucracy that bridged the two. Right up until the Ultra-word™ debacle, TGC

had remained unimpeachably honest, but after that, the Council of Genres—on my advice—took the harsh but only possible course of action to ensure that Text Grand Central would be too inefficient and unimaginative to pose a threat. They appointed a committee to run it.

As we walked onto one of the main Storycode Engine floors, I heard Thursday5 gasp. The proportions of the room were more in keeping with a factory that made Very Large Things, and the stone walls, vaulted ceiling and flickering gas lamps betrayed the room’s provenance as something borrowed from an unpublished Gothic Horror novel. Laid in serried ranks across the echoing vastness of the space were hundreds of Storycode Engines, each one the size of a bus and built of shiny brass, mahogany and cast iron. A convoluted mass of pipes, valves and gauges, they looked like a cross between an espresso machine, a ship’s engine and a euphonium on acid. They were so large there was a catwalk running around the upper section for easy maintenance, with a cast-iron spiral staircase at one end for access.

“These are Imaginotransference Storycode Engines. The most important piece of technology we possess.

Remember the pipe leading out of core containment in Pinocchio?”

Thursday5 nodded.

“The throughput is radiated across the intragenre Nothing and ends up here, where they are then transmitted into the reader’s imagination.”

I knew why it worked but not how. Indeed, I was suspicious that perhaps there wasn’t an explanation at all—or indeed any need for one. It was something we called an “abstract narrative imperative”: They work solely because it’s expedient that they do. The BookWorld is like that. Full of wholly improbable plot devices that are there to help grease the storytelling cogs.

I paused so they could both watch the proceedings for a moment. Thursday5 made no secret of her fascination, but Thursday1–4 stifled a faux yawn. Despite this, she still looked around.

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