I make my way quickly to the book rooms. I don’t think the group on the porch is going to bother following me in here, but I’d rather get done as quickly as possible.

I bypass all the nonfiction rooms. Orion left this clue for me, and even if someone else has hidden it, I still think my best chance of finding it is either in fiction or art.

I have to have a chance of finding it. I have to.

Someone probably changed the last clue—deleted parts, probably added that text—but Orion left me a much more elaborate path. He’s put so much care and planning into hiding each clue. There has to be something else, some way to figure out the next step.

I trail my fingers along the shelf, looking for something that might hint at Orion’s next clue. I flip through Dante’s Inferno again, and then Paradiso and Purgatorio. I look through everything by Lewis Carroll, including that stupid poem Ms. Parker made us diagram, “Jabberwocky.”

This is useless. Orion may have left the next clue in a book, but he didn’t leave it in a book he’s already used.

I collapse into the chair in front by the metal table in the center of the room. A copy of Shakespeare’s sonnets lies in the middle, just where I threw it after finding it misshelved by Dante a few days ago. I guess the new Recorder, Bartie, is too busy writing manifestos and trying to start an unneeded revolution to bother with doing his actual job.

Sighing, I snatch up the book and head for the S shelves. There’s just enough room to squeeze the sonnets between King Lear and Macbeth.

I head for the door—might as well see if there’s anything attached to any of the rest of Harley’s paintings.

I pause. Orion had a contingency plan for everything—why not make sure the clues are close together, just in case someone tampered with one? I’m the only one who ever really bothers with the book rooms—and before me, there was only him. What are the chances of someone else putting a book on the wrong shelf—right next to the book that held the first clue?

I rush back to the S shelf, my hands shaking as I reach for the poetry book. The pages are glossy and thick, dotted with illustrations from the Elizabethan era. On the first page is a color portrait of Shakespeare. The Bard wrote about star-crossed love, but I doubt he ever realized his works would one day be soaring through the stars.

I frown. We’re not exactly soaring now, are we?

I flip through the pages quickly, creasing them in a way that I know Elder would frown upon. But . . . there’s nothing here. I force myself to slow down, reading each poem even though they make little sense to me.