There had been an excited buzz among the technicians in the lab that morning, and I had been introduced to more specialists in an hour than I’d met in a lifetime. John Henry Goliath himself was on hand to smooth over any problems we might have, and there had already been a propulsion test. The Austen Rover had been chained to the floor, and the engines had been spooled up. With a deafening roar, the Rover had flexed at the chains while an inky black void had opened up in front of it. The engines had been throttled back, and the void had closed. It didn’t have the quiet subtleness of Mycroft’s Prose Portal, but it had certainly been impressive.

That had been three hours earlier. Right now we were in the control room, and I’d been trying to explain to them just what form the BookWorld takes, which was a bit odd, as it was really only my interpretation of it, and I had a feeling that if they accepted my way, it would become the way, so I was careful not to describe anything that might be problematical later. I spread a sheet of paper on the table and drew a rough schematic of the various genres that made up the BookWorld, but without too many precise locations—just enough for them to get us inside and then to It Was a Dark and Stormy Night without any problems.

“The Nothing is a big place,” I said without fear of understatement, “and mostly empty. Theoretical storyologists have calculated that the readable BookWorld makes up only twenty-two percent of visible reading matter—the remainder is the unobservable remnants of long-lost books, forgotten oral tradition and ideas still locked in writers’ heads. We call it ‘dark reading matter.’”

“Why is so much of it unread and untold?”

I shrugged. “We’re not altogether sure, but we think ninety-eight percent of the world’s fiction was wiped out by the accidental death of an Iron Age storyteller about three thousand years ago. It was what we call a ‘mass erasure’—we wouldn’t see anything of that size until human perfidy, fire and mold wiped out seventy-five percent of Greek drama at the CE boundary. The reason I mention it is that navigating through the Nothing could be more treacherous than you imagine—colliding with a lost work of Aeschylus or being pulled apart by the Hemingway ‘lost suitcase of manuscripts’ could bring your trip to a painfully verbose. And incorrectly punctuated. End.”

Dr. Wirthlass nodded sagely.