The elevator stopped, and we stepped out. Down here in the Well, the subbasements looked more like narrow Elizabethan streets than corridors. It was here that purveyors of book-construction-related merchandise could be found displaying their wares in a multitude of specialty shops that would appeal to any genre, style or setting. The corridors were alive with the bustling activity of artisans moving hither and thither in the gainful pursuit of book building. Plot traders, backstoryists, hole stitchers, journeymen and generics trotted purposefully in every direction, and cartloads of prefabricated sections for protobooks were being slowly pulled down the center of the street by Pitman ponies, which are a sort of shorthand horse that doesn’t take up so much room.

Most of it was salvage. In the very lowest subbasement was the Text Sea, and it was on the shores of this ocean that scrapped books were pulled apart by work gangs using nothing more refined than hammers, chains and muscle. The chunks of battered narrative were then dismantled by cutters, who would remove and package any salvageable items to be resold. Any idea, setting or character that was too damaged or too dull to be reused was unceremoniously dumped in the Text Sea, where the bonds within the sentences were loosened until they were nothing but words, and then these, too, were reduced to letters and punctuation, the meaning burning off into a bluish mist that lingered near the foreshore before evaporating.

“Who are we going to see?” asked Thursday5 as we made our way through the crowded throng.

“Bradshaw wanted me to cast an eye over the Jane Austen refit,” I replied. “The engineer in charge is Isambard Kingdom Buñuel, the finest and most surreal book engineer in the WOLP. When he constructed War and Peace, no one thought that anything of such scale and grandeur could be built, let alone launched. It was so large an entire subbasement had to be constructed to take it. Even now a permanent crew of twenty is needed to keep it going.”

Thursday5 looked curiously around as a gang of riveters walked past, laughing loudly and talking about a spine they’d been working on.

“So once the book is built, it’s moved to the Great Library?” she asked.

“If only,” I replied. “Once completed and the spark has been ignited, it undergoes a rigorous twelve-point narrative safety-and-compliance regime before being studiously and penetratively test-read on a special rig. After that, the book is taken on a trial reading by the Council of Genres Book Inspectorate before being passed—or not—for publication.”