Miranda's reactions to the evening's events;
solace from an unexpected quarter;
from the Primer, the demise of a hero, flight to the Land Beyond, and the lands of King Magpie.

   The Theatre Parnasse had a rather nice bar, nothing spectacular, just a sort of living room off the main floor, with the bar itself recessed into one wall. The old furniture and pictures had been looted by the Red Guards and later replaced with post-Mao stuff that was not as fine. The management kept the booze locked up when the ractors were working, not sharing any romantic notions about substance-abusing creative geniuses. Miranda stumbled down from her box, fixed herself a club soda, and settled into a plastic chair. She put her shaking hands together like the covers of a book and then buried her face in them. After a few deep breaths she got tears to come, though they came silently, a temporary letting-off-steam cry, not the catharsis she was hoping for. She hadn't earned the catharsis yet, she knew, because what had happened was just the first act. Just the initial incident, or whatever they called it in the books.
   "Rough session?" said a voice. Miranda recognized it, but just barely: It was Carl Hollywood, the dramaturge, in effect her boss. But he didn't sound like a gruff son of a bitch tonight, which was a switch.
   Carl was in his forties, six and a half feet tall, massively built and given to wearing long black coats that almost swept the floor. He had long wavy blond hair drawn back from his forehead and affected a sort of King Tut beard. Either he was celibate, or else he believed that the particulars of his sexual orientation and needs were infinitely too complex to be shared with those he worked with. Everyone was scared shitless of him, and he liked it that way; he couldn't do his job if he was buddies with all of the ractors.
   She heard his cowboy boots approaching across the bare, stained Chinese rug. He confiscated her club soda. "Don't want to drink this fizzy stuff when you're having a cry. It'll come out your nose. You need something like tomato juice-replace those lost electrolytes. I tell you what," he said, rattling his tremendous keychain, "I'll break the rules and fix you an honest-to-god bloody mary. Usually I make 'em with tabasco, which is how we do it where I'm from. But since your mucus membranes are already irritated enough, I'll just make a boring one."
   By the time he was finished with this oration, Miranda had gotten her hands away from her face at least. She turned away from him.
   "Kind of funny racting in that little box, ain't it," Carl said, "kind of isolating. Theatre didn't used to be that way."
   "Isolating? Sort of," Miranda said. "I could use a little more isolation tonight."
   "You telling me to leave you alone, or-"
   "No!" Miranda said, sounding desperate to herself. She brought her voice to heel before continuing. "No, that's not how I meant it. It's just that you never know what role you're going to play. And some of the roles can cut pretty deep. If someone handed me a script for what I just did and asked me if I were interested in the part, I'd refuse it."
   "Was it a porn thing?" Carl Hollywood said. His voice sounded a bit strangled. He was angry all of a sudden. He had stopped in the middle of the room, clenching her bloody mary as if he might pop the glass in his fist.
   "No. It wasn't like that," Miranda said. "At least, it wasn't porn in the sense you're talking about," Miranda said, "though you never know what turns people on."
   "Was the payer looking to get turned on?"
   "No. Absolutely not," Miranda said. Then, after a long time, she said, "It was a kid. A little girl."
   Carl gave her a searching look, then remembered his manners and glanced away, pretending to appraise the carving on the front of the bar.
   "So the next question is," Miranda said after she'd steadied herself with a few gulps of the drink, "why I should get so upset over a kiddie ractive."
   Carl shook his head. "I wasn't going to ask it."
   "But you're wondering."
   "What I'm wondering about is my problem," Carl said. "Let's concentrate on your problems for now." He frowned, sat down across from her and ran his hand back through his hair absent-mindedly. "Is this that big account?" He had access to her spreadsheets; he knew how she'd been spending her time.
   "Yeah."
   "I've sat in on a few of those sessions."
   "I know you have."
   "Seems different from normal kiddie stuff. The education is there, but it's darker. Lots of unreconstructed Grimm Brothers content. Powerful."
   "Yeah."
   "It's amazing to me that one kid can spend that much time-"
   "Me too." Miranda took another swallow, then bit off the end of the celery stick and chewed awhile, stalling. "What it comes down to," she said, "is that I'm raising someone's kid for them."
   Carl looked her straight in the eye for the first time in a while. "And some heavy shit just went down," he said.
   "Some very heavy shit, yes."
   Carl nodded.
   "It's so heavy," Miranda said, "that I don't even know if this girl is alive or dead."
   Carl glanced up at the fancy old clock on the wall, its face yellowed from a century and a half's accumulation of tar and nicotine. "If she's alive," he said, "then she probably needs you."
   "Right," Miranda said. She stood up and headed for the exit. Then, before Carl could react, she spun on the ball of her foot, bent down, and kissed him on the cheek.
   "Aw, stop it," he said.
   "See you later, Carl. Thanks." She ran up the narrow staircase heading for her box.

   Baron Burt lay dead upon the floor of the Dark Castle. Princess Nell was terrified of the blood that gushed from his wound, but she approached him bravely and plucked the keychain with the twelve keys from his belt. Then she gathered up her Night Friends, tucking them into a little knapsack, and hurriedly packed a picnic lunch while Harv gathered up blankets and ropes and tools for their journey.
   They were walking across the courtyard of the Dark Castle, heading for the great gate with its twelve locks, when suddenly the evil Queen appeared before them, as tall as a giant, wreathed in lightning and thunder-clouds! Tears gushed from her eyes and turned to blood as they rolled down her cheeks. "You have taken him away from me!" she cried. And Nell understood that this was a terrible thing for her wicked stepmother, because she was weak and helpless without a man. "For this," the Queen continued, "I shall curse you to remain locked up in this Dark Castle forever!" And she reached down with one hand like talons and snatched the keychain from Princess Nell's hand. Then she turned into a great vulture and flew away across the ocean toward the Land Beyond.
   "We are lost!" Harv cried. "Now we shall never escape from this place!" But Princess Nell did not lose hope. Not long after the Queen had vanished over the horizon, another bird came flying toward them. It was the Raven, their friend from the Land Beyond, who frequently came to visit them and to entertain them with stories of far-off countries and famous heroes. "Now is your chance to escape," said the Raven. "The evil Queen is engaged in a great battle of sorcery with the Faery Kings and Queens who rule the Land Beyond. Throw a rope out of yon arrow-slit, and climb down to freedom."
   Princess Nell and Harv climbed the stairway into one of the bastions flanking the Dark Castle's main gate. These had narrow windows where in olden times soldiers should shoot arrows down at invaders. Harv tied one end of a rope to a hook in the wall and threw it out one of these slits. Princess Nell threw her Night Friends out, knowing that they would land harmlessly below. Then she climbed out through the slit and down the rope to freedom.
   "Follow me, Harv!" she cried. "All is well down here, and it is a much brighter place than you can possibly imagine!"
   "I cannot," he said. "I am too big to pass through the slit." And he began to throw out the loaves of bread, pieces of cheese, wineskins, and pickles that they had packed for their lunch.
   "Then I will come back up the rope and stay with you," Princess Nell said generously.
   "No!" Harv said, and reeled in the rope, trapping Nell on the outside.
   "But I will be lost without you!" Princess Nell cried.
   "That's your stepmother talking," Harv said. "You are a strong, smart, and brave girl and can do fine without me."
   "Harv is right," said the Raven, flying overhead. "Your destiny is in the Land Beyond. Hurry, lest your stepmother return and trap you here."
   "Then I will go to the Land Beyond with my Night Friends," said Princess Nell, "and I will find the twelve keys, and I will come back here one day and free you from this Dark Castle."
   "I'm not holding my breath," Harv said, "but thanks anyway."
   Down on the shore was a little boat that Nell's father had once used to row around the island. Nell climbed in with her Night Friends and began to row.
   Nell rowed for many hours until her back and shoulders ached. The sun set in the west, the sky became dark, and it became harder to make out the Raven against the darkling sky. Then, much to her relief, her Night Friends came alive as they always did. There was plenty of room in the boat for Princess Nell, Purple, Peter, and Duck, but Dinosaur was so big that he nearly swamped it; he had to sit in the bow and row while the others sat in the stern trying to balance his weight.
   They moved much faster with Dinosaur's strong rowing; but early in the morning a storm blew up, and soon the waves were above their heads, above even Dinosaur's head, and rain was coming down so fast that Purple and Princess Nell had to bail using Dinosaur's shiny helmet as a bucket. Dinosaur threw out all of his armor to lighten the load, but it soon became evident that this was not enough.
   "Then I shall do my duty as a warrior," Dinosaur said. "My usefulness to you is finished, Princess Nell; from now, you must listen to the wisdom of your other Night Friends and use what you have learned from me only when nothing else will work." And he dove into the water and disappeared beneath the waves. The boat bobbed up like a cork. An hour later, the storm began to diminish, and as dawn approached, the ocean was smooth as glass, and filling the western horizon was a green country vaster than anything Princess Nell had ever imagined: the Land Beyond.
   Princess Nell wept bitterly for lost Dinosaur and wanted to wait on the shore in case he had clung to a piece of flotsam or jetsam and drifted to safety.
   "We must not dawdle here," Purple said, "lest we be seen by one of King Magpie's sentries."
   "King Magpie?" said Princess Nell.
   "One of the twelve Faery Kings and Queens. This shore is part of his domain," Purple said. "He has a flock of starlings who watch his borders."
   "Too late!" cried sharp-eyed Peter. "We are discovered!" At that moment, the sun rose, and the Night Friends turned back into stuffed animals.
   A solitary bird was diving toward them out of the morning sky. When it drew closer, Princess Nell saw that it was not one of King Magpie's starlings after all; it was their friend the Raven. He landed on a branch above her head and cried,
   "Good news! Bad news! Where shall I start?"
   "With the good news," Princess Nell said.
   "The wicked Queen lost the battle. Her power has been broken by the other twelve."
   "What is the bad news?"
   "Each of them took one of the twelve keys as spoil and locked it up in his or her royal treasury. You will never be able to collect all twelve."
   "But I am sworn to get them," said Princess Nell, "and Dinosaur showed me last night that a warrior must hold to her duty even if it leads her into destruction. Show me the way to the castle of King Magpie; we will get his key first."
   She plunged into the forest and, before long, found a dirt road that the Raven said would lead her toward King Magpie's castle. After a break for lunch she started down this road, keeping one sharp eye on the sky.

   There followed a funny little chapter in which Nell encountered the footprints of another traveler on the road, who was soon joined by another traveler, and another. This continued until nightfall, when Purple examined the footprints and informed Princess Nell that she had been walking in circles all day.

   "But I have followed the road carefully," Nell said.
   "The road is one of King Magpie's tricks," Purple said. "It is a circular road. In order to find his castle, we must put on our thinking-caps and use our own brains, for everything in this country is a trick of one kind or another."
   "But how can we find his castle if all of the roads are made to deceive us?" Peter Rabbit said.
   "Nell, do you have your sewing-needle?" Purple said.
   "Yes," said Nell, reaching into her pocket and taking out her mending kit.
   "Peter, do you have your magic stone?" Purple continued.
   "Yes," Peter said, taking it out of his pocket. It did not look magic, being just a gray lump, but it had the magic property of attracting small bits of metal.
   "And Duck, can you spare a cork from one of the lemonade bottles?"
   "This one's almost empty," Duck said.
   "Very well. I will also need a bowl of water," Purple said, and collected the three items from her three friends.

   Nell read on into the Primer, learning about how Purple made a compass by magnetizing the needle, thrusting it through the cork, and floating it in the bowl of water. She read about their three-day journey through the land of King Magpie, and of all the tricks it contained-animals that stole their food, quicksand, sudden rainstorms, appetizing but poisonous berries, snares, and pitfalls set to catch uninvited guests. Nell knew that if she wanted, she could go back and ask questions about these things later and spend many hours reading about this part of the adventure. But the important part seemed to be the discussions with Peter that ended each day's journey.

   Peter Rabbit was their guide through all of these perils. His eyes were sharp from eating carrots, and his giant ears could hear trouble coming from miles away. His quivering nose sniffed out danger, and his mind was too sharp for most of King Magpie's tricks. Before long they had reached the outskirts of King Magpie's city, which did not even have a wall around it, so confident was King Magpie that no invader could possibly pass through all of the traps and pitfalls in the forest.

Princess Nell in the city of King Magpie;
hyena trouble;
the story of Peter;
Nell deals with a stranger.

   The city of King Magpie was more frightening to Princess Nell than any wilderness, and she would have sooner trusted her life to the wild beasts of the forest than to many of its people.
   They tried to sleep in a nice glade of trees in the middle of the city, which reminded Princess Nell of the glades on the Enchanted Isle. But before they could even make themselves comfortable, a hissing hyena with red eyes and dripping fangs came and chased them all away.
   "Perhaps we can sneak back into the glade after it gets dark, when the hyena will not see us," Nell suggested.
   "The hyena will always see us, even in the dark, because it can see the infrared light that comes out of our bodies," Purple said.
   Eventually, Nell, Peter, Duck, and Purple found a place to camp in a field where other poor people lived. Duck set up a little camp and lit a fire, and they had some soup before going to bed. But try as she might, Princess Nell could not sleep.
   She saw that Peter Rabbit could not sleep either; he only sat with his back to the fire looking off into the darkness.
   "Why are you looking into the darkness and not into the fire as we do?" Nell asked.
   "Because the darkness is where danger comes from," Peter said, "and from the fire comes only illusion. When I was a little bunny running away from home, that is one of the first lessons I learned."

   Peter went on to tell his own story, just as Dinosaur had earlier in the Primer. It was a story about how he and his brothers had run away from home and fallen afoul of various cats, vultures, weasels, dogs, and humans who tended to see them, not as intrepid little adventurers but as lunch. Peter was the only one of them who had survived, because he was the cleverest of them all.

   I made up my mind that one day I would avenge my brothers," Peter said.
   "Did you?"
   "Well, that's a long story in itself."
   "Tell it to me!" Princess Nell said.
   But before Peter could launch into the next part of his story, they became aware of a stranger who was approaching them. "We should wake up Duck and Purple," Peter said.
   "Oh, let them sleep," Princess Nell said. "They can use the rest, and this stranger doesn't look so bad."
   "What does a bad stranger look like exactly?" Peter said.
   "You know, like a weasel or a vulture," Princess Nell said.
   "Hello, young lady," said the stranger, who was dressed in expensive clothes and jewelry. "I couldn't help noticing that you are new to beautiful Magpie City and down on your luck. I can't sit in my comfortable, warm house eating my big, tasty meals without feeling guilty, knowing that you are out here suffering. Won't you come with me and let me take care of you?"
   "I won't leave my friends behind," said Princess Nell.
   "Of course not-I wasn't suggesting that," the stranger said. "Too bad they're asleep. Say, I have an idea! You come with me, your rabbit friend stays awake here to keep an eye on your sleeping friends, and I'll show you my place-y'know, prove to you that I'm not some kind of creepy stranger who's trying to take advantage of you, like you see in all those dumb kids' stories that only little babies read. You're not a little baby, are you?"
   "No, I don't think so," Princess Nell said.
   "Then come with me, give me a fair hearing, check me out, and if I turn out to be an okay guy, we'll come back and pick up the rest of your little group. Come on, time's a wasting!"
   Princess Nell found it very hard to say no to the stranger.
   "Don't go with him, Nell!" Peter said. But in the end, Nell went with him anyway. In her heart she knew it was wrong, but her head was foolish, and because she was still just a little girl, she did not feel she could say no to a grownup man.

   At this point the story became very ractive. Nell stayed up for a while in the ractive, trying different things. Sometimes the man gave her a drink, and she fell asleep. But if she refused to take the drink, he would grab her and tie her up. Either way, the man always turned out to be a pirate, or else he would sell Princess Nell to some other pirates who would keep her and not let her go. Nell tried every trick she could think of, but it seemed as though the ractive were made in such a way that, once she'd made the decision to go away with the stranger, nothing she could do would prevent her from becoming a slave to the pirates.
   After the tenth or twelfth iteration she dropped the book into the sand and hunched over it, crying. She cried silently so Harv wouldn't wake up. She cried for a long time, seeing no reason to stop, because she felt that she was trapped now, just like Princess Nell in the book.
   "Hey," said a man's voice, very soft. At first Nell thought it was coming out of the Primer, and she ignored it because she was angry at the Primer.
   "What's wrong, little girl?" said the voice. Nell tried to look up toward the source, but all she saw was fat colored light from the mediatrons filtered through tears. She rubbed her eyes, but her hands had sand on them. She got panicky for a moment, because she had realized there was definitely someone there, a grownup man, and she felt blind and helpless.
   Finally she got a look at him. He was squatting about six feet away from her, a safe enough distance, watching her with his forehead all wrinkled up, looking terribly concerned.
   "There's no reason to be crying," he said. "It can't be that bad."
   "Who are you?" Nell said.
   "I'm just a friend who wants to help you. C'mon," he said, cocking his head down the beach. "I need to talk to you for a second, and I don't want to wake up your friend there."
   "Talk to me about what?"
   "How I can help you out. Now, come on, do you want help or not?"
   "Sure," Nell said.
   "Okay. C'mon then," the stranger said, rising to his feet. He took a step toward Nell, bent down, and held out one hand. Nell reached for him with her left and at the last minute flung a handful of sand into his face with her right. "Fuck!" the stranger said. "You little bitch, I'm gonna get you for that."
   The nunchuks were, as always, under Harv's head. Nell yanked them out and turned back toward the stranger, spinning her whole body around and snapping her wrist at the last moment just as Dojo had taught her. The end of the nunchuk struck the stranger's left kneecap like a steel cobra, and she heard something crack. The stranger screamed, astonishingly loud, and toppled into the sand.
   Nell spun the nunchuks around, working them up to a hum, and drew a bead on his temporal bone. But before she could strike, Harv grabbed her wrist. The free end of the weapon spun around out of control and bonked her on the eyebrow, splitting it open and giving her a total-body ice-cream headache. She wanted to throw up.
   "Good one, Nell," he said, "but now's the time to get the hell out of here."
   She snatched up the Primer. The two of them ran off down the beach, jumping over the silver larvae that glittered noisily in the mediatronic light. "The cops are probably gonna be after us now," Harv said. "We gotta go somewhere."
   "Grab one of those blankets," Nell said. "I have an idea."
   They had left their own silvery blanket behind. A discarded one was overflowing from a wastebasket by the seawall, so Harv snatched it as they ran by and crumpled it into a wad.
   Nell led Harv back to the little patch of forest. They found their way to the little cavity where they had stopped earlier. This time, Nell spread the blanket over both of them, and they tucked it in all around themselves to make a bubble. They waited quietly for a minute, then five, then ten. From time to time they heard the thin whine of a pod going by, but they always kept on going, and before they knew it they were asleep.

Mysterious souvenir from Dr. X;
Hackworth's arrival in Vancouver;
the Atlantan quarter of that city;
he acquires a new mode of conveyance.

   Dr. X had dispatched a messenger to the Shanghai Aerodrome with instructions to seek out Hackworth. The messenger had sidled up next to him while he was addressing a piss-trough, greeted him cheerfully, and taken a piss himself. Then the two men had exchanged business cards, accepting them with both hands and a slight bow.
   Hackworth's card was about as flashy as he was. It was white, with his name stamped out in rather severe capitals. Like most cards, it was made of smart paper and had lots of memory space left over to store digitized information. This particular copy contained a matter compiler program descended from the one that had created the original Young Lady's Illustrated Primer. This revision used automatic voice generation algorithms instead of relying on professional ractors, and it contained all of the hooks that Dr. X's coders would need to translate the text into Chinese.
   The Doctor's card was more picturesque. It had a few Hanzi characters scrawled across it and also bore Dr. X's chop. Now that paper was smart, chops were dynamic. The stamp infused the paper with a program that caused it to run a little graphics program forever. Dr. X's chop depicted a poxy-looking gaffer with a conical hat slung on his back, squatting on a rock in a river with a bamboo pole, hauling a fish out of the water-no wait, it wasn't a fish, it was a dragon squirming on the end of the line, and just as you realized it, the gaffer turned and smiled at you insolently. This kitschy tableau then freeze-framed and morphed cleverly into the characters representing Dr. X's name. Then it looped back to the beginning.
   On the back of the card were a few mediaglyphs indicating that it was, in fact, a chit: that is to say, a totipotent program for a matter compiler, combined with sufficient ucus to run it. The mediaglyphs indicated that it would run only on a matter compiler of eight cubic meters or larger, which was enormous, and which made it obvious he was not to use it until he reached America.
   He debarked from the Hanjin Takhoma at Vancouver, which besides having the most scenic airship moorage in the world, boasted a sizable Atlantan clave. Dr. X hadn't given him a specific destination-just the chit and a flight number-so there didn't seem any point in staying aboard all the way to the end of the line. From here he could always bullet-train down the coast if necessary.
   The city itself was a sprawling bazaar of claves. Consequently it was generously supplied with agoras, owned and managed by Protocol, where citizens and subjects of different phyles could convene on neutral ground and trade, negotiate, fornicate, or whatever. Some of the agoras were simply open plazas in the classical tradition, others looked more like convention centers or office buildings. Many of Old Vancouver's pricier and more view-endowed precincts had been acquired by the Hong Kong Mutual Benevolent Society or the Nipponese, and the Confucians owned the tallest office building in the downtown area. East of town in the fertile delta of the Fraser River, the Slays and the Germans were both supposed to have large patches of Lebensraum staked out, surrounded by grids of somewhat nastier than usual security pods. Hindustan had a spray of tiny claves all over the metropolitan area.
   The Atlantis clave climbed out of the water half a mile west of the university, to which it was joined by a causeway. Imperial Tectonics had made it look like just another island, as if it had been sitting there for a million years. As Hackworth's rented velocipede took him over the causeway, cool salt air flowing through his stubble, he began to relax, finding himself once again on home territory. On an emerald green playing field above the breakwater, young boys in short pants were knotted into a scrum, playing at fieldball.
   On the opposite side of the road was the girls' school, which had its own playing field of equal size, except that this one was surrounded by a dense twelve-foot hedge so that the girls could run around in very little or skin-tight clothing without giving rise to etiquette problems. He hadn't slept well in his microberth and wouldn't have minded checking into the guest hostel and taking a nap, but it was only eleven in the morning and he couldn't see wasting the day. So he rode his velocipede to the center of town, stopped in at the first pub he saw, and had lunch. The bartender gave him directions to the Royal Post Office, which was just a few blocks away.
   The post office was a big one, sporting a variety of matter compilers, including a ten-cubic-meter model directly adjacent to the loading dock. Hackworth shoved Dr. X's chit into its reader and held his breath. But nothing dramatic happened; the display on the control panel said that this job was going to take a couple of hours.
   Hackworth killed most of the time wandering around the clave. The middle of town was smallish and quickly gave way to leafy neighborhoods filled with magnificent Georgian, Victorian, and Romanesque homes, with the occasional rugged Tudor perched on a rise or nestled into a verdant hollow. Beyond the homes was a belt of gentrified farms mingled with golf courses and parks. He sat down on a bench in one flowery public garden and unfolded the sheet of mediatronic paper that was keeping track of the movements of the original copy of the Young Lady's Illustrated Primer. It seemed to have spent some time in a green belt and then made its way up the hill in the general direction of the New Atlantis Clave.
   Hackworth took out his fountain pen and wrote a short letter addressed to Lord Finkle-McGraw.
   Your Grace,
   Since accepting the trust you have reposed in me, I have endeavoured to be perfectly frank, serving as an open conduit for all information pertaining to the task at hand. In that spirit, I must inform you that two years ago, in my desperate search for the lost copy of the Primer, I initiated a search of the Leased Territories . . . (&c., &c.)
   Please find enclosed a map and other data regarding the recent movements of this book, whose whereabouts were unknown to me until yesterday. I have no way of knowing who possesses it, but given the book's programming, I suspect it to be a young thete girl, probably between the ages of five and seven. The book must have remained indoors for the last two years, or else my systems would have detected it. If these suppositions are correct, and if my invention has not fallen desperately short of intentions, then it is safe to assume that the book has become an important part of the girl's life . . .
   He went on to write that the book should not be taken from the girl if this were the case; but thinking about it a bit more carefully, he scribbled out that part of the letter and it vanished from the page. It was not Hackworth's role to tell Finkle-McGraw how to manage affairs. He signed the letter and dispatched it.
   Half an hour letter, his pen chimed again and he checked his mail.
   Hackworth,
   Message received. Better late than never. Can't wait to meet the girl.
   Yours &c.
   Finkle-McGraw

   When Hackworth got back to the post office and looked through the window of the big matter compiler, he saw a large machine taking shape in the dim red light. Its body had already been finished and was now rising slowly as its four legs were compiled underneath. Dr. X had provided Hackworth with a chevaline.
   Hackworth noted, not without approval, that this one's engineers had put a high priority on the virtues of simplicity and strength and a low priority on comfort and style. Very Chinese. No effort was made to disguise it as a real animal. Much of the mechanical business in the legs was exposed so that you could see how the joints and pushrods worked, a little like staring at the wheels of an old steam locomotive. The body looked gaunt and skeletal. It was made of star-shaped connectors where five or six cigarette-size rods would come together, the rods and connectors forming into an irregular web that wrapped around into a geodesic space frame. The rods could change their length. Hackworth knew from seeing the same construction elsewhere that the web could change its size and shape to an amazing degree while providing whatever combination of stiffness and flexibility the controlling system needed at the moment. Inside the space frame Hackworth could see aluminum-plated spheres and ellipsoids, no doubt vacuum-filled, containing the mount's machinephase guts: basically some rod logic and an energy source.
   The legs compiled quickly, the complicated feet took a little longer. When it was finished, Hackworth released the vacuum and opened the door. "Fold," he said. The chevaline's legs buckled, and it lay down on the floor of the M.C. Its space frame contracted as much as it could, and its neck shortened. Hackworth bent down, laced his fingers through the space frame, and lifted the chevaline with one hand. He carried it through the lobby of the post office, past bemused customers, and out the door onto the street.
   "Mount," he said. The chevaline rose into a crouch. Hackworth threw one leg over its saddle, which was padded with some kind of elastomeric stuff, and immediately felt it shoving him into the air.
   His feet left the ground and flailed around until they found the stirrups. A lumbar support pressed thoughtfully on his kidneys, and then the chevaline trotted into the street and began heading back toward the causeway.
   It wasn't supposed to do that. Hackworth was about to tell it to stop. Then he figured out why he'd gotten the chit at the last minute:
   Dr. X's engineers had been programming something into this mount's brain, telling it where to take him.
   "Name?" Hackworth said.
   "Unnamed," the chevaline said.
   "Rename Kidnapper," Hackworth said.
   "Name Kidnapper," said Kidnapper; and sensing that it was reaching the edge of the business district, it started to canter. Within a few minutes they were blasting across the causeway at a tantivy. Hackworth turned back toward Atlantis and looked for pursuing aerostats; but if Napier was tracking him, he was doing so with some subtlety.

A morning stroll through the Leased Territories;
Dovetail;
a congenial Constable.

   High up the mountain before them, they could see St. Mark's Cathedral and hear its bells ringing changes, mostly just tuneless sequences of notes, but sometimes a pretty melody would tumble out, like an unexpected gem from the permutations of the I Ching.
   The Diamond Palace of Source Victoria glittered peach and amber as it caught the sunrise, which was still hidden behind the mountain. Nell and Harv had slept surprisingly well under the silver blanket, but they had not by any means slept late. The martial reveille from the Sendero Clave had woken them, and by the time they hit the streets again, Sendero's burly Korean and Incan evangelists were already pouring out of their gate into the common byways of the Leased Territories, humping their folding mediatrons and heavy crates of little red books. "We could go in there, Nell," Harv said, and Nell thought he must be joking. "Always plenty to eat and a warm cot in Sendero."
   "They wouldn't let me keep my book," Nell said.
   Harv looked at her, mildly startled. "How do you know? Oh, don't tell me, you learned it from the Primer."
   "They only have one book in Sendero, and it tells them to burn all the other books."
   As they climbed toward the green belt, the way got steeper and Harv started wheezing. From time to time he would stop with his hands on his knees and cough in high hoarse bursts like the bark of a seal. But the air was cleaner up here, they could tell by the way it felt going down their throats, and it was colder too, which helped.
   A band of forest surrounded the high central plateau of New Chusan. The clave called Dovetail backed right up against this green belt and was no less densely wooded, though from a distance it had a finer texture-more and smaller trees, and many flowers.
   Dovetail was surrounded by a fence made of iron bars and painted black. Harv took one look at it and said it was a joke if that was all the security they had. Then he got to noticing that the fence was lined with a greensward about a stone's throw in width, smooth enough for championship croquet. He raised his eyebrows significantly at Nell, implying that any unauthorized personnel who tried to walk across it would be impaled on hydraulic stainless-steel spikes or shot through with cookiecutters or rent by robot dogs.
   The gates to Dovetail stood wide open, which deeply alarmed Harv. He got in front of Nell lest she try to run through them. At the boundary line, the pavement changed from the usual hard-but-flexible, smoothbut-high-traction nanostuff to an irregular mosaic of granite blocks.
   The only human in evidence was a white-haired Constable whose belly had created a visible divergence between his two rows of brass buttons. He was bent over using a trowel to extract a steaming turd from the emerald grass. Circumstances suggested that it had come from one of two corgis who were even now slamming their preposterous bodies into each other not far away, trying to roll each other over, which runs contrary to the laws of mechanics even in the case of corgis that are lean and trim, which these were not.
   This struggle, which appeared to be only one skirmish in a conflict of epochal standing, had driven all lesser considerations, such as guarding the gate, from the combatants' sphere of attention, and so it was the Constable who first noticed Nell and Harv. "Away with you!" he hollered cheerfully enough, waving his redolent trowel down the hill. "We've no work for such as you today! And the free matter compilers are all down by the waterfront."
   The effect of this news on Harv was contrary to what the Constable had intended, for it implied that sometimes there was work for such as him. He stepped forward alertly. Nell took advantage of this to run out from behind him. "Pardon me, sir," she called, "we're not here for work or to get free things, but to find someone who belongs to this phyle."
   The Constable straightened his tunic and squared his shoulders at the appearance of this little girl, who looked like a thete but talked like a Vicky. Suspicion gave way to benevolence, and he ambled toward them after shouting a few imprecations at his dogs, who evidently suffered from advanced hearing loss. "Very well," he said. "Who is it that you're looking for?"
   "A man by the name of Brad. A blacksmith. He works at a stable in the New Atlantis Clave, taking care of horses."
   "I know him well," the Constable said. "I'd be glad to ring him for you. You're a . . . friend of his, then?"
   "We should like to think that he remembers us favorably," Nell said. Harv turned around and made a face at her for talking this way, but the Constable was eating it up.
   "It's a brisk morning," the Constable said. "Why don't you join me inside the gatehouse, where it's nice and cozy, and I'll get you some tea."
   On either side of the main gate, the fence terminated in a small stone tower with narrow diamond-paned windows set deeply into its walls. The Constable entered one of these from his side of the fence and then opened a heavy wooden door with huge wrought-iron hinges, letting Nell and Harv in from their side. The tiny octagonal room was cluttered with fine furniture made of dark wood, a shelf of old books, and a small cast-iron stove with a red enamel kettle on top, pocked like an asteroid from ancient impacts, piping out a tenuous column of steam. The Constable directed them into a pair of wooden chairs. Trying to scoot them back from the table, they discovered that each was ten times the weight of any other chair they'd seen, being made of actual wood, and thick pieces of it too.
   They were not especially comfortable, but Nell liked sitting in hers nevertheless, as something about its size and weight gave her a feeling of security. The windows on the Dovetail side of the gatehouse were larger, and she could see the two corgi dogs outside, peering in through the lead latticework, flabbergasted that they had, through some enormous lacuna in procedure, been left on the outside, wagging their tails somewhat uncertainly, as if, in a world that allowed such mistakes, nothing could be counted on.
   The Constable found a wooden tray and carried it about the room, cautiously assembling a collection of cups, saucers, spoons, tongs, and other tea-related armaments. When all the necessary tools were properly laid out, he manufactured the beverage, hewing closely to the ancient procedure, and set it before them.
   Resting on a counter by the window was an outlandishly shaped black object that Nell recognized as a telephone, only because she had seen them on the old passives that her mother liked to watch– where they seemed to take on a talismanic significance out of proportion to what they actually did. The Constable picked up a piece of paper on which many names and strings and digits had been hand-written. He turned his back to the nearest window, then leaned backward over the counter so as to bring most of him closer to its illumination. He tilted the paper into the light and then adjusted the elevation of his own chin through a rather sweeping arc, converging on a position that placed the lenses of his reading spectacles between pupil and page. Having maneuvered all of these elements into the optimal geometry, he let out a little sigh, as though the arrangement suited him, and peered up over his glasses at Nell and Harv for a moment, as if to suggest that they could learn some valuable tricks by keeping a sharp eye on him. Nell watched him, fascinated not least because she rarely saw people in spectacles.
   The Constable returned his attention to the piece of paper and scanned it with a furrowed brow for a few minutes before suddenly calling out a series of several numbers, which sounded random to his visitors but seemed both deeply significant and perfectly obvious to the Constable.
   The black telephone sported a metal disk with finger-size holes bored around its edge. The Constable hooked the phone's handset over his epaulet and then began to insert his finger into various of these holes, using them to torque the disk around against the countervailing force of a spring. A brief but exceedingly cheerful conversation ensued. Then he hung up the telephone and clasped his hands over his belly, as if he had accomplished his assigned tasks so completely that said extremities were now superfluous decorations.
   "It'll be a minute," he said. "Please take your time, and don't scald yourselves on that tea. Care for some shortbread?"
   Nell was not familiar with this delight. "No thank you, sir," she said, but Harv, ever pragmatic, allowed as he might enjoy some.
   Suddenly the Constable's hands found a new reason for existence and began to busy themselves exploring the darker corners of old wooden cupboards here and there around the little room. "By the way," he said absent-mindedly, as he pursued this quest, "if you had in mind actually passing through the gate, that is to say, if you wanted to visit Dovetail, as you would be abundantly welcome to do, then you should know a few things about our rules. He stood up and turned toward them, displaying a tin box labeled SHORTBREAD.
   "To be specific, the young gentleman's chocky sticks and switchblade will have to come out of his trousers and lodge here, in the loving care of me and my colleagues, and I will have to have a good long look at that monstrous chunk of rod logic, batteries, sensor arrays, and what-haveyou that the young lady is carrying in her little knapsack, concealed, unless I am mistaken, in the guise of a book. Hmmm?" And the Constable turned toward them with his eyebrows raised very high on his forehead, shaking the plaid box.
   Constable Moore, as he introduced himself, examined Harv's weapons with more care than really seemed warranted, as if they were relics freshly exhumed from a pyramid. He took care to compliment Harv on their presumed effectiveness, and to meditate aloud on the grave foolishness of anyone's messing about with a young fellow like Harv. The weapons went into one of the cupboards, which Constable Moore locked by talking to it. "And now the book, young lady," he said to Nell, pleasantly enough.
   She didn't want to let the Primer out of her hands, but she remembered the kids at the playroom who had tried to take it from her and been shocked, or something, for their trouble. So she handed it over. Constable Moore took it very carefully in both hands, and a tiny little moan of appreciation escaped his lips. "I should inform you that sometimes it does rather nasty things to people who, as it supposes, are trying to steal it from me," Nell said, then bit her lip, hoping she hadn't implied that Constable Moore was a thief.
   "Young lady, I should be crestfallen if it didn't."
   After Constable Moore had turned the book over in his hands a few times, complimenting Nell on the binding, the gold script, the feel of the paper, be set it down gingerly on the table, first rubbing his hand over the wood to ensure no tea or sugar had earlier been spilled there. He wandered away from the table and seemed to stumble at random upon an oak-and-brass copier that sat in one of the obtuse corners of the octagonal room. He happened upon a few pages in its output tray and went through them for a bit, from time to time chuckling ruefully. At one point he looked up at Nell and shook his head wordlessly before finally saying, "Do you have any idea . . ." but then he just chuckled again, shook his head, and went back to the papers.
   "Right," he finally said, "right." He fed the papers back into the copier and told it to destroy them. He thrust his fists into his trouser pockets and walked up and down the length of the room twice, then sat down again, looking not at Nell and Harv and not at the book, but somewhere off into the distance. "Right," he said. "I will not confiscate the book during your stay in Dovetail, if you follow certain conditions. First of all, you will not under any circumstances make use of a matter compiler. Secondly, the book is for your use, and your use only. Third, you will not copy or reproduce any of the information contained in the book. Fourth, you will not show the book to anyone here or make anyone aware of its existence. Violation of any of these conditions will lead to your immediate expulsion from Dovetail and the confiscation and probable destruction of the book. Do I make myself clear?"
   "Perfectly clear, sir," Nell said. Outside, they heard the thrudalump thrudalump of an approaching horse.

A new friend;
Nell sees a real horse;
a ride through Dovetail;
Nell and Harv are separated.

   The person on the horse was not Brad, it was a woman Nell and Harv didn't know. She had straight reddish-blond hair, pale skin with thousands of freckles, and carrot-colored eyebrows and eyelashes that were almost invisible except when the sun grazed her face. "I'm a friend of Brad's," she said. "He's at work. Does he know you?"
   Nell was about to pipe up, but Harv shushed her with a hand on her arm and gave the woman a somewhat more abridged version than Nell might have provided. He mentioned that Brad had been "a friend of" their mother's for a while, that he had always treated them kindly and had actually taken them to the NAC to see the horses. Not far into the story, the blank expression on the woman's face was replaced by one that was somewhat more guarded, and she stopped listening. "I think Brad told me about you once," she finally said when Harv had wandered into a blind alley. "I know he remembers you. So what is it that you would like to happen now?"
   This was a poser. Nell and Harv had settled into a habit of concentrating very strongly on what they would like not to happen. They were baffled by options, which to them seemed like dilemmas. Harv left off clutching Nell's arm and took her hand instead. Neither of them said anything.
   "Perhaps," Constable Moore finally said, after the woman had turned to him for a cue, "it would be useful for the two of you to set awhile in some safe, quiet place and gather your thoughts."
   "That would do nicely, thank you," Nell said.
   "Dovetail contains many public parks and gardens . .
   "Forget it," the woman said, knowing her cue when she heard it. "I'll take them back to the Milihouse until Brad gets home. Then," she said significantly to the Constable, "we'll figure something out."
   The woman stepped out of the gatehouse briskly, not looking back at Nell and Harv. She was tall and wore a pair of loose khaki trousers, much worn at the knees but hardly at all in the seat, and splotched here and there with old unidentifiable stains. Above that she wore a very loose Irish fisherman's sweater, sleeves rolled up and safety-pinned to form a dense woolen torus orbiting each of her freckled forearms, the motif echoed by a whorl of cheap silver bangles on each wrist. She was muttering something in the direction of her horse, an Appaloosa mare who had already swung her neck down and begun to nuzzle at the disappointingly close-cropped grass inside the fence, looking for a blade or two that had not been marked by the assiduous corgis. When she stopped to stroke the mare's neck, Nell and Harv caught up with her and learned that she was simply giving a simplified account of what had just happened in the gatehouse, and what was going to happen now, all delivered rather absent-mindedly, just in case the mare might want to know.
   For a moment Nell thought that the mare might actually be a chevaline dressed up in a fake horse skin, but then it ejected a stream of urine the dimensions of a fencepost, glittering like a light saber in the morning sun and clad in a torn cloak of steam, and Nell smelled it and knew the horse was real. The woman did not mount the horse, which she had apparently ridden bareback, but took its reins as gently as if they were cobwebs and led the horse on. Nell and Harv followed, a few paces behind, and the woman walked across the green for some time, apparently organizing things in her mind, before finally tucking her hair behind her ear on one side and turning toward them. "Did Constable Moore talk to you about rules at all?"
   "What rules?" Harv blurted before Nell could get into it in a level of detail that might have cast a negative light on them. Nell marveled for the hundredth time at her brother's multifarious trickiness, which would have done Peter himself proud.
   "We make things," the woman said, as if this provided a nearly perfect and sufficient explanation of the phyle called Dovetail.
   "Brad makes horseshoes. But Brad's the exception because mostly he provides services relating to horses. Doesn't he, Eggshell?" the woman added for the mare's benefit. "That's why he had to live down in the L.T. for a while, because there was disagreement as to whether grooms, butlers, and other service providers fit in with Dovetail's charter. But we had a vote and decided to let them in. This is boring you, isn't it? My name's Rita, and I make paper."
   "You mean, in the M.C.?"
   This seemed like an obvious question to Nell, but Rita was surprised to hear it and eventually laughed it off. "I'll show you later. But what I was getting at is that, unlike where you've been living, everything here at Dovetail was made by hand. We have a few matter compilers here. But if we want a chair, say, one of our craftsmen will put it together out of wood, just like in ancient times."
   "Why don't you just compile it?" Harv said. "The M.C. can make wood."
   "It can make fake wood," Rita said, "but some people don't like fake things."
   "Why don't you like fake things?" Nell asked.
   Rita smiled at her. "It's not just us. It's them," she said, pointing up the mountain toward the belt of high trees that separated Dovetail from New Atlantis territory.
   Light dawned on Harv's face. "The Vickys buy stuff from you!" he said.
   Rita looked a little surprised, as if she'd never heard them called Vickys before. "Anyway, what was I getting at? Oh, yeah, the point is that everything here is unique, so you have to be careful with it."
   Nell had a rough idea of what unique was, but Harv didn't, and so Rita explained it for a while as they walked through Dovetail. At some length it dawned on both Nell and Harv that Rita was actually trying to tell them, in the most bewilderingly circumspect way imaginable, that she didn't want them -to run around and break stuff. This approach to child behavior modification was so at odds with everything they knew that, in spite of Rita's efforts to be pleasant, the conversation was blighted by confusion on the children's part and frustration on hers. From time to time her freckles vanished as her face turned red.
   Where Dovetail had streets, they were paved with little blocks of stone laid close together. The vehicles were horses, chevalines, and velocipedes with fat knobby tires. Except for one spot where a number of buildings clustered together around a central green, houses were widely spaced and tended to be very small or very large. All of them seemed to have nice gardens though, and from time to time Nell would dart off the road to smell a flower. At first Rita would watch her nervously, telling her not to pick any of the flowers as they belonged to other people.
   At the end of a road was a wooden gate with a laughably primitive latch consisting of a sliding plank, glossy with use. Past the gate, the road became a very rough mosaic of flagstones with grass growing between them. It wound between undulating pastures where horses and the occasional dairy cow grazed and eventually terminated at a great three-story stone building perched on the bank of a river that ran down the mountain from the New Atlantis Clave.
   A giant wheel grew out of the side of the building and spun slowly as the river pushed on it. A man stood outside before a large chopping-block, using a hatchet with an exceptionally wide blade to split thin wedges of red wood from a log. These were piled into a wicker basket that was hauled up on a rope by a man who stood on the roof, replacing some of the old gray shingles with these new red ones.
   Harv was paralyzed with wonder at this exhibition and stopped walking. Nell had seen much the same sort of process at work in the pages of her Primer. She followed Rita over to a long low building where the horses lived.
   Most of the people did not live in the Millhouse proper but in a couple of long outbuildings, two stories each, with workshops below and living quarters above. Nell was a little surprised to see that Rita did not actually live with Brad. Her apartment and her shop were each twice the size of Nell's old flat and filled with fine things of heavy wood, metal, cotton, linen, and porcelain that, as Nell was beginning to understand, had all been made by human hands, probably right here in Dovetail.
   Rita's shop had great kettles where she would brew thick fibrous stew. She spread the stew thinly over screens to draw out the water and flattened it with a great hand-cranked press to make paper, thick and roughedged and subtly colored from the thousands of tiny fibers wending through it. When she had a stack of paper made, she would take it next door to a shop with a sharp oily smell, where a bearded man with a smudged apron would run it through another big hand-cranked machine. When it came out of this machine, it had letters on the top, giving the name and address of a lady in New Atlantis.
   Since Nell had been decorous so far and not tried to stick her fingers into the machinery and not driven anyone to distraction with her questions, Rita gave her leave to visit some of the other shops, as long as she asked permission at each one. Nell spent most of the day making friends with various shopowners: a glassblower, a jeweler, a cabinetmaker, a weaver, even a. toymaker who gave her a tiny wooden doll in a calico dress.
   Harv spent a while bothering the men who were putting shingles on the roof, then wandered about in the fields for most of the day, kicking small rocks from place to place, generally scoping out the boundaries and general condition of the community centered on the Millhouse. Nell checked in on him from time to time. At first he looked tense and skeptical, then he relaxed and enjoyed it, and finally, late in the afternoon, he became surly and perched himself on a boulder above the running stream, tossing pebbles into it, chewing his thumbnail, and thinking.
   Brad came home early, riding a bay stallion straight down the mountain from the New Atlantis Clave, angling through the green belt and piercing the dog pod grid with scant consequences as the authorities knew him. Harv approached him with a formal mien, harrumphing phlegm out of the way as he prepared to offer up an explanation and a plea. But Brad's eyes merely glanced over Harv, settled on Nell, appraised her for a moment, then looked away shyly. The verdict was that they could stay the night, but all else depended on legal niceties that were beyond his powers.
   "Have you done anything the Shanghai Police might find interesting?" Brad asked Harv gravely. Harv said no, a simple no without the usual technicalities, provisos, and subclauses.
   Nell wanted to tell Brad everything. But she had been noticing how, in the Primer, whenever someone asked Peter Rabbit a direct question of any kind, he always lied.
   "To look at our green fields and big houses, you might think we're on Atlantis turf here," Brad said, "but we're under Shanghai jurisdiction just like the rest of the Leased Territories. Now usually the Shanghai Police don't come around, because we are peaceable folk and because we have made certain arrangements with them. But if it were known that we were harboring runaway gang members-"
   "'Nuff said," Harv blurted. It was clear that he had already worked all of this out in his head as he sat on the riverbank and was only waiting for the adults to catch up with his logic. Before Nell understood what was going on, he came up to her and gave her a hug and a kiss on the lips. Then he turned away from her and began running across a green field, down toward the ocean. Nell ran after him, but she could not keep up, and finally she fell down in a stand of bluebells and watched Harv dissolve into a curtain of tears. When she could no longer see him, she curled up sobbing, and in time Rita came and gathered her up in her strong arms and carried her slowly back across the field to the Millhouse where the steady wheel rolled.

Orphans of the Han are exposed to the benefits of modern educational technology;
Judge Fang reflects on the fundamental precepts of Confucianism.

   The orphanage ships had built-in matter compilers, but they could not, of course, be hooked up to Sources. Instead they drew their supplies of matter from cubical containers, rather like tanks of atoms arranged very precisely. These containers could be loaded on board with cranes and hooked up to the matter compilers in the same way that Feed lines would be if they resided on shore. The ships put in to Shanghai frequently, offloaded empty containers, and took new ones on board-their hungry populations were fed almost exclusively on synthetic rice produced by the matter compilers.
   There were seven ships now. The first five had been named after the Master's Five Virtues, and after that they had taken to naming them after major Confucian philosophers. Judge Fang flew out to the one named (as best it could be translated into English) Generosity of Soul, personally carrying the M.C. program in the sleeve of his garment. This was the very ship he had visited on the eventful night of his boat ride with Dr. X, and ever since then he had somehow felt closer to these fifty thousand little mice than any of the other quarter-million in the other vessels.
   The program was written to work in a bulk compiler, extruding dozens of Primers each cycle. When the first batch was finished, Judge Fang plucked out one of the new volumes, inspected its cover, which had the appearance of marbled jade, flipped through the pages admiring the illustrations, and cast a critical eye over the calligraphy.
   Then he carried it down a corridor and into a playroom where a few hundred little mice were running around, blowing off steam. He caught the eye of one girl and beckoned her over. She came, reluctantly, chivvied along by an energetic teacher who alternated between smiling to the girl and bowing to Judge Fang.
   He squatted so that he could look her in the eye and handed her the book. She was much more interested in the book than in Judge Fang, but she had been taught the proper formalities and bowed and thanked him. Then she opened it up. Her eyes got wide. The book began to talk to her. To Judge Fang the voice sounded a bit dull, the rhythm of the speech not exactly right. But the girl didn't care. The girl was hooked.
   Judge Fang stood up to find himself surrounded by a hundred little girls, all facing toward the little jade book, standing on tiptoes, mouths open.
   Finally he had been able to do something unambiguously good with his position. In the Coastal Republic it wouldn't have been possible; in the Middle Kingdom, which hewed to the words and spirit of the Master, it was simply part of his duties.
   He turned and left the room; none of the girls noticed, which was just as well, as they might have seen a quiver in his lip and a tear in his eye. As he made his way through the corridors toward the upper deck where his airship awaited him, he reviewed for the thousandth time the Great Learning, the kernel of the Master's thought:

   The ancients who wished to demonstrate illustrious virtue throughout the kingdom, first ordered well their own states. Wishing to order well their states, they first regulated their families. Wishing to regulate their families, they first cultivated their persons. Wishing to cultivate their persons, they first rectified their hearts. Wishing to rectify their hearts, they first sought to be sincere in their thoughts. Wishing to be sincere in their thoughts, they first extended to the utmost their knowledge. Such extention of knowledge lay in the investigation of things. . . . From the Son of Heaven down to the mass of the people, all must consider the cultivation of the person the root of everything besides.

Hackworth receives an ambiguous message;
a ride through Vancouver;
tattooed woman and totem poles;
he enters the hidden world of the Drummers.

   Kidnapper had a glove compartment of sorts hollowed into the back of its neck. As he was riding across the causeway, Hackworth opened it up because he wanted to see whether it was large enough to contain his bowler without folding, bending, spindling, or mutilating the exquisite hyperboloid of its brim. The answer was that it was just a wee bit too small. But Dr. X had been thoughtful enough to toss in some snacks: a handful of fortune cookies, three of them to be exact. They looked good. Hackworth picked one and snapped it open. The strip of paper bore some kind of gaudily animated geometric pattern, long strands of something tumbling end over end and bouncing against one another. It looked vaguely familiar: These were supposed to be yarrow stalks, which Taoists used for divination. But instead of forming a hexagram of the I Ching, they began falling into place, one after another, in such a way as to form letters in the pseudo-Chinese typeface used in the logos of onestar Chinese restaurants. When the last one had bounced into place, the fortune read:
   SEEK THE ALCHEMIST.
   "Thanks ever so much, Dr. X," Hackworth snapped. He continued to watch the fortune for a while, hoping that it would turn into something a little more informative, but it was dead, just a piece of litter now and forever.
   Kidnapper slowed to a canter and cruised purposefully through the university, then turned north and crossed a bridge into the peninsula that contained most of Vancouver proper. The chevaline did a perfectly good job of not stepping on anyone, and Hackworth soon learned to stop worrying and trust its instincts. This left his eyes free to wander through the sights of Vancouver, which had not been advisable when he'd come this way on the velocipede. He had not noticed, before, the sheer maddening profusion of the place, each person seemingly an ethnic group of one, each with his or her own costume, dialect, sect, and pedigree. It was as if, sooner or later, every part of the world became India and thus ceased to function in any sense meaningful to straight-arrow Cartesian rationalists like John Percival Hackworth, his family and friends.
   Shortly after passing the Aerodrome they reached Stanley Park, an unruined peninsula several miles around, which had, thank God, been forked over to Protocol and kept much as it had always been, with the same Douglas firs and mossy red cedars that had been growing there forever. Hackworth had been here a few times and had a vague idea of how it was laid out: restaurants here and there, paths along the beach, a zoo and aquarium, public playing fields.
   Kidnapper took him for a nice lope along a pebbly beach and then somewhat abruptly bounded up a slope, for that purpose switching into a gait never used by any real horse. Its legs shortened, and it clawed its way surefootedly up the forty-five-degree surface like a mountain lion. An alarmingly quick zigzag through a stand of firs brought them into an open grassy area. Then Kidnapper slowed to a mere walk, as if it were a real horse that had to be cooled down gradually, and took Hackworth into a semicircle of old totem poles.
   A young woman was here, standing before one of the poles with her hands clasped behind her back, which would have given her an endearingly prim appearance if she had not been stark naked and covered with constantly shifting mediatronic tattoos. Even her hair, which fell loosely to her waist, had been infiltrated with some kind of nanosite so that each strand's color fluctuated from place to place according to a scheme not just now apparent to Hackworth. She was looking intently at the carving of a totem pole and apparently not for the first time, for her tattoos were done in much the same style.
   The woman was looking at a totem pole dominated by a representation of an orca, head down and tail up, dorsal fin projecting horizontally out of the pole and evidently carved from a separate piece of wood. The orca's blowhole had a human face carved around it. The face's mouth and the orca's blowhole were the same thing. This promiscuous denial of boundaries was everywhere on the totem poles and on the woman's tattoo: The staring eyes of a bear were also the faces of some other sort of creature. The woman's navel was also the mouth of a human face, much like the orca's blowhole, and sometimes that face became the mouth of a larger face whose eyes were her nipples and whose goatee was her pubic hair. But as soon as he'd made out one pattern, it would change into something else, because unlike the totem poles the tattoo was dynamic and played with images in time the same way that the totem poles did in space.
   "Hello, John," she said. "It's too bad I loved you because you had to leave."
   Hackworth tried to find her face, which should have been easy, it being the thing in the front of her head; but his eyes kept snagging on all the other little faces that came and went and flowed into one another, time-sharing her eyes, her mouth, even her nostrils. And he was starting to recognize patterns in her hair too, which was more than he could handle. He was pretty sure he had just caught a glimpse of Fiona in there.
   She turned her back on him, her hair spinning out momentarily like a twirling skirt, and for that instant he could see through it and begin to make sense of the image. He was positive that somewhere in there he'd seen Gwen and Fiona walking along a beach.
   He dismounted from Kidnapper and followed her on foot. Kidnapper followed him silently. They walked across the park for half a mile or so, and Hackworth kept his distance because when he got too close to her, the images in her hair bewildered his eyes. She took him to a wild stretch of beach where immense Douglas fir logs lay scattered around. As Hackworth clambered over the logs trying to keep up with the woman, he occasionally caught a handhold that appeared to have been carved by someone long ago.
   The logs were palimpsests. Two of them rose from the water's edge, not quite vertical, stuck like darts into the impermanent sand. Hackworth walked between them, the surf crashing around his knees. He saw weathered intimations of faces and wild beasts living in the wood, ravens, eagles, and wolves tangled into organic skeins. The water was bitterly cold on his legs, and he whooped in a couple of breaths, but the woman kept walking; the water was up past her waist now, and her hair was floating around her so that the translucent images once again became readable. Then she vanished beneath a collapsing wave two meters high.
   The wave knocked Hackworth on his backside and washed him along for a short distance, flailing his arms and legs. When he got his balance back, he sat there for a few moments, letting smaller waves embrace his waist and chest, waiting for the woman to come up for a breath. But she didn't.
   There was something down there. He rolled up onto his feet and tramped straight into the ocean. Just as the waves were coming up into his face, his feet contacted something hard and smooth that gave way beneath him. He was sucked downward as the water plunged into a subterranean void. A hatch slammed shut above his head, and suddenly he was breathing air again. The light was silver.
   He was sitting in water up to his chest, but it rapidly drained away, drawn off by some kind of a pumping system, and then he found himself looking down a long silvery tunnel. The woman was descending it, a stone's throw ahead of him.
   Hackworth had been in a few of these, normally in more industrial settings. The .entrance was dug into the beach, but the rest of it was a floating tunnel, a tube full of air, moored to the bottom. It was a cheap way to make space; the Nipponese used these things as sleeping quarters for foreign guest workers. The walls were made of membranes that drew oxygen from the surrounding seawater and ejected carbon dioxide, so that seen from a fish's point of view, the tunnels steamed like hot pasta on a cold steel plate as they excreted countless microbubbles of polluted CO2. These things extruded themselves into the water like the roots that grew out of improperly stored potatoes, forking from time to time, carrying their own Feeds forward so that they could be extended on command. They were empty and collapsed to begin with, and when they knew they were finished, they inflated themselves with scavenged oxygen and grew rigid.
   Now that the cold water had drained out of Hackworth's ears, he could hear a deep drumming that he'd mistaken at first for the crash of the surf overhead; but this had a steadier beat that invited him forward.
   Down the tunnel Hackworth walked, following the woman, and as he went the light grew dimmer and the tunnel narrower. He suspected that the walls of the tunnel had mediatronic properties because he kept seeing things from the corners of his eyes that were no longer there when he snapped his head around. He'd assumed that he would soon reach a chamber, a swelling in the tunnel where this woman's friends would sit pounding on enormous kettledrums, but before reaching any such thing, he came to a place where the tunnel had gone completely dark, and he had to crouch to his knees and feel his way along. When he touched the taut but yielding wall of the tunnel with his knees and his hands, he felt the drumming in his bones and realized that audio was built into the stuff; the drumming could be anywhere, or it could be recorded. Or maybe it was a lot simpler than that, maybe the tubes happened to transmit sound well, and somewhere else in the tunnel system, people were just pounding on the walls.
   His head contacted the tunnel. He dropped to his belly and began to crawl along. Swarms of tiny sparkling lights kept lunging past his face, and he realized that they were his hands; light-emitting nanosites had become embedded in his flesh. They must have been put there by Dr. X's physician; but they had not come alight until he entered these tunnels.
   If the woman hadn't already come through here, he would have given up at this point, thinking it a dead end, a busted tunnel that had failed to expand. The drumming was now coming into his ears and bones from all sides. He could not see a thing, though from time to time he thought he caught a glimmer of flickering yellow light.
   The tunnel undulated slightly in the deep currents, rivers of bitterly cold water swirling along the floor of the straits. Whenever he allowed his mind to wander, reminding himself that he was deep below the surface of the ocean here, he had to stop and force himself not to panic. Concentrate on the nice airfilled tunnel, not what surrounds it.
   There was definitely light ahead. He found himself in a swelling in the tube, just wide enough to sit up in, and rolled over on his back for a moment to rest. A lamp was burning in here, a bowl filled with some kind of melting hydrocarbon that left no ash or smoke. The mediatronic walls had animated scenes on them, barely visible in the flickering light: animals dancing in the forest.
   He followed the tubes for some period of time that was quite long but difficult to estimate. From time to time he would come to a chamber with a lamp and more paintings. As he crawled through the long perfectly black tunnels, he began to experience visual and auditory hallucinations, vague at first, just random noise knocking around in his neural net, but increasingly well-resolved and realistic.
   The hallucinations had a dreamlike quality in which things he'd actually seen recently, such as Gwen and Fiona, Dr. X, the airship, the boys playing fieldball, were mingled with images so alien he scarcely recognized them. It troubled him that his mind was taking something as dear to him as Fiona and blending her into a farrago of alien sights and ideas.
   He could see the nanosites in his skin. But for all he knew, he might have a million more living in his brain now, piggybacking on axons and dendrites, sending data to one another in flashes of light. A second brain intermingled with his own.
   There was no reason that information could not be relayed from one such nanosite to another, through his body and outward to the nanosites in his skin, and from there across the darkness to others. What would happen when he came close to other people with similar infestations?
   When he finally reached the grand chamber, he could not really tell whether it was reality or another machine-made hallucination. It was shaped like a flattened ice-cream cone, a domed ceiling above a gently sloping conical floor. The ceiling was a vast mediatron, and the floor served as an amphitheatre. Hackworth spilled into the room abruptly as the drumming reached a crescendo. The floor was slick, and he slid down helplessly until he reached the central pit. He rolled onto his back and saw a fiery scene sprawling across the dome above, and in his peripheral vision, covering the floor of the theatre, a thousand living constellations pounding on the floor with their hands.

   Bred and born in the Foreign regions beyond, there is much in the administration of the Celestial Dynasty that is not perfectly comprehensible to the Barbarians, and they are continually putting forced constructions on things of which it is difficult to explain to them the real nature.

-Qiying

PART THE SECOND

Hackworth has a singular experience;
the rite of the Drummers.

   In a cavernous dark space lit by many small fires, a young woman, probably not much more than a girl, stands on a pedestal naked except for an elaborate paint job, or maybe it is a total-body mediatronic tattoo. A crown of leafy branches is twined around her head, and she has thick voluminous hair spreading to her knees. She is clutching a bouquet of roses to her breast, the thorns indenting her flesh. Many people, perhaps thousands, surround her, drumming madly, sometimes chanting and singing.
   Into the space between the girl and the watchers, a couple of dozen men are introduced. Some come running out of their own accord, some look as if they've been pushed, some wander in as if they've been walking down the street (stark naked) and gone in the wrong door. Some are Asian, some European, some African. Some have to be prodded by frenzied celebrants who charge out of the crowd and shove them here and there. Eventually they form a circle around the girl, and then the drumming builds to a deafening crescendo, speeds up until it devolves into a rhythmless hailstorm, and then suddenly, instantly, stops.
   Someone wails something in a high, purposeful, ululating voice. Hackworth can't understand what this person is saying. Then there is a single massive drumbeat. More wailing. Another drumbeat. Again. The third drumbeat establishes a ponderous rhythm. This goes on for a while, the beat slowly speeding up. After a certain point the wailer no longer stops between beats, he begins to weave his rap through the bars in a sort of counterpoint. The ring of men standing around the girl begin to dance in a very simple shuffling motion, one way and then the other way around the girl. Hackworth notes that all of them have erections, sheathed in brightly colored mediatronic condoms-rubbers that actually make their own light so that the bobbing boners look like so many cyalume wands dancing through the air.
   The drumbeats and the dancing speed up very slowly. The erections tell Hackworth why this is taking so long: He's watching foreplay here. After half an hour or so, the excitement, phallic and otherwise, is unbearable. The beat is now a notch faster than your basic pulse rate, lots of other beats and counterrhythms woven through it, and the chanting of the individual singer has become a wild semi-organized choral phenomenon. At some point, after seemingly nothing has happened for half an hour, everything happens at once: The drumming and chanting explode to a new, impossible level of intensity. The dancers reach down, grip the flaccid reservoir tips of their radioactive condoms, stretch them out.
   Someone runs out with a knife and cuts off the tips of the condoms in a freakish parody of circumcision, exposing the glans of each man's penis. The girl moves for the first time, tossing her bouquet up in the air like a bride making her move toward the limo; the roses fountain, spinning end over end, and come down individually among the dancers, who snatch them out of the air, scrabble for them on the floor, whatever. The girl faints, or something, falling backward, arms out, and is caught by several of the dancers, who hoist her body up over their heads and parade her around the circle for a while, like a crucified body just crowbarred off the tree. She ends up flat on her back on the ground, and one of the dancers is between her legs, and in a very few thrusts he has finished. A couple of others grab his arms and yank him out of there before he's even had a chance to tell her he'll still love her in the morning, and another one is in there, and he doesn't take very long either-all this foreplay has got these guys in hair-trigger mode. The dancers manage to rotate through in a few minutes. Hackworth can't see the girl, who's completely hidden, but she's not struggling, as far as he can tell, and they don't seem to be holding her down. Toward the end, smoke or steam or something begins to spiral up from the middle of the orgy. The last participant grimaces even more than the average person who's having an orgasm, and yanks himself back from the woman, grabbing his dick and hopping up and down and hollering in what looks like pain. That's the signal for all of the dancers to jump back away from the woman, who is now kind of hard to make out, just a fuzzy motionless package wrapped in steam.
   Flames erupt from several locations, all over her body, at once, seams of lava splitting open along her veins and the heart itself erupting from her chest like ball lightning. Her body becomes a burning cross spread out on the floor, the bright apex of an inverted cone of turbulent steam and smoke. Hackworth notices that the drumming and chanting have completely stopped. The crowd observes a long moment of silence while the body burns. Then, when the last of the flames have died out, an honor guard of sorts descends from the crowd: four men in black body paint with white skeletons painted on top of that. He notes that the woman was lying on a square sheet of some kind when she burned. Each of the guys grabs a corner of the sheet. Her remains tumble into the center, powdery ash flies, flecks of red-hot coals spark. The skeleton men carry the remains over to a fifty-five-gallon steel drum and dump it in. There is a burst of steam and lots of sizzling noises as the hot coals contact some kind of liquid that was in the drum. One of the skeleton men picks up a long spoon and gives the mix a stir, then dips a cracked and spalled University of Michigan coffee mug into it and takes a long drink.
   The other three skeleton men each drink in their turn. By now, the spectators have formed a long queue. One by one they step forward. The leader of the skeleton men holds the mug for them, gives each one a sip. Then they all wander off, individually or in small, conversing groups. Show's over.

Nell's life at Dovetail;
developments in the Primer;
a trip to the New Atlantis Clave;
she is presented to Miss Matheson;
new lodgings with an "old" acquaintance.

   Nell lived in the Millhouse for several days. They gave her a little bed under the eaves on the top floor, in a cozy place only she was tiny enough to reach. She had her meals with Rita or Brad or one of the other nice people she knew there. During the days she would wander in the meadow or dangle her feet in the river or explore the woods, sometimes going as far as the dog pod grid. She always took the Primer with her. Lately, it had been filled with the doings of Princess Nell and her friends in the city of King Magpie.
   It kept getting more like a ractive and less like a story, and by the end of each chapter she was exhausted from all the cleverness she had expended just to get herself and her friends through another day without falling into the clutches of pirates or of King Magpie himself.
   In time, she and Peter came up with a very tricky plan to sneak into the castle, create a diversion, and seize the magic books that were the source of King Magpie's power. This plan failed the first time, but the next day, Nell turned the page back and tried it again, this time with a few changes. It failed again, but not before Princess Nell and her friends had gotten a little farther into the castle. The sixth or seventh time, the plan worked perfectly-while King Magpie was locked in a battle of riddles with Peter Rabbit (which Peter won), Purple used a magic spell to smash open the door to his secret library, which was filled with books even more magical than the Young Lady's Illustrated Primer. Hidden inside one of those books was a jeweled key. Princess Nell took the key, and Purple made off with several of King Magpie's magic books while she was at it.
   They made a breathtaking escape across a river into the next country, where King Magpie could not chase them, and camped in a nice meadow for a few days, resting. During the daytime, when the others were just stuffed animals, Princess Nell would peruse some of the new magic books that Purple had stolen. When she did, its image in the illustration would zoom toward her until it filled the page, and then the Primer itself would become that magical book until she decided to put it away.
   Nell's favorite book was a magical Atlas which she could use to explore any land, real or imaginary. During the nighttime, Purple spent most of her time reading a very large, crusty, worn, stained, burnt tome entitled PANTECHNICON. This book had a built-in hasp with a padlock. Whenever Purple wasn't using it, she locked it shut. Nell asked to see it a few times, but Purple told her she was too young to know such things as were written in this Book.
   During this time, Duck as usual made herself busy around the camp, tidying up and fixing their meals, doing laundry on the rocks by the river, and mending their clothes that had become ragged during their wanderings. Peter became restless. He was quick with words, but he had not learned the trick of reading, and so the books from King Magpie's library were of no use to him save as nest-lining material. He got into the habit of exploring the surrounding forests, particularly the ones to the north. At first he would be gone for a few hours at a time, but once he stayed away all night and did not come back until the following noon. Then he began to go on trips for several days at a time.
   Peter vanished into the north woods one day, staggering under a heavy pack, and didn't come back at all.

. . .
   Nell was in the meadow one day, gathering flowers, when a fine lady– a Vicky– came riding toward her on a horse. When she drew closer, Nell was surprised to see that the horse was Eggshell and the lady was Rita, all dressed up in a long dress like the Vicky ladies wore, with a riding hat on her head, and riding sidesaddle of all things.
   "You look pretty," Nell said.
   "Thank you, Nell," Rita said. "Would you like to look like this too, for a little while? I have a surprise for you."
   One of the ladies who lived in the Millhouse was a milliner, and she had made Nell a dress, sewing it all together by hand. Rita had brought this dress with her, and she helped Nell change into it, right there in the middle of the meadow. Then she braided Nell's hair and even tucked some tiny wildflowers into it. Finally she helped Nell climb up on top of Eggshell with her and began riding back toward the Millhouse.
   "You will have to leave your book here today," Rita said.
   "Why?"
   "I'm taking you through the grid, into New Atlantis Clave," Rita said. "Constable Moore told me that I should not on any account allow you to carry your book through the grid. He said it would only stir things up. I know you're about to ask me why, Nell, but I don't have an answer."
   Nell ran upstairs, tripping over her long skirts a couple of times, and left the Primer in her little nook. Then she climbed back on Eggshell with Rita. They rode over a little stone bridge above the water-wheel and through the woods, until Nell could hear the faint afflatus of the security aerostats. Eggshell slowed to a walk and pushed gingerly through the field of shiny hovering teardrops. Nell even reached out and touched one, then snapped her hand back, even though it hadn't done anything except push back. The reflection of her face slithered backward across the surface of this pod as they went by.
   They rode across the territory of New Atlantis for some time without seeing anything other than trees, wildflowers, brooks, the occasional squirrel, or deer.
   "Why do the Vickys have such a big clave?" Nell asked.
   "Don't ever call them Vickys," Rita said.
   "Why?"
   "It's a word that people who don't like them use to describe them in kind of a bad, unfriendly way," Rita said.
   "Like a pejorative term?" Nell said.
   Rita laughed, more nervous than amused. "Exactly."
   "Why do the Atlantans have such a big clave?"
   "Well, each phyle has a different way, and some ways are better suited to making money than others, so some have a lot of territory and others don't."
   "What do you mean, a different way?"
   "To make money you have to work hard-to live your life in a certain way. The Atlantans all live that way, it's part of their culture. The Nipponese too. So the Nipponese and the Atlantans have as much money as all the other phyles put together."
   "Why aren't you an Atlantan?"
   "Because I don't want to live that way. All the people in Dovetail like to make beautiful things. To us, the things that the Atlantans do– dressing up in these kinds of clothes, spending years and years in school-are irrelevant. Those pursuits wouldn't help us make beautiful things, you see. I'd rather just wear my blue jeans and make paper."
   "But the M.C. can make paper," Nell said.
   "Not the kind that the Atlantans like."
   "But you make money from your paper only because the Atlantans make money from working hard," Nell said.
   Rita's face turned red and she said nothing for a little while. Then, in a tight voice, she said, "Nell, you should ask your book the meaning of the word discretion."
   They came across a riding-trail dotted with great mounds of horse manure, and began following it uphill. Soon the trail was hemmed in between dry stone walls, which Rita said that one of her friends in Dovetail had made. Forest gave way to pastures, then lawns like jade glaciers, and great houses on hilltops, surrounded by geometric hedges and ramparts of flowers. The trail became a cobblestone road that adopted new lanes from time to time as they rode into town. The mountain kept rising up above them for some distance, and on its green summit, half veiled behind a thin cloud layer, Nell could see Source Victoria.
   From down in the Leased Territories, the New Atlantis Clave had always looked clean and beautiful, and it was certainly those things. But Nell was surprised at how cool the weather was here compared to the L.T. Rita explained that the Atlantans came from northern countries and didn't care for hot weather, so they put their city high up in the air to make it cooler.
   Rita turned down a boulevard with a great flowery park running down the middle. It was lined with red stone row-houses with turrets and gargoyles and beveled glass everywhere. Men in top hats and women in long dresses strolled, pushed perambulators, rode horses or chevalines. Shiny dark green robots, like refrigerators tipped over on their sides, hummed down the streets at a toddler's walking pace, squatting over piles of manure and inhaling them.
   From place to place there was a messenger on a bicycle or an especially fancy personage in a black, full-lane car. Rita stopped Eggshell in front of a house and paid a little boy to hold the reins. From the saddlebags she took a sheaf of new paper, all wrapped up in special wrapping-paper that she'd also made. She carried it up the steps and rang the bell. The house had a round tower on the front, lined with bow windows with stained-glass inserts above them, and through the windows and the lace curtains Nell could see, on different stories, crystal chandeliers and fine plates and dark brown wooden bookcases lined with thousands and thousands of books.
   A parlormaid let Rita in the door. Through the window, Nell could see Rita putting a calling-card on a silver tray held out by the maid-a salver, they called it. The maid carried it back, then emerged a couple of minutes later and directed Rita into the back of the house.
   Rita didn't come back for half an hour. Nell wished she had the Primer to keep her company. She talked to the little boy for a bit; his name was Sam, he lived in the Leased Territories, and he put on a suit and took the bus here every morning so that he could hang around on the street holding people's horses and doing other small errands.
   Nell wondered whether Tequila worked in any of these houses, and whether they might run into her by accident. Her chest always got a tight feeling when she thought of her mother. Rita came out of the house. "Sorry," she said, "I got out as fast as I could, but I had to stay and socialize. Protocol, you know."
   "Explain protocol," Nell said. This was how she always talked to the Primer.
   "At the place we're going, you need to watch your manners. Don't say 'explain this' or 'explain that.'
   "Would it impose on your time unduly to provide me with a concise explanation of the term protocol?" Nell said.
   Again Rita made that nervous laugh and looked at Nell with an expression that looked like poorly concealed alarm. As they rode down the street, Rita talked about protocol for a little bit, but Nell wasn't really listening because she was trying to figure out why it was that, all of a sudden, she was capable of scaring grownups like Rita.
   They rode through the most built-up part of town, where the buildings and gardens and statues were all magnificent, and none of the streets were the same: Some were crescents, some were courts, or circles or ovals, or squares surrounding patches of greenery, and even the long streets turned this way and that. They passed from there into a less built-up area with many parks and playing fields and finally pulled up in front of a fancy building with ornate towers, surrounded by a wrought-iron fence and a hedge. Over the door it said MISS MATHESON'S ACADEMY OF THE THREE GRACES.
   Miss Matheson received them in a cozy little room. She was between eight hundred and nine hundred years of age, Nell estimated, and drank tea from fancy thimble-size cups with pictures painted on them. Nell tried to sit up straight and be attentive, emulating certain proper young girls she had read about in the Primer, but her eye kept wandering to the contents of the bookshelves, the pictures painted on the tea service and the painting on the wall above Miss Matheson's head, which depicted three ladies prancing about in a grove in diaphanous attire.
   "Our rolls are filled, the term has already begun, and you have none of the prerequisites. But you come with compelling recommendations," Miss Matheson said after she had peered lengthily at her small visitor.
   "Pardon me, madam, but I do not understand," Nell said.
   Miss Matheson smiled, her face blooming into a sunburst of radiating wrinkles. "It is not important. Let us only say that we have made room for you. This institution makes it a practice to accept a small number of students who are not New Atlantan subjects. The propagation of Atlantan memes is central to our mission, as a school and as a society. Unlike some phyles, which propagate through conversion or through indiscriminate exploitation of the natural biological capacity that is shared, for better or worse, by all persons, we appeal to the rational faculties. All children are born with rational faculties, which want only development. Our academy has recently welcomed several young ladies of extra-Atlantan extraction, and it is our expectation that all will go on to take the Oath in due time."
   "Pardon me, madam, but which one is Aglaia?" Nell said, looking over Miss Matheson's shoulder at the painting.
   "I beg your pardon?" Miss Matheson said, and initiated the procedure of turning her head around to look, which at her age was a civil-engineering challenge of daunting complexity and duration.
   "As the name of your school is the Three Graces, I have ventured to assume that yonder painting depicts the same subject," Nell said, "since they look more like Graces than Furies or Fates. I wonder if you would be so kind as to inform me which of the ladies represents Aglaia, or brilliance."
   "And the other two are?" Miss Matheson said, speaking out of the side of her mouth as she had almost got herself turned around by this point.
   "Euphrosyne, or joy, and Thalia, or bloom," Nell said.
   "Would you care to venture an opinion?" Miss Matheson said.
   "The one on the right is carrying flowers, so perhaps she is Thalia."
   "I would call that a sound assumption."
   "The one in the middle looks so happy that she must be Euphrosyne, and the one on the left is lit up with rays of sunlight, so perhaps she is Aglaia."
   "Well, as you can see, none of them is wearing a nametag, and so we must satisfy ourselves with conjecture," Miss Matheson said.
   "But I fail to see any gaps in your reasoning. And no, I don't suppose they are Fates or Furies."

. . .
   "It's a boarding school, which means many of the pupils live there. But you won't live there," Rita said, "because it isn't proper." They were riding Eggshell home through the woods.
   "Why isn't it proper?"
   "Because you ran away from home, which raises legal problems."
   "Was it illegal for me to run away?"
   "In some tribes, children are regarded as an economic asset of their parents. So if one phyle shelters runaways from another phyle, it has a possible economic impact which is covered under the CEP." Rita looked back at Nell, appraising her coolly. "You have a sponsor of sorts in New Atlantis. I don't know who. I don't know why. But it seems that this person cannot take the risk of being the target of CEP legal action. Hence arrangements have been made for you to stay in Dovetail for now.
   "Now, we know that some of your mother's boyfriends treated you badly, and so there is sentiment in Dovetail to take you in. But we can't keep you at the Millstone community, because if we got into a fracas with Protocol, it could sour our relations with our New Atlantis clients. So it's been decided that you will stay with the one person in Dovetail who doesn't have any clients here."
   "Who's that?"
   "You've met him," Rita said.
   Constable Moore's house was dimly lit and so full of old stuff that even Nell had to walk sideways in some places. Long strips of yellowed rice paper, splashed with large Chinese characters and pimpled with red chop marks, hung from a molding that ran around the living room a foot or two beneath the ceiling. Nell followed Rita around a corner into an even smaller, darker, and more crowded room, whose main decoration was a large painting of a furious chap with a Fu Manchu mustache, goatee, and tufts of whiskers sprouting in front of his ears and trailing down below his armpits, wearing elaborate armor and chain mail decorated with lion's faces. Nell stepped away from this fierce picture despite herself, tripped over the drone of a large bagpipe splayed across the floor, and crashed into a large beaten-copper bucket of sorts, which made tremendous smashing noises. Blood welled quietly from a smooth cut on the ball of her thumb, and she realized that the bucket was being used as a repository for a collection of old rusty swords of various descriptions.
   "You all right?" Rita said. She was backlit with blue light coming in through a pair of glass doors. Nell put her thumb in her mouth and picked herself up.
   The glass doors looked out on Constable Moore's garden, a riot of geraniums, foxtails, wisteria, and corgi droppings. On the other side of a small khaki-colored pool rose a small garden house. Like this one, it was built from blocks of reddish-brown stone and roofed with rough-edged slabs of green-gray slate. Constable Moore himself could be descried behind a screen of somewhat leggy rhododendrons, hard at work with a shovel, continually harassed by the ankle-biting corgis.
   He was not wearing a shirt, but he was wearing a skirt: a red plaid number. Nell hardly noticed this incongruity because the corgis heard Rita turning the latch on the glass doors and rushed toward them yapping, and this drew out the Constable himself, who approached them squinting through the dark glass, and once he was out from behind the rhodies, Nell could see that there was something amiss with the flesh of his body. Overall he was well proportioned, muscular, rather thick around the middle, and evidently in decent health. But his skin came in two colors, which gave him something of a marbled look. It was as though worms had eaten through his torso, carving out a network of internal passageways that had later been backfilled with something that didn't quite match.
   Before she could get a better look, he plucked a shirt from the back of a lawn chair and shrugged it on. Then he subjected the corgis to a minute or so of close-order drill, using a patch of moss-covered flagstones as parade ground, and stringently criticizing their performance in tones loud enough to penetrate through the glass doors. The corgis pretended to listen attentively. At the end of the performance, Constable Moore burst in through the glass doors. "I shall be with you momentarily," he said, and disappeared into a back room for a quarter of an hour. When he returned, he was dressed in a tweed suit and a rough-hewn sweater over a very fine-looking white shirt. The last article looked too thin to prevent the others from being intolerably scratchy, but Constable Moore had reached the age when men can subject their bodies to the worst irritations-whiskey, cigars, woolen clothes, bagpipes-without feeling a thing or, at least, without letting on.
   "Sorry to have burst in on you," Rita said, "but there was no answer when we rang the bell."
   "I don't care," said Constable Moore, not entirely convincingly. "There's a reason why I don't live up there." He pointed upward, vaguely in the direction of the New Atlantis Clave.
   "Just trying to trace the root system of some infernal vine back to its source. I'm afraid it might be kudzu." The Constable narrowed his eyes as he spoke this word, and Nell, not knowing what kudzu was, supposed that if kudzu were something that could be attacked with a sword, burned, throttled, bludgeoned, or blown up, it would not stand a chance for long in Constable Moore's garden-once, that is, he got round to it.
   "Can I interest you in tea? Or"-this was directed to Nell-"some hot chocolate?"
   "Sounds lovely, but I can't stay," Rita said.
   "Then let me see you to the door," Constable Moore said, standing up. Rita looked a little startled by this abruptness, but in another moment she was gone, riding Eggshell back toward the Millhouse.
   "Nice lady," Constable Moore muttered out in the kitchen.
   "Fine of her to do what she did for you. Really a very decent lady. Perhaps not the sort who deals very well with children. Especially peculiar children."
   "Am I to live here now, sir?" Nell said.
   "Out in the garden house," he said, coming into the room with a steaming tray and nodding through the glass windows and across the garden. "Vacant for some time. Cramped for an adult, perfect for a child. The decor of this house," he said, glancing around the room, "is not really suitable for a young one."
   "Who is the scary man?" Nell said, pointing to the big painting.
   "Guan Di. Emperor Guan. Formerly a soldier named Guan Yu. He was never really an emperor, but later on he became the Chinese god of war, and they gave him the title just to be respectful. Terribly respectful, the Chinese-it's their best and worst feature."
   "How could a man become a god?" Nell asked.
   "By living in an extremely pragmatic society," said Constable Moore after some thought, and provided no further explanation. "Do you have the book, by the way?"
   "Yes, sir."
   "You didn't take it through the border?"
   "No, sir, as per your instructions."
   "That's good. The ability to follow orders is a useful thing, especially if you're living with a chap who's used to giving them." Seeing that Nell had gotten a terribly serious look on her face, the Constable huffed and looked exasperated. "It doesn't really matter, mind you! You have friends in high places. It's just that we are trying to be discreet." Constable Moore brought Nell her cup of cocoa. She needed one hand for the saucer and another for the cup, so she took her hand out of her mouth.
   "What did you do to your hand?"
   "Cut it, sir."
   "Let me see that." The Constable took her hand in his and peeled the thumb away from the palm. "Quite a nice little slash. Looks recent."
   "I got it from your swords."
   "Ah, yes. Swords are that way," the Constable said absently, then screwed up his brow and turned back to Nell. "You did not cry," he said, "and you did not complain."
   "Did you take all of those swords away from burglars?" Nell said.
   "No-that would have been relatively easy," Constable Moore said. He looked at her for a while, pondering. "Nell, you and I will do just fine together," he said. "Let me get my first-aid kit."

Carl Hollywood's activities at the Parnasse;
conversation over a milk shake;
explanation of the media system;
Miranda perceives the futility of her quest.

   Miranda found Carl Hollywood sitting fifth row center in the Parnasse, holding a big sheet of smart foolscap on which he had scrawled blocking diagrams for their next live production. He apparently had it crosslinked to a copy of the script, because as she sidestepped her way down the narrow aisle, she could hear voices rather mechanically reading lines, and as she came closer she could see the little X's and 0's representing the actors moving around on the diagram of the stage that Carl had sketched out.
   The diagram also included some little arrows along the periphery, all aimed inward. Miranda realized that the arrows must be the little spotlights mounted to the fronts of the balconies, and that Carl Hollywood was programming them.
   She rolled her head back and forth, trying to loosen up her neck, and looked up at the ceiling. The angels or Muses or whatever they were, were all parading around up there, accompanied by a few cherubs. Miranda thought of Nell. She always thought of Nell.
   The script came to the end of its scene, and Carl paused it.
   "You had a question?" he asked, a bit absently.
   "I've been watching you work from my box."
   "Naughty girl. Should be making money for us."
   "Where'd you learn to do that stuff?"
   "What-directing plays?"
   "No. The technical stuff-programming the lights and so on."
   Carl turned around to look at her. "This may be at odds with your notion of how people learn things," he said, "but I had to teach myself everything. Hardly anyone does live theatre anymore, so we have to develop our own technology. I invented all of the software I was just using."
   "Did you invent the little spotlights?"
   "No. I'm not as good at the nanostuff. A friend of mine in London came up with those. We swap stuff all the time-my mediaware for his matterware."
   "Well, I want to buy you dinner somewhere," Miranda said, "and I want you to explain to me how it all works."
   "That's a rather tall order," Carl said calmly, "but I accept the invitation.

. . .
   "Okay, do you want a complete grounding in the whole thing, starting with Turing machines, or what?" Carl said pleasantly– humoring her. Miranda decided not to become indignant. They were in a red vinyl booth at a restaurant near the Bund that supposedly simulated an American diner on the eve of the Kennedy assassination. Chinese hipsters-classic Coastal Republic types in their expensive haircuts and sharp suits-were lined up on the rotating stools along the lunch counter, sucking on their root beer floats and flashing wicked grins at any young women who came in.
   "I guess so," Miranda said.
   Carl Hollywood laughed and shook his head. "I was being facetious. You need to tell me exactly what you want to know. Why are you suddenly taking up an interest in this stuff? Aren't you happy just making a good living from it?"
   Miranda sat very still for a moment, hypnotized by the colorful flashing lights on a vintage jukebox.
   "This is related to Princess Nell, isn't it?" Carl said.
   "Is it that obvious?"
   "Yeah. Now, what do you want?"
   "I want to know who she is," Miranda said. This was the most guarded way she could put it. She didn't suppose that it would help matters to drag Carl down through the full depth of her emotions.
   "You want to backtrace a payer," Carl said. It sounded terrible when he translated it into that kind of language.
   Carl sucked powerfully on his milk shake for a bit, his eyes looking over Miranda's shoulder to the traffic on the Bund. "Princess Nell's a little kid, right?"
   "Yes. I would estimate five to seven years old."
   His eyes swiveled to lock on hers. "You can tell that?"
   "Yes," she said, in tones that warned him not to question it.
   "So she's probably not paying the bill anyway. The payer is someone else. You need to backtrace the payer and then, from there, track down Nell." Carl broke eye contact again, shook his head, and tried unsuccessfully to whistle through frozen lips. "Even the first step is impossible."
   Miranda was startled. "That seems pretty unequivocal. I expected to hear 'difficult' or 'expensive.' But-"
   "Nope. It's impossible. Or maybe"-Carl thought about it for a while-"maybe 'astronomically improbable' is a better way of putting it." Then he looked mildly alarmed as he watched Miranda's expression change. "You can't just trace the connection backward. That's not how media works."
   "How does media work, then?"
   "Look out the window. Not toward the Bund-check out Yan'an Road."
   Miranda swiveled her head around to look out the big window, which was partly painted over with colorful Coke ads and descriptions of blue plate specials. Yan'an Road, like all of the major thoroughfares in Shanghai, was filled, from the shop windows on one side to the shop windows on the other, with people on bicycles and powerskates. In many places the traffic was so dense that greater speed could be attained on foot. A few half-lane vehicles sat motionless, polished boulders in a sluggish brown stream.
   It was so familiar that Miranda didn't really see anything. "What am I looking for?"
   "Notice how no one's empty-handed? They're all carrying something."
   Carl was right. At a minimum, everyone had a small plastic bag with something in it. Many people, such as the bicyclists, carried heavier loads.
   "Now just hold that image in your head for a moment, and think about how to set up a global telecommunications network."
   Miranda laughed. "I don't have any basis for thinking about something like that."
   "Sure you do. Until now, you've been thinking in terms of the telephone system in the old passives. In that system, each transaction had two participants-the two people having the conversation. And they were connected by a wire that ran through a central switchboard. So what are the key features of this system?"
   "I don't know-I'm asking you," said Miranda.
   "Number one, only two people, or entities, can interact.
   Number two, it uses a dedicated connection that is made and then broken for the purposes of that one conversation. Number three, it is inherently centralized-it can't work unless there is a central switchboard."
   "Okay, I think I'm following you so far."
   "Our media system today-the one that you and I make our livings from-is a descendant of the phone system only insofar as we use it for essentially the same purposes, plus many, many more. But the key point to remember is that it is totally different from theold phone system. The old phone system-and its technological cousin, the cable TV system– tanked. It crashed and burned decades ago, and we started virtually from scratch."
   "Why? It worked, didn't it?"
   "First of all, we needed to enable interactions between more than one entity. What do I mean by entity? Well, think about the ractives. Think about First Class to Geneva. You're on this train– so are a couple of dozen other people. Some of those people are being racted, so in that case the entities happen to be human beings. But others-like the waiters and porters-are just software robots. Furthermore, the train is full of props: jewelry, money, guns, bottles of wine. Each one of those is also a separate piece of software-a separate entity. In the lingo, we call them objects. The train itself is another object, and so is the countryside through which it travels.
   "The countryside is a good example. It happens to be a digital map of France. Where did this map come from? Did the makers of First Class to Geneva send out their own team of surveyors to make a new map of France? No, of course they didn't. They used existing data-a digital map of the world that is available to any maker of ractives who needs it, for a price of course. That digital map is a separate object. It resides in the memory of a computer somewhere. Where exactly? I don't know. Neither does the ractive itself. Itdoesn't matter. The data might be in California, it might be in Paris, it might be down at the corner-or it might be distributed among all of those places and many more. It doesn't matter. Because our media system no longer works like the old system– dedicated wires passing through a central switchboard. It works like that." Carl pointed to the traffic on the street again.
   "So each person on the street is like an object?"
   "Possibly. But a better analogy is that the objects are people like us, sitting in various buildings that front on the street. Suppose that we want to send a message to someone over in Pudong. We write the message down on a piece of paper, and we go to the door and hand it to the first person who goes by and say, 'Take this to Mr. Gu in Pudong.' And he skates down the street for a while and runs into someone on a bicycle who looks like he might be headed for Pudong, and says, 'Take this to Mr. Gu.' A minute later, that person gets stuck in traffic and hands it off to a pedestrian who can negotiate the snarl a little better, and so on and so on, until eventually it reaches Mr. Gu. When Mr. Gu wants to respond, he sends us a message in the same way."
   "So there's no way to trace the path taken by a message."
   "Right. And the real situation is even more complicated. The media net was designed from the ground up to provide privacy and security, so that people could use it to transfer money. That's one reason the nationstates collapsed-as soon as the media grid was up and running, financial transactions could no longer be monitored by governments, and the tax collection systems got fubared. So if the old IRS, for example, wasn't able to trace these messages, then there's no way that you'll be able to track down Princess Nell."
   "Okay, I guess that answers my question," Miranda said.
   "Good!" Carl said brightly. He was obviously pleased that he'd been able to help Miranda, and so she didn't tell him how his words had really made her feel. She treated it as an acting challenge: Could she fool Carl Hollywood, who was sharper about acting than just about anyone, into thinking that she was fine?
   Apparently she did. He escorted her back to her flat, in a hundred story high-rise just across the river in Pudong, and she held it together long enough to bid him good-bye, get out of her clothes, and run a bath. Then she climbed into the hot water and dissolved in awful, wretched, blubbery, self-pitying tears.
   Eventually she got it under control. She had to keep this in perspective. She could still interact with Nell and still did, every day. And if she paid attention, sooner or later she would find some way to penetrate the curtain. Barring that, she was beginning to understand that Nell, whoever she was, had been marked out in some way, and that in time she would become a very important person. Within a few years, Miranda expected to be reading about her in the newspaper. Feeling better, she got out of the bath and climbed into bed, getting a good night's sleep so she'd be ready for her next day of taking care of Nell.