you burst in on us. Please leave us alone for a few minutes.'
Fiona did, reluctantly. Gwen resumed her former position, and Amelia backed out of the room. Hackworth noticed that Gwen had fetched some documents, bound up in red tape.
'These are papers setting out the terms of our divorce, including all conditions relating to Fiona,' she said. 'You are already in violation, I'm afraid. Of course, this can be forgiven, as your lack of a forwarding address as such made it impossible for us to acquaint you with this information. Needless to say, it is imperative for you to familiarise yourself with these documents before darkening my door again.'
'Naturally,' Hackworth said. 'Thank you for retaining them for me.'
'If you will be so good as to withdraw from these premises-'
'Of course. Good day,' Hackworth said, took the roll of papers from Gwen's trembling hand, and let himself out briskly. He was a bit surprised when he heard Amelia calling to him from the doorway.
'Mr. Hackworth. Miss Lloyd wishes to know whether you have established a new residence, so that your personal effects may be forwarded.'
'None as yet,' Hackworth said. 'I'm in transit.'
Amelia brightened. 'In transit to where?'
'Oh, I don't really know,' Hackworth said. A movement caught his eye and he saw Fiona framed in a second-story window. She was undoing the latches, raising the sash. 'I'm on a quest of sorts.'
'A quest for what, Mr. Hackworth?'
'Can't say precisely. You know, top secret and all that. Something to do with an alchemist. Who knows, maybe there'll be faeries and hobgoblins too, before it's all over. I'll be happy to fill you in when I return. Until then, please ask Miss Lloyd if she would be so understanding as to retain those personal effects for just a bit longer. It can't possibly take more than another ten years or so.' And with that, Hackworth prodded Kidnapper forward, moving at an extremely deliberate pace.
Fiona was on a velocipede with smart wheels that made short work of the cobblestone road. She caught up with her father just short of the security grid. Mother and Amelia had just materialized a block behind them in a half-lane car, and the sudden sensation of danger inspired Fiona to make an impetuous dive from the saddle of her velocipede onto Kidnapper's hindquarters, like a cowboy in a movie switching horses in midgallop. Her skirts, poorly adapted to cowboy maneuvers, got all fouled up around her legs, and she ended up slung over Kidnapper's back like a sack of beans, one hand clutching the vestigial knob where its tail would have been if it were a horse, and the other arm thrown round her father's waist.
'I love you, Mother!' she shouted, as they rode through the grid and out of the jurisdiction of New Atlantis family law. 'Can't say the same for you, Amelia! But I'll be back soon, don't worry about me! Goodbye!' And then the ferns and mist closed behind them, and they were alone in the deep forest.
Carl Hollywood takes the Oath;
stroll along the Thames;
an encounter with Lord Finkle-McGraw.
Carl took the Oath at Westminster Abbey on a surprisingly balmy day in April and afterward went for a stride down the river, heading not too directly toward a reception that had been arranged in his honor at the Hopkins Theatre near Leicester Square. Even without a pedomotive, he walked as fast as many people jogged.
Ever since his first visit to London as a malnourished theatre student, he had preferred walking to any other way of getting around the place. Walking, especially along the Embankment where fellow-pedestrians were relatively few, also gave him freedom to smoke big old authentic cigars or the occasional briar pipe. Just because he was a Victorian didn't mean he had to give up his peculiarities; quite the opposite, in fact. Cruising along past old shrapnel-pocked Cleopatra's Needle in a comet-like corona of his own roiling, viscous smoke, he thought that he might get to like this.
A gentleman in a top hat was standing on the railing, gazing stolidly across the water, and as Carl drew closer, he could see that it was Lord Alexander Chung-Sik Finkle-McGraw, who, a day or two earlier, had stated during a cinephone conversation that he should like to meet him face-to-face in the near future for a chat.
Carl Hollywood, remembering his new tribal affiliation, went so far as to doff his hat and bow. Finkle- McGraw acknowledged the greeting somewhat distractedly. 'Please accept my sincere congratulations, Mr. Hollywood. Welcome to the phyle.'
'Thank you.'
'I regret that I have not been able to attend any of your productions at the Hopkins— my friends who have could hardly have been more complimentary.'
'Your friends are too kind,' said Carl Hollywood. He was still a little unsure of the etiquette. To accept the compliment at face value would have been boastful; to imply that His Grace's friends were incompetent judges of theatre was not much of an improvement; he settled for the less dangerous accusation that these friends had a superfluity of goodness.
Finkle-McGraw detached himself from the railing and began to walk along the river, keeping a brisk pace for a man of his age.
'I daresay that you shall make a prized addition to our phyle, which, as brilliantly as it shines in the fields of commerce and science, wants more artists.'
Not wanting to join in criticism of the tribe he'd just sworn a solemn Oath to uphold, Carl pursed his lips and mulled over some possible responses.
Finkle-McGraw continued, 'Do you suppose that we fail to encourage our own children to pursue the arts, or fail to attract enough men such as yourself, or perhaps both?'
'With all due respect, Your Grace, I do not necessarily agree with your premise. New Atlantis has many fine artists.'
'Oh, come now. Why do all of them come from outside the tribe, as you did? Really, Mr. Hollywood, would you have taken the Oath at all if your prominence as a theatrical producer had not made it advantageous for you to do so?'
'I think I will choose to interpret your question as part of a Socratic dialogue for my edification,' Carl Hollywood said carefully, 'and not as an allegation of insincerity on my part. As a matter of fact, just before I encountered you, I was enjoying my cigar, and looking about at London, and thinking about just how well it all suits me.'
'It suits you well because you are of a certain age now. You are a successful and established artist. The ragged bohemian life holds no charm for you anymore. But would you have reached your current position if you had not lived that life when you were younger?'
'Now that you put it that way,' Carl said, 'I agree that we might try to make some provision, in the future, for young bohemians-'
'It wouldn't work,' Finkle-McGraw said. 'I've been thinking about this for years. I had the same idea: Set up a sort of young artistic bohemian theme park, sprinkled around in all the major cities, where young New Atlantans who were so inclined could congregate and be subversive when they were in the mood. The whole idea was self-contradictory. Mr. Hollywood, I have devoted much effort, during the last decade or so, to the systematic encouragement of subversiveness.'
'You have? Are you not concerned that our young subversives will migrate to other phyles?'
If Carl Hollywood could have kicked himself in the arse, he would have done so as soon as finishing that sentence. He had forgotten about Elizabeth Finkle-McGraw's recent and highly publicized defection to CryptNet. But the Duke took it serenely.
'Some of them will, as the case of my granddaughter demonstrates. But what does it really mean when such a young person moves to another phyle? It means that they have outgrown youthful credulity and no longer wish to belong to a tribe simply because it is the path of least resistance-they have developed principles, they are concerned with their personal integrity. It means, in short, that they are ripe to become members in good standing of New Atlantis-as soon as they develop the wisdom to see that it is, in the end, the best of all possible tribes.'