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An astounding tale of adventure, danger, magic, science, friendship, spaceships, and, oh yeah, the battle to save all the people in all the worlds in all possible dimensions.
Joey Harker isn't a hero.
In fact, he's the kind of guy who gets lost in his own house.
But one day, Joey gets really lost. He walks straight out of his world and into another dimension.
Joey's walk between worlds makes him prey to armies of magic and science, both determined to harness Joey's power to travel between the dimensions. The only thing standing in their way is Joey—or, more precisely, an army of Joeys, all from different dimensions and all determined to save the worlds.
Now Joey must make a choice: return to the life he knows or join the battle to the end.
What InterWorld gets exactly right…[is] the all-too-real childhood fear that if we're away from comfortable surroundings for too long, our families and loved ones might eventually forget who we are, and that someday we might never be able to return…[InterWorld's] purpose is not to dispel this fear for its readers, but rather to provide them with irresistible incentive to take those tentative first steps into unpredictable worlds beyond.
More Reviews and RecommendationsNovelist Neil Gaiman has sent a British businessman tumbling into a fantastic underworld and had a devil and angel comically conspiring to thwart the Apocalypse. He found his biggest success, though, in Death, Dreams and Destruction -- and the four other similarly named siblings who controlled the reins of the human race's emotional impulses in his graphic-novel series The Sandman, a wholesale rejuvenation of graphic fiction that had everyone from Tori Amos to Norman Mailer spinning with, yes, Delirium.
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November 15, 2009: Neil Gaiman is one of our best new fantasy authors. Well written and intelligent.
I Also Recommend: Good Omens, Odd and the Frost Giants, Neverwhere, American Gods, The Lab.
Reader Rating:
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August 15, 2009: this book was good. not great but good. it can be open to a part 2.
Name:
Neil Gaiman
Current Home:
Minneapolis, Minnesota
Date of Birth:
November 10, 1960
Place of Birth:
Portchester, England
Education:
Attended Ardingly College Junior School, 1970-74, and Whitgift School, 1974-77
Awards:
Eagle Award for Violent Cases, 1988; Eagle Award for best writer of U.S. comics, 1990; World Fantasy Award for "A Midsummer Night's Dream," 1991; Bram Stoker Award for American Gods, Horror Writers Association, 2001
Neil Gaiman thought he wrote comic books. But a newspaper editor, of course, set him straight.
Back when he was riding the diabolical headwinds of his popular series of graphic novels, The Sandman, the author attended a party where he introduced himself as a comic-book writer to a newspaper's literary editor. But when the editor quickly realized who this actually was -- and the glaze melted from his eyes -- he offered Gaiman a correction tinged with astonishment: "My God, man, you don't write comics, you write graphic novels." Relating the story to theLos Angeles Times in 1995, Gaiman said, "I suddenly felt like someone who had been informed that she wasn't a hooker, that in fact she was a lady of the evening."
Gaiman's done much more, of course, than simply write graphic novels, having coauthored, with Terry Pratchett, Good Omens, a comic novel about the Apocalypse; adapted into hardcover the BBC miniseries Neverwhere about the dark underworld beneath the streets of London; and, inspired by his young daughter, put a horrifying spin on C.S. Lewis' wardrobe doors for Coraline, a children's book about a passageway into a magical, yet malevolent, land.
But it is The Sandman that is Gaiman's magnum opus.
Though he had told a career counselor in high school that he wanted to pen comic books, he had a career as a freelance journalist before his first graphic novel, Violent Cases, was published in England in 1987. DC Comics discovered him and The Sandman was born. Or reborn, actually. The comic debuted back in 1939 with a regular-Joe crime fighter in the lead. But in Gaiman's hands the tale had a more otherworldly spin, slowing introducing readers to the seven siblings Endless: Dream, Death, Desire, Destiny, Destruction, Despair and Delirium (once Delight). They all have their roles in shaping the fates of man. In fact, when Death was imprisoned for decades, the results were devastating. Richard Nixon reached The White House and Michael Jackson the Billboard charts.
Direction from newspaper editors notwithstanding, to Gaiman, these stories are still comic books. The man who shuttled back and forth between comics and classics in his formative years and can pepper his writing with references to Norse mythology as well as the vaudevillian rock group Queen, never cottoned to such highbrow/lowbrow distinctions. Comparing notes on a yachting excursion with members of the Irish rock band U2, the writer who looks like a rock star and Delirium and the rock stars who gave themselves comic-worthy names such as Bono and The Edge came to a realization: Whether the medium is pop music or comic books, not being taken seriously can be a plus. "It's safer to be in the gutter," he told The Washington Post in 1995.
In 1995, Gaiman brought The Sandman to a close and began spending more time on his nongraphic fiction, including a couple of short-story collections. A few years later he released Stardust, an adult fairy tale that has young Tristan Thorn searching for a fallen star to woo the lovely but cold Victoria Forester. In 2001, he placed an ex-con named Shadow in the middle of a war between the ancient and modern dieties in American Gods. Coming in October 2002 is another departure: an audio recording of Two Plays for Voices, which stars Bebe Neuwirth as a wise queen doing battle with a bloodthirsty child and Brian Dennehy as the Angel of Vengeance investigating the first crime in history in heaven's City of Angels.
Gaiman need not worry about defining his artistic relevance, since so many other seem to do it for him. Stephen King, Roger Zelazny and Harlan Ellison are among those who have contributed introductions to his works. William Gibson, the man who coined the term "cyberspace," called him a "a writer of rare perception and endless imagination" as well as "an American treasure." (Even though he's, technically, a British treasure transplanted to the American Midwest.) Even Norman Mailer has weighed in: "Along with all else, Sandman is a comic strip for intellectuals, and I say it's about time."
The gushiest praise, however, may come from Frank McConnell, who barely contained himself in the pages of the political and artistic journal Commonweal. Saying Gaiman "may just be the most gifted and important storyteller in English," McConnell crowned Sandman as the most important act of fiction of the day. "And that, not just because of the brilliance and intricacy of its storytelling -- and I know few stories, outside the best of Joyce, Faulkner, and Pynchon, that are more intricate," he wrote in October 1995, " but also because it tells its wonderful and humanizing tale in a medium, comic books, still largely considered demimonde by the tenured zombies of the academic establishment."
"If Sandman is a 'comic,'" he concluded, "then The Magic Flute is a 'musical' and A Midsummer Night's Dream is a skit. Read the damn thing: it's important."
Some fascinating factoids from our interview with Gaiman:
"One of the most enjoyable bits of writing Sandman was getting authors whose work I love to write the introductions for the collected graphic novels -- people like Steve Erickson, Gene Wolfe, Harlan Ellison, Clive Barker, Peter Straub, Mikal Gilmore, and Samuel R. Delany."
"I have a big old Addams Family house, with -- in the summertime -- a vegetable garden, and I love growing exotic pumpkins. As a boy in England I used to dream about Ray Bradbury Hallowe'ens, and am thrilled that I get them these days. Unless I'm on the road signing people's books, of course."
"According to my daughters, my most irritating habit is asking for cups of tea."
"I love radio -- and love the availability of things like the Jack Benny radio shows in MP3 format. I'm addicted to BBC radio 7, and keep buying boxed CD sets of old UK radio programs, things like Round the Horne and Hancock's Half Hour. Every now and again I'll write a radio play."
"I love thunderstorms, old houses, and dreams."
What was the book that most influenced your life or your career as a writer?
Probably Harlan Ellison's Shatterday (1980). It's a collection of Ellison's short stories, as powerful as any good Ellison collection, and I read it on a plane trip on very bad day in 1982, and Harlan's commentary in one of his introductions to stories -- on doing things, on being a writer and not just thinking you were a writer, on using the time you have -- did more to turn the almost-22-year-old me into the writer I would one day become than anything else. I got off the plane determined to be a writer.
What are your ten favorite books, and what makes them special to you?
What are some of your favorite films, and what makes them unforgettable to you?
What types of music do you like? Is there any particular kind you like to listen to when you're writing?
I like things with good lyrics -- Stephin Merritt, Thea Gilmore, Elvis Costello, Lou Reed -- and I like things with no lyrics at all, like Michael Nyman. Anything that keeps me sitting and working makes me happy. I have a full 60-gig iPod and I like to put it onto "random" mode and see what it thinks I need. Right now it's playing "Four Left Feet" by the Ditty Bops.
And Stephen Sondheim is still one of my heroes.
If you had a book club, what would it be reading?
I'd love to drag out a bunch of unfashionable and forgotten authors and see what people made of them. Thorne Smith, for example, who wrote delirious jazz age comedies and was one of the authors who made me want to write Anansi Boys, is almost entirely forgotten these days -- the only books of his that are in print are the two Topper books.
Robert Aickman, who wrote the darkest, strangest, most unsettling stories of the twentieth century, is nearly unknown. I'd make people read them, and James Branch Cabell, and Hope Mirrlees.... There are too many wonderful authors who have been swallowed up by time.
Do you have any special writing rituals? For example, what do you have on your desk when you're writing?
When I'm writing a novel, I write in fountain pen, in a notebook. I like to begin a writing day by filling a pen. If I'm working hard and well, I often have two different pens and two colours of ink on the go, to see at a glance how much I wrote in a day.
If I'm feeling particularly blank, I'll do a blog entry for the day over at www.neilgaiman.com, just to get my fingers working.
My best writing ritual I stole from Daniel PInkwater, in, I think, one of his Fishwhistle essays. When I'm meant to be writing, I can write, or I can not do anything at all. The joys of staring out of the window soon pall, and I start writing again.
Many writers are hardly "overnight success" stories. How long did it take for you to get where you are today? Any rejection-slip horror stories or inspirational anecdotes?
Not really. I've been writing now professionally for about 23 years. I'm enormously lucky in that I've been able to support a family by making stuff up and writing it down -- as a journalist for the first few years, then writing fiction, in comics and prose, ever since. I'm always very aware that very few writers can do it full time, that most are forced to take jobs in academia or elsewhere to pay for the privilege of writing.
If you could choose one new writer to be "discovered," who would it be?
Well, eighteen months ago, when I was writing Anansi Boys, it was my friend Susanna Clarke. I'd been waiting for a decade for her to finish Jonathan Strange and Mr Norrell and was so excited when my advance proof copy arrived.
However, the world has discovered Susanna.
I wish that the world would rediscover the late R. A. Lafferty -- teller of tall tales, and a unique prose stylist. He wrote in a rambling, wonderful style that looks amazingly easy until you try it.
Of new writers, I'm really impressed with an Australian writer named Margo Lanagan, who wrote a short story collection called Black Juice.
What tips or advice do you have for writers still looking to be discovered?
Write. Finish things. Write more. Send the things you write to places that might publish them. When they come back, send them to other places. Repeat. And read everything.
Joey Harker has never been known for his sense of direction. In fact, rumor has it that he has gotten lost in his own home. In most cases, his embarrassing lack of bearings is quickly remedied, but one day he takes a wrong turn that lands him in a whole new dimension -- and a bundle of trouble. In InterWorld, famed adult science fiction author Neil Gaiman and Emmy Awardwinning writer Michael Reaves catapult readers into a universe where the hero literally multiples.
An astounding tale of adventure, danger, magic, science, friendship, spaceships, and, oh yeah, the battle to save all the people in all the worlds in all possible dimensions.
Joey Harker isn't a hero.
In fact, he's the kind of guy who gets lost in his own house.
But one day, Joey gets really lost. He walks straight out of his world and into another dimension.
Joey's walk between worlds makes him prey to armies of magic and science, both determined to harness Joey's power to travel between the dimensions. The only thing standing in their way is Joey—or, more precisely, an army of Joeys, all from different dimensions and all determined to save the worlds.
Now Joey must make a choice: return to the life he knows or join the battle to the end.
What InterWorld gets exactly right…[is] the all-too-real childhood fear that if we're away from comfortable surroundings for too long, our families and loved ones might eventually forget who we are, and that someday we might never be able to return…[InterWorld's] purpose is not to dispel this fear for its readers, but rather to provide them with irresistible incentive to take those tentative first steps into unpredictable worlds beyond.
This parallel universe adventure would surely have been more exciting when its authors first conceived it in 1995; today it feels somewhat like a gee-whiz amalgam of The Matrix, comic book multiverses and Ender's Game. High-schooler Joey Harker has a terrible sense of direction; during a field trip he gets lost and ends up in a world where the McDonald's arches are green plaid, his mother doesn't recognize him and everything has been altered to varying degrees. He is rescued by a mysterious man named Jay (who looks like an older version of Joey) and learns that he has "Walked" between two of millions of coexisting worlds, landing in one where he drowned a year earlier. Joey finds himself the target of two warring peoples-one technology-driven, the other possessing mystical abilities-who capture Walkers like himself to harness their power. The action takes Joey to an academy at InterWorld, where hundreds of other kids who resemble him (and who all have the initials J.H.) train to "defend and protect the Altiverse from those who would harm it or bend it to their will." Gaiman devotees, used to headier stuff, may be disappointed. Ages 10-up. (July)
Copyright 2007 Reed Business InformationAn old TV pitch finds new life in this collaborative work. Reluctant hero Joey Harker gets lostreally lost. In fact, he is lost between dimensions. It all starts with a Social Studies assignment from an eccentric teacher that leaves teams of kids stranded blindfolded in various parts of the city. Before long, Joey finds himself in an altered reality, a theme that readers of Gaiman's Coraline and The Wolves in the Walls may find familiar. Joey is a Walker, and it appears that he is being sought for this skill he never knew he had. Naturally, he expects his teacher Mr. Dimas to have a rational answer, but what he finds out is far from easy to understand. The Joey our hero thought he was is dead. The pace escalates furiously as Joey is pursued by magical and scientific armies. It soon becomes apparent that his last hope lies in constructing a fighting force composed of the multiple versions of himself from parallel realities. Esoteric cultural references from the musical and gaming worlds are sprinkled about. Young readers might miss them, but they will absorb the atmospherics they impart. The fantasy world here is crafted in great detail. Joey's alter egos are quirky and interesting, if sketchily drawn. Only the Jai character is disappointingly stereotypical, a predictable yogi with a faux Apu accent. In contrast, Mr. Dimas is both sympathetic and believable. Plenty of twists and turns in this fast-paced story are likely to keep readers engaged, in spite of the slight character development, cardboard villains, and sometimes predictable storyline.
Fourteen-year-old Joey Harker has become lost in his own house. Imagine his surprise when he finds that he can walk among realities. In every version of the universe, there is a Joey Harker who is as different from the real Joey as that universe is from his home. Sometimes the newly encountered Joey is different enough that he is a she, or has wings, or is part robot. Imagine his further surprise when he makes his way to InterWorld and learns that these other near-Joeys not only walk between the universes, but they also form an army dedicated to keeping the balance in the cosmos. The Altiverse is a bell curve with pure science worlds at one extreme and pure magic worlds at the other; most worlds and their accompanying universes fall in the middle. The evil organization HEX (magic) is working to take over more universes from one direction while The Binary (science) is working from the other. The hitch is that neither group can travel between the universes without the power within a person like Joey. Emmy-winning television writer Reaves and speculative-fiction-god Gaiman devised their idea a decade ago. They wrote the novel to shop around to television production houses but got no bites. After a decade and some polish on the old manuscript, DreamWorks Animation has optioned the rights. Here is David Gerrold's The Man Who Folded Himself (Random House, 1973) crossed with the Chronicles of Amber by Roger Zelazny seasoned with Gaiman's own Books of Magic and a little of Edwin Abbott's Flatland. This paean to Robert A. Heinlein's juvenilia is a vocabulary and mind-stretching ride for which all tweens and teens (and many adults) will be grateful. Be prepared to tell readers that despite theopen-endedness, there are not any sequels in the works . . . yet.
Gr 8 Up At 16, Joey Harker has just realized that he can literally walk into alternate realities. He quickly discovers that versions of himself from other worlds can also live on a secret base known as InterWorld. From here, an army of Joeys, of all different ages and characteristics, battle two evil groups bent on ruling all the earths in the Altiverse. The HEX uses magic, the Binary relies on science, while the Joeys fight to maintain the naturally occurring balance of these forces. These dueling factions make for a unique representation of good and evil, and the book's setting is equally imaginative. The "In-Between," a colorful, chaotic realm where Picassoesque objects morph in and out of existence, is described with vivid graphic imagery. The explanations of the In-Between and other dimensions gradually make sense to readers, as they do to Joey, who is at first realistically skeptical. Packed with harrowing chase scenes through these fascinating realms, the plot moves quickly from the initial explanations to Joey's training on InterWorld, to his climactic confrontation with Lord Dogknife, the grotesque leader of the HEX. With his sarcastic sense of humor and superhuman abilities, Joey is a hero whom teens, even reluctant readers, will cheer for.-Emily Rodriguez, Alachua County Library District, Gainesville, FL
Loading...InterWorld
Chapter One
Once I got lost in my own house.
I guess it wasn't quite as bad as it sounds. We had just built a new annex—added a hallway and a bedroom for the squid, aka Kevin, my really little brother—but still, the carpenters had left and the dust had settled over a month ago. Mom had just sounded the dinner call and I was on my way downstairs. I took a wrong turn on the second floor and found myself in a room wallpapered with clouds and bunnies. I realized I'd turned right instead of left, so I promptly made the same mistake again and blundered into the closet.
By the time I got downstairs Jenny and Dad were already there and Mom was giving me the Look. I knew trying to explain would sound lame, so I just clammed up and dug in to my mac and cheese.
But you see the problem. I don't have what my aunt Maude used to call a "bump of direction." If anything, I've got a hollow where the bump should be. Forget knowing north from south or east from west—I have a hard enough time telling right from left. Which is all pretty ironic, considering how things turned out . . .
But I'm getting ahead of myself. Okay. I'm going to write this like Mr. Dimas taught us. He said it doesn't matter where you start, as long as you start somewhere. So I'm going to start with him.
It was the end of the October term of my sophomore year, and everything was pretty normal, except for Social Studies, which was no big surprise. Mr. Dimas, who taught the class, had a reputation for unconventional teaching methods. For midterms he had blindfolded us, then had us each stick a pin in a map of the world and we got to write essays onwherever the pin stuck. I got Decatur, Illinois. Some of the guys complained because they drew places like Ulan Bator or Zimbabwe. They were lucky. You try writing ten thousand words on Decatur, Illinois.
But Mr. Dimas was always doing stuff like that. He made the front page of the local paper last year and nearly got fired when he turned two classes into warring fiefdoms that tried to negotiate peace for an entire semester. The peace talks eventually broke down and the two classes went to war on the quad during free period. Things got a little carried away and a few bloody noses resulted. Mr. Dimas was quoted on the local news as saying, "Sometimes war is necessary to teach us the value of peace. Sometimes you need to learn the real value of diplomacy in avoiding war. And I'd rather my students learned those lessons on the playground than on the battlefield."
Rumor at school was that he was going to be canned for that one. Even Mayor Haenkle was pretty annoyed, seeing as how his son's nose was one of the ones bloodied. Mom and Jenny—my younger sister—and I sat up late, drinking Ovaltine and waiting for Dad to come home from the city council meeting. The squid was fast asleep in Mom's lap—she was still breast-feeding him back then. It was after midnight when Dad came in the back door, tossed his hat on the table and said, "The vote was seven to six, in favor. Dimas keeps his job. My throat's sore."
Mom got up to fix Dad some tea, and Jenny asked Dad why he'd gone to bat for Mr. Dimas. "My teacher says he's a troublemaker."
"He is," Dad said. "—Thanks, hon." He sipped the tea, then went on. "He's also one of the few teachers around who actually cares about what he's doing, and who has more than a spoonful of brains to do it with." He pointed his pipe at Jenny and said, "Past the witching hour, sprite. You belong in bed."
That was how Dad was. Even though he's just a city councilman, he has more sway among some people than the mayor does. Dad used to be a Wall Street broker, and he still handles stocks for a few of Greenville's more prominent citizens, including several on the school board. The councilman job takes only a few days a month most of the year, so Dad drives a cab most days. I asked him once why he did it, since his investments keep the wolf from the door even without Mom's home jewelry business, and he said he liked meeting new people.
You'd think that nearly getting fired might've thrown a scare into Mr. Dimas and gotten him to back off a little, but no such luck. His idea for this year's Social Studies final was pretty extreme even for him. He divided our class into ten teams of three each, blindfolded us again—he was big on blindfolds—and had a school bus drop us off at random places in the city. We were supposed to find our way to various checkpoints within a certain time without maps. One of the other teachers asked what this had to do with Social Studies, and Mr. Dimas said that everything was Social Studies. He confiscated all cell phones, phone cards, credit cards and cash so we couldn't call for rides or take buses or cabs. We were on our own.
And that was where it all began.
It's not like we were in any real danger—downtown Greenville isn't downtown LA or New York or even downtown Decatur, Illinois. The worst that might happen would be an old lady clobbering us with her purse if one of us was foolish enough to try to help her across 42nd Avenue. Still, I was partnered with Rowena Danvers and Ted Russell, which meant that this was going to be interesting.
The school bus pulled away in a cloud of diesel smoke and we took our blindfolds off. We were downtown—that much was obvious. It was the . . .
InterWorld. Copyright (c) by Neil Gaiman . Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.Chapter One
Once I got lost in my own house.
I guess it wasn't quite as bad as it sounds. We had just built a new annex—added a hallway and a bedroom for the squid, aka Kevin, my really little brother—but still, the carpenters had left and the dust had settled over a month ago. Mom had just sounded the dinner call and I was on my way downstairs. I took a wrong turn on the second floor and found myself in a room wallpapered with clouds and bunnies. I realized I'd turned right instead of left, so I promptly made the same mistake again and blundered into the closet.
By the time I got downstairs Jenny and Dad were already there and Mom was giving me the Look. I knew trying to explain would sound lame, so I just clammed up and dug in to my mac and cheese.
But you see the problem. I don't have what my aunt Maude used to call a "bump of direction." If anything, I've got a hollow where the bump should be. Forget knowing north from south or east from west—I have a hard enough time telling right from left. Which is all pretty ironic, considering how things turned out . . .
But I'm getting ahead of myself. Okay. I'm going to write this like Mr. Dimas taught us. He said it doesn't matter where you start, as long as you start somewhere. So I'm going to start with him.
It was the end of the October term of my sophomore year, and everythingwas pretty normal, except for Social Studies, which was no big surprise. Mr. Dimas, who taught the class, had a reputation for unconventional teaching methods. For midterms he had blindfolded us, then had us each stick a pin in a map of the world and we got to write essays on wherever the pin stuck. I got Decatur, Illinois. Some of the guys complained because they drew places like Ulan Bator or Zimbabwe. They were lucky. You try writing ten thousand words on Decatur, Illinois.
But Mr. Dimas was always doing stuff like that. He made the front page of the local paper last year and nearly got fired when he turned two classes into warring fiefdoms that tried to negotiate peace for an entire semester. The peace talks eventually broke down and the two classes went to war on the quad during free period. Things got a little carried away and a few bloody noses resulted. Mr. Dimas was quoted on the local news as saying, "Sometimes war is necessary to teach us the value of peace. Sometimes you need to learn the real value of diplomacy in avoiding war. And I'd rather my students learned those lessons on the playground than on the battlefield."
Rumor at school was that he was going to be canned for that one. Even Mayor Haenkle was pretty annoyed, seeing as how his son's nose was one of the ones bloodied. Mom and Jenny—my younger sister—and I sat up late, drinking Ovaltine and waiting for Dad to come home from the city council meeting. The squid was fast asleep in Mom's lap—she was still breast-feeding him back then. It was after midnight when Dad came in the back door, tossed his hat on the table and said, "The vote was seven to six, in favor. Dimas keeps his job. My throat's sore."
Mom got up to fix Dad some tea, and Jenny asked Dad why he'd gone to bat for Mr. Dimas. "My teacher says he's a troublemaker."
"He is," Dad said. "—Thanks, hon." He sipped the tea, then went on. "He's also one of the few teachers around who actually cares about what he's doing, and who has more than a spoonful of brains to do it with." He pointed his pipe at Jenny and said, "Past the witching hour, sprite. You belong in bed."
That was how Dad was. Even though he's just a city councilman, he has more sway among some people than the mayor does. Dad used to be a Wall Street broker, and he still handles stocks for a few of Greenville's more prominent citizens, including several on the school board. The councilman job takes only a few days a month most of the year, so Dad drives a cab most days. I asked him once why he did it, since his investments keep the wolf from the door even without Mom's home jewelry business, and he said he liked meeting new people.
You'd think that nearly getting fired might've thrown a scare into Mr. Dimas and gotten him to back off a little, but no such luck. His idea for this year's Social Studies final was pretty extreme even for him. He divided our class into ten teams of three each, blindfolded us again—he was big on blindfolds—and had a school bus drop us off at random places in the city. We were supposed to find our way to various checkpoints within a certain time without maps. One of the other teachers asked what this had to do with Social Studies, and Mr. Dimas said that everything was Social Studies. He confiscated all cell phones, phone cards, credit cards and cash so we couldn't call for rides or take buses or cabs. We were on our own.
And that was where it all began.
It's not like we were in any real danger—downtown Greenville isn't downtown LA or New York or even downtown Decatur, Illinois. The worst that might happen would be an old lady clobbering us with her purse if one of us was foolish enough to try to help her across 42nd Avenue. Still, I was partnered with Rowena Danvers and Ted Russell, which meant that this was going to be interesting.
The school bus pulled away in a cloud of diesel smoke and we took our blindfolds off. We were downtown—that much was obvious. It was the . . .
Excerpted from InterWorld by Neil Gaiman Copyright © 2007 by Neil Gaiman. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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