After taking a first glimpse of the library, Florent sat down at an empty table on the seventh floor to consider his study plan.
This feeling almost reminded him of his university days, when he preferred reading novels in the library rather than studying there. His university classmates were always surprised by his average results, despite the time he spent there.
Inwardly laughing at himself for these useless memories, Florent turned his attention back to the current question: exactly which books should he read?
To play the role of the "Master of Tricks," he obviously had to be interested in books on magic and illusionists.
Unfortunately, the library only had a handful of them on the sixth floor. And even then, these works only praised the illusionists' talents or offered a few superficial explanations.
No magician would publish a book revealing the secrets of his profession. Even the most famous works explained only a few tricks, and even then, often in impractical ways: either long and tedious exercises, or complicated methods that made the tricks even more difficult.
"Well, I can always take notes on those I could imitate as a Master of Tricks," Florent said to himself.
"It'll serve as my ticket to a circus, once I've progressed. Oh, and I'll also have to attend shows, especially those of the illusionists. I'll note it in the plan." Enthusiastically, he tapped his fingers on the table, provoking annoyed looks from the neighboring readers. He finally corrected himself by tapping his forehead.
For the role of "Astrologer" , Florent knew that he needed a solid grounding in esotericism. This could be done in three parts:
at home, thanks to the books inherited from his father, a large part of which dealt with divination, especially astrology and crystal gazing;
in the library, on the second floor, in the theological section devoted to the stars, where the gods were compared to the stars, distant and inaccessible;
and finally, on the third floor, in the natural sciences section, which contained ancient and modern celestial maps, useful for understanding the movements of the stars.
Florent knew he couldn't be certain of everything. His father had never left him any precise rules for "playing a role."
Most people only had patience and time as a method: play long enough to eventually digest their potion, but he didn't have that time.
"After the Astrologer comes the Archivist," thought Florent. "The Archivist must record supernatural powers and local customs. For that, the best place is the travelogues on the fifth floor. They are the most vivid texts, and every library is full of them. As for supernatural powers, observing and classifying them will be easier for me."
He folded his hands, closed his eyes, and summarized his plan in a low voice:
"In short, I need: the magic books on the sixth floor, the texts on the stars on the second and third floors, the travel stories on the fifth floor, and my father's books. And don't forget to go see some real circus shows."
He then made a resolution:
"It's decided. No time to waste. The longer I delay, the less progress I make."
Yet an old habit resurfaced: he remembered his student days, when he would enter the library with good intentions, but ended up reading novels instead of studying.
He got much more pleasure from reading these novels than from reading his lectures.
Out of curiosity, Florent started with the travelogue section. These books were closest to the novels he used to read in his past life, while being even more captivating because they were based on real experiences.
Sometimes reality was stranger and more fascinating than fiction.
The Trier library had organized this section particularly well:
stories of Intis, Loen, the Feysac Empire, the Feynapotter Empire, the sea, and even the mysterious southern continent—although some of these stories were clearly novels, so much did they describe impossible places.
Florent came across the book Souvenirs de voyage à Trier , written by Isès Bairu (a name the author added, it's not in the original story), an author from Loen. Intrigued, he opened the book. Brief presentation, clear summary: everything indicated an enjoyable read.
Ises Bairu was a successful writer, known for her travel writing. What made her even more remarkable was her belief in the Goddess of the Night and the fact that she was a woman—a surprising feat in a country dominated by the cult of the Eternal Sun. Yet, in Intis, she enjoyed immense popularity.
"...In the 'City of the Sun,' everything seems bathed in light. This contrast with the dark atmosphere of Backlund is difficult to imagine. Yet, I have nothing against this overcast sky: too bright a sun always ends up being harmful..."
"...To write a story that is true to life, the best thing is to live like the locals, to share their joys and sorrows. Luckily, I had a friend in Trier who was a believer in the god of steam. Their company was much more pleasant than that of the Sun worshippers, whose haughty tone has the gift of irritating me. But I must admit that, when it comes to gallantry, they can be charming..."
Florent read the book in one sitting without realizing it, captivated by the work's lively style. When he finally looked up, he noticed that the candles were already casting their orange light into the room.
Placing the book back on its shelf, he smiled slightly, thoughtful. No wonder Isès Bairu was so beloved: her stories brought Trier to life in a way no novel could have.
He then left the library and, under the crossed light of the red moon and the setting sun, walked home with a leisurely step.
(End of chapter)