After Vitaly Chernobyl and the Meltdowns arrived in Long Beach on one of those hijacked ex-Soviet refugee freighters, they fanned out across southern California looking for expanses of reinforced concrete that were as vast and barren as the ones they had left behind in Kiev. They weren't homesick. They needed such environments in order to practice their art.

The L.A. River was a natural site. And there were plenty of nice overpasses. All they had to do was follow skateboarders to the secret places they had long since discovered. Thrashers and nuclear fuzz-grunge collectives thrive in the same environment. That's where Vitaly and Hiro are going right now.

Vitaly has a really old VW Vanagon, the kind with a pop-top that turns it into a makeshift camper. He used to live in it, staying on the street or in various Snooze 'n' Cruise franchises, until he met up with Hiro Protagonist. Now, the ownership of the Vanagon is subject to dispute, because Vitaly owes Hiro more money than it is technically worth. So they share it.

They drive the Vanagon around to the other side of the U-Stor-It, honking the horn and flashing the lights in order to shoo a hundred little kids away from the loading dock. It's not a playground, kids.

They pick their way down a broad corridor, excusing themselves every inch of the way as they step over little Mayan encampments and Buddhist shrines and white trash stoned on Vertigo, Apple Pie, Fuzzy Buzzy, Narthex, Mustard, and the like. The floor needs sweeping: used syringes, crack vials, charred spoons, pipe stems. There are also many little tubes, about thumb sized, transparent plastic with a red cap on one end. They might be crack vials, but the caps are still on them, and pipeheads wouldn't be so fastidious as to replace the lid on an empty vial. It must be something new Hiro hasn't heard of before, the McDonald's styrofoam burger box of drug containers.

They push through a fire door into another section of the U-Stor-It, which looks the same as the last one (everything looks the same in America, there are no transitions now). Vitaly owns the third locker on the right, a puny 5-by-lO that he is actually using for its intended purpose: storage.

Vitaly steps up to the door and commences trying to remember the combination to the padlock, which involves a certain amount of random guessing. Finally, the lock snaps and pops open. Vitaly shoots the bolt and swings the door open, sweeping a clean half-circle through the drug paraphernalia. Most of the 5-by-1O is occupied by a couple of large four-wheeled flatbed handcarts piled high with speakers and amps.

Hiro and Vitaly wheel the carts down to the loading dock, put the stuff into the Vanagon, and then return the empty carts to the 5-by-10. Technically, the carts are community property, but no one believes that.

The drive to the scene of the concert is long, made longer by the fact that Vitaly, rejecting the technocentric L.A. view of the universe in which Speed is God, likes to stay on the surface and drive at about thirty-five miles per hour. Traffic is not great, either. So Hiro jacks his computer into the cigarette lighter and goggles into the Metaverse.

He is no longer connected to the network by a fiber-optic cable, and so all his communication with the outside world has to take place via radio waves, which are much slower and less reliable. Going into The Black Sun would not be practical -- it would look and sound terrible, and the other patrons would look at him as if he were some kind of black-and-white person. But there's no problem with going into his office, because that's generated within the guts of his computer, which is sitting on his lap; he doesn't need any communication with the outside world for that.

He materializes in his office, in his nice little house in the old hacker neighborhood just off the Street. It is all quite Nipponese: tatami mats cover the floor. His desk is a great, ruddy slab of rough-sawn mahogany. Silvery cloud-light filters through rice-paper walls. A panel in front of him slides open to reveal a garden, complete with babbling brook and steelhead trout jumping out from time to time to grab flies. Technically speaking, the pond should be full of carp, but Hiro is American enough to think of carp as inedible dinosaurs that sit on the bottom and eat sewage.

There is something new: A globe about the size of a grapefruit, a perfectly detailed rendition of Planet Earth, hanging in space at arm's length in front of his eyes. Hiro has heard about this but never seen it. It is a piece of CIC software called, simply, Earth. It is the user interface that CIC uses to keep track of every bit of spatial information that it owns -- all the maps, weather data, architectural plans, and satellite surveillance stuff.

Hiro has been thinking that in a few years, if he does really well in the intel biz, maybe he will make enough money to subscribe to Earth and get this thing in his office. Now it is suddenly here, free of charge. The only explanation he can come up with is that Juanita must have given it to him.

But first things first. The Babel/Infopocalypse card is still in his avatar's pocket. He takes it out.

One of the rice-paper panels that make up the walls of his office slides open. On the other side of it, Hiro can see a large, dimly lit room that wasn't there before; apparently Juanita came in and made a major addition to his house as well. A man walks into the office.

The Librarian daemon looks like a pleasant, fiftyish, silverhaired, bearded man with bright blue eyes, wearing a V-neck sweater over a work shirt, with a coarsely woven, tweedy-looking wool tie. The tie is loosened, the sleeves pushed up. Even though he's just a piece of software, he has reason to be cheerful; he can move through the nearly infinite stacks of information in the Library with the agility of a spider dancing across a vast web of cross-references. The Librarian is the only piece of CIC software that costs even more than Earth; the only thing he can't do is think.

"Yes, sir," the Librarian says. He is eager without being obnoxiously chipper, he clasps his hands behind his back, rocks forward slightly on the balls of his feet, raises his eyebrows expectantly over his half-glasses.

"Babel's a city in Babylon, right?"

"It was a legendary city," the Librarian says. "Babel is a Biblical term for Babylon. The word is Semitic; Bab means gate and El means Cod, so Babel means 'Gate of God.' But it is probably also somewhat onomatopoeic, imitating someone who speaks in an incomprehensible tongue. The Bible is full of puns."

"They built a tower to Heaven and God knocked it down."

"This is an anthology of common misconceptions. God did not do ............