Like the setting and point of view, the language changes from chapter to chapter to suit the period. In the "Adam Ewing" chapters, the language is the rather stilted prose of the nineteenth century. In the "Letters from Zedelghem" chapters, the language is that taught at Britain's elite public schools. In "Luisa Rey," the language switches to the swift, action-filled prose of a pulp mystery novel and in "Timothy Cavendish," one finds the language of modern-day London.