While some readers of Chaucer fretted over the archaic and potentially faulty words borne in manuscript books, others were worried by the missing leaves and textual gaps that plagued their copies. In the books considered here, the belated interpolation of missing words, lines, and whole leaves suggests a pursuit of bibliographical and narrative closure for Chaucer's oeuvre. At the same time, this type of book use is always reliant on the creative engagement of those who continue, complete, and perfect these works, and on an understanding of the codex as open to such change and transformation. The desire for closure in the Chaucerian book begins, unsurprisingly, with its first makers, who had long sought the poet's works in their most complete state, a scholarly quest energised by the seemingly unfinished nature of several of his works. 1 Working from an incomplete exemplar, the scribe of the earliest surviving copies of the Canterbury Tales anticipated an ending for the incomplete Cook's Tale by leaving blank space on the page for its conclusion to be filled in. 2 In other manuscripts of the Tales, some scribes improvised to create an effect of completenessby omitting the Cook's Tale altogether, by supplying other spurious lines, and, most commonly, by compensating for the absence by adding the apocryphal Tale of Gamelyn immediately after the Cook's fragment, where it is linked as 'another tale of the same cooke', according to one manuscript. 3 These decisions reveal the fixes devised by Chaucer's 1 These include the House of Fame, Anelida and Arcite, the Legend of Good Women, the Cook's Tale, and the Squire's Tale.