By Charles Stross
In Charles Stross’s novel The Atrocity Archive and its sequels, the “Laundry” is a mystery British organisation answerable for protecting darkish interdimensional entitities from destroying the cosmos and, no longer by the way, the human race. The battles with creatures from past time are harmful; notwithstanding, it’s the next bureaucratic forms that truly breaks men’s souls.
Now, in “Down at the Farm,” Laundry veteran Bob Howard needs to examine unusual doings at one other imprecise, moth-eaten govt organization — obviously a relaxation domestic for washing brokers whose minds have snapped…
Charles Stross is the Hugo-winning writer of a few of the main acclaimed novels and tales of the final ten years, together with Singularity Sky, Accelerando, Halting kingdom, the "Merchant Princes" sequence starting with The relations alternate, and the tale collections Toast and instant. In 2010, his Laundry tale “Overtime,” released on Tor.com, is a finalist for technology fiction’s Hugo Award.
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Extra info for Down on the Farm (The Laundry Files, Book 2.6)
2a b c The kings of the earth take their stand and regents intrigue together against Yahweh and his anointed. Cola a and b contain the first main clause (again: clause = colon) and the core of the second main clause, after w h i c h the C - c o l o n is filled u p w i t h the adjunct that concludes the second sentence. T h e poet, by the way, thinks of m o r e than just syntax, and at the end even manages to effect a form of balance: h e places two people in the C - c o l o n , the deity and the king, and this pair is intended to counterbalance the w o r d pair kings/regents.
4 and v. 8, since they are an obvious enumeration, and w i t h all these nonfunctioning b o d y parts constitute attractive polemics*. T h e surrounding verses have clearly b e e n synchronized. All refer to people and contain the point: w h o w o u l d be so naive as to w o r ship their handiwork? T h e C - c o l o n of v. 7 concludes the central series w i t h a slightly different pattern, and together w i t h (the " m o u t h s " in) v. 5a makes a frame around the core of the evidence. At the last m o m e n t , it seems as if the p o o r wretches want to cry o u t in distress after the merciless trouncing by the poet, but they cannot manage this—they really are d u m b .
8—9 is n o t prominent, but certainly recognizable and lends an aspect of har m o n y to the people gathered there. T h e y are presented in the plural (princes, children), by w h i c h the poet takes us back to the beginning. In this way h e effectively rounds off his song w i t h a form ofinclusio*, a frame. O n l y after w e have crossed the finish d o The Art of Poetry: A Definition and Analysis 21 w e realize that there are excellent reasons for the call to "praise G o d " in v. 1: these are given in the long final strophe.