conversations.from: human
conversations.value: Do you know a description for a book titled The Queen's Necklace about Maglore, Moon, Thorn with the genre: Science Fiction & Fantasy, Fantasy? Start with the sentence 'In this tongue-in-cheek fantasy, the author's first since 1995's The Moon and the Thorn (the concluding volume of her Chronicles of Celydonn trilogy), ancient Maglore Goblins and humans battle for control of the Lesser Goblin Jewels, artificial gemstones that can absorb and channel the Universal Magnetism'.
conversations.from: assistant
conversations.value: In this tongue-in-cheek fantasy, the author's first since 1995's The Moon and the Thorn (the concluding volume of her Chronicles of Celydonn trilogy), ancient Maglore Goblins and humans battle for control of the Lesser Goblin Jewels, artificial gemstones that can absorb and channel the Universal Magnetism. Set in a vaguely Franco-British world of court intrigue, magic and wonderfully imaginative nonsense, this sometimes charming mishmash unfortunately concentrates on cardboard characterizations of an assortment of humans, such as Captain Wilrowan Krogan-Blackheart, his somewhat reluctant wife, Lilliana Brakeburn-Blackheart, a Specularii magician-in-training and their cohorts. The problem: the goblins (and the religious zealot, Raith, who may or may not be evil) are far more interesting. The Maglore royalty, thought long-since dead and without power over their former human slaves, are represented by Ys, a petulant goblin orphan princess rescued by the imperious Valentine Solange and Lady Sophronispa. Whenever they take the stage, the story sizzles. The result is that the reader finds the longing for Maglore victory almost irresistible. Convoluted plotting and multiple flashbacks, flashforwards and extraneous details slow the pace and make for impatient reading. the author, author also of the Green Lion trilogy (The Child of Saturn, etc.), is capable of better. Nonetheless, fans who've long been waiting for a new the author should gobble this one up.
conversations.from: human
conversations.value: Do you know the first five paragraphs for this book?
conversations.from: assistant
conversations.value: The Queen's Necklace
  With expert eye he took in the warped tilt of the roof, the irregular angles of the fire-mottled walls. One or two effects would not have been out of place in a seaside villa. He should bear that in mind. He remembered a paper he'd once given at a conference on urban design: It is not from the château that we set out upon our adventure, gentlemen, but from the shack...
  Adalberto, the security man, had a hen. He was one of a team of security men in a big factory; and he kept this hen in a little courtyard there; the chief of security had given him permission. He would have liked, with time, to have set up a whole hencoop for himself; and he had begun by buying this one hen which they had promised him was a good layer and a quiet creature who would never dare upset the severe industrial atmosphere with any loud clucking. As it turned out he could hardly complain; the hen laid at least one egg a day, and apart from some subdued gurgling might have been entirely mute. To tell the truth the chief of security had only given Adalberto permission to keep the bird in a coop, but since the courtyard, only recently annexed to the purposes of industry, abounded not only in rusty screws but likewise in worms, it had been tacitly accepted that the hen could peck around at will. So it went back and forth reserved and discreet among the workshops, was well known to the men, and, for its freedom and irresponsibility, envied.
  One day the old turner, Pietro, discovered that the equally old Tommaso, in Quality Control, was coming to the factory with his pockets full of maize. Having never forgotten his peasant origins, Tommaso had immediately appreciated the productive capacity of the fowl and linking this appreciation to his desire for revenge for injustices suffered, had embarked upon a stealthy campaign to woo the security man's hen and encourage her to lay her eggs in a box of scraps on the floor by his workbench.
  Every time he realized his friend was up to some secret trick, Pietro was annoyed, because it always came as such a surprise to him, and he at once tried to go one better. Ever since they had become prospective relatives (his son had got it into his head to marry Tommaso's daughter), they were always fighting. So he too got hold of some maize, prepared a box using metal scraps from his lathe and in the brief respite the machines he ran allowed him, tried to attract the hen. Hence this game, where what was at stake was not so much the eggs as a question of revenge, was played out more between Pietro and Tommaso than between themselves and Adalberto, who, poor chap, searched the workers as they arrived and left, rummaged in bags and pockets and knew nothing.
  Pietro worked alone in a corner of the workshop set apart from the rest by a section of wall so as to form a separate room, or 'lounge', with a glass door that looked out on to a courtyard. Until a few years ago there had been two machines and two workers in this room: Pietro and another man. But one day the other man had gone off sick with a hernia, and in the meantime Pietro had had to look after both machines at once. He learned how to regulate his movements accordingly: he would push down the lever of one machine and go to pull out the piece the other had finished. The hernia case was operated, came back, but was assigned to a different team. Pietro was stuck with the two machines for good; indeed, to make it clear that this was not just forgetfulness, a time-and-motion expert was sent to assess the situation and a third machine was added: the man had calculated that between the operations for one machine then the other there were still a few seconds free. Then, in a general overhaul of productivity bonuses, to have some dubious calculation come out, Pietro was obliged to take on a fourth. At sixty and more years old he had had to learn to do four times the work in the same hours, but since his salary was still the same, his life wasn't radically transformed, if one excludes that is the development of chronic bronchitic asthma and the bad habit of falling asleep as soon as he sat down, in whatever place or company. But he was a tough old man and, what's more, full of good spirits, and he was always hoping that major changes were just round the corner.
conversations.from: human
conversations.value: Do you know five more paragraphs?
conversations.from: assistant
conversations.value: But so inexhaustible a quality is man's freedom, that even in these conditions Pietro's mind was able to weave its web from one machine to the other, to flow on unbroken as the thread from the spider's mouth, and in the midst of this geometry of steps gestures glances and reflexes he would sometimes find he was master of himself once again and calm as a country grandfather going out late in the morning to sit under the pergola and stare at the sun and whistle for his dog and keep an eye on his grandchildren swinging on a tree and watch the figs ripen day by day.
  Of course, such freedom of thought could only be achieved by following a special technique that had taken time and training: all you had to do, for example, was learn how to break off your flow of thought when your hand had to move the workpiece under the lathe, then pick it up again, almost placing it on the piece as it now proceeded towards the grooving machine, and above all take advantage of the moments you had to walk, since one never thinks so well as when one walks a well-known stretch of road, even if here the road was no more than two steps: one-two, but how many things one could think of in that space: a happy old age, all Sundays in piazzas at political meetings listening hard near the loudspeakers, a job for his unemployed son, and then all at once off with a gaggle of grandchildren fishing on summer evenings, each with his rod on the walls above the river, and a bet on a cycle race to propose to his friend Tommaso, or about the collapse of the government, but something so wild as to knock the big-headedness out of him for a bit – and at the same time glance over at the transmission belt to make sure it wasn't slipping off where it always did by the wheel.
  Thus the movement of the machines both conditioned and drove the movement of his thoughts. And little by little, softly and stealthily, his mind adapted itself to the confines of this mechanical mesh, as the slim muscular body of the young Renaissance cavalier adapts to its armour, learns to tense and relax biceps to wake up a sleepy arm, to stretch, to rub an itchy shoulderblade against the iron backplate, to tighten buttocks, to shift testicles crushed against the saddle, to twitch a big toe away from the others: in the same way Pietro's mind stretched and loosened up inside its prison of nervous tension, automatic gestures, weariness.
  For there is no prison that doesn't have its chinks. So even in a system that aims to exploit every last fraction of your time, you discover that with proper organization the moment will come when the marvellous holiday of a few seconds opens up before you and you can even take three steps back and forward, or scratch your stomach, or hum something: 'Pompety pom...' and assuming the foreman isn't around to bother you, there'll be time, between one operation and the next, to say a couple of words to a workmate.
  So it was that when the hen turned up Pietro was able to go: 'Chucketty chuck chuck...' and to make a mental comparison of his own pirouetting between the four machines, big and flat-footed as he was, to the movements of the hen; and he began to drop his trail of maize that, leading to the scrap metal box, was supposed to lure the fowl into laying its egg for him and not for that stooge Adalberto nor for his friend and rival Tommaso.
conversations.from: human
conversations.value: Delete the first sentence.
conversations.from: assistant
conversations.value: Of course, such freedom of thought could only be achieved by following a special technique that had taken time and training: all you had to do, for example, was learn how to break off your flow of thought when your hand had to move the workpiece under the lathe, then pick it up again, almost placing it on the piece as it now proceeded towards the grooving machine, and above all take advantage of the moments you had to walk, since one never thinks so well as when one walks a well-known stretch of road, even if here the road was no more than two steps: one-two, but how many things one could think of in that space: a happy old age, all Sundays in piazzas at political meetings listening hard near the loudspeakers, a job for his unemployed son, and then all at once off with a gaggle of grandchildren fishing on summer evenings, each with his rod on the walls above the river, and a bet on a cycle race to propose to his friend Tommaso, or about the collapse of the government, but something so wild as to knock the big-headedness out of him for a bit – and at the same time glance over at the transmission belt to make sure it wasn't slipping off where it always did by the wheel.
  Thus the movement of the machines both conditioned and drove the movement of his thoughts. And little by little, softly and stealthily, his mind adapted itself to the confines of this mechanical mesh, as the slim muscular body of the young Renaissance cavalier adapts to its armour, learns to tense and relax biceps to wake up a sleepy arm, to stretch, to rub an itchy shoulderblade against the iron backplate, to tighten buttocks, to shift testicles crushed against the saddle, to twitch a big toe away from the others: in the same way Pietro's mind stretched and loosened up inside its prison of nervous tension, automatic gestures, weariness.
  For there is no prison that doesn't have its chinks. So even in a system that aims to exploit every last fraction of your time, you discover that with proper organization the moment will come when the marvellous holiday of a few seconds opens up before you and you can even take three steps back and forward, or scratch your stomach, or hum something: 'Pompety pom...' and assuming the foreman isn't around to bother you, there'll be time, between one operation and the next, to say a couple of words to a workmate.
  So it was that when the hen turned up Pietro was able to go: 'Chucketty chuck chuck...' and to make a mental comparison of his own pirouetting between the four machines, big and flat-footed as he was, to the movements of the hen; and he began to drop his trail of maize that, leading to the scrap metal box, was supposed to lure the fowl into laying its egg for him and not for that stooge Adalberto nor for his friend and rival Tommaso.
conversations.from: human
conversations.value: Do you know the last five paragraphs?
conversations.from: assistant
conversations.value: The inspector ordered that the bird be searched. One of the agents stalled saying it made him feel sick, and after some fierce pecking another withdrew sucking a bleeding finger. In the end the inevitable experts emerged, more than happy to demonstrate their zeal. The oviduct was shown to be free of any messages inimical to the interests of the company, or indeed of any other variety. Expert in the many techniques of war, the inspector insisted that they search under the bird's wings, where the Pigeon-Lover Brigade are wont to conceal their messages in special sealed cartridges. They searched; feathers, down and dirt were strewn across the desk, but nothing was found.
  Nonetheless, considered too suspect and treacherous to be innocent, the hen was condemned. In the dingy courtyard two men in black uniforms held it by the claws while a third wrung its neck. The bird let out a last long heart-breaking shriek, then a lugubrious cluck, she who had been so discreet as never to dare cluck for joy. Adalberto hid his face in his hands, his harmless dream of a cackling hencoop buried stillborn. Thus does the machine of oppression ever turn against those who serve it. The owner of the company, concerned that he had to meet a delegation of workers who were protesting against firings, heard the hen's death wail in his office and sensed it boded ill.
  Penguin Modern Classics were launched in 1961, and have been shaping the reading habits of generations ever since.
  Penguin Modern Classics have caused scandal and political change, inspired great films and broken down barriers, whether social, sexual or the boundaries of language itself. They remain the most provocative, groundbreaking, exciting and revolutionary works of the last 100 years (or so).
  On the fiftieth anniversary of the Modern Classics, we're publishing fifty Mini Modern Classics: the very best short fiction by writers ranging from Beckett to Conrad, Nabokov to Saki, Updike to Wodehouse. Though they don't take long to read, they'll stay with you long after you turn the final page.