From its opening line—'We all know that every android has its little idiosyncrasies'—Sol Boren's story establishes a wry, conversational tone that undercuts the science-fiction premise. The android Francois is not a menacing machine but a fussy, British-accented critic who comments on his owner's drinking, his wife's weight, and her dress sense with devastating precision. The narrative voice, however, belongs to Raymond Golden, whose internal exasperation is rendered through vivid physical details: 'Indecision settled upon him like a leaden cloak and pulled him back against the foam-air-rest, where his head wobbled uncomfortably.'

Diction and the Android's Voice

The android's speech is a study in controlled insult. Its 'perfect voice' delivers observations that are grammatically impeccable but socially catastrophic: 'Madam, you are getting quite fat.' The contrast between its polite, almost courtly phrasing and the brutal content creates the story's central comic tension. Boren amplifies this by giving the android a 'deep, resonant and faintly British' quality, lending an air of authority to its critiques. Raymond's retorts, by contrast, are colloquial and frustrated—'Shut up'—underscoring his powerlessness. The android's vocabulary includes words like 'reiterated' and 'monotonous irregularity,' which Raymond mockingly echoes, revealing a verbal sparring that defines their relationship.

Structure and the Escalating Farce

The story builds through a series of trade attempts, each introducing a new android with a distinct flaw. This episodic structure mirrors a farcical comedy of errors. The first visitor, Mr. Groober, brings George, who has a 'chemurgical complex' and comments on Raymond's 'extremely high fat content.' Then comes Mrs. Quimby with Daisy, who walks on its hands and jumps uncontrollably. Finally, Ulysses arrives, announcing itself as 'the greatest android ever produced' and treating its owner as a worn-out accessory. Boren uses repetition with variation: each new android is more absurd than the last, yet none is tradable. The mounting chaos—'the little apartment was jammed with human beings and inhuman androids'—leads to a dead end, forcing Raymond to confront his original problem.

Recurring Details and Physical Comedy

Boren peppers the narrative with small, telling details that ground the absurdity. Paula's 'double chin trembled' as she threatens to leave; Raymond's 'burning, blood-shot eyes' and habitual arm extension for a drink signal his dependence. The android's movements are described with mechanical precision: it 'glided over to the built-in bar and performed rapid, indiscernible manipulations.' Physical comedy abounds: Daisy's head hits the ceiling 'with a thud; up and down, up and down,' and Mrs. Quimby's resigned 'Depends on the ceiling' undercuts the chaos. These details keep the story anchored in a recognizable domestic setting, making the android's intrusions feel both fantastical and uncomfortably real.

Authorial Choices in Dialogue and Description

Boren's dialogue is sharp and economical, often carrying the plot forward through confrontation. The exchanges between Raymond and the android are a verbal duel: 'You drink too much, sir.' / 'I know. You've reiterated that profound spiritual message with monotonous irregularity.' The android's replies are always 'Very good, sir,' a phrase that becomes a sarcastic refrain. Description is used sparingly but effectively: the android 'stared at her posterior' before delivering its fat-shaming remark. Boren also employs similes that blend the domestic and the mechanical: 'Indecision settled upon him like a leaden cloak.' The story's voice is consistently ironic, treating the android's cruelty as a matter-of-fact nuisance rather than a crisis, which heightens the dark humor.

Readers should pay attention to how Boren balances the android's inhuman precision with Raymond's very human flaws. The story never explains why the android behaves this way—it simply is. This refusal to justify or resolve the central conflict is part of the tale's charm. The ending, though not included in these excerpts, is hinted at by the escalating absurdity of the trade attempts. Approach the story as a character-driven comedy of manners, where the machine's perfect logic exposes the irrationality of its owners.