I’ve always wanted to write some sort of homage to the many science fiction/fantasy authors and stories that have influenced me personally, especially as a kid. That notion kinda evolved into an exploration of the ebb and flow of “the sense of wonder” in various stages of life. Plus, my writing generally tends to be heavy and tough to read, so I reached a point where I just wanted to write something lighter and more fun for a change. All that merged into “Gundark Island.”

The only books featuring Indian culture, mythology, legends, and fantasy are highly Americanized or Disneyfied versions which are really more American than Indian, this is especially true of YA and middle grade fantasy by Indian-American authors. They’re wonderful authors and books, but they’re not representative of what Indians are reading back home, and in fact, many of these same Indian-American authors and books are not read at all for these same reasons. My goal is to write stories and books that remain true to my culture and country of origin without Americanizing or Disneyfying anything.

I spent one summer in college doing an archaeological dig at a colonial site in Virginia as part of my minor in Anthropology. The surface of the site was littered with artifacts from the present and recent past—beer bottles and assorted other debris. Scraping away the dirt revealed the foundation of a building long gone, bits of broken pottery and tiny glass beads. Archaeology, to me, has always felt a bit like digging backwards through time, and I’ve been wanting to write a story about it for a long time.

Adoption, in a strange way, is a kind of surrogate family-making. I am extremely fortunate to have two parents who love and support me, though this is a complex relationship and one that is far from the status quo. Especially now that I am approaching a societally accepted age for parenting, I am forced to reevaluate these complications with much more vigor than I did when I was younger.

I love writing stories that draw on Indian mythology yet turn the tale around in some unexpected way. In this story, it’s especially fun because I got to write a chase sequence and a battle both at once! So they’re literally chasing after Vrath and attacking him from behind as they try to catch him (or destroy him). That was really fun to write. Chariots and magic arrows and a demi-god who can’t be killed but can be wounded and hurt.

For a long time I have wanted to write a story about space exploration for the rest of us—that is, those of us who are not fighter pilots, crazy wealthy, or even physically fit. So far, space has been reserved for elites, and as long as we insist on sending wetware up there, it’s going to stay that way. But there are other ways! We don’t have to be passive observers of other peoples’ heroism, even in the short run.

Well, it hadn’t occurred to me before, but this is definitely a spiritual sequel of sorts to a story I wrote when I was seventeen, the first line of which was, “Once we invented cars which ran on sadness, all our problems were solved.” There’s more I could explore about physical belongings as vessels for emotion and about how our feelings, even in this world, affect the world around us in complicated ways.

It’s also important to remember that there were plenty of historical women at the time who bucked tradition and told people to get stuffed, by traveling the world, practicing medicine, doing good science, and so on. I think it’s Harry’s position as a member of the royal family that restricts her even more than her identity as a woman. Still, the real Princess Maud of Wales was no wilting flower.

Jeel plays a very prominent role in Upon A Burning Throne and the rest of the Burnt Empire series. She is, in fact, the closest thing to a God Supreme in that particular world. (At least for now. Who among us mere mortals can truly know which other Gods may lie lurking in the celestial cosmos?) She has great power and influence, since she governs all water bodies in the world of Arthaloka.

I first wrote this story in January 2017 (it’s been a long and winding road). 2017 was Canada’s sesquicentennial, and this story was largely my way to work through some very, very conflicted feelings about “Canada 150.” At the time, I worked in heritage/tourism, and there was a lot of soul-searching involved in balancing the demand for “FUN HAPPY MAPLE SYRUP PARTY, EH?” and the reality that Canada’s colonial settler history and present are pretty terrible.