On every world there are a few who know [that the shift of the operating principles of the universe] is going to happen. They are dismissed as kooks, because when rationalism is in the ascendant, everybody knows that magic is hokum. Conversely, when magic rules, everybody knows that cause-and-effect physics is unreliable in a universe that operates on the basis of focused will.

The idea came to me on a NY (not KY) interstate, musing on the wide, wooded medians as a sort of created wilderness. I imagined a campfire and even “saw” the bears sitting around it. The story itself is your standard Southern old-timers’ nostalgia tale, with old tires instead of corn bread and sorghum as the icons of tradition.

Several months after writing “Apotheosis,” I looked at it again. And suddenly I realized that it was a completely blatant response to Ursula K. Le Guin’s classic story “The Ones Who Walk Away From Omelas.” I had read that story as a teenager and loved it, but I had probably taken it a bit more literally than I was meant to, because my first reaction was, “Why are you walking away? GET A GUN AND BREAK THAT KID OUT OF THERE.” Of course, that’s not the story Le Guin was trying to write. But it ended up being the story that I did.

Meaningful science fiction stories are really about the human condition, or so I’ve been told enough times that I’ve begun to believe it. We’re a pretty self-centered species at a fundamental level, so a story that deals only with an extremely “alien” entity would not be very satisfying to our need for stories. At the core of any story, there has to be a human soul, regardless of how dressed up it is as “other.”

A great deal of what I like about this story is what isn’t there. It is meant to be mystical and elegiac, which is life, as I understand it. I don’t know how Lena lost her place in the strange world that begins this story, but I know that poetry sustains that world, and it will die if it doesn’t regain its Muse, its inspiration.

Take away those who hold a major belief system and yes, society alters. Those left behind have their beliefs shaken. Those transported greet a new world, and though somewhat reassured, have a hard time and many questions. It’s a huge reset.

When I encountered JANE EYRE again in graduate school, I was in for a bit of a shock. This was not the dull, safe story I remembered. It was a novel out of Victorian nightmare, clawing against the constraints of its historical period. And this time it was clearly, to my eyes, a fantasy novel: It features a young Orphan With A Destiny adventuring across a landscape infused with fairy-tale imagery.

I am very aware of the story clock that ticks in the background of all fiction. The shorter the story, the faster the clock ticks.

One book I read as a kid claimed that when knights traveled east to attack Jerusalem during the Crusades, they sometimes got so hot that their sweat filled up their armor, drowning them. That was still fresh in my mind, so when John suggested I write a power armor story, I got the idea of a critical flaw in someone’s otherwise invincible armor that would cause the suit to fill with fluid, drowning them.