Since much of my own short fiction stresses characterization, I particularly admire stories in which individual characters are basically absent, and the story is about entire peoples, species, ideas.

The story kind of tells its own history: I was researching the actual process of brain death, and realized what a mushy concept it really is. Basically, the body goes through a shutdown sequence, and “death” is the point at which medicine can no longer reverse the process. But that point has been moving; with CPR, defibrillators, and ventilators, legal “death” stopped being about the heart and now takes place in the brain.

In this story, the lovers aren’t magic. The only magic they really have is that they’re in love. But oh, my, god, love is major magic. There’s a reason we talk about being bewitched.

Back in the 1980s, biological science was abuzz with a new idea—that the boundaries between species aren’t anywhere near as firm and permanent as we (and Darwin) once thought. Bacteria exchange DNA with each other. Many of our own genes entered our chromosomes, originally, from viruses.

Back in the late sixties or early seventies, a small—and now long defunct—animation company asked me to submit some story ideas. The first version of “Gordon” was one of two notions that I wrote up and handed in. They weren’t impressed with either, but my kids had liked “Gordon,” so I tucked it away in my filing cabinet, thinking that someday I might do something more with it. I had no idea it would take more than 30 years.

Songs are something that humans have always taken with us to war: you can’t go on the march with a painting from home in your pack, or bring your entire library of books with you. […] But you can always sing a song.

I’ve always been fascinated by the secondary or even tertiary characters in stories, the characters who don’t get written about. Who may not even get to speak. I have a tendency to write their stories. […] In this case, I was fascinated by a character in a poem: the Abyssinian maid in Samuel Taylor Coleridge’s “Kubla Khan.”

It’s easy to come up with science-fictional cultures that put no great value on long life, for whom immortality would be unpleasant or even obscene. […] A large number of Americans believe they’re going to be immortal up in the sky after they die on Earth. That’s one of the solutions to the problem, and it takes care of certain aspects like expense, real estate, post-mortem effect, and so on.

I had been reading about Japanese calligraphy and the emphasis placed on creating simple yet beautiful strokes. I wanted to apply that kind of philosophy to a dedicated warrior, mixed with the idea of having a palette of different colored swords.

The idea originated from a number of elements that all came together into this singular idea. The first was a TED talk by Benjamin Zander where he discusses music and passion. At one point he plays two notes and says the job of the C note is to make the B note sound sad. I immediately was struck by a parallel to writing, where we use various prose elements for a specific effect.