I was thinking a lot about totalitarian states, and how insidiously they turn people against one another, making them complicit with great evil. Obviously, the Nazis and such states were in my mind; among many other things, the pit is a concentration camp. But I was thinking about the war on terror, as well — especially the prison camp at Guantanamo Bay.

I was mildly tickled, certainly not captured, by the thought that Earth is probably about a fourth-generation (across the history of the universe) living planet; that is, about three planetary lifespans of living worlds have probably gone all the way from first replicating molecules to dead husks before we even started. So if there was panspermia, it would have had plenty of time to evolve.

To me, steampunk is a genre that straddles the border between fantasy and science fiction, with one foot in each camp. It’s also a genre that is inextricably bound up with the history of colonialism and empire. As such, it’s particularly suitable for telling metaphorical stories about the impact of technology as one aspect of cultural invasion and the responses of the colonized peoples.

I tend to think of myself as a quiet writer, meaning that when given the opportunity to write about something big — like destructive climate change, for example — I’ll usually look inward for the emotional struts that get knocked over by such life-changing events. With so many bombastic, epic destruction stories in our lives — the “disaster porn” of modern cinema a prime example — I often find myself most moved by the portrayal of believable, honest people who are unfortunately living in the shadow of such towering events.

This is a story about the commodification of absolutely everything. It portrays a future world where culture, religion, and people themselves are consumer goods bought and sold on the open market. No one in the story thinks they are living in a dystopia; they cheerfully collaborate and celebrate their own commodification — until they can’t any more.