I wanted to write a story driven by that anger, that sense that the people who have come before us have ruined everything, that reveals what we’ve lost. But I also wanted to see a generation that tried to fix some things. People resist so many arguments to fix things because of the short term. We’d rather poison ourselves, kill what sustains us, if short term it gets us something good. Population growth boosts economies even while it pushes communities to pave over green spaces, pushes agriculture to keep up with increasing demands.

I’ve been reading a lot about corvid intelligence and doing thinking about how they would develop as thinkers. When I am doing something like this, I end up trying to create the art of the creatures I am hoping to understand. What does a dog riddle look like? What is squid poetry? What myths do crows tell one another? Some of these are accessible, but most are opaque to anyone but me, so I never show them to people.

My wife and I are occasional recreational gamblers, who visit casinos when time and finances permit. We are aware of the drawbacks, among them that the odds are overwhelmingly that you will go home having lost what you came to play with, and that the games have a compulsive aspect that can lead you to keep playing anyway. The premise of a casino where the stakes are life memories led me to the realization that, even if you win, you will go home with a set of life experiences that don’t involve you.

I think everyone has that secret story of an unspoken person who is supposed to be here but for some reason is not. I started thinking about the what ifs: What if that person was here? And if that person was here, would she understand me more than those who are here? Would she have not fit, like me? But as I wrote the story, thinking it was going in that direction, I realized that sometimes the missing are the ones we can mold the most to fit ourselves.

The story is part of a longer series of fantastical travelogues which began during traveling in Europe, and they’re based on both my own literal and emotional journeys. I was interested in exploring new ways to tell short stories, particularly fantastical tales, and I found that the “travel guide” form provided a great metaphor for the kinds of inner travels we take throughout our lives. And so these travel stories, for all their fantasy, are actually a kind of autobiography!