In some ways, this story’s a response to how our society puts so much emphasis on romantic attachments, how it ignores the idea that platonic relationships can carry the same amount of importance. This tunnel vision has been instrumental in creating lonely people—so many adults find themselves suddenly starved of affection because all they do is work and go home to family.

I think a lot about cycles of time and arrows of time, two dominant models of time that have been important not just in the history of philosophy and science, but also in how we consider and come to terms with our own mortality. It is sometimes said that taking the long view is depressing—since in the long term, all of us will be dead. But for this story, I wanted to see if it’s possible to go the other way.

I read a little bit of Angela Carter and Lyudmila Petrushevskaya while working on “Al-Kahf,” The Bloody Chamber and There Once Lived a Woman Who Tried to Kill Her Neighbor’s Baby, so many of the structural and stylistic decisions I made in my own story were influenced by those authors. I’m a fan of Carter’s detail. Her writing is rich and dense, and I adore her attention to language.

Take memories, for instance. They’re imperfect and fleeting, and yet we build so much of our sense of self upon them. “I am the person today who remembers the person I was yesterday.” So if you forget a particular event, are you a different person than the one who experienced it? You almost certainly remember it differently than it actually happened. Our brains are incredible at filling in details to make our memories more believable.

Kali was actually created out of body parts of different Hindu gods. They were unable to defeat a powerful demon themselves, so they each contributed a body part, which came with that god’s greatest power or weapon, and created Kali. But they hadn’t anticipated how powerful she would be now that she had all their powers (duh). She was a wrecking ball. An unstoppable force of destruction.