Growing up in Malaysia, really, and listening to the usual doctrine. The wife is an asset, an advantageous acquisition for the husband’s family. She has to be. Because otherwise, what’s the point of her? There’s definitely a growing awareness of women’s rights in the country, but a lot of the older generation still subscribe to the idea that women are almost property. And you do see its impact on men of my generation

 I’m fascinated by stage magic. There’s definitely a similarity between stage magic and fiction, not just in the reliance on the audience to suspend disbelief, but also in the power of misdirection. Writers choose what readers see, and when they see it. What’s background or set, what detail will be important to the story? We control the timing of what is revealed when, and if we do it right, we reward the careful reader. Style is just one of the tools.

 Humans can obviously be connected to the environment and/or incredibly destructive towards it. But even if humans stop existing, if we wipe ourselves out, are driven to extinction, or just up stakes and leave, the environment will go on. It doesn’t need us nearly as much as we need it. I wrote this story in response to my own fears of nuclear war, which are a primal thing for me. I grew up in the 1980s when the possibility of a nuclear exchange with the USSR was still quite real, so that has lurked in my own psyche for many, many years.

I definitely didn’t want to write anything tragic. I think in our world we always know that tragedy is right around the corner and always a possibility, and so it looms over Jamie like it looms over us all. But there are enough tragedies about transgender kids and adults, both in fiction and in reality. This didn’t need to be another one.

 I had the essential image, a metropolis as amoeba, extending pseudopods to locomote across a landscape, while sucking up people to function as its citizenry. I have absolutely no memory of this image entering my head, but everything else in the story proceeded from that genesis.