Reconciliation, to me, in its meaning of “to bring back together,” implies that all parties have openly communicated with each other to restore relations. It implies a kind of forgiveness, and releasing each other from the past. I imagine some people will see a relationship between mother and daughter worth salvaging. I do not subscribe to the notion that it is necessary, or even desirable, to tidy up one’s relationship to one’s parents according to common wisdom of what that relationship should be.

Sometimes readers want to hear that a story is autobiographical, sometimes (understandably) they don’t; and sometimes they’d really rather have the writer shut up and write more stories—which is probably what he should indeed do. But since you ask and since it’s important to me where stories come from, I should go ahead and say that I lived in a magical village just like the one in “Ink” when I was David’s age. By “magical,” I don’t mean just the feeling of it; I mean literal events.

“An Inflexible Truth” grew out of my love for the conspiracy thriller genre—especially those classics from the 1970s, with an intrepid hero who gets wind of systemic corruption and undertakes to expose it. There’s an implicit, compelling momentum to that kind of tale, as the protagonist’s knowledge of the world’s hidden evil grows. But I also find it psychologically interesting, because the protagonist is usually so isolated and outnumbered by a hidden reality he doesn’t quite grasp.

It may be worth mentioning here that the idea from the story came from a real incident. After the 1988 World Fantasy Convention in London, I took the train up to Edinburgh, which is one of my favorite cities, and stayed there for a week. One day I was hiking by myself on Arthur’s Seat and heard someone ask, “Are you all right?” When I turned, I found a cop next to me. He and his partner patrolled the base of the park, and when they saw a woman alone, he left the patrol car to climb up and assess the situation.

In the case of stories like “Tongue,” I hope to shock readers by presenting a real world issue that’s so common, so routine, and yet so horrific, that it hopefully makes supernatural horrors pale in comparison. At the same time, “Tongue” is a science fiction story, because the technology that exists to make Revathi possible (in the form she is when the story opens) doesn’t actually exist yet. It’s an attempt to write SF that’s about real world problems, as against “first world” problems like most SF seems to be historically.