I don’t think going to Mars will save us. Nor will building some godlike artificial intelligence. No—if there is to be a worthwhile, dignified future for human life on Earth, we have to break free of this malevolent cosmology, this planet-devouring maw.

Using a child’s innocent mind, it is easier to take ourselves back to our primal and untainted fears. I agree with you. To add to that, I also think the older we get, the more tethered we become to the world. Reality becomes more concrete; our understanding sheds its infinity. A necessity, but also a limitation. However, with children, the imagination is still free-flying, and writing from their perspective allows for directions usually unattainable.

I wanted to write about a so-called lost writer but also to push that idea into somewhere strange by writing about a writer and book that may belong in oblivion. As my narrator says, “Some things, perhaps, are not and will never be classics, were rightfully neglected or lost for good reasons.” That’s the core concept I was working with. My interest in forgotten writers, the legend of the stone, and the narrative framework coalesced quite well.

Given the modern problems of dating and such, I have my suspicions, but can you tell us a bit about what inspired “Backseat Kiss”? This story went through a few iterations. At first, I wanted to use a relationship to explore power dynamics, and originally the story was going to be about cuckoldry. That then […]

I like to start my short stories by immediately taking a plunge with my audience, a phrase or a certain voice or tone that lets them know what kind of tale they’re getting into and to trust this voice. This notion, supported with a sense of immediate urgency, i.e., give them something or someone interesting to latch onto—guides most of my work.