For me, even when I was pregnant, I wondered, Should we even have children if we're bringing them into this horrible, scary world? But I did have a child, despite these fears - or because of them - and these fears are both contemporary and as old as time.

I am not sure I knew what I was doing, writing an "apocalypse" novel, when I started this book. Now that the book is done, I can own that I have in fact written an apocalypse novel, one that speculates on a dark, dark future. Why I did it, I really don't know - every time people read my work they comment on its darkness, its sadness.

California seemed to me to be all about secrets and the need for safety. And this leads to this thematic messiness I'm still trying to figure out what to do with. I mean, when it comes to the themes, this is nothing like an Atwood novel.

I am not sure how a novel changes the world. I think it alters a reader's perspective by asking him or her to see the world through another consciousness. That can perhaps cause people to see their own lives differently. Or just give a single day, a single moment, a slightly different sheen.

I did a lot of this through writing flashbacks. Many of the flashbacks took place at Cal's school and I eventually cut them because they didn't seem essential and they slowed the pace of the story in the first third of the book. They were essential to me, though, in that I learned about my characters.

For me, even when I was pregnant, I wondered, Should we even have children if we're bringing them into this horrible, scary world? But I did have a child, despite these fears - or because of them - and these fears are both contemporary and as old as time.

I suppose that it's my impulse to mine, as a writer, these scary parts of ourselves and the world.