The Center of the Universe

When rejecting an objectivist stance for understanding our goings-on, we similarly discard an experiential one. We know that the stability afforded meaning from a concrete topos endures as epistemically inadequate; real-world grounding for discourse often leads to referential entropy. We need to pivot (The Mad Hatter was on to more than drugs—that smart puppy grasped the gist of rhetoric.)

So, we scripters consciously create linguistic distinctions featuring weird groupings of thoughts. Casual remarks can’t elevate humanity above hate but raising our audiences’ consciousness can. Thus, except for petulant wordsmiths possessed of lengthy involvements with specific publishers, we’re able to apply verbal obfuscation, to invite emotional disagreement, and to include hapless contemporaries, eldritch space travelers, and persons struggling to get through to the next day in our works.

The stories contained in The Center of the Universe make an effort to achieve these ends. These narratives are a mix of idealistic and realistic parts.