Canadian writer (born 1979)
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Frank standing on a stool on his wondrously functional pre-Libya legs, the bullet that would sever his spinal cord still twenty-five years away but already approaching: a woman giving birth to a child who will someday pull the trigger on a gun, a designer sketching the weapon or its precursor, a dictator making a decision that will spark in the fullness of time into the conflagration that Frank will go overseas to cover for Reuters, the pieces of a pattern drifting closer together.
It’s shocking to wake up in one world and find yourself in another by nightfall, but the situation isn’t actually all that unusual. You wake up married, then your spouse dies over the course of the day; you wake up in peacetime and by noon your country is at war; you wake up in ignorance and by the evening it’s clear that a pandemic is already here.
The journalist is beautiful in the manner of people who spend an immense amount of money on personal maintenance. She has professionally refined pores and a four-hundred-dollar haircut, impeccable makeup and tastefully polished nails. When she smiles, Arthur is distracted by the unnatural whiteness of her teeth, although he’s been in Hollywood for years and should be used to it by now.
But all of this raises an interesting question," Olive said. "What if it always is the end of the world?"
She paused for effect. Before her, the holographic audience was almost perfectly still. "Because we might reasonably think of the end of the world," Olive said, "as a continuous and never-ending process.