Much like what its title implies, Infinite Zero began very small, then bloomed into something far more complex.  The impetus was something like a simple melancholy, as if present in a world organized yet not at all bright, let alone meaningful.  The only appropriate setting I could conceive for such a feeling was that of what I’ve called (only somewhat tongue-in-cheek) a post-post-apocalyptic world—a place that has already met its doomsday and cleaned itself up since.  The world of Infinite Zero is the product of that idea, at once virtually indiscernible from our own world, and yet something all its own.

As always, there have been a number of people who have contributed in various ways to this project, especially to the construction of the world and its characters, too numerous to mention in a single section like this.  Suffice it to say, the understanding I needed of geopolitics, religion, psychiatry and psychotherapy, international conflicts both historical and imagined, as well as admittedly more Eastern metaphysics than my previous projects have entertained—all of this was accumulated over the course of conceiving of and later writing Infinite Zero by numerous contributors, whom, though they may remain nameless here, I will not soon forget.

I can thank by name those closest to me, most notably my family, who saw me through the more difficult moments of this project.  Not everything of this novel came easily; while some chapters flowed, others were more like heavy boulders which had to be pushed up steep hills.  This was easily the most demanding project I’ve taken on in my writing career thus far, and my gratitude goes to friends and family who were there to support me through that process, whether by simply rooting me on or by helping me to unpack my ideas through conversation and constructive feedback.

And, of course, great thanks is owed to my editor, LaTreace Giles, who has sacrificed a great deal of time and energy to polish this and previous work for presentation.  She has contributed by not only refining my text, but by challenging my content as well, unafraid to point out shortcomings in my work in a way that I’ve come to know I can readily trust.  I’ve long believed that while it’s easy to find “editors” who will uncritically praise your work, it’s equally easy to find ones who will senselessly criticize; LaTreace Giles has slipped both knots and proven herself again and again a tremendous friend and an invaluable colleague.

This is a work of fiction.  Names, characters, places, and incidents either are products of the author’s imagination or are used fictitiously.  Any resemblance to actual events, locales, or persons, living or dead, is entirely coincidental.