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Wonder, Hope, and Rain on Mars: A Conversation With Author Matthew Kressel
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Matthew Kressel
Wonder, Hope, and Rain on Mars: A Conversation With Author Matthew Kressel
Matt Kressel discusses his new novella The Rainseekers, seeking out natural wonders, and writing authentic emotion.
By Martin Cahill
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Published on March 17, 2026
Photo by Christine Kressel
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Photo by Christine Kressel
Matt Kressel is someone I’ve known for over a decade. A kind person and a talented, award-nominated writer, Matt is dedicated to the writing community of NYC and abroad, synonymous with the KGB Fantastic Fiction reading series and the writing group of Altered Fluid (which we were both a part of for many years). Matt writes in many modes, across many genres, and while his work is always imaginative and packed to the brim with the fantastic, the strange, or visions of potential futures, there is one theme that always appears in his work: the human experience is vast, beautiful, and important, our future is one we build together, and there is more that unites us than divides us.
I was so thrilled for his new novella when I heard about it, and it did not disappoint. You can find our conversation below, and I encourage you to pick up The Rainseekers today!
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The Rainseekers
Matthew Kressel
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The Rainseekers
Matthew Kressel
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Martin Cahill: Hi Matt! Thanks so much for talking with me about The Rainseekers. I absolutely loved this story, and what you accomplished with it, and I’d love to start off with: if you were being asked your life story in a rover on your way to witness something spectacular, how would you describe the time in your life where you wrote this book?
Matthew Kressel: Thank you, Martin. That means a lot!
I began writing The Rainseekers during the first Covid lockdown in early 2020. I was feeling depressed about the state of the world and I wanted to write something “optimistic.” A lot, though certainly not all, of near-future science fiction tends toward dystopia and a pernicious nihilism, and I wanted to actively challenge that. I wanted to write about a future where things definitely aren’t perfect, but things are qualitatively better than where we are now. I wrote two or three chapters, then promptly trunked the story. I just felt it would be too hard to write.
Fast forward two years later, and I pulled out the story from my digital trunk and realized that there was something there. I actually got the chills reading it. I believe this is because I had tapped into a deep need in myself, and maybe some universal human need, for narratives of hope and resilience. In those intervening two years a lot happened to me. People I loved had died. The world I had come to trust and rely on had permanently changed. I did a lot of mourning of people, of lost things. In those years I had also grown as a person. I had matured into a place where I felt I could finally write the story, and most of all it would be honest. Most of the characters in The Rainseekers are nothing like me in real life, but I have felt what they felt. Their emotions are authentic in that regard.
Martin: There are so many beautiful elements to this book that combine to become more than the sum of their parts. Can you tell me who or what appeared first? Sakunja, the rain on Mars, one of the passengers?
Matthew: Whenever I get asked questions like these my answer sounds either evasive or mystical, but the truth is I don’t know where my ideas come from or when exactly they appear. Maybe it’s a fault of memory more than anything. I do recall riding in a cab with my friend Theresa DeLucci (we were coming home from a Fantastic Fiction at KGB event in Manhattan) and I told her about the idea for a story: a group of people are chasing an evasive storm on Mars, hoping to be the first to experience rain on the newly terraformed planet. I don’t recall if Sakunja was a fully formed character at that time. But I do know that as soon as Sakunja appeared that I knew everything about her, almost as if she pre-existed. The other characters definitely came after these two. And the book’s optimism was always a deliberate choice.
Martin: The Rainseekers is definitely a mosaic-like story of all these disparate souls coming together to witness the first natural rainfall on Mars, and I loved learning about each one of them. Was there anyone who was more difficult to tap in to than the others? Did they always all contribute to the creation of a habitable Mars, or was that something you discovered along the way?
Matthew: When I’m crafting a new character I look for the humanity in them, the thing that connects the reader to their experiences. We are all challenged by life, we all suffer, and so I focused on specific and difficult challenges they faced. One of the things that makes a character interesting is not just how they feel but what they do in the face of their suffering. In The Rainseekers, I tried to write characters who, despite facing incredible hardships, maintain some kind of hope. They keep on going even when all seems lost. Usually this is not just because of their efforts alone, but because they have the help of others along the way.
I was also writing about people from cultures very different from my own, and so I had to be careful to honor and respect those cultures and to do my homework to make sure I was representing these cultures in a respectful way. I am imperfect and I likely got some things wrong. But I do hope readers will see that I’m trying to highlight each character’s humanity to show that even though we come from these diverse backgrounds we all share a commonality of experience. We all suffer. In that sense, I think all the characters were equally hard to write. I tried to bring a lot of my own experiences into the text, from people I’ve known and things I’ve felt and witnessed, and doing that can often bring up a lot of pain, both consciously acknowledged and deeply repressed. We’re talking about individual but also generational trauma.
With each character, I tried to explore what brought them to Mars, what hardships they faced getting there. And because Mars is still actively being terraformed and because it’s a new frontier, like a Wild West town, many people in the narrative are participating in its construction.
Martin: The reader learns of Sakunja’s story fairly early on, which I found exciting. As the narrator of the book, I feel like other authors might have taken her story as a way to begin the book or end the journey, but you chose as we were in the middle of all the tension of reaching the rain. How did that happen?
Matthew: It was important for me to start the story in media res, already on their journey, and to keep the story organic. A lot of fiction follows common tropes: the inciting incident, the tension building, plot reversals, culmination, and denouement. Readers expect these tropes, especially in genres like science fiction. So it was important for me to have an ostensible framing narrative where the characters are chasing this rainstorm across a dangerous terrain, and I tried to develop a tension arc around that. But I ultimately wanted to focus on the individuals and their stories. I also quickly realized that the narrator, Sakunja, needed a strong backstory too.
Sakunja is a former social media influencer and up until just before the story begins she’s lived a narcissistic life, focusing on herself, her own needs, to the detriment of those around her. She has developed enough self-awareness since then to realize how selfish she has been, especially after a personal tragedy, so she is now actively trying to excise herself from the story and focus on others for a change. This is why when one of the passengers asks her to tell her own story, she is reluctant. She has exclusively focused on herself for years and has come to loathe her former incarnation. But when this passenger hears her story and tells her that her story is just as interesting and important as any other, it gives Sakunja permission to accept and forgive herself. As to why it happened where it did, it just felt like the right place in the story. I was going for a sense of verisimilitude, and so things seldom happen in a convenient or fortuitous order.
Martin: You’re known for writing across a variety of science fiction themes, milieus, genres within sci-fi; what brought about this specific journey, this examination of a (positively) changing climate on Mars, this venture into a documentarian point of view?
Matthew: The late philosopher Mark Fisher used the term “hauntology,” a word invented by Jacques Derrida, to describe the feeling of mourning a future we were “promised” but never got. Instead of improving people’s lives, technology has, to a large extent, made some aspects of our lives measurably worse. (Our attention span, for an example.) The vectors of capitalism have driven this “enshittification.” For a long time, I have been lamenting this lost future, this positive optimistic world that I feel we should have gotten but somehow we keep descending into its exact opposite, some nihilist dystopia. We are more than happy to build the bleak worlds science fiction warned us about, but somehow we cannot conceive of the opposite.
I don’t give a specific timeline in the book, but terraforming Mars would take centuries. Someone compared this to the European cathedrals that took generations to build. This multi-generational timeline sits in stark contrast to the ephemeral nature of our present, with dwindling attention spans and doomscrolling the daily atrocities. I tried to take a wider, longer view of things. Because it feels to me, especially the United States, that we’ve very much lost a collective vision of a brighter future. In The Rainseekers I wanted to ask, what if we all came together and worked toward something beautiful and beneficial? And, sure, you could argue that terraforming Mars may not be beautiful or beneficial to all, but I took the point of view that it would be to those on this journey, and so this mission to feel the rain is deeply meaningful to them, a kind of touchtone to prove that humanity is capable of not just atrocities but great beauty too.
I chose the documentarian style for two reasons. I usually find writing in first person more freeing because you can insert the character’s voice in a way that is harder to pull off well or as convincingly in third person. Also, this style provides a nice framing device for each character to tell their story. Through this framing you see that each person, in their own small way, helped assemble this “cathedral,” this profoundly meaningful thing, brick by brick. But it also has a very practical purpose. A terraformed planet means new life can now thrive there too.
Martin: Where do you feel like The Rainseekers pushed you as a writer? Or do you have a moment in the book that you felt was absolutely tapping into something you love doing as a writer?
Matthew: It certainly pushed me far out of my comfort zone. It made me realize that, though I love plot, my first love is character. I love writing about interesting life experiences and how that shapes a person. When I was done writing it, I didn’t know if the book worked or not. I mean, I personally thought it worked, but I had no idea how others would receive it. I always get a little nervous when I show a new work to first readers. But this time it was different. I felt extremely vulnerable. Perhaps because I had put so much of myself into it. It was frightening actually how vulnerable I felt. And so when I finally started to get feedback from first readers, and it was overwhelmingly positive, it was a great relief. But I was also like, uh-oh, I think I’m onto something here, and this means I’ll have to stay in this place of vulnerability if I want to continue writing like this. It’s hard, but my best fiction usually comes from these places of deep searching and honesty.
Martin: Ultimately, the book is a celebration of the natural world’s wonders, and humanity’s ability to seek those places out and know them. Are there any landscapes on our planet Earth now where you’ve felt similar awe or wonder?
Matthew: Switzerland was like this for me. My wife and I visited there in 2015 for our honeymoon. I imagined Switzerland to be one specific way, a field of flowers on a hill a la The Sound of Music. I had no idea it had so many different climates. You have these impossibly humid rainbow-filled valleys with spraying waterfalls that inspired J.R.R. Tolkien to create Rivendell, and at the same time 11,000 feet up on the same day you have frozen glaciers on mountain tops where you need arctic gear to cross. You have green bucolic towns miles up on mountain plateaus that you can only get to by cable car. And there is hauntingly desolate terrain atop some mountains that looked to me no different from Mars. We were hiking at thousands of feet above sea level, on a rocky ledge and there were fossilized sea creatures embedded in the rocks. It astounded me how this high mountain pass was once at the bottom of some ancient ocean, and so much time had passed that not only had these sea creatures been fossilized, but the earth had slowly pushed the ocean floor up until it was now thousands of feet above sea level. It really had a profound effect on me.
But also, I think if you pay attention to your own neighborhood, even if it’s not as openly “majestic” as Switzerland, there are still amazing wonders hiding everywhere. I live in Queens, and this summer I noticed there were wild lizards living on the streets. In Queens! In New York City! And we have these little empty overgrown lots that are often filled with the most amazing wildflowers and pollinator insects (I may have been guilty of a few seed bombings).
If you pay attention to your surroundings, even if you live in a big city, you will often spot the most incredible things hiding in the cracks. Honestly, any time I’m walking in nature, either in a city or deep in some wood, I feel a sense of wonder. It’s all sacred to me, and why I feel so strongly we need to protect the environment for future generations.
Martin: What is on the horizon for you?
Matthew: Next month I have a story coming out in Lightspeed Magazine called “Espie Droger Dreams of War.” I wrote it last year after DOGE was cutting government jobs and gleefully chainsawing beneficial organizations like U.S. Aid. It made me so furious, so I had to write about it. It’s a very angry story — far different in tone from The Rainseekers, but I still think there is a core nugget of humanity within it.
I have another short story that I wrote on request for a themed anthology that the editor is pitching to a few publishers, so it may be a while before that one is out.
I’m also hard at work on the follow-up to The Rainseekers (my agent tells me not to call it a sequel), which picks up more or less where the novella ends. Whereas The Rainseekers is structured as a kind of documentarian travelogue, this new book is structured like a mystery, but with enough echoes of theme and tone that readers of the first book should like it. It’s been really hard but also really fun to write so far.
Other than the above, just cohosting the Fantastic Fiction at KGB reading series with Ellen Datlow, and the podcast I do with Mercurio D. Rivera called Nerd Count, and I’m going to a few conventions. I’ll definitely be at Readercon and also most likely WorldCon as well. I’m usually posting, updating, and publishing new things all the time, so the best place to find out what I’m up to is my website. Martin, thanks so much for these fantastic questions. They really were a pleasure to answer![end-mark]
The Rainseekers is available now from Tordotcom Publishing.
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