Friday, July 17, 2026

The Man on the Bench


It was one of those nights that seemed made for sitting still.

The park was empty. The streetlights hummed softly above the walking path, throwing pale yellow circles onto the pavement. A slow wind moved through the trees, carrying the smell of damp leaves and distant rain. Somewhere far off, a dog barked once and then fell silent again.

I had wandered there without much reason. Sometimes you just need a place where the world isn't asking anything from you.

So I sat on a lonely park bench, leaned back, and watched the dark branches sway against the sky.

Time passed in that quiet way it does when you're alone. Minutes stretch out like long shadows.

Then someone sat down beside me.

I hadn't heard footsteps. No gravel crunching, no rustle of leaves. One moment I was alone, the next there was a man sitting on the far end of the bench.

He looked ordinary enough. Maybe in his fifties. Dark coat, hands folded loosely in his lap, eyes fixed somewhere out in the darkness ahead.

For a while neither of us spoke.

Then he said, very calmly, “Strange how peaceful the night becomes when everyone else has gone home.”

His voice was gentle. Not loud, not quiet, just the sort of voice that feels comfortable in silence.

“Yeah,” I said. “It's like the world finally stops talking for a while.”

He nodded slightly, as though that was exactly what he'd expected to hear.

“Most people don't like silence,” he said. “It makes them uncomfortable. But silence is where you can finally hear things.”

I turned toward him a little.

“Like what?”

“The things that don't shout,” he said.

We sat there another moment while the wind moved through the branches overhead.

After a while he spoke again.

“Tell me,” he said, “have you ever noticed how much of life people spend worrying about things that haven't happened yet?”

I laughed softly. “Seems like most of it.”

“Yes,” he said. “They live in a future that only exists in their imagination. Fear is a strange artist. It paints very convincing pictures.”

I thought about that.

“Easy to say,” I replied. “Harder to stop doing it.”

“Oh, of course,” he said. “But there's a trick to it.”

“And what's that?”

He leaned forward slightly, resting his elbows on his knees.

“Remember that you're standing inside a much larger story than the one you think you're writing.”

I must have looked puzzled, because he smiled a little.

“People believe they are alone in the world,” he continued. “As if everything depends entirely on their own strength, their own cleverness, their own plans. But life is more like a river than a machine. You can steer a little, yes… but something much larger is carrying you.”

The wind stirred again. A loose leaf skittered across the pavement.

“So you're saying everything's already decided?” I asked.

He shook his head.

“Not decided,” he said. “Guided.”

There was a difference in the way he said it that made the word feel heavier.

“Imagine a child learning to walk,” he continued. “The child believes they are walking alone. But just behind them are steady hands, ready to catch them when they stumble.”

I stared out into the dark park.

“Most people,” he said quietly, “never realize how often they've already been caught.”

For a moment neither of us spoke.

Then I asked him something that had been sitting quietly in my mind.

“How do you know all this?”

He chuckled softly.

“Let's just say I've had time to observe.”

That answer seemed both perfectly reasonable and completely mysterious.

The park had grown quieter somehow. Even the wind seemed to have settled down.

“You know,” he said after a while, “the world is full of small doors that people walk past every day.”

“What kind of doors?”

“Moments,” he said. “Little moments where the universe whispers something useful.”

He gestured lightly toward the trees.

“A conversation on a bench. A sudden thought that changes your direction. A stranger who says exactly what you needed to hear.”

He looked at me then.

“The trouble is, most people are moving too fast to notice when one of those doors opens.”

I wasn't sure what to say to that.

So we just sat there a while longer.

Eventually he stood up.

“Well,” he said, brushing his hands together lightly, “I suppose it's time I keep moving.”

I nodded.

“Thanks for the conversation,” I said. “You gave me a few things to think about.”

He smiled.

“That's usually how these things work.”

We exchanged quiet goodbyes, and he started down the walking path.

I watched him go, his dark coat moving slowly beneath the dim lights.

After a short distance something strange happened.

The farther he walked, the less distinct he seemed.

At first I thought it was just the darkness swallowing him up between the streetlights.

But even when he passed through the next pool of light, his outline looked… thinner somehow.

Almost like mist.

He continued walking.

And then, somewhere between one light and the next, he simply wasn't there anymore.

No turn in the path.

No bushes or trees to hide behind.

Just empty pavement.

I sat there for a long time after that.

The wind returned, stirring the leaves again.

Maybe he had taken a turn I didn't notice. Maybe the night had simply played tricks on my eyes.

Or maybe, just maybe, one of those small doors he mentioned had opened for a moment.

And I had been lucky enough to be sitting on the right bench when it did.

Either way, the night air felt a little different when I finally stood up to leave.

A little quieter.

A little wiser.

And for some reason I couldn't quite explain… a little less lonely.

Friday, July 10, 2026

The Tribes: Author's Notes

The Tribes

Book One: The Catastrophe


Author’s Notes: An Interview with Rick (Ratty)

When The Tribes first appeared on Rat Tales, readers were introduced not merely to woodland mischief, but to the memory of a fallen civilization, a luminous city, a catastrophic crossing, and a scattered people now living quietly among ordinary trees.

Behind this layered fantasy stands Rick (Ratty), whose long walks through suburban nature parks gradually evolved into a mythic narrative of exile, intelligence, and endurance.

For this Author’s Notes feature, we sat down with Rick to discuss the origins of The Tribes, the evolution of its themes, and what readers might discover beneath the fur and branches.


Interview

Interviewer: The Tribes opens not as a simple woodland story, but as the memory of a fallen civilization. When did the idea first come to you that squirrels might once have possessed something far more advanced than trees and acorns? Was there a particular moment or thought that sparked the origin of this story?

Rick (Ratty):
It began about fifteen years ago when I was hiking regularly in my local suburban nature parks. There are a lot of squirrels there, more than most people probably notice. But if you spend enough time in those parks, you begin to see something beyond quick movements and twitching tails.

You start to see personality.

Some are bold. Some are cautious. Some are reckless. Some seem almost calculating. If you observe them long enough, you begin to recognize individuals, not just “a squirrel,” but that squirrel. And once that happens, they stop feeling like background wildlife.

They begin to feel like characters.

I’ve always had a vivid imagination, so naturally I began inventing little stories about them in my head while I walked. Conversations. Rivalries. Secret missions across the branches. Over time those playful imaginings became more layered. I started wondering what their world might look like from the inside, not as animals reacting to us, but as beings with their own history.

And that’s really where The Tribes began.


Interviewer: At some point the story shifted from playful woodland imagination to something far more mythic, an advanced civilization, dimensional travel, sabotage, exile. What drew you toward giving these squirrels a lost golden age and a catastrophic fall?

Rick (Ratty):
I’ve always been drawn to fantasy and science fiction. Those genres naturally explore hidden histories, advanced civilizations, and realities layered beneath the ordinary. So, once I accepted the idea that squirrels might secretly possess intelligence, it felt almost inevitable that they would have some kind of forgotten or concealed past.

In my mind, if they’re intelligent enough to consistently deceive humans into believing they are merely instinct-driven animals, then that intelligence has to come from somewhere.

And if it comes from somewhere, it probably has a history.

The idea of a lost golden age felt right, not just for spectacle, but for contrast. Watching them leap between branches feels simple. But what if that simplicity is adaptation? What if it’s restraint? What if what we see is not primitiveness, but survival after something greater was lost?

That question interested me far more than a simple woodland tale.


Interviewer: The fall of Luminbough carries weight. It isn’t presented as a simple accident. There are hints of sabotage, of brilliance tipping into disaster. Was that element always part of your vision?

Rick (Ratty):
That part developed as I began actually writing the story.

At first, the fall was more abstract, simply a great loss. But as the narrative unfolded, I realized the story needed intrigue. It needed a mystery. Something readers could speculate about.

Was it truly an accident? Or did someone make a subtle change, just small enough to go unnoticed? That question created a deeper current beneath the surface of the story.

History often leaves incomplete records. We fill the gaps with interpretation. Suspicion fades into story. Story fades into history.

So I left it open.

Is there a villain? Or was it simply the risk of brilliance?

That uncertainty feels more powerful than a definitive answer.


Interviewer: Flynn stands in sharp contrast to the elders, impulsive, irreverent, dismissive of history. What does he represent within The Tribes?

Rick (Ratty):
Flynn is the classic adventurer. He’s the type of character you’d expect at the center of a movie, bold, curious, always leaning toward the next leap.

But right now, he’s young.

And youth often looks like foolishness from the outside. It looks dismissive. It looks impatient with history. Flynn brushes off the Catastrophe because he didn’t live through it. To him, it’s distant background. To the elders, it’s everything.

That tension matters.

He isn’t just comic relief. He represents momentum and curiosity. But that energy hasn’t matured yet.

We’ll see much more of Flynn in future stories. He is tied not only to what the Tribes have been, but to what they may become.


Interviewer: There is a quiet undercurrent in The Tribes about adaptation after collapse. Do you see the story as purely imaginative fantasy, or does it reflect something about the human condition as well?

Rick (Ratty):
It is imaginative fantasy, but it contains human elements.

The idea of a fallen civilization isn’t unique to squirrels. Many humans believe, in one way or another, that we have fallen at some point in our past, technologically, spiritually, morally, or symbolically.

That theme repeats across cultures and mythologies.

In The Tribes, the squirrels adapt. They simplify. They survive. They choose endurance over brilliance. That tension between progress and caution, curiosity and restraint, that feels very human to me.

So yes, it’s fantasy.

But like most fantasy, it carries reflections.


Interviewer: Finally, if readers take one thing with them as they follow The Tribes, what would you hope it is?

Rick (Ratty):
From the squirrels’ point of view, I would hope readers take away hope.

They fell. They lost something magnificent. Their golden age ended in fire and fracture. And yet they endure. They adapt. They form tribes. They build new lives from bark and instinct instead of luminous architecture.

A fall does not mean an ending.

It may mean a beginning.

And from the human point of view, I would hope for respect.

If you spend enough time watching squirrels, you begin to see more than twitching tails and scattered acorns. You see intention. Awareness. Personality.

We assume superiority very easily as a species.

The Tribes suggests another perspective: that what we see may not be the full story. That intelligence might wear humble disguises. That survival might look like simplicity.

Perhaps we should look more carefully at the creatures around us.


Closing

As our conversation concluded, it became clear that The Tribes is more than a woodland fantasy. It is a meditation on memory, resilience, curiosity, and the unseen histories that shape survival.

In Rick (Ratty)’s telling, squirrels are not merely inhabitants of trees, they are heirs to a lost brilliance and architects of a patient future.

And perhaps, as readers, we are invited to look a little closer at the branches above us.