62 pages • 2-hour read
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Content Warning: This section of the guide includes discussion of illness, death, suicidal ideation, and addiction.
BancUsonia’s executive board meets under looming uncertainty. CEO Randolph Klein asks if customers have begun withdrawing funds en masse. The chief financial officer explains that the leak of the Chinese Paper over the weekend, when branches are closed or operating at limited hours, has delayed the anticipated panic. However, every financial institution expects mass withdrawals soon. Isabel Hutchinson, head of the Private Banking Division, assures the board that high-net-worth clients have not yet moved their money, though the bank’s Washington, DC, liaison confirms that the Boone administration will not intervene. According to the White House, any aid to the financial sector would only spark public alarm.
Dana Gibbs from Consumer Credit reports an uptick in credit activity since the moon changed. Klein proposes a plan: Offer customers trying to close accounts a $40,000 credit line with a low introductory APR (annual percentage rate) for two years. Cliff Williams from Regional Banking voices concern about defaults once the APR increases, but Gibbs counters that they already sell the debt to private equity, making it someone else’s risk. The legal team confirms minimal liability.
John Bell from Wealth Management warns that investor sentiment is shifting. People will begin to abandon work, not just their portfolios. The chief risk officer predicts that this mass resignation will start after the following Christmas. The chief technology officer notes that the bank’s artificial intelligence can manage operations even as human staffing dwindles. As customers ask for gold bullion, Williams recommends appeasing them with premium safety deposit boxes. The meeting ends with Klein quietly wondering how to spend his remaining time.
Lessa Sarah Cirrincione grows up immersed in science fiction and fantasy. By fifth grade, she invents Skalaria, a world ruled by her protagonist, Brinn. Her teacher sees her potential and allows her to use class time to write. Lessa Sarah grows frustrated in middle school with praise that qualifies her talent as “good for her age.” Her parents, both supportive and practical, encourage her to keep writing.
Though she gains acceptance into several prestigious schools, she chooses the University of New Mexico when her father loses his job. She majors in creative writing and adds technical courses to ensure future employment. One afternoon, she sees a young man, Hector, sketching the student union as if it were a ruin. When she shares her stories, he draws Skalaria instantly. She proposes to him. They marry two years later, both taking jobs related to education.
With three chapters completed, Lessa Sarah joins a local writing group, the Albuquirkies. They offer notes, and she revises diligently, but Hector prefers her original drafts. When feedback becomes circular, she joins a new group, the Scrivinators, who tear her work apart. She stops writing for a year.
Later, a workshop renews her confidence. A senior editor, Tamara Nelson, compares her chapters to overworked dough and tells her to stop revising and write. Lessa Sarah returns home, determined to finish her book. Then, the moon turns to cheese.
She stops writing again, convinced that no one will publish a book when the world is ending. Hector tells her to write it anyway—for him, her family, and her friends. He wants to see Skalaria before the end. She agrees.
Clyde Ramsey lies awake at night, haunted by the inevitability of collapse. He visits the Short Stack Diner, where Dave Potter and Alton Nunez soon join him. They discuss how long the coffee will last and half-jokingly plan for a world without supply chains. Clyde confesses that his daughter wants him to spend the end with her, but he dislikes her cramped apartment. He invites Dave and Alton to stay with him instead. He has solar power, well water, and a garden. They accept. Clyde weeps from relief and finally sleeps.
Jackie Hyland visits her first ex-husband, Ian Smythe, now a famous musician dying of cancer. He lives in Hawaii and plans to die under the state’s End of Life Care Option. Jackie learns that he traded away the guitar she gave him—the one that inspired his breakthrough song—for the house. She feels hurt and nostalgic. Ian thanks her for coming and apologizes for the damage he caused. Jackie admits that she once attempted death by suicide after their divorce but says that she has stayed sober for 20 years.
She offers to stay with him until the end, but he declines. They talk until the hospice team arrives. Jackie returns to her hotel, watches the green flash of the sunset, and returns to her room. She pulls the blackout curtains over the windows and cries alone.
Jackie stays in her dark hotel room all day, unable to process her grief.
Jackie stays inside again, lost in thought and sorrow.
Hotel staff deliver a package: a Taylor Koa Grand Symphony guitar and a letter from Ian. He has given Jackie the rights to all his music and writes that she has always been one of his few regrets. She plays “Summer Girl,” the song he wrote after she gave him his first guitar. After she finishes, she opens the curtains and lets the light back in.
Dayton Bailey attends the White House Eclipse Event. He finds the atmosphere somber. Aubrey arrives and complains that the publishing industry has essentially collapsed. Editors are being laid off. No one wants to publish books when the end is two years away.
As totality hits, Aubrey cries. She has never seen an eclipse before and realizes that this will be her last. Then, the light changes. Dayton notices that the eclipse looks annular again. He runs to LeMae Anderson, who confirms the observation. The original moon, which NASA names “Luna,” has returned.
Dayton shares the news with Aubrey. The total eclipse became annular again because Luna is smaller than Caseus. This change means that Earth may no longer face certain extinction. Aubrey storms off, furious but relieved. She tells Dayton to send her a new proposal.
President Boone announces that Luna has returned. The cheese moon has vanished, and so has Lunar One. Equipment lost with Caseus has reappeared. While NASA promises to monitor the situation, the Boone administration advises cautious optimism.
NASA confirms that Luna remains stable in orbit. Caseus could return, but scientists continue to monitor the situation.
Users on the r/Conspiracy subreddit argue that the moon crisis was an elaborate hoax. They claim that solar shields masked the real moon, that Jody Bannon faked his death, and that the global coordination among governments adds to the suspicion. The absence of any remaining physical evidence strengthens their belief that the event was staged.
Ten years later, one third of Americans no longer believe that the cheese moon ever existed. A new generation, too young to recall the event firsthand, engages with it through skepticism and internet lore. NASA continues investigating the phenomenon through Project Caseus, but public interest and institutional support have steadily declined.
A century later, Kainospedia labels the moon incident a mass delusion. Conspiracy theorists initially blamed governments, but public opinion now blames technology and media companies. A low-orbit apparatus supposedly hid the moon while projecting Caseus, leading to global panic. Most believe that Jody Bannon faked his death.
The final chapters of When the Moon Hits Your Eye deepen the novel’s exploration of not only global and institutional reactions but also intimate, personal ones as characters confront cosmic and emotional endings.
The BancUsonia board meeting offers a portrait of institutional cynicism, with Scalzi satirizing The Role of Politics and Power During a Crisis within the financial sector. Faced with social and financial collapse, the bank’s leadership does not question their role or responsibilities. Instead, they reframe the apocalypse as a market opportunity. CEO Randolph Klein’s plan to issue $40,000 credit cards with a two-year teaser rate preys on public despair, banking on the assumption that customers will not expect to survive long enough to repay the debt. When a board member raises the likelihood of mass defaults, Dana Gibbs shrugs off the concern, noting that the debt has already been packaged and sold to private equity. This is not crisis management, it is crisis monetization: “In the long term we’re all dead,” one executive remarks, “but there’s a lot of time for profit-taking between now and then” (257). Even when survival itself is uncertain, the bank does not pivot—it doubles down on its greed.
Day 29 closes the novel’s political arc by collapsing spectacle and despair into a single tableau. The White House Eclipse Event, while intended as a public demonstration of resilience, belies the government’s intentions, with Dayton likening it to a funeral rather than a celebration. The eclipse, once a symbol of celestial predictability, becomes a metaphor for destabilized meaning in a world where nothing can be taken for granted. The crowd’s tension, masked by selfies and ceremonial optics, implies that even in the face of an existential crisis, political power clings to appearances.
Meanwhile, the novel’s everyday characters offer more insights into Societal Adaption to Change. Clyde, Dave, and Alton provide a blueprint for emotional adaptation. They meet at their diner, reflecting on mortality and shared frustration at humanity’s failures. Their pact to face the end together at Clyde’s self-sufficient home does not change the world but reshapes their relationship with it. As Clyde says, having his friends join him lifts a weight that he did not know he was carrying. Their solidarity exemplifies how community often becomes the final refuge when institutions falter.
Other characters find comfort and meaning through romantic connection. Ian and Jackie use their final meeting to confront their shared past and reconcile with one another. Ian, whose songs immortalized their failed relationship, acknowledges the damage he inflicted, offering Jackie the rights to his music as a form of posthumous reparation. Like the moon, their relationship transforms. Similarly, Lessa Sarah finally begins writing her novel again, not for fame but for love. Her husband, Hector, asks her to finish her fantasy novel for his sake: “Write it so I can read it” (276). Lessa Sarah thus shifts her focus from external success to internal expression, giving up her perfectionist tendencies to focus more on the joy of creation and sharing her stories with her loved ones. The novel suggests that even when the world faces collapse, creation remains a meaningful act.
The final four chapters explore the unstable terrain of The Intersection of Science and Belief. President Boone announces Luna’s return but concedes ignorance about the mechanisms behind the cosmic reversal, highlighting the limits of even the most advanced institutions. NASA’s decision to name the moons “Luna” and “Caseus” attempts to impose order on the incomprehensible and stabilize public perception through language, hoping to once again project an aura of confident scientific expertise.
However, stability proves ephemeral. As time passes, certainty dissolves. One year later, conspiracy theories gain traction, exploiting gaps in knowledge and the absence of physical evidence. A decade later, public belief fractures; by the centennial, institutional memory has eroded so completely that the cheese moon becomes a footnote in a fabricated “Caseusian Hoax.” This descent into historical revisionism shows how myths can replace facts over time. As Dr. Dixon notes, even when science presents data, people reject it in favor of emotional or conspiratorial narratives. Over time, truth gives way to a story, and the cheese moon becomes a fable.
The final section of the novel does not deliver a definitive answer about Caseus, but that is not the point. The novel uses the absurd premise to explore how people, institutions, and societies respond when reality itself breaks down. Some people exploit the chaos, while others make art, offer comfort, or rewrite the past. Most try to find something worth holding on to. The return of Luna does not restore normalcy—it becomes just another version of the inexplicable.



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