The mechanical men in these stories-Industrial Age holdovers, outsiders wanting for relevance and respect, or overwhelmed people who confuse the certainties of one reality with the doubts of another-are cut off in some way from contemporary culture. Sometimes in these stories, which Randy F. Nelson calls ""thought experiments about values in conflict,"" the characters are like the Native American prison guard in ""Escape"": Rifkin thinks that atonement is possible even for fugitive killers. Others are less sanguine. In ""Breakers,"" a corporate hitman arrives on a forgettable island off the Af