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Micky, for instance, is a child who may or may not be the nephew of a woman that loans a room to Sanderson for the night. He stands in a room full of discarded baby dolls and admits that he wants nothing more than to leave his benefactress, Goldie. We get the sense that Micky is one of Goldie's dolls, missing pieces and partially abandoned by her, even though she has all intentions of ixing them up, one at a time, some of these days.?

This is one of McElmurray's frequent dreamlike realities (or reality-like dreams) and is mirrored by Jason's own frequent memories of his own son who has been dead for ten years and who he has still refused to let go of, even after it leads to a split with his current wife, Rosa. 'Motel of the Stars' is filled with these kinds of living ghosts, each one cascading perfectly into the next until the colliding of worlds at the end.

One can make arguments for the role that destiny plays in the story, but the author avoids taking any concrete position in favor of allowing the reader to drift in and out of the question. The worlds of Lory and Jason echo this sentiment; Jason is grounded in the reality of his occupation, wife, and home while Lory remains caught in the dream world, trapped in her hotel room for a decade after her lover's passing. Sam is the only link between them, and he remains an ever changing memory. The result is a staggering view, like fireworks in slow-motion, of how these two unstable worlds slowly move into alignment through both the chance movement of the cosmos and the particular choices that each character makes. 'Motel of the Stars' is as grand in scope as it is intricately delicate, and floats between rift after rift after rift like ripples on water, sparks from a radial saw, or the eternal expansion of the universe.