Again, I am incredibly lucky to have worked with my clear-eyed and generous editor, Janice Zawerbny, whose insights made this story stronger and whose engagement with its subject matter combined with her editorial prowess made work on this novel a deeply pleasurable experience. I’m also indebted to John Sweet’s copyediting expertise. Thanks to the wonderful team at HarperCollins Canada. An Access Copyright Foundation Marian Hebb Research Grant administered through SK Arts in 2023 enabled me to undertake research at Churchill Archives, Cambridge University, UK, and National Archives, Kew, UK. I’m indebted to the super-helpful archivists at these locations. This grant also enabled me to visit Bletchley Park, a memorable and moving experience. The guided tour was brilliant. Toronto’s Palais Royale granted me access to the premises, which helped bring my characters’ evening there to life. Thanks to everyone at the Canadian War Museum in Ottawa during my visit there in April 2023. I also wish to acknowledge the Etobicoke Historical Society and the Toronto Reference Library. Ted Barris and Mark Bourrie were generous with their time in answering questions and offering their expertise. Thanks to Victoria C. Herrmann at Louisiana State University Press. Numerous individuals—friends, colleagues, former students, family members—provided insights and information, and took an interest in this novel, even if it was just listening to me go on about it. Much thanks to Leona Theis for the gift of a pristine Maclean’s magazine dated during The Paper Birds’ era. Thanks also to: Pat Heffernan, Kim Galway, Tracy Goulding, Simon Boehm, Tracy Hamon, Joanne Rochester, Mari-Lou Rowley, Sheri Benning, David Bateman, Kathleen Whelan, Heather Berkeley, Christopher White, Mark Myers, Frank Klaassen, Sharon Wright, Ruth Panofsky, Rod Michalko, Tanya Titchkosky, Paul LePage and Charles Mims. My students and colleagues at the University of Saskatchewan continue to inspire me. No one withstood the inevitable ups and downs of any long-haul writing project more than Mike Heffernan, who, in addition to his love and support, listened and engaged in lively conversations that often wove together stories and music. As far as soundtracks for the writing of this book went, Mike’s exquisite, haunting keyboard artistry on the recording of Gordon Lightfoot’s “Shadows” wafted through my mind often, as did Lightfoot’s “Summer Side of Life,” as well as much music from the World War Two era.