Acknowledgments

I’ve been overwhelmed by the kindness and enthusiasm of the folk music community while writing and researching this novel. My profound thanks to Tim Laycock for singing lessons, impromptu concerts, friendship and apple cake. I’m indebted to Sam Lee, artist and song collector extraordinaire – this book was written to his music. My friends Hélène Frisby and Lea Simpson have been endlessly supportive, providing patient advice and support, and when all else failed: gin. Huge thanks to my parents, aka Mushki and Bup-Bup, and their unwavering confidence and childcare provision. I’m not sure how I would have managed without you. I realise that it’s a gift to be able to sit down and write content in the knowledge that one’s small son is happily dangling for tadpoles and hunting for trolls in his grandmother’s garden.

Thanks to David Julyan, composer and friend, for checking the manuscript so carefully. I’m glad that in fiction I was able to help you fulfil your true ambitions on the bassoon. I’m extremely grateful to Kearn for sharing his extensive knowledge of vintage explosive techniques. Thank you to Stan for being the best of agents and of friends.

Huge thanks to my fabulous editors, Carole Welch and Tara Singh Carlson, and the respective teams at Sceptre and Plume. Lastly, my gratitude and love to David and Luke for understanding that stories are sometimes more important than unburned suppers or tidy houses.