I cannot do proper justice to all the people who helped in the construction and creation of this book. Many have read and made incisive comments on the manuscript, through its variety of stages. My thanks especially to Philip Whelan, Janet Opie, Kathryn Toyne, and Fiona Donaldson for generously reading it on my terms, and enjoying all of its tricks, yet sensitively pointing out its weaknesses. Philip was the first to understand Lucy as a “cross-dressed heroine,” and to engage with the Shakespearean themes of twinship as well as the journey from “beautiful young man” to “dark lady of the sonnets.” Thank you! My eldest daughter, Samantha, has been an invaluable echo chamber, given Siân her fashion sense, and defended my observations, always believing in me. Daughter number two, Zephyrine, taught me all about the Sims on Max’s behalf: thank you, darling! My best and dearest English mother and friend, Dr. Joan Bridgeman, earns my heartfelt thanks for reading and commenting on the manuscript. Thanks for your wisdom and insight. I miss the pleasure of studying with you. Thanks, too, to the generous and canny Carolyn Burdet; to Liz Foster; and to Sheila Fraser Milne.
For just some of the multitude of details that make up the story, but which were outside my areas of knowledge: John Fisher’s excellent Web site, heart-transplant.co.uk, was a mainstay for me, as were John’s witty responses to my various (unusual!) questions for Lucy. You are an amazing person! Russell White, Phil Charter, and Brian Adam at the Museum of St. Albans for help regarding the painting at the White Hart Inn; the paramedics at Shepton Mallet Ambulance Station; Ducati Motor Bikes; Hampshire Primary Care Trust; the London School of Hygiene and Tropical Medicine; the British Heart Foundation; Somerset and Avon, and Wiltshire, Constabularies; Elaine and Steve Mancini at the Cricketers Inn in Longparish, Ross and Jane McBeath at the White Hart Hotel in St. Albans, and Suzi Vincent. Particular thanks to coroner David Billingham, in Cheltenham, and to John Harmshaw, solicitor advocate, a worthy spokesman for Henry Stafford. The enigmatic Calvin’s voice is supplied across the Atlantic by “Mr. Smith.” My profound thanks to you. To my husband’s aunt, Judy Hawes, in New Jersey, thank you for your early research and advice.
For reading the draft and checking for various errors, thanks to Jenny de Gex, Valentina Harris, Katie Bayer, Robin Stokoe, and also Anna South. My dearest friend from North Sydney Girls High School, Susan “Maysie” Lyons, in New York, encouraged me, checked the menu at the Tick Tock Diner, and suggested some very gentle sculpting. Fiona McIntosh at HarperCollins in London gave me confidence that this book was worth the trouble. Big thank-yous to Edward Bettison for the beautiful cover design, Ami Smithson, Claire Peters at Quadrille for the visuals of the puzzle texts, and Johnson Banks for getting us started with such flair. Late in the day, thanks to Professor Sebastian Lucas, of Guy’s and St Thomas’ Hospital, for checking everything from Alex’s CV to the drug names and uses.
The most important group follows. My sister, Wendy Charell, gave me advice and encouragement, and a very expanded Hermetic reading list. I am in your debt. My step-mother-in-law and true friend, Dorothy Bromiley Losey Phelan: darling Dot, having much in common with Diana Stafford, you were nearly the dedicatee of this book, but Gavrik’s claims had to come first. Thanks to Alison Cathie at Quadrille, Martin Nield, and Jane Morpeth at Headline. Special thanks to Anne Furniss, my Quadrille editor, who got me going so long ago on the Chartres Labyrinth, believed in me, and fought for this book from the start—despite labyrinthine turns and delays. My editor at Headline in London, Flora Rees, deserves special praise for coping so graciously with my moaning about her copious notes. Flora taught me, very simply, to be a much better writer. My outstanding new agents, Andrew Nurnberg and Sarah Nundy at Nurnbergs in London, and the wonderful Robin Straus in New York: I had no concept of how good an agent could be, in every respect, until I had the privilege of joining up with you—my three graces. Thanks for getting me across the finish line.
Outsize bouquets and thanks go to my publisher, Judith Curr, at Atria, who has given me a gift of confidence and an opportunity more precious than I can translate into words. Thank you so much, Judith. It is a privilege to be an author with you at Atria. Also, to Carolyn Reidy, for the kindest words possible. Very big thanks to Atria production editor Sybil Pincus and copy editor Muriel Jorgensen, who translated my Australian Englishness into the edition you see here. The wonderful Sarah Branham has been a touchstone and an enthusiastic, supportive editor at Atria. I look forward to a long and productive association with you, Sarah. Thanks to everyone at Atria. Final words on this page must be in homage to my New Yorker husband, Gavrik Losey, who “lit” and “directed” so much of the book. Unpaid researcher, maître en scene, and no resident of Dante’s ante-hell in any sense, without you I, simply, would never have got through it. You always stood by me. You are still standing…Thank you! TH x