Acknowledgments

Like all writers of historical syntheses, my greatest debt is to the other historians who have written on my topic. I have identified as many as possible in the bibliographic essay, but there are at least as many more whose work in related fields I have admired and whose scholarship and insights have influenced my approach. There is no graceful way to list them here, but I would be unforgivably remiss if I failed to acknowledge the most important one of all, Virginia DeJohn Anderson. No words can explain how much I have gained as a scholar from a quarter-century of intellectual companionship and conversation about every aspect of the practice of history. Nor can anything I might say adequately express my gratitude for the patience she has shown, and the emotional support and love she has unfailingly given, to a husband who is all too prone to self-absorption, and far too apt to become preoccupied with his work.

There are four people without whom this project could not have begun, much less reached fruition. Laura Smith Fisher, senior vice president of the Allegheny Conference on Community Development, director of French and Indian War 250, Inc., and co-executive producer of the documentary series The War That Made America, first urged me to write a companion volume, then saw to it that I made good on my promise to do so. Laura has been a tireless advocate, cheerleader, and friend to book and author alike, and for all those things I am truly grateful. Scott Stephenson freely lent his scholarly counsel, as well as his remarkable knowledge of art and artifacts, to this project. His hand is evident throughout, and the appearance of his name on the title page represents at best an inadequate acknowledgment of the contribution he has made. For years now Lisa Adams of the Garamond Agency has looked after my interests and preserved my sanity by her expert parsing of contracts, negotiation of schedules, and performance of every manner of technical task related to publishing. Most of all, however, whenever I have needed the counsel of a calm, wise, and thoroughly knowledgeable friend, she has been there to provide it. Finally, while Drew Cayton would doubtless be the last to admit it, he too had a crucial role. As sounding board, literary consultant, amateur headshrinker, sometime ghostwriter, and steadfast friend he has no peer, and in all those capacities he has helped me make an end of this book.

Consulting in the writing of a television documentary was an endlessly illuminating experience for me, and contributed greatly to the shaping of this narrative. George Miles, president and chief executive officer of WQED Multimedia, was an enthusiastic supporter of the film project from its inception more than five years ago. The advocacy and support of Mike Watson, vice president and director of the Richard King Mellon Foundation, and the enormous personal commitment of Dick and Prosser Mellon were crucial to the making of the series. Crucial in another way were the many consultants who offered advice and support: Darren Bonaparte, Jay Cassel, Michael Galban, and Scott Stephenson, who participated directly in the filming and offered expert advice on scripts; and Drew Cayton, Dave Edmunds, Bill Hart, Holly Mayer, John Murrin, Dan Richter, John Shy, and Ian Steele, who like me had never laid eyes on a set but whose astute criticism of treatments and scripts was fundamental to maintaining the quality of the film’s historical interpretations. Working with the film-makers themselves—co-executive producer Deb Acklin; project director Geoff Miller; Ben Loeterman and Eric Stange, the writer-directors; Kerry Falvey, the staff researcher and production assistant, and Didier Fontaine and Jamie Pennisi—was always a pleasure, and taught me that books are only one way to communicate the drama and character of past events to general audiences. I have learned an enormous amount from my association with them; I hope they gained something more than frustration in return.

At Viking, this book and its author benefited from the ministrations of three editorial guardian angels—Brett Kelly, Jane von Mehren, and Wendy Wolf—as well as the indefatigable attention of Beth Greenfeld as copy editor, Nancy Resnick as designer, Barbara Campo as production editor, and Laura Ogar as indexer. No author could have had better treatment, more timely encouragement, or more welcome aid than I did, and for all of those gifts I am deeply grateful.

Several institutions have contributed to this project as well. Six years ago the Allegheny Conference on Community Development first sponsored an effort to use French and Indian War-era historic sites in the Pittsburgh area as foci for commemorating the 250th anniversary of the conflict. Since then, the commemoration has spawned a not-for-profit corporation, French and Indian War 250, Inc., which fosters educational and other programs in twenty-six states. Both organizations have provided generous support for the film and this book. The University of Colorado at Boulder, my academic home, has also sustained the project by releasing me from teaching responsibilities in the spring term of 2004 so I could read and write without interruption. I am deeply grateful to Provost (now Chancellor) Phil DiStefano, Dean Todd Gleeson, and the director of the Center of Humanities and Arts, Jeff Cox, for this support.

Colleagues and friends at the University of Colorado and elsewhere have continued to sustain me as they have for years. Peter Boag, Susan Buckley, Ira Chernus, Brian DeLay, Robert Ferry, Randy Fertel, Matthew Gerber, Julie Greene, John Grenier, Martha Hanna, Robert Hanna, Eric Hinderaker, Warren Hofstra, Susan Kent, Thea Lindquist, Eric Love, Gloria Main, Mark Pittenger, Lynne Squilla, and Dennis Van Gerven have contributed more than they realize to this book, by making it possible to live and write within a community of scholarly endeavor and personal friendship. Similarly (and much more directly) by his careful proofreading of the manuscript when the final deadline loomed, Samuel DeJohn Anderson also played a large and helpful role. I doubt that any writer ever had a better proofreader; I know that no father ever had a better son.

Finally, the gaffers of Fort Collins know full well who they are and why they are of such singular importance to me. The debts that I owe them are ones I can never repay. Nothing could give me greater pleasure than dedicating this volume to them, with an admiration and affection that has only grown with the passage of the decades since they changed my life forever.