ACKNOWLEDGMENTS

For me, writing is about going out to find that which is cool, thrilling, or moving and bringing it back for others to enjoy. The hope of sharing the pleasure I find in the characters, setting, and story is an important part of what keeps me writing, and what kept me going with this project. And so, I want to start by thanking every reader who picks up this book and gives it a go. I hope you are rewarded with an experience full of wonder, suspense, delight, and some poignancy. I’d love to hear from you. Please visit me at JohnDBrown.com.

Next, I must give thanks to my parents: I grew up with a father and grandfather who were florists and pugilists and a mother and grandmother who were literary nuts. The men taught me to prize both the beauty of a Japanese lily arrangement and a blow that could lay a many nose to the side of his face. My mother, may she rest in peace, made sure our annual family vacations were spent at the Shakespearean Festival in Cedar City, Utah. Despite the many things there that forever dangled above my comprehension, I was caught up in the spectacle, considered myself a bard’s man, and enjoyed the ubiquitous tarts (pastries, my friends, not painted women). With such an upbringing, I think it was impossible for some literary production not to bubble forth from my brain, even if there was no guarantee that emanation would ever be anything as grand as, say, a limerick. Luckily, you hold in your hands something that is, if not more grand, at least a bit longer.

For that longer production I am indebted to the wonderful Stacy Hague-Hill and David Hartwell, both for thinking the manuscript was shiny enough to buy and then for putting in the editing work to help me make it better. (Yes, despite the rumors, editors who actually edit have not vanished from the earth.) That same thanks goes to Caitlin Blasdell who saw, edited, and represented (and continues to represent) most excellently. I also appreciate Tor’s production department for their attention to detail.

Many helpful souls read early versions of the manuscript. The accurate reporting of their reader experience changed the story. These folks include Christine Mehring, David Walton, Dean Wesley Smith and the May 2006 novel workshop group, Diana Chamberlain, Elaine Isaak, Eric Allen, Gary Eifert, Isaac Stewart, James Maxey, Jared Smith, Mette Ivie Harrison, Miles Pinter, and Trisha Eifert. A monster thank-you goes to Jason Smith, a writing buddy whose friendship helped keep my creative flame alive through a number of difficult years.

The following provided expert input. Chad Floyd gave me an invaluable view into the world of the blind. The ranchers of Rich County, Utah, unknowingly gave me the main seed of this story. Special recognition goes to Robert, LaRue, and Lenn Johnson for letting a city boy play rancher, vet, and manure man, and to Kent Johnson, Stuart Wamsley, and Burdette Weston for fascinating insights.

Two authors have helped me in significant ways. Orson Scott Card conducted a literary boot camp that saved my literary bucket. David Farland started me on the path to writing for publication and offered inspiration, advice, coconut kurma, and encouragement along the way.

I must thank my four girls, Alexandria, Kassandra, Lilia, and Ellianna, for clamoring after bedtime stories (some of which found their way here) and providing abundant, delicious hugs.

Finally, and most importantly, a lion’s share of the credit goes to my wife, Nellie, who read every word, listened to every hope and fear, and didn’t go mad. She’s a rock, and, I am sure, has already earned a plot of ground in that part of heaven reserved for the spouses of those who write.