by John Barnes
As usual, I’d like to thank the people who made a tough job easier: William Barton, from whom I borrowed the term “the Red Millennium” for the 1450–2450 era; for the aftermath of a very different Red Millennium, you ought to read his excellent Dark Sky Legion, and while you’re at it, everything the man’s ever written.
Dr. Stephen Gillett, whose book Worldbuilding is the definitive treatise on the subject; technical errors in this book are almost certain to be caused by my misunderstanding Steve, and whatever is accurate here, chances are his hand is in it.
Betsy Mitchell, for her guidance in the creation of this series, and her early perception of, and insistence on, good qualities in the idea that I didn’t see myself.
Jes Tate, my research assistant, for her usual amazingly efficient and thorough research (the most amazing thing of all is that it’s so usual). You can have your old job back anytime, kid.
Jaime Levine, my editor, for being always there and always incredibly patient, and for asking the sort of questions that cause me to whack my forehead.
Devi Pillai, her assistant, for constant help with all sorts of annoying matters.
Nancy Wiesenfeld, the copyeditor, for cleaning up after me.
Ashley and Carolyn Grayson, my agents, for endless encouragement and for standing in my doorway as wolf-deflectors while I finished the book.
ABOUT THE AUTHOR
John Barnes lives in downtown Denver and writes full-time. At various times he has worked full-time as a gardener, systems analyst, statistician, theatrical lighting designer, and college professor. More than fifty entries by John Barnes appear in the fourth edition of the Oxford Encyclopedia of Theatre and Performance. His most recent books include The Sky So Big and Black, The Merchants of Souls, The Return (with Buzz Aldrin), Candle, The Duke of Uranium, and A Princess of the Aerie.
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