“Yes sir, is there anything else?”
“Yes, I am going to need a hired car when I get to London. I need to drive to the countryside.”
“Yes sir. I will pick you up in half an hour?”
“Yes,” said Sinclair. “Yes, I’ll be ready.”
Sinclair walked to his armoire to pack some clothes. On the way he turned on the stereo. The house was filled with the haunting music of Arcangelo Corelli’s La Follia.
Acknowledgments
I would like to express heartfelt thanks to all who have supported and encouraged me in this endeavor. My deepest gratitude goes to Maurice Tempelsman, who provided humor, inspiration, and advice through every phase of this project. Thanks also to my lovely sons, William and Beau Croxton, who have faith in all my new undertakings no matter how ambitious or adventurous. Additional gratitude to my family for their support—Nan, Susan, Campion, and Ted Overbagh. The talented Tempelsman family for their encouragement—Marcy, Leon, Cathy, Julian, Audrey, and Marina. The awe-inspiring women of the Speisman family: Rena, Haley, Tara, and Brittany.
Much appreciation to those who read or discussed drafts of the book and made valuable suggestions, including: Nan Overbagh, Philippa Holland, Cathy Tempelsman, Jenny Rider, Marin Strmecki, Tom and Marian Cooper, Roman Pipko, Tristan Mabry, Marie Amaral, Peter Tedeschi, and Ben and Maria Batsch. And special thanks to my wonderful, supportive colleagues at CNN who cheered me on, as well as innumerable friends who encouraged me in my writing career.
Thanks to my agent, Mort Janklow, for faith in my ability to establish a career as a fiction writer after twenty-five years in the news business. This book would never have come to print without the exceptional team at Scribner: Roz Lippel, for incredible patience and guidance during the stresses of a debut novel; Kara Watson, for insightful suggestions on original drafts; as well as the dedication and support of art director Rex Bonomelli and copyeditor Katie Rizzo.
The visual team Carol Seitz and Kim Wayman for the author photograph. William Croxton for his invaluable contribution to still photography and video.
The scientific and technical details of this book are as true to life as possible. Any departure from what is scientifically possible stems from my own invention and the demands of a fictitious plotline. Many people helped contribute to accuracy, including the wonderful scientists at the Woods Hole Oceanographic Institution, including Dr. Susan K. Avery, president and director of WHOI; senior scientist Dr. Susan E. Humphris, for helping me envision the character Cordelia and also for invaluable help with the details about the Alvin submersible; Jane Neumann and all the WHOI marine scientists who took the time to answer my questions and provide inspiration for the book. Thanks also to Dr. Max Essex of Harvard University School of Public Health for his insight in helping me with the intricacies of the 1918 pandemic and influenza viruses, and for advice on what might be possible, or not possible, in terms of plot. Also my deep appreciation goes to the New Bedford Whaling Museum for their curatorial advice about the original Bradford folio. And last, thanks to Cary Fowler of the Global Crop Diversity Trust for insight into the Svalbard Global Seed Vault.
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