Acknowledgments

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ACKNOWLEDGMENTSI am particularly indebted to the many people without whom this book could not have beenwritten. Justin Cooper gave up more handmade oil paintings than two years of his young life to work with me everyday and, on many occasions in the last six months, all night. He organized and retrievedmountains of materials, did further research, corrected many errors, and typed the manuscriptover and over from my illegible scrawling in more than twenty large notebooks. Many of thesections were rewritten a half dozen times or more. He never lost his patience, his energynever flagged, and by the time we got to the last lap, he sometimes seemed to know me andwhat I wanted to say better than I did. Though he is not responsible for its errors, this book isa testament to his gifts and efforts.Before we began to work together,china oil painting I was told that my editor, Robert Gottlieb, was the bestthere was at his craft. He turned out to be that and more. I only wish I’d met him thirty yearsearlier. Bob taught me about magic moments and hard cuts. Without his judgment and feel,this book might have been twice as long and half as good. He read my story as a person whowas interested in but not obsessed with politics. He kept pulling me back to the human side ofmy life. And he convinced me to take out countless names of people who helped me along theway, because the general reader couldn’t keep up with them all. If you’re one of them, I hopeyou’ll forgive him, and me.A book this long and full requires a mammoth amount of fact checking. This lion’s share ofwork was done by Meg Thompson, oil paintings a brilliant young woman who carefully waded through theminutiae of my life for a year or so; then for the last few months she was assisted by CaitlinKlevorick and other young volunteers. They now have many examples of the fact that mymemory is far from perfect. If any factual errors remain, it is not for lack of effort to correctthem on their part.I can’t thank the people at Knopf enough, beginning with Sonny Mehta, the president andeditor-in-chief. He believed in the project from the beginning and did his part to keep it going,including giving me an amazed look wherever and whenever I ran in to him over the last twoyears; a look that said something like, “Are you really going to finish on time?”, and “Whyare you here instead of at home writing?” Sonny’s look always had the desired effect. I also owe thanks to the many people at Knopf who helped. I am grateful that theeditorial/production team at Knopf is as obsessed with accuracy and detail as I am (even witha book on a slightly accelerated pace as mine was) and especially appreciate the tirelessefforts and meticulous work of managing editor Katherine Hourigan; noble director ofmanufacturing Andy Hughes; indefatigable production editor Maria Massey; copy chief LydiaBuechler, copy editor Charlotte Gross, and proofreaders Steve Messina, Jenna Dolan, EllenFeldman, Rita Madrigal, and Liz oil painting Polizzi; design director Peter Andersen; jacket art directorCarol Carson; the ever-helpful Diana Tejerina and Eric Bliss; and Lee Pentea.In addition, I want to thank the many other people at Knopf who have helped me: TonyChirico, for his valued guidance; Jim Johnston, Justine LeCates, and Anne Diaz; CarolJaneway and Suzanne Smith; Jon Fine; and the promotion/marketing talents of Pat Johnson,Paul Bogaards, Nina Bourne,Painting From Photo Nicholas Latimer, Joy Dallanegra-Sanger, Amanda Kauff,Anne-Lise Spitzer, and Sarah Robinson. And thanks to the staff at North Market StreetGraphics, Coral Graphics, and R. R. Donnelley & Sons.

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