Armed in Her Fashion

Acknowledgements

One of my late grandfathers was named Claude, like one of the main characters in this book, and his ancestors came from France. The other was one of the British Expeditionary Force soldiers evacuated from Dunkirk at the beginning of the Second World War. His account of a desperate journey west from Belgium was in my mind as I wrote this book.

No one in my family—including my two very practical grandmothers, each of them armed in her fashion—ever doubted my writing. My dad’s always there to read a draft or help me research or lend confidence. My mom, the most thoughtful reader and dedicated fan a writer could want, has taken many tasks off my shoulders to give me more time to write. I thank Shirley Warren for her unwavering pride and support. The indomitable Linda Nicholson-Brown’s enthusiasm and affection have been a gift to me and to my writing. My siblings, and their families, multiply every joy.

My partner and first reader, Brent Warren, has had more cause than anyone to question all the hours I spend writing fiction. He never has. I owe him, and our son Xavier, all my thanks.

Jennie Goloboy, my agent, is the sharpest reader I know and a true partner in my writing career.

Thanks as well to Dawn Frederick at Red Sofa Literary for her work to bring this book into the world.

I’m grateful to everyone at the creative powerhouse that is ChiZine Publications, but especially to Sandra Kasturi and S.M. Beiko for believing in this book, to S.M. Beiko for editing and layout, and to Erik Mohr for the perfect cover.

Those who read and commented on early drafts, in whole or in part, include Michal Wojcik, Michel Schellekens, Merc Rustad, Effie Seiberg, Gwen Phua, Beth Tanner, Jared Oliver Adams, Derek Künsken, Paul Krueger and Kat Howard. Any remaining errors or oversights are entirely mine.

I have had many teachers over the years, but I must mention the late Paul Quarrington, whose mentorship through the Humber School for Writers in 2007 continues to guide my work. I wish I could hand him a copy of this novel. More, I wish I could read the novels he had yet to write.

Thanks to the Ottawa writing community, especially the members of the East Block Irregulars, and to the members of Codex, especially the participants in the Codex Novel Contest.

I thank Claude Lalumière and Alexandra Renwick for opening their home to writers as a place to work, to chat and, occasionally, to receive exciting email.

The list of books and articles that informed this book is long. Here are a few I found invaluable: Bruges, Cradle of Capitalism, 1280–1390 by James M. Murray. Of Reynaert the Fox: Text and Facing Translation of the Middle Dutch Beast Epic, edited by André Bouwman and Bart Besamusca. Transgender Warriors by Leslie Feinberg. A Plague of Insurrection: Popular Politics and Peasant Revolt in Flanders, 1323–1328 by William H. TeBrake. Medieval Handgonnes by Sean McLachlan.

Finally, I acknowledge the visual artists whose work inspired mine: in particular, Pieter Bruegel, whose painting Dulle Griet is the foundation for my story.