Barkskins

Acknowledgments

It is not possible to list all of the people who helped with suggestions and resources during the work on Barkskins, but here are a few of the many.

Portions of two chapters appeared in somewhat different form in Brick and The New Yorker.

The writing of this book was supported in part by a Ford Fellowship and United States Artists, and in part by my publisher Scribner. Parts of this work were written during a residency in the International House of Literature Passa Porta (Brussels) as part of the program Residences in Flanders and Brussels, organized by the literary organization Het beschrijf and the Department of Culture of the Flemish Community of Belgium. Special thanks to Ilke Froyen and the Passa Porta staff and their excellent bookstore. Thanks also to Isolde Bouten, who gave me a first taste of speaking and hearing and reading Nederlands. I am grateful to my publisher Erik Visser of De Geus, and my editor Nele Hendrickx, for their encouragement and scrutiny of my dictionary Dutch.

In New Zealand

Writer Jenny and musician Laughton Pattrick, friends and guides, tui enthusiasts, exemplars of joie de vivre took me into the rich Wilton’s Bush (a.k.a. Otari) forest reserve in Wellington to see rimu, totara, kahikatea, rewarewa, tree ferns — a moist forest world of yesteryear. The New Zealand Maritime Museum Library and Archives was helpful. Betty Nelley, Curator, and Andrea Hemmins, Collections Manager of the Kauri Museum, Matakohe, Northland, were welcoming and enormously helpful. I enjoyed the help of Rita Havell, Research Librarian at the Alexander Turnbull Library, Wellington. Karren Beanland of the Michael King Writers’ Centre helped with information and connections. One of those connections was Liz Allen, a center trustee, who took several days from her busy schedule to drive me up to the Hokianga to visit kauri museums and one of the few remaining kauri forests. In the Hokianga, Betty Nelley of the stunning Kauri Museum arranged a night foray into the forest to see the great trees by moonlight. Our guide was Kyle Tuwhekaea Ranga Chapman, who added to the drama of the experience with flute, bull-roarer, chant, story and lurid denunciations of stoats and possums that prey on kiwis.

In Nova Scotia

Grateful thanks to Roger Lewis, Mi’kmaw scholar, Curator, archaeologist, ethnologist and mesmerizing raconteur, of the Nova Scotia Museum: Museum of Natural History, for reading parts of the novel and explaining the importance of rivers to Mi’kmaw people. And thanks to my sister Roberta Roberts, who spent a week with me in that province.

In United States

The encouragement and support of my agent, Liz Darhansoff, and editor, Nan Graham, carried through several time extensions. I am grateful to Susan M. S. Brown for Herculean labors on the manuscript and for arranging three hundred years’ worth of characters in an understandable family tree. It would have killed me to do this hard job. Cheryl Oakes, Librarian at the Forest History Society, came up with hard-to-find articles and references, and Cort Conley of the Idaho Commission on the Arts helped with books on western logging. In Vermont, Dr. John P. Lawrence aided me with some characters’ medical details. Artist David Bradley of Santa Fe linked me to reports on the struggles of indigenous forest people forced out of their traditional territory by logging, cattle ranching, palm oil farms and mining. I found many scarce books through the myriad booksellers who list their wares on AbeBooks, and of course the indispensable Internet, especially the Google search engine, brought many obscure personalities and events to the surface. Coe Library at the University of Wyoming was my starting point for many scarce or hard to find books. Thanks also to Morgan Lang for help with the technical end of handling a large manuscript.