“The Descent” and “Eidechse von Feuer, der Menschenfleischfressende” are original. Jack’s mumbling about all the king’s horses and all the king’s men is a reference to the Mother Goose rhyme “Humpty Dumpty.” I must thank Chiara Frigeni for her help with my, shall we say, “creative” use of German in coming up with Eddie’s full name.
The chapters “The Others” and “Face to Face” are also original. When Jack and Jill start into the kingdom of Märchen, I quote the Mother Goose verse, “Home again, home again, jiggedy jig.” The rhyme “Mirror, mirror on the wall, who is the fairest of them all?” is from the Grimms’ “Snow White.” The rest of the mirror rhymes are invented. The Others’ punishment, and the fact that they unwittingly choose it themselves, is drawn from the Grimm tale “The Three Woodsmen.”
The book’s inscription comes from the New Testament, 1 Corinthians 13:12: “We see now as in a glass, dimly, but then we shall see face to face.” The book’s title, and the title of the last chapter, and the whole structure of the book, reflect this verse.
Acknowledgments
First and foremost, I must acknowledge the immense importance of Julie Strauss-Gabel, the editor of In a Glass Grimmly and A Tale Dark & Grimm. Our process is this: I write a book that is meaningful to me, and then she tells me if anyone will have any idea what I’m talking about. She explains what works, what does not, and why. I rewrite. We repeat the process. Endlessly. Until the book I wanted to write has been revealed. She is throughout as generous to my vision as she is firm against my excesses. If my books convey any meaning to the reader at all, it is because of Julie.
I must also thank the wonderful people at Penguin. Scottie Bowditch in particular has guided my work from obscurity to recognition with the resolution and intuition of a brilliant sea captain. Liza Kaplan has taken care of all the behind scenes work. Bernadette Cruz and Marie Kent, together, have introduced me to half of the librarians and booksellers in the country—I can’t wait to be introduced to the other half. The entire Penguin team does incredible work just to ensure that children get to read these stories; I am deeply grateful to them.
Sarah Burnes, my agent, guides my life as it relates to books as insightfully as Julie guides my writing. I would be utterly and totally lost without her. And without Logan Garrison, too. Rebecca Gardner and Will Roberts at The Gernert Company have gotten A Tale Dark & Grimm into more languages and countries than I can keep track of; they are masters.
Hugh D’Andrade’s incredible covers and interior art deserve their own gallery show. Perhaps we’ll arrange that one day. For now, the fantastic work of the Penguin Young Readers Group design team will do nicely.
Laura Amy Schlitz was my elementary school librarian, and it may be that I learned the art of storytelling by watching her masterful, weekly performances. More recently, she has taken me under her wing, offering endless advice, comfort, and care through the process of becoming, and being, a writer. I do not deserve her.
I feel deep gratitude toward Sal Vascellero of the Bank Street College of Education, as well as toward Amy Hest. Both Sal and Amy guided me through my very first attempts at writing, and were endlessly encouraging when I needed encouragement most.
Zachary Gidwitz and Lauren Mancia both read drafts of this book and improved it immensely with their honesty.
My family and my close friends are more important to me than anything else in the world. I know that you guys know that, but I just wanted to tell you again.
Finally, I’ve got to say thank you to the kids. You know who you are. All the kids to whom I’ve told stories, at every school and library and bookstore I’ve visited—and, of course, at Saint Ann’s. Your laughter, your shrieks of horror, and your enduring passion for stories are . . . well . . . awesome.
ALSO BY
Adam Gidwitz
A Tale Dark & Grimm
Adam Gidwitz, In a Glass Grimmly
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