The Search for the Red Dragon

List of Illustrations

Acknowledgments

Prologue

Part One Nine Years in the Summer Country

Chapter One

The Angel in the Garden

Chapter Two

The Reluctant Caretaker

Chapter Three

The Lost Boys

Chapter Four

A Dragon Restored

Part Two A History Undone

Chapter Five

The Errant Knight

Chapter Six

The Weaving

Chapter Seven

The Great Whatsit

Chapter Eight

The Friar’s Tale

Part Three The Search for the
Red Dragon

Chapter Nine

Shadows in Flight

Chapter Ten

The Tower in the Air

Chapter Eleven

Chamenos Liber

Chapter Twelve

Dante’s Riddle

Part Four Into the Underneath

Chapter Thirteen

Croatoan

Chapter Fourteen

The Imperial Cartological Society

Chapter Fifteen

Haven

Chapter Sixteen

Echo’s Well

Part Five The King of Tears and the Queen of Sorrows

Chapter Seventeen

The Tunesmiths

Chapter Eighteen

Shadows of History

Chapter Nineteen

The Gilded Army

Chapter Twenty

The City of Lost Children

Part Six The Ninth Circle

Chapter Twenty-one

Shadows and Light

Chapter Twenty-two

The Thimble

Chapter Twenty-three

Unraveled

Chapter Twenty-four

Second Star to the Right

Epilogue

Author’s Note

Sitting in a disarray…was a small girl.

The small, slight man was barely five feet tall

“…someone is
always
listening…and someone always comes.”

“Someone give me a hand inside, will you?” Bert cried

The armored scarecrow was chewing something

…three youthful, graceful women of astonishing beauty.

In response to his call, an enormous black crow dropped down

“He refers to the ‘construction’ of two mechanical men…”

“She’s out of your reach, and that’s all that matters.”

High above them, like a great gray comet…

“Cut the line, Jack,” she said softly.

…the rotating water…was forming a gigantic whirlpool.

“Hello, boy,” she said.

“We are the Croatoans. And we are ourselves.”

…a regal, thin-framed man…spread his arms in greeting.

“Hello, Jacks. It’s good to see you.”

They cared about running…they cared about climbing apple trees

The crenellated towers extended all around the orchard and gardens

The other wolves had already begun to growl

“I’m sorry,” the six-armed creature said plaintively. “There have to be forms”

Something else was coming through one of the rifts in Time.

“The King of Crickets,” breathed Bert.

They were chessmen that aspired to be continents

The Search for the Red Dragon
was easier to begin than its predecessor but was harder to finish, for all the right reasons. I have been overwhelmed by the support and goodwill extended to me by the many people who have assisted me in this process and been supportive of my books.

It was no small boost in publicity when Warner Brothers announced that they would be acquiring these novels for adaptation to film. My team of representatives, including Ben Smith, Craig Emanuel, and everyone at the Gotham Group negotiated an excellent deal, and I’m very pleased that the Warner executive who bought the books, Lynn Harris, saw the potential the minute we walked into the room. Marc Rosen, David Heyman, and David Goyer helped me overcome every obstacle I saw, and cleared away some I hadn’t realized were there, and in the process have become my good friends.

David Gale continues to be my ideal editor, and I’ve been very spoiled by the graciousness, belief, and hard work he has extended on my behalf. Alexandra Cooper, Dorothy Gribbin, and Valerie Shea have also been invaluable to my development as a writer, and I am constantly blown away by the attention to detail they brought to this book.

My publisher, Rubin Pfeffer, is someone who exemplifies the concept of action in publishing. Rarely have I met someone who was so willing to take risks with material he believed in, and make sure that it had all the support it needed to succeed. He and I have come to trust each other implicitly, while having a great deal of fun in the process.

Elizabeth Law, who was our associate publisher, was and is a great booster of the work I do—and I suspect is the reason our studio was offered the chance to do
Lost Treasures
while I was in the middle of this book. As with Rubin, her decisiveness and support is a huge factor in why I am very happy being published by Simon & Schuster.

Our art director, Lizzy Bromley, continues to demonstrate a keen design sense and made the book look wonderful; and our publicity director, Paul Crichton, helped turn some initial good buzz into a never-ending whirlwind of excitement.

I am also grateful to the sales team, in particular Kelly Stidham, who has all but become my personal advocate and helped turn hopes into stability.

Our electronic links to the world via the Web would not be what they are without the skill and generosity of Ariana Osborne; and would be much more cluttered without the help of Lisa Mantchev. Dear ladies, you have my thanks.

There have been times when I needed a helping hand, and reached out—only to find Brett Rapier, Shawn Palmer, and Cindy Larson had already extended theirs, for which I am very, very grateful.

Throughout the process of working on this book, my brother Jeremy and our cohorts at the Coppervale Studio have remained steadfast; and my family has been supportive beyond measure, even as this ride has taken wilder turns and my schedule has often kept me at work home and abroad. But I think more than anyone, I am thankful for the support given to me by my son, Nathaniel—who, more than anyone, inspired me to write this book in the manner that I did.