Elsie said, "His family motto, echoing Richard Lionheart, appeared above the coat of arms: Mes compaingnons cui j'amoie et cui j'aim,… Me di, chanson." She paused. " `Companions whom I loved, and still do love,… Tell them, my song.'

"

They stared at André for a long time.

Johnston touched the stone contours of Marek's face with his fingertips. "Well," he said finally, "at least we know what happened."

"Do you think he was happy?" Chris said.

"Yes," Johnston said. But he was thinking that however much Marek loved it, it could never be his world. Not really. He must have always felt a foreigner there, a person separated from his surroundings, because he had come from somewhere else.

The wind whined. A few leaves blew, scraping across the floor. The air was damp and cold. They stood silently.

"I wonder if he thought of us," Chris said, looking at the stone face. "I wonder if he ever missed us."

"Of course he did," the Professor said. "Don't you miss him?"

Chris nodded. Kate sniffled, and blew her nose.

"I do," Johnston said.

They went back outside. They walked down the hill to the car. By now the rain had entirely stopped, but the clouds remained dark and heavy, hanging low over the distant hills.

ACKNOWLEDGMENTS

Our understanding of the medieval period has changed dramatically in the last fifty years. Although one occasionally still hears a self-important scientist speak of the Dark Ages, modern views have long since overthrown such simplicities. An age that was once thought to be static, brutal and benighted is now understood as dynamic and swiftly changing: an age where knowledge was sought and valued; where great universities were born, and learning fostered; where technology was enthusiastically advanced; where social relations were in flux; where trade was international; where the general level of violence was often less deadly than it is today. As for the old reputation of medieval times as a dark time of parochialism, religious prejudice and mass slaughter, the record of the twentieth century must lead any thoughtful observer to conclude that we are in no way superior.

In fact, the conception of a brutal medieval period was an invention of the Renaissance, whose proponents were at pains to emphasize a new spirit, even at the expense of the facts. If a benighted medieval world has proven a durable misconception, it may be because it confirms a cherished contemporary belief-that our species always moves forward to ever better and more enlightened ways of life. This belief is utter fantasy, but it dies hard. It is especially difficult for modern people to conceive that our modern, scientific age might not be an improvement over the prescientific period.

A word about time travel. While it is true that quantum teleportation has been demonstrated in laboratories around the world, the practical application of such phenomena lies in the future. The ideas presented in this book were stimulated by the speculations of David Deutsch, Kip Thorne, Paul Nahin and Charles Bennett, among others. What appears here may amuse them, but they would not take it seriously. This is a novel: time travel rests firmly in the realm of fantasy.

But the representation of the medieval world has a more substantial basis, and for it I am indebted to the work of many scholars, some of whom are identified in the bibliography that follows. Errors are mine, not theirs.

I'm grateful as well to Catherine Kanner for the illustrations, and to Brant Gordon for the computer-generated architectural renderings.

Finally, my particular thanks to historian Bart Vranken for his invaluable insights, and for his companionship while tramping through little-known and neglected ruins of the Périgord.

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