In pursuit of a fully rounded portrait of Madeleine L’Engle from living memory, it seemed essential to hear not only from as many as possible of the people who knew her most intimately but also from some whose more fleeting encounters were representative of those of the thousands of students, teachers, librarians, aspiring writers, neighbors, and others who crossed her path in the course of a richly complex life enacted largely in public view.

The portrait that emerges is – and was bound to be – impressionistic in nature. The principal reason for this is that L’Engle casually departmentalized her vast and densely populated universe. People important to her in one sphere of her life typically did not meet those important to her in the others. The inveterate fan and sometime practitioner of the mystery genre knew very well how to scatter the clues to her own story, an overwhelmingly admirable tale that at times, however, bore scant resemblance to the placid domestic idyll of A Circle of Quiet and its sequels, as a controversial profile of L’Engle published in The New Yorker, in April 2004, made clear. Some of the most deep-seated family conflicts also proved to be among the longest lived. Regrettably, L’Engle’s adopted daughter, Maria, was among the few people approached about an interview for this book who declined.