Clockwork Princess

ESSA’S E NGLAND
    As in
Clockwork Angel
and
Clockwork Prince
, the London and Wales of
Clockwork Princess
is, as much as I could make it, an admixture of the real and the unreal, the famous and the forgotten. The Lightwood family house is based upon Chiswick House, which you can still visit. As for No. 16 Cheyne Walk, where Woolsey Scott lives, it was at the time actually rented together by Algernon Charles Swinburne, Dante Gabriel Rossetti, and George Meredith. They were members of the aesthetic movement, like Woolsey. Although none of them were ever (proved to be) werewolves. The Argent Rooms are based on the scandalous Argyle Rooms.
    As for Will’s mad ride across the countryside from London to Wales, I am indebted to Clary Booker, who helped me map the route, found inns that Will would have stayed at on the way, and speculated on the weather. As much as possible I tried to stick to roads and inns that did exist. (The Shrewsbury-Welshpool road is now the A458.) I have been to Cadair Idris myself and climbed it, visited Dolgellau and Tal-y-Llyn, and seen Llyn Cau, though never jumped in to see where it would take me.
    Blackfriars Bridge exists of course, then and now, and the description of it in the epilogue is as close to my experience of the bridge as I could make it. The Infernal Devices began with a daydream of Jem and Tessa on Blackfriars Bridge, and I think it is fitting that it ends there too.

Acknowledgments
    Special thanks to Cindy and Margaret Pon for help with Mandarin Chinese; Clary Booker for mapping Will’s journey from London to Cadair Idris; Emily-Jo Thomas for help with Will’s and Cecily’s Welsh; Aspasia Diafa, Patrick Oltman, and Wayne Miller for help with Latin and ancient Greek. Thank you to Moritz Wiest for scanning the whole manuscript so it could be delivered during Hurricane Sandy.
    Much thanks for familial support from my mother and father, as well as Jim Hill and Kate Connor; Nao, Tim, David, and Ben; Melanie, Jonathan, and Helen Lewis; Florence and Joyce. To those who read and critiqued and pointed out anachronisms—Sarah Smith, Delia Sherman, Holly Black, Kelly Link, Ellen Kushner, Clary Booker—tons of thanks. And thanks to those whose smiling faces and snarky remarks keep me going another day: Elka Cloke, Holly Black, Robin Wasserman, Emily Houk, Maureen Johnson, Libba Bray, and Sarah Rees Brennan. My always-gratitude to my agent, Russell Galen; my editor, Karen Wojtyla; and the teams at Simon & Schuster and Walker Books for making it all happen. And lastly, my thanks to Josh, who brought me tea and cats while I worked.



THE MORTAL INSTRUMENTS
    “The Mortal Instruments series is a story world that I love to live in. Beautiful!”
Stephenie Meyer, author of
Twilight

    International bestselling series
    Over 12 million copies in print worldwide
    Translated into more than 35 languages
    City of Bones
is soon to be a major motion picture

    www.mortalinstruments.com

Also by Cassandra Clare
    THE MORTAL INSTRUMENTS :
    City of Bones
    City of Ashes
    City of Glass
    City of Fallen Angels
    City of Lost Souls
    THE INFERNAL DEVICES :
    Clockwork Angel
    Clockwork Prince

This is a work of fiction. Names, characters, places and incidents are either the product of the author’s imagination or, if real, used fictitiously. All statements, activities, stunts, descriptions, information and material of any other kind contained herein are included for entertainment purposes only and should not be relied on for accuracy or replicated as they may result in injury.
    First published in Great Britain 2013 by Walker Books Ltd
87 Vauxhall Walk, London SE11 5HJ
    Text © 2013 Cassandra Claire LLC
Cover photo-illustration © 2013 Cliff Nielsen
    The right of Cassandra Clare to be identified as author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988
    All rights reserved. No part of this book may be reproduced, transmitted, or stored in an information retrieval system in any form or by any means, graphic, electronic, or mechanical, including photocopying, taping, and recording, without prior written permission from the publisher.
    British Library Cataloguing in Publication Data:
a catalogue record for this book is available from the British Library
    ISBN 978-1-4063-4271-0 (ePub)
    www.walker.co.uk