Read My Pins_ Stories From a Diplomat's Jewel Box - Madeleine Albright [36]
The production of this book, overseen by Melcher Media, benefited greatly from Charles Melcher’s impeccably high standards and the rigorous editorial guidance and ingenuity of Lindsey Stanberry and David Brown. I am fortunate that Lindsey and David, both extraordinarily talented and seemingly indefatigable, touched every aspect of this book. Assembling a volume with so many images is complicated, but Kurt Andrews performed his magic, and Bonnie Eldon marshaled all the moving parts. It has been a genuine pleasure working with the entire Melcher team, including Duncan Bock, Frances Coy, Daniel del Valle, Heidi Ernst Jones, Coco Joly, Lauren Nathan, Christopher Nesbit, Richard Pettruci, Lia Ronnen, Holly Rothman, Jessi Rymill, Morgan Stone, Shoshana Thaler, Anna Thorngate, Anna Wahrman, and Megan Worman. I always intended that this book should be fun, and I thank them for ensuring it was.
Since 2004, my publishing home has been HarperCollins. This project was a departure for the company as much as it was for me, and I am especially indebted to executive editor Tim Duggan for his encouragement. I am appreciative, as well, of the support provided by the HarperCollins family, including Brian Murray, Michael Morrison, Jonathan Burnham, Kathy Schneider, Tina Andreadis, Kate Blum, and Andrea Rosen. The brilliant Jane Friedman was an enthusiastic early backer of this book and a source of excellent ideas. Heartfelt thanks are also due to my matchless attorneys, Robert Barnett and Deneen Howell, who have loved this project from its inception. They have earned their pin-stripes.
The Museum of Arts and Design (MAD) is a true gem. Through its collections, presentations, and educational programs, it celebrates arts, crafts, and design. The Museum challenges us to look at distinctive objects in an extraordinary light, thus providing the perfect setting for my pins. David McFadden, chief curator, and Dorothy Globus, curator of exhibitions, came to my home and pored over the collection. When they declared that it was suitable for Museum display, we had the green light we needed to proceed. I am enormously grateful to them both for their confidence and, more especially, to David for his thoughtful introduction to this book, and to Dorothy for helping to select the right pins and beautifully displaying them. My gratitude also goes to MAD’s director, Holly Hotchner, development director Ben Hartley, and every member of the Museum’s staff. Finally, the exhibit would not have been possible without the timely and generous support of Bren Simon, a talented businesswoman, a great patron of the arts, and my good friend.
This volume’s impressive index of pins was primarily the work of Martin Fuller, who spent hours in my home appraising the collection for the exhibit. I assured him that the pindex would prove a labor of love, and so it proved, but with emphasis on the “labor.” Marty’s expertise and sense of humor both came in handy, as did the skills of those who assisted him: Colette Fuller, Audrey Hagedorn, Joanna Smith, Katharine Taylor, Lois Berger, Brenda Forman, and Marie Dotson. I also thank Diana Phillips for the early working photographs and Reema Keswani for assembling the first catalog—my favorite pin-group description was “weapons of mass destruction.”
Like some of my most cherished pins, several people are in a category by themselves. In addition to providing strategic advice, Hamilton South and Anne Reingold of the HL Group were among the earliest and most enthusiastic supporters of this project. They were the first to evaluate the collection when they came to my home and spread out the pins on my bed. I am deeply grateful for all they have done and for their friendship. Their colleagues Lynn Tesoro, Joanne Langbein, Jordan Webb, and especially Arturo Diaz also provided valuable assistance. Patricia Syvrud of Jewelers Mutual Insurance Company has kept me up-to-date