ACKNOWLEDGEMENTS
To Wendy, Isaac and Anna.
It took a number of years of thinking over different formats and ideas before this version and title jumped out at me. From that moment until publication was literally just a matter of months, and credit for that must go to the team at John Wiley & Sons in Australia. Sarah Crisp was the acting acquisitions editor who helped me frame the project and was so supportive and helpful in the early stages. Following the completion of the manuscript Lucy Raymond and her team ensured that the editing, permissions and publication processes went as smoothly as possible. My sincere thanks to Alice Berry, Keira de Hoog and Allison Hiew who took me through those processes.
I would like to thank Phil Tana, Steve Hossen, Joshua Green and Grant Carter for reading through all or parts of the manuscript and providing their comments and opinions.
Finally I would like to thank my wife, Wendy, both for her support and encouragement and for reading through and editing the manuscript as it was being written.
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