The Censorship Files: Latin American Writers and Franco's Spain

Acknowledgments

Acknowledgments Iam indebted to the National Endowment for the Humanities Fellowship Program and to the American Council of Learned Societies’ Charles A. Ryskamp Research Fellowship Program for supporting my work. These fellowships allowed me to devote all my attention to this book. My gratitude also extends to the University of Michigan’s Horace H. Rackham Faculty Fellowship and Research Grant, which provided me with travel funds for my first exploration of the “censorship files.” A number of friends and colleagues who guided me during the research and writing of this book also deserve my deepest gratitude. For his careful and incisive reading of my work I am immensely grateful to Ross Chambers, and for her unconditional support I owe many thanks to Lucille Kerr. Thanks as well to Juli Highill for always believing in this project; Jarrod Hayes for our many late-night conversations; Cristina Moreiras-Menor for being so enthusiastic about my work; Gareth Williams for his attentive reading of the final typescript; and David Caron for encouraging me from day one. Peggy McCracken, George Hoffmann, Bill Paulson, Catherine Nickel, and Frances Aparicio also helped me at various stages of the writing process. I thank my past and present colleagues at the University of Michigan for their support over the years. I am also grateful to Marie-Hélène Huet, Ángel Loureiro, and Ricardo Krauel for facilitating my access to Princeton University. My friends Yolande Daniels and Sunil Bald in New York City were also very helpful in this respect. And I should not forget Guiomar Fages Casals for being my Catalan informant, or my valued friend Alain Martinossi for his many words of encouragement all along. Several presentations of my work were particularly helpful for this book. I wish to thank the graduate students at the University of Toronto and at Michigan State University for inviting me as keynote xxix speaker to talk about this book. I thank Rosa Sarabia and María Eugenia Mudrovcic respectively for suggesting my name. I am also grateful for the comments I received from the press’s anonymous readers, and for the work of Lisa Chesnel and her editorial team (especially Kelli Williams) that made this book possible. For permission to reproduce Seix Barral’s book covers, I am grateful to Elena Ramírez, Editora Ejecutiva of the publishing house. I also thank Spain’s Archivo General de la Administración and Ministerio de Cultura for allowing the reproduction of several censor’s reports; in particular, the staff members at the Archivo for handling the necessary paperwork and for making my research there a pleasant and unique experience. Last, but not least, I thank my sister Teresa for her efficient assistance in obtaining all the necessary permissions for the images in this book, and my brother Juan for his complicity in all of this. Sections of chapter 1 are a revised version of “Publishing Matters: The Latin American ‘Boom’ and the Rules of Censorship,” Arizona Journal of Hispanic Cultural Studies 9 (2005): 193–205, and of “Consuming Aesthetics: Seix Barral and José Donoso in the Field of Latin American Literary Production,” MLN 115 (2000): 323–339. An early version of section 1 of chapter 2 appeared as “Sujetos a la censura : Mario Vargas Llosa y el mundo literario de la España franquista” in the Journal of Interdisciplinary Literary Studies 9.1–2 (2003): 59–79. The epilogue was originally published as “Historias de papel: Latinoamérica en la memoria editorial” in Salina: Revista de Lletres 15 (2001): 221–228. I thank the editors of these journals for allowing me to republish. xxx Acknowledgments ❖ ...