Neobaroque in the Americas: Alternative Modernities in Literature, Visual Art, and Film

Acknowledgments

Acknowledgments Over the years that went into the making of this book, large debts of gratitude have accumulated to many colleagues and friends who offered advice and encouragement at various stages. I would like to acknowledge and thank Eric Ames, Herb Blau, Marshall Brown, Laura Chrisman, Ruth Little, Christopher Johnson, Adrian Martin, Geoffrey McCafferty, Brian Reed, Jacobo Sefamí, and James Tweedie. I am indebted to Patrick Blaine, Eric Ames, and the staff at the University of Washington’s Center for Digital Arts and Experimental Media for technical assistance in acquiring screen captures. Mary Brisson of the Peterson Automotive Museum offered generous help. Special thanks are due to Lois Parkinson Zamora, who provided crucial encouragement and instruction at the beginning of my engagement with the myriad forms of the Baroque. In addition, I would like to extend warm thanks to the “Neobarockers” of the Hispanic Baroque research project, funded by the Social Sciences and Humanities Research Council of Canada, for providing me with a sounding board for my ideas as my work progressed. At the University of Virginia Press, I am grateful to my editor Cathie Brettschreider, to my in-house editor Morgan Myers, and to the two anonymous readers who offered helpful comments. Finally, throughout I have been fortunate to count on the companionship of Robert Mugerauer for insights, inspiration, and boundless support. There are also institutions to thank: a grant from the Royalty Research Fund at the University of Washington supported initial research for this project, and a sabbatical leave allowed me to complete the manuscript. My college and department at the University of Washington provided financial support for production costs, and Modern Language Quarterly contributed support for conference travel related to this project. Finally, I would like to thank the publishers of journals in which earlier versions of certain chapters appeared: xii Acknowledgments The introduction includes revised versions of material originally published in “Neobaroque: Latin America’s Alternative Modernity,” Comparative Literature 58, no. 2 (Spring 2006), and “‘The Future Is Entirely Fabulous’: The Baroque Genealogy of Latin America’s Modernity,” Modern Language Quarterly 68, no. 2 (June 2007). Chapter 2, on Djuna Barnes, is a revised and significantly expanded version of “The Neobaroque in Djuna Barnes,” published in Modernism/Modernity 12, no. 1 (2005). The section in chapter 3 on José Donoso is a revised version of “Postdictatorship Allegory and Neobaroque Disillusionment in José Donoso’s Casa de campo,” Chasqui 34, no. 2 (November 2005). Chapter 5 incorporates revised portions of “Becoming-Baroque: Folding European Forms into the New World Baroque with Alejo Carpentier,” CR: The New Centennial Review 5, no. 2 (2005). NeobaroqueintheAmericas ...