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ACKNOWLEDGMENTS Completing this book would not have been possible without the initial support and motivation of David Lenson, Edwin Gentzler, Jose N. Ornelas , and Angel Rivera. As the manuscript took on new directions, I was extremely fortunate to have the intellectual and moral support of Antonia Carcelén-Estrada, Tara Daly, and Sara Ceroni. Thank you for your encouraging words and patience along the way. At the College of the Holy Cross, my colleagues in the Department of Spanish have been very supportive throughout the entire publication process, particularly Isabel Álvarez -Borland, Cynthia Stone, John Cull, and my two department chairs, Estrella Cibreiro-Couce and Daniel Frost. Working on revisions of the manuscript would not have been possible without the institutional support of the Robert L. Ardizzone (’63) Fund for Junior Faculty Excellence and the Research and Publication Award, both from the College of the Holy Cross. I would also like to express my gratitude to Margaret Freije, Provost and Dean of the College, for her constant support. At the University of Florida Press, I would like to thank my editors Stephanye Hunter and Erika Stevens for believing in this project and for guiding me through the entire publication process. I also would like to extend my words of gratitude to the rest of the production and marketing staff at the University of Florida Press. Without the advice and recommendations of my two anonymous reviewers, this manuscript would not be in its current form. Thank you for your insightful comments. Sections of chapter 2 appeared in a very different form in the article “Utopian Thinking in Verse: Temporality and Poetic Imaginary in the Poetry of Nicanor Parra, Mario Benedetti, and Roque Dalton,” published in x · Acknowledgments Hispanófila: Ensayos de literatura 178 (2016): 185–203. I would like to express my gratitude to Juan Carlos González-Espitia, editor of Hispanófila, for granting me permission to reprint sections of the article. Likewise, I would like to extend my gratitude to the editors and licensing personnel who granted me permission to reprint verses, lyrics, and translations as they appear in chapters 2 and 3. I would also like to thank Juan Sebastián Kingman and Avelina Kingman for granting me permission to make use of Eduardo Kingman’s painting “Músico callejero” (1956) for the book cover. Finally, I would like to thank my family in Guayaquil, Ecuador, for their support and encouragement throughout these years of research, writing, and revising. Muchísimas gracias tía, papi y ñaños por todo su cariño incondicional y motivación. Sin esto creo que el proyecto hubiera sido más difícil de completar. ...


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