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NOTES Introduction 1. A few recent studies have engaged with this question of Latin American literature and its place in either cosmopolitan or world literary contexts. For an emphasis on modernismo and the boom, see Mariano Siskind’s Cosmopolitan Desires : Global Modernity and Literature in Latin America (2014). For an emphasis on contemporary Latin American literature, see Héctor Hoyos’s Beyond Bolaño: The Global Latin American Novel (2015). For a study that triangulates the literary and cultural exchanges across the Atlantic, see Rachel Price’s The Object of the Atlantic: Concrete Aesthetics in Cuba, Brazil, and Spain, 1868–1968 (2014). 2. In this essay, Benedetti is cautious not to undermine the genealogy and development of Latin American literatures. In fact, his essay begins with a brief discussion of El Inca Garcilaso, moving to Andrés Bello and Sarmiento, touching on the indigenista and social realist authors of the 1930s, while placing a strong emphasis on the uniqueness of the boom writers and poets of this same period. Among the landmark books of this period, Benedetti mentions Guimarães Rosa’s Grande Sertão (1956), Juan Rulfo’s Pedro Páramo (1956), Julio Cortázar’s Rayuela (1963), and Gabriel García Márquez’s Cien años de soledad (1967). Furthermore , Benedetti highlights the contributions that Nicanor Parra, Ernesto Cardenal, Roque Dalton, José Donoso, Carlos Fuentes, Claribel Alegría, Jorge Enrique Adoum, and José María Arguedas, among many others, made to the development of “letras de osadía” [letters of audacity or courageousness]. 3. Some recent examples of aesthetic models or propositions seeking to recuperate the past from a philosophical perspective are Alain Badiou’s A Handbook of Inaesthetics (2005) and Jacques Rancière’s Aisthesis: Scenes from the Aesthetic Regime of Art (2013). From cultural anthropology, some examples are Mark M. Smith’s Sensing the Past (2008), and David Howes and Constance Classen’s Ways of Sensing: Understanding the Senses in Society (2013). For the Latin American case, see Doris Sommer’s The Work of Art in the World (2014). 4. Some examples include an exhibit entitled “Estéticas Descoloniales” held in Bogotá in November 2010, an issue of Fuse magazine (Fall 2013) dedicated to decolonial aesthetics, an article published in a Romanian magazine by Miguel Rojas-Sotelo and Raúl Moarquech Ferrera-Balanquet entitled “Decolonial Aesthetics ,” and the now-annual Be.Bop Black European Bodies conference and curatorial event held in various locations in Europe, which brings together artists from various locations across the globe. 5. For a more detailed distinction between Mignolo’s formulation of the geopolitics of knowledge and geopolitics of knowing, see his book The Darker Side of Western Modernity (2011), particularly chapters 3 and 5. 6. On the confrontation between the sensorial and the written, I am thinking about the following statement by Robert Hopkins: “literature, like art, is about the sensory. Poetry in any form, drama, short stories, and novels all concern the world as we experience it through our various senses. They are able to do so because the sensory imagination brings that world before us even when our current sensory experience is confined to the sight of words on a page, or—if we silently recite a poem from memory—less” (“Senses and Art” 531). 7. Francisca Valenzuela did several covers of Violeta Parra’s songs in the context of a tribute concert held in the Plaza de Armas in Santiago, Chile, in 2011 and then in a series of her own concerts. More detailed reflections on this temporal move of music from the 1960s into the present appear in the conclusion to this book. 8. For a discussion of how coloniality and music intersect, see Carolina Santamar ía Delgado’s study on the history and reception of bambuco in musicology in her essay “El bambuco, los saberes mestizos y la academia” (2007). Similar claims could be made for the case of Violeta Parra in her reliance on the cueca or the mazurca as popular musical styles and forms of accompaniment to her lyrical compositions. 9. Some prime examples of scholarship focusing on this period and that tend to privilege the boom novels are Jean Franco’s The Decline and Fall of the Lettered City (2002), Diana Sorensen’s A Turbulent Decade Remembered (2007), and, more recently, Jerónimo Arellano’s Magical Realism and the History of Emotions in Latin America (2015) and Lucille Kerr and Alejandro Herrero-Olaizola’s Teaching the Latin American Boom (2015). 10. For...