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xi Acknowledgments Throughout the numerous hibernations and emergences of this book and its different iterations, I have benefited from many and varied support systems, relationships, and critiques. I thank the University of California, who supported my research and writing with humanities research fellowships over the years. I am especially grateful for Lewis Watts, my codeveloper and coinstructor of the visual autobiography course in which many of the ideas in this book were explored, and to our teaching assistants and coinstructors—Eileen Callahan and Susannah Hays—who were invaluable partners. Certainly, both undergraduate and graduate students in the visual autobiography courses at the University of California, Berkeley, helped to clarify and refine my approach. I am very grateful to the Hewlett Foundation, which supported us with a generous course development grant. Thanks also to Umeå University in Umeå, Sweden, where, as a visiting professor, I explored some of my ideas in a graduate seminar, and to Raoul Granqvist, who supported this project at its origin. The staff at several special collections libraries have provided invaluable help. Executive Director Erika Torri and librarian Andi Hawkins at the Atheneum Music and Arts Library in La Jolla, California, gave me unlimited access to their impressive artists’ book collection, as well as a warm welcome punctuated with illuminating conversations. Thanks to Janice Braun, special collections curator, and Karma Pippin, librarian and special collections curator, archivist, and director of the Mill Center for the Book, at the Heller Rare Book Room at the F. W. Olin Library at Mills College in Oakland, California, who made possible my numerous visits to examine Julie Chen’s collection of artists’ books. Thanks also to the staff at the Mandeville Special Collections in the Geisel Library at the University of California, San Diego, where I first encountered the work of Julie Chen. A special thanks to the participants of my UC Berkeley Institute of International Studies–­ sponsored Book Manuscript Draft Mini-­ Conference—Shari Huhndorf, Beth Piatote, Leigh Raiford, and Julia Watson—whose feedback was invaluable in the early stages of the writing . And to Julia Watson for copious feedback and encouragement. Thanks also to Deirdre Golash, an editor-­ reader extraordinaire. I am grateful also to the Slusser Manuscript Review Conference Grant offered through the UC Berkeley Townsend Center for the Humanities. Thank you to my readers—Elizabeth Abel, Donald McQuade, Genaro Padilla, xii Acknowledgments Karin Sanders, and Celia Rabinovitch—who convinced me to rethink my original structure. With a nuanced understanding of transdisciplinary work, Celia’s reading of my manuscript was a tour de force in itself. I am grateful to the UC Berkeley American Cultures Center for Faculty Summer Seminar Fellowships. Thank you also to Jon Peterson who read a couple of drafts of the manuscript with an academically skeptical eye. Thanks, finally, to my anonymous reviewers for their many insightful questions and suggestions. There are several people to thank at the University of North Carolina Press. I am immensely grateful for Mark Simpson-­ Vos’s willingness to check out this project and, especially, for the support and assistance of Lucas Church, with whom it was a joy to work. Thanks also to Becki Reibman, who was an early help; to Catherine Hodorowicz, whose kindness , patience, and attention to detail were immeasurable; and to Mary Carley Caviness, who guided this book through the process with graceful expertise. Thanks also to Dino Battista and to the production team, who were so attentive to the design of the book. Heartfelt gratitude to my writing group—Kathleen McCarthy, Beth Piatote, Linda Rugg, and Susan Schweik—whose incisive questions, acute insights, and sage advice helped me clarify the final shape of the project and whose friendship has sustained me. I thank Edith Ng Welsh, Chansonette Buck, and Ann Hyde for their sustained curiosity about my book. Thanks also to Lauren Stuart Muller for parallel writing sessions and long walks; and to Richard Wong, Jody Parsons, and Judith Wong for their unwavering belief in this project. I am especially indebted to my graduate research assistants: Brian Gillis, Sharon Hsu, and Jason de Stefano. Brian helped organize the Book Manuscript Mini-­ Conference and developed the Native American writing group from an informal gathering to a UC Berkeley Townsend Center Reading Group. Sharon Hsu orchestrated a graceful dance through the minefield of permissions requests that Jason de Stefano brought to fruition with polished professionalism. I am grateful for all the artists/writers I discuss in this book. Thank you especially to Julie Chen for generous conversations...


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