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Acknowledgments Several people have read entire drafts of this book and made comments and suggestions that helped me make it better. To my best writing ally and old friend Craig Howes, thanks yet again. A special acknowledgment is due to John Huntington, whose incisive reading of the manuscript as originally submitted to Wesleyan University Press resulted in an extensive revision that, I hope, greatly improved it. Arthur B. Evans read the entire revised manuscript carefully and made many helpful suggestions. The book is definitely more clearly written and carefully argued because of Art’s generous help. Carl Freedman and Cristina Bacchilega also read and responded to portions of the manuscript, and to both of them I owe larger thanks that I will return to below. Although my research on this project began as early as my sabbatical year in 2001, the book only started to take its present shape in response to an hours-long conversation about genre, plot, and the history of science fiction with Samuel R. Delany and Carl Freedman at the Rethinking Marxism Conference at Amherst in November 2003. To Chip for that memorable conversation, my warm thanks. As for Carl, this was only one in a long series of such conversations, and only one example of the many intellectual, professional, and convivial benefits I have enjoyed as collateral effects of our friendship. I had the good fortune to present papers that grew into parts of this book at the Modern Language Association meeting in 2002, and at the International Association for the Fantastic in the Arts meetings in 2004 and 2005. I want to thank everyone who asked me questions or gave me encouragement about the project at those meetings, especially Chris Kendrick . Special thanks are also due to Eric Rabkin, who gave me excellent feedback on the project proposal. Thank you to Jack Zipes, Kenneth R. Johnston, and Jerrold Hogle for their support of the proposal as well. I have had the good fortune to work in a fine, intellectually vibrant department since 1980, and it is a pleasure to have the opportunity here to thank my colleagues at the University of Hawai‘i at Mānoa in the Department of English and in the International Cultural Studies program for their responses to colloquium presentations on this material. I also owe a debt to my students, especially those in my undergraduate and graduate courses on science fiction, but also to all of the students I have taught in my twenty-seven years in Honolulu, because this book’s focus on colonialism is rooted in that teaching experience. Finally, I want to thank Bruna Rieder, who gave me encouraging news about how the opening pages would strike a bright college student who was not particularly interested in science fiction. Some portions of “Science Fiction, Colonialism, and the Plot of Invasion ,” originally published in Extrapolation 46 (2005), are reused in chapters one and five. Thanks to Javier Martinez for his encouragement and enthusiasm about this project. A grant from the University of Hawai‘i Humanities Endowment allowed me to spend a month during the summer of 2003 reading at the Eaton Collection at the University of California, Riverside, Special Collections Library. The wonderfully helpful and well-informed staff at the Eaton helped me to make that stay very productive. Acknowledgment is also due to the Eaton for providing me with the image from the cover of Thrilling Wonder Stories. I thank the Bishop Museum Archives of Honolulu for providing the Alonzo Gartley image and permission to use it. Thank you to Frank Wu who very generously shared his expertise on Frank R. Paul. The Cushing Memorial Library and Archives at Texas A&M University provided the three Frank R. Paul images, and the Frank R. Paul estate granted permission to use them. For expert advice about the cover art, thanks also to Robert Weinberg and John Gunnison. I want to acknowledge the efficiency, energy, and courtesy of the editorial and production staff who helped me see this project through at Wesleyan University Press, especially Eric Levy for shepherding the project from proposal to book and Leslie Starr for her work on the cover and other publicity materials. Thanks also to the attentive copy editor at University Press of New England and to those who oversaw the production process there. No one has had a stronger impact on the way I have learned to think about narrative than Cristina Bacchilega. For the last twenty-four years, she has encouraged and...


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