Acknowledgments

The story of a book encompasses numerous individuals and institutions. My work on Latin America's literary vanguards began with a 1984 doctoral dissertation on the connections between literary aesthetics and cultural nationalism in the vanguard movement in Peru. The unanswered questions emerging from that project took me on a very different course that has culminated with this book. Initial research was supported by a postdoctoral resident fellowship at the Center for Twentieth Century Studies, University of Wisconsin-Milwaukee, in 1985–86, made possible by release time from the Department of Spanish and Portuguese. At the center, I was privileged to participate in a remarkable faculty seminar, "Rewriting Modernism," eminently enriched by the intellectual guidance of center director Kathleen Woodward and seminar organizer Andreas Huyssen and by the participation of other fellows. Subsequent support came from the Graduate School of the University of Wisconsin-Milwaukee and the General Research Fund of the University of Kansas, and the presentation of project material at professional conferences was supported by the Center for Latin America at the University of Wisconsin-Milwaukee and the Graduate School and Center of Latin American Studies at the University of Kansas. I was also assisted by the staff of the Benson Latin American Collection of the University of Texas at Austin, in particular, Ann Hartness, and, in very early stages, of the Sala de Investigaciones Bibliográficas of the Biblioteca Nacional del Perú. The Spencer Research Library at the University of Kansas provided a study during the final revisions.

I am profoundly indebted to each and every one of my colleagues in the Department of Spanish and Portuguese at the University of Kansas for creating, under the superb leadership of Robert Spires and, more recently, Roberta Johnson, a singularly warm and vital atmosphere of collegial support and intellectual exchange that enabled me to complete this book. I have also been favored with the challenging dialogue provided by many graduate students, particularly those in my seminars on the vanguards. As the project moved toward completion, the interest and encouragement of Roberto González Echevarría were fundamental, as was the enduring conversation with fellow vanguardista Merlin H. Forster, an exchange begun in Texas days. Eileen McWilliam, editor at the University of California Press, provided perceptive and learned guidance for the review process, and Erika Büky and Sheila Berg provided careful and intelligent editing for transforming the manuscript into a book. Gustavo Pérez Firmat, as a reader for the University of California Press, provided insightful and substantive suggestions, as did two other, anonymous, readers. John Brushwood, Andrew Debicki, Klaus Müller-Bergh, Robert Spires, and George Woodyard gave me thoughtful feedback on project proposals or on versions of individual chapters or chapter sections.

I am also grateful to the numerous people who at various stages provided me with materials or contacts, suggested material I might examine, or raised or answered questions vital for the book's progress: Raquel Aguilú de Murphy, Severino Albuquerque, Danny Anderson, Leslie Bary, William R. Blue, John Brushwood, Lilly Caballero de Cueto, Alonso Cueto, Michael Doudoroff, Merlin Forster, Regina Harrison, Mark Hernández, David Jackson, Elizabeth Jackson, Roberta Johnson, Elizabeth Kuznesof, Ramón Layera, Linda Ledford-Miller, Naomi Lindstrom, Javier Mariátegui Chiappe, Nieves Martínez de Olcoz, Margo Milleret, Klaus Müller-Bergh, Julio Ortega, Charles Perrone, Daniel Reedy, Judith Richards, Enylton de Sá Rego, Jorge Schwartz, Janet Sharistanian, Amelia Simpson, Raymond Souza, Charles Stansifer, David Unruh, Emilio Vásquez, Jon Vincent, David Wise, and George Yúdice. Superb technical assistance was provided by Victoria Hays, Pam LeRow, Paula Malone, and Lynn Porter of the University of Kansas and by my patient daughter, Jennifer Unruh, my navigator in the transition from Nota Bene to WordPerfect. Above all, I have been favored by the support of a family that keeps the intensity of my professional life in balance. This includes my extended parental

network—Virginia and Dell Hymes, Norma Wolff, and Til and Victor Unruh—and, above all, my best friend, David Unruh, and our wise daughters, Jennifer and Rachel.

Some material in this book appeared in earlier forms. The chapter 1 section on the Chinfonía burguesa is a revised version of "The Chinfonía burguesa: A Linguistic Manifesto of Nicaragua's Avant-Garde," published in Latin American Theatre Review 20.2 (Spring 1987): 37–48, and is reprinted with permission. The chapter 2 section on La educación sentimental is a revised version of "Art's 'Disorderly Humanity' in Torres Bodet's La educación sentimental, " Revista Canadiense de Estudios Hispánicos 17.1 (Fall 1992): 123–36, and is reprinted with permission. The chapter 4 section on A morta is a revised version of "A Theatre of Autopsy: Oswald de Andrade's A morta (The Dead Woman)," published in One Hundred Years of Invention: Oswald de Andfade and the Modern Tradition in Latin American Literature, ed. K. David Jackson (Austin: Dept. of Spanish and Portuguese/Abaporu Press, 1992, 31–40), and is reprinted with permission. The chapter 4 section on En la luna is a revised version of "Language and Performance in Vicente Huidobro's En la luna, " published in Romance Quarterly 36.2 (May 1989): 203–12 by the University Press of Kentucky, and is reprinted with permission. The chapter 5 section on Cuculcán is a revised version of "Double Talk: Asturias's America in Cuculcán, " published previously in Hispania, the journal of the American Association of Teachers of Spanish and Portuguese, 75.3 (September 1992): 527–33.