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Acknowledgments 

Our  largest  deBt of gratitude is to our contributors and translators, 
several of whom played both roles, translating foundational essays and also 
contributing essays of their own. It is appropriate to give special thanks for 
such multitasking to Maarten van Delden and Christopher Winks (each of 
whom contributed two translations and an essay), Dorothy Z. Baker and 
William Childers (a translation and an essay), Michael Schuessler (three 
translations), and Patrick Blaine and Rose Dutra (two translations). Patrick 
Blaine deserves special thanks for his invaluable help with reconstructing 
Severo Sarduy’s labyrinthine line art. John Ochoa also contributed an essay 
and a translation, but his book, The Uses of Failure in Mexican Literature and
Identity, which includes his excellent essay on Carlos Fuentes’s Neobaroque, 
came out before this volume, so readers will find it there. Wendy B. Faris 
translated two essays, and though one ended up on the cutting-room floor, 
she, too, is to be counted among our dedicated group of multitaskers. To 
José Pascual Buxó, Jorge Ruedas de la Serna, and Gonzalo Celorio, all at 
the National Autonomous University of Mexico, we are grateful for their 
essays and for their ex cathedra classes on the intricacies of their parts of the 
Baroque New World; and we are indebted to Roberto González Echevarría 
for his pioneering work in this field. To all of our collaborators, including the 
several whose work has outlived them: thank you! The present volume is, 
indeed, a work of collaboration.
Anthologies of this sort require years to consolidate and complete. Not 
only patience but also faith and constancy are required. Reynolds Smith and 
Sharon Torian at Duke University Press have offered us these gifts in abun-
dance. Reynolds expressed his enthusiasm for our idea in 2001 at a crowded 
Mla book exhibit, and he has been behind the project ever since. In addition 
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