.
i n d e x
.
Abreu, Juan, 22, 65, 183n8
Acosta de Arriba, Rafael, 161, 197n19
Adams, Timothy Dow, 182n2
Adiós a mamá (Arenas), 103, 111,
178n34, 187n1, 188n11, 195n8
‘‘Adiós a mamá’’ (‘‘Goodbye Mother’’)
(Arenas), 103–4, 108, 188n10; car-
nival in, 104; links to La casa de Ber-
narda Alba, 103, 104; links to ‘‘El
Cometa Halley,’’ 104; matrophobia
in, 105
‘‘Adiós a Manhattan’’ (Arenas), 157, 165,
175n17, 176n26, 199n27
Aguiar, Raúl, 164
Aguirre, Mirta, 179n8
aids and hiv, 119, 123, 134, 190n16,
191n20; apocalyptic rhetoric and,
122; cultural representations of, 115,
121–22, 133, 134, 135, 190n10,
190nn13–14, 193n33; the Gothic (the
horror story) and, 126, 191n22;
homophobia and, 123, 125, 126, 127,
192n31; homosexuality and, 123, 127;
melodrama and, 191n22; syphilis
and, 125–26, 191n21; vampirism and,
126, 127, 130; women and, 125–26,
191n20. See also Antes que anochezca:
aids and; Arenas, Reinaldo: aids/
hiv and; Color del verano, El: aids/
hiv in; Mona: as aids allegory
‘‘A la sombra de la mata de almendras’’
(Arenas), 180n17, 199n26
Almendros, Néstor, 10; Conducta
impropia (film), 201n37
Alonso, Aurelio, 156, 158
Álvarez Bravo, Armando, 34, 143
Amiot, Julie, 198n20
Ampuero, Roberto, 166
Antes que anochezca (Before Night Falls)
(Arenas), 5, 7, 15, 16, 20–21, 22, 24,
25, 26, 27, 28, 29, 32, 33, 36, 34, 61, 62,
65–76, 84, 85, 86, 90, 102, 105, 109,
121, 134, 142–43, 151, 154, 155, 156, 158,
159, 162, 164, 165, 168–70, 178n34,
179n4, 183n4, 188n16, 193n37,
194n44, 195nn5–6; aids and, 66,
114, 132, 182n1, 184n14, 189n1,
192n29, 195n49; anality and money
in, 69–70; Arenas’s father in, 5, 15, 61,
66–71, 72, 74, 75, 85, 87, 88, 90, 105,
109, 186n23; Arenas’s mother in, 66–
69, 70, 71, 87, 105, 109–11, 183n5,
186n23, 188n16, 195n49; automourn-
ing and, 75–76, 184n14; dreams in,
73–74, 184n11; English translation
of, 34, 154; and the exile experience,
25, 26, 34, 66, 72, 75, 102, 158, 182n1;
fantasy in, 69, 70–71, 74, 87, 186n23;
film version of, 34, 154, 156, 157,
195n7, 196n10, 198n21, 201n37; hyper-
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