A C K N O W L E D G M E N T S
In the long course of writing this book I have accumulated incalculable
debt to artists and scholars, teachers and activists, family and friends, and
cultural and intellectual communities in Asia, Eu rope, and North Amer i ca.
In striving to acknowledge these contributions I begin with those who have
helped most in shaping the book’s contents.
The art of Araya Rasdjarmrearnsook and the activist vision of Anjana
Suvarnananda formed the initial inspiration for this proj ect. Araya and
Anjana were then and remain today at the forefront of transformations in
aesthetic form and sexual citizenship in Thailand. I thank them for gener-
ously sharing their work and insights with me over many years. The work
of Pimpaka Towira and Apichatpong Weerasethakul soon came to exert
a mesmerizing influence on me as well. Both Pimpaka and Apichatpong
showed me exceptional kindness in making their work available to me.
When the time came to put these observations into writing, Yang Hull
stood out in the amount of time he invested, and his formative influence
remains evident in the text. Hoang Tan Nguyen provided rigorous critiques
of successive drafts; only with his generous input was I able to turn my
manuscript into a book. My greatest intellectual debt reaches back to my
gradu ate education in Chicago, where Lauren Berlant was most instrumen-
tal in helping to shape the contours of this proj ect.
Some of my greatest gratitude is reserved for Tani Barlow. Not only do
her profound interventions into Asia critique inspire my work, but I have
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