The writing of this book has been supported by a community of friends, col-
leagues, students, mentors, archivists, and family members who have made
the process of engaging in the world of ideas, archives, and aesthetics all seem
valuable and worthwhile.
I am particularly grateful for financial support from the National Endow-
ment for the Humanities, which supported a year of study at the American
Antiquarian Society. A grant from the John Carter Brown Library allowed
me to complete research there. And Northeastern University has generously
supported me with funds to travel to archives in England and the Caribbean.
Librarians at the many collections and archives consulted were invaluable in
their assistance: special thanks to the hard- working and helpful archivists at
the American Antiquarian Society, the John Carter Brown Library, the Na-
tional Library of Jamaica, and the Charleston Library Society.
Conversations, commentary, collegiality, engagement, and support from
many people have helped the project along. A warm thanks to Nicole Aljoe,
Nancy Armstrong, Paula Backscheider, David Baruchoff, Ralph Bauer, Nancy
Bentley, Lauren Berlant, Kristina Bross, Kimberly Juanita Brown, Nick But-
ler, Chris Castiglia, Amanda Claybaugh, Lara Cohen, Kathleen Donegan,
Michael Drexler, Paul Erickson, Duncan Faherty, Molly Farrell, Lisa Freeman,
Philip Gould, Laura Green, Jack Hitt, Amy Hungerford, Matthew Jacobson,
Julie Kim, Jill Lane, Edward Larkin, Marina Leslie, Robert Levine, Pericles
Lewis, Sonia de Loreto, Meredith McGill, John McKay, Michael Meranze,
Monica Miller, Jocelyn Moody, Dennis Moore, José Esteban Muñoz, Hania
Musiol, Andrew Parker, Susan Scott Parrish, Diana Paulin, Lloyd Pratt, Pe-
ter Reed, Michelle Reid, Mark Rifkin, Nancy Ruttenburg, Lisa Sanders, Jason
Shaffer, Ivy Schweitzer, Jonathan Senchyne, David Shields, Cristobal Silva,
A c k N o w l e d g m e N t s
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