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Words do the best they can, how they can. To respect them is to behold their noematic, vigilant arrangement of life and death, so different from the photograph's, in its own way just as curious and obscene. But prose's long exposures seep relentlessly, against the grain of memory, into the forgotten and the unconscious, and are encoded there against the promise of future reactivations. Each reactivation in turn recalls memory's unhurried rush toward oblivion.
Likewise, in the doubled frame of memory and forgetting, the help that made this particular act of writing possible, translating animation into animation, and into this text's body. So that:
I wish to thank my family for their love and support.
The conception of this book owes a great deal to Judith Green, who invited me to give the talk that became its major idea. I wrote The Hypothetical Mandarin's first outline in Tucson, where countless hours spent with Charlie Bertsch and Greg Jackson taught me lessons in friendship and intellectual life. I gained much, while at the University of Arizona, from a group of tremendous students (Christine, Baumgarthuber Sean Cobb, Matt Cook, Amanda Gradisek, Megan Massino, Sally Northmore, Sarah Osment, Helena Ribeiro, Sam Schwartz, Jack Skeffington, Mark Sussman, and Julie Ward), and from colleagues (Susan Aiken, Ed Dryden, Bill Epstein, Larry Evers, Stephanie Pearmain, and Susan White). Some of the research for chapter three was supported by a Career Development Grant awarded by the University of Arizona's College of Humanities, which gave me time to travel to the Wason Collection on East Asia at Cornell University's Kroch Library.
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