Acknowledgments

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this is a book about all the ways in which artistic productions are indirectly shaped by words and encounters whose effects are not immediately evident, even to the writer herself.

Though I remain painfully aware that I am incapable of fully reckoning with the manifold ways in which others have shaped my conceptions of Orpheus over the past decade, I am happy to acknowledge the many people and institutions that helped bring this meandering project to its completion.

First and foremost, I must acknowledge the scholars who read drafts of this project in its entirety: Lynn Enterline, Andy Galloway, Genevieve Lively, Karen Mann, Jeffrey Masten, and Jessica Wolfe as well as another anonymous reviewer provided by Princeton University Press. Their expert comments provided me with a global perspective on the book that I could not have achieved alone. Karen Mann, my mom, read and edited every single draft of the manuscript, rationalizing its logic down to the sentence. I could never adequately figure up all that I owe her, nor could I name the myriad ways in which she has formed my thinking about art and science, but she has been an inspiration since my youngest age. Andy has long been my touchstone for questions of Latin philology, and his skeptical readings pushed me to greater precision in many of my central historical and interpretive claims. Jessica changed the course of the book when she observed that it was unknowingly preoccupied with the affective terrain of the classical sublime. Genevieve generously shared her expertise on the ancient world, while also steering me toward a more clear-eyed view of Ovid’s interventions into the Orpheus myth. To Jeff I owe thanks for so many things, not the least of which is my own graduate training as a scholar, teacher, and philologist. In a characteristically understated way, he encouraged me to assert the significance of this book’s arguments for the history of sexuality. I am also grateful to Jeff for inspiring the titles of both my books. With Lynn, my debts were first incurred even further back in time: I was lucky enough to enroll in her Shakespeare survey as an undergraduate, the first time I studied Shakespeare in depth in a university setting. Lynn paired each play with a selection from Ovid’s Metamorphoses, and for this reason, from my very earliest days as a reader of Shakespeare’s works, I was alive to their Ovidian echoes. We’re all the dispersed and reassembled traces of our teachers, and I have been profoundly lucky in mine.

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