WE WOULD LIKE TO THANK the friends and colleagues who read parts of this manuscript and from whose comments we benefited, including Hosam Aboul-Ela, Jeanne Barker-Nunn, Lauren Berlant, Sreya Chatterjee, Betsy Dougherty, Jed Esty, Claire Bracken, David Mazella, Anne Mulhall, Eibhear Walshe, Karen Fang, Sean Kennedy, Sarah McKibben, and Gretchen Van Deusen. We would also like to express our appreciation of those friends and colleagues who have lent intellectual support to this project, including Marjorie Howes, Kathryn Conrad, Nessa Cronin, Oninye Ihezukwu, Lucy McDiarmid, Tina O’Toole, Paige Reynolds, Michael Snediker, Ed Madden, Cormac O’Brien, Eve Watson, Renee Fox, and Abby Bender. Vicki Mahaffey deserves special mention as she midwifed this project when she assigned the two of us a collaborative essay on James Joyce’s “An Encounter” for her edited collection, Collaborative Dubliners.
We are greatly indebted to a large number of individuals who helped us obtain permissions and high-resolution images for our cover art and illustrations. Owing to their enthusiasm, generosity, ingenuity, and solidarity, many of the following individuals merit recognition as active contributors to this project. In particular, the help, guidance, and generosity of some of the professionals and activists who actively brought about the cultural sea changes this study engages greatly enriched its production and, we trust, the quality of the work itself. Those who helped us include Aedin Clements, interim head, Rare Books and Special Collections, University of Notre Dame Hesburgh Library; Steve Coleman, lecturer in anthropology, National University of Ireland, Maynooth; Ida Milne, lecturer in European history at Carlow College, St. Patrick’s; Lisa Fane, general manager, Irish Repertory Theater; Glenn Dunn and Justin Furlong, National Library of Ireland; Beatrix Faerber, University College Cork, CELT Project manager; James Grange Osborne, archives assistant, Irish Independent and Sunday Independent; Declan Howard, production manager, Avondhu Press; Brendan Maher, assistant images and licensing officer, National Gallery of Ireland; Ronan Duffy; Christine Bohan and Aoife Moore; Mark Yzaguirre; Andrew Martin, Irish Newspaper Archives; Carol Rosegg; Dave O’Connell, group editor, Connacht Tribune; Donal O’Keefe; Emma Busowski Cox and Tansy Curtin, curatorial manager, Bendigo Art Gallery; Natalie Jones, Mirrorpix; Flora Smith, managing partner, Topfoto.co.uk; Andrew Corless, chief editor, Media Drum World; Linda Briscoe-Meyers and Cristina Meisner, University of Texas Harry Ransom Humanities Research Center; Lynda O’Keefe, Editor’s Office, The Irish Times; Johnathon Vines, image and brand licensing manager, and Chris Rawlings, licensing assistant, British Library; Jim Coughlan, Irish Examiner; Emily Vinson and the University of Houston Libraries Copyright Team; and straight-up agents of cultural change Piotr Ambroziac, Erin Darcy, Larry Kirwan, David Rooney, Wendy Shea, Martyn Turner, Dinny Wheeler, and Padraig Yeates.
Our editor, Jennika Baines, has believed in and enthusiastically supported this project virtually from the point at which we first figured out that the conference papers and articles we had been coauthoring since 2004 were part of a larger whole. Her guidance has been wise, deft, and spot on. We are particularly grateful to our two external readers for Indiana University Press, whose feedback was detailed, insightful, and extremely helpful.
Gretchen Van Deusen’s contributions to this volume have been long-standing and thoroughgoing. For this coauthored work, her extensive support in the areas of chapter transcription, grant writing and management, and travel logistics and her oversight of rounds of chapter revision, manuscript preparation, and permissions have been indispensable. We are also indebted to Kezia Whiting for her invaluable editorial assistance and insight. Finally, we are indebted to Gretchen Van Deusen and Kezia Whiting for proofreading and, with Jerilyn Backus Tennison, for help with copy editing.
Both authors have benefited from extensive institutional support. Joseph Valente benefited from a Critical Research Initiative Grant from the University of Illinois in 2004 and subsequently from a Humanities Research Award from the University of Illinois in 2006, both of which supported work on the early stages of this project. From his present institution, the University at Buffalo, he received a Research Leave for the spring of 2012 and a second Research Leave for the academic year 2016–17, both of which facilitated important stages in the writing of the manuscript. Finally, he was awarded a Humanities Institute Fellowship for the academic year 2018–19, during which period the manuscript was completed. In addition, an annual research grant during his time at Buffalo helped defray the costs of research materials, travel, and conference expenses dedicated to the present volume. Margot Backus received a year of supported leave in residence as 2007–08 Irish American Cultural Institute Fellow at the National University of Ireland–Galway’s Martha Fox Centre for Irish Studies made possible, in part, through a University of Houston research leave. Subsequent work on early chapter drafts was supported by a two-year Houstoun Research Professorship, funded by the Houstoun Endowment through the University of Houston’s Department of English, University of Houston grants-in-aid, UH Provost’s travel grants, and two generous University of Houston’s Women’s, Gender and Sexuality Studies Summer stipends.
Margot Backus’s work was also facilitated by a teaching-research semester as 2015 Fulbright Scholar of Anglophone Irish Writing at the Seamus Heaney Centre at the School of English at Queen’s University Belfast, which was also partly funded by the University of Houston; a month in residence at the University at Buffalo as 2015 James Joyce Research Fellow; and, also in the fall of 2015, a half-year of supported research leave from the University of Houston. Chapter revision, manuscript preparation and permissions, and photo duplication were funded through three small research grants from the University of Houston English Department’s Houstoun Endowment and a small University of Houston project completion grant. The University at Buffalo library has lent its support to an open-access platform of our book through the TOME project. Thanks to both institutions for their generosity and encouragement.
We have ordered our names in terms of seniority rather than alphabetically, an alternate convention to which we are calling attention because we are strong supporters of collaborative work in the humanities, and we understand that explanations of the significance of name order will be badly needed by scholars whose work is likely to be reviewed by promotion and tenure committees whose members may be accustomed to name order as reflecting the relative significance of each author’s contribution to a given publication. In our case, and presumably in most collaborative work in the humanities, authors’ contributions are, owing to the inherently iterative and dialogical nature of humanities scholarship, equal. It is to be expected that each author is fully responsible for every aspect of the project and that, indeed, each of us did as much work, in coauthoring this book, as we have done in the past in authoring our single-authored books. The benefit of collaboration in the humanities has nothing to do with labor reduction. Having each other as built-in interlocutors, first readers, sources of additional citations and knowledge bases, copy editors, and proofreaders has not reduced the per-scholar work that went into the production of this study, but it has significantly enhanced the quality and complexity of our analysis; the richness of the theoretical, historical, and critical context in which we can couch this analysis; and the clarity and style with which we have been able to convey it.