igins or Marvin Banks
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dential beginnings
; it is, rather, the story of the decadence of the Spanish conquest imagination, a markedly baroque conquest in the twilight of the Spanish Golden Age. The conquest of New Mexico is haunted everywhere by ghosts of conquest past. By 1598; the whole rhetoric of New World discovery has suffered profound-erosion. Well over a century after the first voyage of Columbus, and two generations after Cortes's entry into Tenochtitlan, Spanish discovery and conquest in the Americas are no longer a discourse of the new. The New World folds over, doubling itself: Onate's citations derive not from the "Old" world, but from the New; he founds not a new Sevilla, nor a new Cordoba, but a new Mexico.
By 1598, another form of "writing" has entered