In 1895, an extraordinarily enigmatic faith healer emerged in the American West. An Alsatian immigrant and former cobbler, Francis Schlatter looked like popular depictions of Jesus, and it was said that his very touch could heal everything from migraines and arthritis to blindness and cancer. First in Albuquerque, and then in Denver, thousands flocked to him, hoping to receive his healing touch. Schlatter accepted no money for his work, behaved modestly, fasted heavily, and treated everyone, from wealthy socialites to impoverished immigrants, equally. He quickly captured national attention, and both the sick hoping to be cured and reporters hoping to expose a fraud hurried to Denver to see the celebrated healer. By November of 1895, it is estimated that Schlatter was treating thousands of people every day, and the neighborhood in which he was staying was overrun with the sick and lame, their families, reporters from across the country, and hucksters hoping to make a quick buck off the local attention. Then, one night, Schlatter simply vanished. Eighteen months later, his skeleton was reportedly found on a mountainside in Mexico’s Sierra Madre range, finally bringing Schlatter’s great healing ministry to an end.

Or did it?

Within hours of the announcement of Schlatter’s found remains, a long-haired man emerged in Cleveland to say that he was Francis Schlatter, and the next twenty-five years, several others claimed to be Denver’s great healer. In The Vanishing Messiah, a modern researcher painstakingly pieces together evidence from letters, newspaper reports, hospital records, mug shots, and published reminiscences of the healer to find out what really happened to Francis Schlatter after he left Denver in the middle of the night in November 1895. In doing so, David N. Wetzel uncovers a historical puzzle of lies, deception, and betrayal, and offers a tantalizing look into a nineteenth-century messiah and his twentieth-century reincarnations—one of whom may have been the healer himself. 

Anyone who works with the vascular plants of Iowa—researchers, conservationists, teachers, agricultural specialists, horticulturists, gardeners, and so on—and those who are simply interested in knowing more about the state's plants have long felt a need for a comprehensive flora of Iowa. This meticulously researched volume is a giant first step toward such a flora.

This book consists of an extended essay on the natural history of the vascular plants of Iowa, a discussion of their origins, a description of the state's natural regions, and a painstakingly annotated checklist of Iowa vascular plants. The data, which apply to over 150 years, took more than 15 years to collect.

All known vascular plants that grow and persist in Iowa without cultivation are included in the checklist. These are native plants, primarily, but a large number of introduced species have become established throughout the state. Also included are Iowa's major crop plants and some of its common garden plants. The lengthy checklist provides an accurate and up-to-date listing of species names and common names, synonyms, distribution, habitat, abundance, and origin; county names are given for very rare species, and the most complete information has been provided for all rare plants and troublesome species.

The wealth of information is this well-organized, practical volume—which describes more than two thousand species from Adiantum pedatum, the northern maidenhair fern of moist woods and rocky slopes, to Zannichellia palustris, the horned pondweed of shallow marshes and coldwater streams—makes it possible to identify Iowa plants correctly. All midwesterners will want to own a copy of The Vascular Plants of Iowa.

Luther Mathias sells “snake oil” in scrubby West Texas dirt towns. He learns that substance is never a substitute for style and eventually develops his own remedies that promise to cure any ailment a man might suffer. In time, his imagination and ambition combine to mold him into medicine’s version of Elmer Gantry: loved and hated, imponderably wealthy and famous, powerful and pursued.
 
The Very Air is a compelling exploration of human motives and hidden meanings. It is a detailed picture of America’s myth of the rugged individual in the psychological and narrative tradition of The Great Gatsby and Citizen Kane. With a resonant sense of the period and culture, Douglas Bauer evokes the freewheeling feel of the old Southwest in the charlatans of our own era. The Very Air shows, through storytelling both exhilarating and chilling, that the past is prologue and that our personal histories indeed shape the course of our individual futures.

At the heart of human existence lie fundamental questions that are pondered by philosophers, theologians, poets and thoughtful people from all walks of life. What is the meaning of life? Who or what is a divine being? How can a benevolent deity justify human suffering? Such questions are especially relevant to our lives in the current climate of American society. In Vespers: American Poems of Religion and Spirituality, editors Virgil Suárez and Ryan G. Van Cleave offer the reading world a timely anthology of powerful and passionate poems that cut to the heart of our contemporary theological and spiritual underpinnings.

Featuring fifty of today's most respected American poets, including Pulitzer Prize winners Stephen Dunn and Carolyn Kizer, Vespers allows us to witness and understand the challenging ideas and philosophies surrounding religion and spirituality. Through these poems, we can come to a better understanding of who, what, and why we are.

From deathbed spirituals to initiation songs, transformative ballads to transcendent sonnets, poets of myriad backgrounds—Native American, African American, Asian American, Latino, Protestant, Buddhist, Catholic, Jewish—echo the thoughts, concerns, and fears that linger in our souls. Their poems help us realize that we are not alone, that we're never truly alone, that even in the face of darkness the world is vibrant, beautiful, joyous.

More than a creative exploration of theological concerns—Vespers is a roadmap of where we've been, where we are, and where we are heading in terms of our spiritual and religious existence. It will keep you company, good company, whatever your religious or spiritual background.

Against this common view, Violet America demonstrates just how cosmopolitan the regional impulse can be. In the works of James Agee, Jack Kerouac, Maxine Hong Kingston, Russell Banks, and Jonathan Franzen, the regional impulse yields narratives about the interdependence between privilege and poverty, mainstream and margin, urban and rural. These narratives counteract the polarizing cultural lens that, when unquestioned, sees the red-state/blue-state geography of twenty-first-century America as natural. Tracking the evolution of this impulse to depolarize, Violet America develops a literary history of “regional cosmopolitanism,” a key urge of which is to represent the interconnectedness of the local, the national, and the global. Writers incorporating this perspective redress the blight of America’s neglected places and peoples without also falling victim to the stigmas of being purely regional in their scope and interest. Rather than simply celebrating regional difference, the regional cosmopolitan fiction that Arthur discusses blends the nation’s cultural polarities into a connected, interdependent America. 

As Teresa Longo’s groundbreaking examination reveals, North America’s dissident literature has its roots in the Latin American literary tradition. From Pablo Neruda’s Canto General to Eduardo Galeano’s Open Veins of Latin America to Gabriel García Márquez’s One Hundred Years of Solitude—among others—contemporary writers throughout the Americas have forced us to reconsider the United States’s relationship with Latin America, and more broadly with the Global South. Highlighting the importance of reading and re-reading the Latin American canon in the United States, Longo finds that literature can be an instrument of progressive social change, and argues that small literary presses—City Lights, Curbstone, and Seven Stories—have made that dissent visible in the United States. In the book’s final two chapters on the Robert F. Kennedy Center’s Speak Truth to Power initiative and the publication of Marc Falkoff’s Poems from Guantánamo, the author turns our attention further outward, probing the role poetry, theater, and photography play in global human rights work. 

Locating the work of artists and writers alongside that of scholars and legal advocates, Visible Dissent not only unveils the staying-power of committed writing, it honors the cross-currents and the on-the-ground implications of humane political engagement. 

Loved for his decidedly American voice, for his painterly rendering of modern urban settings, and for his ability to re-imagine a living language shaped by the philosophy of “no ideas but in things,” William Carlos Williams (1883-1963) left an indelible mark on modern poetry. As each successive generation of poets discovers the “new” that lives within his work, his durability and expansiveness make him an influential poet for the twenty-first century as well. The one hundred and two poems by one hundred and two poets collected in Visiting Dr. Williams demonstrate the range of his influence in ways that permanently echo and amplify the transcendent music of his language.

 

Contributors include: Robert Creeley, David Wojahn, Maxine Kumin, James Laughlin, A. R. Ammons, Wendell Berry, Heid Erdrich, Frank O’Hara, Lyn Lifshin, Denise Levertov, Wallace Stevens, John Ashbery, Allen Ginsberg, and a host of others.

This unique anthology gathers work by eighty poets inspired by Emily Dickinson. Beginning with Hart Crane's 1927 poem “To Emily Dickinson” and moving forward through the century to such luminary figures as Archibald MacLeish, John Berryman, Yvor Winters, Adrienne Rich, Richard Eberhart, Richard Wilbur, Maxine Kumin, Amy Clampitt, William Stafford, and Galway Kinnell, Visiting Emily offers both a celebration of and an homage to one of the world's great poets.

If there was ever any doubt about Dickinson's influence on modern and contemporary poets, this remarkable collection surely puts it to rest. Gathered here are poems reflecting a wide range of voices, styles, and forms—poems written in traditional and experimental forms; poems whose tones are meditative, reflective, reverent and irreverent, satirical, whimsical, improvisational, and serious. Many of the poets draw from Dickinson's biography, while others imagine events from her life. Some poets borrow lines from Dickinson's poems or letters as triggers for their inspiration. Though most of the poems connect directly to Dickinson's life or work, for others the connection is more oblique.

The poetry of Wallace Stevens has inspired generations of poets of every school. Here, for the first time, is assembled an astonishing variety of poems, by a full range of poets, inspired by Stevens’s life and work. In its own way, each poem exhibits the torque and feel of his poetry, yet each also is deeply personal and conveys how meaningful Stevens was and remains for poets and poetry.

Whether whimsical or serious, solemn or light, the poems in Dennis Barone and James Finnegan’s Visiting Wallace are sure to inspire delight and thought. Alan Filreis’s brilliant foreword asks us to consider whether there is another modern poet who means as much to contemporary verse as Stevens: “seventy-six poems giving us seventy-six distinct Stevenses to follow and succeed.”

Who are the “plain people,” the men and women who till their fields with horse and plow, travel by horse and buggy, live without electricity and telephones, and practice “help thy neighbor” in daily life? Linda Egenes visited with her Old Order Amish neighbors in southeast Iowa for thirteen years before writing this informative and companionable introduction to their lifeways.

Drawn to their slower pace of life and their resistance to the lures of a consumer society, Egenes found a warm welcome among the Amish, and in return she has given us an equally warm perspective on Amish family life as she experienced it. The Amish value harmony in family life above all, and Egenes found an abundance of harmony as she savored homemade ice cream in a kitchen where the refrigerator ran on kerosene, learned to milk a two-bucket cow, helped cook dinner for nine in a summer kitchen, spent the day in a one-room schoolhouse, and sang “The Hymn of Praise” in its original German at Sunday service.

Whether quilting at a weekly sewing circle above the Stringtown Grocery, playing Dutch Blitz and Dare Base with schoolchildren, learning the intricacies of harness making, or mulching strawberries in a huge garden, Egenes was treated with the kindness, respect, and dignity that exemplify the strong community ties of the Amish. Her engaging account of her visits with the Amish, beautifully illustrated with woodcuts by Caldecott Medal winner Mary Azarian, reveals the serene and peaceful ways of a plain people whose lives are anything but plain.

Just blunt enough to get your attention but not blunt enough to crush you, challenging but not discouraging, personal but not ego-ridden, snarky but not mean, John McNally will prompt you to think more deeply about a variety of issues that will push you toward writing more meaningful, more accomplished work. 

Using experimental style as a framework for close readings of writings produced by late twentieth-century North American women, Deborah Mix places Gertrude Stein at the center of a feminist and multicultural account of twentieth-century innovative writing. Her meticulously argued work maps literary affiliations that connect Stein to the work of Harryette Mullen, Daphne Marlatt, Betsy Warland, Lyn Hejinian, and Theresa Hak Kyung Cha. By distinguishing a vocabulary-which is flexible, evolving, and simultaneously individual and communal--from a lexicon-which is recorded, fixed, and carries the burden of masculine authority--Mix argues that Stein's experimentalism both enables and demands the complex responses of these authors.
    Arguing that these authors have received relatively little attention because of the difficulty in categorizing them, Mix brings the writing of women of color, lesbians, and collaborative writers into the discussion of experimental writing. Thus, rather than exploring conventional lines of influence, she departs from earlier scholarship by using Stein and her work as a lens through which to read the ways these authors have renegotiated tradition, authority, and innovation.
    Building on the tradition of experimental or avant-garde writing in the United States, Mix questions the politics of the canon and literary influence, offers close readings of previously neglected contemporary writers whose work doesn't fit within conventional categories, and by linking genres not typically associated with experimentalism-lyric, epic, and autobiography-challenges ongoing reevaluations of innovative writing.