In July 1909 twenty-one-year-old Elizabeth Corey left her Iowa farm to stake her claim to a South Dakota homestead. Over the next ten years, as she continued her schoolteaching career and carved out a home for herself in this inhospitable territory, she sent a steady stream of letters to her family back in Iowa. From the edge of modern America, Bess wrote long, gossipy accounts—"our own continuing adventure story," according to her brother Paul—of frontier life on the high plains west of the Missouri River. Irrepressible, independent-minded, and evidently fearless, the self-styled Bachelor Bess gives us a firsthand, almost daily account of her homesteading adventures. We can all stake a claim in her energetic letters.
At the core of this nuanced book is the question that ecocritics have been debating for decades: what is the relationship between aesthetics and activism, between art and community? By using a pastoral lens to examine ten fictional narratives that chronicle the dialogue between human culture and nonhuman nature on the Great Plains, Matthew Cella explores literary treatments of a succession of abrupt cultural transitions from the Euroamerican conquest of the “Indian wilderness” in the nineteenth century to the Buffalo Commons phenomenon in the twentieth. By charting the shifting meaning of land use and biocultural change in the region, he posits this bad land—the arid West—as a crucible for the development of the human imagination.
Each chapter deals closely with two novels that chronicle the same crisis within the Plains community. Cella highlights, for example, how Willa Cather reconciles her persistent romanticism with a growing disillusionment about the future of rural Nebraska, how Tillie Olsen and Frederick Manfred approach the tragedy of the Dust Bowl with strikingly similar visions, and how Annie Proulx and Thomas King use the return of the buffalo as the centerpiece of a revised mythology of the Plains as a palimpsest defined by layers of change and response. By illuminating these fictional quests for wholeness on the Great Plains, Cella leads us to understand the intricate interdependency of people and the places they inhabit.
Cella uses the term “pastoralism” in its broadest sense to mean a mode of thinking that probes the relationship between nature and culture: a discourse concerned with human engagement—material and nonmaterial—with the nonhuman community. In all ten novels discussed in this book, pastoral experience—the encounter with the Beautiful—leads to a renewed understanding of the integral connection between human and nonhuman communities. Propelling this tradition of bad land pastoralism are an underlying faith in the beauty of wholeness that comes from inhabiting a continuously changing biocultural landscape and a recognition of the inevitability of change. The power of story and language to shape the direction of that change gives literary pastoralism the potential to support an alternative series of ideals based not on escape but on stewardship: community, continuity, and commitment.
Believe it or not, Waterloo, Iowa, had an NBA team during the league’s first season, 1949 to 1950. Broadcaster and independent sports historian Tim Harwood uncovers the fascinating story of the Waterloo Hawks and the Midwest’s influence on professional basketball. Beginning with the professional leagues that led up to the creation of the National Basketball Association, Harwood recounts big games and dramatic buzzer-beaters, and the players who made them.
The first season of the NBA was far from a success. Teams had a hard time attracting fans, with games often played in half-empty arenas. When Waterloo residents learned that the team was struggling financially, they rallied behind the Hawks and purchased shares of the team in a bid to keep it afloat. Unfortunately, that community-based effort was not enough; owners of teams in larger markets pressured the league to push Waterloo—and other smaller towns like Anderson, Indiana, and Sheboygan, Wisconsin—out of the league.
Though the Hawks disappeared after their lone NBA campaign, Waterloo and other midwestern teams were nonetheless integral to getting the NBA off the ground, and their legacy continues today through some of the current franchises that relocated to larger markets. Combining newspaper accounts and personal interviews with surviving players, Harwood weaves a fascinating story of the underdog team, in the unlikeliest of places, that helped make professional basketball the worldwide success it is today.
There are countless theoretical arguments that attempt to define “major” and “minor” literatures, but this lively and deeply felt work is one of the first to speak from the authority of the experience of being minor—of being the “minor writer” who, according to the definition of “author” given by Michel Foucault, does not possess a “name.” This book, then, is an impassioned critical and ethical defense of the act of writing for purposes other than critical acclaim.
In the tradition of Horace's
Ars Poetica,Gilliland uses comments by a broad range of writers, as well as her own experience as a minor woman writer, to consider the basic Horatian questions of purpose, choice of subject matter and genre, diction, characterization, setting, and style. She points out that in the absence of major recognition, the minor writer is continually confronted by the existential question, why do I (still) write? This book offers not only a challenge to existing critical theories but an argument in favor of being—for
stillbeing, for continuing
anywaywith one's life and art
When Barry Phipps relocated to Iowa City from Chicago in 2012, he knew nothing of Iowa. He began taking day trips across Iowa in the spirit of wonder and discovery. His marked-up road map soon became a work of art in and of itself, covered with spokes, lines, and places both seen and needing to be seen. Along the way he plied his trade, taking photographs.
Inspired by such seminal work as Robert Frank’s The Americans, this is a unique vision of the Midwest and Iowa. Without condescending or overemphasizing the decline of small town America, Phipps documents rural communities as they are now, noting abstract shapes and colors as he photographs business districts with quirky and/or artful signs, streetscapes and landscapes, buildings with ghosts of paint from previous lives, and the occasional resident.
In addition to their startling attention to color and geometry, Phipps’s photos delight because they suggest an author who isn’t on intimate terms with his subject matter, but very much wants to be. Though the photographs in this collection frequently maintain a cautious distance from the houses, water towers, and iconography he captures on film, the pictures feel, at once, eager and shy.
Phipps admires his new home—from afar, by varying degrees—and excitedly introduces himself to it: the first steps of a journey toward claiming Iowa as his.
Homelessness is a haunting social problem that has, by all definitions, outgrown society's conventional solutions. Through their interviews with nine knowledgeable observers who range across the humanities, social and medical sciences, and human services, Giamo and Grunberg examines the nature and conditions of this ongoing crisis. No longer contained by traditional urban skid rows or state mental hospitals, homeless individuals now confront "normal" society face to face—and this "normal" society is at a loss for how to respond. The enormity of the problem has resulted in a stagnation of viable ideas, creating an industry with an endless litany of root cause and quick fix. But as these dialogues point out, there is no one root cause for the fact of homelessness. These timely, penetrating exhanges challenge established misconceptions of this problem.
Originally published in 1907, Birds Every Child Should Know is a collection of storylike descriptions of more than one hundred birds commonly found in the United States. Neltje Blanchan's detailed descriptions of birds—their physical attributes, calls, nesting and mating habits, and other behaviors—are nothing less than enchanting, and some read almost like fairy tales. Take for instance the mockingbird's call:
“when the moonlight sheds a silvery radiance about every sleeping creature, the mockingbird sings to his mate such delicious music as only the European nightingale can rival. Perhaps the stillness of the hour, the beauty and fragrance of the place where the singer is hidden among the orange blossoms or magnolia, increase the magic of his almost pathetically sweet voice; but surely there is no lovelier sound in nature on this side of the sea.”
or the yellow warbler's nest:
“an exquisite little cradle of silvery plant fiber, usually shreds of milkweed stalk, grass, leaves, and caterpillar's silk, neatly lined with hair, feathers, and downy felt of fern fronds.”
Blanchan includes folk history (how Native Americans and southern slaves thwarted mosquitoes by hanging gourds to attract purple martins) as well as common threats to birds that foreshadow current dangers to avian life (the toll taken on songbirds by lighthouses and electric towers). Such informative details, along with the author's disarming enthusiasm for her subject, will charm adult bird-watchers as well as children.
Cornelia Mutel's informative foreword places Blanchan's writing in the historical context of a turn-of-the-century environmental reawakening and burgeoning activism and research by women on behalf of dwindling bird populations.
Now available in paperback with a new foreword by Marcia Myers Bonta, Birds of an Iowa Dooryard contains Althea Sherman's often caustic, always careful studies of the phoebes, wrens, cuckoos, rails, catbirds, owls, flickers, and many other species that inhabited her Acre of Birds in northern Iowa. Birds of an Iowa Dooryard, first published in 1952, is full of Sherman's meticulous observations of species both avian and human. Her paintings, her notebooks and publications, and her innovative chimney swift tower form a remarkably rich legacy to be valued by naturalists and researchers alike.
A candid, poetic account of childhood and young manhood through the eyes of a Native American, this vivid narrative is destined to become a central moral text for our time. Through the persona of Edgar Bearchild—a member of the Black Eagle Child Settlement—Ray A. Young Bear takes readers on an unforgettable “journey of words” as he documents grief and anguish countered by an abundance of humor, pride, and insight.
Bloody Tyrants and Little Pickles traces the theatrical repertoire of a small group of white Anglo-American actresses as they reshaped the meanings of girlhood in Britain, North America, and the British West Indies during the first half of the nineteenth century. It is a study of the possibilities and the problems girl performers presented as they adopted the manners and clothing of boys, entered spaces intended for adults, and assumed characters written for men. It asks why masculine roles like Young Norval, Richard III, Little Pickle, and Shylock came to seem “normal” and “natural” for young white girls to play, and it considers how playwrights, managers, critics, and audiences sought to contain or fix the at-times dangerous plasticity they exhibited both on and off the stage.
Schweitzer analyzes the formation of a distinct repertoire for girls in the first half of the nineteenth century, which delighted in precocity and playfulness and offered up a model of girlhood that was similarly joyful and fluid. This evolving repertoire reflected shifting perspectives on girls’ place within Anglo-American society, including where and how they should behave, and which girls had the right to appear at all.
Where were you between Betty Crocker and Gloria Steinem? With that question in mind poets Pamela Gemin and Paula Sergi began collecting the poems in Boomer Girls, an anthology of coming-of-age poems written by women born between 1945 and 1964, give or take a few years on either side. The answers to that question fill this volume with the energy, passion, heartbreak, and giddiness of women's lives from childhood to adolescence to middle age.
The poems in Boomer Girls are by unknown, emerging, and established writers, women who participated in the second wave of feminism. From Sandra Cisneros' "My Wicked Wicked Ways" to Barbara Crooker's "Nearing Menopause, I Run into Elvis at Shoprite," from Wendy Mnookin's "Polio Summer" to Kyoko Mori's "Barbie Says Math Is Hard," these poems call for us to celebrate (in the words of poet Diane Seuss-Brakeman) "glances, romances, beauty and guilt, regret, remorse, rebates and rejuvenations."
Boomer Girls share a common culture, bound by their generation's political history, by pop icons like Barbie—that pedestaled Boomer Girl who's just turned forty—and by the music that's never stopped playing: Janis Joplin, Marvin Gaye, Jimi Hendrix, the Ronettes, Van Morrison, Patsy Cline, John Lennon. The Boomer poets in this feisty anthology speak with diverse voices and embody a wide range of experiences, yet their generation's universal images—the hula hoops, TV shows, finned automobiles, and other household gods of their youth—unite them in ways both hilarious and tender.
The activist tradition in American literature has long testified to the power of words to change people and the power of people to change the world, yet in recent years many professional humanists have chosen to distract themselves with a postmodern fundamentalism of indeterminacy and instability rather than engage with social and political issues. Throughout her bold and provocative call to action, Elizabeth Ammons argues that the responsibility now facing humanists is urgent: inside and outside academic settings, they need to revive the liberal arts as a progressive cultural force that offers workable ideas and inspiration in the real-world struggle to achieve social and environmental justice.
Brave New Words challenges present and future literary scholars and teachers to look beyond mere literary critique toward the concrete issue of social change and how to achieve it. Calling for a profound realignment of thought and spirit in the service of positive social change, Ammons argues for the continued importance of multiculturalism in the twenty-first century despite attacks on the concept from both right and left. Concentrating on activist U.S. writers—from ecocritics to feminists to those dedicated to exposing race and class biases, from Jim Wallis and Cornel West to Winona LaDuke and Paula Moya and many others—she calls for all humanists to link their work to the progressive literature of the last half century, to insist on activism in the service of positive change as part of their mission, and to teach the power of hope and action to their students.
As Ammons clearly demonstrates, much of American literature was written to expose injustice and motivate readers to work for social transformation. She challenges today’s academic humanists to address the issues of hope and purpose by creating a practical activist pedagogy that gives students the knowledge to connect their theoretical learning to the outside world. By relying on the transformative power of literature and replacing nihilism and powerlessness with conviction and faith, the liberal arts can offer practical, useful inspiration to everyone seeking to create a better world.
These lively essays reveal the generational continuum of women's regional literature, which has always offered a voice to women and their concerns. By exploring the multiplicity of connections between women and regional writing and the subversive potential of regional writing to put forth social criticisms and correctives, Breaking Boundaries charts some of the major ways in which this literary genre is of particular importance to today's writers.
The vast, unsettling landscape of the American Southwest is as much a character in Ryan Harty's debut collection, Bring Me Your Saddest Arizona, as the men and women who inhabit its award-winning stories. In eight vivid tales of real life in the west, Harty reminds us that life's greatest challenge may be to find the fine balance between desire and obligation.
A high school football player must make a choice between family and friends when his older brother commits an act of senseless violence. A middle-aged man must fly to Las Vegas to settle his dead sister's estate, only to discover that he must first confront his guilt over his sister's death. A young teacher tries to help a homeless girl, but, as their lives intertwine, he begins to understand that his generosity is motivated by his own relenting sense of lonliness. Well-intentioned but ultimately human, the characters in these stories often fall short of achieving grace. But the possibility of redemption, like the Sonoran Desert at the edge of Bring Me Your Saddest Arizona's suburban landscapes, is never far off. Harty's characters are as complicated as the people we know, and his vision of life in the west is as hopeful as it is strikingly real.
Between 1940 and the mid 1980s, farm production expenses in America's Heartland tripled, capital purchases quadrupled, interest payments jumped tenfold, profits fell by 10 percent, the number of farmers decreased by two-thirds, and nearly every farming community lost population, businesses, and economic stability. Growth for these desperate communities has come to mean low-paying part-time jobs, expensive tax concessions, waste dumps, and industrial hog farming, all of which come with environmental and psychological price tags. In Broken Heartland, Osha Gray Davidson chronicles the decline of the Heartland and its transformation into a bitterly divided and isolated regional ghetto. Through interviews with more than two hundred farmers, social workers, government officials, and scholars, he puts a human face on the farm crisis of the 1980s.
In this expanded edition Davidson emphasizes the tenacious power of far-right-wing groups; his chapter on these burgeoning rural organizations in the original edition of Broken Heartland was the first in-depth look—six years before of the Oklahoma City bombing—at the politics of hate they nurture. He also spotlights NAFTA, hog lots, sustainable agriculture, and the other battles and changes over the past six years in rural America.
In the arena of poetry and poetics over the past century, no idea has been more alive and contentious than the idea of form, and no aspect of form has more emphatically sponsored this marked formal concern than the line. But what, exactly, is the line? Emily Rosko and Anton Vander Zee’s anthology gives seventy original answers that lead us deeper into the world of poetry, but also far out into the world at large: its people, its politics, its ecology. The authors included here, emerging and established alike, write from a range of perspectives, in terms of both aesthetics and identity. Together, they offer a dynamic hybrid collection that captures a broad spectrum of poetic practice in the twenty-first century.
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