Robert Hopkins was a man caught between two worlds. As a member of the Dakota Nation, he was unfairly imprisoned, accused of taking up arms against U.S. soldiers when war broke out with the Dakota in 1862. However, as a Christian convert who was also a preacher, Hopkins’s allegiance was often questioned by many of his fellow Dakota as well. Without a doubt, being a convert—and a favorite of the missionaries—had its privileges. Hopkins learned to read and write in an anglicized form of Dakota, and when facing legal allegations, he and several high-ranking missionaries wrote impassioned letters in his defense. Ultimately, he was among the 300-some Dakota spared from hanging by President Lincoln, imprisoned instead at Camp Kearney in Davenport, Iowa, for several years. His wife, Sarah, and their children, meanwhile, were forced onto the barren Crow Creek reservation in Dakota Territory with the rest of the Dakota women, children, and elderly. In both places, the Dakota were treated as novelties, displayed for curious residents like zoo animals.

Historian Linda Clemmons examines the surviving letters from Robert and Sarah; other Dakota language sources; and letters from missionaries, newspaper accounts, and federal documents. She blends both the personal and the historical to complicate our understanding of the development of the Midwest, while also serving as a testament to the resilience of the Dakota and other indigenous peoples who have lived in this region from time immemorial.

William Henry Harrison Clayton was one of nearly 75,000 soldiers from Iowa to join the Union ranks during the Civil War. Possessing a high school education and superior penmanship, Clayton served as a company clerk in the 19th Infantry, witnessing battles in the Trans-Mississippi theater. His diary and his correspondence with his family in Van Buren County form a unique narrative of the day-to-day soldier life as well as an eyewitness account of critical battles and a prisoner-of-war camp.

Clayton participated in the siege of Vicksburg and took part in operations against Mobile, but his writings are unique for the descriptions he gives of lesser-known but pivotal battles of the Civil War in the West. Fighting in the Battle of Prairie Grove, the 19th Infantry sustained the highest casualties of any federal regiment on the field. Clayton survived that battle with only minor injuries, but he was later captured at the Battle of Stirling's Plantation and served a period of ten months in captivity at Camp Ford, Texas.

Clayton's writing reveals the complicated sympathies and prejudices prevalent among Union soldiers and civilians of that period in the country's history. He observes with great sadness the brutal effects of war on the South, sympathizing with the plight of refugees and lamenting the destruction of property. He excoriates draft evaders and Copperheads back home, conveying the intra-sectional acrimony wrought by civil war. Finally, his racist views toward blacks demonstrate a common but ironic attitude among Union soldiers whose efforts helped lead to the abolition of slavery in the United States.

Encompassing a vast gamut of personalities, situations, and emotions, these stories penetrate our motives for doing what is right. Often there is no right or wrong, and the characters' motives for the choices they make are as diverse as the childhood memories they cherish and abhor. In the end, this book probes individual impulse and responsibility, creating stories so unerringly authentic that they become—irrepressibly—part of everyone who reads them.

"The Darkness of Love" narrates three days in the life of a black policeman, distressed by his inner fears of racism and irresistibly attracted by his wife's sister. In "Dancing in the Movies" a college student returns to his hometown, where he finds his girlfriend—a heroin addict—and tries to convince her to overcome her habit. There are stories of men at war, of lovers trying to begin a relationship, of others trying to sustain their love. Each story revolves around characters with a choice to make, and Robert Boswell renders these characters in all of their fine, vulnerable, and relentless attributes.

With this prize-winning collection, Boswell proves himself a mature craftsperson, weaving stories both poignant and profound. Each story is a vision of life, alternately dark and joyous, gritty and hopeful.

For decades one of our most honored and beloved poets, Gerald Stern is also, it turns out, a prolific doodler. Sometimes charming, sometimes scathing, sometimes both, the odd little figures and scenes here are reproduced from drawings on napkins, hotel stationary, and the margins of what seem to be lecture handouts. These are remarkable expressions of a quirky world and a clear vision.
 
Long recognized as one of the most original poets in America, Stern is known for his tragi-comic, irascible vision that has been vividly rendered in hundreds of poems. All along, he has also been drafting these whimsical sketches. The Thurber-esque drawings represented here are daft, graphic expressions of Stern’s fearless and shameless sense of self.
 
In addition to expressing a forgiving and cavalier attitude toward aging, these saucy drawings, until now a well-kept secret of Stern’s creative life, capture something essential about his character. By turns profane and playfully romantic, they are another expression of the cutting wit and inimitable charm of Gerald Stern.

A deed is a governmental conveyance, a power asserted by the written, for, as William Carlos Williams wrote to Robert Creeley: “the government can never be more than the government of the words.” The question of ownership, of the words with which we define ourselves and each other, and of whose and what claims are legitimate is much at issue in Rod Smith’s Deed, a lyric, ambitious, rebellious work thoroughly grounded in the New American tradition of poets such as John Ashbery, Allen Ginsberg, and Charles Olson.

At the entrance to this collection stands an abode in the form of a long poem, “The Good House,” a comfortable, at times soothingly humorous place that is also a site of conflict. In “The Spider Poems,” the mythic spider, the maker of the alphabet, is a ?gure of fun and revelation. The third section of the book presents a series of shorter poems chosen for their stylistic variety. Deed ends with a nod to two masters, as Smith turns Jack Spicer’s “Homage to Creeley” into a double homage with “Homage to Homage to Creeley.” The gesture of choosing what one brings into one’s house, what one decides to love, closes the book.

Deed is about making as bequeathing, as celebration, and as impatience for the true democracy that is always yet to arrive. There is still joy inside and out, and by giving usDeed Rod Smith has captured that joy. In so doing he tells us where we as a people, a politik, and a poetic are going.

Photographers Linda and Robert Scarth have an incredible eye for that magic moment when small becomes beautiful. Matched with patience and skill, their eye for magic produces dazzling images of Iowa nature up close. Revealing the miniature beauties hidden among the patches of prairie, woodland, and wetland that remain in Iowa’s sadly overdeveloped landscape, the seventy-five color photographs in Deep Nature give us a breathtaking cross section of the state’s smallest inhabitants.

The Scarths’ close-up images of showy orchis and northern monkshood, great spangled fritillary and painted lady, red-breasted nuthatch and eastern wood-pewee, ornate box turtle and gray treefrog, big bluestem and cotton-grass, and many other natural wonders look more like paintings than photographs. Beginning with an iridescent fly hovering over a neon-purple fringed gentian and ending with their iconic image of coneflowers refracted in dewdrops, they have created a sparkling jewelbox of images that will make us look at the small world around us with renewed appreciation.

Attending to the small things in the fabric of nature is the Scarths’ source of artistic inspiration. Taking Walt Whitman’s “every leaf is a miracle” as their beginning, they celebrate not only each leaf but each feather, insect, dewdrop, flower, lichen, and intricate organism in the evolving web of life.

In the hot summer of 2004, David Leff floated away from the routine of daily life just as Henry David Thoreau and his brother had done in their own small boat in 1839. Fortified with Thoreau’s observations as revealed in A Week on the Concord and Merrimack Rivers, Leff brought his own concept of mindful deep travel to these same New England waterways. His first-person narrative uses his ecological way of looking, of going deep rather than far, to show that our outward journeys are inseparable from our inward ones.

How we see depends on where we are in our lives and with whom we travel. Leff chose his companions wisely. In consecutive journeys his neighbor and friend Alan, a veteran city planner; his son Josh, an energetic eleven-year-old; and his sweetheart Pamela, a compassionate professional caregiver, added their perspectives to Leff’s own experiences as a government official in natural resources policy. Not so much sight seeing as sight seeking, together they explored a geography of the imagination as well as the rich natural and human histories of the rivers and their communities.

The heightened awareness of deep travel demands that we immerse ourselves fully in places and realize that they exist in time as well as space. Its mindfulness enriches the experience and makes the voyager worthy of the journey. Leff’s intriguing, contemplative deep travel along these historic rivers presents a methodology for exploration that will enrich any trip.

Highlighting collaborations between writers inside and outside prison, all within the context of the history of state killing laws and foundational concepts that perpetuate a culture of violent death, Demands of the Dead opens with a pamphlet dictated by Willie Francis, a teenager who survived a first execution attempt in Louisiana’s electric chair before he was subsequently killed by the state in 1947.

Writers are a conspicuous part of U.S. death-penalty history, composing a vibrant literary record of resistance to state killing. This multigenre collection both recalls and contributes to this tradition through discussions of such writers as Walt Whitman, Herman Melville, Gertrude Atherton, Ernest Gaines, Sonia Sanchez, Kia Corthron, and Sherman Alexie. A major contribution to literary studies and American prison studies, Demands of the Dead asserts the relevance of storytelling to ethical questions and matters of public policy.

 

Contributors

Sherman Alexie

John Cyril Barton

Steve Champion

Kia Corthron

Thomas Dutoit

Willie Francis

H. Bruce Franklin

Tom Kerr

David Kieran

Jennifer Leigh Lieberman

Jill McDonough

Anthony Ross

Katy Ryan

Elizabeth Ann Stein

Rick Stetter

Matthew Stratton

Jason Stupp

Delbert Tibbs

Written in the aftermath of the American Civil War during the ferment of national Reconstruction, Walt Whitman’s Democratic Vistas remains one of the most penetrating analyses of democracy ever written. Diagnosing democracy’s failures as well as laying out its vast possibilities, Whitman offers an unflinching assessment of the ongoing social experiment known as the United States. Now available for the first time in a facsimile of the original 1870–1871 edition, with an introduction and annotations by noted Whitman scholar Ed Folsom that illuminate the essay’s historical and cultural contexts, this searing analysis of American culture offers readers today the opportunity to argue with Whitman over the nature of democracy and the future of the nation.

 Living in Washington, D.C., where Congress granted male African Americans the right to vote nearly five years before the fifteenth amendment extended that right across the nation, and working for the office charged with enforcing the new civil rights amendments to the Constitution, Whitman was at the volatile center of his nation’s massive attempt to reconstruct and redefine itself after the tumultuous years of civil war. In the enduring cultural document that Democratic Vistas has become, the great poet of democracy analyzes the role that literature plays in the development of a culture, the inevitable tensions between the “democratic individual” and the “democratic nationality,” and the corrosive effects of materialism on the democratic spirit. 

 His own conflicting racial biases notwithstanding, Whitman in Democratic Vistas offers his most eloquent and extended articulation of the beckoning American democratic future. At a time when the nation has elected a president whom Whitman could never have imagined, his controversial and provocativebook is a timely reminder of those occasions when we experience the expansion of America’s democratic dream.

This powerful debut collection, set in the light-filled deserts of Nevada and Arizona, introduces a darkly inventive new voice. Like an early Richard Ford, Don Waters writes with skill, empathy, and an edgy wit of worlds not often celebrated in contemporary literature. In Desert Gothic, Waters unleashes a wild and gritty cast and points them down paths of reckoning, where the characters earn the grace of their hard-won wisdom.
     Set in bars, mortuaries, nursing homes, truck stops, and the “poverty motels that encircled downtown’s casino corridor,” Waters’s ten stories are full of misfit transients like Julian, a crematorium worker who decorates abandoned urns to create a “lush underground island,” and the instant Mormon missionary Eli, a hapless divorcé who “always likes people better when they’re a little broken.” Limo drivers, ultra-marathoners, vagabonds, and a distraught novelist-to-be populate the pages of these gritty stories.

Now back in print, Joseph Wood Krutch’s Burroughs Award–winning The Desert Year is as beautiful as it is philosophically profound. Although Krutch—often called the Cactus Walden—came to the desert relatively late in his life, his curiosity and delight in his surroundings abound throughout The Desert Year, whether he is marveling at the majesty of the endless dry sea, at flowers carpeting the desert floor, or at the unexpected appearance of an army of frogs after a heavy rain.

Krutch’s trenchant observations about life prospering in the hostile environment of Arizona’s Sonoran Desert turn to weighty questions about humanity and the precariousness of our existence, putting lie to Western denials of mind in the “lower” forms of life: “Let us not say that this animal or even this plant has ‘become adapted’ to desert conditions. Let us say rather that they have all shown courage and ingenuity in making the best of the world as they found it. And let us remember that if to use such terms in connection with them is a fallacy then it can only be somewhat less a fallacy to use the same terms in connection with ourselves.”

This edition contains 33 exacting drawings by noted illustrator Rudolf Freund. Closely tied to Krutch’s uncluttered text, the drawings tell a story of ineffable beauty.

Zwartjes’s beautifully crafted poetic prose humanizes the technical descriptions of medical conditions and illuminates the scientific understanding of emotional states. Far more than a popularization of science, Detailing Trauma explores the wondrous anatomy and physiology of the human body, a geography of our human frailties—and also our wealth, as humans, of love and hope and the capacity for meditative thought. 

Douglas Bauer’s profound and exquisitely written first novel quickly established him as one of America’s best new writers. This is the story of Ed and Ramona, high school lovers who married young. And when Ramona, seeing the ever-clearer reality of life with Ed, turns and walks away from her house, from her life, and from her small baby boy, Ed is stunned into a depth of uncomprehending rage. With a deer hunter’s patience and a maniacal precision, Ed gathers what he needs and, in the dark of early winter, leaves to find his wife.

This darkly poetic novel is imbued with the same tough and tender understanding of the emotional lives of real people that distinguishes Bauer’s subsequent novels, The Very Air and The Book of Famous Iowans.

Even before the first books of her poems were published in the 1890s, friends, neighbors, and even apparently strangers knew Emily Dickinson was a writer of remarkable verses. Featuring both well-known documents and material printed or collected here for the first time, this book offers a broad range of writings that convey impressions of Dickinson in her own time and for the first decades following the publication of her poems. It all begins with her school days and continues to the centennial of her birth in 1930.

In addition, promotional items, reviews, and correspondence relating to early publications are included, as well as some later documents that reveal the changing assessments of Dickinson’s poetry in response to evolving critical standards. These documents provide evidence that counters many popular conceptions of her life and reception, such as the belief that the writer best known for poems focused on loss, death, and immortality was herself a morose soul. In fact, those who knew her found her humorous, playful, and interested in other people.

Dickinson maintained literary and personal correspondence with major representatives of the national literary scene, developing a reputation as a remarkable writer even as she maintained extreme levels of privacy. Evidence compiled here also demonstrates that she herself made considerable provision for the survival of her poems and laid the groundwork for their eventual publication. Dickinson in Her Own Time reveals the poet as her contemporaries knew her, before her legend took hold.

Lourdes and Churchtown, Woden and Clio, Emerson and Sigourney, Tripoli and Waterloo, Prairie City and Prairieburg, Tama and Swedesburg, What Cheer and Coin. Iowa’s place-names reflect the religions, myths, cultures, families, heroes, whimsies, and misspellings of the Hawkeye State’s inhabitants. Tom Savage spent four years corresponding with librarians, city and county officials, and local historians, reading newspaper archives, and exploring local websites in an effort to find out why these communities received their particular names, when they were established, and when they were incorporated.
    Savage includes information on the place-names of all 1,188 incorporated and unincorporated communities in Iowa that meet at least two of the following qualifications: twenty-five or more residents; a retail business; an annual celebration or festival; a school; church, or cemetery; a building on the National Register of Historic Places; a zip-coded post office; or an association with a public recreation site. If a town’s name has changed over the years, he provides information about each name; if a name’s provenance is unclear, he provides possible explanations. He also includes information about the state’s name and about each of its ninety-nine counties as well as a list of ghost towns. The entries range from the counties of Adair to Wright and from the towns of Abingdon to Zwingle; from Iowa’s oldest town, Dubuque, starting as a mining camp in the 1780s and incorporated in 1841, to its newest, Maharishi Vedic City, incorporated in 2001.
    The imaginations and experiences of its citizens played a role in the naming of Iowa’s communities, as did the hopes of the huge influx of immigrants who settled the state in the 1800s. Tom Savage’s dictionary of place-names provides an appealing genealogical and historical background to today’s map of Iowa.

“It is one of the beauties of Iowa that travel across the state brings a person into contact with so many wonderful names, some of which a traveler may understand immediately, but others may require a bit of investigation. Like the poet Stephen Vincent Benét, we have fallen in love with American names. They are part of our soul, be they family names, town names, or artifact names. We identify with them and are identified with them, and we cannot live without them. This book will help us learn more about them and integrate them into our beings.”—from the foreword by Loren N. Horton

“Primghar, O’Brien County. Primghar was established by W. C. Green and James Roberts on November 8, 1872. The name of the town comes from the initials of the eight men who were instrumental in developing it. A short poem memorializes the men and their names:
Pumphrey, the treasurer, drives the first nail;
Roberts, the donor, is quick on his trail;
Inman dips slyly his first letter in;
McCormack adds M, which makes the full Prim;
Green, thinking of groceries, gives them the G;
Hayes drops them an H, without asking a fee;
Albright, the joker, with his jokes all at par;
Rerick brings up the rear and crowns all ‘Primghar.’
Primghar was incorporated on February 15, 1888.”

Who cooks dinner in American homes? It's no surprise that “Mom” remains the overwhelming answer. Cooking and all it entails, from grocery shopping to chopping vegetables to clearing the table, is to this day primarily a woman's responsibility. How this relationship between women and food developed through the twentieth century and why it has endured are the questions Sherrie Inness seeks to answer in Dinner Roles: American Women and Culinary Culture.

By exploring a wide range of popular media from the first half of the twentieth century, including cookbooks, women's magazines, and advertisements, Dinner Roles sheds light on the network of sources that helped perpetuate the notion that cooking is women's work. Cookbooks and advertisements provided valuable information about the ideals that American society upheld. A woman who could prepare the perfect Jell-O mold, whip up a cake with her new electric mixer, and still maintain a spotless kitchen and a sunny disposition was the envy of other housewives across the nation.

Inness begins her exploration not with women but with men-those individuals often missing from the kitchen who were taught their own set of culinary values. She continues with the study of juvenile cookbooks, which provided children with their first cooking lessons. Chapters on the rise of electronic appliances, ethnic foods, and the 1950s housewife all add to our greater understanding of women's evolving roles in American culinary culture.

In 2012, Disney purchased Lucasfilm, which meant it also inherited the beloved Star Wars franchise. This corporate marriage sent media critics and fans into a frenzy of speculation about what would happen next with the hugely popular series. Disney’s Star Wars gathers twenty-one noted fan and media studies scholars from around the world to examine Disney’s revival of the franchise.

Covering the period from Disney’s purchase through the release of The Force Awakens, the book reveals how fans anticipated, interpreted, and responded to the steady stream of production stories, gossip, marketing materials, merchandise, and other sources in the build-up to the movie’s release. From fears that Princess Leia would be turned into a “Disney princess” to collaborative brand management, the authors explore the shifting relationship between fans, texts, and media industries in the context of a crucial rebranding campaign. The result is a fascinating examination of a critical moment in the iconic series’ history.

Who was in charge of the widespread provinces of the great Inka Empire of the fifteenth and sixteenth centuries: Inka from the imperial heartland or local leaders who took on the trappings of their conquerors, either by coercion or acceptance? By focusing on provinces far from the capital of Cuzco, the essays in this multidisciplinary volume provide up-to-date information on the strategies of domination asserted by the Inka across the provinces far from their capital and the equally broad range of responses adopted by their conquered peoples.

 Contributors to this cutting-edge volume incorporate the interaction of archaeological and ethnohistorical research with archaeobotany, biometrics, architecture, and mining engineering, among other fields. The geographical scope of the chapters—which cover the Inka provinces in Bolivia, in southeast Argentina, in southern Chile, along the central and north coast of Peru, and in Ecuador—build upon the many different ways in which conqueror and conquered interacted. Competing factors such as the kinds of resources available in the provinces, the degree of cooperation or resistance manifested by local leaders, the existing levels of political organization convenient to the imperial administration, and how recently a region had been conquered provide a wealth of information on regions previously understudied. Using detailed contextual analyses of Inka and elite residences and settlements in the distant provinces, the essayists evaluate the impact of the empire on the leadership strategies of conquered populations, whether they were Inka by privilege, local leaders acculturated to Inka norms, or foreign mid-level administrators from trusted ethnicities.

 By exploring the critical interface between local elites and their Inka overlords, Distant Provinces in the Inka Empire builds upon Malpass’s 1993 Provincial Inca: Archaeological and Ethnohistorical Assessment of the Impact of the Inca State to support the conclusions that Inka strategies of control were tailored to the particular situations faced in different regions. By contributing to our understanding of what it means to be marginal in the Inka Empire, this book details how the Inka attended to their political and economic goals in their interactions with their conquered peoples and how their subjects responded, producing a richly textured view of the reality that was the Inka Empire.

 

Recent surveys of medical students reveal stark conditions: more than a quarter have experienced episodes of depression during their medical school and residency careers, a figure much higher than that of the general population. Compounded by long hours of intellectually challenging, physically taxing, and emotionally exhausting work, medical school has been called one of the most harrowing experiences a student can encounter. Plumbing the diaries, memoirs, and blogs of physicians-in-training, Suzanne Poirier’s Doctors in the Making illuminates not just the process by which students become doctors but also the physical, emotional, and spiritual consequences of the process.

Through close readings of these accounts, Poirier draws attention to the complex nature of power in medicine, the rewards and hazards of professional and interpersonal relationships in all aspects of physicians’ lives, and the benefits to and threats from the vulnerability that medical students and residents experience.

Although most students emerge from medical education as well-trained, well-prepared professionals, few of them will claim that they survived the process unscathed. The authors of these accounts document—for better or for worse—the ways in which they have been changed. Based on their stories, Poirier recommends that medical education should make room for the central importance of personal relationships, the profound sense of isolation and powerlessness that can threaten the wellbeing of patients and physicians alike, and the physical and moral vulnerability that are part of every physician’s life.

Domestic Architecture, Ethnicity, and Complementarity in the South-Central Andes is a comprehensive and challenging look at the burgeoning field of Andean domestic architecture. Aldenderfer and fourteen contributors use domestic architecture to explore two major topics in the prehistory of the south-central Andes: the development of different forms of complementary relationships between highland and lowland peoples and the definition of the ethnic affiliations of these peoples.

One of the most incredible stories in American history is that of Frederick Douglass, the man who escaped from slavery and rose to become one of the most celebrated and eloquent orators, writers, and public figures in the world. He first committed his story to writing in his 1845 autobiography Narrative of the Life of Frederick Douglass, an American Slave. Over the course of his life, he would expand on his story considerably, writing two other autobiographies, My Bondage and My Freedom and Life and Times of Frederick Douglass, as well as innumerable newspaper articles and editorials and orations.

As valuable as these writings are in illuminating the man, the story Douglass told in 1845 has become rather too easy to tell, obscuring as much as it reveals. Less a living presence than an inspiring tale, Frederick Douglass remains relatively unknown even to many of those who celebrate his achievements. Douglass in His Own Time offers an introduction to Douglass the man by those who knew him. The book includes a broad range of writings, some intended for public viewing and some private correspondence, all of which contend with the force of Douglass’s tremendous power over the written and spoken word, his amazing presence before crowds, his ability to improvise, to entertain, to instruct, to inspire—indeed, to change lives through his eloquent appeals to righteous self-awareness and social justice. In approaching Douglass through the biographical sketches, memoirs, letters, editorials, and other articles about him, readers will encounter the complexity of a life lived on a very public stage, the story of an extraordinary black man in an insistently white world.

A lyrical coming-of-age memoir, Down from the Mountaintop chronicles a quest for belonging. Raised in northwestern Montana by Pentecostal homesteaders whose twenty-year experiment in subsistence living was closely tied to their faith, Joshua Doležal experienced a childhood marked equally by his parents’ quest for spiritual transcendence and the surrounding Rocky Mountain landscape. Unable to fully embrace the fundamentalism of his parents, he began to search for religious experience elsewhere: in baseball, books, and weightlifting, then later in migrations to Tennessee, Nebraska, and Uruguay. Yet even as he sought to understand his place in the world, he continued to yearn for his mountain home.

For more than a decade, Doležal taught in the Midwest throughout the school year but returned to Montana and Idaho in the summers to work as a firefighter and wilderness ranger. He reveled in the life of the body and the purifying effects of isolation and nature, believing he had found transcendence. Yet his summers tied him even more to the mountain landscape, fueling his sense of exile on the plains.

It took falling in love, marrying, and starting a family in Iowa to allow Doležal to fully examine his desire for a spiritual mountaintop from which to view the world. In doing so, he undergoes a fundamental redefinition of the nature of home and belonging. He learns to accept the plains on their own terms, moving from condemnation to acceptance and from isolation to community. Coming down from the mountaintop means opening himself to relationships, grounding himself as a husband, father, and gardener who learns that where things grow, the grower also takes root.

In 1987 photographer Sandra Dyas moved to Iowa City and began documenting the area’s vibrant live music scene, with its distinctive combination of folk, blues, roots/Americana, and rock sounds. The sixty photos in Down to the River capture her twenty years of photographing live music venues and shooting portraits of musicians in and around the city, resulting in a collection of images as compassionate and honest as the music itself.

Dyas’s photographs present both the sweaty intensity of live performances and the more contemplative moments of individual portraits. They are complemented by Chris Offutt’s empathetic essay, which also encapsulates the experience of connecting with a new home through its music. A companion CD with eighteen tracks by Iowa’s finest singer/songwriters, including Dave Moore, Greg Brown, Bo Ramsey, David Zollo, and Pieta Brown, add up to an unmatched perspective on Iowa music and musicians.

CD Tracks
1.     Iowa Crawl, Joe Price
2.     Poor Back Slider, Greg Brown
3.     Parnell, David Zollo
4.     #807, Pieta Brown
5.     Wheels of Steel, Radoslav Lorkovic
6.     Down to the River, Dave Moore
7.     Lucy and Andy Drive to Arkansas, Kevin Gordon
8.     Chuck Brown, Mike and Amy Finders
9.    Nobody But You, Joe Price
10.     Earleton, BeJae Fleming
11.     Ceremonial Child, High and Lonesome
12.     Sidetrack Lounge, Bo Ramsey
13.     On the Edge, Pieta Brown
14.     One Wrong Turn, Greg Brown
15.     Not in Iowa, Kelly Pardekooper
16.     Living in a Cornfield, Bo Ramsey
17.     ’57 Chevy, Tom Jessen’s Dimestore Outfit
18.     Roll on John, the Pines

Just as more and more people enjoy watching birds and butterflies, watching the many shimmering dragonflies and damselflies—collectively called odonates, from Odonata, the name of this order of aquatic insects—has become a popular pastime. Now Dragonflies and Damselflies in Your Pocket introduces us to 50 of the showiest odonates of the Upper Midwest.

Ann Johnson’s text is clear and informative and her photographs are stunning; it is impossible to look at them without wanting to head out for the nearest stream and search for the living insects. In addition to providing useful general information about broad-winged damsels, spreadwings, pond damsels, darners, clubtails, cruisers, emeralds, and skimmers, she includes common and scientific names, sizes, general flight seasons, and the best habitats in which to find each species: rocky rivers, wetlands, ponds, still waters, and so on.

With their extremely large eyes, elongated transparent wings, long and slender abdomens, and prehensile extendible jaws, dragonflies and damselflies are efficient hunters and quick, darting fliers. Their beauty and their behavior make them delightful subjects for birdwatchers and other nature lovers. Dragonflies and Damselflies in Your Pocket will greatly enhance your appreciation of these winged marvels.

The Drake Relays are one of the iconic events of track and field in the United States. World and Olympic champions test their speed and stamina on the famed Blue Oval in Des Moines, Iowa, every April, and by spring 2013 they had set fourteen world records and fifty-one American records. But unlike most other top meets, this one also features college athletes from all over the country and high school athletes from across Iowa, giving them the experience of a lifetime—competing on the same track with the elite in their sport. This mix brings many enthusiastic spectators to the stadium and makes for an unusually close bond between fans and athletes—it’s as if everyone’s family is there cheering.

Pulitzer Prize–winning photographer David Peterson has been covering the Drake Relays for nearly forty years, but his love affair with the meet started earlier, when he ran on three winning relay teams there for Kansas State University. Now, drawing upon an unmatched personal archive, he offers the pictures of a lifetime spent on the Blue Oval. He captures on camera athletes of all levels in triumph and defeat, in mid-stride or leap, embracing their fans, their moms and dads, and their kids. In addition to the stars of the past, such as Carl Lewis, Suzy Favor Hamilton, and Herschel Walker, and those of the ’00s, like Lolo Jones and Jeremy Wariner, we see teenagers who may be the stars of the future, as well as the many athletes who will never be famous but nonetheless show themselves—and their sport—at their best.

A beautiful celebration of the Drake Relays and the diverse sports that make up “track and field,” this book will evoke memories and inspire runners, throwers, and jumpers everywhere.

When Huston Diehl began teaching a fourth-grade class in a "Negro" elementary school in rural Louisa County, Virginia, the school’s white superintendent assured her that he didn't expect her to teach "those children" anything.  She soon discovered how these low expectations, widely shared by the white community, impeded her students' ability to learn. With its overcrowded classrooms, poorly trained teachers, empty bookshelves, and meager supplies, her segregated school was vastly inferior to the county's white elementary schools, and the message it sent her students was clear: "dream not of other worlds."
     In her often lyrical memoir, Diehl reveals how, in the intimacy of the classroom, her students reached out to her, a young white northerner, and shared their fears, anxieties, and personal beliefs.  Repeatedly surprised and challenged by her students, Diehl questions her long-standing middle-class assumptions and confronts her own prejudices. In doing so, she eloquently reflects on what the students taught her about the hurt of bigotry and the humiliation of poverty as well as dignity, courage, and resiliency.
      Set in the waning days of the Jim Crow South, Dream Not of Other Worlds chronicles an important moment in American history. Diehl examines the history of black education in the South and narrates the dramatic struggle to integrate Virginia's public schools. Meeting with some of her former students and colleagues and visiting the school where she once taught, she considers what has--and has not--changed after more than thirty years of integrated schooling. This provocative book raises many issues that are of urgent concern today: the continuing social consequences of segregated schools, the role of public education in American society, and the challenges of educating minority and poor children.  

Dreaming Out Loud brings together essays by many of the most well-known and respected African American writers of the twentieth and twenty-first centuries, discussing various aspects of the vocation, craft, and art of writing fiction. Though many of the writers included here are also accomplished poets, essayists, and playwrights, this collection and the essays it contains remains focused on the novel as a genre and an art form.

Some essays explore the challenges of being an African American writer in the United States, broadly addressing aesthetic and racial prejudice in American publishing and literature and its changing face over the decades. Others are more specific and personal, recounting how the authors came to be a reader and writer in a culture that did not always encourage them to do so. Some are more general and focus on practice and craft, while still other essays offer detailed behind-the-scenes accounts of how famous novels, such as Native Son, Invisible Man, The Autobiography of Miss Jane Pittman, and The Color Purple, came to life. Ranging from the Harlem Renaissance, through the Civil Rights movement, and into the twenty-first century, this anthology explores what it has meant to be an African American novelist over the past hundred years.

Found within are essays by twenty-one African American novelists, including Nobel Prize-winner Toni Morrison, National Book Award-winners Ralph Ellison and Charles Johnson, Pulitzer Prize-winners Alice Walker and James Alan McPherson, and well-known canonical writers such as W. E. B. Du Bois, James Weldon Johnson, Langston Hughes, Richard Wright, Zora Neale Hurston, and Margaret Walker. Dreaming Out Loud seeks to inspire writers and readers alike, while offering a fascinating and important portrait of novelists at work in their own words.

CONTRIBUTORS
James Baldwin, Arna Bontemps, W. E. B. Du Bois, Ralph Ellison, Ernest Gaines, Chester Himes, Langston Hughes, Zora Neale Hurston, Charles Johnson, James Weldon Johnson, Gayl Jones, Terry McMillan, James Alan McPherson, Toni Morrison, Walter Mosley, Ishmael Reed, Martha Southgate, Alice Walker, Margaret Walker, John Edgar Wideman, Richard Wright

Dreaming Revolution usefully employs current critical theory to address how the European novel of class revolt was transformed into the American novel of imperial expansion. Bradfield shows that early American romantic fiction—including works by William Godwin, Charles Brockden Brown, James Fenimore Cooper, and Edgar Allan Poe—can and should be considered as part of a genre too often limited to the nineteenth-century European novel. In a spirited discussion of the works from these four authors, Bradfield argues that Americans take the class dynamics of the European psychological novel and apply them to the American landscape, reimagining psychological spaces as geographical ones.

Atop a scenic bluff overlooking the Mississippi River and downtown Dubuque there once lay a graveyard dating to the 1830s, the earliest days of American settlement in Iowa. Though many local residents knew the property had once been a Catholic burial ground, they believed the graves had been moved to a new cemetery in the late nineteenth century in response to overcrowding and changing burial customs. But in 2007, when a developer broke ground for a new condominium complex here, the heavy machinery unearthed human bones. Clearly, some of Dubuque’s early settlers still rested there—in fact, more than anyone expected. For the next four years, staff with the Burials Program of the University of Iowa Office of the State Archaeologist excavated the site so that development could proceed.

The excavation fieldwork was just the beginning. Once the digging was done each summer, skeletal biologist Robin M. Lillie and archaeologist Jennifer E. Mack still faced the enormous task of teasing out life histories from fragile bones, disintegrating artifacts, and the decaying wooden coffins the families had chosen for the deceased. Poring over scant documents and sifting through old newspapers, they pieced together the story of the cemetery and its residents, a story often surprising and poignant. Weaving together science, history, and local mythology, the tale of the Third Street Cemetery provides a fascinating glimpse into Dubuque’s early years, the hardships its settlers endured, and the difficulties they did not survive.

While they worked, Lillie and Mack also grappled with the legal and ethical obligations of the living to the dead. These issues are increasingly urgent as more and more of America’s unmarked (and marked) cemeteries are removed in the name of progress. Fans of forensic crime shows and novels will find here a real-world example of what can be learned from the fragments left in time’s wake.

Brian Duffy has been poking fun at the Iowa caucuses for just about as long as they’ve been a media circus, since the 1970s. Now, the longtime editorial cartoonist has gathered a selection of his best images lampooning the politicians on their quadrennial stampedes through Iowa’s fields and towns.

Whether you’re anticipating or dreading the onset of another caucus season in 2016, this book will put it all into perspective. From Jimmy Carter’s innovative 1976 effort to Barack Obama’s come-from-behind win in 2008, from George H. W. Bush’s storming to victory in 1980 to George W. Bush’s coasting to his win in 2000, from Gary Hart’s peccadillos in 1988 to John Edwards’s missteps in 2008, from Elizabeth Dole’s determination to breach the White House boys’ club in 2000 to Hillary Clinton’s fall from frontrunner to third place in 2008, here is American presidential campaigning in all its glory. With pigs.