front cover of All That Work and Still No Boys
All That Work and Still No Boys
Kathryn Ma
University of Iowa Press, 2009

How do we survive our family, stay bound to our community, and keep from losing ourselves?  In All That Work and Still No Boys, Kathryn Ma exposes the deepest fears and longings that we mask in family life and observes the long shadows cast by history and displacement. 

Here are ten stories that wound and satisfy in equal measure. Ma probes the immigrant experience, most particularly among northern California’s Chinese Americans, illuminating for us the confounding nature of duty, transformation, and loss.  A boy exposed to racial hatred finds out the true difference between his mother and his father.  Two old rivals briefly lay down their weapons, but loneliness and despair won’t let them forget the past.  A young Beijing tour guide with a terrible family secret must take an adopted Chinese girl and her American family to visit an orphanage. And in the prize-winning title story, a mother refuses to let her son save her life, insisting instead on a sacrifice by her daughter. 

Intimate in detail and universal in theme, these stories give us the compelling voice of an exciting new author whose intelligence, insight, and wit impart a sense of grace to the bitter resentments and enduring ties that comprise family love. Even through the tensions Ma creates so deftly, the peace and security that come from building and belonging to one’s own community shine forth.

[more]

front cover of The Pragmatic Whitman
The Pragmatic Whitman
Reimaining American Democracy
Stephen John Mack
University of Iowa Press, 2002

 In this surprisingly timely book, Stephen Mack examines Whitman’s particular and fascinating brand of patriotism: his far-reaching vision of democracy. For Whitman, loyalty to America was loyalty to democracy. Since the idea that democracy is not just a political process but a social and cultural process as well is associated with American pragmatism, Mack relies on the pragmatic tradition of Emerson, James, Dewey, Mead, and Rorty to demonstrate the ways in which Whitman resides in this tradition.

Mack analyzes Whitman's democratic vision both in its parts and as a whole; he also describes the ways in which Whitman's vision evolved throughout his career. He argues that Whitman initially viewed democratic values such as individual liberty and democratic processes such as collective decision-making as fundamental, organic principles, free and unregulated. But throughout the 1860s and 1870s Whitman came to realize that democracy entailed processes of human agency that are more deliberate and less natural—that human destiny is largely the product of human effort, and a truly humane society can be shaped only by intelligent human efforts to govern the forces that would otherwise govern us.

Mack describes the foundation of Whitman’s democracy as found in the 1855 and 1856 editions of Leaves of Grass, examines the ways in which Whitman’s 1859 sexual crisis and the Civil War transformed his democratic poetics in “Sea-Drift,” “Calamus,” Drum-Taps,and Sequel to Drum-Taps, and explores Whitman’s mature vision in Democratic Vistas, concluding with observations on its moral and political implications today. Throughout, he illuminates Whitman's great achievement—learning that a full appreciation for the complexities of human life meant understanding that liberty can take many different and conflicting forms—and allows us to contemplate the relevance of that achievement at the beginning of the twenty-first century.

[more]

front cover of Paracritical Hinge
Paracritical Hinge
Essay, Talks, Notes, Interviews
Nathaniel Mackey
University of Iowa Press, 2018

Paracritical Hinge is a collection of varied yet interrelated pieces highlighting Nathaniel Mackey’s multifaceted work as writer and critic. It embraces topics ranging from Walt Whitman’s interest in phrenology to the marginalization of African American experimental writing; from Kamau Brathwaite’s “calibanistic” language practices to Federico García Lorca’s flamenco aesthetic of duende and its continuing repercussions; from H. D.’s desert measure and coastal way of knowing to the altered spatial disposition of Miles Davis’s trumpet sound; from Robert Duncan’s serial poetics to diasporic syncretism; from the lyric poem’s present-day predicaments to gnosticism. Offering illuminating commentary on these and other artists including Amiri Baraka, Mississippi Fred McDowell, Wilson Harris, Jack Spicer, John Coltrane, Jay Wright, and Bob Kaufman, Paracritical Hinge also sheds light on Mackey’s own work as a poet, fiction writer, and editor.

[more]

front cover of Stories From Under The Sky
Stories From Under The Sky
John Madson
University of Iowa Press, 2006
In Stories from under the Sky, John Madson salutes the outdoor life. These thirty-six essays display his healthy respect for the forces of nature, without diminishing his wry awareness of the foibles of beast, bird, fish, and human.
In sections on mammals, the river, and birds, Madson acquaints readers with some real characters—not all of them four-footed! Some are old favorites: the raccoon, the otter, the fawn, and the badger. Others are less familiar—the demonic shrew, the indomitable dogfish, and the exotic blue heron. Even the “unloved” come in for their share of attention: toads, waterbugs, wasps, and turkey buzzards. Madson has a yarn to spin about each one. Where else would you find an essay on “Snake Liars”?

Whatever the topic, Madson’s love of nature shines through, be it coon hunting or an explanation of the incredible bird machine. His obvious affection is tempered with the recognition that not everything “natural” is a pretty sight. All of which leaves readers with a better understanding of life under the sky. 

[more]

front cover of Where The Sky Began
Where The Sky Began
Land of the Tallgrass Prairie
John Madson
University of Iowa Press, 2004
“It was a flowing emerald in spring and summer when the boundless winds ran across it, a tawny ocean under the winds of autumn, and a stark and painful emptiness when the great long winds drove in from the northwest. It was Beulahland for many; Gehenna for some. It was the tall prairie.”—from the “Prologue”

Originally published in 1982, Where the Sky Began, John Madson’s landmark publication, introduced readers across the nation to the wonders of the tallgrass prairie, sparking the current interest in prairie restoration. Now back in print, this classic tome will serve as inspiration to those just learning about the heartland’s native landscape and rekindle the passion of long-time prairie enthusiasts.
[more]

front cover of Up on the River
Up on the River
People and Wildlife of the Upper Mississippi
John Madson
University of Iowa Press, 1985
Up on the River is John Madson’s loving and often hilarious tribute to the people, animal life, and places of the Upper Mississippi. Madson’s Upper Mississippi is the part “between the saints,” from St. Louis to St. Paul, and where for thirty years he explored the bright waters of the upper reaches of the mighty river itself as well as the tangled multitude of sloughs, cuts, and side channels that wander through its wooded islands and floodplain forests.
 “Some of my best time on the River has been in the company of game wardens, biologists, commercial fishermen, clammers, trappers, hunters, and a smelly, mud-smeared coterie of river rats in general, and my views of the River are far more likely to reflect theirs than those of the transportation industry,” Madson writes of his thirty-year acquaintance with the Mississippi. Traveling mainly by canoe and johnboat, he tells of encounters between archetypal commercial fishermen and archetypal game wardens over hot fish chowder, fishing for crappies in the tops of submerged trees and for walleyes amid gale force winds, nesting and migrating herons and ducks and eagles, the histories of river logging and pearling and button making, and towboats and barges and the lives of the “ramstugenous” people who move freight on the river.
 
Learning about the Upper Mississippi via the wry tutelage of John Madson, who discovered that “whenever I am out on a river some of its freeness rubs off on me,” readers of this classic book will also come under the spell of this freeness.
[more]

front cover of Out Home
Out Home
John Madson
University of Iowa Press, 1979
Long out of print, Out Home is the first published collection of naturalist and conservationist John Madson’s essays. Written between 1961 and 1977 for such venues as Outdoor Life, Sports Afield, Audubon, and Guns and Ammo, the twenty-one essays and one poem in this classic volume focus on game and nongame animals and the people who love them and their outdoor world. Madson writes of hunting and wildlife management, the tricks of whitetail and cottontail, the bewildering interactions of pheasants with their harsh winter world, the cliff-nesting geese of the Missouri River, biscuits and gravy and stories shared around campfires with friends and family, and the great seasonal migrations of geese and cranes.
     Writing always with the knowledge that he was witnessing the end of the wilderness, of the outdoor home that nourished him, Madson brings a brilliant energy to these tough, unsentimental tales. “A strong place puts a mark on all that lives there, and the mark may outlast the place itself. Prairie people are like their western meadowlarks, seeming to be the same as their eastern relatives, but with a different song.” In his song about the “play of wind on tallgrasses, with the land running beneath a towering sky,” we hear the voice that went on to give us the magic of Where the Sky Began.
     Editor Michael McIntosh, one of the nation’s foremost experts on shotguns, has written a short introduction to this first paperback edition of these ageless wilderness tales.
[more]

front cover of Modern Hamlets & Soliloquies
Modern Hamlets & Soliloquies
An Expanded Edition
Mary Z. Maher
University of Iowa Press, 2003

In Modern Hamlets and Their Soliloquies (Iowa, 1992), Mary Maher examined how modern actors have chosen to perform Hamlet’s soliloquies, and why they made the choices they made, within the context of their specific productions of the play.

Adding to original interviews with, among others, Derek Jacobi, David Warner, Kevin Kline, and Ben Kingsley, Modern Hamlets and Their Soliloquies: An Expanded Edition offers two new and insightful interviews, one with Kenneth Branagh, focusing on his 1997 film production of the play, and one with Simon Russell Beale, discussing his 2000-2001 run as Hamlet at the Royal National Theatre.

[more]

front cover of The American Sonnet
The American Sonnet
An Anthology of Poems and Essays
Dora Malech
University of Iowa Press, 2023
Poet and scholar team Dora Malech and Laura T. Smith collect and foreground an impressive range of sonnets, including formal and formally subversive sonnets by established and emerging poets, highlighting connections across literary moments and movements. Poets include Phillis Wheatley, Fredrick Goddard Tuckerman, Emma Lazarus, Paul Laurence Dunbar, Gertrude Stein, Fradel Shtok, Claude McKay, Edna St. Vincent Millay, Ruth Muskrat Bronson, Langston Hughes, Muriel Rukeyser, Gwendolyn Brooks, Dunstan Thompson, Rhina P. Espaillat, Lucille Clifton, Marilyn Hacker, Wanda Coleman, Patricia Smith, Jericho Brown, and Diane Seuss. The sonnets are accompanied by critical essays that likewise draw together diverse voices, methodologies, and historical and theoretical perspectives that represent the burgeoning field of American sonnet studies.

Contributor List: Essayists
Abdul Ali, Baltimore, MD
Anna Lena Phillips Bell, University of North Carolina, Wilmington
Jodie Childers, Queens, New York
Benjamin Crawford, University of Alabama
Meg Day, Franklin and Marshall College
Donna Denizé, St. Albans School
Michael Dumanis, Bennington College
Jordan Finkin, Hebrew Union College
Rebecca Morgan Frank, Northwestern University
Anna Maria Hong, Mount Holyoke College
Gillian Huang-Tiller, University of Virginia, Wise
Walt Hunter, Clemson University
John James, University of California, Berkeley
Matthew Kilbane, University of Notre Dame
Diana Leca, University of Oxford
Ariel Martino, Colgate University
Nate Mickelson, New York University
Lisa L. Moore, University of Texas at Austin
Timo Müller, University of Konstanz, Germany
Carl Phillips, Washington University in St. Louis
Zoë Pollak, Columbia University
Jonathan F.S. Post, UCLA
Stephen Regan, Durham University, UK
Jahan Ramazani, University of Virginia
Hollis Robbins, University of Utah
Nathan Spoon, Joelton, TN
Marlo Starr, Wittenberg University
Yuki Tanaka, Hosei University, Japan
Tess Taylor, Ashland University
Michael Theune, Illinois Wesleyan University
Eleanor Wakefield, University of Oregon
Lesley Wheeler, Washington and Lee University
Jon Woodson, Howard University emeritus

Contributors List: Poets
Elizabeth Alexander, Agha Shahid Ali, Julia Alvarez, Maggie Anderson, Tacey Atsitty, Charles Bernstein, Ted Berrigan, Jen Bervin, Elizabeth Bishop, Louise Bogan, Ruth Muskrat Bronson, Gwendolyn Brooks, Jericho Brown, Lucille Clifton, Henri Cole, Wanda Coleman, Countee Cullen, William Cullen Bryant, E.E. Cummings, Meg Day, Natalie Diaz, Paul Laurence Dunbar, Alice Moore Dunbar-Nelson, Ralph Waldo Emerson, Rhina Espaillat, Tarfia Faizullah, Robert Frost, torrin a. greathouse, Marilyn Hacker, Robert Hayden, Terrance Hayes, Anthony Hecht, Lynn Hejinian, Leslie Pinckney Hill, Anna Maria Hong, Langston Hughes, David Humphreys, Helen Hunt Jackson, Tyehimba Jess, Helene Johnson, James Weldon Johnson, June Jordan, Douglas Kearney, Richard Kenney, Joan Larkin, Emma Lazarus, Mani Levb, Amy Lowell, Robert Lowell, Nate Marshall, Bernadette Mayer, George Marion McClellan, Brandy Nalani McDougall, Claude McKay, Joyelle McSweeney, Lo Kwa Mei-en, James Merrill, Phillip Metres, Edna St. Vincent Millay, Simone Muench, Marilyn Nelson, Craig Santos Perez, Carl Phillips, Sylvia Plath, Alexander Posey, Lizette Woodworth Reese, Adrienne Rich, Lola Ridge, Muriel Rukeyeser, Kay Ryan, Diane Seuss, Fradel Shtok, Aaron Shurin, giovanni singleton, Patricia Smith, Mary Ellen Solt, Nathan Spoon, Gertrude Stein, Adrienne Su, Lorenzo Thomas, Dunstan Thompson, Natasha Tretheway, Fredrick Goddard Tuckerman, Mona Van Duyn, Ellen Bryant Voight, Margaret Walker, Lucian B. Watkins, Phillis Wheatley, John Wheelwright, Jackie K. White, Walt Whitman, James Wright, Elinor Wylie
[more]

front cover of Jews and the Making of Modern German Theatre
Jews and the Making of Modern German Theatre
Jeanette R. Malkin
University of Iowa Press, 2010

 While it is common knowledge that Jews were prominent in literature, music, cinema, and science in pre-1933 Germany, the fascinating story of Jewish co-creation of modern German theatre is less often discussed. Yet for a brief time, during the Second Reich and the Weimar Republic, Jewish artists and intellectuals moved away from a segregated Jewish theatre to work within canonic German theatre and performance venues, claiming the right to be part of the very fabric of German culture. Their involvement, especially in the theatre capital of Berlin, was of a major magnitude both numerically and in terms of power and influence. The essays in this stimulating collection etch onto the conventional view of modern German theatre the history and conflicts of its Jewish participants in the last third of the nineteenth and first third of the twentieth centuries and illuminate the influence of Jewish ethnicity in the creation of the modernist German theatre.

 The nontraditional forms and themes known as modernism date roughly from German unification in 1871 to the end of the Weimar Republic in 1933. This is also the period when Jews acquired full legal and trade equality, which enabled their ownership and directorship of theatre and performance venues. The extraordinary artistic innovations that Germans and Jews co-created during the relatively short period of this era of creativity reached across the old assumptions, traditions, and prejudices that had separated people as the modern arts sought to reformulate human relations from the foundations to the pinnacles of society.

 The essayists, writing from a variety of perspectives, carve out historical overviews of the role of theatre in the constitution of Jewish identity in Germany, the position of Jewish theatre artists in the cultural vortex of imperial Berlin, the role played by theatre in German Jewish cultural education, and the impact of Yiddish theatre on German and Austrian Jews and on German theatre. They view German Jewish theatre activity through Jewish philosophical and critical perspectives and examine two important genres within which Jewish artists were particularly prominent: the Cabaret and Expressionist theatre. Finally, they provide close-ups of the Jewish artists Alexander Granach, Shimon Finkel, Max Reinhardt, and Leopold Jessner. By probing the interplay between “Jewish” and “German” cultural and cognitive identities based in the field of theatre and performance and querying the effect of theatre on Jewish self-understanding, they add to the richness of intercultural understanding as well as to the complex history of theatre and performance in Germany.

[more]

front cover of Provincial Inca
Provincial Inca
Archaeological and Ethnohistorical Assessment of the Impact of the Inca State
Michael A. Malpass
University of Iowa Press, 1993
The Inca empire of Tawantinsuyu spanned almost 2,000 miles of enormous environmental variety, from coastal deserts to high-altitude grasslands. In less than a century, without wheeled vehicles or animals that could be ridden, the Incas conquered cultures that differed as tremendously as their environments. From agriculture-based politics with an elaborate material foundation like the Chimu of the north coast of Peru to marginal communities of fisherfolk like the Uru of the Lake Titicaca region, all were incorporated into a strongly hierarchical system as the empire spread during the Late Horizon, from A.D. 1438 to 1532.
The essays in this distinctive, multifaceted volume combine the two principal sources of information on the Incas and the peoples they conquered—ethnohistorical accounts and archaeological research—to produce a single vision of a flexible, heterogeneous empire. The essayists' analytical focus evaluates the means by which we understand the Inca empire and its relationships with its conquered peoples; their empirical focus provides specific archaeological ways of identifying the Inca presence in provincial areas. Important contributions include the presentation of new data on Inca administrative policies and the merging of ethnic groups into the empire and the documentation of the many ways used to differentiate Inca from non-Inca material remains.
Encompassing a wide range of environmental conditions and many kinds of provinces,Provincial Inca tests archaeological data against ethnohistorical descriptions to illuminate the variability in Inca state policies with regard to the incorporation of different provinces. It should be read by anyone interested in Andean archaeology, ethnohistory, culture, ethnicity, and the formation of state.
[more]

front cover of Distant Provinces in the Inka Empire
Distant Provinces in the Inka Empire
Toward a Deeper Understanding of Inka Imperialism
Michael A. Malpass
University of Iowa Press, 2010

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.

[more]

logo for University of Iowa Press
Where Love Leaves Us
Renee Manfredi
University of Iowa Press, 1994

 These nine superbly crafted stories, set primarily in Pittsburgh's Italian American neighborhoods, concentrate on families, on the poignant nature of father-daughter relationships, and on the fate of those who are refugees from their physical or spiritual communities. “Love is born only out of wreckage,” Manfredi's characters declare bravely. Her vigorous families are both the wrecking crews and the architects of the human foundation.

In “The Projectionist,” a displaced Sicilian is forced to confront the family he lost in war-torn Italy at the same time that his current family is disintegrating; his disillusionment with the American dream overwhelms him when his oldest daughter exchanges Old World values for the hippie-inspired climate of permissiveness. Ten-year-old Elena, in “Bocci,” takes the teachings of her strict Catholic upbringing to the extreme, and it is her devoutness that is cruelly used against her when violence compels her to reject becoming “a nun or a saint.” The father in “Tall Pittsburgh” sends his daughter to charm school at Sears, then enters her in a beauty pageant for tall women. Distraught in spite of her second-place win, he begins to relive his grief over the death of his beautiful wife.

Many of Manfredi's vital, luminous characters are outsiders, dispossessed by their inability to bridge the gap between the self and others, forced to deal with loss through death and lapse of faith, yet always managing to survive despite their place on the bewildering margins. Manfredi reveals an affirmation, finally, that hope is a permanent possession of every human spirit.

[more]

front cover of Cosmopolitical Claims
Cosmopolitical Claims
Turkish-German Literatures from Nadolny to Pamuk
B. Venkat Mani
University of Iowa Press, 2007
When both France and Holland rejected the proposed constitution for the European Union in 2005, the votes reflected popular anxieties about the entry of Turkey into the European Union as much as they did ambivalence over ceding national sovereignty. Indeed, the votes in France and Holland echoed long standing tensions between Europe and Turkey. If there was any question that tensions were high, the explosive reaction of Europe’s Muslim population to a series of cartoons of Mohammed in a Danish newspaper put them to rest. Cosmopolitical Claims is a profoundly original study of the works of Sten Nadonly, Emine Sevgi Özdamar, Feridun Zaimoglu, and 2006 Nobel prize in literature recipient Orhan Pamuk. Rather than using the proverbial hyphen in “Turkish-German” to indicate a culture caught between two nations, Venkat Mani is interested in how Turkish-German literature engages in a scrutiny of German and Turkish national identity.
    Moving deftly from the theoretical literature to the texts themselves, Mani’s groundbreaking study explores these conflicts and dialogues and the resulting cultural hybridization as they are expressed in four novels that document the complexity of Turkish-German cultural interactions in the late twentieth and early twenty-first centuries. His innovative readings will engage students of contemporary German literature as well as illuminate the discussion of minority literature in a multicultural setting.
    As Salman Rushdie said in the 2002 Tanner Lecture at Yale, “The frontier is an elusive line, visible and invisible, physical and metaphorical, amoral and moral. . . . To cross a frontier is to be transformed.” It is in this vein that Mani’s dynamic and subtle work posits a still evolving discourse between Turkish and German writers.
[more]

front cover of Attachments
Attachments
Essays on Fatherhood and Other Performances
Lucas Mann
University of Iowa Press, 2024
Lucas Mann turns his attention, tenderness, self-reflection, and humor to contemporary fatherhood. He looks closely at all the joys, frustrations, subtleties, and contradictions within an experience that often goes under-discussed. At once intimate and expansive, Mann chronicles his own life with his young daughter, but also looks outward to the cultural and political baggage that surrounds and permeates these everyday experiences. Moving through memoir, lyric essay, literary analysis, and pop culture criticism, Attachments treats the subject of fatherhood with the depth, curiosity, and vivid emotion that it deserves.
 
[more]

front cover of Strange Duets
Strange Duets
Impresarios and Actresses in the American Theatre, 1865-1914
Kim Marra
University of Iowa Press, 2006
Autocratic male impresarios increasingly dominated the American stage between 1865 and 1914. Many rose from poor immigrant roots and built their own careers by making huge stars out of “undiscovered,” Anglo-identified actresses. Reflecting the antics of self-made industrial empire-builders and independent, challenging New Women, these theatrical potentates and their protégées gained a level of wealth and celebrity comparable to that of Hollywood stars today. In her engaging and provocative Strange Duets, Kim Marra spotlights three passionate impresario-actress relationships of exceptional duration that encapsulated the social tensions of the day and strongly influenced the theatre of the twentieth century. Augustin Daly and Ada Rehan, Charles Frohman and Maude Adams, and David Belasco and Mrs. Leslie Carter reigned over “legitimate” Broadway theatre, the venue of greatest social cachet for the monied classes. Unlike impresarios and actresses in vaudeville and burlesque, they produced full-length spoken drama that involved special rigors of training and rehearsal to sustain a character’s emotional “truth” as well as a high level of physical athleticism and endurance. Their efforts compelled fascination at a time when most people believed women’s emotions were seated primarily in the reproductive organs and thus were fundamentally embodied and sexual in nature. While the impresario ostensibly exercised full control over his leading lady, showing fashionable audiences that the exciting but unruly New Woman could be both tamed and enjoyed, she acquired a power of her own that could bring him to his knees.Kim Marra combines methods of cultural, gender, and sexuality studies with theatre history to explore the vexed mutual dependency between these status-seeking Svengalis and their alternately willing and resistant leading ladies. She illuminates how their on- and off-stage performances, highly charged in this Darwinian era with “racial” as well as gender, sexual, and class dynamics, tapped into the contradictory fantasies and aspirations of their audiences. Played out against a backdrop of enormous cultural and institutional transformation, the volatile romance of Daly and Rehan, closeted homosexuality of Frohman and Adams, and carnal expiations of Belasco and Carter produced strange duets indeed.
[more]

front cover of The People's Forests
The People's Forests
Robert Marshall
University of Iowa Press, 2002

Devoted conservationist, environmentalist, and explorer Robert Marshall (1901-1939) was chief of the Division of Recreation and Lands, U.S. Forest Service, when he died at age thirty-eight. Throughout his short but intense life, Marshall helped catalyze the preservation of millions of wilderness acres in all parts of the U.S., inspired countless wilderness advocates, and was a pioneer in the modern environmental movement: he and seven fellow conservationists founded the Wilderness Society in 1935. First published in 1933, The People's Forests made a passionate case for the public ownership and management of the nation's forests in the face of generations of devastating practices; its republication now is especially timely.

Marshall describes the major values of forests as sources of raw materials, as essential resources for the conservation of soil and water, and as a “precious environment for recreation” and for “the happiness of millions of human beings.” He considers the pros and cons of private and public ownership, deciding that public ownership and large-scale public acquisition are vital in order to save the nation's forests, and sets out ways to intelligently plan for and manage public ownership.

The last words of this book capture Marshall's philosophy perfectly: “The time has come when we must discard the unsocial view that our woods are the lumbermen's and substitute the broader ideal that every acre of woodland in the country is rightly a part of the people's forests.”

[more]

front cover of Genera Of The Myxomycetes
Genera Of The Myxomycetes
George W. Martin
University of Iowa Press, 1983
Social historians today are calling into question the persuasiveness of the master narratives that have dominated our stories about the past. Motivated now by personal and professional commitments to solving problems by telling stories, not by epistemological and ontological certitude, social historians are constructing alternative narratives relevant to an expanded, more inclusive audience. The essays in this thoughtful volume reflect an explicit self-consciousness about historians' choices of narrative strategies, a new skepticism of the rhetorical strategies embedded in all scholarly arguments, and a recognition that every historian has a point of view.

Critically examining past master narratives in light of emerging alternatives, these essayists ask us to reevaluate the stories we tell, the narrative traditions within which they are situated, and the audiences they are designed to persuade. The first essays explore the gendered character of social history rhetoric by exposing alternative, feminist traditions of social scientific and social historical writing. The second section focuses on alternative narrative traditions of historical writing in non-European contexts, specifically India, Japan, and China. And the third group spotlights the rhetorical uses of synthesis in the writings of social historians.

The essays feature the range of narrative possibilities available to historians who have become self-critical about the pervasive use of unexamined master narratives; they show how limited that tradition can be compared with the diverse alternatives derived from, for example, gendered traditions of Latin American travel writers of the nineteenth century, Victorian women's historical writing, or the lively subaltern tradition in Indian social history. Together they argue not for the abandonment of historical materialism or the elimination of all master narratives but for the reinvigoration of social history through the use of new and more persuasive arguments based on alternative narratives.
[more]

front cover of The Continuing Presence of Walt Whitman
The Continuing Presence of Walt Whitman
The Life after the Life
Robert K. Martin
University of Iowa Press, 1992
Of all American poets, Whitman remains the single most challenging figure. Protean and elusive, Whitman is everywhere and nowhere at once. An unavoidable presence, he still arouses anger, envy, love, and debate one hundred years after his death. To honor his anniversary, Robert Martin has invited the most invigorating and innovative of Whitman’s new readers and critics to respond not to Whitman’s death but to his continuing life as it has marked their own lives and writings. The eighteen essays gathered in this volume testify to the powerful multiple responses that Whitman continues to evoke. They recreate another Whitman perhaps more real than the one we thought we knew.

The “continuing presence” that Whitman’s readers have created is as diverse as those readers themselves. But he is, as he promised, everywhere: “Missing me one place search another / I stop somewhere waiting for you.” The central figure of American poetic history, he has been a formative presence in the work of black writers in America and Europe, in the development of women’s poetry that has learned from him to celebrate the body, and of course in the emergence of the gay literary tradition, all of which can be linked to movements of political change. Whitman helped make it possible to be a black poet, a female poet, or a gay poet, partly because he saw himself not as a model but as an enabler. He still continues to challenge our assessment of our sexuality and the ways we organize it. Martin’s collection is particularly strong on the investigation of Whitman’s homosexuality, his homotexuality, and his influence on gay writers and will clearly become the most aggregative gathering of essays ever published on this increasingly prominent aspect of Whitman and his work.

The Continuing Presence of Walt Whitman seeks to be an intervention and not merely a reflection; it is intended to illuminate a response that continues to take place, a constant invention and reinvention, a writing and rewriting that echo Whitman’s own text of Leaves of Grass. Whitman remains an originating force. Once read, he will not go away.

[more]

front cover of Homosexual Tradition in American Poetry
Homosexual Tradition in American Poetry
Robert K. Martin
University of Iowa Press, 1998
In this expanded edition, Robert Martin sketches an account of American gay male poetry since the 1970s, including an overview of works by Rafael Campo, Mark Doty, Marlon Riggs, and Reginald Shepherd.
[more]

front cover of Roman Holidays
Roman Holidays
American Writers and Artists in Nineteenth-Century Italy
Robert K. Martin
University of Iowa Press, 2001
Featuring essays by twelve prominent American literature scholars, Roman Holidaysexplores the tradition of American travel to Italy and makes a significant contribution to the understanding of nineteenth-century American encounters with Italian culture and, more specifically, with Rome.
The increase in American travel to Italy during the nineteenth century was partly a product of improved conditions of travel. As suggested in the title, Italy served nineteenth-century writers and artists as a kind of laboratory site for encountering Others and “other” kinds of experience. No doubt Italy offered a place of holiday—a momentary escape from the familiar—but the journey to Rome, a place urging upon the visitor a new and more complex sense of history, also forced a reexamination of oneself and one's identity. Writers and artists found their religious, political, and sexual assumptions challenged.
Nathaniel Hawthorne's The Marble Faun has a prominent place in this collection: as Henry James commented in his study of Hawthorne, the book was “part of the intellectual equipment of the Anglo-Saxon visitor to Rome.” The essayists also examine works by James, Fuller, Melville, Douglass, Howells, and other writers as well as such sculptors as Hiram Powers, William Wetmore Story, and Harriet Hosmer.
Bringing contemporary concerns about gender, race, and class to bear upon nineteenth-century texts, Roman Holidays is an especially timely contribution to nineteenth-century American studies.
[more]

front cover of American Gothic
American Gothic
New Interventions in a National Narrative
Robert K. Martin
University of Iowa Press, 1998

In America as in Britain, the rise of the Gothic represented the other—the fearful shadows cast upon Enlightenment philosophies of common sense, democratic positivism, and optimistic futurity. Many critics have recognized the centrality of these shadows to American culture and self-identification. American Gothic, however, remaps the field by offering a series of revisionist essays associated with a common theme: the range and variety of Gothic manifestations in high and popular art from the roots of American culture to the present.

The thirteen essayists approach the persistence of the Gothic in American culture by providing a composite of interventions that focus on specific issues—the histories of gender and race, the cultures of cities and scandals and sensations—in order to advance distinct theoretical paradigms. Each essay sustains a connection between a particular theoretical field and a central problem in the Gothic tradition.

Drawing widely on contemporary theory—particularly revisionist views of Freud such as those offered by Lacan and Kristeva—this volume ranges from the well-known Gothic horrors of Edgar Allan Poe and Nathaniel Hawthorne to the popular fantasies of Stephen King and the postmodern visions of Kathy Acker. Special attention is paid to the issues of slavery and race in both black and white texts, including those by Ralph Ellison and William Faulkner. In the view of the editors and contributors, the Gothic is not so much a historical category as a mode of thought haunted by history, a part of suburban life and the lifeblood of films such as The Exorcist and Fatal Attraction.

[more]

front cover of Townships
Townships
Michael Martone
University of Iowa Press, 1992
Anyone who has ever flown over the Midwest knows those patterns of township and field, perfect little blocks that define the region from the air. It is precisely this vision of the Midwest, this vague perception as repeating squares of leftover and flyover, that Michael Martone addresses in this remarkable collection. Twenty-five of the Midwest's best poets, fiction writers, and essayists combine their talents in a quilt of original essays that begin to piece together this vast region, square by square.

Townships
 establishes the Midwest as an important center of creativity, a region to be noted for more than corn and prairie and neat, square patches of land. The reverberations in sensibility that make their way through these essays speak to all midwesterners and to all those for whom a sense of place is a source of inspiration.
Contributors Carol Bly, Marianne Boruch, Anthony Bukoski, Amy Clampitt, Susan Dodd, Stuart Dybek, Paul Gruchow, Philip Levine, Mary Swander, David Foster Wallace, and Ray A. Young Bear, among others, have written about a specific township of childhood or a bordered region that defined a first notion of place in the world. Raymond Bial's striking and evocative photographs are a perfect complement to this diversity in writer and subject.
[more]

front cover of A Place Of Sense
A Place Of Sense
Essays In Search Of Midwest
Michael Martone
University of Iowa Press, 1988
Collected here are essays by Louise Erdrich, Michael Rosen, Gary Comstock, Mary Swander and Jane Staw, David Hamilton, Janet Kauffman, Douglas Bauer, and Michael Martone. Sixteen black-and-white photographs by David Plowden illustrate the sweeping territory covered in the essays. Together they bring a new understanding of the moods, emotions, people, and places that form the Midwest, proving it to be as complex and unordinarily beautiful as it is modest.
 
[more]

front cover of The Good Doctor
The Good Doctor
Susan Onthank Mates
University of Iowa Press, 1997
Many of Mates' characters have experienced some sort of cultural dislocation. In "Theng," refugees from Cambodia living in Providence, Rhode Island, struggle to maintain their dignity in the face of despair and the bittersweet memories of their former home. In "Shambalileh," a Persian woman, unable to have children with her American husband, is forced to reexamine her status both as wife and foreigner. Unifying these incredibly diverse stories is the brave honesty with which the characters confront the tenuousness of their situations. For the most part, they share the tenacity of the women in "Shambalileh," who "with great caution…began to imagine the rest of her life."
The central characters in several stories are doctors, whose candid explorations of the vast moral implications of medical practice make of their lives a sort of psychic battleground between good and evil. In "The Good Doctor," a doctor torn between her dedication to medicine and her own requirements as a human being—what many of us might call her weaknesses—arrives at an intriguing conclusion. An intern in "Ambulance" risks her own well-being to save the life of a victim of gang violence.
The twelve stories in this collection are powerful and durable. The debate between good and evil is so intense that the daily experiences of Mates' characters, transformed and reorganized, become psychic quests. Mates takes us back to the fundamental question that is the fountainhead of all serious fiction: how should we live?
[more]

front cover of Stagestruck Filmmaker
Stagestruck Filmmaker
D. W. Griffith and the American Theatre
David Mayer
University of Iowa Press, 2009
An actor, a vaudevillian, and a dramatist before he became a filmmaker, D. W. Griffith used the resources of theatre to great purpose and to great ends. In pioneering the quintessentially modern medium of film from the 1890s to the 1930s, he drew from older, more broadly appealing stage forms of melodrama, comedy, vaudeville, and variety. In Stagestruck Filmmaker, David Mayer brings Griffith’s process vividly to life, offering detailed and valuable insights into the racial, ethnic, class, and gender issues of these transitional decades.

Combining the raw materials of theatre, circus, minstrelsy, and dance with the newer visual codes of motion pictures, Griffith became the first acknowledged artist of American film. Birth of a Nation in particular demonstrates the degree to which he was influenced by the racist justifications and distorting interpretations of the Civil War and the Reconstruction era. Moving through the major phases of Griffith’s career in chapters organized around key films or groups of films, Mayer provides a mesmerizing account of the American stage and cinema in the final years of the nineteenth century and the first three decades of the twentieth century.

Griffith’s relationship to the theatre was intricate, complex, and enduring. Long recognized as the dominant creative figure of American motion pictures, throughout twenty-six years of making more than five hundred films he pillaged, adapted, reshaped, revitalized, preserved, and extolled. By historicizing his representations of race, ethnicity, and otherness, Mayer places Griffith within an overall template of American life in the years when film rivaled and then surpassed the theatre in popularity.
[more]

logo for University of Iowa Press
China Dreams
Growing Up Jewish in Tientsin
Isabelle Maynard
University of Iowa Press, 1996
What does it mean to be “thrice alien”? Isabelle Zimmer Maynard is one who knows. Born in 1929 in Tientsin, China, Maynard was the only child of Russian Jewish parents who had fled the Communists and sought refuge in this teeming city on the North China Sea. They subsequently survived the Japanese invasion of China and ultimately escaped to San Francisco when the Chinese Communists seized power. China Dreams, like a string of beguiling pearls, is a collection of autobiographical stories of an amazing childhood. Maynard's ability to reconstruct her world in the moment will delight and enchant readers. She says, “I have carried China all my life. I do not claim accuracy of history—only accuracy of the heart.” Her keen eye and fetching wit provide an arresting, poignant, highly personal portrait of a now-vanished world once shared by thousands of European Jews.
[more]

logo for University of Iowa Press
Thomas Hardy'S Tragic Poetry
The Lyrics And The Dynasts
Katherine K. Maynard
University of Iowa Press, 1991

 Contrary to some scholars, tragic poetry did not die with the rise of melodrama in nineteenth-century theater or the glowing secularism spread by the proliferation of liberal-scientific philosophies. Rather, artists found alternative means to portray tragic situations.Thomas Hardy's Tragic Poetry convincingly argues that Hardy's lyric poetry and The Dynasts occupy a pivotal place in the development of modern tragic poetry and drama, crystallizing the tragic feeling that surfaces intermittently in Romantic and Victorian poems and plays.

Many scholars have noted the tragic forms and themes of Thomas Hardy's novels, but the tragic quality of his lyric poems has received less critical attention. Katherine Maynard remedies that situation by tracing the emergence of the Hardyean figure—tragically isolated against the backdrop of a stark landscape, neutral universe, or indifferent social milieu—through both a review of critical opinion about tragedy's place within modern literature and a survey of the frustrated attempts by major nineteenth-century poets to write tragic drama. Hardy's epic-drama The Dynasts is seen as a fulcrum work, bearing many of the flaws of its dramatic forebears but also illustrating his use of contemporary science and philosophy in the service of dramatic irony. Maynard examines a significant sample of lyrics to identify the contribution of Hardy's poetry to our understanding of tragic literature. She places the thematic and formal innovations of Hardy's tragic poetry squarely within the main lines of development from Wordsworth's Solitary to Beckett's lone figures waiting in a desert for a Godot who never arrives.

Ultimately, Thomas Hardy's Tragic Poetry calls for a rereading of Hardy's poetry as "tragic," arguing that he was able, paradoxically, to incorporate these literary and philosophical conventions of his time which some critics insist signaled the death of tragic literature. This study will prove fascinating for Hardyists, students of nineteenth-century literature, and all those interested in the ongoing development of poetry.

[more]

logo for University of Iowa Press
How to Dungeon Master Parenting
A Guidebook for Gamifying the Child Rearing Quest, Leveling Up Your Skills, and Raising Future Adventurers
Shelly Mazzanoble
University of Iowa Press, 2024

front cover of Welcome to Dragon Talk
Welcome to Dragon Talk
Inspiring Conversations about Dungeons & Dragons and the People Who Love to Play It
Shelly Mazzanoble
University of Iowa Press, 2022
If it seems like everyone you know is playing Dungeons & Dragons, it’s because they are! After nearly five decades, the iconic roleplaying game is more popular than ever. Famous Hollywood actors and directors, therapists, educators, politicians, kids, parents, and grandparents all count themselves as fans. In Welcome to Dragon Talk, hosts of the official D&D podcast Shelly Mazzanoble and Greg Tito and their surprising guests show how this beloved pastime has amassed a diverse, tight-knit following of players who defy stereotypes. 
 
Shelly and Greg recount some of their most inspiring interviews and illuminate how their guests use the core tenets of the game in everyday life. An A-list actor defends D&D by baring his soul (and his muscles) on social media. A teacher in a disadvantaged district in Houston creates a D&D club that motivates students to want to read and think analytically. A writer and live-streamer demonstrates how D&D–inspired communication breaks barriers and empowers people of color. Readers will see why Dungeons & Dragons has remained such a pop culture phenomenon and how it has given this disparate and growing community the inspiration to flourish and spread some in-game magic into the real world.

 
[more]

front cover of Actors and American Culture, 1880-1920
Actors and American Culture, 1880-1920
Benjamin Mcarthur
University of Iowa Press, 2000
The forty years from 1880 to 1920 marked the golden age of the American theatre as a national institution, a time when actors moved from being players outside the boundaries of respectable society to being significant figures in the social landscape. As the only book that provides an overview of the late nineteenth- and early twentieth-century theatre,Actors and American Culture is also the only study of the legitimate stage that overtly attempts to connect actors and their work to the wider aspects of American life.
[more]

front cover of The Mythical Bill
The Mythical Bill
A Neurological Memoir
Jody McAuliffe
University of Iowa Press, 2013
Part medical mystery, part war story, and part social and family history, The Mythical Bill is the story of how one man’s physical and mental pain radiates outward into the life and mind of each member of his family. Weaving together diary entries, correspondence, and scrupulous research, Jody McAuliffe examines her father’s life before, during, and after WWII, seeking answers to the questions of what really happened to Bill McAuliffe and what caused his disintegration. His initial postwar diagnosis was torticollis: a condition of persistent involuntary contraction of the neck muscles, causing the head to be twisted to an abnormal position. But torticollis was only the beginning of Bill’s suffering and his daughter’s efforts to understand it. The condition becomes a metaphor for things that refuse to fall into place: the body not in accord with the mind, the head that turns away from reality.
From this drama of dislocation and disjointed truths, two braided selves emerge: the I of Jody and the I of Bill. Through this doubleness, the writer probes a set of questions about how much we shape ourselves and how much we are shaped by forces beyond our control.
The Mythical Bill, a moving and unusual book, is for people who suffer the devastating effects of combat on the psyche, for those who encounter any debilitating disease, and for those who grow up with a father only partially present. McAuliffe’s ear-catching, evocative, and often breathtaking writing forces readers to confront the most terrifying question posed by a parent’s mental illness: will I get it too? Her narrative voice is searching, compassionate, and self-deprecating, but cut through with welcome bits of humor in this daughter’s story of confusion, sadness, and loss. 
[more]

front cover of Rehearsing Revolutions
Rehearsing Revolutions
The Labor Drama Experiment and Radical Activism in the Early Twentieth Century
Mary McAvoy
University of Iowa Press, 2019

Choice Outstanding Academic Title, 2019

George Freedley Memorial Award Finalist, 2020

Between the world wars, several labor colleges sprouted up across the U.S. These schools, funded by unions, sought to provide members with adult education while also indoctrinating them into the cause. As Mary McAvoy reveals, a big part of that learning experience centered on the schools’ drama programs. For the first time, Rehearsing Revolutions shows how these left-leaning drama programs prepared American workers for the “on-the-ground” activism emerging across the country. In fact, McAvoy argues, these amateur stages served as training grounds for radical social activism in early twentieth-century America.

Using a wealth of previously unpublished material such as director’s reports, course materials, playscripts, and reviews, McAvoy traces the programs’ evolution from experimental teaching tool to radically politicized training that inspired overt—even militant—labor activism by the late 1930s. All the while, she keeps an eye on larger trends in public life, connecting interwar labor drama to post-war arts-based activism in response to McCarthyism, the Cold War, and the Civil Rights movement. Ultimately, McAvoy asks: What did labor drama do for the workers’ colleges and why did they pursue it? She finds her answer through several different case studies in places like the Portland Labor College and the Highlander Folk School in Tennessee.
[more]

front cover of The Twisted Mind
The Twisted Mind
Madness In Melville'S Fiction
Paul Mccarthy
University of Iowa Press, 1990
Madness in Herman Melville's Fiction
Paul McCarthy

"Though madness has been a consistent topic in considerations of Melville's work, this is the first full-scale treatment of the subject. It is in a sense, then, a pioneering work that will no doubt receive widespread attention."

—William B. Dillingham
[more]

front cover of Sherlock's World
Sherlock's World
Fan Fiction and the Reimagining of BBC's Sherlock
Ann K. McClellan
University of Iowa Press, 2018

Sherlock Holmes remains more popular than ever some 130 years after the detective first appeared in print. These days, the iconic character’s staying power is due in large part to the success of the recent BBC series Sherlock, which brings the famous sleuth into the twenty-first century. 

One of the most-watched television series in BBC history, Sherlock is set in contemporary London, where thirtysomething Sherlock and John (no longer fussy old Holmes and Watson), alongside New Scotland Yard, solve crimes with the help of smartphones, texting, online forums, and the internet. In their modernization of Sir Arthur Conan Doyle’s nineteenth-century world, Sherlock creators Stephen Moffatt and Mark Gatiss make London as much a character of their show as the actors themselves. The highly stylized series has inspired an impassioned fan community in Britain, the U.S., and beyond. Fans create and share their writings, which reimagine the characters in even more dramatic ways than the series can. 

Interweaving fan fiction studies, world-building, and genre studies, Ann McClellan examines the hit series and the fan fiction it inspires. Using Sherlock to trace the changing face of fan fiction studies, McClellan’s book explores how far fans are willing to go to change the Sherlockian canon while still reinforcing its power and status as the source text. What makes Sherlock fanfic Sherlockian? How does it stay within the canon even while engaging in the wildest reimaginings? Sherlock’s World explores the boundaries between canon, genre, character, and reality through the lenses of fan fiction and world-building. This book promises to be a valuable resource for fan studies scholars, those who write fan fiction, and Sherlock fans alike. 

[more]

front cover of Pynchon's California
Pynchon's California
Scott McClintock
University of Iowa Press, 2014
Pynchon’s California is the first book to examine Thomas Pynchon’s use of California as a setting in his novels. Throughout his 50-year career, Pynchon has regularly returned to the Golden State in his fiction. With the publication in 2009 of his third novel set there, the significance of California in Pynchon’s evolving fictional project becomes increasingly worthy of study. Scott McClintock and John Miller have gathered essays from leading and up-and-coming Pynchon scholars who explore this topic from a variety of critical perspectives, reflecting the diversity and eclecticism of Pynchon’s fiction and of the state that has served as his recurring muse from The Crying of Lot 49 (1965) through Inherent Vice (2009).

Contributors explore such topics as the relationship of the “California novels” to Pynchon’s more historical and encyclopedic works; the significance of California's beaches, deserts, forests, freeways, and  “hieroglyphic” suburban sprawl; the California-inspired noir tradition; and the surprising connections to be uncovered between drug use and realism, melodrama and real estate, private detection and the sacred. The authors bring insights to bear from an array of critical, social, and historical discourses, offering new ways of looking not only at Pynchon’s California novels, but at his entire oeuvre. They explore both how the history, geography, and culture of California have informed Pynchon’s work and how Pynchon’s ever-skeptical critical eye has been turned on the state that has been, in many ways, the flagship for postmodern American culture.
 
CONTRIBUTORS: Hanjo Berressem, Christopher Coffman, Stephen Hock, Margaret Lynd, Scott MacLeod, Scott McClintock, Bill Millard, John Miller, Henry Veggian 
[more]

front cover of Rank
Rank
Aaron McCollough
University of Iowa Press, 2015
“I guess an iceflow came through / to take the road,” writes Aaron McCollough in Rank, a richly strange sequence of poems in which forces of nature, mind, spirit, and language partake of each other in vibrant and shifting ways. “I can only guess that would / destroy these remains slowly,” McCollough continues. Indeed, Rank seeks to recover sources of imaginative meaning from the unsettled remnants of lyric tradition, seeking out possibilities for belief and sustenance in the echoes of lapsed poetic speech and song.

In language that is dense, allusive, by turns trancelike and mordantly funny, McCollough descends into the ranks of disintegrating organic life and finds elemental processes of regeneration underway, “ivy suckers climbing / the knock kneed craning bridge / to that bright food.” This is work that emerges in the aftermath of declining systems of hierarchy and order, a site marked by the overlapping of occult practices and postmodern physics, tense meditation, and economic anonymity. McCollough gives rise to a voice that is as much vegetative as human, as deeply embedded in the loam of cultural memory as it is new, original, and lavishly daring.
[more]

logo for University of Iowa Press
Salms
Aaron McCollough
University of Iowa Press, 2024

front cover of American Theater in the Culture of the Cold War
American Theater in the Culture of the Cold War
Producing and Contesting Containment, 1947-1962
Bruce A. Mcconachie
University of Iowa Press, 2003
In this groundbreaking study, Bruce McConachie uses the primary metaphor of containment—what happens when we categorize a play, a television show, or anything we view as having an inside, an outside, and a boundary between the two—as the dominant metaphor of cold war theatergoing. Drawing on the cognitive psychology and linguistics of George Lakoff and Mark Johnson, he provides unusual access to the ways in which spectators in the cold war years projected themselves into stage figures that gave them pleasure.
McConachie reconstructs these cognitive processes by relying on scripts, set designs, reviews, memoirs, and other evidence. After establishing his theoretical framework, he focuses on three archtypal figures of containment significant in Cold War culture, Empty Boys, Family Circles, and Fragmented Heroes. McConachie uses a range of plays, musicals, and modern dances from the dominant culture of the Cold War to discuss these figures, including The Seven Year ItchCat on a Hot Tin RoofThe King and I,A Raisin in the SunNight Journey, and The Crucible. In an epilogue, he discusses the legacy of Cold War theater from 1962 to 1992.
Original and provocative, American Theater in the Culture of the Cold War illuminates the mind of the spectator in the context of Cold War culture; it uses cognitive studies and media theory to move away from semiotics and psychoanalysis, forging a new way of interpreting theater history.
[more]

front cover of Melodramatic Formations
Melodramatic Formations
American Theatre and Society, 1820-1870
Bruce A. Mcconachie
University of Iowa Press, 1992
The middle years of the nineteenth century were a time of dynamic artistic and social changes in America. Now, Melodramatic Formations is the first study to trace these changes in popular stage melodrama's production, dramatic form, and audience reception. Bruce McConachie shows how the theatrical mutability that characterized the years 1820 to 1870 is inextricably tied to the decline of elite paternalism and republicanism and the rise of bourgeois rationalism and respectability.
Taking a rigorous interdisciplinary approach, McConachie examines several historical regularities of production, genre, and audience. Here theatre (and its drama) has at long last been returned to its general culture, rather than being treated as an isolated phenomenon. Ultimately, he develops a new notion of a theatrical formation—a construct where groups of spectators and theatre performers produce each other as artists-to-be-experienced and audiences-to-be-entertained.
Throughout Melodramatic Formations McConachie illustrates how theatre both maintains and produces various ideologies; he convincingly shows that theatre is a major player in our social and cultural history. This book will be of interest to all in American studies, theatre history, and American cultural history.
[more]

front cover of The Victorian Marionette Theatre
The Victorian Marionette Theatre
John Mccormick
University of Iowa Press, 2004
In this fascinating and colorful book, researcher and performer John McCormick focuses on the marionette world of Victorian Britain between its heyday after 1860 and its waning years from 1895 to 1914. Situating the rich and diverse puppet theatre in the context of entertainment culture, he explores both the aesthetics of these dancing dolls and their sociocultural significance in their life and time.
The history of marionette performances is interwoven with live-actor performances and with the entire gamut of annual fairs, portable and permanent theatres, music halls, magic lantern shows, waxworks, panoramas, and sideshows. McCormick has drawn upon advertisements in the Era, an entertainment paper, between the 1860s and World War I, and articles in the World’s Fair, a paper for showpeople, in the first fifty years of the twentieth century, as well as interviews with descendants of the marionette showpeople and close examinations of many of the surviving puppets.
McCormick begins his study with an exploration of the Victorian marionette theatre in the context of other theatrical events of the day, with proprietors and puppeteers, and with the venues where they performed. He further examines the marionette’s position as an actor not quite human but imitating humans closely enough to be considered empathetic; the ways that physical attributes were created with wood, paint, and cloth; and the dramas and melodramas that the dolls performed. A discussion of the trick figures and specialized acts that each company possessed, as well as an exploration of the theatre’s staging, lighting, and costuming, follows in later chapters. McCormick concludes with a description of the last days of marionette theatre in the wake of changing audience expectations and the increasing popularity of moving pictures.
This highly enjoyable and readable study, often illuminated by intriguing anecdotes such as that of the Armenian photographer who fell in love with and abducted the Holden company’s Cinderella marionette in 1881, will appeal to everyone fascinated by the magic of nineteenth-century theatre, many of whom will discover how much the marionette could contribute to that magic.
[more]

front cover of Art Quilts the Midwest
Art Quilts the Midwest
Linzee Kull McCray
University of Iowa Press, 2015
A milestone in perception occurred in 1971, when the Whitney Museum of American Art displayed quilts in a museum setting: Abstract Design in American Quilts bestowed institutional recognition of the artistry inherent in these humble textiles. In subsequent decades, quilting’s popularity exploded. Some who took up quilting created pieced quilts that honored traditional patterns, symmetry, and repetition. But others saw the potential for pushing beyond patchwork, giving birth to the art quilt. Today, adherents from both art and quilting backgrounds incorporate storytelling, digital images, nonfabric materials, asymmetry, and three dimensions—in short, anything goes in the world of art quilting, as long as the result is stitched, layered, and not primarily functional.

As a writer covering textiles, art, and craft, Linzee Kull McCray wondered just how deeply fiber artists were influenced by their surroundings. Focusing on midwestern art quilters in particular, she put out a call for entries and nearly 100 artists responded; they were free to define those aspects of midwesterness that most affected their work. The artists selected for inclusion in this book embrace the Midwest’s climate, land, people, and culture, and if they don’t always embrace it wholeheartedly, then they use their art to react to it. The proof can be seen in the varied, powerful quilts in this energizing book.

Enlivened by the Midwest’s landscapes and seasons, Sally Bowker paints her fabrics with acrylics, creating marks and meaning with layers of hand stitching and appliqued bits of fabric. Shin-hee Chin uses sketchlike stitching for its ability to penetrate fabric and create depth; living in the Midwest helps her stay balanced between eastern philosophy and western culture. The metals and mesh that Diane Núñez incorporates into her quilts connect to her days as a jeweler as well as to the topography of her home state of Michigan. Pat Owoc prepares papers with disperse dyes, then selects from as many as 150 to create her fabrics; her art-quilt series honors midwestern pioneers. Martha Warshaw photographs old fabrics, tweaks the images in Photoshop, and prints the results for her pieces, which connect her to the legacy of quilting in past generations.

The Midwest has always had strong textile communities. Now the twenty artists featured in this beautifully illustrated book have created a new community of original art forms that bring new life to an old tradition.

The Artists
Marilyn Ampe, St. Paul, Minnesota
Gail Baar, Buffalo Grove, Illinois
Sally Bowker, Cornucopia, Wisconsin
Peggy Brown, Nashville, Indiana
Shelly Burge, Lincoln, Nebraska
Shin-hee Chin, McPherson, Kansas
Sandra Palmer Ciolino, Cincinnati, Ohio
Jacquelyn Gering, Chicago, Illinois
Kate Gorman, Westerville, Ohio
Donna Katz, Chicago, Illinois
Beth Markel, Rochester Hills, Michigan
Diane Núñez, Southfield, Michigan
Pat Owoc, St. Louis, Missouri
BJ Parady, Batavia, Illinois
Bonnie Peterson, Houghton, Michigan
Luanne Rimel, St. Louis, Missouri
Barbara Schneider, Woodstock, Illinois
Susan Shie, Wooster, Ohio
Martha Warshaw, Cincinnati, Ohio
Erick Wolfmeyer, Iowa City, Iowa
[more]

front cover of Pikillacta
Pikillacta
The Wari Empire in Cuzco
Gordon F. McEwan
University of Iowa Press, 2005
The origin of the first Andean imperial state has been the subject of lively debate for decades. Archaeological sites dating to the Peruvian Middle Horizon time period, A.D. 540 to 900, appear to give evidence for the emergence of an expansive empire that set the stage for the development of the later Inca state. This archaeological investigation of Pikillacta, the largest provincial site of Peru’s pre-Inca Wari empire, provides essential background for interpreting the empire’s political and cultural organization.
With engineering skills rivaling those of the builders of Cuzco itself, the Wari at Pikillacta erected more than seven hundred buildings covering nearly two square kilometers, with a fresh water supply and an elaborate underground sewage system but, enigmatically, only seven short streets and a near total lack of windows. In this long-awaited volume, Gordon McEwan and his colleagues report on the labor costs of construction (nearly 6 million man-days), the typology of Pikillacta's enigmatic architecture, and the site’s spectacular hydraulic system as well as its ceramics and chronology, human remains, and metal artifacts.
In the final section, building on his years of research and excavation, McEwan develops a hypothetical model of Wari provincial administration in the Cuzco region, arguing that the Wari were innovators of techniques of statecraft that explain the function of and the labor investment in the Pikillacta complex. His book not only substantively contributes to our understanding of when and exactly how and why Pikillacta was built and what it was used for, it also illuminates the political and cultural antecedents of the Inca state.
[more]

logo for University of Iowa Press
Shapes Of Culture
Thomas Mcfarland
University of Iowa Press, 1987

front cover of Des Moines Register Cookbook
Des Moines Register Cookbook
Carol Mcgarvey
University of Iowa Press, 1995
The food pages of The Des Moines Register, Iowa's highly regarded newspaper, have long reflected the wide-ranging tastes of Iowa cooks, both adventurous and traditional. Drawings.
[more]

front cover of Literature and the Child
Literature and the Child
Romantic Continuations, Postmodern Contestations
James Holt Mcgavran
University of Iowa Press, 1999
The Romantic myth of childhood as a transhistorical holy time of innocence and spirituality, uncorrupted by the adult world, has been subjected in recent years to increasingly serious interrogation. Was there ever really a time when mythic ideals were simple, pure, and uncomplicated? The contributors to this book contend—although in widely differing ways and not always approvingly—that our culture is indeed still pervaded, in this postmodern moment of the very late twentieth century, by the Romantic conception of childhood which first emerged two hundred years ago.
In the wake of the French Revolution and the Industrial Revolution, western Europe experienced another fin de siècle characterized by overwhelming material and institutional change and instability. By historicizing the specific political, social, and economic conflicts at work within the notion of Romantic childhood, the essayists in Literature and the Child show us how little these forces have changed over time and how enriching and empowering they can still be for children and their parents.
In the first section, “Romanticism Continued and Contested,” Alan Richardson and Mitzi Myers question the origins and ends of Romantic childhood. In “Romantic Ironies, Postmodern Texts,” Dieter Petzold, Richard Flynn, and James McGavran argue that postmodern texts for both children and adults perpetuate the Romantic complexities of childhood. Next, in “The Commerce of Children's Books,” Anne Lundin and Paula Connolly study the production and marketing of children's classics. Finally, in “Romantic Ideas in Cultural Confrontations,” William Scheick and Teya Rosenberg investigate interactions of Romantic myths with those of other cultural systems.
[more]

front cover of Time of Beauty, Time of Fear
Time of Beauty, Time of Fear
The Romantic Legacy in the Literature of Childhood
James Holt McGavran
University of Iowa Press, 2012
It is now two and a half centuries since Jean-Jacques Rousseau first wrote so evocatively of natural man in Social Contract and of experiential education in Emile. His emphasis on the early years as a crucial part of life drove the Romantic reconceptualization of childhood—the idea that children have a special knowledge of nature, politics, and spirituality to teach their elders as well as the other way around. William Wordsworth’s assertion in the “Intimations Ode” that children’s souls come “trailing clouds of glory” from God has continued to haunt Western literature and culture in spite of attacks from writers and critics from then until now, including Mary Wollstonecraft, Robert Thomas Malthus, T. S. Eliot, Judy Blume, Jerome McGann, and Jacqueline Rose.
 
Displaying careful scholarship, sophisticated use of contemporary literary theory, and close readings of texts while recovering and analyzing materials from more than two centuries of British and other Anglophone cultural history, this collection of new essays traces the evolution of the Romantic child. The contributors play off one another, both within the three traditional historical periods—Romantic, Victorian, and modern/postmodern—and across intellectual and disciplinary categories.
 
Time of Beauty, Time of Fear offers a stunning array of essays. In some, the authors focus on canonical texts by such writers as Wordsworth, Maria Edgeworth, Charlotte Smith, and Mrs. Molesworth. Other authors consider the Victorian concerns with missionary literature for children and with the boyish pastime of collecting bird’s nests, folk voices of the 1960s, homeschooling, the Teletubbies television program, and Alan Moore’s Promethea series of graphic novels. Measured in terms of both range and quality, this volume is destined to become essential reading for scholars from numerous disciplines.
 
Contributors
Jennifer Smith Daniel
Elizabeth A. Dolan
Richard Flynn
Elizabeth Gargano
Mary Ellis Gibson
Dorothy H. McGavran
Roderick McGillis
Claudia Mills
Jochen Petzold
Malini Roy
Andrew J. Smyth
Jan Susina

[more]

logo for University of Iowa Press
A Tallgrass Prairie Alphabet
Claudia McGehee
University of Iowa Press, 2004

front cover of Where Do Birds Live?
Where Do Birds Live?
Claudia McGehee
University of Iowa Press, 2010

Claudia McGehee brought the glory of the prairie to life in A Tallgrass Prairie Alphabet and explored the wonders of the woodlands in A Woodland Counting Book. Now this award-winning artist focuses on the birds of the United States, bringing children and their parents closer to the habitats and lives of birds from the Pacific coast to open rangeland to the cityscape of Manhattan.

McGehee introduces us to fourteen representative habitats, giving each its own double-page spread that features a signature bird. She devotes one page of each spread to depicting the bird in the full complexity of its complete habitat—at home in its environment with other animal companions—and the other page describes and illustrates its nesting, feeding, soaring, and paddling lifeways. Highlighting ideas for preserving and protecting each habitat and its inhabitants, McGehee also provides ways that children can make their own backyards safe havens for birdlife while they learn to enjoy the magic of birdwatching.

Claudia’s birds include bobolinks on the tallgrass prairie, common ravens in the Pacific rainforest, brown pelicans on barrier islands in the Gulf of Mexico, scarlet tanagers in the northwoods, red-cockaded woodpeckers in longleaf pine forests, greater roadrunners in the southwestern desert, and roseate spoonbills in red mangrove forests. Her energizing, engaging illustrations create worlds of vibrant color that ring with the calls and songs of birds across the panorama of American landscapes.

[more]

front cover of A Woodland Counting Book
A Woodland Counting Book
Claudia McGehee
University of Iowa Press, 2006
Towering oak and hickory woodlands once fringed the tallgrass prairie of the Midwest. In a wondrous mixture of plant and animal life, big mammals like black bears and cougars thrived alongside gray foxes and ovenbirds. But as more people arrived, the woodlands, like the tallgrass prairie, were cleared with amazing speed. Now only small portions of this special habitat remain, and many of its animals and plants are endangered or extinct. Despite the great loss, many people are working to restore and enlarge what remains so that woodlands can continue to support a rich wildlife community. And so we can all enjoy a walk in the woods. A Woodland Counting Book helps children learn about the woodland family. From one splendid white oak to fifty busy carpenter ants, illustrator Claudia McGehee counts the wonders of the woodlands in this beautifully illustrated companion to her previous children’s book, A Tallgrass Prairie Alphabet. As she follows spring to summer to fall to winter, returning at the book’s end to springtime in “one woodland community,” McGehee introduces more than twenty species of plants and animals. From the white oaks that tower overhead to shelter the woodland citizens to the delicate showy lady’s-slipper orchid and from the barred owls with distinctive hoots and calls to tiny evening bats which roost in hollow trees, we meet a wild world of woodland life. We find luna moths and serviceberries, shagbark hickories, blue spotted salamanders, wild turkeys, red squirrels, orchard orioles, and a host of other familiar and not-so-familiar plants and animals. A section of woodland notes gives common and scientific names of and interesting information about all featured species. These vibrantly colored scratchboard illustrations reveal the beauty of our woodland communities, guiding nature lovers and children of all ages through a much-loved landscape.
[more]

front cover of Richard Ford and the Ends of Realism
Richard Ford and the Ends of Realism
Ian McGuire
University of Iowa Press, 2015
Richard Ford and the Ends of Realism examines the work of award-winning American novelist and short story writer Richard Ford, and places it firmly in the context of contemporary debates about the role and meaning of literary realism in a postmodern environment. In this fresh study of Ford’s oeuvre, Ian McGuire argues that Ford’s work is best understood as a form of pragmatic realism and thus positions him as part of a deeply rooted and ongoing American debate about the nature of realism and pragmatism. This debate, which reaches back to transcendentalist thinkers such as Ralph Waldo Emerson and continues on to today, questions the meaning of independence and the relationship between the self and history. In this context, McGuire explores Ford’s deep engagement with American literary and philosophical traditions and repositions his work in its appropriate intellectual and literary context.

McGuire also uses this idea of pragmatic realism to mount a larger defense of contemporary realist writing and uses Ford’s example to argue that realism itself remains a useful and necessary critical category. Contemporary realism, rather than being merely conventional or reactionary, as some of its critics have called it, can offer its proponents an aesthetically and philosophically sophisticated way of engaging with and contesting the particularities of contemporary, even postmodern, experience.

In offering this new reading of Richard Ford’s fiction, as well as a fresh understanding of the realist impulse in contemporary American fiction, both become richer, more resonant, and more immediate—reaching both backward into the past and forward to involve themselves in important contemporary debates about history, postmodernity, and moral relativism.
[more]

front cover of Tree of Heaven
Tree of Heaven
James Mckean
University of Iowa Press, 1995
This second book by James McKean displays a large, dignified, and precise talent—McKean is always looking and reaching out to the difficult world, pulling it to him for examination. Although beginning with outward themes of travels and crossings, Tree of Heaven circles in the end to the journeys of the inner life: the struggle to understand, the ability to see, to suffer the trials of illness and death, to survive love and longing, learning when to leave things as they are, when to let go. McKean's accomplished voice is quiet but firm, at times full of wonder, exploring the personal and discovering what salvation there is in rhythm and words.
[more]

front cover of The Meaning of Rivers
The Meaning of Rivers
Flow and Reflection in American Literature
T. S. McMillin
University of Iowa Press, 2011
In the continental United States, rivers serve to connect state to state, interior with exterior, the past to the present, but they also divide places and peoples from one another. These connections and divisions have given rise to a diverse body of literature that explores American nature, ranging from travel accounts of seventeenth-century Puritan colonists to magazine articles by twenty-first-century enthusiasts of extreme sports. Using pivotal American writings to determine both what literature can tell us about rivers and, conversely, how rivers help us think about the nature of literature, The Meaning of Rivers introduces readers to the rich world of flowing water and some of the different ways in which American writers have used rivers to understand the world through which these waters flow.
      Embracing a hybrid, essayistic form—part literary theory, part cultural history, and part fieldwork—The Meaning of Rivers connects the humanities to other disciplines and scholarly work to the land. Whether developing a theory of palindromes or reading works of American literature as varied as Henry David Thoreau's A Week on the Concord and Merrimack Rivers and James Dickey’s Deliverance, McMillin urges readers toward a transcendental retracing of their own interpretive encounters.
      The nature of texts and the nature of “nature” require diverse and versatile interpretation; interpretation requires not only depth and concentration but also imaginative thinking, broad-mindedness, and engaged connection-making. By taking us upstream as well as down, McMillin draws attention to the potential of rivers for improving our sense of place and time.
[more]

front cover of The Creative Writer's Survival Guide
The Creative Writer's Survival Guide
Advice from an Unrepentant Novelist
John McNally
University of Iowa Press, 2010

Beginning with “The Writer’s Wonderland—Or: A Warning” and ending with You’ve Published a Book—Now What?” The Creative Writer’s Survival Guide is a must-read for creative-writing students and teachers, conference participants, and aspiring writers of every stamp. Directed primarily at fiction writers but suitable for writers of all genres, John McNally’s guide is a comprehensive, take-no-prisoners blunt, highly idiosyncratic, and delightfully subjective take on the writing life.

McNally has earned the right to dispense advice on this subject. He has published three novels, two collections of short fiction, and hundreds of individual stories and essays. He has edited six anthologies and worked with editors at university presses, commercial houses, and small presses. He has earned three degrees, including an MFA from the Iowa Writers’ Workshop, and taught writing to thousands of students at nine different universities. But he has received far more rejections than acceptances, has endured years of underpaid adjunct work, and is presently hard at work on a novel for which he has no guarantee of publication. In other words, he’s been at the writing game long enough to rack up plenty of the highs and lows that translate into an invaluable guide for anyone who wants to become a writer or anyone who is already a writer but doesn’t know how to take the next step toward the writing life.

In the sections The Decision to Become a Writer, Education and the Writer, Getting Published, Publicity, Employment for Writers, and The Writer’s Life, McNally wrestles with writing degrees and graduate programs, the nuts and bolts of agents and query letters and critics, book signings and other ways to promote your book, alcohol and other home remedies, and jobs for writers from adjunct to tenure-track. Chapters such as “What Have You Ever Done That’s Worth Writing About?” “Can Writing Be Taught?” “Rejection: Putting It in Perspective,” “Writing as a Competitive Sport,” “Seven Types of MLA Interview Committees,” “Money and the Writer,” and the all-important “Talking about Writing vs. Writing” cover a vast range of writerly topics from learning your craft to making a living at it. McNally acts as the writer’s friendly drill sergeant, relentlessly honest but bracingly cheerful as he issues his curmudgeonly marching orders. Alternately cranky and philosophical, full of to-the-point anecdotes and honest advice instead of wonkish facts and figures, The Creative Writer’s Survival Guide is a snarky, truthful, and immensely helpful map to being a writer in today’s complex world.

[more]

logo for University of Iowa Press
Humor Me
An Anthology of Humor by Writers of Color
John McNally
University of Iowa Press, 2002
The first anthology of its kind, Humor Me is a celebration of humor by authors from diverse cultures. Sixteen of today's most exciting writers—among them Sherman Alexie, Gish Jen, Charles Johnson, and Lucille Clifton—are represented in fiction, poetry, nonfiction, drama, cartoons, and graphic narratives. Whether using satire, parody, or farce, these writers explore the universal themes of love, family, sex, and race, and they do so in their own edgy, subversive, and sometimes skewed ways.
In Sherman Alexie's short story “Assimilation,” a Coeur d’Alene woman wants to cheat on her white husband with an Indian man, any Indian man—or, as Alexie puts it, “an indigenous stranger.” In Sandra Tsing Loh's essay “Daddy Dearest,” the author cringes when an old friend asks if her father still wears his underwear backward and does the Chinese snake dance on Pacific Coast Highway.
Nothing in Humor Me is taboo, as Erika Lopez proves in her illustrated tale of one environmentally conscious woman's attempt to subvert the tampon industry. Jim Northrup even takes on that American institution Jeopardy! in his satire “Shinnob Jep,” describing a game that quizzes its contestants on Native American trivia, including the categories “Trick or Treaties” and “Rez Cars.” From low-brow to high-brow, from belly laughs to the cerebral, Humor Me places internationally renowned writers such as Charles Johnson and Gish Jen alongside rising stars Paisley Rekdal and Michele Serros and a host of newcomers, including Aimee Nezhukumatathil and Daniel Chacón.
[more]

front cover of The Promise of Failure
The Promise of Failure
One Writer's Perspective on Not Succeeding
John McNally
University of Iowa Press, 2018

The Promise of Failure is part memoir of the writing life, part advice book, and part craft book; sometimes funny, sometimes wrenching, but always honest. McNally uses his own life as a blueprint for the writer’s daily struggles as well as the existential ones, tackling subjects such as when to quit and when to keep going, how to deal with depression, what risking something of yourself means, and ways to reenergize your writing through reinvention. 

What McNally illuminates is how rejection, in its best light, is another element of craft, a necessary stage to move the writer from one project to the next, and that it’s best to see rejection and failure on a life-long continuum so that you can see the interconnectedness between failure and success, rather than focusing on failure as a measure of self-worth. As brutally candid as McNally can sometimes be, The Promise of Failure is ultimately an inspiring book—never in a Pollyannaish self-help way. McNally approaches the reader as a sympathetic companion with cautionary tales to tell. Written by an author who has as many unpublished books under his belt as published ones, The Promise of Failure is as much for the newcomer as it is for the established writer. 

[more]

front cover of Troublemakers
Troublemakers
John McNally
University of Iowa Press, 2000

Troublemakers is an often hilarious, sometimes frightening, occasionally off-the-wall collection of stories about men living on the edge. From the streets of Chicago's southwest side to the rural roads of Nebraska to the small towns of southern Illinois, these men tread a very fine line between right and wrong, love and hate, humor and horror.

Each story is a Pandora's box waiting to be opened: a high school boy with a new driver's license picks his brother up from jail; a UPS driver suspects his wife of having an affair but cannot find any tangible evidence of her indiscretion; an unemployed man's life begins to unravel after he discovers a dead man in a tree in his own backyard; two boys spend Halloween with an older thug; a young college teacher's patience is tested by both his annoying colleagues and the criminals who haunt his neighborhood. In story after story, McNally's troublemakers lead readers to a place no less thrilling or dangerous than the human heart itself.

[more]

front cover of Vivid and Continuous
Vivid and Continuous
Essays and Exercises for Writing Fiction
John McNally
University of Iowa Press, 2013
Taking off from The Creative Writer’s Survival Guide, John McNally’srelentlessly blunt, bracingly cheerful, and immensely helpful map to being a writer, Vivid and Continuousis an equally blunt, cheerful, and helpful map to learning to be a writer. While acknowledging that many fine books cover such essentials of fiction writing as point of view, characterization, and setting, McNally sets out in this new book—intended as a supplement to beginning fiction-writing classes or as the sole text for upper-level or graduate courses—to solve the tricky second-tier problems that those books cover only in footnotes.
Vivid and Continuous takes its inspiration from John Gardner, whose essential truths in On Becoming a Novelist clarified McNally’s goal of communicating a “vivid and continuous dream” with his own writing. In fifteen concise, energizing chapters, he dispenses advice gained from almost thirty years of studying, writing, and teaching. How do you avoid the pitfalls inherent in the most common subjects for stories? How do you create memorable minor characters? What about managing references to pop culture without distracting your readers, revising a story to bring its subtext into focus, or exploring the twenty most common craft-related quirks that lessen immediacy for your readers? How do you keep from overdosing on similes and metaphors or relying on too many flashbacks to provide necessary backstory? How do you learn to listen when your story tries to talk to you? Finally, how can you resist “John McNally’s Sure-Fire Formula for Becoming Funnier in 30 Days”?
McNally cites many novels and short stories as examples that best illustrate the lessons he wants to impart, the writer’s life, or the writer’s craft, as well as his own favorite authors’ novels and short story collections. Exercises at the end of each chapter reinforce its point and serve as practical catalysts for new writings and directions.
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. 
[more]

front cover of One Dog Happy
One Dog Happy
Molly McNett
University of Iowa Press, 2008

In this award-winning debut collection, Molly McNett couples laugh-out-loud dialogue and wry observation reminiscent of Flannery O’Connor with disquieting strains of dashed hope, troubled sexuality, and disillusionment.

The adults in these stories can seem as hapless and helpless as the younger characters. Two neglected daughters use the language of clothes to cope with their parents’ divorce and their father’s mail-order bride. A young girl’s bizarre sexual fantasies help her gain control over the chaos of her family life. A gang of teenagers accuse a farmer of bestiality. A divorced father tries to create a pony-filled world that might appeal to his daughters. In the title story, Mr. Bob, the minister’s housesitter, loses a dog but finds someone to believe in. And in “Helping,” the darkest story in this amazing collection, Ruthie’s anger conquers her religious faith when she takes care of a severely disabled child.

We meet McNett’s endearing, often foolish characters at a point when their minds are open to manipulation by the people and events around them, and the conclusions they draw are heartbreaking: I am not allowed weakness; life treats people unequally; perhaps there is no God. Yet throughout they find quiet moments of possibility, courage, and a return to faith and comfort.
[more]

front cover of Lungs Full of Noise
Lungs Full of Noise
Tessa Mellas
University of Iowa Press, 2013
This prize-winning debut of twelve stories explores a femininity that is magical, raw, and grotesque. Aghast at the failings of their bodies, this cast of misfit women and girls sets out to remedy the misdirection of their lives in bold and reckless ways. 

Figure skaters screw skate blades into the bones of their feet to master elusive jumps. A divorcee steals the severed arm of her ex to reclaim the fragments of a dissolved marriage. Following the advice of a fashion magazine, teenaged girls binge on grapes to dye their skin purple and attract prom dates. And a college freshman wages war on her roommate from Jupiter, who has inadvertently seduced all the boys in their dorm with her exotic hermaphroditic anatomy.

But it isn’t just the characters who are in crisis. In Lungs Full of Noise, personal disasters mirror the dissolution of the natural world. Written in lyrical prose with imagination and humor, Tessa Mellas’s collection is an aviary of feathered stories that are rich, emotive, and imbued with the strength to suspend strange new worlds on delicate wings.
[more]

front cover of The Face of Exile
The Face of Exile
Autobiographical Journeys
Judith M. Melton
University of Iowa Press, 1998
The rise of fascism in Europe created a body of works by authors for whom the choice of exile became the defining event in their lives, autobiographers who recounted terrifying stories of incarceration, flight, survival, and integration into a new culture. In The Face of Exile, Judith Melton offers a powerful and empathetic analysis of the autobiographies written by these unwilling participants in the social upheaval created by Hitler's war on Europe.
In The Face of Exile, Judith Melton first focuses on the disrupted lives revealed in early memoirs by such self-defined witnesses of history as Lion Feuchtwanger, Georg Grosz, and Yehuda Nir, emphasizing that their personal stories provide the modern reader with insight into the subjective responses to the crisis of going into exile. Given the traumatic nature of the experiences involved, Melton preserves an admirable balance between critical objectivity and sympathy in analyzing the lives of these suffering writers.
In the second and longer part, Melton situates exile autobiography within the appropriate critical theories before concentrating on the consistent themes of exile autobiography: loss, disruption, and reintegration; she examines psychological expressions of exile—often written years later—that seek to reconstitute a self fractured by the psychic and physical shocks of exile. Drawing on an amazingly diverse body of works, she shows how nostalgia for childhood (Vladimir Nabokov and Eva Hoffman), intellectual responses (Czeslaw Milosz and Thomas Mann), and spiritual meditations (Mircea Eliade) become major influences on exile autobiography.
The Face of Exile is a significant and validating examination of the cultural, psychological, and historical dimensions of exile autobiography. Clearly and compellingly, Judith Melton reveals the voices and concepts behind this important twentieth-century literature that has become a metaphor for alienation in our time.
[more]

front cover of 12 x 12
12 x 12
Conversations in 21st-Century Poetry and Poetics
Christina Mengert
University of Iowa Press, 2009
Bringing together penetrating conversations between poets of different generations as they explore process and poetics, poetry’s influence on other art forms, and the political and social aspects of their work, 12 × 12 restores poesis to the center of poetry.

Christina Mengert and Joshua Marie Wilkinson have assembled an expansive and searching view of the world through the eyes of twenty-four of our most vital and engaging poets. Punctuated by poems from each contributor, 12 × 12 brings together an unparalleled range of poets and poetries, men and women from around the world, working poets for whom the form vitally matters.

Contributors

Jennifer K. Dick–Laura Mullen
Jon Woodward–Rae Armantrout
Sabrina Orah Mark–Claudia Rankine
Christina Hawkey–Tomaž Šalamun
Christine Hume–Rosemarie Waldrop
Srinkath Reddy–Mark Levine
Karen Volkman–Allen Grossman
Paul Fattaruso–Dara Wier
Mark Yakich–Mary Leader
Michelle Robinson–Paul Auster
Sawako Nakayasu–Carla Harryman
Ben Lerner–Aaron Kunin

[more]

front cover of The Rainy Season
The Rainy Season
Three Lives in the New South Africa
Maggie Messitt
University of Iowa Press, 2015
Just across the northern border of a former apartheid-era homeland sits a rural community in the midst of change, caught between a traditional past and a western future, a racially charged history and a pseudo-democratic present. The Rainy Season, a work of engaging literary journalism, introduces readers to the remote bushveld community of Rooiboklaagte and opens a window into the complicated reality of daily life in South Africa.

The Rainy Season tells the stories of three generations in the Rainbow Nation one decade after its first democratic elections. This multi-threaded narrative follows Regina, a tapestry weaver in her sixties, standing at the crossroads where her Catholic faith and the AIDS pandemic crash; Thoko, a middle-aged sangoma (traditional healer) taking steps to turn her shebeen into a fully licensed tavern; and Dankie, a young man taking his matriculation exams, coming of age as one of Mandela’s Children, the first academic class educated entirely under democratic governance.

Home to Shangaan, Sotho, and Mozambican Tsonga families, Rooiboklaagte sits in a village where an outdoor butchery occupies an old petrol station and a funeral parlor sits in the attached garage. It’s a place where an AIDS education center sits across the street from a West African doctor selling cures for the pandemic. It’s where BMWs park outside of crumbling cement homes, and the availability of water changes with the day of the week. As the land shifts from dusty winter blond to lush summer green and back again, the duration of northeastern South Africa’s rainy season, Regina, Thoko, and Dankie all face the challenges and possibilities of the new South Africa.
[more]

front cover of Behind the Lines
Behind the Lines
War Resistance Poetry on the American Home Front since 1941
Philip Metres
University of Iowa Press, 2007
Whether Thersites in Homer’s Iliad, Wilfred Owen in “Dulce et Decorum Est,” or Allen Ginsberg in “Wichita Vortex Sutra,” poets have long given solitary voice against the brutality of war. The hasty cancellation of the 2003 White House symposium “Poetry and the American Voice” in the face of protests by Sam Hamill and other invited guests against the coming “shock and awe” campaign in Iraq reminded us that poetry and poets still have the power to challenge the powerful.
    Behind the Lines investigates American war resistance poetry from the Second World War through the Iraq wars. Rather than simply chronicling the genre, Philip Metres argues that this poetry gets to the heart of who is authorized to speak about war and how it can be represented. As such, he explores a largely neglected area of scholarship: the poet’s relationship to dissenting political movements and the nation.
    In his elegant study, Metres examines the ways in which war resistance is registered not only in terms of its content but also at the level of the lyric. He proposes that protest poetry constitutes a subgenre that—by virtue of its preoccupation with politics, history, and trauma—probes the limits of American lyric poetry. Thus, war resistance poetry—and the role of what Shelley calls unacknowledged legislators—is a crucial, though largely unexamined, body of writing that stands at the center of dissident political movements.
[more]

front cover of New Visions of Community in Contemporary American Fiction
New Visions of Community in Contemporary American Fiction
Tan, Kingsolver, Castillo, Morrison
Magali Cornier Michael
University of Iowa Press, 2006
In this engaging, optimistic close reading of five late twentieth-century novels by American women, Magali Cornier Michael illuminates the ways in which their authors engage with ideas of communal activism, common commitment, and social transformation. The fictions she examines imagine coalition building as a means of moving toward new forms of nonhierarchical justice; for ethnic cultures that, as a result of racist attitudes, have not been assimilated, power with each other rather than power over each other is a collective goal.Michael argues that much contemporary American fiction by women offers models of care and nurturing that move away from the private sphere toward the public and political. Specifically, texts by women from such racially marked ethnic groups as African American, Asian American, Native American, and Mexican American draw from the rich systems of thought, histories, and experiences of these hybrid cultures and thus offer feminist and ethical revisions of traditional concepts of community, coalition, subjectivity, and agency.Focusing on Amy Tan’s The Joy Luck Club, Barbara Kingsolver’s The Bean Trees and Pigs in Heaven, Ana Castillo’s So Far from God, and Toni Morrison’s Paradise, Michael shows that each writer emphasizes the positive, liberating effects of kinship and community. These hybrid versions of community, which draw from other-than-dominant culturally specific ideas and histories, have something to offer Americans as the United States moves into an increasingly diverse twenty-first century. Michael provides a rich lens through which to view both contemporary fiction and contemporary life.
[more]

front cover of Salem Is My Dwelling Place
Salem Is My Dwelling Place
Life Of Nathaniel Hawthorne
Edwin Haviland Miller
University of Iowa Press, 1992

 In one of his public disavowals of autobiography, Nathaniel Hawthorne informed his readers that external traits "hide the man, instead of displaying him," directing them instead to "look through the whole range of his fictitious characters, good and evil, in order to detect any of his essential traits." In this multidimensional biography of America's first great storyteller, Edwin Haviland Miller answers Hawthorne's challenge and reveals the inner landscapes of this modest, magnetic man who hid himself in his fiction. Thomas Woodson hails Miller's account as "the best biography of this most elusive of American authors."

[more]

front cover of Selected Letters of Walt Whitman
Selected Letters of Walt Whitman
Edwin Haviland Miller
University of Iowa Press, 1990

There has never been an edition of the selected letters of Walt Whitman, a remarkable fact considering how accustomed we are to becoming acquainted with major writers through their letters. Now Edwin Haviland Miller, editor of the six-volume collected writings of Whitman, has used his intimate knowledge of the "good gray poet's" correspondence to produce this revealing selection of 250 letters, introduced and annotated concisely and evocatively. Whitman in these letters is simple, direct, colloquial, adding a counterpoint to his artistic voice and persona as a poet.

[more]

front cover of Walt Whitman's
Walt Whitman's "Song of Myself"
A Mosaic of Interpretations
Edwin Haviland Miller
University of Iowa Press, 1991
Walt Whitman's "Song of Myself" is a remarkable encyclopedia of how Whitman's greatest poem has been received by critics and poets since its appearance in 1855. From the beginning the poem has posed difficulties for readers because of the absence of rhyme, the free meter, the startling introduction of nonpoetic diction and erotic materials, and the richness and subtlety of a poet who ventured into new poetic territory in his effort to establish himself as the first bard of the democracy.
Integrating the diverse views of approximately three hundred scholars, this volume does for Whitman what has been done for Shakespeare and others in variorum editions. Future readers and interpreters will now have easy access to an elaborate commentary upon which all subsequent interpretations will of necessity draw.
Included in this edition is a complete facsimile of the 1855 edition of the poem, followed by an analysis of the work from section to section. An introduction reviews the background of the poem and its commentary, presenting detailed discussions of the many attempts to establish the structure of this seemingly formless poem. Also included are an appendix describing Whitman's catalogs and a bibliography of all the significant discussions of "Song of Myself" over the past 130 years. This highly useful book is destined to be the standard reference work for everyone concerned with Whitman's poetry.
[more]

front cover of If I'd Known You Were Coming
If I'd Known You Were Coming
Kate Milliken
University of Iowa Press, 2013
In these twelve award-winning stories, Kate Milliken unflinchingly shows us what can happen when the uninvited guest of our darkest desires comes to call. Whether surrounded by the white noise of a Hollywood celebration or enduring a stark winter in Maine, the characters of If I’d Known You Were Coming yearn to heal old wounds with new hurts. With a wry wit and a keen eye for emotive detail, the author of this unforgettable collection sets intersections in motion that will leave you both winded and wanting more.
In one story, a mother, driven by greed, unwittingly finds out how far her needs will push her. A hand model surprises himself and everyone else at the birthday party of an old friend’s daughter in another. With poetic deftness, a woman evaluates the meaning, the familial stories, that we carry with us from birth. In a story ripped from the headlines, a woman pines for the legs her husband lost in a freak accident at a Santa Monica farmer's market. A medical clerk, restless and alone, takes advantage of a disabled neighbor.

Kate Milliken knows the ties that bind and how tautly we will pull them. These are stories about desire, betrayal, love, regret, and family. Like all great fiction, If I’d Known You Were Coming possesses that uncanny ability to reveal us to ourselves.
[more]

logo for University of Iowa Press
The Little Man with the Long Shadow
George S. Mills
University of Iowa Press, 1988

 Frederick M. Hubbell, railroad financier and builder, real estate investor, public utilities magnate, leading lawyer, and founder of Iowa’s first life insurance company, the Equitable, was at one time the wealthiest Iowan in the state’s history. Based on his diaries from 1855 to 1927, The Little Man with the Long Shadow tells the story of this industrious and imaginative entrepreneur.

[more]

front cover of Poetry Matters
Poetry Matters
Neoliberalism, Affect, and the Posthuman in Twenty-First Century North American Feminist Poetics
Heather Milne
University of Iowa Press, 2018

Poetry Matters explores poetry written by women from the United States and Canada, which documents the social and political turmoil of the early twenty-first century and places this poetry in dialogue with recent currents of feminist theory including new materialism, affect theory, posthumanism, and feminist engagements with neoliberalism and capitalism. Central to this project is the conviction that a poetics that explores the political dimensions of affect; demonstrates an understanding of subjectivity as posthuman and transcorporeal; critically reflects on the impact of capitalism on queer, racialized, and female bodies; and develops an ethical vocabulary for reimagining the nation state and critically engaging with issues of democracy and citizenship is now more urgent than ever before. 

Milne focuses on poetry published after 2001 by writers who mostly began writing after the feminist writing movements of the 1980s, but who have inherited and built upon their political and aesthetic legacies. The poets discussed in this book—including Jennifer Scappettone, Margaret Christakos, Larissa Lai, Rita Wong, Nikki Reimer, Rachel Zolf, Yedda Morrison, Marcella Durand, Evelyn Reilly, Juliana Spahr, Claudia Rankine, Dionne Brand, Jena Osman, and Jen Benka—bring a sense of political agency to poetry. These voices seek new vocabularies and dissenting critical and aesthetic frameworks for thinking across issues of gender, materiality, capitalism, the toxic convergences of nationalism and racism, and the decline of democratic institutions. This is poetry that matters—both in its political urgency and in its attentiveness to the world as “matter”—as a material entity under siege. It could not be more timely or more relevant. 

[more]

front cover of Novel Subjects
Novel Subjects
Authorship as Radical Self-Care in Multiethnic American Narratives
Leah A. Milne
University of Iowa Press, 2021
How does contemporary literature contend with the power and responsibility of authorship, particularly when considering marginalized groups? How have the works of multiethnic authors challenged the notion that writing and authorship are neutral or universal?

In Novel Subjects, Leah Milne offers a new way to look at multicultural literature by focusing on scenes of writing in contemporary works by authors with marginalized identities. These scenes, she argues, establish authorship as a form of radical self-care—a term we owe to Audre Lorde, who defines self-care as self-preservation and “an act of political warfare.”

In engaging in this battle, the works discussed in this study confront limitations on ethnicity and nationality wrought by the institutionalization of multiculturalism. They also focus on identities whose mere presence on the cultural landscape is often perceived as vindictive or willful. Analyzing recent texts by Carmen Maria Machado, Louise Erdrich, Ruth Ozeki, Toni Morrison, and more, Milne connects works across cultures and nationalities in search of reasons for this recent trend of depicting writers as characters in multicultural texts. Her exploration uncovers fiction that embrace unacceptable or marginalized modes of storytelling—such as plagiarism, historical revisions, jokes, and lies—as well as inauthentic, invisible, and unexceptional subjects. These works ultimately reveal a shared goal of expanding the borders of belonging in ethnic and cultural groups, and thus add to the ever-evolving conversations surrounding both multicultural literature and self-care.
[more]

front cover of Children in Tactical Gear
Children in Tactical Gear
Peter Mishler
University of Iowa Press, 2024
Children in Tactical Gear offers a brilliant feed of stark incantations and unsparing satire. Set in distinctly American landscapes, including toy weapon assembly lines and the compounds of the super rich, and voiced by imperiled children, failed adults, and even a smart home speaker, this collection demonstrates the unsettling force of a surreal imagination under duress.
 
[more]

front cover of A Vocabulary of Thinking
A Vocabulary of Thinking
Gertrude Stein and Contemporary North American Women's Innnovative Writing
Deborah M. Mix
University of Iowa Press, 2007
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.
[more]

logo for University of Iowa Press
Citrus, Strategy, And Class
Development In Southern Belize
Mark Moberg
University of Iowa Press, 1992

front cover of Reconstituting Authority
Reconstituting Authority
American Fiction in the Province of the Law, 1880-1920
William E. Moddelmog
University of Iowa Press, 2000
In Reconstituting Authority, William Moddelmog explores the ways in which American law and literature converged in the late nineteenth and early twentieth centuries. Through close readings of significant texts from the era, he reveals not only how novelists invoked specific legal principles and ideals in their fictions but also how they sought to reconceptualize the boundaries of law and literature in ways that transformed previous versions of both legal and literary authority.
Moddelmog does not assume a sharp distinction between literary and legal institutions and practices but shows how writers imagined the two fields as engaged in the same cultural process. He argues that because the law was instrumental in setting the terms by which concepts such as race, gender, nationhood, ownership, and citizenship were defined in the nineteenth century, authors challenging those definitions had to engage the law on its own terrain: to place their work in a dialogue with the law by telling stories that were already authorized (though perhaps suppressed) by legal institutions.
The first half of the book is devoted in separate chapters to William Dean Howells, Helen Hunt Jackson, and Pauline Hopkins. The focus shifts from large theoretical concerns to questions of contract and native sovereignty, to issues of African American citizenship and racial entitlement. In each case the discussion is rooted in a larger consideration of the rule (or misrule) of law.
The second half of the book turns from the rule of law to the issue of property, specifically the Lockean version of the self that tied identity to legal conceptions of property and economic value. In separate discussions of Charles Chesnutt, Edith Wharton, and Theodore Dreiser, Reconstituting Authority reveals authors as closely engaged with those changing perspectives on property and identity, in ways that challenged the racial, gendered, and economic consequences of America's possessive individualism.
[more]

front cover of Permanent Visitors
Permanent Visitors
Kevin Moffett
University of Iowa Press, 2006
Settled amid the seasonal amusements and condominium-lined beaches of the Florida coast, the characters who inhabit Kevin Moffett’s award-winning stories reach out of their lives to find that something unexpected and mysterious has replaced what used to be familiar.Some are stalled in the present, alone or lonely, bemused by mortality and disappointment. Some move toward the future heartened by what they learn from those around them--a tattoo artist, an invented medicine man, zoo animals, strangers, fellow outsiders. Deftly rendered, these stories abound with oddness and grace.In “Tattooizm,” included in The Best American Short Stories 2006, a young woman struggles with a promise that her boyfriend is determined to make her keep. In the Nelson Algren Award–winning “Space,” a reluctantly undertaken errand forces a young man to finally confront the death of his mother. And in “The Medicine Man,” hailed by the Times (U.K.) as “perfectly pitched and perfectly written,” a man recounts his manic attachment to his sister.Moffett’s closely observed stories are candid and complex, funny and moving. The world of Permanent Visitors is an idiosyncratic and generous one, its inhabitants searching for constancy in a place crowded with contradiction.
[more]

front cover of Hold-Outs
Hold-Outs
The Los Angeles Poetry Renaissance, 1948-1992
Bill Mohr
University of Iowa Press, 2011
In Hold-Outs, Bill Mohr, long a figure on the Los Angeles poetry scene, reveals the complicated evolution of the literary landscape in a city famous for its production of corporate culture. Mohr’s multigenerational account of the role of the poet-editor-publisher in Los Angeles community formation is nothing less than a radiant mosaic of previously little-known details about an important center of American poetry. While explaining the important role of L.A. in contemporary American poetry, Mohr also explores the ideals and perils of the small press movement in the twentieth century, providing a new generation of literary activists with the knowledge that is needed to inspire their own redefinitions of the social value of alternative artistic practices.
 
Drawing on extensive archival research of original documents, Mohr argues that West Coast poets in general (and Los Angeles poets in particular) have been part of what can be called not so much a haven of more imaginatively inspired artists but, rather, a site of revisionist creativity. Revealed here are the personalities (including Stuart Perkoff, Wanda Coleman, Leland Hickman, Paul Vangelisti, Don Gordon, Suzanne Lummis, John Thomas, Ron Koertge, and Charles Bukowski, among others), the institutions, the publications, and the informal poetry groups that together formed a matrix that encouraged poetry to be written, performed, published, and acknowledged.
 
Hold-Outs is a stunning roadmap of the interwoven contexts of an ongoing cultural debate whose most important witnesses are finally being heard.
[more]

front cover of Writing the Lost Generation
Writing the Lost Generation
Expatriate Autobiography and American Modernism
Craig Monk
University of Iowa Press, 2008
Members of the Lost Generation, American writers and artists who lived in Paris during the 1920s, continue to occupy an important place in our literary history. Rebelling against increased commercialism and the ebb of cosmopolitan society in early twentieth-century America, they rejected the culture of what Ernest Hemingway called a place of “broad lawns and narrow minds.”
      Much of what we know about these iconic literary figures comes from their own published letters and essays, revealing how adroitly they developed their own reputations by controlling the reception of their work. Surprisingly the literary world has paid less attention to their autobiographies.
      In Writing the Lost Generation, Craig Monk unlocks a series of neglected texts while reinvigorating our reading of more familiar ones. Well-known autobiographies by Malcolm Cowley, Ernest Hemingway, and Gertrude Stein are joined here by works from a variety of lesser-known—but still important—expatriate American writers, including Sylvia Beach, Alfred Kreymborg, Samuel Putnam, and Harold Stearns. By bringing together the self-reflective works of the Lost Generation and probing the ways the writers portrayed themselves, Monk provides an exciting and comprehensive overview of modernist expatriates from the United States.
[more]

front cover of Clock and Compass
Clock and Compass
How John Byron Plato Gave Farmers a Real Address
Mark Monmonier
University of Iowa Press, 2022
A city guy who aspired to be a farmer, John Byron Plato took a three-month winter course in agriculture at Cornell before starting high school, which he left a year before graduation to fight in the Spanish-American War. He worked as a draftsman, ran a veneers business, patented and manufactured a parking brake for horse-drawn delivery wagons, taught school, and ran a lumber yard. In his early thirties he bought some farmland north of Denver, Colorado, and began raising Guernsey cattle, which he advertised for sale in the local paper. When an interested buyer eager to see his calves couldn’t find his farm, Plato realized that an RFD postal address was only good for delivering mail.

Plato’s solution was a map-and-directory combo that used direction and distance from a local business center to give farmers a real address, just like city dwellers. He patented his invention called the “Clock System” and tried to sell it to the Post Office Department. What follows is a tale of persistence and failure as rural farming declined and technology and capitalism overtook John Byron Plato’s chances at geographic immortality. 
 
[more]

front cover of Whose World Is This?
Whose World Is This?
Lee Montgomery
University of Iowa Press, 2007
Montgomery's characters blow drugs and boys, advise friends who are dying of AIDS about pennies in penny loafers, write letters to Caroline Kennedy, and fall in love with movie stars. Some lose themselves to ambivalence while contemplating motherhood; others find themselves soothed when, after hearing of the sudden death of a dear friend they seduce a stranger.
       In the story "We Americans," a woman abandoned by her husband grows so vulnerable, she internalizes TV news tragedies by developing hives in the shapes of foreign countries. In the title story, Hannah, a speed freak working the graveyard shift in a nursing home, falls in love with a quadriplegic who void of feelings in his limbs, feel things she cannot. In "Avalanche", an editor to movie stars in Beverly Hills struggles with how to reconcile her own story with the fairy-tale endings of celebrity culture.
    Tender, poignant, and at times hilarious, the women in Whose World Is This? turn common notions of love, compassion, and tradition upside down as they show us how vulnerability, although dangerous, is what makes life astonishingly beautiful and reality strangely unreal.
[more]

front cover of Kissing Fidel
Kissing Fidel
A Memoir of Cuban American Terrorism in the United States
Magda Montiel Davis
University of Iowa Press, 2020

What does it mean to be instantly transformed into the most hated person in your community? After meeting Fidel Castro at a Havana reception in 1994, Cuban-born Magda Montiel Davis, founder of one of the largest immigration law firms in South Florida, soon found out. The reception—attended by hundreds of other Cuban émigrés—was videotaped for historical archives. In a seconds-long clip, Fidel pecks the traditional protocol kiss on Montiel Davis’s cheek as she thanks him for the social benefits conferred upon the Cuban people. The video, however, was mysteriously sold to U.S. reporters and aired incessantly throughout South Florida. Soon the encounter was an international cause célèbre.

Life as she knew it was over for Montiel Davis and her family, including a father who worked with the CIA to topple Fidel, a nohablo-inglés mother who lived with the family, her five children, and her Jewish Brooklyn-born attorney husband. Kissing Fidel shares the sometimes dismal, sometimes comical realities of an ordinary citizen being thrown into a world of death threats, mob attacks, and terrorism.

[more]

logo for University of Iowa Press
Igloo among Palms
Rod Val Moore
University of Iowa Press, 1994
The stories in this prize-winning volume are set in fictional towns, along highways, and in industries on either edge of the Mexico-California border. The author uses memory and imagination to transform these scenes into a defamiliarized frontera, a region of subtle misplacements and cultural contretemps. In these engaging and extremely human stories, gringos move south and Mexicans move north in a search for growth and difference but find that the border is much more fluid, much harder to definitively cross, than they imagined.
For instance, in “Grimshaw's Mexico,” Officer Grimshaw chauffeurs his family south of the border to buy medicine and is taken aback when his little boy appears to learn Spanish in an afternoon. Years later, back in Mexico, his son grown and gone away to live his life, a con artist gives Grimshaw his last chance to so “something foreign and unforgivable.” “Igloo among Palms,” the title story, tells of a dry-ice deliveryman on a lonely road and the somewhat ghostly hitchhiker he picks up and then loses track of late one summer night. The hitchhiker resurfaces, along with a fast-food waitress, in a date palm garden, and there they must find a way to sort out their respective lives.
These stories are deeply entertaining, full of surprises and unexpected turns that ultimately lead the reader to the narrative's fascinating resolution.
[more]

front cover of Prairie Grass Roots
Prairie Grass Roots
An Iowa Small Town in the Early Twentieth Century
Thomas J. Morain
University of Iowa Press, 1998
Prairie Grass Roots describes how broad social changes taking place in the early twentieth century influenced one particular town, Jefferson, Iowa. Examing the three turbulent decades between the turn of the century and the New Deal, Morain looks at the impact of social change on community social structure, gender roles, the influence of the automobile,electricty,World War I, and the farm depression. A final chapter analyzes the state of the small town at the beginning of the 1930's.
Combining archival research, oral histories and local newspaper accounts, Morain revisitis Jefferson's residents perceptions of their times.
[more]

front cover of Through Amazonian Eyes
Through Amazonian Eyes
The Human Ecology of Amazonian Populations
Emilio F. Moran
University of Iowa Press, 1993

In this well-written, comprehensive, reasonable yet passionate volume, Emilio Moran introduces us to the range of human and ecological diversity in the Amazon Basin. By describing the complex heterogeneity on the Amazon's ecological mosaic and its indigenous populations' conscious adaptations to this diversity, he leads us to realize that there are strategies of resource use which do not destroy the structure and function of ecosystems. Finally, and most important, he examines ways in which we might benefit from the study of human ecology to design and implement a balance between conservation and use.

[more]

front cover of Grammar Lessons
Grammar Lessons
Translating a Life in Spain
Michele Morano
University of Iowa Press, 2007
In the thirteen personal essays in Grammar Lessons, Michele Morano connects the rules of grammar to the stories we tell to help us understand our worlds. Living and traveling in Spain during a year of teaching English to university students, she learned to translate and interpret her past and present worlds—to study the surprising moments of communication—as a way to make sense of language and meaning, longing and memory.
    Morano focuses first on her year of living in Oviedo, in the early 1990s, a time spent immersing herself in a new culture and language while working through the relationship she had left behind with an emotionally dependent and suicidal man. Next, after subsequent trips to Spain, she explores the ways that travel sparks us to reconsider our personal histories in the context of larger historical legacies. Finally, she turns to the aftereffects of travel, to the constant negotiations involved in retelling and understanding the stories of our lives. Throughout she details one woman’s journey through vocabulary and verb tense toward a greater sense of her place in the world.
    Grammar Lessons illustrates the difficulty and delight, humor and humility of living in a new language and of carrying that pivotal experience forward. Michele Morano’s beautifully constructed essays reveal the many grammars and many voices that we collect, and learn from, as we travel.
[more]

front cover of Love Is My Favorite Flavor
Love Is My Favorite Flavor
A Midwestern Dining Critic Tells All
Wini Moranville
University of Iowa Press, 2024
In a remarkable career that has spanned nearly fifty years, Wini Moranville has witnessed the American restaurant landscape transform from the inside out. At just shy of fourteen, she began a ten-year stretch working in a kaleidoscope of quintessential midwestern eateries of the time. Moranville’s hands-on experiences weave a vivid tapestry of the American restaurant landscape in the 1970s and 1980s. In the mid-1990s, the tables turned as Moranville became a prolific food and wine writer for national publications, as well as the dining critic for the Des Moines Register and dsm Magazine.
Amidst the vast changes that have occurred over the years, Love Is My Favorite Flavor underscores the timelessness of what it is we seek when we entrust restaurateurs with our hard-earned money and our hard-won leisure time. Dining out may have changed dramatically since the 1970s, but the joys of being in the hands of people who care deeply about our time at their tables have not.
 
[more]

logo for University of Iowa Press
Imaging Animal Industry
American Meatpacking in Photography and Visual Culture
Emily Kathryn Morgan
University of Iowa Press, 2024
Imaging Animal Industry focuses on the visual culture of the American meat industry between 1890 and 1960. It describes how, during that period, photographs and other images helped to shape public perceptions of industrial-scale meat production. Although the meat industry today bans most photography at its facilities, in the past this was not always the case: the meat industry not only tolerated but welcomed cameras. Meatpacking companies and industry organizations regarded photographs as useful tools for creating and managing a vision of their activities, their innovations, and their contributions to the march of American economic and industrial progress.

Drawing on archival collections across the American Midwest, this book relates a history of the meatpacking industry’s use of images in the early to mid-twentieth century. In the process, it reveals the key role that images, particularly photographs, have played in assisting with the rise of industrial meat production.
 
[more]

logo for University of Iowa Press
My Ever Dear Daughter, My Own Dear Mother
The Correspondence of Julia Sonte Towne and Mary Julia Towne, 1868-1882
Katherine R. Morgan
University of Iowa Press, 1996
In 1868 twenty-two-year-old Mary Julia Towne left her farm in Topsfield, Massachusetts, for Chicago in search of better health and an opportunity to support herself. Soon she was teaching, first in night school and then in grammar schools, finding satisfaction and independence in this profession. Over the next fourteen years she wrote home to her mother, Julia Stone Towne; these letters and Julia's letters back to her—the only published collection of sustained correspondence between a nineteenth-century American mother and daughter—create a deep and rich world filled with the ideas, affection, advice, and comfort that each woman gave to the other. Now, more than a hundred years later, Julia and Mary Towne give us new insights into the complexities of life of women in the nineteenth century, into both the interdependence and the autonomy of mothers and daughters, and into the links between their lives and ours.
[more]

front cover of Salt Lantern
Salt Lantern
Traces of an American Family
William Towner Morgan
University of Iowa Press, 1997
As a child growing up in Pipestone, Minnesota, in the 1930s, William Morgan marveled over his great-grandmother's salt-filled chimney lantern. Full of sea salt and mementos and drawings that commemorated her British home and her journey to America in 1855, this Victorian artifact became the inspiration both for Morgan's pilgrimage to find the original salt lantern and, after many journeys both external and internal, for this multifaceted family history.
Morgan began his research by visiting England and Scotland, then traveled to Vermont, Wisconsin, Minnesota, Iowa, and North Dakota searching for the buildings and landscapes related to his mother's ancestors. Tracing his father's family took him to Ireland, where he discovered the thatched-roof house in which his grandmother was born. By studying his family's houses, farm buildings, landforms, letters, and heirlooms, Bill Morgan tells the stories of his ancestors' lives. By adding fresh memories written by his sister and brothers as well as journals and other family documents, he builds upon these stories to create a full life of an American family.
[more]

logo for University of Iowa Press
Mother Archive
A Dominican Family Memoir
Erika Morillo
University of Iowa Press, 2024

front cover of James Weldon Johnson's Modern Soundscapes
James Weldon Johnson's Modern Soundscapes
Noelle Morrissette
University of Iowa Press, 2013
James Weldon Johnson’s Modern Soundscapes provides an evocative and meticulously researched study of one of the best known and yet least understood authors of the New Negro Renaissance era. Johnson, familiar to many as an early civil rights leader active in the National Association for the Advancement of Colored People and an intentionally controversial writer on the subject of the significance of race in America, was one of the most prolific, wide-ranging, and yet elusive authors of twentieth-century African American literature.

Johnson realized early in his writing career that he could draw attention to the struggles of African Americans by using unconventional literary methods such as the incorporation of sound into his texts. In this groundbreaking work, literary critic Noelle Morrissette examines how his literary representation of the extremes of sonic experience—functioning as either cultural violence or creative force—draws attention to the mutual contingencies and the interdependence of American and African American cultures. Moreover, Morrissette argues, Johnson represented these “American sounds” as a source of multiplicity and diversity, often developing a framework for the interracial transfer of sound. The lyricist and civil rights leader used sound as a formal aesthetic practice in and between his works, presenting it as an unbounded cultural practice that is as much an interracial as it is a racially distinct cultural history.

Drawing on archival materials such as early manuscript notes and drafts of Johnson’s unpublished and published work, Morrissette explores the author’s complex aesthetic of sound, based on black expressive culture and cosmopolitan interracial experiences. This aesthetic evolved over the course of his writing life, beginning with his early Broadway musical comedy smash hits and the composition of Autobiography of an Ex-Colored Man (1912), and developing through his “real” autobiography, Along This Way (1933). The result is an innovative new interpretation of the works of one of the early twentieth century’s most important and controversial writers and civil rights leaders. 
[more]

front cover of High Ground Coward
High Ground Coward
Alicia Mountain
University of Iowa Press, 2018

Alicia Mountain’s urgent and astonishing debut collection maps a new queer landscape through terrain alive and sensual, defiant and inviting. With a voice that beckons while it howls, Mountain nimbly traverses lyric, confessional, and narrative modes, leaving groundbreaking tracks for us to follow. High Ground Coward offers fists full of soil, leftovers for breakfast, road trip as ritual, twins of lovers and twins of ourselves. This world blooms with hunger-inducing detail, its speakers asking us to consider what it will take to satisfy our own appetites while simultaneously trying to nourish one another. “Ferocious, even the softest part,” Mountain shows us “a way to fall in love with wanting,” leaving us “ravenous, but gradually.”

Bearing witness to identity formation in solitude and communion, High Ground Coward is an almanac of emotional and relational seasons. Mountain’s speakers question the meaning of inheritance, illness, violence, mythology, and family architecture. Whether Mountain is at work revealing the divinity of doubt, the entanglement of devotion, or the dominion that place holds over us, High Ground Coward heralds a thrilling poetic debut.

 

From “Scavenger” 

We three eat food and are in love. This is the easy way to say 

there are stores beneath the floor. 

Potatoes and shallots, 

hard-necked garlic streaked purple, 

jars beside jars, themselves 

each staving globes of suction. 

Preservation, a guardian hunger. 

In the evening I whisper to the boiled beet, 

like a naked organ in my flushed hand: 

You are ground blood, 

you are new born, 

you have never been nothing— 

thawfruit seedflower greenstart rootbulb 

handpull shedscrub mouthsweet 

and again. 

[more]

front cover of Marginal Sights
Marginal Sights
Staging the Chinese in America
James S. Moy
University of Iowa Press, 1994
Since the beginning of the Western tradition in drama, dominant cultures have theatrically represented marginal or foreign racial groups as other—different form "normal" people, not completely human, uncivilized, quaint, exotic, comic. Playwrights and audiences alike have been fascinated with racial difference, and this fascination has depended upon a process of fetishization. By the time Asians appeared in the United States, the framework for their constructed Lotus Blossom and Charlie Chan stereotypes had preceded them. InMarginal Sights, James Moy dismantles these stereotypes in an unrelenting attack on Anglo American institutions of racial representation.
Reading the Chinese stereotype through several media, Moy notes the consistency of Anglo America's construction of what he terms Chineseness. He rejects the dominant cultural assertion that stereotypes contain a germ of truth, arguing instead that this so-called germ of truth is itself a construction the serves the evolving social and material concerns of an often sinophobic white America. Through time the stereotypes have taken on a life of their own, and those who sought to overturn them have often failed, thus seemingly validating them. Moy, on the other hand, spotlights the constructed Orientals so brilliantly that the real Asian Americans behind them can become visible at last. Consisting of ten readings of Chineseness in America, this sophisticated text reveals the source of representational racial oppression in America. Moy examines diverse sites of representation from museum displays, cartoons, and plays to early photographs, films, circus acts, performance art, and pornography. His persuasive assault on the responsible institutions is uncompromising. However, with surprising insouciance, Moy juxtaposes wit with the often grim details of America's representational legacy.
While Marginal Sights focuses on Chineseness in America, Moy makes explicit its applicability to all institutionally managed representations, racial and otherwise. Anyone interested in Anglo-American and Asian American studies, cultural and film studies, theatre history, communication, and psychology will need to read this book.
[more]

front cover of Articulations
Articulations
The Body and Illness in Poetry
Jon Mukand
University of Iowa Press, 1994

In 1987 poet and physician Jon Mukand published Sutured Words, a volume of contemporary poems to help patients, their families and friends, and all health care professionals embrace the complexity of healing, illness, and death. Robert Coles called the collection “a wonderful source of inspiration and instruction for any of us who are trying to figure out what our work means”; Norman Cousins was impressed by the “discernment and high quality of the selections.” Now, in Articulations, Mukand adds more than a hundred new poems to the strongest poems from Sutured Words to give us a lyrical, enlightened understanding of the human dimensions of suffering and illness

[more]

front cover of Unfriendly Fire
Unfriendly Fire
A Mother's Memoir
Peg Mullen
University of Iowa Press, 1995

In 1968 Michael Mullen, a graduate student in biochemistry, was drafted; in 1969 he was sent to Vietnam as a foot soldier in Colonel Norman Schwarzkopf's Charlie Company; and in 1970 he was killed by the same “friendly fire” that destroyed thousands of other lives during the Vietnam War.

Back home on the family farm in Iowa, his parents made his death a crusade to awaken all parents to the insanity of war. C. D. B. Bryan's Friendly Fire and the TV movie of the same name documented these dramatic years, and Peg Mullen became a national symbol of grassroots activism. Now Peg Mullen shifts from symbol to reality as she tells her story in print for the first time.

Outspoken, fearless, and wickedly humorous, Peg Mullen had a duel mission in the years after Michael's death: to penetrate the lies and evasions behind the artillery misfire that killed her oldest son and to publicize the senseless horror of the Vietnam War. Unfriendly Fire draws on the many letters sent to the Mullens after Michael's death; in addition, Michael's own bitter, weary letters home are reprinted. In these the voices of parents, brothers, sisters, comrades, teachers, and Michael himself echo Peg Mullen's call for truth and peace.

[more]

front cover of Prairie in Your Pocket
Prairie in Your Pocket
A Guide to Plants of the Tallgrass Prairie
Mark Muller
University of Iowa Press, 2000

front cover of Wetlands in Your Pocket
Wetlands in Your Pocket
A Guide to Common Plants and Animals of Midwestern Wetlands
Mark Muller
University of Iowa Press, 2005

front cover of The Wild Midwest
The Wild Midwest
A Coloring Book
Mark Muller
University of Iowa Press, 2016
While most coloring books offer fanciful recreations of the wonders of nature, Mark Müller’s realistic drawings allow you to embellish real-world birds, plants, and animals with all the colors you can imagine. Layer your creative whimsy on his meticulous accuracy. Go ahead, ink in a hot pink bison or a turquoise sandhill crane or a buttery yellow tree frog, pouring magic into reality. Turn the tallgrass prairie’s pale purple coneflowers ruby red, the black swallowtail butterfly into a green-dotted swallowtail, or white-tailed deer into fuschia-tailed. Why shouldn’t red-winged blackbirds flaunt salmon epaulets, or American goldfinches turn coppery, or rose-breasted grosbeaks celadon-breasted? Amid the creatures teeming in the midwestern grasses and wetlands on these pages, you’ll even find the most common invasive species—see if you can find the garlic mustard and the emerald ash borer! Here is the wild Midwest as it really is, for your coloring pleasure.
 
[more]

logo for University of Iowa Press
Woodland in Your Pocket
A Guide to Common Woodland Plants of the Midwest
Mark Muller
University of Iowa Press, 2002


Send via email Share on Facebook Share on Twitter