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“Have you ever kept a diary?” With that question author Martha Davis sets out on her journey into the quietly remarkable life of an Old Order Amish woman know to us as Sarah Fisher. Sarah not only kept a diary but welcomed Martha to read it and to view the world through her eyes. The even, peaceful tenor of Sarah's diary entries and the closeness to nature of her life and work will make readers question the pace and values of their own lives, and the degree of social interconnectedness in Sarah's world will offer a model for many of us outside it.

Sarah's brief daily notations, recorded on a calendar throughout 1976 and 1977, reveal an ongoing account of her seasonal routine. In many ways the straightforward simplicity of her writing is a reflection of her life near rural Kalona, Iowa, a life filled with what Martha Davis calls look-easy tasks undertaken without the conveniences of electricity, phones, or automobiles. For Sarah, diaries are a record. “A diary can settle a question, a disagreement,” she tells Martha. “You look back and see what took place. That's history.”

Through their conversations, Martha soon discovered she had more in common with Sarah than diary writing. Though Davis lived in the mainstream culture, an “English” person as the Amish say, like Sarah she grew up on a farm in rural Iowa during the 1950s and 1960s. Like Martha, Sarah had spent several years as a teacher.

In Sarah's Seasons Martha Davis shares their common experiences and common interests—gardening, quilting, and cooking. Alongside Sarah's diary, Martha presents their shared recipes and conversations as well as reflections on her own more modern existence. Because of her friendship with Sarah, the author found a new sense of belonging to and purpose in the mainstream world. In the end, Sarah's diary becomes for Martha a meditation on time and community.

Seasons of Plenty provides colorful descriptions, folk stories, appealing photgraphs and illustrations, excerpts from journals and ledgers, recipes for good food like savory dumpling soup, mashed potatoes with browned bread crumbs, Sauerbraten, and feather light apple fritters.

Shrubs and vines, often literally overshadowed by trees, also receive much less attention than their taller neighbors, and yet they are very important elements of the region’s natural landscape. A guide to these interesting and useful plants, this book identifies all 150 shrubs and vines native to Iowa, along with frequently seen naturalized ones. Here you’ll find the widely distributed buttonbush, the distinctive pagoda dogwoods, sumacs with their striking fall foliage, the adaptable ninebark, the attractive grape honeysuckle, the many species of Rubus and wild grapes that provide food for birds and animals, willows with their graceful promise of spring, and the diverse viburnums.

Like trees, shrubs and vines are woody plants that are easy to observe year round. The first part of this book will help you identify them. Illustrated keys take you through the identification process one step at time; these are followed by images and descriptions of all but the rarest species. Noted naturalists Peter van der Linden and Donald Farrar also provide information about each species’ distribution, ecology, and uses. Summer and winter features are covered separately to facilitate identification at these two very different times of year.

Chapters about the culture and natural history of shrubs and vines explain why the plants grow where they do in nature and show how to use them effectively in outdoor spaces. Plants native to Iowa have much to offer to the landscaper: winter hardiness, resistance to drought and climatic extremes, and food and shelter for native wildlife and pollinators. Many natives are ornamental as well, providing attractive flowers, bright autumn displays, and colorful stems or fruits in winter. The authors offer tips for selecting, planting, and caring for these plants effectively. With native plants, you can create a landscape that is sustainable, authentic to place, and satisfying to you.

Iowa and midwestern arborists, conservationists, horticulturists, landscape architects, gardeners, and all those who appreciate the beauty and value of native plants will find Shrubs and Vines of Iowa immensely useful. 

Blood and anger, bragging and pain, are all part of this young Iowa soldier's vigorous words about war and soldiering. A twenty-year-old farmer from Council Bluffs, Charles O. Musser was one of the 76,000 Iowans who enlisted to wear the blue uniform. He was a prolific writer, penning at least 130 letters home during his term of service with the 29th Iowa Volunteer Infantry.

Soldier Boy makes a significant contribution to the literature of the common soldier in the Civil War. Moreover, it takes a rare look at the Trans-Mississippi theater, which has traditionally been undervalued by historians.

Always Musser dutifully wrote and mailed his letters home. With a commendable eye for historical detail, he told of battles and marches, guerrilla and siege warfare, camp life and garrison soldiering, morale and patriotism, Copperheads and contraband, and Lincoln's reelection and assassination, creating a remarkable account of activities in this almost forgotten backwater of the war.

 Recognized between 1880 and 1910 by its trademark label "Iowa's Pride," John Morrell and Company is best known for contributing one of the most important local unions to the progressive United Packinghouse Workers of America. During the 1930s and 1940s, its members pursued a militant brand of unionism. By the early 1950s, the local's militancy became a source of contention among the membership. By explaining the effect of Morrell-Ottumwa's union leaders on local and state Democratic politics, especially in the development of the Congress of Industrial Organizations' Iowa State Industrial Union Council and the AFL-CIO's Iowa Federation of Labor, Wilson Warren makes an important contribution to the literature on labor's involvement in the Democratic party's ascendancy across much of the industrial North following World War II.

This history of Ottumwa's meatpacking workers provides insights into the development of several forms of labor relations, including the evangelical Christian paternalism, welfare capitalism, and unionism that were distinctive to one blue-collar community but that also reflected workers' experiences in many other rural midwestern industrial communities. By carefully analyzing all relevant labor and industrial sources and by revealing the deeply held aspirations and concerns expressed by both workers and managers, Warren constructs a window through which Iowa's industrial and labor history over the past 120 years can be viewed.

In 1939, just before graduating from high school in the small town of Ridgeway in northeast Iowa, Everett Kuntz spent his entire savings of $12.50 on a 35mm Argus AF camera. He made a camera case from a worn-out boot, scraps from a tin can, and a clasp from his mother’s purse. For the next several years, especially during the summers when he worked on his parents’ dairy farm, he clicked the shutter of his trusty Argus all around the quiet town.

Everett bought movie reel film in bulk from a mail-order house, rolled his own film, and developed it in a closet at home, but he never had the money to print his photographs. More than two thousand negatives stayed in a box while he married, raised a family, and worked as an electrical engineer in the Twin Cities. When he became ill with cancer in the fall of 2002—sixty years after he had developed the last of his bulk film—Everett opened his time capsule and printed the images from his youth. He died in 2003, having brought his childhood town back to life just as he was leaving it.

A sense of peace radiates from these images. Whether skinny-dipping in the Turkey River, wheelbarrow-racing, threshing oats, milking cows, visiting with relatives after church, or hanging out at the drugstore or the movies, Ridgeway’s hardworking citizens are modest and trusting and luminous in their graceful harmony and their unguarded affection for each other. Visiting the town in 2006 as he was writing the text to accompany these photographs, Jim Heynen crafted vignettes that perfectly complement these rediscovered images by blending fact and fiction to give context and voice to Ridgeway’s citizens.