w h er e

IOWA great writing
fall 2010

begins

®
by
ch ra

Recently published by the

University of Iowa Press
WA LT W H I T M A N

starting today

viSTaS
The Original Edition in Facsimile

DEMOCRATiC
edited by ed Folsom

OBAMA’s
FIRST 100 DAYS

POEMS FOR

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Iowa Farm
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poetry of the law
From Chaucer to the Present

A Beginner’s Guide

in your pocket

Ki r K M u r r ay

A Watershed Year
Iowa Floods of 2008
Edited by David Kader and Michael Stanford edited by Cornelia F. Mutel

Anatomy of the

IOWA where great writing begins
The University of Iowa Press is a proud member of the Green Press Initiative and is committed to preserving natural resources. This catalog is printed on fsc-certified paper.

contents
Fall 2010 Titles 1–22 New in Paper 22 New Regional and Iowa Titles 12–13, 21–22 Bestselling Backlist 22–23 Order Form 24

index by subject
Art History 19 Biography 15, 20, 22 Children 4–5 Environment 13 Fiction 2–3 Gardening 12 Literary Criticism 10, 14–16, 18–20 Literature 6 Memoir 7 Nature 4–5, 8, 12–13, 16 Poetry 9, 11 Political Science 21 Politics 21 Reference 1, 10 Theatre 17 Writing 1, 10

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The Creative Writer’s Survival Guide
Advice from an Unrepentant Novelist
by John McNally
advice from an unrepentant novelist

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 The delightfully subjective take on the writing life. McNally has earned the right to dispense advice on this Creative subject. He has published three novels, two collections of Writer’s short fiction, and hundreds of individual stories and essays. Survival He has edited six anthologies and worked with editors at uniGuide versity presses, commercial houses, and small presses. He has . . . . . . . . . . . . . John McNally 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 also received far more rejections than acceptances, has endured years of underpaid “I write this blurb in distress because for adjunct work, and is presently hard at work on a novel for years I’ve been stealing John McNally’s which he has no guarantee of publication. In other words, sharp insights into writing and publishhe’s been at the writing game long enough to rack up plenty ing and passing them off as my own. Now of the highs and lows that translate into an invaluable guide. this generous so-and-so is sharing his McNally wrestles with writing degrees and graduate provast experience as a writer and editor with grams, the nuts and bolts of agents and query letters and everyone. Worse yet, this book, despite its critics, book signings and other ways to promote your book, instructional value, is irresistibly, un-putalcohol and other home remedies, and jobs for writers from downably readable.”—Timothy Schaffert, adjunct to tenure-track. Chapters such as “What Have You Ever author, Devils in the Sugar Shop Done That’s Worth Writing About?” “Can Writing Be Taught?” “Rejection: Putting It in Perspective,” “Writing as a Competitive “This has got to be the most comprehenSport,” “Seven Types of MLA Interview Committees,” “Money sive nuts-and-bolts how-to that has ever and the Writer,” and the all-important “Talking about Writing been written about writing. McNally has vs. Writing” cover a vast range of writerly topics from learning answered every one—every one!—of the your craft to making a living at it. McNally acts as the writer’s questions that always come up in a Q&A friendly drill sergeant, relentlessly honest but bracingly cheersession when the writer’s impulse is to talk ful as he issues his curmudgeonly marching orders. Alternately about Art and the audience wants to know: cranky and philosophical, full of to-the-point anecdotes and how do I get to be you? I look forward to havhonest advice instead of wonkish facts and figures, The Creative ing this book in hand. It’s a fine addition Writer’s Survival Guide is a snarky, truthful, and immensely helpful to the ever-growing literature of creative map to being a writer in today’s complex world. writing, and it covers everything.” —Janet Burroway, author, Imaginative John McNally is the author of three novels, After the Workshop, Writing: The Elements of Craft and Bridge The Book of Ralph, and America’s Report Card, and two story collecof Sand tions, Troublemakers (iowa 2000) and Ghosts of Chicago. He has edited six anthologies, including When I Was a Loser: True Stories of (Barely) Surviving High School and Humor Me: An Anthology of Humor by Writers of Color (iowa 2002). His fiction, book reviews, and essays have appeared in more than a hundred publications, including the Washington Post, the Sun, and Open City, and he is a contributing editor to the Virginia Quarterly Review. A native of Chicago’s southwest side, he is an associate professor of English at Wake Forest University.

september

272 pages . 5 3/4 x 9 1/4 inches $19.95 paper original 1-58729-920-8, 978-1-58729-920-9

reference / writing

www.uiowapress.org

1

Lester Higata’s 20th Century
by Barbara Hamby
2010 john simmons short fiction award

“Oh my this is a very great collection. Innovative in structure but deeply accessible in every pitch-perfect moment, Lester Higata’s 20th Century brilliantly explores the yearning that is central not only to most great literary narratives but also to every life lived on this planet: the yearning for self, for identity, for a place in the universe. Barbara Hamby has for some time been one of America’s finest poets; with this book, she has become one of our finest fiction writers as well.”—Robert Olen Butler

Lester  Higata’s   20th  Century
stories by Barbara Hamby

“Lester Higata knew his life was about to end when he walked out on the lanai behind his house in Makiki and saw his longdead father sitting in a lawn chair near the little greenhouse where Lester kept his orchids.” Thus begins Barbara Hamby’s magical narrative of the life of a Japanese American man in “Like many of us, I have long admired the Honolulu. The quietly beautiful linked stories in Lester Higata’s smart and surprising poetry of Barbara 20th Century bring us close to people who could be, and should Hamby, but who knew? She’s a wonderful be, our friends and neighbors and families. fiction writer too! I love Lester Higata’s 20th Starting in 1999 with his conversation with his father, conCentury, a fabulous first collection of funny, tinuing backward in time throughout his life with his wife, poignant, intelligent, and beautifully plotKatherine, and their children in Hawai‘i, and ending with his ted stories in which Hamby creates a vivid days in the hospital in 1946, as he heals from a wartime wound portrait of Hawai‘i and introduces us to and meets the woman he will marry, Hamby recreates not just Lester Higata, his sprawling family, and his one but any number of the worlds that have shaped Lester. odd and unforgettable friends.” The world of his mother, as stubbornly faithful to Japan and —Elizabeth Stuckey-French, author, Buddhism as Katherine’s mother is to Ohio and conservative The First Paper Girl of Red Oak, Iowa and Christianity; the world of his children, whose childhoods and Mermaids on the Moon adulthoods are vastly different from his own; the world after Pearl Harbor and Vietnam; the world of a professional engineer “Barbara Hamby loves her characters and and family man: the worlds of Lester Higata’s 20th Century are trusts them, and it shows on every page of filled with ordinary people living extraordinary lives, moving these deeply imagined and beautifully renfrom farms to classrooms and offices, from racism to accepdered stories. Each story seems like a gift, tance and even love, all in a setting so paradisal it should be and the collection as a whole leaves the heaven on earth. Never forgetting the terrors of wartime—“We wake one morn- reader feeling as if these people are his own brothers and sisters, cousins, lovers, ing with the wind racing toward us like an animal, and nothing is ever the same”—but focusing on the serene joys of peacetime, and friends, sons and daughters, mothers Lester populates his worlds with work, faith, and family among and fathers—one’s own extended family— which, after all, Hamby seems to reveal, the palm trees and blue skies of the island he loves. they are.”—Paul Harding, author, Tinkers Barbara Hamby was raised in Hawai‘i and is writer-in-residence in the Creative Writing Program at Florida State University in Tallahassee. She is the author of four books of poetry, most recently Babel and All-Night Lingo Tango. She is also coeditor of the poetry anthology Seriously Funny. Her work has appeared in the Paris Review, Mississippi Review, Southwest Review, Ploughshares, Shenandoah, TriQuarterly, and the Pushcart Prize Anthology 2001, and she was recently awarded a Guggenheim fellowship.

october

fiction
2

university of iowa press . fall 2010

david kirby

184 pages . 5 1/2 x 9 1/4 inches $16.00 paper original 1-58729-918-6, 978-1-58729-918-6

The Company of Heaven
Stories from Haiti
by Marilène Phipps-Kettlewell
2010 iowa short fiction award

Marilène Phipps-Kettlewell’s award-winning stories transport you to Haiti—to a lush, lyrical, flamboyant, and spiritfilled Haiti where palm trees shine wet with moonlight and the sky paints a yellow screen over your head and the ocean sparkles with thousands of golden eyes—and keep you there forever. Her singular characters mysteriously address the deeper meanings of human existence. They also dream of escape, whether from themselves, from family, from Vodou, from financial and cultural difficulties and the politicians that create them, or from the country itself, but Haiti will forever remain part of their souls and part of the thoughts of her readers. Some characters do achieve escape through the mind or through sea voyage—escape found by surrendering to spectacular fantasies and madness and love, bargaining with God, join- “Marilène Phipps-Kettlewell’s The Company of Heaven heralds the fiction debut of a ing the boat people. Marie-Ange Saint-Jacques’s mother sacribrilliant and insightful storyteller. With fices everything to insure her daughter’s survival on a perilous boat trip, Angelina waits to fly away to Nou Yòk, Vivi creates her the sensitivities of the poet and visual artist that she is, Phipps-Kettlewell brings us own circus with dozens of rescued dogs, Gustave dies a martyr these lyrical, funny, quirky, and memorable to his faith. Throughout, the “I” who moves in and out of these stories from the Haiti of both near and far. dream-filled stories embraces the heavenly mysteries found in A book not to be missed, The Company of “the room where all things lost are stored with grace.” Heaven takes us to both heaven and hell and We begin our journey to Haiti with images of a little girl in a many places in between, but always with candlelit bedroom reading a book about the life of Saint Bernainnovation, honesty, and grace.” dette, surrounded by the bewitching scents, sounds, and textures of a Caribbean night. Each story stands by itself, but some —Edwidge Danticat characters can be followed from one story to another through the transformations they undergo as a result of their life experi- “Reading Marilène Phipps-Kettlewell’s The Company of Heaven is like happening on ences. In this way, the collection can be read as one story, the a book of psalms transcribed from some story of a family trapped in a personal and cultural drama and secret, fantastic, harrowed heart, somehow the story of the people with whom the family interacts, themmineralized into language and somehow selves burdened by the need to survive within Haiti’s rigorously class-determined society and blessed by their relationship to the preserved for us to read. I was struck again and again by the lyrical, lamented, ‘lush but company of heaven in which they live and for which they are rotting’ but somehow also miraculously updestined. held world laid out before me. These stories Painter, poet, and short story writer Marilène Phipps-Kettlewell are fraught and mysterious, and PhippsKettlewell’s art is to have preserved them was born and grew up in Haiti. She has held fellowships at the so precisely in all their hard beauty.” Guggenheim Foundation, the Bunting Institute, the W.E.B. Du —Paul Harding, author, Tinkers Bois Institute for African and African American Research, and the Center for the Study of World Religions at Harvard University. In 1993, she won the Grolier prize for poetry. Her collection Crossroads and Unholy Water won the 1999 Crab Orchard Poetry Prize. Her short fiction has been published in Callaloo, the Crab Orchard Review, and the New Arcadia Review as well as The Best American Short Stories 2003.
roderick phipps-kettlewell

october

210 pages . 5 1/2 x 9 1/4 inches $16.00 paper original 1-58729-921-6, 978-1-58729-921-6

fiction

www.uiowapress.org

3

Where Do Birds Live?
by Claudia McGehee
a bur oak book

Where Do Birds Live?
Claudia McGehee

“As an artist and a nature enthusiast, I am completely enthralled by Where Do Birds Live? Claudia McGehee’s sensitive renderings and lush colors are an inspiration artistically, and the discoveries to be made of wildlife that is less obvious are good reminders to look more carefully when afield. Beauty is everywhere if one only slows down to look for it. This lovely book is a good reminder of that.”—Stan Fellows, illustrator, The Cuckoo’s Haiku and Other Birding Poems 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. 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, redcockaded 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.

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; the other page describes and illustrates its nesting, feeding,

november

32 pages . 63 scratchboard-with-watercolor illustrations 1 map . reinforced binding . 9 1/2 x 8 1/2 inches $17.95 cloth 1-58729-919-4, 978-1-58729-919-3

children / nature
4

university of iowa press . fall 2010

habitats
tallgrass prairie western mountain meadow Pacific rainforest Pacific coastline southwestern desert rangeland Gulf barrier islands longleaf pine forest red mangrove forest eastern forest northeastern city Great Lakes sand dunes northwoods midwestern backyard

birds
bobolink mountain bluebird common raven black oystercatcher greater roadrunner scissor-tailed flycatcher brown pelican red-cockaded woodpecker roseate spoonbill American redstart mallard herring gull scarlet tanager ruby-throated hummingbird

Claudia McGehee of Iowa City is the author of A Tallgrass Prairie Alphabet (iowa 2004), which was named a Midwest Favorite by the Upper Midwest Booksellers Association, and A Woodland Counting Book (iowa 2006), a Moonbeam Children’s Book Awards Gold Medal Winner. Illustrator of The Iowa Nature Calendar (iowa 2007), she has been a professional illustrator, working primarily in scratchboard, for many years.

Praise for A Tallgrass Prairie Alphabet “This book combines lyrical words and vibrant illustrations to give children of all ages an eye-opening look at America’s heartland. . . . The drawings capture not only the beauty of the tallgrass prairie, but the animals that dwell in it, the weather elements that control it, and the human emotions that come from it.”—ForeWord “The prairie comes alive in every nook and cranny. . . . One realizes that prairies aren’t simply vast, open fields; instead, they’re brimming with life and beauty. . . . McGehee’s delightful illustrations are guaranteed to stay with you long after the book is closed, and readers’ views of the prairie will be forever expanded.”—BookPage

A Tallgrass Prairie Alphabet
32 pages . $17.95 cloth 26 scratchboard-withwatercolor illustrations 0-87745-897-9 978-0-87745-897-5 32 pages . $17.95 cloth 24 scratchboard-withwatercolor illustrations 0-87745-989-4 978-0-87745-989-7

A Woodland Counting Book

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5

Chasing the White Whale
The Moby-Dick Marathon; or, What Melville Means Today
by David Dowling

Chasing the White Whale
The Moby-Dick Marathon; or, What Melville Means Today
by D AV I D D OW L I N G

“David Dowling’s book, a thoughtful blend of reportage, cultural observation, and literary reflection, engages at length with Melville’s Moby-Dick and some of its most dedicated fans: the eager hordes who descend on New Bedford, Massachusetts, each January for the Moby-Dick Marathon. . . . This book makes Moby-Dick accessible to all by demonstrating its continuing and increasing relevance in twenty-first-century global culture.” —Wyn Kelley, associate editor, Leviathan: A Journal of Melville Studies, and author, An Introduction to Herman Melville, Melville’s City: Literary and Urban Form in Nineteenth-Century New York, and A Companion to Herman Melville The experimental artist Peter Fischli once observed, “David Dowling’s Chasing the White Whale “There’s certainly a subversive pleasure in occupying yourself shares many qualities with the creature with something for an unreasonable length of time.” In this named in its title. It is a book that dives same spirit, David Dowling takes it upon himself to attend and report on the all-consuming annual Moby-Dick Marathon read- down into Moby-Dick’s inscrutable depths and there conducts its rigorous thinking ing at the New Bedford Whaling Museum. in and of an essential text. What enables The twenty-five-hour nonstop reading of Melville’s titanic epic has inspired this fresh look at Moby-Dick in light of its most Dowling’s academic scrutiny to achieve such richness is his willingness to breach devoted followers at the moment of their high holy day, January 3, 2009. With some trepidation, Dowling joined the ranks of the the surface of scholarly limit and jump full-bodied into the midst of the devoted Melvillians, among the world’s most obsessive literary aficiogeneral readers who travel to New Bedford nados, to participate in the event for its full length, from “Call to attend, for 25 hours, to the novel they Me Ishmael” to the destruction of the Pequod. Dowling not only survived to tell his tale, but does so with erudition, humor, and a love. Dowling is no embedded journalist, no mere objective observer; he is a parkeen sense for the passions of his fellow whalers. The obsession of participants at the marathon reading is star- ticipant, a marathoner, subject to whimsy and weariness, to inspiration and exhaustling, providing evidence of Ishmael’s remark that “all men live tion. And like Ishmael, Dowling imbues enveloped in whale-lines. All are born with halters round their his critical thinking with human warmth, necks; but it is only when caught in the swift, sudden turn of his reasoning with humor, giving us a death, that mortals realize the silent, subtle, ever-present perils book not only composed within Melville’s of life.” Dowling organizes his savvy analysis of the novel from own true method of ‘careful disorder,’ but its romantic departure to its sledge-hammering seas, detailing also one that manages to show how this the ship’s culture from the top brass to the common crew and scrutinizing the inscrutable in and through Melville’s great novel. nineteenth-century masterpiece has its hawsers fastened firmly to our own, how Chasing the White Whale offers a case study of the reading as a its ‘old’ issues—politics, environment, barometer of how Melville lives today among his most passionate and enthusiastic disciples, who include waterfront workers, economics, race relations, class structure, and culture—are our ‘new’ issues.” professors, naval officers, tattooed teens, and even a member of Congress. Dowling unearths Moby-Dick’s central role in these —Dan Beachy-Quick, author, A Whaler’s Dictionary lives, and by going within the local culture he explains how the novel could have developed such an ardent following and ubiquitous presence in popular culture within our technologyobsessed, quick-fix contemporary world. David Dowling is a lecturer of English at the University of Iowa. He is the author of Capital Letters: Authorship in the Antebellum Literary Market (iowa 2008) and numerous articles on nineteenth-century literature and culture.

november

270 pages . 6 illustrations 6 x 9 inches $24.95 paper original 1-58729-906-2, 978-1-58729-906-3

literature
6 university of iowa press . fall 2010

Little Big World
Collecting Louis Marx and the American Fifties
by Jeffrey Hammond
sightline books: The Iowa Series in Literary Nonfiction Patricia Hampl & Carl H. Klaus, series editors

“Collections are more about who one is than about what is collected. In Little Big World, Jeffrey Hammond’s resonant 1950s inner child speaks through the reflective sixty-something man about the culture and magic of a spectrum of action figure playsets through a lifetime.”—Marilynn Gelfman Karp, author, In Flagrante Collecto

LittleBIGWorld
C o l l e C t i n g an d t H e lo u i s m a r x f if t ies ameri C an

Jeffrey Hammond’s Little Big World: Collecting Louis Marx and the American Fifties is the story of a middle-aged man’s sudden Jeffrey Hammond compulsion to collect the toys of his childhood: specifically, themed playsets produced by the Louis Marx Toy Company. Hammond never made a conscious decision to become a collector of any kind, so he was surprised when his occasional “To be reunited with one’s boyhood toys is visits to web sites turned into hours spent gazing at, and then the secret dream of every grown man, no impulsively purchasing, the tiny plastic people and animals in matter how receding the hairline or large the Civil War set, the Fort Apache set, Roy Rogers Ranch, and the gut. Jeffrey Hammond delightfully takes Happi-Time Farm—just a few of the dozens of playsets the us back to the heyday of the 1950s, when Marx Company produced. Hammond interweaves childhood memories with reflections toys were small and bombs were big, and single-handedly rescues a nation of tiny on what they reveal about the culture and values of cold war plastic people from the savagery of time.” America, offering an extended meditation on toys as powerful catalysts for the imagination of both children and adults. Never —Jeff Porter, author, Oppenheimer Is Watching Me sentimentalizing his childhood in an effort to get his old toys back, Hammond exposes the dangers of nostalgia by casting an unsettling light on the culture of the fifties and the era’s lasting “Every collection contains a world, and in that world the collector sees the world at impact on those who grew up in it. large; such is the Emersonian lens effect. Writing in a lovably quirky voice, Hammond not only It is rare, though, to find in any recollected attempts to understand his personal connection to the Marx world such a special guide and circumnavitoys but also examines the psychology of his fellow eBay denigator as Jeffrey Hammond. He takes us to zens. In this warm, funny, and contemplative work, the reader the scene of recreation, where objects and encounters an online community of serious adult collectors imagination interweave to make the world who, as the author suspects, are driven to obsession by middleand its wonders new.”—William Davies aged nostalgia. When Hammond questions this preoccupaKing, author, Collections of Nothing tion with the past, he comes to realize that his own collecting has prevented him from moving forward. With this insight, he offers an insider’s take on the culture and psychology of collecting. Jeffrey Hammond is the George B. and Willma Reeves Distinguished Professor of Liberal Arts at St. Mary’s College of Maryland. He is the author of Small Comforts: Essays at Middle Age, This Place Where We Are, Ohio States: A Twentieth-Century Midwestern, The American Puritan Elegy: A Literary and Cultural Study, Sinful Self, Saintly Self: The Puritan Experience of Poetry, and Edward Taylor: Fifty Years of Scholarship and Criticism.

september

138 pages . 5 3/4 x 9 1/4 inches $22.95 cloth 1-58729-910-0, 978-1-58729-910-0

memoir

www.uiowapress.org

7

back in print

The Desert Year
by Joseph Wood Krutch illustrated by Rudolf Freund
sightline books: The Iowa Series in Literary Nonfiction Patricia Hampl & Carl H. Klaus, series editors

“In prose that holds something of the clear, dry light of the land he loves, [Krutch] shares with us his discoveries and his associations. They are richly worth sharing.” —Paul Horgan, New York Times Now back in print, Joseph Wood Krutch’s Burroughs Award– “Krutch’s Desert Year stands, with Edward winning The Desert Year is as beautiful as it is philosophically Abbey’s Desert Solitaire and Mary Austin’s profound. Although Krutch—often called the cactus Walden— Land of Little Rain, as a classic, must-read came to the desert relatively late in his life, his curiosity and work on the arid Southwest. Krutch, a delight in his surroundings abound throughout The Desert Year, drama critic and professor of English at whether he is marveling at the majesty of the endless dry sea, at Columbia, demonstrates that professional flowers carpeting the desert floor, or at the unexpected appeartraining in field biology is not required to ance of an army of frogs after a heavy rain. write evocatively about the natural world. Krutch’s trenchant observations about life prospering in What is required, instead, is a well-trained the hostile environment of Arizona’s Sonoran Desert turn to eye, a sympathetic heart, and an inquisitive weighty questions about humanity and the precariousness of mind. The Desert Year stands as a celebration our existence, putting lie to Western denials of mind in the of an austere landscape, a work of beauty “lower” forms of life: “Let us not say that this animal or even and joy. I recommend this book equally to this plant has ‘become adapted’ to desert conditions. Let us say rather that they have all shown courage and ingenuity in making old desert hands and to those who have not yet had the good fortune to wander among the best of the world as they found it. And let us remember that the cacti, heat-blasted arroyos, and shelterif to use such terms in connection with them is a fallacy then ing canyons of the Southwest.” it can only be somewhat less a fallacy to use the same terms in —Christopher Norment, author, connection with ourselves.” This edition contains thirty-three exacting drawings by noted Return to Warden’s Grove: Science, Desire, illustrator Rudolf Freund that are closely tied to Krutch’s unclut- and the Lives of Sparrows tered text. Together Freund’s drawings and Krutch’s words tell a “Krutch’s Thoreauvian observations of the story of ineffable beauty. southern Arizona desert force a renewed appreciation for all forms of desert life.” Joseph Wood Krutch (1893–1970) was the Brander Matthews —Arizona Highways Chair of Dramatic Literature at Columbia University for two decades and served as the Nation’s drama critic for nearly thirty years. A Burroughs Medal laureate, Krutch published more than a dozen books, including The Great Chain of Life (iowa reprint 2000). A noted illustrator and artist, Rudolf Freund contributed to numerous nature guides and during the 1960s worked at Yale’s Peabody Museum.

november

278 pages . 33 illustrations 5 1/2 x 8 inches $19.95 paper 1-58729-901-1, 978-1-58729-901-8

nature
8 university of iowa press . fall 2010

On Tact, & the Made Up World
poems by Michele Glazer
kuhl house poets Mark Levine & Ben Doller, series editors

“These poems seem balanced on the edge of an enormity, desperate to be changed or ‘stained’ by what’s unseen. Continually changing scale, stuttering and beginning again at the border where perspective suddenly turns ‘abstract,’ Michele Glazer’s poems remind me of Elizabeth Bishop’s in their dramatization of the human cost of our need to map and know and understand.” —Thomas Gardner, author, A Door Ajar: Contemporary Writers and Emily Dickinson

poems by michele glazer

On Tact, & the Made Up World

Michele Glazer’s poems take on questions of being and value, exploring not just what is, but how it is. The poems trouble borders—between self and other, old and young, sick and well, stranger and intimate; between physical states in processes of decay; and between line and phrase, sentence and interruption, “‘I think you see me for nearly what I am,’ writes Michele Glazer, confronting the prose and poem, resisting the desire for something irrefutable limits of language and observation with a with an abiding skepticism. rare stoicism and steady gaze reminiscent The poems are drawn to missteps in perception and in lanof Elizabeth Bishop. ‘The mind suffers / guage, those fractures that promise to crack open a surface to yield some other, greater meaning: “What is looked at is changed its margins of attention’ while offering us / what is looked for is gone.” From this collision of passion and these consolations: exhilarating visions and re-visions, great beauty where we least severity come poems that are strange and darkly beautiful. expect it, and an encounter with the tensions and sensuality of sound, speech, and Michele Glazer lives in Portland, Oregon, and teaches at Portsyntax. Glazer’s fiercely delicate sensibility land State University, where she directs the mfa Program in renders the seen and unseen world startling Creative Writing. Her previous books are It Is Hard to Look at What We Came to Think We’d Come to See and Aggregate of Disturbances and wondrous.”—Dora Malech, author, Shore Ordered Ocean and Say So (iowa 2004). “Michele Glazer’s amazing new book takes on the powers and anxieties of transformation, as its subjects emerge from cellular states into systems of complex, interdependent need; as healthy organisms blossom into decay and disintegration; as inarticulable depths of sorrow are syntactically forged into the most natural made thing, the most artificial living being, of all: the true poem. Glazer is cut from no one’s mold, as individual in her powers of attention and feeling as in her stark orneriness, proceeding with cautious immoderation ‘as if sideways was the straightest way.’ This is a work of gorgeous resilience. It reminds me why I need poetry in my life.” —Mark Levine, author, The Wilds

Child and Woman
The moon is bigger than the girl is. It rises as she bends, the woman. The girl behind her. And the moon rising Immense and round Filling up sight until knowing rests Like a yellow dragonfly on a yellow leaf. Until it flies the girl will not know it’s there. It is all the girl sees For now, the enormity and then the whiteness of it Before the others arrive strange With laughter, to the bathhouse.

72 pages . 6 1/8 x 9 inches $17.00 paper original 1-58729-908-9, 978-1-58729-908-7

september

poetry

www.uiowapress.org

9

The Made-Up Self
Impersonation in the Personal Essay
by Carl H. Klaus
“For decades, Carl Klaus convened a sometimes formal, sometimes informal seminar on his Ouroboros-like obsession, his lifelong study: the essay on the essay. Nobody knows the history of the essay with his depth, discernment, and passion, and we are fortunate to now have this distillation of a distinguished career’s work. . . . A brilliant and brilliantly pithy book.” —Tom Lutz, author, Doing Nothing: A History of Loafers, Loungers, Slackers, and Bums in America

self
T H E M A D E - U P

The human presence that animates the personal essay is surely IMPERSONATION one of the most beguiling of literary phenomena, for it comes IN THE PERSONAL across in so familiar a voice that it’s easy to believe we are listening to the author rather than a textual stand-in. But the “person” in a ESSAY personal essay is always a written construct, a fabricated character, its confessions and reminiscences as rehearsed as those of CARL H. KLAUS any novelist. In this first book-length study of the personal essay, Carl Klaus unpacks this made-up self and the manifold ways in which a wide range of essayists and essays have brought it to life. “As stimulating a discussion of the perBy reconceiving the most fundamental aspect of the personal sonal essay as I have ever encountered. essay—the I of the essayist—Klaus demonstrates that this seem- With the accumulated wisdom of a lifeingly uncontrived form of writing is inherently problematic, not time of practicing and teaching the form, Klaus thoughtfully probes and generously willfully devious but bordering upon the world of fiction. He upends his own and everyone else’s develops this key idea by explaining how structure, style, and voice determine the nature of a persona and our perception of it pieties. We are deeply in his debt.” —Phillip Lopate in the works of such essayists as Michel de Montaigne, Charles Lamb, E. B. White, and Virginia Woolf. Realizing that this per“Quite simply, Carl Klaus’s magnum opus: sona is shaped by the force of culture and the impress of personal experience, he explores the effects of both upon the point the book he has spent his entire writing life building toward: a persuasive and of view, content, and voice of such essayists as George Orwell, even moving summing up of everything he Nancy Mairs, Richard Rodriguez, and Alice Walker. Throughknows about the essay, especially the proout, in full command of the history of the essay, he calls up numerous passages in which essayists themselves acknowledge tean, inherently problematizing, stylized nature of the form. An extremely valuable the element of impersonation in their work. correction to any misconception of ‘nonficFinally, adding yet another layer to the made-up self, Klaus succumbs to his addiction to the personal essay by placing some tion as truth.’”—David Shields, author, Reality Hunger: A Manifesto of the different selves that various essayists have called forth in him within the essays that he has crafted so carefully for this “This book is a cabinet of finely balanced book. Thus over the course of this highly original, beautifully structured study, the personal essay is revealed to be more com- wonders: treatise and revelation, study and confession, provocation and lyric—but plex than many readers have supposed. With its lively analyses most of all, it’s a love letter to the essay and illuminating examples, The Made-Up Self will speak to anyform. Carl Klaus approaches his subject, one who wishes to understand—or to write—personal essays. the complicated construction of a self on the page, with the curiosity, intellect, and Carl H. Klaus, founding director of the University of Iowa’s innocence of an artist in love with and Nonfiction Writing Program, professor emeritus at the Univerawed by his materials. As he reflects on sity of Iowa, and coeditor of Sightline Books: The Iowa Series in Literary Nonfiction, is a diarist, essayist, and author or coauthor essayists past and present as well as on his own prose, Klaus’s insights grow ever more of several textbooks on writing. His nonfiction includes My Vegetable Love (iowa paperback 2000) and its companion Weathering intimate. His is a sensibility engaged in the deepest, lifelong work an essayist can Winter (iowa 1997) as well as Taking Retirement: A Beginner’s Diary perform: the creation, nurturing, and refinand Letters to Kate: Life after Life (iowa 2006). ing of that ever-elusive yet companionable made-up self.”—Lia Purpura, author, september On Looking 174 pages . 5 3/4 x 9 1/4 inches

$19.95s paper original 1-58729-913-5, 978-1-58729-913-1

literary criticism / reference / writing
10 university of iowa press . fall 2010

Poets on Teaching
A Sourcebook
edited by Joshua Marie Wilkinson

In response to a lack of source works for wide-ranging approaches to teaching poetry, award-winning poet Joshua Marie Wilkinson has gathered ninety-nine micro-essays for poets, critics, and scholars who teach and for students who wish to learn about the many ways poets think about how a poem comes alive from within—and beyond—a classroom. Not narrowly concerned with how to read poetry or how to write poetry, by virtue of their central concern with teaching poetry, the essays in this fresh and innovative volume address both reading and writing and give teachers and students useful tools for the classroom and beyond. “Here is an astonishingly generous gatherDivided into four sections—“Reflections | Poetics,” ing of poetic energies and imaginations aimed toward turning more and more “Exercises | Praxis,” “New Approaches to Poetry Courses classrooms into scenes of transformative and Methodology,” and “Talks | Directives”—Poets on Teaching engagement with the prime instrument provides practical, intelligent advice. “Reflections | Poetics” encompasses the most expansive approaches to teaching poetry, of our humanity, language. The essential work of exploratory play with words is prewhere poets reflect variously on what teachers can cultivate sented in heartening variety in its necessary in their classrooms. “Exercises | Praxis” consists of hands-on wildness, surprising pleasures, gravitas, approaches to reading and, especially, writing poems. “New illumination. This book is a catalogue of Approaches to Poetry Courses and Methodology” features invention: visionary, pragmatic, surprising, essays on rethinking specific courses, offering new ideas for fun—useful because it’s inspiring and vice course design and pedagogy. “Talks | Directives” contains a versa. The poets’ essays are themselves an series of more informal and conversational discussions geared toward becoming a stronger reader, writer, teacher, and student affirmation of the vital presence of poetry in our culture, proof and promise, Q.E.D.” of poetry. Poets on Teaching encompasses the most expansive approaches —Joan Retallack, coeditor, Poetry and to teaching poetry, where poets reflect variously on what teachers Pedagogy: The Challenge of the Contemporary, and author, The Poethical Wager can bring to and cultivate in their classrooms. As Sarah Gridley writes, “The best classes will be weirded out—punctured— made eccentric—by the creeping, crawling, flashing, or thuncontributors include dering in of something that is not in the classroom.” Exciting and vibrant, this book will be required reading for new and Dan Beachy-Quick . Stephen Burt experienced teachers alike. Joshua Clover . Forrest Gander Peter Gizzi . Kenneth Goldsmith Joshua Marie Wilkinson’s Lug Your Careless Body out of the Careful Sarah Gridley . Brenda Hillman Dusk won the Iowa Poetry Prize in 2005. His other poetry colJen Hofer . Lisa Jarnot lections include Selenography and The Book of Whispering in the Projection Booth, among others. With Christina Mengert, he Ada Limón . Sabrina Orah Mark edited 12 × 12: Conversations in 21st-Century Poetry and Poetics Laura Mullen . Aimee Nezhukumatathil (iowa 2009). He is an assistant professor of English at Loyola Jena Osman . D. A. Powell University Chicago. Srikanth Reddy . Martha Ronk Richard Siken . Ron Silliman Juliana Spahr . Cole Swensen Mark Yakich . Matthew Zapruder
maria svalina

august

350 pages . 6 1/8 x 9 1/4 inches $29.95s paper original 1-58729-904-6, 978-1-58729-904-9

poetry

www.uiowapress.org 11

The Tallgrass Prairie Center Guide to Seed and Seedling Identification in the Upper Midwest
by Dave Williams illustrated by Brent Butler
a bur oak guide

Prairie sunflower  Helianthus pauciflorus |
• round stem • opposite leaves • very short petiole • lance-shaped leaf • hair prominent on leaves and stem • leaves rough when rubbed
seedling description

Asteraceae, daisy family

“Seedling identification presents many difficult challenges, but help is now available if you are working with midwestern prairie species. The guide excels in helping users visualize the subtleties of morphology that help distinguish species from one another. This in itself makes the guide a valuable resource; add in its descriptions of seed germination biology and habitat information, and you have an indispensable resource for prairie reconstructionists. While seedling identification of most species is never going to be a simple task, this guide should, at the very least, help simplify the problem and increase the accuracy of your seedling identification.”—Thomas Rosburg, professor of biology, Drake University

Prairie sunflower emerges as a single stem. The stem feels round when rolled between the fingers. Leaves are lanceshaped and attached to the stem with a very short petiole. Hair on leaves and stem can be seen easily without a hand lens, and leaves are rough to the touch. Prairie sunflower seedlings cannot be distinguished from young seedlings of saw-tooth sunflower.
look-alikes

9 CM

butterfly milkweed: leaves and stem soft when rubbed common mountain mint: edged stem slender mountain mint: edged stem swamp milkweed: leaves smooth when rubbed saw-tooth sunflower: serrated leaf margins on older seedlings
germination and growth

Seed germination of prairie sunflower can be improved by either dry-cold or moist-cold stratification. This species grows in dry-mesic to dry soils and in full to partial sunlight. Prairie sunflower may take 2 or more years to flower. Seed photo: shape variants.
0 5

33

This lavishly illustrated guide to seeds and seedlings, crafted “For identification of plants, most books rely upon characteristics of the flowby Tallgrass Prairie Center botanist Dave Williams and illustrator Brent Butler, will insure that everyone from urban gardeners ers and fruits. Even then, some plants may prove to be tricky to identify. Dave to grassland managers can properly identify and germinate seventy-two species of tallgrass wildflowers and grasses in east- Williams has written a most innovative book on how to identify prairie plants in ern North Dakota, eastern South Dakota, southwestern Minnetheir seedling stages. Who would have sota, southwestern Wisconsin, northern Illinois, northwestern Indiana, Iowa, eastern Nebraska, eastern Kansas, northwestern thought this possible? Williams presents easily workable keys to the seedlings of Missouri, and eastern Oklahoma. seventy-two species, including both forbs Williams has created a brilliant, nearly foolproof system of and grasses, accompanied by superb identification and verification. Two primary keys lead to eleven photographs that use circles and trisecondary keys that link to characteristic groups of tallgrass angles as bullet points for the distinctive plants. To identify a seedling, use the primary key to discover its place in the secondary key, then turn to that characteristic group features of each seedling. Information on how to distinguish a particular speto find your seedling. Circles on each full seedling photograph cies from look-alikes is also very useful. correspond to close-up photographs; triangles on these closeAnyone wishing to identify prairie plants ups illustrate information in the text to further pinpoint identiin their seedling stages must have this fication. Drawings of leaves illuminate exact identification, and fine work.”—Robert H. Mohlenbrock, enlarged photographs of each seed provide yet another way to distinguished professor emeritus of confirm identification. botany, Southern Illinois University Thousands of seeds were sprouted in the Tallgrass Prairie Center’s greenhouse to provide seedlings close in size and development to those grown in the field near the end of their first season; research and photography took place over four years. Williams’s text for each species includes a thorough description, a comparison of similar species, and guidance for germination and growth. Anyone in the Upper Midwest who wishes to preserve the native vegetation of prairie remnants or reconstruct a tallgrass prairie of whatever size will benefit from the hundreds of photographs and drawings and the precise text in this meticulously prepared guide.
Seedlings_pages.indb 33

2/16/10 8:13:37 AM

Botanist Dave Williams is the program manager for the Prairie Institute at the Tallgrass Prairie Center, University of Northern Iowa. He has been actively engaged in prairie restoration and reconstruction since 1989. The graphic designer for the Tallgrass Prairie Center since 2006, artist Brent Butler has produced many publications on prairie conservation.

august

132 pages . 329 color photos 43 drawings . 1 map 6 1/8 x 9 1/4 inches $14.00 paper original 1-58729-902-x, 978-1-58729-902-5

nature / gardening

12 university of iowa press . fall 2010

The Tallgrass Prairie Center Guide to Prairie Restoration in the Upper Midwest
by Daryl Smith, Dave Williams, Greg Houseal, and Kirk Henderson
a bur oak guide

daryl smith | dave williams | greg houseal | kirk henderson

The Tallgrass Prairie Center Guide to Prairie Restoration in the Upper Midwest

Although less than 3 percent of the original vast landscape survives, the tallgrass prairie remains a national treasure, glowing with a vast array of colorful wildflowers in spring and summer, enriched by the warm reds and browns of grasses in fall and winter. This comprehensive manual, crafted by the staff of the Tallgrass Prairie Center at the University of Northern Iowa, will be an essential companion for everyone dedicated to planning, developing, and maintaining all types of prairie restorations and reconstructions in the tallgrass prairie region of Iowa, northern Illinois, northwestern Indiana, southwestern Wisconsin, southwestern Minnesota, eastern South Dakota, eastern Nebraska, “This manual, by four of the most knowlnorthwestern Missouri, and northeastern Kansas. edgeable prairie restorationists in the Focusing on conservation plantings, prairie recovery, native Upper Midwest, brings together absolutely landscaping in yards and at schools, roadside plantings, and everything that anyone, regardless of backpasture renovations, the authors—who collectively have more ground, needs to know for proper tallgrass than a hundred years of experience with prairie restoration— prairie restoration. In addition to chapters have created a manual that will be particularly useful to landon everything from planning to implementowners, conservation agency personnel, ecosystem managers, ing to managing a prairie, chapters on nanative-seeding contractors, prairie enthusiasts, teachers, and tive seed production and restoring prairies roadside managers. A wealth of color and black-and-white in public spaces and along roadsides cover photographs taken in the field as well as checklists and tables all that is necessary for successful prairie support the detailed text, which also includes useful online and restorations. This book is an absolute must print sources and references, a glossary, and lists of common for anyone in the business of prairie restoand scientific names of all plant species discussed. ration as well as a great read for any prairie The text is divided into five parts. Part i, “Reconstruction enthusiast.”— Robert H. Mohlenbrock, Planning,” provides an overall summary of the entire process, distinguished professor emeritus of botany, information about securing good-quality seed, and the design Southern Illinois University of seed mixes. In Part ii, “Implementing Reconstruction,” the authors consider ways to prepare and seed the site, manage the site in its first growing season, identify seedlings, and evaluate success. Part iii, “Prairie Restoration and Management,” Daryl Smith is the founding director of the deals with identifying and assessing prairie remnants, workTallgrass Prairie Center and professor of ing toward a predetermined restoration goal, and managing biology and science education at the Univerrestored prairie remnants and completed reconstructions, sity of Northern Iowa. Dave Williams is the including prescribed burning. Chapters in Part iv, “Special program manager for the Prairie Institute at Cases,” discuss the use of prairie in public spaces, roadside the Tallgrass Prairie Center. Greg Houseal vegetation management, and landscaping on a smaller scale in is the project manager for Natural Selecyards and outdoor classrooms. Part v, “Native Seed Production,” tions Seeds at the Tallgrass Prairie Center. describes the processes of harvesting, drying, cleaning, and Kirk Henderson manages the University of storing native seed as well as propagating and transplanting Northern Iowa Roadside Program for the native seedlings. Tallgrass Prairie Center. Although we cannot recreate the original blacksoil prairie, tallgrass prairie restoration offers the opportunity to reverse environmental damage and provide for the recovery of vital aspects of this lost ecosystem. Anyone in the Upper Midwest august who wishes to improve water quality, reduce flood damage, 338 pages . 20 color and 78 b&w support species diversity, preserve animal habitats, and enjoy photos . 4 drawings . 2 maps the changing panorama of grasses and wildflowers will benefit 25 tables . 6 1/8 x 9 1/4 inches from the clear, careful text and copious illustrations in this $27.50 paper original authoritative guide. 1-58729-916-x, 978-1-58729-916-2

nature / environment

www.uiowapress.org 13

Heretical Fictions
Religion in the Literature of Mark Twain
by Lawrence I. Berkove and Joseph Csicsila

“I balked a little when I read that ‘religion was a main concern of Twain during his entire life,’ but Berkove and Csicsila soon brought me round to their point of view. This is in good part because they are not interested in listing biblical allusions and splitting theological hairs. Rather, they stick to the high ground and bring nuanced literary perceptions to their task. Their theological foundation is strong, as is their feel for the importance of religion in Twain’s America, and they make clear that Twain “Every now and then a book comes along was a Calvinist in his basic understanding of God, heaven, hell, that illuminates Mark Twain’s literature like a lightning flash, startling us about free will, and human nature. They make an original and compelling case for the defining significance of religion in the works how casually we have overlooked a fundamental truth. Heretical Fictions is such a of Mark Twain.”—Forrest Robinson, author, In Bad Faith: The work, boldly redrawing the map of Twain Dynamics of Deception in Mark Twain’s America studies and ingeniously tracing a vital path of thought that underlies his major Challenging the prevailing belief that Mark Twain’s posiwritings.”—Alan Gribben, author, Mark tion on religion hovered somewhere between skepticism and Twain’s Library: A Reconstruction outright heresy, Lawrence Berkove and Joseph Csicsila marshal biographical details of Twain’s life alongside close readings of his work to explore the religious faith of America’s most beloved “An important contribution to Twain studwriter and humorist. They conclude not only that religion was an ies, Heretical Fictions offers a provocative important factor in Twain’s life but also that the popular concep- argument for the centrality of Calvinist religious thought in Twain’s works that tion of Twain as agnostic, atheist, or apostate is simply wrong. will surely spark significant debate. While Heretical Fictions is the first full-length study to assess the readers may balk at some of their concluimportance of Twain’s heretical Calvinism as the foundation sions, Berkove and Csicsila offer close of his major works, bringing to light important thematic ties readings of Twain’s major fiction that overthat connect the author’s early work to his high period and all mount a formidable and compelling from there to his late work. Berkove and Csicsila set forth the case for the pervasiveness of his struggles main elements of Twain’s “countertheological” interpretation with—and against—the implications of a of Calvinism and analyze in detail the way it shapes five of his major books—Roughing It, The Adventures of Tom Sawyer, Adventures Calvinist worldview. Their reading reveals a coherent thematic structure that underof Huckleberry Finn, A Connecticut Yankee in King Arthur’s Court, and girds some of Twain’s most apparently epiNo. 44, The Mysterious Stranger—as well as some of his major sodic major fiction, but more importantly, short stories. The result is a ground-breaking and unconvenit offers an intriguing explanation for many tional portrait of a seminal figure in American letters. of Twain’s apparently contradictory stances during his lifetime. At its strongest, this Lawrence I. Berkove is a professor emeritus of English at the book explores the serious moral inquiry University of Michigan–Dearborn. He is the editor of The Fightbeneath the surface of much of Twain’s ing Horse of the Stanislaus: Stories and Essays by Dan De Quille (iowa humor, arguing that Twain used fiction to 1990), The Sagebrush Anthology: Literature from the Silver Age of the test the emerging social and intellectual Old West, and The Best Short Stories of Mark Twain and coeditor of movements of his day against the Calvinist The Short Fiction of Ambrose Bierce as well as numerous articles on Twain. Joseph Csicsila is a professor of English at Eastern Mich- worldview, sometimes desperately seeking viable alternatives. Heretical Fictions argues igan University. He is the author of Canons by Consensus: Critical cogently that the apparent pessimism of Trends and American Literature Anthologies, coeditor of Centenary Twain’s last ten years was not the morbid Reflections on Mark Twain’s “No. 44, The Mysterious Stranger” and of the Prentice Hall Anthology of American Literature, editor of The Gilded preoccupation of an aging and embittered man but the compassionate culmination Age, and review editor of the Mark Twain Annual. of a lifelong quest to test the reluctant conclusions of a ‘God-haunted mind.’” —Sharon D. McCoy, University of Georgia

288 pages . 6 x 9 inches $39.95s paper original 1-58729-903-8, 978-1-58729-903-2

august

literary criticism

14 university of iowa press . fall 2010

library of congress

Twain in His Own Time
A Biographical Chronicle of His Life, Drawn from Recollections, Interviews, and Memoirs by Family, Friends, and Associates
edited by Gary Scharnhorst
writers in their 0wn time Joel Myerson, series editor

Never one to suffer fools gladly, especially if they wore crinolines, Mark Twain lost as many friends as he made, and he targeted them all indiscriminately. The first major American writer born west of the Mississippi River, he enjoys a reputation unrivaled in American literary history, and from the beginning of his career he tried to control that reputation by fiercely protecting his public persona. Not a debunking account of Twain’s life but “Unlike the modulated tone of formal biogrefreshingly immune from his relentless image making, Gary Scharnhorst’s Twain in His Own Time offers an anecdotal version raphy, there is a good deal of spice in these often wonderful stories, conclusions, and of Twain’s life over which the master spin-doctor had virtually judgments about Mark Twain. These memno control. ories—most fond, some poignant, and a The ninety-four recollections gathered in Twain in His Own few severe—create a fascinating suppleTime form an unsanitized, collaborative biography designed ment for readers looking to learn more to provide a multitude of perspectives on the iconic author. about Twain and his time.” Opening with an interview with his mother that has never —Michael J. Kiskis, Leonard Tydings been reprinted, it includes memoirs by his daughters and by Grant Professor of American Literature, men who knew him when he was roughing it in Nevada and Elmira College California, an interview with the pilot who taught him to navigate the Mississippi River, reminiscences from his illustrators E. M. Kemble and Dan Beard and two of his so-called adolescent “Twain in His Own Time is a delicious collecangelfish, contributions from politicians and from such literary tion of anecdote and fond, and sometimes not so fond, recollections of Mark Twain. figures as Dan De Quille and George Bernard Shaw, and one of the most damning assessments of his character—by the author Collectively, these ninety-plus interviews, essays, and reminiscences provide fasciFrank Harris—ever published. Each entry is introduced by a brief explanation of its historical nating crosslights on Twain—on his charand cultural context; explanatory notes provide further informa- acter, his craft, his many moods, and his humor. Individually, each selection offers a tion about people and places; and Scharnhorst’s introduction snapshot of the writer and the man at virtuand chronology of Twain’s eventful life are comprehensive and ally every stage of his life.”—Tom Quirk, detailed. Dozens of lively primary sources published incrementally over more than eighty years, most recorded after his death, author, Mark Twain and Human Nature illustrate the complexities of this flamboyant, outspoken per“Scharnhorst has edited a marvelous sonality in a way that no single biographer could. volume that presents Mark Twain as his friends knew him, for the good, the genius, Gary Scharnhorst is Distinguished Professor of English at the and the ugly. The expansive collection beUniversity of New Mexico. Coeditor of the journal American Literary Realism and editor every other year of the research annual gins with a witty and scholarly (in this rare instance not an oxymoron) introduction American Literary Scholarship, he is the author or editor of eighthat serves to beautifully contextualize the teen books, most recently Bret Harte: Opening the American Literary life and times and person of Samuel L. West, selected by the Western Literature Association as the Clemens. This volume is an utter necessity Outstanding Book in Western American Literary Criticism for 2000, and Mainly the Truth: Interviews with Mark Twain, 1871–1910. for Twain scholars and researchers and will charm and fascinate a general audience. All current and future Twain scholars owe Professor Scharnhorst an enormous debt of gratitude on his accomplishment.” —Laura Skandera Trombley, author, Mark Twain’s Other Woman: The Hidden november Story of His Final Years 296 pages . $27.95s paper original

1-58729-914-3, 978-1-58729-914-8

literary criticism / biography
www.uiowapress.org 15

library of congress

Bad Land Pastoralism in Great Plains Fiction
by Matthew J. C. Cella foreword by Wayne Franklin
american land and life series Wayne Franklin, series editor

Bad Land Pastoralism in Great Plains Fiction
matthew j. c. cella

“Matthew Cella offers an informative—and transformative— ‘map of words’ for the Great Plains. It will appeal not only to scholars but to anyone seeking a new harmony between literary art and ecological responsibility in the grasslands. An inspiring, hope-filled journey.”—John T. Price, author, Not Just Any Land: A Personal and Literary Journey into the American Grasslands and Man Killed by Pheasant and Other Kinships At the core of this nuanced book is the question that ecocritics have been debating for decades: what is the relationship between aesthetics and activism, between art and community? “Drawing on the rich body of literary and critical writing from the Great Plains, By using a pastoral lens to examine ten fictional narratives that Bad Land Pastoralism in Great Plains Fiction chronicle the dialogue between human culture and nonhuman offers sharp analyses of peoples in a denature on the Great Plains, Matthew Cella explores literary manding land. Focused on the region’s treatments of a succession of abrupt cultural transitions from intertwined ecology, history, and cultures the Euroamerican conquest of the “Indian wilderness” in the as found in its valorized texts, this book nineteenth century to the Buffalo Commons phenomenon in extends our understanding of the shapthe twentieth. By charting the shifting meaning of land use and ing of the unique North American literary biocultural change in the region, he posits this bad land—the environment stretching from Texas north arid West—as a crucible for the development of the human to Alberta, Saskatchewan, and Manitoba. imagination. Matthew Cella imaginatively pairs texts Each chapter deals closely with two novels that chronicle the from Cooper and Cather through to Annie same crisis within the Plains community. Cella highlights, for Proulx, Thomas King, and James Welch example, how Willa Cather reconciles her persistent romantiin order to define a new pastoralism, cism with a growing disillusionment about the future of rural one born of the ‘great facts’ of the Great Nebraska, how Tillie Olsen and Frederick Manfred approach the tragedy of the Dust Bowl with strikingly similar visions, and Plains environment. Richly detailed and profoundly environmentally conscious, how Annie Proulx and Thomas King use the return of the bufCella’s study extends critical discussion falo as the centerpiece of a revised mythology of the Plains as a palimpsest defined by layers of change and response. By illumi- of the region’s writing in ways acute, focused, and compelling.” nating these fictional quests for wholeness on the Great Plains, —Robert Thacker, Charles A. Dana ProfesCella leads us to understand the intricate interdependency of sor of Canadian Studies and English, St. people and the places they inhabit. Lawrence University, and author, The Great Cella uses the term “pastoralism” in its broadest sense to Prairie Fact and Literary Imagination mean a mode of thinking that probes the relationship between nature and culture: a discourse concerned with human engagement—material and nonmaterial—with the nonhuman comMatthew Cella is a visiting assistant munity. In all ten novels discussed in this book, pastoral expeprofessor of English at Shippensburg rience—the encounter with the Beautiful—leads to a renewed University of Pennsylvania. He has been understanding of the integral connection between human and both managing editor and book review nonhuman communities. Propelling this tradition of bad land editor for MELUS, the journal of the pastoralism are an underlying faith in the beauty of wholeness Society for the Study of the Multi-Ethnic that comes from inhabiting a continuously changing bioculLiterature of the United States. tural landscape and a recognition of the inevitability of change. The power of story and language to shape the direction of that change gives literary pastoralism the potential to support an alternative series of ideals based not on escape but on stewardship: community, continuity, and commitment.

august

254 pages . 6 x 9 inches $34.95s paper original 1-58729-907-0, 978-1-58729-907-0 16 university of iowa press . fall 2010

literary criticism / nature

Representing the Past
Essays in Performance Historiography
edited by Charlotte M. Canning and Thomas Postlewait
studies in theatre history and culture Thomas Postlewait, series editor

“Representing the Past is required reading for any serious scholar of theatre and performance historiography: original in its conception, global in its reach, thought-provoking and transformative in its effects.”—Gay Gibson Cima, author, Early American Women Critics: Performance, Religion, Race

How do historians represent the past? How do theatre historians represent performance events? The fifteen challenging essays in Representing the Past: Essays in Performance Historiography focus on the fundamental epistemological conditions and pro- “Unusually well conceived, this collection of essays by leading scholars in theatre studcedures that serve as the foundational ideas that guide all hisies exemplifies a back-to-the-basics aptorians in their endeavors. Unified by their investigations into how best to understand and then represent the past, this diverse proach that is as welcome as it is timely. We group of scholars in the field of theatre history and performance are reminded just how difficult it is to capstudies offers insights into the abiding issues that all historians ture the most elusive of historical objects— a theatrical performance—but also that we face in the task of representing human events and actions. must keep trying.”—Martin Puchner, Five primary ideas provide the topics as well as the intelauthor, The Drama of Ideas: Platonic lectual parameters for this book: archive, time, space, identity, Provocations in Theater and Philosophy and narrative. Taking these as the conceptual framework for historical research and analysis, the essayists cover an expansive “This collection of essays will change the range of case studies and problems in the historical study of basic rules of theatre and performance performance from the Americas to Africa and from Europe to historiography and establish some comIndia and China. Considering not only how historians think pletely new ones. At the same time as it about these concepts in their research and writing but more pointedly—and historiographically—how they think with them, strengthens the bridges to the disciplines of general history and cultural history, it the essayists demonstrate the power and centrality of each of these five ideas in historical scholarship from initial research to opens up many new venues and perspectives to the histories of the stage arts. It the writing of essays and books. sets up the basic categories for perforPerformance history has a diversity of identities, locations, mance historiography research and shows sources, and narratives. This compelling engagement with the concepts essential to historical understanding is a valuable con- in depth how these categories can be applied. This book will become a central point tribution to the historiography of performance—for students, teachers, and the future of the discipline itself. Expanding upon of reference for students and teachers in the field for many years to come.” its classic predecessor, Interpreting the Theatrical Past: Essays in the —Freddie Rokem, author, Performing Historiography of Performance, this exciting new collection illustrates the contemporary richness of historical thinking and writ- History: Theatrical Representations of the Past in Contemporary Theatre and Philosophers and ing in the field of performance history. Thespians: Thinking Performance Charlotte Canning is a professor in the Department of Theatre and Dance at the University of Texas at Austin. She is the author of Feminist Theaters in the U.S.A.: Staging Women’s Experience and The Most American Thing in America: Circuit Chautauqua as Performance (iowa 2005), which won the Barnard Hewitt Award for Excellence in Theatre History. Thomas Postlewait has taught in the theatre departments at Cornell University, MIT, the University of Georgia, Indiana University, and Ohio State University; he is currently an affiliate professor of theatre history at the october University of Washington. Coeditor of Interpreting the Theatrical 452 pages . 14 photos Past: Essays in the Historiography of Performance (iowa 1989) and 5 drawings . 6 x 9 inches Theatricality, most recently he is the author of The Cambridge $29.95s paper original Introduction to Theatre Historiography.

1-58729-905-4, 978-1-58729-905-6

theatre

www.uiowapress.org 17

courtesy bodleian library

Pink Pirates
Contemporary American Women Writers and Copyright
by Caren Irr

“Irr brings together compelling readings of contemporary American women writers, controversies over copyright, and feminist theory; it is also an impressive review and analysis of intellectual property law over the past two centuries. The readings of Le Guin, Barrett, Acker, and Silko are smart, meticulously well “Caren Irr’s clever readings of intellectual versed in the secondary literature, and largely successful. Her property cases and fictional texts expose argument is entirely convincing and the book is learned, lively, smart, and timely and should appeal to a wide array of readers in the complexity of copyright, what it literary studies, law, and the general public.”—Michael Bérubé, means not only legally but also metaphorically. By examining how women author, The Left at War writers have grappled with the concept and significance of ownership, Irr reveals Today, copyright is everywhere, surrounded by a thicket of their feminist critiques of market logic no-trespassing signs that mark creative work as private propand their endorsement of what she calls erty. Caren Irr’s Pink Pirates asks how contemporary novelists— ‘positive piracy.’ Pink Pirates’s creative, represented by Ursula Le Guin, Andrea Barrett, Kathy Acker, interdisciplinary approach gave me new and Leslie Marmon Silko—have read those signs, arguing that ways of thinking about motherhood, for feminist writers in particular copyright often conjures up sexual pleasure, domesticity, and the the persistent exclusion of women from ownership. Bringing commons.”—Alison Piepmeier, author, together voices from law schools, courtrooms, and the writer’s Girl Zines: Making Media, Doing Feminism desk, Irr shows how some of the most inventive contemporary feminist novelists have reacted to this history. Explaining the complex, three-century lineage of AngloAmerican copyright law in clear, accessible terms and wrestling with some of its most deeply rooted assumptions, Irr sets the stage for a feminist reappraisal of the figure of the literary pirate in the late twentieth century—a figure outside the restrictive bounds of U.S. copyright statutes. Whether illuminating the gendered problem of intellectual property or providing smart, meticulous, well-versed discussions of contemporary literary work, Irr presents a comprehensive and convincing argument for the salience of pink piracy. Going beyond her readings of contemporary women authors, Irr’s exhaustive history of how women have fared under intellectual property regimes speaks to broader political, social, and economic implications and engages digital-era excitement about the commons with the most utopian and materialist strains in feminist criticism. Caren Irr is professor in the Department of English at Brandeis University. She is the author of The Suburb of Dissent: Cultural Politics in the United States and Canada during the 1930s and coeditor of On Jameson: From Postmodernism to Globalization and Rethinking the Frankfurt School: Alternative Legacies of Cultural Critique.

©

248 pages . 6 x 9 inches $34.95s paper original 1-58729-912-7, 978-1-58729-912-4

october

literary criticism

18 university of iowa press . fall 2010

Urban Pastoral
Natural Currents in the New York School
by Timothy Gray
contemporary north american poetry series Alan Golding, Lynn Keller, & Adalaide Morris, series editors

Urban paStoral
Natural Currents in the New York School

“Timothy Gray’s Urban Pastoral takes on the utterly worthwhile task of considering the New York School’s relationship to both nature writing and nature itself. Speculative, awed, conversational, and intricate in turn, Gray’s study provides uncommon contexts and a refreshing cast of characters through which to consider some of the most exciting, beautiful writing of our time. What moves me most, however, is Gray’s benevolent yet thorough dedication throughout to dismantling any ‘heuristic binaries’ (city/country, domesticity/mobility, etc.) that might impede our full enjoyment and understanding of the poems and the complex lives from which they emanated.” —Maggie Nelson, author, Women, the New York School, and Other True Abstractions and Bluets

T i m o T h y G r ay

Contemporary north ameriCan poetry SerieS

“. . . We knew Koch, Guest, O’Hara, Ashbery, and Schuyler thrived on the Were the urbane, avant-garde poets of the New York School gritty, buoyant clank of city life, but that secretly nature lovers like Edward Abbey, Wendell Berry, and Annie Dillard? In Urban Pastoral, Timothy Gray urges us to recon- they drew from a secret fountain there only the Brill Building really let on, until sider our long-held appraisals of Frank O’Hara, John Ashbery, now. In seven crisply argued, essayistic Barbara Guest, and their peers as celebrants of cosmopolitan chapters, Gray lets us see and feel the culture and to think of their more pastoral impulses. As Gray invisible paradise glowing within the visargues, flowers are more beautiful in the New York School’s ible form of the subway, the skyscraper, garden of verse because no one expects them to bloom there. the tenement bank, the tattoo parlor, a Along with the poets whose careers he chronicles, Gray heaven ‘growing in the street / right up shows us that startlingly new approaches to New York City art through the concrete, but soft and sweet and literature emerge when natural and artificial elements coland dreaming.’”—Kevin Killian, author, lide kaleidoscopically, as when O’Hara likens blinking stars Little Men to a hairnet, when painter Jane Freilicher places a jar of irises in her studio window to mirror purple plumes rising from “Written in a style that is admirably clear Consolidated Edison smokestacks, or when poet Kathleen and fluid, sophisticated without succumbNorris equates rooftop water towers with grain silos as she ing to jargon, and faithful to complex plans her escape route to the Great Plains. ideas without oversimplification, Tim The New York School poets and their coterie have become a staple of poetics, literary criticism and biography, cultural stud- Gray’s Urban Pastoral is an engaging meditation on a topic of central importance to ies, and art criticism, but Urban Pastoral is the first study to offer sustained discussion of the pastoral and natural imagery within the New York School: while many literary critics touch on or allude to the urban pasthe work of these renowned “city poets” and to so consider toral in their discussions of the New York poets from the second generation of the New York School— poets, until now no one has dedicated a Diane di Prima, Jim Carroll, and Kathleen Norris. book-length study to the subject. . . . As Moving beyond the traditional boundaries of literary criticism to embrace the creative spirit of New York poets and artists, the first sustained treatment and explicit conceptualization of the urban pastoral, Gray’s accessible, lively, and blithely experimental book will this work should prove helpful to scholars shape future discussions of contemporary urban literature and of other periods who are searching for literary nature writing, offering new evidence of avant-garde guidance.”—Susan Rosenbaum, author, poetry’s role within those realms. Professing Sincerity: Modern Lyric Poetry, Commercial Culture, and the Crisis in Reading Timothy Gray is a professor of English at the College of Staten

Island, City University of New York, and the author of Gary Snyder and the Pacific Rim: Creating Countercultural Community (iowa 2006).

302 pages . 6 x 9 inches $34.95s paper original 1-58729-909-7, 978-1-58729-909-4

october

literary criticism / art history
www.uiowapress.org 19

For Us, What Music?
The Life and Poetry of Donald Justice
by Jerry Harp

“If it is sometimes hard to tell whether art imitates life or vice versa, the quiet life and art of Donald Justice pose a challenge to the literary biographer, who must place us on intimate terms with both the art and the life of his unassuming subject. In For Us, What Music? Jerry Harp gives us a critical biography that deftly negotiates the dialectic between life and art, balancing detailed scholarly readings of Justice’s poems with illuminating anecdotes from the author’s works and days. As a result, our understanding of this modest yet extraordinary writer is both complicated and enriched. Displaying the tact, depth, and casual elegance of the poet himself, Harp does his legendary subject justice.”—Srikanth Reddy, author, Facts for Visitors “Admirers of Donald Justice’s work will find a wealth of fresh insights in this book, and When Donald Justice wrote in “On a Picture by Burchfield” those new to the poems an invaluable inthat “art keeps long hours,” he might have been describing troduction. Particularly interesting is Jerry his own life. Although he early on struggled to find a balance Harp’s detective work, part research and between his life and art, the latter became a way of experiencing part poet’s intuition, into the musical and his life more deeply. He found meaning in human experience by literary influences on Justice’s work. His applying traditional religious language to his artistic vocation. exploration of the poems’ metrics illumiCentral to his work was the translation of the language of devonates their complexity as musical compotion to a learned American vernacular. Art not only provided him sitions, and his meticulous close reading with a wealth of intrinsically worthwhile experiences but also of the poems brings alive the life as well as granted rich and nuanced ways of experiencing, understanding, the work of a great American poet.” and being in the world. For Donald Justice—recipient of some —Chase Twichell, author, Horses Where the of poetry’s highest laurels, including the Pulitzer Prize, the Answers Should Have Been: New and Selected Bollingen Prize, and the Lannan Literary Award for Poetry—art Poems and Dog Language was a way of life. Because Jerry Harp was Justice’s student, his personal knowledge of his subject—combined with his deep understanding of Justice’s oeuvre—works to remarkable advantage in For Us, What Music? Harp reads with keen intelligence, placing each poem within the precise historical moment it was written and locating it in the context of the literary tradition within which Justice worked. Throughout the text runs the narrative of Justice’s life, tying together the poems and informing Harp’s interpretation of them. For Us, What Music? grants readers a remarkable understanding of one of America’s greatest poets. Jerry Harp is the author of three books of poems, including Urban Flowers, Concrete Plains. He is coeditor (with Jan Weissmiller) of A Poetry Criticism Reader (iowa 2006) and author of “Constant Motion”: Ongian Hermeneutics and the Shifting Ground of Early Modern Understanding. He teaches at Lewis and Clark College in Portland, Oregon.

198 pages . 6 x 9 inches $32.95s paper original 1-58729-911-9, 978-1-58729-911-7

december

literary criticism / biography
20 university of iowa press . fall 2010

nancy crampton

new edition

The Iowa Precinct Caucuses
The Making of a Media Event, Third Edition
by Hugh Winebrenner and Dennis J. Goldford
a bur oak book

“This revised and expanded edition of The Iowa Precinct Caucuses: The Making of a Media Event offers new chapters on the 2000, jonathan corum 2004, and 2008 precinct caucuses and their impact on candidate fortunes. The feast of details served up by Winebrenner and Goldford reaffirms the adage that Iowa is important because it “This continues to be the definitive analysis of the Iowa caucuses in the presidential goes first rather than being first because it is important.” nominating process. Winebrenner and —Emmett H. Buell, Jr., emeritus professor of political science, Goldford update the coverage to include Denison University the three presidential campaigns in the 2000s while providing a balanced take on Although some people refer to Iowa as “flyover country,” the origins, influence, and pros and cons presidential candidates and political reporters in the national of the Iowa caucuses. Is this any way to press corps have no difficulty locating the state every four years nominate a president? Probably not, but at the beginning of presidential primary season. this book is the way to understand this key When Iowa Democrats pushed forward their precinct cauaspect of the process, warts and all.” cuses in 1972, the Iowa caucuses became the first presidential —Walter J. Stone, professor of political nominating event in the nation. Politicos soon realized the impact of Iowa’s new status and, along with the national media, science, University of California, Davis promoted the caucuses with a vengeance. The Iowa Precinct Caucuses chronicles how the caucuses began, how they changed, and “Terrific. Whether you’re a first-time visitor or making your regular trek to the unique starting in 1972 how they became fodder for and manipulated world of Iowa presidential politics, this is a by the mass media. Hugh Winebrenner and Dennis J. Goldford must-read guide for the political traveler. argue that the media have given a value to the Iowa caucuses Full of details on the voters, candidates, completely out of proportion to the reality of their purpose and and media, Winebrenner and Goldford procedural methods. In fact, the nationally reported “results” are contrived by the Iowa parties to portray a distorted picture of show how and why Iowa does what it does.”—Steven Thomma, White House the process. As presidential primaries have grown in the media Correspondent, McClatchy Newspapers spotlight and superseded the parties’ conventions, Iowa has become a political proving ground for the confident, the hopeful, and the relatively unknown, but at what cost to the country? The third edition of this classic book has been updated to include the elections of 2000, which saw the first winner of the Iowa caucuses to reach the White House since 1976; of 2004 and the roller-coaster fortunes of Howard Dean and John Kerry; and of 2008 and the unlikely emergence of Barack Obama as a presidential contender. Hugh Winebrenner is emeritus professor of public administration at Drake University, where he was Thomas F. Sheehan Distinguished Professor of Public Administration and dean of the College of Business and Public Administration. Dennis Goldford is professor of politics at Drake University. He is author of The American Constitution and the Debate over Originalism.

380 pages . 6 x 9 inches $34.95s paper original 1-58729-915-1, 978-1-58729-915-5

december

politics / political science
www.uiowapress.org 21

new in paper

In for the Long Haul
The Life of John Ruan
by William B. Friedricks
a bur oak book

bestselling laminated fold-out guides
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Mushrooms in Your Pocket
Driven by grit and determination during the Depression, John Ruan parlayed a one-truck business into Ruan Transportation Management Systems, one of the nation’s leading trucking, leasing, and logistics companies. The trucking business made John Ruan one of the wealthiest and most influential people in Iowa and was the foundation for his vast fortune, which included interests in insurance, banking, financial services, international trade, and real estate. In the 1970s and 80s, Ruan led Des Moines’s renaissance with the construction of the 36-story original Ruan Center, the Marriott Hotel tower, and the Two Ruan Center office complex. But his contributions reached far beyond the confines of Iowa. As a philanthropist, Ruan was a long-time sponsor of the World Food Prize, which recognizes the importance of a nutritious and sustainable food supply for all people. Based on extensive interviews with Ruan, family members, business associates, friends, and colleagues as well as privately held papers and archives, In for the Long Haul presents a discerning portrait of this hard-charging yet compassionate businessman. William Friedricks is professor of history at Simpson College and director of the Iowa History Center. He was recently named the inaugural winner of the Iowa History Prize, awarded by Humanities Iowa to help support and promote awareness of and interest in Iowa history. He is the author of several books, including Investing in Iowa: The Life and Times of F. M. Hubbell and Covering Iowa: The History of the Des Moines Register and Tribune Company, and editor of the book series Iowa and the Midwest Experience.

A Guide to the Mushrooms of Iowa by Donald M. Huffman & Lois H. Tiffany $9.95 0-87745-887-1 978-0-87745-887-6

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A Guide to Plants of the Tallgrass Prairie by Mark Müller $9.95 0-87745-683-6 978-0-87745-683-4

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biography

22 university of iowa press . fall 2010

bestselling backlist
When War Becomes Personal
Soldiers’ Accounts from the Civil War to Iraq edited by Donald Anderson $22.00s pb 1-58729-680-2 978-1-58729-680-2

A Practical Guide to Prairie Reconstruction
by Carl Kurtz $14.00 pb 0-87745-745-x 978-0-87745-745-9

A Bountiful Harvest

Midnight Assassin

A Murder in America’s Heartland by Patricia L. Bryan & Thomas Wolf $19.95 pb 1-58729-605-5 978-1-58729-605-5

The Midwestern Farm Photographs of Pete Wettach, 1925–1965 by Leslie A. Loveless $36.00 cl 0-87745-813-8 978-0-87745-813-5

Deep Nature

Photographs from Iowa

Photographs by Linda and Robert Scarth, Essay by John Pearson

Sarah’s Seasons

An Amish Diary and Conversation by Martha Moore Davis $14.50 pb 0-87745-742-5 978-0-87745-742-8

Where the Sky Began

Land of the Tallgrass Prairie by John Madson $19.95 pb 0-87745-861-8 978-0-87745-861-6

Photographs from Iowa photographs by Linda & Robert Scarth essay by John Pearson $29.95 cl 1-58729-824-4 978-1-58729-824-0

Deep Nature

The Butterflies of Iowa

Oneota Flow

The Upper Iowa River and Its People by David S. Faldet $27.50 pb 1-58729-780-9 978-1-58729-780-9

The Emerald Horizon

The History of Nature in Iowa by Cornelia F. Mutel $27.50 pb 1-58729-632-2 978-1-58729-632-1

by Dennis W. Schlicht, John C. Downey, & Jeffrey C. Nekola $29.95 pb 1-58729-533-4 978-1-58729-533-1

A Peculiar People

Poems from Guantánamo
The Detainees Speak edited by Marc Falkoff $13.95 cl 1-58729-606-3 978-1-58729-606-2
LANCE M. FOSTER

First We Read

Then We Write
e Process

Iowa’s Old Order Amish An Expanded Edition by Elmer Schwieder & Dorothy Schwieder $19.95 pb 1-58729-805-8 978-1-58729-805-9

e m e r s o n on the Creativ

Robert D. Richardson
author of William James and Emerson

frontier
forts of Iowa
IndIans, Traders, and soldIers, 1682–1862

First We Read, Then We Write

THE INDIANS OF

IOWA

Emerson on the Creative Process by Robert D. Richardson $19.95 cl 1-58729-793-0 978-1-58729-793-9

Edited by william E. whittaker

Frontier Forts of Iowa

The Indians of Iowa

by Lance M. Foster $16.95 pb 1-58729-817-1 978-1-58729-817-2

Wildflowers of the Tallgrass Prairie

A Potter’s Workbook

by Clary Illian $26.00 pb 0-87745-671-2 978-0-87745-671-1

The Upper Midwest Second Edition by Sylvan T. Runkel & Dean M. Roosa $29.95 pb 1-58729-796-5 978-1-58729-796-0

Indians, Traders, and Soldiers, 1682–1862 edited by William E. Whittaker $29.95 pb 1-58729-831-7 978-1-58729-831-8

Nothing to Do but Stay
My Pioneer Mother by Carrie Young $16.00 pb 0-87745-329-2 978-0-87745-329-1

Sunday Afternoon on the Porch

A Dictionary of Iowa Place-Names

Reflections of a Small Town in Iowa, 1939–1942 photographs by Everett W. Kuntz text by Jim Heynen $29.95 cl 1-58729-653-5 978-1-58729-653-6

by Tom Savage $19.95 pb 1-58729-531-8 978-1-58729-531-7

www.uiowapress.org 23 www.uiowapress.org 23

index by author ® 
Berkove, Lawrence I. 14 Butler, Brent 12 Canning, Charlotte M. 17 Cella, Matthew J. C. 16 Csicsila, Joseph 14 Dowling, David 6 Friedricks, William B. 22 Glazer, Michele 9 Goldford, Dennis J. 21 Gray, Timothy 19 Hamby, Barbara 2 Hammond, Jeffrey 7 Harp, Jerry 20 Henderson, Kirk 13 Houseal, Greg 13 Irr, Caren 18 Klaus, Carl H. 10 Krutch, Joseph Wood 8 McGehee, Claudia 4, 5 McNally, John 1 Phipps-Kettlewell, Marilène 3 Postlewait, Thomas 17 Scharnhorst, Gary 15 Smith, Daryl 13 Wilkinson, Joshua Marie 11 Williams, Dave 12, 13 Winebrenner, Hugh 21

index by title ® 
Bad Land Pastoralism in Great Plains Fiction 16 Chasing the White Whale 6 The Company of Heaven 3 The Creative Writer’s Survival Guide 1 The Desert Year 8 For Us, What Music? 20 Heretical Fictions 14 In for the Long Haul 22 The Iowa Precinct Caucuses 21 Heretical Fictions 14 Lester Higata’s 20th Century 2 Little Big World 7 The Made-Up Self 10 On Tact, & the Made Up World 9 Pink Pirates 18 Poets on Teaching 11 Representing the Past 17 The Tallgrass Prairie Center Guide to Prairie Restoration in the Upper Midwest 13 The Tallgrass Prairie Center Guide to Seed and Seedling Identification in the Upper Midwest 12 Twain in His Own Time 15 Urban Pastoral 19 Where Do Birds Live? 4, 5

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