UIP Fall2012 Hires

I O W A

fall2012

wheregreat

writing begins

American History 13Biography 13Cooking 1Crafts 1Essays 4–5Fiction 2–3Iowa / Regional 1, 9, 10–12

Jewish Studies 19Literary Criticism 14–18, 20Medicine 5Memoir 8–9Nature 10–12, 21Poetry 6–7, 15Theatre 19

index by subjectFall 2012 Titles 1–19New in Paper 20–21New Regional & Iowa Titles 1, 9–12Bestselling Backlist 22–23Order Form 24Sales Information 25

contents

www.uiowapress.org | buroakblog.blogspot.com

Recently published by the

University of Iowa Press

IOWA where great writing beginsThe 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.

8

Samuel Cohen and Lee Konstantinou

Americanthenew canon

[ The Legacy of ]

[ Edited by ]

David Foster Wallace

in the memory of the map

a cartographic memoir

christopher norment

CITY OF theBIG SHOULDERS

An Anthology of Chicago Poetry

e d i t e d b y r y a n g. v a n c l e a v e

t r e s p a s s e s

l a c y m. j o h n s o n

a m e m o i r

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essayists on the

ESSAY

Montaigne to Our TimeEdited by

carl h. klaus and ned stuckey-french

Man Killed by Pheasant

and Other Kinships

John T. Price

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“Whether he is writing about fatherhood, or marriage, or gardening, or snow geese, readers will be captivated by his honest and funny search

for meaning, for belonging, for home.”—Boston Globe

1www.uiowapress.org

september224 pages . 12 photos . 6 x 9 inches $19.95 paper original1-60938-115-7, 978-1-60938-115-8cooking / crafts

Always Put in a Recipe and Other Tips for Living from Iowa’s Best-Known Homemakerby Evelyn BirkbyA Bur OAk BOOkHolly Carver, series editor

“I loved this book—Evelyn Birkby is a National Treasure.”—Fannie Flagg

In 1949, IOwA fArm wIfe Evelyn Birkby began to write a weekly column entitled “Up a Country Lane” for the Shenandoah Evening Senti-nel, now called the Valley News. Sixty-three years, one Royal typewriter, and five computers later, she is still creating a weekly record of the lives and interests of her family, friends, and neighbors. Her percep-tive, closely observed columns provide a multigenerational biography of rural and small-town life in the Midwest over decades of change. Now she has sifted through thousands of columns to give us her fa-vorites, guaranteed to delight her many longtime and newfound fans.

Evelyn begins with her very first column, whose focus on the Christmas box prepared by a companionable group of farm wives, the constant hard work of farming, and an encounter with an elderly stranger over a yard of red gingham sets the tone for future columns. Optimistic even in the wake of sorrow, generous-spirited but not smug, humorous but not folksy, wise but not preachy, Evelyn wel-comes the adventures and connections that each new day brings, and she masterfully shares them with her readers.

Tales of separating cream on the back porch at Cottonwood Farm, raising a teddy bear of a puppy in addition to a menagerie of other animals, surviving an endless procession of Cub and Boy Scouts, ap-preciating a little boy’s need to take his toy tractor to church, blowing out eggs to make an Easter egg tree, shopping for bargains on the day before Christmas, camping in a converted Model T “house car,” and adjusting to the fact of one’s tenth decade of existence all merge to form a world composed of kindness and wisdom with just enough hu-mor to keep it grounded. Recipes for such fare as Evelyn’s signature Hay Hand Rolls prove that the young woman who was daunted by her editor’s advice to “put in a recipe every week” became a talented cook. Each of the more than eighty columns in this warmhearted collection celebrates not a bygone era tinged with sentimentality but a continu-ing tradition of neighborliness, Midwest-nice and Midwest-sensible.

In addition to writing a weekly newspaper column since 1949, native Iowan Evelyn Birkby has been a writer and broadcaster for KMA Radio and Kitchen-Klatter, part of the longest-running homemaker program in the history of radio. In 1996 she represented Iowa at the Smithsonian Folklife Festival; in 1998 she was named an Iowa Master Farm Homemaker, and in 2009 Iowa Public Television featured her in a documentary about radio homemakers. She is the author of ten books, including Neighboring on the Air: Cooking with the KMA Radio Homemakers (Iowa, 1991) and Up a Country Lane Cookbook (Iowa, 1993).

“I began to smile as soon as I started to read this collection of columns by Evelyn Birkby, gleaned from sixty-three years of publica-tion in the same southwestern Iowa news-paper. The author invites us to share the everyday lives of folks in a rural community where they all had so much in common, from looking after those who were less for-tunate to exchanging recipes—sometimes not successfully—and yes, there is a great recipe for fried green tomatoes. Reading these chatty columns is like having a friend you have known all your life come to visit you. Indeed, this collection serves as a con-duit for bridging the gap that separates us one from another. Read it and enjoy!”—Mildred Armstrong Kalish, author, Little Heathens: Hard Times and High Spirits on an Iowa Farm during the Great Depression

“Evelyn Birkby, famous as a radio home-maker, is also the dean of Iowa newspaper columnists, having written lifestyle columns for sixty-three years without ever missing a week. This book is like Evelyn’s Greatest Hits. It’s also a highly entertaining folk-history of the Midwest from 1949 to the present.”—Iowa writer Chuck Offenburger

from Iowa’s Best Known Homemaker

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dPut in a Recipe

Other Tips

Always

for Living

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“ I loved this book — Evelyn Birkby is a National Treasure.” — Fannie Flagg

Evelyn Birkby

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2 university of iowa press . fall 2012

october164 pages . 5 1/2 x 9 1/4 inches $16.00 paper original1-60938-114-9, 978-1-60938-114-1fiction

Safe as Housesby Marie-Helene Bertino2012 IOwA ShOrt fIctIOn AwArd

“Marie-Helene Bertino’s stories are hilarious and heartbreaking and wildly inventive, and her narrators are endlessly appealing and both fiercely proactive and stubbornly self-defeating. That’s more than enough for me.”—Jim Shepard

Safe as Houses, the debut story collection of Marie-Helene Bertino, proves that not all homes are shelters. The titular story revolves around an aging English professor who, mourning the loss of his wife, robs other people’s homes of their sentimental knick-knacks. In “Free Ham,” a young dropout wins a ham after her house burns down and refuses to accept it. “Has my ham done anything wrong?” she asks when the grocery store manager demands that she claim it.

In “Carry Me Home, Sisters of Saint Joseph,” a failed commer-cial writer moves into the basement of a convent and inadvertently discovers the secrets of the Sisters of Saint Joseph. A girl, hoping to talk her brother out of enlisting in the army, brings Bob Dylan home for Thanksgiving dinner in the quiet, dreamy “North Of.” In “The Idea of Marcel,” Emily, a conservative, elegant girl, has dinner with the idea of her ex-boyfriend, Marcel. In a night filled with baffling coincidences, including Marcel having dinner with his idea of Em-ily, she wonders why we tend to be more in love with ideas than with reality. In and out of the rooms of these gritty, whimsical stories roam troubled, funny people struggling to reconcile their circumstances to some kind of American Ideal and failing, over and over.

The stories of Safe as Houses are magical and original and help answer such universal and existential questions as: How far will we go to stay loyal to our friends? Can we love a man even though he is inches shorter than our ideal? Why doesn’t Bob Dylan ever have his own smokes? And are there patron saints for everything, even lost socks and bad movies?

All homes are not shelters. But then again, some are. Welcome to the home of Marie-Helene Bertino.

Marie-Helene Bertino’s stories have appeared in The Pushcart Prize Anthology XXXIII, North American Review, Mississippi Review, Inkwell, The Indiana Review, American Short Fiction, and West Branch. Bertino received a Pushcart Prize in 2007 and a Pushcart Special Mention in 2011. She was chosen as a Center for Fiction NYC Emerging Writer’s Fellow in 2011. She hails from Philadelphia and lives in Brooklyn, where for six years she was the associate editor of One Story.

“When have I last read such highly original stories? With a surreal edge and a bril-liant dark humor, Safe as Houses’s tales of daughterhood and its mishaps mark a stag-geringly good debut.”—Deb Olin Unferth, author of Revolution

3www.uiowapress.org

october152 pages . 5 1/2 x 9 1/4 inches $16.00 paper original1-60938-126-2, 978-1-60938-126-4fiction

Tell Everyone I Said Hiby Chad Simpson2012 JOhn SImmOnS ShOrt fIctIOn AwArd

“Chad Simpson writes with a piercing tenderness and sadness about loss and helplessness and the impossible decisions that we face every day, and the complexity of the compromises we offer the world, and ourselves, in response.”—Jim Shepard

the wOrld Of Tell Everyone I Said Hi is geographically small but far from provincial in its portrayal of emotionally complicated lives. With all the heartbreaking earnestness of a Wilco song, these eighteen stories by Chad Simpson roam the small-town playgrounds, blue-collar neighborhoods, and rural highways of Illinois, Indiana, and Kentucky to find people who’ve lost someone or something they love and have not yet found ways to move forward.

Simpson’s remarkable voice masterfully moves between male and female and adolescent and adult characters. He embraces their help-lessness and shares their sad, strange, and sometimes creepy slices of life with grace, humor, and mounds of empathy. In “Peloma,” a steelworker grapples with his preteen daughter’s feeble suicide attempts while the aftermath of his wife’s death and the politics of factory life vie to hem him in. The narrator of “Fostering” struggles to determine the ramifications of his foster child’s past now that he and his wife are expecting their first biological child. In just two pages, “Let x” negotiates the yearnings and regrets of childhood through mathematical variables and the summertime interactions of two fifth-graders.

Poignant, fresh, and convincing, these are stories of women who smell of hairspray and beer and of landscapers who worry about their livers, of flooded basements and loud trucks, of bad exes and horrible jobs, of people who remain loyal to sports teams that always lose. Displaced by circumstances both in and out of their control, the characters who populate Tell Everyone I Said Hi are lost in their own surroundings, thwarted by misguided aspirations and long-buried disappointments, but fully open to the possibility that they will again find their way.

Chad Simpson was raised in Monmouth, Illinois, and Logansport, Indiana. His work has appeared in McSweeney’s Quarterly, Esquire, Ameri-can Short Fiction, The Sun, and many other print and online publica-tions. He is the recipient of a fellowship in prose from the Illinois Arts Council and scholarships from the Bread Loaf and Sewanee Writers’ conferences. He teaches at Knox College in Galesburg, Illinois, where he received the Philip Green Wright/Lombard College Prize for Dis-tinguished Teaching in 2010.

“Chad Simpson’s Tell Everyone I Said Hi is my kind of book. James Wright once beautifully asked, Where is the sea that once solved the whole / loneliness of the Midwest? The line kept bubbling up in my mind as I read these unpretentious and deeply mov-ing stories. We’re in the Midwest —Chad Simpson’s Midwest—a place of broken hearts and missed opportunities, flooded basements and faulty wiring. The real stuff, it’s all here.”—Peter Orner, author, Love and Shame and Love

Jane

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Stories by

CHAD SIMPSON

Tell Everyone I Said Hi


august230 pages . 5 3/4 x 9 1/4 inches $21.95 paper original1-60938-112-2, 978-1-60938-112-7essays

On the Shoreline of KnowledgeIrish Wanderingsby Chris ArthurSIghtlIne BOOkS: The Iowa Series in Literary NonfictionPatricia Hampl & Carl H. Klaus, series editors

“Chris Arthur is among the very best essayists in the English language today. He is ever mindful of the genre’s long literary tradition and un-derstands—as did his great predecessors—that the genuine essay is grounded in the imagination, in our quest for art and beauty, as deeply as is poetry or painting. Every young writer who wants to experience the creative possibilities of the essay form must read Chris Arthur—it isn’t an option.”—Robert Atwan, series editor, The Best American Essays

the cArefully crAfted, meditative essays in On the Shoreline of Knowledge sometimes start from unlikely objects or thoughts, a pencil or some fragments of commonplace conversation, but they soon lead the reader to consider fundamental themes in human experience. The unexpected circumnavigation of the ordinary unerringly gets to the heart of the matter.

Bringing a diverse range of material into play, from fifteenth-century Japanese Zen Buddhism to how we look at paintings, and from the nature of a briefcase to the ancient nest-sites of gyrfalcons, Chris Arthur reveals the extraordinary dimensions woven invisibly into the ordinary things around us. Compared to Loren Eiseley, George Eliot, Seamus Heaney, Aldo Leopold, V. S. Naipaul, W. G. Sebald, W. B. Yeats, and other literary luminaries, he is a master es-sayist whose work has quietly been gathering an impressive cargo of critical acclaim. Arthur speaks with an Irish accent, rooting the book in his own unique vision of the world, but he addresses el-emental issues of life and death, love and loss, that circle the world and entwine us all.

Chris Arthur has published several books of essays, including Irish Nocturnes, Irish Willow, Irish Haiku, Irish Elegies, and Words of the Grey Wind. He lives in Fife, Scotland.

frOm “Chestnuts”It’s hard to explain the exact reasons behind the appeal chest-nuts exert, but such explanation isn’t really necessary. Even if it’s interesting to speculate about why, their appeal works on a level that makes understanding automatic, if in the end opaque. This is something instinctual, of the blood. It issues in an immediate sense of empathy, so we can feel in ourselves the gravity of their attraction even if we can’t spell out the fine detail of its operation. I don’t wonder in the least at my daughter—or anyone—wanting to collect them. I only have to look at my own reaction to know why this is. But I’m at a loss to explain—and in the absence of any instinctual empathy, I feel the need for reasons—why this same daughter took such a shine to a tweed coat of my mother’s. She was drawn to it, wanted it, in the way we’re drawn to chestnuts.

“A remarkable demonstration of the kind of talented free association that characterizes the personal essay at its most imaginative.”—Vivian Gornick, author, The Men in My Life

“Chris Arthur writes the kind of essays you rarely see anymore, the deeply meditative kind that shine with associative light, that humbly approach the vast complexity of the world in hopes of making some small bit of sense. He valiantly carries on the long, glorious tradition of making art out of think-ing with On the Shoreline of Knowledge, a truly lovely book and a pure joy to read.”—Patrick Madden, author, Quotidiana

On the Shoreline of KnowledgeI r i s h Wa n d e r i n g s

chris arthur

On the Shoreline of Knowledge

5www.uiowapress.org

september102 pages . 5 1/2 x 8 1/2 inches$18.00 paper original1-60938-128-9, 978-1-60938-128-8essay / medicine

Detailing TraumaA Poetic Anatomyby Arianne ZwartjesSIghtlIne BOOkS: The Iowa Series in Literary NonfictionPatricia Hampl & Carl H. Klaus, series editors

“With a voice recalling Annie Dillard’s in Pilgrim at Tinker Creek, Arianne Zwartjes weaves an intriguing and deft tapestry of the interplay of medi-cine, trauma, wilderness, and modern life. Finding details and leveraging insights to plumb deeper meanings in what others would simply write off as random acts of individual violence, she conducts a beautiful explora-tion of how the body’s fragility is the basis of our being human.”—Dr. N. Stuart Harris, Chief, Division of Wilderness Medicine, Massachusetts General Hospital

In A SerIeS Of linked lyric essays, Detailing Trauma explores in vivid, sometimes graphic detail the many types of wounds from which the human body and spirit may suffer—and heal. Mapping the diseases and injuries that can afflict the body, the author asks how we can continue to live and love in the face of the great potential for suffer-ing and loss.

She names each section of the book for body parts or processes, then juxtaposes the functions and failures of human anatomy with experiences in her own life and those of people she knows and loves, meticulously stitching together life’s fractures and ruptures with skillful narrative. Each essay offers glimpses of hope and reasons for living with the likelihood of chaos and pain, reasons for choosing to love despite the risks.

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

After doing her mfA in poetry at the University of Arizona and teach-ing English and creative writing there for six years, Arianne Zwartjes is now in northern New Mexico serving as the director of the wilder-ness program at the United World College. She continues to teach for the Wilderness Medicine Institute as well as for the National Outdoor Leadership School. Her previous works include Disem(body), The Surfacing of Excess, and (Stitched) A Surface Opens: Essays.

“A stunning meditation on the body we live in, Detailing Trauma wraps love tight to life, insisting we prepare for the departure of both.”—Terese Svoboda, author, Black Glasses Like Clark Kent

D E TA I L I N GT R A U M A

A P O E T I CA N AT O M YArianne Zwartjes


october94 pages . 6 x 8 inches$18.00 paper original1-60938-129-7, 978-1-60938-129-5poetry

Must a Violencepoems by Oni Buchanankuhl hOuSe POetSMark Levine, series editor

OnI BuchAnAn exPlOreS the problem of violence against the undefended, elemental self through a variety of emotional and lin-guistic responses. The violation itself is unspecified but involves the forced transformation from an instinctual, animal self, housed in the body and in the senses, into a socialized, time-based “citizen,” familiar with death, decay, and systemic injustice.

This exploration plays out through the twin challenges of percep-tion and compassion. Perception can bind us to the known world or cut us loose in dangerous, horrific territory. Compassion for other creatures (wild or domesticated, and sometimes both) is born of perception, of the hard limits and surprising insights encountered by attending to the bodies, gestures, and plights of others.

In Must a Violence, the tones and personalities vary widely but trust is always placed in the five senses. These poems gather and relay extraordinary sense data, from inaudible sounds to long-absent smells. These deeply musical poems demand the reader attend to their sounds: to the waveforms, repetitions, durations, and delicate interrelationships of words.

In sounding out the problem of how to respond to violence and to the betrayal and domestication of that which is wild, this book counters with aesthetic violence and disruption of its own, opening the self to the unexpected powers of the senses and to encounters between “wildness” and “domestication” within the self. Though never easy, this openness creates the possibility for an all-enveloping love that touches and joins all animals, both nonhuman and human.

Oni Buchanan has published two previous books of poetry, Spring and What Animal. She is a concert pianist who actively performs across the U.S. and abroad, and is the founder and director of Ariel Artists, a Boston-based management company that represents a national roster of classical and contemporary-classical musicians pursuing visionary performance projects.

frOm “Must a Violence”Must a violence be administeredMust a violence be enacted uponMust a violence be had to oneselfMust a violence be enduredMust an unanticipated violenceMust a violence beyond one’s controlMust a modicum of violenceMust a dosage or capsule-full of violenceMust an irregularly dispensed occasionalvaccination of violenceMust a violence be inflicted uponMust a violence first be undergone

“Oni Buchanan’s startling new collection stages the sacred, violent, and beautiful en-counter between the human and the animal, each wild, domesticated, caged, terrified, and liberated. These wondrously inflamed poems recall the eerie worlds of early Plath, yet the pleading, enraged, but ultimately tender voice is entirely Buchanan’s.”—Thomas Heise, associate professor of English, McGill University

“There is a road that winds from Buchanan’s masterful, animal ear to her strange and magnificent heart that is unlike any road ever traveled. It is the road the most fragile creatures—Violence and Mourning—take to bring themselves home. They are the ones who must most be, because it is they who mark our cry to exist and our hide from ex-tinction. Buchanan is my favorite species of poet: the rarest of the real.”—Sabrina Orah Mark, author, The Babies

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must a violencepoems by oni buchanan

7www.uiowapress.org

october102 pages . 6 x 8 inches$18.00 paper original1-60938-127-0, 978-1-60938-127-1poetry

Memepoems by Susan Wheelerkuhl hOuSe POetSMark Levine, series editor

“In Meme, the traditional elegy dissolves into excited bursts of imitated idiomatic speech interwoven with writing from a different register—the coolly removed, self-insightful lyric. That the elaborately constructed edifice that is personality can be reconstructed with such fascinating economy and delightful indirection is amazing. These poems are pure poetic genius.”—Mary Jo Bang, author, The Bride of E

AcclAImed POet Susan Wheeler, whose last individual collection predicted the spiritual losses of the economic collapse, turns her at-tention to the most intimate of subjects: the absence or loss of love.

A meme is a unit of thought replicated by imitation; examples of memes, Richard Dawkins wrote, “are tunes, ideas, catch-phrases, clothes fashions, ways of making pots or of building arches.” Oc-cupy Wall Street is a meme, as are internet ideas and images that go viral. What could be more potent memes than those passed down by parents to their children?

Wheeler reconstructs her mother’s voice—down to its cynicism and its mid twentieth-century midwestern vernacular—in “The Maud Poems,” a voice that takes a more aggressive, vituperative turn in the second section, “The Devil—or —The Introjects.” In the book’s third long sequence, a generational inheritance feeds cultural transmission in “The Split.” A set of variations on losses and break-ups—wildly, darkly funny throughout and, in places, devastatingly sad—“The Split” brings Wheeler’s lauded inventiveness, wit, and insight to the profound loss of love. One read, and the meme “Should I stay or should I go?” will be altered in your head forever.

Susan Wheeler is the author of the poetry collections Bag ‘o’ Diamonds, which received the Norma Farber First Book Award of the Poetry Society of America; Smokes, which won the Four Way Books Award; Source Codes; Ledger, winner of the Iowa Poetry Prize; and Assorted Poems. Her novel, Record Palace, was published in 2005. She teaches at Princeton University, where she also directs the Creative Writing Program.

“Canasta” Mind your own beeswax or you’ll be tarred and feathered right here and now. Ray, the dog’s got something in her mouth. While you’re up, would you check the ham?

You and the beast’s belly, its short sleek fur, its odor of a world beyond the curb. The tail rises, the fur fans out—

No, just see what the temperature is up to. Oh, I’ll do it.

That’s what I was afraid of. Dan, she skunked me.

“Meme is a haunted work. We are ushered in by the disembodied voice of a mother figure, scolding and teasing in the time-stamped slang of past decades. The anachronism is both funny and terribly sad. ‘Don’t come in here all bright-eyed and bushy-tailed,’ the voice says. And it turns out that’s fair warning. This cracked Virgil leads us into a consciously Dantean underworld (‘Had you entered the thicket in darkness / . . . Had you been mid-life, not in haze but in crisis?’). Wheeler has created a total (and to me ter-rifying) linguistic environment in which hell is the introjected voices of other people, the hungry ghosts of our recent past.”—Rae Armantrout, author, Money Shot

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september226 pages . 5 3/4 x 9 inches$21.00 paperback original1-60938-111-4, 978-1-60938-111-0memoir

Gathering Noise from My LifeA Camouflaged Memoirby Donald Anderson

“Donald Anderson’s wonderful memoir Gathering Noise from My Life comes to us like memory itself, in bits and fragments, a scramble of time and geography. Slowly, the anecdotes and images, the quotations and news stories, accumulate in our minds, and Butte (Montana), Vietnam, and America itself in the 50s, 60s, and 70s re-emerge fresh and vivid. If mem-oir is where a life and history merge, where memory becomes art and art feeds memory, then this is fine memoir indeed.”—Elliott Gorn, author, Dillinger’s Wild Ride: The Year That Made America’s Public Enemy Number One

the nOISe gAthered from a lifetime of engaging with war, race, religion, memory, illness, and family echoes through the vignettes, quotations, graffiti, and poetry that Donald Anderson musters here, fragments of the humor and horror of life, the absurdities that mock reason and the despair that yields laughter. Gathering Noise from My Life offers sonic shards of a tune at once jaunty and pessimistic, hopeful and hopeless, and a model for how we can make sense of the scraps of our lives. “We are where we’ve been and what we’ve read,” the author says, and gives us his youth in Montana, the family tradition of box-ing, careers in writing and fighting, the words of Mike Tyson, Fred-erick the Great, Fran Lebowitz, and Shakespeare. In his camouflaged memoir, the award-winning short-story writer cobbles together the sources of the vision of life he has accrued as a consequence of his six decades of living and reading.

Donald Anderson is a professor of English and Writer in Residence at the U.S. Air Force Academy. The editor of the journal War, Literature and the Arts, he has published several books, including Fire Road (Iowa, 2001), which won the John Simmons Short Fiction Award, and the edited collections When War Becomes Personal: Soldiers’ Accounts from the Civil War to Iraq (Iowa, 2008), Andre Dubus: Tributes, and aftermath: an anthology of post-vietnam fiction. At the invitation of the National Endowment for the Arts, he served on the panel that selected the contributions to Operation Homecoming: Iraq, Afghanistan, and the Home Front, in the Words of U.S. Troops and Their Families.

frOm “Part One”I can’t help but see the carport, its paled Fiberglas, except for the nail holes, resisting weather, moths, rust, and time. This manu-factured overhead product had outlasted my old man. I’d thought his shelf life would have pressed on, like Fiberglas, or gold, or copper, Styrofoam, sealed Twinkies, MoonPies, the sproutable wheat found in the tombs of Pharaohs. . . .

I knew a heroin addict in college named Sally who owned a health food store named Good. Sally would only drink water-processed decaffeinated coffee. . . .

I did not buy a hybrid. I bought a full-sized SUV with an engine as efficient as a sumo wrestler’s heart.

“Donald Anderson’s Gathering Noise from My Life is a masterful exploration of the personal set within the wider landscape of history. Hard-hitting, tender, humorous, erudite, and lyrical all at once, it brilliantly extends the possibilities of the modern memoir. It refuses to pull its punches or to fall victim to the anesthesia of nostalgia. That said, it is a generous book, one that invites the reader to participate in con-structing the human frame from the dis-parate fragments and disrupted narratives otherwise left to ruin within the warehouse of memory. Highly recommended.”—Brian Turner, author, Here, Bullet

“Donald Anderson’s Gathering Noise from My Life functions as a brilliant kaleido-scope, the author’s life refracted and reflected through the mirrors of his memory. Composed of vivid moments from Anderson’s life, as well as snapshots of American history and incisive quotes from literature, the book is an innovative memoir that continually asks the reader the question: ‘Is memory what happened or how you felt about what happened?’” —Siobhan Fallon, author, You Know When the Men Are Gone

A Camouflaged Memoirdonald anderson

Gathering Noise from My Life

9www.uiowapress.org

The Farm at Holstein Dip An Iowa Boyhoodby Carroll EngelhardtA Bur OAk BOOkHolly Carver, series editor

cArrOll engelhArdt’S PArentS grew up in homes without electricity on farms without tractors and began farming in the same way. As a farm boy in northeastern Iowa, he thought that history happened only to important people in earlier times and more exotic places. After decades of teaching, he at last perceived that history happens to us all, and he began writing this book. Set within the thoughtfully presented contexts of the technological revolution in American agriculture, the Second World War, the Cold War, and the emerging culture of affluence, The Farm at Holstein Dip is both a loving coming-of-age memoir and an educational glimpse into rural and small-town life of the 1940s and 1950s.

Engelhardt writes about growing up in a spacious farmhouse where life was centered in the kitchen and frugality dictated that every purchase be weighed carefully. His chores grew up with him: he fed chickens and gathered eggs at age six, rode a horse on the hayfork at nine or ten, milked cows by hand at eleven, and hired out to other farmers to load bales in the field and work in the haymow at fifteen. The simple pleasures and predictable routines of a Saturday night at the movies in nearby Elkader, Pioneer Days on the 4th of July, Con-firmation Sunday, class picnics, and baseball and basketball games play out against a background of rural decline, alternating economic uncertainty and prosperity, and Cold War anxiety—next to polio, he most feared Communist subversion and atomic blasts. The values and contradictions imparted by this evolving mix of international, national, and local cultures shaped his coming of age.

Engelhardt brings us into the world of his fourth-generation farm family, who lived by the family- and faith-based work ethic and con-cern for respectability they had inherited from their German and Norwegian ancestors. His writing has a particularly Iowa flavor, a style that needs no definition to those who live in the state. Readers will discover the appeal of his wry, humorous, and kind observations and appreciate his well-informed perspective on these transformative American decades.

Professor of history emeritus at Concordia College, in Moorhead, Minnesota, Carroll Engelhardt is the author of Gateway to the Northern Plains: Railroads and the Birth of Fargo and Moorhead and “On Firm Founda-tion Grounded”: The First Century of Concordia College (1891–1991).

august238 pages . 18 photos . 6 x 9 inches$22.00 paper original1-60938-117-3, 978-1-60938-117-2iowa / memoir

“A farm boy turned history professor, Carroll Engelhardt brings authenticity and meticu-lous detail to his descriptions of 1940s and 50s rural Iowa. His stories, from swimming in the creek to the politics of school reorga-nization to Saturday nights in town to ado-lescents at church camp, will charm anyone with memories of—or curiosity about—that era. And we share his lament that ‘a world has vanished in my lifetime.’”—Larry A. Stone, author, Gladys Black: The Legacy of Iowa’s Bird Lady

“This fascinating account of Iowa small-town and farm life merges the traditional memoir with sociological fact-finding. Engelhardt’s study spans over one hundred years, from the mid nineteenth century to the mid twentieth. He often explores minutia that is easily overlooked as unimportant but that is revealing and memorable. This book is solid Americana and an important contribution to understanding the Midwest’s large role in forming our nation.”—Curtis Harnack, author, We Have All Gone Away and The Attic

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hOLSteIN dIP

An Iowa Boyhood

carRoLl engelhardt


october178 pages . 5 photos . 23 drawings . 6 x 9 inches$22.00 paper1-60938-118-1, 978-1-60938-118-9nature

Of Men and Marshesby Paul L. Erringtonillustrated by H. Albert Hochbaumintroduction by Matthew Wynn SivilsA Bur OAk BOOkHolly Carver, series editor

StAndIng wIth Such environmental classics as Loren Eiseley’s The Immense Journey, his friend and mentor Aldo Leopold’s A Sand County Almanac, and Joseph Wood Krutch’s The Voice of the Desert, Paul Errington’s Of Men and Marshes remains an evocative reminder of the great beauty and intrinsic value of the glacial marshland. Prescient and stirring, steeped in insights from Errington’s biological field-work, his experiences as a hunter and trapper, and his days exploring the marshes of his rural South Dakota childhood, this vibrant work of nature writing reveals his deep knowledge of the marshland environ-ments he championed.

Examining the marsh from a dynamic range of perspectives, Errington begins by inviting us to consider how immense spans of time, coupled with profound geological events, shaped the unique marshland ecosystems of the Midwest. He then follows this wetland environment across seasons and over the years, creating a compel-ling portrait of a natural place too little appreciated and too often destroyed. Reminding us of the intricate relationships between the marsh and the animals who call it home, Errington records his ex-periences with hundreds of wetland creatures. He follows minks and muskrats, snapping turtles and white pelicans, red foxes and blue-winged teals—all the while underscoring our responsibility to preserve this remarkable and fragile environment and challenging us to change the way we think about and value marshlands.

This classic of twentieth-century nature writing, a landmark work that is still a joy to read, offers a stirring portrait of the Midwest’s endangered glacial marshland ecosystems by one of the most influ-ential biologists of his day. A cautionary book whose advice has not been heeded, a must-read of American environmental literature, Of Men and Marshes should inspire a new generation of conservationists.

A professor of wildlife biology at Iowa State University, Paul L. Errington (1902 –1962) was listed by Life magazine in 1961 as one of the top ten naturalists of his day. In addition to Of Men and Marshes, Muskrats and Marsh Management, and Muskrat Populations, he was the author of some 200 scientific articles and three posthumous books: Of Predation and Life, The Red Gods Call, and A Question of Values. In 1962 he received the Wildlife Society’s Aldo Leopold Award for his contribu-tions to wildlife conservation. Wildlife biologist H. Albert Hochbaum (1911–1988) directed the Delta Waterfowl Research Station from 1938 to 1970; he was the author and illustrator of The Canvasback on a Prairie Marsh, Travels and Traditions of Waterfowl, and To Ride the Wind. Formerly a wildlife biologist, Matthew Wynn Sivils is now an associate profes-sor of English at Iowa State University, where he teaches courses in environmental literature, nineteenth-century American literature, and literature and science.

“When Paul Errington’s classic Of Men and Marshes first appeared in 1957, the wetlands of the American Midwest—and wetlands around the world—were widely seen as rank wastelands and impediments to economic progress. Errington provided a revolutionary view of marshes as dynamic communities of life whose diversity and well-being reflect our own capacity to live well on the land. This book changed lives and landscapes. We are fortunate to have it available in this new edition!”—Curt Meine, author, Aldo Leopold: His Life and Work

“[Errington] speaks to us here . . . not as a scientist but as a man and a human—his method is to show us a marsh as his home, to escort us through it in the different sea-sons of the year, and let us see for ourselves the beauty and wonder that are there. A tell-ing and moving experience.”—New Yorker

“Sights he describes from his boyhood will not be seen again in this cycle of American civilization—if ever. . . . Fifty years from now the kind of phenomenon he is currently recording may have vanished, also, from most of Asia, Africa, and South America. Errington’s book may be at once history and prophecy.”—Journal of Wildlife Management

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Trees in Your PocketA Guide to Trees of the Upper Midwestby Thomas RosburgA Bur OAk guIdeHolly Carver, series editor

VAlued fOr theIr lumBer, their shade, and the beauty of their flowers and foliage as well as the nuts that nourish wildlife and humans alike, trees play important economic, ecological, and aesthetic roles in our lives. From honey and black locusts to white and chinkapin oaks to yellow and river birches, Trees in Your Pocket gives us identification and natural history information for about forty prominent deciduous species found in the Upper Midwest states of Minnesota, Wisconsin, Illinois, Iowa, and Missouri.

Botanist Tom Rosburg provides diagnostic color photographs of leaves, acorns and other fruits, and bark along with descriptions of leaves, fruits, and measurements of blades. The composition, ar-rangement, shape, and margin of leaves are most important for tree identification. Fruits can help confirm identification of species with similar leaves. The bark of a tree can be very helpful for identifying some species; as a tree ages, older bark (lower on the tree) can be quite different from younger bark (higher and on branches). In ad-dition to these essential markers, Rosburg gives information about range, habitat—savannas, moist forests, dry slopes, sandy soils, and so on—life-span, and tolerance of shade, fire, drought, and flood.

Each state in this region maintains a Big Tree program that hon-ors the largest individual tree of each species. Champion trees are determined by adding together measurements of trunk circumfer-ence, height, and canopy spread. Rosburg identifies the trees with the largest diameter and the tallest trees among the champion trees in the Upper Midwest by their county and state. Together his superb photographs and key information make this guide the perfect com-panion for enjoying the diversity of trees in all kinds of environments.

Thomas Rosburg, a professor of biology at Drake University, has received the Prairie Advocate Award from the Iowa Prairie Network, the Governor’s Iowa Environmental Excellence Award, the Loess Hills Preservation Society Special Recognition Award, and the Iowa Chapter of the Sierra Club’s Environmental Educator Award. He is the photographer for the second editions of both Wildflowers of the Tallgrass Prairie: The Upper Midwest (Iowa, 2009) and Wildflowers and Other Plants of Iowa Wetlands (Iowa, forthcoming).

octoberlaminated fold-out guide80 color photos . 4 drawings16 3/4 x 16 7/8 inches folds to 4 1/8 x 9 inches$9.951-60938-123-8, 978-1-60938-123-3nature / midwest


november108 pages . 28 photos . 4 maps . 6 x 9 inches$19.00s paper original1-60938-121-1, 978-1-60938-121-9nature / iowa

The Iowa Lakeside LaboratoryA Century of Discovering the Nature of Natureby Michael J. Lannoo A Bur OAk BOOkHolly Carver, series editor

ImAgIne A PlAce dedIcAted to the long-term study of na-ture in nature, a permanent biological field station, a teaching and research laboratory that promotes complete immersion in the natural world. Lakeside Laboratory, founded on the shore of Lake Okoboji in northwestern Iowa in 1909, is just such a place. In this remarkable and insightful book, Michael Lannoo sets the story of Lakeside Lab within the larger story of the primacy of fieldwork, the emergence of conservation biology, and the ability of field stations to address such growing problems as pollution, disease, habitat loss, invasive species, and climate change.

At the intersection of major ecosystems with distinct plant and animal communities and surrounded by what, ironically, may be the most intensely cultivated landscape on earth, Lakeside has a long his-tory of rubber-boot biologists saturated in the spirit that grounds the new discipline of conservation biology, and Lannoo brings this his-tory to life with his descriptions of the people and ideas that shaped it. Lakeside’s continuing commitment to bringing the laboratory to the field rather than bringing the field to the lab has supported a focus on mammalogy, ornithology, herpetology, ichthyology, invertebrate biology, parasitology, limnology, and algology, subjects rarely taught now on university campuses but crucial to the planet’s health.

Today’s huge array of environmental problems can best be solved by people who have learned about nature within nature at a place with a long history of research and observation, people who thoroughly understand and appreciate nature’s cogs and wheels. Lakeside Lab and biological research stations like it have never been more relevant to science and to society at large than they are today. Michael Lannoo convinces us that while Lakeside’s past is commendable, its future, grounded in ecological principles, will help shape a more sustain-able society.

Michael J. Lannoo is a professor of anatomy and cell biology at the Indiana University School of Medicine. He is the author of Okoboji Wetlands: A Lesson in Natural History (Iowa, 1996), Malformed Frogs: The Collapse of Aquatic Ecosystems, and Leopold’s Shack and Ricketts’s Lab: The Emergence of Environmentalism and the editor of Status and Conservation of Midwestern Amphibians (Iowa, 1998) and Amphibian Declines: The Con-servation Status of United States Species.

“Biology has changed greatly over the past century, but as author Mike Lannoo ex-plains, field stations still have an important role to play. Readers will enjoy this engag-ing account of one long-established station and the many people who have contributed to its success. The pages are amply illus-trated with historic photos that add much to the book’s appeal.”—Peter J. van der Linden, executive direc-tor, Iowa Lakeside Laboratory and Regents Resource Center

“This book offers a loving, lyrical, and power-ful explanation of the great value of field laboratories. The message resonates far be-yond the Lakeside Lab as we slowly begin to understand that solutions to our enormous environmental problems must come from people who have learned to generate their own knowledge rather than absorb it in classrooms, and there is no better place to search for this wisdom than the mix of field laboratories and nature.”—Paul Dayton


september254 pages . 8 photos . 6 x 9 inches$32.50s paper original1-60938-120-3, 978-1-60938-120-2biography / american history

Jefferson in His Own TimeA Biographical Chronicle of His Life, Drawn from Recollections, Interviews, and Memoirs by Family, Friends, and Associatesedited by Kevin J. HayeswrIterS In theIr Own tImeJoel Myerson, series editor

“Thomas Jefferson today has many detractors. Kevin Hayes has collected a wealth of contemporary anecdotes to reveal instead the wonderfully human, charming, self-deprecating, and unexpectedly witty side of the third president’s complex personality.”—Keith Thomson, author, A Passion for Nature: Thomas Jefferson and Natural History

“In this marvelous compilation of recollections by family members, friends, colleagues, and casual acquaintances, Kevin Hayes introduces us to the Thomas Jefferson contemporaries knew. Modern readers will be disarmed—as so many visitors were—by Jefferson’s warmth, humor, and capacity for friendship. Well edited and beautifully introduced, Jefferson in His Own Time is a timely and welcome contribution to Jefferson studies.”—Peter Onuf, Thomas Jefferson Foundation Professor of History, University of Virginia

In thIS VOlume, Kevin J. Hayes collects thirty accounts of Thomas Jefferson written by his granddaughters, visiting dignitaries, fellow politicians, and others who knew him as a family man, public servant, intellectual, and institution builder. The letters and reminiscences of those who knew Jefferson personally reveal him to be a warm, funny man, quite unlike the solemn statesman so often limned in biographies.

To friends and enemies alike he was the model of a republican gentleman, profoundly knowledgeable in philosophy and natural history, able to converse in several languages, and capable of great wit but contemptuous of ceremony and fancy dress. Through these excerpts, we can see the nation’s third president as his family knew him—a loving husband, father, and grandfather—and as his peers did, as a tireless public servant with a fondness for tall tales.

Kevin J. Hayes is a professor of English at the University of Central Oklahoma. His books include An American Cycling Odyssey, 1887; The Road to Monticello: The Life and Mind of Thomas Jefferson; The Mind of a Patriot: Patrick Henry and the World of Ideas; and The Library of William Byrd of Westover, for which he received the Virginia Library History Award. In addition, he coedited, with Isabelle Bour, Franklin in His Own Time (Iowa, 2011).

“Kevin Hayes has done a great service to any-one interested in Jefferson. Thanks to Hayes we can see Jefferson through the eyes of those who knew him, from family members to visiting European aristocrats. The result is a complex, multilayered, and fascinating portrait. This is a wonderful collection.”—Francis D. Cogliano, author, Thomas Jefferson: Reputation and Legacy and editor, The Blackwell Companion to Jefferson

“The author of the deservedly acclaimed The Road to Monticello, Kevin J. Hayes has created an anthology of thirty of the best contemporary accounts describing Thomas Jefferson. These portrayals offer glimpses and insights into the character and private world of a man often regarded as the most enigmatic and elusive of the Founding Fathers. The reader is able to bypass histo-rians to read firsthand eyewitness descrip-tions of ‘The Sage of Monticello.’”—Andrew Jackson O’Shaughnessy, Saunders Director, Robert H. Smith Inter-national Center for Jefferson Studies at Monticello, Thomas Jefferson Foundation

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october256 pages . 5 illustrations . 6 x 9 inches$49.95s paper original1-60938-113-0, 978-1-60938-113-4literary criticism

American Literature and Culture in an Age of Cold WarA Critical Reassessmentedited by Steven Belletto and Daniel Grausam

“A watershed moment in the current revitalization of Cold War studies. The editors have brought together a strong group of cultural critics to revise and extend the insights of the foundational ‘containment cul-ture’ work of Thomas Schaub, Alan Nadel, and Ellen Schrecker. From its rereadings of figures we thought we knew, to its reconsiderations of concepts we thought we’d mastered, to Nadel’s own revisitation and extension of his work, this book will help those of us in English, American studies, cultural studies, history, and sociology who thought we knew the Cold War to think again.”—Samuel Cohen, author, After the End of History

the tIme IS rIght for a critical reassessment of Cold War cul-ture both because its full cultural impact remains unprocessed and because some of the chief paradigms for understanding that culture confuse rather than clarify.

A collection of the work of some of the best cultural critics writ-ing about the period, American Literature and Culture in an Age of Cold War reveals a broad range of ways that American cultural production from the late 1940s to the present might be understood in relation to the Cold War. Critically engaging the reigning paradigms that equate postwar U.S. culture with containment culture, the authors present suggestive revisionist claims. Their essays draw on a literary archive—including the works of John Updike, Joan Didion, Richard E. Kim, Allen Ginsberg, Edwin Denby, Alice Childress, Frank Herbert, and others—strikingly different from the one typically presented in accounts of the period.

Likewise, the authors describe phenomena—such as the FBI’s surveillance of writers (especially African Americans), biopolitics, development theory, struggles over the centralization and decentral-ization of government, and the cultural work of Reaganism—that open up new contexts for discussing postwar culture. Extending the timeline and expanding the geographic scope of Cold War culture, this book reveals both the literature and the culture of the time to be more dynamic and complex than has been generally supposed.

An assistant professor of English and chair of the American Studies program at Lafayette College, Steven Belletto is the author of No Acci-dent, Comrade: Chance and Design in Cold War American Narratives (Oxford, 2012) and has published essays on postwar literature and culture in such journals as ELH, American Quarterly, Clio, Criticism, and Genre. He is an associate editor of the journal Contemporary Literature. Daniel Grausam is the author of On Endings: American Postmodern Fiction and the Cold War (Virginia, 2011) and is currently completing Half Lives: The Legacies of the First Nuclear Age, an interdisciplinary study of post–Cold War American nuclear culture.

cOntrIButOrSDaniel Belgrad Andrew HoberekChristine HongCatherine Gunther KodatWilliam J. MaxwellLeerom MedovoiAlan NadelKaren Steigman

“American Literature and Culture in an Age of Cold War helps explain not only the Cold War, but also our present nostalgia for it. Belletto and Grausam collected rich and far-ranging essays representing the best contemporary work on a key moment of American political and literary culture, contributing significantly to a global under-standing of the Cold War and enriching the contemporary discussion of the relation-ship between politics and cultural produc-tion.”—Priscilla Wald, author, Contagious: Cultures, Carriers, and the Outbreak Narrative


october84 pages . 1 illustration . 6 x 9 inches$25.00s paper original1-60938-119-x, 978-1-60938-119-6poetry / literary criticism

RedstartAn Ecological Poeticsby Forrest Gander and John KinsellacOntemPOrAry nOrth AmerIcAn POetry SerIeSAlan Golding, Lynn Keller, & Adalaide Morris, series editors

“Reading this book is enormously exciting amidst current explorations of language and other natural phenomena within ecopoetics and eco-criticism. It should and does raise important questions about poets’ ventures into textual and extra-textual ecologies. The kind of work that Gander and Kinsella do in Redstart is particularly important at this dire, edgy, near-catastrophic moment in the history of human v. everything else on the planet. It is an evocative investigation of our limitations and our possibilities as the poetic species.”—Joan Retallack, John D. and Catherine T. MacArthur Professor of Humanities, Bard College, and author, The Poethical Wager

the dAmAge humAnS hAVe perpetrated on our environment has certainly affected a poet’s means and material. But can poetry be ecological? Can it display or be invested with values that acknowledge the economy of interrelationship between the human and the nonhu-man realms? Aside from issues of theme and reference, how might syntax, line break, or the shape of the poem on the page express an ecological ethics?

To answer these questions, poets Forrest Gander and John Kin-sella offer an experiment, a collaborative volume of prose and poetry that investigates—both thematically and formally—the relation-ship between nature and culture, language and perception. They ask whether, in an age of globalization, industrialization, and rapid human population growth, an ethnocentric view of human beings as a species independent from others underpins our exploitation of natural resources. Does the disease of Western subjectivity constitute an element of the aesthetics that undermine poetic resistance to the killing of the land? Why does “the land” have to give something back to the writer?

This innovative volume speaks to all people wanting to understand how artistic and critical endeavors can enrich, rather than impoverish, the imperiled world around us.

The author of numerous books of poetry, including Core Samples from the World and Science & Steepleflower, novels, and essays, Forrest Gander is the Adele Kellenberg Seaver Professor of Literary Arts and Comparative Literature at Brown University. A United States Artists Rockefeller Fellow and recipient of the Witter Bynner fellowship from the Library of Congress, he has also won fellowships from the neA and the Guggenheim, Whiting, and Howard Foundations. John Kinsella is the author of more than thirty books and has won many prizes, including the Grace Leven Poetry Prize, the John Bray Award for Poetry from the Adelaide Festival, and the Age Poetry Book of the Year Award. He has also published novels, collections of stories, verse plays, criticism, and autobiography. He is a Professorial Research Fellow at the University of Western Australia and also a 2011/2012 Judith E. Wilson Poetry Fellow at Cambridge University, where he is also a Fellow of Churchill College.

PrAISe fOr PreVIOuS BOOkS “A poet with a geology degree (as well as a translator and Rockefeller, Guggenheim, and NEA fellow), Gander is an envoy between art and science, nature and politics.”—Booklist

John Kinsella’s poetry is “vivid, energetic and stormy” (Washington Post), displaying “a glorious plenitude of word and world” (The Guardian) like “an Australian storm at full blow” (The Observer).

Contemporary North American Poetry Series

An Ecological Poeticsforrest gander

and john kinsella

RedstartRedstart


november300 pages . 8 photos . 6 x 9 inches $42.00s paper original 1-60938-122-x, 978-1-60938-122-6literary criticism

edited by Jennifer Putzi and Elizabeth Stockton

“The Selected Letters certainly deepens our understanding of Elizabeth Stoddard. More broadly, it provides insight into the challenges faced by early American women writers and adds texture to our perception of nineteenth-century literary culture and society. The beautifully anno-tated letters are chock-a-block with allusions, quotations, and refer-ences to fellow writers, family members, and current events. This inher-ently interesting book will appeal to anyone interested in nineteenth-century life and culture.”—Ellen Weinauer, coeditor, American Culture, Canons, and the Case of Elizabeth Stoddard

In reSPOnSe tO the resurgence of interest in American novelist, poet, short-story writer, and newspaper correspondent Elizabeth Stoddard (1823–1902), whose best-known work is The Morgesons (1862), Jennifer Putzi and Elizabeth Stockton spent years locating, reading, and sorting through more than 700 letters scattered across eighteen different archives, finally choosing eighty-four letters to annotate and include in this collection. By presenting complete, an-notated transcripts, The Selected Letters provides a fascinating introduc-tion to this compelling writer, while at the same time complicating earlier representations of her as either a literary handmaiden to her at-the-time more famous husband, the poet Richard Henry Stoddard, or worse, as the “Pythoness” whose difficult personality made her a fickle and unreasonable friend.

The Stoddards belonged to New York’s vibrant, close-knit literary and artistic circles. Among their correspondents were both family members and friends, including writers and editors such as Julia Caroline Ripley Dorr, Rufus Griswold, James Russell Lowell, Caroline Healey Dall, Julian Hawthorne, William Dean Howells, Helen Hunt Jackson, Edmund Clarence Stedman, and Margaret Sweat.

An innovative and unique writer, Stoddard eschewed the popu-lar sentimentality of her time even while exploring the emotional territory of relations between the sexes. Her writing—in both her published fiction and her personal letters—is surprisingly modern and psychologically dense. The letters are highly readable, lively, and revealing, even to readers who know little of her literary output or her life.

As scholars of epistolarity have recently argued, letters provide more than just a biographical narrative; they also should be under-stood as aesthetic performances themselves. The correspondence provides a sense of Stoddard as someone who understood letter writing as a distinct and important literary genre, making this col-lection particularly well suited for new conceptualizations of the epistolary genre.

Jennifer Putzi is an associate professor of English and Women’s Stud-ies at the College of William and Mary. She is the author of Identifying Marks: Race, Gender, and the Marked Body in Nineteenth-Century America (2006) and the editor of Elizabeth Stoddard’s second novel, Two Men (2008), originally published in 1865. Elizabeth Stockton is an assistant professor of English at Southwestern University. Her work, which primarily focuses on law and literature in antebellum America, has appeared in The New England Quarterly and African American Review.

“This well-chosen selection of Elizabeth Stoddard’s letters, scrupulously edited with a searching, well-informed introduc-tion, demonstrates her artistry as a letter writer and sheds much light on her life and career, especially her extensive network among the writers, artists, critics, and pub-lishers of her day. This book is sure to make a valuable contribution to the Stoddard revival now in progress.”—Lawrence Buell, Harvard University

“Finally! Access to the life, thoughts, and feelings of one of the most original writ-ers of the late nineteenth century, in her own words. Kudos to professors Putzi and Stockton for this beautifully selected and annotated edition. The complex, out-spoken Elizabeth Stoddard comes alive as she conducts friendships with many of the literary men and women of her day, as-tutely assesses her own writing and that of her contemporaries, makes observations that spare neither herself nor anyone else, and reflects frankly on her long marriage to poet Richard Henry Stoddard. A must-read for everyone interested in Stoddard and her era.”—Sandra A. Zagarell, senior editor, Heath Anthology of American Literature

The Selected Letters of Elizabeth Stoddard


december260 pages . 6 x 9 inches$42.50s paper original1-60938-125-4, 978-1-60938-125-7literary criticism

The Contemporary Narrative PoemCritical Crosscurrentsedited by Steven P. Schneider

“Steven Schneider’s ambitious new collection fills an important gap in critical studies. Although the return of narrative poetry has been one of the most significant trends in contemporary American letters, it has received little critical or theoretical commentary. Schneider and his con-tributors examine this hugely influential trend from diverse perspectives. This is an original and irreplaceable collection.”—Dana Gioia, University of Southern California, and former chair, National Endowment for the Arts

OVer the PASt thIrty yeArS, narrative poems have made a come-back against the lyric approach to poetry that has dominated the past century. Drawing on a decade of conferences and critical seminars on the topic, The Contemporary Narrative Poem examines this resurgence of narrative and the cultural and literary forces motivating it.

Gathering ten essays from poet-critics who write from a wide range of perspectives and address a wide range of works, the col-lection transcends narrow conceptions of narrative, antinarrative, and metanarrative. The authors ask several questions: What formal strategies do recent narrative poems take? What social, cultural, and epistemological issues are raised in such poems? How do contempo-rary narrative poems differ from modernist narrative poems? In what ways has history been incorporated into the recent narrative poetry? How have poets used the lyric within narrative poems? How do experi-mental poets redefine narrative itself through their work? And what role does consciousness play in the contemporary narrative poem?

The answers they supply will engage every poet and student of poetry.

Steven P. Schneider is a professor of English at the University of Texas-Pan American and director of new programs and special proj-ects in the College of Arts and Humanities. He is the author of A. R. Ammons and the Poetics of Widening Scope and the editor of Complexities of Motion: New Essays on A. R. Ammons’s Long Poems. The winner of an Anna Davidson Rosenberg Award for Poetry and a Nebraska Arts Council Fellowship, he has published poems and essays in national and international journals, including Critical Quarterly, Prairie Schooner, Tikkun, The Literary Review, and The Iowa Review.

“A first-rate piece of work by a range of im-portant poet-critics on an important and woefully neglected aspect of contemporary poetry.”—Jay Parini, Middlebury College

cOntrIButOrSJacqueline Vaught BroganChristine CassonGregory DowlingElisabeth A. FrostRoger GilbertApril LindnerStephen Paul MillerRobert MiltnerRobert B. ShawDaniel Tobin

The Contemporary Narrative Poem

Critical Crosscurrents

edited by Steven P. Schneider


december262 pages . 6 x 9 inches$45.00s paper original1-60938-116-5, 978-1-60938-116-5literary criticism

Reading Duncan ReadingRobert Duncan and the Poetics of Derivationedited by Stephen Collis and Graham LyonscOntemPOrAry nOrth AmerIcAn POetry SerIeSAlan Golding, Lynn Keller, & Adalaide Morris, series editors

“Editors Stephen Collis and Graham Lyons have pitched their gathering perfectly by focusing on Duncan’s concept of derivation, the very stuff of Duncan’s rhetoric and the origin of his immense lyric power. Not only will this book be a major contribution to the scholarship on a very important (post)modern poet, but it will also shed light on the consuming question of what happens to poets when they read the work of their precursors and contemporaries.”—Norman Finkelstein, Xavier University

In Reading Duncan Reading, thirteen scholars and poets examine, first, what and how the American poet Robert Duncan read and, perforce, what and how he wrote. Harold Bloom wrote of the searing anxiety of influence writers experience as they grapple with the burden of being original, but for Duncan this was another matter altogether. Indeed, according to Stephen Collis, “No other poet has so openly expressed his admiration for and gratitude toward his predecessors.”

Part one emphasizes Duncan’s acts of reading, tracing a variety of his derivations—including Sarah Ehlers’s demonstration of how Milton shaped Duncan’s early poetic aspirations, Siobhán Scarry’s unveiling of the many sources (including translation and correspon-dence) drawn into a single Duncan poem, and Clément Oudart’s ex-ploration of Duncan’s use of “foreign words” to fashion “a language to which no one is native.”

In part two, the volume turns to examinations of poets who can be seen to in some way derive from Duncan—and so in turn reveals another angle of Duncan’s derivative poetics. J. P. Craig traces Na-thaniel MacKey’s use of Duncan’s “would-be shaman,” Catherine Martin sees Duncan’s influence in Susan Howe’s “development of a poetics where the twin concepts of trespass and ‘permission’ hold comparable sway,” and Ross Hair explores poet Ronald Johnson’s “reading to steal.” These and other essays collected here trace paths of poetic affiliation and affinity and hold them up as provocative pos-sibilities in Duncan’s own inexhaustible work.

Stephen Collis is an associate professor in the Department of English at Simon Fraser University in Burnaby, British Columbia. He is the author of Phyllis Webb and the Common Good and Through Words of Oth-ers. His most recent book of poetry, On the Material, won the BC Book Prize for poetry. Graham Lyons is a doctoral candidate at Simon Fraser University. His research traverses the twentieth century, with a particular focus on cultural theory, historiography, autobiography, and the Frankfurt school of Marxism. He has published on Walter Benjamin, Louis Zukofsky, and the Star Wars films.

“Reading Duncan Reading makes a significant and indeed important contribution to its field; no other book currently considers the topic at any length or in any sustained way. It should be of interest to students at any university in North America and abroad, and will appeal to anyone else interested in modern American poetry and the work of Robert Duncan.”—Peter Quartermain, professor emeritus, University of British Columbia

cOntrIButOrSJ. P. CraigSarah E. EhlersGeorge FragopoulosStephen FredmanRoss HairCatherine MartinPeter O’LearyClemént OudartSiobhán ScarryJeffrey Twitchell-WaasAndy Weaver


september290 pages . 22 photos . 6 x 9 inches$41.00s paper original1-60938-124-6, 978-1-60938-124-0theatre / jewish studies

The Jewish Kulturbund Theatre Company in Nazi Berlinby Rebecca Rovit StudIeS In theAtre hIStOry And cultureThomas Postlewait, series editor

“This impressive, thoroughly researched account of the Kulturbund Theatre in Berlin documents these artists’ attempts to come up with a theatrical repertoire that would meet the Nazis’ contradictory and arbi-trary notions of appropriate subject matter for Jewish theatre.”—Matthew Wikander, University of Toledo

new lAwS enActed in the wake of Hitler’s ascent to power re-moved all Jews from their professional workplaces and banned Jew-ish artists from any collaboration with their fellow citizens. In the summer of 1933, Goebbels’s Prussian Theatre Commission approved an all-Jewish theatre as part of the Kulturbund Deutscher Juden, the Cultural Association of German Jewry. This network of Jewish cultural leagues and theatre ensembles across Germany coexisted with Nazi policies against Jews until the Gestapo dissolved the theatre in 1941. Revealing the complex interplay between history and human lives under conditions of duress, Rebecca Rovit focuses on the eight-year odyssey of the Berlin Kulturbund and its theatre.

Rovit draws upon a wealth of primary documents—correspon-dence between the theatre and the Reich Ministry of Propaganda and Enlightenment, actual playscripts and rolebooks, production reviews and photographs, letters and memoirs, and interviews with artists who survived the war—to show how the increasingly restrictive Ger-man reality forced Jewish artists to define and redefine their identity and culture under wrenching conditions of censorship, compromise, danger, and deception. Integrating play analysis with cultural history, she considers first the playscript itself, then the playscript adapted by the Kulturbund, then the best reconstruction possible of the actual performance against its backdrop of the Third Reich. Proceeding chronologically through the playing seasons, she focuses on the actual repertoire performed (and forbidden) over the life of the Berlin Kulturbund theatre, covering the theatre’s beginnings and its first two playing seasons, then on the playing seasons that led to the Reichs-kristallnacht, and finally on the ways that emigration and increased censorship affected the wartime theatre’s final days.

The Kulturbund’s directors were repeatedly caught between esca-lating demands from their Nazi overseers and from their own Jewish constituents. By examining why and how an all-Jewish repertory theatre could coexist with the Nazi regime, Rovit raises broader ques-tions about the nature of art in an environment of coercion and isola-tion, artistic integrity and adaptability, and community and identity.

Rebecca Rovit is an assistant professor of theatre at the University of Kansas. The author of numerous articles on theatre and perfor-mance in such journals as American Theatre, PAJ, TDR, Theatre Survey, Contemporary Theatre Review, The Journal of Holocaust and Genocide Studies, and The Enzyklopädie jüdischer Geschichte und Kultur, edited by Dan Diner, she is the coeditor of Theatrical Performance during the Holocaust: Texts, Documents, Memoirs, a finalist for the National Jewish Book Award.

“The cultural and artistic life of German Jews during the Nazi era has only re-cently begun to attract the attention that it deserves. Rebecca Rovit’s book on the Berlin branch of the Jewish Kulturbund is a major contribution to the scholarship in this area. It is the most thorough study of the Kulturbund in any language. The book very successfully integrates multiple levels of analysis, examining aesthetics, performance, the personal biographies of German Jews, Nazi policy, and the or-ganizational challenges that confronted the leaders of the Kulturbund. Based on research in a wide range of archival collec-tions, it makes excellent use of information garnered from interviews with some of the Kulturbund’s members. Written with precision and empathy, it should be read by anyone with an interest in Jewish life in Nazi Germany.”—Alan E. Steinweis, author, Art, Ideology, and Economics in Nazi Germany

S T U D I E S I N T H E A T R E H I S T O R Y A N D C U L T U R E

The JewishKulturbund

TheatreCompany in Nazi Berlin

R E B E C C A R O V I T


new In PAPer

Women, the New York School, and Other True Abstractionsby Maggie Nelson

“Nelson’s revision of the New York School makes it not only more diverse but also more resistant of defining tropes. By showing how a motley collection of poets and artists defied the gendered conventions of both the aesthetic status quo and the so-called experimental, Nelson restores the avant-garde to its raison d’etre: to lead us past orthodoxy to discov-ery.”—Modern Painters

In thIS whIP-SmArt study, Maggie Nelson provides the first ex-tended consideration of the roles played by women in and around the New York School of poets, from the 1950s to the present, and offers unprecedented analyses of the work of Barbara Guest, Bernadette Mayer, Alice Notley, Eileen Myles, and abstract painter Joan Mitch-ell, as well as a reconsideration of the work of many male New York School writers and artists from a feminist perspective.

With contagious enthusiasm, Women, the New York School, and Other True Abstractions ranges widely and covers collaborations between po-ets and painters in the 1950s and 1960s; the complex role played by the “true abstraction” of the feminine in the work of John Ashbery, Frank O’Hara, and James Schuyler; the intricate weave of verbal and visual arts throughout the postwar period, from Abstract Expressionism to Pop to Conceptualism to feminist and queer performance art; and the unfolding, diverse careers of Mayer, Notley, and Myles from the 1970s to the present. Along the way, Nelson considers provocative ques-tions of anonymity and publicity, the solitary and the communal, the enduring and the ephemeral, domesticity, boredom, sex, and politics.

By asking us to rethink the ways in which we conceptualize “schools” and “avant-gardes” and eventually drawing our attention to larger, compelling questions about how and why we read—and how gender and sexuality inform that reading in the first place—Mag-gie Nelson not only fills an important gap in the history of American poetry and art but also gives an inspired performance of the kind of lively, audacious, and personally committed criticism that befits her subject.

Maggie Nelson is most recently the author of an acclaimed work of art and cultural criticism, The Art of Cruelty: A Reckoning (2011), and a book about the color blue, Bluets (2009). She is also the author of The Red Parts: A Memoir (2007), Something Bright, Then Holes (2007), Jane: A Murder (2005; finalist, the PEN/Martha Albrand Award for the Art of the Memoir), The Latest Winter (2003), and Shiner (2001; finalist, the Poetry Society of America’s Norma Farber First Book Award). She currently teaches on the faculty of the School of Critical Studies at CalArts in Valencia, California, and lives in Los Angeles.

“So many times over the years I’ve been asked, What’s it like to be a woman in rock music? It’s always been sort of a paralyzing question—to answer it is to give the ques-tion itself meaning. Maggie Nelson here opens it all up for examination with this incredibly timely and astute book.”—Kim Gordon of Sonic Youth

“This is a terrific and necessary book. . . . Maggie Nelson charts new paths for work on the New York School and on postwar experimental writing, and her book will be necessary reading for anyone working in the area—it will reach poets and other writers, visual artists, and scholars interested in the New York School and in avant-garde or ex-perimental work; it will reach readers inter-ested in women’s contributions to the arts, urban culture, and the history of New York City.”—Susan Rosenbaum, University of Georgia, author, Professing Sincerity: Modern Lyric Poetry, Commercial Culture, and the Crisis in Reading

available316 pages . 9 photos . 6 x 9 inches$27.50s paper1-60938-109-2, 978-1-60938-109-7literary criticism


new In PAPer

Stories from under the Skyby John MadsonA Bur OAk BOOkHolly Carver, series editor

“Reading Madson is like reading some of his more illustrious and heady predecessors in the American experience . . . namely Emerson and Thoreau.”—Kansas City Star

In Stories from under the Sky, John Madson salutes the outdoor life. These thirty-six essays display his healthy respect for the forces of nature, without diminishing his wry awareness of the foibles of beast, bird, fish, and human.

In sections on mammals, the river, and birds, Madson acquaints readers with some real characters—not all of them four-footed! Some are old favorites: the raccoon, the otter, the fawn, and the badger. Oth-ers are less familiar—the demonic shrew, the indomitable dogfish, and the graceful blue heron. Even the “unloved” come in for their share of attention: toads, waterbugs, wasps, and turkey buzzards. Madson has a yarn to spin about each one. Where else would you find an essay on “Snake Liars”?

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

Iowa native John Madson (1923–1995) is considered the father of the modern prairie restoration movement; his books include Where the Sky Began (Iowa reprint, 2004), Up on the River (Iowa reprint, 2011), and Tallgrass Prairie. He wrote extensively on natural history and re-source conservation for Audubon, Smithsonian, and National Geographic, among many others.

august208 pages . 14 drawings . 36 photos . 5 1/2 x 8 1/2 inches$19.95 paper1-58729-562-8, 978-1-58729-562-1nature

John Madson

storiesfromunder the sky


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Midnight AssassinA Murder in America’s Heartlandby Patricia L. Bryan & Thomas Wolf$19.95 pb 1-58729-605-5 978-1-58729-605-5

Between the HeartbeatsPoetry and Prose by Nursesedited by Cortney Davis & Judy Schaefer$20.00s pb 0-87745-517-1978-0-87745-517-2

Sarah’s SeasonsAn Amish Diary and Conversationby Martha Moore Davis$14.50 pb 0-87745-742-5978-0-87745-742-8

Oneota FlowThe Upper Iowa River and Its Peopleby David S. Faldet$27.50 pb 1-58729-780-9978-1-58729-780-9

Poems from GuantánamoThe Detainees Speakedited by Marc Falkoff$16.95 cl 1-58729-606-3 978-1-58729-606-2

Field Guide to Wildflowers of Nebraska and the Great Plains Second Edition by Jon Farrar $39.95 pb 1-60938-071-1 978-1-60938-071-7

The Guide to Oklahoma Wildflowers by Patricia Folley $39.95 pb 1-60938-046-0 978-1-60938-046-5

The Ecology and Manage ment of Prairies in the Central United Statesby Chris Helzer$29.95 pb 1-58729-865-1978-1-58729-865-3

A Potter’s Workbookby Clary Illian$26.00 pb 0-87745-671-2978-0-87745-671-1

The Made-Up SelfImpersonation in the Personal Essayby Carl H. Klaus$19.95s pb 1-58729-913-5978-1-58729-913-1

A Practical Guide to Prairie Reconstructionby Carl Kurtz$14.00 pb 0-87745-745-x978-0-87745-745-9

A Bountiful HarvestThe Midwestern Farm Photographs of Pete Wettach, 1925–1965by Leslie A. Loveless$36.00 cl 0-87745-813-8978-0-87745-813-5

Where the Sky BeganLand of the Tallgrass Prairieby John Madson$19.95 pb 0-87745-861-8978-0-87745-861-6

A Tallgrass Prairie Alphabetby Claudia McGehee$17.95 cl 0-87745-897-9978-0-87745-897-5

Where Do Birds Live?by Claudia McGehee$17.95 cl 1-58729-919-4978-1-58729-919-3

A Woodland Counting Bookby Claudia McGehee$17.95 cl 0-87745-989-4978-0-87745-989-7

The Emerald HorizonThe History of Nature in Iowaby Cornelia F. Mutel$27.50 pb 1-58729-632-2 978-1-58729-632-1

A Watershed YearAnatomy of the Iowa Floods of 2008edited by Cornelia F. Mutel$19.00 pb 1-58729-854-6978-1-58729-854-7

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Frogs and Toads in Your PocketA Guide to Amphibians of the Upper Midwestby Terry VanDeWalle$9.95 1-60938-059-2 978-1-60938-059-5

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Turtles in Your PocketA Guide to Freshwater and Terrestrial Turtles of the Upper Midwestby Terry VandeWalle$9.95 1-60938-061-4 978-1-60938-061-8


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Iowa Past to PresentThe People and the Prairie Revised Third Editionby Dorothy Schwieder, Thomas Morain, & Lynn Nielsen$39.95s pb 1-60938-036-3 978-1-60938-036-6

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The Tallgrass Prairie Center Guide to Prairie Restoration in the Upper Midwestby Daryl Smith, Dave Williams, Greg Houseal, & Kirk Henderson$27.50 pb 1-58729-916-x978-1-58729-916-2

Forest and Shade Trees of IowaThird Editionby Peter J. van der Linden & Donald R. Farrar$34.95 pb 1-58729-994-1 978-1-58729-994-0

Leaves of Grass, 1860The 150th Anniversary Facsimile Editionby Walt Whitmanedited by Jason Stacy$24.95 pb 1-58729-825-2978-1-58729-825-7

Poets on TeachingA Sourcebookedited by Joshua Marie Wilkinson$29.95s pb 1-58729-904-6978-1-58729-904-9

Nothing to Do but StayMy Pioneer Motherby Carrie Young$16.00 pb 0-87745-329-2978-0-87745-329-1

Forest and Shade Trees of IowaPet e r J. va n de r L i n de n a n d Dona l d R. Fa r r a r

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Forest and Shade Trees of IowaPet

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A complete guide to Iowa’s trees, both native and introduced, full of hundreds of color photos, this third edition of Forest and Shade Trees of Iowa will be useful to arborists,

foresters, horticulturists, landscape archi tects, gardeners, and all midwesterners who appreciate the beauty and value of trees and want to learn more about them.

“Amateur naturalists, professional scientists, and landown - ers in Iowa and beyond — in fact, tree lovers everywhere — will enjoy this much-anticipated update of a widely used classic. There is no better way to learn about the surprising diversity of trees in our prairie state than to have a copy of this book in your library or preferably in your hands while exploring woods, fields, backyards, and roadsides. Peter van der Linden and Donald Farrar have once again combined their talents, knowledge, and love of natural history to renew this enduring reference.” — John Pearson, ecologist, Iowa Department of Natural Resources

“Since it was first published in 1984, Forest and Shade Trees of Iowa has been the definitive reference for Iowa’s trees and larger shrubs. In this third edition, the book’s information has been expanded, freshly rearranged, and augmented with all-color photographs, making it even more accessible to the lay public as well as professional botanists. With the increasing attention now being paid to Iowa’s woodland communities and their ecological importance, this book belongs on the desk of everyone who works —or plays —with trees and shrubs in Iowa.” — Cor nelia F. Mutel, author,

The Emerald Horizon: The History of Nature in Iowa

Peter van der Linden worked in arboretums and botanical gardens in Iowa, Illinois, and Michigan before becoming executive director of Iowa Lakeside Lab in 2007. Donald Farrar, professor emeritus in the Department of Evolu-tion and Organismal Biology at Iowa State University, is a specialist in the reproductive biology of ferns.

Natu r e | A Bu r Oa k Gu ide

PR INTED IN CHINA $34.95

University of Iowa Presswww.uiowapress.org

Cover photos: Cedar on bluff overlooking the Mississippi River, Effigy Mounds National Monument, Iowa © Clint Farlinger; Photos of bur oak leaf and cockspur hawthorn fruit by Donald Farrar. (and credit for photo added to back) iowa

Birds at Your FeederA Guide to Winter Birds of the Great Plainsby Dana Gardner & Nancy Overcott$9.95 0-87745-866-9978-0-87745-866-1

Waterfowl in Your PocketA Guide to Water Birds of the Midwestby Dana Gardner$9.95 1-58729-683-7978-1-58729-683-3

Butterflies in Your PocketA Guide to the Butterflies of the Upper Midwestby Steve Hendrix & Diane Debinski$9.95 0-87745-843-x978-0-87745-843-2

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Woodland in Your PocketA Guide to Common Woodland Plants of the Midwestby Mark Müller$9.95 0-87745-793-x978-0-87745-793-0

Iowa Farm in Your PocketA Beginner’s Guideby Kirk Murray$9.95 1-58729-876-7978-1-58729-876-9

A Guide to Projectile Points of IowaPart 1: Paleoindian, Late Paleoindian, Early Archaic, and Middle Archaic Pointsby Joseph A. Tiffany$9.95 1-58729-826-0978-1-58729-826-4

Frogs and Toads in your pocketA Guide to Amphibians of the Upper Midwest

By Terry VanDeWallePhotographs by Suzanne L. Collins

a bur oak guide

Snakes and Lizards in your pocketA Guide to Reptiles of the Upper Midwest

a bur oak guide

By Terry VanDeWallePhotographs by Suzanne L. Collins

8

Anderson, Donald 8Arthur, Chris 4Belletto, Steven 14Bertino, Marie-Helene 2 Birkby, Evelyn 1Buchanan, Oni 6Collis, Stephen 18Engelhardt, Carroll 9Errington, Paul 10

Always Put in a Recipe and Other Tips for Living from Iowa’s Best-Known Homemaker 1

American Literature and Culture in an Age of Cold War 14

The Contemporary Narrative Poem 17 Detailing Trauma 5The Farm at Holstein Dip 9Gathering Noise from My Life 8The Iowa Lakeside Laboratory 12Jefferson in His Own Time 13The Jewish Kulturbund Theatre Company in Nazi Berlin 19

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Gander, Forrest 15Grausam, Daniel 14Hayes, Kevin J. 13Kinsella, John 15Lannoo, Michael J. 12Lyons, Graham 18Madson, John 21Nelson, Maggie 20

Meme 7Must a Violence 6Of Men and Marshes 10On the Shoreline of Knowledge 4 Reading Duncan Reading 18Redstart 15Safe as Houses 2The Selected Letters of Elizabeth Stoddard 16Stories from under the Sky 21Tell Everyone I Said Hi 3Trees in Your Pocket 11Women, the New York School, and Other True Abstractions 20

Index By AuthOr

order toll-free 800/621-2736fax toll-free 800/621-8476university of iowa press . www.uiowapress.org . fall 2012

Putzi, Jennifer 16Rosburg, Thomas 11Rovit, Rebecca 19Schneider, Steven P. 17Simpson, Chad 3Stockton, Elizabeth 16Wheeler, Susan 7Zwartjes, Arianne 5

8

Index By tItle8

Jewish Studies 19Literary Criticism 14–18, 20Medicine 5Memoir 8–9Nature 10–12, 21Poetry 6–7, 15Theatre 19

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