Böcker utgivna av University of Iowa Press

Travelling across the invisible landscape in which we imaginatively dwell, Kent Ryden - himself a most careful listener and reader - asks the following questions. What categories of meaning do we read into our surroundings? What forms of expression serve as the most reliable maps to understanding those meanings?

At once original, strange, funny, and unnerving, Shane Book's Congotronic takes the reader into unstable territory, where multiple layers of voice, diction, and music collide. Some of these poems have the sparse directness of a kind of bleak prayer; others mingle the earthbound rhythms of hip-hop with the will-to-transcendence of high Romanticism.

Winner oF The 2014 Iowa short fiction award, Heather A. Slomski's debut story collection The Lovers Set Down Their Spoons brings us a fresh new voice in literary fiction. In prose spare and daring, elegant yet startling, these stories drop their roots in reality, but take intermittent leaps into the surreal.

Acclaimed poet Susan Wheeler, whose last individual collection predicted the spiritual losses of the economic collapse, turns her attention to the most intimate of subjects: the absence or loss of love.

Examining three mid-twentieth-century texts, this book explores how the concept of autobiography as a referential genre is challenged and transformed in relation to autobiographical texts written about the same person, the same life, but differently, by different writers, at different points in time. It is useful to Stein and Toklas scholars.

Paying close attention to text, landscape, and biography, this book examines the relationship between place and art. It focusses on seven midwestern authors who came of age toward the close of the twentieth century, their lives, and their work grounded in distinct places.

Offers a selection from the trove of Whitman-related materials Traubel included in the 352 issues of the ""Conservator"". This book includes more than 150 topical essays on Whitman and memoirs, by many of his friends and literary cohorts that shed light on the poet, his work, and his critical reception.

Features ten essays that address the middle generation of American poets. Taking diverse formal and thematic angles on these poets - deconstructionist, biographical-historical, and more formalist accounts - this book re-examines their between-ness and ambivalence. It is of interest to literary scholars and poets.

Crafted out of Irma Rosenthal Frankenstein's writings, this text offers an account of the life and times of an active, socially engaged woman who devoted herself to her family and her community set against the context of the Chicago history that Irma knew so well.

Since the 1980s, Ecuador has seen the development of numerous significant indigenous and ethnic movements and organizations, leading to a new president and constitution for 2003, reflecting these changes. These essays explore the cultural, political and social developments.

Robyn Schiff's poems enquire about making, buying, selling and stealing in the material world, the natural landscape and the human soul. Schiff moves from Cartier and Tiffany to the Shedd Aquarium, from Marie Antoinette to the Civil War and from Mary Pickford to Marilyn Monroe.

In 1998, Don Nichols returned regularly to Iowa from his life and job in Washington, DC, to be with his dying father and to oversee his parents' investments. In this insightful and money-wise book, Nichols merges the emotions of a dutiful son with the actions of a knowledgable investor.

This text explores the idea of home - but a home without clear boundaries, a home in motion. A German who spent ten years in the US and also witnessed German reunification, Lueth writes about his idea of home, its shape and texture, which has shifted in unexpected and often startling ways.

In praise of diversity, this is an account of the triumphs of 15 intercultural families and of the perseverance of their relationships in midwestern America. Four sections follow lives from courtship , through marriage to raising children and the preservation of culture and traditions.

This volume contains interviews with and recollections of Walt Whitman from his early days as a school teacher to the moment of his death. The selections demonstrate a wide range of attitudes towards the poet. Myerson's introduction places these accounts within the context of the time.

A collection of short stories about men on the edge. From the streets of Chicago's southwest side to the rural roads of Nebraska to the small towns of southern Illinois, these men tread a very fine line between right and wrong, love and hate, humour and horror.

This work aims to revitalize literary and cultural theory by proposing a discourse practice of examining the points where genres and attendant meanings first converge, then re-emerge as something new. The author examines authors such as Saul Bellow and John Updike, as well as film and television.

This text's three sections mingle myth and history with style, grace and humour. The first essays are given over to memories of Paul Engle in his heyday. The second group focuses on the teachers who made the workshop hum on a daily basis, and the third section is devoted to storytelling.

Originally published in 1994 by the University of Georgia Press, a study of the influence of Shakespeare on women novelists from the late eighteenth century onwards, with particular reference to George Eliot.

Beginning with a deceptively simple question--What do we mean when we designate behaviors, values, or forms of expression as "black"?--Evie Shockley's Renegade Poetics separates what we think we know about black aesthetics from the more complex and nuanced possibilities the concept has long encompassed. The study reminds us, first, that even among the radicalized young poets and theorists who associated themselves with the Black Arts Movement that began in the mid-1960s, the contours of black aesthetics were deeply contested and, second, that debates about the relationship between aesthetics and politics for African American artists continue into the twenty-first century. Shockley argues that a rigid notion of black aesthetics commonly circulates that is little more than a caricature of the concept. She sees the Black Aesthetic as influencing not only African American poets and their poetic production, but also, through its shaping of criteria and values, the reception of their work. Taking as its starting point the young BAM artists' and activists' insistence upon the interconnectedness of culture and politics, this study delineates how African American poets--in particular, Gwendolyn Brooks, Sonia Sanchez, Harryette Mullen, Anne Spencer, Ed Roberson, and Will Alexander--generate formally innovative responses to their various historical and cultural contexts. Out of her readings, Shockley eloquently builds a case for redefining black aesthetics descriptively, to account for nearly a century of efforts by African American poets and critics to name and tackle issues of racial identity and self-determination. In the process, she resituates innovative poetry that has been dismissed, marginalized, or misread because its experiments were not "recognizably black"--or, in relation to the avant-garde tradition, because they were.