Bøker utgitt av University of Iowa Press

In Mother Archive, Erika Morillo reconciles the demons of her past including a family murder kept secret, the mysterious disappearance of her father, the systematic erasing of family photographs, a turbulent relationship with her mother, and layers of generational trauma and abuse. Intertwining memories with archival family photographs, news clippings, film stills, and artistic images, Mother Archive spans three generations across three different countries, and works as a map in which Morillo traces incidents in her family history to help her understand herself and her own experience as a mother.

"In his seventh book of poems, Salms, Aaron McCollough navigates the ancient, vexed lyric landscape of the Biblical Psalm, where gratitude is arrived at through complaint and yearning is smuggled in alongside tribute. It is a place of recovery and discovery, "all silent but newly charted/ territory we would recognize," as McCollough writes. In this vision, The God of the Biblical Psalter is sustained by praise much as its creatures are sustained by food. Salms adopts the probative, endangered position of the occupants of this psychic and spiritual ecology, "pinched down and hived into an insect of attention," and "Being seen to show the world one's insides." At the same time, McCollough explores the paradox, long noted, that the Psalter is rife with grieving, imploring, and cruel fantasies of retribution. The path the Biblical psalms takes is a circuitous journey James L. Crenshaw recently described as moving from "grief to thanksgiving, from lament to praise," and it is a path that McCollough's salms follows, in the gently subversive tradition of the great early seventeenth century poet George Herbert, for whom language offered both "the soul in paraphrase" and an "[e]ngine against th' Almighty." Formally restless and diverse, McCollough's poems move from flinty Anglo-Norman terseness through folktale to long-lined journal-like confessional, blending high modern solemnity and postmodern negation. Like its near namesake, Salms is a heterodox gathering, an erudite and poetically masterful work of lyric intensity and raw confrontation with God and self. Its sounds and forms bind to the divine histories of the western lyric tradition at points of fragility and potential disintegration. "When I kept silence, my bones roared,/ says the psalmist, whose heart also melts/ like wax": McCollough's salms, heartbroken and resilient, raise their voices in a world grown suspicious of sacred congress. Still, they keep singing, ragged and dense, "listening for an / undone drone/ to rise between / sound blooms.""

"For several decades following the end of the Civil War, the most popular sport in the United States was walking. Professional pedestrians often covered 500 miles or more for up to six grueling days and nights in pursuit of large money prizes in competitions held in big-city arenas. Walking was also a favorite amateur sport; newspapers often noted a "pedestrian mania" or "walking fever" that only began to give way in the mid-1880s to fast-rising crazes for baseball, bicycling, and roller-skating. As competitive walking faded, however, another kind of walking that had also begun in the late 1860s came to full flower. Between 1890 and 1930, hundreds of men, women, even children and entire families were on the nation's roads and railroad tracks trekking between widely separated points-frequently New York and San Francisco-and sometimes moving in unusual ways, such as on roller-skates or by walking barefooted, backwards, on stilts, or while rolling a hoop. To finance their attention-seeking journeys, many sold souvenir postcards. Although they claimed various reasons for making these treks, for most the treks clearly were a means of personal expression. The public usually found these performers entertaining, but public officials and newspaper editors often denounced them as nuisances or frauds. Tapping vintage postcards and old newspaper articles, this is the first book to bring back to view this once-familiar feature of American life. Following a prologue providing background and context, five chapters address different aspects of this trekking phenomenon. In 106 illustrations and seventy-six vignettes-some poignant, many amusing, all engaging-the book provides a fair representation of the many trekkers who moved across the country during those years. An epilogue offers some final musings about those trekking performers and their place in the annals of American popular culture"--

Answering an unexpected call to faith in her thirties, Melody Gee contends with what saying "yes" to conversion requires of an adopted daughter of Chinese immigrants. She looks for answers and consolation in her family's story of immigration trauma and cultural assimilation, in the ways their burdens and limitations made her answer-seeking both impossible and inevitable. We Carry Smoke and Paper is a memoir about what we owe to those who sacrifice everything for us, and it is about the many conversions in a lifetime that turn our heads via whispers and shouts, calling us to ourselves.

Imaging Animal Industry focuses on the visual culture of the American meat industry between 1890 and 1960. Drawing on archival collections across the American Midwest, this book relates a history of the meatpacking industry's use of images in the early to mid-twentieth century. In the process, it reveals the key role that images, particularly photographs, have played in assisting with the rise of industrial meat production.

"At the age of forty-three, Amy Lee Lillard learned she was autistic. She learned she was part of a community of unseen women who fell through the gaps due to medical bias and social stereotypes. And she learned that her brash and trashy family of women may have broken under the weight of invisible disability. A Grotesque Animal explores the making, unmaking, and making again of a woman with invisible and unknown disability-through a combination of personal storytelling and cultural analysis, through wide-ranging styles and mixed media. A battle cry that dissects anger, sexuality, autistic masking, bodies, punk, and female annihilation to create a new picture of modern women"--

"This book proposes a new way to read one of the most significant works of the New Negro Renaissance, and of the modernist period more generally, Jean Toomer's Cane (1923)--or rather, a way not to read Cane. Rather than focusing on the form of the book published by Boni and Liveright, what Toomer would later call a single textual "organism," John K. Young traces the many pieces of Cane that were dispersed across multiple modernist magazines from 1922-3. These periodicals ranged from primarily political monthlies (the NAACP organ The Crisis and the Socialist Liberator), to avant-garde arts journals (the well-known Broom and The Little Review but also the more obscure S4N and Modern Review), to regional magazines with transnational aspirations (The Double Dealer in New Orleans, The Nomad in Birmingham, Alabama, and Prairie in Milwaukee, or perhaps Chicago). The Seeds of Cane interweaves a periodical-studies approach to modernism with book history and critical race theory, resituating Toomer's uneasy place within Black modernism by asking how his original readers would have encountered his work. The different contexts in which those audiences were engaging with Toomer's portraits of racialized identity in the Jim Crow United States yields often surprising results. Young returns to the experience of Cane as a book in the conclusion, re-evaluating its collage form in relation to the similar kinds of textual and narrative structures common to modern magazines"--

"Combining performance theory with original archival research, Rowdy Carousals makes important interventions in nineteenth-century theater history with regard to the Bowery Boy, a rowdy, white, urban character, most famously exemplified by Mose from A Glance at New York in 1848. First, this book greatly expands the stage history of the Bowery Boy which was not limited to Mose but rather included Mose's compeers and descendants who rollicked through sketches, comedies, and melodramas from the antebellum decades to the Progressive Era. Second, Rowdy Carousals argues that theatrical representations of the Bowery Boy legitimated and disseminated images of working-class whiteness that facilitated class and racial formation in the United States. The Bowery Boy's rowdyism during the antebellum period helped instantiate a concept of a working-class alongside the emergent definitions of the middle class, a tension which was slowly mediated by the appropriation and disciplining of the character by the turn of the century. At the same time, theatrical representations of the Bowery Boy emphasized the privileges of whiteness against nonwhite workers including slaves and free African Americans during the antebellum period, an articulation of white superiority that continued through the early twentieth century with immigrants such as Jews, Italians, and the Chinese. The examination of working-class whiteness on stage, in the theater, and in print culture in Rowdy Carousals invites theater historians and critics to check the impulse to downplay or ignore questions about race and ethnicity in discussion of the Bowery Boy. This study, finally, suggests links between the Bowery Boy's rowdyism in the nineteenth century and the resurgence of white supremacy in the early twenty-first century"--

"Immerse yourself in a fascinating culinary journey through American dining from the mid-1970s through today. In a remarkable career that has spanned nearly 50 years, Wini Moranville has witnessed the American restaurant landscape transform from the inside out. At just shy of 14, she began a 10-year stretch working in a kaleidoscope of quintessential Midwestern eateries of the time. From the familiarity and warmth of a family-owned cafeteria, to the groovy vibe of a hippie-run vegetarian restaurant, from the graciousness of a department store tearoom, to the camaraderie of a downtown coffeeshop, and later, the dispiriting milieu of an exclusive private dining club, Moranville's hands-on experiences weave a vivid tapestry of the American restaurant landscape in the 1970s and 80s. In the mid-90s, the tables turned as Moranville became a prolific food and wine writer for national publications, as well as the dining critic for the Des Moines Register and later, dsm Magazine. During the past 25 years, she has written over 750 professional restaurant reviews. Here, she tells of the great evolution of the American dining scene that happened on her watch, as food become more ambitious, energetic, locally sourced, and globally purveyed. She also recounts, with humor and heart, the pleasures and pitfalls of being a well-known and highly trusted food critic, when, for instance, a readers will corner you at the supermarket if they disagree with what you've written. Amidst the vast changes that have occurred over the years, the book underscores the timelessness of what it is we seek when we entrust restaurateurs with our hard-earned money and our hard-won leisure time. Dining out may have changed dramatically since the 70s, but the joys of being in the hands of people who care deeply about our time at their tables have not"--

"Big data, sensor networks, rolling newsfeeds: today we are constantly surrounded by communication technologies mapping and remapping the complexity of our interconnected planet. But one technology has been overlooked: the poem. This book tells the story of how, over the century, authors and readers reinvented poetry as a form of macro-scale imagination, able to capture the speed and scope of global capitalist society when all other media fall short. It also asks what that story tells us today: why have we been so keen to picture poetry as a kind of global information system (a picture I call 'epic reading')? What may have been lost? This story, it turns out, takes us back to the years just before the First World War, when new media and new horizons threatened to leave poetry behind--but also opened up a new space of imaginative possibilities that it turned out poetic technique was uniquely able to navigate. It also takes us back to turn-of-the century France, and more specifically to Paris (the 'capital of the nineteenth century') where the poet Guillaume Apollinaire articulated, more clearly than anyone, the challenges of imaginative scale that the coming twentieth century would bring. The book follows Apollinaire's ideas across the Atlantic, and shows how and why his work became a vital source of inspiration for American poets through the era of American imperialism and into the present day. Threading together Apollinaire's work in the 1910s with that of three of his American successors--Louis Zukofsky in the 1930s, Allen Ginsberg in the 1950s, and Alice Notley starting in the 1970s--it examines why this specific strand of poetic tradition and method has proved so vital to our cultural ideas, a hundred years later, of what poetry can do and of what one individual can imagine."--

Set mostly in rural Maine, Bjarki, Not Bjarki is an expansive book. It is a standard work of journalism, describing with nuance and humanity the people and processes that transform the forest into your floor. It is also a meditation on what it means to know another person and to connect with them, especially in an increasingly polarized America. And it is a ghost story about marriage. It is an inquiry into the limits of language and certainty, a rumination on North American colonization, masculinity, gift cards, crab rangoon, bald eagles, and wood, all of it told in an exciting, energized, and original prose.

"Polish Theatre Revisited explores nineteenth-century Polish theatre through the lens of theatre audiences. ¡uksza places special emphasis on the most engaged spectators, known as "theatremaniacs"-from what they wore, to what they bought, to what they ate. Her source material is elusive ephemera from fans' lives, such as notes scribbled on a weekly list of shows in the Warsaw theatres, collections of theatre postcards, and recipes for sweets named after famous actors. The fannish behavior of "theatremaniacs" was usually deemed excessive or in poor taste by people in positions of power, as it clashed with the ongoing embourgeoisement of the theatre and the disciplining of audiences. It was increasingly associated with "lowbrow" cultural fields, such as sports. Nevertheless, the theatre was one of the key areas where early fan cultures emerged, and "theatremaniacs" indulged in diverse fan practices in opposition to the forces reforming the theatre and its spectatorship. Polish Theatre Revisited brings back to life the passionate audiences of Polish playhouses in the nineteenth century, and presents a history in which fans come out of the shadows"--

"Food banks-warehouses that collect and systematize surplus food-have expanded into one of the largest mechanisms to redistribute food waste. From their origins in North America in the 1960s, food banks provide food to communities in approximately one hundred countries on six continents. This book analyzes the development of food banks across the world and the limits of food charity as a means to reduce food insecurity and food waste. Based on fifteen years of in-depth fieldwork on four continents across North America, Europe, Asia, and Africa, this volume illustrates how and why food banks proliferate across the globe even though their impacts may be limited. Rather than addressing the root causes of food insecurity and food waste, governments and corporations promote food banks because it allows them to deflect attention away from their own institutional shortcomings. The coronavirus crisis has only further underscored the fact that food bank systems are a patchwork of charities rather than a systematic network to reduce food insecurity and food waste. Given the limited impacts and potential pitfalls of food banks in different contexts, the author of this book suggests that we need to reformulate the role of food banks. To start, the mission of food banks needs to be clearer and more realistic, as food surpluses cannot reduce food insecurity on a significant scale. In addition, food banks need to regain their institutional independence from the state and corporations and incorporate the knowledge and experiences of the food insecure in the daily operations of the food system. Also, given that food systems are designed differently across the Global South, food banks may not be a good fit for development in some contexts. If implemented, these collective changes can contribute to a future where food banks play a smaller but more targeted role in food systems"--

"This book tells the recent story of Iowa's wildlife from recovery and restoration to disappointing declines. During the pandemic, the number of visitors to state parks, wildlife areas, and other natural areas has increased greatly. For many, this is a new experience. This book will provide them with a reliable source of information about many of the animals that they are now seeing. Much has changed with Iowa's wildlife in the past 30 years. Some species like Canada goose, wild turkey, and white-tailed deer that once were rare in Iowa are now common, and others like sandhill crane, river otter, and trumpeter swan are becoming increasingly abundant. The goal of this book is to provide an up-to-date, scientifically based summary of changes in the distribution, status, conservation needs, and future prospects of about 60 species of Iowa's birds and mammals whose populations have increased or decreased in the past 30 years. Emphasis is given to several species that have experienced significant growth, some that show signs that they may experience future growth, and a few whose long-term future in Iowa is in jeopardy. This book is not an update of James and Stephen Dinsmore's earlier book, A Country So Full of Game, which discussed Iowa's wildlife up to about 1990. This is an entirely new book, discussing what has happened in the years 1990-2020. For species covered in the earlier book, only a brief discussion of earlier years is provided to connect the new material to what happened earlier"--

"This anthology of articles selected from JAB: The Journal of Artists' Books (1994-2020) contains some of the best critical writing on artists' books produced in the last quarter of a century. Driven by the editorial vision of artist Brad Freeman, JAB began as a provocative pamphlet and expanded to become a significant journal documenting artists' books from multiple perspectives. With its range of participants and approaches, JAB provided a unique venue for sustained critical writing in the field and developed a broad subscriber base among institutional and private collectors and readers. It featured artists' profiles, book reviews, reports from book fairs and conferences, interviews with major figures, and much lively debate about how to engage critically with artists' books. More than two hundred writers and artists from nearly two dozen countries around the globe were published in its pages. Contributions came from authors in Australia, North America, Europe, the UK, and South America and from literary studies, visual arts, photography, media theory, and book history as well as other backgrounds. The original issues each had covers designed-and often printed-by individual book artists. Later issues contained artists' books produced exclusively for its subscribers. No other journal dedicated exclusively to artists' books had so long a run or such broad representation. As JAB's visibility increased, more artists and writers contributed to its ongoing exchanges. The essays in this collection are all exemplary works of critical writing that illuminate individual books, artists, or presses but also offer a diverse range of methodological approaches to interpreting these vibrant and compelling works of art. Providing new access to these essays will hopefully inspire new work in creative and intellectual areas of the field and offer a resource to those responsible for teaching and collecting artists' books"--

The Woods explores the lives of people in a small Vermont college town and its surrounding areas--a place at the edge of the bucolic, where the land begins to shift into something untamed. In the tradition of Elizabeth Strout's Olive Kitteridge and Sherwood Anderson's Winesburg, Ohio, these stories follow people who carry private griefs but search for contentment. As they try to make sense of their worlds, grappling with problems--worried about their careers, their marriages, their children, their ambitions--they also sift through the happiness they have, and often find deep solace in the landscape.

Who writes novels about war? For nearly a century after World War I, the answer was simple: soldiers who had been there. The assumption that a person must have experienced war in the flesh in order to write about it in fiction was taken for granted by writers, reviewers, critics, and even scholars. Contemporary American fiction tells a different story. Less than half of the authors of contemporary war novels are veterans. And that's hardly the only change. Today's war novelists focus on the psychological and moral challenges of soldiers coming home rather than the physical danger of combat overseas. They also imagine the consequences of the wars from non-American perspectives in a way that defies the genre's conventions. To understand why these changes have occurred, David Eisler argues that we must go back nearly fifty years, to the political decision to abolish the draft. The ramifications rippled into the field of cultural production, transforming the foundational characteristics-- authorship, content, and form--of the American war fiction genre.

Symptoms of the Self offers the first full study of the stage consumptive. In the nineteenth and early twentieth centuries in France, Britain, and North America, tuberculosis was a leading killer. The consumptive character became a vehicle through which standards of health, beauty, and virtue were imposed; constructions of class, gender, and sexuality were debated; the boundaries of nationhood were transgressed or maintained; and an exceedingly fragile whiteness was held up as a dominant social ideal. By telling the story of tuberculosis on the transatlantic stage, Symptoms of the Self uncovers some of the wellsprings of modern Western theatrical practice--and of ideas about the self that still affect the way human beings live and die.

"Celebrities depend upon fans to sustain their popularity and livelihood, and fans are happy to oblige. With social media, they can follow their favorite (or least favorite) celebrities' every move, and get glimpses into their lives, homes, and behind-the-scenes work. Fans interact with celebrities now more than ever, and often feel that they have a claim on their time, attention, and accountability. In Fame and Fandom: Functioning On and Offline, contributors examine this tumultuous dynamic, and bring together celebrity studies and fan studies like never before. This volume explores the intersections between fan cultures, communities and practices around the globe; as well as the formation and maintenance of celebrity and public personas. It expands knowledge of the fields by examining both online and offline examples. Readers will find new theoretical approaches to fan/celebrity encounters, as well as discussion of parasocial relationships and fan interactions with celebrities. Case studies include Supernatural, Harry Styles, YouTube influencers, film location sites, Keanu Reeves, and celebrities as fans. This volume is ideal for anyone curious about the mutual influences of fame on fandom, and vice versa"--