Bøger udgivet af University of Iowa Press

Children in Tactical Gear offers a brilliant feed of stark incantations and unsparing satire. Set in distinctly American landscapes, including toy weapon assembly lines and the compounds of the super rich, and voiced by imperiled children, failed adults, and even a smart home speaker, this collection demonstrates the unsettling force of a surreal imagination under duress.

The Lengest Neoi embraces and complicates what it means to err--to wander or go astray; a deviation from a code of behavior or truth; a mistake, flaw, or defect. In this collection from Stephanie Choi, you'll find the poet's "tongue writing herself, learning to speak."

"Imaging Animal Industry: American Meatpacking in Photography and Visual Culture focuses on the visual culture of the American meat industry between 1890 and 1960. It describes how, during that period, photographs and other images helped to shape public perceptions of industrial-scale meat production. Although the meat industry today bans most photography of its facilities, in the past this was not always the case: the meat industry not only tolerated but welcomed cameras. Meatpacking companies and industry organizations regarded photographs as useful tools for creating and managing a vision of their activities, their innovations, and their contributions to the march of American economic and industrial progress. 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 the rise of industrial meat production"--

The Tigers of Lents the story of the Garrison family, who live in Lents, an outer neighborhood of Portland, Oregon. At the heart of it all, there are the three Garrison sisters: Sara, the eldest, a fiery soccer star on the precipice of pulling herself out of the life of poverty she's always known; Elaine, shy and struggling with the weight she carries both physically and mentally; and Rachel, a reader and poet whose imagination stalls at trying to picture a better life.

At the age of forty-three, Amy Lee Lillard learned she was autistic. A Grotesque Animal explores the making, unmaking, and making again of a woman with an undiagnosed disorder. Through wide-ranging styles and a combination of personal storytelling and cultural analysis, Lillard dissects anger, sexuality, autistic masking, bodies, punk, and female annihilation to create a new picture of modern women.

The Roots of Cane proposes a new way to read one of the most significant works of the New Negro Renaissance, Jean Toomer's Cane. John Young traces the many pieces of Cane that were dispersed across multiple modernist magazines from 1922 through 1923. Interweaving a periodical-studies approach to modernism with book history and critical race theory, Young resituates Toomer's uneasy place within Black modernism by asking how original readers would have encountered his work.

Rowdy Carousals makes important interventions in nineteenth-century theatre history with regard to the Bowery Boy, a raucous, white, urban character most famously exemplified by Mose from A Glance at New York in 1848. The book's examination of working-class whiteness on stage, in the theatre, and in print culture invites theatre historians and critics to check the impulse to downplay or ignore questions about race and ethnicity in discussion of the Bowery Boy and further explores links between the Bowery Boy's rowdyism in the nineteenth century and the resurgence of white supremacy in the early twenty-first century.

In a remarkable career that has spanned nearly fifty years--from waiting tables to wine writer to dining critic--Wini Moranville has witnessed the American restaurant landscape transform from the inside out. Love Is My Favorite Flavor serves as a kind of food and dining history of the past forty-plus years and underscores the timelessness of what it is we seek when we entrust restaurateurs with our hard-earned money and our hard-won leisure time.

Conrad Steel shows how the history of poetry has always been bound with our changing logistics of macroscale representation. This history takes us back to the years before the First World War in Paris, where the poet Guillaume Apollinaire claimed to have invented a new mode of poetry large enough to take on the challenges of the coming twentieth century. The Poetics of Scale follows Apollinaire's ideas across the Atlantic and examines how and why his work became such a vital source of inspiration for American poets through the era of intensive American economic expansion and up to the present day.

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.

Food banks have expanded into one of the largest mechanisms to redistribute food waste. 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.

Much has changed with Iowa's wildlife in the years 1990 to 2020. Iowa's Changing Wildlife provides an up-to-date, scientifically based summary of changes in the distribution, status, conservation needs, and future prospects of about sixty species of Iowa's birds and mammals whose populations have increased or decreased in the past three decades. Readers will learn more about familiar species, become acquainted with the status of less familiar species, and find out how many of the species around them have fared during this era of transformation.

Beyond Ridiculous tells the story of Theatre-in-Limbo. Elliott narrates in first-person the company's Cinderella tale of fun, heartbreak, and dishy drama. At the center of the book is a young Charles Busch, an unforgettable personality fighting to be seen, be heard, and express his unique style as a writer-performer. The tragedy of AIDS among treasured friends in the company, the struggle for mainstream acceptance of LGBTQ+ theatre during the reign of President Ronald Reagan, and the exploration of new ways of being a gay theatre artist make the book a bittersweet and joyous ride.

This anthology of articles selected from The Journal of Artists' Books contains some of the best critical writing on artists' books produced in the last quarter of a century.

After World War II, the Western frontier of self-reinvention and spatial expansion opened up through the explosion of the global travel industry. The Global Frontier shows that a variety of postwar literary travelers sought personal freedom and cultural enrichment outside their nation's borders, including Black, female, and queer writers. But the price of incorporation into a transnational leisure class was complicity in postwar American imperialism and the rejection of 1930s social commitments. Eric Strand argues that capitalist globalization has enabled creative expression for marginalized identities, and that present-day humanists are the descendants of writers such as William S. Burroughs, Saul Bellow, Richard Wright, and Elizabeth Bishop.

Poetry FM is the first book to explore the dynamic relationship between post-1945 poetry and radio in the United States. Lisa Hollenbach traces the history of Pacifica Radio--founded in 1946, the nation's first listener-supported public radio network--through the 1970s: from the radical pacifists and poets who founded Pacifica after the war; to the San Francisco Renaissance, Beat, and New York poets who helped define the countercultural sound of Pacifica stations KPFA and WBAI in the 1950s and 1960s; to the feminist poets and activists who seized Pacifica's frequencies in the 1970s.