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The JAB Anthology
Selections from the Journal of Artists' Books, 1994-2020
Johanna Drucker
University of Iowa Press, 2023
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. 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. More than two hundred writers and artists from nearly two dozen countries around the globe were published in its pages.

The JAB Anthology contains contributions by many renowned figures in the field including: Anne Moeglin-Delcroix, Janet Zweig, Monica Carroll, Adam Dickerson, Alisa Scudamore, Mary Jo Pauly, April Sheridan, Doro Boehme, Gerrit Jan de Rook, Océane Delleaux, Brandon Graham, Jérôme Dupeyrat, Ward Tietz, Paulo Silveira, Philip Cabau, Leszek Brogowski, Lyn Ashby, Tim Mosely, Debra Parr, Pedro Moura, Levi Sherman, Catarina Figueiredo Cardoso, Isabel Baraona, and the editors.
 
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James Merrill, Postmodern Magus
Myth and Poetics
Evans Lansing Smith
University of Iowa Press, 2008
One of the unique voices in our century, James Merrill was known for his mastery of prosody; his ability to write books that were not just collected poems but unified works in which each individual poem contributed to the whole; and his astonishing evolution from the formalist lyric tradition that influenced his early work to the spiritual epics of his later career. Merrill's accomplishments were recognized with a Pulitzer Prize in 1977 for Divine Comedies and a National Book Critics Circle Award in 1983 for The Changing Light at Sandover.
     In this meticulously researched, carefully argued work, Evans Lansing Smith argues that the nekyia, the circular Homeric narrative describing the descent into the underworld and reemergence in the same or similar place, confers shape and significance upon the entirety of James Merrill’s poetry.   Smith illustrates how pervasive this myth is in Merrill’s work – not just in The Changing Light at Sandover, where it naturally serves as the central premise of the entire trilogy, but in all of the poet’s books, before and after that central text.
     By focusing on the details of versification and prosody, Smith demonstrates the ingenious fusion of form and content that distinguishes Merrill as a poet. Moving beyond purely literary interpretations of the poetry, Smith illuminates the numerous allusions to music, art, theology, philosophy, religion, and mythology found throughout Merrill’s work.
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James Van Allen
The First Eight Billion Miles
Abigail Foerstner
University of Iowa Press, 2009
Astrophysicist and space pioneer James Van Allen (1914–2006), for whom the Van Allen radiation belts were named, was among the principal scientific investigators for twenty-four space missions, including Explorer I in 1958, the first successful U.S. satellite; Mariner 2’s 1962 flyby of Venus, the first successful mission to another planet; and the 1970s Pioneer 10 and Pioneer 11 missions that surveyed Jupiter and Saturn. Although he retired as a University of Iowa professor of physics and astronomy in 1985, he remained an active researcher, using his campus office to monitor data from Pioneer 10—on course to reach the edge of the solar system when its signal was lost in 2003—until a short time before his death at the age of ninety-one. Now Abigail Foerstner blends space science drama, military agendas, cold war politics, and the events of Van Allen’s lengthy career to create the first biography of this highly influential physicist.

Drawing on Van Allen’s correspondence and publications, years of interviews with him as well as with more than a hundred other people, and declassified documents from such archives as the Jet Propulsion Laboratory, the Kennedy Space Center, and the Applied Physics Laboratory, Foerstner describes Van Allen’s life from his Iowa childhood to his first experiments at White Sands to the years of Explorer I until his death in 2006.

Often called the father of space science, James Van Allen led the way to mapping a new solar system based on the solar wind, massive solar storms, and cosmic rays. Pioneer 10 alone sent him more than thirty years of readings that helped push our recognition of the boundary of the solar system billions of miles past Pluto. Abigail Foerstner’s compelling biography charts the eventful life and time of this trailblazing physicist.
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James Weldon Johnson's Modern Soundscapes
Noelle Morrissette
University of Iowa Press, 2013
James Weldon Johnson’s Modern Soundscapes provides an evocative and meticulously researched study of one of the best known and yet least understood authors of the New Negro Renaissance era. Johnson, familiar to many as an early civil rights leader active in the National Association for the Advancement of Colored People and an intentionally controversial writer on the subject of the significance of race in America, was one of the most prolific, wide-ranging, and yet elusive authors of twentieth-century African American literature.

Johnson realized early in his writing career that he could draw attention to the struggles of African Americans by using unconventional literary methods such as the incorporation of sound into his texts. In this groundbreaking work, literary critic Noelle Morrissette examines how his literary representation of the extremes of sonic experience—functioning as either cultural violence or creative force—draws attention to the mutual contingencies and the interdependence of American and African American cultures. Moreover, Morrissette argues, Johnson represented these “American sounds” as a source of multiplicity and diversity, often developing a framework for the interracial transfer of sound. The lyricist and civil rights leader used sound as a formal aesthetic practice in and between his works, presenting it as an unbounded cultural practice that is as much an interracial as it is a racially distinct cultural history.

Drawing on archival materials such as early manuscript notes and drafts of Johnson’s unpublished and published work, Morrissette explores the author’s complex aesthetic of sound, based on black expressive culture and cosmopolitan interracial experiences. This aesthetic evolved over the course of his writing life, beginning with his early Broadway musical comedy smash hits and the composition of Autobiography of an Ex-Colored Man (1912), and developing through his “real” autobiography, Along This Way (1933). The result is an innovative new interpretation of the works of one of the early twentieth century’s most important and controversial writers and civil rights leaders. 
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Jazz Country
Ralph Ellison in America
Horace A. Porter
University of Iowa Press, 2001
Horace Porter is the chair of African American World Studies and professor of English at the University of Iowa. He is the author of Stealing Fire: The Art and Protest of James Baldwin and one of the editors of Call and Response: The Riverside Anthology of the African American Literary Tradition.
The first book to reassess Ralph Ellison after his death and the posthumous publication ofJuneteenth, his second novel, Jazz Country: Ralph Ellison in America explores Ellison's writings and views on American culture through the lens of jazz music.
Horace Porter's groundbreaking study addresses Ellison's jazz background, including his essays and comments about jazz musicians such as Louis Armstrong, Duke Ellington, and Charlie Parker. Porter further examines the influences of Ellington and Armstrong as sources of the writer's personal and artistic inspiration and highlights the significance of Ellison's camaraderie with two African American friends and fellow jazz fans—the writer Albert Murray and the painter Romare Bearden. Most notably, Jazz Country demonstrates how Ellison appropriated jazz techniques in his two novels, Invisible Man and Juneteenth.
Using jazz as the key metaphor, Porter refocuses old interpretations of Ellison by placing jazz in the foreground and by emphasizing, especially as revealed in his essays, the power of Ellison's thought and cultural perception. The self-proclaimed “custodian of American culture,” Ellison offers a vision of “jazz-shaped” America—a world of improvisation, individualism, and infinite possibility.
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Jazz in the sixties
the expansion of musical resources and techniques
Michael J. Budds
University of Iowa Press, 1990

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The Jefferson Highway
Blazing the Way from Winnepeg to New Orleans
Lyell D. Henry Jr.
University of Iowa Press, 2016
Today American motorists can count on being able to drive to virtually any town or city in the continental United States on a hard surface. That was far from being true in the early twentieth century, when the automobile was new and railroads still dominated long-distance travel. Then, the roads confronting would-be motorists were not merely bad, they were abysmal, generally accounted to be the worst of those of all the industrialized nations.

The plight of the rapidly rising numbers of early motorists soon spawned a “good roads” movement that included many efforts to build and pave long-distance, colorfully named auto trails across the length and breadth of the nation. Full of a can-do optimism, these early partisans of motoring sought to link together existing roads and then make them fit for automobile driving—blazing, marking, grading, draining, bridging, and paving them. The most famous of these named highways was the Lincoln Highway between New York City and San Francisco. By early 1916, a proposed counterpart coursing north and south from Winnipeg to New Orleans had also been laid out.

Called the Jefferson Highway, it eventually followed several routes through Minnesota, Iowa, Missouri, Kansas, Oklahoma, Texas, Arkansas, and Louisiana. The Jefferson Highway, the first book on this pioneering road, covers its origin, history, and significance, as well as its eventual fading from most memories following the replacement of names by numbers on long-distance highways after 1926. Saluting one of the most important of the early named highways on the occasion of its 100th anniversary, historian Lyell D. Henry Jr. contributes to the growing literature on the earliest days of road-building and long-distance motoring in the United States. For readers who might also want to drive the original route of the Jefferson Highway, three chapters trace that route through Iowa, pointing out many vintage features of the roadside along the way. The perfect book for a summer road trip! 
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Jefferson in His Own Time
A Biographical Chronicle of His Life, Drawn from Recollections, Interviews, and Memoirs by Family, Friends, and Associates
Kevin J. Hayes
University of Iowa Press, 2012
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. 
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The Jewish Kulturbund Theatre Company in Nazi Berlin
Rebecca Rovit
University of Iowa Press, 2012
New laws enacted in the wake of Hitler’s ascent to power removed all Jews from their professional workplaces and banned Jewish 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—correspondence 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 German 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 Reichskristallnacht, 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 escalating 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 questions about the nature of art in an environment of coercion and isolation, artistic integrity and adaptability, and community and identity. 

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Jews and the Making of Modern German Theatre
Jeanette R. Malkin
University of Iowa Press, 2010

 While it is common knowledge that Jews were prominent in literature, music, cinema, and science in pre-1933 Germany, the fascinating story of Jewish co-creation of modern German theatre is less often discussed. Yet for a brief time, during the Second Reich and the Weimar Republic, Jewish artists and intellectuals moved away from a segregated Jewish theatre to work within canonic German theatre and performance venues, claiming the right to be part of the very fabric of German culture. Their involvement, especially in the theatre capital of Berlin, was of a major magnitude both numerically and in terms of power and influence. The essays in this stimulating collection etch onto the conventional view of modern German theatre the history and conflicts of its Jewish participants in the last third of the nineteenth and first third of the twentieth centuries and illuminate the influence of Jewish ethnicity in the creation of the modernist German theatre.

 The nontraditional forms and themes known as modernism date roughly from German unification in 1871 to the end of the Weimar Republic in 1933. This is also the period when Jews acquired full legal and trade equality, which enabled their ownership and directorship of theatre and performance venues. The extraordinary artistic innovations that Germans and Jews co-created during the relatively short period of this era of creativity reached across the old assumptions, traditions, and prejudices that had separated people as the modern arts sought to reformulate human relations from the foundations to the pinnacles of society.

 The essayists, writing from a variety of perspectives, carve out historical overviews of the role of theatre in the constitution of Jewish identity in Germany, the position of Jewish theatre artists in the cultural vortex of imperial Berlin, the role played by theatre in German Jewish cultural education, and the impact of Yiddish theatre on German and Austrian Jews and on German theatre. They view German Jewish theatre activity through Jewish philosophical and critical perspectives and examine two important genres within which Jewish artists were particularly prominent: the Cabaret and Expressionist theatre. Finally, they provide close-ups of the Jewish artists Alexander Granach, Shimon Finkel, Max Reinhardt, and Leopold Jessner. By probing the interplay between “Jewish” and “German” cultural and cognitive identities based in the field of theatre and performance and querying the effect of theatre on Jewish self-understanding, they add to the richness of intercultural understanding as well as to the complex history of theatre and performance in Germany.

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Johnny Cash International
How and Why Fans Love the Man in Black
Michael Hinds and Jonathan Silverman
University of Iowa Press, 2020

2023 Peggy O'Brien Book Prize, winner

Across all imaginable borders, Johnny Cash fans show the appeal of a thoroughly American performer who simultaneously inspires people worldwide. A young Norwegian shows off his Johnny Cash tattoo. A Canadian vlogger sings “I Walk the Line” to camel herders in Egypt’s White Desert. A shopkeeper in Northern Ireland plays Cash as his constant soundtrack. A Dutchwoman co­ordinates the activities of Cash fans worldwide and is subsequently offered the privilege of sleeping in Johnny’s bedroom. And on a more global scale, millions of people watch Cash’s videos online, then express themselves through commentary and debate.

In Johnny Cash International, Hinds and Silverman examine digital and real-world fan communities and the individuals who comprise them, profiling their relationships to Cash and each other. Study­ing Johnny Cash’s international fans and their love for the man reveals new insights about music, fandom, and the United States.

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Joseph Conrad
Interviews and Recollections
Martin Ray
University of Iowa Press, 1990

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Journey Into Personhood
Ruth Cameron Webb
University of Iowa Press, 1994

In Journey into Personhood Ruth Webb tells the story of an individual born with severe cerebral palsy who struggles to become a person in her own eyes as well as in the opinion of those around her. By developing both the inner ability to learn, live, and work independently and the outer ability to convince others to give her the freedom to do so—physically and emotionally—Webb earned her Ph.D. in counseling and guidance. With that validation of her intelligence and competence, she entered upon a fulfilling career working with mentally retarded people and other people with disabilities.

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front cover of Journey to Autonomy
Journey to Autonomy
A Memoir
Louise Rosenfield Noun
University of Iowa Press, 1996


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