spring

2021

iowa
where great writing begins
IOWA
where great writing begins
. . . Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1 The Cleveland Heights LGBTQ Sci-Fi and Fantasy Role Playing Club
  … Doug Henderson
FOREWORD BY
ROXANE
GAY 2 Radicals: Volume One: Fiction, Poetry, and Drama
  … Meredith Stabel and Zachary Turpin, editors

RADICALS
AUDACIOUS WRITINGS BY AMERICAN WOMEN
3 Radicals: Volume Two: Memoir, Essays, and Oratory
  … Meredith Stabel and Zachary Turpin, editors
4 Nathaniel Mackey, Destination Out … Jeanne Heuving, editor
5 Cracking Up … Katelyn Hale Wood
6 The Last Unkillable Thing … Emily Pittinos
EDITED BY MEREDITH STABEL & ZACHARY TURPIN

7 I Always Carry My Bones … Felicia Zamora

8 Iowa’s Remarkable Soils … Kathleen Woida
9 Fishtastic! … Tess Weaver and Jennifer Black Reinhardt, illustrator
10 “The Million Dead, Too, Summ’d Up” … Ed Folsom and Christopher Merrill
FOREWORD BY
KATHA
POLLITT
11 “The Disenthralled Hosts of Freedom” … David Grant

RADICALS
AUDACIOUS WRITINGS BY AMERICAN WOMEN
12 William Gibson and the Futures of Contemporary Culture
  … Mitch R. Murray and Mathias Nilges, editors
13 Transnational Modernity and the Italian Reinvention of Walt Whitman, 1870–1945
  … Caterina Bernardini
14 Ecospatiality … Lowell Wyse
EDITED BY MEREDITH STABEL & ZACHARY TURPIN

15 Novel Subjects … Leah A. Milne

16–17 Recently Published
18 General Interest Bestsellers
19 Regional Bestsellers
20 Recent Scholarly
21 Index by Author
22 Index by Title
22 Index by Subject
23 Exam and Desk Copy Policies
23 Contact Information
24 Ordering Information
25 Sales Representation

uipress.uiowa.edu The University of Iowa Press is committed to preserving natural

resources. This catalog is printed on fsc-certified paper.
Cover background designed by Kathleen Lynch/Black Kat Design
with art from iStock.com/Nikiteev_Konstantin
 The Cleveland Heights LGBTQ Sci-Fi and
Fantasy Role Playing Club
by Doug Henderson

“Henderson has created something special­—part Hobbit and

part Breakfast Club—a bittersweet story of love and friendship
that tackles big subjects like homophobia, social anxiety, and
coming out with a touch of magic. Even if you can’t tell neutral-­
chaotic from lawful-good, or a paladin from a druid, you’ll be
swept up with Ben and his lovable band of outsiders —where
the game becomes a map for real life and real life sets the
course for the game.”—K. M. Soehnlein, author, The World of
Normal Boys

On Thursday nights, the players assemble in the back of

Readmore Comix and Games. Celeste is the dungeon master; Val-
erie, who works at the store, was roped in by default; Mooneyham,
the banker, likes to argue; and Ben, sensitive, unemployed, and
living at home, is still recovering from an unrequited love. In the
real world they go about their days falling in love, coming out at
work, and dealing with their family lives all with varying degrees of
success. But in the world of their fantasy game, they are heroes and
wizards fighting to stop an evil cult from waking a sleeping god.
But then a sexy new guy, Albert, joins the club, Ben’s character is
killed, and Mooneyham’s boyfriend is accosted on the street. The
connections and parallels between the real world and the fantasy
one become stronger and more important than ever as Ben strug-
gles to bring his character back to life and win Albert’s affection,
and the group unites to organize a protest at a neighborhood bar.
All the while the slighted and competing vampire role playing
club, working secretly in the shadows, begins to make its move.
“It turns out that you don’t have to be a
gay gamer nerd from Ohio to love Doug
Henderson’s novel The Cleveland Heights
LGBTQ Sci-Fi and Fantasy Role Playing Club.
You just need to be someone who likes to
laugh, or likes to watch people awkwardly
attempt love and friendship, or likes to
read a sweet, funny story about that time
the geek got the boy. Henderson is a
quirky, terrific, entertaining storyteller.”
—Lori Ostlund, author, After the Parade

Doug Henderson won the 2019 PEN/Robert J. Dau Short Story

Prize for Emerging Writers, and made his short story debut in the
Iowa Review. Henderson lives in San Francisco, California.

april
252 pages . 5½ × 8½ inches
$16.00 paper original, 978-1-60938-756-3
$16.00 e-book, 978-1-60938-757-0
fiction
spring ���� | uipress.uiowa.edu 1
 Radicals
Audacious Writings by American Women, 1830–1930
Volume One: Fiction, Poetry, and Drama
FOREWORD BY

edited by Meredith Stabel and Zachary Turpin ROXANE

GAY

foreword by Roxane Gay

Kate Chopin on pot smoking. Pauline Hopkins on alchemy

and the undead. Sui Sin Far on cross-dressing. Emma Lazarus and
Angelina Weld Grimké on lesbian longing. Julia Ward Howe on
intersexuality. Perhaps the first of its kind, Radicals is a two-volume
RADICALS
AUDACIOUS WRITINGS BY AMERICAN WOMEN
collection of writings by American women of the nineteenth and
early twentieth centuries, with special attention paid to the voices
of Black, Indigenous, and Asian American women.
In Volume 1: Fiction, Poetry, and Drama, selections span from early
works like Sarah Louise Forten’s anti-slavery poem “The Grave
of the Slave” (1831) and Fanny Fern’s Ruth Hall (1855), a novel
about her struggle to break into the male-dominated field of jour- EDITED BY MEREDITH STABEL & ZACHARY TURPIN

nalism, to Charlotte Perkins Gilman’s revenge fantasy, “When I

Was a Witch” (1910) and Georgia Douglas Johnson’s poem on
the fraught nature of African American motherhood, “Maternity”
(1922). In between, readers will discover many vibrant and chal-
lenging lesser-known texts that are rarely collected today. Some,
indeed, have been out of print for more than a century.
Unique among anthologies of American literature, Radicals un-
does such silences by collecting the underrepresented, the uncate-
gorizable, the unbowed—powerful writings by American women
of genius and audacity who looked toward, and wrote toward, what
Charlotte Perkins Gilman called “a lifted world.”
Meredith Stabel is a PhD candidate in English at the University
of Iowa. She lives in Iowa City, Iowa. Zachary Turpin is assistant
professor of American Literature at the University of Idaho. He is
the author and coeditor of such works as Every Hour, Every Atom:
A Collection of Walt Whitman’s Early Notebooks and Fragments (Iowa,
2020). Turpin lives in Moscow, Idaho.
“This anthology offers up writing from
women at a time when women’s literacy
was largely the privilege of wealthy and
upper-middle-class white women, and
women were expected to write demure,
well-mannered things. These writings are
not that. They represent a hundred years
of women writing their way into public
discourse, giving voice to the complexities
of their inner lives, their desires, their sen-
timents about the constraints of woman-
hood, the political climate, the strictures
of class, and their places in their families,
communities, and the world beyond.”
—Roxane Gay, author, Bad Feminist: Essays

june
264 pages . 10 b&w figures . 6 × 9 inches
$25.00 paper original, 978-1-60938-766-2
$25.00 e-book, 978-1-60938-767-9
literature / women’s studies
2 University of Iowa Press | spring ����
Radicals
Audacious Writings by American Women, 1830–1930
Volume Two: Memoir, Essays, and Oratory
edited by Meredith Stabel and Zachary Turpin
foreword by Katha Pollitt FOREWORD BY
KATHA
POLLITT

Emily Dickinson on sex, desire, and “the chapter . . . in the

night.” Emma Goldman against the tyranny of marriage. Ida B.
Wells against lynching. Anna Julia Cooper on Black American
womanhood. Frances Willard on riding a bicycle. Perhaps the
RADICALS
AUDACIOUS WRITINGS BY AMERICAN WOMEN
first of its kind, Radicals is a two-volume collection of writings by
American women of the nineteenth and early twentieth centuries,
with special attention paid to the voices of Black, Indigenous, and
Asian American women.
In Volume 2: Memoir, Essays, and Oratory, selections span from
early works like Sarah Mapps Douglass’s anti-slavery appeal “A
Mother’s Love” (1832) and Maria W. Stewart’s “Address Delivered EDITED BY MEREDITH STABEL & ZACHARY TURPIN

at the African Masonic Hall” (1833), to Zitkala-Sa’s memories in

“The Land of Red Apples” (1921) and Charlotte Perkins Gilman’s
moving final essay “The Right to Die” (1935). In between, readers “This smart collection stands out for its
will discover a whole host of vibrant and challenging lesser-known inclusivity—of genres, of voices, and, of
texts that are rarely collected today. Some, indeed, have been out writings whose very audacity has made
of print for more than a century. them less widely known. Readers will meet
Unique among anthologies of American literature, Radicals un- new historical figures and also discover
does such silences by collecting the underrepresented, the uncate- new dimensions of feminist authors they
gorizable, the unbowed—powerful writings by American women thought already knew. The bold, lucid
of genius and audacity who looked toward, and wrote toward, what introduction is a bonus.”—Landon R. Y.
Charlotte Perkins Gilman called “a lifted world.” Storrs, author, The Second Red Scare and the
Unmaking of the New Deal Left
Meredith Stabel is a PhD candidate in English at the University
of Iowa. She lives in Iowa City, Iowa. Zachary Turpin is assistant
professor of American Literature at the University of Idaho. He is
the author and coeditor of such works as Every Hour, Every Atom:
A Collection of Walt Whitman’s Early Notebooks and Fragments (Iowa,
2020). Turpin lives in Moscow, Idaho.

june
288 pages . 13 b&w figures . 6 × 9 inches
$25.00 paper original, 978-1-60938-768-6
$25.00 e-book, 978-1-60938-769-3
literature / women’s studies
spring ���� | uipress.uiowa.edu 3
 Nathaniel Mackey, Destination Out
Essays on His Work
edited by Jeanne Heuving
Contemporary North American Poetry Series
Alan Golding, Lynn Keller, and Adalaide Morris, series editors

“This deeply thoughtful collection of essays on the greater mas-

ter of letters and philosopher Nathaniel Mackey and his wide-­
ranging presentation of himself as writer, thinker, artist, meta-
physician, and mentor is long overdue. Rigorous, dense, heart-
felt, and attentive; after this important book there will assuredly
be many more considerations of Mackey’s extraordinary signifi-

Photo © Paul Schrau

cance to come.”—Tracie Morris, author, Who Do With Words

In this first book of essays devoted entirely to Nathaniel

Mackey’s work, prominent critics respond to a major oeuvre that
is at once affirmative and utopic, negational and dystopic. Drawing
on multiple genealogies and traditions, primarily from African and
African diaspora histories and cultures, Mackey’s work envisions “Focusing on Mackey’s fiction, poetry, and
cultural creation as cross-cultural, based in the damaging relation- cultural and literary writings, the critics
ships of Africans brought against their will to the Americas and the in this volume explore his overarching
resulting innovations of New World African literatures and music. concerns, such as fugitivity, erosion, and
This collection is organized through broad topics in order to mythology. Well-aware of the intentional
provide entrances into his challenging work: myth, literature, and slippage in Mackey’s ideas, the contribu-
seriality; music, performance, and collaboration; syncretism, syn- tors patiently trace their development. This
opsis, and what-saying. It engages Mackey’s spiritual and esoteric excellent collection helps us come to terms
disposition along with his attention to what Amiri Baraka called the with a challenging, complex, and major
“enraged sociologies” of Black music. In his manifesto “Destina- avant-garde figure.”—William J. Harris,
tion Out,” Mackey describes his work as “wanting to bid all givens editor, The LeRoi Jones/Amiri Baraka Reader
goodbye” and as “centrifugal.” It is also centripetal, manifesting
a reflexive interiority that creates itself through recurring forms. “For four decades, Nathaniel Mackey has
shaped an imaginative world at an oblique
Contributors: Maria Damon, Joseph Donahue, Rachel Blau DuPlessis, angle to what counts as social reality in
Norman Finkelstein, Luke Harley, Paul Jaussen, Adalaide Morris, urban America. He has insisted on intel-
Fred Moten, Peter O’Leary, Anthony Reed lectual independence and a style based
on the sounds of syllables. Here is the first
Jeanne Heuving is coeditor of Inciting Poetics: Thinking and Writing collection of essays on one of the most
Poetry. She is a professor at the University of Washington–­Bothell, distinctive U.S. poets of our era—very wel-
and is a graduate faculty member in the English Department at come, this book!”—Robert von Hallberg,
University of Washington–Seattle. Heuving lives in Seattle, author, Lyric Powers
Washington.

June
286 pages . 2 b&w figures . 6 × 9 inches
$90.00s paper original, 978-1-60938-758-7
$90.00s e-book, 978-1-60938-759-4
literary criticism / african american studies
4 University of Iowa Press | spring ����
Cracking Up
Black Feminist Comedy in the Twentieth and
Twenty-First Century United States
by Katelyn Hale Wood
Studies in Theatre History and Culture
Heather S. Nathans, series editor & Daniel Ciba, associate series editor

Cracking Up archives and analyzes Black feminist stand-up

Photo of Sasheer Zamata © Ryan McGrady

comedy in the United States over the past sixty years. Looking
closely at the work of Jackie “Moms” Mabley, Mo’Nique, Wanda
Sykes, Sasheer Zamata, Sam Jay, Phoebe Robinson, Jessica Wil-
liams, Amanda Seales, and Michelle Buteau, this book shows how
Black feminist comedy and the laughter it ignites are vital compo-
nents of feminist, queer, and anti-racist protest.
Katelyn Hale Wood interprets these artists not as tokens in a
white, male-dominated field, but as part of a continuous history
of Black feminist performance and presence. Broadly, Cracking Up
frames stand-up comedy as an important platform from which to
examine citizenship in the United States, articulate Black femi- “Cracking Up is a timely and beautifully
nist political thought, and subvert structures of power. Wood also written book that boldly centers Black
champions comedic performance and theatre history as impera- queer feminist subjectivity within the
tive contexts for advancing historical studies of race, gender, and stand-up comedy tradition. By situating
sexuality. From the comedy routines popular on Black vaudeville Black/queer feminist comedians as intel-
circuits to stand-up on contemporary social media platforms, lectuals, activists, and Black cultural pro-
Cracking Up excavates an overlooked history of Black women who ducers in their own right, Katelyn Hale
have made the art of joke-telling a key part of radical performance Wood captures a long-overdue chapter in
and political engagement. Black women’s history and culture.”
—La Donna L. Forsgren, author, Sistuhs
Katelyn Hale Wood is assistant professor of theatre history at the in the Struggle: An Oral History of Black Arts
University of Virginia. Their previous writing has been published Movement Theatre and Performance
in Performance Matters, Theatre Topics, QED: A Journal in GLTBQ World-
making, Departures in Critical Qualitative Research, and the Routledge
Companion to African American Theatre and Performance. Wood lives in
Charlottesville, Virginia.

june
204 pages . 17 b&w figures . 6 × 9 inches
$35.00 paper original, 978-1-60938-772-3
$35.00 e-book, 978-1-60938-773-0
performing arts / women’s studies /
african american studies
spring ���� | uipress.uiowa.edu 5
 The Last Unkillable Thing
by Emily Pittinos
Iowa Poetry Prize

“To be alive in the natural world means to live with death, riding
the wheel as it turns joy to sorrow to hope to pain to love and
over again. Emily Pittinos stops each moment in its tracks, and
delivers that moment to us in fullness, in the good, hard light of
her heart and will. The world of this book is sparsely populated:
love held close, loss held loosely as if it too could be lost. The
speaker aches for another’s loss, and finds layers of compas-
sion, loops of time travel, long miles of forgiveness, and her own
ache to treasure and know. What an exquisite combination of
wonder and wisdom Pittinos has: she knows that even the word
‘whole’ has a hole in it, and there’s her eye, looking through.”
—Brenda Shaughnessy, judge, Iowa Poetry Prize

This collection holds a mirror to the self and in its reflec-

tion we find the elegiac and the ecological, as in “how much of
enjoying a place / is destroying it?”; the worlds both domestic and
natural, as in “when the redbird strikes the window, it is me / who
takes blame”; a daughter shattered, but not without humor—“I
can feel it coming on, my season of lavish suffering, the why me why
me why me why me / that leaves me snowblind in the asking”—and,
certainly, not without tenderness. Shaped by both concision and
unfolding sequences, The Last Unkillable Thing is a journey across
landscapes of mourning.
From “Subnivean (or Holding Back the Year)”
I’d be lost
without my own bright footpath: tilled snow:
cloud cover: moonglow refracted: the shotgun crack
of a bough unburdened.
Could I walk off the hours
I’ve spent ashamed, attempting a life
that would make the dead proud?
What would it look like,
how much would it weigh?
Emily Pittinos is a Great Lakes poet and essayist currently teaching
in Boise, Idaho. This is her first book of poems.
April
68 pages . 6 × 8 inches
$20.00 paper original, 978-1-60938-764-8
$20.00 e-book, 978-1-60938-765-5
poetry
“The tender elegiac fragments that fill this
book—the look of the earth, the echo of
despair—coalesce into one immense ques-
tion: How can it be, this thing called Death?
That question gives rise to others: What is
beauty, forgiveness, recklessness, instinct?
To consider these irresolvable questions is
to admit to this difficult truth: ‘doesn’t it
hurt / to be human.’”—Mary Jo Bang,
author, A Doll for Throwing
“Torn between an instinct to imagine the
past as different (‘the wreck undone’) and
the urge to construct a future, better self
(‘hazy glow in which / I am brighter: kinder:
unorphanable’), Emily Pittinos shows us
how time is ultimately as untameable as the
self, and that maybe that’s as it should be.
‘How much awe have I missed by looking
away,’ she asks, training her eye squarely
on the present’s ever-shifting mix of shame
and clarity, beauty and regret, mystery and
joy. In so doing, Pittinos finds not resolu-
tion but resolve, to make room for the self’s
wilderness, to trust the wilderness: ‘I’d
be lost / without my own bright footpath.’
The poems here flash with risk and grace,
equally. The Last Unkillable Thing is a stirring,
deeply felt debut.”—Carl Phillips, author,
Pale Colors in a Tall Field

6 University of Iowa Press | spring ����

 I Always Carry My Bones
by Felicia Zamora
I ALWAYS CARRY
Iowa Poetry Prize MY BONES

“It’s said that the body remembers, and this book reveals that
memories, too, embody. The story of a lived, living body is
stored, stored-up until it spills over onto pages full of memo-
ries, rage, power, cruelty, survival, love . . . and some stubborn
belief that a body will find a way to tell the truth. The poems ask:
What did it take to survive? The poems answer: It took every cell
moment by moment, accounted for, told on, inscribed, memo-
rized.”—Brenda Shaughnessy, judge, Iowa Poetry Prize

I Always Carry My Bones is a complex ideation for many

people of color and migrant peoples. Felicia Zamora explores Felicia Zamora
poems
how familial history echoes inside a person and the ghosts of
lineage dwell in a body. Sometimes we haunt. Sometimes we are
the haunted. Pierced by an estranged relationship to Mexican cul-
ture, the ethereal ache of an unknown father, the weight of racism “‘What dwells in land, dwells in you,’” writes
and poverty in this country, the indentations of abuse, and a mind/ Felicia Zamora in I Always Carry My Bones, a
physicality affected by doubt, these poems root in the search for book that flows as streams do: relentlessly
belonging. despite obstructions, despite injustices.
Through a boundless range of analysis,
From “Borderless Wake” Zamora renders trauma in the brown body
as a ‘lone thistle in the torrent of letters.’
No borders speak me, weave me into being; how
Her poems are ecstatic and leap in pursuit
language and failed construct, of imaginary lines in limit;
of truth and cruel beauties. Zamora’s work
how the word clavicle releases from jaws & synapses
will remind you that the world is the body—
from our brains, yet the word clavicle fails to be bone, itself,
science and psyche. This book is thread let
to never be ridged, raised collagen in grow just below
loose and there’s no telling which direction
Zamora will pull it.”—Diana Marie Delgado,
surface & outside our tongues, our imaginations
author, Tracing the Horse
let us dwell in land & landscape without arrest. & of borders,
of take & keep, reap & sow: a hand draws over my mouth,
“In Zamora’s lines, one connects images to
our indigenous mouths, over our immigrant mouths—hand
narrative threads, peaks to trails, glimpsed
the smell of wet soil, of iron, the scent of blood.
like a face lit up ‘amid the mulberries at
twilight.’ I Always Carry My Bones carries
Felicia Zamora is author of five books of poetry including Body
itself, past salvage or triage, the uneven-
of Render. She is assistant professor of poetry at the University of
ness of light, to imagining—‘we imagine /
Cincinnati, and associate poetry editor for the Colorado Review. She
ourselves every moment’—where the body
lives in Cincinnati, Ohio.
might carry itself, imagined anew.”
—Jos Charles, author, Feeld

April
90 pages . 6 × 8½ inches
$20.00 paper original, 978-1-60938-776-1
$20.00 e-book, 978-1-60938-777-8
poetry
spring ���� | uipress.uiowa.edu 7
Iowa’s Remarkable Soils
The Story of Our Most Vital Resource and
How We Can Save It

Illustrations by Doug Adamson. Courtesy

of the Polk Soil and Water Conservation.
by Kathleen Woida
Bur Oak Books
Holly Carver, series editor

“This is a remarkable book. Woida’s knowledge of, reverence

for, and joy in soils infuses each page. With friendly scientific
authority, she seamlessly connects the natural history of the
landscape with its human history. This is a book for all who care
about Iowa.”—Michael Thompson, Iowa State University 
Sometimes called “black gold,” Iowa’s deep, rich soils are a
treasure that formed over thousands of years under the very best of
the world’s grasslands—the tallgrass prairie. The soils are diverse
and complex and hold within them a record not only of Iowa’s pre-
historic past, but also of the changes that took place after settlers
utterly transformed the land, as well as the ongoing adjustments
taking place today due to climate change. In language that is sci-
entifically sound but accessible to the layperson, Kathleen Woida
explains how soils formed and have changed over centuries and
millennia in the land between two rivers.
Its soils are what make Iowa a premier agricultural state, both
in terms of acres planted and bushels harvested. But in the last
hundred years, large-scale intensive agriculture and urban devel-
opment have severely degraded most of our soils. However, as
Woida documents, some innovative Iowans are beginning to repair
and regenerate their soils by treating them as the living ecosystem
and vast carbon store that they are. To paraphrase Aldo Leopold,
these new pioneers are beginning to see their soils as part of a
community to which they and their descendants belong, rather
than commodities belonging to them.
“Woida illustrates a biological history of
Iowa’s black gold. She weaves together
the past and present of Iowa’s soils, and
communicates an appreciation of what
we stand to lose if we don’t care for it into
the future.”—Sarah Carlson, Practical
Farmers of Iowa
“Woida uses her career experience to
explain the complex processes of soil for-
mation, taxonomy, classification, and the
destructive results of farming practices
in Iowa’s water and soils, and she does
it all in easy-to-understand terms. Iowa’s
Remarkable Soils is an informative and
enjoyable read.”—Barb Stewart,
former state agronomist, USDA Natural
Resources Conservation Service

Kathleen Woida worked as a geologist in Iowa for twenty years

with the Natural Resources Conservation Service. She is currently
an adjunct associate professor in the University of Iowa’s Depart-
ment of Earth and Environmental Sciences. Woida lives in Des
Moines, Iowa.

may
256 pages . 4 b&w figures . 51 color figures . 6 × 9 inches
$25.00 paper original, 978-1-60938-750-1
$25.00 e-book, 978-1-60938-751-8
regional / nature
8 University of Iowa Press | spring ����
Fishtastic!
A Tale of Magic and Friendship
by Tess Weaver
illustrated by Jennifer Black Reinhardt

All the trout at the Fishtastic Theater School can

breathe out of water—except for Etta, the school’s
Fishtastic!
A Tale of Magic and Friendship
costume designer. No matter how hard she tries, Etta by Tess Weaver
Illustrated by Jennifer Black Reinhardt
can’t unlock her Fishtastic magic. When the theater
troupe swims down the Iowa River to perform at Iowa
City’s Hancher Auditorium, Etta discovers something
very important that they’ve left behind. Can Etta save
the show even though she’s not magical?
Inspired by the fish sculptures installed along the walkways
welcoming visitors to Hancher, Fishtastic! is a delightful blend of
lovable characters and whimsical watercolor illustrations that
celebrate the joy of discovering your own path to enchantment.

Tess Weaver is an award-winning author of four picture books,

including Opera Cat. She lives in Iowa City, Iowa. Jennifer Black
Reinhardt  is the author and illustrator of several books for
children, including Always by My Side: A Stuffie Story, and has il-
lustrated books written by Newberry medalists and winners. She
lives in Iowa City, Iowa.

Published by Hancher Auditorium

April
32 pages . full-color illustrations throughout
11½ × 9 inches
$15.00 clothbound, 978-1-60938-770-9
children’s picture book
spring ���� | uipress.uiowa.edu 9
“The Million Dead, Too, Summ’d Up”
Walt Whitman’s Civil War Writings
introduction and commentary by Ed Folsom and
Christopher Merrill
“The Million Dead,
Iowa Whitman Series
Too, Summ’d Up”
Ed Folsom, series editor Walt Whitman’s
Civil War Writings
Introduction and
This book is the first to offer a comprehensive selection of Commentary by
Ed Folsom and
Walt Whitman’s Civil War poetry and prose with a full commentary Christopher Merrill

on each work. Ed Folsom and Christopher Merrill carry on a dia-

logue with Whitman (and with each other) as they invite readers to
trace how Whitman’s writing about the Civil War develops, shifts,
and manifests itself in different genres throughout the years of
the war. The book offers forty selections of Whitman’s war writ-
ings, including not only the well-known war poems but also his
prose and personal letters. Each are followed by Folsom’s critical
examination and then by Merrill’s afterword, suggesting broader
contexts for thinking about the selection.
The real democratic reader, Whitman said, “must himself or
herself construct indeed the poem, argument, history, metaphys-
ical essay—the text furnishing the hints, the clue, the start or
frame-work,” because what is needed for democracy to flourish is
“a nation of supple and athletic minds.” Folsom and Merrill model
this kind of active reading and encourage both seasoned and new
readers of Whitman’s war writings to enter into the challenging
and exhilarating mode of talking back to Whitman, arguing with
him, and learning from him.
Ed Folsom is Roy J. Carver professor of English at the University
of Iowa, editor of the Walt Whitman Quarterly Review, codirector
of the online Whitman Archive, and editor of the Iowa Whitman
Series at the University of Iowa Press. He is author or editor of
numerous books and essays on Whitman and other American
writers. He lives in Iowa City, Iowa. Christopher Merrill is director
of the International Writing Program at the University of Iowa.
He has published six collections of poetry, including Watch Fire,
many edited volumes and books of translations, and six works of
nonfiction, among them Only the Nails Remain: Scenes from the Balkan
Wars. He lives in Iowa City, Iowa.
“Two ideal readers—a critic and a poet at
the top of their games—comment bril-
liantly on forty selections from Drum-Taps
and Memoranda During the War, along with
relevant letters to illustrate the pathos
and poetry that run hand in hand through
Whitman’s rendering of the Civil War.
Strongly recommended for both students
and scholars.”—Jerome Loving, author,
Walt Whitman: The Song of Himself
“When Whitman’s most knowledgeable and
important interlocutor, Ed Folsom, teams
up with one of our country’s wisest and
most astute poets, Christopher Merrill, the
result is essential reading for anyone who
would better understand Whitman and the
country he sang, which is still reckoning
with its legacy of slavery and violence.”
—Matt Miller, coeditor, Every Hour, Every
Atom: A Collection of Walt Whitman’s Early
Notebooks and Fragments (Iowa, 2020)

march
240 pages . 1 b&w figure . 6¼8 × 9¼ inches
$35.00 paper original, 978-1-60938-746-4
$35.00 e-book, 978-1-60938-747-1
literary criticism / literature
10 University of Iowa Press | spring ����
“The Disenthralled Hosts of Freedom”
Party Prophecy in the Antebellum Editions of Leaves of Grass
by David Grant
Iowa Whitman Series
Ed Folsom, series editor
Walt Whitman wrote three distinct editions of Leaves of Grass
before the Civil War. During those years he was passionately com-
mitted to party anti-slavery, and his unpublished tract The Eighteenth
Presidency shows that he was fully attuned to the kind of rhetoric
coming out of the new Republican party. This study explores how
the prophecies of the pre–war Leaves of Grass relate to the prophecy
of this new party. It seeks not only to ground Whitman’s work in
this context but also to bring out features of party discourse that
make it relevant to literary and cultural studies.
Anti-slavery party discourse set itself the task of curing an ailing
people who had grown compliant, inert, and numb; it fashioned a
complete fictional world where the people could be reactivated into
assuming their true role in the republic. Both as a cause and a result
of this rejuvenation, they would come into their own and spread
their energies over the land and over the body politic, thereby res-
cuing their country at the last minute from what would otherwise
be the permanent dominion of slavery. Party discourse had long
hinged its success on such magical transformations of the people
individually and collectively, and Whitman’s celebrations of his
nation’s potential need to be seen in this context: like his party,
Whitman calls on the people to reject their own subordination
and take command of the future, and redeem themselves as they
also redeem the nation.
David Grant is professor emeritus of English at MacEwan Uni-
versity. He is author of Political Antislavery Discourse and American
Literature of the 1850s. Grant lives in Edmonton, Alberta.
may
246 pages . 6 × 9 inches
$90.00s paper original, 978-1-60938-752-5
$90.00s e-book, 978-1-60938-753-2
literary criticism
“This book is an exhilarating read for any
student of American political thought and
history. Political theorists have oft noted
Whitman’s general skepticism about party
politics, but Grant proffers that Whitman’s
poetry had a far more complicated and
evolving relationship to the discourse of
his day.”—John E. Seery, editor, A Political
Companion to Walt Whitman
“David Grant’s work is a much needed
new and uniquely vivid historical study of
Whitman’s politics and his relations to pol-
itics that further complicates while wonder-
fully deepening our understandings of the
art and aesthetics of his prose and poetry.
Of considerable value to a range of scholars
and readers alike.”—Morton Schoolman,
author, A Democratic Enlightenment: The
Reconciliation Image, Aesthetic Education,
Possible Politics
“Grant’s work is well constructed, scru-
pulous in its deployment of evidence, ex-
tremely well read in the political pamphlets
and poems of the period, and highly per-
suasive in its conclusions. It mounts an im-
portant challenge to the established view of
Whitman during these years—an increasing
rarity in the crowded field of contemporary
Whitman studies.”—M. Wynn Thomas,
Swansea University
spring ���� | uipress.uiowa.edu 11
 William Gibson and the Futures of
Contemporary Culture
edited by Mitch R. Murray and Mathias Nilges
The New American Canon
The Iowa Series in Contemporary Literature and Culture
William Gibson and the
Samuel Cohen, series editor
Futures of Contemporary
Culture

William Gibson is frequently described as one of the most Edited by Mitch R. Murray and Mathias Nilges

influential writers of the past few decades, yet his body of work
has only been studied partially and without full recognition of its
implications for literature and culture beyond science fiction. It
is high time for a book that explores the significance and wide-­
ranging impact of Gibson’s fiction.
In the 1970s and 80s, Gibson, the “Godfather of Cyberpunk,”
rejuvenated science fiction. In groundbreaking works such as
Neuromancer, which changed science fiction as we knew it, Gib-
son provided us with a language and imaginary through which it
became possible to make sense of the newly emerging world of
globalization and the digital and media age. Ever since, Gibson’s
reformulation of science fiction has provided us not just with rad-
ically innovative visions of the future but indeed with trenchant
analyses of our historical present and of the emergence and ex-
haustion of possible futures.
Contributors: Maria Alberto, Andrew M. Butler, Amy J. Elias,
Christian Haines, Kylie Korsnack, Mathias Nilges, Malka Older,
Aron Pease, Lisa Swanstrom, Takayuki Tatsumi, Sherryl Vint,
Phillip E. Wegner, Roger Whitson, Charles Yu
Mitch R. Murray is a PhD candidate in the Department of English
at the University of Florida. His work appears in ASAP/Journal, Public
Books, Los Angeles Review of Books, and Science Fiction Film and Televi-
sion. He lives in Gainesville, Florida. Mathias Nilges is professor
of English at St. Francis Xavier University, Canada. He is author
of Right-Wing Culture in Contemporary Capitalism: Regression and Hope
in a Time Without Future. He lives in Afton Station, Nova Scotia.
“This rich and overdue collection is worthy
of its subject. The editors have put together
a multi-faceted consideration of Gibson’s
writings that focuses, in particular, on motifs
of temporality, technology, and futurity. Its
chapters expertly locate both Gibson and
science fiction within the longue durée of
the future-present.”—Veronica Hollinger,
editor, Science Fiction Studies
“Knee-deep in the Jackpot, with nothing but
a Hermes 2000 portable typewriter, precise
observation, and surgical prose, William
Gibson, a one-man singularity, somehow
made it all new. Nothing now looks the
same. This excellent collection returns the
favor: Gibson, historicized, is the Gibson we
already knew, but the timeline is not what
we imagined.”—Mark Bould, University of
the West of England, Bristol

march
290 pages . 8 b&w figures . 2 tables . 6 × 9 inches
$90.00s paper original, 978-1-60938-748-8
$90.00s e-book, 978-1-60938-749-5
literary criticism / popular culture
12 University of Iowa Press | spring ����
Transnational Modernity and the Italian
Reinvention of Walt Whitman, 1870–1945
by Caterina Bernardini
Iowa Whitman Series
Ed Folsom, series editor

Caterina Bernardini gauges the effects that Walt Whit-

man’s poetry had in Italy from 1870 to 1945: the reactions it pro-
voked, the aesthetic and political agendas it came to sponsor, and
the creative responses it facilitated. Particular attention is given to
women writers and noncanonical writers often excluded from pre-
vious discussions in this area of study. Bernardini also investigates
the contexts and causes of Whitman’s success abroad through the
lives, backgrounds, beliefs, and imaginations of the people who
encountered his work.
Studying Whitman’s reception from a transnational perspective
shows how many countries were simultaneously carving out a
new modernity in literature and culture. In this sense, Bernardini
not only shows the interconnectedness of various international
agents in understanding and contributing to the spread of Whit-
man’s work, but, more largely, illustrates a constellation of similar
pre-modernist and modernist sensibilities. This stands in con-
trast to the notion of sudden innovation: modernity was not easy
to achieve, and it did not imply a complete refusal of tradition.
Instead, a continuous and fruitful negotiation between tradition
and innovation, not a sudden break with the literary past, is at the
very heart of the Italian and transnational reception of Whitman.
The book is grounded in archival studies and the examination of
primary documents of noteworthy discovery.
Caterina Bernardini is a lecturer at the University of Nebraska–
Lincoln, and contributing editor for the online Walt Whitman
Archive. She lives in Lincoln, Nebraska.
july
276 pages . 6 × 9 inches
$90.00s paper original, 978-1-60938-754-9
$90.00s e-book, 978-1-60938-755-6
literary criticism
“We have always known that Italian writers
took an intense interest in Walt Whitman,
but Caterina Bernardini’s exciting study now
fully opens us up to the astonishing degree
to which Italy is Whitmanland. Whitman’s
reception in Italy, up to the breakdown of
fascism in 1945, is not only a revealing story
in itself but it also offers a history of transat-
lantic modernism in the context of the polit-
ical and cultural distortions of the twentieth
century. Bernardini’s book is a case study
demonstrating Whitman’s place in Goethe’s
ever-relevant formula of Weltliteratur.”
—Walter Grünzweig, author, Constructing
the German Walt Whitman 
“A spirited look at the intercultural con-
versations sparked by Whitman in Italy.
Familiar names like Gabriele D’Annunzio
and Cesare Pavese are joined by socialist
Ada Negri and feminist Sibilla Aleramo,
giving us a vibrant new map of Italian writ-
ings. Translation and reinvention transform
the very meaning of ‘literature’ itself.”
—Wai Chee Dimock, author, Weak Planet:
Literature and Assisted Survival 
spring ���� | uipress.uiowa.edu 13
 Ecospatiality
A Place-Based Approach to American Literature
by Lowell Wyse
The New American Canon
The Iowa Series in Contemporary Literature and Culture
Samuel Cohen, series editor

Ecospatiality explores modern and contemporary American

prose literature through the lens of place, showing how authors
like William Least Heat-Moon, Willa Cather, Richard Wright, and
Leslie Marmon Silko represent and reimagine real places in the
world and the human-environment relationships therein. Building
on the work of scholars in geography, sociology, ecocriticism,

and geocriticism, this book articulates the theory of ecospatiality:
an understanding of place as simultaneously spatial, ecological,
and historical.
In our current historical moment, which is characterized by
ongoing ecological collapse and a not-unrelated increase in social
disorder, few issues are more urgent than the human relation-
ship with our environments. Whether we characterize this new
epoch as the climate change era or the Anthropocene, we can no
longer ignore the fact that the places we live are rapidly changing
in response to economic and environmental pressures. Rather
than thinking of place as a neutral site for social interaction, we
should recognize how it underpins and intertwines with human
experience.
Fortunately, literature can help us think through how place oper-
ates. Lowell Wyse shows that texts can be understood as works of
literary cartography. Focusing on works of nonfiction and fiction
whose primary settings are on the North American continent,
Ecospatiality demonstrates how these narratives rely on realistic
literary geography to invoke, and sometimes retell, important
aspects of environmental history within particular communities
and bioregions.
Lowell Wyse is professor of English at Broward College. He lives
in Tacoma, Washington.
Courtesy of HathiTrust
“In the past, I have found it hard to recom-
mend any single work that seemed like a
comprehensive introduction to the field of
place-conscious literary studies. This book
is it.”—Tom Lynch, University of Nebraska
“Ecospatiality is a tour de force of literary
cartography. Ranging across histories,
bioregions, and communities—Indigenous,
Latinx, African American, European
American—Wyse introduces the concept
of ecospatiality into the lexicon of the deep
map. In a study that is impressively compre-
hensive, he contributes innovative readings
of American authors and American land-
scapes.”—Susan Naramore Maher, coeditor,
Thinking Continental: Writing the Planet One
Place at a Time

july
260 pages . 12 b&w maps . 2 b&w figures . 6 × 9 inches
$90.00s paper original, 978-1-60938-774-7
$90.00s e-book, 978-1-60938-775-4
literary criticism
14 University of Iowa Press | spring ����
Novel Subjects
Authorship as Radical Self-Care in Multiethnic
American Narratives
by Leah A. Milne
The New American Canon
The Iowa Series in Contemporary Literature and Culture
Samuel Cohen, series editor

How does contemporary literature contend with the power
and responsibility of authorship, particularly when considering
marginalized groups? How have the works of multiethnic authors
challenged the notion that writing and authorship are neutral or
universal?
In Novel Subjects, Leah Milne offers a new way to look at multicul-
tural literature by focusing on scenes of writing in contemporary
works by authors with marginalized identities. These scenes, she
argues, establish authorship as a form of radical self-care—a term
we owe to Audre Lorde, who defines self-care as self-preservation
and “an act of political warfare.”
In engaging in this battle, the works discussed in this study
confront limitations on ethnicity and nationality wrought by
the institutionalization of multiculturalism. They also focus on
identities whose mere presence on the cultural landscape is often
perceived as vindictive or willful. Analyzing recent texts by Car-
men Maria Machado, Louise Erdrich, Ruth Ozeki, Toni Morrison,
and more, Milne connects works across cultures and nationalities
in search of reasons for this recent trend of depicting writers as
characters in multicultural texts. Her exploration uncovers fiction
that embrace unacceptable or marginalized modes of storytell-
ing—such as plagiarism, historical revisions, jokes, and lies—as
well as inauthentic, invisible, and unexceptional subjects. These
works ultimately reveal a shared goal of expanding the borders
of belonging in ethnic and cultural groups, and thus add to the
ever-evolving conversations surrounding both multicultural lit-
erature and self-care.
“Milne offers a bold intervention in the field
of contemporary American literature: a
defense of multiculturalism at a time when
it seems to have been largely abandoned
except in corporate circles. When so much
of American political discourse seems to
be beholden to a resurgent anti-immigrant
ethnonationalism, such a defense is wel-
come.”—Min Hyoung Song, author, The
Children of 1965: On Writing, and Not Writing,
as an Asian American
“The themes Milne engages are quite
important to American literature, contem-
porary fiction, multiethnic literature, and
ethnic studies—there aren’t enough works
that engage with contemporary ethnic
American literature, especially when think-
ing through issues of narratology and inter-
sectionality. Studies and comparative anal-
yses of this kind are the most innovative in
the field and are what students are looking
for.”—Jennifer Ho, coeditor, Narrative, Race,
and Ethnicity in the United States

Leah A. Milne is assistant professor of English at the University of

Indianapolis, where she teaches courses in multiethnic literature.
Milne lives in Indianapolis, Indiana.

july
258 pages . 8 b&w figures . 6 × 9 inches
$90.00s paper original, 978-1-60938-762-4
$90.00s e-book, 978-1-60938-763-1
literary criticism
spring ���� | uipress.uiowa.edu 15
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spring ���� | uipress.uiowa.edu 17

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“Lucidly written and intelligently conceived, Invisible Hawkeyes is a timely and import-
A Sugar Creek Chronicle ant volume that introduces readers to the position held by the University of Iowa, a
large, northern land grant university, in the drama of American racial transformation
Observing Climate Change during the middle of the twentieth century. This vital and important work, recovering
from a Midwestern Woodland the lives of early black students at the university, makes even larger claims about the
prominence of the Midwest in national conversations about race and African American
cornelia f. mutel art and artistic styles.”
—Lawrence Jackson, author, The Indignant Generation: A Narrative History of
African American Writers and Critics, 1934–1960

“A provocative balance of both local and national cultural history, Invisible Hawkeyes
tells the stories of the University of Iowa’s integration in the period of 1930–1960. The
blend of first-person testimonial and more formal, scholarly chapters produces a highly

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the integration movement in American universities at midcentury.”
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E DITE D BY LE NA M . HILL & MIC HAE L D. HILL

B
etween the 1930s and 1960s, as the University of Iowa placed an increased emphasis
on the fine and performing arts and athletics, a growing number of African Ameri-
can students arrived at the university, from both within and outside the state, seek-
ing to take advantage of its relatively liberal racial relations and rising artistic prestige.
By looking at individual stories at Iowa and in its college town of Iowa City, this col-
lection reveals how fraught moments of interracial collaboration, meritocratic advance-
ment, and institutional insensitivity deepen our understanding of America’s painful
conversion into a diverse republic committed to racial equality.
African Americans at the
Lena M. Hill is an associate professor of English and African American studies at the
University of Iowa. She is the author of Visualizing Blackness and the Creation of African University of Iowa during the
American Literary Tradition and coauthored with Michael D. Hill Ralph Ellison’s Invisible
Man: A Reference Guide. Michael D. Hill is an associate professor of English and Afri- Long Civil Rights Era
can American studies at the University of Iowa. He is the author of The Ethics of Swagger:

field guide to Prizewinning African American Novels, 1977–1993. They both live in Iowa City, Iowa.

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spring ���� | uipress.uiowa.edu 19

 . . . Recent Scholarly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
c o nt e s t e d r e c or d s bra d l e y ro g e rs

The Turn to Documents in

the
song
Contemporary North American
Poetry MICHAEL LEONG

is
you

e
nc
Da
n

d
a
ng

urst
ing
int
o So
Poems
of B
Musical T
heatre and the Po
l i t i cs
of the American Empire
THE LYRIC FORM IN THE LONG TWENTIETH CENTURY

j e n h e dl e r ph il l is

Contested Records The Song Is You Poems of the American Empire

by Michael Leong by Bradley Rogers by Jen Hedler Phillis
$70.00s 978-1-60938-689-4 $55.00s 978-1-60938-732-7 $75.00s 978-1-60938-661-0

THE
AMERICAN
NEGRO THEATRE
AND THE LONG
CIVIL RIGHTS
ER A

Irish
ON THE MOVE
Poetics of Emergence Performing Mobility in
American Variety Teawre
Affect and History
in Postwar Experimental
Poetry B E NJA M I N L E E
M I C H E L L E G R A N S H AW
Jonathan Shandell

Poetics of Emergence Irish on the Move The American Negro Theatre

by Benjamin Lee by Michelle Granshaw and the Long Civil Rights Era
$85.00s 978-1-60938-697-9 $90.00s 978-1-60938-669-6 by Jonathan Shandell
$70.00s 978-1-60938-594-1

HOW THE MEDIA

INDUSTRY SEEKS TO

Rehearsing MANIPULATE FANS

revolutions
the l abor dr ama experiment
and r adic al ac tivism in the
e a r ly t w ent ie t h c ent u r y

Teasing Fans through

mary m C avoy
Homoerotic Possibilities mel stanfill

Edited by Joseph Brennan

Rehearsing Revolutions Queerbaiting and Fandom Exploiting Fandom

by Mary McAvoy by Joseph Brennan, editor by Mel Stanfill
$90.00s 978-1-60938-641-2 $50.00s 978-1-60938-671-9 $75.00s 978-1-60938-623-8

All titles listed are paperback, and available as e-books, except as noted.

20 University of Iowa Press | spring ����

. . . Index by Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

13 Bernardini, Caterina … Transnational Modernity and the

  Italian Reinvention of Walt Whitman, 1870–1945
10 Folsom, Ed … “The Million Dead, Too, Summ’d Up”
11 Grant, David … “The Disenthralled Hosts of Freedom”
1 Henderson, Doug … The Cleveland Heights LGBTQ Sci-Fi and
  Fantasy Role Playing Club
4 Heuving, Jeanne … Nathaniel Mackey, Destination Out
10 Merrill, Christopher … “The Million Dead, Too, Summ’d Up”
15 Milne, Leah A. … Novel Subjects
12 Murray, Mitch R . … William Gibson and the Futures of
  Contemporary Culture
12 Nilges, Mathias … William Gibson and the Futures of
  Contemporary Culture
6 Pittinos, Emily … The Last Unkillable Thing
I ALWAYS CARRY
MY BONES
9 Reinhardt, Jennifer Black … Fishtastic!
2–3 Stabel, Meredith … Radicals: Volumes One and Two
2–3 Turpin, Zachary … Radicals: Volumes One and Two
9 Weaver, Tess … Fishtastic!
8 Woida, Kathleen … Iowa’s Remarkable Soils
5 Wood, Katelyn Hale … Cracking Up
Felicia Zamora
poems 14 Wyse, Lowell … Ecospatiality
7 Zamora, Felicia … I Always Carry My Bones

Fishtastic!
A Tale of Magic and Friendship
by Tess Weaver
Illustrated by Jennifer Black Reinhardt

spring ���� | uipress.uiowa.edu 21

 . . . Index by Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1 The Cleveland Heights LGBTQ Sci-Fi and Fantasy Role Playing Club
5 Cracking Up
“The Million Dead, 11 “The Disenthralled Hosts of Freedom”
Too, Summ’d Up” 14 Ecospatiality
Walt Whitman’s 9 Fishtastic!
Civil War Writings
Introduction and
7 I Always Carry My Bones
Commentary by
Ed Folsom and
Christopher Merrill 8 Iowa’s Remarkable Soils
6 The Last Unkillable Thing
10 “The Million Dead, Too, Summ’d Up”
4 Nathaniel Mackey, Destination Out
15 Novel Subjects
2–3 Radicals: Volumes One and Two
13 Transnational Modernity and the Italian Reinvention of
  Walt Whitman, 1897–1945
12 William Gibson and the Futures of Contemporary Culture

. . . Index by Subject . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4–5 African American Studies
9 Children’s Picture Book
1 Fiction
4, 11–15 Literary Criticism
William Gibson and the
Futures of Contemporary 2–3, 10 Literature
Culture

Edited by Mitch R. Murray and Mathias Nilges

8 Nature
5 Performing Arts
6–7 Poetry
12 Popular Culture
8 Regional
2–3, 5 Women’s Studies

22 University of Iowa Press | spring ����

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spring ���� | uipress.uiowa.edu 23

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