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Volume 22, Issue 1 (1992) Winter

Front Matter

Contents

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On Influence and Appropriation p. 1-7
Tace Hedrick and Marilynne Robinson

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Mostly on Mother Country p. 8-21
Eileen Bartos, Carolyn Jacobson, and Marilynne Robinson

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Portrait of Marilynne Robinson p. 21-28
Anne E. Voss

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The Stairway p. 29-35
Marianne Boruch

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Trademark p. 36-37
Debra Hines

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The Spoiled Woman p. 37-38
Debra Hines

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Dominion p. 38-40
Debra Hines

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Numberless p. 41-42
Heather McHugh

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The Woman Who Laughed on Calvary p. 42-44
Heather McHugh

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Connubial p. 44-45
Heather McHugh

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Preschool Visitation p. 78-80
Laurence Goldstein

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Trying to Hide Treblinka p. 81-81
Jon Silkin

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Intimacy p. 84-84
Jon Silkin

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Waiting p. 85-87
Shirley Kaufman

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Glissando p. 88-103
Robert Boswell

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Atlas's Revenge p. 104-114
Bridget Mazur

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Fall Migration at Brigantine p. 115-115
Don Colburn

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Etheridge p. 117-117
Don Colburn

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Emerson and I Stare at the Sunset p. 118-118
Don Colburn

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Garden p. 119-119
Warren Slesinger

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Anhedonia p. 119-119
Warren Slesinger

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Wave p. 120-120
Warren Slesinger

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The Casting Lesson p. 121-122
Dinah Berland

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Midwest Religion p. 179-180
Jane Varley

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The Harness p. 181-181
Pat Mangan

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The Bear p. 181-182
Pat Mangan

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Dandelions p. 182-182
Pat Mangan

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The Flight p. 183-183
Rebecca Radner

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85 p. 184-184
Bob Hicok

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Bear This in Mind p. 185-185
Bob Hicok

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The Poem p. 186-187
Richard Moore

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Squirrels p. 188-188
Richard Moore

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Vegas p. 189-211
Doran Larson

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On Adrienne Rich p. 221-225
Mary Hussmann

Back Matter

About the Cover Image

Our cover image is a wood and pigment tribal mask of the Lwalwa people, from Zaire, Africa, and is part of The Stanley Collection, The University of Iowa Museum of Art. Among the Lwalwa, masks of this type are used for the initiation and circumcision of young men. The mask is worn by men in dances intended to pacify the spirits of the human victims who were part of the entrance requirements for the men's society. Each performer commissioned the carving of a mask from the village chief, who also organized the dance. Careful definition of geometric patterns of the coiffure, fine detail of the nose and mouth, and scarification on the smooth surface of the face make this mask an excellent example of the type. It was held in place on the dancer's face by a cord that passed through the hole beneath the nose and was clamped between the teeth. This piece will be one of over 200 on display in conjunction with the Ninth Triennial Symposium on African Art sponsored by the School of Art and Art History and the Museum of Art in April, 1992. The photograph is by Randy Tosh.

Editors

Editor
David Hamilton
Managing Editor
Mary Hussmann
Designer
Kay Amert
Assistant Editors
Eileen Bartos
Christopher Foster
Carolyn Jacobson
Rochelle Nameroff
Editorial Assistants
Paul Albanese
Adam Barnard
Kimberly Chun
Adolfo Cisneros
Kristen Cleveland
Jon Diller
Karen Downing
Hope Edelman
Evan Elliot
Debbie Flappan
Chris Hallman
Alyssa Haywoode
Michael Judge
Stephanie Kelley
Phil Kobylarz
Lisa Melsted
Amy Mueller
Robert Ohr
Keith Peterson
John Smick
Jacob Soll
Craig Stein
Mary Sylwester
Julie Webber
N. S. Wilson
Advisory Board
David Baldus
Frank Conroy
Charles Kremenak
Judy Polumbaum
Leslie Simms
Thomas Walz