Home > IOWAREVIEW > Vol. 22 (1992) > Iss. 1
Volume 22, Issue 1 (1992) Winter
Front Matter
Contents
On Influence and Appropriation p. 1-7
Tace Hedrick and Marilynne Robinson
https://doi.org/10.17077/0021-065X.4086
Mostly on Mother Country p. 8-21
Eileen Bartos, Carolyn Jacobson, and Marilynne Robinson
https://doi.org/10.17077/0021-065X.4087
Portrait of Marilynne Robinson p. 21-28
Anne E. Voss
https://doi.org/10.17077/0021-065X.4088
The Stairway p. 29-35
Marianne Boruch
https://doi.org/10.17077/0021-065X.4089
Trademark p. 36-37
Debra Hines
https://doi.org/10.17077/0021-065X.4090
The Spoiled Woman p. 37-38
Debra Hines
https://doi.org/10.17077/0021-065X.4091
Dominion p. 38-40
Debra Hines
https://doi.org/10.17077/0021-065X.4092
Numberless p. 41-42
Heather McHugh
https://doi.org/10.17077/0021-065X.4093
The Woman Who Laughed on Calvary p. 42-44
Heather McHugh
https://doi.org/10.17077/0021-065X.4094
Connubial p. 44-45
Heather McHugh
https://doi.org/10.17077/0021-065X.4095
La Peña de los Parra: The Power of Song p. 46-77
Carolyne Wright
https://doi.org/10.17077/0021-065X.4096
Preschool Visitation p. 78-80
Laurence Goldstein
https://doi.org/10.17077/0021-065X.4097
Trying to Hide Treblinka p. 81-81
Jon Silkin
https://doi.org/10.17077/0021-065X.4098
Apparition: Damage; A Man with Unclenched Fist p. 82-83
Jon Silkin
https://doi.org/10.17077/0021-065X.4099
Through Leaves and Fragmented Light p. 83-83
Jon Silkin
https://doi.org/10.17077/0021-065X.4100
Intimacy p. 84-84
Jon Silkin
https://doi.org/10.17077/0021-065X.4101
Waiting p. 85-87
Shirley Kaufman
https://doi.org/10.17077/0021-065X.4102
Glissando p. 88-103
Robert Boswell
https://doi.org/10.17077/0021-065X.4103
Atlas's Revenge p. 104-114
Bridget Mazur
https://doi.org/10.17077/0021-065X.4104
Fall Migration at Brigantine p. 115-115
Don Colburn
https://doi.org/10.17077/0021-065X.4105
To Bill Buckner on His Release by the Boston Red Sox p. 116-117
Don Colburn
https://doi.org/10.17077/0021-065X.4106
Etheridge p. 117-117
Don Colburn
https://doi.org/10.17077/0021-065X.4107
Emerson and I Stare at the Sunset p. 118-118
Don Colburn
https://doi.org/10.17077/0021-065X.4108
Garden p. 119-119
Warren Slesinger
https://doi.org/10.17077/0021-065X.4109
Anhedonia p. 119-119
Warren Slesinger
https://doi.org/10.17077/0021-065X.4110
Wave p. 120-120
Warren Slesinger
https://doi.org/10.17077/0021-065X.4111
The Casting Lesson p. 121-122
Dinah Berland
https://doi.org/10.17077/0021-065X.4112
A Form of One's Own: Virginia Woolf's Art of the Portrait Essay p. 123-134
Jocelyn Bartkevicius
https://doi.org/10.17077/0021-065X.4113
Reply to My Father: Confessions of a Feminist Critic p. 135-145
Paula Marantz Cohen
https://doi.org/10.17077/0021-065X.4114
Men Walk on Moon: A Powdery Surface Is Closely Explored p. 146-178
Ben Groff
https://doi.org/10.17077/0021-065X.4115
Midwest Religion p. 179-180
Jane Varley
https://doi.org/10.17077/0021-065X.4116
The Harness p. 181-181
Pat Mangan
https://doi.org/10.17077/0021-065X.4117
The Bear p. 181-182
Pat Mangan
https://doi.org/10.17077/0021-065X.4118
Dandelions p. 182-182
Pat Mangan
https://doi.org/10.17077/0021-065X.4119
The Flight p. 183-183
Rebecca Radner
https://doi.org/10.17077/0021-065X.4120
85 p. 184-184
Bob Hicok
https://doi.org/10.17077/0021-065X.4121
Bear This in Mind p. 185-185
Bob Hicok
https://doi.org/10.17077/0021-065X.4122
The Poem p. 186-187
Richard Moore
https://doi.org/10.17077/0021-065X.4123
Squirrels p. 188-188
Richard Moore
https://doi.org/10.17077/0021-065X.4124
Vegas p. 189-211
Doran Larson
https://doi.org/10.17077/0021-065X.4125
Learning to Read the Mother Tongue: On Sandra Gilbert's "Blood Pressure" p. 212-220
Kevin Clark
https://doi.org/10.17077/0021-065X.4126
On Adrienne Rich p. 221-225
Mary Hussmann
https://doi.org/10.17077/0021-065X.4127
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