Home > IOWAREVIEW > Vol. 25 (1995) > Iss. 1
Volume 25, Issue 1 (1995) Winter
Front Matter
Contents
The Smile of Accomplishment: Sylvia Plath's Ambition p. 1-28
Patricia Hampl
https://doi.org/10.17077/0021-065X.4377
August 7, 1921 p. 29-38
Steven Hayward
https://doi.org/10.17077/0021-065X.4378
The Real Story of Don Manuel p. 39-51
David Toscana
https://doi.org/10.17077/0021-065X.4379
Found in the Museum of Old Science p. 52-53
Matthew Rohrer
https://doi.org/10.17077/0021-065X.4380
The Toads 1975 p. 53-53
Matthew Rohrer
https://doi.org/10.17077/0021-065X.4381
After the Performance p. 54-54
Matthew Rohrer
https://doi.org/10.17077/0021-065X.4382
Hymn to Be Sung on Good Friday p. 54-55
Matthew Rohrer
https://doi.org/10.17077/0021-065X.4383
Surabaya p. 56-56
Robin S. Chapman
https://doi.org/10.17077/0021-065X.4384
Matins p. 57-58
William Aiken
https://doi.org/10.17077/0021-065X.4385
My Coat of Flowers p. 59-60
Susan Firer
https://doi.org/10.17077/0021-065X.4386
The Spider on the Windowsill p. 61-66
Greg Kuzma
https://doi.org/10.17077/0021-065X.4387
A Note on Deconstruction p. 67-77
Russell Fraser
https://doi.org/10.17077/0021-065X.4388
The Glint of a Mirror on a Boat on Rough Seas Observed from a Distant Lighthouse p. 78-83
Eric Chilton
https://doi.org/10.17077/0021-065X.4389
Federman: The Workshop p. 84-89
Tom Patten
https://doi.org/10.17077/0021-065X.4390
An Interview with Jane Cooper p. 90-110
Eric Gudas and Jane Cooper
https://doi.org/10.17077/0021-065X.4391
Fishpond p. 111-115
Fleda Brown Jackson
https://doi.org/10.17077/0021-065X.4392
My Mother's See-through Blouse p. 116-118
Jim Daniels
https://doi.org/10.17077/0021-065X.4393
5½ Inch Lullaby p. 119-119
Dara Wier
https://doi.org/10.17077/0021-065X.4394
A Secret Life p. 120-122
Dara Wier
https://doi.org/10.17077/0021-065X.4395
Profile with Rain p. 123-123
Gary Soto
https://doi.org/10.17077/0021-065X.4396
My Shoelaces p. 124-126
James Laughlin
https://doi.org/10.17077/0021-065X.4397
The Runner p. 127-131
Susan Malka Choi
https://doi.org/10.17077/0021-065X.4398
Two Small Canvases p. 132-136
Peter LaSalle
https://doi.org/10.17077/0021-065X.4399
A Conversation with James Lechay p. 137-148
James Lechay and Sara London
https://doi.org/10.17077/0021-065X.4400
Old Ball Field p. 149-149
Marianne Boruch
https://doi.org/10.17077/0021-065X.4401
Exhaustion p. 149-150
Marianne Boruch
https://doi.org/10.17077/0021-065X.4402
Aubade p. 150-150
Marianne Boruch
https://doi.org/10.17077/0021-065X.4403
The American Opera Company p. 151-152
Marianne Boruch
https://doi.org/10.17077/0021-065X.4404
Good "D" p. 153-154
James McKean
https://doi.org/10.17077/0021-065X.4405
Adam & Eve in the Attic p. 155-155
William Ford
https://doi.org/10.17077/0021-065X.4406
Cownose Ray p. 156-156
Stuart Friebert
https://doi.org/10.17077/0021-065X.4407
Abundance and Satisfaction p. 157-159
Pattiann Rogers
https://doi.org/10.17077/0021-065X.4408
Silver Slur p. 160-160
Chase Twichell
https://doi.org/10.17077/0021-065X.4409
Car Alarm p. 161-161
Chase Twichell
https://doi.org/10.17077/0021-065X.4410
Aisle of Dogs p. 162-163
Chase Twichell
https://doi.org/10.17077/0021-065X.4411
Signs p. 164-176
Teri Kanefield
https://doi.org/10.17077/0021-065X.4412
In the Act: John Ashbery's "And the Stars Were Shining" p. 177-183
Joshua Clover
https://doi.org/10.17077/0021-065X.4413
A Review of Robin Behn's "The Red Hour" p. 184-188
Tom Hansen
https://doi.org/10.17077/0021-065X.4414
On Agosín and Martínez p. 189-193
Carolyne Wright
https://doi.org/10.17077/0021-065X.4415
Back Matter

About the Cover Image
"Hadrian and Antinous," on our cover, is a soft ground etching with engraving. This is the first state of the etching, 13 1/2 by 19 inches, and lent to us by permission of Leola Bergmann, the artist. Ms. Bergmann's lifelong interest in the arts led her through a B.A. in English from St. Olaf College, 1937, and an M.A. (1939) and Ph.D. in American Civilization from The University of Iowa in 1942. Her dissertation was a biography of F. Melius Christiansen, founder and director of the renowned St. Olaf Choir. This was followed by Music Master of Middle West, University of Minnesota Press, 1944; The Negro in Iowa, Iowa State Historical Society, 1948; Americans from Norway, J.B. Lippincott, 1950; and numerous articles and reviews. Her interest in music and the visual arts led her to pursue instruction in the violin, painting and drawing, and eventually in printmaking at The University of Iowa. From 1964 to 1969, she studied with Mauricio Lasansky, Keith Achepohl, and Virginia Myers. Then she established a studio in her Iowa City home and continues, she says, "to experiment with the endless possibilities and challenges of the rich medium of intaglio and monotype printing." Her prints are in numerous private and public collections in this country and abroad. A retrospective of three decades of printmaking was shown in an Iowa City gallery in October, 1994. A collage portrait of her close friend, the novelist Marguerite Young, was among the prints featured in the exhibit and will appear on our next issue. Her husband, Gustav Bergmann, was professor of philosophy at The University of Iowa.
Editors
- Editor
- David Hamilton
- Managing Editor
- Mary Hussmann
- Designer
- Kay Amert
- Assistant Editors
- Rebecca Childers
- Creston Lea
- Laura Wilder
- Editorial Assistants
- Lisa Chen
- Julie Kane
- Lynn Mennenga
- Kate Northrup
- Diane Perry
- Nancy Pickering
- Mark Rahe
- Rebecca Soglin
- Greg Spatz
- Mike Taeckens
- Michael Theune
- Ruth Tobias
- James Tweedie
- Advisory Board
- David Baldus
- Frank Conroy
- Charles Kremenak
- Judy Polumbaum
- Leslie Simms
- Thomas Walz