As a young man, David Rhodes worked in fields, hospitals, and factories across Iowa. After receiving an MFA from the Iowa Writers' Workshop, he published three acclaimed novels: The Last Fair Deal Going Down (1972), The Easter House (1974), and Rock Island Line (1975). In 1976, a motorcycle accident left him partially paralyzed. In 2008, Rhodes returned to the literary scene with Driftless, a novel that was hailed as "the best work of fiction to come out of the Midwest in many years" (Alan Cheuse, Chicago Tribune). A Guggenheim Fellow, Rhodes lives with his wife, Edna, in Wisconsin.

“A fast-moving story about small town life with characters that seem to have walked off the pages of Edgar Lee Masters’s Spoon River Anthology.”—The Wall Street Journal The few hundred souls who inhabit Words, Wisconsin, are an extraordinary cast of characters. The middle-aged couple who zealously guards their farm from a scheming milk cooperative. The lifelong invalid, crippled by conflicting emotions about her sister. A cantankerous retiree, haunted by childhood memories after discovering a cougar in his haymow. The former drifter who forever alters the ties that bind a community. In his first novel in 30 years, David Rhodes offers a vivid and unforgettable look at life in small-town America. “[Rhodes’s] finest work yet . . . Driftless is the best work of fiction to come out of the Midwest in many years.”—Chicago Tribune “Set in a rural Wisconsin town, the book presents a series of portraits that resemble Edgar Lee Masters’s ‘Spoon River Anthology’ in their vividness and in the cumulative picture they create of village life.”—The New Yorker “Encompassing and incisive, comedic and profound, Driftless is a radiant novel of community and courage.”—Booklist (starred review) “A welcome antidote to overheated urban fiction . . . A quiet novel of depth and simplicity.”—Kirkus Reviews “It takes a while for all these stories to kick in, but once they do, Rhodes shows he still knows how to keep readers riveted. Add a blizzard, a marauding cougar and some rabble-rousing militiamen, and the result is a novel that is as affecting as it is pleasantly overstuffed.”—Publishers Weekly

From the acclaimed author of Driftless, “a novel of forgiveness, a generous ode to the spirit’s indefatigable longing for love” (Minneapolis Star Tribune). When David Rhodes burst onto the American literary scene in the 1970s, he was hailed as “a brilliant visionary” (John Gardner) and compared to Sherwood Anderson and Marilynne Robinson. In Driftless, his “most accomplished work yet” (Joseph Kanon), Rhodes brought Words, WI, to life in a way that resonated with readers across the country. Now with Jewelweed, this beloved author returns to the same out-of-the-way hamlet and introduces a cast of characters who all find themselves charged with overcoming the burdens left by the past, sometimes with the help of peach preserves or pie. After serving time for a dubious conviction, Blake Bookchester is paroled and returns home. The story of Blake’s hometown is one of challenge, change, and redemption, of outsiders and of limitations, and simultaneously one of supernatural happenings and of great love. Each of Rhodes’s characters—flawed, deeply human, and ultimately universal—approach the future with a combination of hope and trepidation, increasingly mindful of the importance of community to their individual lives. Rich with a sense of empathy and wonder, Jewelweed offers a vision in which the ordinary becomes mythical. “I liked Driftless, but his emotionally rich new novel, Jewelweed, a sequel of sorts, is even better. The novel emits frequent solar flares of surprise and wonder.”—The Cleveland Plain Dealer “[A] rhapsodic, many-faceted novel of profound dilemmas, survival, and gratitude . . . [a] refulgent hymn to the earth, ‘psychic strength,’ hard work, integrity, and love.”—Booklist (starred review)

Church Beyond Walls tells inspiring, informative and occasionally funny stories of how a group of people took Christian spirituality outside of church buildings to engage a world increasingly uninterested in religion, God and faith. From imaginative and wide-ranging experiments, it draws out principles to inspire local churches to express their faith in their communities, and it shares liturgical and other resources developed for these occasions. Based in Brighton and known as BEYOND, for over ten years this group of dreamers, artists and provocateurs have experimented with public art, created light shows and walking meditations, partnered with retailers to create spiritual shop window trails, celebrated the festivals of the church in secular spaces, used folk traditions and more to introduce people to the Christian faith. Their goal and the aim of this book is to help local churches create opportunities for epiphanies: moments when the divine can break into human experience.

"Survival has been the Sledge way since Reuben's father first moved to Des Moines. Yet the family seems cursed, and one by one, they are slipping away. First Reuben's oldest brother is hanged for the murder of his wife. Then another brother is committed to the asylum for spying on the woman he loves. But it's the rape and disgrace of his beloved sister Nellie that drives Reuben into a despair so deep that he sets himself in opposition to the people of Des Moines. Into the depths of this depression wanders Tabor, lovely and vulnerable, who revives Reuben and sets him alive with the promise of her love. Beneath it all hangs the City, "not a city like Des Moines itself, but an inner City of Des Moines . . . or a lower City. No one has ever gotten out of the City." The City has claimed each of his dead relatives, and when Reuben learns that Tabor has descended into the City, he determines, in a moment of panic, to enter himself and bring her out. Thus begins the novel's second act, a harrowing journey through the horrors of the City and among its inhabitants, a ghastly assemblage of dwellers who've crafted new lives for themselves in the underworld." --Publisher.

When life (in a global pandemic) imitates art . . . Van Gogh’s Starry Night made out of spaghetti? Cat with a Pearl Earring? Frida Kahlo self-portraits with pets and toilet paper? While the world reeled from the rapid spread of the novel coronavirus (COVID-19), thousands of people around the globe, inspired by challenges from Getty and other museums, raided toy chests, repurposed pantry items, and enlisted family, roommates, and animals to re-create famous works of art at home. Astonishing in their creativity, wit, and ingenuity, these creations remind us of the power of art to unite us and bring joy during troubled times. Off the Walls: Inspired Re-Creations of Iconic Artworks celebrates these imaginative re-creations, bringing highlights from this challenge together in one whimsical, irresistible volume. Getty Publications will donate all profits from the sales of this book to a charity supporting art and artists.

September 11, 2001 marked the beginning of a new era of security imperatives for many countries. The border between Canada and the United States suddenly emerged from relative obscurity to become a focus of constant attention by media, federal and state/provincial governments on both sides of the boundary, and the public at large. This book provides a comprehensive examination of the Canada-USA border in its 21st century form, placing it within the context of border and borderlands theory, globalization and the changing geopolitical dialogue. It argues that this border has been reinvented as a 'state of the art', technology-steeped crossing system, while the image of the border has been engineered to appear consistent with the 'friendly' border of the past. It shows how a border can evolve to a heightened level of security and yet continue to function well, sustaining the massive flow of trade. It argues whether, in doing so, the US-Canada border offers a model for future borderlands. Although this model is still evolving and still aspires toward better management practices, the template may prove useful, not only for North America, but also in conflict border zones as well as the meshed border regions of the EU, Africa's artificial line boundaries and other global situations.

José Parlá (born 1973) derives his art from the accretions and damage of city walls, and the record they supply of neighborhood character and local history. To these collectively authored public surfaces, Parlá brings a consciousness of art history, and the transformations of graffiti traditions dating back to ancient Rome by painters such as Twombly, Basquiat and Kiefer. His mixed media works sometimes employ fresco techniques and include acrylic, oil paints, plaster, posters used as collage, homemade inks and enamel spray paint. Parlá's archeological works celebrate the chronicles of the urban fabric as a diary: he writes, "as my works evolved, be it paintings, signatures, or even the documentation of these early ephemeral artworks throughout city walls, the works took on the nature of personal journals based on empirical experiences." This volume surveys his two-decade oeuvre.

In the rhythm of a familiar folk song, a child cannot resist adding one more dab of paint in surprising places.

Writer Tami Lewis Brown and illustrator Keith Negley present a joyful picture book biography of modern art icon Keith Haring, celebrating the ways his life embodied the message: art is for everyone. Art is life... and life is art. Keith Haring believed that art should be enjoyed by everyone. When Keith first moved to New York City, he rode the subway and noticed how the crowds were bored and brusque, and that the subways were decayed and dreary. He thought the people of New York needed liberating, illuminating, and radiating art. So he bought a stick of white chalk and started drawing...