Monday, 9 March 2026

An Interview with Art Cullen


The March 2026 Final Thursday Reading Series features Art Cullen, the Pulitzer Prize-winning editor of the Storm Lake Times. He is also the author of the new book, Dear Marty, We Crapped in Our Nest: Notes from the Edge of the World (Ice Cube Press). 

The Final Thursday Reading Series takes place at the Hearst Center for the Arts in Cedar Falls, Iowa. There will be an open mic at 7:00 p.m. (bring your best five minutes of original creative writing). The featured reading starts at 7:30, and it will also be simulcast on Zoom. Click to register for a link

Interview by Sara Shannon. 

SARA SHANNON: Let’s start with the title of your book, which is a bit blunt and quite humorous, to say the least, but is perfectly in tone with your journalistic style. How did you decide on that title? 
ART CULLEN:
Well, I was talking with another writer named Phoebe Wall Howard. We were at the Okoboji Writers' Retreat in Iowa, and she was urging me, along with Steve Semken, the publisher of the Ice Cube Press in North Liberty, Iowa, to write a book. We were talking about what the subject would be, and I said, “Well, Phoebe, we s____ in our nest.” We turned that subject into the title, “We Crapped in our Nest.” It became Dear Marty, We Crapped in Our Nest because I framed it as a letter to my old high school buddy, Marty Case, about how the town we grew up in 50 years ago is a much different place. 

SS: As Iowans, we are all too familiar with corn as our main cash crop, but this economic dependence on corn has led to overfarming the soil without properly returning the nitrates. In your book, you talk about the history of the Corn Gospel. Can you talk a little bit about how Iowans became economically dependent on corn? Do you think it is possible for a change in the crop market? 
AC:
It is possible. In fact, it's going to be necessary for us to lessen our reliance on corn production in the Corn Belt, because of climate change. We simply won't be able to grow as much corn because it will be too hot during the tasseling period, so we will have to be comfortable with lower yields. We are already struggling with a large amount of 90 degree days during the detasseling season. Maybe we’ll plant oats, or grass for grazing, but we're gonna have to reduce our corn acreage by quite a bit just to stop the pollution of the Gulf of Mexico alone. Furthermore, we became dependent on corn because it's the most amenable crop to this climate. The tallgrass prairie is the ideal habitat to grow corn, which is a descendant of a grass plant called teosinte that was bred in Mexico 10,000 years ago and has been domesticated ever since. We became dependent on it because our climate and soils are especially well-suited to corn. But, following World War II, we were growing so much of it in such abundance that we had to figure out a way to get rid of it. Now, we're selling it into ethanol and export markets even though the price of corn keeps declining. We just keep chasing our tail because growing corn is all we know how to do, or it's all we're encouraged to do, by the agrochemical complex. But soon, we’re going to have to do something differently. 


SS: In your book, you talk about how Big Ag and the government is contributing to the decline in farmland, but you also talk about individual efforts in sustainable farming. How does independent farming fit into Iowa within the agricultural system? How does the system impact the environment? 
AC:
You can operate as an independent farmer at the margins of this system. You can scrape by, kind of like we just barely scrape by as independent newspaper owners here in Storm Lake. You can have your small cow-calf herd and get by. But to prosper, you've got to participate in the ag supply chain, and if you're in Iowa, you're wrapped up in the hog, corn ethanol, and now egg complex. Iowa is now the number one producer of eggs. To really cash in, you have to participate in the system, whether it's through federal farm programs or contract payments with meatpackers or corn delivery with ethanol plants. That's where the money is. Not in selling lettuce at a farmer's market, but in hogs and corn. The problem is, we're producing so many hogs in Iowa, we just can't get rid of all the hog manure. It is a valuable fertilizer source, but it’s ending up in the Mississippi River. That’s the real environmental problem with us, hog manure and our insistence on chasing the pot of corn gold at the end of the rainbow. We could grow oats, sweet sorghum along rivers that soaks up nitrogen, grass or hemp for ethanol production. But we don't, because there's no money in it for Bayer, Pioneer, or Corteva. The money is in corn and herbicides and fertilizer for that corn. There's an entire complex built around the corn seed and hogs, and it needs both to survive. 

SS: This book is, as Ice Cube Press puts it, “the right book at the right time,” as it deals with some fairly complex topics such as political polarization, racism, climate change, and monopolies. How do you approach pacing when dealing with such a large topic? 
AC:
What I try to do is concentrate on a place. In this case, I focused on Storm Lake, Iowa. It helps me frame all the discussions. All these big macro forces are at play in Storm Lake: immigration (Storm Lake is majority Latino now because of immigration to meat-packing plants), the strength of the dollar against other foreign currencies, hog production, food production, the pandemic, etc. That’s how I pace or frame stories: through the lens of Storm Lake, because that's how I understand the world. 

SS: Finally, this book has a call-to-action element. Many people today feel overwhelmed or despairing in our current political state and could use a good call-to-action. Keeping that in mind, what is one message you hope everyone takes away from reading your book? 
AC:
Iowa is at an inflection point in a political, economic, and environmental crisis that's been building for the last 50 years. We've been hollowing out rural communities, polluting the water and the air, and consolidating all our economic enterprises so there's no independent ownership left. And I think people are actually getting fed up with it. They're getting fed up with walking out the door in the morning and smelling hog manure in the air. They're getting fed up with making half of what somebody makes in Minnesota or Illinois. They're getting fed up with book bans, and people treating gay people like they're criminals. I think we are seeing this on the national level as well. The fact that people are fed up with not getting their fair share is why Donald Trump got elected, and it will ultimately be his demise. Now, we're talking about how we can turn back and restore Iowa to what it was. This should be the richest, most prosperous place on Earth just by natural resources alone. And we've managed to crap in our nest. How can we recover what we've lost in Iowa? How can we restore that so that all Iowans share in this prosperity, rather than just a few?

Sunday, 22 February 2026

An Interview with Jim O'Loughlin


The February 26 Final Thursday Reading Series features Jim O’Loughlin, who will be reading “Extension Cords,” standalone short stories set in the world of O’Loughlin’s science fiction novel, The Cord, a Midwest Book Award finalist. In-person attendees will receive a free Extension Cord publication, as supplies last. O’Loughlin is the founder of the Final Thursday Reading Series, which is now celebrating its 25th season. He also is an Associate Dean in the UNI College of Humanities, Arts, and Sciences. 

The Final Thursday Reading Series takes place at the Hearst Center for the Arts in Cedar Falls, Iowa. There will be an open mic at 7:00 p.m. (bring your best five minutes of original creative writing). The featured reading starts at 7:30, and it will also be simulcast on Zoom. Click to register for a link. 

Interview by Faith Okon. 

FAITH OKON: Your novel, The Cord, starts closer to the chronological end and then moves backward to reveal the story’s details. What inspired you to use a non-linear narrative structure, and how do you think it affects the reader's experience of the characters and themes? 
JIM O’LOUGHLIN: I was drawn to the structure of a reverse narrative because I feel it mirrors how we learn about the past, and how that knowledge informs our understanding of the present. As much as The Cord is a science fiction novel (set on either end of a future space elevator), it is also an intergenerational novel where characters have a past and a family history that impacts their lives. In the abstract, it can sound confusing, but I was really glad that many readers of The Cord found the reverse narrative to be a distinctive part of the book. 
 
FO: The story moves through time in a way that keeps the reader piecing things together. Was there a challenge in writing the story like this, and what did you hope the non-linear timeline would bring to the plot? 
JO:
There were many challenges! I had to have a general sense of the whole narrative before I started writing, and I kept careful notes about details I needed to include later in the book based on what happened at the beginning. I also scribbled down a sprawling “family tree” to make sure I didn’t lose track of anyone (a version of that appears as a preface to the published version of The Cord). When it works (and I hope it does!), it has the effect of deepening your understanding about what you’ve already read. 
 

FO: How do you think the idea of the space elevator impacts the characters’ sense of place and purpose? Is it just a means of transportation, or does it symbolize something larger for them? 
JO
: That’s a great question, but it doesn’t have an easy answer. The space elevator, and the capacity it brings for a kind of permanent colony orbiting the Earth, means different things to different characters because it can be used for many purposes—space exploration, energy generation, tourism, astronomy, military advantage. The novel shows the project’s early stages, what happens after an authoritarian takeover, and how a collectivist alternative emerges. Now that you’ve pushed me on the issue, I realize that it was important that the cord and the space station did not have an inherent meaning but could be made to mean many different things depending on how people used them. I think that is generally how I feel about new technologies, which can have great potential and can also be enshitified (to use the word of the moment). 

FO: What are the “Extension Cords” that you will be reading at FTRS, and how do they relate to The Cord
JO:
The nature of a book like The Cord, with many narrators whose stories interlink with one another, is that there are always other stories that could have been told. Some of those stories are hinted at in the book, and some have come into my head since the book has been published. For example, without giving too much away, I can say that The Cord was written and published before the public release of generative Artificial Intelligence tools like ChatGPT. Since that time, our sense of what kinds of AI and future robots are possible has really been transformed, and that’s one issue I’ve continued to explore as a writer of science fiction. 

Eventually, I hope to bring out an expanded edition of The Cord, but for now I’ve figured out a unique and thematically appropriate way to present the Extension Cords, and if you show up on February 26, you’ll get to take one home with you. How’s that for a teaser?

Monday, 26 January 2026

An Interview with Daniel Umemezie


The 2026 Final Thursday Reading Series starts on January 29 at the Hearst Center for the Arts with a special event featuring the Cedar Valley Youth Poet Laureates, Lamya Pratchett (2024) and Daniel Umemezie (2025). Umemezie was also recently named the Midwest regional winner and will compete for the national title this spring. The Final Thursday Reading Series takes place at the Hearst Center for the Arts in Cedar Falls, Iowa. 

There will be an open mic at 7:00 p.m. (bring your best five minutes of original creative writing). The featured reading starts at 7:30, and it will also be simulcast on Zoom. Click to register for a link

Interview by Jim O’Loughlin. 

JIM O’LOUGHLIN: How did you start writing poetry?
DANIEL UMEMEZIE:
I started spontaneously, really. I wrote a poem for a children’s day celebration when I was about 10 years old, and ever since then, I have written. Between the years, however, I had a hiatus from writing. This coincided with moving from Nigeria to America. And then I had a class with Michelle Rathe, and she convinced me to start writing again, and I owe a lot to her. The amount of growth I have had in the past years due to writing poetry has been nothing short of staggering, and I am constantly amazed at the way poetry impacts others around me, as well as the way my poetry has impacted people around me. I think it would be an understatement to say, "I am in love." 

JO: What stood out about your experience with the Iowa Youth Poet Laureate program?
DU:
The biggest thing for me was the plethora of opportunities it brought and the chance to connect with other youth about poetry as a tool for change. I often encountered poets working in different modes, which complicated my understanding of how poetry operates formally and its many forms of impact on the world and society. 


JO: What tips do you have for writers who are just starting out?
DU: First, learn to cut everything you love that doesn't serve formal necessity. The hardest discipline isn't generating material, it's recognizing when your most compelling lines are decorative and when that beautiful metaphor is functioning as evasion rather than precision. Secondly, study formal constraints not as an exercise but as growing commitments. Don't adopt voice as persona or code-switching as decorative alternation between registers (some examples). Commit completely to what a given constraint reveals about the territory you are trying to explore. Read widely, not just to imitate techniques but to understand how formal innovation functions, noticing things like how structure enacts rather than describes meaning. Try to develop your own formal ideas before worrying too much about publication or audiences, and accept that your weakest work will come from inconsistency of execution, not lack of capability. The work will then be maintaining commitment when it would be easier to accommodate. Lastly, recognize that poetry isn't just self-expression; it's a world, a reality. Write realities into existence, and don't forget to have fun and play. 

JO: What hopes or plans do you have for the future (as a writer or in general)?
DU:
I’ll always write, in some shape or form. But I want to major in aerospace engineering and minor in creative writing, continuing to write poetry, and eventually writing a poetry book and a memoir, maybe.

Sunday, 18 January 2026

New Semester, New Poster!

 The Spring 2026 poster is set. If you want to get Zoom links for all the live featured readings, CLICK HERE.