This page notes published works in which Hearst garners a passing reference
Allen, Charles. “Regionalism and the Little Magazines.” College English, vol. 7, no. 1, October 1945, pp. 10-16. www.jstor.org/stable/371415. DOI: 10.2307/371415.
Hearst is grouped among a large group of writers listed as “regionalists.”
Anderson, Wayne I., “Geology and Water,” uni.edu/~andersow/geologyandwater.html. Accessed 28 December 2017.
This article on geology concludes with a poem, “Landscape—Custer County, Colorado” that is based on Hearst’s poem, “Landscape—Iowa.”
Batcheler, C. B. "Says High Wages Don't Make High Prices." Wallace's Farmer, 19 July 1947, p. 16.
This letter to the editor is written in response to James Hearst's previously published article, "Farmers Should Favor High Wages." Batcheler takes issue with Hearst's support for higher salaries for workers as a way of increasing farm prices, arguing that since farmers sell their wares in an open market, supply and demand is the main determinant of farm prices
This book contains a brief reference to Hearst’s poem, “After Chores,” as part of a discussion of a feeling of movement in the oral interpretation to the study of literature.
This article contains a brief reference to Hearst’s poem, “The Movers,” as part of a discussion of tenant farming in Iowa.
This article celebrates the work of Carroll Coleman’s regional literary press, The Prairie Press, where Hearst published a number of his early books, which are documented in the article.
Christenbury, Leila. Making the Journey : Being and Becoming a Teacher of English Language Arts. 3rd ed., Heinemann, 2006. pp. 246.
James Hearst’s poem, “Cold Snap,” is used to illustrate how a teacher would use the questioning circle technique to teach a poem.
"Country Air [by a Farm Woman]." Wallace's Farmer. 11 July 1931, p. 11. In this piece, the columnist expresses her appreciation for Hearst over poets like Robert Frost, specifically making note of Hearst's poem, "Country Men" and its relevance to the summer months in Iowa.
Fink, Deborah, and Dorothy Schwieder. Iowa Farm Women in the 1930s. Iowa Department of Cultural Affairs. vol. 49, no. 7, Winter 1989, pp. 573-585.
Two Hearst essays originally published in Palimpsest, "We All Worked Together: A Memory of Drought and Depression" and "Farm Life When the Power Changed" are referenced as part of a larger discussion about the lives of rural women in Iowa during the period of the Great Depression.
Hearst was an early formative influence on Salisbury, having been his first creative writing instructor and later helping with his admission to the Iowa Writers Workshop.
McClary, Andrew. Good Toys, Bad Toys: How Safety, Society, Politics and Fashion Have Reshaped Children’s Playthings. McFarland & Co., 2004.
Brief reference to an anecdote from Hearst’s childhood when he accidentally shot a pig with a toy bow and arrow.
Mullen, Peg. Unfriendly Fire: A Mother’s Memoir. University of Iowa Press, 1995.
A supportive letter from Hearst to the author is quoted in response to an anti-Vietnam war advertisement published by Mullen in the Des Moines Register.
Harrison, John M. “A Confirmed Typomaniac: Carroll Coleman and the Prairie Press.” Books at Iowa, vol. 62, no. 1, 1995, pp. 15-74. ir.uiowa.edu/bai/vol62/iss1/4/.
Carroll Coleman was the publisher of Country Men, Hearst’s first book, as well as three other Hearst collections. This narrative history of Coleman’s publishing career frequently references Hearst as both a favorite poet and friend of Coleman’s.
Kloefkorn, William. Foreword to How to Live in the Heartland by Twyla Hansen. Lincoln: Tidewater Editions, 1992. 7-8.
In this introduction to Hansen’s poetry collection, Kloefkorn writes of correspondences between her work and that of Hearst.
"Odds and Ends" Wallace's Farmer, 24 September 1938, p. 7.
A columnist conveys appreciation for James Hearst for writing poetry while actively farming ("the only top rank poet writing about farming who actually lives on a farm") and compares him to Robert Frost. This acknowledgement follows the publication on the previous page of Hearst's "The Young Old-Timer."
"Odds and Ends" Wallace's Farmer, 19 June 1937, p. 5.
A columnist recognizes the publication of Hearst's Country Men and quotes form Ruth Suckow's introduction to the collection. The columnist approvingly claims, "Hearst, we think, hardly expects his poetry to be liked by city people. He is writing for farmers." "The Movers" is published next to this column.
Pichaske, David. Where Now “Midwestern Literature”? The Midwest Quarterly, vol. 48, no. 1, Autumn 2006, pp. 100-119,7. Reprinted in Rooted: Seven Midwest Writers of Place. University of Iowa Press, 2006.
This wide-ranging article makes a brief reference to Hearst’s poem, “Truth,” to illustrate an argument about midwestern pragmatism.