Since its publication in 1977, The Unsettling of America has been recognized as a classic of American letters. In it, Wendell Berry argues that good farming is a cultural and spiritual discipline. Today’s agribusiness, however, takes farming out of its cultural context and away from families. As a result, we as a nation are more estranged from the land―from the intimate knowledge, love, and care of it. Sadly, his arguments and observations are more relevant than ever. Although “this book has not had the happy fate of being proved wrong,” Berry writes, there are people working “to make something comely and enduring of our life on this earth.” Wendell Berry is one of those people, writing and working, as ever, with passion, eloquence, and conviction.

Nathan Coulter, Wendell Berry’s first book, was published in 1960 when he was twenty-seven. In his first novel, the author presents his readers with their first introduction to what would become Berry’s life’s work, chronicling through fiction a place where the inhabitants of Port William form what is more than community, but rather a “membership” in interrelatedness, a spiritual community, united by duty and bonds of affection for one another and for the land upon which they make their livelihood. When young Nathan loses his grandfather, Berry guides readers through the process of Nathan's grief, endearing the reader to the simple humanity through which Nathan views the world. Echoing Berry's own strongly held beliefs, Nathan tells us that his grandfather's life "couldn't be divided from the days he'd spent at work in his fields." Berry has long been compared to Faulkner for his ability to erect entire communities in his fiction, and his heart and soul have always lived in Port William, Kentucky. In this eloquent novel about duty, community, and a sweeping love of the land, Berry gives readers a classic book that takes them to that storied place.

“This is a book about Heaven,” says Jayber Crow, “but I must say too that . . . I have wondered sometimes if it would not finally turn out to be a book about Hell.” It is 1932 and he has returned to his native Port William to become the town's barber. Orphaned at age ten, Jayber Crow’s acquaintance with loneliness and want have made him a patient observer of the human animal, in both its goodness and frailty. He began his search as a "pre-ministerial student" at Pigeonville College. There, freedom met with new burdens and a young man needed more than a mirror to find himself. But the beginning of that finding was a short conversation with "Old Grit," his profound professor of New Testament Greek. "You have been given questions to which you cannot be given answers. You will have to live them out―perhaps a little at a time." "And how long is that going to take?" "I don't know. As long as you live, perhaps." "That could be a long time." "I will tell you a further mystery," he said. "It may take longer." Wendell Berry’s clear-sighted depiction of humanity’s gifts―love and loss, joy and despair―is seen though his intimate knowledge of the Port William Membership.

"In Berry’s new book, The Art of Loading Brush, he is a frustrated advocate, speaking out against local wastefulness and distant idealism; he is a gentle friend, asserting, as he always has, the hope possible in caring for the world, and your specific place in it . . . The Art of Loading Brush is singular in Berry’s corpus." ―The Paris Review "Berry's essays, continuing arguments begun in The Unsettling of America 40 years ago, will be familiar to longtime readers, blending his farm work with his interests in literature old and new . . . Vintage Berry sure to please and instruct his many admirers." ―Kirkus Reviews (starred review) "[Berry] has never written better." ―Booklist (starred review) Wendell Berry’s profound critique of American culture has entered its sixth decade, and in this gathering he reaches with deep devotion toward a long view of Agrarian philosophy. Mr. Berry believes that American cultural problems are nearly always aligned with their agricultural problems, and recent events have shone a terrible spotlight on the divides between our urban and rural citizens. Our communities are as endangered as our landscapes. There is, as Berry outlines, still much work to do, and our daily lives―in hope and affection―must triumph over despair. Mr. Berry moves deftly between the real and the imagined. The Art of Loading Brush is an energetic mix of essays and stories, including “The Thought of Limits in a Prodigal Age,” which explores Agrarian ideals as they present themselves historically and as they might apply to our work today. “The Presence of Nature in the Natural World” is added here as the bookend of this developing New Agrarianism. Four stories extend the Port William story as it follows Andy Catlett throughout his life to this present moment. Andy works alongside his grandson in “The Art of Loading Brush,” one of the most moving and tender stories of the entire Port William cycle. Filled with insights and new revelations from a mind thorough in its considerations and careful in its presentations, The Art of Loading Brush is a necessary and timely collection.

Since its publication in 1977, The Unsettling of America has been recognized as a classic of American letters. In it, Wendell Berry argues that good farming is a cultural and spiritual discipline. Today’s agribusiness, however, takes farming out of its cultural context and away from families. As a result, we as a nation are more estranged from the land―from the intimate knowledge, love, and care of it.Sadly, his arguments and observations are more relevant than ever. Although “this book has not had the happy fate of being proved wrong,” Berry writes, there are people working “to make something comely and enduring of our life on this earth.” Wendell Berry is one of those people, writing and working, as ever, with passion, eloquence, and conviction.

“A thoughtful, entertaining history of obsessed music collectors and their quest for rare early 78 rpm records” (Los Angeles Times), Do Not Sell at Any Price is a fascinating, complex story of preservation, loss, obsession, and art.Before MP3s, CDs, and cassette tapes, even before LPs or 45s, the world listened to music on fragile, 10-inch shellac discs that spun at 78 revolutions per minute. While vinyl has enjoyed a renaissance in recent years, rare and noteworthy 78rpm records are exponentially harder to come by. The most sought-after sides now command tens of thousands of dollars, when they’re found at all.Do Not Sell at Any Price is the untold story of a fixated coterie of record collectors working to ensure those songs aren’t lost forever. Music critic and author Amanda Petrusich considers the particular world of the 78—from its heyday to its near extinction—and examines how a cabal of competitive, quirky individuals have been frantically lining their shelves with some of the rarest records in the world. Besides the mania of collecting, Petrusich also explores the history of the lost backwoods blues artists from the 1920s and 30s whose work has barely survived and introduces the oddball fraternity of men—including Joe Bussard, Chris King, John Tefteller, and others—who are helping to save and digitize the blues, country, jazz, and gospel records that ultimately gave seed to the rock, pop, and hip-hop we hear today.From Thomas Edison to Jack White, Do Not Sell at Any Price is an untold, intriguing story of the evolution of the recording formats that have changed the ways we listen to (and create) music. “Whether you’re already a 78 aficionado, a casual record collector, a crate-digger, or just someone…who enjoys listening to music, you’re going to love this book” (Slate).

Nine-year-old Andy Catlett embarks on a trip going alone by bus to visit his grandparents. It is Christmas 1943 and―as he sees modern life crowding out the old ways―those he meets become touchstones for his understanding of a precious and imperiled world. This beautiful short novel is a perfect introduction to Wendell Berry’s rich and ever-evolving saga of the Port William Membership.

"A profound, passionate, crucial piece of writing . . . Few readers, and I think, no writers will be able to read it without a small pulse of triumph at the temples: the strange, almost communal sense of triumph one feels when someone has written truly well . . . The statement it makes is intricate and beautiful, sad but strong." ―The Washington Post "Berry has produced one of the most humane, honest, liberating works of our time. It is a beautiful book. More than that, it has become at one stroke an essential book. Every American who can read at all should read it." ―The Village VoiceWith the expected grace of Wendell Berry comes The Hidden Wound, an essay about racism and the damage it has done to the identity of our country. Through Berry's personal experience, he explains how remaining passive in the face of the struggle of racism further corrodes America's potential. In a quiet and observant manner, Berry opens up about how his attempt to discuss racism is rooted in the hope that someday the historical wound will begin to heal.

What does it mean to call a place home? Who is allowed to become a member of a community? When can we say that we truly belong? These are some of the questions of place and belonging that renowned cultural critic bell hooks examines in her new book, Belonging: A Culture of Place. Traversing past and present, Belonging charts a cyclical journey in which hooks moves from place to place, from country to city and back again, only to end where she began--her old Kentucky home. hooks has written provocatively about race, gender, and class; and in this book she turns her attention to focus on issues of land and land ownership. Reflecting on the fact that 90% of all black people lived in the agrarian South before mass migration to northern cities in the early 1900s, she writes about black farmers, about black folks who have been committed both in the past and in the present to local food production, to being organic, and to finding solace in nature. Naturally, it would be impossible to contemplate these issues without thinking about the politics of race and class. Reflecting on the racism that continues to find expression in the world of real estate, she writes about segregation in housing and economic racialized zoning. In these critical essays, hooks finds surprising connections that link of the environment and sustainability to the politics of race and class that reach far beyond Kentucky. With characteristic insight and honesty, Belonging offers a remarkable vision of a world where all people--wherever they may call home--can live fully and well, where everyone can belong.

Old Jack, born just after the American Civil War and dying in contemporary times, spends one beautiful September day in Port William, his home since birth, remembering. The story tells of the most searing moments of Old Jack’s life, particularly his debt to his sister Nancy and her husband Ben Feltner, Old Jack’s model of what an honorable manhood and strength might be. "Few novelists treat both their characters and their readers with the kind of respect that Wendell Berry displays in this deeply moving account . . . The Memory of Old Jack is a slab of rich Americana." ―The New York Times Book Review

A groundbreaking, must-read history demonstrating that America's economic supremacy was built on the backs of slavesAmericans tend to cast slavery as a pre-modern institution -- the nation's original sin, perhaps, but isolated in time and divorced from America's later success. But to do so robs the millions who suffered in bondage of their full legacy. As historian Edward E. Baptist reveals in the prizewinning The Half Has Never Been Told, the expansion of slavery in the first eight decades after American independence drove the evolution and modernization of the United States. In the span of a single lifetime, the South grew from a narrow coastal strip of worn-out tobacco plantations to a continental cotton empire, and the United States grew into a modern, industrial, and capitalist economy.Told through intimate slave narratives, plantation records, newspapers, and the words of politicians, entrepreneurs, and escaped slaves, The Half Has Never Been Told offers a radical new interpretation of American history.Bloomberg View Top Ten Nonfiction Books of 2014Daily Beast Best Nonfiction Books of 2014Winner of the 2015 Avery O. Craven Prize from the Organization of American HistoriansWinner of the 2015 Sidney Hillman Prize

The story of the community of Port William is one of the great works in American literature. This collection, the tenth volume in the series, is the perfect occasion to celebrate Berry’s huge achievement. It feels as if the entire membership―all the Catletts, Burley Coulter, Elton Penn, the Rowanberrys, Laura Milby, the preacher’s wife, Kate Helen Branch, Andy’s dog, Mike―nearly everyone returns with a story or two, to fill in the gaps in this long tale. Those just now joining the Membership will be charmed. Those who’ve attended before will be enriched. For more than fifty years, Wendell Berry has been telling us stories about Port William, a mythical town on the banks of the Kentucky River, populated over the years by a cast of unforgettable characters living in a single place over a long time. In A Place in Time, the stories dates range from 1864, when Rebecca Dawe finds herself in her own reflection at the end of the Civil War, to one from 1991 when Grover Gibbs' widow, Beulah, attends the auction as her home place is offered for sale. "And so it's all gone. A new time has come. Various ones of the old time keep faith and stop by to see me, Coulter and Wilma and a few others. But the one I wait to see is Althie. Seems like my whole life now is lived under the feeling of her hand touching me that day of the sale, and every day still. I lie awake in the night, and I can see it all in my mind, the old place, the house, all the things I took care of so long. I thought I might miss it, but I don't. The time has gone when I could do more than worry about it, and I declare it's a load off my mind. But the thoughts, still, are a kind of company." ― Beulah Gibbs

Originally published in 2005, That Distant Land brings together twenty-three stories from the Port William Membership. Arranged in their fictional chronology, the book is not an anthology so much as it is a coherent temporal mapping of this landscape over time, revealing Berry’s mastery of decades of the life lived alongside this clutch of interrelated characters bound by affection and followed over generations. This volume combines the stories found in The Wild Birds (1985), Fidelity (1992), and Watch with Me (1994), together with a map and a charting of the complex and interlocking genealogies.

In this, Wendell Berry’s fifth novel and ninth work of fiction, Andy Catlett revisits his own ninth year in the summer of 1944 when his beloved uncle is shot and killed by the surly and mysterious Carp Harmon. This is his Uncle Andrew, after whom the boy is named, someone who savored “company, talk, some kind of to-do, something to laugh at.” Years later, still possessed by the story, Andy seeks to get to the bottom of all this, to understand the two men and their lethal connection. “Berry deftly balances Andy’s investigation into the town’s past with an equally moving realization not only of the sustaining value of memory but of the manner in which they are shaped in enduring ways by what they love . . . a sharp portrait of a town nursing its secrets over decades.” ―Kirkus Reviews

In this new collection of essays, Wendell Berry continues his work as one of America’s most necessary social commentators. With wisdom and clear, ringing prose, he tackles head-on some of the most difficult problems which face us as we near the end of the twentieth century.Berry begins the title essay with the Anita Hill–Clarence Thomas hearings as an example of a “process that has been well established and well respected for at least two hundred years—the process . . . of community disintegration.” Community, a “locally understood interdependence of local people, local culture, local economy, and local nature,” bound by trust and affection, is “being destroyed by the desires and ambitions of both private and public life which for want of the intervention of community interests, are also destroying one another.”He then moves on to elucidate connections between sexual brutality and economic brutality, and the role of art and free speech. Berry forcefully addresses America’s unabashed pursuit of self-liberation, which he says is “still the strongest force now operating in our society.” As individuals turn away from their community, they conform to a “rootless and placeless monoculture of commercial expectations and products,” buying into the very economic system which is destroying the earth, our communities, and all they represent.Throughout the book Berry asks, What is appropriate? What is worth conserving from our past and preserving in our present? What is it to be human and truly connected to others? What does it mean to be free?

"Here is a human being speaking with calm and sanity out of the wilderness. We would do well to hear him." ―The Washington Post Book WorldThe Art of the Commonplace gathers twenty essays by Wendell Berry that offer an agrarian alternative to our dominant urban culture. Grouped around five themes―an agrarian critique of culture, agrarian fundamentals, agrarian economics, agrarian religion, and geobiography―these essays promote a clearly defined and compelling vision important to all people dissatisfied with the stress, anxiety, disease, and destructiveness of contemporary American culture.Why is agriculture becoming culturally irrelevant, and at what cost? What are the forces of social disintegration and how might they be reversed? How might men and women live together in ways that benefit both? And, how does the corporate takeover of social institutions and economic practices contribute to the destruction of human and natural environments?Through his staunch support of local economies, his defense of farming communities, and his call for family integrity, Berry emerges as the champion of responsibilities and priorities that serve the health, vitality and happiness of the whole community of creation.

Only a farmer could delve so deeply into the origins of food, and only a writer of Wendell Berry’s caliber could convey it with such conviction and eloquence. A progenitor of the slow food movement, Wendell Berry reminds us all to take the time to understand the basics of what we ingest. “Eating is an agriculture act,” he writes. Indeed, we are all players in the food economy. For the last five decades, Berry has embodied mindful eating through his land practices and his writing. In recognition of that influence, Michael Pollan here offers an introduction to this wonderful collection that is essential reading for anyone who cares about what they eat. Drawn from over thirty years of work, this collection joins bestsellers The Omnivore's Dilemma, by Pollan, and Animal, Vegetable, Miracle, by Barbara Kingsolver, as essential reading for anyone who cares about what they eat. The essays address such concerns as: How does organic measure up against locally grown? What are the differences between small and large farms, and how does that affect what you put on your dinner table? What can you do to support sustainable agriculture?

Here, Wendell Berry revisits for the first time his immensely popular Collected Poems, which The New York Times Book Review described as “a straightforward search for a life connected to the soil, for marriage as a sacrament, and family life” and “[returns] American poetry to a Wordsworthian clarity of purpose.” In New Collected Poems, Berry reprints the nearly two hundred pieces in Collected Poems, along with the poems from his most recent collections―Entries, Given, and Leavings―to create an expanded collection, showcasing the work of a man heralded by The Baltimore Sun as “a sophisticated, philosophical poet in the line descending from Emerson and Thoreau . . . a major poet of our time.” Wendell Berry is the author of over forty works of poetry, fiction, and non-fiction, and has been awarded numerous literary prizes, including the T.S. Eliot Prize, a National Institute of Arts and Letters award for writing, the American Academy of Arts and Letters Jean Stein Award, and a Guggenheim Foundation Fellowship. While he began publishing work in the 1960s, Booklist has written that "Berry has become ever more prophetic," clearly standing up to the test of time.