First published in 1969 and out of print for more than twenty–five years, The Long–Legged House was Wendell Berry's first collection of essays, the inaugural work introducing many of the central issues that have occupied him over the course of his career. Three essays at the heart of this volume―“The Rise,” “The Long–Legged House,” and “A Native Hill”―are essays of homecoming and memoir, as the writer finds his home place, his native ground, his place on earth. As he later wrote, “What I stand for is what I stand on,” and here we see him beginning the acts of rediscovery and resettling.
"This book is broad and leisurely and important. Something like the river itself on which Wendell Berry lives. It is full of wide and flowing thoughts and one thing leads to another in the manner that nature intended―or used to. The language ranges from the grave and beautiful to the sharp and specific, depending on the need to express the vast variety of subjects he presents."—The Nation The title of this book is taken from an account by Thomas F. Hornbein on his travels in the Himalayas. ""It seemed to me,"" Horenbein wrote, ""that here man lived in continuous harmony with the land, as much as briefly a part of it as all its other occupants."" Wendell Berry's second collection of essays, A Continuous Harmony was first published in 1972, and includes the seminal ""Think Little,"" which was printed in The Last Whole Earth Catalogue and reprinted around the globe, and the splendid centerpiece, ""Discipline and Hope,"" an insightful and articulate essay making a case for what he calls ""a new middle."
“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.
"The letters are valuable for ecologists, students, and teachers of contemporary American literature and for those of us eager to know how these two distant neighbors networked, negotiated, and remained friends." —San Francisco Chronicle "In Distant Neighbors, both Berry and Snyder come across as honest and open–hearted explorers. There is an overall sense that they possess a deep and questing wisdom, hard earned through land work, travel, writing, and spiritual exploration. There is no rushing, no hectoring, and no grand gestures between these two, just an ever–deepening inquiry into what makes a good life and how to live it, even in the depths of the machine age."—Orion Magazine In 1969 Gary Snyder returned from a long residence in Japan to northern California, to a homestead in the Sierra foothills where he intended to build a house and settle on the land with his wife and young sons. He had just published his first book of essays, Earth House Hold. A few years before, after a long absence, Wendell Berry left New York City to return to land near his grandfather's farm in Port Royal, Kentucky, where he built a small studio and lived there with his wife as they restored an old house on their newly acquired homestead. In 1969 Berry had just published Long–Legged House. These two founding members of the counterculture and of the new environmental movement had yet to meet, but they knew each other's work, and soon they began a correspondence. Neither man could have imagined the impact their work would have on American political and literary culture, nor could they have appreciated the impact they would have on one another. Snyder had thrown over all vestiges of Christianity in favor of becoming a devoted Buddhist and Zen practitioner, and had lived in Japan for a prolonged period to develop this practice. Berry's discomfort with the Christianity of his native land caused him to become something of a renegade Christian, troubled by the church and organized religion, but grounded in its vocabulary and its narrative. Religion and spirituality seemed like a natural topic for the two men to discuss, and discuss they did. They exchanged more than 240 letters from 1973 to 2013, remarkable letters of insight and argument. The two bring out the best in each other, as they grapple with issues of faith and reason, discuss ideas of home and family, worry over the disintegration of community and commonwealth, and share the details of the lives they've chosen to live with their wives and children. Contemporary American culture is the landscape they reside on. Environmentalism, sustainability, global politics and American involvement, literature, poetry and progressive ideals, these two public intellectuals address issues as broad as are found in any exchange in literature. No one can be unaffected by the complexity of their relationship, the subtlety of their arguments, and the grace of their friendship. This is a book for the ages.
Recalls past camping trips, reminisces about people from the author's childhood, and considers issues about conservation and the quality of life in the United States
In a rural Kentucky river town, "Old Jack" Beechum, a retired farmer, sees his life again through the shades of one burnished day in September 1952. Bringing the earthiness of America's past to mind, The Memory of Old Jack conveys the truth and integrity of the land and the people who live from it. Through the eyes of one man can be seen the values Americans strive to recapture as we arrive at the next century.
Composed while Wendell Berry looked out the multipaned window of his writing studio, this early sequence of poems contemplates Berry’s personal life as much as it ponders the seasons he witnessed through the window. First designed and printed on a Washington hand press by Bob Barris at the Press on Scroll Road, Window Poems includes elegant wood engravings by Wesley Bates that complement the reflective and meditative beauty of Berry’s poems.
NATIONAL BESTSELLER • A coming-of-age classic about a young girl growing up in Chicago • Acclaimed by critics, beloved by readers of all ages, taught in schools and universities alike, and translated around the world—from the winner of the 2019 PEN/Nabokov Award for Achievement in International Literature. “Cisneros draws on her rich [Latino] heritage...and seduces with precise, spare prose, creat[ing] unforgettable characters we want to lift off the page. She is not only a gifted writer, but an absolutely essential one.” —The New York Times Book Review The House on Mango Street is one of the most cherished novels of the last fifty years. Readers from all walks of life have fallen for the voice of Esperanza Cordero, growing up in Chicago and inventing for herself who and what she will become. “In English my name means hope,” she says. “In Spanish it means too many letters. It means sadness, it means waiting." Told in a series of vignettes—sometimes heartbreaking, sometimes joyous—Cisneros’s masterpiece is a classic story of childhood and self-discovery and one of the greatest neighborhood novels of all time. Like Sinclair Lewis’s Main Street or Toni Morrison’s Sula, it makes a world through people and their voices, and it does so in language that is poetic and direct. This gorgeous coming-of-age novel is a celebration of the power of telling one’s story and of being proud of where you're from.
The continuing war in Iraq, Hurricane Katrina, the political sniping engendered by the Supreme Court nominations, Terry Schiavo - contemporary American society is characterized by divisive anger, profound loss, and danger. Wendell Berry, one of the country's foremost cultural critics, addresses the menace, responding with hope and intelligence in a series of essays that tackle the major questions of the day. Whose freedom are we considering when we speak of the ''free market'' or ''free enterprise?'' What is really involved in our National Security? What is the price of ownership without affection? Berry answers in prose that shuns abstraction for clarity, coherence, and passion, giving us essays that may be the finest of his long career.
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.
