“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.

Hannah Coulter is Wendell Berry’s seventh novel and his first to employ the voice of a woman character in its telling. Hannah, the now–elderly narrator, recounts the love she has for the land and for her community. She remembers each of her two husbands, and all places and community connections threatened by twentieth–century technologies. At risk is the whole culture of family farming, hope redeemed when her wayward and once lost grandson, Virgil, returns to his rural home place to work the farm.

Published in 1967, we return to Port William during the Second World War to revisit Jayber Crow, the barber, Uncle Stanley, the gravedigger, Jarrat and Burley, the sharecroppers, and Brother Preston, the preacher, as well as Mat Feltner, his wife Margaret, and his daughter–in–law Hannah, whose son will be born after news comes that Hannah’s husband Virgil is missing. "The earth is the genius of our life,” Wendell Berry writes here. “The final questions and their answers lie serenely coupled in it."

In today's fast-food world, Christianity can seem outdated or archaic. The temptation becomes to pick up the pace and play the game. But Chris Smith and John Pattison invites us to leave franchise faith behind and enter the kingdom of God, where people know each other well and love one another as Christ loves the church.

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.

Reissued as part of Counterpoint's celebration of beloved American author Wendell Berry, the five stories in Fidelity return readers to Berry's fictional town of Port William, Kentucky, and the familiar characters who form a tight–knit community within. "Berry richly evokes Port William's farmlands and hamlets, and his characters are fiercely individual, yet mutually protective in everything they do. . . . His sentences are exquisitely constructed, suggesting the cyclic rhythms of his agrarian world." —The New York Times Book Review "Each of these elegant stories spans the twentieth century and reveals the profound interconnectedness of the farmers and their families to one another, to their past and to the landscape they inhabit." —The San Francisco Chronicle "Visionary . . . rooted in a deep concern for nature and the land, . . . [these stories are] tough, relentless and clear. In a roundabout way they are confrontational because they ask basic questions about men and women, violence, work and loyalty." —Hans Ostrom, The Morning News Tribune

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.

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.

Who are you, really? In an uncertain world, we crave the security of knowing exactly who we are and where we belong. But too often as women, we try to find this safety in our roles and relationships, our professional accomplishments, or our picture-perfect homes. And as we do, our souls shrink smaller and smaller. It's because these things aren't made to hold us. In Made for More, Hannah Anderson invites you to re-imagine yourself, not simply as a set of roles and categories, but as a person destined to live in the fullness of God Himself. Starting with our first identity as image bearers, Hannah shows how Jesus Christ makes us people who can reflect His nature through our unique callings. She also explores how these deeper truths affect the practical realities that we face as women—how does being an image bearer shape our pursuit of education, our work, and even our desire for holistic lives? Because you are made in God’s image, you will only ever know yourself—only ever be yourself—as you find your identity in Him. Find it now.

A readable guide for helping Christians understand what biblical forgiveness and biblical love really look like in the painful situations in life.