This book offers a unique glimpse of Alaska and its creatures, rendered on paper by a man who loved and respected them. William D. Berry was nationally known as a wildlife artist, but to many Alaskans, he was also a kind of state treasure and certainly a natural resource. Berry's clear vision, conveyed with his disciplined skills, captured Alaska's creatures and their habitats in works that are both scientifically accurate and artistically compelling. From his childhood in the southwestern desert to the closing days of his life in the taiga forest of Alaska, Berry was absorbed by the diversity of living creatures with which he shared the world. Years of observation gave him a singular capability to perceive animals; years of study gave him an equally singular ability to convey them to observers through an array of artists' media. Fox cubs or caribou, his animals are what you might see--if you had his patience or powers of observation. Each fully rendered creature has its own character, presented with respect for its individuality as well as accuracy for its individuality as well as accuracy for its species characteristics. It is a privilege for the University of Alaska to bring this sampler of Bill Berry's private efforts from the 1950s before a wider audience. The book is grouped into four sections: Denali Park, color sketches, Point Hope, and around and about Alaska. Within each, the animals are in taxonomic order, the way Berry arranged and filed them. Berry's friend, zoologist William O Pruitt, once observed that this artist's field sketches were the equivalent of the scientist's field notes. Perhaps it is that honesty that makes his work a challenge to other artists who wish to capture the essence of animals and captivate viewers. It is surely one of the reasons that his sketches continue to please all who cherish wilderness.

“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.

Hours after the bombing of Pearl Harbor, Japanese forces launched a devastating attack on U.S. troops in the Philippines. In May 1942, after months of battle with no reinforcements and no hope of victory, the remaining American forces, holed up on the tiny island of Corregidor, suffered a humiliating defeat, and 11,000 fighting men became prisoners of war in the largest American capitulation since Appomattox. Those lucky enough to survive the brutal conditions of their captivity remained imprisoned until General MacArthur returned to the Philippines in 1945.

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.

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.

Time is the ultimate weapon What if we’re living in an alternate timeline? What if the car crash that killed Princess Diana, the disappearance of the Princes in the Tower, and the shooting of King William II weren’t supposed to happen? Ex-history teacher Gregory Ferro finds evidence that a cabal of time travellers is responsible for several key events in our history. These events all seem to hinge on a dry textbook published in 1995, referenced in a history book written in 1977 and mentioned in a letter to King Edward III in 1348. Ferro teams up with down-on-her-luck graduate Jennifer Larson to get to the truth and discover the relevance of a book that seems to defy the arrow of time. But the time travellers are watching closely. Soon the duo are targeted by assassins willing to rewrite history to bury them. Million Eyes is a fast-paced conspiracy thriller about power, corruption and destiny. Visit bit.ly/Million-Eyes

The Shocking scandal of the Oklahoma Supreme Court.

Addiction: A Human Experience fosters a greater awareness of those who develop substance abuse problems and the treatment of these individuals. The book provides a basic overview of the addiction process, with a special focus on what the experience is like for the addicted person. The second edition also implements the new DSM-5 criteria. The book focuses on theories concerning why people become addicted, the role of counselors, and the relapse and recovery process. The material also addresses spirituality, as well as harm reduction and relapse prevention. Numerous case examples serve to illustrate real-world experiences with addiction and the recovery process. Other specific items covered include: Understanding the Effects of Addiction on Thinking Twelve Step Sober Support Groups Gorski's Relapse Process Romantic Relationships in Early Recovery Addiction as a Family Disease Process Addictions Co-occurring Disorders Designed to be a supplement to standard psychology textbooks addressing substance abuse, Addiction: A Human Experience gives readers a deeper understanding of--and compassion for--those seeking treatment for their addiction.

A “superb study” that “reminds us that Williams remains our contemporary not only for the lively cadences and fresh imagery that animate his poems, but for the ethical imperative of his example” (The Sewanee Review). Acclaimed essayist and poet Wendell Berry was born and has always lived in a provincial part of the country without an established literary culture. In an effort to adapt his poetry to his place of Henry County, Kentucky, Berry discovered an enduringly useful example in the work of William Carlos Williams. In Williams’ commitment to his place of Rutherford, New Jersey, Berry found an inspiration that inevitably influenced the direction of his own writing. Both men would go on to establish themselves as respected American poets, and here Berry sets forth his understanding of that evolution for Williams, who in the course of his local membership and service, became a poet indispensable to us all. “Generously quoting many of Williams’ best lines . . . Berry produces a work of aesthetics more than evaluation, of love more than critique.” —Booklist