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The Art of Loading Brush

New Agrarian Writings

List Price: $26.00

October 31, 2017 | Hardcover | 6 x 9, 192 pages | ISBN 9781619020382
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“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)

Wendell Berry’s profound critique of American culture has entered its sixth decade, and in this new gathering he reaches with deep devotion toward a long view of Agrarian philosophy. 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.

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 from an as-yet-unfinished novel, better described as “an essay in imagination,” 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.

WENDELL BERRY, an essayist, novelist, and poet, has been honored with the T.S. Eliot Prize, the Aiken Taylor Award for poetry, the John Hay Award of the Orion Society, and the Richard C. Holbrooke Distinguished Achievement Award of the Dayton Literary Peace Prize, among others. In 2010, he was awarded the National Humanities Medal by Barack Obama, and in 2016, he was the recipient of the Ivan Sandrof Lifetime Achievement Award from the National Book Critics Circle. He is also a fellow of the Academy of Arts and Sciences. Wendell lives with his wife, Tanya Berry, on their farm in Henry County, Kentucky. Please visit wendellberrybooks.com.

Praise

“[Berry’s] essays, poetry and fiction have fertilized a crop of great solace in my life, and helped to breed a healthy flock of good manners, to boot. As I travel this unlikely road of opportunity, as a woodworker and writer, sure, but most often as a jackass, I have his writings upon which to fix my mind and my heart, to keep my life’s errant wagon between the ditches, as it were. Mr. Berry’s sentences and stories deliver a great payload of edifying entertainment, which I hungrily consume, but it is the bass note of morality thumping through his musical phrases that guides me with the most constant of hands upon my plow.” —Nick Offerman

“Berry’s craftsmanship remains impeccable. Few other poets have such chaste and precise diction or manage line and stanza with such unaffected serenity.” —Booklist

“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)

“About everything he loves and everything he regrets he has never written better.” —Booklist (starred review)

“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

 

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