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By Wendell Berry

Half ribald farce, half lyrical contemplation, Wendell Berry's novel is the tale of a place-Port William, Kentucky-the farm lands and forests that encompass it, and the river that runs within reach. The rhythms of this novel are the rhythms of the land. a spot on the earth resonates with adaptations performed on issues of switch; looping transitions from battle into peace, wintry weather into spring, browning flood destruction into greening fields, absence into presence, misplaced into chanced on. This brings the revised 1983 version again into print, the subsequent e-book in our application to place all of Wendell Berry's fiction into print in revised and corrected uniform variants.

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Maura Spiegel teaches literature and film at Columbia University and Barnard College. She is the coeditor of The Grim Reader: Writings on Death, Dying, and Living On (1997) and the coauthor of The Breast Book: An Intimate and Curious History (2002), and she coedits the journal Literature and Medicine. She has written on popular culture for the New York Times, and she also writes on film, fashion, and the history of the emotions. TO THE WORKINGMEN OF AMERICA ONE IT WAS four o舖clock when the ceremony was over and the carriages began to arrive.

Even photographs could not vie with narrative for getting at what was real. Consider, in this regard, the reader舗s first exposure to the packing yards in The Jungle, when Jurgis and his family take a tour. As spectators, outsiders, what they see is an immensely impressive system; Jurgis himself is full of admiration; the family is 舠breathless with wonder舡 at the magnitude, the efficiency; 舠it seemed to them impossible of belief that anything so stupendous could have been devised by mortal man舡 (p.

In order to arouse compassion and encourage social reform, writers such as Charles Dickens, Victor Hugo, and Harriet Beecher Stowe, among many others, portrayed the poor as excessively virtuous. These novelists seemed convinced that their middle-class readers would be moved to sympathize with the plight of the poor only if they approved of their moral character. In stark contrast, Sinclair wanted to arouse not sympathy, and certainly not pity, but indignation and outrage. He refuses to sentimentalize his characters; indeed, he sometimes goes to the opposite extreme, as when Jurgis takes work as a scab.

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