MacDonald's final “novella” of a scant 22,000 words was viewed as so insignificant at the time of its release in 1898 that it never appeared in book form in the U.K and is omitted from many lists of MacDonald’s books. Though appearing in magazine form in Britain, its only book edition was published in the United States. For those with eyes to see, however, it reads as an autobiographical retrospective of the beginning of MacDonald’s own writing life. Though revealing a poignant final glimpse of MacDonald's waning energy and craft, the significance of its portrait of a struggling youthful author is delightful. Shortly after its writing, what appeared to be a stroke silenced the pen of this remarkable literary genius and man of God. Included in this new edition of Far Above Rubies is Ronald MacDonald’s memorable portrait of his father from 1910, From A Northern Window.

This 1882 story of a dysfunctional family features another of MacDonald’s memorable female protagonists. Reminiscent of Mary St. John of Robert Falconer, Hester Raymount chooses a single life of ministry among London’s downtrodden (whose character and work were inspired by MacDonald friend and social activist Octavia Hill), and, like Mary Marston, uses her musical gifts to further that ministry. The poignant character of Hester’s brother Mark brings to life a moving portrait of MacDonald’s own son Maurice, whom he and Louisa lost at the age of fifteen but a short while before this book was written.

This final installment of the Thomas Wingfold trilogy from 1891 adds yet further dimensions to the personal search for faith and the nature of belief, exemplified in the characters of Barbara Wilder and Richard Tuke. Both Barbara and Richard must ask whether or not God’s existence is true, what God’s character is like, and what demands are placed upon them as a result. Wingfold’s conversations with Barbara probe the foundations of belief with depth and profundity. Wingfold continually emphasizes the great truth: Everything depends on the kind of God one believes in. All three of the Wingfold books address the logic and reasonableness of the Christian faith. MacDonald’s characters must reason out belief. There will be no pat answers, no “humbug,” as he called it. Christianity is reasonable, sensible, intellectually consistent. God’s principles are true. This true-ness pervades MacDonald’s worldview as the foundation for Everyman’s spiritual quest. As always, the stories upon which MacDonald weaves his spiritual themes are compelling in themselves. There and Back is no exception, with mysteries, romance, a disputed inheritance, again with an old castle and library, and a full range of fascinating characters spread along the spectrum of personal development.