Lenworth Henry's story began when he was born in Walkerswood, Jamaica, to parents who already had ten children between them. Shortly thereafter, the entire family moved five miles away, to a pioneering farming community; locally called New Pen, situated on the St Ann parish border with St Mary's. New Pen was a well-organized and governed community, that firmly upheld religious principles. Lenworth's early years were filled with the sights and sounds of the farm. On weekdays, people from nearby farms and villages would bring his father horses and mules to shoe at his blacksmith shop. Near the shop was a cow pen to which cows were brought on weekdays, to be counted, branded, neutered and captured for slaughter. Prior to reaching school age, Lenworth and his two youngest sisters would spend weekdays at the blacksmith shop, watching related drama unfold, under the watchful eyes of their strict parents. At first Lenworth struggled to establish an identity in a complicated world built on loyalty, unity and hard work. Ultimately, he transformed himself from a timid boy roaming the farm alone, to a member of a small clique that reveled in challenging the status quo, just for the fun of it. Lest We Forget brings the farm back to life in its recreation of the behavior of, not only the human residents, but of every living creature on the farm: from the minutest of insects to the most imposing of animals.

Millions of people recognize the religious painting know as Head of Christ, of which an estimated five hundred million prints have been sold. Very few, however, know the artist, Warner E. Sallmann. Sallman's lack of notoriety in professional art circles can be explained by the fact that he made little or no attempt to put himself forward as a Chicago or even a Swedish American artist. He had no exhibitions of his works, and his public life consisted largely of appearances before church and community groups to do chalk drawings. More important was his attitude regarding personal fame. Sallman let the Christ he painted be in the foreground, while the artist remained in the background. "The time has come," argues Jack Lundbom, "for a broader public to know the man who stands behind the painting and the other artwork bearing the Sallman signature." Master Painter is a fascinating story of a gifted man with humble beginnings who overcame disappointment, ill health, and personal limitations in order to live out a vision: that his art serve not only for the enjoyment of humankind, but the practical end of instructing persons in the ways of God. Readers who know the art can now know the artist. It is a story eminently worth telling and one a broad public will be interested to know.