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For nearly twenty-five years, poet Baron Wormser and his family lived in a house in Maine with no electricity or running water. They grew much of their own food, carried water by hand, and read by the light of kerosene lamps. They considered themselves part of the “back to the land” movement, but their choice to live off the grid was neither statement nor protest: they simply had built their house too far from the road and could not afford to bring in power lines. Over the years, they settled in to a life that centered on what Thoreau called “the essential facts.”
In this graceful meditation, Wormser similarly spurns ideology in favor of observation, exploration, and reflection. “When we look for one thread of motive,” he writes, “we are, in all likelihood, deceiving ourselves.” His refusal to be satisfied with the obvious explanation, the single thread of motive, makes him a keen and sympathetic observer of his neighbors and community, a perceptive reader of poetry and literature, and an honest and unselfconscious analyst of his own responses to the natural world. The result is a series of candid personal essays on community and isolation, nature, civilization, and poetry.
“His ruminations on crafting poems and thoughtful considerations of the value of literature will be of great interest to readers and fellow writers. Wormser counters any comparisons to Thoreau, and, in fact, has a far greater sense of humor than the iconic backwoodsmen, but his endearing memoir about living simply, yet richly, in woods he clearly loves certainly does extend the tradition Thoreau exemplifies.”—Booklist
“What separates this memoir from the often clichéd back-to-the-land life story is that the author’s choices are always seen through the lens of language, especially poetry. As he describes the characters who reside in his small community in Maine, the demands of keeping up with kerosene lamps and wild gardens, the dashed hopes for the community library lost to fire, the wear and tear of time, roads, wells, and woods—he never loses the context of literary history. Wormser’s authorial consciousness is permeated with Frost, Keats, Shelley, and the force of Romanticism—the individual’s journey toward and examination of what life ought to be in light of what is.”—ForeWord
“Intelligent and engaging, following no chronology, [The Road Washes Out in Spring] rambles and wanders its way in an almost Byronic fashion, slowly and modestly revealing the making of a poet.”—Down East