Population: 485
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- $11.99
Publisher Description
“Part portrait of a place, part rescue manual, part rumination of life and death, Population: 485 is a beautiful meditation on the things that matter.” — Seattle Times
Welcome to New Auburn, Wisconsin (population: 485) where the local vigilante is a farmer’s wife armed with a pistol and a Bible, the most senior member of the volunteer fire department is a cross-eyed butcher with one kidney and two ex-wives (both of whom work at the only gas station in town), and the back roads are haunted by the ghosts of children and farmers. Michael Perry loves this place. He grew up here, and now—after a decade away—he has returned.
Unable to polka or repair his own pickup, his farm-boy hands gone soft after years of writing, Perry figures the best way to regain his credibility is to join the volunteer fire department. Against a backdrop of fires and tangled wrecks, bar fights and smelt feeds, Population: 485 is a comic and sometimes heartbreaking true tale leavened with quieter meditations on an overlooked America.
PUBLISHERS WEEKLY
When writer Perry returned to his tiny childhood town, New Auburn, Wisc., after 12 years away, he joined the village's volunteer fire and rescue department. Six years later, he'd begun to understand at last that "to truly live in a place, you must give your life to that place." These charming, discursive essays are loosely structured around the calls Perry responds to as a volunteer EMT, including everything from a collision at the local Laundromat to heart attacks, fires and suicides. Perry's mosaic of smalltown life also paints charming portraits of the town's memorable characters, such as the One-Eyed Beagle, another firefighter. Perry's insights into the small-town mentality come from apparent contemplation, and he writes about them with good humor, in prose reminiscent of Rick Bragg's: "The old man says he had a woozy spell, and so he took some nitroglycerin pills. This is like saying you had high blood pressure so you did your taxes." In spite of an enormous surprise in the final chapter, the book's lack of central conflict leaves it feeling desultory, like a collection of good magazine pieces rather than a propulsive chronicle of quirky small-towners la John Berendt's Midnight in the Garden of Good and Evil. Still, there are moments in which Perry achieves an unforced lyricism: "Rescue work is like jazz. Improvisation based on fundamentals."
