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The seventy-fifth anniversary edition of the classic book about Cape Cod, "written with simplicity, sympathy, and beauty" (New York Herald Tribune)
A chronicle of a solitary year spent on a Cape Cod beach, The Outermost House has long been recognized as a classic of American nature writing. Henry Beston had originally planned to spend just two weeks in his seaside home, but was so possessed by the mysterious beauty of his surroundings that he found he "could not go."
Instead, he sat down to try and capture in words the wonders of the magical landscape he found himself in thrall to: the migrations of seabirds, the rhythms of the tide, the windblown dunes, and the scatter of stars in the changing summer sky. Beston argued that, "The world today is sick to its thin blood for the lack of elemental things, for fire before the hands, for water, for air, for the dear earth itself underfoot." Seventy-five years after they were first published, Beston's words are more true than ever.
- Sales Rank: #8944 in Books
- Published on: 2003-07-01
- Released on: 2003-07-01
- Original language: English
- Number of items: 1
- Dimensions: .30" h x .66" w x 5.07" l, .45 pounds
- Binding: Paperback
- 256 pages
Review
“A colorful and ever-changing chronicle of movement that approaches the magnificent.” ―Boston Transcript
“Clear and full of life.” ―The Nation
About the Author
Henry Beston (1888–1968) wrote many books, including White Pine and Blue Water, Northern Farm, and The St. Lawrence.
From AudioFile
In 1925, Henry Beston built a small house on Cape Cod and spent a year there with minimal human contact. His reflection on the experience, THE OUTERMOST HOUSE, is a revered part of Cape CodÕs literary history. Brett Barry shines as the voice of Beston, a naturalist. BarryÕs narration captures the poetry of BestonÕs lyrical passages, in which he expresses views on wildlife and conservation that are decades ahead of their time. While some of BestonÕs descriptions are in the vein of a field guide, others are wise and moving. This production is best listened to during a walk through oneÕs own favorite natural retreat. D.B. © AudioFile 2008, Portland, Maine-- Copyright © AudioFile, Portland, Maine
Most helpful customer reviews
0 of 0 people found the following review helpful.
Beautiful, profound and prophetic.
By Daniel Panachyda
This was one of the most beautifully written books I have ever read and one that I know I will read over again. I longed to be transported back to 1927 when the Cape was so much less a tourist attraction than it is today; when there was still a sense of wilderness but not isolation. Henry Beston's use of words to "paint" a picture and his insight as to how we have separated ourselves from the rest of nature is at once profound and prophetic. Mrs. Beston stated that he would spend an entire morning just to get the right words for a single sentence. It shows. To me, few authors today have the skill of using the English language as Mr. Beston, among those are David McCullough and Eric Larson. While Henry Beston was not a naturalist he captured the essence of man's position in the natural world of which we are a part. The only down side to this story is that in 90 years we still have not learned enough from our mistakes and that there are those who still ignorantly dismiss the messages that the earth is sending us. If we continue on the path we are going we will not destroy this planet we will only destroy ourselves and the earth will reclaim her land, seas and skies and go on without us.
0 of 0 people found the following review helpful.
An almost-forgotten classic
By Philip Lohman
This book was written in the 1920s and is a classic of the wonders-of-nature style. In this, it most resembles works like John Muir's My First Summer in the Sierra and Edward Abbey's Beyond the Wall. Beston records a full year spent in a tiny, two-roomed house (a shack, really) on the Eastern Shore of Cape Cod, a place renowned for having a lot of weather, whose fury he records with great eloquence. He wrote about everything he saw there -- the sea, sky and birds, mostly, about also about the few human residents of the area, including its tiny complement of fearless Coast Guardsmen (they appear most vividly in a gripping account of a shipwreck). Beston describes everything he sees in simple but graceful prose that, on occasion, rises to a kind of rapture. My favorite passage (which I have framed on a wall) rejects the common notion that animals are fundamentally inferior to humans: "...for the animal shall not be measured by man. In a world older and more complete than ours, they move finished and complete, gifted with the extension of the senses we have lost or never attained, living by voices we shall never hear. They are not brethren, they are not underlings, they are other nations, caught with ourselves in the net of life and time, fellow prisoners in the splendor and travail of the earth." It's a wonderful read.
0 of 0 people found the following review helpful.
A Celebration of the Cape Cod Seaside in the Tradition of Thoreau
By R. Schultz
This near-classic account of the author's year alone in a self-built cottage on Cape Cod's shore, sometimes dips a little into purple prose. "Then time gathered like a cloud, and presently the stars began to pale over an ocean still dark with remembered night." These descriptions often sound lovely and poetic, but they might tend to roll off your back like water off a duck, just because they contain no sharp particularities to stick in your mind.
Nevertheless, this is undeniably a stirring account of the ritual of the seasons that Beston observed from his solitary outpost on the beach near Eastham, Massachusetts. And in among the occasionally too general sonorities, there are many, many truly telling metaphors, as when he describes a wind that was "a thing to search the marrow of one's bones."
I initially felt a little frustrated reading his descriptions of his sand and sea surroundings. I wanted to turn the page and find a big glossy picture that would immediately convey the details to me. But then I realized that such a longing was a laziness, and that it was actually better to have to create the picture myself, to build it slowly from Beston's words. This made my experience of nature more interactive and ultimately more satisfying. I was forced to use my imagination. It was like listening to radio, rather than having the completed pictures of TV always there - bam - in front of me. Ultimately my having to create the scene myself in my mind's eye made me concentrate more and appreciate better the beauties being described.
However, I do think that a better map of Beston's location might have been helpful to orient the reader at the outset. I remained a little confused about the juxtaposition of the different features of the sea, the beach, the dunes, the marshes, the runnels and inlets, around him. The small, cramped picture supplied at the front of the book doesn't suffice.
Comparisons between Beston and Thoreau are apparent on every page. The way Beston usually capitalizes the word "Nature" reflects the Transcendentalists' pantheism. But when Beston was writing in 1926, he didn't quite seem to grant equal divinity to all living things. He has a remarkable feeling for the beauty of the lives of birds, but he doesn't always seem to be as awake to the miracle of fish. When he receives the gift of a live cod that a member of the coastal patrol found on his doorstep, Beston views with equanimity the struggling fish as it's hung on his clothesline, its continued puffing a testament to its freshness for dinner. Modern sensibility might be veering a little more to a realization of the suffering of fish as well as birds and mammals.
In other areas though, Beston's words might have been taken from today's headlines. He deplores the oil slicks that were killing so many birds. The main source of the slicks in 1926 was oil refineries. Many refineries then were simply loading the dregs of their refining process onto tankers that then took the greasy cargo out past the shoals and spilled it into the ocean. Beston becomes uncharacteristically a little more specific and scientific in his writing when he describes how birds that got coated with this oil almost always died, in part because of the way the oil created big separating creases in their plumage, exposing their bodies to the frigid air and water.
Beston is prematurely optimistic about the way in which these spills were being curtailed. He said the situation was much better than it had been some years before, and he had every reason to believe that there would soon be no more oil slicks on the oceans to despoil Nature of its glories.
In some other uncharacteristically analytical passages, Beston explains how one incredible night of strange phosphorescence marking his footsteps along the beach might have come about.
On the whole though, you won't garner much scientific information about the species that Beston observes in his seashore retreat, nor about the geological processes that form the landscape there. This no Discovery Channel exposition. But you will come away from this very personal essay of a book with a heightened sense of the beauty, complexity, and mystery of one of Nature's most awe-inspiring ecological niches.
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