Into Middle America but Staying on the Fringe
Matt Gross
From the NY Times
DRIVING the back roads, you sometimes cross state borders unknowingly. Without the enormous “Welcome to ...!” signs you see on the Interstates, all you have to identify your new surroundings are subtle clues in the landscape — knobbier pine trees, say, or highways named for local heroes.
Wisconsin, however, announced itself with no such subtlety. After a weekend in Chicago, I’d driven west across Illinois, finally turning north amid the big estates near Forreston. Once I was over the state line, hills swelled up from the prairie, the sweet smell of manure wafted from dairy farms, and advertisements urged me to indulge in Cheddar cheese and frozen custard, bratwurst and ButterBurgers.
By the time I drove through New Glarus — a surreal town modeled on a Swiss village complete with chalet-style buildings and street signs in German — I knew I hadn’t simply entered a new state, but a new state of mind.
As culturally distinct as Wisconsin is, I was heading for a place that sat at yet another remove from mainstream America: Dreamtime Village, an intentional community of artists situated in the driftless hills of southwest Wisconsin (so called because they escaped the rough, cold touch of ice age glaciers).
Once known as communes, until the word became overly associated with hippies and other cultural relics of the 1960s and ’70s, intentional communities have a long history in this country, going back to the Shakers and even, I suppose, the Pilgrims. I’d long wanted to visit one, to see how utopian ideals were surviving in the more cynical America of today, and so I logged on to www.ic.org and searched for intentional communities in Wisconsin and Iowa. At first, I found what I had expected: devout Christians, pagan farmers and a polyamorous “family” (my wife, Jean, vetoed that one). Almost all, however, wanted serious members, not casual visitors like me.
