The Wendigo

- By Algernon Blackwood
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English broadcasting narrator, journalist, novelist and short story writer Algernon BlackwoodCBEBornAlgernon Henry Blackwood(1869-03-14)14 March 1869Shooter's Hill, Kent, England[1]Died10 December 1951(1951-12-10) (aged 82)LondonOccupationWriter, broadcasterGenreFantasy, horror, weird fictionNotable worksThe Centaur, "The Willows", "The Wendigo" Algernon Henry Blackwood, CBE (14 March 1869 – 10 December 1951) was an English broadcasting narrator, journalist, novelist and short story writer, and among the most prolific ghost story writers in the history of the genre. The literary critic S. T. Joshi stated, "His work is more consistently meritorious than any weird writer's except Dunsany's"[2] and that his short story collection Incredible Adventures (1914) "may be the premier weird collection of this or any other century".[3] Life and work[edit] Blackwood was born in Shooter's Hill (now part of southeast London, then part of northwest Kent). Between 1871 and 1880, he lived at Crayford Manor House, Crayford[4] and he was educated at Wellington College. His father, Sir Stevenson Arthur Blackwood, was a Post Office administrator; his mother, Harriet Dobbs, was the widow of the 6th Duke of Manchester.[5] According to Peter Penzoldt, his father, "though not devoid of genuine good-heartedness, had appallingly narrow religious ideas."[6] After Algernon read the work of a Hindu sage left behind at his parents' house, he developed an interest in Buddhism and other eastern philosophies.[7] Blackwood had a varied career, working as a dairy farmer in Canada, where he also operated a hotel for six months, as a newspaper reporter in New York City, bartender, model, journalist for The New York Times, private secretary, businessman, and violin teacher.[8] During his time in Canada, he also became one of the founding members of Toronto Theosophical Society in February 1891.[9] Throughout his adult life, he was an occasional essayist for periodicals. In his late thirties, he moved back to England and started to write stories of the supernatural. He was successful, writing at least ten original collections of short stories and later telling them on radio and television. He also wrote 14 novels, several children's books and a number of plays, most of which were produced, but not published. He was an avid lover of nature and the outdoors, as many of his stories reflect. To satisfy his interest in the supernatural, he joined The Ghost Club. He never married; according to his friends he was a loner, but also cheerful company.[10] Jack Sullivan stated that "Blackwood's life parallels his work more neatly than perhaps that of any other ghost story writer. Like his lonely but fundamentally optimistic protagonists, he was a combination of mystic and outdoorsman; when he wasn't steeping himself in occultism, including Rosicrucianism, or Buddhism he was likely to be skiing or mountain climbing."[8] Blackwood was a member of one of the factions of the Hermetic Order of the Golden Dawn,[11] as was his contemporary Arthur Machen.[12] Cabalistic themes influence his novel The Human Chord.[13] His two best-known stories are probably "The Willows" and "The Wendigo". He would also often write stories for newspapers at short notice, with the result that he was unsure exactly how many short stories he had written and there is no sure total. Though Blackwood wrote a number of horror stories, his most typical work seeks less to frighten than to induce a sense of awe. Good examples are the novels The Centaur, which reaches a climax with a traveller's sight of a herd of the mythical creatures; and Julius LeVallon and its sequel The Bright Messenger, which deal with reincarnation and the possibility of a new, mystical evolution of human consciousness. In correspondence with Peter Penzoldt, Blackwood wrote,[14] My fundamental interest, I suppose, is signs and proofs of other powers that lie hidden in us all; the extension, in other words, of human faculty. So many of my stories, therefore, deal with extension of consciousness; speculative and imaginative treatment of possibilities outside our normal range of consciousness.... Also, all that happens in our universe is natural; under Law; but an extension of our so limited normal consciousness can reveal new, extra-ordinary powers etc., and the word "supernatural" seems the best word for treating these in fiction. I believe it possible for our consciousness to change and grow, and that with this change we may become aware of a new universe. A "change" in consciousness, in its type, I mean, is something more than a mere extension of what we already possess and know. Autobiography[edit] Blackwood wrote an autobiography of his early years, Episodes Before Thirty (1923), and there is a biography, Starlight Man, by Mike Ashley (ISBN 0-7867-0928-6). Death[edit] Blackwood died after several strokes. Officially his death on 10 December 1951 was from cerebral thrombosis, with arteriosclerosis as a contributing factor. He was cremated at Golders Green crematorium. A few weeks later his nephew took his ashes to Saanenmöser Pass in the Swiss Alps, and scattered them in the mountains that he had loved for more than forty years. Bibliography[edit] Novels[edit] By date of first publication: Jimbo: A Fantasy (1909) The Education of Uncle Paul (1909) The Human Chord (1910) The Centaur (1911) A Prisoner in Fairyland (1913); sequel to The Education of Uncle Paul The Extra Day (1915) Julius LeVallon (1916) The Wave (1916) The Promise of Air (1918) The Garden of Survival (1918) The Bright Messenger (1921); sequel to Julius LeVallon Episodes Before Thirty (1923) Dudley & Gilderoy: A Nonsense (1929) Children's novels: Sambo and Snitch (1927) The Fruit Stoners: Being the Adventures of Maria Among the Fruit Stoners (1934) Plays[edit] By date of first performance: The Starlight Express (1915), coauthored with Violet Pearn; incidental music by Edward Elgar; based on Blackwood's 1913 novel A Prisoner in Fairyland Karma a reincarnation play in prologue epilogue and three acts (1918), coauthored with Violet Pearn; The Crossing (1920a), coauthored with Bertram Forsyth; based on Blackwood's 1913 short story "Transition" Through the Crack (1920), coauthored with Violet Pearn; based on Blackwood's 1909 novel The Education of Uncle Paul and 1915 novel The Extra Day White Magic (1921), coauthored with Bertram Forsyth The Halfway House (1921), coauthored with Elaine Ainley Max Hensig (1929), coauthored with Frederick Kinsey Peile; based on Blackwood's 1907 short story "Max Hensig – Bacteriologist and Murderer" Short fiction collections[edit] By date of first publication: The Empty House and Other Ghost Stories (1906); original collection The Listener and Other Stories (1907); original collection John Silence (1908); original collection; reprinted with added preface, 1942 The Lost Valley and Other Stories (1910); original collection Pan's Garden: a Volume of Nature Stories (1912); original collection Ten Minute Stories (1914a); original collection Incredible Adventures (1914b); original collection Day and Night Stories (1917); original collection Wolves of God, and Other Fey Stories (1921), ; original collection Tongues of Fire and Other Sketches (1924); original collection Ancient Sorceries and Other Tales (1927a); selections from previous Blackwood collections The Dance of Death and Other Tales (1927b); selections from previous Blackwood collections; reprinted as 1963's The Dance of Death and Other Stories Strange Stories (1929); selections from previous Blackwood collections Short Stories of To-Day & Yesterday (1930); selections from previous Blackwood collections The Willows and Other Queer Tales (1932); selected by G. F. Maine from previous Blackwood collections Shocks (1935); original collection The Tales of Algernon Blackwood (1938); selections from previous Blackwood collections, with a new preface by Blackwood Selected Tales of Algernon Blackwood (1942); selections from previous Blackwood collections (not to be confused with the 1964 Blackwood collection of the same title) Selected Short Stories of Algernon Blackwood (1945); selections from previous Blackwood collections The Doll and One Other (1946); original collection Tales of the Uncanny and Supernatural (1949); selections from previous Blackwood collections In the Realm of Terror (1957); selections from previous Blackwood collections The Dance of Death and Other Stories (1963); reprint of 1927's The Dance of Death and Other Tales Selected Tales of Algernon Blackwood (1964); selections from previous Blackwood collections (not to be confused with the 1942 Blackwood collection of the same title) Tales of the Mysterious and Macabre (1967); selections from previous Blackwood collections Ancient Sorceries and Other Stories (1968); selections from previous Blackwood collections Best Ghost Stories of Algernon Blackwood (1973), selected and introduced by Everett F. Bleiler; selections from previous Blackwood collections; includes Blackwood's own preface to 1938's The Tales of Algernon Blackwood The Best Supernatural Tales of Algernon Blackwood (1973); selected and introduced by Felix Morrow; selections from 1929's Strange Stories Tales of Terror and Darkness (1977); omnibus edition of Tales of the Mysterious and Macabre (1967) and Tales of the Uncanny and Supernatural (1949). Tales of the Supernatural (1983); selected and introduced by Mike Ashley; selections from previous Blackwood collections The Magic Mirror (1989); Original collection selected, introduced, and with notes by Mike Ashley; The Complete John Silence Stories (1997); selected and introduced by S. T. Joshi; reprint of 1908's John Silence (without the preface to the 1942 reprint) and the one remaining John Silence story, "A Victim of Higher Space" Ancient Sorceries and Other Weird Stories (2002); selected, introduced, and notes by S. T. Joshi; selections from previous Blackwood collections Algernon Blackwood's Canadian Tales of Terror (2004); selected, introduced, with notes by John Robert Colombo; eight stories of special Canadian interest plus information on the author's years in Canada Roarings from Further Out: Four Weird Novellas (2020); selected and edited by Xavier Aldana Reyes; part of British Library Publishing's Tales of the Weird series Essays[edit] The Lure of the Unknown: Essays on the Strange (2022); edited and introduced by Mike Ashley. Dublin: Swan River Press. Limited to 400 unnumbered copies. (Two photographic postcards and a facsimile signature of Blackwood laid in). Legacy[edit] H. P. Lovecraft included Blackwood as one of the "Modern Masters" in the section of that name in "Supernatural Horror in Literature". Authors who have been influenced by Blackwood's work include William Hope Hodgson,[15] George Allan England,[16] H. Russell Wakefield,[17] "L. Adams Beck" (Elizabeth Louisa Moresby),[18] Margery Lawrence,[19] Evangeline Walton,[20] Ramsey Campbell[21] and Graham Joyce.[22] In the first draft of his essay "Notes on the Nomenclature of The Lord of the Rings", J. R. R. Tolkien stated that he derived the phrase "crack of doom" from an unnamed story by Algernon Blackwood. In her book, Tolkien's Modern Reading: Middle Earth Beyond the Middle Ages, Dr. Holly Ordway states that this unnamed Blackwood work is a novel titled "The Education of Uncle Paul".[23] Frank Belknap Long's 1928 story "The Space-Eaters" alludes to Blackwood's fiction.[24] Clark Ashton Smith's story "Genius Loci" (1933) was inspired by Blackwood's story "The Transfer".[25] The plot of Caitlin R. Kiernan's novel Threshold (2001) is influenced by Blackwood's work.[26] Kiernan has cited Blackwood as an important influence on her writing.[27] In The Books in My Life, Henry Miller chose Blackwood's The Bright Messenger as "the most extraordinary novel on psychoanalysis, one that dwarfs the subject."[28] Algernon Blackwood appears as a character in the novel The Curse of the Wendigo by Rick Yancey. In the PS4 game Until Dawn, the main setting is named Blackwood Pines, as the main antagonist is a Wendigo. Critical studies[edit] An early essay on Blackwood's work was "Algernon Blackwood: An Appreciation," by Grace Isabel Colbron (1869–1943), which appeared in The Bookman in February 1915.[29] Peter Penzoldt devotes the final chapter of The Supernatural in Fiction (1952) to an analysis of Blackwood's work and dedicates the book "with deep admiration and gratitude, to Algernon Blackwood, the greatest of them all". A critical analysis of Blackwood's work appears in Jack Sullivan, Elegant Nightmares: The English Ghost Story From Le Fanu to Blackwood, 1978. David Punter has an essay on Blackwood.[30] There is a critical essay on Blackwood's work in S. T. Joshi's The Weird Tale (1990). Edward Wagenknecht analyses Blackwood's work in his book Seven Masters of Supernatural Fiction.[31] David Grimbleby, "Algernon Blackwood: A Personal Appreciation". Occulture 1, No 2 [1994] Eugene Thacker, in his "Horror of Philosophy" series of books, discusses Blackwood's stories "The Willows" and "The Man Whom The Trees Loved" as examples of how supernatural horror poses philosophical questions regarding the relation between human beings and the "cosmic indifference" of the world.[32] Christopher Matthew Scott analyzes Blackwood's use of Christian symbolism and story setting as connected to the author's biography; describing a spiritual progression up from hellish city, through garden, forest, and mountain.[33] Punter, David (2010). "Pity: Reflections on Algernon Blackwood's Gothic." English Language Notes 1 March 2010; 48 (1): 129–138. Brian R. Hauser discusses Blackwood's John Silence in the context of figures made popular by 1990s cinematic narratives, grouping him with Ichabod Crane and Fox Mulder, and classifying him as an early example of the supernatural detective whose investigation of a traumatized space mirrors a psychoanalyst's investigation of a traumatized psyche.[34] Henry Bartholomew includes the "dark ecology" of Blackwood's "Pan's Garden" in his discussion of speculative realism and the gothic.[35] See also[edit] Novels portal List of horror fiction authors Religion and mythology Tales of Mystery, a 1960s British supernatural television drama series Weird Fiction References[edit] ^ "Blackwood, Algernon Henry". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/31913. (Subscription or UK public library membership required.) ^ S. T. Joshi, The Weird Tale (University of Texas Press, 1990), p. 132. ^ S. T. Joshi, The Weird Tale (University of Texas Press, 1990), p. 131. ^ Historic England. "Crayford Manor House (1412621)". National Heritage List for England. Retrieved 7 February 2016. ^ J.B. (19 January 1952). "Preferred the Simple Life". The Age. Melbourne, Australia. Retrieved 26 March 2022. ^ Peter Penzoldt, The Supernatural in Fiction (1952), Part II, Chapter 7. ^ Mosse, Kate (27 October 2007). "Horror in the shadows". The Guardian – via www.theguardian.com. ^ a b Jack Sullivan, ed. The Penguin Encyclopedia of Horror and the Supernatural (1986), p. 38. ^ Historicist: Learning the Writer's Craft - Torontoist ^ Jack Sullivan, ed. The Penguin Encyclopedia of Horror and the Supernatural (1986), p. 39 ^ Regardie, Israel (1982). The Golden Dawn. Llewellyn Publications ISBN 0-87542-664-6 p. ix. ^ "Shadowplay Pagan and Magick webzine – HERMETIC HORRORS". Shadowplayzine.com. 16 September 1904. Archived from the original on 9 November 2009. Retrieved 5 June 2012. ^ Dirda, Michael (2005). Bound to please. W.W. Norton & Co. p. 221. ISBN 0-393-05757-7. After these adventures in the New World... ^ Quoted in Peter Penzoldt, The Supernatural in Fiction (1952), Part II, Chapter 7. ^ David Stuart Davies, "Introduction" to William Hope Hodgson, The Casebook of Carnacki the Ghost-Finder. Wordsworth Editions, 2006. ISBN 1-84022-529-7 p. 8. ^ Richard A. Lupoff, "England, George Allan" in Twentieth-Century Science-Fiction Writers by Curtis C. Smith. St. James Press, 1986, ISBN 0-912289-27-9, pp. 230–231. ^ Chris Morgan, "H. Russell Wakefield", in E. F. Bleiler, ed., Supernatural Fiction Writers, pp. 617–622. New York: Scribner's, 1985. ISBN 0-684-17808-7 ^ John Grant and John Clute, The Encyclopedia of Fantasy, "Beck, L(ily) Adams", pp. 99–100, ISBN 0-312-19869-8 ^ Stefan Dziemianowicz, "Lawrence, Margery (Harriet)", in S. T. Joshi and Dziemianowicz, (ed.) Supernatural Literature of the World : an encyclopedia. Westport, Conn. : Greenwood Press, 2005. ISBN 0313327742, pp. 698–700. ^ Cosette Kies, "Walton, Evangeline" in St. James Guide To Fantasy Writers, edited by David Pringle. St. James Press, 1996, pp. 586–587. ^ "Ramsey Campbell's fiction is considerably more than an engagement with the Lovecraftian; the awe and unease of M. R. James and Algernon Blackwood... need to be taken into account." Andy Sawyer,"That Ill-Rumoured and Evil-Shadowed Seaport" in Gary William Crawford ed.,Ramsey Campbell: Critical Essays on the Modern Master of Horror. Scarecrow Press, 2013. ISBN 0810892979, p. 2. ^ "Graham Joyce is an English writer, who describes his work as "Old Peculiar" akin to Arthur Machen and Algernon Blackwood, and other English masters of the weird tale...." Darrell Schweitzer, Speaking of Horror II: More Interviews with Modern Horror Writers. Rockville, Md., Wildside Press, 2015, ISBN 1479404748, p. 171. ^ Dale Nelson, "Literary Influences: Nineteenth and Twentieth Centuries" in Michael D. C. Drout, J. R. R. Tolkien Encyclopedia: Scholarship and Critical Assessment. New York, Taylor & Francis, 2007 ISBN 0415969425, p. 373. ^ "Parodic treatment of horror motifs from various classics – "The Wendigo" and "The Willows" by Algernon Blackwood, "The Yellow Sign" by Robert W. Chambers, etc." "The Space-Eaters" in E. F. Bleiler and Richard Bleiler. Science-Fiction: The Early Years. Kent State University Press, 1990, p. 452. ISBN 9780873384162. ^ "Genius Loci... is a rare Smith story with a contemporary setting near Smith's own home that drew upon both Algernon Blackwood and Montague Summers for inspiration." Scott Connors, "Smith, Clark Ashton", in S. T. Joshi, ed. Encyclopedia of the Vampire: the living dead in myth, legend, and popular culture.Santa Barbara, Calif.: Greenwood Press, 2011. ISBN 9780313378331, p. 302. ^ "Caitlin Kiernan pays tribute to the influence of Algernon Blackwood and H.P. Lovecraft in her second novel, Threshold"..." Neil Barron, What Do I Read Next? Gale Research Inc. 2001, p. 224. ISBN 0-7876-3391-7. ^ VanderMeer, Jeff (12 March 2012). "Interview: Caitlín R. Kiernan on Weird Fiction". Weird Fiction Review. Retrieved 16 April 2018. ^ Dirda, Michael (2005). Bound to please. W. W. Norton & Co. p. 222. ISBN 0-393-05757-7. During the First World War... ^ The essay was reprinted: Jason Colavito, ed. A Hideous Bit of Morbidity: An Anthology of Horror Criticism from the Enlightenment to World War I. Jefferson, NC: McFarland, 2008 ISBN 978-0-7864-3968-3, pp. 303–307. ^ David Punter, "Algernon Blackwood", Supernatural Fiction Writers. New York: Scribner's, 1985 ISBN 0-684-17808-7, pp. 463–470. ^ "Algernon Blackwood" in: Wagenknecht, Edward. Seven Masters of Supernatural Fiction. New York: Greenwood, 1991. ISBN 0-313-27960-8, pp. 69–94. ^ Thacker, Eugene (26 August 2011). In The Dust Of This Planet - Horror of Philosophy Vol. 1. Zero Books. ISBN 9781780990101. and Tentacles Longer Than Night - Horror of Philosophy Vol. 3. Zero Books. 24 April 2015. p. 110ff. ISBN 9781782798880. ^ Scott, Christopher Matthew. “Strange Spaces: The Teleological Function of Topographies with Christian Soteriological Iconography in Algernon Blackwood’s Short Stories of Supernatural Horror between 1899 and 1914.” University of Sheffield, 2022. ^ Brian R. Hauser. “Haunted Detectives: The Mysteries of American Trauma.” Ohio State University, 2008. ^ Henry Bartholomew. “Theory in the Shadows: Speculative Realism and the Gothic, 1890-1920.” University of Exeter, 2020. General sources[edit] Ashley, Mike (1987). Algernon Blackwood: A Bio-Bibliography. Westport, CT: Greenwood Press. ISBN 0-313-25158-4. Ashley, Mike (2001). Algernon Blackwood: An Extraordinary Life. New York: Carroll & Graf. ISBN 0-7867-0928-6. US edition of Starlight Man: The Extraordinary Life of Algernon Blackwood. Ashley, Mike (2001). Starlight Man: The Extraordinary Life of Algernon Blackwood. London: Constable & Robinson Ltd. ISBN 1-84119-417-4. UK edition of Algernon Blackwood: An Extraordinary Life. Blackwood, Algernon (2002). Episodes Before Thirty. New York: Turtle Point Press. ISBN 1-885586-83-3. Modern reissue of subject's memoir; originally published in 1923 (London: Cassell & Co.). Burleson, Donald. "Algernon Blackwood's 'The Listener: A Hearing'". Studies in Weird Fiction 5 (Spring 1989), pp. 15–19. Colombo, John Robert. "Blackwood's Books: A Bibliography Devoted to Algernon Blackwood" Toronto Hounslow Press 1981 ISBN 0-88882-055-0 Colombo, John Robert. (ed) Algernon Blackwood's Canadian Tales of Terror Lake Eugenia, Ontario Battered Silicon Dispatch Box 2004 ISBN 1-55246-605-1 Goddin, Jeffrey. "Subtle Perceptions: The Fantasy Novels of Algernon Blackwood" in Darrell Schweitzer (ed) Discovering Classic Fantasy Fiction, Gillette NJ: Wildside Press, 1986, pp. 94–103. Johnson, George M. "Algernon Blackwood". Dictionary of Literary Biography. Late-Victorian and Edwardian British Novelists, First Series. Ed. George M. Johnson. Detroit: Gale, 1995. Johnson, George M. "Algernon Blackwood". Dictionary of Literary Biography. British Short-Fiction Writers, 1880–1914. Ed. William F. Naufftus. Detroit: Gale, 1995. Johnson, George M. "Algernon Blackwood". New Dictionary of National Biography. Ed. Brian Harrison. Oxford: Oxford University Press, 2004. Johnson, George M. "Algernon Blackwood’s Modernist Experiments in Psychical Detection". Formal Investigations: Aesthetic Style in Late-Victorian and Edwardian Detective Fiction. Stuttgart: Ibidem Press, 2007. pp. 29–51. Johnson, George M. "The Other Side of Edwardian Fiction: Two Forgotten Fantasy Novels of 1911". Wormwood: Literature of the fantastic, supernatural and decadent. UK, No. 16 (Spring 2011) 3–15. Joshi, S. T. (1990). The Weird Tale. Austin, TX: University of Texas Press. pp. 87–132, 236–38, 246–48, 266–69. ISBN 0-292-79057-0. Thacker, Eugene. "How Algernon Blackwood Turned Nature Into Sublime Horror". LitHub. (March 8, 2021). Tuck, Donald H. (1974). The Encyclopedia of Science Fiction and Fantasy. Chicago: Advent. pp. 47–49. ISBN 0-911682-20-1. Wessells, Henry (2023). "Etta, with much affection from Blackie." The Book Collector 72 (Summer): 328–331. Further reading[edit] Goddin, Jeffrey. "Subtle Perceptions: The Fantasy Novels of Algernon Blackwood" in Darrell Schweitzer, ed. Discovering Classic Fantasy Fiction. Gillette, NJ: Wildside Press, 1996, 94–103. Gilbert, Stuart. "Algernon Blackwood, Novelist and Mystic". Transition No 35 (July 1935). Letson, Russell Francis J. "The Approaches to Mystery: The Fantasies of Arthur Machen and Algernon Blackwood." Dissertation Abstracts International, 36 (1976): 8047A (Southern Illinois University). Sullivan, Jack. Elegant Nightmares: The English Ghost Story from Le Fanu to Blackwood. Athens, OH: Ohio University Press, 1978. Wagenknecht, Edward. Seven Masters of Supernatural Fiction. Westport, CT: Greenwood Press, 1991, Chapter Four. External links[edit] Wikisource has original works by or about:Algernon Blackwood Library resources about Algernon Blackwood Resources in your library Resources in other libraries By Algernon Blackwood Online books Resources in your library Resources in other libraries Works by Algernon Blackwood at Project Gutenberg Works by or about Algernon Blackwood at Internet Archive Works by Algernon Blackwood at LibriVox (public domain audiobooks) Fantastic Fiction Algernon Blackwood page Spitzer Interview: Adapting The Willows Collection of Blackwood Stories Algernon Blackwood Quotes Algernon Blackwood at the Internet Speculative Fiction Database Algernon Blackwood at Library of Congress, with 76 library catalogue records Play Starlight Express at Great War Theatre Authority control databases International FAST ISNI VIAF National Spain France BnF data Germany Italy Israel Belgium United States Japan Czech Republic Australia Greece Korea Netherlands Poland Portugal Academics CiNii Artists MusicBrainz People Deutsche Biographie Trove Other SNAC IdRef
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A considerable number of hunting parties were out that year without finding so much as a fresh trail; for the moose were uncommonly shy, and the various Nimrods returned to the bosoms of their respective families with the best excuses the facts of their imaginations could suggest. Dr. Cathcart, among others, came back without a trophy; but he brought instead the memory of an experience which he declares was worth all the bull moose that had ever been shot. But then Cathcart, of Aberdeen, was interested in other things besides moose-amongst them the vagaries of the human mind. This particular story, however, found no mention in his book on Collective Hallucination for the simple reason (so he confided once to a fellow colleague) that he himself played too intimate a part in it to form a competent judgment of the affair as a whole....
Besides himself and his guide, Hank Davis, there was young Simpson, his nephew, a divinity student destined for the "Wee Kirk" (then on his first visit to Canadian backwoods), and the latter's guide, Défago. Joseph Défago was a French "Canuck," who had strayed from his native Province of Quebec years before, and had got caught in Rat Portage when the Canadian Pacific Railway was a-building; a man who, in addition to his unparalleled knowledge of wood-craft and bush-lore, could also sing the old voyageur songs and tell a capital hunting yarn into the bargain. He was deeply susceptible, moreover, to that singular spell which the wilderness lays upon certain lonely natures, and he loved the wild solitudes with a kind of romantic passion that amounted almost to an obsession. The life of the backwoods fascinated him-whence, doubtless, his surpassing efficiency in dealing with their mysteries.
On this particular expedition he was Hank's choice. Hank knew him and swore by him. He also swore at him, "jest as a pal might," and since he had a vocabulary of picturesque, if utterly meaningless, oaths, the conversation between the two stalwart and hardy woodsmen was often of a rather lively description. This river of expletives, however, Hank agreed to dam a little out of respect for his old "hunting boss," Dr. Cathcart, whom of course he addressed after the fashion of the country as "Doc," and also because he understood that young Simpson was already a "bit of a parson." He had, however, one objection to Défago, and one only-which was, that the French Canadian sometimes exhibited what Hank described as "the output of a cursed and dismal mind," meaning apparently that he sometimes was true to type, Latin type, and suffered fits of a kind of silent moroseness when nothing could induce him to utter speech. Défago, that is to say, was imaginative and melancholy. And, as a rule, it was too long a spell of "civilization" that induced the attacks, for a few days of the wilderness invariably cured them.
This, then, was the party of four that found themselves in camp the last week in October of that "shy moose year" 'way up in the wilderness north of Rat Portage-a forsaken and desolate country. There was also Punk, an Indian, who had accompanied Dr. Cathcart and Hank on their hunting trips in previous years, and who acted as cook. His duty was merely to stay in camp, catch fish, and prepare venison steaks and coffee at a few minutes' notice. He dressed in the worn-out clothes bequeathed to him by former patrons, and, except for his coarse black hair and dark skin, he looked in these city garments no more like a real redskin than a stage Negro looks like a real African. For all that, however, Punk had in him still the instincts of his dying race; his taciturn silence and his endurance survived; also his superstition.
The party round the blazing fire that night were despondent, for a week had passed without a single sign of recent moose discovering itself. Défago had sung his song and plunged into a story, but Hank, in bad humor, reminded him so often that "he kep' mussing-up the fac's so, that it was 'most all nothin' but a petered-out lie," that the Frenchman had finally subsided into a sulky silence which nothing seemed likely to break. Dr. Cathcart and his nephew were fairly done after an exhausting day. Punk was washing up the dishes, grunting to himself under the lean-to of branches, where he later also slept. No one troubled to stir the slowly dying fire. Overhead the stars were brilliant in a sky quite wintry, and there was so little wind that ice was already forming stealthily along the shores of the still lake behind them. The silence of the vast listening forest stole forward and enveloped them.
Hank broke in suddenly with his nasal voice. "I'm in favor of breaking new ground tomorrow, Doc," he observed with energy, looking across at his employer. "We don't stand a dead Dago's chance around here."
"Agreed," said Cathcart, always a man of few words. "Think the idea's good." "Sure pop, it's good," Hank resumed with confidence. "S'pose, now, you and I strike west, up Garden Lake way for a change! None of us ain't touched that quiet bit o' land yet-" "I'm with you."
"And you, Défago, take Mr. Simpson along in the small canoe, skip across the lake, portage over into Fifty Island Water, and take a good squint down that thar southern shore. The moose 'yarded' there like hell last year, and for all we know they may be doin' it agin this year jest to spite us." Défago, keeping his eyes on the fire, said nothing by way of reply. He was still offended, possibly, about his interrupted story.
"No one's been up that way this year, an' I'll lay my bottom dollar on that!" Hank added with emphasis, as though he had a reason for knowing. He looked over at his partner sharply. "Better take the little silk tent and stay away a couple o' nights," he concluded, as though the matter were definitely settled. For Hank was recognized as general organizer of the hunt, and in charge of the party.
It was obvious to anyone that Défago did not jump at the plan, but his silence seemed to convey something more than ordinary disapproval, and across his sensitive dark face there passed a curious expression like a flash of firelight-not so quickly, however, that the three men had not time to catch it.
"He funked for some reason, I thought," Simpson said afterwards in the tent he shared with his uncle. Dr. Cathcart made no immediate reply, although the look had interested him enough at the time for him to make a mental note of it. The expression had caused him a passing uneasiness he could not quite account for at the moment.
But Hank, of course, had been the first to notice it, and the odd thing was that instead of becoming explosive or angry over the other's reluctance, he at once began to humor him a bit. "But there ain't no speshul reason why no one's been up there this year," he said with a perceptible hush in his tone; "not the reason you mean, anyway! Las' year it was the fires that kep' folks out, and this year I guess-I guess it jest happened so, that's all!" His manner was clearly meant to be encouraging.
Joseph Défago raised his eyes a moment, then dropped them again. A breath of wind stole out of the forest and stirred the embers into a passing blaze. Dr. Cathcart again noticed the expression in the guide's face, and again he did not like it. But this time the nature of the look betrayed itself. In those eyes, for an instant, he caught the gleam of a man scared in his very soul. It disquieted him more than he cared to admit.
"Bad Indians up that way?" he asked, with a laugh to ease matters a little, while Simpson, too sleepy to notice this subtle by-play, moved off to bed with a prodigious yawn; "or-or anything wrong with the country?" he added, when his nephew was out of hearing. Hank met his eye with something less than his usual frankness.
"He's jest skeered," he replied good-humouredly. "Skeered stiff about some ole feery tale! That's all, ain't it, ole pard?" And he gave Défago a friendly kick on the moccasined foot that lay nearest the fire. Défago looked up quickly, as from an interrupted reverie, a reverie, however, that had not prevented his seeing all that went on about him.
"Skeered-nuthin'!" he answered, with a flush of defiance. "There's nuthin' in the Bush that can skeer Joseph Défago, and don't you forget it!" And the natural energy with which he spoke made it impossible to know whether he told the whole truth or only a part of it.
Hank turned towards the doctor. He was just going to add something when he stopped abruptly and looked round. A sound close behind them in the darkness made all three start. It was old Punk, who had moved up from his lean-to while they talked and now stood there just beyond the circle of firelight-listening.
"'Nother time, Doc!" Hank whispered, with a wink, "when the gallery ain't stepped down into the stalls!" And, springing to his feet, he slapped the Indian on the back and cried noisily, "Come up t' the fire an' warm yer dirty red skin a bit." He dragged him towards the blaze and threw more wood on. "That was a mighty good feed you give us an hour or two back," he continued heartily, as though to set the man's thoughts on another scent, "and it ain't Christian to let you stand out there freezin' yer ole soul to hell while we're gettin' all good an' toasted!" Punk moved in and warmed his feet, smiling darkly at the other's volubility which he only half understood, but saying nothing. And presently Dr. Cathcart, seeing that further conversation was impossible, followed his nephew's example and moved off to the tent, leaving the three men smoking over the now blazing fire.
It is not easy to undress in a small tent without waking one's companion, and Cathcart, hardened and warm-blooded as he was in spite of his fifty odd years, did what Hank would have described as "considerable of his twilight" in the open. He noticed, during the process, that Punk had meanwhile gone back to his lean-to, and that Hank and Défago were at it hammer and tongs, or, rather, hammer and anvil, the little French Canadian being the anvil. It was all very like the conventional stage picture of Western melodrama: the fire lighting up their faces with patches of alternate red and black; Défago, in slouch hat and moccasins in the part of the "badlands" villain; Hank, open-faced and hatless, with that reckless fling of his shoulders, the honest and deceived hero; and old Punk, eavesdropping in the background, supplying the atmosphere of mystery. The doctor smiled as he noticed the details; but at the same time something deep within him-he hardly knew what-shrank a little, as though an almost imperceptible breath of warning had touched the surface of his soul and was gone again before he could seize it. Probably it was traceable to that "scared expression" he had seen in the eyes of Défago; "probably"-for this hint of fugitive emotion otherwise escaped his usually so keen analysis. Défago, he was vaguely aware, might cause trouble somehow ...He was not as steady a guide as Hank, for instance ... Further than that he could not get ...
He watched the men a moment longer before diving into the stuffy tent where Simpson already slept soundly. Hank, he saw, was swearing like a mad African in a New York nigger saloon; but it was the swearing of "affection." The ridiculous oaths flew freely now that the cause of their obstruction was asleep. Presently he put his arm almost tenderly upon his comrade's shoulder, and they moved off together into the shadows where their tent stood faintly glimmering. Punk, too, a moment later followed their example and disappeared between his odorous blankets in the opposite direction.
Dr. Cathcart then likewise turned in, weariness and sleep still fighting in his mind with an obscure curiosity to know what it was that had scared Défago about the country up Fifty Island Water way,-wondering, too, why Punk's presence had prevented the completion of what Hank had to say. Then sleep overtook him. He would know tomorrow. Hank would tell him the story while they trudged after the elusive moose.
Deep silence fell about the little camp, planted there so audaciously in the jaws of the wilderness. The lake gleamed like a sheet of black glass beneath the stars. The cold air pricked. In the draughts of night that poured their silent tide from the depths of the forest, with messages from distant ridges and from lakes just beginning to freeze, there lay already the faint, bleak odors of coming winter. White men, with their dull scent, might never have divined them; the fragrance of the wood fire would have concealed from them these almost electrical hints of moss and bark and hardening swamp a hundred miles away. Even Hank and Défago, subtly in league with the soul of the woods as they were, would probably have spread their delicate nostrils in vain....
But an hour later, when all slept like the dead, old Punk crept from his blankets and went down to the shore of the lake like a shadow-silently, as only Indian blood can move. He raised his head and looked about him. The thick darkness rendered sight of small avail, but, like the animals, he possessed other senses that darkness could not mute. He listened-then sniffed the air. Motionless as a hemlock stem he stood there. After five minutes again he lifted his head and sniffed, and yet once again. A tingling of the wonderful nerves that betrayed itself by no outer sign, ran through him as he tasted the keen air. Then, merging his figure into the surrounding blackness in a way that only wild men and animals understand, he turned, still moving like a shadow, and went stealthily back to his lean-to and his bed.
And soon after he slept, the change of wind he had divined stirred gently the reflection of the stars within the lake. Rising among the far ridges of the country beyond Fifty Island Water, it came from the direction in which he had stared, and it passed over the sleeping camp with a faint and sighing murmur through the tops of the big trees that was almost too delicate to be audible. With it, down the desert paths of night, though too faint, too high even for the Indian's hair-like nerves, there passed a curious, thin odor, strangely disquieting, an odor of something that seemed unfamiliar-utterly unknown.
The French Canadian and the man of Indian blood each stirred uneasily in his sleep just about this time, though neither of them woke. Then the ghost of that unforgettably strange odor passed away and was lost among the leagues of tenantless forest beyond.

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Word Lists:

Badlands : extensive tracts of heavily eroded, uncultivable land with little vegetation.

Anvil : a heavy steel or iron block with a flat top, concave sides, and typically a pointed end, on which metal can be hammered and shaped.

Expletive : an oath or swear word.

Odorous : having or giving off a smell

Wilderness : an uncultivated, uninhabited, and inhospitable region.

Stealthily : in a cautious and surreptitious manner, so as not to be seen or heard

Funk : a state of depression

Odor : a distinctive smell, especially an unpleasant one

Disquieting : inducing feelings of anxiety or worry

Reverie : a state of being pleasantly lost in one's thoughts; a daydream

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Additional Information:

Rating: C Words in the Passage: 2593 Unique Words: 949 Sentences: 127
Noun: 695 Conjunction: 245 Adverb: 211 Interjection: 0
Adjective: 203 Pronoun: 231 Verb: 383 Preposition: 304
Letter Count: 11,528 Sentiment: Positive / Positive / Positive Tone: Neutral Difficult Words: 577
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