The Wendigo

· Library of Alexandria
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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.

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Blackwood was born in Shooter's Hill (now part of south-east London, but then part of northwest Kent) and educated at Wellington College. His father was a Post Office administrator who, according to Peter Penzoldt, "though not devoid of genuine good-heartedness, had appallingly narrow religious ideas". Blackwood had a varied career, working as a dairy farmer in Canada, operating a hotel, as a newspaper reporter in New York City, bartender, model, journalist for the New York Times, private secretary, businessman, and violin teacher.

Throughout his adult life, he was an occasional essayist for various periodicals. During his late thirties, he relocated back to England and started to write stories of the supernatural. He was successful, writing at least ten original collections of short stories and eventually performing by radio and television to tell them. He also wrote fourteen 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, and many of his stories are affected by this. 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.

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 and Buddhism, he was likely to be skiing or mountain climbing." Blackwood was a member of one of the factions of the Hermetic Order of the Golden Dawn, as was his contemporary Arthur Machen. Cabalistic themes influence his novel The Human Chord.

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 climaxes 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...

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