Goldman identifies Wendigo
stories as "disaster narratives" (2001, 167) that emerge "in social systems in crisis" (169).
Marlene Goldman's contribution concentrates on Margaret Atwood and her employment of the First Nations' construction of the Wendigo
. Investigating Wilderness Tips, Goldman cleverly demonstrates how Atwood invites readers "to look in the mirror, reflect on our own greedy behaviour--the legacy of imperialism at the heart of our disaster narratives--and acknowledge the face of the white cannibal" (181).
Also available: Dark Blue World (12); Focus (PG); Lawless Heart (15); Wendigo
He also has a steel hay car on a wooden track that dates to before 1875 and that was made in Wendigo
If only he'd listened to those Indian legends about the Wendigo
and how eating another man's flesh cures disease and increases your strength, but also leaves you with an insatiable appetite for more, curable only by death.
From its general construction and style, as well as its size, silhouette, and the insufferable noise it makes, it may be the Wabash Cannonball, the Redball Express, the Hondo Hurricane, the Laredo Limited, the Delaware Lackawanna and Western Delight, the Erie Smoke, the Santa Fe Savage, the Missouri-Pacific Blazer, the Texas-Pacific Tornado, the Union Pacific Paramount, the Missouri-Kansas-Texas Zippo, the Toonerville Trolley, the Zenith Hummingbird, the Western Pacific Wendigo
, the Pennsylvania Phantom, the Long Island Stroller, or the Tuscaloosa Breeze.
The oral tradition of the Anishinaubaek is well represented here, with tales of mermaids (who can steal your soul) and the wendigo
, the giant ice cannibal who haunts the winter wilderness.
These observations aside, Wendigo
and Ravenous are small-budget films that feature aspects of Ojibwe beliefs about the windigo by non-Native directors, but nevertheless provide sufficient material to warrant further exploration of the topic from Ojibwe points of view.
Saunders' piece on the cannibal film Ravenous (1999), is more a historical survey of real-life cannibalistic behavior in the West than an analysis of an undead Western, yet it does engage interestingly with the folkloric traditions of the demonic wendigo
. Finally, the first offering of Part III, Matthias Stork's piece on Once Upon the Time in the West (1968), has nothing to do with literal undead figures or monsters at all, although the author makes repeated, and sometimes contradictory, claims to the contrary.
It is reasonably certain that the real Jack London never stared down a man-eating Wendigo
or was forced to pan gold as a slave.
Davy's 'The Oracle'; Stacee Hallquist's 'The Bridge'; Roger Storkamp's 'Child of a Mail-Order Bride'; Elaine Stubbs' 'The Wendigo
'; Laura Alton's 'Test Animal?'; James Fick's 'Yes or No, Even I Can't Decide'; Fred Rayworth's 'Fun in the Outland'; Charle E.