ECHOES FROM THE LEGACIES of

in

MOIRA F. HARRIS

WHITE PINE REIGNED AS last trip to the . As historian other), but by 1914 the old-growth king of Minnesota’s in Agnes Larson wrote, white pine was forests had given up their riches. the nineteenth and early-twentieth used in everything from homes to While continued in the state, centuries. It was harvested in the ship masts, barrels to matches.1 winter months, fl oated downriver to was one of Minnesota’s Unclogging a logjam in “Dells of the St. booms (holding pens) in the spring, two main industries in the nine- Croix,” one of B. F. Upton’s stereopticon and then formed into rafts for the teenth century (fl our milling was the photos from his Series of Minnesota Views

Spring 2013 203 the yields of the past would not be it in the Beanery. Built outside the River that continued for 57 days in seen again. The moved to Minneapolis Industrial Exposition 1883. The following year, low-water forests farther west but left its mark building (headquarters for the con- conditions meant that logs once on Minnesota—not only on the land- vention), the Beanery was furnished again were not carried over the falls. scape but also in artistic legacies. with benches, a stove, and beds like River drivers and workers Cultural echoes from the woods still those found in many logging camps. had no work; as Dunn wrote, “Low resonate in Minnesota today. Delegates to the convention were water makes rusty .” 5 Once treaties with the region’s served meals of pork and beans, typi- In August 1889 news correspon- Indian tribes had been signed, be- cal loggers’ fare, cooked on location dents and sightseers arrived in Taylors ginning in 1837, many forests were in outdoor pits. Not everyone found Falls to see yet another big logjam. open for exploitation. Minnesota’s the idea appealing. A reporter for the One reporter described the scene: fi rst sawmill was built along the St. New York Times even wrote, “Minne- Heavy rain had propelled masses of Croix River in Marine in 1839. By apolis is a bad restaurant city.” 3 logs over the rapids, the 1860s, companies like Thomas B. Walker’s Red River Lumber Com- And so the jam continued to pany had established camps of log IN THE OFF-SEASON, THE CAMPS increase, and settle, and pile-up, shanties to house and feed the work- closed but some loggers stayed on as and groan and creak, all the after- ers who spent November to April in river drivers. When the ice went off noon and night, until Wednesday the woods. Logging crews included the rivers, the logs that had been de- morning when it blossomed a foreman, the sawyers who cut posited on the banks were launched out the worst tangled mass of down the , swampers who re- on their trip downstream. River logs the eye ever rested upon, moved the branches, and drivers had to keep the logs moving wedged in so tight as to be almost who wrapped chains around the logs freely without piling up or causing immovable.6 piled high on sleds, so that horses or jams. Riding along on a slippery oxen could pull the over iced trunk, they used peaveys—long, A week later, the Taylor’s Falls to riverbanks. In camp were sharp, pointed poles—to poke and Journal updated its readers: “Large also clerks, cooks, and teamsters. prod the timber, “dancing” to keep crowds from neighboring towns and At least one shanty housed the their footing.4 the cities arrive daily by boat, rail, workers, while other log buildings Historian James Taylor Dunn and team to watch the tedious work served as the cookhouse and shel- mentions a logjam on the St. Croix of loosening the logs, but when a tered the horses and oxen in this non- mechanized world.2 While the industry was still at its peak, illustrations of the lumber- camp shanty began appearing in national magazines, including Harper’s (both the monthly and weekly) and Scribner’s. The building was considered so iconic that plan- ners of the 1892 Republican National Convention in Minneapolis imitated

Moira F. Harris (PhD, University of Minnesota) has written for this maga- zine on Minnesota art and ephemera. Recent articles published elsewhere fo- cused on Ponce de Leon and the Foun- tain of Youth and fi gure-skating dress. St. Paul Globe, July 21, 1898, page 3

204 Minnesota History Cultural echoes from the woods still resonate in Minnesota today.

‘haul’ is obtained [a log is freed], they are amply repaid for their patience.” Sanford C. Sargent (1851–1914), a local photographer, had secured some excellent views and was selling photographs of all sizes and styles at the Cocheco hotel. He was just one of many entrepreneurial artists drawn to the drama of such a scene. In the Minnesota Historical Society collections alone, more than 100 photos from the 1860s through the 1930s document jams and the men trying to break them. Logjams diminished as railroads took over the of logs to the mills. The work of the river drivers evolved into the sport of logrolling or Evergreen trees, timber, a stack of lumber, and a log shanty, all part of Dennis birling. Two men stand, one at either Roghair’s 2001 carving, Nurturing Nature to Prepare for the Future, end of a log, each attempting to move near Green Hall on the University of Minnesota’s St. Paul campus it so that his opponent loses footing and falls into the water. Logrolling such as Grand Rapids’ Tall Timber has become a competitive sport with Days. Homeowners hire carvers to rules and a national organization. In transform tree trunks into sculp- Minnesota, summer festivals such as tures. Visitors to the Minnesota State Stillwater’s Days have Fairgrounds can view quite a collec- included exhibitions of the skill.7 tion of carvings, including towers of Other Minnesota summer festi- animals and a silhouette of racehorse vals have featured and Dan Patch near the Grandstand. chainsaw carving to recall the days of the loggers. came to be used in the woods around 1920; MURALS WOULD SEEM TO BE now, carvers and their art can be the right format for the sweep and found throughout Minnesota, and drama of the lumber industry. In competitions take place at events former logging towns from Sebeka to

Spring 2013 205 Stillwater, indoors and outside, these at Koochiching Falls (1937) in the public works of art portray scenes International Falls post offi ce shows from the region’s past. Perhaps the the storied and Babe state’s oldest mural celebrating log- the Blue Ox as well as human-scale Murals would ging was rediscovered in storage in loggers working in the woods and on about 1999 at the Lake County court- the river. As her title suggests, Wiley seem to be the house in Two Harbors. Axel Edward painted logging in the past because Soderberg had painted three murals that was what local people wanted.9 right format for on canvas—Commerce, , and Established in 1935, the Works —for the commissioners’ Progress Administration also com- the sweep and boardroom in 1905. Now restored missioned artists to create paintings and on view again, Forestry shows and sculptures for schools and other drama of the two loggers cutting down a tree while public buildings. Logging was fea- two others perch atop what was tured in two murals: Andre Boratko’s, lumber industry. called a brag load of timbers on a for Milaca’s town hall (1937; now horse-drawn wagon.8 home to the Milaca Area Historical The post-offi ce art program of Society) and Richard Haines’s, for the 1930s, directed by the treasury a long corridor in Sebeka High and Babe and early Minnesota con- department’s Section of Painting School (1938).10 servationist Christopher C. Andrews.11 and Sculpture, encouraged artists to Hazel Stoick, an art student at Decades later, Marilyn Lindstrom, select subjects that celebrated mo- the University of Minnesota in 1945, Sue McDonald, and Dane Krogman ments in local history. For Chisholm’s painted a fi ve-panel mural, The showed men at work on the Missis- post offi ce, Betty Carney painted the Epic of Minnesota’s Great Forests, sippi River in their Camden Histori- timber cruiser famed for accidentally as part of the work for her master’s cal Logging Mural in Minneapolis discovering iron ore while checking degree. Located on the fi rst fl oor of (1980). Frank Gosiak’s mural for out the woods. In Grand Rapids, Green Hall at the university’s St. Paul Little Falls (1991) portrays a simi- James S. Watrous depicted a scene campus, the mural shows an Indian lar scene farther north on the same of and women danc- bartering away the pine lands, an ava- river. Lindstrom and a group of com- ing as a steamboat arrived at the ricious lumber baron, a sawmill, and munity volunteers included logging dock. Lucia Wiley’s Early Logging fi res—as well as Paul Bun yan in Sebeka’s four-panel centennial

RUINS and RECREATIONS

From forest to mill: The Minnesota Historical Society maintains two historic sites where visitors can learn about the state’s logging industry. For more information, hours, and directions, select a site at www.visitmnhistory.org.

The Forest History Center near U.S. highways Marine Mill on Judd Street in Marine on St. Croix 169 and 2, Grand Rapids (218-327-4482) offers a pan- (507-697-6321). All that’s left are the ruins of the oramic view of nineteenth-century lumberjack life as well stone foundations of Minnesota’s fi rst commercial as twentieth-century . There are interac- sawmill; when it closed in 1895, the wooden buildings tive exhibits, displays, and fi lms as well as living history were razed and its equipment sold. Interpretive signs in a recreated lumber camp—with opportunities for visi- and paths along the river bluff help recreate this once- tor participation. Special programs in the summer and booming site. at Christmastime impart the details of lumber-camp life.

206 Minnesota History Logging details, part of Richard Haines’s Sebeka High School mural (8.5 by 72 feet) depicting the sweep of Minnesota history

mural (1998–2001). And in 2007 folk hero, as generations of histori- was needed to reach new customers. Randall Raduenz painted the 1884 ans and folklorists have debated, he Laughead was both a former logger logjam on the St. Croix River for a has become a Minnesota mainstay and an artist; he would become the Stillwater building. Gosiak’s and in both story and art. In 1940, while firm’s advertising manager. For the Raduenz’s murals were based on scholars argued about authenticity, postcard-sized brochure, Introduc- nineteenth-century photographs. an editorial in the Bemidji Daily Pio- ing Mr. Paul Bunyan of Westwood, While Camden’s mural is no longer neer asserted: “Paul Bunyan is going Cal., he interspersed stories about extant, a bronze statue, modeled on to live in the memories of those who the logger-hero with photographs of an actual sawmill worker, stands in have delighted in his adventures and logging in northern California and nearby Webber Park. Artist Rodger we hope that Bemidji will always price lists for the company’s products. Brodin dedicated The Lumberman keep him prominently in the minds Paul’s fame gradually snowballed as (1990) to the memory of his grand- of those who visit our city.” 13 the pamphlet was re titled, enlarged, father, a Swedish immigrant who Stories of Paul Bunyan had ap- and reprinted 13 times, culminating had found work in a lumberyard on peared in regional publications as with a thirtieth-anniversary edition the banks of the Mississippi.12 early as 1910, but William B. Laughead in 1944.14 Laughead introduced Paul (1882–1958) first gave him a face Bunyan to the nation, gave him an in 1914 when he created a small image, and named the other charac- TALL TALES ARE PERHAPS brochure for the Red River Lumber ters in the stories. the best-known survival of the lum- Company. The firm had been working Laughead’s drawing of Paul Bun- berjacks’ culture and world, as well in northern Minnesota but was mov- yan became the company’s trade- as the most controversial. Whether ing its operations to northern Cali- mark in 1920, but the stories were or not Paul Bunyan is an authentic fornia. Some type of communication not copyrighted. Their author hoped

Spring 2013 207 that others would use them, and that W. B. Laughead’s storied logger, from the title page is exactly what happened. The adver- of The Marvelous Exploits of Paul Bunyan, 1924 tising manager was satisfi ed, as he confi ded in a 1934 letter, that Bun- dimensional fi gure seen along high- yan had “earned his keep in good will ways in all of the former lumbering alone.” 15 Some writers invented new states. tales or added details to those Minnesota’s earliest Paul Laughead had published. Other Bunyan statues were erected authors tried to tell the tales in what as festival attractions. In the they supposed to be lumberjack 1930s Merrill K. Cragun, a slang. But every book that included Minneapolis printer, had illustrations of him showed a slightly the idea of linking various different man. northern resorts in a Paul Paul, in Laughead’s version, Bunyan Playground As- lacked a beard but sported a fi ne set sociation. His Queen Press of cat’s whiskers just below his nose. printed annual brochures, (One writer thought he looked like postcards, and maps, illustrated Little Orphan Annie in a ’s by Herman and Margaret cap.) He smoked a pipe and wore a Roerig, for member resorts. short, plaid, double-breasted Macki- Cragun then suggested a festival naw jacket, a woven sash around his with a Paul Bunyan theme.17 waist, dark pants, and laced, spiked Brainerd made its entry onto boots.16 Laughead’s Paul seemed a the calendar in July 1935 with Paul happy man in most of the drawings, Bunyan Exposition Days. This carni- content with his life and work, and val emphasized summer sports and tor Cyril Dickinson and others, who usually accompanied by his large activities as well as history. The fi rst fashioned him out of wire, , blue friend whom Laughead named year there was a pageant with a cast concrete, and plaster. This, by far Babe the Blue Ox. of 350, a water show, and a parade the best-known of all Paul Bunyan Two best-selling volumes of Paul that Gov. Floyd B. Olson said was the statues, was given a prime location Bunyan stories, written by Esther best he had ever witnessed. The sec- next to Lake Bemidji. Paul wears a Shephard and James Stevens, ap- ond year the carnival lost money, but red-and-black checked shirt, blue peared in the 1920s. Both were it managed to survive until World pants, and red socks. His black boots reprinted several times. Shephard’s War II when rationing ended tour- look tiny in proportion to his broad book carried black-and-white il- ist travel. Still standing in the city shoulders. Like Laughead’s image, lustrations by Rockwell Kent. This (next to the historic water tower) is he wears a hat, sports a mustache, Bunyan was hatless, short haired, the joint statue of Paul Bunyan and and smokes a pipe. Among the and beardless—a vigorous, some- Babe the Blue Ox, made in 1935 by many tributes to this Paul Bunyan times angry-looking young man. In an itinerant artist whose name has were stories in Life magazine, the contrast, Allen Lewis’s woodcuts in been forgotten. In 2008 local artist New York Times, and placement on the Stevens volume showed a hero Josh Porter repaired the pair and the National Register of Historic with a Rip van Winkle-length beard, repainted them in a matte fi nish so Places.19 looking at least 20 years older than they would look their age.18 In 1939 Babe the Blue Ox joined Laughead’s logger. Most authors and Bemidji’s winter carnival fol- his friend on the lakeshore. Babe artists seemed to prefer a bearded lowed in 1937. A poster stamp (a had been built to travel so he could man wearing a hat of some kind, a small, promotional label) printed appear at other festivals, as carnival checked “lumberjack shirt,” pants, for the carnival shows Paul arriving kings and queens often do. Shorter and boots, and holding an . This on snowshoes, carrying an axe on than Paul, he toured on a fl atbed was the Paul who stepped off the his back. The town’s Bunyan statue truck. The problem involved with his printed page to become the three- was made that year by local contrac- visits was not only wear and tear on

208 Minnesota History Babe but also the damage his horns of lighter materials, making it easier (made of tin) could do to wires as he for them to ride on parade fl oats.21 rolled down city streets.20 Thus, after Chambers of Commerce, Grey- Whether or not a few months of ceremonial appear- hound Bus (after 1936), and ances, Babe took his place beside promoters like Cragun issued pub- Paul Bunyan Paul, never to move again. lications and maps showing where The Bemidji and Brainerd statues Paul Bunyan and associated charac- is an authentic began the parade of roadside sculp- ters could be seen: his duck and rifl e ture that cultural historian Karal in Blackduck, his sweetheart Lucette folk hero, he Ann Marling dubbed The Colossus Diana Kensack in Hackensack, his of Roads. The fi gures continued to stone anchor in Ortonville, and his has become be tourist attractions long after the gravesite in Kelliher. Two more fi g- festivals ended: They are year-round ures, Akeley’s giant Paul Bunyan and a Minnesota welcome signs and place-makers. the talking Paul in Brainerd, joined Those built before World War II the list in the postwar period. The mainstay in both were most often locally made on an talking Paul, a 23-foot-tall fi gure armature of wood and wire, coated seated in a log shed, was created story and art. with cement or plaster, and then for the 1948 Chicago Railroad Fair. painted. After the war ended and Brainerd businessmen purchased various types of plastic became avail- him for their able, large statues began to be built amusement park. In 2004 this

Preparing Babe for travel, Bemidji, about 1938; postcard, Neils L. Hakkerup photo.

Spring 2013 209 Paul, another Babe, and some re- Paul Bunyan motel, which once stood lated characters were sold to This in Roseville; the axe trophy given Old Farm Pioneer Village, east of to the winner of the annual football Brainerd.22 game between Minnesota’s Golden Loggers created With its original Paul and Babe Gophers and Wisconsin’s Badgers; and then the talking Paul, Brain- a popular ride (Paul Bunyan’s Log Paul, commerce erd might seem to have fulfilled its Chute) at the Mall of America; and, quota of logging statues, but there for 15 years (1940–55), a Paul Bun- and tourism were more to come. In 1991 the city’s yan figure that toured on behalf of chainsaw-carving competition pro- the state tourism board. When not embraced him, duced young and old examples of traveling, this figure stood in a capi- Paul for temporary display. And in tol hallway near the portraits of past and Minnesota’s 2008 came the Brainerd Oxtrot, an- governors. It was eventually sent to a other of the popular ventures into art museum in Chisholm.25 history and and philanthropy (beginning in the Two meccas for Bunyan research- U.S. with Chicago’s cows) involving ers are located in the Twin Cities. culture gave to-be-painted fiberglass statues. Josh Books, ephemera, and artifacts Porter, who had repaired Brainerd’s are among the collections of the him longevity. original Paul and Babe, designed the Minnesota Historical Society, and unadorned ox, and the Crossing Arts articles about Paul and lumbering Alliance, Avalon Studios, and Brain- have appeared in Minnesota His- Professor Charters collected books, erd Lakes Chamber of Commerce tory, its quarterly journal, over the articles, and ephemera (including sponsored the event. At the end of years. As part of events celebrating examples of many of the advertise- the summer, businesses that had Minnesota’s statehood sesquicenten- ments in which Paul appeared) and paid for the figures could keep them nial in 2008, the Society invited the corresponded with anyone who was or offer them for auction.23 Some public to nominate quintessential interested in the topic.27 painted oxen can still be seen in the Minnesota people, places, or events city and at the Brainerd Welcome for a spot in the top 150. Thousands Center. of nominations poured in; the ones AS FOR PAUL’ S NATIONAL Paul Bunyan sites and tourism chosen by experts became MN 150, presence, early in the history of have always been centered in north- the list that generated an exhibition Bunyaniana, Robert Frost wrote a ern Minnesota, home to most of the and a book. Paul and Babe are on poem, Paul’s Wife (1921). In 1941 state’s logging communities. A recent the roster, having received numer- W. H. Auden and Benjamin Britten addition is the Paul Bunyan Scenic ous nominations citing their cultural collaborated on an operetta (revised Byway, which received national des- significance.26 in 1976), which will be staged by ignation from the federal Depart- Another comprehensive collec- the Twin Cities-based VocalEssence ment of Transportation in 2005. The tion is found in the University of choir in 2013 with former televi- byway—now 54 miles in Cass and Minnesota’s Elmer Andersen Library. sion newsman Don Shelby speaking Crow Wing counties with signs and W. W. Charters, a professor of educa- Paul’s words.28 A Disney movie came kiosks explaining a spot’s connection tion at Ohio State University, became out in 1948. A set of stamps of Amer- to the legend—began as a means to interested in every aspect of Paul ica’s folk heroes, issued in 1996, pic- secure state funding for paving Bunyan in 1924. Thirty years later, tured Paul along with Mighty Casey, shoulders in Crow Wing County. his widow decided that her husband’s Pecos Bill, and John Henry—all now Its logo, drawn by Paula Gustafson, voluminous holdings should be sent less famous than he. After the early shows Paul and Babe.24 to the university in Minneapolis. success of Shephard’s and Stevens’s But the Twin Cities have connec- tions to Paul and Babe, too: the for- mer Blue Ox restaurant with its giant For more on MN 150, visit www.mnhs.org/exhibits/mn150. Although the outdoor mural in Minneapolis; the exhibit has closed, the list remains online.

210 Minnesota History One critic pointed out that the 1996 stamp Who made Paul Bunyan, who pictures the wrong axe for the period: gave him birth as a myth, single-headed rather than the double- who joked him into life as headed type Paul would have used. the Master Lumberjack, who fashioned him forth as an ap- books, more story collections ap- parition easing the hours of peared, most written mainly for chil- men amid and trees, saws dren. Academic books, articles, and and lumber? The people, they dissertations have trained a fi ne lens made Paul and had him alive on the tales, seeking new insights. long before he got into the Carl Sandburg devoted one sec- books for those who read.29 tion of his long work, The People Yes (1936) to Paul Bunyan. While schol- ars have continued to debate Paul’s LOGGERS CREATED PAUL, authenticity and examine the nature commerce and tourism embraced of his legend, Sandburg’s often- him, and Minnesota’s history and quoted words settled the question in culture gave him longevity. Not the popular mind. bad for a tall man with an axe.30 a

Notes I began research in the vast fi eld of Paul began appearing in advertisements doing a lated to the Bunyan stories was shown Bunyan images and stories in the 1980s happy solo dance on a turning log. there in 2012. while photographing outdoor sculpture for 5. James Taylor Dunn, Marine on St. 10. Milaca’s new town hall was dedicated a book. Embedded in my memory from Croix: 150 Years of Village Life (Marine on in February 1937; Boratko’s murals, on can- long before that time were the books about St. Croix, MN: Marine Restoration Society, vas, were to be installed in the summer. Bunyan in my father’s library. More inten- 1989), 60–61. Mille Lacs County Times, Feb. 18, Mar. 4, sive study came over the last two years in 6. Here and two paragraphs below, Tay- 1937, both p. 1. On the Wiley, Boratko, and the Minnesota Historical Society (MHS) lors Falls Journal, Aug. 22, 29, 1889, both Haines murals, see Kathleen McCarney, “Art and the Paul Bunyan Collection at the Chil- p. 4. See also New York Times, Aug. 19, for a People: an Iconographic and Cultural dren’s Literature Research Collections, Uni- 1889; St. Paul Daily Globe, July 28, 1891, 8. Study of Mural Painting in Minnesota’s New versity of Minnesota. I thank Karen Nelson 7. Lumberjack Days began in the mid- Deal Art Programs” (senior honors thesis, Hoyle and Meredith Gillies for their help 1930s, stopped in 1940, resumed in 1968, College of St. Benedict-St John’s University, and many courtesies. and was canceled in 2012 due to fi scal prob- 1994), www.scbsju.edu/Documents/libraries lems. St. Paul Pioneer Press, June 1, 2012, /McCarneyThesis.pdf. Their logging murals 1. Agnes Larson, “On the Trail of the B1; Diane Thompson, Memories of Lumber- are included in “WPA Murals in Minnesota Woodsman in Minnesota,” Minnesota His- jack Days Celebrations, 1934–1979 (Still- Buildings,” a collection of 66 color slides tory 13 (Dec. 1932): 349–66. See also Lar- water: Washington Co. Historical Society, compiled in 1976 by the University Art Mu- son’s History of the White Pine Industry in 2011). She and her husband, Bill, revived seum, University of Minnesota, and held Minnesota (Minneapolis: University of the festival in 1968. in MHS. Minnesota Press, 1949). 8. Minnesota History Interpreter, Aug. 11. Preliminary drawings for the mural 2. Agnes Larson, “When Logs and Lum- 2001, 1–2. are in the collections of the Weisman Art ber Ruled Stillwater,” Minnesota History 18 9. For Carney’s Discovery of Ore (1941) Museum. Fifty years after its dedication, (June 1937): 166–68; Theodore C. Blegen, and Watrous’s Life in Grand Rapids and Hazel Stoick Stoeckeler published a small Minnesota: A History of the State (Minne- the Upper Mississippi (1940), see Karal folder on the mural’s making, The Epic of apolis: University of Minnesota Press, Ann Marling, Wall-to-Wall America: A Cul- Minnesota’s Great Forests: A Mural Story 1963), 326; Michael Edmonds, Out of the tural History of Post-Offi ce Murals in the Unfolds, copy in MHS. Northwoods: The Many Lives of Paul Bun- Great Depression (Minneapolis: University 12. For the Camden mural, see Moira F. yan (Madison: Wisconsin Historical Soci- of Minnesota Press, 1982), 139, 189–90. Harris, Museum of the Streets: Minnesota’s ety Press, 2009), 13. For Wiley, see Barbara Melosh, Engender- Outdoor Contemporary Murals (St Paul: 3. June Drenning Holmquist, “Conven- ing Culture: Manhood and Womanhood in Pogo Press, 1987), 63; for Little Falls, Moira tion City: The Republicans in Minnesota, New Deal Public Art and Theater (Wash- F. Harris, “Painted History,” Minnesota His- 1892,” Minnesota History 35 (June 1956): ington, D.C.: Smithsonian Institution tory 53 (Summer 1993): 236; for Sebeka, 72. Press, 1991), 116. Some of Wiley’s lumber- Steven J. Keillor, Shaping Minnesota’s 4. Although he never faced a logjam, in themed work was shown in a 2008 exhibit Identity: 150 Years of State History (Lake- the 1950s the Hamm’s Beer bear, a well- of New Deal art at the Weisman Art Mu- ville: Pogo Press, 2008), inside covers and known cartoon character and brand icon, seum, Minneapolis. Her portfolio of art re- copyright page; for Stillwater, Star Tribune,

Spring 2013 211 company secretary who hired Laughead in tion, including illustrations, see John 1914, said that he had heard the stories Barneson, “Paul Bunyan, Rugged Individu- circa 1910; Walker to Max Gartenberg, alist,” Ephemera Journal, May 2012, 11–16. Dec. 2, 1954, Paul Bunyan Collection, Chil- 28. On the revival of the operetta, see St. dren’s Literature Research Collections, Paul Pioneer Press, Apr. 1, 2012, 9A. University of Minnesota Library, Minneap- 29. Carl Sandburg, The Complete Poems olis, box 6, folder 6; Minneapolis Tribune, of Carl Sandburg (San Diego: Harcourt Sept. 7, 1947, C23. Brace Jovanovich, 1970), 497. 15. W. B. Laughead to Charles Baldwin 30. Twin Cities Business Monthly, June White, Nov. 2, 1934, Bunyan Collection, box 2012, ran an article about the efforts of 6, folder 3. tourism offi ces in Minnesota, South Da- 16. Hoffman, Paul Bunyan, 74. On kota, and Wisconsin. The magazine cover lumberjack attire, see Robert Walls, “The shows three symbols wrestling: a bison Making of the American Logger: Tradi- (SD), a cow in a cheesehead hat (WI), and, tional Culture and Public Imagery in the separating them, Minnesota’s Paul Bunyan. Realm of the Bunyanesque” (PhD diss., Indiana University, 1997), 1: 145–46. 17. Merrill K. Cragun, “Reminiscences,” 15–16, 18, Merrill K. Cragun , MHS; The objects and photos on p. 203, 205, playground maps, MHS; Minneapolis Star 209, and 211 are courtesy the author. and Tribune, May 24, 1987, 1A, 16A. All others, including p. 207, from the collec- 18. Loran Knack, interview by the au- tion “WPA Murals in Minnesota Buildings” thor, 1986. Exposition Days in Brainerd compiled in 1976 by the University Art Marking his logs by “pinching a Dispatch, July 14–22, 1935; see also Aug. 4, Museum, University of Minnesota, piece out of each,” Marvelous 2007, online edition. are in MHS collections. 19. Minneapolis Star and Tribune, May Exploits of Paul Bunyan, page 17 24, 1987, 1A, 16A; Life, Feb. 5, 1945, 58–59; New York Times, May 31, 1959; Mary Ann Oct. 24, 2010, B6. For Camden statue, Star Nord, The National Register of Historic Tribune, June 7, 1990, 1Y. The city of Min- Places in Minnesota (St. Paul: Minnesota neapolis presented a miniature of the sculp- Historical Society Press, 2003), 12. ture to visiting Russian president Mikhail 20. The Beltrami County History Center Gorbachev in 1990; Star Tribune, July 21, exhibit Paul and Babe: 75 Years opened in 1990, 1E. January 2012. 13. Bemidji Daily Pioneer, Apr. 13, 1940, 21. Karal Ann Marling, The Colossus of 4. For one of the earliest claims that the Roads: Myth and Symbol along the Ameri- Bunyan stories were not authentic, see Car- can Highway (Minneapolis: University of leton C. Ames, “Paul Bunyan: Myth or Minnesota Press, 1984); Moira F. Harris, Hoax?” Minnesota History 21 (Mar. 1940): Monumental Minnesota: A Guide to Out- 55–58. The fi rst examination of the contro- door Sculpture (St. Paul: Pogo Press, 1992), versy and detective work on the origins and 59–74. proliferation of the tales is Daniel G. Hoff- 22. Brainerd Dispatch, Aug. 8, 2006, man’s Paul Bunyan: Last of the Frontier online edition, Aug. 26, 2011, 5A; Star Tri- Demigods (Philadelphia: University of bune, Sept. 19, 2003, B1, B5. Pennsylvania Press, 1952). Edmonds, Out of 23. Brainerd Dispatch, Sept. 17, 2008, the Northwoods, adds much detail on the 3N. contributions of the writers and researchers 24. Holly Slagle, Scenic Byway program involved. administrator, email to author, Oct. 11, 14. J. E. Rockwell, “Some Lumberjack 2011. Myths,” The Outer’s Book (Milwaukee), Feb. 25. St. Paul Dispatch, Apr. 4, 1955, 3. 1910, 157–60; James McGillivray, “The 26. Kate Roberts, Minnesota 150: The Round River Drive,” Detroit News, July 4, People, Places, and Things that Shape Our 1910; Max Gartenberg, “W. B. Laughead’s State (St. Paul: Minnesota Historical Great Advertisement,” Journal of American Society Press, 2007), 22; www.mnhs.org Folklore 63 (Oct.–Dec. 1950): 444–49. On /exhibits/mn150 (accessed May 21, 2012). the genesis of the Red River Lumber Com- 27. Leland Enterprise-Tribune (MI), Paul at work, Marvelous Exploits pany’s brochures, Archie D. Walker, the May 27, 1954, 3. For more about the collec- of Paul Bunyan, page 16

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Students and researchers • You do not need permission to quote or paraphrase portions of an article, as long as your work falls within the fair use provision of copyright law. Using information from an article to develop an argument is fair use. Quoting brief pieces of text in an unpublished or thesis is fair use. Even quoting in a work to be published can be fair use, depending on the amount quoted. Read about fair use here: http://www.copyright.gov/fls/fl102.html • You should, however, always credit the article as a source for your work.

Teachers • You do not need permission to incorporate parts of an article into a lesson. • You do need permission to assign an article, either by downloading multiple copies or by sending students to the online pdf. There is a small per-copy use fee for assigned reading. Contact us for more information.

About Illustrations • Minnesota History credits the sources for illustrations at the end of each article. Minnesota History itself does not hold copyright on images and therefore cannot grant permission to reproduce them. • For information on using illustrations owned by the Minnesota Historical Society, see MHS Library FAQ.

www.mnhs.org/mnhistory