I can only go so many consecutive weeks ascribing deep cultural significance to the folkloric capers of cryptozoological second stringers before I start getting a bit antsy. Sure, it’s interesting to think about that aspect of the human condition that abets our collective addiction to narrative and ordered fictions by sticking its fingers in its ears and humming away every time Bigfoot or Nessie or fear Liath is heartily debunked… to think about the way we happily allow stories to fool us. But what are stories? They’re motiveless, elusory things.

If you can identify authorship, though, you can find the meat and bone and beating heart behind the ghostly, transient words. Demystifying? Yeah. But there are more than enough legends packed with mystique. The Jersey Devil. Black dogs. Bloody Mary. One reason they’re so effective, evocative and widespread is that, though they’re myths, they’re dressed in the guise of collective knowledge. Unsourcable, voiceless echoes resounding through time
But what about a fiction that has an identifiable and outspoken (some might even say over-spoken) author? A story that’s obviously invented – that everyone knows is invented – but that’s embraced anyway. What about the story of the Rhinelander Hodag?

When rifles, hunting dogs and poison-filled water guns all failed to fell the fearsome Hodag, Eugene Shepard and his posse of Wisconsinite lumberjacks were forced to resort to sticks of dynamite, which they bravely lobbed at the slavering beast. The Hodag was 200 odd pounds of flame-spewing, black-furred muscle and lizard skin, complete with various spikes, claws and horns. The ever-quotable Shepard described the animal as smelling like “a combination of buzzard meat and skunk perfume.” Even as the creature’s crispy remains were triumphantly carted back to Rhinelander to be put on display, Shepard was bemoaning his inability to capture the Hodag alive.

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