Tag Archives: midwest

The Legend of Paul Bunyon

Text:
“The story that comes to mind for me is the legend of Paul Bunyan. The gist of the story is that Paul is a giant lumberjack who cut down trees in Wisconsin and Minnesota with his blue-colored ox, Babe. He goes on adventures, fights other giants, and helps to build up the Midwest. While I’ve heard many variations, these facts always stay the same, along with the ending—he goes west and drags his axe across the ground, carving the Grand Canyon.”

Context:
My informant first encountered the legend of Paul Bunyan around age 3 or 4, initially introduced by his grandfather during an overnight visit at his grandparents’ home. Shortly after, his parents continued sharing variations of the tale, reinforcing its familiarity. He specifically remembers his grandfather’s spontaneous storytelling, vividly associating it with the comfort of bedtime narratives. This story typically follows a serialized format, beginning with Paul finding and befriending his iconic companion, Babe the Blue Ox.

Beyond its role as a comforting bedtime story, my informant emphasized its significance as a source of regional pride, especially prominent within Wisconsin and Minnesota. He noted its pervasive presence in Northern Wisconsin, stating, “Paul is everywhere, and people are proud to say they come from his legacy.” The story functions as a cultural identifier, often shared with younger generations, family friends’ children, or even in casual conversations sparked by attire featuring Paul and Babe.

Analysis:
The legend of Paul Bunyan serves as more than mere entertainment; it actively reinforces a sense of community and cultural identity unique to the Midwest. Paul Bunyan’s mythos encapsulates a romanticized, larger-than-life portrayal of Midwestern pioneering spirit and resilience. By attributing major geographical landmarks—such as the Grand Canyon—to Paul’s extraordinary feats, the story implicitly elevates the cultural and historical importance of the region, framing the Midwest as foundational to America’s growth and folklore tradition.

Historically, Paul Bunyan emerged from oral storytelling traditions among loggers, symbolizing exaggerated but relatable qualities of strength, bravery, and ingenuity. These tales reinforce communal pride, distinguishing the Midwest culturally from other regions of the United States. Additionally, the informant’s experience highlights the legend’s intergenerational nature—passed down from grandparents to parents to children, symbolizing a collective effort to preserve regional heritage and foster a shared Midwestern identity.

In essence, Paul Bunyan’s enduring popularity underscores folklore’s capacity to bind communities together, foster regional pride, and sustain cultural continuity across generations.

Paul Bunyan and Babe the Ox

Age: 19


Date of performance: 4/5/25


Language: English


Nationality: British American


Occupation: Full-Time Student


Primary Language: English


Residence: United States

Text:

Paul Bunyan is a 40 foot tall man. He is known to have an exponential amount of strength and work alongside hid ox, babe the blue ox.

Context:

One of the stories my informant brought up was one where Paul Bunyan was asked to cut a bunch of trees down alongside Babe the blue ox. This took place in the Midwest which Paul Bunyan and Babe the ox is used to explain the amount of trees cut down in flat land.

Informant grew up in the Midwest to where he had a book about Paul Bunyan filled with stories about his involvement in the Midwest. Furthermore, they researched more about it after discovering some of the statues commemorated to the Folk Legend in Wisconsin.

They interpreted Paul Bunyan’s story to just be a story rung around by lumberjacks back in the day to pass the time and explain some of the oddities of the forests and landmarks.

Analysis:

Personally, I’d have to agree, much like some of the stories past down amongst workers during long periods of time, there stories were made out of pure entertainment. They really expressed this medium through the more fictional attributes added to Paul Bunyan, much like his height and exponential strength and sometimes magical abilities.

Expressions and their Etymology

Regional expressions often reveal a lot about the culture and history of the places they originate from. My friend, who was born in Wisconsin and lived there until middle school, shared some of the expressions they grew up with.
When I asked about any distinctive phrases from their childhood, they immediately started listing expressions they had heard growing up in Wisconsin. As the conversation continued, they ended up reflecting on how their understanding of these expressions has evolved over time, especially after moving to California and listening to our expressions. The list they left me with was just a snip-it of their favorites:

  • “When you assume, you make an ass out of u and me.”
  • (In response to an obvious question) “Does a bear shit in the woods?!”
  • “What’s the difference between a buffalo and a bison? You can’t wash your hands in a buffalo.”
  • “You betcha.”
  • “It’s wicked cold.”
  • “That’s a whole ‘nother story.”
  • “Cripes.”

The funniest thing, outside of the shitting bear, was that even just reading these phrases in my head, I could hear them and their Wisconsin accent slipping through. On top of small pronunciation quirks, like saying “roof” as “ruff,” a good chunk of these expressions seemed to carry distinct regional markers that tied them to the Midwest.

While my informant initially thought certain phrases were unique to Wisconsin, or at least etymologically tied there, they later realized that many of them have broader roots. Specifically saying:

“I always thought ‘wicked cold’ was ours [as in, a Midwestern phrase], but after hearing it more, I started to notice a connection to the East Coast. Remember Kennedy [our history teacher—he lived in Philadelphia for most of his life]? … There’s definitely some kind of shared element that links this to whatever its true origin is.”
Expressions like these serve as linguistic time capsules, carrying regional identity, history, and even migration patterns within them. Some of these phrases, like “you betcha” and “cripes,” are deeply Midwestern, reflecting the dialect and cultural quirks of the region. Others, like “wicked cold,” despite being more strongly tied to New England, have still found their way into Midwestern vernacular.

This overlap highlights how language evolves and spreads across different regions, often blurring the lines between what people consider uniquely theirs versus fractured connections that are a part of a larger, more interconnected linguistic tradition. It’s fascinating to see how someone’s perception of language shifts when they move to a new place and realize that what they thought was a local expression might actually have roots elsewhere.

In the end, whether Midwestern, East Coast, or somewhere in between, these expressions serve the same purpose—they bring people together through shared understanding, humor, and a sense of cultural belonging. 

They serve as one of the many subtle distinctions in the plethora of “folk” that make up our shared cultural landscape, showing how language evolves across different regions while still preserving elements of its origins.

A Proverb From the South/Midwest

“Better than a stick in the eye”

This is a proverb that the informants mother used to repeat to describe something that happened that is only marginally good, usually to put life in perspective. That circumstances aren’t ideal, but that they could be worse. It’s similar to the phrase “better than nothing”. Her mother grew up near St. Louis, Georgia, and rural Illinois in the 40s-50s.

“Better than a stick in the eye”  is a reflection of resilience, perspective, and a pragmatic approach to life’s challenges valued by the community from which it came. It highlights values of endurance, gratitude, and humor as essential tools for navigating life’s ups and downs, deeply rooted in the personal, cultural, and historical context of the time and place from which it originates. Considering the historical context of the 1940s-50s in areas near St. Louis, Georgia, and rural Illinois, this proverb reflects the economic and social challenges of the time. Post-World War II America was a period of significant adjustment, with rural communities often facing economic hardships and societal shifts. It could also predate this time and originate further back to times like the great depression with even worse economic devastation. The saying may sum up the ethos of a generation accustomed to hard work, modest living, and finding contentment in stability rather than excess.

The Queen’s Feast

Nationality: American
Age: 19
Residence: Los Angeles, CA
Language: English

Context

The informant is a freshman at USC from Barrington, Illinois. During a call, I recorded an interview with them about rituals, superstitions, and festivals. When asked if they perform at any festivals, this is what they performed. Important context to know is that they would be part of the “Bristol Busking Frolic” performance troop that would perform at the Bristol Renaissance Faire in Kenosha, Wisconsin over multiple years.

Text

PL: I’m going to tell you about Queen’s Feast at the Bristol Renaissance Fair in Kenosha, Wisconsin. Okay, so every day at the Renaissance Fair, which is in the summer, and stuff. So the whole–one of the–one of the big concepts from the Renaissance Fair is that it’s a day in 1574 in Bristol, England. And Queen Elizabeth the first is visiting, you know, like you do. Yeah. And so there’s the whole thing is like, “Whoa, we’re going to see the queen.” So I’m part of a cast called the Bristol Busking Frolic. BBF, for sure.

PL: And every day at, I believe, like, two–I think it’s two, I think it’s two, I’m gonna go with two. I don’t remember somewhere in like the early afternoon, or noonish.

PL: We, as a cast will all meet beforehand and plan a couple of things for the Queen’s Feast. And the Queen’s Feast is a thing that is primarily the court cast does–the cast–to please the Court.

PL: And so queen will sit at a table. And she will have like the mayor and like her ladies next to her. And then they will be presented with food. And that’s literally their lunch. Like they eat as a performance. And there’s chairs and there’s benches set up around to like watch and like hang out. And then there’s a little carpeted area where you–during the day, like, the Court will do like court dances and stuff like that.

PL: And the Queen, so she’s eating lunch or whatever. And we the Bristol Busking Frolic will show up, and we will each day usually sing two songs and do one mum, which is a story or skit sort of thing. And sometimes that’ll be shaken up because like sometimes someone might want to like share, like, something they’re learning or like a thing or like a solo on the flute that they learned. But usually, we will do two songs and a mum and there’s a set, there’s set songs we do. They’re like folk songs and stuff. There is a lot about boats. One about drinking, you know, classic folk song stuff. And then we’ll tell mums which are often based on or feature a folktale.

Interviewer: What is the structure of a mum? How is it different from a folktale?

PL: It’s–okay, so it’s usually one person will tell the story and there’ll be like the narrator. And then a couple of other people will play the characters in the story. And we’ll have brief lines, but mostly it’ll be like, “And then the sausage said, I’m a sausage!” and it’s like, hahaha. They’re usually funny. They’re funny stories. They’re short.

PL: And any one person narrates it, and they know the story. And they and everyone else either sits to the side or they’re players in the story and they’ll have honestly, there aren’t really costumes but a lot of times there’s small props.

PL: Like a donkey’s mask–we have we have a mask with a donkey on it. Anyways, yeah. And, and they’ll act out the scene, and the story and they’re funny and it’s like, whoa, ha, ha, ha. And then we all bow. And at the end, at the end of our performance, after we’ve seen–we’ve sung one song, and then we do them and then we sing another song, The Queen will be like, thank you so much. And we will all like skittishly gather around and like bow. Actually, we don’t bow. That’s the big thing. Bowing isn’t a thing, you révérence, which is where you take one foot behind the other and lean back on that back foot and keep your forward leg straight. Actually, that’s the male reference. The female reference is basically just a curtsy.

PL: Whole thing with like, maintaining eye contact or something. I don’t know. Anyway, different thing. But we’ll we’ll we’ll révérence and she’ll be like, thank you so much. And then here’s this tradition. She gives us grapes. Oh, it’s weird. I don’t know why. But traditionally, she throws grapes to us and we try to catch them and we’re like, “Oh, the grapes from the queen!”

Analysis

This performance is a key part of the Renaissance faire; as the informant describes, it is the main part of the each day. The “queen” is supposed to be Queen Elizabeth the First of England, but her performance is less of a historically accurate depiction of the historical queen, but rather a representation of a homogenized ideal of the time period in question. The performance harkens to “tradition,” but it demonstrates that “tradition” itself is more of a contemporary performance referencing the past rather than an accurate depiction of it. It is not certain whether the act of throwing grapes was ever something that Queen Elizabeth I did, but it is part of this performance because of its mix of entertainment value and “Renaissance” aesthetic.

Certain aspects of the historical time period hold over in this performance: of course, the clothes are meant to represent this time period regardless of whether they are perfectly accurate, but gestures such as the révérence seem to have actually been practiced in that period. The révérance might be the easiest part of emulating the Renaissance time period as performance, as it is simply a specific movement of the body. However, it is not certain whether this act was performed in the same context as the performers sought to emulate. It is instead meant to signal historical performance to the paying audience.