The “Hermits” of Minnehaha Park, part 4

a man rides away from hot pursuit, looking over his shoulder at the two men chasing him on horseback
This dime-novel-esque illustration of William Herrick fleeing hot pursuit perfectly conveys the breathless excitement of Herrick’s stories. And it was drawn by Art. M. Johnson, who was a lecturer at the University of Minnesota, and who went on to become a distinguished illustrator and botanist. –from the Library of Congress collection, preserved by the Internet Archive on

Since we don’t know exactly where William Herrick’s sod house was, we don’t know whose permission he secured to build it.

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The “Hermits” of Minnehaha Park, Part 3.

Storyteller or liar?  William Herrick–the Hermit of Minnehaha Park–was some of each.  And Herrick told such convincing, engaging tales that it’s hard to believe that his stories are not true, even 100 years after his death.

His artful storytelling included details that both impressed his audience and added verisimilitude. When he told the story of his Civil War career, he left out the part about never seeing combat. He was stationed in Kansas, there to build bridges and protect the mail trains. Instead he said (truthfully) that he was stationed “near the Blue Cut country where the famous Younger and James brothers held forth.” Except that he’d been mustered out and sent home before the first James gang robbery. Surely that detail is unimportant in the higher calling of telling a good story.

a picture of an older man wearing a hat. And a mustache
William W. Herrick in the early 1900s, when he was renowned as the Hermit of Minnehaha Falls. Stories painted him as a kindly if eccentric man who had lived a life of glorious adventure but now just wanted to quietly cultivate his garden.–from “Hermit of Minnehaha Falls” edited by Samuel A. Hatch

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The “Hermits” of Minnehaha Park. Part 2.

During the later part of the 19th century, photography was in the midst of a major transition as an art form.  Since its invention, photographers had concentrated on likenesses and “fidelity to nature.”  But as the 19th century wound down, they began producing images in the style of paintings, moody and atmospheric works of art.

A group of women on the sore, staring out to the sea that is just out of frame on the left.
“Watching for the Return” by Alfred Steiglitz.

Evocative photographs like this one helped define photography as an art form. This image was exhibited by the Minneapolis Camera Club and the Fine Arts Society at their first joint photographic salon in February 1903. Steiglitz was a nationally prominent artistic photographer in the Photo Secession movement.

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The “Hermits” of Minnehaha Park. Part 1.

The Park Board was slow to remove some of the people who lived in Minnehaha Park.  Once the land was officially in their control, some people were evicted, but for unclear reasons, not everyone was forced to leave.

In fact, the Park Board had a house in the park for the caretaker (the park policeman) to live in.  It was located close to the west end of today’s bridge to the Soldiers’ Home. In the early years, having a policeman live in the park made some sense, as the board had a particular concern about rowdy behavior at the dance halls and saloons in the area, and they had a zoo that needed daily management.  But two “hermits” are known to have lived in the park.  The St. Paul Globe newspaper claimed, at his death, that one of these men was named Samuel McNott.  That’s probably incorrect.

a color postcard showing a small shack, labeled "The Hermit Below Minnehaha"
This postcard may show the home of the “hermit” who probably was named James McKnight. It was mailed in 1909, during the postcard craze of the early 20th century. It is not known when this picture was taken.

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