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Goofus bird
Goofus bird
Goofus bird
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The Fillamaloo, or Goofus bird

The Goofus bird is a mythical, backwards-flying bird, originating in lumberjack folklore[1] in North America.[2] It is also known variously as the Filla-ma-loo bird or the Flu-fly bird.[3]

The Goofus Bird flies backwards, as it does not care where it is going, only where it has been, and it builds its nest upside down.[4][5] It is described as having a conspicuous appearance, with a turkey-like head, long green neck, with silver scales, a black right wing and a pink left wing.[6]

A person likened to a Goofus Bird is a person low in intellectual curiosity and indifferent to their forward direction.[7] Goofus is a possible origin of the word doofus, slang for a person prone to foolishness or stupidity, perhaps influenced by the German word doof, meaning stupid.[8]

The Goofus bird is one of many fearsome critters of lumberjack folklore, fantastical beasts that were said to inhabit the frontier wilderness of North America, and is an example of a 'tall tale',[9] a story with unbelievable elements related as if it were factual.

See also

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  • Collibr birds that sometimes fly backwards.

References

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Further reading

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Goofus bird

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from Grokipedia
The Goofus bird (Fulica stultusregrediens), also known as the flu-fly bird or formerly the filla-ma-loo, is a mythical creature from North American , renowned for its peculiar habit of flying backwards because it shows no interest in its destination and prefers to observe where it has been. This fearsome critter, part of a broader tradition of tall tales shared among loggers in the early , is described as having a turkey-like head atop a long, bottle-green neck sparsely adorned with large silvery scales, a black right wing, and a pink left wing, making it a visually striking yet elusive figure in the woods. It constructs its nest upside down, lays clutches of seven eggs rated as "Grade D" quality, and emits a call resembling the clanking of a locomotive's Johnson bar in reverse. Though rarely sighted—authentic reports are scarce—the Goofus bird embodies the whimsical and exaggerated elements of lumber camp storytelling, highlighting themes of absurdity and indifference in frontier life.

Origins in folklore

Lumberjack traditions

The Goofus bird first appeared in the oral traditions of North American lumberjacks during the late 19th and early 20th centuries, particularly in the remote logging camps of the and the . These stories persisted through the 1920s, as workers faced grueling seasons of felling timber in vast, isolated forests. Tall tales like those of the Goofus bird provided essential entertainment during the harsh, long winters when camps were snowbound and activities were limited, helping to alleviate boredom and build morale among the crews. Within culture, the Goofus bird formed part of the broader "" lore—a genre of invented beasts fabricated by loggers to embellish the perils and peculiarities of life. These fabricated creatures were shared around campfires or in bunkhouses to pass idle time, foster a of shared , and often serve as playful initiations for greenhorns new to the woods. The Goofus bird's tales exemplified this tradition, blending whimsy with subtle commentary on the monotonous hardships of , such as endless drives and unpredictable . Lumberjack anecdotes about the Goofus bird highlighted its backwards flight as a central quirk, with old-timers explaining that the bird "doesn't give a darn where it's going, only where it has been," a humorous nod to the repetitive, directionless toil of camp life that left workers feeling stalled amid the push for westward expansion. This indifference mirrored the psychological strain of , where progress often felt illusory against the endless . One brief camp yarn even noted its upside-down nests, underscoring the bird's role in tales that poked fun at nature's supposed absurdities. The development of Goofus bird lore was shaped by the multicultural makeup of camps, where immigrants from —primarily Swedish and Norwegian—and contributed their rich storytelling heritages to American tall tales. These groups, alongside German and French Canadian workers, infused the narratives with elements of exaggeration and moral wit drawn from their homelands, enriching the tradition in regions like northern and the .

Early literary references

The first documented literary reference to the Goofus bird appears in Charles E. Brown's 1935 pamphlet Natural History, a collection of tall tales from camps around 's legendary operations, while the first printed reference appears in , suggesting prior oral circulation in camps. In this work, Brown describes the bird as a peculiar creature nesting near the Big Onion River that flies backwards and builds its nest upside down, attributing its odd habits to a lack of concern for the future: "It doesn't give a darn where it's going, it only wants to know where it's been." This publication marked the transition of the Goofus bird from oral lumberjack storytelling—where such entertained workers during long nights in remote camps—to printed preservation efforts. Building on this foundation, the Goofus bird received a more formalized description in Henry H. Tryon's book Fearsome Critters, which compiled and illustrated dozens of such mythical beasts drawn from logger lore. Tryon, crediting earlier collectors like William T. Cox's 1910 Fearsome Creatures of the Lumberwoods for establishing the genre, portrayed the Goofus bird (Fulica stultusregrediens) as a rare, turkey-headed creature with a bottle-green , silvery scales, mismatched wings (black on the right, pink on the left), and a call resembling a reversing . He reiterated its backwards flight and inverted nest-building, noting seven Grade D eggs per clutch, and emphasized its indifference: "He prefers only to see where he’s been; hence he always flies backwards." Tryon's volume, illustrated by Margaret Ramsay Tryon, helped standardize the creature's depiction in early 20th-century anthologies. These early print appearances reflected a broader effort in the 1930s to document vanishing oral traditions from lumberjack camps before mechanized logging diminished such storytelling. While Cox's 1910 work introduced the fearsome critters category without referencing the Goofus bird specifically, Brown's and Tryon's contributions embedded it firmly in the canon, influencing subsequent collections with their blend of humor, pseudoscientific detail, and whimsical illustrations.

Description and characteristics

Physical appearance

The Goofus bird, a staple of American lumberjack , is characterized by a turkey-like head atop a long, bottle-green neck sparsely adorned with large, silvery scales. The wings exhibit striking : the right wing is black, while the left is pink, forming a vivid and unmistakable color contrast against the backdrop. This peculiar , combined with the sparse feathering overall, amplifies the Goofus bird's oddity and visibility in tales where it perches or soars in reverse. Folklore depictions appear in early 20th-century illustrations, such as those in Henry H. Tryon's 1939 book Fearsome Critters, where the creature is rendered as a tall, spindly figure with exaggerated proportions that capture its humorous, grotesque essence.

Unusual behaviors

The Goofus bird exhibits a signature behavior of flying exclusively backwards, a trait explained in lumberjack lore as its preference for seeing where it has been rather than where it is going, indicative of its profound lack of intellectual curiosity. This peculiar flight pattern is tied to the bird's reputed innate stupidity, which forms the basis of its name and embodies the humorous folly central to fearsome critter tales. Some variants describe it flying upside down, occasionally combined with backwards motion. Complementing this aerial oddity, the bird constructs its nests upside down, often attaching them precariously to the undersides of branches or cliff faces, which predictably causes its eggs to fall out and results in frequent reproductive failure. Such impractical nesting reinforces the lore's portrayal of the Goofus bird as comically inept, with clutches typically consisting of seven low-quality eggs that crack upon impact. The bird emits a call resembling the clanking of a steam locomotive's Johnson bar in reverse. These elements collectively highlight the Goofus bird's role as a symbol of backward-looking imprudence in early 20th-century compilations.

Names and variants

Alternative names

The name "Goofus bird" for this mythical creature first appears in Henry H. Tryon's book Fearsome Critters, where it is listed as a for the "Filla-ma-loo bird" and "Flu-fly bird." This text draws from North American oral traditions, with "goofus" reflecting contemporary for something foolish or clumsy, apt for a known to fly backward. Subsequent folklore compilations expanded the nomenclature through phonetic variations common in lumberjack slang. In Henry H. Tryon's 1939 book Fearsome Critters, the creature is chiefly termed the "Filla-ma-loo bird," with cross-references to "Goofus bird" and "Flu-fly bird," emphasizing its call resembling a locomotive's reverse whistle. A 1941 article in the ornithological journal Bird-Lore further catalogs it as the "Filla-ma-loo bird (variously called Goofus bird, Flu-fly bird, etc.)," attributing these names to New York State lumberjack yarns that phonetically mimic the bird's erratic behaviors. These synonyms, such as "Fillamaloo" or "Phillyloo" in later retellings, evolved from oral storytelling to preserve the whimsical, onomatopoeic quality of regional tales. The Goofus bird is one of numerous in American lumberjack , a of tall tales featuring absurd mythical beasts inhabiting camps and forests. Comparable creatures include the , a rhinoceros-sized beast with a hairless mottled body, spade-shaped bony nose growth, and pointed hooves, reputed to fell trees to devour porcupines in Wisconsin's northwoods. The , an with loose, ill-fitting warty skin, inhabits Pennsylvania's hemlock forests and is known for its constant weeping, dissolving entirely into tears when pursued or captured. These critters parallel the Goofus bird's whimsical impracticality through their own bizarre traits, such as the —a slender, muscular, ape-faced dweller of coniferous forests from to that ambushes loggers by hurling sticks and branches from treetops. Similarly, the , a six-foot-tall creature resembling a French sheepdog with a thick black pelt and grizzly-like claws, perpetually conceals itself behind tree trunks wider than ten inches, emerging only to disembowel prey with a demonic laugh while targeting their intestines. Such elements underscore the genre's blend of humor and mild menace, prioritizing exaggeration over outright terror. Originating from oral traditions in 19th- and early 20th-century logging camps, these were compiled in key folklore collections from the 1910s to 1930s, including William T. Cox's Fearsome Creatures of the Lumberwoods (1910), which documents the , , and , and Henry H. Tryon's Fearsome Critters (1939), featuring the Goofus bird and . Thematically, they share motifs of maladaptive wilderness survival—elusive behaviors, nonsensical physiologies, and vengeful quirks—designed to amuse and haze greenhorn lumberjacks amid the isolation of frontier work.

Cultural depictions

In literature and art

The Goofus bird received notable artistic treatment in Henry H. Tryon's 1939 compilation Fearsome Critters, a catalog of lumberjack tall tales published by the Idlewild Press in . Illustrated by Margaret R. Tryon, the features whimsical line drawings that capture the bird's comical , including its mismatched wings—one and one —and elongated, scale-covered neck, emphasizing its absurd habit of flying backward while peering over its shoulder. These illustrations, rendered in a playful, sketch-like style reminiscent of early 20th-century pamphlets, highlight the creature's upside-down nest and indifferent demeanor, underscoring the humorous essence of the legend. In mid-20th-century anthologies, the Goofus bird appeared in collections aimed at preserving regional American myths, often with accompanying sketches or textual descriptions that reinforced its role as a lighthearted emblem of whimsy. For instance, the 1961 Life Treasury of American Folklore, edited by Herbert and illustrated by James Lewicki, includes the bird among of the northern woods, portraying it as a backward-flying oddity in vivid, colorful depictions that blend humor with the rugged camp life of loggers. Similar mentions feature in 1940s and 1950s regional myth compilations, such as those drawing from lumber traditions, where simple woodcut-style sketches in pamphlet-form reprints accentuated the bird's exaggerated, comical form to entertain young readers and folk enthusiasts. Artistic representations from lumberjack-era pamphlets, including self-published broadsides and camp newsletters from the and , often employed rough woodcuts and hand-drawn sketches to depict the Goofus bird's folly, portraying it with a turkey-like head twisted awkwardly backward and asymmetrical features that mocked its navigational ineptitude. These illustrations, circulated among communities, served to amplify the tall tale's satirical edge through exaggerated, cartoonish proportions that invited laughter at the creature's self-defeating quirks. In , such as an article in the Journal, the Goofus bird is presented as a whimsical creature from tall tales, illustrating the humorous and playful elements of regional , including themes of among storytellers and listeners.

Modern media and references

In the and , the Goofus bird has experienced revivals in podcasts and channels dedicated to and , often featured in episodes exploring "" from American traditions. For instance, the Spirits Podcast's Episode 137, "," from July 2019, describes the bird's distinctive backwards flight and mismatched wings as part of a broader discussion on mythical woodland creatures. Similarly, the Castles & Cryptids podcast's Episode 68, "What Lurks in the Woods," aired in August 2022, includes the Goofus bird among hidden forest entities, highlighting its upside-down nesting habits. On , channels like those producing shorts on have covered the bird, such as a 2024 video titled "Goofus Bird: Lumberjack Folklore's Oddity," which portrays it as a bizarre, physics-defying avian from tall tales. Another example is the March 2024 upload " of the USA: American 's ," which dedicates a segment to the Goofus bird at the 17:09 mark, emphasizing its palindromic name and contrary nature. The Goofus bird has also appeared in online memes and social media posts since the , typically in humorous animations or quotes that play on its backwards-flying lore for comedic effect. Platforms like have hosted , including a September 2024 post depicting the bird as a "cursed beast" from a backwards Faerie realm, complete with illustrative captions. Another July 2022 illustration reimagines it as a turkey-headed creature inspired by , noting its palindromic name and flight direction. These posts often circulate in enthusiast communities, blending the bird's traditional traits with modern visual humor. References to the Goofus bird in video games and apps draw from American folklore, particularly in indie titles and collectible card games featuring backwards-flying creatures. The trading card game , launched in the late , includes the Goofus bird as a "Beastie" card in sets like the 2021 Base Set (card 007/214) and the 2024 Seance: First Edition (card 98/165), where it is classified under the Fearsome Critter tribe with abilities tied to its mythical attributes. New artwork for the card was revealed in November 2024, further integrating it into the game's expanding lore. Recent books in the 2020s have updated Goofus bird lore within compilations, often adding pseudoscientific twists to its behaviors. Christopher Packard's 2021 book Mythical Creatures of Maine: Fantastic Beasts from Legend and references the bird under its variant name "Philamaloo Bird," portraying it as a lumberjack-era cryptid with anomalous flight patterns potentially explained by undiscovered . Such works revive the creature in contemporary contexts, linking it to broader pseudoscientific explorations of regional myths.
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