M is for the million smiles she gave me;
O means only that she’s growing old;
T is for the times she prayed to save me;
H is for her heart, of purest gold;
E is every wrong that she forgave me;
R is right—and Right she’ll always be!
Put them all together, they spell MOTHER—
A word that means the world to me!
That was the accepted attitude toward mothers, at that time, in the world I belonged to. Well? Imagine what it was like to grow up with a mother who had to be tied up every morning before my father could go off to his work as an accountant at the planing-mill; he was a parson no longer because her disgrace had made it impossible for him to continue his ministry. What was her disgrace? Something that made my schoolmates shout ‘Hoor!’ when they passed our house. Something that made them call out filthy jokes about hoors when they saw me. So there you have it. A disgraced and ruined home, and for what reason? Because I was born into it. That was the reason.
“That wasn’t all. I said that when Willard used me he whimpered. Sometimes he spoke in his whimpering, and what he said then was, ‘You goddam little hoor!’ And when it was over, more than once he slapped me mercilessly around the head, saying, ‘Hoor! You’re nothing but a hoor!’ It wasn’t really condemnation; it seemed to be part of his fulfilment, his ecstasy. Don’t you understand? ‘Hoor’ was what my mother was, and what had brought our family down because of my birth. ‘Hoor’ was what I was. I was the filthiest thing alive. And I was Nobody. Now do you ask me why I didn’t complain to someone about ill usage? What rights had I? I hadn’t even a conception of what ‘rights’ were.”
“Could this go on without anybody knowing, or at least suspecting?” Lind was pale; he was taking this hard; I had not thought of him as having so much compassionate feeling.
“Of course they knew. But Willard was crafty and they had no proof. They’d have had to be very simple not to know that something was going on, and carnival people weren’t ignorant about perversion. They hinted, and sometimes they were nasty, especially Sonnenfels and Molza. Heinie and Zovene thought it was a great joke. Em Dark had spells of being sorry for me, but Joe didn’t want her to mix herself up in anything that concerned Willard, because Willard was a power in the World of Wonders. He and Charlie were very thick, and if Charlie turned against any of the Talent, there were all kinds of ways he could reduce their importance in the show, and then Gus might get the idea that some new Talent was wanted.
“Furthermore, I was thought to be bad luck by most of the Talent, and show people are greatly involved with the idea of luck. Early in my time on the show I got into awful trouble with Molza because I inadvertently shifted his trunk a few inches in the dressing tent. It was on a bit of board I wanted to use in my writing-lesson with Professor Spencer. Suddenly Molza was on me, storming incomprehensibly, and Spencer had trouble quieting him down. Then Spencer warned me against ever moving a trunk, which is very bad luck indeed; when the handlers bring it in from the baggage wagon they put it where it ought to go, and there it stays until they take it back to the train. I had to go through a complicated ceremony to ward off the bad luck, and Molza fussed all day.
“The idea of the Jonah is strong with show people. A bringer of ill luck can blight a show. Some of the Talent were sure I was a Jonah, which was just a way of focussing their detestation of what I represented, and of Willard, whom they all hated.
“Only the Fat Woman ever spoke to me directly about who and what I was. I forget exactly when it was, but it was fairly early in my experience on the show. It might have been during my second or third year, when I was twelve or thereabouts. One morning before the first trick, and even before the calliope began its toot-up, which was the signal that the World of Wonders and its adjuncts were opening for business, she was sitting on her throne and I was doing something to Abdullah, which I checked carefully every day for possible trouble.
“ ‘Come here, kid,’ she said. ‘I wanta talk to you. And I wanta talk mouth to mouth, even apparently, and not in dark speeches. Them words mean anything to you?’
“ ‘That’s from Numbers,’ I said.
“ ‘Numbers is right; Numbers twelve, verse eight. How do you know that?’
“ ‘I just know it.’
“ ‘No, you don’t just know it. You been taught it. And you been taught it by somebody who cared for your soul’s salvation. Was it your Ma?’
“ ‘My Pa,’ I said.
“ ‘Then did he ever teach you Deuteronomy twenty-three, verse ten?’
“ ‘Is that about uncleanness in the night?’
“ ‘That’s it. You been well taught. Did he ever teach you Genesis thirteen, verse thirteen? That’s one of the unluckiest verses in the Bible.’
“ ‘I don’t remember.’
“ ‘Not that the men of Sodom were wicked and sinners before the Lord exceedingly?’
“ ‘I don’t remember.’
“ ‘I bet you remember Leviticus twenty, thirteen.’
“ ‘I don’t remember.’
“ ‘You do so remember! If a man also lie with mankind as he lieth with a woman, both of them have committed an abomination; they shall surely be put to death; their blood shall be upon them.’
“I said nothing, but I am sure my face gave me away. It was one of Willard’s most terrible threats that if I were caught I should certainly be hanged. But I was mute before the Fat Woman.
“ ‘You know what that means, dontcha?’
“Oh, I knew what it meant. In my time on the show I had already learned a great deal about mankind lying with women, because Charlie talked about little else when he sat on the train with Willard. It was a very dark matter, for all I knew about it was the parody of this act which I was compelled to go through with Willard, and I assumed that the two must be equally horrible. But I clung to the child’s refuge: silence.
“ ‘You know where that leads, dontcha? Right slap to Hell, where the worm dieth not and the fire is not quenched.’
“From me, nothing but silence.
“ ‘You’re in a place where no kid ought to be. I don’t mean the show, naturally. The show contains a lotta what’s good. But that Abdullah! That’s an idol, and that Willard and Charlie encourage the good folks that come in here for an honest show to bow down and worship almost before it, and they won’t be held guiltless. No sirree! Nor you, neither, because you’re the works of an idol and just as guilty as they are.’
“ ‘I just do what I’m told,’ I managed to say.
“ ‘That’s what many a sinner’s said, right up to the time when it’s no good saying it any longer. And those tricks. You’re learning tricks, aren’t you? What do you want tricks for?’
“I had a happy inspiration. I looked her straight in the eye. ‘I count them but dung, that I may win Christ,’ I said.
“ ‘That’s the right way to look at it, boy. Put first things first. If that’s the way you feel, maybe there’s some hope for you still.’ She sat a little forward in her chair, which was all she could manage, and put her podgy hands on her great knees, which were shown off to advantage by her pink rompers. ‘I’ll tell you what I always say,’ she continued; ‘there’s two things you got to be ready to do in this world, and that’s fight for what’s right, and read your Bible every day. I’m a fighter. Always have been. A mighty warrior for the Lord. And you’ve seen me on the train, reading my old Bible that’s so worn and thumbed that people say to me, “that’s a disgrace; why don’t you get yourself a decent copy of the Lord’s Word?” And I reply, “I hang on to this old Bible because it’s seen me through thick and thin, and what looks like dirt to you is the wear of love and reverence on every page.” A clean sword and a dirty Bible! That’s my war-cry in my daily crusade for the Lord: a clean sword and a dirty Bible! Now, you remember that. And you ponder on Leviticus twenty, thirteen, and cut out all that fornication and Sodom abomination before it’s too late, if it
isn’t too late already.’
“I got away, and hid myself in Abdullah and thought a lot about what Happy Hannah had said. My thoughts were like those of many a convicted sinner. I was pleased with my cleverness in thinking up that text that had averted her attack. I sniggered that I had even been able to use a forbidden word like ‘dung’ in a sanctified sense. I was frightened by Leviticus twenty, thirteen, and—you see how much a child of the superstitious carnival I had already become—by the double thirteen verse from Genesis. Double thirteen! What could be more ominous! I knew I ought to repent, and I did, but I knew I could not leave off my sin, or Willard might kill me, and not only was I afraid to die, I quite simply didn’t want to die. And such is the resilience of childhood that when the first trick advanced as far as Abdullah, I was pleased to defeat a particularly obnoxious Rube.
“After that I had many a conversation with Hannah in which we matched texts. Was I a hypocrite? I don’t think so. I had simply acquired the habit of adapting myself to my audience. Anyhow, my readiness with the Bible seemed to convince her that I was not utterly damned. I had no such assurance, but I was getting used to living with damnation.
“I had a Bible. I stole it from a hotel. It was one of those sturdy copies the Gideons spread about so freely in hotel rooms. I snitched one at the first opportunity, and as Professor Spencer was teaching me to read very capably I spent many an hour with it. I felt no compunction about the theft, because theft was part of the life I lived. Willard was as good a pickpocket as I have ever known, and one of the marks of his professionalism was that he was not greedy or slapdash in his methods.
“He had an agreement with Charlie. At a point about the middle of the bally, during one of the night shows, Charlie would interrupt his description of the World of Wonders to say, very seriously, Ladies and gentlemen, I think l ought to warn you, on behalf of the management, that pickpockets may be at work at this fair. I give you my assurance that nothing is farther from the spirit of amusement and education represented by our exhibition than the utterly indefensible practice of theft. But as you know, we cannot control everything that may happen in the vicinity of our show. And therefore I urge you, as your friend and as a member of the Wanless organization which holds nothing dearer than its reputation for unimpeachable honesty, that you should keep a sharp eye, and perhaps also a hand, on your wallets. And if there should be any loss—which the Wanless organization most sincerely hopes may not be the case—we beg you to report it to us, and to your excellent local police force, so that the thief may be apprehended if that should prove to be possible. The gaff here was that when he spoke of thieves, Rubes who had a full wallet were likely to put a hand on it. Willard spotted them from the back of the crowd, and during the rest of Charlie’s pious spiel he would gently lift one from a promising Rube. It had to be very quick work. Then, when he had taken the money, he substituted a wad of newspaper of the appropriate size, and either during the bally, or when the Rube came into the tent, he would put the wallet back in place. Rubes generally carried their wallets on the left hip, and as their pants were often a tight fit, a light hand was necessary.
“Willard was never caught. If the Rube came to complain that he had been robbed, Charlie put on a show for him, shook his head sadly, and said that this was one of the problems that confronted honest show folks. Willard never pinched more than one bankroll in a town, and never robbed in the same town two years running. Willard liked best to steal from the local cop, but as cops rarely had much money this was a larcenous foppery which he did not often allow himself.
“Gus never caught on. Gus was a strangely innocent woman in everything that pertained to Charlie and his doings. Of course Charlie got a fifty per cent cut of what Willard stole.
“Willard knew I stole the Bible, and he was angry. Theft, he gave me to understand, was serious business and not for kids. Get caught stealing some piece of junk, and how were you to get back to serious theft again? Never steal anything trivial. This was perhaps the only moral precept Willard ever impressed on me.
“Anyhow, I had a hotel Bible, and I read it constantly, in many another hotel. The carnival business is a fair-weather business, and in winter it could not be pursued and the carnival had to be put to bed.
“That did not mean a cessation of work. The brother who never travelled with the carnival, but who did all our booking, was Jerry Wanless, and he handled the other side of the business, which was vaudeville booking. As soon as the carnival season was over, Willard and Abdullah were booked into countless miserable little vaudeville theatres throughout the American and Canadian Middle West.
“It was an era of vaudeville and there were thousands of acts to fill thousands of spots all over the continent. There was a hierarchy of performance, beginning with the Big Time, which was composed of top acts that played in the big theatres of big cities for a week or more at a stretch. After it came the Small Big Time, which was pretty good and played lesser houses in big and middle-sized cities. Then came the Small Time, which played smaller towns in the sticks and was confined to split weeks. Below that was a rabble of acts that nobody wanted very much, which played for rotten pay in the worst vaude houses. Nobody ever gave it a name, and those who belonged to it always referred to it as Small Time, but it was really Very Small Time. That was where Jerry Wanless booked incompetent dog acts, jugglers who were on the booze, dirty comedians, Single Women without charm or wit, singers with nodes on their vocal chords, conjurors who dropped things, quick-change artistes who looked the same in all their impersonations, and a crowd of carnies like Willard and some of the other Talent from the World of Wonders.
“It was the hardest kind of entertainment work, and we did it in theatres that seemed never to have been swept, for audiences that seemed never to have been washed. We did continuous vaudeville: six acts followed by a ‘feature’ movie, round and round and round from one o’clock in the afternoon until midnight. The audience was invited to come when it liked and stay as long as it liked. In fact, it changed completely almost every show, because there was always an act called a ‘chaser’ which was reckoned to be so awful that even the people who came to our theatres couldn’t stand it. Quite often during my years in vaudeville Zovene the Midget Juggler filled this ignominious spot. Poor old Zovene wasn’t really as awful as he appeared, but he was pretty bad and he was wholly out of fashion. He dressed in a spangled costume that was rather like the outfit worn by Mr Punch—a doublet and tight knee-breeches, with striped stockings and little pumps. He had only one outfit, and he had shed spangles for so long that he looked very shabby. There was still a wistful prettiness about him as he skipped nimbly to ‘Funiculi funicula’ and tossed coloured Indian clubs in the air. But it was a prettiness that would appeal only to an antiquarian of the theatre, and we had no such rarities in our audiences.
“There is rank and precedence everywhere, and here, on the bottom shelf of vaudeville, Willard was a headliner. He had the place of honour, just before Zovene came on to empty the house. The ‘professor’ at the piano would thump out an Oriental theme from Chu Chin Chow and the curtain would rise to reveal Abdullah, bathed in whatever passed for an eerie light in that particular house. Behind Abdullah might be a backdrop representing anything—a room in a palace, a rural glade, or one of those improbable Italian gardens, filled with bulbous balustrades and giant urns, which nobody has ever seen except a scene-painter.
“Willard would enter in evening dress, wearing a cape, which he doffed with an air, and held extended briefly at his right side; when he folded it, a shabby little table with his cards and necessaries had appeared behind it. Applause? Never! The audiences we played to rarely applauded and they expected a magician to be magical. If they were not asleep, or drunk, or pawing the woman in the next seat, they received all Willard’s tricks with cards and coins stolidly.
“They liked it better when he did a little hypnotism, asking for members of the audience to come to the stage to form a ‘committee’ which would watch hi
s act at close quarters, and assure the rest of the audience that there was no deception. He did the conventional hypnotist’s tricks, making men saw wood that wasn’t there, fish in streams that had no existence, and sweat in sunlight that had never penetrated into that dismal theatre. Finally he would cause two of the men to start a fight, which he would stop. The fight always brought applause. Then, when the committee had gone back to their seats, came the topper of his act, Abdullah the Wonder Automaton of the Age. It was the same old business; three members of the audience chose cards, and three times Abdullah chose a higher one. Applause. Real applause, this time. Then the front-drop—the one with advertisements painted on it—came down and poor old Zovene went into his hapless act.
“The only other Talent from the World of Wonders that was booked into the places where we played were Charlie, who did a monologue, and Andro.
“Andro was becoming the worst possible kind of nuisance. He was showing real talent, and to hear Charlie and Willard talk about it you would think he was a traitor to everything that was good and pure in the world of show business. But I was interested in Andro, and watched him rehearse. He never talked to me, and probably regarded me as a company spy. There were such things, and they reported back to Jerry in Chicago what Talent was complaining about money, or slacking on the job, or black-mouthing the management. But Andro was the nearest thing to real Talent I had met with up to that time, and he fascinated me. He was a serious, unrelenting worker and perfectionist.
“Imitators of his act have been common in night-clubs for many years, and I don’t suppose he was the first to do it, but certainly he was the best of the lot. He played in the dark, except for a single spotlight, and he waltzed with himself. That is to say, on his female side he wore a red evening gown, cut very low in the back, and showing lots of his female leg in a red stocking; on his masculine side he wore only half a pair of black satin knee-breeches, a black stocking and a pump with a phoney diamond buckle. When he wrapped himself in his own arms, we saw a beautiful woman in the arms of a half-naked muscular man, whirling rhythmically around the stage in a rapturous embrace. He worked up all sorts of illusions, kissing his own hand, pressing closer what looked like two bodies, and finally whirling offstage for what must undoubtedly be further romance. He was a novelty, and even our audiences were roused from their lethargy by him. He improved every week.
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