“A weekly event of some significance in our Pullman was Hannah’s Saturday-night bath. She lived in continual hope of managing it without attracting attention, but that was ridiculous. First Gus would bustle down the aisle with a large tarpaulin and an armful of towels. Then Hannah, in an orange mobcap and a red dressing-gown, would lurch and stumble down the car; she was too big to fall into anybody’s berth, but she sometimes came near to dragging down the green curtains when we were going around a bend. We all knew what happened in the Ladies’ Retiring Room; Gus spread the tarpaulin, Hannah stood on it hanging onto the washbasin, and Gus swabbed her down with a large sponge. It was for this service of Christian charity that she was called Elephant Gus when she was out of earshot. Drying Hannah took a long time, because there were large portions of her that she could not reach herself, and Gus used to towel her down, making a hissing noise between her teeth, like a groom.
“Sometimes Charlie and Heinie and Willard would be sitting up having a game of poker, and while the bath was in progress they would sing a hymn, ‘Wash me and I shall be whiter than snow’. If they were high they had another version —
Wash me in the water
That you wash the baby in,
And I shall be whiter
Than the whitewash on the wall.
This infuriated Hannah, and on her return trip she would favour them with a few Biblical admonitions; she had a good deal to say about lasciviousness, lusts, excess of wine, revellings, banquetings, games of hazard, and abominable idolatries, out of First Peter. But she hocussed the text. There is no mention of ‘games of hazard’ or gambling anywhere in the Bible. She put that in for her own particular satisfaction. I knew it, and I soon recognized Hannah as my first hypocrite. A boy’s first recognition of hypocrisy is, or ought to be, more significant than the onset of puberty. By the time Gus had stowed her into her special lower, which was supported from beneath with a few fence-posts, she was so refreshed by anger that she fell asleep at once, and snored so that she could be heard above the noise of the train.
“Very soon I became aware that the World of Wonders which had been a revelation to me, and I suppose to countless other country village people, was a weary bore to the Talent. This is the gnawing canker of carnival life: it is monstrously boring.
“Consider. We did ten complete shows a day; we had an hour off for midday food and another hour between six and seven; otherwise it was unremitting. We played an average of five days a week, which means fifty shows. We began our season as early as we could, but nothing much was stirring in the outdoor carnival line till mid-May, and after that we traipsed across country playing anywhere and everywhere — I soon stopped trying to know the name of the towns, and called them all Pumpkin Centre, like Willard — until late October. That makes something over a thousand shows. No wonder the Talent was bored. No wonder Charlie’s talks began to sound as if he was thinking about something else.
“The only person who wasn’t bored was Professor Spencer. He was a decent man, and couldn’t give way to boredom, because his affliction meant perpetual improvisation in the details of his life. For instance, he had to get somebody to help him in the donniker, which most of us were ready to do, but wouldn’t have done if he had not always been cheerful and fresh. He offered to teach me some lessons, because he said it was a shame for a boy to leave school as early as I had done. So he taught me writing, and arithmetic, and an astonishing amount of geography. He was the one man on the show who had to know where we were, what the population of the town was, the name of the mayor, and other things that he wrote on his blackboard as part of his show. He was a good friend to me, was Professor Spencer. Indeed, it was he who persuaded Willard to teach me magic.
“Willard had not been interested in doing that, or indeed anything, for me. I was necessary, but I was a nuisance. I have never met anyone in my life who was so bleakly and unconsciously selfish as Willard, and for one whose life has been spent in the theatre and carnival world that is a strong statement. But Professor Spencer nagged him into it — you could not shame or bully or cajole Willard into anything, but he was open to nagging — and he began to show me a few things with cards and coins. As my years with the World of Wonders wore on, I think what he taught me saved my reason. Certainly it is at the root of anything I can do now.
“Whoever taught Willard did it very well. He never gave names to the things he taught me, and I am sure he didn’t know them. But since that time I have found that he taught me all there is to know about shuffling, forcing, and passing cards, and palming, ruffling, changing, and bridging, and the wonders of the biseaute pack, which is really the only trick pack worth having. With coins he taught me all the basic work of palming and passing, the French drop, La Pincette, La Coulee, and all the other really good ones. His ideal among magicians was Nelson Downs, whose great act, The Miser’s Dream, he had seen at the Palace Theater, New York, which was the paradise of his limited imagination. Indeed, it was a very much debased version of The Miser’s Dream that he had been doing when I first saw him. He now did little conjuring in the World of Wonders, because of the case of managing Abdullah.
“Inside Abdullah I was busy for perhaps five minutes in every hour. My movement was greatly restricted; I could not make a noise. What was I to do? I practised my magic, and for hours on end I palmed coins and developed my hands in the dark, and that is how I gained my technique which has earned me the compliment of this film you gentlemen are making. I recommend the method to young magicians; get yourself into a close-fitting prison for ten hours a day, and do nothing but manipulate cards and coins; keep that up for a few years and, unless you are constitutionally incapable, like poor Ramsay here, you should develop some adroitness, and you will at least have no chance to acquire the principal fault of the bad magician, which is looking at your hands as you work. That was how I voided boredom: constant practice, and entranced observation, through Abdullah’s bosom, of the public and the Talent of the World of Wonders.
“Boredom is rich soil for every kind of rancour and ugliness. In my first months on the show this attached almost entirely to the fortunes of the War. I knew nothing about the War, although as a schoolchild I had been urged to bring all my family’s peachstones to school, where they were collected for some warlike purpose. Knowing boys said that a terrible poison gas was made from them. Every morning in prayers our teacher mentioned the Allied Forces, and especially the Canadians. Once again knowing boys said you could always tell where her brother Jim was by the prayer, which was likely to contain a special reference to ‘our boys at the Front’, and later, ‘our boys in the rest camps’, and later still, ‘our boys in the hospitals’. The War hung over my life like the clouds in the sky, and I heeded it as little. Once I saw Ramsay in the street, in what I later realized was the uniform of a recruit, but at the time I couldn’t understand why he was wearing such queer clothes. I saw men in the streets with black bands on their arms, and asked my father why they wore them, but I can’t remember what he answered.
“In the World of Wonders the War seemed likely at times to tear the show to pieces. The only music on the fairgrounds where we appeared came from the merry-go-round; tunes were fed into its calliope by the agency of large steel discs, perforated with rectangular holes; they worked on the same principle as the roll of a player-piano, but were much more durable, and rotated instead of uncoiling. Most of the music was of the variety we associate with merry-go-rounds. Who wrote it? Italians, I suspect, for it always had a gentle, quaintly melodious quality, except for one new tune which Steve, who ran the machine, had bought to give the show a modern air. It was the American war song — by that noisy fellow Cohan, was it? — called ‘Over There!’ It was less than warlike on a calliope, played at merry-go-round tempo, but everybody recognized it, and now and then some Canadian wag would sing loudly, to the final phrase —