Showing posts with label flappers. Show all posts
Showing posts with label flappers. Show all posts

Tuesday, December 28, 2021

1920

 

____________________

 

“The older generation pretty much ruined this world before passing it on to us.”

 

John F. Carter

____________________

 

 

    In an August 1965 issue of American Heritage, Bruce Catton explains, “All the old rules seemed to be vanishing in the Twenties.” “…the characteristic figure of the era was the Flapper, the girl who bobbed her hair and wore short skirts with nothing in particular beneath them and put in her time piling in and out of open cars populated by collegians in coonskin coats.”

 

    Catton writes: “There was an immense, all-pervading disillusionment. The nation’s highest ideals had been appealed to during the war, so that to win the war seemed the holiest of causes; the war had been won, but it was hard to see that anything worth winning had been gained; the idealism had been used up, and people had an uneasy feeling that they had been had.” 

 

    Westbrook Pegler called it “the Era of Wonderful Nonsense.” Says Catton: “Publicity was the thing, and it had no standards of value except pure sensation.” Farmers and wage earners did not share in the growing prosperity. One “conservative senator announced that congressmen who protested about this situation were simply ‘sons of the wild jackass’ whose cries need not be noticed.”

 

    E. B. White summed up the impact of radio: that man’s “words leap across rivers and mountains, but his thoughts are still only six inches long.”

 

    Jack Shuttleworth described the Jazz Age: “Fitzgerald wrote it, Held drew it…” John Held, Jr. was born in Salt Lake City in 1889. At age nine he sold his first woodcut for nine dollars. He was later trained by one of Brigham Young’s “160-odd grandsons,” Mahonri Young.

 

    Shuttleworth describes Held’s art:

 

    The scenes were football games, fraternity houses, speakeasies, cocktail parties, tea dances. The step was the Charleston or Black Bottom and the picturesque means of transportation the Stutz Bearcat, the Marmon roadster, and the Model T. And at all these places, in any car, stairway, and alcove, one main, almost relentless recreation was necking.



Held makes fun of college men and their affectations.


 

    Malcolm Crowley describes how the decade began:

 

    When we first heard of the Armistice we felt a sense of relief too deep to express, and we all got drunk. We had come through, we were still alive, and nobody at all would be killed tomorrow. The composite fatherland for which we had fought and in which some of us believed—France, Italy, the Allies, our English homeland, democracy, the self-determination of nations—had triumphed. We danced in the streets, embraced old women and pretty girls, swore blood brotherhood with soldiers in little bars, drank with our elbows locked in theirs, reeled through the streets with bottles of champagne, fell asleep somewhere. On the next day, after we got over our hangovers, we didn’t know what to do, so we got drunk.

 

…We returned to New York, appropriately—to the homeland of the uprooted, where everyone you met came from another town and tried to forget it; where nobody seemed to have parents, or a past more distant than last night’s swell party, or a future beyond the swell party this evening, and the disillusioned book he would write tomorrow.


 

    Hemingway talks about the embarrassing use of words like “sacred, glorious, and sacrifice.” Having served in the ambulance corps, he admitted, “I had seen nothing sacred, and the things that were glorious had no glory and the sacrifices were like the stockyards at Chicago if nothing was done with the meat except to bury it.”

 

   John F. Carter Jr. wrote in a letter to a friend: “the older generation pretty much ruined this world before passing it on to us.” It was like a child had been handed this Thing back in the 90s in good shape. “But the child couldn’t steer it. He hit every possible telegraph-pole, some of them twice, and ended with a head-on collision for which we shall have to pay the fines and damages.”


 

*

 

THE 1920 CENSUS will show the State of New York standing first of 48 states in population, at 10,384,829. Pennsylvania will be second, Illinois third. Cleveland, Ohio will have 796,841 people – making it larger than Los Angeles, San Francisco or San Diego.

 

    Kansas will rank 24th in population, at 1,769,257. Hard to believe a century later, but Florida will trail, standing 32nd, with 968,470. Miami, Florida will count only 29,571 residents.



Abandoned high school near Ness City, Ness County, Kansas.
In 2020, the population of Ness County was 2,687,
or about 2.5 people per square mile.
In 1920, the county had 7,490 people.

The blogger bicycled across the country in 2007. 
In two small Kansas towns, the locals reported that even McDonalds had closed.


These two young riders were heading east, also riding across the country.
I was heading west.
(I lost their names, unfortunately.)
Kansas Highway 96 was flat for many miles.



 

    The ten least-populous states will be:

 

39. Montana

40. Utah

41. New Hampshire

42. Idaho

43. New Mexico

44. Vermont

45. Arizona

46. Delaware

47. Wyoming

48. Nevada

 

   Only three cities have topped a million people: New York leads (5.6 million, including 1,989,216 persons foreign born); Chicago is second (2.7 million); and Philadelphia is third (1.8 million).

 

   Detroit is close (993,678). (Source: The North American Almanac, 1924).

 

  A century later, with two states since added, New Hampshire is still #41. Montana is #43, Delaware is #45, Vermont is #49, and Wyoming finds itself at the bottom, #50.

 

  Rounding out the bottom ten are states new to the list of least populated: Maine #42; Rhode Island #44; South Dakota #46; North Dakota #47; and Alaska #48. 



Parts of Wyoming remain barren a century later.
Author's photo from a cross-country bicycle ride - 2007.


Much of Montana is sparsely populated, as well.
Picture heading north toward Browning, 
from blogger's bicycle ride 2024.
Even finding shade was a challenge in places.



*

MARION DAVIES stars in the movie, “The Restless Sex,” as an adventurous young woman, torn between her love for two different men.



* 

THAT SPRING, Arthur Walworth writes, Wilson faced a number of post-war problems:

 

long-simmering problems of labor and industry were brought before the recuperating President for settlement. During his illness the men of his Cabinet had been debating delicate, incendiary issues of law. Now, when Palmer suggested the use of an injunction to suppress a strike in New York Harbor, the President turned to him quietly and said: “Every lawyer knows that is an abuse of the writ.” Labor could never be forced back into the conditions under which had worked before the war, Wilson thought.

 

Wilson refused, however, to consider a pardon for Eugene Debs, the Socialist, whom he considered a “traitor.” (10/397 II)

 

* 

February 25: Congress passes the Mineral Lands Leasing Act. Royalties to be paid to the federal government, by companies extracting oil and gas are set – but are not changed for at least a hundred years. Most lands can still be rented for an annual fee of $2 per acre for petroleum, and $3 per acre for coal.


 

*

 

March 26: This Side of Paradise, F. Scott Fitzgerald’s debut novel, is published. At a time when polite society believed a woman who allowed a man to kiss her must then be engaged, this line shocked readers.

 

Amory Blaine’s girlfriend Rosalind Connage tells him, “I’ve kissed dozens of men, I suppose I’ll kiss dozens more.”


 

In the wake of World War I, young people challenged the old rules.




The pre-war style of 1914 is going out.

* 

REACTION against immigration continues to fester. H.L. Mencken offers his acerbic take on the Anglo-Saxon type:

 

As I say, the American of the old stock is not unaware of his steady, and, of late, somewhat rapid deterioration – this gradual loss of his old mastery in the land his ancestors helped to wring from the Indian and the wildcat. He senses it, indeed, very painfully, and, as if in despair of arresting it in fact, makes desperate efforts to dispose of it by denial and concealment. These efforts often take grotesque and extravagant forms. Laws are passed to hobble and cage the citizen of newer stocks in a hundred fantastic ways. It is made difficult and socially dangerous for him to teach his children the speech of his fathers, or to maintain the cultural attitudes that he has inherited from them. Every divergence from the norm of the low-caste Anglo-Saxon is treated as an attentat against the Commonwealth, and punished with eager ferocity.

 

It so happens that I am myself an Anglo-Saxon – one of far purer blood, indeed, than most of the half-bleached Celts who pass under the name in the United States and England. I’m in part Angle and in part Saxon, and what else I am is safely white, Nordic, Protestant and blonde. Thus I feel free, without risk of venturing into bad taste, to regard frankly the soi disant Anglo-Saxon of this incomparable Republic and his rather less dubious cousin of the Motherland. How do the two appear to me, after years spent largely in accumulating their disfavor? What are the characters that I discern most clearly in the so-called Anglo-Saxon type of man? I may answer at once that two stick out above all others. One is his curious and apparently incurable incompetence – his congenital inability to do any difficult thing easily and well, whether it be isolating a bacillus or writing a sonata. The other is his astounding susceptibility to fears and alarms – in short, his hereditary cowardice.

 

He adds that the two great empires, English and American, “were built up primarily by swindling and butchering unarmed savages, and after that by robbing weak and friendless nations.”

 

In fact, Mencken quotes a report focusing on the condition of the people of southeast Ohio, at the time, described as “more purely American than in any of the rest of the State.”

 

Here gross superstition exercises strong control over the thought and action of a large proportion of the people. Syphilitic and other venereal diseases are common and increasing over whole counties, while in some communities nearly every family is afflicted with inherited or infectious disease. Many cases of incest are known; inbreeding is rife. Imbeciles, feeble minded, and delinquents are numerous, politics is corrupt, and selling of votes is common, petty crimes abound, the schools have been badly managed and poorly attended. Cases of rape, assault, and robbery are of almost weekly occurrence within five minutes’ walk of the corporation limits of the one of the county seats, while in another county political control is held by a self-professed criminal. Alcoholic intemperance is excessive. Gross immorality and its evils results are by no means confined to the hill districts, but are extreme also in the towns. (49-131-132)


* 

May: In a book review, The New York Times takes note of the anti-Semitism of the era. 

    The Dearborn Independent, a newspaper that was owned by Ford and circulated via Ford dealers around the country, launched a series titled “The International Jew.” It cited “The Protocols,” and advanced the plot: Schiff and the Warburgs, in this telling, had not just brought down the Russian Empire; they had also conspired to bring the Bolsheviks to power in 1917. (Unsurprisingly, these rich bankers did not in fact support the Bolsheviks.) International Jews, Ford’s paper said, were the “conscious enemies of all that Anglo-Saxons mean by civilization.” 

    The newspaper series was a crisis for American Jews. But Schiff, uncharacteristically, advised restraint. “If we get into a controversy we shall light a fire, which no one can foretell how it will become extinguished,” he wrote to a group of Jewish leaders in June. “I would strongly advise therefore that no notice be taken of these articles and the attack will soon be forgotten.”

 

Schiff died later that same year, and did not live to see how terribly wrong he had been.

Ford turned the series, “The International Jew,” into a book (subtitle: “The World’s Foremost Problem”) and millions of copies were printed. 

Two years later, The Times reported that Adolf Hitler, had a portrait of Ford on his office wall in Munich. On a table in his anteroom you could pick from a stack of copies of The International Jew, translated into German.



* 

August 10: Mamie Smith and Perry Bradford record a song, written by Bradford, “Crazy Blues.” Smith is from Cincinnati, a singer with only one other recorded title to her credit. In the first month, “Crazy Blues” sells 75,000 copies, two million over time. As The New York Times noted on the hundredth anniversary of its release, “It established the blues as a popular art and prepared the way for a century of Black expression in the fiery core of American music.”

 

“Crazy Blues”

By Mamie Smith

 

I can’t sleep at night

I can’t eat a bite

‘Cause the man I love

He don’t treat me right

 

He makes me feel so blue

I don’t know what to do

Sometime I sit and sigh

And then begin to cry

‘Cause my best friend

Said his last goodbye

 

There’s a change in the ocean

Change in the deep blue sea, my baby

I’ll tell you folks, there ain’t no change in me

My love for that man will always be

 

Now I can read his letters

I sure can’t read his mind

I thought he’s lovin’ me

He’s leavin’ all the time

Now I see my poor love was blind

 

I went to the railroad

Hang my head on the track

Thought about my daddy

I gladly snatched it back

Now my baby’s gone

And gave me the sack

 

Now I got the crazy blues

Since my baby went away

I ain’t got no time to lose

I must find him today

 

Now the doctor’s gonna do all that he can

But what you’re gonna need is an undertaker man

I ain’t had nothin’ but bad news

Now I got the crazy blues

 

I’m gonna do like a Chinaman

Go and get some hop

Get myself a gu, and shoot myself a cop

 I ain’t had nothin’ but bad news

Now I’ve got the crazy blues.

 

The Times explains the power of the song: 

A boisterous cry of outrage by a woman driven mad by mistreatment, the song spoke with urgency and fire to Black listeners across the country who had been ravaged by the abuses of race-hate groups, the police and military forces in the preceding year — the notorious “Red Summer” of 1919.

 

The blues worked on multiple levels simultaneously and partly in code, with “my man” or “the man” translatable as “the white man” or “white people.”

 

Out of her mind with despair, the singer turns to violence against her oppressor for relief in the chorus that gives the song its title: “Now the doctor’s gonna do all that he can/ But what you’re gonna need is an undertaker man/ I ain’t had nothin’ but bad news/ Now I’ve got the crazy blues.”

 

Indeed, the blues became a full-blown craze, with listeners of every color able to buy and listen at home to music marketed as “race records.” The form was initially associated almost exclusively with women such as Ms. Smith, Ma Rainey, Ethel Waters and Bessie Smith. They and many more women made hundreds of records that sold millions of copies over more than a decade — well before the great bluesman Robert Johnson stepped into a recording studio for the first time, in November 1936.

 

But so was the song’s disturbing but powerful ending, in which Ms. Smith sings allegorically of the darkening circumstances: “There’s a change in the ocean/ change in the deep blue sea.” In the concluding verse, she speaks of changing the way she responds. She has decided to “go and get some hop,” she announces, and “get myself a gun and shoot myself a cop.”

 

Mamie Smith’s “Crazy Blues” was also a dance tune: People were not only moved by it; they moved to it. 



A young woman of the era: showing too much ankle!


No good girl would ever smoke or show so much skin!!!


1920 Model T Coupe by Ford.


* 

September: In the Atlantic Monthly, “These Wild Young People” appears, written by One of Them.

 

The older generation had certainly pretty well ruined this world before passing it on to us. They gave us this Thing, knocked to pieces, leaky, red-hot, threatening to blow up; and then they are surprised that we don’t accept it with the same attitude of pretty, decorous enthusiasm with which they received it, way back in the eighteen-nineties, nicely painted, smoothly running, practically fool-proof. “So simple that a child can run it!” But the child couldn’t steer it. He hit every possible telegraph-pole, some of them twice, and ended with a head-on collision for which we shall have to pay the fines and damages. Now, with loving pride, they turn over their wreck to us. (155/frontispiece)

 

* 

November 2: President Wilson is convinced Democrats will prevail in the voting. “You need not worry,” he tells his cabinet on Election Day. “The American people will not turn Cox down and elect Harding.” (10/403 II) 

It’s not even close. 

Warren G. Harding polls 16,151,916 votes, a winning margin of 60.3 percent. James M. Cox earns 9,134,074. Democrats manage to win the votes of every former Confederate state, save Tennessee. 

They also pick up Kentucky. The rest of America votes – as we might say a century later – red. 


1926

 

“Catnip for women.”

 

July: The Son of the Sheik premiered in New York City, with Rudolph Valentino making a personal appearance at the theater. “Screeching females clawed at him, stole his hat, and tore off his coat pockets. One high-spirited flapper tackled the Latin lover by the ankles, and, frantic for a souvenir, started unlacing his shoestrings,” according to M.M. Marberry. “He had to be rescued by a squadron of police.”



 

*

 

August 15: Valentino collapses in pain, possibly a result of appendicitis. His case takes a turn, and he dies at 12:10 p.m. on August 23. He was 31.

 

H. L. Mencken called the Shiek “catnip for women.”

 

A crowd of mostly females gathered outside the funeral parlor where Valentino’s body was taken. Marberry explains:

 

The frenzied mob rioted and tried to break into the mortuary, shattering a massive plate-glass window. Three policemen, a photographer, and many of the charging women were cut by pieces of flying glass. Mounted police moved in, pushing back the mob with their horses. Some women fainted; others were bowled over and trampled on. All day the riot continued. Ambulances were summoned and more than one hundred police reinforcements were rushed to the scene. Shortly before midnight, when most of the rioters dispersed, the exhausted police were left victors on a field of battle littered with hats, shoes, and torn clothing.

 

Somehow, Valentino had exuded “magnetism” on the screen. Marberry writes, “To millions upon millions of women he was Romance as Romance ought to be, not the way it was in their homes.”

 

Grief drove several women to suicide, including Agatha Hearn, a New York mother. She shot herself, and died clutching “a sheaf of Valentino photographs” in her hand. A Bronx housewife attempted suicide because of what she described as “my love for him” but survived. As far away as London, a 26-year-old dancer named Peggy Scott did away with herself. She left a note: “It is heartbreaking to live in the past when the future is hopeless—please look after Rudolph’s pictures.” It was said, in Japan, that two distraught girls held hands and jumped to their deaths in a volcano.

 

Valentino had been divorced for a second time in 1925; and from that point forward spent much of his time with a young actress Pola Negri. The funeral on August 30 drew huge crowds—lining the streets from Forty-seventh to Sixty-ninth streets. Only 500 invitees were allowed into the service. The hearse arrived “blanketed with pink roses.”

 

Producers of The Son of the Sheik had every reason to fuel wild stories about the death of their star—for the movie was only now going to be released nationwide. Most men, Marberry, says had already soured on Valentino. Some called him a lounge lizard, a pretty boy, a gigolo. Reporters had begun to mock his long sideburns; others referred to him as a “reformed dishwasher.” The Chicago Tribune went so far as to blame the “Powder Puff Hero” for the increasing effeminization of American males.

 

One flack released a statement, quoting Valentino’s last words, “Let the tent be struck!” This reminded fans to go see the movie, including Vilma Banky, his female co-star, known as the “Hot Paprika from Hungary.” There was also the popular song of the day, The Shiek of Araby.

 

In that shocking song, the hero creeps into his love’s tent….


 

These “last words” of Valentino sounded too much like the last words of Robert E. Lee; so other variations were tried. Meanwhile, Valentino’s manager was trying to sell three books, one by the actor himself on How to Keep Fit. A second was a volume of poems, also purportedly written by Rudy. His brother Alberto Valentino now appeared on the scene—reporting that the actor’s real name was Rodolfo Alonzo Raffaelo Pierre Filibert Guglielmi Di Valentina d’Antonguolla. This seemed to prove Rudy was descended from nobility. Alberto also explained that the deceased had been at home in five languages.

 

Miss Negri appeared—having made the four-day train trip from Hollywood. Seeing Valentino’s body for the first time she swooned. She refused to see reporters, made it clear she would fulfill her contract to make a few more movies, and then would spend the rest of her days in a cloister.

 

The body was laid to rest in California; The Son of the Sheik soon smashed box office records. A line formed fifteen hours before the film was to be shown for the first time in London. Valentino had been in debt up until his death—but the success of his last film wiped out all his bills and left an estate of $600,000. Occasionally, Miss Negri made headlines in years to come. She told reporters she might pay as much as $1 million to purchase a well-known oil painting of Valentino dressed as an Argentine gaucho. At a December auction of the actor’s possessions, however, the painting went for $1,550 to another fan. Just before Christmas, Negri’s lawyers sued the estate for $15,000 she alleged she had lent the Sheik.

 

Eventually, Valentino’s second wife, Natacha Rambova, nee Winifred Hudnut, arrived in the States. Through a medium, she told reporters, she had established contact with Rudy up in heaven. She explained what he had said:

 

I have many valuable friends up here and am happy. Caruso likes me. So does Wally Reid and Sarah Bernhardt, both of whom are doing well in the movies up here. Sarah has been particularly kind to me. These spirits do the same thing as they did on earth, but, of course, in a different way: they act with more soul now.


 

At first the Sheik was unhappy with the small parts he received up in heaven; but he was now serving an apprenticeship and would soon become a star, as he had been during his earthly days. “On earth,” he told Rambova, “the clever artiste could portray any part given him by a director. Not so, here in heaven. All is sincerity.”  American Heritage (August 1965)


* 

August: H.L. Mencken captures perfectly what life was like on a hot night, before air conditioning. He and a group of reporters, seated in a restaurant, are doing their best to stay cool, and come to grips with the story of Valentino. “We perspired horribly for an hour, mopping our faces with our handkerchiefs, the table napkins, the corners of the tablecloth, and a couple of towels brought in by the humane waiter,” he wrote. “Then there came a thunderstorm, and we began to breathe.” 

As for Valentino, he had been stung by a recent story, that put his reputation at risk, as Mencken explains:

 

The trouble that was agitating Valentino turned out to be very simple. The ribald New York papers were full of it, and that was what was agitating him. Sometime before, out in Chicago, a wandering importer had discovered, in the men’s wash-room of a gaudy hotel, a slot-machine selling talcum-powder. That, of course, was not unusual, but the color of the talcum-powder was. It was pink. The news made the town giggle for a day, and inspired an editorial writer on the Chicago Tribune to compose a hot weather editorial. In it he protested humorously against the effeminization of the American man, and laid it lightheartedly to the influence of Valentino and his sheik movies. Well, it so happened that Valentino, passing through Chicago that day on his way east from the Coast, ran full tilt into the editorial, and into a gang of reporters who wanted to know what he had to say about it. What he had to say was full of fire. Throwing off his 100% Americanism and reverting to the mores of his fatherland, he challenged the editorial writer to a duel, and, when no answer came, to a fist fight. His masculine honor, it appeared, had been outraged. To the hint that he was less than he, even to the extent of one half of one percent, there could be no answer save a bath of blood. (49/171)

 

* 

“The typical lawmaker of today is a man wholly devoid of principle – a mere counter in a grotesque and knavish game. If the right pressure could be applied to him he would be cheerfully in favor of polygamy, astrology or cannibalism.” H.L. Mencken

 


*


Summer: Arnold Hano is four year old and living a block from the Polo Grounds, home to the New York Giants baseball team.  His grandfather Ike, a New York City police lieutenant gives the boy his season pass for a seat in the grandstand above first base. 

Long after, Hano, who goes on to be a baseball writer, remembered, “It was a simple matter for my mother to get me off her hands by teaching me to cross streets by myself.” That season he attend a handful of games by himself; and the following season he started spending money he earned to buy 50 cent seats in the bleachers. He was hooked on the sport for the rest of his life. 

The boy had heard that people sitting in the bleachers had the most fun. According to The New York Times, “He began spending Saturday afternoons on those long narrow planks that passed for seats some 500 feet from home plate, growing to love the wide view of that cavernous, horseshoe-shaped ballpark that they afforded and to enjoy the characters he encountered there.”

 

* 

October 31: Harry Houdini, the great escape artist proves that even the great escape artist cannot escape death, succumbing from appendicitis. He leaves precise instructions on how he will communicate from beyond the grave with his wife and friends, if it can be done. No one has heard from him since.


 

*

 

Harry Houdini had been famous for many years, although his act had eventually grown stale. In 1903, for example, he had escaped from the “Siberian Transit Cell,” as The New Yorker explains, “a metal safe on wheels that was used to haul political renegades to prison.” (Houdini might just have made up the name.) Houdini, himself, was Jewish and had come to America with his parents in 1874, from Hungary. He once explained the lure of his act, saying that risk,

 

attracts us to the man who paints the flagstaff on the tall building, or to the human fly, who scales the walls of the same building. If we knew that there was no possibility of either one of them falling or, if they did fall, that they wouldn’t injure themselves in any way, we wouldn’t pay any more attention to them than we do a nursemaid wheeling a baby carriage. Therefore, I said to myself, why not give the public a real thrill?


 

David Denby, writing about Houdini, gives his background:

 

He was born Erik Weisz (later Americanized, sort of, to Ehrich Weiss) in Budapest on March 24, 1874. When he was four, he immigrated to this country with his mother and his brothers. His father had left Hungary two years earlier and settled in Appleton, Wisconsin, a mill town near Lake Winnebago, where he found a job as a rabbi. He was no longer young, though, and he didn’t speak much English. The fifteen German Jewish families of Appleton fired him after a few years, and the family moved to Milwaukee, where they were often hungry, and then to Manhattan – to a cold-water flat on East Seventy-fifth Street (at the time a slum) and to jobs in the garment industry, cutting the lining of neckties. In New York, Ehrich, watching his father slide into despair and ill health, vowed, like many immigrant children, never to be poor – and, even more important to him, never to allow his mother, Cecilia, whom he adored, to want for anything. Like Al Jolson and Irving Berlin, who were also children of Jewish clergymen, he launched into show business as the way out of ghetto jobs like stitching garments and rolling cigars. It was the first of his escapes.

 

There is a photo of him as a skinny, angry-looking teen-ager. Like Theodore Roosevelt, the contemporary avatar of self-transformation, he built himself up; he ran, boxed, swam (in the East River), lifted weights, and became both strong and astoundingly flexible. There’s no record that he was aware of the Zionist agitation in Europe at the time, but he came to represent Max Nordau’s ideal of Muskeljudentum, or muscular Judaism, with its rejection of male bodies enfeebled by endless study. He spent little time in school and worked at odd jobs; he may have learned the secrets of locks while employed at a locksmith shop. As a child, he had played at conjuring and had dreamed of becoming a trapeze artist. When he was in his late teens, he acquired a used copy of the memoirs of Jean-Eugène Robert-Houdin, the French watchmaker who became the great magician of the nineteenth century. Ehrich was so excited about Houdin that he changed his name to Houdini. He thought, Begley says, that the final “i” signified that he was “Houdin-like.”

 

…By 1906, he was throwing himself, chained, into inhospitable bodies of water, dropping twenty-five feet off the Belle Isle Bridge, for instance, into the freezing Detroit River. In 1915 and after, thousands of onlookers saw him straitjacketed and hanging upside down from a scaffold above the streets of Kansas City, Minneapolis, and many other cities. He’d pull himself up, wriggle free, drop the straitjacket, and spread his arms. The reference to Jesus did not go unnoticed.

 

He taught himself to speak in advanced elocutionary English, and to write in the ornate tones of period ballyhoo; sometimes he used a ghostwriter, but he also composed or dictated stories about himself, proclaiming his greatness in leaflets, flyers, books, and pamphlets. He appeared in a few silent movies in the nineteen-tens and twenties, although he was a terrible actor. 

 

In 1920, he became friends with Sir Arthur Conan Doyle. The creator of the most logical man in popular literature was, paradoxically, devoted to Spiritualism. Doyle was convinced that he had communicated, in séances, with his son Kingsley, who was wounded in the Great War and died in the influenza epidemic of 1918. In between writing stories about Sherlock Holmes, Doyle wrote books announcing that humanity had entered into “new relations with the Unseen”; he believed that Harry Houdini, for one, possessed supernatural powers. Houdini was flattered but disavowed any special help. The friendship proceeded in an amiable manner until June of 1922, when Doyle and Lady Doyle, who was a practicing medium, invited Houdini to their suite at the Ambassador Hotel in Atlantic City. Lady Doyle seated the party around a table, rapped three times, and began communicating with Houdini’s adored mother, who had been dead for nine years. (Hearing of the death while in Europe, Houdini had fainted.) She wrote out fifteen pages of messages in English, a language that Cecilia never spoke. Houdini sat there quietly, thanked his hosts, and departed.

 

He wanted to reach his mother, but he knew that Spiritualism was a con. In the eighteen-nineties, he and Bess had dabbled in it themselves, researching names at local graveyards the night before summoning the dead in public. In the wake of the Atlantic City disaster, Houdini, now thoroughly enraged, decided to expose the entire movement. He took on famous mediums and began lecturing on “Fraudulent Spiritualistic Phenomena.” He testified before Congress about the Spiritualist menace. Travelling all over the country, he interrupted séances, sometimes in disguise (beard, hump), shouting, “I am Houdini!” He flipped over tables and demanded that the lights be turned on, trashing the event for performers and hopeful listeners alike. Why did he care so much? He and the Spiritualists were both engaged in show business. But the Spiritualists, he thought, preyed on the emotions of people in mourning. 

 

The climber, it has been said, assaults the mountain “because it’s there.” But for Houdini nothing was there, except the extinction that he teased and eluded with more and more bizarre feats. For him, a failure of nerve might have been worse than any calamity. Begley lays to rest the legend that Houdini’s death, in October, 1926, resulted from a punch to the stomach, though there were punches that month, administered in a Montreal hotel room by a McGill student who (with Houdini’s consent) sought to test the popular myth that the great man could withstand any blow. But Begley convincingly argues that Houdini was ill beforehand. A couple of days after the Montreal incident, he took the train to Detroit and, refusing to go to the hospital, performed his opening-night show in feverish agony. He died, of a burst appendix and peritonitis, at the age of fifty-two, on October 31st.