Harry Houdini Character Analysis

[Little Boy] felt that the circumstances of his family’s life operated against his need to see things and go places. For instance he had conceived an enormous interest in the works and career of Harry Houdini, the escape artist. But he had not been taken to a performance. Houdini was a headliner in the top vaudeville circuits. His audiences were poor people—carriers, peddlers, policemen, children. His life was absurd. He went all over the world accepting all kinds of bondage and escaping. He was roped to a chair. He escaped. He was chained to a ladder. He escaped. He was handcuffed, his legs were put in irons, he was tied up in a strait jacket and put in a locked cabinet. He escaped. He escaped form bank vaults, nailed-up barrels, sewn mailbags; he escaped from a zinc-lined Knabe piano case, a giant football, […] a rolltop desk, a sausage skin.

The prisoner was sitting at a table laid with linen and service. On the table were the remains of a large meal. An empty bottle of champagne was stuck upside down in a cooler. The iron cot was covered with a quilted spread and throw pillows. A Regency armoire stood against the stone wall. The ceiling fixture had been ornamented with a Tiffany lampshade. Houdini could not help staring. The prisoner’s cell glowed like a stage in the perpetual dusk of the cavernous prison. The prisoner stood up and waved, a stately gesture, and his wide mouth offered the trace of a smile.

Houdini walked through the streets. His ears burned with humiliation. He wore a hat with the brim turned down. He wore a tight-fitting double-breasted linen jacket and he kept his hands in the pockets of the jacket. He wore tan trousers and brown and white shoes with pointed toes. It was a chilly autumn afternoon and most people wore coats. He moved swiftly through the crowded New York streets. He was incredibly lithe. There was a kind of act that used the real world for its stage. He couldn’t touch it. For all his achievements, he was a trickster, an illusionist, a mere magician. What was the sense of his life if people walked out of the theater and forgot him? The headlines on the newsstand said Peary had reached the Pole. The real-world act was what got into the history books.

[Morgan] heard from a native guide of the wisdom given to the great Osiris that there is a sacred tribe of heroes, a colony from the gods who are regularly born in every age to assist mankind. The idea stunned him. The more he thought about it the more palpably he felt it. It was upon his return to America that he began to think about Henry Ford. He had no illusions that Ford was a gentleman. He recognized him for a shrewd provincial, as uneducated as a piece of wood. But he thought he saw in Ford’s use of men a reincarnation of pharaohism. Not only that: he had studied photographs of the automobile manufacturer and had seen an extraordinary resemblance to Seti I, the father of the great Ramses and the best-preserved mummy to have been unearthed from the necropolis of Thebes in the Valley of the Kings.

[Little Boy] felt that the circumstances of his family’s life operated against his need to see things and go places. For instance he had conceived an enormous interest in the works and career of Harry Houdini, the escape artist. But he had not been taken to a performance. Houdini was a headliner in the top vaudeville circuits. His audiences were poor people—carriers, peddlers, policemen, children. His life was absurd. He went all over the world accepting all kinds of bondage and escaping. He was roped to a chair. He escaped. He was chained to a ladder. He escaped. He was handcuffed, his legs were put in irons, he was tied up in a strait jacket and put in a locked cabinet. He escaped. He escaped form bank vaults, nailed-up barrels, sewn mailbags; he escaped from a zinc-lined Knabe piano case, a giant football, […] a rolltop desk, a sausage skin.

The prisoner was sitting at a table laid with linen and service. On the table were the remains of a large meal. An empty bottle of champagne was stuck upside down in a cooler. The iron cot was covered with a quilted spread and throw pillows. A Regency armoire stood against the stone wall. The ceiling fixture had been ornamented with a Tiffany lampshade. Houdini could not help staring. The prisoner’s cell glowed like a stage in the perpetual dusk of the cavernous prison. The prisoner stood up and waved, a stately gesture, and his wide mouth offered the trace of a smile.

Houdini walked through the streets. His ears burned with humiliation. He wore a hat with the brim turned down. He wore a tight-fitting double-breasted linen jacket and he kept his hands in the pockets of the jacket. He wore tan trousers and brown and white shoes with pointed toes. It was a chilly autumn afternoon and most people wore coats. He moved swiftly through the crowded New York streets. He was incredibly lithe. There was a kind of act that used the real world for its stage. He couldn’t touch it. For all his achievements, he was a trickster, an illusionist, a mere magician. What was the sense of his life if people walked out of the theater and forgot him? The headlines on the newsstand said Peary had reached the Pole. The real-world act was what got into the history books.

[Morgan] heard from a native guide of the wisdom given to the great Osiris that there is a sacred tribe of heroes, a colony from the gods who are regularly born in every age to assist mankind. The idea stunned him. The more he thought about it the more palpably he felt it. It was upon his return to America that he began to think about Henry Ford. He had no illusions that Ford was a gentleman. He recognized him for a shrewd provincial, as uneducated as a piece of wood. But he thought he saw in Ford’s use of men a reincarnation of pharaohism. Not only that: he had studied photographs of the automobile manufacturer and had seen an extraordinary resemblance to Seti I, the father of the great Ramses and the best-preserved mummy to have been unearthed from the necropolis of Thebes in the Valley of the Kings.