The Circus, and Other Essays and Fugitive PiecesKilmer, Joyce
History
The Circus, and Other Essays and Fugitive Pieces
Kilmer, Joyce
American essays; Literature -- History and criticism
Once there lived on West One Hundred and Eighty-second Street a man of
uncompromising practicality, a stern rationalist. He was as advanced as
anything! He believed in the materialistic interpretation of history,
economic determinism, and radium; this, he said, with some pride, was
his Creed. Often he expressed his loathing for "flesh-food," more
frequently for "Middle Class morality," most frequently for faith.
"Faith is stupidity," he would say. "Look before you leap! It makes me
sick to see the way people have been humbugged in all ages. The
capitalist class has told them something was true, something nobody
could understand, and they've--blindly accepted it, the idiots! I
believe in what I see--I don't take chances. I don't trust anybody but
myself."
Yet every day this man would give himself up to the subway with a sweet
and child-like faith. As he sat in the speeding car, he could not see
his way, he had no chance of directing it. He trusted that the train
would keep to its route, that it would stop at Fourteenth Street and let
him off. He could not keep it from taking him under the river and
hurling him out into some strange Brooklyn desert. When he started for
home in the evening, he read the words "Dyckman Street" on the car
window with a medieval simplicity, and on the guarantee of these printed
words, placed there by minions of the capitalist class, he gave up the
privilege of directing his course. The train, he believed, would not at
Ninety-sixth Street be switched off to a Bronx track; the sign told him
that he was safe, and he believed it.
So the subway caused him to exercise the virtue of faith, made him, for
a time, really a human being. Perhaps it is the sharing of this faith
that makes a subway crowd so democratic. Surely there is some subtly
powerful influence at work, changing men and women as soon as they take
their seats, or straps.
For one thing, they become alike in appearance. The glare of the
electric light unifies them, modifying swarthy faces and faces
delicately rouged until they are nearly of one hue. Then, the
differences of attitude are lost, and attitudes are great instruments of
subordination. The ragged bootblack does not kneel at the broker's feet;
he sits close beside him, or perhaps, comfortably at rest, watches the
broker clutch a strap and struggle to keep his footing.
"Tired clerks, pale girls, street-cleaners, business men, boys, priests
and sailors, drunkards, students, thieves"--all gain a new sincerity.
Neither the millionaire's imperiousness nor the beggar's professional
humility can make the train go faster, so both are laid aside.
Distinctions of race and caste grow insignificant, as in a company
confronting one peril or one God. This is not theory, it is fact. The
subway passenger purchases a nickel's worth of speed and he must take
with it a nickel's worth of democracy.
Public-domain text, read in full here on John Shaqi.
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