We're about half way into Ragtime and I first just want to say that I'm really enjoying it.
Anyway, while looking over my class notes, I found that a few days ago we discussed the appeal of the escape artist--that there is amusement and/or hope that comes from watching a restricted individual break free from the restrictions placed on them. It was mentioned that Houdini himself escaped from societal restrictions and anti-Semitic prejudices by changing his name. Interestingly, he then dedicated his life to his escaping, making it an art that is appreciated by almost everyone, except the wealthy elite, as Houdini understands from Harry K. Thaw's actions. The wealthy elite are not amused by Houdini's art since, as their status implies, they are above society's expectations, prejudices, and restrictions. Conversely, individuals who do face some sort of oppression are fascinated by Houdini's abilities to escape physical restrictions, possibly because of a sense of hope that witnessing such freedom gives.
I've noticed that Houdini is not the only individual who seems to be escaping restraint, however. A comparison to Tateh, who is also a male Jewish artist, reveals that Tateh is escaping the restraints he faces as well. Tateh, a poor, hardworking artist and father, tries to make ends meet by selling silhouette portraits. Tateh is restricted by his poverty, as Houdini is by chains and locks, yet like Houdini, Tateh also has a scene of escape. At the end of chapter 16, Tateh is hanging onto a train's railing "with his head pressed against the bars like a man in prison begging to be set free," and is "freed" at the beginning of chapter 17 when two conductors lift him onto the train. The image of Tateh the "prisoner" becoming free (though it is not entirely clear of what) and joining the "flow of American energy" is hopeful and similar to Houdini. At this point, it is not certain that Tateh will become famous like Houdini, it was earlier mentioned that Tateh's silhouettes are "in private collections," implying that his artwork received recognition.
This pattern of an artist escaping societal restraint appears again in regard to another more recently introduced artist, Coalhouse Walker Jr.. Father's racism towards Walker makes me mad and makes me dislike Father, but that's beside the point. Father's racism is important to note because it brings attention to the racial restrictions and expectations placed on Walker. Father's thinking that "Walker [doesn't] act or talk like a colored man," further implies that Walker has found his own way to break free of those stereotypes placed on him. Walker's appearance and behavior clearly bothers Father, which somewhat reminds me of the elites' contempt of Houdini's escape art.
Three artists in this novel--Houdini, Tateh, and Walker--seem to be breaking free from restrictions. It is curious, I (Doc)trow!
...enjoy the pun :)
Another less notable artist in this novel is Mother's Younger Brother. Several times, his sketches of (?) firework designs come up, and once he meets with Emma Goldman, his art becomes more fervent. However, I'm not really sure whether or not this supports your argument that the artists are freeing themselves from restrictions. On one hand, he seems to have "freed" himself from the stifling trivialities of his family life, as evidenced by his flight from the dining room. On the other hand, Doctrow says in the same chapter that he's on the verge of a nervous breakdown, so it almost seems as though Younger Brother as fallen into a different kind of prison.
ReplyDeleteYou make some really good points! I never really thought about this connection before, but it totally makes sense and can be applied to so many cases. As we get farther into the book, as the press puts the family's house into lock down,the family has to figure out how to escape that prison that Father basically created for themselves.
ReplyDeleteIt's interesting to see, now that we've finished the novel, that Tateh also breaks free from his racial restrictions by reinventing himself, much like Houdini did. He takes on a different name and nationality, thriving in the business of making movies. His movies, as noted at the end of the book, are about integration and acceptance, so his occupation, much like Houdini's, is also about breaking free from racial prejudice. Coalhouse also takes on a different persona by becoming this violent, ungentlemanly person, and his "life's work" of getting justice is also about changing racial prejudice.
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