The Circus in Winter Read online

  Table of Contents

  Title Page

  Table of Contents

  Photo

  Copyright

  Dedication

  Epigraph

  WALLAGE PORTER

  JENNIE DIXIANNA

  THE LAST MEMBER OF THE BOELA TRIBE

  THE CIRCUS HOUSE

  WINNESAW

  THE LONE STAR COWBOY

  THE JUNGLE GOOLAH BOY

  THE KING AND HIS COURT

  BOSS MAN

  THE BULLHOOK

  CIRCUS PEOPLE

  BACK LOT

  ACKNOWLEDGMENTS

  Copyright © 2004 by Cathy Day

  All rights reserved. No part of this publication may be reproduced or

  transmitted in any form or by any means, electronic or mechanical,

  including photocopy, recording, or any information storage and retrieval

  system, without permission in writing from the publisher.

  Requests for permission to make copies of any part of the work should be

  mailed to the following address: Permissions Department, Harcourt, Inc.,

  6277 Sea Harbor Drive, Orlando, Florida 32887-6777.

  www.HarcourtBooks.com

  This is a work of fiction. Names, characters, places, organizations, and events

  are the products of the author's imagination or are used fictitiously, and any

  resemblance to actual persons, living or dead, events, or locales is entirely

  coincidental.

  Photo credits: Pages ii, [>], [>], [>], [>], [>], [>], and endpapers courtesy of

  the Miami County Historical Society; [>], photograph by Edward J. Kelty

  courtesy of the George Eastman House; [>] from the H.A. Atwell Studio,

  Chicago, Lillian Leitzel. black-and-white photograph, collection of the John

  and Mable Ringling Museum of Art and the State Art Museum of Florida;

  [>], photograph by the author; [>] from the collection of Robert

  C. Cole; [>], photograph by Tony Hare.

  Library of Congress Cataloging-in-Publication Data

  Day, Cathy.

  The circus in winter/Cathy Day.—1st ed.

  p. cm.

  1. Circus—Fiction. 2. Circus performers—Fiction. 3. Indiana—Fiction.

  I. Title.

  PS3604.A985C57 2004

  813'.6—dc22 2003025033

  ISBN 0-15-101048-X

  ISBN-13: 978-0156-03202-5 (pbk.) ISBN-10: 0-15-603202-3 (pbk.)

  Text set in Meridien

  Designed by Linda Lockowitz

  Printed in the United States of America

  First Harvest edition 2005

  K J I H G F E D C B A

  For the five of us

  Weather: In the Midwest, around the lower Lakes, the sky in the winter is heavy and close, and it is a rare day, a day to remark on, when the sky lifts and allows the heart up.

  —WILLIAM GASS,

  "In the Heart of the Heart of the Country"

  WALLAGE PORTER

  —or

  What It Means

  to See the Elephant

  CIRCUS PROPRIETORS are not born to sawdust and spangles. Consider this: P. T. Barnum was nothing more than a dry-goods peddler—that is until he bought a black woman for $1,000, a sum he quickly recouped by displaying her as George Washington's 161-year-old mammy. Barnum's business partner, James Bailey, was born little Jimmy McGinnis—an orphaned bellboy transformed into circus mastermind, a man who taught army quartermasters the science of transporting masses of men and equipment by rail. Before trains, circuses traveled by horse-drawn wagons (and were called "mud shows" for obvious reasons) and by riverboat. If it hadn't been for paddle wheels and tall stacks, brothers Al, Alf, Charles, John, and Otto Rungeling might have become Iowa harness makers, like their father. But one morning along the Mississippi in 1870, the brothers were smitten with an elephant lumbering down a circus steamboat gangplank and became forever after the Ringling Brothers, owners (along with Barnum and Bailey) of the Greatest Show on Earth.

  For many years, their greatest rival was the Great Porter Circus, owned by one Wallace Porter, a former Union cavairy officer. After Appomattox, Porter took his hard-won equine knowledge, applied it to the family's business, and became, at the age of thirty-eight, the owner of the largest livery stable in northern Indiana. How he became a circus man is another story altogether.

  EACH SUMMER, Wallace Porter boarded a train in Lima, Indiana, and headed due east through Ohio, Pennsylvania, and New Jersey to the strange land of a million people, New York City. He employed a number of lawyers and bankers to oversee the profits from his stables and dutifully met with them once a year to discuss markets and dividends. These obligations dispensed with, he hailed a carriage and disappeared into the swarm of the city, following the true impetus of his trip. Wallace Porter went to New York to indulge in extravagance.

  During his weeklong stay, he hardly slept, so intent was he to glut himself on the city. In the mornings, he had a shave and walked along the avenues down the length of Manhattan, which, in the late 1800s, was not an arduous undertaking. He handled his business over lunch, and afterward, he visited the finest men's tailors in the city and bought new shirts, Chesterfield coats, leather boots, and bowler hats—all of which were shipped back to Lima in enormous Saratoga trunks. At night, he dined out in the best restaurants, gorging himself on pheasant and artichokes. He drowned in vintage French wines. After dinner, he took in a play or the symphony, and then, until the small hours of the night, he roamed the parks alone. In Lima, such lavishness was a mark of poor character, a flaw almost impossible to hide, which was why Porter enjoyed the brief anonymity of the city. On the train ride back home, Porter tallied his expenses and hid that figure in his breast pocket like a guilty boy. He felt his thrifty father's eyes upon him, heard his voice saying, So what you can afford this? The money would buy more horses, carriages, a month's worth of hay. To punish himself, Porter lived a spartan existence the rest of the year, but come summer, he had to board the train, like a fish that must spawn. Always, he returned to Indiana feeling both completely hollow and fully sated.

  The trip he took to New York in 1883 was different than the others, because that was the year he met Irene, who would become his wife. His banker, Irene's father, invited him to a Fourth of July party and introduced Porter to his guests as "my new friend, the pioneer from Indiana." Porter looked nothing like a settler, but something about the name itself, Lima, invoked the exotic and the adventurous.

  The party was given on a warm summer evening. Irene's father decked the house in red, white, and blue, and instructed the small band he'd hired to play Sousa marches every so often to get folks in the patriotic mood. Irene descended the stairs to "Bonnie Annie Laurie" and caught Porter's eye as he stood near the punch bowl smoking a cigar. He was handsome in a smallish way that with his clothes and carriage passed for a kind of elegance. When he saw Irene, he dashed his cigar out in a cup of punch and met her at the bottom of the stairs. He took her hand, she smiled, and he realized then that since the war, he'd felt little within his heart except ambition, hardly an emotion at all.

  Together, they watched the fireworks display as they ambled in the garden. "Tell me about this town of yours. Lima." Lee-ma, she said.

  With a smile, Porter said, "Actually, it's like the bean."

  "Are they grown there?"

  "It's supposed to be Lee-ma, but I don't think the town fathers knew that." Porter recited a list of mispronounced Midwestern towns named for faraway places: Ver-sails, Brazz-ill, Kay-roh, New Praygue.

  Irene laughed. "Tell me about Lie-ma."

  So he described the countryside: He lived outside town along the Winnesaw, the
river that separated the northern and southern halves of Lima. He described his monthly travel circuit to check on his stables, and again, gave her a litany of town names: Kokomo, Lafayette, Monticello, Rensselaer, Valparaiso, Nappanee, Warsaw, Alexandria. Irene repeated them, like someone trying to learn a foreign language. Bursts of fireworks lit Irene's face, and Porter said, "You should travel west sometime and see a bit of the world."

  It was just something to say, but Irene sparked. "What's the farthest west you've ever been, Mr. Porter?"

  "Wallace, please," he said. "Leavenworth, Kansas." That was where his cavalry regiment, the Eleventh Indiana, mustered out. Almost twenty years had gone by, but he could still see the land rolling like an ocean into the blue sky. He tried not to remember other images: a barn in Alabama full of stinking, rotting, wailing men. His regiment lost 13 in battle, 161 to disease.

  "I've never been farther west than Buffalo, to visit my aunt," Irene said. She motioned with a sweep of her hand. "All these people do nothing but visit one another and marry one another. They just go round and round." Irene sighed. "You're a lucky man, Wallace." He looked at his feet, then up at the colorful sky, trying to gather his courage to ask to see her again the next day. But Irene said it first. "You'll have to come back tomorrow and tell me more." She put her hand in the crook of his arm.

  Already, Irene loved Wallace Porter, or knew she would love him. But she also knew this: When men steer women through crowds, they need to believe they are at the helm. Women must apply subtle, imperceptible pressure with their fingertips. In this way women lead while appearing to be led. This is the way of the world.

  NEW YORK courtships were customarily long affairs, drawn out over years at times, but Irene would have none of it. When her father protested about how the hasty marriage would look, she laughed and said, "What do I care? I'm going to Indiana." They married two weeks after the party and boarded the train for Lima. The return trip became a makeshift wedding tour with extended stays in the finest hotels in Philadelphia, Cleveland, Louisville, and Cincinnati. They went sightseeing, played faro in riverboat saloons, dined out until they ran out of restaurants, then moved on to the next city. In the Pullman, Irene held Porter's hand but rarely took her eyes from the landscape unfurling beyond the window. To her, the Blue Ridge were the Alps, and the Ohio River might well have been the Nile.

  As they neared Lima, Porter saw the flattening land full of corn with new eyes. He thought for sure that upon arrival, Irene would find the town and his house (and by extension, himself) too simple, too crass. How could he tell her the truth? He was a longtime bachelor who, after late nights spent poring over figures, often slept at his livery stable. Despite the furniture and rugs, his home was nothing more than a farmhouse, plain and simple. Porter delayed their arrival there by driving through town in the still-warm September twilight to show her his stables, Robertson's Hotel, the millinery, and the dry-goods store. They passed some of Lima's most well-appointed houses. He'd been inside them, of course, but Porter existed on the fringe of Lima's best circles, the aging bachelor invited to large Christmas parties, but never to lunch, never encouraged to drop by. Surely, he thought, Irene would change that. By the time he turned toward home, darkness had settled down from the trees onto the grass, and cicadas were singing. Neighboring farmhouses—windswept and peeling by day—glowed rosy at night with lamps burning in the windows. Irene drowsed happily as he guided the horses down River Road, which tunneled under the green-black trees lining the Winnesaw River.

  At her new home, Irene inspected the sitting room and dining room by the light of a kerosene lamp. She stared at the black kitchen stove and announced that she full well intended to learn its mysteries. Of the four upstairs bedrooms, two were full of clothes, furniture, and paintings—Porter's accumulated New York booty, much of it still in trunks or wrapped in brown paper. Irene laughed. "The king's treasure rooms," she said. Another room Porter used as a study; pipe smoke had worked its way into the walls. She walked on to the simply equipped bedroom—just a dresser, nightstand, and a bed draped with a patchwork quilt.

  Porter went to the window to pull down the shade. In the glass, he watched his new wife unfasten her gloves and take down her hair, then remove each piece of clothing: dress, bustle, corset, stockings, chemise. Irene welcomed the night; she had been preparing herself to sleep in that humble bed, in that modest house, for a lifetime already. In the morning, she'd ask her husband to take her for a ride; they'd go until his horse tired then choose a fresh one at one of his stables and ride on, like the Pony Express. At that moment, there was not a single thing lacking.

  But what Porter saw reflected in the shivering glass was a woman too lovely for that humble bed in that modest house. He blew out the lamp and said, "I'm going to build us a new place."

  "I like this house."

  "We need a bigger one. For children."

  That night, Porter built a house of words: cut-stone paths crisscrossing the lawn, weaving their way around trees and an English garden with a lily-padded pool. A two-story gray mansion with white columns and twin verandas half hidden in ivy and rosebushes. For Irene, he would make a temple, a repository of his New York excess and hungers.

  He could not see that she was tired of temples. Neither knew that already she was dying. There was a lot Wallace and Irene Porter could not and would not see.

  ALTHOUGH HE pleaded with her, Irene refused an invitation to join a local ladies' circle. "I've had my fill of circles, thank you very much."

  Although she pleaded with him, Porter refused to allow Irene to accompany him on the road. "Some of these towns don't have proper hotels," he said.

  "I don't mind boardinghouses. Aren't there other women at these places?"

  Porter looked at his shoes. "There are women, yes. But no ladies."

  He relented, however, when business took him to Chicago or Indianapolis. There, he bought Irene tokens of his affection: rugs, coatracks, clocks, crystal chandeliers. She accepted these gifts with despair and stored them in her husband's cluttered treasure rooms. To Irene, a chair was the price of a rail ticket, a dresser was a week's stay in a hotel, and with each purchase, the broad future she'd imagined shrank just a little bit more.

  Construction of the mansion began in the spring of 1884. Porter chose good ground—a grassy hill a few hundred yards from his farmhouse. From that vantage point, he and Irene would be able to look out over the countryside and the Winnesaw River. Each night, he read mail-order catalogs in bed, choosing what furnishings to order. He asked her what she preferred: Chippendale or Hepplewhite? Pineapples or grapes as a scrollwork motif? Red portieres or white? Invariably, she chose whichever was cheaper and plainer. One evening the subject was bathtubs. "This one will do just fine, Wallace," she said.

  "But it's not nearly as big as that one," he said.

  "Choose whichever you prefer then."

  "It's important to me that you like it."

  Irene smiled. "Don't be silly, dear. What's important is that you like it."

  Even though it smarted to hear her say that, he could not stop spending money on the mansion. Its unfinished skeleton appeared in his dreams, and every night, he walked through its bones.

  IRENE HAD SPENT much of her first fall behind the reins of a small buggy, taking long, solitary drives until daylight gave out. Then her first Indiana winter arrived. She paled indoors, and by summer, she was still a tint of gray. Gradually, she began keeping to the house, rarely venturing farther than the front porch. One night after dinner, Porter found Irene there, embroidering in the bright glow of the setting sun. He said, "You don't look well, Irene. Are you feeling all right?"

  "I can't seem to get warm," she said, "even sitting here in the sun." It was August.

  He asked her in a near whisper, "Is it a child?"

  Irene smiled into her lap. "Perhaps. I'm seeing the doctor tomorrow."

  But the doctor said no child grew in Irene's belly. "Plenty of time," he said, and blamed her pallor on the
adjustment to a Midwestern climate. "It will pass."

  Then one morning Porter woke up in a shaking bed. Irene lay on her back, panting, wet with sweat despite the chill that had crept in overnight. Her body was a curled fist, and her own fists were digging into her belly, her eyes shut tight. He tried to straighten her, but the pain had locked her muscles in that pose. He repeated her name, kissed her palm, but in return got three long fingernail scratches down his cheek. When it was over, Porter laid a wet washcloth over her forehead, and Irene opened her eyes. "What's happened to your face, Wallace?" she said, taking the cloth from her head and daubing it at the hardening blood on his cheek.

  "I got scratched I guess."

  "Yes, well, stay clear of whatever it was next time," she said without looking in his eyes. Because she had seen fit to warn him off, he knew this had happened before.

  By the next winter, Irene's gray skin stretched tight over sharp bones. Blue veins pulsed in her thin flesh. The fits of pain came with no warning; the beast fed on her and stole quickly away. Irene asked Porter to keep the lamp burning all night long, and he obliged, although it bothered him that his presence alone was no longer enough to sustain her. He asked, "What's wrong?" She said, "Nothing." She said, "Nerves." She said it would pass. Irene made herself a cocoon of their quilt, and when she did have to leave her bed to eat, bathe, or use the water closet, she moved slowly, almost in stealth, as if she was trying to sneak past her pain. One night as he shadowed her through the house like a ghost, she crumpled on the floor. He carried her limp body back to bed.

  For too long, Porter had abided by her desire to pretend nothing was happening, but finally, he could no longer pretend. The next morning, he shook her awake. "I've had enough," he said. "You will see a doctor."

  Irene yawned. "Why?"

  "Stop it, Irene. This isn't going away. I thought it would, but it hasn't."