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Father Padraic O’Malley, driving his old black 1947 Plymouth coupe, stopped at the curb where I stood alone and forsaken. Leaving the car running, he climbed out and walked toward me. Father Paddy reminded me of Dennis Day who appeared every week on the Jack Benny Program. He didn’t have the tenor voice that Dennis had, but he was always singing and tap dancing. He also had that Irish glint in his eyes like he was up to mischief—always a joke on his lips or a trick up his sleeve, fun to be around. “Khalil,” he addressed me, “Why are you still here? Shouldn’t you be riding with the family to the cemetery?” “I got left.” “Jump in. We’ll catch them up, and I’ll drop you so you can be with them for the final prayers.” He opened the passenger door and slid across to the driver side, motioning me to follow. “I can’t.” I continued to stand next to the car’s open door. I fought back the tears that wanted to fall down to my feet freeing them from the locks that bound me to the cement. The heat from inside the car rushed out, touching my face with its warmth. I blew my hands to warm them. My gloves and hat must still be in the church, probably already appropriated by the old witch who, after weddings, steals the …show more content…
Butler’s Uncle Anthony was a coal miner who worked with my Pa for as long as I can remember. Though we’re not related, I call them “Aunt” and “Uncle.” Now, though up in their years, they still do a bit of light farming. Well, at least Aunt Mary does. Uncle Anthony had a stroke a few years ago leaving him bed-ridden. Fortunately, Aunt Mary found him only moments after he collapsed in the snow bank just inside their fence. He survived the fall in the snow—and the stroke—possibly because of all the alcohol in his body after an evening at the tavern. Or, maybe Aunt Mary’s quick wits of rolling him onto the sled, then pulling him up to the house and calling the near-by vet, kept him alive. Alive, but unable to speak or move. I’ll visit them after my Mass
Irish American Magazine, Aug.-Sept. 2009. Web. The Web. The Web. 06 May 2014.
She thought about her family, and the neighbors, and the town, and the dogs next door, and everyone and everything she has ever met or seen. As she began to cry harder, she looked out the window at the stores and buildings drifting past, becoming intoxicated suddenly with the view before her. She noticed a young woman at the bus stop, juggling her children on one side of her, shielding them from the bus fumes.
Born in Brooklyn in 1930 to recent Irish immigrants Malachy and Angela McCourt, Frank grew up in Limerick after his parents returned to Ireland because of poor prospects in America. Due to the Great Depression, Malachy could not find work in America. However, things did not get any better back in Ireland for Malachy. A chronically unemployed and nearly unemployable alcoholic, he appears to be the model on which many of our more insulting cliches about drunken Irish manhood are based. Week after week, Angela would be home expecting her husband to come home with money to eat, but Malachy always spent his wages on pints at local pubs. Frank’s father would come home late at night and make his sons get out of bed and sing patriotic songs about Ireland by Roddy McCorley and Kevin Barry, who were hung for their country. Frank loved his father and got an empty feeling in his heart when he knew his father was out of work again. Frank described his father as the Holy Trinity because there is three people in him, “The one in the morning with the paper, the one at night with the stories and prayers, and then the one who does the bad thing and comes home with the smell of whiskey and wants us to die for Ireland” (McCourt 210). Even when there was a war going on and English agents were recruiting Irishmen to work in their munitions factories, Malachy could not keep a job when he traveled to England.
I woke up at John Morris’ house, on his coach. As I knocked a flyaway hair out of my face I noticed my face was wet, with tears, and then it all hit me at once that my Dad and Mrs. Borden were dead. Suddenly I couldn’t breathe. I heard John Morris ask if I was alright, but that seemed like a completely different world, I responded with a meek okay, so Mr. Morris wouldn’t see me like this. That didn’t work though, I saw his tall shadowy figure ducking under the door frame with tea. As Mr. Morris sat down and put the tea on the coffee table in front of us, I turned my head and quickly wiped the tears from my eyes in hopes he wouldn’t see.
There is particular consideration given to the political climate in this story. It is incorporated with social and ethnic concerns that are prevalent. The story also addresses prejudice and the theme of ethnic stereotyping through his character development. O'Connor does not present a work that is riddled with Irish slurs or ethnic approximations. Instead, he attempts to provide an account that is both informative and accurate.
Nonetheless, there was one more death in the family to come in the following years, this time one that actually benefitted the young man. His grandfather in Ireland died an...
This short story revolves around a young boy's struggle to affirm and rationalize the death and insanity of an important figure in his life. The narrator arrives home to find that Father James Flynn, a confidant and informal educator of his, has just passed away, which is no surprise, for he had been paralyzed from a stroke for some time. Mr. Cotter, a friend of the family, and his uncle have much to say about the poor old priest and the narrator's relationship with him. The narrator is angered by their belief that he's not able, at his young age, to make his own decisions as to his acquaintances and he should "run about and play with young lads of his own age ..." That night, images of death haunt him; he attempts make light of the tormenting face of the deceased priest by "smiling feebly" in hopes of negating his dreadful visions. The following evening, his family visits the house of the old priest and his two caretakers, two sisters, where he lies in wake. There the narrator must try and rationalize his death and the mystery of his preceding insanity.
A collection of short stories published in 1907, Dubliners, by James Joyce, revolves around the everyday lives of ordinary citizens in Dublin, Ireland (Freidrich 166). According to Joyce himself, his intention was to "write a chapter of the moral history of [his] country and [he] chose Dublin for the scene because the city seemed to [b]e the centre of paralysis" (Friedrich 166). True to his goal, each of the fifteen stories are tales of disappointment, darkness, captivity, frustration, and flaw. The book is divided into four sections: childhood, adolescence, maturity, and public life (Levin 159). The structure of the book shows that gradually, citizens become trapped in Dublin society (Stone 140). The stories portray Joyce's feeling that Dublin is the epitome of paralysis and all of the citizens are victims (Levin 159). Although each story from Dubliners is a unique and separate depiction, they all have similarities with each other. In addition, because the first three stories -- The Sisters, An Encounter, and Araby parallel each other in many ways, they can be seen as a set in and of themselves. The purpose of this essay is to explore one particular similarity in order to prove that the childhood stories can be seen as specific section of Dubliners. By examining the characters of Father Flynn in The Sisters, Father Butler in An Encounter, and Mangan's sister in Araby, I will demonstrate that the idea of being held captive by religion is felt by the protagonist of each story. In this paper, I argue that because religion played such a significant role in the lives of the middle class, it was something that many citizens felt was suffocating and from which it was impossible to get away. Each of the three childhood stories uses religion to keep the protagonist captive. In The Sisters, Father Flynn plays an important role in making the narrator feel like a prisoner. Mr. Cotter's comment that "… a young lad [should] run about and play with young lads of his own age…" suggests that the narrator has spent a great deal of time with the priest. Even in death, the boy can not free himself from the presence of Father Flynn (Stone 169) as is illustrated in the following passage: "But the grey face still followed me. It murmured; and I understood that it desired to confess something.
The narrator begins the story in Frank Martin's drying-out facility. He is a drunk, and has checked into the home for the second time. At the beginning of the story, some of the physical dysfunctions associated with the disease are revealed, and they range from shakes and tremors to seizures. This part of the story is used by Carver to display the physical problems that result from withdrawal from alcohol. It is clear that these problems are significant, but overcoming them doesn't compare to the task of repairing the bonds with family members and friends that have been destroyed. In this story, the healing process is quite unique for the characters in that it involves a large group of men, all suffering from the same illness, pulling together and supporting each other through the pain- almost like a modern day leper colony. They are separated from their family and friends, and are ...
“When I look back on my childhood I wonder how I survived at all. It was, of course, a miserable childhood: the happy childhood is hardly worth your while. Worse than the ordinary miserable childhood is the miserable Irish childhood, and worse yet is the miserable Irish Catholic childhood.”
“Okay, that makes sense, I guess,” my eyes widened, “How do we get back out? Will God come and pick us up or something?”
My forty-first birthday passed just five days ago. The community of Green Bottle Street surprised me with a large feast at Mrs.Trusdale’s house when I got home from a long day of wine brewing. Over the past year, a lot has changed around here. About six months ago, Mrs.Trusdale was having troubles remembering simple things. Like where the flour was and what her name was. I decided to that it was time we went into town and
As she awaits her husbands arrival, the sight of car lights and the sound of a car prompts her to react in this way: “she goes into a sideboard, takes out a gun” (3). These
"Well, I had to get home before my cousin and aunt. They aren't. . . the most loving family, but they're the only ones I have left."