Angela's Ashes: A Memoir by Frank McCourt

From the Publisher

"When I look back on my childhood I wonder how I managed to survive 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."

So begins the luminous memoir of Frank McCourt, born in Depression-era Brooklyn to recent Irish immigrants and raised in the slums of Limerick, Ireland. Frank's mother, Angela, has no money to feed the children since Frank's father, Malachy, rarely works, and when he does he drinks his wages. Yet Malachy-- exasperating, irresponsible and beguiling-- does nurture in Frank an appetite for the one thing he can provide: a story. Frank lives for his father's tales of Cuchulain, who saved Ireland, and of the Angel on the Seventh Step, who brings his mother babies.

Perhaps it is story that accounts for Frank's survival. Wearing rags for diapers, begging a pig's head for Christmas dinner and gathering coal from the roadside to light a fire, Frank endures poverty, near-starvation and the casual cruelty of relatives and neighbors--yet lives to tell his tale with eloquence, exuberance and remarkable forgiveness.

Angela's Ashes, imbued on every page with Frank McCourt's astounding humor and compassion, is a glorious book that bears all the marks of a classic.

Salon - John Glassie

Why is this dark memoir, from a previously unpublished 66-year-old retired high-school teacher, generating so much buzz in publishing circles? It probably helps that Frank McCourt, a committed New York pub-crawler, has made a lot of influential lit-world friends while nursing pints of beer over the decades. But here's a less cynical answer: It's largely because Angela's Ashes relates McCourt's miserable, bruising Irish Catholic childhood in language that is as flinty and compelling as the story itself. He's soaked up some real literary ability along with the suds.

Born in the U.S. at the start of the Depression to Irish immigrant parents, McCourt suffered early and often at the hands of his father—a man who rarely got work and when he did, drank his meager wages away. When the family decided to move back to Ireland, things went from very bad to much worse. They settled in a Limerick slum and went on the dole, which was "just enough for all of us to starve on." (Indeed, neither of McCourt's two young twin brothers lived much beyond their second birthdays.) Barely old enough himself to go to school, McCourt helped his mother Angela scrounge for "bits of coal that drop from lorries" so they could at least have a fire for tea. He gathered "everything that burns, coal, wood, cardboard, paper."

It was a life so brimming with hardship and grinding poverty that when McCourt returned home from months in the typhoid ward, he longed for "the hospital where the white sheets were changed everyday and where there wasn't a sign of a flea." Hope kindled when World War II created jobs in England and McCourt's father went off with the promise of sending money back to his family. They rarely heard from him again.

Throughout this tale, McCourt displays a wry sense of humor. "When you look at pictures of Jesus," he notes at one point, "He's always wandering around ancient Israel in a sheet. It never rains there and you never hear of anyone coughing or getting consumption or anything like that and no one has a job there because all they do is stand around and eat manna and shake their fists and go to crucifixions."

It's no surprise when, with his first real job as a telegram delivery boy, McCourt begins to plan his escape from this hell. The book's most triumphant moment occurs when he manages to make the return passage to America at age 19. With Angela's Ashes, McCourt has succeeded in turning bleak reality into literature that sings.

Michiko Kakutani - New York Times

A classic modern memoir...stunning.

Margaria Fichtner - Miami Herald

A monument to the self-perpetuating power of the human spirit...an accomplished, authoritative, and shimmering example of the memoirist's art.

Peter Finn - Philadelphia Inquirer

A spellbinding memoir of childhood that swerves flawlessly between aching sadness and desperate humor...a work of lasting beauty.

The New York Times - Michiko Kakutani

Stunning....Mr. McCourt does for the town of Limerick what the young Joyce did for Dublin.

People

A splendid memoir, both funny and forgiving.

Linnea Lannon - Detroit Free Press

Every once in a while, a lucky reader comes across a book that makes an indelible impression, a book you immediately want to share with everyone around you....Frank McCourt's life, and his searing telling of it, reveal all we need to know about being human.

Robert Moore, DuPont Merck Pharmaceuticals, Framingham, Massachusetts - Library Journal

McCourt is the eldest of eight children born to Angela Sheehan and Malachy McCourt in the 1930s. The McCourts began their family in poverty in Brooklyn, yet when Angela slipped into depression after the death of her only daughter (four of eight children survived), the family reversed the tide of emigration and returned to Ireland, living on public assistance in Limerick. McCourt's story is laced with the pain of extreme poverty, aggravated by an alcoholic father who abandoned the family during World War II. Given the burdens of grief and starvation, it's a tribute to his skill that he can serve the reader a tale of love, some sadness, but at least as much laughter as the McCourts' "Yankee" children knew growing up in the streets of Limerick. His story, almost impossible to put down, may well become a classic.

BookList

It is a wonder that McCourt survived his childhood in the slums of Depression-era Limerick, Ireland: three of his siblings did not, dying of minor illnesses complicated by near starvation. Even more astonishing is how generous of spirit he became and remains. His family lived—barely—in a flat so miserable that every year they had to cram themselves into an upstairs room when winter floods made the place only half-habitable. That upstairs room was "Italy"—warm and dry. Downstairs was Ireland—wet and cold. Father sat up there drinking tea, while mother Angela often could not rise from bed, so depressed was she. Or mother sat by the fire, waiting for father to return; when he did, frequently drunk on their little money, he would line up the boys and extract promises that they would die for Ireland.

Dying was what everyone seemed to do best: the little sister, the twins, the girl with whom Frank first had sex, the old man Frank read to, too many boys from school, too many neighbors, too many relatives. McCourt spares us no details: the stench of the one toilet shared by an entire street, the insults of the charity officers, the maurauding rats, the street fights, the infected eyes, the fleas in the mattress...Yet he found a way to love in that miserable Limerick, and it is love one remembers as the dominant flavor in this Irish stew.

Booknews

A beautifully written memoir full of Irish wit and pathos, making it stand out among the garden variety of youthful reminisces. Let's face it, a bad childhood is more interesting and McCourt had it in spades. He was born in Brooklyn, but his family went back to Ireland where he grew up on the dole exacerbated by alcoholism (his father's), near starvation, beatings by the schoolmasters, and a brief respite in clinic where he discovered Shakespeare. All of this would be merely stereotype in less capable hands, but McCourt's mastery of language manages to make us understand the gentleness, forgiveness, and humor that accompanies misery and enables its protagonists to survive with dignity. Annotation c. Book News, Inc., Portland, OR (booknews.com)

The New York Times - Michiko Kakutani

Stunning....Mr. McCourt does for the town of Limerick what the young Joyce did for Dublin.

The Detroit Free Press - Linnea Lannon

Astonishingly vivid...Frank McCourt's life, and his searing telling of it, reveals all we need to know about being human.

Vanessa V. Friedman, Entertainment Weekly - Vanessa V. Friedman

The power of this memoir is that it makes you believe the claim: that despite the rags, and hunger and pain, love and strength do come out of misery - as well as a page turner of a book. And though the experience it tells of was individual, the point - and the story - is universal.

Kirkus Reviews

A powerful, exquisitely written debut, a recollection of the author's miserable childhood in the slums of Limerick, Ireland, during the Depression and WW II. McCourt was born in Brooklyn in 1930 but returned to Ireland with his family at the age of four. He describes, not without humor, scenes of hunger, illness, filth, and deprivation that would have given Dickens pause. His shiftless loquacious alcoholic father, Malachy, rarely worked; when he did he usually drank his wages, leaving his wife, Angela, to beg from local churches and charity organizations. McCourt remembers his little sister dying in his mother's arms. Then Oliver, one of the twins, got sick and died. McCourt himself nearly died of typhoid fever when he was 10. As awful and neglectful as his father could be, there were also heart-rendingly tender moments: Unable to pay for a doctor and fearful of losing yet another child when the youngest is almost suffocating from a cold, his father places his "mouth on the little nose...sucking the bad stuff out of Michael's head." Malachy fled to do war work in England but failed to send any money home, leaving his wife and children, already living in squalor, to further fend for themselves. They stole and begged and tore wood from the walls to burn in the stove. Forced to move in with an abusive cousin, McCourt became aware that the man and his mother were having "the excitement" up there in their grubby loft. After taking a beating from the man, McCourt ran away to stay with an uncle and spent his teens alternating between petty crime and odd jobs. Eventually he made his way, once again, to America. An extraordinary work in every way. McCourt magically retrieves love, dignity,and humor from a childhood of hunger, loss, and pain.

What People Are Saying

Thomas Cahill
Angela's Ashes is a chronicle of grownups at the mercy of life and children at the mercy of grownups, and it is such a marriage of pathos and humor that we never know whether to weep or roar - and find yourself doing both at once.... You will be made happy by some of the most truly marvelous writing you will ever encounter. McCourt deserves whatever glittering prizes are lying around. Give the man a prix de Rome, a croix de Guerre, a Pulitzer, a Nobel, a Templeton - and while you're at it pull him another Guiness!

Thomas Keneally
From the time we meet the embattled McCourts and their eldest son Frank, we are beset by the same tides of folly, passion, hilarity and loss that mark their lives. Once opened the brilliant and seductive book will not let you rest until Frank emerges, more or less reared, at the close of boyhood.

Mary Gordon
I was moved and dazzled by the somber and lively beauty of the book; it is a story of survival and growth beyond all odds. A chronicle of surprising triumphs, written in language that is always itself triumphant.

Customer Reviews

Number of Reviews: 294
Average Rating:
Write a Review

Product Details

• ISBN: 0641899882
  
• ISBN-13: 9780641899881
• Format: Paperback, 368pp
• Publisher: Simon & Schuster Adult Publishing Group
• Pub. Date: May 1999
• Edition Description: Bargain

• Table of Contents
• Interviews & Essays
• Reading Group Guide
• Read an Excerpt
• Read a Sample Chapter

Table of Contents

Interviews & Essays

Q:  If you were a tree -- no, scratch that. Could you settle the great debate? Guinness or Murphy's.

A:  Is there a great debate? I wasn't aware. I'd have to say Guinness. Murphy's is too sweet, too sugary. You prefer Murphy's, don't you?

Q:  Er, yes.

A:  I knew you were going to say that.

Q:  Okay, in the schoolyard: ten-year-old Frank McCourt versus Paddy Clarke. Who would win?

A:  Oh, that's easy. Frank McCourt, for his sheer ferocity.

Q:  Is there a Dublin/Limerick rivalry?

A:  Absolutely. Dubliners can't stand Limerickmen. Limerickmen don't give Dubliners much thought, but people from Limerick drive Dubliners crazy. It's because Limerick is undefinable, and Dubliners so love to pigeonhole everything: "Galway is the most Irish part of Ireland, Dublin is the cosmopolitan center of it all." But they don't know what to say about Limerick, and this infuriates them. Limerick remains aloof.

Q:  Have you been to the new Stuyvesant High School building?

A:  Yes. It's a disaster. It's like public education the world over -- it's anti-kid. It's the whole adversarial relationship between schools and their students. I fail to understand why they insist on building these prison-like edifices and expect kids to learn in them.

Q:  I understand you've written a book. Has success changed you?

A:  Boy, you're really on top of things over there at Barnes & Noble, aren't you? Well, yes. I'm much, much busier than I expected to be. I'm not complaining, mind you. It's just that I'm a great lounger, and I do so like to walk around and sniff flowers and the like. I'll do it a bit different next time.

Q:  One of the things I remember most about your book is the shocking state of your teeth. Did you ever get them fixed?

A:  Oh yes, when I came back over here the Army fixed 'em up for me.

Q:  Any thoughts on the current state of Irish dentistry?

A:  It's gotten much better. Used to be the slightest thing wrong with your teeth and whoops! Out it came. You'd see people walking around bleeding from the mouth all the time. I had three teeth yanked out for no good reason. It's better today, though England and Ireland are still the leading sugar consumers in the world, and until that changes dentists will still make a good living over there.

Reading Group Guide

1. Countless memoirs have been published recently, yet Angela's Ashes stands out. What makes this memoir so unique and compelling?

2. Discuss the originality and immediacy of Frank McCourt's voice and the style he employs -- i.e., his sparing use of commas, the absence of quotation marks. How, through a child's voice and perspective, does McCourt establish and maintain credibility?

3. Ever present in Angela's Ashes is the Catholic Church. In what ways does the Catholic Church of McCourt's Ireland hurt its members and limit their experience? How does the Church protect and nurture its followers? What is Frank's attitude toward the Church?

4. McCourt writes: "I think my father is like the Holy Trinity with 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." Was this your impression of Frank McCourt's father? How can Frank write about his father without bitterness? What part did Malachy play in creating the person that Frank eventually became?

5. Women -- in particular mothers -- play a significant role in Angela's Ashes. Recall the scenes between Angela and her children; the MacNamara sisters (Delia and Philomena) and Malachy; Aunt Aggie and young Frank; Angela and her own mother. In what ways do these interactions reflect the roles of women within their families? Discuss the ways in which Angela struggles to keep her family together in the most desperate of circumstances.

6. McCourttitles his memoir Angela's Ashes, after his mother. What significance does the phrase "Angela's Ashes" acquire by the end of the book?

7. Despite the McCourts' horrid poverty, mind-numbing starvation, and devastating losses, Angela's Ashes is not a tragic memoir. In fact, it is uplifting, triumphant even. How does McCourt accomplish this?

8. Irish songs and lyrics are prominently featured in Angela's Ashes. How do these lyrics contribute to the unique voice of this memoir? How does music affect Frank's experiences? How do you think it continues to influence his memories of his childhood?

9. Frank spent the first four years of his life in the United States. How do his experiences in America affect Frank's years in Ireland?

The Horse's Mouth, Joyce Cary

Stop-Time, Frank Conroy

The Barrytown Trilogy, Roddy Doyle

Dubliners, James Joyce

The Liars' Club, Mary Karr

Ironweed, William Kennedy

Up in the Old Hotel and Other Stories, Joseph Mitchell

Mother of Pearl, Mary Morrissey

A Fanatic Heart: Selected Stories of Edna O'Brien, Edna O'Brien

Later the Same Day, Grace Paley

Family Sins, William Trevor

Carry On Jeeves, P. G. Wodehouse

Look Homeward, Angel, Thomas Wolfe

This Boy's Life, Tobias Wolff

Read an Excerpt

From Chapter IV

First Communion day is the happiest day of your life because of The Collection and James Cagney at the Lyric Cinema. The night before I was so excited I couldn't sleep till dawn. I'd still be sleeping if my grandmother hadn't come banging at the door.

Get up! Get up! Get that child outa the bed. Happiest day of his life an' him snorin' above in the bed.

I ran to the kitchen. Take off that shirt, she said. I took off the shirt and she pushed me into a tin tub of icy cold water. My mother scrubbed me, my grandmother scrubbed me. I was raw, I was red.

They dried me. They dressed me in my black velvet First Communion suit with the white frilly shirt, the short pants, the white stockings, the black patent leather shoes. Around my arm they tied a white satin bow and on my lapel they pinned the Sacred Heart of Jesus, a picture with blood dripping from it, flames erupting all around it and on top a nasty-looking crown of thorns.

Come here till I comb your hair, said Grandma. Look at that mop, it won't lie down. You didn't get that hair from my side of the family. That's that North of Ireland hair you got from your father. That's the kind of hair you see on Presbyterians. If your mother had married a proper decent Limerickman you wouldn't have this standing up, North of Ireland, Presbyterian hair.

She spat twice on my head.
Grandma, will you please stop spitting on my head.
If you have anything to say, shut up. A little spit won't kill you. Come on, we'll be late for the Mass.

We ran to the church. My mother panted along behind with Michael in her arms. We arrived at the church just in time to see the last of the boys leaving the altar rail where the priest stood with the chalice and the host, glaring at me. Then he placed on my tongue the wafer, the body and blood of Jesus. At last, at last.

It's on my tongue. I draw it back.
It stuck.

I had God glued to the roof of my mouth. I could hear the master's voice, Don't let that host touch your teeth for if you bite God in two you'll roast in hell for eternity. I tried to get God down with my tongue but the priest hissed at me, Stop that clucking and get back to your seat. God was good. He melted and I swallowed Him and now, at last, I was a member of the True Church, an official sinner.

When the Mass ended there they were at the door of the church, my mother with Michael in her arms, my grandmother. They each hugged me to their bosoms. They each told me it was the happiest day of my life. They each cried all over my head and after my grandmother's contribution that morning my head was a swamp.

Mam, can I go now and make The Collection?
She said, After you have a little breakfast.
No, said Grandma.You're not making no collection till you have a proper First Communion breakfast at my house. Come on.

We followed her. She banged pots and rattled pans and complained that the whole world expected her to be at their beck and call. I ate the egg, I ate the sausage, and when I reached for more sugar for my tea she slapped my hand away.

Go aisy with that sugar. Is it a millionaire you think I am? An American? Is it bedecked in glitterin' jewelry you think I am? Smothered in fancy furs?

The food churned in my stomach. I gagged. I ran to her backyard and threw it all up. Out she came.

Look at what he did. Thrun up his First Communion breakfast. Thrun up the body and blood of Jesus. I have God in me backyard. What am I goin' to do? I'll take him to the Jesuits for they know the sins of the Pope himself.

She dragged me through the streets of Limerick. She told the neighbors and passing strangers about God in her backyard. She pushed me into the confession box.

In the name of the Father, the Son, the Holy Ghost. Bless me, Father, for I have sinned. It's a day since my last confession.
A day? And what sins have you committed in a day, my child?
I overslept. I nearly missed my First Communion. My grandmother said I have standing up, North of Ireland, Presbyterian hair. I threw up my First Communion breakfast. Now Grandma says she has God in her backyard and what should she do.

The priest is like the First Confession priest. He has the heavy breathing and the choking sounds.

Ah...ah...tell your grandmother to wash God away with a little water and for your penance say one Hail Mary and one Our Father. Say a prayer for me and God bless you, my child.

Grandma and Mam were waiting close to the confession box. Grandma said, Were you telling jokes to that priest in the confession box? If 'tis a thing I ever find out you were telling jokes to Jesuits I'll tear the bloody kidneys outa you. Now what did he say about God in my backyard?

He said wash Him away with a little water, Grandma.
Holy water or ordinary water?
He didn't say, Grandma.
Well, go back and ask him.
But, Grandma...

She pushed me back into the confessional.

Bless me, Father, for I have sinned, it's a minute since my last confession.
A minute! Are you the boy that was just here?
I am, Father.
What is it now?
My grandma says, Holy water or ordinary water?
Ordinary water, and tell your grandmother not to be bothering me again.
I told her, Ordinary water, Grandma, and he said don't be bothering him again.
Don't be bothering him again. That bloody ignorant bogtrotter.
I asked Mam, Can I go now and make The Collection? I want to see James Cagney.
Grandma said, You can forget about The Collection and James Cagney because you're not a proper Catholic the way you left God on the ground. Come on, go home.
Mam said, wait a minute. That's my son. That's my son on his First Communion day. He's going to see James Cagney.
No he's not.
Yes he is.
Grandma said, Take him then to James Cagney and see if that will save his Presbyterian North of Ireland American soul. Go ahead.

She pulled her shawl around her and walked away.

Mam said, God, it's getting very late for The Collection and you'll never see James Cagney. We'll go to the Lyric Cinema and see if they'll let you in anyway in your First Communion suit. We met Mikey Molloy on Barrington Street. He asked if I was going to the Lyric and I said I was trying. Trying? he said. You don't have money? I was ashamed to say no but I had to and he said, That's all right. I'll get you in. I'll create a diversion.

What's a diversion?
I have the money to go and when I get in I'll pretend to have the fit and the ticket man will be out of his mind and you can slip in when I let out the big scream. I'll be watching the door and when I see you in I'll have a miraculous recovery. That's a diversion. That's what I do to get my brothers in all the time.

Mam said, Oh, I don't know about that, Mikey. Wouldn't that be a sin and surely you wouldn't want Frank to commit a sin on his Communion day.

Mikey said if there was a sin it would be on his soul and he wasn't a proper Catholic anyway so it didn't matter. He let out his scream and I slipped in and sat next to Question Quigley and the ticket man, Frank Goggin, was so worried over Mikey he never noticed. It was a thrilling film but sad in the end because James Cagney was a public enemy and when they shot him they wrapped him in bandages and threw him in the door, shocking his poor old Irish mother, and that was the end of my First Communion day.

Copyright © 1996 by Frank McCourt

Read a Sample Chapter

Chapter One

My father and mother should have stayed in New York where they met and married and where I was born. Instead, they returned to Ireland when I was four, my brother, Malachy, three, the twins, Oliver and Eugene, barely one, and my sister, Margaret, dead and gone.

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.

People everywhere brag and whimper about the woes of their early years, but nothing can compare with the Irish version: the poverty; the shiftless loquacious alcoholic father; the pious defeated mother moaning by the fire; pompous priests; bullying schoolmasters; the English and the terrible things they did to us for eight hundred long years.

Above all -- we were wet.

Out in the Atlantic Ocean great sheets of rain gathered to drift slowly up the River Shannon and settle forever in Limerick. The rain dampened the city from the Feast of the Circumcision to New Year's Eve. It created a cacophony of hacking coughs, bronchial rattles, asthmatic wheezes, consumptive croaks. It turned noses into fountains, lungs into bacterial sponges. It provoked cures galore; to ease the catarrh you boiled onions in milk blackened with pepper; for the congested passages you made a paste of boiled flour and nettles, wrapped it in a rag, and slapped it, sizzling, on the chest.

From October to April the walls of Limerick glistened with the damp. Clothes never dried: tweed and woolen coats housed living things, sometimes sprouted mysterious vegetations. In pubs, steam rose from damp bodies and garments to be inhaled with cigarette and pipe smoke laced with the stale fumes of spilled stout and whiskey and tinged with the odor of piss wafting in from the outdoor jakes where many a man puked up his week's wages.

The rain drove us into the church -- our refuge, our strength, our only dry place. At Mass, Benediction, novenas, we huddled in great damp clumps, dozing through priest drone, while steam rose again from our clothes to mingle with the sweetness of incense, flowers and candles.

Limerick gained a reputation for piety, but we knew it was only the rain.

My father, Malachy McCourt, was born on a farm in Toome, County Antrim. Like his father before, he grew up wild, in trouble with the English, or the Irish, or both. He fought with the Old IRA and for some desperate act he wound up a fugitive with a price on his head.

When I was a child I would look at my father, the thinning hair, the collapsing teeth, and wonder why anyone would give money for a head like that. When I was thirteen my father's mother told me a secret: as a wee lad your poor father was dropped on his head. It was an accident, he was never the same after, and you must remember that people dropped on their heads can be a bit peculiar.

Because of the price on the head he had been dropped on, he had to be spirited out of Ireland via cargo ship from Galway. In New York, with Prohibition in full swing, he thought he had died and gone to hell for his sins. Then he discovered speakeasies and he rejoiced.

After wandering and drinking in America and England he yearned for peace in his declining years. He returned to Belfast, which erupted all around him. He said, A pox on all their houses, and chatted with the ladies of Andersontown. They tempted him with delicacies but he waved them away and drank his tea. He no longer smoked or touched alcohol, so what was the use? It was time to go and he died in the Royal Victoria Hospital.

My mother, the former Angela Sheehan, grew up in a Limerick slum with her mother, two brothers, Thomas and Patrick, and a sister, Agnes. She never saw her father, who had run off to Australia weeks before her birth.

After a night of drinking porter in the pubs of Limerick he staggers down the lane singing his favorite song,

Who threw the overalls in Mrs. Murphy's chowder?
Nobody spoke so he said it all the louder
It's a dirty Irish trick and I can lick the Mick
Who threw the overalls in Murphy's chowder.

He's in great form altogether and he thinks he'll play a while with little Patrick, one year old. Lovely little fella. Loves his daddy. Laughs when Daddy throws him up in the air. Upsy daisy, little Paddy, upsy daisy, up in the air in the dark, so dark, oh, Jasus, you miss the child on the way down and poor little Patrick lands on his head, gurgles a bit, whimpers, goes quiet. Grandma heaves herself from the bed, heavy with the child in her belly, my mother. She's barely able to lift little Patrick from the floor. She moans a long moan over the child and turns on Grandpa. Get out of it. Out. If you stay here a minute longer I'll take the hatchet to you, you drunken lunatic. By Jesus, I'll swing at the end of a rope for you. Get out.

Grandpa stands his ground like a man. I have a right, he says, to stay in me own house.

She runs at him and he melts before this whirling dervish with a damaged child in her arms and a healthy one stirring inside. He stumbles from the house, up the lane, and doesn't stop till he reaches Melbourne in Australia.

Little Pat, my uncle, was never the same after. He grew up soft in the head with a left leg that went one way, his body the other. He never learned to read or write but God blessed him in another way. When he started to sell newspapers at the age of eight he could count money better than the Chancellor of the Exchequer himself. No one knew why he was called Ab Sheehan, The Abbot, but all Limerick loved him.

My mother's troubles began the night she was born. There is my grandmother in the bed heaving and gasping with the labor pains, praying to St. Gerard Majella, patron saint of expectant mothers. There is Nurse O'Halloran, the midwife, all dressed up in her finery. It's New Year's Eve and Mrs. O'Halloran is anxious for this child to be born so that she can rush off to the parties and celebrations. She tells my grandmother: Will you push, will you, push. Jesus, Mary and holy St. Joseph, if you don't hurry with this child it won't be born till the New Year and what good is that to me with me new dress? Never mind St. Gerard Majella. What can a man do for a woman at a time like this even if he is a saint? St. Gerard Majella my arse.

My grandmother switches her prayers to St. Ann, patron saint of difficult labor. But the child won't come. Nurse O'Halloran tells my grandmother, Pray to St. Jude, patron saint of desperate cases.

St. Jude, patron of desperate cases, help me. I'm desperate. She grunts and pushes and the infant's head appears, only the head, my mother, and it's the stroke of midnight, the New Year. Limerick City erupts with whistles, horns, sirens, brass bands, people calling and singing, Happy New Year. Should auld acquaintance be forgot, and church bells all over ring out the Angelus and Nurse O'Halloran weeps for the waste of a dress, that child still in there and me in me finery. Will you come out, child, will you? Grandma gives a great push and the child is in the world, a lovely girl with black curly hair and sad blue eyes.

Ah, Lord above, says Nurse O'Halloran, this child is a time straddler, born with her head in the New Year and her arse in the Old or was it her head in the Old Year and her arse in the New. You'll have to write to the Pope, missus, to find out what year this child was born in and I'll save this dress for next year.

And the child was named Angela for the Angelus which rang the midnight hour, the New Year, the minute of her coming and because she was a little angel anyway.

Love her as in childhood
Though feeble, old and grey.
For you'll never miss a mother's love
Till she's buried beneath the clay.

At the St. Vincent de Paul School, Angela learned to read, write, and calculate and by her ninth year her schooling was done. She tried her hand at being a charwoman, a skivvy, a maid with a little white hat opening doors, but she could not manage the little curtsy that is required and her mother said, You don't have the knack of it. You're pure useless. Why don't you go to America where there's room for all sorts of uselessness? I'll give you the fare.

She arrived in New York just in time for the first Thanksgiving Day of the Great Depression. She met Malachy at a party given by Dan MacAdorey and his wife, Minnie, on Classon Avenue in Brooklyn. Malachy liked Angela and she liked him. He had a hangdog look, which came from the three months he had just spent in jail for hijacking a truck. He and his friend John McErlaine believed what they were told in the speakeasy, that the truck was packed to the roof with cases of canned pork and beans. Neither knew how to drive and when the police saw the truck lurch and jerk along Myrtle Avenue they pulled it over. The police searched the truck and wondered why anyone would hijack a truck containing, not pork and beans, but cases of buttons.

With Angela drawn to the hangdog look and Malachy lonely after three months in jail, there was bound to be a knee-trembler.

A knee-trembler is the act itself done up against a wall, man and woman up on their toes, straining so hard their knees tremble with the excitement that's in it.

That knee-trembler put Angela in an interesting condition and, of course, there was talk. Angela had cousins, the MacNamara sisters, Delia and Philomena, married, respectively, to Jimmy Fortune of County Mayo, and Tommy Flynn, of Brooklyn itself.

Delia and Philomena were large women, great-breasted and fierce. When they sailed along the sidewalks of Brooklyn lesser creatures stepped aside, respect was shown. The sisters knew what was right and they knew what was wrong and any doubts could be resolved by the One, Holy, Roman, Catholic and Apostolic Church. They knew that Angela, unmarried, had no right to be in an interesting condition and they would take steps.

Steps they took. With Jimmy and Tommy in tow they marched to the speakeasy on Atlantic Avenue where Malachy could be found on Friday, payday when he had a job. The man in the speak, Joey Cacciamani, did not want to admit the sisters but Philomena told him that if he wanted to keep the nose on his face and that door on its hinges he'd better open up for they were there on God's business. Joey said, Awright, awright, you Irish. Jeezoz! Trouble, trouble.

Malachy, at the far end of the bar, turned pale, gave the great-breasted ones a sickly smile, offered them a drink. They resisted the smile and spurned the offer. Delia said, We don't know what class of a tribe you come from in the North of Ireland.

Philomena said, There is a suspicion you might have Presbyterians in your family, which would explain what you did to our cousin.

Jimmy said, Ah, now, ah, now. 'Tisn't his fault if there's Presbyterians in his family.

Delia said, You shuddup.

Tommy had to join in. What you did to that poor unfortunate girl is a disgrace to the Irish race and you should be ashamed of yourself.

Och, I am, said Malachy. I am.

Nobody asked you to talk, said Philomena. You done enough damage with your blather, so shut your yap.

And while your yap is shut, said Delia, we're here to see you do the right thing by our poor cousin, Angela Sheehan.

Malachy said, Och, indeed, indeed. The right thing is the right thing and I'd be glad to buy you all a drink while we have this little talk.

Take the drink, said Tommy, and shove it up your ass.

Philomena said, Our little cousin no sooner gets off the boat than you are at her. We have morals in Limerick, you know, morals. We're not like jackrabbits from Antrim, a place crawling with Presbyterians.

Jimmy said, He don't look like a Presbyterian.

You shuddup, said Delia.

Another thing we noticed, said Philomena. You have a very odd manner.

Malachy smiled. I do?

You do, says Delia. I think 'tis one of the first things we noticed about you, that odd manner, and it gives us a very uneasy feeling.

'Tis that sneaky little Presbyterian smile, said Philomena.

Och, said Malachy, it's just the trouble I have with my teeth.

Teeth or no teeth, odd manner or no odd manner, you're gonna marry that girl, said Tommy. Up the middle aisle you're going.

Och, said Malachy, I wasn't planning to get married, you know. There's no work and I wouldn't be able to support...

Married is what you're going to be, said Delia.

Up the middle aisle, said Jimmy.

You shuddup, said Delia.

Malachy watched them leave. I'm in a desperate pickle, he told Joey Cacciamani.

Bet your ass, said Joey. I see them babes comin' at me I jump inna Hudson River.

Malachy considered the pickle he was in. He had a few dollars in his pocket from the last job and he had an uncle in San Francisco or one of the other California Sans. Wouldn't he be better off in California, far from the great-breasted MacNamara sisters and their grim husbands? He would, indeed, and he'd have a drop of the Irish to celebrate his decision and departure. Joey poured and the drink nearly took the lining off Malachy's gullet. Irish, indeed! He told Joey it was a Prohibition concoction from the devil's own still. Joey shrugged. I don't know nothing. I only pour. Still, it was better than nothing and Malachy would have another and one for yourself, Joey, and ask them two decent Italians what they'd like and what are you talking about, of course, I have the money to pay for it.

He awoke on a bench in the Long Island Railroad Station, a cop rapping on his boots with a nightstick, his escape money gone, the MacNamara sisters ready to eat him alive in Brooklyn.

On the feast of St. Joseph, a bitter day in March, four months after the knee-trembler, Malachy married Angela and in August the child was born. In November Malachy got drunk and decided it was time to register the child's birth. He thought he might name the child Malachy, after himself, but his North of Ireland accent and the alcoholic mumble confused the clerk so much he simply entered the name Male on the certificate.

Not until late December did they take Male to St. Paul's Church to be baptized and named Francis after his father's father and the lovely saint of Assisi. Angela wanted to give him a middle name, Munchin, after the patron saint of Limerick but Malachy said over his dead body. No son of his would have a Limerick name. It's hard enough going through life with one name. Sticking on middle names was an atrocious American habit and there was no need for a second name when you're christened after the man from Assisi.

There was a delay the day of the baptism when the chosen godfather, John McErlaine, got drunk at the speakeasy and forgot his responsibilities. Philomena told her husband, Tommy, he'd have to be godfather. Child's soul is in danger, she said. Tommy put his head down and grumbled. All right. I'll be godfather but I'm not goin' to be responsible if he grows up like his father causin' trouble and goin' through life with the odd manner for if he does he can go to John McErlaine at the speakeasy. The priest said, True for you, Tom, decent man that you are, fine man that never set foot inside a speakeasy. Malachy, fresh from the speakeasy himself, felt insulted and wanted to argue with the priest, one sacrilege on top of another. Take off that collar and we'll see who's the man. He had to be held back by the great-breasted ones and their husbands grim. Angela, new mother, agitated, forgot she was holding the child and let him slip into the baptismal font, a total immersion of the Protestant type. The altar boy assisting the priest plucked the infant from the font and restored him to Angela, who sobbed and clutched him, dripping, to her bosom. The priest laughed, said he had never seen the likes, that the child was a regular little Baptist now and hardly needed a priest. This maddened Malachy again and he wanted to jump at the priest for calling the child some class of a Protestant. The priest said, Quiet, man, you're in God's house, and when Malachy said, God's house, my arse, he was thrown out on Court Street because you can't say arse in God's house.

After baptism Philomena said she had tea and ham and cakes in her house around the corner. Malachy said, Tea? and she said, Yes, tea, or is it whiskey you want? He said tea was grand but first he'd have to go and deal with John McErlaine, who didn't have the decency to carry out his duties as godfather. Angela said, You're only looking for an excuse to run to the speakeasy, and he said, As God is my witness, the drink is the last thing on my mind. Angela started to cry. Your son's christening day and you have to go drinking. Delia told him he was a disgusting specimen but what could you expect from the North of Ireland.

Malachy looked from one to the other, shifted on his feet, pulled his cap down over his eyes, shoved his hands deep in his trouser pockets, said, Och, aye, the way they do in the far reaches of County Antrim, turned, hurried up Court Street to the speakeasy on Atlantic Avenue where he was sure they'd ply him with free drink in honor of his son's baptism.

At Philomena's house the sisters and their husbands ate and drank while Angela sat in a corner nursing the baby and crying. Philomena stuffed her mouth with bread and ham and rumbled at Angela, That's what you get for being such a fool. Hardly off the boat and you fall for that lunatic. You shoulda stayed single, put the child up for adoption, and you'd be a free woman today. Angela cried harder and Delia took up the attack, Oh, stop it, Angela, stop it. You have nobody to blame but yourself for gettin' into trouble with a drunkard from the North, a man that doesn't even look like a Catholic, him with his odd manner. I'd say that...that...Malachy has a streak of the Presbyterian in him right enough. You shuddup, Jimmy.

If I was you, said Philomena, I'd make sure there's no more children. He don't have a job, so he don't, an' never will the way he drinks. So...no more children, Angela. Are you listenin' to me?

I am, Philomena.

A year later another child was born. Angela called him Malachy after his father and gave him a middle name, Gerard, after his father's brother.

The MacNamara sisters said Angela was nothing but a rabbit and they wanted nothing to do with her till she came to her senses.

Their husbands agreed.

I'm in a playground on Classon Avenue in Brooklyn with my brother, Malachy. He's two, I'm three. We're on the seesaw.

Up, down, up, down.

Malachy goes up.

I get off.

Malachy goes down. Seesaw hits the ground. He screams. His hand is on his mouth and there's blood.

Oh, God. Blood is bad. My mother will kill me.

And here she is, trying to run across the playground. Her big belly slows her.

She says, What did you do? What did you do to the child?

I don't know what to say. I don't know what I did.

She pulls my ear. Go home. Go to bed.

Bed? In the middle of the day?

She pushes me toward the playground gate. Go.

She picks up Malachy and waddles off.

My father's friend, Mr. MacAdorey, is outside our building. He's standing at the edge of the sidewalk with his wife, Minnie, looking at a dog lying in the gutter. There is blood all around the dog's head. It's the color of the blood from Malachy's mouth.

Malachy has dog blood and the dog has Malachy blood.

I pull Mr. MacAdorey's hand. I tell him Malachy has blood like the dog.

Oh, he does, indeed, Francis. Cats have it, too. And Eskimos. All the same blood.

Minnie says, Stop that, Dan. Stop confusing the wee fellow. She tells me the poor wee dog was hit by a car and he crawled all the way from the middle of the street before he died. Wanted to come home, the poor wee creature.

Mr. MacAdorey says, You'd better go home, Francis. I don't know what you did to your wee brother, but your mother took him off to the hospital. Go home, child.

Will Malachy die like the dog, Mr. MacAdorey?

Minnie says, He bit his tongue. He won't die.

Why did the dog die?

It was his time, Francis.

The apartment is empty and I wander between the two rooms, the bedroom and the kitchen. My father is out looking for a job and my mother is at the hospital with Malachy. I wish I had something to eat but there's nothing in the icebox but cabbage leaves floating in the melted ice. My father said never eat anything floating in water for the rot that might be in it. I fall asleep on my parents' bed and when my mother shakes me it's nearly dark. Your little brother is going to sleep a while. Nearly bit his tongue off. Stitches galore. Go into the other room.

My father is in the kitchen sipping black tea from his big white enamel mug. He lifts me to his lap.

Dad, will you tell me the story about Coo Coo?

Cuchulain. Say it after me, Coo-hoo-lin. I'll tell you the story when you say the name right. Coo-hoo-lin.

I say it right and he tells me the story of Cuchulain, who had a different name when he was a boy, Setanta. He grew up in Ireland where Dad lived when he was a boy in County Antrim. Setanta had a stick and ball and one day he hit the ball and it went into the mouth of a big dog that belonged to Culain and choked him. Oh, Culain was angry and he said, What am I to do now without my big dog to guard my house and my wife and my ten small children as well as numerous pigs, hens, sheep?

Setanta said, I'm sorry. I'll guard your house with my stick and ball and I'll change my name to Cuchulain, the Hound of Culain. He did. He guarded the house and regions beyond and became a great hero, the Hound of Ulster itself. Dad said he was a greater hero than Hercules or Achilles that the Greeks were always bragging about and he could take on King Arthur and all his knights in a fair fight which, of course, you could never get with an Englishman anyway.

That's my story. Dad can't tell that story to Malachy or any other children down the hall.

He finishes the story and lets me sip his tea. It's bitter, but I'm happy there on his lap.

For days Malachy's tongue is swollen and he can hardly make a sound never mind talk. But even if he could no one is paying any attention to him because we have two new babies who were brought by an angel in the middle of the night. The neighbors say, Ooh, Ah, they're lovely boys, look at those big eyes.

Malachy stands in the middle of the room, looking up at everyone, pointing to his tongue and saying, Uck, uck. When the neighbors say, Can't you see we're looking at your little brothers? he cries, till Dad pats him on the head. Put in your tongue, son, and go out and play with Frankie. Go on.

In the playground I tell Malachy about the dog who died in the street because someone drove a ball into his mouth. Malachy shakes his head. No uck ball. Car uck kill dog. He cries because his tongue hurts and he can hardly talk and it's terrible when you can't talk. He won't let me push him on the swing. He says, You uck kill me uck on seesaw. He gets Freddie Leibowitz to push him and he's happy, laughing when he swings to the sky. Freddie is big, he's seven, and I ask him to push me. He says, No, you tried to kill your brother.

I try to get the swing going myself but all I can do is move it back and forth and I'm angry because Freddie and Malachy are laughing at the way I can't swing. They're great pals now, Freddie, seven, Malachy, two. They laugh every day and Malachy's tongue gets better with all the laughing.

When he laughs you can see how white and small and pretty his teeth are and you can see his eyes shine. He has blue eyes like my mother. He has golden hair and pink cheeks. I have brown eyes like Dad. I have black hair and my cheeks are white in the mirror. My mother tells Mrs. Leibowitz down the hall that Malachy is the happiest child in the world. She tells Mrs. Leibowitz down the hall, Frankie has the odd manner like his father. I wonder what the odd manner is but I can't ask because I'm not supposed to be listening.

I wish I could swing up into the sky, up into the clouds. I might be able to fly around the whole world and not hear my brothers, Oliver and Eugene, cry in the middle of the night anymore. My mother says they're always hungry. She cries in the middle of the night, too. She says she's worn out nursing and feeding and changing and four boys is too much for her. She wishes she had one little girl all for herself. She'd give anything for one little girl.

I'm in the playground with Malachy. I'm four, he's three. He lets me push him on the swing because he's no good at swinging himself and Freddie Leibowitz is in school. We have to stay in the playground because the twins are sleeping and my mother says she's worn out. Go out and play, she says, and give me some rest. Dad is out looking for a job again and sometimes he comes home with the smell of whiskey, singing all the songs about suffering Ireland. Mam gets angry and says Ireland can kiss her arse. He says that's nice language to be using in front of the children and she says never mind the language, food on the table is what she wants, not suffering Ireland. She says it was a sad day Prohibition ended because Dad gets the drink going around to saloons offering to sweep out the bars and lift barrels for a whiskey or a beer. Sometimes he brings home bits of the free lunch, rye bread, corned beef, pickles. He puts the food on the table and drinks tea himself. He says food is a shock to the system and he doesn't know where we get our appetites. Mam says, They get their appetites because they're starving half the time.

When Dad gets a job Mam is cheerful and she sings,

Anyone can see why I wanted your kiss,
It had to be and the reason is this
Could it be true, someone like you
Could love me, love me?

When Dad brings home the first week's wages Mam is delighted she can pay the lovely Italian man in the grocery shop and she can hold her head up again because there's nothing worse in the world than to owe and be beholden to anyone. She cleans the kitchen, washes the mugs and plates, brushes crumbs and bits of food from the table, cleans out the icebox and orders a fresh block of ice from another Italian. She buys toilet paper that we can take down the hall to the lavatory and that, she says, is better than having the headlines from the Daily News blackening your arse. She boils water on the stove and spends a day at a great tin tub washing our shirts and socks, diapers for the twins, our two sheets, our three towels. She hangs everything out on the clotheslines behind the apartment house and we can watch the clothes dance in wind and sun. She says you wouldn't want the neighbors to know what you have in the way of a wash but there's nothing like the sweetness of clothes dried by the sun.

When Dad brings home the first week's wages on a Friday night we know the weekend will be wonderful. On Saturday night Mam will boil water on the stove and wash us in the great tin tub and Dad will dry us. Malachy will turn around and show his behind. Dad will pretend to be shocked and we'll all laugh. Mam will make hot cocoa and we'll be able to stay up while Dad tells us a story out of his head. All we have to do is say a name, Mr. MacAdorey or Mr. Leibowitz down the hall, and Dad will have the two of them rowing up a river in Brazil chased by Indians with green noses and puce shoulders. On nights like that we can drift off to sleep knowing there will be a breakfast of eggs, fried tomatoes and fried bread, tea with lashings of sugar and milk and, later in the day, a big dinner of mashed potatoes, peas and ham, and a trifle Mam makes, layers of fruit and warm delicious custard on a cake soaked in sherry.

When Dad brings home the first week's wages and the weather is fine Mam takes us to the playground. She sits on a bench and talks to Minnie MacAdorey. She tells Minnie stories about characters in Limerick and Minnie tells her about characters in Belfast and they laugh because there are funny people in Ireland, North and South. Then they teach each other sad songs and Malachy and I leave the swings and seesaws to sit with them on the bench and sing,

A group of young soldiers one night in a camp
Were talking of sweethearts they had.
All seemed so merry except one young lad,
And he was downhearted and sad.
Come and join us, said one of the boys,
Surely there's someone for you.
But Ned shook his head and proudly he said
I am in love with two, Each like a mother to me,
From neither of them shall I part.
For one is my mother, God bless her and love her,
The other is my sweetheart.

Malachy and I sing that song and Mam and Minnie laugh till they cry at the way Malachy takes a deep bow and holds his arms out to Mam at the end. Dan MacAdorey comes along on his way home from work and says Rudy Vallee better start worrying about the competition.

When we go home Mam makes tea and bread and jam or mashed potatoes with butter and salt. Dad drinks the tea and eats nothing. Mam says, God above, How can you work all day and not eat? He says, The tea is enough. She says, You'll ruin your health, and he tells her again that food is a shock to the system. He drinks his tea and tells us stories and shows us letters and words in the Daily News or he smokes a cigarette, stares at the wall, runs his tongue over his lips.

When Dad's job goes into the third week he does not bring home the wages. On Friday night we wait for him and Mam gives us bread and tea. The darkness comes down and the lights come on along Classon Avenue. Other men with jobs are home already and having eggs for dinner because you can't have meat on a Friday. You can hear the families talking upstairs and downstairs and down the hall and Bing Crosby is singing on the radio, Brother, can you spare a dime?

Malachy and I play with the twins. We know Mam won't sing Anyone can see why I wanted your kiss. She sits at the kitchen table talking to herself What am I going to do? till it's late and Dad rolls up the stairs singing Roddy McCorley. He pushes in the door and calls for us, Where are my troops? Where are my four warriors?

Mam says, Leave those boys alone. They're gone to bed half hungry because you have to fill your belly with whiskey.

He comes to the bedroom door. Up, boys, up. A nickel for everyone who promises to die for Ireland.

Deep in Canadian woods we met
From one bright island flown.
Great is the land we tread, but yet
Our hearts are with our own.

Up, boys, up. Francis, Malachy, Oliver, Eugene. The Red Branch Knights, the Fenian Men, the IRA. Up, up.

Mam is at the kitchen table, shaking, her hair hanging damp, her face wet. Can't you leave them alone? she says. Jesus, Mary and Joseph, isn't it enough that you come home without a penny in your pocket without making fools of the children on top of it?

She comes to us. Go back to bed, she says.

I want them up, he says. I want them ready for the day Ireland will be free from the center to the sea.

Don't cross me, she says, for if you do it'll be a sorry day in your mother's house.

He pulls his cap down over his face and cries, My poor mother. Poor Ireland. Och, what are we going to do?

Mam says, You're pure stone mad, and she tells us again to go to bed.

On the morning of the fourth Friday of Dad's job Mam asks him if he'll be home tonight with his wages or will he drink everything again? He looks at us and shakes his head at Mam as if to say, Och, you shouldn't talk like that in front of the children.

Mam keeps at him. I'm asking you, Are you coming home so that we can have a bit of supper or will it be midnight with no money in your pocket and you singing Kevin Barry and the rest of the sad songs?

He puts on his cap, shoves his hands into his trouser pockets, sighs and looks up at the ceiling. I told you before I'll be home, he says.

Later in the day Mam dresses us. She puts the twins into the pram and off we go through the long streets of Brooklyn. Sometimes she lets Malachy sit in the pram when he's tired of trotting along beside her. She tells me I'm too big for the pram. I could tell her I have pains in my legs from trying to keep up with her but she's not singing and I know this is not the day to be talking about my pains.

We come to a big gate where there's a man standing in a box with windows all around. Mam talks to the man. She wants to know if she can go inside to where the men are paid and maybe they'd give her some of Dad's wages so he wouldn't spend it in the bars. The man shakes his head. I'm sorry, lady, but if we did that we'd have half the wives in Brooklyn storming the place. Lotta men have the drinking problem but there's nothing we can do long as they show up sober and do their work.

We wait across the street. Mam lets me sit on the sidewalk with my back against the wall. She gives the twins their bottles of water and sugar but Malachy and I have to wait till she gets money from Dad and we can go to the Italian for tea and bread and eggs.

When the whistle blows at half five men in caps and overalls swarm through the gate, their faces and hands black from the work. Mam tells us watch carefully for Dad because she can hardly see across the street herself, her eyes are that bad. There are dozens of men, then a few, then none. Mam is crying, Why couldn't ye see him? Are ye blind or what?

She goes back to the man in the box. Are you sure there wouldn't be one man left inside?

No, lady, he says. They're out. I don't know how he got past you.

We go back through the long streets of Brooklyn. The twins hold up their bottles and cry for more water and sugar. Malachy says he's hungry and Mam tells him wait a little, we'll get money from Dad and we'll all have a nice supper. We'll go to the Italian and get eggs and make toast with the flames on the stove and we'll have jam on it. Oh, we will, and we'll all be nice and warm.

It's dark on Atlantic Avenue and all the bars around the Long Island Railroad Station are bright and noisy. We go from bar to bar looking for Dad. Mam leaves us outside with the pram while she goes in or she sends me. There are crowds of noisy men and stale smells that remind me of Dad when he comes home with the smell of the whiskey on him.

The man behind the bar says, Yeah, sonny, whaddya want? You're not supposeta be in here, y'know.

I'm looking for my father. Is my father here?

Naw, sonny, how'd I know dat? Who's your fawdah?

His name is Malachy and he sings Kevin Barry.

Malarkey?

No, Malachy.

Malachy? And he sings Kevin Barry?

He calls out to the men in the bar, Youse guys, youse know guy Malachy what sings Kevin Barry?

Men shake their heads. One says he knew a guy Michael sang Kevin Barry but he died of the drink which he had because of his war wounds.

The barman says, Jeez, Pete, I didn't ax ya to tell me history o' da woild, did I? Naw, kid. We don't let people sing in here. Causes trouble. Specially the Irish. Let 'em sing, next the fists are flying. Besides, I never hoid a name like dat Malachy. Naw, kid, no Malachy here.

The man called Pete holds his glass toward me. Here, kid, have a sip, but the barman says, Whaddya doin', Pete? Tryina get the kid drunk? Do that again, Pete, an' I'll come out an' break y'ass.

Mam tries all the bars around the station before she gives up. She leans against a wall and cries. Jesus, we still have to walk all the way to Classon Avenue and I have four starving children. She sends me back into the bar where Pete offered me the sip to see if the barman would fill the twins' bottles with water and maybe a little sugar in each. The men in the bar think it's very funny that the barman should be filling baby bottles but he's big and he tells them shut their lip. He tells me babies should be drinking milk not water and when I tell him Mam doesn't have the money he empties the baby bottles and fills them with milk. He says, Tell ya mom they need that for the teeth an' bones. Ya drink water an' sugar an' all ya get is rickets. Tell ya Mom.

Mam is happy with the milk. She says she knows all about teeth and bones and rickets but beggars can't be choosers.

When we reach Classon Avenue she goes straight to the Italian grocery shop. She tells the man her husband is late tonight, that he's probably working overtime, and would it be at all possible to get a few things and she'll be sure to see him tomorrow?

The Italian says, Missus, you always pay your bill sooner or later and you can have anything you like in this store.

Oh, she says, I don't want much.

Anything you like, missus, because I know you're an honest woman and you got a bunch o' nice kids there.

We have eggs and toast and jam though we're so weary walking the long streets of Brooklyn we can barely move our jaws to chew. The twins fall asleep after eating and Mam lays them on the bed to change their diapers. She sends me down the hall to rinse the dirty diapers in the lavatory so that they can be hung up to dry and used the next day. Malachy helps her wash the twins' bottoms though he's ready to fall asleep himself.

I crawl into bed with Malachy and the twins. I look out at Mam at the kitchen table, smoking a cigarette, drinking tea, and crying. I want to get up and tell her I'll be a man soon and I'll get a job in the place with the big gate and I'll come home every Friday night with money for eggs and toast and jam and she can sing again Anyone can see why I wanted your kiss.

The next week Dad loses the job. He comes home that Friday night, throws his wages on the table and says to Mam, Are you happy now? You hang around the gate complaining and accusing and they sack me. They were looking for an excuse and you gave it to them.

He takes a few dollars from his wages and goes out. He comes home late roaring and singing. The twins cry and Mam shushes them and cries a long time herself.

We spend hours in the playground when the twins are sleeping, when Mam is tired, and when Dad comes home with the whiskey smell on him, roaring about Kevin Barry getting hanged on a Monday morning or the Roddy McCorley song,

Up the narrow street he stepped
Smiling and proud and young
About the hemp-rope on his neck
The golden ringlets clung,
There's never a tear in the blue eyes
Both glad and bright are they,
As Roddy McCorley goes to die
On the bridge of Toome today.

When he sings he marches around the table, Mam cries and the twins howl with her. She says, Go out, Frankie, go out, Malachy. You shouldn't see your father like this. Stay in the playground.

We don't mind going to the playground. We can play with the leaves piling up on the ground and we can push each other on the swings but then winter comes to Classon Avenue and the swings are frozen and won't even move. Minnie MacAdorey says, God help these poor wee boys. They don't have a glove between them. That makes me laugh because I know Malachy and I have four hands between us and one glove would be silly. Malachy doesn't know what I'm laughing at: He won't know anything till he's four going on five.

Minnie brings us in and gives us tea and porridge with jam in it. Mr. MacAdorey sits in an armchair with their new baby, Maisie. He holds her bottle and sings,

Clap hands, clap hands,
Till Daddy comes home,
With buns in his pocket
For Maisie alone.
Clap hands, clap hands,
Till Daddy comes home,
For Daddy has money
And Mammy has none.

Malachy tries to sing that song but I tell him stop, it's Maisie's song. He starts to cry and Minnie says, There, there. You can sing the song. That's a song for all the children. Mr. MacAdorey smiles at Malachy and I wonder what kind of world is it where anyone can sing anyone else's song.

Minnie says, Don't frown, Frankie. It makes your face dark and God knows it's dark enough. Some day you'll have a little sister and you can sing that song to her. Och, aye. You'll have a little sister, surely.

Minnie is right and Mam gets her wish. There's a new baby soon, a little girl, and they call her Margaret. We all love Margaret. She has black curly hair and blue eyes like Mam and she waves her little hands and chirps like any little bird in the trees along Classon Avenue. Minnie says there was a holiday in heaven the day this child was made. Mrs. Leibowitz says the world never saw such eyes, such a smile, such happiness. She makes me dance, says Mrs. Leibowitz.

When Dad comes home from looking for a job he holds Margaret and sings to her:

In a shady nook one moonlit night
A leprechaun I spied.
With scarlet cap and coat of green
A cruiskeen by his side.
'Twas tick tock tick his hammer went
Upon a tiny shoe.
Oh, I laugh to think he was caught at last,
But the fairy was laughing, too.

He walks around the kitchen with her and talks to her. He tells her how lovely she is with her curly black hair and the blue eyes of her mother. He tells her he'll take her to Ireland and they'll walk the Glens of Antrim and swim in Lough Neagh. He'll get a job soon, so he will, and she'll have dresses of silk and shoes with silver buckles.

The more Dad sings to Margaret the less she cries and as the days pass she even begins to laugh. Mam says, Look at him trying to dance with that child in his arms, him with his two left feet. She laughs and we all laugh.

The twins cried when they were small and Dad and Mam would say Whisht and Hush and feed them and they'd go back to sleep. But when Margaret cries there's a high lonely feeling in the air and Dad is out of bed in a second, holding her to him, doing a slow dance around the table, singing to her, making sounds like a mother. When he passes the window where the streetlight shines in you can see tears on his cheeks and that's strange because he never cries for anyone unless he has the drink taken and he sings the Kevin Barry song and the Roddy McCorley song. Now he cries over Margaret and he has no smell of drink on him.

Mam tells Minnie MacAdorey, He's in heaven over that child. He hasn't touched a drop since she was born. I should've had a little girl a long time ago.

Och, they're lovely, aren't they? says Minnie. The little boys are grand, too, but you need a little girl for yourself.

My mother laughs, For myself? Lord above, if I didn't nurse her I wouldn't be able to get near her the way he wants to be holding her day and night.

Minnie says it's lovely, all the same, to see a man so charmed with his little girl for isn't everyone charmed with her?

Everyone.

The twins are able to stand and walk and they have accidents all the time. Their bottoms are sore because they're always wet and shitty. They put dirty things in their mouths, bits of paper, feathers, shoelaces, and they get sick. Mam says we're all driving her crazy. She dresses the twins, puts them in the pram, and Malachy and I take them to the playground. The cold weather is gone and the trees have green leaves up and down Classon Avenue.

We race the pram around the playground and the twins laugh and make goo-goo sounds till they get hungry and start to cry. There are two bottles in the pram filled with water and sugar and that keeps them quiet for awhile till they're hungry again and they cry so hard I don't know what to do because they're so small and I wish I could give them all kinds of food so that they'd laugh and make the baby sounds. They love the mushy food Mam makes in a pot, bread mashed up in milk and water and sugar. Mam calls it bread and goody.

If I take the twins home now Mam will yell at me for giving her no rest or for waking Margaret. We are to stay in the playground till she sticks her head out the window and calls for us. I make funny faces for the twins to stop their crying. I put a piece of paper on my head and let it fall and they laugh and laugh. I push the pram over to Malachy playing on the swings with Freddie Leibowitz. Malachy is trying to tell Freddie all about the way Setanta became Cuchulain. I tell him stop telling that story, it's my story. He won't stop. I push him and he cries, Waah, waah, I'll tell Mam. Freddie pushes me and everything turns dark in my head and I run at him with fists and knees and feet till he yells, Hey, stop, stop, and I won't because I can't, I don't know how, and if I stop Malachy will go on taking my story from me. Freddie pushes me away and runs off, yelling, Frankie tried to kill me. Frankie tried to kill me. I don't know what to do because I never tried to kill anyone before and now Malachy, on the swing, cries, Don't kill me, Frankie, and he looks so helpless I put my arms around him and help him off the swing. He hugs me. I won't tell your story anymore. I won't tell Freddie about Coo, Coo. I want to laugh but I can't because the twins are crying in the pram and it's dark in the playground and what's the use of trying to make funny faces and letting things fall off your head when they can't see you in the dark?

The Italian grocery shop is across the street and I see bananas, apples, oranges. I know the twins can eat bananas. Malachy loves bananas and I like them myself. But you need money, Italians are not known for giving away bananas especially to the McCourts who owe them money already for groceries.

My mother tells me all the time, Never, never leave that playground except to come home. But what am I to do with the twins bawling with the hunger in the pram? I tell Malachy I'll be back in a minute. I make sure no one is looking, grab a bunch of bananas outside the Italian grocery shop and run down Myrtle Avenue, away from the playground, around the block and back to the other end where there's a hole in the fence. We push the pram to a dark corner and peel the bananas for the twins. There are five bananas in the bunch and we feast on them in the dark corner. The twins slobber and chew and spread banana over their faces, their hair, their clothes. I realize then that questions will be asked. Mam will want to know why the twins are smothered in bananas, where did you get them? I can't tell her about the Italian shop on the corner. I will have to say, A man.

That's what I'll say. A man.

Then the strange thing happens. There's a man at the gate of the playground. He's calling me. Oh, God, it's the Italian. Hey, sonny, come 'ere. Hey, talkin' to ya. Come 'ere.

I go to him.

You the kid wid the little bruddas, right? Twins?

Yes, sir.

Heah. Gotta bag o' fruit. I don' give it to you I trow id out. Right? So, heah, take the bag. Ya got apples, oranges, bananas. Ya like bananas, right? I think ya like bananas, eh? Ha, ha. I know ya like the bananas. Heah, take the bag. Ya gotta nice mother there. Ya father? Well, ya know, he's got the problem, the Irish thing. Give them twins a banana. Shud 'em up. I hear 'em all the way cross the street.

Thank you, sir.

Jeez. Polite kid, eh? Where ja loin dat?

My father told me to say thanks, sir.

Your father? Oh, well.

Dad sits at the table reading the paper. He says that President Roosevelt is a good man and everyone in America will soon have a job. Mam is on the other side of the table feeding Margaret with a bottle. She has the hard look that frightens me.

Where did you get that fruit?

The man.

What man?

The Italian man gave it to me.

Did you steal that fruit?

Malachy says, The man. The man gave Frankie the bag.

And what did you do to Freddie Leibowitz? His mother was here. Lovely woman. I don't know what we'd do without her and Minnie MacAdorey. And you had to attack poor Freddie.

Malachy jumps up and down. He din't. He din't. Din't try to kill Freddie. Din't try to kill me.

Dad says, Whisht, Malachy, whisht. Come over here. And he takes Malachy on his lap.

My mother says, Go down the hall and tell Freddie you're sorry.

But Dad says, Do you want to tell Freddie you're sorry?

I don't.

My parents look at one another. Dad says, Freddie is a good boy. He was only pushing your little brother on the swing. Isn't that right?

He was trying to steal my Cuchulain story.

Och, now. Freddie doesn't care about the Cuchulain story. He has his own story. Hundreds of stories. He's Jewish.

What's Jewish?

Dad laughs. Jewish is, Jewish is people with their own stories. They don't need Cuchulain. They have Moses. They have Samson.

What's Samson?

If you go down and talk to Freddie I'll tell you about Samson later. You can tell Freddie you're sorry and you'll never do it again and you can even ask him about Samson. Anything you like as long as you talk to Freddie. Will you?

The baby gives a little cry in my mother's arms and Dad jumps up, dropping Malachy to the floor. Is she all right? My mother says, Of course she's all right. She's feeding. God above, you're a bundle of nerves.

They're talking about Margaret now and I'm forgotten. I don't care. I'm going down the hall to ask Freddie about Samson, to see if Samson is as good as Cuchulain, to see if Freddie has his own story or if he still wants to steal Cuchulain. Malachy wants to go with me now that my father is standing and doesn't have a lap anymore.

Mrs. Leibowitz says, Oh, Frankie, Frankie, come in, come in. And little Malachy. And tell me, Frankie, what did you do to Freddie? Tried to kill him? Freddie is a good boy, Frankie. Reads his book. Listens to radio with his papa. He swinks you brother on swink. And you try to kill him. Oh, Frankie, Frankie. And you poor mother and her sick baby.

She's not sick, Mrs. Leibowitz.

Sick she is. Zat is one sick baby. I know from sick babies. I work in hoztipal. Don't tell me, Frankie. Come in, come in. Freddie, Freddie, Frankie is here. Come out. Frankie won't kill you no more. You and little Malachy. Nice Chewish name, have piece cake, eh? Why they give you a Chewish name, eh? So, glass milk, piece cake. You boys so thin, Irish don't eat.

We sit at the table with Freddie, eating cake, drinking milk. Mr. Leibowitz sits in an armchair reading the paper, listening to the radio. Sometimes he speaks to Mrs. Leibowitz and I don't understand because strange sounds come from his mouth. Freddie understands. When Mr. Leibowitz makes the strange sounds Freddie gets up and takes him a piece of cake. Mr. Leibowitz smiles at Freddie and pats his head and Freddie smiles back and makes the strange sounds.

Mrs. Leibowitz shakes her head at Malachy and me. Oy, so thin. She says Oy so much Malachy laughs and says Oy and the Leibowitzes laugh and Mr. Leibowitz says words we can understand, When Irish oyes are smiling. Mrs. Leibowitz laughs so hard her body shakes and she holds her stomach and Malachy says Oy again because he knows that makes everyone laugh. I say Oy but no one laughs and I know Oy belongs to Malachy the way Cuchulain belongs to me and Malachy can have his Oy.

Mrs. Leibowitz, my father said Freddie has a favorite story.

Malachy says, Sam, Sam, Oy. Everyone laughs again but I don't because I can't remember what comes after Sam. Freddie mumbles through his cake, Samson, and Mrs. Leibowitz tells him, Don't talk wiz you mouse full, and I laugh because she's grown-up and she says mouse instead of mouth. Malachy laughs because I laugh and the Leibowitzes look at each other and smile. Freddie says, Not Samson. My favorite story is David and the giant, Goliath. David killed him dead with a slingshot, a stone in his head. His brains was on the ground.

Were on the ground, says Mr. Leibowitz.

Yes, Papa.

Papa. That's what Freddie calls his father and Dad is what I call my father.

My mother's whisper wakes me. What's up with the child? It's still early and there isn't much morning in the room but you can see Dad over by the window with Margaret in his arms. He's rocking her and sighing, Och.

Mam says, Is she, is she sick?

Och, she's very quiet and she's a wee bit cold.

My mother is out of the bed, taking the child. Go for the doctor. Go for God's sake, and my father is pulling on his trousers over his shirt, no jacket, shoes, no socks on this bitter day.

We wait in the room, the twins asleep at the bottom of the bed, Malachy stirring beside me. Frankie, I want a drink of water. Mam rocks in her bed with the baby in her arms. Oh, Margaret, Margaret, my own little love. Open your lovely blue eyes, my little leanv.

I fill a cup of water for Malachy and me and my mother wails, Water for you and your brother. Oh, indeed, Water, is it? And nothing for your sister. Your poor little sister. Did you ask if she had a mouth in her head? Did you ask if she'd like a drop of water? Oh, no. Go on and drink your water, you and your brother, as if nothing happened. A regular day for the two of you, isn't it? And the twins sleeping away as if they didn't have a care and their poor little sister sick here in my arms. Sick in my arms. Oh, sweet Jesus in heaven.

Why is she talking like this? She's not talking like my mother today. I want my father. Where is my father?

I get back into bed and start to cry. Malachy says, Why you cry? Why you cry? till Mam is at me again. Your sister is sick in my arms and you're there whining and whinging. If I go over to that bed I'll give you something to whinge about.

Dad is back with the doctor. Dad has the whiskey smell. The doctor examines the baby, prods her, raises her eyelids, feels her neck, arms, legs. He straightens up and shakes his head. She's gone. Mam reaches for the baby, hugs her, turns to the wall. The doctor wants to know, Was there any kind of accident? Did anyone drop the baby? Did the boys play too hard with her? Anything?

My father shakes his head. Doctor says he'll have to take her to examine her and Dad signs a paper. My mother begs for another few minutes with her baby but the doctor says he doesn't have all day. When Dad reaches for Margaret my mother pulls away against the wall. She has the wild look, her black curly hair is damp on her forehead and there is sweat all over her face, her eyes are wide open and her face is shiny with tears, she keeps shaking her head and moaning, Ah, no, ah, no, till Dad eases the baby from her arms. The doctor wraps Margaret completely in a blanket and my mother cries, Oh, Jesus, you'll smother her. Jesus, Mary and Joseph, help me. The doctor leaves. My mother turns to the wall and doesn't make a move or sound. The twins are awake, crying with the hunger, but Dad stands in the middle of the room, staring at the ceiling. His face is white and he beats on his thighs with his fists. He comes to the