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Overview
And now we have 'Tis, the story of Frank's American journey from impoverished immigrant to brilliant teacher and raconteur. The same vulnerable but invincible spirit that captured the hearts of readers in Angela's Ashes comes of age. As Malcolm Jones said in his Newsweek review of Angela's Ashes, "It is only the best storyteller who can so beguile his readers that he leaves them wanting more when he is done...and McCourt proves himself one of the very best." Frank McCourt's 'Tis is one of the most eagerly awaited books of our time, and it is a masterpiece.
Product Details
| ISBN-13: | 9780684864495 |
|---|---|
| Publisher: | Scribner |
| Publication date: | 09/21/1999 |
| Series: | The Frank McCourt Memoirs |
| Edition description: | Large Print |
| Pages: | 608 |
| Product dimensions: | 6.00(w) x 9.00(h) x 1.60(d) |
About the Author
Read an Excerpt
Chapter One When the MS Irish Oak sailed from Cork in October 1949, we expected to be in New York City in a week. Instead, after two days at sea, we were told we were going to Montreal in Canada. I told the first officer all I had was forty dollars and would Irish Shipping pay my train fare from Montreal to New York. He said, No, the company wasn't responsible. He said freighters are the whores of the high seas, they'll do anything for anyone. You could say a freighter is like Murphy's oul' dog, he'll go part of the road with any wanderer.
Two days later Irish Shipping changed its mind and gave us the happy news, Sail for New York City, but two days after that the captain was told, Sail for Albany.
The first officer told me Albany was a city far up the Hudson River, capital of New York State. He said Albany had all the charm of Limerick, ha ha ha, a great place to die but not a place where you'd want to get married or rear children. He was from Dublin and knew I was from Limerick and when he sneered at Limerick I didn't know what to do. I'd like to destroy him with a smart remark but then I'd look at myself in the mirror, pimply face, sore eyes, and bad teeth and know I could never stand up to anyone, especially a first officer with a uniform and a promising future as master of his own ship. Then I'd say to myself, Why should I care what anyone says about Limerick anyway? All I had there was misery.
Then the peculiar thing would happen. I'd sit on a deck chair in the lovely October sun with the gorgeous blue Atlantic all around me and try to imagine what New York would be like. I'd try to see Fifth Avenue or Central Park orGreenwich Village where everyone looked like movie stars, powerful tans, gleaming white teeth. But Limerick would push me into the past. Instead of me sauntering up Fifth Avenue with the tan, the teeth, I'd be back in the lanes of Limerick, women standing at doors chatting away and pulling their shawls around their shoulders, children with faces dirty from bread and jam, playing and laughing and crying to their mothers. I'd see people at Mass on Sunday morning where a whisper would run through the church when someone with a hunger weakness would collapse in the pew and have to be carried outside by men from the back of the church who'd tell everyone, Stand back, stand back, for the lovea Jaysus, can't you see she's gasping for the air, and I wanted to be a man like that telling people stand back because that gave you the right to stay outside till the Mass was over and you could go off to the pub which is why you were standing in the back with all the other men in the first place. Men who didn't drink always knelt right up there by the altar to show how good they were and how they didn't care if the pubs stayed closed till Doomsday. They knew the responses to the Mass better than anyone and they'd be blessing themselves and standing and kneeling and sighing over their prayers as if they felt the pain of Our Lord more than the rest of the congregation. Some had given up the pint entirely and they were the worst, always preaching the evil of the pint and looking down on the on es still in the grip as if they were on the right track to heaven. They acted as if God Himself would turn His back on a man drinking the pint when everyone knew you'd rarely hear a priest up in the pulpit denounce the pint or the men who drank it. Men with the thirst stayed in the back ready to streak out the door the minute the priest said, Ite, missa est, Go, you are dismissed. They stayed in the back because their mouths were dry and they felt too humble to be up there with the sober ones. I stayed near the door so that I could hear the men whispering about the slow Mass. They went to Mass because it's a mortal sin if you don't though you'd wonder if it wasn't a worse sin to be joking to the man next to you that if this priest didn't hurry up you'd expire of the thirst on the spot. If Father White came out to give the sermon they'd shuffle and groan over his sermons, the slowest in the world, with him rolling his eyes to heaven and declaring we were all doomed unless we mended our ways and devoted ourselves to the Virgin Mary entirely. My Uncle Pa Keating would have the men laughing behind their hands with his, I would devote myself to the Virgin Mary if she handed me a lovely creamy black pint of porter. I wanted to be there with my Uncle Pa Keating all grown up with long trousers and stand with the men in the back with the great thirst and laugh behind my hand.
I'd sit on that deck chair and look into my head to see myself cycling around Limerick City and out into the country delivering telegrams. I'd see myself early in the morning riding along country roads with the mist rising in the fields and cows giving me the odd moo and dogs coming at me till I drove them away with rocks. I'd hear babies in farmhouses crying for their mothers and farmers whacking cows back to the fields after the milking.
And I'd start crying to myself on that deck chair with the gorgeous Atlantic all around me, New York ahead, city of my dreams where I'd have the golden tan, the dazzling white teeth. I'd wonder what in God's name was wrong with me that I should be missing Limerick already, city of gray miseries, the place where I dreamed of escape to New York. I'd hear my mother's warning, The devil you know is better than the devil you don't know.
There were to be fourteen passengers on the ship but one canceled and we had to sail with an unlucky number. The first night out the captain stood up at dinner and welcomed us. He laughed and said he wasn't superstitious over the number of passengers but since there was a priest among us wouldn't it be lovely if His Reverence would say a prayer to come between us and all harm. The priest was a plump little man, born in Ireland, but so long in his Los Angeles parish he had no trace of an Irish accent. When he got up to say a prayer and blessed himself four passengers kept their hands in their laps and that told me they were Protestants. My mother used to say you could spot Protestants a mile away by their reserved manner. The priest asked Our Lord to look down on us with pity and love, that whatever happened on these stormy seas we were ready to be enfolded forever in His Divine Bosom. An old Protestant reached for his wife's hand. She smiled and shook her head back at him and he smiled, too, as if to say, Don't worry.
The priest sat next to me at the dinner table. He whispered that those two old Protestants were very rich from raising Thoroughbred racehorses in Kentucky and if I had any sense I'd be nice to them, you never know.
I wanted to ask what was the proper way to be nice to rich Protestants who raise racehorses but I couldn't for fear the priest might think I was a fool. I heard the Protestants say the Irish people were so charming and their children so adorable you hardly noticed how poor they were. I knew that if I ever talked to the rich Protestants I'd have to smile and show my destroyed teeth and that would be the end of it. The minute I made some money in America I'd have to rush to a dentist to have my smile mended. You could see from the magazines and the films how the smile opened doors and brought girls running and if I didn't have the smile I might as well go back to Limerick and get a job sorting letters in a dark back room at the post office where they wouldn't care if you hadn't a tooth in your head.
Before bedtime the steward served tea and biscuits in the lounge. The priest said, I'll have a double Scotch, forget the tea, Michael, the whiskey helps me sleep. He drank his whiskey and whispered to me again, Did you talk to the rich people from Kentucky?
I didn't.
Dammit. What's the matter with you? Don't you want to get ahead in the world?
I do.
Well, why don't you talk to the rich people from Kentucky? They might take a fancy to you and give you a job as stable boy or something and you could rise in the ranks instead of going to New York which is one big occasion of sin, a sink of depravity where a Catholic has to fight day and night to keep the faith. So, why can't you talk to the nice people from Kentucky and make something of yourself?
Whenever he brought up the rich people from Kentucky he whispered and I didn't know what to say. If my brother Malachy were here he'd march right up to the rich people and charm them and they'd probably adopt him and leave him their millions along with stables, racehorses, a big house, and maids to clean it. I never talked to rich people in my life except to say, Telegram, ma'am, and then I'd be told go round to the servants' entrance, this is the front door and don't you know any better.
That is what I wanted to tell the priest but I didn't know how to talk to him either. All I knew about priests was that they said Mass and everything else in Latin, that they heard my sins in English and forgave me in Latin on behalf of Our Lord Himself who is God anyway. It must be a strange thing to be a priest and wake up in the morning lying there in the bed knowing you have the power to forgive people or not forgive them depending on your mood. When you know Latin and forgive sins it makes you powerful and hard to talk to because you know the dark secrets of the world. Talking to a priest is like talking to God Himself and if you say the wrong thing you're doomed.
There wasn't a soul on that ship who could tell me how to talk to rich Protestants and demanding priests. My uncle by marriage, Pa Keating, could have told me but he was back in Limerick where he didn't give a fiddler's fart about anything. I knew if he were here he'd refuse to talk to the rich people entirely and then he'd tell the priest to kiss his royal Irish arse. That's how I'd like to be myself but when your teeth and eyes are destroyed you never know what to say or what to do with yourself.
There was a book in the ship's library, Crime and Punishment, and I thought it might be a good murder mystery even if it was filled with confusing Russian names. I tried to read it in a deck chair but the story made me feel strange, a story about a Russian student, Raskolnikov, who kills an old woman, a moneylender, and then tries to convince himself he's entitled to the money because she's useless to the world and her money would pay for his university expenses so that he could become a lawyer and go round defending people like himself who kill old women for their money. It made me feel strange because of the time in Limerick when I had a job writing threatening letters for an old woman moneylender, Mrs. Finucane, and when she died in a chair I took some of her money to help me pay my fare to America. I knew I didn't kill Mrs. Finucane but I took her money and that made me almost as bad as Raskolnikov and if I died this minute he'd be the first one I'd run into in hell. I could save my soul by confessing to the priest and even though he's supposed to forget your sins the minute he gives you absolution he'd have power over me and he'd give me strange looks and tell me go charm the rich Protestants from Kentucky.
I fell asleep reading the book and a sailor, a deckhand, woke me to tell me, Your book is getting wet in the rain, sir.
Sir. Here I was from a lane in Limerick and there's a man with gray hair calling me sir even though he's not supposed to say a word to me in the first place because of the rules. The first officer told me an ordinary sailor was never allowed to speak to passengers except for a Good Day or Good Night. He told me this particular sailor with the gray hair was once an officer on the Queen Elizabeth but he was fired because he was caught with a first-class passenger in her cabin and what they were doing was a cause of confession. This man's name was Owen and he was peculiar the way he spent all his time reading below and when the ship docked he'd go ashore with a book and read in a café while the rest of the crew got roaring drunk and had to be hauled back to the ship in taxis. Our own captain had such respect for him he'd have him up to his cabin and they'd have tea and talk of the days they served together on an English destroyer that was torpedoed, the two of them hanging on to a raft in the Atlantic drifting and freezing and chatting about the time they'd get back to Ireland and have a nice pint and a mountain of bacon and cabbage.
Owen spoke to me next day. He said he knew he was breaking the rules but he couldn't help talking to anyone on this ship who was reading Crime and Punishment. There were great readers in the crew right enough but they wouldn't move beyond Edgar Wallace or Zane Grey and he'd give anything to be able to chat about Dostoyevsky. He wanted to know if I'd read The Possessed or The Brothers Karamazov and he looked sad when I said I'd never heard of them. He told me the minute I got to New York I should rush to a bookshop and get Dostoyevsky books and I'd never be lonely again. He said no matter what Dostoyevsky book you read he always gave you something to chew on and you can't beat that for a bargain. That's what Owen said though I had no notion of what he was talking about.
Then the priest came along the deck and Owen moved away. The priest said, Were you talking to that man? I could see you were. Well, I'm telling you he's not good company. You can see that, can't you? I heard all about him. Him with his gray hair swabbing decks at his age. It's a strange thing you can talk to deckhands with no morals but if I ask you to talk to the rich Protestants from Kentucky you can't find a minute.
We were only talking about Dostoyevsky.
Dostoyevsky, indeed. Lotta good that'll do you in New York. You won't see many Help Wanted signs requiring a knowledge of Dostoyevsky. Can't get you to talk to the rich people from Kentucky but you sit here for hours yacking with sailors. Stay away from old sailors. You know what they are. Talk to people who'll do you some good. Read the lives of the saints.
Along the New Jersey side of the Hudson River there were hundreds of ships docked tightly together. Owen the sailor said they were the Liberty ships that brought supplies to Europe during the war and after and it's sad to think they'll be hauled away any day to be broken up in shipyards. But that's the way the world is, he said, and a ship lasts no longer than a whore's moan.
Copyright © 1999 by Frank McCourt
Interviews
More McCourt
Frank McCourt, acclaimed author of Angela's Ashes and 'Tis, here answers questions on topics ranging from the process of a writer finding his voice to the immigrant's experience in today's New York compared to what McCourt went through when he first arrived in the 1950s.
A Bit of Back-and-Forth with Frank McCourt
Q: You've talked about the importance of finding your voice as a writer and the way listening to your granddaughter helped you remember your own voice as a child. Can you talk about how you find your voice?
A: As far as finding one's voice as a writer, I stumbled on it. I didn't know when I started writing Angela's Ashes that I would be writing from the point of view of a child. The first 19 pages or so are in the past tense with the omniscient voice of the author. And then one evening I made a note to myself about something I wanted to write the next day, and I did it in the present tense. It felt very comfortable, and I wrote the next day in the voice of a child, and it just fit like a glove. And I continued it.
Q: One thing that really stands out in 'Tis is your humor. The teaching experiences, the tangles with your superiors in the Army and at your various jobs are all very funny to read. Do you think humor has been the key to your surviving the hardships of your childhood and scaling some of the fences when you came back to America?
A: I think there's something about the Irish experience -- that we had to have a sense of humor or die. That's what kept us going -- a sense of absurdity, rather than humor. And it did help because sometimes you'd get desperate. And I developed this habit of saying to myself, "Oh, well." I might be in the midst of some misery, and I'd say to myself, "Well, someday you'll think it's funny." And the other part of my head will say, "No you won't, you'll never think this is funny. This is the most miserable experience you've ever had." But later on you look back and you say, "That was funny, that was absurd."
Q: As a New Yorker, do you think the immigrant experience is vastly different now? If you came to New York today would you have the same opportunities?
A: I think life in New York is easier now because, in the '50s, the colleges were more rigid about their admissions requirements. At City College you had to have a high school diploma, and you had to have at least an 85 average. That was a very demanding place. But I think nowadays you can do anything you like. There's help everywhere -- we have more of a social conscience -- if you can find out where it is. And usually if you belong to some ethnic group they're in touch with something. You can go to college here. You can go to a community college and then you go to a four-year college. But I was just lucky I got into NYU.
Q: The Catholic Church, when you grew up, seemed to discourage self-expression or looking inward at all. And yet there are so many great Catholic writers, including yourself. How did you overcome your own upbringing in the Church?
A: The Catholic Church didn't completely object to us looking inward because we had to go to confession. To go to confession involved, first of all, examining your conscience, not looking inward just to know yourself but to see where you had transgressed, what sins you had committed. And that would take all day because I committed all of the sins. That is a powerful business, that business of examining your conscience, because you had to think about sin. And I think that gives you a strong sense of structure, intellectual structure, the whole edifice, the theological edifice of the seven deadly sins and the Ten Commandments and the seven virtues and then the appropriate punishments or rewards -- Heaven, Purgatory, which is a place of temporary punishment, Hell and Limbo, and so on. That's a huge structure. And that was a great gift the Catholic Church gave us.
Q: Did you enjoy reading Angela's Ashes and 'Tis and for the audiobooks?
A: Recording 'Tis is a bit different from recording Angela's Ashes because that seemed like more of a straightforward story. When I was recording 'Tis, I was faced with more of a challenge. I think that there were a greater variety of voices -- New York voices and American energy. And also I was more aware of what I was doing. Sometimes you become so aware of what you're doing you start thinking about what you're doing and your tongue isn't going along with your mind and then your tongue wraps itself around your wisdom teeth -- if you have any wisdom teeth -- and I found that my tongue wasn't obeying me. That was my main experience. But it's very demanding, and I never had to concentrate so much in my life.
Q: How did you feel about public's response to the audiobook of Angela's Ashes? A: The audio version of Angela's Ashes was on the bestseller list right away. The American Booksellers gave me an award for it, the best audio book of the year award. What I really wanted was a Grammy. I wanted a Grammy for Angela's Ashes because I wanted to meet Whitney Houston and people like that backstage, and I wanted to be very glamorous. I was going to buy a pair of black leather pants -- tight black leather pants -- and get my head shaved on one side and wear earrings. And I was very disappointed I wasn't even nominated for a Grammy. So if 'Tis is nominated I might at last get to meet Whitney Houston, and we might sing "Boys and Girls Together" or something like that.
Q: Despite your resistance to your family's advice to "stick with your own kind" you fell right into the Irish community when you arrived in New York. Do you think "sticking together" is ultimately helpful to new immigrants, or does it prevent them making the most of their new home?
A: Well, there's no point in being here if you're going to stick in a ghetto; of course it's natural for people to stick together. Especially people coming who don't have English. At least I had English. And I did drift into the Irish ghetto -- the cultural ghetto and so on -- but I knew I'd have to get out of it. You go down to Chinatown, you go to Flushing in Queens, and you see big Korean communities out there. And I suppose they feel comfortable. But their children and grandchildren will move on.
Q: A short time after you arrived in the United States, you were drafted into the Army. Did you feel cheated out of your new American life, or did you end up learning more about America?
A: Anything I know about America I learned in a little town called Lenggries in Germany. I was thrown in with such a bunch of characters from all over this country -- Kentucky sharpshooters and gangsters from the Lower East Side and one guy was a pimp and there was an ex-priest and an ex-rabbi. All these characters were dropouts and so on. So I met America in Germany, and we would go out and drink. And what I learned particularly was the rhythms. I'm always interested in the rhythms of the language, you know, ranging from New York all the way to California, black kids and so on. I didn't meet too many Asian kids, but a lot of blacks and a lot of Hispanics. So that was my introduction, because in New York, before that, I had more or less followed my mother's dictum to "stick with your own."
Q: You taught in the New York City school system for nearly 30 years -- ranging from a vocational high school on Staten Island to the city's most prestigious public school, Stuyvesant. Can you talk a bit about how you helped your students to find their voices?
A: I think my students were finding their voices before I did. Here I am, exhorting them to write naturally and simply, and I'm going home and trying to be very literary. Because they're only starting out, you see, and I'm on a higher level and I'm trying to be Joycean and Faulknerian and Waughean and Huxleian and so on. In other words, I wasn't listening to myself when I was talking to the kids. I also had to deal with other English teachers who were trying to get the kids to write convoluted literary sentences, and I was insisting on simplicity and clarity. I'd developed a little acronym I'd write on the margins of their papers: AYJ. Are… You… Joking…? Because I couldn't understand it. I'd say, "Remember, I never went to high school and you have to write very simply and clearly for me. Otherwise I'm going to have to ask other teachers what this means and that would be very embarrassing."