All Souls: A Family Story from Southie

All Souls: A Family Story from Southie

by Michael Patrick MacDonald
All Souls: A Family Story from Southie

All Souls: A Family Story from Southie

by Michael Patrick MacDonald

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Overview

A NATIONAL BESTSELLER

All Souls is the written equivalent of an Irish wake, where revelers dance and sing the dead person’s praises. In that same style, the book leavens tragedy with dashes of humor but preserves the heartbreaking details.”—New York Times Book Review

A breakaway bestseller since its first printing, All Souls takes us deep into Michael Patrick MacDonald’s Southie, the proudly insular neighborhood with the highest concentration of white poverty in America. Rocked by Whitey Bulger’s crime schemes and busing riots, MacDonald’s Southie is populated by sharply hewn characters. We meet Ma, Michael’s mini-skirted, accordian-playing, single mother who endures the deaths of four of her eleven children. And there are Michael’s older siblings Davey, sweet artist-dreamer; Kevin, child genius of scam; and Frankie, Golden Gloves boxer and neighborhood hero whose lives are high-wire acts played out in a world of poverty and pride. Nearly suffocated by his grief and his community’s code of silence, MacDonald tells his family story here with gritty but moving honesty. All Souls is heartbreaking testimony to lives lost too early, and the story of how a place so filled with pain could still be “the best place in the world.”

Product Details

ISBN-13: 9780807072134
Publisher: Beacon Press
Publication date: 11/01/2007
Edition description: Reprint
Pages: 280
Sales rank: 128,218
Product dimensions: 5.50(w) x 8.49(h) x 0.71(d)

About the Author

Michael Patrick MacDonald grew up in South Boston’s Old Colony housing project. After losing four siblings and seeing his generation decimated by poverty, crime, and addiction, he became a leading Boston activist, helping launch many antiviolence initiatives, including gun-buyback programs. He continues to work for social change nationally, collaborating with survivor families and young people.

MacDonald won the American Book Award in 2000 and has written numerous essays for the Boston Globe Op-Ed Page. His national bestseller, All Souls, and his follow-up, Easter Rising: A Memoir of Roots and Rebellion have been adopted by university curriculums across the country.

Read an Excerpt

From Chapter 5: “Looking for Whitey”

Another one to make you a slave.’’ that’s what Nana said to Ma, looking at Seamus in the nursery at St. Margaret’s Hospital. Ma just laughed at her. She’d never gotten along with her mother—Ma said she was old-fashioned—and there was no sense in trying to relate now. Nana and Grandpa hadn’t even known Ma was pregnant until she went into labor. Ma kept it from them, knowing they’d judge her and her baby since she wasn’t married to Coley. She just wore big coats and held her big leather pocketbook in front of her stomach whenever she went to their house, among those lace curtain Irish neighbors in West Roxbury. Nana and Grandpa knew about me being illegitimate, but they never mentioned it, since most of their friends from Ireland thought that I’d come from Ma’s marriage to Mac—‘‘a bad marriage but a marriage before God nonetheless,’’ as Father Murphy said. I was close to Nana; she was my godmother and had been Patrick’s godmother too, so she took a special liking to me. I just had to brush off the bad things she said about Ma, and now I had to ignore her frowning gaze at Seamus. To make things more confusing for Nana and Grandpa’s Irish friends, Ma gave Seamus the last name King, from her short marriage to Bob King, whom they’d barely met. She had to put some name on the birth certificate; she knew welfare would never find Bob King, since he was probably homeless; and even though she’d gotten back together with Coley, we couldn’t be sure he’d stick around for too long. Ma was looking out for us again, making sure our welfare check wouldn’t be cut.

All I knew was that I was thrilled to come straight home from St. Augustine’s every day to see my little brother. I remember how clean and fresh he smelled even when he spit up on my shoulder. I was tired of all the battles, the rock throwing and the protests, and I was excited to be around something so new as Seamus. I just wanted to protect him, to keep him as fresh as the day he was born; and I became aware of how hard that might be when I started to take him out for a push around the front courtyard of Patterson Way, with all the buckled-up concrete catching the carriage wheels.

Ma liked me to take him outside every day after school. She always complained that the air in our apartment was bad for kids, with the smell of cockroach exterminator and the radiators going full blast even on a warm Indian summer afternoon. It seemed as if all the kids in the neighborhood had asthma. I’d walk Seamus in circles, around and around, on the beaten-up cement out front. The women on the stoop followed me with their eyes. I kept count so I could tell Ma how many times I’d pushed him around. ‘‘That’s twenty-nine times already!’’ I’d yell up to Ma. ‘‘Keep going,’’ she’d say from the window, ‘‘the air’s good for him.’’ I liked minding Seamus, but everyone wanted to come and look at him and smile in his face. Chickie was friendly to us now, and one time she came up to us, fixing Seamus’s blanket in a motherly way, and yelling up to Ma that all Ma’s kids looked like movie stars. Then she started talking baby talk. ‘‘Hiyaaa, hiyeee sweetie,’’ she sang, in the sweetest softest voice I’d ever heard coming out of her mouth. I started to see how babies did that to people, changed their voices and everything, no matter how mean or tough they seemed right before they’d laid eyes on the baby. Skoochie came by to show me the baby clothes she’d stolen downtown, taking them out of bags and sizing them up against Seamus, lying in his carriage. I sent her up to Ma, and she soon came back downstairs, folding up her empty bags. With Ma’s money in her hand, she called over to some teenagers I’d heard were selling pills. I just kept walking in circles, watching the action in the streets. Kids my age would ask if they could push the carriage, and when I let them they’d start running fast right off the curb toward the traffic—for some excitement, I guess. That kind of stuff made me frantic and nearly got me into a few fistfights, but everyone usually backed down from me, since the kids in the neighborhood were still afraid of my big brothers.

The worst thing about minding Seamus was when I’d hear a neighbor down the street calling someone a douchebag or a cunt. I couldn’t believe they’d say those words in front of a baby. Of course, they didn’t think they were doing it in front of a baby—they were down the street. I half realized that since Seamus was only a few weeks old anyway, it probably didn’t matter what he heard; and when they’d come up to the carriage the same people who’d just called someone a douchebag would start talking baby talk to him and tucking in his blanket. But I couldn’t help worrying for Seamus, with his fresh clean baby smell and brand-new terry cloth baby suits, in the middle of all this anger and confusion and drug dealing and fighting. I still loved our world of Old Colony, but I wasn’t always so sure about that now that I had a little brother to wheel around the broken-up courtyards.

After Seamus was born, the Boston Housing Authority broke down one of our walls for us, adding a second apartment. Only three families in Old Colony had a ‘‘breakthrough’’ apartment. Ma had pulled a few strings with the local politicians she’d met by volunteering for the South Boston Information Center and by playing the accordion at political fundraisers. We were the envy of the neighborhood now, with ten rooms in all, including two kitchens and two bathrooms. We had so much space that Ma had to start collecting furniture from the dumpster to fill up the house. I’d yell out the window to Ma, begging her to stop going through the dumpster, pulling out chairs. I didn’t want anyone to see her. My friends all bragged about their expensive living room sets stolen from the backs of trucks. But she’d just play it up, dragging some contraption behind her up three flights of stairs, ‘‘Look at this beautiful recliner!’’ It was really a lawn chair that one of the ladies on the stoop had left outside, expecting it to still be there when she got back. I was always afraid to let friends in the house, because they might find something that they’d thrown in the trash or just left outside.

We had it made now. Most of us had our own bedroom, and I had a feeling we would be in Old Colony forever. Ten fully furnished rooms with wall-to-wall green, blue, and orange shag rugs; free heat, light, and gas; Skoochie’s designer-label clothes for a quarter the price; all the excitement right out our front windows—‘‘Scenes better than anything on the TV,’’ Ma said—and the thrill of being on the inside of the exclusive world of Old Colony. We were privileged. And even though I was still a little worried for Seamus, I could convince myself, like everyone else, that we were in a superior kingdom.

Table of Contents

1.All Souls' Night1
2.Freedoms16
3.Ghetto Heaven50
4.Fight the Power79
5.Looking for Whitey107
6.August135
7.Holy Water156
8.Stand-Up Guy173
9.Exile199
10.Justice223
11.Vigil254
Acknowledgments265

What People are Saying About This

Charles Carberry

His anecdotes have the searing power of a redeemed sinner's fiery sermon. His swift, conversational style sweeps you into his anger and sorrow. He is a born rabble-rouser whose emotional power numbs the reader's reason.
—Charles Carberry, USA Today

Reading Group Guide

1. A dramatic, telling scene "in which decades of silence are broken" opens All Souls. How does the scene echo throughout the memoir? How does that which motivates Southie residents to speak of tragic loss on All Souls' Night compare to the anguish that compelled Michael Patrick MacDonald to tell his story?

2. Describe the tone in which All Souls opens. How does it shift throughout the memoir? The chronicling of what sorts of events necessitates a change in tone? Is there consistency or dissonance between the way MacDonald writes about the drama around him and his interior world?

3. In his opening chapter MacDonald speaks of the seductiveness and threat of Southie myths. Describe those myths. In what ways is All Souls an act of demythologizing, and to what extent does it romanticize Southie?

4. "For my family, " writes MacDonald, "freedom had become the rule above all others." Discuss the sort of freedom he has in mind. What are the most considerable threats to it? How do abstractions such as poverty and prejudice manifest themselves as real obstacles to the freedom desired?

5.  Motherhood receives significant attention throughout All Souls, both in the author's all-important relationship to "Ma" and in the triumphs and trials of mothers throughout the Old Colony Project. What distinguishes Ma? How is she at once recognizable and unique? What do we learn about the challenges facing, and the resources available to a single mother in poverty?

6. Fathers for the most part are absent from Old Colony. What are the repercussions of this absence? Who or what attempts to fill the gap? To what sort of masculinity dothe young men of the neighborhood aspire without father figures? How do Whitey Bulger and his ilk exploit and perpetuate this absence?

7. MacDonald has said that the "old neighborhood is dead in America." Does its portrait in All Souls strike you as anachronistic or anomalous, reverential or conflicted? Explain. What are the strengths and problems of an intimate, if often insular and isolated, neighborhood? What has contributed to the decline of the tight-knit community in the United States?

8. In commenting on the future of South Boston, MacDonald has said that forced integration and gentrification have ruined the possibility for the emergence of a functionally diverse neighborhood. He foresees something akin to "apartheid, where everybody in the projects is of color and everybody out of the projects is white, middle-class, single, and has no children." In All Souls what foreshadows this future? How is Southie's evolution like and unlike that of many metropolitan neighborhoods?

9. How does All Souls complicate or illuminate the issue of racism in America today? What contributed to the intolerance exhibited by many in Southie during busing, and how did it differ in kind and degree from racism elsewhere? What is the author's attitude toward race and racists?

10. Catholicism provides a framework for much of the action in All Souls. Provide examples of the various ways by which MacDonald uses religion to tell his many stories. To what extent does Catholicism shape the author and his approach to narrative? For example, what do we make of his use of confession, souls, and ceremony?

11. Comment on the role of humor in All Souls. How would you characterize it? In what ways does it function as a two-edged sword? Does the idea of dark humor transcend Irishness to resonate in other cultures?

12. All Souls provides an examination of white urban poverty today. Have you considered the subject before picking up the book? Why does the issue seem largely ignored by the media? How does social class shape the lives chronicled in the book? How is it a red herring?

13. Explain the moral complexities of the busing incident. What factors contributed to its violent unfolding? Did MacDonald's recounting of the riots challenge your views of the participants in those riots?

14. MacDonald has said that the arrest of his younger brother Stevie marked a turning point in his life, a move from observation and contemplation to action and confrontation. Chart the evolution of the author's character and views throughout the memoir. Which moments revealed their significance to him immediately? Which only in retrospection?

15. Southie is as complex a character in All Souls as any of the MacDonalds. Examine the author's changing and at times conflicting relationship to the place? Point to these pivotal moments. What does Southie mean to MacDonald at the close of the memoir?        

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