"Children of the Dead End: The Autobiography of an Irish Navvy" by Patrick MacGill. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
Written as fiction, this text is Patrick MacGill's autobiography. Starting with an account of his childhood in Ireland at the end of the 19th century, the story moves to Scotland where, tramp then gang-labourer then navvy, Dermond Flynn (as he sometimes calls himself) discovers himself as a writer.
Homeless Boys and the People Who Tried to Save Them
Author: Bonnie Stepenoff
Pubpsher: University of Missouri Press
Joe Garagiola remembers playing baseball with stolen balls and bats while growing up on the Hill. Chuck Berry had run-ins with police before channeling his energy into rock and roll. But not all the boys growing up on the rough streets of St. Louis had loving families or managed to find success. This book reviews a century of history to tell the story of the “lost” boys who struggled to survive on the city’s streets as it evolved from a booming late-nineteenth-century industrial center to a troubled mid-twentieth-century metropolis. To the eyes of impressionable boys without parents to shield them, St. Louis presented an ever-changing spectacle of violence. Small, loosely organized bands from the tenement districts wandered the city looking for trouble, and they often found it. The geology of St. Louis also provided for unique accommodations—sometimes gangs of boys found shelter in the extensive system of interconnected caves underneath the city. Boys could hide in these secret lairs for weeks or even months at a stretch. Bonnie Stepenoff gives voice to the harrowing experiences of destitute and homeless boys and young men who struggled to grow up, with little or no adult supervision, on streets filled with excitement but also teeming with sharpsters ready to teach these youngsters things they would never learn in school. Well-intentioned efforts of private philanthropists and public officials sometimes went cruelly astray, and sometimes were ineffective, but sometimes had positive effects on young lives. Stepenoff traces the history of several efforts aimed at assisting the city’s homeless boys. She discusses the prison-like St. Louis House of Refuge, where more than 80 percent of the resident children were boys, and Father Dunne's News Boys' Home and Protectorate, which stressed education and training for more than a century after its founding. She charts the growth of Skid Row and details how historical events such as industrialization, economic depression, and wars affected this vulnerable urban population. Most of these boys grew up and lived decent, unheralded lives, but that doesn’t mean that their childhood experiences left them unscathed. Their lives offer a compelling glimpse into old St. Louis while reinforcing the idea that society has an obligation to create cities that will nurture and not endanger the young.
This book deals with the realm of education-getting beyond the dead end of mass education-in the context of Israeli education system. It analyzes the aims and target populations of educational fostering and illustrates the dead-end situation of the educational system.
Using original research, this book explores the recurring debates in Britain and America about children and how they use and respond to the media, focusing on a key example: the controversy surrounding children and cinema in the 1930s. It explores the attempts to control children's viewing, the theories that supported these approaches and the extent to which they were successful. The author develops her challenging proposition that children are agents in their cinema viewing, not victims; showing how these angels with dirty faces colonized the cinema. She reveals their distinct cinema culture and the ways in which they subverted or circumvented official censorship including the Hays Code and the British Board of Film Censors, to regulate their own viewing of a variety of films, including Frankenstein, King Kong and The Cat and the Canary.
Trans-national Readings of Modern Irish Literature
Author: Ciaran Ross
Category: Literary Criticism
From Swift's repulsive shit-flinging Yahoos to Beckett's dying but never quite dead moribunds, Irish literature has long been perceived as being synonymous with subversion and all forms of subversiveness. But what constitutes a subversive text or a subversive writer in twenty-first-century Ireland? The essays in this volume set out to redefine and rethink the subversive potential of modern Irish literature. Crossing three central genres, one common denominator running through these essays whether dealing with canonical writers like Yeats, Beckett and Flann O'Brien, or lesser known contemporary writers like Sebastian Barry or Robert McLiam Wilson, is the continual questioning of Irish identity – Irishness – going from its colonial paradigm and stereotype of the subaltern in MacGill, to its uneasy implications for gender representation in the contemporary novel and the contemporary drama. A subsidiary theme inextricably linked to the identity problematic is that of exile and its radical heritage for all Irish writing irrespective of its different genres. Sub-Versions offers a cross-cultural and trans-national response to the expanding interest in Irish and postcolonial studies by bringing together specialists from different national cultures and scholarly contexts – Ireland, Britain, France and Central Europe. The order of the essays is by genre.This study is aimed both at the general literary reader and anyone particularly interested in Irish Studies.
No one exemplifies the angst of the Depression era street kid more than The Dead End Kids. They were the stars of Sidney Kingsley’s 1935 play, Dead End, and reprised their roles in Samuel Goldwyn’s 1937 Hollywood film version. The movie defined the theme of slum dramas for the juvenile rebellion films of subsequent decades. The Dead End Kids were Billy Halop, Huntz Hall, Bobby Jordan, Leo Gorcey, Gabriel Dell, and Bernard Punsly. The best of their films were the gangster movies where the boys collided with the likes of Humphrey Bogart in Dead End and Crime School, James Cagney in Angels with Dirty Faces and John Garfield in They Made Me a Criminal. They bandied about lightweights like Ronald Reagan in lackluster efforts like Hell’s Kitchen and Angels Wash Their Faces before being reformed by a military academy in On Dress Parade. Their original reign was short-lived, not because they ran out of steam but because they had to be toned down due to criticisms. It didn’t matter because The Dead End Kids mutated into several splinter groups that starred in various configurations of the original members for the next quarter century, carving out a unique niche in motion picture history. One of the uncharted tributaries of this history is the solo careers of the actors who played the Dead End Kids. There were careers of mixed blessings after the initial stardom and each member faced and dealt with the typecasting dilemma in different ways and various degrees of success. There was plenty of heartbreak and disappointment along a way that started with Dead End in 1935 and ended with Dr. Bernard Punsly’s death in 2004. Joseph Fusco's Beyond Dead End: The Solo Careers of The Dead End Kids chronicles a saga of mixed blessings, where each member faced and dealt with the typecasting dilemma in different ways and various degrees of success. 388 pages. Illustrated.
Poison Apple Books: Thrilling. Bone-chilling. These books have bite! Casey Slater can’t believe her bad luck. It’s the summer before seventh grade, and instead of the perfect vacation she’d planned with her best friend, Casey is in a remote country town, where her parents are restoring an old, creaky, creepy house. Worst of all, everyone else in town thinks the old house is haunted. And soon Casey thinks so, too -- a vase explodes, a heavy china cabinet falls over on its own -- and it seems like the ghost doesn’t want them there. Casey thought she’d be dying of boredom, but now she’s scared to death!