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Based on personal memories of his life in Ireland and Scotland in the early 1900s, this was Patrick MacGill's first novel. It tells the story of Dermod Flynn an independent and feisty youth who earns a meagre living as an itinerant farm hand in Donegal and County Tyrone before coming to Scotland with a potato-picking squad. After living on the road, labouring and navvying, Dermod finds work on the hydro-electric scheme at Kinlochleven –an extraordinarily brutal and unforgiving environment where hundreds died on one of the biggest engineering projects of its time. Against this background, Dermod reads voraciously, begins to discover his talent as a writer and is eventually lured to Fleet Street, where he briefly becomes a journalist. Peopled with extraordinary characters, Children of the Dead End is a gritty and uncompromising expose of the near slavery endured by the poor in Scotland and Ireland at the beginning of the twentieth century.
The groundbreaking autobiographical novel by the renowned Irish journalist, poet, and author of The Great Push and The Rat-Pit. Peopled with extraordinary characters, suffused with humor and yet unflinching in its portrayal of the near slavery of the poor in Scotland and Ireland, Children of the Dead End sold 50,000 copies a year in the 1920s. It was as influential in its own way as the work of social investigators such as Rowntree in bringing about change in British and Irish attitudes to poverty and destitution. Starting with an account of his childhood in Donegal, Ireland at the end of the 19th century, the story moves to Scotland where, living as a tramp, then working as a gang laborer, and for some years as a navvy at Kinlochleven near Fort William, Dermod Flynn (as he calls himself) begins to discover himself as a writer. “Its freshness and force is the mark of true literature—the structure is perfect Heartily recommended.” —Irish Press “Splendid . . . a superb account of its times . . . Children of the Dead End and The Rat-Pit blaze with a passionate sincerity.” —Irish Times
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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.
Excerpt from Children of the Dead End: The Autobiography of a Navvy "I wish the Kinlochleven navvies had been thrown% into the loch. They would fain turn the Highlands into a cinderheap," said the late Andrew Lang, writing to me a few months before his death. In the following pages I have endeavoured to tell of the navvy; the life he leads, the dangers he dares, and the death he often dies. Most of my story is autobiographical. Moleskin Joe and Carroty Dan are true to life; they live now, and for all I know to the contrary may be met with on some precarious job, in some evil-smelling model lodging-house, or, as suits these gipsies of labour, on the open road. Norah Ryan's painful story shows the dangers to which an innocent girl is exposed through ignorance of the fundamental facts of existence; Gourock Ellen and Annie are types of women whom I have often met. While asking a little allowance for the pen of the novelist it must be said that nearly all the incidents of the book have come under the observation of the writer: that such incidents should take place makes the tragedy of the story. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.