Ironweed (1984 Pulitzer Prize) - William Kennedy [81]
That vision of the packet moving up the canal and Owen running alongside it telling Emmett about his children was as real to Francis, though it happened four decades before he was born, as was Old Shoes’ car, in which he was now bouncing ever northward toward the precise place where the separation took place. He all but cried at the way the Daugherty brothers were being separated by the goddamned government, just as he was now being separated from Billy and the others. And by what? What and who were again separating Francis from those people after he’d found them? It was a force whose name did not matter, if it had a name, but whose effect was devastating. Emmett Daugherty had placed blame on no man, not on the cholera inspectors or even the city’s elders. He knew a larger fate had moved him westward and shaped in him all that he was to become; and that moving and shaping was what Francis now understood, for he perceived the fugitive thrust that had come to be so much a part of his own spirit. And so he found it entirely reasonable that he and Emmett should be fused in a single person: the character of the hero of the play written by Emmett’s son, Edward Daugherty the playwright: Edward (husband of Katrina, father of Martin), who wrote The Car Barns, the tale of how Emmett radicalized Francis by telling his own story of separation and growth, by inspiring Francis to identify the enemy and target him with a stone. And just as Emmett truly did return home from the west as a labor hero, so also did the playright conjure an image of Francis returning home as underground hero for what that stone of his had done.
For a time Francis believed everything Edward Daugherty had written about him: liberator of the strikers from the capitalist beggars who owned the trolleys, just as Emmett had helped Paddy-with-a-shovel straighten his back and climb up out of his ditch in another age. The playright saw them both as Divine Warriors, sparked by the socialistic gods who understood the historical Irish need for aid from on high, for without it (so spoke Emmett, the goldentongued organizer of the play), “how else would we rid ourselves of those Tory swine, the true and unconquerable devils of all history?”
The stone had (had it not?) precipitated the firing by the soldiers and the killing of the pair of bystanders. And without that, without the death of Harold Allen, the strike might have continued, for the scabs were being imported in great numbers from Brooklyn, greenhorn Irish the likes of Emmett on the packet boat, some of them defecting instantly from the strike when they saw what it was, others bewildered and lost, lied to by men who hired them for railroad work in Philadelphia, then duped them into scabbery, terror, even death. There were even strikers from other cities working as scabs, soulless men who rode the strike trains here and took these Albany men’s jobs, as other scabs were taking theirs. And all of that might have continued had not Francis thrown the first stone. He was the principal hero in a strike that created heroes by the dozen. And because he was, he lived all his life with guilt over the deaths of the three men, unable to see any other force at work in the world that day beyond his own right hand. He could not accept, though he knew it to be true, that other significant stones had flown that day, that the soldiers’ fusillade at the bystanders had less to do with Harold Allen’s death than it did with the possibility of the soldiers’ own, for their firing had followed not upon the release of the stone by Francis but only after the mob’s full barrage had flown at the trolley. And then Francis, having seen nothing but his own act and what appeared to be its instant consequences, had fled into