Young Lonigan - James T. Farrell [0]
PENGUIN TWENTIETH-CENTURY CLASSICS
Title Page
Dedication
Copyright Page
Introduction
Young Lonigan
SECTION ONE
SECTION TWO
SECTION THREE
SECTION FOUR
The Young Manhood of Studs Lonigan
SECTION ONE - 1917—1918—1919
SECTION TWO - 1922
SECTION THREE - 1924
SECTION FOUR - 1926-1929
Judgment Day
SECTION ONE
SECTION TWO
Epilogue
Fragments from the unpublished death fantasy sequence of “Judgment Day”
PENGUIN TWENTIETH-CENTURY CLASSICS
STUDS LONIGAN
James Thomas Farrell (1904—1979) was known for his many novels depicting lower-middle-class Irish-Catholic life. Born in the South Side slum section of Chicago, his stories deal with the poverty, bigotry, vices, and frustration he encountered. Farrell’s naturalistic style echoed the crudities of his chosen milieu, and it was a source of controversy when his work was originally published; however, the powerful, cumulative effect of his writing helped make Studs Lonigan, his magnum opus, a classic.
Ann Douglas teaches twentieth-century American studies at Columbia University. She is the author of Terrible Honesty: Mongrel Manhattan in the 1920s and has written numerous articles and reviews on American culture.
TO
MARJORIE AND JAMES HENLE
Whose encouragement was so helpful
in completing this trilogy
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Young Lonigan first published in the United States of America by The Vanguard Press 1932 The Young Manhood of Studs Lonigan published 1934 Judgment Day published 1935 Studs Lonigan published 1935 This edition with an introduction by Ann Douglas published in Penguin Books 2001
Copyright James T. Farrell, 1932, 1934, 1935
Introduction copyright © Ann Douglas, 2001
All rights reserved
eISBN : 978-1-101-50316-4
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INTRODUCTION
Reading Studs Lonigan for the first time was a revelation to me. From the opening lines, this story of a young “punk” of Irish immigrant origins growing up on Chicago’s South Side in the early decades of the twentieth century held and stirred me as few books ever have. In Studs Lonigan, the conventional barriers between life and art seem to disappear; the words, while powerful in their own right, also serve as evocations, markers of realities stronger, sharper, than language can convey No obvious authorial voice intrudes between reader and character. I was inside Studs’s life, and his world became the only world I had. This, I kept feeling, was real and moving, as close to my consciousness as that intimate stranger, my own body.
The novel selects its moments carefully—the first book covers five months of Studs’s life in 1916 when he is fourteen; the second details various key episodes, a kind of cinematic montage, between 1917