"He came to the States in 1963, I think with a view to making up with my mother, but that didn't work. He came for three weeks, and drank his way all over Brooklyn. And went back... I went to his funeral in Belfast"
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It lands like a shrug over a grave: reconciliation is floated as a motive, then punctured by the flat punchline of booze and geography. McCourt’s genius here is his refusal to moralize. He doesn’t grandly accuse his father or summon a big, cleansing confrontation. He gives you a tiny itinerary - three weeks, all over Brooklyn - and lets the repetition of “He came... He came... And went back...” do the work of a verdict. The rhythm is transactional, like someone reading receipts from a life that kept failing to add up.
The stated intent (“making up with my mother”) is almost tender, but it’s framed with “I think,” a hedge that signals how little access the son has to the father’s interior world. The subtext is that the father’s real allegiance is to escape: to drink, to motion, to any place that isn’t accountability. “Drank his way all over Brooklyn” turns a borough into a bar crawl and makes self-destruction sound almost industrious, a tour powered by avoidance.
Context matters: 1963 is not just a date; it’s a hinge. Postwar Irish displacement meets American possibility, and the old patterns still win. Brooklyn is the immigrant dreamscape, Belfast the origin point, and McCourt’s final line stitches them together with brutal economy: no reunion scene, just the son traveling to the endpoint. That last sentence is the emotional trapdoor. After all the movement, the only “arrival” that sticks is death.
The stated intent (“making up with my mother”) is almost tender, but it’s framed with “I think,” a hedge that signals how little access the son has to the father’s interior world. The subtext is that the father’s real allegiance is to escape: to drink, to motion, to any place that isn’t accountability. “Drank his way all over Brooklyn” turns a borough into a bar crawl and makes self-destruction sound almost industrious, a tour powered by avoidance.
Context matters: 1963 is not just a date; it’s a hinge. Postwar Irish displacement meets American possibility, and the old patterns still win. Brooklyn is the immigrant dreamscape, Belfast the origin point, and McCourt’s final line stitches them together with brutal economy: no reunion scene, just the son traveling to the endpoint. That last sentence is the emotional trapdoor. After all the movement, the only “arrival” that sticks is death.
Quote Details
| Topic | Father |
|---|---|
| Source | Help us find the source |
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