By Frank O'Connor
Frank O’Connor’s acclaimed autobiography, now in a single volume
When Frank O’Connor used to be born, his parents—Minnie O’Connor, a former maid raised in an orphanage, and Michael O’Donovan, a veteran of the Boer conflict and the drummer in a neighborhood brass-and-reed band—lived above a sweet-and-tobacco store in Cork, eire. The younger relations quickly moved, despite the fact that, to a two-room cottage on the most sensible of Blarney highway, a lane that originates, as O’Connor so vividly describes it, “near the river-bank, in sordidness, and ascends the hill to anything like squalor.” From this not going starting, a bad boy born Michael Francis Xavier O’Donovan set out at the notable trip that remodeled him into Frank O’Connor, one in all Ireland’s maximum writers.
An in basic terms baby, the 1st installment of O’Connor’s splendidly evocative autobiography, captures the enjoyment and ache of his early years: pleasure within the colourful humans and areas of Cork and in his dedicated courting together with his mom, discomfort within the family’s impoverished scenario and in his father’s depression moods and drunken outbursts. Fifteen years previous whilst he joins the Irish Republican military within the struggle for independence, O’Connor unearths himself at the wasting facet of the consequent civil battle and is imprisoned via the govt. of the recent state. My Father’s Son starts together with his unencumber from an internment camp and follows him to Dublin and the world-renowned Abbey Theatre, the place he meets W. B. Yeats, J. M. Synge, and different individuals of the Irish Literary Revival, and takes the 1st steps towards turning into one of many 20th century’s so much cherished authors.
As richly special and eloquent because the better of his brief fiction, Frank O’Connor’s autobiography is an enjoyable portrait of a desirable time and position, and the inspiring account of a tender artist discovering his voice.
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Additional info for An Only Child and My Father's Son: The Autobiography
I've got to go back to New York where the shit is really happening. And don't worry about Bird, Mingus. " Talking to Mingus like that really hurt me, because I loved him, and I could see that my leaving hurt him real bad. He gave up trying to convince me to stay. But I think that argument really hurt our friendship. We played together after that, but we weren't as close as we had been. We were still friends, though, no matter what some of the people said who wrote about us in their books. Those writers never talked to me.
The white union don't like us because we're black. And here's a white woman, a whore who wants to give you money, and you ain't got none, and you say no? If you do that shit again I'm going to stab you, you jive motherfucker, you hear what I'm saying, you understand? " I knew Howard was nice and everything, but he didn't like no stupid bullshit. " When she offered it to me, I took it. " After that I used to think about what Howard told me, I mean that shit embarrassed me, her giving me money. I hadn't been around no shit like that.
B had Sonny Stitt, Gene Ammons, and Cecil Payne in the saxo-phone section; Linton Garner-Erroll Garner's brother-on piano; Tommy Potter on bass and Art Blakey on drums. Hobart Dotson, Leonard Hawkins, King Kolax, and me were the trumpet section. By this time B had become one of the most famous singers in the United States, ranking up there with Frank Sinatra, Nat "King" Cole, Bing Crosby, and others. He was a sex object among black women, a star. He was that for white women, too, but they didn't love him or buy his records the way black women did.