• Complain

James T. Fisher - On the Irish Waterfront: The Crusader, the Movie, and the Soul of the Port of New York

Here you can read online James T. Fisher - On the Irish Waterfront: The Crusader, the Movie, and the Soul of the Port of New York full text of the book (entire story) in english for free. Download pdf and epub, get meaning, cover and reviews about this ebook. year: 2011, publisher: Cornell University Press, genre: Non-fiction. Description of the work, (preface) as well as reviews are available. Best literature library LitArk.com created for fans of good reading and offers a wide selection of genres:

Romance novel Science fiction Adventure Detective Science History Home and family Prose Art Politics Computer Non-fiction Religion Business Children Humor

Choose a favorite category and find really read worthwhile books. Enjoy immersion in the world of imagination, feel the emotions of the characters or learn something new for yourself, make an fascinating discovery.

James T. Fisher On the Irish Waterfront: The Crusader, the Movie, and the Soul of the Port of New York
  • Book:
    On the Irish Waterfront: The Crusader, the Movie, and the Soul of the Port of New York
  • Author:
  • Publisher:
    Cornell University Press
  • Genre:
  • Year:
    2011
  • Rating:
    3 / 5
  • Favourites:
    Add to favourites
  • Your mark:
    • 60
    • 1
    • 2
    • 3
    • 4
    • 5

On the Irish Waterfront: The Crusader, the Movie, and the Soul of the Port of New York: summary, description and annotation

We offer to read an annotation, description, summary or preface (depends on what the author of the book "On the Irish Waterfront: The Crusader, the Movie, and the Soul of the Port of New York" wrote himself). If you haven't found the necessary information about the book — write in the comments, we will try to find it.

Site of the worlds busiest and most lucrative harbor throughout the first half of the twentieth century, the Port of New York was also the historic preserve of Irish American gangsters, politicians, longshoremens union leaders, and powerful Roman Catholic pastors. This is the demimonde depicted to stunning effect in Elia Kazans On the Waterfront (1954) and into which James T. Fisher takes readers in this remarkable and engaging historical account of the classic films backstory.

Fisher introduces readers to the real Father Pete Barry featured in On the Waterfront, John M. Pete Corridan, a crusading priest committed to winning union democracy and social justice for the ports dockworkers and their families. A Jesuit labor school instructor, not a parish priest, Corridan was on but not of Manhattans West Side Irish waterfront. His ferocious advocacy was resisted by the very men he sought to rescue from the violence and criminality that rendered the port a jungle, an outlaw frontier, in the words of investigative reporter Malcolm Johnson.

Driven off the waterfront, Corridan forged creative and spiritual alliances with men like Johnson and Budd Schulberg, the screenwriter who worked with Corridan for five years to turn Johnsons Pulitzer Prize-winning 1948 newspaper expos into a movie. Fishers detailed account of the waterfront priests central role in the films creation challenges standard views of the film as a post facto justification for Kazan and Schulbergs testimony as ex-communists before the House Committee on Un-American Activities.

On the Irish Waterfront is also a detailed social history of the New York/New Jersey waterfront, from the rise of Irish American entrepreneurs and political bosses during the World War I era to the mid-1950s, when the emergence of a revolutionary new mode of cargo-shipping signaled a radical reorganization of the port. This book explores the conflicts experienced and accommodations made by an insular Irish-Catholic community forced to adapt its economic, political, and religious lives to powerful forces of change both local and global in scope.

James T. Fisher: author's other books


Who wrote On the Irish Waterfront: The Crusader, the Movie, and the Soul of the Port of New York? Find out the surname, the name of the author of the book and a list of all author's works by series.

On the Irish Waterfront: The Crusader, the Movie, and the Soul of the Port of New York — read online for free the complete book (whole text) full work

Below is the text of the book, divided by pages. System saving the place of the last page read, allows you to conveniently read the book "On the Irish Waterfront: The Crusader, the Movie, and the Soul of the Port of New York" online for free, without having to search again every time where you left off. Put a bookmark, and you can go to the page where you finished reading at any time.

Light

Font size:

Reset

Interval:

Bookmark:

Make
Copyright 2009 by Cornell University All rights reserved Except for brief - photo 1
Copyright 2009 by Cornell University
All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850.
First published 2009 by Cornell University Press
First printing, Cornell Paperbacks, 2010
Printed in the United States of America
Library of Congress Cataloging-in-Publication Data
Fisher, James Terence.
On the Irish waterfront : the crusader, the movie, and the soul of the port of New York / James T. Fisher.
p. cm. (Cushwa Center studies of Catholicism in twentieth-century America)
Includes bibliographical references and index.
ISBN 978-0-8014-4804-1 (cloth : alk. paper)
ISBN 978-0-8014-7684-6 (pbk. : alk. paper)
I . StevedoresHudson River Region (N.Y. and N.J.) 2. Irish AmericansEmploymentHudson River Region (N.Y. and N.J.) 3. Port districtsCorrupt practicesHudson River Region (N.Y. and N.J.) 4. Church work with the working classHudson River Region (N.Y. and N.J.) 5. Catholic ChurchMissionsHudson River Region (N.Y. and N.J.) 6. On the waterfront (Motion picture) I. Title. II. Series: Cushwa Center studies of Catholicism in twentieth-century America.
HD8039.L82F57 2009
331.7613 87164097471dc22
2009013058
Cornell University Press strives to use environmentally responsible suppliers and materials to the fullest extent possible in the publishing of its books. Such materials include vegetable-based, low-VOC inks and acid-free papers that are recycled, totally chlorine-free, or partly composed of nonwood fibers. For further information, visit our website at www.cornellpress.cornell.edu.
Cloth printing 10 9 8 7 6 5 4
Paperback printing 10 9 8 7 6 5 4 3 2 1
Cover photosWaterfront, aerial, 1930s (courtesy of the Jersey City Free Public Library); Striking longshoremen surge against police at Pier 90, West 50th Street, as cops block them out to let nonstriking longshoremen make their end run onto picketed pier. New York World-Telegram and Sun, October 29, 1951 (courtesy of the Archives of the Xavier Institute of Industrial Relations, Fordham University Library, Bronx, New York).
More praise for On the Irish Waterfront
On the Irish Waterfront documents the true story of labor struggles in the Port of New York that led to the making of the classic film On the Waterfront. James T. Fishers exploration of the high-stakes, true-life battle between Jesuit labor priest Pete Corridan and Irish mobster Bill Mr. Big McCormack over the shapeup system among dockworkers reveals the multiple, contradictory currents of justice and violence, exploitation and solidarity, that shaped prewar American Catholic culture. A remarkable story in the hands of a talented storyteller, On the Irish Waterfront takes readers on a rollicking journey to the bars, cathedrals, boxing gyms, back alleys, parish basements, and front parlors of the Port of New York. This much-anticipated book is classic Fisherlively, insightful, crackling with verve and intellect, and just plain fun to read.
A MY K OEHLINGER , author of The New Nuns: Racial Justice and Religious Reform in the 1960s
James T. Fishers treatment of the spiritual front that brought the Irish Catholic priest Father Pete Corridan and the Jewish writer Budd Schulberg together in a common crusade for justiceand of their triumph, not on the waterfront, but on the silver screenis scintillating. Fisher is a good writer and a very fine historianintellectually sophisticated, indefatigable, wonderfully sensitive to human drama and foibles. On the Irish Waterfront covers an amazing amount of terrain. Urban, cultural, intellectual, and labor history all fall within Fishers purview and magnify the importance of his work.
B RUCE N ELSON , author of Workers on the Waterfront and Divided We Stand
What a story: religion, politics, ethnicity, labor, and a classic film. By giving a deep reading to this rich cultural mix, James T. Fisher reveals much about urban life and social change in twentieth-century America.
J AMES M. OT OOLE , author of Passing for White and editor of Habits of Devotion
VOLUMES IN THIS SERIES
CUSHWA CENTER STUDIES OF CATHOLICISM IN TWENTIETH-CENTURY AMERICA edited by R. Scott Appleby, University of Notre Dame
Horizons of the Sacred: Mexican Traditions in U.S. Catholicism edited by Timothy Matovina and Gary Riebe-Estrella, SVD
Habits of Devotion: Catholic Religious Practice in Twentieth-Century America edited by James M. OToole
Ballots and Bibles: Ethnic Politics and the Catholic Church in Providence by Evelyn Savidge Sterne
Catholics and Contraception: An American History by Leslie Woodcock Tentler
Claiming the City: Politics, Faith, and the Power of Place in St. Paul by Mary Lethert Wingerd
to James W. Reed, historian
Picture 2
to the dear memory of
Michael Young
(19532004)
All I said to kids I recruited was, Youre born and you die alone.
Al McGuire (19282001)
Marquette University basketball coach
Native son of the Irish waterfront
Contents

Prologue
P ETE B ARRYS P UNCH
L ate in the Academy Awardwinning 1954 film On the Waterfront, Father Pete Barry (Karl Malden) delivers a straight left to the chin of longshoreman Terry Malloy (Marlon Brando), who is sent sprawling across a barroom floor. The pretext for the punch is Terrys suggestion that the priest go to hell for demanding he relinquish his firearm, the first time in American film history a cleric had been addressed that way by a (nominal) parishioner. The rugged priests real purpose is to persuade Terry to attack Johnny Friendly (Lee J. Cobb)the mob-connected boss of a longshoremens union localwith words, not bullets, by testifying against him at a public hearing. Just hours earlier Johnny Friendly had presided over the murder of his own consigliere, Terrys mobster brother Charley the Gent Malloy (Rod Steiger), killed for failing to win Terrys promise of silence.
After Terry discovers and tenderly frees Charleys corpse from a longshoremans baling hook impaled in a redbrick alley wall, he and his girlfriend, Edie Doyle (Eva Marie Saint), narrowly escape being deliberately run down by a truck. By the time Father Barrywho along with Edie struggles throughout the film to help Terry find his consciencearrives at Friendlys clubhouse-saloon, Terry is picking glass from his wounds and brandishing a pistol with murderous intent. The priests resort to violence reverses the logic of the waterfronts inviolable code of silence. On the historic New YorkNew Jersey waterfront, truths spoken and shared with outsiders routinely prompted a violent reprisal; but Pete Barry deploys violence to compel just such an act of speech. The morally awakened Terry sips a beer with the priest, then hurls Charleys pistol through a glass-framed photograph of Johnny Friendly adorning the barroom wall. Hours later he shatters the waterfront code of silence by providing testimony against Friendly himself.
American movie audiences were familiar with tough, courageous Irish priests as featured in dozens of Hollywood films produced since the 1930s. In addition to appealing to a vast urban Catholic moviegoing audience, two-fisted priests like Pete Barry were the favorite screen characters of Joseph I. Breen, the immensely powerful head of the film industrys self-censorship board, the Production Code Administration, which the militantly Catholic Breen wielded on behalf of real Catholic action. Father Barrys punch readily found favor with the Codes watchdog. The vernacular expression that prompted the blow, however, brazenly violated the Codes unyielding policy that hell had no place in Hollywood. Breen quickly devised a solution: he personally (and successfully) intervened on behalf of the films producer, Sam Spiegel, using his Jesuit schooling in argumentation, in the words of historian Thomas Doherty, to persuade the Code board to make an exception for
Next page
Light

Font size:

Reset

Interval:

Bookmark:

Make

Similar books «On the Irish Waterfront: The Crusader, the Movie, and the Soul of the Port of New York»

Look at similar books to On the Irish Waterfront: The Crusader, the Movie, and the Soul of the Port of New York. We have selected literature similar in name and meaning in the hope of providing readers with more options to find new, interesting, not yet read works.


Reviews about «On the Irish Waterfront: The Crusader, the Movie, and the Soul of the Port of New York»

Discussion, reviews of the book On the Irish Waterfront: The Crusader, the Movie, and the Soul of the Port of New York and just readers' own opinions. Leave your comments, write what you think about the work, its meaning or the main characters. Specify what exactly you liked and what you didn't like, and why you think so.