Genealogy 2018, 2,24
anxiety about a child leaving a class, ethnic, or religious group (Rubin 1976, p. 208;
Kagan 2007, p. 146;
Kelly and Kelly 1998, pp. 264–68).
The idea that Jakiela had inherited her interest in words is quickly deflated when e-mail contact
with her birth family begins and her sister writes, “I all ways KNEW” (p. 31). One of their mother’s
hostile messages, showing ignorance of how strongly Jakiela feels about her working-class identity,
says, “Your ancestors were hard working and proud individuals and you just beat that down” (p. 222).
All she knows about Jakiela, besides her desire for contact, probably, is that Jakiela has published
a book that reveals her name and therefore the history that she has been trying to keep secret. As with
the other mother, it seems, it is partly the interest in words that marks Jakiela as different. Her new
brother’s e-mail is more articulate and formal than her sister’s, but he has “a distinct working-class
accent [she’s] heard all her life and tried to escape” (p. 137), because so many of its Pittsburgh
speakers have treated her badly. Fortunately, his voice is softer and “sounds like [her] father” (138).
They can find a commonality in singing Irish songs, but he admits to envy at her growing up without
“the deadbeat piano playing father, his mother, her troubles” (p. 183).
Jakiela draws on an environment not totally foreign to her, as well as on the Catholic Charities
files and information from her brother, when she imagines the humiliation of the woman she calls
Marie. Hit herself in childhood with a wooden spoon by her mother and a belt by her father (p. 102),
she can easily imagine that Marie’s more violent father “would beat the child out of her if he knew”
and that “sometimes Marie becomes her father and beats her own head” (p. 145). Jakiela’s father, a mill
worker, mistrusted people in general and much preferred dogs (2006, pp. 34–36); she hypothesizes
the same of Marie’s father, a construction worker (2015, p. 152). Such conversion of class shame into
depression and generalized anger is quite frequent (Turner 2014, p. 186; Kagan 2007, pp. 146–47).
Perhaps Marie’s father was especially bitter, because he had lost a leg, presumably in a work accident.
Similarly, she writes of her father, “Because of the terrible things that happened to my father, he called
people cockroaches” (2015, p. 234). She sees much of her birthmother’s shame as coming from Catholic
tradition, writing of “the Irish Catholic horror I was born into” (p. 80) and imagining the many images
of the Virgin Mary in the Rosalia Foundling and Maternity Home as meant to say “You can pray to
us for salvation because we are what you’ll never be” (p. 173). She writes, “Marie grew up in the
church with her parents and their parents and so on. She knew cruel” (p. 173). She thinks of the
church-run Irish Magdalene homes, which exploited unwed mothers and mistreated many of their
children (p. 45), when Blonde4Eva writes that her mother, an immigrant from Ireland was raised
“Very proud Irish. Catholic” (p. 48). Jakiela still ambivalently identifies as Catholic, by contrast to her
“born-again Christian” in-laws but writes of the “American Catholic [perhaps implied from the above
phrase, horror] I was raised in and thought bad enough” (pp. 80–81), and remembers her pastor Father
Ackerman’s advice that parents should make their children grateful by using “their hands for beatings,
so children would feel that physical connection” (p. 115).
The Irishness of the birthmothers is emphasized in both memoirs, though with the significant
difference that for Harding, who does not interview anyone Irish until he hears from his cousin near
the end of his search, it has no particular associations with religion, beating, or shame. But indeed there
would have been contrasts in the experience of mid-century Irish immigrants to London and children
of earlier Irish immigrants to the US. Since the 1930s, many more Irish people have immigrated
to Britain, especially women to London, than to the US, and they probably felt less embattled
(Travers 1995, pp. 149–50;
Gray 2004, p. 107). Looking through various records for Margaret Walsh,
Harding sees many Irish names and notes the areas of London where they are found. Their listed
occupations give him a social history of the change from immigrants to “first-generation exiles” (p. 126),
and he tries to envision the lives of those in the “tough immigrant drama”. He finds “Irishness”
attractive but more relevant to understanding Margaret than himself. Later, when his cousin Mary asks
him about Irishness, he thinks of rooting for an Irish rugby player, Mick Doyle, Irish writers, and Irish
songs (pp. 174–75). He learns that Margaret had been able to keep another son before she got married,
so somehow she had become able to deal differently with social stigma. It may be partly a matter
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