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Shuggie Bain: A Novel (Booker Prize Winner)
Shuggie Bain: A Novel (Booker Prize Winner)
Shuggie Bain: A Novel (Booker Prize Winner)
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Shuggie Bain: A Novel (Booker Prize Winner)

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WINNER OF THE BOOKER PRIZE
NEW YORK TIMES BESTSELLER
FINALIST FOR THE NATIONAL BOOK AWARD

A stunning debut novel by a masterful writer telling the heartwrenching story of a young boy and his alcoholic mother, whose love is only matched by her pride.

Shuggie Bain is the unforgettable story of young Hugh “Shuggie” Bain, a sweet and lonely boy who spends his 1980s childhood in run-down public housing in Glasgow, Scotland. Thatcher’s policies have put husbands and sons out of work, and the city’s notorious drugs epidemic is waiting in the wings.

Shuggie’s mother Agnes walks a wayward path: she is Shuggie’s guiding light but a burden for him and his siblings. She dreams of a house with its own front door while she flicks through the pages of the Freemans catalogue, ordering a little happiness on credit, anything to brighten up her grey life. Married to a philandering taxi-driver husband, Agnes keeps her pride by looking good—her beehive, make-up, and pearly-white false teeth offer a glamorous image of a Glaswegian Elizabeth Taylor. But under the surface, Agnes finds increasing solace in drink, and she drains away the lion’s share of each week’s benefits—all the family has to live on—on cans of extra-strong lager hidden in handbags and poured into tea mugs. Agnes’s older children find their own ways to get a safe distance from their mother, abandoning Shuggie to care for her as she swings between alcoholic binges and sobriety. Shuggie is meanwhile struggling to somehow become the normal boy he desperately longs to be, but everyone has realized that he is “no right,” a boy with a secret that all but him can see. Agnes is supportive of her son, but her addiction has the power to eclipse everyone close to her—even her beloved Shuggie.

A heartbreaking story of addiction, sexuality, and love, Shuggie Bain is an epic portrayal of a working-class family that is rarely seen in fiction. Recalling the work of Édouard Louis, Alan Hollinghurst, Frank McCourt, and Hanya Yanagihara, it is a blistering debut by a brilliant novelist who has a powerful and important story to tell.

Editor's Note

Booker Prize winner…

Winner of the 2020 Booker Prize. A deeply sympathetic story about poverty and addiction in 1980s Glasgow, and a cutting look at the impact of Thatcherism in Scotland. The titular character, the young Shuggie Bain, is desperate to escape the trappings of being poor and attain that elusive status of “normal”; his mother, Agnes, wants to stay sober but keeps falling back into alcoholism. “Challenging, intimate and gripping … anyone who reads it will never feel the same,” said the Booker Prize judges.

LanguageEnglish
PublisherGrove Press
Release dateFeb 11, 2020
ISBN9780802148056
Shuggie Bain: A Novel (Booker Prize Winner)
Author

Douglas Stuart

Douglas Stuart (PhD Harvard) is senior professor of Old Testament at Gordon-Conwell Theological Seminary. He controls the use of fourteen ancient languages and is the author of several books, including Studies in Early Hebrew Meter, Old Testament Exegesis: A Primer for Students and Pastors, and Favorite Old Testament Passages.

Read more from Douglas Stuart

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Rating: 4.287172210495627 out of 5 stars
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  • Rating: 5 out of 5 stars
    5/5
    This book had me from page one. I thoroughly enjoyed it's heartbreak, it's poignancy. Even though you want to hate some of the characters in the novel, you cannot because they are so fully human, not all good or all bad. I recommend this to, quite literally, anyone who can read!
  • Rating: 5 out of 5 stars
    5/5
    A heartbreaking coming-of-age story of a preadolescent boy left tending to an alcoholic mother while struggling with his own identity in poverty-stricken Glasgow. A remarkably good read.
  • Rating: 5 out of 5 stars
    5/5
    Agnes Bain may be the most memorable drunk in literature. Living in Glasgow Scotland during the 1980’s, she leaves her first husband who seems to be a solid, respectable person with whom she had two children. She leaves him for a philandering taxi driver whose activities aren’t that much different than hers. With Shug Bain she has a third child, Shuggie. Shug moves the family from his mother-in-law’s apartment to god-forsaken council housing in an area where Maggie Thatcher has been closing the coal mines. Shug leaves Agnes and the three kids there and returns to Glasgow where he shacks up with his mistress. You really can’t blame him, Agnes is soused most of the time. The two older kids are nearly adult and manage to make their way forward, but poor little Shuggie, is stuck with his mom, the mean kids in the council housing who instantly pick up on his feminine ways and pick on him continually. Worth reading, this is one of the saddest books I’ve read in a long time. Glasgow has lost its appeal after reading about their slums. This is not a book that makes you want to visit. If you want a cheerful middle-class book about Scotland read something by Alexander McCall Smith, although it seems like the residents around 44 Scotland Street in Edinburgh aren’t that impressed by Glasgow either.
  • Rating: 5 out of 5 stars
    5/5
    4.5 I knew it! When I was only fifty pages or so into the book, I had the feeling it was going to break my heart. It did. Glasgow in the eighties, many live in council housing, a day to day existence. These people are so messed up, poor and struggling, trying to find money, love, desperate beyond belief. Agnes turns to drink, anything to escape the mess she has made of her life. Her three children, try their best, but it is never enough. One leaves home as soon as she can, leaving her mother and two brothers far behind.It is Shuggie though who breaks my heart and to s certain extent his older brother Leek. They both have responsibilities they should not have at their age. Shuggie though has an additional struggle, as he doesn't fit in anywhere. His sexual orientation makes him stand out, he walks different, doesn't like sports. Ultimately he is picked on and bullied. He also feels if his mother just realized how much he love her, she would stop drinking.This story feels do very real. Children that grow up in households where ones parent is an alcoholic, will recognize the authenticity of the way the children act. How they often blame themselves, take on responsibilities way too early. Believe me I know. I think that is why this book hit me so hard.A terrific book, full of emotion and the struggles of a parent who can't face reality. A parent who struggles with a fearsome addiction. Yet, reading this one can't help but feel for her too. ARC from Netgalley.
  • Rating: 5 out of 5 stars
    5/5
    If you don't know anything about the effects of alcoholism and the grip it can have on an individual, read this and you will become educated. If you're curious about Scotland, and what life might have been like for the lower-working class in the 80s, this story gives you much to ponder.

    Where do I start? Maybe with the strength of the writing. As in, I had an actual physical reaction to some scenes. Stuart described Agnes's misery so well when she was suffering from too much drink, I sometimes felt queasy, the hallmark of excellent writing. How absolutely unreal it was to read this and to know it was his debut.

    This story of a young boy whose mother is suffering from alcoholism gives a sharp and unflinching view of how the disease affects every one around her, even those who don't care about her. It is an on the page train wreck and you can't look away from it, no matter how tough the scenes. You see the addiction mostly through Agnes's and Shuggie's eyes.

    Shuggie, or Hugh Bain, named after his father, is the youngest of the children. Catherine, the eldest, has the wisdom and foresight to escape early on. She washes her hands of the whole mess. Leek, the middle child, is an unrealized artist. He often takes off to his hideout. While he tries to protect Shuggie not only from the "scheme's" bullies, but from their mother's episodes, he can only do so much. He is the only one working, and without what little he makes, the "dole" is never going to be enough.

    The relationship between Shuggie and his mother is something to behold. He loves her unconditionally, cares for her in the ways a boy shouldn't have to, but does because he is compassionate, and perhaps knows Agnes better than anyone.

    As well, Shuggie knows he's different, feels different, but he can't explain himself. Leek tries to show him how to walk, and Shuggie practices, but Shuggie's deeply rooted awareness goes beyond mannerisms, speech and actions.

    As an aside, there were many words and cultural aspects I thought fascinating. For instance, the word scheme was used a lot and after looking it up, I found that it's a derogatory term for public housing - which is also called "council housing." The word wee was used often and so were many other words, like "no'' for "not," and "dinnae" for "didn't" All of it was very natural and I could hear them speaking in the dialect as I read. Every so often I found myself inserting "wee" into my own thoughts, like I'll just put it on the wee table, or, I'll just step outside for a wee bit. Imagine, a Southern Scottish accent.

    Many every day services like hot water, watching the television, (telly) etc., were run off of meters. You had to put money in the meters to have these things, and Agnes, Shuggie and the others were always breaking them open to steal coins to either pay for her alcohol, the taxi, or sometimes food. A popular food seemed to be "tinned custard."

    Bit by bit, there is the descent. The perpetual rise and the inevitable fall. The hope, despair, restarts, do-overs, umpteen failures and a few wins. The abusiveness to mind and body, and not to only Agnes, but to Leek as well, and most especially to Shuggie, because, "if you're no' a wee girl, then you must be a wee poof. Are ye a wee poof?"

    A disturbing, yet fascinating story with what felt almost like a private peek into the lives of a family. Such a heavy, dark story - and of course - I loved it.
  • Rating: 3 out of 5 stars
    3/5
    I don't know how to rate this one. It was well written but just way too painful to read.
  • Rating: 1 out of 5 stars
    1/5
    Depressing. Hated it. Kept thinking it might have some redeeming value. I was wrong.
  • Rating: 4 out of 5 stars
    4/5
    This is the sad tale of an alcoholic mother and her youngest child. It really heralds the selfishness of the alcoholic. I know they have their reasons and I know they are generally good people but nevertheless, this woman was more concerns with her needs than she was for the needs of her children. Debut novel, Scotland. Booker.
  • Rating: 4 out of 5 stars
    4/5
    Midlife memoirs -- the kind where people survive incredibly irresponsible parents, awful bad luck, or unimaginably unjust social conditions -- and live to tell and write about it, are a guilty pleasure of mine. This made it surprisingly difficult for me to figure out what I thought about "Suggie Bain." On a purely literary level, it's easy to admire. Stuart shapes his characters with genuine care, conveying the emotional impact of each character's misfortunes without sinking into pity or melodrama. He sneaks Scots dialect into the text effectively, using words that the Oxford hasn't heard of without making his characters into north-of-the-Tyne caricatures. And, somehow, he makes the story of the Bain clan something other than horribly depressing to read about. I won't go into details here, but the barest plot outline will tell you why that's an achievement in itself. In the hands of a less gifted writer, "Suggie Bain" would be ham-handed poverty porn, and, quite frankly, the books setting is so grey and lifeless and so many of its characters so obviously doomed from the very outset that I'm not completely sure that, at some level, it isn't. Readers will have to make up their own minds there. But there are other, more interesting reasons to like "Shuggie Bain." The novel works wonderfully as a sort of architectural and structural critique. The word "brutalism" is never mentioned here, but it's clear that the author has it in his sights. We hear about grey, blocky buildings, lifeless housing developments, the lunar landscape of the coal pits. This novel's characters seem to be trapped into whatever the opposite of Le Corbusier's "machines for living" would be: they're stuck trying to live human lives in what are obviously inhuman environments. By showing their as-often-as-not struggle to make a home out of obviously desolate environments, Bain's taking aim at several decades -- maybe several generations -- of meticulously planned but ultimately unsuccessful social development. This makes "Shuggie Bain" a political work in the best sense of the word. The other reason I rather liked this one is that it's a wonderful exploration of gay difference that makes a deliberate choice to avoid this theme's most familiar tropes. Shuggie is certainly treated badly for being a young gay man, but the hostility he faces seems to be of a piece with his environment's general hostility to difference and non-conformity. The novel's set in the eighties, but we don't hear anything about the AIDS epidemic: Shuggie and his family are so socially isolated that they seem to exist well apart from those headlines. Lastly, you could argue that Shuggie's gayness -- his softness, his lack of interest in typical male pursuits, his unwillingness to be explicitly aggressive toward others -- that saves him from the fate that awaits so many of his hetero peers. In this, "Shuggie Bain" rather reminded me of Justin Torres's "We the Animals," which isn't, to be honest, half the novel that "Shuggie Bain" is, but which also presents queerness as an unexpected means of escape. And escape is something that Shuggie -- and everyone in the novel -- certainly needs. This one can be a long, harrowing reading experience, but it still comes recommended.
  • Rating: 5 out of 5 stars
    5/5
    Douglas Stuart’s gut-wrenching, prize-winning first novel tells the story of young Hugh “Shuggie” Bain, whose disastrous family life provides the framework for a sordid, tragic tale of alcoholism and abuse. We first encounter teenage Shuggie in 1992. He is fending for himself, working for cash in a Glasgow supermarket. But how did he get there? The middle sections of the book answer that question by taking us back to the early 1980s. Shuggie is the youngest of the three children of Agnes Bain, a beautiful, proud woman in her thirties who habitually takes up with selfish, manipulative, abusive men. His father Hugh, known as “Big Shug,” drives a taxi and routinely carries on with women of every stripe and description. For solace, for fun, and to blot out the world, Agnes drinks, invariably to excess. It’s a hardscrabble life that lacks hope and promise, but things go from bad to worse after Shug moves his family out of the cramped council flat they’ve been sharing with Agnes’s parents to a house in a remote mining village. This is post-industrial Scotland. The mine has all but shut down and almost everyone is on the dole. The mining town a ruined, scorched place where, as Stuart tells us, “the land had been turned inside out,” a place neglected by those in power and despised by the people who live there, a place that breeds cruelty, misery and addiction. When Agnes’s drinking and resentment over his philandering become more trouble than they’re worth, Big Shug abandons his family completely. Left alone with three children, Agnes’s dependence on alcohol escalates: most days she is dysfunctional by noon and comatose by evening. Money is tight and most of it goes on lager and vodka. Under these wretched circumstances the children—Shuggie, Catherine and Alexander (known as “Leek”)—care for themselves as best they can, pinning threadbare hopes on their mother’s rare and sporadic periods of sobriety while steeling themselves for the inevitable relapse. Despite her dereliction, Shuggie grows up idolizing his mother, in thrall to her beauty, serving her needs before his own, unaware that she’s deliberately raised him to be her enabler. His siblings are more mature and pragmatic, Catherine especially. She is the first to leave, absconding for a new life in South Africa. Later, in a drunken rage, Agnes throws Leek out of the house. Left alone with his mother, Shuggie struggles to assume necessary responsibilities and keep the household afloat while continuing to attend school and learning how to navigate an alien and hostile adult world. With Agnes having abandoned the role of guardian, Shuggie often goes hungry, but rarely does his mother go without drink. Still, Shuggie clings to hope, managing her moods, battling her cravings and encouraging sobriety. But it’s a battle against a relentless adversary that he has no chance of winning. Shuggie’s torment is magnified by growing up a misfit, aware that he is different from other boys but helpless to do anything about it, subject to taunting and physical abuse because of his proper speech, effeminate mannerisms and indifference to typical masculine passions, like football, girls and automobiles. The novel is long and structured in the manner of a symphony, with themes and motifs repeating and intensifying as the story progresses, the whole thing building to a devastating crescendo. Douglas Stuart’s down and dirty novel is not for the faint of heart. A portrait of anguished love and addiction, it offers only the faintest flickers of hope. But it gets to the heart of the matter as it portrays the human will to survive, as only the best fiction can.
  • Rating: 4 out of 5 stars
    4/5
    This was an audiobook narrated by Angus King, a narrator I haven't heard before but based on this book I certainly wouldn't mind listening to him narrate other books. I presume with a name like Angus that he is Scottish. If he's not then he does an amazing job of the Glaswegian accent in this book. The book itself was awarded the Booker Prize in 2020 and, without having read any of the other short-listed books, it seems like a good choice to me. It's not a feel good book though, by any stretch of the imagination.Shuggie is an alternate for Hugh, something I had never heard before. Named after his father Shuggie grows up with very little to do with him. Shug Bain, the father, leaves the family for another woman, just as he left his first wife for Shuggie's mother, Agnes. At one point Shuggie counts up all the children to whom his father has acted in loco parentis and it is something like 15. Mind you, he doesn't seem to bother financially supporting those children after he has moved on to new responsibilities. Shuggie and his two half-siblings and his mother were moved into a house on the edge of a defunct coal mine just before Shug left them. Agnes has never worked outside the house and she has a drinking problem that gets worse and worse as they continue to live in this depressing enclave. Shuggie learns early on in life that his mother will buy alcohol above any food. He quite often goes to get the social assistance money so he can sometimes keep back a little money but he quite often is literally left with nothing to eat. Nevertheless he is very close to his mother and he knows that she loves him. At one point Agnes gets sober and gets a job but her boyfriend convinces her to have a drink and Agnes falls of the wagon with a mighty thud. When his sister marries and moves to South Africa there is one less person providing for the family. His brother hangs around longer and he does try to look after Shuggie but eventually he moves off to a job in England. Shuggie has learned from Agnes to speak with an upper-class accent and that, together with his effiminate mannerisms, makes him the target of neighbourhood bullies. Despite all this Shuggie is a likeable and mostly happy lad. Somehow he finds the strength to endure all that life throws at him. That's a good thing because right from the start of the book we know that at the age of 15 Shuggie is on his own. The mystery as to how he got there kept me hooked on finishing the book.This is a profound look at poverty and alcoholism but it is also an exploration of surviving all that.
  • Rating: 5 out of 5 stars
    5/5
    The story of Shuggie Bain, which is really the story of Agnes Bain. Sad, hopeful and pessimistic in equal measures. A story which reels you in and has you hoping for something better, because you really care about the characters.
  • Rating: 5 out of 5 stars
    5/5
    Deserving Booker Prize Winner

    It’s not too much to this modify this opening sentence from Shakespeare’s Romeo and Juliet to describe the story of Shuggie and his alcoholic mom Agnes: “For never was a story of more woe than this of Agnes and her Shuggie.” Battles go on in Shuggie Bain, little Shuggie’s fierce love for his mother in the face of her addiction and neglect of him, his frustrating struggle to save from her worst proclivities, to protect her from spiteful neighbors and predatory men, his own efforts to survive in an environment that torments him for his homosexuality, and his fight to exist in the throes of grinding poverty so severe that he often finds himself on the edge of starvation. Everything about Shuggie Bain will depress you, Shuggie’s situation, Agnes’s alcoholism, the grayness of Scottish public housing, and the futility of it all in the end. Yet, despite all this utter sadness, Shuggie Bain the novel and Shuggie Bain the boy will leave readers inspired, because this boy illustrates that hope never dies, and that love for another can see you through the most trying circumstances.

    The story begins with Shuggie living with his mother and father Hugh, his older sister Catherine and brother Leek, all together with Agnes’ parents in their small public housing apartment. Hugh drives a taxi and often cheats on Agnes, and Agnes assuages her hurt with lager and vodka, as do the other women she hangs with. Hugh’s a brawny and prideful man whom Agnes left her first husband for. They battle frequently over his infidelity, till finally one day he decides to move the family to their own public housing flat far from her parents. This proves disastrous for their marriage, as he leaves her for another woman and she is left to fend for herself and children in a community hostile to them. She sinks further into drink, alienating her daughter who marries and moves with her new husband to South Africa. Infidelity and drinking are the watchwords of their Pithead town, build in the barren dirt and dust of a defunct colliery. Here, though, she is able to get herself off drink for a year, find a job, and care for Shuggie and Leek. And she meets a man, a taxi driver like Hugh, who seems to love and respect her, until he urges her to have a drink, believing that a person, even an alcoholic, should be able to drink socially. Once she’s back on drink, he rejects her, as does Leek, who moves out on his own. She and Shuggie struggle on together, with Shuggie never giving up on her.

    Once Pithead becomes too much for them, she moves herself and Shuggie to public housing in Glasgow, halfheartedly promising Shuggie that she will give up drinking. She doesn’t and their lives deteriorate further, she allowing men to use her for money, and he again harassed for his overt feminine qualities. In the end, alcohol consumes her and ends her life. She dies in a chair in front of a nearly adolescent Shuggie, who lovingly attends to her to make her presentable before she’s removed from their flat.

    Douglas Stuart drew the novel from his own life and his own love of his mother, and this affection rings true on every page. Grim as the above outline sounds, and there’s no disguising that every page amounts to an exercise in depression, Shuggie himself shows that the love of a son for his mother can rise above all the grimness, leaving the reader inspired and grateful the world has compassionate boys and girls like this in it. You’ll be glad you read it.
  • Rating: 3 out of 5 stars
    3/5
    This book explores the impact of poverty, alcoholism, and abuse on a family living in Glasgow in the 1980s. Shuggie is the young son of Agnes and Big Shug. Much of the book is focused on Agnes and the impact of her drinking. Big Shug is an abusive philanderer who abandons them. Shuggie endures bullying because he is different. It is the story of a severely dysfunctional family.

    The writing is strong, and the story is heart-wrenching. My heart went out to Shuggie and I wanted to protect him. I felt like berating the guy who talked a person in recovery into drinking again to appear “normal.” There is little hope and lots of pain.

    I think each reader needs to evaluate how much misery he or she can handle before embarking on this book. I have a difficult time reading about situations where adults mistreat children, and this book falls into that category. It contains many forms of abuse, abandonment, suicide, molestation, rape, homophobia, the downward spiral of addiction, and I am sure more that I have blocked out.

    I listened to the audio, which is brilliantly read by Angus King. It is hard for me to rate such a book. The author’s writing evoked strong feelings of compassion, but also of acute distress. It was hard to listen to 17 hours of an innocent child’s suffering and I almost abandoned it. I wish more of it had been similar to the last chapter – it has a much less oppressive tone. There are many glowing reviews, so please check them out. This book won the Booker Prize in 2020.
  • Rating: 4 out of 5 stars
    4/5
    "Sadness made for a better house-guest; at least it was quiet, reliable, consistent."Set in Glasgow between 1981 to 1992 encompassing the Thatcher years this novel features an underclass of the working population who are struggling to survive. Many of the men worked in the now defunct coal mines and associated industries have lost their jobs and have little hope of future employment whilst most of their women don't work and depend on welfare payments to support themselves and their families. There is a culture of heavy drinking of it's inhabiants, where drinking takes priority over everything including food and children. This story focuses on one family, the Bains. Shug and Agnes, the parents and their three children, Catherine, Alexander (known as Leek)and the youngest Hugh(Shuggie). The novel opens with 16 year old Shuggie, living in a boarding house and working in a sandwich shop. Only Catherine has escaped Scotland and Agnes and is now living in South Africa with her husband. Leek wanted to go to art school but instead works as a labourer, Shuggie wants to be a hairdresser. Shuggie is neat and clean, polishes his shoes, dresses in suits, speaks politely and is gay. He has casual sex with another male resident of his boarding house for money for food and heating. The only enduring relationship Shuggie has ever had is with his mother. Although the book is called Shuggie Bain it is Agnes who really dominates it. Agnes is unhappily married (for the second time) to a philandering taxi-driver who cruises the night-time city streets in hope of casual sex. Meanwhile Agnes scans Freeman's catalogues ordering happiness on tick. She is beautiful and vain always taking care with her outward appearance, she wears a good mohair coat, high heels and costume rings with big stones (a Glaswegian Elizabeth Taylor), she dominates any environment she inhabits but increasingly seeks solace in alcohol, drinking away the family's weekly benefits. Her alcoholism is destructive not just to herself but also for her relationships and her children.Her children are loyal to her and Shuggie as the youngest adores her, she is the one person who accepts him as he is, but this loyalty comes at great personal cost to themselves. "Shug had seen it before, those with least to give always gave the most."Agnes’s drinking shapes and destroys everyone who comes in contact with her. Shuggie stays with Agnes to the bitter end but even after her death his memory of her continues to blight his future. "It was clear now: nobody would get to be made brand new."Douglas Stuart gives the reader an insight into Thatcherite Glasgow from the point of view of some of its residents and is a gloomy indictment of it. The story is told from multiple points of view – mostly Shuggie, Agnes, and Leek, but others also chip in from time to time. Yet despite the ever-present sadness there are also glimpses of a wry humour that helps lifts the mood from time to time.I hesitate to say that I found this an enjoyable read but I do think that as a début novel it is a remarkable piece of writing and as such a worthy winner of the 2020 Booker Prize.
  • Rating: 4 out of 5 stars
    4/5
    In a book whose story has moments of wry humor interspersed between many more moments of almost unrelenting sadness, Shuggie Bain, the titular character, is tossed back and forth between disappointments too numerous to count. We meet him as he is growing up in the projects in 1980s Glasgow with his mother and family. Both his mother, Agnes, and the environment of lower class Glasgow are characters that rival and sometimes surpass Shuggie in interest for the reader. The combination in this first novel from the pen of Douglas Stuart make for an engrossing read in spite of a heavy dose of heartbreak.After a brief introductory section and two chapters where we meet Agnes, her girl friends, and her second husband, Shug, we finally meet a five-year-old Shuggie who is dancing while being cheered by his mother in her Glasgow tenement. Shuggie is the last born among Agnes’ children. The other two children were sired by a different father. Agnes abandoned her first husband for a taxi driver who is rarely at home. Shuggie’s father, Big Shug, is a womanizer and has pushed Agnes into a depression due to his philandering behavior. Agnes has turned to alcohol, thus, becoming a shadow of her former self. In spite of flaws, Shuggie loves his mother and sometimes misses school to look after her.Agnes’ behavior forces her first two children to plot their escape. Therefore, Shuggie is left with his mother. Shuggie hides from the outside world for being mocked about his sexuality. This leaves him alone and he spends much time with his mother. To make his mother happy, Shuggie sings and dances for her. When Agnes’ conditions worsen, men take advantage and molest her sexually. Readers get insight into a bitter and humiliating woman, whose downfall is catalyzed by love and marriage. Simply, it is a case of a dysfunctional love affair.Shuggie is displayed as a character who longs to make his mother happy no matter what happens. Although he has been failed by his parents, Shuggie is never judgmental. Gradually he begins to realize he is "different" than the other boys."He felt something was wrong. Something inside him felt put together incorrectly. It was like they could all see it, but he was the only one who could not say what it was. It was just different, and so it was just wrong."In spite of this devastating realization, or perhaps because of it, Shuggie is a strong character dealing with rejection by friends and abandonment by his father, just as his mother is also dealing with rejection. The rejection experienced by a mother and her son leads to a huge love that binds them together. The decade of the eighties is not kind to either Shuggie or Agnes. While Shuggie gradually enters manhood in his teen years he begins both to accept his gay persona and to learn how to dance for himself.Stuart's book won the 2020 Booker Prize whose judges praised this "amazingly intimate, compassionate, gripping portrait of addiction, courage and love."
  • Rating: 5 out of 5 stars
    5/5
    This is a great novel about a young boy in Glasgow, Scotland who is being raised by an alcoholic mother. His two older siblings are generally absent and his father has left the family and has a new one. Shuggie is doted on by Agnes (mother) in a very codependent relationship. To make things worse he has become a "poof" an effeminate kid picked on by his peers. As a reader you root for him and his mother but this is a deeply flawed family. Intriguing characters and great writing.
  • Rating: 4 out of 5 stars
    4/5
    I can see why this book has been a contender for book of the year. The writing is beautiful and creates such an impact for the reader. It is a very depressing read so I would warn anyone before they start that they should have a lighter, happier book lined up afterwards. The only reason it’s not a 5 star for me is that I think it could have been edited a bit to bring the word count down.
  • Rating: 5 out of 5 stars
    5/5
    I started this book twice before I was able to read it to the end. It was so sad. It tells of the devotion of the young boy Shuggie Bain to his alcoholic mother and the destruction of a family. Shuggie also comes with his own challenges. Very well written. The story stayed with me long after the book was closed.
  • Rating: 5 out of 5 stars
    5/5
    WOW!!! This is a masterfully told story, in parts autobiography of a young boy, Hugh 'Shuggie' Bain, growing up in 80s Glasgow with his older sister, brother and mother, who is fighting her demons with the bottle. Eventually Shuggie's siblings leave, or are kicked out and pursue their own lives, leaving 11 year old Shuggie at home with his mum. The writing is brilliant, the desription of life at times disheartening and at others hopeful. You are taken from tears to laughter on a journey that doesn't let up. A pity that I can only give 5 stars.
  • Rating: 5 out of 5 stars
    5/5
    Agnes had so many hopes for her life. Her first husband was simply a disappointment, too well-behaved, too boring. With Shug Bain things could be different. But soon she wakes up still in her childhood room with her parents, aged 39 and mother of three kids. Shug promises a better life and rents them a home in a run-down public housing area on the outskirts of Glasgow. Yet, Shug does not really move in with his family, he is driving his taxi more and more often and spends his free time with other women. Soon enough, Agnes finds comfort in alcohol, her new neighbourhood is the perfect place to drown your thoughts and worries in cans of beer. Shuggie’s older brother Leek and his sister Catherine can distance themselves from their always intoxicated mother, yet, Shuggie is too young and for years, he hopes that one days, Agnes will be sober and they will have a life like any normal family. Douglas Stuart’s novel is really heart-wrenching. You follow Shuggie’s childhood in the 1980s, a time when life was hard for many working class families who often did not know how to make ends meet which drove many fathers and mothers to alcohol. Shuggie’s love for his mother is unconditional, he is too young to understand the mechanisms behind her addiction and to see what it does not only to her but also to him. It would be too easy to blame Agnes for the misery she brings to herself and her son, she too is a victim of the time she lives in and the society that surrounds her. Industrial times are over in Scotland and the formerly working class turn into a new underclass.It is not the plot that stands out in this novel, actually, all that happens is a downward spiral of alcoholism and decay that leads to the necessary end one would expect. Much more interesting are the two main characters, mother and son, and their development throughout the novel. Agnes tries to preserve her pride, to be the glamorous and beautiful woman she has once been and who has always attracted men even when times get tough. She keeps her chin up as long as she can – at least when she happens to be sober. Already at a young age Shuggie has to learn that life will not offer him much. His family’s poverty and his mother’s addiction would be enough challenge in life. However, the older he gets, the more unsure he becomes about who he actually is. As a young boy, he prefers playing with girls’ toys and later he does not really develop an interest in girls either which makes him an easy target of bullying. No matter how deep his mother sinks, he always hopes for better days, days with his father, days without hunger. He is good at observing and even better at doing what is expected of him. He learns quickly how to behave around the different men in their home, how to hide his life from the outside world. In Leanne, he finally finds somebody who can understand him because she herself leads exactly the same life. They only long to be normal, yet, a normal life is not something that their childhood has been destined to. Quite often you forget how young Shuggie is, his life is miserable but he has perfectly adapted to the circumstances. Douglas Stuart provides insight in a highly dysfunctional family where you can nevertheless find love and affection. It is clear that there is no escape from this life which makes it totally depressing. Somehow, the novel reminds me of the “Kitchen Sink” dramas with the only difference of being set in the 1980s and shown from a female perspective. Agnes is not the angry young woman; she is the desperate middle-aged mother whose dreams are over and who provides only one example to her son: do not expect anything from life or anybody. An emotionally challenging novel due to its unforgiving realism.

    2 people found this helpful

  • Rating: 4 out of 5 stars
    4/5
    In retrospect, I really wish I’d read this with a side of wine. Or possibly antidepressants. What a bleak story! Well told, but bleak as all heck. My first bit of advice: save this for a time in your life when you are feeling emotionally resilient and able to handle all the despair.Why bleak? Because the people in this novel are trapped in cycles of poverty, abuse, and exhaustion over which they have almost no control, thanks to psychological factors (cruelty and despair are ingrained in them from the earliest age), social factors (anyone hoping to escape is inevitably swatted down by jealous peers), economic factors (rent controls ensure that they always end up in economically depressed areas, no matter how many times they move), and a religion (Catholicism) that makes it impossible to escape brutal marriages or leverage any control over unending pregnancies that merely escalate the poverty, abuse, and exhaustion noted above. This novel focuses specifically on the plight of Agnes, lucky enough to be born with beauty and some aspiration, and her unusually empathetic and gentle son Hugh. (The fact that Hugh is gay doesn’t really impact the story, except to underscore the extent to which he is unsuited for survival in this blighted dystopia.) We pray that Agnes’s beauty will be enough to attract a man able to lift her from her predestined misery and that, once given an opportunity, her aspiration will be strong enough to sustain her. We pray that Hugh will survive the brutish conditions of his childhood before all the gentleness is crushed out of him. But, honestly, what are the chances of these things happening in a culture that doesn’t even blink at fathers raping their daughters, at husbands beating their wives to death, at parents starving their children in order to spend their weekly food allowance on booze, or at cuckolded husbands casually murdering babes that aren’t theirs? Forget that this is set in 1980s Glasgow – subtract the Catholicism and you’re left with a morality play that is both timeless and universal. According to the blurb, this is supposed to be a “heartbreaking story of addiction, sexuality, and love.” I would argue that this is a heartbreaking story about what happens when you strip any race, class or caste of humans of opportunity and dignity. Sex may provide some temporary diversion, and alcohol/drugs some temporary forgetfulness, but the only hope of escape is selfless love, and what are the chances of that happening? Stuart keeps stringing us along, making us hope that least one of the relationships in this novel will save our blighted protagonists ... but you might want to keep those antidepressants at the ready just in case.
  • Rating: 4 out of 5 stars
    4/5
    Sad story, brilliant writing
  • Rating: 4 out of 5 stars
    4/5
    Shuggie Bain, Douglas Stuart; Angus King, narratorShuggie Bain’s nature and personality always conspired against him to make him more vulnerable to his mother’s capricious behavior and the brutality of the streets. She was self-destructive and blamed everyone else for her own failures. When she made poor decisions, she turned to alcohol for relief. She often used her own body to bargain for alcohol for herself, and food for her children. Modesty was not her strong suit. This low-class behavior, at odds with her pretense to a higher class, with her mannerisms and mode of dress, was counterproductive, and it often led to a fury-laced tantrum characterized by abuse and cruelty as she became more and more desperate and beaten down by the very circumstances she had herself created. After abandoning her first husband, she chose a second, Shug Bain, who was sometimes violent. He became the father of her third child, Hugh Bain, known throughout the book as Shuggie. When Shug abandoned her because of her addiction, her life deteriorated further.When chance brought her to someone who mentioned Alcoholics Anonymous, she attempted to reform herself, got a job and joined a group. At first, she remained aloof, but she soon embraced the AA principles. She was able to have a year of good health and happiness. She met Eugene who made her feel worthy again. Although she had a kind of rebirth with him, his ignorance about alcoholism as a disease and the backwardness and cruelty of his sister and neighbors, defeated her good intentions.Shuggie’s half sister and brother, Catherine and Leek, both became frustrated and disgusted with Agnes’ behavior, and they both eventually abandoned her, leaving Shuggie alone and unprepared, as the sole support and protector for his mother. It was his responsibility to provide for them, and he often went hungry as she used the funds she received to buy alcohol instead of food. Although he tried to keep her safe, he often failed in that effort. He was simply too young, too naïve, and too tender a child to successfully traverse his own world, let alone hers. His sexuality was always in question and he was taunted by others, adults and contemporaries, because of his excessively polite behavior, manner of speech, gentleness and concern for the welfare of others. He sported airs the way his mother did. She had trained him well. He was often too innocent to understand the way others treated him, yet he only wanted to be normal. Still, he didn’t know how to be normal, or even what it really meant to be normal. He found it hard to navigate the crude world surrounding him.The problems and effects of domestic abuse, poor education, ignorance, addiction, and mental illness, for the victim and the victims of the addicted, are truly front and center in the narrative of this memoir. Only someone who has experienced this kind of devastating life, with someone who has succumbed to the ravages of addiction, can fully illustrate its effects on them and others. Often, expected reactions are counter to common decency and/or of a compassionate response. The culture in which Shuggie was raised was sorely lacking in moral values as it was short on good examples of proper decorum and integrity. It was high on poor education which ultimately led to a hardscrabble lifestyle. Bullying and taunting seemed to be not only a part of life, but a welcome one.Although this is a novel, it is based on the author’s very real experiences, with a parent suffering from addiction and eventually succumbing to it. He was raised in a community called Sighthill, a kind of subsidized housing, in Glasgow, which is where Shuggie also lived, in the book. He is creative and artistic like our main character. He was devoted to his mother, as was Shuggie, with the child ultimately often becoming the parent to the parent, reversing the natural state of affairs. He is five years old as is Shuggie in 1981, when the novel begins. He is abandoned by his father and orphaned at the same age of 16, when his mother dies. He writes this from his own experiences which is why the book feels so authentic. With all of the darkness in this novel, I was contrarily reminded of my own Scottish friends who always found sunlight on their darkest days. The audio narrator is right on point with each of the character’s emotions and mindset.This is one of the most difficult stories I have read in a long time. However, in spite of every obstacle placed in front of Shuggie Bain, because of his differences from the mainstream young boys, and a mother who was emotionally and mentally challenged, he thrived, albeit somewhat damaged, as a result. When he met a young girl, Leanne, who was also different, his eyes opened, and he began to come out of the turtle-like shell he had built around himself. It enabled him to pull in and out of his troubling life. Loneliness and confusion coupled with hopelessness and helplessness is devastating . Although it is a disturbing novel, it provides a light at the end of the tunnel which is hopeful, so the reader is somewhat troubled, but not melancholy at the end.
  • Rating: 4 out of 5 stars
    4/5
    Amazing book and storyline; If you have some great stories like this one, you can publish it on Novel Star, just submit your story to hardy@novelstar.top or joye@novelstar.top
  • Rating: 5 out of 5 stars
    5/5
    The story focuses on a young boy named Shuggie, his parents and older siblings, but the relationship between Shuggie and his mother is the most prominent. The story is heart-breakingly sad and very difficult to read in parts, but Douglas Stuart is able to pull the reader into the story. It is an incredible book which will never leave me.
  • Rating: 5 out of 5 stars
    5/5
    Utterly superb depiction of the grim life of a Glaswegian boy with an alcoholic mother.Apparently somewhat autobiographical, I think the most brilliant part for me was that Agnes- the mother - is SO vivid and believable. Attractive, adored by her parents, aspirational and always slightly removed from her coarser neighbours, she nevertheless becomes "just another drunk."Violent, brutal, we feel for young Shuggie, left to manage- as best he can- his shambling mother (once his older siblings have escaped), while coming to terms with his sexuality in the macho council estates of Glasgow...As it says on the cover: "A debut novel that reads like a masterpiece."
  • Rating: 4 out of 5 stars
    4/5
    Beautifully written, painfully sad story of a family's struggle with an alcoholic mother. Narrated in the first person by Shuggie, the youngest child who is gay.
  • Rating: 5 out of 5 stars
    5/5
    A most worthy pick for the Booker, just a wonderful read
  • Rating: 5 out of 5 stars
    5/5
    Shuggie Bain is one of the saddest and most heartbreaking books I have ever read.Set in Glasgow, it is the story of Agnes Bain and her children, centering on her youngest son, Shuggie. Agnes is beautiful, but she is an alcoholic. She gives herself freely to many men, hoping they will get her out of poverty. She keeps herself made-up, her hair done, and her home immaculate, but it is all a facade. Men use her and discard her. All of her children except Shuggie abandon her.Shuggie, her youngest son, born when on her second marriage, tries his best throughout his young life, to care for his mother, but she uses him over and over to buy her alcohol.Shuggie is effeminate, is abused by older men, and is teased unmercifully by other children.This novel paints a bleak picture of poverty and alcoholism in Glasgow in the 1980s/90s. So sad, hauntingly beautiful writing.

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Shuggie Bain - Douglas Stuart

Grove Press

New York

Copyright © 2020 by Douglas Stuart

All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer, who may quote brief passages in a review. Scanning, uploading, and electronic distribution of this book or the facilitation of such without the permission of the publisher is prohibited. Please purchase only authorized electronic editions, and do not participate in or encourage electronic piracy of copyrighted materials. Your support of the author’s rights is appreciated. Any member of educational institutions wishing to photocopy part or all of the work for classroom use, or anthology, should send inquiries to Grove Atlantic, 154 West 14th Street, New York, NY 10011 or permissions@groveatlantic.com.

Published simultaneously in Canada

Printed in the United States of America

First Grove Atlantic hardcover edition: February 2020

First Grove Atlantic paperback edition: October 2020

This book was set in 11-pt Janson Text by Alpha Design & Composition of Pittsfield, NH.

Library of Congress Cataloging-in-Publication data is available for this title.

ISBN 978-0-8021-5860-4

eISBN 978-0-8021-4805-6

Grove Press

an imprint of Grove Atlantic

154 West 14th Street

New York, NY 10011

Distributed by Publishers Group West

groveatlantic.com

For My Mother, A.E.D.

1992

THE SOUTH SIDE

1981

SIGHTHILL

1982

PITHEAD

1989

THE EAST END

1992

THE SOUTH SIDE

1992

THE SOUTH SIDE

One

The day was flat. That morning his mind had abandoned him and left his body wandering down below. The empty body went listlessly through its routine, pale and vacant-eyed under the fluorescent strip lights, as his soul floated above the aisles and thought only of tomorrow. Tomorrow was something to look forward to.

Shuggie was methodical in setting up for his shift. All the pots of oily dips and spreads were decanted into clean trays. The edges were wiped free of any splashes that would go brown quickly and ruin the illusion of freshness. The sliced hams were artfully arranged with fake parsley sprigs, and the olives were turned so that the viscous juice slid like mucus over their green skins.

Ann McGee had the brass neck to call in sick again that morning, leaving him with the thankless task of running his deli counter and her rotisserie stand all alone. No day ever started well with six dozen raw chickens, and today of all days, it was stealing the sweetness out of his daydreams.

He pushed industrial skewers through each cold, dead bird and lined them up neatly in a row. They sat there, with their stubby wings crossed over their fat little chests like so many headless babies. There was a time he would have taken pride in this orderliness. In reality, pushing the metal through the bumpy pink flesh was the easy part; the difficult part was resisting the urge to do the same to the customers. They would pore over the hot glass and study each of the carcasses in detail. They would choose only the best bird, ignorant to the fact that battery farming meant they were all identical. Shuggie would stand there, his back teeth pinching the inside of his cheek, and indulge their indecisiveness with a forced smile. Then the pantomime would really begin. "Gies three breasts, five thighs, and just wan wing the day, son."

He prayed for strength. Why did no one want a whole chicken any more? He would lift the carcass using long prongs, careful not to touch the birds with his gloved hands, and then he would dissect the parts neatly (skin intact) using catering scissors. He felt like a fool standing there against the broiler lights. His scalp was sweating under the hairnet and his hands were not quite strong enough to artfully snap the back of the chicken with the dull blades. He hunched slightly, the better to throw his back muscles behind the pressure in his wrists, and all the time he kept smiling.

If he was very unlucky, the tongs would slip and the chicken would thud and slide its way across the gritty floor. He’d have to make an apologetic pretence of starting again, but he never wasted that dirty bird. When the women turned away he would put it back with its sisters under the hot yellow lights. He believed in hygiene well enough, but these little private victories stopped him from starting a riot. Most of the judgy, man-faced housewives who shopped here deserved it. The way they looked down on him flushed the back of his neck scarlet. On particularly low days he folded all types of his bodily discharge into the taramasalata. He sold an uncanny amount of that bourgeois shite.

He had worked for Kilfeathers for over a year. It was never meant to be that long. It was just that he had to feed himself and pay his own dig money each week, and the supermarket was the only business that would take him. Mr Kilfeather was a parsimonious bastard; he liked to staff the shop with anyone he didn’t have to pay a full adult wage, and Shuggie found himself able to take short shifts that fit around his patchy schooling. In his dreams he always intended to move on. He had always loved to brush and play with hair; it was the only thing that made time truly fly. When he had turned sixteen he had promised himself he would go to the hairdressing college that sat south of the River Clyde. He had gathered up all of his inspiration, the sketches he had copied from the Littlewoods catalogue and pages ripped from the Sunday magazines. Then he had gone to Cardonald to see about the evening classes. At the bus stop outside the college he alighted with half a dozen eighteen-year-olds. They wore the newest, most-fashionable gear and talked with a buzzing confidence that masked their own nerves. Shuggie walked half as fast as they did. He watched them go in the front door, then he recrossed the street to catch the bus going the other way. He started at Kilfeathers the following week.

Shuggie killed most of his morning break poring over the damaged tins in the discount bins. He found three small cans of Scottish salmon that were barely damaged, the labels were scuffed and marked, but the tins themselves were intact. With the last of his wages he paid for his small basket and placed the tins of fish inside his old school bag, which he locked again inside his locker. He sloped up the stairs to the staff canteen and tried to look nonchalant as he passed the table of university students who worked the easy summer shifts and spent their breaks looking self-important, surrounded with thick folders of revision notes. He fixed his gaze to the middle distance and sat down in the corner, not with, but near enough to the girls from the tills.

In truth, the girls were three middle-aged Glasgow women. Ena, the ringleader, was a rake-thin, poker-faced woman with greasy hair. She had no eyebrows to speak of, but she did have a faint moustache, which seemed unfair to Shuggie. Ena was rough even for this end of Glasgow, but she was also kind and generous in the way hard-done-to people often are. Nora, the youngest of the three, wore her hair scraped tightly back and held in place with an elastic band. Her eyes, like Ena’s, were small and sharp, and at thirty-three she was a mother of five already. The last of the group was Jackie. She was different to these other two in that she very much resembled a woman. Jackie was a riotous gossip, a big, bosomy sofa of a woman. It was her that Shuggie liked best.

He sat down near them and caught the ending to the saga of ­Jackie’s latest man. It was guaranteed that the women were always full of good-hearted patter. Twice now they had taken him along on their bingo nights, and as the women drank and howled with laughter, he sat amongst them like a teenager who couldn’t be trusted to stay home alone. He had liked the way they sat easily together. How their bulk surrounded him and the softness of their flesh pressed into his side. He liked how they fussed with him, and although he protested, how they pushed his hair from his eyes and licked their thumbs to wipe the corners of his mouth. For the women, Shuggie offered some form of male attention, and it did not matter that he was only sixteen and three months. Under the La Scala bingo tables they had each tried at least once to brush against his cock. The strokes were too long, too searching, to be truly accidental. For Ena-with-no-eyebrows it could become almost a crusade. The deeper she went into drink, the more brazen she became. With every passing graze of her ringed knuckles, she clamped her fat tongue between her teeth, and kept her eyes burning into the side of his face. When Shuggie had finally flared with embarrassment, she had tutted, and Jackie had pushed two pound notes across the table to a beaming, victorious Nora. It was a disappointment, sure, but as they drank deeper they decided it had not been a rejection exactly. Something about the boy was no right, and this was at least something they could pity.

Shuggie sat in the dark listening to the unsteady snores through the tenement walls. He was trying, and failing, to ignore the lonely men who had no people of their own. The morning chill had turned his naked thighs a tartan blue, so he wrapped a thin towel around himself for warmth and chewed nervously at the corner, soothed by the way it squeaked between his teeth. He arranged the last of his supermarket wages along the table’s edge. He ordered the coins, first by worth, then by their mint and shine.

The pink-faced man in the room next door creaked to life. In his narrow bed he scratched noisily at himself and sighed a prayer for the will to stand. His feet hit the floor with a thud, like bags of heavy butcher’s meat, and it sounded like an effort for him to shuffle across the small room to the doorway. He fumbled with the familiar locks and came out into the always-dark hall, blindly feeling his way, his hand sliding across the wall and falling against the outside of Shuggie’s door. The boy held his breath as the fingers ran across the beadwork. Only when he heard the plink-plink of the bathroom light cord did Shuggie move again. The old man began to cough and hauch his lungs to life. Shuggie tried not to listen as he pissed and spat gobs of phlegm into the toilet at the same time.

The morning light was the colour of too-milky tea. It snuck into the bedsit like a sly ghost, crossing the carpet and inching slowly up his bare legs. Shuggie closed his eyes and tried to feel it creeping there, but there was no heat in its touch. He waited until he thought it might have covered him entirely, and then he opened his eyes again.

They were staring back at him, a hundred pairs of painted eyes, all broken-hearted or lonely, just as they always were. The porcelain ballerinas with the little puppies, the Spanish girl with the dancing sailors, and the rosy-faced farm boy pulling his lazy shire horse. Shuggie had arranged the ornaments neatly along the bay window’s ledge. He had spent hours with their made-up stories. The thick-armed blacksmith amongst the angel-faced choirboys, or his favourite, the seven or so giant baby kittens smiling and menacing the lazy shepherd.

At least they cheered the place up a little. The bedsit was taller than it was long, and his single bed stuck out into the middle like a divider. An old-fashioned two-seater settee, the wooden kind, whose thin cushions meant you always felt the slats in your back, was on one side. A small fridge and a double-ringed Baby Belling cooker was on the other. Except for the rumpled bedding, nothing was out of place: no stour, no yesterday’s clothes, no signs of life. Shuggie tried to calm himself as he smoothed his hand over the mismatched sheets. He thought how his mother would have hated these bedclothes, the odd colours and patterns, layered one upon the other as if he didn’t care what people would think. This mess would have hurt her pride. Someday he would save some money and buy new sheets of his own, soft and warm and all the same colour.

He had been fortunate to get this room in Mrs Bakhsh’s boarding house. He was lucky the old man before him had liked his drink too much and had been jailed for it. The large bay window jutted out proudly on to Albert Drive, and Shuggie supposed at one time the room must have been the living room of a fairly grand three-bedroom flat. He had seen into some of the other rooms in the house. The kitchenette Mrs Bakhsh had turned into a bedroom still had its original checkered linoleum floor, and the three other boxier rooms still kept their original threadbare carpets. The pink-faced man lived in what must have been at one time a nursery, still with its yellow-flowered wallpaper and a happy border of laughing rabbits around the cornicing. The man’s bed, his settee, and his kitchen stove were all lined up on one wall and all touching. Shuggie had seen it once, through the crack of a half-opened door, and he was glad of his grand bay window.

He had been lucky to find the Pakistanis. None of the other landlords had wanted to rent to a fifteen-year-old boy who was pretending to be one day past his sixteenth birthday. The others didn’t say it outright, but they had too many questions. They had looked up and down at his best school shirt and polished shoes suspiciously. It’s no right, their eyes had said. In the corners of their mouths he could see they thought it was a disgrace for a boy of his age to have no mammy, no people of his own.

Mrs Bakhsh hadn’t cared. She looked at his school backpack and at the month’s rent he had in advance and went back to worrying about feeding her own weans. With a blue biro he had decorated that first rent envelope specially for her. Shuggie had wanted to show her he cared about being good, that he was reliable enough to put in this extra effort. So he took a piece of paper from his geography notebook and drew swirling paisley patterns on it, intertwined it around her name, and coloured in between the lines so that the peacock shapes stood out in cobalt glory.

The landlady lived across the close, in an identical tenement flat, richly furnished and flushed hot with central heating. In the other, cold flat she kept five men in five bedsits for eighteen pounds and fifty pence each a week, week to week, cash only. The two men who were not being paid for by the social services had to slip the first of their wages under her door on a Friday night before they took to drinking the rest. On their knees, on her doormat, they would linger a moment over the contentment radiating from inside: bubbling pots of perfumed chicken meat, happy noises of children fighting over television channels, and the laughing sounds of fat women talking foreign words around kitchen tables.

The landlady never bothered Shuggie. She never set foot in his bedsit unless the rent was late. Then she came with other thick-armed Pakistani women and knocked heavily on the doors of the men. Mostly, she visited only to hoover the windowless hallway or to wipe around the bath. Once a month she poured bleach around the toilet bowl, and from time to time, she laid a new scrap of carpet remnant around its base to soak up the piss.

Shuggie leaned his face against his door and listened for the pink-faced man to finish his ablutions. In the quiet he heard him undo the snib on the bathroom door and step out into the hallway again. The boy slipped his feet into his old school shoes. Over his underpants he pulled on his parka, a noisy nylon-skinned thing that was trimmed with a matted fur hood. He zipped it closed all the way to the top, and into the large army pockets he stuffed a Kilfeathers shopping bag and two thin tea towels.

There was a school jumper stuffed into the gap at the bottom of his door. As he removed it, he could smell the other men carried in on the cold draught. One of them had been smoking through the night again; another had taken fish for his supper. Shuggie opened his door and slid out into the darkness.

Mrs Bakhsh had taken the single light bulb from the overhead fixture, saying the men had wasted good money by leaving it burning at all hours. Now the smell of the men lingered across the hallway like a trail of ghosts, with no breeze or light to disturb it. Years spent smoking where they slept, eating fried suppers in front of Calor gas fires, and passing summer days with windows closed. The stale smells of sweat and cum mixed with the static heat of black-and-white televisions and the sting of amber aftershave.

Shuggie had begun to be able to tell the men apart. In the darkness he could follow the pink-faced man as he rose to shave his face and comb Brylcreem through his hair, and he could smell the musty overcoat of the yellow-toothed man who ate only what smelled like buttered popcorn or creamed fish. Later, when the pubs had reached closing time, Shuggie could tell as each man returned safely home again.

The shared bathroom had a mottled-glass door. He snibbed the lock and stood a moment pulling on the handle, checking it had caught. Unzipping the heavy anorak, he placed it in the corner. He turned on the hot tap to feel the water, it ran a leftover lukewarm and then sputtered twice and ran colder than the River Clyde. The icy shock of it made him put his fingers in his mouth. He took up a fifty-pence piece, turning it mournfully, and pushed it into the immersion heater and watched as the little gas flame burst to life.

When he turned the tap on again the water ran ice cold, and then, with a cough, jets of boiling water streamed out. He soaked the wet dishcloth, running it over his cold chest and white neck, glad for the steaming heat of it. He sank his face and head into the rare warmth, held himself there and dreamt about filling a bath to the very top. He thought about lying under the hot water far away from the smells of the other lodgers. It had been a long time since he felt thawed all the way through, all of him warm at the exact same time.

Lifting his arm he ran the rag from his wrist up and over his shoulder. He tensed his arm muscle and circled his fingers around the bicep. If he really tried, he could almost wrap his whole hand around it, and if he squeezed hard, he could feel the contours of his bone. His armpit was dusted in a fine lint, like baby duck feathers. He brought his nose to it; it smelled sweet and clean and of nothing at all. He pinched the skin and squeezed, milking the soft flesh till it flushed red with frustration; he sniffed his fingers again, nothing. Scrubbing at himself harder now, he repeated under his breath, "The Scottish Football League Results. Gers won 22, drew 14, lost 8, 58 points total. Aberdeen won 17, drew 21, lost 6, 55 points total. Motherwell won 14, drew 12, lost 10."

In the mirror his wet hair was black as coal. As he brushed it down over his face he was surprised to find it nearly to his chin. He stared and tried to find something masculine to admire in himself: the black curls, the milky skin, the high bones in his cheeks. He caught the reflection of his own eyes in the mirror. It wasn’t right. It wasn’t how real boys were built to be. He scrubbed at himself again. "Gers won 22, drew 14, lost 8, 58 points total. Aberdeen won 17, drew . . ."

There were footsteps in the hallway then, the familiar squeak of heavy leather shoes, and then nothing. The thin door moved insistently against the hasp. Shuggie reached for the army parka and slipped his damp body inside.

When he had first moved into Mrs Bakhsh’s bedsit, only one of the other tenants had paid any real notice. The pink-faced man and the yellow-toothed man had been too blind or too ruined with drink to care. But that first night, as Shuggie sat on the bed eating the buttered end of a white loaf, there had been a knock at his door. The boy stayed silent a long time before he decided to open it. The man on the other side was tall and thickly built and smelled of pine soap. In his hand he held a plastic bag with twelve tins of lager that clanged together like dulled chapel bells. With a hard paw the man introduced himself as Joseph Darling and held the bag out to the boy with a smile. Shuggie had tried to say, No, thank you, in the polite way he had been taught, but something in the man had intimidated him, and so instead Shuggie let him in.

They had sat quietly together, Shuggie and his visitor, perched on the edge of the neat single bed and looking out on to the tenemented street. Protestant families were eating their dinners in front of televisions, and the charwoman who lived opposite was eating alone at her drop-leaf table. The pair drank in silence and watched the others go about their normal routines. Mr Darling kept his thick tweed coat on. The weight of him on the bed rolled Shuggie into his broad side. From the corner of his eye Shuggie watched the yellow tips of his thick fingers stab nervously at themselves. Shuggie had only taken a mouthful of the lager to be gracious, and as the man spoke to him, he could think only about the taste of the tinned ale, how sour and sad it tasted. It reminded him of things he would rather forget.

Mr Darling had a considered, half-closed way to himself. Shuggie tried his best to be polite and listen as the man told him how he had been a janitor at a Protestant school that they had shut and merged with the Catholic one to save the council money. To hear him tell it, Mr Darling sounded more astounded that the Proddy weans should be running with the Catholic ones in peace than he was to find himself out of a job.

Ah jist cannae believe it! he had said, mostly to himself. In ma day a person’s religion said something about them. Ye came up through the school having to fight yer way there through bus-fulls of cabbage-eating Catholic bastards. It was something to be proud of. Now any good lassie will sleep with any dirty Mick as soon as she’d lie with a dog.

Shuggie pretended to take a light tug on the beer, but mostly he let it swirl around his teeth and trickle back into the can. Mr Darling’s eyes were searching the walls for a sign. Then he stole a sideways glance at the boy and asked, suddenly unsure of his audience, So, what school did ye used to go to?

Shuggie knew what he was after. I’m not really one or the other, and I’m still at the school. It was true, he didn’t belong to either the Catholics or the Protestants, and he still did go to school, when he could afford to not be at the supermarket.

Aye? What’s your best subject then?

The boy shrugged. It wasn’t modesty, he generally wasn’t good at anything. His attendance had been patchy at best, and so the thread of learning was difficult to follow. Mostly he went and sat quietly at the back so that the education board wouldn’t come after him for truancy. If the school knew how he lived, they would have been forced to do something about it.

The man finished his second can and quickly set about his third. Shuggie felt the burn of Mr Darling’s finger against the side of his leg. The man had set his hand on the mattress, and the little finger, with its gold sovereign ring, was barely touching him. It didn’t move, or wriggle. It just sat there, and that had made it burn all the more.

Now Shuggie stood in the damp bathroom holding his parka closed. Mr Darling pulled at the edge of his tweed bunnet in an old-fashioned greeting. Ah jist chapped to see if ye were around the day?

Today? I don’t know. I have some messages to run.

A cloud of disappointment crossed Mr Darling’s face. Miserable day for it.

I know. But I said I would meet a friend.

Mr Darling sucked at his large white teeth. The man was so tall he was still straightening to his full height. Shuggie could imagine generations of Protestant weans lined up in single file and terrified in his long shadow. He could see now that the man’s face was flush, a line of drinkers sweat already on the edge of his brow. The man had been bent at the keyhole, Shuggie was sure of that now.

That’s a pity. Ah’m jist away to cash ma dole, might stop in at the Brewers Arms, then put a wee line on. But afterwards ah was hoping we could share a few cans. Mibbe watch the fitba results on the wee telly? Ah could teach ye about the English leagues? The man looked down on the boy, he dug his tongue into his back molars.

If he played it right, the man was always good for a few pounds. But it would take too long to wait on Mr Darling to cash his unemployment; to stoat from the post office to the betting shop to the off-licence and then home, that was if he found his way home at all. Shuggie couldn’t wait that long.

The boy let go of the parka then, and Mr Darling pretended not to stare as the coat gaped slightly. But the man seemed unable to help himself, and Shuggie watched as the grey light in his green eyes dipped. Shuggie could feel it burn into his pale chest as the man’s gaze slid down over his loose underwear to his bare legs, the unremarkable, white hairless things, that hung like uncut thread from the bottom of his black coat.

Only then did Mr Darling smile.

1981

SIGHTHILL

Two

Agnes Bain pushed her toes into the carpet and leaned out as far as she could into the night air. The damp wind kissed her flushed neck and pushed down inside her dress. It felt like a stranger’s hand, a sign of living, a reminder of life. With a flick she watched her cigarette dout fall, the glowing embers dancing sixteen floors down on to the dark forecourt. She wanted to show the city this claret velvet dress. She wanted to feel a little envy from strangers, to dance with men who held her proud and close. Mostly she wanted to take a good drink, to live a little.

With a stretch of her calves, she leaned her hipbone on the window frame and let go of the ballast of her toes. Her body tipped down towards the amber city lights, and her cheeks flushed with blood. She reached her arms out to the lights, and for a brief moment she was flying.

No one noticed the flying woman.

She thought about tilting further then, dared herself to do it. How easy it would be to kid herself that she was flying, until it became only falling and she broke herself on the concrete below. The high-rise flat she still shared with her mother and father pressed in against her. Everything in the room behind her felt so small, so low-ceilinged and stifling, payday to Mass day, a life bought on tick, with nothing that ever felt owned outright.

To be thirty-nine and have her husband and her three children, two of them nearly grown, all crammed together in her mammy’s flat, gave her a feeling of failure. Him, her man, who when he shared her bed now seemed to lie on the very edge, made her feel angry with the littered promises of better things. Agnes wanted to put her foot through it all, or to scrape it back like it was spoilt wallpaper. To get her nail under it and rip it all away.

With a bored slouch, Agnes fell back into the stuffy room and felt the safety of her mammy’s carpet below her feet again. The other women hadn’t looked up. Peevishly, she scraped the needle across the record player. She clawed at her hairline and turned the volume up too loud. Come on, please, just the one wee dance?

"T’chut, no yet, spat Nan Flannigan. She was feverish and arranging silver and copper coins into neat piles. I’m just about to pimp out the lot of ye."

Reeny Sweeny rolled her eyes and held her cards close. Ye have one filthy mind!

"Well, don’t say I didnae warn ye. Nan bit the end off a slab of fried fish and sucked the grease from her lips. When I am done taking all your menage money at these cards ye’re gonnae hiv to go home and fuck that bag o’ soup bones you call a husband for more."

No chance! Reeny made a lazy sign of a cross. I’ve been sitting on it since Lent, and I’ve got no intention of letting him get at it until next Christmas. She pushed a fat golden chip into her mouth. I once held aff so long I got a new colour telly in the bedroom.

The women cackled without breaking their concentration on the cards. It was sweaty and close in the front room. Agnes watched her mammy, little Lizzie, carefully studying her hand, flanked by the bulk of Nan Flannigan on one side and Reeny Sweeny on the other. The women sat thigh to thigh and tore at the last scraps of a fish supper. They were moving coins and folding cards with greasy fingers. Ann Marie Easton, the youngest amongst them, was concentrating on rolling mean-looking cigarettes of loose tobacco on her skirt. The women spilt their housekeeping money on to the low tea table and were pushing five- and ten-pence bets back and forward.

It bored Agnes. There was a time before baggy cardigans and skinny husbands that she had led them all up to the dancing. As girls, they had clung to one another like a string of pearls and sang at the top of their voices all the way down Sauchiehall Street. They had been underage, but Agnes, sure of herself even at fifteen, knew she would get them in. The doormen always saw her gleaming at the back of the line and beckoned her forward, and she pulled the other girls behind her like a chain gang. They held on to the belt of her coat and muttered protest, but Agnes just smiled her best smile for the doormen, the smile she kept for men, the same one she hid from her mother. She had loved to show off her smile back then. She got her teeth from her daddy’s side and the Campbell teeth had always been weak, they were a reason for humility in an otherwise handsome face. Her own adult teeth had come in small and crooked, and even when they were new they had never been white because of the smoking and her mammy’s strong tea. At fifteen she had begged Lizzie to let her have them all taken out. The discomfort of the false teeth was nothing when compared to the movie star smile she thought they must give her. Each tooth was broad and even and as straight as Elizabeth Taylor’s.

Agnes sucked at her porcelain. Now here they were, every Friday night, these same women playing cards in her mammy’s front room. There was not a single drop of make-up between them. Nobody had much of a heart to sing any more.

She watched the women fight over a few pounds in copper coins and let out a bored huff. Friday card school was the one thing they looked forward to all week. It was meant to be their respite from ironing in front of the telly and heating tins of beans for ungrateful weans. Big Nan usually went home with the winnings from the kitty, except for the times when Lizzie would have a lucky-handed winning streak and got a slap for it. Big Nan couldn’t help herself. She got jumpy around money and didn’t like to lose it. Agnes had seen her mother get a black eye over ten bob.

Haw you! Nan was shouting at Agnes, who was engrossed with her own reflection in the window. Ye’re bloody cheatin’!

Agnes rolled her eyes and took a long mouthful of flat stout. It was too slow a bus for where she wanted to go. So she filled her gullet with stout and wished it was vodka.

Leave her be, said Lizzie. She knew that faraway look.

Nan returned her gaze to her cards. Might have known you two were in cahoots. Thieving bastards the pair o’ ye!

I’ve never stolen a thing in my life! said Lizzie.

Liar! I’ve seen ye at the end of a shift. Lumpy as porridge and heavy as oats! Stuffing your work pinny full of rolls of hospital toilet paper and bottles of dish soap.

Do you know the price of that nonsense? asked Lizzie indignantly.

Aye, of course I do, sniffed Nan. Because I actually pay for mine.

Agnes had been floating around the room, unable to settle. Now she nearly upended the card table with an armful of plastic shopping bags. I bought youse a wee present, she said.

Nan usually wouldn’t have allowed the interruption, but a gift was free and she knew better than to pass that by. She tucked her cards securely into her cleavage, and as they passed the plastic bags around, each woman drew out a small box. For a while they sat in silence contemplating the picture on the front. Lizzie spoke first, a little affronted. A bra? What am I wanting with a bra?

It’s no just any bra. It’s one of those Cross Your Heart bras. It does wonders for your shape.

Try it, Lizzie! said Reeny. Auld Wullie will be at you like it’s the Fair Fortnight!

Ann Marie took her bra from the box; it was clearly too small. This bra isnae my size!

Well, I tried my best to guess. I got a couple of spare, so mind and check all of them. Agnes was already unzipping the back of her dress. The alabaster of her shoulders was shocking against the claret of the velvet. She unhooked her old bra and her porcelain breasts slid out; she slipped herself quickly into a new bra, and her breasts lifted several centimetres. Agnes dipped and spun for the women. A fella was selling them off the back of a lorry down Paddy’s Market. Five for twenty pound. Pure magic, eh?

Ann Marie rummaged and found her size. She was more modest than Agnes, so turned her back to the room as she took off her cardigan and slipped off her old bra. The heaviness of her tits had left red strap welts on her shoulders. Soon all the women except for Lizzie had unfolded their dresses or unsnapped their work coveralls and were sitting in their new bras. Lizzie sat with her arms across her chest. The others, almost bare from the waist up, were running their hands along the satin straps and staring down at their own tits and cooing appreciatively.

This might be the most comfy thing I’ve ever worn, admitted Nan. The bra was too loose across the back and was doing its best to hoist her enormous breasts off the shelf of her belly.

"Now those are the boobs I remember from when we were lassies," said Agnes approvingly.

Dear God, if only we had known then what we ken now, eh? said Reeny. I would have let any bastard that wanted a feel play wi’ them right then and there.

Nan rolled her tongue lasciviously. Pure shite! You were never one to keep your hand on your ha’penny anyway. She was already keen to get back to business and was pushing coins around the table again. Right, can we all stop looking at oorsels like a bunch of stupit lassies. She gathered the cards back up and started shuffling the deck. The women still hadn’t drawn up their tops.

Lizzie tried to quietly burst the cellophane on a new cigarette packet. The other women were hawkish, growing sick of smoking harsh rollies and picking tobacco off the ends of their tongues. Lizzie sniffed, I thought we were smoking our own? But it was like eating ham hock in front of a pack of strays; they would give her no peace. She grudgingly passed around the fresh pack, and everyone lit up, enjoying the luxury of a manufactured cigarette. Nan sat back in her bra and held the smoke deep in her lungs as she closed her eyes. The air in the room grew hot and curdled again as the smoke swirled and danced with the paisley wallpaper.

Now and then fresh air pulled in and out of the sixteenth-floor window, and the women blinked at the sharpness of it. Lizzie drank her cold black tea and watched as the women all descended towards the darkness in their moods. Fresh air always did this to the drunk. The light, gossipy energy was leaving the room and being replaced by something stickier and thicker.

There was a new voice. Mammy, he won’t go to sleep!

Catherine stood in the living room doorway with a look of exasperation on her face. She held her little brother on her hip. He was becoming too big to be held like that, but Shuggie clung to her tight, and it was clear how he loved the bony comfort of her.

Catherine, sour-faced for sympathy, pinched at his wrists and pried him from her. Please. I can’t handle him any more.

The little boy ran to his mother, and Agnes swept Shuggie up into her arms. There was the static crackle of nylon pyjamas as she spun him, content at last to have someone to dance with.

Catherine ignored the fact that the women were sitting, half-naked, in new bras. She searched the debris of fish suppers. She preferred the smallest brown chips, the curly skins that spent too long in the fryer and became crispy in the hot fat.

Lizzie smoothed her hand across Catherine’s hip. Everything about her granddaughter seemed meagre, somehow unfeminine. At seventeen Catherine was long-limbed and boyish, with waist-length, poker-straight hair and no real curves. Fitted skirts seemed a disappointment on her. Lizzie had an absent-minded habit of rubbing her hand over her granddaughter’s hip, as if this might cause some sudden femininity to raise up. From pure routine, Catherine pushed Lizzie’s fussing hand away.

Here! said Lizzie. Tell them about that smashin’ job ye’ve tain in the city. She didn’t pause to let her granddaughter speak but instead turned to the women. "I’m that proud. Assistant to the chairman. That’s almost like being the gaffer yourself, eh?"

Granny!

Lizzie pointed to Agnes. Well! That one thought she was going to get by on good looks. Thank fuck somebody’s got brains. Lizzie crossed herself quickly. I’ll gladly go up the confession for boasting.

And swearing, said Catherine.

Nan Flannigan did not look up from her cards. Now that ye’re working, doll. First thing to do is open two bank accounts. One for when ye take a man. The other one for yersel. And never fuckin’ tell him about it, eh.

The women all murmured agreement at Nan’s wisdom.

So, no more school then, hen? asked Reeny.

Catherine stole a sly glance at her mother. No. No more school. We need the money.

Aye. The state of the day’s world ye’ll be supporting any man ye do get. The women all had men at home. Men rotting into the settee for want of decent work.

Nan was growing impatient again. She rubbed her chapped hands together. Listen, Catherine, I love ye, hen. She sounded insincere. When ye are our first Scottish space cadet I’ll be sure and pack ye some sandwiches for yer trip. Till then . . . She motioned to the cards, then pointed to the door. Fuck off.

Catherine slunk over to her mother and reluctantly took Shuggie from Agnes’s hip. Her little brother was fascinated by the plastic slider on his mother’s bra strap.

Is our Alexander in for the night? Agnes asked.

Uh-huh. I think so.

"What do you mean, you think so? Is Alexander in the bedroom or not?" The bedroom was too small to misplace a lanky fifteen-year-old. It barely held the bunk beds for Catherine and Leek and the single bed for Shuggie. Still, Leek was a quiet soul, given to watching from the edges, capable of disappearing even when someone was talking to him.

"Mammy, you know what Leek’s like. He might be." That’s all she would say. Catherine spun on her heels, a whirling fan of chestnut hair, and as she carried Shuggie out of the room, she sank her fingernails into the soft of his thigh.

More hands of cards were dealt, more menage money was lost, and Agnes kept the records on rotation even though no one was paying any mind. Predictably, coins started piling in front of Nan as the piles of the others got smaller. Agnes, with her drink in hand, began to spin alone on the carpeted floor. Oh, oh, oh. This is my song, ladies. Get up, get up! Her twirling fingers implored them to their feet.

The women rose one by one, the unlucky ones happy to step away from Nan’s conspicuous pile of silver. They danced happily in their new bras and old cardigans. The floor bounced under their weight. Nan spun around a shrieking Ann Marie until the two of them knocked into the edge of the low tea table. The women danced with abandon and took big mouthfuls of lager out of old tea mugs. All their movement became concentrated in the shoulders and hips, rhythmic and lusty, like the young girls they saw on television. It was a certainty that the poor skinny husbands they kept at home would be suffocated later that night. The women, smelling of vinegar and stout, would go home and climb on top of them. Giggling and sweating, yet feeling for a moment like fifteen-year-olds again in their new bras. They would strip to holey tights and unclasp their swinging tits. It would be drunk open mouths, hot red tongues, and heavy clumsy flesh. Pure Friday-night happiness.

Lizzie didn’t dance. She had proclaimed herself off the drink. She and Wullie had tried to set a good example for the family. It had made her a bad Catholic to be tut-tutting at Agnes while enjoying a wee can or two herself. So she had stopped with the sweetheart stout and haufs of whisky, almost. Agnes looked over at her mammy sat with her cold mug of tea, and didn’t believe it for a minute. Sitting with a proud back, Lizzie’s eyes were still rheumy and damp-looking, her pink face clouded with a distant look.

Agnes knew Wullie and Lizzie had taken to slipping out of the room when they thought no one was watching. They would get up from the dinner table on a Sunday or make one too many trips to the bathroom. In secret they would sit on the edge of their big double bed with their bedroom door closed and pull plastic bags out from underneath. Into an old mug they would pour the bevvy and drink it quickly and quietly in the dark like teenagers. They would come back to the kitchen table and clear their throats, their eyes happier and glassier, and everyone would pretend not to smell the whisky. You only had to watch her father try to eat his Sunday soup to tell if he had a drink in him or not.

The record hissed to the end of the first side. Lizzie excused herself and wobbled off to the bathroom. Big Nan, thinking no one was looking, took the opportunity to peer slyly at Lizzie’s cards. Her eye caught a glint of unopened stout tins behind Wullie’s old comfy chair. Jackpot! she shouted. That auld yin has a hidden carry-oot stuck down the back o’ his chair! She sat down, sweaty and out of breath, and helped herself. Nan was here on business, staying a little soberer than the others. All night she had been closely counting the money on the card table, thinking about the bit of ham she could buy for Sunday’s soup and the money the weans would need for next week’s school. Now the card business was over, Nan was thirsty for the hidden stout.

Lizzie Campbell. That auld liar. She’s not aff the drink, said Reeny.

"She’s

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