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Agnes’s alcoholism robs Shuggie and Leek of their childhoods. instead of living like normal children, the two brothers live in a constant state of anxiety, never knowing what they are going to come home to. Shuggie spends most of his childhood avoiding school to take care of Agnes when she is on a drunken bender. Shuggie and Leek Frequently go hungry because Agnes spends most of their money on alcohol. The constant state of anxiety and fear manifests itself in Shuggie as digestive issues: he is frequently on the verge of soiling himself. Agnes’s abuse drives Catherine to move out, abandoning Leek. Leek holds on as long as he can, but the strain of being the “man of the house,” the one keeping things together for everyone’s sake, becomes too much. He leaves for good when Agnes kicks him out.
Shuggie becomes a victim in other ways because of his mother’s absence. He is sexually abused first by an older boy named Johnny and later by a taxi driver. He faces constant bullying from other children, and following the departure of Leek, is often alone. Because he has grown up in such turmoil and must always look out for his mother, Shuggie puts off developing his own identity. He passively withstands bullying and abuse for most of the novel, but he begins to change in the last half. By the time his mother is choking on her own vomit in Chapter 37, Shuggie has decided to let her meet her fate and become an independent person rather than a caretaker.
Agnes, too, is a victim of her own alcoholism. She sabotages her relationships, is sexually assaulted, her community ostracizes her, and she loses the support of two of her children. Society’s views on alcohol addiction come into play, too, as Eugene doesn’t recognized alcoholism as a permanent problem and convinces Agnes she has been cured.
Shuggie and his family members aren’t the only ones in the novel who are victims of alcoholism, which seems to be a societal problem spurred by difficult financial times. Shuggie first realizes his experience with Agnes is not unique when he meets Annie, who has an alcoholic father. He can open up to her based on their common experiences. Shuggie finds a more sympathetic friend in Leanne, whose mother, Moira, is an alcoholic who ends up homeless by the end of the novel. When they meet, Leanne correctly interprets Shuggie’s constant worried expression as a child who has an alcoholic parent. That same look is present in Leanne in 1992 as she attempts to care for her mother, whom Shuggie knows, from experience, is beyond help.
Shuggie’s effeminate behavior and his nonconformity to traditional masculine roles is a subject that appears frequently in the novel. Shuggie likes traditionally feminine things: he likes to play with his friend’s ponies, he likes to dance and brush his friend’s hair, he pretends he has a home that he furnishes with junk furniture, and he idolizes pop icons like Madonna.
Though Shuggie’s father, Big Shug, is never around and takes no interest in him, other male figures in Shuggie’s life encourage him to become more “masculine.” Leek shows him how to walk in a more masculine way, and Eugene gives him a book that details the Scottish history of football. Shuggie, longing to be normal, takes both instructors very seriously. He practices walking like a man and tries to memorize the book, thinking that if he can only practice, he can become like his more masculine peers. By the end of the novel, however, he seems to feel more comfortable with his femininity, as he dances for Leanne. Before, dancing was something he only did in the privacy of his home for his mother.
Many characters in the novel, mostly peers, also question Shuggie’s sexuality. For example, when Keir invites Shuggie along for a double date, he uses a derogatory term for a gay man to describe him: “Try and look less like a big poof, would ye?” (385). The women of Pithead call him “Liberace,” and Johnny, the older boy who sexually assaults Shuggie, ironically calls him gay when he sees Shuggie’s doll.
Because of Shuggie’s femininity and unknown sexuality, the author clearly foils him with his hypermasculine father, Shug. Though they share a name, the two could not be more different. Whereas Shuggie is empathetic and careful not to harm other people’s feelings, Shug is self-serving and intentionally emotionally scars Agnes. Shuggie is not violent, but Shug is both sexually and physically abusive. The only hint that Shuggie is physically attracted to men is the note that he feels funny when he sees a handsome man at Agnes’s AA party, but Shug is extremely sexual, having multiple mistresses and repeatedly visiting Agnes purely for sexual gratification. That Shug’s hypermasculine behavior (characterized by a lack of emotion, aggressiveness, and an emphasis on sexuality) is more socially acceptable than Shuggie’s gentler traits speaks to the societal expectations of Glasgow in the 80s and 90s.
One of the many aspects that Shuggie Bain has received critical praise for is Stuarts acute sense of place and time: the novel’s setting is widely seen as a devoted recreation of Glasgow in the 1980s. Part of that setting is the social impact of the Margaret Thatcher administration. Deindustrialization is the process by which a nation’s economy shifts away from manual labor, like factory work, mining, fabrication, and construction. This can be due to various factors, such as automation, outsourcing jobs, and the growing value of intellectual work. In the novel, the sentiment is that “Thatcher didn’t want honest workers anymore; her future was technology and nuclear power and private health,” disenfranchising “Whole housing estates of young men who were promised the working trades of their fathers” (43).
As a cab driver, Shug sees the impact that the deindustrialization has had on the working class. For instance, an old alcoholic that he picks up reminds him that “jakey” archetype “was devolving into something younger and far more sinister with the spread of drugs across the city” (41). The old man rants incoherently, so that Shug “could only pick out only certain words like Thatcher and union and Bastard,” reflecting the anger of the recently disenfranchised working class. With no promise of work due to their manual trades being made obsolete, many of these former workers turned to drink.
Pithead, the coal mining town that Shug relocates his family to, is deeply impacted by the effects of deindustrialization. With mine shut down, the town decays. Large families, such as the McAvennies, now find it difficult to survive with their chief source of income gone. The women of Pithead turn to tactics such as robbing the contents of their coin-operated water heaters, gas fixtures, and televisions to eke out enough coins to feed their families (or drinking habits, as in the case of Jinty McAvennie and Agnes). The men are likewise left helpless; some contemplate moving to South Africa to find work, like Big Shug’s nephew, while others fall back on the dole. Eugene seems to be an exception: he is able to transition from coal mining to being a taxi driver.
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