Where You Belong

Originally published in 1997 by Atheneum Books for Young Readers, Where You Belong was chosen by the National Book Foundation as a finalist for the National Book Award for Young People’s Literature. The New York Public Library also named the book to its list of Best Books for the Teen Age.

A Forbidden Friendship

It’s October 11, 1963, in the Bronx, New York. Thirteen-year-old Fiona, her mother, and three siblings have just been evicted from their apartment. Now the family must move in with Aunt Maggie and her six kids. Better to go to Daddy’s place, Fiona’s brother tells her. Better to risk getting beaten than to go someplace you don’t belong.

The beating does come, and Fiona runs away in terror. By the time she realizes how far she’s gone, she is in an all-black neighborhood – a place her Irish-American parents talk about with scorn. She’s alone, hungry, with no choices left.

Along the way, Fiona is reunited with Yolanda Baker, an old classmate. They were never able to be real friends at school – a friendship between a black girl and a white girl was rare in the Bronx. But today is going to be different. Two girls who don’t feel they belong anywhere will find a special place to belong – with each other. Can their friendship survive? The streets of the Bronx offer a path for a powerful journey of self-discovery.

ONE

“My aunt doesn’t pay me any mind,” Yolanda says, then gets quiet, so I stop the questions. “She’s mostly on the road anyway.”

“On the road where?”

“Wherever there’s a march.” Yolanda sticks her chin out at me, as if daring me with this news, but I don’t know what she’s talking about.

“A march?”

She can see I don’t get it. “Don’t you watch TV? Montgomery? Birmingham?”

“You mean a civil rights march?” I can hardly believe it. I can’t make sense of it. My parents are always saying it’s Communists who go on those marches. But Yolanda’s just an ordinary person. Her aunt can’t be a Communist.

“She got beaten up at the last one,” Yolanda says.

“Beat up?” I look at Yolanda more closely, to see if there’s something about her I may have missed before. But I don’t even know what to look for. I don’t even know what Communists look like.

“People get beat up a lot more than they show on TV,” she says.

“Why?”

“You playin’ with me, girl?” she sounds annoyed.

“No.”

She looks down, and I don’t understand what’s wrong. Maybe I shouldn’t ask her any more questions. Maybe she’s touchy about being colored. She looks up again, and her face is different. Her eyebrows are scrunched together and her mouth is in a pout. She looks mad at me. “White folks have been beating on niggers for a long time.”

I stare at her, confused.

“That’s what Cheryl says.”

“Cheryl?”

“My aunt.”

I don’t know what to say. I’ve never beaten anyone up. Of any color. And I’m pretty sure my father doesn’t beat up anyone else but us.

“She shows me newspaper stories about it,” Yolanda says. “The stories don’t tell it all, though, not what really happens.”

“Has she ever gotten really hurt?”

“Some bleeding. That’s all. Her friend got hurt bad last time, though.”

“Yeah?”

“Died.”

“God.”

“God doesn’t seem too bothered about it,” she says, sounding a little angry. I think that myself sometimes, that God isn’t exactly losing sleep over us, the way the nuns in catechism class after school make it sound.

“What did she do?” I say.

“Who?”

“Your aunt’s friend? What was she doing that they beat her up like that?”

“It wasn’t a she; it was a he. And he was eating his lunch at a counter in a store. Except it was a counter for white folks.” Her voice does something with the word “white” that makes me uncomfortable. “Anyway what makes you think you have to be doing something wrong to get killed? You just have to be black enough, that’s all.” And there’s that look in her eyes, the one that makes everyone so careful around Yolanda, so scared, the one I saw across the net in our first game, the one that made me want to be like her.

On TV the police in Birmingham opened up fire hoses on the colored people, set dogs on them. They were young like me, like Liam; the water blew them off their feet like they were paper dolls. But watching people get hurt on TV doesn’t feel the same as watching it in real life. When it’s on TV, a part of me doesn’t really believe it, even while I’m seeing it happen; when I see someone get hurt for real, I know it’s happening because it takes over everything else. I can’t see anything or hear anything else but the hurt. I don’t stop believing it till later, after it’s over.

The last time Daddy beat up Mama was just before we left him; she can’t hear in her left ear so good now. That makes it harder for me to forget it happened. Every time she says, “What?” or “Speak up,” I see his hand in the air again, the huge paw like a baseball mitt, sudden yet you knew it was coming, then the snap of her head back, the look on her face as if she can’t believe he’s hit her. And that awful feeling takes over, the one I always have when she gets hit, like I can feel the blows. Or maybe it’s that I want to feel them. Anything to keep her from getting hurt anymore. But I’m not the one. I’m not the one he goes after. I’m the witness, the one who does nothing, the one without the courage.

McGuigan limns the territory between divergent inner and outer landscapes and how individuals learn a tremulous courage to trust themselves and their experiences, despite the physical and psychological violence of the adult world. With sensitivity, empathy, and insight, McGuigan shows us that the young have the character and emotional acumen to recreate themselves and, in doing so, recreate history.
National Book Award judges
In this deeply moving novel, McGuigan demonstrates a wonderful talent for creating emotionally complex characters, believable situations, and closely observed, realistic settings. That some of the plot situations remain unresolved reinforces the feeling of real life, which is one of the book’s singular strengths. As for Fiona, she is an unforgettable character with a first-person voice that is marvelous in its understated artfulness and compelling in its emotional authenticity.
Michael Cart, Booklist starred review
The urban setting is nearly a character in itself. . . . McGuigan’s characters are fully realized and emotionally complex, and they do not lend themselves easily to stereotyping or standard bearing. Any social commentary is given from the perspective of a young adolescent who has already received too many hard knocks from an unkind world, and who is seriously questioning where her loyalties lie.
The Bulletin of the Center for Children’s Books
An insightful glimpse into the ravages wrought in an alcoholic family and the social pressures of the time. The characters are so well drawn and the story so engaging, it’s obvious why this was a National Book Award finalist. Where You Belong will stay with you long after you close the cover.
Telegraph Herald

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