Maggie’s relationship with Pete eventually results in her expulsion from her home. In her subsequent aimless wandering she finally confronts Pete with the haunting question, “where kin I go?” This question epitomizes the tragic and futile relationship of Maggie to the places of this novel. Pete’s answer, “go teh hell,” pushes her to the point of desperation. She is eventually found in the gloomy districts near the river. In other words her descent has reached its social and moral nadir.
After it is clear that Maggie is dead, the final scene of the novel returns to the interior of her home where her mother, in pitiful self-indulgence and brazen denial of reality, forgives her. Thus, readers are brought full circle to see how the family environment into which Maggie was born is part of a larger social system that destroys innocent and unsuspecting flowers like Maggie.
Rum Alley. Street in Manhattan’s impoverished Bowery district on which Maggie’s family lives, along with many other Irish immigrant families. The neighborhood is used symbolically to portray not only the dismal nature of Maggie’s world, but also to emphasize the extent of environmental forces that Maggie and others in her neighborhood must overcome just to survive.
The novel opens with a description of a fight between gangs of young boys from Devil’s Row and Rum Alley (including Maggie’s brother Jimmy). The names of these fictitious Manhattan streets suggest the fatalism that Crane attaches to this novel, in which even very young children are caught in the ironic struggles of defending places that are not worth defending. In fact, these slums are responsible for the dysfunctional behavior of the citizens of these places, places where “deh moon looks like hell” and where Maggie “blossomed in a mud puddle.”
Shirt factory. Sweatshop in which Maggie works long hours as a seamstress before she meets Pete. This place in the novel reinforces the poverty that immigrants faced, where women and children experienced horrible working conditions. Such sweatshops were usually insufficiently heated in winter, beastly hot in summer, and poorly lighted year round. Crane uses the shop to underscore the futility of Maggie’s life.
Manhattan nightclubs. After Maggie meets Pete, an arrogant bartender and friend of her brother Jimmy, Pete takes her to a variety of nightclubs. At first Maggie regards Pete as the “beau ideal of a man,” and the places of his world provide a pleasant contrast with her limited and oppressive home. In reality, however, the clubs that Maggie visits are merely cheap imitations of the night-life spots that wealthy New Yorkers frequent. They seem brilliant to Maggie, but their presence in the novel only underscores the deprivation of Maggie’s existence.
The clubs appear in the narrative in an approximately descending order of taste. Pete first takes Maggie to cheap theaters and music halls. Next comes a visit to the Bowery, a carnival-like atmosphere where immigrants of various ethnic origins mingle in “phantasies of the aristocratic theatre-going public, at reduced rates.” This is followed by an evening at the hall of irregular shape where two painted women are in the crowd. Finally, Maggie is taken to a hall in which prostitutes are stationed at every table. There, Pete abandons Maggie for Nell, a “woman of brilliance and audacity.”