LitCharts assigns a color and icon to each theme in Out of This Furnace, which you can use to track the themes throughout the work.
Immigration and American Identity
Industrialization and Destruction
The American Dream vs. Reality
Women’s Work
Capital vs. Labor
Summary
Analysis
Dobie is visiting Anna, where he discusses politics with a visitor from Uniontown, a coal union organizer named Steve. Steve tells Dobie that the way to beat big business interests is to hit them in the pocketbooks. “You've got dealers in this town, haven't you? Sure they're Republicans. But most of their customers are Democrats and if they start forgetting it you remind them,” Steve states. By actively campaigning against candidates who favored business over workers, union organizers can shift the political playing field more in labor’s favor.
Dobie’s meeting with Steve the coal union organizer further legitimizes his decision to take over the ERP and fill its ranks with actual steelworkers. By placing workers in positions of power, they can directly challenge business interests where it matters most: their pocketbooks.
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Themes
Steve tells Dobie about working to organize the coalfields. Their union representatives were all businessmen and lawyers and had no people who were actual coal miners. “We got together with the Mine Workers and put up a whole opposition slate,” he says, “then we went to work in every coal patch in the county, places them God-damn' committeemen never even heard of and wouldn't go if they did because they might get their shoes muddy.” They encouraged coal miners not to vote for the committeemen’s representative because they were not coal miners and hated unions.” For their efforts, Steve’s men won representation in the miners’ union. Dobie tells him that strategy would not work in Braddock. Steve replies, “if you're making a living in this country you're in politics whether you think so or not.”
This passage essentially affirms what people like Frank and Anna have already told Dobie: achieving the American Dream means getting involved in politics. Dobie’s predecessors, embodied by Kracha, believed they could stay out of the political fray and remain unaffected as a result, but Steve reminds Dobie that there is no such thing as being apolitical, especially when the people in positions of power are deeply involved in using politics to bolster and uphold their power.
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Themes
After the discussion, Julie, Dobie, and Kracha are driven back to the train station to catch a ride home. As they drive along, the glow of the zinc furnaces illuminates the streets of Webster, their smoke enveloping the houses of the men, women, and children who live in the mills’ shadows. As they board the train, Dobie sneaks a look at Julie’s leg as she boards. When they arrive home, Kracha immediately bids them goodnight and heads upstairs to sleep.
In this passage, Bell uses the imagery of Dobie traveling through the smoke-ridden town of Webster as a metaphor for the role he will soon play in improving the lives of the people who live amidst that smoke.
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Themes
Dobie asks about food, and Julie forbids him from eating the ham because she is saving it for his lunch. He asks if he can make tea and Julie says it is much better than him coming to bed smelling of beer. As Dobie munches on cold pork chops, he grabs Julie and holds her in his arms. They engage in some romantic talk before finishing their tea and heading upstairs to turn in for the night. In the bedroom, Dobie announces his intention to sleep with Julie, and she slowly undresses. The make love and eventually fall asleep.
Dobie and Julie make love on the same night that Kracha finally perishes. Here, Bell presents the promise of new life in the form of conception as a preface to old life breathing its last breath. Moreover, Julie and Dobie’s passionate love for each other contrasts sharply with Kracha and Elena’s dispassionate marriage, indicating that the coming new life will be in more loving hands than previous generations have been.
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Julie wakes Dobie in the middle of the night. The couple can hear the sound of a “dull thump” somewhere inside or outside of the house. She at first suspects Peg-Leg Cassidy, but it is too late at night and the sound is too slow. They soon realize that the sound is coming from inside the house. Dobie grabs Julie’s hand mirror for protection, then walks slowly until he arrives at Kracha’s door. He pushes the door open and sees his grandfather lying on the floor, his bedclothes partly pulled over him.
Julie and Dobie initially think the thumping sounds are coming from an intruder. However, the intruder is not Peg-Leg Cassidy or a night prowler. The intruder is, in fact, death.
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Dobie stares as Kracha “lifted himself on one arm, straining as though he had a whole world on his back, and then he dropped heavily, his elbow thumping against the floor.” He appears to have suffered another stroke. Julie and Dobie lift Kracha up off the floor and call the doctor. Julie prepares tea with lemon and whiskey, which Kracha tries to drink but cannot swallow. Later that day, as Dobie sends out telegrams to relatives in Munhall, New York, and Donora, Kracha whispers “my children, my children…” before shutting his eyes. He dies at 4:45 in the afternoon. Dobie stares at his grandfather, as he has never witnessed anyone die before. Dobie tells Peg-Leg that his friend has passed.
Despite the fact that he was born a peasant and spent his life as a working-class laborer with a severe drinking problem, Kracha’s death invokes the feeling that a giant has passed. As the patriarch of the extended family at the heart of the novel, Kracha’s struggle to survive against both the steel company and his own self-destructive tendencies made possible Dobie’s eventual triumph as a “real” American. Kracha’s life symbolizes the sacrifices Slovak immigrants made so that their children and grandchildren might experience the American Dream. Furthermore, Kracha’s many shortcomings indicate that sinners as well as saints can make a difference in the world. As a reward for his life of hardship, Kracha receives a peaceful death in a house full of family.