Era: Immigrant Neighborhood (~1880-1960)
Immigration, first, second, and third-generation Americans, Settlement Houses, Irish politics, etc.
Joseph Caruso’s novel The Priest (1956) vividly captures daily life for the West End’s Italian immigrant population in the mid-twentieth century, drawing on actual events, historical landmarks, cultural rituals, and economic challenges which shaped the West End community for generations.
Charles Street Jail stands as a landmark of major national significance, both as a key example of the Boston Granite Style of architecture and as the embodiment of mid-nineteenth-century penal reform movements. The jail’s history was marked by dramatic shifts: initially celebrated as an architectural and reformist triumph at its opening in 1851; later decried for its “cruel and unusual” conditions in the 20th century, prompting its closure; before being reinvented as a luxury hotel in the 21st century.
During the mid-20th century, Boston targeted the South End for urban renewal, alongside the West End and other low-income communities across the city. Responding to impending displacement, the South End’s Puerto Rican residents organized to take control of their community’s destiny, forming the Emergency Tenants’ Council (ETC) and successfully negotiating the right to redevelop the land themselves. The result was Villa Victoria—a community-planned and operated housing development that would become the center of Latino life and culture in the South End. Unlike top-down redevelopment schemes that displaced residents, as happened in the West End, Villa Victoria emerged from the community’s own vision and struggle.
Bowdoin Square has gone through many phases, including rapid development, growing population, changing fortunes, urban renewal, and attempts at revitalization. Today the name survives mainly in the name of an MBTA station, but examination of Bowdoin Square provides insight into two and a half centuries of Boston history. This article, the second part of two, covers the history of the square in the twentieth and twenty-first centuries.
Abraham “Al” Tabachnik (sometimes spelled Tabachnick, Tabatchnik, or Tabarchnik) was a Russian immigrant, known both for his eccentricities and powerful voice. From the early 1920s to the early 1960s, he roamed the West End’s streets, filling them with music. Recollections of Tabachnik, found throughout West End oral histories and the West Ender Newsletter, illustrate the impact of the West End’s tight-knit community on him, and his impact on the community.
After Martin Lomasney (1859-1933), the legendary “Mahatma of Boston,” made John Ignatius Fitzgerald (1882-1966) a precinct captain at age 18, Fitzgerald became Lomasney’s right-hand man. Their political relationship provides a window into the inner workings of early-twentieth-century ward politics in the West End.
Below is a memory letter from the Museum’s archives, originally submitted to the West Ender Newsletter in 1986 by an anonymous author. In it, we follow the narrator as they walk down the West End’s Spring Street (c. 1930s-1950s), recalling the smells, sites, and sounds of the bustling corridor.
Helen Osborne Storrow (1864-1944) and James Jackson Storrow (1864-1926) were influential Bostonian philanthropists. Much of their work had a lasting impact on the West End, especially through their support of the West End House, Charles River Basin development, and Saturday Evening Girls’ club.
