South of the Slot

Bill Totts is the antagonist within the narrative, but he is a unique antagonist. Bill is actually Freddie, the protagonist’s alter ego. Bill is the persona he has invented for himself when he travels south of the Slot into the working-class district of San Francisco. Although he embodies the physical form of Freddie, his use of language, clothing, and values are different from Freddie’s. In a structure similar to well-known alter ego narratives like Dr. Jekyll and Mr. Hyde or the Batman mythology, Bill serves as the repressed, inner self of Freddie who can interact within the more marginalized, shadowy realms of society.

Bill is large, lumbering, and physically imposing. Although he inhabits the same body as Freddie, the narrator emphasizes these aspects more with Bill. His passion for life and bold, aggressive interactions with those around him bespeak a confidence and lack of concern for outward appearances. This is a definite foil (a contrasting character) to his other self, Freddie, who is reserved, concerned with others’ opinions of him, and a conserver of energy, even in boxing. Freddie looks to expend a minimal amount of energy while Bill seems to always spend more than necessary. This comparison can be understood as a metaphor for the economics of the story as well. Freddie lives in the controlled world of bourgeois decorum where emotional outbursts are seen as weaknesses and generational wealth is the prioritized goal. Bill exists amongst laborers who are encouraged to expend their emotional energy and think only of the immediate future when considering financial goals.

Mary Condon is the romantic interest of Bill Totts and, by default, has interactions with Freddie, too, although she knows him only as Bill. Mary’s presence in the narrative acts as a catalyst for change and self-discovery in both Freddie Drummond and Bill Totts. Her influence on their lives contributes to their individual transformations and adds a layer of complexity to the exploration of class and identity. Mary’s role in the narrative, particularly in her interactions with Bill, foreshadows the potential for social change and the breaking down of rigid class barriers.

The first time we learn of Mary’s existence is through Freddie recalling her from a union meeting he had attended. Mary is the president of the glovemaker’s union and a strong, assertive, and intelligent woman who speaks her mind, especially as it regards politics. These traits did not appeal to Freddie per se, but Bill finds them irresistible immediately as he fell in love with her “from the moment his eyes first rested on her” (824).

The story concludes with Bill and Mary walking down the street in each other’s arms after Bill’s heroic performance fending off the police and replacement workers. This scene demonstrates their love for one another publicly, and it allows them to experience a triumphant return to the “labor ghetto” (833).