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Poetry, Ranns and Ballads (Dublin: [Three] Candle[s] 1918). Novels, The Lady of Deerpark (London: Methuen 1917); Wet Clay (Dublin: Talbot 1922) [orig. serialised in Irish Independent Weekly, 12 March-22 Oct. 1921]; also Edain: A Romance of the Days of the Druids [six chaps. printed in Weekly Freeman, 30 Dec. 1922; otherwise unpubl.].
Short fiction (collections), By the Stream of Kilmeen (Dublin: Sealy, Bryers & Walker 1906), , 115 pp. [21.5cm.]; Waysiders: Stories of Connacht (Dublin: Talbot 1917; London: T. Fisher Unwin 1921) (viii), 203pp. [10 stories], ill. [front. by Michael Willmore (Mac Liammóir)]; The Golden Barque and the Weavers Grave (Dublin: Talbot; London: T. Fisher Unwin 1919); The Leprechaun of Kilmeen (Dublin: Martin Lester 1920; repr. 1965); Hillsiders (Dublin: Talbot; London: Unwin 1921), , 192pp. ills.
Reprints, Eamon Grennan, sel. & intro., The Land of Loneliness and Other Stories (Dublin: Gill & Macmillan 1969); The Weavers Grave, (Dublin: Alan Figgis 1965), and Do. intro. Benedict Kiely [Classic Irish Fiction Series] (Dublin: OBrien Press; London: Allison & Busby 1984), 135pp. Note limited edition of The Weavers Grave alone printed on frame of hatched blue lines, c.1924.
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Bibliography: S. OHegarty, Bibliography of Seumas OKelly, in Dublin Magazine, 9, 4 ; see also also 10, 3; 11, 1: 12, 4; 25, 2 (cited in Rudi Holzapfel, Bibliography of Dublin Magazine.
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Richard Kain, Dublin in the Age of William Butler Yeats and James Joyce (Oklahoma UP 1962; Newton Abbot: David Charles 1972): There is the strangely macabre humor of Seumas OKellys long story The Weavers Grave (1919), a minor masterpiece of mingled pathos and comedy in which two aged men stumble through an ill-kept graveyard in search of a burial place. As they mumble to themselves and argue with each other, the grotesquerie of the human condition is made apparent - and also, in an odd way, something of its grandeur. Here peasant humor is deepened into a realization of the state in which all, rich and poor, educated or rustic, meet at last on the same level. What might have been a sentimental episode becomes, in OKellys skillful telling, a tragically moving tale. One is reminded of the humanity displayed in many of the pictures of common life by Jack Butler Yeats. In both painter and storyteller, humor and humanity meet to form a poignant expression of mood, and it was natural that Yeats was chosen  to illustrate an edition of OKellys story, just as he had earlier illustrated Synges sketches of The Aran Islands. (pp.163-64.)
David Norris, Imaginative Response versus Authority: A Theme of the Anglo-Irish Short Story, in Terence Brown & Rafroidi, eds., The Irish Short Story (Gerrards Cross: Colin Smythe 1979): The atmosphere of Seumas O'Kelly's The Weaver's Grave [Dublin: Alan Figgis 1965] is less representational than that of [Padraic] O'Conaire's tales, its truths poetic and symbolic rather than social [...] The subject is close to the universal why of F. M. Forster's A Room with a View, and for O'Kelly, as for old Mr. Emmerson in that novel, By the side of the everlasting Why there is a Yes, a transitory Yes if you like, but a Yes. O'Kelly's treatment is on the whole the more successful, relying for its resolution upon the acceptance by the central characters of a world in which the only reality is subjective [52; ...] O'Kelly employs a stylistically pleasing consistence of tone and imagery. / The subsidiary characters of a The Weaver's Grave are stylized, almost emblematic figures. Meehaul Lynskey, the nail-maker, has a chinkling ring to his name, a warped body, small sharp eyes and the spiritual horizons of a nail-making machine. Cahir Bowes, heavy and stony as his name and occupation, has keen grey eyes, glint-like as the mountains of stone he has broken, and a view of life also constricted by his former occupation. The repetitious blows of age have reduced these two old men to ciphers, but years alone cannot dim Malachi Roohan whose spirit of nihilism, wonderful but terrible in its honesty, blasts away cant, caution and pretence - One flash of the eyelids and everything in this world is gone ... The world is only a dream, and a dream is nothing at all! We all want to waken up out of the great nothingness of this world. / And, please God, we will, said Nan. / - You can tell all the world from me n, said the cooper, that it won't. / And why won't we, Father? / Because, said the old man, we ourselves are the dream. When we're over the dream is over with us. That's why. / The bleakness of the old man's prophecy seems to operate subliminally on the widow, wakening her to experience like a frosty disintegration of the soil that allows new growth. The fiery beauty of the evening star may call forth only paltriness from the withered heart of Meehaul Lynskey, but the widow has already begun to personalize the human beauty of one of the twin gravediggers. Their handsomeness had earlier seemed dulled by its repetition, but now the star shines like a love token over the head of the man she has silently chosen. By the end of the story even the digging of a grave has taken on a quality of youth and joy, as the widow responds to the lilt of human love, passionate but transitory - The earth sang up out of the ground, dark and  rich in colour, gleaming like gold in the deepening twilight of the place. (p.52-54)
D. E. S. Maxwell, Modern Irish Drama (1984), The Matchmakers (Dublin: M. H. Gill 1908); The Shuilers Child, with Thomas MacDonagh, When the Dawn is Come (Dublin: Maunsel 1908); Meadowsweet (Talbot n.d.).
Alexander G. Gonzalez: Seumas OKelly and James Joyce, in Eire-Ireland, 21, 3 (Sept. 1986), on interior monologue in The Lady of Deerpark: Joyces shadow is clearly evident here, for not a single published account of Irish literary history acknowledges the fact that more than one Irihsman experimented with the technique during these years. (p.93; quoted in James Cahalan, op. cit. [infra], 1988, p.125.)
James Cahalan, The Irish Novel (Boston: Twayne Publ. 1988): The Big House setting of Seumas OKellys The Lady of Deerpark is a thin frame for a melodramatic, forgettable plot rather than the powerful, personal emblem that it was for Somerville and Ross. It indicates both the prevalene of the Big House tradition and the fact that non-Ascendancy writers such as OKelly could not successfully enter it; he is far better writing about the gritty peasants of The Weavers Grave. It is interesting, though, that OKelly experiments a bit with interior monologue in The Lady of the Deerpark, and his narrator Paul Jennings - like Jason Quirk, a narator capable of referring to the Greeks and Turgenev - has a Joycean notion of epiphany, There are moments in the lives of men that are as flashlights, tense moments when innate things are revealed to us. (p.125.) Further, notes that Alexander Gonzalez detects the possible influence of Eduard Dujardin on OKellys use of interior monologue [as supra].
James H. Murphy, Catholic Fiction and Social Reality in Ireland, 1873-1922 (Conn: Greenwood Press 1997): The forthright anger of those who find freedom by rejecting Catholic Ireland turns to a helpless bitterness in those who are not only pessimistic about the possibility of creating a new Ireland but are also apathetic about the worth of theindividuals inveighing against it. Seumas OKellys novels, The Lady of Deerpark (1917) and Wet Clay (1922) are written in a style of bleak realism. They recount the destructive power of the greed of people immersed in the ethos of Catholic Ireland. In the former, one such character exploits the vulnerability of gentry illusions, while, in the latter, a whole community destroys the idealism of a young man who has returned to Ireland with a mission to help save and improve the country. No individual even escapes into freedom in these novels. (p.133.)
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Desmond Clarke, Ireland in Fiction: A Guide to Irish Novels, Tales, Romances and Folklore [Pt. 2] (Cork: Royal Carbery 1985), adds The Leprachaun of Killmeen [sic] [c.1919]; The Golden Barque and the Weavers Grave; Hillsiders; Wet Clay.
Seamus Deane, gen. ed., The Field Day Anthology of Irish Writing (Derry: Field Day 1991), Vol. 2; selects from Waysiders, The Building [1093-110]; 1219, WORKS & CRIT adds The Land of Loneliness and Other Stories, sel. with intro. by Eamon Grennan (Gill & Macmillan 1969); Anne Clune, Seumas OKelly in P. Rafroidi & Terence Brown eds, The Irish Short Story (Gerrards Cross 1979); A. Martin, The Genius of Irish Prose (Cork 1985); J. W. Foster, Fictions of the Irish Literary Revival (Gill & Macmillan; Syracuse UP 1987).
David Marcus, ed., Irish Short Stories (Cork: Mercier rep. 1976), gives selection, 91pp.
Helena Sheehan, Irish Television Drama (1987), lists RTE Film, The Weavers Grave, Seumas OKelly/dir. Christopher FitzSimon, adapted Michael Ó hAodha (1963) .
Hyland Books (Cat. 224) lists Meadowsweet (n.d.); Ranns and Ballads (Dun Laoghaire ?1969).
Belfast Public Library holds The Bribe (1914, 1952); Golden Barque and Weavers Grave (1919); Hillsiders (1921); The Lady of Deer Park (n.d.); Meadowsweet (n.d.); Ranns and Ballads (n.d.); Waysiders (1917); Wet Clay (1922).
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Father Paddy Browne, ed., Aftermath of Easter Week (1917), includes a poem by Seumas OKelly on 1916, with the lines, England had bullet and burning lime / And Ireland has names that march with time. (The Seanachie Tells Another Story).
The Weavers Grave) - re the grave-digger twins, see Freud: [the] doubling, dividing and interchanging of the self [situates twins] ‘a thing of terror (‘The Uncanny in Vincent, C. Leitch, ed., The Norton Anthology of Theory and Criticism, London: Norton 2001, p.940; quoted in Joanne Watkiss, Ghosts in the Head: Mourning, Memory and Derridean Trace in John Banvilles The Sea, in The Irish Journal of Gothic and Horror Studies, 2 (March 2007) [online; 21.11.2007].
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