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Fiction, Murder in Three Moves (1960), thriller; LAttaque, in Irish (Allen Figgis 1962); [The Story of a] Hedgeschool Master (1975); An Lomnochtán, autobiog. (Dublin & Cork: Mercier) 1978).
Miscellaneous, Ó Tuairisc trans. My Little Black Ass in Padraic Ó Conaire, 15 short stories, with other writers (Poolbeg 1982); for source of Weekend of Diarmuid and Grania, see Nessa Ní Shé, Tóraíocht Dhiarmada agus Ghráinne (Dublin 1971); Dialann Deoraí, in John Jordan, ed., The Pleasures of Gaelic Literature (1977).
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See also Bríghid uí Éigeartaigh, letter to Books Ireland (Feb. 1987) [infra]; Patrick Crotty, review of W. J. McCormack, ed., Ferocious Humanism: An Anthology of Irish Poetry, in Times Literary Supplement ( 2 June 2000), pp.4-5 [infra]. For further reviews by Seán Ó hEigeartaigh and others, see Alan Titley, An tÚrscéal Gaeilge (1991);
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James Cahalan, Great Hatred, Little Room, The Irish Historical Novel (Dublin: Gill & Macmillan 1983), comments on Dé Luain; LAttague [sic]; An Lomnochtán; and also The Road to Bright City [trans. Máirtín Ó Cadhain]. Three novels in Irish - interestingly his more serious works - and two rather lightweight efforts in English ... interest in politics and history ... LAttaque [sic] rivals James Plunketts Strumpet City as the best historical novel of the period ... influence of Táin and Tolstoys War and Peace. Quotes Ó Tuairisc on Dé Luain, though it won the Butler prize, it has never been as popular with readers as LAttaque; it is too complex, having dozens of perception centres in the weave of it. FURTHER, OTuairisc, LAttaque (1961), a novel of the French landing in the West in 1798, Cahalans account includes quotations from an interview with Ó Tuairisc. Viz., on influences, the epic style of the Classics, of Anglo-Saxon, and particularly the historical sagas of the Old Irish and Medieval period, as seen in such fictionalised history as Táin Bó Cuailgne, Cath Rois na Rí for Bóinn, and even in the would-be historical Leabhar Gabhála [and] a second and more powerful influence [Tolstoys War and Peace]. Ó Tuairisc notes, all these writers (the synthetic historians) had no compunction about weaving the actual facts of history into a myth or a poetic fiction, such poiesis [sic], of course, included prose as well as verse. He further testified to the overwhelming influence of Tolstoys realism as the  human quality which [..] is invariably absent in the Irish epic. Tolstoys soldiers are not the half-divine heroes of the Táin but the down-to-earth haymaking, hungry, bored and humorsome soldiers I had known in the Army of Ireland. Ó Tuairisc noted that he was attracted by the theme of the impact of a dynamic, revolutionary, atheistic force upon a static peasant population who by sheer tribulation and passive resistance had survived a hundred years of penal colonial regime coldly calculated to keep them socially, polit-ically, and intellectually poor and impotent. Violence was rare amongst them, and their language had nothing of the sharp impact of the French word attaque . His source was Richard Hayes, The Last Invasion of Ireland (1937), in whose introduction it is noted that the story is one of high adventure with not a few epic qualities (p.xv) . Further, The novel opens with Máirtín Caomhánach, a peasant who bears the ancestral name of the kings of Leinster, reluctantly joining into the rising; he has just happily married Saidhbhín, the daughter of a wealthy man when the big world outside break[s] in on him (trans., p.18). The Protestant leader, Robert Craigie, is unpopular with him, and the men maintain a lively pessimism. Ó Tuairisc strategically ends with the Republican victory at Castlebar. OTuairisc uses the Táin with its cattle-driving motif for ironic purposes. The high-flown patriotic rhetoric of Craigie, writing to his wife, is contrasted with the earthy, humble messaye that the peastand Pádraig Ó Flannagáin sends to his mother. As for the action, Caomhánach is no Cuchulainn-type, Ionsaí eile. Ní hea, a chailleach, ach eirleach eile. [Another attack. No, old hag, another slaughter]. (p.113). Ó Tuairisc ends his novel with the sentence, Tá an Táin déanta [the raid has been completed] (p.139). Ó Tuairisc explained, ‘The ancient Táin, long lost, has been recovered, and now written. Thats just the way I felt when I put down the last full stop [172-73].
Bríghid uí Éigeartaigh, letter to Books Ireland (Feb. 1987) in response to Fair Comment appearing previous ssue: recounts the details of a vituperative exchange in print between Eoghan Ó Tuairisc and Rita Kelly arising from a double review of Breandán Ó hEithirs Lig Sinn I gCathú by them in Feasta (July 1976), the latter being based on a published extract of the novel which appeared in Flós Fomhair, a collection from Oireachtais prize winners in 1975, and including the denigratory assertion that the author of the work lacked paisean an fhile. Ó hEithirs responded to Kelly and Ó Tuairisc jointly in the following issue of Feasta included the following sentence: Ach is fear an tionscal seo a fhágáil foai na heolaithe, na típeanna a bhfuil an paisean ag ithe an cheatrú anuas díobh [...] the multipseudonymous watters off, the ultrauxorious watters of. hitherandthithering watters of. Heresmyheadandmyarse - is coming watters of. Shite. Ó Tuairisc and Kelly replied separately next month (Feasta, Meán Fohmair 1979), she accusing him of attempting to ruin her reputation as a critic with his fauluisce faoi thalamh [underground piss]. The same issue contains Ó Tuairiscs Annáls Wrecktra na Hairyone leis na Ceithre Bhastard curtha in eagar ag Eoghan Ó Tuarisc. Uí Éigeartaigh here remarks that Kelly was unable to see the funny side of the whole episode as being more vulnerable than Eoghan Ó Tuairisc. Jeremy Addis [as addressee of her letter] responds in an editorial subscript that Kelly did in fact see the funny - or at least ironic - side of the episode, and recounts that, after the novel was printed in English and deflated, she found herself sitting with her critic, who said: Ah, sure, what was it all about; wasnt it a terrible book anyway? Addis concludes that she was not so much bitter as sad at the attitudinising that goes with so much literary criticism and adds: She did not name her critic.
Patrick Crotty, incidental remarks in on Eugene Watterss Weekend of Dermot and Grace: A promising idea, perhaps, but Watters technique limps so far behind his aesthetic desire that the reader is left with page after page of risibly inept Eliotics, flat-footed conflations of Death by Water and Ash Wednesday [quoting: Christe. Christ. Christe eleison hemas./Look Dermot, how the sun flitters the mists. / It is the rape of the women of a broken city. / Fail city so easily broken. / We did not build it easily, we two. / Let us walk out along the mountainside. / Walk out along the mountainside and see. / Along the mountainside what shall we see? / A break in the backstage scenery - Kyrie eleison. (Crotty, review of W. J. McCormack, ed., Ferocious Humanism: An Anthology of Irish Poetry, Dent 2000, in Times Literary Supplement, 2 June 2000, pp.4-5.)
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