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Letters of regret to an invitation by Éamonn de hÓir to an unspecified Irish-language event. Mostly in Irish.

Letters from the Office of the President thanking Madge Daly for her gift of the portrait of John Daly by Seán Keating; and from the Department of Education, National Museum of Ireland, Kildare Street, Dublin relating to 19 framed and glazed portraits of the 1916 leaders and other historic figures donated by her to the National Museum of Ireland.

Letters of the Late Bishop O’Dwyer. Signed ‘M. Daly’ on the front cover.

Letters to Walsh from Sidney Harry (accountant and auditor), 522 Fifth Avenue, New York, referring to his tax affairs in the U.S. arising from his income from royalties.

Letter to Walsh from Emmet Dalton (director), Medal Films, 1 Bank Chambers, 25 Jermyn Street, London, regarding to the adaptation of Blackcock’s Feather as a film. States that he has ‘great enthusiasm’ for the project, but it would be difficult and only viable if contemplated for ‘a world-wide market’. Since obtaining ‘a twelve months option’ on it, Dalton has enlisted the services of ‘a first-class screen writer’ named Cecil Maiden who is to deliver to him at the end of the month ‘a first treatment of a suggested adaptation’. Encloses copy of a letter from Maiden (12 December 1954) who had just finished reading the story which has impressed him very much. Walsh’s ability to write ‘inside a historical period’ is ‘enviable’. The adaptation would be difficult and would depend on capturing the atmosphere. There are similarities with Lorna Doone. Its natural division into three acts is convenient for scripting. Maiden offers himself as a scriptwriter for the task, but alternatively, he suggests Franklin Coen.

Letter to Walsh from Dalton who has just returned from Dublin where he attended the funeral of his brother Martin. Encloses copy of a letter from Maiden (P.O Box 14 La Mesa, California) who has just finished the first draft of the script. States that ‘this is going to be a Director’s (Maiden’s emphasis) picture’. To lift it ‘above the run-of-the-studio type swashbuckler’, the struggle should be portrayed as being against oppression, rather than between the Irish and English. Some scenes have been omitted and the end of the story ‘telescoped’. Has suggested ‘a very occasional use of first-person narrative’ due to the quality of Walsh’s writing. Anticipates meeting Dalton soon.

‘With compliments’ note to Walsh from Dalton enclosing copy of letter from Maiden, who is in contact with ‘Mr. Wolff’. Agrees with Walsh’s view of film writers – ‘they are a soulless breed!’

Letters to Walsh from J. B. Lippincott Company (publishers), 521 Fifth Avenue, New York, signed mostly by George Stevens (managing editor), but also one by J. A. McKaughan (director of advertising). Matters referred to include Lippincott’s acquisition of control of the Stokes company; the manuscript of The Spanish Lady which Walsh sent them; suggestions for new work; and the transfer of all Stokes publications to Lippincott and the liquidation of the Stokes company. Letter dated 21 December 1942 includes comment on The Spanish Lady: ‘not often does a novel, even a good novel, come through with so much richness of flavor and feeling of life’. Letter dated 23 December 1943 includes a suggestion from the literary editor of the Norfolk Ledger-Dispatch, Norfolk, Virginia, that Walsh write about High King Niall of the Nine Hostages, High King Brian Boru or Conor MacNessa, King of Ulster.

Letters from Dowdall, O’Mahoney & Co., Margarine Manufacturers and Butter Merchants, relating to a reduction in the quota of Bakers Compound allotted to Dore. With related calculations.