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This collection is a comprehensive record of the life and work of Maurice Walsh, a figure who has a distinctive place in Irish literary history. At its core are multiple working drafts of his fourteen novels, five short story collections and other works which provide a window into Walsh’s creative process and the evolution of his narratives. They also highlight the breadth and versatility of Walsh’s literary output which extended from novels and short stories to plays, poetry and journalism. Of particular interest are drafts of his perhaps best-known novel, Blackcock’s Feather (P7/2/1/3/1-7), his short story ‘The Quiet Man’ (P7/2/2/1/3/1-5), later made into an Oscar-winning film directed by John Wayne, and the collection of short stories featuring the immortal character of Thomasheen James (P7/2/2/2/1-11).

The Maurice Walsh Papers also feature the author’s extensive correspondence with literary agents, publishers, broadcasting companies and film producers which provides interesting insights into the life of a professional writer. It reveals among other things the controversy concerning the sale of the film rights which proceeded the production of Trouble into Glen, Walsh’s only novel successfully adapted for film (see P7/1/3/1/2 and P7/1/3/2/1). The dispute, which involved Walsh’s American literary agents, Brandt and Brandt of New York, and his principal publishers on this side of the Atlantic, Chambers, resulted in his refusal to assist in the making of the film and soured his view of the movie business for life. Another interesting set of correspondence dates from 1940, when Walsh made a significant foray into politics by collaborating with Seán O’Faoláin in the writing of an article entitled ‘Ireland in a Warring Europe’. Published in The Saturday Evening Post, the article was a defence of Irish neutrality and generated much reaction. The surviving letters from Joseph Connolly, the censor, indicate the extent to which he tried to avoid undue alterations to the text and the keenness of the authorities that the piece should appear in print (P7/1/2/4/1-4).

The volume of correspondence includes much evidence of Walsh’s popularity. The royalty statements from his publishers and agents tangibly prove his success as a writer, and the letters from admirers (P7/1/2/3/3/1-7) give his audience a human face. One of the more unusual expressions of his fame was the establishment of ‘The Ancient and Honorable Society of Walshians’ in Montana in 1933 (P7/1/2/3/2/1-5).

With the exception of some official documents and a small number of photographs, the collection contains little in relation to Maurice Walsh’s personal life. The best insight into this aspect can be found in a short autobiographical note published in an unidentified work (see P7/2/7/5/5), which also shows Walsh’s gentle but brimming humour. Described by his friends as ‘quiet, easy-going, lazy-seeming’, Walsh’s reticence made him, perhaps, the true embodiment of ‘The Quiet Man’.

The collection is based on a single theme, namely, the publishing background to James Joyce’s Dubliners. The book did, indeed, have a very strange history. Its journey began in 1904, when Joyce submitted a collection of short stories to the publisher, Grant Richards. It was not until February 1906 that Richards accepted them. Unfortunately, Richards had problems with his printer who refused to set up the print for the story Two Gallants, as he objected to certain passages therein. Richards and Joyce had many debates and arguments about the deletion and modification of this and other passages in the book. Finally in 1907, Richards backed away from publishing the work. In 1909, George Roberts of the Dublin firm Maunsel & Co. accepted Dubliners and signed a publication contract in August of that year. However, Roberts had second thoughts about its publication soon after and the entire first print run of the book was burned before it was launched. Dubliners was finally published in 1914 by the original publisher, Grant Richards, a full ten years after it was written. McGrath seems to have had a great interest in discovering what influenced two successive publishers to reject the manuscript. Other items in the collection include an original Seán O’Casey letter to McGrath in which he enclosed a large signed black and white photograph of himself (P8/4). There are also press cuttings which comprise of an obituary of Oliver St. John Gogarty (P8/20) and a review of a book about Joyce (P8/21).

Programmes, posters, flyers and recordings illustrating the events and activities of International Dance Festival Ireland (renamed Dublin Dance Festival in September 2007) since its inception in 2002.

Programmes, flyers and posters relating to the productions of Chrysalis Dance. Also lists and correspondence illustrating the company’s financial and administrative history.

Promotional material and DVDs relating to performances given by Croí­ Glan Integrated Dance Company.

Bound volume of names of club members and a related note.

This small collection contains routine correspondence and accounts created and generated by Maxwell, Weldon & Co. on behalf of their clients, mainly pertaining to probate, death duties and other testamentary matters.

The Coote papers comprise in the main early twentieth-century correspondence and accounts maintained by the Coote family’s land agents Guinness, Mahon & Co. and, from 1953, William Montgomery & Son Ltd. The correspondence is routine by nature and illustrates the less glamorous side of estate management involving leaky roofs and inadequate sewage pipes. There is an interesting set of deeds, the earliest of which date from the second half of the eighteenth century; a lengthy marriage settlement drawn up on the eve of the marriage of Grace Coote and the Reverend Henry Bathurst; and letters of administration relating to complications arising from the will of Charles Henry Coote whose heir and two executors all died before probate could be granted. There is also an extensive set of grazing and letting agreements from 1876 to 1953, mostly dealing with plots of ground in the vicinity of the town of Maryborough (now Portlaoise) in county Laois. Perhaps the most important item in this collection is a bound hardcover volume of hand-drawn maps of the estates of General Sir Eyre Coote (1726-1783) surveyed in 1803 by Robert Ely (P10/5/1). Each page in the book is devoted to a single townland, with a helpful index providing the name and total acreage of each townland and the name of its tenant.

The collection items consist of seals, reproductions of portraits and transcripts of documents relating to the De Laval and Willis families, providing in snapshot detail the fate of a high-ranking Huguenot family forced into exile, their efforts to create a new life in a foreign country, and the lives of their descendants.