Frank O'Connor – författare

The story of the title deals with a little boy named Larry and his feelings towards his father. When his father returns home from World War II, Larry is resentful and jealous of losing his mother's undivided attention, and finds himself in a constant struggle to win back her affections.

From its origins in the folk tale, through its evolution in response to changing social and political conditions to its current form, the Irish short story has retained its own distinct and unique form. The finest writers of their time are represented here by their best work, showing the variety of style and approach within the genre. From George Moore's masterpiece, `Homesickness', and the warmth and humour of James Stephens, to the romantic eloquence of Bryan MacMahon, these stories capture the Irish people, their way of life, mythology and history.

90 classic titles celebrating 90 years of Penguin BooksKnown as Ireland’s Chekhov, Frank O’Connor was a master of the modern short story, with an eye for capturing the spaces between our selves and our surroundings. The Genius brings together some of his very best stories, often told from the perspective of young children and forming a revealing portrait of coming of age in postwar Ireland. Humorous and poignant in equal parts, these stories are a lesson in craft from a celebrated, prolific author.

Key features of this text: How to study the text Author and historical background General and detailed summaries Commentary on themes, structure, characters, language and style Glossaries Test questions and issues to consider Essay writing advice Cultural connections Literary terms Illustrations Colour design

The story of Frank O'Connor is that of a shy child from a Cork slum who becomes aware that there is something beyond the confines of his life and the lives around him, something grander. And with resolve and labor, he makes his way toward it. From his childhood to the time of his release from imprisonment as a revolutionary, O 'Connor conveys the moral fortune and the tragic elements of life, that sparked his storytelling—a life he describes as a "celebration of those who for me represented all I should ever know of God."

Award-winning edition of this outstanding translation of Brian Merriman's eighteenth-century erotic masterpiece.Translated by Frank O'ConnorIllustrations by Brian Bourke.

Re-issued with an introduction by Neil Jordan, 'The Big Fellow' is the 1937 biography of the famed Irish leader Michael Collins by acclaimed author Frank O'Connor. It is an uncompromising but humane study of Collins, whose stature and genius O’Connor recognised. A masterly, evocative portrait of one of Ireland’s most charismatic figures, 'The Big Fellow' covers the period of Collins' life from the Easter Rising in 1916 to his death in 1922 during the Irish Civil War. The author, having served with the Anti-Treaty IRA during the Irish Civil War, wrote 'The Big Fellow' as a form of reparation over the guilt he felt with regards to taking up arms against his fellow Irishmen and Collins' untimely death. Liam Neeson has said that he found the book of great assistance when preparing for the role of Collins in the 1996 film directed by Neil Jordan.

The thrilling short story collection featuring Jeff VanderMeer, Karen Traviss, and Eric Nylund—part of the expanded universe based on the New York Times bestselling video game series Halo!When humanity expanded beyond the safety of Earth to new stars and horizons, it never dreamed what dangers would be encounter there. When the theocratic alien juggernaut known as the Covenant declared war upon the fragile human empire, millions of lives were lost—but millions of heroes also rose to the challenge. In such a far-reaching conflict, not many tales of the brave have a chance to become legend. This collection of eleven stories dives into the depths of the vast Halo universe, not only from the perspective of those who fought and died to save humanity, but also from those who vowed to wipe it out of existence.

The contents have been intriguingly divided into eight narrative threads that influenced and informed O'Connor's oeuvre. War includes the famous 'Guests of the Nation', set during the Irish War of Independence; Childhood draws on autobiographical writings to present a revealing picture of the author as a boy, the only child of an alcoholic father and doting mother; Writers bears witness to his literary debt to Yeats and Joyce. The stories in Lonely Voices movingly demonstrate O'Connor's theory that in this genre can be achieved 'something we do not often find in the novel - an intense awareness of human loneliness'; yet they are counterparted by his wonderfully polyphonic tales of family, friendship and rivalry in Better Quarrelling. In Ireland come poems, stories and articles inspired by the native land he loved but never sentimentalized, while from Abroad the writer in exile discourses upon universally relevant themes of emigration, hardship, absence and return. Finally, Last Things contains O'Connor's thoughts on religion, the church, the soul and its destiny, but remains above all a celebration of humanity 'who for me represented all I should ever know of God'.

While Frank O’Connor was known primarily as one of Ireland’s finest short-story writers, he was also an accomplished translator. In the long line of Irish writers given to translating poems in Irish into poems written in English – a tradition stretching back at least as far as Jonathan Swift – he stands out above all the rest.Between the mid-1920s and the mid-1960s, O’Connor published 121 translations that give voice to the full range of this centuries-old tradition. Collected here in full for the first time, O’Connor’s work shows an uncanny aptitude for carrying over into English verse many of the riches to be found in the originals – the ancient voice of the Hag of Beare lamenting her decline into old age; the voices of the early monks describing the Irish landscape, Irish weather, their religious faith, and, in at least one instance, their cat; the voice of Hugh O’Rourke’s wife torn between loyalty to her husband and a rising desire for her seducer. All these voices haunted O’Connor throughout his career, whatever else he was doing. The collection includes the Irish-language sources for all 121 translations along with literal translations, enabling the reader to see what O’Connor started from.O’Connor’s translations sprang from a compulsive desire to breathe life into Ireland’s past, to ‘look back to look forward,’ as he once put it; for him the Irish-language tradition was not for scholars and archives alone, but formed a living body of work vitally relevant to an Ireland that seemed puzzlingly indifferent to it.Thanks to O’Connor’s profound love of his country’s language and its rich, literary subsoil – ‘a literature of which no Irishman need feel ashamed’, he once said – these voices from Ireland’s past can still be heard. Strikingly modern in tone, they conjoin flesh and spirit, the sacred and the secular, in a way that speaks to humankind.

While Frank O’Connor was known primarily as one of Ireland’s finest short-story writers, he was also an accomplished translator. In the long line of Irish writers given to translating poems in Irish into poems written in English – a tradition stretching back at least as far as Jonathan Swift – he stands out above all the rest.Between the mid-1920s and the mid-1960s, O’Connor published 121 translations that give voice to the full range of this centuries-old tradition. Collected here in full for the first time, O’Connor’s work shows an uncanny aptitude for carrying over into English verse many of the riches to be found in the originals – the ancient voice of the Hag of Beare lamenting her decline into old age; the voices of the early monks describing the Irish landscape, Irish weather, their religious faith, and, in at least one instance, their cat; the voice of Hugh O’Rourke’s wife torn between loyalty to her husband and a rising desire for her seducer. All these voices haunted O’Connor throughout his career, whatever else he was doing. The collection includes the Irish-language sources for all 121 translations along with literal translations, enabling the reader to see what O’Connor started from.O’Connor’s translations sprang from a compulsive desire to breathe life into Ireland’s past, to ‘look back to look forward,’ as he once put it; for him the Irish-language tradition was not for scholars and archives alone, but formed a living body of work vitally relevant to an Ireland that seemed puzzlingly indifferent to it.Thanks to O’Connor’s profound love of his country’s language and its rich, literary subsoil – ‘a literature of which no Irishman need feel ashamed’, he once said – these voices from Ireland’s past can still be heard. Strikingly modern in tone, they conjoin flesh and spirit, the sacred and the secular, in a way that speaks to humankind.

Frank O’Connor was one of the twentieth century’s greatest short story writers, and one of Ireland’s greatest authors. Lilliput Press are now delighted to continue our publishing of O’Connor’s writing by bringing his seminal work on the art of the short story back into print. The Lonely Voice is the definitive work of Irish non-fiction on the art of writing short fiction, and has long been held up as one of the greatest works in global literature on the short form. We are delighted to bring The Lonely Voice back into print with a brand new introduction by Kevin Barry, internationally recognised as one of Ireland’s greatests short story writers, whose work - like O’Connor’s before him - appears frequently in the New Yorker. Barry engages and parrys with O’Connor’s writing, bringing about a meeting of great Irish short story writers from the twentieth and twenty-first centuries, and bringing this foundational piece of Irish writing to a new generation. The ideal companion to works such as George Saunders A Swim in a Pond in the Rain or John Yorke’s Into the Woods: How Stories Work and Why we Tell Them.