⸺ MICK McQUAID.
Magazine stories that have never been published in a volume do not come within the scope of this work. But I think an exception must be made in this case. The serial or series of serials centering in the character of Mick McQuaid has made a record in literature. It began in the pages of the Shamrock on Jan. 19th, 1867. With short interruptions it has been running ever since in the pages of that periodical, and is running still, though the Author died in 1894. The following are some of the series that appeared:—1. “M. McQ.’s Conversion,” 1867; 2. “M. McQ., the Evangeliser,” 1868-9; 3. “M. McQ. Under Agent,” 52 chapters, 1869-70; 4. “M. McQ., M.D.,” 28 ch., 1872; 5. “M. McQ., M.P.,” 51 ch., 1872-3; 6. “M. McQ., Solicitor,” 43 ch., 1873-4; 7. “M. McQ.’s Spa,” 91 ch., 1876-8; 8. “M. McQ., Alderman,” 61 ch., 1879-80; 9. “M. McQ., Moneylender,” 47 ch., 1880-1; 10. “M. McQ., Gombeen Man,” 48 ch., 1881-2; 11. “M. McQ.’s Story,” 1884; 12. “M. McQ., Workhouse Master,” 1885; 13. “M. McQ., Sub-Sheriff,” pt. 1, 47 ch., 1888-9; 14. “M. McQ., Sub-Sheriff,” pt. 2, 1889; 15. “M. McQ., Stockbroker,” 61 ch., 1889-90; 16. “M. McQ., Removable,” 1890.
The Author himself tired of Mick McQuaid, and tried to put other creations in the field:—“Dan Donovan,” “Corney Cluskey,” “Japhet Screw,” “Sir Timothy Mulligan,” and so on. But after a few chapters the readers invariably demanded “Mick” again, and, if the Author had not new adventures ready, he had to reproduce the already published adventures. More than once editors tried to drop the series, but the circulation which was 60,000 fell at once, and “Mick” had to appear again. Apart from their issue in the Shamrock many of “Mick’s” adventures were reproduced in penny numbers, and sold far and wide. After the Author’s death the editors simply reproduced the series over again. Harry Furniss began his artistic career by illustrating Mick McQuaid. Besides Mick McQ. another humorous series, Darby Darken, P.L.G., ran in the Irish Emerald.
LYNCH, E. M.
⸺ KILBOYLAN BANK; or, Every Man his own Banker. Pp. 240. (Kegan Paul). 3s. 6d. 1896.
Father O’Callaghan returning from Italy greatly impressed by what he has seen of the Raffeisen Banking System at work, tries to start a similar system in Kilboylan. The book is the story of his efforts, difficulties, and final success. The local types—landlord, strong farmer, miller, publican, schoolmaster, “pote,” and “chaney merchant” are cleverly hit off, and their conversation rings true. The book is primarily a lesson in economics, but the characters are well brought out, and a little love-story runs through the whole. Miss Lynch also wrote for Sir Charles Gavan Duffy’s “New Irish Library” a story adapted from the French—A Parish Providence. It was intended to teach certain economic lessons to Irishmen.
LYNCH, Hannah. B. in Dublin. Lived much in Spain, in Greece, and in France, publishing various articles and books about them, notably a book on Toledo and French Life in Town and Country. Among her novels are Prince of the Glades, Dr. Vermont’s Fantasy, Daughters of Men, Jimmy Blake, Clare Monroe. She was associated with Miss Anna Parnell in the Ladies’ Land League in the eighties. When United Ireland was suppressed she carried the type to Paris, and the paper was issued there. Mrs. Hinkson says of her,[6] “She was one of the few people I have known who eat, drink, and dream books, and not many can have given to literature a more passionate delight and devotion.”
[6] Reminiscences, p. 76-7.
⸺ THROUGH TROUBLED WATERS. Pp. 460. (Ward, Lock). 1885.
Scene: chiefly Carantrila House, Dunmore (“Cardene”) near Tuam, Co. Galway. Opens with an impending lawsuit about the inheritance of “Cardene.” It is settled by Mrs. St. Leger giving it up to her brother-in-law for a large sum. Henceforth she plots to get it back for her son. In later years he comes on a visit to the place. He falls in love with Nora Dillon, but carries on an innocent flirtation with a peasant girl. He is accused of seduction, the real culprit being Nora’s brother, and denounced from the altar. This latter scene is well done. But the truth comes out, and all is well with Hartley and Nora. The portrait drawn of one of the two priests introduced is rather satirical, but the tone is Catholic throughout.