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Page 1 of 4

  • Chapter 12 - Race

  • from Part II - Social Contexts
  • Edited by James Moran, University of Nottingham
  • Book:
    Sean O'Casey in Context
    Published online:
    23 June 2025
    Print publication:
    10 July 2025, pp 130-139

  • Summary

    In 1968, Martin Luther King gave his final major public speech, in which he praised the work of Sean O’Casey. This chapter highlights the way in which O’Casey’s work proved attractive to Black activists, pointing to the comments he made about race in his letters and autobiographies, and highlighting the way in which Black actors in New York began to perform in O’Casey’s drama in the mid-twentieth century. The chapter also draws attention to the way in which figures such as Harry Belafonte and Lorraine Hansberry felt inspired by the Dublin playwright’s work.

  • Chapter 19 - Eileen Carey (Eileen O’Casey)

  • from Part III - Collaborators and Critics
  • Edited by James Moran, University of Nottingham
  • Book:
    Sean O'Casey in Context
    Published online:
    23 June 2025
    Print publication:
    10 July 2025, pp 202-211

  • Summary

    Eileen Carey’s books are rarely read; her acting career was forgotten during her lifetime; and her presence in literary culture has always remained in the shadow of her husband. But she provided important support for Sean O’Casey throughout the second half of his life, and there is also great prescience in her own writing. This chapter presents a new assessment of Eileen Carey’s professional career in the wake of the #MeToo (2006–) and #WakingTheFeminists (2015–16) movements, showing how she experienced and wrote about male abuse in the entertainment industry, and how she inspired her husband to write about some of those themes in his own writing.

  • Introduction

  • Edited by James Moran, University of Nottingham
  • Book:
    Sean O'Casey in Context
    Published online:
    23 June 2025
    Print publication:
    10 July 2025, pp 1-6

  • Summary

    This chapter introduces the volume, explaining how O’Casey’s work has been widely read at school and university level, and frequently performed on the stage. The introduction points out that few major studies of O’Casey have been published in recent years, and argues that, by contrast with writers such as Joyce and Yeats, O’Casey is in need of updated critical reframing.

Page 1 of 4