B/1
The Mirror in the Roadway: A Study of the Modern Novel. New York: Knopf,1956

• Combined 2 page holograph and 10 page typed manuscript, comprising an outline and explanation of the book, tentatively called "Phases of the Novel"
• 54 page carbon typescript titled "The Modern Novel" with ribbon copy of the last 10 pages. Occasional holograph notations and emendations by Frank O'Connor
• 234 page mixed ribbon and carbon typescript made up of several drafts of individual chapters on authors. Includes introduction and sections on Jane Austen, Henri Beyle Stendhal, Charles Dickens, Honore Balzac, Nikolai Gogol, William Makepeace Thackeray, Ivan Turgenev, Leo Tolstoy, Fyodor Dostoevsky, Anton Chekhov, Henry James, Thomas Hardy, James Joyce, and Marcel Proust, with heavy holograph revision throughout. Part 1 & 2.

  B/2
  Domestic Relations. London: Hamish Hamilton, 1957; New York: Knopf, 1957

• 201 page typescript, the printer's setting copy with some textual revisions in Frank O'Connor's hand as well as further notations and instructions in editorial hands. Part 1 & 2.

  B/3
  Shakespeare's Progress. Cleveland: World, 1960; New York: Collier, 1962

• 111 pages of tearsheets from the original edition of The Road to Stratford which Frank O'Connor revised for this volume. A partial text, missing 18 pages in the middle, this set has been heavily annotated and rewritten by Frank O'Connor in holograph as well as with the typewriter; one typed insert present.
• 61 page partia1 typescript, the beginning and end only, the printer's setting copy heavily annotated with printer's instructions and some revision of Frank O'Connor's hand.
• Author's corrected galleys, 53 folio leaves on rectos only of proofing paper, with the last 22 leaves on a different stock from the rest. Stamped "First Proof" and "Marked Set Please Return." Heavily corrected and emended by Frank O'Connor in holograph, with some additiona1 editorial annotations.
• Clean set of galleys, first state, 31 leaves printed on rectos only of proofing paper, marked "File Copy" in an editorial hand.
• Editorial galleys, 54 leaves printed on rectos only of proofing paper, stamped "First Proof." Heavily annotated by a copy editor with typographic corrections and recommended textual revisions.
• Editorial set of the second state of galleys, stamped "Marked Set Please Return First Revise," 70 folio leaves printed on rectos only of proofing paper, with five addinona1 leaves printed the end of the book. Extensively annotated by a copy editor with printer's instructions; three typed inserts at preliminaries.

  B/4
  The Lonely Voice: A Study of the Short Story. Cleveland: World, 1962; London: Macmillan, 1963

• 138 page mixed ribbon and carbon typescript, the setting copy, with printer's instructions in editorial hand and some marginal notes by Frank O'Connor.
• Approximately 140 page carbon typescript, marked "2nd Copy"
• Another 140 page draft, evidently earlier than any of the above, with some holograph revisions by Frank O'Connor.
• Author's corrected galleys, 69 folio leaves printed on rectos only of proofing paper, though lacking the end and epilogue. Extensively revised by Frank O'Connor in holograph with additional marginal notations by a copy editor.
• Second state of galleys, 99 leaves printed on rectos only of proofing paper, paginated. With a few editorial corrections of a typographic nature.

  B/5
  An Only Child. New York: Knopf, 1961; London: Macmillan, 1962

• 10 page typescript titled "A Woman's Destiny" lightly corrected in holograph. An autobiographical piece incorporated as an episode of AOC.
• 26 page typescript titled "Go Where Glory Wait Thee" very lightly corrected in holograph together with galleys from the magazine publication of this memoir, 23 leaves very heavily revised and emended in holograph with additional typed inserts and substantial textual revision ('New Yorker' 16 December, 1958) and galleys from an anthology appearance. Incorporated as an episode of AOC.
• Galleys from a magazine publication of "I Know Where I'm Going" ('New Yorker' 14 February, 1959), 9 leaves on rectos only of proofing paper, annotated in margins by Frank O'Connor's editor William Maxwell. Incorporated as and episode of AOC.
• 5 page typescript titled "The One Day of the Year," very lightly corrected in holograph. Prepared for magazine publication ('New Yorker 19 December, 1959), incorporated as an episode of AOC.
• 13 page typescript titled "Orphans." Frank O'Connor's transcription of a memoir by his mother which was published anonymously in 'The Bell' circa 1940. Expanded and incorporated into AOC.
• 8 page clean typescript titled "Three Women" together with a carbon of same with a six line holograph insert at the end. Incorporated into AOC.
• Four states of 6 page typescripts titled "The World of Appearances," an anecdote incorporated into AOC.
• 182 page carbon typescript marked with the label of A. D. Peters, Frank O'Connor's English literary agent. Very heavily corrected and emended throughout in holograph.
• 89 page fragmentary typescript from several drafts, most with substantial holograph emendation.
• Gift wrapped box containing over 600 pages of typescript from several drafts including: "Go Where Glory Waits Thee" 26 page carbon typescript with a few holograph emendations; "Civil War" 17 page typescript heavily corrected in holograph with another 20 page carbon draft, very lightly corrected, a very early chapter (circa 1940s) incorporated in AOC; 568 pages of mixed ribbon and carbon typescript from several drafts, many pages annotated by a copy editor with printer's instructions; three typed inserts at heavily annotated and emended in holograph; 140 page half ribbon, half carbon typescript of a complete version of AOC.
• "A Boy In Prison" tearsheets, xerox
• "The Hunger Strike" tearsheets
• "Child, I Know You're Going To Miss Me" tearsheets

  B/6
  Collection Two. London: Macmillan, 1964.

• 293 page carbon typescript (11 pages are photocopies) of a near-complete version of this collection, including the text of twenty-one stories, some with light holograph revisions.
• Incomplete F & G pages from printed book lacking only the first few leaves. No annotations.

  B/7
  The Big Fellow: Michael Collins and the Irish Revolution. London: Nelson, 1937; Dublin: Clonmore & Reynolds, 1965--revised edition.

• 1963 TLS from editor to Frank O'Connor with 6 pages of recommended textual revision for the new edition and related correspondence.
• Bound galleys to the revised edition, 139 pages printed on rectos only of proofing paper with scattered, frequent textual revision in Harriet Sheehy's hand, likely executed with Frank O'Connor's authorization.
• Further correspondence: re: edition

  B/8
  A Golden Treasury of Insh Poetry. A.D. 600-1200. Irish texts and prose translations edited and translated with an Introduction by Frank O'Connor and David Greene. London: Macmillan, 1967.

• 119 page mixed ribbon and carbon typescript, with some pages of holograph manuscript, heavily annotated and corrected by Frank O'Connor with some instances of two hands: Harriet Sheehy and, probably, David Greene. Also present: several pages of the "Golden Treasury" was serialized.
• Composite "manuscript" made up of 71 half-sized pages with typescript fragments pasted on, heavily annotated by a printer and others, including Frank O'Connor together with fifteen 'Sunday Independent' galley leaves from serialization. Evidently some form of setting manuscript.

  B/9
  My Father's Son. London: Macmillan, 1968; New York: Knopf, 1969.

• 2 page typescript titled "Scholar and Artist" lightly corrected in holograph. A literary reminiscence, incorporated as an episode of MFS.
• Mixed file of 47 original typescript pages, some with extensive holograph revision with 40 pages of photocopied typescript with annotation by Maurice Sheehy, who organized and edited MFS. Important autobiographical source material.
• File of further source material consisting of 133 page typescript, mostly carbon, many pages with Frank O'Connor's holograph emendations and additional Maurice Sheehy editorial notes, with a 14 page holograph manuscript by Maurice Sheehy detailing the outline and structure of the book. Chapter on George Russell, "The Scholar."
• 147 pages of fragmentary mixed ribbon and carbon typescript with photocopied sheets, used by Maurice Sheehy in preparing MFS. Includes a substantial chapter by Frank O'Connor on The Abbey Theatre with heavy holograph emendation.
• 8 pages of correspondence with Maurice Sheehy and literary agent concerning his progress with the book and possible corrections.
• 14 page carbon typescript titled "Yeats" extensively corrected in holograph throughout. Published in 'Vogue' (March, 1965) as "Willie Is So Silly" an episode incorporated into MFS.
• 31 page typescript titled "The Death of Yeats" with holograph corrections. Incorporated as the final chapter of MFS.
• 24 page typescript titled "Yeats" heavily corrected in holograph. An earlier draft of the above section.
• 166 page fragmentary typescript, some by Frank O'Connor as well as substantial portions by Maurice Sheehy and others, with heavy Maurice Sheehy annotations and emendations.
• 149 page typescript of the complete text with extensive scattered holograph annotations by Maurice Sheehy and Harriet Sheehy with 3 pages of editorial correspondence about textual revision, loosely inserted in black moire binder, also xerox of 149 pp.
• Long loose galleys, 66 leaves printed on rectos only of proofing paper, marked "HROD Copy" (Harriet Rich O'Donovan with her marginal notes and corrections throughout.
• "Bring in the Whiskey Now, Mary" tearsheets and galleys
• "The Saint" Commonweal magazine, 1969.
• Miscellaneous tearsheets from magazine publications of autobiographical material.

  B/10
  Collection Three. London: Macmillan, 1969; New York: Knopf, 1969, as A Set of Variations

• A file of approximately 20 pages of typed notes, typescripts, lists, etc. used by Harriet Sheehy in preparing the collection.
• 218 page "manuscript" used for setting type, comprised of original Frank O'Connor typescripts (several with holograph corrections) as well as tearsheets from original appearances of stories in magazines, with editorial notations and printer's instructions.
• Incomplete F & G pages from finished book, lacking several sections, presented to Harriet Sheehy for proofreading. Dated 14-10-68, with some holograph corrections by Harriet Sheehy especially to introduction, typographical corrections in margins.
• File of roughly 20 pages of lists compiled by Harriet Sheehy, some with Frank O'Connor annotations, used in putting together Collection Three and Collection Two.

  B/l l
  "Dreams" File of manuscripts relating to Frank O'Connor's long labored but never finished, never published, book about dreams and their meaning

• 46 page typescript titled "Here Comes Everybody" heavily corrected in holograph.
• 7 page typescript titled "Here Comes Everybody" with very few holograph corrections; marked "Vogue Magazine" by Harriet Sheehy, this article appeared in 'Vogue' (November, 1967) as "In Dreams Does Seven Mean Conception?"
• 7 page mixed ribbon and carbon typescript titled "Here Comes Everybody," apparently a working draft of the above article, with some holograph emendation and a lengthy insert on the verve of the last page.
• 14 page clean typescript titled "Here Comes Everybody," the beginning only of the book.
• 24 page partial typescript from above draft, heavily emended in holograph with some duplicate pages.
• 6 page typescript titled "Dreams" with light holograph revisions, evidently an early draft of the 'Vogue' article.
• 20 page fragmentary typescript of the middle section of the book with heavy holograph revision.
• 7 page mixed ribbon and carbon fragmentary typescript, some pages with heavy holograph emendations.
• 5 irregular pages of holograph notes recording actual dreams immediately upon awakening.
• 2 page typescript recounting a dream with marginal notes in an unknown hand; labeled "Dream 1."
• 3 page carbon typescript, clean, recounting a dream; seemingly early, circa 1940s-early 1950s.

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