Dickey is the son of Edward O’Rorke Dickey. He later marries Eunice Emmeline Howard and they have one son, Daniel. He is educated at Wellington College and Trinity College, Cambridge. He studies painting under Harold Gilman at the Westminster School of Art.
Dickey becomes the first curator of The Minories in Colchester, Essex, a post he holds for five years from 1957 to 1962.
Dickey is a founder member of the Society of Wood Engravers in 1920, and exhibits with them from 1920 to 1924. He is at his most active in the early 1920s and virtually all his engravings date from this period.
In 1922 Dickey contributes a wood engraving to Contemporary English Woodcuts, an anthology of wood engravings produced by Thomas Balston, a director at Gerald Duckworth and Company and an enthusiast for the new style of wood engravings. Campbell Dodgson, Keeper of Prints and Drawings at the British Museum, writes about him in his introduction to the book Mr. Hagreen and Mr. Dickey are among the engravers who rely very much upon the effective use of white lines and spaces. This is a limited edition of 550 copies, as is the only book that he illustrates with wood engravings, Workers by the Irish writer Richard Rowley, published by Balston at Duckworth in 1923.
O’Connor is the eldest son of Thomas O’Connor, an Athlone shopkeeper, and his wife Teresa (née Power), the daughter of a non-commissioned officer in the Connaught Rangers. He is educated at The College of the Immaculate Conception in Athlone, and Queen’s College Galway, where he wins scholarships in history and modern languages and builds up a reputation as an orator, serving as auditor of the college’s Literary and Debating Society.
O’Connor enters journalism as a junior reporter on Saunders’ Newsletter, a Dublin journal, in 1867. In 1870, he moves to London and is appointed a sub-editor on The Daily Telegraph, principally on account of the utility of his mastery of French and German in reportage of the Franco-Prussian War. He later becomes London correspondent for the New York Herald. He compiles the society magazine Mainly About People (M.A.P.) from 1898 to 1911.
O’Connor is elected Member of Parliament for Galway Borough in the 1880 United Kingdom general election, as a representative of the Home Rule League, which is under the leadership of William Shaw, though virtually led by Charles Stewart Parnell, who wins the party’s leadership a short time later. At the next general election in 1885, he is returned both for Galway Borough and for the Liverpool Scotland constituencies, which has a large Irish population. He chooses to sit for Liverpool and represents that constituency in the House of Commons from 1885 until his death in 1929. He remains the only British MP from an Irish nationalist party ever to be elected to a constituency outside of the island of Ireland. He continues to be re-elected in Liverpool under this label unopposed in the 1918, 1922, 1923, 1924 and 1929 general elections, despite the declaration of a de factoIrish Republic in early 1919, and the establishment by the 1921 Anglo-Irish Treaty of a quasi-independent Irish Free State in late 1922.
From 1905, O’Connor belongs to the central leadership of the United Irish League. During much of his time in parliament, he writes a nightly sketch of proceedings there for The Pall Mall Gazette. He becomes “Father of the House,” with unbroken service of 49 years, 215 days. The Irish Nationalist Party ceases to exist effectively after the Sinn Féin landslide of 1918, and thereafter he effectively sits as an independent. On April 13, 1920, he warns the House of Commons that the death on hunger strike of Thomas Ashe will galvanise opinion in Ireland and unite all Irishmen in opposition to British rule.
O’Connor founds and is the first editor of several newspapers and journals: The Star, the Weekly Sun (1891), The Sun (1893), M.A.P. and T.P.’s Weekly (1902). In August 1906, he is instrumental in the passing by Parliament of the Musical Copyright Act 1906, also known as the T.P. O’Connor Bill, following many of the popular music writers at the time dying in poverty due to extensive piracy by gangs during the piracy crisis of sheet music in the early 20th century. The gangs often buy a copy of the music at full price, copy it, and resell it, often at half the price of the original. The film I’ll Be Your Sweetheart (1945), commissioned by the British Ministry of Information, is based on the events of the day.
O’Connor is appointed as the second president of the British Board of Film Censors (BBFC) in 1916 and appears in front of the Cinema Commission of Inquiry (1916), set up by the National Council of Public Morals where he outlines the BBFC’s position on protecting public morals by listing forty-three infractions, from the BBFC 1913–1915 reports, on why scenes in a film may be cut. He is appointed to the Privy Council by the first Labour government in 1924. He is also a Fellow of the Chartered Institute of Journalists, the world’s oldest journalists’ organisation. It continues to honour him by having a T.P. O’Connor charity fund.
In 1885, O’Connor marries Elizabeth Paschal, the daughter of a judge of the Supreme Court of Texas.
Married in 1893, Hinkson’s parents initially settle in England, where he studies law and is called to the Inner Temple in 1902. After suffering the loss of their first two sons in infancy, they have two more sons in addition to their daughter, Pamela. During this time her mother earns the main family income, and it is likely that she determines their return to Ireland in 1911. The Hinksons initially settle in Dalkey, County Dublin, before moving to a house called Clarebeg in Shankill. When Henry Hinkson is appointed resident magistrate for south Mayo (Castlebar) in October 1914, the family moves to Claremorris, County Mayo.
Hinkson is educated privately in England and on the Continent, and in Ireland attends a local convent day-school. She is exposed to her mother’s literary milieu which includes prominent writers of the Irish revival, including George William Russell, James Stephens, and Padraic Colum. Her mother’s memoir, The Years of the Shadow (1919), recalls Pamela’s developing talent for writing poetry and her predilection for war themes, as evidenced by The Blind Soldier, one of her first published poems. By the time she turns her hand to short stories, her earnings from writing enable her to buy the latest fashions.
Two key events that consumed Hinkson’s life and later spark her creativity are World War I and the Easter Rising. H. G. Wells describes in the foreword to his war novel Mr. Britling Sees It Through (1916) a conversation he had with her when she was 12, recalling how she had boldly set him straight on the “Irish question.” Her parents send her away to boarding school in County Wicklow in the hope that she will be distracted from her gloomy preoccupations, which are accentuated by the absence of her brothers, serving in the British Army. After the war she is deeply concerned by the redundancy experienced by demobilised and often maimed soldiers and contributes to the welfare work of the Irish servicemen’s Shamrock Club in London. These issues inform two early novels, The Victors (1925) and Harvest (1926), both written in the guise of an ex-serviceman under the pseudonym “Peter Deane.” By masking her identity, she avoids the possibility of her works being discredited because of her gender and lack of first-hand experience of war. Subsequently she writes under her own name for thirty years.
In contrast to her close relationship with her mother, Hinkson deeply dislikes her father. With the exception of her beloved brother Giles A. Hinckson, a correspondent for The Times in Buenos Aires and Santiago, she never meets a man who matches her high ideals. Though briefly engaged to be married, she is ultimately disillusioned by all men, dismissing them as she had her father. After his death early in 1919, she and her mother are left in financial difficulties, and have to resort to friends and boarding houses for accommodation. Without the financial means to embark on a university degree, she remains at her mother’s side. Though she continues to write, she leads a somewhat stifled life. From 1922 onwards they spend several years on the Continent.
Hinkson’s first novel, The End of All Dreams (1923), addresses the decline of the “big house” amid the revolutionary upheavals of recent Irish history, a theme to which she returns in later works, such as The Deeply Rooted (1935) and her last book, The Lonely Bride (1951). During the 1920s she writes much girls’ school fiction, while her novel Wind from the West (1930) is informed by a period spent in France, where she works as a governess. Her transcription of the memoirs of Lady Fingall (Elizabeth Burke-Plunkett), published under the title Seventy Years Young (1937), illustrates the decline of the Anglo-Irish ascendancy. Informed by war and the Irish troubles, her novels characteristically are solemn, and reflect her ambivalent relationship with Ireland. Inspired by the Irish landscape, but never an ardent supporter of Irish independence, she maintains an abiding attachment to England.
The death of Hinkson’s mother in 1931 is a devastating blow that triggers her most forceful and first truly successful novel, The Ladies’ Road (1932). Documenting the lives of the Irish and English ascendancies before, during, and after World War I, this novel, without being explicitly autobiographical, contains many motifs that resonate with her own life story. When published in the United States in 1946 it proves a massive success, selling 100,000 copies in the Penguin Books edition, a rare feat for a World War I novel appearing immediately after World War II. Other notable works are The Light on Ireland (1935) and her sketches of Irish life, Irish Gold (1939), written while she lodges with friends near Lough Derg, County Tipperary.
Hinkson’s visit to India in the late 1930s as a guest of the viceroy, which she recounts in Indian Harvest (1941), results in her appointment to the Ministry of Information in London (1939–45). She lectures on India in the United States during World War II, and also lectures to British troops and local audiences in Germany (1946–47), broadcasts on radio, and contributes to The Observer, The Spectator, New Statesman, The Manchester Guardian, and Time and Tide. Her novel Golden Rose (1944), written in London during The Blitz, romanticises the British colonial presence in India. Forthright in the expression of her numerous strongly held opinions, she argues ardently and controversially for women’s rights, animal welfare, and retention of Northern Ireland in the UK. Devout in her Catholicism, she is none the less critical of certain Catholic precepts.
Hinkson returns to Ireland in 1959 where she suffers poor health for twenty years until her death in Dublin on May 26, 1982.
(From: “Hinkson, Pamela” by Jessica March, Dictionary of Irish Biography, http://www.dib.ie)
Edward Montgomery O’Rorke Dickey is born in Belfast on July 1, 1894, the son of Edward O’Rorke Dickey. He later marries Eunice Emmeline Howard and they have one son, Daniel. He is educated at Wellington College and Trinity College, Cambridge. He studies painting under Harold Gilman at the Westminster School of Art.
Dickey becomes the first curator of The Minories in Colchester, Essex, a post he holds for five years from 1957 to 1962.
Dickey is a founder member of the Society of Wood Engravers in 1920, and exhibits with them from 1920 to 1924. He is at his most active in the early 1920s and virtually all his engravings date from this period.
In 1922 Dickey contributes a wood engraving to Contemporary English Woodcuts, an anthology of wood engravings produced by Thomas Balston, a director at Gerald Duckworth and Company and an enthusiast for the new style of wood engravings. Campbell Dodgson, Keeper of Prints and Drawings at the British Museum, writes about him in his introduction to the book Mr. Hagreen and Mr. Dickey are among the engravers who rely very much upon the effective use of white lines and spaces. This is a limited edition of 550 copies, as is the only book that he illustrates with wood engravings, Workers by the Irish writer Richard Rowley, published by Balston at Duckworth in 1923.
seamus dubhghaill 