With these critical perspectives estab lished, the book examines O'Casey’s insistent experimentation with all aspects of autobiographical form: his blending of personal history with information on a host of secondary figures such as Parnell, Pearse, Yeats, Lady Gregory and Shaw; his various principles of selecting and arranging autobiographical materials; and, in particular, his innovative narrative strategies and changing stylistic modes of representation. O'Casey’s willingness to exploit the literary and artistic possibilities offered by the genre has produced multiple images of the self which provide insight into the complex nature of autobiographical identity. By pointing to the overall unity and governing vision of the work, Professor Kenneally confirms its stature as one of the century’s epic self-portraits in prose, a rich and challeng ing literary creation that enhances our understanding of O'Casey the man and the writer.