Patricia Lynch and the Two of Pentacles
Patricia Lynch (1894–1972) was one of Ireland’s most beloved children's writers, known for weaving Irish folklore and fantasy into her work. Her books, including “The Turf-Cutter’s Donkey” and “Brogeen and the Green Shoes,” brought the magic of the Irish land to generations of young readers. But behind her enchanting stories was a life shaped by political turmoil, personal loss, and a remarkable ability to adapt to changing circumstances.
Patricia was born in Cork in 1894; her childhood was marked by upheaval. After her father’s death, her mother moved the family to London, where she was raised. Despite growing up abroad, Ireland remained a central force in her imagination. On reaching adulthood, she was drawn to political movements and became a socialist, influenced by the philosophical ideals circulating in early 20th-century Europe.
Her political leanings led her into journalism, and in 1916, she travelled to Dublin to report on the Easter Rising. She was one of the few journalists to enter the General Post Office (GPO) while the rebellion was still unfolding. Her first-hand experience of the Rising deepened her commitment to Ireland and its struggles, reinforcing the nationalist and socialist ideals that would later appear in her work.
On 4 October 1922, she married the English writer Richard Michael (R. M.) Fox , a socialist who had a keen interest in Irish politics. They moved to Dublin, where they lived at 39, The Rise, Glasnevin.
Patricia’s first children's stories appeared in “The Irish Press” in 1931. The same newspaper later serialised the novel that would become “The Turf-Cutter’s Donkey,” published in book form in 1934. Between then and 1967, when her final children's novel was released, she authored around fifty books and nearly two hundred short stories. Her works spanned multiple genres, including fantasy, realistic adventure, and historical fiction, often illustrated by some of Ireland’s most renowned artists of the time, such as Eileen Coghlan, Peggy Fortnum, Seán Keating, Harry Kernoff, and Jack B. Yeats. Beyond the well-loved adventures of Long Ears the donkey, her Brogeen the Leprechaun series remains among her most enduring works. In her more realistic fiction, Patricia explored themes of childhood rejection, loneliness, and emigration. Her stories were translated into several European languages and earned both national and international awards.
In 1969, her husband died. Suddenly alone, Patricia faced an uncertain future. With limited financial security, she went to live with the Lambert family, the famous Dublin puppet-makers behind Puppets of Fableland. The Lamberts, known for their creativity and dedication to storytelling, provided a supportive environment where Patricia continued to write.
Rather than allowing grief to stifle her work, she threw herself into writing more books, embracing the demand for stories that offered both escapism and cultural grounding. She remained prolific throughout until the end of her life, ensuring that Irish children had access to literature that reflected their own landscapes, legends, and way of life.
Despite her international influences and socialist leanings, Patricia’s books were deeply Irish. She captured the rhythms of speech, the quirks of rural life, and the enduring power of folklore. Her ability to pivot — whether from journalist to children’s author, from widow to a writer sustained by a new creative community — made her one of the most enduring figures in Irish children’s literature.
Patricia could be regarded as Ireland’s answer to Enid Blyton — a prolific and imaginative writer who shaped generations of young readers with her tales of adventure, folklore, and friendship. Yet, unlike Enid, whose books continue to be widely promoted and adapted, Patricia’s work has faded into relative obscurity. It is puzzling that little effort has been made to preserve or revive her stories, given their deep cultural significance and the role they played in introducing Irish children to their own mythology, history, and landscapes. Without Patricia’s contribution, the history of Irish children’s literature would be missing a crucial bridge between oral folklore and modern storytelling. Her books not only entertained but also preserved an authentic sense of Irish identity for young readers — without them, there would have been a far greater reliance on British and American influences in Irish children's fiction.
The Two of Pentacles
Patricia’s journey closely mirrors the symbolism of the Two of Pentacles in Tarot — a card that represents adaptability, and the ability to navigate life's shifting circumstances. Like the figure on the card juggling two coins while standing on uncertain ground, Patricia continuously adjusted to the demands of her changing world. From her early years of political activism to her marriage and eventual widowhood, she faced instability but never allowed it to overwhelm her. Whether it was living amid political turmoil, shifting from journalism to children’s literature, or finding a new home with the Lambert family after her husband’s death, she embraced life’s ups and downs with resilience. The Two of Pentacles teaches that flexibility and resourcefulness are essential in times of change, and Patricia embodied this lesson, maintaining her creativity and purpose despite personal and political upheavals.
Sources
Dunbar, Robert. "Lynch, Patricia". “Dictionary of Irish Biography” 2009.
Young, Phil. “Patricia Lynch, Storyteller”. Dublin: Liberties Press, 2005.