Brown, Richard E. “Patrick McGinley’s Novels of Detection.” Colby Quarterly 33 (September, 1997): 209-222. Discusses McGinley’s mystery novels as parodies of the detective novel.
Cahalan, James M. The Irish Novel: A Critical History. Boston: Twayne, 1988. The concluding chapter of this study is a survey of modern Irish fiction, which provides a good sense of McGinley’s context. There are also stimulating, though necessarily brief, asides on McGinley’s works up to and including The Red Men.
Clissmann, Anne. Flann O’Brien: A Critical Introduction to His Writings. New York: Barnes & Noble Books, 1975. Chapters 2 and 3 of this work offer a useful means of assessing the imaginative terrain on which much of McGinley’s fiction rests.
Kenner, Hugh. “A Deep and Lasting Mayonnaise.” The New York Times Book Review, July 21, 1985, p. 20. A review of The Trick of the Ga Bolga by a very influential commentator on Irish literary themes. Many of McGinley’s interests and orientations are succinctly brought to the fore.
Knowles, Nancy. “Empty Rhetoric: Argument by Credibility in Patrick McGinley’s Bogmail.” English Language Notes 39 (March, 2002): 79-87. Comments on the postmodern, post-structuralist nature of McGinley’s representation of language as “empty,” an endless chain of signifiers chasing an elusive signified.
McGinley, Patrick. Interview by Jean W. Ross. In Contemporary Authors, edited by Susan M. Trosky. Vol. 127. Detroit: Gale Research, 1989. A wide-ranging response by McGinley to questions concerning his background, life as a writer, and writing methods.
Shea, Thomas F. “Patrick McGinley’s Appropriation of Cuchulainn: The Trick of the Ga Bolga (1985).” New Hibernia Review 5, no. 3 (Fall, 2001): 114-127. Looks at McGinley’s use of ancient Irish legend, employing analysis of changes in the original typescripts to discuss the evolution of McGinley’s novel and his creative process.
Shea, Thomas F. “Patrick McGinley’s Impressions of Flann O’Brien: The Devil’s Diary and At Swim-Two-Birds.” Twentieth Century Literature 40 (Summer, 1994): 272-281. Taking a cue from Hugo McSharry, the novelist-character in the work, Shea examines McGinley’s novel as a palimpsest, a parchment partially erased yet retaining traces of the original inscriptions, with the echoes of other writers, particularly Flann O’Brien.