The violence and idealism of the events of 1916 to 1923 created in Ireland a mood of national hysteria. At least that was the voice heard by O'Connor trying to capture those events in prose six years after. In fact, the two extremes between which Guests of the Nation vacillates are hysteria and melancholy, between thoughtless act and numbed thoughtfulness. Benedict Kiely detected in these stories a "genuine bliss-was-it-in-that-dawn-to-be-alive romanticism," an adolescent enjoyment of the guns, the ambushes, the flying-columns. Indeed, this hysterical romanticism swirls across the surface of all but the last four stories.
"Jumbo's Wife," "Alec," and "Machine-Gun Corps in Action" are examples of the romanticized violence of the sort O'Connor found in Isaac Babel. In these stories war exposes the folly and weakness of character as well the normal responses of people under pressure. Situation dominates character and the voice is blurred. The stories fail, not because O'Connor idealized violence, but because he failed to control its comic energy. (p. 76)
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