In the following essay, Brown discusses how Callaghan's memoir That Summer in Paris and John Glassco's Memoirs of Montparnasse challenges the American-in-Paris myth of expatriate life in the 1920s.

In the following essay, Perz contends that Callaghan employs theatrical techniques in his memoir That Summer in Paris.

In the following essay, Edwards considers Callaghan's portrayal of Toronto in his novel Strange Fugitive.

In the following essay, Boire examines Callaghan's use of the language of the law in his short stories between 1925 and 1928.

In the following essay, Pell delineates the defining characteristics of Callaghan's fiction.

Callaghan's importance has nothing to do with style. His control of language, despite the triumphs of a dozen short stories and numerous passages in the novels, was for many years uncertain; and his tendency to synopsize rather than dramatize led him to substitute hazy case histories for living patients. Having learned the fashionably flat accent of James T. Farrell and Sherwood Anderson, the youthful Callaghan was content to present people who dressed "nicely" or "neatly"...

In the following essay, Avison provides an appreciation of Callaghan's work, asserting that his spare narrative style may have been detrimental to his literary legacy.

Content with the assumption that [Morley Callaghan] is a Roman Catholic novelist, most criticism simply ignores the seriousness of his quarrel with the Church, and to date there has been no acknowledgment of the aesthetic nature of his views. It is possible, at least, given the importance Callaghan attaches to his vocation as an artist, that his moral philosophy owes as much to aesthetic considerations as it does to Roman Catholic doctrine. Such, indeed, has proved the case. Whether or not Callaghan'...

In … A Fine and Private Place, Morley Callaghan writes in the familiar parables that have marked his work since his first published novel came out in 1928. He is concerned with the conscience, the moral part of humanity, the part that makes man different from the animals and more interesting to watch. Yet throughout his long career he has observed people as though they were beasts at play. He records our battles, our coupling, our struggles for supremacy, our defeats. He is delighted to show how men ...

In some respects Morley Callaghan is by far the most interesting member of the contemporary hard-boiled school of fiction. Under the surfaces of a prose style that runs in deadly parallel to the familiar technique of Ernest Hemingway, he uncovers a warm, vibrant, boyish personality. He exhibits a curiosity about human behavior that seems to be at war with the very method he has chosen as his medium. His short stories and novels are actually concerned with the subtle, often tender, sometimes downright sentim...