This article examines the possibility of reading “The Dead” as a counterpart to “Counterparts,” focusing on anger and reading the return of Michael Furey in “The Dead” as an embodiment of a revived of anger of Joyce’s Dubliners, an anger that is often suppressed in many other characters. The two stories reveal a stark contrast in their articulation of anger: while “Counterpart” shows how Farrington has to suppress his fury until he spots a body weaker than him at home, Gabriel Conroy experiences his re-awakening of an intense anger long forgotten. The fury, though ignited by a romantic rivalry with Michael Furey for Gretta, is not only personal; it is collective in the sense that it comes from the misrecognition of Dubliners who are oblivious of their own marginalization. The sentiment naturally hovers, as does the spirit of Furey, around the whole story. Gabriel’s identification with Furey and even others in the end is significant in this sense; the identification is a sign for recognition of the people’s shared but ignored rage against their underprivileged condition. The final story of Dubliners, while revealing, on the one hand, how rigid the paralyzing effects of their social condition have been, suggests, on the other, the possibility of undoing such effects through the return of the repressed with his fury