Fitz James O'Brien explained

Fitz-James O'Brien
Birth Date:	25 October 1826
Birth Place:	Cork, Ireland
Death Place:	Cumberland, Maryland
Occupation:	Writer, Poet, Soldier
Movement:	Gothic fiction

Fitz-James O'Brien (1826/8 – 1862) was an Irish-born American writer known for his pioneering works in fantasy and science fiction short stories. His career was marked by a significant contribution to the American literary scene in the mid-19th century. During the American Civil War, he enlisted in the Union Army and was mortally wounded in one of the early battles of the conflict.

Biography

Roots and Early Influences

Michael Fitz-James O’Brien (1826/8-1862) was born in County Cork, Ireland, with some debate over the exact date and year of his birth;^[1] his first biographer, Francis Wolle, placed it between April and October of 1828.^[2] His father, James O’Brien, was a local attorney of some influence, while his paternal grandparents, Michael O’Brien and Catherine Deasy, owned Brownstone House near Clonakilty. Fitz-James’s mother, Eliza O’Driscoll, was significantly younger than James at the time of their marriage. Her parents, Michael and Helen O’Driscoll, owned Baltimore House in County Limerick. After James’s death around 1839/40, Eliza remarried DeCourcy O’Grady, and the family moved to Limerick, where Fitz-James spent most of his teenage years.^[2] O’Brien enjoyed a privileged upbringing, mastering activities like hunting, fishing, horseback riding, boating, and shooting. He also had a passionate fascination with birdwatching, which influenced his semi-autobiographical works and non-speculative fiction stories.^[2] Thanks to his family’s considerable wealth, he was immersed in literature from a young age, with a profound interest in the works of the English Romantics. However, it was the American writer Edgar Allan Poe who left the most indelible mark on his formative years.

O’Brien’s earliest literary endeavors revealed a deep reverence for his homeland,^[3] especially the geography of southwestern Ireland.^[4] His first six poems were published in The Nation (Irish newspaper),^[2] a weekly newspaper founded in 1842 to promote Irish nationalism, reflecting his early political convictions. Speculations about O’Brien’s whereabouts from March 1847 to July 1848 abound, with some suggesting he trained in law at Trinity College, Dublin, though no records confirm this. Others believe he might have served as a tutor in France, supported by his mastery of the French language and literature. His mother’s letter from October 1861 discussing the importance of a Continental tour in the O’Grady family tradition adds weight to this theory.^[2]

Early Career and London Adventures

In 1849, upon reaching adulthood, O’Brien inherited a substantial fortune estimated at around £8,000 from his father and maternal grandfather.^[2] With this wealth, he journeyed to London, leaving behind his native land and family, never to see either again. Despite this physical separation, O’Brien maintained a deep connection to Ireland through his published writings.

O’Brien’s arrival in London marked a significant chapter in his life. His stepfather's well-established surname, O’Grady, opened doors to esteemed social circles. He immersed himself in the city's vibrant offerings, attending parties, theatrical performances, and making extravagant purchases of clothing and books. However, within two years, O’Brien had depleted his inheritance, prompting him to seek alternative means of sustenance. His passion for writing presented significant opportunities, having already published several pieces in The Family Friend (magazine), a London-based magazine founded in January 1849.^[2] By the year's end, O’Brien achieved his first paid publication, marking a milestone in his burgeoning career.

In 1851, O’Brien’s career reached a pivotal turning point with the Great Exhibition in London. The event provided a platform to showcase technological advancements and support the burgeoning middle class.^[5] Within the heart of this grand event, the Great Crystal Palace, O’Brien was appointed editor for The Parlour Magazine.^[2] In this role, he undertook multiple responsibilities, including providing translations for French literary works and writing original pieces, all while serving as the chief editor. The fast-paced nature of this work within the central hub of the world fair consumed O’Brien’s time and energy but also provided him with valuable experience in honing his literary craft. In 1852, O’Brien suddenly departed from London for America, amid rumors of an affair with a married woman.^[2] Seizing the opportunity, he swiftly boarded the first ship bound for America, equipped with scant funds but armed with remarkable letters of recommendation.

American Beginnings and Literary Connections

O’Brien’s inaugural year in America proved immensely fruitful. He quickly established vital connections, including a friendship with the Irish-American John Brougham, who launched the comedic publication The Lantern. O’Brien secured a position there, marking his debut in the American literary marketplace. He also bonded with Frank H. Bellew, an illustrator who brought O’Brien’s works to life in The Lantern and other publications throughout his career.^[2]

During the early 1850s, O’Brien formed deep and enduring friendships at Pfaff's Beer Hall, a hub for the New York Bohemians (who followed the lifestyle of Bohemianism), a group of intellectuals and artists. This circle, led by Henry Clapp, Jr., and featuring Ada Clare as its queen, included figures like Brougham and O’Brien, who assumed a princely role. The New York Bohemians comprised painters, sculptors, poets, actors, playwrights, novelists, storytellers, journalists, and critics, fostering an atmosphere of intellectual exchange and creative camaraderie.

O’Brien paid homage to the Bohemian movement in his story “The Bohemian” (1855),^[2] published in Harper’s New Monthly Magazine (Harper's Magazine). While he often immersed himself in the Bohemian lifestyle, his writing only subtly reflected these experiences. His non-speculative fiction and poetry continued to address social issues, revealing a world fraught with danger and indifference, compelling characters to confront their surroundings with resilience and courage. Despite the anonymity of publishing in that era, which makes it challenging to ascertain the precise count of his contributions, O’Brien’s prolific output and profound impact on the literary landscape remained undeniable. In 1855, he published seven poems and ten stories, followed by six poems and eight stories in 1856, and eleven poems and four stories in 1857.

Ascendancy in Weird and Horror Fiction

The year 1858 marked a significant turning point in O’Brien’s literary journey as he delved into weird and horror fiction, just as the influence of Romanticism was waning. While he never reached the same mastery as Poe, O’Brien adeptly incorporated many of Poe’s techniques, showcasing his skill as a writer. His true contribution lies in infusing contemporary sensibilities into his narratives, setting tales of terror within commonplace settings. This approach allowed him to bridge tales of terror with emerging methods of modern Realism, foreshadowing the literary movements of Modernism and Postmodernism. O’Brien expanded the boundaries of the genre, serving as a crucial link between Romanticism and Realism.

One of his most notable achievements is “The Diamond Lens,” published in The Atlantic Monthly in January 1858.^[2] This work exemplifies O’Brien’s ability to blend elements of the uncanny with a contemporary perspective. The narrative revolves around a mad scientist driven by an insatiable thirst for knowledge, a theme that recurs in O’Brien’s work. The pursuit of scientific enlightenment is tainted by the protagonist’s irrational desires and relentless quest for fame and fortune, leading him to morally questionable actions. The story, infused with philosophical undertones and moral introspection, prompts readers to contemplate fundamental questions about the human condition.^[6]

In 1859, O’Brien solidified his literary prowess with two more stories: “What Was It? A Mystery” in Harper’s New Monthly Magazine^[2] and “The Wondersmith” in The Atlantic.^[2] Both stories have become classics in horror and science fiction. “What Was It?” explores the concept of invisibility, while “The Wondersmith” is often regarded as the first story to explore robots. These narratives delve into profound philosophical territories, provoking contemplation on reality, ethics, and morality. O’Brien’s ability to intertwine philosophical depth with riveting storytelling cemented his status as a luminary of speculative fiction.

A Nation Divided and O’Brien’s Commitment

In the turbulent 1850s, America was torn apart by internal strife, with slavery deepening the divide between the North and South. The nation teetered on the brink of Civil War, its unity threatened. At Pfaff’s Beer Hall, patrons viewed the impending conflict cynically, seeing it as a power struggle exploiting the common man for personal gain. Disillusioned, they believed neither the Democratic nor the Republican Party genuinely championed the nation's best interests, viewing the 1860 election as a mere shift in the privilege to plunder the country.

However, dissenting voices, including O’Brien’s, emerged. While some saw the war as a mere power struggle, O’Brien would find a deeper significance in the conflict. The attack on Fort Sumter on April 12, 1861, ignited Unionist fervor, resonating in New York. In response to President Lincoln’s call for support, New York mustered over thirteen thousand troops to safeguard the nation’s capital. A massive crowd of over one hundred thousand gathered at Union Square to bid farewell to the 7th New York Militia Regiment, composed of young merchants, bankers, professionals, and clerks, united in their determination to defend Washington.^[2]

O’Brien, recognizing the urgency, enlisted in the New York 7th Regiment, joining the defense of the capital. Inspired by a shared sense of purpose, he and his comrades prepared for the challenges ahead. Despite a warm welcome upon their return to New York on June 1, 1861, O’Brien’s spirit of service remained unwavering. He sought further opportunities to contribute, eventually joining General Lander’s staff in Virginia. Haunted by premonitions of his demise, O’Brien was deployed to Bloomery Gap, where he faced “Stonewall” Jackson’s cavalry. Wounded in battle, O’Brien endured a grueling journey for medical attention. Tragically, complications from an infection led to his death on April 6, 1862, leaving a legacy of courage and sacrifice.^[2]

His friend, William Winter, collected The Poems and Stories of Fitz James O'Brien, to which are added personal recollections by old associates that survived him.^[7] Mr. Winter also wrote a chapter on O'Brien in his book Brown Heath and Blue Bells (New York, 1895). O'Brien was satirized as "Fitzgammon O'Bouncer" in William North's posthumously published novel The Slave of the Lamp (1855).^[8]

Bibliography

Short Stories

“Philosophy in Disguise” (The Family Friend, Nov. 1849): A fantasy short story; Philosophy is depicted as an unattractive old man who, despite his wisdom, is shunned by the youth who prefer the more appealing company of Sophistry and Poetry. Desperate for companionship, he seeks the help of the enchantress Gildepill, who transforms him into a handsome young man named Allegory. With his new appearance and charm, Allegory captivates the youth with his eloquent and wise discourse, blending deep wisdom with beautiful imagery. This transformation allows Philosophy, now disguised as Allegory, to impart his teachings effectively. The story's moral emphasizes that wisdom and knowledge, when presented appealingly, are more likely to be embraced by the young.
“The Story of a Child” (The Family Friend, Mar. 1851): A fantasy short story; a solitary, immortal child lives in a serene forest, surrounded by nature's beauty. Despite his idyllic existence, he feels an inexplicable longing that drives him to explore beyond the forest with the guidance of the Wind. As they journey through the world, the Wind reveals the duplicity and hollow virtues of humanity. The child witnesses hypocritical worship in a church, a gifted writer's concealed ambitions, and a wealthy man's public charity contrasted with private coldness. Disillusioned by the world's deceit, the child returns to his forest home, finding solace and happiness in the simplicity and honesty of nature, where he remains with the Wind forever. The story highlights themes of innocence, disillusionment, and the contrast between nature's purity and human hypocrisy.
“The Sunbeam, the Dew-Drop, and the Rose” (The Parlour Magazine, May 1851): A poetic tale that revolves around a Dew-Drop, which trembles on the leaf of a Rose, sparkling with vibrant colors. The Rose admires the Dew-Drop's beauty and expresses its love, inviting the Dew-Drop to stay forever, promising to share its fragrance. A Sunbeam, noticing the Dew-Drop, offers to lift it to the heavens, where it would outshine the stars. Torn between the two, the Dew-Drop chooses the Rose, fearing the Sunbeam's intensity would destroy it, while the Rose's gentle love brings peace and happiness. The story emphasizes that true contentment comes from humble, nurturing love rather than dazzling, overwhelming passion.
“An Arabian Night-mare” (Household Words, Nov. 8, 1851): A fantastical tale narrated by Hamet, a merchant who travels to the fair of Nishin in Novogorod to sell his wares. After suffering from exhaustion and illness, Hamet is persuaded by a fellow merchant, Demski, to spend the winter with him in Berezow. During his stay, Hamet learns about the strange bones found in the ice, which are explained by a learned man to be remnants from a warmer era. One night, Hamet dreams of being taken by a jin to the icy palace of Eblis, where he encounters frozen creatures and luminous ice beings. Eblis demands Hamet's roubles, but Hamet manages to escape and awakens back in Demski's house. The tale concludes with Hamet attributing his escape to a piece of cloth touched to the Holy Stone at Mecca, emphasizing the importance of faith and pilgrimage.
“A Legend of Barlagh Cave” (The Home Companion, Jan. 31, 1852): A tragic tale of fantasy that follows Aileen, a young maiden consumed by unrequited love, whose desperate quest for solace leads to a fatal encounter, highlighting the devastating effects of miscommunication and unfulfilled desire.
“The Wonderful Adventures of Mr. Papplewick” (The Lantern, 1852): A science fiction story; Mr. Papplewick, a respected hardware store owner, inadvertently becomes a human magnet after mistakenly ingesting Magnetic Pills. His wife seeks help from a famous foreign physician, but terrified by the proposed treatment, Papplewick flees and is taken in by P.T. Barnum, who plans to exhibit him. Barnum then convinces him to undertake a voyage to the North Pole. The ship sinks due to Papplewick's magnetic influence on the compass, but he survives, befriends a group of talking walruses, and is taken to meet wise Dodos in a volcanic cave. Witnessing a trial, Papplewick learns about the mysterious Living Loadstones, setting the stage for his quest to the North Pole.
“The Gory Gnome; or, The Lurid Lamp of the Volcano!” (The Lantern, Feb. 1852): A satirical melodrama in three acts. The plot follows the distressed heroine, Anna Matilda, who, driven from home by a cruel parent, wanders in search of her lover, Augustus Henry. They reunite in the Hartz Mountains, only to be interrupted by Flamanfuri, the Gory Gnome, who decrees that their union depends on extinguishing the Lurid Lamp of the Volcano, Camphino. Augustus Henry attempts to extinguish the lamp with an extinguisher but fails. Anna Matilda saves the day with a "Fire Annihilator," defeating Camphino. Flamanfuri reappears, declaring vice extinguished and virtue triumphant, allowing the lovers to ascend to celestial regions. The play ends with a grand tableau and humorous conclusion.
“Aladdin at the Crystal Palace; or, Science versus Fairy-Land” (The Leisure Hour, Apr. 1852): A satirical tale where Aladdin, without his magic lamp, recounts his adventures in England to a princess. Upon arriving in Ingleeland, Aladdin encounters Paxtoni, a modern genie embodying the wonders of science and technology. Paxtoni takes Aladdin on a journey showcasing marvels like the railway system and the magnificent Crystal Palace, which surpasses Aladdin's magical experiences. Aladdin is awed by the technological advancements, including the rapid transmission of messages and the grandeur of the Crystal Palace. Ultimately, Aladdin acknowledges the superiority of modern science over magic, relinquishing his lamp to Paxtoni and embracing the maxim "Knowledge is power."
“The Old Boy” (The American Whig Review, Aug. 1852): A fantasy/science fiction story that follows Lionel Darkman, a young man who experiences an extensive and vivid dream in which he lives out the next ten years of his life, becoming a famous author. The dream is so realistic that when Lionel awakens and finds himself back in his teenage years, he struggles to reconcile his perceived future with his present reality. His knowledge of future events creates a sense of disorientation and difficulty in navigating his current life, as he grapples with the conflict between his dream and reality.
“The Man Without a Shadow” (The Lantern, Sep. 4, 1852): A fantasy story of a man who discovers that a shadowy version of himself is following him. As he begins to interact with this shadow self, he finds that it only takes from him and causes torment. Eventually, the shadow disappears, leaving the man to reflect on the experience. The story is satirical and humorous, with self-referential and autobiographical elements, offering a playful yet poignant exploration of identity and self-perception.
“A Voyage in My Bed” (The American Whig Review, Aug. 1852): A surreal fantasy story about an unnamed narrator who, struggling with insomnia, decides to take a nighttime walk. During his walk, he encounters an odd couple in a mysterious situation and attempts to intervene. However, he finds himself trapped by cobwebs sticking to his feet. As the scene unfolds, the characters suddenly turn to stone, and the narrator ultimately wakes up, realizing it was all a bizarre and vivid dream.
“One Event” (The American Whig Review, Oct. 1852): A realistic story that follows John Vespar, who adopts a poor child named Annie as part of a twisted social engineering experiment to mold her into his ideal partner, ultimately intending to marry her. However, Annie falls in love with a local boy, Bolton Waller. Bolton reciprocates her feelings, but a mysterious circumstance forces him to leave, and he breaks up with Annie through a letter. Devastated, Annie kills herself in the freezing cold. John searches for her but finds her too late, frozen to death. Confronted with this tragedy, John resigns himself to a life of solitude, accepting that despite his intellectual pursuits, he is destined to be alone.
“The King of Nodland and His Dwarf” (The American Whig Review, Dec. 1852): A political satire set on a fantasy island where the inhabitants spend most of their time sleeping. The island is ruled by a tyrannical king who imposes oppressive taxes on the people. The Nodlanders dominate a territory inhabited by the Cock-Crow Indians, whom they invade and enslave. The story serves as a critique of the political and social dynamics of America and England, using the fantastical elements to highlight issues of tyranny, exploitation, and colonialism.
“A Peep Behind the Scenes” (Harper’s New Monthly Magazine, Mar. 1854): A gothic tale about a young actor who loses his fiancée, serving as a parable about appreciating what and who you have in life. The title is a double entendre, offering insights into the world of theater while also reflecting on the ultimate stage—life itself. Through the protagonist's grief and reflections, the story underscores the importance of cherishing loved ones and the fleeting nature of existence.
“The Bohemian” (Harper’s New Monthly Magazine, Jul. 1855): A supernatural horror story featuring three characters: Henry Cranstoun, a lawyer desperate for wealth; Annie Deane, his fiancée with supernatural abilities; and Philip Brann, a bohemian mesmerist intent on hypnotizing Annie to discover the locations of lost treasures buried beneath New York. Cranstoun, despite Annie's hesitation, agrees to the plan. The hypnosis succeeds, but Annie falls gravely ill. Cranstoun and Brann leave to find the treasure, but when Cranstoun returns, he discovers that Annie has died in his absence. The story serves as a cautionary tale about the dangers of pursuing wealth at all costs, highlighting the devastating consequences of greed and exploitation.
“Duke Humphrey’s Dinner” (Harper’s New Monthly Magazine, Aug. 1855): A poignant tale of tragedy and hope centered on Agnes Grey and Richard "Dick" Burdoon, both orphans with contrasting familial backgrounds. Agnes, from a wealthy family, falls in love with Dick, who has no relatives. Defying her family's wishes, Agnes marries Dick and is disinherited, leading the couple to a life of poverty. In one touching scene, they create an elaborate imaginary dinner, complete with a butler and chef, as a means of escaping their harsh reality. Caught up in their fantasy, they decide to sell their only valuable possession, a copy of Erasmus, to make ends meet. While out selling the book, Dick encounters Harry Waters, an old friend who is shocked by their impoverished state. Harry confronts the couple and convinces them to come live with him, offering them a glimmer of hope and a chance at a better life.
“The Pot of Tulips” (Harper’s New Monthly Magazine, Nov. 1855): A traditional ghost story featuring Harry Escott and Jasper Joye, who purchase a house from Harry's childhood, reputedly haunted by the ghosts of the Van Koerens, a wealthy Dutch family. Mr. Van Koeren was known to abuse his wife and child, Alain Van Koeren. Alain's daughter, Alice Van Koeren, is engaged to Harry, who buys the house to connect with her family history. After Mr. Van Koeren's death, his wealth goes missing, sparking numerous rumors. Harry and Jasper hope the house holds clues to the hidden fortune. One night, they encounter the ghosts of the Van Koerens, with Mr. Van Koeren holding a pot of tulips identical to one in their drawing room. This leads them to a hidden door in the house, revealing keys to the missing wealth. The story juxtaposes with "The Bohemian," as both feature characters seeking wealth to solidify their marriages. However, while one character in "The Bohemian" sacrifices his fiancée for wealth, Harry sacrifices for his fiancée and family, emphasizing themes of love and loyalty over greed.
“The Dragon-Fang Possessed by the Conjuror Piou-Lu” (Harper’s New Monthly Magazine, Mar. 1856): A fantasy and political satire set in ancient China, featuring the conjuror Piou-Lu. Arriving in the town of Tching-tou, Piou-Lu performs remarkable magic tricks using a powerful "dragon-fang" that grants him his abilities. He shares the story of how he acquired this mystical object: as a barber, he once treated an unusual man with a toothache, who turned out to be Lung, the dragon of the sky. After extracting Lung's tooth, Piou-Lu kept it, gaining its magical powers. Piou-Lu then visits the home of Wei-chang-tze, a local leader, and reveals his secret love for Wei-chang-tze's daughter, Wu. Additionally, Piou-Lu is secretly Tien-te, a rebel leader intent on overthrowing the corrupt political regime. He invites Wei-chang-tze to join his cause. However, a faction within the community discovers Piou-Lu's true identity and attempts to capture him, leading to chaos. During the upheaval, Piou-Lu and Wu manage to escape. Once Wu learns of his true identity as Tien-te, they work together to restore him to his rightful throne, successfully reclaiming his position and establishing a just rule.
“The Hasheesh Eater” (Putnam’s Monthly Magazine, Sep. 1856): A surreal fantasy/horror story narrated by Edward, who recounts his past addiction to hasheesh, a drug he encountered during his travels in the Middle East. With the help of his friend Doctor Harry, Edward recovers from his addiction and forms a close bond with Harry's family, particularly with Harry's sisters, Ellen and Ida. Edward falls in love with Ida. One day, a package arrives from Harry, who is traveling abroad. The package contains various artifacts from the Middle East, including hasheesh. Despite initial hesitation, Edward is persuaded by Ellen to sample the drug. The remainder of the story delves into Edward's psychedelic and nightmarish trip, during which he imagines himself as a god. In his delusional state, he believes he has killed Ida by stabbing her. He flees, convinced he is now an outcast for his crime. When the effects of the drug wear off, Edward returns to normal life, realizing the horrors of his hallucination. In a symbolic act of renunciation, Ida throws the remaining hasheesh into the fire, symbolizing the end of Edward's ordeal and his renewed commitment to sobriety and reality.
“A Terrible Night” (Harper’s New Monthly Magazine, Oct. 1856): A horror story about two friends, Charley Costarre and Dick Linton, who are hiking and camping in Northern New York. Charley is engaged to Dick's sister, Bertha. While on their hike, they become lost in the woods and, in their desperation, stumble upon a remote cabin inhabited by a mysterious figure named Joel. Neither Charley nor Dick trust Joel but reluctantly accept his offer of hospitality for the night, remaining cautious and taking turns keeping watch. During the night, Charley, in a state of heightened anxiety and disorientation, mistakenly believes Joel is about to harm Dick. Acting on this belief, Charley shoots Joel, only to realize too late that he has accidentally killed Dick in his confused state. Charley is later put on trial but is acquitted on the grounds of "sleep-drunkenness," a condition that impaired his judgment and led to the tragic mistake.
“The Mezzo-Matti” (Putnam’s Monthly Magazine, Nov. 1856): A psychological story that explores themes of identity and reality through the characters Beppo and Tito. Tito commissions Beppo to make him a new pair of shoes for his upcoming wedding. However, Beppo feels slighted, believing Tito thinks he is superior, and attempts to extort more money from him. Tito refuses to pay extra, prompting Beppo to claim he can get a higher price for the shoes elsewhere. Both men head to Naples, Tito for his wedding and Beppo to sell the shoes at the fair. Along the way, Beppo encounters numerous seemingly insane individuals who all insist that his shoes are a pair of pheasants. This constant reinforcement drives Beppo to believe the shoes are indeed pheasants. When he arrives in Naples and tries to sell the "pheasants," people tell him they are shoes, leading to his anger and subsequent arrest. It is revealed that Tito, with the help of a group called the "Mezzo-Matti," orchestrated the entire ruse as a form of justice to punish Beppo for his greedy behavior. The community's collective trick on Beppo serves to question his perception of reality and highlight the consequences of his actions.
“The Crystal Bell” (Harper’s New Monthly Magazine, Dec. 1856): A science fiction story centered on Gerald, who is staying at the Hominy House in the village of Hopskotch, New Jersey, on business during the dead of winter. Gerald befriends a stranger and offers him a place to stay when no rooms are available. In gratitude, the stranger gives Gerald a crystal bell talisman, explaining that it will tinkle whenever someone lies to him. Eager to test the bell's veracity, Gerald returns home, suspecting his fiancée, Annie Gray, of having an affair with Harry Aubyn. Upon arrival, the bell incessantly tinkles, confirming his fears. Accusing Annie of not loving him, Gerald becomes frantic, prompting Annie to think he is delusional. She smashes the crystal bell in frustration. Gerald then wakes up back at the Hominy House, realizing it was all a dream as the dinner bell rings.
“A Day Dream” (Harper’s Weekly, Feb. 21, 1857): A horror story about the "Man About Town" and his friend Dimes, who plan to go out for dinner in the dangerous area of Five Points. Acknowledging the risks, Dimes reassures him that they will be accompanied by Capt. Currycomb, an officer, and reveals he has a revolver for protection. The "Man About Town" becomes obsessed with the gun, fantasizing about taking it from Dimes and shooting him. He vividly imagines the aftermath of the murder and the feeling of killing someone. Snapping back to reality, he returns the gun to Dimes, shaken by his own dark thoughts.
“Broadway Bedeviled” (Putnam’s Monthly Magazine, Mar. 1857): A psychological horror story about an unnamed narrator whose addiction to alcohol has ruined his once-successful career as a surgeon. Disowned by his family out of embarrassment, he finds himself jobless and desolate. Seeking solace in a drink, he ventures downtown, only to become convinced that he is being followed. The story vividly depicts his frantic attempts to escape through the streets of New York, believing his pursuers are out to kill him. In a desperate moment, he strikes the supposed leader with his cane, but in the ensuing chaos, he is knocked unconscious. When he regains consciousness, he finds himself covered in blood and concludes that the pursuers were spectres haunting him, leaving readers to question the nature of his experience and the extent of his madness.
“Uncle and Nephew” (Harper’s New Monthly Magazine, Mar. 1857): A psychological horror story about Francois Thomas, his uncle M. Morlot, and Dr. Auvray, an expert on monomania. M. Morlot schemes to rob Francois of his inheritance by having him committed, exploiting Francois's fragile state after he failed to propose to his beloved Claire, who subsequently left town. Obsessed with finding Claire, Francois mistakenly asks random men for her hand in marriage. Morlot uses this to his advantage, tying up Francois and bringing him to Dr. Auvray. However, in the psychologist's office, Francois unties himself, restrains his uncle, and convinces the doctor that Morlot is the insane one. As Francois leaves, he learns that Dr. Auvray's daughter is indeed Claire, leading to their joyful reunion while M. Morlot is committed to an asylum, undone by his own plot.
“The Comet and I” (Harper’s Weekly, May 23, 1857): A fantasy story in which a comet, personified as the devil, visits New York ahead of its impending collision with Earth. The comet's mission is to decide which parts of the city to destroy and which to spare. An unnamed narrator accompanies the comet on a tour around the city, showcasing its various facets. In return for his assistance, the comet promises to save the narrator from the impending disaster. Believing the end of the world is imminent, the narrator goes on a reckless spending spree. However, when the fateful day arrives, the comet decides not to cause any destruction, leaving the narrator burdened with massive debts. The story contains autobiographical elements, reflecting the author's own experiences and financial struggles.
“My Wife’s Tempter” (Harper’s Weekly, Dec. 12, 1857): A horror story about Mark and Elsie Burns, a couple whose marriage is threatened by Elsie's potential affair with Hammond Brake, a Mormon. Hammond, who is trying to convert Elsie to his religion, also wants her to leave Mark. When Mark discovers the situation, he confronts Hammond with threats and insists that Elsie return to her father's home. The story explores themes of jealousy, religious manipulation, and the lengths one will go to protect their marriage.
“The Diamond Lens” (The Atlantic Monthly, Jan. 1858): A fantasy/science fiction/horror story about Linley, a young scientist obsessed with creating the perfect microscope. Despite his wealthy family's desire for him to pursue business, Linley moves to New York under the guise of attending medical school to focus on his scientific ambitions. After his research stalls, he consults a seance and receives guidance from the spirit of Leeuwenhoek. Realizing his neighbor Simon has a diamond large enough for his needs, Linley murders him, stages it as a suicide, and steals the gem. Using the diamond, Linley discovers a microscopic world within a drop of water, inhabited by a beautiful female figure named Animula, with whom he becomes infatuated. His obsession leads to negligence, and the water drop evaporates, killing Animula and driving Linley insane. He spends the rest of his life giving science talks, aware that his audience is more interested in witnessing his madness than his knowledge. The story, exploring themes of obsession and the pursuit of knowledge at all costs, brought O'Brien his first significant fame as a writer.
“From Hand to Mouth” (The New York Picayune, 1858): A surreal novella, one of O'Brien's longest short stories. The tale follows an unnamed narrator who encounters a mysterious figure, Count Goloptious, and his eerie establishment, the Hotel de Coup d'Oeil. After being locked out of his apartment one night, the narrator is offered a room at the strange hotel. Once inside, he quickly realizes the sinister nature of both the Count and the hotel, which features walls adorned with large eyes, ears, hands, and mouths that spy on guests. The narrator learns that he cannot leave and meets his neighbor, Rosamond, who is trapped because the Count has stolen her legs and hidden them in the basement. The Count demands payment for staying at the hotel, not in cash, but in written columns for a newspaper. Rosamond has a pet Green Bird capable of duplicating itself with a mirror. The narrator and the bird devise a plan to retrieve Rosamond's legs from the basement. However, their attempt is thwarted when they encounter a man carrying his head under his arm, who guides them to the basement. The Count catches them, stomps his feet, making the bird disappear, and transports the narrator to a cave by a huge blue lake burning with sulfur. The Count throws the narrator into the lake with other captured authors. The narrator then wakes up on the sidewalk outside his apartment, realizing the bizarre experience he endured.
“The Golden Ingot” (The Knickerbocker, or New-York Monthly Magazine, Aug. 1858): A horror story set on a stormy night when Doctor Luxor is awakened by a young girl named Brigand, who urgently requests his help for her injured father, a chemist. Upon arriving at their home, Doctor Luxor discovers that Brigand's father is obsessed with turning metal into gold and believes he has succeeded. However, he is delusional, and Brigand is pretending to support his belief to preserve his sanity. The old man accuses Brigand of stealing his supposed gold. Doctor Luxor attempts to convince the chemist of his delusion. When another experiment fails, the chemist is forced to confront the reality that his lifelong dream remains unfulfilled, leading to his death from the shock and despair.
“The Lost Room” (Harper’s New Monthly Magazine, Sep. 1858): A surreal fantasy/science fiction/horror story about an unnamed narrator who, unable to sleep, decides to take a walk to escape his stuffy apartment. Outside, he meets a ghoulish figure who warns him that his neighbors are cannibals. Dismissing the warning, the narrator returns to his apartment, only to feel an eerie sense of unease. Upon entering, he is blinded by a bright light and finds six strange figures in an apartment that resembles his but with unsettling differences. The guests welcome him and insist he join them, leading to a debate over whether it is indeed his apartment. They propose a game of chance—a roll of dice—for the ownership of the apartment, which the narrator loses. As he is ejected, he briefly sees his apartment return to normal, but once the door closes, it vanishes, replaced by a solid wall. The narrator is left unable to find his apartment ever again. This story, with its themes of disorientation and reality-bending, is comparable to H.P. Lovecraft's "The Music of Erich Zann," exploring the fragility of perception and the terror of an altered reality, and is considered one of O'Brien's best works.
“Jubal, the Ringer” (The Knickerbocker, or New-York Monthly Magazine, Sep. 1858): A horror/supernatural story about revenge and terror, centered on Jubal, the bell ringer at the church of Saint Fantasmos. Jubal is in love with Agatha and once saved her from drowning. However, when he confesses his love, she rejects him. On her wedding day, instead of ringing the bells in celebration, Jubal, consumed by vengeance, uses dark arts to bring down the church. As he rings the bells, the church collapses, killing everyone inside, including the bride, groom, and Jubal himself. The story highlights the destructive power of unrequited love and the horrifying consequences of revenge.
“Three of a Trade; or, Red Little Kriss Kringle” (Saturday Press, Dec. 25, 1858): A fantasy story set during Christmas, a common theme for O'Brien. It follows two orphaned brothers, Binnie and Tip, who are freezing on the snowy streets. As they reminisce about happier times with their mother and the gifts brought by Kris Kringle, they notice a shivering figure in the distance. Mistaking it for Kris Kringle, they beckon the creature to join them, only to discover it is a circus monkey dressed in a red jacket with a sword, having escaped with a chain around its neck. The boys huddle together with the monkey, trying to keep it warm. Tragically, by morning, all three have frozen to death on the street, highlighting the harsh realities of life and the innocence of childhood dreams amidst suffering.
“What Was It? A Mystery” (Harper’s New Monthly Magazine, Mar. 1859): A horror/science fiction story about two friends, Harry Escott and Dr. Hammond, who take up residence in a haunted house in New York, hoping to experience supernatural encounters. Initially disappointed, their wish comes true one night after they indulge in opium and philosophical discussions about the nature of horror. Harry is suddenly awakened by the sensation of being attacked by an unseen force. He manages to fight off and subdue the creature, only to discover it is invisible. Skeptical at first, Dr. Hammond is convinced of the creature's existence after touching it. Unsure of how to handle the situation, they attempt to feed the creature, but it appears to be dying. They call in another doctor to chloroform the creature and encase it in plaster of Paris to capture its shape. The mould reveals the creature to be the size of a young boy, but stocky and misshapen like a ghoul. The creature dies, and its body is buried while the mould is given to a circus. This story, one of O'Brien's more famous works, explores themes of skepticism and challenges the popular philosophical movement of realism of the time.
“The Wondersmith” (The Atlantic Monthly, Oct. 1859): A science fiction/fantasy horror story about horror and revenge, centered on Herr Hippe, a mysterious shop owner believed to be a magician or wizard. Hippe conspires with other malevolent characters, including Madame Filomel, to carry out a diabolical scheme. Hippe crafts wooden dolls, while Filomel collects evil souls in a bottle. Their plan is to animate the dolls with these souls on Christmas Eve and give them as gifts to children, who will be murdered by the dolls on Christmas Day using poisoned weapons. The group tests their plan on a local bird shop, resulting in horrific success. During their celebration, they accidentally knock over the bottle, causing the souls to animate the dolls prematurely. The dolls turn on the conspirators, stabbing them to death. In a desperate attempt to destroy the dolls, the conspirators throw them into the fire, but the fire spreads, consuming the house and delivering fiery justice. The story explores themes of revenge and the dangers of mad science gone awry.
“Mother of Pearl” (Harper’s New Monthly Magazine, Feb. 1860): A psychological horror story about a married couple, Gerald and Minnie, who face significant challenges in their relationship. Minnie turns to hasheesh to cope with her unhappiness. One weekend in New York, after a night at the theater, Minnie tries to murder Gerald but has no recollection of the incident. Gerald, now distrustful, takes Minnie back home and brings in Doctor Melony, a family friend, to help. Minnie admits her unhappiness in the marriage. One night, after Minnie has gone to bed, Gerald and Melony sense an eerie silence in the house. They rush to the bedroom to find Minnie standing over their child with a bloody knife, revealing the depth of her turmoil and the horror that has engulfed their family.
“The Child That Loved a Grave” (Harper’s New Monthly Magazine, Apr. 1861): A fantasy gothic story about a young boy who spends his days and nights at the grave of another child, seeking solace from the abuse he suffers at home. The grave provides him with a sense of companionship and peace. One day, strange men arrive at the church graveyard to exhume the child's grave for relocation. Despite the boy's pleas to leave the grave undisturbed, the men complete their task. Heartbroken, the boy returns home and tells his family that he will be dead by morning, requesting to be buried in the now unoccupied grave. The story explores themes of loneliness, solace in death, and the haunting impact of neglect and abuse.
“Tommatoo” (Harper’s New Monthly Magazine, Aug. 1862): A realistic story set in a desolate part of New York by the North River, revolving around a small house inhabited by Signor Baioccho, an old Italian musician turned cook, his beautiful and lively daughter Tommatoo, and a young French musician named Gustave. Baioccho's decline from a successful opera conductor to a restaurant cook sets the stage for the tale. Tommatoo brings joy to their dreary home, while Gustave invents a unique musical instrument called the Pancorno. Giuseppe, a sinister figure with designs on Tommatoo and her father's inheritance, attacks Baioccho, throwing him into the river, but Baioccho survives thanks to a passing ferry. The story culminates in Giuseppe's arrest and Baioccho inheriting wealth from his deceased brother. The family leaves their sad past behind, and Gustave's Pancorno achieves fame, with Tommatoo (now Madame Beaumont) by his side, illustrating the triumph of love and perseverance over adversity.
“How I Lost My Gravity” (Harper’s New Monthly Magazine, May 1864): A posthumously published science fiction short story about Mr. Wisp, a tinkerer with scientific inclinations. One day, Mr. Wisp visits a fellow scientist, Chilton, who owns a shop and discovers a fascinating gadget that appears to defy gravity, spinning and flying like a top. Intrigued, Mr. Wisp purchases the toy and takes it home, where he constructs a larger version using the same principles. Eager to test his creation, he sits in the middle as the navigator and sets it spinning. Initially, the top flies successfully, but soon he realizes he has miscalculated, and the object begins to tear apart mid-flight. As the destruction ensues, Mr. Wisp wakes up, realizing it was all a dream, reflecting his subconscious fears and the dangers of unchecked scientific ambition.

Poetry

"Oh! Give a Desert Life to Me" (The Nation, Dublin, Mar. 15, 1845): This poem expresses a deep longing for freedom and escape from oppression. The speaker yearns for a life in the desert, where they can be free from tyrannical laws and live without fear. The desert, possibly symbolizing the pampas of Columbia, represents a place of true freedom, far from the degradation and scorn they experience in their current land, likely referencing Ireland under English rule. The speaker desires to live independently, with the companionship of loyal animals, and free from the chains that weigh them down. However, the poem also conveys a sense of hope and patriotism; the speaker vows to return to their homeland, Erin (Ireland), once it is liberated by the swords of freemen. The poem captures themes of freedom, resistance to oppression, and a deep love for one's homeland.
"Loch Ina, A Beautiful Salt-Water Lake, in the County of Cork" (The Nation, Dublin, Jul. 26, 1845): This is a lyrical poem celebrating the serene beauty of a secluded salt-water lake in County Cork, near Baltimore, Ireland. The speaker describes the tranquil setting where cool waves gently lap against the silver sands, undisturbed by human presence except for their own. A towering mountain, reminiscent of an ancient giant, stands majestically nearby, its wooded sides adding to the picturesque scene. In the middle of the lake lies a small, verdant isle, home to the ruins of an old castle, now repurposed by nature and shepherds. The poem evokes a sense of nostalgia and reverence for the past, imagining the anger and shame of the castle's long-dead chieftain if he saw his once-grand home reduced to a sheep pen. The speaker finds profound sweetness in the lake's beauty, whether under the sun's rays or the evening star, and delights in the natural music of shells and the summer breeze. The poem concludes with the speaker's deep longing to remain in this idyllic, fairy-tale-like spot forever, rejecting all worldly temptations in favor of the beloved Loch Ina. The themes include nature's beauty, the passage of time, and the longing for eternal peace in a perfect place.
"The Famine" (The Nation, Dublin, Mar. 7, 1846): A haunting poem that personifies famine as a relentless predator, spreading despair and starvation across the land. It vividly describes the famine's advance through various landscapes, seeking out human homes, and features a voice urging people to grieve, warning them of impending starvation without aid from the powerful. The poem explores themes of desperation, as it suggests death as an escape from misery, and criticizes the complacency of the suffering, attributing their inaction to deep faith. It questions whether faith will endure as the famine worsens and warns the wealthy to act wisely and generously to prevent riots. Ultimately, the poem calls for empathy and action, urging individuals to help their fellow humans and extolling the virtues of charity and compassion, with a promise of eternal joy for those who aid the suffering.
"Excelsior" (The Nation Dublin, Mar. 13, 1847): An inspirational poem that encourages perseverance and resilience in the face of obstacles. The speaker urges the reader to push forward despite encountering formidable challenges, such as mountains and dark clouds, symbolizing life's difficulties and despair. The poem emphasizes that even if one slips or faces potential failure, the effort and struggle are worthwhile, and there is hope and clear skies beyond the darkness. The poem motivates the reader to persist, even when weary and close to giving up, asserting that true joy and bliss come from overcoming hardships. The recurring call to "Excelsior" serves as a rallying cry to keep striving for higher goals and not to be deterred by temporary setbacks.
"Forest Thoughts" (The Cork Magazine, Dec. 1848): A reflective and contemplative poem that explores themes of solitude, nature, and spiritual reverie. Set in a dimly lit forest that resembles a vast cathedral, the poem captures the solemn and introspective atmosphere where sunlight barely penetrates, allowing deep reflection and contemplation. The forest serves as a sanctuary for those seeking solace from grief and disappointment, offering a space for silent meditation. The presence of the wild bird's song weaves a nostalgic spell, evoking memories of youthful innocence and happiness, and stirring profound emotions in the listener. The poem critiques the dismissive attitude of those who devalue the lives of animals, arguing for a more inclusive and compassionate understanding of existence. It praises the love and respect shown by indigenous cultures for their animal companions, suggesting that there is a place in the afterlife for all beings. Ultimately, the poem celebrates the interconnectedness of all life and the divine essence present in nature, love, and the eternal.
"The Lonely Oak" (The Parlour Magazine, Jul 12, 1851): A reflective poem that personifies a grand old oak tree, which stands alone, having survived many storms and outlived its companions. The poem reflects on the oak's vibrant past, when it provided shade for deer, a perch for birds, and a backdrop for the bard's tales of Erin's (Ireland's) pride and freedom. The oak represents resilience and a connection to a bygone era of natural beauty and cultural richness. Despite its isolation and the passage of time, the speaker expresses a deep attachment to the tree, reminiscing about seeking its shade in childhood and its inspiration in manhood. The poem concludes with the speaker's contemplation of their own mortality, wishing to rest eternally beneath the oak's comforting presence. Themes of memory, nature's endurance, and the passage of time are woven throughout, highlighting the oak as a symbol of steadfastness and the enduring connection between past and present.
"The Spectral Shirt" (The Lantern, Jun. 5, 1852): A haunting poem about a destitute woman who, struggling to feed her starving children, painstakingly sews a shirt for a cruel merchant. When he rejects her work and refuses to pay, she curses him in despair and dies at his door. The merchant, initially indifferent, becomes tormented by the apparition of the shirt, which follows him everywhere and drives him to madness. The relentless specter eventually leads him to his death, as he plunges into a river, unable to escape the supernatural consequences of his heartless actions. The poem explores themes of poverty, despair, and the haunting power of guilt and retribution.
"Madness" (The American Whig Review, Aug. 1852): A fragmentary poem that vividly depicts the gradual onset of insanity. The narrator describes how madness slowly overtakes his mind, beginning as a small shadow and growing into a storm that engulfs his soul. His once-vibrant thoughts and memories transform into formless, troubling entities that wander aimlessly through the vast, dreary expanse of his mind. Childhood memories, dreams of love, and ambitions of manhood visit but soon depart, leaving a void filled with fear and terror. The poem portrays the narrator's spirit as a deserted house, where distorted and grotesque fantasies thrive unchecked, highlighting the isolation and horror of confronting madness face to face. The themes of the poem include the loss of rational thought, the fragmentation of identity, and the terrifying descent into insanity.
"Pallida" (The American Whig Review, Sep. 1852): A deeply emotional poem addressing a beloved who is pale and seemingly fragile, embodying a ghostly beauty. The speaker offers comfort and protection, inviting the loved one to rest in their arms and lamenting the pervasive pallor that seems to signify illness or impending death. The poem contrasts the beloved's ethereal paleness with vibrant images like the urn of dawn and roses, ultimately rejecting the idea of altering her natural state. The speaker expresses disdain for the scientific diagnoses and the inevitability of death, instead vowing to create a protective, enchanted space around the beloved where death cannot reach. Through vivid imagery and passionate declarations, the poem explores themes of love, beauty, fragility, and defiance against mortality.
"The Song of the Immortal Gods" (The American Whig Review, Sep. 1852): A triumphant and defiant poem that captures the voices of the immortal Titans, who were once defeated by Zeus but now sit eternally on their sapphire thrones in Olympus. The poem contrasts the frenetic struggles of mortals with the serene and unshakable existence of these rebel gods, who have defied fate and discovered profound truths. They celebrate their relentless quest for knowledge and truth, their resilience against oppressive forces, and their eternal role as creators and teachers. The gods invite mortals to open their spirits to imagination and knowledge, suggesting that by doing so, humans too can partake in the divine nectar of beauty, wisdom, and eternal existence. Themes of defiance, the pursuit of knowledge, and the blending of pleasure with duty are woven throughout, portraying the Titans as symbols of enlightenment and eternal action.
"The Old Knight's Wassail" (The American Whig Review, Sep. 1852): A poem that captures the final moments of a gray and old knight as he partakes in a festive drink. Initially, the knight, despite his age and dimming eyes, joyously calls for a cup of overflowing yellow wine, which revitalizes his spirit and makes him feel young and bold again. However, the tone shifts dramatically when the knight realizes that the wine he has been given is icy cold, symbolizing betrayal and death. He accuses his brother of poisoning him to seize his titles and gold. The poem explores themes of betrayal, the fleeting nature of vitality, and the treachery that can lie beneath seemingly joyous celebrations.
"The Shadow by the Tree" (The American Whig Review, Oct. 1852): A haunting poem about a man plagued by the memory of a crime he committed in his youth. The poem begins with a description of a noble elm tree that stands where a dark, stagnant pool once lay, the site of a young girl's murder by the narrator. Tormented by guilt, the narrator was drawn obsessively to the pool, which he eventually drained and replaced with the elm to erase the past. Years pass, and the man finds peace and happiness with his family, only for his past sins to return in the form of a menacing shadow that appears between his wife and daughter. The shadow symbolizes the inescapable nature of his guilt, culminating in the death of his innocent daughter. Consumed by despair, the narrator resolves to confront the shadow on its own terms, planning to end his life to join the spectral presence that haunts him. The poem explores themes of guilt, the inescapability of the past, and the psychological torment of living with unresolved sin.
"Oinea" (The American Whig Review, Dec. 1852): A mystical and introspective poem that depicts the girl goddess Oinea rising from a banquet and retreating to a grove in the valley of youth as twilight descends. Amidst the serene beauty of the shadows of tulip and cypress, and the swaying vines by the lake, Oinea finds a place to rest and reflect. Her thoughts are a mix of sadness and contemplation, matching the feverish crimson hue of the twilight. As the night progresses, the ominous red moonlight dims through the haze, evoking feelings of unease and high emotion in Oinea. Eventually, the stars and moon fade, and the valley becomes shrouded in vapor, aligning with her somber heartbeats. The poem concludes with the engulfing silence of slumber and fate, symbolizing the overarching power of time and the inevitability of destiny. Themes of beauty, melancholy, reflection, and the inexorable passage of time pervade the poem.
"Sir Brasil's Falcon" (United States Magazine and Democratic Review, Sep. 1853): A narrative poem set in a medieval landscape, where Sir Brasil, a knight, embarks on a quest for water after a day of hunting. As he ventures into the forest with his falcon, he becomes increasingly desperate for a drink. His search leads him to a spot where he finds a trickling stream, but his falcon repeatedly prevents him from drinking by knocking the water from his hands. Frustrated and dehydrated, Sir Brasil lashes out and kills the falcon, only to realize too late that the water is poisoned by a serpent's venom. Overcome with remorse and horror at his actions, he reflects on his deep bond with the falcon and the consequences of his impulsive anger. The poem explores themes of loyalty, guilt, and the tragic repercussions of hasty decisions, culminating in Sir Brasil's decision to remain in the forest, consumed by grief and regret.
"The Heath" (The Evening Post, Oct. 19, 1855): A dark and evocative poem that depicts a moorland landscape marked by mossy boulders and a dull, gray atmosphere. This seemingly barren and lifeless expanse is imbued with a haunting secret—a buried murder. Despite the ordinary appearance of the heath, it is alive with the guilt and unrest of a hidden sin. The speaker, who is aware of this secret, watches with a pallid face as travelers pass by and schoolboys play innocently, unaware of the sinister history beneath their feet. The poem conveys a sense of foreboding and the heavy burden of concealed crime, emphasizing that the heath is disturbed and moans under the weight of its dark secret. Themes of guilt, hidden sin, and the contrast between innocence and corruption permeate the poem, creating a chilling and somber atmosphere.
"An Episode" (The Evening Post, May. 1, 1856): A nostalgic and wistful poem that recounts a fleeting yet memorable encounter between the speaker and a maiden during a sea voyage. The poem begins with the speaker reflecting on two relics of the encounter: a faded flower in a book and an enduring memory in the heart. The narrative takes the reader through serene summer evenings on the vessel, where the speaker and the maiden shared conversations about various topics, including fashion, books, art, and historical voyages. As they talked, they felt a deep, mysterious connection, as if they had known each other before, creating an illusion of familiarity and mutual understanding. Despite the deep bond they formed, their time together was brief, and they parted ways upon reaching land. The poem concludes with the speaker alone, holding onto the physical memento of the flower and the cherished memory of the maiden, symbolizing the ephemeral nature of their encounter and the lasting impact it had on the speaker. Themes of fleeting romance, memory, and the bittersweet nature of transient connections are central to the poem.
"By the Alders" (The Home Journal, Oct. 25, 1856, New York, (Vol. 43, Issue 559): A haunting poem that explores themes of guilt, sorrow, and the supernatural. The narrator is led through a windy landscape by a mysterious figure, eventually arriving at a shivering alder tree by a moaning brook. The woman reveals that she buried her child beneath the tree in the black waters of the swamp. The narrator is overcome with grief and despair upon hearing her story and pleads for forgiveness. When he raises his head, the woman has vanished, leaving only a dent in the weedy bed and a sense of her ghostly presence in the air. The poem captures the torment of hidden sins and the lingering presence of the past in the natural world.
"How the Bell Rang (July 4, 1776)" (Harper’s Weekly, Jul. 4, 1857): A patriotic poem that vividly captures the excitement and tension in Philadelphia on the day the Declaration of Independence was signed. The streets of the city are filled with anxious, eager crowds, nervously awaiting the news. The poem describes the fervent discussions and the pressing anticipation outside the State House as delegates inside debate the document that would declare America’s independence from Britain. A young boy stands at the portal, ready to signal the bellman in the steeple. When the moment finally comes, and the Declaration is signed, the boy gives the signal, and the bellman rings the bell, sending a joyous peal through the city. The poem celebrates the tumultuous joy of the people, the symbolic ringing of the bell, and the birth of American freedom. The final stanzas honor the enduring spirit of independence and the bellman whose actions helped mark the historic moment.
"The Ghosts" (The Knickerbocker, or New-York Monthly Review, Jan. 1859): A haunting poem that explores the ethereal boundary between life and death. The speaker, lying in bed at midnight, is surrounded by pale, ghostly figures that beckon to him. As he contemplates their presence, he feels his own vitality slipping away and his human form dissolving into something insubstantial, almost vaporous. The poem blurs the lines between the living and the dead, with the speaker questioning his own state of existence. The approach of dawn, heralded by the crowing of a cock, signifies the moment of transition, as the speaker welcomes the spirits, potentially joining them in their spectral realm. The poem delves into themes of mortality, the supernatural, and the dissolution of the physical self.
"The Midnight March" (The History of the Seventh Regiment, edited by Colonel Emmons Clark, Vol. II, N.Y., 1890): This poem recounts a tense and solemn night-time journey of the Seventh Regiment through the dark and foreboding landscape of Maryland. As they traverse miles of rugged terrain, flanked by scouts vigilant for enemy ambushes, the soldiers march steadily under the cover of night. Despite the ominous surroundings and the potential for surprise attacks, the men of the Seventh remain unafraid and resolute. Each pine tree and thicket seems to hide threats, but no enemy is encountered. The soldiers take brief rests on the cold, wet ground, eagerly awaiting the dawn. The poem captures the quiet determination and endurance of the regiment, emphasizing their unwavering spirit and discipline. As dawn finally breaks, the night’s march becomes a testament to their strength, awaiting the immortalization by history for their steadfast passage through Maryland.
"The Man at the Door" (The Knickerbocker, or New-York Monthly Review, Jan. 1861): A narrative poem that describes a day of celebration in a small town, where banners flutter and people gather joyously for the wedding of Bertha and Albert, the Mayor's son. The town is alive with festive energy, young men and women exchanging glances, and the sexton proudly preparing the church. Amidst the jubilation, there's an ominous undercurrent as townspeople recall how Bertha had scorned a young Gipsy Prince a year before, rejecting his love and gifts. As Bertha and Albert approach the church, a man with a dagger lurks by the door. When the couple reaches the porch, the Gipsy Prince leaps forward, stabbing Bertha. The joyous day turns into one of mourning as Bertha and Albert are laid to rest, and the Gipsy Prince meets his fate, swinging from the gallows. The poem juxtaposes the initial joy and eventual tragedy, highlighting themes of love, revenge, and the consequences of scorn.

Essays

"The Two Skulls" (Harper's New Monthly Magazine, Feb. 1853): O'Brien explores the theme of human greatness and its perception, arguing that true greatness is often misunderstood or exaggerated by the public. He discusses how individuals are frequently disappointed when meeting famous people because the public magnifies their traits based on one prominent quality, creating unrealistic expectations. O'Brien emphasizes that greatness often lies in quiet, unassuming individuals who work selflessly for the greater good rather than personal fame or power. He criticizes societal values that prioritize wealth and power over genuine usefulness and happiness. Through anecdotes about historical figures and the concept of measuring intellectual capacity by the size of skulls, O'Brien underscores the idea that external recognition does not necessarily reflect true worth or greatness. The essay concludes with a reflection on the author's experience with an eloquent yet verbose secretary, highlighting the disparity between public expectation and private reality.
"The Way to Get Burried" (The New York Daily Times, Mar. 19, 1853): O'Brien critiques traditional burial practices and advocates for cremation as a more dignified and practical alternative. He describes the emotional and sanitary issues associated with conventional interment, such as the grim reality of decomposition and the public display of funerary ostentation, which he argues diminishes the sanctity of death. O'Brien provides historical and cultural examples of alternative burial customs, emphasizing the poetic and symbolic nature of cremation. He proposes the establishment of cremation facilities near cities, where bodies can be quickly and cleanly reduced to ashes, thus eliminating the need for large, unsanitary graveyards and the associated spectacle of death. Through this essay, O'Brien challenges readers to reconsider burial traditions in favor of more rational and respectful methods of honoring the deceased.
"Bird Gossip" (Harper's New Monthly Magazine, Nov. 1855): O’Brien delves into the author's unscientific yet passionate exploration of bird habits and characteristics, highlighting his preference for common names over scientific nomenclature. He admires naturalist Charles Waterton for his intuitive and narrative-driven ornithological studies, particularly his work on the wourali poison and its effects on animals. O'Brien shares anecdotes about unique bird species, such as the campanero, known for its bell-like call, and the satin bowerbird, famous for its elaborate and decorative bowers. The essay also includes personal reflections on O'Brien's ability to charm birds and recounts his adventures with various avian companions, notably a highly intelligent and affectionate bullfinch named Bully. Through these stories, O'Brien conveys his deep affection for birds and critiques the overly technical approach of scientific ornithology, advocating instead for a more appreciative and narrative-driven engagement with the natural world.

Collections

Winter, William, ed. (1881). The Poems and Stories of Fitz James O'Brien. Boston: James R. Osgood and Co.
___. (1893). The Diamond Lens with Other Stories by Fitz-James O'Brien. New York: Charles Scribner's Sons.
O'Brien, Edward J., ed. (1925). Collected Stories by Fitz-James O'Brien. New York: Albert and Charles Boni.
Seldes, Gilbert, ed. (1932). The Diamond Lens and Other Stories by Fitz-James O'Brien. Illustrations by Ferdinand Huszti Howath. New York: William Edwin Rudge.
Salmonson, Jessica Amanda, ed. (2008). The Wondersmith and Others. Ashcroft, British Columbia: Ash-Tree Press.
Kime, Wayne R., ed. (2011). Behind the Curtain: Selected Fiction of Fitz-James O’Brien, 1853-1860. Newark: University of Delaware Press.
___. (2012) Thirteen Stories by Fitz-James O’Brien: The Realm of the Mind. Newark: University of Delaware Press.
Irish, John P., ed. (2017). Fitz-James O'Brien: Gothic Short Stories. Texas.
___. (2018). Fitz-James O'Brien: Short Stories (1851-1855). (The Collected Writings of O'Brien, vol. 1). Texas.
___. (2018). Fitz-James O'Brien: Short Stories (1856-1864). (The Collected Writings of O'Brien, vol. 2).Texas.
___. (2018). Fitz-James O'Brien: Poetry & Music. (The Collected Writings of O'Brien, vol. 3).Texas.
___. (2018). The Best of Fitz-James O'Brien. (The Collected Writings of O'Brien, vol. 6).Texas.
___. (2025). The Lost Room and other Speculative Fiction. (Classics of Gothic Horror). New York: Hippocampus Press.

External links

- - - Web site: FitzJames O'Brien Bibliography . Violet Books . February 10, 1999 . https://web.archive.org/web/20120205222728/http://www.violetbooks.com/fitzjames.html . February 5, 2012 . dead .
Web site: Summary Bibliography: Fitz-James O'Brien . The Internet Speculative Fiction Database . April 24, 2006 .
Web site: O'Brien . Fitz-James . The Lost Room . ManyBooks .
Web site: O'Brien, Fitz-James (1826-1862) . The Vault at Pfaff's . January 11, 1922 .
Web site: Everts . Randal A. . Michael Fitz-James O'Brien (1826–1862) . TheStrangeCompany.us .

Notes and References

Web site: Everts . Randal A. . Michael Fitz-James O'Brien (1826–1862) . TheStrangeCompany.us .
Book: Wolle. Francis. Fitz-James O’Brien: A Literary Bohemian of The Eighteen-Fifties. 1944. University of Colorado.
Book: Fanning. Charles. The Irish Voice in America: 250 Years of Irish American Fiction. 1999. University Press of Kentucky. 87.
Web site: Irish . John P. . Ireland’s Forgotten Poet: Fitz-James O’Brien’s Writings in the Nation . SMU Pony Express(Ions) 2021 Edition .
Book: Auerbach. Jeffrey A.. The Great Exhibition of 1851: A Nation on Display. 1999. New Haven: Yale University Press. 2.
Irish. John P.. The Green Book. Stories of Genius and Madness: Fitz-James O’Brien’s Laboratories of the Mind. 23. 2024. 33-44.
Book: Winter. William. The poems and stories of Fitz-James O'Brien. 1881. James R Osgood. Boston. 27 June 2016.
Web site: North, William (1825-1854) The Vault at Pfaff's . 2023-12-29 . pfaffs.web.lehigh.edu.