Fitz James O'Brien

Fitz-James O'Brien (1826/8 – 1862) was an Irish-born 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.

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; his first biographer, Francis Wolle, placed it between April and October of 1828. 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. 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. 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, especially the geography of southwestern Ireland. His first six poems were published in The Nation, 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.

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. 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, a London-based magazine founded in January 1849. 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. Within the heart of this grand event, the Great Crystal Palace, O’Brien was appointed editor for The Parlour Magazine. 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. 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. During the early 1850s, O’Brien formed deep and enduring friendships at Pfaff’s Beer Hall, a hub for the New York Bohemians, 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), published in Harper’s New Monthly 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. 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.

In 1859, O’Brien solidified his literary prowess with two more stories: “What Was It? A Mystery” in Harper’s New Monthly Magazine and “The Wondersmith” in The Atlantic. 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 Regiment, composed of young merchants, bankers, professionals, and clerks, united in their determination to defend Washington. 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.

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. 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).

Short Stories

 * “An Arabian Night-mare” (Household Words, Nov. 8, 1851)
 * “A Legend of Barlagh Cave” (The Home Companion, Jan. 31, 1852)
 * “The Wonderful Adventures of Mr. Papplewick” (The Lantern, 1852)
 * “The Old Boy” (The American Whig Review, Aug. 1852)
 * “The Man Without a Shadow” (The Lantern, Sep. 4, 1852)
 * “A Voyage in My Bed” (The American Whig Review, Aug. 1852)
 * “One Event” (The American Whig Review, Oct. 1852)
 * “The King of Nodland and His Dwarf” (The American Whig Review, Dec. 1852)
 * “A Peep Behind the Scenes” (Harper’s New Monthly Magazine, Mar. 1854)
 * “The Bohemian” (Harper’s New Monthly Magazine, Jul. 1855)
 * “Duke Humphrey’s Dinner” (Harper’s New Monthly Magazine, Aug. 1855)
 * “The Pot of Tulips” (Harper’s New Monthly Magazine, Nov. 1855)
 * “The Dragon-Fang Possessed by the Conjuror Piou-Lu” (Harper’s New Monthly Magazine, Mar. 1856)
 * “The Hasheesh Eater” (Putnam’s Monthly Magazine, Sep. 1856)
 * “A Terrible Night” (Harper’s New Monthly Magazine, Oct. 1856)
 * “The Mezzo-Matti” (Putnam’s Monthly Magazine, Nov. 1856)
 * “The Crystal Bell” (Harper’s New Monthly Magazine, Dec. 1856)
 * “A Day Dream” (Harper’s Weekly, Feb. 21, 1857)
 * “Broadway Bedeviled” (Putnam’s Monthly Magazine, Mar. 1857)
 * “Uncle and Nephew” (Harper’s New Monthly Magazine, Mar. 1857)
 * “The Comet and I” (Harper’s Weekly, May 23, 1857)
 * “My Wife’s Tempter” (Harper’s Weekly, Dec. 12, 1857)
 * “The Diamond Lens” (The Atlantic Monthly, Jan. 1858)
 * “From Hand to Mouth” (The New York Picayune, 1858)
 * “The Golden Ingot” (The Knickerbocker, or New-York Monthly Magazine, Aug. 1858)
 * “The Lost Room” (Harper’s New Monthly Magazine, Sep. 1858)
 * “Jubal, the Ringer” (The Knickerbocker, or New-York Monthly Magazine, Sep. 1858)
 * “Three of a Trade; or, Red Little Kriss Kringle” (Saturday Press, Dec. 25, 1858)
 * “What Was It? A Mystery” (Harper’s New Monthly Magazine, Mar. 1859)
 * “The Wondersmith” (The Atlantic Monthly, Oct. 1859)
 * “Mother of Pearl” (Harper’s New Monthly Magazine, Feb. 1860)
 * “The Child That Loved a Grave” (Harper’s New Monthly Magazine, Apr. 1861)
 * “Tommatoo” (Harper’s New Monthly Magazine, Aug. 1862)
 * “How I Lost My Gravity” (Harper’s New Monthly Magazine, May 1864)

Poetry

 * "Oh! Give a Desert Life to Me" (The Nation, Dublin, Mar. 15, 1845)
 * "Loch Ina, A Beautiful Salt-Water Lake, in the County of Cork" (The Nation, Dublin, Jul. 26, 1845)
 * "The Famine" (The Nation, Dublin, Mar. 7, 1846)
 * "Forest Thoughts" (The Cork Magazine, Dec. 1848)
 * "The Lonely Oak" (The Parlour Magazine, Jul 12, 1851)
 * "Madness" (The American Whig Review, Aug. 1852)
 * "Pallida" (The American Whig Review, Sep. 1852)
 * "The Song of the Immortal Gods" (The American Whig Review, Sep. 1852)
 * "The Old Knight's Wassail" (The American Whig Review, Sep. 1852)
 * "The Shadow by the Tree" (The American Whig Review, Oct. 1852)
 * "Oinea" (The American Whig Review, Dec. 1852)
 * "Sir Brasil's Falcon" (United States Magazine and Democratic Review, Sep. 1853)
 * "The Heath" (The Evening Post, Oct. 19, 1855)
 * "An Episode" (The Evening Post, May. 1, 1856)
 * "The Ghosts" (The Knickerbocker, or New-York Monthly Review, Jan. 1859)
 * "The Man at the Door" (The Knickerbocker, or New-York Monthly Review, Jan. 1861)

Essays

 * "The Way to Get Burried" (The New York Daily Times, Mar. 19, 1853)
 * "The Two Skulls" (Harper's New Monthly Magazine, Feb. 1853)
 * "Bird Gossip" (Harper's New Monthly Magazine, Nov. 1855)

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. (2025). The Lost Room and other Speculative Fiction (Classics of Gothic Horror). New York: Hippocampus Press.