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narrator that he is the architect of the readings in the underground chamber, which he alters for his amusement, thereby inadvertently saving the narrator's life. Fox goes on to tell the narrator that he found the cash box and has sent it to the narrator's home, where it is waiting for him. He also reveals that the box contains not money but omnium, which can become anything he desires. Elated by the possibilities before him, the narrator leaves Fox's police station and goes home looking forward to seeing Divney once again; on arrival, he finds that while only a few days have passed in his own life, his accomplice is sixteen years older, with a wife and children. Divney can see the narrator, although the others cannot, and he has a heart attack from the shock. He shouts that the narrator was supposed to be dead, for the black box was not filled with money but a bomb and it exploded when the narrator reached for it. The narrator leaves Divney on the floor, apparently dying.
186:, a scientist and philosopher. The narrator, whose name the reader never learns, is orphaned at a young age. At boarding school, he discovers the work of de Selby and becomes a fanatically dedicated student of it. One night he breaks his leg under mysterious circumstances – "if you like, it was broken for me" – and he is ultimately fitted with a wooden leg to replace the original one. On returning to his family home, he meets and befriends John Divney who is in charge of the family farm and pub. Over the next few years, the narrator devotes himself to the study of de Selby's work and leaves Divney to run the family business.
190:
plans to rob and kill
Mathers. The narrator and Divney encounter Mathers one night on the road and Divney knocks Mathers down with a bicycle pump. The narrator, prompted by Divney, finishes Mathers off with a spade and then notices that Divney has disappeared with Mathers's cash box. When Divney returns, he refuses to reveal the location of the cash box and fends off the narrator's repeated inquiries. To ensure that Divney does not retrieve the box unobserved, the narrator becomes more and more inseparable from Divney, eventually sharing a bed with him: "the situation was a queer one and neither of us liked it".
221:
chamber called 'Eternity,' where time stands still, mysterious numbers are devoutly recorded and worried about by the policemen; a box from which anything you desire can be produced; and an intricately carved chest containing a series of identical but smaller chests. The infinite nature of this last device causes the narrator great mental and spiritual discomfort.
448:
effect, "for he liked his effects under rational control and this book grimaced at him, from expressive levels he was careful never to monkey with again", that he suppressed it; not out of despair of it reaching a publisher but because it offended his own "explicitly formed and highly orthodox conscience". Kenner calls O'Nolan's
242:
itself and restarted. This time, John Divney joins the narrator on the road; they neither look at nor speak to each other. They both enter the police station and are confronted by
Sergeant Pluck, who repeats his earlier dialogue and ends the book with a reprise of his original greeting to the narrator:
220:
and who are entirely obsessed with bicycles. There he is introduced to various peculiar or irrational concepts, artefacts, and locations, including a contraption that collects sound and converts it to light based on a theory regarding omnium, the fundamental energy of the universe; a vast underground
237:
As he rides through the countryside, he passes
Mathers's house and sees a light. Disturbed, he enters the house and finally meets the mysterious and reportedly all-powerful third policeman, Fox, who has the face of Mathers. Fox's secret police station is in the walls of Mathers's house. He tells the
233:
The narrator calls on the help of
Finnucane, but his rescue is thwarted by MacCruiskeen riding a bicycle painted an unknown colour which drives those who see it mad. He faces the gallows, but the two policemen are called away by dangerously high readings in the underground chamber. The following day
198:
It was as if the daylight had changed with unnatural suddenness, as if the temperature of the evening had altered greatly in an instant or as if the air had become twice as rare or twice as dense as it had been in the winking of an eye; perhaps all of these and other things happened together for all
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Hopper interprets the narrator's journey as "a quest to discover the borderland between reality and fiction", noting the narrator's "flickering between an awareness that he is a character trapped within a fictional order and his realist belief that he is a 'real-life' person". Hopper also notes the
323:
When you get to the end of this book you realize that my hero or main character (he's a heel and a killer) has been dead throughout the book and that all the queer ghastly things which have been happening to him are happening in a sort of hell which he earned for the killing … It is made clear that
193:
Three years pass, in which the previously amicable relationship between the narrator and Divney breaks down. Eventually, Divney reveals that the box is hidden under the floorboards in
Mathers's old house, and instructs the narrator to fetch it. The narrator follows Divney's instructions but just as
447:
tradition, Kenner argued that the book created a "cartoon of
Ireland" that was "brilliant but disturbingly coherent." Kenner argues that the book's failure to find a publisher must have caused O'Nolan to reread it, whereupon O'Nolan (in Kenner's account) must have been so "unsettled" by the book's
224:
It is later discovered that
Mathers has been found dead and eviscerated in a ditch. Joe suspects Martin Finnucane, but to the narrator's dismay he himself is charged with the crime because he is the most convenient suspect. He argues with Sergeant Pluck that since he is nameless, and therefore, as
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The box has disappeared, and the narrator is perplexed to notice that
Mathers is in the room with him. During a surreal conversation with the apparently dead Mathers, the narrator hears another voice speaking to him which he realises is his soul: "For convenience I called him Joe." The narrator is
189:
By the time the narrator is thirty, he has written what he believes to be the definitive critical work on de Selby but does not have enough money to have it published. Divney observes that
Mathers, a local man, "is worth a packet of potato-meal" and eventually it dawns on the narrator that Divney
241:
Feeling "sad, empty and without a thought", the narrator leaves the house and walks away down the road. He soon approaches the police barracks, the book using exactly the same words to describe the barracks and the narrator's opinion of it that were used earlier, the story having circled around
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Pluck observed, "invisible to the law", he cannot be charged with anything. Pluck is surprised, but after he unsuccessfully attempts to guess the narrator's name he reasons that since the narrator is nameless he is not really a person, and can therefore be hanged without fear of repercussions:
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Joe had been explaining things in the meantime. He said it was again the beginning of the unfinished, the re-discovery of the familiar, the re-experience of the already suffered, the fresh-forgetting of the unremembered. Hell goes round and round. In shape it is circular and by nature it is
29:
207:
On the way, he meets a one-legged bandit named Martin
Finnucane, who threatens to kill him but who becomes his friend upon finding out that his potential victim is also one-legged. The narrator approaches the police barracks and is disturbed by its appearance:
285:, offered the use of his literary agent in finding an American publisher, but with no success. O'Nolan made no further attempts at publication and shelved the manuscript, claiming that it had been lost. O'Nolan told his friends that while driving through
324:
this sort of thing goes on for ever … When you are writing about the world of the dead – and the damned – where none of the rules and laws (not even the law of gravity) holds good, there is any amount of scope for back-chat and funny cracks.
167:. It was written in 1939 and 1940, but after it initially failed to find a publisher, the author withdrew the manuscript from circulation and claimed he had lost it. The book remained unpublished at the time of his death in 1966. It was published by
303:. After O'Nolan's death in 1966, his widow Evelyn O'Nolan sent the typescript to MacGibbon & Kee, O'Nolan's publishers throughout the 1950s and 1960s. The firm published the book in 1967. Reviewer Thomas Kilroy described it as a "masterpiece".
350:". She described the book as "in parts, extremely amusing, but the overall effect is anything but funny" and noted that the book "shows a fixity of purpose and clarity" which she contrasted with the "organised chaos" of
492:" contains the line "What with the drink trade on its last legs and the land running fallow for the want of artificial manures", the same line John Divney uses in the book to explain their lack of funds.
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somewhat differently. Regarding it as "the first great masterpiece of what we generally refer to now as post-modernism", he argues that the book is not less but more formally experimental than
269:, who had been a champion of his at Longman, was still a reader with the company, but he was not. Consequently, the novel fell on less sympathetic ears. The rejection notice read in part:
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have been varied. Anne Clissman, writing in 1975 in the first major study of Flann O'Brien's work, considers the book to be "in many ways a continuation of some of the ideas expressed in
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bent on finding the cash box, and when Mathers tells him about a remarkable police barracks nearby he resolves to go to the barracks and enlist the help of the police in finding the box.
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It looked as if it were painted like an advertisement on a board on the roadside and indeed very poorly painted. It looked completely false and unconvincing.
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the boot of his car opened unknown to him, causing the manuscript to flutter out page by page until it was gone. In reality he left it on the
366:, with varying methods of presenting reality in fiction, but with reality viewed through the medium of scientific and philosophical concepts.
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The particular death you die is not even a death (which is an inferior phenomenon at best) only an insanitary abstraction in the backyard.
530:
The book was adapted by the Ridiculusmus theatre company. Premiered at Aras na nGael, London in 1992 and toured in repertory until 1997.
482:, with the result that sales of the book in the three weeks following its mention equalled what it had sold in the preceding six years.
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to explain why O'Nolan had suppressed the manuscript. Noting the complex ways in which the novel draws on pagan traditions in
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Inside the barracks he meets two of the three policemen, Sergeant Pluck and Policeman MacCruiskeen, who speak largely in
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We realize the author's ability but think that he should become less fantastic and in this new novel he is more so.
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In 1940, O'Nolan completed the novel and circulated the typescript among friends in Dublin. He submitted it to
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conscience the "Fourth Policeman" of his essay's title. Kenner finishes the essay by predicting that while
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460:… it will be rediscovered, and again, and again. There's no killing a piece of mythic power like that.
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in his dining room, in plain view to him every day as he ate, for 26 years. He later used elements of
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Contrary to O'Nolan's assertion that this novel was without the 'difficulties and fireworks' of
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The book was adapted for an open-air theatre production by Miracle Theatre in 2017, with
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judging it to be an "Enjoyably absurd and inventively staged alfresco summer theatre".
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A book cover of the Norwegian book edition is displayed in the last scene of the movie
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literature, as well as the ways in which it confounds attempts to inscribe it within a
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is set in rural Ireland and is narrated by a dedicated amateur scholar who studies
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1133:"Domhnall Gleeson Digs His Own Grave in Video for Hozier's 'De Selby (Part 2)'"
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wide range of intellectual and cultural influences on the book, including
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my senses were bewildered all at once and could give me no explanation.
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In a passage that was omitted from the published novel, O'Nolan wrote:
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is a novel by Irish writer Brian O'Nolan, writing under the pseudonym
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Flann O'Brien: A Portrait of the Artist as a Young Post-Modernist
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he escapes from the barracks on a bicycle of unusual perfection.
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315:, dated 14 February 1940, O'Nolan explained the strange plot of
281:, who had become acquainted with O'Nolan during a brief stay in
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431:, in a 1997 essay entitled "The Fourth Policeman", advanced a
354:. Clissman regards the novel as a less experimental work than
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Kenner, Hugh (1997). "The Fourth Policeman". In Clune, Anne;
1159:"Riotous comedy The Third Policeman is a success for Miracle"
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may tend to be neglected in favour of O'Nolan's first novel:
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by Flann O'Brien, reviewed by Ted Gioia (Postmodern Mystery)
386:, this is a more radical and involved metafictional fantasy.
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Keith Hopper, writing twenty years after Clissman, regards
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265:, but they declined to publish it. O'Nolan believed that
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No Laughing Matter: The Life and Times of Flann O'Brien
1306:. Belfast: Institute of Irish Studies. pp. 61–71.
1223:
Flann O'Brien: A critical introduction to his writings
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was featured in a 2005 episode of television series
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interminable, repetitive and very nearly unbearable.
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1304:Conjuring Complexities: Essays on Flann O'Brien
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259:'s, the English publisher of his first novel,
194:he reaches for the box, "something happened":
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1411:. Baltimore: Johns Hopkins University Press.
1329:Kilroy, Thomas (1968). "The Year in Review".
1068:"Lost boosts interest in The Third Policeman"
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508:referenced The Third Policeman in the tracks
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478:with the intent of providing context for
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1350:. London: Flamingo/Harper Collins.
1080:"Lost revives Irish novel interest"
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362:Its central concern is not, as in
246:"Is it about a bicycle?" he asked.
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1671:
1556:(written 1939-40, published 1967)
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1099:ten years in an open necked shirt
490:Ten years in an open necked shirt
1131:Zemler, Emily (17 August 2023).
1007:, pp. 32, 97, 231, 242, 245
398:The Playboy of the Western World
106:Print (hardback & paperback)
1650:Irish novels adapted into plays
1275:. Cork: Cork University Press.
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1225:. Dublin: Gill and Macmillan.
1157:Davis, Joanna (17 July 2017).
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1:
1635:Novels published posthumously
1189:Brien, Jeremy (7 July 2017).
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1384:. Dublin: New Island Books.
1215:General and cited references
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480:the show's complex mythology
342:Critical interpretations to
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16:1967 novel by Flann O'Brien
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1660:MacGibbon & Kee books
1610:20th-century Irish novels
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1457:De Selby Canned Darkness…
1380:Cronin, Anthony (2003) .
1112:"Next Door (2005) - IMDb"
880:, pp. 55–56, 204–205
488:'s nonsense prose poem, "
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1248:Cronin, Anthony (1989).
930:London: Grafton, p. 101.
465:Allusions in other works
338:Critical interpretations
1630:Novels by Flann O'Brien
1441:Literary Encyclopedia:
1342:O'Brien, Flann (1993).
1331:Irish University Review
1221:Clissman, Anne (1975).
1407:Kenner, Hugh (1989) .
1271:Hopper, Keith (1995).
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1645:Philosophical novels
1625:Novels about writers
1561:Slattery's Sago Saga
1066:'s website article.
417:theory of relativity
277:The American author
22:The Third Policeman
1615:Irish comedy novels
1605:1967 fantasy novels
1553:The Third Policeman
1450:The Third Policeman
1443:The Third Policeman
1346:The Third Policeman
1256:. London: Grafton.
1086:, 24 February 2006.
1070:, 20 February 2006.
470:The Third Policeman
454:The Third Policeman
372:The Third Policeman
344:The Third Policeman
317:The Third Policeman
295:The Third Policeman
251:Publication history
180:The Third Policeman
169:MacGibbon & Kee
160:The Third Policeman
152:PR6029.N56 T48 1999
79:MacGibbon & Kee
69:philosophical novel
23:
1620:Irish crime novels
1545:The Dalkey Archive
1252:No Laughing Matter
928:No Laughing Matter
793:, pp. 173–179
516:on his 2023 album
486:John Cooper Clarke
441:Early Modern Irish
300:The Dalkey Archive
297:in his 1964 novel
21:
1655:Postmodern novels
1587:
1586:
1529:At Swim-Two-Birds
1282:978-1-85918-042-6
514:De Selby (Part 2)
510:De Selby (Part 1)
425:Cartesian dualism
384:At Swim-Two-Birds
376:At Swim-Two-Birds
352:At Swim-Two-Birds
307:O'Nolan's opinion
262:At Swim-Two-Birds
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95:Publication place
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1600:1967 novels
1164:Dorset Echo
1101:, Nov 2022.
1041:Kenner 1997
1029:Kenner 1997
1017:Kenner 1997
1005:Hopper 1995
993:Hopper 1995
981:Hopper 1995
966:Hopper 1995
940:Kilroy 1968
601:, p. 8
589:, p. 9
575:Hopper 1995
526:Adaptations
429:Hugh Kenner
421:J. W. Dunne
140:823/.912 21
1594:Categories
1203:5 December
1174:5 December
543:References
433:hypothesis
1492:Works by
1427:254475251
1196:The Stage
1142:18 August
1052:Producer
548:Citations
536:The Stage
498:Next Door
408:À rebours
405:'s novel
291:sideboard
171:in 1967.
75:Publisher
65:absurdism
1579:De Selby
1400:52696949
1366:29389262
1322:37709678
1291:33189239
1199:. London
1084:BBC News
926:(1989).
501:(2005).
450:Catholic
413:Einstein
395:'s play
184:de Selby
127:40489146
49:Language
1241:2002815
445:realist
364:At Swim
356:At Swim
348:At Swim
287:Donegal
257:Longman
98:Ireland
52:English
1548:(1964)
1540:(1962)
1532:(1939)
1513:(1941)
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506:Hozier
437:Middle
283:Dublin
114:212 pp
61:Comedy
39:Author
111:Pages
57:Genre
1423:OCLC
1413:ISBN
1396:OCLC
1386:ISBN
1362:OCLC
1352:ISBN
1337:(1).
1318:OCLC
1308:ISBN
1287:OCLC
1277:ISBN
1258:ISBN
1237:OCLC
1227:ISBN
1205:2017
1176:2017
1144:2023
1117:IMDb
512:and
475:Lost
439:and
423:and
121:OCLC
90:1967
1064:RTÉ
415:'s
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
