The Third Policeman

Flann O'Brien

52 pages 1-hour read

Flann O'Brien

The Third Policeman

Fiction | Novel | Adult | Published in 1967

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Background

Authorial Context: Flann O’Brien (Brian O’Nolan)

Flann O’Brien is one of the pseudonyms of Brian O’Nolan, who was born in Ireland in 1911. He wrote satire for several satirical magazines during college, writing under other pseudonyms to disguise his identity. He later wrote a satirical column in the Irish Times, in which he criticized life in Dublin, his readers, and bureaucrats. Much of that journalism was published under the pseudonym Myles na Gopaleen. 


The use of pseudonyms and satirical background is important to the context of The Third Policeman. The narrator forgets his name early in the text, and the reader never learns it. However, he and Joe have extended conversations about potential names and identities for him: “Signor Beniamino Bari, Joe said, the eminent tenor” or “Dr. Solway Garr. The duchess has fainted. Is there a doctor in the audience?” (44). Given O’Brien’s well-known and extensive use of pseudonyms, the narrator’s focus on alternate names and identities is a self-aware and metafictional gesture toward the author’s reality.


O’Brien worked in the Irish Civil Service between 1935 and 1953. His longstanding tenure in a bureaucratic role is important to the novel’s satire of village policing and its depiction of hell as interminable and tedious bureaucracy. O’Brien’s first novel, At Swim-Two-Birds, was published in 1939 and he wrote The Third Policeman next. However, it was rejected by his publisher, who commented that he should make his writing less fantastical, not more so. He published a novel in Gaelic, The Poor Mouth in 1941, then two more novels in English—The Hard Life (1961) and The Dalkey Archive (1964)—during his lifetime. The Dalkey Archive contains some material repeated from The Third Policeman and features de Selby as one of its characters. The Third Policeman was published posthumously in 1967, after O’Brien’s death in 1966.

Literary Context: Irish Modernism/Postmodernism

O’Brien’s work is important in the context of literary Modernism and Postmodernism movements in Ireland, which included James Joyce, Samuel Beckett, and Flann O’Brien. Modernism was often characterized by an intense focus on characters’ interior thought processes, nonlinear/mythic structures, and representations of political and linguistic tensions. In Postmodernism, texts became more self-aware and even metafictional, less structured, and at times more satirical.


O’Brien was influenced by James Joyce, whose work epitomized high Modernism. In Ulysses (1922), Joyce developed several key Modernist techniques, including steam of consciousness, in which the novel follows closely the disjointed thoughts of its characters. O’Brien employs a similar technique with his narrator in The Third Policeman. O’Brien acknowledged Joyce’s influence, including him as a character in the last novel published during his lifetime, The Dalkey Archive.


Several key Irish Modernists, including O’Brien, began to bridge the gap between “high modernism,” and the more experimental Postmodernist movement. Joyce’s work became more experimental throughout his career with his last published work, Finnegans Wake (1939), moving toward Postmodernism. That text frequently contains multilingual puns and eschews all conventional narrative structure. Similarly, O’Brien is often described by scholars as bridging Modernism and Postmodernism. He was writing contemporaneously with Modernist writers (At Swim-Two Birds was published the same year as Finnegans Wake), but also moved toward Postmodernist techniques like metafiction and satire.

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