This proposed venture never came to fruition, but the correspondence with Constable (by this time O’Sullivan was living a penurious existence in Bayonne) led to an advance of fifty pounds sterling for a book that was published as (1936). Indeed, this motif was so prevalent in his criticism and correspondence that it led an editor from Constable (the publishers of his novel ) to suggest a volume entitled the title suggested by a remark in the first sentence of O’Sullivan’s essay on Frederick Rolfe/Baron Corvo. The very title of his (1902) bears out such a preoccupation. Many of his occasional essays have at their centre the theme of how literary merit is bestowed, the capriciousness of such judgment, and the hardships endured by writers who deserved more credit, not to mention more economic sustenance. The Hartley Family, Yet, regardless of this respectable creative output, O’Sullivan must have known that he was an outcast from literature’s feast, even if this knowledge took a subconscious form. The Green Window Human Affairs The Good Girl The Bookman exasperatingly unpleasant story. pretence artist When I Was Dead, A Book Of Bargains The Houses of Sin What a midnight his soul seems to walk! And what maladies he draws from the moon. man of letters, By this time a man of letters was very definitely coming to suggest a writer of the second rank, a critic, some one who aimed at higher than journalism but made no pretence of being primarily an artist. is representative in its description of the book as an O’Sullivan tried his hand at drama as well, one of his plays, receiving good notices during its production at the Court Theatre in London (1911). There is also a collection of stories called (1907) and a novel, (1912) that was to garner severe criticism.
And his book of poems, (1897), with a jacket designed by Aubrey Beardsley, drew praise from none other than Oscar Wilde, who was to become his friend and who remarked of O’Sullivan’s subject matter: Leonard Smithers, who published the latter two volumes also brought out O’Sullivan’s book of prose sketches entitled (1899).
(Gross: xiii) Whether it was or not, O’Sullivan did think of himself at times as an and some of his tales of the macabre are still anthologized, most particularly his Poe-like from the volume (1896). Vincent O’Sullivan 1872-1940 John Gross makes no mention of Vincent O’Sullivan in his study of the evolution and decline of the but in many ways O’Sullivan was a paradigmatic example of the species.
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