David O’Mahony – Irish horror author

Featured

David O'Mahony, author

Contact: david@davidomahony.ie

David O’Mahony is a horror and dark fantasy writer from Cork, Ireland. He specialises in ghost stories but can also be found writing contemporary fiction.

A prolific writer of short stories, he was a finalist in the 2024 Globe Soup primal fears competition and his first round entry to the 2024 NYC Midnight short story challenge was praised as a “creative, original take on the ghost story”. He has been published or is about to be published in Ireland, the UK, the US, Canada, Australia, India, and Thailand.

An award-winning newspaper designer, his non-fiction work tends to focus on history, in which he has a PhD, or on books and literary matters. Read his non-fiction for the Irish Examiner here.

When not writing he is assistant editor of the Irish Examiner, where he has picked up numerous awards for eye-catching front pages. One of his efforts, marking the publication of the mother and baby homes report and naming all the children who died at Bessborough mother and baby home, featured on Sky News, BBC, and CNN as well as being raised in parliament as an important historical document.

His front page on the murder of Lyra McKee was named front page of the year in 2019, and his team produced the front page of the year for 2020 as well as having an unprecedented double nomination. The Bessborough page won the award in 2021 and he won the 2023 award for Thank you, Vicky.

Story bylines: 

Losing Your Grip, 2RulesofWriting.com, October 2023

Brotherly Love, davidomahony.ie, October 2023

Out of Time, Spillwords, December 2023

A Winter’s Wrath, Christmas of the Dead: Krampus Kountry, December 2023

Head Case, Flash of the Dead: Requiem, January 2024, and Exquisite Death, October 2024

Ghost of a Chance, Triumvirate volume 4, February 2024

Ties That Bind, 2RulesofWriting.com, February 2024, and Metastellar, July 2024

Atonement, Soulmate Syndrome: Certain Dark Things, March 2024

Blood Price, Masks of Sanity: Hidden In Plain Sight, April 2024

The Door, Spillwords, May 2024

Indistinct Background Character on a Field of Grey, 2RulesofWriting.com, May 2024

Sacrifices, Flash of the Undead, June 2024

Family Reunion, miniMAG,  July 2024

Opportunity Knocks, Blood Moon Rising,  July 2024

The Archaeological Findings of Ballybrassil, Cork: A Challenge to the Traditional Narrative, Perseid Prophecies, July 2024

Armageddon, AntiopdeanSF,  August 2024

Holy Ground, Spillwords, September 2024

The Coachman, Children of the Dead: Shadow Playground, September 2024

Through the Gateway, Eldritch Encore: Stories Inspired by HP Lovecraft, September 2024

What Gets Left Behind, Stygian Lepus, September 2024

Onward, Petting Boo (forthcoming)

Family Tree, Mono No Aware, September 2024

Grave Tidings, Flash of the Dead: Halloween ’24, October 2024

Lantern Jack, Halloweenthology: Witches’ Brew, October 2024

Doorways, Exomoons–Natural, and Unnatural, Astronomical Bodies Orbiting Strange Planets – A Sci-Fi/Horror/Grimdark Anthology, December 2024

Whispers of the Wooded River, Perseid Prophecies, January 2025 (forthcoming)

Beneath the Skin, Infernal Delights, January 2025 (expected)

Shadow of the Wyrm, Dragon Flight, January 2025 (expected)

Weighed Down, Channel the Dark vol 2, October 2025 (forthcoming)

New story out now – Doorways

My cosmic horror story Doorways is out now in the Rogue Planet Press anthology Exomoons.

This was the first collection I was invited to write for, as opposed to taking a shot in the dark, and I enjoyed writing the piece.

It’s about Tom Kinsella, who is called to an island off the coast of North America following the death of his father, Preston, and uncovers hints that the older man may have found where the dead end up … and may be able to bring them back.

Doorways is set in my Fairgale Island universe, which is also where Through the Gateway, included in Eldritch Encore, takes place. I created it for the novel I have in progress, Worlds Without End, but Doorways and Through the Gateway, written more than a year apart, have nothing to do with each other (at least right now, I might change my mind in another year or so).

I might actually earn royalties if enough people buy ebooks or paperbacks so if it sounds like your thing, give it a whirl.

Exomoons is a fun anthology that’s a mix of science fiction, horror, and grimdark all themed around moons that are outside our solar system – sometimes, like in Doorways, very far outside of it indeed.

A note from the editor, Sergio Palumbo:

Think of alien exomoons where once life was present and whose archaeological remains today have become the valuable prey of plunderers from space. So, in this book you’ll read a story about an exomoon that is bigger than planet Mars’s size, on which lifeforms are present, though orbiting a gas giant that doesn’t give them light, and warmth, the same as our Sun does. You’ll also read stories about exomoons that aren’t moons at all… And there is also a story about what happened to exomoons partly damaged by something that apparently almost turned them into pieces of shapeless rocks in outer space. Then, here you’ll also find a story about strange exomoons approaching our Sun. And an unusual moon out there in space where some Cthulian deities are at work, maybe… Be that as it may, for starters there’s a story that is about a werewolf and some different, very different exomoons!

Are those exomoons full of surprises, or just as dead as our Moon is? Have some alien species visited them, or do they plan on doing it in the next future maybe?

The Ties That Bind: Debut book out December 31

Barring some unforeseen catastrophe, my debut collection The Ties That Bind will be out on December 31, initially through Amazon but hopefully through other outlets for ebooks not long after. I’m looking into places like Lulu for paperbacks as well just so there are options.

I am very proud of these stories and they cover a wide range of subgenres and a few different styles as well.

I promised myself I’d have a book out in 2024, and while I did shop collections around to a few publishers ultimately I went my own road. And December 31 gets it into 2024 by the skin of its teeth, so I’ve kept my promise to myself.

I’m looking into options for selling through the website and am experimenting with Woocommerce, which is why you see a “shop” tab at the top that’s not currently anything.

All my story collections will be gathered under the umbrella of Shadows and Starlight – originally that was going to be the title of this book, but I was able to forge more thematic links between the stories.

Volume II, What Gets Left Behind, is due out on March 31. Volume III, believe it or not, is in the process of being chosen, though I don’t have a title in mind for that just yet.

– David

Halloween stories out now

Hello beautiful people,

I had a great time speaking to and with the Bottomless Book Club in Cork at the weekend. I gave an informal talk about my writing process, my work, and how my history and journalism work intersects with my horror stuff, plus a few thoughts on the subject while the club discussed Shirley Jackson’s beautiful Haunting of Hill House.

Meanwhile, I have two stories out now in Halloween anthologies from Wicked Shadow Press.

Flash of the Dead: Halloween ’24

You can read my piece of flash fiction, ‘Grave Tidings’, in Flash of the Dead: Halloween ’24. It’s about a paranormal and occult fixer, Liam Kincaid, who spends the night dealing with the ghosts in the Famine graveyard outside Skibbereen.

Halloweenthology: Witches’ Brew

Meanwhile, ‘Lantern Jack’ is out in Halloweenthology: Witches’ Brew, and is about two girls hoping to catch a glimpse of a folk figure while they watch the trick or treaters.

I’ve also got a piece of contemporary flash fiction, ‘Family Tree’, in the anthology Mono No Aware: the book is themed around the Japanese concept of the awareness of transcience and being softly sad about it passing.

Want to read my pieces but not able to buy the books? I got you. Mail me and I can send on the PDF, as the publisher has encouraged us to share.

Two more pieces have been accepted and are in the pipeline: one for CultureCult’s Haunted Haus anthology (this one also features Liam Kincaid, who is a recent creation of mine) and another for Wicked Shadow’s Petting Boo collection of animal-related horror stories.

More publishing news coming soon.

Review: Channel the Dark

This is a great anthology that showcases the wide variety of speculative fiction being produced by Irish authors, as well as those from abroad under the wing of Temple Dark Books (which makes them Irish by adoption, surely).

Dystopian-esque SF, various strands of horror and dark fantasy are all on show here. Three stories actually deal with curses, though in such dramatically different ways they show just how varied writing can be (post-apocalyptic in We Do What We Must, urban dark fantasy in Gestalt, smalltown horrors and isolation in Phobia). I seem to like that theme, though I haven’t made use of it in my own writing yet.

There’s also a really unusual and innovative piece about a detective with the sensory powers of a dog, which has a real Gothic/classic lit sort of feel.

Hats off to the editor, Ronald, a formidable SF author in his own right, for his epic poem Fensham’s Wake. Writing poems is beyond my skillset so I’m always impressed by people who can do it, let alone people who can sustain it (thematically as well as content-wise) in a sort of long form.

A bonus is the selection of tasters of Temple Dark’s published novels, along with valuable forewards by the authors which give you a bit of insight into how each extract fits into the whole and also their motivations in writing them. I’ve bought two more Temple Dark novels since, A Land Without Wolves and Hell’s Gulf, and I’m looking forward to starting them.

Review: Glimpses of the Unknown – Lost Ghost Stories

This anthology of previously never anthologised ghost stories is a gem of a find and is the first of the British Library’s Tales of the Weird series that I’ve read in full.

There are eighteen stories here from the late 19th century to the 1920s and cover all aspects of ‘horror’, from creeping supernatural to moody atmospheres that unsettle rather than terrify. That’s the joy of the genre, really, in that it can run the gamut without getting tiresome. We have everything from Gothic hauntings to Mesopotamian adventure stories; the editor is right to say that the last one could make a good Indiana Jones movie.

What I found especially interesting is how fresh and contemporary the stories feel. True, some of the settings are of their time, like duels with rapiers and the like or some dubious attitudes by male characters toward women (such as ‘The River’s Edge’ by Mary Schultze), but the actual writing styles are typically engaging and fluid.

As I’ve mentioned the fact that these stories have never been included in a book since their initial publication makes it part archaeological/archival retrieval. There’s a bio and potted history of each writer but some of the authors have no history that can be found, despite the editor’s efforts by going through census and other records to try and match bylines to verifiable historical figures.

There is something well, ghostly, about an author such as Eric Purves (whose story ‘The House of the Black Veil’ is one of the more innovative pieces) now existing solely in reference to the single story he/she/they seem to have published. Ashely in his intro to that story notes that “When John Reed Wade, the editor of Pearson’s Magazine, ran the following story in the May 1929 issue, he announced it as ‘One of the most original mystery stories ever written.” And yet there is no trace of any other Purves work. Was it a pseudonym? We’ll never know.

Not every reader will like every story, which is natural enough in an anthology, but lovers of ghost stories will have plenty to hold their interest here.

Halloween column: The joy of horror

We have been telling stories about the things that terrify us since time immemorial.

We have done it in every medium ever invented, from oral campfire stories to religious illuminated manuscripts to wood etchings to cinema. There is no shortage of examples, and the beauty of horror (let’s just class it all as “horror fiction”) is that it is endlessly adaptable to the circumstances. Like science fiction, it’s a fantastic vehicle for social commentary, because you can make grotesque analogies with reality or real-life behaviours – Jordan Peele did this masterfully in Us and Get Out.

I can’t think of a single genre that’s been more influential on me than horror. It wasn’t just Stephen King, even though he was the first horror writer I was a fan of and for years he was the most numerous author in my own library (eventually match, then eclipsed by Terry Goodkind).

Although I’m also a big fan of science fiction, nothing can come close to horror for me really. The first book I can remember buying with my own money was a hardback Penguin Book of Horror Stories, now out of print, in a shop in Tralee, Co Kerry, which no longer exists (stop calling me old).

Penguin Book of Horror Stories, edited by JA Cuddon

I go back to this maybe every 18 months or so. It holds such a prominent place in my formative years that I’m always convinced one of my favourite stories – about somebody who only discovers they’re living dead at the end when catching sight of themselves in a mirror – is in it, and yet it is not. I’ve never been able to trace the story, and as far as I know it was anonymous. My wife, incidentally, has suggested that it may have been a story I wanted to write but never did… so in all likelihood I will.

I had always aimed to be a fantasy fiction author. I fell head over heels for David and Leigh Eddings’ works while a teenager (the first one part of the Belgariad bought secondhand on a whim… I’ve only recently discovered the darkness in their past, see the comments). I loved, and still love, the world building aspects, the adventure, the ability to break rules with magic. And yet while I wrote the genesis of a couple of novels in my youth, they never completed themselves. I even did a whole preparatory study for a fantasy universe, a la the Eddings’ Rivan Codex, which was a bit of a goldmine in terms of trying to understand how to put something like that together.

As I returned to writing recently, I worked out some fantasy-inspired stories, including one that’s paused in around the 17,000-word mark. But it turns out I have more of a flair for horror, and that I can use that genre to explore everything I have an interest in. A story of mine was recently published on 2RulesofWriting, and explores the idea of a ghost being haunted by himself. Other stories examine being trapped by pain of the past, while others dip back into the fantasy mythos.

The Guardian recently published a piece (and it’s really a rather interesting article) referring to the “horror fiction renaissance”, stating that horror “went away” in the 1990s to be replaced by other genres. Peele is quoted from a book on black horror that he views the genre “as catharsis through entertainment”.

This is actually not a new statement, though it captures the essence of it, and I remember it coming up as a theme in film studies while at university: The idea that a group can, communally, experience intense fear and emotions in a safe space (the cinema) with a defined end. A bit like a rollercoaster, which often is a good analogy for a horror film.

I’m not convinced by the article’s thesis that horror really went away. I’m not saying it’s entirely wrong, but rather that the genre has tended to just been reimagined. It blends easily with dystopian fiction (which itself goes back to Wollstonecraft Shelley’s The Last Man at least), science fiction, thrillers, pastoral scenes, whatever takes your fancy. Perhaps it is better to say that it became less visible, or less to the forefront culturally. Asian cinema has been producing horrors successfully, often remade for Western audiences (eg, Ring, The Grudge), and there is a superb range of anime horrors too.

Certainly, it is cyclical, like pretty much every other genre. Every now and again something comes out that breaks the conventions and establishes a new orthodoxy. Think the 1978 Halloween that more or less created the slasher genre. Think also of the Scream series, which resurrected the slasher genre but in a smart, self-referential sort of way. But while both of those series ended up prolific, they spawned innumerable imitators and the quality became diluted, as it typically does in every cultural mass movement.

The ability to self publish, and publish digitally first, has definitely allowed a flowering of newer subgenres in the last few years, and from a more diverse range of backgrounds, and there’s even a dedicated Irish publisher of science fiction and horror, Temple Dark Books. The vibrancy of #bookstagram and #booktok are also allowing new reads to get out in front of eyeballs faster than usual, even if it’s possible to drown in the sheer amount social media content (but it’s not just book-related). I follow a couple of horror-focused accounts on Instagram and I could easily (and gleefully) bankrupt myself buying up their recommendations.

Who knows what the future will hold? More cycles of innovation and stagnation, no doubt, but there will be constant innovation bubbling along in the background. I look forward to doing a better job of keeping in touch with it.

Happy Halloween!

Fiction: Brotherly Love

(Originally submitted for the RTE short story competition)

Richard would never forget the look on Coster’s face as he fell. The shock of despair, of hope turned to devastation. 

They had been inseparable in their youth, so much so that people often asked who was the older brother. Richard’s more robust build and freckled face complemented Coster’s sleeker, paler features. 

Coster’s family lived a few streets away but he seemed to spend very little time there. Or at least, in Richard’s memory Coster had spent nearly every day at his own home, and nobody ever commented on how he flinched away from human touch, or winced if he banged his back against something. He was always gone by dusk, but, when they were about eleven, Richard came downstairs to find Coster at the breakfast table with his mother, eating Richard’s cereal and huddled under Richard’s blanket. After that he never left and nobody ever mentioned the other house again.

Coster was given the bedroom Richard’s father had slept in before he went away. It was larger than Richard’s, and impeccably clean. His mother had always insisted on everything being neat and tidy. Coster seemed to look vaguely like Richard’s father, though Richard had no memory of him. Some of his toys and books found their way into Coster’s room, and other, new ones besides. You stole my mother.

Coster, just a few inches short of a man’s height, was always the first one down in the morning to greet Richard’s mother. Dutifully, without being asked, he would clear the table after breakfast and find some other small chore to do before school. “Such a good boy,” Richard’s mother would tell him. “Such a fine and handsome young man, so good to have around the house.” And slowly, inevitably as the weeks and months went by, she would add: “Why can’t you be more like Jimmy?” 

You stole my mother.

The weeks, and months went by, as they do. And the two boys grew up and out, as boys are wont to do. The lads, the boys, the guys his mother would say, never sons. Coster couldn’t say what his birthday was, so they became twins of a sort, ageing officially on the same day each year. 

The autumn they turned fourteen was fiercely hot, without a drop of rain for months and dead air like the inside of an oven. That day had begun muggy and cloudy, but Richard knew from the forecast that it would burn off within an hour. It was not much past dawn. He had taken to spending dawn outside in most weathers. Inside was too cramped, too tired, it made his skin crawl as if spiders were racing up and down his spine. He would wake to find his sheets a tangled mess. Coster’s were seldom touched, it seemed. “The nightmares,” his mother said when he had commented. “They terrify him something fierce. He needs a mother’s touch.” But Richard had never heard his friend – and they were still inseparable, Coster a paragon of loyalty and devotion to his hero – never heard his friend cry out in the night.

Richard was standing beneath the trees as the sunlight broke through the boughs, listening to the cacophony of birdsong from his garden and the nearby woodlands. Cuckoo, cuckoo, came one. Cuckoo, cuckoo. Richard closed his eyes and leaned back against a tree trunk, wondering what it would be like to fly away. You stole my mother.

When he padded inside and back up the stairs Coster was coming out of his – their – mother’s room and greeted him with a smile and a brotherly puck on the upper arm, as always, before going off to sort breakfast for everybody. Richard returned the greeting like a good brother would – and he truly did look after Coster like a little brother, standing his ground when bullied, helping with homework when he struggled to read letters the right way around – and went to lie down on his bed for a few minutes to think about his great great grandfather’s samurai sword, brought home from some scarcely remembered merchant voyage.

From the age of sixteen the first insurmountable distance set in between them. Coster, though he still often struggled with reading, had found and built up a prodigious skill for languages, one carefully nurtured by a charismatic teacher at school and supported at home by both mother and Richard, himself no lightweight at learning. The year passed in a hazy mix of English, French, German, and later a smattering of Arabic though all but Coster struggled with it. He recited stories and poems to a computer, then published them far and wide. He had suddenly become known in the town, and further afield, though nobody called him Coster but Richard any more. There were never any girls or guys on his arm at readings or the exhibitions he liked to visit. Only mother.

The shadow of a famous brother excused Richard from some of the harder classes at school, let him work on his inventions quietly in peace even when he wanted advice and kinship. Winning a series of competitions went under the radar at home but caught early attention from universities, though Coster’s stories brought in money and anything Richard did seemed to cost money. “Why can’t you be more like Jimmy?” his mother would ask, greyer at the temples than she had been but not much older beyond that. You stole my mother. And yet Jimmy, Coster, increasingly now James, was the constant supporter, both in money and in showing up when it counted. 

At twenty-three the world caved in. The call came at 5.09am as the winter rain washed against the windows of Richard’s studio apartment in the city. The bleat of the phone shocked him out of a grey, collapsing dream and it took a few seconds to register Coster’s name on the screen. “You need to come home Richie,” he said through a veil of tears. “Mum’s gone. I…” and then came the sound of the phone hitting the floor and the distant sob of heartbreak. 

Richard was dressed and out the door by 5.29am, was unlocking the old front door (when was it painted green?) by 5.50am, and crying on the floor with Coster by 5.52am. At some point they slept in each other’s arms. The sun was up before he could even look at the bed. Both sides of the sheets were tousled. His mother lay there, staring at the ceiling with one arm dangling over the side. There was white foam around her mouth. A tall half-full glass of water sat slightly off-centre on a coaster on the nightstand. Lip marks were on the rim, pale white. 

The boys sat together in the front row at the funeral, Richard’s grandmother to his left and aunts he had seldom seen on their right. Richard would remember little of the day. But he would always remember the numbness, the feeling of being controlled like a marionette as rows of people came to share condolences and memories, faces blending into one general whisper of platitudes. When the time came for the eulogy Coster, the writer, now definitively James, found himself frozen in place. Pleading, desperate eyes sought out Richard, who with a hug took the speech kindly from stiff fingers and recited it with unthinking elegance. 

Then came the days of unfeeling silence, of sitting together finding fellowship in the space between words. Coster, now well off, had his own apartment within walking distance but seemed to have taken few, if any, of his possessions. But what did he really need, wondered Richard, when he had mother to himself? Or was it the other way around? Did it matter any more?

Where the days were nothing but silence the nights were cacophonies of pain and horror as Coster wailed and growled in his sleep at images and entities he could not recall come daylight. On the fourth night after the funeral Richard woke to the sound of a door closing in earnest, an engine humming to life in the pale dead of night.  There was a note. There’s always a note, Richard thought, as he picked up the half-crumpled sheet. It said, simply: “Mum won’t let me go. I don’t know how to be free. I did my best.” So did I, he said to himself as he pulled on his battered trainers and headed for his own car still in the shorts and T-shirt that passed for his pyjamas. 

There was a bridge about ten minutes away that had once been a viaduct for trains. It was high enough to give the feeling of vertigo as you looked down into the river, swollen at this time of year with runoff from the mountains. The boys had often spent a bit of time hanging over the railings, daring one another to swing just a little bit further over or throwing stones into the water below. 

Coster was standing on the other side of the guardrail now, barely more than a phantom shadow beneath a streetlight. Richard walked toward him but off to the side, not wanting to spook him. 

“You’re being a bit melodramatic, Jimmy,” he said. “You wouldn’t even put this in one of your stories when you were a teenager.”

Coster barked a laugh that was half sob. “I thought that after she was gone I’d feel myself again. Every day, every night pawing and crying at me. I just couldn’t take it any more.” He sobbed again. “But I see her face every time I close my eyes. Every bump or crack in the house, I’m sure it’s her wandering around, watching me. I miss it being just us. Though it was never just us. But I always remember that it was.” He was quiet for a moment. “I always thought you’d come and get me.”

And he stepped off into the dark. Richard leapt forward, his muscles straining as he caught the falling man. Richard held Coster’s hand, his grip fierce from adrenaline and raw power. As his friend kicked and swung in panic Richard nearly went over himself before jamming his thigh against the guardrail to brace himself. He let out a guttural roar from the pain and strain. The sweat was already building, making it hard to hold on.

Coster looked up, seemingly in shock that Richard was still there, his hope of salvation. He smiled and relief washed over his face. But as he did his face changed. It was Coster’s own clean-shaven face as a young teenager. “All okay Richie?”  You stole my mother.

The features morphed until his mother’s face was staring up at him. “Why can’t you be more like Jimmy?” she asked. “Such a good boy, such a fine and handsome young man, so good to have help around the house.” She pursed her lips and wrinkled her nose at him. You stole my brother.

“Richie pull me up! Quick quick,” she said, though her voice was Coster’s. “I can’t hold on. I’m slipping,” she said desperately. 

“Slip away,” he whispered, letting go.

And it was Coster’s face again, eyes and mouth wide with terror. The shock of despair, of hope turned to devastation. Down, down he went toward the winter waters. Richard watched him falling, his breathing coming back to normal. “Goodbye Jimmy,” he whispered. “Goodbye mother. Cuckoo, cuckoo.”

He tucked his shirt back in and smoothed out the creases. He turned on his heel as he heard a faint cry and splash. The wind had picked up and a downpour was nigh.

As he walked back to the car he realised he was hungry and wondered what he would have for breakfast. He sat at the wheel, closed his eyes for a moment, took a deep breath, started the engine, and aimed the car toward a road he had never travelled, where there was nobody left to be stolen.