O.Henry

Early life

Porter was born on September 11, 1862, in Greensboro, North Carolina. His middle name at birth was Sidney; he changed the spelling in 1898. His parents were Dr. Algernon Sidney Porter (1825–1888) and Mary Jane Virginia Swain Porter (1833–1865); they were married April 20, 1858. When William was three, his mother died from tuberculosis, and he and his father moved into the home of his paternal grandmother.

As a child, Porter was constantly reading. He read everything from classics to dime novels. His favorite reading was One Thousand and One Nights.

Porter graduated from his aunt Evelina Maria Porter's elementary school in 1876. He then enrolled at the Lindsey Street High School. His aunt continued to tutor him until he was 15. In 1879, he started working as a bookkeeper in his uncle's drugstore and in 1881, at the age of nineteen, he was licensed as a pharmacist. At the drugstore, he also showed off his natural artistic talents by sketching the townsfolk.

Stories

O. Henry stories are famous for their surprise endings, to the point that such an ending is often referred to as an "O. Henry ending." He was called the American answer to Guy de Maupassant. Both authors wrote twist endings, but O. Henry stories were much more playful and optimistic.^{[citation needed]}

Most of O. Henry's stories are set in his own time, the early years of the 20th century. Many take place in New York City, and deal for the most part with ordinary people: clerks, policemen, waitresses. His stories are also well known for witty narration.

Fundamentally a product of his time, O. Henry's work provides one of the best English examples of catching the entire flavor of an age. Whether roaming the cattle-lands of Texas, exploring the art of the "gentle grafter," or investigating the tensions of class and wealth in turn-of-the-century New York, O. Henry had an inimitable hand for isolating some element of society and describing it with an incredible economy and grace of language.

Some of his best and least-known work resides in the collection Cabbages and Kings, a series of stories which each explore some individual aspect of life in a paralytically sleepy Central American town while each advancing some aspect of the larger plot and relating back one to another in a complex structure which slowly explicates its own background even as it painstakingly erects a town which is one of the most detailed literary creations of the period.

The Four Million is another collection of stories. It opens with a reference to Ward McAllister's "assertion that there were only 'Four Hundred' people in New York City who were really worth noticing. But a wiser man has arisen—the census taker—and his larger estimate of human interest has been preferred in marking out the field of these little stories of the 'Four Million.'" To O. Henry, everyone in New York counted. He had an obvious affection for the city, which he called "Bagdad-on-the-Subway,"^[1] and many of his stories are set there—but others are set in small towns and in other cities.

Among his stories are:

• A Municipal Report" which opens by quoting Frank Norris: "Fancy a novel about Chicago or Buffalo, let us say, or Nashville, Tennessee! There are just three big cities in the United States that are 'st"ory cities'—New York, of course, New Orleans, and, best of the lot, San Francisco." Thumbing his nose at Norris, O. Henry sets the story in Nashville.

• "The Gift of the Magi" about a young couple who are short of money but desperately want to buy each other Christmas gifts. Unbeknownst to Jim, Della sells her most valuable possession, her beautiful hair, in order to buy a platinum fob chain for Jim's watch; while unbeknownst to Della, Jim sells his own most valuable possession, his watch, to buy jeweled combs for Della's hair. The essential premise of this story has been copied, re-worked, parodied, and otherwise re-told countless times in the century since it was written.

• "The Ransom of Red Chief", in which two men kidnap a boy of ten. The boy turns out to be so bratty and obnoxious that the desperate men ultimately pay the boy's father $250 to take him back.

• "The Cop and the Anthem" about a New York City hobo named Soapy, who sets out to get arrested so he can spend the cold winter as a guest of the city jail. Despite efforts at petty theft, vandalism, disorderly conduct, and "mashing," Soapy fails to draw the attention of the police. Disconsolate, he pauses in front of a church, where an organ anthem inspires him to clean up his life—whereupon he is promptly arrested for loitering.

• "A Retrieved Reformation", which tells the tale of safecracker Jimmy Valentine, recently freed from prison. He goes to a town bank to check it over before he robs it. As he walks to the door, he catches the eye of the banker's beautiful daughter. They immediately fall in love and Valentine decides to give up his criminal career. He moves into the town, taking up the identity of Ralph Spencer, a shoemaker. Just as he is about to leave to deliver his specialized tools to an old associate, a lawman who recognizes him arrives at the bank. Jimmy and his fiancée and her family are at the bank, inspecting a new safe, when a child accidentally gets locked inside the airtight vault. Knowing it will seal his fate, Valentine opens the safe to rescue the child. However, the lawman lets him go.

• "After Twenty Years", set on a dark street in New York, focuses on a man named "Silky" Bob who is fulfilling an appointment made 20 years ago to meet his friend Jimmy at a restaurant. A beat cop questions him about what he is doing there. Bob explains, and the policeman leaves. Later, a second policeman comes up and arrests Bob. He gives Bob a note, in which the first policeman explains that he was Jimmy, come to meet Bob, but he recognized Bob as a wanted man. Unwilling to arrest his old friend, he went off to get another officer to make the arrest.

• "Compliments of the Season" describes several characters' misadventures during Christmas [1].

Origin of his pen name

In a 1909 New York Times interview, Porter gave his version of the origin of his pseudonym "O. Henry":

It was during these New Orleans days that I adopted my pen name of O. Henry. I said to a friend: "I'm going to send out some stuff. I don't know if it amounts to much, so I want to get a literary alias. Help me pick out a good one." He suggested that we get a newspaper and pick a name from the first list of notables that we found in it. In the society columns we found the account of a fashionable ball. "Here we have our notables," said he. We looked down the list and my eye lighted on the name Henry, "That'll do for a last name," said I. "Now for a first name. I want something short. None of your three-syllable names for me." "Why don’t you use a plain initial letter, then?" asked my friend. "Good," said I, "O is about the easiest letter written, and O it is."
…
A newspaper once wrote and asked me what the O stands for. I replied, "O stands for Olivier the French for Oliver." And several of my stories accordingly appeared in that paper under the name Olivier Henry. ^[2]