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Stars of the Wild West Show

In the latter part of the 19th century, before television, radio, or even movies with sound, traveling exhibitions were the biggest form of entertainment most people encountered. Oh yes, the circus! At the same time, newspapers and novels told of the adventures Americans experienced settling the western half of the country: exploring, fighting the natives, hunting strange animals, and building communities. The wild west show merged the entertainment of the circus with the adventure of the new west and brought it to crowds of the eastern US and beyond. The stars of the wild west shows were as famous as world leaders and military heroes -or even more so!

Buffalo Bill

200_Buffalo-BillWilliam Frederick Cody worked as a Pony Express rider, trapper, prospector, buffalo hunter, and military scout before he became the premiere showman of the American West. He earned the nickname Buffalo Bill in his early twenties by outshooting a rival hunter. In 1872, author Ned Buntline persuaded Cody to portray himself in Buntline's play The Scouts of the Plains. Cody caught the show business bug and returned to the theater every season while still working as a scout for the US military. In 1883, he organized a traveling show called Buffalo Bill's Wild West, an outdoor extravaganza which featured historical reenactments, rodeo events, shooting exhibitions, and generally any impressive act that could conceivably depict life in the wild west. Cody's exhibition traveled for thirty years, including a total of ten years in Europe, and was seen by hundreds of thousands of people. Cody's idea of a traveling western circus was recreated by many other show business entrepreneurs, including quite a few of his star acts. In 1893 the name of the show was expanded to Buffalo Bill's Wild West and Congress of Rough Riders of the World when a parade of horseback riders was added. In 1909 he teamed with Pawnee Bill and his Asian acts to form the show Buffalo Bill's Wild West and Pawnee Bill's Far East. See Cody in a surviving film clip.

Dr. W.F. Carver

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Dr. William Frank Carver was trained as a dentist but made his name as a buffalo hunter and champion sharpshooter. The New York Times called him "as fine a specimen of fully-developed manhood as ever walked on Manhattan Island." A short-range marksman, his act consisted of shooting glass balls or wooden blocks his assistant would throw into the air. If that weren't impressive enough, audience members would throw their pencils into the air and watch Carver destroy those as well. He toured on his own and also with Bill Cody's show. Carver won numerous marksmanship prizes in addition to his show business income. Carver invented the horse diving act in which a horse would dive into a pool of water from heights of up to 60 feet. He was inspired when he rode a horse across a bridge that collapsed and the horse executed a graceful dive into a raging river, or at least that was the story he told. Carver's son, daughter, and daughter-in-law carried on the diving horse business in Atlantic City after Carver died in 1927.

Pawnee Bill

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William Gordon Lillie worked as a teacher, interpreter, and advocate for the Pawnee people who were relocated to Oklahoma. His lifelong relationship with the tribe earned him the name Pawnee Bill. He was hired to coordinate the Pawnee actors in Buffalo Bill's first tour. Five years later he went on the road with his own show called Pawnee Bill's Wild West. As time went by, he added Japanese acrobats and Arabian jugglers to the show. In 1908 he again joined Bill Cody, this time as an equal, as they formed "Buffalo Bill's Wild West and Pawnee Bill's Great Far East." Lillie's wife May (pictured) was a rider and sharpshooter in his show while still a teenager.

Buckskin Joe

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Edward Jonathan Hoyt went by the nickname E.J. most of his life, and on stage was known as Buckskin Joe. Born in Canada and raised to use a bow and arrow and animal trap, Hoyt was employed as an acrobat and aerialist with the J.T. Johnson Wagon Circus before the Civil War. He played sixteen different musical instruments  and became an accomplished bandleader. Hoyt fought for the Union in the Civil War and stayed in the military afterward during the Indian Wars. Still, he performed with various shows and learned how to walk a tightrope. Hoyt put together a band that played cow horns, which was recruited for the Pawnee Bill show. Although he wore long hair most of his life already, in 1880 Hoyt vowed to let his hair grow until he was worth $50,000. A few years later he admitted he had enough money and cut fifteen inches off! Hoyt also owned a grocery, served as a US Marshall, mined silver, prospected for gold, and opened his own show called Buckskin Joe's Wild West Show.

Annie Oakley

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Phoebe Ann Moses (or Mosey) later became known as Annie Oakley, the greatest shooter of any wild west show. Her father died when she was six years old, and Oakley learned to hunt and trap to help the family. She gained a reputation as a crack shot, and when she defeated professional sharpshooter Frank Butler in an arranged match, he was so impressed he began to court her. They married in 1882. Butler trained Oakley in riding and developed a show around her skills. Oakley and Butler joined Buffalo Bill's show in 1885, where Oakley became the biggest star outside of Bill Cody himself. She headlined the show for 17 years, then turned to acting when a play was written especially for her. She taught thousands of women to shoot, and even volunteered to put together a regiment of female sharpshooters for the Spanish-American War, but president McKinley did not accept the offer. Oakley continued to stage shooting demonstrations for the rest of her life. You can see Oakley in action in an 1894 Edison film.

Bee Ho Gray

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Emberry Cannon Gray was part Chickasaw and grew up friends with a Comanche family, whose chief gave him the nickname Bee Ho. By the time he was a teenager, Gray was an expert with whips, ropes, knives, and horses. At 19, he joined Colonel Cummins Indian Congress to perform at the World's Fair in St. Louis. He worked with the Miller Brothers 101 Ranch Wild West for many years and was with California Frank's All-Star Wild West and the Irwin Brothers Cheyenne Frontier Days Wild West Show. Gray won two world championship roping competitions and held one of the championship titles for several years. When the wild west shows faded, Gray took his act to vaudeville, radio, and Hollywood. His vaudeville act with his wife Ada featured trick roping, banjo music, humor, and his pet coyote. Bee Ho Gray also appeared in two credited films plus several uncredited roles.

Mexican Joe

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José Barrera was only 15 years old when Pawnee Bill hired him as a trick roper. He was an expert rider and participated in a "horse ballet" in which a group of riders danced to a live Mexican band. Barrera married a fellow performer, trick rider Effie Cole. He performed with Buffalo Bill's show and the Miller Brother's show in addition to Pawnee Bill's productions. When he and Ellie retired from show business, Barrera became foreman at Pawnee Bill's ranch in Oklahoma.

Sitting Bull

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Tatanka-Iyotanka, also known as Sitting Bull, was a Hunkpapa Lakota Sioux warrior and later chief who led the defeat of General George Custer. He was a guerilla fighter against the US Army in Red Cloud's War and fought in the Great Sioux War which included the battle at Little Big Horn. After years of exile in Canada after Little Big Horn, Sitting Bull surrendered and was confined to a reservation. He joined Buffalo Bill's Wild West as a star attraction in 1885. He was not required to perform, as his fame was enough to draw crowds. Sitting Bull made an appearance riding around the arena once for each show, then charged spectators to sign autographs. His show business career only lasted four months, but exposure to audiences only increased his fame as a warrior and freedom fighter. Sitting Bull returned to the reservation as a leader and advocate for his people. In 1890, authorities decided to preemptively arrest Sitting Bull because they suspected he would the join the Ghost Dance movement of Sioux who refused to live on the reservations. When they came to arrest him, Sitting Bull was killed along with seven of his followers and eight Lakota police officers.

Montana Frank

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Frank McCray was a messenger and government scout in Montana before joining Buffalo Bill's Wild West as a trick roper. He performed with the show for six years, then took his act to several other traveling companies and vaudeville shows as well as staging shows on his own.

Will Rogers

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You know Will Rogers as a movie star and humorist, but he began his show business career as a trick roper with Texas Jack's Wild West Circus, after honing his skills as a cowboy in the American west, Argentina, and South Africa. He later joined the Wirth Brothers Circus in Australia. Rogers returned to the US and was working for another circus when he was recruited by William Hammerstein to star in a vaudeville show. He added more comedy to his act, which led to a run with the Ziegfield Follies, and then to movies as well as a career as a traveling humorist and political pundit. He had perfected his show business persona to the point that he no longer needed to do rope tricks.

Iron Tail

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Wasee Maza was a Minneconjou Lakota who participated in the Battle of Little Bighorn as a teenager. His name translated to English as Iron Tail. After defeating Custer, he followed Sitting Bull into Canada and then back to South Dakota. Iron Tail joined the Ghost Dancers and was injured at the Wounded Knee Massacre. His parents, siblings, wife, and infant son all died. Not long afterward, Iron Tail joined Buffalo Bill's show. He traveled with the show for 15 years, all the while advocating for Native American rights. Iron Tail was one of three men who modeled for the Indian Head nickel released in 1913. The showman adopted the name Dewey Beard when he converted to Catholicism. Beard appeared in several western movies, mostly uncredited. When Dewey Beard/Iron Tail died in 1955, he was memorialized as the last survivor of the Battle of Little Big Horn.

These are just a few of the many stars who entertained crowds in the traveling western exhibitions. Just like traditional circuses, the wild west show suffered from the rise of movie theaters. Some of the performers retired, some went into ranching, and others opened stationary shows and museums (a few combined all those activities). The younger performers took their skills to the movies, spawning an entire genre of film we still enjoy. Yes, without Buffalo Bill, we most likely wouldn't have the western today.

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The Sky Was No Limit: The WASP Women Pilots of WWII
Wikimedia Commons // Public Domain
Wikimedia Commons // Public Domain

Shirley Slade sat on the wing of a plane and looked off into an uncertain future. Slade—clad in her flight suit with pigtails guarding against Texas wind—was posing for the July 19, 1943 issue of Life magazine, and the composition between the aircraft and its operator was a juxtaposition spelled out in the cover headline: "Air Force Pilot."

Slade was one of more than 1000 women who had been solicited by the U.S. government to enter an intensive seven-month training course that would make them the first female pilots to enter the Air Force. What had been a boy's club was being forced into a kind of reluctant gender neutrality as a result of World War II and severe pilot shortages. By recruiting women, the Air Force could maintain delivery of aircraft, ferry supplies, and perform other non-combative functions that fueled the war efforts. Collectively, the group would become known as WASPs: Women Airforce Service Pilots.

While all of these women risked their lives—and more than a few lost them—they were not perceived as equals. Because they were designated as civilians, they were denied military honors and compensation. As the war wound down, men returning from combat jockeyed to take the WASPs' places as active-duty pilots. Occasionally, the women would be used in target practice. It would be decades before the women of WASP would finally get their due.

 
 

America's entry into World War II following the attack on Pearl Harbor heralded a new policy of rationing. Food, materials, and manpower were doled out carefully, but demand for pilots quickly exceeded the available personnel. By 1942, the Air Force realized they would have to tap into new sources in order to continue their campaign.

Jacqueline Cochran had a solution: A pilot in her own right and a contemporary of Amelia Earhart, Cochran knew there was a strong contingent of female fliers who had licenses and had logged air time who could be recruited for support missions. She petitioned the Air Force, including commanding general Henry Harley "Hap" Arnold, to approve a training program that would ultimately relocate volunteers to Avenger Field in Sweetwater, Texas. Another pilot, Nancy Harkness Love, submitted a similar proposal.

WASP pilot Elizabeth Remba Gardner looks out from her plane while on a Texas runway
WASP pilot Elizabeth Remba Gardner
Wikimedia Commons // Public Domain

Cochran and Love were up against considerable resistance to involving women in military efforts. General Dwight D. Eisenhower once admitted he was "violently against" the idea (before concluding that none of his concerns came to light and women were an integral part of the effort). Internally, there was concern as to whether women would even be capable of handling a massive aircraft like the B-29 bomber, so superiors hedged their bets by creating two organizations.

Love was put in charge of the Women's Auxiliary Ferrying Squadron (WAFS)—an organization to ferry planes—while Cochran was put in charge of the Women's Flying Training Detachment, which did whatever the Army Air Corps required of it. A little under a year later, these two groups were merged into a single organization: the WASPs. This new group demanded that incoming women logged at least 35 hours of flight time before coming to Sweetwater. More importantly, the women would be considered civilians, not military personnel.

Roughly 25,000 women applied; around 1900 were accepted and 1100 completed training. On their own dimes, these women streamed into Texas to begin the seven-month program that taught them every aspect of military flying except for gunnery duty and formation flying. Every day in the barracks included intensive lessons, physical fitness training, and studying. At night, the women would dance, sing, or play ping-pong. Life described their ambitions as "piloting with an unfeminine purpose" and noted that some of the women needed cushions in order to sit comfortably in planes designed for male bodies. Their mascot, a tiny winged sprite named Miss Fifinella, was designed by Disney, and the patch appeared on many of their jumpsuits and plane noses.

According to Life, the Air Force reported that the women were faster on instruments while the men "had better memory for details." But in virtually every way that counted, the magazine wrote, there was no practical difference in ability.

Graduates were dispatched to bases around the country, though the most pressing job was ferrying new aircraft from factories to places like Newark, New Jersey, where the planes would make the jump overseas. The women shuttled 12,000 of these planes during the war. They also escorted military chaplains from base to base on Sundays for religious services and operated test flights for repaired aircraft to make sure they were safe to fly in combat. Sometimes, they'd be tasked with towing targets behind them so soldiers could use live ammunition for combat practice.

Simulated combat may have been nerve-wracking, but it was no more dangerous than the actual flying and the very real possibility that the WASPs would experience equipment malfunction or fuel issues. In the two years the squad was active, 38 women perished during missions. At the time—and for decades afterward—the families of those women were denied many of the basic privileges afforded to the families of their male counterparts. When a WASP died, her colleagues—not the government—would pitch in to pay for her burial. Their families were prohibited from putting a gold star in their windows, a sign of a military casualty, nor were they "allowed" to drape the American flag over their coffins.

 
 

On December 20, 1944, the WASPs were sent home. The war wasn't yet over, but men returning from the front lines were dismayed that jobs they expected to find waiting for them were being occupied by women. Despite Cochran's petition to have the WASPs permanently incorporated into the Air Force, Congress turned her down.

WASP pilots are photographed circa 1943
Wikimedia Commons // Public Domain

The pride the women had felt serving their country turned to confusion. By being classified as "civilians," the WASPs found little respect for their efforts. When entering the workforce after the war, some even became flight attendants, as no commercial airline would hire a female pilot.

In the 1970s, the Air Force announced they'd be accepting female recruits for the "first time," a proclamation that angered the surviving WASPs. Their efforts had largely gone unheralded, and now it seemed like the government was wiping them from history completely. Petitioning for recognition and receiving aid from fellow war ferry pilot Senator Barry Goldwater, they were finally granted military status on November 23, 1977.

As the WASPs aged, a handful got the chance to enjoy another honor. In 2010, the women were awarded the Congressional Gold Medal for their efforts. After flying 77 different types of planes over 60 million miles during wartime and being largely ignored for decades, it was recognition that was long overdue.

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The Bizarre Death of Bridget Cleary, the Irish "Fairy Wife"
The town of Tipperary, Ireland
The town of Tipperary, Ireland
Amergin, Flickr // CC BY-NC 2.0

The policemen had been combing the green yards and fields of Ballyvadlea, Ireland, for a week when they finally found Bridget Cleary. The 26-year-old's body had been wedged beneath several inches of clay and a jumble of thorn bushes, but her corpse showed wounds caused by something much worse than branches: Her spine and lower limbs were so badly burned that parts of her skeleton were exposed. She was naked, except for a stocking and one gold earring, and her head was encased in a sack.

The judge would later describe the events leading up to Bridget's death as demonstrating "a degree of darkness in the mind, not just of one person, but of several—a moral darkness, even religious darkness." It was the end of the 19th century, not exactly the Middle Ages, but those involved in the end of Bridget's life had become convinced that she wasn't really herself—and that a supernatural creature had taken her place.

GONE WITH THE FAIRIES

Bridget was the wife of a cooper named Michael Cleary, and the pair were regarded around town as a relatively happy couple. They shared their cottage, in a remote townland near Tipperary, with Bridget's father, Patrick Boland, and had no children. Michael was nine years Bridget's senior and earned a decent salary; she brought in some extra income by working as a seamstress and egg-seller. By all accounts, they were more prosperous than their neighbors, likely thanks to her resourcefulness. As a literate, independent, and fashionably dressed working woman, she was part of an emerging class in a rural society that had long been based in agriculture and the oral tradition.

It was also a society steeped in legends of the supernatural. Fairy belief, in particular, was pervasive in Irish rural societies at the time, and had long coexisted with Christian doctrine. Children grew up hearing legends of the Little People from their earliest days, and learned how to appease them by leaving untasted food on the table, for example, or saying "bless them" whenever the fairies were mentioned. The fairies were blamed for everything that went wrong—lost items, spoiled milk, bad crops. As one County Sligo man interviewed at the start of the 20th century told an anthropologist, "Nothing is more certain than that there are fairies."

Bridget herself was known to be fascinated by the beings, and to take trips to the most fairy-ridden spots around town. She may have visited such a spot on Monday, March 4, 1895, when she went to deliver eggs to her father's cousin, Jack Dunne, near Kylenagranagh Hill. The area was home to a ringfort, an early medieval circular fortified settlement believed, in Irish folklore, to be a "fairy fort," and thus to be avoided at all costs. Yet Bridget often visited the fort, and she likely spent time there that Monday after delivering the eggs.

It was a cold morning, the mountains still covered in the snow that had fallen the previous day, and after the two- or three-mile walk Bridget couldn't seem to warm up once she got back home. She spent the following day in bed, shivering and complaining of "a raging pain in her head."

That Saturday, her father walked four miles in the heavy rain to ask the doctor to call on her. But the doctor wasn't able to visit until the following Wednesday, and by then her husband had also gone to summon him twice. They should have been reassured by the doctor's diagnoses—"nervous excitement and slight bronchitis"—but it wasn't this ailment that worried Michael. He was convinced that the bed-ridden woman in their cottage was "too fine," in his own words, to be his wife, and that she was "two inches taller" than the woman he had known. At some point, Michael had developed the belief that Bridget had been replaced by a fairy changeling as she passed near the fairy fort on Kylenagranagh Hill.

"ARE YOU BRIDGET BOLAND?"

It is likely that this idea was planted in Michael's head by his confidante, Jack Dunne. According to Irish historian Angela Bourke, who has researched the case extensively, the 55-year-old Dunne was a charismatic man rumored to have the power of divination. He was known in the area as a seanchaí, a sort of storyteller well-versed in fairy mythology.

On Wednesday afternoon, after the doctor's visit, a priest visited. He wasn't overly concerned about the illness, but decided to administer the last rites in case it worsened. The ceremony emphasized the fact that Michael could lose his wife, which distressed him even more. He talked to Dunne, who urged him to act immediately, or the "real" Bridget would be lost forever. "It is not your wife is there [sic]," the older man reminded him. "This is the eighth day, and you had a right to have gone to Ganey"—the local "fairy doctor"—"on the fifth day."

The cooper duly visited Ganey following morning. He came back with a mixture of herbs that needed to be boiled in "new milk," the nutrient-rich first milk produced by a cow after calving.

That night, Michael forced the bitter concoction down Bridget’s throat while Dunne and three male cousins pinned her down in bed. Relatives outside the house heard someone—likely Michael—shouting, "Take it, you witch, or I'll kill you!" The men threw urine at her and shook her, yelling, "Away with you; come home Bridget Boland, in the name of God!" Other relatives and neighbors came and went, witnessing her ordeal and hearing her screams, but were too scared to intervene. Michael asked his wife to answer her name three times: "Are you Bridget Boland, wife of Michael Cleary, in the name of God?" The men then brought her to the fireplace and held her over the grate—ordeals by fire were known to drive out the fairies—while they repeated the questioning.

By midnight Thursday night, the ritual seemed to be completed. Bridget was "wild and deranged," according to her cousin Johanna, but her husband seemed satisfied, and her relatives thought there had been some sort of catharsis. The following morning, at Michael's request, the priest said mass in Bridget's bedroom in order to banish the "evil spirits" that were left in the house.

"IT IS NOT BRIDGET I AM BURNING."

An image of fairies from fairies from "The Poetical Works of Percy Bysshe Shelley"
Fairies from "The Poetical Works of Percy Bysshe Shelley"
British Library, Europeana // Public Domain

On Friday, March 15, for the first time in 11 days, Bridget got out of bed and dressed in her usual, fashionable clothes "to give her courage when she would go among the people," as Johanna later told the magistrates. Several family members had joined them in their cottage for tea later in the day when an argument erupted. Bridget had asked for some milk, which had rekindled Michael’s suspicions; fairies are known in folklore to yearn for fresh milk.

Bridget was probably exhausted, and she didn't want to be questioned any more. "Your mother used to go with the fairies and that is why you think I am going with them," she told her husband. Michael was furious. He demanded that she eat three pieces of bread and jam—perhaps to reinforce his control over her—asking her to say her name again. She answered twice and ate two of the three pieces, but when she hesitated for a moment with the third, her husband flung her on the ground and threatened her: "If you won't take it, down you will go."

Michael jabbed his knee into her chest, forcing the bread and jam down Bridget's throat. He began tearing off her clothes, leaving only her chemise, then grabbed a hot stick from the fire and held it close to her mouth. He struck her head against the floor, then set her chemise alight. Within a few minutes, he had also poured paraffin lamp oil over her, encouraging the flames.

As her body was burning, Michael said in front of shocked relatives: "She's not my wife. She's an old deceiver sent in place of my wife." Relatives yelled at Michael to put out the flames, but Bridget "blazed up all in a minute," according to their later testimony. They huddled in fear in a nearby bedroom, the flames soon barricading their way.

Once the flames had died down, Michael wrapped her body in a sheet and shoved it in an old bag. Then he left the house, locking Bridget's relatives inside with the corpse. They waited for about an hour, praying. When Michael returned, he was wielding a knife and threatened to kill Bridget's cousin Patrick Kennedy if he didn't help him bury Bridget's body. "Come on out here now," he shouted. "I have the hole nearly made." The two men carried the body to a boggy area about a quarter-mile uphill from the cottage, and buried it in a shallow hole. Back in the cottage, Michael made the rest of the family swear they wouldn't tell the authorities.

ON A WHITE HORSE

The following morning, an agitated Michael arrived at Drangan church with Dunne. Dunne wanted Michael to speak to a priest, but when the priest saw him kneeling in front of the altar—weeping, tearing his hair, and asking to go to confession—he thought he wasn't fit to receive the sacrament. He spoke to Dunne instead, who hadn't been at the cottage at the time of Bridget's death, but told the priest that Michael had claimed to have burned his wife the previous night. "I've been asking them all morning to take her up and give her a Christian burial," Dunne added. Bewildered, thinking them both insane, the church minister reported their conversation to a police sergeant.

For the next few days, the police searched for Bridget and questioned her friends and relatives. Even though Michael spoke about emigrating or committing suicide to escape the law, he still hoped his "real wife" would come back: For three consecutive nights starting the day after visiting the priest, he waited at the ringfort on Kylenagranagh Hill, where he believed she would appear, galloping on a white horse. He said he would only have to cut the ropes that bound her to the animal so she would be his forever.

On Wednesday, March 20, the Royal Irish Constables issued arrest warrants for eight people from Bridget's circle, as well as Denis Ganey, the "fairy doctor." Two days later, police found Bridget's body. The prisoners were brought before the magistrates on March 25, ushered in by the angry screams of a crowd who had learned of the case through extensive press coverage. On July 5, 1895, after a two-day trial, Michael was found guilty of manslaughter and imprisoned, along with Jack Dunne, Patrick Boland, and four of Bridget’s cousins, including Patrick Kennedy. The judge ruled out a verdict of murder, explaining they all had acted out of genuine belief.

Michael was released in 1910, after which he boarded ship for Montreal. Dunne served a three-year prison sentence before returning to the area, where he kept working as a laborer. "God knows I would never do it but for Jack Dunne," Michael had reportedly said not long after burning Bridget. "It was he who told me my wife was a fairy."

ILLNESS—OR INFIDELITY?

During her illness, Bridget was visited by her aunt, Mary Kennedy, and told her, "He [Michael]'s making a fairy of me now. He thought to burn me about three months ago." Her words suggest this wasn't the first crisis of its kind.

Although we can only speculate about the couple's disagreements, there were rumors in Ballyvadlea that Bridget had a lover. Contemporary newspapers reported Michael saying his wife "used to be meeting an egg-man on the low road" [sic], but the rumors pointed to young caretaker William Simpson, who had visited the Clearys' cottage with his wife the night before Bridget’s death. In his court testimony, Simpson explained he had arrived as the four men were restraining Bridget, and he had asked them to leave her alone.

Although Michael and the other people involved in the killing were never formally psychiatrically assessed, a 2006 article from the Irish Journal of Medical Science suggested that Michael may have been suffering from a psychotic state known as Capgras syndrome, which involves the belief that a person has been replaced by an impostor. The authors suggest Michael "may have developed a brief psychotic episode" as he struggled to deal with his wife's illness, sleep deprivation, and the recent death of his father—news of which had reached him in the middle of his attempted "cure" on Thursday night. In Capgras syndrome, the socio-cultural context of the sufferer determines the nature of the impostor, which can be another person or even a supernatural being, such as an alien or a fairy changeling.

In her discussion of the supernatural beliefs related to the case, Bourke notes that the message of fairy legends is that "the unexpected may be guarded against by careful observance of society's rules." Bridget Cleary was ambitious, independent, and childless; a modern woman. She didn't conform to the patriarchal norm, which may have made her appear, to some in her life, as closer to the fairy realm than to their own.

Even today in Tipperary, her story hasn't been entirely forgotten. The local children have a nursery rhyme that runs: "Are you a witch or are you a fairy, / Or are you the wife of Michael Cleary?"

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