Biography and the Art of Interpretation

Lives don’t tell stories. People tell stories. Lives are made up of events, some connected, some random. Some possibilities are explored, some are averted. It is only in retrospect that a person can go back and make a story out of those events. This necessarily involves interpretation.

I was reading Matthew Sturgis’ “Oscar: A Life” today and I came across an interesting example. A single observation in a letter written by Robert Ross in Sturgis’s book is presented with an almost opposite meaning as it is in my own. The quote is from the period shortly after Wilde and Douglas were forced to give up living together in Naples after Wilde’s release from prison. Here is how it appears in Sturgis:

But the all-consuming intimacy of the past was not recovered. And without the distorting lens of love, Bosie’s selfishness became all too apparent. As Ross reported to Smithers, after a visit to Paris, Douglas ‘is less interested in other people than ever before, especially Oscar, so I really think that alliance will die a natural death’.

The fact that Douglas is said to be less interested in other people, especially Oscar, here is evidence of Douglas’s selfishness. I saw it, instead, as evidence that Douglas became depressed after being forced to separate from Oscar Wilde. After having weathered so much to be together, both suffered from depression when that period of their relationship came to an end. (Oscar Wilde told a friend he considered suicide at that time.) Clinical depression manifests in a lack of interest in things you once enjoyed. Depressed people often withdraw from social interaction. For a number of reasons, which I spell out in the book, I suspect that Lord Alfred Douglas suffered from mental illness and so “losing interest in other people” immediately appeared to me as a symptom of depression. You can follow my reasoning in the book and decide for yourself.

The reason I wanted to write about this quote is that I think it serves as an excellent example of the way a bit of biographical material is put into context, and the many layers of interpretation that go into understanding one line. There are many things a historian must decide. Is Robert Ross’s report accurate? Had Douglas indeed “lost interest in other people, especially Oscar”? Does the fact that the witness was Ross color how Douglas might have behaved? Could he have been specifically uninterested in talking to Robbie about other people (Oscar in particular)? (I can think of a number of reasons why this might be the case.)

Of course a biographer doesn’t interpret one letter in isolation. He or she decides the answer to those questions based on other material uncovered. Sturgis has good reason to read the line as evidence of selfishness. Wilde often describes Douglas in that light in letters to Robert Ross. There is also the small matter of the story Wilde tells in De Profundis.

What are we to make of these sources? How historically accurate was De Profundis? How did the unique context of its creation effect what ended up on the page and how Wilde interpreted the events of his life at that moment?  Was his description of Douglas in his letters to Ross consistent with how he spoke about him in the period to others? Was there something about his relationship with Ross that might have colored how he spoke about Douglas to him specifically? I came to certain conclusions about this, but others will form different opinions.

Generally speaking, the only people who read about Lord Alfred Douglas do so because they have an interest in Oscar Wilde. This creates a certain framing. You can assume that anyone with an interest in Wilde would have read De Profundis before reading any of Douglas’s accounts of their relationship. De Profundis creates a powerful first impression. There have been a number of studies that show that once we form an idea about someone, it is very hard to change, even with new information.

Having read De Profundis, and then reading Douglas’s own accounts, you see the traits that Wilde described. “There’s that selfishness he was talking about.” “There’s that moodiness.”

Of course those traits were there. There is no denying that Douglas had a strong sense of entitlement. He was a snob and was often selfish. The De Profundis account may not have been totally accurate or fair, but neither was it entirely inaccurate or unfair. Would the traits that Wilde criticized in Douglas jump out as much as they do if we weren’t already primed to focus on them and see them as his defining traits?  It’s hard to know, but it is a bias that I think it is worth trying to correct for.

In the end, I can’t say with certainty whether Douglas “lost interest in people” at that moment because he was too full of himself to be bothered with them, or because he had just been forced to separate from his lover, had an argument with him over it, and was depressed. The latter explanation feels more right to me. Read it as you will.







Annotated Prison Writings and an Oscar Wilde What If?

9780674984387-lg.jpg Recently I started reading The Annotated Prison Writing of Oscar Wilde edited by Nicholas Frankel. It reminded me of what led me on my Oscar’s Ghost journey to begin with: my fascination with Wilde’s prison opus De Profundis.

It began when I read Robert Ross’s edited 1905 version. I wanted more, and turned to the version published in the Complete Letters, and that left me with more questions, which led me to biographies of Wilde, Ross and Douglas. But at the heart of it was De Profundis. I can’t tell you why, but my fascination with that document never seems to wane. There are the soaring passages about Wilde’s philosophical journey in prison that first drew me in. Then there is the question of the conditions under which he wrote it. There is the mystery of what Wilde wanted to do with the work, and the impact it had on two of his friends, the battle over its ownership and how it would frame the biography of Oscar Wilde for future generations. Every time a new version with notes and annotations comes out, I am gripped again. This is a wonderful edition, well laid out, easy to follow, full of interesting insights and to top it all off, unlike a number of the scholarly editions out there, it is affordable.

If you read Oscar’s Ghost (or even if you didn’t) and you wanted to know more about the prison manuscript that was at the heart of it all, I highly recommend this book.

An idea came to me while I was reading one of the De Profundis annotations.  One of the questions that comes up often when reading about Oscar Wilde is “What if?” What if Wilde had not sued the Marquess of Queensberry? One of the “What ifs” that tormented Lord Alfred Douglas was what if he had been able to testify in court.

One of the what ifs that struck me early on involved an event on February 14, 1895, the opening night of The Importance of Being Earnest. Queensberry had come to the theater, armed with a “bouquet of vegetables” that he intended to throw at Wilde during his curtain speech. Word of his plan leaked, and he was prevented from entering. Wilde wanted to sue Queensberry over the incident and use that to stop his harassment. Had he done this, the question of his sexuality might not have been an issue and things might have gone entirely differently. Unfortunately, the theater’s management didn’t want to be involved in a scandal and they refused to allow staff to act as witnesses. What if they had? It seems like such a lost opportunity.

Today one word in one of Nicholas Frankel’s notes leapt out from the page. The word was “narrowly.”

“As Wilde relates, Queensberry was only narrowly prevented from entering the St. James Theatre…” Only narrowly prevented.

It struck me that it would have been better if he had not been prevented from entering the theater that night. Until the Wilde trials, with the exception of the rules of boxing, Queensberry was best known for one thing. He was the eccentric peer who had interrupted a performance of Tennyson’s “Promise of May” to rant against the dialogue of a fictional freethinker. He was pilloried in the press,

“Like…the bray of a donkey…the Marquis has burst upon the public with a suddenness and vehemence that are perfectly appalling,” wrote the Aberdeen Weekly Journal. “Nobody was thinking of him, dreaming of him, apprehensive of him– or wanting him.”

When Wilde’s libel case was announced, until the evidence about prostitutes came up, many journalists were predicting the case would end with Queensberry locked up in the madhouse.

Imagine, then, that a second outburst at a theater had not been “narrowly” prevented. Imagine that this character who was widely viewed as unstable, disruptive–mad even–had done it again? Imagine if Wilde, at the height of his fame, in front of a first night audience, was pelted with vegetables by this man? The sympathy would have been all with Wilde. It would matter little what he was shouting about. This was the man who publicly threatened to horse-whip Lord Rosebery. There would have been ample witnesses to testify that his lordship had disturbed the peace. Just think, that bouquet of vegetables might have changed the course of history.

Some creative soul should really write the Oscar Wilde Choose Your Own Adventure Book. I’d buy a copy.

Happy 162nd George Bernard Shaw

Shaw Gifts One of the things that set me off on the journey that became the book “Oscar’s Ghost” was reading George Bernard Shaw’s correspondence with Lord Alfred Douglas edited by Mary Hyde.

It is a book that fascinated me, not only for how vividly the letters revealed the characters of their writers, but also for what seemed to me to be an uplifting message about friendship between people who have nothing in common. Shaw and Douglas sparred over the editing of Frank Harris’s “Oscar Wilde.” Oscar was a topic that tended to bring out Douglas’s defensiveness and prickliness. But they always came back to treating each other with affection.

Shaw called Douglas “Childe Alfred” and coined one of my favorite descriptions of an aspect of Douglas’s personality that remained into his senior years: “blazing boyishness.”  He wrote to Mrs. Alfred Douglas “Alfred is a psychological curiosity. Sometimes he is possessed by his father, sometimes by his mother; often by both simultaneously. Add to this that his age varies from five to fifty without a word of warning. But you know this a thousand times better than I do.”

Shaw, who also had a difficult relationship with his father, was sympathetic to Douglas’s familial bitterness, but he did not have patience for the grudge Douglas continued to hold against Robert Ross.

“Ross did not get his testimonial for nothing,” he wrote, referring to a public letter of support signed by hundreds of luminaries, including Shaw after Douglas had tried to expose Ross’s homosexuality in a libel action. The testimonial had always stuck in Douglas’s craw.

“Only a great deal of good nature on his part could have won over that distinguished and very normal list of names to give public support to a man who began with so very obvious a mark of the beast on him. A passage in one of my prefaces on the influence of artistically cultivated men on youths who have been starved in that respect…was founded on a conversation I had with Ross one afternoon at Chartres in which he described the effect produced on him by Wilde, who, in the matter of style, always sailed with all his canvas stretched. Let Ross alone: the world has had enough of that squabble.”

He later wrote to Douglas, “The one thing that no man can afford, and that nobody but a fool insists on carrying is a grievance. Besides, what claim had Oscar on you or anyone else that it should be a reproach to us that we did not spend the rest of our lives holding his hand after he disgraced himself?”

(Of course they did have claims on one another which could not be acknowledged in that era.)

If you have not seen it, George Bernard Shaw wrote a very interesting letter in 1889 in the wake of the Cleveland Street scandal. It was sent to the editor of Truth, but was not published. He argued that “we may presently be saddled with the moral responsibility for monstrously severe punishments inflicted…[on those] whose conduct, however nasty and ridiculous, has been perfectly within their admitted right as individuals.”

After the familiar discussion of the ancient Greeks and the culture in schools, which always came up in such conversations in the era, Shaw appealed to the champions of individual rights “to join me in a protest against a law by which two adult men can be sentenced to twenty years penal servitude for a private act, freely consented and desired by both, which concerns themselves alone.”

Being Shaw, he brought his argument around to socialism and women’s rights. “My friend, Mr. Parke… is menaced with proceedings which would never have been dreamt of had he advanced charges–socially much ore serious–of polluting rivers with factory refuse, or paying women wages that needed to be eked out to subsistence point by prostitution.”

It is fascinating then to read Shaw’s discussions with Lord Alfred Douglas– who was the conservative of the pair–a believer in sin and the evils of liberalism and women’s suffrage–debating the events of Oscar Wilde’s life and their meaning, among other topics. (Shaw had the chutzpah to believe he understood Wilde much better that Douglas did.)

So again, I recommend the book, and raise a glass to Shaw this evening, won’t you?





Does Art Belong to Its Audience or Its Creator?

…For many other artists, however, the arts network proves an unmitigated disaster. Sometimes it’s just that the freewheeling thought patterns that lead to artmaking don’t lead as gracefully to tidy record keeping. More often, though, the same artists who diligently follow a self-imposed discipline (like writing in iambic pentameter, or composing for solo piano) prove singularly ill-equipped to handle constraints imposed by others… Ideally (at least from the artist’s viewpoint), the arts network is there to handle all those details not central to the artmaking process… If all this evidence of the reach of today’s arts network still fails to impress you, consider the sobering corollary: once you’re dead, all your art is handled by this network.

David Bayles and Ted Orland, Art & Fear: Observations on the Perils (and Rewards) of Artmaking

As the artist works away, creating, revising, failing and starting again, she never knows if her work will live beyond her, if it will be cherished or forgotten; if it will be deemed classic or garbage. Much of this has little to do with the artist or the quality of her work at all. To become “a classic” a work has to have a champion who is determined to share it after the artist is gone. It has to have teachers who present it to students. It has to have archivists who deem it worthy of preservation. These are the artist-makers. Their passionate enthusiasm transforms a struggling artist, who may have died penniless, into a vital part of our culture. Sometimes these executors carry on in accordance with the artists’ wishes. Sometimes they do so in spite of the artist.

The Atlantic today featured a review of Benjamin Balint’s forthcoming Kafka’s Last Trial, a book about the posthumous legal battle over Kafka’s manuscripts. In his review Adam Kirsch wrote:

At the time of his death, in 1924, at the age of 40, Kafka hardly seemed like a candidate for world fame. He had a minor reputation in German literary circles, but he had never been a professional writer…

Famously, he had tried to keep it that way. Before he died, Kafka had written a letter to Brod, who found it when he went to clear out Kafka’s desk. In this “last will,” Kafka instructed Brod to burn all his manuscripts, including his letters and diaries. But Brod, who admired Kafka to the point of idolatry, refused to carry out his friend’s wishes. Instead, he devoted the rest of his life to editing, publishing, and promoting Kafka’s work—even writing a novel about him, in which Kafka was thinly disguised as a character named Richard Garta. In this way, Brod ensured not only Kafka’s immortality, but his own. Though Brod himself was a successful and prolific writer, today he is remembered almost exclusively for his role in Kafka’s story.

The question of whether Brod acted ethically in disregarding Kafka’s dying wishes is one of the great debates of literary history, and it lies at the core of Balint’s book. As he notes, “Brod was neither the first nor the last to confront such a dilemma.” Virgil wanted the Aeneid to be burned after his death, a wish that was also denied. Preserving an author’s work against his or her will implies that art belongs more to its audience than to its creator. And in strictly utilitarian terms, Brod undoubtedly made the right choice. Publishing Kafka’s work has brought pleasure and enlightenment to countless readers (and employment to hundreds of Kafka experts); destroying it would have benefited only a dead man.

Does art belong more to its audience than its creator?

Put another way: Is the life of the work of art more valuable than the human considerations of the artist and his relations?

Robert Baldwin Ross, who became Oscar Wilde’s literary executor a number of years after his death, was one who placed a high value on the life of works of art. In response to an editorial that said in a burning museum anyone would save a child over an old master, Ross wrote that he hoped he’d have the courage to save the art.

One of the great debates in Wilde circles is how closely Ross’s actions on behalf of Wilde’s estate followed Wilde’s wishes. Nowhere is this more relevant than in his handling of the manuscript of Wilde’s prison letter to Lord Alfred Douglas, which Ross named De Profundis. Ross was determined that the work was important, and he went to great lengths to preserve it. His efforts proved painful and detrimental to Douglas, and ultimately to himself as Douglas battled against them.

We, the modern-day readers and researchers who benefit from the continued existence of De Profundis, are grateful for Ross’s choice and therefore there is a strong bias in favor of the idea that Ross did act in accordance with Wilde’s wishes. We would like the ghost of Wilde to be pleased at his literary resurrection and our interest in his life.

There is reason to doubt that Ross did follow Wilde’s instructions when it comes to the manuscript. He did not follow the only written instructions that were preserved– they said to send the handwritten original to Lord Alfred Douglas, which did not happen. He claimed to have received different verbal instructions. Of course, the only evidence for this is Ross’s own statement.

Ross did not always follow Wilde’s instructions when he disagreed with them while he was alive.  After Wilde was released from prison, they had a minor falling out over how The Ballad of Reading Gaol should be published. Ross felt, for artistic reasons, that it should only be put out as a book. Wilde’s concerns at that point were more down to earth and human. He’d lost everything when he went to jail and he wanted the biggest, fastest paycheck. That meant serial publication.

Unable to persuade Wilde to think long-term, he went behind Wilde’s back and tried to enlist Leonard Smithers in preventing serial publication. “I hope you will refuse to publish [the ballad] at all if the market is going to be spoiled by having it published in an English newspaper.” Ross wrote. When Wilde learned of this he was understandably annoyed with Ross.

One thing that I found interesting in Kirsch’s article on Kafka was the speculation that Kafka chose his literary executor precisely because they disagreed.

And in choosing Brod as his executor, he picked the one person who was certain not to carry out his instructions. It was as if Kafka wanted to transmit his writing to posterity, but didn’t want the responsibility for doing so… Brod, for his part, had no doubts about the importance of his friend’s writing.

Was a similar dynamic at work in Wilde’s reliance on Ross’s contrary advice and his decision to name him as his literary executor? Did he chose someone who he instinctively knew would value the art over even his own point of view about it?

Or would Ross’s handling of De Profundis have, in the words of their mutual friend Reggie Turner, “pained its author.”

Even Wilde’s desire to have Ross as his executor is contentious– a fact that has largely been forgotten. Ross’s position as executor was only won after lengthy litigation. His success in court was based on a single line in one of Wilde’s prison letters, the same one in which he instructs Ross to send De Profundis to Douglas.  The exact line is “If you’re going to be my executor you should have [De Profundis].” Ross used this letter in court to prove that he had the authority to be Wilde’s executor and also that De Profundis was his personal property. My personal theory is that Ross may have destroyed letters that contained more of Wilde’s instructions regarding the manuscript, but he had to retain the letter that called him Wilde’s executor. It was easier for him to make the claim that Wilde had given him verbal instructions that contradicted his first written ones than to support the claim that he had any right to act on Wilde’s behalf without it.

If he did edit the record to make his actions on the estate’s behalf clearer should we care? What if he took actions that went counter to Wilde’s own wishes? Should we care about that or is Wilde’s own view ultimately less important than ours as the audience?

I believe three things: First, I believe (though I cannot prove) that Wilde’s desires for De Profundis changed after he reunited with Douglas after his release from jail. Second, I believe (and also cannot prove) that Ross disregarded at least some of Wilde’s instructions for what he thought was the greater good.  Finally, I believe that the preservation of De Profundis was, in fact, a greater good.

What do you think?

Quotes of the Day: G.K. Chesterton

7014283In honor of the anniversary of the birth of G.K. Chesterton on this date in 1874, I’ve decided to share some of the Chesterton quotes I’ve saved in my files. Enjoy.

“Theoretically, I suppose, every one would like to be freed from worries. But nobody in the world would always like to be freed from worrying occupations. I should very much like (as far as my feelings at the moment go) to be free from the consuming nuisance of writing this article. But it does not follow that I should like to be free from the consuming nuisance of being a journalist.”

“Ordinary mankind (gigantic and unconquerable in its power of joy) can get a great deal of pleasure out of a game called “hide the thimble,” but that is only because it is really a game of “see the thimble.” Suppose that at the end of such a game the thimble had not been found at all; suppose its place was unknown for ever: the result on the players would not be playful, it would be tragic. That thimble would hag-ride all their dreams. They would all die in asylums. The pleasure is all in the poignant moment of passing from not knowing to knowing.”

“Men always attempt to avoid condemning a thing upon merely moral grounds. If I beat my grandmother to death to-morrow in the middle of Battersea Park, you may be perfectly certain that people will say everything about it except the simple and fairly obvious fact that it is wrong.”

“Half our speech consists of similes that remind us of no similarity; of pictorial phrases that call up no picture; of historical allusions the origin of which we have forgotten.”

“So far from it being irreverent to use silly metaphors on serious questions, it is one’s duty to use silly metaphors on serious questions. It is the test of one’s seriousness. It is the test of a responsible religion or theory whether it can take examples from pots and pans and boots and butter-tubs. It is the test of a good philosophy whether you can defend it grotesquely. It is the test of a good religion whether you can joke about it.”

“There has arisen in our time a most singular fancy: the fancy that when things go very wrong we need a practical man. It would be far truer to say, that when things go very wrong we need an unpractical man. Certainly, at least, we need a theorist. A practical man means a man accustomed to mere daily practice, to the way things commonly work. When things will not work, you must have the thinker, the man who has some doctrine about why they work at all.”

“Before we congratulate ourselves upon the absence of certain faults from our nation or society, we ought to ask ourselves why it is that these faults are absent. Are we without the fault because we have the opposite virtue? Or are we without the fault because we have the opposite fault?”

“What is the use of being a politician or a Parliamentary candidate at all if one cannot tell the people that if the other man gets in, England will be instantly invaded and enslaved, blood be pouring down the Strand, and all the English ladies carried off into harems.”

“If our statesmen agree more in private, it is for the very simple reason that they agree more in public. And the reason they agree so much in both cases is really that they belong to one social class; and therefore the dining life is the real life. Tory and Liberal statesmen like each other, but it is not because they are both expansive; it is because they are both exclusive.”

“They lie when they say they have reached their position through their own organising ability. They generally have to pay men to organise the mine, exactly as they pay men to go down it.”

“If you are brave, think of the man who was braver than you. If you are kind, think of the man who was kinder than you. That is what was meant by having a patron saint.”

“The chief object of education is to unlearn all the weariness and wickedness of the world and to get back into that state of exhilaration we all instinctively celebrate when we write by preference of children and of boys.”

“I am honestly bewildered as to the meaning of such passages as this, in which the advanced person writes that because geologists know nothing about the Fall, therefore any doctrine of depravity is untrue. Because science has not found something which obviously it could not find, therefore something entirely different–the psychological sense of evil–is untrue… You might sum up this writer’s argument abruptly, but accurately, in some way like this–‘We have not dug up the bones of the Archangel Gabriel, who presumably had none, therefore little boys, left to themselves, will not be selfish.’ To me it is all wild and whirling; as if a man said–‘The plumber can find nothing wrong with our piano; so I suppose that my wife does love me.'”

“Men thought mankind wicked because they felt wicked themselves. If a man feels wicked, I cannot see why he should suddenly feel good because somebody tells him that his ancestors once had tails.”

“No man demands what he desires; each man demands what he fancies he can get. Soon people forget what the man really wanted first; and after a successful and vigorous political life, he forgets it himself. The whole is an extravagant riot of second bests, a pandemonium of pis-aller.”

“If our statesmen were visionaries something practical might be done. If we ask for something in the abstract we might get something in the concrete.”

“Many great religions, Pagan and Christian, have insisted on wine. Only one, I think, has insisted on Soap. You will find it in the New Testament attributed to the Pharisees.”

“The hospital, by necessity, may send a man home with one leg less: but it will not (in a creative rapture) send him home with one leg extra. Medical science is content with the normal human body, and only seeks to restore it.”

“I believe firmly in the value of all vulgar notions, especially of vulgar jokes. When once you have got hold of a vulgar joke, you may be certain that you have got hold of a subtle and spiritual idea.”

“All the jokes about men sitting down on their hats are really theological jokes; they are concerned with the Dual Nature of Man. They refer to the primary paradox that man is superior to all the things around him and yet is at their mercy.”

“It is so easy to be solemn; it is so hard to be frivolous.”

“That is why so many tired, elderly, and wealthy men go in for politics. They are responsible, because they have not the strength of mind left to be irresponsible. It is more dignified to sit still than to dance the Barn Dance. It is also easier.”

“It is incomprehensible to me that any thinker can calmly call himself a modernist; he might as well call himself a Thursdayite…The real objection to modernism is simply that it is a form of snobbishness. It is an attempt to crush a rational opponent not by reason, but by some mystery of superiority, by hinting that one is specially up to date or particularly ‘in the know.'”

“A fairly clear line separated advertisement from art. I should say the first effect of the triumph of the capitalist (if we allow him to triumph) will be that that line of demarcation will entirely disappear. There will be no art that might not just as well be advertisement. I do not necessarily mean that there will be no good art; much of it might be, much of it already is, very good art. You may put it, if you please, in the form that there has been a vast improvement in advertisements.”

“But the improvement of advertisements is the degradation of artists. It is their degradation for this clear and vital reason: that the artist will work, not only to please the rich, but only to increase their riches; which is a considerable step lower. After all, it was as a human being that a pope took pleasure in a cartoon of Raphael or a prince took pleasure in a statuette of Cellini. The prince paid for the statuette; but he did not expect the statuette to pay him. It is my impression that no cake of soap can be found anywhere in the cartoons which the Pope ordered of Raphael. And no one who knows the small-minded cynicism of our plutocracy, its secrecy, its gambling spirit, its contempt of conscience, can doubt that the artist-advertiser will often be assisting enterprises over which he will have no moral control, and of which he could feel no moral approval.”

“The key fact in the new development of plutocracy is that it will use its own blunder as an excuse for further crimes… It is as if a highwayman not only took away a gentleman’s horse and all his money, but then handed him over to the police for tramping without visible means of subsistence.”

“There has appeared in our time a particular class of books and articles which I sincerely and solemnly think may be called the silliest ever known among men… these things are about nothing; they are about what is called Success. On every bookstall, in every magazine, you may find works telling people how to succeed. They are books showing men how to succeed in everything; they are written by men who cannot even succeed in writing books. To begin with, of course, there is no such thing as Success. Or, if you like to put it so, there is nothing that is not successful. That a thing is successful merely means that it is; a millionaire is successful in being a millionaire and a donkey in being a donkey… I really think that the people who buy these books (if any people do buy them) have a moral, if not a legal, right to ask for their money back.”

“It is perfectly obvious that in any decent occupation (such as bricklaying or writing books) there are only two ways (in any special sense) of succeeding. One is by doing very good work, the other is by cheating. Both are much too simple to require any literary explanation. If you are in for the high jump, either jump higher than any one else, or manage somehow to pretend that you have done so.”

“You may want to jump or to play cards; but you do not want to read wandering statements to the effect that jumping is jumping, or that games are won by winners… Or suppose that in the course of his intellectual rambles the philosopher of Success dropped upon our other case, that of playing cards, his bracing advice would run–‘In playing cards it is very necessary to avoid the mistake (commonly made by maudlin humanitarians and Free Traders) of permitting your opponent to win the game’.”

“I know that I cannot turn everything I touch to gold; but then I also know that I have never tried, having a preference for other substances, such as grass, and good wine.”

“The Puritans are always denouncing books that inflame lust; what shall we say of books that inflame the viler passions of avarice and pride?”

“In the end it will not matter to us whether we wrote well or ill; whether we fought with flails or reeds. It will matter to us greatly on what side we fought.”







The Angel and the Idiot

1358983This rare book, tweeted out by Provincial Booksellers Fair Association, caught my eye, combining, as it does two of the themes of my novel Angel: The Angel and the volcano.

The working title of Angel was “The Minister and The Mountain” and I suspect on one of the character Paul’s self-critical days this is the title he would give his story.

If you want to buy The Angel and the Idiot it will set you back £850. You can get Angel for just $15. Bargain!

On This Day in 1900: Oscar Wilde Died in Paris

On November 30, 1900, Oscar Wilde drew his last breath in Paris. His friends Robert Ross and Reginald Turner were at his side.  Robert Ross had sent Lord Alfred Douglas, in Scotland, word that Wilde was dying just the day before.  As he made his plans to return to France, Douglas wrote a letter to Wilde through Ross that said, “Give him my undying love.” This message, and word that Wilde had died, crossed in the mail.

The end of Oscar Wilde’s life is only the beginning of the story I tell in Oscar’s Ghost. Lord Alfred Douglas and Robert Ross would spend most of their lives wrestling with the roles they played in Wilde’s downfall, and fighting over the mansucript Wilde wrote in prison, a long essay in the form of a letter to Douglas, which Ross named De Profundis.

Would you like to know more?

Read some reviews and interviews here.

Or order an autographed copy.