Oscar Wilde Books

This book has it all. If you are an Oscar fan, than it is a must for your collection.

I'm very pleased with the book. All of Wilde's wit is right there at my fingertips. It's a handsome book, too. Thank you.

This particular compilation is not only complete, but is a well printed, well packaged addition to the books you would want in your top 10!

I had purchased this complete works of Oscar Wilde since I'd seen several of the recent releases of the theatrical versions of his plays and wanted to know more. As far as one volume complete works go, this has the usual weight (but not to heavy), small print (but not microscopic), and thin paper. It does have intros by Wilde's son and grandson which are interesting. Not having read much of Wilde it's been great being able to read not only his famous works (The Importance of Being Ernest, the Canterville Ghost) but also his lesser known ones (Lady Windemere's Fan). His plays are witty and often make interesting observations on human interactions, but they start seeming redundant after you've read more than three (every one seems to include a debonair, worldly cynic who offers his insights on the world--the characters played by Rupert Everett if he performs Wilde). I've yet to finish all the works but I look forward to attempting to do so.

I would recommend this book to new Wilde fans, literature majors, etc. For those just looking to read one or two of his works this would not be the way to start.

Though the print is small for those of us over 40, it's worth it - if not, it would weigh about 10 pounds! As it is, it's a tome, but worth reading, and re-reading time and again. It has everything - everything! - that you'll ever hear mentioned - his stories, his novels, his essay's.
It would make a great gift for a young writer, as well.

Imagine the challenges facing a Wilde biographer: the contradictions of an outrageous, larger-than-life subject whose brittle public persona masked his inner torments; Wilde's enormous drive, which led to success and acclaim, but also set in motion his ultimate fall from grace. Worse: so much already written, including Wilde's own glittering one-liners - what could anyone presume to add to the already crowded record?

Professor Ellmann, who worked for almost twenty years on this book, doesn't fail to deliver. In what will clearly be the definitive biography, he lays out details of Wilde's life, illuminates the work, and cuts through the brilliant and brittle public persona to show us Wilde's soul. All of this is accomplished with wit, intelligence and compassion -- this book confirmed Ellmann's status as the English professor I always wished I'd had. Professor Ellmann doesn't make a single misstep in this astonishing biography.

His final assessment of Wilde:

"He belongs to our world more than to Victoria's. Now, beyond the reach of scandal, his best writings validated by time, he comes before us still, a towering figure, laughing and weeping, with parables and paradoxes, so generous, so amusing, and so right."

If I may be forgiven a paraphrase of Ellmann's own words, this biography is also "generous, amusing, and so right."

If Richard Ellmann had not already written the definitive literary biography (his astonishing JAMES JOYCE), this utterly first-rate biography would be a legitimate candidate for the title. One might initially think that Wilde would be an easy subject for a biography: his life was interesting, eventful, literarily significant, triumphant, and tragic. But the problem is that for many Wilde has become a symbol either of the late 19th century Victorian decadence or the oppressed homosexual. To treat anyone, and especially Wilde, primarily as a symbol or a representative of anything outside himself, is to distort and misrepresent. The genius of Ellmann's biography of Wilde is that Wilde never becomes either more or less than the writer and person Oscar Wilde.

The portrait that emerges of Wilde is absolutely fascinating. If Ellmann's JAMES JOYCE is the greater biography, Wilde emerges nonetheless as the more interesting of the two Irish authors, and perhaps the more brilliant, if not the more productive. Indeed, one of the things that emerges from Ellmann's book is a sense that Wilde might have become a greater writer than he did, and not just if he had not sued the Marquess of Queensbury and had not been sent to prison on sodomy charges. Wilde emerges as even more brilliant than the work he produced, as if he had produced much of his work with a minimum of reference.

Ellmann does a marvelous job of situation Wilde in his time and place, with the cultural and artistic concerns paramount at the time. He also does a fair and just job of depicting the major involvements in his life, beginning with Whistler and his wife Constance and continuing on with his various involvements, especially with Alfred Lord Douglas. With the latter, Ellmann certainly does not try to idealize the relationship, but recounts it warts and all. If there is a villain in the book, it is not, surprisingly, the Marquess of Queensbury, but his son Lord Douglas.

The saddest part of the book, by far, is the section recounting Wilde's life after leaving prison, which is one disappointment after another. He first intended to reunite and reconcile with his wife, but she unexpectedly died, thereby cutting himself off from both a family and his children. He then reunites uncomfortably with Lord Douglas, but the attempt is a disaster. He final year or two are recounted as being especially miserable, with an impoverished Wilde reduced to conversing entertainingly with strangers for the benefit of a drink. It is especially heartbreaking to read how almost all his former friends cut him off, refusing to help him in his time of greatest need. An encounter with a young man from Arkansas provides perhaps the most apt Wilde quote from his last days. Upon hearing about Arkansas, Wilde remarked, "I would like to flee like a wounded hart into Arkansas."

One learns a vast amount of fascinating biographical detail about Wilde's life from this book. For instance: Wilde was double-jointed, could speed read and knock off books in scarcely more than a half hour in some instances. He was acquainted with the Yeats family in Ireland, and spoke with a pronounced Irish accent until he went to Oxford. He bought Thomas Carlyle's writing desk. He was a Mason. Physically he had tiny feet and teeth that were darkened by mercury treatments. And there is much, much more.

On nearly every level, this is a truly great biography. Even if one is not a fan of Wilde's works, it is definitely worth reading.

Just as to know James Joyce, discover his daughter, the spark of his own genius.

Lady Wilde was a writer and Irish revolutionary who raised her son to infiltrate the highest ranks of the empire and expose their foibles, faults, cruelties and hidden shames, which he so fully did through his theatre work and other writings. He was investigating the widespread homosexuality of the British aristocracy when he was arested for his prying and blamed for that which he himself investigated and reported. He was silenced through breaking imprisonment (read his post-prison poetry, and the uneven yet revelatory De Profundis written from prison) which debilitated, discouraged and killed him a few short years after his release.

TO know Wilde, know his mother: Speranza, Lady Wilde, whose wonderful works of Irish history and legends are now available on amazon.com only in Spanish translation. Several good biographies are also available at unattainable price.

Know alos his son. Wilde was a loving family man who wrote wonderful bedtime stories for his own beloved children. What broke him in prison was losing them, as he writes in De Profundis.

Ellman's is a fine biography. Find out far more about Wilde than the popular and shallow slander urgently promoted by the Empire

I had just finished this book ten minutes ago and I am completely in love with the man. His life was one of both tragedy and creativity. I felt so sad for him in the last part of his life. He was an amazing soul and this bio accented it. A must read!

I remember reading this book when I was 16 and being blown away by the erudition. Even to this day it's probably the most erudite biography I've ever read. The scholarly weight and depth of this book is tremendous. It is amazingly comprehensive. This is the kind of book that takes 20 years to write and must be a labor of love for the writer--the writer must really love his subject, in this case, Wilde. And one has every indication from the book that Richard Ellman did. His portrait of Wilde is no less sympathetic as it is complete. This must be the definitive biography which all other Wilde bios should be measured against. A superlative achievement.

David Rehak
author of "A Young Girl's Crimes"

This is a very moving account of a heartbroken man who was betrayed by a person he loved dearly. The pain, the trauma, the love, the anger, the frustration is evident in every single well-written sentence. This book is not only a window into the mind of one of the best British writers of the late 19th century. It is also a timeless lesson on what can happen when one falls in love with someone who doesn't truly appreciate what they have before them. Of course there are other lessons to be learned in this book but rather than point them out here, I'd much prefer you pick up a copy of "De Profundis" as soon as you can.

Not actually a "letter," though it had to be originally presented as such for him to be allowed to write it while in prison, *De Profundis* is Wilde's masterpiece--one has to have really lived and really, really suffered to have written it and it's amazing that he achieved it.

I only very recently read it--and "got" it. It rings true to me, and is very, very moving and "profound." It ain't summer beach reading.

Wilde is still and will probably always be best known as a "Personality"--that and the author of a couple of decent period plays, a short novel, a few stories, and lots of forgettable poems and such. But THIS--THIS is IT.

He really WAS a great writer, it turns out, after all.

So many people concentrate on De Profundis' accusations cast towards Alfred Douglas. Yes, it's true that the letter was written to him and that Wilde is ruthless in letting Douglas know exactly what he thinks of him but that's not why De Profundis is a great piece of work. It is great for three reasons. Number one - It contains the best account of the life of Christ. Christ as the romantic artist is the only account that has moved me to tears and the only account I can personally embrace. Number two - it is chock full of the Oscar Wilde voice and wit and as a result it reverbates as a true work of art and number three - It is ultimately a work that celebrates the things in life worth feeling - failure, love, injustice, strength and forgiveness.

Don't waste your time with the accusations towards Douglas. He is unimportant. Oscar Wilde is what's important and De Profundis is Oscar Wilde bare.

Ah, me...one doesn't know which to be more irritated
and exasperated with: whether it be Walt Whitman doing
his dissembling shuck-and-shuffle about the children
he had sired (to throw off a probing, serious John
Addington Symonds) -- or Oscar, in this "j'accuse," which
he should have spoken while looking in a mirror, rather
than writing it on paper to Lord Alfred.
This is without doubt a fascinating, horrifying,
and yet in places humorous, "piece de Miserere mei"
(to combine a bit of French with Latin).
If one chooses to believe Oscar, his only fault
was weakness in "giving in" to Lord Alfred. Oh,
come now. Blinded by Eros, reason flies out the
door...if ever reason was in control. There are
some sentences which are devastatingly revealing,
but Oscar doesn't seem to see it. "The trivial in
thought and action is charming. I had made it
the keystone of a very brilliant philosophy expressed
in plays and paradoxes." Ye gods, and little fishes!

And this man dared to call himself a "Classicist?!"
Yikes!!!
The best exercise for the reader is to just take
many of the things which Oscar accuses Lord Alfred
of, and turn them toward the self-blind, self-
justifying Oscar, to see their devastating hitting
of the mark. Never having met the young man, but
only having the "benefit" of hearsay (mostly from
Oscar's literary defenders) Lord Alfred seems to have
been calculating, temperamental (using anger to get
his way), manipulative, etc., etc., etc. The best
description of him may be Wilde's referring to him
with the lines from Aeschylus' play AGAMEMNON,
about the lion cub being raised in a house and
being let loose to wreak havoc and ruin.
But Oscar bears his share of blame -- more than just
that of the "sin" of weakness which he constantly falls
back upon in his own justification. Even in the midst
of what purports to be some sort of penitent cry from
the depths of hell...Oscar still is ever the poseur:
"And I remember that afternoon, as I was in the railway
carriage whirling up to Paris, thinking what an impossible,
terrible, utterly wrong state my life had got into, when
I, a man of world-wide reputation, was actually forced
to run away from England, in order to try and get rid
of a friendship that was entirely destructive of everything
fine in me either from the intellectual or ethical point
of view...." Er, when was the last time that the
"everything fine" had last seen the light of day?
Was Oscar an "Artist," as he consistently claims?
Was he the wronged, harmed Artist? Perhaps only the
reader can decide that for himself. Without doubt
he was witty, acerbic, funny, cute, clever, perhaps
even charming (to some -- sort of like a Pillsbury
Dough Boy with flair and a clever tongue), perhaps
stylish (in a frumpy, velveteen sort of way). Was
he wronged by a predatory clinger and manipulator,
and a hypocritical social prudery and class power
play (Oscar is no Socrates--that's for sure!)? He
hardly seems worthy, in some ways, of being a poster-boy
for Gay Pride parades. More likely, he is a better
warning poster boy for the self-excusing, and never
take-responsibility-for-your-own-actions crowd.
But this is an incredible piece to read and think
about. There is some of it that is mordantly hilarious.

One of the most famous - and infamous - letters in all of literature, De Profundis is a strange little piece of work: either much more than it appears on the surface, or much less. It is something I think everyone should read, if only for its insight into the human character, particularly that of one under great personal suffering. Wilde wrote this extraordinarily long letter from prison to Lord Alfred Douglas, his friend, lover, and the man who - by all accounts - was the reason Wilde was in jail in the first place. Despite repeated assertions in the first few pages alone to the contrary, Wilde seems reluctant to blame himself. He clearly blames Douglas to the hilt, and harbors a certain bitter resentment towards him. And yet... he clearly still hold much dear affection toward - and even loves - Douglas. He still seems to be asking for forgiveness - despite the fact that, by all accounts hardly excluding his own, he was the man wronged. It is quite clear from reading this letter that, desite the view history holds of him, Wilde was clearly a man of very high moral character. Certainly, one would not put Wilde atop a pedastal as the zenith of ethics - he himself says that morals contain "absolutely nothing" for him, and clearly admits - and is proud of - his having lived the high life to the hilt during his youth - but Wilde was a man of principles, and he stuck to those principles to the tragic, bitter end. Perhaps you might say he carried them too far. One gets the sense in reading this letter - or a biography of Wilde - that, not only could he have stopped his immiment imprisonment, but could have severed his ties with Douglas completely - had he wanted to. Apparently, he had his own utterly compelling reasons for not doing so. Whatever the case, Oscar Wilde is one of the most fundamentally and perpetually interesting characters in the whole of history. A self-described man of paradoxes - Wilde was subsequently the true essence of his time, while also being far ahead of his time - De Profundis makes for required reading by one of the most endlessly fascinating individuals you'll ever read about, and also provides a startling - indeed, perhaps too much so - insight into human nature.

De Profundis, though long for a letter, is not a long work in the conventional sense. Consequently, as many editions of Wilde's collected works are available, buying this on its own may be deemed questionable. I highly reccommend purchasing a Collected Works of Oscar if you have not done so already - it's well worth the price - but, should you desire to have more compact editions of specific works, an edition such as this will be privy to your needs.

Watch Video Here: http://www.amazon.com/review/R1M1TYFS1DHIRK Yo look at THIS!

I bought this book for a class, but while I sold most of them back this beauty I kept. The play itself is obscure. Since it was written in (rather poor) French originally and translated back into English, it lacks some of Oscar Wilde's trademark style. This is not to say that the style of the play is without its own merits. As the book is the retelling of a Biblical story- that of Salome, daughter of King Herod, and John the Baptist (Iokanaan in this rendition)- the style of the play often mocks Biblical style. The wording is thus often repetitive and simple, but there's a beauty to it that is in many ways indescrible. While wordy, there is also a particular depth to it that you'll miss if you don't look carefully. Thematically, the play was very entertaining and I enjoyed the revisionist take on the Biblical story. Overall I found this work enthralling. This particular edition is beautiful- it includes all of Aubre Beardsley's stunning ink illustrations of the play. This is well worth having on your bookshelf (although it is rather large- 8x11)

Oscar Wilde's 1905 shocking, controversial play is no longer as disturbing to modern desensitized audiences and critics/literary scholars who recognize it as a play of psychological/Freudian aspects and as a fin-de-siecle example of the Decadence movement in the arts. Wilde's flowery, poetically lyrical, Biblically-influenced orutund words is devilishly at variance with its cruel violence and horror. In this edition, we are treated to the full illustrations by Aubrey Beardsley, Wilde's friend and himself a playwright and exponent of the Decadence. The pictures are dark, erotically charged but full of feminine lines and flowery imagery which were typical of Art-Noveau style in art/architecture. This is the entire play in a single act and I find makes a eye-grabbing book to put on your coffee table so guests can marvel at it. You'd be surprised to see the looks I get from them whenever they see the cover art!!

Wilde did not regard this work as his greatest when compared to his others, most notably The Importance Of Being Earnest. Shortly after Salome premiered, Oscar Wilde poked fun at himself and his play by dressing in drag in Salome's sexy costume for a photograph. It's likely Wilde had a bit of fun in writing a play that was bound to turn heads in a society fresh out of the Victorian Era. The words are indeed poetic and beautiful descriptions of nature, spirituality and romance mix with carnal innuendo.

The main characters- King Herod, Queen Herodias and Salome- are each in dire need of therapy, though they themselves may not admit it being a vainglorious and proud royal family. Queen Herodias became a target of John the Baptists' righteous anger and condemnation because according to old Mosaic Law she sinned by marrying the brother of her deceased first husband and thus committed incest. Full of hatred for the Prophet, she waited for the right moment to extract her revenge as well an opportunity to get him to "shut up" forever through his death. John the Baptist languished in prison at King Herod's Palace Dungeon, though in Wilde's play it was changed to a cistern in the palace courtyard garden. Herod thought it better he live the rest of his life in prison rather than be executed, for internally, Herod had always suspected that John was a reincarnation of the long dead Prophet Elias. Perhaps he thought that his presence would bring good fortune to his home. Herod has his own complexities. This is not the same Herod who ordered the deaths of the infants upon Jesus's birth. This Herod, possibly the son, ruled Jerusalem as a puppet-king and was a sycophant to the Roman Emperor. He lusted after his own daughter or stepdaughter Salome. "You stare at her too much" says the jealous Herodias whom we assume is aging and lackluster compared to her teenage, nubile daughter. Herod entertains sexual thoughts about his daughter and is aroused when she dances her famous Dance of the Seven Veils. I don't buy that he was just dead drunk. He has always lusted after Salome. But...he was in awe of John the Baptist and secretly respected him which is why he is so reluctant and even opposed to have his head severed upon Salome's request.

As for the eponymous heroine herself, she has been a subject of scholarly chat, art, literature, poetry and music throughout the years. Richard Strauss composed a celebrated opera based on this very play in 1905 and the soprano singing the role is in for a challenge because not only must she look young and dance, but her voice must be gargantuan and yet delicate. Salome found herself within the poetic themes of French poet Stephen Mallarme among others and orchestral compositions were made about her. Why does Salome ask for the head of Jon the Baptist ? Simply put, she's crazy young girl. She is only a teenager, probably between the ages of 15 and 18, awakening to her own sexuality which can be a confusing time. She is naive and inexperienced, spoiled rotten and mentally disturbed. She is fascinated with Jon the Baptist as a child would be with a new toy. He is foreign, exotic and mysterious to her and that's what makes him sexually attractive to her. More specifically, she is enamored of his lips though she believes the rest of his features are hideous. Since the Prophet rejects women and worldly things, he scolds Salome's sinfulness and refuses to kiss her, refuses to even turn and look at her face to face. This spurs Salome's anger. No man has ever found her unattractive or turned her down. The Palace Guard Nabbaroth kills himself out of frustated love for her. Many men are intoxicated by her beauty. The jealous, sexually frustrated Salome has reason enough to want Jon the Baptist's head on a platter. I have always felt that Salome was not a naive, thoughtless girl that her mother the Queen used as a pawn for her own revenge, as the Bible seems to imply. Salome had her own reasons for wanting the head of the Prophet. The truth is very disturbing as it would seem that Salome wanted his severed head as a sexy toy. "You would not suffer to kiss me when you were alive," she says in the play," and now you're dead and I'm alive and I have kissed your lips, Jochanaan." Necrophilia at its ugliest! It was for a sick, sexual pleasure that she demanded his head. Yet for all this, Wilde makes her a sympathetic, pitiful figure. We the audience are able to see her thought process through her words each time the Prophet rejects her and we see before our eyes her mental breakdown. Even so, one cannot help but wonder if this child of sin is right about certain claims she brings up. Salome believes that if John the Baptist had turned to look at her just once, he would have fallen in love with her. Could this be true ? Is this why the Prophet controlled himself and averted his eyes ? Salome claims that the Prophet is the only man she ever truly loved, which is a fallible even illogical statement when considering Salome appears to be a virgin, a girl on her first crush and has never experienced mature adult sexual relationships. Salome may be a ditzy, emotional and mental wreck but she has one of the most thought-provoking and inspirational lines I've ever heard in a play: "The mystery of love is greater than the mystery of death" which contain in its own way a kind of spirituality. Throught the play the most mysterious, unknowable character is John the Baptist, who, parrot-like, quotes Biblical passages and preaches in a fire-and-brimstone kind of way and never once reveals any of his true character. The play is great and though it's not performed today, it continues to fascinate readers everywhere. And by the way, the proper pronounciation for Salome is not "salami" like the food but sounds more French: Sa-Lo-May.

Beardsley's illustrations for Wilde's "Salome" are quite well known. I enjoyed seeing them, in unexpurgated forms, in the context of the script they were meant to adorn. I think I can see wonderful possibilities in staging that play, where modern sensibilities could show and accept what England of 1892 could not. Even so, I found the script itself somewhat repetitive, with more in it to startle than to explain. Perhaps there's a knack to reading this script that I haven't mastered.

This isn't the only place to find Beardsley's "Salome" illustrations. Other books show the uncensored forms of the pictures, too. This book, however, reproduces them in larger format and crisper printing than the others I know, and is worthwhile for at least that reason.

//wiredwierd

The last reviewer has totally missed the genius of this incredible dramatic work. The story as told in this one act play has nothing to do with the theology of Christian Biblical Mythology. It is a carefully constructed a meticulously executed examination of 'real' personalities interacting within a particular network of historical and social relationships. The unfulfilled passion which drives Wilde's Salomé to murderous revenge is deeply convincing within the context and the characterisation of the personalities created by this greatly inspired Anglo-Irish dramatist.

Complaining that a literary work does not reflect accurately some personally perceived 'historical' truth is like complaining about the historical accuracy of Shakespeare's 'Julius Caesar' - it is missing the point entirely!

This play is a gripping, fast-moving tragedy which deals with the darker side of human nature vividly, imaginatively and with unguarded honesty. It is not, of course, like Wilde's other more popular plays which were designed to be humorous, witty and light. This like 'De Profundis'' "A picture of Dorian Gray' or some of his truly magnificent later poems, ranks as one of Wilde's greatest contributions to modern English literature. If you haven't already read it, do so - or better still - buy a few copies and stage it!

My first exposure to Oscar Wilde was as a young girl reading his horrendously depressing fairy tales. And while I fell in love with him because of those, it was nice to get to high school and have my literature teacher throw something wilde and FUNNY in front of me. I think this was during a term where we were reading rather sad things, so this was an awesome break and a reminder that, guess what, classic literature can sometimes be entertaining.

I have never seen play nor movie of this, though I would like to, for this script is something that demands to be put into action. Satire usually has, since the Greeks. It's funny, witty, and smart, despite that the characters are among the dumbest, silliest people you will hopefully never have the opportunity to meet.

"The Importance of Being Ernest" is quick, biting, and a great, entertaining read.

A quick and entertaining read, Oscar Wilde's comic portrayal of 19th century upper-class intrigue is filled with witty, bantering dialogue. Two friends, Algernon and Jack, perfect the art of "Bunburying," which consists of inventing ill or troublemaking friends and relatives in order to get out of social engagements. Of course, this can only backfire and lead to confusion, particularly as Jack's fictitious brother Ernest shows up unexpectedly at the home of Cecily, Jack's ward and the woman Algernon hopes to marry. As Wilde pokes fun at the upper class and the deceptiveness inherent in its elaborate social protocol, the final irony comes when the hapless deceivers find they may have been inadvertently earnest all along.

this book came in great condition, as promised, and arrived on time. thank you very much!

The wit in which Wilde writes is incredible. It's a quick short play so you should definitely read it if you love plays. It's funny, and just quite great!

Funnier and more entertaining than you ever thought reading a play could be, and absolutely more relevant now than ever, The Importance of Being Earnest is Oscar Wilde at his best. Thankfully short ( you can read it in an hour or so ) and filled with brilliant, biting humor.

What a Gem! If you are a fan of Oscar Wilde then this book is indispensable.
My only gripe is that it is too small. A larger format would have shown off the many Napoleon Sarony photos (the largest collection in one publication) If the publisher and Mr Holland ever read this....I'd gladly shell out for a large format edition. Other than that, I'm quite too utterly ecstatic about the book.......WELL DONE!

This is a sparkling gem for all fans of Oscar Wilde. It is a brilliant retelling of Oscar's life through pictures. Filled with everything from photographs of Wilde the aesthete to hilarious caricatures of him from Punch magazine to some of Wilde's own drawings and notes, this fabulous little book has it all. Many of the items I have not seen in any other volume. It goes wonderfully well coupled with Richard Ellman's gorgeous biography or it stands tall on its own. All and all, a marvelous book that I cannot possibly recommend highly enough.

Cutting to the chase, the real prize in this marvelous little book are the photographs. For once, we get something other than the usual lot that appear in books with a Wilde connection. Mr. Holland has achieved through his pictures (most seem to be from the family collection) something which most texts don't do..... a feel for the whole of Wilde the man. There is a human dimension to this slim volume that one does not find elsewhere. There are pictures of ancestors, parents, editorial cartoons, advertisements, all in relatively strict chronological order, from the child in a dress (as was customary for little boys in the period) to the student, the developing fop, the lampooned character, the ludicrous pairing with Bosie... who looks perpetually bored and thoroughly uninteresting... to the depressing denouement, death bed and funerary monuments.

The text reveals nothing new but it is elegantly written. Both of Wilde's children were devoted to the memory of their father. It is evident that the grandson was raised in like manner.

Of Wilde's two boys, Cyril died in WWI without issue. Mr. Holland is the grandson of the other, Vyvyan.

If you are interested in the period, England and Ireland in late 19th century, Wilde, gay history, etc. buy this book. It is worth infinitely more than it costs.

Mr. Oscar Wilde, the toast of all London for his successful plays revealing the immoral soft underbelly of the British aristocracy, received a slanderous calling card at his club from the Marquess of Queensberry, whose son Al was assisting Mr. Wilde in his investigations of the more corrupt and immoral and hypocritical aspects of those filthily wealthy imperialists.

At Al's urgent request, Mr. Wilde filed suit for slander against Al's own father, serving as noted in this book in Mr. Wilde's own words, as the dice in a cruel and callous oedipal gamble between father and son. Mr. Wilde lost; the petit bourgeois father won and before the Crown brought charges against Mr. WIlde under a new immoral activities act, the father had Mr. Wilde's home ramsacked and auctioned, all of Mr. Wilde's treasured and expensive belongings, and those of his wife and two small sons, in order ostensibly to cover his own legal costs in defending himself against Mr. Wilde's charge of slander. The auction, staged as it was, brought only a very small percentage of its actual worth, yet destroyed all that the family owned.

Mr. Wilde's grandson, in gathering this present album, mentions the fact of this destruction of his family heritage by alluding to the registry of six family albums which were sold and discarded beyond any recovery. Merlin mentions this fact cold, without further comment, but the skilled reader may read between the lines the deep and painful import of this action to Merlin personally. Thus this present effort grows immeasurably poignant and important.

Though others praise the photographs here, it is the comprehensive and extensive and brilliant essay by Merlin here which makes this book as well. This book grows thereby essential for any reader of the English language, and for any reader of Irish resistance to English colonialist power, in particular that fatal power which was so coldly brought to bear against its most subtle and charming and astute and eloquent and Irish critic, greater even than GB Shaw, more subtle even than the great Mr. James Joyce.

Never mind please my ramblings nor the effusiveness of other reviews which here appear upon this page. My one qualm regarding this book is that it is not BIG enough!

Please see as well the excellent, if painfully abridged, production of An Ideal Husband in the BBC collection The Oscar Wilde Collection (The Importance of Being Earnest / The Picture of Dorian Gray / An Ideal Husband / Lady Windermere's Fan) if only to see younger and slimmer and in his prime he who would later play for them Sherlock Holmes. The Importance . . .in this collection is also tolerable if abridged and awkward; Lady Windermere's Fan begins slow with the mournful Lord, but grows inexorably to a heart wrenching finale without sentimentality.

Read all of Mr. Wilde's published work (lacking of course the bulk his writings for Women's World, and lacking his original French text of Salome) in Complete Works of Oscar Wilde (Collins Classics). The original French text of Salome you may find at Salome: Drame en un acte (Collected Works of Oscar Wilde) in order to perform your own translation into English which will undoubtedly replace Al's. It is also available in a Spanish translation at Salome - Bajo El Monte and a fine selection of his short stories at El Fantasma de Canterville y Otros Cuentos (Serie Roja Alfaguara) (Serie Roja Alfaguara).

Please read this book and know the extent of the destructive power of an offended British aristocracy, a destiny, as Merlin here indicates, as inexorable as any ancient Greek drama. Merlin's assessments of his grandfather's oeuvre are also excellent and right on, although too brief! Find further critical work by himself as well as by his father Vyvyan Holland, whose photographs as a small boy are so telling here.

This volume is more touching and insightful than most
works about Oscar Wilde tend to be. It is filled with
the narrative commentary of Wilde's grandson,
Merlin Holland, who gives honest opinions as well
as factual detail about the various stages of
Oscar Wilde's life.
The treasures, however, are the multitudes of
photographs, memorabilia, and paintings that are
included -- as well as drawings, satirical cartoons
(mostly lampooning Oscar, both at Oxford and later
in life), and wonderful notations under the items.
The most interesting photographs, for me, are
the ones which were done by Napoleon Sarony. They
seem to touch a more thoughtful, poetic, dreamy
Oscar, rather than the posing bon vivant or the
deliberately provocative aesthete/decadent.
The volume does well to have one of those photos
on the cover, as well as having a different photo
beside the title page. The grotesque photos,
that almost make one cringe, though, are of
Oscar in a skirted Greek national costume
(with boots!) from April 1877; Oscar in a
checkered suit and bowler hat at Oxford in
1878, and Oscar at age 2 in a blue velvet
dress, a daguerreotype which has been color
tinted. The weirdest photos are of the
"blond tiger/panther" Lord Alfred Douglas,
would-be "friend" and lover of Oscar. His
eyes look vacant, haunted, cold in most of
the photos , except for the one on page 147,
in which he looks touchingly sensitive and
lonely...the caption below the picture says
it all: "Douglas aged 23. 'Your slim gilt
soul walks between passion and poetry. I know
Hyacinthus, whom Apollo loved so madly, was you
in Greek days,' Wilde wrote to him around that
time."
Truly a remarkable album of memories.

This book came home from the library with us one day. My ten yr. old daughter had a load of chapter books to read for school goals, and I grabbed this easy-collection book just for fun. I read it aloud to her that evening, and hadn't pre-read it at all. I was pretty tired, and just assumed it would be a nice little read before bed. As I read, I was still feeling it was a nice, typical fairy tale. When the surprise came, my daughter and I were equally stunned. The magic jumped from the book to both of us at the same time. There is a genius to the simplicity! (Thank you, Mr. Wilde, Ms. Gallagher) What a treasure! My daughter wanted her own copy immediately, and it is a book she will take into her adult life, to share someday with her own kids (unless I read it to them first!) I can't believe I got to adulthood, as a reader, and never knew this book! But how nice to discover it!!

A timeless fairy tale by Oscar Wilde , for all from 2 years old to 122 years old. It will be appreciated today, as it was when it was first published in 1888. These tales never lose their charm or their wonderful lesson.

A Giant kicks all the children out of his garden and builds a high wall around it because "My own garden is my own garden," said the Giant. "Anyone can understand that, and I will allow nobody to play in it but myself."
But he is punished by winter never leaving the garden, and when finally the children return, he is delighted and takes the wall down. Spring returns to the garden , and through his friendship with one very special little boy he will be eternally rewarded.

I don't know very much about Oscar Wilde. I was drawn to the book by its illustrations. I purchased a copy for my then-four son and read it to him one evening. When I reached the end I was pretty stunned. The beautiful artwork conveyed the story so beautifully and at the end when I realized WHO the little boy was -- I had a hard time finishing the story.

I cannot recommend this book enough. I have purchased multiple copies as gifts. This is not a book you read once and leave on the floor in the kids' room to become damaged. It stays in a nice place where it will be passed from generation-to-generation.

WARNING - I may say something offensive here - I have absolutely NO problem with "the religious overtones" (as put by some other reviews - and for those who don't understand the significance, the one mention means nothing anyway). After years of academia's cold influence on the nature of man, sin, and redemption, a hint of Hope is not unforgiveable.

Beautiful, beautiful piece of artwork. My hat is off to the author and brilliant illustrator.

- Dr. T.A.B.

"Every afternoon, as they were coming from school, the children used to go and play in the Giant's garden..." So begins Oscar Wilde's timeless classic. The children love the Giant's garden, its soft grass, beautiful flowers, tall climbing trees, and singing birds. But when the Giant returns from a seven year visit and sees all the children playing happily, he is angry. "My own garden is my own garden," said the Giant. "Anyone can understand that, and I will allow nobody to play in it but myself." He selfishly builds a high, high wall around the garden and puts up a "Trespassers Will Be Prosecuted" sign. The children were very sad. They had nowhere to play and spent their days remembering the Giant's wonderful garden. Inside the high wall, the birds stayed away, and the flowers would not bloom. Winter had come to stay. Snow, Frost, Hail, and the North Wind now lived in the garden. There was no Spring, Summer, or Autumn. And then one day, the Giant noticed a small boy had entered his cold and wintry garden, and he began to feel very sorry for what he had done. As the little boy began to cry, the Giant's heart melted..... Originally published in 1888, The Selfish Giant is as magical today as it was well over a hundred years ago. Oscar Wilde's simple, yet eloquent text, with its gentle message of love and generosity, is charming, engaging, and begs to be read aloud. But it's Saelig Gallagher's marvelously detailed and evocative illustrations that really make this picture book stand out and sparkle. Perfect for youngsters of all ages, The Selfish Giant, with its satisfying, happily-ever-after ending, is a masterpiece to share with friends and family now, and with future generations in the years to come.

The story of the Selfish Giant is a wonderful book with a lot of deep meaning, I love the lesson it teaches. The illustrations in this book are amazing. I love to look at every detail of every picture. I have seen this book in other styles but they can't compare to the artwork of Saelig Gallagher. Thank you Oscar and Saelig for an amazing book!

Oscar Wilde was one of the most brilliant men to ever live and his oeuvre definitely deserves a quote book of its own. I realize that he has several but I bought this one recently and on the cheap (I got mine used from a z shop). Here the great playwright's observations are subdivided into chapters concerning men, women, marriage, youth, sin, religion, journalism, wealth, England, America etc. It's a concise collection but contains nearly 60 pages of priceless insight. Wilde sums up a large amount of human nature almost effortlessly via the words of the characters found in his works. In fact, if you ever need a source regarding just about anything cultural he's a wonderful authority. It's too bad he did not live in our times as his irreverence would have been better appreciated and celebrated--at least by those of us who are not politically correct. Rest in Peace, hero.

This sweet little book is full of Oscar Wilde's great little quips. I absolutely love it! I keep it next to my desk and pick it up for those sweet little chuckle breaks that we all must take to break up the dreary work day! Great little read! Promise!

This collection of Wilde's greatest quotes is an easy read, and wonderful to keep around the house. Wilde's wisdom is displayed throughout this edition, and is a must have for any Wilde fan.

"I can resist everything except temptation."
"There is no sin except stupidity."
"It is only shallow people who do not judge by appearances."
"It is always with the best intentions that the worst work is done."

These laconic aphorisms are just the tip of the iceberg of Wilde's impressive, yet oftentimes eclectic and nihilistic, use of the English language. Dover gives us 60 pages of brilliant witticisms and axioms to use over and over again for a mere dollar. You can't go wrong. Also recommended - Dover's Shakespeare quotes book for a dollar. Enjoy.

Everyone knows OW was a witty guy.

If you want to find witty things he said in one small book such that you can try to emulate his wit, this book is for you.

It's good for an hour's read where you will snicker, snort, and grin.

It's exactly what i expected and exactly what I got. Whee!

This is a must have for any fan of Irish Literature

The Ballad of Reading Gaol and Other Poems (Dover Thrift Editions)

Oscar Wilde was not a person who was likely to take being put into prison lightly. Those who know the full extent of Wilde's wit ought to see how bitterly it was able to express itself, when getting locked up for enjoying inappropriate pleasures of the mind results in this, the reflection that "every prison that men build is built with bricks of shame." (p. 40) Although it is included in a small book, the poem in the title might seem to go on forever, as it hardly ends when Wilde gets to the last line, "The brave man with a sword !"

If you are looking for slapstick humor or short "sound-bite" quotations, then perhaps you should look to some of Oscar Wilde's other works--but if you are looking for subtle wit and excellence in exposition, then you have found just the book. These Dover Thrift editions allow one to inexpensively read, annotate and travel with Oscar, when you might be leaving the big collected works at home. Real value for the dollar, and "The Ballad of Reading Goal" is some of the best writing in the English Language.

This is the best book I've ever read.It is great for children as well as for grown ups,who shouldn't forget that they were children once too.

I am a big fan of Oscar Wilde, and this just proves even more how wonderful a writer he is. These stories are for the young and the old. You will laugh and cry. Wilde writes them in such simplicity that they are absolutely wonderful. I personally cried at the end of the story "The Happy Prince" and came very close to doing so for a good number of the other ones. Don't just think that these are sappy kiddy stories though because there is also a great deal of Wilde wit and sarcasm in them. You can't help but smile and laugh. This is really one of those books to share with your friends.

I like this book because there are a few little interesting short stories in it. The fairy tales want to tell us something about social problems. If you read this book it opens your eyes so that you can see that there are these problems in our society too. But the book is also good for little children, because the fairy tales are written in a nice language. They are very pretty,
My favourite story in the book is „The Selfish Giant". Because first the Giant is very selfish and doesn't want the children to play in his garden but afterwards he sees the happiness of the children when they play in his garden and this gives him happiness too. Also the relationship between the little boy and the Giant is great.

I am no expert on Oscar Wilde, but I've been reading fairytales long enough to be able to tell the difference between an enchanting story and a bunch of pap. The nine magically airy yarns in this small collection are definitely in the first category.

"The Happy Prince" and "The Selfish Giant" are perhaps the most famous of the nine. In the first story, the golden statue of a prince weeps for all the suffering people he sees and begs a swallow to strip him of his riches and distribute them to the masses. In the second tale, a giant builds a wall around his beautiful garden to keep out the noisy children, only to find out that he has also locked out the Spring.

"The Young King" is a variation on the theme of "A Happy Prince". When a young monarch learns of the suffering and misery caused by his requirement for a robe, a crown, and a sceptre, he refuses to handle any of these riches and is given a more fitting raiment by a Divine Power. Keeping with the royal theme is "The Star-Child", about a beautiful but horrible young boy whose physical appearance grows to match his ugly spirit. Another little bird appears in "The Nightingale and the Rose", to help a young man win the heart of the woman he loves.

The stories' themes include beauty, tragedy, agony, compassion, innocence, and (Platonic) love. Some characters give their lives, or sell their souls, in the name of love. There are also the same archetypes that appear in dreams: the Divine Child, the Trickster, the Wise Old Man or Woman, the Number 3, and more. Add all this to Wilde's delicate writing and gilded imagination, and you get some of the most original tales ever written.

Though most of these stories end happily, all end tragically. That is to say, even when the endings are happy, someone always dies. Each story manages to associate everything thrilling and exquisite about beauty with the starkness of death. Accordingly, not all of these tales are suitable for children. For example, one scene in "The Fisherman and His Soul" features witches dancing before the devil and the princess in "The Birthday of the Infanta" is a heartless child whose mockery leads to the death of a little dwarf. Though the stories are moral at the core, and often explicitly Christian, they do not always make sense.

Despite the faults, the keening, poignant loveliness shines through, making me want to read each story again and again and again.