Gray Books

Anthony and Joan both could not put this book down! Anthony read it first, then read parts of it to Joan, then Joan read it. In the spirit of The Work and the Glory series by Lund, Standing on the Promises, combines factual history and characters with an outstanding story. The characters really come alive and the reader can truly imagine themselves right in the story and experiencing the events portrayed. The actual events and research are documented after each chapter and provide a wonderful historical review of the evidence. After, becoming acquainted with Elijah, Jane and Isaac in other publications, being able to read their stories was truly inspiritational. We are eagerly awaiting the next book in this series!

The following review appeared in November 2000 online in "Dunbar on Black Books" (http://www.queenhyte.com/dobb/dobb_archives/dobb_00/nov_00.htm ):

One More River to Cross by Margaret Blair Young and Darius Aidan Gray (Bookcraft, ISBN 1-57345-629-2) is the first of a trilogy entitled Standing on the Promises. It is a historical novel about black Mormon pioneers. With it "Dunbar on Black Books" (DOBB) makes an exception to its custom of reviewing only nonfiction books. We do this for two reasons. First, this book, albeit a novel, observes canons of history more dutifully than some works that hold themselves out as pure works of history. In the author's notes, the reader is told: "We have been true to all the facts that we could find but have freely fictionalized the spaces between the facts." Second, this book deals convincingly with an important subject about which very little has been written: black Mormon adherents whose membership in the Church of Jesus Christ of Latter-day Saints in Salt Lake City dates back as far as 1832.

The Church of Jesus Christ of Latter-day Saints makes much of the point that this book is not an official publication of the church. Bookcraft, its publisher, states that the book does not represent its position. One must know that Deseret Books publishes doctrinal works by Latter-day Saint leaders, biographies, and "enlightening" church historical books and that Bookcraft is a registered trademark of Deseret Book Company. It is in this context that DOBB reviews One More River to Cross.

When we overhear Delilah Abel whispering to her sleeping son Eli[jah] on the plantation just before they flee, we may think that they are fictional characters. We later learn from citations of the records of baptisms in the Nauvoo Temple Church of the Latter-day Saints in Salt Lake City that they were living people and that Eli[jah] Abel was baptized there. So that while we may have reservations about the dialogue between the persons in the book, or even the accounts of events that took place on the journey to Salt Lake City from Maryland or from Alabama, or from wherever, we know that Elijah Abel made it to Salt Lake. More than that, we are provided with evidence that he was one of the very few blacks to receive the priesthood in the early church and that he was ordained by the Prophet himself.

This book is one of the first, if not the very first, that this reviewer read by starting with the end notes. Quite frankly, to me the notes are a most significant part of this book. The authors make excellent use of records in the Missionary Record Books of the church, of information from conversations of Joseph Smith, as reported in Teachings of the Prophet Joseph Smith, from U.S. Census records in Salt Lake City, and from Brigham Young's Journal, to mention a few of their sources. They have given us a book providing information about African Americans in the Church of Jesus Christ of Latter-day Saints that is not widely available.

A word about the authors is in order. Heber G. Wolsey, former managing director, public communications, the Church of Jesus Christ of Latter-day Saints says of Darius Gray, the black co-author, "I know of no one who can express a more objective, more compassionate, more honest portrayal of blacks in the Mormon Church than Darius Gray." Gray is a former journalist and presides over the Genesis Group, an official arm of the Mormon Church. The Genesis Group was organized in 1971 to support church members of African descent. Coauthor Margaret Blair Young is a lifelong white member of the church, "with pioneer heritage," Mr. Wolsey points out. "She has felt deeply over the past few years the inspiration of her pioneer forebears, many of whom knew the Saints of color portrayed in this novel," he says.

This is an important book. It ought to be read by everyone as it throws light on some little-known facts about the history of the membership of African Americans in the early Church of Jesus Christ of Latter-day Saints. In this era in which Protestants are looking to their roots after decades of ecumenism, Darius Gray, as a black Mormon should not be on the defensive because of widely held, erroneous perceptions of the history of black membership in his church.

If this book were a nonfiction work, I would make the observation that an index would have been useful. The bibliography is excellent. William G. Hartley, associate professor of history, Smith Institute, Brigham Young University, says it all when he says, "In a way that pure history cannot do, this story attaches us to black Saints who deserve to be known about and appreciated by our generation."

With two more volumes to come, the contributions of African Americans to the Mormon Church should be well documented for the general public. It has been said that the best way to keep information from black men is to put it in a book and classify it as nonfiction. Perhaps Margaret Blair Young and Darius Aidan Gray have found a formula to set this situation right.

In the preface, the author mentions that the book is about "food & fun". That's true, however, to me, the main appeal is his diligent research into, sometimes obscure, areas, in order to find restaurants(and derivatives thereof) that combine good food, fine service, and fascinating atomosphere! The reader will be amazed to find so many interesting places, nearby, that they have not yet discovered. All places included in the book are in Ohio, with the exception of a few in Pennsylvania, Indiana, New York, Michigan, and Ontario, Canada. Mr. Zurcher takes you on journeys which include special places, such as...an 18th Century tavern that serves food from a 200 year-old recipe...a 19th Century bed-and-breakfast/tavern that includes beautiful and serene landscapes...an honest-to-goodness fifties drive-in restaurant with a chronologically-correct juke box(I loved it!)...a diner inside a Harley-Davidson dealership...a restaurant that features an antique-car museum and antiques in general...a tuba museum/restaurant...fine Amish restaurants(discover Amish history while in the area)...an actual castle with a restaurant that serves exotic food such as buffalo and ostrich...tearooms with elegant atmosphere and beautiful, rustic surroundings. He, in addition, provides a virtual "who's who" of purveyors of pizza, ice cream, cheese, hot dogs, popcorn, and more! Neil Zurcher's presentation is clever, concise, and really easy to read...the book will entice you onto the road. For a modest amount paid for the book, the reader receives a whole lot more than a "tankful" of memories and interesting dining experiences...TED DRISCOL

Having read Mr. Zurcher's two previous One Tank Trip books and having found them thoroughly enjoyable I approached this third edition with great delight. It certainly did not dissapoint me. I found the publication absolutely entertaining and full of great stories and places to eat. What a great surprise to open what I thought to be a book on restaurants and find myself laughing from cover to cover. The way the author intertwines reality with good old front porch stories and humor is nothing short of editorial wizardry. The book is a masterpiece of education and entertainment. I personally will not only use it as a where to go to eat bible but will undoubtedly re-read it for it's entertainment qualities. I highly reccomend the book and think it should be in every home, car and christmas stocking. Thank you Mr. Zurcher for the hours of delight. I can't wait for the next one.

...for those new to the subject and who think Augustine (not that Augustine, the other Augustine) was the first to bring Christianity to Britain. Gray suggests evidence that Christianity arrived in Britain even before the Roman Empire began it's expansion onto the island. Surprising and well written and worth pursuing.

Author: Andres Gray

Presents reliable evidence that St. Joseph of Arimathea established the first Christian church in Britain between 36 - 39 A.D. Reprint of 1880."

The long held belief that Christianity was introduced into Britain around 600 AD by St. Augustine is shown by the author to be unfounded. He presents the evidence that St. Joseph of Arimathea visited Britain around 36 to 39 AD and established the first Christian Church, then called 'Culdee', where is now the West country town of Glastonbury. The author states:
The first converts are said to have been members of the royal family of Siluria. It is asserted that there were two cradles of Christianity in Britain ----'the Chrystal Isle,' called by the Saxons Glaston, in Somersetshire, where Joseph is believed to have settled and taught; and Siluria, where Churches and Schools were founded by the Silurian dynasty.

. . . This decision laid down the principle that the Churches of France and Spain were bound to give way, in point of antiquity and precedency, to the Church of Britain, which was founded by Joseph of Arimathea, 'immediatly after the passion of Christ.'

. . . Regarding this date (given by Gildas) as our starting point, we have several testimonies assigning the first introduction of Christianity in or about the same year to Joseph of Arimathea.
The Culdee Church flourished for many centuries, independent of Rome, and knew no supremacy of the Bishop of Rome, held no dogmas concerning the Immaculate Conception of the Virgin Mary nor the "Infallibility of the Pope". In short, it was far from being a "Roman Church." Gray:
We possess evidence that Churches were erected in Britain before the close of the second century, and whatever direction our investigations take, we find authority for the statement that the Church of Joseph of Avalon, or Glastonbury, was the first and oldest of them all, many affirming that it was the oldest or senior Church in the whole world.
Dr. Gray has painstakingly researched the material covered in this informative, as well as exciting, historical study and has carefully substantiated the majority of his claims with solid documentation. Makes for a most reliable reference book.
Paperback
136 pages

I've always harbored a subconscious guilt whenever I thought about wolves in North America...I knew we'd trumped-up the danger they presented to us, in order to rid the wilderness of their threat to our fat, stupid livestock. Meanwhile we systematically slaughtered their age-old prey, leaving them to starve or become criminals. The clear, poignant and often beautiful writings collected in this book helped me understand consciously what that universal guilt is...and what I feel I must do to redeem my part in it. I must support programs to preserve what Wilderness is left, and return to it the species we have so ruthlessly extirpated. (Wait 'till you read what we did! And for how long! Yipes!) And while teaching me all this, John A. Murray reminded me how wonderful a writer, say, Aldo Leopold is...or introduced me to Edward Hoagland (WOW...thought he was a painter or something. He sure can write!) or Farley Mowat (Knew he wrote. Never knew how well!) Well worth reading!

Out Among the Wolves combines writings from some of the best known contemporary writers on wolves in one book. Every essay combines facts with great writing. I recommend this book to anyone who wants to know more about wolves, for the love of them, or knowledge

I found William G. Gray's summation of the Western Inner Tradition enlightening and enjoyable. It is a short book consisting of nine (9) chapters tracing the roots of the tradition to possible futures. A recurring theme is that of the 'Sacrificed King' from it's former practice to it's modern development of change in ourselves to become one with the divine. He speaks of temples and how they are but the physical symbols representing an inner condition. He will clarify many things in this book about the basic beliefs of the Western Inner Tradition. I'm glad William G. Gray wrote this book. If you want to learn more of this tradition and Gray's own particular organization his books should be purchased. These include the Sangreal Sodality Series which present the bare bones of the Tradition and his other complementary books.

Ever wonder why the Western Inner Tradition seems like such a muddle of magic, occult and other esoteric traditions? This can be very confusing for the initiate. William Gray clears the fog by explaining the begginings of the western esoteric tradition and its development in comparison to the eastern way. He gives a nice sensible history of the western way from the beginnings of humanity to the present, and shows what "magic" means to the tradition. While this is not a manual of magical practice, he gives sound and clear advice to get the initiate started along the path. He explains the three streams of practice, the intellectual, mystical, and emotional, and how different people are better suited for one or the other. I think he does a good job of cutting through a lot of the nonsense associated with magic and gets to the core of what the practice is, and can be about. This book is well suited for those who have an intellectual thirst for knowledge and seek understanding of the western path. It helped me to understand and claim the western tradition for my own, and gave me a solid basis and starting point for magical practice.

Take a step back into time with the daughters of Confederate veterans. The war will not seem like such a long time ago when these recent narratives bring you into the lives of these men.

This book was such easy reading of historical facts. The information was written in such a way that you could feel you were a part of the speakers memories. I would highly recommend this book.

Oscar Wilde was one of the foremost representatives of Aestheticism, a movement based on the notion that art exists for no other purpose than its existence itself ("l'art pour l'art"), not for the purpose of social and moral enlightenment. Born in Dublin and a graduate of Oxford's Magdalen College, he initially worked primarily as a journalist, editor and lecturer, but gradually turned to writing and produced his most acclaimed works in the six-year span from 1890 to 1895, roughly coinciding with the period of his romantic involvement with Lord Alfred "Bosie" Douglas, sixteen years his junior. Douglas's strained relationship with his father, John Sholto Douglas, Marquees of Queensberry, eventually resulted in a series of confrontations between Wilde and the Marquees, which first led to a libel suit brought by Wilde against his lover's father (who had openly accused Wilde of "posing as a sodomite" and threatened to disown his son if he didn't give up his acquaintance with the writer) and subsequently to two criminal trials against Wilde for "gross indecencies," based on a law generally interpreted to prohibit homosexual relationships. Sentenced to a two-year term of "hard labor" in Reading Gaol, Wilde emerged from prison in 1897 a spiritually, physically and financially broken man and, unable to continue living in England or Ireland, after three years' wanderings throughout Europe died in 1900 of cerebral meningitis, barely 46 years old.

"The Picture of Dorian Gray," Wilde's only novel besides seven plays as well as several works of short fiction, poetry, nonfiction and two fairy tale collections originally written for his two sons, is critical to an understanding of Wilde's body of work and his personality primarily for two reasons: First, because it constitutes one of his earliest fully accomplished formulations of Aestheticism, and secondly because of its undeniable undercurrent of homoeroticism; an inclination which, after a six-year marriage widely thought to initially have been a true love match, Wilde had begun to explore more openly around the time of the novel's creation (1890). The story's title character is an exceptionally handsome young man who, both in the eyes of the artist tasked to paint his portrait, Basil Hallward, and in those of their somewhat older friend Lord Henry Wotton, epitomizes perfect beauty and is coveted by both men for that very reason. Seduced by hedonistic Lord Henry into believing that beauty can literally justify anything, including any act of immorality, Dorian sells his soul for maintaining his beautiful appearance, letting his portrait age in his stead. (In that, his character resembles Goethe's and Marlowe's Faust.) He then quickly turns from an innocent youth into a cruel and calculating man whom society, in its shallow adherence to appearances, nonetheless never associates with any of the results of his cruelty, never looking beyond the surface of his handsome exterior and assuming that a man so beautiful must necessarily also be good. Ultimately it is Dorian himself who brings about his own downfall when he is no longer able to face the manifestation of his evilness in Basil Hallward's picture.

Upon its initial publication in Lippincott's Monthly Magazine in 1890, "The Picture of Dorian Gray" was widely scorned as immoral by a public neither familiar with nor particularly open to the concepts of Aestheticism and its mockery of middle class morality, and repulsed by the thinly veiled homoerotic relationship of the novel's protagonists. Wilde republished the work the following year, adding a preface designed to explain his views on art. Yet, it was that preface which, along with several of his other publications and his written exchanges with Lord Alfred Douglas, ultimately would play a devastating role in his trials, where Queensberry's attorney would come to use an excerpt from that very preface - "There is no such thing as a moral or an immoral book. Books are well written, or badly written" - to extract from Wilde statements to the effect that any book inspiring a sense of beauty (including, as implied in the attorney's question, an "immoral" book, if "The Picture of Dorian Gray" could be qualified as such) was well-written and therefore commendable; that only Philistines, brutes and illiterates - whose views on art he considered invariably stupid and for which he therefore didn't "care twopence" - could consider this novel "perverted," and that the majority of the reading public would probably not be able to draw a proper distinction between a good and a bad book. It was testimony such as this, as well as the impending confrontation with a number of male witnesses ready to testify as to the nature of their relationship with Wilde, that not only caused the author's attorney to convince his client to drop the libel suit against Queensberry but also opened the door for Wilde's own subsequent prosecution.

If "The Picture of Dorian Gray" has a central theme besides the supremacy of beauty and the depiction of a society primarily interested in appearances, it is a call for individuality: Dorian's cruelty is brought out only after he allows himself to be influenced by Lord Henry's equally seductive and cynical hedonism; and similarly, Basil Hallward's blind idolizing of Dorian eventually proves fatal for the painter. - Wilde's only novel is one of the first and most poignant expressions of his own individualism; but unlike his protagonist, who ultimately pays a ghastly prize for selling his soul and giving up his individuality, Wilde paid as high a price for maintaining his. Like Dorian, he knew that "[e]ach of us has Heaven and Hell in him," and although this novel's preface ends with the provocative statement that "[a]ll art is quite useless," it was the very fact that Wilde put his entire being into his art that ultimately destroyed him. But like beauty, which is finally restored to perfection in Dorian Gray's portrait, Wilde's works have stood the test of time; and not merely for their countless, pricelessly witty epigrams. They're as well worth a read as ever.

Basil, who up until now was a mediocre painter after meeting Dorian Gray a young Adonis, was inspired to create a masterpiece of which he puts himself into. Against Basil's wishes, Dorian Gray is influenced by Basil's friend Lord Henry. Dorian looks at his portrait and realizes that while the portrait will stay young forever, he will grow old; so Dorian makes a wish that if only he could stay young forever and the portrait can age.

At first Dorian does not realize his wishes been granted. He falls in love with a beautiful young actress who is every woman that Shakespeare ever wrote about. But once again due to Lord Henry's influence, he realizes that she's just a common girl.

Starting with absent-minded acts Dorian slowly sinks into debauchery. And with every new act his picture becomes more grotesque while Dorian stays is young and as innocent looking as the day his picture was painted.
What will become of Dorian?
What will become of Dorian's painting?
What would you do if you were Dorian?

Oscar Wilde paints a picture himself as he describes Dorian Gray's dilemma. And we as readers travel with Dorian as each decision is made. In some places in the story Oscar Wilde seems to drag on and on with detail; however we find that this detail is necessary to set the next scene.

Oscar Wilde himself led a risky life that lead to a jail sentence; is attitudes can be seen in the dialogues in this book.

The Picture of Dorian Gray Starring: George Sanders, Hurd Hatfield

Basil, who up until now was a mediocre painter after meeting Dorian Gray a young Adonis, was inspired to create a masterpiece of which he puts himself into. Against Basil's wishes, Dorian Gray is influenced by Basil's friend Lord Henry. Dorian looks at his portrait and realizes that while the portrait will stay young forever, he will grow old; so Dorian makes a wish that if only he could stay young forever and the portrait can age.

At first Dorian does not realize his wishes been granted. He falls in love with a beautiful young actress who is every woman that Shakespeare ever wrote about. But once again due to Lord Henry's influence, he realizes that she's just a common girl.

Starting with absent-minded acts Dorian slowly sinks into debauchery. And with every new act his picture becomes more grotesque while Dorian stays is young and as innocent looking as the day his picture was painted.
What will become of Dorian?
What will become of Dorian's painting?
What would you do if you were Dorian?

Oscar Wilde paints a picture himself as he describes Dorian Gray's dilemma. And we as readers travel with Dorian as each decision is made. In some places in the story Oscar Wilde seems to drag on and on with detail; however we find that this detail is necessary to set the next scene.

Oscar Wilde himself led a risky life that lead to a jail sentence; is attitudes can be seen in the dialogues in this book.

Oscar Wilde was one of the foremost representatives of Aestheticism, a movement based on the notion that art exists for no other purpose than its existence itself ("l'art pour l'art"), not for the purpose of social and moral enlightenment. Born in Dublin and a graduate of Oxford's Magdalen College, he initially worked primarily as a journalist, editor and lecturer, but gradually turned to writing and produced his most acclaimed works in the six-year span from 1890 to 1895, roughly coinciding with the period of his romantic involvement with Lord Alfred "Bosie" Douglas, sixteen years his junior. Douglas's strained relationship with his father, John Sholto Douglas, Marquees of Queensberry, eventually resulted in a series of confrontations between Wilde and the Marquees, which first led to a libel suit brought by Wilde against his lover's father (who had openly accused Wilde of "posing as a sodomite" and threatened to disown his son if he didn't give up his acquaintance with the writer) and subsequently to two criminal trials against Wilde for "gross indecencies," based on a law generally interpreted to prohibit homosexual relationships. Sentenced to a two-year term of "hard labor" in Reading Gaol, Wilde emerged from prison in 1897 a spiritually, physically and financially broken man and, unable to continue living in England or Ireland, after three years' wanderings throughout Europe died in 1900 of cerebral meningitis, barely 46 years old.

"The Picture of Dorian Gray," Wilde's only novel besides seven plays as well as several works of short fiction, poetry, nonfiction and two fairy tale collections originally written for his two sons, is critical to an understanding of Wilde's body of work and his personality primarily for two reasons: First, because it constitutes one of his earliest fully accomplished formulations of Aestheticism, and secondly because of its undeniable undercurrent of homoeroticism; an inclination which, after a six-year marriage widely thought to initially have been a true love match, Wilde had begun to explore more openly around the time of the novel's creation (1890). The story's title character is an exceptionally handsome young man who, both in the eyes of the artist tasked to paint his portrait, Basil Hallward, and in those of their somewhat older friend Lord Henry Wotton, epitomizes perfect beauty and is coveted by both men for that very reason. Seduced by hedonistic Lord Henry into believing that beauty can literally justify anything, including any act of immorality, Dorian sells his soul for maintaining his beautiful appearance, letting his portrait age in his stead. (In that, his character resembles Goethe's and Marlowe's Faust.) He then quickly turns from an innocent youth into a cruel and calculating man whom society, in its shallow adherence to appearances, nonetheless never associates with any of the results of his cruelty, never looking beyond the surface of his handsome exterior and assuming that a man so beautiful must necessarily also be good. Ultimately it is Dorian himself who brings about his own downfall when he is no longer able to face the manifestation of his evilness in Basil Hallward's picture.

Upon its initial publication in Lippincott's Monthly Magazine in 1890, "The Picture of Dorian Gray" was widely scorned as immoral by a public neither familiar with nor particularly open to the concepts of Aestheticism and its mockery of middle class morality, and repulsed by the thinly veiled homoerotic relationship of the novel's protagonists. Wilde republished the work the following year, adding a preface designed to explain his views on art. Yet, it was that preface which, along with several of his other publications and his written exchanges with Lord Alfred Douglas, ultimately would play a devastating role in his trials, where Queensberry's attorney would come to use an excerpt from that very preface - "There is no such thing as a moral or an immoral book. Books are well written, or badly written" - to extract from Wilde statements to the effect that any book inspiring a sense of beauty (including, as implied in the attorney's question, an "immoral" book, if "The Picture of Dorian Gray" could be qualified as such) was well-written and therefore commendable; that only Philistines, brutes and illiterates - whose views on art he considered invariably stupid and for which he therefore didn't "care twopence" - could consider this novel "perverted," and that the majority of the reading public would probably not be able to draw a proper distinction between a good and a bad book. It was testimony such as this, as well as the impending confrontation with a number of male witnesses ready to testify as to the nature of their relationship with Wilde, that not only caused the author's attorney to convince his client to drop the libel suit against Queensberry but also opened the door for Wilde's own subsequent prosecution.

If "The Picture of Dorian Gray" has a central theme besides the supremacy of beauty and the depiction of a society primarily interested in appearances, it is a call for individuality: Dorian's cruelty is brought out only after he allows himself to be influenced by Lord Henry's equally seductive and cynical hedonism; and similarly, Basil Hallward's blind idolizing of Dorian eventually proves fatal for the painter. - Wilde's only novel is one of the first and most poignant expressions of his own individualism; but unlike his protagonist, who ultimately pays a ghastly prize for selling his soul and giving up his individuality, Wilde paid as high a price for maintaining his. Like Dorian, he knew that "[e]ach of us has Heaven and Hell in him," and although this novel's preface ends with the provocative statement that "[a]ll art is quite useless," it was the very fact that Wilde put his entire being into his art that ultimately destroyed him. But like beauty, which is finally restored to perfection in Dorian Gray's portrait, Wilde's works have stood the test of time; and not merely for their countless, pricelessly witty epigrams. They're as well worth a read as ever.

Oscar Wilde was one of the foremost representatives of Aestheticism, a movement based on the notion that art exists for no other purpose than its existence itself ("l'art pour l'art"), not for the purpose of social and moral enlightenment. Born in Dublin and a graduate of Oxford's Magdalen College, he initially worked primarily as a journalist, editor and lecturer, but gradually turned to writing and produced his most acclaimed works in the six-year span from 1890 to 1895, roughly coinciding with the period of his romantic involvement with Lord Alfred "Bosie" Douglas, sixteen years his junior. Douglas's strained relationship with his father, John Sholto Douglas, Marquees of Queensberry, eventually resulted in a series of confrontations between Wilde and the Marquees, which first led to a libel suit brought by Wilde against his lover's father (who had openly accused Wilde of "posing as a sodomite" and threatened to disown his son if he didn't give up his acquaintance with the writer) and subsequently to two criminal trials against Wilde for "gross indecencies," based on a law generally interpreted to prohibit homosexual relationships. Sentenced to a two-year term of "hard labor" in Reading Gaol, Wilde emerged from prison in 1897 a spiritually, physically and financially broken man and, unable to continue living in England or Ireland, after three years' wanderings throughout Europe died in 1900 of cerebral meningitis, barely 46 years old.

"The Picture of Dorian Gray," Wilde's only novel besides seven plays as well as several works of short fiction, poetry, nonfiction and two fairy tale collections originally written for his two sons, is critical to an understanding of Wilde's body of work and his personality primarily for two reasons: First, because it constitutes one of his earliest fully accomplished formulations of Aestheticism, and secondly because of its undeniable undercurrent of homoeroticism; an inclination which, after a six-year marriage widely thought to initially have been a true love match, Wilde had begun to explore more openly around the time of the novel's creation (1890). The story's title character is an exceptionally handsome young man who, both in the eyes of the artist tasked to paint his portrait, Basil Hallward, and in those of their somewhat older friend Lord Henry Wotton, epitomizes perfect beauty and is coveted by both men for that very reason. Seduced by hedonistic Lord Henry into believing that beauty can literally justify anything, including any act of immorality, Dorian sells his soul for maintaining his beautiful appearance, letting his portrait age in his stead. (In that, his character resembles Goethe's and Marlowe's Faust.) He then quickly turns from an innocent youth into a cruel and calculating man whom society, in its shallow adherence to appearances, nonetheless never associates with any of the results of his cruelty, never looking beyond the surface of his handsome exterior and assuming that a man so beautiful must necessarily also be good. Ultimately it is Dorian himself who brings about his own downfall when he is no longer able to face the manifestation of his evilness in Basil Hallward's picture.

Upon its initial publication in Lippincott's Monthly Magazine in 1890, "The Picture of Dorian Gray" was widely scorned as immoral by a public neither familiar with nor particularly open to the concepts of Aestheticism and its mockery of middle class morality, and repulsed by the thinly veiled homoerotic relationship of the novel's protagonists. Wilde republished the work the following year, adding a preface designed to explain his views on art. Yet, it was that preface which, along with several of his other publications and his written exchanges with Lord Alfred Douglas, ultimately would play a devastating role in his trials, where Queensberry's attorney would come to use an excerpt from that very preface - "There is no such thing as a moral or an immoral book. Books are well written, or badly written" - to extract from Wilde statements to the effect that any book inspiring a sense of beauty (including, as implied in the attorney's question, an "immoral" book, if "The Picture of Dorian Gray" could be qualified as such) was well-written and therefore commendable; that only Philistines, brutes and illiterates - whose views on art he considered invariably stupid and for which he therefore didn't "care twopence" - could consider this novel "perverted," and that the majority of the reading public would probably not be able to draw a proper distinction between a good and a bad book. It was testimony such as this, as well as the impending confrontation with a number of male witnesses ready to testify as to the nature of their relationship with Wilde, that not only caused the author's attorney to convince his client to drop the libel suit against Queensberry but also opened the door for Wilde's own subsequent prosecution.

If "The Picture of Dorian Gray" has a central theme besides the supremacy of beauty and the depiction of a society primarily interested in appearances, it is a call for individuality: Dorian's cruelty is brought out only after he allows himself to be influenced by Lord Henry's equally seductive and cynical hedonism; and similarly, Basil Hallward's blind idolizing of Dorian eventually proves fatal for the painter. - Wilde's only novel is one of the first and most poignant expressions of his own individualism; but unlike his protagonist, who ultimately pays a ghastly prize for selling his soul and giving up his individuality, Wilde paid as high a price for maintaining his. Like Dorian, he knew that "[e]ach of us has Heaven and Hell in him," and although this novel's preface ends with the provocative statement that "[a]ll art is quite useless," it was the very fact that Wilde put his entire being into his art that ultimately destroyed him. But like beauty, which is finally restored to perfection in Dorian Gray's portrait, Wilde's works have stood the test of time; and not merely for their countless, pricelessly witty epigrams. They're as well worth a read as ever.

This has to be one of my favorite books of all time. This is breath-takingly honest look at life when the physical is all we look at...and many of us do.

From the brilliant quotes to the numerous times when Dorian Gray proves what a scoundrel he is, this book makes any reader think and enjoy their own lives much more to see what that type of thinking causes. Here is a man who looks lke a Greek God and he takes everything for granted because he knows his powers will never allow his looks to be tarnished. Then he loses his sanity and actually commits murder on his artis who painted him and then does himself in!

Not only brilliant, but pretty funny, too!

Check out this book! It's a once in a lifetime experience!

This book has renewed my spirit for cooking. So simple in tasks, yet with the essence of true cookery, I have found a bible. Evoking the great repasts that my grandma used to lay on at a moments notice, this book has brought me close to understanding the old ways of cookery. The beauty of this book is that it beholds traditions alongside every new convenience, and is still as pertinent today as when it was written in 1957.

The summary on the Amazon site suggest that this is a book on French cookery. It actually covers a much wider range of peasant cookery from the Mediterranean region including Spain, Italy and Greece as well as France. The approach is practical and straightforward but pays due attention to authenticity. Even though many of the recipes which were unfamiliar and exotic 40 years ago are know well known, the elegant writing make this a book to read as well as cook from.