The Picture of Dorian Gray
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Publisher Description
"The Picture of Dorian Gray" (1891), by Oscar Wilde, was first published as a serial story in the July 1890 issue of "Lippincott's Monthly Magazine". As submitted by Wilde to the magazine, the editors feared the story was indecent, and deleted five hundred words before publication — without Wilde's knowledge. Despite that censorship, "The Picture of Dorian Gray" offended the moral sensibilities of British book reviewers, some of whom said that Oscar Wilde merited prosecution for violating the laws guarding the public morality. In response, Wilde aggressively defended his novel and art in correspondence with the British press.
Wilde revised and expanded the magazine edition of "The Picture of Dorian Gray" (1890) for publication as a novel; the book edition (1891) featured an aphoristic preface — an apologia about the art of the novel and the reader. The content, style, and presentation of the preface made it famous in its own literary right, as social and cultural criticism. In April 1891, the editorial house Ward, Lock and Company published the revised version of "The Picture of Dorian Gray".
The only novel written by Wilde, "The Picture of Dorian Gray" exists in two versions, the 1890 magazine edition and the 1891 book edition, the story he submitted for serial publication in "Lippincott's Monthly Magazine". As literature of the 19th century, "The Picture of Dorian Gray" is an example of Gothic fiction with strong themes interpreted from the legendary "Faust".
PUBLISHERS WEEKLY
First published in 1890 in Lippincott's Monthly Magazine and the following year in novel form, The Picture of Dorian Gray categorically changed Victorian Britain and the landscape of literature. An ostentatious, self-confessed aesthete, known for his wit and intellect, Wilde not only had to endure his prose being labeled "poisonous" and "vulgar," but also suffer its use as evidence in the ensuing trial, resulting in his eventual imprisonment for crimes of "gross indecency." Frankel's introduction provides a deft preliminary analysis of the novel itself exploring etymology and extensive editorial alterations (both accidental and deliberate) and offers valuable insight into the socio-cultural juxtaposition of aristocratic Victorian society and the London underworld. The original typescript provides the unique opportunity to examine what was considered acceptable in both the US and UK at the time. Intriguing annotations allude to Wilde's influences and enterprising range of reference, incorporating art, poetry, literature, Greek mythology, philosophy, and fashion (certain to inspire further reading; an appendix is provided). Comparisons are drawn between Dorian Gray and Wilde's other literary output, as well as to the work of Walter Pater. Numerous illustrations subtly compliment Frankel s inferences. A fine contextualization of a major work of fiction profoundly interpreted, ultimately riveting.
