Making (Up) Oscar Wilde

MAKING OSCAR WILDE by Michèle Mendelssohn
Oxford University Press (2018)

REVIEWED BY: John Cooper


One of the most noteworthy contributions to the recent surge in Wildean material has been Michèle Mendelssohn’s treatise Making Oscar Wilde (2018).

As the title suggests, it is an attempt to establish a premise for the shaping of Wilde’s persona—the latest in a history of such perspectives which has included disquisitions via his Irish roots, his American experience, his men, his women, his friends, his enemies, his wit, his letters, his published works, his unpublished works, his recorded life, his unrecorded life, and, for good measure, his afterlife.

Now Making Oscar Wilde takes a potentially useful and probably unique view through the prism of Wilde’s racial profile. On surface reading the work has much to commend it—but to discover whether it works as a construction we will have to disassemble it.

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Oscar Wilde on Irish Poets

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Oscar Wilde’s lecture in San Francisco on Irish Poets

On this day in 1882 [1] at Platt’s Hall, Oscar Wilde delivered the ninth of ten consecutive lectures in California, and his fourth and last in San Francisco.

As San Francisco was the only city in America where Wilde lectured four times, he needed an additional lecture to add to the three he was already giving, which were: The English Renaissance, its successor The Decorative Arts, and The House Beautiful.

[See Lecture Titles for the development of Wilde’s lecture topics].

Wilde chose as his subject Irish Poets and Poetry of the Nineteenth Century (referred to in some texts as The Irish Poets of ’48), an idea he had hinted at on St.Patrick’s Day in St.Paul, where he made a rare expression of Irish nationalist sentiment.

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