It is pleasing to see that recent Wilde studies continue to highlight the emergent nature of Oscar’s American experience, during which time he nurtured the art of public speaking, conducted his first press interviews, staged his first play, had his iconic photographs taken, and stockpiled—to use an American word—material for his future epigrams and works.
But there is a crucial American beginning for Oscar that has been under-appreciated: I refer to his first brush with literary society. It occurred during an event at 149 Fifth Avenue in New York City, the then home of an organisation of journalists known as the Lotos Club.
Eating oysters in Connecticut is a big thing; and when in Hartford, CT, there was only one place to go: Honiss’ Oyster House. In 1981 the New York Times ran an article about the famous old place, now long since gone:
It isn’t every restaurant in Connecticut that can claim – as the Honiss Oyster House Company does – to have served Mark Twain, Babe Ruth, Andre Previn and Steve Martin, or to have the very booth where Buffalo Bill Cody ate regularly when he was in town with his Wild West Show.
Honiss’s dimly-lit basement walls are crammed with photographs of customers past. There are more than a thousand pictures in all, dating to the 1880’s, when Thomas Honiss and Fred Atchinson purchased the then-40-year-old restaurant downstairs in the United States Hotel.
What the newspaper did not mention, and possibly because the restaurant also failed to realize it, is that Oscar Wilde also partook of Honiss’ famous oysters while residing at the United States Hotel in 1882.
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his American experience, his men, his women, his friends, his enemies, his wit, his letters, his published works, his unpublished works, his recorded life, his unrecorded life, and, for good measure, his afterlife.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.
After traveling across the vast expanses of the American south for more than a month, lecturing in 18 cities, Wilde returned to New York for some rest and relaxation with friends at the exclusive Summer resorts of the north-east.
On July 15, 1882. Oscar gave a courtesy lecture at the Casino during a week’s stay with Julia Ward Howe and friends at Newport, RI, (revisited here) and he did not lecture again for two and a half weeks.
During that time he:
— visited Long Beach with Sam Ward where he was to be found creating interest on the beach;
—cruised around Long Island for three days with Robert Roosevelt aboard his yacht, occasionally swimming, fishing and calling in at popular hotels;
—visited the actress Clara Morris at her retreat in Riverdale, NY;
—stayed with statesman John Bigelow at his summer home at Highland Falls, near West Point;
—vacationed at Long Branch spending a night as guest of former President of the United States, General Ulysses S. Grant, which must have provided a interesting counterpoint to his recent stay with Jefferson Davis, the former president of the Confederate States of America, at his home at Beauvoir;
—traveled to Peekskill to stay with clergyman and social reformer Henry Ward Beecher with whom he attended a church service and a military band concert.
After all that urbane socializing it was time to head for the hills for more urbane socializing—and a return to lecturing.
The social lion was about to become a mountain lion in The Catskills.
In verifying Oscar Wilde’s 1882 lecture tour of North America, it was prudent to begin with the four published itineraries by Mikhail, Ellmann, Page, and Beckson. 
Unfortunately, none of these chronologies agrees with any other, and each is either incomplete or wrong in various respects—so it has been necessary to make numerous additions and corrections to dates, locations and lecture titles. 
It is a pleasing break to the routine when one discovers something new, such as a previously unrecorded event. Or, rarer still, a previously unknown lecture, as was the case with the redefining of Wilde’s final stop of the tour in New York on November 27, 1882.
Now another new lecture has emerged: it is an appearance by Wilde at Narragansett Pier.
You could be forgiven for thinking that a blog about Oscar Wilde might not provide the most objective forum for a film about Oscar Wilde—perhaps being too close to its subject to see it as one would ordinarily.
However, the opposite turns out to be true about The Happy Prince because it is no ordinary film. It warrants a specialist view being itself the work of an Oscar Wilde specialist.
Rupert Everett has played Wilde’s fictional characters both on stage and in film; he has already appeared as the real Oscar Wilde in David Hare’s The Judas Kiss on both sides of the Atlantic; and, after spending an age poring over Wilde’s works in homage to his patron saint, Everett has also spent the last ten years of his life taking on a tide of personal and industry challenges in order to craft this film.
It is an effort that lays bare a more compelling reason why the film should not be regarded as just another movie. And it is a reason Everett shares with the artist Basil Hallward (in Wilde’s The Picture of Dorian Gray) who accepted that his portrait of Dorian was not just another painting. He confessed: “I have put too much of myself into it.”
Wilde explained this characteristically philosophical view of art when he said:
“Every portrait that is painted with feeling is a portrait of the artist, not of the sitter.”
So it is with Everett, whose devotion during a decade of writing, directing, and now acting in a lifetime passion, might also be regarded as his art. Certainly, The Happy Prince is a highly personalized vision: a dark introspection with the protagonist in almost every scene.
So the inference is that we should not approach the film routinely from the outside in, but rather the other way around. Taken on those terms, there is much to admire, not only for the specialist but for the generalist viewer.
Let us look at it, as Everett did, through that lens.