Oscar wilde

The author of this jam-packed treasure trove has been a film critic at the New York Times since 2000 and is also professor of film criticism at Wesleyan University. As if these platforms weren’t enough, he’s now written a book about the tangled worlds of films, books, music, paintings and criticism, dragging in Aristotle, Pope, Plato, Matthew Arnold, Isaiah Berlin and millions of others — but not, alas, my former next-door neighbour, the wonderfully controversial Brian Sewell. Crammed in alongside George Orwell’s ‘All writers are vain, selfish and lazy’ and H. L. Mencken’s ‘Literature always thrives best in an atmosphere of hearty strife,’ the author’s own views often hit hardest.

‘Pray don’t talk to me about the weather, Mr Worthing,’ pleads Gwendolen in The Importance of Being Earnest. ‘Whenever people talk to me about the weather, I always feel quite certain that they mean something else. And that makes me quite nervous.’ Weatherland would make Gwendolen very nervous indeed. Our observations of the sky, Alexandra Harris reveals in this extended outlook, have always meant something else. Weatherland is a literary biography of the climate. Beginning with the Fall (in the Biblical rather than the autumnal sense) and ending with Alice Oswald, Harris condenses 2,000 years of weather ‘as it is recreated in the human imagination’. It is the weather-consciousness of

Readers who have put in some time on the railways may remember the neat, brush-painted graffiti that appeared in 1974 on a wall facing the line just outside Paddington station: FAR AWAY IS CLOSE AT HAND IN IMAGES OF ELSEWHERE. Not until Banksy took up his spraycan did a piece of London graffiti make such a stir. The Telegraph’s Peter Simple column attributed the long-lasting inscription to the shadowy ‘Master of Paddington’ and the Oxford commuter-poet Roger Green mused on the hauntingly unspecific slogan in his journal Notes From Overground, a minor publishing hit of 1984. Another 20 years passed before the perpetrators were outed; it turned out that their

The prodigious brilliance, blaring public ruin, dismal martyrdom and posthumous glory of Oscar Wilde’s reputation are almost too familiar. The facts have been rehashed in numerous biographies, and dramatised by such actors as Robert Morley, Peter Finch, Rupert Everett and Stephen Fry. The only way to attack the subject with any hope of surprise is by an oblique sideways move from an unexpected angle. This was Robert Maguire’s method in Ceremonies of Bravery (2013), an intriguing account of Wilde’s friendship with the man-about-town Carlos Blacker and their connection with the Dreyfus affair in France. Another enjoyably tangential contribution is Linda Stratmann’s recent The Marquess of Queensberry: Wilde’s Nemesis. Two English

When the great Jewish-American art expert Bernard Berenson died in 1959, he had acquired the status of a sort of sage. He was the relic of a prewar culture that had vanished. He was an embodiment of the idea of connoisseurship that had at once given birth to a great boom in art collecting and yet that was, by the end of his life, being superseded. When Berenson embarked on the career that would see him widely accepted as the world’s foremost authority on Old Masters, the painters of the Italian Renaissance were barely regarded in the US. He died — at 94 — in the age of Andy Warhol.

The life of Oscar Wilde is so wearily familiar that we assume that there is nothing new to think or say about him. This book proves us wrong. Carlos Blacker – the central figure of  J. Robert Maguire’s research for more than half a century – rates, at best, a bare mention in Wilde’s many biographies. Yet, as Maguire conclusively demonstrates, he is no footnote. Blacker, a handsome man of Latin extraction, knew Wilde in the days of his London pomp, was a witness at the writer’s wedding to the long-suffering Constance Lloyd, and often saw his friend on a daily basis. Wilde’s own testimony after his fall is ample