An iconic novel dressed in a fierce design by acclaimed fashion illustrator Ruben Toledo. See the other titles in the couture-inspired collection: Jane Eyre, Dracula, The Scarlet Letter, Wuthering Heights and Pride and Prejudice.
The Picture of Dorian Gray was a succès de scandale. Early readers were shocked by its hints at unspeakable sins and the book was later used as evidence against Wilde at the Old Bailey in 1895.
Enthralled by his own exquisite portrait, Dorian Gray makes a Faustian bargain to sell his soul in exchange for eternal youth and beauty. Under the influence of Lord Henry Wotton, he is drawn into a corrupt double life, where he is able to indulge his desires while remaining a gentleman in the eyes of polite society. Only Dorian's picture bears the traces of his decadence.
A knowing account of a secret life and an analysis of the darker side of late Victorian society. The Picture of Dorian Gray offers a disturbing portrait of an individual coming face to face with the reality of his soul.
As Hallward tries to make sense of his creation, his epigram-happy friend Lord Henry Wotton encourages Dorian in his sensual quest with any number of Wildean paradoxes, including the delightful "When we are happy we are always good, but when we are good we are not always happy." But despite its many languorous pleasures, The Picture of Dorian Gray is an imperfect work. Compared to the two (voyeuristic) older men, Dorian is a bore, and his search for ever new sensations far less fun than the novel's drawing-room discussions. Even more oddly, the moral message of the novel contradicts many of Wilde's supposed aims, not least "no artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style." Nonetheless, the glamour boy gets his just deserts. And Wilde, defending Dorian Gray, had it both ways: "All excess, as well as all renunciation, brings its own punishment."