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American Poems: Books: The Picture of Dorian Gray: The Uncensored Original Text (Annotated) (First Ebook Edition)
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 Home » Books » The Picture of Dorian Gray: The Uncensored Original Text (Annotated) (First Ebook Edition)

The Picture of Dorian Gray: The Uncensored Original Text (Annotated) (First Ebook Edition)

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  • Sales Rank:488,884
  • Format:Kindle eBook
  • Language:English (Published)
  • Media:Kindle Edition
  • Pages:148
  • Publication Date:October 18, 2011
  • ASIN:B005XO38KW

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Editorial Reviews:
Synopsis
- Provides a detailed discussion of historical context and detailed textual annotations

In 1890, Oscar Wilde submitted the typescript of his new novel, The Picture of Dorian Gray, to the editor of Lippincott’s Monthly Magazine, which had contracted to publish it. Shocked by what he read, the editor proceeded, without Wilde’s knowledge, to cut numerous explicit or suggestive passages. After the outcry following the magazine’s publication, Wilde was pressured into making further changes for the 1891 release of the novel in book form. Every version of the book published since has used this heavily-censored 1891 text. Until now.

Stonewall Riot Press is pleased to present the first ebook edition of the novel Oscar Wilde actually wrote, the one he intended the public to read. Shocking, erotic, at times even pornographic, Wilde’s original Picture of Dorian Gray is both a braver and more moving work than the version readers have always known. In this meticulously-edited edition, based on the author’s unpublished typescript and specially formatted for Kindle, readers can finally experience Wilde’s masterpiece as he intended it, free from the homophobic censorship that has marred it for over a century.

“The version that Wilde submitted to Lippincott's is the better fiction. It has the swift and uncanny rhythm of a modern fairy tale – and Dorian is the greatest of Wilde's fairy tales.”
Alex Ross (New Yorker)

“It's a revelatory exercise to examine the text of Wilde's original typescript. It yields a deeper understanding of its author and of the hypocrisy and intolerance of late-Victorian English society which led to his two-year imprisonment for ‘gross indecency’.” Joel Greenberg (The Australian)

“The typescript is, besides truer to Wilde's original intentions, a vastly better novel than the one most of us know. To call Wilde's earlier version leaner would miss the flavor and point of this aestheticism-drenched work, but it's a swifter, bolder, more uncompromising, less moralistic and in every respect more affecting work than its edited, rewritten, or otherwise censored versions.” Tim Pfaff (Bay Area Reporter)
Amazon.com Review
A lush, cautionary tale of a life of vileness and deception or a loving portrait of the aesthetic impulse run rampant? Why not both? After Basil Hallward paints a beautiful, young man's portrait, his subject's frivolous wish that the picture change and he remain the same comes true. Dorian Gray's picture grows aged and corrupt while he continues to appear fresh and innocent. After he kills a young woman, "as surely as if I had cut her little throat with a knife," Dorian Gray is surprised to find no difference in his vision or surroundings. "The roses are not less lovely for all that. The birds sing just as happily in my garden."

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."

Synopsis
- Provides a detailed discussion of historical context and detailed textual annotations

In 1890, Oscar Wilde submitted the typescript of his new novel, The Picture of Dorian Gray, to the editor of Lippincott’s Monthly Magazine, which had contracted to publish it. Shocked by what he read, the editor proceeded, without Wilde’s knowledge, to cut numerous explicit or suggestive passages. After the outcry following the magazine’s publication, Wilde was pressured into making further changes for the 1891 release of the novel in book form. Every version of the book published since has used this heavily-censored 1891 text. Until now.

Stonewall Riot Press is pleased to present the first ebook edition of the novel Oscar Wilde actually wrote, the one he intended the public to read. Shocking, erotic, at times even pornographic, Wilde’s original Picture of Dorian Gray is both a braver and more moving work than the version readers have always known. In this meticulously-edited edition, based on the author’s unpublished typescript and specially formatted for Kindle, readers can finally experience Wilde’s masterpiece as he intended it, free from the homophobic censorship that has marred it for over a century.

“The version that Wilde submitted to Lippincott's is the better fiction. It has the swift and uncanny rhythm of a modern fairy tale – and Dorian is the greatest of Wilde's fairy tales.”
Alex Ross (New Yorker)

“It's a revelatory exercise to examine the text of Wilde's original typescript. It yields a deeper understanding of its author and of the hypocrisy and intolerance of late-Victorian English society which led to his two-year imprisonment for ‘gross indecency’.” Joel Greenberg (The Australian)

“The typescript is, besides truer to Wilde's original intentions, a vastly better novel than the one most of us know. To call Wilde's earlier version leaner would miss the flavor and point of this aestheticism-drenched work, but it's a swifter, bolder, more uncompromising, less moralistic and in every respect more affecting work than its edited, rewritten, or otherwise censored versions.” Tim Pfaff (Bay Area Reporter)

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