I was staying once in a cottage on the downs, remote from anywhere, one of a pair. The other was unoccupied. The next nearest place was a lighthouse. There was no road. You got to the cottage by a track across several fields, flint-riddled and full of unexpected slopes and hollows. The gaunt gorse bushes were bent by the sea-winds. For a while it was a keen delight to be so on our own, the few of us gathered together there. We would walk in the fields, along the cliff paths, down to the coves, and in the evening we would make food, talk, read, listen to the dim music barely discernible from the wavering wireless signal. But by the time it came to the evening before we were due to leave, perhaps these things had begun to pall a bit, or maybe something in the mood of the place made us want to mark in some way its mysteries.
The cottage, which was rented from an ancient estate by a friend, had a number of curios arranged on its old wooden shelves or in alcoves, some of them things picked up on the downs, some of them things brought back from further afield. There was a cluster of sharpened flints that might have been arrowheads, bigger flints that had perhaps been kept because they looked like something else, there was a corroded sheep’s bell, maybe medieval, with tints of green and bronze about it, there was a blurred coin whose head and emblems and lettering could not be discerned, and there was a small ossuary of beast and bird bones bleached by the sun and scoured by the winds, picked up on walks from where they had fallen. Idly, desultorily at first, we began to arrange some of these things on the mantelpiece, trying to get the effect of strange juxtapositions.
I had with me a copy of The Picture of Dorian Gray. It was the edition issued by The Unicorn Press of 8 Charles Street, St James’s Square, in 1945, Martin Secker (Director), one of several imprints that discerning bookman ran in his time. The leaf before the title page read simply: OSCAR WILDE / Born 1856 / Died 1900. And that stark statement was all the introductory matter there was, apart from the writer’s own preface of elegant maxims, beginning, “The artist is the creator of beautiful things.” But not only beautiful things, surely? Grotesque things too, even ugly things, curious things and uncanny things, as the book itself surely showed. Still, Secker had done the best he could under the exigencies of war-time to make this a lovely object. There was a white buckram spine, with gilt lettering and ornaments. Certain letters in the titles had long laces to them, like golden flourishes. The paper over the boards was a muted, memorial sort of colour, like gravestone moss, somewhere between grey and green.
Well, possessed by I don’t know what languid devilry, I placed this book on the shelf above the fire, and I put a horned ram’s skull from the little informal ossuary on top of it. Then I moved next to it a bronze cobra candlestick, in which a white candle guttered above the hooded head. We had turned off the lights and the room was illumined only by the smouldering fire and a few candles. In the dim glow of the serpent flame the hollows of the skull looked eerie, full of a curious light, and there was a glimmering on the gilt titles of the book. Our shadows played upon the white walls, the wood smoke pervaded the air.
We moved the pieces of this macabre composition around, trying to work out what looked right—or wrong, as it may be. We took some black-and-white photographs of these arrangements, conscious that this was all quite perilously close to a sort of ritual. Surely all we were doing was making “artistic” effects, there could not be anything else in play. But that was not quite how we felt. At last, this stealthy uneasiness prevailed. With a certain edge to my movements, I carefully put things back where they had originally been, and picked up the book. But still influenced by the sense of a spell in the air, I tried a piece of bibliomancy, opening it to a page and reading out aloud the first words I found. They were: “Pray, Dorian, pray.”
That night, a storm raged in from the sea and swept in fierce gusts over the downs. The windows and doors rattled, the roof-tiles clattered, and there was a moaning through every crack and crevice in the place. The electricity cut out. A tree by the gate cracked. In low voices—though who was there to hear?—we made light-hearted but uncertain comments to each other about what it was we had raised, grinning ruefully. Of course, we did not really believe there was any link between the idle sorcery with the book, that book, and the fury of the elements. The angle of the thorns and the gorse bushes showed how often and how fiercely there were storms along this coast. But, even so, we were subdued in the morning as we moved around the cottage, trying to clear up as best we could, without any power, and raking out the ashes of the grate in the cold and the grey of the early day.
Later, always drawn to it, as if some leftover from that minor rite remained with me, I found for myself other editions of the book. One of the most poignant is perhaps the one that proved once and for all that Wilde’s reputation was now redeemed, that he was part of the literary canon: the copy in the “uniform edition of Wilde’s authentic works” edited and compiled by Robert Ross. This “popular five-shilling edition” was issued by Methuen, but the volume of The Picture of Dorian Gray in the series bore instead the imprint of “Paris / Charles Carrington / Publisher and Bookseller /1910 / And at Brussels, 10 Rue de la Tribune.” At the back of the book, Carrington offers some of his other titles, including The Sorceress, a Study of Superstition and Witchcraft by Jules Michelet; and Escal Vigor, “a novel from the French of George Eekhoud”, which “has been compared to Oscar Wilde’s Dorian Gray”.
This unusual publishing arrangement was because Carrington, like Ross a loyal champion of Wilde in the darker days, owned the rights to Dorian Gray: but both he and Ross thought that the fantastical novel must not be omitted from Wilde’s collected works, and so came to an accommodation. Ross provided an editorial note to explain this, and Carrington a brief publisher’s note.
“The practice of adding introductions to thoroughly well-known works,” remarked Ross trenchantly, “for the benefit of an already well-informed public, has become almost ridiculous. Only in rare instances have the works been illuminated . . . ” However, he wished to take the opportunity to assert that “the characters of this novel were entirely imaginary, in spite of assertions to the contrary by claimants to the doubtful honour of being the original of ‘Dorian Gray’ ”, though he added that Wilde, “consciously or unconsciously . . . has put a great deal of himself into the character of ‘Lord Henry Wootton’.”
We certainly should not essay what Ross himself disdained to do, by saying very much further about Wilde’s book, except to note that its influence was to resonate throughout the literature of the late-nineteenth century and into the Edwardian years and beyond. It may be seen in the decadent horror fiction of Arthur Machen and M.P. Shiel, and even in the often arch and precious character of Conan Doyle’s Sherlock Holmes. Walter de la Mare, later noted for his ethereal and dream-like poems and stories, began as an aesthete in the Wildean manner, and once planned a periodical, to be called The Basilisk, which was to be printed in purple ink. The black humour in the tales of Saki owes some of its brittle wit to its example, and the lush verses of James Elroy Flecker and Rupert Brooke reflect the book’s dandyish style. Even the cadences of T.E. Lawrence’s Seven Pillars of Wisdom, despite its austere story of desert warfare, can be seen to bear the impress of Wilde’s prose.
But while the book belongs in style to the mannered prose and the languid pose of the Eighteen Nineties, it has endured because its themes are perennial. It asks fundamental questions about our inner selves. Are we a noun or are we a verb? Are we one or are we many? The assumption, heavy as lead upon our thinking and our custom, has always been that an individual is a single entity that can be categorised, defined, commanded and held to account. That belief marches in step with a monotheistic faith, a single version of truth, and in many other often unquestioned orderings and mores. Yet it is not the prevailing wisdom in other societies and cultures. While no-one can doubt there is (for the time being, until science comes up with other offers) a single physical shell for each of us, the “identity” within that shell can be seen as fluid, flexible, a stream of thought and actions, not a constant. We are nearer to racing cheetahs than we are to stolid statues.
And in the closing decades of the nineteenth century, a number of writers began to see this, to prise open the hermetically-sealed box of the self and peer inside. Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr. Hyde (1886) suggested the existence of at least two selves: the respectable, ethical, dignified public face and the savage, wild, inner demon. It took only a chemical change to release the darker creature. Readers uneasily understood that this was not merely a satire about the risks attendant upon the advance of science. Indeed, its author, from a family of lighthouse engineers, had a healthy respect for what modern invention could do. No: the chemistry was incidental, a device. This was really a book about our secret selves. But Stevenson’s remarkable work was not the only study of that question in its time. For, similarly, Dorian Gray suggests several selves: the beautiful, alluring outer self; the wracked and doubt-ridden inner conscience; and, of course, the symbolic “thing in the attic”, the representation of all that is darkest and ugliest about us.
So, because it deals with the deepest questions of what it means to be a human individual, The Picture of Dorian Gray is not simply a book of its time, and not merely a witty entertainment with gothic trappings. Thinking about this, it seemed likely that its questions about art, love, lust, obsession, and the uncanny could still have significance for writers today. And so we asked ten contemporary writers to respond to the book with their own “stories for Dorian Gray”. We were confident that in these hands we could expect strong responses, and we were not disappointed. Some of the stories here are set in Wilde’s time and milieu, others in fantastical realms, and some in our own time, taking us into some of its darker recesses. Whatever their setting, each of them takes some key element of Wilde’s story and offers a bold re-imagining.
And, though they are each strikingly individual, these stories all suggest that we can never quite know when a simple choice, a word spoken, a leap of desire, a curious allure, a blaze of emotion, an encounter with a stranger, maybe even just playing around with an old book, might lead us on and on into terrain we cannot explain, where we and all the things we thought we knew can never be the same.
31 August 2017
Mark Valentine is the author of studies of Arthur Machen, and the diplomat and fantasist Sarban. His essays on book-collecting, folklore and the uncanny have been gathered in Haunted By Books (2015) and A Country Still All Mystery (2017) from Tartarus Press. He edits Wormwood, a journal devoted to literature of the fantastic. His books of fiction include Selected Stories (2012) and Seventeen Stories (2013), both from The Swan River Press.
The Scarlet Soul is now available as a limited edition hardback from Swan River Press. Edited by Mark Valentine, with stories by Reggie Oliver, Caitriona Lally, Lynda E. Rucker, John Howard, D.P. Watt, Rosanne Rabinowitz, Avalon Brantley, Timothy J. Jarvis, John Gale, and Derek John. Cover illustration by John Coulthart.
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