Podcasts about Lord Alfred Douglas

In this captivating UnHerd interview, Freddie Sayers sits down with Douglas Murray to trace his remarkable evolution from a young Oxford scholar immersed in cultural and artistic pursuits to a global neoconservative commentator.Murray reflects on his early days writing the acclaimed biography Bosie (2000), a deep dive into the life of Lord Alfred Douglas, Oscar Wilde's lover, and how his focus shifted quickly to fiery political debates on the world stage.From his 2005 book Neoconservatism: Why We Need It to his later bestsellers like The Strange Death of Europe (2017) and his new book Democracies and Death Cults (2025), Murray has become a polarising voice defending Western values and interventionism, particularly on Israel.The conversation also dives into Murray's recent viral appearance on The Joe Rogan Experience, where he sparked controversy by challenging the shapeshifting Right and the unchecked influence of podcasters.Join Freddie Sayers as he uncovers what drives Douglas Murray, how his past shaped his present, and why he's demanding more from today's media giants. Don't miss this in-depth look at one of the most provocative thinkers of our time. Hosted on Acast. See acast.com/privacy for more information.

En De Profundis, Oscar Wilde escribe a Lord Alfred Douglas desde la cárcel, donde cumplía condena por “indecencia grave”. Lo que empieza como una carta de reproche y desesperación se transforma en una profunda reflexión sobre el amor, el sufrimiento y la redención cristiana. Un episodio sobre una de las confesiones más desgarradoras de la literatura.https://linktr.ee/bibliotequeando

fWotD Episode 2760: The Importance of Being Earnest Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Sunday, 24 November 2024 is The Importance of Being Earnest.The Importance of Being Earnest, a Trivial Comedy for Serious People is a play by Oscar Wilde, the last of his four drawing-room plays, following Lady Windermere's Fan (1892), A Woman of No Importance (1893) and An Ideal Husband (1895). First performed on 14 February 1895 at the St James's Theatre in London, it is a farcical comedy depicting the tangled affairs of two young men about town who lead double lives to evade unwanted social obligations, both assuming the name Ernest while wooing the two young women of their affections. The play, celebrated for its wit and repartee, parodies contemporary dramatic norms, gently satirises late Victorian manners, and introduces – in addition to the two pairs of young lovers – the formidable Lady Bracknell, the fussy governess Miss Prism and the benign and scholarly Canon Chasuble. Contemporary reviews in Britain and overseas praised the play's humour, although some critics had reservations about its lack of social messages.The successful opening night marked the climax of Wilde's career but was followed within weeks by his downfall. The Marquess of Queensberry, whose son Lord Alfred Douglas was Wilde's lover, unsuccessfully schemed to throw a bouquet of rotten vegetables at the playwright at the end of the performance. This feud led to a series of legal trials from March to May 1895 which resulted in Wilde's conviction and imprisonment for homosexual acts. Despite the play's early success, Wilde's disgrace caused it to be closed in May after 86 performances. After his release from prison in 1897 he published the play from exile in Paris, but he wrote no more comic or dramatic works.From the early 20th century onwards the play has been revived frequently in English-speaking countries and elsewhere. After the first production, which featured George Alexander, Allan Aynesworth and Irene Vanbrugh among others, many actors have been associated with the play, including Mabel Terry-Lewis, John Gielgud, Edith Evans, Margaret Rutherford, Martin Jarvis, Nigel Havers and Judi Dench. The role of the redoubtable Lady Bracknell has sometimes been played by men. The Importance of Being Earnest has been adapted for radio from the 1920s onwards and for television since the 1930s, filmed for the cinema on three occasions (directed by Anthony Asquith in 1952, Kurt Baker in 1992 and Oliver Parker in 2002) and turned into operas and musicals.This recording reflects the Wikipedia text as of 00:30 UTC on Sunday, 24 November 2024.For the full current version of the article, see The Importance of Being Earnest on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm long-form Patrick.

Recorded by Academy of American Poets staff for Poem-a-Day, a series produced by the Academy of American Poets. Published on June 29, 2024. www.poets.org

In einer Sonderreihe zu Ostern präsentiert Alev Doğan, Host unseres gesellschaftspolitischen Podcasts Der 8. Tag Liebesbriefe berühmter Frauen und Männer. In dieser Folge hören Sie:1876: Alexander Graham Bell an Mable Hubbard. Der Mann, der das Telefon erfand, schenkte seiner Braut und Unterstützerin zur Hochzeit fast alle seine Unternehmensanteile an der Bell Telephone Company.1895: Oscar Wilde an Lord Alfred Douglas. Dass sie ihre Liebe offen ausleben, ist ein Skandal im viktorianischen England. Oscar Wilde wird wegen schwerer Unzucht zu zwei Jahren Zuchthaus verurteilt. Das Urteil vernichtet seine Existenz. Sein Werk wird verboten, sein Besitz zwangsversteigert. Nach der Freilassung aus dem Gefängnis stirbt er einsam und in Armut. 1. 00:00:18 | Alexander Graham Bell 2. 00:12:44 | Oscar Wilde ID:{45o55bYVwFccJnbcRzMeSe}

Chapter 1 What's the Book The Picture of Dorain Gray"The Picture of Dorian Gray" is a novel written by Oscar Wilde. First published in 1890, it tells the story of a young man named Dorian Gray who remains eternally youthful while a portrait of himself ages and reflects the corruptive influence of his immoral actions. The book explores themes of aestheticism, desire, morality, and the pursuit of pleasure. Through Dorian's decadent lifestyle, the novel examines the consequences of indulging in one's desires without regard for the impact on others or oneself. It serves as a cautionary tale about the dangers of pursuing eternal youth and beauty at any cost.Chapter 2 Is The Picture of Dorain Gray ClassicAccording to reddit comments on The Picture of Dorian Gray, it is considered a classic novel. It was written by Oscar Wilde and first published in 1890. The book explores themes of vanity, hedonism, and the consequences of living a life solely focused on external appearance and pleasure. Its enduring popularity and critical acclaim have solidified its place as a classic work of literature.Chapter 3 Summary of The Picture of Dorain Gray In this article, we delve into the captivating world of Oscar Wilde's classic novel, "The Picture of Dorian Gray," exploring its profound themes and poignant narrative. This haunting tale follows the life of Dorian Gray, a young man whose portrait bears the burden of his sins while he remains eternally youthful. We analyze the book's exploration of vanity, corruption, and the pursuit of pleasure, offering insights into its timeless relevance and enduring impact on literature and society.Chapter 4 Author of the Book The Picture of Dorain Gray Oscar Wilde was an Irish poet, playwright, and novelist who lived from 1854 to 1900. He is best known for his wit, flamboyant personality, and his contributions to literature. Wilde wrote during the late Victorian era and was a prominent figure in London's literary scene. Some of Wilde's most famous works include "The Picture of Dorian Gray," a novel that explores the pursuit of beauty and the consequences of moral corruption, and his satirical plays, such as "The Importance of Being Earnest" and "Lady Windermere's Fan." His writings often showcased his clever wordplay, social commentary, and satire of Victorian society. Wilde was known for his sharp wit and humorous quotes, which continue to be widely quoted today. Some examples of his famous quotations include: "Be yourself; everyone else is already taken" and "I can resist everything except temptation." Despite his success as a writer, Wilde faced personal and professional challenges. He was involved in scandalous trials related to his relationship with Lord Alfred Douglas, which ultimately led to his imprisonment for "gross indecency" due to his homosexuality. After his release from prison, Wilde lived in exile in France until his death at the age of 46. Oscar Wilde's work continues to be celebrated for its wit, social critique, and timeless themes. He remains an influential figure in English literature and is remembered as one of the greatest playwrights and writers of his time.Chapter 5 Characters for The Picture of Dorain Gray The Picture of Dorian Gray is a novel written by Oscar Wilde. It features several memorable characters who play significant roles in the story. Here are the main characters: 1. Dorian Gray: The protagonist of the story, Dorian...

Two friends and academics recap classic literature and take it off its pedestal. In out thirty-ninth episode, our Audience Pick from Season Three, and Queer Con 2023, we recap our first Decadent text, Oscar Wilde's The Picture of Dorian Gray (1891). In this episode, we throw a hate party for Lord Alfred Douglas, discover that Abby is both already a queer icon AND knows what music is, and see if Oscar Wilde is funny enough to do a Save Me From My Shelf-style recap.Cover art © Catherine Wu.Episode theme: Richard Strauss, 'Tanz' from Salome, Op. 54. Hosted on Acast. See acast.com/privacy for more information.

Douglas Murray is a British author and journalist, best known for his books "The Madness of Crowds" and "The Strange Death of Europe: Immigration, Identity, Islam," both bestsellers and critically acclaimed. He has been a contributor to The Spectator since 2000 and Associate Editor since 2012. Born in 1979, Murray's first book, "Bosie: A Biography of Lord Alfred Douglas," was published while he was an undergraduate at Oxford. In 2007, he founded the Centre for Social Cohesion, which later merged with the Henry Jackson Society, where he served as Associate Director until 2018. Murray is a prolific debater, appearing on numerous political debate programs and engaging with prominent opponents. Episode Summary:In this thought-provoking episode, the host engages in a spirited discussion with Douglas Murray, author and commentator, about meritocracy, societal success, and the cultural minefield we find ourselves in today. They explore the implications of focusing on equity and equality of outcome, the potential for demoralization in certain groups, and the paradox of societal progress. They also touch on the importance of distinguishing between admiration and respect, as well as the significance of equality in the eyes of God and civic equality, as foundational values for a healthy society. Join the conversation and discover insights into the complexities of today's world. Time-codes:[00:00] Introduction to the podcast and the topic of meritocracy.[01:05] Vivek challenges the left to define merit.[02:04] Douglas Murray defines merit and discusses equality.[05:27] Focusing on utilizing talent in society.[07:29] Justifications for meritocracy.[08:10] Demoralization and potential in certain groups.[20:50] Exposing the underlying issues of culture wars.[22:09] Concerns about the erosion of meritocracy.[23:33] Deflection and the culture wars.[25:41] Role of left and right in perpetuating culture wars.[27:33] Responding to cultural issues.[30:35] Challenges of defining a woman today.[31:10] Addressing underlying economic problems.[33:54] Debating the focus on cultural issues.[35:03] Minefield analogy for cultural traps.[36:20] Envisioning life without cultural "mines".[40:01] The paradox of success and societal progress.[41:22] Focus on wealth distribution vs. wealth creation.[45:55] Shift from admiring heroism to victimhood.[48:03] Equality in the eyes of God and civic equality.

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Caelan tells Hoots and Mandy about the world's most evil twink.Follow Respect the Dead on Twitter or Instagram and sign up on our Patreon Here!Episode Media:https://upload.wikimedia.org/wikipedia/commons/c/c1/Lord_Alfred_Douglas_by_George_Charles_Beresford_%281903%29.jpghttps://upload.wikimedia.org/wikipedia/commons/thumb/1/1d/Wilde_Douglas_British_Library_B20147-85.jpg/1024px-Wilde_Douglas_British_Library_B20147-85.jpghttps://upload.wikimedia.org/wikipedia/commons/8/82/Somdomite.jpg

Our guest is Stephen Fry, writer, actor and polymath, who last week joined John and Andy in person to discuss Oscar Wilde's De Profundis, the essay addressed to Lord Alfred Douglas 'from the depths' of Wilde's incarceration in Reading Gaol in 1897. It has been described by Colm Tóibín as 'one of the greatest love letters ever written'; it is also Wilde's most powerful testament of the sacred duty of the artist as he conceived it. We discuss the work's convoluted publication history, Wilde's posthumous reputation and his ongoing relevance in the 21st century. In addition, Andy has been reading Hayley Campbell's fascinating All the Living and the Dead (Raven Books), which he describes as "a work of true rigour mortis"; while John digs enthusiastically into Villager (Unbound), the new novel from writer and former Backlisted guest Tom Cox. For more information visit https://www.backlisted.fm. Please support us and unlock bonus material at https://www.patreon.com/backlisted Timings: 14:19 - All the Living and the Dead by Hayley Campbell 21:06 - Villager by Tom Cox 25:52 - De Profundis by Oscar Wilde

Welcome back to the next episode of Past Loves - the weekly history podcast that explores affection, infatuation and attachment across time.This week I am joined by Senior House and Collection Officer of Smallhythe Place, Susannah Mayor, to discuss the fascinating relationship between Edith Craig, Christopher St. John and Tony Atwood. Together Edy, Chris and Tony created a space to live freely, passionately and creatively. Now an oasis which celebrates the history of theatre, and particularly that of Dame Ellen Terry, their relationship lives at the heart of Smallhythe Place. Edy and Craig made a place for themselves in the suffrage movement with the Pioneer Players, with Tony providing props and painted scenery . Her work is a testament to the beauty and use of light. They designed their own lives, alongside many theatrical performances, but it is their relationship which now deserves to take centre stage.CW: There is a brief mention of overdose when discussing Edith's engagement from 19:53 mins to 20:07.  Where To Find UsBook tickets for Smallhythe Place: https://www.nationaltrust.org.uk/smallhythe-place Follow Smallhythe Place on Instagram: @smallhythe_placent Follow Smallhythe Place on Facebook: https://www.facebook.com/SmallhythePlaceNTFollow Smallhythe Place on Twitter: https://twitter.com/smallhythentFollow Past Loves on Instagram: https://www.instagram.com/pastlovespodcast/Listen To Oscar Wilde and Lord Alfred Douglas episode with Matthew Sturgis: https://podcasts.apple.com/gb/podcast/oscar-wilde-lord-alfred-douglas-love-on-trial-with/id1509195421?i=1000478174906 Join the Past Loves newsletter: https://mailchi.mp/d293dd27393a/past-loves-newsletterIf Past Loves has become your current love, you can email me at pastlovespodcast@gmail.com

Rendering Unconscious welcomes Nina Antonia to the podcast! You can support the podcast at our Patreon. https://www.patreon.com/vanessa23carl Your support is greatly appreciated! Nina Antonia is here to discuss her new book Dancing with Salomé: Courting the Uncanny with Oscar Wilde & Friends. Dancing with Salomé unmasks the occult aspects of Oscar Wilde's celebrated tome The Picture of Dorian Gray, whilst exploring how the unseen manifested not just in the famous author's life but in that of his love interest, Lord Alfred Douglas. Through a series of interlinking essays, Nina Antonia takes us to meet the Decadent demi-monde of the 1890's with whom Wilde and Douglas mingled. Whilst eroticism and mysticism were key themes of the Decadents, there was also a surge of interest in ritual magic, enabled by the flowering of the “Golden Dawn.” Wilde's wife, Constance, was a member, as was W.B. Yeats, alongside Aleister Crowley. All would play a part, directly or indirectly, in the drama of Oscar Wilde's enchanted & accursed life. https://store.trapart.net/details/00178 Follow her at Twitter: https://twitter.com/NinaAntonia13 Instagram: https://www.instagram.com/officialninaantonia/ Website: https://ninaantoniaauthor.com This episode also available at YouTube: https://youtu.be/-j_L404Xbos Join us April 24th at Morbid Anatomy online via zoom 2PM NYC / 7PM UK: https://www.morbidanatomy.org/events-tickets/uncanny-aspects-of-oscar-wilde-dancing-with-salome-decadence-amp-the-supernatural-by-nina-antonia-and-activating-wildes-world-view-by-robert-podgurski Visit http://psychartcult.org and https://www.morbidanatomy.org/events for more info. Also coming up in the Psychoanalysis, Art & the Occult series: March 27th: https://www.morbidanatomy.org/events-tickets/the-compleat-story-how-anton-lavey-created-the-compleat-witch-by-peggy-nadramia-live-on-zoom May 22nd: https://www.morbidanatomy.org/events-tickets/the-death-drive-on-film-by-mary-wild-and-the-revolution-will-go-viral-on-sexting-the-digital-contagion-by-dr-clint-burnham Rendering Unconscious Podcast is hosted by psychoanalyst Dr. Vanessa Sinclair: www.drvanessasinclair.net Follow me at Instagram: https://www.instagram.com/rawsin_/ Twitter: https://twitter.com/rawsin_ TikTok: https://www.tiktok.com/@drvanessasinclair23 Visit the main website for more information and links to everything: www.renderingunconscious.org Rendering Unconscious: Psychoanalytic Perspectives, Politics & Poetry (Trapart 2019): store.trapart.net/details/00000 The song at the end of the episode is "Everyone that I've ever dreamed of being" by Carl Abrahamsson and Vanessa Sinclair from the album "Switching" available digitally on Bandcamp: https://vanessasinclaircarlabrahamsson.bandcamp.com/album/switching And as part of a CD boxset: https://store.trapart.net/details/00111 Many thanks to Carl Abrahamsson, who created the intro and outro music for Rendering Unconscious podcast. https://www.carlabrahamsson.com Image: cover of Dancing with Salomé: Courting the Uncanny with Oscar Wilde & Friends: https://store.trapart.net/details/00178

In part one of our end-of-season special, three of our cast members read and discuss some of their favourite poetry. This episode features:'Sicilian Love Song', by Lord Alfred Douglas (1893).'To My Excellent Lucasia, On Our Friendship', by Katherine Phillips (1667).'Tam O'Shanter,' by Robert Burns (1791).Join us next episode for part two - and in the meantime, tweet us @StorybrookPod. Hosted on Acast. See acast.com/privacy for more information.

Oscar Wilde, one of England's wittiest wordsmiths, loved the pompous Lord Alfred Douglas. But homosexuality was illegal in London at the time, and Alfred's jerk father set out to destroy Oscar's reputation and life! Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

1895 – El autor había conocido a un muchacho, Lord Alfred Douglas, y se enamora perdidamente de él para sorpresa de su mujer y sus dos hijos. El padre de Bosie, como lo llamaba Wilde, se opone al affaire y cumple su amenaza de demandarlo por atentar contra la moral y corromper a su hijo. En la voz, Bárbara Espejo.

Få författares liv kan på ett så tydligt sätt delas upp i ett före och ett efter som Oscar Wildes liv. Den på ytan bekymmerslösa författaren ersätts efter tiden i fängelset av en författare som kämpar för att skriva. Kristoffer Leandoer berättar i den här essän om Oscar Wildes oskrivna böcker. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.  Den 14 februari 1895 inträffar den av hela London emotsedda galapremiären för Mister Ernest, salongskomedin vars förment harmlösa, djupt absurda humor förebådar Beckett likaväl som Monty Python. Detta datum innebär höjdpunkten för Oscar Wildes karriär: när markisen av Queensbury, grälsjuk far till Wildes älskare sir Alfred Douglas, av påpassliga vakter hindras från att ställa till skandal på själva premiären lämnar han ett kort till Wilde som denne i sin tur trots vännernas avrådan lämnar över till polisen med en stämningsansökan för förtal. Det är en rättegång som Wilde inte kan vinna, eftersom Queensburys påstående om Wildes homosexuella livsföring i sak är sant: Wilde får betala ett fruktansvärt högt pris för sitt övermod i form av konkurs, skilsmässa och två års straffarbete som kostar honom hans hälsa och förkortar hans liv. Man kan förstå att Oscar Wilde, som var en mästare på självdramatisering i alla lägen, tyckte sig ha anledning att dela in sitt liv i ett tydligt före och ett efter: en sorglös, kreativ och suverän Oscar före 1895 års katastrof, en handlingsförlamad efter. Det är svårt för mig att skratta åt livet på samma sätt som jag brukade. Men hans senaste levnadstecknare, Matthew Sturgis, visar att det är en förenklad bild.  Den sorglöse Wilde före katastrofen var en konstruktion, en fasad som Wilde höll upp inför omvärlden. Sturgis gör sig mödan att faktiskt kartlägga Wildes liv, månad för månad, år efter år, och har då funnit långa perioder av total tystnad och overksamhet, då han knappt svarade på brev: den enda möjliga slutsatsen är att Wilde livet igenom led av återkommande depressioner, som han i vanliga fall kunde kompensera för genom extraordinär arbetskapacitet, gott humör samt ett fotografiskt minne. Det som händer efter fängelset är att han förlorar såväl förmågan som viljan att kompensera, även om fängelsevistelsen resulterar i två av de texter som försäkrat honom en plats i litteraturhistorien: det långa fängelsebrevet De Profundis, där Wilde gör upp med älskaren Lord Alfred Douglas och försöker bygga upp en ny identitet som människa och författare, samt Balladen om fängelset i Reading, den gripande dikten om en hustrumördare och dennes avrättning. Först gör Wilde som alla författare när idéerna tryter: återupptar påbörjade projekt, i detta fall renässansdramat En florentinsk tragedi, som blir ett ledmotiv de återstående åren, nästan en besvärjelse: att vara sysselsatt med En florentinsk tragedi innebär i själva verket att inte göra något alls. Det börjar redan i fängelset. När fängelseledningen äntligen ger Wilde tillgång både till skrivmaterial och ordentligt ljus så att han kan återuppta arbetet, visar det sig helt omöjligt. Han minns inte sin egen text, och fantasin sviker honom: det finns bara bitar kvar, och jag upptäcker att jag inte kan hitta på: tystnaden, ensamheten och isoleringen från allt mänskligt inflytande, innebär rena döden för hjärnverksamheten: hjärnan blir livlös: den fjättras vid lidandets monotoni. Jag undrar om han ändå inte fick lite skrivet i cell C.3.3 när ett klädesplagg sägs vara prytt med pärlor som är vitare än de månar som vansinniga kan se genom fängelsegaller i gryningen vill man gärna tro att det rör sig om platsens poesi. Inte undra på att Wilde är förväntansfull inför frigivningen: för mig kommer all luft att vara Arabien, säger han om världen som väntar därute. Han är som sagt ruinerad. Till hans minimala återstående tillgångar hör copyrights samt opublicerade manuskript, framför allt sätter han sitt hopp till pjäserna En florentinsk tragedi, La Sainte Courtesane samt The Cardinal of Avignon. Tyvärr var samtliga oavslutade och kommer att så förbli. Av de båda förstnämnda finns bara öppningsscenerna kvar, av The Cardinal of Avignon inte ens så mycket den känner vi bara till genom hans försök att sälja in den på idéstadiet. När Balladen om fängelset i Reading väl kommit ut börjar Wilde referera till den som sin svanesång, och han säger rätt ut: Jag tror inte att jag någonsin kommer att skriva mer. Det är den enkla sanningen. Han är trött, helt enkelt. Det smittande skrattet är borta. Innan fängelset kunde han ladda upp ny energi mellan depressionerna, men nu orkar han inte längre, det är som ett batteri där ena polen saknas: The intense energy of creation has been kicked out of me. Men om han har svårt för att skriva så har han desto lättare för att tala, och han talar gärna om sitt skrivande. Han förstod tidigare än de flesta att författaryrket inte bara innebar att skriva sina böcker utan också att leva upp till en offentlig roll: nu har han bara rollen kvar, och delvis behandlar han den som ett levebröd, ett sätt att sjunga för maten. Men det är också det han vill: att vara litteratur, läsa litteratur, tala litteratur men inte skriva litteratur. Wildekännaren Nicholas Frankel menar rent av att Wilde dessa sista år förädlar och förverkligar sig själv som konstverk, ungefär som när Rimbaud lämnat litteraturen och i stället levde sina dikter i Östafrika. I Dieppe på middag hos den norske konstnären Frits Thaulow och dennes fru säger Wilde att han håller på att skriva en essä med titeln A Defence of Drunkenness, och tillägger som förklaring att London måste chockas minst två gånger om året. Bättre försvarare hade fyllan knappast kunnat få: för sin väninna och välgörarinna Ada Leverson (som gjorde sitt bästa för att rädda både författare och manusfragment från undergång) beskriver Wilde hur han i ett absintrus ser en hel djungel av orkidéer växa upp ur kroggolvet. Men någon essä blir det aldrig, trots hans obestridliga sakkunskap. I december 1898 befinner sig Wilde i det lilla fiskarsamhället La Napoule tre mil söder om Nice. Han arbetar på Balladen om fiskarpojken, en dikt tänkt som kompletterande motpol till Balladen om fängelset i Reading, och meddelar i brev till vännen Frank Harris att han har fått ett par strofer färdiga. Dessa har aldrig återfunnits, eller lästs av någon. Här är ytterligare titlar till listan över Oscar Wildes förlorade verk: Libretto till en opera efter myten om Daphnis och Chloe, en biografi över den romerske kejsaren Heliogabalus som fascinerade Wilde för att han påstås ha gift sig med månen. Till André Gide berättar Wilde om två bibliska pjäser, en om Farao och en om Ahab och Jezebel. samt en prosaberättelse om Judas som Wilde själv beskriver som genialisk. Vi har inget val annat än att tro honom, för av alla dessa underverk återstår inte mer än av biblioteket i Alexandria, det vill säga inget alls. I ett ärligare ögonblick säger han: Du frågar vad jag skriver: mycket lite. Den 5 juli 1898 är Wilde ute och promenerar vid franska kusten tillsammans med Wilfrid Chesson, som räddat åtskilliga av Wildes böcker och manus när hans bibliotek gick på exekutiv auktion. De passerar en grind vid flodbanken och får en skymt av egendomen innanför: Det här är vad jag tycker om, säger Wilde, att bara stå och kika in genom spjälorna. Det vore bättre än att vara i paradiset att få stå som vi gör nu, uppfatta en skymt och vilja gå in. Jag tänker mig att han var ganska nöjd med att ha det så. Varför kämpa för att återfå ansvaret över allt detta tungrodda maskineri, familjer, bostäder, teateruppsättningar, bokutgivningar, när energin var borta och man lika gärna kunde stå på andra sidan gallret och se på? I de försvunna böckernas bibliotek hittar vi många titlar under Wildes namn, men det viktigaste som finns där tror jag är något annat: Oscar Wildes förlorade skratt. Kristoffer Leandoer

Audiolibro completo Cartas a Lord Alfred Douglas, de Oscar Wilde. «¡La felicidad, no ! ¡Sobre todo nada de felicidad ! ¡El placer! Hay que preferir siempre lo más trágico», exclamaba en cierta ocasión Oscar Wilde. Mucho más que un aforismo, la frase contiene toda una declaración de principios, que el propio Wilde llevaría hasta sus últimas consecuencias con admirable literalidad. De hecho, en el suntuoso argumento de su vida, la tragedia tuvo un nombre : Lord Alfred Douglas. Este muchacho de aspecto «jovial, áureo y encantador» fue, ciertamente, el gran amor de Wilde, la viva encarnación de su apetecido ideal, pero también la causa directa del escándalo que le conduciría a los tribunales primero y de allí a la ruina y a la cárcel, de la que Wilde saldría convertido en patética sombra de sí mismo. Wilde y Douglas (Bosie, para sus allegados) se conocieron en 1881, cuando éste apenas contaba veinte años y aquél era celebrado ya como un santón del esteticismo y brillante escritor. Muy pronto se entablaría entre los dos una íntima relación. De su complejo y movedizo carácter dan buena cuenta las cartas reunidas en este volumen, que abarcan desde noviembre de 1892 hasta agosto de 1897 y que son todas las que se conservan entre los dos amantes, con excepción de la conocida epístola De profundis. Unidas por el común denominador de una inconstante pero continuada pasión, estas cartas nos conducen desde los gloriosos días de éxito y de los placeres compartidos hasta las amargas horas del desencuentro, cuando, tras dos años de prisión, uno y otro intentan en vano revivir antiguos esplendores. Desde las apresuradas y festivas tarjetas escritas desde cualquier hotel o restaurante, hasta las sombrías elegías concebidas en la cárcel o el exilio en Francia, la pluma de Wilde, lírica y mordaz, transparenta aquí en todo momento su fatal y decidida voluntad de acceder a ese nivel superior en el que la vida y arte se confunden. .................................................................................................. 🎹Las piezas musicales pertenecen a Alfredo Lozano, compositor y productor musical. Gracias Artista por aceptar mi invitación. Recording Studio: https://wandaloop.blogspot.com/ - Puedes visitar su canal de YouTube aquí: https://www.youtube.com/alfredolozanomusic Estamos en Twitter: Alfredo Lozano @_AlfredoLozano_ Historias para ser Leídas: @HLeidas Una producción de Historias para ser leídas, Voz: Olga Paraíso 📢Nuevo canal informativo en Telegram: https://t.me/historiasparaserleidas 🛑BIO Olga Paraíso: https://instabio.cc/Hleidas Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

«¡La felicidad, no ! ¡Sobre todo nada de felicidad ! ¡El placer! Hay que preferir siempre lo más trágico», exclamaba en cierta ocasión Oscar Wilde. Mucho más que un aforismo, la frase contiene toda una declaración de principios, que el propio Wilde llevaría hasta sus últimas consecuencias con admirable literalidad. De hecho, en el suntuoso argumento de su vida, la tragedia tuvo un nombre : Lord Alfred Douglas. Este muchacho de aspecto «jovial, áureo y encantador» fue, ciertamente, el gran amor de Wilde, la viva encarnación de su apetecido ideal, pero también la causa directa del escándalo que le conduciría a los tribunales primero y de allí a la ruina y a la cárcel, de la que Wilde saldría convertido en patética sombra de sí mismo. Wilde y Douglas (Bosie, para sus allegados) se conocieron en 1881, cuando éste apenas contaba veinte años y aquél era celebrado ya como un santón del esteticismo y brillante escritor. Muy pronto se entablaría entre los dos una íntima relación. De su complejo y movedizo carácter dan buena cuenta las cartas reunidas en este volumen, que abarcan desde noviembre de 1892 hasta agosto de 1897 y que son todas las que se conservan entre los dos amantes, con excepción de la conocida epístola De profundis. Unidas por el común denominador de una inconstante pero continuada pasión, estas cartas nos conducen desde los gloriosos días de éxito y de los placeres compartidos hasta las amargas horas del desencuentro, cuando, tras dos años de prisión, uno y otro intentan en vano revivir antiguos esplendores. Desde las apresuradas y festivas tarjetas escritas desde cualquier hotel o restaurante, hasta las sombrías elegías concebidas en la cárcel o el exilio en Francia, la pluma de Wilde, lírica y mordaz, transparenta aquí en todo momento su fatal y decidida voluntad de acceder a ese nivel superior en el que la vida y arte se confunden. .................................................................................................. 🎹Las piezas musicales pertenecen a Alfredo Lozano, compositor y productor musical. Gracias Artista por aceptar mi invitación. Recording Studio: https://wandaloop.blogspot.com/ - Puedes visitar su canal de YouTube aquí: https://www.youtube.com/alfredolozanomusic Estamos en Twitter: Alfredo Lozano @_AlfredoLozano_ Historias para ser Leídas: @HLeidas Una producción de Historias para ser leídas, Voz: Olga Paraíso 📢Nuevo canal informativo en Telegram: https://t.me/historiasparaserleidas 🛑BIO Olga Paraíso: https://instabio.cc/Hleidas Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

«¡La felicidad, no ! ¡Sobre todo nada de felicidad ! ¡El placer! Hay que preferir siempre lo más trágico», exclamaba en cierta ocasión Oscar Wilde. Mucho más que un aforismo, la frase contiene toda una declaración de principios, que el propio Wilde llevaría hasta sus últimas consecuencias con admirable literalidad. De hecho, en el suntuoso argumento de su vida, la tragedia tuvo un nombre : Lord Alfred Douglas. Este muchacho de aspecto «jovial, áureo y encantador» fue, ciertamente, el gran amor de Wilde, la viva encarnación de su apetecido ideal, pero también la causa directa del escándalo que le conduciría a los tribunales primero y de allí a la ruina y a la cárcel, de la que Wilde saldría convertido en patética sombra de sí mismo. Wilde y Douglas (Bosie, para sus allegados) se conocieron en 1881, cuando éste apenas contaba veinte años y aquél era celebrado ya como un santón del esteticismo y brillante escritor. Muy pronto se entablaría entre los dos una íntima relación. De su complejo y movedizo carácter dan buena cuenta las cartas reunidas en este volumen, que abarcan desde noviembre de 1892 hasta agosto de 1897 y que son todas las que se conservan entre los dos amantes, con excepción de la conocida epístola De profundis. Unidas por el común denominador de una inconstante pero continuada pasión, estas cartas nos conducen desde los gloriosos días de éxito y de los placeres compartidos hasta las amargas horas del desencuentro, cuando, tras dos años de prisión, uno y otro intentan en vano revivir antiguos esplendores. Desde las apresuradas y festivas tarjetas escritas desde cualquier hotel o restaurante, hasta las sombrías elegías concebidas en la cárcel o el exilio en Francia, la pluma de Wilde, lírica y mordaz, transparenta aquí en todo momento su fatal y decidida voluntad de acceder a ese nivel superior en el que la vida y arte se confunden. .................................................................................................. 🎹La pieza musical pertenece a Alfredo Lozano, compositor y productor musical. Gracias Artista por aceptar mi invitación. Recording Studio: https://wandaloop.blogspot.com/ - Puedes visitar su canal de YouTube aquí: https://www.youtube.com/alfredolozanomusic Estamos en Twitter: Alfredo Lozano @_AlfredoLozano_ Historias para ser Leídas: @HLeidas Una producción de Historias para ser leídas, Voz: Olga Paraíso Suscríbete a nuestra Newsletter: https://www.getrevue.co/profile/historiasparaserleidas 📢Nuevo canal informativo en Telegram: https://t.me/historiasparaserleidas 🛑BIO Olga Paraíso: https://instabio.cc/Hleidas Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

«¡La felicidad, no ! ¡Sobre todo nada de felicidad ! ¡El placer! Hay que preferir siempre lo más trágico», exclamaba en cierta ocasión Oscar Wilde. Mucho más que un aforismo, la frase contiene toda una declaración de principios, que el propio Wilde llevaría hasta sus últimas consecuencias con admirable literalidad. De hecho, en el suntuoso argumento de su vida, la tragedia tuvo un nombre : Lord Alfred Douglas. Este muchacho de aspecto «jovial, áureo y encantador» fue, ciertamente, el gran amor de Wilde, la viva encarnación de su apetecido ideal, pero también la causa directa del escándalo que le conduciría a los tribunales primero y de allí a la ruina y a la cárcel, de la que Wilde saldría convertido en patética sombra de sí mismo. Wilde y Douglas (Bosie, para sus allegados) se conocieron en 1881, cuando éste apenas contaba veinte años y aquél era celebrado ya como un santón del esteticismo y brillante escritor. Muy pronto se entablaría entre los dos una íntima relación. De su complejo y movedizo carácter dan buena cuenta las cartas reunidas en este volumen, que abarcan desde noviembre de 1892 hasta agosto de 1897 y que son todas las que se conservan entre los dos amantes, con excepción de la conocida epístola De profundis. Unidas por el común denominador de una inconstante pero continuada pasión, estas cartas nos conducen desde los gloriosos días de éxito y de los placeres compartidos hasta las amargas horas del desencuentro, cuando, tras dos años de prisión, uno y otro intentan en vano revivir antiguos esplendores. Desde las apresuradas y festivas tarjetas escritas desde cualquier hotel o restaurante, hasta las sombrías elegías concebidas en la cárcel o el exilio en Francia, la pluma de Wilde, lírica y mordaz, transparenta aquí en todo momento su fatal y decidida voluntad de acceder a ese nivel superior en el que la vida y arte se confunden. .................................................................................................. 🎹La pieza musical pertenece a Alfredo Lozano, compositor y productor musical. Gracias Artista por aceptar mi invitación. Recording Studio: https://wandaloop.blogspot.com/ - Puedes visitar su canal de YouTube aquí: https://www.youtube.com/alfredolozanomusic Estamos en Twitter: Alfredo Lozano @_AlfredoLozano_ Historias para ser Leídas: @HLeidas Una producción de Historias para ser leídas, Voz: Olga Paraíso Suscríbete a nuestra Newsletter: https://www.getrevue.co/profile/historiasparaserleidas 📢Nuevo canal informativo en Telegram: https://t.me/historiasparaserleidas 🛑BIO Olga Paraíso: https://instabio.cc/Hleidas Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

«¡La felicidad, no ! ¡Sobre todo nada de felicidad ! ¡El placer! Hay que preferir siempre lo más trágico», exclamaba en cierta ocasión Oscar Wilde. Mucho más que un aforismo, la frase contiene toda una declaración de principios, que el propio Wilde llevaría hasta sus últimas consecuencias con admirable literalidad. De hecho, en el suntuoso argumento de su vida, la tragedia tuvo un nombre : Lord Alfred Douglas. Este muchacho de aspecto «jovial, áureo y encantador» fue, ciertamente, el gran amor de Wilde, la viva encarnación de su apetecido ideal, pero también la causa directa del escándalo que le conduciría a los tribunales primero y de allí a la ruina y a la cárcel, de la que Wilde saldría convertido en patética sombra de sí mismo. Wilde y Douglas (Bosie, para sus allegados) se conocieron en 1881, cuando éste apenas contaba veinte años y aquél era celebrado ya como un santón del esteticismo y brillante escritor. Muy pronto se entablaría entre los dos una íntima relación. De su complejo y movedizo carácter dan buena cuenta las cartas reunidas en este volumen, que abarcan desde noviembre de 1892 hasta agosto de 1897 y que son todas las que se conservan entre los dos amantes, con excepción de la conocida epístola De profundis. Unidas por el común denominador de una inconstante pero continuada pasión, estas cartas nos conducen desde los gloriosos días de éxito y de los placeres compartidos hasta las amargas horas del desencuentro, cuando, tras dos años de prisión, uno y otro intentan en vano revivir antiguos esplendores. Desde las apresuradas y festivas tarjetas escritas desde cualquier hotel o restaurante, hasta las sombrías elegías concebidas en la cárcel o el exilio en Francia, la pluma de Wilde, lírica y mordaz, transparenta aquí en todo momento su fatal y decidida voluntad de acceder a ese nivel superior en el que la vida y arte se confunden. .................................................................................................. 🎹La pieza musical pertenece a Alfredo Lozano, compositor y productor musical. Gracias Artista por aceptar mi invitación. Recording Studio: https://wandaloop.blogspot.com/ - Puedes visitar su canal de YouTube aquí: https://www.youtube.com/alfredolozanomusic Estamos en Twitter: Alfredo Lozano @_AlfredoLozano_ Historias para ser Leídas: @HLeidas Una producción de Historias para ser leídas, Voz: Olga Paraíso Suscríbete a nuestra Newsletter: https://www.getrevue.co/profile/historiasparaserleidas 📢Nuevo canal informativo en Telegram: https://t.me/historiasparaserleidas 🛑BIO Olga Paraíso: https://instabio.cc/Hleidas Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

«¡La felicidad, no ! ¡Sobre todo nada de felicidad ! ¡El placer! Hay que preferir siempre lo más trágico», exclamaba en cierta ocasión Oscar Wilde. Mucho más que un aforismo, la frase contiene toda una declaración de principios, que el propio Wilde llevaría hasta sus últimas consecuencias con admirable literalidad. De hecho, en el suntuoso argumento de su vida, la tragedia tuvo un nombre : Lord Alfred Douglas. Este muchacho de aspecto «jovial, áureo y encantador» fue, ciertamente, el gran amor de Wilde, la viva encarnación de su apetecido ideal, pero también la causa directa del escándalo que le conduciría a los tribunales primero y de allí a la ruina y a la cárcel, de la que Wilde saldría convertido en patética sombra de sí mismo. Wilde y Douglas (Bosie, para sus allegados) se conocieron en 1881, cuando éste apenas contaba veinte años y aquél era celebrado ya como un santón del esteticismo y brillante escritor. Muy pronto se entablaría entre los dos una íntima relación. De su complejo y movedizo carácter dan buena cuenta las cartas reunidas en este volumen, que abarcan desde noviembre de 1892 hasta agosto de 1897 y que son todas las que se conservan entre los dos amantes, con excepción de la conocida epístola De profundis. Unidas por el común denominador de una inconstante pero continuada pasión, estas cartas nos conducen desde los gloriosos días de éxito y de los placeres compartidos hasta las amargas horas del desencuentro, cuando, tras dos años de prisión, uno y otro intentan en vano revivir antiguos esplendores. Desde las apresuradas y festivas tarjetas escritas desde cualquier hotel o restaurante, hasta las sombrías elegías concebidas en la cárcel o el exilio en Francia, la pluma de Wilde, lírica y mordaz, transparenta aquí en todo momento su fatal y decidida voluntad de acceder a ese nivel superior en el que la vida y arte se confunden. .................................................................................................. 🎹La pieza musical pertenece a Alfredo Lozano, compositor y productor musical. Gracias Artista por aceptar mi invitación. Recording Studio: https://wandaloop.blogspot.com/ - Puedes visitar su canal de YouTube aquí: https://www.youtube.com/alfredolozanomusic Estamos en Twitter: Alfredo Lozano @_AlfredoLozano_ Historias para ser Leídas: @HLeidas Una producción de Historias para ser leídas, Voz: Olga Paraíso Suscríbete a nuestra Newsletter: https://www.getrevue.co/profile/historiasparaserleidas 📢Nuevo canal informativo en Telegram: https://t.me/historiasparaserleidas 🛑BIO Olga Paraíso: https://instabio.cc/Hleidas Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

«¡La felicidad, no ! ¡Sobre todo nada de felicidad ! ¡El placer! Hay que preferir siempre lo más trágico», exclamaba en cierta ocasión Oscar Wilde. Mucho más que un aforismo, la frase contiene toda una declaración de principios, que el propio Wilde llevaría hasta sus últimas consecuencias con admirable literalidad. De hecho, en el suntuoso argumento de su vida, la tragedia tuvo un nombre : Lord Alfred Douglas. Este muchacho de aspecto «jovial, áureo y encantador» fue, ciertamente, el gran amor de Wilde, la viva encarnación de su apetecido ideal, pero también la causa directa del escándalo que le conduciría a los tribunales primero y de allí a la ruina y a la cárcel, de la que Wilde saldría convertido en patética sombra de sí mismo. Wilde y Douglas (Bosie, para sus allegados) se conocieron en 1881, cuando éste apenas contaba veinte años y aquél era celebrado ya como un santón del esteticismo y brillante escritor. Muy pronto se entablaría entre los dos una íntima relación. De su complejo y movedizo carácter dan buena cuenta las cartas reunidas en este volumen, que abarcan desde noviembre de 1892 hasta agosto de 1897 y que son todas las que se conservan entre los dos amantes, con excepción de la conocida epístola De profundis. Unidas por el común denominador de una inconstante pero continuada pasión, estas cartas nos conducen desde los gloriosos días de éxito y de los placeres compartidos hasta las amargas horas del desencuentro, cuando, tras dos años de prisión, uno y otro intentan en vano revivir antiguos esplendores. Desde las apresuradas y festivas tarjetas escritas desde cualquier hotel o restaurante, hasta las sombrías elegías concebidas en la cárcel o el exilio en Francia, la pluma de Wilde, lírica y mordaz, transparenta aquí en todo momento su fatal y decidida voluntad de acceder a ese nivel superior en el que la vida y arte se confunden. .................................................................................................. 🎹La pieza musical pertenece a Alfredo Lozano, compositor y productor musical. Gracias Artista por aceptar mi invitación. Recording Studio: https://wandaloop.blogspot.com/ - Puedes visitar su canal de YouTube aquí: https://www.youtube.com/alfredolozanomusic Estamos en Twitter: Alfredo Lozano @_AlfredoLozano_ Historias para ser Leídas: @HLeidas Una producción de Historias para ser leídas, Voz: Olga Paraíso Suscríbete a nuestra Newsletter: https://www.getrevue.co/profile/historiasparaserleidas 📢Nuevo canal informativo en Telegram: https://t.me/historiasparaserleidas 🛑BIO Olga Paraíso: https://instabio.cc/Hleidas Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

«¡La felicidad, no ! ¡Sobre todo nada de felicidad ! ¡El placer! Hay que preferir siempre lo más trágico», exclamaba en cierta ocasión Oscar Wilde. Mucho más que un aforismo, la frase contiene toda una declaración de principios, que el propio Wilde llevaría hasta sus últimas consecuencias con admirable literalidad. De hecho, en el suntuoso argumento de su vida, la tragedia tuvo un nombre : Lord Alfred Douglas. Este muchacho de aspecto «jovial, áureo y encantador» fue, ciertamente, el gran amor de Wilde, la viva encarnación de su apetecido ideal, pero también la causa directa del escándalo que le conduciría a los tribunales primero y de allí a la ruina y a la cárcel, de la que Wilde saldría convertido en patética sombra de sí mismo. Wilde y Douglas (Bosie, para sus allegados) se conocieron en 1881, cuando éste apenas contaba veinte años y aquél era celebrado ya como un santón del esteticismo y brillante escritor. Muy pronto se entablaría entre los dos una íntima relación. De su complejo y movedizo carácter dan buena cuenta las cartas reunidas en este volumen, que abarcan desde noviembre de 1892 hasta agosto de 1897 y que son todas las que se conservan entre los dos amantes, con excepción de la conocida epístola De profundis. Unidas por el común denominador de una inconstante pero continuada pasión, estas cartas nos conducen desde los gloriosos días de éxito y de los placeres compartidos hasta las amargas horas del desencuentro, cuando, tras dos años de prisión, uno y otro intentan en vano revivir antiguos esplendores. Desde las apresuradas y festivas tarjetas escritas desde cualquier hotel o restaurante, hasta las sombrías elegías concebidas en la cárcel o el exilio en Francia, la pluma de Wilde, lírica y mordaz, transparenta aquí en todo momento su fatal y decidida voluntad de acceder a ese nivel superior en el que la vida y arte se confunden. .................................................................................................. 🎹La pieza musical pertenece a Alfredo Lozano, compositor y productor musical. Muchas gracias Artista por aceptar mi invitación. Recording Studio: https://wandaloop.blogspot.com/ - Puedes visitar su canal de YouTube aquí: https://www.youtube.com/alfredolozanomusic Estamos en Twitter: Alfredo Lozano @_AlfredoLozano_ Historias para ser Leídas: @HLeidas Una producción de Historias para ser leídas, Voz: Olga Paraíso Suscríbete a nuestra Newsletter: https://www.getrevue.co/profile/historiasparaserleidas 📢Nuevo canal informativo en Telegram: https://t.me/historiasparaserleidas 🛑BIO Olga Paraíso: https://instabio.cc/Hleidas Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

«¡La felicidad, no ! ¡Sobre todo nada de felicidad ! ¡El placer! Hay que preferir siempre lo más trágico», exclamaba en cierta ocasión Oscar Wilde. Mucho más que un aforismo, la frase contiene toda una declaración de principios, que el propio Wilde llevaría hasta sus últimas consecuencias con admirable literalidad. De hecho, en el suntuoso argumento de su vida, la tragedia tuvo un nombre : Lord Alfred Douglas. Este muchacho de aspecto «jovial, áureo y encantador» fue, ciertamente, el gran amor de Wilde, la viva encarnación de su apetecido ideal, pero también la causa directa del escándalo que le conduciría a los tribunales primero y de allí a la ruina y a la cárcel, de la que Wilde saldría convertido en patética sombra de sí mismo. Wilde y Douglas (Bosie, para sus allegados) se conocieron en 1881, cuando éste apenas contaba veinte años y aquél era celebrado ya como un santón del esteticismo y brillante escritor. Muy pronto se entablaría entre los dos una íntima relación. De su complejo y movedizo carácter dan buena cuenta las cartas reunidas en este volumen, que abarcan desde noviembre de 1892 hasta agosto de 1897 y que son todas las que se conservan entre los dos amantes, con excepción de la conocida epístola De profundis. Unidas por el común denominador de una inconstante pero continuada pasión, estas cartas nos conducen desde los gloriosos días de éxito y de los placeres compartidos hasta las amargas horas del desencuentro, cuando, tras dos años de prisión, uno y otro intentan en vano revivir antiguos esplendores. Desde las apresuradas y festivas tarjetas escritas desde cualquier hotel o restaurante, hasta las sombrías elegías concebidas en la cárcel o el exilio en Francia, la pluma de Wilde, lírica y mordaz, transparenta aquí en todo momento su fatal y decidida voluntad de acceder a ese nivel superior en el que la vida y arte se confunden. .................................................................................................. 🎹La pieza musical pertenece a Alfredo Lozano, compositor y productor musical. Gracias Artista por aceptar mi invitación. Recording Studio: http://wandaloop.blogspot.com/ - Puedes visitar su canal de YouTube aquí: https://www.youtube.com/alfredolozanomusic Estamos en Twitter: Alfredo Lozano https://twitter.com/_AlfredoLozano_ Historias para ser Leídas: https://twitter.com/HLeidas Una producción de Historias para ser leídas, Voz: Olga Paraíso Suscríbete a nuestra Newsletter: https://www.getrevue.co/profile/historiasparaserleidas 📢Nuevo canal informativo en Telegram: https://t.me/historiasparaserleidas 🛑BIO Olga Paraíso: https://instabio.cc/Hleidas Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

«¡La felicidad, no ! ¡Sobre todo nada de felicidad ! ¡El placer! Hay que preferir siempre lo más trágico», exclamaba en cierta ocasión Oscar Wilde. Mucho más que un aforismo, la frase contiene toda una declaración de principios, que el propio Wilde llevaría hasta sus últimas consecuencias con admirable literalidad. De hecho, en el suntuoso argumento de su vida, la tragedia tuvo un nombre : Lord Alfred Douglas. Este muchacho de aspecto «jovial, áureo y encantador» fue, ciertamente, el gran amor de Wilde, la viva encarnación de su apetecido ideal, pero también la causa directa del escándalo que le conduciría a los tribunales primero y de allí a la ruina y a la cárcel, de la que Wilde saldría convertido en patética sombra de sí mismo. Wilde y Douglas (Bosie, para sus allegados) se conocieron en 1881, cuando éste apenas contaba veinte años y aquél era celebrado ya como un santón del esteticismo y brillante escritor. Muy pronto se entablaría entre los dos una íntima relación. De su complejo y movedizo carácter dan buena cuenta las cartas reunidas en este volumen, que abarcan desde noviembre de 1892 hasta agosto de 1897 y que son todas las que se conservan entre los dos amantes, con excepción de la conocida epístola De profundis. Unidas por el común denominador de una inconstante pero continuada pasión, estas cartas nos conducen desde los gloriosos días de éxito y de los placeres compartidos hasta las amargas horas del desencuentro, cuando, tras dos años de prisión, uno y otro intentan en vano revivir antiguos esplendores. Desde las apresuradas y festivas tarjetas escritas desde cualquier hotel o restaurante, hasta las sombrías elegías concebidas en la cárcel o el exilio en Francia, la pluma de Wilde, lírica y mordaz, transparenta aquí en todo momento su fatal y decidida voluntad de acceder a ese nivel superior en el que la vida y arte se confunden. La pieza musical pertenece a Alfredo Lozano, compositor y productor musical. Muchas gracias por aceptar mi invitación. Recording Studio Alfredo Lozano: http://wandaloop.blogspot.com/ Puedes visitar su canal de Youtube aquí: https://www.youtube.com/alfredolozanomusic Estamos en Twitter: Alfredo Lozano https://twitter.com/_AlfredoLozano_ Historias para ser Leídas: https://twitter.com/HLeidas Voz: Olga Paraíso Suscríbete a nuestra Newsletter: https://www.getrevue.co/profile/historiasparaserleidas 📢Nuevo canal informativo en Telegram: https://t.me/historiasparaserleidas 🛑BIO Olga Paraíso: https://instabio.cc/Hleidas Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

«¡La felicidad, no ! ¡Sobre todo nada de felicidad ! ¡El placer! Hay que preferir siempre lo más trágico», exclamaba en cierta ocasión Oscar Wilde. Mucho más que un aforismo, la frase contiene toda una declaración de principios, que el propio Wilde llevaría hasta sus últimas consecuencias con admirable literalidad. De hecho, en el suntuoso argumento de su vida, la tragedia tuvo un nombre : Lord Alfred Douglas. Este muchacho de aspecto «jovial, áureo y encantador» fue, ciertamente, el gran amor de Wilde, la viva encarnación de su apetecido ideal, pero también la causa directa del escándalo que le conduciría a los tribunales primero y de allí a la ruina y a la cárcel, de la que Wilde saldría convertido en patética sombra de sí mismo. Wilde y Douglas (Bosie, para sus allegados) se conocieron en 1881, cuando éste apenas contaba veinte años y aquél era celebrado ya como un santón del esteticismo y brillante escritor. Muy pronto se entablaría entre los dos una íntima relación. De su complejo y movedizo carácter dan buena cuenta las cartas reunidas en este volumen, que abarcan desde noviembre de 1892 hasta agosto de 1897 y que son todas las que se conservan entre los dos amantes, con excepción de la conocida epístola De profundis. Unidas por el común denominador de una inconstante pero continuada pasión, estas cartas nos conducen desde los gloriosos días de éxito y de los placeres compartidos hasta las amargas horas del desencuentro, cuando, tras dos años de prisión, uno y otro intentan en vano revivir antiguos esplendores. Desde las apresuradas y festivas tarjetas escritas desde cualquier hotel o restaurante, hasta las sombrías elegías concebidas en la cárcel o el exilio en Francia, la pluma de Wilde, lírica y mordaz, transparenta aquí en todo momento su fatal y decidida voluntad de acceder a ese nivel superior en el que la vida y arte se confunden. La pieza musical pertenece a Alfredo Lozano, compositor y productor musical. Muchas gracias por aceptar mi invitación. Recording Studio Alfredo Lozano: http://wandaloop.blogspot.com/ Puedes visitar su canal de YouTube aquí: https://www.youtube.com/alfredolozanomusic Estamos en Twitter: Alfredo Lozano https://twitter.com/_AlfredoLozano_ Historias para ser Leídas: https://twitter.com/HLeidas Voz: Olga Paraíso Suscríbete a nuestra Newsletter: https://www.getrevue.co/profile/historiasparaserleidas 📢Nuevo canal informativo en Telegram: https://t.me/historiasparaserleidas 🛑BIO Olga Paraíso: https://instabio.cc/Hleidas Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

«¡La felicidad, no ! ¡Sobre todo nada de felicidad ! ¡El placer! Hay que preferir siempre lo más trágico», exclamaba en cierta ocasión Oscar Wilde. Mucho más que un aforismo, la frase contiene toda una declaración de principios, que el propio Wilde llevaría hasta sus últimas consecuencias con admirable literalidad. De hecho, en el suntuoso argumento de su vida, la tragedia tuvo un nombre : Lord Alfred Douglas. Este muchacho de aspecto «jovial, áureo y encantador» fue, ciertamente, el gran amor de Wilde, la viva encarnación de su apetecido ideal, pero también la causa directa del escándalo que le conduciría a los tribunales primero y de allí a la ruina y a la cárcel, de la que Wilde saldría convertido en patética sombra de sí mismo. Wilde y Douglas (Bosie, para sus allegados) se conocieron en 1881, cuando éste apenas contaba veinte años y aquél era celebrado ya como un santón del esteticismo y brillante escritor. Muy pronto se entablaría entre los dos una íntima relación. De su complejo y movedizo carácter dan buena cuenta las cartas reunidas en este volumen, que abarcan desde noviembre de 1892 hasta agosto de 1897 y que son todas las que se conservan entre los dos amantes, con excepción de la conocida epístola De profundis. Unidas por el común denominador de una inconstante pero continuada pasión, estas cartas nos conducen desde los gloriosos días de éxito y de los placeres compartidos hasta las amargas horas del desencuentro, cuando, tras dos años de prisión, uno y otro intentan en vano revivir antiguos esplendores. Desde las apresuradas y festivas tarjetas escritas desde cualquier hotel o restaurante, hasta las sombrías elegías concebidas en la cárcel o el exilio en Francia, la pluma de Wilde, lírica y mordaz, transparenta aquí en todo momento su fatal y decidida voluntad de acceder a ese nivel superior en el que la vida y arte se confunden. La pieza musical pertenece a Alfredo Lozano, compositor y productor musical. Muchas gracias por aceptar mi invitación. Recording Studio Alfredo Lozano: http://wandaloop.blogspot.com/ Puedes visitar su canal de Youtube aquí: https://www.youtube.com/alfredolozanomusic Estamos en Twitter: Alfredo Lozano https://twitter.com/_AlfredoLozano_ Historias para ser Leídas: https://twitter.com/HLeidas Voz: Olga Paraíso Suscríbete a nuestra Newsletter: https://www.getrevue.co/profile/historiasparaserleidas 📢Nuevo canal informativo en Telegram: https://t.me/historiasparaserleidas 🛑BIO Olga Paraíso: https://instabio.cc/Hleidas Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

«¡La felicidad, no ! ¡Sobre todo nada de felicidad ! ¡El placer! Hay que preferir siempre lo más trágico», exclamaba en cierta ocasión Oscar Wilde. Mucho más que un aforismo, la frase contiene toda una declaración de principios, que el propio Wilde llevaría hasta sus últimas consecuencias con admirable literalidad. De hecho, en el suntuoso argumento de su vida, la tragedia tuvo un nombre : Lord Alfred Douglas. Este muchacho de aspecto «jovial, áureo y encantador» fue, ciertamente, el gran amor de Wilde, la viva encarnación de su apetecido ideal, pero también la causa directa del escándalo que le conduciría a los tribunales primero y de allí a la ruina y a la cárcel, de la que Wilde saldría convertido en patética sombra de sí mismo. Wilde y Douglas (Bosie, para sus allegados) se conocieron en 1881, cuando éste apenas contaba veinte años y aquél era celebrado ya como un santón del esteticismo y brillante escritor. Muy pronto se entablaría entre los dos una íntima relación. De su complejo y movedizo carácter dan buena cuenta las cartas reunidas en este volumen, que abarcan desde noviembre de 1892 hasta agosto de 1897 y que son todas las que se conservan entre los dos amantes, con excepción de la conocida epístola De profundis. Unidas por el común denominador de una inconstante pero continuada pasión, estas cartas nos conducen desde los gloriosos días de éxito y de los placeres compartidos hasta las amargas horas del desencuentro, cuando, tras dos años de prisión, uno y otro intentan en vano revivir antiguos esplendores. Desde las apresuradas y festivas tarjetas escritas desde cualquier hotel o restaurante, hasta las sombrías elegías concebidas en la cárcel o el exilio en Francia, la pluma de Wilde, lírica y mordaz, transparenta aquí en todo momento su fatal y decidida voluntad de acceder a ese nivel superior en el que la vida y arte se confunden. .................................................................................................. 🎹La pieza musical pertenece a Alfredo Lozano, compositor y productor musical. Gracias Artista por aceptar mi invitación. Recording Studio: http://wandaloop.blogspot.com/ - Puedes visitar su canal de YouTube aquí: https://www.youtube.com/alfredolozanomusic Estamos en Twitter: Alfredo Lozano https://twitter.com/_AlfredoLozano_ Historias para ser Leídas: https://twitter.com/HLeidas Una producción de Historias para ser leídas, Voz: Olga Paraíso Suscríbete a nuestra Newsletter: https://www.getrevue.co/profile/historiasparaserleidas 📢Nuevo canal informativo en Telegram: https://t.me/historiasparaserleidas 🛑BIO Olga Paraíso: https://instabio.cc/Hleidas Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

«¡La felicidad, no ! ¡Sobre todo nada de felicidad ! ¡El placer! Hay que preferir siempre lo más trágico», exclamaba en cierta ocasión Oscar Wilde. Mucho más que un aforismo, la frase contiene toda una declaración de principios, que el propio Wilde llevaría hasta sus últimas consecuencias con admirable literalidad. De hecho, en el suntuoso argumento de su vida, la tragedia tuvo un nombre : Lord Alfred Douglas. Este muchacho de aspecto «jovial, áureo y encantador» fue, ciertamente, el gran amor de Wilde, la viva encarnación de su apetecido ideal, pero también la causa directa del escándalo que le conduciría a los tribunales primero y de allí a la ruina y a la cárcel, de la que Wilde saldría convertido en patética sombra de sí mismo. Wilde y Douglas (Bosie, para sus allegados) se conocieron en 1881, cuando éste apenas contaba veinte años y aquél era celebrado ya como un santón del esteticismo y brillante escritor. Muy pronto se entablaría entre los dos una íntima relación. De su complejo y movedizo carácter dan buena cuenta las cartas reunidas en este volumen, que abarcan desde noviembre de 1892 hasta agosto de 1897 y que son todas las que se conservan entre los dos amantes, con excepción de la conocida epístola De profundis. Unidas por el común denominador de una inconstante pero continuada pasión, estas cartas nos conducen desde los gloriosos días de éxito y de los placeres compartidos hasta las amargas horas del desencuentro, cuando, tras dos años de prisión, uno y otro intentan en vano revivir antiguos esplendores. Desde las apresuradas y festivas tarjetas escritas desde cualquier hotel o restaurante, hasta las sombrías elegías concebidas en la cárcel o el exilio en Francia, la pluma de Wilde, lírica y mordaz, transparenta aquí en todo momento su fatal y decidida voluntad de acceder a ese nivel superior en el que la vida y arte se confunden. -------------------------------------------------------------------------------------Una producción de Historias para ser leídas ©¡Audiolibros, relatos y ficciones sonoras con los que sumergirte en otra realidad! Muchas gracias a los taberneros galácticos que apoyan este Podcast, gracias a vosotr@s sigo creando historias como esta. Gracias una vez más por seguir a mi lado. Voz: Olga Paraíso Twitter Historias para ser leídas https://twitter.com/HLeidas​ Suscríbete a nuestra Newsletter: https://www.getrevue.co/profile/historiasparaserleidas 📢Nuevo canal informativo en Telegram: https://t.me/historiasparaserleidas 🛑BIO Olga Paraíso: https://instabio.cc/Hleidas Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

«¡La felicidad, no ! ¡Sobre todo nada de felicidad ! ¡El placer! Hay que preferir siempre lo más trágico», exclamaba en cierta ocasión Oscar Wilde. Mucho más que un aforismo, la frase contiene toda una declaración de principios, que el propio Wilde llevaría hasta sus últimas consecuencias con admirable literalidad. De hecho, en el suntuoso argumento de su vida, la tragedia tuvo un nombre : Lord Alfred Douglas. Este muchacho de aspecto «jovial, áureo y encantador» fue, ciertamente, el gran amor de Wilde, la viva encarnación de su apetecido ideal, pero también la causa directa del escándalo que le conduciría a los tribunales primero y de allí a la ruina y a la cárcel, de la que Wilde saldría convertido en patética sombra de sí mismo. Wilde y Douglas (Bosie, para sus allegados) se conocieron en 1881, cuando éste apenas contaba veinte años y aquél era celebrado ya como un santón del esteticismo y brillante escritor. Muy pronto se entablaría entre los dos una íntima relación. De su complejo y movedizo carácter dan buena cuenta las cartas reunidas en este volumen, que abarcan desde noviembre de 1892 hasta agosto de 1897 y que son todas las que se conservan entre los dos amantes, con excepción de la conocida epístola De profundis. Unidas por el común denominador de una inconstante pero continuada pasión, estas cartas nos conducen desde los gloriosos días de éxito y de los placeres compartidos hasta las amargas horas del desencuentro, cuando, tras dos años de prisión, uno y otro intentan en vano revivir antiguos esplendores. Desde las apresuradas y festivas tarjetas escritas desde cualquier hotel o restaurante, hasta las sombrías elegías concebidas en la cárcel o el exilio en Francia, la pluma de Wilde, lírica y mordaz, transparenta aquí en todo momento su fatal y decidida voluntad de acceder a ese nivel superior en el que la vida y arte se confunden. -------------------------------------------------------------------------------------Una producción de Historias para ser leídas ©¡Audiolibros, relatos y ficciones sonoras con los que sumergirte en otra realidad! Muchas gracias a los taberneros galácticos que apoyan este Podcast, gracias a vosotr@s sigo creando historias como esta. Gracias una vez más por seguir a mi lado. Voz: Olga Paraíso Twitter Historias para ser leídas https://twitter.com/HLeidas​ Suscríbete a nuestra Newsletter: https://www.getrevue.co/profile/historiasparaserleidas 📢Nuevo canal informativo en Telegram: https://t.me/historiasparaserleidas 🛑BIO Olga Paraíso: https://instabio.cc/Hleidas Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

«¡La felicidad, no ! ¡Sobre todo nada de felicidad ! ¡El placer! Hay que preferir siempre lo más trágico», exclamaba en cierta ocasión Oscar Wilde. Mucho más que un aforismo, la frase contiene toda una declaración de principios, que el propio Wilde llevaría hasta sus últimas consecuencias con admirable literalidad. De hecho, en el suntuoso argumento de su vida, la tragedia tuvo un nombre : Lord Alfred Douglas. Este muchacho de aspecto «jovial, áureo y encantador» fue, ciertamente, el gran amor de Wilde, la viva encarnación de su apetecido ideal, pero también la causa directa del escándalo que le conduciría a los tribunales primero y de allí a la ruina y a la cárcel, de la que Wilde saldría convertido en patética sombra de sí mismo. Wilde y Douglas (Bosie, para sus allegados) se conocieron en 1881, cuando éste apenas contaba veinte años y aquél era celebrado ya como un santón del esteticismo y brillante escritor. Muy pronto se entablaría entre los dos una íntima relación. De su complejo y movedizo carácter dan buena cuenta las cartas reunidas en este volumen, que abarcan desde noviembre de 1892 hasta agosto de 1897 y que son todas las que se conservan entre los dos amantes, con excepción de la conocida epístola De profundis. Unidas por el común denominador de una inconstante pero continuada pasión, estas cartas nos conducen desde los gloriosos días de éxito y de los placeres compartidos hasta las amargas horas del desencuentro, cuando, tras dos años de prisión, uno y otro intentan en vano revivir antiguos esplendores. Desde las apresuradas y festivas tarjetas escritas desde cualquier hotel o restaurante, hasta las sombrías elegías concebidas en la cárcel o el exilio en Francia, la pluma de Wilde, lírica y mordaz, transparenta aquí en todo momento su fatal y decidida voluntad de acceder a ese nivel superior en el que la vida y arte se confunden. -------------------------------------------------------------------------------------Una producción de Historias para ser leídas ©¡Audiolibros, relatos y ficciones sonoras con los que sumergirte en otra realidad! Muchas gracias a los taberneros galácticos que apoyan este Podcast, gracias a vosotr@s sigo creando historias como esta. Gracias una vez más por seguir a mi lado. Voz: Olga Paraíso Twitter Historias para ser leídas https://twitter.com/HLeidas​ Suscríbete a nuestra Newsletter: https://www.getrevue.co/profile/historiasparaserleidas 📢Nuevo canal informativo en Telegram: https://t.me/historiasparaserleidas 🛑BIO Olga Paraíso: https://instabio.cc/Hleidas Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Naturalmente, no fue Lord Alfred Douglas la primera relación sentimental (ni masculina) en la vida de Oscar Wilde. Pero sí constituyó lo que en términos coloquiales se define como el gran amor de su vida . Y es que Alfred reunió en sí mismo —al menos durante cierto tiempo— cuanto Wilde había ambicionado como ideal . No siempre ocurre (y acaso también en ello Oscar tuvo suerte) ver encarnado un ideal en la vida, ver que en alguna medida las quimeras toman apetecible cuerpo… Desde final de la década de los ochenta. Oscar Wilde (1854-1900) se fue conviniendo, como santón del esteticismo, en centro de atención de muchos jóvenes escritores. Esta situación se agudizó notablemente con la publicación, en 1890 (en revista), de El retrato de Dorian Gray . La polémica provocada por el largo relato, que un año después —ampliado— se convertiría en libro, fue el impulso definitivo que llevó al siempre exhibicionista Oscar al estrellato social y literario. Muchos le detestaban ya, pero otros —y bastantes jóvenes— lo adoraban. Encarnaba para éstos la imagen y el estilo de una nueva literatura, de una nueva sensibilidad, de una visión del mundo, en fin, más refinada, atrevida y bella. En el filo de esos años Wilde había conocido —y mantenido con él una corta relación— a John Gray, un joven y muy bien parecido poeta, al que todos identificaron de inmediato (bien que nada les uniese en carácter) con el Dorian de la novela. Entre los nuevos poetas que por entonces trataron a Oscar, estaban, también, W. B. Yeats, Richard Le Gallienne y Lionel Johnson (1867-1902). Éste, estudiante en Oxford, se había hecho allí amigo de otro estudiante, tres años más joven que él y con idénticas aficiones literarias y líricas. Al poco —y no sabemos por iniciativa de quién de los dos—, Lionel Johnson habló de ese estudiante a Oscar, y le llevó algo después a tomar el té al 16 de Tite Street. El estudiante amigo de Lionel era Lord Alfred Bruce Douglas, tercer hijo del Marqués de Queensberry. Evidentemente, Alfred sintió cariño y admiración por Wilde, pero parece que un amor recíproco y de similar intensidad no lo experimentó nunca. En la época cenital de sus relaciones Oscar era un hombre corpulento, grueso, con la dentadura estropeada, y un físico, resumiendo, poco atractivo. Sin embargo su encanto, el manejo de una conversación culta y fulgente, su talento de causeur y su aludida celebridad, podían compensar la otra ausencia. Para Douglas, Wilde fue, ante todo, la imagen viva del arte, la encarnación del artista —anticonvencional y mágico, transgresor , en una palabra— que él mismo soñaba. Si él era el Dorian innegable de la novela, Oscar era una relativa mezcla de Basil, el pintor, y Lord Henry, el mundano. Pero el amor apasionado , el amor plenamente correspondido, no parece que llegara a existir, entre otras cosas, porque a Lord Alfred (como Gide contó en Si le grain ne meurt …) sus tendencias homoeróticas le conducían asimismo al recinto adolescente… A ese pares cum paribus tan raramente alcanzado. De hecho, la relación —o el amor, si se piensa desde el lado de Oscar— entre Wilde y Douglas, tuvo tres claras etapas que ejemplifican un tipo de historia homosexual no infrecuente. La primera (tras el prólogo de sus iniciales encuentros) abarcaría desde fines de 1891 hasta mediados de 1893. En esos casi dos años, la historia se mueve en el terreno más clásico . El creador adulto, el hombre maduro tentado y fascinado por el muchacho hermoso y cautivador. No habrá interferencias ni deslices. Wilde, enamorado de Alfred, es correspondido —en la forma descrita— por éste. Se muestran juntos en publico, y hasta pasan pequeñas temporadas vacacionales unidos. Como casi todos los señoritos , Lord Alfred maneja poco dinero, aunque no concede importancia ninguna al tema. Ello hace que Oscar tenga que correr con sus dispendiosos gastos —los de ambos—, lo cual crea al escritor muy frecuentes problemas económicos. Vivieron en ese período una suerte de bohemia dorada , entre cenas, champagne y visitas a los lugares de moda en Londres… El exitoso estreno (en febrero de 1892) de El abanico de Lady Windermere aportó nuevos ingresos y creciente celebridad a Wilde, que puso todo ello a favor de su relación con el joven aristócrata. Pero (lo sabemos ya) no era un carácter débil, y el idilio lujoso y escandaloso, se veta salpicado —incluso en público— de desplantes y escenas caprichosas, de súbitos enfados, de irritantes mohines, que constituyeron desde entonces para Wilde el lado más odioso del carácter despótico de su amigo. ---- Una producción de Historias para ser leídas ©¡Audiolibros, relatos y ficciones sonoras con los que sumergirte en otra realidad! Muchas gracias a los taberneros galácticos que apoyan este Podcast. Gracias una vez más por seguir a mi lado. Voz: Olga Paraíso Twitter Historias para ser leídas https://twitter.com/HLeidas​ Suscríbete a nuestra Newsletter: https://www.getrevue.co/profile/historiasparaserleidas 📢Nuevo canal informativo en Telegram: https://t.me/historiasparaserleidas 🛑BIO Olga Paraíso: https://instabio.cc/Hleidas Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Naturalmente, no fue Lord Alfred Douglas la primera relación sentimental (ni masculina) en la vida de Oscar Wilde. Pero sí constituyó lo que en términos coloquiales se define como el gran amor de su vida . Y es que Alfred reunió en sí mismo —al menos durante cierto tiempo— cuanto Wilde había ambicionado como ideal . No siempre ocurre (y acaso también en ello Oscar tuvo suerte) ver encarnado un ideal en la vida, ver que en alguna medida las quimeras toman apetecible cuerpo… Desde final de la década de los ochenta. Oscar Wilde (1854-1900) se fue conviniendo, como santón del esteticismo, en centro de atención de muchos jóvenes escritores. Esta situación se agudizó notablemente con la publicación, en 1890 (en revista), de El retrato de Dorian Gray . La polémica provocada por el largo relato, que un año después —ampliado— se convertiría en libro, fue el impulso definitivo que llevó al siempre exhibicionista Oscar al estrellato social y literario. Muchos le detestaban ya, pero otros —y bastantes jóvenes— lo adoraban. Encarnaba para éstos la imagen y el estilo de una nueva literatura, de una nueva sensibilidad, de una visión del mundo, en fin, más refinada, atrevida y bella. En el filo de esos años Wilde había conocido —y mantenido con él una corta relación— a John Gray, un joven y muy bien parecido poeta, al que todos identificaron de inmediato (bien que nada les uniese en carácter) con el Dorian de la novela. Entre los nuevos poetas que por entonces trataron a Oscar, estaban, también, W. B. Yeats, Richard Le Gallienne y Lionel Johnson (1867-1902). Éste, estudiante en Oxford, se había hecho allí amigo de otro estudiante, tres años más joven que él y con idénticas aficiones literarias y líricas. Al poco —y no sabemos por iniciativa de quién de los dos—, Lionel Johnson habló de ese estudiante a Oscar, y le llevó algo después a tomar el té al 16 de Tite Street. El estudiante amigo de Lionel era Lord Alfred Bruce Douglas, tercer hijo del Marqués de Queensberry. Evidentemente, Alfred sintió cariño y admiración por Wilde, pero parece que un amor recíproco y de similar intensidad no lo experimentó nunca. En la época cenital de sus relaciones Oscar era un hombre corpulento, grueso, con la dentadura estropeada, y un físico, resumiendo, poco atractivo. Sin embargo su encanto, el manejo de una conversación culta y fulgente, su talento de causeur y su aludida celebridad, podían compensar la otra ausencia. Para Douglas, Wilde fue, ante todo, la imagen viva del arte, la encarnación del artista —anticonvencional y mágico, transgresor , en una palabra— que él mismo soñaba. Si él era el Dorian innegable de la novela, Oscar era una relativa mezcla de Basil, el pintor, y Lord Henry, el mundano. Pero el amor apasionado , el amor plenamente correspondido, no parece que llegara a existir, entre otras cosas, porque a Lord Alfred (como Gide contó en Si le grain ne meurt …) sus tendencias homoeróticas le conducían asimismo al recinto adolescente… A ese pares cum paribus tan raramente alcanzado. De hecho, la relación —o el amor, si se piensa desde el lado de Oscar— entre Wilde y Douglas, tuvo tres claras etapas que ejemplifican un tipo de historia homosexual no infrecuente. La primera (tras el prólogo de sus iniciales encuentros) abarcaría desde fines de 1891 hasta mediados de 1893. En esos casi dos años, la historia se mueve en el terreno más clásico . El creador adulto, el hombre maduro tentado y fascinado por el muchacho hermoso y cautivador. No habrá interferencias ni deslices. Wilde, enamorado de Alfred, es correspondido —en la forma descrita— por éste. Se muestran juntos en publico, y hasta pasan pequeñas temporadas vacacionales unidos. Como casi todos los señoritos , Lord Alfred maneja poco dinero, aunque no concede importancia ninguna al tema. Ello hace que Oscar tenga que correr con sus dispendiosos gastos —los de ambos—, lo cual crea al escritor muy frecuentes problemas económicos. Vivieron en ese período una suerte de bohemia dorada , entre cenas, champagne y visitas a los lugares de moda en Londres… El exitoso estreno (en febrero de 1892) de El abanico de Lady Windermere aportó nuevos ingresos y creciente celebridad a Wilde, que puso todo ello a favor de su relación con el joven aristócrata. Pero (lo sabemos ya) no era un carácter débil, y el idilio lujoso y escandaloso, se veta salpicado —incluso en público— de desplantes y escenas caprichosas, de súbitos enfados, de irritantes mohines, que constituyeron desde entonces para Wilde el lado más odioso del carácter despótico de su amigo. ---- Una producción de Historias para ser leídas ©¡Audiolibros, relatos y ficciones sonoras con los que sumergirte en otra realidad! Muchas gracias a los taberneros galácticos que apoyan este Podcast. Gracias una vez más por seguir a mi lado. Voz: Olga Paraíso Twitter Historias para ser leídas https://twitter.com/HLeidas​ Suscríbete a nuestra Newsletter: https://www.getrevue.co/profile/historiasparaserleidas 📢Nuevo canal informativo en Telegram: https://t.me/historiasparaserleidas 🛑BIO Olga Paraíso: https://instabio.cc/Hleidas Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Oscar Wilde è uno scrittore di successo, è sposato e ha due figlie, ma dentro di lui si scatena una imprevista rivoluzione, che lo porterà ad essere attratto dal sesso maschile, dapprima con brevi relazioni, poi con una vera e propria passione per un ragazzo più giovane di lui di sedici anni, Lord Alfred Douglas. La loro storia però non passa inosservata e per le leggi del tempo l'omosessualità è un reato gravissimo, che porterà l'autore de "Il ritratto di Dorian Gray" a trascorrere due anni nel carcere di Reading, esperienza raccontata nella sua drammatica ballata.Roberto Gervaso, che ha dedicato ad Oscar Wilde un capitolo del suo libro "Amanti", è l'ospite dell'autrice e conduttrice del programma, Antonella Ferrera

The Importance of Being Earnest - Oscar Wilde - Book 2 Title: The Importance of Being Earnest Overview: The Importance of Being Earnest, A Trivial Comedy for Serious People is a play by Oscar Wilde. First performed on 14 February 1895 at the St James's Theatre in London, it is a farcical comedy in which the protagonists maintain fictitious personae to escape burdensome social obligations. Working within the social conventions of late Victorian London, the play's major themes are the triviality with which it treats institutions as serious as marriage and the resulting satire of Victorian ways. Some contemporary reviews praised the play's humor and the culmination of Wilde's artistic career, while others were cautious about its lack of social messages. Its high farce and witty dialogue have helped make The Importance of Being Earnest Wilde's most enduringly popular play. The successful opening night marked the climax of Wilde's career but also heralded his downfall. The Marquess of Queensberry, whose son Lord Alfred Douglas was Wilde's lover, planned to present the writer with a bouquet of rotten vegetables and disrupt the show. Wilde was tipped off and Queensberry was refused admission. Their feud came to a climax in court when Wilde sued for libel. The proceedings provided enough evidence for his arrest, trial, and conviction on charges of gross indecency. Wilde's homosexuality was revealed to the Victorian public and he was sentenced to two years imprisonment with hard labor. Despite the play's early success, Wilde's notoriety caused the play to be closed after 86 performances. After his release from prison, he published the play from exile in Paris, but he wrote no more comic or dramatic works. The Importance of Being Earnest has been revived many times since its premiere. It has been adapted for the cinema on three occasions. In The Importance of Being Earnest (1952), Dame Edith Evans reprised her celebrated interpretation of Lady Bracknell; The Importance of Being Earnest (1992) by Kurt Baker used an all-black cast, and Oliver Parker's The Importance of Being Earnest (2002) incorporated some of Wilde's original material cut during the preparation of the first stage production. Published: 1895 List: 100 Best Novels Of All Time, 100 Classic Book Collection Author: Oscar Wilde Genre: Comedy, Farce, Satire Episode: The Importance of Being Earnest - Oscar Wilde - Book 2 Part: 1 of 1 Length Part: 2:38:37 Book: 1 Length Book: 2:38:37 Episodes: 1 - 3 of 3 Narrator: Phil Chenevert Language: English Rated: Guidance Suggested Edition: Unabridged Audiobook Keywords: light, romance, scintillating, obstacles, effervescent, abandonment, deceptively, comedy, flippant, satire, farce, oscarwilde Hashtags: #freeaudiobooks #audiobook #mustread #readingbooks #audiblebooks #favoritebooks #free #booklist #audible #freeaudiobook #light #romance #scintillating #obstacles #effervescent #abandonment #deceptively #comedy #flippant #satire #farce #OscarWilde Credits: All LibriVox Recordings are in the Public Domain. Wikipedia (c) Attribution-ShareAlike 3.0 Unported License. WOMBO Dream. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/free-audiobooks/message Support this podcast: https://anchor.fm/free-audiobooks/support

OLIVE CUSTANCE WAS the long-suffering wife of Lord Alfred Douglas, the beautiful young man over whom Oscar Wilde lost his reputation, livelihood and family. But at the same time Lord Alfred was holding court in Oxford, his future wife, Olive, was already holding court in London. She ventured into literary society very young, at the age of sixteen in the London of the 1890s, surrounded by admirers of both sexes. A Catholic convert, like her husband, she was also an accomplished poet and her work is now being rediscovered. This talk was delivered (online) as part of the Chavagnes 2020 Summer conference: Faith and the fin de Siècle.

Kelly helps Dermot remember why he drew James Joyce wearing red, killer heels. Topics include subtle Homeric correspondences, Dermot’s allegiance to Mr. Kipling’s cakes, Stéphane Mallarmé’s ‘L'après-midi d'un faune’ (The afternoon of a faun), more ire directed at that mocker Buck Mulligan, Stephen’s tiny feet, Stephen’s erstwhile friendship with Cranly, Oscar Wilde and Lord Alfred Douglas, John Francis Byrne, Cranly’s feelings for Stephen, Wilde’s love that dare not speak its name, themes of masculinity and male friendships, Senator David Norris on gay themes in Ulysses and Dedalus/Mulligan slash fiction.On the Blog:Decoding Dedalus: A Dedalus Never Pays His DebtsThe Love That Dare Not Speak Its NameSocial Media:Facebook|TwitterSubscribe to Blooms & Barnacles:Apple Podcasts| Google Play Music| Stitcher

Info From : https://www.biblebelievers.org.au/przion1.htm Of the Protocols themselves little need be said in the way of introduction. The book in which they are embodied was first published in the year 1897 by Philip Stepanov for private circulation among his intimate friends. The first time Nilus published them was in 1901 in a book called The Great Within the Small and reprinted in 1905. A copy of this is in the British Museum bearing the date of its reception, August 10, 1906. All copies that were known to exist in Russia were destroyed in the Kerensky regime, and under his successors the possession of a copy by anyone in Soviet land was a crime sufficient to ensure the owner's of being shot on sight. The fact is in itself sufficient proof of the genuineness of the Protocols. The Jewish journals, of course, say that they are a forgery, leaving it to be understood that Professor Nilus, who embodied them in a work of his own, had concocted them for his own purposes. Mr. Henry Ford, in an interview published in the New York WORLD, February 17th, 1921, put the case for Nilus tersely and convincingly thus: "The only statement I care to make about the PROTOCOLS is that they fit in with what is going on. They are sixteen years old, and they have fitted the world situation up to this time. THEY FIT IT NOW." Indeed they do! The word "Protocol" signifies a precis gummed on to the front of a document, a draft of a document, minutes of proceedings. In this instance, "Protocol" means minutes of the proceedings of the Meetings of the Learned Elders of Zion. These Protocols give the substance of addresses delivered to the innermost circle of the Rulers of Zion. They reveal the converted plan of action of the Jewish Nation developed through the ages and edited by the Elders themselves up to date. Parts and summaries of the plan have been published from time to time during the centuries as the secrets of the Elders have leaked out. The claim of the Jews that the Protocols are forgeries is in itself an admission of their genuineness, for they NEVER ATTEMPT TO ANSWER THE FACTS corresponding to the THREATS which the Protocols contain, and, indeed, the correspondence between prophecy and fulfillment is too glaring to be set aside or obscured. This the Jews well know and therefore evade. Captain A.H.M. Ramsay records in his classic, The Nameless War: "According to a letter published in "Plain English" (a weekly review published by the North British Publishing Co. and edited by the late Lord Alfred Douglas) on 3rd September, 1921:- "The Learned Elders have been in existence for a much longer period than they have perhaps suspected... And of course, here is the Wiki Page synopsis https://en.wikipedia.org/wiki/The_Protocols_of_the_Elders_of_Zion. The Protocols Of The Learned Elders Of Zionis a fabricated antisemitic text purporting to describe a Jewish plan for global domination. The hoax, which was shown to be plagiarized from several earlier sources, some not antisemitic in nature,[1] was first published in Russia in 1903, translated into multiple languages, and disseminated internationally in the early part of the 20th century. --- Send in a voice message: https://anchor.fm/begoodbroadcast/message Support this podcast: https://anchor.fm/begoodbroadcast/support

Welcome once again to a very special episode of Past Loves - the new weekly history podcast that explores affection, infatuation and attachment across time. This week I am joined by historian, biographer and Oscar Wilde aficionado Matthew Sturgis to discuss the relationship between poet and playwright Oscar Wilde and Lord Alfred Douglas or Bosie. This is a deep, passionate and overwhelming love story that defied convention set within the timeline of the persecution of passion.As the author of Oscar: A Life - the first major biography of Oscar Wilde in thirty years - Matthew sheds light on Wilde and Douglas' complicated relationship, detailing the court case of gross indecency that led to Wilde's subsequent imprisonment. Their refusal to conform to the social and sexual orthodoxies in Victorian Britain makes them both an inspiration to all who seek to challenge convention. It is a testament to the power of love.Where To Find UsShop Matthew's book Oscar: A Life here: https://www.amazon.co.uk/Oscar-Life-Matthew-Sturgis/dp/1788545982/ Follow Past Loves on Instagram: https://www.instagram.com/pastlovespodcast/You can find the transcript for the episode here: https://pastlovespodcast.co.uk/2020/06/14/oscar-wilde-bosie-love-story/If Past Loves has become your current love, you can email me at pastlovespodcast@gmail.com

A few of my favourite excerpts from De Profundis. The Letter written by Wilde to Lord Alfred Douglas. De Profundis is an amazing letter, showing the machinations of his mind.

De Profundis is a letter written by Oscar Wilde over 3 months in 1897 to Lord Alfred Douglas. In Part 1 there is a crtitique of De Profundis and I read the first 20 pages. Parts II, III & IV to follow.

Richard Barham Middleton When I first read On The Brighton Road by Richard Middleton (known as Richard Barber Middleton in order to distinguish him from the many other Richard Middletons) I thought the story probably dated from the 1930s.  So when I saw that Richard Middleton was of a previous generation I was surprised because his writing has a very modern feel. Richard Middleton was very well regarded by other writers and I think his short story on the Brighton Road is a little masterpiece. One of his most famous stories is the ghost ship — in fact said to be one of the best ghost stories in the English language! I'm sure that at some point in the future I'll read it on the Classic Ghost Stories Podcast. The Preface to Middleton’s ghost ship and other stories is by Arthur Machen that well-known writer of horror and weird tales. Machen knew Middleton on the time in London particularly at the new Bohemian club. He was also a companion of Lord Alfred Douglas. Middleton was born in  Staines in the Greater London area which was then in the county of Middlesex in 1882 to a father who was an engineer, and a mother who had no profession, so presumably the family were well-off enough so that she didn’t have to work. Middleton died aged only 29, 1911 by suicide. In the pictures of him on the Internet they actually looks older than 29. Stephen Wayne Foster did an autobiographical article on Middleton using what little historical material there is. He was apparently a sensitive boy and unhappy as a child.  As well as Arthur Machen thinking a lot of him pros master Raymond Chandler author of detective fiction such as the big sleep said that he thought Middleton was extremely talented, so much did Raymond Chandler put off his own writing career because he thought he could never be as good as Middleton. Middleton went to be a bank clerk aged 19 but didn't stick it and decided he wanted to make his career first as a journalist and then as a poet and started out on the Bohemian lifestyle in London.  Allegedly he spent his nights drinking in the New Bohemian Club in London.  In that he fits the stereotype of the damaged, substance abusing writer, that grew from that scene and which persists.  Middleton’s most famous poem was The Bathing Boy which is very well regarded, and reading in  The Bathing Boy, I wondered, like many other authors of ghost stories, whether Middleton was actually gay, but I read in Stephen Wayne Foster’s article that he fell in love with various young women and mooned after them.  Middleton failed to make a career in journalist and moved to Belgium, in his mid 20s. Middleton spent the last years of his life in Brussels in Belgium and was treated there for depression. The treatment at that time was with chloroform but, sadly, Middleton used the chloroform to end his life. http://www.williamapercy.com/wiki/images/A_poet's_death.pdf (http://www.williamapercy.com/wiki/images/A_poet's_death.pdf) Links Website Classic Ghost Stories Podcast (http://bit.ly/ClassicGhostStoriesPodcast) Music Heartwood Institute (https://theheartwoodinstitute.bandcamp.com/album/witch-phase-four) Patronage & Support Donate a Coffee (https://ko-fi.com/tonywalker) Become a Patreon (https://www.patreon.com/barcud) Support the show (https://www.patreon.com/barcud) (https://www.patreon.com/barcud) Support this podcast

Eine verhängnisvolle Affäre: die Liebe zwischen Oscar Wilde und dem jungen Lord Alfred Douglas. Sie brachte ihm zwei Jahre Zuchthaus, Zwangsarbeit und einen frühen Tod. Von Merlin Holland, NDR 2004. ndr.de/radiokunst

One of the preeminent literary minds of our time meets a man of distinction and status and the growth of their love that dare not speak its' name was almost as spectacular as its' destruction.  They had a romance based on poetry, opulence and betrayal.  This week Jane and Mara sit down to discuss the lives and love of Oscar Wilde and Lord Alfred Douglas.

A short and snappy poem for kids ages 5-10, about a scary shark by Lord Alfred Douglas. (duration 3 minutes)  An episode from Journey with Story, a storytelling podcast.

We profile Lord Alfred Bruce Douglas, the beautiful and dissolute poet, publisher, and lover of Oscar Wilde–who helped bring Wilde to ruin, became an antisemite, and generally personifies the term "evil twink energy."  ----more---- Sources and further reading: Frank Harris: Oscar Wilde: His Life and Confessions  Oscar Wilde’s Last Stand  Douglas Murray: Bosie: A Biography of Lord Alfred Douglas

In Episode 87, we looked at the trials of Oscar Wilde and how they led to his eventual imprisonment and tragically early death. This episode picks up where that one left off, as the incarcerated Wilde writes a manuscript, De Profundis, that eventually leads to a bitter feud between two of his former friends and lovers. Laura Lee, author of Oscar’s Ghost: The Battle for Oscar Wilde’s Legacy, joins Jacke to discuss De Profundis, the battle between Lord Alfred Douglas and Wilde’s literary executor Robert Ross, and how Wilde’s legacy grew out of a web of blackmail, revenge, jealousy, resentment, and high courtroom drama. Support the show at patreon.com/literature. Learn more about the show at historyofliterature.com. Contact the host at jackewilsonauthor@gmail.com. FOR A LIMITED TIME: Special holiday news! Now for a limited time, you can purchase History of Literature swag (mugs, tote bags, and “virtual coffees” for Jacke) at historyofliterature.com/shop. Get yours today! Learn more about your ad choices. Visit megaphone.fm/adchoices

Laura Lee’s Oscar’s Ghost: The Battle for Oscar Wilde’s Legacy (Amberley Publishing, 2017) offers a detailed investigation of a conflict involving the writer and his two friends with whom he maintained sexual relations, Lord Alfred Douglas and Robert Ross. In her endeavor to disclose the root of the conflict that, as a matter of fact, marked and instigated Oscar Wilde’s decline, Laura Lee attempts to consider different perspectives, illuminating the progression of the conflict and its influences and aftereffects. This story, although centering around Oscar Wilde, discloses how Alfred Douglass and Robert Ross’s response to the writers professional and personal turmoil shapes the way the conflict is comprehended. Oscar’s Ghost, as Laura Lee mentions in this interview, is inspired by De Profundis: the work that presents Oscar Wilde’s intimate confession and indicates the writer’s transformation, triggered by his prison experience. Humiliation, on the one hand, and desire to recover, on the other hand, signal the writer’s ambiguous perception of his own self. His confessional work, to some extent, captures his ambiguity and offers insights into emotional, psychological struggles that seem to be unresolved. In Wilde’s case, a confessional endeavor brings forth not only revelation, but pain as well. The process of embracing oneself through revealing the intimate, more often than not, is inseparable from revisiting experiences that involve others. In his confessional letter, Oscar Wilde redefines himself while speculating about his relationships with Alfred Douglas and Robert Ross. Confession is intimate but it is public as well: do those involved in a confession feel comfortable being part of an intimate narrative that is not theirs? As Oscar’s Ghost demonstrates, this tension between the private and the public cannot be underestimated. In addition to a detailed account of facts, which at times reads as a detective story, Oscar’s Ghost also engages with the historical, political, and social realms of London, in particular, and other European cities of the end of the nineteenth century and the beginning of the twentieth century. By describing the dynamics of Oscar Wilde’s relationships with Alfred Douglas and Robert Ross, Laura Lee captures the sense of collapse and crisis that appeared to be pervading at a national and international level. The decline of aristocratic privileges produces one of the most powerful influences on the shaping of public ideological and political perceptions, which appear to be intricately connected with Oscar Wilde’s personal and professional story. Laura Lee is a full-time writer. She’s authored twenty books, fiction and nonfiction. Learn more about your ad choices. Visit megaphone.fm/adchoices

Laura Lee’s Oscar’s Ghost: The Battle for Oscar Wilde’s Legacy (Amberley Publishing, 2017) offers a detailed investigation of a conflict involving the writer and his two friends with whom he maintained sexual relations, Lord Alfred Douglas and Robert Ross. In her endeavor to disclose the root of the conflict that, as a matter of fact, marked and instigated Oscar Wilde’s decline, Laura Lee attempts to consider different perspectives, illuminating the progression of the conflict and its influences and aftereffects. This story, although centering around Oscar Wilde, discloses how Alfred Douglass and Robert Ross’s response to the writers professional and personal turmoil shapes the way the conflict is comprehended. Oscar’s Ghost, as Laura Lee mentions in this interview, is inspired by De Profundis: the work that presents Oscar Wilde’s intimate confession and indicates the writer’s transformation, triggered by his prison experience. Humiliation, on the one hand, and desire to recover, on the other hand, signal the writer’s ambiguous perception of his own self. His confessional work, to some extent, captures his ambiguity and offers insights into emotional, psychological struggles that seem to be unresolved. In Wilde’s case, a confessional endeavor brings forth not only revelation, but pain as well. The process of embracing oneself through revealing the intimate, more often than not, is inseparable from revisiting experiences that involve others. In his confessional letter, Oscar Wilde redefines himself while speculating about his relationships with Alfred Douglas and Robert Ross. Confession is intimate but it is public as well: do those involved in a confession feel comfortable being part of an intimate narrative that is not theirs? As Oscar’s Ghost demonstrates, this tension between the private and the public cannot be underestimated. In addition to a detailed account of facts, which at times reads as a detective story, Oscar’s Ghost also engages with the historical, political, and social realms of London, in particular, and other European cities of the end of the nineteenth century and the beginning of the twentieth century. By describing the dynamics of Oscar Wilde’s relationships with Alfred Douglas and Robert Ross, Laura Lee captures the sense of collapse and crisis that appeared to be pervading at a national and international level. The decline of aristocratic privileges produces one of the most powerful influences on the shaping of public ideological and political perceptions, which appear to be intricately connected with Oscar Wilde’s personal and professional story. Laura Lee is a full-time writer. She’s authored twenty books, fiction and nonfiction. Learn more about your ad choices. Visit megaphone.fm/adchoices

Laura Lee’s Oscar’s Ghost: The Battle for Oscar Wilde’s Legacy (Amberley Publishing, 2017) offers a detailed investigation of a conflict involving the writer and his two friends with whom he maintained sexual relations, Lord Alfred Douglas and Robert Ross. In her endeavor to disclose the root of the conflict that, as a matter of fact, marked and instigated Oscar Wilde’s decline, Laura Lee attempts to consider different perspectives, illuminating the progression of the conflict and its influences and aftereffects. This story, although centering around Oscar Wilde, discloses how Alfred Douglass and Robert Ross’s response to the writers professional and personal turmoil shapes the way the conflict is comprehended. Oscar’s Ghost, as Laura Lee mentions in this interview, is inspired by De Profundis: the work that presents Oscar Wilde’s intimate confession and indicates the writer’s transformation, triggered by his prison experience. Humiliation, on the one hand, and desire to recover, on the other hand, signal the writer’s ambiguous perception of his own self. His confessional work, to some extent, captures his ambiguity and offers insights into emotional, psychological struggles that seem to be unresolved. In Wilde’s case, a confessional endeavor brings forth not only revelation, but pain as well. The process of embracing oneself through revealing the intimate, more often than not, is inseparable from revisiting experiences that involve others. In his confessional letter, Oscar Wilde redefines himself while speculating about his relationships with Alfred Douglas and Robert Ross. Confession is intimate but it is public as well: do those involved in a confession feel comfortable being part of an intimate narrative that is not theirs? As Oscar’s Ghost demonstrates, this tension between the private and the public cannot be underestimated. In addition to a detailed account of facts, which at times reads as a detective story, Oscar’s Ghost also engages with the historical, political, and social realms of London, in particular, and other European cities of the end of the nineteenth century and the beginning of the twentieth century. By describing the dynamics of Oscar Wilde’s relationships with Alfred Douglas and Robert Ross, Laura Lee captures the sense of collapse and crisis that appeared to be pervading at a national and international level. The decline of aristocratic privileges produces one of the most powerful influences on the shaping of public ideological and political perceptions, which appear to be intricately connected with Oscar Wilde’s personal and professional story. Laura Lee is a full-time writer. She’s authored twenty books, fiction and nonfiction. Learn more about your ad choices. Visit megaphone.fm/adchoices

Laura Lee’s Oscar’s Ghost: The Battle for Oscar Wilde’s Legacy (Amberley Publishing, 2017) offers a detailed investigation of a conflict involving the writer and his two friends with whom he maintained sexual relations, Lord Alfred Douglas and Robert Ross. In her endeavor to disclose the root of the conflict that, as a matter of fact, marked and instigated Oscar Wilde’s decline, Laura Lee attempts to consider different perspectives, illuminating the progression of the conflict and its influences and aftereffects. This story, although centering around Oscar Wilde, discloses how Alfred Douglass and Robert Ross’s response to the writers professional and personal turmoil shapes the way the conflict is comprehended. Oscar’s Ghost, as Laura Lee mentions in this interview, is inspired by De Profundis: the work that presents Oscar Wilde’s intimate confession and indicates the writer’s transformation, triggered by his prison experience. Humiliation, on the one hand, and desire to recover, on the other hand, signal the writer’s ambiguous perception of his own self. His confessional work, to some extent, captures his ambiguity and offers insights into emotional, psychological struggles that seem to be unresolved. In Wilde’s case, a confessional endeavor brings forth not only revelation, but pain as well. The process of embracing oneself through revealing the intimate, more often than not, is inseparable from revisiting experiences that involve others. In his confessional letter, Oscar Wilde redefines himself while speculating about his relationships with Alfred Douglas and Robert Ross. Confession is intimate but it is public as well: do those involved in a confession feel comfortable being part of an intimate narrative that is not theirs? As Oscar’s Ghost demonstrates, this tension between the private and the public cannot be underestimated. In addition to a detailed account of facts, which at times reads as a detective story, Oscar’s Ghost also engages with the historical, political, and social realms of London, in particular, and other European cities of the end of the nineteenth century and the beginning of the twentieth century. By describing the dynamics of Oscar Wilde’s relationships with Alfred Douglas and Robert Ross, Laura Lee captures the sense of collapse and crisis that appeared to be pervading at a national and international level. The decline of aristocratic privileges produces one of the most powerful influences on the shaping of public ideological and political perceptions, which appear to be intricately connected with Oscar Wilde’s personal and professional story. Laura Lee is a full-time writer. She’s authored twenty books, fiction and nonfiction. Learn more about your ad choices. Visit megaphone.fm/adchoices

Laura Lee’s Oscar’s Ghost: The Battle for Oscar Wilde’s Legacy (Amberley Publishing, 2017) offers a detailed investigation of a conflict involving the writer and his two friends with whom he maintained sexual relations, Lord Alfred Douglas and Robert Ross. In her endeavor to disclose the root of the conflict that, as a matter of fact, marked and instigated Oscar Wilde’s decline, Laura Lee attempts to consider different perspectives, illuminating the progression of the conflict and its influences and aftereffects. This story, although centering around Oscar Wilde, discloses how Alfred Douglass and Robert Ross’s response to the writers professional and personal turmoil shapes the way the conflict is comprehended. Oscar’s Ghost, as Laura Lee mentions in this interview, is inspired by De Profundis: the work that presents Oscar Wilde’s intimate confession and indicates the writer’s transformation, triggered by his prison experience. Humiliation, on the one hand, and desire to recover, on the other hand, signal the writer’s ambiguous perception of his own self. His confessional work, to some extent, captures his ambiguity and offers insights into emotional, psychological struggles that seem to be unresolved. In Wilde’s case, a confessional endeavor brings forth not only revelation, but pain as well. The process of embracing oneself through revealing the intimate, more often than not, is inseparable from revisiting experiences that involve others. In his confessional letter, Oscar Wilde redefines himself while speculating about his relationships with Alfred Douglas and Robert Ross. Confession is intimate but it is public as well: do those involved in a confession feel comfortable being part of an intimate narrative that is not theirs? As Oscar’s Ghost demonstrates, this tension between the private and the public cannot be underestimated. In addition to a detailed account of facts, which at times reads as a detective story, Oscar’s Ghost also engages with the historical, political, and social realms of London, in particular, and other European cities of the end of the nineteenth century and the beginning of the twentieth century. By describing the dynamics of Oscar Wilde’s relationships with Alfred Douglas and Robert Ross, Laura Lee captures the sense of collapse and crisis that appeared to be pervading at a national and international level. The decline of aristocratic privileges produces one of the most powerful influences on the shaping of public ideological and political perceptions, which appear to be intricately connected with Oscar Wilde’s personal and professional story. Laura Lee is a full-time writer. She’s authored twenty books, fiction and nonfiction. Learn more about your ad choices. Visit megaphone.fm/adchoices

Laura Lee’s Oscar’s Ghost: The Battle for Oscar Wilde’s Legacy (Amberley Publishing, 2017) offers a detailed investigation of a conflict involving the writer and his two friends with whom he maintained sexual relations, Lord Alfred Douglas and Robert Ross. In her endeavor to disclose the root of the conflict that, as a matter of fact, marked and instigated Oscar Wilde’s decline, Laura Lee attempts to consider different perspectives, illuminating the progression of the conflict and its influences and aftereffects. This story, although centering around Oscar Wilde, discloses how Alfred Douglass and Robert Ross’s response to the writers professional and personal turmoil shapes the way the conflict is comprehended. Oscar’s Ghost, as Laura Lee mentions in this interview, is inspired by De Profundis: the work that presents Oscar Wilde’s intimate confession and indicates the writer’s transformation, triggered by his prison experience. Humiliation, on the one hand, and desire to recover, on the other hand, signal the writer’s ambiguous perception of his own self. His confessional work, to some extent, captures his ambiguity and offers insights into emotional, psychological struggles that seem to be unresolved. In Wilde’s case, a confessional endeavor brings forth not only revelation, but pain as well. The process of embracing oneself through revealing the intimate, more often than not, is inseparable from revisiting experiences that involve others. In his confessional letter, Oscar Wilde redefines himself while speculating about his relationships with Alfred Douglas and Robert Ross. Confession is intimate but it is public as well: do those involved in a confession feel comfortable being part of an intimate narrative that is not theirs? As Oscar’s Ghost demonstrates, this tension between the private and the public cannot be underestimated. In addition to a detailed account of facts, which at times reads as a detective story, Oscar’s Ghost also engages with the historical, political, and social realms of London, in particular, and other European cities of the end of the nineteenth century and the beginning of the twentieth century. By describing the dynamics of Oscar Wilde’s relationships with Alfred Douglas and Robert Ross, Laura Lee captures the sense of collapse and crisis that appeared to be pervading at a national and international level. The decline of aristocratic privileges produces one of the most powerful influences on the shaping of public ideological and political perceptions, which appear to be intricately connected with Oscar Wilde’s personal and professional story. Laura Lee is a full-time writer. She’s authored twenty books, fiction and nonfiction. Learn more about your ad choices. Visit megaphone.fm/adchoices

【阿门粤语课第202期】今日句子：共享充电宝行业点解会系一个假行业？先唔讲共享充电宝有安全隐患，最大嘅原因系唔使几耐，充电宝就会消失，然后手机都会消失。无论系旧时代嘅光碟，软盘，录音带，定系U盘，都系不断淘汰紧嘅电子产品。而且电子产品淘汰嘅速度越嚟越快，呢个就系摩尔定律，同互联网相关嘅都适用摩尔定律。历史的今天：1895年5月25日，昆斯伯理侯爵（Marquess of Queensberry）发现儿子阿尔弗莱德·道格拉斯（Lord Alfred Douglas；昵称“波西（Bosie）”）与王尔德交往长达四年而控告王尔德，并到王尔德常去的名人俱乐部贴上纸条：“致奥斯卡‧王尔德——装腔作势的鸡奸客。”公然斥责王尔德是一个好男色的“鸡奸者”（当时尚未诞生“同性恋”这个名词）。1.逢场作戏和终身不渝之间的区别只在于逢场作戏稍微长一些。2.爱，始于自我欺骗，终于欺骗他人。这就是所谓的浪漫。3.浪漫的精髓就在于它充满种种可能。4.人是理性动物，但当他被要求按照理性的要求行动时，可又要发脾气了。5.没有人富有到可以赎回自己的过去。6.真相很少纯粹，也决不简单。7.一生的浪漫，从自恋开始。8.我们都生活在阴沟里，但仍有人仰望星空。9.大多数人发现他们从未后悔的事情只是他们的错误，但发现时已经太晚了。10.什么是离婚的主要原因？结婚。 2016年5月25日杨绛先生去世 1983年，美国政府将5月25日定为儿童失踪日，并开始在全国范围协调官方力量，应对儿童失踪问题。后来，这一形式被多国借鉴，最终形成国际失踪儿童日。1979年5月25日，纽约，一名叫Etan Patz的男孩在去学校的途中失踪，这个案件迅速被各大媒体广泛报道。Etan的父亲是一名职业摄影师，他将Etan的照片到处招贴，希望能找到他，最终Etan的照片被贴到了每家每户都能看到的牛奶瓶上，最终变成了一个全国性的运动。随后媒体发起了更大规模的报道和搜寻，并开始探讨诱拐儿童的问题，并抨击政府缺少对付这个问题的措施。 　　随后的三年，媒体又全力报道了在佐治亚州亚特兰大市陆续在池塘和沼泽地附近发现了一些儿童的尸体的案子。1981年，一名疑犯被逮捕，供认了29起谋杀儿童案，最终该罪犯被判了终生监禁，到现在还在狱中。1981年7月27日，6岁的Adam Walsh在佛罗里达的一个商场失踪。他的父母随后报警，但是很遗憾，当时执法部门并没有采取行动去搜寻Adam Walsh，也没有任何组织能帮助他们。 　　这些悲剧的发生是因为美国各个州的权力很大，那时候全国范围的执法部门协同合作还比较少，各个州各行其是，没有一个联邦部门专门负责协调搜寻失踪人口。由于70年代末80年代初发生了大量类似Etan Patz这样的儿童失踪案件，社会团体越来越重视，媒体广泛宣传，最终在1983年，美国里根总统宣布5月25日为“国家失踪儿童日”，并在全国范围内组建部门协调各地执法部门。随后的一些年，加拿大政府和欧盟也宣布5月25日为“失踪儿童日”。 　　欧美各国现在对于失踪儿童问题主要采取两方面行动，一是非政府团体和媒体的宣传，比如组织游行，发放传单，电视宣传，建立网站登载最新失踪人口信息等等，既提醒社会重视儿童的安全问题，也让公众关注身边可能的失踪儿童；二是各国政府协同，建立地方、国家、甚至国际的失踪人口数据库，各执法部门建立相应网站寻求民间的合作等等。  今天的历史：柯洁二负AlphaGo 今日俗语：【摸门钉】[mo2 mun4 deng1] 门钉：古时候人家大门上横竖排列的黄色铜制圆钉。只能在人家大门前百无聊赖摸门钉，表示拜访人家的时候适逢被访者不在。例句：我去佢屋企揾佢打牌，点知～。（我到他家找他打麻将，谁知道他不在家。）

In 1920s Teddington, a forgotten, middle-aged Lord Alfred Douglas tells the true story of the genius behind Oscar Wilde's success - and it ain't who you think ... The Importance of Being Oscar by Diane Payne was read by Clive Greenwood at the Liars' League Hope & Glory event on Tuesday 9th July, 2013, at the Phoenix pub, Cavendish Square, London.

How a court case ruined the 19th century playwright. He championed the love that dare not speak its name, or homosexuality, but he was jailed and died in exile. Photo: Oscar Wilde (l) and Lord Alfred Douglas (r). Hulton Archive/Getty Images

Adolphe Monticelli has been forgotten by all but the most devoted art historians, but his legacy will live eternal through the work of Vincent Van Gogh, Paul Cézanne and a whole generation of French Impressionists. Monticelli may rightfully be called,”The World's Most Influential Painter That No One Has Ever Heard Of.” Thomas Jefferson was alive when Monticelli was born and Teddy Roosevelt had just entered politics when Monticelli died in 1886. Although he lived an obscure life in deep poverty, Monticelli left behind nearly 3,500 paintings. Confronted with criticism of his unpopular style in 1860, Monticelli remarked, “I paint for thirty years from now.” When Vincent Van Gogh arrived in Paris in 1886, he discovered the paintings Monticelli had created 30 years earlier. Immediately upon seeing these works, Van Gogh adopted a brighter palette and a bolder attack and later remarked, “I sometimes think I am really continuing that man.” When Van Gogh's new style was praised by an art critic in the newspaper, he replied, “Dear Monsieur Aurier: Many thanks for your article in the Mercure de France, which greatly surprised me. I like it very much as a work of art in itself, in my opinion your words produce colour. In short, I rediscover my canvases in your article, but better than they are, richer, more full of meaning. However, I feel uneasy in my mind because I know that what you say is due to others rather than myself. For example, Monticelli in particular. Saying as you do: “As far as I know, he [Van Gogh] is the only painter to perceive the chromatism of things with such intensity, with such a metallic, gem-like lustre…” Please be so kind as to go and see a certain bouquet by Monticelli at my brother's – then you will see what I want to say.” – Vincent Van Gogh to G. Albert Aurier, February 1890 Nine years after Monticelli died, Oscar Wilde moaned of his bankruptcy in a letter to Lord Alfred Douglas, “That all my charming things were to be sold: my Burne-Jones drawings: my Whistler drawings: my Monticelli: my Simeon Solomons: my china: my Library…” Finally, more than 100 years after his death, Monticelli's paintings hang in the Louvre in Paris and the National Gallery in London. One painting by Monticelli was recently auctioned at Christie's for $608,000. The Monticelli at the top of this page is on its way from Luxembourg to Austin where it will hang in the tower at Wizard Academy, on loan from Pennie and myself. Would you like to have a limited edition print of the painting? If things go as planned, we should be able to get your print to you by Christmas. No copies of this glowing Christmas image have ever been made. You'll own one of only a very few copies of this Monticelli image in all the world. May his light shine forever. Roy H. Williams