This compelling and unique fictional foray into American history follows a brilliantly conjured Wilde and his young black valet on a whirlwind tour across the country from high-society Newport to the deep south.

In 1881, Oscar Fingal O?Flaherty Wilde embarked on a journey to America for a one-year lecture tour on aestheticism and the decorative arts. With the celebrity status that preceded him, thousands flocked to Wilde?s speaking engagements. Craft societies and museum patronage blossomed in the wake of his lectures on the supremacy of art. Letters home had Wilde boasting that he was more popular than Charles Dickens. This book is a collection of Wilde's thoughts on his visit to America, and on the receptiveness of American audiences to his lectures on art and aestheticism.

The thought of enlisting in the French Foreign Legion held a tantalizing allure for young nineteenth-century American boys in search of adventure. Apart from youthful fantasies few Americans seriously pursued joining the legion. These surprising and extraordinary short stories, written by one young man who did, take us to that time and place. Born in Bridgeport, Connecticut, James O'Neill enlisted in the legion in 1887, at the age of twenty-seven. In 1890, deployed to Tonquin in French Indochina (more familiar today as Tonkin, Vietnam), O'Neill faced tropical heat, infectious disease, and sudden death. Like his contemporary Stephen Crane, O'Neill's ability to tell an engaging story and his keen sense for telling details provide a unique record of his time in this exotic world. In these thirteen "tales," O'Neill shows -- with surprising subtlety -- that France's efforts to conquer and govern Indochina were foolhardy. Although the only American in his stories is the narrator, it is clear that the tales are aimed at readers in the United States and are intended to caution against the construction of empires abroad. Far from polemical tirades, these are absorbing, unadorned stories -- remarkably contemporary in both style and substance.Charles Royster provides a short biography of O'Neill, who seems to have vanished into obscurity a few years after these stories were first published in 1895. Royster has also unearthed and included two essays O'Neill published in magazines of the time, one a description of a Buddhist temple in Hanoi and the other an appreciation of the Hungarian novelist Maurus Jókai. Whether read for historical value, literary merit, or political insights, Garrison Tales from Tonquin is a true discovery.

The story of Oscar Wilde’s landmark 1882 American tour explains how this quotable literary eminence became famous for being famous. On January 3, 1882, Oscar Wilde, a twenty-seven-year-old “genius”—at least by his own reckoning—arrived in New York. The Dublin-born Oxford man had made such a spectacle of himself in London with his eccentric fashion sense, acerbic wit, and extravagant passion for art and home design that Gilbert & Sullivan wrote an operetta lampooning him. He was hired to go to America to promote that work by presenting lectures on interior decorating. But Wilde had his own business plan. He would go to promote himself. And he did, traveling some 15,000 miles and visiting 150 American cities as he created a template for fame creation that still works today. Though Wilde was only the author of a self-published book of poems and an unproduced play, he presented himself as a “star,” taking the stage in satin breeches and a velvet coat with lace trim as he sang the praises of sconces and embroidered pillows—and himself. What Wilde so presciently understood is that fame could launch a career as well as cap one. David M. Friedman’s lively and often hilarious narrative whisks us across nineteenth-century America, from the mansions of Gilded Age Manhattan to roller-skating rinks in Indiana, from an opium den in San Francisco to the bottom of the Matchless silver mine in Colorado—then the richest on earth—where Wilde dined with twelve gobsmacked miners, later describing their feast to his friends in London as “First course: whiskey. Second course: whiskey. Third course: whiskey.” But, as Friedman shows, Wilde was no mere clown; he was a strategist. From his antics in London to his manipulation of the media—Wilde gave 100 interviews in America, more than anyone else in the world in 1882—he designed every move to increase his renown. There had been famous people before him, but Wilde was the first to become famous for being famous. Wilde in America is an enchanting tale of travel and transformation, comedy and capitalism—an unforgettable story that teaches us about our present as well as our past.

Better known in 1882 as a cultural icon than a serious writer, Oscar Wilde was brought to North America for a major lecture tour on Aestheticism and the decorative arts. With characteristic aplomb, he adopted the role as the ambassador of Aestheticism, and he tried out a number of phrases, ideas, and strategies that ultimately made him famous as a novelist and playwright. This exceptional volume cites all ninety-one of Wilde's interviews and contains transcripts of forty-eight of them, and it also includes his lecture on his travels in America.

The debate surrounding "fake news" versus "real" news is nothing new. From Jonathan Swift's work as an acerbic, anonymous journal editor-turned-novelist to reporter Mark Twain's hoax stories to Mary Ann Evans' literary reviews written under her pseudonym, George Eliot, famous journalists and literary figures have always mixed fact, imagination and critical commentary to produce memorable works. Contrasting the rival yet complementary traditions of "literary" or "new" journalism in Britain and the U.S., this study explores the credibility of some of the "great" works of English literature.

This new study of the major prose and plays of Oscar Wilde argues that his dominant aesthetic category is not art but style. It is this major emphasis on style and attitude which helps mark Wilde so graphically as our contemporary. Beginning with a survey of current Wilde criticism, the book demonstrates the way his own critical essays anticipate much contemporary cultural theory and inform his own practice as a writer.