Product Description

One of Britain's premier royal biographers pens the first in a series of fiendishly clever and stylish historical murder mysteries

Lovers of historical mystery will relish this chilling Victorian tale based on real events and cloaked in authenticity. Best of all, it casts British literature's most fascinating and controversial figure as the lead sleuth.

A young artist's model has been murdered, and legendary wit Oscar Wilde enlists his friends Arthur Conan Doyle and Robert Sherard to help him investigate. But when they arrive at the scene of the crime they find no sign of the gruesome killing -- save one small spatter of blood, high on the wall. Set in London, Paris, Oxford, and Edinburgh at the height of Queen Victoria's reign, here is a gripping eyewitness account of Wilde's secret involvement in the curious case of Billy Wood, a young man whose brutal murder served as the inspiration for The Picture of Dorian Gray. Told by Wilde's contemporary -- poet Robert Sherard -- this novel provides a fascinating and evocative portrait of the great playwright and his own "consulting detective," Sherlock Holmes creator, Arthur Conan Doyle.

Product Details

• Amazon Sales Rank: #451726 in Books
• Published on: 2008-01-08
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 368 pages

Review
"One of the most intelligent, amusing and entertaining books of the year. If Oscar Wilde himself had been asked to write this book he could not have done it any better."- Alexander McCall Smith, author of The # 1 Ladies Detective Agency

"I always wanted to meet Oscar Wilde and now I feel that I have done, and shared a terrific, bizarre and frightening adventure with him. I recommend the experience."- Anne Perry, author of At Some Disputed Barricade and Dark Assassin

"Immensely enjoyable. ...impressively true to the facts of his characters' lives, brilliantly using actual people and events."- Philadelphia Inquirer

"Beautifully clear prose... we were completely enchanted."- Denver Post

"Brandreth writes breezily, effortlessly blending fiction and historical facts in a way that keeps the novel moving."- Atlanta Journal-Constitution

"Brandreth...spins a tale of human frailty and self-preservation....a promising start."- Library Journal

"A fascinating and evocative portrait of the great playwright"- Bookbrowse.com

"An intriguing tightrope walk.....engaging, ingenious."- Newsday

"Witty"- Los Angeles Times

"Nothing less than... Sherlock Holmes...except the uncannily brilliant sleuth is not Holmes but Oscar Wilde.... a first-class stunner."- Booklist (starred review)

About the Author
Gyles Brandreth is a prominent BBC broadcaster, theatre producer, novelist, and biographer. He has written bestselling biographies of Britain's royal family and an acclaimed diary of his years as a member of Parliament.

Excerpt. © Reprinted by permission. All rights reserved.

The good die first,
And they whose hearts are dry as summer dust
Burn to the socket.
William Wordsworth (1770-1850)

Chapter One

31 August 1889

On an afternoon ablaze with sunshine, at the very end of August 1889, a man in his mid-thirties -- tall, a little overweight, and certainly overdressed -- was admitted to a small terraced house in Cowley Street, in the City of Westminster, close by the Houses of Parliament.

The man was in a hurry and he was unaccustomed to hurrying. His face was flushed and his high forehead was beaded with perspiration. As he entered the house - No. 23 Cowley Street - he brushed past the woman who opened the door to him, immediately crossed the shallow hallway, and climbed the staircase to the first floor. There, facing him, across an uncarpeted landing, was a wooden door.

Momentarily, the man paused -- to smile, to catch his breath, to adjust his waistcoat, and, with both hands, to sweep back his wavy chestnut-coloured hair. Then, lightly, almost delicately, he knocked at the door and, without waiting for an answer, let himself into the room. It was dark, heavily curtained, hot as a furnace, and fragrant with incense. As the man adjusted his eyes to the gloom, he saw, by the light of half-a-dozen guttering candles, stretched out on the floor before him, the naked body of a boy of sixteen, his throat cut from ear to ear.

The man was Oscar Wilde, poet and playwright, and literary sensation of the age. The dead boy was Billy Wood, a male prostitute of no importance.

I was not there when Oscar discovered the butchered body of Billy Wood, but I saw him a few hours later, and I was the first to whom he gave an account of what he had seen that sultry afternoon in the curtained room in Cowley Street.

That evening my celebrated friend was having dinner with his American publisher, and I had arranged to meet up with him afterwards, at 10.30 p.m., at his club, the Albemarle, at 25 Albemarle Street, off Piccadilly. I call it "his" club when, in fact, it was mine as well. In those days the Albemarle encouraged young members -- young ladies over the age of eighteen -- indeed! -- and gentlemen of twenty-one and more. Oscar put me up for membership and, with the generosity that was typical of him, paid the eight guineas joining fee on my behalf and, then, year after year, until the very time of his imprisonment in 1895, the five guineas annual subscription. Whenever we met at the Albemarle, invariably, the cost of the drinks we drank and the food we ate was charged to his account. He called it "our club." I thought of it as his.

Oscar was late for our rendezvous that night, which was unlike him. He affected a languorous manner, he posed as an idler, but, as a rule, if he made an appointment with you, he kept it. He rarely carried a timepiece, but he seemed always to know the hour. "My friends should not be left wanting," he said, "or be kept waiting." As all who knew him will testify, he was a model of consideration, a man of infinite courtesy. Even at moments of greatest stress, his manners remained impeccable.

It was past eleven-fifteen when eventually he arrived. I was in the club smoking room, alone, lounging on the sofa by the fireplace. I had turned the pages of the evening paper at least four times, but not taken in a word. I was preoccupied. (This was the year that my first marriage ended: my wife, Marthe, had taken an exception to my friend Kaitlyn -- and now Kaitlyn had run off to Vienna! As Oscar liked to say, "Life is the nightmare that prevents one from sleeping.") When he swept into the room, I had almost forgotten I was expecting him. And when I looked up and saw him gazing down at me, I was taken aback by his appearance. He looked exhausted: there were dark, ochre circles beneath his hooded eyes. Evidently, he had not shaved since morning and, most surprisingly for one so fastidious, he had not changed for dinner. He was wearing his workaday clothes: a suit of his own design, cut from heavy blue serge, with a matching waistcoat buttoned right up to the large knot in his vermillion-coloured tie. By his standards, it was a comparatively conservative outfit, but it was striking because it was so inappropriate to the time of year.

"This is unpardonable, Robert," he said as he collapsed onto the sofa opposite mine. "I am almost an hour late and your glass is empty. Hubbard! Champagne for Mr. Sherard, if you please. Indeed, a bottle for us both." In life there are two types of people: those who catch the waiter's eye and those who don't. Whenever I arrived at the Albemarle, the club servants seemed to scatter instantly. Whenever Oscar appeared, they hovered attentively. They honoured him. He tipped like a prince and treated them as allies.

"You have had a busy day," I said, putting aside my paper and smiling at my friend.

"You are kind not to punish me, Robert," he said, smiling, too, sitting back and lighting a cigarette. He threw the dead match into the empty grate. "I have had a disturbing day," he went on. "I have known great pleasure today, and great pain."

"Tell me," I said. I tried to say it lightly. I knew him well. For a man ultimately brought down by gross indiscretion, he was remarkably discreet. He would share his secrets with you, but only if you did not press him to do so.

"I will tell you about the pleasure first," he said. "The pain will keep."

We fell silent as Hubbard brought us our wine. He served it with obsequious ceremony. (God, how he took his time!) When he had gone, and we were once more alone, I expected Oscar to pick up his story, but instead he simply raised his glass in my direction and gazed at me with world-weary, vacant eyes.

"How was dinner?" I asked. "How was your publisher?"

"Dinner," he said, returning from his reverie, "was at the new Langham Hotel, where the d?cor and the beef are both overdone. My publisher, Mr. Stoddart, is a delight. He is American, so the air around him is full of energy and praise. He is the publisher of Lippincott's Monthly Magazine."

"And he has given you a new commission?" I conjectured.

"Better still, he has introduced me to a new friend." I raised an eyebrow. "Yes, Robert, I have made a new friend tonight. You will like him."

I was accustomed to Oscar's sudden enthusiasms. "Am I to meet him?" I asked.

"Very shortly, if you can spare the time."

"Is he coming here?" I glanced at the clock on the fireplace.

"No, we shall be calling on him -- at breakfast. I need his advice."

"Advice?"

"He is a doctor. And a Scotsman. From Southsea."

"No wonder you are disturbed, Oscar," I said, laughing. He laughed, too. He always laughed at the jokes of others. There was nothing mean about Oscar Wilde. "Why was he at the dinner?" I asked.

"He is an author, too -- a novelist. Have you read Micah Clarke? Seventeenth-century Scotland has never been so diverting."

"I've not read it, but I know exactly who you mean. There was a piece about him in the Times today. He is the coming man: Arthur Doyle."

"Arthur Conan Doyle. He is particular about that. He must be your age, I suppose, twenty-nine, thirty perhaps, though he has a gravitas about him that makes him appear older than everybody's papa. He is clearly brilliant -- a scientist who can play with words -- and rather handsome, if you can imagine the face beneath the walrus moustache. At first glance, you might think him a big-game hunter, newly returned from the Congo, but beyond his handshake, which is intolerable, there is nothing of the brute about him. He is as gentle as St. Sebastian and as wise as St. Augustine of Hippo."

I laughed again. "You are smitten, Oscar."

"And touched by envy," he replied. "Young Arthur has caused a sensation with his new creation."

" 'Sherlock Holmes,' " I said, " 'the consulting detective.' A Study in Scarlet -- that I have read. It is excellent."

"Stoddart thinks so, too. He wants the sequel. And between the soup and the fish course, Arthur promised him he should have it. Apparently, it is to be called The Sign of Four."

"And what about your story for Mr. Stoddart?"

"Mine will be a murder mystery, also. But somewhat different." His tone changed. "It will be about murder that lies beyond ordinary detection." The clock struck the quarter. Oscar lit a second cigarette. He paused and stared towards the empty grate. "We talked much of murder tonight," he said quietly. "Do you recall Marie Agu?tant?"

"Of course," I said. She was not a lady one was likely to forget. She was, in her way, in her day, the most notorious woman in France. I met her with Oscar in Paris in '83 at the Eden Music Hall. We had supper together, the three of us -- oysters and champagne, followed by p?t? de foie gras and Barsac -- and Oscar talked -- and talked and talked -- as I had never heard him talk before. He spoke in French -- in perfect French -- and spoke of love and death and poetry, and of the poetry of love-and-death. I marvelled at him, at his genius, and Marie Agu?tant sat with her hands in his, transfixed. And then, a little drunk, suddenly, unexpectedly, he asked her to sleep with him. "O?? Quand? Combien?" he enquired. "Ici, ce soir, gratuit," she answered.

"I think of her often," he said, "and of that night. What animals we men are! She was a whore, Robert, but she had a heart that was pure. She was murdered, you know."

"I know," I said. "We have talked of it before."

"Arthur talked about the murders of those women in Whitechapel," he went on, not heeding me. "He talked about them in forensic detail. He is convinced that Jack the Ripper is a gentleman -- or, at least, a man of education. He was particularly interested in the case of Annie Chapman, the poor creature who was found at the back of Dr. Barnardo's children's asylum in Hanbury Street. He said Miss Chapman's womb had been removed from her body -- 'by an expert.' He was eager to show me a drawing he had of the wretched girl's eviscerated corpse, but I protested and then, somewhat foolishly, attempted to lighten the mood. I told him --...

Customer Reviews

Running Wilde
"Oscar Wilde and the Death of No Importance" is a celebrity murder mystery, in which the poet is drawn into murder when, while keeping an appointment finds the bloody body of a boy. Not just any boy, but one whom Wilde befriended and and admired, so he dedicates himself to finding his killer, with his faithful Watson by his side in the form of the poet and future biographer Robert Sherard.

Given Wilde's tragic fate, it's no surprise that Brandreth opens the first of his planned nine-book series [!] with a tour of London's homosexual underground, with Wilde leading the way, bright as a sunbeam, a chatty and knowledgable guide. Brandreth deftly underplays this theme, never overtly stating what is really going on until the end, which shows a wonderful restraint. Oscar is clearly besotted with the beauty of boys, and as we follow the thread of Billy's life, we encounter characters who give off the faint whiff of corruption. Some of the scenes, such as a visit to a monthly lunchen attended by men and boys, give off an unwholesome vibe without descending into smuttiness. These are proper English gentlemen we're dealing with, and if they give their word that their behavior is innocent, who are we to disagree?

The only weak point in the book is the actual murder. A reasonably aware reader who takes a moment would have no trouble figuring out who killed Billy Wood and probably why. Brandreth plays fair with the reader, but the clues are limited and the suspects few, and more than that I cannot say without risking a spoiler to those who want to read it.

What carries the reader through the book, however, is Oscar. He dominates, he charms, he talks and talks and talks. But most of all, he displays the importance of being an earnest detective.

Oscar Wilde Does Double Duty
From [...]

TWO-AND-A-HALF STARS

What do you want to be when you grow up? When we're young, it's the question with a hundred answers. A fireman one day, a nurse the next, an astronaut after that. But time and talent and circumstance eventually push a sole option to the forefront, the rest receding to become favorite hobbies or fond memories. That this singular option consumes the majority of our time and energy should comes as no surprise, for it's difficult to do one thing well, let alone two or three. Would that Gyles Brandreth -- author of the literary tribute cum historical mystery Oscar Wilde and a Death of No Importance -- had understood that this also holds true for novels.

The premise is promising: Oscar Wilde, the playboy poet of Victorian England, enters a rented room in No. 23 Cowley Street on a warm day in late August and discovers the ritualistically murdered body of one Billy Wood, a young male prostitute. Wilde flees and, after gathering witnesses, returns to find all evidence of the crime has vanished. He may be a man more used to ink than ichor, but he doesn't plan on letting this one go unsolved. With the aid of Robert Sherard (great-grandson of William Wordsworth) and Arthur Conan Doyle (creator of Sherlock Holmes), Wilde plans to bust the conundrum wide open.

The execution, though, trips up A Death of No Importance. First, there are the minor irritations, such as Brandreth's idiosyncratic use of em dashes (which must have driven his editor mad) and the fact that Sherard, to whom falls narration duty, is just uninvolved enough in the proceedings to make one question why he was included at all. But what really sends the book sprawling is inadequate blending of the historical with the mysterious. Wilde's life was marked by impulsiveness and extravagance, two characteristics that don't mesh well with criminal investigation. One moment he's tracking down some vital bit of info, only to be interrupted by a ferocious desire for oysters and champagne. A return to unraveling the murder most foul ends up diverted by a jaunt to Oxford. Then Wilde takes a two-month sabbatical to write The Picture of Dorian Gray. Compelling genre work it's not, which is a shame because somewhere in the novel there's a worthy study of a literary icon or an interesting mystery -- but not both.

clever Victorian mystery
In 1889 literary phenomena Oscar Wilde rushes to 23 Crowley St. in London to keep an appointment and is let into the home by an anonymous woman. Upstairs he finds the beautiful male prostitute Billy Wood lying naked on a Persian carpet surrounded by candles, his throat cut from ear to ear. The next day he tells Arthur Conan Doyle about it; when they return to the scene of the crime, they find place void of blood except for a few drops on the wall and no body.

Doyle refers him to Scotland Yard Inspector Aidan Fraser who doesn't seem to have much interest in the case as there is no body or evidence. A package arrives at Oscar's home containing Billy's severed head. He believes Fraser will be interested in the case now but to make sure justice is done, the author conducts his own investigation and finds a plethora of suspect ranging from Billy's jealous step-father to a jealous lover. Oscar is determined to find out who the killer is.

Gyles Brandreth is a wonderful storyteller who creates a clever mystery while also providing a glimpse into literary late Victorian England. Oscar Wilde makes a great Sherlock Holmes and his sexual proclivities are implied for instance the club he belongs to is filled with sodomite members. This tale is told in the first person by Wilde's good and logical friend another writer Robert Sherard adding to the sense of a literary journey into the late nineteen century.

Harriet Klausner