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Divided Opinion

Civic Monument or Public Art?

All statues are sculpted, but not all sculptures are statues.

A bronze bust titled ‘The Head of Oscar Wilde’ was installed recently on Dovehouse Green—a small London park not far from where Wilde lived in Tite Street, Chelsea,

It is a posthumous work by the Scottish sculptor and graphic artist, Sir Eduardo Paolozzi (1924—2005), made possible by a charitable foundation to mark the centenary of his birth, and its unveiling was also timed appropriately to occur on Oscar Wilde’s birthday.

The physical configuration of the piece renders our man of letters as a fallen and fractured figure. Metaphor this may be—but, absent a meaningful reading, its composition is inclined to suggest itself, ironically, as a symbol of divided opinion.

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Thin Ice


Compton Mackenzie’s Wildean Allegory

“It had to be complete self-denial, or complete surrender…
Walking about for ever on thin ice does not appeal to me.”

Henry Fortesque, in Thin Ice (1956)


This week marks the 170th anniversary of the birth of Oscar Wilde. With it comes the realization of round numbers that seventy years have now passed since the historic centenary in 1954, when a commemorative plaque was placed on the wall of his former home in Tite Street, Chelsea.

For that occasion there had been a fraught search for someone to conduct the unveiling of the plaque.1 The task was eventually, but gladly, accepted by Sir Compton Mackenzie, the writer and commentator best known for two comic novels set in Scotland: The Monarch of the Glen (1941) and Whisky Galore (1947).

More to the point of Wilde’s memory, however, is a novel Mackenzie wrote immediately after that unveiling ceremony.

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