Book contents
- Frontmatter
- Contents
- Illustrations
- Acknowledgements
- Dedication
- Introduction Sham Grandeurs, Sham Chivalries: Architectures of Aristocracy in Ireland and the American South
- 1 Oaks, Serpents and Dandies: Pseudoaristocracy in Maria Edgeworth's Castle Rackrent and John Pendleton Kennedy's Swallow Barn
- 2 The Picture of Charles Bon: Oscar Wilde's Trip through Faulkner's Yoknapatawpha
- 3 Ferocious Beauty: Elizabeth Bowen, Katherine Anne Porter and the Modernist Female Dandy
- Epilogue The Dandy Unmasked: Emma Donoghue's ‘Words for Things’ and Tim Grimsley's Dream Boy
- Works Cited and Consulted
- Index
Epilogue - The Dandy Unmasked: Emma Donoghue's ‘Words for Things’ and Tim Grimsley's Dream Boy
Published online by Cambridge University Press: 12 September 2012
- Frontmatter
- Contents
- Illustrations
- Acknowledgements
- Dedication
- Introduction Sham Grandeurs, Sham Chivalries: Architectures of Aristocracy in Ireland and the American South
- 1 Oaks, Serpents and Dandies: Pseudoaristocracy in Maria Edgeworth's Castle Rackrent and John Pendleton Kennedy's Swallow Barn
- 2 The Picture of Charles Bon: Oscar Wilde's Trip through Faulkner's Yoknapatawpha
- 3 Ferocious Beauty: Elizabeth Bowen, Katherine Anne Porter and the Modernist Female Dandy
- Epilogue The Dandy Unmasked: Emma Donoghue's ‘Words for Things’ and Tim Grimsley's Dream Boy
- Works Cited and Consulted
- Index
Summary
The dandy is, by occupation, always in opposition. He can only exist in defiance.
Albert Camus, The RebelOn 25 December 1998, the confirmed bachelor and B-movie actor forever identified with Wilde's Dorian Gray passed away in Cork, Ireland. Hurd Hatfield was the perfect Dorian Gray for Albert Lewin's 1945 film; like Wilde himself, the actor's elegant and acerbic mannerisms allowed him to ‘pass’ as an upper-class Englishman despite foreign birth. Hatfield's vaguely sadistic sexual charisma landed him this signature role, even though his dark hair and eyes contradicted Wilde's original golden-haired, blue-eyed Dorian. Although Lewin played it safe when it came to the novel's suggestive treatment of sexuality, replacing Wilde's miasma of queer influences with a mysterious Egyptian statuette and a faithful fiancée, Hatfield still suffered from the novel's ‘sinful’ atmosphere, insisting that ‘the role was a curse as well as a blessing’: ‘I have been haunted by The Picture of Dorian Gray’ (qtd in Vallance 1998: 5).
Perhaps this haunting explains why Hatfield retired from films early, preferring an obscure retirement in rural Ireland. Or perhaps his move to Ireland made the haunting complete, for when Hatfield began looking for Irish houses to buy, he settled on one fit for an Irish dandy:
In 1974, Hurd came to Ireland, visiting his Dorian Gray co-star, Angela Lansbury, at her home in Conna. Travelling around East Cork, he came across the spectacular sprawl of Ballinterry House. One of the oldest homes in the county, it was in danger of being knocked down when Hatfield intervened, picked it up for a song and spent the next 24 years renovating, decorating and refining it with infinite taste.
(Barry 1999: 13)- Type
- Chapter
- Information
- The Dandy in Irish and American Southern FictionAristocratic Drag, pp. 178 - 188Publisher: Edinburgh University PressPrint publication year: 2007