Oscar Wilde (1854–1900) is known for his comedic plays (The Importance of Being Earnest), fiction (The Picture of Dorian Gray) and for his trial and imprisonment for his homosexuality. Less well known is that he had a family: his wife Constance, who advocated for more practical dress for women, and their sons Cyril and Vyvyan. In The Wildes, novelist Louis Bayard focuses on Constance, Cyril and Vyvyan.
Like a play, The Wildes is structured in five acts. Act 1 opens in 1892 at a farm in the Norfolk countryside, where Constance and Oscar; their son Cyril; Oscar’s larger-than-life mother, Lady Jane Wilde; and their friends Arthur and Florence Clifton are spending a holiday. Soon, they are interrupted by the arrival of young Lord Alfred Douglas, nicknamed Bosie. The spoiled Bosie, a student at Oxford, seems to be one of Oscar’s “poets”—young, literary men eager to spend time with the great writer. This section, the longest in the novel, often feels like a drawing-room comedy—both Constance and Lady Jane Wilde are wits—but woven throughout is the slow dawning of Constance’s understanding about Oscar and her marriage, as she pieces together the reality of Oscar and Bosie’s relationship.
Act 2 leaps forward five years, to a villa in Italy where Constance, Cyril and Vyvyan are living. The scandal of Oscar’s trial for gross indecency and homosexual acts, and his imprisonment, have forced Constance and the boys into exile, and they are hiding unhappily under a new last name. Acts 3 and 4 leap forward again, skipping over the tragedy of Oscar and Constance’s early deaths to episodes in Cyril and Vyvyan’s adulthoods—for Cyril, a pivotal day in the trenches in World War I France, and for Vyvyan, a theater outing with a family friend, on a night in 1925. Act 5 circles back to 1892 in that farmhouse in Norfolk, with a hopeful reimagining of this family’s life.
Although Bayard’s ending asks a little too much of Constance, the novel gives its heart to her; she’s a believable, loving, heartbroken character. In The Wildes, Bayard has built a story beyond the well-known tragedy, and though the novel never gives us Oscar’s perspective, we see him through Constance, Cyril and Vyvyan’s eyes—as an engaged father, loving but distant husband, self-absorbed keeper of secrets, and a terrified man unable to love openly.
