Wilde’s 13-chapter version of Dorian Gray is presented here as he first wrote it, along with his amendments to the original typescript. His editors at Lippincott’s Monthly Magazine made their own changes and removed nearly 500 words, most of them dealing with sexual content. This version was still deemed unacceptable by booksellers in the UK, the largest of whom refused to stock the July 1890 edition of Lippincott’s, in which the novel first appeared. A final version added several new chapters, further rounding off Wilde’s original language and intent in an effort to gain the approval of publishers and booksellers. In a cruel twist, this “purged version” was introduced as evidence at Wilde’s trial for gross indecency, which resulted in a sentence of two years’ hard labor, after which he left for France and wrote only two more works of note

The Picture of Dorian Gray represents a vital place in the history of the Gothic
novel. By the end of the 18th century, Ann Radcliffe had achieved international
fame for her chilling tales of imprisoned orphans and sinister villains. Later
authors took the genre in different directions, some heightening the romantic
nature of Gothic fiction, others adding elements of horror. Mary Shelly’s
Frankenstein marked a turning point for Gothic fiction, breathing into its
gripping and sensational legacy a spirit of philosophical investigation. Edgar
Allen Poe and the Brontës continued this more sophisticated and reflective
strain of Gothic fiction, which Oscar Wilde advanced even further in The
Picture of Dorian Gray. Following the publication of Bram Stoker’s Dracula in
1897, Gothic fiction fell largely out of favor among serious writers until its
renaissance in the United States, led by authors including William Faulkner,
Flannery O’Connor, and Shirley Jackson

Playwright, poet, epigrammist, and novelist Oscar Wilde (1854-1900) was
raised in Dublin and studied classics at Trinity College and Oxford, where John
Ruskin was his tutor. A popular lecturer on art and aesthetics, Wilde also wrote
a tepidly received book of poetry and worked as a journalist before turning his
attention to the longer works that established him as one of the world’s great
playwrights and authors. Following the tortuous publication of The Picture of
Dorian Gray, Wilde devoted himself largely to the stage; Lady Windermere’s
Fan, his first major success as a playwright, debuted in 1892. Wilde’s
defamation suit against the Marquess of Queensbury revealed his affair with
Alfred, Lord Douglas, leading to his estrangement from his wife and two sons
and to his eventual trial and imprisonment for gross indecency. After two years
of hard labor and three years in jail, Wilde lived in France for the final three
years of his life. Largely impoverished, he produced just one major work while
in exile, The Ballad of Reading Gaol. Wilde died of meningitis in 1900.

Gustavo Magalhães (1998-), is a Visual Artist hailing from Goioerê/PR, who currently resides and works in Curitiba/PR. He holds a degree in Visual Arts Education from FAP/UNESPAR and has been producing in the field of Painting since 2013.
In 2018, he began researching and developing the series "violence" (2018-), with works exhibited at CUBIC 4 (Circuito Universitário da Bienal Internacional de Curitiba) in 2019. In 2022, he received an honourable mention for the work "fome" (2021) at the 5th Visual Arts Salon of Pinhais. Also in 2022, his work "untitled" from the series "violence" (2018-) became part of the museum collection at MAR - Museum of Art of Rio. In 2023, his first solo exhibition called "ATELIÊ ABERTO" took place, transforming the apartment where he lived at the time into an ephemeral exhibition space. Later in the same year, his second solo exhibition, "The Unportrayable," curated by Rafael Rodrigues, was held at Soma Gallery.
Through the appropriation and decontextualization of images and the collection of materials from precarious sources, he creates works that address social issues such as race, identity, and violence, as well as issues inherent to the language of painting.

Index is a design studio shared by creative partners Ana Santiago (São Paulo, BR) and Asad Pervaiz (NYC, US).

Commissioned by Jhambo Ink to design our publications, their innate love of books is complemented by more than 20 years of experience designing for publishers such as Rizzoli, August Editions,  Carambaia, Fósforo, Ikrek Edições, Editora Olhares and Todavia.

Their designs reside in the archives of both the Museum of Modern Art (MoMA - New York) and The British Library (London) and have received awards from Art Directors Club, Graphis and the American Institute of Graphic Arts.