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The New Life: A Novel Hardcover – January 3, 2023
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A captivating and “remarkable” (The Boston Globe) debut that “brims with intelligence and insight” (The New York Times), about two marriages, two forbidden love affairs, and the passionate search for social and sexual freedom in late 19th-century London.
In the summer of 1894, John Addington and Henry Ellis begin writing a book arguing that homosexuality, which is a crime at the time, is a natural, harmless variation of human sexuality. Though they have never met, John and Henry both live in London with their wives, Catherine and Edith, and in each marriage, there is a third party: John has a lover, a working-class man named Frank, and Edith spends almost as much time with her friend Angelica as she does with Henry. John and Catherine have three grown daughters and a long, settled marriage, over the course of which Catherine has tried to accept her husband’s sexuality and her own role in life; Henry and Edith’s marriage is intended to be a revolution in itself, an intellectual partnership that dismantles the traditional understanding of what matrimony means.
Shortly before the book is to be published, Oscar Wilde is arrested. John and Henry must decide whether to go on, risking social ostracism and imprisonment, or to give up the project for their own safety and the safety of the people they love.
A richly detailed, powerful, and visceral novel about love, sex, and the struggle for a better world, The New Life brilliantly asks: “What’s worth jeopardizing in the name of progress?” (The New York Times Book Review, Editors’ Choice).
- Print length400 pages
- LanguageEnglish
- PublisherScribner
- Publication dateJanuary 3, 2023
- Dimensions6 x 1.5 x 9 inches
- ISBN-101668000830
- ISBN-13978-1668000830
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Editorial Reviews
Review
Winner of the the Orwell Prize for Political Fiction and the Sunday Times Young Writer Award
"This debut novel reimagines the real-life efforts of two researchers who advocated for acceptance of homosexuality in the 1800s, decades before the gay rights movement. In exploring their story, Crewe asks: What’s worth jeopardizing in the name of progress?"
—The New York Times Book Review, Editor's Choice
"In The New Life, Crewe distinguishes himself both as novelist and as historian... He has, more unusually, found a prose that can accommodate everything from the lofty to the romantic and the shamelessly sexy."
—The New Yorker
"Rothian...a tour de force of writing"
—The New York Review of Books
"Intricate and finely crafted… [Crewe] attentively constructs rich, human motivations and contradictions for his fictionalized renderings of John and Henry… The New Life brims with intelligence and insight, impressed with all the texture (and fog) of fin de siècle London.”
—The New York Times
"The spirit of Forster broods over Tom Crewe’s lyrical, piercing debut, The New Life, which lends a contemporary urgency to an exploration of same-sex intimacy and social opprobrium… The New Life is a fine-cut gem, its sentences buffed to a gleam, but with troubling implications for our own reactionary era.”
—The Washington Post
“A literary debut that’s nothing less than remarkable… Crewe’s writing is subtly intricate, gorgeous, though never precious or showy ... at times, it calls to mind the best of Thomas Hardy, but with necessarily modern sensibilities… This is a beautiful, brave book that reminds us of the terrible human cost of bigotry; this is a novel against forgetting.”
—The Boston Globe
"One of the most embodied historical novels I have read ... Crewe’s brilliance – in addition to his ability to make us feel the physical sensations – is in dramatising moral dilemmas with complexity and rigour ... Lives and experience demand richer forms of storytelling, and this is just what Crewe has given us."
—The Guardian
"A novel that promises to scrape back the polished veneer of late 19th-century England."
—Daily Mail
“Tom Crewe’s book is a beautiful, haunting portrait of love in a time that didn’t understand it, and a reminder of how close we are to the past.”
—Town & Country, 30 Must-Read Books for Winter 2023
"[An] auspicious debut... Crewe uses meticulously researched period details to great effect, and rounds out the narrative with solid characters and tight pacing. Readers will look forward to seeing what this talented author does next."
—Publishers Weekly
"A deft melding of the personal and the political, written in prose that shines."
—Kirkus Review
“The New Life is filled with nuance and tenderness, steeped in the atmosphere of late nineteenth century London, a world on the brink of social and sexual change. Tom Crewe's brilliant novel dramatizes the relationship between the visionary and the brave, charting the lives of men and women who inspired not only political progress but an entire new way of living and loving.”
—Colm Tóibín, author of Brooklyn and The Magician
“Some of the best writing on desire I've read.”
—Douglas Stuart, author of Shuggie Bain and Young Mungo
“Electrifying. Tom Crewe’s forensic love of the physical puts the body back into history and makes the past a living, changing place.”
—Anne Enright, author of Actress and The Green Road
"A very fine new writer."
—Kate Atkinson, author of Life after Life and Shrines of Gaiety
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
HE WAS CLOSE ENOUGH to smell the hairs on the back of the man’s neck. They almost tickled him, and he tried to rear his head, but found that he was wedged too tightly. There were too many bodies pressed heavily around him; he was slotted into a pattern of hats, shoulders, elbows, knees, feet. He could not move his head even an inch. His gaze had been slotted too, broken off at the edges: he could see nothing but the back of this man’s head, the white margin of his collar, the span of his shoulders. He was close enough to smell the pomade, streaks of it shining dully at the man’s nape; clingings of eau de cologne, a tang of salt. The suit the man was wearing was blue-and-gray check. The white collar bit slightly into his skin, fringed by small whitish hairs. His ears were pink where they curved at the top. His hat—John could see barely higher than the brim—was dark brown, with a band in a lighter shade. His hair was brown too, darker where the pomade was daubed. It had recently been cut: a line traced where the barber had shaped it.
John could not move his head. His arms were trapped at his sides; there were bodies pressing from right and left, from behind, in front. He flexed his fingers—they brushed coats, dresses, satchels, canes, umbrellas. The train carriage rattled in its frame, thudded on the track, underground. The lights wavered, trembling on the cheekbone of the man in front. John hadn’t noticed that, hadn’t noticed he could see the angle of the man’s jaw and the jut of his cheekbone. There was the hint of a moustache. Blackness rushed past the windows. The floor roared beneath his feet.
He was hard. The man had changed position, or John had. Perhaps it was only a jolt of the train. But someone had changed their position. The man’s jacket scratched at John’s stomach—he felt it as an itch—and his buttocks brushed against John’s crotch, once, twice, another time. John was hard. It was far too hot in the train, far too crowded. The man came closer, still just within the realm of accident, his buttocks now pressed against John’s crotch. John’s erection was cramped flat against his body. The man and he were so close it was cocooned between them. Surely he could feel it? A high, vanishing feeling traveled up from John’s groin, tingling in his fingertips and at his temples. He could not get away, could not turn his head, could only smell the hairs on the back of the man’s neck, see the neat line of his collar, the redness on the tops of his ears, could only feel himself hard, harder than before, as though his body were concentrating itself, straining in that one spot. Surely he could feel it? John felt panicked; sweat collected in his armpits. He dreaded the man succeeding in pivoting about, skewering the other passengers with his elbows, shouting something, the carriage turning its eyes, a gap opening round his telltale shame. And yet he knew that he did not want it to stop, that he could not escape the grip of this terrible excitement.
The man began to move. At first John was not certain, he thought again that it might be the jolting of the train. He had been willing the hardness away, counting from a hundred in his head, breathing slowly through his teeth, when he felt the slightest movement, as though the man were pushing back against his erection, as though he were gently tilting against it, rising and falling on his toes. John’s first sensation was a rush of dread, followed quickly by a rush of something else, that same high, vanishing feeling running through his fingers and up to his temples. He had no control. He was crowded on all sides—he was fixed at the center of a mass of bodies, his entire consciousness constricted, committed to this small circle of subtle movement. This man’s buttocks, pressed so tightly against him it almost hurt, moving up and down. A bead of sweat, released from his armpit, ran quickly and coldly down his side. He tried to look about him, at the other passengers, but could not: instead he gazed frantically, surrenderingly, at the man’s collar, the redness on his ears. Was that a smile, creeping to the edge of the moustache? And still it went on, unmistakable now, the rising and falling, the pressure, almost painful, moving up the length of him, to the tip and down again. He breathed heavily through his nose, breathed heavily onto the man’s neck. He wished he could move his arms, that he could move anything at all: that his whole being were not bent so terrifyingly on this sensation, this experience, that he could for a moment place himself outside it. He breathed heavily again, saw how his breath flattened the whitish hairs on the back of the man’s neck. His face hurt. He felt a strange pressure under his ears. He swallowed, took another breath. Pomade and eau de cologne, cigarette smoke, salt. Up and down, the pressure dragged painfully to the tip, down again. He was sinking under it. He could barely breathe.
The train slowed. They were coming to a stop. He gasped onto the man’s neck. He longed for escape, for it to be over. Up and down, up and down, pleasure lancing through his body. The light changed; he saw over the man’s shoulder the brighter lights of a platform. He tried to step backwards, could not, yet. He heard the doors being opened, heard the aggravated noise of the platform, waited for the pressure to ease, for movement in the carriage, for people to depart. He longed to turn his head. But more people were pouring in, more darkness, black pressure: umbrellas, canes, satchels, dresses, coats. He and the man were forced even closer than before; he could feel the full warmth of the man’s body, the climbing curve of his back, the shoulders braced against his. And his lips were nudged onto the man’s neck; he felt the hairs on his lips, tasted the pomade and the eau de cologne. The man was still tilting against him; they were moving together now, in a slow, crushed dance, rising and falling in time.
The train pushed off, the lights quivered. It was unbearably hot. He felt faint-headed, almost in pain. And then he felt the man’s hand, a hand, unbuttoning him, felt the slight opening, an access of air, his erection pressing forward to fill it. Panic, a terrible excitement. And then the man’s hand, a hand, wriggling into the gap, struggling into it; he felt the wait of seconds to be unbearable as the hand fought through the stiffness of the tweed, found the second opening in his drawers. And then it was in, the hand, was closing round it. His eyes were closed by fear; the man’s neck was slippery beneath his lips. The carriage rattled in its frame, the lights shot darts behind his eyelids. The hand closed round it, he felt each finger find its place, begin to pull the flesh tight, to release, to guide it down into some sort of tenderness, to draw it tight again. He could barely breathe. He felt stretched tight, stretched beyond endurance. His body ached. Up and down, up and down. Fingers spanned the length of him, pulled tight, pulled faster. His hands were suddenly free, he had them on the man’s hips, was reaching up into the damp warmth inside his jacket, feeling his ribs beneath his shirt. Then down, fumbling with his buttons, cupping the swell of his cock. His hand was in the man’s trousers, the cock warm in his hand, he rubbed the head with his thumb. It was happening so fast now, up and down, faster and faster. Rising in him, through his fingertips, up to his neck, under his ears, at his temples. He was gasping. The man’s neck was wet beneath his lips.
It was like the pumping of blood from a split vein, a deep wound. He was woken by the violence of it, helplessly halfway. He squeezed his eyes shut. Air seeped past his gritted teeth and escaped at the corners of his mouth. He lay still a long moment, waiting for his nightshirt to be weighted onto his leg, for the slime to settle on his skin and begin to trickle. He was far too hot—his legs were slick with sweat, wet behind the kneecaps. Catherine was asleep, her face composed against the pillow. He peeled back the coverlet and swung his legs over the side, spreading his toes on the floorboards. The mess on the front of his shirt seemed almost to gleam; he could see one large patch, and other, smaller ones, a succession of smears. He pinched the fabric to hold it away from him and then with his other hand pulled the shirt forward from the back, over his head—this was the method he had developed after too many times pulling it up over his face, dragging the mess into his beard—and sat naked on the bed. His cock, struggling to keep its shape, drifted drunkenly between his thighs, sticky at the tip. He held it a moment, letting it cool between his fingers. The darkness in the room was filmy, as if the small amount of light leaking through the curtains was slowly percolating it. His body was luminous; his legs and arms, even his shrinking, sluggish cock, had a greeny Renaissance sheen, like some dying Christ. He felt obvious, transparent, sacrificial, sat naked on the bed. His head hurt; his eyes were sore. Emissions exhausted him.
It must be early in the morning. Too early for the servants, who might otherwise be heard scuttling in the corridor. He looked at his nightshirt, puddled on the floor, and thought again of them having to wash it, stiff and yellow, starched with their master’s seed, four or five days a week. A succession of pungent patches, smears. He could hardly bring himself to look at Susan, who he knew collected the dirty things. If they talked about it downstairs, it was possible only that they chuckled over Mr. and Mrs. Addington’s honeymooning still, but he felt sure that they would be able to tell the difference between marital possession, even excessively practiced, and incontinence. Servants knew more of these things as a rule, and he remembered hearing that Susan had older brothers. Did she think of them as she handled this forty-nine-year-old infant’s underthings? Ask herself whether they too, her handsome brothers, were victims to shaming impulse? Perhaps it satisfied her to decide they were not.
It was especially bad now. He blamed the heat, which inflamed him. He had not masturbated yet, but he could not go on very much longer without doing so. It was something he did only in his greatest extremity, pleasurably—pointless to deny it—but furtively, furiously, fearful of discovery by Catherine or one of the children (particularly when they had actually been children, forever stumbling into his study) or a servant, a pretty Susan backing into the room with arms full of fresh linen, to find sir hunched over himself, softly gibbering. And yet he would still do it, in extremity, discounting even the cost to his health.
How to define extremity? The greatest extremity? Lust, not as quickened heartbeat or lurch into dizzy possibility, but as lagging sickness, a lethargy. Lust as slow poisoning. Lust as a winter coat worn in summer, never to be taken off. Lust as a net, cast wide, flashing silver, impossible to pull in. Lust as a thousand twitching, tightening strings, sensitive to every breeze. Lust as a stinking, secret itch. Lust carried leadenly in the day, dragged to bed. Lust at four in the morning, spent chokingly into a nightshirt. Lust as a liquid mess, dragged into your beard, drying into tendrils, the smell trapped in your nostrils.
It was lust that used to drive him to sleep with his wife, nervously mounting her as one would an unfamiliar horse, sensitive to every tremor and shifting movement, rucking up her nightdress and shuddering into her. He had tried to bury his lust in her, to stake it and walk away. This was what he had been urged to do. It was on doctor’s orders that he had married her. But they had agreed, after their second daughter was born, to stop. Years passed, and he was ready to split his head, and had crawled onto her again. There was another pregnancy. And so they had ended—ended it—with three girls, a family. And still he yearned, wanted, itched.
A sound stood out in the darkness. The clop-clap of hooves. He gently levered himself off the bed and walked to the far window, parting the curtain with a finger and putting his eye to the gap. A cart passed on the far side of the street, the horse kicking up dust, the driver with his cap pulled down against a band of sunlight. He followed its progress as far as he could, and then turned back into the room, briefly blinded by dazzling, dancing dark. There was a basin in the corner of the room, filled the night before. He dabbed a sponge and cleaned himself, wiping away the last oozings and scrubbing at the stuck-down hairs on his thighs. Another cart went past the house in the other direction and the curtain shifted in its wake, driving an avenue of light briefly across the floor. He toweled himself and squeezed out the sponge. At the same time he realized Catherine was awake, pulling herself up by her elbows, her face a shade of dark above the white of her nightdress, the collapsed bed linen.
“What is it?” There was sleep in her voice. She was a sound sleeper—normally he could wash and dress without her ever knowing he’d woken prematurely.
“A spill.” This was their word for it: a soft, married word, evoking nothing of its violence, the stuff that was wrenched from him. He moved towards the bed as he spoke, placing a hand over his privates when he saw a small reflex of anxiety quiver her face. “I am going to get dressed.”
“It is early, John.”
“I won’t sleep.” He picked up his nightshirt and turned away, conscious of presenting her with his back and buttocks, the shadow of his testes, feeling alien to himself. Not sure whether she was still watching, he took his dressing gown from its hook and put it on. Then he let himself out, stepping softly across the corridor—still no sound of servants—and into his dressing room. He lit the lamp, picked out a suit, and was half-dressed when he found himself becoming hard again. Without hesitating, he unbuttoned his trousers, tugged his cock through the gap, and began to pump it with savage determination, groaning as he spewed into a handkerchief.
Ten minutes later, John Addington, fixing his hat on his head, stepped out into the clean June sunshine and began to walk, accompanied only by the shreds and tatters of his dream.
Product details
- Publisher : Scribner (January 3, 2023)
- Language : English
- Hardcover : 400 pages
- ISBN-10 : 1668000830
- ISBN-13 : 978-1668000830
- Item Weight : 1 pounds
- Dimensions : 6 x 1.5 x 9 inches
- Best Sellers Rank: #595,013 in Books (See Top 100 in Books)
- #185 in LGBTQ+ Family Life Fiction (Books)
- #226 in LGBTQ+ Historical Fiction (Books)
- #9,635 in Family Life Fiction (Books)
- Customer Reviews:
About the author

TOM CREWE was born in Middlesbrough in 1989. He has a PhD in nineteenth century British history from the University of Cambridge. Since 2015, he has been an editor at the London Review of Books, to which he contributes essays on politics, art, history and fiction.
THE NEW LIFE is his first novel. Crewe says:
'This is the book I knew I wanted to write long before I actually wrote it. I hope it reveals to readers an unfamiliar Victorian England that will surprise and provoke, inhabited by a generation in the process of discovering the nature and limits of personal freedom, struggling to create a better world as the twentieth century comes into view.'
Customer reviews
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Customers find this novel fascinating and stimulating emotionally, with well-drawn characters and a beautiful writing style. Moreover, they appreciate the book's insight, with one customer highlighting its focus on personal and social responsibility. Additionally, the book receives positive feedback for its value, with one customer noting it's well worth the accolades.
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Customers find the story fascinating and stimulating emotionally, with one customer noting its well-thought-out exploration of historical aspects.
"...The characters too were amazing and it was a heartfelt story involving two families, the Patriarch of one family being an invert hiding most of his..." Read more
"...Crewe is a compelling writer, notably in the novel's arresting opening scene, which describes a wet dream in which Addington experiences unguarded..." Read more
"...Tom Crewe uses the setting of late Victorian England to tell a very contemporary and poignant tale of sexual identity and politics...." Read more
"...It was interesting and gave me quite an insight to what life was like for gay people or "Inverts" back in that time in England...." Read more
Customers praise the well-drawn characters in the book.
"...Streetlights were lit daily by attendants. The characters too were amazing and it was a heartfelt story involving two families, the Patriarch of one..." Read more
"...the author's objectives with the book and the honest portrayal of the principal characters and wonder at the ridiculous and pointless public..." Read more
"...He is expert at unveiling his characters until they nearly step out of the pages. An ingeniously clever and heart felt endeavor...." Read more
"...Primarily, the novel’s utterly uninteresting stick-figure characters talk a lot but only manage to speak in banal, preachy platitudes...." Read more
Customers praise the writing style of the book, describing it as well written and a terrific read, with one customer noting it was easy to follow throughout.
"...and the author did such a great job with that as the book was easy reading throughout. By far my best read so far this year." Read more
"...Crewe is a compelling writer, notably in the novel's arresting opening scene, which describes a wet dream in which Addington experiences unguarded..." Read more
"...Yes. Yes and Yes. It's also a terrific read." Read more
"This is an important book. It is also a brilliant book, well written and well thought out diving into aspects of history that need to be looked at..." Read more
Customers find the book insightful, with one customer particularly appreciating its focus on personal and social responsibility.
"...I came away with an amazing sense of what it must have been like to be an ‘invert’ in London in the late 1800s...." Read more
"...This is a wonderful book about personal and social responsibility, values and ideals and ultimately, a tale of personal survival in an unfair world...." Read more
"...It was interesting and gave me quite an insight to what life was like for gay people or "Inverts" back in that time in England...." Read more
"This is an important book...." Read more
Customers find the book to be a brilliant read, with one mentioning its admirable purpose.
"...It was both happy, it was sad and intriguing. I just can't imagine what life is like for homosexuals back in that era...." Read more
"...fiction elegantly written, with authentic period feel and admirable purpose; the story of English people in 1890 trying to push through the social..." Read more
"This is an important book. It is also a brilliant book, well written and well thought out diving into aspects of history that need to be looked at..." Read more
"...A beautiful and extraordinary book." Read more
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Top reviews from the United States
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- Reviewed in the United States on March 9, 2024The book was favorably reviewed and rightfully so. I came away with an amazing sense of what it must have been like to be an ‘invert’ in London in the late 1800s. The author states at the end that although it’s a novel, a great deal of the plot is based on true events and true accounts recorded from ‘inverts’ who lived in London at the time. Also it was nice to get a feeling of what day to day London life was like at the time. An example was the ongoing mail by messenger with same day delivery! Quite the service back then since there were no phones or computers and limited electricity, if any. Streetlights were lit daily by attendants. The characters too were amazing and it was a heartfelt story involving two families, the Patriarch of one family being an invert hiding most of his life until he earns a sort of freedom towards the end of the book. Apparently Hyde Park was quite the cruising area back in that day (and may still be?) and probably the safest and most discrete area where gays could meet. The English language was somewhat different back then as were some expressions and the author did such a great job with that as the book was easy reading throughout. By far my best read so far this year.
- Reviewed in the United States on February 1, 2025The troubled publication in the 1890s of "Sexual Inversion," the first medical textbook in English devoted to homosexuality, is the basis for this absorbing novel by Tom Crewe. Taking its title from the name of a reform society in late-Victorian Britain, "The Good Life" is a thinly fictionalized account of what inspired the landmark study - namely, the personal struggles with sexual abnormality on the part of its co-authors, the poet and Renaissance scholar John Addington Symonds and the pioneering sexologist Henry Havelock Ellis. The former (the novel shortens his name to John Addington) is a closeted homosexual in a conventional marriage who brings a young male lover into his household as his "secretary." Ellis (called only Henry, without the Havelock) is in an unconsummated marriage, living separately from his lesbian wife. He is beset by a fetish for women urinating. Arrayed against them is the rigidly moralistic edifice of Victorian society, which regards any deviation from procreative intercourse as an abomination. Crewe is a compelling writer, notably in the novel's arresting opening scene, which describes a wet dream in which Addington experiences unguarded intimacy with a male stranger on a crowded train. From that point on, the novel is frank in its attention to male arousal and vivid with clandestine steaminess, complemented by the enveloping London fog. Crewe gives eloquent voice to the dawning of issues that are still with us more than a century later: the equality and independence of women, the freedom of objectionable speech, the contest between personal desire and family values, the fine line between love and licentiousness. The trial of Oscar Wilde makes an appearance as a reminder of the law's easy descent into draconian punitiveness. In the reactionary aftermath of Wilde's disgrace, the appearance of "Sexual Inversion" predictably causes an uproar. This brings all the arguments to a head, but steers the novel toward pamphleteering. As the inevitable judgment draws near, the story loses energy despite Crewe's melodramatic effort, historically accurate or not, to set the recklessness of Addington against the circumspection of Ellis. "The Real Life" displays a good deal of loving craftsmanship on its subject, but the psychological origins of the two men's dilemma remain unexplored. Given that we're talking about the mysteries of individual sexuality, perhaps that's as it should be.
- Reviewed in the United States on April 6, 2024Author Tom Crewe uses the setting of late Victorian England to tell a very contemporary and poignant tale of sexual identity and politics. Attitudes about feminism, sexuality and identity were debated at least since the 1850s among the usual cadre of lefties but hardly at risk of being overthrown. Being a queer male or an "invert" by the days parlance was a crime and regularly prosecuted. Sex among women was not criminalized but only because it couldn't be imagined.
Crewe's writing powerfully conveys the oppressive life of a married queer man living a lie. Equally impressive is the empathy and sympathy he conveys for the wife, Catherine. A woman who wants only what she was promised--a conventional, supportive marriage. Instead her life is a series of small and great humiliations, culminating in her husband bringing his lover into their home. Henry Ellis and his lesbian wife Edith live apart but share a personal affinity and connection that reimagines, uneasily and in fits and starts, a New Life between the sexes.
To spur change and serve as a manifesto for The New Life so ardently desired, John Addington and Henry Ellis write a defense of inverts that is both brave and dangerous. Brave because it directly challenges conservative mores, dangerous because it can be prosecuted as obscene and a threat to moral order. When Oscar Wilde is arrested the book becomes radioactive. The ensuing panic is palpable, public disgrace is a reality and imprisonment a possibility.
This is a wonderful book about personal and social responsibility, values and ideals and ultimately, a tale of personal survival in an unfair world. Is it historical fiction, literary fiction, or political fiction? Yes. Yes and Yes. It's also a terrific read.
Top reviews from other countries
- Amazon CustomerReviewed in the United Kingdom on December 7, 2024
5.0 out of 5 stars A wonderful book that was painful but necessary to read
The book is written in four sections. Each is captivating in different ways. The first is a beautiful story of first love. The second is the development of that love and intimate relationships. The third concentrates on the threat to those relationships from “normal” society and the effect that Wilde’s coming out and trial has on free thinkers. The final section is a tragic and relentless account of the heartache of the inverts and supporters of inverts as they face the consequences of the unjust and corrupt legal system relating to same sex love.
- ReaditallReviewed in Canada on September 20, 2024
5.0 out of 5 stars The Excitement of New Ideas
This book is all about ideas and the court case that results. Yet it becomes as exciting and tense as a suspense novel. And there are many beautiful sentences to be read along the way.
- Martin RyanReviewed in Australia on April 11, 2024
5.0 out of 5 stars historical gay life
A very well written life about life as a gay person in the 19th century and reform that tried to take place
Beautifully written and so descriptive it was like beingthere
- amidonReviewed in France on March 19, 2023
5.0 out of 5 stars A new great novelist
A marvelous sensitive novel, full of insights and beautifully written historical and social facts, as striking as Forster's or Galgut's novels.
- Ambar Sahil ChatterjeeReviewed in India on August 4, 2023
4.0 out of 5 stars A powerful human drama about sex and sexuality
‘I will not lie like Wilde did… The law frightens us into lies: it is how the country is allowed to pretend, most of the time, that we do not exist.’
London, 1894. As a new century hovers on the horizon, brimming with possibilities of a new and evolved way of life, two men collaborate on a bold but dangerous project: to write a scientific book that intends to challenge the laws that criminalize homosexuality.
Both are respectable, married men, though each is battling his own personal conundrum: John Addington, after years of futile self-repression, embarks on a passionate love affair with a younger, working-class man; Henry Ellis, newly married and irrepressibly shy, finds his wife falling in love with another woman. However, the sudden bombshell of Oscar Wilde's indecency trials upends their plans. How far will they go to defend individual freedoms when the personal cost is so high?
Inspired by real-life personages, but marvellously repurposed through fiction to examine deeper truths, "The New Life" is gorgeously written and vividly conjures the late-19th century as a time of both immense social possibility and claustrophobic moral stasis. It is admittedly slow to start, but builds carefully into a charged human drama about sex and desire and freedom, and does not shy away from exploring the tangled ways in which personal quandaries become intensely political.
This is a novel to be savoured rather than consumed in a large gulp, and is all the more rewarding for it.