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The Devil is a Gentleman: The Life and times of Dennis Wheatley (Dark Masters) Paperback – August 1, 2016
Drawing on a wealth of unpublished material, Phil Baker examines Wheatley's key friendship with a fraudster named Eric Gordon Tombe, and uncovers the full story of his sensational 1922 murder. Baker also explores Wheatley's relationships with occult figures such as Rollo Ahmed, Aleister Crowley, and the Reverend Montague Summers, the shady priest and demonologist who inspired the memorably evil character of Canon Copely-Syle, in To The Devil ― A Daughter.
- Print length701 pages
- LanguageEnglish
- PublisherDedalus Limited
- Publication dateAugust 1, 2016
- Dimensions5.25 x 1.5 x 7.75 inches
- ISBN-101907650326
- ISBN-13978-1907650321
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Review
"...a brilliantly illuminating biography." -- Michael Gove, The Times
About the Author
He is the author of a book on Samuel Beckett and biographies of the London artist Austin Osman Spare and the American writer William S. Burroughs.
Phil Baker lives in central London.
Product details
- Publisher : Dedalus Limited; Reprint edition (August 1, 2016)
- Language : English
- Paperback : 701 pages
- ISBN-10 : 1907650326
- ISBN-13 : 978-1907650321
- Item Weight : 1.6 pounds
- Dimensions : 5.25 x 1.5 x 7.75 inches
- Best Sellers Rank: #608,837 in Books (See Top 100 in Books)
- #2,083 in Rich & Famous Biographies
- #3,301 in Author Biographies
- #4,601 in Historical Study (Books)
- Customer Reviews:
About the author

LONDON: CITY OF CITIES
This was written pre-Covid and some of the shops and bars mentioned have probably disappeared. It’s too soon to give a final tally, and the ones I’ve checked so far are still in business, but PLEASE PLEASE CONFIRM before going to visit anything.
On a happier note, the London Stone was in the Cannon Street branch of W.H. Smith’s behind a magazine rack (where I went to see it specially, when writing the book, and where I’d previously seen it by chance when the shop was selling sports gear) but after a temporary stay in the Museum of London it has now been re-housed (back in Cannon Street) in a much grander and more suitably monumental installation.
And in the Department of Idiotic Errors, there is a slip in the book on p.37, where I've mentioned heads stuck on poles on Tower Bridge. Well, Tower Bridge is the one that opens, only built by the Victorians (discussed elsewhere in the book) and the one with the heads should of course be the old LONDON Bridge. I suppose it was a sort of Freudian slip (heads, beheadings, Tower) but it then went straight past five or six readers including me. Until I was looking at the finished copy, too late to do anything, and it leaped out...
In fact here is a proper old school errata list, like they used to put on the 'Errata Slip':
p.32 – For 1291 read 1290.
p.37 – Heads on Tower Bridge in the 17thC: Tower Bridge is the one that opens, built by the Victorians, and this should of course be old London Bridge (typed like a Freudian slip; heads, beheadings, Tower).
p.44 – Charing Cross and Queen Eleanor: “chere reine” has been a popular folk etymology for Charing Cross, but there was a hamlet of Charing, which is the real origin.
p.59 – The Riot Act took effect August 1715 but it was passed by Parliament in 1714, so that is the date of the Riot Act.
p.64 – For “Thomas” Lamb read Charles Lamb (Thomas has stuck from Thomas De Quincey immediately above).
p.76 – Jay's Mourning Warehouse “on Oxford Street” should be "on Regent Street" (it was on Oxford Circus).
p.95 – Eros at Piccadilly and Lord Shaftesbury: the “shaft burying” pun was a popular explanation, but I’m not suggesting it was any part of Alfred Gilbert’s own intention.
p.96 – “F.C.” Masterman should be C.F.G. Masterman
p.121 – The death toll in the Balham tube disaster during the Blitz should read not “600” but “more than 60” (the exact figure is not agreed).
p.140 – Chatterley trial: the famous “wives and servants” question was not from the judge but the prosecuting barrister.
p.153 – The policeman killed in the Broadwater Farm riot was not Colin Blakelock but Keith Blakelock.
p.235 – Hampton Court: the Great Vine dates not from 1673 but 1768 (the 1673 date has stuck from the listing above).
AUSTIN OSMAN SPARE
There's an American edition of my Austin Osman Spare book (clunkingly re-titled Austin Osman Spare: The Occult Life of London's Legendary Artist) but NB that's all it is! It is NOT a new book, and it's not co-written with Alan Moore, as some of the Amazon listings have suggested. So if you've already got the UK edition, please don't buy it twice by mistake.
WILLIAM S BURROUGHS
There is a slip about a synthetic German opioid that Burroughs used in Tangier called dolophine, which I've reported was named after Adolf Hitler: this is widely said, and it's in the Ted Morgan biography of Burroughs (which Burroughs checked, so he probably believed the Hitler dolophine story himself). I now think this is a folk myth, and that dolophine was named after dol for pain, as in tic douloureux and dols (the unit that pain is measured in, like sound is measured in decibels).
Still with dolophine, also known as methadone, I was struck that at the end of his life Burroughs was back on the same stuff he'd been using in Tangier (as "dollies"), but I've screwed the point by also mentioning Eukodol (another synthetic German opiod which Burroughs was also using in Tangier). Methadone is dolophine but it is not Eukodol.
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The not-so-good stuff: Baker has a bad habit of telling the reader about -- or, indeed, outright listing -- everything that he has found. This book is stuffed with irrelevant and often uninteresting details. This is most egregious when it comes to Wheatley's early life. For example, we get pages from Wheatley's love letters to early girlfriends; these were better left omitted (no-one comes out looking good from their adolescent romances). As a consequence, things really don't get going until the First World War. Unfortunately, Baker never really abandons his list-making and consequently chunks of this book are an unnecessary slog. Yes, the devil is in the details (we are talking Wheatley here) but a good editor would have reduced this text by at least a quarter.
Further, although Baker is intelligent enough not to bore the reader with a constant refrain of "oh-my-gorsh-isn't-this-bigoted-old-reactionary-a-terrible-human-being," he nonetheless bangs on about Wheatley's -- by our standards -- politically incorrect views far too often. That Wheatley, born in the 19th century, didn't share our views of race, class, gender and so on, is pretty bleeding obvious to anyone who has read his novels. Perhaps worse, Baker too often gives pages (and pages) to Wheatley's critics, most of whom, in addition to being nonentities, were even bigger snobs than Wheatley. This sometimes, however, works against Baker's intentions. Take, for example, the most egregious of these self-righteous ankle-biters, a ponce named Giles Gordon. Gordon, hostile towards Wheatley because the latter didn't write about gays, tells a patently phony anecdote which simply leaves the reader applauding Wheatley even more.
But then this biography often inadvertently reveals that Wheatley was clearly a kinder and better man than Baker portrays. Baker is nonplussed about the "loyalty" Wheatley inspired in people, but it becomes fairly obvious in the course of this work that, whatever his political views, on a personal level, Wheatley treated his fellow human beings decently.
While Baker's grasp of history is generally good (especially in the late 19th and early 20th centuries where he has done some reading) it is hardly perfect. Much of what he writes about the inter-war British political right is incorrect and his argument that The Devil Rides Out is a defense of appeasement is wholly unpersuasive. Indeed, with respect to Wheatley's works, this reviewer was, more than once, convinced Baker had read a particular novel's blurb rather than the novel itself as there are mistakes to be found in here.
Finally, I was disappointed that Baker declined to make any real effort to trace Wheatley's influence on modern horror, because it is there. Towards the end of the book, Baker discusses how horror was changing at the end of Wheatley's career, mentioning books and films like the Exorcist. Yet it is almost a certainty that Ira Levin's Rosemary's Baby -- to cite one of these seminal works -- was inspired by Wheatley's ouvre.
Nonetheless, if you are a Wheatley fan, you owe it to yourself to read this book. Wheatley's own autobiographies are notoriously unreliable (as autobiographies usually are) and this work does a more than half decent job of capturing both the man and the times (and what times!) in which he lived.
Three and a half stars then, rather than three...
Dennis Wheatley was a fascinating person and this, combined with Baker's deft touch, makes for superlative reading. If your'e wondering whether you should buy it, then go ahead and spoil yourself. You won't be disappointed.
This was a decent read because of my previous familiarity with the author's works, but the narrative flow wasn't comparable to say Caro or Manchester. The first third of the book (before Wheatley started to write) was rather slow going.
The illustrations in the Kindle version are small and low quality - I assume they're much better in the print version.
Top reviews from other countries
Reviewed in Germany on January 6, 2022
Reviewed in the United Kingdom on April 12, 2022



