“He can write for none but outlawed noblemen and perverted telegraph boys,” one critic wrote of Oscar Wilde in The Scots Observer in July 1890, responding to the first serialization of “The Picture of Dorian Gray” in Lippincott’s Magazine. This was just one of “hundreds of entries of vituperation in the press when it came out,” Wilde’s grandson Merlin Holland recently told The Times, and Wilde spent the next year revising his aestheticist tale of a double life for publication in book form, removing certain homoerotic passages. A new book of Wilde’s handwritten manuscripts, THE PICTURE OF DORIAN GRAY (SP Books, $250), grants readers unfiltered access to lines of pure, unadulterated affection that the author was compelled to omit if he ever wanted the story to become the literary success it did. “It is quite true that I have worshipped you with far more romance than a man should ever give to a friend,” the painter Basil tells Dorian in the magazine edition, but not the final novel. “Somehow I had never loved a woman. I suppose I never had time. … I quite admit that I adore you madly, extravagantly, absurdly.” Such sentences led Lippincott’s readers to deem this, in Holland’s words, “a disgusting, sodomitical novel.” (He added that the full text would later be used in court as “circumstantial proof that Wilde was homosexual” — a charge that sent him to prison.) Holland, who wrote the new book’s foreword, considers this “the urtext of ‘Dorian Gray,’” revealing raw passions the writer intended to evoke before the world was yet ready to read them. “He was standing up for his right as an artist to write about whatever he pleased,” Holland said of his grandfather. “He had the right to create the characters he wanted to create.”