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All rights reserved. Used by arrangement with Georges Borchardt, Inc. Illustrations and excerpts from the works of Edward Gorey are used by arrangement with the Edward Gorey Charitable Trust. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. Without her unwavering support, generous beyond measure, it would have remained just that: a gleam in her eye.

I owe her this—and more than tongue can tell. Don Bachardy, Portrait of Edward Gorey , graphite on paper. After he died, struck down by a heart attack in , a joke made the rounds among his fans: During his lifetime, most people assumed he was British, Victorian, and dead.

Finally, at least one of the above was true. In fact, he was born in Chicago in And although he was an ardent Anglophile, he never traveled in England, despite passing through the place on his one trip across the pond. He was, however, intrigued by death; it was his enduring theme. He returned to it time and again in his little picture books, deadpan accounts of murder, disaster, and discreet depravity with suitably disquieting titles: The Fatal Lozenge , The Evil Garden , The Hapless Child.

Children are victims, more often than not, in Gorey stories: at its christening, a baby is drowned in the baptismal font; one hollow-eyed tyke dies of ennui; another is devoured by mice. Cars start with cranks, music squawks out of gramophones, and boater-hatted men in Eton collars knock croquet balls around the lawn while sloe-eyed vamps look on. Gorey wrote in verse, for the most part, in a style suggestive of a weirder Edward Lear or a curiouser Lewis Carroll.

His point of view is comically jaundiced; his tone a kind of high-camp macabre. And those illustrations! Hand-drawn antique engravings is what they are.

Gorey first blipped across the cultural radar in , when the literary critic Edmund Wilson introduced New Yorker readers to his work. Then, too, every Tim Burton fan is a Gorey fan at heart. His influence is percolating out of the goth, neo-Victorian, and dark-fantasy subcultures into pop culture at large. The market for Gorey books, calendars, and gift cards is insatiable, buoying indie publishers like Pomegranate, which is resurrecting his out-of-print titles.

Since his death, his work has inspired a half dozen ballets, an avant-garde jazz album, and a loosely biographical play, Gorey: The Secret Lives of Edward Gorey An aesthetic? A style? The way we wear our bowler hats? Gorey, it should be noted, groaned at being typecast as the granddaddy of the goths and would have shrunk from the embrace of neo-Victorians. His consummately original vision—expressed in virtuosic illustrations and poetic texts but articulated with equal verve in book-jacket design, verse plays, puppet shows, and costumes and sets for ballets and Broadway productions—has earned him a place in the history of American art and letters.

They were squeamish about the darkness of his subject matter, not to mention the absence of anything resembling a moral in his absurdist parables. Some of those kids grew up to be cultural shakers and movers. Rhyming couplets about kids who had drowned. That kind of thing. Yet during his lifetime the art world and literary mandarins barely deigned to notice him or, when they did, dismissed him as a minor talent. His books are little, about the size of a Pop-Tart, and rarely more than thirty pages—mere trifles, obviously, undeserving of serious scrutiny.

Even more damningly, his books are funny, often wickedly so. Tastemakers take a dim view of humor. For much of his lifetime, critics and curators patrolled the cordon sanitaire between serious art, epitomized by abstract expressionism, and commercial art, that wasteland of kitsch and schlock. Clement Greenberg, the high priest of postwar art criticism, dismissed all representational art as kitsch; illustration, it went without saying, was beneath contempt.

He had zero tolerance for intellectual pretension and seemed to regard gravitas as dead weight, a millstone for the mind. There was the bitchy wit. The fluttery hand gestures.

The flamboyant dress: floor-sweeping fur coats, pierced ears, beringed fingers, and pendants and necklaces, the more the better, jingling and jangling. And that campy delivery, plunging into sepulchral tones, then swooping into near falsetto. Benson and Saki—were stereotypically gay. Nearly everyone who met him pegged him as such. His tastes ranged from highbrow Balthus, Beckett to middlebrow Golden Girls , Buffy the Vampire Slayer to lowbrow true-crime potboilers, Star Trek novelizations, the Friday the 13th franchise.

Take his name. It was too perfect. His mock-moralistic tales are set, more often than not, in Edwardian times. Did I mention that he lived, in his later years, in a ramshackle nineteenth-century house that he shared with a family of raccoons and a poison-ivy vine creeping through a crack in the living-room wall? Gorey was benignly tolerant of both infestations—for a while. As for Gorey , well, the thing speaks for itself: his characters often meet messy ends.

And, of course, infanticides abound: children, in Gorey stories, are an endangered species, beaten by drug fiends, catapulted into stagnant ponds, throttled by thugs, fated to die in Dickensian squalor, or swallowed whole by the Wuggly Ump, a galumphing creature with a crocodilian grin. To relieve the tedium between murders, there are random acts of senseless violence and whimsical mishaps:.

He embraced an aesthetic of knowing glances furtively exchanged or of eyes averted altogether; of banal objects that, as clues at the scene of a crime, suddenly phosphoresce with meaning; of empty rooms noisy with psychic echoes, reverberations of things that happened there, which the house remembers even if its residents do not; of rustlings in the corridor late at night and conspiratorial whispers behind cocktail napkins—an aesthetic of the inscrutable, the ambiguous, the evasive, the oblique, the insinuated, the understated, the unspoken.

Gorey believed that the deepest, most mysterious things in life are ineffable, too slippery for the crude snares of word or image. To manage the Zen-like trick of expressing the inexpressible, he suggests, we must use poetry or, better yet, silence and its visual equivalent, empty space to step outside language or to allude to a world beyond it. With sinister tact, he leaves the gory details to our imaginations. For Gorey, discretion is the better part of horror. The gory details : how he detested the phrase, not least because, year after dreary year, editors repurposed that shopworn pun as a headline for profiles but chiefly because it cast his sensibility as splatter-film shtick when in fact it was just the opposite—Victorian in its repression, British in its restraint, surrealist in its dream logic, gay in its arch wit, Asian in its attention to social undercurrents and its understanding of the eloquence of the unsaid.

Gorey was an ardent admirer of Chinese and Japanese aesthetics. Gorey believed in the mutability and the inscrutability of things and in the deceptiveness of appearances. Apply it to his work, and you can hear the tumblers click. Take death, his all-consuming obsession. Or is it? Despite the lugubrious atmosphere and morbid wit of his art and writing, Gorey uses death to talk about its opposite, life. Is there an order to things in a godless cosmos?

Do we really have free will? Gorey inclined naturally toward the Taoist view that philosophical dualisms hang in interdependent, yin-yang balance. Mark Dery.


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You can use this royalty-free vector image "Illustration: Harley Quinn" for personal and commercial purposes according to the Standard or Extended License. The Standard License covers most use cases, including advertising, UI designs, and product packaging, and allows up to , print copies. The Extended License permits all use cases under the Standard License with unlimited print rights and allows you to use the downloaded vector files for merchandise, product resale, or free distribution. This stock vector image is scalable to any size. You can buy and download it in high resolution up to x

All rights reserved. Used by arrangement with Georges Borchardt, Inc.

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