Born to Be Posthumous: The Eccentric Life and Mysterious Genius of Edward Gorey. Mark Dery

time, but was really very, very insightful. He said, ‘Ted’s much more normal than the rest of you guys.’” The clique in question was largely gay, and some of its members were, in the parlance of the time, flamboyant in the extreme. “I thought, That’s odd. But there was a level in Ted’s personality, as outrageous as it was, of solid, middle-class values.” Osgood agrees with Freddy English’s characterization of Gorey as “a nice Midwestern boy” in bohemian drag. “The curious thing about Ted in those days, and probably always,” he says, “was that his behavior, tone of voice, gestures, were characteristically queeny, no question about it, but at the core of his personality, he wasn’t a queeny person at all. So except for this bizarre direction he went in in his work, he was a very middle-class, moralistic person.”

      Gorey once claimed, with his usual flair for the dramatic, that he was “probably fully formed” by the time he arrived at Harvard.26 No doubt the essential elements of his style and sensibility were intact, many of them already jigsawed into place, but the Ted we know wasn’t quite complete when he walked through the gates of Harvard Yard the week of September 16, 1946.

      He would prove a lackadaisical French major, later recalling, “I bounced from the dean’s list to probation and back again.”27 When it came to his extracurricular passions, however, he was an avid student, devouring everything by his latest literary infatuations, going to art films and the ballet, trying his hand at limericks and stories, and drawing constantly (little men in raccoon coats proliferate in the margins of his study notes). For the next four years, he’d be zealous in his true course of study: Becoming Gorey.

       Chapter 3

       “Terribly Intellectual and Avant-Garde and All That Jazz”

      Harvard, 1946–50

GOREY, LIKE ALL INCOMING freshmen, had been assigned to one of the residence halls around Harvard Yard. Mower,a a small red-brick building completed in 1925, has its own courtyard, a patch of tree-shaded green that gives it a secluded feel. Gorey’s new home was suite B-12, on the ground floor, a no-frills affair with two bedrooms giving onto a common study room with three desks and a fireplace. His roommates were Alan Lindsay and Bruce Martin McIntyre, about whom we know zilch, as he would say.

      In his first month at Harvard, Gorey met a fellow veteran and fledgling poet with whom he soon formed a two-man counterculture. Frank O’Hara, his upstairs neighbor in Mower B-21, would go on to fame as a leading light in the New York School of poets (which included John Ashbery and Kenneth Koch, both Harvardians as well). Brilliant, intellectually combative, lightning quick with a witty comeback, O’Hara was a virtuoso conversationalist who turned cocktail-party repartee into an improvisatory art.

      Like Gorey, he’d come to Harvard on the GI Bill. He, too, was Irish Catholic, but whereas Ted had slipped the traces of a Catholic upbringing early on, O’Hara had all the post-traumatic baggage of the lapsed Catholic: “It’s well known that God and I don’t get along together,” he wisecracked in one of his poems.1 But the most obvious evidence that he and Gorey were cast in the same mold was O’Hara’s “drive for knowing about all the arts,” an impulse that “was as tireless as it was unfocused,” according to his biographer Brad Gooch, who adds that “he showed a genius, early on, for being in the know”—another Goreyan quality.2 By 1944, when he enlisted in the navy, he’d become “something of an expert on the latest developments in twentieth-century avant-garde music, art, and literature,” mostly by way of his own autodidactic curriculum, Gooch writes.3 Like Gorey, O’Hara was fluent in modern art, bristling with opinions on Picasso, Klee, Calder, and Kandinsky. At the same time, he shared Ted’s passion for pop culture, which for O’Hara meant the comic strip Blondie, hit songs by Sinatra and the big-band trumpeter Harry James, and, most of all, film: he was an ardent moviegoer, papering his bedroom walls with pictures of popcorn Venuses like Marlene Dietrich and Rita Hayworth. Insatiable in his cultural cravings, all-embracing in his tastes, unreserved in his opinions, O’Hara was in many ways Gorey’s intellectual double, down to the fanatical balletomania.

      * * *

      The two were soon inseparable. They made a Mutt-and-Jeff pair on campus, O’Hara with his domed forehead and bent, aquiline nose, broken by a childhood bully, walking on his toes and stretching his neck to add an inch or two to his five-foot-seven height, Gorey towering over him at six two, “tall and spooky looking,” in the words of a schoolmate.4

      Swanning around campus in his signature getup of sneakers and a long canvas coat with a sheepskin collar, fingers heavy with rings, Gorey was the odds-on favorite for campus bohemian, with the emphasis on odd. “I remember the first day Ted Gorey came into the dining hall I thought he was the oddest person I’d ever seen,” said George Montgomery. “He seemed very, very tall, with his hair plastered down across the front like bangs, like a Roman emperor. He was wearing rings on his fingers.”5 Larry Osgood, a year behind Ted, shared Montgomery’s double-take reaction the first time he saw Gorey. He was standing in line to buy a ticket to a performance by the Martha Graham Company when he noticed a “tall, willowy man” with his nose in a little book.6 “Ted never stood in line for anything without a book in his hands,” says Osgood. “One of the things that struck me about him and made me, in my philistine way, sort of giggle at him was [that] one of his little fingernails was about three inches long. He’d let it grow and grow and grow.”

      Gorey struck an effete pose. He affected a world-weariness and tossed off deadpan pronouncements with a knowing tone, an irony he underscored with broad, be-still-my-heart gestures—“all the flapping around he did,” a fellow dorm resident called it.7 Even so, he wasn’t some shrieking caricature of pre-Stonewall queerness. “He was flamboyant in a much more witty and bizarre way that normal queens weren’t,” says Osgood. “Giving big parties and carrying on, listening to records of musicals and singing along to them” wasn’t Gorey’s style.

      As always, Gorey defied binaries. His eccentric appearance belied a shy, reserved nature. His speech, body language, and cultural passions—theater, ballet, the novels of gay satirists of mores and manners such as Saki, Ronald Firbank, E. F. Benson, and Ivy Compton-Burnett—were a catalog of stereotypically gay traits and affinities. Yet no one in the almost exclusively gay crowd he traveled with ever saw him at gay bars such as the Napoleon Club or the Silver Dollar. He was either so discreet that he eluded detection or, as he later maintained, so yawningly uninterested in sex that there was nothing to detect.

      O’Hara was impressed by Gorey’s assured sense of himself, his refusal to apologize for his deviations from the norm, especially his blithe disregard for conventional notions of masculinity. O’Hara, who’d had his first same-sex experience when he was sixteen, was conflicted about his sexual identity—all too aware of his attraction to men but gnawed by the suspicion that gay men were sissies and haunted by fears of what would happen if his secret got out in the conservative Irish Catholic community where he’d grown up, in Grafton, Massachusetts. Posthumously, O’Hara would take his place on the Mount Rushmore of gay letters, but during his Harvard years he was torn between the closeted life he was forced to live whenever he returned home and the more liberated life he lived at Harvard and in Boston’s gay underground.

      Gorey’s comparatively over-the-top persona was a revelation to O’Hara. “As his life in [his hometown] became more weighted and conflicted, O’Hara compensated by growing