This was the New Yorker of Harold Ross, the founding editor, who scolded E. B. White about his use of the unthinkably vulgar phrase “toilet paper,” so “sickening” it “might easily cause vomiting”; home to cartoonists such as Peter Arno, an upper-crust East Coaster whose covers and single-panel gags took little notice of the Depression, the war, or other unpleasantries, except as punch lines.102 Arno went down well with a dry martini at the Stork Club; Gorey’s camp-gothic eccentricities, not so much.
(Happily, Gorey followed his instincts and had the satisfaction, forty-three years later, of seeing his work appear in the pages, and ultimately on the cover, of a New Yorker that was ready, at last, for the amusingly unfunny. Shortly after his death, the magazine dedicated its end page, by way of an elegy, to a Gorey illustration.)
* * *
Gorey graduated from Harvard on June 22, 1950, with an AB in Romance languages and literatures. His final report card records an A in English, a C in French, and a B in history, an appropriately erratic ending to an academic career that had zigzagged all over the place.
Outside the classroom, however, he floored the accelerator. Harvard is where Gorey perfected his image, stylizing his zany fashion sense and theatrical mannerisms into the persona that, with a few last tweaks (pierced ears, copious necklaces, sidewalk-sweeping fur coats dyed heart-attack green or yellow), would turn heads in Manhattan. More important, Harvard is where he sketched in the intellectual substance of his eccentric persona, drawing inspiration from writers like Firbank and Compton-Burnett. From Lear, he took the limerick form. Encouraged by Ciardi, he put to drily amusing use a mock-moralistic tone that parodied Victorian writing for children. Even the melancholy epitaphs at Mount Auburn Cemetery, mementos of the Victorian cult of mourning, and the Puritan reproaches to mortal vanity in the Old Burying Ground near Harvard Square had something to teach him: their lugubrious cadences and morbid sentiments, so melodramatic they verge on black comedy, echo in Gorey’s verse.
He learned as much from his antipathies as he did from his sympathies: in several interviews, he returned to a subject dear to his heart, his adamantine hatred of Henry James, whose tendency to explain things to death he found wearisome, whose labyrinthine sentences maddened him, and whose characters he found morally repugnant, motivated by “utterly unpleasant arid curiosity.”103 In an essay for a comp lit class, he wrote, “James’s favoured method of unfolding an action is to have it revealed, slowly, bit by bit, through inexhaustible questionings, probings, pryings, comparings on the part of onlookers of the main action.…If anyone ever literally died of curiosity I am certain it must have been a Jamesian character.”
Crucially, he discovered that he wasn’t a novelist but that he might, by combining his gifts for narrative compression and epigrammatic wit with his meticulous, hand-drawn engravings, produce masterpieces of miniaturism that defy categorization. All the while, he was evolving as an artist, polishing his draftsmanship and, through his exploration of watercolor, developing a taste for subtle color harmonies and deliciously queasy hues.
But when it came to Gorey’s maturation as an artist and a thinker, nothing in his four years at Harvard affected him more profoundly than his relationship with Frank O’Hara. Their friendship introduced both men to new interests and influences; each sharpened his ideas about art, literature, music, film, theater, and ballet on the whetstone of the other’s equally nimble, wide-ranging mind. Postmodernists avant la lettre, they embraced lowbrow, highbrow, and middlebrow tastes with gusto and without apology.
As important, each was present at the birth of the other’s self-creation and, consciously or not, lent a hand. “All of us were obsessed,” Gorey later recalled, characterizing the mood of their Harvard years. “Obsessed by what? Ourselves, I expect.”104 The bearded dandy nerd in Keds and fur coat, fingers dripping rings, was “a kind of this-is-me-but-it’s-not-me thing,” Gorey later confided.105 Meaning: “Part of me is genuinely eccentric, part of me is a bit of a put-on.”106 He added, slyly, “But I know what I’m doing.” (Another time, he struck a more poignant note, seeming almost trapped by his eccentric image: “I look like a real person, but underneath I am not real at all. It’s just a fake persona.”)107
Though Gorey and O’Hara crossed paths briefly after graduation through their involvement with the Poets’ Theatre, in Cambridge, their friendship wouldn’t survive long. After both men moved to Manhattan—O’Hara in ’51, Gorey in ’53—their lives intersected only occasionally, though they frequented the New York City Ballet, had friends in common, and lived just a subway stop apart.
Their diverging trajectories had something to do with it. In New York, O’Hara’s engagement with contemporary art would draw him into the orbit of the abstract expressionists, whose frenetic socializing and improvisatory aesthetic would show him the way out of naturalism’s imitation of life and into a poetry collaged out of scraps of life itself—snatches of conversation, things seen and freeze-framed by his camera eye, quotations from his encyclopedic reading and movie watching and gallery going. O’Hara was addicted to the Now—to art forms such as action painting, which captured “the present rather than the past, the present in all its chaotic splendor,” writes Marjorie Perloff in Frank O’Hara: Poet Among Painters.108
Gorey, by contrast, immersed himself ever deeper in things past—silent movies, Victorian novels, Edward Lear, the Ballets Russes. Pursuing his solitary obsessions, he chased a vision all his own, wholly new yet sepia-tinted with a sense of lost time.e O’Hara was avant-garde; Gorey was avant-retro. At Harvard, Gorey distilled his influences into a concentrated essence that would nourish his art for the rest of his life. O’Hara, by the summer of ’49, was shaking off his Firbankian affectations. Critiquing a friend’s poem, he wrote, with mock condescension, “I can see certain tendencies in you which we all have to get rid of. With me it was Ronald Firbank, with you it looks a bit like the divine Oscar…”109
Their friendship came to grief over one of O’Hara’s pointed wisecracks. Maybe there had always been a little rivalry beneath their sharp-witted jousting—who knows? But O’Hara’s hipster derision at Gorey’s Firbankian sensibility—so arch, so preciously aesthetic, so aloof from the cultural ferment of the moment—emerged undisguised in a jab that cut too close to the bone. “Ted told me that he’d seen Frank at some point shortly after he’d moved to New York,” Larry Osgood remembers, “and Frank’s opening remark, practically, was, ‘So, are you still drawing those funny little men?’ And Ted took great offense at that, and that was that for that relationship.”
Years later, Gorey settled the score. Rolling his eyes at the idea that his former roommate, who banged out his poems on the fly, was some kind of genius, he told an interviewer, “I was astonished after his death, and even before, when he became a kind of icon for a whole generation. If you know somebody really well, you can never really believe how talented they are. I know how he wrote some of those poems, so I can’t take them all that seriously.”110
O’Hara died in 1966, at the age of forty, killed by a teenager joyriding at night in a Jeep on the beach at Fire Island. At Harvard, in the first flush of their friendship, he’d written a poem for Ted that was later included in his