As well, he liked Matisse’s brightly colored sets and abstract-patterned costumes for another ballet on the program, Rouge et Noir. As knots of dancers “formed and came apart” against the backdrop, a critic wrote, they created “wonderful blocks of color like an abstract painting set in motion.”76
Already Gorey’s omnivorous eye was drawn to set design, which he would dabble in for much of his artistic life, and to costumes, a fascination evident in the attention he lavished on his characters’ dress, poring over Dover books such as Everyday Fashions of the Twenties and Victorian Fashions and Costumes from Harper’s Bazaar to ensure they were period-perfect. In a sense, Gorey lived out his Karinska fantasy in his books, playing costumier to the casts of his stories (and, later, to the actors in his theatrical entertainments). On the page, where his imagination was unbounded by budget or tailoring skills, he conjured up outfits so dazzling they beg for the stage or the fashion runway.
His appetite whetted, he began going to the ballet off and on, though he wouldn’t become the obsessive balletomane we know until his conversion, sometime in the early ’50s, to the cult of Balanchine and the New York City Ballet (whose principal costumier, from 1963 to ’77, was Karinska).
By his senior year at Parker, Gorey had matured from a kid who liked to draw into the budding artist who would bloom at Harvard. Along with Mitchell and her friend Lucia Hathaway, he juried the school’s Annual Exhibit of Students’ Work (a more heroic undertaking than it sounds, since the show included 856 pieces of art, 22 of which were Gorey’s). He did the sets and costumes for the senior play and, as a member of the social committee, handled the posters and decorations for extracurricular events. Somehow he found time, on top of all this, to art-direct the 1942 yearbook.
Yet despite this whirlwind of artistic activity, Gorey was far from an eccentric loner, hunched over his drawing board on prom night. “Though a newcomer to Joan’s Class of ’42, Ted had claimed a central position in that class, owing to a jaunty individualism,” Patricia Albers asserts.77 What made Gorey stand out, Robert McCormick Adams recalls, was “a conscious point of view that was not so much critical as it was independent, and somehow coherent.” Central to that perspective was a wryly detached take on human affairs. “He was always putting his finger on ironies or absurdities,” says Adams. His wit and easygoing self-assurance won him invitations to parties and dances at places with names like the Columbia Yacht Club, and he was part of the gang that hung out at the Belden, a drugstore just down Clark Street where Parkerites yakked and swigged chocolate Cokes and showed off their newly acquired vice, smoking.
Yet among the class photos in the 1942 yearbook, we find a blank spot on the page where Gorey’s thumbnail should be. Apparently he managed (accidentally on purpose?) to miss picture day. Alongside his name is the obligatory jokey biography, which in this case is surprisingly prescient: “Brilliant student … Art addict … Romanticist … Little men in raccoon coats.”
The seventeen-year-old Ted who graduated from Parker on June 5, 1942, was more than just an art addict who doodled little men in raccoon coats. He’d already settled on a career in the arts, though he was sufficiently a child of the Depression to hedge his bohemianism with pragmatism, betting that commercial illustration was more likely to fatten his wallet than art for art’s sake. To that end, he’d taken several courses in commercial art and cartooning at the School of the Art Institute of Chicago while still at Parker and had spent two summers, and a few terms’ worth of Saturday sessions, studying at the Chicago Academy of Fine Arts. (Walt Disney was its most famous alum.)
Yet despite such preparations, Gorey set his sights not on art school but on Harvard. When asked, on the application, what he expected to get out of Harvard, he said, “I expect to get a good Fine Arts education so that I may enter the field of Fine Art or more probably, use it as a basis for entering the field of Commercial Art.”78
The “historical and cultural advantages in Boston” were a draw, too, he noted. “I have lived all of my life in the Middle West and after I graduated from eighth grade I took a trip East,” wrote Gorey. “I like New England better than any place I have ever been.”79 It’s no surprise that Gorey felt right at home amid the death’s heads grinning from the gravestones in Cambridge’s Old Burying Ground, the crypts and obelisks in Boston’s Mount Auburn Cemetery, and the brooding Victorians of Boston’s Back Bay, whose windows reminded Henry James of “candid inevitable eyes” watching each other “for revelations, indiscretions … or explosive breakages of the pane from within.”80
Herbert W. Smith, Parker’s principal, recommended Ted for the Harvard College National Scholarship. In his letter to the college, Smith judges him “a boy of real brilliance,” “highly gifted in art,” a front-runner “in any academic subjects in which swift reading and quick comprehension bring success,” though he tempers his praise with the observation that Gorey’s gifts can sometimes get the better of him: “He is the swiftest reader but not the most reflective,” says Smith, and “sometimes sacrifices accuracy to speed.” Still, there’s no denying his raw IQ: “He scores highest on such tests as the American Council of Psychological Examinations (100th percentile year after year).”81
Fascinatingly, the Harvard form includes a question about the applicant’s limitations (“physical, social, mental”), to which Smith replies that Gorey, as “the only child of a highly intelligent but divorced couple,” is prey to “social and financial insecurity.” He’s plagued, too, by occasional migraine headaches, an affliction that will bother him, on and off, for the rest of his life. These minor defects duly noted, Smith recommends him unreservedly; he is “an original and independent thinker” whose “boundless ambition and the direction of his development, quite as much as his high initial ability, make a career of unusual distinction seem likely.” Gorey was awarded a scholarship to Harvard.*
He was accepted by Harvard in May, but with the draft hanging over his head—America was at war, and Congress was considering lowering the age of eligibility from twenty-one to eighteen—he decided to postpone his matriculation. As his mother later explained in a letter to the Harvard Committee on Admission, “By fall we knew that the chances of going through college before he would be in the Army were very slight, and he decided to attend the Art Institute for the fall term until Congress should decide about drafting the 18 year old boys.”82 That November, Congress approved the lowering of the age of eligibility to eighteen; on December 5, FDR signed that decision into law. “When that was decided,” Helen wrote, “we felt that it would be wise for him to enter the University of Chicago, where he had also been awarded a scholarship, as there was just a chance that he might be able to get a year’s credit under the accelerated program.” Gorey began classes at U of C in February of 1943, the month he would turn eighteen.
Four months into his studies, his number came up in the national lottery run by the Selective Service. On May 27, Gorey was inducted into the US Army at Camp Grant, near Rockford, Illinois. In June, he was sent to Camp Roberts, in central California, just north of San Miguel, for four months of basic training. IQ tests were part of the induction process, and as Helen Gorey—never one to hide her son’s light under a bushel—recalled, “His grade in the Army intelligence test was 157, which was the highest mark they had ever had at Camp Grant at that time.”83 On completing his basic training, he underwent another round of examinations, after which he learned from the Board of Examiners, according to Helen, “that he had the highest marks they had seen.”
Army