by Mark Dery
Many of O’Hara’s Harvard conquests were men who thought of themselves as straight despite their willingness to bat for the other team in a pinch. In yet another irony, Gorey himself was involved, at that very moment, in a relationship with just such a man: Tony Smith.
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The word relationship, in this case, means “all-consuming crush.” Just how far things went we don’t know, though Larry Osgood doubts the relationship got physical for the simple reason that Ted, he firmly believes, “did not then and never had a sex life.”81 That said, it’s clear from a letter Gorey wrote to Connie Joerns that he made a clean breast of his feelings to Smith and that while Smith’s response wasn’t what Ted had hoped, the two did have an emotionally charged friendship, fraught with the soap-opera drama that would characterize all Ted’s crushes to come. By the fall of ’49, Smith had moved into F-13, leaving O-22 to Fondren and O’Hara, which suggests he was close to Gorey—either that or unusually accommodating to Fondren. (What F-13’s third inhabitant, the apparently unflappable Vito Sinisi, made of this round of musical chairs is anyone’s guess.)
“This was typical of Ted’s crushes and attachments,” says Osgood, who recalls Smith as “Ted’s very straight roommate who never went out drinking or mixed at all with the gay group”—which included Osgood, his Eliot House roommate Lyon Phelps, O’Hara, Fondren, Freddy English, George Montgomery, and, less frequently, Gorey—who met for beers two or three times a week at Cronin’s, a saloon whose ten-cent Ballantine on tap and close proximity to the Yard made it an ideal watering hole.82 Smith was “perhaps a little boring,” in Osgood’s judgment.83 Nonetheless, Ted fell for him. “I had the impression then, as now, that Ted was in love with him—unrequitedly,” says Osgood. “The rest of us respected and sympathized with Ted’s frustration, although I think we never discussed it within his hearing and found the object of his affections a little odd.”
Gorey’s feelings for Smith blossomed in the fall of ’48. By that December, however, the bloom was off the rose. In a long confessional letter to Connie Joerns written during Christmas break, he bemoans the dire state of his love life. Tony is in Fall River, he confides, and their relationship, such as it is, alternates between “utterly cloying and grim and addled”84 but is never less than “peculiar,” even at the best of times.85 Tony, it seems, is the manly, closemouthed type, hopeless at self-analysis and all thumbs when it comes to teasing out the knots in romantic entanglements, whereas Ted tends toward the “hysterical,” which makes for soap-operatic scenes, he tells Joerns.86
Gorey being Gorey, he manages to see the existential punch line in his predicament. It’s ironic, he tells Joerns, that he, whose heart’s delight is getting involved with someone, then spending “all my free time in mutual analysis of the situation,” should end up with a lover who blanches in terror at the thought of baring his soul.87 But this is playacting. Two sentences later, the wry, self-mocking detachment gives way to anguish: he just might lose his mind, he says, if this “subterranean torture” goes on much longer.
Ted’s claim that he was teetering on the brink of a nervous collapse wasn’t just the usual fainting-couch histrionics. Shortly after he returned to Harvard for the spring term of his junior year, in ’49, he was interviewed by assistant dean Norman Harrower Jr., presumably about his grades, which were slipping. “Says he has been having personal troubles all fall,” Harrower writes in a January 29 note scribbled on Gorey’s grade card. “Seemed extremely nervous and jittery. Smoked a cig. In short nervous puffs. His eyelids fluttered and he was very jumpy. Tried to get him to psych. But he feels that this is something that he ought to be able to force himself to control. He seemed to consider the possibility of a psych. and it may work. Queer looking egg.”88
Whether Gorey saw a psychologist we don’t know. But there’s grist for the Freudian mill in the poems and stories he wrote in the spring and fall of ’49, some of which can be read as oblique allusions to his “personal troubles” with Smith or as veiled references to his feelings about his sexuality. In one poem, a lighthearted apologia for asexuality, he eschews the emotional (and literal) messiness of romantic entanglements and sexual passion for the solitary pleasures of Just Saying No:
I’ve never been one for a messy clinch
a thigh to pinch
let’s keep calm.89
By the end of January in ’51, seven months after he graduated, Gorey was over his infatuation with Tony Smith, judging by his comments in a letter to Bill Brandt. His love life, fortunately, was “being nil,” he wrote, now that the “little tin god” he’d worshipped for two years was more or less history, barring the occasional visit to spend the night.90
Being nil, Gorey decided, was the safest policy. “I am fortunate in that I am apparently reasonably undersexed or something,” he said twenty-nine years later when asked about his sexuality. “I’ve never said that I was gay and I’ve never said that I wasn’t. A lot of people would say that I wasn’t because I never do anything about it.”91 Would they? Is having desires yet not acting on them really the same as not having any desires to act on?
Gorey, ever paradoxical, is saying two contradictory things simultaneously: that he’s asexual (“undersexed”) and that he might be gay but since he never does anything about it, he’s as good as “neutral,” as Compton-Burnett would say.d He’s “fortunate” to be “undersexed,” he says, implying that Fate decreed it. But doesn’t his admission “I am probably terribly repressed” direct our attention to what, exactly, he’s repressing?92 “Every now and then someone will say my books are seething with repressed sexuality,” he conceded.93
In later life, when Gorey talked about sex, it was either with Swiftian disdain for its panting, grunting preposterousness—“No one takes pornography seriously,” he scoffed—or with Victorian mortification at the very mention of the unmentionable.94 When he talked about love, it was always in the past tense, as a farcical calamity that had befallen him, the sort of thing insurance claims adjusters file under Acts of God, like the flattening of the picnickers by the Wobbling Rock in The Willowdale Handcar. “You don’t choose the people you fall in love with,” he told an interviewer in 1980.95
In any event, his romantic imbroglios weren’t true love, he implied, but mere “infatuations.” Infatuations are a distinguishing characteristic of sexual immaturity—the stuff of adolescent crushes and teen-idol worship. Narcissistic at heart, they offer romance without the grunt work of relationship building, love without the hairy horrors of sex. “When I look back on my furious, ill-considered infatuations for people,” said Gorey, “they were really all the same person.”96 Of course they were: the objects of our obsessions are ideal types, spun from fantasy. “I thought I was in love a couple of times, but I rather think it was only infatuation,” said Gorey in 1992. “It bothered me briefly, but I always got over it. I mean, for a while I’d think, after some perfectly pointless involvement that was far more trouble than it was worth—I’d think, ‘Oh God, I hope I don’t get infatuated with anybody ever again.’…I realized I was accident-prone in that direction anyway, so the hell with it.”97
Was it his traumatic two years of worshipping Tony Smith that made Ted say to hell with love, and even sex, forever? Larry Osgood thinks Gorey swore off sex long before he got to Harvard. “He did tell me—because we were close friends, and we would talk about these things—that he once had a sexual experience in his late teens, I think. And he hadn’t liked it. And that was that. He wasn’t going to do that again.” Gorey didn’t offer any details about the incident, but Osgood is convinced, from his intimate knowledge of Ted’s emotional life, that it must have been a same-sex experience.
But whether it was a traumatic sexual encounter in his teens or his tempestuous affair with Tony Smith at Harvard that put Ted off sex, Osgood is convinced “there was more choice in his abstinence than biology.” Gorey “didn’t want the distractions of emotional engagements,” he says, “which would be messy, and he might get hur
t, and in fact he had been hurt.” John Ashbery said something strikingly similar when I asked him for his recollections of Gorey at Harvard. “There was something very endearing about him, almost childlike,” Ashbery recalled. “At the same time, I feel that he was somehow unable and/or unwilling to engage in a very close friendship with anyone, above a certain good-humored, fun-loving level.…I had the impression that he had constructed defenses against real intimacy, maybe as a result of early disappointments in friendship/affection.”98
At the same time, Osgood thinks Gorey was being honest when he said that relationships are a distraction from the writing desk and the drawing board. An aesthete to the end, Gorey lived for Art, in the opinion of the New Yorker writer Stephen Schiff, who described him as someone who “cultivated the life of a vestal, the anchoritic handmaiden of his art.”99 “It’s hard enough to sit down to work every day, God knows, even if you are not emotionally involved,” Gorey told an interviewer. “Whole stretches of your life go kerplunk when that happens.”100
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Unsurprisingly, Gorey’s grades had gone kerplunk during his “furious, ill-considered infatuation” with Tony Smith. Assistant dean Harrower notified him, on March 4 of ’49, that he was on academic probation. As always, he managed to pull himself out of his death spiral: by July, he’d been relieved from warning, as the official notification put it.
He rallied his creative energies, too. Sometime between 1948 and ’50, he created three little gems of commercial illustration, flawlessly executed cover designs for Lilliput, a British men’s monthly that offered a pre-Playboy potpourri of humor, short stories, arts coverage, cartoons, and, daringly, soft-core “art nudes” depicting female models cavorting—aesthetically, mind you—on beaches or in bohemian artists’ studios. Whether his covers ever appeared in print or were just fodder for his commercial-illustration portfolio isn’t known. The looming threat of graduation had concentrated his mind on the necessity of making a living, someday soon.
Gorey did submit his work to at least one publication outside Harvard. A rejection letter from the New Yorker, dated May 8, 1950, and signed “Franklyn B. Modell,” thanks him, in the usual perfunctory way, for letting the magazine see his drawings. Pleasantries out of the way, Mr. Modell gets down to business: “While I readily recognize their merit, I’m afraid they are not suitable for The New Yorker. The people in your pictures are too strange and the ideas, we think, are not funny.…By way of suggestion may I say that drawings of a less eccentric nature might find a more enthusiastic audience here.”101
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.)
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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 posthumous collection, Early Writing. Titled, simply, “For Edward Gorey,” it evokes not only the Victorian-Edwardian setting of Gorey’s work and its insular, dollhouse psychology but also the sense of the Freudian repressed that haunts it. Referring to the “anger” underlying Gorey’s “fight for order,” he notes, “you people this heatless square / with your elegant indifferent / and your busy leisured / characters who yet refuse despite surrounding flames / to be demons.”111 He evokes the taxidermy stillness of Gorey’s vitrine worlds (“You arrange on paper life stiller than / oiled fruits or wired twigs”) and the obsessive cross-hatching that is a Gorey signature (“See how upon the virgin grain / a crosshatch claws a patch / of black blood…”).