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The Doubtful Guest
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Product Description
“An artist and writer of genius” (New Yorker) gives us a small-format edition of one of his favorite tales-a deliciously twisted comedy of manners.
Product Details
- Amazon Sales Rank: #120316 in Books
- Published on: 1998-06-15
- Original language: English
- Number of items: 1
- Binding: Hardcover
- 32 pages
Editorial Reviews
Amazon.com Review
Originally published in 1957, The Doubtful Guest serves as a prime example of the beauty, eccentricity, and brilliance of Edward Gorey's work. If the book was read aloud without revealing the accompanying black-and-white drawings, you might guess the tale came from the quirky genius of Dr. Seuss. The rhyming couplets and nonsensical verse (about an even more nonsensical creature) feel familiar, but in Gorey's skilled hands, the experience becomes altogether new.
The doubtful guest shows up unannounced and unwelcome, yet its presence is accepted after only a brief interlude of screaming. The staid, pale, Victorian inhabitants of the mansion alternately stare and glare at the doubtful guest as it tears out whole chapters from books, peels the soles of its white canvas shoes, and broods while lying on the floor ("inconveniently close to the drawing-room door"). Strangely, or rather, typically, as this is a Gorey book, the stymied occupants never ask the guest to leave--and in 17 years it has still "shown no intention of going away." Maintaining a matter-of-fact tone in spite of true oddity is pure, delicious Gorey, and his trademark drawings are not to be missed. The ghostly, stark, and undeniably amusing illustrations make The Doubtful Guest an entrancing tale in which reserved, insular lives meet with the unexpected and bizarre. (Ages 5 and older)
About the Author
Edward St. John Gorey was born in Chicago. His parents, Helen Dunham Garvey and Edward Lee Gorey, divorced in 1936 when he was 11, then remarried in 1952 when he was 27. One of his stepmothers was Corinna Mura (1909-65), a cabaret singer who had a small role in the classic film Casablanca as the woman playing the guitar while singing "La Marseillaise" at Rick's Café Américain. His father was briefly a journalist. Gorey's maternal great-grandmother, Helen St. John Garvey, was a popular 19th century greeting card writer and artist, from whom he claimed to have inherited his talents.
Gorey attended a variety of local grade schools and then the Francis W. Parker School. He spent 1944 to 1946 in the Army at Dugway Proving Ground in Utah, and then attended Harvard University from 1946 to 1950, where he studied French and roomed with poet Frank O'Hara.
Although he would frequently state that his formal art training was "negligible," Gorey studied art for one semester at the School of the Art Institute of Chicago in 1943, eventually becoming a professional illustrator. From 1953 to 1960, he lived in New York City and worked for the Art Department of Doubleday Anchor, illustrating book covers and in some cases adding illustrations to the text. He illustrated works as diverse as Dracula by Bram Stoker, The War of the Worlds by H. G. Wells, and Old Possum's Book of Practical Cats by T. S. Eliot. In later years he illustrated many children's books by John Bellairs, as well as books in several series begun by Bellairs and continued by other authors after his death.
His first independent work, The Unstrung Harp, was published in 1953. He also published under pen names that were anagrams of his first and last names, such as Ogdred Weary, Dogear Wryde, Ms. Regera Dowdy, and dozens more. His books also feature the names Eduard Blutig ("Edward Gory"), a German language pun on his own name, and O. Müde (German for O. Weary).
The New York Times credits bookstore owner Andreas Brown and his store, the Gotham Book Mart, with launching Gorey's career: "it became the central clearing house for Mr. Gorey, presenting exhibitions of his work in the store's gallery and eventually turning him into an international celebrity."
Gorey's illustrated (and sometimes wordless) books, with their vaguely ominous air and ostensibly Victorian and Edwardian settings, have long had a cult following. Gorey became particularly well-known through his animated introduction to the PBS series Mystery! in 1980, as well as his designs for the 1977 Broadway production of Dracula, for which he won a Tony Award for Best Costume Design. (He was also nominated for Best Scenic Design.)
Edward Gorey's home on Cape Cod (2006).
The settings and style of Gorey's work have caused many people to assume he was British; in fact, he never visited Britain, and he almost never traveled. In later years, he lived year-round in Yarmouth Port, Massachusetts, on Cape Cod, where he wrote and directed numerous evening-length entertainments, often featuring his own papier-mâché puppets, in an ensemble known as La Theatricule Stoique. His major theatrical work was the libretto for an Opera Seria for Hand Puppets titled The White Canoe, with a score by the composer Daniel James Wolf. Based on the Lady of the Lake legend, the opera premiered posthumously. On August 13, 1987, his play Lost Shoelaces premiered in Woods Hole, Massachusetts. In the early 1970s, Gorey wrote an unproduced screenplay for a silent film, The Black Doll.
Gorey was noted for his fondness for ballet (for many years, he religiously attended all performances of the New York City Ballet), fur coats, tennis shoes, and cats, of which he had many. All figure prominently in his work. His knowledge of literature and films was unusually extensive, and in his interviews, he named Jane Austen, Agatha Christie, Francis Bacon, George Balanchine, Balthus, Louis Feuillade, Ronald Firbank, Lady Murasaki Shikibu, Robert Musil, Yasujiro Ozu, Anthony Trollope, and Johannes Vermeer as some of his favorite artists. Gorey was also an unashamed pop-culture junkie, avidly following soap operas and TV comedies like Petticoat Junction and Cheers, and he had particular affection for dark genre series like Buffy the Vampire Slayer, Batman: The Animated Series, and The X-Files; he once told an interviewer that he so enjoyed the Batman series that it was influencing the visual style of one of his upcoming books. Gorey treated TV commercials as an artform in themselves, even taping his favorites for later study. But Gorey was especially fond of movies, and for a time he did regular and very waspish reviews for the Soho Weekly under the pseudonym Wardore Edgy.
Although Gorey's books were popular with children, he did not associate with children much and had no particular fondness for them. Gorey never married, professed to have little interest in romance, and never discussed any specific romantic relationships in interviews. In the book The Strange Case of Edward Gorey, published after Gorey's death, his friend Alexander Theroux reported that when Gorey was pressed on the matter of his sexual orientation, he said that even he was not sure whether he was gay or straight. When asked what his sexual preferences were in an interview, he said,
It is possible that Gorey was asexual. Theroux paints a portrait of a man who lived a fairly solitary existence by choice, friendly, generous, and apparently comfortable with strangers, but strongly preferring to be alone most of the time.
From 1996 to his death in April 2000, the normally reclusive artist was the subject of a direct cinema-style documentary directed by Christopher Seufert. This was not yet released as of 2008. He was interviewed on Tribute To Edward Gorey, an hourlong community cable television show produced by artist and friend Joyce Kenney. He contributed his videos and personal thoughts. Edward served as judge in Yarmouth art shows and enjoyed activities at the local cable station, studying computer art and serving as cameraman on many Yarmouth shows. His Cape Cod house is called Elephant House and is the subject of a photography book titled Elephant House: Or, the Home of Edward Gorey, with photographs and text by Kevin McDermott. The house is now the Edward Gorey House Museum.
Gorey's work defies easy classification. He is typically described as an illustrator, but this merely scratches the surface. His combination of words and pictures has led some to classify him as having been a cartoonist, while others regard him primarily as a writer who drew, or an illustrator who wrote. His books can be found in the humor and cartoon sections of major bookstores, but books like The Object Lesson have earned serious critical respect as works of surrealist art. His endless experimentations—creating books that were wordless, books that were literally matchbox-sized, pop-up books, books entirely populated by inanimate objects, and more—complicates matters still further, not to mention the thorny issue of whether his books are best classed as literature for children or for adults. As Gorey told Richard Dyer of The Boston Globe, "Ideally, if anything [was] any good, it would be indescribable." Gorey classified his own work as literary nonsense, the genre made most famous by Lewis Carroll and Edward Lear. Gorey seemed to love the precision involved in this genre, and, in response to the accusation of being gothic, he stated, "If you're doing nonsense it has to be rather awful, because there'd be no point. I'm trying to think if there's sunny nonsense. Sunny, funny nonsense for children—oh, how boring, boring, boring. As Schubert said, there is no happy music. And that's true, there really isn't. And there's probably no happy nonsense, either." Much of his work fits rather well into the genre of literary nonsense, yet there is no one category that can encompass the great variety of style and subject in his many books.
Customer Reviews
American strangeness
I used to pick up my dad's Edward Gorey books when I was a wee boy, read them in half an hour and put them back on the shelves, quivering with fear. Admittedly I was also scared of Doctor Who, old people and "Strawberry Fields Forever". But Gorey has definitely tapped into a seam of subterranean panic; his hollow-eyed pseudo-Edwardian families have a look about them as though some sort of hideously deformed ancestor has been chained up in the attic for centuries. The Doubtful Guest is ostensibly for kids, telling the story of a strange, aardvarkesque creature in tennis shoes (typical Gorey touch, the tennis shoes) that comes to stay one "wild winter night", but maybe you have to be an adult to find it truly unnerving. The creature slopes about the house, eating plates, lying in doorways and hiding towels, and the hapless family can't bring itself to dispose of the thing. At the end of the book it's been there for seventeen years and is sitting in the drawing room with the same look of wide-eyed expectancy, while the enervated family stands about aimlessly with as little of a clue as ever.
This isn't quite my favourite Gorey. Other contenders would be the almost absurdly depressing The Hapless Child (small girl is born, parents die, is sent to workhouse, winds up perishing in the street, is found by its actually-not-dead-but-until-recently-in-Africa father who, typically, fails to recognise his daughter) and the surreal The Object Lesson (classic Gorey opening line: "It was already Thursday, but his Lordship's artificial limb could not be found..."). Or else there's the sexy but menacing The Curious Sofa...
He's still a master and a true original. Check out the way that the house in The Doubtful Guest seems to have been invaded by a black fog; Henry James took over a hundred pages to write The Turn of the Screw, but Gorey can squeeze comparably effects into 26 pages. Not many "children's" books of 43 years ago still have this power to charm and alarm.
"It Betrayed A Great Liking For Peering Up Flues..."
This is my single favorite Edward Gorey book, partially because of the amusing couplets it is written in, but mostly because of the appearance of the guest himself, which never ceases to amuse me. The concept of a strange creature who mysteriously visits and decides to stay (seventeen years) while exercising odd whims (like fits in which he removes all towels from the bath or hiding inside a soup tureen) is particularly suited to Gorey's odd brand of humor (although it is not one of his more unusual books, by any stretch of the imagination.)
I have liked Edward Gorey since I was in my teens, and still find him as unique and entertaining as ever. This is my very favorite Gorey book, and would make an excellent introduction to one of the oddest cartoonists of the twentieth century.
Delightfully creepy.
This is the second book of Gorey's that I've gotten, the first was The Gashlycrumb Tinies. I think I like Doubtful Guest even better than that volume. The wonderful illustrations of the prim and proper residents of the house, as they put up with the antics of the Doubtful Guest tickle me to no end. The rhyming verse that Gorey uses to tell this tale is whimsical and bizarre. It brings a smile to my face every time I think of this book, if you like Gorey, you've got to have this one.
My only gripe is that the book is a little short. I can easily tolerate it, however, as it's just so much macabre fun...
